DOCSLIB.ORG

Seng 265 — Introduction to Software Engineering Fall 2001 Assignment No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Seng 265 — Introduction to Software Engineering Fall 2001 Assignment No SEng 265 — Introduction to Software Engineering Fall 2001 Assignment No. 4 Note 1 This assignment is to be done individually. Note 2 Your assignment will be tested on aserver. Due date: Nov. 16, 2001, at the beginning of the class. This assignment is worth 20 points. This assignment is worth 8% of your total course mark. Clearly mark your lab section and student number on all submissions. Objectives After completing this assignment, you will have: learned the basics of perl and regular expressions. Introduction I have a large library of mp3s on one of my linux boxes. Because I am the retentive type of person, I organize them in the following way: For each band I create a directory whose name is the name of the band. Inside this directory I create one directory per each album that the band has released. The name of the directory starts with the year (4 digits number) in which it was released. Finally, inside each album directory, I name each mp3 file with the number of the song in the album, and its title. For example, the albums Boy (1980) of U2, and The Bends (1995) of Radiohead correspond to: U2/1980_Boy/04_Into_the_Heart.mp3 U2/1980_Boy/01_I_will_follow.mp3 U2/1980_Boy/02_Twilight.mp3 U2/1980_Boy/03_An_Cat_Dubh.mp3 U2/1980_Boy/06_Stories_for_Boys_2.mp3 U2/1980_Boy/05_Out_of_Control_2.mp3 U2/1980_Boy/08_A_Day_without_Me.mp3 U2/1980_Boy/07_The_Ocean_2.mp3 U2/1980_Boy/09_Another_Time_Another_Place.mp3 U2/1980_Boy/10_Electric_Co_2.mp3 U2/1980_Boy/11_Shadows_and_Tall_Trees_2.mp3 Radiohead/1995_The_Bends/10_Black_Star.mp3 Radiohead/1995_The_Bends/08_MyIron_Lung.mp3 Radiohead/1995_The_Bends/04_Fake_Plastic_Trees.mp3 Radiohead/1995_The_Bends/05_Bones.mp3 Radiohead/1995_The_Bends/13_Killer_Cars.mp3 Radiohead/1995_The_Bends/03_High_and_Dry.mp3 Radiohead/1995_The_Bends/14_How_Can_You_Be_Sure.mp3 1 Radiohead/1995_The_Bends/01_Planet_Telex.mp3 Radiohead/1995_The_Bends/02_The_Bends.mp3 Radiohead/1995_The_Bends/07_Just.mp3 Radiohead/1995_The_Bends/11_Sulk.mp3 Radiohead/1995_The_Bends/06_Nice_Dream.mp3 Radiohead/1995_The_Bends/09_Bullet_Proof_I_Wish.mp3 Radiohead/1995_The_Bends/12_Street_Spirit.mp3 My collection is getting to the point where it is difficult to find what I want to play. For example, I’d like to say: show me all the songs from 1995. Or show me all the songs by Pink Floyd in the 90’s. Or show me all the songs that include woman and women in their title. Your task, should you choose to accept it I want you to write the command: abbey road. This is its man page: abbey_road(1) NAME abbey_road - search for songs in a collection of mp3s SYNOPSIS abbey_road [OPTIONS]... filename [PATTERN] DESCRIPTION Search for PATTERN in the title of a song in a collection of mp3 filenames of the format: <Band>/<Year>_<Album Name>/<Song Number>_<Title>.mp3 filename file that contains the mp3s filenames. PATTERN PATTERN is an optional valid perl regular expression. abbey_road will search for that pattern in the names of all the songs in the file. For example: You can search for ’wi[a-z]h’ (wi followed by any character, followed by h) and expect as output: U2/1980_Boy/08_A_Day_without_Me.mp3 Radiohead/1995_The_Bends/09_Bullet_Proof_I_Wish.mp3 OPTIONS --casesensitive By default abbey_road is case insensitive. This option forces the search to be case sensitive. --band=PATTERN restric the search to the bands that match PATTERN 2 only. --band=’ˆu’ will search in bands whose name starts with a U (like U2). --band=who will restrict the search to bands that include ’who’ in their title: Guess Who, The Who. --album=PATTERN restric the search to albums that match PATTERN only. --album=boy will search only songs from albums that include the string boy in their title --year=PATTERN restric the search to years that match PATTERN only. --year=’199[5-7]’ will search only songs of albums that were released between 1995 and 1997. --songnumber=NUMBER search only for a song which is number NUMBER in the album. --song=3 will search only for the third song in an album. NOTES: Abbey_road does not read anything from standard input and writes its output to standard output. At the end it prints to standard error the number of matching songs, e.g.: End of search. 