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...varying Latin styles, creating a record of intoxicating melodies. With her breakout hit “I’m Like a Bird,” off 2000’s Grammy-winning “Whoa, Nelly!,” Furtado likely could have developed her career solely around her vocal talent and pop style. But in 2003, Furtado chose to abandon pop in favor of less radio-friendly folk music on the tepidly received “Folklore.” For her next album, she tried another route, that of the R&B singer. Collaborating with Timbaland...
...most enigmatic and gigantic figures.“Inherent Vice” is a typically Pynchonian take on the detective genre, starring Larry “Doc” Sportello as a sandal-wearing, beach-dwelling, pot-smoking Private Eye. The paranoiac narrative—situated historically around the 1970 Manson Family murder trial and geographically around the fictional Gordita Beach on the California coast—begins when an old flame named Shasta Fay approaches Doc with a vaguely defined mission: to protect her current boyfriend, real-estate heavyweight Mickey Wolfmann, from the shadowy forces trying...
...that locals will be able to personally participate in the Smile Project. “I’ve left a lot in Harvard Square. It’s probably my favorite spot,” he says. “It’s fun to leave them around schools because students don’t hesitate to pick up things for free,” Bataclan says. “I find that non-college students, or older people, are a little more cynical. They think it’s tied into some kind of product placement...
...them. The males are even less realistic. “Sorority Row” completely slanders men by portraying them as one of three types: one, psychotic and suicidal; two, so stressed that they lose touch with reality; third, arrogant and childish enough to kick the sorority sisters around like footballs. Lesson learned: they all end up dead, maybe. The most egregious sin is the movie’s total lack of suspense. Imminent danger is signaled by the scraping of the murderer’s weapon (a tire iron) against a wall. Suspenseful music, by contrast, delivers no thrilling...
...easily. The extra noise feels baroque for its own sake and contributes nothing, making “The Strums” forgettable. However, “Time to Die” improves with repeated exposure, as illustrated in “Small Deaths.” The first time around, the song seems overlong and disjointed. But after a second go, the song’s centerpiece emerges as inherently listenable, in the fashion of “Red and Purple,” off “Visiter.” “This Is A Business?...