August 14, 2024 • 71 mins
En esta nueva entrega de Cooltivando la música, decidimos conversar sobre uno de los mejores álbumes de la segunda mitad del siglo XX. The Wall de Pink Floyd, el cual es, sin duda, una de sus mejores obras musicales y cuenta con una historia sumamente interesante. Fue tal la sensación de este álbum en su época que también inspiró la creación de una obra visual en su película homónima, la cual sigue vigente hasta el día de hoy.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:30):
Oh, my God.
Hello everyone, welcome to Cultivando la Musica in this edition.
I greet the co-pilot of this ship and collaborator from Germany from Cultivando.
(00:52):
Chavita, how are you?
Very good James, here already full summer in Germany with heat.
Very nice sun.
And also happy, because there are already two Cultivando la Musica followed this month.
And even happier about one of my favorite albums, Pink Floyd is a band that has marked my taste for music.
(01:17):
And we came to introduce them or talk to them about the album The World.
Really, from many Cultivando la Musica you have told us that you are not a fan, but from this band you are a great fan Chavita.
And a great connoisseur of this album The World and that's why we're going to talk about it.
And definitely I am very pleased to talk about it this time.
(01:40):
But let's see, I'm going to do the annotation, although I'm not a fan of all Cultivando la Musica.
Now I love listening to the experiences of our ideologists and knowing more about music.
I hope you listen to ours too.
But to get into Chavita, this one is the eleventh studio album of Pink Floyd.
(02:03):
It was released on November 30, 1973 in the United Kingdom by Harbour Semi in the United Kingdom and by Columbia in the United States.
It is mainly a rock opera, Chavita, which talks about a character named Pink,
who is a rock star who is fed up and who decides to build a wall for his social isolation.
(02:32):
Yes, definitely. I think this is based on an experience from Roger Waters.
It is a somewhat autobiographical album in which you told me that the band was already in conflict.
And then at some point Roger Waters explodes and spits on a fan's face.
(02:58):
And you also told me that you had financial problems.
Yes, look, this issue happened in 1977 when Roger Waters conceived this album in a tour called In The Flesh,
in which they were promoting this album Animals and he models this character,
(03:19):
who is called Pink throughout the history of this album The Wall,
as an autobiography of him and one of the iconic former members of Pink Floyd, who was Sid Barrett.
Sid Barrett was fired from the band for the great LSD consumption he had.
So really, Sid Barrett is like a mix of Roger Waters and Sid Barrett autobiography.
(03:48):
It is really interesting to say that The Wall is the last album to present the four original members.
It is the last album to record Pink Floyd with its four original members.
And it records from December 1978 to November 1979.
(04:13):
And then Pink Floyd reunite again until a concert that is the 2005 Live Ed, Chavita.
So it is interesting that the band is an iconic band,
but that around its members there were many blinds found, Chavita.
(04:33):
And definitely, I am surprised that this is, although it is not officially the last album,
I think it is like the farewell album of the original band.
And well, it starts with such a good album, some would say that it is the best, I have my doubts there,
but hey, it starts with an idea of the situation in which Roger Waters was,
(04:59):
and that makes him rethink after disrespecting the fans,
who are the ones who feed the bands and say,
hey, who am I, what is happening to me, I want to form a wall to stop having contact with people.
And he says, this wall is not only a psychological wall,
(05:19):
it is a wall that I am creating and that I bring from far behind in my life.
And then he begins to see what his traumas are, or what led him to that.
And in this album, he takes from the beginning of his life and speaks a lot, just,
of the loss of his father, it was something that marked his life a lot,
(05:41):
he lost it during the Second World War, his father died there,
and well, nowadays he continues to talk a lot about that event and how he marked his whole life, right, J?
Yes, but to talk about this background, Chavita,
and this is what happened to you, what you were talking about a few moments ago,
this is what happens to you during this tour of the album of Animals.
(06:05):
And the climax happens on July 6, 1977, in the Montreal Olympic Stadium in Canada.
And what I was reading is that, well, as they had released several albums,
they were already a very consolidated band, right?
(06:25):
They had to do events in very large stadiums,
and that generated that many times you lost that close contact with the fanatic, right, Chavita?
And that's what Roger Waters begins to feel during this tour, right?
That he was investing and the band invested a lot of money
(06:49):
in people having an auditory experience, right?
During the whole concert, and he saw that there were certain sectors that were relaxing,
that they were not attentive, that they were making noise,
and that, well, a person with such an explosive character as Waters did not like it.
(07:14):
In fact, in this Montreal concert, there was a sector of very noisy and excited fans
near the stage, and Rita Waters, some of them even have data that she even spat on them
for the concert and spat on the fans.
(07:36):
And I think it was like everything, right?
Well, fame inflated them in ego, they took their works too seriously,
and I understand, right? Well, it's part of their work, but in the end people are going to enjoy a concert.
I suppose they were relaxing, but I don't know if they were really interrupting the show.
(07:58):
And well, in the end, if you already have things behind you, and also with this fame that rises,
well, it's not understandable, but I can imagine what would have happened.
And this same thing also happens to Gilmore, right?
That is, they say that in this concert Gilmore stops playing, right?
The final riff is left to the secondary guitarist,
(08:22):
that is, they were fed up that people were not going to the concerts to really listen to the music.
And notice that what you say reminds me of a not so distant anecdote from Roger Waters,
in which some people tried to boycott the concert of,
I think it was precisely his The Wall show, and they named that during the show
(08:51):
they were shown as different symbols, both Jews, Nazis, money,
that they came to offend some people and said,
from today I no longer respect Pink Floyd and Roger Waters for their political points of view.
And well, Roger Waters just answers these people who were trying to boycott
(09:17):
and who spoke in the news, saying,
my music has always been or has been full of political content, I don't know what you mean,
it's nothing new, if you haven't heard my songs and what my songs speak about previously,
I don't know what they come to protest at a concert, I've always used political symbols,
(09:38):
I've always been against capitalism, and well, there also sums up the anger
with some people who go to concerts and don't even know what they're going to hear, they don't go for the fashion.
And then, well, this generates the creation of this concept of the wall that isolates Pink Floyd from the audience.
(10:02):
In fact, I read that once The Wall was finished, the idea and the concept that Roger Waters had during this tour of The Wall
was literally that the wall was built and that they would touch behind the wall so as not to see the audience,
(10:23):
which David Gilmore and the producers said, no, this can't be, right?
But well, in the beginning, that's the concept of the wall.
No, it was definitely a very strange concept, imagine going to see a band and there is no band as such,
it was a concept of contemporary art and that in a certain way takes it on the other side,
(10:49):
but more recently gorillas, right?
Gorillas, well, at first they played behind a screen and what appeared in the characters, right?
It was like a virtual band, right?
That concept is quite interesting to me.
Well, the concept of The Wall is really created practically in its entirety by Roger Waters, this girl.
(11:15):
In 1978 there was a great financial problem and there were great financial and personal problems with the band members.
What I had read is that the band had decided to invest their money in certain risk capital, that is,
(11:38):
very much in the bitcoin era, in scooters, in pizzerias, even some analysts say that Pink Floyd invested in one of the first video game consoles.
The joke is that this risk capital did not help them because being a risk capital, how can you win, you can lose.
(12:05):
And in this part they even say that some of their financial advisors stole money from them,
but the joke is that they owed a stupid amount of money in tax issues and we are talking,
I read that the debts were between 11 and 15 million pounds of sterling,
(12:30):
of that time, which Pink Floyd did not have the money, Roger Waters has said it.
And well, what they recommend to all financial advisors is that they produce an album or produce an album.
And then, well, in 1978, really two of the members who were David Gilmour and Ryde had been in France at the beginning of this year,
(13:01):
recording their albums in solo and also Nick Mason, who was busy producing the green album by Steven Eilish.
And at that time, Waters began to build this concept that we had already talked about The Wall.
Because I believe and many of the books that I read on this topic,
(13:27):
because the other members had been in their solo albums,
they had really exploited their creative capacities in these albums.