1 song(s) matching. Or: End of search. No songs matching. The search should be case insensitive unless otherwise specified. Inside the mp3s collection file, underscores (_) are used instead of spaces. abbey_road takes this into account. For instance: abbey_road --album=’the bends’ ’planet telex’ should output: Radiohead/1995_The_Bends/01_Planet_Telex.mp3 EXAMPLES: What is the fifth song of the album Boy: abbey_road --album=’ˆBoy$’ --number=5 my_mp3s.txt U2/1980_Boy/05_Out_of_Control_2.mp3 3 What songs were released in the 90’s whose title include the string ’be’: abbey_road --year=’199[0-9]’ my_mp3s.txt be Radiohead/1995_The_Bends/14_How_Can_You_Be_Sure.mp3 Radiohead/1995_The_Bends/02_The_Bends.mp3 AUTHOR Written by you. REPORTING BUGS Report bugs to <[email protected]>. COPYRIGHT Copyright 2001 Your Name Implementation Notes The same option cannot appear more than once in the same command line. For instance, you cannot say: abbey_road --album=’ˆBad$’ --number=3 --number=5 my_mp3s.txt There are no restrictions on how to implement this command but you should use a reasonable amount of memory and CPU (less than 100 Mbytes to scan a 1000 songs file, and terminate within few seconds, for instance). Your program can safely assume that all the input conforms to the expected format. You should follow our C coding standards (where applicable). Any disparity or question will be resolved in the bulletin board. You can find an example of an mp3 songs file from /home/seng265/assign4/mp3s.txt What to submit Submit your source code (abbey road) via CVS (see assignment 2) in the src directory of your module At the start of the class on the deadline, hand in a printed copy of your cvs commit script as well as a hard copy of your source code file. Remember, no line in your source code should exceed 80 characters long! and this assignment is to be done individually. 4.
Load more

Recommended publications
  • Radiohead's Pre-Release Strategy for in Rainbows
    Making Money by Giving It for Free: Radiohead’s Pre-Release Strategy for In Rainbows Faculty Research Working Paper Series Marc Bourreau Telecom ParisTech and CREST Pinar Dogan Harvard Kennedy School Sounman Hong Yonsei University July 2014 RWP14-032 Visit the HKS Faculty Research Working Paper Series at: http://web.hks.harvard.edu/publications The views expressed in the HKS Faculty Research Working Paper Series are those of the author(s) and do not necessarily reflect those of the John F. Kennedy School of Government or of Harvard University. Faculty Research Working Papers have not undergone formal review and approval. Such papers are included in this series to elicit feedback and to encourage debate on important public policy challenges. Copyright belongs to the author(s). Papers may be downloaded for personal use only. www.hks.harvard.edu Makingmoneybygivingitforfree: Radiohead’s pre-release strategy for In Rainbows∗ Marc Bourreau†,Pınar Dogan˘ ‡, and Sounman Hong§ June 2014 Abstract In 2007 a prominent British alternative-rock band, Radiohead, pre-released its album In Rainbows online, and asked their fans to "pick-their-own-price" (PYOP) for the digital down- load. The offer was available for three months, after which the band released and commercialized the album, both digitally and in CD. In this paper, we use weekly music sales data in the US between 2004-2012 to examine the effect of Radiohead’s unorthodox strategy on the band’s al- bum sales. We find that Radiohead’s PYOP offer had no effect on the subsequent CD sales. Interestingly, it yielded higher digital album sales compared to a traditional release.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • For Immediate Release September 2016 Umphrey's
