Roger Waters in concert - Toronto 2010

Roger Waters performs "The Wall" Live At The Air Canada Center on Sept. 15, 2010.

GEORGE PIMENTEL/GETTY IMAGES

Credit to Roger Waters where credit is due: this 30th anniversary tour in honour of the epochal Pink Floyd opus The Wall is about The Wall, not about Roger Waters.

Waters’s previous resurrections of the paranoid double-album song cycle from 1979 that marked the classic, stadium-era Floyd lineup’s last moment of real greatness and that had effectively blown the group apart by the time The Final Cut rolled around felt a bit like gratuitous, compensatory grandstanding in the wake of some iffy solo efforts – The Pros and Cons of Hitchhiking, anyone? – and his old bandmates’ slide into the comfortable sterility that would yield A Momentary Lapse of Reason and The Division Bell. “You might have the name Pink Floyd,” they seemed to say, “but I’m still the man in charge of the music that made the people care.”

These days, catching Waters alone doing Pink Floyd songs is only one-quarter more “authentic” the experience than one would get if fellow surviving members David Gilmour and Nick Mason bothered to go out on tour again under the Floyd banner. And yet the notoriously self-important Waters himself seems ready to concede that the music he made with Pink Floyd is bigger than him, bigger than petty matters of ego and ownership and worthy of celebration in its own right.

Sure, it’s a cash-in. Watching the expensive, state-of-the-art 2010 production of The Wall that Waters brought to the Air Canada Centre on Wednesday night – the first of three hot-ticket gigs at the 20,000-capacity venue – it was hard not to smirk whenever the word “capitalism” or animated dollar signs raining from the sky made au courant appearances amidst the war-scarred fascist iconography of the original work. Capitalism and capitalism alone is the only reason that a rock ‘n’ roll stage show ambitious enough to completely wall itself off, faux-brick by faux-brick, by the intermission can even exist during one of the shakiest years for the live-music industry in recent memory.

That’s the enduring power of The Wall, though, and The Wall was what the doting ACC throng was there to see on Wednesday night. I say “see” rather than “hear” because it was a high-end presentation built on arresting digital animation, ceiling-high marionettes and a requisite, giant, inflatable wild boar emblazoned with the phrase “EVERYTHING WILL BE OKAY” unleashed to cheers over the arena bowl after “The Show Must Go On” that made this a memorable night out. The music, professionally recreated by Waters and something like a dozen anonymous side players, was actually kind of drab and heartless, not much different from what you’d hear at one of those Classic Albums Live nights at the Phoenix were it not for the production values that permitted, say, a British fighter jet to crash into the titular wall at stage left at the end of “In the Flesh?” or an enormous, grotesque caricature of Waters’s smothering mother to glower at the crowd during “Mother.”

“Mother” was a little wobbly, actually, marred by a mix that left Waters’s vocals completely inaudible for the first verse. Likewise, the band’s attempts to spread out and jam on “Empty Spaces” and “Run Like Hell” sounded more like something you’d hear Paul Schaffer walking the Late Show band through after a commercial break than Pink Floyd at the top of its powers. And the dude Waters has brought in to do Gilmour’s parts on “Hey You,” “Comfortably Numb” and the like is simply not up to snuff and was audibly flat for at least half of his vocal turns on Wednesday.

Again, however, credit to Waters. The night’s most rapturous audience moment – aside from the genuine cheers of anti-war sentiment that erupted during “Vera” when the phrase “BRING THE BOYS BACK HOME” flared up across the backdrop – might have been when the star of the show simply stood alone on a bare stage in front of the aforementioned wall and graciously raised his arms while the audience took Gilmour’s verses to “Comfortably Numb.” The Gilmour stand-in and another Gilmour stand-in on guitar got spotlights at the top of the all, but the song and the love everybody in attendance obviously felt for it were in charge. Good on Roger Waters for recognizing that, and good on Roger Waters for recognizing – and humbly deferring to – what a massive contribution to the rock canon he made in The Wall.

http://www.thestar.com/entertainment/music/live/article/861996--it-s-the-wall-not-the-roger-waters-show

Roger Waters tours The Wall

Considering the response when I wrote about Pink Floyd recently (ostensibly about the album The Final Cut) I figured there might be some interest from Blog on the Tracks readers now that Roger Waters has announced that he is touring The Wall. He is celebrating the 30th anniversary of the album - taking it out on the road. At this stage it's just American dates (from what I can tell) and then, presumably, the tour will roll on through Europe. And perhaps it will make its way, brick by indulgent brick, to Australia - and maybe to New Zealand - sometime in 2011...
So - what do you think? Would this be the best night out - seeing Roger Waters performing The Wall? Or would you prefer that the wall was actually built up around you so that you didn't have to hear it?
I am pretty sure I do not need to see Richard Gere's twin brother reliving/rebuilding The Wall.
I'm all for seeing old heroes play old classics - I loved seeing Leonard Cohen last year. But isn't this just a bit ridiculous? The Wall: 30 years on. Do people really care?
It would be hard to re-form Pink Floyd now, granted. But what has Roger Waters really done since leaving Floyd? He's released three studio solo albums that sound like Floyd. And while he has dabbled in opera and written some new tunes, his live shows focus on recreating Floyd-without-Floyd; essentially he travels the globe in a bid to prove authorship.
We know he wrote the songs.
He was here a while back doing The Dark Side of the Moon album in its entirety. Before that - with the In the Flesh live album - there was a heap of Floyd material; not just Floyd songs but Floyd recreations. Roger Waters performing his Pink Floyd songs as he wants to hear them now - and that means that next up you will get to hear The Wall.
The Wall is something of a polarising album - some Floyd fans love it, many can't stand it. It is rightfully regarded as the height of the band's excess - in terms of overwrought and overarching song/album concepts. And it also has some of David Gilmour's greatest guitar playing and a few good songs.
I am not sure I am much of a fan of The Wall.
But - don't get me wrong - I definitely was a fan. I watched the movie so many times through my high school and university daze. I even watched it three times in a row one day. Hey, I grew up in Havelock North, pre-flat whites and vineyard lunches. It was either watch The Wall three times or watch people be subtly racist (ironic, I know).
I also had a videotape of when Roger performed The Wall in Berlin with all sorts of famous guest vocalists (Van Morrison, Cyndi Lauper, Ute Lemper, Bryan Adams and so on). I watched that videotape - recorded from the TV during an all-night music festival - in 1990.
The double-CD was soon part of my collection.
I've even got the country-cover of The Wall: Rebuild The Wall by Luther Wright & The Wrongs. (I thoroughly recommend fans and non-fans check out this CD. It's ace).
So I've done my time with Pink Floyd, been a big fan - but you know that from the previous post I linked to at the top of today's entry; I still have every Floyd album - and everything that Roger Waters has done since leaving the band. I just don't listen to the material that often these days.
The thing that killed The Wall for me - probably - was seeing the tribute act, The Pink Floyd Experience, doing their version of it live. It just seemed such a redundant concept. The weirdest thing that happened that night was hearing a person ask at the merchandise counter whether the band had any CDs available. I wanted to lean over and go, "yeah, they've got about 14 albums - they're in stores under the name Pink Floyd!" But I didn't. I just waited until the bricks came tumbling down, the show was over, and it was time to leave.
I won't write any more about The Pink Floyd Experience because one time I mentioned them on the radio and received threatening phone calls. And when I reviewed the show where they performed The Wall, there were angry letters and phone calls.
I guess just seeing them doing it - and I'm not knocking their skills as musicians at all - made me realise what a strange idea it is to want to hear this music recreated live; to have the need to hear something played note-for-note as you remember it. No spontaneity, no soul. No energy. Not even the anger that is in parts of the album. A live version of The Wall - and you can see this on Roger's Berlin show that I mentioned earlier - is all just stupid pantomime. It is the band at its worst. And to see Waters doing it live just shows he has nothing to offer at all beyond working on his retirement fund.
If you are keen to go see Roger Waters "tear down the wall" (again) - you'll be pleased to hear that Snowy White is playing guitar for the tour.
So are you up for a rebuilding of The Wall? Or would you prefer it stayed in blocks on the ground?
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http://www.stuff.co.nz/entertainment/blogs/blog-on-the-tracks/3579156/Roger-Waters-tours-The-Wall

Pink Floyd - Is there anybody in there?

