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the guardian G2 - Tuesday 2 October 2012

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Tuesday 02.10.12
‘It is the
business of historians to remember what others
Eric Hobsbawm on communism, war and jazz
Aditya Chakrabortty
Who needs an 84in TV?
Hotel GB
Check it out but don’t check in Hadley Freeman
Are red trousers OK? Howard Barker
‘I write from ignorance’ How we made ...
Ben 10 2 The Guardian 02.10.12
Jimmy Savile – is this now the moment of truth? Media
and a former BBC radio producer, Wilfred De’Ath, recalling that Savile – who had “a shocking reputation ... for being into young girls” – had told him that Top of the Pops was his “happy hunting ground”.
It also includes footage of a 2009 interview in which Savile defended Gary Glitter ( he “did nothing wrong ... it was for his own personal gratifi cation”) in possessing child pornography.
The BBC has defended its decision last year to axe a Newsnight investiga-
tion into Savile’s behaviour, saying the item was not broadcast because it “could not be substantiated”. The corpora-
tion has also said a search of its fi les has revealed “no evidence ... of misconduct or allegations of misconduct by Sir Jimmy Savile during his time at the BBC”.
But the allegations have opened the fl oodgates: broad-
caster Esther Rantzen now says she fears the industry “blocked its ears” to the rumours about Savile’s behaviour. Singer Coleen Nolan has revisited her horror at being “inti-
mately cuddled” by Savile on Top Of The Pops in 1979, when she was 14: “He was all over me,” she recalls. And Paul Gambaccini has told breakfast TV he has been “waiting for this to come out for 30 years ... You just didn’t mess with Jim”.
Back in 1990, Savile told Bar-
ber that the rumours stemmed purely from the fact that young girls fl ocked to him because of his association with the stars who were their idols. She concluded that since “the tabloids have never come up with a scintilla of evidence”, he was maybe right.
That now seems unlikely. In the music business in the 1970s, certainly, such behaviour – and attitudes – were rife. In later years, even Savile himself seemed to hint at it: “I once said to a girl: ‘I’m older than your grandfather,’” he told Simon Hattenstone in this paper in 2000 . “And she says, ‘Well, I love him as well.’ I say, ‘Good-oh, but I’m still too old for you.’ And she says, ‘No, you’re not, because you’re ageless, you’re you.’” Jon Henley Shorter
Forget the golf. There was more British sporting success at the weekend when ultramarathon runner Lizzy Hawker came third in the Spartathlon, covering 153 miles in 27 hours.
Ikea has apologised after it was revealed that women had been airbrushed out of the Saudi Arabian version of its catalogues, not helping gender equality.
Now you see her …
e was, plainly, eccentric. The yodel, the catch-
phrases, the tracksuits, gold jewellery and big cigar. The lifelong bachelor who, even as one of the nation’s most successful radio and TV present-
ers, lived with his mother (he called her “the Duchess” and, after her death, left her bedroom untouched. Every year, he took her clothes to be dry-cleaned.)
This being another era, Jimmy Savile’s personal life never made headlines. In his autobiography, he sketched a prolifi c sex life, claiming to have had encounters in “trains ... boats and planes and bushes and fi elds, corridors, doorways, fl oors, chairs, slag heaps, desks and probably everything except the celebrated chandelier and ironing board”.
But in an interview with Lynn Barber in 1990, he said he had never been in love, had never had a live-in girlfriend, and had never even come close to marrying (too busy “living the business”). He described sex as “like going to the bathroom” and “like what they say about policemen – never there when you want one.”
Were some of those many sexual encounters with underage girls? Half a dozen women will claim in an ITV1 documentary air-
ing tomorrow that the entertainer sexually assaulted them, some-
times repeatedly, in the 1970s when they were young girls. The assaults allegedly took place in his Rolls-Royce, at a hospital, an approved school and at BBC Television Centre.
The programme shows a BBC Leeds newsroom assistant say-
ing she saw Savile in 1978 with “his left arm up the skirt” of a 14-year-old girl sat on his lap, view
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Savile … accused in a TV documentary of sexually assaulting young girls in the 1970s
Keep on running
02.10.12 The Guardian 3
Age: 85.
Appearance: Once every two years.
What is it? A nail-biting international golf tourna-
ment, held this year in Medinah, Illinois.
A golf tournament? Nail-biting? I’d rather watch my nails grow. I know where you’re coming from, but the Ryder Cup is diff erent.
How? Well there are two teams, America and Europe, with 12 golfers each competing over three days. They start with foursomes matches, where team pairs take alternate shots using the same ball. Then they move to fourball, where each player has his own ball ...
I’m going to stop you there. That sounds boring and stupid. This year America moved into the fi nal day – the singles matches – comfortably ahead , 10 points to six, their victory all but assured.
Boring, stupid and typical. And then, in an unprecedented turnaround, Europe won. Really? Yup – after a day of changing fortunes, they squeaked ahead to win 14½ points to 13½, after a spectacular 6ft putt from German Martin Kaymer .
And that’s never happened before? Actually, it has, but the other way round – the US came back from the same defi cit, to win by the same score, in 1999.
It all sounds about as exciting as lawn-mowing time trials. Not for the newcomers who happened to tune in yesterday: with 12 pairs on the course at once, the fi nal day moves at a hectic pace. Sedate knots of spectators are replaced by large, boister-
ous, deeply partisan crowds. The atmosphere is distinctly gladiatorial.
This is still the game with the little ball and the fl ags sticking out of holes, right? Yes, and so much more.
I’ll take your word for it. How did it all start? The cup began in 1927 when Samuel Ryder, a Brit-
ish seed-packet magnate and golf enthusiast, donated the 100 guinea gold trophy. Originally designed as a tournament between the US and Britain and Ireland, it was extended to include European golfers in 1979. Before that, the US almost always won. Since then, Europe has main-
tained a narrow overall lead.
Do say: “If it features Europeans beating Americans, I’m sure I can enjoy this healthy competition as some sort of proxy war.”
Don’t say: “Hey Tiger! Miss it! MISS! LOSER!”
On Sunday at Paris fashion week, Céline unveiled the strangest shoes of the season – furry heels. One pair was described by the New York Times as looking like blue, hairy sandals; a fur-lined court shoe was compared to the surrealist Meret Oppenheim’s fur teacup sculpture. Yet are they the most impractical shoes fashion designers have dreamed up? There are a few other contenders for that title, says Rosie Swash
Céline’s furry heels (2012) High heels that look like slippers – Hlippers?
Antonio Berardi’s heel-less boots (2008) Cost £3,000, worn by Victoria Beckham
Alexander McQueen’s Armadillo shoes (2010) Controversial hoof shape
Vivienne Westwood stack heels (1993) Famously toppled Naomi Campbell
Giuseppe Zanotti stilettos (2008) Gwyneth Paltrow braved them at premieres
Christian Louboutin glass slipper (2012) A glass, glitter and lace monstrosity
Fashion tracks the casual use of homophobic language on Twitter. From 24-30 September the following words were counted:
No homo
So gay 28,018
Pass notes
No 3,257
The Ryder Cup
ulian Assange’s bedroom behaviour is the subject of much debate, but now we know what his bedroom looks like. Assange has given the Mail on Sunday a tour of his garret inside the Ecuadorean embassy , where he fl ed in June to escape allegations of rape.
So what have we learned? The secrets of his tan, for one. When he emerged blinking into the light for a speech in August , he looked surprisingly ruddy for a man who had spent two months indoors. Why Assange is on the run in his embassy room
That was thanks, in part, to a blue fl oor-light that makes the ceiling look like the sky, along with a UVB light. Ken Loach has donated a run-
ning machine, on which Assange runs three to fi ve miles each day. There’s a Spanish dictionary, for conversing with embassy staff , and a book about Guantánamo. Assange claims he works 17-hours daily – at one end of the room is a conference table for meeting journalists and colleagues – but he still fi nds a suspicious amount of time for watching fi lms. The West Wing and The Twilight Zone are favourites. But it’s not all fun and games. Outside, he moans, “there is an absurdly oppressive police pres-
ence”. And we thought Bradley Manning had it tough. Patrick Kingsley Diplomacy
Etonian Justin Welby is a frontrunner for Archbishop of Canterbury. Do we want another of the school’s old boys in the upper echelons of power? Let them know: @c_of_e
Ed Balls and Andy Burnham kicked off Labour conference with a game of footie. David Cameron and Boris Johnson played it at their pub peace summit. Don’t they know it’s no longer our national sport?
The UK’s highest earners live in: Tooting, formerly the lefty enclave of Citizen Smith. The average income is now £66,100, beating Knightsbridge and Chelsea.
School ties Pounds to the people Get on your bike
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02.10.12 The Guardian 5
nly 83 days left till Christmas so off er a vote of thanks to the folk at Sony, for they have seen off your gift-shop-
ping migraines. I speak, of course, of the XBR-84X900 : the 84in television. The “largest, highest resolution picture” Sony has ever produced for a TV, it displays images in 4K quality – which is, the press release assures me, a gazillion times better than HD, yet so bleed-
ing edge that hardly a programme in the world is made in it. And, you lucky people, it goes on sale next month at £20,000. Unsporting types will doubtless sigh that this is over a tenth of the price of a house in Wales. The rest of us will recognise it as an absolute snip for what CEO Kaz Hirai promises is “an unprecedented and revolutionary viewing experience”.
Ah, innovation. Who would dare oppose it? One of the universal values of post-industrial societies, it stands in incontestable supremacy alongside “creative”, “entrepreneurial” and “iPhone”. To be an innovator in growth-
hungry Britain is to have a government minis-
try dedicated to advancing your cause (Vince Cable’s Department of Business, Innovation and Skills). It is to invite the interest of David Cameron’s fi xers, for the prime minister never looks happier than when wandering around some skinny-jeaned social-media startup in the East End of London. Politicians want to be pho-
tographed with you; civil servants sweat over policies on how to clone your success. In 2008, Gordon Brown laid out plans to turn Britain into an “innovation nation” , which even at the time sounded less like a white paper and more like a TV pilot featuring Anneka Rice.
Innovation is the badge that must be worn by seekers after arts funding. Public servants can no longer simply lay on schools and hospitals and social services; they must do so with private-
sector sass and novelty. A word meant to sum up the commercial application of technological progress has seeped into all parts of our culture.
Yet look around at the fruits of innovation. A television too big for your house and too advanced for the broadcasters. A six-blade battery-
powered razor (thank you, Gillette). “Smart socks” with microchips that will sort themselves (yours at £117 for 10 pairs ).
I could go on into the realms of techno-
lunacy, but you’ve seen enough glossy supplements. Each of these could be described as innovative, but really they are just unneces-
sary reiterations of basics (or not-so-basics) that already serve us fi ne. Their ultimate end is as expensive landfi ll.
But aren’t such baubles essential for economic Aditya Chakrabortty
growth? Not so. In August, the US economist Robert Gordon published what has already turned out to be one of this year’s most talked-about bits of academic research . He totted up the boosts to growth from three industrial revolutions: the fi rst ran from 1750 to 1830 and delivered steam and railways; the second, from 1870 to 1900, provided fl ushing toilets and electric lights, and the third, from the 1960s on, might be termed the IT revolution.
