Annotated List Part I
PinkSyncsWithOz

               

 
The Wizard of Oz (1939) + Dark Side of the Moon = DSotR

over the rainbow+dispersive prism=joan of arc-en-ciel
For printer-friendly list click here. Use this list as you are watching DSotR (Dark Side of the Rainbow).
For Annotated List Part II, click here.
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Annotated List: Dark Side of the Rainbow 1.0 (DSotR1)

As a kid growing up, one of the most popular songs of the day was George Jones' "He Stopped Loving Her Today". At the time, I believed it was meant to be a joyful song, about a guy whose broken heart had finally mended. Nevertheless, I sensed a kind of wry humor in the way Jones sang that song. As one having never been inside a funeral parlor, I failed to appreciate the song's funerary references; the song was actually about a guy who had died. I suppose there is nothing wrong with imagining that a sad song might really be a happy song; other times, certain songs can leave us completely bewildered, and we are not sure what to think. I think that when most people watch Dark Side of Oz for the first time, they are left with this feeling of bewilderment, and they need a few hints as to what it might be about. In this annotated list, I've tried to shed some light on some of the more obscure symbolism found in Dark Side of Oz.

Track 1: SPEAK TO ME /BREATHE IN THE AIR:

-Heartbeat (Very faint at first): Show's title: "The Wizard of Oz"

(In this concept album, we have [symbolically] the beginning of human life. Many parents begin the process of naming the child, as soon as they become aware of its existence, often before they even know the sex of the child. Here, we have the name of a movie, which just happens to be the name of one of the characters in the movie, just as we are becoming aware of this new life. In this concept album, Pink Floyd wanted to examine how the pressures of modern life can eventually drive a person insane. These pressures may actually begin with the naming of the child: The child is perhaps given the name of a highly acclaimed statesman, as an indication of the expectations the parents have for their child. Many of these great men and women for whom parents name their children are, like the Wizard, mere impostors. And thus, the first example of greatness that the child is given to emulate is often that of impostors.
Watch video: Choosing a name for your baby)

-Voice (I've always been mad ...): Opening credits: Herbert Stothart, Harold Arlen, E.Y. Harburg
-Helicopter: Photographed in Technicolor

(The band claims that they could not have intentionally synced their album to TWoO, because the studio did not have a movie projector. However, does this "helicopter" heard here not sound a bit like an old movie projector? This, of course, all goes towards another of my theories that Floyd was syncing albums to popular movies, although not necessarily to TWoO. If you have never heard a movie projector in action, click here)

-Transition from "Speak to Me" to "Breathe": Producer's name (Mervyn LeRoy) fading in
-Breathe, breathe in the air: Dorothy speaking, never stops to catch breath, even after just running home

(We have symbolized here, the infant's first moment outside the womb, in these lyrics "breathe in the air". The song is about taking life in stride, which we contrast to Dorothy, whom we see very excited and anxious. Dorothy will, in fact, be out of step with the action on the album for most of part I, and this is very significant: see note for last lyrics of this song.)

-Don't be afraid to care: Aunt Em (annoyed with Dorothy's pestering) takes chick from Dorothy

(First a heartbeat, then, what might be a baby screaming, followed by "Breathe in the Air"; in this concept album, we have conception, and then birth. "Don't be afraid to care" represents the next important step in the newborn's development: the ability to bond with a caring parent. We hear this lyric as Aunt Em and Uncle Henry are rescuing newly hatched chicks from a malfuntioning incubator, while Dorothy comes on the scene, expressing concern that Miss Gulch is going to have Toto destroyed.
  If this song represents the beginning of life, then "Don't be afraid to care" would seem to be an unusual bit of advice offered the person just beginning that journey of life. Young people are usually cautioned about getting too involved, too attached, or just too fond of things that might not be around tomorrow. DSotR is the contrasting of the fairytale and the tragedy, while the album part of this combo presents us with the tragic. There is good evidence to support the notion that Pink Floyd actually synced DSotM to 2001: A Space Odyssey, and that DSotR is all pure "coincidence". So our tragic hero on this album is actually HAL, the 9000 series computer from 2001. [See Pink Floyd Synced DSOTM to 2001 -Not The Wizard of Oz] And thus, "Don't be afraid to care" is at the "heart" of this tragedy, in that when HAL discovers that it may be convenient to kill, he lacks the normal human compassion that normally prevents humans from killing each other, simply for convenience, and it becomes necessary to terminate HAL's "life". So this unfeeling computer is really our contrast to our farm-girl Dorothy here, who cannot help but care, on a livestock farm, where death is undoubtedly an everyday occurence.
  In the above sequence, we see Aunt Em and Uncle Henry rescuing chicks from the malfunctioning incubator; the irony, of course, is that these chicks are presumably being "saved" so that later they can be slaughtered. Em and Henry have accepted death as the ultimate conclusion of life, while Dorothy still refuses to accept death as part of life. We see Aunt Em take the chick from Dorothy, as Dorothy seems to be growing fond of this fuzzy little creature. In contrast to the above lyric, Dorothy's aunt and uncle seem to be saying to her: "Don't get too attached to things that can be easily taken away." See also note for "Dig that hole, forget the sun" later in this same song.)

-Leave, but don't leave me/ Look around and choose your own ground: Dorothy walks away from aunt and uncle; as she walks away, she looks back over her shoulder

(The flashback and foreshadowing defined
Much of the foreshadowing we see in DSotR is accomplished by first creating a flashback effect, which, in turn, demonstrates how certain themes keep getting repeated throughout [See song "Time""Kicking around on a piece of ground . . .", which is a reference to the above lyrics, as an example of foreshadowing that relies on the flashback]. The first bit of foreshadowing can be seen in "Speak to Me", which features various sound effects that resurface later in the album. Pink Floyd might have used this to suggest how the stresses that eventually drive a person insane actually begin in the womb, before the child is even born; or, if you want to think of this person as HAL, then it was a defect in HAL's original programming that eventually caused him to go "mad". This foreshadowing, however, is specific to the album; the above lyrics are the first piece of foreshadowing that are peculiar to DSotR. Rather than drawing on the flashback to accomplish its effect, however, this is a straightforward example of foreshadowing. What is peculiar, however, is that these same lyrics are later used in Part II to create a flashback effect.
  In this sequence, Dorothy is running smack into that tough kind of love that pushes its dependents to eventually assert their own independence. Dorothy needs to take Toto and run, but right now she just wants somebody else to get her out of the mess which she got herself into. When it eventually does become clear to Dorothy that she is going to have to solve her own problems, she will take Toto and run. Her looking back over her shoulder as she walks away is foreshadowing the fact that she won't get very far before deciding she needs to return.)

-And smiles you'll give and tears you'll cry: Hunk nursing a bruised finger
-All you touch and all you see: Dorothy grabs Zeke's arm; Zeke pats Dorothy on shoulder

(All you touch and all you see is all your life will ever be -the final song, "Eclipse", is built around these lyrics we hear in the first song of the album. In Dorothy's dream, Zeke will become the Cowardly Lion, while in Part II, we will see Lion talking as these lines get repeated, and at the end of Part II, during the song "Eclipse", we will see the wizard explaining courage to Lion. See "Eclipse" DSotR Part II)

-Run rabbit run: Hunk telling Dorothy to avoid Miss Gulch on her way home from school

(As we will see later, each of the main characters represents a tragic hero from history or literature: Dorothy is Joan of Arc, while Hunk, or Scarecrow, is Lincoln. Both, of course, are famous for the pivotal roles they played during wars fought in their respective lifetimes. Lincoln served as commander-in-chief, and indeed, due to the early reluctance of his generals to take any initiative, at times, himself took charge of the situation. Joan, however, served as a common soldier, and despite the boost in morale she offered, was regarded as expendable. Lincoln was the guy at the top, who died for those on the bottom; Joan was at the bottom of the social order of her day, but died for her defence of the guy at the top.
  In this sequence, we see Hunk [Lincoln] telling Dorothy [Joan] to avoid her enemy, Miss Gulch, as we hear the lyrics "Run rabbit run". Contrast this to the sequence seen later, in Part II, when we have Toto escaping the witch, with Dorothy calling after Toto to run, and Dorothy taking the full fury of the witch, after Toto does escape. This later sequence is set against the lyrics in "Us and Them" describing a battle scene: "Forward he cried from the rear /And the front rank died /And the General sat, and the lines on the map/ Moved from side to side")

-Dig that hole, forget the sun /When at last the work is done/ Don't sit down it's time to dig another one: Hunk pointing to the ground; hits his finger "when at last the work is done" (see note). Camera shifts to Dorothy, now with Zeke, using bench to climb pigpen enclosure. Moments later, Zeke will use same bench to catch his breath on, while Aunt Em comes along, chiding him to feed the hogs, before they become anemic.

([See previous note] In the above sequence, we see Hunk pointing to the ground, as we hear "Dig that hole, forget the sun." Lincoln, near the beginning of his presidency, began having premonitions of his approaching death, and accepted his fate; Joan, however, after being captured in battle, believed that she would be rescued, and as her date with destiny approached, she felt betrayed by the voices in her head. Hunk hits his already bruised finger with the hammer, as we hear "When at last the work is done" ; the camera then shifts to Dorothy, now with Zeke, as we hear "Don't sit down it's time to dig another one." This is a reference to the fact that Lincoln was martyred after he had gained the victory, while the victory for Joan of Arc would not come until after she had been martyred. Notice the bench Dorothy uses to get up on the fence, as we hear "Don't sit down it's time to dig another one". After rescuing Dorothy from pigpen, Zeke will use this same bench to catch his breath on, while Aunt Em comes along, chiding him and the other farmhands to get back to work. In this scene, we see Zeke in the role of "savior", and as we shall see later, Zeke, or Lion, is our symbol for Jesus, and we will note that for Jesus, like Joan of Arc, the work had only just begun when he was martyred.
  Contrast the above sequence, where we have Hunk pointing to the ground as we hear Dig that hole, forget the sun, to the sequence in the next song, where we have a plane taking off and crashing, as Dorothy is looking up into the sky, while singing "Over the Rainbow". Notice that Hunk hits his finger with the hammer just after saying to Dorothy, "Well, your head aint made of straw, you know." This is foreshadowing Hunk's Oz counterpart, Scarecrow, who lacks a brain. Lincoln's life, of course, ended with a "bang" and his brains being blown out, after the war was over, "when at last his work was done."

-For long you live and high you fly: Dorothy practicing her tightrope walking
-Balanced on the biggest wave /You race towards an early grave: Dorothy (balancing on pigpen enclosure) starts to sway

(Watch video What you resist persists -Carl Jung
For this first song in DSotR, we can see a theme of finding balance. First, we hear a series of contradictory statements on the album: "Leave, but don't leave me" is a self-contradictory statement that also contradicts "choose your own ground". "Smiles you'll give and tears you'll cry" describes two conflicting emotions. "Run rabbit run" also contradicts "choose your own ground", as well as "Dig that hole [grave], forget the sun", while the latter lyric is a contradiction of "Breathe in the air." "When at last the work is done" is a contradiction of "Don't sit down it's time to dig another one." Finally, we hear "Long you live and high you fly" contrasted against "You race towards an early grave."
  As mentioned earlier, the album was actually more likely synced to 2001, so these contradictory statements are indicative of one of the pressures that finally pushed Hal to his breaking point. In the novel, it states that Hal was programmed to never tell a lie; at the same time, as part of his mission, he was instructed to keep the true purpose of the mission a secret from the other crew members. This contradictory programming ultimately led to the development of Hal's "neurosis".
  As suggested here, life is indeed a balancing act: Life is a tightrope that each must walk. It's a balancing act between loving and hating; taking vs. giving back; hurrying vs. being cautious; doing what one wants vs. doing what's right etc. This constant balancing act ultimately proves to be too much for some. Finding this balance was also a central concept in Jung's theories on the personality. As the above lyric suggests, our guy starts off life effectively able to balance these competing goals, but like Hal, either something in the individual's personality, or a curve life throws at this person in the future is going to upset this person's balance. Life, therefore, is associated with balance. The last song "Eclipse" is about death, and we hear what appears to be a movement away from this harmony, in the final lyrics of the album: "Everything under the sun is in tune, but the sun is eclipsed by the moon."
  As ironic as this seems, what Dorothy does here [through her instability] is she provides balance. Once again, we see two contradictory statements: on the album, the lyrics speak of balance; in the movie, Dorothy is losing her balance. When we come to the final lyrics [see Everything under the sun ...], the situation will have completely reversed itself, but this reversal is also indicative of balance. The contrasting of the tragedy [DSotM] and the fairytale [TWoO] must also be about finding a balance. As this first song on DSotM would suggest, this balance is conducive to life. This contrasting of the tragedy and the fairytale, therefore, must be about the triumph of the fairytale over the tragedy.)

