Another Block in the Wall

Another Block in the Wall

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We have been, and returned, to many sites that have been ruthlessly vandalised. Too easy to find or well known, the wanton disregard of Original engravings and stone arrangements , some thousands and often tens of thousands years old, is so much a part and parcel of archaeology in Australia. So commonplace is this desecration, our first priority has always been focused around preventing this outrageous disrespect, what it means and who was responsible must always take a back seat.

On occasions we have been deliberately obscure when supplying details in relation to situation and geography, but fortunately this site will never be vandalised. The tunnels and what lays beyond would have never, never been found by us or anyone else, it was only because Klaus Dona sent us a photograph with the specific location marked out, that we were now standing on site. The access is not difficult, that would be a gross understatement. There are extremely steep slopes to negotiate and an entrance that betrays nothing to either the trained or untrained eye, except to advance forward is fraught with real and present danger.

Our first investigation was far briefer than what was needed, but we had two sites to examine on that day and as this one was the unknown part of our day, more time was dedicated to the other site which promised tangible returns. Even getting to this site was a distraction of some magnitude, maintaining balance while descending was a feat of its own. But the final stride to gain entrance was a thought-provoking effort. A four metre drop with no less than two metres to straddle across to the only foothold followed by swinging the other foot up the slope aiming at the dirt floor at the front of the tunnels, was an action deserving of some forward planning. Fortunately those aboard were agile of foot and adventurous of spirit, and all of us managed to negotiate the divide.

With the exception of myself the rest of the party were focused on finding an entrance of some sort. We knew the tunnel led deep inside, but we also saw the impact and damage caused by the mass of rock above which was literally sliding down the hill and into this complex. By our estimation the there were two shafts/tunnels, one I could (being the thinnest) manage to get in nearly ten metres before it narrowed to no more than ten centimeters. I could see that gap continued inwards and appeared uniform and quite long, but no-one in our group could advance any further.

The rest of the team were not deterred and sought out other means of entrance, but I went back to one section of the tunnel which measured close to 5 metres. We were all agreed that the wall was so similar to the ancient walls in Chile and Peru. The joins were so precise, only the thinnest of twigs could be inserted 15 maybe 20 cms inside the widest gap between these shaped rectangular sandstone blocks. There are four horizontal layers of sandstone blocks, each layer laid perfectly flat with a flat sandstone shelf of considerable dimensions and tonnage sitting on this supporting wall. I tried to identify a possible geological process that could create such a complex and intricate alignment and came up empty every time.

In some respects our limited time on site was a blessing as I really had nothing to offer bar try and make sense of what was obviously a wall built to take the weight of the rock shelf, along with the huge accumulation of shaped rocks with sharp edges, flat faces and ninety degree angles. The technology needed cannot be found in any Original tool-kit, or so the experts claim. Either way for now, it was time to walk away and return to measure and analyse another day.

Which I did, it took another four months before the timing and finances allowed a return visit. If anything, getting to the entrance seemed even more dangerous, or I was getting older. Despite the decidedly longer pause heightened by visions of what a poorly placed right foot could lead to, coupled with the apparent ease at which my companion on site, Ryan, casually breached the chasm, I did remain in tact and vertical.

This time there was no intention to find a way in, all we were interested in was that one wall, anything else that may crop up was merely an afterthought. Since our last visit the damage created due to compression from above was even more evident. As before so many of the rocks laying on the floor and positioned, sometimes precariously, above were shaped and cut, but this was no more than more of the same and only reinforced what we already knew to be true.

The wall was still there and none the worse for wear, but that will change in time. The biggest shock was my inability to perform more than one task, it was so obvious the other three walls were always there. What wasn’t immediately apparent was how alike the walls actually were, the numbers denied anything other than a precision and repetition which could only come about through human hands and a metal blade.

The three base rocks vary close to 300 cms in length, but in height there is no more than a one centimeter difference. Wall 3 is 190 centimetres high, Wall 2 is exactly the same and Wall 1 is one centimeter smaller at 189 centimetres. It is remotely possible that this is merely a coincidence, but there is more than one match at hand. Wall 1 and Wall 2/4 form what we suspect to be the main entrance, the floor between is almost perfectly level, as is the rock shelve above. As such, it should come as no surprise Wall 1 measures 293 centimetres in height, while Wall 2/4 is one centimeter shorter at 292 centimetres.

Being beneath and outside the main entrance thus possibly acting more as a support for the two inner walls, Wall 3 is down the slope and had to be built higher to support the weight of the 180 degree flat roof. This wall is 317 centimetres high and 354 cms in length. Being the furthest from the massive block of sandstone pushing against Wall 1, Wall 3 exhibits the least damage. All four layers of blocks that make up Wall 3 are complete, the bottom foundation stone is 354x190 cms, and the three layers above are basically of the same dimensions. The stone above the base block measures 354x40 cms, above that it is 354x43 cms, and the top stone, which takes the considerable weight of the sandstone above, is almost identical measuring 354x44 cms. Each shaped block is level top and bottom creating an almost seamless join.

To begin with, Wall 2 was all there was, and as it was with Wall 3, was made up of four layers. Constructed two metres up the slope, the foundation stone is exactly the same height as Wall 3 but 46 cms longer (400x190). In total the wall is 292 cms high and 489 cms at its longest point. The three horizontal layers above are not as high as those in wall 3 and need to compensate for the 25 cm rise in the floor level so that this wall can share the load with Wall 3 of the flat sandstone shelf/ceiling. The second level is made of two blocks, one 44 cmsx21 cms and the adjoining block 182 cmsx21 cms. The third layer is made up of five rectangular rocks, 20x15 cms, 25x15 cms, 59x15 cms, 65x15 cms and 77x15 cms. Being quite narrow it is quite possible there may have been two or maybe three blocks when originally constructed, but due to age and slippage above these rocks could have cracked and split. The two capstone rocks above are much thicker and obviously separate to begin with, measuring 264x66 cms and 285x66 cms.

Of particular interest, and what was originally the primary focus of this excursion into country, was that the lines and seams evident on the face of Wall2 span around the corner and along the face of Wall 4. It is for that reason we saw no purpose in measuring this wall, they are identical to Wall 2. Moreover, we detected between layer two and three what looks suspiciously like mortar.

