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

Retrospectiva 2009 a scenei de rock progresiv (lansari pe DVD)

http://www.dprp.net/reviews/dvd.html
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Retrospectiva discografica 2009 a scenei de rock progresiv (albume de studio)

Constat, cu deosebita placere( satisfactie bazata nu numai pe nr de CD-uri cumparat in anul ce de putin timp l-am incheiat) ca 2009 a fost bogat in aparitii pe scena rock-ului progresiv;

Noi trupe s-au lansat pe piata muzicii , altele au continuat sa confirme, continuand sa ne surprinda (in mod placut), altele (insa) dezamagind de data asta (sau poate asteptarile noastre au fost prea mari);

Vreau sa subliniez ca cele de mai jos sunt pareri absolut personale vis-a-vis de muzica progresiva si trebuie luate ca atare.


Chiar daca The Flower Kings nu a avut in 2009 nici o lansare (surprinzator, nu?), membrii trupei n-au stat cu mainile in sân;

Astfel, Tomas Bodin continua trilogia inceputa cu “I Am” acum cativa ani, cu al II-lea album din respectiva serie “You Are” de data asta schimband registrul, inroland fosti membrii din TFK in nou creata Eggs & Dogs;

Roine Stolt (the mastermind of TFK) de asemenea, lanseaza un ambitios proiect personal impreuna cu Nad Sylvan (Unifaun) sub titulatura AGENTS OF MERCY “The Fading Ghosts of Twilight”, iar impreuna cu Jonas Rheingold (sub numele 3rd Electric World) albumul “Kilimanjaro Secret Brew”.

Din aceiasi zona geografica (Suedia), cei de la Beardfish lanseaza”Destined Solitaire”, iar olandezul (ambitios, nu zburator) Arjen Lucassen, tripla complatie “Timeline” (o retrospectiva acoperind intreaga perioada de creatie avuta sub titulatura AYREON); tot respectivul, sub numele Guilt Machine lansand, tot anul trecut albumul “On This Perfect Day”.

Cum ar fi fost sa nu mentionam aparitia (dupa o absenta de mai bine de 9 ani) al celui de al III-lea album de studio “The Whirwind”, al reunitilor de la TRANSATLANTIC (considerat de ‘specialisti’, primul super grup, in componenta Mike Portnoy /DREAM THEATER, Pete Trewavas/MARILLION, Roine Stolt/THE FLOWER KINGS si Neal Morse/ex-SPOCK'S BEARD).

Ca tot pomeniram de Dream Theater, respectivii lanseaza “Black Clouds And Silver Lining”.
Pe langa faptul ca impreuna cu Robert Fripp de la King Crimson, a inceput remasterizarea albumelor KC, cu ocazia aniversarii a 40 de ani de la aparitie (“Lizard”), Steven Wilson isi gaseste timp sa scoata (impreuna cu Porcupine Tree), albumul “The Incident”, o alta nestemata alaturata panopliei PT déjà existente.

Neoprogresiv-ul se afiseaza cu albumul “Frequency” al celor de la IQ; chiar daca Martin Orford, unul din membrii fondatori ai grupului a ales sa paraseasca corabia, trupa face ‘fata’ cu brio in continuare.

Pe scena poloneza, grupul Satellite adauga inca un album (bunisor), “Nostalgia” la deja bogata discografie (majoritatea componentilor actualei trupei formasera in anii 80 grupul Collage).
Tot Polonia (oare cand vom avea si noi, romanii, cel putin o trupa ‘decenta’ pe scena progresiva??? intrebare retorica...), prin cei de la Riverside (Mariusz Duda) lanseaza “Anno Domini High-Definition” al IV-lea album de studio al trupei.
Prolificul fost chitarist al trupei Genesis, Steve Hackett, pe finalul anului, lanseaza “Out Of The Tunnel’s Mouth”.

