One point two million venezuelans made in colombia legally and illegally. Why return to the. To visit friends is that i dont think id ever go back there to live you know what i live there again i dont know so im not sure. Bearing witness global news that matters. Made for mines. Hi and welcome to a special edition of kino coming to you today from the city of frankfurt famous of course for its skyline and for being germanys capital of high finance but frankfurt is also home to one of the largest Film Museums In Europe and theyre
honoring with an amazing exhibit a cinematic masterpiece. Two thousand and one a Space Odyssey the mother of all Science Fiction films. In One Thousand Nine Hundred Thirty Eight director Stanley Kubrick rewrote The Rules Of Cinema in a way that continues to amaze and inspire. This conversation can serve no purpose anymore today on keno were doing a deep dive into Two Thousand And One were devoting our entire show to Stanley Kubricks saif i class a. Film turns fi
Nothing like a little naked dancing to get a song back on the charts.
"Murder On the Dance Floor" is having a Renaissance after 22 years. Sophie Ellis Bexter's deliciously catchy disco song was a hit around the world in 2002. It wasn't much of one in the US but that's about to change thanks to th
produced it, her voice was on it, and there was a sense that her voice could power a pop hit outside of the r and b world. and then when she went out on her own to have these amazing hits, you know, the first album, private dancer, was almost a statement that, you know, i m here, and i survived this, and you know, songs like, you know, i can t stand the rain, and private dancer and you better be good to me. you know, and then to go on to have, you know, of course the big single that everyone remembers, what s love got to do with it, that was the title of the film that angela bassett started. and, again, you know, sort of embodying her story in a song, and, you know, the hits just go on and on. the hits. and, you know, it just goes on and on. she had so many great songs, but i think, you know, when she
threatened by the success of that song, but phil specter produced it, her voice was on it, and there was a sense that her voice could power a pop hit outside of the r and b world. and then when she went out on her own to have these amazing hits, you know, the first album, private dancer, was almost a statement that, you know, i m here, and i survived this, and you know, songs like, you know, i can t stand the rain, and private dancer and you better be good to me. you know, and then to go on to have, you know, of course the big single that everyone remembers, what s love got to do with it, that was the title of the film that angela bassett started. and, again, you know, sort of embodying her story in a song, and, you know, the hits just go on and on. the hits. and, you know, it just goes on and on. she had so many great songs, but
together. we worked on escape. we love that song so much that sean produced. i feel like people really appreciated real vocals back then. people loved r and b back then. r and b was i would say bigger than hip-hop. my first pop hit would probably be no more on 3 ow. so it s black girl groups of the late 90s and early 2000s. they had staying power. they had marketability. they could harmonize and dance. they had personality. they had identity. and they had something you could hold on to. nate and i worked on about three or four songs on the 3 ow