DOCSLIB.ORG

"Karma Police" Karma Police, Arrest This Man He Talks in Myths He

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
"Karma Police" Karma police, arrest this man He talks in myths He buzzes like a fridge He's like a detuned radio Karma police, arrest this girl Her Hitler hairdo is Making me feel ill And we have crashed her party This is what you get This is what you get This is what you get when you mess with us Karma police I've given all I can It's not enough I've given all I can But we're still on the payroll This is what you get This is what you get This is what you get when you mess with us And for a minute there, I lost myself, I lost myself Phew, for a minute there, I lost myself, I lost myself For a minute there, I lost myself, I lost myself Phew, for a minute there, I lost myself, I lost myself This song is about fate and how it will always catch up with you. The theme of the song is portrayed very well in the video where a man is chased by a car which is then set on fire by the man. (Thanks, Craig - Blairgowrie, Scotland) Thom Yorke: "Karma is important. The idea that something like karma exists makes me happy. It makes me smile. Karma Police is dedicated to everyone who works for a big firm. It's a song against bosses." (Thanks, Bertrand - Paris, France) While shooting the video, Yorke almost died of carbon monoxide poisoning from the car he was sitting in. (thanks, rob - Newport Beach, CA) Ed O'Brien, who supplied the closing wall of feedback said in an interview in Humo magazine: "When someone in the band behaved like an asshole, one of the others always said: 'The Karma Police is gonna get you.' I suppose it's about how your destiny depends on your deeds in a previous life, but you have to trust on something." I think that this song and OK Computer in general allude to George Orwell's '1984'. The Karma Police would equal Oceania's thought police. Then there is the fitter, happier song on the CD which is influenced by some paragraph in 1984 where the party says Oceania's citizens are fitter, stronger, healthier etc. I think karma is better understood as a general concept of "what goes around comes around." We are all one. Hurting other people is like hurting yourself. Nobody is above this. If you put negativity into society, other people probably are too, so expect some of it to come right back at you. If you are a nice respectful person, you'll probably have a nice group of friends to keep a buffer from all the shit in the world. But hey, I might be wrong. I think the lyrics are specially directed to the men and women with a lot of power: the government people. The government "talk in Math͛s" (statistics), and by radio waves they keep the buzzing sound over and over, leaving us all freezed so we don't make a movement against them. And when we fight for our rights they throw over us the look like we're "crashing their party". They do that because they think they are the owners of all. Even if there's not a evident material force to make them pay what they're doing wrong, there's Karma for the good of all the subordinates which eventually will come material. Even we aren't free from going wrong and "for a minute there" we "lost" ourselves. In my opinion this is the best song ever, it͛s about how everything comes around goes around, and that the karma police will get all of the people who upset you. It makes you think about how he can be mean now, but the karma police will get him later. And I think the "for a minute I lost myself" is when he realizes that he͛s being mean and has to stop. It seems to me like the song is intentionally self-defeating in order to exaggerate the criticisms people make of others to the extent that they seem ridiculous. The first stanza demonstrates complaints that people have in reference to others. The second stanza then demonstrates how people are unwilling to accept blame for their own actions. it seems to suggest that despite his actions, society holds him down. Then, at the end of the song he realizes how easy it is for a person to get caught up in himself and realizes that he has been wrong in criticizing others so harshly. They are mad at the guy who speaks in math͛s 'cause they are outsiders and they are mad at the woman 'cause she follows trends (Hitler hairdo) They want Karma to catch up with them and they hold angry feelings for them, but this in turn brings karma back to themselves cause they're holding grudges. "I've given all I can, it's not enough..." He realized this too late when he said "for a minute there I lost myself" To me the song seems to illustrate how Karma comes back to us all, even for those short moments when we lose our cool. Have you seen the video for this one? It definitely speaks of karma. An unseen driver is chasing a pedestrian down a dark road. Just when it seems the car will overtake the man, he tosses a match into the car's own leaking fuel and kills his pursuer. This song is examining the "white man's burden" of the exploration of the new world, and how it applies today - how people put their own concerns over