the globe. Carlos Santana kicks off the mega concert, and legendary performances just keep coming. Pop and classical phenomenon Andrea Bocelli brings down the house, followed by breathtaking performances from Norah Jones, Herbie Hancock and Josh Groban as well as celebrity appearances by goodwill ambassadors Oprah Winfrey and Angelina Jolie. Like the international fundraising events Live Aid and Live 8, We Are The Future is an inspiring, emotional musical event that will linger in your heart long after the music fades.  (less)

No traditional libretto, no plot, only mental situations. No singers who are actors, it is a non-verbal non-narrative experience. On the stage are two actors who do not sing or speak, on the sides of the stage are the vocal and instrumental soloists.It is based on a novel by an Israeli author David Grossmann, See Under: Love. The book deals with the holocaust from the point of view of the second generation to the holocaust: the children of the survivors, who cannot touch this horrible experience but are forced to encounter its constant but hidden presence.The opera is a journey into the psychology of a boy encountering his grandfather who survived the holocaust, but is crazy, eccentric, and is withdrawn in the traumatic experience, unable to talk or to live anything else.The opera is composed of an opening and three scenes. It incorporates dramatic lighting and staging along with video, making it a perfect work for the DVD medium.PNIMA was commissioned for the Munich Biennale 2000.The opera was selected as The best premiere of the year , by Opernwelt, and won the Bayerischer Theatre Prize in 2000. It received more then 70 rave reviews from all over Europe.System Requirements:Running Time: 100 MinutesFormat: DVD MOVIE  (less)

'Blood Money' is flesh and bone, earthbound, says Waits. The songs are rooted in reality: jealousy, rage, the human meat wheel... They are more carnal. I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth. I like songs to sound as though they've been aging in a barrel and distressed. Blood Money is a new collection of thirteen songs originally written and produced by Waits and longtime collaborator and wife Kathleen Brennan. Kathleen and I are well suited to this material. She is hilarious, blasphemous and ominous. She's the brains behind Pa, said Waits. Blood Money careens from the brutal to the tender with assaulting rhythms and romantic melodies. It's a grim musical deposition on the human condition, a dark mortality play where Tin Pan Alley meets the Weimar Republic. Blood Money is based on the socio/political play Woyzeck, originally written by a young German poet Georg Buchner as a spare, cinematic piece in 1937 and inspired by the true story of a German soldier who was driven mad by bizarre army medical experiments and infidelity, which led him to murder his lover. Waits and Brennan wrote songs for an avant-garde production of Woyzeck directed by Robert Wilson. Woyzeck premiered in November, 2000 at the Betty Nansen Theater in Copenhagen and went on to win Denmark's version of the Tony for Best Musical last year. The Danish production has toured extensively in Europe to sold-out houses and wide acclaim and comes to New York and Los Angeles this fall. Blood Money contains songs from the bottom of the world. There is a feeling the songs are trying to reach you from another time or dimension, where there is an eerie vaudeville cabaret playing fado, parlour songs and cambias. Appropriately, the record ends its macabre tale with A Good Man Is Hard To Find. Ironic in the spirit of Dennis Potter's use of music in The Singing Detective or Pennies From Heaven, it is an oddly sanguine nostalgic adieu from a ship going down.  (less)

death and longing--the whole is strange and exotic. A devastatingly beautiful atmosphere made of sorrow and reverie, insanity and resignation, rises like a mist in Alice. It's a lyrical melancholia, a feeling that creeps in on the arms of Stroh violins and unabashed poetry. These are songs to fall into, and sometimes, to keep falling. There are fragile, haunted musings and laments, mad ruminations, tales of unrequited love and anthems from beyond the grave. Alice, says Waits, is adult songs for children, or children's songs for adults. It's a maelstrom or fever-dream, a tone poem, with torch songs and waltzes...an odyssey in dream logic and nonsense. It's an odyssey he and Kathleen Brennan created together, in what is becoming one of the epic collaborations in music, going on over twenty years now. Kathleen is my Alice, said Waits. We met on New Year's Eve, 1980. We used to play a game called 'Let's Go Get Lost.' She'd say 'turn here, turn here...' until we were lost. It's kind of like writing songs together. In the studio, Kathleen will submerge herself in seven newspapers and a novel, and then at just the right time she'll raise her head and make a remark that will become the eyes and ears of the song. Alice, once dubbed the lost Tom Waits masterpiece by the press, was originally done as an avant-garde opera directed by Robert Wilson for Hamburg's Thalia Theater in the winter of 1992. Alice was based loosely on Lewis Carroll's obsession with young Alice Liddell, the girl who inspired his Alice In Wonderland and Through The Looking Glass. Working with Brennan, they wrote fifteen songs for the Wilson opera in the summer of 1992. The Thalia performed Alice for eighteen months with an eclectic orchestra of Waits' design, but the composers did not record the songs until last summer (along with his forthcoming simultaneous new release, Blood Money). Songs are joining the dream of the listener, and completing a circuit that is really entirely your own, said Waits. These songs are unsure footsteps, in a strange house, in the dark. Lyrically and musically, the songs are part of a cycle where each song relates to what comes before and what will follow, as you listen, Alice is a puzzle that reveals as it unravels and makes a bold step forward for Waits.  (less)

really just like any other sleepy town that rests in the shadow of a huge progressive city - New York's got New Jersey, Philly's got Cherry Hill, San Francisco's got Colma, the list goes on and on. And in these towns, there are kids, and one day, these kids must grow up - or at least start to.Best pals Rodel, Billy, and Maribel live in Colma and they love it! (not really). After graduating from high school the trio finds themselves in a state of limbo; fresh out of high school, they are just beginning to explore a new unstructured world. Like most kids, they are on the brink of self-discovery, but aren't in much of a rush. What is the rush, anyway? They are having too much fun doing nothing or crashing college parties. But when newfound revelations and romances challenge their relationships with one another and their parents, the trio must assess what to hold onto, and how to best follow their dreams.Oh, there's one more thing - they sing. Colma: The Musical boasts 13 musical numbers featuring all original music by H.P. Mendoza and is Richard Wong's feature directorial debut. It has been awarded the Special Jury Prize at the San Francisco International Asian American Film Festival, Los Angeles Asian Pacific Film Festival and San Diego Asian Film Festival. It was honored with nominations for the Gotham Award ( Best Film Not in a Theater Near You ) and the Independent Spirit Award ( Someone to Watch Award ).  (less)