The Last Enemy: A Future That Feels like the Present

If you think you’re being watched, you’re not paranoid. If you know you’re being watched, you’re a realist. In our digital world, every move you make is being tracked by somebody who laughs at the notion that crosscut paper shredders enhance out personal security. In a universe of 1’s and 0’s, paper trails are replaced by bits and bytes colliding in cyberspace. You’re being watched all the time, from red light cameras to surveillance systems that rival Vegas planted in your neighborhood grocery to instantly accessible street view pictures of your domicile to every yahoo with a cell phone.

The Last Enemy, the debut entry of Masterpiece Contemporary (premiering on PBS Sunday 5 October, 9P EST) is a chilling, all too real cautionary tale about our devotion to security at the cost of personal identity. Originally broadcast earlier this year on BBC, the five-part miniseries is theoretically set in a near future, but its theme of a society underscored by personal surveillance strikes unnervingly close to home.

Stephen Ezard (Benedict Cumberbatch, Atonement) returns to Britain from a four year stint in China, where he was researching the mathematical structure of the Universe, to attend his brother Michael’s (Max Beesley) funeral. Michael was apparently killed in a roadside bomb n Afghanistan, and to Stephen’s surprise, he’s mourned by numerous acquaintances due to his relief work in the region. Even more surprising to Stephen is that he finds himself in an affair with his brother’s widow, Yasim (Anamaria Marinca) the same night. He was late for the funeral—she didn’t attend it.

If all that sounds a bit convoluted and more than a little murky, it’s because it is. It’s also the foundation around which most of the events in The Last Enemy revolve. Stephen is a stranger in his own land, which has instituted more stringent surveillance on its citizenry after a terrorist attack on London. He barely recognizes the England he left years ago, rife as it is with biometric ID cards, security cameras virtually everywhere, and the implementation of the “Total Information Awareness” program, which gives the government unfettered access to personal data of every citizen. It isn’t long , however, that Stephen finds himself the media spokesman for TIA.

In the first episode, the viewer may come away feeling as confused as Stephen Ezard. He’s reintroduced to an old college flame, Elinor Brooke (Eva Birthistle, The State Within), who is now the minister responsible for pushing through Parliament. He’s also kidnapped and terrorized by a rogue government agent played by David Carlyle (The Full Monty), determined that the bewildered Ezard knows all about a conspiracy.

The Last Enemy looks at the side effects of a society trading personal freedoms in favor of heightened security, and the corruption that inevitably ensues when bureaucrats are imbued with power owing as much to corporate interests as it does to national security. In the end, it asks if the individual must be trampled, revealed as “the last enemy” of a secure state.

Throughout the miniseries, The Last Enemy holds that proposition close to its sleeve, and forces us to look at our willingness to sacrifice personal liberties in the name of the State’s greater good. That it does so as a taut, action-mystery only enhances its message. It's to writer Peter Berry's (Prime Suspect 6: The Last Witness) that it's a tale that is so in tune with reality that it never comes off as obvious. In fact, nothing is as it seems at first glance. It’s not a series to watch casually, requiring the viewer pay attention to the clues it drops haphazardly along the way. But for the viewer willing to invest five and a half hours to unravel its mystery, it’s ultimately a satisfying, if often unsettling, experience.

Election Day Reminds Us Who We Are

If there’s one thing that makes America unique in the world, it’s the synergy that dives the country. We come from different places, we bring our native cultures with us, we settle into little neighborhoods, we bicker among ourselves and bemoan the larger powers that be—at least until we become a part of those larger powers that be.

It’s of note that America has survived for well over 200 years, with the same Constitution it’s always had, amended here and there to clear up ambiguities and oversights, but for all intents, the same document that’s always guided us. And we’ve guided it, through the power of our vote.

Election Day, part of the PBS series P.O.V, debuts 1 July (10P, EST—check your local listings) looks at the current state of the election process. Actually, it focuses on the 2 November 2004 election day from eleven different points of view.

