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** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused to Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
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** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused to Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample sample, which had already been used in live performances, would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
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* CreatorDrivenSuccessor: The album, especially in hindsight, is often been described by fans and analysts as on par with Music/PinkFloyd's classic albums, owed to its return to and expansion upon the band's late '70s sound and its concept being similar to that of ''Music/TheFinalCut''. Executives at Creator/ColumbiaRecords apparently admitted as much to him, saying that it would have sold many more copies if it was a Pink Floyd album.
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* KeepCirculatingTheTapes: The second music video for "What God Wants, Part I", which combines the original PerformanceFootage video with stock footage of animals and StopMotion animations, is the only one of the song's three clips to not be available on Roger Waters' [=YouTube=] channel. Consequently, the only way to watch it is through fan reuploads.
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* KeepCirculatingTheTapes: The second music video for "What God Wants, Part I", which combines the original PerformanceFootage video PerformanceVideo footage with stock footage of animals and StopMotion animations, is the only one of the song's three clips to not be available on Roger Waters' [=YouTube=] channel. Consequently, the only way to watch it is through fan reuploads.
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* KeepCirculatingTheTapes: The second music video for "What God Wants, Part I", which combines the original PerformanceFootage video with stock footage of animals and StopMotion animations, is the only one of the song's three clips to not be available on Roger Waters' [=YouTube=] channel. Consequently, the only way to watch it is through fan reuploads.
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* ColbertBump: In his 1995 book ''The End of Education'', Neil Postman claimed that he gained a good deal of newfound attention to him from younger audiences thanks to the fact that this album was titled after his earlier book ''Amusing Ourselves to Death''. Even if he was indifferent towards Waters' work, Postman appreciated the attention he brought.
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* ColbertBump: In his 1995 book ''The End of Education'', Neil Postman claimed that he gained a good deal of newfound attention to him from younger audiences thanks to the fact that this album was titled after his earlier book ''Amusing Ourselves to Death''. Even if he was indifferent towards Waters' work, Postman appreciated the attention he brought.
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* ColbertBump: In his 1995 book ''The End of Education'', Neil Postman claimed that he gained a good deal of newfound attention to him from younger audiences thanks to the fact that this album was titled after his earlier book ''Amusing Ourselves to Death''. Even if he was indifferent towards Waters' work, Postman appreciated the attention he brought.
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** Waters began recording ''Amused To Death'' as far back as late 1987 as a ''Radio KAOS'' sequel, with '"Going To Live In L.A." as one of the tracks, but it eventually became its own separate piece by 1992.
** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused To Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused To Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
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** Waters began recording ''Amused To to Death'' as far back as late 1987 as a ''Radio KAOS'' K.A.O.S.'' sequel, with '"Going To to Live In in L.A." as one of the tracks, but it eventually became its own separate piece by 1992.
** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''AmusedTo to Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused
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* ChannelHop: Having been under their wing (mostly through various sublabels) since Music/PinkFloyd started putting out records, Waters parted ways with his UK label, Creator/{{EMI}}, and signed a worldwide deal with his longtime US label, Creator/ColumbiaRecords, which continues to this day.
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* CreatorsFavoriteEpisode: Waters indicated in a ''Classic Rock'' interview that he views this album as his best solo work, ranking it with Music/PinkFloyd's ''Music/TheDarkSideOfTheMoon'' and ''Music/TheWall'' as one of his three most essential works. He would reiterate his opinion in a 2013 interview with BBC [=HardTalk=], describing ''Amused to Death'' as "completely underrated."
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* BlackSheepHit: "What God Wants (Part One)", Waters' biggest solo hit, is the closest his solo career gets to HardRock.
* SequelGap: The album released five years after ''Radio K.A.O.S.'', owed to a mid-development change in concept caused by the Tiananmen Square protests and the Gulf War.
* TechnologyMarchesOn: As a concept album about the effect of television, the record shows this in its cover art designs. The original 1992 cover prominently features a CRT TV, while the 2015 reissue has a flat panel on the cover.
* WhatCouldHaveBeen:
** Waters began recording ''Amused To Death'' as far back as late 1987 as a ''Radio KAOS'' sequel, with '"Going To Live In L.A." as one of the tracks, but it eventually became its own separate piece by 1992.
** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused To Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
** The album cover, as a TakeThat to the other members of Music/PinkFloyd, was to feature a picture of Gilmour, Wright and Mason submerged into a martini glass.
** A version of "It's a Miracle" exists that is more uptempo and features [[Music/RedHotChiliPeppers Flea]] on bass, but it has never been released (if it's even in releasable form).
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* SequelGap: The album released five years after ''Radio K.A.O.S.'', owed to a mid-development change in concept caused by the Tiananmen Square protests and the Gulf War.
* TechnologyMarchesOn: As a concept album about the effect of television, the record shows this in its cover art designs. The original 1992 cover prominently features a CRT TV, while the 2015 reissue has a flat panel on the cover.
* WhatCouldHaveBeen:
** Waters began recording ''Amused To Death'' as far back as late 1987 as a ''Radio KAOS'' sequel, with '"Going To Live In L.A." as one of the tracks, but it eventually became its own separate piece by 1992.
** (In)famously, a sample of ''Film/TwoThousandOneASpaceOdyssey'' was to be used on ''Amused To Death'' referring to "Dave", but Creator/StanleyKubrick refused to let him use it, hence the backmasked TakeThat to Kubrick. The sample would eventually be cleared for the 2015 remaster, with the backmasked jab being removed in turn.
** The album cover, as a TakeThat to the other members of Music/PinkFloyd, was to feature a picture of Gilmour, Wright and Mason submerged into a martini glass.
** A version of "It's a Miracle" exists that is more uptempo and features [[Music/RedHotChiliPeppers Flea]] on bass, but it has never been released (if it's even in releasable form).
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