Роджер Уотерс / Roger Waters

2Bob Close:
>НОВАЯ ЗАГАДКА
>НА
>http://www.rogerwaters.com/
>как вы думаете, что означает загадочная фраза
>_В_О_З_М_О_Ж_Н_О_ _В_С_Ё_!_

Она там висит уже очень давно;)

Anything Is Possible

Radio Premiere of Roger Waters' Ca Ira
Vox - XM 112 - Noon ET
Roger Waters, a founding member of Pink Floyd, spent 16 years working on Ca Ira, an opera set during the French Revolution. World-renowned opera singers Bryn Terfel, Paul Groves, and Ying Huang bring his musical drama to life. And it's on XM even before it's in stores.
Приемник стоит порядка 100 грин продается везде.
http://www.xmfan.com/guide.php?q=Yamama'nym&mode=artist

2rosco - когда банят, хорошая примета )))

ха - на официальном сайте написано что чат идёт!
Оказывается бардак не только в России.

На ARTE RADIO новая радиопередача про Сида Барретта - очень оригинальная
в духе Сида! Таких я больше не слышал!
http://www.arteradio.com/wai/player.jsp?type=son&num=14345

Прямая ссылка на скач
rtsp://sonix.sdv.fr/arte/radio/200505/11sydbarrett_fr.ra?mode=compact

Ну вот, свершилось - купил нынче Ca Ira. C сегодняшнего дня в продаже в Германии. Digipack, содержащий два Hybrid SA-CD и DVD, а также - 60-страничный буклет. Слушать пока не было времени, второпях такое не делается.

2Rosco:

>2Bob Close:
>>НОВАЯ ЗАГАДКА
>>НА
>> http://www.rogerwaters.com/
>>как вы думаете, что означает загадочная фраза
>>_В_О_З_М_О_Ж_Н_О_ _В_С_Ё_!_
>Она там висит уже очень давно;)
>Anything Is Possible


Да ладно там! Гилмор-зараза категорически против полноценного воссоединения,поэтому чего там обольщаться?

2zand:

:)

а кто обольщается?;))..

Мне бы от Самого;) что-нибудь новенькое;)!..

А с Гилмором или без Гилмора - это уже дело другое...

2andi:
>Ну вот, свершилось - купил нынче Ca Ira. C сегодняшнего
>дня в продаже в Германии. Digipack, содержащий
>два Hybrid SA-CD и DVD, а также - 60-страничный
>буклет. Слушать пока не было времени, второпях
>такое не делается.

Круто!

А мне ещё ждать да ждать:((((... даже в Легионе нет ещё:'(

и даже с Хендриском напряг((....

FLOYD RADIO SHOW - APPEAL MADE

An appeal has arrived at the BD offices, to help bring the growing demand for a webcast of the weekly Pink Floyd radio show, "Floydian Slip", to fruition.

Our friends over at Floydian Slip have long wished to provide this facility for listeners worldwide. Since 1995, they have produced a show consisting solely of the band's output - including rarities, live recordings, and more. The show is broadcast on Champ (WCPV-FM and WCVR-FM) in Burlington and Randolph, Vt., USA, every Sunday from 7-8pm Eastern time.

At present, the people that own the stations do not provide the webcast/stream facility for this show - hence the appeal that has arrived asking for your help to bring the demand to their attention.

If you wish you could hear their show on the internet or over-the-air in your part of the world, it seems the best way is to write a letter to the station management and Clear Channel Communications (who own the station) know how you feel. Write to the first address on the list, copying in the others shown, explaining your interest in hearing "Floydian Slip" on the internet:

Randy Michaels, Chief Executive Officer
Clear Channel Radio
50 E. Rivercenter Blvd. Fl. 12
Covington, KY 41011
USA

John Hogan, President/Chief Operating Officer
Clear Channel Radio
50 E. Rivercenter Blvd. Fl. 12
Covington, KY 41011
USA

Karen Marshall, General Manager
Champ
P.O. Box 1093
Burlington VT 05402
USA

Steve Cormier, Operations Manager
Champ
P.O. Box 1093
Burlington VT 05402
USA
champ@champ1013.com

--------------------------------------------------------------------------------

Date news posted: 27 September 2005

Brain-Damage.co.uk/

From Pink Floyd to opera
By Elysa Gardner, USA TODAY
SOUTHAMPTON, N.Y. — As bassist/singer/songwriter for Pink Floyd and in his solo work, Roger Waters has long been known for tackling ambitious projects with grand gestures and meticulous detail.
So it shouldn't surprise that his new opera about the French Revolution was in development longer than the revolution itself.


