Word: studioful
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Dates: during 1990-1999
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...musical range, "Atlanta," rewards the patient listener. "Atlanta" weaves Weiland's vocals with beautiful accompaniment. The sound of the words in harmony with the rest of the band creates a pleasant, self-reflective surprise. One can only hope that more songs like "Atlanta" come out of the studio...
...straight-ahead rock with equal aplomb. While pre-recorded sounds were used, they were kept to a minimum. The sound was very tight but very flexible: four-minute tracks became ten-minute jams, with Tricky repeating phrases with mantra-like intensity. This vastly improved his music: in his studio work, Tricky compresses ideas into his songs, but the live venue allowed his songs to stretch out, achieving blinding power through repetition. A nameless female singer performed the roles played on record by Martina Topley-Bird (Tricky's occasional girlfriend and frequent collaborator), while British rapper Mad Dog joined Tricky...
...intelligent, gutsy, funny and by no means beautiful. Despite the occasional lapse into pimp cliches (we don't all have one), the writers have produced a realistic character who is not evil incarnate yet does not have the proverbial heart of gold. Could a prostitute end up as a studio exec? Who says they haven...
...oddly hesitant to call himself a filmmaker is Pixar's chairman and CEO, Steve Jobs. With Apple consuming so much time these days, he is rarely at the studio--which is just fine by employees, who both fear and respect him. The truth is that without Jobs, who bought the company from director George Lucas in 1986 and now owns nearly 65%, Pixar would simply not exist. He is credited with wangling an extraordinary fifty-fifty profit-sharing deal with Disney in 1997 for five pictures. "It's his vision. He's the real deal," says Thomas Schumacher, president...
...dead-on mimicry but also for the sophistication of their musical commentary. A jazz lover, Freberg fought a rearguard action against rock 'n' roll, which he considered undisciplined and musically simplistic. Only Freberg would have had the idea to satirize the Platters' Great Pretender by focusing on the hipster studio pianist who's forced to play the boring "clink clink clink" accompaniment. His critique of mush-mouthed rock 'n' roll culminated in 1960 with The Old Payola Roll Blues, in which Freberg takes on the whole ethos of rock and dismisses it as a fad that will pass once payola...