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I think we will be able to cultivate mushrooms. Glastonbury | :00:12. | :00:16. | |
won't take a year off. Move to Arizona. Make a massive mess of | :00:16. | :00:21. | |
other people's festivals. Glastonbury's year off everybody | :00:21. | :00:28. | |
should have a well deserved rest. Go to Ibiza. Voluntary Services | :00:28. | :00:36. | |
Overseas. It should sleep. around the coast of England and | :00:36. | :00:46. | |
:00:46. | :00:55. | ||
This programme may contain flashing Good afternoon and welcome to a | :00:55. | :00:58. | |
wonderful Sunday afternoon here at the Glastonbury Festival. You can | :00:58. | :01:04. | |
see the scenes of what it is like, where it was grey there was rain | :01:04. | :01:09. | |
lashing down, now is bathed in the sunshine. It is beautiful. It is | :01:09. | :01:14. | |
amazing how quickly it dries out. know. People are in such a great | :01:14. | :01:20. | |
mood. It is like a carnival atmosphere here today. The bands | :01:20. | :01:24. | |
are arriving and they are going to get to play in some sunshine. | :01:24. | :01:28. | |
Really great spirits. It is like a mixture of a carnival and Sunday | :01:28. | :01:31. | |
afternoon in the park, and everybody is waiting, this is | :01:31. | :01:40. | |
building up to The Legends slot. We have had Neil Diamond. Shirley | :01:40. | :01:43. | |
Bassey, Tom Jones. Today it will be Paul Simon. We will bring that to | :01:43. | :01:49. | |
you, so you will get to enjoy the music of Paul Simon. A proper | :01:49. | :01:54. | |
legend. Paul Simon coming very shortly. Let's kick-off with a | :01:54. | :02:04. | |
:02:04. | :02:35. | ||
rocking performance from The # And while the city sleeps | :02:35. | :02:37. | |
# I won't weep because I didn't keep | :02:37. | :02:40. | |
# My boyfriend and the summer's end is here again | :02:40. | :02:49. | |
# And the leaves are golden # Under the grand silver birch tree | :02:49. | :02:51. | |
# While we're thinking about the people we meet | :02:51. | :02:55. | |
# Dancing feet wasters on the cover of a magazine | :02:55. | :02:58. | |
# People you've kissed people you lust | :02:58. | :03:03. | |
# And the one's that you might not # Ever remember what's the use? | :03:03. | :03:06. | |
# I'm not what I was last summer # Not who I was in the spring | :03:06. | :03:09. | |
# Tell me, tell me, tell me when we will learn | :03:09. | :03:13. | |
# We love it and we leave it and we watch it burn | :03:13. | :03:16. | |
# Damn these wild young haars # Damn these wild young hearts | :03:16. | :03:21. | |
# Now that's the city's awake my heartaches | :03:21. | :03:31. | |
:03:31. | :03:40. | ||
# Oh what a silly mistake it seems I've made | :03:40. | :03:46. | |
# You left your keys under my bed # Left a thumping in my head | :03:46. | :03:52. | |
# I would say sorry what's the use? # Cause I'm not what I was last | :03:52. | :03:54. | |
September # And I don't wear the same robes | :03:54. | :03:56. | |
in May # We know we shouldn't do it | :03:56. | :04:01. | |
# But we do it anyway # We know we might regret it but it | :04:01. | :04:04. | |
seemed OK # Damn these wild young hearts | :04:04. | :04:11. | |
# If now is forever then what's to prove | :04:11. | :04:13. | |
# Cause it won't be the same next summer | :04:13. | :04:15. | |
# And I guess I'll see you in the spring | :04:15. | :04:23. | |
# Somebody tell me, tell me, tell me, when will I learn | :04:24. | :04:27. | |
# I love it and I leave it and I watch it burn | :04:27. | :04:31. | |
# Damn this wild young heart # I told you damn this wild young | :04:31. | :04:33. | |
heart # Damn this wild young heart | :04:33. | :04:36. | |
# Tell me, tell me, tell me, when will I learn | :04:36. | :04:46. | |
:04:46. | :04:52. | ||
# Damn this wild young heart. # CHEERING AND APPLAUSE | :04:52. | :04:55. | |
The Noisettes. It is terribly impressive that she can sing like | :04:55. | :05:02. | |
that and play Bass at the same time. Great performer. That was The | :05:02. | :05:07. | |
Noisettes. We are back now in our beautiful garden, hopefully if are | :05:07. | :05:11. | |
watching and you are disappointed because you didn't get tickets, we | :05:11. | :05:14. | |
have given you that experience over the weekend, come rain, come Shane, | :05:14. | :05:19. | |
you have felt like you have been here. You have experienced the | :05:19. | :05:22. | |
headliners. We will do that with Beyonce. This afternoon it is all | :05:22. | :05:29. | |
about chilling out. Also, Mark's feet have been exposed for the | :05:29. | :05:35. | |
first time. We have gone from wellies to boots and I have come | :05:35. | :05:39. | |
prepared. You probably had a pedicure before you came here today. | :05:39. | :05:44. | |
All the time! That person over there? That's him. All right? Right, | :05:44. | :05:49. | |
we have lots of Paul Simon coming your way. We were going to watch | :05:49. | :05:55. | |
Bellowhead. We had a date to watch Bellowhead. We never made it. | :05:55. | :06:01. | |
got busy. Here, for you, we were grafting, but we can have | :06:01. | :06:11. | |
:06:11. | :06:49. | ||
# Some like whisky # Some like beer | :06:49. | :06:53. | |
# I wish I had a barrel here # Whisky old | :06:53. | :06:57. | |
# Rising up from down below # Whisky old | :06:57. | :07:03. | |
# Rising up from down below # Whisky old | :07:03. | :07:12. | |
# Whisky up a loft this yard must go come rising up from down below | :07:12. | :07:19. | |
# Whisky killed my sister Sue # And whisky killed my brother too | :07:19. | :07:28. | |
# Whisky killed my poor old dad # And whisky drove my mother mad | :07:28. | :07:31. | |
# Whisky oh Johnny oh # Rising up from down below | :07:31. | :07:35. | |
# Whisky oh Johnny oh # Rising up from down below | :07:35. | :07:40. | |
# Whisky oh Johnny oh # Rising up from down below | :07:40. | :07:44. | |
# Up a loft this yard must go come rising | :07:44. | :07:54. | |
:07:54. | :08:12. | ||
# If whisky comes too near my nose # It's up she comes and down she | :08:12. | :08:15. | |
goes # A pull and broker every man | :08:15. | :08:22. | |
# And a barrel full for the shan'ty # Whisky oh Johnny oh | :08:22. | :08:26. | |
# Rising up from down below # Whisky oh Johnny oh | :08:26. | :08:30. | |
# Rising up from down below # Whisky oh Johnny oh | :08:30. | :08:35. | |
# Rising up from down below # Up a loft this yard must go | :08:35. | :08:45. | |
:08:45. | :09:15. | ||
Wow, did you see that fiddle and the Tam Breen... Multi-tasking! | :09:15. | :09:25. | |
:09:25. | :09:25. | ||
This place is made for Bellowheads. Whisky Is The Life Of Man or Woman. | :09:25. | :09:33. | |
There was a woop from a certain presenter who shall remain nameless. | :09:33. | :09:38. | |
