YouSaid · the spoken record
Ian McMillan
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- 52
- first
- 2010-11-07
- most recent
- 2010-11-07
- sittings or episodes
- 1
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Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections
“for the one that would endlessly renew itself and endlessly give your satisfaction had obviously been four minutes thirty three.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“The luxury, I thought, what I'd do is I'd get a bike, a bit like the one they used to have on the goodies. I'm not very good on bikes, but you'd have this bike, and I'd be at the back of the bike, and I'd have some modern models made of my wife and three kids and my grandson, and they'd be kind of at the front of the bike, so they wouldn't pedal, but I'd pedal em round the island. So it's totally useless, a bit like that doll that Tom Hanks had in Castaway. You know, you have to have somebody to relate to. I thought, well, I've missed the wife and kids and my grandson so much that I'll have a wooden model of them, and I'll cycle it around the island. I might manufacture some of these. This could be like a dragon's den style idea, wooden bottles of your own family as a bike.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I thought he'd have to have a book that you could live with for a long time, so there's no point taking a novel that you might finish or something too simple, so the greatest living English poet is a man called Roy Fisher, who recently turned eighty, and he's written his collector poems ago along and the short of it, and they're not easy poems, they're difficult, they're poems that you have to spend a long time with. But honestly, the things he does with language, landscape, visual art, playfulness, and He's fantastic, and I know that I could just live with this vast breeze block shaped book forever.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“That gives it that kind of, honestly, if people can just stand for a minute or four minutes 33 and just listen, we're the most amazing things.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I think that I was thinking about this desert island, and a lot of the time you're going to be spent just sitting listening to the waves crashing on the shore, and a lot of my time is spent on trains or sitting on park benches or wandering about, listening, and it struck me that what I love to listen to is what you might call ambient noise or silence. One of my favourite pieces is John Cage's four minutes third three seconds of silence. People take the mickey out of that piece and they say it's ridiculous, but it isn't at all. It's a piece that makes you listen. It makes you listen so hard. I realise we can't play for me in its third or three seconds because an emergency tape of Christmas sums would come on, so we might just hear a few seconds, but in those few seconds whenever people are listening, they'll hear something astonishing.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Get rid of three the verb When they rang me up to ask him to offer me the job, I thought this is where you got found out, Macmillan, this is you've had it. I was in a hotel in Bournemouth. I was doing a gig in Bourmemouth, and they rang me up and they said We like to do a show on Radio three and I thought Blimey, you're with the big boys now but in fact it was fantastic. We commissioned new writing it's writing language performance that's its strap line It's like in your own magazine or your own publishing house or something or your own t shirt printer But isn't it fantastic that a chat with a voice like mine can not only be on radio for but can be on radio three My next ambition is to be the speaking clock people ring up and they get me telling me what time it is that's what I want to do next”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“But what did they make of your community? Oh, they got, they were very proud. They used to have a weekly column in the Yorkshire Post, and their mother would cut it out, and sell a tape it to the back of the cupboard door. Then when people came for cup of tea, she go, cup of tea. This sounds ridiculous, but it's too. She thought the more radios you had on, the better the ratings were. So when I was on the radio she'd send me dad in the other room with a radio, she'd diverse on in the kitchen, and one in there'cause she thought the BBC was a big bank of red lights, and a few more there's come off Macmillan. So yes, she was inordinately proud. She used to think that when I was on the radio doing something the news would be interrupted by news that I was on something she thought that was going to happen. Fantastic, that's the kind of support you want, isn't it?”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm a big fan of American music and art and language. George Gershwin is a chap who I'd love very much and this is Rapstein Blue which I would teach myself to play on a clinet that I made out of a coconut on the desert island.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Occasionally, but she's at ill before but she's been so astonishingly supportive of this ridiculous job that I've got, you know, then the other and the other end, you know, when I've done a show, and I come home, the kids will say, So tell me again, Dad, people pay to see you talk, I'm afraid they do'cause at home I'm like Jim Royal. I've sat there in a vest listening to Captain Bart. So yeah, so the kids have grown up with it. When the kids were little, I used to put a poem in the lunchbox every day when they went to junior school because I thought that was so beautiful. And then my eldest went to secondary school she came and she said don't you ever dare put a poor melon spooks again? And then the mates at secondary school thought'cause they knew me as a poet. They thought we lived this strange life where we didn't have a telly and we all sat round in a circle at home reading poems to each other but it's not like that.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Years old, she was in the class above me at school, and I fancied about I daren't say. So I got my teacher Mr Brown, who was a very great mentor of mine to tell her, so I don't even ask, don't even ask her out. Come partly,'cause I suppose I miss Mr Brown spoke like this So I said Mr Brown I really fancy her that I was like down the other end of the corridor and I saw him walking down as she stood there he went I just went all right, and that was it. And yes, we got married in 1979 and been married ever since. How fantastic is that?”