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Sinatra at Carnegie Hall

In 1980, Frank Sinatra performed a two-week engagement at Carnegie Hall, which at the time, set a record for the venue by selling out each show in just one day. The performances followed the release of 1980's Trilogy, Sinatra's ambitious triple-album comeback that featured "The Theme from New York, New York." Sinatra mixes "Summer Me, Winter Me" from that album with his hits "I've Got the World on a String" and "I've Got You Under My Skin." Foreshadowing the follow-up to Trilogy is "The Gal That Got Away"/"It Never Entered My Mind," a medley that would appear on She Shot Me Down in 1981.

Sinatra at Carnegie Hall

NR 1980
Grateful Dead: The Closing of Winterland

The Closing Of Winterland documents the Grateful Dead's landmark New Year's Eve 1978 concert that marked the end of the famed San Francisco Bay Area venue Winterland Aena. The Dead celebrated the closing as an approximately five-hour-long party (complete with breakfast with the audience at dawn) and invited some guests including guitarist John Cipollina of Quicksilver Messenger Service and Ken Kesey as well as actor Dan Aykroyd who provided the midnight countdown.

Grateful Dead: The Closing of Winterland

NR 1978
Selena Live! The Last Concert

The concert was recorded on February 26, 1995, at the “Houston Astrodome” and was televised live on Univision. The singer shared the concert with Tejano singer “Emilio Navaira” and performed to 66,994 people, which broke the previous attendance record held by Selena in the previous year. Selena's performance at the Astrodome became her final televised concert before she was shot and killed on March 31, 1995. The set list mostly included material from her "Amor Prohibido" (1994) album and a medley mashup of disco music songs.

Selena Live! The Last Concert

8.4 1995
Phish 1997-11-22 Hampton Coliseum, Hampton, VA

SET 1: Mike's Song -> I Am Hydrogen > Weekapaug Groove, Harry Hood > Train Song, Billy Breathes, Frankenstein > Izabella SET 2: Halley's Comet > Tweezer > Black-Eyed Katy > Piper > Run Like an Antelope[1] ENCORE: Bouncing Around the Room > Tweezer Reprise [1] Lyric changed to "Michael Esquandolas." Mike's Song and Tweezer both contained BEK teases, with the ones in Tweezer taking place well before the segue into BEK. Fans of stage banter will want to seek out the second set for Trey’s humorous response to the crowd’s Destiny Unbound chant before Halley’s. The "Marco Esquandolas" lyric in Antelope was changed to "Michael Esquandolas." This show was released as part of the Hampton/Winston-Salem '97 box set.

Phish 1997-11-22 Hampton Coliseum, Hampton, VA

NR N/A
Singing in the Dark

Leo, a holocaust survivor who suffers from total amnesia, comes to the U.S. and works as a hotel desk clerk. One night while a comedian who owns a bar in the hotel gives him a drink, he breaks out in song and discovers a great voice. Under a psychiatrist's treatment, and because of a blow to the head by some hoodlums, he realizes his name is David and that he was the son of a great Jewish Cantor, and gradually recovers his memory of losing his parents. He gives up a promising career singing in nightclubs to return to the synagogue.

Singing in the Dark

8.0 1956
West of the Alamo

Despite his unprepossessing screen personality, singing cowboy Jimmy Wakely was starred in a series of Monogram westerns, one of which was West of the Alamo. Wakely and comedy sidekick Lee "Lasses" White play a pair of government agents who work undercover to solve a series of baffling crimes. It comes to no one's surprise that the criminal mastermind is the town's leading citizen, in this case banker Clay Bradford (Jack Ingram). As was typical in the Wakely westerns, West of the Alamo is approximately 25 percent action and 75 percent musical. Among the guest warblers this time out is the Arthur Smith Trio, headed by a gospel singer who'd later emcee a popular religious TV talk show.

West of the Alamo

10.0 1946
You Can't Do That! The Making of 'A Hard Day's Night'

Thirty years after A Hard Day's Night, its producer, director, writer and others describe its making. United Artists Records came to Walter Shenson, asking him to produce a movie so UA could issue a soundtrack album. Shenson signed Lester to direct, and they got the Beatles to agree to star. Shenson sent Owen to Dublin to spend time with the Fab Four; from this came a script built around their being prisoners of their own success. Phil Collins, himself an extra on A Hard Day's Night, hosts this examination of a seminal film: what was ad-libbed, why was it a hit, what was its influence on other movies, and how did it define the way the public viewed each Beatle for years to come?

You Can't Do That! The Making of 'A Hard Day's Night'

8.0 1995