Archivo de la categoría: Lenguas por los Derechos Humanos

Mother Earth: Love, Peace, Respect

STOP DESTRUCTION!!!

Mother Earth – Neil Young

Oh, Mother Earth
With your fields of green
Once more laid down
By the hungry hand
How long can you
Give and not receive
And feed this world
Ruled by greed
And feed this world
Ruled by greed

Oh, ball of fire
In the summer sky
Your healing light
Your parade of days
Are they betrayed
By the men of power
Who hold this world
In their changing hands
They hold the world
In their changing hands

Oh, freedom land
Can you let this go
Down to the streets
Where the numbers grow
Respect Mother Earth
And her giving ways
Or trade away
Our children’s days
Or trade away
Our children’s days

Respect Mother Earth
And her giving ways
Or trade away
Our children’s days

Mother Nature -Angelique Kidjo

Don’t ever let them hurt you in any way
Oh, never let them steal and take the best of you
Keep building cities from the ground
We’re rising with the waves
Don’t ever let them hurt you in any way
Oh, never let them steal and take the best of you
Keep building cities from the ground
We’re rising with the waves
Mother Nature has a way of warning us
A time bomb set on a lost countdown
Do you hear it?
Will you stop it?
Won’t you listen?
Aminssiamin nin va mian lébé nin hihé a min
Aminssiamin ké lé ayin gban ya djia edo la noussi lo
Each one of us each one of us
We need each other
We need each other
We need each other now
Each one of us each one of us
We need each other

Don’t ever let them hurt you in any way
Oh, never let them steal and take the best of you
Keep building cities from the ground
We’re rising with the waves
Mother Nature has a way of warning us
A time bomb set on a lost countdown
Will you find it?
Will you stop it?
Won’t you listen?

We need each other now
We need each other now
Each one of us each one of us
We need each other

Aminssiamin nin va mian lébé nin hihé a min
Aminssiamin ké lé ayin gban ya djia edo la noussi lo
I know we are humain
But why can’t we use gifts she’s given us

Mother Nature has a way of warning us
A time bomb set on a lost countdown
Do you hear it?
Will you stop it?
Won’t you listen?

Oh-h-h-h-h-h, ye ye ye ye ye ya ah

Mother Earth – Soldiers of Jah Army

They should have known this couldn’t last forever
They should have known this cannot last so long
And yes they should have known when we go murder our mother
The consequence from the father is gonna be strong

I know, I know only love will stand
When the wickedness come, wickedness go
Only love will stand

They should have seen when we go raping
Our mother Earth who was so fresh and green
That what we gonna give will be what we getting
And what we sow will be what we reap
If you take the blood out from her vein
Things, they gonna never ever be the same
Who will repair? Who will bear the blame?
For the cost of this dangerous Babylon game

I know, I know only love will stand (only love will stand)
When the wickedness come, wickedness go
Only love will stand

Only love will stand

They should have known soldier will come
And spread the message, they should have known
The righteous won’t sit and watch
They should have known I and I work for the father
I and I will defend my mother, they should have known
But know, oh, they did not

I know, I know only love will stand (I and I know)
When the wickedness come, wickedness go
Only love will stand

I know, I and I know only love will stand
I and I know, I and I know only love will stand

Mare Nostrum

Mar MediterráneoMare nostrum

Los antiguos romanos lo llamaban Mare nostrum (nuestro mar), mientras que el nombre común actual proviene del latín mediterraneus, que significa “entre las tierras”, por lo que mar Mediterráneo significa “mar entre las tierras”. Esta masa de agua ha tenido un papel elemental en el desarrollo de las culturas orientales y occidentales, toda vez que fue navegado por griegos, fenicios, romanos, persas y turcos otomanos, solo por mencionar algunos. Es uno de los mares más destacados por su historia y su riqueza natural.

Descripción

El mar Mediterráneo es un mar intercontinental, es decir, está situado entre Europa, Asia y África al norte, este y sur, respectivamente; separa y conecta dichos continentes. Baña las costas de Albania, Argelia, Grecia, Bosnia y Herzegovina, Croacia, Chipre, Egipto, Francia, Israel, Italia, Líbano, Libia, Malta, Mónaco, Marruecos, Eslovenia, Montenegro, España, Siria, Túnez, Turquía y  varias islas que pertenecen a estos países, como las Baleares, las Cícladas, Creta, Sicilia, Cerdeña, Córcega, etcétera. En total, baña más de 20 países. Al sur está conectado con el mar Rojo por el Canal de Suez.

Abarca un área, sin incluir al mar Negro, de aproximadamente 2.5 millones de km2 y tiene una longitud máxima de unos 3,860-3,900 kilómetros. Su anchura máxima es de 1,600 kilómetros entre las partes más alejadas, y divide Europa y África por tan solo 14 kilómetros. La profundidad media del mar es de 1,500 metros, si bien cerca del Cabo Matapan alcanza hasta 5,400 metros. Su área se divide en mares más pequeños, según la Organización Hidrográfica Internacional (IHO, por sus siglas en inglés): Adriático, Egeo, Jónico Tirreno, de Liguria, Balear y de Alborán. El estrecho de Gibraltar es un cuerpo de agua también contenido en el mar.

El Mediterráneo se conecta con el océano Atlántico, su fuente de renovación y reposición de agua, únicamente por el estrecho de Gibraltar, por lo que su cuenca es casi completamente cerrada. Sus aguas poseen una salinidad superior a la del Atlántico puesto que registra poco movimiento de mareas. La evaporación es muy alta, especialmente en la parte este, y esto contribuye a aumentar el nivel de salinidad que a 5 metros de profundidad es de aproximadamente 3.8 por ciento.

Este gran cuerpo de agua es un importante modificador de clima en la región ya que disipa el calor. De hecho, existe un tipo de clima con el mismo nombre.

Formación

La formación del Mediterráneo es resultado de los movimientos geológicos que han ocurrido a lo largo de millones de años. En la actualidad se localiza donde las placas Africana y Euroasiática se conectan; la fricción entre ambas provocó hace tiempo la aparición de varios volcanes y canteras de mármol. Sin embargo, es posible que se haya originado a partir de otros cuerpos de agua: el mar de Tetis,  o quizá Neotetis.

Anteriormente se creía que la cuenca del mar Mediterráneo era un remanente tectónico directo del mar de Tetis, el cual separaba Gondwana de Laurasia durante el Mesozoico y parte del Cretácico. En el Jurásico y el Cretácico tardío, las placas Africana y Eurosiática se acercaban poco a poco, lo que llevó a lo que hoy son África, Arabia e India hacia la parte superior y a cerrar el océano Tetis. La cuenca del océano Neotetis fue resultado de la convergencia entre las placas Africana y Euroasiática.

Hace unos 6 millones de años, el cuerpo de agua que hoy se llama Mediterráneo estaba formado, pero comenzó a cerrarse en su parte oeste debido al acercamiento de África hacia Europa. Esto provocó que el agua se evaporara durante la crisis de salinidad de Messina, por lo que la cuenca se secó casi completamente hasta que a finales del Mioceno volvió a llenarse con agua del Atlántico por el estrecho de Gibraltar gracias a la inundación Zancliense. Sin embargo, es posible que el ciclo de desecación e inundación se haya repetido durante los últimos 630,000 años.

Biodiversidad

El mar Mediterráneo exhibe un bello color azul profundo que es hogar de más de 10,000 especies acuáticas. Como sus aguas provienen del Atlántico, la biodiversidad está compuesta casi exclusivamente por especies propias de dicho océano. En el Mediterráneo existen al menos 19 especies de cetáceos, por ejemplo: el delfín de Risso (Grampus griseus), el delfín listado (Stenella coeruleoalba), el delfín nariz de botella (Tursiops truncatus), el zifio de Cuvier (Ziphius cavirostris), el calderón común (Globicephala melas), el cachalote (Physeter macrocephalus), la orca (Orcinus orca) y la falsa orca (Pseudorca crassidens), solo por mencionar algunos.

Otras especies marinas comunes son la foca monje del Mediterráneo (Monachus monachus), la tortuga caguama (Caretta caretta), las merluzas, el atún rojo (Thunnus thynnus), el mejillón mediterráneo (Mytilus galloprovincialis), las sardinas, el pez espada (Xiphias gladius), la tortuga laúd (Dermochelys coriacea) y la lubina (Dicentrarchus labrax).

En este mar se reconoce un amplio rango de ecosistemas y, debido a que es más cálido y más salado que el Atlántico, mantiene varias especies que no se encuentran en otros mares u océanos, como la foca monje del Mediterráneo que es la única especie de pinnípedo en tal zona. Bajo el nivel del mar se encuentran praderas marinas, arrecifes de coral, montañas y fosas. En la cuenca, sobre el nivel del mar, habitan coníferas de las familias Ceratonia, Cupressaceae y Brassicaceae, así como olivos y demás plantas capaces de sobrevivir en el ambiente rocoso.

En total, la biodiversidad del mar Mediterráneo representa un 9.8 por ciento de la biodiversidad marina del mundo. Curiosamente, el mar representa solo un 0.7 por ciento de la superficie marina de la Tierra.

Amenazas

La pesca ha sido una actividad económica históricamente importante para los habitantes de la cuenca mediterránea; el lado negativo es que la sobrepesca es un problema en muchas partes del mar. Según la Agencia Europea de Medio Ambiente (European Environment Agency), más del 65 por ciento de las poblaciones de especies de la región mediterránea están fuera de los límites biológicos de seguridad. Muchas pesquerías locales están desapareciendo debido a la escasez de presas. Aunado a lo anterior, la captura incidental cobra la vida de millones de especies marinas.

Posiblemente, el principal problema del Mediterráneo es la degradación de sus hábitats, ocasionada por las múltiples actividades humanas en las poblaciones cercanas y las compañías que dependen de sus aguas y lo que hay en ellas. Existe una fuerte contaminación en muchas áreas, causada en parte por la escorrentía y el vertido de sustancias químicas de las industrias.

Fuente: https://www.geoenciclopedia.com/mar-mediterraneo/

El mar Mediterráneo: cuna de la civilización

La cuenca del Mediterráneo ha sido la cuna de la civilización mundial desde la aparición de los primeros asentamientos en Jericó en el año 9000 a. C. Conocido en inglés y en las lenguas romances como el mar situado «entre tierras», el Mediterráneo ha recibido y recibe numerosos nombres: mar Nuestro, para los romanos, mar Blanco (Akdeniz) para los turcos, Gran Mar (Yam Gadol) para los judíos, mar Medio (Mittelmeer) para los germanos y, de forma más imprecisa, Gran Verde para los antiguos egipcios.1 El mar Nuestro desempeñó un papel fundamental en la comunicación entre los pueblos circundantes y evitó conflictos entre aquellos pueblos de diferentes zonas de la cuenca que tenían, asimismo, intereses diferentes. No existe en el mundo otra cuenca similar. El mapa mundial ilustra el carácter único de la ubicación del mar Mediterráneo en el planeta: es suficientemente grande como para albergarnos a todos pero, al mismo tiempo, debido a su peculiar forma, con sus islas, bahías y estrechos, facilita la comunicación entre la población circundante. En apariencia, se trata de un mar cerrado, pero permite habilitar una serie de rutas principales de transporte entre las zonas oriental y occidental.

 El mar Mediterráneo es símbolo de creatividad, de búsqueda del sentido de la vida y de la sabiduría, así como de amor por el ser humano y la naturaleza. Este mar siempre ha sido un entorno capaz de engendrar a destacables personalidades que han realizado notables aportaciones al desarrollo histórico de la filosofía, el arte, la música, la literatura, la ciencia y la tecnología. La cuenca fue testigo de la expansión de gloriosas civilizaciones, de este a oeste, de norte a sur, desde Mesopotamia hasta Egipto, desde la península de Anatolia y Troya hasta Macedonia, desde las ciudades-estado griegas hasta la civilización fenicia, desde Cartago hasta Roma, desde Bagdad hasta Al-Ándalus, desde Bizancio hasta el Imperio Otomano y desde Alejandría hasta Bolonia, las cuales construyeron unos sólidos cimientos para las civilizaciones mundiales. No podemos imaginar la historia del mundo sin tener en cuenta a las civilizaciones egipcia, helénica, romana y otomana.

 LA HISTORIA DEL DESARROLLO INTELECTUAL EN LA CUENCA DEL MEDITERRÁNEO

 Fundada en el año 300 a. C., la Antigua Biblioteca de Alejandría en Egipto fue una de las mayores y más importantes bibliotecas del Mundo Antiguo. Los primeros avances en el ámbito del desarrollo intelectual surgieron en el Mediterráneo oriental y se centraron principalmente en el campo de la filosofía. La población circundante del mar Mediterráneo había tenido innumerables oportunidades para conocer otras culturas y aprender sobre el mundo y su realidad, comenzando por el Período Helénico, lo que dio lugar al surgimiento de filósofos y científicos que realizaron grandes aportaciones al desarrollo intelectual. Entre ellos podemos citar a Tales de Mileto, Anaximandro, Anaxímenes, Pitágoras, Xenófanes, así como a Diógenes de Apolonia, Hipócrates, Sócrates, Platón y Aristóteles (siglos VI, V y IV a. C.).

 La Edad Media fue la Edad de Oro para la población musulmana en la región y, entre los años 622 y 750 d. C., la expansión del Estado islámico, que tuvo su origen en la península arábiga, se extendió a Oriente Medio, parte de Asia Menor, Persia, el Norte de África y la península ibérica. Durante siglos, Al-Ándalus, en la península ibérica, y Marruecos constituyeron centros culturales alternativos a Bagdad. Desde el siglo VIII al siglo XV, muchos filósofos influyeron notablemente en el desarrollo de la filosofía islámica en la región, entre ellos, Jabir ibn Hayyan, Al Farabi, Al Biruni, Ibn Sina, Al Qushayri, Al Ghazali, Al Baghdaadi, Ibn Rushd, Jalal ad-Din Rumi e Ibn Khaldun.

