Sentences with phrase «music with violence»

Not exact matches

Even with 400,000 attendees, zero reports of violence were made to the police during or after the festival, and with two babies reportedly born on the premises, it certainly was a weekend of peace, love, and music.

Black music used to mean the blues and jazz; now it is more often identified with the staccato verbal violence of trash - talking rapper plutocrats like Snoop Dogg.

He agrees with Martha Bayles's statement that rap has reduced African - American music to a «minstrel version» of violence - obsessed white rock bands.

The committee heard testimony from Dr. Patricia Greenfield of UCLA that heavy viewing of music video may significantly increase violence in our society because it closely links erotic relationships with violence performed not by villains but by teenage idols.

It's like Empire with a lot more sex and violence and foul language and I hate to say it — better music.

Casa Central offers a network of services including Head Start education, out - of - school time support, interim housing, violence intervention and other valuable resources to vulnerable members of the community.Words on WheelsWords on Wheels volunteers to go places in their local communities to engage with at - risk babies through bubbles, puppets, music and stories.

Cuomo says most of the worst mass shootings in the nation's history involved gunmen with a record of violence against women or threatening violence against women, including those committed this year at a country music concert in Las Vegas and inside a Texas church.

Anyway, there is much violence and blood shed, during the midst of which a twisted and disgruntled Russian music teacher makes off with one of the warheads and heads to New York to bomb the city.

This is particularly the case during the set - pieces, in which the prevalence of pop music in the soundtrack is combined with dark humour and a devil - may - care approach to violence (albeit framed for a 15 certificate).

Stylishly produced, with haunting music, darkly diffused lighting and some surprising violence and raw street language, «EZ Streets» has loads of bite and texture.

Dancing With the Stars vet and country - music singer Julianne Hough plays Ariel, the minister's rebellious daughter, who slowly turns her eye from her violence - prone boyfriend (Patrick John Flueger) to the cocky but cautious Ren.

Outside of Vinson and some choice scoring / music selection that, along with its story, evokes some of the memorable 1970s work from John Carpenter (Assault on Precinct 13 and The Fog come to mind), You're Next is a fairly dreadful choice for a scare flick, with ineffective acting choices, a laughable premise, and no real surprises offered to anyone who actually pays attention to the poorly written dialogue that occurs between scenes of violence.

The Last Song (PG for mature themes, violence, sensuality and mild epithets) Coming - of - age drama revolving around a rebellious, 17 year - old prodigy (Miley Cyrus) sent by her divorced mother (Kelly Preston) to spend the summer with her estranged father (Greg Kinnear) in an island resort town where she prceeds to fall in love with a local yokel (Liam Hemsworth) while mending fences and making beautiful music with her dad.

The timing though is fortuitous, with Childish Gambino's This is America song and music video being released earlier this week and bringing to the fore again questions around black identity, gun violence and black male bodies.

Excellent (4 stars) Rated R for sexuality, drug use, pervasive profanity, ethnic slurs and graphic violence Running time: 111 minutes Studio: Plan B Entertainment Distributor: Lionsgate Home Entertainment Blu - ray Extras: Audio commentary with writer / director Barry Jenkins; Ensemble of Emotion: The Making of Moonlight; Poetry through Collaboration: The Music of Moonlight; and Cruel Beauty: Filming in Miami.

Notably, this time the bounty of material is handled with lightness and confidence, minimizing the sense of overload and hectoring that has hampered his other densely populated features — epitomized by the rhetorical uses of an American flag toward the end of Nashville, the pretentious or mock - pretentious uses of music in A Wedding, and an overreliance on 11th - hour violence to goose the dramatic effects of these and many other films, including The Long Goodbye and Short Cuts.

Drive plays like a mix of Steve McQueen flick, as if it were directed by a young Michael Mann with a dash of Taxi Driver, with its terse dialogue and sleek, stylized, music - tinged sequences, though with sudden bursts of rather bloody, quite disturbingly graphic violence.

These three artists and a few longtime friends from their tough, south LA neighborhood, decide the way to escape lives of poverty, violence and drugs is through their music — and the film follows their rise from local stars to international superstars, who change the industry forever, unapologetically exercising their First Amendment rights with controversial lyrics.

for screen violence but it alternated its scenes of mayhem with lyrical interludes and jaunty slapstick sequences accompanied by spirited banjo music.

