To feel the warm thrill of confusion, that space cadet glow.
Tell me, is something eluding you, sunshine?
Is this not what you expected to see?
If you wanna find out what's behind these cold eyes,
You'll just have to claw your way through this disguise!"
The Wall is the eleventh studio album by Pink Floyd, released in 1979. It is their last studio album to feature Richard Wright, who was fired during the making of this album. He was to return officially by The Division Bell. The theme of this album is similar to the one found in the band's earlier work The Dark Side of the Moon as it involved descent into insanity.
The Wall follows a narrative about fictional rock star "Pink" and his rise and fall, which are caused by his deliberate isolation and his distancing himself from reality and human interaction. The character of "Pink" is based on both Roger Waters and Syd Barrett.
The Wall was heavily inspired by the Real Life trials and tribulations of bassist and then-leader Roger Waters, who came up with the idea for the album after the last concert at Montreal, Canada's Olympic Stadium during the 1977 In the Flesh tour in support of the band's album Animals. During the concert he spat in the face of an unruly fan who was climbing the fence between the crowd and the band. The fan was overjoyed to be spat on. This event caused Waters to realise that he was starting to distance himself from others and that this "wall" was turning him into a cold and destructive person, and he jokingly suggested that the band build a wall between themselves and the fans.
The band's tour promoting the album featured giant puppets, Deranged Animation by political cartoonist Gerald Scarfe and most notably, a giant wall of cardboard bricks that was constructed between the musicians and the audience during the course of the first half of the show; a live album of their two performances at Earl's Court, titled Is There Anybody Out There? The Wall Live 1980–81, was released in 2000. While the stage show did manage to attract a quite sizable audience, it was so expensive and cost so much to put together that the tour only had 31 shows in four different cities (London, New York, Dortmund and Los Angeles); a revival tour by Roger Waters in 2010/2011 is still the most expensive concert tour of all time. A special one-off performance was staged in Berlin in 1990, on the no man's land space between Potsdamer Platz and the Brandenburg Gate, to commemorate the fall of the Berlin Wall.
The album was later adapted into a 1982 feature film entitled Pink Floyd – The Wall, directed by Alan Parker and featuring Irish musician Bob Geldof as Pink. It set the music and story of Pink to horrific scenes that shifted from live-action to the aforementioned animation by Scarfe. Most memorable were the animated scenes of marching hammers and nightmarish blitz-era London, as well as the film's stunning climax. Scarfe drew upon his bedridden childhood to come up with the grotesque imagery featured prominently in the concerts and film.
The album and movie share the same story, albeit with a few minor differences. The first half of the movie and album introduce us to Pink and his insanely crap-tastic childhood. Events and circumstances in his childhood life—an overbearing/overprotective mum, a father who died in World War II, and authoritarian teachers—cause him to shun human interaction because he's afraid he'll be hurt, every incident that causes him pain serving as just another brick in the "wall" that he is constructing between himself and the outside world. As an adult, Pink becomes a super-famous rock star and fills the "empty spaces" of his wall with the typical vices of the rich and famous: Sex, Drugs and Rock & Roll.
With us so far? Right.
After Pink finds out that his wife cheated on him, he trashes his hotel room and scares away a groupie before he finally snaps and completes his wall, shutting himself out entirely, and the album and movie take us inside the mind of Pink for the second half. After being revived from a drug coma and forcefully shot up with even more drugs by his managers to get him on-stage, he imagines that he has become the very same force that started his wall—Fascists (okay, "hammer army")—and begins to order the audience to hate on various minority groups. Eventually, he retreats further into his mind during a moment of brief clarity. Wondering if he's "been guilty all along," Pink puts himself on trial with a literal giant arse as judge and warped visions of his childhood fears as jury, and forces himself to tear down his wall as a result.
Also available for your perusal, brave hunter, is this expertly-written analysis that is so in-depth it's scary.
- "In The Flesh?" (3:16)
- "The Thin Ice" (2:27)
- "Another Brick in the Wall (Part 1)" (3:21)
- "The Happiest Days of Our Lives" (1:46)
- "Another Brick in the Wall (Part 2)" (3:59)
- "Mother" (5:32)
- "Goodbye Blue Sky" (2:45)
- "Empty Spaces" (2:10) note
- "Young Lust" (3:25)
- "One of My Turns" (3:41)
- "Don't Leave Me Now" (4:08)
- "Another Brick in the Wall (Part 3)" (1:48)
- "Goodbye Cruel World" (0:48)
- "Hey You" (4:40) note
- "Is There Anybody Out There?" (2:44)
- "Nobody Home" (3:26)
- "Vera" (1:35)
- "Bring the Boys Back Home" (1:21)
- "Comfortably Numb" (6:23)
- "The Show Must Go On" (1:36) note
- "In the Flesh" (4:15)
- "Run Like Hell" (4:20)
- "Waiting for the Worms" (4:04)
- "Stop" (0:30)
- "The Trial" (5:13)
- "Outside the Wall" (1:41)
- David Gilmour – guitar, backing and lead vocals, bass, synthesizer, clavinet, rototom, cymbal, mandolin
- Nick Mason – drums, percussion, bass drum, cymbal, guitar
- Roger Waters – lead vocals, bass, guitar, VCS3, synthesizer, clarinet
- Richard Wright – keyboard, synthesizer, vocals, organ, piano, clavinet, bass pedals, accordion
So ya thought ya might like to go to the tropes:
- Advancing Wall of Doom: Played horrifically straight in the movie during the animated sequence for "Empty Spaces/What Shall We Do Now?" In the sequence, a wall of personal possessions (cars, stereos, TVs, etc.) turns into a wall of buildings, which turns into the titular white brick wall. The Wall moves across the land at frightening speed, turning flowers into barbed wire, and babies into skinhead goons. It even plows its way through a church, transforming it into a neon-lit casino that spews neon bricks.
- Album Title Drop: The wall is mentioned with that exact wording in all three parts of "Another Brick in the Wall", "Mother", "Empty Spaces"/"What Shall We Do Now", "Hey You", "In the Flesh", "The Trial", and "Outside the Wall". There is also a mention of the wall without using the wording "the wall" in "Waiting for the Worms".All in all you're just another brick in THE WALL
- All Part of the Show: At the first live performance, part of the set caught fire from the pyrotechnics.
- Aluminum Christmas Trees: If the idea of a rock star turning a concert into a neo-fascist rally sounds ridiculous, remember that Eric Clapton delivered a racist rant on-stage in Birmingham in 1976. In another parallel with Pink, he was very drunk at the time. David Bowie had also toyed with fascist imagery in the Station to Station era with his "Thin White Duke" persona, and once infamously advocated the idea of a fascist Britain during an in-character interview. There are also numerous photos of Bowie from that era where he either is or appears to be giving the Nazi salute. Bowie deeply regretted these comments and attributed them to psychosis induced by heavy cocaine use.
- American Accents: Briefly. The Doctor in "Comfortably Numb" has Roger Waters' impression of a California accent, which in combination with his delivery makes him sound uncannily like "Weird Al" Yankovic.
- Animal Motifs: The worms. Starting in "Hey You", they are, according to Waters, "symbols of negative forces within ourselves, [of] decay. The worms can only get at us because there isn't any light or whatever in our lives". The judge is a worm named Worm before he turns into a buttocks.
- Pink's wife is often associated with predatory insects, especially ones that eat their mates when they're done mating with them (i.e. mantises and scorpions).
- The "Goodbye Blue Sky" animation features a dove morphing into a predatory eagle (specifically the kind prevalent in some Nazi iconography) morphing into a bomber plane.
- Possibly unintentional, but the Prosecutor in "The Trial" looks a fair bit like a vulture, especially when he leaps onto the wall, perches on it and briefly stretches out his neck while holding out his arms like wings.