 Desde la Antigüedad hasta los períodos de la Edad Media y el Renacimiento, la cuenca del Mediterráneo desempeñó un papel fundamental en la filosofía, el arte y la ciencia. Sin embargo, a partir del siglo XVIII, cuando se desarrolló la posibilidad de realizar viajes marítimos a gran distancia y se crearon nuevas rutas comerciales, la región del Mediterráneo comenzó a perder importancia en favor de otras zonas de Europa y América del Norte. De este modo, se produjo un desplazamiento en el desarrollo de la filosofía, la ciencia, la tecnología y el arte modernos, tanto de sur a norte como de este a oeste.

 LA HISTORIA DE LAS UNIVERSIDADES EN LA REGIÓN DEL MEDITERRÁNEO

 La lista de las universidades más antiguas del mundo varía en función de lo que entendamos por universidad. Si consideramos la universidad como una institución que concede títulos, todas las universidades más antiguas del mundo quedarán ubicadas en Europa, donde la expedición de certificados era una práctica extendida en la década de 1100. Las siguientes afirmaciones son reflejo de una visión reducida y eurocéntrica de la universidad: “la universidad es una institución europea” o “ninguna otra institución ha logrado extenderse por todo el mundo de la manera en que lo ha hecho la universidad europea tradicional”.2 En realidad, fue en los países de la región del Mediterráneo donde se fundaron las universidades más antiguas del mundo. En general, la lista de las universidades más antiguas no tiene en cuenta las civilizaciones antiguas de Grecia, Roma, China, la India o el mundo árabe, pero las instituciones educativas que estas crearon se ajustaban a la definición tradicional de universidad y, por tanto, deberían incluirse en dicha lista.

 Si elaboramos una lista de universidades basándonos en la definición reducida de las mismas como instituciones que conceden títulos, vemos que la universidad más antigua del mundo es la Universidad de Bolonia, fundada en 1088. De las 44 universidades más antiguas, 25 se fundaron en la cuenca del Mediterráneo, siendo la península itálica la región que abarca el mayor número de ellas, con 13 universidades.3 Ocho de las diez universidades más antiguas del mundo que han desempeñado su labor ininterrumpidamente hasta la actualidad se encuentran en el área mediterránea, lo que es un indicador del gran desarrollo intelectual que existía y aún existe en la región. Aunque las instituciones otomanas no estén incluidas en la lista, la Universidad de Estambul debería figurar en ella, puesto que fue creada en 1453 por el Sultán Mehmed el Conquistador. Otra institución importante, que constituye la primera institución de educación superior del Imperio Otomano, al margen de la educación religiosa, es la Universidad Técnica de Estambul, fundada en 1773.

 Si partimos de una definición más amplia de la universidad como “una institución de educación superior autónoma e independiente” y echamos un vistazo a las diez universidades más antiguas e importantes del mundo,4 obtendremos una lista diferente. Por definición, la universidad se desarrolló en un primer momento como una institución religiosa (madrasah) surgida en el mundo medieval islámico. La primera fue la Universidad de Al-Karaouine, creada en el año 859. El resto de universidades islámicas de la cuenca fueron la Universidad de Al-Azhar, fundada en Egipto en el año 972 y la de Nizamiyya, establecida en Irán en 1065. Otras universidades de la lista son las de Bolonia, París, Oxford, Montpellier, Cambridge, Salamanca y Padua, todas ellas muy influidas por la cuenca del Mediterráneo.

 A partir de 1500, se fundaron numerosas universidades por todo el mundo y surgieron numerosos tipos diferentes de instituciones de educación superior. La educación superior aún se encuentra en una fase de transición, debido a la presión de la globalización, pero resulta evidente que el papel de la universidad como institución sigue ganando importancia y que las expectativas de la sociedad con respecto a la universidad están experimentando una rápida transformación en el cambiante contexto actual. Puede que existan diferentes maneras de definir la universidad, pero lo que es seguro es que la universidad es un producto de la región del Mediterráneo.

 No disponemos de datos fiables relativos al número de universidades que existen en la cuenca del Mediterráneo o al número de universidades mediterráneas capaz de competir a nivel mundial, pero el rico legado histórico de esta región ha creado un excepcional entorno intelectual que ha propiciado, durante siglos, el surgimiento de múltiples filósofos, artistas, músicos y científicos de fama mundial.

 UNIVERSIDADES UNIDAS POR EL VÍNCULO DEL MAR

 La población, los países, las culturas y las instituciones circundantes del mar Mediterráneo comparten una serie de valores y características comunes que han permitido desarrollar con éxito numerosos proyectos y, seguramente, continuarán haciéndolo. Las universidades mediterráneas, cuya principal ventaja radica en su amplia cultura intelectual y en la cohesión social existente entre su personal y sus estudiantes, pueden desempeñar un papel fundamental en las relaciones entre Oriente y Occidente, así como entre Norte y Sur. Una de las ventajas evidentes es la movilidad de estudiantes y docentes. Las estadísticas del Plan de Acción de la Comunidad Europea para la Movilidad de Estudiantes Universitarios (ERASMUS) muestran que, entre 1987 y 2011, más del 46% de la movilidad de estudiantes y docentes correspondía a países mediterráneos (ANEXO 01SM: Estudiantes salientes del programa Erasmus desde el curso 1987/1988 al 2010/2011). La movilidad ayudará a las universidades mediterráneas a ampliar sus horizontes y convertirse en instituciones de carácter mundial.

 Las redes universitarias constituyen otro factor importante y, para poder comprender el papel que estas pueden desempeñar en dicho proceso, resultará útil repasar brevemente las redes existentes en la región. La Comunidad de Universidades del Mediterráneo (CUM), es una de las redes universitarias más antiguas de la región del Mediterráneo. Su creación data de 1983, cuando tenía su sede en la Universidad de Bari. Dicha red está compuesta por más de 160 universidades de 12 Estados europeos y 9 Estados árabes. La CUM también ha establecido sólidos vínculos con organizaciones de carácter supranacional, como la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura (UNESCO), la Unión Europea y el Consejo Europeo. El primer acuerdo de cooperación, firmado con la UNESCO el 7 de octubre de 1992, fue sucedido por otro firmado el 2 de agosto de 1997, que reconocía oficialmente a la CUM como organización no gubernamental. En su página web, podemos encontrar un mensaje muy ilustrativo: “múltiples voces, una sola cuenca”. En una misma región encontramos múltiples voces: la CUM queda lejos de ser la única red de universidades mediterráneas existente —de hecho, hay otras muchas—. Entre ellas están la Red Mediterránea de Escuelas de Ingeniería (RMEI), la Universidad Euromediterránea de Eslovenia, red creada por un grupo de universidades mediterráneas, la red de universidades mediterráneas Unión de Universidades del Mediterráneo, que es una de las Redes Universitarias del Banco Europeo de Inversiones, con sede en Roma y compuesta por 84 universidades miembros, y el Foro Euromediterráneo, integrado por unos 100 miembros.

 Dichas redes tienen misiones similares, pero hasta hace poco no existía una comunicación eficiente entre ellas. Hace unos diez años, la CUM y la RMEI decidieron hacer coincidir las fechas y universidades de celebración de sus reuniones. Se organizaron varias reuniones conjuntas en Rabat, Atenas y Esmirna. Asimismo, decidieron empezar a enviar recíprocamente representantes de una a las reuniones de la otra. Otro avance fue el incremento de la cooperación entre la Red de Universidades del Mar Negro, la CUM y la RMEI. Algunas universidades miembros de estas redes han desempeñado un papel importante a la hora de establecer relaciones entre estas tres organizaciones durante la última década. Lo más significativo es que, aunque es bueno contar con múltiples voces, estas redes (cada una de las cuales tiene entre 100 y 200 miembros) funciona de manera independiente. Ha llegado el momento de reflexionar sobre cómo lograr una colaboración entre todas estas redes y crear una organización coordinada más eficaz y eficiente, capaz de representar a las universidades mediterráneas en cualquier foro. Si las redes de universidades mediterráneas son capaces de organizarse por sí mismas para trabajar de manera conjunta, el impacto de dichas redes será mucho mayor, no solamente en la cuenca del Mediterráneo, sino también en el contexto europeo y mundial.

 A pesar de que históricamente han existido conflictos entre diversos grupos de la región, también han existido siempre aspiraciones y actitudes creativas e intelectuales comunes y, durante siglos, dichos grupos han trabajado juntos y aprendido mutuamente en ámbitos como el comercio, así como las artes y las ciencias. Los cambios globales experimentados en los últimos años, como el aumento de la movilidad y la comunicación internacional, pueden generar oportunidades y la necesidad de establecer una interacción y cooperación interculturales aún mayores entre las redes de universidades y dentro de ellas, con el fin de aumentar el intercambio de experiencias y recursos en la cuenca del Mediterráneo.

Fuente: https://www.un.org/es/chronicle/article/el-mar-mediterraneo-cuna-de-la-civilizacion

10 curiosidades sobre el mar Mediterráneo

El Mar Mediterráneo es una de las principales zonas de turismo del mundo, cada año millones de turistas disfrutan de su clima y visitan sus costas, conocidas pro sus magníficas playas y temperaturas agradables.

Este mar se considera uno de los principales mares del mundo, tanto por su dimensión, como por el papel clave que tuvo en el desarrollo de nombrosas civilizaciones, tanto occidentales como orientales, que pasaron a lo largo de la historia de la humanidad por esta masa de agua, tales como los egipcios, los fenicios, los griegos, los romanos o los persas, entre muchos otros.

En esta entrada profundizamos en este mar y os mostramos 10 curiosidades, con el objetivo de poder aproximaros más a el.

1. Un mar en situación exterma

El mar Mediterráneo está separado del Atlántico por el estrecho de Gibraltar, unos 14 km separan África de la Península Ibérica Pero hace más de 6 millones de años la cuenca del Mediterráneo no se encontraba de esta forma.

El Mar Mediterráneo se puede considerar descendiente del Mar Tetis, el primer mar que apareció hace unos 250 millones de años, antes de la aparicion del Océano Índico.

El periodo más difícil para el Mediterráneo fue hace 6 millones de años, las tierras, que más tarde formaron el estrecho de Gibraltar, se cerraron por el choque de las placas tectónicas, la placa Africana y la placa Euroasiática, y aislaron el Mar Mediterráneo. Este mar se fue evaporando para formar una profunda y seca cuenca, no había suficiente con la llegada de agua de los ríos Mediterráneos, y así fue como la cuenca del Mediterráneo se secó y quedó con una serie de cuencas pequeñas e hipersalinas. Este período se conoce hoy en día como la crisis del Mesiniáno, el cual llegó a su fin hace 5,33 millones de años con la apertura definitiva del estrecho de Gibraltar.

El estrecho se volvió a hundir y el Mar Mediterráneo renació con una cascada masiva del Océano Atlántico, que erosionó todavía más el estrecho de Gibraltar, haciéndolo más profundo y provocando una de las inundaciones más masivas de la historia geológica del planeta. Se cree que el Mediterráneo se volvió a llenar del todo en tan solo dos años.

2. Un mar con muchos nombres

Como este mar ha tenido un papel clave en el desarrollo e historia de diversas civilizaciones, tiene una gran diversidad de nombres. Los antiguos romanos lo denominaban «Mare nostrum», que quiere decir «mar nuestro» en latin.

Para algunos egipcios era «el Gran Verde»; en árabe se le llama «mar intermedio» («al-Baḥr al-Mutawāsiṭ”), y los turcos lo llaman «mar blanco» (“Ak Deniz”). En griego se le llama «Mesogeios Thalassa», que quiere decir «mar entre as tierras»

Finalmente, el nombre de Mar Mediterráneo proviene también del latín «Mar Medi Terraneum» y significa, igual que en griego, «mar en medio de las tierras».

3. Baña 21 países

El Mar Mediterráneo es un mar intercontinental, es decir, está situado entre Europa Asia y África. Sus aguas bañan las costas de 21 países, 69 ríos desenvocan en este mar y cuenta con diversos puertos importantes de gran actividad.

Este gran cuerpo de agua es un importante modificador del clima, ya que retiene el calor. De hecho, existe un tipo de clima que tiene su nombre: el Clima Mediterráneo. Este clima lo podemos encontrar, además de en toda la cuenca mediterránea, entre los 30º y 45º de latitud del Ecuador, partes del extremo de sur África, del oeste de Australia, de Chile, de California y Oregón.

4. Un mar salado

La cuenca del Mediterráneo se considera una cuenca semi cerrada porque su única conexión con el océano es el Estrecho de Gibraltar, que separa Europa de África, donde el punto mas estrecho es de 14,4 quilómetros. Este estrecho también era la única fuente de renovación y reposición de agua de manera natural, junto con las lluvias y los ríos.

El Mar Mediterráneo es un mar con fuerte salinidad, la cual a 5 metros de profundidad es de un 3,8%. Esta alta salinidad es debida a que pierde tres veces más agua por evaporación en comparación con el agua dulce que recibe de los 69 ríos que desembocan en él.

Actualmente hay otra conexión con un mar vecino, el Mar Rojo, mediante el canal de Suez construido por el hombre, y que tiene una enorme importancia para el abastecimiento europeo de petróleo y para el comercio mundial en general, ya que permite la comunicación marítima entre Europa y Asia sin tener que rodear continuamente África. Por otro lado este canal ha jugado un papel muy importante con las especies invasoras, ya que la mayoría de especies introducidas en el Mediterráneo provienen del Mar Rojo.

5. Representa un 1% de la superficie de los océanos

El Mar Mediterráneo es uno de los mas grandes del mundo, con unos 2.500.000Km2 aprox, una longitud máxima de 3.900 Km, un total de 46.000 Km de litoral y una anchura máxima de 1.600 Km en las partes más alejadas. Con todo esto, supone solo un 1% de la superficie oceánica total del planeta.

6. Profundidad máxima de más 5.000 metros

Tiene una profundidad media de 1,5 Km, concretamente 1.430 m, pero la costa mas profunda se encuentra en la Fosa de Matapan, en el mar Jónico y cerca de Grecia, con unos 5.121 m de profundidad. Las grandes planicies oceánicas se encuentran entre los 2.500 y los 3.000 m.

