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When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii
The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.
The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.
The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.
The amphitheatre of Pompeii
The amphitheatre of Pompeii has quite a history as a venue for spectacles.
Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.
From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.
Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.
There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.
In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.
Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.
But how did Pink Floyd come to play at Pompeii in 1972?
Rethinking rock concert movies
It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.
As a concept, it was getting stale.
Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.
Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.
The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.
It was as far away from Woodstock as possible.
The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.
Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.
In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.
The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios.
Marrying art and music
Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.
Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.
Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.
The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.
The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons
Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.
Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.
Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.
But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.
Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.
https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744
Based on the context provided in the text, the phrase "it was getting stale" (paragraph about rethinking rock concert movies) likely means:
O texto seguinte servirá de base para responder à questão.
When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii
The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.
The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.
The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.
The amphitheatre of Pompeii
The amphitheatre of Pompeii has quite a history as a venue for spectacles.
Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.
From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.
Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.
There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.
In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.
Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.
But how did Pink Floyd come to play at Pompeii in 1972?
Rethinking rock concert movies
It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.
As a concept, it was getting stale.
Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.
Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.
The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.
It was as far away from Woodstock as possible.
The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.
Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.
In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.
The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios.
Marrying art and music
Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.
Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.
Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.
The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.
The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons
Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.
Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.
Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.
But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.
Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.
https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744
The 1972 film Pink Floyd Live at Pompeii presents a unique articulation between music, visual imagery and historical location. Far from the typical concert films of the era, the production proposes a redefinition of how sound and space interact in audiovisual narratives. Based on the text, which element most strongly characterizes the distinctiveness of this film compared to its contemporaries?
O texto seguinte servirá de base para responder à questão.
When rock music met ancient archeology: the enduring power of Pink Floyd Live at Pompeii
The 1972 concert film Pink Floyd Live at Pompeii, back in cinemas this week, remains one of the most unique concert documentaries ever recorded by a rock band.
The movie captured the band on the brink of international stardom, released seven months before their breakout album Dark Side of the Moon, which would go on to sell 50 million copies and spend 778 weeks on the Billboard charts.
The film was the first time a rock concert took place in the ruins of an archaeological site. This intermingling of art and archaeology would change the way many thought of Pompeii.
The amphitheatre of Pompeii
The amphitheatre of Pompeii has quite a history as a venue for spectacles.
Constructed around 70 BCE, it was one of the first permanent constructed amphitheatres in Italy, designed to hold up to 20,000 spectators.
From graffiti and advertisements, we know it was used in antiquity for gladiatorial fights and displays and hunts of wild beasts and athletic contests.
Famously we are told by Roman historian Tactius in 59 CE a deadly brawl occurred between Pompeiians and residents of the nearby town of Nuceria during games, resulting in a ten-year ban on gladiatorial contests at the venue. The amphitheatre was destroyed by the eruption of Vesuvius in 79 CE.
There is a long tradition of authors, artists, filmmakers and designers taking inspiration from the site and its destruction. A 13-year-old Mozart's visit to the Temple of Isis at the site inspired The Magic Flute in 1791.
In the rock music era, Pompeii has inspired numerous artists, especially around themes of death and longing. Cities in Dust (1985) by Siouxsie and the Banshees was perhaps the most famous until Bastille's 2013 hit Pompeii. In The Decemberists' Cocoon (2002), the destruction of Pompeii acts as a metaphor for the guilt and loss in the aftermath of the September 11 attacks.
Since 2016, the amphitheatre has hosted concerts − with audiences this time. Appropriately, one of the first was a performance by Pink Floyd's guitarist David Gilmour. His show over two nights in July 2016 took place 45 years after first playing at the site.
But how did Pink Floyd come to play at Pompeii in 1972?
Rethinking rock concert movies
It was the peak era of rock concert documentaries. Woodstock (1970) and The Rolling Stone's Gimme Shelter (1970), and other documentaries of the era, placed the cameras in the audience, giving the cinema-goer the same perspective as the concert audience.
As a concept, it was getting stale.
Filmmaker Adrian Maben had been interested in combining art with Pink Floyd's music. He initially pitched a film of the band's music over montages of paintings by artists such as Rene Magritte. The band rejected the idea.
Maben returned to them after a holiday in Naples, realising the ambience of Pompeii suited the band's music. A performance without an audience provided the antithesis of the era's concert films.
The performance would become iconic, particularly the scenes of Roger Waters banging a large gong on the upper wall of the amphitheatre, and the cameras panning past the band's black road case to reveal the band in the ancient arena.
It was as far away from Woodstock as possible.
The performance was filmed over six days in October 1971 in the ancient amphitheatre, with the band playing three songs in the ancient venue: Echoes, A Saucerful of Secrets, and One of These Days.
Ancient history professor Ugo Carputi of the University of Naples, a Pink Floyd fan, had persuaded authorities to allow the band to film and to close the site for the duration of filming. Besides the film crew, the band's road crew − and a few children who snuck in to watch − the venue was closed to the public.
In addition to the performance, the four band members were filmed walking over the volcanic mud around Boscoreale, and their performances in the film both were interspersed with images of antiquities from Pompeii.
The movie itself was fleshed out with studio performances in a Paris TV studio and rehearsals at Abbey Road Studios.
Marrying art and music
Famously the Pink Floyd film blends images of antiquities from the Naples Archaeological Museum with the band's performances.
Roman frescoes and mosaics are highlighted during particular songs. Profiles of bronze statues meld with the faces of band members, linking past and present.
