I do not understand what it is I've done wrong full of holes check for pulse blink your eyes 1 for yes 2 for no
I have no idea what I am talking about I am trapped in this body and can't get out
you killed the sound removed backbone a pale imitation with the edges sawn off
i have no idea what you are talking about your mouth only moves with someone's hand up your ass
has the light gone out for you? because the light's gone out for me it is the 21st century it is the 21st century it can follow you like a dog it brought me to my knees they got a skin and they put me in they got a skin and they put me in on the lines wrapped around my face on the lines wrapped around my face are for anyone else to see are for anyone else to see
I'm a lie
....the waterfall of gadgets family cars and paperback books. irrelevant struggles "as specific causes of disease disappear, a growing proportion of people die of what are called stress diseases, or diseases of degeneration caused by stress, that is, by the wear and tear resulting from conflicts, shocks, nervous tension, frustration, bilitating rhythms.." that's real life. my everyday life. What about this feeling of never really being inside your own skin? Let nobody say these are minor details or secondary points. There are no negligible irritations: gangrene can start in the slightest graze. A man carried along by the crowd, which only e can see, suddenly screams out in an attempt to break the spell, to call himself back to himself, to get back inside his own skin. The tacit acknowledgments, fixed smiles, lifeless words, listlessness and humiliation sprinkled in his path suddenly sur into him, driving him out if his desires and his dreams and exploding the illusion of being together. People touch without meeting; isolation accumulates but is never realised; emptiness overcomes us as the destiny of the crowd gathers. the crowd drags e out of myself and installs thousands of little sacrifices in my empty presence...... after Raoul Vanegeim the revolution of everyday life
--Radiohead site 2
"I don't know if anybody else has this feeling. When you're walking down the street and you catch your reflection in something like a car window or a shop window and you see your face and you think, 'Who's that?'. You know: 'That's not me, that doesn't represent who I am'. And I think I've recently discovered what the problem is and it's a feeling that essentially you're just in a room full of mirrors. You can shoot at all the reflections, but basically it's all meaningless because you're just trapped and you put yourself there. I've realised recently that it's actually worrying about it that's the fucking problem. It's actually saying, 'No, this is me, that's not me', and being precious about who you are, because I believe now that everyone changes all the time. I think the most unhealthy thing for a human being is to feel that they have to behave in a certain way because other people expect them to behave like that, or to feel they have to think in a certain way because what happens then is basically your mind goes round in circles."
--Thom on Thom
i do not understand what it is ive done wrong i've been skating on surface now my ice has finally melted the top has come off the gas is escaping i do not understand what it is ive done wrong
--'scrapbook' radiohead.com
'BODYSNATCHERS CAME and took the real me'
--(2006 radiohead calendar)
you gotta close your eyes... and groove out to this one. And think of uhh trying to escape from the Stepford Wives. That's what I think of.
--Thom Yorke
You could interpret In Rainbows as a portrait of the 21st century man, who – despite trying to do what’s right – can’t fight the system. ‘You can fight it like a dog and they brought me to my knees.’ The Bodysnatchers will get you in the end.
Thom: Well, the lyrics of "Bodysnatchers" came from cutting and pasting lines fom The Stepford Wives. So there you go. I got obsessed with The Stepford Wives. I wrote lots and lots of excerpts from the book next to each other and started cutting.
Colin: It’s a book from the seventies. There’s a movie now, too. It’s written by Ira Levin, who recently passed away. He also wrote The Boys From Brazil [and, more famous: the horror story Rosemary’s Baby (1967)].’
Thom: The idea that you can be captured by something external, a ghost, comes from The Stepford Wives. At the end of the movie you see a new conscience entering someone’s body.
--Oor (2007)
John: And “Bodysnatchers” is the next song. Was this road tested as well? Ed: Yeah.
John: This is road tested. Is that fuzzy guitar? Is that guitar or bass? Thom: Yeah, it’s guitar. It’s um… uh, Nigel has this really wicked old mixing desk that he managed to get off a studio in L.A., which was… it’s the same… exactly the same model—if you’re interested in this, if you’re not then turn off—the…
John: [laughs] [whispers] Don’t turn off! Thom: No, go on, they won’t. It’s a Motown desk. It’s from like late 60’s. It’s the exact model that they used to record Motown stuff. Um, of course, and if you turn on everything on full, it sounds exactly like a guitar and it sounds like that.
John: I think it sounds brilliant. It kind of sounds like Sabotage or something like that, but at least it was in that fuzzy… Thom: In my dreams, yeah. Ed: [laughs] You’re just saying the right things!
John: That’s how it sounds to me. Is it a film reference at all? Invasion of the Bodysnatchers? Near the end I thought… Thom: Actually, it was a film reference but not that one. It was a… I started the tune um, watching the original Stepford Wives… bizarrely…and cutting and pasting bits from that. But I think it never actually got used. That’s where the tune started from. I got a little bit obsessed by Stepford Wives. Watched it several—three or four times.
John: So in a way I guess that’s about bodies being possessed. Thom: Yeah, well there’s the bit at the end where uh, yes all the women are finally being turned into the robots or whatever. Anyway… uh. But also the song actually—the title actually came from a very strange ghost story—a Victorian ghost story.
John: Any further elucidation on that? Thom: No. Pfft. Just, you know… digging up bodies, you know, Sun in the morning and then the bodies come back and get ya.
John: Right. Okay. Thom: Good stuff!
John: Yeah. The author, do you…? Thom: No. I can’t remember.
John: [laughs] Thom: It’s an anthology. Victorian ghost stories.
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