Paul Simon is still to come. We have got great acoustic music for | :09:38. | :09:42. | |
you and this was - people were misty-eyed when they heard these | :09:42. | :09:47. | |
guys in rehearsal. You are going to enjoy this. It is a blend of | :09:47. | :09:51. | |
contemporary influences and traditional Indian influences. It's | :09:51. | :09:57. | |
Raghu Dixit who comes from Bangalore. I am really looking | :09:57. | :10:02. | |
forward to it. People were saying it is really dream-inducing. They | :10:02. | :10:12. | |
:10:12. | :10:42. | ||
# Neele aakaash mein, # Neele aakaash mein, | :10:42. | :10:52. | |
:10:52. | :11:18. | ||
# Goonjoon, garajoon aur barsoon # No man will ever love you | :11:18. | :11:28. | |
:11:28. | :11:35. | ||
# No man will ever love you # No man will ever love you | :11:35. | :11:45. | |
:11:45. | :11:45. | ||
Apology for the loss of subtitles for 72 seconds | :11:45. | :12:57. | |
# Ohsawariyaan re, # Aaakaash mein goonjen meri aarzoo | :12:57. | :13:07. | |
:13:07. | :13:13. | ||
# No man will ever love you # No man will ever love you | :13:13. | :13:23. | |
:13:23. | :13:23. | ||
Apology for the loss of subtitles for 72 seconds | :13:23. | :14:19. | |
# No man will ever love you APPLAUSE | :14:19. | :14:23. | |
That was Raghu Dixit. Now the next thing you are going to see is a | :14:23. | :14:27. | |
band who were on the Main Stage, Pyramid Stage, at 11.00 this | :14:27. | :14:32. | |
morning. That is where they have novelty acts. It was a band. | :14:32. | :14:37. | |
used to be the Glastonbury Brass Band. There is a village, you go | :14:38. | :14:47. | |
down a steep hill, Port Isaac, it is featured in Doc Marten. I have | :14:47. | :14:54. | |
never seen it. Martin Clunes is in it. You go down the steep hill. A | :14:54. | :15:03. | |
couple of nice pubs there, aquarium, pottery. Nice cream teas! A group | :15:03. | :15:07. | |
of hearty souls gather to do singing and they make an amazing | :15:08. | :15:13. | |
noise. I first saw these guys five years ago, went for a pint and they | :15:13. | :15:19. | |
were there singing. They were called Fisherman's Friends. This is | :15:19. | :15:29. | |
:15:29. | :15:42. | ||
We are a group who formed up in the early '90s, late '80s. We called | :15:42. | :15:49. | |
ourselves the Fisherman's Friends. They all dabbing in their own | :15:49. | :15:54. | |
fishing with their own boats. # We are making money with this | :15:54. | :16:04. | |
:16:04. | :16:06. | ||
sound... # Our singing is based on the Cornish | :16:06. | :16:11. | |
tradition of standing in a semi- circle. Our songs are work songs, | :16:11. | :16:15. | |
they come from the working days of sound and they are basically all | :16:16. | :16:21. | |
sung to create a rhythm. These songs were evolved by ordinary | :16:21. | :16:24. | |
people and so people can still relate to them now, you know, they | :16:24. | :16:34. | |
:16:34. | :16:34. | ||
are the people's songs. We are the people's shan'ty men. We first got | :16:34. | :16:39. | |
picked up, this was the plan, if we get to Glastonbury, that's it, | :16:39. | :16:46. | |
we've made it. It is a huge mega- deal for us. We are hoping someone | :16:46. | :16:56. | |
:16:56. | :16:58. | ||
is prepared to get up that early and come and see us. Got through | :16:58. | :17:03. | |
about ten checkpoints, we had to strip naked. We are finally in! | :17:03. | :17:11. | |
didn't have to, Trev. One or two chose to do that. It is very muddy. | :17:11. | :17:17. | |
It is not so bad. Wake up and smell the bacon! It's the Fisherman's | :17:17. | :17:27. | |
:17:27. | :17:28. | ||
Friends. Cornish flags, very important. Makes us feel as though | :17:28. | :17:38. | |
:17:38. | :17:43. | ||
we are at home. We are up for it. Come on, boys! Here we go, guys. | :17:43. | :17:53. | |
:17:53. | :17:55. | ||
are going to sing you some frolicking songs from the days when | :17:55. | :18:05. | |
:18:05. | :18:44. | ||
Fantastic. You were magnificent. didn't seem like there were many | :18:44. | :18:54. | |
:18:54. | :19:00. | ||
people there. By the time we With some of those artists, they | :19:00. | :19:03. | |
play the Pyramid Stage and you worry about them getting lost. That | :19:03. | :19:08. | |
stage was not big enough for Fisherman's Friend. I love the | :19:08. | :19:12. | |
story of that band and they are so lovely. You couldn't kind of make | :19:12. | :19:18. | |
up a better story. It is like Calendar Girls. They are making a | :19:18. | :19:23. | |
film about that story. They still go to Port Isaac and they will sing | :19:23. | :19:28. | |
to anyone who want to share a pint with them. They are a very | :19:28. | :19:33. | |
expensive round as I found to my cost in a hotel bar! Yeah, in | :19:33. | :19:37. | |
principle... They are worth it. Yeah, yeah. We still have Paul | :19:37. | :19:43. | |
Simon coming up of course. Very shortly. But whilst we are basking | :19:43. | :19:53. | |
:19:53. | :19:53. | ||
in the sunshine here, relaxing on this cow/bonkette... Couch. Gemma | :19:53. | :19:58. | |
is out there. I woke up hanging this morning, guys. Wow, I'm here | :19:59. | :20:05. | |
at the Circus Field with Annabel doing the trapeze. All the blood | :20:05. | :20:13. | |
has rushed to my head. I'm coming up. Put your hands on the bar. | :20:13. | :20:19. | |
Take your feet underneath. I tried to do that gracefully. Hello. | :20:19. | :20:23. | |
You do a lot of trapeze lessons for people who aren't in any fit state | :20:23. | :20:30. | |
like myself. It is fun? It is fun. How was I? You were good. Very | :20:30. | :20:35. | |
confident. You held that... they usually as scared as me? | :20:35. | :20:40. | |
are. You are the big dog around here! What is going on behind us? | :20:40. | :20:46. | |
They are all training at the moment. Felipe is doing a handball lance. | :20:46. | :20:53. | |
We have some spinning ladders. All sorts of different acts. They have | :20:53. | :21:01. | |
to train every day. How do you come up with the name? We are No Fit | :21:01. | :21:05. | |
State Circus. I love it. I'm no no fit state. Annabel, do something | :21:05. | :21:11. | |
cool. Get on that trapeze. I'm going to run away to the circus. | :21:11. | :21:18. | |
Wow! So much more elegant than me. Yeah, just hanging. See you later, | :21:19. | :21:25. | |
guys. Why have they got Gemma to do that and why didn't they send you | :21:25. | :21:31. | |
there? I would have paid good money. With my natural balance, I was a | :21:31. | :21:36. | |
shoe in for that. In live television, they shout at us in our | :21:37. | :21:42. | |
ear, like, "Shut up, that's enough of you!" Do they do that to you | :21:42. | :21:48. | |
often? Quite often. Do you not get that? No. We didn't realise Gemma | :21:48. | :21:56. | |
was poised on her head. She is very high viz. In that outfit, | :21:56. | :22:01. | |