Si daca tot am trecut Canalul Manecii, un exponent de baza al scenei Canterbury este grupul THE TANGENT, care dupa mai putin aclamatul album “Not As Good As The Book” revine sub claviatura aceluiasi entuziast, Andy Tillison cu “Down And Out In Paris & London”, avand timp sa mai scoata un alt album, “Jitters” cu trupa in care a debutat, Parallel Or 90 Degrees.
Rock-ul psihedelic, prin cei de la The Future Kings Of England cu al lor al III-lea studio album, “The Viewing Point” adauga genului abordari clasice dar, totodata, proaspete.

Neobositul Omar Rodriguez Lopez si ai lui Mars Volta, ofera un album de-o rara frumusete si melodicitate, “Octahedron”.

Pe scena germana a space-rock-ului, legendarii Eloy, revin cu “Visionary”, dupa o absenta de 10 ani (si cu ocazia aniversarii a 40 ani de existenta) cu acelasi frontman, Frank Bornemann dar, cu un album prea scurt si avand, din pacate, elemente si pasaje muzicale deja dezvoltate anterior.
Tot in Germania, exponentii krautrock-ului din anii 70-80, Grobschnitt (faimosi pentru seriile de concerte in care dezvoltau tema numita de ei “History Of Solar Music”, de fiecare data interpretand-o diferit) se regrupeaza (reuniune nerecunoscuta insa de unii membrii fondatori Eroc, Lupo, etc) lansand “Grobschnitt LIVE 2008”.

Kevin Moore (ex-Dream Theater) si Jim Matheos (Chroma Key) sub titulatura O.S.I. (Office of Strategic Influence), lanseaza cel de-al III-lea album “Blood” avand ca invitati pe langa Gavin Harrison (PT) pe Mikael Akerfeld (Opeth) si Tim Bowness(NO-MAN).
Ca si debut, merita mentionat albumul “The Weirding” al celor de la Astra.

Voi reveni cu lansarile pe DVD.

Intre timp, keep’on’progin’...



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It's a miracle

N-am mai scris nimic de foarte mult timp pe acest blog. S-au intimplat multe in ultimul timp, e mult de povestit, insa cel mai important gind este ca viata trebuie sa mearga inainte, sa speram ca de acum incolo cu mult bine pentru toata lumea. Toate cele bune tuturor celor care mai trec din cind in cind pe aici! Si auditie placuta, va las impreuna cu domnul Roger Waters, care stie mult mai bine decit mine sa spuna lucrurilor pe nume...

Young Lust

Bounding behind "Goodbye Blue Sky" on the album and "What Shall We Do Now?" in the movie, "Young Lust" bursts into life as "a pastiche of any young rock and roll band out on the road" (Waters, 1979 interview). The music is so vibrantly cliché and the vocals so infectious that the song, while lampooning the sexually driven, big-guitar-rock songs and bands of the time, transcends its mold and becomes a lively entity unto itself. Although Waters' original song recounted the singer's cautious sexual exploits after school, "hanging around outside porno movies and dirty bookshops," the collaboration of Waters, Gilmour, and Ezrin quickly turned the song into a rollicking melody recounting Pink's entrance into rock and roll super stardom. And what better way to show celebrity excesses than through the eyes of yet another sex-driven star. Yet there's little wonder as to why Pink explodes into his new personage: in terms of album chronology, he has just left his overprotective mother, his school, and the life he knew, all of which oppressed the development of Pink's individuality. In the total absence of any boundaries whatsoever and with his newfound power as a celebrity (we never really do find out HOW Pink became a star…but that might be besides the point), Pink bursts through the rules placed on him throughout his life and recklessly embraces all that he was never allowed to experience. As the cliché says (which is appropriate for this purposefully stereotypical song), he simply immerses himself with sex, drugs, and rock and roll.

Though the song is relatively simple in terms of narrative (it's mainly used to detail the sexual exploits of rock star Pink whose every sexual fantasy is explored in every town that his tour stops in), the very style that Floyd uses to convey the message contributes to the deeper undertones of the album. It's interesting that Waters described the song as a pastiche, a literary imitation usually for the sake of satire. In one way, the pastiche technique is used to criticize a certain type of music or lifestyle without blatantly attacking it. To use a literary example, many of the chapters of James Joyce's masterpiece Ulysses parody other writers, books, and cultural trends of the time in an attack on what Joyce arguably saw as the degeneration of intellectual thought and literature. Although Joyce never mentions a specific writer or book in these parodic sections, his views are loudly proclaimed and his aim is nearly unmistakable. So too is the aim of Pink Floyd's "Young Lust," a parody of every rocker whose used his celebrity for sex and drugs, whose ego is as large as his image, and whose only care is the pursuit of carnal pleasure.

