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In the Air Tonight
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"In the Air Tonight"
Single by Phil Collins
from the album Face Value
B-side
"The Roof is Leaking"
Released
9 January 1981[1]
Format
7-inch single
12-inch single
Recorded
Townhouse Studios
London, 1980
Genre
Experimental pop
soft rock
Length
5:34 (album version)
4:57 (single edit)
Label
Virgin
Atlantic
Songwriter(s)
Phil Collins
Producer(s)
Phil Collins
Hugh Padgham
Phil Collins singles chronology
"In the Air Tonight"
(1981) "I Missed Again"
(1981)
"In the Air Tonight"
(1981) "I Missed Again"
(1981)
"Separate Lives"
(1985) Separate Lives1985
"In the Air Tonight"
(Remix)
(1988) In the Air Tonight1988
"A Groovy Kind of Love"
(1988) A Groovy Kind of Love1988
"You Touch My Heart"
(2005) You Touch My Heart2005
"In the Air Tonight"
(Re-release)
(2007) In the Air Tonight2007
"(Love Is Like a) Heatwave"
(2010) (Love Is Like a) Heatwave2010
Audio sample
file
help
"In the Air Tonight" is the debut solo single by the English singer-songwriter and drummer Phil Collins. It was released as the lead single from Collins' debut solo album, Face Value, in January 1981.
Collins co-produced the single with Hugh Padgham, who became a frequent collaborator in the following years. The song was an instant hit, quickly climbing to No. 2 on the UK Singles chart but was held off the top spot by a posthumous release of John Lennon's "Woman".[2] It was also an international hit, peaking at No. 19 on the Billboard Hot 100 in the United States and No. 1 in the Netherlands.[citation needed] It was later certified Gold by the RIAA, representing 500,000 copies sold. The song's music video, directed by Stuart Orme, received heavy play on MTV when the new cable music video channel launched in August 1981. It remains one of Collins' best-known hits, often cited as his signature song, and is especially famous for his drum break towards the end, which has been described as "the sleekest, most melodramatic drum break in history".[3][4][5]
Contents
[hide]
1 Background and recording
1.1 Inspiration
1.2 Recording
1.3 Drum sound
2 Urban legend
3 Music Video
4 In popular culture
5 Sampling of the song
6 Use in literature
7 Single and credits
7.1 UK and US single (1981)
7.2 12" German maxi-single (1981)
7.3 Japan CD single (1988)
7.4 German CD single (1990)
8 Charts and certifications
8.1 Weekly charts
8.2 Year-end charts
8.3 Certifications
9 Cover versions
10 References
11 External links
Background and recording[edit]
Inspiration[edit]
Collins wrote the song amid the grief he felt after divorcing his first wife Andrea Bertorelli in 1980. In a 2016 interview, Collins said of the song's lyrics: "I wrote the lyrics spontaneously. I'm not quite sure what the song is about, but there's a lot of anger, a lot of despair and a lot of frustration."[6] In a 1997 BBC Radio 2 documentary, the singer revealed that the divorce contributed to his 1979 hiatus from Genesis until the band regrouped in October of that year to record the album Duke.
The lyrics of the song take the form of a dark monologue directed towards an unnamed person:
Well if you told me you were drowning, I would not lend a hand
I've seen your face before, my friend, but I don't know if you know who I am
Well I was there and I saw what you did
I saw it with my own two eyes
So you can wipe off that grin
I know where you've been
It's all been a pack of lies
Recording[edit]
The recording is notable for its atmospheric production and macabre theme. It has been described as being "at the vanguard of experimental pop" in 1981 and "a rock oddity classic", having been influenced by "the unconventional studio predilections of Brian Eno and Peter Gabriel".[7] Musically, the song consists of a series of ominous chords played by a Sequential Circuits Prophet-5 over a simple drum machine pattern (the Roland CR-78 Disco-2 pattern, plus some programming); processed electric guitar sounds and vocoded vocals, an effect which is increased on key words to add additional atmosphere. The mood is one of restrained anger until the final chorus when an explosive burst of drums releases the musical tension, and the instrumentation builds to a thundering final chorus.
Collins has described obtaining the drum machine specifically to deal with personal issues relating to his divorce through songwriting, telling Mix magazine: "I had to start writing some of this music that was inside me."[8] He improvised the lyrics during a songwriting session in the studio: "I was just fooling around. I got these chords that I liked, so I turned the mic on and started singing. The lyrics you hear are what I wrote spontaneously. That frightens me a bit, but I'm quite proud of the fact that I sang 99.9 percent of those lyrics spontaneously."[9]
Drum sound[edit]
Musically, it's an extraordinarily striking record, because almost nothing happens in it ... It's the drum sound in particular that's amazing. You don't hear it at all for the first two minutes of the song ... then there's that great doo-dom doo-dom doo-dom comes in, and the drums come in half way through the song, setting the template for all the Eighties drum songs after that. – Stuart Maconie[10]
The means by which Collins attained the drum sound on this recording was long a source of mystery. The exact process was a result of serendipity: an unintended use of studio technology giving unexpectedly useful results.
In this case, the Solid State Logic 4000 mixing board had a "reverse talk-back" circuit (labeled on the board as "Listen Mic"). Normal "talkback" is a button that the mixing engineer has to press in order to talk to the recording musicians (the recording and the mixing parts of a studio are, otherwise, completely sonically isolated). Reverse talkback is a circuit (also button-activated) for the engineer to listen to musicians in the studio. In order to compensate for sound level differences—people can be close to the reverse talkback microphone or far off—this circuit has a compressor on it, which minimizes the differences between loud and soft sounds. While recording "Intruder" for his ex-bandmate Peter Gabriel's third solo album, at some point Collins started playing the drums while the reverse talkback was activated. Engineer Hugh Padgham was amazed at the sound achieved. Overnight, they rewired the board so that the reverse talkback could be recorded in a more formal manner. Later models of the SSL 4000 allowed the listen mic to be recorded with the touch of a button.[8]
When recording engineer Padgham was brought in to help develop Collins' demos that would become Face Value they recreated the "Intruder" sound using the reverse talkback microphone as well as heavily compressed and gated ambient mics. Padgham continued working with Genesis for Abacab later in 1981 and the same technique (generally referred to as gated reverb) was used, and the powerful drum sound has become synonymous with later Genesis projects and Collins' solo career ever since.
The original single version of "In the Air Tonight" features extra drums that play underneath the song until the signature drum crash (referred to by fans as the "magic break") appears. These were added at the suggestion of Atlantic Records head Ahmet Ertegun. In 2007, Collins wrote:[11]
Ahmet came down to the final mix in the cutting room in New York (...) The drums don't come in until the end but Ahmet didn't know that at this point, because on the demo the drums hadn't come in at all; it was only drum machine all the way. And he was saying, "Where's the down beat, where's the backbeat?" I said, "The drums come in in a minute." "Yeah, you know that and I know that, but the kids don't know that; you've got to put the drums on earlier." So we added some drums to the mix and put it out as a single.
Black Sabbath singer Ozzy Osbourne has called the drum fill "the best ever – it still sounds awesome".[5]
In 2007, Mike Gruss, former columnist for The Virginian-Pilot, referred to the song as a "soft rock classic."[12]
Urban legend[edit]
An urban legend has arisen around "In the Air Tonight", according to which the lyrics are based on a drowning incident in which someone who was close enough to save the victim did not help them, while Collins, who was too far away to help, looked on. Increasingly embellished variations on the legend emerged over time, with the stories often culminating in Collins singling out the guilty party while singing the song at a concert.[13] Collins has denied all such stories; he commented on the legends about the song in a BBC World Service interview:
I don't know what this song is about. When I was writing this I was going through a divorce. And the only thing I can say about it is that it's obviously in anger. It's the angry side, or the bitter side of a separation. So what makes it even more comical is when I hear these stories which started many years ago, particularly in America, of someone come up to me and say, "Did you really see someone drowning?" I said, "No, wrong". And then every time I go back to America the story gets Chinese whispers, it gets more and more elaborate. It's so frustrating, 'cause this is one song out of all the songs probably that I've ever written that I really don't know what it's about, you know?[14]
The urban legend is referenced in the song "Stan" by Eminem.[15] The reference is contained in the following lyrics:
You know the song by Phil Collins, "In the Air of the Night" [sic]
About that guy who coulda saved that other guy from drownin'
But didn't, then Phil saw it all, then at a show he found him?
Music Video[edit]
The music video animates the photograph of Collins' face from the cover of the Face Value album, slowly fading in through the intro until it fills the screen, singing the first chorus. The video then cuts to Collins sitting in an empty room at night. Twice a spectral figure appears in the window, but only the second time does Collins get up to look at it, then is shown walking to the one door of the room. Collins' face returns for the second chorus, then he's shown leaving the room and entering a hallway full of doors. The first one is locked, then the second opens and Collins sees himself looking at the window again, only now the specter has turned into his own reflection. The third door is locked, but as the fourth one opens, the drum break sounds and the viewer is returned to Collins' face again, this time in thermal coloring, which gradually reverts to black and white. Collins recedes into the darkness as the song repeats and fades.
