Comfortably Numb: The Inside Story of Pink Floyd by Mark Blake

By Mark Blake

Mark Blake attracts on his personal interviews with band individuals in addition to the group’s associates, highway workforce, musical contemporaries, former housemates, and college colleagues to supply a riveting historical past of 1 of the most important rock bands of all time. We keep on with crimson Floyd from the early psychedelic nights at alien craft, to the stadium-rock and concept-album zenith of the seventies, to the acrimonious schisms of the overdue ’80s and ’90s. alongside the way in which there are interesting new revelations approximately Syd Barrett’s chaotic existence on the time of Piper on the Gates of sunrise, the band’s painstaking and Byzantine recording periods at Abbey highway, and the fractious negotiations to lead to their fragile, tantalizing reunion in Hyde Park.

Meticulous, exacting, and impressive as any purple Floyd album, very easily Numb is the definitive account of this such a lot adventurous—and such a lot English—rock band.

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Like The Young King, and like many other plays of the period, it topically portrays a sexually irresponsible ruler, though it is unusually severe in criticizing the potential for abuse which an aristocratic system possesses. A range of characters, from Frederick to the gentleman-whoremaster Lorenzo, keep insisting on their social quality, but it is a word whose residual moral resonance emphasizes its loss of moral significance. Quality is simply regarded as conveying sexual invincibility. No longer possessing a visible military purpose, the aristocratic hierarchy comes to regard the ‘Conquest’ of women as its prime raison d’être (until the reformed and now monogamous Frederick undertakes, in the last couplet of the play, to sacrifice his ‘Manhood’ ‘to War and Love’ [V.

Ii. 161–2) he asks; and, though he believes he is employing genuine ruffians in the brothel episode, they are in fact his friends in disguise, determined to avert any threat to their ruler. The rabble is not uncaged, and reform is achieved not by force but by the repentance of the ruler. The Amorous Prince, however, appeared at a turning point in the stage portrayal of royalty. A year later England allied with France to declare war on Holland – a move which caused deep anxiety in the nation, since England was combining with an absolute Catholic monarchy against a fellow Protestant nation.

Iii. 110]). Here the power is shared: ‘We’d lay us down and tell a thousand stories’ (V. ii. 27), Urania says. It is, however, a realm in which they cannot remain. After a speech toying with the charms of pastoral life – ‘I wou’d put off all frightful marks of War’ (V. ii. 29) – Amintas abruptly reasserts the claims of soldiership: ‘But come, Love makes us idle’ (V. ii. 35). With soldiership comes male supremacy, which reduces the woman’s bearing of weapons to an act of subjection, and an acknowledgement that the relationship is founded on the woman’s need for male protection from violence.

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