    FOR IMMEDIATE RELEASE SEPTEMBER 2016 UMPHREY’S MCGEE ANNOUNCE THE NOVEMBER 11 RELEASE OF INNOVATIVE MASH-UP ALBUM ZONKEY RECORDED WITH LIVE INSTRUMENTATION AND NO SAMPLES USED COLLECTION INCLUDES MUSIC BY BEASTIE BOYS, BECK, FLEETWOOD MAC, METALLICA, MGMT, MICHAEL JACKSON, RADIOHEAD, TALKING HEADS, THE WEEKND, FRANK ZAPPA AND MANY MORE “Umphrey's McGee are a veteran act steeped in prog musicianship, metal power and genre-jumping inventiveness that thinks in terms of album-length statements.” - Rolling Stone Nashville, TN – Genre-defying progressive sextet Umphrey’s McGee announce the November 11 release of ZONKEY, a truly unique collection of 12 innovative mash-ups; conceived, arranged and performed in their entirety without the use of any samples. Always a band to challenge the boundaries of live performance, Umphrey’s McGee began a tradition eight years ago when the group started performing live mash-ups during their annual Halloween concerts. The event has become a fan favorite with sold out shows and highly coveted tickets. ZONKEY marks the first time the group has taken songs spanning 40+ years of popular music from 70’s Reggae to 80’s Pop to 90’s Metal and beyond, and recorded them in the studio. Only a band with the caliber of musicians such as Umphrey’s McGee could pull off these ambitious compositions that include “National Loser Anthem” (Radiohead’s "National Anthem" + Beck’s "Loser" + Phil Collins "In The Air Tonight”), “Can't Rock My Dream Face” (Michael Jackson’s "Rock With You" + The Weeknd’s "Can't Feel My Face" + Fleetwood Mac’s "Dreams"), “Strangletage” (Ted Nugent’s "Stranglehold" + Beastie Boys "Sabotage") or “Life During Exodus” (Talking Heads’ "Life During Wartime" + Bob Marley ‘s "Exodus" + Frank Zappa’s "City of Tiny Lites" + Chicago’s "25 or 6 to 4").
    [Show full text]
  • Hyperreality in Radiohead's the Bends, Ok Computer
    HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A Thesis Presented as Partial Fulfillment of the Requirements for the Attainment of the Sarjana Sastra Degree in English Language and Literature By: Azzan Wafiq Agnurhasta 08211141012 STUDY PROGRAM OF ENGLISH LANGUAGE AND LITERATURE DEPARTMENT OF ENGLISH LANGUAGE EDUCATION FACULTY OF LANGUAGES AND ARTS YOGYAKARTA STATE UNIVERSITY 2014 APPROVAL SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By Azzan Wafiq Agnurhasta 08211141012 Approved on 11 June 2014 By: First Consultant Second Consultant Sugi Iswalono, M. A. Eko Rujito Dwi Atmojo, M. Hum. NIP 19600405 198901 1 001 NIP 19760622 200801 1 003 ii RATIFICATION SHEET HYPERREALITY IN RADIOHEAD’S THE BENDS, OK COMPUTER, AND KID A ALBUMS: A SATIRE TO CAPITALISM, CONSUMERISM, AND MECHANISATION IN POSTMODERN CULTURE A THESIS By: AzzanWafiqAgnurhasta 08211141012 Accepted by the Board of Examiners of Faculty of Languages and Arts of Yogyakarta State University on 14July 2014 and declared to have fulfilled the requirements for the attainment of the Sarjana Sastra degree in English Language and Literature. Board of Examiners Chairperson : Nandy Intan Kurnia, M. Hum. _________________ Secretary : Eko Rujito D. A., M. Hum. _________________ First Examiner : Ari Nurhayati, M. Hum. _________________ Second Examiner : Sugi Iswalono, M. A. _________________
    [Show full text]
  • Radiohead and the Philosophy of Music
    1 Radiohead and the Philosophy of Music Edward Slowik There’s an old joke about a stranger who, upon failing to get any useful directions from a local resident, complains that the local “doesn’t know much.” The local replies, “yeah, but I ain’t lost”. Philosophers of music are kind of like that stranger. Music is an important part of most people’s lives, but they often don’t know much about it—even less about the philosophy that underlies music. Most people do know what music they like, however. They have no trouble picking and choosing their favorite bands or DJs (they aren’t lost). But they couldn’t begin to explain the musical forms and theory involved in that music, or, more importantly, why it is that music is so important to them (they can’t give directions). Exploring the evolution of Radiohead’s musical style and its unique character is a good place to start. Radiohead and Rock Music In trying to understand the nature of music, it might seem that focusing on rock music, as a category of popular music, is not a good choice. Specifically, rock music complicates matters because it brings into play lyrics, that is, a non-musical written text. This aspect of rock may draw people’s attention away from the music itself. (In fact, I bet you know many people who like a particular band or song based mainly on the lyrics—maybe these people should take up poetry instead!) That’s why most introductions to the philosophy of music deal exclusively with classical music, since classical music is often both more complex structurally and contains no lyrics, allowing the student to focus upon the purely musical structural components.