In popular culture[edit]
"In the Air Tonight" remains a popular selection on many classic rock radio stations. It is the song most often associated with Collins' solo career, and he has performed versions of it at many events, including at Live Aid, where he played the song on a piano on the same calendar day in both Philadelphia and London.[16] He also performed the song at The Secret Policeman's Ball, which was his first live performance as a solo artist.
"In the Air Tonight" has been licensed repeatedly for use in films, television and advertisements for various products.
It was used in the train sequence of the 1983 film Risky Business and appeared on the soundtrack album.[17]
In 1984 the song was featured in the pilot episode of the U.S. television show Miami Vice ("Brother's Keeper"), one of the first pop/rock songs to be featured as part of a television program in this manner. Its use in that scene was "a moment that first signaled to audiences and critics that Miami Vice had something to offer that few other TV programs on the air in 1984 could match", The A.V. Club wrote in 2012.[18] It subsequently "bubbled under" the Billboard Hot 100 at No. 102 in late 1984 and appeared on the television soundtrack album released in 1985.[19] On the heels of this successful merging of media, Collins became associated with the show; other Collins tracks including "Take Me Home" were later featured, and Collins himself also acted in the second season episode "Phil the Shill". This song was later used in the show's fourth season episode "A Bullet for Crockett" for its car chase opening scene, a clear reference to the show's pilot episode. A cover of "In the Air Tonight", performed by American metal band Nonpoint, also appeared in the 2006 film adaptation.
It was used in 1986 when the brewer Anheuser-Busch adopted it for an ad campaign promoting Michelob beer, along with night-related songs by Collins' peers Steve Winwood ("Don't You Know What the Night Can Do?") and Eric Clapton ("After Midnight").[20]
Cadbury used the song in their 2007 Gorilla advertising campaign for its Dairy Milk chocolate bar. Afterwards, the song reached No. 14 on the UK singles chart and No. 9 on the UK Download Chart. The advertisement also helped the song re-enter the New Zealand RIANZ Singles Chart and went to No. 1, staying there for two weeks, beating its original 1981 No. 6 peak, and become his first chart topper song on the country. The single was finished also certified Platinum with sales of over 15,000 copies.[21] This advert was so popular, it won the awards for the Best Ad of the Year, at New Zealands Fair-Go Ad Awards. It was also subsequently parodied in a spoof ad by Wonderbra.[22]Contrary to popular belief, it was not Phil Collins performing in the gorilla suit but American actor Garon Michael.[23][24]
The song also featured in the hit BBC One 1980s-based drama series Ashes to Ashes. In an interview with SFX, series creator Matthew Graham discusses his editorial choices in using the iconic song and its referential value for the dramatic finale. He considered the piece ideal for his purpose, evoking the mood of the early-1980s.[25]
Sampling of the song[edit]
The song has been sampled by many artists, including Shaquille O'Neal in his song "Edge of Night", Nas in his song "One Mic", and Tupac Shakur on his tracks "Starin' Through My Rear View" and "Letter to the President". Other tracks which include samples of "In the Air Tonight" include DMX's "I Can Feel It", Krayzie Bone's "Silent Warrior", Joe Budden's "Rest in Peace (In the Air)", Sean Kingston's "Can You Feel It", Young Buck's "New York City", Big Audio Dynamite's "Innocent Child", Lil' Kim's "In the Air Tonite", Ke$ha's "Love Into the Light", and Av LMKR's "In The Air".[citation needed]
It was used in 2009 by Canadian rapper Roi Heenok in his song "La Mama Coca."[citation needed]
According to video game music composer David Wise, he sampled the percussion track of "In the Air Tonight" for "Bayou Boogie", a track in the 1995 SNES game Donkey Kong Country 2: Diddy's Kong Quest.[26]
It was also sampled by MiC LOWRY on their single "Oh Lord".
The song sampled by The Overall Ole in the songs "Gig Paty Gig!".
Use in literature[edit]
U.S. author Mohja Kahf obtained permission to cite two lines from the song in her novel, The Girl in the Tangerine Scarf (Perseus Books, 2006). When the novel's protagonist, a young Syrian American woman named Khadra who is coming of age during the 1970s and 1980s in America, performs the Muslim ritual pilgrimage (hajj) to Mecca and views the Ka'ba for the first time, the author writes that: "Khadra tried to keep the joyous talbiya [ritual chant] in her mind and on her tongue: Here I am, O my Lord, Here I am! Labbaik, allahumma, labbaik! But she kept getting it crossed with Phil Collins in her head crooning, 'I can feel it coming in the air tonight, Oh Lo-ord ... I've been waiting for this moment for all my life, oh Lo-ord ...'"[27]
Single and credits[edit]
VSK102 UK Single Release (Martin H)
"In the Air tonight"
"The Roof is leaking
Sleeve includes a black and white 12 page cartoon storyboard drawn by Collins' brother Clive Collins.
UK and US single (1981)[edit]
"In the Air Tonight" – 4:57
Phil Collins – Roland CR-78, vocals, drums, Prophet 5, Rhodes, Roland VP-330 vocoder
John Giblin – bass
Daryl Stuermer – guitar
L. Shankar – violins
"The Roof Is Leaking" – 3:36
Phil Collins – piano, vocal
Daryl Stuermer – banjo
Joe Partridge – slide guitar, aka Eric Clapton, credited as Eric
A demo track for "In the Air Tonight" also appeared on the "If Leaving Me Is Easy" single.[1]
12" German maxi-single (1981)[edit]
"In the Air Tonight" (full-length version including the extra drums) – 5:34
Phil Collins – Roland CR-78, vocals, drums, Prophet 5, Rhodes, Roland VP-330 vocoder
John Giblin – bass
Daryl Stuermer – guitar
L. Shankar – violins
"The Roof Is Leaking" – 3:36
Phil Collins – piano, vocal
Daryl Stuermer – banjo
Joe Partridge – slide guitar, aka Eric Clapton, credited as Eric
Japan CD single (1988)[edit]
"In the Air Tonight" (extended)
"In the Air Tonight" ('88 remix)
"I Missed Again" (Album Version)
German CD single (1990)[edit]
"In the Air Tonight" (extended version) – 7:33 (Additional production by Ben Liebrand)
"In the Air Tonight" ('88 remix) – 5:07 (Remixed by Phil Collins and Hugh Padgham)
"I Missed Again" – 3:42
(catalogue 2292-57672-2)
Charts and certifications[edit]
Weekly charts[edit]
Chart (1981)
Peak
position
Australia (Kent Music Report)[28] 3
Austria (Ö3 Austria Top 40)[29] 1
Belgium (Ultratop 50 Flanders)[30] 3
Canadian RPM Top Singles 2
Netherlands (Single Top 100)[31] 2
Germany (Media Control Charts)[32] 1
Ireland (IRMA)[33] 2
New Zealand (Recorded Music NZ)[34] 6
Norway (VG-lista)[35] 4
Spain (AFYVE)[36] 7
Sweden (Sverigetopplistan)[37] 1
Switzerland (Schweizer Hitparade)[38] 1
UK Singles Chart[2] 2
US Billboard Hot 100[39] 19
US Mainstream Rock (Billboard)[40] 2
Zimbabwe Singles (ZIMA)[41] 4
Chart (1984)
Peak
position
U.S. Billboard Bubbling Under the Hot 100 102
Chart (1988)
Peak
position
Dutch Singles Chart 17
Germany (Media Control Charts)[42] 3
UK Singles Chart[2] 4
Chart (1989)
Peak
position
Australia (ARIA)[43] 47
Chart (2007)
Peak
position
UK Singles Chart 14
Chart (2008)
Peak
position
New Zealand (Recorded Music NZ)[44] 1
Chart (2012)
Peak
position
France (SNEP)[45] 102
Chart (2017)
Peak
position
Poland (Polish Airplay Top 100)[46] 63
Year-end charts[edit]
Chart (1981)
Peak
position
New Zealand (Recorded Music NZ)[47] 35
Chart (2008)
Peak
position
New Zealand (Recorded Music NZ)[48] 23
Certifications[edit]
Region
Certification
Certified units/Sales
Germany (BVMI)[49]
Physical single
Gold 250,000^
Italy (FIMI)[50]
Digital single
Gold 10,000*
New Zealand (RMNZ)[51]
Physical single
Gold 25,000*
New Zealand (RMNZ)[52]
Digital single
Platinum
United Kingdom (BPI)[53]
Physical single
Gold 500,000^
United States (RIAA)[54]
Physical single
Gold 3,500,000^
United States (RIAA)[54]
Digital single
3× Platinum
*sales figures based on certification alone
^shipments figures based on certification alone
Preceded by
"Shaddap You Face" by Joe Dolce Music Theatre German Singles Chart number-one single
15 May 1981 Succeeded by
"Stars on 45 Medley" by Stars on 45
Preceded by
"Always on My Mind" by Tiki Taane New Zealand RIANZ number-one single
21 July 2008 – 27 July 2008 Succeeded by
"Nesian 101" by Nesian Mystik
Cover versions[edit]
A cover of the song appears on the Nonpoint album Recoil and in the film Miami Vice (2006), and a video was made to promote the track using clips from the film. Nonpoint's version was also used in teasers for the fifth season of Dexter in 2010.