And then, due to this urgency to record a material to help the problems of Pink Floyd,
(13:50):
they really decide to follow the idea of Roger Waters,
because it was the only idea that was on the table and the only idea that could get them out of this mess.
Imagine, you have no choice.
And even so, I think they made a good decision.
And the truth is that regardless of the lyrics and the concept, Roger Waters created it.
(14:16):
I think that Gilmour and Ryde themselves contributed a lot to this album.
For me, it is full of riffs and solos, for me more than memorable.
According to Billboard, the best solo in history is the one by Comfortably Numb of this album.
And well, I feel that Ryde, even being a keyboardist and being one of those musicians who don't shine,
(14:42):
many people surely find him on the street and do not locate him.
If he puts a lot of these atmospheres, not only in this album, but in all of them,
I think he is a key piece musically for Pink Floyd.
I don't know what you think, James.
Is it one of your favorite from Pink Floyd?
Or what album do you like more from Pink Floyd?
I think this is one of my favorites for all this story that Roger Waters conceptually designed.
(15:08):
Really, Roger Waters designed this album to have the album, a movie and a staging in the theater.
So...
And this song, because...
Sorry to interrupt you, James, but this song just that in the end, as they say in Mexico,
(15:30):
they hit the fat guy with this album and it becomes so famous that they get a film director
to carry this concept to a movie three years later, right?
Alan Parker, right?
Incredible. Alan Parker, I think his name is the director.
But well, to finish this background of the album, because I think it is important to talk about
(15:53):
what was going on with the band's life and how this concept was born.
Because I think this concept, as I was saying, the only one that was dedicating the creative part
to Pink Floyd was Roger Waters.
So they take this concept of The Wall and as I was saying,
(16:16):
Waters conceived this rock opera from The Wall from 26 songs, Chavita.
And I think that's how they presented this album to me a long time ago.
They tell me that it is divided into three parts.
Although it is a double album, I would define it as dividing into three parts.
(16:41):
First, the construction of the wall, the realization and the social criticism
that this character has to society at that moment and so on.
And then the third part, the destruction or how to break that wall, right James?
And also, to talk a little bit about what that wall was for Roger Waters, right James?
(17:03):
It's correct.
But it is important to say that these 26 songs, when they begin with Sevilla and Roger Waters, Chavita,
you see the need to hire another guy who I think is a very important factor
in the construction of this album, which is this Bob Esrin, who was the producer,
(17:27):
a producer who had already worked with bands like Alice Cooper, like Lou Reed,
like Kiss and Peter Gabriel.
What they say is that Roger Waters was introduced to his wife at that time,
Carol and Christy.
And well, they really say that Roger Waters, having created this concept,
(17:52):
starts with a very big ego and makes it clear to Bob Esrin that he is the owner of the project, right?
He really sells his project, right?
He really sells his project, right?
And here they talk a lot about how he uses this project to lead the band at this time,
(18:13):
and that even he knew that, well, David Gilmour has a very big musical capacity,
and that is important to say, Roger's creative capacity with Gilmour's musical capacity.
They make an incredible album and then what they said is that Roger Waters started recording,
(18:33):
right?
In the day, the songs, right?
And he starts pushing Grite and Gilmour,
Grite, well, as being Roger Waters' punching bag.
They say that Roger Waters was very pressured
(18:55):
and then he starts using Richard Grite as punching bag.
Richard Grite even asks to be the producer of the album, right?
And as Roger Waters puts it to the test,
they say that Grite was also going through a very difficult time,
(19:16):
he was divorcing,
he was divorcing,
and also something that the band is also recommended for this financial debt
is that they leave England and then they decide to use...
I already taught you the fiscal, so...
Yes, yes, yes, they decide to go to France and use the so-called Super Bear Studios,
(19:39):
where they had been recording Gilmour and Grite,
their albums,
their albums in solo, right, Chavita?
And then, really, what they say is that Grite had many problems
because the children of the other members were small and they could take them to France,
(20:02):
but Grite's children were big and then they went to school
and Grite was really very limited to continue the band.
What happened? Well, really...
He ended up leaving, right?
Yes, yes, they ended up saying goodbye, he ended up leaving the band,
he ended up being included as just an artist or a musician
(20:27):
who is part of the album.
The agreement with Waters came to record all his parts
and continue the tour,
but not to stay as part of the producers of the album, Chavita.
Really strong enough to be an ex-member, right? I don't know if...
(20:48):
I mean, in the end, I don't think he had such a high ego
that he allowed others to leave him as a musician, right?
That they let you down a little bit from the band must be heavy, huh?
And especially, let's say, what they said is that
Gilmour and Waters recorded during the day
(21:12):
and Waters ordered Bob Bezrin, this producer,
that Grite, if he's going to record, record at night
and as long as he doesn't see Waters and Gilmour.
And that, well, I don't know, I mean, Waters hides it,
(21:32):
saying that it's for Grite to develop his creative capacity,
but I think Grite, combined with all his divorce problems,
the difficult move to leave, it makes life very difficult for him, Chavita.
Yes, I'm just surprised that
it's clear that Waters has a very strong character, right?
(21:53):
And I think that, in the end, well, it allows,
it's a little weird to say it, but it allows, even so,
for others to continue to contribute.
I remember an interview I heard just about him
talking about Gilmour, more than about Grite,
and he just said, the truth is that we were fighting,
(22:14):
but I know the ability of Gilmour,
and I know that without him, it wouldn't have been The Wall like that.
And although I don't think he names Grite that much,
I think he knew that Grite was a key piece for the musicalization, right?
Of course, what happens later in this story, Chavita,
is that they decide,
(22:35):
Waters meets with the producers, with the record company,
and they decide to offer him more profit, right?
If he finished recording the album before December of 1978.
And then, Waters decides to cut off the vacation
(22:56):
of all the members, right? Of the summer,
and Grite is totally against that,
because he already had some vacations in Crete with his family.
And so, adding to everything that had happened,
this pressure, well, it raises a lot the discontent of Grite,
(23:16):
right? Because of this type of decisions
that One-Laterally World took.
And well, I think that, justified or not justified,
it was part of the conflict, right?
To look for more ways to record all this fight,
(23:39):
but well, in the end, a good album is achieved,
and this tour is created, and you told me that this first tour
already begins with a fairly artistic concept, right?
And it is quite, although it is not achieved, or well,
the record company does not allow a wall between the band,
a wall between the band and the public begins to be created,
(24:02):
which is then knocked down, right?
That's right, Chavita.
And I think that, well, this is the environment,
and this is the background of the history of The Wall,
and I think that cultivating music was to analyze this album,
to analyze each one of the tracks that build this album,
(24:24):
which is for me a precious album,
which says a lot, which talks a lot about these traumas
that you have since childhood,
and that many times you can reflect on in adulthood, Chavita.
And a lot of, let's say, there it sounds very, very,
but it is a lot of human nature, right?
(24:47):
I mean, I think that although each one has its problems,
many of these songs talk about traumas that Roger Waters suffered
as a child, like the loss of his father,
and let's say rejection, problems in relationships,
they are things that anyone can easily identify, right?
(25:10):
It is a very universal topic.
And I think that is precisely the art of this album, right?
It achieves, and I just read it in this kind of things,
and this is the great help that Bob Esrin gives them, right?
The concept that Roger Waters had created was more or less
autobiographical of him and Sid Barrett,
(25:32):
but what Esrin does is like taking it out, right?
Generalize it and stop banalizing it a bit as,
oh, this is the story of the rock star Roger Waters, right?
Like this kind of, oh, that people don't think
that they are problems of the first world
and be able to universalize the problem to anyone.
(25:57):
And it seems to me that it lands very well,
I think that at no time it is noticeable,
although it speaks, and for example the film I think
is a little more towards the artist,
but if you really only listen to the album,
then everyone can interpret it very openly, right?
I don't think it speaks of money or even of things
(26:21):
that are very, let's say, specific to Roger Waters.
