It might be easier to list the things Angelou hasn’t done during her prolific career. Her six autobiographical books include such familiar titles as I Know Why the Caged Bird Sings and All God’s Children Need Traveling Shoes. She constantly elevates poetry to the national stage, as when Bill Clinton commissioned “On the Pulse of Morning” for his 1993 inauguration. That Angelou became only the second poet—after Robert Frost—to read at a presidential investiture was a fitting honor given her long record of civic involvement, which includes serving as northern chairwoman of the Southern Christian Leadership Conference at the request of Martin Luther King. Angelou has also appeared onstage (dropping her birth name, Marguerite Johnson, during an early appearance on Broadway), and on film and television. Early in her career she was associate editor of The Arab Observer, a Cairo-based English-language newsweekly, and feature editor of the Ghana-based African Review. Since 1981, she has held the lifetime appointment of Reynolds Professor of American Studies at Wake Forest University in North Carolina. In December, Angelou read another poem during a White House ceremony, this time during the lighting of the Christmas tree; her book Amazing Peace subsequently spent four weeks on The New York Times best-seller list. The writer speaks about her life and work, 7:30 p.m. Feb. 27, at Vanderbilt’s Memorial Gym. Tickets are available through Ticketmaster. —MICHELLE JONES MUSIC THURSDAY, 23RD FIERY FURNACES It’s hard to peg the music of this brother-sister act. A good approximation, though, might be imagining Patti Smith as the captain of the Yellow Submarine reciting stream-of-consciousness nursery rhymes unaware that the ship is hurtling through space on a crash course for the Twilight Zone. Eleanor Friedberger plays the role of the fearless front woman and deadpan singer, while her brother Matt backs her up with sci-fi synth sounds and vocals. Onstage, the role of the drum loop is brought to life by drummer Andy Knowles, with Toshi Yano filling out the bottom on bass. Deadboy and the Elephantmen open the show. ( www.thefieryfurnaces.net ) Exit/In —JESSICA FRIEDMAN OF MONTREAL Who would have expected these whimsical, carnival-like popsters to prove the most enduring and prolific of the once-ballyhooed Elephant 6 collective? Founded in Florida and based in Athens, Ga., Of Montreal are now built around singer-guitarist Kevin Barnes and his keyboardist wife, Dottie Alexander. Together, they’ve streamlined the junk-store parade of the band’s ’90s sound into beat-focused pop-rock reminiscent of late-period Talking Heads. Barnes remains ambitious—he calls 2005’s Sunlandic Twins an “electropop opera”—and his lyrics are still a sunny psychedelia of euphoric choruses. Of Montreal have always been most convincing live, at least for those willing to drink the Kool-Aid. ( www.ofmontreal.net ) The End —MICHAEL McCALL FRIDAY, 24TH BLACK REBEL MOTORCYCLE CLUB BRMC’s Peter Hayes had only a minor role in 2003’s great rock ’n’ roll documentary Dig!, where he appeared as a temporary auxiliary member of professional self-destructors The Brian Jonestown Massacre. Yet here we are in 2006, with BJM struggling for attention and BRMC landing on critics’ lists last year with their stark folk- and blues-based set Howl. With drummer Nick Jago quitting before the Howl sessions but returning just before the album was completed, Hayes and his bandmates aren’t strangers to drama. In their case, though, it’s marked by an underlying humility that makes BRMC far more endearing than many of their peers. Playing with Elefant and the Morning After Girls. ( www.blackrebelmotorcycleclub.com ) Exit/In —MARC HIRSH GARY BENNETT When Bennett shared lead vocals in BR549 with Chuck Mead, he sang the more plaintive barroom material while Mead handled the revved-up honky-tonk. On his first solo album since leaving the band four years ago, Bennett continues in that vein, bringing a thoughtful slant to down-to-earth story-songs set to easygoing tempos supplied by an ace studio crew consisting of guitarist Kenny Vaughan, bassist Mark Winchester and drummer Jimmy Lester. This record release party marks Bennett’s official return to the stage since moving away from live performing after leaving BR549. ( www.garybennettmusic.com ) 3rd & Lindsley —MICHAEL McCALL MICHELLE MALONE Usually, Malone’s touring band consists only of drummer Linda Bolley, but don’t mistake them for the White Stripes. Compared to Malone, who’s from Atlanta, those Whites sound like Archie and Veronica. Think