Angelo Moore

A former beach boy and his wife go to California to visit their daughter and become part of the new beach scene.

The story of Ivan and Josh, two dimwitted ex-security guards who love music videos. Out of work, with no job prospects, they form a music video production company. They soon learn the ins and outs of the business in LA, and with some help from Mo Fuzz, they soon become hot property. But not all goes smoothly when they try to resurrect the career of their favorite R&B duo, the Swanky Modes.

From the shifting fault lines of Hollywood fantasies and the economic and racial tensions of Reagan's America, Fishbone rose and became one of the most original bands of the last 25 years. With a blistering combination of punk and funk they demolished the walls of genre and challenged the racial stereotypes and the political order of the music industry and of the nation.

New York City, October 10, 1965. A group of wooden giant figures from Pamplona, representing Basque culture and traditions, parade down the street; but the local authorities have not allowed the appearance of all of them: due to the racial prejudices that persist in many sectors of society, the participation of two black giants has been banned.

In the mid-1980s outside this college town, home of the Kansas Jayhawks, punk rock history was being made in the middle of a cornfield. Where the pavement turned to gravel, in a small, primitive cinder block building, bands like Fugazi, the Melvins, Rollins Band, Gwar, the Circle Jerks, Body Count, Social Distortion, Bad Brains, White Zombie, Descendents, Sonic Youth, Green Day, Fishbone, the Meat Puppets, Helmet, and Nirvana played to all-ages crowds, a raucous scene of misfits and anarchists on the margins of youth culture. This was The Outhouse. Small, dark and sometimes dangerous, it quickly gained a reputation as a haven for the bands other venues were afraid of, and the kids who loved them.

Eric Linson is a struggling multiracial filmmaker with a few credits to his name and absolutely nothing to show for it. INBETWEENING follows his journey trying to remain afloat and healthy in the liminal space between projects as things get "sketchy".

A young hipster wannabe-superstar dj, Phil, takes on a day job at a telemarketing company, working with crazy people, ex-prisoners, drug addicts and murderers. The time on his life begins to tick as he battles addiction, fights the law and tries to maintain the only sane thing left in his life, his girlfriend, Christine.

When the apocalypse arrives, it takes the form of a biochemical virus. All social structures break down and a new world order emerges from the heart of the desert. As chaos sets in, we follow the adventures of some unlikely survivors, all searching for the elusive cure at Phoenix Point.

Against his wife's wishes, Rufus gathers his family and friends to share five tales of grotesque body horror, each more disturbing than the last.

Big World Café was a music show on British television. Broadcast on Channel 4 in 1989, it was presented by Mariella Frostrup, Eagle Eye Cherry and Jazzie B. It was produced by Andrea Wonfor, who had previously worked on The Tube. During the programme's second series, Andy Kershaw was recruited to report on world music. Artists who appeared on the show included Les Négresses Vertes, New Order, Prefab Sprout and Wet Wet Wet.