- Anti-Love Song: "Don't Leave Me Now".Remember the flowers I sent?I need you, babeTo put through the shredder in front of my friendsOoh, babe, don't leave me nowHow could you go?When you know how I need you to beat to a pulp on a Saturday night
- Appliance Defenestration: One of Pink's televisions suffers this fate during his rampage through his hotel room in "One of My Turns".
- Assimilation Academy: "The Happiest Days of Our Lives" and "Another Brick in the Wall (Part 2)"
- Audible Gleam: "Comfortably Numb"It's just a little pinprick.
- Audience Participation Song: Invoked in live performances during the "Pink's concert turns into a fascist rally" portion, to go with Roger Waters' opinion of concerts as mass hysteria. One early idea was to have Pink literally bomb his audience, who'd still cheer as they were ripped apart.Roger Waters: Are there any paranoids in the audience tonight? Is there anybody who worries about things? Pathetic! This is for all the WEAK people in the audience! Is there anyone here who's WEAK? (Audience cheers) This is for you, it's called 'Run Like Hell'!note Let's all have a CLAP! COME ON, I CAN'T HEAR YOU! PUT YOUR HANDS TOGETHER! HAVE A GOOD TIME! ENJOY YOURSELVES!!! THAT'S BETTER! AAAAAARGH!
- "Mother should I trust the government?" The audience invariably answers with a resounding "NO!"
- Author Appeal: The movie shows more of Waters' left-wing politics. Pink's wife meets the man she has an affair with at a CND rally, for example.
- Author Avatar/Composite Character: Pink is based on Roger Waters, with a bit of Syd Barrett. There's also a good amount of illustrator/animator Gerald Scarfe in there, too, particularly on "Another Brick in the Wall", "Goodbye Blue Sky", and "Comfortably Numb".
- Balcony Speech: Pink gives one in his Nazi uniform early on, serving as a metaphor about the band's relationship with their fans who saw them as godlike beings above and separated from them. At least one commentator has compared the scene to how gods are portrayed in theatre, where they sit and watch, observant of yet detached from humanity.
- Bald of Evil: When Pink transforms into his Fascist Pink persona, he shaves off all of his hair, including his eyebrows.
- Bath Suicide: The image of Pink bleeding out in his swimming pool.
- Beneath the Mask: "In the Flesh?"If you wanna find out what's behind these cold eyes, you'll just have to claw your way through this disguise.
- Big Brother Is Watching: On Waters' 2012 The Wall tour, "Mother" features visuals such as a surveillance camera and the message "Big Brother Is Watching", with the BR in "Brother" crossed out and an M painted over it to say "Big Mother Is Watching".
- Big Word Shout: Just after the chanting of the word "Hammer" drowns out Pink's megaphone amplified voice in "Waiting For The Worms" he yells out the word Stop! signalling the beginning of the song of the same name.
- Birth/Death Juxtaposition: At the end of the song "In the Flesh?" we hear an aeroplane coming down for a bombing dive, implying on the album (and showing in the movie) the death of Pink's father, and just right after, the sound of Pink crying, announcing his birth to the world at the beginning of "The Thin Ice".
- Bittersweet Ending: Pink gets rid of the mental wall he put up that was utterly destroying him after he puts himself on trial, but that doesn't change what happened for the rest of the album. He's still suffering from issues about his past, his wife left him, he destroyed a hotel room, and (if we take his word at face value) he started a Neo-Nazi revolution in Britain. It doesn't help that "Outside The Wall" doesn't explain what happened to Pink after the wall came down. In the film, a group of children can be seen picking up bricks in the street and running off with them, suggesting that they're starting to build their own walls.
- Black Comedy: Several of the lyrics show an understated, deadpan sense of humour that either provides momentary relief from or reinforces the album's depressing atmosphere, such as: "Mother do you think they'll try to break my balls?" from "Mother"; Pink gleefully recounting how the abusive teachers are thrashed "within inches of their lives" every night by their "fat and psychopathic wives" in "The Happiest Days of Our Lives"; Pink's pathetic list of possessions in "Nobody Home"; the "little pinprick" (complete with sparkly sound effect) in "Comfortably Numb"; Pink psychotically ranting about shooting his fans in "In the Flesh"; and nearly all of "The Trial" for its over-operatic nature.
- Black Shirt: One of the many aspects of fascist imagery used in "Waiting For The Worms."Waiting to put on a black shirt!
Waiting to weed out the weaklings!
Waiting to smash in their windows and kick in their doors!
- Black Widow: Pink imagines his wife as a praying mantis/dragon hybrid with flaming hair. Some fans have also noted her resemblance to Rokurokubi from Japanese mythology.
- Blatant Lies: From the newer live tours of the album, we have what seems to be the Hammers' slogan: "Everything will be okay—you can trust us."
- Blood Is Squicker in Water
- Boarding School of Horrors: "Wroo-ooong! Do it again!"
- "If you don't eat your meat, you can't have any pudding! How can you have any pudding if you don't eat your meat?"
- Body Horror: In the movie, Pink begins hallucinating that his body is rotting after being injected with drugs in the "Comfortably Numb" sequence. This also marks his transformation into Fascist Pink.
- Bookends: The first song starts with quiet music and someone saying "—we came in?", the last song ends with the same quiet music and someone saying "Isn't this where—".
- To a lesser extent, "Comfortably Numb".
- The second side of the first album starts with "Goodbye Blue Sky" and ends with "Goodbye Cruel World".
- A near case of this can be found in the third quarter of the album. It was originally supposed to start with "Is There Anybody Out There?", but this was moved to the second song because "Hey You" made more musical sense at the beginning. However "Bring The Boys Back Home" still ends with Pink asking "Is there anybody out there?"
- Breather Episode: "Young Lust" takes a temporary detour from the story of Pink's fucked up personality, and "Is There Anybody Out There?" is a mainly instrumental, melancholy piece that musically depicts Pink's isolation after he's completed his wall.
- British Accents: Throughout, naturally. However, they are used in some notable ways.
- Pink speaks with a London accent, but it varies. In "Mother", for example, it's something closer to the way Roger Waters usually talks, but in Pink's verses in "The Trial", it thickens to the point that he sounds more like Noel Fielding.
- The Schoolmaster has a very thick Scottish accent.
- Curiously, the Judge is almost invariably described as having an upper-class English accent - when in fact, even though you would expect him to, he doesn't. On the album and in the film, he speaks with something closer to a Cockney accent. You can hear it in his trailing l's ("the fuww penawlty of law") and strong syllable divisions ("ret-I-yah" as opposed to the RP pronunciation, which is closer to "ret-AHR"). However, performers other than Roger Waters have given the Judge various accents.
- British Rock Star
- B.S.O.D. Song: "Another Brick in the Wall (Part 3)" where Pink completely loses it after his wife leaves him is a pretty angry example of this, while "Stop!" is more of a guilt ridden example of such.
- Careful with That Axe: During the transition between "The Happiest Days Of Our Lives" and "Another Brick in the Wall (Part 2)", as well as after the keyboard solo in "Run Like Hell".
- Celebrity Is Overrated: The overall theme of the album.
- Central Theme: The album keeps repeating Pink's desire to just go home.
- The Chain of Harm: The teacher, being a Henpecked Husband, takes out his frustration on his pupils. Made all the more literal in the movie version of "The Trial", where when the teacher is shown whipping Pink, while his wife is shown whipping him.
- Charge-into-Combat Cut: We see the charging soldiers at the Battle of Anzio cut back and forth with a years later young Pink, whose father died in the battle.
- Cherubic Choir/Creepy Children Singing: Heard on "Another Brick in the Wall (Part 2)", "Outside the Wall" and featured in the "Craaazy" refrain from "The Trial."
