Constructed from a wealth of archival footage, the documentary follows Dr. Martin Luther King, Jr. from 1955 to 1968, in his rise from regional activist to world-renowned leader of the Civil Rights movement. Rare footage of King's speeches, protests, and arrests are interspersed with scenes of other high-profile supporters and opponents of the cause, punctuated by heartfelt testimonials by some of Hollywood's biggest stars.

默里·勒纳的电影“节”是四个新港民俗节庆影院级合成描绘的关键年的过渡期为艺术民间music.Performers的范围从60年代的民间传说鲍勃·迪伦和琼·贝兹，以国画家像约翰尼·卡什美国传统民俗艺术家如佐治亚州海岛Singers.The范围也从巨大的价格的专业人士像彼得，保罗和玛丽的儿子众议院和密西西比约翰·贝兹Hurt.Joan，多诺万和Judy Collins的地道的民间尊严都在看，因为是皮特西格中，埃德年轻夫和鼓乐队。

皮特•西格是美国著名民歌歌手，二十年代中期民歌复兴运动的先驱，有“美国现代民歌之父”之称。本片记录了皮特•西格音乐的一生，包括他的家庭背景、学习民歌的经历和对民歌复兴的贡献。影片尤其重点描述了皮特•西格年轻时期加入共产党的经历及因此在二战后麦卡锡“红色恐怖”时代所受到的不公待遇，包括失去歌手工作，不许对成人进行民歌教育等。越战期间，皮特•西格通过歌曲促进了全民反战运动，包括最著名的《在及腰深的大泥潭》（Waist Deep in the Big Muddy）和《花儿都去了哪？》（Where Have All the Flowers Gone？），同时资助了纽约哈德逊运河抗污染运动，成为美国环保运动的先驱之一。
本片获洛杉矶制片人指南奖最佳纪录片提名。

一切的源头应该追朔到由于内战与连年乾旱爆发大饥荒的非洲古老的艾塞俄比亚. 在1984年圣诞节前原 Boomtown Rates 合唱团的团员、也是爱尔兰知名摇滚歌手 Bob Geldof 与英籍电子团Ultravox 的 Midge Ure 合写一首 "Do They Know It\'s Christmas" 并召集了当红的英籍歌手与团体如保罗。杨、文化俱乐部(主唱乔治男孩)、杜兰杜兰合唱团、史汀…组成临时超级团体 Band Aid 演唱，期望能募款七万五千英镑来帮助这些难民。

自1959年於新港民謠音樂節 (Newport Folk Festival) 初試啼聲便一炮而紅以來，瓊拜雅 (Joan Baez) 先是以清新脫俗的形象，婉約清亮的歌聲聞名全美，爾後又以「人權抗議歌手」的身分為戰爭難民、受迫害之人民發聲，讓她深受跨世代、跨族群、跨國樂迷間的推崇。瓊拜雅從六十年代開始，對於反越戰、反迫害、反種族隔離等美國國內外政治與社會、人權議題抗議活動的聲援與參與不遺餘力，她不單單只是唱出足以在亂世之中撫慰人心的歌聲，更以實際行動，不惜入監也要捨身取義，鼓舞人們持續反對不公不義。瓊拜雅於2017年4月7日入選搖滾名人堂。

整理链接:

In August 1969| 500|000 people gathered at a farm in upstate New York. What happened there was far more than just a concert. Woodstock tells the story of a legendary event that defined a generation through the voices of those who were there.

Explores the subject of atrocities during wartime, especially during World War II and the Vietnam

Berkeley in the Sixties is an award-winning documentary film by Mark Kitchell. The film features Mario Savio, Todd Gitlin, Joan Baez, the Rev. Dr. Martin Luther King Jr., Huey Newton, Allen Ginsberg, Gov. Ronald Reagan and the Grateful Dead. The documentary highlights the origins of the Free Speech Movement and the development of the counterculture of the 1960s in Berkeley, California.

As our country continues to embroil itself in foreign wars and pins its hopes on a new leader's promise for change, Phil Ochs: There But For Fortune is a timely and relevant tribute to an unlikely American hero. Over the course of a meteoric music career that spanned two turbulent decades, Phil Ochs sought the bright lights of fame and social justice in equal measure - a contradiction that eventually tore him apart. From youthful idealism to rage to pessimism, the arch of Ochs' life paralleled that of the times, and the anger, satire and righteous indignation that drove his music also drove him to dark despair. In this brilliantly constructed film, interview and performance footage of Ochs is illuminated by the ruminations of Joan Baez, Tom Hayden, Pete Seeger, Sean Penn, Peter Yarrow, Christopher Hitchens, Ed Sanders, and others.

