Pink Floyd bassist and singer Roger Waters wrote his 1979 ode to isolation, The Wall, because he hated playing stadiums. Following Floyd's fraught 1977 stadium tour, Rogers spoke of how he wished a wall could be erected between the band and its audience. Clearly he's long made peace with his issue, because he's playing nothing but stadium-sized venues on this current tour of The Wall, which came to the Verizon Center last night. Or perhaps it's more political than that. On his website Waters writes: "The record's story of fear and loss with its concomitant inevitable residue of ridicule, shame and punishment, provides an allegory for broader concerns.: Nationalism, racism, sexism, religion, whatever! All these issues and 'isms are driven by the same fears that drove my young life. This new production of The Wall is an attempt to draw some comparisons, to illuminate our current predicament, and is dedicated to all the innocent lost in the intervening years."

Additional photos from this show can be seen here.

The director Christian Carion's latest film, Farewell, opens this weekend at Bethesda Row Cinema. Benjamin R. Freed reviewed it in April when it showed as part of Filmfest D.C.:

Farewell, which gets its title from the code name of a KGB turncoat who gave Soviet intelligence to France in the early 1980s, would like to be a taut psychological thriller. Regrettably, its two lead performances are complemented by ill-placed musical cues (Pink Floyd’s “Run Like Hell” at the height of one character’s paranoia), celebrity cameos (Willem Dafoe!), and maybe the worst Ronald Reagan imitation ever put on film. Far more worthy are the two leads—Emir Kusturica as the Baudelaire-quoting KGB defector and Guillaume Canet as his low-level contact in the French embassy in Moscow. Kusturica’s weary, hangdog complexion (and a more than passing resemblance to John C. Reilly) convey years of frustration with the Soviet regime. And Canet, whose résumé includes genuinely chilling films like The Beach and his own Tell No One, imbues his reluctant spy with the right amounts of anxiety and fear.

Read the full review here.

*Pink Floyd takes action against its record label, EMI, over a dispute for online royalties. EMI should know by now: "How can you have your pudding if you don't eat any meat?"

*She & Him release their newest school-themed music video for "In the Sun," further proving my theory that M. Ward looks like Robert Downey, Jr.'s long-lost brother and Zooey Deschanel is impossibly adorable (but still kinda irritating.)

*Rock Band announces the release of a Lady Gaga pack to accompany the popular game. In an unusual twist, Eric Cartman of South Park fame will be doing his own cover of "Poker Face" for the game. "Lady Gaga Pack 01" also includes "Bad Romance," Just Dance," and "Monster." Bubble dress and spiked shoulder pads not included.

*New York Post reports that Lindsay Lohan is suing E-Trade for $100 million over an ad that features a baby named "Lindsay" accused of being a "milkaholic." Lohan's lawyer argues that the Mean Girls actress has the same kind of first-name recognition as stars like Oprah and Cher, and that the commercial parodies her life. Just goes to show: Once you start seeing yourself in the babies on E-Trade commercials, you're not far from the bottom.

*Tron Legacy releases another trailer for the sequel to the '80s masterpiece (now starring a freshly minted Oscar winner!) Daft Punk composed the score for the trailer.

*The producer who leaked information about David Letterman's affairs now admits to blackmailing the late night star. (Letterman likely lets out a sigh of relief as even an act like shtupping his interns is overshadowed by Jay Leno's recent general douchiness.)

*Quentin Tarantino is being sued by a man accusing him of ripping off his original idea for the Kill Bill storyline. Like all well-researched—and certainly not random—lawsuits, the man waited a full seven years after the film's release to go after Tarantino and Harvey Weinstein.

*Tonight in City Lights: Habib Koité at the Barns at Wolf Trap.

Wright was the linchpin of the Floyd sound. That lush organ, with its beastly Leslies and bent-pitch contortions, preserved and broadened the breathless psychedelia that Syd Barrett had championed before his doomstruck descent into the rabbit hole—and beginning with Meddle, Wright led the great backbeat (spare drums, bass in the pocket, organ washes countering funk with fizz) that anchored all extended Floyd jams until The Final Cut (the only album on which he doesn't play a note). Plus, the guy could sing. That nice high harmony on "Echoes"? That's him.

Wright's songwriting never got the credit it deserved, either from the masses or from Roger Waters, who eventually edged him out. The AP's obfuscation of Wright's writing credits is indicative of the backseat history has allotted him:

The band released a series of commercially and critically successful albums including 1973's "Dark Side of the Moon," which has sold more than 40 million copies. Wright wrote "The Great Gig In The Sky" and "Us And Them" for that album, and later worked on the group's epic compositions such as "Atom Heart Mother," "Echoes" and "Shine On You Crazy Diamond."

As many of the 40 million folks who've purchased Dark Side (not to mention the red-eyed hordes who've downloaded it illegally) can tell you, Atom Heart Mother dropped in 1970, and Meddle (on which "Echoes" debuted) in 1971—both of 'em well before Dark Side.

"Shine On" appeared on 1975's Wish You Were Here.

Below, a clip of Richard recording piano lines to "Us and Them." Wisecracks courtesy of Nick Mason.