Dr. Alvaro Cruz, a neuroscientist, disillusioned by the death of his mother and his inability to help her, finds redemption and reward by helping Una Vida, a jazz singer he discovers performing on the streets of New Orleans. Her health declining and her singing partner and her adopted daughter unable to help, Cruz seeks out her long lost son in an effort to bring resolution to the grief, loss and longing that has overshadowed her hard but beautiful life.

The Upsetter tells the fascinating story of Lee “Scratch” Perry, a visionary musician and artist from poor rural Jamaica who journeyed to the big city in the late 1950s with dreams of making it in the burgeoning record industry. Lee Perry burst on the scene with a brand new sound, inventing a genre of music that would come to be called reggae, while mentoring a young Bob Marley and gaining international recognition as a record producer and solo artist. The Upsetter charts 70 years in the life of Lee “Scratch” Perry in his own words through an exclusive interview given to American filmmakers Ethan Higbee and Adam Bhala Lough in Switzerland in 2006. It is equally a documentation of 30 years of Jamaican music and culture as it is a study of one of the most creative and inspiring human beings of all time. The film is narrated by Academy Award winner Benico Del Toro

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Series looking at the revolution in 20th century music. 　　Wrecking Ball 　　It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker. 　　Free for All 　　Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century. 　　Easy Listening 　　Series concludes with the focus shifting to the United States in the post-war years of the 1950s and beyond. Beginning with arguably the most notorious work of 20th century classical music, John Cage's 'silent' composition 4'33", it looks at how a series of maverick Americans re-invented the sound of classical music into a more simple form, bringing back harmonies and rhythms that made it increasingly popular with audiences across the world. It also examines how this music found its way into a spiritual realm, with the strain of pared-down religious composition that came to be known as 'holy minimalism'. From the Maverick concert hall in Woodstock, New York to an Orthodox cathedral in Estonia to a car park in Peckham, south London, the story is told by a stellar line-up of contributors including Philip Glass, Steve Reich, John Adams, Arvo Pärt and John Tavener.

Japanese culture - especially the popular music scene - can be a surprising, often disorienting crazy quilt of austere, ancient traditions, futuristic experimental music and crass, glitzy pop. Adding to the mix is the fervent embrace by Japanese of such foreign music styles as rock, blues, jazz and even country music, not merely as fans but as tenacious practioners.

Lomax, the Hound of Music is a PBS Kids TV series that brings together puppets, humans, live music and animation to promote musical education for children ages 3–7. Created by Christopher Cerf, Norman Stiles and Louise Gikow, and produced by Sirius Thinking, Ltd., Eyevox, Inc., and Connecticut Public Television, Lomax first aired in December 2008, and immediately gained a reputation as a show that follows in the tradition of acclaimed educational children's TV series like Sesame Street, and Between the Lions.Lomax, the Hound of Music follows the adventures of Lomax, a good-natured, melody-obsessed puppet pooch, his feline sidekick Delta, and their human companion, Amy, on a tune-filled train ride crisscrossing the musical landscape of America. With the help - and full participation - of real kids on the train, on location, and the viewers at home, Lomax and his friends track down the wonderful songs that form the heart of our nation's diverse musical heritage.

The movie focuses on the battle of Cheolwon, where the 63rd Army of the Chinese People's Volunteer Army (CPVA) was ordered to enter the battlefield of Cheolwon in May 1951, just after a month-long battle, to fight against four divisions of the United Nations Army (UNA). The volunteers fought with bloodshed and finally brought the enemy to the negotiation table.

A young, compassionate man struggles to save his family and friends from the abusive exploitation of his cold-hearted, grasping uncle.