The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here – all but one of these tracks were recorded for the Vocalion label – features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material – check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting. This collection puts to shame almost all others with the exception of the multi-volume complete recordings on Document.
“Iron Mask” is the second project of Belgian guitar shredder Dushan Petrossi, better known for his work in “Magic Kingdom”. For all the differences in imagery on the album covers, there is very little difference in the overall sound between the two projects. “Magic Kingdom” seems to focus more on writing catchy songs and limiting the amount of technical displays in the guitar and keyboards, not to mention that the closing song of their 2nd release was a bit unorthodox for a power metal band of the Malmsteen persuasion. “Iron Mask” focuses a bit more on the lengthy soloing and shred fill-in steeped riffs that are more indicative of Rising Force’s mid-80s material, although both projects draw heavily from that era in Malmsteen’s 2 decades plus career…
The hit of the 2006 Sundance Film Festival, THIS FILM IS NOT YET RATED is an unprecedented undercover investigation into the MPAA (Motion Picture Association of America) film ratings system and its profound impact on American culture. Featuring insightful and often hilarious interviews with John Waters, Matt Stone, Mary Harron, Kimberly Peirce, Atom Egoyan, and Kevin Smith, the film reveals how the ratings system restricts the exhibition independent and foreign films, gay themed films, and rates sexuality much more harshly than violence. Maintaining power through secrecy, the MPAA refuses to let the public know even the names of the people who rate the films.
Shot in the Occupied Territories by Israeli director Avi Mograbi, this controversial documentary film draws parallels between the Israeli - Palestinian situation today and the enduring myths of Samson and Masada. Mograbi offers a powerful, at times chilling, lament of the continuing cycles of violence rooted in the past and threatening to engulf everyone's future. With the roots of so much real-world conflict left unexamined by today's restless media, this film reminds us just how vital filmmakers like Avi Mograbi are.