2013/02/26

Pink Floyd's Roger Waters named third highest-paid music star by Billboard


THE rock star earned £14m thanks to playing stadium concerts, putting him behind only Madonna and Bruce Springsteen, according to the music trade magazine.


FORMER Pink Floyd star Roger Waters is among the three highest paid music stars in the world in the past year, behind Madonna and Bruce Springsteen.

The 69-year-old musician has raked in around £14 million on the back of his The Wall live shows around the world, in which he has staged Floyd's 1979 album.

Waters began touring the album in 2010 and has moved on from arena venues to play stadium concerts around the world, with more than 70 shows in 2012. He resumes the tour this summer with at least 25 dates in Europe.

Madonna is the top earner of the year, taking almost £23 million mainly on the back of her MDNA Tour, while Springsteen drew £22 million.

Coldplay were ranked ninth in the magazine's annual calculation with takings of more than £11 million.

Concerts accounted for roughly 70 per cent of the totals for the top 40 artists

Oscar-winning star Adele is reckoned to have generated earnings of around £9 million through her colossal album sales.

The figures were calculated by US music trade magazine Billboard.





Roger Waters Tour Manchester, England Concert Announced


The Roger Waters Tour 2013 now has an additional night in the UK at the MEN Arena in Manchester.

The concert will be performed on 16th September 2013 which is two days after the Wembley concert in London meaning the UK now has two out of the 26 European concert dates for Roger Waters!

Tickets will be on sale on 1st March 2013 which is Friday. Link to ticketmaster.co.uk

The European Tour now has 26 concert dates announced so far and this is the final leg of the concert for The Wall Tour.

The Wall Tour, which started in 2010, is currently set to end on 21st September 2013 in France so, if you want to see this amazing show, then you had best think about getting some tickets!

From www.rogerwaterstours.com
 

2013/02/21

Pollstar Awards

 The Pollstar Awards ceremony and party was held at the Club Nokia in Los Angeles on February 7, 2013.



Pollstar Awards - Roger Waters Acceptance Video for Most Creative Stage Production



Pollstar Awards - Roger Waters Acceptance Video for Major Tour of the Year




Roger Waters Tickets for Wembley


The Wall at Wembley Stadium, London, is going to be one of the most spectacular experiences this millenium and there are still tickets left and hotels to be booked!

Make sure you don't miss this once in a lifetime opportunity to see an amazing live show in London! There is so much terrible music out there these days that it is good to be able to watch some older music being performed with all the latest technological advances in sound and vision technology being used!

Get Your Tickets


From Neptune Pink Floyd Newsletter, by Keith Jordan

Roger Waters Tour 2013


2013-07-20 - Roger Waters - Werchter Festival Site - Werchter - Belgium 
2013-07-23 - Roger Waters - Stadion Poljud - Split - Croatia
2013-07-26 - Roger Waters - Stadio Euganeo - Padua - Italy 
2013-07-28 - Roger Waters - Stadio Olimpico - Rome - Italy 
2013-07-31 - Roger Waters - TBC - Athens - Greece 
2013-08-04 - Roger Waters - ITU Stadium - Istanbul - Turkey 
2013-08-07 - Roger Waters - Synot Tip Arena - Prague - Czech Republic 
2013-08-09 - Roger Waters - Commerzbank Arena - Frankfurt - Germany 
2013-08-11 - Roger Waters - Parken (Copenhagen) - Copenhagen - Denmark 
2013-08-14 - Roger Waters - Telenor - Oslo - Norway 
2013-08-15 - Roger Waters - Telenor - Oslo - Norway 
2013-08-17 - Roger Waters - Ullevi Stadium - Gothenburg - Sweden 
2013-08-20 - Roger Waters - Stadion Narodowy - Warsaw - Poland 
2013-08-23 - Roger Waters - Ernst-Happel Stadium - Vienna - Austria 
2013-08-25 - Roger Waters - Puskás Ferenc Stadium - Budapest - Hungary 
2013-08-28 - Roger Waters - Piata Constitutiei - Bucharest - Romania 
2013-08-30 - Roger Waters - Vasil Levski Stadium - Sofia - Bulgaria 
2013-09-01 - Roger Waters - Usce Park - Belgrade - Serbia 
2013-09-04 - Roger Waters - Olympiastadion - Berlin - Germany 
2013-09-06 - Roger Waters - Esprit Arena - Dusseldorf - Germany 
2013-09-08 - Roger Waters - Amsterdam Arena - Amsterdam - Netherlands 
2013-09-11 - Roger Waters - Letzigrund Stadium - Zurich - Switzerland 
2013-09-14 - Roger Waters - Wembley Stadium - London - England 
2013-09-18 - Roger Waters - Aviva Stadium (Dublin) - Dublin - Ireland 
2013-09-21 - Roger Waters - Stade de France - Paris - France 

