thegoodfellas/blogset-br huggingface dataset:
quando Pink tenta ligar a cobrar para sua residencia na expectativa de falar com sua esposa e tem a chamada recusada por um homem. No filme, este episodio e anterior e motivador ao envolvimento de Pink com groupies. No contexto do album, Pink descobre a traicao de sua esposa momentos antes de chegar em seu flat com uma groupie. Em ambos os contextos, seu casamento estava deteriorado.One of My TurnsA carreira bem-sucedida de astro do rock rendeu a Pink todos os seus desejos materiais imaginados em "What shall we do now". Ele tinha tudo a seu dispor, mas nada lhe servia. Toda essa fama e riqueza nao foram suficientes para solucionar seus problemas matrimoniais. A presenca de uma groupie em seu apartamento simbolizava sua traicao e o levava a crer que naquele momento tambem estava sendo traido. Durante seu ataque de furia, Pink dialoga com as indagacoes da groupie de maneira caotica e deixa no ar a possibilidade de se suicidar:"Are all these your guitars" - "You'll find my favourite axe" (axe, giria para guitarra)"Can I get a drink of water" - "Would you like something to eat""What are you watching" - "Would you like to watch tv""Hello?" - "contemplate the silent freeway""Are you feeling ok?" - "Would you like to learn to fly* / Would you like to see me try"* "Momma won't let you fly, but she might let you sing" (voar no mesmo sentido que levou o pai de Pink a morte).A banda utilizou-se de referencias distintas ao conteudo exibido na TV do apartamento de Pink na versao do album e na versao do filme The Wall. O trecho do dialogo na serie Another World retrata o momento de crise no relacionamento entre Mr. Brian Brancroft e sua mulher. Ele havia acabado de chegar de uma viagem e, para surpresa de seu mordomo, anunciou que nao jantaria com sua esposa. Ja no trecho editado do filme The Dam Busters, o comandante Guy Gibson traca estrategias militares para um ataque ingles sobre hidreletricas em territorio da Alemanha nazista. A primeira referencia dialoga com o contexto especifico dessa faixa e a segunda de forma mais abrangente com a tematica da guerra recorrente ao longo do album.One of My Turns (Album version) == Oh my God! What a fabulous room! Are all these your guitars?* I'm sorry sir, I didn't mean to startle you!== This place is bigger than our apartment!** Just let me know when you're entering a room.* Yes sir!== Erm, Can I get a drink of water?* I was wondering about dinner sir.== You want some, huh? ** Yes.* When do you and your guests want to dine?* I have to inform the kitchen staff.== Oh wow, look at this tub? Do you wanna take baaaath?** Yes, I'm aware of your duties Dobbs.* Yes, sir.** I'll have to find out from Mrs. Bancroft what time she wants to eat.** As for her maid, needless to say.** She can have her meal with the kitchen help.== What are you watching?* Very good sir. If you'll just let me know as
soon as you can * when you and Mrs. Bancroft want to eat.** Mrs. Bancroft will be dining alone.== Hello?* Why I don't understand, sir.== Are you feeling okay?** I won't be staying for dinner.* I'm surprised to hear that sir since you just arrived.** Yes, I'm a little surprised about it myself. == Pink's groupie affair* Dobbs, the Bancroft's caretaker in Another World series. ** Paul Stevens as Mr. Brian Bancroft in Another World series.One of My Turns (Movie version) == Oh my God! What a fabulous room! Are all these your guitars?**** Well, sir.. when are we going to get something to fly in?* They're sending the first batch of Lancs tomorrow.** Now these are the first dropping tests at Chesil Beach, near Weymouth. Here comes the Wellington. Mutt Summers is the pilot and I'm working the release gear.== God...** Now in a moment, you'll see the bomb.== This place is bigger than our whole apartment.