References[edit]
Jump up ^ "BPI > Certified Awards > Search results for Phil Collins (page 3)". British Phonographic Industry. Retrieved 16 February 2016.
^ Jump up to: a b c "Official Charts > Phil Collins". The Official UK Charts Company. Retrieved 16 February 2016.
Jump up ^ "The 20 Best Drummers of All Time". LA Weekly. Los Angeles. 11 November 2014. Retrieved 24 July 2015.
Jump up ^ Veix, Joe (11 April 2014). "An intense 30-minute loop of Phil Collins's ‘In The Air Tonight’ drum fill". Death and Taxes. Retrieved 24 July 2015.
^ Jump up to: a b Wardrop, Murray (8 May 2009). "Ozzy Osbourne: 'I love Phil Collins'". The Daily Telegraph. Retrieved 24 July 2015.
Jump up ^ Greene, Andy (2016-02-29). ""In the Air Tonight" (1981) | Phil Collins: My Life in 15 Songs". Rolling Stone. Retrieved 2016-10-19.
Jump up ^ Mills, Gary (26 May 2010). "No Flak Jacket Required: In Defence Of Phil Collins". The Quietus. Retrieved 23 October 2015. the single's place in 1981 at the vanguard of experimental pop
^ Jump up to: a b "Mix Magazine - Classic Tracks: Phil Collins' "In the Air Tonight"". Archived from the original on 17 March 2007.
Jump up ^ Thompson, Dave (November 2004). Turn It On Again: Peter Gabriel, Phil Collins, and Genesis. Backbeat Books. p. 182. ISBN 978-0-87930-810-0.
Jump up ^ Sold on Song - Song Library - In the Air Tonight
Jump up ^ Collins, Phil; et al. (2007). Genesis: Chapter and Verse. St. Martin's Griffin. pp. 220–221. ISBN 978-0-312-37956-8.
Jump up ^ Gruss, Mike (11 July 2007). "I've been Waiting for a theme song all my life". The Virginian-Pilot. Daily Break section, p. E1. Retrieved 11 August 2013. ... Phil Collins' 1981 soft-rock classic 'In the Air Tonight.' (subscription required)
Jump up ^ "In the Air Tonight". Snopes.com. Retrieved 2015-11-11.
Jump up ^ "BBC World Service - "The Singer and the Song" Phil Collins"".
Jump up ^ "Eminem – Stan Lyrics". MetroLyrics. Retrieved 9 September 2016.
Jump up ^ "BBC News: Stars recall Live Aid spectacular". 8 November 2004.
Jump up ^ "The top ten sex scenes in film" The Michigan Daily 14 February 2002: 5B
Jump up ^ Murray, Noel (2 August 2012). "How Miami Vice launched the '80s on TV, then died with its decade | TV | A Very Special Episode". The A.V. Club. The Onion. Retrieved 9 August 2012.
Jump up ^ Whitburn, Joel. Bubbling Under Singles & Albums (1998): 51
Jump up ^ Lippert, Barbara. "Michelob Taps Sultry Feel In Night Moves" The Milwaukee Journal 17 June 1986: XTRA14
Jump up ^ "New Zealand Platinum Certification". RadioScope New Zealand. 25 October 2009. Archived from the original on 24 July 2011. Retrieved 28 October 2009.
Jump up ^ Wonderbra drums up sexy hit, Daily Mail, 9 November 2007. Retrieved 27 February 2012.
Jump up ^ YouTube. "Gorilla TV advert - In The Air Tonight (Ad Of The Decade)". YouTube. Retrieved 26 August 2017.
Jump up ^ Daily Mail. "Revealed: The man behind the drum-playing gorilla suit in Cadbury's ad". Daily Mail. Retrieved 26 August 2017.
Jump up ^ Setchfield, Nick; Graham, Matthew (22 May 2010). "Ashes exclusive". SFX. Retrieved 17 June 2010.
Jump up ^ "David Wise on Twitter: "@pantalytron No coincidence. I was trying to get the SNES to sound like the Roland CR78 that Phil Collins used for In the air tonight."". Twitter. Retrieved 2016-10-19.
Jump up ^ (The Girl in the Tangerine Scarf, p. 162)
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992 (Illustrated ed.). St. Ives, N.S.W.: Australian Chart Book. p. 71. ISBN 0-646-11917-6.
Jump up ^ "Austriancharts.at – Phil Collins – In the Air Tonight" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – Phil Collins – In the Air Tonight" (in Dutch). Ultratop 50.
Jump up ^ "Dutchcharts.nl – Phil Collins – In the Air Tonight" (in Dutch). Single Top 100.
Jump up ^ "Offizielle Deutsche Charts > Phil Collins - In the Air Tonight (single)" (in German). GfK Entertainment. Retrieved 16 February 2016.
Jump up ^ "The Irish Charts – Search Results – In the Air Tonight". Irish Singles Chart.
Jump up ^ "Charts.org.nz - Phil Collins - In the Air Tonight". Retrieved 14 June 2016.
Jump up ^ "Norwegiancharts.com – Phil Collins – In the Air Tonight". VG-lista.
Jump up ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.
Jump up ^ "Swedishcharts.com – Phil Collins – In the Air Tonight". Singles Top 100.
Jump up ^ "Swisscharts.com – Phil Collins – In the Air Tonight". Swiss Singles Chart.
Jump up ^ "Phil Collins – Chart history" Billboard Hot 100 for Phil Collins.
Jump up ^ "Phil Collins – Chart history" Billboard Mainstream Rock Songs for Phil Collins.
Jump up ^ * Zimbabwe. Kimberley, C. Zimbabwe: singles chart book. Harare: C. Kimberley, 2000
Jump up ^ "Offizielle Deutsche Charts > Phil Collins - In the Air Tonight ('88 Remix) (single)" (in German). GfK Entertainment. Retrieved 16 February 2016.
Jump up ^ "australian-charts.com > Discography Phil Collins". Hung Medien. Archived from the original on 29 February 2016. Retrieved 16 February 2016.
Jump up ^ "Charts.org.nz – Phil Collins – In the Air Tonight". Top 40 Singles.
Jump up ^ "Lescharts.com – Phil Collins – In the Air Tonight" (in French). Les classement single.
Jump up ^ "Listy bestsellerów, wyróżnienia :: Związek Producentów Audio-Video". Polish Airplay Top 100. Retrieved 2 October 2017.
Jump up ^ "Top Selling Singles of 1981". Recorded Music NZ. Retrieved 14 June 2016.
Jump up ^ "Top Selling Singles of 2008". Recorded Music NZ. Retrieved 14 June 2016.
Jump up ^ "Gold-/Platin-Datenbank (Phil Collins; 'In The Air Tonight')" (in German). Bundesverband Musikindustrie. Retrieved 2 February 2016.
Jump up ^ "Italian single certifications – Phil Collins – In The Air Tonight" (in Italian). Federazione Industria Musicale Italiana. Retrieved 2 February 2016.
Jump up ^ "New Zealand single certifications – Phil Collins – In The Air Tonight". Recorded Music NZ. Retrieved 2 February 2016.
Jump up ^ "Latest Gold / Platinum Singles – RadioScope New Zealand". Recording Industry Association of New Zealand. RadioScope New Zealand. Archived from the original on 24 July 2011. Retrieved 2 February 2016.
Jump up ^ "British single certifications – Phil Collins – In The Air Tonight". British Phonographic Industry. Retrieved 2 February 2016. Enter In The Air Tonight in the search field and then press Enter.
^ Jump up to: a b "American single certifications – Phil Collins – In The Air Tonight". Recording Industry Association of America. Retrieved 2 February 2016. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
External links[edit]
The Singer and the Song, a "Learning English" episode from the BBC World Service, which includes a clip from the song and a recording of Collins reading part of the song's lyrics (in RealAudio)
"Classic track: In the Air Tonight" About the lyrics and the drum sound.
aglassandahalffullproductions.com, Cadbury advert featuring a Gorilla playing the song.
Lyrics of this song at MetroLyrics
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text:
The Wonderful Wizard of Oz
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see The Wonderful Wizard of Oz (disambiguation).
The Wonderful Wizard of Oz
Original title page
Author
L. Frank Baum
Illustrator
W. W. Denslow
Country
United States
Language
English
Series
The Oz books
Genre
Fantasy, children's novel
Publisher
George M. Hill Company
Publication date
May 17, 1900
OCLC
9506808
Followed by
The Marvelous Land of Oz
The Wonderful Wizard of Oz (/ɒz/) is an American children's novel written by author L. Frank Baum and illustrated by W. W. Denslow, originally published by the George M. Hill Company in Chicago on May 17, 1900.[1] It has since been reprinted on numerous occasions, most often under the title The Wizard of Oz, which is the title of the popular 1902 Broadway musical adaptation as well as the iconic 1939 musical film adaptation.
