it's a fascinating process. i mean, each piece of marble is individually cut, and chosen for its shading purposes. take the wine bottle alone-- i mean, that little piece of shading there, that's an individually cut piece of white marble, which is put in purely to give the illusion of a reflection. where did you get it? well, i bought it over 30 years ago from a business of a former employee which was being wound up, and i've had it ever since. and how much did you pay for it? do you remember? i paid £110 for it. wow. which, 30 years ago, would be £800 or so, is that right? yes, yes, that was quite a lot of money at the end of the 1970s. it is a lot of money. but, i mean, your investment has paid off. i mean, if you think-- well, let's say that's £800. i mean, if you times that by... 4. i mean, i-- i'd say in the region of sort of £5,000 or so for-- whoa. i mean, it's just such a stunning piece. i mean, there's--

i mean, it needs an international market it's such a good piece. well, we-- we love it, and, uh, we've got two daughters, so we certainly won't be selling it. it'll be staying in the family. what a fascinating group of items you've brought along. very varied, too. that is very true. yes. so, where did they come from? well, they belonged to my husband's family. i think mainly collected by his grandfather and grandmother, who traveled quite a lot. now, in their travels, did they go off to the far east? yes. 'cause there are two things i particularly like in this group. oh? and this is why i'm asking you about the far east. with these. i bet they brought these back from the far east. oh, i didn't know that. i don't know-- because these are what is known as china trade. in the great ports of hong kong, shanghai, canton, the chinese silversmiths were making for the european market, yes. and that's what we've got here. and with this coffee pot-- and we're looking at the earlier part--

late 19th, early 20th century. it's absolutely stunning, the way it's made. this very unusual decoration with this casting of this very free sort of flow of the silver. absolutely love it. and then all the applied decoration and so on here. what's lovely with the marking in those places... is what we actually get... we've got a chinese symbol, and then we've got the maker's mark. it's "m.k." and actually, the "k" is the wrong way around. oh. because he's chinese and he didn't have a clue how to write the letter "k." oh, yes, yes. the same as if i tried to do those chinese characters. i'd probably get them completely wrong. that's very interesting. and it's a particularly sought-after form, with this really quite rare decoration. this one has it, too. that one-- exactly. the teapot has it, as well. but... i'm even more excited by something else. what's that? that's this. oh, that's the one. that's the one i like.

well, absolutely. it's fascinating. and do you know what it's for? no. that's what i've been wondering. i was hoping you could tell me. well, when did you last carry a posey around with you? oh... well, that's a thought. no, i don't think i ever have, you know. right, 'cause that is exactly what it's for. how lovely. and this is why you've got this pin that comes out. so, the posey goes in there with a bit of water to keep it nice and fresh, then the pin holds the posey nicely in place. i've wondered about that. and of course, that bit of chain that's come off-- that originally linked up there and made sure you didn't lose the pin. yes. no date lettered, but around 1860... 1850, 1860, that sort of period. and of course, these are scottish pebbles. yes. and pebble jewelry is very much sought after. quite a number of them are agates. there are other stones there, as well. they only occasionally come on the market,

though i have to say this is about the finest i've ever seen. oh, thank goodness. i would say today... if it sold at auction for less than £1,500... good gracious. i would be very disappointed. my goodness. so, what about these? have you thought about the value on these? no, i hadn't really thought about value of anything. no? because it is a very collectible market, i would suggest at auction the coffee pot and teapot together... be thinking of... £2,500, 3,000. mmm... this is sort of staggering, i must stay. ( laughs ) i see. and you've got a few other bits as well, but, so there-- those are the two that really excite me as objects. that's very interesting, indeed. so, do tell me, what made you start collecting compacts? um, being taken to antiques fairs by my mom

and my grandmother when i was very young, and having to find something to amuse me while i was there. and you really found those attractive. they were shiny, so yes. exactly. exactly, and you were five. yes. my goodness. so, how much money did you have to spend? at that point, about 50 pence, or if my grandmother was willing, she'd pay for them. ( chuckles ) so, did you get any for 50 pence? yes. um, you'd go up holding your little 50 pence, bat my blue eyes, and someone would feel sorry for me and give it to me, ( laughs ) even though it really was worth a lot more than that. well done, you. well, i'm sure you know that the history of compacts really started in france, in paris. and, um, it sort of hit the states and here well into the '30s and '40s-- and the '50s, you've got here, as well-- and, um, a lot of the cosmetic factories made their own, or at least put their stamp on some of them.

