Films by Black Creators
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Page 1 of 6 Cinema Head Cheese: Old School Comedy Classics from Cult Collectibles: Jimmy Lynch... 4/9/2012
Cinema Head Cheese: Old School Comedy Classics from Cult Collectibles: Jimmy Lynch ... Page 1 of 6 Search...CinemaJoinShare ChatHead Cheese Toolbar Share Report Abuse Next Blog» Create Blog Sign In Use the promo code CHEESE at checkout to get this great deal! Home Podcast Reviews Articles Contest Merchandise Contact March 1, 2012 Old School Comedy Classics from Cult Spread The Collectibles: Jimmy Lynch (April 10), Redd Health First Cheese! Foxx (May 8), Skillet & Leroy (June 6), + Chiropractic 5 more! 6 Looking for a Posted by Kevin Moyers chiropractor in the Grand Rapids, MI area? Recommend this on Google Contact Columns Dr. Alan Szagesh (616) 974-9922 New Releases ( health1stchiropractic. 136) com Interviews (45) The Blue Cheese Search CHC! (15) Search Versus (4) Silent Screams ( 2) Subscribe to the Cheese! UK Readers! Shop Amazon Subscribe in a and Support Reader CHC! Subscribe on iTunes Follow CHC by Email Cult Collectibles is proud to present a series of legendary comedy / adult party albums from the 1960's, 70's and early 80's. These are the records that were http://cinemaheadcheese.blogspot.com/2012/03/old-school-comedy-classics-from-cult.html 4/9/2012 Cinema Head Cheese: Old School Comedy Classics from Cult Collectibles: Jimmy Lynch ... Page 2 of 6 Search...JoinShare Chat stored under the counter in record stores and your parents hid from you. Raw, rude and raunchy, these records sold millions and are still as funny as ever! Submit Find us on Facebook Bold, old school humor for fans of Redd Foxx, Rudy Ray Moore, Jimmy Lynch, Richard Pryor, LaWanda Page, Wildman Steve, etc. -
Dolemite Is My Name
DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number. -
Bio + Artist CV KHALIK ALLAH | BIO and CV
Khalik Allah Bio + Artist CV KHALIK ALLAH | BIO AND CV PHOTOGRAPHER | FILMMMAKER Khalik Allah (b.1985) is a New York-based photographer and filmmaker whose work has been described as "street opera" simultaneously visceral, hauntingly beautiful and penetrative. From Khalik’s perspective, the streets of New York City and beyond are explored through characters and intimate portraiture to reveal deeper truths. Khalik's passion for photography and visual storytelling was sparked when he began photographing members of the Wu-Tang Clan with a camera he borrowed from his dad. Real and raw, his profoundly personal work goes beyond street photography. His eye for daring portraiture and bold aesthetics takes us into an entire world. While the people he photographs on the corner of 125th and Lexington Avenue in Harlem have been his central inspiration, his work also extends to documentary film with the award-winning “Field Niggas”, a chronicle of summer of nights spent at the intersection of 125th Street and Lexington Avenue. The film takes its name from Malcolm X’s famous lecture, “Message to the Grassroots.” Khalik's intimate documentary portraits all very clearly remind us of what photography is, what photography needs: light. The photographs are all taken in New York City, in Harlem, on Lexington Avenue, around 125th Street. They’re taken at night, using a film camera without a flash, substituting street lights and storefront glow. Rich color, and darkness frames the nocturnal urban landscape with intimacy and empathy. In order to capture these photos he directs his close attention to how light and character narrative works in the nighttime. -
How Khalik Allah Bent the Rules of Street Photography, and Found His Vision
HOW KHALIK ALLAH BENT THE RULES OF STREET PHOTOGRAPHY, AND FOUND HIS VISION July 19, 2019 By David Walker Untitled from “125th & Lexington”, 2019 .© Khalik Allah Link to article online and selection of new work from “125th & Lexington” Page 1 of 6 A still from Allah’s film Black Mother.© Khalik Allah Earlier this year, Allah released his fifth film, titled Black Mother. The 77-minute film is Allah’s spiritual journey through—and personal meditation on— the confluence of history, culture and economics in Jamaica, where his mother grew up. “[Allah’s] complex sense of audiovisual composition—textural, tonal, thematic, rhythmic, philosophical—is as original and as personal as his cinematography,” New Yorker critic Richard Brody wrote in a glowing review of the film in March. That originality suffuses his previous films, too. In 2005, he released his first film, called “The Absorption of Light,” about the awakening of a wayward youth. The film was inspired by Allah’s own story: He was left behind in eighth grade, and by his own account had a rebellious streak that was leading him down the wrong path. As a Long Island teenager in search of himself, he made frequent trips to New York City, where he discovered the Five Percent Nation in Harlem. Formed in the 1960s as a breakaway group from the National of Islam, Five Percent Nation is a cultural organization with a mission to educate young black men in its particular beliefs and teachings. It was a social and intellectual refuge for Allah, who immersed himself in the Five Percent Nation “street curriculum,” as he calls it. -