The story chronicles the adventures of a young farm girl named Dorothy in the magical Land of Oz, after she and her pet dog Toto are swept away from their Kansas home by a cyclone.[nb 1] The novel is one of the best-known stories in American literature and has been widely translated. The Library of Congress has declared it "America's greatest and best-loved homegrown fairytale". Its groundbreaking success and the success of the Broadway musical adapted from the novel led Baum to write thirteen additional Oz books that serve as official sequels to the first story.
Baum dedicated the book "to my good friend & comrade, My Wife", Maud Gage Baum. In January 1901, George M. Hill Company completed printing the first edition, a total of 10,000 copies, which quickly sold out. The Wonderful Wizard of Oz sold three million copies by the time it entered the public domain in 1956.
1900 first edition cover, George M. Hill, Chicago, New York
Back cover
Contents
[hide]
1 Publication
2 Plot
3 Illustration and design
4 Sources of images and ideas
4.1 The Land of Oz and other locations
4.2 Alice's Adventures in Wonderland
4.3 American fantasy story
4.4 Baum's personal life
4.5 Influence of Denslow
4.6 Allusions to 19th-century America
5 Cultural impact
6 Critical response
7 Editions
8 Sequels
9 Adaptations
10 See also
11 Notes and references
12 External links
Publication[edit]
The book was published by George M. Hill Company. Its first edition had a printing of 10,000 copies and was sold in advance of the publication date of September 1, 1900. On May 17, 1900, the first copy of the book came off the press; Baum assembled it by hand and presented it to his sister Mary Louise Baum Brewster. The public saw the book for the first time at a book fair at the Palmer House in Chicago, July 5–20. The book's copyright was registered on August 1; full distribution followed in September.[2] By October 1900, the first edition had already sold out and the second edition of 15,000 copies was nearly depleted.[3]
In a letter to his brother Harry, Baum wrote that the book's publisher George M. Hill predicted a sale of about 250,000 copies. In spite of this favorable conjecture, Hill did not initially predict that the book would be phenomenally successful. He agreed to publish the book only when the manager of the Chicago Grand Opera House Fred R. Hamlin committed to making The Wonderful Wizard of Oz into a musical stage play to publicize the novel. The play The Wizard of Oz debuted on June 16, 1902. It was revised to suit adult preferences and was crafted as a "musical extravaganza", with the costumes modeled after Denslow's drawings. Hill's publishing company became bankrupt in 1901, so Baum and Denslow agreed to have the Indianapolis-based Bobbs-Merrill Company resume publishing the novel.[4]
Baum's son Harry Neal told the Chicago Tribune in 1944 that L. Frank told his children "whimsical stories before they became material for his books". Harry called his father the "swellest man I knew", a man who was able to give a decent reason as to why black birds cooked in a pie could afterwards get out and sing.[5]
By 1938, more than one million copies of the book had been printed.[6] Less than two decades later in 1956, the sales of his novel had grown to three million copies in print.[4]
Plot[edit]
Dorothy is a young girl who lives with her Aunt Em and Uncle Henry and her little dog Toto on a farm in the Kansas prairie. One day, Dorothy and Toto are caught up in a cyclone that deposits her farmhouse into Munchkin Country in the magical Land of Oz. The falling house has killed the Wicked Witch of the East, the evil ruler of the Munchkins. The Good Witch of the North arrives with three grateful Munchkins and gives Dorothy the magical Silver Shoes that once belonged to the Wicked Witch. The Good Witch tells Dorothy that the only way she can return home is to go to the Emerald City and ask the great and powerful Wizard of Oz to help her. As Dorothy embarks on her journey, the Good Witch of the North kisses her on the forehead, giving her magical protection from harm.
On her way down the yellow brick road, Dorothy attends a banquet held by a Munchkin man named Boq. The next day, Dorothy frees the Scarecrow from the pole on which he is hanging, applies oil from a can to the rusted connections of the Tin Woodman, and meets the Cowardly Lion. The Scarecrow wants a brain, the Tin Woodman wants a heart, and the Cowardly Lion wants courage, so Dorothy encourages the three of them to journey with her and Toto to the Emerald City to ask for help from the Wizard. After several adventures, the travelers enter the gates of the Emerald City and meet the Guardian of the Gates, who asks them to wear green tinted spectacles to keep their eyes from being blinded by the city's brilliance. Each one is called to see the Wizard. The Wizard appears to Dorothy as a giant head on a marble throne, to the Scarecrow as a lovely lady in silk gauze, to the Tin Woodman as a terrible beast, and to the Cowardly Lion as a ball of fire. The Wizard agrees to help them all if they kill the Wicked Witch of the West, who rules over Oz's Winkie Country. The Guardian warns them that no one has ever managed to defeat the witch.
The Wicked Witch of the West sees the travelers approaching with her one telescopic eye. She sends a pack of wolves to tear them to pieces, but the Tin Woodman kills them with his axe. She sends wild crows to peck their eyes out, but the Scarecrow kills them by breaking their necks. She summons a swarm of black bees to sting them, but they are killed trying to sting the Tin Woodman while the Scarecrow's straw hides the other three. She sends her Winkie soldiers to attack them, but the Cowardly Lion stands firm to repel them. Finally, she uses the power of the Golden Cap to send the winged monkeys to capture Dorothy, Toto, and the Cowardly Lion, unstuff the Scarecrow, and dent the Tin Woodman. Dorothy is forced to become the Wicked Witch's personal slave, while the witch schemes to steal Dorothy's Silver Shoes.
The Wicked Witch melts, from the W. W. Denslow illustration of the first edition (1900).
The Wicked Witch successfully tricks Dorothy out of one of her Silver Shoes. Angered, Dorothy throws a bucket of water at her and is shocked to see the witch melt away. The Winkies rejoice at being freed of the witch's tyranny and help restuff the Scarecrow and mend the Tin Woodman. They ask the Tin Woodman to become their ruler, which he agrees to do after helping Dorothy return to Kansas. Dorothy finds the Golden Cap and summons the Winged Monkeys to carry her and her companions back to the Emerald City. The King of the Winged Monkeys tells how he and the other monkeys are bound by an enchantment to the cap by the sorceress Gayelette from the North, and that Dorothy may use the cap to summon the Winged Monkeys two more times.
When Dorothy and her friends meet the Wizard of Oz again, Toto tips over a screen in a corner of the throne room that reveals the Wizard. He sadly explains he is a humbug—an ordinary old man who, by a hot air balloon, came to Oz long ago from Omaha. The Wizard provides the Scarecrow with a head full of bran, pins, and needles ("a lot of bran-new brains"), the Tin Woodman with a silk heart stuffed with sawdust, and the Cowardly Lion a potion of "courage". Their faith in the Wizard's power gives these items a focus for their desires. The Wizard decides to take Dorothy and Toto home and leave the Emerald City. At the send-off, he appoints the Scarecrow to rule in his stead, which he agrees to do after Dorothy returns to Kansas. Toto chases a kitten in the crowd and Dorothy goes after him, but the tethers of the balloon break and the Wizard floats away.
Dorothy summons the Winged Monkeys to carry her and Toto home, but they explain they cannot cross the desert surrounding Oz. The Soldier with the Green Whiskers informs Dorothy that Glinda the Good Witch of the South may be able to help her return home, so the friends begin their journey to see Glinda, who lives in Oz's Quadling Country. On the way, the Cowardly Lion kills a giant spider who is terrorizing the animals in a forest. The animals ask the Cowardly Lion to become their king, which he agrees to do after helping Dorothy return to Kansas. Dorothy summons the Winged Monkeys a third time to fly them over a mountain to Glinda's palace. Glinda greets the travelers and reveals that the Silver Shoes Dorothy wears can take her anywhere she wishes to go. Dorothy embraces her friends, all of whom will be returned to their new kingdoms through Glinda's three uses of the Golden Cap: the Scarecrow to the Emerald City, the Tin Woodman to the Winkie Country, and the Lion to the forest; after which the cap shall be given to the King of the Winged Monkeys, freeing them. Dorothy takes Toto in her arms, knocks her heels together three times, and wishes to return home. Instantly, she begins whirling through the air and rolling through the grass of the Kansas prairie, up to her Kansas farmhouse. Dorothy runs to her Aunt Em, saying "I'm so glad to be at home again!"
