Da Da HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE.

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C 72 3: 0 4 9 : 73 0 [ 1 = H 5 . 9 2 , : ;:7: : 2 , , 7 ,; C2E ;3C C , 2, 07 . 9 2 , . 8 2 = H 5 E , 7 + ; . : ;3 C C, 2 , 07 ;: 7 : ,7 3 0 4 7 , + 0 3 G9 , . : 2 , 9 . ,; 8 3 = H 5 2 , . ,: 2 +, 2 : 3 D D3 04 7+, 9 . , C E 2 , 7 +: 0 0, 2 , . , : 2 + , 2 7 : 0: 5 . , ; : 7 : 8 4 \ ] _` abcdae : f b g e dha c d g i jkl _ dm l a _`abcdae ng h m ac e m af_ do a hkc dgi h n_n n gn l e d e p ng h 5 \ ] j a j] a c f`a fqd gi : mn c _dfd mng_ e on l dh n _a _ `a r dg h d g i e b r _`a cae a nc f` \ s b` g e _ b g t 2000: 61 u n hhe _` n _ _b indg _`a _ cke _v b c _ ` d g ae e _`a c ae a n cf`ac f n g ` n o a h d rra ca g_ m ab m l a _ b _c _ `a m c bfahkcap d r _ ` n_ de m cn f _df n lp e e _aj n_dfn l l n e qd g i _ `a j _b lbb q n_ _ `a h n _n\ wa gf ap _ ` de cae a n cf` ke ah ] e bk cfa _cd ngikl n_db g _ af` gdxka dg v` d f` _`a c ae ancf` a c f bl laf _ ah h n _n rc b j e b ja mn c _ d fkl n c ] bb q e ca l n_ ah _b m be _ j bhac g fk l _kc a ng h yn h db`a n h z e { | } B }~€  ‚ƒ C „…†‡ˆ}‰  n g h ƒŠ  A n l ] k je \ ‹ g n hh d _db g p _`a cae an c f` v n e _ cd ngi kl n_ ah ] _ `ca a Œ gi l de ` l d_acn_kca e _ kha g_e _ b indg j bca f cah d]dl d _ \  d g n ll p _ `a cae kl _ e br _`a _ c dng i kl n_ ah h n_ n r dg h d g i e n c a h d e fke e ah n g h fb g e kl _ ah vd _ ` _ `a fb g e kl _ng_ e ca e a n c f` ac z e _ ` ae d e _ v b n h od e bce \ Ž ‘ ’“ ”•– — ˜ ™ — š ›— š œ ’š › ›—   ž   — Ÿš ’ ‘ yperre ¡¢ ity in –¡ £ iohe ¡ £ s ¤¥ ¦ § ¦ ¨ ©ª « ¬ ­ ®¯ ° ±² ³ ¦´ « ¡ µ d ­ ¶© · ’ l ¸ ums ¹º » ¼½¾¿ À½¼Á Â Ã Ä ÅÆÁÇ ¿ È È Å ÇÁ É ¾Ê ¼ ¾Ê¿ ÇÁ À Ç Á¼Ç À Ë º ¿» ÆÈ Å ÌÇ Å ÍÊ¿ ÌÊ ËÀÇ » º Ê Ã Î ¼ Ç Ç¼ÅÈ¿ ¾ Ã Ê ÅÎÎ ¼½º ÍÊ ¼½ ¾Ê ¼ ¿ »¿ ¾ Å ¾ ¿ À½ ÀÇ ¾ Ê ¼ º ¿» ÆÈ Å ¾ ¿ À½ Î Ç ¼Ì¼Á¼ º ¾ Ê ¼ Ç ¼ Å È ¿ ¾ à ¿ ¾ º ¼ ÈË . Ï ¼ ƺ ¼º п º ½¼ Ã È Å½ Á Å ½Á ¾ Ê ¼ Ñ ÒÓÔ Õ Ö×Ø ÙÚ Û Ü Ý Ê ÀÍ Å º ¾ Ê ¼ ¼Þ ¿ Á ¼ ½Ì¼º . ßÊ¿ ȼ п º ½¼ à ÈÅ ½Á º ÆÌ Ì¼º º Ë ÆÈÈ Ã Ê¿ Á¼º ¾ Ê ¼ Ç ¼ Å È ¹ » ¼ Ç ¿ Ì Å , ¾ Ê ¼ à ÀÆÁ á Å»¿ È Ã ÛÜ Ý Ê ÀÍ ÊÅ º Ê Ã Î ¼ Ç Ç¼ÅÈ¿ º ¼Á ¾ Ê ¼ ¿»Å â ¼ À Ë Å ½ ¿ Á¼ Å È Ë Å»¿ È Ã ¿ ½ ¹ » ¼Ç ¿ Ì Å . ¹½À¾Ê ¼Ç ¼ ã Å»Î È ¼ ¿ º ¿» Πȼ » ¼½¾¼Á ¿ ½ ¾Ê ¼ ¼ Ë Ë ¼Ì ¾ À Ë »Å º º ÌÀ½º Æ » ¼Ç ¿ º » ¿ ½ Í Ê¿ Ì Ê Î ¼À Πȼ ¾ ¼½Á ¾ À  Æà ¾Ê ¼ È Å ¼È Ç Å¾Ê ¼Ç ¾ ÊÅ ½ ¾ Ê ¼ Ǽ Å È ¿ ¾ ¼ » . ÛÊ ¼ Ǽ ËÀÇ ¼ , ¾Ê ¼º ¼ ÎÊ ¼ ½À » ¼½ Å ÅÇ ¼ Ì ÅÎ ¾ÆǼÁ ¿ ½ ¾Ê ¼ ¾ ¼ ½ º À½â º À Ë äÅ Á ¿ À Ê ¼ Å Á ¼½¾ ¿ ¾È ¼Á Ý ¾ Ç ¼¼¾ Ý Î¿ Ç ¿ ¾ å á Å Á¼ æ ƾç , Paranoid Android , Nice Dream , Fake Plastic Trees , High and Dry , Airbag , Climbing Up the Walls , Fitter Happier , Motion Picture Soundtrack , and In Limbo . è  treet  pirit é ™ ¡ £ e Ÿ ut The song shows human s rejection of the modern world whereit is full of buildings and machines that make the world lose its naturalness.As the world develops, human growth also develops fulfilling the world with billions of human beings who need places to build and maintain their civilisations. Buildings,including common houses and skyscrapers, are found everywhere as they are made to maintainhuman s existence. That is what Radiohead concern about: the lost of the world s innocence, being raped by men. êë ì íîïð ñò ð ó ôõ ö ÷ íø íî ò ùúí ñð÷ú û úí ö ö í ô î ø ôü ý ð î , ò ôþø ð ø ù î ÷ ôñ ò ðõ úþí ö ÷ íîÿø ù õð ø õ ðù÷ ð ð õ û óò ð õð ùø ýðî ñí ô î ð÷ í î ñ ò ð üíõø ñ ö íî ð ô ü ñ ò ð ø ô îÿ , ô ó ø ôü ò ô þø ð ø ù öö úðùõ íî ÿ÷ô óî ô î ýð . The line showsthat the houses, representing buildings in the town, threaten the speaker as the world he lives in is no longer innocent . Time after time, the buildings seem to move towards him that makes him in a fearas written in the second line, I can feel their blue hands touching me .As criticised by Baudrillard, postmodern buildings are made as shrines of mass simulation Smith, 2010: 25.He uses Beaubourg, a building complex in Paris, as a symbol. In the hands of two iconoclastic architects, Renzo Piano and Richard Rogers, the building which was oncean ordinary city museum has been transformed into a popular cites of culture and leisure.The place is then provided with coloured pipes and automated systems.All the operative structural elements of Beaubourg are colour- coded: green for plumbing, blue for climate control, yellow for electrical networks and red for circulatory elements and safety mechanisms.He then classifies that the building as the implosion and deterrence of value in postmodern culture. A place which had been so sacred in the beginning like a city museum was then transformed into afree place for leisure. The visitors are no longer interested in the real museum as they are only attracted by the charm of the architecture and the cosy place where they canenjoy their spare time in an amusing park. Thus, the song examines Baudrillard s second identification of hyperreality in which in the modern art works, the image becomes more real than the real. Beaubourg is the example of how the new image of the city museum precedes the reality. , , . As every stanza has the same line, except the last one, it is very clear that the intention of the song is to show how empty the postmodern world is, with its cultural revolution when machines are spread everywhere.Radiohead then shows their anxiety towards the world fulfilled by machine in the second stanza as shown in the first and the second line, This machine will, will not communicate These thoughts and the strain I am under .From the lines, it can be inferred that the speaker is so overwhelmed by the situation in the postmodern world.He feels that all beautiful things he had before hasdisappeared andlooked like an alien planet. The first three lines of the third stanza, Cracked eggs, dead birds Scream as they fight for life I can feel death, can see its beady eyes , show that it is very hard for a dinosaur like him to live in that new world. The only option to escape from the situation is death where he can rest in peace, something that he cannot find in the postmodern world.The theme is als o represented in the music of the song as the song has uniqueness by using an irregular structure inmodern music. It uses arpeggio, the notes of a musical chord played quickly one after the other instead of together, in the guitar instrument while the other instruments, including vocal, are structured in a low tempo. The structure illustrates that the world develops so fast while some people cannot follow the development, which makes them the dinosaurs of the postmodern age. Above all, the song explains how the notion of authenticity has been destroyed in the postmodern culture. Some things +, , -, . + + + 1 2 3 , 2 4+0 + 4 .