The Northwestern University professor doesn’t deny that computers have enabled us to work more effi ciently. But in terms of a boost to our standard of living, none of IT’s benefi ts have rivalled, say, the introduction of running water at the turn of the 20th century. Before that, every drop of water for drinking and bathing had to be drawn by hand, so that a housewife in North Carolina in 1885 would have to walk 148 miles per year to carry 35 tonnes of water.
Gordon’s paper seeks to make a bigger, if sketchier, argument, as hinted at in its title, “Is US economic growth over?” That interests me less than what he has say to about innovation. “Inven-
tion since 2000 has cent red on entertainment and communication devices that are smaller, smarter, and more capable,” he argues, “but do not funda-
mentally change labour productivity or the stand-
ard of living in the way that electric light, motor cars, or indoor plumbing changed it.” You might love your iPhone, and I might spend too much time on Twitter, but we’d both be fi ne if they’d never been invented.
In a market economy, innovations should benefi t both the seller and the buyer if they are to take off . It is easier to see how much the customer gains from Gordon’s earlier innovations than a Wii Fit, let alone Angry Birds.
And it is true of a lot else besides consumer electronics. Finance has produced plenty of in-
novation over the past three decades, and yet as the former US central banker Paul Volcker points out, none have been as useful as the cash machine and some have been downright disastrous.
The drugs industry pumps millions into developing drugs for luxury ailments, yet puts next to nothing into treating hookworm or other developing-world diseases. The Sabin Vaccine Institute calculates that 1,393 medi-
cines were developed between 1975 and 2000, but only 16 were for diseases that predomi-
nant ly blight developing countries.
As James Wilsdon, formerly of the Royal Society and now at Sussex University puts it: “Politicians welcome as innovative anything that’s new and of supposed economic value.” It’s time we got a lot more discriminating and demand-
ing about what passes for innovation.
Growth-hungry Britain prizes innovation. But how do colossal TVs or self-sorting smart socks boost our standard of living?
None of IT’s
have rivalled,
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Microchipped socks that sort themselves – yours for £117
6 The Guardian 02.10.12
The work of the renowned Marxist historian Eric Hobsbawm ranged acros
On history
On 28 June 1992 President Mitterrand of France made a sudden, unannounced and unexpected appearance in Sarajevo, already the centre of a Balkan war that was to cost many thousands of lives during the remainder of the year. His object was to remind world opinion of the seriousness of the Bosnian crisis. Indeed, the presence of a distinguished, elderly and visibly frail statesman under small-arms and artillery fi re was much remarked on and admired. However, one aspect of M Mitterrand’s visit passed virtually without comment, even though it was plainly central to it: the date. Why has the president of France chosen to go to Sarajevo on that particular day? Because 28 June was the anniversary of the assassination, in Sarajevo, in 1914, of the Archduke Franz Ferdinand of Austria-Hungary, which led, within a matter of weeks, to the outbreak of the fi rst world war. For any educated European of Mitterrand’s age, the connection between date, place and the reminder of a historic catastrophe precipitated by political error and miscalculation leaped to the eye. How better to dramatise the potential implications of the Bosnian crisis than by choosing so symbolic a date? But hardly anyone caught the allusion, except a few professional historians and very senior citizens. The historical memory was no longer alive. The destruction of the past, or rather of the social mechanisms that link one’s comtemporary experience to that of earlier generations, is one of the most characteristic and eerie phenomena of the late 20th century. Most young men and women at the century’s end grow up in a sort of permanent present lacking any organic relation to the public past of the times they live in. This makes historians, whose business it is to remember what others forget, more essential at the end of the second millennium than Historic catastrophe …
British soldiers on the Somme in 1916
02.10.12 The Guardian 7
revolutions and the centuries. Here we print extracts from his major works
’s history
8 The Guardian 02.10.12
ever before. But for that very reason they must be more than simply chroniclers, remembrancers and compilers, though this is also the historians’ necessary function. In 1989 all governments and especially all foreign ministers in the world would have benefi ted from a seminar on the peace settlements after the two world wars, which most of them had apparently forgotten. The Age of Extremes, Little Brown, 1994
On communism
The months in Berlin made me a life-
long communist, or at least a man whose life would lose its nature and its signifi cance without the political project to which he committed himself as a schoolboy, even though that project has demonstrably failed, and, as I now know, was bound to fail. The dream of the October Revolution is still there somewhere inside me, as deleted texts are still waiting to be re-
covered by experts, somewhere on the hard disks of computers. I have aban-
doned, nay, rejected it, but it has not been obliterated. To this day I notice myself treating the memory and tradi-
tion of the USSR with an indulgence and a tenderness which I do not feel towards communist China, because I ←
belong to the generation for whom the October Revolution represented the hope of the world, as China never did. The Soviet Union’s hammer and sickle symbolised it.
Interesting Times, Little Brown, 2002
On barbarism and progress
Before 1914, virtually the only quantities measured in millions, outside astronomy, were populations of countries and the data of pro-
duction, commerce and fi nance. Since 1914 we have become used to measuring the numbers of victims in such magnitudes: the casualties of even localised wars (Spain, Korea, Vietnam) – larger ones are measured in tens of millions – the numbers of those driven into forced migration or exile (Greeks, Germans, refugees in the Indian subcontinent, kulaks), even the number massacred in genocide (Armenians, Jews), not to mention those killed by famine or epidemics. Since such human magnitudes escape precise recording or elude the grasp of the human mind, they are hotly debated. But the debates are about millions more or less. Nor are these astronomic fi gures to be entirely explained, and still less justifi ed, by the rapid growth of the world popu-
lation in our century. Most of them occurred in areas which were not growing all that fast.
Hecatombs on this scale were beyond the range of imagination in the 19th century, and those which actually occurred took place in the world of backwardness or barbarism outside the range of progress and “modern civilisation”, and were surely destined to retreat in the face of universal, if uneven, advance. The atrocities of Congo and Amazon, modest in scale by modern standards, so shocked the Age of Empire – witness Joseph Conrad’s Heart of Darkness – just because they appeared as regressions of civilised men into savagery. The state of aff airs to which we have become accustomed, in which torture has once again become part of police methods in countries priding them-
selves on their record of civility, would not merely have profoundly repelled political opinion, but would have been, justifi ably, regarded as a relapse into barbarism, which went against every observable historical trend of develop-
ment since the mid-18th century.
After 1914 mass catastrophe, and increasingly the methods of barba-
rism, became an integral and expected part of the civilised world, so much Bolshevik Red Guards at the start of the October Revolution in Petrograd (St Petersburg). Above right: Duke Ellington
02.10.12 The Guardian 9
so that it masked the continued and striking advances of technology and the human capacity to produce, and even the undeniable improvements in human social organisation in many parts of the world, until these became quite impossible to overlook during the huge forward leap of the world economy in the third quarter of the 20th century. In terms of the material improvement of the lot of humanity, not to mention of the human under-
standing and control over nature, the case for seeing the history of the 20th century as progress is actually more compelling than it was in the 19th. For even as Europeans died and fl ed in their millions, the survivors were becoming more numerous, taller, healthier, longer-lived. And most of them lived better. But the reasons why we have got out of the habit of thinking of our history as progress are obvious. For even when 20th-century progress is most undeniable, predic-
tion suggests not a continued ascent, but the possibility, perhaps even the imminence, of some catastrophe: another and more lethal world war, an ecological disaster, a technology whose triumphs may make the world uninhabitable by the human species, or whatever current shape the night-
mare may take. We have been taught by the experience of our century to live in the expectation of apocalypse.
The Age of Empire, Little Brown, 1987
On the cold war
The end of the cold war suddenly re-
moved the props which had held up the international structure and, to an extent not yet appreciated, the struc-
tures of the world’s domestic politi-
cal systems. And what was left was a world in disarray and partial collapse, because there was nothing to replace them. The idea, briefl y entertained by American spokesmen, that the old bipolar order could be replaced by a “new world order” based on the single superpower which remained in being, and therefore looked stronger than ever, rapidly proved unrealistic. There could be no return to the world before the cold war, because too much had changed, too much had disap-
peared. All landmarks were fallen, all maps had to be altered. Politicians and economists used to one kind of world even found it diffi cult or impossible to appreciate the nature of the problems of another kind. In 1947 the USA had recognised the need for an immedi-
world is what happened and not what might have happened if things had been diff erent, we need not consider the possiblity of other scenarios. The end of the cold war proved to be not the end of an international confl ict, but the end of an era: not only for the east, but for the entire world. There are historic moments which may be recognised, even by contemporaries, as marking the end of an age. The years around 1990 clearly were such a secu-
lar turning point. But, while everyone could see that the old had ended, there was utter uncertainty about the nature and prospects of the new.
Interesting Times, Little Brown, 2002
On jazz
The sort of teenagers who were most likely to to be captured by jazz in 1933 were rarely in a position to buy more than a few records, let alone build a collection. Still, enough was already being issued in Britain for the local market: Armstrong, Ellington, Fletcher Henderson and John Hammond’s last recording of Bessie Smith. What is more, shortly before the trade dispute stopped American jazz-players from coming to Britain for some 20 years, the greatest of all the bands – I can still recite its then line-up from memory – came to London: Duke Ellington’s. It was the season when Ivy Anderson sang Stormy Weather. Denis [Preston, a cousin] and I, presumably fi nanced by the family, went to the all-night session (“breakfast dance”) they played at a Palais de Danse in the wilds of Streatham, nursing single beers in the gallery as we despised the slowly heaving mass of south London dancers below, who were concentrating on their partners and not on the wonderful noises. Our last coins spent, we walked home in dark and daybreak, mentally fl oating above the hard pavement, captured for ever. Like the Czech writer Josef Skvorecky, who has written better about it than most, I experienced this musical revelation at the age of fi rst love, 16 or 17. But in my case it virtually replaced fi rst love, for, ashamed of my looks and therefore convinced of being physically unattractive, I deliberately repressed my physical sensuality and sexual impulses. Jazz brought the dimension of wordless, unquestioning physical emotion into a life otherwise almost monopolised by words and the exercises of the intellect.
Interesting Times, Little Brown, 2002
I experienced this musical revelation at the age of fi rst love, 16 or 17
ate and gigantic project to restore the west European economies, because the supposed danger to these econo-
mies – communism and the USSR – was easily defi ned. The economic and political consequences of the col-
lapse of the Soviet Union and eastern Europe were even more dramatic than the troubles of western Europe, and would prove even more far-reaching. They were predictable enough in the late 1980s and even visible - but none of the wealthy economies of capital-
ism treated this impending crisis as a global emergency requiring urgent and massive action because its political consequences were not so easily specifi ed. With the possible exception of West Germany, they reacted sluggishly – and even the Germans totally misunderstood and under-
estimated the nature of the problem, as their troubles wih the annexation of the former Geman Democratic Republic were to demonstrate.