Illustration and design[edit]
The book was illustrated by Baum's friend and collaborator W. W. Denslow, who also co-held the copyright. The design was lavish for the time, with illustrations on many pages, backgrounds in different colors, and several color plate illustrations.[7] In September 1900, The Grand Rapids Herald wrote that Denslow's illustrations are "quite as much of the story as in the writing". The editorial opined that had it not been for Denslow's pictures, the readers would be unable to picture precisely the figures of Dorothy, Toto, and the other characters.[8]
The distinctive look led to imitators at the time, most notably Eva Katherine Gibson's Zauberlinda, the Wise Witch, which mimicked both the typography and the illustration design of Oz.[9] The typeface was the newly designed Monotype Old Style. Denslow's illustrations were so well known that merchants of many products obtained permission to use them to promote their wares. The forms of the Scarecrow, the Tin Woodman, the Cowardly Lion, the Wizard, and Dorothy were made into rubber and metal sculptures. Costume jewelry, mechanical toys, and soap were also designed using their figures.[10]
A new edition of the book appeared in 1944, with illustrations by Evelyn Copelman.[11] Although it was claimed that the new illustrations were based on Denslow's originals, they more closely resemble the characters as seen in the famous 1939 film version of Baum's book.[12]
Sources of images and ideas[edit]
Dorothy meets the Cowardly Lion, from the first edition
Baum acknowledged the influence of the Brothers Grimm and Hans Christian Andersen, which he was deliberately revising in his "American fairy tales" to include the wonder without the horrors.[13]
The Land of Oz and other locations[edit]
Local legend has it that Oz, also known as The Emerald City, was inspired by a prominent castle-like building in the community of Castle Park near Holland, Michigan, where Baum lived during the summer. The yellow brick road was derived from a road at that time paved by yellow bricks. These bricks were located in Peekskill, New York, where Baum attended the Peekskill Military Academy. Baum scholars often refer to the 1893 Chicago World's Fair (the "White City") as an inspiration for the Emerald City. Other legends suggest that the inspiration came from the Hotel Del Coronado near San Diego, California. Baum was a frequent guest at the hotel and had written several of the Oz books there.[14] In a 1903 interview with Publishers Weekly,[15] Baum said that the name "OZ" came from his file cabinet labeled "O–Z".[16]
Some critics have suggested that Baum may have been inspired by Australia, a relatively new country at the time of the book's original publication. Australia is often colloquially spelled or referred to (though not by Australians themselves) as "Oz". Furthermore, in Ozma of Oz (1907), Dorothy gets back to Oz as the result of a storm at sea while she and Uncle Henry are traveling by ship to Australia. Like Australia, Oz is an island continent somewhere to the west of California with inhabited regions bordering on a great desert. One might imagine that Baum intended Oz to be Australia, or perhaps a magical land in the center of the great Australian desert.[17]
Alice's Adventures in Wonderland[edit]
Another influence lay in Lewis Carroll's Alice's Adventures in Wonderland. A September 1900 review in the Grand Rapids Herald called The Wonderful Wizard of Oz a "veritable Alice in Wonderland brought up to the present day standard of juvenile literature".[8] Baum found Carroll's plots incoherent, but he identified the books' source of popularity as Alice herself, a child with whom the child readers could identify; this influenced his choice of a protagonist.[13] Baum was also influenced by Carroll's belief that children's books should have many pictures and be pleasurable to read. Carroll rejected the Victorian-era ideology that children's books should be saturated with morals, instead believing that children should be allowed to be children. Building on Carroll's style of numerous images accompanying the text, Baum combined the conventional features of a fairy tale (witches and wizards) with the well-known things in his readers' lives (scarecrows and cornfields).[18]
American fantasy story[edit]
The Wonderful Wizard of Oz is considered the first American fairy tale because of its references to clear American locations such as Kansas and Omaha. Baum agreed with authors such as Carroll that fantasy literature was important for children, along with numerous illustrations, but he also wanted to create a story that had recognizable American elements in it, such as farming and industrialization.[19]
Baum's personal life[edit]
Many of the characters, props, and ideas in the novel were drawn from Baum's experiences. As a child, Baum frequently had nightmares of a scarecrow pursuing him across a field. Moments before the scarecrow's "ragged hay fingers" nearly gripped his neck, it would fall apart before his eyes. Decades later, as an adult, Baum integrated his tormentor into the novel as the Scarecrow.[20] According to his son Harry, the Tin Woodman was born from Baum's attraction to window displays. He wished to make something captivating for the window displays, so he used an eclectic assortment of scraps to craft a striking figure. From a washboiler he made a body, from bolted stovepipes he made arms and legs, and from the bottom of a saucepan he made a face. Baum then placed a funnel hat on the figure, which ultimately became the Tin Woodman.[21] John D. Rockefeller was the nemesis of Baum's father, an oil baron who declined to purchase Standard Oil shares in exchange for selling his own oil refinery. Baum scholar Evan I. Schwartz posited that Rockefeller inspired one of the Wizard's numerous faces. In one scene in the novel, the Wizard is seen as a "tyrannical, hairless head". When Rockefeller was 54 years old, the medical condition alopecia caused him to lose every strand of hair on his head, making people fearful of speaking to him.[22]
In the early 1880s, Baum's play Matches was being performed when a "flicker from a kerosene lantern sparked the rafters", causing the Baum opera house to be consumed by flames. Scholar Evan I. Schwartz suggested that this might have inspired the Scarecrow's severest terror: "There is only one thing in the world I am afraid of. A lighted match."[23]
In 1890, Baum lived in Aberdeen, which was experiencing a drought, and he wrote a witty story in his "Our Landlady" column in Aberdeen's The Saturday Pioneer[24] about a farmer who gave green goggles to his horses, causing them to believe that the wood chips that they were eating were pieces of grass. Similarly, the Wizard made the people in the Emerald City wear green goggles so that they would believe that their city was built from emeralds.[25]
During Baum's short stay in Aberdeen, the dissemination of myths about the plentiful West continued. However, the West, instead of being a wonderland, turned into a wasteland because of a drought and a depression. In 1891, Baum moved his family from South Dakota to Chicago. At that time, Chicago was getting ready for the World's Columbian Exposition in 1893. Scholar Laura Barrett stated that Chicago was "considerably more akin to Oz than to Kansas". After discovering that the myths about the West's incalculable riches were baseless, Baum created "an extension of the American frontier in Oz". In many respects, Baum's creation is similar to the actual frontier save for the fact that the West was still undeveloped at the time. The Munchkins Dorothy encounters at the beginning of the novel represent farmers, as do the Winkies she later meets.[26]
Baum's wife frequently visited her niece, Dorothy Louise Gage. The infant became gravely sick and died on November 11, 1898, from "congestion of the brain" at exactly five months. When the baby, whom Maud adored as the daughter she never had, died, she was devastated and needed to consume medicine.[27] To assuage her distress, Frank made his protagonist of The Wonderful Wizard of Oz a female named Dorothy.[28] Uncle Henry was modeled after Henry Gage, his wife Maud's father. Bossed around by his wife Matilda, Henry rarely dissented with her. He flourished in business, though, and his neighbors looked up to him. Likewise, Uncle Henry was a "passive but hard-working man" who "looked stern and solemn, and rarely spoke".[29] The witches in the novel were influenced by witch-hunting research gathered by Baum's mother-in-law, Matilda. The stories of barbarous acts against accused witches scared Baum. Two key events in the novel involve wicked witches who both meet their death through metaphorical means.[30]
Baum held different jobs, moved a lot, and was exposed to many people, so the inspiration for the story could have been taken from many different aspects of his life.[31] In the introduction to the story, Baum writes that "it aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out."[32] This is one of the explanations that he gives for the inspiration for The Wonderful Wizard of Oz. Baum, a former salesman of china, wrote in chapter 20 about china that had sprung to life.[25]
Influence of Denslow[edit]
The original illustrator of the novel, W. W. Denslow, could also have influenced the story and the way it has been interpreted. Baum and Denslow had a close working relationship and worked together to create the presentation of the story through the images and the text. Color is an important element of the story and is present throughout the images, with each chapter having a different color representation. Denslow also added characteristics to his drawings that Baum never described. For example, Denslow drew a house and the gates of the Emerald City with faces on them. In the later Oz books, John R. Neill, who illustrated all of the sequels, continued to include these faces on gates.[33]
Allusions to 19th-century America[edit]
See also: Political interpretations of The Wonderful Wizard of Oz
Baum did not offer any conclusive proof that he intended his novel to be a political allegory. Historian Ranjit S. Dighe wrote that for 60 years after the book's publication, "virtually nobody" had such an interpretation until Henry Littlefield, a high-school teacher.[34] In his 1964 American Quarterly article, "The Wizard of Oz: Parable on Populism",[35] Littlefield posited that the book contained an allegory of the late 19th-century bimetallism debate regarding monetary policy.[36]
Littlefield's thesis achieved some support, but has been strenuously attacked by others.[37][38][39]
Cultural impact[edit]
The Wonderful Wizard of Oz has become an established part of multiple cultures, spreading from its early young American readership to becoming known throughout the world. It has been translated or adapted into well over fifty languages, at times being modified in local variations. For instance, in some abridged Indian editions, the Tin Woodman was replaced with a horse.[40] In Russia, a translation by Alexander Melentyevich Volkov produced six books, The Wizard of the Emerald City series, which became progressively distanced from the Baum version, as Ellie and her dog Totoshka travel throughout the Magic Land. The 1939 film adaptation has become a classic of popular culture, shown annually on American television from 1959 to 1991 and then several times a year every year beginning in 1999.[41] More recently, the story has become an American stage production with an all-black cast, set in the context of modern African-American culture.[42][43]
Critical response[edit]
This last story of The Wizard is ingeniously woven out of commonplace material. It is, of course, an extravaganza, but will surely be found to appeal strongly to child readers as well as to the younger children, to whom it will be read by mothers or those having charge of the entertaining of children. There seems to be an inborn love of stories in child minds, and one of the most familiar and pleading requests of children is to be told another story.
