Word: joyã
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...Pride and Joy?...
...celluloid. Much of Mitchell’s talk focused on the Blacksploitation era of the late ’60s and ’70s. At a time when most American cinema was dark and depressed, the Blacksploitation pictures, strangely enough, offered hope and “sheer joy?? to moviegoers. The heroes of black action pictures always triumphed over their enemies and the women were empowered. Mitchell also took special care to mention Rupert Cross, a little-known African-American actor who has had a very strong influence on both Jack Nicholson and Steve McQueen, two icons...
...worked with Rogers on Quarry, describes him as relaxed and intuitive behind the camera, always possessing an instinctive feel for how a shot should be set up. Although Rogers often characterized himself as an overachiever who was constantly driving himself, Mendelsohn recalls “an unmitigated, relaxed joy?? when Dick was in the process of making the images of a film...
...euphoric “Joy,” an act of ego-compression worthy of applause in itself. Despite the collaborators, however, Jagger’s inimitable persona is emblazoned across the album, in every aspect, but most particularly his literally peerless voice. Though “Joy?? definitely owes something to U2’s rediscovery of feel-good anthems, Jagger’s old-school inflection and nasal twang a la Billy Corgan gives the chorus “Jump for joy?? a strut that Bono seems almost incapable of these days...
...soaring with impossible runs over Layton’s fast and loose percussion. While maturity had refined his playing, Vaughan clearly hadn’t lost his competitive fire. Grounded by Reese Waynans on organ in addition to Layton and Shannon, Vaughan returns to “Pride and Joy?? for the symmetry of it all, this time transcending his original by infusing voice and playing with a thick, raw edge. Later, Double Trouble reprises “Texas Flood,” this time moving away from the first rendition’s stripped down brooding sensibilities...