7. Mar formado por otros mares

El Mar Mediterráneo es tan grande que lo podemos dividir en otros mares más pequeños.

En total son 13 mares menores que forman el Mar Mediterráneo: El mar de Alborán, entre España y Marruecos, el mar Menor al sur-este de España, la lagúna de Nador al norte de Marruecos, la mar Balear entre la costa de la península ibérica y Cerdeña, el mar de Ligúria entre Córsega y Ligúria, El mar Tirreno, el mar Adriático, el mar Jónico, el mar Egeo entre Grecia y Turquía, el mar de Creta entre la isla de Creta y las islas Cíclades, el mar de Líbia entre los golfos de Sidra y Gabés, el mar de Silícia entre Turquía y Chipre y el mar Levantino.

8. Un mar muy fértil

Aún ocupando menos del 1% de la superficie oceánica del planeta, el Mar Mediterráneo es uno de los mares con más biodiversidad marina del planeta, posicionándose el cuarto de la lista, debajo de las aguas Australianas, las japonesas y las chinas, con más de 17.000 especies marinas descritas y un amplio rango de ecosistemas.

Posee zonas de elevada concentración de especies con imprtáncia ecológica, como por ejemplo el Estrecho de Gibraltar o el Mar de Alborán.

Se cree que mas de 2.000 millones de aves de 150 especies diferentes realizan cada año sus migraciones a lo largo de este mar.

Como sus aguas provienen también del Atlántico, la biodiversidad está compuesta por muchas de las especies de este océano. Hay catalogadas unas 10.000 especies animales, de las cuales 12 son cetáceos – delfines, ballenas – entre las cuales se incluyen los delfines Mulares (Tursiops truncatus), los Cachalotes (Physeter macrocephalus) y los Rorcuales (Balaenoptera physalus).

Pero también encontramos especies endémicas, es decir, que solo se encuentran en el Mar Mediterráneo, por el hecho de que es más cálido y salado que el Atlántico; como la Posidónia (Posidonia oceanica), una planta que forma los hábitats principales de muchos peces y anémonas, o el viejo marino, una foca que solo vive aquí (Monachus monachus) y es el único pinnípedo de la zona.

9. Nº1 de especies invasoras

Aún con su gran diversidad, aproximadamente un 4% de las especies que habitan este mar son especies invasoras; se han listado un total de 637 especies invasoras, de las cuales más de 200 son moluscos y 106 crustáceos.

Estas más de 600 especies conforman una gran diferencia con la segunda masa de agua con más invasoras de la lista, la zona europea del océano Atlántico, que cuenta con unas 245 especies invasoras. Los científicos creen que la gran mayoría de estas especies provienen del Mar Rojo, las cuales entraron en el Mediterráneo a través del Canal de Suez.

10. Un mar en amenaza

La pesca ha sido y es una actividad económica e históricamente importante para los habitantes de la cuenca del Mediterráneo, pero las nuevas tecnologías y la demanda de alimento han comportado que la sobrepesca sea un problema en muchas partes del mar.

Según la Agencia Europea del Medio Ambiente (European Enviroment Agency), más del 65% de las poblaciones de especies de la región están fuera de los límites biológicos de seguridad; muchas pesqueras locales desaparecen a causa de la escasez de presas. El Mediterráneo es, según el informe  SOFIA 2018 de la FAO, el mar más sobre explotado del mundo juntamente con el mar Negro, y el 62,2% de su estoc de pesca se encuentra en una situación de insostenibilidad.

El cambio climático está aumentando las temperaturas superficiales de las aguas, a un ritmo muy acelerado en concreto en el Mediterráneo, a la vez que aumenta su evaporación y a consecuencia su salinidad, con lo que afecta a todos los organismos que habitan este mar.

Por otro lado, las especies invasoras mencionadas anteriormente también son una amenaza, ya que compiten directamente con las especies autóctonas y provocan cambios y desequilibrios en la red trófica. El cambio climático también favorece la llegada de especies invasoras, naturales de aguas históricamente más calientes que las del Mediterráneo.

También existe una fuerte contaminación en muchas áreas costeras, causada en parte por la escorrentía y el vertido de substancias químicas industriales, el Mediterráneo es considerado el más contaminado por tener las tasas más elevadas de hidrocarburos y contaminantes del mundo.

Para acabar, la gran demanda de turismo también provoca problemas con la masiva edificación de las costas o la gran contaminación que provocan los cruceros entre otros.

Aun así, el principal problema del Mediterráneo es la degradación de sus hábitats, ocasionada por las múltiples actividades humanas en las poblaciones cercanas; la desaparición de las praderías de Posidonia oceánica, declarada patrimonio de la humanidad por la UNESCO, causa graves problemas a los ecosistemas naturales, ya que muchas especies se quedan sin hábitat donde resguardarse de las corrientes, donde reproducirse, o alimentarse y la mayoría no encuentran como adaptarse a estos cambios.

Fuente: https://anellides.com/es/blog/10-curiosidades-sobre-el-mar-mediterraneo/

Salva el Mediterráneo

Nuestro mar está sobreexplotado, contaminado por vertidos y sofocado por un tráfico marítimo y turismo excesivos. ¡Protección para el Mediterráneo Ya!

El Mediterráneo, el Mare Nostrum, no sólo es la cuna de antiguas civilizaciones y uno de los lugares más concurridos del planeta, sino también una de las áreas más importantes para la biodiversidad marina en nuestro planeta. 

Aunque representa menos del 1% de la superficie de los océanos del planeta, este mar alberga 1 de cada 10 especies marinas, de las que el 28% son únicas. Entre otras destacan las poblaciones residentes de 8 especies de cetáceos, además de poblaciones de tortuga boba y verde, foca monje y más de 70 especies de tiburones y rayas. 

EL MAR MÁS CONTAMINADO DEL MUNDO 

Pero también se trata de uno de los mares más amenazados y que sufren las mayores presiones por parte del ser humano. Los 200 millones de turistas anuales que visitan la costa mediterránea generan grandes presiones urbanísticas en la costa, contribuyen al incremento de la contaminación y de los vertidos de plásticos al mar e impiden que las tortugas marinas puedan hacer sus nidos en sus áreas habituales.

El Mediterráneo es el mar más contaminado del mundo y está considerado la sexta zona de mayor acumulación de residuos marinos, concentrando el 7% de los microplásticos del planeta. Esto es un grave problema para todo el ecosistema y para especies tan emblemáticas como tortugas o cetáceos que pueden al ingerir grandes trozos de plásticos.

VÍCTIMAS DE LAS REDES FANTASMA

Además, son vícitmas de  las llamadas redes fantasma, restos de redes y aparejos de pesca abandonados en las que se enredan distintas especies, lo que provocan la muerte. Globalmente el 45% de los mamíferos marinos, el 21% de las aves marinas y todas las especies de tortugas marinas se han visto afectadas por estos desechos marinos. La intensa actividad pesquera también produce un grave impacto en muchas especies: el 75% de las pesquerías evaluadas están sobreexplotadas. 

TRAMPA MORTAL PARA LOS CETÁCEOS

El Mediterráneo concentra el 25% del tráfico marítimo mundial, lo que supone graves daños para los mamíferos marinos (ruido, colisiones, molestias etc.) Un nivel de tráfico que se ha duplicado desde 2002. Este aumento ha disparado el número de pasajeros de cruceros en Mediterráneo de 8,7 a 30 millones en tan solo una década.  El turismo de lujo también está sofocando nuestros mares: más de la mitad de los superyates del mundo surcan las aguas del Mediterráneo cada verano con un incremento de las necesidades de infraestructuras en la costa.

Los resultados de todas estas presiones son realmente dramáticos. Desde ballenas que son golpeadas por barcos, tortugas que ingieren plástico y compiten con los turistas en sus playas de anidación, hasta tiburones amenazados por la sobrepesca. Como consecuencia las poblaciones de mamíferos marinos se han reducido en un 41% en los últimos 50 años. Más de la mitad de las especies de tiburones y rayas que se encuentran en el Mediterráneo están clasificadas como en peligro de extinción. Solo quedan unas 400 focas monje en el Mediterráneo.  

COMO UNA SOPA 

El mar Mediterráneo está sufriendo de manera muy directa el impacto del cambio climático y se calienta un 20% más rápido que la media mundial. Desde zonas más cálidas ya han aparecido al menos 1.000 especies invasoras que desplazan a las autóctonas y destruyen hábitats importantes.

MEDITERRÁNEO PROTEGIDO YA

Solo el 1.27% del Mediterráneo está protegido de una forma efectiva,  mientras que los acuerdos internacionales establecen un mínimo de un 10% y los principales científicos del mundo recomiendan que, al menos, el 30% del mar debería estar protegido a través de espacios marinos protegidos y otras medidas de conservación y gestión de los ecosistemas más vulnerables. 

CONOCEMOS LA SOLUCIÓN

Con nuestro trabajo demostramos que la protección de los mares es una solución posible y necesaria. Además de luchar contra la contaminación por plásticos y promover la pesca sostenible, desde WWF estamos impulsando la creación de una red de áreas protegidas donde las especies pueden encontrar refugio y recuperar sus poblaciones, donde actividades como la pesca sean sostenibles y donde el tráfico marino no cause daños a la fauna marina. Las Reservas Marinas de Tagomago, de las Islas Medas, de Tabarca, de Columbretes, el Parque Nacional de Cabrera, entre otros muchos casos demuestran que es posible.

El Mediterráneo nos está llamando y pidiendo ayuda urgente. Lo estamos asfixiando cada vez más. Tenemos que actuar ya.

Fuente: https://actua.wwf.es/es/salva-el-mediterraneo?gclid=CjwKCAjw3K2XBhAzEiwAmmgrAio4TXX2t-6rCzPCa1uOGgf2FL_WkvKTcMHY9u7k6xEPUYVSUm4QtBoCzMMQAvD_BwE

La historia tras ‘Mediterráneo‘, la gran canción de Joan Manuel Serrat

Joan Manuel Serrat ha anunciado recientemente que se retira de los escenarios después de más de 50 años. Lo hará a lo grande, con El vicio de cantar 1965-2022, una última gira que le permita despedirse como él quiere y no de la forma precipitada en que la pandemia ha obligado a cancelar miles de conciertos y giras por todo el mundo.

Esta última gira tendrá comienzo en abril de 2022 en el Beacon Theatre de Nueva York, para después recalar en Sudamérica y finalmente regresar a España para la época estival, donde ofrecerá el primer concierto el 8 de junio en Murcia y el último el 23 de diciembre en el Palau Sant Jordi de Barcelona.

Pero aunque el próximo año sea la última oportunidad de poder disfrutar del cantautor catalán sobre los escenarios, su legado musical se reparte en 20 discos en castellano, 11 en catalán, ocho en directo y más de una veintena de álbumes recopilatorios; además de otros trabajos discográficos al que se le ha rendido homenaje a su figura.

‘Mediterráneo’, la canción insignia de Serrat

Son muchas las canciones de Serrat que han calado en la historia de la música popular en España y otros países de habla hispana, pero sin duda Mediterráneo es la gran canción de ‘el nen de Poble Sec’ (el niño de Poble Sec).

Este tema, incluido en el álbum con el mismo nombre publicado en 1971, fue elegida por votación popular como la mejor canción de la historia de la música popular en España en 2004 en el programa de televisión Nuestra mejor canción. Además, también fue elegida la mejor canción del pop español por la revista Rolling Stone en 2010 y en 2019 fue elegida como la mejor canción jamás cantada por votación popular en el programa de TVE con el mismo nombre.

Leyendas urbanas acerca de la historia de ‘Mediterráneo’

Existen varias leyendas urbanas que se han popularizado sobre la historia que hay detrás de esta canción. Una de ellas, cuenta que Serrat escribió Mediterráneo a finales de 1970, cuando se encerró en el Monasterio de Montserrat junto a otros intelectuales y artistas en señal de protesta contra del Proceso de Burgos.

Otras historias cuentan que Serrat había pensado llamar a esta canción Amo el mar o Hijo del Mediterráneo.

La historia real de ‘Mediterráneo’

El propio Serrat explicó durante una entrevista con El País dónde compuso Mediterráneo y qué le inspiró para hacerlo: el exilio y la añoranza a su tierra.

“Estaba en México, llevaba semanas en el interior. Soñaba, literalmente con él. Agarré el coche y me fui a un lago, aunque sólo fuera por hacerme a la idea del mar que yo añoraba. Es en esos casos cuando me doy cuenta de que para mí, el mar, y concretamente el Mediterráneo es una identidad: una identidad feliz«.

En muchas ocasiones los artistas terminan aborreciendo la canción que más fama les ha dado, algo que nunca va a pasar en el caso de Joan Manuel: «Jamás, jamás, renegaré de esta o de cualquier otra de mis canciones. Me sentiré eternamente agradecido, son ellas quienes me han hecho lo que soy. Así que siempre la cantaré por obligación, pero lo que es más importante, por gusto«.

«Quizá porque mi niñez sigue jugando en tu playa»

La primera frase de la canción nos sitúa donde empieza toda la historia de Mediterráneo: «Quizá porque mi niñez sigue jugando en tu playa».

De su niñez, Serrat explicó que tiene dos paisajes fundamentales; el mar y el campo. El campo del tiempo que pasó en Viana, Navarra, en casa de una amiga de su madre; y el mar de su ciudad. «El mar es la Barceloneta de mi niñez, con todo lo que representaba el recorrido desde la casa hasta la playa. Primero, trincar algo de comer en casa, bocadillo, toalla y bañador, la indumentaria que nosotros necesitábamos; colarte en el tranvía, colarte en los baños que entonces no eran públicos, para llegar a las instalaciones con piscinas y duchas», reveló en otra entrevista para El País.

