Word: rockingly
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Since 2001, Chris Carrabba and his not-so-merry band of pop-punk troubadours have been quietly establishing Dashboard Confessional as one of the decade’s most consistent alternative rock bands. Saddled with the much-overused “emo” stigma, Carrabba’s music—combining the heartfelt, earnest lyrics of U2 and late R.E.M. with the gift for swelling, melodic pop hooks of ’90s bands such as the Goo Goo Dolls and Gin Blossoms—surpasses the restrictions of any disparaging genre classification...
...year is 1966, and despite England’s successful production of some of the most famous rock ’n’ roll bands in the world, the national British radio only plays two hours of the music per week. To combat this, a group of DJs have established a radio station on a small freighter in the middle of the North Sea. Here they cohabitate while playing rock ’n’ roll 24/7 with a listener rate—according to the film—constituting half of the country’s population...
...Pirate Radio” puts the music center stage. Over its two-hour running time, Curtis has assembled a massive classic rock playlist of over 50 songs that never feels out of place against the on-screen action. Classics like “My Generation” and “Jumping Jack Flash” are immediately identifiable, but lesser known performers like The Hollies or Darlene Love fit just as well. Occasionally, Curtis takes a more literal approach; Cat Stevens’ “Father and Son” plays during a moment between Carl...
...cast of character actors. Hoffman remains at his brashest and bawdiest as an American DJ, a stark opposite from Nighy’s prim, if slightly spaced-out, British gentleman. Unquestionably, though, the funniest performance comes from Kenneth Branagh as a viciously polite British official intent on destroying Radio Rock. His outraged caricature is particularly evident during a scene in which he casually threatens to outlaw one of his subordinate’s haircuts. Nick Frost’s (“Shaun of the Dead”) portly and shameless ladies man, Dr. Dave, consistently cracks jokes and snarky...
...past two years have seen that narrative interrupted, not so much by missteps on Underwood’s part but, rather, by the emergence of rivals: Miranda Lambert, whose fiery country-rock made Underwood seem tame by comparison, and, above all, Taylor Swift, a true singer-songwriter whose undeniable hooks, felt lyrics and incandescent enthusiasm have propelled her to a level of national stardom far above Underwood. It is no coincidence, then, that in the same week that Swift has a Springsteen-esque seven singles simultaneously in the Top 50 (pop, not country), Carrie Underwood released an album that from...