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“We haven't yet I'd like to I would like to collaborate with him and my ambition is that he looks after me my old age, you know and kind of writes poems and I have this vision of me I've a conservatory with a rocking chair that is actually like a cos because as soon as I sit in this rocking chair I fall asleep my ambition is that me and my wife are sat in these twin rocking chairs and my son comes in and he's just written to point this one him ten thousand quid in a competition that'd be nice wouldn't it”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, I got it and it converted. I said, right, I'm off. I'm off to right now. I went up and I sat there, and it was like being on the desert island, in fact. I thought, what's happening downstairs? So I came downstairs and I said, don't like it up there. So one of the girls had it for her bedroom, because I just like a bit of noise around me. So I work on the table in the back room with my laptop and my notebook, and I write on the train, I write on the bus, I have to sit somewhere where there's a bit of noise my grandson comes in we play a bit of football, we play monopoly, the girls come in, my wife's there's noise happening. It just helps me to think.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Like a real writer. Like a real writer, exactly, like a real writer. And I said we had the loft converted. And I said, right.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“A huge pile of Stack Stucks people give me stuff all the time. And so what do I do? Do I devote the same amount of time to that as to everything else? I should, if I'm not kidding, if I'm saying all right, this is important.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“I think young people are so creative, I think these last few years there's been a I don't know there's been a renaissance I think when I was younger to perhaps admit that you wrote poems was quite odd. But these days young people are very happy to show that they write poems, write songs young men who can rap and who can do freestyling is a kind of currency that you would never have got in my younger days. Not just young people older people I work a lot with old people I work with people with mental health problems I work with people homeless people they've all got something to say the problem is the big problem is if they can all write it when do I get the time to read it? That is the problem People are always giving me poems People stick points through a letter box”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“It certainly is, well, this is, okay, this is the opposite of Captain B-Fat Muller and Vermont. It's another sentimental one. It's Bing Crosby singing White Christmas. We'll all be blubbering again.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“The trouble is to have convinced us all that we don't want to pay tax that interests me. I love paying tax. I think paying tax is what separates us from tortoises and grapefruit, you know, this sounds pretentious. But I think, you know, tax does separate us from monkeys because we pay tax to help the ones who aren't as fortunate as us. I'm sounding like an old ranting fool here, nondal isn't a lot of Captain B fat.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“That's true, I mean nostalgia is the true is I am nostalgic, and I'm sentimental so what you don't want to remember is the terrible wages, the bad conditions, the way that people were forced to work down their book, but as I said before, what is good is that sense of community and the idea of collectivism”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“But it's interesting because you're trying to we are trying to reinvent ourselves in Barnsley, because the reason you were there, the reason that the population was there, has been taken away so now you have to try and reinvent. I think the trouble is sometimes post industrial places tend to look back a little bit, and maybe you cannot but you can't forget history'cause history informs us, but you have to look forward as well, and it's trying to find a role for a place that's had the reason for it being there taken away, and that's the reason. One of the reasons I stay, watch it, comment on it. Be there, as the place begins to reinvent itself. The answer you can do in a sense.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“It was interesting it was a literary element to that strike. It was so interesting. I remember getting the bus from Wakefield to Barnsley once during the strike. This little chap, with a hat on, Trilby, cut up on the top deck, and he said, I've got a point for you about the strike, and he read it. And it was like being in some kind of literary salon. It was astonishing all across that top deck. People commented on the poem. They went, I didn't like that. I didn't agree. Somebody said I like that fourth line. That was so fascinating, and there'd be a lot of people writing poems, people would write poems who'd never written them before, so in a sense there was a literary element to it, interestingly, very interesting.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, it was a very interesting time. I'd just gone freelancing. I went freelance in nineteen eighty one, so I'd only been doing it a couple of years. Suddenly the focus of the world was on this little place. So it was a very, very odd time. I remember watching News Night, turning news night on, and them saying there's a riot happening at Courtonwood, and you could walk out the door, and you could look across to where Courtonwood was, which wasn't that far away, and you could hear it. You think, oh, that's interesting. You know, a place that's kind of been ignored by Street in a way. Now he's the focus of history, and I thought the job of the point then is to write poems about it, so I wrote a lot of poems about it at the time.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“This is, I like music that empties the room. If it was up to me, I'm a fan of what my wife calls squeaky gate music. I like music that is just strange and weird. And this is the great, the mighty Captain B fant, Moonlight on Vermont.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“The equivalent of federally. It takes him to register parcels. I go and see somebody to type this thing out, and then I took it to Barnesley Station, and it went down to St. Pancras, where somebody from the enemy would pick it up, and that cost me fourteen quid, so I got two quid.