I'm stunned that you didn't mention the most outrageous thing of all:
Radiohead intended, more or less, for this to be their final song. You are right about Radiohead being obsessed for years with writing a "Bond Theme" musically - "Spectre" is actually the THIRD attempt from the band, there's also the discarded "Down Is The New Up" from the IN RAINBOWS sessions. And they'd finally - near what seemed to be the natural terminus of their career - achieved the thing they'd been trying to do since they started the band: "make it" by scoring a Bond theme, their childhood goal!
Then this happened. And instead of breaking up forever after the final triumph, Radiohead has gotten their revenge by deciding to reunite and tour.
Really enjoyed this essay and the mini-essay in the footnote at the end. Per the latter, I don't think you're giving early Beatles enough credit (and I think you're giving Led Zeppelin too much credit, as much as I love them). I remember reading an interview with Stephen Hawking once, in which he was asked about his ten favorite records: they were all classical music, with the exception of the Beatles' first LP Please Please Me. He said no one had ever heard anything like it at the time. If you listen to what Buddy Holly and Elvis and Roy Orbison had created at the time, Please Please Me really is lightyears ahead.
Enjoyed this. This is exactly how I like to learn about pop culture; at arm’s length and wriggling in tightly clasped tongs. A sensitive soul from another era, I don’t process well under the barrage of light and sound that is contemporary entertainment, even of artistic bent. Haven’t been to a movie theater since Jackson caved on The Hobbit, don’t own a tv, listen to electronica when classical and classic jazz won’t do. Thanks for a thoughtful read, carefully written.
It’s impossible to escape it, now that giant blaring screens infest every public space. Luckily, I’m nearsighted and mostly deaf, so I’m subjected only to the bruit of the assault, while avoiding the horror of its actual content.
Melancholy? I would've gone with "somber." It's a good song, but it doesn't exactly announce "you're about to witness an action-packed thrill ride." Too down-tempo, too subtle.
That's why it's for the CREDITS (aka the end of the movie). It'd fit well with Spectre, which was a melancholic backwards-looking Bond Flick, made by Television Writers* (and it shows. Low Budget for a Bond Movie -- the sort of people who pinch pennies habitually).
* not all "writers guild" writers. You know, the other kind (showrunners, etc, anyone else who uses a pen and doesn't get credit as a "writer").
I love Radiohead, and their Spectre was beautiful. But it WAS mopey, predictably and by design. The Smith song works much better for that movie, and I'm not a huge Sam Smith fan. Also consider that they use bits of the theme throughout the overall soundtrack. Writing's on the Wall's more predictable orchestration suited that task much better as well. But seriously enjoyable read, thank you!
Hard disagree. Both songs stink, but at least the Sam Smith song has words you can understand (and that link up with the ridiculous visuals of the titles sequence). Bond themes shouldn't be gloomy or shoegazey, they should be over-the-top silly, maudlin, campy, or groovy (pick any two). Radiohead was always a bad choice, but I can't believe the band couldn't stretch themselves even a little bit to deliver something that works with a classic Bond sequence.
In classical music (please clap), Stravinsky’s Rite of Spring exemplifies “where an artist pushes a boundary at the exact moment when people say ‘yes, that’s what we wanted.’” After its riotous premiere in 1913, it became a staple of orchestral repertory, to the point that by 1940 Disney used it for the soundtrack of Fantasia.
These are the people who decided that Chris Cornell's worst song was a great way to start the Craig era. "The Writing's on the Wall" is also just a bad title for a Bond song.
Speaking of Carson Daly, I love the Letterman bit about Carson Daly being the Pluto of talk shows (alt: being out there in the ionosphere). Shows up a few times in the Conan vs. Leno saga.
I'm stunned that you didn't mention the most outrageous thing of all:
Radiohead intended, more or less, for this to be their final song. You are right about Radiohead being obsessed for years with writing a "Bond Theme" musically - "Spectre" is actually the THIRD attempt from the band, there's also the discarded "Down Is The New Up" from the IN RAINBOWS sessions. And they'd finally - near what seemed to be the natural terminus of their career - achieved the thing they'd been trying to do since they started the band: "make it" by scoring a Bond theme, their childhood goal!
