In 1974, while on the way home from a gig, the apolitical rock group, The Miami Showband, fell into the crosshairs of a Protestant unionist paramilitary group that planted explosives on their bus when it was stopped at a fake checkpoint.
Concerned by a rising rock-n-roll influence on a growing liberal fanbase, President Nixon invited Johnny Cash to the White House to solidify his base in the traditionally more conservative ... See full summary »
As pioneers of the Dirty South music movement, Organized Noize is responsible for Outkast, CeeLo, the Goodie Mob and the Dungeon Family. Their production shaped the landscape of hip-hop ... See full summary »
An intimate look into the life of icon Quincy Jones. A unique force in music and popular culture for 70 years, Jones has transcended racial and cultural boundaries; his story is inextricably woven into the fabric of America.
The narrative of this film is just full of contradictions. From the beginning until the end, it is pushed that the reason that this crime (and others) are unsolved is because the police do not care, because they are black. Yet, the film also pushes the narrative that the police want any reason to lock up black people. The film only spends one line talking about how witnesses and the community don't want to "snitch". The people who do eventually talk, all give conflicting information. Also, they try to claim the police could just look at cameras in the area and zoom in at the license plate. This was 2002. It isn't like every building has HD cameras like it does today. The film ends with the conclusion that police don't care about solving murders of black rappers, when just recently XXXTentacion and Nipsey Hussle's killers were caught. Too much assuming and conspiracy against the police department, and not much new information on who actually murdered Jam Master Jay.
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