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Daniel Konstantinov
Daniel Konstantinov

Is There Anybody Out There REPACK



The first half of the piece has the same concept of "Hey You", being a distress call from Pink. Musically, it's a droning bass synthesizer with various sound effects layered on top, and a repeating chorus of "Is there anybody out there?". The shrill siren-like sound effect used during this song is also used in an earlier Pink Floyd work, "Echoes". The noise is mimicking a seagull cry. The seagull noise was created by David Gilmour using a wah-wah pedal with the guitar and output leads plugged in the wrong way round.




Is there anybody out there



At this point in the plot, the bitter and alienated Pink is attempting to reach anybody outside of his self-built wall. The repeated question "Is there anybody out there?" suggests that no response is heard.


Sgt. Carter: All right, I'll take care of him part of the time.(This is where the next song in the album, "Nobody Home" starts.)Sgt. Carter: But there's somebody else that needs taking care of in Washington.Cpl. Chuck Boyle: Who's that?Sgt. Carter: Rose Pilchek.Cpl. Chuck Boyle: Rose Pilchek? Who's that?Sgt. Carter: 36-24-36. Does that answer your question?Cpl. Chuck Boyle: Yeah, but you still didn't tell me, who is she?Sgt. Carter: She was Miss Armoured Division of 1961. And she was still growing.Cpl. Chuck Boyle: I get the picture.Sgt. Carter: She's a waitress now; she dropped out of nursing school.Cpl. Chuck Boyle: Well how'd you get to meet her?


Originally, Waters wanted Floyd to perform behind the wall for much of the show, but during the development of the production, it was decided that the wall would be finished at the end of the first act -- in other words, at the end of the first record of the double album-set. The group devised ways to appear during the second half before the wall was torn down at the end -- David Gilmour played his "Comfortably Numb" solo on hydraulics, above the wall, and a hotel room with Waters brooding in a chair appeared during "Nobody Home." Nevertheless, the importance of the group, as such, was diminished. As they readily admitted, it could have been anybody playing behind that wall, and they did augment their lineup with guitarists Snowy White (for the 1980 tour) and Andy Roberts (the 1981 tour), bassist Andy Brown, drummer Willie Wilson, and Peter Woods. At the end, it didn't really matter who was playing, since the entire Wall extravaganza was about the experience. And, from all accounts, it was one hell of an experience -- how could it not be, with actual theatre, film, music, and huge dancing puppets all added to the spectacle of a regular Floyd show?


Pink Floyd knew they had something special, something worth preserving, and they intended to do so with a concert film, possibly book-ended with filmed narratives. That plan didn't come to fruition because the footage was botched. How could it not be? Not only were the crew trying to capture a production that was about the theatrical experience, much of the later portion of the show would have been film of a film, as Gerald Scarfe's animations were projected on the cardboard bricks. So, the film mutated into the solemn, scarily sober Alan Parker film that became an '80s cult favorite, while live documentation of The Wall remained the province of bootlegs. Until the 2000 release of Is There Anybody out There?, that is. Skillfully edited together from the handful of Wall shows Floyd performed between 1980 and 1981 (much of the recordings reportedly date from shows at Earl's Court in London), the album replicates The Wall live -- which, of course, was a replication of the record, only with visuals. There are two songs not on the record -- "What Shall We Do Now?," a tune pulled from the record at the 11th hour (early pressings still listed it on the sleeve), plus "The Last Few Bricks," which was an instrumental at the end of the first act that gave the crew time to finish building the wall -- but they really add no revelations. There are no revelations at all, actually, with the possible exception of the layered harmonies on "Outside the Wall," which makes this coda seem like a full-fledged song. Other than that, there are minor differences, from Gilmour guitar solos to Waters' vocal phrasing, but this plays exactly like the record. There are still the sonic details, spoken word pieces, and found noises, too -- the only difference is that there is some crowd noise, a few intros from the "Master of Ceremonies," and an ever so slightly rougher fidelity. Since the show was so rigidly structured, there was no opportunity for the band to stretch out and jam (something they were very good at), apart from a handful of slightly extended endings.


