Culture

A musician friend of mine acquired his first iPod recently, and like small boys who don’t realise that everyone else went through this about five years ago, he and I frequently discuss our battles with the things. A musician friend of mine acquired his first iPod recently, and like small boys who don’t realise that everyone else went through this about five years ago, he and I frequently discuss our battles with the things. To be fair, though, there is some substance to these conversations, as we are both fascinated by the way people listen to music — I as a fan and part-time critic, and he as creator, teacher and equally fervent consumer (mainly of 1970s Krautrock, the last time we spoke).

Rothko Tate Modern, until 1 February 2009 The first thing that should be noted is that this exhibition is not the retrospective that its title implies. In fact, it’s a severely limited show, concentrating on the late work only. There are therefore none of the joyful, brightly coloured paintings that sell so well around the world in reproduction. This exhibition is an altogether more sombre experience, the work darker and more minimal. I wonder how many people will buy their tickets (£12.50 per head, concessions £10.50) expecting a feast of colour and be disappointed. I hope they won’t — this is a fascinating exhibition — but it is not a general introduction to the work of Mark Rothko (1903–70).

Veronica Lee profiles the playwright as the Old Vic revives his best-known work Alan Ayckbourn, so theatre lore has it, is the second-most performed British playwright after Shakespeare. So why has he become so unfashionable among theatre cognoscenti? Partly, it’s his own doing. In 2002, disillusioned by the musical-laden, drama-free territory it had become and despite his many successes there throughout his career, he announced a West End hiatus on his work (only recently ended for a revival of Absurd Person Singular with Jane Horrocks). Plus, he insists on premiering all his new work in his beloved home town of Scarborough.

The last ever episode of The Wire was (finally) broadcast in Britain last night. Not, to their shame, on the BBC or Channel 4 but on the obscure, little-watched (hell, little-known) FX channel. A quiet end then. Coincidentally, the end came as, for the fifth time, the clowns who divvy up the Emmys failed to recognise The Wire's genius. In five years the show secured a paltry two nominations and didn't win once.

No blogging for the rest of the day, I suspect. Why? Because I* just unloaded and stacked 200 bales of hay. Best cold beer of the summer being enjoyed right now. *OK, other people helped.

Henrietta Bredin talks to Peter Manning about taking risks and creating opportunities There is an almost palpable forcefield of energy around Peter Manning. You expect a crackle of static to explode when he shakes your hand or wraps you in an enthusiastic hug. Concertmaster of the Royal Opera House orchestra, founder of the eponymous Manning Camerata chamber orchestra and now music director of Musica Vitae in Sweden, his relish for a challenge, for fresh stimuli, is voracious. He is a violinist, a conductor, and now a galvanising producer and artistic director. His current, most pressing preoccupation is with a fabulously multi-layered and ambitious project, the performance of a new opera he has commissioned, for the Manning Camerata to play.

Clive Crook is on good form today: I am a huge admirer of Damien Hirst. Not of the art, which is rubbish, but of the sheer productivity and exuberance he brings to his life's work of fleecing rich idiots. "Oh Damien, you're a genius. Screw me over again." "Why not," he says, munching a bacon butty. Quite so. And why not indeed?

Earth: The Climate Wars (BBC 2); Amazon (BBC 2); Tess of the d’Urbervilles (BBC 1) A Church of England official has issued an apology to the descendants of Charles Darwin for the Church’s ‘anti-evolutionary’ fervour towards his Origin of the Species. I wonder if in about 150 years’ time the BBC — presuming it still exists which I won’t let it do, I promise, once I’ve become your emperor — will make similar amends for having been wrong about absolutely everything from Israel, Europe, Islamism and multiculturalism to women, children, animals and, above all, global warming.