The consequences of the end of the cold war would probably have been enormous in any case, even had it not coincided with a major crisis in the world economy of capitalism and with the fi nancial crisis of the Soviet Union and its system. Since the historian’s PHOTOGRAPHS HULTON GETTY, CORBIS; EXTRACTS REPRINTED BY PERMISSION OF DAVID HIGHAM ASSOCIATES
10 The Guardian 02.10.12
here is a hair in my fi sh pie. “Are you sure it’s not yours?” says Rachael, my dining companion. But it’s not, and it’s not one of the cat’s either (I’m used to eating food with cat hair in it; it falls off my jumpers). It’s baked into the mashed potato, sticking out like a neat little garnish. Ordinarily I wouldn’t bother to complain, the idea of making a scene in a restaurant far more off putting to me than a mere stray hair, but the feeling that we’re being watched – the restau-
rant is rigged with microphones and cameras that swivel towards us – forces me to confront it. They want me to, don’t they?
Until the hair incident, we had been enjoying our lunch at Hotel GB in south London, staff ed by celebrities for a new Channel 4 show that began last night . I can see Gordon Ramsay in the kitchen at the back. The maître d, Phil Spencer from the property show Location, Location, Location, Check it out but don’t check in
is on the other side of the restaurant taking someone’s pudding order. I call him over. “I don’t want Gordon to be angry,” I tell Spencer, who is al-
ready looking pink and fl ustered, “but there’s a hair in my pie.”
Later, when Ramsay comes over to apologise I tell him I hope nobody gets sacked for it. “I’m not going to sack any one because of a pube,” he says. Actually, I don’t think it was a pube. “Was it curly?” he demands, like an aggressive detective. Not really – it wasn’t thick either. (How does pubic hair end up in food anyway? Are chefs trouserless behind the pass?) Ramsay, who is wearing trousers, looks a bit happier.
I have spent the morning at Hotel GB – most of it, admittedly, in a bed-
room waiting for the production team to fi nish fi lming before I’m allowed into parts of the hotel. Ramsay and the retail consultant Mary Portas are its co-general managers, with other famous Channel 4 people taking on Welcome to Hotel GB, run by Channel 4 celebs along with some young, unemployed trainees. But if Emine Saner’s experience in the restaurant is any guide, the stars still have a bit to learn themselves
Katie Piper: ‘It’s nice for me to do something lighthearted’; (right) Gordon Ramsay, Gok Wan, Mary Portas and Phil Spencer
02.10.12 The Guardian 11
tasks: Kim Woodburn is in charge of housekeeping, Gok Wan is working the bar, Katie Piper is the spa man-
ager. They are in charge of 14 trainees – young unemployed people who have been given this chance to learn how to run a hotel, though quite what they are going to learn from celebrities who also don’t know how to run a hotel I’m not sure. One of the trainees has already walked out.
At 18, Manisha Sengupta is the youngest trainee and is working in the spa. We chat as she gives my nails a quick fi le. After fi nishing a hair-and-
beauty course, she had been unem-
ployed for two months when she was spotted by a Channel 4 researcher outside a job centre. “It’s so depressing being out of work. I was looking, look-
ing, looking. I was so happy I got this opportunity. This shows opportunities can come up when you least expect it,” she says. Is she nervous about being on TV? “I keep forgetting about the cameras.”
anisha’s manager is Katie Piper, the former model and TV presenter whose eff orts to over-
come a horrifi c attack in 2008, in which acid was thrown in her face, has been followed in documentaries. “It’s nice for me to do something more lighthearted, so people can see me in a diff erent way,” says Piper. “I like the competitive side as well [divided into men’s and women’s teams, the celebrities are competing to raise the most money for charity].” As a teenager, Piper did a hair-and-beauty course at college and worked as an apprentice in a hotel spa, “so I was in Manisha’s position once, and it’s lovely to come back and do it again”. She says all this while she washes and massages my feet. It’s a faintly uncom-
fortable experience having someone you admire and respect do this for you (I resolve to leave a large tip).
On the way to meet Dr Christian Jessen in the gym, where he will be off ering guests “health MOTs”, I peer through the door of the bar and see Woodburn, hair like an elaborate Christmas cake, cleaning tables. There is no sign of Gok Wan, the barman, or indeed anyone else. Is she being fi lmed, or does she just do this all the time wherever she goes? Nobody seems to know.
Dr Christian is in the gym but not his trainee, Jess, a 20-year-old from Dagenham. “She hasn’t been able to hold down a job – she has got strong opinions of her own,” he says. “I said you’ve just got to hold down a job for long enough to get some funds in and The paper owned by its readers
To paywall or not to paywall: it’s a question that plagues the media. At its heart is a debate about whether your readers are your customers – or your product, to be sold to advertisers.
At Die Tageszeitung , a newspaper based in Berlin, they look at it diff er-
ently. Its readers are its owners. Quite literally, in fact. Taz – as the paper is nicknamed – is owned by a co-opera-
tive of 12,000 readers.
Taz was founded in 1979 by west Germans disenfranchised by the con-
servative mainstream media and it is a leftwing paper. Half of its readers vote Green. In 2009, on the outside of its offi ce, its journalists unveiled a huge mural of a naked Kai Diekmann – editor of Bild, a rightwing daily. Diekmann’s erect penis stretches across all fi ve storeys . The subtext is clear.
For years, Taz – circulation 60,000 – was funded by state hand outs. But with the fall of the Wall in 1989 came a drop in subsidy – and by 1992, the pa-
per faced bankruptcy. Enter the Genos-
senschaft , or co-operative: a group of concerned readers who valued the paper’s independence, or its ability, as one has it , “to put its fi nger into the wounds of our economic system”. The group invested its savings in the paper, and the paper was itself saved.
Two decades on, the co-operative’s coff ers contain €11m (£8.7m). Murdoch, this isn’t: anyone can invest as little as €500, and everyone gets an equal say, re-
gardless of their stake. They can’t infl u-
ence the paper’s day-to-day operations, but they can propose policy at the AGM. Recent meetings discussed whether to raise freelance fees (yes) and to ban ad-
vertising for nuclear energy (no).
The egalitarian approach extends to the 140-strong newsroom. “You’re a very free journalist here,” says deputy editor Reiner Metzger. Reporters are free to follow their own hobbyhorses, which he says makes life tough as an editor. “People argue very hard. We don’t have a hierarchical structure where someone can say: shut up now.” Salaries are pretty fl at, too. Metzger is paid only €500 more than the most junior reporter – though he gets addi-
tional support for his children.
And what about paywalls? Unlikely, he laughs: “We were founded on the idea of distributing information as far as possible.” By Patrick Kingsley
then you can build up your own busi-
ness and soon it will take off . She will be at her happiest when she’s her own boss.”
I don’t know what to ask Dr Chris-
tian, he of Embarrassing Bodies fame, being in possession of neither a third nipple nor a mouldy penis, and he only arrived 10 minutes ago and doesn’t seem to really know what he’s sup-
posed to be doing here either. He says he will do things like measure guests’ waists and warn them about choles-
terol, and encourage them to do more exercise. He makes me try a hand-held weight, supposedly to fi rm up triceps, and shows how to move it up and down in a pumping action. I feel myself blushing. “I call it a wank stick,” says Dr Christian.
I’m still not entirely sure what the point of the show is, beyond the chance to see – hopefully – Woodburn or Portas spar with Ramsay or see someone from Towie have a back, sack and crack wax in the salon. It is raising money for youth unemploy-
ment charities (the guests who have started checking in around the time I leave are all paying to stay, eat and drink here) and two of the trainees will get paid jobs with Ramsay and Portas at the end of the week, but it’s mainly about instilling confi dence, says Ramsay, who has three trainees in the kitchen. “I’m amazed at how many young people are out of work,” says Ramsay. “This will give these people whatever it is they need to set them apart.” If there is a serious point this show has unintentionally high-
lighted it’s the idea that the reason a million 18- to 24-year-olds are un-
employed is because of some sort of attitude problem, rather than a com-
plicated mess of global economics and policy failures beyond their control.
“It’s easy to be cynical,” says Por-
tas, who is watching as two of her trainees on reception are checking in an excited family. “Oh, here we go, another reality show performing as if it’s doing something for society. But I do think there is a role for people in the public eye to do more to help empower people and make a change.” I’ve been impressed with all the train-
ees I’ve met so far and if it helps any of them get a job, then good for them. “Look at her, isn’t she great?” says Portas, looking at Rory, a 22-year-old with tattoos and piercings who I had decided earlier was the friendliest and most welcoming person I have met in any hotel . Rory visibly swells with pride. TV SOUP
What’s Hotel GB made of?
Hell’s Kitchen
(celebs serve the public)
The Hotel Inspector
(diffi cult customers)
The Apprentice
(who can make the most?)
Jamie’s Kitchen
(training unemployed people)
The Hotel
(staff and guests caught on camera)
Hotel GB is on Channel 4 every night at 9pm until Friday
12 The Guardian 02.10.12
hy is it that, while women make up 49% of the UK labour force, they account for just 17% of IT and telecom professionals ? What’s more, the pro-
motion and visibility of Marissa Mayer, the recently promoted Yahoo chief executive, and Sheryl Sandberg, the number two at Facebook, comes as the number of women in the industry in the UK at least has been falling over the past 10 years. Why?
There are dozens of groups promoting women in tech, from pub meetups to formal networking and corporate eff orts, yet few seem to be taking Karren Brady’s advice in her autobiography that pioneers in any fi eld need to hold the door open “as wide as possible, for as long as possible, to allow other women to march through it”.
One woman who believes the problems start much earlier is Belinda Parmar, who founded the Lady Geek marketing agency in 2010, advising corporate clients, including Sony, Ubisoft and Vodafone, how to recruit and sell to women. She’s often shocked, she says, by the “shrink it and pink it mentality” of tech marketers, but that’s hardly surprising when there are so few women employed in the industry. “I have a four-year-old daughter and I want her to think that anything is possible, that no career in out of bounds,” she says . “If any other compa-
rable industry had a female workforce of only 17% there would be an outcry.”
Today, Parmar launches Little Miss Geek, a book which aims to trace the obstacles women face starting out in the tech industry. It is aimed at industry leaders, government and parents, and is at its most persua-
sive when it states the fi nancial case for inclusion: tech companies with women on management teams have a 34% higher return on investment, according to a Catalyst report , while a 2009 report for the Harvard Business Review claims that the female demo-
graphic is worth around $20tn in con-
sumer spending every year .
But there is something alarmist in the tone of Parmar’s statistics and capitalised infographics : “GIRLS SEE COMPUTING AS UNFEMININE… ‘I’D RATHER BE A DUSTMAN THAN WORK IN I.T.” and it’s hard not to feel a little downbeat at the use of “little misses” for women. Are the messages and pretty illustrations in danger of reinforcing the stereotypes, rather than dispelling them? What seems missing from the cam-
paign is the celebration of women’s achievements in technology. And while we can all think of the executives – Meg dominated.” In the end, Mulqueeny recruited model Lily Cole to the judging panel – and female signups rose to 23%.
Is it too simplistic to try and motivate women based on them being women? Kim Plowright has spent 12 years in tech as a producer and project manager, including work for the BBC and UK startups including Moo, Somethin’ Else and Storything. She describes herself as “the world’s worst feminist” for just wanting to get on with work, rather than compartmentalising “female and male professions”. “I do feel quite confl icted about it. My parents made no distinc-
tions, so I just got on with what felt normal to me. Perhaps it’s more about addressing parents and their attitudes.”