Track 2: ON THE RUN:

-Beginning of Track 2: Dorothy falls into pig-pen -foreshadowing

(With Dorothy as Joan of Arc, and Zeke as Jesus, again, this is a representation of Jesus as savior. Remember that balance is associated with life, so Dorothy's losing her balance and falling is symbolic of death. And thus Zeke, as Dorothy's rescuer, symbolizes one with the authority to vanquish death. Note that after Zeke rescues Dorothy from the pig pen, Dorothy then balances on one leg, as she holds her other foot with her hand.
  As Aunt Em says, Dorothy always gets herself into a fret over nothing, as she does in this scene. This is in contrast to the guy on the album, who is completely unaware that he is running straight into danger. In Part II, when Dorothy is in step with the album, she too will be running straight into danger during this same song, completely unaware that she is falling into the witch's trap.)

-Voice-over (Proceed to Customs and then to Immigration . . .): Aunt Em (scolding farm hands for their loafing) pointing to Hickory's "contraption"
-Voice-over (May I have your attention please ...): Hickory (posing): "Someday they're going to erect a statue to me ..."

(Hickory is an inventor, and this is why he boasts that someday a statue will be erected to him. A deleted sequence has Hickory showing Dorothy his contraption intended for warding off tornadoes. See list of deleted scenes: http://www.wendyswizardofoz.com/facts.htm#cuttingroom.
  Hickory will become Tin Man in Dorothy's dream, whom we will meet later, frozen like a statue. As each of the main characters represents a tragic hero from history or literature, Tin Man, of course, is Shakespeare's love-sick character Romeo, from the play Romeo and Juliet. The final scene, upon discovering the suicide of the two lovers, has the two feuding families making peace, and pledging to erect golden statues of the two lovers, to commemorate the tragic event.)

-Person running through airport, short of breath: Zeke still out of breath, after rescuing Dorothy
-Dorothy begins OTR (Over the Rainbow): Same acronym as "On the Run", while both song titles form three word prepositional phrases

("On the Run" features various sounds from a busy airport, including airplanes, helicopters, and an airport employee speaking through a PA system. The song can best be appreciated while wearing a set of headphones, as one can more readily discern the sound effects being played in one ear, and then moving to the other ear, which is meant to simulate what an actual airport might sound like. Notice that Dorothy spends the majority of her time singing OTR looking up at the sky. Note also her head movements as she scans the sky, while the album features a helicopter and some planes taking off and landing. The headphones should also help one to hear the faint sound of our guy on the album running through this airport, which, as we will see, is a significant event in the whole DSotR experience.)

-Sound of airplane taking-off: Toto wagging tail
-Helicopter taking off: Toto jumps up on piece of farm equipment
-Sound of airplane crashing: Dorothy singing of happy little blue birds flying "Over the Rainbow"

(As pointed out at the end of the first song, Dorothy is out of step with what is happening on the album. Here, Dorothy can only dream of flying, while our guy on the album is frantically trying to catch a doomed flight. Right now, Dorothy is in no immediate danger, and is no hurry to go anywhere, while the guy on the album is racing unsuspectingly towards disaster. Also ironic is that Dorothy is perhaps the one who should be "on the run", while the guy on the album is the one who should probably stay put. The guy on the album will miss his flight and be safe, but, unfortunately, this will be where things start to get hectic for Dorothy, as Miss Gulch arrives with a court order. Later, Dorothy will be in step with the album, and as we hear this song again in Part II, Dorothy too will be running straight into disaster.
  Remember that Dorothy is Joan of Arc in this allegory, and in this scene, her staring up into the sky makes her symbolic of all the saints throughout history, waiting patiently for the coming of their Savior. The contrasting of opposites in this sequence is symbolic of the final victory of these elect over their enemies. If Pink Floyd actually synced this album to 2001, then this wonderful world over the rainbow might be compared to Jupiter. A chosen few are selected as the crew to voyage to this wondrous world awaiting them at Jupiter, but only one member of the crew is going to survive the journey. In our modern culture, we tend to say that the guy trying to catch the flight, the astronaut who survives the voyage to Jupiter, or a girl who survives a tornado are lucky to be alive. Another more fatalistic way of looking at these survivors is to say that they were "chosen". Presumably, therefore, those who don't make it must have been rejected. It's a kind of cold heartless contest pitting the "elect" of philosophy /religion against evolution and survival of the fittest. In the novel, by Arthur C. Clarke, Clarke is much more explicit about how a higher intelligence played a part in this evolutionary process. The novel portrays this intelligence as rather indifferent as to who wins and who loses the contest in the end. Nevertheless, justice seems to prevail, as the murdering computer joins the ranks of those who are ultimately eliminated. In effect, the computer becomes to man what Satan is to God. See A Philosophical Analysis of 2001: A Space Odyssey.
  Floyd may have used this song to show how some people race towards their own destruction. In the 2001 novel, Hal's single-minded purpose is compared to an obsession. This obsession, the mission, Hal attacks with vigor and enthusiasm, as they race towards their goal, faster than any other Earth vessel had ever travelled. Despite Hal's enthusiasm for the mission, "subconsciously" he perhaps is aware that he is unequipped to handle the dilemma he ultimately must face. Nevertheless, this single-minded obsession does not allow him any alternative other than charging ahead full-steam. The same can be said of many people who drive themselves until a breakdown. The typical over-achiever chooses a course which he or she unconsciously knows will end in disaster. A lofty goal and then a kind of martyrdom before achieving this goal is often the real reward, as opposed to the goal itself.
  Note that the only place in this film we ever see anything resembling a rainbow is the witch's crystal sphere acting as a huge dispersive prism, as we see Dorothy as the witch's prisoner. In the film's original concept, incidentally, this was to be the scene of a reprise for "Over the Rainbow". See "Us and Them" DSotR2, beginning of sax solo.
A moonbow is an extremely rare phenomenon, whereby a rainbow is produced using the light of the bright side of the moon.
  What's also interesting about the above sequence, contrasted against a plane crashing, is the original publication date for Baum's novel. The Wonderful Wizard of Oz first appeared on bookshelves in 1900 -just a few short years before the Wright Brothers historic flight in an airplane.)

-Person still running (his plane having crashed): Toto perks up ears, turns his head

(In those tense hours following a great disaster, family and relations listen intently for any snippet of news regarding who may have been killed, or who may have survived the disaster. As the plane crashes, we see Toto perk up his ears. [This would represent news of a death.] As we hear the faint sounds of our guy still running through the airport, after the plane has crashed, Toto once again perks up his ears. [This would represent news that someone has survived.] Incidentally, dogs are often used in the recovery of both victims and survivors of disasters.)

Track 3: TIME:

Alarm clock /clocks striking hour: Miss Gulch appears on bicycle

(Here, Miss Gulch is playing the role of the Grim Reaper, as she comes to collect Toto, so it is appropriate that we hear an alarm clock going off, as it is often said, of a person who is suddenly killed, her time was up. Also, in Dorothy's dream, Miss Gulch becomes the wicked witch of the east, who is killed when Dorothy's house lands on top of her. As the Munchkin coroner is presenting the Certificate of Death to the Munchkin mayor, we see the time on the mayor's watch reads 5 'oclock -the end of the work day. And thus, the witch and her evil deeds officially came to an end at a time many people associate with the end of toiling, and the beginning of the leisurly part of the day. Recall the old saying, "No rest for the wicked" as the Munchkins celebrate by singing [of the wicked witch]: "She's gone where the goblins go below, below, below yo-ho . . ."
  Margaret Hamilton [Miss Gulch] also plays the wicked witch of the west. Later in the movie, when she decides to kill Dorothy, she inverts an hourglass and tells Dorothy that this is how much longer she has to be alive. However, when the hourglass runs out, we learn that it is actually the witch whose time was up. So this alarm clock going off as Gulch appears is actually another example of foreshadowing.)

-Clock ticking (double-time): Miss Gulch arrives at Gale Farm.

(At the end of Part II, the human heart is compared to a ticking clock. A heart beats faster when it is excited; more slowly when it is at ease. There are two basic kinds of clocks, and the clock we hear is one that makes a rapid ticking sound.
  Human perception of the passage of time is often affected by the occurence of significant events: Thus, when we are waiting for or anticipating some event, time seems to crawl; when that event finally arrives, time seems to shift into high gear, and if it is a particularly exciting or stressful event, time seems to fly. The movie begins with Dorothy anticipating Miss Gulch's arrival, and as she meanders about, wondering what she should do, the movie seems to be pacing itself. As Miss Gulch appears, we hear an alarm going off, various clocks striking the hour, and then as the scene moves to show Miss Gulch confronting Uncle Henry outside the house, we hear a clock ticking. Most modern clocks, of the quartz variety, make only a ticking sound, while most older mechanical clocks made a tick-toc sound, producing a double click for each second, giving the impression of time moving very quickly. The clock we hear here is one of those ones that goes tick-toc. Watch video time perception in mental illness)

-First guitar chord of "Time": Inside Gale house with Miss Gulch

(Use this chord to check that album and movie are properly synchronized. If you hear this chord right on the double exposed part of the film [scene outside Dorothy's house fading out, while scene inside is fading in], then you know it is correctly synced, as per Third Roar method. If you got this right, don't forget to pause movie after "Great Gig".)

-Series of stand alone guitar chords: The Gales bargaining with Miss Gulch over Toto (Contrast to sequence in Part II for this same set of guitar chords)

(DSotR is developing its own "language" as it goes, and as we will see throughout. Here these very paced guitar chords are contrasted against the rapidly ticking clock we hear in the background. As we have already seen, when we have a pairing of opposites, this is suggestive of a positive life energy. Note also the balance we see in the structure of the song itself: The first two verses are about a guy taking his leisure time; the last two versus are about the same guy always in a hurry.
  Here, Toto's life is being hung in the balance, but DSotR is telling us that Toto is going to live.)

-Ticking away the moments that make up a dull day: An ordinary day quickly turning very interesting

(The movie made several significant deviations from Baum's novel that made the Oz experience seem a lot more "ordinary". The most significant change was in making Dorothy's journey into a magical wonderland all just a dream. Another significant change is this extended Kansas sequence: The original novel gets rather quickly into the good parts, with Dorothy being taken up into the tornado and landing in Oz, after only a summary description of life on her aunt and uncle's farm.)

-You fritter and waste the hours in an off hand way: Scene changes to a grim faced Gulch pedaling her way to sheriff's, but, in fact, wasting her time, with Toto about to escape, unbeknownst to Miss Gulch

(Miss Gulch is presumably on her way to the sheriff's, but as it seems that Toto escapes without her noticing, she will presumably continue on to the sheriff's, only to discover an empty basket, upon her arrival. See earlier note, where Miss Gulch first appears, as an alarm clock is going off. We are going to see this theme repeated throughout DSotR, where we have an association being drawn between Miss Gulch, later the witch, and time. Later, as the witch, we will hear such lines as "Very well, I'll bide my time" and "I can't wait forever to get those slippers!"
  The above sequence reinforces this theme of how time is running out for some, while others are going to earn an extension of their time. Note that when Miss Gulch first appeared, time seemed to have run out for Toto, but in the above sequence, Toto gets his life extended. The lyric also suggests that these nasty people are wasting the little time they do have left, with their wicked plans that will come to naught.)

