Pink Floyd mentions in recent MOJO magazine
One more Floyd-related post. The band was mentioned twice in the recent May 2005 issue of MOJO magazine. Both of these short sidenotes are now amusing to read in light of current events.
The first one appeared on page 51, in a side column titled "I Hate You So Much Right Now! Five More Bands Who Rucked As They Rocked", by Tom Doyle. The third band mentioned is Pink Floyd, and Doyle says:
"A born troublemaker, Roger Waters sidelined and then sacked keyboardist Rick Wright during the making of The Wall, hijacked the band for his own ends and then flounced out in 1985. Relations between Dave Gilmour and Waters have remained bitter since, with the former dismissing The Final Cut as 'cheap filler' and the latter calling The Division Bell 'awful'. Waters recently noted, 'We're both quite truculent individuals'. A reunion isn't anticipated."
Until now. The other mention came on page 56, in a sidenote to a Boomtown Rats article. This was titled "In The Pink: Bob Geldof looks back on the start of his short-lived acting career, in Pink Floyd's The Wall." This is what Geldof said:
"I had no ambitions to be an actor, but Alan Parker rang me up, which was very flattering because I loved Midnight Express. He said he was working on an adaptation of The Wall. Problem was, I didn't like the Floyd. I thought, bunch of hippies, get it together and make a bloody pop song. More pressingly, the script was flimsy to say the least. Nonetheless, my manager Fachtna was keen for me to do it, so while we were in a taxi, I pulled it out and challenged him to keep a straight face while I read it. Of course, he pisses himself laughing. But Parker doesn't stop pursuing me. They said, 'Meet up with Roger Waters', and I said, No, he's a c**t. But I go, and I like him very much. He says, 'I heard you don't like the Floyd.' I tell him that I love 'Arnold Layne' and 'See Emily Play', but beyond that I don't get it. He tells me if he'd had an idea like 'I Don't Like Mondays', he'd make it into an album. I tell him the whole point is that it's a pop song. Then he says, 'I believe you think the script is horrible' and I said 'Well yeah. That's why I don't want to do it. And I'm not sure I understand the album..." Gradually we start getting along great - we're both combative and snotty. Then he tells me how he knows I don't like the script. It turns out that the taxi driver when I'd been sneering at the script was Roger Waters' brother! How bizarre is that? Anyway, Waters is cool because I've never brown-nosed him. He goes into what it's about, and I sort of begin to see. The pay isn't very good, but I figure I'm never going to be asked to do a movie again. Looking back at it, it's mortifyingly embarrassing. I am completely c**tish in it. But it didn't stop me from being offered other parts."
The first one appeared on page 51, in a side column titled "I Hate You So Much Right Now! Five More Bands Who Rucked As They Rocked", by Tom Doyle. The third band mentioned is Pink Floyd, and Doyle says:
"A born troublemaker, Roger Waters sidelined and then sacked keyboardist Rick Wright during the making of The Wall, hijacked the band for his own ends and then flounced out in 1985. Relations between Dave Gilmour and Waters have remained bitter since, with the former dismissing The Final Cut as 'cheap filler' and the latter calling The Division Bell 'awful'. Waters recently noted, 'We're both quite truculent individuals'. A reunion isn't anticipated."
Until now. The other mention came on page 56, in a sidenote to a Boomtown Rats article. This was titled "In The Pink: Bob Geldof looks back on the start of his short-lived acting career, in Pink Floyd's The Wall." This is what Geldof said:
"I had no ambitions to be an actor, but Alan Parker rang me up, which was very flattering because I loved Midnight Express. He said he was working on an adaptation of The Wall. Problem was, I didn't like the Floyd. I thought, bunch of hippies, get it together and make a bloody pop song. More pressingly, the script was flimsy to say the least. Nonetheless, my manager Fachtna was keen for me to do it, so while we were in a taxi, I pulled it out and challenged him to keep a straight face while I read it. Of course, he pisses himself laughing. But Parker doesn't stop pursuing me. They said, 'Meet up with Roger Waters', and I said, No, he's a c**t. But I go, and I like him very much. He says, 'I heard you don't like the Floyd.' I tell him that I love 'Arnold Layne' and 'See Emily Play', but beyond that I don't get it. He tells me if he'd had an idea like 'I Don't Like Mondays', he'd make it into an album. I tell him the whole point is that it's a pop song. Then he says, 'I believe you think the script is horrible' and I said 'Well yeah. That's why I don't want to do it. And I'm not sure I understand the album..." Gradually we start getting along great - we're both combative and snotty. Then he tells me how he knows I don't like the script. It turns out that the taxi driver when I'd been sneering at the script was Roger Waters' brother! How bizarre is that? Anyway, Waters is cool because I've never brown-nosed him. He goes into what it's about, and I sort of begin to see. The pay isn't very good, but I figure I'm never going to be asked to do a movie again. Looking back at it, it's mortifyingly embarrassing. I am completely c**tish in it. But it didn't stop me from being offered other parts."
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