Fuente: https://www.europafm.com/noticias/musica/historia-mediterraneo-gran-cancion-serrat_2021120761afaf4407c11b000100260d.html

Medio siglo de ‘Mediterráneo’, el álbum emblemático de Serrat

Joan Manuel Serrat, soñador de pelo largo, tal como se autorretrataba en su canción Señora, entra en un estudio de Milán para grabar un disco que va a llamarse Mediterráneo. El cantautor no ha entrado aún en la treintena. Lleva más de un lustro de éxitos resonantes, de giras, grabaciones con Edigsa y Zafiro y affaires como el eurovisivo. Ya reza como cantautor bilingüe, capaz de firmar discos magistrales en dos lenguas distintas, tal como sucede en los albores de 1970 con Serrat 4 y con el que se conoce como Disco Blanco, donde se cruzan prodigios como Mi niñez o Fiesta.

Cuando Serrat entra en el estudio milanés para grabar Mediterráneo no parece haber conciencia de perennidad, porque el estudio no permitía grandes alardes que pudieran plantear futuras ediciones especiales del disco con tomas alternativas. Había que grabar lo más rápido posible y dejar el estudio libre para el siguiente grupo o solista que lo requiriera.

Serrat trae diez canciones nuevas, terminadas de alumbrar en la Costa Brava, en su retiro de Calella de Palafrugell, entre las idas y venidas del mar Mediterráneo. Toda la filosofía serratiana va a estar concentrada en ese disco en el que va a ser su particular Blonde on blonde y como tal un disco infinito, inagotable, tan melancólico como hedonista, que cruza a Josep Pla con León Felipe. Mediterráneo terminará siendo el santo y seña, el libro de estilo de más de una generación, esa obra perfecta de la cultura española que hay que escuchar como se contemplan Las meninas de Velázquez o se disfruta El amor brujo de Falla. Absténganse negacionistas o revisionistas que dirán que Mediterráneo no es para tanto o que es disco sobrevalorado, esa etiqueta que cualquier pseudomoderno puede ponerle a Casablanca o a Cien años de soledad según con qué pie se levante por la mañana.

Serrat graba en Milán aquello de “Quizá porque mi niñez sigue jugando en tu playa…”. Y en esa evocación destellante del verso inaugural de la canción Mediterráneo, en el imponente arreglo calderoniano –de Juan Carlos Calderón– parece bullir el espíritu de toda una época. El mar como principio y final, impreso en el destino del marinero cantor que parece un poeta viejo y sabio en el modo de mascar las palabras y los acentos. Hasta en el modo de glosar el amor perdido en Lucía, un amor real, tan fugaz como eterno. “No hay nada más bello / que lo que nunca he tenido / nada más amado / que lo que perdí”. El libro amoroso de Serrat, carnal y verdadero, en una de sus páginas más gloriosas.

Mediterráneo podría razonarse como rutilante disco pop y no, desde luego, como disco de cantautor al uso, guitarra y voz y pare usted de contar. Gian Piero Reverberi, Antoni Ros Marbá y el citado Juan Carlos Calderón con su impronta jazzística forman el terceto de arreglistas de un disco que vibra y brilla en la instrumentación y está lleno de estampas poéticas que se fijan en la memoria del oyente. Canciones descomunales, bellamente nostálgicas como Aquellas pequeñas cosas, canción prodigiosamente minimalista, o Barquito de papel. Otras canciones funcionan a modo de manifiestos libérrimos como la pletórica Vagabundear. Serrat aúna épica y lírica, barroquismo y desnudez. Vencidos incorpora magistralmente a León Felipe en su nómina de poetas cantados. Pueblo blanco es una canción enorme, narración deslumbrante, fantasmagórica, llena de simbología. Mediterráneo es un disco de contrastes, pero a su vez muy conceptual, que puede pasar de la sensualidad de La mujer que yo quiero a Qué va a ser de ti, una canción ubicada entre la Anduriña de Juan y Junior y el She’s leaving home de los Beatles, y a la que David Broza convertiría en himno hebreo.

El Serrat de los setenta se despliega en Mediterráneo en toda su plenitud. Lo influye ya Latinoamérica, el impacto de todo un continente. Nos deja hasta un homenaje en tiempo de vals a su amigo Alberto Puig Palau, un hombre de muchas vidas en una sola, parte de ese fresco palpitante, sugeridor, que es Mediterráneo, donde la genista, la brea, la luna que araña el mar, el extraño arenal, el vuelo de palomas, el cometa de caña y de papel se quedan grabados dentro de nosotros, perseguidores eternos de esta obra maestra.

Un disco del que no supo verse su grandeza en su tiempo, por mucho que le acompañara el impacto popular desde su aparición a finales de 1971. Manuel Vázquez Montalbán, en su ensayo sobre el cantautor, afirmaba que ni temática ni poéticamente añadía algo nuevo al anterior Serrat. Olvidaba que musicalmente sí lo hacía. En la Cataluña de los puristas ortodoxos y lingüísticos, el Serrat en castellano era permanentemente ninguneado tal como abanderaba en los años setenta Jordi García Soler –que luego se desdijo– en ensayos como el titulado La Nova Cancó. Pero Mediterráneo ha podido con todo, disco de cabecera de roqueros, poperos, indies, flamencos, melódicos y cantautores. Desde su icónica portada y las fotos de Colita, que tanto contribuyera, cámara en mano, a la iconografía serratiana.

Cabe imaginar a Serrat en el estudio de Milán. El humo del tabaco, el sorbo de whisky, la complicidad con los músicos, la canción a medio terminar. Cabe pensar en esos músicos italianos que lo acompañaron, nunca acreditados, responsables de la poderosa orquestación. No puede olvidarse el nombre de Plinio Chiesa como ingeniero de sonido. El cantautor catalán venía de anunciar que se retiraba, que tomaba distancia con las apabullantes giras y con la agenda a la que lo sometía su mánager Lasso de la Vega. Y esto incluía un primer distanciamiento con su arreglista favorito Ricard Miralles.

Serrat para el reloj vertiginoso, mira el mar desde un hotelito de Calella y alumbra Mediterráneo, entre rojos atardeceres y noches en vela. De ese retiro terminaron por nacer unas canciones antológicas que siguen perdurando. Cincuenta años más tarde, los diez cortes del disco azul de Serrat, grabado tras su disco blanco, lucen con la vigencia del primer día y con la fuerza de las obras atemporales.

Fuente: https://www.eltiempo.com/lecturas-dominicales/50-anos-de-mediterraneo-el-album-emblematico-de-joan-manuel-serrat-595605

Mediterráneo de Joan Manuel Serrat

Quizá porque mi niñez
Sigue jugando en tu playa
Y escondido tras las cañas
Duerme mi primer amor
Llevo tu luz y tu olor
Por dondequiera que vaya
Y amontonado en tu arena
Guardo amor, juegos y penas

Yo, que en la piel tengo el sabor
Amargo del llanto eterno
Que han vertido en ti cien pueblos
De Algeciras a Estambul
Para que pintes de azul
Sus largas noches de invierno
A fuerza de desventuras
Tu alma es profunda y oscura

A tus atardeceres rojos
Se acostumbraron mis ojos
Como el recodo al camino
Soy cantor, soy embustero
Me gusta el juego y el vino
Tengo alma de marinero…

¿Qué le voy a hacer, si yo
Nací en el mediterráneo?
Nací en el mediterráneo

Y te acercas, y te vas
Después de besar mi aldea
Jugando con la marea
Te vas, pensando en volver
Eres como una mujer
Perfumadita de brea
Que se añora y que se quiere
Que se conoce y se teme

in any language

PEACE, мир, FRIEDE, שלום, PAIX, سلام, PAZ, 和平, PACE

In Any Tongue by David Gilmour

Home and done it’s just begun
His heart weighs more
More than it ever did before
What has he done?
God help my son
Hey, stay a while, I’ll stay up
No sugar is enough to bring sweetness to his cup
I know sorrow tastes the same on any tongue

How was I to feel it
When a gun was in my hands
And I’d waited for so long
How was I to see straight
In the dust and blinding sun
Just a pair of boots on the ground

On the screen the young men die
The children cry
In the rubble of their lives
What has he done?
God help my son
Hey, stay a while, I’ll stay up
The volume pumped right up
But not enough to drown it out
I hear «Mama» sounds the same in any tongue

How am I to see you
When my faith stands in the way
And the wailing is long done
How am I to know you
With a joystick in my hand
When the call to arms has come

just ONE…

WORLD, LIFE, PEACE, LOVE

One World by Dire Straits

Can’t get no sleeves for my records
Can’t get no laces for my shoes
Can’t get no fancy notes on my blue guitar

I can’t get no antidote for blues
Oh yeah, blues

I can’t find the reasons for your actions
Or I don’t much like the reasoning you use
Somehow your motives are impure
Or somehow I can’t find the cure

Can’t get no antidote for blues
Oh yeah, blues

They say it’s mostly vanity
That writes the plays we act
They tell me that’s what everybody knows
There’s no such thing as sanity
And that’s the sanest fact
That’s the way the story goes

Oh yeah

Oh, yeah

Blues

Can’t get no remedy on my TV
It’s nothing but the same old news
Well, they can’t find a way to be
One world in harmony

Can’t get no antidote for blues
Alright, yeah, blues

Blues

Oh yeah

Blues
Alright

One World (Not Three) by The Police

One world (not three)

One world is enough
For all of us
One world is enough
For all of us

It’s a subject we rarely mention
But when we do we have this little invention
By pretending they’re a different world from me
I show my responsibility

One world is enough
For all of us
One world is enough
For all of us

The third world breathes our air tomorrow
We live on the time we borrow
In our world there’s no time for sorrow
In their world there is no tomorrow

One world is enough
For all of us
One world is enough
For all of us

Lines are drawn upon the world
Before we get our flags unfurled
Whichever one we pick
It’s just a self deluding trick

One world is enough
For all of us
One world is enough
For all of us

I don’t want to bring a sour note
Remember this before you vote
We can all sink or we all float
‘Cause we’re all in the same big boat

One world is enough
For all of us
One world is enough
For all of us

One world is enough
For all of us
One world is enough
For all of us

One world is enough
For all of us

It may seem a million miles away
But it gets a little closer everyday
It may seem a million miles away
But it gets a little closer everyday
It may seem a million miles away
But it gets a little closer everyday

One world…

One World by de Billy Ocean

So many people
Living in the world today
Trying to find an answer
Searching for a better way
So much demonstrations
People voicing their opinion
We got to find the solution
What we need is a love revolution

‘Cause we got one world
So let’s take care of business
Don’t wait another day
We got one love, yeah
Keep on holding on
No letting go
We got one world, mmh
Delivering a message
I came here to tell you
We’ve got one dream, mmh
Brothers and sisters
You know what I mean

Callous people out there
In the world today
Will burst your bubble
Hurting (hurting) by the games they play
But I know (I know) and I feel (I see)
I see there’s something going on (yeah)
It’s time for us to turn it around (ooh-ooh)
We can’t afford to get it wrong

‘Cause we got one world
So let’s take care of business
Don’t wait another day
We got one love, mmh
Keep on holding on
No letting go
We got one world, eh
I’m delivering a message
I came here to tell you
We got one dream
Brothers and sisters
You know what I mean

One world, listen
One dream, one hope
One love, one chance
One mind, one faith
This human race
Oh, and this human race, oh-oh
One love, one hope
One dream, one love

We got one world, yeah
Let’s take care of business
Don’t wait another day
We got one love, mmh, yeah
Keep on holding on
No letting go
We got one world
Delivering a message
I came here to let you know
One dream, yeah
Brothers and sisters
You know what I mean

One world
One world, one love, one dream
You know what I mean
One love
Delivering a message
I came here to tell we got
One world
One dream, yeah
Delivering a message

One by U2

Is it getting better?
Or do you feel the same?
Will it make it easier on you now
You got someone to blame?

You say, one love, one life (One life)
It’s one need in the night
One love (One love)
Get to share it
Leaves you darling
If you don’t care for it
Mary

Did I disappoint you?
Or leave a bad taste in your mouth?
You act like you never had love
And you want me to go without

Well, it’s too late, tonight
To drag the past out into the light
We’re one, but we’re not the same
We get to carry each other, carry each other

One (One)
One (Oh, oh, one)
One (One, oh-oh)
One (Oh-oh)

Have you come here for forgiveness?
Have you come to raise the dead?
Have you come here to play Jesus?
To the lepers in your head

Well, did I ask too much? More than a lot?
You gave me nothing, now it’s all I got
We’re one but we’re not the same
See we, hurt each other then we do it again

You say, love is a temple, love is a higher law
Love is a temple, love is a higher law
You ask for me to enter but then you make me crawl
And I can’t keep holding on to what you’ve got
‘Cause all you got is hurt

One love, one blood
One life, you’ve got to do what you should
One life with each other
Sisters and my brothers
One life but we’re not the same
We get to carry each other, carry each other

One
One
One
One
One
One

One love, one love

Sorrow by Pink Floyd

The sweet smell of a great sorrow lies over the land
Plumes of smoke rise and merge into the leaden sky
A man lies and dreams of green fields and rivers
But awakes to a morning with no reason for waking

He’s haunted by the memory of a lost paradise
In his youth or a dream, he can’t be precise
He’s chained forever to a world that’s departed
It’s not enough, it’s not enough

His blood has frozen and curdled with fright
His knees have trembled and given way in the night
His hand has weakened at the moment of truth
His step has faltered

One world, one soul
Time pass, the river roll

And he talks to the river of lost love and dedication
And silent replies that swirl invitation
Flow dark and troubled to an oily sea
A grim intimation of what is to be

There’s an unceasing wind that blows through this night
And there’s dust in my eyes, that blinds my sight
And silence that speaks so much louder than words
Of promises broken

One Love by de Bob Marley & The Wailers

One love, one heart
Let’s get together and feel all right
Hear the children cryin’ (one love)
Hear the children cryin’ (one heart)
Sayin’ give thanks and praise to the Lord and I will feel all right
Sayin’ let’s get together and feel all right

Let them all pass all their dirty remarks (one love)
There is one question I’d really love to ask (one heart)
Is there a place for the hopeless sinners
Who has hurt all mankind just to save his own beliefs?

