I've often pointed out in the Box Office Power Rankings when I've thought a movie had a poor release strategy, and in that spirit I have to wonder why Tyler Perry's movies are still only being released at 2,000 sites. His last five movies have opened in about that many theaters, and their first-weekend grosses have ranged from $17 million to $41 million.

The worst performer among those movies earned nearly $8,400 per theater in its opening weekend, which is just a hair shy of what The Day the Earth Stood Still did in its debut. The new Tyler Perry's Madea Goes to Jail topped $20,000 per theater, better than anything since Milk the last weekend of November and barely eclipsed by Twilight in its first three days. Give Tyler Perry some damned screens!

If you want a sense of how excited the music press is about the up-and-coming South African psychedelic rock band Blk Jks (pronounced "Black Jacks"), you only need to see the art-rock royalty that reviewers name-check.

The stuffy New York Times: "Far closer to TV on the Radio and the Mars Volta than they are to Ladysmith Black Mambazo."

The hipsters at Spin, dubbing Blk Jks a "hot new band" earlier this month: "The electro-funk experimentalism of TV on the Radio with the Afro-pop guitars of Vampire Weekend, and drop in hints of jazz, ethnic African music, and the prog-rock of contemporary acts like the Mars Volta."

If those descriptions pique your interest, Daytrotter.com is bringing Blk Jks to the Quad Cities, and fans of adventurous rock would be foolish to miss the band's performance at RIBCO on Tuesday, March 3. This is a buzz band poised to make seriously good noise.

The closing track on Killin' It, the new release from the Quad Cities reggae-rock trio Rude Punch, is called "Payment," and unfortunately it's overdue. Loose and light, the guitars and drums at the outset seem to be searching for the groove, and when they find it 35 seconds in, they sustain it for another four minutes. Brady Jager's singing is heartfelt and nimble, and background vocals and twin guitars add satisfying accents and interplay, while bassist Robb Laake and drummer Adam Tucker are each given opportunities to fill in the gaps. The lead-guitar and drum breaks suggest a band adept at jamming within a song's structure.

I'm guessing the band's CD-release party on Saturday at the Redstone Room will be a good time, as its music goes down easily and has the benefit of familiarity. If you've heard reggae, you'll have plenty of reference points. Most importantly, the band works it right on stage, and "Payment" shows what they're capable of.

But the album itself suffers from a lack of imagination.

For the sake of argument, let's say that the Promise program will be the panacea for Davenport that its backers claim it will be. People will flood into the city because they've been promised college tuition, vocational training, or (if they're in the military) a homestead grant. Enrollment in the Davenport Community School District will reverse its nearly-two-decade-long trend of decline - thus ensuring a greater amount of state education funding, which is distributed on a per-pupil basis. And the increased aggregate property value will bring new riches to city government and the school district through property taxes, thus allowing them to lower the property-tax rate.

Even if all that is true, the backers of the Davenport Promise have structured the program all wrong.