Little Miss Geek suggests that the “ultimate goal is to make tech more glamorous and desirable to women”. But the act of programming itself is not glamorous , and the low-key nature of developing, perhaps even the male en-
vironment, is cited as a selling point for many women , including Plowright.
“It’s a great fi eld to work in, because of the people,” she says. “Developers tend to be good, straightforward sorts with a refreshing lack of ego, who genu-
inely enjoy collaborating. The industry wants to change – it knows the gender balance is off , and will probably do things to address that.” For example cult craft site Etsy has announced grants to support female hackers this year while Google developed an algo-
rithm in August to help identify when and why women dropped out of its recruitment process.
Leila Johnston, writer and technolo-
gist -in-residence for the Happenstance project at Sheffi eld’s Site Gallery , says: “Women in tech are perhaps getting a little bored of talking about their women-ness now. Which is a shame, as who else will stand up and say it’s OK for girls to hang out in the computer room every lunchtime, like we used to?” Johnston was recently asked how much she really knows about technology . “I’ll always wonder if these attitudes are about me personally, or about the fact that I’m female ,” she says.
Is it time to forget the tired stere-
otypes of engineers and technologists as nerds and geeks and boffi ns? “My role models were people who seemed to do whatever they wanted, without caring what anyone thought of them,” says Johnston. “It might just be this attitude that gives girls the push to not care about going against the grain.”
Whitman and Joanna Shields as well as others – it’s those quietly successful women actually building great stuff that we need to hear from. The most inspiring role models, as Little Miss Geek’s manifesto concludes, are those working on projects that young creative technologists can relate to.
Rewired State founder Emma Mulqueeny has been organising hack events since 2009, bringing talented developers together with mentors. She says she has given up “single sex” campaigns. “I spent two months doing everything I could to promote the Young Rewired State hack to girls – and the sign-up rate dropped from 5% to 3% ,” she said. “It was because I shed light on it being a more male thing, and that’s like social suicide. They think you’ll only get nerdy girls if it’s boy ‘Who else
will say it’s
OK for girls
to hang
out in the
A drawing by a 10-year-old - taken from Little Miss Geek
How do we inspire more women to learn about and join the technology industry? Have your say at and join a twitter debate tomorrow at 1pm. #womenintech
This is what a geek looks like to a girl
Is it any wonder that so few women are working in technology? At the start of a new campaign, Jemima Kiss asks what can be done
02.10.12 The Guardian 13
I’m not quite sure why Fortnum and Mason are bothering to “investigate” the farms that supply their foie gras, to make sure no cruelty is going on. Any fule can see that it is.
Even if the geese can stagger around without their legs collapsing under the weight of their giant livers, they still can’t have been having much of a fun time. How do you ram tubes down something’s throat and force-feed it, pleasantly?
What a waste of eff ort and torture. I know because I’ve eaten foie gras. By accident. Years ago I went out to a swanky birthday dinner, with set menu, which included some fl at bits of pinky slime. I ate some, it wasn’t anything to write home about, I assure you, then I asked what it was. Too late.
Is there nothing we will not eat, never mind how we get hold of it? Shark’s fi n, tiny skewered song birds, bull’s dick, monkey’s brain, pig-snout, warthog’s anus? All right if you’re hungry and there’s nothing else available, but not just because you’re a poncy-dick gourmet/foodie, toss- potting about with your dinner, drizzling, injecting, wilting, sweating, couli-ing, pulsing and diddling with some strange bit of possibly tormented animal on the way to extinction.
What is wrong with a lovely, fl uff y, buttery, crispy baked potato? Last year Rosemary and I got into a Saturday-
night habit of watching Spiral/ Borgen/
anything with Lundt in it, while having baked potatoes and cabbage for our dinner. Sometimes we went wild and added salad or baked beans. It was paradise. Fielding ate nothing else in his youth. Not that he had any principles. He just couldn’t cook anything else, except a few steamed vegetables. People sneered, but it was pretty avant-garde really – a sort of austerity, save-the-planet-type cooking.
A bit extreme perhaps, but on the right track. Not that I’d dare tell everyone to be vegetarian, but I can warn those silly gourmets defending F&M’s right to sell this “delicacy”, that come the revolution, it won’t be the guillotine for them, just tubes of grain and fat pumped endlessly down their throats. By plebs. Delicately and humanely, of course.
As well as support and campaigning, for Koubakouenda, it was also about keeping isolation at bay. “When you come to a new country, you don’t know the people and you don’t speak the language. Can you imagine how hard that is? Getting together is also a way of breaking the isolation. Karibu helps these women to have a new bond of family.”
The women who use Karibu also come for services such as ESOL English classes and IT lessons. The organisation also has a social enterprise arm: hence the sewing group that registered the tartan in the Karibu colours and the catering enterprise Taste of Africa (they cater events around Glasgow).
They are planning a Karibu Scotland cafe. “We are hoping to have the cafe before the Commonwealth Games. Many people will be coming from Africa, and if they can fi nd a place where they can eat African food, it would be great,” says Koubakouenda. “We just need to secure the funding.” Laurentine Zibi, chair and former volunteer, says: “All the feedback we’ve had on our services and events has always been so positive.” She adds: “We did not choose to be here but now that we are – this is our home, this is our country and our voice should be heard through our projects, events and skills.” Bim Adewunmi Oxfam customers in Glasgow may soon be able to buy a new kind of tartan, woven from red, green and gold thread. The cloth, registered earlier this summer, is the most vivid expression of a support and advocacy group set up by a group of female refugees from Africa with the evocative name of Karibu Scotland.
Founder Henriette Koubakouenda was 50 years old when she arrived in the UK from her native Democratic Republic of the Congo in the summer of 2001, to join an existing community of African women in Scotland. Using her know-
ledge of English and her experience of working with women in community development (she had worked with the United Nations Development Programme back in Kinshasa), Koubakouenda would help her fellow asylum-seekers with their phone calls and letter-writing. “Many of the women didn’t speak English and it was really diffi cult for them to access mainstream services,” she tells me from her fl at in Glasgow. “And I thought maybe if we can organise ourselves, this could be more formal and people will see us. The mainstream services will know our need and respond to it.
“I called that fi rst meeting on the 31 August 2003, and around 15 to 20 women came into my fl at,” says Koubakouenda. Karibu Scotland was born – as a group for refugees and asylum seekers arriving in Glasgow.
New Scotland yarn
How African refugees have found support in tartan and each other
A certain age
Michele Hanson
The rise in unemployment among women aged 50-64 since May 2010 4.2%
The overall increase in unemployment since May 2010
We are family … members of Karibu Scotland show off their tartan
Source: Offi ce for National Statistics LYCEUM 0844 871 3000
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02.10.12 The Guardian 15
So now brightly coloured trou-
sers are trendy and, if either of us cared about such things, which we do not, we would have to get with the programme. With all due respect, I suspect you would fi nd it more diffi cult to divest yourself of your red trousers prejudice than me. For I am a lady and you, sir, are a man, and there is no species more rigid about fashion rules than a man who claims to have no interest in fashion.
This is not a gender generalisation but rather an inevitability of a situation that is not the fault of men, poor men.
Mainstream menswear is not – let’s be honest here – much fun. Men’s fashion can be brilliant, but basic menswear? Not so much. Beyond deciding whether you’re a T-shirt man or a button-down shirt man there isn’t much going on, and what is going on is generally pretty tedious.
Because of this, style-averse men (read: fashion-fearful men), often heterosexual in their tenden-
cies, will hear a fashion rule once and they will carve it on to their very brains, still following it and parroting it whole decades later, whether it be always wearing a belt with their trousers, never showing a naked ankle or red trousers are evil. Proff er a fashion maxim to these men (do not wear double denim; yes, black jeans count as denim) and they will cleave to it as devotedly as a religious fanatic to the voice of God. And fanaticism is so unstylish.
Hating red trousers because of their Sloaney associations is passe; hating all coloured trousers because of their hipster connotations is far more au courant. After all, even fashion rules need updating occasionally – except for double denim. Never that.
Why do so many grown men think it’s acceptable to wear red trousers?
Len Gomez, Manchester
I think the real question, Mr Gomez, or Len, if I may be so bold, is why so many Englishmen have such a thing about red trousers. For this really is an English thing, you know, like getting excited about tea and believing that “sorry” is a synonym for “you just stepped on my foot”.
Not being originally from this country I must confess that I didn’t even notice the whole red trouser issue for at least the fi rst decade or so of my existence here. Sure, I grasped the basics of English life – the importance of John Lewis, the centrality of chocolate. Anyway, American men wear so many style abominations that the red trousers would have barely registered , battered as I’d been for decades by khakis, jeans with elasticated waists and general American sports paraphernalia.
But now, after two decades and then some of careful study in this country, I have mastered this minefi eld, by which I mean I understand it, but I don’t entirely sympathise with it. Hold on to the seat of your (non-scarlet) trousers, Len, and I shall explain.
Like I said, I get it. OK? I get it. Red trousers are associated in this country with braying poshos on the King’s Road, utterly devoid of self-awareness but wealthy in idiocy; people who probably lost their virginity to an unfortunate member of staff in daddy’s country pad, and are as fl ushed in the face as they are round of belly. So that is the whole red trouser thing and that is why you hate them.
But as sports people say (maybe): don’t hate the game, hate the player, which means, translated into the fashion vernacular, hate the wearer, but not the garment.
Now stopper your mouth, Len, because I know what you’re going to say here. I agree, there are more pleasant sights to gaze upon than a pair of red trousers (examples are helpfully collected on the celebrated blog Look At My Fucking Red Trousers ). Person-
ally, I’m not much of a fan of brightly coloured trousers full stop, which is, really, my point: singling out red trousers seems unfair when surely orange or, Lord help us, yellow ones are at least as bad from an aesthetic point of view. To focus on the red ones means that you are hating on them because of the old associations’ emphasis on “old”.
As I said earlier, this anti-red trouser prejudice is an English issue, one not shared by foreigners, which is why upstarts from overseas such as Uniqlo (Japanese) and American Apparel (USA! USA! USA!) have been knocking out red trousers, along with other brightly coloured legwear, as if it were 1984 in Sloane Square, but re-styled for hipsters, a demographic I personally fi nd as annoying as English people fi nd Sloanes. Thus, for youngsters, red trousers have none of the hango-
ver symbolism that many Englishmen associate with them. Rather, they see them as bringing them one step closer to Clapton and Williamsburg, Brooklyn, and if only they would go there and blooming well stay there.