As we downed tools and pencils and began to walk away, we did so with mixed emotions and an uneven scorecard. Although fully satisfied with what was measured, recorded, drawn and deduced, when we paused and looked back both of us felt compelled to raise the same issue: the incredible weight of the overlaying sandstone shelf sitting atop three supporting walls. Flat is flat, and 180 degrees is 180 degrees sitting on a 45 degree slope. The three walls take the weight evenly and the rocks share angles, edges numbers well beyond the realm of coincidence.

The real problem for any critic claiming this is all an unusual instance of natural geological processes, is that the degree of the descent (approximately 45 degrees)is in contradiction with three straight parallel walls and the quantity of rocks with straight lines and right angles. If hundreds of tonnes of sandstone was sliding down the hill, any stationary rock, no matter what the size, will experience pressure in greater degrees increasing from bottom to top. As such, any resulting fractures should not run in straight lines and right angles, which must be in direct opposition to the spread of force from above.

In our opinion there is only question left to determine: before or after? Were the walls built first then the rock platform placed on top, or was the shelf already jutting out, with the walls and tunnels fashioned around and into the existing sandstone? Whatever the answer, it is ancient and was constructed through the application of tools and technology supposedly not present in this country before the British Invasion.

Unlike many other sites, the hazards of access and severity of slope where standing upright unassisted is nigh on impossible guarantee vandals and those lacking respect will never find this sacred place. The greatest problem is not arrogance but gravity, which has its own agenda. The time will soon come when the remaining ten metres of tunnel will narrow and seal, the wall bearing the brunt of this descent is beginning to crack and crumble, and no doubt Walls 2 and 4 will eroded down the same path.

In closing, we will briefly examine the most pressing issue, who made this? There is no less than 19.77 metres of wall underneath a massive sandstone shelf that just shouldn’t be there if the texts and curriculums are correct. At the very least metal blades and refined masonry skills are essential even if this was built on a flat platform, the difficulties in construction are magnified many times over on a slope with such a dramatic incline. We have already identified many artefacts, engravings and constructions in the immediate area that bear an ancient Egyptian influence or input, and it is possible they were responsible. As radical as that may appear, we regard their involvement as the more conservative option.

When Klaus Dona directed us to this site, we were successful. Then he sent us another out of the way location to investigate, once again another hit and we actually found something even more amazing (more of that soon). Problem is two out two sounds impressive, but there are over 140 more sites yet to investigate in the same general area. There was something absolutely massive here, a huge complex of which these three walls at this site, the walls and that decidedly odd rock at the other site, are merely an opening gambit. Egyptian … well it is possible, remotely so, but we are more inclined to look much, much further back in time and not so readily discount talk of the earlier civilisations of Atlantis and particularly, Lemuria or Mu.

Irrespective of the merits of our musings this construction is not natural, not made after the Invasion, but well before, nor could it be created through the use of any version of Original stone and stick technology. These are facts not opinions, what also cannot be denied is that what was built in Australia in ancient times at this site opens up a new page in world history.

Another Block in the Wall - History

On Veterans Day 1996, the Vietnam Veterans Memorial Fund (VVMF) unveiled a replica of the Vietnam Veterans Memorial in Washington, D.C., designed to travel to communities throughout the United States. Since its dedication, The Wall That Heals has been displayed at nearly 700 communities throughout the nation, spreading the Memorial’s healing legacy to millions.

Bringing The Wall home to communities throughout our country allows the souls enshrined on the Memorial to exist once more among family and friends in the peace and comfort of familiar surroundings. The traveling exhibit provides thousands of veterans who have been unable to cope with the prospect of facing The Wall to find the strength and courage to do so within their own communities, thus allowing the healing process to begin.

The main components of The Wall That Heals are The Wall replica and the mobile Education Center.

Roger Waters tells Facebook “no fucking way” after request to use ‘Another Brick In The Wall’ in new ad

Roger Waters and Mark Zuckerberg. CREDIT: Vittorio Zunino Celotto/Getty Images, Drew Angerer/Getty Images

Pink Floyd co-founder Roger Waters gave a firmly negative response to Facebook’s request to use ‘Another Brick In The Wall’ in an upcoming ad for Instagram.

Speaking at a forum in support of Wikileaks founder Julian Assange, as reported by Rolling Stone, Waters read out an email he claimed to have received from Mark Zuckerberg requesting the right to use the song.

“It’s a request for the rights to use my song, ‘Another Brick in the Wall, Pt. 2’ in the making of a film to promote Instagram,” Waters said.

The letter allegedly said that the team at Facebook “feel that the core sentiment of this song is still so prevalent and so necessary today, which speaks to how timeless the work is”.

“¡Vete a la chingada!”: @rogerwaters a Mark Zuckerberg. El músico contó que le ofrecieron “una gran cantidad de dinero” por permitir el uso de Another brick in the wall II para promover Instagram. Lo narró en un acto por la libertad de Julian Assange (@Wikileaks)#VideosLaJornada

&mdash La Jornada (@lajornadaonline) June 12, 2021

“So it’s a missive from Mark Zuckerberg to me,” Waters continued, “arrived this morning, with an offer of a huge, huge amount of money, and the answer is – fuck you! No fucking way!

“And I only mention that because it’s the insidious movement of them to take over absolutely everything.”

“So those of us who do have any power,” he continued, “and I do have a little bit – in terms of control of the publishing of my songs I do anyway. So I will not be a party to this bullshit, Zuckerberg.”

He went to call Zuckerberg “one of the most powerful idiots in the world” before saying, “how did this little prick, who started off by saying, ‘She is pretty, we’ll give her a 4 out of 5,’ ‘She’s ugly, we’ll give her a 1’ – how the fuck did he get any power in anything?”

Waters has recently found himself in dispute with ex-bandmate David Gilmour around Pink Floyd’s 1977 album ‘Animals’.

Waters claimed that Gilmour wanted the liner notes of the remastered album to be kept a secret so that Gilmour could allegedly “claim more credit…than is his due”.

Unsurprisingly, Gilmour has also recently poured cold water on rumours of a reunion of the band, saying in March, “It has run its course, we are done.”

The Number Ones: Pink Floyd’s “Another Brick In The Wall (Part II)”

Something interesting happened in the 󈨔s: Progressive rockers became pop stars. All through the 󈨊s, many of rock’s more virtuosic musicians moved into triple-gatefold concept-LP space-out territory, pushing past psychedelia and into the heart of the sun. This music was often hugely popular the biggest prog bands sold millions and toured stadiums. But an instrumental neo-classical zone-out that took up a whole LP side wasn’t exactly the kind of thing that often got radio play. In the 󈨊s, prog was its own corner of the music universe. For the most part, it didn’t intersect with pop.