Election Day works on a number of levels, but it ultimately succeeds as an engrossing and oddly entertaining moment in American history. That’s not to imply that it looks at the 2004 election as a farce, or that it takes any partisan side. It’s not about Bush versus Kerry—in fact, neither of them rate more than a scarce mention, and that only as side notes in the frenetic pacing of the documentary. It’s not even about politics, at least not in the way it’s usually covered in film. Election Day instead focuses on the real power, that being the citizenry of America, that make this democracy work.

After the debacle that was the 2000 election, director Katy Chevigny set out to make a film that focused not on the political wranglings that make the mainstream news, but rather on the more intimate concerns of the American public. To that end, she organized film crews in eleven cities, each representing a unique mindset that nonetheless resonates with the collective concerns of Americans today. From Chicago, where a Republican poll-watcher rails against the Democrat machine there, to New York, where a fifty-year old ex-con gets to vote for the first time in his life, to Florida and Ohio, where volunteers keep a vigilant eye on the vote, to South Dakota, where Native Americans are urged to cast their vote, to rural Minnesota where every vote is considered important—Election Day is a tapestry of snapshots from across America, united by the fundamental belief that each and every vote is important.

Election Day, largely because of its rapid cutting from one locale to another, is more thriller than documentary. There are no requisite talking heads interviews, no journalist commentaries, no slant left or right. There are only people, in their individual ways, doing their part to make sure that America stands as a democracy. It’s an inspiring tale that illustrates that Americans are more vigilant about the process than they’re often given credit for. That it premieres just prior to Independence Day makes it all the more poignant. It gives hope that the contentious nature of Americans ensures that the country is just getting its second wind.

Traces of the Trade: Examining an Uncomfortable Past

2008 marks the bicentennial of the United States’ abolition of the slave trade on its shores. That’s a landmark event in the nation’s history, and yet, it’s been largely overlooked. Maybe it’s because we like to pat ourselves on the back about the quantum leaps we’ve made in the two centuries since, or perhaps it’s because old wounds leave ugly scars best left unmentioned in polite conversation. It’s more likely a combination of the two, made all the more muddled by mythologies on all sides regarding the evolution of race relations in the United States.

Traces of the Trade, the season opener of the PBS acclaimed documentary series P.O.V., looks at some of these issues from a uniquely personal perspective. First-time filmmaker Katrina Browne, discovers that her privileged life is linked to her lineal ancestors’ business in the slave trade. In fact, her Rhode Island ancestors, the DeWolfs, were the largest slave-trading family in United States history.

The news is something of a shock to Browne, considering the DeWolf name is revered in the family’s hometown of Bristol, Rhode Island. The family has a prominent place in history, with a lineage of professors, philanthropists, legislators, Episcopal priests and bishops. Slave trade was hinted at in the family annals, brushed off as poor relations in the family.

As she looks deeper into the family’s slave-trading roots, and learns more, she embarks on a journey with other DeWolf descendents, to retrace the routes of the infamous Triangle Trade—from Ghana, where the slaves were bought to the family’s sugar plantation in Cuba, where the slaves labored in the sugar fields, to make it into rum, to Rhode Island, where the product was sold, and the cycle began anew.

While Traces of the Trade falters in parts, veering dangerously from objective history into moments of white guilt and overly intellectual rationalization, it manages to point out that the history of race relations in America has been drastically altered over the generations. In so doing, it points out many of the myths of our history. In the end, we find that it wasn’t a matter of North versus South. It was more a matter of regional economic interests, wherein everybody was more complicit than textbook history suggests. There are wounds in our history that need to be healed, and the most expedient way to do that is to accept that history, as we were taught it, has some serious flaws.

As much as it drips of white guilt, and as much as it focuses on one family’s attempt at forgiveness for the sins of the fathers, Traces of the Trade: A Story of the Deep North forces us to look at look at our sometimes unsavory past.

