This film documents Wattstax, a benefit concert performed by Stax Records artists at the Los Angeles Memorial Coliseum on Sunday, 20 August 1973, the last day of the Seventh Annual Watts Summer Festival. The first segment features comedian Richard Pryor explaining that the concert is to commemorate the people who spoke out seven years ago, in 1965, during the Watts Riots. This is followed by aerial footage of the famous Watts Towers, a series of tall spires made of concrete, glass and tile. During The Dramatics' rendition of “What You See Is What You Get,” scenes of daily life in the Watts slums are shown, including footage of the 1965 riots. An interview with a group of black men on the street suggests that the riots were a desperate attempt to communicate the intolerable living conditions of being black and urban to the complacent white majority. After the interviews, Pryor jokes that, although there are laws for pedestrians, there are no laws against police officers shooting blacks by “accident,” as they do often in Watts. The film then shows the stage being erected, dozens of performers arriving and thousands of the predominately black audience members dressed in an assortment of fashions popular in the black community, taking seats in the immense arena. When the concert opens with the singing of the American National Anthem, noticeably few stand. Back on the street, black men casually chat about the American government's failure in the black community. Ted Lange and others then talk about the moment they understood discrimination, often as children when they were first called “niggers.” At the coliseum, Reverend Jesse Jackson takes the stage in an African print dashiki and, with raised fist, leads the crowd in a rousing call and response speech, “I Am Somebody,” demanding that African Americans be heard and respected regardless of their skill level or economic power. During Kim Weston’s rendition of the Black National Anthem, “Lift Every Voice and Sing,” the film shows photographs depicting the history of blacks in America, including images of slave ships, sharecroppers, lynching, segregation and several prominent civil rights leaders and entertainers. This montage ends with footage of Dr. Martin Luther King giving his famous 1968 speech “I’ve Been To the Mountaintop.” Back on the stage, gospel singer Jimmy Jones sings a number followed by Lange talking about the loud and joyous gospel singing in black churches being so different from what is heard in most white churches. Next on stage is the Rance Allen Group, who sing “Lying on the Truth,” which is intercut with images of urban storefront churches. In one church, The Emotions, a three woman group, sing “Peace Be Still” to an enthusiastic crowd, while a church member is “saved” by the minister. Back on stage, a variety of artists perform “(Gimme Dat) Old Time Religion” accompanied by a brass back up, followed by The Staples Singers giving a stirring rendition of “Respect Yourself.” Back on the street, interviews with men at barbershops and woman at beauty shops reveal widely different attitudes about straightening black hair or leaving it in a natural afro. On stage, funk group the Bar Kays dazzle the crowd with their white costumes, heavy chain vests and layers of bracelets while singing ”Son of Shaft.” Interviews with people on the street reveal the dilemma of whether to use violence to underscore the community’s need for employment and assistance. Pryor then jokes about the fact that most black men coming out of prison are unable to get work because they only have experience as a “license presser." While blues singer Albert King plays guitar on stage, the film features interviews with men and women about being heartbroken. This is followed by Little Milton’s number about losing his woman and Johnnie Taylor singing “Jody.” After a montage of dozens of black couples kissing and holding hands, men and women talk separately about how they manage their relationships. Returning to the stage, Carla Thomas, in a large afro and flowing gown, sings “Picking Up the Pieces.” In several short interviews, black women talk about managing the house without men and take issue with black men who date white women. One interviewee suggests that white women are easier to manipulate. Back on stage, veteran funk performer Rufus Thomas, wearing an all pink suit and cape, begins his popular “Breakdown.” While the coliseum sign lights up with the title “Prince of Dance,” the crowd steps in time to the music. Soon hundreds rush over the barriers between the stadium seating and the field, including the youngest children, who flap their arms to the sound of Rufus’ “Do the Funky Chicken.” Using gentle humor and rhyming, Rufus convinces the crowd to return to their seats. When one man refuses to go, Rufus says, “That’s a brother alright, but I’ll be damned if he’s my brother,” sending a wave of laughter through the coliseum. Evening falls as Luther Ingram sings a sultry number, followed by interviews with men about keeping a mistress. Pryor then jokes that when black men are put in a police lineup, they so fear the police that they admit to bank robbery even though the charge was actually a fraudulent rape accusation. To introduce the last act of the evening, Jackson takes the stage and removes the hat hiding the face of one of Stax Records’ most famous stars, Isaac Hayes. While the coliseum sign reads “Black Moses,” Hayes pulls off his multi-colored cape, revealing his striking physique covered in a gold chain vest, and sings “Theme from Shaft ” to the rapt crowd. Pryor and others then talk about the complicated handshakes among black men that establish their unity. When Hayes then sings about hardships in the black community, the film features footage of black neighborhood slums. To close the film, Jackson’s “I Am Somebody” speech is repeated over the faces of those interviewed and scenes of Los Angeles.