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The Dark Side of the Rainbow – also known as Dark Side of Oz or The Wizard of Floyd – is the pairing of the 1973 Pink Floyd album The Dark Side of the Moon with the 1939 film The Wizard of Oz. This produces numerous moments of apparent synchronicity where the film and the album appear to correspond.
The Dark Side of the Moon was built upon experiments Pink Floyd had attempted in their previous live shows and recordings, although it lacked the extended instrumental excursions which, according to the critic David Fricke, had become characteristic of the band following the departure of the founding member Syd Barrett in 1968. Gilmour, Barrett ...
Pink Floyd recorded The Dark Side of the Moon between May 1972 and January 1973 with EMI staff engineer Alan Parsons at Abbey Road. The title is an allusion to lunacy rather than astronomy. [118] The band had composed and refined the material while touring the UK, Japan, North America, and Europe. [119]
Similar to the 1973 planetarium showcase, the album played in planetariums, globally, throughout March 2023. [7] [6]During the week leading up to the box set's release a series of short videos were released on the Pink Floyd YouTube channel entitled 50 Years in a Heartbeat – the Making of The Dark Side of the Moon which include archival footage of the band speaking about the album and new ...
In March 1973, the London quartet Pink Floyd released The Dark Side of the Moon, an enigmatic but richly melodic concept album about madness and mortality. Since emerging during the 1967 “summer ...
Production designer Céline Desrumaux used the iconic album cover to help conjure a lunar city of dazzling light for Netflix's Oscar contender.
The film includes rare early television appearances of Pink Floyd, and home movies. The film was first released on DVD on 24 March 2003. In 2021, the director and archivist, John Edginton, retrieved the original interview tapes and released them in full on his YouTube channel in a playlist titled Pink Floyd Unfiltered [1]
He contacted Pink Floyd's David Gilmour, who gave Stoppard permission to write dialogue that would be heard over the instrumental pieces, and found the resulting script "fascinating". [1] On adapting the album, Stoppard stated: "I didn't try to make a story that was the album writ large in any way.