-Kicking around on a piece of ground in your hometown/ Waiting for someone or something to show you the way: Toto escapes basket; scene switches to Dorothy still "kicking around on a piece of ground in her hometown"; Toto about to jump through window, to "show Dorothy the way")

(Here we see a very peculiar use of foreshadowing: It begins with a reference to an earlier bit of foreshadowing: Recall the lyrics from first song: "Look around and choose your own ground" sung when Dorothy needed to take Toto and run. In the ensuing sequence, Dorothy stood her ground, singing of happy little bluebirds, while "On the Run" was playing, and as a result, she lost Toto. "Kicking around on a piece of ground . . ." is actually played while Toto is escaping Miss Gulch's basket, a moment or two before switching to Dorothy, sitting weeping in her room, still "kicking around on a piece of ground in her hometown". As the scene switches to show Dorothy sitting and weeping, we hear the lyrics, "Waiting for someone or something to show you the way", a moment or two before Toto pops in through the window. This kind of momentary foreshadowing is not true foreshadowing; nevertheless, if we look deeper, we can see two more examples of some significant foreshadowing: First, recall that the earlier lyrics were heard as Dorothy was looking back over her shoulder, as she walked away from her aunt and uncle. Dorothy is about to decide that she needs to run, but we are being reminded that she will not get far before deciding to return. Secondly, these lyrics drop us a hint of events that are to occur later in the movie: In Dorothy's dream, Miss Gulch will turn into the wicked witch, and will once again threaten to destroy Toto, while placing him in a basket. Toto will once again escape the basket and flee the witch's castle, and go out and find Dorothy's friends, and then lead them back to Dorothy.
  Also interesting is that Toto is referred to as a "someone or something", drawing attention to Toto's legal status as an animal. Contrast this to the earlier sequence where we had Dorothy representing Joan of Arc, and Hunk representing Lincoln. Joan, of course, gave her life in defence of her king, while Lincoln gave his life in defence of those who, at the time, had no legal rights. And just as Lincoln was forced into making a tough decision by those who needed his protection, Dorothy is being forced to make a tough decision here, by one who is need of her protection. What's interesting is that we now have Dorothy [Joan of Arc] ready to sacrifice her life for one with no legal rights. Nevertheless, as we shall see later, Dorothy will be asked by a king [the "great" Oz] to risk her life, but, in doing so, she will be putting Toto's life on the line. See "Us and Them" Part II
  The "something" could also refer to the tornado, which is going to show Dorothy the way to the Land of Oz, which would be another use of foreshadowing.)

-Tired of lying in the sunshine staying home to watch the rain: Dorothy is inside, not under the sun, with plans to leave home, with no indication of any imminent rain on this parched prairie. Self-contradictory statements like the one heard in this lyric were characteristic of "Breathe in the Air"-a song about the genesis of life

(As stated in the note at the end of "Breathe in the Air" contradictory statements, the pairing of opposites etc. signals balance, or a positive life energy. "Breathe" is a song about the genesis of life, while here, in this sequence, we see a kind of death and resurrection symbolism: Toto has, symbolically, just returned from the dead. With TWoO as a parable on Jungian psychology, Dorothy is about to embark on that stage of life known as "emergence from self", or a kind of death of the self, in which the self will later be "reborn", in a later stage known as "return to self". All this is indicative that a state of balance still exists, which will continue until Dorothy meets the great and powerful Oz, later in Part II.)

-You are young and life is long and there is time to kill today: Dorothy, who has been hitherto indecisive, finally decides she must act, and quickly, if she wishes to save Toto

(Dorothy is once again out of step with what is happening on the album, as explained in the note at the end of "Breathe in the Air". Her being out of step will continue throughout most of Part I, and then, for most of Part II, she will be in step with the album. See also notes on Out of the way, it's a busy day . . . in "Us and Them" DSotR Parts I & II)

-Then one day you find ten years have got behind you/ No one told you when to run, you missed the starting gun: Dorothy, camera to her back, running away from home with Toto

(This is another example of irony and contrast. The lyrics from the album are obviously about one who is so absorbed in his own idleness that he doesn't even notice life passing him by. The rest of the song seems to be a about a guy trying to make up for a life wasted. The movie, in contrast, sees Dorothy like a horse bursting through the gate, before the starting pistol is fired, as we see this young girl heading out into the world by herself, with suitcase in hand. Remember that Dorothy is Joan of Arc, who, like Dorothy, decided to take on the world by herself, when she was only about Dorothy's age. When we sync DSotM to 2001, this is where we see one of the apes figuring out that a bone can be used as a weapon, and from here on in, this former tribe of mostly vegetarians is transformed into a tribe of hunters /warriors.
  Another interpretation is that Dorothy's adventure represents a much longer life journey. For example, Carl Jung, who developed the concept of synchronicity, divided life into two distinct stages: "Emergence from self" and "return to self". Dorothy's running away from home thus would represent an emergence from self; but since she initially hesitated to run when she knew Toto was in danger, this would represent one who begins this life journey rather late in life. Also, as Dorothy and Toto walk down the road together, we can clearly see Dorothy's footprints on the road, and Toto's prints beside them for part of the way. The poem Footprints in the Sand tells the story of a man who sees his life as two sets of footprints in the sand, but during the most difficult parts of his life he notices but a single set of footprints. The earliest known copy of this poem is dated 1939 -the same year this movie was released.
  As another alternative, Dorothy's journey could represent the struggle of an orphaned people, who eventually become misguided, and who must find their way back "home". While Dorothy certainly is an American farm girl, her symbolic struggle can be thought of as prototypical of the struggle of many peoples going through the ideology wars of the Twentieth Century. One main exception, of course, is that Americans got involved in the ideology wars a bit later than most countries, until, at Pearl Harbor, Americans were suddenly plunged into WWII (World War II), two years after that conflict had begun [You missed the starting gun].
  Like many Americans, Dorothy sees herself as a liberator. And although she means well, Dorothy is actually quite misguided, thanks in part to the imperfect advice of Glinda. Witches would represent the scholars, with the ruby slippers representing knowledge. Good witches would represent sharing, while bad witches would represent greed; thus, the contrasting of the good and bad witches would represent different ideological positions over what social arrangements are most beneficial for a nation and its people, with good witches representing those who would use knowledge to advance the plight of humanity, while bad witches would represent those who see knowledge as an instrument of power. The flying monkeys of the bad witch would represent the nonsense of those who distort truth in order to achieve their own selfish ambitions. On the WWII video in the above link, the commentator makes the interesting observation that while ideology was a rallying cry for nation rising up against nation, greed was at the true heart of this conflict: greed for power; greed for land; greed for control etc.)

-Bridge in song: Dorothy crossing bridge (Old idiom: I'll cross that bridge when I come to it -contrast to Dorothy, who has no idea where she's going)

(For the first part of the movie we see Dorothy worrying about what she is going to do when Miss Gulch comes for Toto. This is contrasted against everybody else's saying "Don't bother us now, Dorothy." It's not that they don't care, but they are all extremely busy, and this is their way of saying "We'll cross that bridge when we come to it." Note that the song is divided into two parts, separated by this "bridge". The first part of the song describes our guy's youth, spent idling his time away, with no regard for the future. In the second part, with our guy now as an adult with reponsibilities, we hear how he is constantly struggling against the pressures of time. Once again, what we see happening in the movie is the exact opposite of what we have on the album. For the first part of the movie, Dorothy is constantly worrying about the future: what's going to happen to Toto. As we come to this bridge in the song, the situation has completely reversed itself, both for Dorothy and the guy who is the subject of this song. Dorothy is now given over to complete impulsiveness, with no thought as to the consequences of her actions.
  Incidentally, this is where Dorothy notices Professor Marvel's sign: Let him read your Past, Present and Future. Note also that it takes Prof. Marvel three tries to guess where Dorothy is going: You're travelling in disguise; you're going on a visit; you're running away. Note that the professor's first two guesses would more aptly apply to Joan of Arc, when she first left home, disguised as a man, to deliver a message to the dauphin. See also note for same bridge in Part II.)

-And you run and you run to catch up with the sun, but it's sinking /And racing around to come up behind you again: These lyrics create inference of person busily planning for the future, while failing to profit from lessons of the past. Heard as Professor Marvel invites Dorothy to look into the future, with his crystal ball, to help her decide what she should do. Dorothy, being an orphan, really ought to appreciate having a good home.
-The sun is the same in a relative way but you're older /Shorter of breath and one day closer to death: Dorothy (inside PM's wagon) surrounded by images of death (Skull above her, over doorway; another skull on shelf to her right.)

(These lyrics reference previous song (On the Run) which featured a guy running through an airport, but missing his flight to Rome, which then crashed after taking off. As Rome is known as the "Eternal City", our would-be passenger's narrow escape from death symbolizes the quest for immortality, which is contrasted against a background voice saying, "Live for today; gone tomorrow . . . that's me" as doomed plane is taking off. In this song, "Time", somebody is chasing a setting sun. We hear the lyric "The sun is the same in a relative way but you're older" as Prof. Marvel lights a candle. This is a reminder that the sun, like this candle, burns fuel, and like this candle, the sun too will one day burn up its fuel. This is a further contrasting of the ephemeral vs. the eternal [the measurable vs. the immeasurable]: The human life is but a blink of the eye to the life of the sun; nevertheless, the life of the sun is but a blink of the eye to the eternal.
  In the accompanying movie sequence, we have many examples of the ephemeral being contrasted against the eternal: Professor Marvel tells Dorothy to close her eyes as they prepare to peer into the infinite [the immeasurable]. The infinite is being contrasted against the mortality of the characters of the story: Toto has just had a narrow escape from death, and he and Dorothy, in an attempt to cheat death, are now "on the run". But as Professor Marvel looks in his crystal, he warns Dorothy that Aunt Em's life is in danger, so Dorothy must now hurry home to Aunt Em, but by doing so, she once again puts Toto at risk. Also, by running home, she herself will be heading straight into the path of an oncoming tornado. All this echoes a line from the first song (Breathe): Balanced on the biggest wave, you race towards an early grave.)

-Plans that either come to naught or half a page of scribbled lines: Professor Marvel "reading" Dorothy's past, present and future (from a photograph he slips from her basket), thinking up a way to discourage her plans of running away
-Hanging on in quiet desperation: Dorothy (eyes closed) quietly, but eagerly, anticipating reading from Prof.
-The time is gone the song is over, thought I'd something more to say: End of song ("end of 'Time'") as Prof. Marvel begins his reading of the infinite (timeless)

(Prof. Marvel begins his reading of the infinite (the timeless) as song "Time" is ending. The contrasting of the measurable vs. the immeasurable. In his reading of the infinite [the immeasurable], Prof. Marvel is going to purport to see death [something measurable]. Prof. Marvel does not actually see death, but makes Dorothy believe that Aunt Em is near the end of her life. The contrasting of opposites, as we have already seen, is suggestive of life; in other words, Prof. Marvel is wrong in his omionous warnings regarding death. Symbolically, this is significant with regards to what Prof. Marvel represents here, and what his warnings about death represent: see following notes. Also note that Prof. M.'s reading ends much the same way this song does, with the crystal abruptly going dark, before the professor could say for certain what would happen.)



BREATHE IN THE AIR (reprise):

-Home . . . home again /I like to be here when I can: As Professor Marvel describes what is happening back home, Dorothy begins to have doubts about running away
-The tolling of the iron bell /Calls the faithful to their knees: Dorothy jumps to her feet; decides a "sick" Aunt Emily needs her

(Dorothy, again out of step with the album in this reprise of "Breathe", jumps to her feet at these lyrics. Here, she represents those who have not been faithful [to her Aunt Emily]. Aunt Em is not really sick, and the faithful are getting on their knees not to pray for one who is dead, but to pray for those who have not been faithful, or those who have been deceived. Professor Marvel is the tolling bell [a tolling bell is usually chimed at a funeral] -as the one proclaiming the death of one who is healthy. Prof. Marvel purports to gaze into the infinite, and see death. In other words, Prof. Marvel represents one who claims to have measured the immeasurable. This is foreshadowing Prof. Marvel's transformation into the great Oz in Dorothy's dream -one claiming to be God: I am Oz, or, I am the O and the Z. The sequence is a portent of a time when many people would begin to doubt their faith -the "God is Dead" movement of the 1960s. This falling away from the faith is represented later in the movie, when the witch uses poppies to poison Dorothy, while the present sequence is foreshadowing this later sequence: see next note and note for when Glinda appears in Part II, during poppy field sequence)

-To hear the softly spoken magic spells: Dorothy "on the run"; more foreshadowing that relies on the flashback (see note)

(John Donne's poem For Whom the Bell Tolls provides us with the answer to question raised by previous lyric: "It tolls for thee". Here, we see Dorothy concerned over Aunt Em, while it is in fact Dorothy whose life is in danger. "The softly spoken magic spell" is a spell the witch is going to put on Dorothy to try to put her permanently to sleep. Here, we see another example of foreshadowing that relies on the flashback. Recall song "On the Run" which features a guy running through an airport, unwittingly trying to catch a doomed flight. Here, Dorothy is "on the run", as she rushes home to Aunt Em, unwittingly, straight into the path of a fierce tornado. When she does reach her destination, she is going to be knocked unconscious -possibly permanently, as Uncle Henry suggests near the end of the movie. Dorothy is running home because Prof. Marvel, while looking in his crystal ball, has told Dorothy that her aunt is ill. The next sequence where we see a crystal ball will be in Part II, in the witch's castle, as she mixes a magic potion to put Dorothy permanently to sleep, while uttering a "softly spoken magic spell." In the witch's crystal ball, we see Dorothy coming into view of Emerald City, and deciding to run. And just as in the above sequence, Dorothy will be rushing straight into danger. Incidentally, the later sequence, in Part II, will be done to the song "On the Run". See "On the Run" DSotR Part II.
  In each case, a person is battling time, but to no avail: the guy trying to catch a doomed flight; Dorothy rushing home to an aunt who isn't really sick; Dorothy rushing to see a wizard who cannot help her or her friends. Recall lyrics from "Time": "You run and you run to catch up with the sun, but its sinking /Racing around to come up behind you again.)

