http://teamrock.com/news/2017-07-18/roger-waters-slams-thom-yorke-over-radioheads-israel-show
I could easily turn this into a 1500 word rant about how Roger Waters has turned into a senile ass. I won’t do that, but I will just say that his head is shoved so far up his rear that he can’t see what’s going on in reality. Just look at the recent interview with Prog magazine where he said the following:
[Trump] might not sell his own kids, though you sense that they’re like lumps of meat when you see them parading around, They’re like prized cattle. They’ve sort of been plumped up. Those Trump boys, they look as if they’ve been injected with hormones every morning before breakfast to get them that pumped up and kind of dopey.
– Prog 77, page 57
Beyond the mere fact that the above idiotic statement has absolutely nothing to do with music, it is completely absurd! Just imagine if someone in Waters’ position said the same thing about Bill and Hillary Clinton’s daughter. There would be people calling for his arrest and hanging!
This pile of crap related to the Israel boycott is nothing more than leftist anti-Semitism. The UN pulls this garbage of siding with the terrorists that run Palestine, even to the point of claiming that the Jewish people have no claim to the plot of land known as the Temple Mount. (http://www.jpost.com/Arab-Israeli-Conflict/UN-General-Assembly-supports-resolution-ignoring-Jewish-ties-to-the-Temple-Mount-474107)
It truly is sad to see the once-great cultural critic Waters succumb to this base level of stupidity. The Palestinian government monetarily supports and vocally condones the utter destruction of the Jewish people and the Jewish state. How can supporting a boycott of Israel in support of the Palestinians be anything but vitriolic racism against the Jewish people?
I’m happy there are musicians like Steven Wilson, Radiohead, Steve Hackett, Mike Portnoy, and many others that are willing to ignore the anti-Israel garbage spewed by some on the left and play in Israel and collaborate with Israeli musicians.
I would love to go to one of Waters’ upcoming shows in Chicago, but I refuse to give my hard-earned money to that man after the things he has said. For that same reason, I refuse to buy his new album, and even if somebody gave me a copy, I probably wouldn’t listen to it. I am even having trouble listening to Pink Floyd because of his absurd comments, and they are one of my very favorite bands.
Roger Waters has completely lost touch with reality, and he needs to seriously reconsider his political positions because they are in direct contrast with the anti-establishment and anti-totalitarian (and brilliant) lyrics he wrote for Animals, The Wall, and The Final Cut.
Mr. Waters, if you choose to support an egregious boycott of Israel and the Jewish people who choose to live there, then I can choose to boycott you.
Music critics tend to dismiss Joy Division’s posthumous Still as a hit-and-miss collection of studio scraps paired with a lackluster recording of their last show. And in a specific context — compared to the brilliant Unknown Pleasures and Closer, it seems a bit of a rush job with less-than-pure motivations — this holds some weight, although I’d argue as its own thing Still may be more representative of the band as a whole, and that the live half of the double album contains fiery performances wildly joining hard rock, punk, and synth-y goth music. My first exposure to Joy Division, over thirty years ago now, was hearing “Shadowplay” from Still, and it gave me the metal thunder frights. It sounded as if Peter Hook, Bernard Sumner, Ian Curtis, and Stephen Morris channeled the essence of Fleetwood Mac’s “Green Manalishi” through a punk filter, as they sped to the center of the city in the night. Even as they rode their wave of goth punk popularity their songs betrayed the band’s primary strength: their music was as much about making connections as alienation, masked and revealed in turns by Curtis’s not-waving-but-drowning lyrics and delivery.
Progarchy 