everyone else's, and feel utterly justified in the most ignorant of presumptions. The speaker is acting as god through an internal monologue, and "doing all he can" by condemning those around him because he can't understand them ("talks in math͛s") or misinterprets them ("Hitler hairdo"). The end is ambiguous - either the speaker started paying so much attention to other people that they started to feel crowded out, or maybe they're clinging to their identity and are startled by the fact that they were starting to be tolerant and see things through other peoples' eyes. Karma is supposed to be a sort of payback for your actions.. Maybe this is a song about the "what goes around comes around" saying. Except, there are no solid rules for karma, and you will be punished if the rest of society doesn't agree with you. Yes, a lot of Radiohead lyrics and phrases are inspired by Orwell's 1984. But that doesn't tell the whole story here. The concept of 'karma police' implies that the governing of karmic justice is in some way enforced, rather than a vague concept of retribution. The theme of the song isn't anger, it's the age old 'what comes around, goes around'. The lyric 'we're still on the payroll', for me, seems to imply the actual target of the karmic come-uppance is the singer himself. Possibly relating to the idea that he's giving of himself as much as he can in order to balance out the millions upon millions of pounds he's solicited from an unsuspecting public, incapable of defending themselves from his seeming god-given musical abilities. Or maybe that's stretching the analogy to far. Also, the idea of 'I've given all I can' being a suggestion of attempting to 'bribe' the karma police appeals to me. "The concept of 'karma police' implies that the governing of karmic justice is in some way enforced, rather than a vague concept of retribution." BUT, I think this was meant to be ironic, that somehow the Karma Police are a figment of Thom's imagination, or, even further, the personification of Thom's own sense of right and wrong/his conscience/his sense of guilt. C'mon, there is no police force out there enforcing moral right and wrong, but there is a little voice in side (most of) us that keeps us from doing bad things and punishes us by making us feel bad for doing things we know are wrong. Also, someone else mentioned that Thom, in an interview, said modern alternative rock "buzzes like a fridge" and that alternative radio station in the US (and their music) caters to the sponsors rather than the listeners. I heard this too and I think Thom thinks that this is a serious injustice, as it is all about $$$, not expression and making music for the listeners as it should be... So, put these two together... I think this song is about Radiohead coming into mainstream popularity and joining the ranks of other 'alternative' pop stars..."we have crashed their party". Thom believes the Karma police should get these other 'alternative' pop stars (people who buzz like a fridge, as well as the style-Nazis with 'Hitler hairdo's, which also make up a huge part of the music/recording industry.) So, he's attacking materialism, pretty much. Ironically, though, like I said above, there is no Karma police to arrest these people. The Karma Police are only in Thom's head, kind of like a conscience, keeping him from becoming like the other pop stars.... Answering to his karma Police, Thom says "I͛ve given all I can" not to turn into these materialistic pop stars...but..."it͛s not enough"...He admits that he's still on the payroll and not really pure of exactly what he is condemning.
Load more

Recommended publications
  • Ayden Graham Complete Song List 50S/60S/70S
    ayden graham complete song list 50s/60s/70s 1. Nature Boy Eden Ahbez 2. Across The Universe The Beatles 3. All You Need Is Love The Beatles 4. Blackbird The Beatles 5. Dear Prudence The Beatles 6. Eleanor Rigby The Beatles 7. Hey Bulldog The Beatles 8. Michelle The Beatles 9. She Said, She Said The Beatles 10. Taxman The Beatles 11. Black Orpheus Luis Bonfa 12. Tonight Will Be Fine Leonard Cohen 13. All Along The Watchtower Bob Dylan 14. I Want You Bob Dylan 15. Mellow Yellow Donovan 16. Stand By Me Ben E. King 17. You Really Got Me The Kinks 18. Fever Peggy Lee 19. Could You Be Loved Bob Marley 20. One Harry Nilsson 21. Me and My Arrow Harry Nilsson 22. Moonshadow Cat Stevens 23. The Wind Cat Stevens 24. Wild World Cat Stevens 25. Ain't No Sunshine Bill Withers 26. Lovely Day Bill Withers 27. Use Me Bill Withers 28. Heart of Gold Neil Young 80s/90s/2000s 1. The Golden Age Beck 2. First Day of My Life Bright Eyes 3. Don't Panic Coldplay 4. In My Place Coldplay 5. Politik Coldplay 6. Yellow Coldplay 7. 9 Crimes Damien Rice 8. Amie Damien Rice 9. Cannonball Damien Rice 10. Cheers Darlin’ Damien Rice 11. Delicate Damien Rice 12. Elephant Damien Rice 13. The Blowers Daughter Damien Rice 14. The Animals Were Gone Damien Rice 15. Older Chests Damien Rice 16. Volcano Damien Rice 17. The General Dispatch 18. Any Day Now Elbow 19. Powder Blue Elbow 20. Lay Me Down Glen Hansard 21.