2013/02/15

Roger Waters' Ca Ira returns to Brazil




The Theatro Municipal de São Paulo will be host to the latest performances of the opera by Roger Waters, Ca Ira. First performed live to much acclaim in Rome, Italy, in November 2005, it has subsequently had further live performances in countries as diverse as Poland, The Netherlands, and Brazil, who last hosted it in 2008 (a report, with various photographs and video clips, can be seen here). Lika Geribello, the executive producer of those performances, is also producing the new ones alongside Cristiane Rossetto. The shows will take place at the world-renowned venue on May 2nd, 4th, 7th and 9th, 2013.
With musical direction and conducting by Rick Wentworth (who also co-produced the album with Roger), will be vocal performances from Lina Mendes, Gabriella Pace, Keila Moraes, Marcos Paulo, Giovanni Tristacci, David Marcondes, Leonardo Neiva, Eduardo Amir and Leonardo Pace. There will also be a children's chorus, and the Coral Lirico do Theatro providing the main chorus line.
More information should be appearing shortly on the venue's official website  which will also have a link/further information regarding tickets for these four shows.


Written by Matt  
Sunday, 10 February 2013
From www.brain-damage.co.uk

2013/02/12

Roger Waters Adds A New Song To 'The Wall'


Roger Waters wants to add a new song to his renown "The Wall" concert this year.

2013 will be the first time his show tours open-air venues around the world - something Waters has always wanted to do.


The new song is called "The Ballad Of Jean Charles De Menezes", which tells the real story of a man who was shot dead by police in London in the wake of terrorist attacks and fear in the city.

"It's a surprise to people," Waters said of the song. "They've never heard it before."
The new show adds brand new special effects. One example: the plane crash sequence has doubled in length and ends in a "spectacular fireball" thanks to new HD technology and a bigger stage set.

"It's beautiful," Waters told Something Else (via Prog). "I sometimes get stranded at one end. 'F--k, I've got to get back to the middle of the stage in about eight seconds!'"

From www.ultimate-guitar.com



Roger Waters hopes to surprise crowds at his open air The Wall concerts in 2013 with the addition of a new song to the set.

And he admits there are pros and cons to staging the biggest-even production of his show.

The former Pink Floyd mainman reveals that the plane crash sequence, which used to last eight seconds, had been almost doubled in length and concludes with a spectacular fireball, courtesy of new HD technology and the giant stage set.

“It’s beautiful,” Waters tells Something Else – but he adds: “I sometimes get stranded at one end. ‘Fuck, I’ve got to get back to the middle of the stage in about eight seconds!’”

The new track is called The Ballad Of Jean Charles de Menezes and tells the story of a man shot dead by police after being wrongly suspected of involvement in  terrorist activity. “I love it – it’s a surprise to people,” says Waters.”They’ve never heard it before.”

