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No band in recent history has divided listeners' opinions as much as Radiohead. Are they the Beatles of the twenty-first century, or is their music just pretentious, overly melancholic, and sometimes boring? Musician, pop-culture critic, and playwright Dan Caffrey wasn't always a Radiohead fan, but that all changed one Chicago winter, when he suddenly found their album In Rainbows to be a welcome source of sonic warmth. An extension of Caffrey's deep but often cautious love for the band, Radiohead FAQ presents a fittingly sideways look at what he's dubbed "the world’s most famous cult band." Inside these pages, readers will find the essentials of the Radiohead story—along with deep dives into seldom explored topics, from the humor surrounding the band's music to the numerous hip-hop artists who have sampled their songs. Each chapter is devoted to a band member plus their producer and "sixth member" Nigel Godrich, revealing comprehensive biographical details about each person. The end result is a book custom made for casual Radiohead fans and obsessives alike—filled with little known facts, new ways of looking at their music, and, like any music book worth its salt, maddening opinions.

Radiohead and the Journey Beyond Genre traces the uses and transgressions of genre in the music of Radiohead and studies the band’s varied reception in online and offline media. Radiohead’s work combines traditional rock sounds with a unique and experimental approach towards genre that sets the band apart from the contemporary mainstream. A play with diverse styles and audience expectations has shaped Radiohead’s musical output and opened up debates about genre amongst critics, fans, and academics alike. Interpretations speak of a music that is referential of the past but also alludes to the future. Applying both music- and discourse-analytical methods, the book discusses how genre manifests in Radiohead’s work and how it is interpreted amongst different audience groups. It explores how genre and generic flexibility affect the listeners’ search for musical meaning and ways of discussion. This results in the development of a theoretical framework for the study of genre in individual popular music oeuvres that explores the equal validity of widely differing forms of reception as a multidimensional network of meaning. While Radiohead’s music is the product of an eclectic mixture of musical influences and styles, the book also shows how the band’s experimental stance has increasingly fostered debates about Radiohead’s generic novelty and independence. It asks what remains of genre in light of its past or imminent transgression. Offering new perspectives on popular music genre, transgression, and the music and reception of Radiohead, the book will appeal to academics, students, and those interested in Radiohead and matters of genre. It contributes to scholarship in musicology, popular music, media, and cultural studies.

How the British rock band Radiohead subverts the idea of the concept album in order to articulate themes of alienation and anti-capitalism is the focus of Marianne Tatom Letts's analysis of Kid A and Amnesiac. These experimental albums marked a departure from the band's standard guitar-driven base layered with complex production effects. Considering the albums in the context of the band's earlier releases, Letts explores the motivations behind this change. She places the two albums within the concept-album/progressive-rock tradition and shows how both resist that tradition. Unlike most critics of Radiohead, who focus on the band's lyrics, videos, sociological importance, or audience reception, Letts focuses on the music itself. She investigates Radiohead's ambivalence toward its own success, as manifested in the vanishing subject of Kid A on these two albums.

This volume is the first book-length study of hooks in popular music. Hooks - those memorable musical moments for listeners such as a riff or catchy melodic phrase – are arguably the guiding principle of much modern popular music. The concept of the hook involves aspects of melody, rhythm, harmony, production, lyrical and cultural meaning - and how these interact within a song’s topline and backing track. Hooks are also inherently related to the human capacities for memory and attention, and interact with our previous experiences with music. Understanding hooks in popular music requires a new interdisciplinary approach drawing from popular music studies, pop musicology, and music psychology, and this book draws from each of these disciplines to understand the hooks present in a broad range of popular music styles from the last thirty years.

Game culture and material culture have always been closely linked. Analog forms of rule-based play (ludus) would hardly be conceivable without dice, cards, and game boards. In the act of free play (paidia), children as well as adults transform simple objects into multifaceted toys in an almost magical way. Even digital play is suffused with material culture: Games are not only mediated by technical interfaces, which we access via hardware and tangible peripherals. They are also subject to material hybridization, paratextual framing, and processes of de-, and re-materialization.

Why would two talented and employable young graphic designers start up their own practice without any clients, in the midst of a recession, and in a city brimming with world-renowned designers? Karlssonwilker inc.'s tellmewhy is the improbable story of such a venture -- or act of bravura or insanity -- on the part of Hjalti Karlsson and Jan Wilker, and offers a telling, humorous, and always human insight into the workings of a young startup design studio, showcasing every single project they did in their first two years. A book as iconoclastic as their designs, tellmewhy features fresh stories of karlssonwilker's ordinary office live and its less-than-romantic tales about rooftop parties, battles with immigration, language obstacles, missed meetings, and money problems. Despite these stories -- and because of others -- karlssonwilker has produced an impressive body of work in two short years. Tellmewhy shows the happy endings, including signage for a Philadelphia restaurant, logo designs for a New York fashion house, and CD packaging for both independent and major music labels. And it presents the few unrealized designs, like an ad campaign for a TV network. All share the designers' creative and humorous take on design. Karlssonwilker intersperses these examples with its singular illustrated diagrams, faux flow charts linking the partners' biographies, work, social lives, and whatever comes to their unique minds. Tellmewhy offers both inspiration and caution for designers everywhere. A foreword by former employer Stefan Sagmeister recalls karlssonwilker's start in his design office.

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.

Whilst these records were being conceived, rehearsed, recorded and produced, Thom Yorke and Stanley Donwood made hundreds of images. These ranged from obsessive, insomniac scrawls in biro to six-foot-square painted canvases, from scissors-and-glue collages to immense digital landscapes. They utilised every medium they could find, from sticks and knives to the emerging digital technologies. The work chronicles their obsessions at the time: minotaurs, genocide, maps, globalisation, monsters, pylons, dams, volcanoes, locusts, lightning, helicopters, Hiroshima, show homes and ring roads. What emerges is a deeply strange portrait of the years at the commencement of this century. A time that seems an age ago - but so much remains the same.