Traces of the Trade, part of the PBS series P.O.V., premieres on PBS Tuesday, 24 June, at 10P EST. Check your local listings, of course, but make it a point to view it.

The Car of the Future: So Many Options, So Little Time

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We don’t have a love affair with cars—we’re obsessed with them. The automobile is that teenage crush that still haunts you, that illicit love affair from which no good could come, that harsh consort teasing you with promises of unbridled vitality and sex appeal—at a price, of course.

In my case, it was a ’75 Pontiac Firebird Esprit—black with a metallic sparkle underpainting and over the canopy silver and gold striping, powered by a tricked out 350 cubic inch V8 with a four-barrel carb. Its rumble spoke volumes about the nature of masculine power. Its exterior made it a chick magnet. It didn’t matter to me that I paid nearly $200 a month (in 1975) to attract all that attention. Even though I had a perfect driving record (mainly because I was never nabbed for racing), and my insurance rates rose as the car was reclassified as a sports car, I was happy in the knowledge that this was the closest I was ever going to get to the Batmobile.

But my beloved Firebird averaged only about 15 mpg, and it wasn’t even equipped with an afterburner. Gasoline prices were skyrocketing from the 49 cents a gallon I was used to—hovering at nearly a dollar a gallon-- and insurance costs weren’t decreasing, either. The ‘Bird and I reluctantly parted ways, but the memory of the times we shared still hold a special place in my heart.

Some thirty-odd years later, my passion for fast, cool cars hasn’t waned a whit. It’s tempered, though, with awareness that over 800 million fossil fuel-breathing dragons prowling this planet’s highways can’t go unchecked forever. NOVA: Car of the Future, airing on PBS beginning Earth Day, 22 April (check your local listings) looks at the challenges confronting the automotive industry, and consumers as a whole, in the quest for efficient alternatives to the internal combustion engine. Besides being vastly informative, it’s also hugely entertaining.

Tom and Ray Magliozzi, aka Click and Clack, hosts of NPR’s Car Talk series, frame the show as a quest to replace Tom’s beloved, but somewhat dilapidated, 1952 MG Roadster. Appropriately enough, a global road trip of sorts finds them exploring the future of the automobile, and more specifically, what will power it. Their journey moves from the traditional (the Detroit Auto Show) to the innovative (Iceland’s experiments with hydrogen-powered public transportation) to the explorative (the Tesla electric-powered sports car) and back again to the garage where it began. It’s sort of a magical mystery tour that explores the history of our love affair with the car while raising a brow or two about the consequences of that dalliance., John Lithgow

Hi-jinks alone do not a documentary make, of course, so Car of the Future balances out one-liner sarcasm, such as the ludicrousness of a 500+ horsepower Mustang, with somber narration delivered by John Lithgow, who points out that that the current number of cars on the road now would circle the Earth 1½ times, and that ratio is growing. That’s only a springboard, though. The show focuses more on alternatives than past mistakes. It’s interspersed with commentary from experts in various fields. David Greene, of Oak Ridge Laboratories, talks about the implications of the hydrocarbon footprint. Martin Eberhard demonstrates his Tesla prototype, an all- electric vehicle with a 250 mile range on a single charge, and capable of 0-60 in 4 seconds. Other experts, from diverse organizations ranging from environmental think tanks to General Motors, explore a multitude of options available as we wean ourselves from oil. They also delve into the problems those alternatives present.

In the end, Car of the Future poses more questions than answers. The future of the car is not uncertain—it’s only how it will change in a new environment. It’s an issue in which we all have a stake. To that end, PBS has a companion website to the show: http://www.pbs.org/wgbh/nova/car/production/ in which the public is invited to share their ideas about the automobile’s future.

There’s always going to be a place for Firebirds and MG’s. They’re just going to look a little different, and be a whole lot more efficient. We’ll all be driving Batmobiles someday.

The Amazon and the Lessons Learned

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As goes the Amazon, so goes the Earth.