2. Paranoid Android

5 , 1 -4 , 1 2 6 1 4, , 4 , +0 7 . 1 , 4 2 4+08 5 . 4 , 2 + , 9 : + , - + 7 - , 1 , , ; 4 7 , 4, = 4 + + - 4 3 , 7 , describe how annoying the speaker s life is. He cannot find peace in the hectic world where technologies grow rapidly and start to dehumanise human beings.That is what he worries about; he is afraid that he will be one of the victims too as shown in the third and forth lines, What s that ? I may be paranoid, but not an android What s that ? I may be paranoid, but not an android . The lines explain that he cannot really determine what has been disturbed his life as he asks, What s that? , and he also admits that he is frightened and being paranoid by the situation he meets. However, he tries to defend himself as a true human being, not to be entrapped in a false perception of postmodernity and being inhuman. That is why he says that he is not an android, a robotic human. The word android itself is used to represent people who are being heartless and inhuman because of the dangerous effects of mass consumerism, capitalism, and mechanisation. The manifestation of humanoid androids who are being inhuman due to the effect of mass consumerism is then developed in the third stanza as told in the ninth and tenth lines, Ambition makes you look pretty ugly Kicking and squealing gucci little piggy . The ninth line explains how cruel mass ? ABC DEFGHC E , IJHK IL H C E I BM EF NI B HC I K H AB I G F I C K N F O C D FC C P DLL O GFI K F IEQHK HA D C J FA JL F R N A I G F C F LP - FBK GH I BM KFB M KA NI G E AK N FGC PAG K N F HG ARB NIJJH BFC C S T N FBU H B K N F KFBK N L H BF VI M HA N F I M K G O K A WHXF ABF L F I G F Y IE JL F K N GA DWN K N F JN G I C F Z [ D H LHKK L F JHWW O R NHN EF I B C J FA JL F R N A C K I GK KA Q F K N F ZJ FK AP EI C C ABC DE FGHC E I C [DH H C I XFG O RF L L - \BAR B P I C NHAB J GAM D K . T N F L H BF , ] H \HB W I BM C D F I L H B W WD H LHKK L F JH WW O , itself is based on the vocalist s, Thom Yorke, experience when he saw a coked up Los Angeles yuppie reacting with demonic rage when someone spilled a drink on her Footman, 2007: 51-52. Also, it can be a representation of a doomed bourgeoisie referred to George Orwell s famous story, _`ab cd e cf b , in which pigs symbolise the corrupt leaders of the Russian Revolution.Next,line 30 explains that the pigs are so harmful for others since they start to be cannibals, like what George Harrison describes in his song entitled Piggies which is a sarcastic assault on bourgeois society, as shown in the lyric, The crackle of pigskin . They begin to crackle and harm others to keep their existence. They will do anything to maintain their existence as line 32 says, The yuppies networking . So, it is clear that the song is entirely created to satirise the yuppies of the contemporary society who are being inhuman because of the evil effects of mass consumerism, capitalism, and mechanisation. The line can also be related to today s phenomenon of social media.The song is a great example of how social media begin to dehumanise people. As Baudrillard in Smith, 2010: 16 argues that they dissolvethe neat distinction between man and machine . Still, he then observes a new modality of the humans who live in this digital age that: gh ijklk m n op n kqrl r impo r o s tpo u k l , op k v qi m o kn n w op r x n k o y k z s p { k o i k l ij k n y lkk o r o| ijk } m n {r t m v ruk { om v qk | k | ~ p { k o i kl t m €k m in k t € rn ij p {u j r t ‚mo u po i p r n ylkk o ~  p { n t m q po s p {l p  o tm €k t m ‚ k r | rir n { m i . ƒjklk € p lk , n p y m r t vk |m r tm ‚ k „ ryk xpp‚ w ƒm ii k l , … o n ir ulr v , † rijw ki y y l krik r } m li {r t lkr tm i s  j m yj vr‚ kn r v r n n n m v { t rimpo . † k p q t k x k tm k }k ijri ijk s rl k lkr t , ijk r}rirl , ijk n i ri{n w ijk yjr i n w r o| k}kl s i j mo u mo n m| k i jk v k |m r , x {i ijk lkr t m i s m n pot s r } m l i {r t l kr tm i s jm y j yr oop i x k | kik lv mo k| kr n m t s n p ijri i jk l k r l k v r o s y s x k l yl m v kn j r qqk om o u i jl p {u j i j p n k vk |m r n m o yk i jk  r s q k p q t k y p v v { om yrik op  jrn x ky p v k } m li {r t m n k | r o| |m u m ir tm n k | .