* That makes the ten they promised us to get started with. Have them flown and tested tomorrow. We can begin this afternoon dividing the crews into flights. The first job will be to fly over every big lake in England and Wales and photograph them.*** Lakes?* Lakes.== You like the tube, huh?**** The crews are in the briefing room, sir.* All right, I'll come.== Can I get a drink of water?** Come in. Hello, Mutt. *** This is Wing Commander Guy Gibson. ** Oh, good morning.== Can I get you a drink of water?** I'm glad you've come. My name is Barnes Wallis.* Morning, sir.*** Well, I'll leave you to it. See you later.* Right. Thanks.** Thanks a lot, Mutt. Would you like to put those things down? Give me that.* Thank you.** I don't smoke but there's sometimes have a cigarette in here.** Yes, there we are.* Thank you.== Oh, wow, look at this tub! Wanna take a bath?* Well.. here we are all together for the first time. You're wondering what it's all about and I can't tell you because I don't know myself.* But I do know it's a big thing.== What are you watching?* And if it comes off, it will have results that may do quite a bit to shorten this war. Discipline is going to be essential.== Hello?* So is security. It's unusual for a crowd like you to be formed into a new squadron so you're going to be talked about. Rumours are flying about already but you have got to keep your mouths shut!== You feeling ok? == Jenny Wright as Pink's groupie affair* Richard Todd as Commander Guy Gibson in The Dam Busters movie.** Michael Redgrave as Doctor Barnes Willis in The Dam Busters movie.*** Patrick Barr as Captain Joseph (Mutt) in The Dam Busters movie.**** A committee member in The Dam Busters movie.Day after day love turns grey like the skin of a dying manNight after night we pretend its all rightBut I have grown older and you have grown colder And nothing is very much fun, anymoreAnd I can feel, one of my
turns coming onI feel cold as a razor blade, tight as a tourniquetDry as a funeral drumRun to the bedroom in the suitcase on the left you'll find my favorite axeDon't look so frightened, this is just a passing phase, one of my bad daysWould you like to watch TV? Or get between the sheets? Or contemplate the silent freeway? Would you like something to eat?Would you like to learn to fly? Would'ya? Would you like to see me try?Would you like to call the cops? Do you think it's time I stopped?Why are you running away?Don't Leave me NowDon't Leave me NowOooh babe, don't leave me now.Don't say it's the end of the roadRemember the flowers I sent. I need you, babeTo put through the shredder in front of my friends, oooh babe!Dont leave me now. How could you go?When you know how I need youTo beat to a pulp on a Saturday nightOooh babe! Dont leave me now.How could you treat me this way? Running awayOooh babe, why are you running away?Ooooh babe, ooooh babe, ooooh babe, ooooh uhh...Pink cai em depressao e melancolicamente clama por sua ex-mulher. Ele novamente se ve na condicao de vitima perante os reveses da vida. Mesmo tendo enviado flores a sua esposa, ela fugiu e o humilhou como se o esmagasse em polpa ("to beat to a pulp") ou como se o triturasse em pedacos ("to put through a shredder"). E la estava a voz ressonante de sua mae ("Ooooh babe") buscando acolhe-lo. A mesma ouvida na infancia ("The thin ice") e na adolescencia ("Mother").Another Brick in the Wall (Part 3)Another Brick in the Wall (Part 3)I don't need no arms around meAnd I dont need no drugs to calm meI have seen the writing on the wallDon't think I need anything at allNo! Don't think I'll need anything at allAll in all it was all just bricks in the wallAll in all you were all just bricks in the wallEssa faixa fecha a sequencia de tijolos no muro, retomando os tres principais eventos traumaticos que acarretaram no isolamento de Pink: a morte do pai na guerra (part 1), a humilhacao escolar (part 2) e a traicao conjugal. Pink nao questiona mais a construcao do muro.Goodbye Cruel WorldGoodbye