instead of Tony Joe White and his onetime stickman Boom-Boom Cohen, whose symbiotic music is as deep as that of any pair of siblings (or ex-spouses). Like White and Cohen, Malone and Bolley play off each other, their distinctive sensibilities melding into a whole that combines the sophisticated new South with rustic south Georgia. Malone has had her share of ups and downs in the biz, so understand if she doesn’t give a whit whether the music industry is with her or not. Either way, she’ll be ready to rumble. The Basement —PAUL V. GRIFFITH MATTHEW SHIPP Recent collaborative projects by this iconoclastic jazz pianist have drawn heavily on electronic music and hip-hop. With his new album One, though, Shipp returns to a solo acoustic format with an unfettered set of sparse, bracing explorations in the tradition of avant-garde pioneers like Cecil Taylor and Mal Waldron. At times, such as in the frenetic “Electro Magnetism,” his playing darts impishly from idea to idea; at others, as in “Patmos,” it conveys great stillness, a deep meditative quality. Neo-classical overtones are evident throughout the proceedings as well, but the overall impression created by Shipp’s bold, imaginative compositions is that of an intense journey inward, of alternately fevered and pacific contemplation. Rounding out this inspired bill are the local experimental duo Hands Off Cuba and the expansive country-soul ensemble Lambchop. The two recently teamed up for a lovely EP consisting of electronic reinterpretations of material from the Lambchop songbook.  ( www.thirstyear.com ) Primitive Baptist Church (4602 Indiana Ave.) —BILL FRISKICS-WARREN SATURDAY 25TH EEF BARZELAY Even Barzelay’s fans can’t always figure out what to make of the guy. Take, for example, his new solo debut Bitter Honey, a record that more than a few credible sources have erroneously credited to his band Clem Snide. Onstage, Barzelay has a genially goofy persona that stands in contrast to his songs, which can be heartbreaking. Expect chuckles at the start of “Ballad of Bitter Honey,” in which a young model expresses pride at being hotter than all the other “skanks” in a Ludacris video. Then, watch as the verses that follow explain how she got there and the gigglers clam up when they notice it’s not so funny anymore. ( www.3hive.com/2006/01/eef_barzelay_1.php ) 4 p.m., Grimey’s New & Preloved Music —MARC HIRSH DRIVE-BY TRUCKERS The Truckers inspire, and deserve, the kind of zeal reserved for a select few, complete with online bootleg trading and a fan site named for an obscure lyrical reference ( www.ninebullets.org ). This week, the faithful will have some “Bulldozers and Dirt” with their oatmeal, and they’ll blast Decoration Day in the car on their way to work, singing along with Cooley and Patterson and Jason. Come the weekend, they’ll head over to the show with enough cash in their jeans for some Jack and a couple PBRs before screaming themselves hoarse while these five wonderful, well-traveled musicians rock the fuck out. There’s something very special about this band; they are nothing but themselves, devoid of pretension, brimming with ardor, and often a little bit drunk. Mike Cooley may forget some of his words, but he won’t forget to laugh at himself. Patterson Hood might just make you cry. And through it all, they’ll still sound like buddies rocking out in a garage, who just happen to have something really important to say. Cannery Ballroom —LEE STABERT DRIVE-BY TRUCKERS The Truckers inspire, and deserve, the kind of zeal reserved for a select few, complete with online bootleg trading and a fan site named for an obscure lyrical reference ( www.ninebullets.org ). This week, the faithful will have some “Bulldozers and Dirt” with their oatmeal, and they’ll blast Decoration Day in the car on their way to work, singing along with Cooley and Patterson and Jason. Come the weekend, they’ll head over to the show with enough cash in their jeans for some Jack and a couple PBRs before screaming themselves hoarse while these five wonderful, well-traveled musicians rock the fuck out. There’s something very special about this band; they are nothing but themselves, devoid of pretension, brimming with ardor, and often a little bit drunk. Mike Cooley may forget some of his words, but he won’t forget to laugh at himself. Patterson Hood might just make you cry. And through it all, they’ll still sound like buddies rocking out in a garage, who just happen to have something really important to say. Cannery Ballroom —LEE STABERT SUNDAY, 26TH AMELIA WHITE This roots-rocker has expanded last year’s Candy Hearts EP into a full-length CD called Black Doves, named for a protest song delivered from the family of a soldier. With an astringent soprano cut with attitude and intelligence, she balances acute observation and imagery, then brings it home with well-crafted folk-rock that weds familiar instruments with modern touches. White has gradually emerged as one of best local up-and-comers since moving to Music City four years ago from Boston, where she was nurtured by the same acoustic scene that produced Patty Griffin, Mary Gauthier and Lori McKenna. With Black Doves, she shows she’s ready to join their top-level class. 