- Concept Album
- Contemplating Your Hands: Appears in "Comfortably Numb" when Pink is on drugs.My hands felt just like two balloons.Now I've got that feeling once again
- The Cover Changes the Gender: Averted when Sinead O'Connor left the lyrics to "Mother" intact during Roger Waters's 1990 The Wall concert in Berlin.
- The Cover Changes the Meaning: Scissor Sisters' controversial disco version of "Comfortably Numb" changes the perspective from a man who can't get numb enough to a man who's enthralled to be numb beyond repair.
- A Crack in the Ice: "The Thin Ice":Don't be surprised if a crack in the ice
Appears under your feet
- Creator Breakdown: In-Universe, Pink has an epic one during "Another Brick In The Wall, Part III" after his wife leaves him followed by another one after "Comfortably Numb", where his journey of self-revelation is interrupted with drugs, and finally his Heel Realization during "Stop" coincides with one.
- Out of universe, the album was inspired by one that Roger Waters had, as listed at the top of the page.
- Creator Cameo: Roger Waters appears as one of the witnesses during the wedding scene in the film version of "Mother".
- Creepy Circus Music: "The Trial" opens with creepy music, that continues until the judge shows up, to show just how twisted Pink's own psyche has become and how strange and creepy the trial itself is.
- Crowd Song: "Bring The Boys Back Home".
- Crucified Hero Shot: In the film, after the scene for "One of My Turns" and going directly into "Don't Leave Me Now", Pink is in a pool stretched out like this with one of his arms bleeding.
- Darker and Edgier: The Wall is arguably Pink Floyd's overall darkest album (depending on how you score Animals and The Final Cut), with a pervasive feeling of cynicism and despair permeating throughout both the lyrics and the music itself.
- Dark Reprise: "Another Brick in the Wall (Part 1)" receives two Dark Reprises in the forms of Parts 2 and 3; whereas Part 1 is merely sad, Part 2 is angry; Part 3 marks the point where Pink snaps and enters Heroic B.S.O.D..
[television mumbling inaudibly]Pink: aaaaAAAAAAAAAAAARGH!''[crash] [crash] [crash] [crash] [crash] [crash][Beat][mumbling resumes] [CRASH]
- The second "In the Flesh" is darker than the first (titled "In the Flesh?"), in that Pink has gone fascist (or is hiding behind a fascist persona, as hinted by the singer) and is now ready to wage war against the world that made him that way. Also, in the first one, after the line, "So you thought you might like to go to the show," there is the sound of someone singing, "Do do do do." The second version replaces the vocal with an instrumental part, suggesting a lack of humanity.
- The use of sound effects in "Another Brick in the Wall (Part 3)" is quite notable to show just how far-gone Pink is. He takes out the remainder of his pent-up rage and frustration on the TV, and the crashing noises get louder and more intense.
- Daylight Horror: "Goodbye Blue Sky" references the fact that, during the Blitz, bright and clear skies were feared by British civilians since the Axis was more likely to bomb them when visibility was better.
- Demoted to Extra: Roger Waters fired Richard Wright during the recording of the album, but Wright still played on the subsequent concerts.
- Deranged Animation: And this is the same artist who designed the characters for Disney's Hercules...
- Despair Event Horizon: The first half of the album ends with Pink crossing it, with "Goodbye Cruel World", right after his Heroic B.S.O.D. in "Another Brick in the Wall (Part 3)" where he declares why he wants to go behind the wall. The rest of the album is about what happens while he's beyond the horizon.
- Destination Defenestration: In "One of My Turns", Pink "offers" to do this to the groupie, then himself, causing the groupie to run in terror.
- Disappeared Dad: Pink's father was killed in World War II, when Pink was just a child, and, thus, is absent from his life.
- Divided We Fall: Pink realises this after he seals himself off from the world, and yells the trope name word for word at the end of "Hey You".Hey you, don't tell me there's no hope at all! Together we stand, divided we fall!
- Does This Remind You of Anything?: The charge of the audience into the concert hall at the beginning of "In the Flesh?" in the movie, at least to one annotator, seemed suggestive of procreative sperm trying to reach their way into the birth canal to unite with the egg cell.
- The animation of the flowers reproducing with each other during "Empty Spaces" resembles two humans coupling. Often the shapes of the flowers turn into sex organs.
- Drone of Dread: The buzzing synthesizer drone in "Hey You" and "Is There Anybody Out There?", representing the worms.
- The Dog Bites Back: Pink's wife's segment in "The Trial". Her verbal beatdown of Pink is the most cheer-worthy moment of the song's first half, since Pink's teacher simply whines about his failure to properly "mould him into shape", and Pink's mother rehashes her smothering tendencies.
- Domestic Abuser: Pink, although some think the line was metaphorical.Pink: How could you go? / You know I need you / to beat to a pulp on a Saturday night.
- He was certainly neglectful and emotionally abusive.
- Double Standard: By a character, not the producers. Pink seriously considers cheating on his wife before going briefly Ax-Crazy and scaring the groupie off instead, and it's at least suggested that he has done so (and gone through with it) many times in the past. But as soon as he even suspects his wife of cheating on him, his cheese slips off his cracker completely.
- The movie attempts to portray Pink as more sympathetic in this regard, by having him cheat on her after he finds out she cheated on him.
- However, the film states explicitly that Pink showed no sexual interest in his wife at all, pushing her away when she wanted sex.
- Dramatic Irony: Pink sings "I have seen the writing on the wall", in "Another Brick in the Wall (Part 3)", right before breaking off all contact with the world. A huge Analogy Backfire ensues since it doesn't occur to him that the writing on the wall involved the imminent destruction of the Babylonian kingdom and death of its king, who was defenceless against the onslaught. The analysis summarises the irony as Pink attempting to make himself look like the prophet Daniel, but instead casting himself as the doomed Belshazzar. Furthermore, his complete isolation actually leaves him defenseless against the worms and later transformation into Fascist Pink, more or less hastening the wall's destruction.
- Dramatically Missing the Point: Neo-Nazis take Pink's transformation seriously and not as satire. Didn't help that actual skinheads were used for the film.
- Real life example for "Another Brick In The Wall"; the entire point of the album, being about the social wall Pink constructed for himself, and how in said song the teachers were just another brick building his wall, completely went over a majority of the audiences heads, who instead took a different interpretation, focusing instead on the lyrics "We don't need no thought-control". The result was everyone thinking the song was about schools being a form of Brainwashing. Unfortunately that couldn't have been further from the point.
- Driven to Suicide: Depends on how one wants to read the line, "I want to go home / Take off this uniform and leave the show," in "Stop". Regardless, he decides not to do so, with the events that follow.
- Drop the Hammer: Hammers are a motif in the lyrics ("Let me hammer him today" from "The Trial") and in the animation.
- Early-Bird Cameo: At the beginning of "Stop" in the film, Pink mutters the words "Do you remember me? How we used to be?" to himself. These are lines from "Your Possible Pasts", one of the songs on Pink Floyd's subsequent album, The Final Cut. He also recites lines which would later appear in "5:11 AM (The Moment of Clarity)" from Waters' solo album The Pros and Cons of Hitch Hiking.
- Additionally, the during the version of "Outside the Wall" in the film one can briefly hear a melody that appears in the song "Southampton Dock" from The Final Cut.
- "When the Tigers Broke Free", the first Floyd song heard in the movie, was released as a single, with the intention of it appearing on The Final Cut, but that didn't happen. (See What Could Have Been on the Trivia page.) It was first officially released on the 2001 compilation album Echoes: The Best of Pink Floyd.
- The Eleven O'Clock Number: "Stop" is Pink's brief, reflective, sung soliloquy immediately preceding his climatic "trial". Not as prominent in the film, as it is sung quietly in a bathroom stall with added phase-shifting effects, but it appears at the same moment and performs the same function.
