Word: soundtrack
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...Enter Colin Powell. (Cue the spaghetti-western soundtrack, if you will, because Powell's was a performance worthy of Clint Eastwood.) In contrast to his boss's uncertainty, the secretary of state projected infinite cool: unhurried, unfazed, unblinking and even, occasionally, appearing to enjoy himself, as he took charge of choreographing the diplomatic dance necessary to pull Washington's and Beijing's chestnuts out of the fire...
...Liotta gives a performance of grace as Fred Jung, George’s father, a man who doesn’t necessarily approve of his son’s choice of careers but understands. There’s also lots of smart things to like about Blow. The soundtrack (including Cream’s “Strange Brew,” featuring Eric Clapton in his cocaine years, and the Rolling Stones’ “Can’t You Hear Me Knocking”) is clever enough to fuel the movie without overpowering it or being...
...punch with “Naive Song.” Upbeat and uplifting, the track creates a brand new world of escapist fantasies. Mirwais’ voice, delivering banal yet somehow appropriate lyrics, is filtered through a vocoder to encapsulate an otherworldly effect. Sounding at times like the soundtrack to a car commercial, “Naive Song” nevertheless manages to successfully fuse electronic sensibilities with a more conventional pop motif. Unfortunately, it’s all downhill from here, and though Mirwais manages a precious few more coruscations before the album is over, it isn?...
...original music. In this track, Run DMC enters with the same majestic brass sounds and propagandistic speech they created in their prime. While the incessant preaching of their success is stereotypical of rappers of this age, Run DMC’s claims are true, and the almost soundtrack-like music actually mirrors their success. The majority of the other songs on this album sound like music from the respective guest stars. In “Them Girls,” Run DMC is overshadowed by the instrumentation and rapping of Fred Durst. In fact, Run DMC raps for less than...
...With tunes by the Beatles, the Who and the Rolling Stones forming a ubiquitous soundtrack, "Les Années Pop" is not so much an art exhibition as what in the '60s was called a happening. The sheer three-dimensionality of it - Christo's plastic-wrapped bicycle, César's compressed automobiles, Claes Oldenburg's Store with its huge floppy pie and ice-cream cone, the aluminum-foil recreation of Andy Warhol's Factory - signals that this is a show to be experienced rather than just observed. Similarly, the inclusion of consumer products - from Yves Saint Laurent's Mondrian...