Înainte de a începe efectiv această cronică, trebuie să recunosc că eram inconştient de potenţialul estetic, distructiv sau revoluţionar al muzicii celor de la Pink Floyd. Îi consideram nişte precursori apolinici ai gothic-ului transcendental, concept cu sferă largă, în care încap Dead Can Dance, Tiamat sau The 69 Eyes. Nimic mai greşit. "Pink Floyd The Wall" (1978) este un film inimaginabil, în care acordul dintre muzică şi suportul vizual ajunge, uneori, la perfecţiune. Este un punct de referinţă, care face inteligibile proiectele lui Stone (The Doors - 1991) sau ale lui Steve Ericsson (Lyckantropen - 2002), opus relativ necunoscut, care se foloseşte de aceeaşi tehnică. În filmul lui Alan Parker avem o halucinantă moştenire culturală, o adevărată enciclopedie a sufletului, în care încap Vian, Foucault, Brecht, Keoruac, Philip K. Dick şi mulţi alţii. Cum poate aţi ghicit deja, filmul foloseşte paradigma anilor '68, care poate fi caracterizată pe scurt prin: dezordine socială, libertate sexuală, televiziune "globalistă", marxism şi psihanaliză. La fel ca alte două filme-cult ale acestei generaţii, "Clockwork Orange" (1971) şi "Apocalypse Now" (1979), opera cinematografică a lui Parker explorează şi exploatează tematica inconştientului, cu o asemenea prospeţime şi acuitate, încât demersul din "The Wall" devine punct de referinţă. Nişte observaţii tehnice sunt totuşi de menţionat, doar câteva din zecile care s-ar putea face. Momentul hentai din post-modernul "Kill Bill vol.1", în care o scenă din "realitate" este continuată printr-un desen animat, îşi are originea în această peliculă. Procedeu atât de actual, cumulat de Fincher/Palahniuk prin "life is a copy of a copy...", metonimie atotputernică şi nimicitoare a ceea ce înseamnă lumea/viaţa/virtualitatea contemporană. Faţa de plastilină a personajelor, o mască ce le amputează imaginea exterioară este preluată de Parker din "Pădurea de fragi"(1957) a lui Bergman. Şi aici, impresia generală este de fiinţă golemizată, supusă unei pierderi ireversibile a identităţii. Bineînţeles că un asemenea film face ca videoclipul celor de la Pearl Jam, "Do The Evolution" să pară plagiat. Iar acum, o influenţă de fond. Sistematica anti-individualistă şi percepţia asupra poeziei ca "pierdere de vreme" (scena în care personajul principal al filmului este umilit pentru că citeşte la ore o carte de versuri) aminteşte de reflecţia asupra poeziei din "Dead Poets Society" (1989).

"The Wall" este un film psihologic, dacă înţelegem prin psihologie un demers lărgit, atot-cuprinzător, predominantă fiind pentru ea acea călătorie a sufletului, care apare în picturile medievale flamande. Metoda cea mai potrivită este tocmai onirismul bestial (the bad trip), metaforele morţii, nebuniei şi ale sexualităţii, fiind pilonii discursivi pe care este construit filmul. Din punct de vedere strict psihanalitic, figura mamei devoratoare este cea constitutiv-distructivă, piesa "Mother" fiind una referenţială:

Mama's gonna check out all your girlfriends for you.
Mama won't let anyone dirty get through.
Mama's gonna wait up until you get in.
Mama will always find out where you've been.
Mama's gonna keep baby healthy and clean....

Nebunia personajului principal (un star rock numit Pink) este inserată în trama organică a "Zidului" tocmai pentru a cunoaşte şi a învăţa mai multe din dezintegrarea şi fărâmiţarea progresivă a psyche-ului. Iar moartea irumpe în scenariu prin punerea în scenă a războiului (şi aici pesimismul social al unor Brecht sau Böll sunt evidente) sau prin intercondiţionarea ei cu sexualitatea (scena în care două flori fac sex şi una dintre ele se transformă într-un dragon nimicitor, dizolvând-o şi aneantizând-o pe cealaltă). Sunt convins că din punct de vedere iniţiatic şi simbologic, filmul are mai multe conotaţii; dar această reducţie psihologică are avantajul de a se situa în directa descendenţă a generaţiei '68.

Alan Parker a gândit foarte bine acest film; la fel ca şi albumul conceptual "The Wall", pelicula foloseşte contrapunctul. Practic, aşa se îmbină până la o perfecţiune perversă pasajele agresive cu cele meditative sau melancolice. Cu alte cuvinte, filmul nu agresează printr-o violentare banalizată prin repetare, scenele care îţi taie respiraţia fiind secondate de reprise-uri nostalgice, care conturează personajele şi nuanţează mai bine.

O scenă-cheie a filmului este cea introdusă de piesa "Comfortably Numb". Personajul principal este scos de sub incidenţa penală, ca să fac o altă trimitere anti-psihiatrică, cu alte cuvinte este internat în ospiciu. Din punct de vedere filozofic, acest lucru echivalează cu o regresiune în minorat; din punct de vedere imagistic, internarea este asimilată cu o punere în mormânt, la fel de splendidă precum cea clasică. Regresia vine ca o continuarea a scenei în care starul rock îşi rade sprâncenele şi părul de pe piept şi devastează toată casa. Poematic este şi momentul când aruncă televizorul de pe geam (tv-ul este un drog mediu, după cum demonstrează filmul, angajând o receptivitate şi o pasivitate ieşite din comun), tăindu-se adânc în cioburile de la geam (din punct de vedere imagistic, momentul este iar o reuşită). Astfel, prin toate aceste determinative, "Comfortably Numb" vine ca o metaforă a nebuniei estetice:

When I was a child I had a fever
My hands felt just like two balloons.
Now I've got that feeling once again
I can't explain you would not understand
This is not how I am.
I have become comfortably numb.

Bineînţeles, anestezia totală (şi confortabilă) este programul acestei metafore halucinogene. De fapt, multe din personajele filmului par anesteziate: mama apare într-o scenă redusă la anestezia macabră a somnului (ea doarme, în planul oniric, lângă un cadavru), profesorul refulat are un comportament de marionetă, chiar şi şobolanul -pe care copilul şi-l doreşte ca animal de casă- este catatonic. Impresia schizofrenă a acestei lumi de vată, fără conştiinţă, raţiune sau identitate este un alt simptom al golemizării globale, care se reflectă asupra personajului central. Cu adevărat, doar stranietatea sau alteritatea radicală sunt conceptele pe care i le mai putem aplica.

Ca să închei, acest film merită văzut nu doar pentru calitatea sa psihedelică, ce combină muzica cu imagistica, poezia cu meditaţia filozofică. El este mai mult decât atât: un produs cultural, care avertizează asupra deprecierii relaţiilor interumane, asupra eşecului oricărei pedagogii (we don't need no education), bazate pe violenţa programatică şi asupra totalitarismelor, care păstrează o mezalianţă pregnantă cu aureola religioasă. (Sursa)

Pink Floyd - Shine On You Crazy Diamond

Pentru Bianca si pentru toti cei care cred ca "Shine On You" este poate cea mai mare realizare a muzicii progresive care s-a facut vreodata pe lumea asta...