    [Show full text]
  • Steve Hackman and the Art of the Classical Mashup
    Playlists Schedule Programs Q2 Music Events Blogs Request Music Search wqxr.org WQXR log teve Hackman and The Art of the Claical Mahup Monday, October 31, 2016 ­ 12:00 AM Composer and conductor Steve Hackman (Courtesy photo from the artist) A musical mashup is when two or more songs are smashed together — for example, taking the bass from one, the rhythm and melody from the other and, more or less, creating a new composite song. In the early years of YouTube, a mashup was considered as one the most ear­ tickling experiences on the Internet. These combinations were mostly contained within mainstream music, one of the most famous being a Radiohead vs. Marvin Gaye mashup called “Sexual High,” a combination of Gaye’s “Sexual Healing” and Radiohead’s “High and Dry." Now, enter Steve Hackman, a Curtis Institute of Music­trained conductor and composer, with perhaps the most literal expression of classical­ crossover that has ever existed: Beethoven vs. Coldplay, Radiohead vs. Brahms, Copland vs. Bon Iver, and, most strangely, Björk vs. Bartók. What makes Hackman’s work special is that, in contrast to the YouTube videos of the mid 2000s, his mashups are performed live — with an orchestra! In truth, the word mashup doesn’t fairly describe Hackman’s work. The pop and classical elements aren't merely juxtaposed, but are dexterously woven together. At times, one isn’t sure of where the classical music ends and the other begins. This wholly original result isn’t just luck. Not only is Hackman an accomplished and decorated musician, fully capable of producing a compelling piece of music, but it's clear that he loves the classical and pop elements with equal force.
    [Show full text]
  • Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&
    DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: first, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conflates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others.
    [Show full text]
  • Radiohead: the Guitar Weilding, Dancing, Singing Commodity
    Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 2-23-2009 Radiohead: The Guitar Weilding, Dancing, Singing Commodity Selena Michelle Lawson Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Lawson, Selena Michelle, "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/47 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RADIOHEAD: THE GUITAR WEILDING, DANCING, SINGING COMMODITY by SELENA LAWSON Under the Direction of Jeffery Bennett ABSTRACT In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
    [Show full text]
  • {PDF} Radiohead: the Stories Behind Every Song
    RADIOHEAD: THE STORIES BEHIND EVERY SONG PDF, EPUB, EBOOK James Doheny | 224 pages | 13 Sep 2012 | Carlton Books Ltd | 9781847329943 | English | London, United Kingdom Radiohead: The Stories Behind Every Song PDF Book Whoa, awesome. Allie rated it it was amazing Dec 22, Introduction Preschoolers generally adore making up new words, creating funny sentences, repeating rhymes, and singing silly songs. I can't say where it is but I know I'm going home. Submit Content. Philitsa rated it really liked it Jul 26, Where the Streets Have No Name Want to Read saving…. Elevation By the editors of Child magazine October 05, Saw them in l. Three-year- olds also tend to enjoy stories about everyday things, animals, and kids, as well as books that discuss issues like learning to share, making friends, going to school, and using the potty. Or perhaps it's about somebody caught in an abusive relationship. Adrian Vargas Obando rated it really liked it Dec 03, Ryan rated it it was ok Jun 28, All rights reserved. April rated it really liked it Feb 18, Poems, Songs, and Stories. Fans love it, but it hasn't been played on tour since It does put a new layer of meaning to the song. Dylan rated it liked it Aug 12, Harrison rated it liked it Dec 24, The Saints Are Coming But the meanings of most U2 songs are subject to interpretation. September A year-old drummer posts a notice at school that he's looking to start a band. Rating details. This energetic and mighty rocker reached number one in Australia, Canada, and all over Europe, but didn't receive much airplay in the States.
