Manic Street Preachers: From There to Here

An examination of Manic Street Preachers' 1996 breakthrough album Everything Must Go in celebration of its 20th anniversary.

"Oh My God" asks people from all walks of life, from celebrities, to the religious, to atheists and the common Man - the question - "What is God?"

Like the hit album that inspires its name, Supernatural Live brings journeyman guitarist Carlos Santana back into the mainstream by surrounding him with younger superstars eager to bask in his formidable musical presence. Resuscitating stardom through sheer proximity can translate to forced pairings or superfluous music making, but credit Santana himself with minimizing such missteps. A fusion artist before the term was coined, the erstwhile Mexican street musician long ago extended his technical reach and broadened his stylistic palette by hungrily assimilating different styles of music. Accordingly, he shifts gears easily, whether soloing behind Dave Matthews, trading lines with legendary saxophonist Wayne Shorter, or spicing up a hip-hop excursion with Lauryn Hill.

Rinaldi - Instrumental Transcommunication to The Other Side

Censorship issues with the film "A Streetcar Named Desire."

The score of Alex North for A Streetcar Named Desire is analyzed.

A short overview of Brando's career.

A tale of thwarted love and mistaken and assumed identities, this comedy revolves around an ordinary man becoming ‘King for a Day’. Cavaliere di Belfiore has, to distract attention from the genuine monarch, assumed the identity of King Stanislas of Poland, and arrived with much pomp at the castle of Baron Kelbar near Brest. There he finds himself in the middle of preparations for two weddings: the baron's daughter Giulietta is, most unwillingly, to marry the elderly La Rocca, while a local military official is hoping for the hand of the Marchesa del Poggio. Can ‘King Stanislas’ use his regal power in time to disentangle these unhappy betrothals before his true identity is revealed?

What really went down between Gilbert Arenas and Javaris Crittenton? This exposé unpacks how a gambling dispute led to guns drawn in an NBA locker room.

Eduard Starcic's documentary highlights the deeply rooted human need to actively shape both one's environment and the self. At its core are the artists, whose individual forms of expression and creative works profoundly influence the act of creation and thought.

He built a supplement empire by devouring raw meat on social media. And he had the muscles to prove it. But, really, how did the Liver King get so huge?

This eye-opening documentary delves into Brett Favre's controversial career, the dark side of sports stardom, and the scandals that marred his legacy.

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

Documentarians Justine Shapiro and B.Z. Goldberg traveled to Israel to interview Palestinian and Israeli kids ages 11 to 13, assembling their views on living in a society afflicted with violence, separatism and religious and political extremism. This 2002 Oscar nominee for Best Feature Documentary culminates in an astonishing day in which two Israeli children meet Palestinian youngsters at a refugee camp.

On a beautiful Melbourne evening in November 2008, an audience of nearly 40,000 witnessed the show of a lifetime. André Rieu and his Johann Strauss Orchestra, together with the Imperial Ballet of Vienna, Tanzschule Elmayer, Stars on Ice and the Australian Federal Police Pipe and Drum Band and friends brought Vienna to Australia. Against the spectacular backdrop of the Schönbrunn Palace, André, his musicians and his entourage entertained the audience with gems from the Austrian capital as well as a host of popular melodies from his 'second home', Australia.

Someday in My Life Ocean Home Positively 4th Street Lost Weekend Home Loan Blues A New Flame Night Nurse Something For You You Make Me Feel Brand New Stars Money in My Pocket Fake Thrill Me The Right Thing Something Got Me Started Holding Back the Years Money's Too Tight to Mention Fairground Sunrise Special Features Documentary Bonus Tracks: Live in Montreux: The Right Thing Live in Croatia: You Make Me Feel Brand New Mick Cam

Examines how women's collegiate sports, caught in a web of homophobic practices, collude in the destruction of the lives and dreams of many of its most talented athletes.

Homer Flagg is a railroad worker in the small New Mexico town of Desert Hole. One day, he finds an abandoned automobile at an old atomic proving ground. His doctor and best friend, Steve Harris, diagnoses him with radiation poisoning and gives Homer three weeks to live. A big city reporter hears of Homer's plight and convinces her editor to provide an all-expenses paid trip to New York.

Guitarist Ko-chan is a mess of sexual repression after a childhood at the mercy of two elder sisters eager to use him as a guinea pig for their make-up skills. Bassist Gaku-chan keeps a bucket in the wings for whenever his nerves get the better of him, and drummer Momo-chan is doomed to forever carrying the botched childhood attempts at self-tattooing. It's not until this foursome is forced to look for an additional guitar player after Jin's dad burns his Stratocaster, that attitude and musical ability enter into the equation. Leather-clad, shade-wearing Tani (Tamaki), inseparable from his black Les Paul, is introduced as the king of R'n'R cool and Jinnai keeps him firmly seated on his throne throughout the film, retroactively proclaiming the guitarist, rather than himself, as the band's true hero.

The Arcade Fire’s enigmatic Miroir Noir opens with its most authentic moment: the band faces each other in the middle of an audience and gingerly eases into “Wake Up”. The fans bunch awkwardly around them as Win Butler intones into a ghetto-taped megaphone. Renowned for their sojourns into the crowd, this particular gimmick is usually configured as a populist transgression of the supposed boundary between performer and audience. But this footage shows indie’s high priests seeming uneasy among the faithful, who appear to share the feeling. No species of direct connection is sought. Even in such close quarters, the act of leveling can only be achieved through the conduit of the music.