There are several graphic moments of brutal violence — you will see things done to the human head that you don't often see in a mainstream horror film — but one of the most affecting moments of violence wisely happens off - screen and with little fanfare (such as swelling music) to accompany it.

Dressed in ridiculously provocative clothing and carrying enough weaponry to arm a small country, they blast their way through hosts of enemies in a fantasized world that painfully coalesces explosive video game violence with highly stylized music videos.

The movie was packed with music, fashion, and dance sequences that proved incredibly popular with young people — but also featured an adult - oriented plot that included gang violence, drug abuse, and rape.

Set to debut in 2016, the series will follow a group of street - savvy teenagers in the South Bronx during the 1970s as the cultures of hip - hop and punk collide with new forms of music against a backdrop of violence, crime and other political / social issues of the era.

Additional celebrities at SIFF this year included Academy Award - winning director Morgan Neville with his documentary The Music of Strangers: Yo - Yo Ma and the Silk Road Ensemble; award - winning writer and director James Schamus of Indignation; award - winning cinematographer Kirsten Johnson with her directorial debut Cameraperson; acclaimed actor Clea DuVall with her directorial debut The Intervention; directors Miles B. Miller and Joshua H. Miller, producer Kathryn Tucker, and actor Paul Sparks of All the Birds Have Flown South; actor Craig Robinson in Morris From America; director Jonathan Parker, producers Catherine di Napoli and Deborah Parker, and actor Eric McCormack with The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shriwith his documentary The Music of Strangers: Yo - Yo Ma and the Silk Road Ensemble; award - winning writer and director James Schamus of Indignation; award - winning cinematographer Kirsten Johnson with her directorial debut Cameraperson; acclaimed actor Clea DuVall with her directorial debut The Intervention; directors Miles B. Miller and Joshua H. Miller, producer Kathryn Tucker, and actor Paul Sparks of All the Birds Have Flown South; actor Craig Robinson in Morris From America; director Jonathan Parker, producers Catherine di Napoli and Deborah Parker, and actor Eric McCormack with The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shriwith her directorial debut Cameraperson; acclaimed actor Clea DuVall with her directorial debut The Intervention; directors Miles B. Miller and Joshua H. Miller, producer Kathryn Tucker, and actor Paul Sparks of All the Birds Have Flown South; actor Craig Robinson in Morris From America; director Jonathan Parker, producers Catherine di Napoli and Deborah Parker, and actor Eric McCormack with The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shriwith her directorial debut The Intervention; directors Miles B. Miller and Joshua H. Miller, producer Kathryn Tucker, and actor Paul Sparks of All the Birds Have Flown South; actor Craig Robinson in Morris From America; director Jonathan Parker, producers Catherine di Napoli and Deborah Parker, and actor Eric McCormack with The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shriwith The Architect; Mike Birbiglia, director of Don't Think Twice; YouTube sensation and documentary subject of Presenting Princess Shaw Samantha Montgomery, who performed at the Opening Night Gala; Irish drag queen and marriage equality advocate Panti Bliss, subject of the documentary The Queen of Ireland, as well as director Conor Horgan; director Martin Spirit and subject Spencer Haywood of Full Court: The Spencer Haywood Story; irector Ned Crowley and actor Jim O'Heir of Middle Man; director James Redford with his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shriwith his new documentary Resilience; Pearl Jam founding member and Gleason composer Mike McCready; actor Laura Carmichael and director Chanya Button with the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shriwith the US premiere of Burn Burn Burn; director Iwai Shunji of A Bride for Rip Van Winkle; Joshua Marston, director of Complete Unknown; actor Corentin Fila of Being 17; Andreas Öhman, director of Eternal Summer; Ti West, director of In A Valley of Violence; director Roger Ross Williams and subject Ron Suskind of Life, Animated; director Nathan Adloff, actor Tim Boardman and producers Stephen Israel and Ash Christian of Miles; director Linas Phillips and producer Ian Bugno of Rainbow Time; Richard Tanne, director of Southside With You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol ShriWith You; Jocelyn Moorhouse, director of The Dressmaker; Brent Hodge, director of The Pistol Shrimps.

A native of San Francisco's Mission district — «the hairy part of the Mission,» he adds — he grew up in a neighborhood notorious for gang violence, and he credits music with keeping him safe and out of trouble.

Where is the «accountability» for... > The «entertainment» industry flooding our youth with heinously toxic, cognitively poisonous VIOLENT VIDEO GAMES and GANGSTER - THUG GLORIFYING music / videos that promote crime, substance abuse, disgusting conduct, mistreatment & violence against women, anti-educational achievement, anti-positive values, anti-professional careers, anti-healthy, responsible behaviors!

