“The Black Power Mixtape 1967-1975,” among other things an extraordinary feat of editing and archival research, takes up a familiar period in American history from a fresh and fascinating angle. In the late 1960s and early ’70s, Swedish television journalists traveled to the United States with the intention of “showing the country as it really is.” Some of the images and interviews they collected have been assembled by Goran Hugo Olsson into a roughly chronological collage that restores a complex human dimension to the racial history of the era.

Tongues on Fire is a remarkable musical homage to an American organization that achieved national and international impact from the mid-1960s into the 1970s. In a sublime example of one type of expression motivating another, the graphic art of Black Panther Minister of Culture Emory Douglas, whose work became an iconic representation of the Party's struggles, here inspires the poetry of Umar Bin Hassan and Abiodun Oyewole, two core members of The Last Poets (a politically charged group that arose in the same period and was dedicated to raising African-American consciousness), which in turn inspires the musical compositions of jazz luminary David Murray as conveyed by Living Colour.

Tongues on Fire is a remarkable musical homage to an American organization that achieved national and international impact from the mid-1960s into the 1970s. In a sublime example of one type of expression motivating another, the graphic art of Black Panther Minister of Culture Emory Douglas, whose work became an iconic representation of the Party's struggles, here inspires the poetry of Umar Bin Hassan and Abiodun Oyewole, two core members of The Last Poets (a politically charged group that arose in the same period and was dedicated to raising African-American consciousness), which in turn inspires the musical compositions of jazz luminary David Murray as conveyed by Living Colour.