Then this happened. And instead of breaking up forever after the final triumph, Radiohead has gotten their revenge by deciding to reunite and tour.
I didn't know this! Well I'm glad MGM didn't break up Radiohead.
Really enjoyed this essay and the mini-essay in the footnote at the end. Per the latter, I don't think you're giving early Beatles enough credit (and I think you're giving Led Zeppelin too much credit, as much as I love them). I remember reading an interview with Stephen Hawking once, in which he was asked about his ten favorite records: they were all classical music, with the exception of the Beatles' first LP Please Please Me. He said no one had ever heard anything like it at the time. If you listen to what Buddy Holly and Elvis and Roy Orbison had created at the time, Please Please Me really is lightyears ahead.
Enjoyed this. This is exactly how I like to learn about pop culture; at arm’s length and wriggling in tightly clasped tongs. A sensitive soul from another era, I don’t process well under the barrage of light and sound that is contemporary entertainment, even of artistic bent. Haven’t been to a movie theater since Jackson caved on The Hobbit, don’t own a tv, listen to electronica when classical and classic jazz won’t do. Thanks for a thoughtful read, carefully written.
I’m confused, how do you watch TV if you don’t own a TV?
It’s impossible to escape it, now that giant blaring screens infest every public space. Luckily, I’m nearsighted and mostly deaf, so I’m subjected only to the bruit of the assault, while avoiding the horror of its actual content.
Jokes aside, TVs everywhere bug the shit out of me. I don’t care to watch reruns of Will and Grace while I wait 5 minutes to see my Dr
Melancholy? I would've gone with "somber." It's a good song, but it doesn't exactly announce "you're about to witness an action-packed thrill ride." Too down-tempo, too subtle.
That's why it's for the CREDITS (aka the end of the movie). It'd fit well with Spectre, which was a melancholic backwards-looking Bond Flick, made by Television Writers* (and it shows. Low Budget for a Bond Movie -- the sort of people who pinch pennies habitually).
* not all "writers guild" writers. You know, the other kind (showrunners, etc, anyone else who uses a pen and doesn't get credit as a "writer").
The Bond Theme is in the opening credits.
The Sopranos should be on your list.
I love Radiohead, and their Spectre was beautiful. But it WAS mopey, predictably and by design. The Smith song works much better for that movie, and I'm not a huge Sam Smith fan. Also consider that they use bits of the theme throughout the overall soundtrack. Writing's on the Wall's more predictable orchestration suited that task much better as well. But seriously enjoyable read, thank you!
*This* is the greatest Bond theme song that never was: https://youtu.be/7O1_0hikl-A?si=Q_RonHz5REfGZENW
Hard disagree. Both songs stink, but at least the Sam Smith song has words you can understand (and that link up with the ridiculous visuals of the titles sequence). Bond themes shouldn't be gloomy or shoegazey, they should be over-the-top silly, maudlin, campy, or groovy (pick any two). Radiohead was always a bad choice, but I can't believe the band couldn't stretch themselves even a little bit to deliver something that works with a classic Bond sequence.
In classical music (please clap), Stravinsky’s Rite of Spring exemplifies “where an artist pushes a boundary at the exact moment when people say ‘yes, that’s what we wanted.’” After its riotous premiere in 1913, it became a staple of orchestral repertory, to the point that by 1940 Disney used it for the soundtrack of Fantasia.
These are the people who decided that Chris Cornell's worst song was a great way to start the Craig era. "The Writing's on the Wall" is also just a bad title for a Bond song.
How did Radiohead react publicly to the decision, if at all? And I hope they still got paid
Speaking of Carson Daly, I love the Letterman bit about Carson Daly being the Pluto of talk shows (alt: being out there in the ionosphere). Shows up a few times in the Conan vs. Leno saga.
https://youtu.be/VaJgLYyKbFQ?si=p_1HM3y8kiNPhn2x&t=2m21s