In the 󈨔s, though, prog giants like Genesis and Yes changed course and started making bright, accessible, expensive-sounding yuppie pop. There were a lot of reasons for that, and we’ll get into them as this column gets into the decade. (Genesis and Yes will both appear in this column.) But at the dawn of the 󈨔s, the world got a sort of preview of what was about to happen. By the late 󈨊s, Pink Floyd, the British band who arguably popularized the entire idea of prog, were one of the biggest album-sellers on the face of the planet. Their 1973 LP The Dark Side Of The Moon, for instance, was a US #1, and it eventually spent 14 years on the Billboard album charts, breaking a record that had previously been set by a Johnny Mathis greatest-hits album. At this point, Dark Side is by far the longest-charting album in Billboard history nothing else even comes close.

But Pink Floyd were never a singles band. This was very much by design. Floyd made grand and pretentious statement-albums, and they weren’t much into the idea of anyone isolating little pieces of those albums and selling them to the public. After 1968’s “Point Me At The Sky,” Pink Floyd went over a decade without releasing a single in the UK. In the US, they made it to #13 with 1973’s “Money,” but that was their only Hot 100 hit until “Another Brick In The Wall (Part II),” the song that gave them their first and only #1 on both sides of the Atlantic.

By the time they scored their one chart-topping single, Floyd had lived a whole life, and they were on the verge of breaking apart. Some version of the band had existed since 1963, when Roger Waters and Nick Mason met in London architecture school. The band started out under playing R&B covers at parties under the name Sigma 6. In the next few years, they added a few new members, including Syd Barrett, a charismatic art-student guitarist who’d been childhood friends with Waters. They went through a bunch of different band names. They found London club residencies and managers willing to spend a whole lot to buy them good instruments. They became Pink Floyd somewhere around 1967. In short order, they signed to EMI.

Pink Floyd were one of the first British bands playing San Francisco-style acid-rock, complete with light shows. Their dazed, drug-fried sensibility is all over 1967’s The Piper At The Gates Of Dawn, their first album. All the drugs were too much for Syd Barrett, whose LSD consumption and depression were enough to make him completely shut down. The band reluctantly ousted Barrett in 1968, replacing him with guitarist David Gilmour, and then they wrote a whole lot of albums about how sad they were to be without him.

Pink Floyd had been huge in the UK from the jump all their albums had gone top-10 over there. In the US, The Dark Side Of The Moon was the breakout. The two albums that the band released after that, 1975’s Wish You Were Here and 1977’s Animals, were both huge American successes. By the beginning of 1977, they were touring American stadiums, bringing their famously elaborate stage productions with them. They hated all of it.

You’d be hard-pressed to find a successful rock band more consistently miserable than Pink Floyd. The members of the band fought bitterly over credit and control. They blew through the money that they were making, to the point where they had to come up with something in 1979 because of bad contracts and tax issues. Roger Waters, who’d wrestled the dominant-songwriter position away from his bandmates, fantasized about shutting himself off from the audience, and his disdain came to a head at a 1977 show in Montreal, where Waters, pissed off about a group of front-row fans rocking out too hard, spat at one of them. This wasn’t fun punk spitting it was fuck you, I hate you spitting. This was the impulse that led to The Wall.

The Wall, Pink Floyd’s absurdly ambitious 1979 double LP, was a concept-album rock opera about a depressed and angry rock star who’s been traumatized by various forces in his life — the death of his father, his smothering mother, his oppressive schooling, an infidelity-wracked marriage — and who eventually becomes a kind of fascist dictator. (The rock star’s name was Pink Floyd, which irritatingly means that all the clueless parents who called Pink Floyd a “him” and not a “them” were not technically incorrect.) Waters based the lead character on both himself and Syd Barrett. He wrote the whole thing alone before presenting it to the rest of the band, who went along with it even though they resented him.

In a canny move, Waters enlisted the help of the producer Bob Ezrin, who’d never worked with Floyd but who had plenty of experience making theatrical and high-concept rock music. Ezrin had worked extensively with the hugely successful Alice Cooper, helping Cooper and his band find their sound, and he’d also produced the 1976 KISS blockbuster Destroyer. Ezrin co-produced The Wall with Waters and Gilmour. He helped Waters turn The Wall into a half-coherent narrative, and he performed the difficult task of getting the mostly-estranged bandmates to work with each other. (This was not an entirely successful effort. The band fired keyboardist Richard Wright mid-production, though he stayed on as a session musician and even toured with them afterward.)

Where Roger Waters had envisioned “Another Brick In The Wall (Part II)” as a solo-acoustic number, Ezrin had the idea to put a beat to the song. He told Gilmour to go out to clubs and to check out the sound of disco music. Gilmour hated what he heard, but he helped the band come up with some version of it anyway. In its final form, “Another Brick In The Wall (Part II)” has a sort of clumsy sidelong strut to it. The beat isn’t strong, but it at least exists, which isn’t something that happened on too many Floyd songs. Nobody would mistake it for disco, but in its four-four pulse and in the quiet murmurs of Waters’ bass, you can at least hear some distant echo in there.

Of course, Pink Floyd were not interested in the sort of mass euphoria that disco promised. Instead, it’s a dour bummer of a song, a snarled protest against the harsh rigors of British schooling in the 󈧶s. There are three parts of “Another Brick In The Wall” on The Wall, and “Part II” immediately follows “The Happiest Days Of Our Lives,” Waters’ disgusted caricature of “certain teachers” who’d made his life hell more than 20 years earlier. (I always heard both songs played together as one on the radio.) Waters and Gilmour sang lead on the song together, and Waters played the voice of the evil Scottish schoolmaster, shrieking at the kids that they can’t have any pudding if they don’t eat their meat.

Waters had only written one verse for “Another Brick In The Wall (Part II),” and he bristled at Ezrin’s suggestion that the song could be a single. But Ezrin had a vision for the song. He’d worked with a kids’ choir on “School’s Out,” Alice Cooper’s immortal 1972 banger. (“School’s Out” peaked at #7. It’s a 9. “School’s Out” is one of Cooper’s two highest-charting singles another Cooper single, 1989’s “Poison,” also peaked at #7. “Poison” is an 8.) Ezrin had a friend record a choir of kids at the nearby Islington Green School as they sang that first verse again, and then he edited it into an extended version of the song. Floyd loved the new version of the song, and they agreed that it could be a single.

