PinkFloyd4K

Stereo mix (24bit/96kHz) restored by Neonknight. 4K video edit and upscale by PinkFloyd4K. Input: 1920x1080 60fps (source: ITsART streaming - screen recording) Output: 3840x2160 25fps Unfortunately the film is splitted track by track due to copyright violation. ---------------------- Chapters: Pompeii - https://youtu.be/tJUhK8IqSu0 Echoes, Part 1 - https://youtu.be/TToiePXjuR8 On the Run (studio footage) - https://youtu.be/L7SbZnZXtdY Careful with That Axe, Eugene - https://youtu.be/Qy4VcnRR5mc A Saucerful of Secrets - https://youtu.be/kMnolD7cnUI Us and Them (studio footage) - current video One of These Days - https://youtu.be/yw7UeEzBgOc Set the Controls for the Heart of the Sun - https://youtu.be/tMi7LT9P1hc Brain Damage (studio footage) - https://youtu.be/xIS_wX4ZjUw Mademoiselle Nobs - https://youtu.be/TH3X2v06CD8 Echoes, Part 2 - https://youtu.be/2BVfLohuR3o ---------------------- All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #UsAndThem

Stereo mix (24bit/96kHz) restored by Neonknight. 4K video edit and upscale by PinkFloyd4K. Input: 1920x1080 60fps (source: ITsART streaming - screen recording) Output: 3840x2160 25fps Unfortunately the film is splitted track by track due to copyright violation. ---------------------- Chapters: Pompeii - https://youtu.be/tJUhK8IqSu0 Echoes, Part 1 - https://youtu.be/TToiePXjuR8 On the Run (studio footage) - https://youtu.be/L7SbZnZXtdY Careful with That Axe, Eugene - https://youtu.be/Qy4VcnRR5mc A Saucerful of Secrets - current video Us and Them (studio footage) - https://youtu.be/ji49nbQMBpg One of These Days - https://youtu.be/yw7UeEzBgOc Set the Controls for the Heart of the Sun - https://youtu.be/tMi7LT9P1hc Brain Damage (studio footage) - https://youtu.be/xIS_wX4ZjUw Mademoiselle Nobs - https://youtu.be/TH3X2v06CD8 Echoes, Part 2 - https://youtu.be/2BVfLohuR3o ---------------------- All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #ASaucerfulOfSecrets

Stereo mix (24bit/96kHz) restored by Neonknight. 4K video edit and upscale by PinkFloyd4K. Input: 1920x1080 60fps (source: ITsART streaming - screen recording) Output: 3840x2160 25fps Unfortunately the film is splitted track by track due to copyright violation. ---------------------- Chapters: Pompeii - https://youtu.be/tJUhK8IqSu0 Echoes, Part 1 - https://youtu.be/TToiePXjuR8 On the Run (studio footage) - https://youtu.be/L7SbZnZXtdY Careful with That Axe, Eugene - current video A Saucerful of Secrets - https://youtu.be/kMnolD7cnUI Us and Them (studio footage) - https://youtu.be/ji49nbQMBpg One of These Days - https://youtu.be/yw7UeEzBgOc Set the Controls for the Heart of the Sun - https://youtu.be/tMi7LT9P1hc Brain Damage (studio footage) - https://youtu.be/xIS_wX4ZjUw Mademoiselle Nobs - https://youtu.be/TH3X2v06CD8 Echoes, Part 2 - https://youtu.be/2BVfLohuR3o ---------------------- All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #CarefulWithThatAxeEugene

Stereo mix (24bit/96kHz) restored by Neonknight. 4K video edit and upscale by PinkFloyd4K. Input: 1920x1080 60fps (source: ITsART streaming - screen recording) Output: 3840x2160 25fps Unfortunately the film is splitted track by track due to copyright violation. ---------------------- Chapters: Pompeii - https://youtu.be/tJUhK8IqSu0 Echoes, Part 1 - https://youtu.be/TToiePXjuR8 On the Run (studio footage) - current video Careful with That Axe, Eugene - https://youtu.be/Qy4VcnRR5mc A Saucerful of Secrets - https://youtu.be/kMnolD7cnUI Us and Them (studio footage) - https://youtu.be/ji49nbQMBpg One of These Days - https://youtu.be/yw7UeEzBgOc Set the Controls for the Heart of the Sun - https://youtu.be/tMi7LT9P1hc Brain Damage (studio footage) - https://youtu.be/xIS_wX4ZjUw Mademoiselle Nobs - https://youtu.be/TH3X2v06CD8 Echoes, Part 2 - https://youtu.be/2BVfLohuR3o ---------------------- All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #OnTheRun

