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?Thanks for downloading from This Is the archived news from 2015 with oldest article's first(12/31/2015)*Mansion Studio Used By Bowie, Pink Floyd To ReopenProg) The French mansion studio that became known as the Honky Chateau has reopened for business - and its new owners aim to expand its activities beyond recording music.Chateau d'Herouville, built near Paris in the 18th century, became an icon of 1970s excess when it was used by Pink Floyd, David Bowie, Rick Wakeman, Iggy Pop, the Grateful Dead, Ritchie Blackmore, Fleetwood Mac, T Rex and many others. It opened in 1970 and got its nickname from the 1972 album Elton John recorded there. It was also known as "France's Abbey Road." Owner and composer Michel Magne became celebrated for his hospitality at the live-in location, offering a bohemian lifestyle that included drink, drugs and sex parties. He committed suicide in 1984 while being pursued for debts run up after the studio's glory era had passed. Read more here._____________________________________________________________________________(12/29/2015)*Pink Floyd and Nick Drake fans urged to find photographs of 'lost' gigsDuring his short lifetime, the musician Nick Drake was known to be an extremely shy and reclusive figure. So reclusive in fact that not a single image of the celebrated songwriter performing live exists in an archive.Now fans of Drake, as well as other musicians and groups, are being encouraged to open their attics and picture albums after a call went out to the public to unearth photographs from “lost” gigs.Today, camera phones mean even the smallest gig in the backroom of a pub is recorded. But there are no known photographs for some defining performances in British rock and pop music history from earlier decades – such as the Sex Pistols’ stage debut or Radiohead’s first gig in an Oxford pub.Getty Images has called on the British public to search their attics, garages and archives to fill in the gaps of great gigs that have no known photographic record.The photo agency has teamed up with Endeavour London, a publisher which specializes in books with images from Getty’s archives, and live music subscription service Jukely for the drive.Charles Merullo, owner of Endeavour, said: “Images can pop up in the most surprising ways. It is amazing how much many people know about individual concerts. We hope this will capture people’s imagination.”Drake died of an overdose from anti-depressants at the age of 26 in 1974. He largely failed to find an audience in his lifetime but posthumously built up a cult following and influenced musicians including R.E.M. and Robert Smith of The Cure – who named the band after a line in one of Drake’s songs. Brad Pitt also numbers himself as a fan.It is estimated he played fewer than 20 live performances at venues including The Roundhouse in London, Birmingham Town Hall and the Goodwill to All pub in Middlesex, but Getty hopes the Drake fanatics may have photographed him.There are significant gaps in the archives for popular music history, according to Getty, and if people come forward with photos for gigs that are not covered, they could be added to its archive. Getty will then license and monetize the image worldwide on behalf of the owner.Among the images sought are of The Who playing at the Marquee Club in London in 1965, Otis Redding at the Finsbury Park Astoria in London in March 1967, and Pink Floyd at the 14 Hour Technicolour Dream at Alexandra Palace the following month._____________________________________________________________________________(12/22/2-15)*Roger Waters' ex-wife calls Pink Floyd founder an 'a*******' as she demands return of ?20,000Rolex watch-Laurie Durning insisted that Roger Waters must give her the watch back during multi-million pound divorce settlementRoger Waters’ estranged wife called him an ‘a******’ in court as she demanded he return her ?20,000 Rolex watch as they finalized their divorce.Laurie Durning told the Pink Floyd co-founder: "I want my watch, that’s all" during a row that threatened to derail their multi-million pound settlement at the last minute.She told Waters: "What an a****** you are" as the hearing began at the Manhattan Supreme Court.Waters is said to have responded by shrugging his shoulders.The spat came as Durning, 52, Waters’ fourth wife, set out the final details of their split.Waters, 72, married her in a secret ceremony in 2012 after they had lived together for 10 years but they grew apart and split up.During the hearing Durning told Justice Lori Sattler that she had tried to get her gold Daytona Rolex from the repair shop but staff refused to give it to her as it was being held in the name of Waters’ assistant.Giving evidence she said: "When I handed his personal stuff back to him, he should have handed me the watch".Waters’ lawyer Robert Dobrish told her: "It’s your watch. Pick it up at the store."Justice Sattler ordered both parties to sign an additional agreement on top of their divorce settlement which gave Durning the watch.The details were not released but Waters is said to be worth ?110 million.During the separation, Waters lived in the couple’s 7,000-square-foot Manhattan townhouse while Durning stayed in their ?10 million mansion in Bridgehampton on Long Island.? Revealed: the tragic past of Kylie Minogue's loverAfter the hearing Durning said that the divorce "wasn’t amicable".Her lawyer Peter Bronstein, said: "Laurie is pleased to have this behind her".Waters declined to comment.Waters left Pink Floyd in 1985 and fought a lawsuit over the band’s name with the rest of the group, which he lost.In recent years he has reunited with Dave Gilmour and Nick Mason for Pink Floyd performances in 2005 and 2011._____________________________________________________________________________(12/15/2015)*Opening Night | David Gilmour Kicks Off South American Tour-On Friday night, Pink Floyd guitarist David Gilmour kicked off a South American Tour with the first of two performances at Allianz Parque in Sao Paulo, Brazil. Gilmour focused on material from his most recent solo albums with a heaping helping of Pink Floyd classics. The guitarist and his band played nearly the same setlist at each of the two shows in Sao Paulo. On Saturday, Gilmour added Pink Floyd's "Coming Back To Life" to his second set, the only difference between the two setlists. Both shows were split into two sets with Pink Floyd classics "Wish You Were Here," "Money" and "Us & Them" among the songs in the first set as well as solo cuts such as "5 A.M.," "A Boat Lies Waiting" and "In Any Tongue." Both second sets in Brazil started with "Astronomy Domine," "Shine On You Crazy Diamond" and "Fat Old Sun." Other tunes performed in each second set were "On An Island," "The Girl In The Yellow Dress," "Today," "Sorrow" and "Run Like Hell." David Gilmour's shows on Friday and Saturday came to a close with an encore of "Time," "Breathe (Reprise)" and "Comfortably Numb." The tour continues tonight in Curitiba, Brazil. ____________________________________________________________________________(12/01/2015)*First Look: David Gilmour Cover Story-The December issue of Relix features a cover story on David Gilmour along with articles on Dead & Company, John Fogerty, Widespread Panic, Dave Rawlings Machine, Grace Potter, Kurt Vile, Glen Hansard, Drive-By Truckers, Alex Bleeker And The Freaks, our annual Holiday Gift Guide and much more. Here’s a first look at the Gilmour feature…David Gilmour's guitar sound is completely distinctive: the tone, the touch, the phrasing. Anyone with a passing familiarity with Pink Floyd—which is to say anyone who’s turned on a radio in the last 40 years—knows Gilmour’s work and has at least one of his riffs buried deep in his or her cerebral cortex.Seconds into his recent solo album, Rattle That Lock, Gilmour’s guitar introduces itself and reminds you of all this. The album opens with a swirly, atmospheric intro to the instrumental “5 A.M.” before the guitar blasts through like a high-powered beam of light slicing through dense London fog. It may as well scream, “I am David Gilmour and this is my album.”Gilmour laughs at this thought. While at his London studio prepping for a short European tour, he admits that he’s certainly aware of the distinctive power of his guitar. He doesn’t shy away from the idea that those first notes are a means of saying hello and reminding listeners of who he is.After all these decades as a singular player, does Gilmour still have to work to achieve this distinct sound?