Question: Are Just, Melvin: Just Evil and Speaking in Strings both documentaries about musicians?

Context articles: Silent guitar
Introduction to the End of an Argument
Fast Speaking Music
Speaking in Strings
Director string
Just, Melvin: Just Evil
Agraffe
Downpicking
Gibson Victory
Lonesome Pine Fiddlers

A silent guitar is a type of guitar with a solid or chambered body that converts the vibration of the strings into electric current using a piezoelectric pickup.
 The body of the guitar does not amplify the vibration of the strings into audible sound.
 Thanks to this, musicians can practice with headphones without disturbing people around them, or obtain an acoustic tone under heavy amplification without feedback.
Introduction to the End of an Argument / Intifada - Speaking for Oneself... Speaking for Others (Arabic: مقدمة لنهائيات جدال Transliteration: Muqadimmah Li-Nihāyāt Jidāl) is a 1990 experimental documentary directed by Jayce Salloum and Elia Suleiman.
 It utilises found footage sourced from films, news footage, documentaries and 'live' footage from the West Bank and Gaza to critique the representation of Palestinians, Arabs and the Middle East frequently found in Western media.
Fast Speaking Music is a label founded by poet Anne Waldman and Ambrose Bye, in New York City.
 Releases by Fast Speaking Music have prominently featured jazz, the literary, and performance art.
 Its recordings have been made featuring poets, musicians, and interdisciplinary artists such as Anne Waldman, Amiri Baraka, Clark Coolidge, Meredith Monk, Akilah Oliver, Thurston Moore, Thomas Sayers Ellis, and many others.
 Variously associated with contemporary poetry, Conceptual Poetics and Conceptual Art, the Beat Generation, New York School, Black Arts Movement, New American Poetry, Nuyorican Poetry, Abstraction, Dematerialized Art, rock & roll, jazz, and experimental music and cinema, artists in the Fast Speaking Music catalog have roots that stretch across a broad spectrum of disciplines and art practices ranging from letters to music, dance, film and visual arts.
 Musicians featured on the label include Daniel Carter, Ha-Yang Kim, Devin Brahja Waldman, Max Davies, and Thurston Moore.
Speaking in Strings is a 1999 documentary film directed by Paola di Florio.
 The film is based on the life of Italian-born violinist Nadja Salerno-Sonnenberg, and it received a nomination for Best Feature Documentary Film at the 72nd Academy Awards.
In mathematics, in the area of lambda calculus and computation, directors or director strings are a mechanism for keeping track of the free variables in a term.
 Loosely speaking, they can be understood as a kind of memoization for free variables; that is, as an optimization technique for rapidly locating the free variables in a term algebra or in a lambda expression.
 Director strings were introduced by Kennaway and Sleep in 1982 and further developed by Sinot, Fernández and Mackie as a mechanism for understanding and controlling the computational complexity cost of beta reduction.
Just, Melvin: Just Evil is a 2000 American documentary by James Ronald Whitney about his grandfather, Melvin Just, and the devastating consequences of the sexual abuse Just inflicted on their family.
 It premiered at the 2000 Sundance Film Festival and aired on HBO on April 22, 2001.
 The film was well received overall; critic Roger Ebert called "Just, Melvin" "one of the most powerful documentaries I've seen."
An agraffe is a part found on some pianos.
 The agraffe is a guide at the tuning-pin end of the string, screwed into the plate, with holes through which the strings pass.
 It anchors the strings, ensures proper height and determines the speaking length of the string.
Downpicking, sometimes referred to as "Downstroke picking", is the technique used by musicians that perform on plucked string instruments in which the plectrum, or pick, is moved in a downward motion, relative to the position of the instrument, against one or more of the strings to make them vibrate.
 If downstrokes are played without the addition of upstrokes (as in alternate picking), the tip of the pick never comes in contact with the strings during the time the hand is moving back up to repeat the downstroke.
The Gibson Victory was an electric guitar produced by Gibson Guitars from 1981 until 1983 (although some sources say production lasted until 1984).
 During the late 1970s and early 1980s, musicians watched Eddie Van Halen play his Frankenstrat and questioned and rethought everything about their instruments.
 They insisted on engineering advances allowing more speed and playability of skyscraping leads and rock crushing shred.
 The master luthiers in Kalamazoo responded to these demanding guitarists by designing the Victory.
 The Victory, a superstrat, was radical departure from Gibson's image as an old-fashioned guitar maker.
 MV stood for Multi-Voice.
 X stood for ten They were created by the Gibson research and development team in Kalamazoo, MI, with the body work by Chuck Burge, and the multi-voice electronics by Tim Shaw.