absolutely. She's the style guru of Glastonbury this year. Coming up | :22:01. | :22:05. | |
shortly, we will bring you some more flavours of what is happening | :22:05. | :22:10. | |
here, maybe the odd acoustic, Laura Marling was playing a little while | :22:10. | :22:15. | |
ago. Talking of Fisherman's Friends, Laura was on her own. We will chat | :22:15. | :22:18. | |
about her in a little while. For now, we will bring you some Paul | :22:18. | :22:24. | |
Simon who was in action half an hour ago. First of all, let's find | :22:24. | :22:29. | |
out about the background of Paul Simon. | :22:29. | :22:34. | |
He says you can call him Al, but most of us know him as Paul Simon. | :22:34. | :22:40. | |
Today, Glastonbury welcomes him to the Pyramid Stage. Paul's early | :22:40. | :22:44. | |
career started out with his childhood friend Art Garfunkel. | :22:44. | :22:50. | |
Together as Simon and Garfunkel in the '60s they would find themselves | :22:50. | :22:54. | |
redefining folk music. Simon writing songs that would somehow | :22:54. | :23:00. | |
capture the mood of the changing times. | :23:00. | :23:05. | |
# Please Mrs Robinson... # After 13 years singing together, | :23:05. | :23:11. | |
the smash 1970 album Bridge Over Troubled Water was their last | :23:11. | :23:18. | |
studio recording together. # I'm sailing right behind... # | :23:18. | :23:21. | |
Simon would recommence a solo career that had begun back in 1965 | :23:21. | :23:26. | |
when he released the Paul Simon Song book whilst playing the | :23:26. | :23:31. | |
English folk clubs. Everything was an adventure. I was living far away | :23:31. | :23:39. | |
from home in another culture in another country. I would play there | :23:39. | :23:45. | |
maybe once a month and it was always packed. There was a feeling | :23:45. | :23:55. | |
of camaraderie. It was probably the most enjoyable time of my life. | :23:55. | :24:01. | |
was during this period that he discovered the global rhythms that | :24:01. | :24:11. | |
:24:11. | :24:11. | ||
influenced his 1972 hits Mother and Child Reunion. In 1986, his global | :24:11. | :24:15. | |
hit Graceland explored the music of South Africa. It catapulted him | :24:15. | :24:19. | |
back to the top of the charts but created a political storm as he | :24:19. | :24:24. | |
travelled to Johannesburg to incorporate the sounds of the South | :24:24. | :24:30. | |
African township with his songwriting. It featured many South | :24:30. | :24:40. | |
African musicians. Graceland was revolutionary and introduced the | :24:40. | :24:49. | |
music of Soweto to an international audience. His music continues to | :24:50. | :24:54. | |
influence. In recent years, he's won a new generation of fans as | :24:54. | :25:03. | |
acts as Vampire Weekend have covered his songs. When I think of | :25:03. | :25:11. | |
it it's pretty close to Indie thinking. It is rhythmic, it is not | :25:11. | :25:16. | |
mainstream. It's more old music. Now he's back with the new album So | :25:16. | :25:22. | |
Beautiful or So What which went to the upper reaches of the charts. | :25:22. | :25:26. | |
Today he is about to grace the Pyramid Stage with a set of his | :25:26. | :25:31. | |
classic songs old and new, delivered by that iconic voice that | :25:31. | :25:34. | |
could only be Paul Simon. I have never been to Glastonbury. I am | :25:34. | :25:40. | |
curious to see what it is. We will adjust the set to whatever the | :25:40. | :25:46. | |
crowd wants, sort of, however we interpret what the crowd wants. | :25:46. | :25:56. | |
:25:56. | :26:26. | ||
# And the sun was beating on the # There was a bright light | :26:27. | :26:29. | |
# The bomb in the baby carriage was wired to the radio | :26:29. | :26:32. | |
# These are the days of miracle and wonder | :26:32. | :26:42. | |
:26:42. | :26:54. | ||
# It was a dry wind And it swept across the desert | :26:54. | :26:55. | |
# And it curled into the circle of birth | :26:55. | :26:57. | |
# And the dead sand falling on the children | :26:57. | :26:58. | |
# The mothers and the fathers and the automatic earth | :26:58. | :27:08. | |
:27:08. | :27:16. | ||
# These are the days of miracle and wonder | :27:16. | :27:19. | |
# This is the long-distance call | :27:19. | :27:22. | |
# The way the camera follows us in slo-mo | :27:22. | :27:26. | |
# The way we look to us all | :27:26. | :27:30. | |
# The way we look to a distant constellation | :27:30. | :27:33. | |
# That's dying in the corner of the sky | :27:33. | :27:36. | |
# These are the days of miracle and wonder | :27:36. | :27:40. | |
# And don't cry, baby Don't cry, don't cry | :27:40. | :27:50. | |
:27:50. | :27:50. | ||
Apology for the loss of subtitles for 72 seconds | :27:50. | :28:34. | |
# The way the camera follows us in slo-mo | :28:34. | :28:36. | |
# The way we look to us all, oh yeah | :28:36. | :28:41. | |
# The way we look to a distant constellation | :28:41. | :28:44. | |
# That's dying in a corner of the sky | :28:44. | :28:47. | |
# These are the days of miracle and wonder | :28:47. | :28:51. | |
# And don't cry, baby Don't cry, don't cry, don't cry. # | :28:51. | :29:01. | |
# It's a turnaround jump shot It's everybody jumpstart | :29:01. | :29:03. | |
# It's every generation throws a hero up the pop charts | :29:03. | :29:04. | |
# Medicine is magical and magical is art | :29:04. | :29:06. | |
# Thinking of the boy in the bubble and the baby with the baboon heart | :29:06. | :29:08. | |
# And I believe these are the days of lasers in the jungle | :29:08. | :29:11. | |
# Lasers in the jungle somewhere | :29:11. | :29:15. | |
# Staccato signals of constant information | :29:15. | :29:18. | |
# A loose affiliation of millionaires | :29:18. | :29:21. | |
# And billionaires, and baby | :29:21. | :29:23. | |
# These are the days of miracle and wonder | :29:23. | :29:27. | |
# This is the long-distance call | :29:27. | :29:29. | |
# The way the camera follows us in slo-mo | :29:29. | :29:33. | |
# The way we look to us all, oh yeah | :29:33. | :29:37. | |
# The way we look to a distant constellation | :29:37. | :29:40. | |
# That's dying in a corner of the sky | :29:40. | :29:43. | |
# These are the days of miracle and wonder | :29:43. | :29:47. | |
# And don't cry, baby Don't cry, don't cry, don't cry. # | :29:47. | :29:57. | |
:29:57. | :29:58. | ||
# And don't cry, baby Don't cry, don't cry, don't cry. # | :29:59. | :30:08. | |
:30:09. | :30:14. | ||
# And don't cry, baby Don't cry, don't cry, don't cry. # | :30:14. | :30:24. | |
:30:24. | :30:31. | ||
CHEERING AND APPLAUSE | :30:31. | :30:41. | |
:30:41. | :31:02. | ||