The kids really do add something to the song. It’s one thing to hear a couple of rock stars in their mid-thirties singing that school is bullshit. It’s another to hear a whole horde of kids singing the same thing in exaggerated Cockney accents. Pink Floyd definitely earned plenty of goodwill by blowing millions of minds in the 󈨊s, and it was certainly a novelty to hear them going a tiny bit disco. But I think those kids are key to the success of “Another Brick In The Wall (Part II).” They’re just fun to imitate.

Every time a song hits #1 these days, people talk about how that song rose on the strength of a meme. But memes existed before the advent of the internet. They were just fun things that caught on with a whole lot of people at the same time. The kids on “Another Brick In The Wall (Part II)” were, I believe, the 1980 version of a meme. (The kids, incidentally, were not paid. This became a bit of a news story at the time. Pink Floyd sent albums, singles, and concert tickets to all the kids, and they made a £1,000 payment to the school. But the kids didn’t get royalties until decades later, when they successfully pushed for them after various changes in British copyright law.)

It’s probably instructive to compare “Another Brick In The Wall (Part II)” to Alice Cooper’s “School’s Out,” that previous Bob Ezrin production. Both songs have the same essential message: School sucks. (This message is entirely correct. Fuck school, and fuck all the certain teachers who, over the decades, have taken advantage of whatever power they had.) Both songs had instant constituencies in every kid who hated school, which is to say every kid. But Alice Cooper had fun with that message. He growled, he sneered, he joked, and he had a gargantuan hammerhead riff behind him.

Floyd, on the other hand, take themselves way more seriously. In its own way, “Another Brick” is funny, though I’m not sure that’s intentional. (Pudding? What the fuck?) The song is tough and impassioned, and it builds to a couple of cool moments — the hey teacher! on the chorus, the arrival of the kids’ choir. It has a simple but hugely memorable central melody. It has one of those guitar solos where every note sticks in your head, which makes it ideal for air-guitar purposes. And the song pulls off the rare concept-album trick of serving the overarching narrative while still working as its own discrete piece of music.

But “Another Brick In The Wall” is just not a great rock song. Musically, it’s watery and inert. Pink Floyd build up tension, but they never release it. David Gilmour’s solo is impressive in its own way, but it adds no fire to the song it’s too crisp and noodley. Waters and Gilmour sing the song with a dark detachment that’s utterly lacking in charisma the kids’ choir really bails them out. It’s dour and heavy and at least a little bit boring. Everytime “Another Brick In The Wall” shows up in some new trailer for some new high-school horror movie — as in the New Mutants adaptation that’s been delayed so many times that I can’t believe it’ll ever come out — I roll my eyes so hard I look like the Undertaker.

But “Another Brick In The Wall (Part II)” did its job. It sold the hell out of The Wall. The Wall went on to become, per Billboard, the highest-selling album of 1980 in the US. It moved more units than the Eagles’ The Long Run or Michael Jackson’s Off The Wall or Billy Joel’s Glass Houses. To date, The Wall has sold something like 30 million copies globally it’s one of the biggest-selling albums of all time.

The Wall also launched a truly freaky 1982 movie adaptation from Bugsy Malone/Midnight Express director Alan Parker. Boomtown Rats frontman Bob Geldof played Pink Floyd (the man, not the band), and the film introduced the nightmarish vision of cartoon teachers running kids through meat grinders. The Wall did middling box-office business — it was up against stuff like E.T. — but it went on to become the kind of film that 12-year-olds show each other at sleepovers to freak each other out.

Pink Floyd didn’t last long after The Wall. The band toured arenas, playing the album in full every night, but they lost money on the enterprise because of the expensive production, which involved giant balloon versions of different characters from the album’s narrative. They barely spoke to each other on the road. Floyd never released another top-40 single, and Roger Waters left the band after one more album, 1983’s The Final Cut. Then he got into a bunch of court battles with his ex-bandmates over the rights to the name. Different configurations of Pink Floyd sporadically continued to release music, though 2014’s mostly-instrumental The Endless River is supposedly going to be their last album. Waters still takes The Wall on tour whenever he feels like it, and he reunited with his old Pink Floyd bandmates for one show at London’s Live 8 in 2005. He’s richer than anyone you will ever meet in your entire life.

“Another Brick In The Wall (Part II)” does not sound much like the proggiest prog that Pink Floyd ever made. It doesn’t sound much like the high-impact pop music that Pink Floyd’s prog peers would make in the years ahead, either. It’s a halfway point, a waystation on the road to the land of confusion. We’ll get there soon enough.

BONUS BEATS: Here’s Korn’s cover of all three parts of “Another Brick In The Wall,” from their optimistically titled 2004 collection Greatest Hits, Vol. 1:

(Korn have never had a top-10 hit. Their highest-charting single, 2003’s “Did My Time,” peaked at #38.)

THE NUMBER TWOS: The Spinners’ joyous Motown/disco hybrid beast “Working My Way Back To You / Forgive Me, Girl” peaked at #2 behind “Another Brick In The Wall (Part II).” It’s an 8.

Pink Floyd's Roger Waters Tells Facebook To Eff Off Over Request To Use 'Another Brick In The Wall Part 2' In A Commercial

Ahhh celebrities, they're just like us, and by just like us, I mean they also apparently despise Facebook with a burning passion. While many of us can't do much about our disdain for the highly controversial platform short of deactivating our accounts and joining TikTok instead, it seems there is one person who can effectively tell the site's founder Mark Zuckerberg to go f*** himself – none other than legendary Pink Floyd co-founder, Roger Waters.

While attending a press event in support of Wikileaks founder and notable nuisance to those working at Ecuador's London Embassy, J ulian Assange, Waters says the platform recently approached him offering an absurd sum of money to use “Another Brick in the Wall, Part 2” for an advertisement, a proposition which evidently ticked him the hell off.

"It arrived this morning, with an offer for a huge, huge amount of money," Waters recalled. Even with this mysterious, albeit apparently massive price tag, it seems the artist still couldn't be swayed. "And the answer is, 'F*** you. No f***in' way.'" So why, exactly did he turn down this sum? None other than the site's broad reach – and his seemingly personal disdain for the Zuck.