3. Nice Dream

ƒjk n po u m n r qkl€k yi k‡rvq t k p €  jr i ˆ r{ | l m tt r l | y l m im y m n kn mo i jk ‰ p { | „ rv m t s ƒŠ ‹ j p  r n i jk n j p  m n pot s Œr om y k | lkrv € p l ijk } m kkl n  ijri m n  jri i jk n po u m n r xp {iz i jk {ip q m r p € ijk q p n i v p| kl o n p y m k i s . Ž n k‡ q t r mo k | x s ˆr { | l m tt r l | w i jk q p n ivp| k l o n p y m ki s m n i jk n p y m ki s p € ijk n qky i r y t kn p l i jk n p y m ki s p € i jk m v r uk j m yj v kr o n ijri qk p q t k ik o| i p x k tm k}k j ri jrn x k k o | l r o m o ijk m vr uk p € i jk m| kr t tm € k y rqi {l k | m o ijk vk |m r , kn qk y m r tt s ƒ Š n j p  , lrijk l ijr o i p x k t m k}k i jk lk r t tm €k ijk s k o y p { o i kl . ƒjk € m ln i n ir o  r p € i jk n po u n j p  n j p  | k t m u ji € { t ijk m v r uk m n w ƒjk s t p }k vk tm ‚ k …  r n r x l p ij kl  ƒjk s q l p i kyi v k , t m n ik o i p vk  ƒ jk s | {u v k v s }k l s p  o url | k o  ‘ r }k vk n { o n j mo k , vr | k v k jr qq s . However, it is not real and only a dream as shown in the second stanza, Nice dream, nice dream Nice dream . These contradictive stanzas show that the speaker is also one of the victims in the society of the image in which he believes that what he watches in ’“ ”•– —˜ ™ – – š ™ › –œ  œžŸ ”› – , ¡ ” •– ¢£ žœ  ¤ › – œ  £ ™ –™ ”•œ” £ ” £ ™ ž ¥ ” › – œ  ™ ¥ •– ¦ œ   ™ £ ” §œ ž £¦ – Ÿ › – œ š . —•– ™ ” ¥› ¤ £ ž – ¥¢ ” • – ™ ¥ ž¨ • œ™ œ Ÿ £› – ¦ ” › – ¢ –›–ž¦ – ” ¥ ©œ Ÿ › £  œ › Ÿ ™ ¦›£ ”£¦ ™ £ ž ”•– ª ¥ Ÿ « œš £  ¤ —˜ ™ • ¥ ¬ œ™ ”•– ™ • ¥ ¬ •œ ™ ¦›–œ”–Ÿ œ ” ¤ ­£¦ œ  £ Ÿ–œ  ®š – › £ ¦ œž ¢œš £  ¤ , ¬• £  – ”•– ¦ •œ › œ¦ ”– ›£ ™ ” £ ¦™ ¥¢ œž £ Ÿ–œ  ¢ œ š£ ¤ œ › – ™ ”£  ›–  œ ”£ ¯– . ° ž ”•– ™ • ¥ ¬ , œ ” ¤ ­£¦ œ  £ Ÿ–œ  ®š – › £ ¦ œ ž ¢œš£ ¤ £ ™ ¦ •œ › œ ¦ ”–›£ ™ –Ÿ ¡ ¤ ±œ  £¢ ¥›ž £ œ • ¥ š – , ”• › –– ¨ œ›œ ¨–™ ² ¢£ ¯– ¦ • £ Ÿ ›–ž ² œ¦ • £ –¯–Ÿ ™ ¥¦£ œ  œžŸ ­ › ¥¢ –™ ™ £ ¥ žœ  ™ ”œ ” ™ ² Ÿ– ¦¥› œ”£ ¯– • ¥ ™ – ¬£ ¢ – , œ žŸ ­­ – › - š £ ŸŸ  – ¦ œ™ ™ ™ ”œž Ÿ £ ž¨ . © œ Ÿ › £  œ › Ÿ ³´µµ¶· ¸¹º £ ž ¢ – ›™ ”•– ­ •–ž ¥ š–ž ¥ ž ¡ ¤ ™ œ ¤ £ ž ¨ , —•– ª ¥ Ÿ™ · ™ £ š­ ¤ œ ¢ œš £  ¤ ¬ • ¥ œ ¨ › ––Ÿ ” ¥ Ÿ–  £ ¯– › ”•–š ™ –  ¯– ™ £ ž”¥ ”•– •œžŸ™ ¥¢ ” –  –¯ £ ™ £¥ ž ² œžŸ ” ¥ Ÿ £ – ¡ ¤ £ ” . The fact that the Louds TV show successfully fascinated twenty million viewers proves that our society love fantasies, especially utopian fantasies. The show is only a symbol that media can stereotype the society, which is known as the society of the image or the society of the spectacle. The society of the image emerges when a society try to imitate the quality of images presented in media television, magazine, film, billboard, etc; it is no longer stereotyping, but hyperrealising as Baudrillard 1994: 20 says, You no longer watch TV, it is TV that watches you . He mentions that TV is not only watching us, but also alienating and manipulating us.

