{"id":424,"date":"2017-10-31T09:26:50","date_gmt":"2017-10-31T09:26:50","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/?p=424"},"modified":"2017-10-31T09:27:45","modified_gmt":"2017-10-31T09:27:45","slug":"echoes-of-floyd-animals","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/assignments\/music-power-politics\/echoes-of-floyd-animals\/","title":{"rendered":"Echoes of Floyd: Animals"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\"> Sixty years after the Russian Revolution and thirty-two years after the publication of George Orwell\u2019s <i><a href=\"http:\/\/www.sparknotes.com\/lit\/animalfarm\/summary.html\">Animal Farm<\/a>, <\/i>Pink Floyd released the politically charged album <i>Animals<\/i>. Whereas Orwell\u2019s novel critiqued Stalinist corruption and the exploitation of the Soviet proletariat class through allegory, <i>Animals<\/i>, primarily written and sung by Roger Waters, criticized the economic and social conditions of Britain in the 1970s. The cohesive five track album\u2019s primary message is to expose the negative effects of capitalism and social repression on inter-human connection and empathy. Although Pink Floyd\u2019s music and George Orwell\u2019s novel were written about different societies in very different historical contexts, both make similar overall points about social and political revolution. The only revolutions that can effect real change must be led by an aware populous. As long as the \u201csheep\u201d of a society are at least partially ignorant to their exploitation, they are doomed to continue suffering at the hands of the ruling \u201cpigs\u201d. <i>Animals<\/i> remains just as relevant today as it was in 1977 as Roger Waters just completed a four month North American tour in which he performed the song \u201cPigs\u201d to demeaning images of Donald Trump. Concerned now, as always, for the fate of humanity, Waters continues to use his music to alert the masses to their exploitation in search of true social and political change.<\/span><\/p>\n<p><iframe title=\"Spotify Embed: Animals\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/3b4E89rxzZQ9zkhgKpj8N4?utm_source=oembed\"><\/iframe><\/p>\n<p class=\"p1\">(Lyrics and some analysis can be found <a href=\"https:\/\/genius.com\/albums\/Pink-floyd\/Animals\">here<\/a>.)<\/p>\n<p class=\"p1\"><span class=\"s1\">Inspired by Orwell\u2019s allegory, Pink Floyd\u2019s album classifies people into three animal-designated categories by their socioeconomic class. The sheep are the blind proletariat class, unaware of their conditions and thus unlikely to challenge their rulers. The dogs are the greedy and ambitious that seek to climb the economic food change to materialistic prosperity. The dogs are uncaring in their pursuit and unknowingly support the tilted system they hope to conquer. This keeps the pigs, the wealthy capitalist class and owners of the &#8220;means of production&#8221;, in power. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"> The album is split into four main sections: an opening acoustic poem-like song that also returns with more percipient lyrics to close the album and a song for each of the three previously mentioned animals. Each song dedicated to an animal extends beyond the ten minute mark, allowing for the development of distinct grooves and for complex evolution of character and story line. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"> The first song, \u201cPigs on the Wing (Part One)\u201d, introduces Waters\u2019 main issue with the state of society. It opens, \u201cIf you didn\u2019t care what happened to me\/And I didn\u2019t care for you\/We would zig zag our way through the boredom and pain\u201d. Without human compassion life is largely painful and meaningless. Phillip Rose, in his <a href=\"https:\/\/macsphere.mcmaster.ca\/bitstream\/11375\/11030\/1\/fulltext.pdf\">thesis<\/a> on the music of Pink Floyd, points out that the use of acoustic guitar in this song, as on the final song of the album, conveys a feeling of \u201chonesty\u201d and humanity which is in sharp contrast to the electronic sounds of the other tracks.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"> The next track, \u201cDogs\u201d immediately transitions into a darker character which signals the approach of the dog. There are two distinct voices in this song, indicated by the two different singers. David Gilmour sings the first three verses in which he describes the tough and ruthless life of a dog. The song begins, \u201cYou got to be crazy, you gotta have a real need,\u201d stating how ambitious one must be to fight for material wealth. It continues, \u201cYou got to be able to pick out the easy meat with your eyes closed,\u201d which exposes the \u201cdog-eat-dog\u201d mentality one must have to survive. Rogers then explicitly frames the dogs in a corporate businessperson light with the lyrics, \u201cAnd after a while, you can work on points for style\/Like the club tie, and the firm handshake\u201d. Clearly the more skilled dogs can climb the corporate ladder to achieve greater wealth and prosperity. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">After a long atmospheric instrumental section, the dog\u2019s attitude changes as Roger Water\u2019s vocals enter. This verse shows the dog is becoming disillusioned by the system with the lyrics, \u201cGotta admit that I&#8217;m a little bit confused\/Sometimes it seems to me as if I&#8217;m just being used\u201d. The dog is shown to have a lack of personal connection as it continues to pretend \u201cThat everyone&#8217;s expendable, and no one has a real friend\u201d. The final verse exposes everything the dog missed in its greed for wealth: \u201c\u2026trained not to spit in the fan\u201d &#8211; it was trained to conform and not pursue social change, \u201c\u2026broken by trained personnel\u201d &#8211; it was used by the system for the gain of those at the top, \u201cWho was only a stranger at home\u201d &#8211; it had no intimate familial relationships. By the end of its life the dog finally realizes that it was duped. The superficial material success that it achieved in place of human connection and compassion did not provide the meaning or purpose for which it originally hoped.<\/span><\/p>\n<figure id=\"attachment_426\" aria-describedby=\"caption-attachment-426\" style=\"width: 300px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/10\/pfloyd_animalsf.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-426 size-medium\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/10\/pfloyd_animalsf-300x142.jpg\" alt=\"\" width=\"300\" height=\"142\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/10\/pfloyd_animalsf-300x142.jpg 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-content\/uploads\/2017\/10\/pfloyd_animalsf.jpg 650w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><figcaption id=\"caption-attachment-426\" class=\"wp-caption-text\">Album cover for Animals (1977). The cover shows a pig floating over the Battersea Power Station in West London. The power station embodies capitalism which the &#8220;pigs&#8221; control.<\/figcaption><\/figure>\n<p class=\"p1\"><span class=\"s1\"> The following song, \u201cPigs (Three Different Ones)\u201d, derides the ruling capitalist class and takes aim at some specific characters of the British social and political scene. The first verse concerns a generic pig who is so caught up in its own greed that\u2019s its almost funny. \u201cPig stain on your fat chin\/\u2026You\u2019re nearly a laugh\/You\u2019re nearly a laugh\/But you\u2019re really a cry\u201d. The obvious indulgence of the pig is so sloppy that it would be comical if it wasn&#8217;t so depressing. The third verse is the only place on the album that explicitly names a real person, starting, \u201cHey you, Whitehouse\u201d. This refers to <a href=\"https:\/\/www.theguardian.com\/media\/2001\/nov\/24\/guardianobituaries.obituaries\">Mary Whitehouse<\/a>, a British social conservative that used religion to justify and promote\u00a0<a href=\"http:\/\/news.bbc.co.uk\/onthisday\/hi\/dates\/stories\/july\/11\/newsid_2499000\/2499721.stm\">censorship of blasphemous<\/a> texts and the banning of sex toys and pornography. Rogers yells, \u201cYou\u2019re trying to keep our feelings off the street\u201d at her before mockingly saying, \u201cYou gotta stem the evil tide\/And keep it all on the inside\u201d. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"> The final animal-based song on the album, \u201cSheep\u201d, is where all the action happens. It begins with a depiction of the mindless masses: \u201cHarmlessly passing your time in the grassland away\/Only dimly aware of a certain unease in the air\/\u2026Things are not what they seem\u201d. The sheep are shown to be blind to their oppression and unknowingly prop up the system for the benefit of the pigs. The sheep then \u201cobedient[ly]\u2026 follow the leader\u201d down to \u201cthe valley of steel\u201d which, following the allegory, likely means their death. The following section of the song features an altered version of Psalm 23:1 which is recited robotically through a vocoder (<a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Psalm+23&amp;version=KJ21\">Here<\/a> is the real Biblical version). The new version of the passage depicts the shepherd killing the sheep and \u201cconvert[ing]\u201d them to \u201clamb cutlets\u201d. <a href=\"https:\/\/macsphere.mcmaster.ca\/bitstream\/11375\/11030\/1\/fulltext.pdf\">Philip Rose<\/a> interprets the shepherd as the pigs who have \u201cgreat power\u201d and \u201cgreat hunger\u201d. By the end of the verse, however, the sheep have begun to formulate an uprising as is evidenced by \u201cLo, we shall rise up&#8221;. <\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"> In the final verse, the sheep attack the dogs. The use of the word \u201cbabbling\u201d in the line \u201cBleating and babbling we fell on his neck with a scream\u201d implies that the sheep aren\u2019t really sure why they\u2019re rising up so violently. In the next line the sheep are referred to as \u201cdemented avengers,\u201d furthering the idea that they are without clear-minded purpose. In the final lines of the song the cycle is shown to be complete. The sheep have risen up to overthrow the dogs and those with newfound power tell the others, \u201cYou better stay home\/And do as you&#8217;re told\u201d. The point here is that the rebellious sheep have now taken over the role of the previously powerful (but also exploited) dogs, ready now to achieve great wealth as they &#8220;March cheerfully out of obscurity into the dream&#8221;. Of course the real reason for the other animals pain, the pigs, have remained solidly in power.