Caught up as we are in the near-term effects of dwindling economies, political turmoil and profitable energy alternatives, we too often fail to see the core issues of the global environment. We leap aboard the latest fad, from soy milk to ethanol, and never pause to consider the effects those seemingly beneficial things have on the larger issue. We leap before we look, and pat ourselves on our collective back, confident that we have “gone green.”

Truth is, we can’t see the forest for the trees. The core reality is we’d best start looking at the forest. In particular, we need to look at the rain forests of the Amazon Basin. Consider this:

The Amazon is home to over half of the world’s remaining rainforests, and they produce 20% of the Earth’s oxygen.

A full 50% of the planet’s annual rainfall evaporates or originates from the Amazon rainforest to the atmosphere. Unbridled deforestation will result in less rainfall, thereby producing significant implications for the global climate.

A single big tree in the Amazon stores about 1.3 tons of carbon. The cutting and burning of forests alone accounts for about 20% of the carbon going into the atmosphere.

Jean-Michel Cousteau's Ocean Adventures: Return to the Amazon (airing on PBS this month, check your local listings) looks at the issues confronting the Amazon, and by extension, the entire planet. Airing in two parts, it’s a fascinating story that spans from the Amazon’s mouth at the Atlantic ports of Brazil to a glacier in the Peruvian Andes. It’s an inspiring journey, wrought with incredible natural beauty and laced with subtle warnings about the catastrophic consequences of ignoring the ecosystem of the Amazon.



In the 25 years since Jean-Michel first explored the Amazon with his father, the legendary Jaques Cousteau, potentially disastrous changes have altered the Amazon. An area the size of Texas has been deforested. Even though the Amazon is 4250 miles long, that’s a significant amount of acreage in the global scheme. Rainforest covers 1.9 million square miles of the Amazon basin—Texas covers over 268,000 square miles. Broken down, that accounts to over 18% of the rainforest lost to mostly illegal logging and burning of the forests.

As dire as that is, it’s not the focus of Return to the Amazon. Granted, the first part of the two-part show explores the fragile balance of the rainforest in the wake of developers, but it skirts any political agenda. It does scrutinize the issues of unregulated global commerce in the region that feed American, Asian and European egos. It’s ironic that we think of soy as a healthful alternative, but seldom think about the wholesale destruction of the rainforest in favor of plantations that make our “healthful” beverages possible. Illegal lumber trading makes luxurious mahogany flourish in upscale furniture markets. The list goes on—commercial fishing, exotic animal trafficking, exploitation of the native flora all share a vibrant underground commerce—often tainted by blood.

Whereas the first part of Return to the Amazon draws attention to the delicate ecosystem of the region, poignantly illustrated by the impact of human intrusion, the second half offers cautious optimism for the Amazon’s future. While government agencies struggle, with mixed results, to sustain the environment, indigenous tribes of the region seek to live in harmony with nature, rather than conquer it. Commercial interests are realizing it’s in their best interest to keep the region alive and vibrant. As a result, a sort of symbiotic relationship emerges, with new business models of ecotourism and the development of, and exportation of sustainable products and
medicines, leave a new footprint in the global landscape.

Ultimately, Return to the Amazon is a cautionary tale that offers hope for the planet’s future, while warning of the consequences that await the planet if we fail to heed the lessons learned. It’s never preachy, but it gives one pause to consider. . . and hope.

As goes the Amazon, so goes the Earth.

Why the Boomers Are a Big Noise

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From 1946 through 1964, America experienced a population growth unprecedented in human history. World War II had ended in 1945, and the country was collectively anxious to enjoy the new prosperity they now had, including rushing headlong into parenthood. Over the next eighteen years, Americans did just that-- with gusto. The result was a baby boom that increased the population by nearly 80 million. I was born right in the middle of that boom, and that may explain in part why I found the new PBS documentary The Boomer Century: 1946-2046 so fascinating.