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“How shall I? You stuck them together. And I thought this will be interesting because it's a mechanical job, so I'll be able to think about poetry while I'm doing it, and that'll be a good thing. But if I couldn't, because it required a little bit of thought. It nearly killed me writing, to be honest, because it was just so mechanical, so repetitive, and I stuck it for about a year, because we just got married and needed to earn money. But at that time I was lucky enough to get a grant from Yorkshire Arts. They gave me eight hundred quid. So my wife and my parents always support it. Won't go on the give a job if you want. Go on, go on, then. So I did, and I gave my job up, and there that's a terrible moment. Gosh, you stood there, like the long man of Wilmington going Ham here, come on, everybody, then nothing else, nothing at all happens, and you go Ok, and then I started running writing workshops. All over South Yorkshire, I started writing reviews for the enemy, I started reviews.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“The taste ball factory In the middle of Burnsley, and I was on this machine called a buff and dip machine,'cause they buffed and dipped.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“It's true that sometimes people do take me on one side and say Ian, we wish you'd write some proper poems, but the trouble with me is I'm a kind of relentless popularizer. So over the years I think I've become blunter, I've become these things that I do with the point in residence for the football club, for the opera, all these things about for me popularizing poetry and just saying to people you can do this so I think I have lost a bit of any kind of subtlety that I might have had, but I don't mind that I don't mind and in fact there are a lot better poets out there than me so that's all right.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Some people don't like it. Easing up. Some people think I'm a kind of fraud and a charlatan and that at home I don't like Prince Charles.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“I sat in this plumming shared lounge in this guest house with these elderly women who were like the ones on faulty towers, and my mother said Aurians writing the libretto of an opera, who'd like to hear it? And they said, We'd like to hear it so I remember reading out. The libretto of the diamond stood at triceratops,'cause I was and my eyes were like that because I was only eleven. Then I went out and I bought a lone again or by love, so it just reminds me of that amazing time when it feel absolutely anything's possible. You can write a libretto, the diamond stood a triceratops, they'll love it.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“This was a great alone again or by love, which I first heard in nineteen sixty seven when I was eleven, and you're at that kind of strange age where weird things are happening. and we went on a holiday down to Western Supermare, and we stayed in this ben breakfast, and I was writing get this, I was writing an opera called the Diamond Studded Triceratops. Isn't that pathetic and sad?”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Very encouraging, actually. My dad always said I should get a proper job. Me dad always thought partly cussed the times they'd live through, my dad said Oh it'd be a BA not a BF which is a fantastic thing. He meant bloody fool but then they were so proud, so proud once I started getting poems published in the school magazine and stuff. They wanted me to do it.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“I think at junior school because that fantastic education were the not in so many words but they said here's a continuum here's Shakespeare Dickens new you can do this you can be a writer and then at the same time by being a bit of a shaff you think that could actually stand up you could combine them”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Could have been. Yeah, I mean, this would be the early seventies I'd seen. One of the first people I saw perform was Roger McGoff and the Liverpool poets Adrian Henry and Brian Pun. And so I thought it was the natural thing to do. I remember me and my friend would do poems and the climax of our act would be that we play stranger on the shore on a pair of plastic watering cans. They were just so exciting”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“No, I was always a chauffeur. I like to just talk and that, and I formed a folk rock group with my mates in Barnsley, Oscar the Frog we were called, and I was the drummer, except we had no drums, so I'd tupp away. My mum's tupperware, and I have no drumsticks, just knitting needles, and the first gig was at this church hall jumblesale, when the rector said I'll give you twenty minutes once they've started buying. No, he acted, and they shut the curtains. But that was it. I was so excited. And then because I was writing poems and I thought, where do you go and read them out? Where do you read at your poems out? There was no kind of literary scene in Burnsley. So folk clubs were the place. You go to folk clubs because folk clubs were very welcoming.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm a very sentimental man, and this is one of my mother's favourites and my dad's favourite, the Blackhills of Dakota. And I was thought it was interesting that Custard been apart for so long because my dad was in the Navy for twenty odd years, and it'd be wife two years at a time. So sometimes when they both got older they'd sit in separate rooms in the house. My mum would be in the back room, we'd daddy be in the front room, and this would come on the telly, and they'd both be singing it from different rooms, and I thought I'd sit with him if you want I'd be fine. Sit with her if you want, no, it's all right. Then we get the song.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“The funeral'cause it was just after Christmas. I think a lot of the ordinary pallbearers were on holiday. So we had some kind of reserve team of pawbearers who were all older than my mother. And it was this fantastic thing that my mother would have laughed at'cause they all had come of us, every one of them had come of us, and there was a gale blowing. And it was like walking through seaweed. The hairs going like this, and I caught the eye of Mr Charles with the fella, and the eye meant don't you drop, dot you drop her,'cause she wasn't a big lady, but these guys were fragile. And then at the end of the poem, she's cross with me because she'd not had time to have her hair done,'cause I know that she was so precise about that once a fortnight she went off to her mate to get her hair done, and she had not had time to get her hair done before the funeral, it would have been my fault.