One Of My Turns

Although we've always had glimpses of Pink's darker side before this point in the album, "One of My Turns" gives us our first extensive view of the present turmoil teeming beneath the surface of Pink's detached persona while simultaneously shifting the tone of the album. Up until now, the album is arguably dominated by young Pink's naïvete as he grows (or at least tries to grow) into the life handed to him at birth. Even the cynically didactic tones of "In the Flesh?" and "the Thin Ice" are counterbalanced by a certain paternal, instructional quality. Beneath the gravity of the previous songs lurked a sense of exploring, of seeking self and searching for one's place in the world no matter how misguided that search might be. While songs like "What Shall We Do Now?" and "Young Lust" portray Pink as exploring the physical pleasures of life, they portray searches nonetheless that insinuate the desire to grow. Even the carnality of "Young Lust" is embedded within a certain sexual innocence, a feeling of sensual discovery and exploration. As we shall see, though, "One of My Turns" is the brick wall, so to speak, against which the naïve explorations of self and the world crash.
Following the young groupie's quasi-theatrical ramblings concerning Pink's hotel room, Pink lapses into a trance-like state of personal reflection sparked by the recognition of his wife's infidelity as well as his inability to connect with the young girl he's brought to his hotel. While the song's later lyrics are seemingly addressed to the terrified fan, it is usually believed that Pink is mentally addressing his wife in the song's calm first half. In his 1979 interview with Roger Waters, interviewer T. Vance described Pink at this stage of the album as a man who has "got everything but nothing;" he's got the celebrity status that most people can only dream of, adoring fans, expensive possessions, every worldly object that he could desire. However he takes for granted what should be the most important thing in his life, a personal connection with his wife, the importance of which he only realizes once that love has been taken away. Yet even then he is blind to his own accountability in driving his wife to infidelity, instead turning his ire on what he sees as the fickleness of love and life. Just as he sees everything in his life, Pink views the very connection that could have been his salvation as another personal betrayal, a relationship that decays and ultimately causes mental distress which in turn contributes another brick to the wall. For Pink, this decay is unavoidable: comparing the degeneration of love to the decomposition of a "dying man" and other natural processes (growing "older" and "colder") dispels any personal blame that Pink might have felt. In his mind, everything in this world will decay and at length cause more harm than good. These ideas of degeneration are further implanted with the abundance of imagery concerning death and violence; the grayness of love like a dying man's skin; aging and becoming more inert, more unfeeling; comparing his feelings to a "razor blade," a "tourniquet," and a "funeral drum." These last three similes possibly act as allusions as well; the "razor blade" could very well insinuate Pink's later turns to violence not only in the song but also during his Hitler-esque phase (and quite possibly alludes to his near-suicide in the song "the Final Cut"); the "tourniquet" suggests Pink's current drug use as well as later injections ("Comfortably Numb") that cause him to undergo another metamorphosis; finally, the mentioning of the "funeral drum" foreshadows his metaphorical death as he retreats completely behind his wall. Perfectly mirroring the transitory moment before Pink's eruption, the tourniquet and funeral drum also carry with them the notions of being stretched almost to the breaking point. A tourniquet is drawn tight around a limb in order to hinder briefly the flow of blood through an artery (possibly symbolizing the cessation of Pink's feelings and emotions) while the head of a drum must be drawn tight in order for sound to resonate throughout the hollow body (symbolizing Pink's shallow persona). In both instances, the imagery of being stretched so tightly prepares the audience for what must surely come soon: the breaking point.

Because of his own shallowness (which Pink does not recognize) and the shallowness of the groupie (which he denunciates hypocritically), Pink's emotional breakdown bursts into musical life after a stretching crescendo. In an instant, he turns on the terrified groupie because she represents the very superficial life that he had invested so much in but that he simultaneously denies. Upon entering his hotel room, the groupie is overcome by the room's size, the amount of guitars he has lying around, concerning herself with his possessions rather than with connecting with Pink on a personal level. Yet it is Pink who brought the girl back to his room most likely with the intention of having sex with her; it is Pink who bought all the guitars and expensive possessions; it is Pink who invested his faith in the superficiality of the world, in the list of things from "What Shall We Do Now?" However it is also Pink who cannot resolve or possibly comprehend the duality of his own character, his desire for love and a personal connection yet also his desire for life's material and sensual pleasures. But rather than take the blame and attempt to explicate his own persona, Pink blames his wife in the first half of the song for his inability to connect through love. Likewise, he blames the groupie in the song's second half for his inability to completely satiate himself with the excesses of celebrity. In both cases, he's really attacking himself and his own inadequacies and his own beliefs without truly knowing it.
Once the dam has been broken the roiling undercurrent of emotion gushes out. Yet the lyrics suggest that this isn't the first time Pink's emotions have erupted, nor is it the last for it is "just a passing phase," insinuating that it's happened before (see the interpretation of the guitar solo in "Mother" for another of Pink's "turns"). From here, Pink cynically addresses the groupie in a sarcastic response of sorts to her earlier questions, this time asking her if she'd like to "watch TV, or get between the sheets, or contemplate the silent freeways," covering a range of possibilities that could be used to pass the time and feign a personal connection. The lyrics are fairly self-explanatory though must be taken with a grain of salt. Does Pink really have an ax in his suitcase? Does he really think he can fly? It must be remembered that these things are sung in a specific context and so are most likely reflections of Pink's instability and the emotions that come with that mental state. What better way to show Pink's violent outburst and mental deterioration than to have him calling for his "favorite ax," a statement that's both unsettling and darkly humorous in its very absurdity. During the song, Pink is almost completely out of his mind and so it becomes increasingly difficult to separate narrative fact from fantasy, to separate the telling of a chronological narrative from the poetic use of images and phrases to suggest emotional states of mind. It is also interesting to note that in rock terminology, an "ax" is a slang word for a guitar, creating more ambiguity in Pink's lyrical ravings. However you personally interpret the lyrics, whether literal or darkly humorous, there is little doubt that Pink's relationship with the groupie ends just as all of his relationships seemingly end, at least in his mind: Pink is left alone, alienated once more from the world, a situation that lends itself to two different renderings of the song's last line. By one theory, Pink is being heartfelt when he shouts "why are you running away," hinting at both his obliviousness as well as the inherent need to realize why every relationship in his life ends with one outcome. Another view purports that the line is utterly sarcastic with Pink deriding the departing groupie, cognizant of his perpetual alienation and not surprised that yet another attempt at personal connection has failed.
There is little that needs to be said in terms of movie analysis considering that the film basically follows the narrative of the song's lyrics with the camera jostling through the scene as Pink destroys his hotel room while the unprepared groupie hides in whatever nook or cranny she can find. Steve Jasper wrote in and revealed that the television is playing an old WWII movie called "The Dambusters." Jasper writes, "The Dambusters' is essentially a biopic of Barnes Wallis, the bloke who designed the bouncing bomb. This was dropped by bombers onto German reservoirs where it bounced along the surface of the water and then slowly sank to the bottom of the dam wall where it would explode, breaching the dam and flooding the valley, causing all the factories to flood as well and thus halt the German steel production necessary for the war effort. In the Wall film, 'Dambusters' is on one of the channels on the telly all the way through the sequence with the TV in it. It's a war film all about blowing up walls." Quite fitting for "The Wall" though its inclusion at this part in the movie is more ironic than reflective being that Pink is still concerned with building rather than destroying his own wall. Also note that Pink destroys the TV first before erupting into the other rooms, possibly hinting at his subconscious repression of anything that grows too painful, that reminds him of his bruised past such as, in this incident, the death of his father. "The Dambusters'" inclusion is made further ironic in that, if anything, Pink's latest "turn" probably coupled with or sparked by the remembrance of his father in WWII acts as a catalyst for his inner wall's culmination. If anything, his "turn" causes him to regress behind his wall and continue building at an alarming rate. In what might be yet another act of symbolic repression, Pink ends the song in the film by throwing the television out of the window and screaming, "take that, fuckers," the very intonation of which hints at his fractured world view in which he envisions all of society against him. After all, every relationship he tries to produce eventually ends with him being ostracized, or so it seems through the clouded, unseeing eyes of our unbalanced protagonist.

http://www.thewallanalysis.com/turns.html

What Shall We Do Now?