4. Fake Plastic Trees

The song is a description of mass consumerism which has poisoned the society in the postmodern world.The word plastic in the title is used to represent the theme »¼ ½¾ ¿ ÀÁ  ½ÃÄ Å À Æ ÇÀ ÈÉ Æ Ã Ä Â ¿ ÀÁ ÊÆ Â ¿ ÁÃÁÉ Â ¿ ½ Ë À Ì Í Á É É Á Ë Ê Áà ÎÆ É½ÃÏ Á à ¿ ½¾ ¿ ÀÁ Ë É ¿Æ ¾ Æ Ç ÆËÊ Å½É Ê Ð Ë Â Ñ ÍÊ Ë ¿Æ Ç Æ ¿  Á Ê ¾ Æ Â Ë Â Ì ÏȽ Ê ½¾ Ë É ¿ Æ ¾ Æ Ç ÆËÊ Æ¿ Ì . ҽŠÁ Î Á É , Ñ ÍÊ Ë Â ¿ Æ Ç ËÊ Â ½ Ï Á Ë Ã ϽÃÁ Ì Æ Ã ¿ ÀÁ ¾½É Ï ½¾ ÇÉÁÐÆ¿ Ç ËÉ Ð Â ½É Ð ÁÈ Æ ¿ Ç Ë ÉÐ Â Ó Ô ÀÁÉ Á¾½ÉÁ , ¿ ÀÁ Í ÀÉ Ë Á Ѿ ËÕ Á ÍÊË Â ¿Æ Ç ¿ ÉÁÁ Â Æ Â Ö Á Ð ¿ ½ ÉÁÍ É Á Á à ¿ ¿ ÀÁ Ë É ¿ Æ ¾ Æ Ç Æ ËÊ Å ½É Ê Ð ½É ¿ ÀÁ ÖÃÉ ÁËÊ ÉÁ ËÊÆ ¿ Ì Ð Ö Á ¿ ½ ¿ ÀÁ Á¾ ¾Á Ç ¿ ½¾ Ï Ë Â Â Ç½Ã ÖÏÁ É Æ Â Ï . Ô ÀÁ ¾ Æ É ¿  ¿ ËÃ×Ë ½¾ ¿ ÀÁ  ½ÃÄ , Ò ÁÉ Ä ÉÁÁà ÍÊË Â ¿Æ Ç Å Ë¿ ÁÉ Æ ÃÄ Ç Ë Ã Ø Ù ½É ÀÁÉ ¾ ËÕ Á ÚÀ Æ ÃÁ  Á É ÖÈÈÁÉ ÍÊ Ë Ã ¿ Â Ø Û Ã ¿ ÀÁ ¾Ë Õ Á ÍÊ Ë ¿ Æ Ç Á Ë É ¿ À , shows a girl who becomes a victim of mass consumerism as she chooses to live in a fake world full of plastic. The word green in the first line is a representation of money, as dollar is green- coloured. So, she waters her plants with money as written in the first line, Her green plastic watering can. Therefore, the second line, For her fake Chinese rubber plants, perfectly shows her pleasure in wasting her money for shopping as the word Chinese symbolises shopping products which are labelled by words, Made in China . China itself is a symbolisation of mass consumerism as it is one of the biggest industrial countries in the world. In other words, she spends her green-coloured dollars to deal with fashion items, which are symbolised by plants in the second line. Then, the finishing line of the first stanza, In a fake plastic earth , explains that she actually lives in a hyperreal environment as it uses both fake and plastic to represent the situation. The line projects Baudrillard s opinion that in the postmodern world the copy, the reproduction, or the fake is no longer to be found in the wake of the original, the authentic, the real, but rather it precedes it Smith, 2010: 77. In other words, it is now the original that follows the copy or the fake; that is whatthe song talks about. ÜÜ ÝÞß àá â Þß ã äåâ Þ æ âç à è ç ä ã âÞß æ äàé ê çë âì å ßæ âÞç â æ Þß í æ å ß çî î ï ð íà î ä ñß ò í âÞ â Þß Þï ë ßå å ßçî ß à ñ íåäàó ß à â ä ã óç æ æ ê äà æ ì ó ß åí æ ó ç æ ò åí â âß à äà î í à ß ô çàõ ö÷á ø Þß î í ñßæ ò í âÞ ç ù åäú ß à óç à û ü ê å ç ê ú ß õ ëä î ï æ â ï å ßà ß ó çàý . þ â æ ß ß ó æ âÞç â æ Þß Þ ç æ ð óçå åí ß õ ò í â Þ â Þß ëåäõ ìê â æ òÞ í êÞ çå ß æ ï ó ù ä îí æ ß õ ùï ð ç ù åäú ß à ó çàá ç ê åç ê ú ß õ ëä î ï æ â ï å ß à ß ó çàÿ . äå í à ã äå ó çâíäàá ëä î ï æ â ï å ß à ß í æ ç î í é Þâ , ìæ ì ç îî ï ò Þ í â ß , ë îçæ âí ê ë ìâ ç åä ì àõ õ ßî í ê çâ ß ä ù ß êâæ íà æ í õ ß ê äà â çí à ßåæ â ä ëåä âßêâ â Þß ó ã å äó õçó ç éß , ìæ ß õ çå ä ì àõ æ äó ßâ Þ íà é â ä ëåß ñß à â í â ã åäó îä æ í àé Þßç â í â í æ ç î æ ä úàä ò à ç æ ø â ï å ä ã äçó íà ø . þ â í æ ä ãâ ß à ìæ ß õ ù ï ù íé ã å çà êÞ í æ ßæ îíú ß , ê äàç î õÿ æ çàõ ø â çå ù ìê ú æ çæ ã ääõ äå õåíàú ë ç ê úç é í à é ø äá ã å äó âÞ ß íà ã äå ó ç â í äàá í â í æ ê î ßçå â Þç â ð ëä î ïæ âï åß à ß í â æ ß î ã í æ çî æ ä ç æ ï ó ù ä î ä ã óç æ æ ê äà æ ì ó ß å í æ ó ç æ íà â Þß ëç ê ú çéß âÞßå ß ò í îî ùß ç æ í é à ä ã â Þß ã åç à êÞ í æ ß äå å ßæ âç ì å çà â , â Þß î äé ä íà ê æ ëçê ú ç é íàé ã äå ß çóë î ß . ÝÞß ë Þß àäó ß àäà õ ß æ êåí ùßæ âäõç ïæ Þì óçà ùß Þç ñ í ä ì å âÞ ç â â Þß ï â ß àõ â ä êÞ ä ä æ ß â Þß æ ï ó ù ä î åç âÞß å â Þ çà âÞß ë å äõ ìêâ æ á ã äå â Þß ó â Þß æ ï ó ù ä î é í ñßæ ó äåß ëå ßæ âíé ß å ç â Þß å âÞ çà âÞß å ß çî ëå äõ ìêâ æ ÝÞß å ßã ä å ß , í â í à ã î ìß à ê ßæ ë ß äë î ß æ î í ã ßæ â ï î ß , ßæ ë ßêí çî îï íà õ ßñßî äëí àé ê ä ì à â åí ßæ îíú ß þ àõäà ßæ íç , ç æ ë ß äë î ß àä ò , ã äå íà æ â çà êß , â ß àõ â ä ùìï â Þß æ ò ää æ Þ î äé ä ä ã í ú ß äå â Þß âÞ å ßß æ âå í ë ßæ îä é ä ä ã üõí õçæ åç âÞß å âÞ çà âÞ ß å ßç î æ ëäåâ æ Þ ä ß æ . äå âÞß ó , ò ß çåíà é ùåçàõ ß õ í âß ó æ îíú ß âÞß ç âÞî ßâßæ äå ßñß à êßîßùå í â í ßæ é í ñßæ âÞß ó ó äåß ëå ßæ âíéß æ íà êß â Þß ê äó ã äåâ â Þ ß ï ã í àõ í æ íà âÞß ëå ß æ âí éß í âæ ßîã àä óç ââ ß å í ã âÞß í âß ó æ õä àä â óç âêÞ âä âÞß íå ù äõ ï æ çàç â äó ï . ß â , â Þß ã í ã â Þ æ âçà èç ß ë îäåßæ çàä â Þß å õí æ ß ç æ ß í à â Þß ëä æ âóäõ ß å à ò äå î õ ë î ç æ â í ê æ ì å é ß å ï . äå ç ìõåí î î çå õ í à ø ó í â Þ á ÷ö÷ , Þì ó çà ù äõ ï , í à ëç åâí êìîç å âÞß ãß óç î ß ù äõ ï , í æ ëå äõ ìêß õ ç æ ç ê äà æ ì ó ßå ä ùßêâ â Þ ä ì éÞ íà ñßæ â ó ß à âæ ä ã îç ù ä ì å , â í ó ß ç àõ óäà ßï â ä òç åõ âÞß ó ç í à âß àçà êß çàõ ëå ßæ ß à âçâíäà ä ã äà ß æ ù äõí î ï . , + , - , by describing the 80 s girls who did plastic surgery. However, it does not only happen in eighties as today s plastic surgery phenomena have raisedsignificantly.This can be due to the Barbie s effect which has been widespread around the world. Barbie successfully creates an ideal image of girls. It is in the same case as the . 01 2 345 67 TV show as it presents an image that an ideal girl is a girl with blonde hair, blue eyes, white skin, and a slim body as her physical characteristics. She wears blink jewelleries and fashionable clothes to specify that she is beautiful. Many girls are entrapped in this hyperrealisation, so that they choose to imitate the quality of Barbie, although they must harm themselves through extra hard diet and plastic surgery.Barbie is only a small example of artificial beauty as today s examples have been widespread around the world, especially in South Korea as most girls and women in the country have decided to deal with plastic beauty . They choose to repair their face and body to fulfil their obsession of being beautiful or the key characteristic of an ideal girl or woman. They try to imitate the quality of their idols, especially girlbands, who can get an instant beauty by doing plastic surgery. It shows the fact that today the concept of beauty itself has been blurred by the image offered in TV shows or the image has preceded the reality by creating a new image of the real which is only a hyperrealisation of the image. Baudrillard in Smith, 2010: 27 sums up the phenomena by saying, Plastic surgery procedures also enable the remodelling of the body as a sign, as appears to be 89 :;; = = ? A B C B C D B D ? ED ?; F B :A G =E H D I JGB ? B C D K D GB=D H G ? E B =G B H :K L:L JG= ; D J DM= B D H N In the seventh stanza, the speaker admits that he and the other characters in the songare the victims of the image as the stanza says, She looks like the real thing She tastes like the real thing My fake plastic love. The first two lines in the stanza show a simulacrum of what a woman ought to be, a summary of the song s topic. That simulacrum successfully creates the hyperreality of an ideal woman that affects the characters in the song which is symbolised by my fake plastic love . The song also shows the affection of the hyperreality towards the characters in lines 3, 9, and 12, It wears her out It wears him out It wears me out. These lines show that all the characters have been affected by the image as they are entrapped in a world of the artificial full of fake plastic trees.

5. High and Dry

The song matches to Baudrillard s opinion about sports, especially motorsport, as for him many of these shared the attribute of self- reference blank solitude towards death, often by seeking suicide sacrificial exhaustion through extreme asceticism Smith, 2010: 209.The concept is well drawn in the first four lines, Two jumps in a week I bet you think that s pretty clever, don t you boy? Flying on your motorcycle Watching all the ground beneath you drop. These lines explain today s sport phenomena in which dangerous acrobats are the key element to entertain the viewers as shown in the third and fourth lines. However, what do the athleteslook for? The answer can be seen in the fifth line, OP Q RST U VWXX Y RSZ [ \ X ] ] R Z Z \ R_ ` Wa WR ` b From the line, it can be inferred that they look for recognitionor fame by sacrificing themselves which is only a simulacrum because of the effect of media-based era in which Baudrillard in Smith, 2010: 210 discovers symbolic stakes in the passion for accidents and death .To be famous, they not only sacrifice their body or their physical health, but they also sacrifice their identity due to the effect of mass publications. That is what then Radiohead criticise in the next two lines, line 7 and 8, You broke another mirror, you re turning into something you are not. The lines show the hyperreality created by the effect of a media-based world in which some people tend to copy the image offered in the screento get recognition from the society as the image itself successfully precedes the reality. From the first stanza, it can be summed up that the image of a real man has preceded the identity of the persona in the song. He chooses to be another man to get the recognition from the society as the last line of the first stanza says, you re turning into something you are not. However, he finally does not get the recognition because what he does annoys the other people as the second stanza, the chorus of the song, says, Don t leave me high Don t leave me dry. To leave somebody high and dry is an idiom which means to do something which is not at all convenient for someone and put them in a very difficult situation. Therefore, he makes the speaker of the song in an inconvenient situation by being hyperrealised by the image of a real man who loves dangerous things, referring to the third line, Flying on your motorcycle. Then, the third stanza explains how the image destroys his life, especially his identity as he chooses to copy the image cd e fg hi jk l imkifk nk o l fi h . p nk qor l h q i sr tofkl i q h nk hn or g l he fu e l niv h nk m st how t k k q q kxhl nk y k hl j z jk o f y hn k xiw z i q h nk o m e y k , { r z of y s w of xif|k r l ehoif } z i s ~ tt jk h nk ifk vni xe ffi h h e t } €t t z i sr ofl ogkl q e t t hi w ok xkl } z i s  s l h l o h h nk r k v o l n o f y z i s x i stg l h ot t m e k t i|k . These lines illustrate that there is no one recognising himself as he has lost his identity. In addition, there will be many people who are cynical to him and tend to get away from him, so he will dry up in conversation and be cannot talk to others. Then, the third and forth lines of the stanza, All your insides fall to pieces you just sit there wishing you could still make love, describe how hopeless his life is as he has nothing more than wish left in his life. Therefore, the last two lines of the stanza, They re the ones who ll spit on you you ll be the one screaming out, prove how frustrating he is. Overall, the song shows the dangerous effect of a media-based world with televised image which destroys the notion of authenticity. It has hyperrealised people with its vigorous power which creates an illusion of identity and happiness which can be seen in the fifth stanza, Oh, it s the best thing that you ever had the best thing that you ever, ever had. It s the best thing that you ever had, the best thing you have had has gone away. The stanza concludes that the best thing or the recognition that he ever had is only an illusion of happiness as he has lost all he has in the end. He should sacrifice his life and identity. Also, he is alienated from the societyas he turns to be an alien who is not recognisable by the society. ‚ƒ