    [Show full text]
  • Hyperreality in Radiohead's the Bends, Ok Computer
    HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
    [Show full text]
  • Pink Floyd - Dark Side of the Moon Speak to Me Breathe on the Run Time the Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse
    Pink Floyd - Dark Side of the Moon Speak to Me Breathe On the Run Time The Great Gig in the Sky Money Us and Them Any Colour You Like Brain Damage Eclipse Pink Floyd – The Wall In the Flesh The Thin Ice Another Brick in the Wall (Part 1) The Happiest Days of our Lives Another Brick in the Wall (Part 2) Mother Goodbye Blue Sky Empty Spaces Young Lust Another Brick in the Wall (Part 3) Hey You Comfortably Numb Stop The Trial Run Like Hell Laser Queen Bicycle Race Don't Stop Me Now Another One Bites The Dust I Want To Break Free Under Pressure Killer Queen Bohemian Rhapsody Radio Gaga Princes Of The Universe The Show Must Go On 1 Laser Rush 2112 I. Overture II. The Temples of Syrinx III. Discovery IV. Presentation V. Oracle: The Dream VI. Soliloquy VII. Grand Finale A Passage to Bangkok The Twilight Zone Lessons Tears Something for Nothing Laser Radiohead Airbag The Bends You – DG High and Dry Packt like Sardine in a Crushd Tin Box Pyramid song Karma Police The National Anthem Paranoid Android Idioteque Laser Genesis Turn It On Again Invisible Touch Sledgehammer Tonight, Tonight, Tonight Land Of Confusion Mama Sussudio Follow You, Follow Me In The Air Tonight Abacab 2 Laser Zeppelin Song Remains the Same Over the Hills, and Far Away Good Times, Bad Times Immigrant Song No Quarter Black Dog Livin’, Lovin’ Maid Kashmir Stairway to Heaven Whole Lotta Love Rock - n - Roll Laser Green Day Welcome to Paradise She Longview Good Riddance Brainstew Jaded Minority Holiday BLVD of Broken Dreams American Idiot Laser U2 Where the Streets Have No Name I Will Follow Beautiful Day Sunday, Bloody Sunday October The Fly Mysterious Ways Pride (In the Name of Love) Zoo Station With or Without You Desire New Year’s Day 3 Laser Metallica For Whom the Bell Tolls Ain’t My Bitch One Fuel Nothing Else Matters Master of Puppets Unforgiven II Sad But True Enter Sandman Laser Beatles Magical Mystery Tour I Wanna Hold Your Hand Twist and Shout A Hard Day’s Night Nowhere Man Help! Yesterday Octopus’ Garden Revolution Sgt.
    [Show full text]
  • The Most Depressive Songs of Radiohead
    The most depressive songs of Radiohead 150 000 1 500 000 listeners at listeners at Last.fm Last.fm 15 Step Jigsaw Falling Into Place Feral Fitter Happier There, There Bodysnatchers Cheerful Backdrifts Separator Go To Sleep My Iron Lung Airbag Packt Like Sardines In a Crushed Tin Box Burn the Witch Sulk House Of Cards Lotus Flower Little By Little Optimistic Myxomatosis A Punch Up At a Wedding Anyone Can Play Guitar Idioteque Sit Down. Stand Up I Might Be Wrong In Limbo Where I End and You Begin Bones Thinking About You Morning Mr Magpie Vegetable Morning Bell Lurgee (Nice Dream) The National Anthem Just 2 + 2 = 5 High And Dry Identikit Subterranean A Wolf At the Door Present Tense Homesick Alien Electioneering Bloom The Bends Karma Police You Blow Out Stop Whispering Black Star Prove Yourself Planet Telex I Can't How Do You? Decks Dark Ripcord Scatterbrain Climbing Up the Walls Morning Bell/Amnesiac Faust Arp Reckoner How To Disappear Paranoid Android Like Spinning Plates Lucky Completely Weird Fishes/ Arpeggi Knives Out Ful Stop Exit Music (For a Film) I Will Kid A Nude Give Up The Ghost Pulk/Pull Revolving Desert Island Disk Street Spirit (Fade Out) Let Down Doors Fake Plastic Trees No Surprises You And Whose Army? The Gloaming Daydreaming Depressing Creep Dollars & Cents All I Need Tinker Tailor Soldier Bullet Proof ... I Wish I Sailor Rich Man Poor Hunting Bears Was Treefingers Man Beggar Man Thief Pyramid Song Codex Everything In Its Right Glass Eyes Life In a Glasshouse Sail To The Moon Videotape The Tourist Place The Numbers Motion Picture We Suck Young Blood True Love Waits Soundtrack Hail To the The King Of A Moon Pablo Honey The Bends OK Computer Kid A Amnesiac In Rainbows Thief Limbs Shaped Pool Data source: https://data.world/rcharlie/gloom-index-of-radiohead-songs.