The drawing as well as the introduced color work vies with the texts drawn, and the result has been a book that rises far above the average children's book of today, high as is the present standard....
The book has a bright and joyous atmosphere, and does not dwell upon killing and deeds of violence. Enough stirring adventure enters into it, however, to flavor it with zest, and it will indeed be strange if there be a normal child who will not enjoy the story.
“
”
The New York Times, September 8, 1900[44]
The Wonderful Wizard of Oz received positive critical reviews upon release. In a September 1900 review, The New York Times praised the novel, writing that it would appeal to child readers and to younger children who could not read yet. The review also praised the illustrations for being a pleasant complement to the text.[44]
During the first 50 years after The Wonderful Wizard of Oz's publication in 1900, it received little critical analysis from scholars of children's literature. According to Ruth Berman of Science Fiction Studies, the lists of suggested reading published for juvenile readers never contained Baum's work. The lack of interest stemmed from the scholars' misgivings about fantasy, as well as to their belief that lengthy series had little literary merit.[45]
It has frequently come under fire over the years. In 1957, the director of Detroit's libraries banned The Wonderful Wizard of Oz for having "no value" for children of his day, for supporting "negativism", and for bringing children's minds to a "cowardly level". Professor Russel B. Nye of Michigan State University countered that "if the message of the Oz books—love, kindness, and unselfishness make the world a better place—seems of no value today", then maybe the time is ripe for "reassess[ing] a good many other things besides the Detroit library's approved list of children's books".[46]
In 1986, seven Fundamentalist Christian families in Tennessee opposed the novel's inclusion in the public school syllabus and filed a lawsuit.[47][48] They based their opposition to the novel on its depicting benevolent witches and promoting the belief that integral human attributes were "individually developed rather than God given".[48] One parent said, "I do not want my children seduced into godless supernaturalism".[49] Other reasons included the novel's teaching that females are equal to males and that animals are personified and can speak. The judge ruled that when the novel was being discussed in class, the parents were allowed to have their children leave the classroom.[47]
Leonard Everett Fisher of The Horn Book Magazine wrote in 2000 that Oz has "a timeless message from a less complex era, and it continues to resonate". The challenge of valuing oneself during impending adversity has not, Fisher noted, lessened during the prior 100 years.[50]
In a 2002 review, Bill Delaney of Salem Press praised Baum for giving children the opportunity to discover magic in the mundane things in their everyday lives. He further commended Baum for teaching "millions of children to love reading during their crucial formative years".[18]
The Library of Congress has declared The Wonderful Wizard of Oz to be "America's greatest and best-loved homegrown fairytale", also naming it the first American fantasy for children and one of the most-read children's books.[51]
Editions[edit]
After George M. Hill's bankruptcy in 1902, copyright in the book passed to the Bobbs-Merrill Company. The editions they published lacked most of the in-text color and color plates of the original. It was not until the book entered the public domain in 1956 that new editions, either with the original color plates, or new illustrations, proliferated. Notable among them are the 1986 Pennyroyal edition illustrated by Barry Moser, which was reprinted by the University of California Press, and the 2000 Annotated Wizard of Oz edited by Michael Patrick Hearn, which was published by W.W. Norton and included all the original color illustrations, as well as supplemental artwork by Denslow. Other centennial editions included University Press of Kansas's Kansas Centennial Edition, illustrated by Michael McCurdy with black-and-white illustrations, and Robert Sabuda's pop-up book.
Sequels[edit]
See also: List of Oz books
Baum wrote The Wonderful Wizard of Oz without any thought of a sequel. After reading the novel, thousands of children wrote letters to him, requesting that he craft another story about Oz. In 1904, he wrote and published the first sequel, The Marvelous Land of Oz, explaining that he grudgingly wrote the sequel to address the popular demand.[52] Baum also wrote sequels in 1907, 1908, and 1909. In his 1911 The Emerald City of Oz, he wrote that he could not continue writing sequels because Ozland had lost contact with the rest of the world. The children refused to accept this story, so Baum, in 1913 and every year thereafter until his death in May 1919, wrote an Oz book, ultimately writing 13 sequels. The Chicago Tribune's Russell MacFall wrote that Baum explained the purpose of his novels in a note he penned to his sister, Mary Louise Brewster, in a copy of Mother Goose in Prose (1897), his first book. He wrote, "To please a child is a sweet and a lovely thing that warms one's heart and brings its own reward."[4] After Baum's death in 1919, Baum's publishers delegated the creation of more sequels to Ruth Plumly Thompson who wrote 21.[18] An original Oz book was published every Christmas between 1913 and 1942.[53] By 1956, five million copies of the Oz books had been published in the English language, while hundreds of thousands had been published in eight foreign languages.[4]
Adaptations[edit]
Main article: Adaptations of The Wizard of Oz
Judy Garland as Dorothy discovering that she and Toto are no longer in Kansas
The Wonderful Wizard of Oz has been adapted to other media numerous times, most famously in The Wizard of Oz, the 1939 film starring Judy Garland, Ray Bolger, Jack Haley, and Bert Lahr. Until this version, the book had inspired a number of now less well known stage and screen adaptations, including a profitable 1902 Broadway musical and three silent films. The 1939 film was considered innovative because of its songs, special effects, and revolutionary use of the new Technicolor.[54]
The story has been translated into other languages (at least once without permission) and adapted into comics several times. Following the lapse of the original copyright, the characters have been adapted and reused in spin-offs, unofficial sequels, and reinterpretations, some of which have been controversial in their treatment of Baum's characters.[55]
See also[edit]
Oz portal
Novels portal
1900 in literature
The International Wizard of Oz Club
The Baum Bugle
Zardoz
Notes and references[edit]
Notes
Jump up ^ Baum uses the word cyclone while describing a tornado.
Footnotes
Jump up ^ The Wonderful Wizard of Oz By L.Frank Baum With Pictures by W.W. Denslow. Chicago: Geo. M. Hill Co. 1900. Retrieved February 6, 2018 – via Internet Archive.
Jump up ^ Katharine M. Rogers, L. Frank Baum, pp. 73–94.
Jump up ^ "Notes and News". The New York Times. October 27, 1900. Archived from the original on December 3, 2010. Retrieved December 3, 2010.
^ Jump up to: a b c d MacFall, Russell (May 13, 1956). "He created 'The Wizard': L. Frank Baum, Whose Oz Books Have Gladdened Millions, Was Born 100 Years Ago Tuesday" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
Jump up ^ Sweet, Oney Fred (February 20, 1944). "Tells How Dad Wrote 'Wizard of Oz' Stories" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
Jump up ^ Verdon, Michael (1991). "The Wonderful Wizard of Oz". Salem Press.
Jump up ^ Hearn 2000, p. xlvii.
^ Jump up to: a b "New Fairy Stories: "The Wonderful Wizard of Oz" by Authors of "Father Goose."" (PDF). Grand Rapids Herald. September 16, 1900. Archived from the original (PDF) on February 3, 2011. Retrieved February 2, 2011.
Jump up ^ Bloom 1994, p. 9
Jump up ^ Starrett, Vincent (May 2, 1954). "The Best Loved Books" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
Jump up ^ The Annotated Wizard of Oz: The Wonderful Wizard of Oz – Lyman Frank Baum. Google Books.
Jump up ^ Children's Literature Research Collection | University of Minnesota Libraries
^ Jump up to: a b Baum, L. Frank; Hearn, Michael Patrick (1973). The Annotated Wizard of Oz. New York: C.N. Potter. p. 38. ISBN 0-517-50086-8. OCLC 800451.
Jump up ^ The Writer's Muse: L. Frank Baum and the Hotel del Coronado Archived November 2, 2014, at the Wayback Machine..
Jump up ^ Mendelsohn, Ink (May 24, 1986). "As a piece of fantasy, Baum's life was a working model". The Spokesman-Review. Retrieved February 13, 2011.
Jump up ^ Schwartz 2009, p. 273
Jump up ^ Algeo, J., "Australia as the Land of Oz", American Speech, Vol. 65, No. 1, 1990, pp. 86–89.
^ Jump up to: a b c Delaney, Bill (March 2002). "The Wonderful Wizard of Oz". Salem Press. Archived from the original on November 26, 2010. Retrieved November 25, 2010.
