Film

'Soul Power' at Stranger Than Fiction on 2 August

"We just gotta go straight ahead, there's still gonna be a festival, man," Stewart Levine tells a worried phone caller. No matter the confusions, the misunderstandings, the missed connections. The 1974 concert in Kinshasa, Zaire will go on. You know this much already, especially if you've seen When We Were Kings, Leon Gast's magnificent documentary on the Rumble in the Jungle, wherein Muhammad Ali rope-a-doped George Foreman. Where the 1996 documentary focused on the fight -- and on Ali's brilliant performance in and out of the ring -- this one follows how the music came together. Using so-called outtakes from the first film, it screens 2 August at Stranger Than Fiction, and followed by a Q&A with director Jeffrey Kusama-Hinte, the film shows how the arrangements were made, how the stage was built, and how artists rehearsed. (It also includes a bit of Ali, following footage from Gast's film: "The only reason the camera's on me, the only reason I'm in the shape I'm in," he tells an interviewer, is because I'm the greatest fighter in the world.") While interviews suggest that participants just beginning to imagine an African diaspora aren't quite aware of the daily and long-term effects of Zaire's president Mobutu Sese Seko, the faith in culture and art to form community is palpable. The concert footage features incredible performances from B.B. King, Bill Withers, Miriam Makeba, and Celia Cruz. But the film follows the structure of the show, climaxing with James Brown ("I'm just glad to be here," he says early on, pretending to be humble). In his Godfather of Soul jumpsuit, he's filmed from multiple angles, dancers backing him, band perfect, and every nerve on fire. "The best of James Brown is yet to come," he announces near the end. And you know it's true.

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In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

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Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

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Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

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A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

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Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

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