Word: balladic
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Dates: during 2000-2009
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...very, very ecstatic about being number one," giving thanks to the "incredible organic grassroots campaign" behind the movement. Guitarist Tom Morello was slightly more forthright by saying [it has] "tapped into the silent majority of the people in the U.K. who are tired of being spoon-fed one schmaltzy ballad after another." (See Rage Against the Machine in TIME's Top 10 festival moments...
Harris-Moore, 6 ft. 5 in. (1.96 m), has become a legend in the Pacific Northwest - T-shirts bearing his face or the words "Fly, Colton, fly" are big sellers in Seattle - and on the Internet. His Facebook fan club has 8,000 members, and a hokey ballad on YouTube sings his praises. Harris-Moore's supporters see a deeper meaning to his popularity: During hard economic times, they say, why not celebrate a poor boy who robs from the island vacation homes of Seattle's dotcom gazillionaires? But Harris-Moore apparently steals just as often from Camano's ordinary...
...relatively short directing career, Miller has shown a knack for making the people we think we don't want to know - like the father and daughter fighting incestuous urges in The Ballad of Jack and Rose - into not just plausible protagonists but people we truly care about. We assume Pippa has coasted through life on not much more than her beauty. The Lees' adult daughter, photojournalist Grace (Zoe Kazan), is crazy about her daddy, but when she directs her attention at her mother it's usually to give her a scathing look. Pippa's neurotic friend Sandra (Winona Ryder) chafing...
...dance floor bump-n-grind to its apotheosis with “In Da Club,” painted the precise portrait of one of rap’s cardinal tropes with “P.I.M.P.,” and refined hip-hop’s coarse, lascivious love ballad with “21 Questions.” These songs are just part of a larger collection of singles that have formed 50’s success by imprinting combinations of catchy, uncomplicated hooks and evenly-paced, slick, alternatively gritty and playful beats onto rap’s collective...
...musical he has ever enjoyed as a film in its own right is Tim Burton’s 2007 “Sweeney Todd,” for which he wrote the music. Although some Sondheim fans were disappointed that Burton cut the recurring chorus, “The Ballad of Sweeney Todd,” the composer said he approved of the choice; in his opinion, choruses in musicals, during which nonessential background characters suddenly join the leads in song, have a “peasant on the green mentality”; his technique is ineffective in films, where...