User:Imaximax1

Max Tarasuik
File:Ygjyj.gif
Born	Max 23/11 Gelong
Nationality	Australian
Education	In Progress
Height	too high
Successor	kayleigh
Notes
Thongs

MAX

This is just a sandbox!

.

.

.

.

.

.

.

.

Friends(in no order)

Now we shall listen to some personal interviews from people who know Max...

Old person he knows: (said with old accent)

I've known max for years, since he used to bring vegimaite sandwiches to school. hes a really nice boy, really polite. he helps me bring in my washing. he alsways helped old little ladies like me cross the road. max i would just like to say your just swell.

Guy from the fish and chip shop:

Every afternoon after school max would come in and order $1.50 with of chips. he would always tell me what he was going to do...in regards to homework, when he got home. yeah max is a nice kid.

***Updates will occur throughout the year, through interviews telling the TRUE stories, behind MAX....the people who know him best***

George

It is true that George once was king of Scotland, although he didnt get any credit for it. What a legend. One day he told me a true story...........A man appeared on stage. His head and his hairs were white like wool, as white as snow; and his eyes were a flame of fire. His feet was like cherry red brass, as if they burned in a furnace; and his voice was the sound of many Symphonies. He had, in his right hand seven sharp Shiny stars; as bright as a supernova and out of his mouth, scaled a sharp two-edged sword. And when I saw him, I felt as if I fell at his feet as frightened as death. His Sharp jagged blades rusted then broke as I watched in horror. He blew into oblivion and his particles collected, gathered into the dusk of a breeze and imploded into the sky as if it was on fire. It was the most beautiful yet terrifying thing I could ever imagine.

Suddenly the tent disappeared as a scream of angry yelled out to me for unknown reasons. The sky burst into green rays as I gasped in amazement, and contemplated its beauty. Below me, where the ground should be, the pavement shock as if it was erupting, until it exploded and majestically formed a snake which slithered into the sunset. All the petty shops, stalls and stations around me disappeared instantly and mountains surrounded me and joined at the roof as if I had been swallowed by the earth. I fell strait into cold, icy water, so cold I couldn’t breathe. Colors around me swirled from a deep, dark grey to a bright light of green and I gasped until my lungs yelped. And then it all faded away as if it was all a movie and the lights were turned out, everything was black.

I was flying through the air, spinning rapidly. Around and around I spun, unable to move or observe myself, until I flew passed a mirror and saw nothing but a five cent coin. I bounced like rubber and rolled down a stony hill. I was metal, but I swear I could feel the air rush against me like I was in a wind tunnel. Disgusting!... I stuck to a bubble gum on a small child as he galloped away from the base of the hill. Each step was painful, like being hit by a truck. He took me home. His house was beautiful, the ceiling was vast and painted with a giant mural of outlandish creatures. But my joy was interrupted. As my cold hard body touched a bushy green carpet, I high pitched scream deafened me and i was drastically thrown into a pit of putrid waste. It was dreadful. I sat I darkness, in endless darkness like a black hole, with piles of rubbish above and below me like a foul sandwich.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

.

. </includeonly>

Rubbish

This was deleted from wikipedia, due to its subjectivity... i wanted to preserve it as a great interpretation of an incredible album

In the Flesh?

This first song signifies the beginning of the show (which is being narrated by Pink himself). The stage directions are used to show that Pink is going to tell us the story of the building of The Wall. The lyrics say that despite his outward appearances, things are much different "behind these cold eyes" and that if the listener (sunshine) wants to find those things out, he'll have to "claw his way through this disguise". The song also informs the listener, although not directly, that Pink's father is killed; this is done using the sound effect of the dive-bomber, indicating his death during World War II.

The Thin Ice

This song narrates the first couple of years of Pink's life, before he is old enough to realize what has happened to his father. The "Thin Ice" represents the fragile period of innocence in our lives before we can really understand the world around us. Furthermore, the third and fourth lines from the third verse, "Dragging behind you the silent reproach / Of a million tear-stained eyes" act as a very poignant metaphor for the psychological and/or spiritual effects war can have not only on the populace that suffered it, but also the generation of children left to suffer as the final bearers of the pain of that war.

