“Sing Sing,” narrates Laurence Fishburne, “What breaks a man here, it’s what every man loses and what each man serves: time.” Such emphasis on time is made plain in ESPN’s title for José Morales’s film, 26 Years: The Dewey Bozella Story. In 1983, Bozella was convicted for a murder he didn’t commit, based on suspect evidence (“Nothing had my fingerprints on it, nothing”) and unbelievable testimonies by two convicts who were then released. Posed in carefully arranged frames—a sharply angled view of a prison cell, interview rooms where bars cast long shadows—Bozella remembers, “Members of the jury broke down crying when they read the verdict. I said to them, ‘It’s too late, you sent me away for the rest of my life.’” In prison, Bozella found boxing (owing to a guard’s effort to focus inmates’ anger) and also, his wife Trena (who was visiting her brother when they met). As years passed, he wrote each week to the Innocence Project, who finally took the case in 2007, bringing in a “powerful New York law firm,” who discovered exculpatory evidence in a prosecutor’s file cabinet that had never been shown to the defense.
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“I had experiences on the stage that I didn’t think were possible and then a strange thing happened. On the stage, I was complete and perfect, lacking no essential characteristic, nothing. The curtain came down and, ‘Who am I? Who am I?’” As Beah Richards remembers acting, she is, of course, acting again. And in her performance here, as elsewhere, she is complete and perfect, powerful, moving, and fierce. “Here” is Beah: A Black Woman Speaks, a film by LisaGay Hamilton, who recorded the actor, poet, and playwright during the last year of her life. Richards died in 2000, of emphysema, having moved from California back to her childhood home in Vicksburg, Mississippi—where she was cremated and “spread over the Confederate graveyard,” according to her wishes, so that she might “take that struggle with her into eternity.”
fun. have been building buzz for their most recent album Some Nights out last month and are in the midst of a supporting tour that will find them holding several shows during SXSW. Then they’ll be trekking all around the country (dates are below).
Their lead single, “We Are Young” has been out for several months and is a powerful pop anthem and the video features a guest appearance from one of PopMatters favorites, Janelle Monae (also below). You may have already heard it on Glee or in a Super Bowl Chevy commercial. Plus the band was just recently featured in an article by The New York Times.
“He was doing his job and she was the loyal wife,” says Carl Colby. “My mother believed in what he was doing, but it had to be moral, it had to be right.” Best remembered as the director of the CIA from 1973 to ‘76, William Colby emerges in his son’s carefully researched film, The Man Nobody Knew: In Search of My Father CIA Spymaster William Colby, as a puzzle. “He was tougher, smarter, smoother, and could be crueler than anybody I ever knew,” narrates Carl over family photos, his dad looking awkward in camping gear. The film—screening at Stranger Than Fiction on 13 March, followed by a Q&A with Carl Colby—sets the son’s contemplations alongside interviews with his father’s colleagues and footage of the events Colby tried to control: the coup that killed Nhu and Diệm Ngô, the Phoenix Program in Vietnam (an aborted experiment that spawned subsequent counterinsurgency strategies), the CIA’s assassinations. The film presents Colby as a product of his time, a soldier who parachuted from planes, who followed orders, who believed America’s interventions and his own “confessional” testimony before the Church Committee might “do good.”
Releasing 15 May
The duo of Alex Scally and Victoria Legrand, otherwise known as Beach House, return with their latest album Bloom in May and are previewing the work with an MP3 for “Myth”. Beach House conceived of the work as an Album, in the truest sense of the word, a cohesive, longform artistic statement. “Many songs were omitted or dropped because they lacked a place within our vision for this album,” says Scally.