# The problem is all inside your head, she said to me | :31:02. | :31:06. | |
# The answer is easy if you take it logically | :31:06. | :31:11. | |
# I'd like to help you in your struggle to be free | :31:11. | :31:14. | |
# There must be fifty ways to leave your lover | :31:14. | :31:20. | |
# She said, it's really not my habit to intrude | :31:20. | :31:24. | |
# Furthermore, I hope my meaning won't be lost or misconstrued | :31:24. | :31:30. | |
# But I'll repeat myself at the risk of being crude | :31:30. | :31:34. | |
# There must be fifty ways to leave your lover | :31:34. | :31:39. | |
# Fifty ways to leave your lover | :31:39. | :31:43. | |
# You just slip out the back, Jack Make a new plan, Stan | :31:43. | :31:47. | |
# You don't need to be coy, Roy Just get yourself free | :31:47. | :31:53. | |
# Hop on the bus, Gus You don't need to discuss much | :31:53. | :31:57. | |
# Just drop off the key, Lee And get yourself free | :31:57. | :32:02. | |
# Ooh, slip out the back, Jack Make a new plan, Stan | :32:02. | :32:06. | |
# You don't need to be coy, Roy Just listen to me | :32:07. | :32:12. | |
# Hop on the bus, Gus You don't need to discuss much | :32:12. | :32:16. | |
# Just drop off the key, Lee And get yourself free | :32:16. | :32:25. | |
# She said, it grieves me so to see you in such pain | :32:25. | :32:28. | |
# I wish there was something I could do to make you smile again | :32:28. | :32:33. | |
# I said, I appreciate that And would you please explain | :32:33. | :32:38. | |
# About the fifty ways? | :32:38. | :32:43. | |
# She said, why don't we both just sleep on it tonight? | :32:43. | :32:48. | |
# And I believe in the morning you'll begin to see the light | :32:48. | :32:52. | |
# And then she kissed me and I realised she probably was right | :32:52. | :32:57. | |
# There must be fifty ways to leave your lover | :32:57. | :33:02. | |
# Fifty ways to leave your lover | :33:02. | :33:06. | |
# You just slip out the back, Jack Make a new plan, Stan | :33:06. | :33:09. | |
# You don't need to be coy, Roy Just get yourself free | :33:09. | :33:15. | |
# Hop on the bus, Gus You don't need to discuss much | :33:15. | :33:20. | |
# Just drop off the key, Lee And get yourself free | :33:20. | :33:25. | |
# Slip out the back, Jack Make a new plan, Stan | :33:25. | :33:30. | |
# You don't need to be coy, Roy Just listen to me | :33:30. | :33:35. | |
# Hop on the bus, Gus You don't need to discuss much | :33:35. | :33:39. | |
# Just drop off the key, Lee And get yourself free. # | :33:40. | :33:49. | |
:33:50. | :33:50. | ||
Apology for the loss of subtitles for 72 seconds | :33:50. | :34:43. | |
There | :34:43. | :34:43. | |
There was | :34:43. | :34:44. | |
There was the | :34:44. | :34:50. | |
There was the man in action and here we have him beside us. How are | :34:50. | :34:58. | |
you feeling? Well, I wish I were feeling better. You have a sore | :34:58. | :35:07. | |
throat? I came down with something two days ago and it's just | :35:07. | :35:12. | |
lingering. It's such a beautiful day. I was so looking forward to | :35:12. | :35:16. | |
playing here. I'm happy about - that I done it, but I wish I had | :35:16. | :35:21. | |
done it with my voice, my real voice. Why did it appeal, why did | :35:21. | :35:26. | |
you want to be here? I have always heard - first of all, I have had | :35:26. | :35:31. | |
many friends who have told me about it. Anyone for example that you can | :35:31. | :35:38. | |
tell us? Famous? I don't mind! have friends who aren't famous, | :35:38. | :35:43. | |
whose opinions I think of and... Performers? No, I can't think of | :35:43. | :35:50. | |
any that I spoke to in particular. I always heard it was one of the | :35:50. | :35:55. | |
great festivals and very interesting and had interesting | :35:55. | :35:58. | |
acts and was something that I wanted to do and I had been asked | :35:58. | :36:06. | |
to do it several times and for whatever reason I couldn't fit it | :36:06. | :36:12. | |
in, or I was doing something else. This was something that I really | :36:12. | :36:18. | |
looking forward to and I'm happy that I did it. I'm disappointed I | :36:18. | :36:22. | |
wasn't at my best. You sounded great. I said he's still got a | :36:22. | :36:27. | |
beautiful tone to his voice. literally said that. What a great | :36:27. | :36:33. | |
band. Who is the guy who seems to be your right-hand man with the | :36:33. | :36:39. | |
long pony-tail? Mark Stuart. What a guitar player! He is fabulous. He's | :36:39. | :36:49. | |
:36:49. | :36:51. | ||
been with me for oh let's say 12 or 13 years. Vincent, on my left, | :36:51. | :36:56. | |
Vincent from Cameroon, he played on Rhythm of the Saints. All the | :36:56. | :37:01. | |
percussion, it sounds fantastic. You were talking in the film before, | :37:01. | :37:04. | |
you try and interpret what the audience might like. Is it | :37:04. | :37:10. | |
difficult picking a set list for something like this? Erm, a little | :37:10. | :37:20. | |
:37:20. | :37:21. | ||
bit. I have been playing theatres and clubs so and I have been | :37:21. | :37:28. | |
playing that in order to play the new material from So Beautiful and | :37:28. | :37:34. | |
So What. Yeah. When I play in those venues, everybody there knows, they | :37:34. | :37:43. | |
already know the new record. They know it. So it makes this set list | :37:43. | :37:46. | |
seamless and you don't feel there is one song that is very famous and | :37:46. | :37:52. | |
another that isn't. You can see the connection through the years of how | :37:52. | :37:56. | |
the music has evolved and still has elements from the earliest days. | :37:56. | :38:02. | |
Sure. If I were to reconstruct the set here today, I would say given | :38:02. | :38:11. | |
the reaction to You Can Call Me Al, which we never play... Do you not? | :38:11. | :38:18. | |
Did you enjoy that? Sure I did. With my voice, I probably would | :38:18. | :38:25. | |
take out a ballad and put in a couple more up-tempos. How would | :38:25. | :38:30. | |
you sum up your Glastonbury experience? It's so short, the | :38:30. | :38:37. | |
amount of time that I'm here, you know. It's hardly an experience. | :38:37. | :38:43. | |
But you mean just looking at it from... Yes. A couple of words how | :38:43. | :38:48. | |
it felt to you? It is a large festival. I have played in front of | :38:48. | :38:56. | |
a few people! A few! Large crowds before. Did it feel good? I like | :38:56. | :38:59. | |
playing in the daylight. And you can see that the audience like it, | :38:59. | :39:05. | |
too. I am sure they are much relieved to be standing in a | :39:05. | :39:10. | |
beautiful warm sunshiney day... weather made it all. Thank you for | :39:10. | :39:16. | |
coming back. Thank you for talking to us. This is Diamonds On The | :39:16. | :39:26. | |
:39:26. | :39:31. | ||
# She's a rich girl # He's a poor boy | :39:31. | :39:41. | |
:39:41. | :39:47. | ||