“I only mention that because this is an insidious movement of them to take over absolutely everything,” Waters continued. "I will not be a party to this bullshit, Zuckerberg."

Although Facebook has yet to comment on the story, legend has it that if you listen closely, you can hear a gentle weeping echoing from the corner office of the company's Silicon Valley offices.

For more internet nonsense, follow Carly on Instagram @HuntressThompson_ on TikTok as @HuntressThompson_, and on Twitter @TennesAnyone .

Pink Floyd's Roger Waters Told Mark Zuckerberg To Go Fuck Himself, And That He Couldn't Use "Another Brick In The Wall" For "Facebook's Bullshit"

Rolling Stone - Roger Waters told the press at a recent pro-Julian Assange event that Facebook approached him about using the 1979 Pink Floyd classic “Another Brick in the Wall, Part 2” in an upcoming advertisement for Instagram.

“It arrived this morning, with an offer for a huge, huge amount of money,” Waters said. “And the answer is, ‘Fuck You. No fuckin’ way.'”

“I only mention that because this is an insidious movement of them to take over absolutely everything,” he continued. “I will not be a party to this bullshit, [Mark] Zuckerberg.”

Facebook did not immediately respond to Rolling Stone‘s request for comment.

During the event, Waters read from a letter that he says came from Facebook. “We want to thank you for considering this project,” he read. “We feel that the core sentiment of this song is still so prevalent and so necessary today, which speaks to how timeless the work is.”

“And yet, they want to use it to make Facebook and Instagram more powerful than it already is,” he replied, “so that it can continue to censor all of us in this room and prevent this story about Julian Assange getting out into the general public so the general public can go, ‘What? No. No More.'”

God I LOVE this move from Roger Waters. Not only telling the android to go fuck himself behind closed doors, but making sure the public knows about it.

Adding in the fact that Zuck tried to throw Pink Floyd an ungodly amount of money, but the hatred for the facebook, Instagram, and everything else Zuckerberg has cursed this world with runs so deep that it was a total non-starter.

(sidebar - Back in high school I used to be the thing I hate today, one of those people that wrote something off based on disliking people that liked it. In this case it was Pink Floyd. Never gave them a chance because a few kids I knew were hardcore into them when I was younger and I thought they were weirdos. Turned out I was the loser and they knew what the fuck was up. But you live and you learn right? In the Blackout Tour days when Gaz and I basically lived together for four years, he put me on to Pink Floyd. The live sets from Pompeii, Knebworth, and the Pulse movie completely blew my mind. I instantly regretted taking so long to realize how earth-shattering Pink Floyd's music was.)

The best part, is Waters didn't just stop there.

Waters ended his diatribe by bringing up FaceMash, the pre-Facebook website that Zuckerberg created at Harvard in 2003 to compare the looks of women on campus. The incident was dramatized in the 2010 film The Social Network. “How did this little prick who started out as ‘She’s pretty, we’ll give her a four out of five, she’s ugly, we’ll give her a four out of five,’ how did we give him any power?” Waters asked. “And yet here he is, one of the most powerful idiots in the world.”

1- prick is a very underused word

2- PREACH Mr. Waters! Preach!

The theory that the facebook is actually a CIA-designed system put in the hands of Zuckerberg to be the figurehead looks less and less like a conspiracy theory by the day.

And before you jump to the conclusion that Waters is just one of those egotistical artists that thinks his work is priceless and won't degrade it by allowing commercial entities to deface it, he's not.

Cue the classic Dole Banana commercial

and he also cleared "Another Brick in The Wall Part 2" for the king Eric Prydz

9c. Han Dynasty &mdash Cultural Heights

The giant panda lived for centuries in China's bamboo forests, and were regarded as semi-divine during the Han dynasty. They are now an endangered species.

After the fall of the Shang dynasty in 1111 B.C.E., the succeeding dynasties of the Chou (1111-221 B.C.E.) and the Ch'in (221-206 B.C.E.) continued the great advances made by the early Chinese. Building techniques improved, and the use of iron became common. A system of hydraulics was used to dig riverbeds deeper, reducing the number of floods that destroyed farmland and endangered lives.

However, during these dynasties there were also times of great disunity. Feudalism became popular during the Chou dynasty, a practice in which the king shared his power with lords, who in turn paid the king for their lands and titles. As the Chou dynasty weakened, lords fought among themselves. This Warring States period (403-221 B.C.E.) only ended when all of northern China was united under the Ch'in regime.

The ancient Chinese healing systems of acupuncture and acupressure use diagrams of points, called meridians, to direct energy flow throughout the body.

Although the Ch'in created needed change in China's government, they were harsh leaders. They supported the idea of Legalism, which taught that human nature could not be trusted, and only with strict laws and severe penalties could society be successful. After only fifteen years, the Ch'in dynasty collapsed, replaced by Liu Pang of the Han. It was he who gained control over the border states, and established one of the most successful periods in Chinese history, the Han dynasty, in 202 B.C.E.

The Rise of the Han

The Han dynasty immediately restored feudal lords to their positions of power. The Chinese people prospered in peace once again. Paper and porcelain were invented during the Han dynasty, as was the wheelbarrow. Legend states that paper was first created in 105 C.E., but archaeological evidence suggests that it was in use up to 200 years earlier. In comparison, paper was not widely circulated in the West until 1150 C.E., over one thousand years later.

The major achievements of the early Han dynasty revolve around the first emperor to reign under the Mandate of Heaven, Wu Ti. Emperors were under heaven's rule according to the mandate. Their success was based on the opinion of the gods. If the gods became unhappy with an emperor's rule, it was believed that signs would be sent to the Chinese people, usually in the form of natural disasters. In this event, the emperor lost the Heavenly Mandate, and was usually overthrown.

The gods must have looked upon Wu Ti favorably, as he reigned for 54 years from 140-87 B.C.E, expanding the borders of China into Vietnam in the south and Korea in the north. However, it was his westward expansion that most influenced what became the Han Empire.

Westward Ho!

Wu Ti had heard rumors of powerful and wealthy lands to the west. In 138 B.C.E. the emperor sent the explorer Chang Ch'ien with a party of 100 men to search the western frontier. Thirteen years later, Chang Ch'ien returned with only one of the original 100 men and told amazing stories of capture and imprisonment in central Asia. Although he did not succeed in reaching the lands of Persia, Arabia, or the Roman Empire, Chang Ch'ien did learn plenty about them.