Track 4: THE GREAT GIG IN THE SKY:

-Beginning of song: Dorothy heads back home; song intensifies as storm picks up
-Background voice: And I am not frightened of dying . . . anytime will do . . . I don't mind: Tornado approaches farm; Aunt Em discovers Dorothy missing

(This song's theme deals with fear of dying. As discussed in "Breathe in the Air", Floyd may have actually synced DSotM to 2001. In the 2001-DSOTM sync, as these lyrics are heard, we see a representative from each of the two rival tribes of apes prepare for mortal combat. These are presumably the fittest members of each group, and each is willing to risk his own life for the benefit of the group as a whole.)

-Wailing begins: In Irish folklore, a wailing banshee was an omen of death. This song ends with the Witch of the East being killed
-Change in tempo part way through song: Dorothy is struck on head by window and falls unconscious

(Later, Dorothy will describe her ordeal: "The wind began to switch, the house to pitch, and suddenly the hinges started to unhitch . . ." In this scene, the wind has just switched, causing the window to become unhitched, all of which is accompanied by the singer's change of pitch in this voice instrumental, as Dorothy falls down on the bed unconscious. Watch Dallas tornado pick up and toss trailers Youtube video)

-More wailing: Flying house, or "mansion in the sky" (From title of song: a theme of being raised up not just physically, but to greatness. Dorothy here being raised to Oz, a "higher realm", at same time about to prevail over her enemy)

(The song's theme obviously deals with death, but death is presented here not as an end, but as a kind of gateway to greatness. Like the old song says: If there's a Rock and Roll heaven, they've got a hell of a band. When DSotM is synced to 2001, "Great Gig" comes on as two tribes of the ape men are preparing for confrontation. The enlightened apes, or the "chosen ones", have their newly discovered weapons. The confrontation ends with one of the rival man-apes being clubbed to death by the tribe destined for greatness. As the tribe of "primitives" retreats, a triumphant Moon Watcher tosses his club high into the sky, and we see the flying club transform into an orbiting satelite, as the story jumps 4 million years ahead. These astronauts, with their "Great Doomsday Machines in the Sky" would seem to represent the descendants of Moon Watcher. These are evolution's successful contestants. For every generation, for the last four million years, their ancestors have prevailed over their weaker opponents. And now they have reached the pinnacle of their fighting ability -the ability to destroy entire worlds.
  Musicians would not represent the descendants of Moon Watcher. Instead of killing for their supper, their ancestors have had to sing for their supper. Nevertheless, this group has also risen to greatness, even though evolution was against them. Note that the related sequence for 2001 begins on the ground, and then moves to the sky, symbolizing this move towards greatness. The song also starts off very "down to earth" with this background conversation of a guy discussing dying, in a very matter-of-fact fashion. The song then builds to these ethereal overtones with its wailing, as though relating the story of Moon Watcher and the entire history of mankind, in some non-verbal form of communication -"The Great Gig in the Sky". Note that the related sequence in TWoO also begins on the ground, and then moves up into the sky. Symbolically, Dorothy would also represent the meek, but she is being raised up above Miss Gulch /the witch, who represents the strong. Note that this sequence seems to represent a kind of death and assumption up into Heaven, for Dorothy, "the small and meek", but ends with the actual death of the witch, and Dorothy surviving.)

-I never said I was frightened of dying: Miss Gulch appears on bicycle

(This line [very faint] is often misheard as "If you can hear this whispering you are dying." Here, we see more examples of irony and contrast: Dorothy awakens to the sound of a cock crowing [In former times, before electric light bulbs, cocks often functioned as an alarm clock, as they had a habit of crowing at the first crack of dawn ]. Recall earlier how Miss Gulch showed up to collect Toto, just as an alarm clock went off. The irony here, of course, is that Dorothy has not really awakened, but has begun dreaming.
In the above sequence, to Dorothy's "alarm", she quickly discovers that her entire house has been picked up by the twister. Dorothy's alarm over being sucked up into the twister is contrasted against the nonchalant manner of the background voice we hear on the album, and of the other characters Dorothy sees inside the twister, including Miss Gulch, who changes into a witch [about to be killed] who even begins laughing. Once again, Dorothy is out of step, not only with the album, but with these other characters she sees inside the cyclone. Toto too is out of step, as we see him bark at a cow, rather than the cat on the old lady's lap, which he was supposed to bark at. These figures seem to have a ghostly aura about them, as they don't seem to be concerned about dying; indeed, we know that the witch [one of the figures Dorothy sees] is about to be killed. So, once again, her being out of step would seem to be indicative of life: Dorothy is going to survive this ordeal. See also note for Out of the way it's a busy day "Us and Them" DSotR1)

-Singer (Clare Torry) wailing: Wicked witch laughing (See note for Black and blue, "Us and Them" DSotR1)


Track 5: MONEY:

-Cash register, slot machines: Movie transforms from B & W to color /Dorothy opens door

(More irony and contrast: Dorothy has just stepped into the land of the "little people" [Munchkinland]. In Part II, this same song begins just as Dorothy & friends enter the long hallway to the throne room of the "big guy" ["the great and powerful Oz"].
  Note the smooth transition from one song to the next on DSotM, as opposed to having clear breaks between songs, as most albums do. The one exception, of course, is that there is a break between "Great Gig in the Sky" and "Money". This is because "Great Gig in the Sky" ended Side A, on the original vinyl version of the album. Note also the smooth transition from scene to scene in the movie, with the film being double exposed each time the scene is changing. The main exception is when you have the characters going through a doorway, as we have Dorothy doing here, as the film transitions from B & W to color. In Part II, we also have the characters going through a doorway, as "Great Gig in the Sky" finishes, and "Money" begins.)

-Get a job with more pay and you're OK: Dorothy doesn't know it yet, but she is about to be promoted from farm girl to slayer of wicked witches
-New car, caviar, four star daydream, think I'll buy me a football team: Dorothy, in Munchkinland, is now dreaming -in "Technicolor"

(Dorothy's "four star daydream" is the subject of this four star movie, but for anyone interested in building a football team, Munchkinland seems an unlikely place to look for prospective football stars. This movie, along with Gone with the Wind, would help MGM to solidify its position as the premier movie studio of the day, with its top executive [Louis B. Mayer] being the highest paid executive in America. Football, at the time, was a relatively minor sport, while all the big money was in horse racing. Mayer's financial success with movies allowed him to get into the very expensive hobby of breeding thoroughbred race horses, in which he would build one of the finest stables in America. Interestingly enough, Munchkinland might be a potential "goldmine" for anyone interested in horse racing. This is interesting as well, considering that this is one of the few sports where little guys have the advantage over big guys, and that this movie's theme deals with how the great and powerful are sometimes outdone by the small and meek. Incidentally, jockeys were used in this film, but not as Munchkins; rather, they got turned into flying monkeys, seen later in the film.)

-Money, get back: Munchkins, hiding in flower bed, poke their heads up as Dorothy turns her back; duck for cover again, as she turns back around

(Contrast Dorothy here to Snow White, when Snow White first finds herself alone in the forest, with a bunch of curious animals peeking out at her from the underbrush. Snow White eventually meets the dwarfs, while Dorothy, in this movie, will soon be introduced to the Munchkins. The significance of this contrasting of Snow White and Dorothy will become clearer later, when Dorothy and her friends come to the poppy field, outside of Emerald City, where Dorothy will be poisoned, and then "brought back to life".)

-I'm all right Jack keep your hands off my stack: Dorothy hugs Toto, then puts him down

(Judy Garland, who played Dorothy, tried to buy Toto from his owner, but the owner wasn't interested. This prize stunt dog, at the time of filming, was already earning more money than many of the performers in this movie.
Also, Jack Dawn was the movie's make-up designer. All the actors from the Oz sequences are heavily made-up; the one exception, of course, being Toto. One of the actors [Buddy Ebsen] had a severe allergic reaction to his make-up, requiring hospitalization, which cost him his part in the movie, which then went to Jack Haley [tin man].
  Again, note the contrast here between Dorothy and the lyrics of the album. The album is describing a person who is pushing others away, because he fears others might try to get their hands on his money. A penniless Dorothy, in contrast, is quite content with nothing but her beloved Toto to hold on to.)