“No, I don’t,” he says. “It’s something that just arrives naturally at this point. I’ve no idea how or where it comes from. It’s nothing I ever attempted. I don’t know if anyone could actually set out to sound as distinctively as possible. It was just one of those strange mysteries. I think there’s some kind of strange peculiarity or my lack of coordination between hands that gives it something rather off and, thus, distinct. I’ve thought about it a lot but I can’t come up with precisely what it is. It’s a gift, I suppose.”In many ways, it is a gift that just keeps on giving. Pink Floyd were the biggest band in the world during their peak—a remarkable six-year run that included 1973’s The Dark Side of the Moon, 1975’s Wish You Were Here and 1979’s The Wall, all multi-platinum hits worldwide. Bassist Roger Waters wrote the lyrics for these epochal works, but Gilmour composed much of the music and sang the most memorable songs. His guitar playing was magnificent throughout, with parts that were essential to the songs, not mere adornments or instrumental passages.“David Gilmour wrote solos that millions of people can hum,” says Warren Haynes, who has studied Pink Floyd’s music for years and recently released a live reworking of their music, The Dark Side of the Mule. “You can’t separate his guitar parts from the songs and that’s incredibly rare. He created something uniquely him, which is the ultimate accomplishment as an instrumentalist.”Gilmour’s distinct tone, lyrical playing and singing voice run like a continuous thread through the work of Pink Floyd and his four solo albums. Yet, Gilmour doesn’t feel burdened by any pressure to live up to his own esteemed history.“I work pretty hard, tirelessly and obsessively on any project until I think it’s about as good as I can get it,” he says. “You always think you can take it a little bit further, and I finally feel ready to finish when I’m hovering over, wondering what else I can possibly do to a track. By then I’m always pretty convinced that what I’ve done is good, and I sort of suffer shocks later if people don’t like it.”Much of Rattle That Lock is a collaboration between Gilmour and his wife, writer Polly Samson, who penned the lyrics to half the songs, including the title track. “Rattle That Lock” is inspired by John Milton’s 1667 epic poem Paradise Lost, which explores man’s downfall in 10 books—not exactly typical rock fare.“Polly’s a writer and just had a book out earlier this year called The Kindness, which had a theme that was very related to Paradise Lost,” Gilmour says. “She spent a lot of time reading the book and trying to understand what it’s all about and, having spent the last three or four years working on that, she found she couldn’t let go of Paradise Lost that easily and it made its entrance again on this song.”Many of Samson and Gilmour’s collaborations come about after she hears pieces of her husband’s music, sometimes even unfinished songs, and feels lyrical inspiration. Some of the snippets and different pieces of music were assembled by co-producer Phil Manzanera. The Roxy Music guitarist served in the same role on 2006’s On The Island, Gilmour’s previous solo album, and he also plays in his touring band.“Phil is a very old friend, and he’s full of enthusiasm and a great help when putting together these things,” says Gilmour. “I have thousands of little bits of demos that I occasionally go through, but he loves doing that kind of hunting. And he’ll make little notes, join things together on tape and say, ‘You could do this and have a lovely song.’ A couple of tracks started out that way. ‘Today’ and ‘Faces Of Stone’ both came about through that sort of process.“Songs have to reveal themselves to you in a way,” Gilmour continues. “Some of the choosing process is the songs choosing themselves. One of them might inspire Polly to write words, for instance. If that happens, the song will move right up the priority list. Same if I hear a vocal melody presenting itself. I consider myself a singer as much as I am a guitar player and I love the popular song—the voices and everything mixed together that makes a song a song.”***One of Samson and Gilmour's collaborations is “A Boat Lies Waiting,” a bittersweet reflection on the death of Pink Floyd keyboardist Rick Wright, who passed away in 2008 following a battle with cancer. The song also includes gorgeous harmony vocals by Graham Nash and David Crosby.“Rick had a 60-foot yacht and he loved sailing it around the world,” says Gilmour. “The music to ‘The Boat Lies Waiting’ was written first and the rhythm of the piano reminded Polly of a rolling boat on the ocean, and it’s very easy to make the connection to Rick—for those of us who knew him well. Other people, of course, knew Rick primarily as a musician, but he was an old seafarer for much of his life. It was as much a part of his identity as being a musician, and as much how we thought about him.”Wright left Pink Floyd in the late 1970s, during the recording of The Wall, at a time when his bandmates felt that he was not pulling his weight. He returned to the band almost a decade later, though only as a contributing musician instead of an official member. (He was eventually restored to being a partner in the band.) Whatever issues there were between the old collaborators seemed to have been fully buried, and Wright regularly performed in Gilmour’s solo touring band until his death. The guitarist has profoundly felt the loss of his longtime friend and musical collaborator.“Sometimes, you don’t realize what you’ve got until it’s gone,” says Gilmour. “There have been many moments since [Rick’s death] when I have been looking for something—a keyboard, a piano, a certain sound to complete a song, and the person I would naturally go to for those things is no longer around. It is difficult developing that kind of rapport—a telepathic musical relationship—with people I do not know as well.“Our relationship developed over many years and we knew what the other was thinking. We could communicate so much without saying more than a few words or nothing at all. We were a step ahead of each other all the time. I knew what he was going to do next and he knew what I was going to do next. That’s not something that’s easily replaced.” In the world of Pink Floyd, no keyboardist could possibly come up with more complementary parts to a David Gilmour melody or guitar line than Rick Wright. Throughout their greatest works, Gilmour and Wright’s musical ideas mesh seamlessly into one._____________________________________________________________________________David Gilmour Adds Final Show To North American Tour-(12/01/2015)*Pink Floyd guitarist David Gilmour will embark on his first North American Tour in a decade in late March and has just added a final date to the run. Gilmour will play the iconic Radio City Music Hall in New York City on Sunday, April 10; a venue he visited in 2006.The new date is the guitarist's third of the tour in NYC as it will be followed by a pair of shows at the much bigger Madison Square Garden April 11 and 12. Later this month David Gilmour heads off for a South American Tour._____________________________________________________________________________(11/24/15)David Gilmour, Royal Albert Hall, review: 'the full Floyd experience in all but name'There is no such thing as “scaled back” Pink Floyd. It would be like AC/DC without the amps or Glastonbury without the Pyramid Stage. So it was a relief that David Gilmour, on his first tour in almost a decade, gave us the full Floyd experience in all but name. This concert, the first of five at the Albert Hall, was a stadium show in a relatively intimate setting. Much of Gilmour’s backing band were Floyd veterans, more than half the set list was made up of Floyd songs and the production was designed by the band’s long-term collaborator Marc Brickman. Above the stage hung the band’s trademark “Mr. Screen”, a vast circular projection canopy surrounded by 50 swivelling lights. There were lasers, dry ice and guitar solos loud and high-pitched enough to bring the dogs of Kensington scurrying to the Albert Hall’s gilded doors. In fact, the only thing preventing this from being a full-on Pink Floyd show was the absence of Nick