Word: debutants
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Dates: during 2000-2009
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...writer for The Onion, has a knack for crafting characters that aren’t exactly living the dream. This was evident in “The Wrestler” and is echoed here. But rather than portray a man who has fallen from former glory, his directorial debut brings to life a character that has never and will never achieve glory, or any semblance of an independent life above mediocrity. This choice makes “Big Fan” perhaps a more pessimistic movie, but one with a perspective just as thoughtful...
...popularity, his unconventional and over-the-top approach has resulted in polarized opinions. However, the real problem with “The Boy Who Knew Too Much” is that, except for occasional moments of originality, it proves to be little more than a rehashed duplicate of his debut album, “Life in Cartoon Motion.”“The Boy Who Knew Too Much” is stylistically almost identical to Mika’s first album, and, aside from a thematic progression from lyrics exploring childhood to those focusing on teenage years...
...comprised of My Morning Jacket’s Jim James, Bright Eyes’ Conor Oberst and Mike Mogis, and M. Ward—are stacked with talent, but even after several years of live collaboration and half a year’s worth of hype, their self-titled debut lacks coherence and originality.“Monsters of Folk” oscillates between Oberst’s tired country tropes and James’ burnt-out classic rock riffs. The numbers that feature M. Ward’s vocals provide consistently solid songwriting, offering several truly fantastic tracks...
...Benjamin J. Nelson ’11. Last fall, “Assassins” showcased Bohrer, Klyce, and director Stewart N. Kramer ’12. For Kramer, who will helm the Dunster House Opera in February, “Putting It Together” marks his directorial debut. The most recent major revival of “Putting It Together,” which opened on Broadway 10 years ago, was a disappointment to him, sacrificing meaning in favor of cuteness and kitsch. “I know kitsch is sometimes unavoidable in musical theater...
...recreate their grunge roots; it was dominated by lean, brief, hard rock songs, but though it attracted some moderate critical approval it soon faded away, having failed to excite even the faithful. With this background, it is almost ridiculous that in 2009—18 years after their debut, “Ten,” and with all five members well into their forties—Pearl Jam should release “Backspacer,” a propulsive, relaxed, enjoyable, and timely album. Few, if any, other bands could have released their finest work in such circumstances...