Waters' mission, like that of the rebels who defied King Louis XVI, was influenced by forces beyond his control. Sitting in the vast, elegantly appointed den of his lakefront Hamptons home, where Louis would have felt quite comfortable, the 61-year-old rocker explains how Ça Ira, billed as his first classical opera, came about.

"In 1987 or '88, Etienne and Nadine came with a manuscript," Waters says, referring to French songwriter Etienne Roda-Gil and his wife, who has since died of leukemia. "It was all handwritten, with illustrations by Nadine. They asked if I would set it to music."

By the end of 1988, a cassette Waters had made found its way to the desk of then-French President François Mitterrand, who was sufficiently impressed to suggest that the Paris Opera consider staging it as part of their celebration of the revolution's bicentennial the following July.

"But when push came to shove," Waters says, "I think it stuck in the Gallic craw that a) I was English and b) I had been in a pop group — though the French are better at allowing movement between disciplines. Then Nadine died, and we put the project on the shelf. I picked it up again in '95."

Ten years later — this Tuesday, to be exact —Ça Ira arrives as a double CD. Celebrated bass-baritone Bryn Terfel, soprano Ying Huang and tenor Paul Groves appear on the recording of the three-act opera, which will premiere in Rome Nov. 17.

The novice classical composer based the lyrics on Roda-Gil's original French libretto. "There are elements that were pure invention on my part," Waters says, citing as one example the first scene, in which a young, complacent Marie Antoinette confronts a boy with revolutionary leanings.

Waters initially resisted trying to draw parallels between late 18th-century France and current social conditions. "But then I thought: 'Well, in France back then, you had this rigid, hierarchical structure where the king was considered divinely instructed by God and had absolute power. Then you had the nobility and the clergy, but the majority of people had nothing.'

"That's very much like the situation we have now with some Western civilized nations. I think George (W.) Bush believes that he's operating on a license from the Almighty. And you have a very, very small number of people who control 99% of all the stuff in the world, whereas the rest are like the French peasantry were."

Such frustrations figured into Waters' decision to reunite with his ex-Pink Floyd bandmates in July for Live 8, the mega-concert promoting debt relief in Africa. But don't expect a new Pink Floyd studio project soon; when Waters returns to the pop arena, it will be on his own.

"I've worked on a lot of songs, and I have different ideas about how to put them together," says the artist, whose last rock CD was 1992's Amused to Death. "I have a feeling the ones about political matters will get separated from the ones about love and loss."

Waters also is developing a musical-theater version of Pink Floyd's classic The Wall. And, he notes, the verdict is still out on how Ça Ira will be received by his old fans.

"I'm a bit concerned that some people attached to my work in rock 'n' roll will flock to Rome, but only because it's me," he concedes. "I do like the idea that people could hear the opera and be moved by the content, which is essentially humanitarian, and the melodies and harmonic structure. We'll have to just wait and see."

http://www.usatoday.com/life/music/news/2005-09-25-roger-waters_x.htm?POE=LIFISVA

RARE 1968 PINK FLOYD FOOTAGE - THE DIRECTOR TALKS...

Roger Waters in 1968 footage
of Set The Controls

Tony Palmer, the director of some rare, 1968 footage of Pink Floyd performing three takes of Set The Controls For The Heart Of The Sun, has been in contact with us, wishing to pass his comments and clarification on concerning the film, which has recently been offered for sale.

Some of the footage, which was shot for the BBC, was used in the 1968 documentary All My Loving, which was recently repeated as part of BBC4 TV's look at the sixties.

Over to Tony...