# Empty as a pocket # She got diamonds on the soles | :39:47. | :39:57. | |
:39:57. | :39:57. | ||
Apology for the loss of subtitles for 72 seconds | :39:57. | :40:52. | |
# She got diamonds on the soles of # She's got diamonds on the soles | :40:52. | :41:02. | |
:41:02. | :41:08. | ||
# Well, that's one way to lose # Then she slipped into my pocket | :41:08. | :41:13. | |
# Because I please you wearing these diamonds | :41:13. | :41:21. | |
# And I could say, oo oo oo | :41:21. | :41:28. | |
# As if everybody knows what I'm talking about | :41:28. | :41:32. | |
# As if everybody here would know what I was talking about | :41:32. | :41:35. | |
# Talking about diamonds on the soles of her shoes | :41:35. | :41:41. | |
# Talking about diamonds on the soles of her shoes | :41:41. | :41:51. | |
:41:51. | :42:28. | ||
# He makes the sign of a wave | :42:28. | :42:29. | |
# The poor boy changes clothes and puts on aftershave | :42:29. | :42:32. | |
# To compensate for his ordinary shoes | :42:32. | :42:39. | |
# To compensate for his ordinary shoes | :42:39. | :42:42. | |
# And she said Honey, take me dancing | :42:42. | :42:52. | |
:42:52. | :42:53. | ||
# But they ended up by sleeping in a doorway by the bodegas | :42:53. | :42:57. | |
# And the lights on Upper Broadway | :42:57. | :43:00. | |
# Wearing diamonds on the soles of their shoes | :43:00. | :43:05. | |
# And I could say, oo oo oo | :43:05. | :43:13. | |
# And everybody here would know what I was talking about | :43:13. | :43:16. | |
# I mean, everybody here would know exactly what I was talking about | :43:16. | :43:20. | |
# Talking about diamonds... | :43:20. | :43:22. | |
# Diamonds on the soles of our shoes | :43:22. | :43:26. | |
# Diamonds on the soles of our shoes | :43:26. | :43:36. | |
:43:36. | :43:57. | ||
# People say I'm crazy | :43:57. | :43:58. | |
# I got diamonds on the soles of my shoes | :43:58. | :44:01. | |
# Well, that's one way to lose these walking blues | :44:01. | :44:05. | |
# Diamonds on the soles of your shoes. # | :44:05. | :44:15. | |
:44:15. | :44:33. | ||
# Ta, na, na, na, na | :44:33. | :44:37. | |
# Ta, na, na, na, na | :44:37. | :44:41. | |
# Ta, na, na, na, na | :44:41. | :44:51. | |
:44:51. | :44:51. | ||
Apology for the loss of subtitles for 72 seconds | :44:51. | :46:51. | |
# I was having this discussion # On this friend of mine who had | :46:51. | :46:59. | |
# So what are you going to do about it? | :46:59. | :47:01. | |
# That's what I'd like to know | :47:01. | :47:03. | |
# You don't feel you could love me but I feel you could | :47:03. | :47:10. | |
# It was in the early morning hours when I fell into a phone call | :47:10. | :47:16. | |
# Believing I had supernatural powers I slammed into a brick wall | :47:16. | :47:22. | |
# I said, hey, is this my problem? Is this my fault? | :47:22. | :47:26. | |
# If that's the way it's gonna be | :47:26. | :47:28. | |
# I'm going to call the whole thing to a halt | :47:28. | :47:30. | |
# You don't feel you could love me but I feel you could | :47:30. | :47:36. | |
# You don't feel you could love me But I feel you could | :47:36. | :47:46. | |
:47:46. | :48:10. | ||
# Walking down the street when I thought I heard this voice say | :48:10. | :48:16. | |
# Say, ain't we walking down the same street together | :48:16. | :48:19. | |
# On the very same day? | :48:19. | :48:22. | |
# I said Hey senorita, that's astute | :48:22. | :48:26. | |
# I said, why don't we get together and call ourselves an institute? | :48:26. | :48:30. | |
# You don't feel you could love me but I feel you could | :48:30. | :48:36. | |
# You don't feel you could love me but I feel you could | :48:37. | :48:46. | |
:48:47. | :48:47. | ||
Apology for the loss of subtitles for 72 seconds | :48:47. | :49:52. | |
CHEERING AND APPLAUSE | :49:52. | :50:02. | |
:50:02. | :50:25. | ||
Thank | :50:25. | :50:26. | |
Thank you | :50:26. | :50:26. | |
Thank you so | :50:26. | :50:36. | |
:50:36. | :50:36. | ||
Apology for the loss of subtitles for 72 seconds | :50:36. | :52:42. | |
# They give us those nice # Makes you think all the world's | :52:42. | :52:52. | |
:52:52. | :52:56. | ||
# So Mama, don't take my Kodachrome away | :52:56. | :53:06. | |
:53:06. | :53:08. | ||
# If you took all the girls I knew when I was single | :53:08. | :53:14. | |
# And brought them all together for one night | :53:15. | :53:20. | |
# I know they'd never match my sweet imagination | :53:20. | :53:28. | |
# Everything looks worse in black and white | :53:28. | :53:33. | |
# Kodachrome | :53:33. | :53:36. | |
# They give us those nice bright colours | :53:36. | :53:39. | |
# They give us the greens of summers | :53:39. | :53:43. | |
# Makes you think all the world's a sunny day, oh yeah | :53:43. | :53:50. | |
# I got a Nikon camera I love to a photograph | :53:50. | :53:57. | |
# So Mama, don't take my Kodachrome away. # | :53:57. | :54:07. | |
:54:07. | :54:11. | ||
# So Mama, don't take my Kodachrome away. # | :54:11. | :54:21. | |
:54:21. | :54:22. | ||
# So Mama, don't take my Kodachrome away. # | :54:22. | :54:32. | |
:54:32. | :54:32. | ||
Apology for the loss of subtitles for 72 seconds | :54:32. | :55:42. | |
So Mama, don't take So Mama, don't take | :55:42. | :55:44. | |
# Gone at last, gone at last # Gone at last | :55:44. | :55:54. | |
:55:54. | :56:03. | ||
# I had a long streak of that bad # Oo, oo, oo | :56:03. | :56:09. | |
# She just grabbed my sympathy Sweet little soul | :56:09. | :56:13. | |
# Now, what's your problem? Tell me why you're so downcast | :56:13. | :56:17. | |
# I've had a long streak of bad luck But I pray it's gone at last | :56:18. | :56:25. | |
# Gone at last, gone at last Gone at last, gone at last | :56:25. | :56:31. | |
# I had a long streak of bad luck But I pray it's gone at last | :56:31. | :56:41. | |
:56:41. | :56:51. | ||
# Once in a while from out of nowhere | :56:51. | :56:53. | |
# When you don't expect it and you're unprepared | :56:53. | :56:56. | |
# Somebody will come and lift you higher | :56:56. | :57:00. | |
# And your burdens will be shared | :57:00. | :57:03. | |
Yes, I do believe if I hadn't met you | :57:03. | :57:06. | |
# I might still be sinking fast | :57:06. | :57:09. | |
# I've had a long streak of that bad luck | :57:09. | :57:13. | |
# But I pray it's gone at last Gone at last, gone at last | :57:13. | :57:19. | |
# Gone at last, gone at last | :57:19. | :57:23. | |
# I had a long streak of bad luck But I pray it's gone at last | :57:23. | :57:33. | |
:57:33. | :57:40. | ||
# I had a long streak of bad luck But I pray it's gone at last | :57:40. | :57:50. | |
:57:50. | :58:18. | ||
CHEERING AND APPLAUSE | :58:18. | :58:28. | |
:58:28. | :58:31. | ||
Thank | :58:31. | :58:31. | |
Thank you. | :58:31. | :58:41. | |
:58:41. | :59:20. | ||