Wu Ti sent Chang Ch'ien to central Asia again a few years later, this time to make alliances using gifts of cattle, gold, and silk. Wu Ti's chief historian, Ssu-ma Ch'ien, later kept a record of these journeys and much more in his work called the Shiji (Records of the Historian). The Shiji chronicles the history of China from the Xia dynasty up to the reign of Wu Ti.

Chang Ch'ien's journeys began the widespread use of the trade route known as the Silk Road. Reaching as far west as the Caspian Sea, goods such as ivory, glass, wool, tapestries, exotic fruits and vegetables, precious metals and stones, even animals such as elephants and lions were imported into China. In return, foreign traders received furs, spices, jade, iron, ceramic, and bronze objects, as well as the much sought after silk. By the 1st century C.E., silk clothing became the style and obsession of Roman citizens.

Another Brick in the Wall

Arguably the greatest achievement in all of Chinese history continued during the Han dynasty &mdash the construction of the Great Wall of China. Originally begun during the Ch'in dynasty, Wu Ti restored the wall, and continued it another 300 miles into the Gobi Desert to protect against attacks from central Asia. The Gobi Desert section was made with stamped earth and reinforced with willow reeds.

Chinese artisans learned the secret of creating porcelain during the Han period. Europeans figured out the same secret . in 1709.

Yet the Great Wall has survived 2,000 years of invasion and erosion, spanning over 4,500 miles through northern China at the time of its completion. It is now regarded as one of the wonders of the world. The Great Wall came at a high price. At the height of its construction, one mile of wall was created each day, at an average cost of 10 lives per mile.

Pink Floyd’s Waters rejects Facebook’s bid to ‘become more powerful’ with ‘Another Brick in the Wall Part 2’

Mark Zuckerberg is a “little prick” who became “one of the most powerful idiots in the world,” Pink Floyd founding band member Roger Waters said in rejecting Facebook’s attempt to buy a Pink Floyd song for an Instagram ad.

Roger Waters, left, and Mark Zuckerberg

Waters said Facebook had offered “a huge, huge amount of money” to use Pink Floyd’s 1979 classic “Another Brick in the Wall Part 2” in an Instagram ad, but Waters wasn’t having it. (Facebook acquired Instagram in 2012.)

“And the answer is, ‘F–k you. No f—-n’ way,’ ” Waters said. “I only mention that, because this is an insidious movement of them to take over absolutely everything … I will not be a party to this bullshit, Zuckerberg.”

Waters said that Zuckerberg’s goals openly conflict with the message of the song.

During an appearance at an event supporting WikiLeaks founder Julian Assange, Waters said he received the request for the song via a letter allegedly from the Facebook CEO and founder.

“We feel that the core sentiment of this song is still so prevalent and so necessary today, which speaks to how timeless the work is,” the musician read from the letter in front of some press members.

“And yet they want to use it to make Facebook and Instagram more powerful than it already is so that it can continue to censor all of us in this room and prevent this story about Julian Assange getting out into the general public so the general public can go, ‘What? No. No More,’ ” he said.

Waters also got in a shot at FaceMash, the hot-or-not-style-rating site Zuckerberg started at Harvard that eventually evolved into Facebook.

“How did this little prick who started off by saying, ‘She’s pretty, we’ll give her a 4 out of 5, she’s ugly, we’ll give her a 1,’ how the … did he get any power?” the musician said. “And yet here he is, one of the most powerful idiots in the world.”

Pink Floyd’s Waters rejects Facebook’s bid to ‘become more powerful’ with ‘Another Brick in the Wall Part 2’ added by World Tribune on June 16, 2021
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Did you know? On October 22, 1961, a quarrel between an East German border guard and an American official on his way to the opera in East Berlin very nearly led to what one observer called "a nuclear-age equivalent of the Wild West Showdown at the O.K. Corral." That day, American and Soviet tanks faced off at Checkpoint Charlie for 16 hours. Photographs of the confrontation are some of the most familiar and memorable images of the Cold War.

Even though Berlin was located entirely within the Soviet part of the country (it sat about 100 miles from the border between the eastern and western occupation zones), the Yalta and Potsdam agreements split the city into similar sectors. The Soviets took the eastern half, while the other Allies took the western. This four-way occupation of Berlin began in June 1945.

Another Block in the Wall - History

The early Sixties. Everything is up in the air, not least love, drugs and sex. A group of talented teenagers from academic backgrounds in Cambridge — Roger 'Syd' Barrett, Roger Waters and David Gilmour — are all keen guitarists and among many who move to London, keen to discover more of this new world and express themselves in it. Mainly in further education — studying the arts, architecture, music — they mix with like-minded incomers in the big city.

In 1965, Barrett and Waters meet an experimental percussionist and an extraordinarily gifted keyboards-player — Nick Mason and Rick Wright respectively. The result is Pink Floyd, which more than 40 years later has moved from massive to almost mythic standing.

Through several changes of personnel, through several musical phases, the band has earned a place on the ultimate roll call of rock, along with the Beatles, the Stones and Led Zeppelin. Their album sales have topped 250 million. In 2005, at Live 8 — the biggest global music event in history — the reunion of the four-man line-up that recorded most of the Floyd canon stole the show. And yet, true to their beginnings, there has always been an enigma at their heart.

Roger 'Syd' Barrett, for example. This cool and charismatic son of a university don was the original creative force behind the band (which he named after the Delta bluesmen Pink Anderson and Floyd Council). His vision was perfect for the times, and vice versa. He would lead the band to its first precarious fame, and damage himself irreparably along the way. And though the Floyd's Barrett era only lasted three years, it always informed what they became.

These were the summers of love, when LSD was less an hallucinogenic interval than a lifestyle choice for some young people, who found their culture in science fiction, the pastoral tradition, and a certain strain of the Victorian imagination. Drawing on such themes, the elfin Barrett wrote and sang on most of the early Floyd's material, which made use of new techniques, such as tape-loops, feedback and echo delay.

Live, the Floyd played sonic freak-outs — half-hidden by new-fangled light-shows and projections — with Barrett's spacey lead guitar swooping over Waters' trance-like bass, while Wright and Mason created soundscapes above and beneath. On record they were tighter, if still 'psychedelic'. Either way, they sounded 'trippy'. And perhaps that was Barrett's intention. He certainly ingested plenty of LSD and other drugs, which didn't help his delicate mental balance.