The only ones still coming up with this ridiculous claim are those who are in the pockets of the NRA (politicians, right - wing media) who want to divert the conversation away from sensible gun control, so they'll quickly try to blame it on age - old scapegoats like entertainment (games, violence on TV, music, comics, whatever).

The violence is cheered on by a metal soundtrack that hits the right notes with grungy, dirty thumps, beats, and electric guitar riffs though I wish the music had a bit more character.

The newest trailer for Metal Gear Survive reveals off numerous zombie destroying motion with the music Ballroom Blitz joyfully orchestrating the violence.

In any case, the soundtrack by Vicente Espi (known as «Beat Vince») is full of poppy synth music that's every bit as sweet as the game's visuals, tinged with an undercurrent of violence.

The release was announced today on their Facebook page, along with a teaser trailer, featuring known scenes from the original manga along with high - paced dramatic music and the promises of the pleasing blood and violence from the previous game.

Tuck writes that: «the paintings in this show alternate between the quiet and the chaotic: landscapes that are represented like in comics and topographical maps — on a soft colored ground lines are drawn with paint, the figures are much smaller than life size and feel like quotes from movies... [Richter] draws seamlessly from our common cultures of art, entertainment, violence, music, etc., and plants these things in his paintings.»

The Puerto Rico - based artists have studied the ephemeral nature of collective drawing with monumental sticks of chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998 — 2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001 — 2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast / Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments - Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor's Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2015).

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

Geburts - tags von Jean - Christophe Ammann, Museum für Moderne Kunst, Frankfurt, DE Test Site / Ground Floor, Mass MOCA, North Adams Massachussets, US Zeit / Los: Zur Kunstgeschichte der Zeit, Kunsthalle Krems, Krems - Stein, DE A / D: A Decade, A / D, DE Out of Site: a Cross-reference Exhibition, 1960 - 2000, BüroFriedrich, Berlin, DE The Print Show, Laboratoire d'Impression, Geneva, CH Visual Arts Salute: a Tribute to Harvey Lichtenstein, various Chelsea galleries in conjunction with Brooklyn Academy of Music, New York, US Works on Paper: a Riverhouse Retrospective, Bliss Center for the Arts, Steamboat Springs, Colorado, US Circa 1968, Museu Serralves and Museu de Arte Contemporânea, Porto, PT SpilleRom, Kunstfestivalen I Lofoten, Lofoten, NO Laboratorium, Provinciaal Museum voor Fotografie, Antwerp, BE Stop the Violence!!!

★ Christine Meisner: «Disquieting Nature» (through May 24) For this multimedia project on the roots of blues music, this Berlin artist took a six - week trip through the Mississippi Delta region, filming places both associated with notable musicians and with anti-black violence.

On October 30, Cruel and Unusual Comedy from the Desmet Collection of the EYE Film Institute, The Netherlands comprises revelatory and even shocking early European film comedies that center on themes of sex, violence, madness, and science fiction, with original music performed live by award - winning composer Donald Sosin and his NYC Eclectic Electric Band.

(ESRB: M (Mature) BLOOD, INTENSE VIOLENCE, NUDITY, STRONG LANGUAGE, STRONG SEXUAL CONTENT, USE OF ALCOHOL, USE OF DRUGS, ONLINE INTERACTIONS NOT RATED BY THE ESRB) Developed by series creator Rockstar North and set in Liberty City, The Lost and Damned features a new main character, Johnny Klebitz, and plot that intersects with the storyline of Grand Theft Auto IV; new missions that offer an entirely fresh way to explore Liberty City with new multiplayer modes, weapons and vehicles; and a diverse soundtrack with additional music — all with the incredible production values that are the trademarks of Grand Theft Auto.

Exposure to violence in the media is associated with concurrent reports of seriously violent behavior across media (eg, games and music).

These include Standing up against Teenage Aggression, a group for parents (especially single mothers); Working Together, parallel groups for parents and children where the parent is living with a serious mental illness - a programme run in collaboration with local mental health agencies; Breaking Free, a group for women living in situations of domestic violence; an anger management group for teenagers; and Expression, a music therapy group for mothers and children living in a situation of domestic violence.

preoccupation with themes and acts of violence in TV shows, movies, music, magazines, comics, books, video games, and Internet sites