Jump up ^ Riley, Michael. "Oz and Beyond, The Fantasy World of L. Frank Baum". Lawrence, University of Kansas Press, 1997, p. 51.
Jump up ^ Gourley 1999, p. 7
Jump up ^ Carpenter & Shirley 1992, p. 43
Jump up ^ Schwartz 2009, pp. 87–89
Jump up ^ Schwartz 2009, p. 75
Jump up ^ Culver 1988, p. 102
^ Jump up to: a b Hansen 2002, p. 261
Jump up ^ Barrett 2006, pp. 154–155
Jump up ^ Taylor, Moran & Sceurman 2005, p. 208
Jump up ^ Wagman-Geller 2008, pp. 39–40
Jump up ^ Schwartz 2009, p. 95
Jump up ^ Schwartz 2009, pp. 97–98
Jump up ^ Schwartz, 2009, p. xiv.
Jump up ^ Baum, Lyman Frank. The Wonderful Wizard of Oz. Harpers Collins, 2000, p. 5.
Jump up ^ Riley 1997, p. 42.
Jump up ^ Dighe 2002, p. x
Jump up ^ Dighe 2002, p. 2
Jump up ^ Littlefield 1964, p. 50
Jump up ^ David B. Parker, "The Rise and Fall of The Wonderful Wizard of Oz as a Parable on Populism" Journal of the Georgia Association of Historians, 15 (1994), pp. 49–63.
Jump up ^ Setting the Standards on the Road to Oz, Mitch Sanders, The Numismatist, July 1991, pp 1042–1050 Archived June 17, 2013, at the Wayback Machine.
Jump up ^ "Responses to Littlefield – The Wizard of Oz". Archived from the original on April 16, 2013. Retrieved October 29, 2013.
Jump up ^ Rutter, Richard (July 2000). Follow the yellow brick road to... (Speech). Indiana Memorial Union, Indiana University, Bloomington, Indiana. Archived from the original on June 10, 2000.
Jump up ^ To See The Wizard: Oz on Stage and Film Archived April 5, 2011, at the Wayback Machine.. Library of Congress, 2003.
Jump up ^ "The Wiz Live! Defied The Skeptics, Returns for a Second Round". NPR. December 20, 2015. Archived from the original on January 25, 2016. Retrieved January 28, 2016.
Jump up ^ "The Wiz Live!". NBC. Archived from the original on October 22, 2015. Retrieved October 22, 2015.
^ Jump up to: a b "Books and Authors". The New York Times. September 8, 1900. pp. BR12–13. Archived from the original (PDF) on November 26, 2010. Retrieved November 26, 2010.
Jump up ^ Berman 2003, p. 504
Jump up ^ Vincent, Starrett (May 12, 1957). "L. Frank Baum's Books Alive" (PDF). Chicago Tribune. Archived from the original (PDF) on November 28, 2010. Retrieved November 28, 2010.
^ Jump up to: a b Abrams & Zimmer 2010, p. 105
^ Jump up to: a b Culver 1988, p. 97
Jump up ^ Nathanson 1991, p. 301
Jump up ^ Fisher, Leonard Everett (2000). "Future Classics: The Wonderful Wizard of Oz". The Horn Book Magazine. Library Journals. 76 (6): 739. ISSN 0018-5078.
Jump up ^ "The Wizard of Oz: An American Fairy Tale". Library of Congress. Archived from the original on February 7, 2016.
Jump up ^ Littlefield 1964, pp. 47–48
Jump up ^ Watson, Bruce (2000). "The Amazing Author of Oz". Smithsonian. Smithsonian Institution. 31 (3): 112. ISSN 0037-7333.
Jump up ^ Twiddy, David (September 23, 2009). "'Wizard of Oz' goes hi-def for 70th anniversary". The Florida Times-Union. Associated Press. Archived from the original on February 13, 2011. Retrieved February 13, 2011.
Jump up ^ Hearn 2000, pp. ci–cii.
Bibliography
Abrams, Dennis; Zimmer, Kyle (2010). L. Frank Baum. New York: Infobase Publishing. ISBN 1-60413-501-8.
Aycock, Colleen and Mark Scott (2008). Joe Gans: A Biography of the First African American World Boxing Champion. McFarland & Co, 133–139.
Barrett, Laura (2006). "From Wonderland to Wasteland: The Wonderful Wizard of Oz, The Great Gatsby, and the New American Fairy Tale". Papers on Language & Literature. Southern Illinois University. 42 (2): 150–180. ISSN 0031-1294. Archived from the original on December 24, 2009. Retrieved March 7, 2011.
Baum, Frank Joslyn; MacFall, Russell P. (1961). To Please a Child. Chicago: Reilly & Lee Co.
Berman, Ruth (November 2003). "The Wizardry of Oz". Science Fiction Studies. DePauw University. 30 (3): 504–509. Archived from the original on November 27, 2010. Retrieved November 27, 2010.
Bloom, Harold (1994). Classic Fantasy Writers. New York: Chelsea House Publishers. ISBN 0-7910-2204-8.
Carpenter, Angelica Shirley; Shirley, Jean (1992). L. Frank Baum: Royal Historian of Oz. Minneapolis: Lerner Publishing Group. ISBN 0-8225-9617-2.
Culver, Stuart. "Growing Up in Oz." American Literary History 4 (1992) 607–28.
Culver, Stuart (1988). "What Manikins Want: The Wonderful Wizard of Oz and The Art of Decorating Dry Goods Windows". Representations. University of California Press (21): 97–116. JSTOR 2928378.
Dighe, Ranjit S. (2002). The Historian's Wizard of Oz: Reading L. Frank Baum's Classic as a Political and Monetary Allegory. Praeger. ISBN 978-0-275-97418-3.
Gardner, Martin; Nye, Russel B. (1994). The Wizard of Oz and Who He Was. East Lansing: Michigan State University Press
Gardner, Todd. "Responses to Littlefield" (2004), online
Gourley, Catherine (1999). Media Wizards: A Behind-the-Scene Look at Media Manipulations. Brookfield, CT: Twenty-First Century Books. ISBN 0-7613-0967-5.
Greene, David L.; Martin, Dick (1977). The Oz Scrapbook. Random House.
Hanff, Peter E and Douglas G. Greene (1988). Bibliographia Oziana: A Concise Bibliographical Checklist. The International Wizard of Oz Club. ISBN 978-1-930764-03-3
Hansen, Bradley A. (2002). "The Fable of the Allegory: The Wizard of Oz in Economics". Journal of Economic Education. Taylor & Francis. 33 (3): 254–264. doi:10.1080/00220480209595190. JSTOR 1183440.
Hearn, Michael Patrick (ed). (2000, 1973) The Annotated Wizard of Oz. W. W. Norton & Co. ISBN 0-393-04992-2
Houlberg, Lauren (June 1, 2011). "The Wizard of Oz: More Than Just a Children's Story". fsu.edu. Florida State University. Retrieved June 14, 2016.
Littlefield, Henry M. (1964). "The Wizard of Oz: Parable on Populism". American Quarterly. Johns Hopkins University Press. 16 (1): 47–58. doi:10.2307/2710826. JSTOR 2710826. Archived from the original on November 21, 2010.
Nathanson, Paul (1991). Over the Rainbow: The Wizard of Oz as a Secular Myth of America. Albany: State University of New York Press. ISBN 0-7914-0709-8.
Parker, David B. (1994) "The Rise and Fall of The Wonderful Wizard of Oz as a 'Parable on Populism'." Journal of the Georgia Association of Historians. 16 (1994): 49–63
Riley, Michael O. (1997) Oz and Beyond: The Fantasy World of L. Frank Baum. University of Kansas Press ISBN 0-7006-0832-X
Ritter, Gretchen. "Silver slippers and a golden cap: L. Frank Baum's The Wonderful Wizard of Oz and historical memory in American politics." Journal of American Studies (August 1997) vol. 31, no. 2, 171–203.
Rockoff, Hugh. "The 'Wizard of Oz' as a Monetary Allegory," Journal of Political Economy 98 (1990): 739–60 online at JSTOR
Rogers, Katharine M. (2002). L. Frank Baum: Creator of Oz. New York: St. Martin's Press. ISBN 0-312-30174-X.
Schwartz, Evan I. (2009). Finding Oz: how L. Frank Baum discovered the Great American story. Boston: Houghton Mifflin Harcourt. ISBN 0-547-05510-2.
Sherman, Fraser A. (2005). The Wizard of Oz catalog: L. Frank Baum's novel, its sequels and their adaptations for stage, television, movies, radio, music videos, comic books, commercials and more. Jefferson, N.C.: McFarland & Co. ISBN 0-7864-1792-7
Sunshine, Linda. All Things Oz (2003)
Swartz, Mark Evan. Oz Before the Rainbow: L. Frank Baum's "The Wonderful Wizard of Oz" on Stage and Screen to 1939 (2000).
Taylor, Troy; Moran, Mark; Sceurman, Mark (2005). Weird Illinois: Your Travel Guide to Illinois' Local Legends and Best Kept Secrets. Weird. New York: Sterling Publishing. ISBN 0-7607-5943-X.