Over the spring of 1966, the young band were regulars at the Spontaneous Underground 'happenings' on Sundays at the legendary Marquee Club, where they were spotted by their future managers Peter Jenner and Andrew King. And by the autumn, the Floyd had become the house band of the so-called London Free School in west London.

A semi-residency at the All Saint's Hall led to bigger bookings — at the UFO and the International Times' launch in the Roundhouse — as well as the recording of the instrumental 'Interstellar Overdrive' with the UFO's co-founder, producer Joe Boyd. (This track was later used on hip documentaries of the scene.) A signing to EMI followed in early 1967.

"We want to be pop stars," said Syd. In March, Boyd recorded Barrett's oddly commercial 'Arnold Layne' as a three-minute single. And with a Top Twenty hit to promote, the band took on a gruelling schedule of gigs and recordings.

They appeared at the coolest event of the summer, The 14-Hour Technicolor Dream in Alexandra Palace. They gave a concert under the banner 'Games for May' in a classical venue — the Queen Elizabeth Hall — where they displayed their theatrical ambitions through the use of props, pre-recorded tapes and the world's first quadraphonic sound system. (They received a lifetime ban for throwing daffodils into the audience.) And in June the Floyd released a single originally written for this event.

'See Emily Play', which was produced by EMI's Norman Smith, charted at Number Six and made it on to primetime TV's Top of the Pops three times (with Barrett acting increasingly strangely). This was followed in August by Pink Floyd's first LP, The Piper At The Gates of Dawn, which they recorded at Abbey Road next door to the Beatles, then working on Sergeant Pepper. Again making the Top Ten, the album is mainly Barrett's and is a precious relic of its time, a wonderful mix of the whimsical and weird.

Talking of which, Barrett's behaviour and output were threatening to bring the band down with him: refusing to speak, playing one de-tuned string all night, writing material like 'Scream Thy Last Scream, Old Woman with a Basket'. The band wanted to keep their frontman and hoped he would recover himself, so they asked David Gilmour — now back in London after a sojourn abroad — to take over Syd's role on stage, and thought Barrett might become their off-stage songwriter. They tried a few gigs as a five-piece. But in the end, they decided they could do without Barrett, and by March 1968 were in their second incarnation and under new management.

Barrett went his way with Jenner and King, and later recorded two haunting solo albums — on which Waters, Wright and especially Gilmour helped — before retreating to Cambridge for the rest of his life. The other four acquired a new manager — Steve O'Rourke — and in a state of some consternation finished their second album, A Saucerful of Secrets (begun the previous year).

Lyrical duties had now fallen to the bassist Roger Waters. And apart from 'Jugband Blues' — a disturbing track by Barrett, who contributed little else — the album's standout moments included the title track and Waters' 'Set the Controls for the Heart of the Sun'.

This hypnotic epic signposted the style the band would expand on in the Seventies, its vision at first more appreciated by an 'intellectual' and European audience. The Floyd played the first free concert in Hyde Park, and laid down the soundtrack for the bizarre Paul Jones movie vehicle, The Committee. They toured continually, developing new material on stage as well as in the studio.

And they worked on the experience, in April 1969 revealing an early form of surround-sound at the Royal Festival Hall — their rebuilt 'Azimuth Co-Ordinator'. (The prototype, first constructed and used in 1967, had been stolen.) They worked on their concepts, too - at that concert, performing two long pieces fusing old and new material, entitled 'The Man' and 'The Journey'.

So their star continued its inevitable ascent. In July, the Floyd released More, less a soundtrack than an accompaniment to Barbet Schroder's eponymous film about a group of hippies on the drug trail in Ibiza. The same month, they played live 'atmospherics' to the BBC's live coverage of the first moon landing. In November, they released the double-album Ummagumma, a mixture of live and studio tracks — and that same month reworked its outstanding number, the eerie 'Careful With That Axe, Eugene', for Antonioni's cult film Zabriskie Point.

With Ummagumma at Number Five in the UK charts, and a growing reputation in both Europe and the US underground, the Floyd played some of the key festivals of their time — Bath, Antibes, Rotterdam, Montreux — and between October 1970 and November 1971, put out two more albums.

Atom Heart Mother, their first Number One, featured the Floyd in their pomp — 'I like a bit of pomp,' says Gilmour (who also made his first lyrical contribution with the gentle 'Fat Old Sun'). And Meddle included two timeless and largely instrumental tracks that showcased their lead guitarist in all his vertiginous, keening glory: 'Echoes', which took up the whole of Side One and began with a single 'ping' created almost accidentally by Wright, and 'One of These Days'.

Increasingly successful, in 1972 the band was still pushing the boundaries. They shot the film 'Live at Pompei' in a Roman amphitheatre, recorded another movie soundtrack for Schroder — Obscured by Clouds — and performed with the Ballet de Marseille. But more importantly, they began to work on an idea that would become their most popular album and with 45 million sold, the world's third biggest.

Provisionally entitled 'Eclipse' and honed through an extensive world tour, The Dark Side of the Moon was released in March 1973, and defies a potted critique here. Demonstrating Waters' talents as both lyricist and conceptualist, it was also a musical tour de force by Gilmour. But Waters was becoming de facto leader of the band — which in public at least was becoming less about the individuals than the experience.

That was (as Barrett had always intended) increasingly visual. The intriguing sleeve artwork commissioned from the ex-Cambridge outfit Hipgnosis was complemented by stage shows featuring crashing aeroplanes, circular projection screens and flaming gongs. There were backing singers on-stage and a guest slot for another pal from Cambridge, the saxophonist Dick Parry. In the dawning age of stadium rock, the Floyd were truly its masters.

Or maybe its servants? Even before Dark Side broke Middle America through FM radio — with the single 'Money' — alienation, isolation and mental fragility had long been Waters' themes. As a stadium performer, and a cog in the music business machine, he was becoming more prone to all three. As Barrett's ex-colleague, he had seen them embodied in his old friend. The results were evident in two of his best lyrics — for 'Shine On, You Crazy Diamond' and 'Wish You Were Here'. These tracks were the high points of the Floyd's next LP, also called Wish You Were Here, which was begun in January 1975 and released that summer.

Famously, Barrett briefly appeared unannounced at Abbey Road during the recording of 'Shine On' and shocked the band by his appearance and demeanour. It was the last time any of them saw him — but they were seeing less of each other, too. Personal and musical differences were starting to tell on the band, though it would be several years until these became unbearable — and two more LPs.