    [Show full text]
  • Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
    DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others.
    [Show full text]
  • Analyzing Radiohead (Oxford University Press, 2016)
    Review of Brad Osborn, Everything in its Right Place: Analyzing Radiohead (Oxford University Press, 2016) Bre Clement KEYWORDS: Radiohead, rock music, form, rhythm, meter, timbre, harmony Received March 2017 Volume 23, Number 2, June 2017 Copyright © 2017 Society for Music Theory [1] In Everything in its Right Place , Brad Osborn offers an in-depth analysis of the music by English rock group Radiohead. Many readers will be familiar with this band’s career trajectory, including its early associations with the grunge and Britpop movements and its increasing experimentation beginning with the album K Computer (1997). For evidence of its current critical standing, one need look no further than Walter Evere?’s blurb on the back cover of this book, which describes Radiohead as “the sin1le most important rock band since 1970” 5read: The Beatles6. Thou1h Osborn identiBes his ideal reader as “a Radiohead fan who reads music” (xiii), I was drawn to the mono1raph by my curiosity re1ardin1 its methodolo1y rather than by any particular admiration for its subject. (I was only superBcially familiar with the band’s output.) I am 1lad to have waited so lon1 to 1et to know this music be?er, as Osborn proves to be the ideal 1uide, demonstratin1 to readers that it warrants and rewards analytical aention. Basin1 his central thesis on the concept of ecolo1ical perception, he aributes much of the success of Radiohead’s music to its hi1h de1ree of salience Cthe increased meanin1 that results from the band’s clever ne1otiation between two extremes, the conventional and the experimental. De seeks to demonstrate how “Radiohead’s juxtaposition of novel and conventional musical stimuli relatively affect a listener’s process of creatin1 meanin1 in their music” (11).
    [Show full text]
  • Radiohead in 2007: Phil Selway, Ed O'brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (From Le )
    Radiohead in 2007: Phil Selway, Ed O’Brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (from le) 20494_RNRHF_Text_Rev1_22-61.pdf 33 3/11/19 5:23 PM > > ONE OF THE MOST RadioheadINNOVATIVE GROUPS OF RadioheadTHE NINETIES, THEY CONTINUE TO BUCK MUSICAL TRENDS BY DAVIDA FRICKE n October 2000, a week after Radiohead’s fourth al- (1993), a Top Five hit in the U.S. or U.K., usually both – and bum – the cryptic, electronica-soaked Kid A – shot a succession of sold-out arena tours and festival triumphs to Number One in America upon release, singer that have established the 2019 Rock & Roll Hall of Fame Thom Yorke politely dodged a question about the inductees as enduring alternative-rock heirs to the Beatles’ record’s improbable success, especially given the psychedelic idealism and Pink Floyd’s progressive-rock English modern-rock band’s perversely low-key searching. Willfully experimental in their songwriting promotion. They had done no videos and released and exploration of the studio’s outer limits, Radiohead are no singles; they did three tour dates in North America plus fiercely uncompromising in their protection and presenta- a TV appearance on Saturday Night Live; and they had just tion of the results. But they are also absolutely commercial one U.S. interview, on a bench in New York’s Central Park in in their consistent all-embracing impact: a people’s band on the crisp autumn dusk. record and in performance, propelling Yorke’s naked, often “I’m actually the last person in the band to talk about it,” brutal lyric honesty with an explosive, universal resonance Yorke declared with an impish grin.
