Word: pops
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Dates: during 2000-2009
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...shallow form of “Twilight” and the more thoughtful effort, “True Blood,” which possesses some capacity to reasonably incorporate the character’s symbolic relevance to modern issues.In the competition for ultimate domination of the American pop culture sphere, only obnoxious shows about equally obnoxious rich brats from Manhattan can even come close to challenging the vampires. The question, then, is, “Why now?” How can vampires—certainly not a new creation—suddenly be so hot that they?...
...shape a strange topography; the result lies somewhere in between the new and the old and meshes the two in a vaguely discordant harmony. Islands’ predecessors, The Unicorns, released only one LP in their short lifespan: 2003’s critically-acclaimed work of uniquely sweet synth-pop, “Who Will Cut Our Hair When We’re Gone?” The songs were expansive and luminous masterpieces, eschewing traditional chorus-verse patterns; instead they meshed phrases and instrumentals into confidently organic art. This technique was best exemplified on that album?...
...contrast that is engaging and effective. The album opens with two attention grabbing, upbeat tracks—also the album’s first two singles. On “We Are Golden,” Mika reinvigorates the stale theme of teen angst by pairing it with sugary pop beats, his signature falsetto, and a playfully defiant attitude expressed in lyrics such as “I live for glitter, not you.” With “Blame It on the Girls,” Mika delivers repeatable rhymes such as “he?...
...this lush pop opera was released, once again as a concert album. Nearly four hours long and containing a staggering 39 songs, the piece was staged in Stockholm in 1997 and ran for nearly four years. The three-disc CD topped the local charts but was never issued abroad. Herbert Kretzmer, who had anglicized the French musical Les Misérables, worked with Andersson and Ulvaeus on an English translation, yet despite the seismic success of Mamma Mia!, the new show never left Sweden...
...office numbers will tell you that Willis isn't in the star stratosphere. Since The Sixth Sense in 1999, Live Free or Die Hard is his only live-action vehicle to top $100 million domestic. In part that's because Willis makes the movies he wants to, alternating pop fare with offbeat comedies and art-house vehicles. He agreed to do The Sixth Sense only on the condition that Disney would bankroll a movie he really wanted to make, Alan Rudolph's version of Breakfast of Champions. One movie made $294 million, the other $178 thousand. You can guess which...