Word: wopping
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Dates: during 1990-1999
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...Orpheus committed the grievous sin of loving too much. In the face of death and disbelief, the great musician's undying affection for his muse proved to be her demise. Williams' modern incarnation of the doomed Eurydice is Lady Torrence (played by Melanie Martinez), the proud daughter of a "wop bootlegger who burned to death in his orchard...
...strong voices makes the most of the music. Burlinson, as Medusa Pade, Stands, out in a sweet doo-wop number, "On the Inside." He gets great back-up, too, from his crooning fellow Egyptians. One of them, sandman as Leda Uvdapak, shines on his own in the gospel song "Amazon Grace." Stone vamps nicely in the torch song " Ancient History," though the orchestra sometimes drowns him out. The bigger numbers, too, sound as good as they look...
...play. At his best, however, Zappa fused two seemingly irreconcilable 20th century musical strains; his masterpiece, Absolutely Free (1967), is a dazzling merger of Stravinsky and Varese with rock and rhythm and blues. Who else would have thought to counterpoint the Berceuse from Stravinsky's Firebird with the doo-wop of Duke of Earl on a song called The Duke of Prunes? To quote The Rite of Spring and Petrouchka as a prelude to some of the hardest-charging, straight-ahead rock of the era? To use Varese's musique concrete, which alters conventionally produced sounds to create an electronic...
From the opening scenes of "A Bronx Tale," we know Robert De Niro's directorial debut will cover familiar territory. Nestled in an Italian community, the initial scene is set well by De Niro; while the sweet sounds of doo-wop bring us back into the early 60s, we see the neighborhood kids playing stickball and tapping fire hydrants and the neighborhood men congregating on every street corner. Unfortunately, "A Bronx Tale" offers no surprises, rarely venturing beyond the conventions of this well-known small-time gangster genre. Positioned before and behind the camera, perhaps Robert De Niro has attempted...
Joel's gem is the sleepytime title tune. Its consonant-poppin' lyric charts a land where pop merges with gospel, black embraces white, dread is absolved by belief -- in God, in dreams, in the rolling sing-along cadence of a doo-wop bass line. "We all end in the ocean,/ We all start in the streams,/ We're all carried along/ By the river of dreams." And by effortlessly sophisticated, perfectly primal music. It makes the journey of faith as jaunty as a Nintendo quest...