    [Show full text]
  • Corpus Antville
    Corpus Epistemológico da Investigação Vídeos musicais referenciados pela comunidade Antville entre Junho de 2006 e Junho de 2011 no blogue homónimo www.videos.antville.org Data Título do post 01‐06‐2006 videos at multiple speeds? 01‐06‐2006 music videos based on cars? 01‐06‐2006 can anyone tell me videos with machine guns? 01‐06‐2006 Muse "Supermassive Black Hole" (Dir: Floria Sigismondi) 01‐06‐2006 Skye ‐ "What's Wrong With Me" 01‐06‐2006 Madison "Radiate". Directed by Erin Levendorf 01‐06‐2006 PANASONIC “SHARE THE AIR†VIDEO CONTEST 01‐06‐2006 Number of times 'panasonic' mentioned in last post 01‐06‐2006 Please Panasonic 01‐06‐2006 Paul Oakenfold "FASTER KILL FASTER PUSSYCAT" : Dir. Jake Nava 01‐06‐2006 Presets "Down Down Down" : Dir. Presets + Kim Greenway 01‐06‐2006 Lansing‐Dreiden "A Line You Can Cross" : Dir. 01‐06‐2006 SnowPatrol "You're All I Have" : Dir. 01‐06‐2006 Wolfmother "White Unicorn" : Dir. Kris Moyes? 01‐06‐2006 Fiona Apple ‐ Across The Universe ‐ Director ‐ Paul Thomas Anderson. 02‐06‐2006 Ayumi Hamasaki ‐ Real Me ‐ Director: Ukon Kamimura 02‐06‐2006 They Might Be Giants ‐ "Dallas" d. Asterisk 02‐06‐2006 Bersuit Vergarabat "Sencillamente" 02‐06‐2006 Lily Allen ‐ LDN (epk promo) directed by Ben & Greg 02‐06‐2006 Jamie T 'Sheila' directed by Nima Nourizadeh 02‐06‐2006 Farben Lehre ''Terrorystan'', Director: Marek Gluziñski 02‐06‐2006 Chris And The Other Girls ‐ Lullaby (director: Christian Pitschl, camera: Federico Salvalaio) 02‐06‐2006 Megan Mullins ''Ain't What It Used To Be'' 02‐06‐2006 Mr.
    [Show full text]
  • Guitar Tab) Pdf, Epub, Ebook
    HAIL TO THE THIEF: (GUITAR TAB) PDF, EPUB, EBOOK "Radiohead" | 92 pages | 17 Jun 2003 | Faber Music Ltd | 9781843284215 | English | Harlow, United Kingdom Hail to the Thief: (Guitar Tab) PDF Book Toggle navigation Menu. Alternative rock. Close X Music Lists. Transpose 0. Read More. About Musicnotes. Oh, and yes, guitar parts are covered effectively as well as vocal melodies. Radiohead, the most popular innovative band on the planet, haven't broken any new ground here, as they did with Kid A. We think your country is: Germany Change Country. Preferred Seller. Guitar Tab. Close X Saved to Music List. Published by Aaron J Marshall H0. So Will I. To create a music list, please sign in. If you believe that any review contained on our site infringes upon your copyright, please email us. Guitar tablature songbook. Are you sick? Bass guitar TAB. Yes, that's correct Do not update. Musicnotes Pro Send a Gift Card. Softcover with CD. Your video is in XX format and is playable on most pre-installed video players. All That Lasts. This page has been archived and is no longer updated. Radiohead by Go Home Productions track 9. Como un perro. Hail to the thief limited edition. Leave it blank if you wish to appear as "Anonymous". Philip Selway — tracks 1, 5, 9. There There by Radiohead track 9. Hail to the Thief: (Guitar Tab) Writer We understand the importance of online privacy and are committed to complying with the EU General Data Protection Regulation. Level: 2. With guitar tablature. Are you begging for a break? Quick Details.