-Don't give me that do goody good bullshit: Good witch

(This "good" witch is largely to blame for much of the trouble Dorothy lands in, thanks in part to the imperfect advice of Glinda. If the characters in this story represent aspects of the unconscious mind which Jung referred to as archetypes, then it should be noted that each of these archetypes was said to comprise both light and dark aspects. The "good" witch, who sends Dorothy in search of a phony, would seem to be a "darker shade" of one of the positive archetypes. At this stage of Dorothy's development, all her darkness is being projected onto Miss Gulch. For Jung, the journey home [return to self] involved the conscious mind becoming aware of the unconscious, and the darkness within.
  If Dorothy and each of her friends represents some tragic hero, then Glinda is Socrates, or more generally, the Socratic philosopher. As the Socratic philosopher is always something of an outcast, we see the Socratic philosopher in this allegory as a woman. In the early days of the Women's Movement of the Twentieth Century, women were still expected to concentrate on raising children, and not expected to engage in non-domestic pursuits, such as philosophy. And thus, many women thinkers of the day were the Socrates of the modern era. Socrates, of course, is a man, but more generally, witches represent the scholars, and so we see this good witch as the "dizzy blond" type. As Glinda admits, upon arriving on the scene, she's a little muddled, and even after Dorothy has explained everything to her, she still does not seem to have fully grasped the situation, and the fact that Dorothy is not a witch. This dizzy blond is, in fact, the perfect representation of Socrates, who claimed to have no wisdom, other than an awareness of his own ignorance. In this scene, Glinda would represent a young Socrates, before he had figured out that everybody else was just as ignorant as he was. At this stage of his development, if someone had come to him for advice, our young Socrates would likely have offered this person that which was the accepted wisdom of the day, assuming that this accepted wisdom had come from some learned philosopher. This is, in fact, what we see Glinda do, when Dorothy asks how she might get back to Kansas. Glinda, like our young Socrates, does not have an answer for Dorothy; instead, she directs her to the Wizard, whom she assumes would have all the answers to such questions.
  If TWoO is an allegory in which Dorothy's time spent lost in Oz represents humanity's exile from Paradise, then witches would represent scholars [Socrates is often regarded as the father of Western philosophy], while the ruby slippers would represent knowledge. Bad witches would represent scholars who see knowledge as power, while good witches would represent sharing, or, more specifically, those who share knowledge to benefit humanity.
  It is interesting that we first see this "good" witch during a song about greed. Consider also that it is Glinda who is going to advise Dorothy to follow the Yellow Brick Road. According to Littlefield, this Yellow Brick Road reprsesented the gold standard. [See Dark Side of the Rainbow and Parable on Populism] This might suggest that the good witch represents Capitalism, while the bad witch represents Communism. This, however, would be an oversimplification of the ideology wars of the last century. Indeed, these lyrics we hear as the good witch approaches suggests that characterizing one side as good and one side as evil is an oversimplification of Twentieth Century political realities.
  Rather than characterizing one side as good and one side as bad, it is perhaps better to think of a system of opposing ideologies as balanced, and this is indeed the role of the Socratic philosopher. The Socratic philosopher also recognizes that when one side is defeated, a new imbalance is created. Of course, more significant than the ideological differences between these two sides was a growing conviction that a successful resolution to this conflict could only come about through war and violence. This was particularly disconcerting given the destructive power of a growing nuclear arsenal held by both sides. In this regard, Dorothy would represent the pupil of Socrates. To restore balance, and save the world from destruction, Dorothy must be educated in the ways of peace. And this is perhaps the significance of the shoes given to Dorothy by Glinda. If people normally only resort to violence when they feel threatened, then a belief that she is being protected by the shoes should make her less inclined towards violence against the witch. Also, if the three pals Dorothy meets on her journey represent Lincoln, Romeo and Jesus, in that order, then what we see represented in each of the friends she meets is an increasing unwillingness to resort to violence. [See also notes for "Who knows which is which and who is who"; "Us and Them" DSotR Part I]
  In any kind of conflict, it's narural to see one's own side as the good guys, and the other side as the bad guys. But again, going back to Jung, this self-actualization process involves first being able to recognize the darkness in oneself. It should be recalled that Communism developed in the Nineteenth Century as a reaction against the excessive greed of Capitalism, which the Industrial Revolution seemed to foster. Now the moral of this fairytale is that sharing overcomes greed, but that is not the way that Marx, and other early Communists saw the problem. For the Communists, the solution was in a redistribution of the wealth. So these ideology wars, in effect, came to be about a struggle for resources. Now when we think about it, this is really what we see at the center of the conflict between Dorothy and the witch: Dorothy has something that the witch wants, and the witch's own obsession with the slippers is going to bring about her own demise. So if we want to characterize the bad witch as Communism, there is certainly a comparison to made between the Communists' single-minded obsession with the redistribution of wealth, and the witch's obsession with Dorothy's slippers. But again, this is not to say that our good witch, Capitalism, is an entirely benign force.
  The trouble, at this point, is that the bad witch is the only one who really knows how to use the slippers, as the good witch cannot offer Dorothy any advice on how to use them, other than to keep them from the bad witch. When I say that sharing overcomes greed, this is closely related to the concept that humility overcomes pride. When people are proud, they put their own interests ahead of everyone else's. And thus, pride is like a kind of cancer to a people who have become proud. Cancer cells are actually much like any other ordinary cell, except that they have become very "greedy" -i.e. they put their own interest above the interests of the organism of which they are a part. When cancer cells take over, the organism dies, just as a civilization that becomes proud will eventually destroy itself. Humility plays the part of society's immune system, ensuring that when individual cells become too greedy, they are reminded of their own insignificance in the grand scheme of things. A body's immune system can fail because it fails to recognize the cancer cells as invaders. On a societal level, we see a similar failure of the immune system when excessive vanity is regarded as healthy. At this point in our allegory, Glinda is not very effective as one of those cells whose job it is to destroy cancer cells. Here, Glinda can be compared to those Twentieth Century Capitalist thinkers, whose solution to how to "divide up the pie" was to simply grow the pie bigger. Presumably, once the pie was big enough, there would be plenty for everyone. And thus, the Capitalist's "bull market" would be our "do goody good bullshit" referenced in the above lyric. Like the Communists, these Capitalist philosophers had underestimated the human capacity for greed.
  If we want to see Glinda as representing Capitalism, then her sending Dorothy after the Wizard is perhaps representative of two fundamental errors that emerged in Twentieth Century economic thought, and which, to a large extent, continue today. The first error is what is known as the trickle down theory of economics. The fundamental fallacy of this theory is related to another economic principle known as scarcity of resources. [See for example: Peak Oil and the Globe's Limitations] Basically, with scarcity of resources, as more resources are directed at producing one product, fewer resources are available for other goods and services. With trickle down economics, the bulk of a society's resources are directed towards satisfying the extravagances of the rich. So, even if this results in our poor guy having more little slips of paper we call money, he finds that he still can't afford anything, because industry is now geared towards satisfying the needs of the guy who has more money than he knows what to do with. So, in our allegory, Glinda directs Dorothy to the Wizard, who could represent our rich guy. Dorothy and her friends end up doing the bidding of this wizard, believing that he will be able to give them what they want in return. By going after this witch, whom she really ought to be avoiding, Dorothy is really working for the Wizard, who really isn't able to pay her when the job is finished. Perhaps a related lesson here is that even when the proud and haughty think that they might be able to help others, they are never really effective, because they always put their own interests ahead of everyone else's. It is little surprise, therefore, that the biggest proponents of trickle down economics have traditionally been the rich and powerful.
  The other fallacy that emerged out of Twentieth Century economic theory is the one that more is always better. This wasn't so much an economic theory as it was a product of a little virus known as advertising, to which modern humans had little immunity to. The message of advertising, of course, is always that more, bigger and costlier is superior to something that is otherwise "good enough". This mentality finds its origins in the Great Depression, when businesses destroyed tons of brand new merchandise from their warehouses, believing that their economic problems stemmed from the fact that industry's ability to produce had outpaced the public's ability to consume. The economy that overproduces results in more inefficiency, which also drives prices up. Moreover, in this vain consumer culture, the guy who not only has everything, but the top of the line of everything, is a wonderful guy. Again, with the Wizard as our rich guy, notice how Dorothy marches down the Yellow Brick Road singing about what a wonderful guy the Wiz is, and telling everybody she meets how wonderful he is. Contrast to Aunt Em's words to Miss Gulch: "Just because you own half the county that doesn't give you the power to run the rest of us!" Aunt Em's contempt for Miss Gulch would represent a Depression era mentality, where the middle class had been virtually wiped out, and a handful of rich now controlled everything. Like the present generation, the Depression era generation, in the 1920s, had worked feverishly gratifying the extravagances of the elite of society, perhaps believing in a kind of trickle down economics, until everything fell apart with the Crash of 1929.
  That only sharing can overcome greed is the simple wisdom of fairytales that had eluded the great thinkers of the last two centuries. This simple wisdom would not only bring about a successful resolution to these ideology wars, but is essential in order for humanity to return to Paradise. At this point, the slippers are just a big mystery, or puzzle, and this is exactly what they represent: The secret knowledge needed for Dorothy to return to Kansas; or, symbolically, a mystery, which, when solved would facilitate humanity's return to Paradise. Glinda's problem, like Eve, is that, while she means well, she suffers a certain vanity, which we can infer as she boasts that she could only be a good witch, since she is so beautiful. It is the same vanity which had caused the woman to trust the serpent, when he told her that the fruit from the Tree of Knowledge would make her like God. The fruit did not make the woman like God, knowing good and evil. What the fruit did do was make the woman and the man believe that they were wise. This is also represented by the story's beginning with Dorothy's returning home from school. It is also represented in these ideology wars. It is a time when people have become proud, because they have forgotten the lessons of Socrates, and believe that they have the authority to make life and death decisions, because they know a few incomplete facts.
  As the wizard, like Dorothy, is from Kansas, we must assume that if anyone in Oz knows how to get back to Kansas, then it must be the wizard. Therefore, the advice which Glinda gives Dorothy would seem to be valid, but what this advice lacks, in contrast to what Dorothy really needs, can be characterized as the ephemeral vs. eternal -a theme discussed earlier, and one which we will see repeated later. The wizard might indeed be able to help Dorothy get back to Kansas, but only in this dream, which is eventually going to end. At this point in our allegory, we could place Glinda in the same category as those Gnostics who taught that knowledge was all that was necessary for humanity to raise itself up. It is essentially the same error conveyed to the woman through the serpent. As we see in the movie, Glinda advises Dorothy to seek the wizard -one who uses knowledge to make himself into a god. Before these "good" scholars could offer any useful advice to humanity, they would first have to seek out the darkness within themselves. See also notes for Poppy Field sequence, as Glinda appears: DSotR Part II)

-I'm in the hi-fidelity first class travelling set /And I think I need a Lear jet: Glinda, arriving in "bubble", transforms into her human form
-Money, it's a crime: Munchkins, acknowledging gratitude to Dorothy for killing witch, present her with non-monetary reward (flowers)
-(Voice) It came as a heavy blow, but we sorted the matter out /Transition to "Us and Them": Transition of authority (to mayor) in Munchkinland, as Munchkins try to determine if witch is legally dead

(Once again, with TWoO as an allegory on the ideology wars of the Twentieth Century, the death of the witch would represent the end of the Second World War. This was a time when many countries were transitioning from monarchies, dictatorships, colonial rule etc., to governance by elected officials. As well, the voting franchise was being extended to many groups who had previously been excluded, in those countries that already had some form of democracy. Here in the movie, with the death of their tyranical overlord, Munchkinland is now ruled over by the mayor -presumably an elected official.)

Track 6: US AND THEM:

-Beginning of song: This song, whose theme deals with violence, begins as Munchkin coroner is presenting death certificate for one who died a violent death
-Sax: No bugle call for these sleepy heads, who finally awaken to moaning saxophone
-Us and them: This lyric speaks of the need to identify oneself as a member of a distinguished class, just as representatives from two Munchkin organizations are about to make presentations before Dorothy
-And after all we're only ordinary men: Midget ballerinas in pink

(1939 was the year women's liberation came to Hollywood with movies like Gone with the Wind and Ninotchka; these movies were a sharp contrast to this one with Dorothy's concluding that "there's no place like home." And after all, liberated women just wanted to be treated as "ordinary men" would. Ironic that this line is sung while three ballerinas are on the screen, given this is a type of dance dominated by women, and once frowned upon by "manly men".)

-God only knows its not what we would choose to do: Nearest Lolipop Guild Munchkin forms pistol with thumb and forefinger; takes aim at Dorothy
-Voice-over (Forward he cried from the rear /and the front rank died): Munchkins, raising arms to salute Dorothy, "From now on you'll be history . . ."

(To comprehend DSotR, one must first understand that this is the contrasting of the fairytale and the tragedy; moreover, this contrasting of the fairytale and the tragedy concerns the ultimate triumph of the fairytale over the tragedy. To fully comprehend its meaning, however, requires an understanding that each of the main characters from Oz represents one of history's or literature's most tragic heroes. Each of these tragic heroes is somewhat unrecognizable in this story, because each lives happily ever after.
Watch video: The Battle of Agincourt and Joan of Arc: Virgin Warrior
  Dorothy is the first of our four "tragic" heroes. As we will see, with each of our tragic heroes, their identity is, more or less, given in each one's theme song. Dorothy's theme song is "Over the Rainbow", with rainbow being the significant clue here. Dorothy is actually Jeanne d'Arc [Joan of Arc], while it is a common misconception that Arc is a town or village from which Joan hails. In fact, there is no such place in France. A correct translation of her name, as she would have referred to herself, would be John the Maiden. But as the English were averse to calling a woman John, and "the maiden" seemed a bit too endearing for one who had been their enemy, she became Joan of Arc in later accounts of her life.
  "Arc" seems to be a post-mortem attempt to attach a surname to one who referred to herself simply as Joan the Maiden, and who was widely known in her own time as the Maid of Orleans. Joan likely never referred to herself as "Joan of Arc", and this probably would not have been her correct surname, if she had wanted to use a surname. That leaves us with the best translation of "arc" being "arc", which, in French and English, can refer to a rainbow. In French, a rainbow is actually referred to as "arc-en-ciel" [arch in the sky]. Seeing as this was not her real name, I suppose we would also be at liberty to alter the spelling of arc to come up with "Ark", as in Noah's ark, to further reinforce her connection with rainbows. And some may not believe this, but I actually did see a rainbow, the very day I decided to research the origin of her name. In fact, I saw this rainbow the very next time I stepped out my back door.
temperance movement poster   In the above sequence, Dorothy is clearly Joan of Arc: History's most celebrated heroes include both those who conquer and those who are martyred; Joan of Arc was a conqueror, saint, liberator, and martyr [see note for same lyrics in DSotR Part II]. Glinda describes Dorothy as the Munchkins' national heroine, as is Joan to the people of France. As the Munchkins raise their hands in salute to Dorothy, for having liberated them from the witch, we hear the lyrics on the album describing a battle, in which the advancing army is being martyred, while the generals in the rear sit in safety, prodding the troops on into the slaughter. Like Dorothy, Joan was not so much a warrior as she was a morale booster for the French army.
  Like Dorothy, Joan was a young maiden, and part of her mission was to reveal the true king of France. In Joan's day, there were various contendors for the throne, and charges that the true king was an illegitimate heir. One legend holds that the king tried to test Joan by wearing a disguise, but Joan immediately saw through the deception. Compare this mission of Joan to the role Dorothy plays in exposing the wizard as a phony, and in helping Lion to become king of the forest.
  As already mentioned, each of our "tragic" heroes gets a "happily ever after" in this fairytale. But while the fairytale may overcome the tragedy, it is first necessary for sharing to overcome greed, and this is indeed what we see in TWoO: Joan, of course, was burned at the stake for heresy, but as we already know, saints are usually too busy saving others to try to save themselves, and this is exactly what happens in this story. As we will see later, the witch will try to light Scarecrow on fire, but he will be saved when Dorothy throws water on him. As the water causes the witch to melt, Dorothy inadvertently saves herself by trying to save Scarecrow.
See also St. Dorothy of Oz by Bernard Welt)