"It has been brought to my attention that there are two offers on eBay for some 1968 footage of Pink Floyd, wrongly described as 'The Tabernacle, Notting Hill Gate' footage.

"The facts are as follows: the so-called 'redwash' sequence of 'Set The Controls' was shot by me in a studio at the BBC, I think in Lime Grove, now a housing estate. It was taped as if 'live' on video, with a few small cuts made later. It was recorded with the red wash (i.e. it was not 'put on' later) in attempt to recreate the light-show effect that the Pink Floyd achieved on stage at that time. When they saw the film, the group all approved, particularly that at the climax of the sequence, the Floyd's music cuts directly into Bartok.

"The so-called 'redwash' sequence was used by me as part of a documentary about the social and political context of rock music in 1968 called 'All My Loving', although in fact it was originally shot for a programme called 'Twice A Fortnight', starring Terry Jones & Michael Palin, which was the very first try out of what became their films for 'Monty Python'.

"I used the sequence again in 'All You Need Is Love' in 1975. I also filmed a sequence in a deserted power station in the East End (you see one shot at the beginning of the 'All My Loving' sequence), in March 1968, but decided not to use it.

"Until now, I had no idea what had happened to the offcuts. My guess was that the BBC had junked them. I am delighted they have been 'found', less pleased that have/had been stolen. Whatever else, this sequence was definitely not in The Tabernacle in Notting Hill, although I have frequently seen it described as such.

"So, whoever is attempting to sell them on eBay be warned: they do not belong to you, and should be regarded by anyone buying them as stolen goods. If anything, they belong to the group, with the copyright in the filming belonging to me.

"I would hope that whoever has 'found' this reel of film, however, now makes it available to everyone by issuing a DVD of same through the group's office or with the group's permission.

"I was, incidentally, at school with Roger, and was the first critic (in my capacity as Music Critic for the 'Observer') to write about them approvingly, and especially about the track 'Set The Controls' about which I wrote: "this track alone marks out the Floyd as musically an impressive, original and significant group of some importance". My opinion of them has not changed from that day until now."

Our thanks to Tony for getting in contact, and for giving us some clarification over the locations and origins of the footage.



--------------------------------------------------------------------------------

Date news posted: 27 September 2005

http://www.brain-damage.co.uk/news/0509273.html

1972 SYD BARRETT PHOTO UNEARTHED - AND APPEAL FOR MORE!


Back in May 2004, we brought you the news that Brain Damage had been contacted by Mark Sturdy over at top UK music magazine Mojo, after help from us and all of you!

He has been commissioned by the magazine to write a piece on former Pink Floyd frontman Syd Barrett's career around 1971-1973 - in other words, his last couple of years in music. The main emphasis will be on his band Stars, but also he is chasing up various other little stories such as his alleged collaborations with Steve Took and Jack Bruce.

We've just had an update from Mark:

"Six months later, and while progress on the article hasn't been as swift as I'd anticipated, I've been able to turn up some great stuff. I've been able to speak at length with a number of people who knew and/or worked with Syd around the Stars period, including Jack Monck, Steve Brink, Mick Rock, Clive Wellham and Bernie Elliot (the latter of whom, for those who don't know, jammed with Syd during the Stars period and ultimately replaced him in the band), and a number of people who were able to give eyewitness accounts of the band's performances. I've also done sufficient amounts of digging to be able to say what happened with the various recordings that have been rumoured to exist of the band, and why they've never surfaced, and I'm moving close to being able to categorically say whether or not Syd ever actually recorded, as is alleged, with Steve Took.

So, it's shaping up to be a good story - and, unusually for a Syd Barrett piece these days, one that for the most part hasn't been told before. However, I'm facing one major difficulty: the lack of ANY useable Stars photos, or indeed any photos of Syd Barrett at all from the years 1972, 1973 or 1974. Without these, the article cannot go ahead, so finding some pictures is pretty crucial.

Pictures of Stars definitely exist somewhere. Not only is it an absurd notion that nobody took a photograph of Syd Barrett, a well-known public figure, between 1972 and 1974, but I know of two sets of photos that were definitely taken.

