Word: slow
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Dates: during 2000-2009
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...same problems. It’s hard to figure out quite what they are: a bizarre feeling of pointlessness about the whole thing (and not in that pretentious French movie way); an irritating voice-over that sounds creepily like a bedtime story being read to toddlers; forays into slow-motion. There’s nothing really wrong with the plot—a lonely young woman, Mirabelle (Danes) meets an unsuitable struggling musician (Schwartzman), who is obsessed with her, and a wealthy older man (Martin), who is willing to spoil her in exchange for sex; as expected, she must choose...
...album were to break through to the other side of popularity, this is it. “Punks In the Beerlight” is a rollicking honky-tonk explosion, “I’m Getting Back Into Getting Into You” is a slow-burning love ballad, and album closer “There Is a Place” bridges the gulf between country and gospel with electrifying results. Rumor has it that Berman wrote “Tanglewood” in a fit of inspiration after a protracted stay in rehab and a suicide attempt...
...recaps in a single line: “There is a note in my pocket.” In this and other poems, Robinson’s syntax is the best part of her style. The pacing of her language is exquisite. Lines that are formal and decorously slow contrast with punctuation-less lines that rush into one another. Robinson can sustain the tension of a phrase over several lines, even through self-interruption. In “From this miserable mutineer a stutter, / for when we are reading Dostoevsky in caves,” the narrator starts to grandly...
...came here to [Harvard], which was crazy, because I grew up in a small, lazy town and the idea of Harvard wasn’t even on the radar screen.” Then he laughs, remembering the poor, slow Brisbane of his youth and jokes, “If there was such a thing as a radar screen...
...Islam references? Other genuine Wu members GZA and U-God show up, but their contributions are forgettable. In fact, the only real Wu-Tang reference point is 1997’s “Forever,” the bloated, lifeless double album that marked the start of their slow demise. The compilation’s beats, mostly produced by Wu satellite producer Bronze Nazareth, suck. They all chug along painfully at the same plodding tempo, with the same drums, the same string samples, the same disembodied voice. They are neither funky, nor ominous, nor reminiscent of anything...