um, and one you've got here i see, which is a yardley. i saw that in a guide to compacts, and then i noticed it 'cause it had a dog on it, and then i saw it in a store, and it was-- it wasn't expensive. it wasn't nearly as expensive as they said it was in the book. so i picked it up, thinking, "that's a good purchase." well, very good. excellent. so, your first one was which one? this was my first one. and i got that for 50 pence. you didn't! you didn't. yes. well, what's so special about that one is it's not only got powder compact, but it's got a little photograph frame, if you like, to put your loved one in. maybe you'll do that one day. ( laughs ) um, do you ever use it? no, i don't ever use any of them. i'm too afraid to. oh, yeah? are you really? well, you keep them very well. look out for the more unusual ones, made out of maybe bone, or something like that. and, um, this is gold. mm-hmm.

so, you've done really well with this one. what did you pay for this? 90 pence. shall we open it? yes. i think i know what's going to be inside. it is, it's a musical box. mm-hmm. so, while you're powdering your face, you can listen to some music. ( chuckles ) it's got six tunes! that's fantastic. and this-- although it says it's made in england, which is melissa, um-- the musical movement would've been made in switzerland. and what's so great is it's even got a stop-starter, so you don't have to have it. if you want to be powdering your nose in the cinema or something, and you don't want it to make a noise, it doesn't have to. and you've even kept the little, you know, instruction sheet, which is brilliant, and to be honest, this one is going to be your most valuable. and i would put £200, £300 on this. wow. ( laughs ) i'll need to take care of that one. well, i'm so impressed with your collecting. how many have you got? um, about 100.

if you've got 100 at home... mm-hmm. and you paid £50 for one, and this is worth £200, i'm just gonna work on the basis of an average of £50-- you've got £5,000 worth of powder compacts. wow. now, are you saying "thank you" to your granny? uh, definitely. definitely. without her, i wouldn't have all of these, so... what a great granny. ( chuckles ) ( music chimes ) ( laughs ) fiona: we're all sheltering out the rain in here. hello, this looks interesting. what's in here? a ram's head. a ram's head? yeah. yeah, it's a snuff mull. it's a what? a snuff mull. a snuff mull. can i have a look? yeah, sure. oh, my word.

can i lift it out? yeah. i feel a bit funny about touching it, actually. so, what in heaven's name is this, then? well, obviously it's a ram's head, but what's it for? you do it-- you use it for taking snuff. how? basically, in on here, you open this up, and you keep the snuff in here, and let's say-- where its brains would be. yeah, basically where its brains would be. and let's say you're having a dinner party. at the end of the dinner party, um, usually, one would take this, and wheel it around on these wheels. oh, my goodness. and then you would take turns having some snuff, and it was their tradition in the victorian age that this was instead of smoking. it is truly hideous, isn't it? do you want to try some? try some? yeah. okay. how do i do that? well, okay-- get the spoon. right. and then you just put it sort of... in there? yeah. and then you just sniff it out. oh, god, as much as that? is that too much?

no, that's fine. you're fine. you might sneeze. and then you have to block one nose and sniff it up. it's fine. go on, i dare you. ( chuckles ) okay. oh, god, i can't believe i'm doing it. ( sniffs ) ( coughs ) god! aah! ( chuckles ) that-- ugh! that is revolting. very wet out there, so we got-- we're lucky. we've come inside. yeah. wonderful room. and wonderful object. thank you. you like it? i've loved it. i've loved it since i was a small girl and i used to visit this old lady at her home called mrs. robertson, and i come from the isle of jura, so we always just called it "the japanese box." were you, as a child, allowed to play with it? yes. were you really? yes. not a good idea. mmm. children and works of art. but you were very good. as far as we can see, we've only got one chip,

but apart from that, it's in really good condition. where do you keep it? well, right now i keep it in a cabinet, but i have to say, when i was at university, you know, it was my jewelry box. oh, my god. i know, i know. i had it in a rucksack and things, yes. oh, no, no, no! i don't want to hear that. ( laughs ) do you know what it is? no, haven't a clue. haven't a clue. no. right. well, this is japanese, and it's a small chest called a kodansu, and it's made out of wood and then lacquered. various mounts we've got-- the handle, the hinges... the catch... they're all in silver, which has been engraved. and the body is in different tones of gold lacquer, and silver, and these were used for keeping small objects in. but i think this one-- which is actually, of its kind,