And well, it's a pretty long album,
but it's too enjoyable.
I think I can listen to it whole,
without any problems, any weekend, right?
Well, if you want, Chavita, let's get into the songs,
well, more outstanding of the album.
(26:44):
I would say that the first one is this one in The Flesh, right?
Where this opening of the album presents this pink star,
right? As disillusioned and facing an apparently hostile audience, Chavita.
(27:06):
And I love just this beginning,
where again, like in The Dark Side of the Moon,
it's like a very musicalized intro,
in which the first thing this artist or this person does is say,
well, you wanted to watch this show,
you wanted to feel this emotion,
(27:27):
feel like a space cadet,
but friend, behind me or behind this artist
there's a disguise,
and behind these cold eyes you'll find a not very pleasant surprise,
let's say, the message is not textual,
but also in a certain way it can be interpreted as
(27:51):
when Roger Waters himself is trying,
after this conflict he has with his fans,
to understand himself,
when sometimes you have an idea of yourself
and you have a very high ego,
and you start to get to know yourself and to see who you really are
and how people see you, it's super unpleasant,
and it's a part that very few people want to discover, right?
(28:17):
And just when he starts singing this,
or well, when the lyrics of this song begin,
the heart starts again,
tuk, tuk, tuk,
and the song ends,
and again, just like it happens with Dark Side of the Moon,
the next, the second song,
which is In Clean Eyes,
(28:38):
begins with the crying of a baby,
which is like the beginning of a life,
and just talking about how fragile we are since we were kids,
and how fragile is the life that is taking us,
and is marking us, and is going to give us all these traumas,
because Roger Waters represents like bricks
that are building this wall of traumas
(29:02):
and things that keep us away,
that prohibit us from being ourselves
and keep us away from society, right, Jim?
Very well said for you, Chavita.
Yes, I agree with you.
The first song, I think, that establishes this tone of the album,
introduces the notion of the wall as a barrier between Pink and the outside world,
(29:28):
and well, as you say, the second song of Think Guys,
which in Spanish is just El Hielo Delgado,
symbolizes that fragility of life and early traumas,
and how these traumas can mark you in your present, Chavita.
Then comes a hit, a hit, one of the first singles of this album,
(29:53):
which is Another Breaking the Wall, in part one.
And right in this is where it first reflects the loss of his father,
is where this character begins to say that his father is just a memory,
well, in the movie the father dies in the war,
(30:15):
and the only thing this song says is,
what did you leave behind for me?
What did you leave behind?
It's just another brick on the wall, right?
I mean, it's his first trauma as a child,
realizing that he lacks a father,
and that the other children are just seen in the movie, right, James?
Yes.
Well, the child tries, let's say, to take the hand of the father of another child,
(30:40):
but he is rejected, right?
It's this kind of realization, of being, let's say, not alone,
but without a father figure.
Just this longing for the father figure, Chavita,
and that this trauma that Waters really has as a child,
well, it's another brick on the wall of isolation of this Pink.
(31:03):
And then comes number four, which is like a very short song,
which is called, The happiest days of our lives.
In this song, I had never understood it well until relatively recently,
and it talks more like the intro to the great hit,
which is Brick in the Wall, part two,
the one that all the people locate it in,
(31:25):
and that has a sun, it's also...
We don't need no education, this part, right?
And in this one, the only thing it talks about is just like the intro to say that
the happiest days of our lives is our childhood,
and in our childhood we are exposed to the teachers,
(31:49):
who are, after our parents, our second model to follow.
And well, I remember, it's not that long ago,
my childhood was in the 90s, just like yours, James.
And well, I think it talks about a teacher,
who is a very violent person, who has traumas behind him,
and who exposes the children and punishes them,
(32:13):
and then comes after all this, it's like,
what models are we giving to our children?
And then comes just after that, another brick in the wall, right?
In which they ask if we need this education, right James?
Or this model.
And just, I think this is the most important of these two roles, right?
(32:36):
That just describe another great trauma that many, many times,
and many people have had or have had,
which is this abuse and oppression suffered in school,
in an authoritarian educational system,
as an educational system,
because maybe it wants to build a system, it wants to support a government system,
(33:02):
and that is not, I mean, it is not properly free, right?
Just, I think, and yesterday we talked about it, Chavita,
that this We Don't Need No Education,
does not mean that the human being has not been educated,
but has not been educated under an authoritarian educational regime.
(33:24):
Definitely, because just, Roger Weir always says,
and as a reference, read, know what they are talking about.
The problem with him is just this propaganda of the state,
which, well, happens in many places in the world,
we already saw the chavism,
creates people, and you can see in the video, right?
The children are like in a production line,
(33:47):
they have their normal face,
and after passing this line, it erases their face,
let's say, representing this of creating trained people,
not thinking people, right?
I would see it like that.
And well, this song has become an icon against oppression, right, Chavita?
Yes, definitely.
(34:08):
In addition, I think it is the favorite of many of those who are listening to us.
I don't know what you think, Yenki.
I think it is the best known, more than the favorite, Chavita.
But then there is another very interesting one, which is this Mother,
which talks about this overprotection that Roger Weir's mother had with Roger Weir, right?
(34:29):
Yes, this song to me is just as identifiable,
because all mothers expect too much from their children,
I think that sometimes they get to overprotect them, they are too conscious, I mean, not all of them,
but it is the following model, the first model to follow a child is his mother,
(34:50):
and I love one of the quotes from the song that says,
Mom will help you in everything, she will keep you safe,
she will not let you fly, but maybe she will allow you to sink.
I mean, I think that although she is not saying that a mother will consciously sink you,
it is because sometimes overprotecting mothers do not let you get out of this house,
(35:17):
and you are so tied up that instead of growing up personally,
or well, if I see it, you sink a little and you become a person very dependent on your family, right?
To me it is quite identifiable,
and I bring the one that for me is one of the best solos on this album,
(35:38):
I love this one, it is a very short solo,
but I think it would be my favorite solo on the album, James.
Great, Chavita, I also like this song a lot.
Then comes Goodbye Blue Sky,
which I like a lot,
and it remembers the bombings during the war and its lasting effects, right?
(36:03):
I think the song represents, and you will tell me better,
the loss of innocence and at the same time the beauty of the world due to the horrors of war.
And definitely, I think you presented it too well,
it is just a direct criticism of war,
(36:24):
and at that time it was, it seems to me, the conflicts of Vietnam, right?
It is like what many people were experiencing at that time,
Goodbye Blue Sky, right?
I saw only bombs and, let's say, a black cloud, I suppose.
Another very important song, Chavita, would be this Empty Spaces and Young Lost,
(36:47):
that I would put them together, let's say.
Yes, the truth is that they are like...
because it shows the life of this fictional artist named Pink as a rock star
full of emptiness and superficial relationships.
And how this star seeks to fill these emotional gaps,
(37:08):
with excesses, with sex, but it does not manage to fill them, right, Chavita?
Yes, I think that is exactly what I want to reflect.
And also for anyone, sometimes we feel so empty,
we do not know what we need, and one seeks toxic relationships, right?
Besides drinking more alcohol, looking for women, let's say,
(37:33):
that are not good for us, and then these two roles perfectly pose it.
I love Young Lost, all this rhythm, I think it is the most,
well, not heavy, but it is the one that uses more wave, like distortions,
and this role is very moving, I love it.
(37:55):
And well, after that comes the role of One of My Turns,
in which Young Lost is talking about these frustrations that this emptiness has,
and in One of My Turns it is a role that I also find very identifiable.
The lyrics speak just like, depending, right?
(38:16):
In the movie it shows the character with a girl who takes her to the hotel,
or to her house, it seems to me, and suddenly she gets out of here,
because she already brings all this and destroys the room,
but also in the lyrics as such, well, that is already a more personal wave,
(38:37):
and it has not happened to her that she fights or is a little frustrated with her wife,
with her partner, and well, in one part I love that it says more or less,
I mean, it is not textual, but it says what do you want?
Do you want to watch TV? Do you want to eat?