Named the biggest-earning rock musician of 2012 by Forbes Magazine, he recently said that Pink Floyd was “over” when he left in 1985 and ruled out any chance of a reunion of the surviving members – even though David Gilmour and Nick Mason made guest appearances at his The Wall concert in 2011.

Waters will perform the new show at London’s Wembley Stadium on September 14.

From www.progrockmag.com
 


2013/02/11

Love for Levon Coming February 17th to AXS TV




Don't miss a very special evening as some of the biggest names in music gather to pay tribute to Levon Helm, drummer and vocalist for The Band. Join Grace Potter, Roger Waters, John Mayer, Gregg Allman and More February 17th only on AXS TV.

2013/02/10

Roger Waters Wins Big at 24th Annual Pollstar Awards

9 February 2013







Roger Waters was the big winner at the 24th annual Pollstar Concert Industry Awards, which were handed out on Thursday in Los Angeles.  The ex-Pink Floyd singer/bassist took the honors for Major Tour of the Year as well as for Most Creative Stage Production for his The Wall Live Tour.

2013 likely will prove to be another successful year for Water and his The Wall Live production.  The Rock and Roll Hall of Famer will be bringing the multimedia extravaganza to outdoor venues throughout Europe this summer.

The Pollstar Concert Industry Awards are chosen by concert promoters, booking agents, managers and other people in the industry.

Copyright 2013 ABC News Radio




















From www.classichitsandoldies.com

Pollstar Awards Results


Major Tour Of The Year – Roger Waters
Most Creative Stage Production – Roger Waters
Best New Touring Artist – Alabama Shakes
Major Music Festival Of The Year – Coachella Valley Music & Arts Festival (Indio, CA)
Music Festival Of The Year – Newport Folk Festival (Newport, RI)
International Music Festival Of The Year – T In The Park (Scotland)
Nightclub Of The Year – 9:30 Club (Washington, DC)
Theatre Of The Year – Ryman Auditorium (Nashville, TN)
Best New Major Concert Venue – Barclays Center (Brooklyn, NY)
Red Rocks Award / Best Small Outdoor Venue – Greek Theatre (Los Angeles, CA)
Best Major Outdoor Concert Venue – Hollywood Bowl (Los Angeles, CA)
Arena Of The Year – Madison Square Garden Arena (New York, NY)
International Venue Of The Year – The O2 (London, UK)
Facility Executive Of The Year – Rena Wasserman (Greek Theatre, Los Angeles, CA)
Bill Graham Award / Promoter Of The Year – Jim Glancy (Bowery Presents)
Nightclub Talent Buyer Of The Year – Josh Moore (Music Hall of Williamsburg, Brooklyn Bowl, New York, NY)
Talent Buyer Of The Year – Don Sullivan (Jam Productions)
International Promoter Of The Year – Rob Hallett (AEG Live)
Booking Agency Of The Year – Creative Artists Agency
Independent Booking Agency Of The Year – The Windish Agency
Bobby Brooks Award / Agent Of The Year – (tie!) Chip Hooper (Paradigm) and Rod Essig (Creative Artists Agency)
Third Coast Agent Of The Year – John Huie (Creative Artists Agency)
UK Booking Agent Of The Year – Neil Warnock (The Agency Group)
Personal Manager Of The Year – Adam Tudhope (Mumford & Sons)
Road Warrior Of The Year – Gus Brandt (Foo Fighters)
Lighting Company Of The Year – Upstaging
Sound Company Of The Year – Clair
Staging / Equipment Company Of The Year – All Access Staging & Productions
Transportation Company Of The Year – Rock-It Cargo
Video Company Of The Year – Moo TV









2013/02/08

Trent Reznor meets Roger Waters - Revolver 11/2000 - In The Flesh

By Alan Di Perna

Roger Waters is waiting for Trent Reznor. "Presumably, they have to rouse him from a drug-induced coma," Waters remarks dryly. "These young rock stars..." Just then Reznor turns up, and, far from being comatose, he seems well-rested and sharp. In fact, anticipation has driven him from bed at an hour most unbeceoming a rock star. "I woke up at 7:30 this morning," he confides. "I was going 'God, I'm gonna talk to Roger Waters today!'"