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The Boomer Century is hardly a nostalgic romp, however. Instead, it looks at the boomer generation's past, present and future in an insightful and entertaining way. The result is a documentary that spans not only the the concerns of the boomers themselves, but addresses the impact they will have on future generations of Americans. Hosted by psychologist and gerontologist, Dr. Ken Dychtwald, The Boomer Century is a fast-paced story in three parts.

The first part focuses on how post -war American society shaped the generation, from the explosion of television culture (In 1946, only 6000 homes owned televisions; within a decade that number had mushroomed to nearly forty million.), to rock and roll, to the social upheaval of the sixties, to the student activism that followed. The second part delves into how this generation reshaped the workplace and redefined lifestyle, for better or worse. The third, and perhaps most important, part examines the impact aging boomers are having on society as a whole. The boomers are such a huge part of the populace, that every eight seconds, another one turns 60. The implications of that are enormous.

Produced and directed by Joel Westbrook and Neil Steinberg, and written by Oscar winner Mark Harris, The Boomer Century offers an incisive look at the generation that has redefined how Americans view themselves, both personally and as a culture. Interspersed throughout the documentary are interviews with a number of prominent boomers, including filmmakers Oliver Stone and Rob Reiner, satirist Lewis Black, novelist Erica Jong, White House press secretary Tony Snow, civil rights pioneer Julian Bond, and futurist Alvin Toffler, among others. They're seamlessly edited into the themes of the program, adding credibility and aiding the fast-paced feel of the program.While this is a program that has an airy aura about it, it challenges all viewers with its questions about what the future holds for American society as the boomers age. It also dispels popular myths about the so-called "Me Generation." Boomers are much more likely to contribute to charities than any other demographic, and have more than 50% more buying power than the coveted 18-39 aged bracket. Eighty percent of boomers intend to keep working after retirement.
On the downside, boomers face enormous challenges in the years ahead. More than a third live paycheck to paycheck, with net assets of less than $1000. Unless a cure or treatment is found, it's projected that 15 million boomers will be stricken by dementia by the middle of the century. And since boomers are living longer, strains will be put on retirement resources over the coming years.For the most part, The Boomer Century remains optimistic about the future of the boomers. While it doesn't shy away from the possibility of "age wars" due to the financial strain that they may put on future generations, it by and large is confident that the boomers will continue to redefine society well into this century.The Boomer Century premieres on PBS March 28, 9 PM EST. Check local listings for schedules. It's a fascinating program that will give you pause to think. Or at least smile.Produced and directed by Joel Westbrook and Neil Steinberg, and written by Oscar winner Mark Harris, The Boomer Century offers an incisive look at the generation that has redefined how Americans view themselves, both personally and as a culture. Interspersed throughout the documentary are interviews with a number of prominent boomers, including filmmakers Oliver Stone and Rob Reiner, satirist Lewis Black, novelist Erica Jong, White House press secretary Tony Snow, civil rights pioneer Julian Bond, and futurist Alvin Toffler, among others. They're seamlessly edited into the themes of the program, adding credibility and aiding the fast-paced feel of the program.While this is a program that has an airy aura about it, it challenges all viewers with its questions about what the future holds for American society as the boomers age. It also dispels popular myths about the so-called "Me Generation." Boomers are much more likely to contribute to charities than any other demographic, and have more than 50% more buying power than the coveted 18-39 aged bracket. Eighty percent of boomers intend to keep working after retirement.
will continue to redefine society well into this century.The Boomer Century premieres on PBS March 28, 9 PM EST. Check local listings for schedules. It's a fascinating program that will give you pause to think. Or at least smile.Produced and directed by Joel Westbrook and Neil Steinberg, and written by Oscar winner Mark Harris, The Boomer Century offers an incisive look at the generation that has redefined how Americans view themselves, both personally and as a culture. Interspersed throughout the documentary are interviews with a number of prominent boomers, including filmmakers Oliver Stone and Rob Reiner, satirist Lewis Black, novelist Erica Jong, White House press secretary Tony Snow, civil rights pioneer Julian Bond, and futurist Alvin Toffler, among others. They're seamlessly edited into the themes of the program, adding credibility and aiding the fast-paced feel of the program.While this is a program that has an airy aura about it, it challenges all viewers with its questions about what the future holds for American society as the boomers age. It also dispels popular myths about the so-called "Me Generation." Boomers are much more likely to contribute to charities than any other demographic, and have more than 50% more buying power than the coveted 18-39 aged bracket. Eighty percent of boomers intend to keep working after retirement.