Although "What Shall We Do Now?" was originally recorded at the same time as the rest of "the Wall" it was replaced on the album with "Empty Spaces" because according to Waters' 1979 interview "it's quite long, and this side was too long, and there was too much of it." Thankfully he liked the song a great deal and reinstated it in the movie immediately following "Mother." Even though "What Shall We Do Now?" is in all actuality an extended version of "Empty Spaces," it differs from "Spaces" in that it really expands on the theme of transition and examines the various ways to fill the missing gaps in the wall. Since I've already discussed the song's music in "Empty Spaces" (relatively the same in "What Shall We Do Now?"), I'll go straight into the lyrics.

As Waters said in an interview, "this level of the story is extremely simplistic." Don't get me wrong, the fact that it might be simplistic does not make it simple by any means. If anything, "What Shall We Do Now?" contributes to the multiple themes of "the Wall" while adding a few of its own. But as a song in itself, the lyrics are fairly and caustically straightforward. Put simply, it is a list of things that people use to fill "the waves of hunger," that void in their lives and the missing gaps in their walls. Arguably, people are trained by society to "search for more and more applause" in a "sea of faces," or in other words, they are trained to become someone else so as to be socially acceptable, thereby garnering more acceptance (social "applause"). It's the reason why corporate stores such as the Gap are successful; we are told that in order to fit in, we must adjust to the social norm even if that norm seems to deviate from the status quo. For an example of this, look at the success and profitability of punk music (a genre notoriously known for going against the grain of society) in the early 90's sparked by radio-friendly bands like Green Day. In our ever-growing materialistic society, you must become someone else before you are someone; you must wear a fashionable brand of clothes, drive a stylish car, keep trendy friends, eat at chic restaurants. Namely, you must adapt yourself to the latest social trends in order to become your social self. Accordingly, these things start to become social fetishes. We become obsessed with the latest trends, defining ourselves by what we see in the media, what is marketed towards us, and what our peers are doing. In the most ironic social twist, individuality is supposedly achieved by conformity to commercialized social norms. We fill our lives and define ourselves with designer jeans and fancy cars; with how much money is in our bank accounts and how many sexual partners we've had; with what we eat and where we sleep. This is the very core of the attack in "What Shall We Do Now?" a polemic against the foundation of the world's increasing capitalistic society. It's an attack against conformity, the loss of individuality, and mostly against the idea that these material things will complete our lives and make us truly happy.

Yet all of the things listed in the song aren't necessarily evil. Many people feel that vegetarianism is the healthiest way to eat and sending flowers by phone is certainly a far cry from the evils of Hitler and his Nazi regime. Why are such things attacked, then? As Roger Waters perfectly states in his 1979 interview, it's about being "obsessed with the idea of being a vegetarian...adopting somebody else's criteria for yourself without considering them from a position of really being yourself." These things are not inherently evil; rather, it's the obsession with these things, with defining one's self by someone else's standards, that is the moral decay of modern society. "More, more more!" becomes the global motto with every passing day and with the accumulation of it all, walls are being erected higher and more impenetrable. While the song veers away a bit from the actual story line of "the Wall," Pink's applicability to the materialistic obsession perfectly reflects the walls of many people across the globe. As Pink's fame and fortune increase, he further buries himself behind a wall of possessions, becoming more detached from the rest of the world as a result of his personal accumulation. As one conforms to the current trends, true and personal communication becomes more and more difficult. After all, how can one communicate individually if one defines himself or herself as a collection of commercialized goods? But as the wall of possessions grows, so too does the obsession to obtain more until finally one is the beast of his fetish, living each day at the will of his delusion. Even after we are consumed, we live "with our backs to the wall," insinuating that rather than looking for a way out from our self-imposed isolation (which would require us to face the wall), we ignore the growing ramparts and continually search for the next trend in the hopes of being accepted, of getting "more and more applause."

The movie sequence for "What Shall We Do Now?" is arguably the most beautiful and haunting animation of the film. The screaming face image, the sexualized flowers, the wall of possessions, all spring from Gerald Scarfe's brilliant interpretation of the song and, at least in my opinion, fully captures the essence of Waters' social sermon. The sheer artistry of the animation in the beginning of the song with the male and female flowers flowing and morphing into lovers before attacking each other is almost beyond words. Despite its beauty, many people might have a problem with the apparent misogyny of the introductory piece. The male and female flowers sensually dance around each other before performing intercourse, morphing into free-flowing humanistic figures before changing into monstrous beings with the male attacking the female. However the female changes back into a flower and releases all of her glory, shining brightly before viciously snapping up the male in her lips and flying off as some sort of bestial dragon. It could be easy for one to view this sequence as a misogynist attack against dominant females, revealing them to be nothing more than man-hating beasts. However, I think such a reading is grossly inaccurate in that it is viewing the sequence out of context. It must be remembered that this is Pink's story and that, for the most part, the viewer has been viewing the movie from Pink's point of view. This animation sequence is no different. Not only was Pink raised by a dominant, overprotective mother, he has just found out that his wife is cheating on him. Therefore it shouldn't be a surprise that Pink would feel a great amount of aggression towards women. He selfishly feels that he has been abused by them and is continually the victim of their beastly appetites for male emasculation (although we have seen quite the opposite in "Mother" in which Pink drives his wife to infidelity by his own lack of emotion and communication). Furthermore, it was a woman (Mother) who caused Pink (at least in his mind) to become mentally isolated and distrust women. Because we view it all through Pink's eyes, we are getting a very skewed view of relationships between men in women.

As if spawned by this latest personal injury of infidelity, a wall of materialistic desires bursts onto the screen in the form of high-rise buildings, televisions, radios, Harley Davidson motorcycles, Mercedes, Cadillacs, and BMWs. A "sea of faces" greets the wall of possessions (forming a wall of conformity with their faces), each one a clone of his or her neighbor similar to the masks worn by the schoolchildren in "Brick in the wall 2." The wall plunges onward, breaking the peace of the countryside with the screams of the "the people caught up in the wall" (Scarfe, DVD). Everything the wall passes is corrupted. Gerald Scarfe states in the DVD commentary that "in the shadow of the wall, flowers turn into barbed wire; men turn into monsters." As the wall passes, an innocent infant grows into a beast and then into a man in uniform (the Nazi-esque uniform of Pink's fascist regime later in the movie) who bludgeons another man to death, the innocent's blood splashing onto the wall. As a result of the lack of communication fostered by the barriers between people, the wall begets social decay, personal degradation, and violence. Religion is destroyed as the wall continues its course straight through a church and "a new god is set up" as the pieces reform into a casino-like neon building that spews mass-produced neon bricks (Scarfe, DVD).