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"> Whereas the end of \u201cSheep\u201d presents a fairly pessimistic message, the final track is hopeful. Featuring only guitar and voice, like the opening song, \u201cPigs on the Wing (Part 2)\u201d tells the story of a dog who has forged some meaningful human connections. It no longer \u201cfeel[s] alone\u201d and now has a \u201cshelter\u201d from the pigs. This song says that even in the inherently cutthroat world of capitalism, people can find safety in human empathy.<\/span><\/p>\n<p class=\"p1\">Despite this final moment of optimism, Roger Waters has more often seen the ending depicted in &#8220;Sheep&#8221;\u00a0 in the years since the album was released. Over the last forty years he has performed selections from the album frequently but most recently, on his 2016 tour, the songs have a new target: Donald Trump. Below is a live video from October 1st, 2016 in Mexico City. Waters performs &#8220;Pigs (Three Different Ones)&#8221; and it is clear that he has repurposed the line &#8220;Hey you, Whitehouse&#8221; in the third verse to point to the residency of the president of the United States (8:10).<\/p>\n<p><iframe loading=\"lazy\" title=\"Roger Waters - Pigs (Three Different Ones) (Live)\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/QWLBtMz5OuY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>In a recent <a href=\"https:\/\/www.youtube.com\/watch?v=ScJrkh5aWt4&amp;t=379s\">interview<\/a> about the tour Waters takes issue with Trump &#8220;living in an ivory tower&#8221; and &#8220;treating everyone as the enemy&#8221;. Undoubtedly rhetoric that implies the &#8220;superiority of Western culture&#8221; like <a href=\"https:\/\/www.nytimes.com\/2017\/07\/30\/arts\/music\/trump-classical-music.html?smid=tw-nytimes&amp;smtyp=cur&amp;_r=0\">Trump&#8217;s &#8220;We write symphonies&#8221;<\/a>\u00a0 comment in Poland is ignorant and dangerous. And <a href=\"https:\/\/www.youtube.com\/watch?v=4ud3iDCZ_MA\">&#8220;The wall just got 10 feet higher&#8221;<\/a> comments clearly go against Waters promotion of human connection and empathy. In a world that often seems as if it hasn&#8217;t changed at all since the release of <em>Animals<\/em>, the final idea of the album that shelter and safety can be found in human connection is more important than ever.<\/p>\n<p>In 1917 George Orwell witnessed a revolution in Russia which he felt effected not <a href=\"https:\/\/en.wikipedia.org\/wiki\/Animal_Farm#cite_note-OrwellLIL334-50\">&#8220;radical improvement&#8221; but only a &#8220;change in masters&#8221;<\/a>. In 1977 Pink Floyd warned of this problem in socially repressive capitalist Britain through an\u00a0<em>Animal Farm-<\/em>like allegorical album. Today Roger Waters is carrying that message on in light of the &#8220;us versus them&#8221; rhetoric of Donald Trump. Will the &#8220;sheep&#8221; ever rise up to enact fundamental social and political change? Or are they (we?) doomed to be content with mere changes of pig-like masters forever?<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sixty years after the Russian Revolution and thirty-two years after the publication of George Orwell\u2019s Animal Farm, Pink Floyd released the politically charged album Animals. Whereas Orwell\u2019s novel critiqued Stalinist corruption and the exploitation of the Soviet proletariat class through allegory, Animals, primarily written and sung by Roger Waters, criticized the economic and social conditions &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/assignments\/music-power-politics\/echoes-of-floyd-animals\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Echoes of Floyd: Animals&#8221;<\/span><\/a><\/p>\n","protected":false},"author":13,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[210,208,211,209,207],"class_list":["post-424","post","type-post","status-publish","format-standard","hentry","category-music-power-politics","tag-animal-farm","tag-animals","tag-donald-trump","tag-george-orwell","tag-pink-floyd"],"_links":{"self":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts\/424","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/comments?post=424"}],"version-history":[{"count":10,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts\/424\/revisions"}],"predecessor-version":[{"id":445,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/posts\/424\/revisions\/445"}],"wp:attachment":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/media?parent=424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/categories?post=424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/MHS123_Fall2017\/wp-json\/wp\/v2\/tags?post=424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}