Word: soloed
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...cabriole” injected into her step sequence to smooth out a transition, while standardizing arm movements are added to an ensemble segment. Kuperman stops Kevin Shee ’11 to give him a pointer on the artistic delivery of his solo entrance: “This needs to be so grounded—like a mummy coming to life. Everything starts in the core of the body.” Shee follows Kuperman’s example, inhaling sharply to incorporate the tense, almost convulsive movement into his body language...
...which Weezer has not even attempted to attain in the past, the results of which are largely unfortunate. One of the most anticipated songs on the album is “Can’t Stop Partying,” co-written by Jermaine Dupri and featuring a rap solo by one of the hip-hop world’s most recognizable figures, Lil’ Wayne. Weezer takes a shot at dance-pop, using the cliché R&B babes and booze formula: “I gotta have Patron / I gotta have the beat / I gotta have...
Even his grand forte as a lyricist has diminished. His Smiths lyrics had been naturally witty with quirky details scattered like confetti, but still managed to brush on the most sincere and melancholic topics like love and disappointment. These skills have persisted in his solo albums, although he has lost much of his wit and he occasionally comes off like an inarticulate confessional poet. In “The Never-Played Symphonies,” Morrissey sings, “You were one / You meant to be one / And you jumped into my face / And kissed me on the cheek...
Steven Morrissey—although 50 years old and no longer bearing the sharp chin and product-heavy ’80s hairdo—continues to be exceptionlly prolific, having issued nine solo albums since the disbanding of The Smiths in 1987. “Swords,” the second Morrissey album released this year, is a compilation of 18 B-sides off singles from “You Are the Quarry” (2004), “Ringleader of the Tormentors” (2006), and last February’s “Years of Refusal...
Stretched over two decades, Morrissey’s solo career has been a mix of disappointment and relief—disappointment because he failed to go beyond his work with The Smiths, relief because his music still bore some indications of talent that helped make The Smiths one of the greatest British bands of the 1980s. “Swords,” however, contains only the disappointing aspects, too disappointing to even make it to the studio albums. It seems as though Morrissey has employed every single instrument and producing effect to cover up the nauseating mediocrity...