The next sequence running through a list of Pink's personal bricks is another example of Scarfe's amazing artistry. The Pink doll screams and morphs into a curvaceous female shape (the sexual promiscuity of "Young Lust" as well as the feminine "betrayal" in "Mother"). The woman changes into large, feminine dollops of ice cream suggesting the sensual excesses of Pink's lifestyle. The ice cream then reverts back to the female shape, next morphing into a submachine gun (foreshadowing Pink's violent outbursts later in the film) before changing into a syringe and needle (drugs), a guitar (his musical fame), and finally rounds out the list of personal bricks by turning into a black BMW (expensive possessions). The song ends with an ambiguous sequence depicting a red fist rising from the ground and turning into a hammer. After seeing how the wall perverts everything in its path, one might view the fist rising from the ground as another perversion of nature similar to the flowers turning into barbed wire. In the presence of the wall, even the earth rises up and forms itself into an implement of creation (the wall is created) and destruction (personal individuality is destroyed). A much more optimistic reading of this scene might see the fist rising from the ground as a good omen rather than one of social and personal decay. By this reading, nature will ultimately reclaim the earth from the tyranny of humanity's reign. Just as grass eventually grows through the asphalt of a parking lot or just as the weather erodes and destroys even the largest of mankind's creations, so to will nature rise up and destroy the personal and social walls of humankind. Though the fist is red (conjuring thoughts of bloody strife), it turns into a powerful tool of reform.

The final scene after the music is over merely reemphasizes (almost needlessly) what has just been said in the song. The hammer is used as a tool of destruction to smash a display window through which looters pilfer a range of consumer products. The fact that these items (televisions, radios, vacuum cleaners) are luxuries rather than necessities simply stresses the idea that the capitalistic wall leads to crime and violence. Society has taught us that we are nothing without personal possessions and so those who are unable to afford them are willing to steal in order to be socially acceptable. Interestingly, as the crooks are hustled into the police wagon, two old women steal out of the broken display window, insinuating that commercialism turns everyone into a criminal, even the most unsuspecting. No one is safe nor truly innocent in a society in which a baby grows into a violent monster and elderly women pilfer merchandise behind the backs of policemen.

http://www.thewallanalysis.com/donow.html

Empty Spaces

Coming on the heels of "Goodbye Blue Sky" on the album, "Empty Spaces" acts as a transition between the young-adult Pink setting out into the world on his own (at least in terms of the album's placement of "Goodbye Blue Sky") and his entry into full-blown adulthood in "Young Lust."

In terms of the album's placement of "Empty Spaces," it's difficult to pinpoint just who is being spoken to. Had this version of the song made it in the movie directly after "Mother," one would automatically assume that Pink is talking to his adulterous wife, asking how he should fill the void that their marriage has now become. Yet by this reading, Pink's inquiry concerning the empty spaces "where we used to talk" is more ironical than truly sincere for Pink is depicted as being highly uncommunicative in the preceding scenes of the movie. If anything, this shows how blind to the truth Pink really is. Believing that their marriage was healthy before this latest incident, Pink places all the blame of his wife's infidelity on his wife, blind to the fact that his callous behavior was the major cause behind her finding a new lover, someone who would actually listen to her and love her. In this light, the last two questions concerning the remaining gaps in the wall are almost rhetorical, readily answering themselves: Pink will fill the "final places" and "complete the wall" with his wife's infidelity.

However, the song's position on the album might lead one to believe that he is addressing his mother. Having ventured out from his mother's protective wing, Pink is finally experiencing the real world and discovers it to be more desolate and unfriendly than he was expecting. By this reading, he is asking his mother how he should fill the void of her protection, of her companionship. Oddly enough, he finds a temporary filler in the sexual frenzy of "Young Lust," adding yet another Freudian spin to Pink's relationship with his mother and the influence she's had on his sexuality. If he really is addressing his mother (at least in his mind) then the last two questions act almost as a continuation of his earlier inquiry when he asks his mother if he "should build a wall," as if he's saying, "Okay, my wall is built. I'm almost completely shut off from the rest of the world. Now, how shall I finish it?" With as much damage as Mother has done to Pink's persona, he should have no problem at all filling in the remaining gaps.

Remembering that Pink acts as an Everyman of sorts, one whose life journey reflects the walls and lives of nearly all of humanity, yields a third interpretation of the lyrics. The "we" becomes more of a generalized first person pronoun rather than referencing anyone or anything specifically. In other words, Pink is speaking for the human race when he says "we," for everyone has a metaphorical wall similar to his (although most people's walls aren't as high).

As if reflecting this transitional theme, the song's music is a bit chaotic in my opinion. "Empty Spaces" picks up on the main musical riff from "In the Flesh?" but makes it far more unstable, most notably with the high vibrato of the synthesizers and the jumbled music and mumbling in the intro. However, there's more to the strange, backward sounding mumbling than sheer atmosphere. Click here to play the musical intro in reverse. Yup, a secret message in which Roger Waters says the following: "Congratulations. You have just discovered the secret message. Send your answer to Old Pink in care of the Funny Farm, Chalfont..." At this point, a second person says: "Roger, Carolyne is on the phone." Leave it to Waters to throw the listener on another loop (or maybe cycle). I know, I know. It's almost too much to try and interpret what is obviously Waters' attempt at humor. But I think there's a bit more to the backwards message than just a good laugh. Firstly and as previously mentioned, "Empty Spaces" (on the album) is chronologically set before Pink's adulthood in "Young Lust" and after his adolescence in "Mother," making him roughly 18 - 20, give or take a few years on both sides. While we could quibble as to his exact age, what's most important is that the song does NOT take place in the true present time (during the concert, after Pink has finished his wall). Yet judging by clues such as "Old Pink in care of the Funny Farm", the hidden message is most likely from the present time for it's only after Pink finishes his wall that he truly becomes "crazy, over the rainbow." Therefore, what is presented here is a sort of foreshadowing from the present, if such a thing is possible. In the middle of telling his story, Pink indirectly inserts his present state. Interestingly, it's this transition that is one of the most critical in Pink's development. As an adult, he could easily cope with the injustices he has been dealt by life and thereby alleviate his repressed emotions. As we see, though, (or have already seen in the movie), Pink refuses to take responsibility for what has happened to him and so he signs his own metaphorical death sentence when he continues to build his wall at an increasing pace. Thus, the transition is emphasized by the hidden foreshadowing alluding to Pink's current mental state caused by his irresponsibility at the "Empty Spaces" point in his life. In other words, it's as if Pink is saying, "I am here now (in the "Funny Farm"...the metaphorical insane asylum in my head) because of what happened then (in "Empty Spaces."

Secondly, the song delves into self-reflexivity when the second voice comes in telling Roger that "Carolyne [Roger Waters' wife] is on the phone." The mentioning of Waters' real wife reminds the audience that this story is NOT real, that it is merely art. Such self-reflexivity is a major characteristic of modernist and postmodernist literature in which the authors intentionally draw the reader out of the story to remind them (among other motives) that what they are reading is art and should be read on more levels than just the narrative plane. One of the most classic examples of this can be found in James Joyce's Ulysses in which the character Molly Bloom seemingly addresses the author directly when she exclaims something to the effect of, "Oh Jamesy. Won't you take me out of this poo." Since there is no "James" or "Jamsey" in the story, most readers are inclined to believe that Molly is addressing Joyce himself, comically asking why he has written her into such a situation. As you can imagine, the effect is jolting. At first the reader is inclined to ask how a character would know that she is just a character in novel? Well, mainly because she IS just a character and so she says exactly what she is written to say. This forces the reader to step back from the narrative and realize that there is more than story going on here; there is the sheer artistry of the author as well as the multiple levels he or she has instilled in the piece of art. The hidden message in "Empty Spaces" has the very same effect, forcing the listener away from the narrative for a moment and reminding him or her that this is just a piece of art, not a slice of life. However, the fact that the second voice calls him Roger while Roger is speaking in the guise of "Pink" reminds the audience that, in a way, this IS real. Roger IS Pink because he has infused his own persona and much of his life into his character. So while the self-reflexive message draws the listener out of the story, the blurring of reality and fiction validates the actuality of the story. The backward message simultaneously shows that while Pink's specific story is fictional, his metaphorical journey and the wall he creates are universally real.