relatively late-- say, 1870, 1880-- um, was probably made for the western market. and if you look at this, we've got irises on here, and we've got swirling water. when these arrived in europe, they influenced the artists and the manufacturers in europe, and what came out of boxes and prints and works of art like this but the art nouveau movement. oh, wow. this is art nouveau. oh, okay. and it started, really, in japan. if we open, we have this fantastic... variety of lacquers, tiny little specks of pure gold on this drawer, abalone shell let into black lacquer here,

which gives the most fantastic iridescent effect, and then silver dots on here. it all works absolutely brilliantly. um, i think it's-- it's a nice thing. the market for japanese things is a bit soggy at the moment, but i think, you know, that if this came up for auction today, we would be looking around £1,500, 2,500. oh. right. happy? yes, but i wouldn't sell it. i've had it for so long now, and i've loved it. oh, i've gotta put my checkbook away, have i? yes. ( laughs ) thank you. no, thank you very much. well, slipware dishes like this were only ever sold locally, close to the potteries where they're made, so family history is vital in pinning them down. what's the history? well, it came into our family about 1850 through my great-grandfather. oh, right. he had a joinery business known as langermend and fischer. uh-huh. and apparently did some work for a gentleman in a small hamlet called gilnockie,

and he couldn't pay for the work, and they gave him the plate in exchange for the work that was done. well, 150 years ago or so-- i mean, the dish itself goes back even more. i suppose we're looking here at the beginning of the 18th century. so, 1720, 1750. they're not easy to date, but what a wonderful thing to have got. the dish itself, of course, is a great piece of slipware. i mean, you can feel the potter making it, can't you? just dribbling the clay-- different color clay, just mixed out of the ground-- and mixed water into a rather sticky sludge, but just trailed and dribbled on to form a pattern. the design, of course, is very much a sort of-- well, it's a middle eastern design of tulips and roses, copied by the dutch potters in holland, copied by english delftware potters, and then by a scottish slipware potter, producing a splendid dish just to use-- just to decorate your home, and then coming down

in the family to you today. for slipware, it's not actually bad condition. i mean, it's got, uh-- there's a few cracks, but i suppose originally it was used. it was a pot that was around in the home. then, i suppose-- is it treasured now? yes, very much so. where do you keep it? in the cupboard. ( laughs ) what's it doing in a cupboard? i mean, i feel as if it needs to be kept safe, but, i mean, a design like this, you want to really show it, and display the wonderful spirit. that's what slipware is all about. it's a spirit in pottery which is mixed of age, it has great charm, and nowadays, great value. i mean, 150 years o, it was worth the price of a job. um, today, that dish is going to be... £15,000. oof! ( chuckles ) 15? ( laughs ) goodness. slipware is what all the great collectors want.

now, dare i say it doesn't look too much at first sight, does it? no. it's been through the wars a bit on the frame, hasn't it? yes. at least it's behind glass, so it's protected. now, um, what is it, do you think? well, it's a painting of william nicholson. he painted it. he's the artist. he was living up in my mother-in-law's house, my grandparents' estate, while he was ill one summer, and he painted it when he was here. oh, he'd been recuperating, was it? he'd been recuperating, yes, from an illness. i see. he didn't sign it. we always looked for a signature, but we couldn't see anything. but it's indisputably his work. oh, good. it's, um, it's a picture of three calves in a meadow, in a sunlit meadow, with a great backdrop of tall trees of different varieties. and, um, the sky beyond. it's lovely. here in the trees, there's a multitude of different greens and yellows.