- Epic Rocking: Downplayed compared to past Floyd albums. Only "Comfortably Numb", (6:23) qualifies.
- Evil Teacher: Pink's old math teacher. Somewhat sympathetic in that his hatred of his students is part of the Vicious Cycle theme of the movie/album.
- In fact, Waters went on to write several songs on The Final Cut from the teacher's POV, blaming his treatment of his students on his own trauma stemming from—surprise, surprise—WWII. "When you're one of the few/To land on your feet/What do you do to make ends meet?/Teach!"
- Excrement Statement: From "The Trial"The Judgenote : The way you made them suffer
Your exquisite wife and mother
Fills me wit the urge to defecate!
Trial observer: Go on judge, shit on him!
- Fading into the Next Song: Most tracks. The best known is "The Happiest Days of Our Lives" > "Another Brick in the Wall (Part 2)", with the second place probably going to "Empty Spaces" > "Young Lust". The few tracks that don't do this are the ones at the beginning and end of the original LP sides, but some of them have symbolic value: the sudden silence at the end of "Goodbye Cruel World" represents Pink's completion of his isolation from the world, and the fade-out during the guitar solo of "Comfortably Numb" symbolises the continued war between the various parts of Pink's personality.
- Feathered Fiend: The massive fighter plane-like eagle that appears in the film's "Goodbye Blue Sky" animation.
- Final Solution: As if to drive home the Nazi comparisons, "Waiting For The Worms" has Pink singing about waiting for "The Final Solution to strengthen the strain", which would involve "turning on the showers and firing the ovens", and singling out "the queers and the coons and the Reds and the Jews".
- Not many realise that when Pink sings, "If I had my way, I'd have all of you shot", he's not talking about just the minorities. He means all of his fans.
- The "sequel" The Final Cut has Waters singing "The final solution can be applied" on "The Fletcher Memorial Home".
- Forced to Watch: The 1980–81 tours involved the "Surrogate Band," four session musicians who wore life-masks of Pink Floyd's members during "In the Flesh?" and the "fascist rally" set. During those three songs, you realise that the "old" Pink Floyd is being forced to play at the "new" Pink Floyd's concert, and they're playing their instruments rather stiffly and unwillingly, as if they've got guns pointed at them.
- Framing Device/In Medias Res: The album itself isn't clear on whether or not this is the case with the opening song, "In the Flesh?" but the movie seems to use the song as one, having Pink sing to the crowds before showing us his life up to that point looking just like he does after his descent into neo-Nazism.
- Freudian Excuse: Subverted—while the first pieces of Pink's wall were the result of childhood trauma, the movie, album, and Waters himself make it very clear that it's his fault for maintaining his Wall instead of coming to terms with his world and that his unhappy marriage and cheating wife were implied to have been at least partially his fault.
- Fully Absorbed Finale: The titular song on The Final Cut features Pink discussing his mental issues in therapy, while the album has No Ending.
- Gainax Ending: Pink puts himself through a hallucinatory "trial" where the most important people from his past life berate him for causing them so much pain, the monsters from within his mind condemn him for showing human emotions, and he has his mental wall torn down as a "final sentence". In the movie, we cut to a clip of a brick wall exploding, and see a strangely tranquil scene of children playing in some rubble and pouring out (what appears to be) a Molotov cocktail as "Outside the Wall" plays. Roll credits.
- Genre Roulette: Arena, acoustic, hard, and of course, progressive rock. With some shades of disco.
- And bar-band balladry ("Nobody Home"), electronic (the first half of "Don't Leave Me Now"), and quasi-opera ("The Trial").
- Giant Flyer: In the "Goodbye Blue Sky" clip from the movie, a massive fighter plane-like eagle makes an appearance. In "What Shall We Do Now?", the girl flower turns into a large pterodactyl-like...thing.
- Giving Someone the Pointer Finger: Done in the film and concert versions of "In The Flesh", where Pink points out people who have qualities he doesn't like.That one looks Jewish! And that one's a coon!
- Go Mad from the Isolation: Pink experiences a self-inflicted version of this after constructing the wall around himself, discovering that alienating everyone and everything is much worse than having to deal with them like before.But it was only a fantasy / The wall was too high as you can see / No matter how he tried he could not break free / And the worms ate into his brain
- Godwin's Law: The album explicitly compares arena concerts to Nazi rallies.
- Goodbye, Cruel World!: Trope Namer, though Pink doesn't commit suicide. He does threaten to do it in "One Of My Turns" ("Would you like to learn to fly? / Would you like to see me try?"), and suggests he might still do it in "Stop" (I want to go home / Take off this uniform and leave the show")
- Gratuitous German: Waters can be heard calling out "Eins, zwei, drei, alle!" at the beginning of "Waiting For The Worms".
- Gratuitous Panning: "Run Like Hell". Every new line Roger sings switches to the opposite channel. (This also occurs in the live version on Is There Anybody Out There? The Wall Live 1980–81, except Roger and David are trading lines.)Left Channel: You better run all day and run all nightRight Channel: and keep your dirty feelings deep inside!
- The song also begins with a crowd chanting "Pink! Floyd! Pink! Floyd!" solely in the left channel, which is pointed out by a commenter in the above-mentioned analysis as a symbolic reference to the band's own left-wing beliefs, Waters being a vocal socialist. The chant is also heard in the end, but another crowd yelling "HAMMER! HAMMER!" appears in the right channel and becomes loud enough to drown out the other crowd. Considering the song that is transitioned to is "Waiting For The Worms", the panning isn't a coincidence.
- Green-Eyed Monster: Pink is this after the unfortunate phone call home.
- Groin Attack: In the movie version of "The Trial", Pink's wife grabs his limp, rag-doll body and holds him by his...well, you get the idea...
Pink: Mother do you think they'll try to break... my balls?
- Foreshadowed in "Mother", where one of Pink's worries is precisely this.
- Gun Stripping: In an early scene, Pink's father removes the bullets from his revolver and cleans the barrel.
- Heel Realization: "Stop". The album itself was a response to Roger's own heel realisation.
- He-Man Woman Hater: A rare example that has a halfway decent Freudian Excuse—Pink has let his experiences with his mother and his wife color his view on women on the whole, viewing them all as being either promiscuous liars and deceivers or oppressive, controlling matriarchs. This is best illustrated in "The Trial", wherein his wife is portrayed first as a giant man-eating bug and then as a hideous, Freudian temptress with handle bars on her waist, while his mother is a borderline literal Knight Templar Parent who tries to drag him back into her womb just to keep him safe.
- Henpecked Husband: The teacher.But in the town it was well knownWhen they got home at nightTheir fat and psychopathic wives would thrash themWithin inches of their lives
- Subverted with Pink himself. His wife wants normal human interaction, but Pink ignores her desires.
- Here We Go Again!: Pink's mental problems are cyclical. Every time he goes into one of his "turns" (and "One of My Turns" makes it quite clear this is a habitual occurrence), his friends have to deal with an unreasonable, abusive Pink. Some of them "stumble and fall" (i.e. his wife), but they still try to help.
- The album itself takes the final 18 seconds of closing track "Outside the Wall" and places them at the very start of the album, splitting the sentence "Isn't this where we came in?" right down the center.
- Heroic B.S.O.D.: Especially "Comfortably Numb" and, well, the rest of the album.
- Hey, You!: A song is titled that way:Don't help them to bury the lightDon't give in without a fight
- How We Got Here: The album opens with "In the Flesh?", where Pink is at full "dictator" mode, and decides to tell his story. It eventually returns to that moment with "In The Flesh", where shows Pink after his psychotic break turning his concert into a fascist neo-Nazi rally.