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“That funeral was quite astonishing because she died just after Christmas two thousand seven it was. My dad had been dead a few years and she'd not been well for years and my dad had died on the Christmas day. I thought you don't want to lose two on Christmas day. But when she eventually died, it was terrible, but we knew, I guess, that it was going to happen.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“They did mit me. Me dad was just a gentle kind of romantic man when he left the navy went to work in an office in Sheffield, and he'd come home every night about half past six, my mother would go and get changed, and she'd put a little dress on and some pearls, and she'd wait for him coming in, and he'd give her a kiss. It was a sustained thing, quite astonishing.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“So she went aw, and she got a train across and they got married, and they had one night together in the Tontin Hotel on the main street in Pebbles, and she went back and got arrested two weeks in the glass house for love. In that fantastic. That is the most romantic thing of that romance sustained em. I think that's one of the reasons that I'm a writer because they were brought together. By words, by writing”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“That's right, she went to prison. Yeah But what happened was that they wrote to each other for a couple of years before they met. They wrote to each other because my mother's mate had got a penpal on my dad's ship, and the romance blossomed, and then they managed to meet a couple of times by this time it was the war, so it was had my dad to be birthed in Plymouth sometimes and come up and try and meet, but they couldn't quite manage. Then my dad sent his telegram. I've got forty eight hour pass, stop, let's get married, stop. So he got the train up from Plymouth to Pebbles, and my mother was at this time in the wafts, and she applied for this forty eight hour pass, and they wouldn't give her one.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“And he was from a place called Carmoth near Lanock, and my mother was from Great Own the next village to Darfield in Barnsley. They met as pen pals just before the war.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“While this was the great Andy Stewart, the godlike Andy Stewart seeing Donald Wager Truses, and I'll tell you about him afterwards.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, they did, I mean, my father in law worked down Old and May and Pitt all his life, and had terrible, terrible problems with his chest, and you wouldn't wish that on anybody, but I think what has gone is a sense of collectivism and a sense of the individual wanting to do well for the greater good of the place.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“It was interesting because my career's talk was a bit like the one in Kes, you know, where you go along in this You're a bright lad, you can work in the pit officers. So there was this expectation, I guess, that the pit would nurture because it did. It was a cradle to grave thing. There was sports sections, choirs, brass bands, sounds like a cliche, but it's true. But there's also this idea of the you could aspire to be a creative person, I think.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“So he didn't work down the pit, and Zoe Rothin's dad was the school caretaker, but apart from that, everybody worked down the pits, the graph was ridiculous in a way, it was pit, Zoy Rothin's dad, Ian's dad. And what?”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Like the hills. I remember an essay we had to write at school, at junior school. My junior school was the most amazing place'cause it was part of the West Riding of Yorkshire, which was a wonderful education authority run by a godlike genius called Sir Alec Clegg, who said that all children are creative, and it was the most amazing place. This essay that I wrote Barnsley in the year two thousand, and it said We will all wear a silver spacesuits, we will eat our dinner in tablet form, and we'll go to the pit on a silver monorail. we thought that wouldn't alter. We had this graph when I was at school. What my dad does? My dad was in the navy.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“It's true that it was a kind of a bit laurentian in that you didn't have to go very far to get to Greenhills, that's true, but it's also the fact that the pit stack of Oaten Maine dominated the village. Certainly there was a huge hill.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“Just because I imagine myself on this desert island and what I imagined was huge banks of cloud, and that's what this tune reminds me of, a Michael Charlie used to play it on a seventy eight, and it was so scratches it was like it was being heard from another room. He'd play it, then it stopped me go. That's music, Ian, that is music, and it always makes me want to blubber, so that's why I've chosen it.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“So it's like if you go down to Derbyshire, where a lot of my relatives come from, North Derbyshire, where they call the house that ass, I find that incredible. I've just had double glaze infitted in my hands. Have you really? There'll be a kind of house slash ass thing an interface where it alters.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“I'll greet you on in a way that couldn't be repeated on radio because I'd move my head slightly to one side'cause that's what they do with a kind of minimalism. It's just a slight sideways movement of the head. What interests me so much is that it changes. You know, you move fifty miles down the road to Sheffield. And the soft the now then gets replaced by a hard darin. There's a thing called an isogloss which linguists talk about, which is where language changes in a very small space.”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source
“People always said that when I was at school. My English teacher, Mr Brown, my great hero, I wrote at the bottom of one of my essays, Em Macmillan, future Nobel Prize for Literature winner, and he took me on one side and said Nobel Prize winners don't come from Barnesley. I thought, isn't that interesting?”
2010-11-07 · Desert Island Discs · Ian McMillan · IDENTIFIED FROM THE TRANSCRIPT · source