Sinister industrialist Francis Turner, played by John Saxon, creates a cyborg known as Paco Queruak (Daniel Greene) who has been programmed to terminate the leader of an ecological faction that stands in the way of the dystopian country in which the story is set. After failing in his mission to eliminate the ecologist, Paco flees to Arizona where he must face his opponents; and ultimately choose between his humanity and robotic natures.
Daniel Emerson is acquited of the rape of classical pianist Gaily Morton, and part of the blame for the acquittal lies with the testimony of Daniel's friends Norman, Oscar, Toby, and Craig, who all helped Daniel rape Gaily. Still devastated by the rape and unable to deal with the acquittal, Gaily commits suicide by jumping off of the top of the court building as soon as the trial ends, much to the horror of her brother Albert, who is a scientist. Five years later, Daniel has made Norman, Oscar, Toby, and Craig partners in his business, which forces homeowners and their homes out of the way to make way for bigger developments. By this time, after five years of working with Gaily's body, Albert has turned Gaily into a cyborg that is programmed to get bloody revenge on Daniel, Norman, Oscar, Toby, and Craig.
Covering 50 Cent, Cat Stevens, Faith Evans, and more on steelpan drums should not sound this gimmick-less. It helps that the Bacao Rhythm & Steel Band is, first and foremost, a strong funk ensemble. The Bacao Rhythm & Steel Band is a pet project of the German instrumental group the Mighty Mocambos, a practiced collective that makes versatile deep funk. Bacao is a vehicle for bandleader and guitarist Björn Wagner's dedicated enchantment with the steelpan drum, which he and three other band members play on a new debut full-length called 55.
The old model for creating a hit classical recording – big-name soloist plus big-name conductor in major repertory work – is not so common anymore, but this live Brahms recording from the Staatskapelle Berlin under Venezuela's Gustavo Dudamel, with Argentine-Israeli-Palestinian-Spanish pianist Daniel Barenboim as soloist, shows that there's life in the concept yet. One could point to the virtues of pianist and conductor separately: it's a rare septuagenarian who can combine power and clear articulation of detail the way Barenboim does, and Dudamel builds a vast sweep in, especially, the Piano Concerto No. 1 in D minor, Op. 15. But it's the way that the two work together that really makes news. Chalk it up to shared South American heritage or to whatever the listener wants, but the way the orchestra and piano define separate spheres and work them together is extraordinary. Again, it is in the Piano Concerto No. 1 and its Beethovenian drama that their mutual understanding is most evident, but there is a sense of great variety powerfully unified throughout.