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Pink Floyd Exposed An Intertextual Dark Side To Dorothy And Oz

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The critic examines intertextuality and the impact of futuristic melodic design on at least one act of classic creation.

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By Julie D. Griffin

If you start the Pink Floyd Dark Side Of The Moon album after the third roar of the MGM lion, a city of literary analogy on the streetwise side shows up with image after image. Ending with the heartbeat of the tin man, which of course many note as the final stanza of the record, coldness such as no reality ever haunts the soul. Taste and see the theory regarding the urban legend which seems to reverberate. However a mysterious band may had made a mark on American history like this, The Wizard Of Oz 1939 film and everyone who wants to try to do the feat finds that every rumor and every fact only seems to co-exist to determine the other. And then, even as Kant much explored in his .42 critique of Pure Reason, as if to even agree with William Wordsworth that the world is too much with us. But then again, even as practical reason would have it, "The distinction between the doctrine of happiness and the doctrine of morality, in the former of which empirical principles constitute the entire foundation, while in the second they do not form the smallest part of it, is the first and most important office of the Analytic of pure practical reason."

Therefore, the syntactic mood of transference between the determination of a more intertextuality or a softer gear toward illusion, the critic must overtly examine, and even while to endure the higher flight of demure. Are these merely echoes of an earlier work or does the musical author at the level of a more thinking Pink Floyd want our audience to sample a path which may actually exercise the brain to even begin the journey to a more subtle pathway of thought eros. Hard to tell at times now and even then. To aim at a more easily understood model of allusion, or even just a plain adaptation for of course the purpose of the critique of the model as art form lends a challenge since the author poets of the task are either unaware of the effort or did purposeful create a trompe l'oeil.

Each and every note of the songs on that golden disc of collector edition of the Pink Floyd album, often noted as the dark side of Oz, match almost near exact incidents which happen at each pivotal point of the Oz film. Several examples to a large extent seem more exact and planned than mystification of phenomenon. The most common ride on the wave of Dorothy as she falls off of the farm fence. As if pushed off though and still the lyrics indicate that her whole life existence up until that point for some analogy of thought, she balanced on the biggest wave. Of course, the synthesis of the hospital security alarm bells ringing indicate a black and wicked witch riding her bicycle toward the town. The good witch who strangely enough, the hyphen falls upon the lyrics, "Don't give me that do-goody-good bullshit," alarmed at this time that the hurricane raptured home of Dorothy and her little black Toto had just smashed the original bad witch, and of course other innuendo point to the crop change of the color of the film, whose second historical life translates the factual monetary increase after the absence of black and white cinematography. Perhaps the proposition of the study of more discourse of Pink Floyd may lay alit and does more theoretical meaning than opened up here as a can of worms whose scent likely to attract more fish than once known.

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