The first was Animals, released in January 1977 (although work had also begun on it in 1975). When this was toured with lavish special effects, including giant inflatables, Waters was dismayed that the crowds kept calling for old hits. In Montreal his patience snapped and he spat into the audience. It was a cathartic moment that gave birth to the Floyd's most ambitious project ever: The Wall, a largely autobiographical reflection by Waters on the nature of love, life and art.

The double album charts the progress of a rock star, 'Pink', facing the break-up of his marriage while on tour. This leads him to review his life from the death of his father - like Waters' killed on the battlefield before he was born - to his spiteful teachers, his business, even his audience. He sees each as a brick in a metaphorical wall between him and the rest of the world. This wall intensifies his isolation, until he imagines the only solution is to become a fascist dictator. When he confronts his madness and deals with his issues, his torments cease and the wall crumbles.

The show — in which the band were slowly obscured by a giant wall of cardboard 'bricks' — was the most ambitious the rock world had ever seen, and was also turned into an Alan Parker film, starring Bob Geldof (who would return to the Floyd story 25 years later). The album sold 20 million, and spawned the band's only Number One single, the anti-authoritarian 'Another Brick in the Wall, Part 2'.

Though the album had its musical highlights — Gilmour's solo on 'Comfortably Numb' being the most memorable — it was largely a lyrical piece. Waters drove the project and the others fitted in. They ceded their vision to his increasingly personal direction, and worked together on no new material for more than two years.

When they did get back in the studio, it was to record The Final Cut. This prophetically titled album, prompted by the Falklands conflict of 1982 and released the next year, explores themes of remembrance and the undelivered post-war dream — for which Waters' father had given his life. Completely credited to Waters, it was attributed to 'Roger Waters, performed by Pink Floyd' and featured Gilmour's vocals on one track.

After three years — during which all four band members had pursued solo projects — Waters announced he was leaving the Floyd and disbanding them. Wright had left the legal entity some time before, transferring to the payroll for The Wall tour and playing no part in The Final Cut, but Gilmour and Mason decided to continue Pink Floyd without its erstwhile 'leader'. A turbulent period followed, but agreement was eventually reached: Waters would continue to perform the songs on which he worked while he was with the band, as well as new solo material. Gilmour — now first among equals — and Mason would continue to record and perform with Wright as Pink Floyd.

In 1987 came their next album, A Momentary Lapse of Reason — which emphatically proved that the Floyd could exist without Waters. The subsequent world tour, which also spawned the live Delicate Sound of Thunder, was the band's longest and most successful ever. Over four years, 5.5 million people saw 200 shows, including one on a floating stage in Venice (which again earned them a venue-ban) while Thunder became the first rock album to be played in space, by the Soviet-French Soyuz-7 mission.

1994's album and tour, The Division Bell, broke similar records but more, it showed Gilmour and the band on a creative roll, with Wright contributing to some of the writing and Gilmour forging a new writing partnership with his wife, the novelist Polly Samson — 'High Hopes' being one of their new classics. However, since then, the Floyd has recorded no new material in the studio.

Not that they have been inactive — nor untouched by sorrows. In 2003, the band's manager Steve O'Rourke died from a stroke and the three-man Floyd played 'Fat Old Sun' and Dark Side's 'Great Gig in the Sky', at his funeral in Chichester Cathedral. In 2006, Syd Barrett died from pancreatic cancer. And in 2008 Rick Wright followed him — but not before he had helped re-write the Pink Floyd story a couple more times.

In 2005, prompted by Bob Geldof, the band decided to perform at Live 8 (on the 20th anniversary of Live Aid) and invited Waters to join them. He accepted and — sharing vocals with Gilmour — they played two numbers from Dark Side, plus 'Wish You Were Here' and 'Comfortably Numb'. It was an epoch-making moment in rock history, and their final group hug became one of Live 8's iconic images.

After that, the three-man Floyd performed together on two occasions — once during a solo gig by Gilmour in 2006 (Wright played the whole three-month tour and was 'in great form', says Gilmour) and again at an all-star memorial tribute to Barrett in 2007. Waters also appeared at the gig but was unable to join his old colleagues due to a previous appointment. Still, that was not the end of their association.

On 10 July 2010, with some of their favourite musicians, Waters and Gilmour performed a few Floyd songs — plus Phil Spector's 'To Know Him Is To Love Him'! — at a private charity event in Oxfordshire. And on 12 May 2011, during one of Waters' Wall concerts at the London O2, Gilmour appeared on top of the wall as of old, to sing and play his parts on 'Comfortably Numb'. Nick Mason, who was at the gig, then joined them for the final song, 'Outside the Wall'. Departing the stage, as they had before, Waters played trumpet, Gilmour mandolin and Mason tambourine. The audience was stunned and delighted.

But a handful of concerts was never going to sate the interest of the diehard fans. In 1995, they were rewarded with the double-album P•U•L•S•E, all recorded on the Division Bell tour and containing the first complete live version of Dark Side. A live compilation of The Wall from 1980-1 — called Is There Anybody Out There? — followed in 2000, and then a re-mastered 'best of', called Echoes. There have also been collectors' editions of Dark Side, a complete works box-set — Oh, By the Way — and now (autumn 2011) an extensive reissue campaign by EMI, with new packaging and production values, not to mention some rare and archival recordings that go back to the Barrett days.

Nor, as individuals, have the survivors from those times been strangers to the studio or stage these last dozen or so years (and before). Gilmour put out his third solo album, On an Island, in 2006 Waters has had a prolific and varied career since 1986 Mason and Wright released one or two collaborative albums respectively.

There have been awards and honours along the way: induction into both the US and UK Rock 'n' Roll Halls of Fame Sweden's Polar Music Prize in 2008 for their 'monumental contribution over the decades to the fusion of art and music in the development of popular culture'. And in 2010, The Royal Mail used Division Bell visuals on their stamps, also creating a unique sheet using only the Floyd's imagery.

So is that the end of the Floyd's road? Do they still exist? Yes, they do.

Watch the video: Pink Floyd - Another Brick In The Wall HQ


  1. Shagar

    Thank you so much, just something with comments on the blog, I managed to write the third time (

  2. Ulger

    Bravo, this wonderful phrase will come in just the right place.

  3. Darryll

    Still laughing!

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