-Black . . . and blue:A green skinned wicked witch, wearing black, appears in a cloud of red smoke; camera cuts to Dorothy in blue gingham dress

(As stated in the instructions, the second half of the album syncs up better with the movie using the Second Roar method. The witch should appear right on the word "black", with a screen change to Dorothy right on "...and blue".
  Black is a color we often associate with death, while blue is a color often associated with sorrow. DSotR seems to be suggesting that one of these two women is soon going to die, while the other is destined for great sorrow. So "black and blue" is really posing this question here, in conjunction with the following lyrics [And who knows which is which and who is who?]. With the witch appearing on the word black [and wearing black], and a screen change to Dorothy in blue on "and blue", it would also seem to be giving us the answer to the riddle, but as we have seen so much irony thus far, this cannot be taken as a definitive answer as to who will be "black" and who will be "blue". We will see this theme repeated several times throughout DSotR1 and DSotR2, where we have a reference to death in the lyrics, with the camera panning back and forth between the witch and Dorothy.
  Here, with Dorothy as Joan of Arc, the wicked witch would represent Joan's accusers. It is at her trial for heresy that we see Joan's connection to England's War of the Roses. [This was a feud between the House of Lancaster, whose emblem was a red rose, and the House of York, whose emblem was a white rose.] Joan was right in the middle of what would be France's own version of the War of the Roses, with the House of Lancaster being at the heart of the conflict, both in France and England. Through her support of Charles VII, Joan came into direct conflict with the House of Lancaster. Her trial for heresy was not, by any stretch of the imagination, a fair and impartial trial. Among the judges on the tribunal was Cardinal Beaufort -a prominent member of the House of Lancaster, and influential member of the Regency Government of England. The old proverb "You reap what you sow" would certainly seem to apply to the House of Lancaster in this case. The House of Lancaster had tried to take advantage of instability in France to establish its own regency in that country. The House of Lancaster seemed destined for the regency of France and England, until this young maiden appeared, seemingly out of nowhere. The House of Lancaster would soon lose its bid for the French throne, only to be plunged into a power struggle in its native England, similar to the one that had beset France. This War of the Roses would ultimately see the House of Lancaster ousted from the English throne.
  The above sequence is the beginning of the first of two important direct confrontations between Dorothy and the Wicked Witch of the West, leading up to the final confrontation, where Dorothy is victorious over the witch. The second major confrontation occurs inside the witch's castle, once again, during the song "Us and Them", DSotR Part II. This song deals with violence as another of life's pressures that finally drives our guy on the album insane, so it is interesting that during both sequences, we see the witch threatening Dorothy with violence. For the guy in the album, time becomes his main adversary, just as the witch is Dorothy's adversary. We hear during the song "Time" that when he was young, time was his friend, but as he got older, and pressures started building, time eventually became his enemy. It is interesting that Miss Gulch first appears during the song "Time", and this is where Dorothy has a confrontation with her, which later becomes the basis for her confrontations with the witch in her dream. Dorothy's final confrontation with the witch occurs at the beginning of the song "Brain Damage". It is here that Dorothy is victorious in her struggle, while, ironically, this song represents the point where the guy on the album has lost his struggle to hang on to his sanity.)

-And who knows which is which and who is who: Dorothy: "I thought you said she was dead." Glinda: "That was her sister, the wicked witch of the east."

(As discussed earlier, TWoO can be thought of as an allegory, in which witches would represent the scholars, or, in this case, ideologies, and the ideology wars of the Twentieth Century. As far as Twentieth Century ideologies are concerned, "Who knows which is which and who is who?" was the million dollar question of the day. Of course, everybody at the time was quite sure of his or her own ideological stance, although, as is always the case, few were actually true to a pure doctrine.
  One of the biggest influences in these ideology wars was the philosophy of Marx and Engels, who are usually regarded as the fathers of Communism. To define exactly what a Communist is, according to Marx, is again the million dollar question. In a nutshell, Marx was writing about the evolution of society, or, more specifically, society's transition from a virtual caste system to a classless society. And for Marx, money was the main variable when he talked about priviliged and underpriviliged classes. He was less clear about what this classless society would look like in the end. Marx seems to have assumed that once everybody was making a fair wage, then society will have reached this Communist ideal. At its heart, it was an economic theory that didn't have a lot of sympathy for culture, religion, philosophy, or other more noble persuits.
  To the extent that no society ever really reached this Marxist ideal, we cannot say that there was a collapse of true Communism, and to the extent that many social and class barriers continue to crumble, Marxism remains a valid theory. In fact, America today is probably a better model for this natural evolution into a classless society, as Marx envisioned it, than the Soviet Union ever was. Nevertheless, in this struggle between those who want to redistribute the wealth and those who want to maintain their material advantages, we cannot really say that the Socialists are winning. Ultimately, however, I believe that it cannot prevail, and as evidence for this, one merely has to look at North Korea today.
  This, of course, is not to say that North Korea is the Communist ideal, or that every country that follows a Marxist path will end up being orgainized like North Korea. Communism wasn't so much a philosophy in its own right as it was a reaction against certain social and political realities of the Nineteenth Century. This is why N. Korea needs an enemy; if it doesn't have something to react against, then it ceases to be relevant. This vacuous ideology opened the door for the kind of leadership cult that makes men into gods, much the way the Great and Powerful Oz became a god to the citizens of Emerald City.
  And exactly what was it that Marx was reacting against? Marx was reacting against the same Capitalist greed that led Dickens to invent his character of Ebenezer Scrooge. Marx had legitimate concerns about one of the great social ills of his day, but, in the end, I think that Communism failed because of the solutions Marx was proposing. Marx was reacting against the greed of the Capitalist bourgeoisie, and the way to overcome this greed was, in effect, for the working class to become more greedy. The lesson we see in TWoO is that sharing overcomes greed; we see this lesson when Dorothy kills the witch, while trying to save Scarecrow.
  While the world is no longer under the constant threat of a global nuclear war, as we were in the days of the Cold War, one of the more negative legacies of these ideology wars is a political system that has an unhealthy obsession with money and economic issues. Rather than freeing the masses from the endless bump and grind of trying to eke out an existence, the ideology wars created a mentality where gaining an economic advantage was all that mattered. And certainly some great strides were made in eliminating the unfair labor practices of Marx' century, but the material advantages gained in the last century perhaps have come at a much greater cost. All the emphasis on money and economics has allowed the social fabric of society to become unraveled. Drug and alcohol abuse, prostitution, suicide, crime and violence are just a few of the symptoms of a society that has lost its moral bearings.
  That the ideology wars of the last century never really ended, or to put it more correctly, never reached a successful conclusion, is evident from the class struggle that continues to dominate Twenty-First Century politics. As to whether it ever will reach a successful conclusion, that depends on people accepting the simple wisdom of fairytales, rather than the complex social and political arrangements offered by ideology. When Dorothy had to choose between the life of Toto and the ruby slippers, she didn't have to think twice about it. The ruby slippers could represent something very valuable in this example, but no matter how valuable Dorothy might have thought they were, she instinctively just knew that some things are more important than gold, silver, diamonds or rubies.)

-Up . . . and down: Witch with arms raised on "up"; lowers arms, descends stairs on "down"
-And in the end it's only 'round and 'round and 'round: Dorothy pivots on ruby slippers /Munchkins (in background) lying on ground

(Later in the movie, just before she's destroyed, the witch will reference the children's nursery rhyme "Ring Around the Rosie", after chasing Dorothy around in circles (See "Brain Damage" DSotR pt. II). As children sing the rhyme, they join hands and dance around in a circle to the lines ring around the rosie. They fall to the ground as the line we all fall down is sung. There are two references to death in "Us and Them" and each time, the Munchkins are singing and dancing. When the line 'round and 'round and 'round is sung here, the Munchkins have all fainted and are lying flat on the ground, while witch is going around in circles between Dorothy and dead sister. This could be another example of foreshadowing. Later, in Part II, these same lines are repeated as the witch's hourglass is counting down, drawing a comparison to sand falling in an hourglass to the hands of a clock moving around in circles.)

-Haven't you heard it's a battle of words /The poster bearer cried: Bad witch, pointing at Glinda, exchanging words with good witch

(Again, with TWoO as an allegory about the ideology wars of the Twentieth Century, and Dorothy as Joan of Arc, we can see the significance of the above lryics. Right here, we see Dorothy getting caught in the middle of a certain animosity that seems to have existed between these two witches, before Dorothy had come along, just as our poster bearer got caught in the middle of these ideology wars. The poster bearer, here, could represent anyone working in the media, which played an important role, both in official state propaganda and in the free press, for winning the hearts and minds of the general public. Contrast to the role of Joan of Arc, who normally served as a standard bearer, but who became the focus of the war between the French and the English.
  Another thing to note is the timing of Dorothy's arrival in movie theatres in relation to these ideology wars. TWoO was released in 1939, just before the outbreak of WWII, and less than one year before the German invasion of France. Joan of Arc was born around 1412, just a few years before the English invasion of France. Note that in both wars, northern France was occupied by a foreign power, while a weakened and disheartened south seemed resigned to defeat.
  Another thing to note is the significance of the other persons represented in this story in relation to the time period when this movie appeared. Glinda, as already explained, is Socrates, as we note that the above lyric is heard as this good witch and the bad witch are exchanging words. The ideology wars, of course, are a time of severe censorship of thoughts and ideas, and like Socrates, many would be executed for expressing the "wrong" opinions. Scarecrow, whom we'll meet later, is Lincoln, and this is significant as relating to the Holocaust. As in Lincoln's day, an entire race had been stripped of its basic human rights, because they had been regarded as "sub-human". The next friend Dorothy meets will be the Tin Man, who seems to represent Romeo. Romeo is significant here, because when he and Juliet killed themselves, their two families swore that this should not be allowed to happen again. Similarly, with the conclusion of WWII, there came a deep conviction that something very tragic had happened, and that this should never be allowed to happen again.
  Perhaps most significant of the persons we see represented here would be Jesus, represented by Lion, the last companion whom Dorothy will meet. If Lion represents Christ, then this allegory, as much as it is about the ideology wars, concerns the coming of anti-christ. This anti-christ finds its manifestation in the "God is dead" movement, or more generally, a belief, based on scientific evidence, that there is no life after death. To better appreciate what the God is dead movement was all about, it is perhaps best understood in relation to certain scientific enquiries carried out on the paranormal during the previous century. Among the most significant of paranormal activity to be investigated included the claimed sightings of so-called ghosts. Far from the amateur "ghost-busters" we might see on today's reality TV shows, these were controlled experiments conducted under very rigid circumstances, by organizations such as the SPR [Society for Psychical Research]. And unlike our ghost-busters from reality TV, these investigations often produced rather startling evidence. Far from being able to dismiss all these alleged hauntings, the conclusion reached by many of these investigators was that some, but not all hauntings, could be explained by trickery, natural phenomena, halucinations etc. For the small percentage that had no natural explanation, it left them with the inescapable conclusion that ghosts, whatever they are, are "real". However, this did not constitute irrefutable proof of life after death. As more and more research seemed to suggest that hauntings were a genuine phenomenon, pressure grew to come up with a theory as to what exactly a ghost is. As most of the alleged hauntings seemed to lack any intelligence by the entity responsible for the haunting, speculation grew that ghosts were not actually alive. Ghosts came to be compared in various theories to a radio signal emitted by a living being near the end of its life that could persist perhaps for centuries, of which certain sensitive individuals are capable of receiving. [For more on alleged hauntings, their investigation and research, and theories on ghosts, see The Mammoth Book of True Hauntings Peter Haining.]
  The fact that ghosts were now being explained as a kind of recording of lives that once existed tended to undermine long held beliefs that these were the extant spirits of persons who had moved on to another plane of existence. These paranormal investigators weren't necessarily trying to disprove the existence of God; nevertheless, science now had an explanation, or at least a theory, for the appearance of ghosts, which did not rely on the existence of an afterlife. The new "science" behind ghosts was particularly troubling for Christians, whose whole belief system is built around the conviction of its early followers, who claimed to have communicated with Jesus after his crucifixion. This then is the anti-christ. This much anticipated one who will lead humanity into a great deception is not an individual; rather, this anti-christ is the conviction that there will be no reckoning for what one does in this life. With no reward, or punishment, in the afterlife, one would naturally focus all one's energies on those rewards to be had in the present life, however justly or unjustly these might be obtained.)