REVOLVER: Trent, what role has Roger's music played in your own life and work?

Trent Reznor: I grew up on a farm in the middle of nowhere in Pennsylvania. Not to sound too kiss-ass, but when The Wall came out, it was a turning point for me. I was in high school at the time, and I remember that music had always been my friend--a companion, the brother I didn't have, or whatever. I came from a broken home. I was alone a lot as a child. And when The Wall came out, that record seemed very personal to me, even though I was in a completely different lifestyle, place, and situation than Roger would have been at that time. I'd never heard music that had that sort of naked, honest emotion. I had that sense of, 'Wow, I'm not the only person who feels this way.' When it came time to start writing my own music, after some failed attempts at generic lyrics, I realized that if I went inward and took journal entries and turned them into songs, it seemed to strike a chord in others.
And then when I made my second album, The Downward Spiral, I aspired to start with a story. I tried to write songs that fit into the slots in the plot line. I soon realized how hard that is. I tried to abandon it. But when I got toward the end of the record, I realized I had kind of done that anyway--what I thought I couldn't do.

Roger Waters: Forgive me, Trent. I don't know your work. I tend not to listen to rock and roll very much--if at all. But it sounds to me as if what you're doing fulfills all the functions that you've described in my work. So there are still those kids on farms in the middle of Pennsylvania yearning to find some meaning in their own lives and discovering it--some of them at least--in music that could be described as underground, or at least not in the mainstream of popular culture.

REVOLVER: Both of you have adopted the full-length concept album as your main medium. You tend to make large statements about the human condition in your work. What is it like to do that in the current musical climate, so characterized by disposability, one-off hit singles, and short attention spans?

TW: It's very difficult, as I've discovered with my most recent record, The Fragile. It's a double album, and it's pretty dense. It takes about five or 10 listenings to really get into it. As a fan, that's what I want when I buy a record--to dig in and go several layers deep. That's the thing about your work, Roger. If you look deeper, you find things.

RW: But not everybody wants to go that deep.

TR: I fully understand that, too. And I think there's something to be said for a nice, appealing surface. But when you want to go looking for a deeper meaning, it ought to be there too. But nobody seems to have the time for that anymore. I guess from hiding in my studio for the past five years, making The Fragile, I wasn't quite aware of how disposable the scene has become. It's a tough blow to withstand--just the way commercialism has turned music more into product than art. You're judged immediately by the first three weeks of your sales. And if it isn't what somebody at the record label said it would be, then it's a failure.

RW: But don't you think it was always that way? All record companies are profit oriented. The holy grail for them is to discover the motherlode of popular taste, in order that they should move huge numbers of product. And they were always that way, in my view. Ahmet Ertegun or anybody else. You know, there are these mythic kind of figures from the early days, like Sam Phillips. But Sam Phillips wouldn't have stuck with Elvis if people hadn't bought the records!

TR: But are the record companies really catering to what the public taste is? Or do they, to a degree, dictate that taste to the public? MTV pumps out their boy bands and their generic blonde teenage icons to the masses. And I wonder how much of that is the public saying, 'What are we supposed to like?' And they're bombarded with that.

RW: I'm sure you're right. MTV is pure Big Brother. It's pure Brave New World. And there's no question but that those who make decisions about the way society works become the arbiters of the quality of human life. In North America, the general trend has been this: You find a piece of wilderness. If there are people or animals living on it, you kill them. Then you build a strip mall that contains a number of the most obviously successful and recognizable icons of the culture you're trying to spread over the land. So, inevitably, there's a McDonald's, a Sam Goody, and all those things. I assume the reason for this is that it's convenient for the policy makers.