Do you want to learn? I mean, it's one of those times when you're already so frustrated,
do you want her to learn to fly? Do you want her to throw me and try it?
(39:00):
Do you want her to call the police? What do you want?
Well, it's a person who is already totally frustrated and who has a very gray relationship,
just as well at the beginning it says that every night we pretend to be fine,
but the truth is that I'm getting old and you're getting cold,
and nothing is again, let's say, fun.
(39:24):
I think that this song reflects this emotional collapse that Pink has,
after this nervous crisis that she goes through after a failed relationship,
and how it increases her isolation.
Then I think there's a song that I like a lot, Chavita,
(39:46):
which is called Don't Leave Me Now, and it's a very interesting song, Chavita,
because in this, this artist Pink begs her partner not to leave him,
and this for me reflects the desperation that Pink has,
because they don't leave him and it really reflects a fear of abandonment, Chavita.
(40:09):
Definitely, and being apprehensive of someone,
I don't think it happens to everyone, sometimes being unable to leave someone
because we become dependent, they don't say it, it's also a super universal song.
The next one is Another Brick on the Wall, part 3,
(40:32):
and there Pink decides to complete the construction of the wall,
that is, how she reaffirms her isolation and her decision to cut all ties in the outside world.
This is where the wall continues to be built, Chavita.
Where the construction is almost finished, also in the concert,
(40:53):
where they had the opportunity to see this show, and it's also just for purchase on YouTube Music.
And then in the same movie, the next song decides to kill the...
or lose all hope, let's say, this character,
she's called Goodbye Cruel World, and I think she cuts this first part of the album,
(41:19):
because I feel that it's a part that is more of an autocratic part of him,
of a realization and of a social criticism, right?
And it starts with the one from Hey You, in which she speaks as if there is someone behind the wall,
(41:40):
she's trying to find a real connection, not fake, with a person,
she speaks, let's say, at that time there was only the phone,
and she's also a bit critical of long-distance connections, right James?
Yes, I think this Hey You represents this desperate desire that has to have a real human connection,
(42:07):
despite the self-imposed isolation that is done with the wall, Chavita.
And then comes this song that for me is my favorite,
it's the solo, as you said, it's considered the best guitar solo in the history of music,
by David Gilmore, right Chavita?
(42:29):
The one from Comfortably, right?
I think that's where three roles go, which are a bit more like an interlude,
which is Nobody Home, which is quite short, Vera and Bring the Voice Back Home,
which is also another criticism of the war, but I think they are, as you say,
I think they really don't have much on the album, the listeners will criticize us,
(42:52):
but I think Comfortably, I think this role is excellent,
not only for David Gilmore's solo and the music,
but because it also speaks of, well, we all come to this stage in which Comfortably,
I'm going to clarify, is like a fool, Comfortably, right?
It's a moment in which you arrive in life, in which you stop,
(43:16):
well, you don't have a bad life, but you stop dreaming,
you are totally attached to society and you forget that you had those dreams,
and I just love a quote from the song that says,
once as a child, let's say, I had a fever and I felt my hands like a balloon,
(43:40):
and now I have this feeling again, I imagine it's like this impotence
that my hands represent not being able to do anything, I couldn't explain it,
and it says, I have become comfortably asleep, which is what the literal translation of the phrase would be.
What do you think of this solo? Do you think it's really the best on the album?
(44:03):
I love it, I think it does reflect that it is one of the most emblematic themes of The Walk,
and I love how the song addresses this concept of emotional insensitivity
and dispersonalization, because even in the same movie,
(44:29):
it's when Pink is medicated by a doctor, he puts an injection on her abdomen
so that yes or yes, despite all her traumas, her circumstances,
her desire to die, she has to go on stage to give the show.
It's very strong, this scene also marked me the first time I saw the movie,
(44:53):
it's quite strong to see how these artists originate for money,
and well, this album is made for money, to go on stage.
And just after this role comes one that also has a little to do with the title,
which is called The Show Must Go On, and in this one what it says,
(45:16):
I like this quote, it says,
There must be a mistake here, at no time did I allow them to take my soul,
I'm old, it's too late to rectify myself and live well,
that's what this show must go on role is asking,
and then it starts again in my opinion, I think that's totally,
(45:40):
everyone can see the album as it is,
and it starts again in the flesh, but now with another message,
because it supposedly comes with a different pink,
a pink, let's say, or a substitute.
According to this, what happens when they inject this drug to go on stage,
(46:01):
when the drug makes effect, there he himself imagines himself as a dictator,
or as a fascist, neo-Nazi, right, Chavita?
And even the concert that gives, well, it's a manifestation like the neo-Nazi type, Chavita.
And I think in this one it's just, this trained person,
(46:26):
it makes me feel like, again, a ver, this type of authoritarian governments,
because at some point it starts to say,
there's someone gay among the public, put him on the wall,
there's someone fat, put him on the wall,
he doesn't look good, put him on the wall.
It's like talking about these governments,
(46:47):
I think for me it makes me a little bit of an authoritarian person,
just like I suppose Chávez and many presidents do,
it's just talking about this system that oppresses societies in general,
he was talking about this wall that was being built,
and he's realizing that he lives and that he was educated with this very dictatorial wave,
(47:17):
very created, very propaganda.
And above all, I think it can even mean,
because I think this role has a lot, and in this part of the album it has a lot,
I don't know, like this mental construction of Roger Waters himself,
and the justification that Roger Waters has,
(47:38):
to even abuse power himself, especially the members of the band, Chavita.
I mean, let's say, this real dehumanization scheme that the character is generating,
ends up in a dictator who abuses power, Chavita.
Definitely, this song I think is about realizing who he has become,
(48:03):
I think that's just what this means,
and that's why he reinvents this as a supposed show,
and continues with the song Run Like Hell,
I mean, he already realizes who he is,
and he wants to completely get away from this person,
from this character that he just discovered,
(48:24):
or he tells everyone else to run like hell,
let's say, this song is called.
Yes, and just literally, there Pink incites all the fans of this neo-Nazi, fascist concert,
to violence and chaos.
I think this song, and it even reflects it,
(48:48):
because it's interesting that we really recommend that you listen
to it while you're growing it, and then listen to the songs,
in this run like hell, it reflects the total fall into madness,
and the destructive power that a social isolation scheme has.
(49:10):
And what a cool concept, right?
It's like, all this that Roger Waters poses,
the truth is that that freedom he had, good or bad,
he created a very good work, and also that the producer lands it.
After this, the truth is that there are two roles that in my opinion,
I wouldn't take them so much into account,
the one from Waiting for the Worms, I don't know if you have an opinion,
(49:33):
and Stop, which is more like an interlude, James,
and then comes the trial trial, which is like almost to close this album,
and in which it is, let's say, it is already like an internal trial of the character,
in which he says, well, I have to change, let's say,
it is not this realization of, I already saw where my traumas come from,
(49:57):
how I interact with society, and I have to change,
it is not, now let's break the wall, right?
Yes, well, I just, from what you had said about Waiting for the Worms and Stop,
well, I think it is at the moment, and that is why it is such a short interlude,
where this hallucination of Pink ceases,
(50:19):
and even he says, and he already begs that everything stops, right?
And from here I think the other part that you comment is coming,
which is this introspective trial that Pink does,
to submit to a mental trial and discover the reasons why she is in this state, right, Chavita?
(50:40):
Yes, this role is definitely super introspective,
and I do see her as she faces all her literal traumas, right?
And in this role, in the end, this fictitious judge,
who is himself, or his, let's say, his mind,
they all scream, they break the wall, they break the wall,
(51:03):
and here the show ends, or well, the show is about to end,
also in the concerts, and in the same show they throw all this wall
that is created in the show, which makes me super cool, and well, already...
Chavita, sorry, but to make a parenthesis about this,
let's say, just so you can see how everyone supported a little,
(51:29):
let's say, although the leader of The Wall was conceptual, was Roger Waters,
I could tell you, I mean, really, Roger Waters writes the whole album,
but with Gilmore, he writes this Comfortably Numb, Wrong Like Health, and Young Lost,
and it is Rhyme, precisely, who builds the trial, Chavita, like this part.
