en
George Reisch

Pink Floyd and Philosophy

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With their early experiments in psychedelic rock music in the 1960s, and their epic recordings of the 1970s and '80s, Pink Floyd became one of the most influential and recognizable rock bands in history. As “The Pink Floyd Sound,” the band created sound and light shows that defined psychedelia in England and inspired similar movements in the Jefferson Airplane's San Francisco and Andy Warhol's New York City. The band's subsequent recordings forged rock music's connections to orchestral music, literature, and philosophy. “Dark Side of the Moon” and “The Wall” ignored pop music's ordinary topics to focus on themes such as madness, existential despair, brutality, alienation, and socially induced psychosis. They also became some of the best-selling recordings of all time.
In this collection of essays, sixteen scholars expert in various branches of philosophy set the controls for the heart of the sun to critically examine the themes, concepts, and problems—usually encountered in the pages of Heidegger, Foucault, Sartre, or Orwell—that animate and inspire Pink Floyd's music. These include the meaning of existence, the individual's place in society, the interactions of knowledge and power in education, the contradictions of art and commerce, and the blurry line—the tragic line, in the case of Floyd early member Syd Barrett (died in 2006)—between genius and madness. Having dominated pop music for nearly four decades, Pink Floyd's dynamic and controversial history additionally opens the way for these authors to explore controversies about intellectual property, the nature of authorship, and whether wholes—especially in the case of rock bands—are more than the sums of their parts.
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429 trykte sider
Oprindeligt udgivet
2011
Udgivelsesår
2011
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Citater

  • Kristinahar citeretfor 6 år siden
    If punk music was all about rejecting authority, getting back to basics, paying attention to what you really feel and think and dream (and not what commercial interests tell you to feel and think and dream), then Pink Floyd was punk long before The Ramones and the Sex Pistols.
  • Kristinahar citeretfor 6 år siden
    But some (and some writing in this book) think that Barrett was more in control of his withdrawal than the acid-casualty story suggests. Everyone wants to be a rock star, right? We assume that anyone who opts out after a few singles, a well-received album, and appearances on “Top of the Pops” must have been derailed by something outside of their control. Maybe. But Syd had a way of seeing things differently, as his music suggests.
  • Kristinahar citeretfor 6 år siden
    If you wanted to be hip in the late 1970s, you could be like Johnny Rotten and wear a T-shirt that declared “I hate Pink Floyd.”
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