It provides them with a system where there's plenty of cream floating around the top to be skimmed off. And I suppose the reason the human race goes along with it is that, as yet, we don't know any better. That seems to be enough for most human beings. Although, if you ask most people, they don't actually feel a great sense of satisfaction in their lives, buying that dream. It's interesting, Trent, that you should be voicing these concerns about this kind of stuff. I find myself not caring about that, really, or about the way the record industry is or what's going to happen to it. Maybe that's very selfish of me. But it may be that that wall of unconcern is almost necessary to some of the rest of us, in order that we should have a reference point to develop against.

REVOLVER: Speaking of the demands of the marketplace, you are both in the midst of preparing DVDs of your recent tours. What is it like to encapsulate something like a rock and roll tour in this new medium?

TR: Roger, is your DVD basically your live show?

RW: Yeah, it's the live show--and a documentary, if we can get it all on. Well, actually, we can't get it all on. So I'm trying at the moment to persuade the record company to give the documentary away with the rest of the stuff. This particular DVD can be only two and half hours long, and our show is two-and-a-half hours long. So I'm under a lot of pressure to edit it--take stuff out.

TR: Make your product more appealing to the marketplace?

RW: Yeah, exactly. We were under that pressure with the live album of the shows, as well. 'You should really put this out as a single CD, because it's more marketable.' And I confess I did have a look at editing. I wrote a few song lists and thought, 'I can't do this. This is ridiculous.' So we persuaded the record company to sell a double CD at a reasonable price. I think live albums should be much less expensive than studio albums. The costs of making a live album are minimal compared to a studio album. You just take a mobile to two or three gigs, record them, and choose the best bits.

REVOLVER: Are you taking the same kind of approach on your DVD, Trent--a straight document of the show itself?

TR: That's the focus of this one. And I'm taking a very hands- on approach. In the past I've made the mistake of hiring 'the guys who really know how to do this.' What happens is your concert footage ends up looking just like everyone else's. So for this one, we just got seven good digital video cameras and filmed the last 10 shows of the tour from seven different perspectives--some locked-off shots, some hand-held, a lot from the audience--to give a sense of what it was like to be there, in a non-professional kind of way. We adopted that same kind of attitude in post production too. We thought wewould edit it here in my studio on a Mac in Final Cut Pro. That led to, 'Maybe we could adapt our studio for 5.1 Surround Sound,' which we ended up doing. There have been a lot of hassles, but it's also been very educational.

RW: You're lucky enough to be in a position where you can make those choices, which is great.

TR: Well, the timeline might be running out on that, given the sales of my last record. But I'm trying to keep as much in-house as possible. You see, I had a really bad experience with the first record label I was signed to. And when I finally got out of that situation and onto a new label, I said, 'Here's the deal. You give me a chunk of money and I'll give you a record. I don't want A&R. I don't want any interference. I'll give you magazine ads. I'll give you a video. I don't want your help.' So that provided me with an in-house situation where I could do what I want without meddling fingers from record label strangers.

And now I'm trying to get this DVD done to meet what is a pretty unrealistic deadline. And trying to get my head around the fact that almost nobody is ever going to listen to this with the right setup. Most people can't set a stereo up, let alone six speakers with the right level balance and the right distance between speakers.

RW: I actually think you're fighting a losing battle, trying to recreate anything like the experience of being at a rock and roll show with a DVD. Basically, they're home movies. I regret not having made home movies of The Pros and Cons of Hitch Hiking and the Radio K.A.O.S. tours [1984 and '87, respectively]. And I'm so glad that I will have a home movie of the 2000 In the Flesh tour. I want to have it to put in a cupboard somewhere and maybe show to my grandchildren. But I don't know if it's something that interests me that much, I have to say. I don't really care about it. Frankly, I'd rather be fishing. Or reading. But you know, I'm 56 years old. How old are you?

TR: 35.

RW: So it's kind of relative. There's 21 years? difference. I might have cared more when I was 35. Not that I'm saying that you will eventually achieve fishing.

