And why start small when we can throw ourselves, free of floaties, into the metaphorical deep-end with the most acclaimed musical weirdo's of the modern era: Radiohead.
One of the most divisive bands of their age, and beyond categorization. Founded in 1985, the band has consistently produced creative music that has been both critically and commercially successful (although not always hand in hand) and become a "critical darling". Doing all this without changing their line-up or changing producers or cover artists. It is said that "Radiohead is either your favorite band, or you have some level of indifference toward them." In other words: if you truly into music, you had better listen to some Radiohead.
In fact, it is worth your time to learn a little about them on your own. Wikipedia article here:
Anyway, I was inspired by a story from a 2009 Rollingstone article by Daniel Kreps. He describes Miley Cyrus being turned down in her pre-Grammy's meet & greet request backstage. Apparently Thom Yorke, the band's frontman is rather shy and wasn't interested despite Cyrus being a huge fan. "We don't really want to do that.", were Thom's words. Not surprised to say, she is no longer. This story is a metaphor for what I hope to do with this segment. Simply, and politely, reject the majority of music as produced today. Not all. The Majority.
So in honor of such a cool move by the band, let's Get Started. Links are provided
The song is "Fake Platic Trees". The lyrics, a few choice lines from the second verse.
The song appears on the 1995 album "The Bends". Other suggested songs from the Album: "High and Dry". An acoustic version also appears on the soundtrack for the film Clueless (which is ironically perfect and perfectly Ironic for that particular film)
The song opens on a basic acoustic guitar chords which are shortly joined with Thom Yorke's high pitched vocals. They are equal parts awkward and angelic. As the song builds in meaning and composition through chorus and verse transition, exploring an artificial world of plastic people. In doing so we stumble upon these three lines.
He used to do surgery
For girls in the eighties
But gravity always wins
In this piece, I want to focus on just these three lines. Describing a plastic man, in a plastic relationship with a plastic woman. A plastic surgeon quite literally transforming the physical composition of his patients to match the mental and emotional:"plastic". Plastic is molded, it can bend, twist, melt.
But he used to. He used to do surgery. He no longer does. He has become brittle, like plastic. He, like the women he has helped to preserve, has failed in his attempts. Their desire to maintain the fleeting physical nature of human kind has been wasted. The slow press of gravity is breaking them. Just like his own life's work.
And the following chorus, much like the first:
It wears him out
It wears him out
Repeated twice again.
The song is an obvious criticism of the consumerism, fashion, and superficial nature of the modern world. However, I think Radiohead has unlocked something deeper, more elemental. A struggle that is as important as it is overlooked. The very pursuit of maintaining "that which has no value". Or rather the artificial life, focused on self-serving pleasure, void of struggle or sacrifice. The sense of self is based on values created in a sea of external subjective opinion. These change with and against fashion and break down with time. A somewhat classic story in many philosophies, especially religious ones. Focusing the fleeting aspects of life, leaves an individual at the end of life empty, having lived an unfulfilled life. Empty, brittle and worn out. Plastic.
In three or four lines lines, Radiohead has forced the listener to answer a future retrospective question; which is worse: the wasted life or wasting away?
This struggle leads to question that are the foundation of deep millennial anxieties. These plagues of meaning are often only cosmetically camouflaged under the guise of what was "YOLO" and now "FOMO". It is easier to ignore than address. In Blink-182's most recent album California, the lead single "Bored to Death" co-penned by guitarist newcomer Matt Skiba. Passing out of a difficult season of life, in an interview NME, Skiba explained the the words Bored to Death were"easier to say than I'm hurt". Bored is not hurt, but we better to make fun of "the fear" than acknowledge it. Why should we? We are perfect and we're gonna die young. How can you live a wasted life with that attitude? It is easy to have your cake and eat it too, if you never stop to wonder where the cake comes from.
Strip me of my choices, who am I?
Strip me of the world I created for myself, how am I?
Strip me of my connections, what am I?
Strip me of my life, where am I?
This song was written over ten years ago and is more relevant than ever. It is still a great listen. It borders the beautiful and the prophetic. Go listen to the whole song, it is more crafted than written and made for anyone who is wondering about something.
I hope you enjoy, and I sincerely hope you learn something.
Carpe Diem
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