Going beyond sheer parody, Floyd interestingly uses this technique to further define Pink's character. The very fact that the song is an imitation of popular rock music of the 70's reinforces Pink's lack of individuality at this time in his life. Up until now, he has been molded by his mother, his school, and life itself into a model civilian void of nearly all traces of distinctiveness. In the movie Pink is punished by his teacher for writing poetry, restrained sexually by his ever-watchful mother, alienated from much of society because he has no father; all of the above have only contributed to the flimsy mask of personality, each incident painting a feature onto the mask rather than adding depth to his character. Fittingly, the first song of his new independence is one that is so full of rock clichés (the gruff, sexual voice; the catchy, melodic hook; the polished guitar solo) that it's hard to grant just one person credit for writing the song. It not only recalls popular musical trends at the time but the vocals are also reminiscent of an earlier Floyd tune called "the Nile Song", according to a Waters interview. Pink is not just a mere shadow of 70's rock and roll but he's also a shadow of his creators' earlier music. But it's only after he fully erupts that Pink finally comprehends the hollow shell that he is and the void of individual nothingness underneath, a realization that further contributes to the completion of the wall and the destruction of whatever self there once was.

While the song's position on the album denotes a more natural sense of newfound sexual freedom, one might argue that its position in the movie is much more dubious, casting the song in a retaliatory light. By this argument, Pink turns to the sexually willing groupies in order to get even with his unfaithful wife whose infidelity he has just discovered in "What Shall We Do Now?" Pink stays in his trailer for most of the song, only emerging momentarily when he sees a pretty female fan that catches his eye. Although he is obviously annoyed with her when she tries to get his autograph, he nevertheless takes her back to his hotel room, insinuating that he originally intended to do something with her, that is until he has another one of his "turns" in the next song.

One might also argue that the movie sequence is little more than an extension of the album version, "serious[ly] romanticizing" the life of a rock star (Waters, DVD). The majority of the song's scenes do little to advance the plot, mostly showing the excesses of celebrity life in the numerous women, abundant food, and flowing champagne before concluding the song with the groupie following Pink back into his trailer. Despite the scenes' apparent frivolity, there are a few subtleties that rescue the video from being nothing more than justification for sex jokes and female nudity. It's interesting to note that despite this being Pink's sexual anthem (at least on the album), he is probably the character with the least amount of screen time during the song. His absence from the majority of the footage creates a physical separation between the viewer and the character, one that quite possibly parallels Pink's feelings of abandonment and detachment after having discovered his wife's unfaithfulness. This sense of disconnection is further emphasized by the few times Pink is on screen. When the viewer is offered a glimpse of Pink, it is usually through the window of Pink's trailer, producing yet another wall of separation between the viewer and Pink as well as Pink and the rest of the world. Rather than joining his own backstage party, he sits by the window and indifferently watches the festivities outside of this trailer through a dark pair of sunglasses, yet another wall of separation between the external world and himself. Even when he does emerge from his trailer at the end of the song, he quickly retreats back into it when he finds that the female groupie is just another faceless fan in search of an autograph and a wild story. Interestingly, the fan is more persistent than one might expect, trying to take off his glasses to "find out what's behind [his] cold eyes" and following him into his trailer and eventually back to his hotel room, even after Pink has blatantly expressed his exasperation with her. Coupled with the groupie's resemblance to his wife (at least in my opinion…which is perhaps why Pink was drawn to her in the first place), the fan acts as yet another extension of the wife's insistent attempts to try to break through Pink's wall and truly connect with him. But just as Pink eventually drove his wife to having an affair, he will also drive the female fan away from him before she even glimpses what's behind his disguise in "One of My Turns."