Radiohead and Philosophy - Brandon W. Forbes [137]
defiance toward
prog-rock
Pro Tools
psychoanalytic theory
newborn subject development
Qu’ran
Radiohead Albums:
Airbag/How Am I Driving? EP
Amnesiac
Bends, The
COMLAG (2plus2is5) EP
Drill EP
Hail to the Thief billboard advertising campaign
as Nietzchean album
as political
I Might Be Wrong: Live Recordings
In Rainbows
as contract-free
industry reaction to
reminiscent of Pablo Honey
Kid A surprise at the sound of and culture
OK Computer
Pablo Honey
Radiohead Films:
Meeting People Is Easy
The Most Gigantic Lying Mouth of All Time
Radiohead Songs:
“15 Step,”
“2 + 2 = 5,”
“Airbag,”
“All I Need,”
project EXIT video
“Anyone Can Play Guitar,”
“Backdrifts,”
“Banana Co.,”
“The Bends,”
“Black Star,”
“Bodysnatchers,”
“Bones,”
“Bullet Proof…I Wish I Was,”
“Climbing Up the Walls,”
“Creep,”
and alienation
and phenomenology
“Dollars and Cents,”
“Electioneering,”
“Everything in Its Right Place,”
“Exit Music for a Film,”
and story of Romeo and Juliet
“Fake Plastic Trees,”
“Fitter. Happier.”
“The Gloaming,”
“Go to Sleep,”
Gulliver’s Travels reference
“High and Dry,”
“House of Cards,”
technology used in video
“How Do You?,”
“How I Made My Millions,”
“How to Disappear Completely,”
“Hunting Bears,”
“I Can’t,”
“I Might Be Wrong,”
“I Will,”
“Idioteque,”
“In Limbo,”
“Jigsaw Falling Into Place,”
“Just,”
video
“Karma Police,”
“Knives Out,”
“Let Down,”
“Lucky,”
“Lurgee,”
“Life in a Glass House,”
“Like Spinning Plates,”
“Morning Bell,”
“Motion Picture Soundtrack,”
“My Iron Lung,”
“Myxomatosis,”
“The National Anthem,”
“No Surprises,”
fish-bowl in video
“Nude,”
“Optimistic,”
“Paranoid Android,”
“Planet Telex,”
“Prove Yourself,”
“Pyramid Song,”
time signature of
“Reckoner,”
“Ripcord,”
“Sail to the Moon,”
“Scatterbrain,”
“Sit Down. Stand Up,”
“Stop Whispering,”
“Street Spirit (Fade Out),”
“Subterranean Homesick Alien,”
“There, There,”
“The Tourist,”
“Treefingers,”
“True Love Waits,”
“Vegetable,”
“We Suck Young Blood,”
“Weird Fishes/Arpeggi,”
“Where I End and You Begin,”
“A Wolf At the Door,”
“Videotape,”
Rawls, John
A Theory of Justice
realism
religion
religious confession
revolt (personal)
as art
poetry as revolt
revolution (political)
defiance and
Reznor, Trent
Rimbaud, Arthur
Rolling Stone
The Rolling Stones
Romeo and Juliet
Sartre, Jean-Paul
Seeger, Pete
Selway, Phil
sex
pornography and
and seduction
Shatner, William
The Sims (video game)
Socrates
Sophists
Sophocles
space-rock
spaceships
Sting
Strummer, Joe
suicide
Talk Talk
Talking Heads
techno
technology
fragility of
concept of “friends” and
modern life and
and poetry
of the 1990s
rise of
violence and
Ten
The Terminator
Thatcher, Margaret
Thoreau, Henry David
tragedy
Trow, George W.S.
U2
utilitarianism
ethics of
utopia
Verne, Jules
Violence
Arendt’s definition of
pop music and
and 1960s
technology and
Waters, Roger
weapons of mass destruction (WMDs)
The Wicker Man (film)
Wikipedia
Williams, Dar
Wire, Nicky
witness
Yorke, Thom Albums:
The Eraser
cover art
lyric writing
Yorke, Thom Songs:
“Analyze,”
“And It Rained All Night,”
“Atoms for Peace,”
“Black Swan,”
“The Clock,”
“Cymbal Rush,”
“Harrowdown Hill,”
“Skip Divided,”
Zedong, Mao
Zune
1
The exception is Jonny Greenwood’s brittle, abrupt, and arresting power chords that stumble into the song’s chorus. Especially on first hearing, they sound as if your stereo or iPod is making strange noises. They push you closer to your original sensations to question or relocate the boundaries of the sound and your perceptions of it.
2
“Theodor Adorno, Pink Floyd, and the Psychedelics of Alienation,” in Pink Floyd and Philosophy: Careful with that Axiom, Eugene! (Open Court, 2007), pp. 95-119.
3
Herbert Marcuse, One-Dimensional Man (Beacon Press 1964), pp. x, xvi.
4
J. Peck, ed., The Chomsky Reader, pp. 42-43
5
Mills and Mills, eds. C. Wright Mills: Letters and Autobiographical Writings (University of California Press, 2000), p. 184.