Word: line
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Dates: during 2000-2009
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...notes. And in Pusha T’s opening rap phrase on “Something That I Like,” the rhythmic structure leads to an intriguing enjambment: “Silly me, now I’m so into her / fashion.” Such a line break adds clever detail...
Many of the tracks are more blues than they are country. “All Gone, All Gone,” is about as dismal as the title would suggest. It features a duet between Johnson and Texas songsmith Sarah Jaffe over a plodding guitar line that sounds as if it’s plucked from an early Robert Johnson recording. Featuring a singing saw—an instrument whose existence is easy to forget, but whose presence is impossible to ignore—the song feels like a slow drive down a pitch-black southern road in the heart...
...resists the stagnation with which the rest of the album flirts, and is one of the record’s better tracks. “Almost Let You In” features a comparatively complex and propulsive guitar melody. However, the addition of a distorted single-note piano line that glides like a phantom and the far-off stomp of the drums is what truly makes the song. The number also highlights the strength of the vocalists both on their individual verses and the tightly coiled haunt of their lush harmonies. Easily the most stirring on the album...
...movies adapted from Dennis Lehane’s novels, like “Mystic River” and “Gone Baby Gone,” for portraying Boston in all of its honest dreariness and stratification. But with big tax breaks and even bigger budgets on the line, it’s in Hollywood’s interest to airbrush away Boston’s flaws. If you consider though that right now, there is a Tom Cruise movie, two Ben Affleck movies, an Adam Sandler film, and a movie about Facebook starring Justin Timberlake all being filmed...
...manipulates this play-within-a-play trope to great success for the majority of the opening scenes. The actors take on their roles with the delightful awkwardness of children in a school play—scripts in hand, direction shouted at them mid-scene, and endearingly over-the-top line readings. Yet as the show progresses, the actors become more comfortable in their roles, and the production shifts from a clever tongue-in-cheek commentary on social performativity into a relatively normal presentation of Shakespeare’s play. The irony of this “Shrew?...