One last tidbit of information: Water has been quoted as saying that if it had not been for his wife Carolyne and her insistence on communication, he would have ended up as insane as Pink. As we see in the movie, Pink drives his wife away as a result of a lack of communication. But according to Waters, no matter how stubborn he got or how hard he tried to push his wife away, Carolyn would force him to open up to her and talk. So perhaps the backward message is above all a personal "thank you" from Roger to Carolyne. After all, Waters / Old Pink is interrupted from continuing with his "secret message" by Carolyne who is on the phone and wanting to talk (communicate) with Roger.

http://www.thewallanalysis.com/emptyspaces.html

Primul radio online de progressive rock romanesc

Avand in vedere faptul ca scena Rockului Progresiv este inexistenta in spatiul radio romanesc,o echipa compusa din fosti membrii a diferitelor posturi de radio din FM , o echipa de entuziasti si iubitori de muzica progresiva, incearca in mod avangardist sa ofere doritorilor de rock si prog rock un post de netradio. Va fi un un post exclusiv de rock, cu particularitate progresiv rock. Portrete de trupe, auditii de albume, bootleguri, progrock clasic, progrock metal, progrock simfonic, progrock electronic si desigur scena prog romaneasca. Emisia oficiala va incepe in forma Beta pe data de 27.04.2008 la orele 00:00. Detalii si eventualele linkuri pentru acest nou post de radio online, pe masura ce voi primi informatiile de la prietenul Phono, inima si sufletul comunitatii Marillion Romania. Din partea mea, mult succes acestui nou post de radio.

Storm Thorgerson

Born in Potters bar in 1944 Storm's career took off in 1968 when he formed Hipgnosis with Aubrey Powell a graphic design studio specialising in creative photography mainly for album covers these included Pink Floyd, Led Zeppelin, Genesis, 10CC, Yes, Peter Gabriel, Black Sabbath, Paul McCartney and many more. In 1983 Storm along with Aubrey and Peter Christopherson formed Green Back films and embarked on producing numerous rock videos. In 1994 Storm directed six short films for Pink Floyd which were screened at concerts during their world tour. Storm continues to design album covers and direct the occasional film along with writing and designing several books.

How would you describe Storm Thorgerson? Well, let's begin with a description that he gives of himself from one of a number of books that document his artistic output.

"When asked what I personally do I reply in a variety of ways. For Her Majesty's Customs I am a photographer. For the music press - a graphic designer. For film people I'm a director. For my mother an artist! For my loved ones, a pain in the butt. Sarcastic musicians see me as an organising ponce who doesn't do much actual work. True believers, ie employees, however, know I make images. I think of ideas, often in collaboration, and turn them into tangible visuals, be they still photographs or movies""

[ Storm Thorgerson, "Mind of Matter", Published by Sanctuary Publishing Limited, 2003 ]

Storm Thorgerson is the artist behind images synonymous with identifying the pop culture of the 1970's throughout and into the 1980's, 1990's and the Millennium. Creating visually beautiful and interesting art, Storm's work has featured on a variety of singles, album and CD covers, as well as posters. He is the author of several books including "Mind over Matter", "Walk Away Renee", "Album Cover Album" series, "Eye of the Storm" and "100 Best Album Covers".

Life began for Storm Thorgerson in 1944 in Potters Bar, Middlesex. He went to school at Summerhill free school and then Brunswick primary Cambridge. His secondary education was at local grammar Cambridge high School for boys. Storm earned a BA Honours in English and Philosophy from Leicester University (63 - 66) and finally an MA in film and TV from the Royal College of Art, London (66 - 69).

In 1968, Storm and Aubrey Powell (Po) formed "Hipgnosis", a graphic design studio specialising in creative photography. This creative company predominately worked within the music business designing the album covers for artists such as Pink Floyd, Led Zeppelin, Genesis, Black Sabbath, 10cc, Paul McCartney, and Peter Gabriel amongst many others.

Applying his creativity to moving images, Storm formed Green Back Films with Po and Peter Christopherson in 1983. Despite producing numerous music videos for the likes of Paul Young, Nik Kershaw, Robert Plant, Big Country and others, the company was not to last and imploded in 1985.

In 1985, undeterred, Storm went solo and continued directing music videos. His direction for the Pink Floyd video "Learning to Fly" won the best director award at the American Billboard Awards. Branching out, Storm began directing commercials too. His direction for the Tennants' Lager commercial "One Great Thing" won The Golden Rose in Scotland. Storm's work extended into documentaries, such as the two-part "Art of Tripping" for Channel 4 in 1993 which explored the connections between artists and drugs and an hour long science documentary "Rubber Universe" for Equinox. The following year, Storm directed for Pink Floyd six short films to be screened through the duration of their world tour.

Storm Thorgerson has continued creating and producing album covers for Pink Floyd, The Cranberries, Thunder and Ween as well as more recent artists such as Muse and The Mars Volta. In addition he has produced logos for bands such as Dream Theater, book covers for various titles by Douglas Adams, T-shirts for Bruce Dickinson and much more.

Storm Thorgerson is now 64. He has one son Bill with his first partner Libby and is now married to Barbie who has two children. They live in North London.

http://www.dprp.net/specials/2005_storm/

Rock Bottom

Unul dintre albumele de referinta ale lui Robert Wyatt este "Rock Bottom". Iata o cronica a acestui album, asa cum a fost scrisa ea de catre Mihai Plamadeala, unul dintre cei mai deosebiti muzicieni de la noi, care pe linga muzica medievala pe care o cinta impreuna cu trupa "Nomen est Omen", scrie foarte interesant pe situl "Muzici si faze"

Robert Wyatt s-a facut (foarte) cunoscut publicului in calitate de baterist al formatiei de canterbury music, Soft Machine. Aparitia acestui prim album solo este legata de un eveniment pe cat de tragic, pe atat de ciudat. La o petrecere tinuta, se pare, la el acasa, Robert a fost convins ca poate zbura. Daca a fost ceva iarba la mijloc sau doar un spiridus rau, nu mai are nici o importanta. Cert este ca in urma caderii de la etajul patru, protagonistul a paralizat partial (de la brau in jos). In acelasi an, ’74, prietenul sau, Nick Mason, bateristul de la Pink Floyd, a produs albumul de fata, despre care imi rezerv parerea ca este cel mai valoros din intreaga cariera ulterioara a lui Wyatt.

Muzicienii participanti sunt de prima clasa. Ii (re)gasim intr-o auditie Rock Bottom pe Richard Sinclair sau Hugh Hopper la bas, pe Fred Fritz la viola, pe Laurie Allen, James sau Delfina la baterie. Este prezent si un pachet de suflatori, iar ultimul citat (nu si cel din urma) este chitaristul Mike Oldfield.

Piesele adunate pe album sunt compozitii anterioare care nu avusesera parte pana atunci de finisaje si nici de imprimari in studio. Am ascultat patru dintre ele pe un CD editat in anii ’90, cu variante demo ale unor lucrari semnate de Robert Wyatt. Piesele erau prezentate sub forma unor linii vocale acompaniate de pian.