# A man | :59:20. | :59:20. | |
# A man walks | :59:20. | :59:20. | |
# A man walks down | :59:20. | :59:24. | |
# A man walks down the street # He says why am I soft in the | :59:24. | :59:26. | |
middle now # Why am I soft in the middle | :59:26. | :59:28. | |
# The rest of my life is so hard # I need a photo-opportunity | :59:28. | :59:33. | |
# I want a shot at redemption # Don't want to end up a cartoon | :59:33. | :59:41. | |
# In a cartoon graveyard # Bonedigger | :59:41. | :59:48. | |
# Dogs in the moonlight # Far away my well-lit door | :59:48. | :59:53. | |
# Mr Beerbelly # Get these mutts away from me | :59:53. | :59:57. | |
# You know I don't find this stuff amusing any more | :59:57. | :00:02. | |
# If you'll be my bodyguard # I can be your long-lost pal | :00:02. | :00:06. | |
# I can call you Betty # And Betty when you call me | :00:06. | :00:09. | |
# You can call me Al # A man walks down the street | :00:09. | :00:12. | |
# He says why am I short of attention | :00:12. | :00:15. | |
# Got a short little span of attention | :00:15. | :00:24. | |
# And my nights are so long # Where's my wife and family | :00:24. | :00:30. | |
# What if I die here # Who'll be my role model | :00:30. | :00:33. | |
# Now that my role model is gone, gone | :00:33. | :00:40. | |
# He ducked back down the alley # With some roly-poly little bat- | :00:40. | :00:43. | |
faced girl # All along along | :00:43. | :00:44. | |
# There were incidents and accidents | :00:44. | :00:49. | |
# There were hints and allegations # If you'll be my bodyguard | :00:49. | :00:53. | |
# I can be your long-lost pal # I can call you Betty | :00:53. | :00:56. | |
# And Betty when you call me # You can call me Al | :00:56. | :01:01. | |
# Call me Al # A man walked down the street | :01:01. | :01:05. | |
# It's a street in a strange world # Maybe it's the Third World | :01:05. | :01:09. | |
# Maybe it's the first time around # He doesn't speak the language | :01:09. | :01:19. | |
:01:19. | :01:20. | ||
# He holds no currency, he's a foreign man | :01:20. | :01:29. | |
# He is surrounded by the sound # The sound | :01:29. | :01:34. | |
# Cattle in the market place # Scatterlings and orphanages | :01:35. | :01:40. | |
# He looks around, around # He sees angels in the | :01:40. | :01:43. | |
architecture # Spinning in infinity | :01:43. | :01:53. | |
# He says amen and Hallelujah! # If you'll be my bodyguard | :01:53. | :01:57. | |
# I can call you Betty # And bet ten when you call me | :01:57. | :02:05. | |
# You can call me Al # Call me Al | :02:05. | :02:15. | |
:02:15. | :02:23. | ||
# Na-na-na # Oh, yeah | :02:24. | :02:33. | |
:02:34. | :02:51. | ||
# Oh, oh, yeah # If you'll be my bodyguard | :02:51. | :02:57. | |
# I can be your long-lost pal # I can call you Betty | :02:57. | :03:02. | |
# And Betty when you call me # You can call me Al | :03:02. | :03:12. | |
:03:12. | :03:43. | ||
An enormous crowd out the front of Pyramid Stage enjoying the sunshine. | :03:43. | :03:48. | |
A whole bunch of hits courtesy of Mr Paul Simon. I love him for many | :03:48. | :03:52. | |
reasons. A great songwriter. When ever he performs live, he couldn't | :03:52. | :03:58. | |
look less interested. Do you think? He plays the most amazing songs. | :03:58. | :04:02. | |
He's already been Paul Simon for his whole life. He doesn't have to | :04:02. | :04:07. | |
do anything else. Brilliant scenes. Hello there, it is us, Zane and | :04:07. | :04:12. | |
Lauren. Thank you for sticking with us. We have some lovely stuff on | :04:12. | :04:22. | |
:04:22. | :04:22. | ||
Glastonbury 2011 for you, including next a film about ancient | :04:22. | :04:32. | |
:04:32. | :04:33. | ||
For the past 40 years, festival- goers have been building their own | :04:33. | :04:36. | |
mythology here on the Glastonbury site. This part of the country has | :04:36. | :04:42. | |
been a destination of pilgrims of all kinds for over 5,000 years. | :04:42. | :04:45. | |
Thousands of festival-goers will stream down these hillsides to | :04:45. | :04:50. | |
watch U2 make history on that stage. How many of them will appreciate | :04:50. | :04:54. | |
just how much truly ancient history surrounds them here? The very first | :04:54. | :05:02. | |
Pyramid Stage was constructed on this spot in 1971. Its appearance | :05:02. | :05:05. | |
was very difference to the Great Pyramids of Egypt, but the idea | :05:05. | :05:13. | |
behind it was much the same. Festival organiser Andrew Care | :05:13. | :05:20. | |
wanted to create a free festival that was more than a gig in a field. | :05:20. | :05:24. | |
The Pyramid Stage was to be a spiritual satellite dish able to | :05:24. | :05:28. | |
pick up and channel the vibrations of the cosmos. Whether or not you | :05:28. | :05:32. | |
agree with Andrew's approach to stage-building, it is an undeniable | :05:32. | :05:37. | |
fact that this landscape is littered with ancient sites. It's | :05:37. | :05:43. | |
also full of myth and legend. Andrew moved the Festival from | :05:43. | :05:47. | |
September to the Summer Solstice in June continuing the tradition of | :05:47. | :05:53. | |
the equinox pilgrimage. He also insisted on erecting the Pyramid | :05:53. | :05:59. | |
Stage on what he believed was a line connected this site to | :05:59. | :06:08. | |
Stonehenge. The site is overlooked by this geological outcrop, | :06:08. | :06:16. | |
Glastonbury Tower. The Celts called this place The Isle of Glass. Apart | :06:16. | :06:21. | |
from the famous muddy Glastonburys, there is precious little sign of | :06:21. | :06:31. | |
:06:31. | :06:34. | ||
the sea around here. On a dry day, you can see the Glastonbury | :06:34. | :06:39. | |
Festival site from here, somewhere over there. Today is not a dry day. | :06:39. | :06:43. | |
In keeping with another Glastonbury Festival tradition, the weather has | :06:43. | :06:50. | |
gone bad. In ancient times, these levels were a shallow marshy sea | :06:50. | :06:55. | |
with small islands connected by wooden causeways so maybe there is | :06:55. | :07:00. | |
some truth in the legend of Avalon after all. The connections with | :07:00. | :07:10. | |
:07:10. | :07:18. | ||
Hi. Hello, Neil. Great to see you. How are you? Well. How long has | :07:18. | :07:24. | |
this place been the focus of legend? This place has been | :07:24. | :07:32. | |
Arthurian for about 900 years, going back to 12th Century. What | :07:32. | :07:35. | |
trigger Arthurian legend here? is the myth that when King Arthur | :07:36. | :07:42. | |
was killed he was brought to the Isle of Avalon. No-one knew where | :07:42. | :07:46. | |
that was until the monks of Glastonbury started digging up the | :07:46. | :07:52. | |
place and what they found here was the coffin of King Arthur. Why do | :07:52. | :07:57. | |
