Power of Silence

What distinguishes normal people is that we share a metaphorical dagger; 

the concerns of our self - reflection. 

With this dagger, we cut ourselves and bleed; 

and the job of our chains of self - reflection is to give us the feeling that we are bleeding together, 

that we are sharing something wonderful; our humanity. 

But if we were to examine it, 

 we would discover 

that we are bleeding alone; 

that we are not sharing anything; 

that all we are doing is toying with our manageable, 

unreal, man-made reflection. 

 Sorcerers are no longer in the world of daily affairs, 

because they are no longer prey to their self - reflection.

 ― Carlos Castaneda, Power of Silence

Comfortably Numb

I have become comfortably numb...

Comfortably Numb is one of the best song made by Pink Floyd.
The song is one of Pink Floyd‘s most famous, and is renowned especially for its guitar solos in the middle and at the end of the song.
Is one of the most famous songs extracted from the album The wall. Is a real cornerstone inside the story of Pink (the protagonist of The Wall), because he change his personality from a normal man with the problem of a normal man, to a sort of tyrannic leader that talk to masses that believes in him.


Hello?
Is there anybody in there?
Just nod if you can hear me.
Is there anyone at home?
Come on, now,
I hear you’re feeling down.
Well I can ease your pain
Get you on your feet again.
Relax.
I’ll need some information first.
Just the basic facts.
Can you show me where it hurts?
There is no pain you are receding
A distant ship, smoke on the horizon.
You are only coming through in waves.
Your lips move but I can’t hear what you’re saying.
When I was a child I had a fever
My hands felt just like two balloons.
Now I’ve got that feeling once again
I can’t explain you would not understand
This is not how I am.
I have become comfortably numb.
O.K.
Just a little pinprick.
There’ll be no more aaaaaaaaah!
But you may feel a little sick.
Can you stand up?
I do believe it’s working, good.
That’ll keep you going through the show
Come on it’s time to go.

There is no pain you are receding
A distant ship, smoke on the horizon.
You are only coming through in waves.
Your lips move but I can’t hear what you’re saying.
When I was a child
I caught a fleeting glimpse
Out of the corner of my eye.
I turned to look but it was gone
I cannot put my finger on it now
The child is grown,
The dream is gone.
I have become comfortably numb.
Writer/s: WATERS, ROGER/GILMOUR, DAVID JON
Publisher: Warner/Chappell Music, Inc., IMAGEM U.S. LLC

The story of Comfortably Numb

'Dave Gilmour wrote most of the music while he was working on a solo album in 1978.
He brought it to The Wall sessions and Waters wrote lyrics for it. Gilmour believes this song can be divided into two sections: dark and light.
 The light are the parts that begin “When I was a child…,” which Gilmour sings. The dark are the “Hello, is there anybody in there” parts, which are sung by Waters.
This was the last song Waters and Gilmour wrote together. In 1986 Waters left the band and felt there should be no Pink Floyd without him.
Roger Waters wrote the lyrics. While many people thought the song was about drugs, Waters claims it is not. The lyrics are about what he felt like as a child when he was sick with a fever.
As an adult, he got that feeling again sometimes, entering a state of delirium, where he felt detached from reality.