 The Victory MV's were available with an optional / special order Kahler Tremolo System.
 The Victory MV's had the first three-point top-adjust bridge designed by Rendal Wall and patent granted in June 1982.
 The three post holes in the underside allowed either side of the bridge unit to be moved forwards or backwards allowing intonation of ultra light to extremely heavy string gauges, and twelve interchangeable individually-adjustable saddles, six standard nylon saddles and 6 optional brass saddles for fine adjustment of intonation and to affect tone.
 String gauge affects sound and playability.
 If you are a professional with strong fingers, using heavier strings produces greater dynamic and timbral range, more sustain, & less buzzing using slide.
 Using lighter strings allows easier bending, easier hammer-ons, pull-offs & very fast solos.
 Victories were built tough and stiff to easily handle the high tension of using much heavier string gauges without a truss rod adjustment.
 The Victory MV's came with a series of specially designed Humbucker Pickups carefully made one at a time on the “center focused” KZ/LP115 PAF Pickup Winder, with high sensitivity and unique tonal signature with fewer turns of wire compared to newer high production winding machines that produce more scatter and a wider magnetic aperture, Each pickup across the range is different, and specifically designed for the role it was assigned.
 Most musicians adjust the height of the individual pole pieces so they mirror the radius of the fretboard and then fine adjust by ear.
 The location of the Victory MV's pickups were carefully calculated to provide full frequency response and minimize dead spots by avoidance of string nodal points.
 The majority of harmonics coincide with where the twenty fourth fret would be located.
 If you want to play your Victory above the 22nd fret, use a ring slide.
 Humbucker pickups are inherently low noise because the interference is significantly reduced via phase cancellation, however the Victory MV’s have additional shielding connected to ground with the use of special electrically conductive black paint in the routed out area under the pickguard.
 Truly silent when it should be.
 The coil tap switch in the up position is humbucker; in the down position is single coil, indistinguishable from traditional unshielded single coils minus the noise.
 Victory MV’s are totally immune from “Strat-Itis” (simultaneous multiple discordant frequency syndrome) In other single-coil pickups, strat-Itis is an annoying out-of-tune harmonic, oscillating/warbling /shriek/dissonant sound.
 Gibson had well established business agreements for over 100 years with the best wood suppliers in the world and Gibson Luthiers had first pick to craft the Victory MV's.
 The availability of premium old growth wood with tight grain was better in the 1980s than it is today because of new laws and limited natural resources.
 The Victory MV's body and tri-laminated quartersawn neck were crafted from solid eastern hard rock maple, with a Janka Hardness ranking of 1450 pound-force, a crushing strength of 7,830 pound-force per square inch , and a tensile elasticity modulus of 1,830,000 pound-force per square inch.
 Eastern Hard Rock Maple is extremely hard, dense, and stiff, producing earthquaking sustain.
 The stacked laminate opposing wood grain neck design strengthens the overall neck, gives more tuning stabilization, and allowed the luthiers to eliminate the scarf joint at the headstock.
 Contrasting mirror image graining angles provide the best resistance against impact cracking over single piece or scarf joint necks.
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 Wood improves with age, the polymerization of sap over decades, once the wood is removed from the living tree crystalizes.
 Aged wood also loses its ability to absorb moisture, causing the wood to become more stiff and stable as it ages… the perfect recipe for a straight, high quality guitar neck, level fret board, and great sound.
 Victory MV’s have binding along the edges of the fretboard that cover the unfinished fret tangs and fret slot end gaps, slightly covering the nibs on the fret ends that can protrude.
  Binding is tedious painstaking work and requires skill to install properly, but provides a slick smooth feel, is especially nice for sliding your hand along the fretboard, and gives a dressy look.
 Not to be confused with undercut, fret over binding.
 Using glue that is stronger than the wood itself, the Victory MV's mortise-and-tenon Set-in neck and silky smooth rock-hard quartersawn Madagascan ebony fret board required better tools, more time, accuracy, attention to detail, and skill to craft, but produces a warmer fuller tone and transfers resonant energy freely and immediately due to the tight permanent coupling, and facilitates ripples of vibrational energy that round out and thicken the sound.
 (Unlike other guitars with weak removable "screw-on" necks with a metal plate, adjustment shims, and a creaky neck pocket / body gap.
 So called "bolt-on" necks have no proper neck torque specs, over-tightening the screws crushes the wood, cracks the finish, and strips the holes or screw head, requiring a toothpick or dowel to be glued in the stripped hole).