Another Brick in the Wall Pt. 1

The Thin Ice discussed during the previous song breaks when Pink becomes older and learns of the death of his father. Pink is devastated by this reality and begins to build The Wall.

The Happiest Days of Our Lives

Pink is sent to a school run by overly strict and often violent teachers who want to mould their students into the "right" shape for society. The teachers hurt the children physically and spiritually: "Exposing every weakness, However carefully hidden by the kids." The second part of the song tells us that the teachers themselves were hit by their wives. The chain reaction becomes clear: Wives hit Teachers. Teachers hit children. Children grew up to be violent as the tradition.

Another Brick in the Wall Pt. 2

After being insulted by the teacher, Pink dreams that the kids in Pink's school begin to protest against their abusive teachers. This causes Pink to continue to become more isolated from society. Bob Ezrin was instrumental in turning Waters' composition into a hit single. He arranged the song's disco style and added the children's chorus after the band refused to add a second chorus of their own.

Mother

The song narrates a conversation by Pink (voiced by Waters) and his mother (voiced by Gilmour). We learn of the overprotectiveness of Pink's mother, who is helping Pink build the wall to try to protect him from the outside world. The line "Of course Momma's gonna help build the wall" spoken by Pink's mother shows this. She insists that Pink stay by her side even after he grows up, and cannot stand it when Pink eventually grows older and falls in love.

Goodbye Blue Sky

This song explains Pink's depression as a result of being forced to grow up in a postwar world with only his overprotective mother to care for him. It also describes Pink's sadness as a result of not having the childhood he should have had, due to his father being taken away from him before he was even born. This song can also be interpreted as a reflection of the English post-World War 2 generation, notably those whose childhood took place during the Blitz of London. It is, along with Bring the Boys Back Home, the most obvious statement of the effects of WWII upon Pink.

Empty Spaces

Pink is now grown up and married, but he and his wife are having relationship problems because of his distance as a result of his halfway built emotional barrier, the titular Wall. Pink wonders what he should use to complete its construction. Within the song you'll hear the backmasking "…congratulations. You've just discovered the secret message. Please send your answer to Old Pink, care of the funny farm, Chalfont." (voice in background) "Roger! Carolyn is on the phone!"

Young Lust

(Waters/Gilmour) Pink has become a rock star, and is always away from home as a result of his demanding lifestyle. As a result, he begins inviting groupies into his room between concerts, having not seen his wife in months. The end of the song is part of a dialogue between Pink and a telephone operator; it is at this point he realizes that his wife has been having an affair for some time, and his mental breakdown accelerates. The dialogue with the operator was the result of an arrangement James Guthrie made with his neighbor in London during the recording of the album in Los Angeles. He felt that the operator actually had to believe he'd caught his wife having an affair, and so didn't inform the operator she was being recorded. The first operator Guthrie used to place the call apparently missed the significance of what had apparently transpired; the second is the one heard on the album.

One of My Turns

Pink invites a groupie into his room after learning of his wife's affair. At first when the groupie tries to get his attention, he is too busy thinking of his wife to hear her. As the groupie continues to try to get his attention, Pink explodes into a fit of violence and trashes his room.

Don't Leave Me Now

In this song, Pink is attempting (and failing) to deal with his wife's infidelity. At this point in the album, he blames her for causing him to suffer; contrast with the subject as raised in the penultimate song, The Trial, when his attitude changes somewhat. It is implied in this song that Pink is abusive to his wife (or would like to be now that she left him) with the line "...you know how I need you/to beat to a pulp on a Saturday night/Oh babe don't leave me now".

Another Brick in the Wall Pt. 3

Pink decides to finish this wall as a result of his rage after his wife's betrayal. He concludes he no longer needs anything at all, dismissing the people in his life as just "bricks in the wall".

Goodbye Cruel World

This song details Pink's reaction to the completion of his mental wall, and marks his acknowledgement of his isolation from society.

