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"If you grew up in the ‘80s and had even the smallest of passing interest in music, particularly club music, chances are you were very familiar, albeit unwittingly, with the work of John Morales. On the radio, in the record racks and most importantly on the dancefloor John’s work (predominately with studio partner Sergio Munzibai) helped define an era and influence future generations of DJs, producers and artists.
Born into a hard working Puerto Rican household in the Bronx, New York, at the start of the rock ‘n’ roll era, Morales, like many children of the era, was fascinated by this new art-form that was saturating the airwaves and rebelling parents everywhere. So in love with the music he heard, as a 12-year old he persuaded his local record store to give him a part-time job with payment not in dollars, but in 45s. By the time he was old enough to get a full-time job his burgeoning record collection had helped land him one of his first DJ gig at the influential Stardust Ballroom in the Bronx (his father had early owned a bar in Jersey City where John had first got the DJ bug). As his reputation grew Morales was invited downtown to Manhattan to play guest spots at the likes of Pippins, Bentleys, 1018, Limelight and the infamous Studio 54.

R.E.M. close out their Warner contract – not to mention their entire career – with the double-disc Part Lies Part Heart Part Truth Part Garbage, their first compilation to combine early recordings from their time at IRS with their major-label hits for Warner. It's misleading to look at these as merely two separate eras, as it more accurately breaks down into a three-act structure: the IRS years when R.E.M. were the kings of college rock; the stretch between 1988-1995 when they were international superstars; and then the slow decline of 1998-2011, the years after Bill Berry, the years when Peter Buck, Michael Stipe, and Mike Mills tried to redefine the group as a trio before finally realizing they'd said all they could say.

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This recording of the BBC’s broadcast of the coronation service from Westminster Abbey was taken by means of a direct line to Abbey Road Studios in St John’s Wood, London.

During the Cultural Revolution in China in the mid-1960s, a French diplomat falls in love with a singer in the Beijing Opera. Interwoven with allusions to the Puccini opera "Madama Butterfly", a story of love and betrayal unfolds

R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. While there were a number of hardcore and punk bands in the U.S. during the early '80s, R.E.M. brought guitar pop back into the underground lexicon. Combining ringing guitar hooks with mumbled, cryptic lyrics and a D.I.Y. aesthetic borrowed from post-punk, the band simultaneously sounded traditional and modern. Though there were no overt innovations in their music, R.E.M. had an identity and sense of purpose that transformed the American underground.

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