He told Mojomagazine (December 2009) that the lines, “When I was a child I had a fever/My hands felt just like two balloons” were autobiographical. He explained: “I remember having the flu or something, an infection with a temperature of 105 and being delirious. It wasn’t like the hands looked like balloons, but they looked way too big, frightening.
A lot of people think those lines are about masturbation. God knows why.”
Mojo asked Waters about the line, “That’ll keep you going through the show,” referring to getting medicated before going on-stage. He explained: “That comes from a specific show at the Spectrum in Philadelphia (June 29, 1977).
I had stomach cramps so bad that I thought I wasn’t able to go on.
A doctor backstage gave me a shot of something that I swear to God would have killed a f—ing elephant. I did the whole show hardly able to raise my hand above my knee. He said it was a muscular relaxant.
But it rendered me almost insensible. It was so bad that at the end of the show, the audience was baying for more. I couldn’t do it. They did the encore about me.”
A confirmation about this was in a radio interview around 1980 with Jim Ladd from KLOS in Los Angeles, Waters said that part of the song is about the time he got hepatitis but didn’t know it. Pink Floyd had to do a show that night in Philadelphia, and the doctor Roger saw gave him a sedative to help the pain, thinking it was a stomach disorder. At the show, Roger’s hands were numb “like two toy balloons.” He was unable to focus, but also realized the fans didn’t care because they were so busy screaming, hence “comfortably” numb.
He said most of The Wall is about alienation between the audience and band.
Waters and Gilmour had an argument over which version of this to use on the album. They ended up editing two takes together as a compromise.
Dave Gilmour said in Guitar World February 1993:
 “Well, there were two recordings of that, which me and Roger argued about. I’d written it when I was doing my first solo album [David Gilmour, 1978]. We changed the key of the song’s opening the E to B, I think. The verse stayed exactly the same.
Then we had to add a little bit, because Roger wanted to do the line, ‘I have become comfortably numb.’ Other than that, it was very, very simple to write.
But the arguments on it were about how it should be mixed and which track we should use.
We’d done one track with Nick Mason an drums that I thought was too rough and sloppy.
We had another go at it and I thought that the second take was better.
Roger disagreed. It was more an ego thing than anything else.
We really went head to head with each other over such a minor thing.
I probably couldn’t tell the difference if you put both versions on a record today. But, anyway, it wound up with us taking a fill out of one version and putting it into another version.”

planckmachine

 https://www.youtube.com/watch?v=XpqjEnRU6uM

The Invention of Everything Else

“Wait," I say. 

"I think you're mistaken. Saying there is no dream is the same as saying everything is a dream. Isn't it? Everyone's a dreamer? 

Extraordinary things happen all the time even when we're awake. 

What I meant to suggest to you, if indeed that was me in your dream doing the suggesting, 

is that there is only one world. 

This one. 

The dream is real. 

The ordinary is the wonderful. 

The wonderful is the ordinary.” 

― Samantha Hunt, The Invention of Everything Else

SOLARIS - Tabula Rasa (Arvo Pärt)

“We take off into the cosmos, ready for anything: for solitude, for hardship, for exhaustion, death. Modesty forbids us to say so, but there are times when we think pretty well of ourselves. And yet, if we examine it more closely, our enthusiasm turns out to be all a sham. We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. For us, such and such a planet is as arid as the Sahara, another as frozen as the North Pole, yet another as lush as the Amazon basin. We are humanitarian and chivalrous; we don't want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. A single world, our own, suffices us; but we can't accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, a civilization superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don't like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don't leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us - that part of our reality which we would prefer to pass over in silence - then we don't like it anymore.”
― Stanisław Lem, Solaris 

1. Tabula Rasa: I. Ludus -- Con moto (Arvo Pärt)
2. Tabula Rasa: II. Silentium -- Senza moto (Arvo Pärt)
3. Company for String Orchestra: Movement I (Philip Glass)
4. Company for String Orchestra: Movement II (Philip Glass)
5. Company for String Orchestra: Movement III (Philip Glass)
6. Company for String Orchestra: Movement IV (Philip Glass)
7. "Come In!": Movement I (Vladimir Martynov)
8. "Come In!": Movement II (Vladimir Martynov)
9. "Come In!": Movement III (Vladimir Martynov)
10. "Come In!": Movement IV (Vladimir Martynov)
11. "Come In!": Movement V (Vladimir Martynov)
12. "Come In!": Movement VI (Vladimir Martynov)
13. Darf ich (Arvo Pärt)

About this album:

Silencio is a meditative collection of 20th-century works for string orchestra, including works by Arvo Pärt, Philip Glass, and Vladimir Martynov. The disc is bookended with works by Pärt, whose Tabula Rasa opens the disc. The work was written for and dedicated to Kremer, violinist Tatjana Grindenko and conductor Eri Klas (all featured on this recording), who premiered it in 1977 in Estonia. It was recorded live for release on ECM later that year. Tabula Rasa is scored for string orchestra, solo violins and prepared piano.