i don't normally like those colors together, and yet, you suddenly realize what a complicated picture this is when you start to really look at it. do you know about william nicholson? no, i know nothing about him. well, he's one of the sort of-- if you could think of three of the most important edwardian portraitists, he'd be one of them. all right. encouraged to paint by whistler. augustus john and orpen would be the other two, perhaps, but he's one of the greats. all right. oh, there's no question. and he painted in this very slick way, uh, with very solid colors and very clean lines, and then later-- 'cause this is, we think-- when was he-- when was he at, uh-- i'm not sure. i think it was before the war. before the second war. before the second war. so, in the '30s. yes. yes, well, that would make sense, because i think it's a relatively late one. he died in 1949. and, uh, and actually, he seems to sort of, um, slip away from that very high finish, that very edwardian way of painting,

into a much more-- you know, much looser, more relaxed form of painting. and what he also became famous for was all those amazing still lifes of lusterware jugs, very silvery jugs with, uh-- with maybe a bone-handled knife and a single piece of fruit on a plate on a table, and they're very clean and they're very beautiful. so, this is completely different, then. very experimental indeed, but i think it's a really interesting picture. it took me a while to sort of come to see it, to be honest, when i was looking into it, and then i noticed how he got this wonderful transparency in the trees, and the confidence of some of these brush marks here. these are brush marks, i think, going across the top of the meadow. now, um... something like that-- not entirely what people expect by sir william nicholson, but nonetheless, i think it's going to be worth something in the region of £30,000. oh, my goodness. ( laughs ) and i haven't cared for it and these little bits have fell off. ( all laugh )

i wouldn't worry about the housework. ( laughs ) and if, in fact, it had to be bought retail, then, uh-- then probably £50,000 or 60,000 might be closer to the mark. oh, goodness. it's not surprising when you've seen so many golf clubs today when you're surrounded by some of the most famous golf clubs in the world. um, royal train prestwick and turnberry. and do you play golf yourself? yes, yes, i do play golf, yes. and you're local? yes, yes. i play in turn. i have to say, the majority of collectors who collect golf clubs are male, and you're the first female golf collector i've ever met. what interests you in them? i just find the history of golf clubs fascinating. i find the woods they used and the metals that they used very interesting, and i just-- i just-- there's such a variety. it's fascinating. i just really enjoy it. well, you brought a lot along today. i'm just gonna select three that i particularly like. um, the first is, uh, what's commonly termed

maybe a blacksmith's type? yes. um, it's one of the earliest type of irons. completely smooth-faced. and they often have this rather crude fitting between the stem and the actual iron. um... this is an extraordinary one. yes, i didn't think it was an actual golf club when i got it. and it looks like a segment of an orange, doesn't it? but it's a driving iron, i understand. yes, yes. and this would've been used on the fairway or from the tee? um, it'd be used on the fairway, and it was-- it's quite handy if there were hoofmarks on the course, or rabbit scrapes. so, this was to get you out of trouble. yes. i mean, this probably dates from around about the 1880s, 1890s, but probably my favorite piece of the whole collection is not really a golf club at all, is it? no, no. but it's a walking stick. yes.

and i understand-- and you might tell me if i'm totally wrong-- that this was called a sunday stick? that's right, yes. a sabbath stick, yes. 'cause back in the-- presumably, the end of the 19th century, you were not allowed to play golf on a sunday. that's right, yes. but you could go for a walk. indeed. and then, when the minister wasn't looking, you could quickly turn it around, get your ball out, and have a quick practice. absolutely, yes. and can i ask how much you paid for it? yes, i paid £250 for it. which was not an insubstantial sum. no, no. but i think this is a real gem. you know, it's in perfect condition. it's got the troon maker on it, and it's in absolute pristine condition. i mean, i think today at auction, you'd have to pay £450, 500, so i think that's a real beauty. yes. great fun. thank you very much. thank you very much, and good golfing. thank you, thank you. where has this rather unpretentious vase been lurking before you brought it along today? well, it's been at my loft. we've been cleaning out my loft,

and we came across this. we were going to burn it. we thought it was just a heap of junk. yeah. so, we were going to burn it, and then we thought, "no, we'll hold onto it." 'cause we heard the antique roadshow was coming here, okay. and that's how i've held onto it. but i actually bought it at a car boot. yeah? and it had, like, a plant inside it. a kind of purple plant. mm-hmm. that was the reason we bought it-- for the plant, 'cause it was quite nice in the bowl. yeah? so, you're-- you're not emotionally attached to this at all, are you? i can tell. no. no? no. well, do you know who made it? no, i don't know anything about it. all right, well, can i tell you? yes. okay. because if you'd look very carefully, there's actually a name on it. and the name is sort of lurking behind here. we'll turn it 'round. and that name... is lalique. and so... have you heard of lalique? lalique? no. lalique? no? okay, well, you're on a rapid learning curve today. ( laughs ) aren't you? well, let me tell you about rene lalique. he started off life as a jeweler, and he became france's premier jeweler

