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Many consider Lorde’s latest balmy record to be the antithesis of its austere predecessor, but the albums have more in common than meets the eye: Enter the sublime.
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Before I even got a chance to see “The Dark Knight Rises” at a midnight screening last week, I was bombarded with emails and blog posts that frantically dissected every frame for any hint of allegory to any time — historical or contemporary. The Guardian, sounding ever more the indignant
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