Some culture for you all this morning, even if the inspiration for me posting it comes from a less than cultural place.
On Thursday night here in the UK, the latest series of The Apprentice started. There is a USA version too (it came first, naturally) which is hosted by some chap called Donald Trump. The UK show, however, doesn’t feature an idiotic, racist, sexist, homophobic, lying orange baboon. Were it to follow the absolute template of the US show, then it would be fronted by someone from UKIP, if they weren’t battering the heck out of each other at the European parliament. (By the way, if UKIP hates Europe so much, why do they have so may Euro MPs?)
But instead of either of those options, we have British businessman and former Chiarman of my beloved Tottenham Hotspur, Lord Alan Sugar, who a group of aspiring businesswomen and men compete to impress, for the chance to win a £250,000 investment into whatever their loathsome business idea is.
(Say what you like about the British political system, but at least the only button that Sugar’s finger will be hovering over in six month’s time is on an Amstrad Em@iler Plus)
Each week, the group are split into two teams and set a task; from the losing team at least one person is “fired” from the show (obliquely referred to as “The Process” by Lord Sugar and all others involved in it).
The challenge this week was to sift through a warehouse full of mostly old tut, but with some genuinely high value items and antiques in there too, sort what may be of value, then go and flog it for as much as possible.
I love The Apprentice, and always look forward to seeing this year’s candidates, who, I was delighted to find this week, are the usual mix of greedy, egotistical idiots. There are already several that wind me up, and I can’t wait to see them unravel and fail over the coming weeks.
Anyway, I said there was going to be some culture today, and here it is. The music played every week over the opening titles of The Apprentice is this, taken from Sergei Prokofiev’s “Romeo and Juliet”. The movement in question is often referred to as “Montagues and Capulets” but is actually titled “Dance of the Knights”. It deserves to be played loudly:
Indie pop kids of a certain age will know that The Smiths often used that as their walk on music, as can be heard here (just about) from the opening of their contract-fulfilling live album “Rank”:
Of course, this is not the only time that Romeo and Juliet have been referenced in pop music (don’t worry, I’m not going to post Dire Straits’ “Romeo & Juliet” again). I’m thinking here of the mention of Montagues and Capulets in the Arctic Monkeys break-through hit from 2005 (really?? That was eleven years ago????), “I Bet You Look Good On The Dancefloor”. Here’s the video, which I’m posting instead of the song because a) I imagine you all know and own it already, and b) I love the moment drummer Matt Helders performs the backing vocals before delivering a pleased-as-punch wink to the camera:
Such a great record, that.