during the sort of 1890s, 1900 period, in the grand days of the art nouveau style. and then he turns his attention-- in around about 1900, 1910-- to glassmaking. and, um, he became probably the number one commercial glass maker of the entire 20th century. so, he's got quite a good pedigree, and there's lots of different types of lalique glass. yours is that little bit different. now and then, you get something called, um-- a cire perdue, or, a "lost-wax" process. um, and this is a candidate, um, because this originally would've been made in wax. the idea being that once you modeled it in wax, you would then encase it, using a liquid sort of fired clay slip, which would then set hard around it. so hard, in actual fact, that what would happen is once it had set solid,

you would bore a hole into it, straight through to the wax, and then you would put it and heat it in an oven, and all the wax would drip out, leaving a void inside, into which you would then pour molten glass, which would then fill the void. now, once you've done that, the only way you're gonna get it out is to break the mold. so, that means that a cire perdue piece, or a lost-wax process, is a unique piece. so, there's only one of these. whereas you might get several hundred, and in certain cases, thousands, of his other designs. so, that makes it that little bit more special. date-wise, i suppose you could be anywhere around about 1920 to maybe 1935. so, car boot. yes. for a plant. how much were they asking for the plant? we only paid a pound. about £1. you paid £1? for the vase and the plant. you paid £1. right, okay. you know, the-- the questions i get asked about this program-- do you know the first question people ask me?

they say, "have you ever broken anything on the antiques roadshow?" uh, that's the most familiar question i get, anyway. the other question is, you know, "what's the most expensive thing you've ever had on the antiques roadshow?" well, i remember it was probably in grimsby, about 15 years ago, it was a great big huge french jardiniere. that was grimsby then, but i've got to tell you now, that as of today, i think it might be this, because this is worth-- are you joking? well, it's worth a mere £25,000. oh, my god. now, we've-- we've had a lot of clouds over here today, you know that, don't you? and they do say that every cloud has a silver lining. i can honestly say that we've only had one cloud with a silver lining, and it's your vase. now, tell me about your loft. ( laughs ) oh, i think you know. fiona: quite a moment for eric. he tells me he's been waiting a mere 27 years for such a moment. and i think there'll be a bit of a celebration

in one ayrshire home tonight. okay, please. before we close, just time to hear about something of a new beginning. the rescue of this remarkable house by the heritage trust set up to look after dumfries house doesn't end here. the trust is keen to ensure it continues to play an important role in revitalizing the economy of this region. it's an enterprise close to the heart of the prince of wales. i felt that here's an opportunity to see if we can begin the regeneration process for, um, an area which suffers some great disadvantage in east ayrshire. former mining community. all the mines have closed. and it just seemed to me, here was a real chance to do something worthwhile. and, you know, to link the local community with the house-- it all hinges on this enabling development on the edge of cumnock, which is the local town. and i want to try and see if we can

do a version of what we've already been doing with the duchy of corwall on the edge of dorchester at poundbury. and, you know, a mixed-use development, uh, to try and bring in extra employment and new people, and to improve the environment, and to link that extension to cumnock and auchinleck, with, you know, the grounds here, so that you actually create something really worthwhile. that's the aim. if it can be done well... and if we can keep it going and not have to sell the furniture eventually because we haven't got any money, that will be a success. ( chuckles ) your royal highness, thank you very much. well, it's been quite a visit to dumfries house, with special guests and some unexpected finds. thanks to all those who joined us. from ayrshire, until next time, bye-bye.