3rd & Lindsley —MICHAEL McCALL AMELIA WHITE This roots-rocker has expanded last year’s Candy Hearts EP into a full-length CD called Black Doves, named for a protest song delivered from the family of a soldier. With an astringent soprano cut with attitude and intelligence, she balances acute observation and imagery, then brings it home with well-crafted folk-rock that weds familiar instruments with modern touches. White has gradually emerged as one of best local up-and-comers since moving to Music City four years ago from Boston, where she was nurtured by the same acoustic scene that produced Patty Griffin, Mary Gauthier and Lori McKenna. With Black Doves, she shows she’s ready to join their top-level class. 3rd & Lindsley —MICHAEL McCALL LOVEDRUG The term “lovedrug” might conjure thoughts of inopportune dinnertime commercials starring Bob Dole and Rafael Palmeiro, but the music of these Ohioans isn’t as drab as the former Senate Majority Leader or as dishonest as the played-out slugger. Formed two years ago as the brainchild of former film student Michael Shepard, Lovedrug trade in spiritually inclined balladry that combines lush, trancey melodies with the otherworldly visions that inspire Shepard’s cinema. The result is robust music teeming with surreal imagery that depicts menacing landscapes where angels battle demons and lives are inverted by love gone awry. Lovedrug are touring with The Audition and Mae in support of their debut album, Pretend You’re Alive. ( www.lovedrugmusic.com ) Exit/In —DAVE RUDOLPH MONDAY, 27TH THE M’S These Chicagoans make noisy pop that rocks out in enjoyable, lopsided billows. Their new album, Future Women, sounds bigger and more complete than their previous records, with nice touches of strings and brass making their way into the mix. The title track starts off sounding like the Flaming Lips doing country gospel and ends up in a jangling, boogying crescendo of organ and Vox-y guitars. The record is catchy without being sugary, accessibly weird and overflowing with energy that should translate well to the stage. ( www.the-ms.com ) The Basement —STEVE HARUCH WEDNESDAY, 1ST MIKE SEEGER It’s almost impossible to encapsulate the career of Mike Seeger. A musicologist, producer, activist, scholar, performer and (for lack of a better term) facilitator, he had a profound influence on the urban folk music revival of the 1950s and ’60s. Decades later, he continues to be a quiet force in all those ways, making the twin issues of origins and authenticity moot by combining a passion for grassroots culture with equal measures of humility, talent and wit. The same qualities infuse his solo shows, as he rambles freely across the range of American vernacular music and the instruments it has employed. Yet Seeger is no strict revivalist; he also creatively—and entertainingly—recombines styles, instruments and techniques to shed new light on the deep musical connections between diverse communities. It’s been a long time since he last played in Nashville—15 years is his best guess—so this may be your only opportunity to hear one of American music’s finest treasures. Station Inn —JON WEISBERGER ELECTRIC SIX Put on your dancing shoes and your irony hat if you head out to catch this Detroit sextet’s campy, driving dance-rock. Their music—and attitude—is theatrical and fun, coupled with a dark, sometimes political, wit. In “Rock and Roll Evacuation,” for example, singer Dick Valentine goes from admonishing his counterparts (“You can play your electric guitar, but it ain’t gonna change the world”) to assailing the president (“I don’t like you / You don’t know how to rock”). Valentine’s lyrics are a mishmash of high and low art, silliness and cynicism; it’s not every day someone references Yeats and the Backstreet Boys in the same line. With their punchy drum beats and layered synth-pop gloss, the Electric Six play quirky, intellectual rock you can actually dance to—as opposed