Radiohead and Philosophy: Fitter Happier More Deductive by Brandon W. Forbes, George A. Reisch

By Brandon W. Forbes, George A. Reisch

Since their step forward hit "Creep" in 1993, Radiohead has persisted to make waves all through renowned and political tradition with its perspectives in regards to the Bush presidency (its 2003 album used to be titled Hail to the Thief), its anti-corporatism, its pioneering efforts to supply ecologically sound highway excursions, and, so much of all, its selection in 2007 to promote its most recent album, In Rainbows, on-line with a debatable "pay-what-you-want" fee. Radiohead and Philosophy deals clean how you can enjoy the lyrics, track, and conceptual floor of this hugely cutting edge band. The chapters during this ebook clarify how Radiohead’s track connects on to the philosophical phenomenology of thinkers like Maurice Merleau-Ponty and Martin Heidegger, the existentialism of Albert Camus and Jean Paul Sartre, and the philosophical politics of Karl Marx, Jean Baudrillard, and Noam Chomsky. fanatics and critics understand that Radiohead is "the in basic terms band that issues" at the scene this day — Radiohead and Philosophy exhibits why.

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Extra info for Radiohead and Philosophy: Fitter Happier More Deductive (Popular Culture and Philosophy)

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Maybe they were right. But this is perhaps to give too much automatic credence to the idea that pop music depicts history almost without trying—which is precisely what is in question. To leap all the way into the affective world of our own moment, of course, might require something else: electronic sounds. To reproduce a new universe, or to spur a desire to carve out a life in its midst, a band might need a limited quantity of beeps, repetitions, sampled loops, drum machines, noises, and beats.

Barrett and his band used far-out, fantastic electronics to do just that. Under Waters, as Macan explains, Floyd’s radical musical explorations of alienation gave way to lyrical indictments of education, capitalism and other human institutions. With aggressive nuclear powers to the east and west eyeing each other suspiciously through the 1970s and 1980s, Waters was less interested in conjuring psychedelic, transformative possibilities than in directly criticizing the oppressive, limiting realities he observed around him.

The Berlin Wall and the Soviet Union were gone, the Balkan nations felt liberated, and many hoped that cold-war fears and insecurities would be a merely sad chapter in modern history. But new threats and demons emerged (such as war and ethnic cleansing in the Balkans and Africa, climate change, persistent disease and poverty, and new extremes in corporate greed, Enronstyle). What made the post-cold-war world seem especially sinister, however, was the continued growth of a new kind of technology—information technology—that made Moog synthesizers seem quaint and harmless.

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