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america." >> this is "bbc world news america" reporting from washington. just days after u.s. forces leave, iraq faces political crisis as the prime investor asks for the vice president to be handed over for trial. the american city on the brink of bankruptcy and the people refused to give vent on an economy in crisis. a blast from the past, they thought it was lost but a rare recording of a bowie classic is rediscovered.

welcome to our viewers on pbs in america and around the globe. it has been less than a week since the last u.s. troops pulled out of iraq and already the country is facing a standoff which threatens the stability. the vice president has been accused of terrorism. the prime minister has demanded that he has been handed over -- that he be handed over. prime minister is a shi'a and the vice-president is a sunni, those holding him our kurdish. >> the country is in the grip of a deepening political crisis. a power-sharing deal is under threat. there are fears that tensions between shiite muslims and sunni

politicians to spill out into the streets. dramatic allegations have been made against the vice president tariq al-hashemi, who denies that he ran hit squads targeting shi'a individuals. the prime minister has called on kurdish leaders to hand him over to face justice. >> if there is only one way out of this, it is through the judicial system and nothing else. he should stand trial either to be found innocent or be indicted. there is no other way. >> tariq al-hashemi has angrily rebutted the charges against him. he said it was politically motivated. he did not trust the justice system under a government led by nouri maliki. >> i demand that the elementary investigation be held here in kurdistan and the investigation

should be observed by independent parties. for my part, i will be ready to appear. accusing -- with sunnis accusing nouri maliki, they have boycotted the government. sunni provinces are now pushing for autonomy from the shiite- led government that they say is too influenced by iran. it is only three days since the u.s. troops left iran after almost nine years. -- it is only three days since the u.s. troops left iraq. u.s. officials have expressed concern, calling on all sides to settle their differences peacefully.

in a country that has seen so much bloodshed, the stakes are very high. >> for more on the deepening rift and how much a threat it proposes -- it poses to stability, i am joined by a senior fellow at the center for american progress. thank you for being with us on the bbc. should we be worried? >> yes, extremely. these kinds of tensions could lead to renewed violence if the political process does not deal with this. we are on the process of a real crisis and this is very worrisome. >> for those people who are worried about sectarian rifts, the american process was providing the glued to bind together different factions and society and they were right. >> there is an element of truth but the simple fact of the matter is that when we invaded country, we got rid of unpopular sunni dictator. the vast majority of people in

iraq were shi'a and they are and power. we deluded ourselves into thinking that we could actually not only stabilize the country but also grease the wheels toward a political transition. what we are seeing is the rough- and-tumble of iraqi politics. >> it is it just iraqi politics or we talking about regional influence? >> i worry that this will have a broader implications. some countries are concerned about what is going on inside of iraq. they have expressed concern about iran. there is this rising shi'a vs sunni divide. you could see this coming not only in iraq but also throughout the region. >> the u.s. has pulled all of its troops out. they have close relations with the government. is anything they can do? >> right now, the u.s. officials

are trying to use the leverage that they have. they are sending billions of dollars of weapons to the iraqi government. in public, they're saying this is bad. let's change the course. the levers that any outsider has is quite limited when it comes to nouri maliki. >> let's talk about the kurds. the vice president is in kurdish-controlled territory and they have indicated that they will not be handing him over but traditionally they have played a power broker role. >> absolutely, even though they represent 20% of the population. no government has been formed without their consent. you have seen the shift in tide that will empower the kurds once again and how they play their hand. it will be interesting. there are disputed territories

and unresolved political issues. >> we will want to keep watching. thank you. >> today, the white house said it is deeply disturbed by reports as many as 250 people that have been killed in syria since monday. a human rights group has accused the government of carrying out a massacre. >> this unverified a foot is purported to show a house in the city of homs, one of six hit by army shells. 12 people were killed there including a child. the images are too gruesome to show. syria signed up to the arab peace plan on monday and the violence goes on. in fact, it has intensified sharply.

most of it has been not far from the border with turkey. the opposition syrian national council is calling it a massacre. they say that nearly 250 people have died since monday alone. this is the bloodiest time since the uprising began in march. they want the u.s. security council to declare this as an unsafe zone. there is little appetite for another military adventure. with that possibility in mind, the regime has been staging a military removers aimed at putting across the message that their uniform -- unified. troops and police have been killed in the violence virtually every day. the regime blames armed terrorist gangs for all of the trouble and say that they are carrying out a plot to undermine the country.