to just slouching and nodding your head. ( www.myspace.com/electricsix ) Exit/In —LEE STABERT CLASSICAL NASHVILLE SYMPHONY ORCHESTRA PRESENTS PORGY AND BESS For an undisputed landmark of American folk opera, productions of Porgy and Bess have been riddled with problems. In assimilating so wide an array of blues, gospel, American popular music and other vernacular traditions, George Gershwin and his collaborators were in an awkward position—somewhere between Tin Pan Alley, the Great White Way and the fledgling grand opera houses of our nation—when the first productions were mounted in 1935. Since then, artistic directors have continued to deliberate over how much of the extensive score and libretto to retain, whether to substitute spoken dialogue for the recitative and whether to present Porgy and Bess as a musical rather than an opera. The Nashville Symphony’s recitals will follow a recent trend to rely on the collaborative working score of the first productions rather than on Gershwin’s more extensive published score. This historically faithful concert rendition, with full cast and chorus, will be recorded in the days following the performances, which are Feb. 24-25 at TPAC’s Jackson Hall. —BILL LEVINE DANCE CREATIVE OUTLET OF BROOKLYN In celebration of Black History Month, this dance troupe with strong roots in the artistry of the Alvin Ailey Dance Company performs A Healing Journey, a theatrical presentation that pays tribute to African American ancestry through music, poetry and choreography. The company, under the leadership of Jamel Gaines, comprises nearly 20 artists who specialize in various dance styles and techniques—from ballet, modern and jazz to Caribbean, salsa and hip-hop. Co-sponsored by the Village Cultural Arts Center and the Tennessee State University Cooperative Extension Program, the program will take place 7 p.m. Feb. 25 in Poag Auditorium on the TSU campus. For more information, phone 228-9553 or 963-2598 or visit www.villageculturalartscenter.com. —MARTIN BRADY CREATIVE OUTLET OF BROOKLYN In celebration of Black History Month, this dance troupe with strong roots in the artistry of the Alvin Ailey Dance Company performs A Healing Journey, a theatrical presentation that pays tribute to African American ancestry through music, poetry and choreography. The company, under the leadership of Jamel Gaines, comprises nearly 20 artists who specialize in various dance styles and techniques—from ballet, modern and jazz to Caribbean, salsa and hip-hop. Co-sponsored by the Village Cultural Arts Center and the Tennessee State University Cooperative Extension Program, the program will take place 7 p.m. Feb. 25 in Poag Auditorium on the TSU campus. For more information, phone 228-9553 or 963-2598 or visit www.villageculturalartscenter.com. —MARTIN BRADY DANCEBRAZIL Founded in 1977 by Jelon Vieira, DanceBrazil is a New York-based ensemble that, in association with the Capoeira Foundation, has helped to spread Afro-Brazilian culture through an aesthetic that merges the mysticism of Brazilian martial arts with contemporary dance. The troupe, which has been featured at Lincoln Center, the Kennedy Center, on PBS and in international touring dates, offers dramatic performances characterized by unmatched speed and flexibility, with accompaniment by 12 live musicians. DanceBrazil appears at Vanderbilt’s Langford Auditorium on Feb. 23 at 8 p.m. For more information, visit www.vanderbilt.edu/sarratt/great/brazil.html . —MARTIN BRADY THEATER THE VAGINA MONOLOGUES Actors Bridge presents its annual production of Eve Ensler’s popular feminist sounding board, 9:30 p.m. Feb. 25 at the Belcourt Theatre. Besides the usual lineup of local actors, this year’s cast includes Grand Ole Opry vet Jeannie Seely, recording artists Mandy Barnett and Annie Sellick, Venus 102.5 DJ Trish Vogel and songwriter Jennifer Kimball. Proceeds will benefit Magdalene, a residential housing and recovery program for Nashville women with a criminal history of prostitution and drug abuse. Vali Forrister directs. Tickets can be purchased online at www.belcourt.org, or by calling 846-3150. —MARTIN BRADY JAZZ RHAPSODY: A SOUTHERN SONGBIRD’S TRIBUTE TO THE LEGACY OF JAZZ Part of Theatre Craft Inc.’s “Voices in Black and White” series celebrating Black History Month, this musical and dramatic tour through jazz history features the talents of gifted pop/jazz vocalist Connye Florance under the musical direction of Kevin Madill. Theater veteran Jackie Welch stages the program, which, besides showcasing works by Duke Ellington, Billy Strayhorn, Billie