Major Film Programs, Highlighted Events, and Exhibition Overview at Museum of the Moving Image in April 2019
CALENDAR ADVISORY MAJOR FILM PROGRAMS, HIGHLIGHTED EVENTS, AND EXHIBITION OVERVIEW AT MUSEUM OF THE MOVING IMAGE IN APRIL 2019 A summary of the Museum's programs and exhibitions in April is included below. They include limited theatrical engagements of Diane, Babylon, and Black Mother; Havana Film Festival New York screenings; a series of Latin American sci-fi films co-presented with the Queens Museum; and the first part of See It Big! Action. In April, the Museum will also host the Theorizing the Web conference on April 12 and 13. Program schedules and tickets are available online at www.movingimage.us. MAJOR PROGRAMS AND FILM SERIES Penny Lane Is Her Real Name: a complete retrospective APRIL 5–7, 2019 (Penny Lane in person on April 6 & 7) The first complete retrospective of acclaimed documentary filmmaker Penny Lane, this weekend series opens with a screening of Banksy’s Exit Through the Gift Shop, a film that had a profound impact on Lane. She will appear in person with all screenings of her films, including a program of shorts, the features Our Nixon, Nuts!, and The Pain of Others, culminating with a preview screening of her new film Hail Satan?, an entertaining, provocative, and timely look at The Satanic Temple's battle for religious freedom and personal expression. Organized by Curator-at-Large David Schwartz. Press release | Schedule & Tickets NEW RELEASE Diane, directed by Kent Jones and starring Mary Kay Place APRIL 6–7, 2019 Built around an extraordinary, fearless performance from Mary Kay Place, the narrative debut from Kent Jones (Hitchcock/Truffaut) is a profound, beautifully human portrait of a woman rifling through the wreckage of her life in search of redemption. -
On the Appearance of the Comedy LP, 1957–1973
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 On the Appearance of the Comedy LP, 1957–1973 David Michael McCarthy The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1515 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ON THE APPEARANCE OF THE COMEDY LP, 1957–1973 by DAVID MICHAEL McCARTHY A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 ii © 2016 DAVID MICHAEL McCARTHY All rights reserved. iii On the Appearance of the Comedy LP, 1957–1973 by David Michael McCarthy This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ __________________________________________ Date Amy Herzog Chair of Examining Committee ___________________ __________________________________________ Date Norman Carey Executive Officer Supervisory Committee: Jane Sugarman, Advisor Anne Stone, First Reader Sumanth Gopinath Amy Herzog THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT On the Appearance of the Comedy LP, 1957–1973 by David Michael McCarthy Advisor: Dr. Jane Sugarman Many observers of contemporary comedy in the United States during the 1960s referred to musical aspects of extra-musical performances. Comedy LP records furnish important artifacts for the study of the musical appearances these observers produced for themselves. -
Black Experimental Narrative
Black Experimental CCA 2021 Narrative Foreword by Elena Gross In 1981, the late film historian Vito Russo penned the seminal text, The Celluloid Closet: Homosexu- ality in the Movies which analyzed representation of gay men and women in film from the silent era to the present-day. Like Russo, growing up closeted, watching films was a way of seeking out representa- tions of myself, some evidence of queer existence, my existence. Russo’s work validated this life- long fascination by presenting such a rigorous and thorough analysis of gay and lesbian existence on screen—the good, the bad, and the ugly. I felt a kinship in reading, and, ultimately, in watching, that made me feel more at home, at least with re- gard to my sexual identity. But that was as far as kinship would go. Much to my disappointment, Russo’s analyses of race in the movies were tepid at best, and