One love, what about the one heart, one heart
What about, people, let’s get together and feel all right
As it was in the beginning (one love)
So shall it be in the end (one heart)
All right! Give thanks and praise to the Lord and I will feel all right
Let’s get together and feel all right, one more thing

Let’s get together to fight this Holy Armagiddyon (one love)
So when the Man comes there will be no, no doom (one song)
Have pity on those whose chances grows t’inner
There ain’t no hiding place from the Father of Creation

Sayin’, one love, what about the one heart? (one heart)
What about the, let’s get together and feel all right
I’m pleadin’ to mankind (one love)
Oh, Lord (one heart) whoa

Give thanks and praise to the Lord and I will feel all right
Let’s get together and feel all right
Give thanks and praise to the Lord and I will feel all right
Let’s get together and feel all right

Us + Them (The Bright Side of the World)

The Meaning Behind the Band Name: Pink Floyd

The seeds of the band known today as Pink Floyd were first sewn in the mid-1960s. The band, which formed formally in 1965, has gone on to make some of the most impactful and beloved albums of all time (The Dark Side of the Moon, anyone?).

But what about their name? What about the moniker Pink Floyd? What does it mean? Who is Floyd and why is he pink?

Humble Rock Beginnings

The English rock band was formed in London in 1965. The group quickly rose to popularity for its inventive, psychedelic style that featured long experimental guitar solos and longer songs. Mixed with philosophical lyrics, the band was both entertaining and thought-provoking.

Founded by Syd Barrett, Nick Mason, Roger Waters, and Richard Wright, the band had several names before landing on the one we now know today. The band released its first album The Piper at the Gates of Dawn in 1967. Guitarist David Gilmour joined that same year and Barrett left in 1968, suffering from mental illness and drug use.

The band released The Dark Side of the Moon in 1973, Wish You Were Here in 1975, Animals in 1977, and The Wall in 1979. What a remarkable run of music.

Different Names

Waters and Mason met in school in London. They first played together in a group called the Sigma 6. Waters played lead guitar, Mason drummed and Wright was on rhythm guitar. Later, during those formative years, Sigma 6 went through some other name changes, including Meggadeaths, the Abdabs, and the Screaming Abdabs. Also: Leonard’s Lodgers and the Spectrum Five. Finally, they landed on the name the Tea Set.

1965: Pink Floyd

That year, Barrett, now in the group, took over on lead guitar. The group then rebranded itself in late 1965, first referring to themselves as the Pink Floyd Sound. Later it was The Pink Floyd and after that, it was shortened simply to Pink Floyd.

According to lore, Barrett came up with the name in the spur of the moment when he found out there was another band called the Tea Set, which was slated to perform at one of their gigs. The name Pink Floyd comes from the given names of two prominent blues musicians, who Barrett loved: Pink Anderson and Floyd Council.

Today

Today, the band is revered. And like other bands who have names that seemingly make little sense on the face of it, Pink Floyd is both odd and mysterious and ubiquitous and taken at face value. Say the name to any music fan and they’re likely to light up before spewing their favorite album and song titles from the progressive rock group.

Source: https://americansongwriter.com/the-meaning-behind-the-band-name-pink-floyd/

What Makes Pink Floyd Such a Unique Band?

Pink Floyd’s music not only established a genre but managed to remain timeless. It embodied an era and captured an emotion that no other band could. Pink Floyd sought to encapsulate something that no one could or will likely ever replicate.

Despite this, it can be easy for the band to be judged on face value solely for its music. Sadly, that means it just gets thrown in with other great bands of its decade. But the real beauty of Pink Floyd doesn’t show on the surface. It exists behind the notes and words that the band uses. Here’s how that makes Pink Floyd such a unique band.

The Band is Authentic with Their Message

There’s  only so many themes that a band can write their music about. Eventually, they run the risk of sounding like their predecessors. 

Whether it’s a desire to target mass appeal or a lack of creative direction, most bands start to adhere to a basic cookie-cutter formula.

But not Pink Floyd. The band never sought to hide behind a comfortable domain for the sake of commercial success. They have remained true to their message by expressing it as authentically as they can through their music.

They use their music to spread their convictions and philosophical perspectives to the world. And not for the sake of vanity or monetary benefit but because it’s the right thing to do. 

You don’t have to look any further than albums like ‘Wish You Were Here’. It explores the band’s disillusionment with the music industry, the loss of a band member, and a feeling of creative stagnation between band members.

Many bands would be willing to keep their two worlds separate for the sake of maintaining their image. But for Pink Floyd, these worlds are one and the same. And they can’t help but speak out about them. 

Dense, Rich Arrangements

Rock bands tend to have a fairly simple lineup. All it takes is a few guitars, a bass, a drum kit, and a vocalist. That’s nothing too impressive. But being able to create the grand sound that Pink Floyd does, certainly is. 

You can pick any album out of Pink Floyd’s extensive discography and find fully-fledged song arrangements that sound open but populated. 

It’s a unique space opera experience with distant keyboard synths, a steady centering bass, reverberating drum sounds, intimate acoustic guitar scrapes, yearning vocals, and time stretching guitar solos—all in one track. 

The fact that the band was able to create such soundscapes with a few instruments is incredible in its own right. But more so for giving the listener that sounds so center stage. 

It’s a feeling of seeing someone drift away while lingering on to their memory. Nothing else has ever come quite like it before. 

They Pioneered Their Genre

For an artist, it takes a lot to be established in a genre. It takes even more to be established in a genre that is yet to exist. But Pink Floyd made it happen all the same. This is what earned them their spotlight and cemented their place in the Rock and Roll Hall of Fame. 

To date, Pink Floyd is credited with the conception of two very important genres; psychedelic space rock and blues-based early progressive rock. This has not only birthed an entire sphere of music, but it has also given inspiration to many artists such as the likes of David Bowie and Radiohead.

This is what set them apart from bands that existed in their time. They didn’t just choose a sound and work within its creative confines. The sound chose them, and it empowered their approach to build it according to their own path. Not something that’s all too commonly seen. 

Surreal Live Performances

It’s one thing to have strong musical appeal and meaningful messages. It’s another to provide an experience that is rarely found elsewhere. Yet Pink Floyd has done it all the time over the course of their long standing career. 

Ask any Pink Floyd fan, and they’ll tell you that their live performances are a step above the rest. The band does this by adding sensory elements to supplement their music. You’ll find things like lasers, lights, on-stage sets, and dioramas, providing you a unique experience. 

Audience engagement is a big part of what makes Pink Floyd’s shows stand out. Many of their concerts have gone down in rock history as unmissable experiences that have built the reputation of being magical. 

Some notable examples include using a giant cardboard representation of a cardboard wall for The Wall’s live performance or using an inflatable pig to represent capitalist imagery. All of which makes the price of admission more than worth it. 

Albums That Revolve Around a Theme

Pink Floyd is arguably among the first to cement the idea of what an album truly represents. Up until then, albums were just considered to be a basic collection of different tracks that fed the same musical style. But that changed when Pink Floyd showed up. 

Rather than using albums as a packaging method for songs, the band used it to drive a single idea that resonated through each track. By doing this, Pink Floyd managed to convey strong themes and messages through their work. 

Albums like The Wall and Dark Side of the Moon stand tall as exemplary works of art that transcend their musical shell. If you wanted to listen to any of these albums, you wouldn’t just listen to a few tracks. The optimum experience would be to finish an album in one sitting from start to finish.  

Almost any Pink Floyd album could stand on its own legs with its themes alone. The Wall presented the pressure of success and feeling distanced. Animals was a retelling of Orwellian societal politics. Dark Side of the Moon was a window into the experience of being driven mad with isolation.  

They’re Comfortable Being Themselve

In the music industry, there are a host of expectations and burdens that plague artists. Sometimes it’s the pressure from the production side of things; other times, it’s the fans. But it almost always results in an artist playing by the rules to avoid anyone’s ire. 

It takes an exceptional quality of transparency to understand that things are not ideal and yet accept them. Somehow, Pink Floyd managed to do it. That’s what has carried the band through countless lineup changes, personal spats, legal troubles, and outside criticism. 

Pink Floyd aren’t reluctant to express their genuine thoughts and stand up against what bothers them. Through a large body of their work, they have leveled their frustration at themselves, their fans, the music industry, and humanity in general. Not once have they felt half heated or regretful of what they want to express. That’s what makes the music stand the test of time. 

Guitar Solos with Depth

Guitar solos are to rock music what a fish is to water; inseparable. What sets Pink Floyd a cut above the rest is its ability to add a lot of depth to its instrumentation. That means featuring guitar solos that sound out of this world. 

There are usually three guitar players that come to mind when you think of a characteristic Pink Floyd solo: Syd Barrett, Roger Waters, and David Gilmour. And each of them have been able to inject their personality into the band with their soloing approaches. 

Above all, the most memorable solos usually tend to be associated with David Gilmour. His ability to use a basic pentatonic scale to extract and instill emotion really can’t be understated. 

On albums like The Dark Side of the Moon, Gilmour created solos that feel like they extend to the far reaches of space before being dissipated; a feeling that adds to the album’s idea of empty space and isolation. 

Their Evolution through the Years

Very few bands ever get to experience playing long enough to see stylistic evolution. Luckily, Pink Floyd has been around since 1965. That puts it at a good half-century of making, playing, and releasing music to the public. 

What’s important to notice is not how long they’ve been active. but how they’ve evolved over this time. 

Each era of Pink Floyd has had a front runner. And each one of these front runners has contributed something unique to the band. 

The Syd Barrett era shaped it by adding the guitarist’s imaginative touch to each song’s narrative. Roger Waters added to this by adding conceptual elements to the band’s albums. Finally, David Gilmour set the stage for sparse guitar arrangements with meaningful song wording. 

But instead of laying waste to an old approach, the band build its foundation on it. You’re able to track the final sound of the band based solely on its evolutionary path.

Profound lyrics 

Pink Floyd has always been lauded for its ability to be profound yet irreverent with its wording and imagery. Nowhere does it hit home as much as with the band’s lyrics. 

A lot of the band’s lyrics read out like poetic passages. And the messages they convey are some of the most relatable and relevant experiences. 

Here’s a section from The Final Cut about showcasing insecurities:

“And if I show you my dark side

Will you still hold me tonight?

And if I open my heart to you

And show you my weak side

What would you do?

Would you sell your story to Rolling Stone?

Would you take the children away

And leave me alone?

And smile in reassurance

As you whisper down the phone?

Would you send me packing?

Or would you take me home? 

These lyrics speak to the uncertainty of human nature. They ask the question of laying your true self bare while not knowing the outcome that follows it. 

At times, their lyrics get away from the philosophical and enter the real world. Here’s another piece from Have a Cigar:

“The band is just fantastic, that is really what I think,

Oh, by the way, which one’s Pink?”

This one is based on a real interaction that the band has with a producer. It shows the band’s disdain for the music industry that focuses on success rather than the music or the artist itself. Case in point, the producer in these lyrics shows his ignorance by assuming that Pink Floyd is the name of a person in the band.

They Function at Their Own Pace

Over the years, Pink Floyd has gotten both critical acclaim and criticism in the same vein. But the band’s vision has always seemed to follow its own time and space. A quality that has really made it feel otherworldly. 

Look no further than the 60s, where Pink Floyd saw its conception. You either had slow singer-songwriter artists or upbeat rock bands making headway. Setting yourself up as a down tempo progressive rock band with heavy lyrical themes and electronic elements seems so impossible.

But conventional industry success could never predict that the band would make it anyway by following their own unique approach. And it stood corrected. 

They Capture the Human Experience

Above all, what really makes Pink Floyd unique is how it’s captured a haunting feeling of nihilism and futility of the human experience. 

Balancing these perspectives takes more than just a little awareness. Few others would be able to tread that line carefully. 

Works like ‘The Wall’ paint a bleak picture of pain and agony in the larger search for acceptance. Despite achieving fame and popularity, Pink Floyd’s feelings of uncertainty, self-loathing, and dissidence are ever-present. And they are captured in their most purest form. 

From an outsider’s perspective, it’s hard to imagine how such a feeling of disdain could be channeled to make such beautiful art. But there it is. Floyd is able to take some out of the most agonizing human experiences and present them in a way that doesn’t rub anyone the wrong way. 

Source: https://soundsongwriting.com/what-makes-pink-floyd-such-a-unique-band/

The Story of Pink Floyd The Dark Side of the Moon

How did an album about mental illness, mortality and the need for human empathy become one of the most classic, iconic albums of all time staying on the US Billboard Charts for 741 weeks (14 years)?

With their album “Meddle” and the side-long masterpiece “Echoes”, Pink Floyd had established themselves as an anonymous super-group in an age of flamboyant rockers like Led Zeppelin and The Who. After the departure of Syd Barrett, Roger Waters had increasingly asserted the helm as musical director and “The Dark Side of the Moon” was the first album for which he dictated all the themes and wrote all the lyrics.

Written in a direct way, Waters reflected, “Its driven by emotion. There’s nothing plastic about it, nothing contrived” and called it “an expression of political, philosophical, humanitarian empathy that was desperate to get out.”

The album was recorded at Abbey Road where the band liked to play cricket matches against the staff and was engineered by Alan Parsons. The band pushed the limits of 16-track analogue studio technology and used keyboards, sequencers and sound effects which were groundbreaking at the time.

The sonics on the album are just as important as the lyrics and each reinforce the other as David Gilmour explained, “Roger and Nick tend to make the tapes or effects like the heartbeat on the LP… The heartbeat alludes to the human condition and sets the mood for the music, which describes the emotions experienced during a lifetime. Amid the chaos there is beauty and hope for mankind. The effects are purely to help the listener understand what the whole thing is about.”

