Kaycee Moore
The inhabitants of a deteriorating section of 1968 Junction City, Kansas known as "Junk City" bemoan their existence and revel at the history of their neighborhood during its 1940's heydays when legendary jazz musicians regularly played its clubs. In 1968, the area has diminished to strip clubs and juke joints inhabited by Vietnam War draftees that pass through from nearby Fort Riley. Heads of the group include a wino who lost a leg in WWII, a taxi dispatcher, a saloon owner, and a crazed bag lady. The younger generation is represented by a young prostitute who is trying to get off the streets, but is forced to continue to work by a no-good boy friend and the need to feed her baby. Martin Sheen also appears as a white minister who prefers the people in the area over his own congregation.
Languid look at the Gullah culture of the sea islands off the coast of South Carolina and Georgia where African folk-ways were maintained well into the 20th Century and was one of the last bastion of these mores in America.
Charlie Banks is a black, unemployed Watts resident. At home most of the day, Banks gets on the nerves of his wife and three children. One evening, while getting some fresh air, Hardman makes the acquaintance of a welfare mother. After this, he's not underfoot at home anymore; he's found another bed to occupy.
Stan works in drudgery at a slaughterhouse. His personal life is drab. Dissatisfaction and ennui keep him unresponsive to the needs of his adoring wife, and he must struggle against influences which would dishonor and endanger him and his family.
