Going Nowhere, Slow

Hullabaloo is an American musical variety series that ran on NBC from January 12, 1965 through August 29, 1966. Similar to Shindig! it ran in prime time in contrast to ABC's American Bandstand.
Hullabaloo served as a big-budget, quality showcase for the leading pop acts of the day, and was also competition for another like-minded television showcase, ABC's Shindig!.

The most famous and probably greatest jazz baritonist of all time, Gerry Mulligan was a giant. A flexible soloist who was always ready to jam with anyone from Dixielanders to the most advanced boppers, Mulligan brought a somewhat revolutionary light sound to his potentially awkward and brutal horn and played with the speed and dexterity of an altoist.
Mulligan started on the piano before learning clarinet and the various saxophones. His initial reputation was as an arranger. In 1944 he wrote charts for Johnny Warrington's radio band and soon was making contributions to the books of Tommy Tucker and George Paxton. He moved to New York in 1946 and joined Gene Krupa's Orchestra as a staff arranger; his most notable chart was "Disc Jockey Jump." The rare times he played with Krupa's band was on alto and the same situation existed when he was with Claude Thornhill in 1948.

Napalm Death are a grindcore band formed in Birmingham, England in 1981. Their early works was associated with defining the grindcore genre by incorporating elements of hardcore punk and thrash metal, short songs, fast tempos, deep guttural vocals and sociopolitical lyrics. The band's debut album Scum, released in 1987 by Earache Records, proved substantially influential throughout the global metal community.

There's probably no other television show that's as potentially divisive as "Spartacus: Blood and Sand." Here's a series that pushes all sorts of boundaries that even decidedly adult-oriented programs like "Oz" and "The Sopranos" would have never dared approach even but a few short years ago. Not only is "Spartacus" awash in the ultra-violence of ancient Rome's gladiatorial arenas, but it's also home to blunt sexual dialogue, full-frontal male and female nudity, and plenty of steamy sex scenes that place the show in the same grouping as some of the more explicit soft-core pornographic…

Even when factoring in the vital contributions of bassist Andrew Randazzo and drummer Devonne Harris, there's no denying Charles Owens' firm hold on the nine tracks of A Day With Us. Throughout a program consisting largely of standards, the music is ruled by the broad, resonant sound of the leader's tenor saxophone and the dogged persistence that characterizes everything he plays. As if building something momentous on the spur of the moment with his wits and the force of his will, the sounds conjure up hard labor, sweat, and grime. In some instances Owens shovels notes out of the bell of his horn; in others, he wields a pneumatic drill.