Hey You

Pink realizes the mistake he has made in completely isolating himself from society, and is attempting to regain contact with the outside world. However, his wall blocks any calls he makes. Pink's call becomes more and more desperate as he begins to realize there is no escape. The metaphor used in the song's bridge "...and the worms ate into his brain" describes Pink's deteriorating mental state as if his mind had been rotted by worms.

Is There Anybody Out There? As his isolation continues, Pink's sanity threatens to unravel as he wonders if there is anyone else "out there," beyond the wall.

Nobody Home

Pink describes his lonely life behind his mental wall. He has no one to talk to, and all he has are his possessions. The song is also an allusion to Syd Barrett. The line "I've got wide staring eyes" is a reference to the eerie stares that Syd would make after indulging on acid. This is another example of Roger Waters' tendency to use Syd as an example of the problems of rock stars.

Vera

The name is a reference to Vera Lynn, a British singer during World War II and her popular song "We'll Meet Again". The reference is ironic, as Roger Waters (and his fictional character Pink) would not meet his father, lost in the war. The lyric "Vera, what has become of you?" suggests that Vera Lynn herself, like her promise, vanished. It has also been interpreted to mean that hope is gone. Interestingly, the name Vera comes from the Russian word for "faith". It also stems from the Latin for "truth."

Bring the Boys Back Home

"Bring the Boys Back Home" is about when the young boy Pink goes looking for his father when everyone comes home from the war, only to find out he did not make it. The people around him are happy and carefree singing "Bring the Boys Back Home". At the end of the song, the orchestra fades out with memories of events that drove Pink to mental isolation: the teacher from "Another Brick in the Wall," the operator from " Young Lust," and the groupie from the beginning of "One of My Turns." Pink's manager yelling, "Time to go!" (to play a concert) and manic laughter are also mixed into the closing seconds, followed by chorus vocals from the first half of "Is There Anybody Out There?."

Comfortably Numb

(Gilmour/Waters) Pink, feeling completely isolated from society, cannot stand the pressures of life as a rock star and collapses in his hotel room before leaving for his concert. A doctor is sent into the room and gives Pink an injection that gives him the energy he needs to perform. The lyrics are written as a conversation, with Waters voicing the doctor and Gilmour voicing Pink. This was David Gilmour's most significant contribution to the album; though he, Waters and Ezrin disagree on how finished his music was before Waters finished the song.

The Show Must Go On

It is about society's demands for Pink's show to continue even though, unbeknownst to the managers and record companies, that he is in a complete mental lock down behind the wall that he built through the course of the album. It also shows how Pink is reluctant to continue with the show by asking the questions "Will I remember the songs?" however he understands that the show must go on. Alternatively, "the show" could be a metaphor for, essentially, life. Pink is debating what to do after building his wall: he realizes that an isolated life is dull. He decides that "the show must go on," but the stress of continuing creates the hallucination beginning in "In the Flesh".

In the Flesh

This song marks the first of a series of songs in which Pink, fuelled by a drug-induced state, likens himself to a dictator figure, crowing over his faithful audience; this particular song is his hallucination that his concerts can be likened to a political rally, and the song is essentially a satire of the fan-following modern musicians such as rock and pop stars are responsible for. It may also serve as an exploration of the actions of some as an effect of insecurity; behind their respective 'walls.' It could be noted how much "Dictator Pink" is similar to the schoolmaster that plagued him in his youth. When listening carefully, certain lines can be picked out that are more or less shared between the two characters. This song and the two which follow it on the album - "Run Like Hell" and "Waiting for the Worms" - can also be compared to three stages of Hitler's rise to power. "In the Flesh" is his rallying cry for everyone to follow him. "Run Like Hell" is the beginning of his attempt to destroy those he hates, and "Waiting for the Worms" is the culmination of his insanity. In the end he forces his people to fear him rather than to follow him. In the movie this is seen in the sequence of people throwing their curtains closed as he passes by on the street.

Run Like Hell

(Gilmour/Waters) The song is from the point of view of anti-hero Pink during a hallucination, in which he becomes a Nazi-like figure and turns a concert audience into a hate mob. He sends the mob out to raid nearby neighborhoods that are full of minorities.