-Listen son, said the man with the gun/ There's room for you inside: Witch, now pointing at Dorothy, warns Dorothy to stay out of her way

(When Baum published The Wonderful Wizard of Oz in 1900, it was not unusual for a fairytale to feature a girl as the hero of the story. [See Hansel and Gretel] However, by 1939, when the film was released, the general formula for the fairytale had evolved into one in which the female would sit back helplessly and wait to be rescued by the hero -usually some handsome fellow, who ended up marrying this damsel in distress. In the film version of this story, we see Dorothy as a peculiar mix of the older type heroine, as Baum imagined her, and the damsel in distress Twentieth Century movie-goers had come to expect.
  In the above sequence, there is an interesting contrast here as Dorothy is being told for the third time in a short period to keep out of other people's way, contrasted against a line where a son (a boy) is being told that there is room for him. Also ironic is that Hunk, who earlier had told Dorothy to keep out of Miss Gulch's way, becomes scarecrow in Dorothy's dream. Later, when he, along with Dorothy and the others, go after the witch in her castle, it is scarecrow who brings a handgun along.)

-I mean, they're not gonna kill you ...(faint): (Witch vanishes) Glinda: "It's alright ... she's gone ... you can get up."

(As an allegory on the ideology wars of the Twentieth Century, we see the significance of the witch vanishing in a mushroom-like ball of fire and smoke. The death of the Witch of the East would represent the end of WWII. The Witch of the West would represent the Cold War, and the fear of global nuclear war, as the doomsday prophets were all predicting that this was what would inevitably happen. When the people begin to believe these dire predictions, they can sometimes turn into self-fulfilling prophecies. Glinda, who represents the Socratic philosopher, attempts to restore balance, by reminding the people that they must go on with their lives. Note that this movie was filmed a full six years before the world had even seen the first mushroom cloud of an atomic bomb.)

-Music builds: Dorothy working up courage to begin long journey by herself.

(Contrast this sequence to the sequence in Part II, during this same crescendo. Here, we see a young girl who is a bit apprehensive about heading out on a long journey, in a strange land, to meet a very mysterious man, all by herself, while an evil witch has already threatened her. With a little reassurance from Glinda, Dorothy gains the confidence she needs to undertake this journey. In Part II, we see Cowardly Lion, who is initially quite terrified when he sees the witch's castle, from which he must rescue Dorothy. As music builds, we see Lion working up his courage, because he knows that he and the others must try to save Dorothy. Note that in each sequence, each character seems to experience a moment of doubt, immediately after the music crescendos.)

-Down . . . and out: Glinda exits in "bubble"
-It can't be helped if there's a lot of it about: Dorothy (watching Glinda disappear in bubble): "My! People come and go so quickly here!"

(As Glinda floats away in a bubble, a gang of Munchkins chases after, waving good-bye, including two of the Lolipop Guild Munchkins. The camera then shifts to Dorothy remarking about how quickly people in the Land of Oz come and go. Ironically, some of the Munchkins we just saw chasing after Glinda are now standing behind Dorothy, who then giggle at Dorothy's perplexity, like children playing a joke on an unsuspecting adult. See also note at end of song)

-Out of the way, it's a busy day /I've got things on my mind: Dorothy begins journey down Yellow Brick Road skipping, followed by Munchkins, who must squeeze past Dorothy's house

(Recall lyrics from "Time" "You are young and life is long and there is time to kill today" sung just as Dorothy was deciding that she needed to run away. The irony, of course, is that with a sour-faced Miss Gulch still on the loose, Dorothy did not have any time to lose. As we hear this line, about a person hurrying, we see Dorothy beginning the long winding road that is supposedly and eventually going to lead her back to Kansas. The irony here is that as Dorothy begins the journey back home, she skips along like a carefree youth, with no appreciation of the concept of time. She follows the road perfectly, never stopping to ask if she might get home sooner, if she just started making a few short-cuts across the spiraling Yellow Brick Road.)

-For want of the price of tea and a slice /The old man died: Dorothy waving good-bye

(Dorothy is "off to see the wizard" to beg him for some favors. Recall old proverb "If wishes were horses, beggars would ride." This old proverb suggests that beggars would be rich in a world where acquiring wealth were as simple as wishing it so. Here, Dorothy is a poor beggar, who must walk, in a land where wooden saw horses become real horses, and where people come and go in a puff of smoke.)

Track 7: ANY COLOUR YOU LIKE:

-Beginning of song: Scene switches from Munchkinland to cornfield where Dorothy meets scarecrow.

Stovepipe hat worn by cabbie in Wizard of Oz similar to President Lincoln's (This song's title finds its origin with the old Henry Ford saying, "Any color you like, as long as it's black." [A reference to the early days of motoring and the Model T Ford, when the first mass produced car was offered in one color only.] And thus, the song is really about lack of choice, as opposed to an abundance of options, which a surface reading of the title suggests. In the DSOTM-2001 sync, it is during this song that Dave finds himself in the pod, locked out of the main ship, by the mad computer, HAL. To regain entry into the ship, Dave must execute an extremely risky maneuver. Although to attempt such a risky procedure, under ordinary circumstances, would normally be indicative of madness, under the circumstances, Dave has no other alternative. If Floyd really did sync DSotM to 2001, then this sequence would seem to suggest that what looks like mad behavior to most may not, in fact, be driven by a defect in brain functioning; rather, it is more than likely that the irrational behavior is driven, in part, by desperation.
  As we will see in a moment, Scarecrow is our symbol for Lincoln, but this reference to Henry Ford, and the role he played in the ideology wars of the Twentieth Century serves as an interesting contrast to Lincoln. While much is made of Ford's ties with Hitler, Ford probably did as much on his own as any of these Twentieth Century ideologies in transforming society. Ford's vision of every American household having its own family car probably did more to change America from a mainly rural to an urban society than any ideology.
  And while Ford envisioned the automobile as liberating people, the resulting urban society and its concomitant automobile culture had, in reality, imprisoned humanity, much the way that an animal bred in captivity has no way of surviving on its own. Contrast Ford's Model T, and its black only policy, with the horse of a different color, which we see in the movie, pulling a carriage once owned by Lincoln. The American cowboy, or better still, the American Indian riding horseback was the true ideal of freedom, before people stopped breeding horses and started buying cars. The transportation system of Lincoln's day, based on sails and rails, moved large volumes of goods efficiently and economically. The transformation to a road transport system, begun by Ford and subsidized by government, would see the dismantling of the highly efficient rails and sails networks, while replacing it with this highly inefficient system, which now requires a huge expenditure of energy just to move a small quantity of goods. Moreover, the privately owned rails and sails networks of the past ensured that goods were delivered reasonably close to consumers. With the modern public transportation system, retailers tend towards large central distribution outlets, forcing millions of consumers to travel hundreds of miles to get the products they need. In effect, these goods spend a good part of their journey from factory to households, travelling in the trunks of family automobiles -the most inefficient of all the various delivery systems for goods. The savings for retailers with these large distribution centers is more than lost with the long distances consumers must travel, the resulting traffic congestion, and huge strain placed on the public transportation infrastructure. It's a system that eventually falls victim to its own complexity: See Is the Demise of Civilization Inevitable?
  Victor Fleming also directed Gone with the Wind the same year he did The Wizard of Oz [see note for when album goes silent at end of Part II]. Recall that the witch of the west first appeared during the song "Us and Them" at the line Black and blue, and that the witch has green skin, as do all the Winkys, who are the witch's slaves. Near the end of "Any Color You Like", during the transition to "Brain Damage", Dorothy compares scarecrow to Lincoln -the American Civil War president who led the United States in the abolition of slavery, and who had his brains blown out, after finally winning freedom for American blacks.
  During this song, Dorothy comes to a fork in the road, while Scarecrow offers her contradictory suggestions about which way to go. Lincoln was the great leader who often dallied in indecision, but who could take charge at a moment of crisis -much like Scarecrow in TWoO. And like Scarecrow, Lincoln came along when a nation had come to a "fork in the road".
Later, when our pilgrims enter Emerald City, they are greeted by a cabbie with a carriage drawn by the "horse of a different color". The cabbie explains that this animal is a one of a kind, suggesting that a horse of a different color is highly prized for its uniqueness, whereas a person of a different color is often ostracized for being different. The carriage, now housed at the Judy Garland Museum, was owned by Lincoln during the Civil War. Slavery ended in the US with the assassination of Lincoln; slavery for the Winkys ends with Dorothy saving Scarecrow from the witch killing him. [The witch probably targeted Scarecrow here, because Scarecrow had assumed a leadership role during this rescue attempt, once again, drawing a comparison between him and Lincoln, who was targeted as the leader of the abolitionists.]
Lincoln is also the subject of another famous example of synchronicity: the Lincoln-Kennedy Parallel, while Judy Garland [Dorothy] would later become a good friend of President Kennedy.)

Track 8: BRAIN DAMAGE:

-Beginning of song: Scarecrow, performing "If I Only Had a Brain", points to his head
-The lunatic is on the grass: Scarecrow grinning like a lunatic, while dancing. On repeat of lyric, hay-filled Scarecrow makes soft landing on hard pavement, right on word "grass"
-Got to keep the loonies on the path: Dorothy and scarecrow sitting on Yellow Brick Road; Dorothy begins to tell scarecrow about the wizard

(Loonies [lunatics] were once thought to be affected by the phases of the moon, and were said to go crazy at a full moon. The cycle of the moon is divided into four phases, and in this song, we have the lunatics first "on the grass", then "in the hall", then "in my hall", and finally, "in my head", while scarecrow starts his journey "on the grass" and ends up inside the control room of the wizard's talking head, where he seems to go into a state of rapture. Mental illness is said to be a disorder; nevertheless, the regular cycle of the moon brought a semblance of order to the loonie's disordered life. One of the themes of DSotM is how the stress of modern living can lead to mental disorder. In DSotR Part 2, as scarecrow finally gets his "brain" from the wizard, he goes into a state of rapture, just as the song "Eclipse" begins (see Eclipse DSotR Pt 2). As a solar eclipse always coincides with the new moon, scarecrow's going into ecstasy as the song "Eclipse" begins symbolizes one of the many disorders associated with the modern lifestyle. It suggests how one of the stresses of modern living, electric light-bulbs, created unnatural rhythyms for those who once took comfort in the natural rhythyms of heavenly bodies. Watch video: NASA Tour of the Moon)

-And if your head explodes with dark forebodings too: Dorothy tells scarecrow that she'll take him to see the wizard;scarecrow jumps for joy

(Scarecrow is our symbol for Mr. Lincoln, while Lincoln is said to have had dark forebodings of his own assassination. These premonintions included a dream, shortly before his death, in which he wandered from room to room in the White House, searching for the source of some sobbing and weeping. He finally entered a room where a corpse was laid out, and when he asked one of the soldiers stationed beside the corpse who was dead, the soldier replied: "The president . . . he was assassinated." Lincoln allegedly not only knew that he would die in office, but knew that he would be killed during his second term.
  Note the use of the above metaphor: "If your head explodes with dark forebodings ..." as it would apply to Lincoln: Lincoln, who had dark forebodings of his own death, was shot in the head at point blank range. Also, contrast the lyrics to Scarecrow's reaction in the movie, as the lyrics are being sung: Scarecrow jumps for joy. Contrast this to Lincoln's calm demeanor in the face adversity: Despite Lincoln's premonitions of his own assassination, he seemed resigned to his fate, and stoically fulfilled the duties of his office. Also note the irony in the fact that Lincoln was killed on "Good Friday", as we see Scarecrow jump for joy as these lyrics are heard.)