troubling at worst. There were limits to his imagination when it came to the possibilities for black subjectivity on screen—how subversive it could be, how defiant, and beautiful, messy, and necessary. I realized that, growing up, I was not only looking for my queer forebears in the movies but for Blackness in its fullest complexity and in highest resolution. The world of Black narrative cinema opens up pos- sibilities not merely to see ourselves represented but to witness the true breadth of Black subjectiv- ity—the mundane, the grandiose, the lyrical, the speculative; where Blackness is not incidental, or conveniently used as a metaphor or rhetorical de- vice, but forefronted and embodied. -
Films by Black Creators
Free to Watch Now: Films by Black Creators Updated 04/12/21 Platform/App Film Direct Link Director Country Year Rating TRT Synopsis DOCUMENTARY+ 16 BARS Watch the film here Sam Bathrick USA 2018 NR 96 In a Virginia jail’s makeshift recording studio, four men collaborate on an album with Grammy-winning recording artist (docplus.com) “Speech” Thomas, from the hip-hop group Arrested Development. 16 BARS offers a rare glimpse at the stories — and songs — that are locked away in our nation’s jails and prisons. DOCUMENTARY+ THE BLACK CANDLE Watch the film here M.K. Asante USA 2008 NR 71 A documentary about the struggle and triumph of African-American family, community, and culture, using Kwanzaa as a (docplus.com) vehicle to celebrate the African-American experience. The seven principles of Kwanzaa (unity, self-determination, collective work and responsibility, cooperative economics, purpose, creativity and faith) are so important to African-Americans today. The documentary explores the holiday's growth out of the Black Power Movement in the 1960s to its present-day reality as a global, pan-African holiday embraced by over 40 million celebrants. DOCUMENTARY+ CAN YOU DIG THIS Watch the film here Delila Vallot USA 2015 TV-14 80 In South Central Los Angeles, four improbable gardeners join a movement to revolutionize one of the largest food deserts in (docplus.com) the country, discovering what happens when they put their hands in the soil. Produced by singer John Legend, this is a story of the perseverance of the human spirit. Fiverr OUT NORTH Watch the film here Gabrielle Woodland and Eric USA 2021 NR 17 When all the cards are stacked against you, do you fold, or do you change the game? Meet the activists and entrepreneurs Ryan Anderson transforming the neighborhood with the highest incarceration rate in the US. -
I Excavating the Ghetto Action Cycle (1991-1996): a Case Study for A
Excavating the Ghetto Action Cycle (1991-1996): A Case Study for a Cycle-Based Approach to Genre Study by Amanda Ann Klein B.A. in English, Cornell University, 1999 M.A. in English, University of Pittsburgh, 2001 Submitted to the Graduate Faculty of Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Amanda Ann Klein It was defended on July 24, 2007 and approved by Dr. Jane Feuer, Associate Professor, Department of English Dr. Neepa Majumdar, Assistant Professor, Department of English Dr. Paula Massood, Associate Professor, Department of English (Brooklyn College) Dissertation Chair: Dr. Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Amanda Ann Klein 2007 iii Excavating the Ghetto Action Cycle (1991-1996): A Case Study for a Cycle-Based Approach to Genre Study Amanda Ann Klein, Ph.D. University of Pittsburgh, 2007 The following dissertation, “Excavating the Ghetto Action Cycle (1991-1996): A Case Study for a Cycle-based Approach to Genre Theory,” traces an historical, cultural and theoretical genealogy for the ghetto action cycle. This controversial cycle, which was initiated by the success of films like Boyz N the Hood and Menace II Society, participated in the period’s broad cultural debates about race, class, crime and youth. As film cycles are strongly shaped by audience desire, financial viability, current events and studio whims, I argue that they retain the marks of their historical, socioeconomic and generic contexts more precisely than genres, which, because of their longevity and heterogeneity, can be unwieldy objects of study. -
By Richard Brody January 18, 2018