Later scenes have the band backdropped by images of frescoes from the famed Villa of the Mysteries and of the plaster casts of eruption victims.
The band's musical themes of death and mystery link with ancient imagery, and it would have been the first time many audience members had seen these masterpieces of Roman art.
The Memento mori mosaic features significantly during the performance of the song Careful with that Axe, Eugene. Naples National Archaeological Museum/Wikimedia Commons
Pink Floyd Live at Pompeii marked a brave experiment in rock concert movies.
Watching it more than 50 years later, it is a timepiece of early 70s rock and a remarkable document of a band on the brink of fame.
Because of their progressive rock sound, sonic experimentation and philosophical lyrics, it was often said by Pink Floyd's fans that they were "the first band in space". They even eventually had a cassette of their music played in space.
But many are not aware of their earlier roots in the dust of ancient Pompeii. The re-release of the film gives an opportunity to enjoy the site's unlikely role in music history.
Pink Floyd at Pompeii − MCMLXXII is in cinemas from Thursday.
https://theconversation.com/when-rock-music-met-ancient-archeology-t he-enduring-power-of-pink-floyd-live-at-pompeii-252744
A student needs to write a descriptive essay about a cultural event that combines historical significance with contemporary relevance. Based on the Pink Floyd at Pompeii text structure, which organizational pattern would be pedagogically effective?
Sobre os processos que moldaram o mundo contemporâneo, como revoluções, imperialismos e globalização, assinale (V) ou (F):
(_) As revoluções burguesas ampliaram os direitos civis e a participação política.
(_) O imperialismo europeu contribuiu para o fortalecimento econômico das colônias.
(_) A globalização intensificou as interconexões econômicas e culturais entre países.
(_) O imperialismo foi marcado pela competição entre potências por territórios.
A análise correta das afirmações acima, de cima para baixo, resulta na seguinte sequência:
As discussões sobre currículo e práticas pedagógicas têm modificado o ensino de História nas últimas décadas. Com base nas tendências contemporâneas, analise as assertivas a seguir:
I. Há uma valorização crescente de histórias locais e memórias comunitárias no ensino de História.
II. O currículo busca abranger múltiplas temporalidades, agentes históricos diversos e fontes plurais.
III. As abordagens contemporâneas restringem-se à história política institucional, com ênfase em governos e guerras.
IV. O ensino de História passou a incorporar temas como relações étnico-raciais, gênero e experiências populares.
É correto o que se afirma em:
Com base nos princípios do Estatuto da Criança e do Adolescente, assinale (V) para as afirmativas verdadeiras e (F) para as falsas.
( ) O ECA reconhece crianças e adolescentes como sujeitos de direitos.
( ) O ECA prevê que a proteção integral é dever exclusivo do Estado.
( ) A prioridade absoluta à criança está prevista apenas na área educacional.
( ) A convivência familiar é um direito assegurado pelo ECA.
A análise correta das afirmações acima, de cima para baixo, resulta na seguinte sequência:
Acerca do período republicano no Brasil, julgue os itens a seguir como Verdadeiros (V) ou Falsos (F):
(__) A República Velha foi marcada pela política dos governadores e voto de cabresto.
(__) O Estado Novo (1937-45) promoveu o autoritarismo e o controle da imprensa.
(__) A redemocratização pós-1945 garantiu estabilidade política contínua até hoje.
(__) O regime militar (1964-1985) foi instaurado com apoio de setores civis.
A análise correta das afirmações acima, de cima para baixo, resulta na seguinte sequência:
A Lei de Diretrizes e Bases da Educação Nacional (Lei nº 9.394/96) estabelece os princípios e finalidades da educação brasileira, orientando as práticas pedagógicas em diferentes níveis de ensino. Com base na LDB, analise as assertivas abaixo:
I. A educação tem por objetivo o pleno desenvolvimento do educando, seu preparo para o exercício da cidadania e sua qualificação para o trabalho.
II. A valorização dos profissionais da educação escolar, incluindo formação continuada e remuneração condigna, é um dos princípios da LDB.
III. O ensino deve limitar-se à preparação técnica, priorizando as demandas imediatas do mercado de trabalho.
IV. A gestão democrática do ensino público é um dos princípios da educação nacional, conforme previsto na LDB.
Estão corretas:
A expansão marítima européia do século XV foi um processo histórico de grandes repercussões globais, que envolveu interesses econômicos, políticos e religiosos. Com base nesse contexto, analise as assertivas abaixo:
I. Motivou-se pela busca de metais preciosos, especiarias e novas rotas comerciais para contornar o monopólio mediterrâneo.
II. Teve como consequência a colonização, a escravidão e a exploração de povos em diferentes continentes.
III. Propiciou trocas culturais igualitárias e mutuamente benéficas entre europeus e povos nativos.
IV. Foi favorecida pelos avanços tecnológicos em navegação e pelo apoio das monarquias nacionais emergentes.
Estão corretas:
De acordo com a legislação que disciplina os servidores públicos, os cargos de confiança possuem caráter especial e exigem atenção quanto à forma de ocupação. Sobre esse tema, assinale a alternativa correta:
A taxa Selic é um dos principais instrumentos de política monetária utilizados no Brasil. Seu aumento tem como efeito principal:
Quanto às estações, também não "as teríamos" e haveria um grande impacto nos padrões climáticos em todo o mundo.
Fonte: https://www.bbc.com/portuguese/articles/czdz14w0qwdo. adaptado
A norma-padrão de colocação pronominal destacada na frase denomina-se:
Conheça nossos planos