- I'm a Humanitarian: "Ya can't have any PUDDIN' if ya don't eat yer Meat!" The "Meat" is made of students, though this IS all in Pink's mind. And it's only in the movie, but still.
- In the Style of...: "Young Lust" is a pastiche of Arena Rock bands like Foreigner and Bad Company. There's also a little bit of Self-Deprecation here, too: In the 1979 interview with Tommy Vance, Roger said that it was inspired by the earlier Floyd tune "The Nile Song".
- The Invisible Band: The original tour had the backup musicians dressed as Pink Floyd (including the masks seen on the Is There Anybody Out There? cover) during both parts of The Wall.
- iProduct: Mercilessly mocked during the 2012 "The Wall" tour, where they flash people with pig heads and white headphone cords going to their ears doing various activities with phrases like iResist and iLose.
- It Will Never Catch On: In the movie, the teacher ridicules young Pink's lyrics to "Money", one of Pink Floyd's signature songs, as "absolute rubbish". A bit of Reality Subtext can be found here, as "Money" was one of Pink Floyd's most requested songs at concerts, to the point where it became one of the band's biggest points of contention with their fans.
- Joker Jury/Kangaroo Court: "The Trial", where Pink puts himself on trial, with only one possible conclusion (the judge doesn't even need the jury's input). However it ultimately proves useful as the judge orders him to tear down the wall that had divided him from everyone else.
- Journey to the Center of the Mind: The second half of the album and movie takes place well inside a very disturbed mind with brief glimpses to the outside on "Comfortably Numb", and with the sound effects heard throughout that half.
- Judicial Wig: Pink's trial is presided over by Judge Arse in the film and theatrical versions. He is Exactly What It Says on the Tin—a giant talking human backside wearing a judge's wig. On the film version, the Judge first appears as a worm, which then turns into a wig.
- Large Ham: Bob Geldof's portrayal of Pink. Roger himself delivers some songs with extreme bombast (best example being "The Trial", where he delves into 5 different characters, each hammier than the previous).
- Laser-Guided Karma: The teachers in "The Happiest Days of Our Lives" that hurt the children receive their comeuppance every night when their wives beat them "within inches of their lives".
- Limey Goes to Hollywood: In-Universe, Pink himself—the movie makes it fairly clear that this part of the tour is in L.A.
- List Song: "What Shall We Do Now?" where Pink lists all the things he can do with his new-found fame and fortune, and "Nobody Home", where he lists all of his worldly possessions.
- Living Emotional Crutch: Pink, to his mother. Has terrible consequences for his marriage.
- Everyone, to Pink. You know, the bleeding hearts and the artists.
- Lonely Piano Piece: "Nobody Home".
- And previously, a Lonely Guitar Piece with "Is There Anybody Out There?".
- Looped Lyrics: "Is There Anybody Out There?" simply repeats its title four times, before going into its lonely guitar piece.
- Loss of Identity: In the film version, whenever a group has masks on their faces, this is essentially what happened to them.
- The life masks of each band member (shown in the album cover above) were used by the appropriate members of the touring group (e.g. guitarist Snowy White when subbing for David Gilmour) while on stage, up to the point that during during the very first song, and at other certain points of the performance, none of the actual Floyd members are on stage. The Wall was born partly from Waters's Artist Disillusionment and the realization that nobody actually knew or cared who the band members were, just that there was some spectacle on stage (though this certainly wasn't helped by the band's stage shows being almost entirely spectacle for a full decade, and their pictures rarely ever appearing in their album artwork.)
- Lyrical Dissonance: "Mother", "In the Flesh". "Run Like Hell" wins the prize, however—dance the night away to lyrics discussing racial violence and rape.
- Maligned Mixed Marriage: In the movie, we see Pink's Hammer army attack a black man making out with a white woman in the back of his car, while one of their numbers rapes the woman.
- Mind Screw: The film is pretty surreal at moments.
- Minimalistic Cover Art: Just a featureless white brick wall. Later pressings included the band name and album title on the front. Still, don't judge an album by its outside cover; it's what's inside that counts.
- Miniscule Rocking: "Stop" clocks in at only 30 seconds, making it the shortest song in Pink Floyd's entire library, beating out "A New Machine, Pt. 2" from A Momentary Lapse of Reason by 8 seconds. Still, it's also one of the most important songs on the album as it signals when Pink has his Heel Realization.
- Movie Bonus Song: "When the Tigers Broke Free" Parts I and II. The concerts also had an instrumental jam titled "The Last Few Bricks", played as the band waited on the stage crew to finish the stage wall, before "Goodbye Cruel World" started.
- My Beloved Smother: Deconstructed, like a lot of tropes that appear in the story. Pink's mother lost her husband and so she's obviously more than a little overprotective of her son, as he's all she has left. But this overprotection only makes everything worse, contributing to a lot of Pink's problems and willingly blocking him out from the outside world in a misguided effort to keep him safe. "The Trial" implies either that she would be fully willing to strip him of his freedom and free will just to protect him or that Pink perceives her as being willing to do so ("Why'd he ever have to leave me? Worm, your honor, let me take him home!"). It's telling that in the film version of "The Trial", while the other two "witnesses" (Pink's teacher and Pink's wife) appear from either behind or within the wall, Pink's mother becomes the wall."Of COURSE Momma's gonna help build your wall...""Mother, did it need to be so...high?"
- My God, What Have I Done?:
- Roger had this reaction to his spitting on a fan at the last concert of the In the Flesh tour, which helped to inspire this album.
- Pink has one about his decision to go behind the wall, leading to him crying out for meaningful human contact in "Hey You".
- Later on, Pink has a second moment like this at the end of "Waiting for the Worms", leading directly to his Heel Realization in "Stop!"
- Alan Parker had this reaction after the extras (real skinheads, by the way) really got into the rape scene in "Run Like Hell".
- Mythology Gag: A lot of references to songs and concepts from Floyd's career are scattered throughout the album...
- The scream from "Run Like Hell" and the beginning of "Another Brick in the Wall (Part 2)" was used in "Pow R. Toc H." and "Careful with That Axe, Eugene".
- Pink's "favorite axe" brings to mind "Careful with That Axe, Eugene" and "One of These Days", although "axe" is a traditional rock slang term for guitar.
- Floyd's use of war as a subject matter goes back as early as "Corporal Clegg" from A Saucerful of Secrets in 1968, a man scarred from his experiences in World War II. Wonder if he was the one who brought the bad news about Pink's dad...
- "Waiting for the Worms" also uses similar vocal techniques to "Corporal Clegg" (clear words, followed by words that sound like they're coming through a megaphone—literally in the case of the latter song), as well as sharing certain structural similarities (aggressive verses driven by heavy guitar riffs, followed by more melodic choruses employing vocal harmonies).
- Roger Waters mentioned in an interview that the main riff for "Another Brick In The Wall" was based on the first half of the main riff from "Set the Controls for the Heart of the Sun", which, coincidentally, contains the line "Witness the man who raves at the wall".
- "Hey you, won't you help me to carry the stone?". "The stone" was also mentioned in "Crying Song" (from More) and "Dogs" (from Animals).
- The voice of the rambling Scotsman from "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" (from Ummagumma) was probably the inspiration for the teacher, as well as the equally exaggerated accents shown by the characters in "The Trial".
- Pink deliriously whines "Remember the flowers I sent" in "Don't Leave Me Now". "What Shall We Do Now?" mentions "sending flowers by phone", emphasising Pink's obliviousness and social disconnection.
- One of Pink's wife's complaints in "The Trial" is "You should have talked to me more often than you did, but no! You had to go your own way!". One of the lyrics of "If" (from Atom Heart Mother) is "And if I were a good man/I'd talk with you more often than I do", thus reinforcing the fact that Pink is not a good man. (The slight change in words adds to the effect, as "If" mentions "talking with you more often" but Pink's wife is furious that Pink doesn't "talk to her more often", making Pink look even more of a jerkass.)