Ask Hadley
Don’t just hate red trousers – orange and yellow ones are equally bad
Style Q&A
Red trousers
in the UK are
associated with braying
poshos on
the King’s
Post your questions to Hadley Freman, Ask Hadley, The Guardian, Kings Place, 90 York Way, London N1 9GU. Email
e p
fi fi re
16 The Guardian 02.10.12
hile the people of Benghazi were ejecting the Islamist militias from their city last Saturday, another smaller but equally remarkable event was taking place 400 miles away in Tripoli. In the former French embassy, some 70 people were attending the fi rst public screening of Libyan-made fi lms since last year’s revolution (and possibly a long time before that). There were just six short documentaries, around fi ve minutes each. In the fi nal fi lm, Granny’s Flags , a Tripoli grandmother recounted how, during the revolution, women had to bake bread before the electricity ran out, and how she’d been kept busy sewing makeshift versions of Libya’s reinstated national fl ag. “We are happy that Muammar died … He used to smother us,” she says , before telling off Libya’s toppled dictator as if he were her own son: “Gaddafi , Gaddafi , Gaddaaaaafi . We got rid of him.” And she spreads her hands as if clearing him off the table. The audience burst into spontaneous applause.
New freedoms of expression are being tested in Libya and elsewhere, post-Arab spring, but the subject of cinema has become particularly pertinent in recent weeks, largely because of a fi lm that has nothing to do with the country itself. The Innocence of Muslims has become the most famous movie that practically nobody has seen – a clumsy but eff ective attempt to provoke the Muslim world by depicting the prophet Muhammad (a sacrilege in itself), and portraying him as a fraud and a degenerate. Benghazi, Libya’s second city, was an early fl ashpoint, and the killing of the US ambassador Chris Stevens and three others there on 11 September fanned the fl ames of anti-American sentiment across the Arab world. Conversely, western media responded with knee-
jerk condemnations of “Muslim rage” . The narrative of the Arab spring threatened to take a U-turn .
There is now a cultural vacuum in Libya, as well as a political one , thanks to the Gaddaffi regime. “There was no fi lm-making culture here at all under Gaddafi ,” says Naziha Arebi , director of Granny’s Flags. “He didn’t want anybody to be more famous than him. Even the football players had just numbers on their shirts, because he didn’t want anyone to know their names. He certainly wasn’t going to let anybody be a fi lm director.”
Arebi is half-English, half-Libyan. She grew up in Hastings, studied at the Royal College of Art, and worked a little in fi lm circles before coming to fi nished their fi lms the day of the Tripoli screening . They are all young men, mostly students and part-time photographers. “We brought out a lot of up-to-date equipment, but they already had their own,” says Noe Mendelle, director of the SDI. “What they didn’t have was a knowledge of fi lm language. A lot of them had done TV-style fi lms or reports, quite macho stuff . It was new to think about diff erent ways of portraying a character, or using sound to tell a story.”
This could be seen by some as a top-down exercise in exporting cultural expertise, but it’s as much a bottom-up one. The regime’s lies about the progress of the confl ict, and the rebels’ brutality towards civilians, were regularly dispelled by amateur footage posted on blogs, YouTube, Facebook and Twitter. Moving from this to short documentaries could be a crucial step in developing a fi lm culture .
According to local critic Ramadan Salim, there were six features and some 100 documentaries made in Libya during the Gaddafi era, but few people have seen them and their current whereabouts are unknown. There is just one functioning cinema in Tripoli, playing mostly Egyptian and Dubai-
made commercial fi lms. Pirate DVDs of Hollywood blockbusters are widely available for as little as one dinar (50p) each. The Twilight franchise is huge.
Gaddafi did, however, have a hand in two fi lms everybody in Libya knows, both starring the ethnically fl exible Anthony Quinn, and both directed by Moustafa Akkad , a Hollywood-based Syrian who went on to produce the Halloween franchise. The fi rst and most notorious is The Message (also known as Mohammed, Messenger of God), an expensive account of the birth of Islam. Unlike The Innocence of Muslims , The Message respects the taboo against depicting Muhammad ; instead it uses point-of-view shots, implying Muhammad’s presence via musical cues, and having other characters repeat his unspoken words (Quinn plays the prophet’s uncle). Finding no funding in the US, Akkad turned to Gaddafi . Even so, many Arab countries refused to believe that The Message did not depict Muhammad and would not screen it. The fi lm triggered a 39-
hour siege of three offi ce buildings in Washington DC in 1977, involving 149 hostages and the death of a reporter.
A few years later, Akkad shot Lion of the Desert , a biopic of Libyan hero Omar Mukhtar, who fought against the invading Italians in the 1920s. Alongside Quinn, it stars Oliver Reed, John Gielgud and Rod Steiger as Benito Mussolini. Like The Message, it was a Libya for the fi rst time in September last year. It’s her own granny in the fi lm, she explains. “We’ve seen the common view of the revolution but we don’t hear much about the older, normal people . I thought it was really important to show it wasn’t just these boys going out and fi ghting – every one was involved on some level .”
Her fi lm, and the fi ve others that screened in Tripoli, are also part-
British. They were part of a project initiated by the British Council’s fi lm division , with the Edinburgh-based Scottish Documentary Institute (SDI) . They held a workshop in Tripoli last summer that resulted in three fi lms, including Arebi’s. They returned to do the same in Benghazi – though by this time security issues prevented the British contingent from leaving Tripoli, so the Benghazi fi lm-makers had to travel back and forth between the two cities. All the fi lms focused on ordinary people: a novice graffi ti artist, a fi sherman, a car salesman, a museum guard (who describes how he hid artefacts to protect them from looting), and a female medical student learning to drive. “You’re a doctor, so if you hit someone, at least you can save them,” her brother tells her.
The Benghazi team had just Lights, camera, revolution
‘Gaddafi didn’t want anybody to be more famous than him. He certainly was going to let anyone be a film director’
Libya had no fi lm-making culture under Gaddafi : just a handful of cinemas and a propaganda machine
. Days after a fi lm sparked violence there, Steve Rose meets the new wave
02.10.12 The Guardian 17
nently. He has big plans , starting with a fi lm festival this December . “The famous taboos for Arab cinema are sex, religion and politics,” he says. “We’re not in the mood for sex now, religion is very touchy, but political expression must be shown.” He aims to show fi lms from across the Arab world, “about rev-
olution, about the problems of young people, about unemployment, all these things”. In the longer term, Maklouf wants to set up a permanent fi lm-
making institute in Benghazi. Funding is still an issue . But he is preparing a fi ctional short fi lm, using untrained actors, and he has been collecting footage to make a defi nitive fi rst-hand documentary of the uprising. Other exiled or expatriate Libyans are now returning to play their part . Over a coff ee in the souk, Khaled Mattawa , a Libyan poet and professor at the University of Michigan, tells me he plans to screen a series of European fi lms here. His ceramicist wife, Reem Gibriel , has arranged for a series of artists’ videos to be projected on to Tripoli’s streets . A new youth group, the National Awareness Movement, is planning to hold the fi rst Tripoli Human Rights fi lm festival in November. Clockwise from main, pro-
democracy protesters rally in the centre of Tripoli last year; Anthony Quinn in the Gaddafi -
backed The Message; a woman protests against The Innocence of Muslims in Los Angeles
commercial failure, but both fi lms have played regularly on Libyan television since they were made.
Does establishing a fi lm culture really matter in a precarious new democracy with so many other pressing needs? Absolutely, says Mohamed Maklouf , a Libyan fi lm-
maker and former dissident. “Visual culture started the whole revolution,” he says. “If we didn’t see these images, which changed people’s minds around the world , nothing would have happened. So fi lm is very important. Usually around the Arab world it has been tightly controlled, like Hitler did with Goebbels controlling the image of the Nazis. Some countries, like Egypt, give a little bit of freedom to fi lm-makers, but then you still have the problem of the censor . Someone is telling you to cut this and that.”
Few Libyans had heard of Maklouf until recently. He has spent the past 36 years in exile, mostly in the UK, where he has worked as a journalist and fi lm-
maker, routinely criticising Gaddafi and other Arab regimes. He has made fi lms about censorship, and about other Libyan exiles, including its current interim president, Mohamed Magariaf . Now in his early 50s, Maklouf is about to relocate to Benghazi perma-
“When I fi rst came here last September, the atmosphere was electric,” Naziha Arebi says. “Tripoli had just been liberated and everybody was still in this revolutionary spirit. I came back to the UK and I just felt, what am I doing here?” Her short is now lined up to play festivals in the UK and US . “It’s hard making fi lms in Libya full stop,” she says. Being a female fi lm-maker is even harder . “My Libyan family think I’m doing a man’s job. But I’m sure there are a lot of women here who would like to be fi lm-makers, and there are a lot of stories to be told. We’ve had a patriarchal society for a very long time .”
She also recalls having her camera snatched from her hand in August, just across the street from where we’re talking, for taking pictures of Salafi militants demolishing a Sufi mosque – a precursor to the events that lead to the death of Stevens in Benghazi. “They didn’t have freedom of speech under Gaddafi , either,” she says. “Now everyone’s having their say. We have to be careful about making [the militants] a marginalised group. That just makes them stronger . I don’t know how we’re going to deal with this. But we have to start telling our own stories.” Filthy, terrifying, daft
Video: Adrian Searle’s guide to this year’s barnstorming Turner prize show
18 The Guardian 02.10.12
or most British playwrights, having your work staged at the National theatre for the fi rst time would be a pinnacle of achievement. For Howard Barker, it’s a kind of defeat. Scenes from an Execution, which focuses on the relationship between a pusillanimous artist and her patrons in Renaissance Venice, is Barker’s most famous and accessible play – which, to him, is a problem.
“ I’m glad it’s being done,” Barker says. “But I’ve got a lot of plays that are better than this .” Plays like Victory, a bold swoop through Restoration-era England , featuring a king obsessed with bottoms, and paupers liberal with profanities . Or The Europeans, a gory vision of 17th-century Vienna following the expulsion of invading Muslim forces , in which a raped woman gives birth on stage. “A good play puts the audience through a certain ordeal,” he says. “ I’m not interested in entertainment.” He does admit to being fond of Galactia, the artist in Scenes, being played at the National by Fiona Shaw : lusty and fi erce, she spends the entire play arguing with the Venetian state about the purpose of public art. But the suggestion that she comes across sympathetically fi lls him with disdain. “I don’t like sympathetic characters. Theatre should be a taxing experience: the greatest achievement of a writer is to produce a character who creates anxiety.” He’ll probably be quite pleased that early reviews , beginning to trickle out on Twitter and blogs, suggest that some audiences are indeed fi nding the play taxing ; there have been reports of walk-outs.
You can see why Barker is so frequently described as chilly. Yet there’s something curiously romantic about him. His vision of what theatre should be is outlined in Arguments for a Theatre, fi rst published in 1989 and augmented ever since, as he developed his belief in tragedy as the greatest form of theatre. Although his work is often fi ercely political, he doesn’t believe, he says, in political theatre. “I don’t want to hear somebody’s arguments about politics, thank you. Nearly all theatre and all culture now is about projecting meaning. It’s very Enlightenment. Go to a newspaper if you want enlightenment: don’t go to the theatre.”
Although Galactia expresses disgust at the idea of being “understood” by her public, Barker says it’s another of his characters, Machinist from Animals in Paradise, who comes closest to expressing his own view – by refusing to express one at all: “I write from ignorance. I don’t know what I want to say, and I don’t care if you listen or not.”