Mason on drums and Roger Waters on guitar and vocal duties. But given that Gilmour and Waters don’t get on as well as they once did, that was never going to happen.As Pink Floyd’s guitarist, Gilmour developed his own, uniquely articulate sound. And, as a single, icy guitar note pierced through the washes of synth during the opener, 5am – from his new album Rattle That Lock – it could have been no one but him on stage. Much of the first half featured tracks from that same release, which is on course to beat fellow veterans Keith Richards and Cliff Richard to number one this weekend. It’s a varied record, with lyrics by Gilmour’s wife, novelist Polly Samson. Faces of Stone featured parps of an accordion and spiralling clarinet, bringing to mind Leonard Cohen.Then came the first big moment. To deploy Wish You Were Here so early showed the strength of Gilmour’s back catalogue - it was lusciously arranged and rapturously received. For the gentle A Boat Lies Waiting, a tribute to Floyd’s keyboard player Rick Wright, who died in 2008, Gilmour brought out “a couple of pals”: David Crosby and Graham Nash. Their harmonies were exceptional.Gilmour opened the second half with Astronomy Domine from Floyd’s 1967 debut The Piper at the Gates of Dawn. All the psychedelic elements were there: rolling drums, lyrics about planets, pounding bass, flashing lights and a “liquid light” display on Mr Screen. It could have been a “happening” at the late-Sixties psychedelic hangout the UFO Club but for the generally subdued and mature crowd.Shine On You Crazy Diamond was epic, its four-note riff echoing into the rafters. But The Girl in the Yellow Dress, a new one, misfired. Not because it was bad, but because it’s louche, intimate jazz was just so different from the glacially huge sounds that preceded and followed it.During Run Like Hell, from The Wall, a single audience member wigged out in the aisle, all flailing limbs and spiraling hands. He was in danger of looking like a sole crusader until five other people joined him. Then a dozen more. By the song’s end the Albert Hall’s aisles were heaving.The finale, Comfortably Numb, saw Crosby and Nash return to the stage for the third time. Crosby did the verse, Gilmour the chorus, with Nash thickening the soup with lavish harmonies. As Gilmour played that song’s famous second guitar solo under a ceiling of a thousand lasers, it was hard to imagine a better blend of atmosphere, visuals and sound._____________________________________________________________________________(12/16/2015)*Adam Sandler launches into profanity-laden tirade against former Pink Floyd front-man Roger Waters for criticizing IsraelAdam Sandler appeared on the Howard Stern Show earlier this week and had choice words for former Pink Floyd front-man Roger Waters about a letter he posted on Salon urging artists not to perform in Israel.“When you go after Roger Waters,” Sandler told Stern, “I love that you do that. I’m disgusted they single out Israel. All these f*cking nice Israeli people are getting a ‘F*ck you!’ from Roger Waters.”Stern asked Sandler if he was religious — the “Happy Gilmore” star’s wife converted to Judaism — but Sandler said, “I’m not crazy religious, but where I grew up, I learned to be proud of being a Jew.”Which is why, he added, he’s “very pro-Israel, and when someone says sh*t about Israel — I know people say sh*t about Israel and they f*cking won’t play there,” he becomes so irate. Stern also had harsh words for Waters earlier this year, after the former Pink Floyd front-man criticized Jon Bon Jovi for performing in Tel Aviv last October.“What is with Roger Waters and the Jews?” Stern asked. “Where do you want the Jews to go, Roger? You want them to go back to the concentration camps? What is it you want, f*ckhead?” Listen to the entire, profanity-laden interview below via the Jewish Journal._________________________________________________________________________________________________________________(12/08/2015)Pink Floyd Released an EP of Their New Material Last Week and Even Their Fans Didn't Seem to Notice-1,000 vinyl copies of 1965 – Their First Recording were quietly released in the UK on Black FridayPink Floyd fans will be taken aback upon knowing that the band released their EP just last week. Their EP however is only available within UK and is only limited to only 1,000 pressings. The lucky individuals that were able to come across their unannounced album entitled "1965" [ which is their first recordings' EP ] will be treated with two 7 inch singles which will feature songs that were never released before. The songs were recorded by the band's original line up such as Syd Barrett, Roger Waters, Nick Mason, Richard Wright, and their previous guitarist Rado Klose.Aside from the new tracks that were released, the songs were made prior to the band's 1967 debut, "The Piper at the Gates of Dawn," made it the earliest official released recordings made by the band. Four of the tracks coming from Syd Barrett himself are "Remember Me", "Lucy Leave", "Double O Bo", and "Butterfly". While the songs "Walk With Me Sydney" was written by the band's Roger Waters, which features his future wife, Juliette Gale, on the back vocals. The band also made a cover of Slim Harpo's "I'm a King Bee" in which they made it their final song.As per Rolling Stone, "Pink Floyd" made a statement in regards to their EP release which stated: "To mark 50 years since the tracks were recorded, Pink Floyd have released a limited edition set of two seven-inch singles containing the band's first recordings," "Pink Floyd" pushed the release of their EP because of United Kingdom's copyright laws which placed the 50-year copyright of their tracks in danger. This being said, their recording was released in order for them to extend the copyright of each track giving them an extension of the copyright and refrain from having it released in the public domain.____________________________________________________________________(12/03/2015)Pink Floyd Release Rare '1965: Their First Recordings' EPSix songs recorded prior to 'The Piper at the Gates of Dawn' appear on limited edition set of seven-inch singles_____________________________________________________________________________(11/19/2015)*'Roger Waters: The Wall' Release Led by Live Version of Pink Floyd 'Comfortably Numb'Ahead of Roger Waters: The Wall's release, a live Pink Floyd version of staple hit "Comfortably Numb" has been released. Featured in the upcoming concert film, the rendition showcases Waters' dramatic spin on the renowned track's lyrics while guitarist David Gilmour's original segments are taken over by singer Robbie Wyckoff. The movie's soundtrack is slated for release Friday (Nov. 20), boasting the live, extended version of the 1979 anthem."People say, 'Why do you write gloomy stuff?' And I always go, 'Next!' Or I go, 'You don't get to choose what you paint. If you have a vision, you f*cking paint it, and you just be very, very glad that you had a fucking thought that was cogent in some way,'" Waters explained to Esquire of his tendency to craft dark material.Roger Waters performs at the 7th annual 'Stand Up For Heroes' event at Madison Square Garden on November 6, 2013 in New York City.Ahead of Roger Waters: The Wall's release, a live Pink Floyd version of staple hit "Comfortably Numb" has been released. Featured in the upcoming concert film, the rendition showcases Waters' dramatic spin on the renowned track's lyrics while guitarist David Gilmour's original segments are taken over by singer Robbie Wyckoff. The movie's soundtrack is slated for release Friday (Nov. 20), boasting the live, extended version of the 1979 anthem."People say, 'Why do you write gloomy stuff?' And I always go, 'Next!' Or I go, 'You don't get to choose what you paint. If you have a vision, you f*cking paint it, and you just be very, very glad that you had a fucking thought that was cogent in some way,'" Waters explained to Esquire of his tendency to craft dark material.Furthermore, the former Pink Floyd bassist detailed certain botches throughout his impressive career, specifically mentioning the last album he recorded with the psychedelic rock band before leaving the group, 1983's The Final Cut."There's some stuff about the production of that album that I think are a bit clunky and heavy-handed," he admitted. "I don't love the drum sound and, if I could do it