By Richard Brody January 18, 2018 Khalik Allah, one of the most original documentary filmmakers working today, has made only a few short films and one feature to date, “Field Niggas” (the title is derived from a remark by Malcolm X), which he put out on YouTube and Vimeo and which was released, briefly and scantly, in 2015. (He was also one of the cinematographers for Beyoncé’s “Lemonade.”) The inspiration for Allah’s movies is on view in his photo book, “Souls Against the Concrete” (University of Texas Press), a series of images that were made, like his films, at the corner of 125th Street and Lexington Avenue at night. These images—of people, mainly black people, many of whom endure drug addiction, physical infirmities, poverty, homelessness, and harassment from the police—have an essential documentary urgency. They also have a spiritual essence, an element of passion and grace that’s revealed by Allah’s compositional grandeur and textural intimacy—but these revelations of style arise from his own experience, which he also details in the book, in an extraordinary personal essay, “Camera Ministry.” In the essay, Allah—who has an exhibition opening at New York’s Gitterman Gallery, in March—discusses his first enthusiasm for filmmaking, in the late nineteen-nineties, as a teen-ager from Long Island, at the same time that he began to frequent Harlem, to study the work of the Five Percent Nation, and to become friends with members of the Wu-Tang Clan. He discusses the happenstance of his sudden interest in photography at a time, in his early twenties, when he had put his filmmaking on hold. -
This Book Will Be Read and Cited for Decades. Urton's Work Is Absolutely Brilliant
SPRING | FALL 2017 london university of texas press From Souls Against the Concrete by Khalik Allah We live in an information-rich world . As a publisher of international scope, the University of Texas Press serves the University of Texas at Austin community, the people of Texas, and knowledge seekers around the globe by identifying the most valuable and relevant information and publishing it in books, journals, and digital media that educate students; advance scholarship in the humanities and social sciences; and deepen humanity’s understanding of history, current events, contemporary culture, and the natural environment. university of texas press | Index by Title | The American Idea of Home, contents Friedman . .26 Books for the Trade . .6–31 Andean Cosmopolitans, de la Puente Luna . .92 Trade Backlist . 32–35 Bad Girls of the Arab World, Books for Scholars . 36–95 67 Yaqub . New in Paper . 96 At the Crossroads, Paquette . .78–79 Award Winners . 97 Batos, Bolilos, Pochos, and Pelados, Texas on Texas . 10 0 – 111 Richardson & Pisani . .78 Sales Information . 1. 12 Blood of the Earth , Young . .80 Sales Representatives . 11. 3 Books are Made of Books, Crews . 21 Staff List . .114–115 Breakfast in Texas, Index by Author . 1. 15 Thompson-Anderson . 102–104 The Chora of Metaponto 7, Carter . 71 Perfectly Good Guitar, Inka History in Knots, Holley . 18–19 Chrissie Hynde, Sobsey . 16 –17 Urton . .40 –41 Picturing Childhood, Cineaste on Film Criticism, Iowa, Rexroth . 8–9 Heimermann . 52. Programming…. Lucia . 30. Jazz and Cocktails, Wager . .48 Power Moves, Shelton . .116 Comic Book Film Style , Jewish Latin American Cinema, Jeffries . -
The Echo: May 14, 2020; Eddie Murphy Returns to the Spotlight As
5/14/2020, 9:00AM Eddie Murphy returns to the spotlight as Rudy Ray Moore “Dolemite is My Name” highlights an inyuential icon and era By ETHAN RICE Rudy Ray Moore (Eddie Murphy) struggles to xnd his place in the white-dominated movie industry in “Dolemite is My Name” On the streets of 1970’s Los Angeles, one comedy legend steps into the shoes of another as Eddie Murphy takes on the true story of struggling-artist-turned- unlikely-superstar Rudy Ray Moore. A little known but hugely inyuential artistic xgure, Moore was a struggling comic and musician who crafted stories from street poets and African heritage into a character act telling profane tales of outrageous exploits. Moore would go on to produce and star in multiple movies based on his characters, most famously a martial arts-wielding pimp named Dolemite. Directed by Craig Brewer, the 2019 Netyix-original biopic “Dolemite is My Name” (R) follows Moore’s journey from the invention of the Dolemite character to the 1975 release of the original movie. Murphy plays Moore as an earnest man deeply immersed in the culture of African American art and caught up in the thrall of Hollywood. Moore just can’t seem to catch a break, however. Already existing on the outskirts of industries dominated by powerful white men, he’s too broke, too fat and too out of date, stuck working a day job at the famous Dolphin’s of Hollywood record store to get by. He spends his days trying to get the store’s resident DJ, Roj (Snoop Dogg), to play his records and his nights delivering lame jokes as a club’s M.C., opening for his friend Ben (Craig Robinson) and his band.