Cover Your Ears

Back in 2006 on a stormy December night, Amy Winehouse flew to the remote, south western corner of Ireland to perform for Other Voices, an acclaimed Irish TV music series filmed in Dingle every winter. Amy took to the stage of Saint James's church, capacity 85, and wowed the small, packed crowd with a searing, acoustic set of songs from Back to Black. After leaving the stage, a relaxed and happy Amy spoke about her music and influences - Mahalia Jackson, Sarah Vaughan, Ray Charles and the Shangri-Las to name a few. Arena joined forces with Other Voices and went to Dingle to catch up with some of the people that Amy met on that day, including taxi driver Paddy Kennedy, her bass player Dale Davis and Rev Mairt Hanley of the Other Voices church. This film showcases not only Amy herself, but the musical geniuses that inspired her to forge her own jazz pop style.

Before Rolling Stone, there was Soul Newspaper. Behind Soul, there was Regina Jones. Against all odds, Regina blazed her own path, and at 80 has found herself again.

Two Nashville music icons, John Hiatt and Jerry Douglas, combine their talents during the pandemic to record the album "Leftover Feelings" in Elvis's favorite studio, RCA's fabled Studio B. Walking in the footsteps of Elvis Presley, Dolly Parton, and Waylon Jennings through the house that Chet Atkins built, John and Jerry attempt to revive and capture the magical sounds of this iconic room where so many early hit songs were made.

The story of Robert Pilatus and Fabrice Morvan, who became fast friends during their youth in Germany. With Rob coming from a broken home and Fabrice having left an abusive household, they shared a similar upbringing, as well as a future goal: to become famous superstars. In a few short years, their dreams came true. Rob and Fab, better known as Milli Vanilli, became the world's most popular pop duo in 1990 and won the GRAMMY for Best New Artist. However, their ascension to success came with a devastating price that ultimately led to their infamous undoing.

Attila Baukó, aka Azahriah is one of Hungary's most famous singer, who filled the biggest sport arena of the country with three consecutive concerts. But this film is not a concert film. It is not a music documentary. Nor is it a traditional portrait film. We are Azahriah is the story of a real and an imaginary journey inspired by Azahriah's life and songs.

James Taylor prepares for his first show of the season on a remote island in the San Juans.

Leonard Bernstein discusses his Boston childhood, his musical growth at Harvard and the Curtis Institute and the influence of great masters like Reiner, Mitropoulos and Koussevitzky. He shares his feelings on the primacy of tonal music and speculates on the nature of the creative process. From Carnegie Hall, scene of his début, to the living room of his home and his private studio overlooking New York's Central Park, Reflections explores the artist's varied and colourful career.

This series comprised six lectures on music, which cumulatively took the title of a work by Charles Ives, The Unanswered Question. Bernstein drew analogies to other disciplines, such as poetry, aesthetics, and especially linguistics, hoping to make these lectures accessible to an audience with limited or no musical experience, while maintaining an intelligent level of discourse: Bernstein provides two distinct meanings of the term ambiguity. The first is "doubtful or uncertain" and the second, "capable of being understood in two or more possible senses"

Explore the dramatic career and personal struggles of the talented and tragically short-lived entertainer Judy Garland through rare concert footage, never-heard-before voice recordings and personal photos.

The film is based on the events of the 4th International Orthodox Music Festival held in Moscow in February, 1992. The Festival featured not only such famous works as Rakhmaninov's "The All Night Service" and "Liturgy" but also the first performance of the latest interpretations of ancient Russian songs and the sensational first performance of Sviridov's cycle of "spiritual songs".

In "Diana: The Mourning After" Christopher Hitchens sets out to examine the bogusness of "a nation's grief", tries to uncover the few voices of sanity that cut against the grain of contrived hysteria. His findings suggested that the collective hordes of emotive Dianaphiles sobbing in the streets were not only encouraged but emulated by the media. In the aftermath of Diana's death a three-line whip was enforced on newspapers and on TV, selling the sainthood line wholesale. The suspicion was that journalists, like the public, greeted the death as a chance to wax emotional in print, as a change from the customary knowing cynicism, to wheel out all those portentous phrases they'd been saving up for the big occasion. Sadly, they just seemed to be showboating; the eulogies, laments and tear-soaked platitudes ringing risibly hollow.