Waters described the urgent message behind the album: “This is not a rehearsal. As far as we know – and I know there are some Hindus that would disagree with this – you only get one shot, and you’ve got to make choices based on whatever moral, philosophical or political position you may adopt…If ‘The Dark Side of the Moon’ is anything, it is an exhortation to join the flow of the river of natural history in a way that’s positive…”

Source: https://classicalbumsundays.com/pink-floyd-the-dark/

The making of Pink Floyd’s The Dark Side Of The Moon: lyrically bleak, musically bonkers and, somehow, the 4th best-selling album of all time

Almost 50 years since its release, Pink Floyd‘s groundbreaking eighth album, Dark Side Of The Moon, remains a monumental achievement in the history of rock music. Despite never reaching number one in the UK, and spending just one week at the summit in the US, it has since notched up 937 weeks (that’s 18 years) in the Billboard 200 Albums chart, and sold more than 45m copies worldwide. It was also recently voted the best rock album of all time by Classic Rock readers, and it’s fair to say those guys know their shakes when it comes to quality music.

The album’s story starts in a poky studio in west London in 1971, when the band embarked upon 12 days in a rehearsal room at Decca Studios in Broadhurst Gardens, West Hampstead, London. They were working on a suite of music under the title Eclipse – which would, in due course, evolve into Dark Side Of The Moon.

«It began in a little rehearsal room in London,» said David Gilmour of the album’s early days. «We had quite a few pieces of music, some of which were left over from previous things.»

«I think we had already started improvising around some pieces at Broadhurst Gardens,» confirms Roger Waters. «After I had written a couple of the lyrics for the songs, I suddenly thought, I know what would be good: to make a whole record about the different pressures that apply in modern life.»

The album slowly began to take shape. By the time 1972 rolled around, rehearsals had moved to the Rolling Stones’ rehearsal facility; a disused Victorian warehouse at 47 Bermondsey Street, South London. A grand enough setting for a creative project which would eventually come to eclipse Floyd’s previous output in terms of both its scale and ambition. «We started with the idea of what the album was going to be about: the stresses and strains on our lives,» says Nick Mason.

«We were there for a little while, writing pieces of music and jamming,» adds Gilmour. «It was a very dark room.»

Two weeks later, Pink Floyd began a 16-date UK tour at The Dome, Brighton, which included the first live performance of Eclipse, now renamed Dark Side Of The Moon – A Piece For Assorted Lunatics. Naturally, the band decided their new material required an ambitious, demanding new stage set up to match. However, it was a move their technical teams weren’t quite ready for yet. The performance was cut short midway through Money due to tech problems. 

«In those days we didn’t understand how to separate power sufficiently between sound and lights,» explains former Floyd roadie Mick Kluczynski. «It was the very first show any band had done with a lighting rig that was powerful enough to make a difference. So we had this wonderful situation where the fans were actually inside the auditorium, and we had [sound engineers] Bill Kelsey and Dave Martin at either side of the stage screaming at each other in front of the crowd, having an argument.»

«A pulsating bass beat, pre-recorded, pounded around the hall’s speaker system. A voice declared Chapter five, verses 15 to 17 from the Book Of Athenians,» wrote former NME journalist Tony Stewart at the time. «The organ built up; suddenly it soared, like a jumbo jet leaving Heathrow; the lights, just behind the equipment, rose like an elevator. Floyd were on stage playing a medium-paced piece… The Floyd inventiveness had returned, and it astounded the capacity house… The number broke down thirty minutes through.»

Not to be deterred, Floyd continued on their tour well into February, playing Dark Side Of The Moon in a nascent stage of completion by this point. «The actual song, Eclipse, wasn’t performed live until Bristol Colston Hall, on February 5,» says Waters. «I can remember one afternoon rolling up and saying: “I’ve written an ending.” Which was what’s now called Eclipse, or Dark Side. So that’s when we started performing the piece called Eclipse. It probably did have Brain Damage, but it didn’t have ‘All that you touch, all that you see, all that you taste.’

«It was a hell of a good way to develop a record,» says Mason. «You really get familiar with it; you learn the pieces you like and what you don’t like. And it’s quite interesting for the audience to hear a piece developed. If people saw it four times it would have been very different each time.»

However, as February drew to a close, work on the recording of DSOTM was derailed by the obligation to record Obscured By Clouds, the soundtrack to the film La Vallée, followed by sporadic touring. The sessions eventually resumed at Abbey Road studios in May. Working titles for existing songs included Travel (eventually Breathe), Religion (The Great Gig In The Sky) and Lunatic (Brain Damage). 

«Recording was lengthy but not fraught, not agonised over at all,» says Mason of the sessions. «We were working really well as a band.»

«I was definitely less dominant than I later became,» agrees Waters. «We were pulling together pretty cohesively. Dave sang Breathe much better than I could have. His voice suited the song. I don’t remember any ego problems about who sang what at that point. There was a balance.»

This balance, and the ease the band felt with one another, was reflected in the finished product. A harmonious record which flowed from beginning to end, it captured a rare snapshot of a band working at the peak of their creativity. Though it was a complex body of work, much of its success came from its deceptive lyrical simplicity. «Roger tried, definitely, in his lyrics, to make them very simple, straightforward, and easy to understand,» says Gilmour. «Partly because people read things into other lyrics that weren’t there.»

From this basis, the songs started to take shape. First up was Us And Them. «Rick [Wright] wrote the chord sequence for Us And Them and I used it as a vehicle,» says Waters. «The first verse is about going to war, how on the front line we don’t get much chance to communicate with one another, because someone else has decided that we shouldn’t. The second verse is about civil liberties, racism and colour prejudice. The last verse is about passing a tramp in the street and not helping.»

Next up was Money. «I knew there had to be a song about money in the piece, and I thought the tune could be about money,» says Waters. «Having decided that, it was extremely easy to make up a seven-beat intro that went well with it.»

«Roger and I constructed the tape loop for Money in our home studios and then took it to Abbey Road,» remembers Mason. «I had drilled holes in old pennies and then threaded them onto strings; they gave one sound on the loop of seven. Roger had recorded coins swirling around in the mixing bowl Judy [his first wife] used for her pottery. The tearing paper effect was created very simply in front of a microphone, and the faithful sound library supplied the cash registers.»

«Mason was always the guiding light in matters to do with the overall atmosphere,» remembers DSOTM engineer Alan Parsons. «He was very good on sound effects and psychedelia and mind-expanding experiences.»

Next, the band turned their attention to Time. The music was credited to the whole band but with lyrics by Waters. «Alan Parsons was a very good engineer,» remembers Gilmour. «He had one or two production ideas that were very good. In a clock shop in Hampstead he had recorded the ticking clocks and made these tapes up to offer us an idea, which was great.»

«Those big, grand keyboard chords are mine,» said Rick Wright at the time. «Dave used to complain I’d write in these hard keys and weird major and minor sevenths, which is difficult to play on a guitar.»

The band had just began work on The Great Gig In The Sky as the middle of the year loomed into view, and recording was again soon derailed because of touring, holidays and other commitments which kept the band occupied for much of the year.

Sporadic sessions were held in Abbey Road during October, during the first of which Dick Parry, an old friend of the band’s from Cambridge, overdubbed sax solos to Money and Us And Them. Later in the month a quartet of female session vocalists – Doris Troy, Lesley Duncan, Liza Strike and Barry St John – were brought in to embellish Us And ThemBrain Damage and Eclipse

«They weren’t very friendly,» said Duncan looking back. «They were cold, rather clinical. They didn’t emanate any kind of warmth… They just said what they wanted and we did it… There were no smiles. We were all quite relieved to get out.»

Still, with their help, the finished album was starting to take shape. Waters completed work on The Great Gig In The Sky – a sensitive contemplation of death that ends up in a place you’d never expect given the pretty keyboards that Richard Wright brings to the tune’s first minute. «Are you afraid of dying?» Waters asked. «The fear of death is a major part of many lives, and as the record was at least partially about that. That question was asked, but not specifically to fit into this song.»

Of course, one of TGGITS‘ most memorable moments was provided by a third party. «When I arrived they explained the concept of the album to me and played me Rick Wright’s chord sequence,» says vocalist Clare Torry. «They said: ‘We want some singing on it,’ but didn’t know what they wanted. So I suggested going out into the studio and trying a few things. I started off using words, but they said: ‘Oh no, we don’t want any words.’ So the only thing I could think of was to make myself sound like an instrument, a guitar or whatever, and not to think like a vocalist. I did that and they loved it.

«I did three or four takes very quickly, it was left totally up to me, and they said: ‘Thank you very much.’ In fact, other than Dave Gilmour, I had the impression that they were infinitely bored with the whole thing, and when I left I remember thinking to myself: ‘That will never see the light of day.’ If I’d known then what I know now I would have done something about organising copyright or publishing; I would be a wealthy woman now. The session fee in 1973 was fifteen pounds, but as it was Sunday I charged a double fee of thirty pounds. Which I invested wisely, of course.»

(In 2004, Torry sued Pink Floyd, arguing that her contribution to The Great Gig in the Sky constituted co-authorship. The band and record company EMI settled out of court, and the song is now credited to both Wright and Torry.)

It was 1973 by the time the final round of recording sessions began in Abbey Road Studio 2 in late January, focusing on Brain DamageEclipse and the instrumental Any Colour You Like. “It was – ‘We’ve got nothing in this space… What can we do? We’ll have a jam.’” Remembers Mason. «And that’s what Any Colour You Like was – it’s just two chords. It starts off with the synth, which sets the mood. And you have this extraordinary guitar solo from Dave.»

«I wrote Brain Damage at home,» says Waters. «The grass [mentioned in the lyric] was the square in between the River Cam and King’s College chapel [in Cambridge]. The lunatic was Syd [Barrett], really. He was obviously in my mind.»

The most innovative addition to DSOTM came as the sessions were ending, when Roger Waters hit on the idea of posing questions to Abbey Road staffers, Floyd crew members and other studio visitors. Their answers were recorded, and then edited and woven into the tracks at various points throughout the album. «We did about twenty people,» says Waters. «The interviewees all had cards with questions printed on them like: ‘Have you ever been violent?’, ‘When was the last time you thumped someone?’ and ‘Were you in the right?’ and so on.»

«Roger wanted to use things in the songs to get responses from people,» says Gilmour. «We interviewed quite a few people that way, mostly roadies and roadies’ girlfriends, and Gerry [O’Driscoll], the Irish doorman. We also had Paul and Linda McCartney interviewed, but they’re much too good at being evasive for their answers to be usable.

«Gerry the doorman said: ‘There is no da’k side o’ de moon, really, it’s all da’k.’ And stuff like that, when you put it into a context on the record, suddenly developed its own much more powerful meaning.»

The final Abbey Road session was held in Studio 2 on February 1st, 1973. «We’d finished mixing all the tracks, but until the very last day we’d never heard them as the continuous piece we’d been imagining for more than a year,» says Gilmour. «We had to literally snip bits of tape, cut in the linking passages and stick the ends back together. Finally, you sit back and listen all the way through at enormous volume. I can remember it. It was really exciting.»

The Dark Side Of The Moon was released in the US on March 17 and in the UK on the 24th. Four days later it hit No.1 in the US Billboard chart. In the UK it peaked at No.2. «We’d cracked it,» says Waters. «We’d won the pools. What are you supposed to do after that?»

Sadly, the album marked the start of a creative struggle within the band which would come to plague their work and eventually end in their acrimonious demise. 

«Dark Side Of The Moon was the last willing collaboration,» says Waters. «After that, everything with the band was like drawing teeth; ten years of hanging on to the married name and not having the courage to get divorced, to let go. Ten years of bloody hell. It was all just terrible. Awful. Terrible.»

Source: https://www.loudersound.com/features/the-making-of-pink-floyds-dark-side-of-the-moon

The Meaning of Pink Floyd’s «Dark Side of the Moon»

Pink Floyd and Dark Side of the Moon Background

In early 1973, British experimental rock band Pink Floyd released their 8th album, Dark Side of the Moon, arguably the greatest rock album ever created. Since its release, it has become a cornerstone to 20th-century culture and provided great inspiration to artists within and outside of music. Its success encouraged other musicians to explore more progressive styles of music, and it raised the bar for recorded sound for future albums.

The hard work that Pink Floyd put into this album paid off financially as Dark Side of the Moon became one of the best-selling albums of all time. After its release, it went to number one on the Billboard chart for one week, but it ended up staying on the Billboard charts for a consecutive 741 weeks (or just over 14 years). This feat would make the album one of the top 25 best-selling albums ever.

Dark Side of the Moon has endured through the years because it is such a well-written and thought-out concept album. A concept album is an album where all (or most) of the songs on that album revolve around a story or a theme. This is a contrast to most studio albums which just lay out a series of songs that are often unconnected or unrelated with the exception of the fact that they are on the same album.

Knowing that Dark Side of the Moon is a concept album has given rise to a number of theories about what the album’s concept is, and or, what the meaning of the album is. The band has given partial explanations to some of the songs and the album as a whole, but for the most part, they have left it up to listeners to decide for themselves.

What Is Dark Side of the Moon About?

So what is the meaning of Dark Side of the Moon?

Dark Side of the Moon is a concept album that discusses the philosophical and physical ideas that can lead to a person’s insanity, and ultimately, an unfulfilled life.

The album is a cautionary tale in two parts; the first half describes living a life that goes unfulfilled. This part of the album consists of the following tracks:

  • «Speak To Me/Breathe»
  • «On The Run»
  • «Time/Breathe Reprise»
  • «Great Gig In The Sky»

The second half of the album consists of individual songs about different ideas and concepts that are detrimental to society and can lead to madness. These songs are:

  • «Money»
  • «Us and Them»
  • «A Color You Like»
  • «Brain Damage»
  • «Eclipse»

The philosophical ideas in the second half of the album are a sort of madness in their own right. They are also the root causes to the problem mentioned in the first half of the album that focuses on living an unfulfilled life.

What Does the Album Title Mean?

As one of the voices at the end of the album states:

«There is no dark side of the moon, really. Matter of fact, it’s all dark.»

What is the title of the album referring to? What is the dark side of the moon a metaphor for?

