Word: beating
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...moments of what feels like true Harlem thug desperation. Jones even manages to change up his style a bit with the track “Lookin’ At The Game,” which features an airy, monotone, female-voiced chorus and an exceptional record-scratching-based beat. With tracks like these, there is no denying that “Harlem’s American Gangster” is an entertaining if not vital listen. But as a statement on Harlem street life, it falls short. Perhaps Jim Jones doesn’t have the rap skills necessary...
...Pastor Troy has finally turned his high-pitched battle cry of a voice from a gimmick into an asset. “UH-HUH!” ad-libs aside (and who could imagine P-Troy without those?), these raps are musically and rhythmically sound, delivered right on the beat and with plenty of nuance. The reference points here are DJ Paul and Ice Cube’s delivery on N.W.A.’s “Dopeman;” he is that on-point, if not as (respectively) terrifying or revolutionary. Even with the lovely Sting-supplied...
...public votes for these, so instead of being a barometer of quality, the awards are all about the size of a band's fanbase. Which is how Take That - the '90s boy band that came back from oblivion a few years ago minus their most famous member, Robbie Williams - beat the likes of Muse and The Kaiser Chiefs for British Live Act and triumphed in the best British Single category. They may as well have called them "The Band Most Likely to Scare Your Parents" award and the "Most Fans Who Can Be Bothered to Vote For This Award" award...
Does Barack Obama have a class problem? He routinely demolishes Hillary Clinton among upper-middle-class "wine" Democrats. Among white working-class "beer" Democrats, however, he sometimes struggles. Traditionally, in Democratic contests, hops trump grapes: Walter Mondale beat Gary Hart in 1984, Bill Clinton beat Paul Tsongas in 1992, Al Gore beat Bill Bradley in 2000, and John Kerry beat Howard Dean in 2004--all by winning big among the Budweiser set. If Obama wins the nomination, he'll have done so with the most upscale coalition since Michael Dukakis' in 1988 or maybe even George McGovern...
...tragedy. From Act Two on, the production makes a complete turn-around, as the back scrim becomes a tornado’s sky, foreboding and infinite, and Cranko’s characteristically modernist aesthetic finally takes hold, replacing the traditional grandiose set with bleak minimalism. Swords clink to the beat of the music as Tybalt (Yury Yanowsky) kills Mercutio (Reyniers Reyes) and Romeo kills Tybalt. Both death scenes are heart-wrenching, reminding us that there are no clear victories and no concrete enemies in the world of Shakespeare. Equally as heart-wrenching is the scene in which Juliet consumes...