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Productions of Bertolt Brecht’s Nazi allegory The Resistible Rise of Arturo Ui will be free from prosecution. One cannot, for example, imagine the authorities bursting in and shutting down the last act of The Sound of Music. There are, however, exemptions for artistic or educational purposes. The misuse of Nazi imagery in Germany is an offence that can carry a prison sentence of up to three years. It is hard to read this as anything other than a repudiation of the fascist urge.

The character addresses an array of minorities with epithets problematic even in satire, before inviting them against the, ahem, wall to be summarily shot.

“The depiction of an unhinged fascist demagogue has been a feature of my shows since Pink Floyd’s The Wall in 1980.” A glance at the original lyrics to In the Flesh, the song being performed at the time, leaves little doubt as to Waters’s intent – or to his bludgeoning technique. “The elements of my performance that have been questioned are quite clearly a statement in opposition to fascism, injustice, and bigotry,” Waters explained. The logo on his trench coat was not the swastika, but the crossed hammers seen in early videos for The Wall and in Parker’s film. German police are reported to have launched a criminal investigation into Waters after he appeared in a “Nazi-style” uniform at a concert in Berlin. But its critical meshing of rock superstardom with political megalomania was to a point. You wouldn’t call The Wall subtle (or good). One or two of the rock elite thought they might be strong enough and manly enough for the role. As the UK collapsed into a mire of inflation, corruption and labour unrest, a few among the worried rich pined for “a strong man”. There was quite a bit of this about in the 1970s. The nugget here worth extracting from The Wall is that “Pink” – played by Bob Geldof in Alan Parker’s wearisome film version – is pilloried as a proto-fascist in later stages of the narrative. Poor wee billionaires with their landing strips and their fish farms and their private islands. It remains a great irony that the one enormity not perpetrated by the rock star protagonist of that band’s wretched The Wall was a navel-gazing double-album addressing the stresses of mega-stardom. I never imagined I would be (in part) defending the man responsible for the most nauseating excesses in Pink Floyd’s century-long reign of gatefold pomposity. All rights reserved.The controversy surrounding Roger Waters reminds us how hard it is to judge a person’s words or actions without allowing existing suspicions to colour dispassionate assessment. (Video contains uncensored profanity.) Ĭopyright © 2023, ABC Audio. Their latest record is 2020’s The New Abnormal. headlining dates at Colorado’s Red Rocks and New York City’s Forest Hills Stadium in August. The Strokes, meanwhile, will be touring Asia this summer, followed by a pair of U.S. The most recent Voidz album is 2018’s Virtue.įollowing a trip to Europe, The Voidz will play a four-date residency in San Francisco in June. “Prophecy of the Dragon” follows several one-off Voidz singles from over the past couple years, including a bonus track on the recently released 10-year anniversary reissue of Daft Punk‘s Random Access Memories, which the so-called AI press release describes as a song to “celebrate two robots getting a divorce.” You can take a listen for yourself now via digital outlets. The track is called “Prophecy of the Dragon” and, according to a press release that claims to be “created by artificial intelligence and … given zero biased prompts,” features “hard riffs, poetic lyrics, and rhythmic aptitude.” The Strokes frontman Julian Casablancas has released a new song with his side project, The Voidz.

Stardust memories cd