It’s a metaphor for darkness—the darkness (or different ideas) that can destroy all of the positive emotions and ideas that are a part of humanity. In effect, the darkness represents insanity. But like in reality, the light portrayed by the moon is really an illusion. So it would appear that the album, which seems to take the dark side of the moon concept to heart, is suggesting is that everyone on some level is insane or will have to deal with madness.

Dark Side of the Moon seems to specifically suggest that there are two types of insanity. The first type of insanity mentioned on the album suggests people go insane by riding the tide. Or specifically speaking, people are insane for doing what they’re told all of the time and just accepting life for what it is.

The second type of insanity mentioned on the album suggests that the people that don’t ride the tide realize that the people riding the tide are insane. In turn, their efforts to try to convince people not to ride the tide or their resistance to the tide itself causes them to go insane.

Below is an in-depth look at the nine tracks that make up Dark Side of the Moon.

«Speak to Me» Lyrics

I’ve been mad for fucking years, absolutely years, been over the edge for yonks, been working me buns off for bands…

I’ve always been mad, I know I’ve been mad, like the
most of us…very hard to explain why you’re mad, even if you’re not mad…

«Breathe» Lyrics

Breathe, breathe in the air.
Don’t be afraid to care.
Leave but don’t leave me.
Look around and choose your own ground.

Long you live and high you fly
And smiles you’ll give and tears you’ll cry
And all you touch and all you see
Is all your life will ever be.

Run, rabbit, run.
Dig that hole, forget the sun,
And when at last the work is done
Don’t sit down it’s time to dig another one.

For long you live and high you fly
But only if you ride the tide
And balanced on the biggest wave
You race towards an early grave.

«Speak to Me» Analysis

«Speak to Me» kicks off the album. The voices that are speaking are clearly discussing the issue of insanity. More interesting than the voices though are the sounds in the background. The bass drum is beating a pulse that resembles the beating of a human heart. Slowly the cash registers from Money and the clocks from Time enter the song along with other ambient effects that are used in other songs on the album.

The heart beat will return prominently at the end of the album. The heart beat is a metaphor for life and all the songs that occur in between the heart beats are acting as the substance, or what’s inside, of life.

«Breathe» Analysis

The lyrics in «Breathe» seem to imply two different lifestyles which are the follower (or the rabbit) and the chooser.

The chooser will be able to live a long life, but because they aren’t riding the tide they will only see what they choose to see. In this context, the song is implying that choosing can be limiting. They are also limited by their physical experiences as the lyrics suggest touching and seeing is all life is to them. To many humans this may be true, but for many there is more to life than what can be touched or seen.

If you ride the tide you will see new things because you are just going with the flow. The rabbits in the song suggests that if a person’s life philosophy is to ride the tide then you will live a short life. However, a draw back to this ride the tide mentality can be you expend their life being a laborer (or digging holes) or getting stuck doing mundane tasks over and over again.

«On the Run» Lyrics

Voice at the beginning: Is a recording of a voice at an airport listing various travel related information.

Two thirds of the way through the song another voice says: Live for today, gone tomorrow, that’s me, Hahaha!

Hahahaha!

«On the Run» Analysis

«On the Run» is mostly instrumental, with the exception of a few voices and a recording that lists flights from an airport scattered throughout the song. Either way, the passage of time is a key element to this track.

The other key element is the anxiety-driven pulse and the stressful ambient sounds that come in and out of the song. As the follow-up to «Breathe,» the anxiety of «On the Run» seems to be a metaphor for the anxiety and stress that can be congruent with a person’s life.

«Time» Lyrics

Ticking away the moments that make up a dull day
You fritter and waste the hours in an offhand way.
Kicking around on a piece of ground in your hometown
Waiting for someone or something to show you the way.

Tired of lying in the sunshine staying home to watch the rain.
You are young and life is long and there is time to kill today.
And then one day you find ten years have got behind you.
No one told you when to run, you missed the starting gun.

So you run and you run to catch up with the sun but it’s sinking
Racing around to come up behind you again.
The sun is the same in a relative way but you’re older,
Shorter of breath and one day closer to death.

Every year is getting shorter never seem to find the time.
Plans that either come to naught or half a page of scribbled lines
Hanging on in quiet desperation is the English way
The time is gone, the song is over,
Thought I’d something more to say.

«Breathe Reprise» Lyrics

Home, home again.
I like to be here when I can.
When I come home cold and tired
It’s good to warm my bones beside the fire.
Far away across the field
The tolling of the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spells.

«Time» Analysis

This is a song about wasting your life doing nothing or about wasting your life doing boring and little things. A lot of people miss the opportunity to live their lives to the fullest. The idea of regret for not taking advantage of living your life is one of the tragedies of human nature that is explored thoroughly in this song.

The first verse talks about wasting your youth, which leads into the first chorus that discusses not having anyone to show you the way. This first section ends with the person in the song realizing he has been missing out on life, that he was supposed to find his own way, not be shown a way. This is a real-life revelation for a lot of people in the world.

The second verse discusses this person who has woken up and is now looking to catch up with his/her lost time. However, the physical aspects of getting older are catching up. In the final chorus, the person realizes he wasted too much of his life and is disappointed with his/her life. The person the song is speaking about presumably dies having said little when the potential to say more was always there.

Anxiety and stress, like the previous song, are underlying themes in this song, too, as the clocks, in the beginning, have a jarring effect on the listener. The jarring clocks could mean the song is meant to metaphorically wake people up that are not living their lives, or it can be continuing the anxiety and stress-driven themes from «On the Run.»

«Breathe Reprise» Analysis

Time transitions nicely into a reprise of the first song, «Breathe.» This rendition of Breathe talks about relief and finding a way to deal with all of the stress put forth in the previous songs, «On the Run» and «Time.»

The two methods of relief that are specifically discussed are home, mentioned in the lines, «home… home again, I like to be here when I can,» and religion with the lines, «The tolling of the iron bell calls the faithful to their knees to hear the softly spoken magic spells.»

«Great Gig in the Sky» Lyrics

Recorded voice:

And I am not frightened of dying, any time will do, I
don’t mind. Why should I be frightened of dying?
There’s no reason for it, you’ve gotta go sometime.

If you can hear this whispering you are dying.

I never said I was frightened of dying.

Vocals:

Ahhhh Ahhhh Ahhhhh….. for a long time.

«Great Gig in the Sky» Analysis

Another mostly instrumental song, «Great Gig in the Sky» has some recorded voices and a lady singer that wails on the song’s two-chord refrain. The voices in «Great Gig in the Sky» talk about death and not being afraid of dying, which is ultimately what this song is about—death.

People are either afraid of dying, or they’re not, and that would appear to be the message trying to be conveyed in this song. The first person to speak on this song says he is not afraid of dying, and it sounds convincing. In the second half of the song, a lady says, «I was never frightened of dying.» This is said very quietly and with less confidence than the person who said it at the beginning of the song.

The two interviews show the contrasting views on death between people. The dialogue transitions to the wailing, which at times sounds powerful and beautiful (not afraid of dying), and other times it sounds fearful and anxiety driven (afraid of dying). Or simply put: you are, or you are not afraid of dying. Both ideas seem to be conveyed by the dialogue and the wailing vocals.

The end of this song ends the physical life/living section of the album. The next half of the album focuses on ideas or the madness that can drive a person to live an unfulfilled life. Living an unfulfilled life is a type of insanity and the thorough exploration of what an unfulfilled life is on the first half of the album ties itself nicely with the second half of the album that explores insanity in a more philosophical way.

«Money» Lyrics

Money, get away.
Get a good job with good pay and you’re okay.
Money, it’s a gas.
Grab that cash with both hands and make a stash.
New car, caviar, four star daydream,
Think I’ll buy me a football team.

Money, get back.
I’m all right Jack keep your hands off of my stack.
Money, it’s a hit.
Don’t give me that do goody good bullshit.
I’m in the high-fidelity first class traveling set
And I think I need a Lear jet.

Money, it’s a crime.
Share it fairly but don’t take a slice of my pie.
Money, so they say
Is the root of all evil today.
But if you ask for a raise it’s no surprise that they’re
giving none away. Away. Away. Away….

Voices at the End:

Huh I was in the right!
Yes, absolutely in the right!
I certainly was in the right!
You was definitely in the right. That geezer was cruising for a bruising.
Yeah!
Why does anyone do anything?
I don’t know, I was really drunk at the time!

I was just telling him, he couldn’t get into number two. He was asking
why he wasn’t coming up on freely, after I was yelling and
screaming and telling him why he wasn’t coming up on freely.
It came as a heavy blow, but we sorted the matter out

«Money» Analysis

The second half of the album begins with «Money.» At this point in listening to all of the songs on the album there are no clear breaks, each song fades into one another except in between «Great Gig in the Sky» and «Money.» The break here happens out of necessity due to records in 1973 needing to be flipped over, and if you were listening to this on vinyl this is where you would flip the record.

Pink Floyd takes advantage of the limits of technology during this time period (or the necessary pause in the album) to change how they are going to continue discussing the topic of insanity and living an unfulfilled life. The first half of the album takes a more hands-on and personal experience with the subject matter, while the second half of the album explores the subject matter in more philosophical type of setting.

Continuing on with individual songs, «Money» is about greed and the illusion of a life well lived that comes with having an excess of wealth.

The first verse of the song focuses on the excesses of money, consumerism, and peoples desire to grab and horde as much cash or wealth as possible.

The second verse continues with the subject of the desire to grab more money, while also introducing the lengths people will go to in order to protect the money and possessions they have acquired.

The third and final verse focuses on the negative philosophical issues that money brings to a society, which include the ideas that ordinary people will never be able to increase their stash of money to match the wealthy, and the idea that money is the root of all evil.

The cash registers and money sounds that are used to underscore the whole song sound mechanical and lifeless. The mechanical money sounds are like a metaphor for the way people mechanically work the same job day in and day out for 40 plus years. People, of course, work harder, motivated by earning more money, but a lot of people ultimately waste their lives with this mentality. So the idea with the song «Money» is that the concept of wealth is one of the illusions or ideas that can be the cause of a person wasting their life, or it can be used to ruin the lives of others.

As «Money» fades out, a spoken voice dialogue describing a fight begins. This is a segue into «Us and Them,» which deals with conflict. Its inclusion on «Money» instead of «Us and Them» suggests that money is also a cause of conflict.

«Us and Them» Lyrics

Us, and them
And after all we’re only ordinary men.
Me, and you.
God only knows it’s not what we would choose to do.
Forward he cried from the rear
and the front rank died.
And the general sat and the lines on the map
moved from side to side.
Black and blue
And who knows which is which and who is who.
Up and down.
But in the end it’s only round and round.
Haven’t you heard it’s a battle of words
The poster bearer cried.
Listen son, said the man with the gun
There’s room for you inside.

I mean, they’re not gonna kill ya, so if you give ‘em a quick short,
sharp, shock, they won’t do it again. Dig it? I mean he get off
lightly, ‘cos I would’ve given him a thrashing – I only hit him once!
It was only a difference of opinion, but really…I mean good manners
don’t cost nothing do they, eh?

Down and out
It can’t be helped but there’s a lot of it about.
With, without.
And who’ll deny it’s what the fighting’s all about?
Out of the way, it’s a busy day
I’ve got things on my mind.
For the want of the price of tea and a slice
The old man died.

«Us and Them» Analysis

«Us and Them» is a song about conflict and fighting. Underlying the idea of a fight/conflict is the idea that fighting is usually between two choices or two sides, or philosophically speaking, what can be called a black and white type of mentality. The song seems to mock the black or white mentality that exists in society and states that there can be more than two choices.

The first verse and chorus talk about conflict from the viewpoint of a war. So this part of the song explores the physical side of conflict. The first verse also notes how the idea of conflict goes against the ideas of God and religion. Again, like in «Money,» it’s the people in power (the General) who are safe, while the ordinary working-class people get killed serving that higher power.

The second verse and chorus talk about conflict from a philosophical point of view or a verbal point of view. This verse, more than any other verse, mocks the idea of a black and white mentality with the lines, «Black and blue…And who knows which is which and who is who.» This line is effectively saying that it’s pointless to remove the degrees of separation between different people and different ideas. Life is too complicated to be dumbed down to black and blue. The ending idea of this section is that there can be a way to work things out and include everybody, which is described with the line, «There’s room for you inside.»

A spoken word segment makes up the next part of the song. The people talking here are discussing a fight one of the people speaking got into, which ties nicely into the conflict theme.

The final verse talks about what conflict in society is (generally speaking) about. According to «Us and Them,» conflict is about being with or without. This can include being with or without possessions, resources, etc. From this broader point of view, it lumps a song like «Money» into a subcategory of conflict.

The final chorus talks about how most people seem to avoid or ignore anything that is related to conflict, whether it be the physical acts of conflict or the philosophical ideas or arguments that lead to conflict. The price for ignoring conflicts appears to be heavy as another image of a common person dies in the song with the line, «For the want of the price of tea and a slice…The old man died.» Conflict can cut lives short, denying people the opportunity to live a fulfilling life.

«Any Color You Like» Lyrics

Instrumental

«Any Color You Like» Analysis

«Any Color You Like» is the final instrumental track on Dark Side of the Moon. This is the only purely instrumental song on the album as there is no singing and no voices. The title and its position within the order of the album give the strongest clues as to what this song is about.

Fading in after the conclusion of «Us and Them,» and with a title like «Any Color You Like,» the song would appear to be a sarcastic remark suggesting the lack of choices that are available to a person during the course of their life. The underscoring idea of «Us and Them» is related to the dangers of a black and white mentality, and «Any Color You Like» seems to carry that idea over into this song.

«Brain Damage» Lyrics

The lunatic is on the grass.
The lunatic is on the grass.
Remembering games and daisy chains and laughs.
Got to keep the loonies on the path.

The lunatic is in the hall.
The lunatics are in my hall.
The paper holds their folded faces to the floor
And every day the paper boy brings more.

And if the dam breaks open many years too soon
And if there is no room upon the hill
And if your head explodes with dark forebodings too
I’ll see you on the dark side of the moon.

