Word: singings
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Dates: during 2000-2009
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...Black, Nacho Libre is more than just a chance to have a say; it's a shrewd career move. He gets to do things he knows audiences love--move his eyebrows like inchworms, sing goofy songs, make fart jokes--while trying his hand at difficult physical work as well (he performed most of his own stunts in the ring), delivering a few moving speeches in Mexican-accented English (which is funny without being too offensive) and producing. The biggest challenge, though, was getting used to seeing himself as Nacho. "At first I would have rather been naked to tell...
...imagines a U.S. of the near future in which the government snoops on everyone and a gang of unattractive rebels wreak desultory havoc. Those last two words apply to the film as well. But we come not to bury the bad films but to unearth some good ones and sing hallelujah. So all praise to Paolo Sorrentino's The Family Friend, a mordant Italian comedy about a gnarled moneylender and the beautiful young woman he hopes to corrupt and conquer; it's the Rumpelstiltskin fairy tale with a toxic twist, and the smartest entertainment at Cannes...
...fact that we're living in this society committed to making us spend more than we have, or more than we should, for stuff we don't really need or want, and that furthermore is killing us slowly as well as filling all the landfills and making the birds sing less...
...beginning to fill it up and would have to pull harder." He burrowed into the microfilm files of the New York Public Library to research the social issues he needed to know and wanted to write about. He hung around the offices of the folk magazine Sing Out! and in Village folk clubs like Cafe Wha? and Gerde's Folk City, hoovering the great American folk-song book and the performing styles of the day. He also got an instant education from his first New York girlfriend Suze Rotolo, a political activist who took Dylan to an evening of Brecht...
...know by now... The light I never knowed... Like ya never done before..." That was the Guthrie influence, which this hip hillbilly mixed with all the other sung and spoken poetry he'd ingested to create his own voice, grammar and verdant, wildly associative language. "I needed to sing in that language," he says in the Scorsese movie, "which was a language that I hadn't heard before." Maybe you had to be young back then to appreciate Dylan's knack of painting a vivid portrait of some awful moment in time, then of drawing a grander, more troubling lesson...