again, I would be much more naturalistic in terms of the way things are constructed. I would not try to make this thing that has these huge dynamics in it."Earlier in the year, the 72-year-old musician explained that even though the context of The Wall may have changed over the years, it's story ultimately stays true. Known Radiohead associate Nigel Godrich, helmed the soundtrack for Roger Waters: The Wall, stringing together concert recordings from Waters' world trek from 2010 to 2013.Pink Floyd officially called it quits after releasing one final studio album, The Endless River, which had zero participation from Waters._____________________________________________________________________________Roger Waters on Pink Floyd’s ‘Final Cut’: ‘A Bit Clunky’ "I don't love the drum sound," is among his issues with the follow-up to The "The Wall."Of the many things that former Pink Floyd band-mates Roger Waters and David Gilmour have historically disagreed upon was the band’s last album with Waters, 1982’s The Final Cut. And now it seems that Waters may be admitting that Gilmour was at least partially right in his assessment of that album.The sequel to 1979’s colossally successful The Wall, The Final Cut featured a number of songs that didn’t make the prior double album. Gilmour, who had been splitting the lead vocals with Waters over the band’s last few albums, only sang on one song (the album’s highlight, “Not Now John”), and did not contribute to the writing at all.In the book, Comfortably Numb: The Inside Story of Pink Floyd, Gilmour was quoted as saying that he argued that some of the songs weren’t worthy of being released. “I said to Roger, ‘If these songs weren’t good enough for The Wall, why are they good enough now?'” Pink Floyd didn’t tour for the album, and soon after, Waters left the band. The Gilmour led-Pink Floyd never performed any of the songs from that album, although Waters has put some in the set lists on his solo treks.But in a new interview with Esquire, Waters admits that, perhaps, the album doesn’t hold up. “Well, there were certain songs on The Final Cut, and there’s some stuff about the production of that album, that I think are a bit clunky and heavy-handed. I don’t love the drum sound and, if I could do it again, I would be much more naturalistic in terms of the way things are constructed. I would not try to make this thing that has these huge dynamics in it.”In the same interview, Waters also spoke a little bit about his upcoming solo album, his first since 1992’s Amused to Death. “It’s based on a piece that I wrote a year ago. I’ve written lots of songs that all fit into it. Some of the songs are from 1999, and I did some more recordings in 2001, too. Since then I wrote some new songs, and I started writing this narrative; a radio play. The radio play may never happen, but it’s about this old Irishman, who came from me writing a song called ‘Hell No’. It’s a song about asking and answering questions about conflict in general, but specifically going to fight, in Afghanistan or Iraq if you’re an American.”Roger Waters: The Wall concert film is due out on December 1.---------------------------------------------------------------------------------------------------------------------------(11/17/2015)Roger Waters Talks New 'Wall' Film, Pink Floyd Tour With HendrixWith personal new concert movie, 'Roger Waters The Wall,' headed to theaters, singer-songwriter looks back on Pink Floyd's greatest epic When Roger Waters was watching an in-progress cut of his new concert film, Roger Waters The Wall, he realized something in it was missing. Throughout the production, images of people whose lives have been irrevocably changed by war — those who are missing loved ones, those who died while fighting — flash on a giant wall constructed around the band, as it plays Pink Floyd's landmark 1979 double album."I was attaching to all of the people's fallen loved ones whose pictures we showed on the wall," he says. The 72-year-old singer-songwriter, dressed casually in a black T, jeans and unlaced shoes, is reclining on a couch in a suite high atop the Sony building in Manhattan. "I realized that there was a bit of my narrative that was sort of missing. So I came up with the idea of making a road trip to my grandfather's grave and to the memorial to my father. Plus, it will give me an excuse to buy an old Bentley." He smiles widely and warmly.With the addition of Waters' road trip, which takes some surrealistic turns between numbers from The Wall, the film became something more than a typical concert film. While it majestically presents the singer's stunning production of The Wall, which he performed 219 times between 2010 and 2013, it also conveys the absurdity of war and the loss it has indelibly left on Waters, who breaks down when reading the letter his mother received informing her of his father's death in World War II in a scene between songs. But when coupled with the concert footage, Roger Waters The Wall is at once moving and hopeful."We decided to interweave this narrative as a bit of relief instead of just, 'Let's sit here and watch a rock concert in a cinema,' which always seemed like a bit of a stretch," Waters says. "I think that the road-movies sequences illuminate the political and humanitarian philosophy behind the whole thing."In anticipation of the widespread theatrical release of Roger Waters The Wall, which will screen in cinemas around the world on September 29th, the singer-songwriter met with Rolling Stone for an in-depth interview to discuss what The Wall means to him now as well as his plans for the future.Has what The Wall means to you changed over the years?No, not really. The context changes but the story remains the same. If people see this movie, what I hope is that that they may look at one another and go, "You know what? We are a community, and we are many. There are a lot of us."The non-concert portions of the film seem very personal to you. It records the first time you visited the beach in Anzio, Italy, where your father died. How is it that this was the first time?I've never tried to visit, because my father's body was never found. I never really knew the circumstances of his death in any detail.How did you learn what happened?We'd been in southern Italy, filming in the memorial garden at Cassino — a lot of people gathered, including a news crew. And some old bloke, a British expat named Harry Shindler living in Italy, saw it on his TV. He went, "I might be able to help that person." He traces people from the Second World War who are missing and tries to fill in the gaps. He called me and I went, "Well, that's nice." Bugger me, if he didn't find, within the size of this room, he found the spot where he was actually killed.How did you feel when you first got there?The bit in the film that is just me looking at the sea, that is actually Anzio Beach. It was very moving to be there, but the whole trip was very moving.You were moved to tears looking at the letter from Major Harry Witheridge, informing your mother of your father's death.I'd only ever looked at that letter once before in my life, about 10 years ago, and I put it where I never looked at it again. And then I gave it to [director] Sean Evans, and said, "I will look at it somewhere over there." And that's where we did it. And I've never looked at it again.Did you work with a script for the non-concert scenes?No, it's all off the cuff. I knew I was going to have that [Gabriel] Chevallier book, Fear, with me. I'd read it and been very impressed with him. It's a really well-written book. It's just his experience during the First World War. But I love that bit from John Berger's introduction I read out at the gravesite, so I knew I was going to read that because it's so good: "They are abject." But apart from that, I had no idea what I was going to say to the kids. We had no idea what we were going to talk about in the car or anything; it's just what came out.There's a disconcerting scene where you're driving and outside the window, a Nazi shoots a priest in a field. What inspired that?Martin Scorsese gave me a copy of his documentary, My Voyage to Italy, which is about post-realism in Italian cinema. And I knew the movies; I knew the Paisà and Roma Città Aperta, and obviously Bicycle Thief. But there's that scene in Roma Città Aperta, where the Catholic priest, Don Pietro, is taken out and