In the first comprehensive documentary to chronicle the private life and public career of Joan Baez, How Sweet The Sound examines her history as a recording artist and performer as well as her remarkable journey as the conscience of a generation.
How Sweet The Sound features interviews with David Crosby, Bob Dylan, the Reverend Jesse Jackson, Roger McGuinn and others, as well as a candid conversation between Joan and ex-husband David Harris. The film is rich is historic archival material including footage of Baez' controversial visit to North Vietnam, Martin Luther King Jr. outside a California prison, where he visited Joan to offer his support after she was jailed for protesting the draft during the Vietnam War, and never-before-seen film of Joan as a teenager performing at Club 47 in Cambridge, where her career was launched in 1958.
"Joan Baez: How Sweet The Sound" Original Soundtrack includes material spanning Joan's career, including many rare, previously unreleased performances.
1. Man Smart Woman Smarter
2. I Never Will Marry
3. Barbara Allen
4. Silver Dagger
5. Fennario
6. Oh Freedom
7. With God On Our Side
8. A Song for David
9. The Night They Drove Old Dixie Down
10. I Pity The Poor Immigrant (Duet w/ Bob Dylan)
11.Carry It On
12.Diamonds & Rust
13.Love Song To A Stranger
14.Day After Tomorrow
15.Jerusalem
Also includes: Conversations with:
Dar Williams
Bill Fegan and Bishop Earnest Palmer
Vaclav Havel
Steve Earle

Live Aid was a dual-venue concert that was held on 13 July 1985. The event was organized by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. Billed as the "global jukebox", the event was held simultaneously in Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people). On the same day, concerts inspired by the initiative happened in other countries, such as Australia and Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast.[2

本集以极大的篇幅让观众重返1960年代的美国社会，体验1060年代末期摇滚乐反传统次文化的兴衰。当时的美国不仅反政府也反战，整个社会有着相当反体制的情绪，这个风潮不但反映在电影如《我俩没有明天》、《午夜牛郎》等名片中，也反映在最有普及性和流行性的音乐创作上。其中最为人所津津乐道的便是1969年8月在纽约州的小镇上举办数十万人次的音乐盛会——Woodstock音乐节，这个音乐节完全的反应当时社会的氛围，以及人民的复杂情绪。
此外还可以欣赏到The Grateful Dead、山塔那及Jefferson Airplane同台演出，Janice Joplin、Big Brother和The Holding Company一块热情演唱Ball and Chain，并重温Woodstock的盛况。

由著名导演#朱塞佩·托纳多雷#编剧并执导，吉亚尼·罗素、王家卫等人任监制，聚焦意大利音乐大师埃尼奥·莫里康内的传记电影#50年一瞬间的魔幻时刻#正在进行后期制作，计划2020年公映。
影片历时5年，横跨欧美进行拍摄，将以叙事手法呈现世界级音乐大师莫里康内70多年职业生涯中鲜为人知的一面，探寻他在世界领域内与著名好友、同事之间的故事。

TV's most-watched history series brings to life the compelling stories from our past that inform our understanding of the world today.

1970年8月底，现代流行音乐史上被誉为最大的户外音乐节——怀特岛音乐节（Isle of Wight Festival of Music 1970）在英国怀特岛阿夫屯农场举行，包括The Who、The Doors、Joni Mitchell等50多个艺人单位轮番上台献唱，而音乐节参与人数创纪录的60万也超过了1969年的美国伍德斯托克。但本次音乐节却有着那么多的不和谐音，纵火、滥用药物、与警察的冲突以及歌迷们对美国冷战及越战的愤怒弥漫在音乐节的上空。但是，当Jimi Hendrix结束了他生前最后一次大型演出后，凌晨4点，Leonard Cohen缓缓地登上了怀特岛的舞台。
是年科恩35岁，发行了两张专辑，15年后才有《Hallelujah》，现在他还是一个波西米亚浪子，一个优雅的文艺青年。开场前，科恩用催眠一般地话语对大家说：我想要求每个人都点燃一根火柴，这样我就可以知道你们都在哪里了。于是，星星之火便燃起了。或许是因为服用了当时盛行的迷幻类药品 Mandrax的缘故，Cohen所唱的14首歌曲都用了至少比录音室作品慢了四分之一的速度演绎，而这样的状态恰恰应了台下歌迷的胃口。当科恩唱出《Bird On A Wire》时，躁动的乐迷被奇迹般地抚平了。而随着《So Long，Marianne》《Hey, That's No Way To Say Goodbye》《Suzanne》一首接一首，观众们已经完全坠入了科恩用歌声编制的魔幻世界里。
(节自<给我一台时光机，让我回四十年前的怀特岛>by小樱:
)

这部影片的内容是以科恩兄弟2013年的电影《醉乡民谣》（Inside Llewyn Davis）的名义在The Town Hall（纽约）举办的一场小型演唱会的台前幕后纪录，乐手们演唱的曲目是上世纪六十年代初（前鲍勃·迪伦时期）格林威治村的民谣，包括了《醉乡民谣》里出现的歌曲。登台的乐手和组合有The Avett Brothers、Joan Baez、Dave Rawlings Machine、Rhiannon Giddens、Lake Street Dive、Colin Meloy、The Milk Carton Kids、Marcus Mumford、Punch Brothers、Patti Smith、Willie Watson、Gillian Welch、Jack White，《醉乡民谣》的男主演奥斯卡·伊萨克也一同登台献唱。当然，对于多数中国乐迷来说，这里面最出名的是Joan Baez和Patti Smith两位天后级巨星，虽然她俩都已白发苍苍，但举手投足的风采不减当年。另外，这部影片并不是完整的演唱会视频，而是以纪录片的方式辑录了乐手们在台前幕后的演出、排练、交流、访谈等内容，但全片逾三分二的时长都是音乐演出，所以也可以当音乐会视频来欣赏。

该片改编自迪伦1975年至1976年的《奔雷秀》巡演，片中将包括迪伦本人的幕前采访。本片被描述为捕捉到了1975年陷入困境的美国精神以及迪伦在那年秋天演奏的欢乐音乐。据悉本片不会以传统纪录片的形式展开叙述。

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.