Stereo mix (24bit/96kHz) restored by Neonknight. 4K video edit and upscale by PinkFloyd4K. Input: 1920x1080 60fps (source: ITsART streaming - screen recording) Output: 3840x2160 25fps Unfortunately the film is splitted track by track due to copyright violation. ---------------------- Chapters: Pompeii - https://youtu.be/tJUhK8IqSu0 Echoes, Part 1 - current video On the Run (studio footage) - https://youtu.be/L7SbZnZXtdY Careful with That Axe, Eugene - https://youtu.be/Qy4VcnRR5mc A Saucerful of Secrets - https://youtu.be/kMnolD7cnUI Us and Them (studio footage) - https://youtu.be/ji49nbQMBpg One of These Days - https://youtu.be/yw7UeEzBgOc Set the Controls for the Heart of the Sun - https://youtu.be/tMi7LT9P1hc Brain Damage (studio footage) - https://youtu.be/xIS_wX4ZjUw Mademoiselle Nobs - https://youtu.be/TH3X2v06CD8 Echoes, Part 2 - https://youtu.be/2BVfLohuR3o ---------------------- All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #Echoes

Stereo mix (24bit/96kHz) restored by Neonknight. 4K video edit and upscale by PinkFloyd4K. Input: 1920x1080 60fps (source: ITsART streaming - screen recording) Output: 3840x2160 25fps Unfortunately the film is splitted track by track due to copyright violation. ---------------------- Chapters: Pompeii - current video Echoes, Part 1 - https://youtu.be/TToiePXjuR8 On the Run (studio footage) - https://youtu.be/L7SbZnZXtdY Careful with That Axe, Eugene - https://youtu.be/Qy4VcnRR5mc A Saucerful of Secrets - https://youtu.be/kMnolD7cnUI Us and Them (studio footage) - https://youtu.be/ji49nbQMBpg One of These Days - https://youtu.be/yw7UeEzBgOc Set the Controls for the Heart of the Sun - https://youtu.be/tMi7LT9P1hc Brain Damage (studio footage) - https://youtu.be/xIS_wX4ZjUw Mademoiselle Nobs - https://youtu.be/TH3X2v06CD8 Echoes, Part 2 - https://youtu.be/2BVfLohuR3o ---------------------- All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #Pompeii

#Shorts #PinkFloyd #DavidGilmour #PinkFloyd4K

Input: 720x576 25fps (source: DVD) Output: 3840x2160 50fps Unfortunately the video is splitted in two parts due to copyright violation. Part one: https://www.youtube.com/watch?v=ZdUXTCBBoFE All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #ChitChatwithOysters

Input: 720x576 25fps (source: DVD) Output: 3840x2160 50fps Unfortunately the video is splitted in two parts due to copyright violation. Part two: https://www.youtube.com/watch?v=Tke6bcUs5WA All rights reserved to Pink Floyd. No copyright infringement intended. #PinkFloyd #LiveAtPompeii #ChitChatwithOysters

"Young Lust" is a song by Pink Floyd. It appeared on The Wall album in 1979. The Wall tells the story of Pink, an embittered and alienated rock star. At this point in the album's narrative, Pink has achieved wealth and fame, and is usually away from home, due to the demands of his career as a touring performer. He is having casual sex with groupies to relieve the tedium of the road, and is living a separate life from his wife. The end of the song is a segment of dialogue between Pink and a telephone operator, as Pink twice attempts to place a transatlantic collect call to his wife. A man answers, and when the operator asks if he will accept the charges, the man simply hangs up. This is how Pink learns that his wife is cheating on him. ("See, he keeps hanging up," says the operator. "And it's a man answering!") With this betrayal, his mental breakdown accelerates. The dialogue with the operator was the result of an arrangement co-producer James Guthrie made with a neighbour in London, Chris Fitzmorris, while the album was being recorded in Los Angeles. He wanted realism, for the operator to actually believe they had caught his wife having an affair, and so didn't inform her she was being recorded. The operator heard in the recording is the second operator they tried the routine with, after the first operator's reaction was deemed unsatisfactory. In the film, the scene with the attempted phone call, in which Pink learns his wife is cheating on him, occurs at the very beginning of the song "What Shall We Do Now", which is the extended version of "Empty Spaces", before the "Young Lust" song rather than at the end of the "Young Lust" song. The implications of the song are therefore slightly different. On the album, he is already unfaithful to his wife while on tour, making him a hypocrite when he is appalled at her own unfaithfulness. In the film, he is only seen with a groupie after he learns of his wife's affair, which shows the character in a more sympathetic light. In the film, several groupies (including a young Joanne Whalley, in her film debut) seduce security guards and roadies to get backstage passes, where one of them (Jenny Wright) ends up going with Pink (Bob Geldof) to his room. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #YoungLust #PinkFloyd #TheWall

