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

Hristos a Înviat!

Floriile - Palm Sunday

Sarbatoarea Intrarii lui Hristos in Ierusalim este cunoscuta in popor sub denumirea de Florii. Parintele profesor Ene Braniste afirma ca aceasta sarbatoare se mai numea si Duminica aspirantilor la Botez, deoarece in aceasta zi catehumenii, care fusesera admisi la Botez, mergeau la episcop pentru a primi Crezul ca marturisire de credinta. Aceasta duminica a purtat si denumirea de Duminica gratierilor, pentru ca in cinstea ei, imparatii acordau gratieri.

Biserica vede in aceasta sarbatoare inaintarea lui Hristos spre jertfa de pe cruce. El putea sa evite moartea, insa, o primeste de buna voie pentru a o birui. Lui nu-i este impusa moartea ca o necesitate, asa cum ne este impusa noua. De aceea El moare pentru altii, nu pentru Sine. El nu avea pacatul imprimat in firea Sa, ca noi toti, pentru ca S-a nascut ca om prin voia Sa.

Dupa modelul multimii din cetatea Ierusalimului care l-a intampinat pe Mantuitorul cu ramuri de finic, Biserica Ortodoxa a randuit ca in aceasta zi sa imparta credinciosilor ramuri de salcie binecuvantate. Ramurile de salcie simbolizeaza biruinta asupra mortii.

 crestinortodox.ro

Palm Sunday is the Sunday before Easter that begins the Holy Week. It is the day that we remember and celebrate the day Jesus entered into Jerusalem as Savior and King. As Jesus rode a donkey into the town of Jerusalem a large crowd gathered and laid palm branches and their cloaks across the road, giving Jesus royal treatment. The hundreds of people shouted "Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! Hosanna in the highest heaven!" 

crosswalk.com 

NSFW by Andronicuss - ArtHalle

ARTHALLE | VISUAL ARTS CENTRE

A unique space dedicated to contemporary art in Romania  . 

Arthalle Gallery - NSFW exhibition with works by Andronicuss (Bogdan Andronic) at

 Budisteanu 10, 010774 Bucharest.
The opening took place on April 18th, 2019 between 7 and 9 pm.
The artist was present.
Not suitable for minors under 16.

About Andronicuss :

'Experiencing truth in Andronicuss works might seem painful, horrible, scandalous, excessive, disgusting, obscene, violent or bloody, even tragic. Or hilarious.
Just like Shakespeare in the homonymous play, he organizes his puppets in an Expressionistic fictional stage, in violent paint strokes, primary colors and apparent grotesque primitive, sometimes deformed or modified, human or animal characters, imbued with archaic apotropaic elements (bones and magic masks).
Like Sisyphus who doesn’t want to return in the underworld after his promise to Pluto, the artist discovers the pleasures of the Earth and his huge appetite for the blue sky, a beautiful girl in a brothel, a bottle or two of wine, the sound of the musical instruments, the dancer, the movies and last, but not least, himself.
Andronicuss is almost always present in his paintings as the narrator/ of the massive and perpetual absurdity of the human existence, but also of its entire beauty and optimism. As Sisyphus chastised by the gods pushes his rock to the top of the mountains in an immense continuous effort, the artist alternates the harsh language of the forms with the optimism of minimal colors. The absurdity to the joy. The childish humor of his cartoon-like character depictions to the tragic of the consciousness of the author caught in a narcissistic snapshot with his camera while performing an erotic movie. The elegance of the gestures to the deformity of the characters. The grotesque to the beauty. The underworld to the Earth life.
His almost bacchanalia rhetoric of booze bottles and glasses, naked bodies in obscene positions and dancing ballerinas ends in painting, drawing or linocut in a strong stroke of his sumptuous logo-signature, the name Andronicuss being given by his mentor and friend painter, Magath.'
Diana Andrei

Despre Andronicus:

Experimentarea adevărului în lucrările lui Andronicus ar putea părea dureroasă, oribilă, scandaloasă, excesivă, dezgustătoare, obscenă, violentă sau sângeroasă. Şi chiar tragică. Sau hilară.
La fel ca în piesa omonimă shakesperiană, artistul-regizor îşi organizează personajele-păpuşi într-o scenografie de poveste expresionistă, în culori violente, primare şi caractere aparent groteşti, primitive, uneori deformate sau modificate, umane sau animale, îmbibate cu elemente apotropaice arhaice (oase şi măşti magice).
Asemenea lui Sisif, care nu vrea sa se întoarcă in lumea cealaltă după promisiunea facută lui Pluto, artistul descoperă plăcerile pământului şi apetitul său imens pentru cerul albastru, o fată frumoasă într-un bordel, o sticlă sau două de vin, sunetul intrumentelor muzicale, dansatori, filmele şi nu în ultimul rând pe el însuşi.
Andronicuss este aproape mereu în lucrările sale naratorul absurdului masiv şi perpetuu al existenţei umane, dar şi al întregii sale frumuseţi şi al optimismului. În timp ce Sisif pedepsit de zei, îşi împinge stânca până în vârful munţilor, pastrându-şi bucuria, artistul alternează limbajul aspru al formelor cu optimismul culorilor primare. Absurditatea cu bucuria. Umorul copilăresc al imaginilor personajelor de desen animat cu tragicul conştiinţei autorului, surprins într-un instantaneu narcisist cu camera în timp ce realizează un film erotic. Eleganţa gesturilor cu deformarea personajelor. Grotescul cu frumosul. Lumea cealaltă cu viaţa pe pământ.
Retorica sa aproape bacanalică, cu sticle şi pahare de băutură, corpuri goale în poziţii obscene şi balerine dansând, se încheie în pictură, în desen sau în linogravură, în tuşa puternică a semnăturii sale somptuoase, numele Andronicuss fiind dat de mentorul şi prietenul său pictor, Magath.
Diana Andrei 

Victor Brauner la Galeria DADA

 

Galeria DADA

„Victor – Victorios (desene, gravuri, obiecte, evenimente)”

 , dedicată operei grafice a lui Victor Brauner, 

în perioada 13 aprilie – 11 august 2019, în Str. Toamnei nr. 10, București

Program de vizitare: de marți până duminică, între orele 14:00 – 20:00

Expoziția prezintă peste 300 de lucrări ale lui Brauner, de la desene, gravuri și litografii originale și, unele, inedite, până la întreaga colecție de cărți ilustrate și o bogată colecție de reviste de avangardă la care acesta a colaborat.

amosnews

Alteța Sa Regală Principele Radu a luat parte la vernisajul expoziției dedicată operei grafice a pictorului Victor Brauner, proeminent artist european, reprezentant al curentului artistic și literar suprarealist. Evenimentul a avut loc în seara de vineri, 12 aprilie 2019, la Galeria DADA, din Strada Toamnei nr. 10, în București.

La vernisajul expoziției a luat parte un numeros public, iar gazdele serii au fost Cristinel Popa, Michael Ilk și Margaréte Montagne.

romaniaregala 

În arhitectura intrinsecă a Galeriei Dada s-a ţinut cont de amplasarea cît mai personalizată a fiecărui exponat. Ilustrativă în acest sens este expunerea unui pict-obiect, operă din adolescenţa pictorului, care a îmbogăţit cu imagini pictate o mandolină, în care se descifrează embrionul preocupărilor pentru pictura constructivistă. Piesa, de un farmec deosebit, necunoscută publicului şi nici criticilor, creaţie a anului 1921, este expusă într-un cilindru de sticlă, al cărui platou se roteşte oferind spectacolul panoramării simbolurilor inscripţionate pe feţele gingaşului instrument muzical.

Veritabilă regină a publicaţiilor, unicul număr al revistei 75H.P. – într-adevăr, un unicat al avangardei universale, conceput de Brauner, Voronca şi Roll, în care s-a introdus termenul de „pictopoezie“, unanim acceptat azi pe toate meridianele  – domină pleiada celorlalte tipărituri româneşti de avangardă: UNU, Integral, Punct, Urmuz, Adam, ca şi a întregii serii de banderole care însoţeau, la lansare, volumele, afişele, catalogele.

 observatorcultural/ Florin COLONAŞ


Victor Brauner was a Romanian Surrealist painter and sculptor, and one of the most important members of the Romanian avant-garde. Born on June 15, 1903 in Piatra Neamt, Romania, he studied at the National School of Fine Arts in Bucharest from 1916 to 1918. Soon after, he began painting landscapes and, as he put it, went through all the "Dadaist, Abstractionist, Expressionist" idioms. In 1930, he moved to Paris where he befriended Constantin Brancusi, Yves Tanguy, and Alberto Giacometti; the latter two lived in the same building as Brauner on Moulin Vert Street. His best-known painting, Self-portrait with enucleated eye, was completed in 1931, and coincidentally, seven years later he lost his left eye in a violent argument between Oscar Domínguez and Esteban Francés. In 1966, he was chosen to represent France at the Venice Biennale, and he died that same year on March 12, 1966 in Paris, France. 
The artist is buried in the famed Montmartre cemetery, where his epitaph reads: 
“Painting is life, the real life, my life.” 
artnet.com