-I'll see you on the dark side of the moon: Dorothy singing "We're Off to See the Wizard" as she and scarecrow start journey down Yellow Brick Road together.

(The dark side of the moon is the side that faces the earth during a new moon, and during a solar eclipse -see "Eclipse" DSotR Part II. Once again, with Scarecrow as Mr. Lincoln, the phases of the moon would be significant for a couple of reasons: Lincoln was killed on Good Friday, while the date of Good Friday/ Easter is determined by the Lunar Calendar. The celebration of Easter follows the full moon, so Lincoln was actually killed shortly after the full moon. The irony of this relates to an event in Lincoln's career as a lawyer, in which he defended a man accused of murder. The witness for the prosecution claimed he saw, from a distance, the accused assail his victim by the light of the full moon. Lincoln won an acquittal for his client by showing the jury, using a moon phase table, that the victim was killed by the dark of the moon, and thus the witness would not have been able to see anything at the distance he claimed, in the pitch-dark of the night in question. The incident is related at 1.25.00 in the movie Young Mr. Lincoln, released the same year as The Wizard of Oz.
  Once again, with the TWoO as an allegory on the ideology wars of the Twentieth Century, our pilgrims' reaching Emerald City would correspond to the manned missions to the bright side of the Moon, which began in 1968. So with Dorothy and Scarecrow singing "We're off to see the Wizard" just as we hear the lyrics "I'll see you on the dark side of the moon", DSotR is putting an ominous spin on this great technological marvel.)

-You shout and no one seems to hear: Apple tree scolding Dorothy for picking his apples; actors and film crew apparently oblivious to "hanging Munchkin" in background

(Urban legend has it that a broken-hearted Munchkin hanged himself during production, and the tragic aftermath was inadvertently captured on film, going unnoticed by the camera crew and other actors on the set. When asked where this alleged hanging Munchkin is, most point to a bird spreading its wings in the background, as Dorothy, Tin Man and Scarecrow are skipping down the Yellow Brick Road, past tin man's cabin. This bird, however, was alleged to have been inserted into the film afterwards, by MGM, to mask a Munchkin hanging from a tree in the background. There is even a Youtube video of the sequence without the bird in it, clearly showing a guy hanging from the unobscured tree. The hanging Munchkin video, however, is the work of a hoaxer. Another Youtube video, by fallentwig, compares the two, and shows the one with the hanging Munchkin to be the obvious forgery. And thus, through slovenliness, our hoaxer has "hung himself or herself." Some will argue that the hanging Munchkin video is real, because they bought VHS copies of the movie with this hanging Munckin in it, back in the 1980s. As fallentwig explains, these VHS tapes were actually pirated copies of the movie.
  A more likely source of this very old urban legend is that when this film began airing in the early days of television, in the days of rabbit ears and ghost signals, any number of the trees seen in the background with drooping branches may have looked like they had a figure hanging from them. One such tree is seen in this sequence, as Dorothy and Scarecrow are quarreling with the talking tree. A small, shadowy figure can be seen when the camera shifts angles to show a second talking tree. In between the two talking trees is another apple tree in the background, with drooping branches that look like something hanging from the tree.)

-And if the band you're in starts playing different tunes/ I'll see you on the dark side of the moon: Scarecrow suggests the tree's apples might have worms

(Later, in Part II, the above lyrics are sung while Dorothy is discovering that the wizard is a phony, while she says to the wizard: "You're a very bad man!" In this sequence, Scarecrow suggests that the apples might have worms, symbolizing the fact that some things which look quite enticing on the surface really conceal an inner rot. All this is contrasted against Dorothy and Scarecrow's beginning their hopeful journey to see a great phony, while singing, "We're off to see the wizard . . ." all set against PF singing, "I'll see you on the dark side of the moon . . ." Compare this sequence to the Creation Story from Genesis, which tells of man and woman stealing forbidden fruit from the Tree of Knowledge, with the fruit not turning out to be what they had expected, contrasted here against Dorothy and Scarecrow's stealing fruit from a knowlegdeable tree, and Scarecrow suggesting that the fruit may not be as good as it appears.)

-Laughter: Dorothy discovering a rather peculiar looking fellow (tin man)
-I think it's marvelous [faint]: Dorothy, awestruck, drops apple; apple marvelously reappears in her other hand

(The Marvelous Land of Oz was Baum's follow-up to The Wonderful Wizard of Oz. This follow-up novel featured a magic powder capable of bringing inanimate objects to life. One of the objects brought to life included a wooden sawhorse used to make a horse. In this scene, tin man resembles a statue, while he stands paralyzed with rust. As Dorothy marvels at this tin man, she doesn't yet realize that this "statue" is actually alive. Note that tin man is really Hickory, whom we earlier saw boasting that someday a statue would be erected to him. Note also that behind tin man's cabin is a wooden sawhorse [visible when Tin Man finishes "If I Only Had a Heart"], which, with its rounded lumber, almost resembles the body of some four-legged beast.)

Track 9: ECLIPSE:

-All that you save: Dorothy oiling a badly seized-up tin man
-Voice-over (All that you buy /Beg, borrow or steal): Tin Man speaking

(As noted near the end of Part II, TWoO was the first of two classic films directed by Fleming in 1939; the other being GwtW [Gone with the Wind]. Playing DSotM over TWoO divides the movie into two parts, and thus serves as an interesting contrast to GwtW. The first part of GwtW ends with the somewhat heartless Scarlett vowing before God to be totally ruthless in getting what she wants: "If I have to lie, steal, cheat, or kill, as God as my witness, I'll never be hungry again." Here, at the end of DSotR1, we see a literally heartless Tin Man lamenting his hollow interior. In contrast to the heartless Scarlett, who does become totally ruthless, Tin Man is implying that he would do anything to gain a heart.
A second comparison can be made between Tin Man and HAL, from 2001. As stated earlier, Floyd may have actually synced DSotM to 2001, while Oz is all just "coincidence". When DSotM is synced to 2001, as the song "Eclipse" starts, Dave is in the process of shutting down HAL, the "heartless" computer. This computer was designed to be incapable of error. An oversight of its builders is that they had designed a machine that was without a conscience, and hence, it had to be shut down. Note also that Dave does not destroy HAL, but is putting him into a state of hibernation, while Tin Man is being rescued from a state of hibernation, as this song plays, in the Oz sync.)

-And everything under the sun is in tune: Dorothy standing in front of tin man's cabin

(Curtains in tin man's cabin match Dorothy's gingham dress. [More noticeable later when witch appears on rooftop] Ironically, both curtains and articles of clothing are used to block the passage of light.)

-But the sun is eclipsed by the moon.: Curtains in tin man's cabin are closed

(Contrast to scene during "Breathe in the Air", when we had Dorothy balanced on the pigpen starting to sway. The first song was about balance and life; last song is about death and disorder. Ironically, we saw Dorothy losing her balance in earlier song, just as we see her now "in tune" during this song about a state of disorder. This state of disorder is implied: that which is not under the sun, of course, is presumed to be not in tune. This assumption is further evidenced by the heart beat sound contrasted against Tin Man's hollow interior. Once again, this suggests that what is happening on the album is the exact opposite of what is happening in the movie.
Recall, as well, that in the reprise of "Breathe in the Air", Dorothy was similarly out of step with what was happening on the album. In this reprise, we heard the lyrics describing how good it is to be home, after a long journey, just as Dorothy was reaching the apex of her flight away from home. Then, as we heard the line about the faithful getting down on their knees, we saw Dorothy jump to her feet. Recall that in "Breathe in the Air" this "balance" was depicted by a series of contradictory statements: "Long you live" vs. "You race towards an early grave" etc. And so Dorothy's being out of step with the album is really about providing balance. In effect, this balance which Dorothy provides gives us one of our main themes, of how the fairytale overcomes the tragedy.
Fairytales end with "happily ever after", while the tragedy ends with death. DSotR [Parts I & II] appropriately ends with the contrasting of the fairytale and the tragedy. Again, comparing TWoO and 2001, we see HAL being shut down during this song, while in TWoO, Tin Man is being "resurrected" from the dead, at this song "Eclipse". [See note at end of Part II, where Tin Man puts his new heart to his ear, as the album's heartbeat goes silent.]
In the TV mini-series Tin Man, the evil witch tried to freeze the motion of the heavenly bodies, so as to lock Oz under a permanent eclipse. The famous fairytale ending, in which the characters all live happily ever after, suggests an existence of unending bliss. DSotM ends with what sounds like an unending night; moreover, this state of endless night is a state of disorder, as only that which is under the sun is ordered. The great irony here is that Dorothy and Scarecrow are freeing Tin Man from this existence where time has stopped at a moment of supreme darkness, just as we hear these final tragic lyrics of the album. See also note in Part II for these same lyrics.)

-Heartbeat (faint): Dorothy raps on tin man's hollow chest to learn he has no heart (see above note)
-There is no dark side of the moon really: Tin Man shaking his head


Intermission:

Tin Man does "If I Only Had A Brain" sequence; others invite Tin Man to come with them to see wizard to get a heart; witch appears with a warning; then the famous "lions, tigers and bears" sequence

(You can go straight to Part II, once this intermission begins, or you can just continue to watch, with the volume still muted, or turned up. For those who would prefer a music track for this intermission, I have a couple of suggestions. Christopher Graham has suggested Nirvana's "Heart-Shaped Box". Chris says: "The best place to start it is right after the Tinman finishes saying "I hear a beat... how sweet" during his "If I Only Had a Heart" ... This produces a couple good tempo matches and also changes moods along with the changes in the movie ... The song also continues some of the themes during the rest of the movie, as whimsical fantasy clashes ironically with tragic music."
  Myself, I am going to suggest "American Pie" by Don McLean, as an alternative score for this intermission, simply because it is more consistent with the allegory I've been developing around DSotR, as the contrasting of the fairytale and the tragedy. This song relates one of the more tragic events in the history of Rock music. It describes Buddy Holly, Ritchie Valens and the Big Bopper as the "father, son and holy ghost" of Rock & Roll. The song begins with McLean as a paperboy back in 1959, when he gets news of the death of this trinity, after a fatal plane crash. McLean is making a play on the "God is Dead" movement, with this reference to the death the "holy trinity of Rock & Roll", and the direction Rock music took after the deaths of these music pioneers. McLean is obviously not a Space Rock fan ... There we were all in one place /The generation lost in space ..., and he also seems to be laying claim to Rock & Roll as an American genre of music ... Bye bye Miss American pie ... so it may be a bit ironic playing this song alongside Pink Floyd. Nevertheless, it worked so well with my allegory and everything, I could almost swear it was synchronicity. In my allegory, Tin Man would represent a certain scientific mind-set, which became dismissive of things for which science had no explanation, and it is this scientific mind-set that is closely associated with the God is Dead movement.
  Since McLean's song is a bit longer than this intermission, you'll have to back the movie up a bit. First, open a second tab in your browser, and then paste the address from this link: The Wizard of Oz in the address bar. Skip ahead about 40 minutes, and then pause the movie at 40 min. 40 sec. Leave this tab open, but go back to your original tab, and open this link on Youtube: Don McLean's American Pie. There should be an advertisement before the song starts, but this will give you time to finish setting up. Again, leave this tab open, but go back to the tab where the movie is running. As soon as you hear the song start, unpause the movie, and you should be able to watch this part of the movie, with "American Pie" coming in over your sound system.)

Proceed to Annotated List: Dark Side of the Rainbow Part II

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