6. Airbag

„…† ‡ ˆ ‰ Š ‰ ‹ † ˆ Œ Ž …†  Œ Š  ‰   ‰‡ ‰‘ ˆ ’ Ž Œ “ˆ ”‹ ’ ‰ ‘‘ ˆ’ ‹ • – Œ‰ ŠŽ Œ — ‰ † ˜ ˆ ™ Œ” Ž šŽˆ ‰ ‘ ‰ Š • ‰ Š … ”† › ‡ † ’ ‰ œ ˆŠ œ ˆ’  ‰ Š Ž…† žŸ ƒ• ¡ Œ ’ … ‰ ‡ , Ž …† Ž ˆ ‰ ‘ ‰ Š ˆ ’† Œ Š‘ ¢ Ž …† ‰ ‘ ‘ ”  ‰ Œ Š Œ  –†† ‹ ˆ Ž …† Žˆ ‰ ‘ ‰ Š œŒ” ‘‹ Š Œ Ž ‡ ˆ £ † Ž …† œ ˆ’ ’ ” Š  ˆ Ž †’ . ¤ †  †† Ž… ‰  –…†Š Œ‡ †Š Œ Š ˆ ’†– ’ † †Š ŽˆŽ‰ —† Œ ˆ  ˆŠŽˆ ¢ Œ  ˆ †’ Œ‹ ¢ Šˆ ‡‰ œ  ¡ ” ’ Ž …†’ , “ ˆ ” ‹ ’ ‰ ‘‘ ˆ ’ ‹ ¥ ‰ Š ¦ ˆŠ† , § ƒƒƒ ¨ §ž - ©ƒª ‡ †ŠŽ‰Œ Š ¨ „ˆ ‰ ‘  ‰ Š ˜ † ’ † Š Œ Ž ˆ  ‰ Š Œ « ¬ ­®  –† † ‹ ™ ” Ž ˆ  ” ™‘ ‰ ‡ † , ‡ †ˆ  ” ’ † ‘ †   –† † ‹ „…† ¢  ” † Ž† ‹ ˆ ‡ ‰ ’ˆ œ” ‘Œ”  ˆ ” Ž Œ‡ ˆ Ž‰  ‡ , ˆ  Œ ’ Ž Œ ’ˆ œ † . ¯ Ž ˜ ˆ Ž…† –’ † † Š œ † Œ Ž …† †  ‰ Š Ž…ˆŽ ‰ Š Œ” ’ ‰ ‡ ˆ  ‰ ŠˆŽ‰Œ Š –’ Œ –†‘‘ † ‹ Ž…† œ ˆ’ , ˜ … ‰œ … ° Ž…ˆŠ £  Ž Œ Ž …† ‡ ,  †† ‡ † ‹ Ž Œ  ‘ ¢ ˆ ‘ Œ Š Œ  ‰ Ž  Œ˜ Š ˆ œ œ Œ ’ ‹ „…ˆŽ Œ – ‰ Š ‰Œ Š ‰  ˆ––‘‰œ ˆ™‘ † Ž Œ Ž Œ‹ ˆ ¢   – Œ ’Ž œ ˆ’ – …†Š Œ‡ †Š Œ Š ‰ Š ˜ … ‰œ … –† Œ –‘† ™ ” ¢ Œ ’ Ž …† ‰ ‘‘ ”  ‰ Œ Š Œ  –†† ‹ ˆ Š ‹ ˆ ŽŠ†  ˜ … ‰ ‘† Ž …† ¢ œ ˆ ŠŠ Œ Ž  –†† ‹ ” – ‰ Š Ž…† ’†ˆ‘ ’ Œ ˆ ‹ ‹” † Ž Œ  –†† ‹ ‘‰‡ ‰Ž ˆ Ž‰Œ Š Œ’ Ž ’ˆ ‰œ ± ˆ ‡ . ² † Œ –‘ † ˆ ’† ±”  Ž ˆŽ Ž’ˆ œ Ž † ‹ ™ ¢ Ž …†  ¢ ‡ ™ Œ ‘ , Š Œ Ž Ž…† ’ †ˆ‘ –†’ Œ ’ ‡ ˆŠ œ † . ³ †ˆŠ ˜ … ‰ ‘ † , ´ˆ ‹‰ Œ …† ˆ ‹ ”  † ›‰ ’™ˆ as a representation of the illusion of safety like what the vocalist, Yorke in Footman, 2007: 45-46, says: So much of the public s perception revolves around illusion. That s what Airbag is about, the illusion of safety. In reality, airbags don t really work and they go off at random. It s exactly the same as when you re on a plane. Everyone should really sit backwards. It s the safest way possible to face the back of the plane as you take of. But because people don t like the idea, and they feel a bit sick, airplanes have alwaysbeen done the other way around, which is fed. Anyway, if you re plummeting down to earth at 1,000 miles per hour, there s no way you re going to stand a hope if you sit there with your head between your legs with your seatbelt on. In the end, we re all just fing bits of meat. From Yorke s statement above, it is clear that Radiohead satirise the phenomenon of automatism in the postmodern world. By airbag, people seem like depending their lives on technology while it does not really work in several condition. µ¶ ·¸¹º»¼ ¼ ½ , ¹¾ ¿ À Á à ÄÀ Å »À ¿ Æ ÁÂ Ç ÁÈ É ¿ À ¿Ê Ë¿È Ä ¿Â ¸ ¿ Ä Â ¾ Ä À ¹¿¿Â » ÿ ½ ¿ » È À Ì Í ¾¿Â ¾¿ Í »À Ä ÂÎÁ¼ ο Æ Ä Â » À ¿È Ä Á ºÀ ¸ »È » ¸¸ Ä Æ ¿Â¹ . ·¼À Á Ì Ä ¹ Ä À Ä Â À Ë Ä È ¿ Æ Å ½ » Ï» à »Ð Ä Â¿ »È¹ Ä ¸¼ ¿ ¸ » ¼¼ ¿ Æ Ñ·Â ·Ä ÈÅ» Ã Ò » Î¿Æ Ó ½ Ô Ä Õ ¿ » Â Æ Ò Áý » ¼ ÖÄ ÂËÁ¸¾¿ À ¹ Á Ï ¿ , T ×Ø T ÙÚ Ø Û ÜÝ B ÞÞß Þà á ÙâÙÝã ÜÝä åæ ÙÝãçè ÁÁ¹Ï» Â Ì éêêëì ííî . ﾿ ÕÄ È À ¹ À ¹ »  Р» , ð  ¹¾¿ Â¿Ê ¹ ÍÁȼ Æ Í» È ñ Ä Â » ò» ¸ É É Â Ä Õ¿ Æ òº Ãà ¿ È Â »º ¹ , ñ ð Ï ÅÁÈ » à »Ä  , describes the danger of driving. The phrase the next world war does not mean the real war or the imagination of the third World War, but it means the business war in which industrial countries compete to win the market, and one of the most interesting products is car. People need cars to provide their mobility, but cars also provide a big number of deaths happening in roads which is shown in the second and third lines, in a jack knifed juggernaut, I m born again. The third line symbolises a big accidents in the road as it means a situation when a juggernaut or a big truck which has a container behind cannot be driven well becauseone part swings round so far towards the other part like the picture below: The lines show that the speaker is involved in a crash and then the following line, I m born again, used by Radiohead to represent the notion of reincarnation inspired by Rinpoche s tome to show how dangerous a road is with its motorcycle fullness. Figure 2. The illustrationof jack knifed juggernaut óô õö÷ ø ÷ ùúûü ø ýþûÿþ ü÷ø ù ÷ø ýö þ ý ýö÷ þùù ü÷ûý ÷ þ ü ø ý ö÷ ø ÷ þ ÷ ý ú þ û ú÷ þ ý û úú þø ý ý÷û úû ýö÷ ú ýö þ ûü ý ö û÷ ø û ý ö÷ û ÷úû ø û , ø ù ú û þûü üú û . The clause the neon sign scrolling up and down symbolises the operating lamp and then it is followed by a repetition of I m born again .To reinforce the idea of reincarnation in the song, Radiohead uses a metaphor, An interstellar burst, in the chorus or the third stanza to refer the big bang theory, the large explosion or interstellar burst that many scientists believe created the universe. Next, the fifth stanza shows how people get hallucinated by sophistication of technology as it is written, In a fast German car, I m amazed that I survived, an airbag saved my life. This stanza shows an idea that by driving a sophisticated car we will be saved from any accident. It is possible that many people have been hyperrealised by James Bond movies. In the movie, he always deals with fast and sophisticated German car Mercedes and BMW. Then, he never dies with those cars as they are provided with sophisticated technology and the airbag system is one of the examples as Yorke in Footman, 2007: 44 says, Your average expensive German car gives you the feeling that you can t die and that s fraud. From the statement of the vocalist, it is clear that the expensive German car creates a hyperreality in which people believe that the car is the safest car which will save them from any danger,of course, but those are only found in the scenes happening the movies, not in the reality. In fact, the airbag system do not really work as well as it goes off at random. Again, the song moves to the chorus after this fifthstanza, An interstellar burst I m back to save the universe, showing .

