Robert De Niro made his directorial debut with this expanded adaptation of Chazz Palminteri's one-character play. DeNiro's role of Lorenzo Anello, an Italian-America bus driver, is secondary to the part of his son Calogero, played by young Francis Capra. The top dog in Calogero's Bronx neighborhood is flashy "wiseguy" Sonny (Chazz Palminteri). When the boy witnesses Sonny commit a murder, he honors the code of the streets and refuses to tell the cops. Sonny befriends him and introduces the impressionable youngster to the creature comforts that mob connections can bring. But though he idolizes Sonny, the boy loves and respects his decent, honest father. It takes a major tragedy for the 17-year-old boy (now played by Lillo Brancato) to decide his true course in life. Though titled A Bronx Tale and set in the Bronx of the 1960s, the film was actually shot in the somewhat safer environs of Brooklyn and Queens.
This is a very good collection of Gesualdo's sacred motet style, performed beautifully. Most of these pieces are much more conservative and less chromatic than his madrigals, but they are exquisite and expresive and every bit as competent as the styles of contemporaries such as Gesualdo's alter-ego, Palestrina. Much of this music makes his mental turmoil and fear of damnation over his infamous murders achingly clear, especially the disturbing mode changes and chromaticism on parts of the text that say things like "have mercy on me" and words like "my sorrow and "my tears".
Mi Tierra (English: My Homeland) is the third studio album by Cuban-American recording artist Gloria Estefan, released on June 14, 1993 by Epic Records. Produced by husband Emilio Estefan, it is her first Spanish-language album and pays homage to her Cuban roots. The album features Cuban musical genres, including boleros, danzan and son music. Recorded at Crescent Moon Studios in Miami, Florida, Mi Tierra features notable Latin musicians such as Arturo Sandoval, Cachao López, Chamin Correa and Paquito D'Rivera.
The first three volumes of the Air series are high-water marks for Pete Namlook. Like the Silence series they show some rich ethnic and neo-classical leanings, and they remain particularly effective examples of how he uses live acoustic instruments in an electronic setting. The delicate, tinkling cymbals and soft tom-tom beats on "Je suis seule et triste ici" from Air I (1993), for instance, are utterly refreshing because Namlook is able to maintain a deep electronic ambient feel while still expanding electronica's instrumental vocabulary…