they put in front of a firing squad. The Italians won't shoot him, so the German officer walks over and shoots him in the head. So the scene I shot, I said, "I want to have a nod at Città Aperta. I want a Nazi in a field with a priest and I wanted him to shoot him as we drive by." I know it sounds a daft idea, but somehow, particularly where it is, alongside the collateral murder footage from Baghdad [in the production of The Wall], it's pretty intense. It does exactly what I wanted it to do.How did you feel when you saw the production from the audience's perspective?I feel all right. Honestly, I only see me straight on in the mirror, which is my best angle. So you know you go, "Fuck me, who's that old bloke?" a bit. But you can't get around 70. But I think that the energy, and the energy of the production and some of the performances as well, and the audience, and the response, is all beautiful. I love it.Was there any part of the show that was particularly challenging?Yeah, some of the high notes are difficult. That's why I can only do two nights in a run. "Run Like Hell" is definitely a tone down. It's in C now; I used to do it in D. I can't sing it there anymore.What was difficult from a performance standpoint?Parts of the second half. When we started doing the show, I stood on a podium and there was nothing around it. There were steps up to it, and that was it. Sometimes, I would stand there in my "Nazi" gear, doing all my shtick, and I am staring straight into blinding projections. And once or twice I went "uhhh," and I look down, and with the podium, it was like nine-and-a-half feet to the concrete. So after a while I went, "Guys, I need a hoop of metal bar welded to the back of this fucking thing. 'Cause I'm not feeling that safe." I can't see anything. And you lose balance. My ears are screwed up because of all the noise, so my balance isn't great, because it's your inner ear that keeps you upright. So I did have that put on. That was easier after that.The other thing, of course, doing a show like that three nights a week or four tops, there's so much adrenaline. What a great drug adrenaline is, except when I got to the end of it. About a week after I had finished it, I went, "Oh, my God, I am fucked." I was so tired, three years of it.After the screening of the new Wall movie, you'll be answering some questions with Pink Floyd drummer Nick Mason. How are you two getting along these days?Great. He was staying with me last week.And you recently got together with him for a 50th-anniversary commemoration for Pink Floyd at your alma mater in London. What are your most vivid memories of those early days?Somebody had recommended the new Hendrix documentary, so I watched it on Netflix a few nights ago. I didn't much like it, I have to say; I found it repetitive. But it's what they've got, you know, so there's a lot of Monterey and there's a lot of focus on Monterey. But it made me go back and see if there's anything out there in Google-land about Hendrix's first gig in London, which was in October 1st, 1966. The only reason I remember it is because I was still at college then at Regent Street Polytechnic, and we had an end-of-term gig in the Small Hall, which was a little theatre with a proscenium with a curtain across it, and the headliners were Cream. They came on; they opened with "Crossroads." And he came on and played with them. He'd just arrived the day before, apparently, and in he came on. And he played, and he jammed with them.I thought he was called "Junior" Hendrix for about three or four months. 'Cause he hadn't got the band. There was no band yet. That was before he'd even done the sessions to get Noel Redding and Mitch Mitchell. So that reminded me of it, being there.Pink Floyd toured with Hendrix, too.Yes, that's another thing that wasn't in the documentary. It started on November 3rd or something in 1967 and went till December the 19th. It was about six weeks going all around the U.K., playing in cinemas and little guildhalls and that sort of thing. I remember we used to go stand in the wings and watch Hendrix at the end of the evening, because there was nowhere to go anyway. And he only did 35 minutes. He'd do "Purple Haze", "Hey Joe" and "Wild Thing." That was sort of the set.What was he like to talk to?Oh, he was lovely. I never felt very close to him. But he discovered at a certain point that I knew a lot about science fiction. I'd read a lot, and he just sort of discovered Theodore Sturgeon and Robert Heinlein and Kurt Vonnegut and Asimov. He was a bit childlike, Jimi. He was kind of innocent. Lovely fellow, as far as I know, the sweetest man. Obviously brilliant."We put the radio on and listened to 'Sgt. Pepper.' It was pretty revolutionary." The sounds like a great tour.Yeah, it was great. In fact, it was during that tour that we pulled off into a lay-by, turned the engine off in a Zephyr IV, since we traveled in a car — we wouldn't go in a bus with the rest of them — put the radio on and listened to Sgt. Pepper. They played the whole album on Radio 1, when it came out. I'll never forget sitting there and going, "Fuck me. Whoa. This is such an amazing album." Well, we'd heard quite a lot because they were recording, we were in the same studio, at the same time, making our first album. Yeah, it was pretty revolutionary.You haven't been in Pink Floyd for 30 years, but David Gilmour recently said that it's officially done. How do you feel about that?I think that he's making the right decision [laughs]. I mean, it's nothing to do with me; they do what they want. Yeah, except I guess the legacy's got something to do with me. It's none of my business. Anything they do, after I left, has absolutely nothing to do with me. It's none of my business.Did you listen to their most recent album, The Endless River?I heard little bits of it.Did you like it?No, but that's — that's so what. There's an awful lot of records that I hear that I don't like.Getting back to your film, you've said The Wall would be your last big tour. Do you still feel that way?I don't know. I'd like to do one more if I can. I've got this new piece I'm working on, and if I can figure out how to turn that into an arena show, I might go out once more. I think I've got one more in me.You explained that your new work will be a radio play about a grandfather and a kid in Belfast. Previously, you'd said you were working on an album called Heartland. Is this the same thing?No. Heartland was based around two things. One was a poem that I wrote. It was about America, and it's called "Heartland." I wrote it in 2004, when G.W. Bush was reelected. It was about my worries about all of that, but it's basically saying that in America there is, in the heartland, there is a people who are hospitable, well-meaning, slightly get strayed off-course. But I talk about the idea of neighborhoods coming together and looking after one another, which is sort of a mythology if you like. At the end of this poem I say something about "the young and brave, they need but touches in the old forgotten god to reach the moral high ground in the cloud," or something like that. So it's my heartfelt cri de c?ur, if you like, to young Americans to eschew Trump's stupid fucking hat.Have you abandoned Heartland?No, that poem might not crop up somewhere.I thought it was an album.Well, it was. I'll tell you what it was. I wrote a song for a crappy movie with John Travolta in it called Michael, which was about an angel. They asked me to write a song for it, and I did. It was a really good song. They didn't want it, obviously, which I thought was funny.But I used the word "heartland." There's a whole stanza of things at the end of it. "I take the heat out of the sweat lodge of the bold Arapahoe/And the something of the rifle can make this heartland whole." Or something like that. "Hey, Michelangelo, tell me why'd we kill the buffalo?/Was it for coats, hats and fur-lined shoes, for bloated wool street cats?/Was it to feed the hungry Chinese gangs that laid the railroad tracks?