These are:

1. A set of pictures of Stars playing an outdoor gig in Cambridge Market Square in February (?) 1972, taken by an unknown Australian photographer. These were briefly circulated shortly after the performance and both Twink and Jack Monck (independently) remember them being excellent quality.

2. Pictures taken by the American photographer Victor Kraft. Victor Kraft was a professional photographer who had previously worked with Leonard Bernstein and Aaron Copland before settling in Cambridge in the early 1970s. He attended most of Stars' performances, and would have taken photographs and made tape recordings of the band. Unfortunately, he died in 1976 and his wife tells me that any possessions that were left in his Cambridge flat were taken (with her permission) by his landlords. Whether these include the Stars material, and what became of it if so, is unknown.

The only picture that I have seen, or even heard of, from either of the above two sources is [the one shown to the right]. Although poor quality, this shows Syd performing at the Market Square gig and strongly suggests that more photos were taken at the same time.

Another possible source of photos would be if there were any photographers present to photograph the other performers at any of Stars' performances. These would be as follows:

Eddie 'Guitar' Burns - Kings College Cellar, Cambridge, January 1972
Hawkwind / Pink Fairies - Cambridge Corn Exchange, 27 January 1972
MC5 / Skin Alley - Cambridge Corn Exchange, 24 February 1972
Nektar - Cambridge Corn Exchange, 26 February 1972

If any photos exist of those bands on those dates then I want to know about it.

In short, I would urge anyone who has any suggestions, however unlikely, as to possible sources of Stars or Syd photos that would be suitable for this Mojo article, to contact me. Anyone who comes forward with material will be paid if it is used; anyone offering other assistance will be credited in the finished piece."
Anyone who would be willing to contribute to the article should email Mark at Mark.Sturdy@btopenworld.com.



