Word: smoothly
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Dates: during 1980-1989
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...suctioned from under his double chin and reinserted to strengthen his jawline. "I could go out and spend $20,000 on a car to make myself feel better," he explains, "or I could spend $3,000 to change something that has always bothered me." An older, simpler method to smooth the skin involves the injection of protein collagen into scars and wrinkles. This procedure usually requires several treatments plus an annual booster. Cost...
...York City subway station, it was in part inspired by the life of Edmund Perry, a gifted black graduate of Phillips Exeter Academy whose violent death revealed a troubled double existence. Folks who found the Bad video too tough may be soothed by next year's Smooth Criminal. This multimillion-dollar minifilm has slam-bang special effects supervised by Colin Chilvers, who worked on the first three Superman films...
...material follows Thriller's golden trail. There is a Billie Jean equivalent (Dirty Diana) about a trashy romance. There are the ballads, deep as wall-to-wall pile, and there is the violent showpiece Smooth Criminal. The title track is Beat It redux, a spectacularly snazzy hang-tough tune that warns against macho excess. What the Thriller cut played for laughs, however, Smooth Criminal takes straight: an evocation of bloody assault, possible rape and likely murder. At any time, it would sound like a creepy song. At the end of the album, it has the effect of casting...
...Leave Me Alone suggests he is turning away from everything, back again to the desperate comforts of his own impermeable world of fantasy. It is not a fond farewell. "It's the choice that we make/ And this choice you will take/ Who's laughin' baby." The credits for Smooth Criminal read in part "Michael Jackson's heartbeat recording by Dr. Eric Chevlen digitally processed on the Synclavier." The sound of Jackson's heart may have found its way onto Bad, but what's inside it is unrevealed. Only one thing is certain: there is no peace there...
...Theo Adam, is outfitted in Old Testament garb), Ponnelle risked having the quarrelsome Jews appear like characters in one of Julius Streicher's Nazi racist fantasies, evoking the stereotype of avariciousness and the calumny of blood libel. Even the splendid performances of Adam, British Tenor Philip Langridge as a smooth Aron, and the brilliant chorus of the Vienna State Opera could not erase the disturbing, if unintentional, impression...