you think the Arthurian legend is the one that so endures in this | :07:57. | :08:02. | |
part of the world? Well, all nations want a great figurehead and | :08:02. | :08:08. | |
if we look back into the Dark Ages, what we find in reality are petty | :08:09. | :08:13. | |
chieftains. If a country wants to be great, it needs something a bit | :08:13. | :08:17. | |
larger-than-life and King Arthur filled that role. The other | :08:17. | :08:21. | |
important thing about King ar thundershower is the notion that he | :08:21. | :08:25. | |
never really died -- King Arthur is the notion that he never really | :08:26. | :08:31. | |
died. Perhaps he lives on. For many people, this landscape is charged | :08:31. | :08:34. | |
with the energy of all those who have passed through it before them. | :08:35. | :08:39. | |
From the ancient architects of Stonehenge, to those seeking Avalon | :08:39. | :08:43. | |
itself, so perhaps it is fitting that Glastonbury should inhabit | :08:43. | :08:48. | |
this landscape now, drawing yet more people together and creating | :08:48. | :08:54. | |
new legends that are all its own. There we are, we are in a place | :08:54. | :09:00. | |
rich in history. I was chatting to Kool and the Gang and they were at | :09:00. | :09:05. | |
Stonehenge drinking it in. There is going to be more history made this | :09:05. | :09:09. | |
evening in its own small way, Beyonce will be the first female | :09:09. | :09:12. | |
headliner on the Pyramid Stage. That is brilliant. Incredible. It | :09:12. | :09:17. | |
is hers for the stealing. There's people out there already camping | :09:17. | :09:21. | |
outside waiting for Beyonce to take to the stage. There is a lot of | :09:21. | :09:24. | |
curiosity amongst the superfans. Really nice to get to grips with | :09:24. | :09:31. | |
the tradition of the Festival. You don't get that at Reading! | :09:31. | :09:35. | |
Speaking of traditions, do you like I have gone for the Festival straw | :09:35. | :09:44. | |
hat? I'm very proud of you. It was time. Five! Over here, is a couple | :09:44. | :09:50. | |
of ladies who have made a brand-new album. We are going to hear them | :09:50. | :10:00. | |
:10:00. | :10:23. | ||
# God bless the world, # God bless the world, | :10:23. | :10:33. | |
:10:33. | :10:36. | ||
# If I found the boy, the one with golden eyes | :10:36. | :10:40. | |
# You know I think I'd haunt you | :10:40. | :10:44. | |
# And if I found the rhyme then I would take the time | :10:44. | :10:48. | |
# And sing you one more line and it would go like | :10:48. | :10:52. | |
# God bless the world, it's so glorious | :10:52. | :10:55. | |
# God bless the ones we've loved | :10:55. | :10:58. | |
# God bless the ones we've lost | :10:58. | :11:00. | |
# God bless the world, it's so glorious | :11:00. | :11:04. | |
# I will never die, never die like you | :11:04. | :11:14. | |
:11:14. | :11:17. | ||
# I felt his hand today, across my shoulder | :11:17. | :11:22. | |
# I'll kneel down to pray | :11:22. | :11:25. | |
# Say afterlife's OK | :11:25. | :11:28. | |
# But it got so lonely when you turned away | :11:28. | :11:38. | |
:11:38. | :11:49. | ||
# God bless the world, it's so glorious | :11:49. | :11:53. | |
# God bless the ones we've loved | :11:53. | :11:55. | |
# God bless the ones we've lost | :11:55. | :11:57. | |
# God bless the world, it's so glorious | :11:57. | :12:01. | |
# I will never die, never die like you | :12:01. | :12:10. | |
# I felt his hand today, across my shoulder | :12:10. | :12:15. | |
# I'll kneel down to pray | :12:15. | :12:17. | |
# Say afterlife's OK | :12:18. | :12:22. | |
# But it got so lonely when you turned away | :12:22. | :12:26. | |
# I saw his lie today, across my shoulder | :12:26. | :12:31. | |
# I'll kneel down to pray | :12:31. | :12:34. | |
# I feel like hell today | :12:34. | :12:38. | |
# But it got so lonely when you turned away | :12:38. | :12:43. | |
# I felt his hand today, across my shoulder | :12:43. | :12:48. | |
# I'll kneel down to pray | :12:48. | :12:51. | |
# Say afterlife's OK | :12:51. | :12:54. | |
# But it got so lonely when you turned away | :12:55. | :13:04. | |
# It got so lonely when you turned away | :13:04. | :13:11. | |
# It got so lonely when you turned away. # | :13:11. | :13:21. | |
:13:21. | :13:29. | ||
APPLAUSE | :13:29. | :13:31. | |
APPLAUSE Thank | :13:31. | :13:31. | |
Thank you | :13:31. | :13:32. | |
Thank you very | :13:32. | :13:32. | |
Thank you very much. | :13:32. | :13:36. | |
Thank you very much. That was The Pierces. Did you see the Coldplay | :13:36. | :13:43. | |
set? Did Guy do well? We did not see it. I am sure he did great. | :13:43. | :13:49. | |
didn't watch it! You can check it out and watch it on the website. | :13:49. | :13:57. | |
Brilliant. Thank you very much. Beautiful. Still to come: We have | :13:57. | :14:02. | |
The Vaccines performing on the John Peel Stage. Right now we are going | :14:02. | :14:12. | |
:14:12. | :14:15. | ||
to the permid stage -- the Pyramid Stage to see Laura Marling. She | :14:15. | :14:22. | |
plays music that is suited for an intimate audience. She was good on | :14:22. | :14:32. | |
:14:32. | :14:32. | ||
Apology for the loss of subtitles for 72 seconds | :14:32. | :15:13. | |
# Hold your devil by his spoke # But someone brought you | :15:13. | :15:23. | |
:15:23. | :15:23. | ||
# Brought you to me # What of which you wish to speak | :15:23. | :15:33. | |
:15:33. | :15:50. | ||
# Hold your devil by his spoke # But the love of your life lives | :15:50. | :16:00. | |
:16:00. | :16:01. | ||
# The arms are fed # And the backs have bled | :16:01. | :16:11. | |
:16:11. | :16:46. | ||
# And I hold your face # Ripping off each other's clothes | :16:46. | :16:56. | |
:16:56. | :17:26. | ||
# Ripping off each other's clothes The very brilliant Laura Marling on | :17:26. | :17:32. | |
the Pyramid Stage earlier today with Devil's Spoke. She has been | :17:32. | :17:40. | |
working with Ethan Jones again. It's a stronger build from softer | :17:40. | :17:46. | |
to boombastic at the end. We have excited about that concept. | :17:46. | :17:48. | |
Vaccines have had a wonderful weekend and it has been an | :17:48. | :17:53. | |
incredible six to eight months for this band. You could tell instantly | :17:53. | :17:57. | |
when you heard them they were going to be a force to be reckoned with. | :17:57. | :18:03. | |
They have gone on to play some big shows. They have done some touring | :18:03. | :18:07. | |
with Arctic Monkeys. Their Glastonbury consisted of two shows, | :18:07. | :18:17. | |
:18:17. | :18:31. | ||