/Oh, Michelangelo." And it goes on like that for the end. And there's a bit at the end that goes, "Oh, the man who sold his kid for meat to a broker in Bangkok/And got a color TV and the keys to the executive washroom and a space in the company parking lot./Oh, Michel-ange-lo." So it's like that. I don't know whether that'll make it ever into a record. Maybe, maybe not.What else will be part of your radio play?There's a lot about my antipathy towards organized religion. And some of it is expressed in similar to that lyric I just sang to you. For instance, there's a song called "If I Had Been God." I'll just tell you, I love the first two verses. It goes, "If I had been God, I would have rearranged the veins in the face to make them more resistant to alcohol and less prone to aging/If I had been God, I would have sired many sons, and I would not have suffered the Romans to kill even one of them./If I had been God, with my staff and my rod, if I had been given the nod, I believe I could have done a better job." And then it goes, "And if I were a drone, patrolling foreign skies with my electronic eyes for guidance and the element of surprise, I would be afraid to find someone home, maybe a woman at a stove, baking bread or making rice, or just boiling down some bones, if I were a drone./Lay down, Jerusalem, lay your burden down." That's how it starts.When do you think it will come out?I don't know. We'll see. I really feel for the young people. How do you worm your way through the fucking pirates in Spotify and Pandora and that, who just want to steal everything from you? It's difficult. And you would think butter wouldn't melt in their mouths, the way they talk. "This is sort of public service. This is the right thing to do." No, it's not; you're just stealing. It's just theft. You're stealing from the mouths out of the children of musicians who might be prepared to make a living doing this. They pay, like, hundredths of thousandths of a cent for a stream. It's just ridiculousYour music and the Pink Floyd catalogs are on Spotify. You haven't seen a difference since those went up?No. I thought of Randy Newman then. You know his great song "My Life Is Good"? My life is busy. You know, I have work to do. I haven't got time to listen to that debate, you know, it's very important. And also, they're so powerful and also because the record companies got it so wrong when this reared its ugly head all those years ago. And they did nothing about it. They didn't go, well, we've got to figure this out so we can represent our artists. All they've done is take a chunk of stock from all these people. But they don't pass it on to the artists, because it's not written in the contract.Getting back to the film, what did your mother think of The Wall, considering it was inspired in part by the absence of your father? Did she like your music?Yeah. I'm pretty sure that she would have come to The Wall back in 1980. She used to come to the shows. "Very interesting," is what she would say. "Of course, you know, darling, I'm completely tone deaf. The music means nothing to me at all." And I'd go, "I know, mom, you've told me that, interminably since I was about that tall." She would occasionally tell me that she'd meet somebody who the music did mean a lot [to], and she would say, "The people take this very seriously." "Yeah, I know. It's cool." "Well done." She was a big sort of slap-on-the-back, "well done" kind of person. She died when she was 96, two or three Octobers ago.Did she like the song "Mother"?We never really talked about it. It wasn't about her anyways.One thing I've always wondered about "Another Brick in the Wall," is where on earth did the bit about "If you don't eat your meat, you can't have any pudding" come from. Was that your family.It's something that I must have heard somebody at some point admonishing a child to get them to finish their meat. Maybe. It wasn't my mother. It might have been something that my grandmother — my mother's mother — might have said sort of as a joke. But I don't remember anything in my family being forced to eat meat before you could have any pudding. But the character that I slip into, at that point, the mad Scotsman, that would be something that he would espouse, that he'd be firmly behind. This Calvinistic idea that you have to suffer before you can enjoy. And meat was so gristly, or it certainly was where I came from, you only got crap, really. Because it was rationed, and this that and the other. "If you don't eat your meat..." People often ask me, "Who is that?" And I go, "It's me, dummy, obviously."I just think it's funny that that line is on the radio all the time to this day."How can you have any pudding if you don't eat your meat? You — yes you behind the bike sheds. Stand still, laddy." Bike sheds were a big motif always at school. Because that's where you went to talk about masturbation or girls or to smoke cigarettes. Those were the absolute no-no's when I was a kid: cigarette smoking and sex.I don't think that's changed too much.Probably not. Everybody thought there was a big sexual revolution going on in the Sixties. I must say, I don't remember much of it personally [laughs].Since we've been talking about your life, have you been working on a memoir?I do write from time to time. I've been writing things down since 2011 maybe. The first piece I started writing was called Moving to Cambridge, and it's just about moving to Cambridge when I was a year and a half old at the end of the Second World War. I keep going back and writing other bits, and I will figure out how to edit them together and turn it into a cohesive piece of work. Unfortunately, I'm not much of an archivist. So a lot of stuff will have gotten lost. What can you do? Either you hoard things or you don't. And I'd rather be me than be Bill Wyman anyway. I've got nothing against Bill, but he's a hoarder. He's an archivist. So is Nicky [Mason]. Nicky's an amazing archivist. He's meticulous. He did his book, Inside Out, too.Yeah, fabulous photos. We were still kind of estranged when he sent me the manuscript. We laugh and laugh about it. Because I sent it back with a big blue line through the whole thing. I just wrote, "Rubbish." [Laughs] Which is really funny. But it's a great, it's a beautiful piece of work. I think it terrific. I love it._____________________________________________________________________________(11/13/2015)Wider Horizons: New David Gilmour documentary gives insights into Pink Floyd guitarist and singer-The musician reveals his early influences as he revives his solo careerPink Floyd are highly renowned as one of the best and most influential bands of all time – and now fans can get greater insight to guitarist, singer and songwriter David Gilmour in a new BBC documentary.Titled Wider Horizons, the 75-minute film sees Gilmour reflect on his life and music as he releases his first solo album in nine years, Rattle That Lock.The film also traces back Gilmour’s musical roots, as he talks about his influences and the impact that his parents had on his listening habits, sending records from the Sixties folk scene in Greenwich Village, New York.Pink Floyd are highly renowned as one of the best and most influential bands of all time – and now fans can get greater insight to guitarist, singer and songwriter David Gilmour in a new BBC documentary.Titled Wider Horizons, the 75-minute film sees Gilmour reflect on his life and music as he releases his first solo album in nine years, Rattle That Lock.The film also traces back Gilmour’s musical roots, as he talks about his influences and the impact that his parents had on his listening habits, sending records from the Sixties folk scene in Greenwich Village, New York.The guitarist also reveals that he learned the instrument from Pete Seeger’s tutorial LP, The Folksinger’s Guitar Guide, which included information about how to tune up and how to play basic chords.