Cruel WorldGoodbye cruel world, I'm leaving you todayGoodbye, goodbye, goodbyeGoodbye all you peopleThere's nothing you can say to make me change my mindGoodbyeAqui encerra-se o flashback fatico da vida de Pink. Com o muro mental construido, a narrativa e conduzida ao plano metafisico no intuito de explorar a mente do protagonista. Hey YouHey YouHey you, out there in the cold getting lonely getting oldCan you feel me?Hey you, standing in the aisles with itchy feet and fading smilesCan you feel me?Hey you, dont help them to bury the light. Don't give in without a fightHey you, out there on your own sitting naked by the phoneWould you touch me?Hey you, with your ear against the wall waiting for someone to call outWould you touch me?Hey you, would you help me to carry the stone? Open your
heart, I'm coming homeBut it was only fantasy. The wall was too high as you can seeNo matter how he tried, he could not break freeAnd the worms ate into his brainHey you, standing in the road always doing what you're toldCan you help me?Hey you, out there beyond the wall breaking bottles in the hallCan you help me?Hey you, don't tell me there's no hope at allTogether we stand, divided we fallPink esta fisicamente trancado em seu quarto de hotel, conforme veremos nas faixas seguintes. Porem, acima de tudo, ele esta isolado psicologicamente. Enquanto nas duas faixas anteriores Pink demonstrava indiferenca quanto a construcao do muro, agora, com o muro completo, nota-se um arrependimento e um desejo melancolico de retornar as origens. Pink cre na possibilidade de regressar com a ajuda "daqueles que o compreendem". No entanto, uma especie de narracao realista ou voz consciente considera que seus apelos nao passam de uma fantasia ante um muro intransponivel. Seguem-se os acordes desoladores da introducao com a adicao do efeito sonoro de um sonar, resgatando a ideia de afastamento social contida na letra de "Echoes". A parte final evidencia o desespero de Pink em busca de ajuda, porem sua suplica se perde em forma de eco: "... we fall". Is There Anybody Out There?Is there anybody out there?* Well, only about an hour of daylight left. We better get started. ** Is it unsafe to travel at night? * It'll be a lot less safe to stay here.* Your father's gonna pick up our trail before long.** Can Lorca ride?* He'll have to ride.* Lorca, time to go. * Maegret, thank you for everything. Let's go. ** Goodbye Chengra.*** Goodbye Missy.** I'll be back one day.*** The bones have told Chengra.** Take care of yourself.*** Marshall, look after my Missy.Is there anybody out there?Is there anybody out there!?Is there anybody... out there?Is there anybody out there.* William Conrad as Marshall Matt Dillon on series Gunsmoke1** Diana Muldaur as Miss Laurel Tyson on series Gunsmoke1*** Milburn Stone as Doc on series Gunsmoke11 Episode Fandango (S12E21).Ainda nao acreditando no isolamento, Pink tenta estabelecer contato com alguem alem do muro. Na primeira tentativa, demonstra certa curiosidade e ansiedade pela resposta. Sem resposta, o segundo tom e mais desesperador (e entao ouvimos outro efeito sonoro em referencia a "Echoes"). No terceiro, parece hesitar. E no quarto, finalmente se conforma com resignacao. No filme, Pink constroi uma especie de alterego. Diferente daquele Pink caotico de "One of my turns", o Pink atual e meticuloso e ainda mais depressivo. Pink muda tambem sua fisionomia, rejeitando os pelos do corpo. Nesse caso, a inspiracao veio do Syd Barrett de 1975, quando apos 7 anos de ostracismo reaparecera num estudio - onde seus antigos companheiros de banda gravavam um album em sua homenagem - desprovido de pelos e muito acima do peso, revelando um Syd irreconhecivel e decadente. Nobody HomeNobody Home* Alright, I'll take care of them part of the time * But there's somebody else that needs taking care of in Washington** Who's that?* Rose... Pilchitt! ** Rose Pilchitt?