# Everyone needs a helping hand, who # Someone up the social scale for | :18:31. | :18:38. | |
# Have post break-up sex that helps you forget your ex | :18:38. | :18:44. | |
# What did you expect from post break-up sex | :18:44. | :18:50. | |
# Leave it till the guilt consumes I found you in the nearest room | :18:50. | :18:56. | |
# All our friends were unaware, most had just passed out downstairs | :18:56. | :19:02. | |
# To think I'd hoped you'd be OK No, I can't think of what to say | :19:02. | :19:08. | |
# Maybe I misunderstood but I can't believe you're feeling good | :19:08. | :19:14. | |
# From post break-up sex that helps you forget your ex | :19:14. | :19:21. | |
# What did you expect from post break-up sex | :19:21. | :19:31. | |
:19:31. | :19:39. | ||
# Post break-up sex that helps you forget your ex | :19:39. | :19:45. | |
# What did you expect from post break-up sex | :19:45. | :19:51. | |
# When you love somebody but you find someone | :19:51. | :19:57. | |
# And it all unravels and it comes undone | :19:57. | :20:07. | |
:20:07. | :20:15. | ||
# Post break-up sex that helps you forget your ex | :20:15. | :20:21. | |
# What did you expect from post break-up sex post break-up sex | :20:21. | :20:31. | |
# Post break-up sex that helps you forget your ex | :20:31. | :20:34. | |
# What did you expect from post break-up sex post break-up sex | :20:34. | :20:42. | |
CHEERING AND APPLAUSE | :20:42. | :20:50. | |
That | :20:50. | :20:51. | |
That was | :20:51. | :20:52. | |
That was part | :20:52. | :20:56. | |
That was part of The Vaccines from the John Peel Stage. It is all | :20:56. | :20:59. | |
about the headliner tonight, Beyonce. Everybody has been talking | :20:59. | :21:03. | |
about it. There are rumours flying around the site. People are saying | :21:03. | :21:07. | |
Nelson Mandela will make a speech in the middle of her set - | :21:07. | :21:11. | |
unlikely! People are talking about Kanye West appearing. That is not | :21:11. | :21:17. | |
going to happen. Other members of Destiny's Child. That may happen. | :21:17. | :21:22. | |
Jay-Z appearing. That is going to happen! The supportive husband | :21:22. | :21:28. | |
thing. He will do Crazy Love. They will do three or four - bonny and | :21:28. | :21:36. | |
Clyde. They will do a few. I don't care as long as she does | :21:36. | :21:41. | |
Bootilicious and Crazy Love. Let's hear from the woman herself. This | :21:41. | :21:50. | |
is what Beyonce had to say about appearing at Glastonbury 2011. | :21:50. | :21:57. | |
the first woman to ever headline the Pyramid Stage at Glastonbury. | :21:57. | :22:02. | |
Unbelievable! I didn't know that. I was just told that two days ago. | :22:02. | :22:07. | |
What is Beyonce's take on the Festival? My first impression of | :22:07. | :22:10. | |
Glastonbury was actually in pictures and it was it is a Nateing | :22:10. | :22:20. | |
to me to see everyone in their wellies in the mud, all -- it was | :22:20. | :22:25. | |
fascinating to me to see everyone in their wellys in the mid all | :22:25. | :22:28. | |
united. One day I thought I would like to do a festival and I never | :22:28. | :22:32. | |
ever thought I would be able to headline Glastonbury. What does she | :22:33. | :22:37. | |
make of the Glastonbury crowd? Everyone is so free. Everyone is | :22:37. | :22:40. | |
diverse. They love great art and great music. It doesn't matter | :22:40. | :22:44. | |
where you come from and what type of music you sing. I have seen the | :22:44. | :22:49. | |
response to Stevie Wonder, I have seen the response to Coldplay, to | :22:49. | :22:54. | |
Jay-Z and it just feels so good to know that it is music-lovers and | :22:54. | :23:03. | |
they want to enjoy good music. does the bootilicious Queen of Pop | :23:03. | :23:08. | |
feel about taking on the Festival? I am the biggest fan of U2 and | :23:08. | :23:11. | |
Coldplay. I have spoken to both of them about my set because I'm like | :23:11. | :23:16. | |
OK, you guys are a little bit more familiar with the Festivals and I | :23:16. | :23:21. | |
needed to make sure they gave me their approval and they are, I mean | :23:21. | :23:28. | |
they are genius and I am so excited to share the stage with them and | :23:28. | :23:32. | |
for Glastonbury to recognise a woman and feel like we have the | :23:32. | :23:37. | |
strength and power to headline. I am so honoured that I am the chosen | :23:37. | :23:44. | |
woman! I promise, ladies, I'm going to rock! She is going to rock! You | :23:44. | :23:47. | |
can do the dance and everything. Will you teach me it? You can do | :23:47. | :23:52. | |
the dance! I can. All the ladies can do the dance. When I started to | :23:52. | :23:55. | |
talk about doing Glastonbury coverage this year, on Yeonpyeong | :23:55. | :24:05. | |
:24:05. | :24:08. | ||
day, it is going to be for -- on Yeonpyeong day, it is going to be | :24:08. | :24:17. | |
about the ladies. -- Beyonce day, it is going to be for the ladies. | :24:17. | :24:24. | |
We will be back with Beyonce on BBC Two later tonight at 10.00pm. If | :24:24. | :24:28. | |
you want to relive yesterday's action from the Pyramid Stage, you | :24:28. | :24:34. | |
can check out Coldplay on BBC Four. On BBC Three tonight, at 7.45, tune | :24:34. | :24:40. | |
in for more highlights including Plan B. He is tearing it up! He was | :24:40. | :24:46. | |
very nervous. There's all sorts of other stuff online. I am quite | :24:46. | :24:52. | |
excited about Kool and the Gang. Yeah. That is going to be awesome. | :24:52. | :25:00. | |
He is going to stay put and get down, get down. I know, they have | :25:00. | :25:08. | |
the... Morrisy had the gong and the double ba -- Morrissey had the gong | :25:08. | :25:15. | |
and the double bass. Beyonce will need a gong. Nelson Mandela - I | :25:15. | :25:21. | |
will be astounded if he showed up for a quick chat. It will be good. | :25:21. | :25:27. | |
Whatever happens, it will be fantastic. What is your favourite | :25:27. | :25:32. | |
Beyonce song? Crazy Love. If she does bring out the Destiny's Child | :25:32. | :25:37. | |
girls that will be phenomenal. There's so many songs that would be | :25:37. | :25:42. | |
the moment. We will find out later. Join us tonight at 10.00pm. Turn | :25:42. | :25:48. | |
over to Four for Coldplay. Plan B on Three later. We will see you | :25:48. | :25:58. | |
:25:58. | :26:16. | ||
later for Beyonce. Take care. # But look at how times | :26:16. | :26:26. | |
:26:26. | :26:52. | ||
# Sweep your feet # I've got that real love | :26:52. | :27:02. | |
:27:02. | :27:02. | ||
Apology for the loss of subtitles for 72 seconds | :27:02. | :27:57. | |
# I've got that real love # Sweep your feet | :27:57. | :28:07. | |
:28:07. | :28:07. | ||
# I've got that real love # I've got that real love | :28:07. | :28:17. | |
:28:17. | :28:52. | ||
# Sweep your feet # I've got that real love | :28:52. | :28:57. | |
# Yeah, baby, know I've got that real love for you know | :28:57. | :29:02. | |
# Yeahhh, ooh... # | :29:02. | :29:08. |