Velde, Francois R. "Following the Yellow Brick Road: How the United States Adopted the Gold Standard" Economic Perspectives. Volume: 26. Issue: 2. 2002. also online here
Wagman-Geller, Marlene (2008). Once Again to Zelda: The Stories Behind Literature's Most Intriguing Dedications. New York: Penguin Books. ISBN 0-399-53462-8.
Ziaukas, Tim (Fall 1998). "100 Years of Oz: Baum's 'Wizard of Oz' as Gilded Age Public Relations". Public Relations Quarterly.
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The Wonderful Wizard of Oz
Canonical books
L. Frank Baum
The Wonderful Wizard of Oz (1900)
The Marvelous Land of Oz (1904)
Ozma of Oz (1907)
Dorothy and the Wizard in Oz (1908)
The Road to Oz (1909)
The Emerald City of Oz (1910)
The Patchwork Girl of Oz (1913)
Tik-Tok of Oz (1914)
The Scarecrow of Oz (1915)
Rinkitink in Oz (1916)
The Lost Princess of Oz (1917)
The Tin Woodman of Oz (1918)
The Magic of Oz (1919)
Glinda of Oz (1920)
Ruth Plumly
Thompson
The Royal Book of Oz (1921)
Kabumpo in Oz (1922)
The Cowardly Lion of Oz (1923)
Grampa in Oz (1924)
The Lost King of Oz (1925)
The Hungry Tiger of Oz (1926)
The Gnome King of Oz (1927)
The Giant Horse of Oz (1928)
Jack Pumpkinhead of Oz (1929)
The Yellow Knight of Oz (1930)
Pirates in Oz (1931)
The Purple Prince of Oz (1932)
Ojo in Oz (1933)
Speedy in Oz (1934)
The Wishing Horse of Oz (1935)
Captain Salt in Oz (1936)
Handy Mandy in Oz (1937)
The Silver Princess in Oz (1938)
Ozoplaning with the Wizard of Oz (1939)
Others
The Wonder City of Oz (1940)
The Scalawagons of Oz (1941)
Lucky Bucky in Oz (1942)
The Magical Mimics in Oz (1946)
The Shaggy Man of Oz (1949)
The Hidden Valley of Oz (1951)
Merry Go Round in Oz (1963)
Yankee in Oz (1972)
The Enchanted Island of Oz (1976)
The Forbidden Fountain of Oz (1980)
The Ozmapolitan of Oz (1986)
The Wicked Witch of Oz (1993)
The Giant Garden of Oz (1993)
The Runaway in Oz (1995)
The Rundelstone of Oz (2000)
The Emerald Wand of Oz (2005)
Trouble Under Oz (2006)
Alternate
Dorothy of Oz (1989)
Locations
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Adaptations and other derivative works
Films
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The Wonderful Wizard of Oz (1910)
Dorothy and the Scarecrow in Oz (1910)
The Land of Oz (1910)
John Dough and the Cherub (1910)
The Patchwork Girl of Oz (1914)
The Magic Cloak of Oz (1914)
His Majesty, the Scarecrow of Oz (1914)
The Wizard of Oz (1925)
The Wizard of Oz (1933)
The Wizard of Oz (1939)
Return to Oz (1964)
The Wonderful Land of Oz (1969)
Ayşecik ve Sihirli Cüceler Rüyalar Ülkesinde (1971)
Journey Back to Oz (1974)
The Wonderful Wizard of Oz (1975)
The Wiz (1978)
The Wizard of Oz (1982)
Return to Oz (1985)
Dorothy Meets Ozma of Oz (1987)
The Dreamer of Oz: The L. Frank Baum Story (1990)
Lion of Oz (2000)
The Muppets' Wizard of Oz (2005)
Tom and Jerry and the Wizard of Oz (2011)
Dorothy and the Witches of Oz (2011)
After the Wizard (2011)
Oz the Great and Powerful (2013)
Legends of Oz: Dorothy's Return (2014)
Ozland (2014)
Guardians of Oz (2015)
Tom and Jerry: Back to Oz (2016)
Stage
The Wizard of Oz (1902)
The Woggle-Bug (1905)
The Tik-Tok Man of Oz (1913)
The Wizard of Oz (1942)
The Wiz (1974)
The Marvelous Land of Oz (1981)
The Wizard of Oz (1987)
The Wonderful Wizard of Oz (2000)
The Wizard of Oz (2011)
The Woodsman (2012)
Television
Tales of the Wizard of Oz (1961)
Off to See the Wizard (1967)
The Wonderful Wizard of Oz (1986)
The Wizard of Oz (1990)
The Oz Kids (1996)
Lost in Oz (2002)
Once Upon a Time (since 2011)
The Wiz Live! (2015)
Lost In Oz (2015)
Emerald City (2017)
Dorothy and the Wizard of Oz (2017)
Comics
Queer Visitors from the Marvelous Land of Oz (1904–05)
Adventures in Oz (1986–92)
The Enchanted Apples of Oz (1986)
Oz Squad (1991)
Lost Girls (1991–92)
Oz (1994)
Dorothy of Oz (2006)
The Wonderful Wizard of Oz (2009)
Video
games
The Wizard of Oz (1993)
The Wizard of Oz: Beyond the Yellow Brick Road (2008)
Emerald City Confidential (2009)
Parodies
The Wozard of Iz
Os Trapalhões e o Mágico de Oróz
The Wonderful Wizard of Ha's
Wizard of Odd
Reimagining
The Wizard of Mars (1965)
Hunter (1973)
Zardoz (1974)
Oz (1976)
The Number of the Beast (1980)
A Barnstormer in Oz (1982)
The Wizard of A.I.D.S. (1987)
The Wonderful Galaxy of Oz (1990)
Twister (1994)
The Dark Tower IV: Wizard and Glass (1997)
Tin Man (2007)
Dorothy Must Die (2014)
The Wicked Will Rise (2015)
The Wicked
Years
Wicked
Son of a Witch
A Lion Among Men
Out of Oz
Wicked (musical)
Characters
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Rainbow Road to Oz
MÄR
The Wizard of Oz (pinball)
The Wizard of Oz (arcade game)
Related
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Bibliography by L. Frank Baum
Novels including Oz
The Magical Monarch of Mo
The Wonderful Wizard of Oz
Dot and Tot of Merryland
The Master Key
The Life and Adventures of Santa Claus
The Enchanted Island of Yew
The Marvelous Land of Oz
Queen Zixi of Ix
The Fate of a Crown
The Woggle-Bug Book
Annabel
Aunt Jane's Nieces
Aunt Jane's Nieces Abroad
Daughters of Destiny
Sam Steele's Adventures on Land and Sea
The Twinkle Tales
John Dough and the Cherub
Ozma of Oz
Policeman Bluejay
The Last Egyptian
Dorothy and the Wizard in Oz
Aunt Jane's Nieces at Millville
Aunt Jane's Nieces at Work
The Road to Oz
Aunt Jane's Nieces in Society
The Emerald City of Oz
Aunt Jane's Nieces and Uncle John
The Daring Twins
The Flying Girl
The Sea Fairies
Aunt Jane's Nieces on Vacation
Phoebe Daring
Sky Island
Aunt Jane's Nieces on the Ranch
The Patchwork Girl of Oz
Aunt Jane's Nieces Out West
Tik-Tok of Oz
Aunt Jane's Nieces in the Red Cross
The Scarecrow of Oz
Mary Louise
Rinkitink in Oz
The Lost Princess of Oz
The Tin Woodman of Oz
The Magic of Oz
Glinda of Oz
Short story
collections
Mother Goose in Prose
American Fairy Tales
Queer Visitors from the Marvelous Land of Oz
Animal Fairy Tales
L. Frank Baum's Juvenile Speaker
Little Wizard Stories of Oz
The Runaway Shadows
Poetry
collections
By the Candelabra's Glare
Father Goose: His Book
Plays
The Maid of Arran
The Wizard of Oz (1902)
Prince Silverwings
The Woggle-Bug
The Tik-Tok Man of Oz
Films
The Fairylogue and Radio-Plays
The Patchwork Girl of Oz (1914)
The Magic Cloak of Oz
His Majesty, the Scarecrow of Oz
Violet's Dreams
The Gray Nun of Belgium
Related people
and collaborators
Maud Gage Baum (wife)
Matilda Joslyn Gage (mother-in-law)
Frank Joslyn Baum (son)
Harry Neal Baum (son)
Roger S. Baum (great-grandson)
Paul Tietjens
Edith Ogden Harrison
Isidore Witmark
Louis F. Gottschalk
Nathaniel D. Mann
Frederic Chapin
Manuel Klein
Arthur Pryor
Byron Gay
Emerson Hough
George Scarborough
William Wallace Denslow
John R. Neill
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WorldCat Identities
VIAF: 183869923
LCCN: n81036429
GND: 4357615-1
SUDOC: 100937365
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