SOLARIS - Tabula Rasa (Arvo Pärt)

“We take off into the cosmos, ready for anything: for solitude, for hardship, for exhaustion, death. Modesty forbids us to say so, but there are times when we think pretty well of ourselves. And yet, if we examine it more closely, our enthusiasm turns out to be all a sham. We don't want to conquer the cosmos, we simply want to extend the boundaries of Earth to the frontiers of the cosmos. For us, such and such a planet is as arid as the Sahara, another as frozen as the North Pole, yet another as lush as the Amazon basin. We are humanitarian and chivalrous; we don't want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. A single world, our own, suffices us; but we can't accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, a civilization superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don't like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don't leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us - that part of our reality which we would prefer to pass over in silence - then we don't like it anymore.”
― Stanisław Lem, Solaris 

1. Tabula Rasa: I. Ludus -- Con moto (Arvo Pärt)
2. Tabula Rasa: II. Silentium -- Senza moto (Arvo Pärt)
3. Company for String Orchestra: Movement I (Philip Glass)
4. Company for String Orchestra: Movement II (Philip Glass)
5. Company for String Orchestra: Movement III (Philip Glass)
6. Company for String Orchestra: Movement IV (Philip Glass)
7. "Come In!": Movement I (Vladimir Martynov)
8. "Come In!": Movement II (Vladimir Martynov)
9. "Come In!": Movement III (Vladimir Martynov)
10. "Come In!": Movement IV (Vladimir Martynov)
11. "Come In!": Movement V (Vladimir Martynov)
12. "Come In!": Movement VI (Vladimir Martynov)
13. Darf ich (Arvo Pärt)

About this album:

Silencio is a meditative collection of 20th-century works for string orchestra, including works by Arvo Pärt, Philip Glass, and Vladimir Martynov. The disc is bookended with works by Pärt, whose Tabula Rasa opens the disc. The work was written for and dedicated to Kremer, violinist Tatjana Grindenko and conductor Eri Klas (all featured on this recording), who premiered it in 1977 in Estonia. It was recorded live for release on ECM later that year. Tabula Rasa is scored for string orchestra, solo violins and prepared piano.

Philip Glass's Company was originally composed for a Public Theater production of a play based on Samuel Beckett's short novel of the same name. Later it became Glass's String Quartet # 2 and received its first recording by Kronos Quartet, on their self-titled debut, in 1986. It is heard here in an adaptation for string orchestra.

The Russian composer Vladimir Martynov wrote "Come in!" for Kremer and Grindenko, who premiered the work in Leningrad in 1988. A six-movement work for two solo violins and string orchestra, it takes its title from the following text, written by the composer:

The staircase to Heaven is inside your heart; you enter through the door of your soul.

Our whole life is but an attempt to find this miraculous entrance.

All our deeds are but a timid knocking on this mysterious door

All our hopes are to hear a voice that would respond, 'Come In!'

Closing the disc is the world premiere recording of Arvo Pärt's Darf ich... (May I), recorded in Berlin last year.

Kremer founded the Kremerata Baltica, an orchestra of young musicians from the three Baltic States, in 1996. They first performed in Riga, Latvia in February 1997. Kremer had long sought to share his rich artistic experience with young musicians in his native Latvia and the Baltic region, and was prompted to form a more lasting relationship with the artists, as a way to give back to the community that fostered his own musical growth. The Kremerata Baltica is made up of musicians whose average age is 25 and who hail from Latvia, Lithuania and Estonia. Kremer, who acts as the group's artistic director, said, in an interview for The New York Times, that it functions as "a musical democracy...open-minded, self-critical, a continuation of my musical spirit."

The Kremerata Baltica, who the Los Angeles Times calls, "...extraordinary young players...they animate everything their bows touch..." recently signed an exclusive, six-record agreement with Nonesuch Records, inaugurated earlier this year by the release of Eight Seasons. This reorchestration of Piazzolla's Cuatro estaciones porteñas, paired with the Vivaldi classic, brings with it a new way of listening to both works, and the possibility of discovering the connections they share.

The Final Cut - Life for Sale

Through the fish-eyed lens of tear stained eyes
I can barely define the shape of this moment in time
And far from flying high in clear blue skies
I'm spiraling down to the hole in the ground where I hide.

If you negotiate the minefield in the drive
And beat the dogs and cheat the cold electronic eyes
And if you make it past the shotgun in the hall,
Dial the combination, open the priest hole
And if I'm in I'll tell you what's behind the wall.

There's a kid who had a big hallucination
Making love to girls in magazines.
He wonders if you're sleeping with your new found faith.
Could anybody love him
Or is it just a crazy dream?

And if I show you my dark side
Will you still hold me tonight?
And if I open my heart to you
And show you my weak side
What would you do?
Would you sell your story to Rolling Stone?
Would you take the children away
And leave me alone?
And smile in reassurance
As you whisper down the phone?
Would you send me packing?
Or would you take me home?