    [Show full text]
  • Update August 11 2021 Song Title Artist the Mike Massé Show Episodes (Andi G) 100 Years Five for Fighting 103 117 138 15
    *Roc = feat. Rock Smallwood Songs Total: 3812 YouTube Debuts: 0520 YouTube Shows: 176 *Bry = feat. Bryce Bloom Different Songs: 0706 Tease: 0025 Interviews: 008 *Tim = feat. Tim Massé *Sco= feat. Scott Slusher *kur=feat. kurt Moorehead *Mik=feat. Mike Johnson *Ban=Band *Bre=Brenda Andrus *JDH=Jeff & Dave Hall * Retired = Mike has retired this song on the live stream Update August 11 2021 Song Title Artist The Mike Massé Show Episodes (Andi G) (clickable links) 100 Years Five For Fighting 103 117 138 150 “40” (1/2 Step) U2 083 103 146 '74 - '75 (1/2 Step) The Connells 005 015 022 035 050Bry 059 069 073 075 090Bry 110 135 174 867-5309 (Jenny) Tommy Tutone 008 038 042 061 076 093 120 129 A A Day In the Life The Beatles LS2 001 013 034 072 092 108 119 138 149 152Mik 171 A Hard Day's Night The Beatles 012 060 152Mik A Horse With No Name America 159Roc 166roc A Man I'll Never Be (piano) Boston 029 122 A New England Billy Bragg 167Sco A Sort Of Homecoming (1/2 Step) U2 146 A Taste of Honey The Beatles 085 Abracadabra Steve Miller Band 171 Retired Across The Universe The Beatles 003 048 070 119 128 Adventure Time Theme Song 171 Africa Toto LS2 009 015 024 033 043 050Bry 053Roc 056Sco 062 071 077Bry 090Bry 100Ban 114Ban 124 132 176JDH Afterglow Genesis 133 135 Against All Odds (Take A Look At Me Now) Phil Collins 003 029 050Bry 055 081 124 133 135 148 150 Against The Wind Bob Seger & The Silver Bullet Band 031 033 038 052 060 070 089 093 110 130 147 168 Ain't Talkin 'Bout Love (1/2 Step) Van Halen 102Roc 112Roc 161Roc 166Roc Albuquerque Neil Young
    [Show full text]
  • Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music
    Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music by Nathaniel Emerson Adam A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Theory) in the University of Michigan 2011 Doctoral Committee: Professor Walter T. Everett, Chair Associate Professor Ramon Satyendra Assistant Professor Karen J. Fournier Assistant Professor Sheila C. Murphy © Nathaniel Emerson Adam 2011 To Laura Hope ii Acknowledgements First and foremost, I want to acknowledge and thank my advisor and friend, Walt Everett. His work inspired me to pursue research in rock analysis, and he personally guided that pursuit, generously providing constant support and assistance. This work is a tribute to him. Many thanks also to the members of my committee, for the experiences in their classrooms and for their encouragement and suggestions in the development of this project. I must acknowledge Thom, Johnny, Ed, Colin, Phil, and Nigel for creating such beautiful and provocative music in the first place. I can’t wait to see what they do next. My love and thanks go out to Zach and to Brent for providing years of stimulating conversation and musical collaboration, and constantly challenging me to think about music better and more deeply. When I started graduate school, Blair, Phil, Danny, and David went out of their way to make me feel welcome and embrace me as a colleague. I’m extremely grateful for their example, their mentoring, and their friendship. Thanks to them and to all of my other colleagues at the University of Michigan, especially Bryan, Michael, Alison, and Abby; spending time with them made it easier to stay sane.
    [Show full text]
  • Striking a Chord: Radiohead and the Resonance of Alienation
    Striking a Chord: Radiohead and the Resonance of Alienation Melissa Amos Honors Thesis Presented to the faculty of the Communication Department & Honors Scholars Program in partial fulfillment of the requirements for the degree of Bachelor of Arts Carroll College May 2002 This thesis has been approved for honors recognition by the Department of Communication. Date Mr. Brent Northup Communication Professor, Department Chair Date h/s/h7- Reader Date Mr. Mac Randall Music Journalist, Radiohead Biographer i Music is a higher revelation than all wisdom and philosophy. -Ludwig van Beethoven ii Acknowledgments There are so many people without whom this project simply could not have happened. First and foremost, I must thank my committee members for offering their time, insight, and expertise. Mr. Brent Northup, as always, pushed me at every juncture to think harder, reflect more deeply, and of course, to listen attentively. I am truly grateful to have had a thesis director who allowed me the freedom to explore one of my passions through this project. Dr. Charlotte Jones, perhaps the most left-brained member of my committee, prevented me from going completely insane with well-timed tidbits of rationality and encouragement. And finally, Mr. Mac Randall, a man who, incidentally, I’ve never actually met, generously shared his time and Radiohead knowledge through the modem wonder of Internet technology (ah, the irony...), Any merit this paper might hold is largely due to these three people. Although they were not official members of my committee, Mr. Rick Moritz and Mr. Murphy Fox also deserve many thanks. Both of them offered invaluable suggestions and guidance.
    [Show full text]