anyone know which block this bitch was filmed on?
(internets not helping obv)
― jhoshea (scoopsnoodle), Wednesday, 16 August 2006 22:24 (twelve years ago) link
― mentalismé (sanskrit), Wednesday, 16 August 2006 23:02 (twelve years ago) link
― Rickey Wright (Rrrickey), Wednesday, 16 August 2006 23:14 (twelve years ago) link
― whenuweremine (whenuweremine), Thursday, 17 August 2006 01:44 (twelve years ago) link
― jhoshea (scoopsnoodle), Thursday, 17 August 2006 01:54 (twelve years ago) link
― mentalismé (sanskrit), Thursday, 17 August 2006 14:03 (twelve years ago) link
― jhoshea (scoopsnoodle), Thursday, 17 August 2006 17:58 (twelve years ago) link
― mentalismé (sanskrit), Thursday, 17 August 2006 18:21 (twelve years ago) link
"This weekend, Kate and I watched Spike Lee's Do the Right Thing (1989) on DVD. That was filmed on location a few blocks from where I lived in Bedford-Stuyvesant (my block was actually in the historic district of Stuyvesant Heights)"
Or email the blogger of this?
― Alba (Alba), Thursday, 17 August 2006 18:29 (twelve years ago) link
― jhoshea (scoopsnoodle), Thursday, 17 August 2006 18:48 (twelve years ago) link
movie is 20 yrs old today
― zzz (deej), Tuesday, 7 July 2009 14:38 (ten years ago) link
Release dates forDo the Right Thing (1989) More at IMDbPro »advertisementCountry DateFrance May 1989 (Cannes Film Festival)France 14 June 1989 UK 23 June 1989 USA 30 June 1989 West Germany 13 July 1989 Netherlands 27 July 1989 Argentina 31 August 1989 Finland 6 October 1989 Sweden 6 October 1989 Australia 14 December 1989 Japan 21 April 1990
― FREE DOM AND ETHAN (special guest stars mark bronson), Tuesday, 7 July 2009 14:42 (ten years ago) link
stuy & lex is only a few bloxx from me
― rip dom passantino 3/5/09 never forget (max), Tuesday, 7 July 2009 14:49 (ten years ago) link
had always heard "bagel and lox" as "beggar in the lot"
― how's life, Friday, 8 February 2013 12:00 (six years ago) link
not esp funny after the Amy Goodman cameo, but still it's the thought that counts
also the Two Boots masqurading as Sal's was my go-to Park Slope bar at the turn of the millennium lol
didn't recognize Mookie either
― skateboards are the new combover (Dr Morbius), Sunday, 25 October 2015 16:19 (three years ago) link
in Brooklyn they'll be showing a new 35mm print as well as a new 4K
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Sunday, 23 June 2019 12:47 (four weeks ago) link
didn't realize Trump is namechecked between Aiello and cop, or think that we'd notice in 2019
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Friday, 5 July 2019 02:52 (two weeks ago) link
RIP Paul Benjamin, of the 3-man Greek chorus
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Saturday, 6 July 2019 03:30 (two weeks ago) link
on Ossie and Ruby
So powerful is the symbolic presence of Dee and Davis in Do the Right Thing that their performances almost demand to be read allegorically. And they have been, since the film’s 1989 release: reviewing in The New York Times, Vincent Canby wrote that Dee and Davis “preside over it, as if ushering in a new era of black filmmaking.” When their shared archive was acquired by the Schomburg Center for Research in Black Culture last year, Jennifer Schuessler implicitly cast the film as the culmination of their lives’ work as the first couple of African- American acting, tracing their paths from Harlem theater in the 1940s, through many years of lauded performances and political activism, to the crowning cinematic moment of Do the Right Thing.
Lee’s film directly invites this reading, but the focus on this one particular allegory—the generational allegory—has obscured something important about the way these performances function in the film. Dee and Davis are not there simply to stand in for their generation; they are, more specifically, representatives of a performance culture that was directly connected to the politics of a historical moment. Ossie Davis and Ruby Dee, actors, writers, organizers, and activists widely referred to as the “first couple of the Civil Rights Movement,” and credited by Oprah Winfrey as forerunners to her own “crossover” success as an African-American public figure, were everywhere in the 1960s. Already famous for their theater work, particularly their performances in Lorraine Hansberry’s A Raisin in the Sun in 1959 (Dee originated the role of Ruth; Davis took over the role of Walter Lee from Sidney Poitier), and for their support of blacklistee Paul Robeson (for which they were subpoenaed by the House Un-American Activities Committee), they boast a dual biography that reads like a timeline of progressive politics: in 1963, they were emcees at the March on Washington for Jobs and Freedom and formed the Association of Artists for Freedom with James Baldwin, Odetta, and others; in 1965, Davis gave the eulogy for Malcolm X; in 1966, they both participated in the Read-In for Peace in Vietnam; in 1967, Davis spoke at the famous meeting of the Clergy and Laity Concerned about Vietnam, where Martin Luther King Jr. came out against the war; in 1968, Davis spoke at his memorial. In between, they campaigned, wrote letters, made speeches, published articles and responses—and performed, wrote, and produced theater and film. As a couple who frequently worked together, they are among the rare successful married artists who have become iconic as paragons of marriage itself; as performers equal in stature and lauded as both artists and public figures, they remain unmatched in American culture.
Today, in 2019, 30 years after Do the Right Thing’s release, as more and more mid-century icons recede through natural or unnatural attrition (people die; histories get rewritten), it’s a good time to reassess the film vis-à-vis Dee and Davis, and think more deeply about what it means that Lee presents these two as ancestors and antecedents. It also feels important, as mid-century performance styles themselves recede, to reassess how the film’s questioning of the politics of representation extends to acting. If the question at the heart of Do the Right Thing is how to conceive post–“Martin and Malcolm” black political action, what does the film present as post–“Ruby and Ossie” black political *acting*?
― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Tuesday, 9 July 2019 20:22 (one week ago) link