THE PERSONAL-POLITICAL: Thoughts on "The Wall," 30 Years Later

This past weekend, I saw Roger Waters, the Pink Floyd bassist-composer and principal architect of "The Wall," at a 20,000-seat arena in Oakland. The experience was powerful. Not only was this gig the most articulate, multimedia, anti-war protest I'd ever seen, but it resonated as a reminder that the personal is political.

My complete review is here. A clip from the show below.

The craziest part? Video on the wall of a scrolling list of names: civilians and soldiers cut down in War Without End. Why crazy? This exact image appears in a concert scene in "badbadbad," my debut novel (to be published in May 2011 but first-drafted more than three years ago).

Seeing that image projected onto a 40-foot wall in a massive concert hall gave me chills. When did Waters first come up with this idea for his show? Is this evidence of the collective unconscious or One Mind? Will we ever live in a world without senseless violence? Should I perhaps ask Waters for a fraction of a percent of the tour's profits as a royalty cut?

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