“From the beginning of learning the guitar, I was learning singing as well,” explains Gilmour. “And singing is just as important to me.” (Clip Of Video on page)_____________________________________________________________________________(11/12/2015)*David Gilmour: How I Learned to Play Guitar-Pink Floyd guitar champion David Gilmour talked with BBC about the very beginning of his six-string journey, singling out late folk icon Pete Seeger's guitar tutoring record as the crucial source of information.He explained: "My only actual guitar instruction was with Pete Seeger's guitar tutor record. It was an LP with a big book, it had all the chords that you might need."It started out with a pitch pipe playing six notes of a guitar, so the most important thing was to learn how to tune it."The second band was teaching you how to play a D chord, which is three fingers on a guitar which you then strum, and then he sang some words so you could do a song, instantly, with just one chord."So from the beginning of learning the guitar I was learning singing as well. And singing is just as important to me."Mr. Gilmour recently gave a cool, elaborate explanation on why his guitar playing sounds the way he does. Check it out here.Pete Seeger passed away last year at the age of 94. He will remain known as one of the all-time folk giants and the author of such timeless songs as "Where Have All the Flowers Gone?," "Turn! Turn! Turn!” and “If I Had a Hammer (The Hammer Song)View The Video Here On YouTube____________________________________________________________________(11/10/2015)*Cambridge Corn Exchange could house ?9,000 memorial to Pink Floyd’s Syd Barrett – The campaign to create a Cambridge memorial to Pink Floyd's Syd Barrett is going into interstellar overdrive.The plan is to place the memorial inside the venue for Syd's last gig, the Corn Exchange, which is run by the Cambridge Live trust.A budget of ?9,000 has been set aside for the tribute, and now a detailed brief has been published by Cambridge Live for artists who might want to bid for the commission.The brief, which has a deadline of January 15, spells out Syd's career biography.His final musical shows were with a group called Stars, who played live concerts in the city in the early 1970s, including gigs at the Corn Exchange in support of American band MC5 and English progressive outfit Nektar.The design brief says: "He was very bright, funny, quirky and witty. He was an artist, but not just in terms of 'music' or 'paintings'; he used art to explore and relate to his world. Music was sound and colours and patterns to him, not notes on a page."He was child-like and imaginative and liked to push boundaries. The piece of art needs to represent this and be bright, colourful and full of fun and movement."Neil Jones, the trust's operations director, said: "Syd Barrett is Cambridge's most famous musical son. We welcome submissions from across the art world and look forward to marking his life and work with a public piece of art at the Corn Exchange."Moves to create a memorial follow petitions launched by historian Fonz Chamberlain and stone letter carver Pippa Westo_____ ______ ______________ _________Singer, 74, who played with Pink Floyd and influenced Led Zeppelin is cleared of allegations he sexually abused girls as young as 11 up to 40 years ago-Roy Harper said he was 'incredibly angry' at three-year battle to clear name Was acquitted earlier this year of indecently assaulting a girl, 16, in 1980 But jury failed to reach verdicts on counts relating to a second complainant Crown Prosecution Service finally dropped all remaining charges today A folk singer who played with Pink Floyd and influenced Led Zeppelin has expressed anger and sorrow over the lengthy threeyear battle to clear his name of allegations of historical sexual abuse.Roy Harper, 74, is well-known in the music industry having worked with decorated artists such as Paul McCartney and Kate Bush.He was acquitted earlier this year of claims he sexually abused an 11-year-old girl in the 1970s and indecently assaulted a 16-year-old girl in 1980. But a jury failed to reach verdicts on other charges relating to the 11-year-old and he faced a retrial.After a protracted three year battle, the Crown Prosecution Service finally dropped all remaining charges today. Speaking outside court, the musician hit out at the delays in the legal system and said he was left 'incredibly angry'.He said: 'I said at the beginning of this process that I was innocent of these allegations. This case should never have gone as far as this, or taken so long to resolve.'The psychological and personal cost to my wife and myself has been enormous, and in addition to that, the financial cost is hugely unfair. 'I spent my savings... and more,on my defense.'Mr Harper, who now lives in Rossmore, Co Cork, said he had lost his livelihood after being informed of the allegations in February 2013.The singer's influence on the world of folk rock was recognised by Mojo magazine in 2005 when they gave him a 'Hero Award'.He sang lead vocals on Have a Cigar by Pink Floyd in 1975, and inspired a 1970 song by Led Zeppelin called Hats Off to (Roy) Harper. The recording artist, who has released 32 albums during a 50-year career, added: 'I realize that these are difficult issues at this time in this society and I thank my lawyers for standing by me and working so hard to show the truth.'Despite coming out of this without a blemish on my name, I nonetheless cannot recoup my costs and that's left me incredibly angry.'I'm now going to restart my working life where I left off nearly three years ago.'The CPS said in a statement: 'We keep all our cases under constant review and in this case it was decided that based on the strength of the evidence there is no longer a realistic prospect of a conviction.'We will be meeting with the complainant and her family in order to fully explain our decision.' ____________________________________________________________________(11/03/2015)Pink Floyd's Gilmour regrets Another Brick in the Wall lyrics-PINK Floyd singer David Gilmour has said it "wasn’t a good idea" to release one of the band’s most famous singles because of its refrain "we don’t need no education."Gilmour, speaking on the Andrew Marr Show on Sunday, was responding to Marr's statement that he never "got" Another Brick in the Wall (Part 2) with the presenter describing its lyrics – "We don’t need no education / We don’t need no thought control... Teacher, leave those kids alone" – written by Roger Waters as "reactionary.""Roger would say that it’s all in the context; I suspect now... I’m not sure how good an idea it was to put something like that out as a single," said Gilmour."Roger was talking about the type of teachers and teaching that was fairly common in schools when we were growing up. But I think I wouldn’t put that out as a song right now."Gilmour was speaking 50 years after Pink Floyd were formed (he joined in 1967) and to promote his new solo album Rattle That Lock. The 69-year-old said his new songs were "hopefully better" than his previous ones and said he found touring easier than writing, recording and promotion.In terms of touring as a solo artist as opposed to with Pink Floyd, he said, "It’s not that different. I can be more of a despot, which is always fun."Gilmour actually gave fans the first preview of his new album in Co Carlow over the summer.He appeared at the Festival of Writing & Ideas at Borris House in June alongside his wife Polly Samson, who wrote most of the lyrics on the album – Gilmour’s fourth solo effort.During his Carlow appearance he said that Roger Waters "was a brilliant writer of lyrics and working together was brilliant, but things run its course and that one did" and added that, "I think I am working with a lyricist who is better than Roger." Presenter Andrew Marr ended the interview yesterday by saying, "I very rarely shake with awe when I have guests on, but it’s been a very great privilege to have you here, David Gilmour."_____________________________________________________________________________ (10/27/2015)Pink Floyd's Roger Waters loves Bernie SandersRoger Waters is feeling the Bern. As a British citizen, Waters can’t actually vote in a U.S. election. But the Pink Floyd co-founder, in an interview with Rolling Stone, said Sanders is the only candidate in the American presidential race “that I see with any credibility.""He seems to speak the truth, far as one can tell at this point,” Waters said. “He seems prepared to stand up against big money and the banks and stand up for the predicaments of minorities, the middle class and the working class in this country."Waters dismissed fears that Sanders in the general election would hand a win to Republicans because he is too radical."It is true that people become marginalized if their politics appear too far to the left," he said."That is why I admire Sanders. When he speaks the truth, he sounds very left wing, but that is because we have been fed this right-wing bullshit by the whole of the mainstream media since the Second World War,” Waters said. “And it has gotten worse and worse and worse, and the outlets for dissenting voices have become fewer and fewer. So he is bound to sound out of step, because he is! And that is what is so good about him."Waters said that while Hillary Clinton is a “far better” alternative than Republican candidates “by a long, long way,” he is worried about her."Hillary worries me," he said "I have an awful worry that she might become the first woman president to drop a fucking nuclear bomb on somebody. There is something scarily hawkish about her, and she has that politician look down of, 'You are never going to get a word of truth out of me.'"