Who's that?== Shut Up! * 36-24-36 does that answer your question?== Oi! I've got a little black book with my poems in!** Who's she? * She was 'Miss Armoured Division' in 1961...I've got a little black book with my poems inGot a bag with a toothbrush and a comb inWhen I'm a good dog they sometimes throw me a bone inI got elastic bands keepin my shoes onGot those swollen hand bluesI got thirteen channels of shit on the TV to choose fromI've got electric light. And I've got second sightAnd amazing powers of observation. And that is how I knowWhen I try to get through, on the telephone to youThere'll be nobody homeI've got the obligatory Hendrix perm*. And the inevitable pinhole burnsAll down the front of my favorite satin shirtI've got nicotine stains on my fingers. I've got a silver spoon on a chainI've got a grand piano to prop up my mortal remains*I've got wild staring eyes*. And I've got a strong urge to flyBut I got nowhere to fly to. Oooh babe, when I pick up the phone*** Surprise, surprise, surprise!There's still nobody homeI've got a pair of Gohills boots*. I got fading roots* Frank Sutton as Sgt. Carter on series Gomer Pyle U.S.M.C.1** Roy Stuart as Cpl. Chuck Boyle on series Gomer Pyle U.S.M.C.1*** Jim Nabors as Pvt. Gomer Pyle on series Gomer Pyle U.S.M.C.11 Episode Gomer says 'hey' to the President (S04E07)."I'm coming home". O desejo de retornar a casa, no sentido literal da palavra, e rechacado em "Nobody Home". E valido pensar em casa como o ambiente fisico. A letra inclusive nos induz a concluir que "When I try to get through on the telephone to you" e uma referencia a tentativa frustrada do astro Pink - no auge de sua fama, bens materiais e outras qualidades - de reconquistar tardiamente a atencao de sua esposa. No entanto, como estamos analisando a mente de Pink, seria interessante imaginar casa como origem, raiz, seguranca, ou especificamente o ultimo momento em que Pink sentiu-se acolhido: na juventude sob influencia de sua mae superprotetora. No filme, a ideia de "I'm coming home" ocorre quando o Pink atual se debate na cadeira ate regressar a adolescencia. O jovem Pink transita pelo cenario, o qual nada mais e do que a projecao de sua mente atual. Ele desce ao inconsciente (manicomio) e la encontra escondida a personalidade lunatica do Pink adulto. De volta ao consciente (Pink assistindo tv), o jovem Pink se afasta e some nas brumas. Pink esta cada vez mais inseguro de si. Suas raizes estao se perdendo. Mais uma vez Waters se valeu de algumas peculiaridades do Syd Barrett* para ilustrar o momento de Pink, assim como o fez em relacao ao Richard Wright* que enfrentava problemas com o uso de drogas na epoca. VeraVera* Where the hell are you?** Over 47 german planes were destroyed with the loss of only 15 of our own aircraft.* Where the hell are you Simon!? [Simon is shot]Does anybody here remember Vera Lynn? Remember how she said that we would
meet again some sunny day?Vera! Vera! What has become of you?Does anybody else here feel the way I do?* Robert Shaw as Squadron Leader Skipper in the Battle of Britain movie.** Radio announcement.Vera Lynn foi uma cantora inglesa popular nos anos 40, sobretudo pela cancao "We'll meet again". Waters ironizou o otimismo da letra de Vera Lynn ao considerar o fato de que muitos militares morreram no campo de batalha e, portanto, nunca mais veriam seus familiares outra vez. No filme, a mente de Pink o projeta numa estacao de desembarque, onde muitas mulheres e filhos aguardavam pelo retorno dos sobreviventes da guerra. Pink imaginou que seu pai estivesse ali, mas tao-logo descobriu que ele nao retornara.Bring the Boys Back HomeBring the Boys Back HomeBring the boys back home! Bring the boys back home!Don't leave the children on their own, no, no. Bring the boys back home* Wrong! Do it again! ** Time to go! *** Are you feeling okay? **** There's a man answering, but he keeps hanging up!Is there anybody out there.