On the downside, boomers face enormous challenges in the years ahead. More than a third live paycheck to paycheck, with net assets of less than $1000. Unless a cure or treatment is found, it's projected that 15 million boomers will be stricken by dementia by the middle of the century. And since boomers are living longer, strains will be put on retirement resources over the coming years.For the most part, The Boomer Century remains optimistic about the future of the boomers. While it doesn't shy away from the possibility of "age wars" due to the financial strain that they may put on future generations, it by and large is confident that the boomers will continue to redefine society well into this century.The Boomer Century premieres on PBS March 28, 9 PM EST. Check local listings for schedules. It's a fascinating program that will give you pause to think. Or at least smile.Produced and directed by Joel Westbrook and Neil Steinberg, and written by Oscar winner Mark Harris, The Boomer Century offers an incisive look at the generation that has redefined how Americans view themselves, both personally and as a culture. Interspersed throughout the documentary are interviews with a number of prominent boomers, including filmmakers Oliver Stone and Rob Reiner, satirist Lewis Black, novelist Erica Jong, White House press secretary Tony Snow, civil rights pioneer Julian Bond, and futurist Alvin Toffler, among others. They're seamlessly edited into the themes of the program, adding credibility and aiding the fast-paced feel of the program.While this is a program that has an airy aura about it, it challenges all viewers with its questions about what the future holds for American society as the boomers age. It also dispels popular myths about the so-called "Me Generation." Boomers are much more likely to contribute to charities than any other demographic, and have more than 50% more buying power than the coveted 18-39 aged bracket. Eighty percent of boomers intend to keep working after retirement.
On the downside, boomers face enormous challenges in the years ahead. More than a third live paycheck to paycheck, with net assets of less than $1000. Unless a cure or treatment is found, it's projected that 15 million boomers will be stricken by dementia by the middle of the century. And since boomers are living longer, strains will be put on retirement resources over the coming years.For the most part, The Boomer Century remains optimistic about the future of the boomers. While it doesn't shy away from the possibility of "age wars" due to the financial strain that they may put on future generations, it by and large is confident that the boomers will continue to redefine society well into this century.The Boomer Century premieres on PBS March 28, 9 PM EST. Check local listings for schedules. It's a fascinating program that will give you pause to think. Or at least smile.Produced and directed by Joel Westbrook and Neil Steinberg, and written by Oscar winner Mark Harris, The Boomer Century offers an incisive look at the generation that has redefined how Americans view themselves, both personally and as a culture. Interspersed throughout the documentary are interviews with a number of prominent boomers, including filmmakers Oliver Stone and Rob Reiner, satirist Lewis Black, novelist Erica Jong, White House press secretary Tony Snow, civil rights pioneer Julian Bond, and futurist Alvin Toffler, among others. They're seamlessly edited into the themes of the program, adding credibility and aiding the fast-paced feel of the program.While this is a program that has an airy aura about it, it challenges all viewers with its questions about what the future holds for American society as the boomers age. It also dispels popular myths about the so-called "Me Generation." Boomers are much more likely to contribute to charities than any other demographic, and have more than 50% more buying power than the coveted 18-39 aged bracket. Eighty percent of boomers intend to keep working after retirement.
On the downside, boomers face enormous challenges in the years ahead. More than a third live paycheck to paycheck, with net assets of less than $1000. Unless a cure or treatment is found, it's projected that 15 million boomers will be stricken by dementia by the middle of the century. And since boomers are living longer, strains will be put on retirement resources over the coming years.For the most part, The Boomer Century remains optimistic about the future of the boomers. While it doesn't shy away from the possibility of "age wars" due to the financial strain that they may put on future generations, it by and large is confident that the boomers will continue to redefine society well into this century.The Boomer Century premieres on PBS March 28, 9 PM EST. Check local listings for schedules. It's a fascinating program that will give you pause to think. Or at least smile.