________________________________________________________________________________________(10/18/2015)Pink Floyd star's son Charlie Gilmour joins refugee protesters at King's Cross St PancrasCharlie Gilmour, adopted son of Pink Floyd singer and guitarist David Gilmour, spotted at No Borders protest-The adopted son of Pink Floyd frontman David Gilmour attended a protest calling for refugees to be allowed into Britain.Charlie Gilmour, 25, who was infamously jailed after being photographed swinging from the Cenotaph during a march against student tuition fees in 2010, was seen among 150 activists at the No Borders protest at Kings Cross St Pancras station on Saturday evening.Gilmour, who tweeted pictures of the ‘beautiful scenes’ and praised ‘anarchists’ for stealing police officer’s hats, was pictured behind a banner reading: ‘the people want to bring down the borders’.But the freelance journalist insisted he was only there as an observer – not an activist.He told the Mail on Sunday: “I was at the King’s Cross protest as a freelance journalist and observer. “I was researching a piece about refugee solidarity in Britain.”Activists held a peaceful demonstration outside the station, where Eurostar trains come into London, holding up banners calling for the closure of the notorious Yarls Wood refugee detention center.But the protest turned ugly, with masked activists hurling smoke bombs and paint at police, after officers tried to stop them entering St Pancras.Dozens of protesters - many clad in black and with hoods up and their faces obscured with scarves - breached police barriers and stormed the station at around 6pm.Charlie tweeted: “Beautiful scenes at the St Pancras protest today. Anarchists attacked by police responded by nicking their hats and vanishing into the mist.”Scotland Yard said they tried to enter the Eurostar platforms at the station but were stopped by officers.Scotland Yard said: "Some protesters began to throw items at police, including smoke bombs."These protesters were ejected from the station and later dispersed from the area."No arrests were made. Joel Benjamin wrote on Twitter: "Utter carnage at Kings Cross station for migrants demo. Flares, Cops going in batons drawn."British Transport Police said demonstrators arrived at the station at around 6pm and began a peaceful protest, adding: "Around this time a number of other individuals arrived at the station causing disorder and missiles, including smoke bombs, were thrown at police officers."This group was dispersed by police and officers remain at the station."____________________________________________________________________(10/15/2015)The Pink Floyd Appreciation Society holding special event in Wood-buryJoin the Arts Center in Woodbury for a tribute to the greatest progressive band of all time, Pink Floyd! The Pink Floyd Appreciation Society originally formed in 2000 as a group of people dedicated to celebrating the work, life, and legions of fans of Pink Floyd. It is with this sense of community that the PFAS has flowed throughout the years and continues to journey.The Pink Floyd Appreciation Society ranges across Pink Floyd's reign as the premier psychedelic rock experience covering material from Meddle, Wish You Were Here, Animals and The Wall, as well as the complete Dark Side of the Moon album. The Pink Floyd Appreciation Society has brought even more of the Pink Floyd experience to the stage and continues to build the performances and technologies to provide a fantastic live music experience._____________________________________________________________________________Pink Floyd’s Roger Waters helps DC wounded warriors heal with music-WASHINGTON (WUSA9 -- Several local musicians had the chance to rehearse with Pink Floyd’s Roger Waters for a special concert he is holding in D.C. on Friday.“It gives them the opportunity to confront all of the things that they’ve felt and all of the things they’ve seen” Tim Donley said.Wounded warrior Tim Donley expressed the impact of music on those who have served our country in Iraq and Afghanistan. “I lost both my legs and it messed up my right arm pretty severely,” Donley said.The insurgent who triggered that IED in Afghanistan couldn’t touch Donley’s spirit and resilience. “It’s exhilarating,” Donley said. “It’s really, really a good time.”Before joining the Marines, Donley sung at church and at home with his musical family. Though he never envisioned this.Musicorps takes our wounded warriors’ passion for music and uses that to help them heal. They can learn or even re-learn how to play instruments and perform.“Some of these people we work with are isolated and in their rooms, depressed and not doing anything,” Arthur Bloom said. “They start doing music and it’s like they wake up.”Music provides a respite from doctors’ appointments and surgeries. An escape from the misery of the wars they left behind.“You have to separate yourself from the anger, and the horror and the frustration and different things that you feel because otherwise you’re not going to be able to function,” Donley said.“They are so much more communicative. Having something to do is a huge part of it,” Waters said.“It’s been a comfort and it’s been a way to just love the moment to just really be alive,” Tim Donley said.For the men and women who have sacrificed so much, music gives them hope.____________ _____________ _________________Pink Floyd's 'The Dark Side of the Moon' at center of unique Delta College Planetarium program-BAY CITY, MI — it’s already one of the best selling and most beloved albums of all time.And now, Pink Floyd's "The Dark Side of the Moon" is the centerpiece of a unique show coming to the Delta College Planetarium in downtown Bay City.The show, appropriately titled "The Dark Side of the Moon," features audiovisual effects all set to the British rock band's famous album that was released in 1973 and spent 741 weeks on the charts."There are similarities to laser light shows, but it's well beyond that technology," said William Mitchell, a show specialist at the planetarium, 100 Center Ave. in downtown Bay City. "Everything you see is three-dimensional; it's full of light and color. It's bringing the laser light show fully into the modern."The show, which runs about 40 minutes, is set for 7 p.m. on Saturday, Oct. 24, and again on Saturday, Oct. 31. Tickets are $7 for adults and $5 for senior citizens, children, students and veterans. Tickets are available at the door or by calling the planetarium at 989-667-2260.Because of mature language and the intensity of the show, attendance is only recommended for audience members age 10 and older."It's more for adults, and especially people who are old enough to remember the Pink Floyd rock soundtrack," Mitchell said. "It's a way to visualize something that's been a unique part of peoples' lives over the years.""The Dark Side of the Moon" was Pink Floyd's eighth studio album. It was recorded at Abbey Road Studios in London and features the hits "Money" and "Time."_____________ ____________ _________________'Return to the Bright Side of the Moon' Memoirs of Ginger Gilmour- A woman's journey of love, pain, and return to discover God.LONDON, Oct. 15, 2015 /PRNewswire/ -- Pink Floyd's David Gilmour, Ginger Gilmour & Matthew Gilmour create a multi-media phenomenon--1 Book, 2 Albums simultaneously & coincidently released.Ginger Gilmour releases her book 'Memoirs of the Bright Side of the Moon'. Matthew Gilmour (son of David and Ginger) releases his album titled 'The Grey'. David Gilmour releases his solo album 'Rattle that Lock'."Despite living in separate houses, a separate life, the Family Affair still carries on creatively," says Ginger with a smile. "It is such an energetic period to be living, especially watching our children's artistic flowering within the wings of our support," she adds. ................
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