- She also sings "I hope they throw away the key", a reference to one of the more famous lines from "Brain Damage". ("You lock the door/And throw away the key/There's someone in my head/But it's not me".)
- She also mocks him by asking "Broken up any homes lately?", "break up homes?" being one of the suggestions in "What Shall We Do Now?".
- Sound effects from "Echoes", such as the piano "ping" and the whale calls, were used in "Hey You" and "Is There Anybody Out There?" respectively.
- Waters' son Harry saying the line "Look mummy! There's an aeroplane up in the sky!" at the start of "Goodbye Blue Sky". Sometime after the release of The Dark Side of the Moon, the band incorporated an exploding spitfire plane into their stage show, as the climax of "On The Run". Harry also plays keyboards in the new touring band.
- From the film: The "poems" that little Pink gets taken from him and read condescendingly to the class in school are from the lyrics to "Money".
- Also from the film: The poems Bob Geldof mumbles in the "Stop" sequence include lyrics from "Your Possible Pasts", from The Final Cut, and "5:11 AM (The Moment Of Clarity)" from Waters' solo album The Pros and Cons of Hitch-Hiking (which, as detailed in the What Could Have Been section, was originally offered to the band as a possible concept along with The Wall).
- The biggest one of all comes from Wish You Were Here, and has connections in reality: the song "Have a Cigar" asks, "Oh, by the way, which one's Pink?" Which, naturally, came up in a radio interview.
- Similarly, Pink shaving his eyebrows in the movie is based on an incident from the Wish You Were Here sessions, where the band was recording "Shine On You Crazy Diamond", their tribute to founding member Syd Barrett, when they were randomly visited by a fat, bald, middle-aged man with shaved eyebrows; after several uncomfortable minutes, they realised it was Syd.
- The movie's Body Horror sequence in "Comfortably Numb" as Pink is carried down the hall is believed to be also a reference to Barrett's habit of crushing quaaludes and mixing them with his hair cream before going on-stage, so that they would melt as the concert progressed, making him look like what Roger Waters described as "a guttered candle".
- In the Special Edition DVD of The Movie, Roger Waters' DVD Commentary ends with him casually saying "Isn't this where we came in?"
- The opening song and the song where Pink has descended into the depths of his insanity are both called "In the Flesh". An incident on the In the Flesh Tour, which was to promote their last album, Animals, inspired this album.
- On The Wall Analysis' Facebook page, someone pointed out that the stadium-like building depicted on the album looks like a fantasia of the Montreal Olympic stadium, where the spitting incident took place.
- The two note bass-line in "Goodbye Cruel World" sounds similar to the one at the end of "See Emily Play".
- The eponymous wall is also referenced in the last verse of Echoes: "And through the window in the wall comes streaming in on sunlight wings/ a million bright ambassadors of morning". The full version of Echoes carries a number of themes that seems to link in to the same patterns: disconnection, loss of communication, and after a long (instrumental) struggle, re-connection, when the singer at the end of the song can "throw the windows wide and call to you across the skies". This wall, at least, has a window.
- The scream from "Run Like Hell" and the beginning of "Another Brick in the Wall (Part 2)" was used in "Pow R. Toc H." and "Careful with That Axe, Eugene".
- A Nazi by Any Other Name: Pink's Hammers—snicker—take cues from Benito Mussolini's black shirts, SS troopers, and the KKK/skinheads. "Waiting for the Worms" doesn't really bother to try to disguise the fact that they are neo-Nazis, as the lyrics reference the Holocaust with "the final solution to strengthen the strain" and "waiting to turn on the showers and fire the ovens".
- The Hammers, in turn, inspired one of the more prominent real-life Neo-Nazi Skinhead groups to name themselves "Hammerskins" and to appropriate the marching hammers symbol as their own.
- Never Be Hurt Again: This is Pink's motivation for building the Wall. It turns out to not be such a good idea when completed, as it basically isolates him from everything.
- Nightmare Face: The movie poster (pictured above).
- No Antagonist: The album is really about Pink's inner demons, how they got there and how they may have been overcome. There's no real antagonist for Pink, as he is his own worst enemy.
- Non-Appearing Title: Both versions of "In the Flesh", "Another Brick in the Wall" parts I and III, "The Happiest Days of Our Lives", "Young Lust", "Run Like Hell" (the lyrics "You better run like hell" appeared to have been dropped from the song at the last minute, judging by the liner notes), and "The Trial" all lack their titles in their lyrics. In concert, there's also the Reprise Medley of "The Last Few Bricks", which has no lyrics.
- Non-Indicative Title: "The Happiest Days of Our Lives" doesn't refer to particularly happy days in Pink's life, though considering how bad his life has been, they may very well be the happiest days of his life.
- No Swastikas: The Double Hammer sign.
- Once More, with Clarity!: On the "Wall Live 1980-1981" tour CD, emcee Gary Yudman introduces the band before "In the Flesh?" He's the typical, peppy emcee, delivering his lines with verve. He reappears before "In the Flesh," and he introduces the Surrogate Band with all the peppy verve of a zombie. Nothing, not even the emcee, is safe from the shadow of the wall.
- The Oner: The film's opening sequence of the camera moving down the hotel hallway.
- One-Woman Song: "Vera".
- One-Word Title: "Stop", "Vera", and "Mother".
- Paranoia Fuel: Invoked by Roger himself. During the tour, Roger would sometimes introduce "Run Like Hell" by saying it was for "all the paranoids in the audience."
- Patriotic Fervor: Yet another layer of fascist imagery in "Waiting for the Worms"Would you like to see Brittania rule again, my friend?
- Performance Anxiety: Pink suffers from this during "The Show Must Go On". Made most clear in the extended version they played in concert:Do I have to stand up
Wild-eyed in the spotlight?
What a nightmare
Why don't I turn and run?
- Please Don't Leave Me: "Don't Leave Me Now".
- Poor Communication Kills: The album's central theme. One school of thought says it applies literally to the ending.
- Precision F-Strike: According to the 2010 tour, the answer to the question "Mother, should we trust the government?" is "NO FUCKING WAY".
- At the end of the "One of My Turns" sequence in the film, Pink yells "TAKE THAT, FUCKERS!" to the street below after throwing his TV through the window.
- The promoter played by Bob Hoskins in the Film gets one when he breaks down the door to Pink's hotel room, and finds him overdosed and near death at the beginning of the "Comfortably Numb" sequence.
- Also in the new tour, at the end of "The Trial", the Judge orders Pink to "TEAR DOWN THE FUCKING WALL!"
- In at least some concerts, the song between "In the Flesh" and "Waiting for the Worms" was introduced as "Run Like Fuck".
- From "Nobody Home": "I got thirteen channels of shit on the TV to choose from."
- "You little SHIT, you're in it now...!"
- Product Placement: Outside the concert at the beginning, there is a "Feeling 7UP" soda billboard featuring Philadelphia Phillies baseball great Mike Schmidt. The fact he's grinning down at fans having the crap beaten out of them by cops makes it one that 7UP probably didn't want in the film. Knowing Roger Waters, that was probably the point.
- Puppet Permutation: The Teacher. His puppet form is always seen being controlled by his wife, who is depicted as a horrifying giant.
- Putting on the Reich: The uniform Pink dons in "In the Flesh" is blatantly based off of Nazi uniforms, right down the the symbol on the armband. This goes well with his descent into fascism.
- Questioning Title?: "In the Flesh?" and "Is There Anybody Out There?"