TR: I'm looking forward to it, actually.

RW: But from the tenor of this conversation, it sounds like you're more involved in this stuff than I am.

TR: I suppose I can't help it. My first record came out 10 years ago. It unexpectedly touched a nerve. The second record got 10 times bigger than we ever thought it was going to be. We just happened to be in the right place at the right time. It propelled us 20 levels higher than we should have been, really.

RW: You mean 20 levels more popular.

TR: Yeah. You find yourself being referenced by popular culture now.

RW: Well, you do. But you can either choose to reference yourself like that, or not. And we all chose to do that, to a certain extent. If you're in rock and roll, you have to accept that part of the reason why you're there is because you like being patted on the back. Probably didn't get enough of it when you were a kid. That's certainly true of me. If we didn't have those needs we wouldn?t be in rock and roll anyway.

TR: That's true. But I disappeared for five years to get my brain straightened out. I came back with a really dense album that I think is the best I can do. But it's substantially different from what I've done in he past. It's not as obvious. And it sold well, but it didn't sell great. So now I'm settling into this...When I first started out, I'd ride around the country in a van 10 times if I needed to. I'd do interviews all day if I needed to.

RW: But you sound confused by this, slightly.

TR: Well, I'm getting over the hump of realizing that I'm settling into what is right for me, artistically. But it might not be accessible for mass consumption.

RW: Well, okay. So it's not. So you've recognized that. All you need to do is recognize that and then forget about it. Because it's uncontrollable. I think the one thing we all have to understand is that you can't go chasing the audience. That would be a living death for anyone who is serious about what they do. It sounds like you're agonizing about this stuff. And this is now me being wise after the event. I've been through the same agonies. But at the end of the day, I've had to understand that all you can do is your work. Maybe nobody will buy any of it. That could happen. You might make a record five years down the road and four people will buy it, you know?

TR: Right.

RW: Modigliani never sold any pictures. Van Gogh peddled his pictures for a bowl of soup. Some of these geniuses never got any reward at all in their lifetimes. Except the reward that comes from doing your work and understanding your connection with the mathematics of life, or God, or whatever you want to call it.

TR: That's obvious to me. But it's really nice to hear you say that.

RW: I've been through some of the same things, clearly. I've had a couple of big hit singles in my life, when I was with Pink Floyd. And I feel good about the work that I've done since then, particularly Amused to Death [1992]. I've sold a few records. Not big numbers. But that's just the way it is. The cool thing is the moment when you put that last brush stroke to the painting, stand back and go 'Ahhhh.' You know you've done good work. That's all you can expect.

REVOLVER: All these concerns about how your work is received by the public--do they become more acute, more stressful, when you're touring?

RW: Not any more for me. On my last tour the audiences were ages 15 through 50, but more 20-year-olds than anything else, as far as I could see. And they knew the songs. They like them. The songs have meaning to them. It was kind of a warm, touchy-feely experience for me. And I'm ashamed to say that I loved it. I'm now in a state emotionally where I can recognize, absorb, and enjoy that connection with the audience. Whereas maybe 10 or 15 years ago I couldn't. Because I was still essentially the tall guy in black, standing in the corner scowling at everyone: 'Stay away. Leave me alone.'

TR: I know that guy.

RW: And I don't feel like that now. So it was fun. And we have really good relationships within the band, so I wasn't going through all that muck I went through with Pink Floyd.

TR: It's gotta feel good to look out and see an audience of some young people who are just discovering your music, realizing that it has a timeless quality to it.

RW: It's great. We're only just beginning to discover that about rock and roll. It didn't really start until the mid-Fifties, so it's still a very young thing. And it may be that some of us will eventually turn into Duke Ellington or Louis Armstrong. The artists involved in rock and roll only have to get old enough for people to say, 'Hey, what a big surprise. They lasted. It wasn't just an overnight teenage rebellion thing. It was jazz!' So there's room for what you and I do, Trent, and there's room for the boy bands and all the soft porn that's out there masquerading as rock and roll. Actually, it doesn't masquerade as rock and roll. It calls itself pop music. And I guess it was always that way.

