Pratica di Shadowing: The Ego That Destroyed Pink Floyd - Impara a parlare inglese con i video
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I've been a fan of Pink Floyd for years.
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And I haven't listened to it very carefully.
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And toward the end, I mean, David Gilmour said that at certain sessions and recording moments,
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he felt almost there wasn't any point turning up because you were so controlling.
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You were such a stirrer.
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I'm not going there.
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That's it.
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I'm not going any further.
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Are there any paranoics in the audience tonight?
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Is there anyone who worries about things?
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Is there anyone here who's weak?
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Come on, they're coming here!
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Enjoy yourself!
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Come on, go try!
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80,000 people are packed into Montreal's Olympic Stadium.
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It is the 6th of July, 1977, the final night of the In The Flesh tour, and on stage, Roger Waters has reached his breaking point.
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And that's obviously what caused all the trouble in the band, is that...
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It's all strong stuff and it didn't sit well with the rest of them.
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Down in front of the barrier, an overzealous fan is screaming, caught up in the sheer spectacle of the world's biggest stadium rock act.
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Waters, exhausted and alienated by the chaotic stadium environment, snaps.
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He leans over the equipment at the front of the stage and spits directly in the young man's face.
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Why did you spit on a member of the audience?
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Because he was climbing up the front of the fucking stage!
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In that single, shocking instant, the cracks in Pink Floyd became impossible to ignore.
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They had achieved unprecedented commercial heights, yet the group dynamic had turned profoundly fractured.
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Waters would later reflect on the incident with deep disgust, using that sense of alienation from his own audience as the creative catalyst for what came next.
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Mostly the idea became that you wanted to build a wall between yourself and the audience.
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Is that correct?
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It is.
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It is.
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To my channel, Shane.
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It's hard to believe it's been 33 years since I spat at one of you.
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Before the colossal tours and multi-million pound productions, there was Cambridge.
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Roger Waters had grown up without his father, Eric Fletcher Waters, who was killed during the Allied landings at Anzio in February 1944,
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when Roger was barely five months old.
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That profound family loss became a recurring thread in his writing,
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shaping an artistic voice drawn to themes of absence, institutional cruelty and grief.
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When Waters arrived in London to study architecture in the early 1960s, he formed the earliest version of the band alongside Nick Mason and Richard Wright.
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Soon another Cambridge friend joined the fold, Sid Barrett.
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Sid became the charismatic centre of the group,
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writing their early psychedelic breakthroughs like Arnold Lane and See Emily Play throughout 1967.
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Why can't you see?
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Bandar in case...
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Ah, I will...
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Waters remained largely in the background, anchoring the rhythm section on bass.
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Barrett's behaviour, however, grew increasingly erratic and unpredictable.
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Facing the immense demands of early fame alongside heavy drug use, his health deteriorated rapidly.
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By early 1968, the band could no longer function with him on stage and Barrett was formally removed from the line-up.
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Sid went crazy in 1967.
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And so by 69, we weren't seeing him anymore.
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He disappeared completely.
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To save the project, the band turned to another Cambridge native who had been tracking their progress, David Gilmore.
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Losing their principal songwriter and visual figurehead left the group in a precarious position.
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the music press questioned whether they could sustain their initial momentum, forcing the band to spend the next four years operating as an experimental workshop.
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Between 1968 and 1971, they toured relentlessly in transit vans,
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scored art films and built long 20-minute instrumental suites during live shows.
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During this period, the four members worked in relative balance.
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David Gilmour provided distinctive lead guitar and warm vocal melodies.
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Richard Wright contributed rich keyboard textures, weaving jazz chords and classical motifs through their arrangements.
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Nick Mason held the rhythmic core together with an understated, fluid feel.
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Waters, meanwhile, focused on structural discipline.
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Aware of his technical boundaries on the bass, he channelled his energy into shaping overarching concepts,
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making sure their long instrumental passages were anchored to clear narrative ideas.
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Well, funnily enough, I'd already had songs on the first album and on the second album when Sid was still there.
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So it may have been that my nascent need to express my feelings would have may have risen to the surface, but not in the way that it did,
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because it had to fill in all the space.
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By late 1971, during band discussions and rehearsals, Waters proposed a thematic framework that would transform their collective career.
