Paul A. McNaney -- "I first heard The Wall while I was in the U.S. Navy in 1979. My friends and I discussed it endlessly, and we came up with some of the same ideas you've expressed here. But only in the past few years have I perhaps caught on to something else. This first came when I saw a retrospective of the Sex Pistols and the whole punk movement of the mid to late 1970's. I recall Johnny Rotten saying how much he and his cohorts hated Pink Floyd. They said that Floyd represented everything they hated about modern music, stadium rock, etc. They wore anti-Floyd t-shirts. The punk movement in Britain was large and violent. There were riots between punks and blacks in Brixton (recalled by the voiceover making slight mention of 'Brixton town hall' in the text). I think that Waters saw the punks as neo-fascists, espousing some of the same ignorant hatreds that Pink's father died fighting against in WWII. The references in 'The Show Must Go On' and 'Waiting for the Worms' are clearly related to fascism, and I think that the group saw it raising its ugly head again in the sometimes incoherent but threatening messages of many punks. So Pink's persona near the end of the album is a slam against this movement and the evil that lies within it."
Michael Graham -- "I was just looking at your analysis for 'Waiting for the Worms' and when I was reading about the many Nazi-esque references, another jumped out at me. At the end of the song, when Gilmour sings, 'Would you like to see Britannia rule again, my friend?', he sings it in a stunningly beautiful voice found nowhere else on the album. Then comes Waters with his more sinister, less disguised voice singing, 'All you have to do is follow the worms.' This is followed by another repitition of beauty and sinister suggestions, which is how the Nazis attracted followers. By baiting them with sweet words (restore the Motherland to a respected position, end poverty, etc.), and once they were hooked, unleashing the full force of their evil and hatred upon them (kill the Jews, gays, gypsies, etc.), they managed to attract most of Germany to their cause."
Liam Elcoat -- "The whole song seems to be presented with similar musical instrumentals from past songs in the album. The song opens with a similar musical approach as to that of 'The Show Must Go On,' and recalls 'Goodbye Cruel World' in its lyrics. Possibly to represent Pink's realisation that now that his neo-nazi party has been assembled and has already killed/harmed some of the 'queers and the coons and the reds and the jews,' he can't turn back and that the show (refering to his facist party) must continue their plan. The lyrics to this also seem to refer to this fact. The whole sequence with Pink and his nazi party singing may also be refering back to 'Another Brick In The Wall, Part 2' with the school choir singing. Symbolising the similarity between the school children rioting and burning their teachers, similar to how Pink and his clan are rioting and planning to burn those of other minorities. As sparse as the connection may be, it still sheds a valid comparison. A little further into the song, there is a guitar solo heard. The guitar solo is actually very similar to that used mid-way in 'Hey You,' which also seems to borrow some parts of the one put forward in 'The Thin Ice' and parts of that in 'Comfortably Numb,' as well as (in places) becoming a similar, more aggressive, version of the riff from 'Another Brick In The Wall, Part 1.' Concerning the (possible) references to these past songs could be to represent Pink looking back at his most recent actions in the movie. The song ends with Pink yelling 'STOP!' at the top of his voice, perhaps showing his desire to have these flashbacks stop. He's looking back at his recent madness (symbolised with the guitar solo), and he's not liking it one bit. The hammers marching, accompanied by said guitar solo and images of Pink yelling are a very powerful image, in my opinion."