This film by Murray Lerner is a cinematic synthesis of four Newport Folk Festivals in which the art of folk music is pictured in transition during its most crucial years. Performers include Bob Dylan, Joan Baez, Johnny Cash, Georgia Sea Singers, Peter, Paul, & Mary, Son House, Mississippi John Hurt, Donovan, Judy Collins, Pete Seeger, Ed Young Fife & Drum Corps, Jim Kweskin & the Jug Band with Mel Lyman, Sacred Harp Singers, Blue Ridge Mountain Dancers, Tex Logan & The Lilly Brothers, Buffy Sainte-Marie, Odetta, Fred McDowell, Brownie McGhee, Sonny Terry, Swan Silvertones, STaple Singers, Freedom Singers, Fannie Lou Hamer, Paul Butterfield Blues Band, Howling Wolf.

Aside from being known for her vocal ability, music videos and image, musically, she includes themes of dealing with public scrutiny, her childhood, and female empowerment in her music. Apart from her work in music, she has also dedicated much of her time as a philanthropist for charities, human rights and world issues.

Documentary about the American folk revival, the milieu from which the nascent Bob Dylan emerged in the early 1960s and whose crucible was the Newport folk festival. In 1963 it provided the perfect platform for Dylan, under the patronage of Pete Seeger and Joan Baez, to be acknowledged as the principal voice of folk music at the age of just 22. Other stars of the time such as Baez, Seeger, Peter Paul and Mary, Judy Collins, Muddy Waters and Mahalia Jackson are also featured.

With the field of personal relationships having grown dramatically in the past quarter century, this volume serves as a benchmark of the current state of scholarship, synthesizing the extant theoretical and empirical literature, tracing its historical roots, and making recommendations for future directions. The authors are international experts from a variety of disciplines including several subfields of psychology, communication, family studies and sociology who have made major contributions to the understanding of relationships.

A lot of good (and some great) music for a worthy cause takes center stage once again as Eric Clapton hosts the second edition of his Crossroads Guitar Festival, a benefit for his Crossroads Centre rehab facility in Antigua and a near embarrassment of six-string riches occupying two discs. Staged in suburban Chicago in July, 2007, it features several of the same players who were at the first concert (2004, in Dallas), including Robert Cray, Buddy Guy, B.B. King, John Mayer, Vince Gill, John McLaughlin, and Robert Randolph. They're all in fine form, but it's those appearing for the first time who make the biggest impressions. Derek Trucks, who performs on his own, with his wife (Susan Tedeschi, herself an excellent blues guitarist), and backing several other artists (including a frighteningly decrepit-looking Johnny Winter), is a strikingly versatile young player. On the other end of the generational spectrum, the veteran Albert Lee spins out a series of stupefyingly swift licks on "Country Boy," while Jeff Beck is, well, Jeff Beck, at age 63 still inarguably one of the most original musicians to ever strap on a Stratocaster. While most of the others are content to play straight blues or blues-derived rock, Beck sounds as if he's riding a spaceship with strings, wringing sounds out of his instrument that defy understanding, let alone imitation; backed by ace drummer Vinnie Colaiuta and 22-year-old Tal Wilkenfeld, who may be the most exciting electric bassist to emerge since Jaco Pastorius, Beck delivers versions of "'Cause We've Ended as Lovers" and "Big Block" that are the highlights of the show. Elsewhere, Clapton, as is his wont, rises to the occasion in the presence of his peers and plays with considerable passion, even if his "reunion" with Steve Winwood lacks fire (mostly due to the lackluster nature of their Blind Faith-era material, other than the lovely "Can't Find My Way Home"). In the end, one might wish for more good songs, as opposed to opportunities for extended soloing, but even diehard axe-heads will surely be satiated after some four hours of hot licks. As for everyone else, well, that's why God invented the fast forward button. --Sam Graham

Much can be said about Amy Winehouse, one of the U.K.'s flagship vocalists during the 2000s. The British press and tabloids seemed to focus on her rowdy behavior and heavy consumption of alcohol, but fans and critics alike embraced her rugged charm, brash sense of humor, and distinctively soulful and jazzy vocals. Her platinum-selling breakthrough album, Frank (2003), elicited comparisons ranging from Billie Holiday and Sarah Vaughan to Macy Gray and Lauryn Hill.

The Killers are an American rock band from Las Vegas, Nevada, which formed in 2002. The band consists of Brandon Flowers (vocals, keyboards), Dave Keuning (guitar, backing vocals), Mark Stoermer (bass guitar, backing vocals) and Ronnie Vannucci Jr. (drums, percussion).

Patti Petalson (Blair) struggles with the pressure of becoming the next important American writer.

Muse are an English alternative rock band from Teignmouth, Devon. Since their inception in 1994, the band has comprised Matthew Bellamy (lead vocals, guitar, piano), Christopher Wolstenholme (bass guitar, backing vocals, keyboards), and Dominic Howard (drums, percussion, synthesisers). After the release of the album Black Holes and Revelations, Morgan Nicholls (keyboards, percussion, bass guitar) has performed live with the band. Muse are known for their energetic and extravagant live performances and their fusion of many music genres, including progressive rock, classical music, heavy metal and electronica with recurring themes of revolution.

"Young People Fucking" is a smart and fast-paced comedy that intertwines the stories of 5 couples over the course of one sexual encounter. As the couples attempt to have some seemingly straight forward sex, they run into all sorts of problems.