--------------------------------------------------------------------------------

Date news posted: September 2005

Brain-Damage.co.uk/

Родж в 72

и в 2002

By ALLAN KOZINN
Published: September 28, 2005

With "Ça Ira," his new opera about the French Revolution, just released on a Sony Classical recording, Roger Waters joins a parade of rock stars who apparently harbor dreams of tuxedos and podiums. Sir Paul McCartney has written a handful of orchestral and choral works, large and small. Stewart Copeland, of the Police, beat Mr. Waters to the punch with his own opera, "Holy Blood and Crescent Moon." Billy Joel has recorded an album's worth of piano pieces, and Elvis Costello, with a ballet behind him, has written an opera as well. Roger Waters's "Ça Ira" It seems to be a part of the human condition that having established a specialty, we hanker to do something else. And far be it from me to say that we shouldn't. But speaking as a classical music critic who also listens to lots of rock - and who wishes that more rock fans found classical music exciting as well - I must confess that I find many of these crossover incursions dispiriting.
For one thing, rock stars who become interested in classical music are bizarrely conservative. They may play the most electrifying, guitar-thrashing, edge-of-the-seat stuff with their own bands, but when they decide to write classical music, or what they think of as classical music, they reach for a quill instead of a pen. With the notable exception of Frank Zappa, whose reams of classical music reflect his fascination with Edgard Varèse and other modernists, rock musicians seem to think that the conventions of the 19th century are classical music's current language. Mr. Waters ought to have escaped that conservatism. His former band, Pink Floyd, was known for its almost symphonic experiments in timbre, structure and controlled dissonance. Its quasi-operatic magnum opus, "The Wall," was thoroughly Mr. Waters's baby. Yet the overture to "Ça Ira" ("So It Will Be") is couched in Brahmsian moves and sonorities, and the work rarely lurches forward. A listener soon bumps into orchestral effects that have their roots in Beethoven's "Egmont" or, in more adventurous passages, Puccini's "Tosca" or the Battle on the Ice from Prokofiev's "Alexander Nevsky." Maybe Mr. Waters is mistaken to call this an opera. Yes, there are operatic things about it. The vocal writing is lyrical and often attractive, even if there is little in the way of full-fledged aria writing. There is a hefty amount of choral music, and it is supported by a rich orchestral score. (Mr. Waters had some help in the orchestration from Rick Wentworth, who conducts the recording.) And there are recognizably operatic voices: the baritone Bryn Terfel, the tenor Paul Groves and the soprano Ying Huang each sing several roles. But if you were to walk into a room in which the CD happened to be playing, you would be far less likely to say, "Hey, it's an opera" than "Hey, it's one of those overblown musicals that have taken over Broadway" - or words to that effect. If you were feeling charitable, you might add, "At least it's a few steps closer to Stephen Sondheim than to Andrew Lloyd Webber" - although if you stay long enough, you'll go back and forth on that one, possibly settling on Claude-Michel Schönberg's score for "Les Misérables." From a purely theatrical point of view, "Ça Ira" has a few nice touches: not least, the idea of presenting the early stages of the French Revolution as a three-ring circus, with the Ringmaster (one of Mr. Terfel's roles) as a kind of singing history book and commentator. And it deals artfully with serious issues like tyranny, power, liberty and the difficulty of preventing revolutionary passions from being transformed into a form of terror that threatens to negate what has been gained. No doubt there are some in classical music circles who see a sterling opportunity here, and a decade ago, I would have been one of them. In theory, rock stars who write classical works are telling their audiences that they see something special in this music, something inspiring in the old forms and in the idea of writing for orchestra and unamplified voices. And it isn't unreasonable to expect that a new audience might be enlisted from fans who want to understand what drives their heroes, and who want to like what their heroes like. When rock fans in the United States bought the first albums by the Beatles, the Rolling Stones and the Kinks, they encountered cover versions of American rhythm-and-blues hits that white American listeners had ignored, and they quickly sought out the originals. Linda Ronstadt's excursions into the worlds of Gilbert and Sullivan and cabaret standards in the 1980's had a similar effect. But rock fans barely tolerate classical music adventures by the musicians they admire. Sir Paul's fans snapped up his "Liverpool Oratorio," "Standing Stone" and "Working Classical" albums out of curiosity or because they were completists, but you suspect that few who weren't already interested in classical music actually play those discs. When Sir Paul presided over a program of his orchestral music at Carnegie Hall in 1997, the place was packed with people who sought a glimpse of him but who nodded off during the performances. These crossovers tend not to do well from the other direction, either.
Classical listeners find Billy Joel's piano tinkling embarrassing and have been brutally critical of other musicians' efforts as well. They may find it offensive that these musicians can get their baby steps recorded by major labels while trained, experienced, eloquent composers who don't have rock affiliations have to pass the hat. So here's where rock stars enamored of classical music can make a difference. When they make their first classical albums, they might consider devoting their royalties - a pittance, compared with those generated by their other work - to a fund that would support recordings by actual classical composers. "Yeah, right," you say, but there is a precedent of sorts. In 1989, Elliott Carter received a telephone call from Phil Lesh, the bassist for the Grateful Dead. Mr. Carter had no idea what the Grateful Dead was, but when he and Mr. Lesh met, the following May, Mr. Lesh brought a stack of Mr. Carter's music, which he knew intimately. Mr. Lesh, it turned out, wanted to underwrite a recording of Mr. Carter's music through the Grateful Dead's Rex Foundation, which has quietly given grants to other composers as well. Now that's doing something useful. If Mr. Lesh wrote and recorded an opera, I'd happily give it a spin.

http://www.nytimes.com/2005/09/28/arts/music/28wate.html

Новые Фотки!!! от 26 Сентября 2005!

Роджер и Сэмюэль Голдуин Мл. на премьере фильма 'SQUID AND THE WHALE' на Нью Йоркском Кино Фестивале!

ЭЭксклюзивно от Rex Features!

26 Сент. 2005

>на премьере фильма 'SQUID AND THE WHALE' на Нью Йоркском Кино Фестивале

Родж, Ноа Баумбах (Noah Baumbach) и Джеффом Дэниэлсом


Эксклюзивно от Rex Features!

26 Сент. 2005

Родж на премьере фильма 'SQUID AND THE WHALE' на Нью Йоркском Кино Фестивале