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GOT7 Bambam unveils his first solo project with a medley film that highlights his new songs in a cinematographic experience.

Join Asia's Popstar Royalty Sarah Geronimo in her first ever digital concert in celebration of her 18th year in the industry.

A community of anthropomorphic frogs exists peacefully until it is discovered by two violent foreigners.

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在托马斯大火（Thomas Fire）和蒙特西托泥石流（Montecito debris flows）之后，圣巴巴拉（Santa Barbara）社区希望缅怀24位遇难者，并向急救人员表达感激之情，于是音乐被视为治愈心灵的良方。

Liam McEneaney, creator of Tell Your Friends! hosts the film version of his weekly comedy show, as well as interviews the film’s headliners; giving us a personal look of their transitions from bar basements to mainstream entertainment. Includes comedians Christian Finnegan, Leo Allen, Kurt Braunohler and Kristen Schaal, Rob Paravonian, and Reggie Watts emerge from the dark and dirty rock clubs of Lower Manhattan to perform in this insider event. The film also includes music from A Brief View of the Hudson, TFY’s resident house band. The film offers a backstage pass to the show, including 'behind the scenes' footage and interviews navigating the unfamiliar routes these artists took to become breakout successes.

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美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 Video-Film Concert by Nam June Paik and Jud Yalkut 1966-72, 1992, 34:50 min, b&w and color, sound Video Tape Study No. 3 1967-69, 4 min, b&w, sound Beatles Electroniques 1966-69, 3 min, b&w and color, sound Electronic Moon No. 2 1969, 4:30 min, color, sound Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound Waiting for Commercials 1972, 6:45 min, color, sound Electronic Yoga 1972-92, 7:30 min, b&w and color, sound This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. Beatles Electroniques: Sound: Kenneth Lerner. Electronic Moon No. 2: Sound: Debussy.