Tesatura muzicala de pe “Sea Song”(1) frizeaza depresivul. Dealtfel atmosfera creata va fi pastrata pe intregul album. Totusi nu este vorba despre disperare si nici de povestea unei drame, puse pe portativ. Ceea ce ascultam este o experienta pur estetica, fara un corespondent aplicat.

Trecerea in “A Last Straw”(2) este facuta a la Canterbury: pe nesimtite. Noua tema isi impune insa individualitatea, impingand limitele meditative trasate de piesa anterioara spre alte zone ale sensibilitatii.

Intr-o gradatie fireasca, “Little Red Riding Hood Hit The Road”(3) pune in discutie idei sonore de maxima greutate. Estetica “intrebarii” este magnifica, iar limbajul propus se constituie in sistem.

“Alifib”(4) continua povestea pe aceleasi coordonate ale depresivului. Fundalul ritmic este asigurat de sunetul produs de respiratie. Accentele schizo se imbina cu o tristete sfasietoare. Totul sustinut instrumental intr-un mod de maxima discretie.

“Alife”(5) este un camp ideal de desfasurare a experimentului. Avangarda se intalneste aici cu necomercialul, anticipand numeroase momente optzeciste si nouazeciste. Casa de discuri ECM va continua drumul descris.

“Little Red Robin Hood Hit The Road”(6) este o incercare de concluzie, intr-o linie mai apropiata de progressive decat de experimental. Piesa si-ar putea gasi locul pe o compilatie intre un Van Der Graaf si un The Ex And Tom Cora. Finalul recitat sacadat pe un fundal de traditional distorsionat are o surprinzatoare rezolvare in stilul The Piper at The Gates Of Dawn – Pink Floyd.

Tinand cont de conditiile speciale ale aparitiei, albumul de fata nu cade in capcana manierei. Nu exista practic reteta, nici experienta anterioara directa. Dealtfel calea deschisa de Rock Bottom a fost urmata practic prin pasi distincti. Este de remarcat si distantarea relativa fata de Soft Machine.

Un album unic, din toate punctele de vedere.

http://www.muzicisifaze.com/trupa.php?id=269&cat=4&PHPSESSID=

I'm A Believer

Si fiindca veni vorba de Robert Wyatt, o piesa de demult, I'm A Believer, una dintre cele mai cunoscute piese ale acestuia. Auditie placuta!

Bob Geldof

Geldof was born in Dún Laoghaire, County Dublin, in the Republic of Ireland, to CatholicBelgian descent. At the age of 41 Geldof's mother complained of a headache and died shortly thereafter, having suffered a haemorrhage. parents. His father, Robert, also known as Bob is of

Geldof attended Blackrock College, near Dublin, a school whose staunch Catholic ethos he disliked. After work as a slaughter man, road navvy and pea canner, he started as a music journalist in Vancouver, British Columbia, Canada, for the weekly publication Georgia Straight. Upon returning to Ireland in 1975, he became the lead singer of the band The Boomtown Rats, a rock group closely linked with the punk movement.

In the year of 1978, The Boomtown Rats had their first No. 1 single in the UK with "Rat Trap", which was the first New Wave chart-topper in that country. In 1979, the group shot to international fame with their second UK No. 1, "I Don't Like Mondays".^[4] This was equally successful, as well as controversial; Geldof wrote it in the aftermath of Brenda Ann Spencer's attempted massacre at an elementary school across the street from her house in San Diego, California, at the beginning of 1979.

Geldof quickly became known as a colourful spokesman for rock music. The Boomtown Rats' first appearance on Ireland's The Late Late Show led to complaints from viewers. He had limited success as an actor, his most notable role being the lead in the 1982 film Pink Floyd The Wall, based on Pink Floyd's album The Wall.

Personal life

Geldof's long-term partner and later wife was Paula Yates. Yates was a rock journalist, presenter of the cutting-edge music show The Tube, and most notorious for her in-bed interviews on the show The Big Breakfast. Geldof met Paula when she became an obsessed fanBoomtown Rats during the band's early days. They got together as a couple in 1976 when Yates travelled by aeroplane to Paris, to surprise him when the band was playing there. of the

Before they married, the couple had a daughter, Fifi Trixibelle Geldof, born March 31, 1983 (and while Geldof was still allegedly conducting an affair with the young Claire King). After 10 years together, Bob and Paula married in June 1986 in Las Vegas with Simon Le Bon (of Duran Duran) acting as Geldof's best man. The couple later had two more daughters, Peaches Honeyblossom Geldof on March 16, 1989,^[5] and Little Pixie Geldof on September 17, 1990.^[6] Pixie is said to be named after a celebrity daughter character from the cartoon Celeb in the satirical magazine Private Eye, itself a lampoon of the unusual names the Geldofs gave to their children.

In 1994, Yates left Geldof for Michael Hutchence (INXS), whom she met when she interviewed him on "The Big Breakfast". Geldof and Yates divorced in May 1996 and Yates moved in with Hutchence. Yates and Hutchence had a daughter, Heavenly Hiraani Tiger Lily, born July 22, 1996^[7]. After Hutchence was found hanged in a hotel room in 1997, Geldof went to court and obtained full custody of his three daughters and has since become an outspoken advocate of fathers' rights. After Paula Yates's death from an overdose in 2000, Geldof became the legal guardian of Tiger Lily Hutchence, believing it best that she be raised with her three half-sisters. Geldof lives in the Davington area of Faversham in Kent.

http://en.wikipedia.org/wiki/Bob_Geldof

Live 8

Live 8 este numele unei serii de concerte maraton desfăşurate pe 2 iulie 2005 în mai multe oraşe de pe tot mapamondul. Live 8 a făcut parte din seria de activităţi sub titlul Make Poverty History (Să facem ca sărăcia să fie istorie) menite a crea presiune civică asupra liderilor G8 (Grupul celor mai industrializate 7 state, plus Rusia) în vederea eradicării sărăciei în Africa. Live 8 a avut loc cu doar 4 zile înainte de debutul unui summit al G8 la Edinburgh în Scoţia. Acţiunea a fost inspirată şi organizată de către Bob Geldof, cel care organizase cu 20 de ani în urmă un alt mega-concert caritabil, Live Aid, pentru ajutorarea celor loviţi de foamete în Etiopia. Spre deosebide de Live Aid, Live 8 nu a fost gândit ca un concert de binefacere, ci ca o încercare de creştere a conştiinţei civice a cetăţenilor din statele industrializate cu privire la problemele ţărilor sărace din Africa. Cel mai important dintre aceste concerte s-a desfăşurat în Hyde Park, Londra, şi a avut pe afiş artişti ca Elton John, REM, Dido, Madonna, Coldplay, Robbie Williams, Sting, Pink Floyd (reuniţi după mai mult de 20 de ani), U2 şi Paul McCartney. Concerte s-au mai desfăşurat în Paris, Johannesburg, Tokyo, Philadelphia, Berlin, Roma.

Cornel Chiriac - Evocari (Partea a III-a)

Si cea de a treia parte a emisiunii cu si despre Metronomul lui Cornel Chiriac.

Cornel Chiriac - Evocari (Partea I)

De pe youtube, o emisiune realizata de TVR 2. Se aude pe fundal, vocea lui Doru Ionescu, un excelent realizator de emisiuni de cultura muzicala, omul care a sapat in arhivele televiziunii si a radioului pentru a scoate la lumina adevarate comori.

Cornel Chiriac - Evocari (Partea a II-a)

Partea a II-a a excelentei emisiuni a lui Doru Ionescu, in care este evocata personalitatea lui Cornel Chiriac si emisiunea sa "Metronom" de la Europa Libera.