He does, however, care that his work gets performed, which is why he has spent the past 20 years directing his own theatre company, the Wrestling School . Although an ensemble, it eff ectively operates as a dictatorship. “I’m not interested in collaboration,” Barker says fi rmly. “I’m interested in getting people to realise what I’m telling them.” (The Wrestling School lost its Arts Council England funding in 2007; the cut still rankles.)
He comes across as an acutely solitary fi gure: he has lived alone in Brighton since divorcing in the 1980s, and traces his preference for solitude back to childhood. “A solitary child invents friendships and invents his life. Maybe that habit has become fi xed in me. To be solitary is to invent .” He spends each morning writing, and most afternoons painting; his most recent work has been inspired by Ponti us Pilate and Velázquez’s Las Meninas .
If he doesn’t care for his audience’s enjoyment, why should anyone watch his work? His answer is typically singular. “If you have a soul – does everybody have a soul? I don’t know – but if you do, then there’s a necessity for it to be exposed to things. Theatre is a safe place to expose it. ”
‘I write from ignorance’ … Barker
The art of suffering
Scenes from an Execution is at the National theatre, London SE1, until 9 December. Box offi ce: 020-7452 3000.
Howard Barker doesn’t care if you like his plays, and thinks theatre should be an ordeal. He tells Maddy Costa why being on at the National is a problem
02.10.12 The Guardian 19
Interviews by Bibi van der Zee. Ben 10: Omniverse is on the Cartoon Network from 6 October.
Tramm Wigzell, co-developer You hear so many pitches in this business and there’s almost always something wrong with them: the team are great, but the idea’s not quite right; or the idea’s good, but you’re not sure the team can pull it off . But when TV production house Man of Action – a bunch of real industry veterans – pitched Ben 10, we knew pretty much straightaway that this was a show we wanted to do. It’s partly the simplicity : there’s this kid who has an “omnitrix” on his wrist that means he can turn himself into 10 diff erent types of alien and save the world. But alongside that, there’s his personality: full of bravado, full of himself, so you get comedy in among the action, too. Know what I thought? I thought: “This is the summer blockbuster that I wanted to see when I was nine but I never did.”
We got quite a bit of negative feedback during its development. People were asking: “Does Ben have to be so bratty?” Or saying : “Kids don’t want to turn into gross aliens. And they won’t like it that the omnitrix doesn’t always work. They’ll want him to be all-powerful.”
But for us, that was what was so great . Kids would tell us: “Oh yes, that’s like my brother, or my friend.” They said, “If I could do all that, that’s what I’d be like.” And it was the same thing with the omnitrix . We thought: “As kids, if we ever got a new video game or a gadget, we would never read the instruction book. We would just put it on and start trying to fi gure out how it works.” That’s just what Ben does . It’s what guys do anywhere, so it’s easy to relate to.
When we launched it, we had a strong feeling it was going to do well, but you never know. And then – slowly but surely – it started to grow. The ratings were good, but the thing that really struck us was when we’d be out and see a kid with an omnitrix on his wrist . And then someone forwarded me an article that quoted Gordon Brown saying he couldn’t get the theme tune out of his head . The prime minister ? From Britain? Is this a joke? Matt Youngberg, director and producer The last series of Ben 10 was darker than the earlier stuff . Ben was older, and a lot of it took place at night . So when I took over , I wanted to get back to the heart of it : a kid having adventures , fi nding his way, not knowing what he’s doing but having a ton of fun doing it. He’s a kid, he’s being a hero, and there’s no dark side . It’s less fun to me to do a story about someone who’s all cramped up about the trauma of being a superhero : I just don’t know if I’d feel that way about it. There are a whole lot of things out there getting darker; I guess this is my reaction to that.
The great thing about sci-fi and aliens is that there are just so many things you can do . Since it’s aliens, you don’t have to worry much about being too realistic . You can make them crazy purples and pinks . So my Ben 10 is really bright: the colours are practically bleeding out of the television . As a kid, I was always into cartoons and comic books: GI Joe, Transformers, that kind of thing . Even before I started on Ben 10, I used to fantasise about what I would do if I ever got into that playground. I t’s a great job: I go in to work and draw aliens shooting laser beams at each other. How we made ... Ben 10 The team behind the hit cartoon on their boy with a magic watch, and drawing crazy-coloured alien life
‘Gordon Brown said he couldn’t get the theme tune out of his head. The prime minister? Is this a joke?’
20 The Guardian 02.10.12
an we talk about camera positioning for a sec? I was watching something, I can’t remember what, the other day from inside the fridge. Well that’s where the camera was, so I saw people open the door, reach in towards me to fetch milk or whatever. I don’t know why I was in the fridge, and I’m not sure I liked it very much. It was ... well, cold. I felt like butter. Very dark in there too, and claustrophobic, when that door closes.
There’s an even weirder one here in Monroe (ITV1). James Nesbitt – Gabriel Monroe, a neurosurgeon – is showing his team a CT scan of a patient. The scan is on a screen, up on the wall. Sud-
denly we’re inside the screen looking out. One of Monroe’s juniors is actu-
ally framed in a cross-section of the patient’s skull. Why though? Is there a point here, about the randomness of disease, that the young doctor could be next to have a life-threatening brain condition? Does the director feel we need to get an understanding of what it’s like to be inside the patient’s head? A tumour’s eye view of things? I’m not sure I like being a seeing tumour any more than I liked being butter.
Anyway, the head, into which we’re being inserted, belongs to Paul, 31, who will almost certainly die if he doesn’t get his operation. But to operate is so dangerous two surgeons at diff erent hospitals have refused. Monroe is his last hope. “Look, it’s in here, like a tick-
ing bomb,” says Paul, tapping his head. “And, I don’t know, you can see how we’re fi xed [strokes pregnant wife’s bump, cue sad, I’m-too-young-to-die music]. I can’t live like this, neither of us can. This ... this isn’t my story, you know what I mean. My story’s about a guy who gets to see his kids grow up. You’re not saying no, are you?”
Of course he isn’t saying no. Because under the cynicism and the jokes and the bravado, Monroe is a nice guy. Gregory House, with a heart.
death issues have happy outcomes, this time at least. And Monroe can pour himself a glass of red and refl ect on things, to That Home by the Cinematic Orchestra.
House’s great strength is in the complexity of the character, his misan-
thropy and anger as well as his medical brilliance. Next to that Monroe looks like just a grump, soft inside, a bit sug-
ary and sentimental. And I think less interesting for it. It’s not bad at all – it’s smart, Nesbitt is as watchable as ever, there is obviously some very interest-
ing camera work. But it’s simply not as good as House.
Staying within the health sector then, and bloody hell, Health Before the NHS (BBC4), what a nightmare. I’m glad I wasn’t born at the beginning of the 20th century. Well, chances are if I had I wouldn’t have lasted very long. And I wouldn’t have had a mother; she almost certainly would have died giving birth to me, because the person deliver-
ing me was actually a chimney sweep, and just did a bit of midwifery on the side, for an extra thruppence a month. Peggy she was called, or Enid. And she didn’t sterilise her brushes. (I’ve dropped all the would haves, two awk-
ward, easier to pretend it happened.)
Then, because I lived in a slum, I caught loads of horrid diseases, which I then died of, in childhood. If I got to my late 40s it was a miracle. Basically it was like living in Angola.
People with money lived longer of course. They could buy medical treatment. They could take out health insurance. Perhaps their company pro-
vided them with schemes; they could go to nice hospitals when they got sick. But if you didn’t have a job, or a policy, or you’d let it lapse, you were screwed. On the scrapheap. Not just like living in Angola then, but also a bit like living in America.
Last night's TV
Monroe is a bit like House – except more sentimental and less interesting
By Sam Wollaston
Comparisons with House (RIP), though perhaps unfair, are inevitable. A medical drama named after its pro-
tagonist – maverick doctor, contemptu-
ous of authority, probably an alcoholic, probably a depressive, who breaks the rules but gets away with it because of his brilliance. The diff erence lies with aforementioned heart. Monroe – the character, and the series – is a bit soppy underneath. Paul gets his op, it’s suc-
cessful, he’ll get to see his kids grow up after all. A run-over woman is success-
fully jump-started. Another man who looks like a goner comes back. There are some problems that remain unre-
solved – Monroe has to lose one of his assistants, his son is marrying some-
one he has been going out with for fi ve minutes, not everyone in the hospital is getting along. But the big life-and-
Not long now. #Homeland. Returns on Sunday. AND ANOTHER THING
Soft inside … James Nesbitt as Gabriel Monroe
22 The Guardian 02.10.12
Watch this
TV and radio
The Great British Bake Off 8pm, BBC2
It’s biscuit week, and the quarter-fi nals to boot. First up it’s crackers, then teacakes – marshmallowy Tunnock’s-style ones, rather than those hot-cross buns without the cross. Brendan is eerily calm, as always: “He’s just a machine, look at him,” mutters John, trying to catch a glimpse of his circuit board. Tempering chocolate in a clammy tent, building Buckingham Palace out of gingerbread, there is nothing these bravehearts won’t do to win that title. Nutmeggy joy. Julia Raeside
The Paradise
9pm, BBC1
Continuing the adapta-
tion of Zola’s novel now set in “England’s fi rst department store”, and the staff are still trying to win the admiration of their Wonka-
like employer, John Moray. A tougher sale is the show’s odd tone of social realism and unmoored fantasy. This week Sam reveals that behind his sales fl oor patter lurks a ladies’ man, while Denise tries to generate publicity for the store with a competition to fi nd a radi-
ant lady to wear one of the shop’s promotional fl owers: “Miss Paradise Pinks” . JR
Ian Hislop’s Stiff Upper Lip – An Emotional History Of Britain
9pm, BBC2
Over three episodes Hislop explores Britain’s national character, beginning with how we became known for having a “stiff upper lip”. Once upon a time, the English (the focus here) were actually known for their displays of emotion – during the 18th century a cult of sensibility made expressive feeling fashionable for men and women. However, there was also the restraining attitude of politeness, which was to pave the way for a more stoic outlook. As usual, Hislop tells his story in a jaunty style, using lively and – at times – unlikely anecdotes. Martin Skegg
10pm, BBC3
Ken (standup Greg Davies) holds a meeting to set out a few ground rules now that Cuckoo (SNL alumnus Andy Samberg), his new surprise son-in-law, has nestled into the family home. Mean-
while, the family gets set for a “welcome home” party for daughter Rachel, where she plans to unveil her tool of a new husband to her friends. Happily, this second episode suggests that there’s more legs to this sitcom than merely the mockery of insuff erable new age chump-
wits, with Davies doing the beleaguered partriarch bit some justice. Ben Arnold
Cuckoo, BBC3
The Paradise, BBC1
Channel 4
recordings made by World Routes. 12.30 Through The Night. Including music by Haydn, Shostakovich, Franck, Gluck, Prokofi ev, Bach, Mendelssohn, Lajtha, Chopin, Saint-
Saens, Verhulst, Schutz, Castelnuovo-Tedesco, Matton and Alpaerts.