 The Victory's elegant headstock shape has a fourteen degree non-scarfed break angle, and tuning machine alignment that allows for a "perfectly straight" symmetrical pull on the strings that provides optimum string down pressure on the nut for the string to seat in the nut slot but not pinch, bind, or rattle in the slot, transferring all the vibration into the nut instead of into the tuning machines.
 (Unlike other guitars that need junky string tree clips, retainers, or guides that cause friction and pings/cracking noise.)
 The Victories chamfered cutaway offers musicians with large hands better access to play in the top frets.
 The Gibson Victory MV's are not recommended for the weak, these sledge axes weigh a solid nine pounds but are perfectly balanced both on the strap or on the knee, Luthiers know guitars with more mass and density have more brilliance and sustain.
 According to Gibson, Victory MV’s were only produced in Candy Apple Red, Antique Cherry Sunburst, & Twilight Blue.
 However sometimes a retailer who did a lot of business with Gibson would be able to ask for a small number of guitars with a special finish.
 Mention has been made of Roy Orbison's special order black Victory MVX.
 The Victory MV's came standard with a rugged black Gibson branded "8170" dual lock and key padded hard case with internal storage box.
 Decode the serial number on the back of the headstock to determine if your Victory was hand made by finding the location and the date of it's manufacture.
The Lonesome Pine Fiddlers (1938- 1966) were an early bluegrass band which included such notable "first generation" bluegrass musicians as Ezra Cline, Bobby Osborne, Paul Williams, Melvin Goins, Charlie Cline, Curly Ray Cline, Larry Richardson and for a short time Jimmy Martin.
 The group was started by Ezra Cline and Curly Ray Cline and was originally named "Cousin Ezra and the Lonesome Pine Fiddlers".
 The Clines came from a large family consisting of musically talented people.
 Ray and Charlie's father, Charlie, was a talented banjo player and the women in the family, Geraldine and Bobbi, were great singers.
 For reasons unknown, Bobbi and Geraldine never joined the band on the road but often joined in at home, especially when notable Country singers, such as Bill Monroe, Lester Flatt and Earl Scruggs, and Hank Williams, came visiting.
 None of them ever had a music lesson yet excelled on every instrument they touched.
 Natives of the Gilbert Creek region of southern West Virginia, Cousin Ezra, along with brothers Ireland (Lazy Ned) and Curly Ray Cline, were part of the original Lonesome Pine Fiddlers from about 1938, a group that worked on radio at WHIS Bluefield, West Virginia.
 During World War II, Ned was killed in action.
 When the Pine Fiddlers resumed regular daily broadcasts, Charlie, who played multiple instruments, joined them on a regular basis.
 Charlie returned to the Fiddlers briefly before becoming a member of Bill Monroe's Blue Grass Boys.
 During 1952-1955, Charlie worked off and on with Monroe, recording some 38 songs, all on Decca.
 It has been said that he played every instrument at one time or another in the Monroe group except mandolin.
 Charlie spent most of 1953 back with the Lonesome Pine Fiddlers working at WJR radio in Detroit.
 When Ezra brought the band to Pikeville, Kentucky, in November, Charlie rejoined Bill Monroe.
 In 1954, Charlie did a session, playing lead guitar, with the Stanley Brothers and also another one on RCA with the Fiddlers, although he was not otherwise working with them at the time.
 He also worked briefly as a sideman with the Osborne Brothers, although he did not record with them.
 By 1958, Charlie (electric lead guitar) and his wife, Lee (electric bass), had rejoined Ezra and Curly Ray in the Lonesome Pine Fiddlers, who were experimenting with a more modern sound and working a TV show in Huntington, West Virginia, in addition to daily radio in Pikeville.
 In his later years, Charlie was with the Stanley Brothers.
 Curly Ray also played with the Stanley Brothers at a different time as their fiddler.
 Curly Ray was one of the best fiddlers in Bluegrass.
 This most talented family of musicians were the best, surpassed by none.
 Finally, on October 1, 2009, The Lonesome Pine Fiddlers got their due when they were inducted into the International Bluegrass Hall of Fame at the Ryman Theater (the original home of the Grand Ole Opry).
 Bobby Osborne, Melvin Goins and Paul Williams were there to receive the bands award.
 In the crowd of a sold out theater was the son of Ezra Cline, Scotty Ireland Cline, who recalled being in that same theater as a child sitting on stage and watching the Fiddlers play.
 (At the time, the Opry had bleachers for family just off stage).
 The final act of the evening at the IBMA Awards was the playing of "Pain in my Heart" by Osborne, Goins and Williams along with a Song from the Dillards, who were also inducted the same evening.