Word: balladic
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Dates: during 2000-2009
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...Betty's notion of acting while singing was to break each lyric into its components, mine each phrase for the mood or situation, then act that out to the hilt, however short the phrase. Given the Johnny Mercer-Victor Schertzinger ballad "Not Mine" in her debut feature The Fleet's In, she dreamily croons the first line ("It's somebody else's moon above"), then immediately pulls a little girl's mope face for the words "Not mine." She took the same approach to acting, with multiple personalities flashing across her face with lightning speed and violence...
...were the anthems of a good-time girl who cried out, in the words of "Poppa Don't Preach to Me (The Perils of Pauline): "Let me fling till my fling is all flung." Yet she could also give heart (and soul) to a torch song, like the Pauline ballad "I Wish I Didn't Love You So" ("My love for you / Should have faded long ago"). Simple, sad and beautiful...
...movie - to show his hated rival "what a real skater's body looks like." That's just one similarity Blades of Glory (a great title, by the way) has with other Ferrell films. It's a sports comedy, like Kicking and Screaming (soccer), Talladega Nights: The Ballad of Ricky Bobby (NASCAR racing) and next year's Semi-Pro (basketball). Like Talladega it gives him a colleague who's also a rival (Jon Heder) and a villain (here the tandem of Will Arnett and Amy Poehler) who will surely be defeated in the climactic competition. Blades also plants a few sport...
...guitar work, which provide the last glimpses of his former glory on this album. From here, things go downhill pretty rapidly. There is a eulogy for a friend’s dead bunny rabbit (“Crystal Blue R.I.P.”), and a tooth-rot inducing, schmaltzy ballad, which was formerly the theme song for a children’s television show of the same name (“White Horses”). While not wholly disagreeable, the rest of the album is lyrically bland and somewhat sappy. Much of what makes this album so disappointing...
...Multiple Strategies” highlights the divisions and unintentional collaborations between the works of artist Joseph Beuys (1921-1986) and those of the abstract “Fluxus” movement, which included Ay-O and was led by George Maciunas (1931-1978).Unlike Timberlake’s ballad about phalluses in boxes, however, this exhibition operates on multiple levels, and succeeds in teasing out the deep connections that run through seemingly disparate artistic ideologies.MULTIPLE MADNESSIn the exhibition, both Beuys and the Fluxus artists made use of the “multiple,” a term referring...