(51:53):
Ah, okay, so if it contributes too much, I mean, if the
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Oh, my God.
Hello everyone, welcome to Cultivando la Musica in this edition.
I greet the co-pilot of this ship and collaborator from Germany from Cultivando.
(00:52):
Chavita, how are you?
Very good James, here already full summer in Germany with heat.
Very nice sun.
And also happy, because there are already two Cultivando la Musica followed this month.
And even happier about one of my favorite albums, Pink Floyd is a band that has marked my taste for music.
(01:17):
And we came to introduce them or talk to them about the album The World.
Really, from many Cultivando la Musica you have told us that you are not a fan, but from this band you are a great fan Chavita.
And a great connoisseur of this album The World and that's why we're going to talk about it.
And definitely I am very pleased to talk about it this time.
(01:40):
But let's see, I'm going to do the annotation, although I'm not a fan of all Cultivando la Musica.
Now I love listening to the experiences of our ideologists and knowing more about music.
I hope you listen to ours too.
But to get into Chavita, this one is the eleventh studio album of Pink Floyd.
(02:03):
It was released on November 30, 1973 in the United Kingdom by Harbour Semi in the United Kingdom and by Columbia in the United States.
It is mainly a rock opera, Chavita, which talks about a character named Pink,
who is a rock star who is fed up and who decides to build a wall for his social isolation.
(02:32):
Yes, definitely. I think this is based on an experience from Roger Waters.
It is a somewhat autobiographical album in which you told me that the band was already in conflict.
And then at some point Roger Waters explodes and spits on a fan's face.
(02:58):
And you also told me that you had financial problems.
Yes, look, this issue happened in 1977 when Roger Waters conceived this album in a tour called In The Flesh,
in which they were promoting this album Animals and he models this character,
(03:19):
who is called Pink throughout the history of this album The Wall,
as an autobiography of him and one of the iconic former members of Pink Floyd, who was Sid Barrett.
Sid Barrett was fired from the band for the great LSD consumption he had.
So really, Sid Barrett is like a mix of Roger Waters and Sid Barrett autobiography.
(03:48):
It is really interesting to say that The Wall is the last album to present the four original members.
It is the last album to record Pink Floyd with its four original members.
And it records from December 1978 to November 1979.
(04:13):
And then Pink Floyd reunite again until a concert that is the 2005 Live Ed, Chavita.
So it is interesting that the band is an iconic band,
but that around its members there were many blinds found, Chavita.
(04:33):
And definitely, I am surprised that this is, although it is not officially the last album,
I think it is like the farewell album of the original band.
And well, it starts with such a good album, some would say that it is the best, I have my doubts there,
but hey, it starts with an idea of the situation in which Roger Waters was,
(04:59):
and that makes him rethink after disrespecting the fans,
who are the ones who feed the bands and say,
hey, who am I, what is happening to me, I want to form a wall to stop having contact with people.
And he says, this wall is not only a psychological wall,
(05:19):
it is a wall that I am creating and that I bring from far behind in my life.
And then he begins to see what his traumas are, or what led him to that.
And in this album, he takes from the beginning of his life and speaks a lot, just,
of the loss of his father, it was something that marked his life a lot,
(05:41):
he lost it during the Second World War, his father died there,
and well, nowadays he continues to talk a lot about that event and how he marked his whole life, right, J?
Yes, but to talk about this background, Chavita,
and this is what happened to you, what you were talking about a few moments ago,
this is what happens to you during this tour of the album of Animals.
(06:05):
And the climax happens on July 6, 1977, in the Montreal Olympic Stadium in Canada.
And what I was reading is that, well, as they had released several albums,
they were already a very consolidated band, right?
(06:25):
They had to do events in very large stadiums,
and that generated that many times you lost that close contact with the fanatic, right, Chavita?
And that's what Roger Waters begins to feel during this tour, right?
That he was investing and the band invested a lot of money
(06:49):
in people having an auditory experience, right?
During the whole concert, and he saw that there were certain sectors that were relaxing,
that they were not attentive, that they were making noise,
and that, well, a person with such an explosive character as Waters did not like it.
(07:14):
In fact, in this Montreal concert, there was a sector of very noisy and excited fans
near the stage, and Rita Waters, some of them even have data that she even spat on them
for the concert and spat on the fans.
(07:36):
And I think it was like everything, right?
Well, fame inflated them in ego, they took their works too seriously,
and I understand, right? Well, it's part of their work, but in the end people are going to enjoy a concert.
I suppose they were relaxing, but I don't know if they were really interrupting the show.
(07:58):
And well, in the end, if you already have things behind you, and also with this fame that rises,
well, it's not understandable, but I can imagine what would have happened.
And this same thing also happens to Gilmore, right?
That is, they say that in this concert Gilmore stops playing, right?
The final riff is left to the secondary guitarist,
(08:22):
that is, they were fed up that people were not going to the concerts to really listen to the music.
And notice that what you say reminds me of a not so distant anecdote from Roger Waters,
in which some people tried to boycott the concert of,
I think it was precisely his The Wall show, and they named that during the show
(08:51):
they were shown as different symbols, both Jews, Nazis, money,
that they came to offend some people and said,
from today I no longer respect Pink Floyd and Roger Waters for their political points of view.
And well, Roger Waters just answers these people who were trying to boycott
(09:17):
and who spoke in the news, saying,
my music has always been or has been full of political content, I don't know what you mean,
it's nothing new, if you haven't heard my songs and what my songs speak about previously,
I don't know what they come to protest at a concert, I've always used political symbols,
(09:38):
I've always been against capitalism, and well, there also sums up the anger
with some people who go to concerts and don't even know what they're going to hear, they don't go for the fashion.
And then, well, this generates the creation of this concept of the wall that isolates Pink Floyd from the audience.
(10:02):
In fact, I read that once The Wall was finished, the idea and the concept that Roger Waters had during this tour of The Wall
was literally that the wall was built and that they would touch behind the wall so as not to see the audience,
(10:23):
which David Gilmore and the producers said, no, this can't be, right?
But well, in the beginning, that's the concept of the wall.
No, it was definitely a very strange concept, imagine going to see a band and there is no band as such,
it was a concept of contemporary art and that in a certain way takes it on the other side,
(10:49):
but more recently gorillas, right?
Gorillas, well, at first they played behind a screen and what appeared in the characters, right?
It was like a virtual band, right?
That concept is quite interesting to me.
Well, the concept of The Wall is really created practically in its entirety by Roger Waters, this girl.
(11:15):
In 1978 there was a great financial problem and there were great financial and personal problems with the band members.
What I had read is that the band had decided to invest their money in certain risk capital, that is,
(11:38):
very much in the bitcoin era, in scooters, in pizzerias, even some analysts say that Pink Floyd invested in one of the first video game consoles.
The joke is that this risk capital did not help them because being a risk capital, how can you win, you can lose.
(12:05):
And in this part they even say that some of their financial advisors stole money from them,
but the joke is that they owed a stupid amount of money in tax issues and we are talking,
I read that the debts were between 11 and 15 million pounds of sterling,
(12:30):
of that time, which Pink Floyd did not have the money, Roger Waters has said it.
And well, what they recommend to all financial advisors is that they produce an album or produce an album.
And then, well, in 1978, really two of the members who were David Gilmour and Ryde had been in France at the beginning of this year,
(13:01):
recording their albums in solo and also Nick Mason, who was busy producing the green album by Steven Eilish.
And at that time, Waters began to build this concept that we had already talked about The Wall.
Because I believe and many of the books that I read on this topic,
(13:27):
because the other members had been in their solo albums,
they had really exploited their creative capacities in these albums.
And then, due to this urgency to record a material to help the problems of Pink Floyd,
(13:50):
they really decide to follow the idea of Roger Waters,
because it was the only idea that was on the table and the only idea that could get them out of this mess.