    [Show full text]
  • Radiohead and the Resistant Concept Album: How To
    Radiohead and the Resistant Concept Album: How to Disappear Completely Marianne Tatom Letts Bloomington: Indiana University Press, 2010 ISBN: 9780253355706 (HB) RRP: $60.00 (USD) Raphaël Nowak Griffith University [email protected] In Radiohead and the Resistant Album, American musicologist Marianne Tatom Letts undertakes the task of deciphering the complexity and abstraction of Radiohead’s musical world. While many are still debating over how to classify Radiohead in the realm of popular music, Letts identifies their fourth and fifth albums, Kid A and Amnesiac (respectively released in 2000 and 2001), as “‘experimental’ concept albums” (2) that express the band’s ambivalence towards capitalism and its own commodification. From a musicological perspective, Letts aims to understand the meaning of Radiohead’s lyrics and political messages towards our contemporary capitalist societies. Hence, Letts’ purpose is to dig deep into, and understand the nature of, Radiohead’s obsession with alienation within modern society, understood as a “post-apocalyptic wasteland” (56). Her textual analysis offers a great insight into one of the most complex bands in the history of popular music, even though she remains too critical towards the band’s effort to challenge their own commodification by dismissing their latest efforts to propose an alternative model of music consumption. Forming in the late 1980s under the name On A Friday, the 5-piece band from Oxford released three albums in the 1990s (Pablo Honey in 1993, The Bends in 1995 and Ok Computer in 1997) that were stylistically coherent, while they were also “adding increasingly complex layers of production effects to an essentially guitar-driven sound” (6).
    [Show full text]
  • Where Murakami Ends and Radiohead Begins: a Comparative Study
    WHERE MURAKAMI ENDS AND RADIOHEAD BEGINS: A COMPARATIVE STUDY By Samuel JP Shaw Foreword: This is not an academic essay, in so far I do not wish for it to be taken too seriously. I am all too aware of the danger of comparative studies. In simply setting down the title above, I am likely to have to answer to the charge of pretension. However, I would not set about this task unless I believed that, on a basic level, there is some worth in it. And I believe there is. You can judge for yourself I must also point out that it is not my intention to try and make explicit links between my two subjects. I don’t mean to argue that they are coming from exactly the same place and not for a moment do I wish to suggest that my interpretations are the only ones there can be. You may disagree with all that I say. I have simply noted a range of similarities, which I have tentatively explored in a way which, I hope, insults neither subject and complements both. This study is not designed for the reader to leave thinking, ‘Wow! Radiohead and Murakami are just like each other!’ Quite simply, this is not the case. My aim instead is that the reader will leave thinking ‘Hey! That makes me look at Radiohead/Murakami in a different way’. 1 Where I begin: I started reading Murakami in the spring of 2002. I first heard Radiohead a long time before that, but their music had probably at this same time become a bigger feature in my life than ever before.
    [Show full text]
  • Radiohead in 2007: Phil Selway, Ed O'brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (From Le )
    Radiohead in 2007: Phil Selway, Ed O’Brien, Jonny Greenwood, Thom Yorke, and Colin Greenwood (from le) 20494_RNRHF_Text_Rev1_22-61.pdf 33 3/11/19 5:23 PM > > ONE OF THE MOST RadioheadINNOVATIVE GROUPS OF RadioheadTHE NINETIES, THEY CONTINUE TO BUCK MUSICAL TRENDS BY DAVIDA FRICKE n October 2000, a week after Radiohead’s fourth al- (1993), a Top Five hit in the U.S. or U.K., usually both – and bum – the cryptic, electronica-soaked Kid A – shot a succession of sold-out arena tours and festival triumphs to Number One in America upon release, singer that have established the 2019 Rock & Roll Hall of Fame Thom Yorke politely dodged a question about the inductees as enduring alternative-rock heirs to the Beatles’ record’s improbable success, especially given the psychedelic idealism and Pink Floyd’s progressive-rock English modern-rock band’s perversely low-key searching. Willfully experimental in their songwriting promotion. They had done no videos and released and exploration of the studio’s outer limits, Radiohead are no singles; they did three tour dates in North America plus fiercely uncompromising in their protection and presenta- a TV appearance on Saturday Night Live; and they had just tion of the results. But they are also absolutely commercial one U.S. interview, on a bench in New York’s Central Park in in their consistent all-embracing impact: a people’s band on the crisp autumn dusk. record and in performance, propelling Yorke’s naked, often “I’m actually the last person in the band to talk about it,” brutal lyric honesty with an explosive, universal resonance Yorke declared with an impish grin.
    [Show full text]