La Filière Progressive

La filière progressive est une émission de radio qui prend les ondes de CJSO 101,7 fm, à tous les samedis soirs 21 h, et qui est complètement dédiée au « Rock Progressif ».

Animé et co-animé par Jean Doyon et Réjean Charbonneau, « La Filière Progressive » vous fera connaître le « Rock-Prog » d'aujourd'hui et des découvertes intéressantes.



http://www.cjso.qc.ca/prog.php?q=weekend&p_id=24

Progster

De pe myspace, unul din blogurile care imi plac foarte mult, un blog progresiv, al unui simpatic amator de progrock din Norvegia. Excelent organizat, te determina sa mai treci din cind in cind sa-l mai vizitezi.

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=66636147

A definition of Progressive Rock Music-Part III

Progressive rock compositions sometimes take the following forms:

* A piece that is subdivided into movements in the manner of a classical suite. Examples are the four-part "Close to the Edge" by Yes, six-part "Hemispheres" by Rush, and the seven-part "A Change of Seasons" by Dream Theater. All of TransAtlantic's epics are multipart.
* A piece that is composed of a patchwork of musical themes that could conceivably stand as individual songs, but together serve to relate a complete narrative through music. Examples are "Supper's Ready" on Genesis' Foxtrot (the "Willow Farm" section of which was played as a single), "A Day in the Life" on Sgt. Pepper's Lonely Hearts Club Band by The Beatles, Jethro Tull's Aqualung from the album of the same name, and "The Gates of Delirium" on Yes's album Relayer (from which the single "Soon" was taken).
* A piece that allows the development of musical ideas via progressions or variations in the manner of a bolero or a canon. "King Kong" on Frank Zappa's Uncle Meat is an example.

Progressive rock's popularity peaked in the mid-1970s, when prog artists regularly topped readers' votes in mainstream popular music magazines. With the advent of punk rock in the late 1970s, and its earlier precursor pub rock, popular and critical opinion moved toward a simpler and more aggressive style of rock, with progressive rock increasingly dismissed as pretentious and overblown. This attitude has remained in place to the present day.

The early 1980s saw something of a revival of the genre, led by artists such as Marillion, Saga, and Kate Bush. Groups that arose during this time are sometimes termed neo-progressive. Around the same time, some progressive rock stalwarts changed musical direction, simplifying their music and including more obviously electronic elements. In 1983, Genesis achieved international success with the song "Mama", with its heavy emphasis on a drum machine riff. In 1984, Yes had a surprise number one hit with the song "Owner of a Lonely Heart", which contained modern (for the time) electronic effects and was accessible enough to be played at discos.

The genre enjoyed another revival in the 1990s with the so-called "Third Wave", spearheaded by such bands as Sweden's The Flower Kings, the UK's Porcupine Tree, and Spock's Beard from the United States. One of the most important bands of the alternative rock movement, The Smashing Pumpkins, incorporated progressive rock into their unique, eclectic style, going so far as to release two albums dealing with the same concept.

In recent years, the most commercially viable category of prog has been progressive metal. These bands are usually happy to be known as progressive, and produce very long pieces and concept albums. Several of the leading bands in the prog-metal genre (particularly Dream Theater) cite pioneer progressive hard-rockers Rush as a prime influence. Meanwhile, other heavy metal bands not generally considered prog-metal, such as System of a Down, have nevertheless incorporated prog-influenced elements like bizarre shifts in time signatures and tempo in their music.

The work of contemporary artists such as Ween and post-rock bands like Sigur Rós and Godspeed You! Black Emperor could be said to incorporate some of the experimental elements of progressive rock, sometimes combined with the aesthetic sensibilities of punk rock to produce music which many find challenging, innovative and imaginative. The Mars Volta is notable for intentionally fusing punk with progressive rock, two elements once polar opposites. Among more experimental and avant garde musicians, the Japanese composer Takashi Yoshimatsu publicly cites progressive rock bands as a prime influence on his work.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Progressive rock".

http://www.progarchives.com/

A definition of Progressive Rock Music-Part II

Some common, though not universal, elements of progressive rock include:

* Long compositions, sometimes running over 20 minutes, with intricate melodies and harmonies that require repeated listening to grasp. These are often described as epics and are the genre's clearest nod to classical music. An early example is the 23-minute "Echoes" by Pink Floyd. Other famous examples include Jethro Tull's "Thick as a Brick" (43 minutes), Yes' "Close to the Edge" (18 minutes) and Genesis' "Supper's Ready" (23 minutes). More recent extreme examples are the 60-minute "Light of Day, Day of Darkness" by Green Carnation and "Garden of Dreams" by The Flower Kings.
* Lyrics that convey intricate and sometimes impenetrable narratives, covering such themes as science fiction, fantasy, history, religion, war, love, and madness. Many early 1970s progressive rock bands (especially German ones) featured lyrics concerned with left-wing politics and social issues.
* Concept albums, in which a theme or storyline is explored throughout an entire album in a manner similar to a film or a play. In the days of vinyl, these were usually two-record sets with strikingly designed gatefold sleeves. Famous examples include The Lamb Lies Down on Broadway by Genesis, Tales from Topographic Oceans by Yes, 2112 by Rush, Dark Side of the Moon and The Wall by Pink Floyd, and the more recent Metropolis Part II: Scenes from a Memory by Dream Theater and Snow by Spock's Beard. Aqualung, perhaps the best-known record by Jethro Tull, is often regarded as a concept album due to its recurring themes, but songwriter Ian Anderson has always claimed that the album is just "a bunch of songs".
* Unusual vocal styles and use of multi-part vocal harmonies. See Magma, Robert Wyatt, and Gentle Giant.
* Prominent use of electronic instrumentation — particularly keyboard instruments such as the organ, piano, Mellotron, and Moog synthesizer, in addition to the usual rock combination of electric guitar, bass and drums.
* Use of unusual time signatures, scales, or tunings. Many pieces use multiple time signatures and/or tempi, sometimes concurrently. Solo passages for virtually every instrument, designed to showcase the virtuosity of the player. This is the sort of thing that contributed to the fame of such performers as keyboardist Rick Wakeman and drummer Neil Peart.
* Inclusion of classical pieces on albums. For example, Yes start their concerts with a taped extract of Stravinsky's Firebird suite, and Emerson Lake and Palmer have performed arrangements of pieces by Copland, Bartók, Moussorgsky, Prokofiev, Janacek, Alberto Ginastera, and often feature quotes from J. S. Bach in lead breaks. Jethro Tull recorded a famous cover of J. S. Bach's "Bouree", in which they turned the classical piece into a "sleazy jazzy night-club song", according to Ian Anderson. Marillion started concerts with Rossini's La Gazza Ladra (The Thieving Magpie). Symphony X has included parts by, or inspired by, Beethoven, Holst and Mozart.
* An aesthetic linking the music with visual art, a trend started by The Beatles with Sgt. Pepper's and enthusiastically embraced during the prog heyday. Some bands became as well-known for the art direction of their albums as for their sound, with the "look" integrated into the band's overall musical identity. This led to fame for particular artists and design studios, most notably Roger Dean, whose paintings and logo design for Yes are so essential to the band's identity they could be said to serve the same function as corporate branding. Hipgnosis became equally famous for their unusual sleeves for Pink Floyd, often featuring experimental photography quite innovative for the time (two men shaking hands, one of whom is in flames, on the cover of Wish You Were Here). H.R. Giger's painting for Emerson Lake and Palmer's Brain Salad Surgery is one of the most famous album sleeves ever produced.

http://www.progarchives.com/