Imagine, you have no choice.
And even so, I think they made a good decision.
And the truth is that regardless of the lyrics and the concept, Roger Waters created it.
(14:16):
I think that Gilmour and Ryde themselves contributed a lot to this album.
For me, it is full of riffs and solos, for me more than memorable.
According to Billboard, the best solo in history is the one by Comfortably Numb of this album.
And well, I feel that Ryde, even being a keyboardist and being one of those musicians who don't shine,
(14:42):
many people surely find him on the street and do not locate him.
If he puts a lot of these atmospheres, not only in this album, but in all of them,
I think he is a key piece musically for Pink Floyd.
I don't know what you think, James.
Is it one of your favorite from Pink Floyd?
Or what album do you like more from Pink Floyd?
I think this is one of my favorites for all this story that Roger Waters conceptually designed.
(15:08):
Really, Roger Waters designed this album to have the album, a movie and a staging in the theater.
So...
And this song, because...
Sorry to interrupt you, James, but this song just that in the end, as they say in Mexico,
(15:30):
they hit the fat guy with this album and it becomes so famous that they get a film director
to carry this concept to a movie three years later, right?
Alan Parker, right?
Incredible. Alan Parker, I think his name is the director.
But well, to finish this background of the album, because I think it is important to talk about
(15:53):
what was going on with the band's life and how this concept was born.
Because I think this concept, as I was saying, the only one that was dedicating the creative part
to Pink Floyd was Roger Waters.
So they take this concept of The Wall and as I was saying,
(16:16):
Waters conceived this rock opera from The Wall from 26 songs, Chavita.
And I think that's how they presented this album to me a long time ago.
They tell me that it is divided into three parts.
Although it is a double album, I would define it as dividing into three parts.
(16:41):
First, the construction of the wall, the realization and the social criticism
that this character has to society at that moment and so on.
And then the third part, the destruction or how to break that wall, right James?
And also, to talk a little bit about what that wall was for Roger Waters, right James?
(17:03):
It's correct.
But it is important to say that these 26 songs, when they begin with Sevilla and Roger Waters, Chavita,
you see the need to hire another guy who I think is a very important factor
in the construction of this album, which is this Bob Esrin, who was the producer,
(17:27):
a producer who had already worked with bands like Alice Cooper, like Lou Reed,
like Kiss and Peter Gabriel.
What they say is that Roger Waters was introduced to his wife at that time,
Carol and Christy.
And well, they really say that Roger Waters, having created this concept,
(17:52):
starts with a very big ego and makes it clear to Bob Esrin that he is the owner of the project, right?
He really sells his project, right?
He really sells his project, right?
And here they talk a lot about how he uses this project to lead the band at this time,
(18:13):
and that even he knew that, well, David Gilmour has a very big musical capacity,
and that is important to say, Roger's creative capacity with Gilmour's musical capacity.
They make an incredible album and then what they said is that Roger Waters started recording,
(18:33):
right?
In the day, the songs, right?
And he starts pushing Grite and Gilmour,
Grite, well, as being Roger Waters' punching bag.
They say that Roger Waters was very pressured
(18:55):
and then he starts using Richard Grite as punching bag.
Richard Grite even asks to be the producer of the album, right?
And as Roger Waters puts it to the test,
they say that Grite was also going through a very difficult time,
(19:16):
he was divorcing,
he was divorcing,
and also something that the band is also recommended for this financial debt
is that they leave England and then they decide to use...
I already taught you the fiscal, so...
Yes, yes, yes, they decide to go to France and use the so-called Super Bear Studios,
(19:39):
where they had been recording Gilmour and Grite,
their albums,
their albums in solo, right, Chavita?
And then, really, what they say is that Grite had many problems
because the children of the other members were small and they could take them to France,
(20:02):
but Grite's children were big and then they went to school
and Grite was really very limited to continue the band.
What happened? Well, really...
He ended up leaving, right?
Yes, yes, they ended up saying goodbye, he ended up leaving the band,
he ended up being included as just an artist or a musician
(20:27):
who is part of the album.
The agreement with Waters came to record all his parts
and continue the tour,
but not to stay as part of the producers of the album, Chavita.
Really strong enough to be an ex-member, right? I don't know if...
(20:48):
I mean, in the end, I don't think he had such a high ego
that he allowed others to leave him as a musician, right?
That they let you down a little bit from the band must be heavy, huh?
And especially, let's say, what they said is that
Gilmour and Waters recorded during the day
(21:12):
and Waters ordered Bob Bezrin, this producer,
that Grite, if he's going to record, record at night
and as long as he doesn't see Waters and Gilmour.
And that, well, I don't know, I mean, Waters hides it,
(21:32):
saying that it's for Grite to develop his creative capacity,
but I think Grite, combined with all his divorce problems,
the difficult move to leave, it makes life very difficult for him, Chavita.
Yes, I'm just surprised that
it's clear that Waters has a very strong character, right?
(21:53):
And I think that, in the end, well, it allows,
it's a little weird to say it, but it allows, even so,
for others to continue to contribute.
I remember an interview I heard just about him
talking about Gilmour, more than about Grite,
and he just said, the truth is that we were fighting,
(22:14):
but I know the ability of Gilmour,
and I know that without him, it wouldn't have been The Wall like that.
And although I don't think he names Grite that much,
I think he knew that Grite was a key piece for the musicalization, right?
Of course, what happens later in this story, Chavita,
is that they decide,
(22:35):
Waters meets with the producers, with the record company,
and they decide to offer him more profit, right?
If he finished recording the album before December of 1978.
And then, Waters decides to cut off the vacation
(22:56):
of all the members, right? Of the summer,
and Grite is totally against that,
because he already had some vacations in Crete with his family.
And so, adding to everything that had happened,
this pressure, well, it raises a lot the discontent of Grite,
(23:16):
right? Because of this type of decisions
that One-Laterally World took.
And well, I think that, justified or not justified,
it was part of the conflict, right?
To look for more ways to record all this fight,
(23:39):
but well, in the end, a good album is achieved,
and this tour is created, and you told me that this first tour
already begins with a fairly artistic concept, right?
And it is quite, although it is not achieved, or well,
the record company does not allow a wall between the band,
a wall between the band and the public begins to be created,
(24:02):
which is then knocked down, right?
That's right, Chavita.
And I think that, well, this is the environment,
and this is the background of the history of The Wall,
and I think that cultivating music was to analyze this album,
to analyze each one of the tracks that build this album,
(24:24):
which is for me a precious album,
which says a lot, which talks a lot about these traumas
that you have since childhood,
and that many times you can reflect on in adulthood, Chavita.
And a lot of, let's say, there it sounds very, very,
but it is a lot of human nature, right?
(24:47):
I mean, I think that although each one has its problems,
many of these songs talk about traumas that Roger Waters suffered
as a child, like the loss of his father,
and let's say rejection, problems in relationships,
they are things that anyone can easily identify, right?
(25:10):
It is a very universal topic.
And I think that is precisely the art of this album, right?
It achieves, and I just read it in this kind of things,
and this is the great help that Bob Esrin gives them, right?
The concept that Roger Waters had created was more or less
autobiographical of him and Sid Barrett,
(25:32):
but what Esrin does is like taking it out, right?
Generalize it and stop banalizing it a bit as,
oh, this is the story of the rock star Roger Waters, right?
Like this kind of, oh, that people don't think
that they are problems of the first world
and be able to universalize the problem to anyone.
(25:57):
And it seems to me that it lands very well,
I think that at no time it is noticeable,
although it speaks, and for example the film I think
is a little more towards the artist,
but if you really only listen to the album,
then everyone can interpret it very openly, right?
I don't think it speaks of money or even of things
(26:21):
that are very, let's say, specific to Roger Waters.
And well, it's a pretty long album,
but it's too enjoyable.
I think I can listen to it whole,
without any problems, any weekend, right?
Well, if you want, Chavita, let's get into the songs,
well, more outstanding of the album.
(26:44):
I would say that the first one is this one in The Flesh, right?
