BB KIng & Joan Baez and other great artists came to New York's Maximum Security Prison, SING SING, and gave one of the Best Shows of their lives.
BB called it one of his greatest performances. New York's Daily News called it one of the greatest moments in live entertainment.

This 90 minute Documentary feature captures it all. If you like hearing and seeing B.B. King, you'll love this film.

Intent on shaking up the ultimate 'sacred cow' for Jews, Israeli director Yoav Shamir embarks on a provocative - and at times irreverent - quest to answer the question, "What is anti-Semitism today?" Does it remain a dangerous and immediate threat? Or is it a scare tactic used by right-wing Zionists to discredit their critics? Speaking with an array of people from across the political spectrum (including the head of the Anti-Defamation League and its fiercest critic, author Norman Finkelstein) and traveling to places like Auschwitz (alongside Israeli school kids) and Brooklyn (to explore reports of violence against Jews), Shamir discovers the realities of anti-Semitism today. His findings are shocking, enlightening and - surprisingly - often wryly funny.

Yoav Shamir tries to take a witty & satirical approach to a deadly serious issue - anti-semitism in today's world. His film & title focus almost exclusively on the unprecedented access he was given to Abe Foxman and the NY-Based Anti-Defamation League (ADL). Shamir tries to document one of the ADL-reported cases of rising anti-semitism, and this leads him to Crown Heights in Brooklyn, where he interviews black youth. He accompanies students on a March of the Living visit to Poland. He is invited to join Foxman on an ADL delegation to Europe, where he discovers that the ADL is closely aligned with the policies of the Israeli government. He then interviews two American academics who have written about this issue (Mearsheimer & Walt) and concludes that Israel's past is preventing it from moving forward. This singular focus on the US-Israeli lobby as a lense with which to view contemporary anti-semitism means that Shamir ignores more sinister forms, such as Iran's President Mahmoud Ahmadinejad.

This particular blog entry is going to focus on the comparisons and contrasts of Stieg Larrson’s original book, Niels Arden Oplev’s 2009 adaptation and David Fincher’s 2011 adaptation. This entry will therefore be very spoiler-laden, with conversation meant for those that have either read the original book, seen the respective adaptations or all three. If you haven’t done any of those things, and wish to not have the story ruined for you, I suggest you stop reading now.

Several stories interweave during two days in Los Angeles involving a collection of inter-related characters, a police detective with a drugged out mother and a thieving younger brother, two car thieves who are constantly theorizing on society and race, the white district attorney and his irritated and pampered wife, a racist white veteran cop (caring for a sick father at home) who disgusts his more idealistic younger partner, a successful Hollywood director and his wife who must deal with the racist cop, a Persian-immigrant father who buys a gun to protect his shop, a Hispanic locksmith and his young daughter who is afraid of bullets, and more.

Anyway, Paranormal Activity is good if you like ghosts. I like ghosts. I also like zombies and psychotic killers with chainsaws—I had a fairly traditional American education—but I’m not bored by low-resolution long shots of rooms in which nothing happens but a door opening six inches, apparently by itself. If you like ghosts, that’s practically the money shot.