"Don't Leave Me Now" is a song by Pink Floyd. It appears on The Wall album (1979) and was released as a B-side on the single of "Run Like Hell". A 12" single of "Run Like Hell," "Don't Leave Me Now" and "Another Brick in the Wall (Part 2)" peaked at #57 on the Disco Top 100 chart in the U.S. The Wall tells the story of Pink, an alienated and embittered rock star. At this point in the album's narrative, Pink has discovered his wife's infidelity. He invites a groupie to his hotel room in L.A., during his American tour and destroys the hotel room in a fit of rage, scaring the groupie away. Pink falls into a depression. Despite the dysfunctionality of the marriage, he listlessly pleads with his wife not to leave him, stating "I need you, babe / To put through the shredder in front of my friends". Waters, in a 1980 interview with Jim Ladd, described this song as being about "two people who have treated each other very badly", yet are devastated at the prospect of their relationship ending. He also stated during the 1992 US radio special Pink Floyd: The 25th Anniversary Special that the lyrics had nothing to do with his personal life, as he had a more cordial relationship with his wife in real life than Pink did. The song begins with a close-up of the debris in Pink's hotel room, then switches over to the hotel's pool, where Pink is seen floating in a crucifix position. Having cut open his right hand during his violent outburst, his blood stains the pool water. What follows is a fantasy sequence in which Pink watches The Dam Busters on TV in a much larger, and entirely empty, hotel room. The shadow of Pink's wife emerges on the back wall before materialising into a praying mantis-like monster, which then transforms into the vulva-shaped flower from "What Shall We Do Now?". The song ends with Pink cowering in the corner of the room, tortured by both the imaginary mantis in front of him, and thoughts of his wife's adultery. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #DontLeaveMeNow #PinkFloyd #TheWall

"In the Flesh?" and "In the Flesh" are two songs by the English rock band Pink Floyd, released on their 1979 album, The Wall. "In the Flesh?" is the opening track, and introduces the story concept of the album. "In the Flesh" is the twenty-first song of the album, and is a reprise of the first with a choir, different verses and more extended instrumentation. The title is a reference to the band's 1977 In the Flesh Tour, during which Roger Waters, in frustration, spat at a fan attempting to climb the fence separating the band from the crowd. "In the Flesh?" introduces the story of Pink, a rock star. It begins with the opening of a rock concert. The lyrics inform us that despite his outward appearances, things are much different "behind these cold eyes" and that if the listener wants to know what's really going on with Pink, you'll "just have to claw your way through this disguise." The song also subtly indicates that Pink's father is killed in a war, with the sound effect of the dive-bomber. Finally, we hear a baby crying, indicating that Pink and his mother are left without a father and husband, respectively (this is expanded upon two songs later, in "Another Brick in the Wall, Part 1"). Later in the album, the reprise marks the first of a series of songs in which Pink, in a drug-induced hallucination, believes himself to be a fascist dictator, crowing over his faithful audience; this particular song is his hallucination that his concerts can be likened to a political rally. He begins exhorting his fans to show their devotion to him by throwing undesirables such as "queers", Jews, and "coons", "up against the wall". He punctuates the end of the song with "If I had my way I'd have all of you shot!". The incited crowd then chant Pink's name as the song segues into "Run Like Hell". The beginning of the film shows Pink sitting in a locked hotel room. A housekeeper knocks repeatedly, then uses her keys to let herself in. While this happens, Pink's mind is flashing back to a concert, in which a massive crowd of eager concertgoers manage to break down a chained door to the concert venue, and rush inside, trampling each other in the process. The film shows quick cuts of rioting fans and a violent police response, interspersed with scenes of soldiers being bombed in the fields of war. A German Ju 87 Stuka bombs a bunker, in which Pink's father is killed. The song is performed by Pink (Bob Geldof) in his dictator garb, with the set decorated like a Nazi rally, an insignia of two crossed hammers replacing the swastika. Geldof recorded his own vocals over the original Pink Floyd music track, replacing Waters' vocals. The film version also uses a mix in which the song's intro was longer, with the E minor power chord riff, and a short David Gilmour solo, repeating twice. This was edited out of the record due to time constraints, but the song has been performed full length in most live performances. Later in the movie the reprise is used in a similar way as in the album, picking up shortly after Pink's transformation into the Dictator. The song is one of the most radically changed among movie versions, having been converted to an orchestral piece. The Dictator questions the loyalty of the fans, while setting his dogs against the "queers" and "coons" he singles out. As the song ends, the crowd's chant of "Pink Floyd!" is replaced with "Hammer", invoking the film motif of hammers. In addition, both Pink and the crowd display the "Hammer" salute, arms crossed in front of the chest at the wrists like a pair of crossed hammers. In addition, the "Crossed Hammer" logo can be seen everywhere. The song immediately segues into "Run Like Hell". Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #InTheFlesh #PinkFloyd #TheWall