- Real Life Writes the Plot: As mentioned previously, the spitting incident on the In the Flesh Tour was the genesis for this album. It's telling that the Fascist Pink concert, as well as the How We Got Here moment that starts the album, are both named "In the Flesh". The gigantic stadium seen in the album's gatefold artwork looks like the Montreal Olympic Stadium on steroids.
- Pink's childhood is based on Roger Waters' early life, including his father dying in the war and horrible experience in school. Pink's Sanity Slippage as an adult is based on Syd Barrett's own Creator Breakdown. He really did shave his eyebrows.
- Inverted: The fictitious Hammerskins of the film inspired a real-life skinhead group.
- Not-so-Inverted: Those Hammerskins in the film were real skinheads.
- Waters said that "Comfortably Numb" was inspired by when he was suffering from hepatitis before a Philadelphia show on the In the Flesh tour, but was misdiagnosed by a doctor as having stomach cramps and injected with powerful tranquilisers, describing the experience of "trying to do a show when you can hardly lift your arm" as "the longest two hours of my life".
- The phone operator at the end of "Young Lust" is based on an incident in the In The Flesh tour when Waters tried to call his ex-wife Judy Trim, only to have the phone answered by a man.
- "One of My Turns" is based on a backstage incident at the band's 1975 Knebworth concert. Roy Harper, who did the vocal on "Have a Cigar", flew into a rage upon discovering his stage costume was missing, smashing up one of the band's vans. He also coincidentally cut his hand, as Pink does during the movie.
- The heavy police presence at the beginning of the film is based on a real Pink Floyd show in Los Angeles from the In the Flesh tour.
- Really Gets Around: Pink's envisioning of his wife during "The Trial" is... not kind, portraying her as a Gold Digger with handles on her waist with an exposed vagina. While she gets the most justified and acerbic lines criticising his behaviour.
- Pink's own willingness to sleep around with groupies on the road and his hypocrisy at being angry at his wife for being (or seeming to be) unfaithful at home is well-implied.
- "The Reason You Suck" Speech: "The Trial", where the victim is persecuted in front of a jury.
- Record Producer: Bob Ezrin had a heavy influence over the album, especially forcing Roger Waters to change the lyrics to make them more universal and less autobiographic (if you ever listen to the demos, it's obvious that the changes are for the better, particularly for "Another Brick in the Wall" and "Comfortably Numb"), and converting his concept into a 40-page script during the preliminary sessions that allowed the band to work on the album better. Despite being credited for "pulling the whole thing together" by engineer Nick Griffiths by "bridging the gap" between Gilmour and Waters, he and Waters did not get along very well during the album's sessions, as Waters pulled a dick move by denying him co-writing credits at first and mocked him at one point by having the band wear badges reading "NOPE" (No Points Ezrin), reminding him of his reduced share of royalties. Co-producer James Guthrie was similarly praised by Gilmour and others for playing a key part in crafting the album's overall sound.
- Pink Floyd, to be fair, made Ezrin sign a contract forbidding him from revealing details and plot points about the stage show, which Ezrin violated via a radio interview. This incensed Waters (and to a lesser extent, the other band members) to the point that Bob was not allowed to attend any of the shows, and his credits on the album were taken off for a while. Ezrin himself admitted that he was not "in the best shape emotionally", struggling with marital problems during the recording, and he further annoyed the band with his poor punctuality despite the punishing schedule (Mason found frequent humour in mocking his elaborate and unlikely excuses for lateness), and at one point had a confrontation with Richard Wright that led Wright to working only at nights. They did patch things up with him to the point that Ezrin was asked to produce Roger's Radio K.A.O.S. (Ezrin declined as it was taking him away from his family) and eventually did produce Gilmour's Floyd albums (to Waters' disgust) and Gilmour's About Face solo album.
- Recurring Riff: A short 4-note riff is prevalent throughout the album, being most clearly heard at the beginning of "The Trial".
- Reprise Medley: During the live shows, the band would play a medley called "The Last Few Bricks" between "Another Brick in the Wall (Part 3)" and "Goodbye Cruel World" in order to give the stage-hands time to construct the titular wall. The recording of this medley found on the live album Is There Anybody Out There? The Wall Live 1980–81 includes material based on instrumental sections from "The Happiest Days of Our Lives", "Another Brick in the Wall (Part 1)", "Don't Leave Me Now", "Young Lust" and "Empty Spaces".
- Ripped from the Headlines:
- Rock-Star Song: More like a Rock Star Album. The whole thing is about the disillusionment and isolation fame brings, intermingled with emotional wounds from a tough childhood, post WWII, and its overall message is that isolation is immensely destructive to a person.
- Roger Rabbit Effect: During the movie version of "Don't Leave Me Now". A live action Pink is being attacked by his animated perspective of his wife.
- Sadist Teacher: "The Happiest Days of Our Lives", which provides the page quote for that page, is about how certain teachers would hurt the children any way they could. In the movie, it's made clear that the teacher is one of these, when he grabs Pink's book of poems, reads one of them aloud to the class note , then calls it absolute rubbish.
- Safety in Indifference: Pink comes to the conclusion that there is safety in indifference during "Another Brick In The Wall Part III", angrily declaring what the world has shown him:I don't need no arms around me,
And I don't need no drugs to calm me!
I have seen the writing on the wall,
Don't think I need anything at all!
No! Don't think I need anything at all!
All In all it was all just bricks in the wall
All in all, you were all just bricks in the wall!
- Sanity Slippage Song. It's practically a Sanity Slippage Album. "One of My Turns" is where Pink first snaps. "The Trial" may be where it's most overt though.Crazy! Toys in the attic, I am crazy!
- A list of the sanity slippage songs in order: "Empty Spaces" (kinda), "One of My Turns", "Another Brick in the Wall (Part 3)", "In the Flesh", and "The Trial".
- Saving the World with Art: The ultimate moral of the story, as told in "Outside the Wall".Some hand in hand, some gathered together in bands
The bleeding hearts and artists make their stand
But when they've given you their all, some stagger and fall
After all, it's not easy, banging your heart against some mad bugger's wall.
- Sex, Drugs and Rock & Roll: "Young Lust", and, according to Nicholas Schaffner's 1991 book Saucerful Of Secrets: The Pink Floyd Odyssey, the passage in "Nobody Home" that ends "I've got a grand piano to prop up my mortal remains", is about keyboardist Richard Wright, who was suffering from a massive cocaine problem at the time.
- Shell-Shocked Veteran: Several tracks on The Final Cut reveal the teacher to be one.
- Does anybody here remember Vera Lynn? Remember how she said that we would meet again some sunny day?
- Vera Lynn's song "The Little Boy That Santa Claus Forgot" plays in the background during the opening sequence of the movie.
- The Another Brick In The Wall sequence is a shout out to Metropolis, with schoolchildren playing the part of the workers from said movie.
- "I've got the obligatory Hendrix perm," in "Nobody Home" (NB: Syd Barrett had one, too).
- The album begins and ends in the middle of the same sentence, just like Finnegans Wake.
- The male backing vocals are inspired by The Beach Boys. As noted on the Trivia tab, they were originally going to be The Beach Boys, but didn't turn up for the sessions.
- Pink apparently spends his time in the hotel watching Gomer Pyle, U.S.M.C. and Gunsmoke. In the movie, The Dam Busters seems to be perpetually on the TV.
- Does anybody here remember Vera Lynn? Remember how she said that we would meet again some sunny day?
- The Show Must Go On: There's an actual song on the album with this exact title. To be more specific, Pink's trip through his past is interrupted by drugs injected at the request of his stage manager and driven to the concert, while wondering where the feeling has gone and whether he would remember the songs.
- Shown Their Work: Well, a rock band talking about the life of a rock star is a given, but musicians will nod their hands at lyrics such as "my hands felt like two balloons", and especially the lyrics from "Nobody Home" when Waters sings about "the inevitable pinhole burns all down the front of my favourite satin shirt / I've got nicotine stains on my fingers / I've got a silver spoon on a chain."