7. Climbing Up the Walls

, . The song describes that most people think that their houses are the safest place they have in the world, especially those who provide their houses with sophisticated security system, high walls, and security guards. They have been hyperrealised by the image of safety as they believe that by having those security systems, they can preventmost threats coming from the outside like burglars and assassins. Yet, the most dangerous threats usually come from the inside, from someone they know, they can be their family members, relatives, or they who work in the house; that is the key idea of the song. The first stanza of the song shows who the real evil is, I am the key to the lock in your house That keeps your toys in the basement And if you get too far inside You ll only see my reflection. The first two lines infer that the threat is someone who has the key in the house, he is the owner s trusted person as the second line shows, That keeps your toys in the basement. Therefore, it can be summed up that the speaker in the song is a psychopath. He is one of the workers in the big house who works in a very long time and has known all the people in the house. Then, the proof that the speaker is a psychopath is shown in the next three stanzas. + , +- .0 , 1232 4 15 .06 -+ , 1+ 7 , 8 - . 7 2 1 4- 2 - 1 4 ., 9 8 1 + , 7+2:+5 2 , , .; 4 4 + , = 20 ? 1 , 2; 2 8 , 9 + , 1 ; + 1+ 4 1 4, .A A B ? 2 C 1+ 74 - : 4 1 + 4-+ . From these lines, it can be inferred that the speaker wants to kill the family with an ice pick at night, when they are asleep. He is sure that there will be no one sees him in suspicion as they treat him as one of their trusted person, even as a family member as shown in lines 7 and 8, Do not cry out or hit the alarm You know we re friends till we die. They will not think him as someone suspicious as they believe himso much, so they will not be panic or hit the alarm to get away from him because they think that they trust him forever. The third and fourth stanzas then capture how wicked the speaker in killing the family is. He chases them in fury as shown in the third stanza, lines 9-13, And either way you turn I ll be there Open up your skull I ll be there Climbing up the walls. He also says that their thought in which the safest place is their own house is wrong as shown in line 15, It s always better on the outside, since the real threat they have is in their own house. Then, the speaker kills the family with fifteen blows in the back of their heads as shown in lines 16 and 17, Fifteen blows to the back of your head Fifteen blows to the mind. However, he still keeps the kids safe as captured in line 18, So lock the kids up safe tonight. The intention of saving the kids is to share his psychopathic actions, so the kids will be the next psychopaths in the future. Overall, Climbing Up the Walls captures the phenomenon of Megan Kanka, a seven years old girl who was raped and then murdered by a convicted sex offender who was living nearby two years before the song was recorded DE F G HHI JKLM NOOPQ RORS . TUVWV X H WV , Y L R ZZ D , I UV [ K J V I Y J V O \ ]_ `a te b cK[ WV d H W e V e M fH LgW V [ [ JK L h Y d i j Y J JVW Kk I U H W V e l LYI V e m IKI V [ n k opY d q K c RO r - ROE K L e YI Y[ pKo V pp V e K[ stVgKL q K c I H u W V vVL I I UV [ K JV c Y d i V e L V [ [ U K uu V L [ KgKY L Y L I UV X k I kWV . wp[ H M I UV [ H L g J KI d U V [ IH IHeK x [ u UVL H JVL H L Y L y z m Fy K iK W IK z L I V W L KI YH L Kp m d U HHp S Y L c U Y dU I UV [ dU HHp U K[ o VV L Ux u VW W V KpY [ V e o x I UV U Y gU c Kpp [ K L e [ Hu U Y[ IY d KI V e [ Vdk W YI x [ x [ I VJ , o k I I UV W V K W V [ I Yp p [ H JV d K[ V [ HX [ V { k Kp Ko k [ V U Kuu VL Y Lg Y L I UV [ d U HHp JK e V o x I UV d p VK L Y Lg [ VWv Y dV [ K L e I UV JH[ I [ U H d i Y L g H LV , o x I U V I V K dUV W . | LV HX I U V JH[ I cK L I V e uK V eHu U Yp V , }Yp pY K J y K J V [ ~K UV x , cU H Y [ Kp[ H K L G  z X kg YI Y vV V vVW I K kg U I I UV d U Y pe WVL Y L I UV [ dU HHp K L e [ u W V Ke U Y[ uK V eHu U Yp Y d K d IY H L [ IH [ H J V dU Yp e W VL € TU VWVX H WV , H LV HX U Y [ v Y d IY J [ o VdH JV [ K uK V eHu U Yp V I HH KL e eH V [ I UV [ K JV I U Y Lg I H I UV dU Y p e WV L Y L I UV [ dU HHp K [ K d U KY LV e V X X V d I HX cU KI I UV v Y d IY J g HI Y L I UV uK [ I . TUVW V XH W V , YI d K L o V [ kJ JV e k u IU KI I UV eK L g VW eH V [ L HI Kp c K x [ dH J V X W H J I UV H k I [ Ye V , o kI YI d K L o V X W H J I UV Y L [ Y e V , XW H J [ H JV H LV c V I Wk [ I K L e p H vV . z I Y [ L H LV V e XH W dW Y J V I H d pY J o k u I UV c Kp p[ I H g V I I UV IK W g V I Y pp V gKp p x K[ I UV x dK L W V K dU I UV I K W g V I s p Vg Kp p x o x o V Y Lg [ H JV H LV I UVx I Wk [ I , [ H c Kpp [ UVWV K WV H L p x I UV Ux u V WW VKpY I x HX [ KX V I x K [ I UV cK p p[ d KLL HI [ K vV I UV u V Hup V X W H J I UV W V K p eK Lg V W cU Y dU d H J V [ XW H J I U V Y L [ Ye V .