REVOLVER: Do either of you resent being portrayed in the media as gloomy purveyors of depressing music?

TR: When Nine Inch Nails first got big, I got labeled as the most gloomy person in the world. I realized in time that my own self image was starting to become what I'd read about myself. Or how I was being treated by people around me, who only knew what they'd read about me. So it became a self-fulfilling prophecy, because there was no time for rational thought amidst the madness of touring and not having a home. No time to get a perspective of how my life was changing--from poverty to wealth, from obscurity to being some sort of icon. In the end, it took some time to say, 'Okay, who is really underneath all these layers of shit that have been built up?' From that point on, you realize that the media's just a game. The celebrity thing means nothing to me. It's more of an irritant than anything else.

RW: About the time Pink Floyd really got popular--which was after Dark Side of the Moon [1972] and during The Wall, I guess-- I just distanced myself from everything. On the Animals tour [1977] and the one before that we had a publicist, and his job was to say no [i.e., to interview requests]. Just politely say no to everything. I did that for years and years. Looking back on those days, I'm so glad I refused to do The Tonight Show, refused to speak to Barbara Walters or do the covers of magazines. Particularly the chat show TV thing. I think if you start doing that stuff, you're saying to people, 'Okay I'm yours. Take me.' But hey, guys, il faut partir. I must go.

REVOLVER: Thanks for doing this, Roger.

RW: Hey, it's been a pleasure. And nice talking to you, Trent.

TR: Really nice, Roger.

RW: Now I'm going to have to buy one of your records to see who you are.

TR: Maybe I'll even send you one.

RW: That would be great. Why not all of them? That would be good. I look forward to hearing them.

From www.pink-floyd.org

Pink Floyd's Roger Waters - Statement of support to BC SJP


FOR IMMEDIATE RELEASE
February 4, 2013


CONTACT: Sundus Seif - brooklyncollegesjp@gmail.com


SJP Brooklyn College Welcomes Support of Musician & Human Rights Activist Roger Waters

The Brooklyn College chapter of Students for Justice in Palestine is pleased to welcome the support of internationally renowned musician and human rights advocate Roger Waters, of Pink Floyd fame, in the face of attacks from politicians and others who wish to silence critics of Israel and supporters of the Boycott, Divestment, and Sanctions (BDS) movement at our school. Today, Mr. Waters released the following statement:



A SHORT NOTE OF SOLIDARITY WITH THE STUDENTS OF BROOKLYN COLLEGE





My young friends, I am proud of you. You are the fresh air "we the people" need to breathe. You are the true America. You represent all that the founding fathers intended and hoped for. You are standing up for truth and liberty. You believe that all men should be equal. You believe in civil liberty. You believe in the first amendment. You believe in, and try to live by the Constitution. You believe in The Law. You believe that the pursuit of liberty and happiness is the right of all men, women and children, regardless of their race, religion or nationality. Your empathies extend beyond the narrow confines of national or corporate interests. You man the barricades of intellectual and political freedom.

That you have come under attack from powerful political and media forces for trying to shed light on the predicament of the good peoples of Palestine and Israel is wrong. I stand with you. Sadly, none of us knows what lies behind the closed doors of government, even though we should for we have a right to know, to speak, discuss, still not your voice, be not afraid. More power to you. As long as young people like you stand up in face of all the bigotry and fear, in face of all the secrecy and doubt, stand up, unafraid, and shed your light, and seek the truth, then, "We The People," bowed, maybe? But still unbroken, we, will have at last, the right to hope!

With great respect.

ROGER WATERS

For more information, visit SJP Brooklyn College's website at www.brooklynsjp.com