* Pink's teacher.** Pink's management.*** Pink's groupie.**** Telephone Operator.Essa cancao e um apelo antiguerra, mas nao apenas isso. No trecho final, ouve-se a voz do Waters se sobressaindo mais do que o coro de vozes na palavra "Home". Mais uma vez, e um clamor pelo retorno as origens. Um rapido flashback ganha a mente do protagonista com vozes relacionadas as experiencias que contribuiram para a construcao do muro ate a pergunta - antes nao respondida - vir a tona: "is there anybody out there". A resposta veio com o empresario do astro adentrando seu quarto de hotel junto com uma equipe medica para reanima-lo e coloca-lo de pe.Comfortably NumbComfortably NumbHello? Is there anybody in there?Just nod if you can hear meIs there anyone at home?Come on, now, I hear you're feeling downWell I can ease your pain get you on your feet againRelax. I'll need some information firstJust the basic facts. Can you show me where it hurts?There is no pain you are recedingThe distant ships smoke on the horizonYou are only coming through in wavesYour lips move but I can't hear what you're saying*When I was a child I had a feverMy hands felt just like two balloonsNow I've got that feeling once againI can't explain you would not understand. This is not how I amI... have become comfortably numbOk, just a little pinprick. There'll be no more aaaah!But you may feel a little sickCan you stand up? I do believe it's working goodThat'll keep you going through the show. Come on, it's time to goThere is no pain you are recedingThe distant ships smoke on the horizonYou are only coming through in wavesYour lips move but I can't hear what you're sayingWhen I was a child I caught a fleeting glimpseOut of the corner of my eyeI turned to look but it was gone, I cannot put my finger on it now**The child is grown, the dream is goneI... have become comfortably numbA narrativa ganha um novo ponto de vista: o da realidade na figura do medico.
Ele retruca a indagacao psicologica de Pink com "is there anybody in there". Retruca o existencialismo de Pink em "Nobody home" com "is there anyone at home". O medico afirma que pode colocar Pink de pe desde que lhe mostre em que local sente dor. Pink, ainda semiconsciente*, relembra da infancia quando sua liberdade individual era sempre suprimida pela vontade de sua mae superprotetora. Quando Pink decidiu cuidar de um rato debilitado, sua mae desaprovou a ideia e mandou Pink se desfazer do animal. Quando Pink fumou escondido e ficou com febre, sua mae chamou um medico e o colocou de cama. Agora, esse sentimento veio a tona (Pink se drogou e la estava um medico para coloca-lo de pe), no entanto o medico nao compreenderia a individualidade de Pink. O doutor injeta uma substancia na veia do astro de modo a traze-lo de volta a realidade. A busca de Pink as suas origens, seu "home", seu "fading roots", se esvai**. O rato, objeto de sua individualidade, esta morto. Pink o lanca no mar (subconsciente, no sentido figurado). Tao morto quanto seu pai (imagem do soldado carregando o rato). O solo final traduz o retorno de Pink a realidade. The Show Must Go OnThe Show Must Go OnAaah, aah, oooh Oooh ma, oooh pa - Must the show go on?Oooh, pa - Take me home. Oooh ma - Let me goDo I have to stand upWild eyed in the spotlight, what a nightmareWhy don't I turn and runOooh, pa - Take me home. Oooh ma - Let me goThere must be some mistakeI didnt mean to let them take away my soul*Am I too old is it too late?Oooh ma, oooh pa - Where has the feeling gone?Oooh ma, oooh pa - Will I remember the song?Oooh ah, the show must go onNum momento de hesitacao, Pink pondera se o show deve realmente continuar. E possivel interpretar extensivamente a palavra show como vida. Quando seu eu interior suplica ao seu pai falecido (take me "home"), no qual "home" conforme vimos e um lugar incompativel com a realidade, pode-se entender como um "leve-me para junto de ti". Em outras palavras, ele poderia estar cogitando um suicidio. Para sua mae superprotetora, que faz questao de construir seu muro, Pink suplica para que ela o deixe ir. No entanto, mesmo com essa duvida interna, Pink sente que agora e tarde demais para recuar. Sua vida ja nao esta em suas maos*. In the Flesh!In the Flesh!So ya, thought ya, might like to go to the showTo feel that warm thrill of confusion that space cadet glowI've got some bad news for you sunshinePink isn't well, he stayed back at the hotelAnd they sent us along, as a surrogate bandWe're gonna find out where you fans really standAre there any queers in the theater tonight?Get em up against the wall!There's one in the spotlight, he don't look right to meGet him up against the wall!And that one looks Jewish! And that one's a coon!Who let all of this riff-raff into the room?There's one smoking a joint,
and another with spots!If I had my way, I'd have all of you shot!Retornamos ao momento presente no qual Pink anunciava seu show. Porem, antes de convidar o publico a enxergar por alem do seu olhar frio e do seu disfarce, a mente de Pink projeta a continuacao do show na perspectiva da nova figura em que havia se tornado apos ser dopado. O novo Pink anuncia que o Pink antigo (seu verdadeiro eu) esta mal e ficou no hotel. Sua nova forma, fria e desumana, passa a ser a personificacao dos seus maiores traumas. O novo Pink e um ditador fascista que promove guerras, um opressor da individualidade alheia, um propagador do odio, um discriminador, etc. Run Like HellRun Like HellPink Floyd! Pink Floyd! Pink Floyd!Run, Run, Run, Run You better make your face up in your favorite disguise**With your button down lips and your roller blind eyes*With your empty smile and your hungry heartFeel the bile rising from your guilty pastWith your nerves in tatters when the cockleshell shattersAnd the hammers batter down your doorYou better runYou better run all day and run all nightKeep your dirty feelings deep inside*** And if you're taking your girlfriend out tonight You'd better park the car well out of sightCause if they catch you in the back seat trying to pick her locksThey're gonna send you back to mother in a cardboard boxYou better runHammer! Hammer! Hammer!O publico fiel ovaciona o ditador com um unissono "Pink Floyd". Pink ordena a seus seguidores uma perseguicao aos que se opoe a sua ditadura. Em mais um discurso repressor, ele traca o perfil das vitimas perseguidas e adverte que seria melhor fugir antes de serem pegos. Interessante notar que, em muitos pontos, o perfil da vitima se assemelha ao Pink esquecido no hotel. Aquele Pink de olhar perdido e vago* que escolheu um disfarce para mascarar seus sentimentos**. Ou ainda o Pink jovem que escondeu de sua mae seus desejos sexuais*** quando observava a vizinha se despindo. Ao fim do discurso, os seguidores de Pink ja nao o ovacionam pelo seu nome, mas sim pelo simbolo que agora o representa: o martelo cruzado. Waiting for the WormsWaiting for the WormsEins, zwei, drei, alle!Aaah, oooh, you cannot reach me nowAaah, oooh, no matter how you tryGoodbye cruel world it's over, walk on bySitting in a bunker here behind my wallWaiting for the worms to comeIn perfect isolation here behind my wallWaiting for the worms to comeWe're going to convene waiting to succeed outside Brixton Town Hall Where we're going to be (Waiting) to cut out the deadwood(Waiting) to clean up the city (Waiting) to follow the worms(Waiting) to put on a black shirt (Waiting) to weed out the weaklings(Waiting) to smash in their windows and kick in their doors(Waiting) for the final solution to strengthen the strain(Waiting) to follow the worms(Waiting) to turn on the showers and fire the ovens(Waiting) for the queens and the coons and the reds and the jews(Waiting) to follow the wormsWould you like to see Britannia rule again, my friend?All you have