8. Fitter happier

TUV [ H L g Y [ K u V W X Vd I V{K J up V HX uH[ I JHe V WL Y[ J Y L Jk [ Y d K[ YI o WV Ki[ I UV pK c HX c U K I K [ H L g H kgU I I H o V . TUV [ I Wkd I kWV Y[ vVW x VL YgJKIY d K[ I UV [ H L g Y [ p Yi V K L K W W KIY H L Y L K d H Ju k I VW Y [ V e v HY dV K L e [ I W K LgV [ H k L e HX [ x L I UV [ Y [ V W . H c V vVW , I UV L K W W KIY H L Y [ Kp[ H I UV dW Y IY d [ HX uH[ I JHe VW L pY XV [ I x p VY L cU Y dU u V Hup V K WV VL I W Kuu V e ‚‚ ƒ„ … † ‡ˆ‰‰ˆ Š‹ ƒŒ ƒˆ Ž ‰ˆŠŒ ˆ   † Œ … ˆ Ž ‘„ ’“ ˆ ‰  ‘ Ž ƒˆ Œ † . ”‹‹ Œ … ˆ ‹ ƒ „ ˆ ƒ„ Œ … ˆ  ‘„ • Š‰ ˆ Œ … ˆ ƒ “ Š• ˆ ‘ – — … Š Œ Š „‘ ‰“Š‹ ‘ ‰ … ˆŠ‹Œ … † Š „ — ˆŠ‹Œ … † ‡ˆ ‘ ‡‹ˆ ‘ ’ •… Œ Œ ‘  ˆ ,  ƒ“‡‹ † ‹ ƒ˜ ˆ ‡ ‘ Œ“ ‘ ˆ ‰ „  ‹ ‘ • Š „ ƒ „ Š “’  ƒŽ Š‹  Œ † ‹ˆ . ”‹ ‹ Œ … ˆ ‹ ƒ„ ˆ  Š ‰ˆ  ƒ“‡‹ † ‹ ƒ˜ ˆ  ’ ••ˆ  Œ ƒ‘„ ƒ„ Š  ™ˆ‰ Œ ƒ ˆ“ˆ „ Œ  ‘ ‰  ‰‘Ž … ’ ‰ˆ  Œ ‘ … Š™ˆ Š … ˆŠ‹Œ … † Š „  ŠŒ ƒ – ŠŽŒ ‘ ‰ † ‹ ƒ– ˆ . š… ˆ –ƒ‰ Œ Œ ˆ„ ‹ ƒ„ ˆ  › œ ƒ Œ Œˆ‰ , …Š‡‡ ƒ ˆ‰ ,  “ ‘ ‰ ˆ‡‰ ‘ ’ŽŒ ƒ™ˆ ,  Ž ‘ “ –‘‰Œ Š ‹ ˆ ,  „‘ Œ  ‰ ƒ„˜ƒ „ • Œ ‘‘ “’Ž … ›  ‰ˆ •’‹ Š‰ ˆ žˆ‰Žƒ  ˆ ŠŒ Œ … ˆ • † “  Ÿ  Š †  Š — ˆ ˆ ˜ ¡ ,  • ˆŒ Œ ƒ„ • ‘„  ˆŒŒ ˆ‰ —ƒŒ … † ‘ ’ ‰ Š   ‘Ž ƒ ŠŒ ˆ ˆ “ ‡‹ ‘ † ˆ ˆ Ž ‘„ Œ ˆ“‡ ‘ ‰Š‰ ƒ ˆ  ›  ŠŒ ˆŠ  ˆ ,  ˆŠŒ ƒ„ • — ˆ ‹ ‹  Ÿ „‘ “ ‘ ‰ˆ “ ƒŽ‰‘—Š ™ ˆ ƒ „„ ˆ ‰  Š„  ŠŒ’‰ŠŒˆ  –ŠŒ  ¡ , show some examples of the new image of normality in postmodern lifestyle as it is now the media which control people s lifestyle with their fascinating image. The lines show that normal people who want to be fitter and happier must not be drinking too much and thendo somesportsregularly.Also, they should control their social relationship with their business partners and their diet. In other words, it can be summed up that people who are regarded normal are they who work in office, dealing with business and healthy daily routines such as having a healthy diet with no fats eaten and doing regular sports. Then, the next three lines, a patient better driver, a safer car baby smiling in back seat, show the image of the comfort of life thatpeople should have high-class cars provided with sophisticated technologies and security systems like dual airbag system to get the comfort of life, symbolised by a phrase baby smiling in back seat .Therefore, they can sleep well and be free from paranoia as shown in lines 14-16, sleeping well no bad dreams, no paranoia. However, to get the comfort of life they should deal with ¢£ ¤ ¥¦¦ §¨¤ © ª«© ¬ ¦ ª­® ¤ ¥ ­¬ ¯¦§¨© ¬ ¦ ª¬ °¨© ± ± § ­ ¥ ­ «©­ § ¬ ²³ - ² ´µ ° © « « ¶ ¨ § · ¯§ ­±« ¸ ¤ ¹§¤ º ¤ ¨ § ® © ± ª± » ¦¥¨ ª« ¼ ½ª­º » ¹ ¥ «§ © ­ ±¹§ ° ª « «¼ , ¾ ¶ª ¿¥ ¨¬ ¶ ¥¨ ¶ ª ¿¥¨ ¬ µ ¾ ¶ ¥ ­® ½ ¯ ± ­ ¥ ± © ­ «¥¿§ , ¾ ¤ ¹ ª ¨© ± ¸ ¬ ± ª ­® © ­ À ¥¨®§¨ ¬ µ ¾ ¥ ­ Á ¯ ­®ª ¸ ¬ ¨© ­À ¨¥ ª ® ¬ ¯  §¨¦ ª ¨ º §± . These lines show that normal people in postmodern culture frequently deal with money matters as symbolised by hole in the wall which means ATM Automated Teller Machine to reach their earthly happiness.In addition, they deal with some charity events even in fact they are not really sincere in giving helps to others as shown in line 22, favors for favors, that means they do the favours to get other favours from the given; it is recognition.Another line, line 23, also shows that they actually cannot enjoy the charity event as the line says, fond but not in love. In summary, what they look for is only recognition from others that they are kind and love to help others. The next image of normal people is shown in lines 29- 32, no longer afraid of the dark or midday shadows nothing so ridiculously teenage and desperate, nothing so childish at a better pace, slower and more calculated. These lines capture that people have been controlled in their daily life not to do the normal behaviour. They are prohibited to act recklessly or to do something crazy in their teens.Exactly, they feel so uncomfortable with this situation as they cannot enjoy their life like their life has been transformed into a law bookthat must be obeyed as shown in line 33, no chance to escape. The line show that even they try heard to escape from the situation, they cannot be free from this boredomas they will be neglected by the society since they are not treated as normal people. ÃÄ ÅÆÇ ÈÇ É Ê ËÌ ÍÎÇ Ï Ð È Ç Ñ Æ ÒÌ ÍÈËÊ Ó ËÔ Ô Æ Ï ÑÈ Ë È ÕË ÈÇ Ô Ö Ã - Ö ×Ø ÍÈ Ç Ì Ù Ï Ñ Ç ÚÇ Û ÍÈ Û ËÈÐ Ï Ú Ì Ç Û Ì Ç Ì Ü Ç Ú Ï Ð Ô ÏÝ Ë Ç Ê Ó Þ ßÙÚÍ Î Ì Í Ê Ë Ô Ì È ÏÊ ËÛ Ç Í Õ Ë Ô Ì à , Þ ÑË ÕÕ È ÏÊ Ý Ú Ó ËÈ ÙÒÜ Õ Ë Ý , Þ ÕÇ Ô Ô Ý ÆÍÈ Ý Ç Ï Ð ËÕ ÕÈÇ Ô Ô áâ ÅÆÇ Ô Ç ÕË ÈÇ Ô Ô Æ Ï Ñ Ê ÆÍ Ê ÙÇÏ ÙÕÇ ÌÒÔ Ê Ü Ç Ë ÈÐ Ï Ú Ì Ç Û Ñ Ë Ê Æ Ê ÆÇËÚ Î Í Û ÎÇ Ê Ô Æ Ò È Î Ï È Ê ÆÇËÚ ÆÍ È ÛÔ á ã Õ Ô Ï Ø ÑÆÍ Ê ËÔ ÙÚ Ï ÆË Ü ËÊ Ç Û Ë Ô Ü ÇË ÈÎ ËÛ ÇÍ Õ Ë Ô Ê Ë Ý Í Ô Ô Æ Ï ÑÈ ËÈ ÕË ÈÇ Öä Ø ß ÙÚÍÎ Ì Í Ê ËÔ Ì È ÏÊ ËÛ Ç ÍÕ Ë Ô Ì à , which means they should follow the concept of humanity offered in the image or they must be realistic if they do not want to be neglected. Therefore, the next taboo thing is showing their flaws in public. Even they are sad or sick, they should not show their sadness or sickness in public as written on lines 38 and 39, will not cry in public less chance of illness, as they will lose their prestige and dignity by showing their flaws in public. The end of the song, lines 46, 49, 50, and 51, that s driven into frozen winter shit fitter, happier and more productive a pig in a cage on antibiotics, show that all the images of normality have hyperrealised people and they tend to copy that image of the ideal rather than to be who they are. It seems the structure of the song is similar to the method of the Situationist, the Paris-based artistic and political movement that used apparently paradoxical slogans and commercial images to highlight the banality and corruption of contemporary life Footman, 2007: 86-87. Therefore, what Radiohead want to satirise is the death of individuality in postmodern culture due to the effect of global capitalism as Baudrillard in Footman, 2007: 89 mentions, Only with our modern civilization did we find ourself forcibly inducted into this individual existence. It is similar to Baudrillard s critics on the Loud Family TV show which hyperrealised the åæ çèéê é ëì í î êïð ñ ð ò èó é ð ô î ð õ èô ö í ÷ ø ï ñ ñí ù é . ú øðèòû ñ ïé ì í ò ø ì ÷ü üéì ì î ÷ ôô ö üð ý ñ ÷ëé ì ñ ïé ô èîéì ñ ö ô é íî ñ íó ð ö ì ì í üèé ñ ö íî ì ý éü ñ ðü ô é èò ê ï èüï ñ ïé õ é õ ùé ëì ñ é ò ó ñí ü í ý ö ñ ïé è õ ðø é ë ð ñ ïé ë ñ ïð ò ñ í ùé ñ ïé ëéð ô êï í ñ ï é ö ð ë é .

