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  • Cthulhu "DarkLordCthulhu" - Awesome calendar, but....

    You would have to be mentally retarded to pay what these sellers want for a CALENDAR. It tells you the day of the week. It doesn't make breakfast or wipe your butt. It doesn't clean your house or drain your rod. IT's A FREAKING CALENDAR! If you have extra money to burn, I know a prince in Nairobi that needs your help!

  • - Division Bell, along with the others, Classic Floyd

    As Pink Floyd produces yet another album, there is a sense of wistfulness about it, alluding perhaps to the rift between Roger Waters and the band, created by his exit in 1984. For those who are mired in the conceptualization of progress, i.e. that albums must be nearly categorically different to show that a band is striving ahead, whatever that means, this album is not for you. Progress is an overrated quality in an album, and gives the listening public an ever increasing dose of bad music as musicians try to keep up with critical demands for change. Whatever happened to the standard, "stick to what you're good at?" Pink Floyd does exactly that in "The Division Bell." Starting with Cluster One we are introduced to the now classic instrumental that is Pink Floyd's calling card, an unearthly tone, with a backdrop of earthquake-like rumblings, setting up what is recognized as their own cosmic ambience. Looking ahead we can see that this is perhaps a transitional album for the group, and at the same time, a conciliatory attempt; or conversely a reaffirmation of their own identity, as the group Pink Floyd. What Do You Want From Me, asks just that question, to the audience, to Waters, but the ambiguity is classic Pink and the album works at both levels throughout; in all probability, they are inquiring of both. Poles Apart, the second cut, describes the situation for us, and leads us into a sense of isolation and alienation. These emotions are played out for us in the instrumental, Marooned, combining various techniques that are recognizable Pink Floyd trademarks. A Great Day for Freedom is ironic as the title clashes with the morbid tempo and rhythm of the song, but that morbidity certainly plays well as we find ourselves moving from the alienation of Marooned into the ghastly image presented by Wearing the Inside Out. The price for freedom from isolation, that the expectations of our culture force us to be other that what we are, that is, inside out, is reflective extravagance, but well worth the effort. Take It Back, once again, presents us with a dilemma, and is the apex of the album. The lyrics are surprisingly sentimental, but illustrate the complexities of conciliatory gestures. Whether the conciliation is directed at Waters, or is a solidification of the group without him remains unclear, but the sense of personal crisis remains. It also illuminates the hope for something better, in a nihilistic fashion of those suffering depression. That hope is realized in Coming Back to Life, as the past fades and a sense of identity comes to us, along with a gradual recognition of individuality, as the "I" is realized. Keep Talking, with its introduction by Stephen Hawkings, For millions of years mankind lived just like the animals Then something happened which unleashed the power of our imagination We learned to talk. leaves the rest of the album behind, lyrically, and gives us a positive prescription for meaningful socialization, emphasizing the dialectic method, popularized by Socrates and Plato. We also find, in this particular song, speculation on the idea of progress. Is it something that is created through work, or as the introduction suggests, merely chance that allows us to realize a preexisting condition; or perhaps a combination of the two? This prescription is itself challenged in the following song, Lost for Words, warns us that the dialectic must remain open. "A cauldron of hate," and "tunnel vision" are only two of the metaphors used to illustrate the possibilities most often utilized by humankind. Building off this, one can see isolation and alienation creeping back into our consciousness. The album ends with High Hopes, but leaves us hanging in the vacuous ambiguity created by popular culture, due to the inability to choose between the dialectic and stereotypical behaviorism. For whom are the hopes high, the band in its transition, the people with whom it has carried on this dialectic, or perhaps in Floydian style, the world at large? For those hoping for a great change in style, the album will be a disappointment, but one wouldn't expect Billy Joel to sound like Pink Floyd, so why change what has become a hallmark feature of the band? The running footsteps, echoing and/or interlocking guitars, sustained piano chords, and other Pink Floyd standards are all still there, meaning that you will know its Pink in the first few chords of any song you hear. If one wants new instrumental ideas, look elsewhere, but if you are looking for a tightly wound conceptual album that is willing to speculate on philosophical and psychological issues, check out The Division Bell, by Pink Floyd.

  • Jtealsmith - My "Miracle" Cure

    For years I have struggle with digestional issues and troubles going to the bathroom. Since using Align, everything has completely changed. I went from hardly beiing able to go once a week or even two weeks sometimes, to now being able to go atleast once a day. I feel less bloated, and a huge sense of relief every day now. I would highly, highly recommend Align to anyone suffering for digestional track issues and/ or people who endure troubles going to the bathroom on a regular basis. Align really has been my "miracle" cure that I've been looking for!