Radio 4
92.4-94.6 MHz; 198kHz
6.0 Today. 9.0 The Life Scientifi c. With Mark Walport, the next chief scientifi c adviser to the Government. 9.30 One To One. Broadcasters interview people whose stories interest them the most. 9.45 (LW) Daily Service. 9.45 (FM) Book Of The Week: Country Girl. By Edna O’Brien. 10.0 (LW) (FM) BBC1 BBC2 ITV1
6.0pm Eggheads (S) 6.30 How We Won The War (S) (AD) Jules Hudson meets a fi refi ghter who served during the Blitz.
6.0pm Local News (S) Weather
6.30 ITV News And Weather (S)
6.0pm The Simpsons (R) (S) (AD)
6.30 Hollyoaks (S) (AD) Walker has Ste in his sights.
6.55 (S) 6.0pm BBC News (S) Weather
6.30 Regional News Programmes (S) Weather
7.0 The Story Of Wales: The Making Of Wales (S) New series. Huw Edwards explores Welsh history. First up he visits the world’s largest prehistoric copper mine and an iron age hill fort. Continues tomorrow.
7.0 Emmerdale (S) (AD) Jai misses Rachel’s baby scan.
7.30 UEFA Champions League Live (S) CFR Cluj v Manchester United (kick-off 7.45pm), from Radulescu Stadium in Romania.
7.0 Channel 4 News (S) 7.55 Channel 4 Presents — Lee (S) Equestrian rider Lee Pearson refl ects on winning gold, silver and bronze medals at the London 2012 Paralympics.
7.0 The One Show (S) Presented by Matt Baker and Alex Jones.
7.30 EastEnders (S) (AD) Alfi e worries that he can’t trust Kat. (Followed by BBC News; Regional News.)
8.0 The Great British Bake Off (S) A biscuit-
based quarter-fi nal fi nds the competitors challenged to make crispbreads and chocolate teacakes.
8.0 Double Your House For Half The Money (S) A couple try to transform their property into a New England-style home, and a woman plans to give her Grade II-listed windmill a makeover. With Sarah Beeny.
8.0 Holby City (S) (AD) Hanssen is taken hostage. Jac thinks she may be pregnant.
9.0 Ian Hislop’s Stiff Upper Lip — An Emotional History Of Britain (S) (AD) New series. The broadcaster consider how the British, once regarded as an emotional people, came to value bottling up feelings.
9.0 Hotel GB (S) The celebrity hoteliers, including Gordon Ramsay and Mary Portas, continue to train up their unemployed charges. Continues tomorrow.
9.0 The Paradise (S) (AD) Both Sam’s career and the store’s reputation are under threat because of a misunderstanding involving a customer.
11.20 Today At Conference (S) Featuring highlights of Ed Miliband’s speech.
11.50 The Choir: Sing While You Work (R) (S) (AD) Gareth Malone heads to the Royal Mail in Bristol. (Shown Thursday.) 11.35 Piers Morgan’s Life Stories: Denise Welch (R) (S) The actor and Loose Women panellist discusses her recent engagement to Lincoln Townley and her battles with addiction. (Shown Friday.)
11.05 Alan Carr: Chatty Man (R) (S) With guests Jessie J, One Direction and Kevin McCloud. Alicia Keys provides the music. (Shown Friday.)
11.35 Citizen Khan (R) (S) (AD) The family clashes over the fi nal wedding invitation. Last in the series. (Shown yesterday.)
Radio 3
90.2-92.4 MHz
6.30 Breakfast. Petroc Trelawny presents another instalment of Peter Donohoe’s 50 Great Pianists as part of the BBC’s Piano Season. 9.0 Essential Classics. Rob Cowan is joined by physicist Brian Foster and presents a selection of music including the Essential CD of the Week: Sergei Nakariakov: Trumpet & Piano. 12.0 Composer Of The Week: Liszt And His World. Donald Macleod tells the story of how Liszt was lured back to Paris from Switzerland after Radio
news reached him of a rival pianist, Thalberg, taking the city by storm.
1.0 Radio 3 Lunchtime Concert. In the fi rst of a series of all-Chopin piano recitals from LSO St Luke’s, Francois-Frederic Guy performs the Nocturne in E, Polonaise-Fantasy and Sonata No 3 in B minor. (R)
2.0 Afternoon On 3. The BBC Symphony Orchestra performs Debussy and Stravinsky with conductor and composer Oliver Knussen, and Hamish Milne joins the BBC SSO for Holbrooke’s Piano Concerto No 1.
4.30 In Tune. Suzy Klein talks to Canadian conductor Peter Oundjian and introduces live music by bass-baritone Mark Glanville and pianist Alexander Knapp.
6.30 Composer Of The Week: Liszt And His World. (R)
7.30 Radio 3 Live In Concert. Live from Wigmore Hall, London, the Hilliard Ensemble and Fretwork celebrate the music of Orlando Gibbons, contrasted with a new work by Nico Muhly. 10.0 Night Waves. Rana Mitter talks to Anne Applebaum, whose new book Iron Curtain chronicles the personal stories of Eastern Europeans who where aff ected by the rising tide of communism after 1944.
10.45 The Essay. Lawrence Scott refl ects on how instantly available information is aff ecting the way people consider knowledge and wisdom.
11.0 Late Junction. Fiona Talkington presents an eclectic mix of music, including previously unheard 10.0 Later Live — With Jools Holland (S) Featuring Mumford & Sons, Neil Sedaka, Bobby Womack and Lisa Marie Presley.
10.30 Newsnight (S) With Jeremy Paxman. (Followed by Weather.)
10.0 ITV News At Ten And Weather (S)
10.30 Local News/
Weather (S)
10.35 UEFA Champions League: Extra Time (S) Action from FC Nordsjaelland v Chelsea and Spartak Moscow v Celtic.
10.0 Rude Tube (S) Alex Zane showcases 50 online videos featuring bizarre stunts, including an attempt to eat a tomato with the aid of a ceiling fan.
10.0 BBC News (S)
10.25 Regional News And Weather (S) (Followed by National Lottery Update.)
10.35 Is Breast Best? Cherry Healey Investigates (R) (S) (AD) Exploring issues around breastfeeding.
Film of the day
Ocean’s Eleven (9pm, TCM) Steven Soderbergh’s glitzy and funny remake of the Rat Pack’s 1960 caper movie has an ineff ably suave George Clooney and stellar gang (Matt Damon, Brad Pitt etc) robbing three casinos
02.10.12 The Guardian 23
Other channels
6.0pm The Big Bang Theory. Leonard and Penny continue testing their rekindled relationship. 6.30 The Big Bang Theory. Leonard breaks his and Sheldon’s room-mate agreement. 7.0 Hollyoaks. Nancy goes into premature labour. 7.30 How I Met Your Mother. Barney’s confi dence evaporates after meeting the woman who took his virginity. 8.0 How I Met Your Mother. Barney and Quinn’s relationship hits a snag. 8.30 The Big Bang Theory. Penny begins dating a comic-book enthusiast. 9.0 New Girl. Comedy, starring Zooey Deschanel. 9.30 Suburgatory. George wins a trip to Atlantic City. 10.0 The Cleveland Show. Cleveland tries to learn more about his roots. 10.30 The Cleveland Show. Cleveland fl irts with a co-worker. 11.0 ITunes Festival 2012. Nick Grimshaw and Annie Mac present highlights from the fi nal week. Film4
7.20pm The Wedding Date. Romantic comedy, with Debra Messing and Dermot Mulroney. 9.0 Beverly Hills Cop III. Comedy sequel, starring Eddie Murphy. 11.05 Before The Devil Knows You’re Dead. Crime thriller, starring Philip Seymour Hoff man. FX
6.0pm Leverage. The team targets a criminal blackmailing businessmen into committing crimes. 7.0 NCIS. Gibbs takes a case connected to his dead daughter. 8.0 NCIS. An admiral is murdered. 9.0 True Blood. Debbie’s parents arrive in Bon Temps in search of their missing daughter. 10.10 The Cleveland Show. Pilot episode of the Family Guy spin-off , with the voice of Mike Henry. 10.40 The Cleveland Show. Cleveland asks his stepdaughter to the school dance. 11.10 Family Guy. Brian runs away from home. 11.40 Family Guy. Lois inherits a fortune. ITV2
6.0pm The Jeremy Kyle Show USA. The host takes his successful talk-show stateside. 7.0 The Cube. Fatima Whitbread and Dai Greene take part. 8.0 Super Tiny Animals. Part two of two. The world of mini-
mammals. 9.0 Forgetting Channel 5 BBC3 BBC4 Atlantic
Sarah Marshall. Romantic comedy, starring Jason Segel and Kristen Bell. 11.20 Girlfri3nds. Dating show, hosted by Emma Willis. Sky1
6.0pm Last Man Standing. New series. American comedy, starring Tim Allen. 6.30 Last Man Standing. Mandy gets her fi rst job. 7.0 The Simpsons. Homer becomes a hippie. 7.30 The Simpsons. Moe stirs up marital strife in Springfi eld. 8.0 Which Doctor? Patients choose between conventional and holistic treatments. 9.0 Strike Back: Vengeance. Matlock and Kohl kidnap a woman and her son. 10.0 Master And Commander: The Far Side Of The World. Seafaring drama, starring Russell Crowe. Sky Arts 1
6.0pm Spectacle: Elvis Costello. Music and chat show, with guest Elton John. 7.0 Art Of The Heist. The Nazis’ seizure of a Klimt portrait in 1938. 8.0 British Legends Of Stage And Screen. Michael York refl ects on his career. 9.0 Romanzo Criminale. The gang continues its battle with the Sardinians. 10.0 Soul Power. Documentary about the three-day music festival held in Zaire in 1974. 11.30 Eliza Doolittle At Isle Of Wight 2011. A performance by the singer-songwriter. 12.0 British Legends Of Stage And Screen. Michael York refl ects on his career. TCM
7.25pm Murder, She Said. Miss Marple mystery, starring Margaret Rutherford. 9.0 Ocean’s Eleven. Crime comedy, starring George Clooney. 11.10 The Big Red One: The Reconstruction. Second World War drama, starring Lee Marvin.
Drama: Shall I Say A Kiss? By Lennard Davis. (R)
3.0 (FM) Short Cuts. Transgression and life-
threatening encounters.
3.30 (FM) Costing The Earth. Environmental issues.
4.0 (FM) The Things We Forgot To Remember. How moments of history have been misremembered. (R)
4.30 (FM) A Good Read. New series. Two guests discuss their favourite books.
5.0 (FM) PM. 5.57 (LW) ICC World Twenty20 Cricket. Commentary on the fi nal match of the Super Eight stage. 5.57 (FM) Weather
6.0 Six O’Clock News
6.30 The Secret World. The private lives of public people. Last in the series.
7.0 The Archers. Jazzer calls in a favour. 7.15 Front Row. From the BBC International Short Story Award ceremony. 7.45 Le Donne. By Chris Fallon. 8.0 (FM) File On 4. Jane Deith investigates tactics used to gather intelligence.