The first two songs are taken from The Pros and Cons of Hitch Hiking, a concept album Waters wrote simultaneously with The Wall, and later recorded solo; and The Final Cut, a 1983 Pink Floyd album. "Your Possible Pasts" was a song originally intended for The Wall that later appeared on The Final Cut. "Your Possible Pasts" (mislabeled as "Your Impossible Pasts" on a radio promo single) is a song from Pink Floyd's 1983 album The Final Cut. The song, like many others on The Final Cut, is a rewritten version of a song rejected for The Wall, originally to be used in Spare Bricks (an early version of The Final Cut that was an extension of The Wall.) Guitarist David Gilmour objected to the use of these previously rejected tracks, as he believed that they weren't good enough for release: [Roger Waters] wasn't right about wanting to put some duff tracks on The Final Cut. I said to Roger, "If these songs weren't good enough for The Wall, why are they good enough now?" Despite not appearing on The Wall album, the lyrics of the chorus did appear in the film for said album, Pink Floyd – The Wall, where the lyrics were read by the main character, Pink, in-between the songs "Waiting for the Worms" and "Stop". "Stop" is a song from the 1979 Pink Floyd album, The Wall. It was written by Roger Waters. Pink is tired of his life as a fascist dictator and the hallucination ends. Also tired of "The Wall", he accordingly devolves into his own mind and puts himself on trial. After "Waiting for the Worms", Pink yells out "stop", where we find him sitting at the bottom of a bathroom stall. He seems to be reading the lyrics from a sheet of paper where a few of the lines come from, at the time, unreleased material written by Waters. The line "Do you remember me / How we used to be / Do you think we should be closer?", comes from "Your Possible Pasts". Other lines come from "5:11AM (The Moment of Clarity)"). As Pink finishes the lyrics to "Stop", the security guard seen in the segment for "Young Lust" slowly pushes open the stall door, which leads to the animated intro of "The Trial". Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #Stop #PinkFloyd #TheWall #YourPossiblePasts #511AM #TheMomentOfClarity

"In the Flesh?" and "In the Flesh" are two songs by the English rock band Pink Floyd, released on their 1979 album, The Wall. "In the Flesh?" is the opening track, and introduces the story concept of the album. "In the Flesh" is the twenty-first song of the album, and is a reprise of the first with a choir, different verses and more extended instrumentation. The title is a reference to the band's 1977 In the Flesh Tour, during which Roger Waters, in frustration, spat at a fan attempting to climb the fence separating the band from the crowd. "In the Flesh?" introduces the story of Pink, a rock star. It begins with the opening of a rock concert. The lyrics inform us that despite his outward appearances, things are much different "behind these cold eyes" and that if the listener wants to know what's really going on with Pink, you'll "just have to claw your way through this disguise." The song also subtly indicates that Pink's father is killed in a war, with the sound effect of the dive-bomber. Finally, we hear a baby crying, indicating that Pink and his mother are left without a father and husband, respectively (this is expanded upon two songs later, in "Another Brick in the Wall, Part 1"). Later in the album, the reprise marks the first of a series of songs in which Pink, in a drug-induced hallucination, believes himself to be a fascist dictator, crowing over his faithful audience; this particular song is his hallucination that his concerts can be likened to a political rally. He begins exhorting his fans to show their devotion to him by throwing undesirables such as "queers", Jews, and "coons", "up against the wall". He punctuates the end of the song with "If I had my way I'd have all of you shot!". The incited crowd then chant Pink's name as the song segues into "Run Like Hell". The beginning of the film shows Pink sitting in a locked hotel room. A housekeeper knocks repeatedly, then uses her keys to let herself in. While this happens, Pink's mind is flashing back to a concert, in which a massive crowd of eager concertgoers manage to break down a chained door to the concert venue, and rush inside, trampling each other in the process. The film shows quick cuts of rioting fans and a violent police response, interspersed with scenes of soldiers being bombed in the fields of war. A German Ju 87 Stuka bombs a bunker, in which Pink's father is killed. The song is performed by Pink (Bob Geldof) in his dictator garb, with the set decorated like a Nazi rally, an insignia of two crossed hammers replacing the swastika. Geldof recorded his own vocals over the original Pink Floyd music track, replacing Waters' vocals. The film version also uses a mix in which the song's intro was longer, with the E minor power chord riff, and a short David Gilmour solo, repeating twice. This was edited out of the record due to time constraints, but the song has been performed full length in most live performances. Later in the movie the reprise is used in a similar way as in the album, picking up shortly after Pink's transformation into the Dictator. The song is one of the most radically changed among movie versions, having been converted to an orchestral piece. The Dictator questions the loyalty of the fans, while setting his dogs against the "queers" and "coons" he singles out. As the song ends, the crowd's chant of "Pink Floyd!" is replaced with "Hammer", invoking the film motif of hammers. In addition, both Pink and the crowd display the "Hammer" salute, arms crossed in front of the chest at the wrists like a pair of crossed hammers. In addition, the "Crossed Hammer" logo can be seen everywhere. The song immediately segues into "Run Like Hell". Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #InTheFlesh #PinkFloyd #TheWall

