Word: whose
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Dates: during 2000-2009
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...album begins with “Anala,” an old-school pop song, whose percussion section is comprised of muted clapping, snare rolls, and a bassy vocal line (“um bau bau, um bau”) provided by Khan. Floating above is Sultan’s voice, empathetically harmonizing with “ooh-aah” and very simple lyrics about girl troubles. The lighthearted pop sound continues through to the second and title track. It ups the fun notch by incorporating tambourines, seagulls, a distorted, power-chord based guitar backbone behind a melodic, single...
...Connell’s Poolroom, Samad and Archie’s home away from home, represents the new Britain; neither Irish nor a poolroom, it’s owned by Abdul-Mickey, an Arab with bad skin whose family names “all sons Abdul to teach them the vanity of assuming higher status than any other man, which was all very well and good but tended to cause confusion in the formative years.” Abdul-Mikey adds the second—English—name as a sort of qualifier for the first...
...name, the F.U.D.G.E. Theatre Group’s latest production, “Nevermore,” has certainly transformed my image of Edgar Allen Poe in an irreversible way. Nevermore will I see Poe in the same light. Nevermore will he simply be a talented but crazed author whose work reflected this juxtaposition of character. Instead, after seeing the aforementioned musical, I will empathize with the early loss of loved ones, the sense of stark loneliness, and the tortured mind that defined this misunderstood poet. Through “Nevermore,” director Joe DeMita is able...
...this covers only the most obscure and technical areas of his vocabulary. As overbearing and unnecessary as his lexical tendencies can be, if they’re at home anywhere, it’s in the narrative monologue of a Sri Lankan sailor, Loxodrome, “whose commission is to de-poison sea snakes / to somehow bottle their arteries in clouds... [his] command / to capture them as beasts / whose colour is aurulent and xanthic.” Throughout, the atmosphere is ethereal; yet the narrator’s fantastical adventures and dream-like reflections are more artificial than inspired...
...past two years have seen that narrative interrupted, not so much by missteps on Underwood’s part but, rather, by the emergence of rivals: Miranda Lambert, whose fiery country-rock made Underwood seem tame by comparison, and, above all, Taylor Swift, a true singer-songwriter whose undeniable hooks, felt lyrics and incandescent enthusiasm have propelled her to a level of national stardom far above Underwood. It is no coincidence, then, that in the same week that Swift has a Springsteen-esque seven singles simultaneously in the Top 50 (pop, not country), Carrie Underwood released an album that from...