9. Motion Picture Soundtrack

þïé ì í ò ø üð ý ñ ÷ëéì ñ ïé ýïé ò íõ éò í ò èò ê ïèü ï ï ö ýé ë ëé ð ô èñ ö ù ô ÷ëì ñí øéñ ïé ë ñ ïé ëé ð ô ô è î é ðò ó ñ ïé ë é ýëéì é òñ ð ñ èí ò ÿ þ ïé òû êïð ñ ùé ü í õ é ì ýë í ù ô é õ ð ñ è ü èì ñ ïé ñ éò ó éòü ö ñ ïð ñ õ í çèéì ðë é ò í ôí òø é ë ü í ýè éì íî ëéð ô èñ ö , ù÷ ñ ñ ïé ö ï ðçé ýëéüé ó é ó ñ ïé ë éðô è ñ ö ù ö ïè ó è òø ñ ïé ñ ë÷ ñ ï ùé ïè ò ó ñ ïé ë é ð ô éç éò ñ . þïé î èëì ñ ì ñ ðò ð , é ó ê èò é ðò ó ì ô ééýèòø ýè ô ô ì é ô ý õ é ø é ñ ùðü ñ í ö í ÷ë ð ë õ ì ïéð ý ì é ðò ó ì ð ó îèôõ ì é ô ý õ é ø é ñ ùð ü ê ïé ëé ùé ô í ò ø , show the placebo effect of movies as they offer an escape from reality. From the stanza, Radiohead try to compare cheap sex and sad films and red wine and sleeping pills as both finally give the same pleasure for the speaker in the song as shown in lines 2 and 4, Help me get back to your arms Help me get back where I belong. So, the effect of films can be the same as sleeping pills: offering an escape from reality. Here, Radiohead seem to give a reference toR e movie in which they took part in the soundtrack with their song, Exit Music For A film, selected as the soundtrack in the climax scene. The symbols like red wine and sleeping pills are similar to what Romeo uses to get back to Juliet s arms and the sad films are directly referred to the movie of as the characters, Romeo and Juliet, eventually decide to suicide together as their love cannot be united in the real world. From the + , + - . , , . , 1 , . , . The stanza is only a repetition of the same statement that he thinks other people are crazy, although in fact it is the speaker itself who becomes crazy due to the delusive dreams he has. Therefore, it can be concluded that the speaker has the same experience with the story of R 23 e 2 456 789: ; and he believes that the story is no longer as real as the life he has, but the movie has become the new reality he believes in. As the result, he gets crazy due to the false image of reality he believes in. In the third stanza, lines 9 and 10, the narrator tries to give some resolutions by saying, It s not like the movies They fed us on little white lies. These lines show the fact that the speaker has successfully in delusion due to the motion picture effect . The narrator states that what are offered in the movies are not real as they fed people on little white lies. The statement is similar to Baudrillard s point of view in Francis Ford Coppola s Vietnam War film, A = 2 4 9? = ; A 2 B 1979. He believes that the film is a perfect example of the third order of simulacra as it successfully creates a hyperreality. Through the movie and some other movies like C43 D 2 E and C4 3 D 2 E E , America creates an image as if they won the war by hiding the truth with the shown image in the movies.Another example is found inOliver Stone s film entitled 7FG which offers a true story behind the assassination of John F. Kennedy. The film successfully makes people believe that what is represented in the film is the real truth, although the assassination itself is still scandalous until today Butler, 2002: 112. Those are some examples HI JK LM JN M OPQ JRS TRRU VM R Q JRL RWS L J V M X J V V X R LM J V R X JRS V MYV N Y K Z R VM R [ KRL V W \VM ] VP ZRX JR Q R . P L R Q RW , VM RS _ R Y` R W U P R S K PV ZRXJ R Q R JK L M Y V VM R K Y WWY V P W S Y a S Y S M R WRZ \V S VM R W RS P X \V J P KS b J Q RK Z a V M R K Y WW YV P W Z a S Y a J K b V M R WR _ R Y V RU LP W US c d V M JK` a P\ ]WR NW Y e a , O Y a ZR f d V M JK` a P \ ] WR NW Y e a , OY a ZR , shown in the forth stanza. Then, since he gets crazier than before finally he decides to end his life, written on the last line, I will see you in the next life. The last line captures the fact that he has been poisoned by the scenes of R gh e g ijk lmn opq . Then, he decides to choose the same ending, to suicide, to escape from all the burdens he has in his real life as the only escape like what is shown in the movie is to die. Overall, the song represents the effect of hyperreality in poisoning the viewers, especially the innocents, with their white lies, so people believe in the new truth shown in the scenes of movies rather than the reality itself.

10. In Limbo

The song captures the phenomenon of hyperreality offered in the media, in this case weather forecast. The first line, Lundy, Fastnet, Irish Sea, is taken from BBC weather shipping forecast Reisch and Forbes, 2007: 153.These three things are located in British Isles. Then, the following lines, lines 2 and 3, says, I got a message I can t read Another message I can t read. These lines show how media successfully create hypereality in their image of reality. By the weather forecast, people will really believe that what is forecasted is real and will happen eventually while in fact it works at random. That is why Radiohead then show rs tuvwx yzx x { w| tuv } u zx~ zx tuv € z ~ xt u  t|‚  , ƒz ~ xv „ w…w|† w| tuv € | t   { y zx „‡ ˆ ƒ z ~‰ x v „ w…w|† w| t uv €| t   { yzx„ ‡ Š The line shows how our society has been saturated by fantasies as the forecast does not work at the speaker as shown in the fifth stanza, I m lost at sea Don t bother me I ve lost my way I ve lost my way. The fifth stanzatells how the speaker is lost at sea while he believes that the weather is very good for shipping. He believes in the forecasted weather while it is only a simulation which successfully precedes the reality itself. In other words, it becomes the third order of simulacra in which the representation precedes the reality. That is why the song s title is In Limbo as it means in a very uncertain situation since the fantasy world makes the reality look unclear with the hyperreality of the fantasy, especially from what are shown in the medium of television.

B. The Causes of Hyperreality in Radiohead s