"Another Brick in the Wall" is a three-part composition on Pink Floyd's 1979 rock opera The Wall, written by bassist Roger Waters. Following a violent breakdown in "Part 3", Pink dismisses everyone he knows as "just bricks in the wall". "Goodbye Cruel World" is a song by Pink Floyd. It appears on their 1979 double album, The Wall. As with all tracks on The Wall, "Goodbye Cruel World" relates to the listener a segment of Pink's (the album's protagonist) story. More specifically, this song expresses Pink's recognition of the completion of his mental wall, and acknowledgement of his thorough isolation from society. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #AnotherBrickInTheWall #PinkFloyd #TheWall #GoodbyeCruelWorld

"Nobody Home" is a song from the Pink Floyd album The Wall. "Nobody Home" was written late into the development of The Wall after an argument between the band and Roger Waters. David Gilmour said that the song "came along when we were well into the thing [The Wall] and he’d [Waters] gone off in a sulk the night before and came in the next day with something fantastic." In the song, the character Pink describes his lonely life of isolation behind his self-created mental wall. He has no one to talk to, and all he has are his possessions. The song describes what Roger Waters says he experienced during the band's 1977 tour, the band's first major stadium tour. Additionally, the song contains some references to founding Pink Floyd member, Syd Barrett. The song was written after an argument between Gilmour, Waters, and co-producer Bob Ezrin during production of The Wall in which Gilmour and Ezrin challenged Waters to come up with one more song for the album. Waters then wrote "Nobody Home" and returned to the studio two days later to present it to the band. It was the last song written for The Wall. On the 30th anniversary of The Wall episode of the US radio show In the Studio with Redbeard, Gilmour revealed that "Nobody Home" was one of his favorite songs from the album. A television playing in the background is frequently heard, including the line, "Surprise! Surprise, Surprise!" from Gomer Pyle, U.S.M.C. This recalls the line: I got thirteen channels of shit on the TV to choose from Much of the song describes Syd Barrett's fragile mental state during 1967. In the documentary "Behind The Wall", Gilmour states that it describes the state of mind of many rockstars while on tour. However, the lyrics: I got nicotine stains on my fingers I got a silver spoon on a chain Got a grand piano to prop up my mortal remains are said to have been written specifically about Floyd's pianist Richard Wright, who was allegedly struggling with cocaine addiction at the time. The song tails off quietly with an abortive final verse, starting off in the same manner as the previous verses but only two lines long: I got a pair of Gohil's boots And I got fading roots Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #NobodyHome #PinkFloyd #TheWall

"Run Like Hell" is a song by the English progressive rock band Pink Floyd, written by David Gilmour and Roger Waters. It appears on the album The Wall. In the film adaptation, Pink directs his jackbooted thugs to attack the "riff-raff" mentioned in the previous song, in which he ordered them to raid and destroy the homes of queers, Jews, and black people. One scene depicts an interracial couple cuddling in the back seat of a car when a group of neo-Nazis accost them, beating the boy and raping the girl. The Wall director Alan Parker hired the Tilbury Skins, a skinhead gang from Essex, for a scene in which Pink's "hammer guard" (in black, militaristic uniforms designed by the film's animator, Gerald Scarfe) smashes up a Pakistani diner; Parker recalled how the action "always seemed to continue long after I had yelled out 'Cut!'." The movie version of the song is considerably shorter than the album version, likely done for the sake of pacing. The second guitar refrain between the first and second verses was taken out, with the verse's last line, "You better run", leading directly to Gilmour's harmonized chant ("Run, run, run, run"), which now echoed back and forth between the left and right channels. Also, Richard Wright's synth solo was superimposed over the second verse, and the long instrumental break between the end of the synth solo and Waters' scream was removed. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #RunLikeHell #PinkFloyd #TheWall

"The Thin Ice" is a song by Pink Floyd, released on The Wall in 1979. The Wall is the story of Pink, who grows up to become an alienated and embittered rock star, with a failing marriage and feelings of megalomania. "The Thin Ice" can be seen as the introduction to his story, since the previous song, the album's opening track "In The Flesh?" is chronologically placed later in the album's narrative, and then the story is begun via flashback. "The Thin Ice" introduces Pink as a baby and young child, and while the lyrics assure the listener that "Mama loves her baby, and Daddy loves you, too", it warns that "The sea may look warm... the sky may look blue", but "Don't be surprised when a crack in the ice/Appears under your feet". The film shows hundreds of soldiers in the war, either wounded or dead, then cuts to Pink floating in his hotel pool. As shown later in the film (in the segment for "One of My Turns"), Pink has cut his hand, and the amount of blood in the water is exaggerated, until he appears to be floating in a pool of blood. The film version has an extended piano intro that plays before Gilmour's vocal. "Another Brick in the Wall" is a three-part composition on Pink Floyd's 1979 rock opera The Wall, written by bassist Roger Waters. During "Part 1", the protagonist, Pink, begins building a metaphorical wall around himself following the death of his father. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #TheThinIce #PinkFloyd #TheWall #AnotherBrickInTheWall

