I used to like Pink Floyd until “The Wall” came out. That’s when my affection for them vanished. My teenage mind couldn’t formulate the reason; I just sensed there was something seriously wrong with that concept – and all the ensuing enthusiasm around it only made it worse.

   

I can’t believe it’s been 27 years since the release of the album — and Roger Waters is still circling the globe like some international housing inspector, targeting various walls for demolition with his spray paint bottle. One might think this principled and highly idealistic man had long ago demolished every wall in his own house, leaving nothing to protect him and his expensive property from the elements, burglars, and curious onlookers. Because otherwise he comes off as a ridiculous hypocrite – and all his writings on other people’s walls have no more meaning than the stains left by a dog marking its territory. 

From today’s vantage point, The Wall’s entire concept seems to be an epitome of the decadent, post-modernist, half-witted deconstructionism spreading doom and gloom to the masses, proving by example that no intellectual or moral criteria exist any longer for anything at all.

Let’s face it: the whole wall metaphor is inconsistent and unworkable, and the fact that critics don’t talk about it just shows their own intellectual and moral failure. Instead, this hare-brained attempt at a serious artistic conceptualization of modern life has been blown out of proportion and turned into some grand symbol of something which it is not. If it ever symbolized anything, it would be the self-hatred of the impotent, narcissistic and guilt-ridden liberal elites who are inviting the destruction of Western civilization and oppose any attempts by their more reasonable compatriots to protect their culture and way of life.

The Berlin Wall concert and all the hoopla around it only makes sense if one perceives the collectivist Eastern Bloc as humanity’s last hope and salvation from the dark despair of the Western alienated, individualistic lifestyle. Ever since, Waters has been marking all kinds of walls for condemnation, apparently believing that it adds something to the concept which I’m sure he himself doesn’t understand completely and won’t be able to formulate in one sentence.

This act of writing on the “Zionist Apartheid Wall” is taking his career of a cheap poser to a fittingly absurd end. Sadly, in this photo we see a once talented musician and songwriter performing an Orwellian ritual of denouncing the rationality of human existence.

Hey, Roger! Leave the Jews alone. All in all, you’re just another Westerner bamboozled with wacky “progressive” theories that killed your creativity and turned you into a self-hating, self-destructive caricature of once great artist.