Waiting For the Worms

At this point in the album, Pink has lost all hope and has let bad ideas, or "worms", control his thoughts. In his hallucination, he is a fascist dictator who spreads hatred, with the promise that his followers would see "Britannia rule again" and "send our coloured cousins home again," and announces he is "waiting to turn on the showers and fire the ovens." The count-in is Eins, zwei, drei, alle – German for "one, two, three, all..." (Probably intended to rally the masses to flock to Pink's call).

Stop

Pink becomes disgusted by his actions as a fascist dictator and the hallucination ends. He is also tired of The Wall, and puts himself on trial in his head. The song is also about the realization he has that everything that led up to his wall was all his own fault, hence the line "Have I been guilty all this time?".

The Trial

(Waters/Ezrin) The song centres on the main character, Pink, who having lived a life filled with emotional and (later) substance abuses has reached a critical psychological break. "The Trial" is the fulcrum on which Pink's mental state balances. Through the course of the song, he is confronted by the primary influences of his life (who have been introduced over the course of the album): the rigidly strict and abusive schoolmaster, Pink's emotionally distant, adulterous wife, and his smothering, overprotective mother. Pink's subconscious struggle for sanity is overseen by a new character, "The Judge" ("Worm, your Honour") (the characters are all worms who have eaten into Pink's brain, first noted in "Hey You"). A Prosecutor conducts the early portions, which consist of the antagonists explaining their actions, intercut with Pink's refrain, "Crazy; / Toys in the attic I am crazy". The culmination of the trial is the Judge's sentence for Pink "to be exposed before [his] peers" whereupon he orders Pink to "tear down The Wall!" At one point in the song Pink sings " There must have been a door there in The Wall, for when I came in" representing that he is confused by his revelations, and trying to find a way out of The Wall and away from his mental tormentors, the animated "antagonists," through a door in his Wall that does not exist. This song might also be seen as a metaphor for how cruelly society sometimes treats those who are different by exposing and mocking them. This and the following song "Outside the Wall" are the only two songs on the album which the story is seen from an outsider's perspective, most notably through the four antagonists of The Trial, even though it is all in Pink's mind. The film creates an interesting effect by showing the three characters making it past The Wall in one of the famous animated sequences, symbolically invading Pink's mind, and telling The Worm their part of the story: The School Master is brought down like a puppet on strings by his wife, referencing the earlier song "The Happiest Days of Our Lives". The Wife comes out from underneath The Wall, represented as a scorpion, which is done during "Don't Leave Me Now". The Mother comes from above in an abstract, morphing image of an airplane (referencing the plane which killed Pink's father, and also the plane which Pink was playing with in Another Brick in the Wall (Part I)), which then encircles Pink. Hearing what mother, school master, and wife have to say about Pink's state makes many of the reasons for building his Wall seem absurd. This is really represented in the wife's speech: "...You should have talked to me more often than you did, but no, you had to go your own way..." This further emphasizes the fact that Pink is the true guilty one, leading to the Judge's response to the trial "...the way you made them suffer, your exquisite wife and mother..." and his sentencing "...since, my friend, you have revealed your deepest fears, I sentence you to be exposed before your peers..." It is not clear as to what the tearing down of Pink's Wall entails, but there is a clue in the song The Final Cut from the album of the same name. The lyrics, "...Dial the combination, open the priesthole. And if I'm in I'll tell you what's behind The Wall." The portion where Waters sings "behind The Wall" is overdubbed by a shotgun shooting, suggesting that Pink eventually tore down his wall by shooting himself. (This also served to sever the album's link with The Wall.)

Outside the Wall

Unlike the other songs on the album, this particular song offers little to the plot involving Pink as a whole. It acknowledges that "the wall" has now been demolished (as a result of actions in The Trial), and goes on to "discuss" the idea that many people have social barriers, and that this is somewhat repetitive in nature; as one person re-integrates themselves with society, another leaves. Musically, its the same melody heard at the beginning of the album.