"The Happiest Days of Our Lives" is a song by Pink Floyd. It appeared on The Wall album in 1979. "The Happiest Days of Our Lives" concerns Pink's youth, attending a school run by strict and often violent teachers who treat the pupils with contempt. According to Waters, the lyrics were a reflection of his own negative experience in school. He described this in an interview with Tommy Vance of BBC Radio One. Pink and his two friends go down to a railway track to lay bullets on the rails and watch them explode under the passing train. Pink, putting himself up against the tunnel wall, sees that the train cars are packed with faceless people. He sees his teacher at the other end of the tunnel yelling at him to stand still. In the next scene, in Pink's school, the teacher discovers Pink writing a poem (which contains lyrics from "Money") and, as punishment, ridicules Pink by reading his poem out loud to the entire class then slaps his left hand with a ruler. The following scene shows the Schoolmaster in his own home, being forced to eat a piece of tough meat during dinner at his wife's silent command. To relieve himself of his humiliation, the teacher spanks a child with a belt the next day. "Another Brick in the Wall" is a three-part composition on Pink Floyd's 1979 rock opera The Wall, written by bassist Roger Waters. "Part 2", a protest song against rigid and abusive schooling, features a children's choir. At the suggestion of producer Bob Ezrin, Pink Floyd added elements of disco. "Part 2" was released as a single, Pink Floyd's first in the UK since "Point Me at the Sky" (1968). It sold over four million copies worldwide. It was nominated for a Grammy Award and was number 384 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The three parts of "Another Brick in the Wall" appear on Pink Floyd's 1979 rock opera album The Wall. In "Part 2", traumas involving his overprotective mother and abusive schoolteachers become bricks in the wall. Bassist Roger Waters wrote "Part 2" as a protest against rigid schooling, particularly boarding schools. "Another Brick in the Wall" appears in the film based on the album. In the "Part 2" sequence, children enter a school and march in unison through a meat grinder, becoming "putty-faced" clones, before rioting and burning down the school. The lyrics attracted controversy. The Inner London Education Authority described the song as "scandalous", and according to Renshaw, prime minister Margaret Thatcher "hated it". Renshaw said, "There was a political knee-jerk reaction to a song that had nothing to do with the education system. It was [Waters'] reflections on his life and how his schooling was part of that." The single, as well as the album The Wall, were banned in South Africa in 1980 after it was adopted by supporters of a nationwide school boycott protesting instituted racial inequities in education under apartheid. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #AnotherBrickInTheWall #PinkFloyd #TheWall #TheHappiestDaysOfOurLives

"The Trial" (working title "Trial by Puppet") is a track from Pink Floyd's 1979 rock opera/concept album The Wall. Written by Roger Waters and Bob Ezrin, it marks the climax of the album and film. The song centres on the main character, Pink, who having lived a life filled with emotional trauma and substance abuse has reached a critical psychological break. "The Trial" is the fulcrum on which Pink's mental state balances. In the song, Pink is charged with "showing feelings of an almost human nature." This means that Pink has committed a crime against himself by actually attempting to interact with his fellow human beings, defying the mission towards self-isolation that defined much of his life. 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): an abusive schoolmaster, his wife, and his overprotective mother; in the animated sequence, they are depicted as grotesque caricatures. Pink's subconscious struggle for sanity is overseen by a new character, "The Judge." In Pink Floyd - The Wall and the concert animations, the Judge is a giant worm for most of the song until his verse, at which point he transforms into a giant anthropomorphic body from the waist-down (bigger than the marching hammers in "Waiting for the Worms"), his face constructed from various elements of the buttocks and genitals. A prosecutor conducts the early portions, which consist of the antagonists explaining their actions, intercut with Pink's refrains, "Crazy/Toys in the attic, I am crazy,/Truly gone fishing" and "Crazy/Over the rainbow, I am crazy,/Bars in the window." The culmination of the trial is the judge's sentence for Pink "to be exposed before your peers" whereupon he orders Pink to "Tear down the wall!" As Waters sings the dialogue for each character he transitions into different accents including: Cockney accent (the prosecutor and judge, Scottish accent (the schoolmaster) and Northern English accent (Pink's mother). For the character of Pink's wife he used his normal voice on the album and the original 1980-81 tour. This and the following song, "Outside the Wall," are the only two songs on the album which the story is (partly) seen from an outsider's perspective, most notably through the three antagonists of "The Trial," even though it is all in Pink's mind. The segment in the film version is a full-length animated sequence of vivid colour and disturbing visuals. Political cartoonist Gerald Scarfe directed the design for the segment. The film segment relies not only on visuals, but also on the themes, music, and lyrics of the original song. Pink, himself, is portrayed as an almost inanimate rag doll throughout the sequence. Pink's schoolmaster, wife and mother and the prosecutor and judge are depicted as large and grotesque caricatures and are known individually by their role: The prosecutor is a caricature of a Victorian barrister. He is short and rotund, wearing a long navy gown which trails behind him, at points above his own head, such as when he leaps onto the wall (depicted as being composed of white bricks, as in the album's cover). His facial features are occasionally greatly exaggerated; depending on what he is saying. For instance, when he describes Pink's charges, during saying that Pink has experienced "feelings of an almost human nature," his face moves close to the camera and assumes a grotesque expression of disgust and contempt. The schoolmaster is brought down like a marionette on strings, controlled by his overbearing wife, referring to the earlier song "The Happiest Days of Our Lives". He has a long face with grey skin and two pointy tufts of hair on top, making his head somewhat resemble a hammer. The wife comes out from underneath the wall, represented as the scorpion/praying mantis that previously appeared during "Don't Leave Me Now". The mother comes in as 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"), and then transforms into a talking vagina, which then encircles Pink before morphing into a caricature of the archetypal mid-20th century British mother. As her verse ends, she transforms into the wall that Pink continues to be trapped behind. The judge is portrayed as a giant pair of buttocks — complete with two backwards facing legs, an anus for a mouth (with a monstrous voice), and a scrotum for a chin — wearing a judge's wig. The judge reaches the final verdict to tear down the wall and vomits out a montage of clips from the movie shown before were played, following this is a long moment of silence before the wall begins to burst apart, accompanied by a scream of agony and terror from Pink. Input: 1920x1080 23.976fps Output: 3840x2160 23.976fps The Wall full playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f #TheTrial #PinkFloyd #TheWall