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Waters pitched a clear, direct concept for their eighth studio album, a cohesive record exploring the modern pressures that push people to breaking point,
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from time and money to mental strain and mortality.
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Rather than relying on abstract, disjointed verse, Waters took on the responsibility of writing every lyric on the album,
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creating a unified narrative voice.
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Funnily enough, there was a lot...
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In the original version that I read, there was a lot of we wrote cards out and we did this and we did that.
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I don't remember much we about this.
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Released in March 1973, The Dark Side of the Moon was a masterclass in band collaboration.
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Waters provided the biting conceptual framework and thematic structure.
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Gilmour delivered masterly melodic guitar solos and lead vocals, while Wright composed the chord sequences that formed the backbone of tracks like Us
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and Them and The Great Gig in the Sky.
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The album went on to spend decades on the charts, turning Pink Floyd into a global cultural fixture.
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Yet that unprecedented level of commercial success fundamentally altered how they worked together.
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Over the years that followed, Waters took on an increasingly central role in directing their creative output,
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gradually shifting the band from an open democracy into a project steered by his own specific vision.
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When they regrouped at Abbey Road in 1975, that shifting dynamic was put to the test.
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The sessions for Wish You Were Here proved difficult from the start.
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The band arrived at the studio drained by the scale of their recent success, struggling to find a clear artistic direction.
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Waters wanted to turn the record into a focused commentary on the music industry
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and an exploration of their shared memories of Sid Barrett.
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A major disagreement arose over the track list.
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Gilmore preferred to record three long pieces they had already developed on the road.
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Shine on you crazy diamond, raving and drooling, and you've got to be crazy.
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Waters argued instead for splitting Shine on you crazy diamond across the two sides to frame the entire record, replacing the other two songs with new material.
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Gilmore was outvoted 3 to 1, and the album proceeded according to Waters' structural plan.
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One of the periods, one of the moments, is in the show, because it's in when we play Wish You Were Here, and I do wish he was here.
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And I mean, it's partly what that song's about, and Shine On You Crazy Diamond is just completely about Sid.
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By the time they recorded Animals in 1976, Waters' thematic dominance was nearly absolute.
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He reimagined George Orwell's Animal Farm as a sharp critique of contemporary Britain.
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Gilmore contributed heavily to the 19-minute track Dogs, but for the first time, Richard Wright received no songwriting credits on the record,
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despite his synthesizers and electric pianos remaining central to the album's sonic atmosphere.
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You've said of yourself, I know I can be an oppressive personality because I bubble with ideas.
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It was easier for the others to go along with me.
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So I'm wondering at what point you realised whilst you were making music with Pink Floyd
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that it doesn't quite feel as good as it once felt, that personalities were rubbing abrasively up against each other.
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I think, and it's not just me, I think everybody would agree it was really immediately after Dark Side of the Moon, so we would argue furiously about almost everything.
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Relations were visibly deteriorating.
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By the 1977 Arena Tour, the four members were increasingly distant offstage, travelling separately and communicating less.
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Then came Montreal, the confrontation with the audience, and the creative reaction that followed.
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Retreating to his country home after the 1977 tour, Waters began writing intensely.
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In July 1978, he presented the band with two distinct rough demo tapes,
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one titled The Pros and Cons of Hitch Hiking, and the other The Wall.
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He gave the group the choice of which project to pursue as Pink Floyd, keeping the alternative for a future solo project.
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the initial recordings were notoriously raw and abrasive, with Gilmour later recalling them as practically unlistenable in their early state.
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Turning the material into a viable Pink Floyd record would demand months of intense reconstruction.
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The wall chronicled the life of Pink, a fictional rock star who constructs an emotional barrier to insulate himself from personal loss,
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overbearing figures and the isolation of stardom.
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Waters drew heavily upon his own childhood and his father's death to craft the narrative.
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So we invented a gestalt character.
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This is Pink.
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And Pink had a bit of Roger's history, but also a lot of the characteristics of most of the rock stars that we knew.
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And they are all, you know, when people go into that business, they're looking for approval.
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They're looking for love in all the wrong places, one might say.
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To help manage the immense scope of the double album, producer Bob Ezrin was brought in to oversee the arrangements.
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Ezrin found himself working as a mediator between increasingly alienated band members.
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During the making of The Wall, this was the time at which Roger was sort of declaring his, what he perceived as his primacy within the band.