they are also encouraging big rallies to put across the message that they still have popular support in resisting the south side conspiracy. that is the image that they will try to convey when the arab peace observers start arriving on thursday. >> as the unrest and bloodshed continues, egyptian women have taken to the streets in cairo in unprecedented numbers. they have stage what has been described as the biggest women's demonstration in modern egyptian history. their outrage was prompted by graphic images of soldiers being and stripping a female protester. our journalist was in the square covering advance and she was arrested and insulted by the police. she is now back in new york and she joins us from there. -- our journalist was in the square covering events and she was arrested and assaulted by

police. are you surprised by this? >> i am excited to see this. the women are making it clear that they will no longer be silenced by the brutal and sadistic violence that the army and police have unleashed not just on women but on men, too. specifically, the use of sexual violence. >> the you see the revolution as under threat or is this an inevitable part of the process? -- do you see the revolution as under threat. >> basically, you have replaced one mubarak with 19 mubaraks. i think they're doing a terrible job of running the country. i think that the generals should stand trial for crimes against the egyptian people. they are losing popularity by the day. i think what happened yesterday in tahrir square was women

making it very clear that we will not allow you to hijack our revolution. >> a lot of attention has been focused on tahrir square in the events that have occurred there throughout the year. of course, we know that the vast majority of egyptians are not in tahrir square and many of them are concerned by what they see as violence there and they want the continuity of the army. >> they used to want the continuity of the army in the country because they believed for a very long time and they were willing to give the benefit of the doubt that the army was what it said it was, the guardian of the revolution. the more they see the sadistic violence, the continues sexual violence against women. the military subjected women to virginity tests. myself and other women have been suggested to the violence. the military is doing a terrible job of running the country and

we deserve a new leadership. i think the majority of egyptians don't have to be on the streets for the revolution to succeed because the majority does not make a revolution, the minority can make it succeed. the military is doing a terrible job of acting as the caretaker of the revolution. >> do you remain optimistic about what is going on in egypt? >> absolutely. i am forever optimistic about what is going on in egypt. if you remember in 2005 when the demonstration began, now we have a full revolution going. we have demonstrations against the military and anyone would like to hijack the revolution. >> thank you for joining us. >> thank you. >> the captain of invalid's football team is facing charges of racially abusing an opponent. -- the captain of england's

football team. there was comments made during a match in october. john terry says he will fight the charge. european banks have borrowed 600 trillion dollars -- $600 billion on the cheap. the new arrangement is part of a series of unprecedented measures to keep credit flowing at a time when banks are increasingly wary of lending to each other due to the debt crisis. in north korea, there have been extraordinary scenes of grief following the death of kim jong il. state television showed images of wailing women throwing themselves on the floor next to his body. the organized public mourning continues in the streets and halls around the country.

russia's parliament has met for the first time since the disputed election which sparked public outrage. despite the diminished number of seats for vladimir putin's party, they dominated the opening session. the allegations of corruption continue. >> before the controversial parliament even started work, there was violence outside. why police pulled away protesters who complained that the election results were rigged. the opening of the first session went ahead despite concerns about the fairness of the vote. among the deputies taking up their seats in the tainted parliament or a famous russian boxer and a man the british police accused of murder in london. the problem is parliament is that we know that tens of thousands of people and maybe

millions do not regarded as legitimate. they believe that many people are here because the authorities chose them. 11 days ago, moscow saw the biggest protests in a generation. people were demanding a new election. one of the most senior deputies of the ruling party insisted that the parliament was a fair reflection of the views of the country. >> everybody understands that generally people voted for this composition of the party. that is why there is no problem with the legitimacy of this body. >> this man angrily disagrees. the movement demanding fair elections was given fresh impetus overnight with the release from jail of the increase in the influential political blocker -- blogger.

>> the election in march will not be a real election, he said. the scheme organized by crooks and thieves to allow one quick to take back the throne temporarily occupied by another. this is not an election. he told his supporters that the government is running scared of the pro-democracy movement. the next appearance will be at the next big protest, tens of thousands are expected to turn out again on saturday. >> you are watching "bbc world news," still to come -- we travel to detroit where people refuse to abandon a city blighted by unemployment and crime. now to the annual hunt for a little piece of extra terrestrial turf. every year, researchers had to

the antarctic in search of prized media rights. now, the abundant supply of space rocks has been brought to a new facility of the smithsonian institution in maryland. >> inside of these cabinet control cabinets are priceless particles of the cosmos, rocks and space that gives scientists a snapshot of how planet earth was formed. >> meter rights are little timepieces from the formation of the solar system. they represent the earliest processes of the planetary formation. >> this is the world's largest public collection of your rights gathered from antarctica. >> you can see this powder black crest is called a fusion crust. this forms as it passes through the earth's atmosphere and the

