Christian De Mesones They Call Me Big New York

When Nonie Darwish was a girl of eight, her father died while leading covert attacks on Israel. A high-ranking Egyptian military officer stationed with his family in Gaza, he was considered a ?shahid,? a martyr for jihad. Yet at an early age, Darwish developed a skeptical eye about her own Muslim culture and upbringing. Why the love of violence and hatred of Jews and Christians? Why the tolerance of glaring social injustices? Why blame America and Israel for everything? Today Darwish thrives as an American citizen, a Christian, a conservative Republican, and an advocate for Israel. To many, she is now an infidel. But she is risking her comfort and her safety to reveal the many politically incorrect truths about Muslim culture that she knows firsthand.

Two scores with a tone of righteous fury woven throughout. While there are differences in the approach to the two scores, Quincy Jones did manage to provide a unifying style – no mean feat, considering that the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture, while They Call Me Misters Tibbs! had a more open, urban attitude from its San Francisco setting. The music throughout has an edge (the lighter music in the second score is generally source music), with some interesting musical experiments going on (Jones, as one example, used cimbalom to reflect Tibbs' feelings in They Call Me Mister Tibbs!.) The Ryko CD release includes an Enhanced CD portion with film material. The sound throughout the disc is excellent, although the cues from In the Heat of the Night show their age, and the dialogue excerpts sound very rough.