Where this opening of the album presents this pink star,
right? As disillusioned and facing an apparently hostile audience, Chavita.
(27:06):
And I love just this beginning,
where again, like in The Dark Side of the Moon,
it's like a very musicalized intro,
in which the first thing this artist or this person does is say,
well, you wanted to watch this show,
you wanted to feel this emotion,
(27:27):
feel like a space cadet,
but friend, behind me or behind this artist
there's a disguise,
and behind these cold eyes you'll find a not very pleasant surprise,
let's say, the message is not textual,
but also in a certain way it can be interpreted as
(27:51):
when Roger Waters himself is trying,
after this conflict he has with his fans,
to understand himself,
when sometimes you have an idea of yourself
and you have a very high ego,
and you start to get to know yourself and to see who you really are
and how people see you, it's super unpleasant,
and it's a part that very few people want to discover, right?
(28:17):
And just when he starts singing this,
or well, when the lyrics of this song begin,
the heart starts again,
tuk, tuk, tuk,
and the song ends,
and again, just like it happens with Dark Side of the Moon,
the next, the second song,
which is In Clean Eyes,
(28:38):
begins with the crying of a baby,
which is like the beginning of a life,
and just talking about how fragile we are since we were kids,
and how fragile is the life that is taking us,
and is marking us, and is going to give us all these traumas,
because Roger Waters represents like bricks
that are building this wall of traumas
(29:02):
and things that keep us away,
that prohibit us from being ourselves
and keep us away from society, right, Jim?
Very well said for you, Chavita.
Yes, I agree with you.
The first song, I think, that establishes this tone of the album,
introduces the notion of the wall as a barrier between Pink and the outside world,
(29:28):
and well, as you say, the second song of Think Guys,
which in Spanish is just El Hielo Delgado,
symbolizes that fragility of life and early traumas,
and how these traumas can mark you in your present, Chavita.
Then comes a hit, a hit, one of the first singles of this album,
(29:53):
which is Another Breaking the Wall, in part one.
And right in this is where it first reflects the loss of his father,
is where this character begins to say that his father is just a memory,
well, in the movie the father dies in the war,
(30:15):
and the only thing this song says is,
what did you leave behind for me?
What did you leave behind?
It's just another brick on the wall, right?
I mean, it's his first trauma as a child,
realizing that he lacks a father,
and that the other children are just seen in the movie, right, James?
Yes.
Well, the child tries, let's say, to take the hand of the father of another child,
(30:40):
but he is rejected, right?
It's this kind of realization, of being, let's say, not alone,
but without a father figure.
Just this longing for the father figure, Chavita,
and that this trauma that Waters really has as a child,
well, it's another brick on the wall of isolation of this Pink.
(31:03):
And then comes number four, which is like a very short song,
which is called, The happiest days of our lives.
In this song, I had never understood it well until relatively recently,
and it talks more like the intro to the great hit,
which is Brick in the Wall, part two,
the one that all the people locate it in,
(31:25):
and that has a sun, it's also...
We don't need no education, this part, right?
And in this one, the only thing it talks about is just like the intro to say that
the happiest days of our lives is our childhood,
and in our childhood we are exposed to the teachers,
(31:49):
who are, after our parents, our second model to follow.
And well, I remember, it's not that long ago,
my childhood was in the 90s, just like yours, James.
And well, I think it talks about a teacher,
who is a very violent person, who has traumas behind him,
and who exposes the children and punishes them,
(32:13):
and then comes after all this, it's like,
what models are we giving to our children?
And then comes just after that, another brick in the wall, right?
In which they ask if we need this education, right James?
Or this model.
And just, I think this is the most important of these two roles, right?
(32:36):
That just describe another great trauma that many, many times,
and many people have had or have had,
which is this abuse and oppression suffered in school,
in an authoritarian educational system,
as an educational system,
because maybe it wants to build a system, it wants to support a government system,
(33:02):
and that is not, I mean, it is not properly free, right?
Just, I think, and yesterday we talked about it, Chavita,
that this We Don't Need No Education,
does not mean that the human being has not been educated,
but has not been educated under an authoritarian educational regime.
(33:24):
Definitely, because just, Roger Weir always says,
and as a reference, read, know what they are talking about.
The problem with him is just this propaganda of the state,
which, well, happens in many places in the world,
we already saw the chavism,
creates people, and you can see in the video, right?
The children are like in a production line,
(33:47):
they have their normal face,
and after passing this line, it erases their face,
let's say, representing this of creating trained people,
not thinking people, right?
I would see it like that.
And well, this song has become an icon against oppression, right, Chavita?
Yes, definitely.
(34:08):
In addition, I think it is the favorite of many of those who are listening to us.
I don't know what you think, Yenki.
I think it is the best known, more than the favorite, Chavita.
But then there is another very interesting one, which is this Mother,
which talks about this overprotection that Roger Weir's mother had with Roger Weir, right?
(34:29):
Yes, this song to me is just as identifiable,
because all mothers expect too much from their children,
I think that sometimes they get to overprotect them, they are too conscious, I mean, not all of them,
but it is the following model, the first model to follow a child is his mother,
(34:50):
and I love one of the quotes from the song that says,
Mom will help you in everything, she will keep you safe,
she will not let you fly, but maybe she will allow you to sink.
I mean, I think that although she is not saying that a mother will consciously sink you,
it is because sometimes overprotecting mothers do not let you get out of this house,
(35:17):
and you are so tied up that instead of growing up personally,
or well, if I see it, you sink a little and you become a person very dependent on your family, right?
To me it is quite identifiable,
and I bring the one that for me is one of the best solos on this album,
(35:38):
I love this one, it is a very short solo,
but I think it would be my favorite solo on the album, James.
Great, Chavita, I also like this song a lot.
Then comes Goodbye Blue Sky,
which I like a lot,
and it remembers the bombings during the war and its lasting effects, right?
(36:03):
I think the song represents, and you will tell me better,
the loss of innocence and at the same time the beauty of the world due to the horrors of war.
And definitely, I think you presented it too well,
it is just a direct criticism of war,
(36:24):
and at that time it was, it seems to me, the conflicts of Vietnam, right?
It is like what many people were experiencing at that time,
Goodbye Blue Sky, right?
I saw only bombs and, let's say, a black cloud, I suppose.
Another very important song, Chavita, would be this Empty Spaces and Young Lost,
(36:47):
that I would put them together, let's say.
Yes, the truth is that they are like...
because it shows the life of this fictional artist named Pink as a rock star
full of emptiness and superficial relationships.
And how this star seeks to fill these emotional gaps,
(37:08):
with excesses, with sex, but it does not manage to fill them, right, Chavita?
Yes, I think that is exactly what I want to reflect.
And also for anyone, sometimes we feel so empty,
we do not know what we need, and one seeks toxic relationships, right?
Besides drinking more alcohol, looking for women, let's say,
(37:33):
that are not good for us, and then these two roles perfectly pose it.
I love Young Lost, all this rhythm, I think it is the most,
well, not heavy, but it is the one that uses more wave, like distortions,
and this role is very moving, I love it.
(37:55):
And well, after that comes the role of One of My Turns,
in which Young Lost is talking about these frustrations that this emptiness has,
and in One of My Turns it is a role that I also find very identifiable.
The lyrics speak just like, depending, right?
(38:16):
In the movie it shows the character with a girl who takes her to the hotel,
or to her house, it seems to me, and suddenly she gets out of here,
because she already brings all this and destroys the room,
but also in the lyrics as such, well, that is already a more personal wave,
(38:37):
and it has not happened to her that she fights or is a little frustrated with her wife,
with her partner, and well, in one part I love that it says more or less,
I mean, it is not textual, but it says what do you want?
Do you want to watch TV? Do you want to eat?
Do you want to learn? I mean, it's one of those times when you're already so frustrated,
do you want her to learn to fly? Do you want her to throw me and try it?
(39:00):
Do you want her to call the police? What do you want?