"Outside the Wall" (working titles "Bleeding Hearts", "The Buskers") is a song written by Roger Waters. It appeared on the 1979 Pink Floyd album, The Wall. This song is meant as a dénouement to the album. The story ends with "The Trial", in which a "judge" decrees, "Tear down the wall!". An explosion is heard to signify the wall's destruction, and "Outside the Wall" quietly begins. It is not explicitly stated what happens to Pink, the protagonist, after the dismantling of his psychological "wall". At the end, the song cuts off abruptly, as the man says "Isn't this where...", leading into the voice clip at the beginning of "In the Flesh?" that states "...we came in?", giving a sort of circularity to the album. Unlike the other songs on the album, this particular song offers little to the plot involving Pink as a whole. It notes that "the ones who really love you" are standing outside the wall and warns that, if you do not tear down your metaphorical wall, some might eventually give up on you and leave you to live out a lonely life instead of "banging [their] heart against some mad bugger's wall". This is what happens to the main character, Pink, during the course of the album. A longer and more elaborate version was recorded for the film which runs for a little more than four minutes and includes the National Philharmonic Orchestra, the Pontarddulais Male Choir and Waters singing the lyrics melodically, rather than reciting them as on the album version. Helping extend the song through the entire end credits is an instrumental bridge, composed of the chords and melody from "Southampton Dock", from The Wall's eventual successor, The Final Cut. This version was never released officially, but was later reused for the credits for The Wall – Live in Berlin. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #OutsideTheWall #PinkFloyd #TheWall

"When the Tigers Broke Free" is a Pink Floyd song by Roger Waters, describing the death of his father, Eric Fletcher Waters, in the Battle of Anzio during the Italian Campaign of the Second World War. The song was originally titled "Anzio, 1944". Its working title was "When the Tigers Break Through" and was written at the same time as The Wall, hence its copyright date of 1979, and was originally intended to be part of that album, but was rejected by the other members of the band on the grounds that it was too personal. It was subsequently recorded and included in the movie version of The Wall and first released as a separate track on a 7" single on 26 July 1982 (running time 3:00), before appearing in The Wall film. The second verse of the song (which makes up the reprise later in The Wall film), describes how Waters found a letter of condolence from the British government, described as a note from George VI in the form of a gold leaf scroll which "His Majesty signed / with his own rubber stamp." Waters' resentment then explodes in the final line "And that's how the High Command took my daddy from me." In the second verse (after "Another Brick in the Wall Part 1"), it shows Pink finding his father's uniform, the letter of condolence, straight razor, and bullets. He then puts on the uniform, where it cuts between his father doing the same. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #WhenTheTigersBrokeFree #PinkFloyd #TheWall

