A teenage girl is caught petting with the bus driver during an outing. The school's parent council discusses her punishment. One parent, a psychologist, suggests that her behavior is not abnormal or worthy of expulsion. He describes teen girls' experiments with sex, and these dramatized vignettes, interspersed with man-in-the-street interviews with young women about their attitudes and experiences, make a case for 60's generation's attitude of independence. The girls argue for telling the truth in the face of post-war German convention. In the end, will Renata be expelled or recognized as a girl from a new era?

Music video for the song with the self-titled album, released in the autumn of 2008.

”Who Killed Amanda Palmer” is the first solo album by Amanda Palmer, lead singer, pianist, and lyricist/composer of the "Brechtian punk cabaret" duo The Dresden Dolls. The album was largely recorded in Nashville, Tennessee, with collaborator Ben Folds and was released on Roadrunner Records (also home to The Dresden Dolls). The name of the album is a reference to the series Twin Peaks, which revolves around events surrounding the death of Laura Palmer. The album made its debut at number 77 on the US Billboard 200.

Most of Charles Mingus's larger-group recordings, particularly in the later part of his career, tended to be unruly and somewhat undisciplined. This two-CD reissue set (which adds five selections to the original two-LP program), which celebrated Mingus's return to jazz after six years of little activity. Such great jazzmen as baritonist Gerry Mulligan, tenor saxophonist Gene Ammons, altoist Lee Konitz, pianist Randy Weston, James Moody (heard on flute) and a variety of Mingus regulars had a chance to play with the great bassist; even fellow bassist Milt Hinton and Bill Cosby (taking a humorous scat vocal) join in.

During 1966-1969, Charles Lloyd led one of the most popular groups in jazz, a unit that played at the rock palace Fillmore West in San Francisco and toured the U.S.S.R. Lloyd's music, although generally a bit melodic, was not watered-down and managed to catch on for several years during a time when jazz was at its low point in popularity.

This mellow-toned singer and pianist came to prominence in the mid-'40s as part of Johnny Moore's Three Blazers. Moore's brother Oscar was a member of Nat "King" Cole's trio, a group that greatly influenced the direction of the Blazers. With Moore's fluid guitar and Brown's mellifluous voice, the Blazers pioneered the refined, jazz-influenced West Coast school of blues. Nineteen forty-five's "Driftin Blues" brought the trio national attention, but after recording a handful of tunes under his own name (with the Blazers still behind him), Brown broke away for good and rolled up a series of R&B hits for Aladdin, ending with the 1956 classic "Merry Christmas, Baby." With a deft piano touch and a rich, sultry vocal approach, Brown brought blues to the lounge. --Marc Greilsamer - Amazon