Well, it's a person who is already totally frustrated and who has a very gray relationship,
just as well at the beginning it says that every night we pretend to be fine,
but the truth is that I'm getting old and you're getting cold,
and nothing is again, let's say, fun.
(39:24):
I think that this song reflects this emotional collapse that Pink has,
after this nervous crisis that she goes through after a failed relationship,
and how it increases her isolation.
Then I think there's a song that I like a lot, Chavita,
(39:46):
which is called Don't Leave Me Now, and it's a very interesting song, Chavita,
because in this, this artist Pink begs her partner not to leave him,
and this for me reflects the desperation that Pink has,
because they don't leave him and it really reflects a fear of abandonment, Chavita.
(40:09):
Definitely, and being apprehensive of someone,
I don't think it happens to everyone, sometimes being unable to leave someone
because we become dependent, they don't say it, it's also a super universal song.
The next one is Another Brick on the Wall, part 3,
(40:32):
and there Pink decides to complete the construction of the wall,
that is, how she reaffirms her isolation and her decision to cut all ties in the outside world.
This is where the wall continues to be built, Chavita.
Where the construction is almost finished, also in the concert,
(40:53):
where they had the opportunity to see this show, and it's also just for purchase on YouTube Music.
And then in the same movie, the next song decides to kill the...
or lose all hope, let's say, this character,
she's called Goodbye Cruel World, and I think she cuts this first part of the album,
(41:19):
because I feel that it's a part that is more of an autocratic part of him,
of a realization and of a social criticism, right?
And it starts with the one from Hey You, in which she speaks as if there is someone behind the wall,
(41:40):
she's trying to find a real connection, not fake, with a person,
she speaks, let's say, at that time there was only the phone,
and she's also a bit critical of long-distance connections, right James?
Yes, I think this Hey You represents this desperate desire that has to have a real human connection,
(42:07):
despite the self-imposed isolation that is done with the wall, Chavita.
And then comes this song that for me is my favorite,
it's the solo, as you said, it's considered the best guitar solo in the history of music,
by David Gilmore, right Chavita?
(42:29):
The one from Comfortably, right?
I think that's where three roles go, which are a bit more like an interlude,
which is Nobody Home, which is quite short, Vera and Bring the Voice Back Home,
which is also another criticism of the war, but I think they are, as you say,
I think they really don't have much on the album, the listeners will criticize us,
(42:52):
but I think Comfortably, I think this role is excellent,
not only for David Gilmore's solo and the music,
but because it also speaks of, well, we all come to this stage in which Comfortably,
I'm going to clarify, is like a fool, Comfortably, right?
It's a moment in which you arrive in life, in which you stop,
(43:16):
well, you don't have a bad life, but you stop dreaming,
you are totally attached to society and you forget that you had those dreams,
and I just love a quote from the song that says,
once as a child, let's say, I had a fever and I felt my hands like a balloon,
(43:40):
and now I have this feeling again, I imagine it's like this impotence
that my hands represent not being able to do anything, I couldn't explain it,
and it says, I have become comfortably asleep, which is what the literal translation of the phrase would be.
What do you think of this solo? Do you think it's really the best on the album?
(44:03):
I love it, I think it does reflect that it is one of the most emblematic themes of The Walk,
and I love how the song addresses this concept of emotional insensitivity
and dispersonalization, because even in the same movie,
(44:29):
it's when Pink is medicated by a doctor, he puts an injection on her abdomen
so that yes or yes, despite all her traumas, her circumstances,
her desire to die, she has to go on stage to give the show.
It's very strong, this scene also marked me the first time I saw the movie,
(44:53):
it's quite strong to see how these artists originate for money,
and well, this album is made for money, to go on stage.
And just after this role comes one that also has a little to do with the title,
which is called The Show Must Go On, and in this one what it says,
(45:16):
I like this quote, it says,
There must be a mistake here, at no time did I allow them to take my soul,
I'm old, it's too late to rectify myself and live well,
that's what this show must go on role is asking,
and then it starts again in my opinion, I think that's totally,
(45:40):
everyone can see the album as it is,
and it starts again in the flesh, but now with another message,
because it supposedly comes with a different pink,
a pink, let's say, or a substitute.
According to this, what happens when they inject this drug to go on stage,
(46:01):
when the drug makes effect, there he himself imagines himself as a dictator,
or as a fascist, neo-Nazi, right, Chavita?
And even the concert that gives, well, it's a manifestation like the neo-Nazi type, Chavita.
And I think in this one it's just, this trained person,
(46:26):
it makes me feel like, again, a ver, this type of authoritarian governments,
because at some point it starts to say,
there's someone gay among the public, put him on the wall,
there's someone fat, put him on the wall,
he doesn't look good, put him on the wall.
It's like talking about these governments,
(46:47):
I think for me it makes me a little bit of an authoritarian person,
just like I suppose Chávez and many presidents do,
it's just talking about this system that oppresses societies in general,
he was talking about this wall that was being built,
and he's realizing that he lives and that he was educated with this very dictatorial wave,
(47:17):
very created, very propaganda.
And above all, I think it can even mean,
because I think this role has a lot, and in this part of the album it has a lot,
I don't know, like this mental construction of Roger Waters himself,
and the justification that Roger Waters has,
(47:38):
to even abuse power himself, especially the members of the band, Chavita.
I mean, let's say, this real dehumanization scheme that the character is generating,
ends up in a dictator who abuses power, Chavita.
Definitely, this song I think is about realizing who he has become,
(48:03):
I think that's just what this means,
and that's why he reinvents this as a supposed show,
and continues with the song Run Like Hell,
I mean, he already realizes who he is,
and he wants to completely get away from this person,
from this character that he just discovered,
(48:24):
or he tells everyone else to run like hell,
let's say, this song is called.
Yes, and just literally, there Pink incites all the fans of this neo-Nazi, fascist concert,
to violence and chaos.
I think this song, and it even reflects it,
(48:48):
because it's interesting that we really recommend that you listen
to it while you're growing it, and then listen to the songs,
in this run like hell, it reflects the total fall into madness,
and the destructive power that a social isolation scheme has.
(49:10):
And what a cool concept, right?
It's like, all this that Roger Waters poses,
the truth is that that freedom he had, good or bad,
he created a very good work, and also that the producer lands it.
After this, the truth is that there are two roles that in my opinion,
I wouldn't take them so much into account,
the one from Waiting for the Worms, I don't know if you have an opinion,
(49:33):
and Stop, which is more like an interlude, James,
and then comes the trial trial, which is like almost to close this album,
and in which it is, let's say, it is already like an internal trial of the character,
in which he says, well, I have to change, let's say,
it is not this realization of, I already saw where my traumas come from,
(49:57):
how I interact with society, and I have to change,
it is not, now let's break the wall, right?
Yes, well, I just, from what you had said about Waiting for the Worms and Stop,
well, I think it is at the moment, and that is why it is such a short interlude,
where this hallucination of Pink ceases,
(50:19):
and even he says, and he already begs that everything stops, right?
And from here I think the other part that you comment is coming,
which is this introspective trial that Pink does,
to submit to a mental trial and discover the reasons why she is in this state, right, Chavita?
(50:40):
Yes, this role is definitely super introspective,
and I do see her as she faces all her literal traumas, right?
And in this role, in the end, this fictitious judge,
who is himself, or his, let's say, his mind,
they all scream, they break the wall, they break the wall,
(51:03):
and here the show ends, or well, the show is about to end,
also in the concerts, and in the same show they throw all this wall
that is created in the show, which makes me super cool, and well, already...
Chavita, sorry, but to make a parenthesis about this,
let's say, just so you can see how everyone supported a little,
(51:29):
let's say, although the leader of The Wall was conceptual, was Roger Waters,
I could tell you, I mean, really, Roger Waters writes the whole album,
but with Gilmore, he writes this Comfortably Numb, Wrong Like Health, and Young Lost,
and it is Rhyme, precisely, who builds the trial, Chavita, like this part.
(51:53):
Ah, okay, so if it contributes too much, I mean, if the
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