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And the story was, as I said, based on his life, so he had a very deep proprietary feeling about the whole story and the whole project.
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And he was resistant of input from the other guys to begin with.
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Waters maintained a demanding schedule, pushing for complete narrative consistency across all four sides of vinyl.
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That relentless pressure soon pushed their working relationship with Richard Wright to a total collapse.
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By 1979, Richard Wright was struggling personally and professionally.
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Facing marital difficulties and living abroad for tax reasons, he found himself increasingly sidelined in the studio.
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When scheduling conflicts arose and progress stalled on the album's keyboard tracks,
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tensions between Waters and Wright escalated into an open confrontation.
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Roger was very tough on Rick.
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He was disappointed in Rick's contribution to the record, which was not correct, because Rick's fantastic.
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And the minute that he plays or sings, it just becomes Pink Floyd.
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You know, he's such an essential part of the sound.
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But he's a very sensitive man and was feeling a little bit removed from the process after the making of animals.
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And I think he was self-conscious.
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And Roger, like many bullies, they recognise weakness.
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The minute they see it, they smell blood and they go for it.
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Waters gave Gilmour and Mason a hard choice.
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Either Wright would leave the group upon completion of the recording sessions, or Waters would withhold the wall from being released as a Pink Floyd album.
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The timing was particularly dangerous.
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Pink Floyd had recently lost vast sums of money in a disastrous investment venture with an outside financial firm,
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leaving them in a deeply vulnerable financial position.
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Delaying or losing the album could have resulted in complete financial ruin.
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Gilmour and Mason agreed to the terms and Wright was quietly removed from the partnership.
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In an extraordinary turn of events,
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the band retained Wright as as a salaried session keyboardist for the 1980 and 1981 live performances of The Wall.
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Because the elaborate stage production, complete with towering animated puppets and a physical brick wall spanning the arena,
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incurred massive financial losses, the three remaining partners absorbed the debt.
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Wright, working on a fixed salary, walked away as the only musician to earn money from the performances.
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The internal dynamic had shifted permanently and their next project would fracture the core even further.
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In the spring of 1982, the conflict between Britain and Argentina over the Falkland Islands deeply affected Roger Waters.
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Having spent his life reflecting on the wartime loss of his father, he saw the conflict as a betrayal of the post-war generation.
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He abandoned plans for a conventional soundtrack to the wall film and poured his energy into to a fierce anti-war record.
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The resulting album, The Final Cut, was released in March 1983.
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Its packaging carried a notable credit, a Requiem for the Post-War Dream by Roger Waters, performed by Pink Floyd.
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Gilmour voiced strong reservations about the material, arguing that several tracks were cast-offs from the wall that were not strong enough for a new release.
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Studio sessions grew exceptionally hostile.
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Gilmore and Waters clashed repeatedly over track selection and arrangements, leading Gilmore to drop his production credit, though he retained his financial producer's share.
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The studio strain extended across the band.
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The work that we did together through,
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in spite of the fact that we're not blood brothers, was remarkable.
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On the track, Two Sons in the Sunset, session drummer Andy Newmark had to be brought in to record the drum parts
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because Mason had difficulty navigating the song's complex shifting time signatures.
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The record read more like a solo statement with guest accompaniment than a band effort.
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Pink Floyd had reached an artistic standstill and Waters was ready to make the separation formal.
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In December 1985, Roger Waters formally notified the record company and management that he was leaving Pink Floyd.
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It's over, I think.
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Just that simple.
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It's over.
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You can call it part of your past now.
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Yeah.
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Other people, I think, have other opinions about it, but you'd have to speak to them.
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Believing that the group's creative identity was inextricably bound to his conceptual direction and writing, he viewed the band as functionally finished,
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later referring to the partnership in legal filings as a spent force creatively.
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It proved to be a critical misjudgment.
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Now, tell me, Roger, what's going to happen to the Pink Floyd in the future?
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Your guess is as good as mine.
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My guess would be not very much.
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But I don't know, you never know.
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You never know these things.
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David Gilmore and Nick Mason resolved to continue working together.
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Gilmore began assembling new material on his houseboat recording studio, the Astoria, inviting Mason and eventually Richard Wright into the sessions.
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When Waters learned that the project was moving forward under the Pink Floyd banner,
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he initiated High Court proceedings in October 1986 to formally dissolve the partnership and challenge the continuing use of the group's name.