The Crystalline Vision of Soundies

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It was 1981, and the generation that was the first wave of yuppie culture was on top of the world. Everything was changing quickly--it was the beginning of the science fiction world. Times were good, at least from a material point of view. For 800$US, you could be the first kid on your block to have the crystal clear digital sound of a new invention called the compact disc player. Sony reigned supreme with the top-loading Betamax VCR and cable TV was making an impact that would have everlasting effects. A large part of that techie entertainment revolution was a music video cable station called MTV, which signed on with the appropriately titled clip "Video Killed the Radio Star."

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It was a world born fully flowered into existence by ex-hippies who had knelt dutifully at the twin altars of consumerism and short attention spans. They had reinvented the world in their own image, and it was good. This MTV thing, especially, offered all sorts of commercial potential possibilities. It could take what had heretofore been identified with teen angst and outright rebellion, and morph it into the mainstream mindset. Malls would be cool places to hang out, and every Buffy and Todd could disguise themselves as real-life stars. Record sales would boom, there'd be a Camaro in every garage and hair gel sales would shoot through the stratosphere.

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The thing is, though, there was nothing revolutionary about it. It had all been done before--over forty years before, in fact. Soundies: A Musical History (airing throughout March on PBS) proves beyond a doubt that our forebears were rockin' with their own version of MTV. It was 1940, and Americans, mostly recovered from the Great Depression, were feeling pretty good about themselves. The country was getting back on its feet and the thirst for entertainment had never been stronger. The time was ripe for the Mills Novelty Company to introduce an interesting machine called the Panoram.

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About the size of a refrigerator, the Panoram spawned a revolution in entertainment. A forerunner of the 16mm film projector, it allowed users to see for the first time the performers who they had idolized via sound recordings--and all for one thin dime. Loaded with eight 3-minute clips, the Panoram afforded viewers random opportunities to actually see performances by some of the country's most popular musicians. Duke Ellington, Louis Jordan, Les Paul, Cab Calloway, among others, are all featured on Soundies. The three minute performances are restored to pristine clarity, and provide us with not only a delightful timetrip into the entertainment of the day, but a glimpse into how quickly shifts in sociopolitical climates dramatically influence the landscape of popular culture.

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The early soundies--those made in 1941 prior to America's entry into WW2--were lighthearted, often boisterous romps that predated some of the styles associated with current music videos. They featured freewheeling dance sequences, mimed performances, minimal storylines and, of course, leggy eyecandy. Those made after America's entry into the war are still upbeat, but more conservative in style, and reflect the patriotic fervor that served the war effort. But throughout their reign, the soundies represented, however unintentionally, the flowing canvas of an ever-shifting culture.

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The last soundie was made mid-way through 1947. The soldiers were home from the war, people were spending more time at home and a new invention called television was just beginning to make its presence known. But from 1941-1946, the soundies reigned supreme as America's most accessible form of music entertainment.With over 1865 soundies produced in that time, they remain an invaluable link to what the culture was, and a hint as what was to come.

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Soundies: A Musical History is a vastly entertaining primer on the almost forgotten phenomenon of the soundies. Featuring commentary by Winton Marsalis, George Duke, Hugh Hefner, Leonard Maltin and others, this is a film that explores an era not that different from our own. Hosted by Michael Feinstein, and featured throughout PBS' March pledge drive,Soundies: A Musical History more than qualifies as "television worth viewing."