Holiday and other icons of American music, features an original poetic script that provides background on the music. The single performance is 7:30 p.m. Feb. 24 at the Looby Theater. Tickets are on a “pay-what-you-can” basis. For further information, phone 874-8715. —MARTIN BRADY FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE/WHEN THE RAINBOW IS ENUF One of the high points of Tennessee State University’s celebration of Black History Month is this performance of Ntozake Shange’s groundbreaking 1975 “choreopoem,” which reinterprets the emotions and experiences of African American women through verse, monologues, song and dance. Performances are Feb. 23-26 at the TSU Performing Arts Center. Tickets may be purchased through Ticketmaster or by calling 963-5742. —MARTIN BRADY BLIND WOMEN SHOULDN’T VACUUM Estelle Condra is a sight-challenged actress and performance artist. Her one-woman show conveys the trials and realities of everyday life for the blind, and in so doing elicits both empathy and laughter. Condra makes an appearance at Blair School of Music’s Turner Hall on Feb. 26 at 3:30 p.m. For more information, visit vuwomansclub@vanderbilt.edu. —MARTIN BRADY PINOCCHIO The fun-loving performers of Olde Worlde Theatre Co. mount this children’s favorite with their usual tongue-in-cheek enthusiasm at the Belcourt Theatre, with shows at 10 a.m. and 5 p.m. on Feb. 25. The cast includes Chris Armstrong as Pinocchio, Dave Harrison as Gepetto, Richard Stein as Linguini the Puppetmaster and Ginger Sands as Blue Fairy. For further information, visit www.belcourt.org. —MARTIN BRADY MY WAY David Grapes and Todd Olson, formerly the artistic directors at Tennessee Repertory Theatre, put together this revue of Sinatra hits about five years ago, and the show has become an oft-performed audience-pleaser all over the country. The cast for this production at the Donelson Senior Center features Sandy Merrill, Ella Glasgow, Miriam Grey and Daniel Vincent. The accompanying jazz band is led by Mark Beall. Performances are 7 p.m. Thurs.-Sat. and 2 p.m. Sun., through March 9. Ticket price includes dinner. For more information, visit www.seniorarts.org. —MARTIN BRADY SUITEHEARTS Chaffin’s Barn Dinner Theatre presents this romantic comedy of errors by William Van Zandt and Jane Milmore. The plot’s a familiar one, as botched booking arrangements force two couples to share the same suite at a posh New York hotel. Denice Hicks directs the cast of five, which includes the versatile Rebekah Durham and the always funny Eric Tichenor. Performances run through March 18. Phone 646-9977 for tickets. —MARTIN BRADY ART G LEVEL GALLERY: UNDERGROUND ART Located one level down from the main TPAC entrance at the corner of Sixth Avenue and Deaderick Street, the newly opened G Level Gallery: Underground Art will feature works from a cross-section of students at Nashville public and private schools. The inaugural exhibit features young artistes from Nashville School of the Arts, who’ll hold a reception 4-6 p.m. Thursday, Feb. 23. Along with the new gallery, TPAC is working with teachers and students on classroom resources, internships, performances and other projects. For more information, visit www.tpac.org/education or call Leigh Jones, director of ArtSmart, TPAC’s arts and education program, at 687-4285. —JESSICA FRIEDMAN WILL CONNOR AND LARRY HALVORSEN “Upstairs at the Artisan” is a new fine art program presented by American Artisan, the 36-year-old crafts gallery on Harding Road. Nashville photographer Will Connor and Seattle sculptor Larry Halvorsen will be featured in the premiere show on Feb. 24. Halvorsen’s clay work is inspired by ancient ritual objects and Paleolithic tools. His functional pieces bear designs that mimic natural forms and bring both Celtic and Australian aboriginal patterns to mind. Will Connor’s serene, colorful nature photography addresses similar subjects. The public is invited to an artists’ reception, 5-8 p.m. this Friday. —JOE NOLAN BOOKS HARRY S. STOUT Bob Dylan said it best over 40 years ago: “You don’t count the dead / When God’s on your side.” In his new study of the Civil War, Upon the Altar of the Nation (Viking), Yale religion professor Harry S. Stout demonstrates how both the Union and the Confederacy, unable to face the unimaginable savagery of the war, swathed the butchery not only in romantic notions of magnolias and roses, but in the purposes and protection of God’s will. For a scholar of religion, Stout’s mastery of Civil War history is impressive. Drawing extensively on diaries and letters, as well as newspaper