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Basically brought two legal actions against us
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which I don't know how long they'll take to get to court but we will see.
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I don't envisage them causing us too many problems.
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I don't think that he or anyone else has the right to tell us whether
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or not we can carry on and use it ourselves.
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Waters sought to wind up the commercial entity while Gilmore
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and Mason fought to defend their right to operate under the established name.
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If Ringo and George reformed and called themselves the Beatles, I personally would be extremely upset because there are millions and millions of children out there who go, oh, the Beatles are coming to town,
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wahoo, let's go and buy tickets.
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Or, oh, look, the Beatles album's coming out, well, let's go and buy it.
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That's all, and that's exploitation, and I think it's wrong.
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The legal standoff did not end with a dramatic courtroom verdict.
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Instead, after months of of intense negotiation, both parties agreed to a comprehensive out-of-court settlement in December 1987.
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Gilmour and Mason secured the legal right to continue recording and touring under the name Pink Floyd,
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while Waters retained specific rights to the theatrical presentation of the wall, along with other distinct staging assets.
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With the departure of long-time songwriter Roger Waters, remaining band members Nick Mason,
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Richard Wright and lead singer-guitarist David Gilmour are learning to fly on their own.
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On the 7th of September 1987, Pink Floyd released a momentary lapse of reason and launched a massive worldwide tour.
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The tour played to packed stadiums around the world, proving that audiences still had an enormous appetite for the band's live sound,
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visual scale and classic repertoire.
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Waters launched his own solo tour for his album Radio Chaos during the same period,
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drawing considerably smaller crowds while Pink Floyd's tour went on to become one of the highest grossing live acts of the decade.
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I was wrong. Were you?
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Of course I was. Who cares?
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It was a commercial decision.
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You know, and in fact, it's one of the few times that the legal profession has taught me something.
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He's doing his thing, you know, he's been touring his wall show, having a great time, really enjoying himself.
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And I'm doing, you know, new music and coming out and doing shows.
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You know, I don't think either one of us wants to go back.
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The commercial reality made it clear that the Pink Floyd identity carried an immense weight of its own, separate from the involvement of any single member.
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Waters had provided the conceptual brilliance and literary edge behind the band's most iconic records,
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but Pink Floyd had always been a synthesis of distinct musical voices.
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When that fragile collaboration broke down, the music carried on, anchored by the sonic style Gilmour and the rest of the band had built from the very beginning.
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David Gilmour's own relationship with that vast catalogue is explored in our look at his four favourite Pink Floyd songs,
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which you can watch right now by clicking the thumbnail on your screen.
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Cosa imparerai
Questo video ti aiuterà a migliorare la pronuncia inglese e a esercitare due abilità cruciali: la comprensione di conversazioni spontanee (con pause, emozioni e frasi interrotte) e l'uso di stress per enfatizzare le parole chiave. Inoltre, imparerai a identificare come i nativi trasformano frasi lunghe in flussi continui, utile per il shadowing in inglese.
Ascolta questi suoni
Nella registrazione, nota come le parole si "collegano": ad esempio, "I've been a fan" diventa /aɪv bɪn ə fæn/ (la "v" di "I've" si fonde con "been"). Oltre a questo, ci sono riduzioni come "didn't sit well" pronunciato /dɪdnt sɪt wel/ (la "t" di "didn't" è debole). Questi dettagli sono fondamentali per il shadowing, perché aiutano a seguire il ritmo naturale della lingua.
Parla come un nativo
Per imitare il ritmo del speaker, focalizzati sul stress: parole come "controling", "fractured" o "grief" hanno l'enfasi sulla seconda sillaba. Prova a ripetere frasi come "Why did you spit on a member of the audience?" con la stessa energia: la domanda inizia con un tono alto e scende verso la fine. Usare un shadowing site può aiutarti a confrontare il tuo audio con il nativo, ma anche la tecnica del shadowspeaks (ripetere immediatamente dopo il speaker) funziona bene. Ricorda: la chiave è non solo la pronuncia, ma il flusso. Pratica ogni giorno, e vedrai come migliorare la pronuncia inglese in poco tempo!
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | was killed · were anchored · was put |
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | I've been · haven't listened · has reached |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | anyone who worries · record, which was |
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.