8.40 In Touch. Presented by Peter White.
9.0 Inside Health. Dr Mark Porter separates medical fact from fi ction.
9.30 The Life Scientifi c. With Mark Walport, the next chief scientifi c adviser to the Government. (R)
9.59 Weather
10.0 The World Tonight. 10.45 Book At Bedtime: Merivel – A Man Of His Time. By Rose Tremain.
11.0 Clayton Grange. By Neil Warhurst, with additional material by Paul Barnhill.
11.30 Terry Nutkins In The Ring Of Bright Water. Conclusion. The tragedies that befell Gavin Maxwell. (R) 12.0 News And Weather 12.30 Book Of The Week: Country Girl. By Edna O’Brien. (R) 12.48 Shipping Forecast Radio 4 Extra
Digital only
6.0 Outbreak Of Fear 6.30 Casino Royale 6.45 Dick Barton — Special Agent 7.0 Babblewick Hall 7.30 The Secret World 8.0 The Goon Show 8.25 Captain Kremmen 8.30 Listen To Les 9.0 The News Quiz Extra 9.45 The Shuttleworths 10.0 The Good Companions 11.0 Lena 11.15 On Mardle Fen
12.0 The Goon Show
12.25 Captain Kremmen
12.30 Listen To Les
1.0 Outbreak Of Fear
1.30 Casino Royale
1.45 Dick Barton — Special Agent: The Paris Adventure
2.0 The Real Dennis Truelove
2.15 This Sceptred Isle
2.30 The Dinosaur Hunters
2.45 Wide Sargasso Sea
3.0 The Good Companions
4.0 The 4 O’Clock Show
5.0 Flying The Flag
5.30 Babblewick Hall
6.0 Journey Into Space
6.30 Pattern Recognition
7.0 The Goon Show
7.25 Captain Kremmen
7.30 Listen To Les
8.0 Outbreak Of Fear
8.30 Casino Royale
8.45 Dick Barton — Special Agent: The Paris Adventure
9.0 Lena 9.15 On Mardle Fen
10.0 Comedy Club: The Secret World 10.30 I’ve Never Seen Star Wars
11.0 Acropolis Now
11.30 The Masterson Inheritance 12.0 Journey Into Space 12.30 Pattern Recognition 1.0 Outbreak Of Fear 1.30 Casino Royale 1.45 Dick Barton — Special Agent 2.0 The News Quiz Extra 2.45 The Shuttleworths 3.0 The Good Companions 4.0 Lena 4.15 On Mardle Fen 5.0 Flying The Flag 5.30 Babblewick Hall
World Service
Digital and 198 kHz after R4
8.30 Business Daily 8.50 From Our Own Correspondent 9.0 News 9.06 The Documentary 9.30 The Strand 9.50 Witness 10.0 World Update 11.0 World Briefi ng 11.30 Discovery 11.50 From Our Own Correspondent 12.0 World Have Your Say 12.30 Business Daily 12.50 Sports News 1.0 News 1.06 The Documentary 1.30 Outlook 2.0 Newshour 3.0 More4
Woman’s Hour. 10.45 (LW) ICC World Twenty20 Cricket. Commentary on the 11th match of the Super Eight stage. 11.0 (FM) Saving Species. The issues facing British rivers and freshwater systems. 11.30 (FM) The Voices Of Robert Wyatt. The musician’s own words are combined with songs to paint a portrait of his life.
12.0 (FM) News 12.04 (LW) ICC World Twenty20 Cricket. Commentary on the 11th and 12th matches of the Super Eight stage.
12.04 (FM) Call You And Yours. 12.57 (FM) Weather
1.0 (FM) The World At One. 1.45 (FM) Five More Ages Of Brandreth. Gyles Brandreth recalls his encounters with actors. 2.0 (FM) The Archers. Lilian makes a disturbing discovery. (R)
2.15 (FM) Afternoon 6.0pm Home And Away (R) (S) (AD) Indi thinks she has a future with Liam.
6.30 5 News At 6.30 (S) 6.50pm Come Dine With Me (R) (S) A north London quartet compete in the dinner party challenge.
6.0pm House (R) The medic treats a ballerina whose lungs collapsed during a performance.
7.0 Emergency Bikers (R) (S) A motorcyclist is catapulted over a roundabout following a crash in North Yorkshire. (Shown last Wednesday; followed by 5 News Update.)
7.0pm Total Wipeout: Champion Of Champions (R) (S) Contestants compete to be crowned champion of champions. Hosted by Richard Hammond and Amanda Byram. Last in the series.
7.0pm World News Today (S) Weather
7.30 Great British Railway Journeys (R) (S) (AD) Michael Portillo travels through Kent, where he visits Canterbury Cathedral and the seaside at Margate.
7.55 Grand Designs (R) (S) (AD) Kevin McCloud revisits Alan and Judith Dawson, who built a prototype prefabricated home on a budget of £300,000.
7.0 House (R) (S) (AD) The doctors are fascinated by a patient whose left and right brain lobes operate independently, giving him opposing personalities.
8.0 The Manson Family: Born To Kill? (S) New series. The psychology of cult leader Charles Manson, whose followers murdered seven people in August 1969. (Followed by 5 News At 9.)
8.0 7/7 Bombings: Conspiracy Road Trip (R) (S) Andrew Maxwell challenges the conspiracy theories that swirl around the London bombings of July 2005.
8.0 Lost Cities Of The Ancients (R) (S) Archaeologists Manfred Bietak and Edgar Pusch explore the former Egyptian capital Piramesse, which was founded by Ramesses II.
8.0 Friday Night Lights (S) Smash comes under pressure to choose a college. Is new girlfriend Noelle infl uencing his decisions?
9.0 Person Of Interest (S) The machine leads Reese to an East German former secret agent who’s out for revenge. Alan Dale of Lost fame guests.
9.0 Don’t Tell The Bride (S) Space enthusiast Anthony plans a stylish wedding to bride-to-be Holly.
9.0 Love And Marriage: A 20th Century Romance (S) Charting the increase in divorce rates in the modern era. Plus, more happily, how Robert Fripp and Toyah have stuck together. Last in the series.
9.0 Come Dine With Me Top 30
(R) (S) From a host who fell asleep to sausage trifl e for dessert, highlights from the programme’s 1,000-plus episodes.
9.0 Awake (R) (S) Britten comes under suspicion when he uses a clue from one world on a case in the other.
11.50 CSI: Crime Scene Investigation (R) (S) (AD) The miniature killer targets an elderly woman.
11.0 Family Guy (R) (S) A gallery owner spots Chris’s talent.
11.20 Family Guy (R) (S) The family signs up for a reality series.
11.45 American Dad! (R) (S) Francine gets broody. (First episode in a double bill.)
11.45 Lost Cities Of The Ancients (R) (S) (Shown at 8.0pm.)
11.05 Homeland (R) (S) (AD) Carrie and Saul discover that Walker is alive and working for al-Qaeda.
11.45 The Sopranos (S) In the fi nal-ever episode of the crime drama, Tony and Carmela come out of hiding for uncle Bobby’s funeral.
10.0 CSI: NY (R) (S) (AD) Mac escapes from a sinking car in Jersey City’s harbour, but has scant memories of what happened. 10.55 CSI: NY (R) (S) (AD) A woman dies of radiation poisoning.
10.0 Cuckoo (S) (AD) Ken calls a family meeting. Comedy, starring Greg Davies and Andy Samberg.
10.30 EastEnders (R) (S) (AD) Alfi e worries that he can’t trust Kat.
10.0 Lilyhammer (S) (AD) Frank’s upset to learn that Sigrid’s midwife will be a man. 10.45 The Man Who Sculpted Hares: Barry Flanagan, A Life (S) Documentary about the work of the Welsh sculptor.
10.0 House Of Lies New comedy series following four corporate management consultants. Starring Don Cheadle.
10.45 Mad Men (R) (S) Don and Betty clash over parenting.
World Briefi ng 3.30 The Strand 3.50 From Our Own Correspondent 4.0 News 4.06 The Documentary 4.30 Sport Today 4.50 Witness 5.0 World Briefi ng 5.30 World Business Report 6.0 World Have Your Say 7.0 World Briefi ng 7.30 Click 7.50 From Our Own Correspondent 8.0 News 8.06 The Documentary 8.30 Outlook 9.0 Newshour 10.0 World Briefi ng 10.30 World Business Report 11.0 World Briefi ng 11.30 The Strand 11.50 Sports News 12.0 World Briefi ng 12.30 Outlook 1.0 World Briefi ng 1.30 World Business Report 1.50 From Our Own Correspondent 2.0 News 2.06 The Documentary 2.30 Outlook 3.0 Newsday 3.30 The Strand 3.50 Witness 4.0 Newsday 4.30 Click 5.0 Newsday Master And Commander, Sky1 Full TV listings
For comprehensive programme details see the Guardian Guide every Saturday or go to
24 The Guardian 02.10.12
If... Steve Bell
Doonesbury Garry Trudeau
2 8
3 1 7 9
4 6 1
5 6 2
7 4 5
8 3 6
9 2 8 7
1 9
Sudoku no 2307
Medium. Fill the grid so that each row, column and 3x3 box contains the numbers 1-9. Printable version at
Stuck? For help call 0906 751 0036. Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). Free tough puzzles at www.puzzler.
8 1 2 6 5 3 4 7 9
6 9 5 2 4 7 1 3 8
7 3 4 1 9 8 5 2 6
9 2 7 4 1 5 8 6 3
4 5 8 3 6 9 7 1 2
3 6 1 7 8 2 9 5 4
2 4 3 9 7 1 6 8 5
1 8 9 5 2 6 3 4 7
5 7 6 8 3 4 2 9 1
Solution to no 2306
Quick crossword no 13,229
1 2 3 4 5 6 7
8 9
10 11
12 13 14
15 16
17 18 19 20
21 22
23 24
1 Parlour game involving fi nding rhymes to a given word (6)
4 Compose (4,2)
8 Mistake (5)
9 Rawness (anag) (7)
10 Enthusiastic approval (7)
11 Culinary herb (5)
12 Right-angled triangular drawing instrument (3,6)
17 Portly — porter (5)
19 On the shelf (2,5)
21 Cradle song (7)
22 Addictive drug (5)
23 Gorgon — jellyfi sh (6)
24 Inheritance (6)
1 Hair-raising (6)
2 Total unpaid debt (7)
3,13 Extremely unint-
erested (5,2,5)
5,20 Tablet that was the key to deciphering Egyptian hieroglyphs (7,5)
6 Lachrymose (5)
7 Large printed picture (6)
9 Olden days (9)
13 See 3
14 Sexually explicit art (7)
15 Sanctuary (6)
Solution no 13,228
On the web
For tips and all manner of crossword debates go to
Want more? Access over 4,000 archive puzzles at Buy all four Guardian quick crosswords books for only £20 inc UK p&p (save £7.96). Visit or call 0330 333 6846.
Stuck? For help call 0906 751 0039 or text GUARDIANQ followed by a space, the day and date the crossword appeared another space and the CLUE reference to 85010 (e.g GUARDIANQ Wednesday24 Down20). Calls cost 77p a minute from a BT Landline. Calls from other networks may vary and mobiles will be considerably higher. Texts cost 50p a clue plus standard network charges. Service supplied by ATS. Call 0844 836 9769 for customer service (charged at local rate, 2p a min from a BT landline). 16 (Of clothes) short and revealing (6)
18 Oldie (anag) (5)
20 See 5
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