All of this means, naturally, that Is There Anybody Out There? is The Wall by any other name, and that it isn't for anybody but Floyd fanatics -- the kind that thrill to the little details, the little differences that separate this from the studio album, plus the lavish packaging (not just on the limited edition, either; the regular issue has two extensive booklets filled with new interviews by the band and associates). Will this disappoint the less-dedicated listener? Not necessarily, since it is a sharp, professional record -- and anybody that is familiar with The Wall will likely enjoy it as it's playing. The question is, how often will you put the record on? After all, anyone that will purchase Is There Anybody out There? will already have The Wall, and if they want to hear the piece, they'll listen to the studio recording since it is the original, full-realized version of the work. That doesn't really diminish the worth of Is There Anybody out There?, since it is a solid record, but it hardly makes it a necessary album, either.


About 2,000 years ago, just before the start of the Common Era, the Romans conquered Spain. The Roman Empire was powered by money, and the currency of the time was silver. Fortunately for the Romans, there were an ample number of silver mines in their new Spanish territory.


What sort of beacon would extraterrestrials use? The electromagnetic spectrum is large, ranging from low-frequency radio waves to high-frequency gamma rays. Fortunately, there's a practical limitation that narrows the possibilities: Earth's atmosphere blocks large portions of the spectrum. Cocconi and Morrison reasoned an advanced civilization would recognize our limitations and transmit something we could detect on the ground.


Tarter told me Big Ear's automated search program had no built-in logic to stop and focus on the Wow! signal. Furthermore, there was no confirmation system such as a second telescope located elsewhere, which could help determine whether the signal was local to Earth or truly from the stars.


In 2007, the Allen Telescope Array, named after its benefactor, Microsoft co-founder Paul Allen, went online at Hat Creek Observatory in northern California. Using digital technology to process incoming signals, the array was built with long-term scalability in mind. Early on, it collected more data than could be processed. Now, there is a near-match between data volume and processing power, and by the end of the project, SETI scientists should be data-starved.


"The truth is, I think people want to work on SETI," Wright said. "It's just that we all have to pay rent. People need a career path, and if there is no government funding for this, it's really challenging."


Among those who do work on SETI, there are generation gaps corresponding to the field's ups and downs. First came the pioneers, like Drake. A second generation is represented by Tarter, Horowitz and Werthimer. The latest group includes Wright and Siemion, but both are quickly becoming mid-career scientists. A fourth generation needs training.


Another advantage of all-sky surveys over targeted searches is that they also capture the void of space between stars and galaxies. If there's something unseen saying hello from the blackness, an all-sky search could pick it up.


Low-frequency arrays can, however, cover the entire sky all at once. For this reason, scientists like Dan Werthimer are increasingly interested in conducting SETI searches with arrays like MWA, "not necessarily because we think E.T. might be broadcasting there," but because the experience could be used to build higher-wavelength all-sky arrays like Horowitz envisioned.


Hearing nothing won't necessarily mean no one is out there; perhaps we aren't looking the right way. What if intelligent beings communicate using a form of energy stronger than gamma rays? Or chat via subspace, like on Star Trek?


[In this question type, IELTS candidates are provided with a list of headings, usually identified with lower-case Roman numerals (i, ii, iii, etc,). A heading will refer to the main idea of the paragraph or section of the text. Candidates must find out the equivalent heading to the correct paragraphs or sections, which are marked with alphabets A, B, C and so forth. Candidates need to write the appropriate Roman numerals in the boxes on their answer sheets. There will always be two or three more headings than there are paragraphs or sections. So, some of the headings will not be used. It is also likely that some paragraphs or sections may not be included in the task. Generally, the first paragraph is an example paragraph which will be done for the candidates for their understanding of the task.


It was not recorded at the same time as the orchestra. I was called in to play the song, but when I got to the studio there was nothing written. What David Gilmour played was something completely different.


"I love Spotify and I listen to Spotify a lot, but I don't think it's a very true representation of what MACHINE HEAD's fanbase really listens to," Flynn added. "Like, there's not a single song from 'The Blackening' on there [laughs] in the Top 10. I'm, like, 'Look, Spotify algorithm, that's not even fucking correct.'"


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