outer layer is melting as it is passing through the atmosphere. >> around 5% of meteorites found on earth are thought to have originated from the asteroid. these images show the surface craters caused by impact that scientists now believe blew the rocks into space. there is some 18,000 meter rights in the collection and there is always something new to be discovered. -- there is some 18,000 meteorites in the collection. they don't know where they have come from. the nasa mission might be able to solve part of that mystery. in a few years, it is due to reach another location and at that point they should be able to tell if this rock or any others are originated from that asteroid. >> over the past few years, a

city in america has taken a beating. nowhere has the heart to been greater than in detroit. once the heart of the car industry, this is blighted by unemployment, violence, and homes that have been abandoned. detroit faces the distinction of being the largest u.s. city to be on the bank -- on the brink of bankruptcy. i traveled there to see how it was going. this is the city in crisis where even the mayor says that the system is broken. >> the reality we are facing is simple, if we continue down the same old path, we will lose the ability to control our own destiny. >> reporters are often too quick to compare places. detroit has been ravaged by industrial decline, unemployment, and cry. every pair of shoes thrown over the power lines commemorate

someone killed in the streets. violence that reflects all neighborhoods. property prices have crashed and the population of the strike has simply collapsed. not everyone has abandoned the city. -- the population of detroit has simply collapsed. these people are survivors. even though they struggle for money, they refuse to leave. >> i cannot go. i have been here since 1957. it is worse now, no doubt. it is hard for the young people to make money. there used to be a time that they could get jobs with no problem. >> sometimes i get discouraged and i get weary and i tell my husband, let's get out of here. then i think that we are ordained to stay because how the kids come to us and open up to us. >> the work they do is to

provide food, shelter, and the real world counseling in an area where property, drug dealing, and violence is a way of life. -- in an area where poverty, drug dealing, and violence is a way of life. >> there are guns, no guidance, we run wild. >> seeing so hard. -- it is so hard. you would not even know which step to take to go in the right direction. >> his brother was killed in a shootout. this is typical of the problems that the couple have to deal with. >> he lets his pride co, but me, i'm different. >> if you have to go to the free food place, then you go there. if you have to go to the shelter, then you go to the shelter. if you have gotten so low, were also you going, baby, but up?

>> religion runs through this community. this woman helps out with the local church where free food is handed out to the poor who are stocking up for christmas. the recent recession has made things worse but a fundamental shift is under way on the country built on the idea that all men are created equal. the gap between rich and poor in america it is bigger than it has been for years. what we have seen from north to south is a country struggling to employ, house, and feed its poorest. >> for a piece of glam rock history which has been rediscovered after nearly four decades. david bowie's performance from "top of the pops" in 1973 was thought to be lost. a man kept a copy at home and

now the song is back on air for all to see and hear. ♪ ♪ >> this is vintage david bowie. when the pop star was putting the glam into rock. ♪ ♪ >> he looked fantastic and sounds even better. ♪ ♪ >> that performance by bowie of his hit was filmed here in studio 8 of bbc television center. there was no backing track, this was the real thing. they recorded it on the third of january, 1973 and it was broadcast a day later on "top of the pops." that was the last time it was

seen on television until today. the recording was lost and presumed deleted until a few weeks ago that a cameraman mentioned he had a copy at home. >> i always knew i had it i did not note -- i just did not know that other people wanted it. no one realized that it was an iconic performance that it would have been wonderful to have all of those years on. ♪ ♪ >> they made a special camera lens tikrit this effect -- to create this affect so that he could demonstrate his work to other customers. ♪ ♪ >> thank goodness he did because what we see here is something very rare and very special. >> this does show a lot of flat

performances. >> this performance will delight bowie fans the world over and there might be more musical treasures to come. the man who kept the tape says he has another hundred from the same era. >> a little piece of history there. before we go, there is one last piece of video we wanted to show you. this polar bear was born last month at the scandinavian wildlife park in denvedenmark. after his mother stopped producing enough milk, the staff at the park took over his care. that brings the show to a close. for all of us here, thank you for watching.

>> make sense of international news at bbc.com/news. >> funding was made possible by the freeman foundation of new york, stowe, vermont, and honolulu. newman's own foundation. and union bank. >> union bank offers unique

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