The lunatic is in my head.
The lunatic is in my head
You raise the blade, you make the change
You re-arrange me ‘til I’m sane.
You lock the door
And throw away the key
There’s someone in my head but it’s not me.

And if the cloud bursts, thunder in your ear
You shout and no one seems to hear.
And if the band you’re in starts playing different tunes
I’ll see you on the dark side of the moon.

I can’t think of anything to say except…
I think it’s marvelous! Hahaha!

«Brain Damage» Analysis

«Brain Damage» is about losing your mind and going insane.

The first verse talks about insanity that is caused by happening what’s outside your head, with the line,«The lunatic is in the grass.» This would be the type of insanity that people see in the physical world, it’s a type of tangible insanity.

The second verse continues in this vain, but brings the insanity into a more personal area with the lines, «The lunatic is in my hall.» The lyrics have moved insanity from the outer and wider world in the first verse to the private home of the person in the second verse. This type of insanity is a bit more personal and it sounds a lot more disconcerting.

The first chorus talks about finally having a mental breakdown, potentially much earlier than a person should have a breakdown. After the mental breakdown, the final line of the chorus says, «I’ll see you on the dark side of the moon.» The dark side of the moon mentioned in this song is a place for insanity and ideas that are destructive. Of course since the moon is always dark, its also suggesting everyone to a certain point is mad.

The final verse now moves insanity to its most personal location, inside your head with the line, «The lunatic is in my head.» The verse suggests that the person who is losing his mind will pay any price in order to make him/her sane again, and subsequently they will isolate themselves in order to stop any further destruction of themselves or others.

The final chorus again elaborates on having a mental breakdown. With the line, «And if the band you’re in starts playing different tunes… I’ll see you on the dark side of the moon,» it would appear that the madness was caused by not being able to align your views with the views of everyone else, or most likely society in general. Ultimately that line in the song seems to suggest that people go crazy by resisting what they are told to do all of the time.

However, the previous songs in the album, «Money,» «Us and Them,» and «Any Color You Like» discuss the ideas that everyone in society go along with that are insane. From a larger perspective, it seems you are insane by following the ideas discussed in «Money,» «Us and Them,» and «Any Color You Like,» or you go insane by resisting them like in «Brain Damage.»

«Eclipse» Lyrics

All that you touch
All that you see
All that you taste
All you feel.
All that you love
All that you hate
All you distrust
All you save.
All that you give
All that you deal
All that you buy,
beg, borrow or steal.
All you create
All you destroy
All that you do
All that you say.
All that you eat
And everyone you meet
All that you slight
And everyone you fight.
All that is now
All that is gone
All that’s to come
and everything under the sun is in tune
but the sun is eclipsed by the moon.

There is no dark side of the moon really. Matter of fact it’s all dark.

«Eclipse» Lyrics

If there is one word to describe the song «Eclipse,» it would have to be the word all. It’s used twenty times in the song, and the word you would be a close second as it’s used eighteen times.

With «Eclipse» being the final song on the album, it uses many universal messages to describe the human experience the words all, and you serve to underscore the point that this song, this album, is about every human living on Earth. Musically, it’s an epic song with lots of background harmonies and a massive soundscape to give listeners not only a musical climax to the album but a universal sound that ties the previous thematic ideas under one idea.

The key to «Eclipse» is the final few lines, «All that’s to come and everything under the sun is in tune, but the sun is eclipsed by the moon.» This line begins by suggesting this song could go on forever (All that’s to come), and metaphorically speaking, all of these basic human experiences are represented by the sun. They are mostly positive human experiences, and they are frequently associated with living a life that is, for the most part, enjoyable. But the album ends with the sun being eclipsed by the moon.

The darkness caused by the moon, or the moon itself, is basically a symbolic representation of all the dangerous ideas that are destructive to humanity. These dangerous ideas can block out the sun or halt the living of a fulfilling life. The previous songs on the album build to this point. There is hope in the sun, but there will always be a dark side of the moon, which is a symbolic representation of the banes of humanity.

Source: https://spinditty.com/genres/The-Meaning-of-Pink-Floyds-Dark-Side-of-the-Moon

Behind the music: The cultural impact and sound revolution of Pink Floyd’s ‘The Dark Side of the Moon’

The 1970s classic still holds much relevance in progressive rock music and pop culture. We revisit the sound and the making of one of the most memorable albums in the history of rock.

The Dark Side of the Moon is a powerful and beautifully mixed album released in March 1973; it is also British band Pink Floyd’s eighth studio album. 

“I’ve been mad for fucking years, absolutely years, been over the edge for yonks,” says Pink Floyd’s production and tour manager at the time, Chris Adamson, on the first track, Speak to Me, setting the tone for the entire album.

The band’s drummer, Nick Mason, is credited as the writer of the song, which in the radio cut version is combined with Breathe (In the Air), and dubbed Speak to Me/Breathe; the two songs transition into each other, Breathe as an intro to Speak to Me.  

The album takes listeners across various emotions and stages of human life, beginning and ending with a heartbeat. The themes revolve around conflict, morality, greed, time and mental illness. The album was conceptualised through live performances on Floyd’s extensive 1972 tour of Britain and built on experimentation, psychedelic instrumentals and empathy.

A groundbreaking album

The Dark Side of the Moon has paved the way for much of the alternative or experimental rock sounds we enjoy today. From Tame Impala and Radiohead, to Dream Theater and Porcupine Tree, all have been influenced by the British band, with vocalist and guitarist David Gilmour, Roger Waters on bass and vocals, Mason on drums and percussion and Richard Wright on the organ, piano and electronic piano. 

The almost 47-year-old album also features Dick Parry on the commercial successful Money and Us and Them, playing the saxophone. 

In an interview with online music publication Louder Sound, Gilmour says he regards the album as a watershed moment for the band, that “obviously it was the breakthrough moment and was terrific, and we suddenly moved up from the medium-time to the mega-time”.

That move was partly because of the sound and partly owing to the powerful lyrics by Waters. In a 2003 documentary about the making of the album, Gilmour says: “The big move forward for The Dark Side of the Moon was Roger’s coming of age lyrically.”

As a creative force for Pink Floyd, Waters’s writing showed an existential and intense view of the world. He managed to centre the album on loosely connected themes that are relatable – greed, mental health, death and the exhaustion that comes from travel. 

It’s also the first Floyd album on which Waters was the sole lyricist. Gilmour has always contributed to the band’s songwriting process along with former frontman, the late Syd Barrett – who was also the lead guitarist in the 60s and a co-founder, but was ousted in 1968 due to his excessive LSD use. Much of the mental health references on the album were inspired by what Barrett was going through. 

In 1971, the band started to rehearse in a small studio in west London, working under the title Eclipse (the title of the last track of the album) which would eventually develop on stage into The Dark Side of the Moon.

The following year the band started to rehearse at the Rolling Stones’ old Victorian warehouse in South London as well as at the famous Abbey Road Studios.

The psychedelic sounds of The Dark Side of the Moon definitely had influences on counterculture at the time. The Rock & Roll Hall of Fame credits Pink Floyd with carving out new spaces in the industry: “Pink Floyd were the architects of two major music movements – psychedelic space-rock and blues-based progressive rock – and became known for their biting political, social and emotional commentary”; a great balance of new sounds – mainly developed through live performances during their 16-date UK tour – and hard topics that weren’t explored much in their time.

The album’s success was extensive. From breaking charting records by being on the Billboard 200 for more than 950 weeks to becoming one of the biggest bestselling albums of all times and 15-times platinum, it was nothing short of gargantuan. 

The album cover and its presence in pop culture 

The prism artwork for the album cover is an iconic and elegant design. One of the most recognisable album covers in music, it became a signature logo for the band. 

It was designed by the late graphic designer Storm Thorgerson and his team at Hipgnosis (a design company that was just as experimental as the album they designed for). 

The triangle with rainbow-coloured light coming through was inspired by a picture Thorgerson saw in a textbook. The design was unanimously approved by all band members. The artwork has a space-like feel to it, almost representing the out-of-the-world sonic output of the album itself – the light through the prism shines right through the physical album cover. The multicoloured lighting in the band’s shows is also represented on the cover. A perfect link between album art, music and production of their live shows. 

In 2017, the Victoria and Albert Museum paid tribute to the album and Pink Floyd by hosting an exhibition that honoured the groundbreaking originality of their live concerts – how they pioneered psychedelic light shows, with special effects and elaborate stage constructions. The exhibition also showed original designs and photographs of the band. The elaborate, surreal exhibition showed just how impactful their work was and how the legacy of the band is heavily linked to the success of The Dark Side of The Moon – a project as culturally impactful as anything seen in alternative rock music and contemporary pop culture. 

Source: https://www.dailymaverick.co.za/article/2021-02-02-behind-the-music-the-cultural-impact-and-sound-revolution-of-pink-floyds-the-dark-side-of-the-moon/

Us and Them by Pink Floyd

This began as a piano piece Rick Wright came up with while working on the soundtrack to the 1970 movie Zabriskie Point. It didn’t make the soundtrack, but they worked with it at the Dark Side of the Moon sessions and it eventually became this song. The director of Zabriskie Point, Michelangelo Antonioni, rejected the song for being «beautiful, but too sad… it makes me think of church.»

Zabriskie Point was one of the first soundtracks Pink Floyd worked on. They put a lot of work into it, but the director ended up using only 3 of their songs. Floyd also worked on soundtracks for the movies MoreThe Valley, and Tonight Let’s All Make Love In London.

The band refereed to this as «The Violence Sequence» because they worked on it for a very violent scene in the movie.

Dave Gilmour sings lead, but this song was written by Roger Waters and Pink Floyd keyboard player Rick Wright. Some of Wright’s other songwriting credits include «Breathe,» «Great Big Gid In The Sky,» and «One Of These Days,» but by the late ’70s Waters ended up doing most of the writing himself, and he wrote all the songs on their 1983 album The Final Cut. Talking about Wright’s compositions, Waters said in a 2003 interview with Uncut: «He would write odd bits. He secreted them away and put them on those solo albums he made and were never heard. He never shared them. It was unbelievably stupid. I never understood why he did that. I’m sure there were two or three decent chord sequences. If he’d given them to me, I would have been very, very happy to make something with them.»

One of Pink Floyd’s first uses of female backup singers. They brought in Liza Strike, Leslie Duncan and Doris Troy to sing harmonies. Troy had a hit on her own with «Just One Look.»

Like other songs on the album, this contains the ramblings of random voices. Roger Waters made flashcards with questions on them and recorded different people around the studio answering them. He showed one to a weird roadie for another band named Roger The Hat, who got the question «When was the last time you thumped somebody.» His answer made it onto this song, which is the part about giving someone a «short, sharp shock.»

Along with «Money,» this was one of 2 songs on the album to use a sax, which was played by Dick Parry.

The engineer for the album was Alan Parsons, who also worked on The Beatles’ Abbey Road album. Some of the production techniques on this are similar to the suite of songs at the end of that album, especially «Sun King.» Parsons went on to form his own band called The Alan Parsons Project, which had a hit in 1982 with «Eye In The Sky

Pink Floyd’s record company was originally hesitant to release this track because it was felt that the signature melody line was extremely depressing. >>

In the Dark Side of the Rainbow theory (that Dark Side of the Moon acts as a soundtrack to The Wizard Of Oz), the line, «And who knows which is which and who is who,» occurs after the Wicked Witch of the West appears and she is first seen with Dorothy and Glinda, the good witch on the opposite side of the screen. >>

When this was recorded, Rick Wright played the song’s jazz-influenced grand piano to what he thought was the rest of the band playing in the next studio. In fact they weren’t present and it was a recording made earlier. What started as a prank became, according to Alan Parsons in Mojo magazine, «one of the best things Rick ever did.»

Source: https://www.songfacts.com/facts/pink-floyd/us-and-them

Us and Them by Pink Floyd

Us (us, us, us, us) and them (them, them, them, them)
And after all we’re only ordinary men
Me
And you (you, you, you)
God only knows
It’s not what we would choose (choose, choose) to do (to do, to do)
Forward he cried from the rear
And the front rank died
And the general sat
And the lines on the map
Moved from side to side
Black (black, black, black)
And blue (blue, blue)
And who knows which is which and who is who
Up (up, up, up, up)
And down (down, down, down, down)
And in the end it’s only round ‘n round (round, round, round)
Haven’t you heard it’s a battle of words
The poster bearer cried
«Listen son», said the man with the gun
There’s room for you inside

«I mean, they’re not gonna kill ya
So if you give ‘em a quick short, sharp, shock
They won’t do it again. Dig it?
I mean he get off lightly, ‘cause I would’ve given him a thrashing
I only hit him once! It was only a difference of opinion, but really
I mean good manners don’t cost nothing do they, eh?»

Down (down, down, down, down)
And out (out, out, out, out)
It can’t be helped that there’s a lot of it about
With (with, with, with), without
And who’ll deny it’s what the fighting’s all about?
Out of the way
It’s a busy day
I’ve got things on my mind
For the want of the price
Of tea and a slice
The old man died

Say the word PEACE

STOP THE WAR!!!

The Word by The Beatles

Say the word and you’ll be free
Say the word and be like me
Say the word I’m thinking of
Have you heard the word is love?

It’s so fine, it’s sunshine
It’s the word, love

In the beginning I misunderstood
But now I’ve got it, the word is good

Spread the word and you’ll be free
Spread the word and be like me
Spread the word I’m thinking of
Have you heard the word is love?

It’s so fine, it’s sunshine
It’s the word, love

Every where I go I hear it said
In the good and bad books that I have read

Say the word and you’ll be free
Say the word and be like me
Say the word I’m thinking of
Have you heard the word is love?

It’s so fine, it’s sunshine
It’s the word, love

Now that I know what I feel must be right
I’m here to show everybody the light

Give the word a chance to say
That the word is just the way
It’s the word I’m thinking of
And the only word is love

It’s so fine, it’s sunshine
It’s the word, love

Say the word love
Say the word love
Say the word love
Say the word love