"When the Tigers Broke Free" is a Pink Floyd song by Roger Waters, describing the death of his father, Eric Fletcher Waters, in the Battle of Anzio during the Italian Campaign of the Second World War. The song was originally titled "Anzio, 1944". Its working title was "When the Tigers Break Through" and was written at the same time as The Wall, hence its copyright date of 1979, and was originally intended to be part of that album, but was rejected by the other members of the band on the grounds that it was too personal. It was subsequently recorded and included in the movie version of The Wall and first released as a separate track on a 7" single on 26 July 1982, before appearing in The Wall film. The 7" was labelled "Taken from the album The Final Cut" but was not included on that album until the 2004 CD reissue. The single version is a unique mix and differs from the versions that appear in the film and all subsequent releases. It has a different intro that is shorter than most other versions. The first verse uses a different vocal take that has never appeared on any other release of the track. This recording also features different percussion accents — short snare roll fills throughout the track. The song sets up the story premise for The Wall movie, set over footage recreating the British contribution to Operation Shingle, where American and British troops landed on the beaches near Anzio, Italy, with the goal of liberating Rome from German control. These forces included Z Company of the 8th Battalion, Royal Fusiliers, in which Waters' father Eric served. As Waters tells it, the forward commander had asked to withdraw his forces from a German Tiger I tank assault, but the generals refused, and "the generals gave thanks / As the other ranks / Held back the enemy tanks for a while" and "the Anzio bridgehead was held for the price / Of a few hundred ordinary lives" as the German assault inflicted heavy losses including Eric Waters. The underlying theme of the song is one of the primary catalysts for the character Pink's descent into isolation throughout the story of The Wall, especially in the film version. The first verse is at the opening of the film, where Pink's father is cleaning and loading a revolver while smoking a cigarette and hearing bombs or bombers fly overhead. It then goes into the song "In the Flesh?", showing his fate. The song made its first CD appearance on a promotional disc in conjunction with Roger Waters' 1990 live performance of The Wall at Potsdamer Platz in Berlin. This was the Pink Floyd recording from the original 1982 single, and had a running time of 3 minutes. It was generally released on CD on Pink Floyd's 2001 compilation album Echoes: The Best of Pink Floyd. With a duration of 3:42, this version is longer than the single release and features an extended intro section. There is less percussion heard in the Echoes mix, but the male choir comes in much earlier than it does in the single version. The next time the song appeared was on the 2004 re-released, remastered version of The Final Cut, where it was placed between "One of the Few" and "The Hero's Return", this time an edited version of 3:16. This mix is similar to that of the Echoes version, but with a shorter intro. In addition, Vera Lynn's rendition of "The Little Boy That Santa Claus Forgot" was used as background music during the opening scenes. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #WhenTheTigersBrokeFree #PinkFloyd #TheWall

"Waiting for the Worms" (working title "Follow the Worms") is a song from the 1979 Pink Floyd album The Wall. It is preceded by "Run Like Hell" and followed by "Stop". At this point in the album, protagonist Pink has lost hope ("You cannot reach me now") and his thinking has decayed, bringing to mind the "worms". In his hallucination, he is a fascist dictator, fomenting racist outrage and violence, as begun in the preceding song, "Run Like Hell". The count-in is Eins, zwei, drei, alle —German for "one, two, three, everybody". In the beginning and end the crowd chants, "Hammer", a recurring representation of fascism and violence in The Wall. The imagery features a live action segment with some teenagers (the same ones from "In the Flesh?") trampling over a rag doll replica of Pink. He then shouts through a megaphone while his followers march through the street. Following the images of the fascist crowd, the screaming face and the fascist bashing a man's skull from "What Shall We Do Now?", a dog biting meat off a hook then consumed by a larger one (from the Animals tour), and the famous goose-stepping hammer sequence, we see Pink yell "Stop". Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #WaitingForTheWorms #PinkFloyd #TheWall

"Mother" is a song by Pink Floyd. It appears on The Wall album, released in 1979. The Wall tells the story of Pink, an embittered and alienated rock star. As told through the song "Mother", part of Pink's sense of alienation comes from being raised by an overprotective single mother, who lost her husband, Pink's father, in World War II. The song narrates a conversation by Pink (voiced by Waters) and his mother (voiced by Gilmour). The listener learns of the overprotectiveness of Pink's mother, who is helping Pink build his wall to try to protect him from the outside world, evidenced by the line "Of course Momma's gonna help build the wall," spoken by Pink's mother. 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. For the film, the song was re-recorded completely with the exception of David Gilmour's guitar solo. One line of the lyrics, "Is it just a waste of time", became "Mother, am I really dying", as the original LP lyrics read. This change ties in with a brief subplot in the film where Pink contracts a fever after caring for a sick rat that died from it. Input: 1920x1080 23.976fps (source: BD) Output: 3840x2160 23.976fps The Wall full movie playlist: https://www.youtube.com/playlist?list=PLyGHs2yXwu1SWIXC6TLHT4a-2rdr9Un0f All rights reserved to Pink Floyd and Roger Waters. No copyright infringement intended. #Mother #PinkFloyd #TheWall