Thought I oughta bare my naked feelings,
Thought I oughta tear the curtain down.
I held the blade in trembling hands
Prepared to make it but just then the phone rang
I never had the nerve to make the final cut.

"Hello? Listen, I think I've got it. Okay, listen its a HaHa!" 

Amused to Death - Roger Waters /Life for Sale

Doctor Doctor what is wrong with me

This supermarket life is getting long

What is the heart life of a colour TV

What is the shelf life of a teenage queen

Ooh western woman

Ooh western girl

News hound sniffs the air

When Jessica Hahn goes down

He latches on to that symbol

Of detachment

Attracted by the peeling away of feeling

The celebrity of the abused shell the belle

Ooh western woman

Ooh western girl

And the children of Melrose

Strut their stuff

Is absolute zero cold enough

And out in the valley warm and clean

The little ones sit by their TV screens

No thoughts to think

No tears to cry

All sucked dry

Down to the very last breath

Bartender what is wrong with me

Why am I so out of breath

The captain said excuse me ma'am

This species has amused itself to death

Amused itself to death

Amused itself to death

We watched the tragedy unfold

We did as we were told

We bought and sold

It was the greatest show on earth

But then it was over

We ohhed and aahed

We drove our racing cars

We ate our last few jars of caviar

And somewhere out there in the stars

A keen-eyed look-out

Spied a flickering light

Our last hurrah

And when they found our shadows

Grouped 'round the TV sets

They ran down every lead

They repeated every test

They checked out all the data on their lists

And then the alien anthropologists

Admitted they were still perplexed

But on eliminating every other reason

For our sad demise

They logged the only explanation left

This species has amused itself to death

No tears to cry 

No feelings left

This species has 

Amused itself to death 

(switch channels) 

[Alf Razzell:] "Years later, I saw Bill Hubbard's name on the memorial to the missing at Aras. 
And I...when I saw his name I was absolutely transfixed; 
it was as though he was now a human being instead of some sort of nightmarish memory 
of how I had to leave him, all those years ago. 
And I felt relieved, and ever since then I've felt happier about it, because always before, 
whenever I thought of him, I said to myself, 
'Was there something else that I could have done?'
 And that always sort of worried me. 
And having seen him, and his name in the register - 
as you know in the memorials there's a little safe, there's a register in there with every name - 
and seeing his name and his name on the memorial; it sort of lightened my...heart, if you like." 

(woman) "When was it that you saw his name on the memorial?" 

"Ah, when I was eighty-seven, that would be a year, ninete...eighty-four, nineteen eighty-four." 

(switch channels)

(crickets)

Roger Waters / Amused To Death / lyrics

Wearing The Inside Out / LIFE for SALE

Life for Sale - B/W - coolPHOTOBLOGS

Life for Sale - Hey You!

Collapse Into Now - Life for Sale

Life for Sale - ALEPH

House With no Door - Life for Sale

Loneliness - Life for SALE

LIFE FOR SALE - Prospekt's March / Poppyfields / COLDPLAY

Age Of Loneliness - Life for Sale - Photo Experiment

Life for Sale - Memories Series

Life for Sale - Refugees

Every Teardrop Is A Waterfall - Coldplay / LIFE FOR SALE

Life for Sale - Memories Series

Life for Sale - White Memories

July Morning

July Morning/ URIAH Heep/ Lyrics

There I was on a July morning looking for love.
With the strength of a new day dawning and the beautiful sun.
At the sound of the first bird singing I was leaving for home.
With the storm and the night behind me and a road of my own.
With the day
came the resolution
I'll be looking for you.

I was looking for love in the strangest places.
There wasn't a stone that I left unturned.
I must have tried more than a thousand faces,
but not one was aware of the fire that burned
In my heart,
in my mind,
in my soul.
In my heart,
in my mind,
in my soul.

There I was on a July morning - I was looking for love.
With the strength of a new day dawning and the beautiful sun.
At the sound of the first bird singing I was leaving for home.
With the storm and the night behind me and a road of my own.
With the day
came the resolution
I'll be lookïng for you.

Versuri de la: http://www.versuri.ro/ 

Bernie Shaw - Voice
Mick Box - Guitar
Phil Lanzon - Keyboards
Trevor Bolder - Bass
Lee Kerslake - drums