- Siamese Twin Songs: "The Happiest Days of Our Lives" > "Another Brick in the Wall (Part 2)"
- "Empty Spaces" > "Young Lust"
- Only on the studio version—when played live, "What Shall We Do Now?" follows "Empty Spaces", and "Young Lust" has its own extended intro.
- "Empty Spaces" > "Young Lust"
- Smash Cut: "Waiting For The Worms" / "Stop". In the live shows, the March of the Hammers would suddenly cut to black. In the movie, it smash-cuts to Bob Geldof's screaming face.
- Skyward Scream:There's be no more AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHH!!!!!!!!!!!!!!!
- Society Marches On: Invoked by inclusion of footage from The Dam Busters, a 1955 film in which soldiers fret about a black-furred dog they named "Nigger".
- Spiteful Spit: After Roger Waters did this to a fan on the In the Flesh tour, he immediately had a "My God, What Have I Done?" moment that led to the creation this album.
- Strange Salute: The hammer sign, done by holding both clenched fists overhead with their wrists crossed.
- Stylistic Suck: "Young Lust", "In the Flesh", and "Run Like Hell". They're all songs that Pink himself is performing at concerts.
- Subliminal Seduction: The song "Empty Spaces" contains the amusingly self-referential, if kind of hard to make out since it's so buried in the mix, backwards messageRoger Waters: "Congratulations, hunters, you've just discovered the secret message! Please send your answer to Old Pink, care of the Funny Farm, Chalfont..."
James Guthrienote : *interrupts* "Roger, Carolynenote is on the phone."
Roger Waters: "Okay".
- This bit can also double as Fridge Brilliance since in the context of the album, it's a bit of foreshadowing about Pink's mental breakdown. Also, the scarily in-depth analysis mentioned above points out that Waters abandoning the message to pick up the phone reinforces the entire album's theme about the importance of communication. This interpretation's also aided by Waters' later admission that he would've ended up like Pink if it wasn't for Carolyne.
- Surprisingly Gentle Song: For being a famously depressing film/album, it's easy to forget both end with "Outside the Wall". But then...
- Take That!: The lyrics "I've got nicotine stains on my fingers/Got a silver spoon on a chain/Got a grand piano to prop up my mortal remains" are thought to refer to band member Richard Wright, who was allegedly struggling with an addiction to cocaine and was viewed as not pulling his weight by Waters during the recording of The Wall. He ended up being kicked out of the band during the recording sessions for The Wall, but was listed as a member on copies of the album, contributed to most of the songs and played keyboards on tour with the band as a session musician, being later reinstated as a full member after Waters' departure.
- Waters' commentary on the DVD is pretty much him insulting everyone involved with the film.
- Take That Me: Pink acknowledges he's fully responsible for everything he does. The Trial is him putting himself on Trial.
- Tempting Fate: Note to groupies: when a rock star indicates he has a headache and does nothing but sit still, get the fuck OUT.
- Textless Album Cover: In the original release. Later releases added "Pink Floyd The Wall" in a graffiti-like font on the front cover.
- That Man Is Dead: After Pink's Freak Out! when his wife leaves him, he is forced back on stage to perform—but emerges as a neo-Nazi, and announces his change by claiming to be a new person:I've got some bad news for you, sunshinePink isn't well, he stayed back at the hotelAnd they sent us along as a surrogate bandWe're gonna find out where you fans really stand
- In live shows, it'll be another band, literally.
- This Is My Story: If you subscribe to the theory that "In the Flesh?" is a framing device for the rest of the story note , then it's an example of this.
- Those Wacky Nazis: Pink and his minions are obviously a cross between Fascists and Nazis.
- Through the Eyes of Madness: Particularly after Pink's revival.
- Title Drop: "When the Tiger Broke Free Part II".It was dark all around/There was frost in the ground/When the Tigers Broke Free
- Title-Only Chorus: "Is There Anybody Out There?" simply consists of the title being repeated four times, before transitioning into a lonely guitar piece.
- Trash the Set: Pink's rampage through his hotel room in "One Of My Turns".
- Troubled Fetal Position: Pink assumes this position a few times throughout the movie.
- Uncommon Time: "Mother". Nick Mason couldn't handle the different time signatures, and due to the tight schedule, had to be replaced by session drummer Jeff Porcaro.
- The Unintelligible: Some listeners have claimed they can understand Pink when he starts ranting and raving in a high pitched voice during "Waiting for the Worms". Nope. It's deliberately unintelligible nonsense.
- Unreliable Narrator: Pink. The broad strokes of his life are probably true, but he may be exaggerating some of the details. Waters emphasised this aspect in interviews with Tommy Vance promoting the album, drawing attention to how it's never explicitly stated whether Pink actually did abuse his wife the way he sings in "Don't Leave Me Now" or if he's simply "wallowing in depravity" after his fit of anger in the previous song, or how Pink's mother may not be anywhere near as prissy or cruel as she's depicted in "Mother". (The analysis points out that she always refers to herself in the third person, making it more likely that it's not actually her in the chorus, but Pink.) We can't really know for sure since nearly the entire album is told from his point-of-view anyway (the only character that actually has an independent voice is the groupie in "One Of My Turns").
- Vicious Cycle: The album's main theme is how the cycle of lack of communication perpetuates itself.
- A secondary theme seen in "The Happiest Days Of Our Lives" is about the cycle of violence and unhappiness: the teacher is domestically abused at home by his wife, and reacts by lashing out in turn at the students and picking on them.
- Villain Song: "In the Flesh", "Run Like Hell", and "Waiting for the Worms" can be seen as this, given they're sung from the point of view of Pink's fascist persona.
- Visionary Villain: Pink quite clearly spells out his vision for Britain in "Waiting For The Worms." It involves sending "our colored cousins home again" and implementing the "Final Solution to strengthen the strain" to allow Brittania to rule again, in his words,
- Visual Pun: The form of the Judge is a literalisation of the saying "the law is an ass".
- Vocal Tag Team: "Run Like Hell" is performed live with two vocalists. In the original Pink Floyd shows, the alternating lines were song by David Gilmour and Roger Waters. Subsequent live performances with the Waters-less Floyd had Gilmour singing with touring bassist Guy Pratt as well as bassist Mickey Feat on his 1984 tour supporting his solo About Face album. Roger Waters, for his part, also trades lines with another vocalist in live solo versions.
- Voice of the Legion: The Judge, to some degree. In the film, his lyrics are subtly layered with two different voices fading in and out of each other among the main voice.
- World of Ham: "The Trial". Waters plays five different characters, each one hammier than the last.
- You Answered Your Own Question: At the end of "One Of My Turns", having trashed his hotel room and had a huge temper tantrum, part of it including more or less threatening to defenestrate the groupie he'd just brought along, Pink ends by asking:Or would you like to call the cops;
do you think it's time I stopped?
Why are you running away?
- You Are Not Alone: "Outside the Wall" is all about this trope.All alone, or in twos
the ones who really love you
Walk up and down outside the wall.
- You Are What You Hate: A recurring theme. Pink becomes a fascist, the very thing his father had died fighting against, as noted in the later songs "In the Flesh", "Run Like Hell", and "Waiting for the Worms". And he tries to rebel against the conformity of his school by becoming a rock star, only to realize that his teenage fans are so mindlessly devoted to him that they've forgotten how to think for themselves—making him, in his own way, just as oppressive as his teachers once were.
- You Won't Feel a Thing: The doctor from "Comfortably Numb" says as much, followed by a scream from poor Pink.Okay, just a little pinprick, There'll be no more (scream), but you may feel a little sick.