accounts, pulpit sermons and memoirs, he captures the voices of the time and the near-lunacy of war fever and religious fervor on both sides. North and South came to believe, Stout says, that the nation had to be sanctified by blood sacrifice—washed in the blood of the Lamb—to fulfill God’s purposes. In “sacrilizing” the horror of war, they created what Stout calls a “civil religion” for which Lincoln’s Gettysburg Address is the archetypal “sermon.” While Stout finds the moral and religious claims for war to be often misleading and pernicious, he recognizes the existence of a “just war” and analyzes its terms. He offers no overt analysis of the justness of the war in Iraq, but the implications of his book are plain. The author appears at Davis-Kidd Booksellers on Feb. 23 at 6 p.m. —WAYNE CHRISTESON JOSH KILMER-PURCELL As innumerable critics have pointed out by now, James Frey wasn’t the first writer to make up some of the most sordid incidents in a tell-more-than-all memoir. And Josh Kilmer-Purcell’s new book, I Am Not Myself These Days (Harper Perennial), suggests that Frey won’t be the last. The folks at Smoking Gun haven’t gotten their fact-finding hands on Kilmer-Purcell yet, so it’s at least possible that this outlandish memoir is altogether true. But even truth couldn’t save this book, whose drug dealers, petty cons and transvestites get old once the shock wears off. With master sordid-story tellers like William S. Burroughs and Hubert Selby Jr., you know that fact and fiction are matters of substance-fueled interpretation. No one questions their veracity, however, because they’re compelling narratives, while Kilmer-Purcell’s reads more like a morality play, complete with an obligatory sober ending. Still, his book may hold appeal for readers titillated by the prospect of reading about the life of a closet drag queen. The author appears at Davis-Kidd Booksellers on Feb. 24 at 7 p.m. —PAUL V. GRIFFITH FILM THE GODFATHER The gangster movie as Greek tragedy, European art-film hybrid and uniquely American business study, in one of the most compelling pop entertainments ever to come out of Hollywood. If you’ve never seen it on the big screen, you’re missing equal parts lavish spectacle, shocking violence and brooding chiaroscuro featuring one of the cinema’s dream casts: Brando, Pacino, James Caan, Diane Keaton, Robert Duvall and that great character actor John Cazale as hapless Fredo. If you’ve never seen it—well, consider this an offer you can’t refuse. It plays this week at the Belcourt as the theater counts down to Oscar Night on March 5. —JIM RIDLEY THE THREE BURIALS OF MELQUIADES ESTRADA Not since Sam Peckinpah demanded the head of Alfredo Garcia has a movie oozed as much grit and grim fury as Tommy Lee Jones’ savage contemporary Western. The actor-director plays a rugged loner who hogties the Texas border patrolman (Barry Pepper) responsible for a Mexican ranch hand’s death; the resulting journey invokes Cormac McCarthy’s bloody, unforgiving West as surely as Peckinpah’s. The movie opens Friday at Green Hills. —JIM RIDLEY LAWRENCE OF ARABIA A man blows out a match; in the blink of a cut, the screen fills with a blinding panorama of vast desert heat. It’s the kind of thunderstruck moment that makes someone a moviegoer for life—and its impact is snuffed unless it’s on the big screen. David Lean’s 1962 epic continues for a few more days at the Belcourt, not to be missed. —JIM RIDLEY THE WORLD’S FASTEST INDIAN Like the titular vehicle—a bucket-of-bolts 1920 Scout motorcycle that becomes a rocket at full throttle—Roger Donaldson’s rangy, enormously likable Sunday-drive of a movie transcends its well-worn parts. In one of his loosest and most engaging roles in years, Anthony Hopkins has a ball as Burt Munro, a New Zealand sexagenarian who set a land speed record on the Bonneville Salt Flats in 1967. The movie opens Friday at Green Hills. —JIM RIDLEY MADEA’S FAMILY REUNION Multiple-threat writer-producer-director Tyler Perry returns as straight-shooting, gun-totin’ grandma Madea in the sequel to his smash Diary of a Mad Black Woman, which co-stars Lynn Whitfield and Cicely Tyson. It opens Friday, along with the animated feature Doogal and Paul Walker Running Scared. —JIM RIDLEY MADEA’S FAMILY REUNION Multiple-threat writer-producer-director Tyler Perry returns as straight-shooting, gun-totin’ grandma Madea in the sequel to his smash Diary of a Mad Black Woman, which co-stars Lynn Whitfield and Cicely Tyson. It opens Friday, along with the animated feature Doogal and Paul Walker Running Scared. —JIM RIDLEY