Everything In Its Right Place

More than any rock artist since The Beatles, Radiohead's music inhabits the sweet spot between two extremes: on the one hand, music that is wholly conventional and conforms to all expectations of established rock styles, and, on the other hand, music so radically experimental that it thwarts any learned notions. While averting mainstream trends but still achieving a significant level of success in both US and UK charts, Radiohead's music includes many surprises and subverted expectations, yet remains accessible within a framework of music traditions. In Everything in its Right Place: Analyzing Radiohead, Brad Osborn reveals the functioning of this reconciliation of extremes in various aspects of Radiohead's music, analyzing the unexpected shifts in song structure, the deformation of standard 4/4 backbeats, the digital manipulation of familiar rock 'n' roll instrumentation, and the expected resolutions of traditional cadence structures. Expanding on recent work in musical perception, focusing particularly on form, rhythm and meter, timbre, and harmony, Everything in its Right Place treats Radiohead's recordings as rich sonic ecosystems in which a listener participates in an individual search for meaning, bringing along expectations learned from popular music, classical music, or even Radiohead's own compositional idiolect. Radiohead's violations of these subjective expectation-realization chains prompt the listener to search more deeply for meaning within corresponding lyrics, biographical details of the band, or intertextual relationships with music, literature, or film. Synthesizing insights from a range of new methodologies in the theory of pop and rock, and specifically designed for integration into music theory courses for upper level undergraduates, Everything in its Right Place is sure to find wide readership among scholars and students, as well as avid listeners who seek a deeper understanding of Radiohead's distinctive juxtapositional style.

THE MAKING AND MEANING OF RADIOHEAD'S GROUNDBREAKING, CONTROVERSIAL, EPOCHDEFINING ALBUM, KID A. In 1999, as the end of an old century loomed, five musicians entered a recording studio in Paris without a deadline. Their band was widely recognized as the best and most forward-thinking in rock, a rarefied status granting them the time, money, and space to make a masterpiece. But Radiohead didn't want to make another rock record. Instead, they set out to create the future. For more than a year, they battled writer's block, intra-band disagreements, and crippling self-doubt. In the end, however, they produced an album that was not only a complete departure from their prior guitar-based rock sound, it was the sound of a new era-and it embodied widespread changes catalyzed by emerging technologies just beginning to take hold of the culture. What they created was Kid A. Upon its release in 2000, Radiohead's fourth album divided critics. Some called it an instant classic; others, such as the UK music magazine Melody Maker, deemed it "tubby, ostentatious, self-congratulatory... whiny old rubbish." But two decades later, Kid A sounds like nothing less than an overture for the chaos and confusion of the twenty-first century. Acclaimed rock critic Steven Hyden digs deep into the songs, history, legacy, and mystique of Kid A, outlining the album's pervasive influence and impact on culture in time for its twentieth anniversary in 2020. Deploying a mix of criticism, journalism, and personal memoir, Hyden skillfully revisits this enigmatic, alluring LP and investigates the many ways in which Kid A shaped and foreshadowed our world.

From the bestselling author of Gratitude and On the Move, a final volume of essays that showcases Sacks's broad range of interests--from his passions for ferns, swimming, and horsetails, to his final case histories exploring schizophrenia, dementia, and Alzheimer's. Oliver Sacks, renowned scientist and storyteller, is adored by readers for his neurological case histories, his fascination and familiarity with human behaviour at its most unexpected and unfamiliar. Everything in Its Place is a celebration of Sacks's myriad interests, all told with his characteristic compassion, erudition, and luminous prose. From the celebrated case history of Spalding Gray that appeared in The New Yorker four months before his death to reflections on mental asylums; from piercing accounts of Schizophrenia to a reminiscence of Robin Williams; from the riveting tale of a medical colleague falling victim to Alzheimer's to the cinematography of Michael Powell, this volume celebrates and reflects the wondrous curiosity of Oliver Sacks.

"George's background spanning technology, media, and music is a perfect combination to lay the groundwork for what is to come. He lays it out, right here." - Bill Tai, Partner Emeritus, Charles River Ventures. In Everything In Its Right Place artists, such as Imogen Heap and Ryan Leslie; world-class entrepreneurs/Venture Capitalists, such as Andy Weisman and Bill Tai; innovators, such as DA Wallach and Benji Rogers, and numerous others provide direct and informative first-hand accounts of not only their visions for Blockchain, but the ways in which they are currently utilizing the technology. The ways in which Blockchain technology will impact the music industry is examined thoroughly, but, as is so often the case, the music industry is a sort of Canary in a Coal Mine; as it goes, so too go other industries. Given these stakes, an understanding of Blockchain is imperative for anyone interested in significant emerging technologies and its applicability to a variety of industries. Artists - visual, musical, or otherwise - really must educate themselves about these emerging technologies, or suffer the fate of being exploited by those who do. George Howard is passionate in his hope that some of the pieces compiled in this book inspire those who believe, as he does, in the power of leveraging Blockchain technology (or any other technologies) in a manner that results in more artists not simply sustaining, but thriving on their own terms. After all, art is an empathy machine and, thus/as it follows, more art equals less war.

The Music and Art of Radiohead provides compelling close readings of the English band's music, lyrics, album cover art and music videos as well as critical commentary on interviews, reviews and the documentary film Meeting People is Easy. Established and emerging academic scholars engage with Radiohead's music and art via concerns of broader implication to contemporary cultural studies. Topics range from the band's various musical and multivalent social contexts to their contested situation within a global market economy; from asking the question, 'how free is art?' to considering the band's musical influences and radical sonic explorations. Together, the essays form a comprehensive discussion of Radiohead's entire oeuvre, from Pablo Honey to Hail to the Thief, with a special focus on the critically acclaimed best-selling albums Kid A and Amnesiac.

An inspiring and poetic story about reading, libraries, and overcoming shyness to find community. I gather the books in my arms, and give them a hug. "Welcome back," I whisper. Nicky is a shy girl who feels most at home in the safe space of her school library, but the library closes for a week and Nicky is forced to face her social anxiety. When she meets a group of unique, diverse, inspiring women at her mother's diner—members of a women's motorcycle club—Nicky realizes that being different doesn’t have to mean being alone, and that there’s a place for everyone. Book lovers of all ages will find inspiration in this beautiful love letter to reading—and how words help us find empathy and connections with the world around us.

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Stanley Donwood and the enigmatic Dr Tchock are the elusive duo responsible for Radiohead’s artwork. Containing paintings they have produced in the last decade, this book alsocontains a cornucopia of never-before-seen artwork. Featuring the apocalyptic scenes of the OK Computer album, the startling, sinister shadow of memory cast onto the present in the Kid A paintings, and theoverwhelming information overload of Hail to the Thief’s landscapes of conflict, Dead Children Playing presents some of the most iconic artwork of our time.