& çâÌæÚUæð´ ·¤è ¥ôÚU Îð¹Ùæ ÁæÚUè ÚU¹ð´ ¥ÍæüÌ ¥ÂÙð ÜÿØ ÂÚU ŠØæÙ ÚU¹ð´Ð ãæÚU Ù ×æÙð´, €UØô´ç·¤ ·¤æ× ·¤ÚUÙð âð ¥æÂ·¤ô ©gðàØ ·¤è Âýæç# ãôÌè ãñ ¥õÚU ÁèßÙ ·¤æ ¹æÜèÂÙ ÎêÚU ãôÌæ ãñÐ ÖÜð ãè ÁèßÙ ×ð´ ç·¤ÌÙè Öè ·¤çÆÙæ§ü €UØô´ Ù ¥æ°, çÁ™ææâæ ¥õÚU ©ˆâæã ÕÙæ° ÚU¹ð´Ð ŠØæÙ ÚU¹ð´, ÜÿØ ã×ðàææ ¥æÂ·Ô¤ Âæâ ãôÌð ãñ´ çÁ‹ãð´ ÂæÙð ·Ô¤ çÜ° ÂýØæâ ¥æÂ ·¤Öè Öè àæéM¤ ·¤ÚU â·¤Ìð ãñ´Ð

Roger Waters points the Wall Towarad abuse of power
Roger Waters projected his message stadium-wide, literally, when he brought his new production of “The Wall” to Yankee Stadium on Friday, starting a two-night stand. A white-brick wall, which is both an ideal video screen in concert and the central metaphor of the rock opera he wrote for the 1979 album by Pink Floyd (with additional music by the band's guitarist, David Gilmour), spanned the stadium and towered 40 feet high.
The message Waters hammered home - with images including animated regiments of goosestepping hammers on the march - was distrust of power and authority in many forms: parents, schools, celebrities, corporations, countries, ideologies. Throughout intermission (as elegiac music played), and at points during the concert, the names and faces of people killed by wars, terrorism and government actions were shown on the wall. Quotations from George Orwell, Franz Kafka and Dwight D. Eisenhower also appeared on it.
The video wall, which his promoters have billed as “the largest projection surface ever toured in live entertainment,” isn't the only huge special effect in "The Wall.” It's an impeccable, stadium-sized show, magnifying even further what began, decades ago, as very private torments for what Waters, smiling broadly, called his “poor, miserable,” messed-up.
There are marionettes as tall as the wall, bursts of pyrotechnics, surround-sound effects that simulated fighter planes buzzing the stadium, a group of 15 children dancing through “Another Brick in the Wall (Part 2)” and a pig-shaped balloon, now a black boar with tusks, painted with mock slogans.
Actually, "The Wall” isn't as unified as Waters' latest attempt to focus it. It's a melange of ideas, ricocheting amid personal and political, insular and activist. Its protagonist, a certain Mr. Pink Floyd, is a rock star
going insane. He's a pampered, miserable, abusive, sleazy, insecure wreck, toying with groupies and numbing himself before going onstage.
He's also the grown-up version of a boy who lost his father in World War II, and who was traumatized by a vicious schoolmaster and an overbearing mother; the combined impact made him wall himself off from feelings. When he leads his band as part of the narrative, Mr. Floyd becomes a fascistic demagogue in sunglasses and a leather trench coat, swaggering among backup musicians who wear Nazi-like uniforms and, eventually, firing a machine gun at undesirables.
The music of “The Wall” is held together by variations on the rising and falling refrain of “Another Brick in the Wall,” which can sound like a playground taunt or a funeral march. But the album also holds some of the most chameleonic music Waters ever wrote. Pink Floyd's distinctive slow, plangent anthems -- like “Comfortably Numb” — are a big part of “The Wall.”
Other songs reach back to doo-wop and Beatles-like vocal harmonies, boogie like 1970s blues-rock, role-play like orchestral show tunes (in the climactic song "The Trial”), pulsate like disco or, in the final song, strum along like skiffle.
Back in 1979 “The Wall” was a rock star’s abreaction to success, but Waters was also worrying about how media overload could distract and neutralise potential protest. Now, at 68, Waters has made “The Wall” far less about himself and more about his anger at abuses of power.
Yet with amplification, staging, hit melodies and his celebrity status, he got the Yankee Stadium audience following his orders, submitting to his power. For the moment, all paradoxes were subsumed in the spectacle.
SOURCE: THE NEW YORK TIMES