They discuss race, the relationship between police and civilians and more. Before cell-phone cameras were ubiquitous, video footage of violent encounters between police and citizens was mostly relegated to dashboard footage from a police car or a passerby armed with professional recording equipment. Jenkins attempts to break down the various intersections of cultural and social history in Los Angeles that helped create such a constantly-exploding powder keg. Let the money-worshipping mother f'ers burn. Viewed from a multitude of vantage points through visceral and rarely seen archival footage, the film brings a fresh perspective to a pivotal moment that reverberates to this day. You know, anyone who got something fraudulently, let's let them keep it, forever.
Heck, good people are getting laid off or having pay cuts having done their jobs well - unemployment is up to almost 8 percent in California - but the Wall Streeters responsible, give them our money, and let them keep making tons. Burn mother f'er, burn No I'm not joking. Burn mother f'er, burn No I'm not joking. But Gates' reign could be seen as a continuation of Parker's reign, with the same implicit and explicit racism, the same deadly use of force. Even better, you want me to give money to help those idiots who took my house with their oversized, unaffordable bid - you want me to pay so they can stay in there while I remain out in noisy neighborland? Using no narration or talking head interviews, the filmmakers decided to take a bold approach: to reconstruct the tumultuous events that unfolded in 1992 by exclusively using archival footage and photographs. Why y'all shoot that man? September 20, 2008 — The roof, the roof, the roof is on fire. Bad choice granny, you're on your own.
Through the backdrop of these inflection points, the conflict is seen through the lens of three generations of local residents, community organizers, artists and influencers who lived through the uprising, illustrating the root causes, and the continued struggle for social justice. Culling thousands of hours of visceral broadcast news footage, radio reports, police files and personal home videos - some of which have never been broadcast - the filmmakers tell the story through a variety of different points of view and perspectives and set it all to a rich orchestral score composed by Danny Bensi and Saunder Jurriaans. . The film traces a throughline from the 1962 ransacking of a Los Angeles Nation of Islam mosque which left many injured and one man dead to the 1965 Watts riots, the rise of L. They'd hoped to make a profit. Something like Watts in 1965 does not come out of nowhere.
This gave me a much better perspective of what is actually happening. The 90-minute documentary premieres on Showtime on April 21 at 9 p. And heck, that'll end unemployment. The film traces a throughline from the 1962 ransacking of a Los Angeles Nation of Islam mosque which left many injured and one man dead to the 1965 Watts riots, the rise of L. It's a bit above average production. I don't generally watch these types of films but the trailer for this movie intrigued me enough and the source material is something that I feel everyone should know more about including myself.
That'll fix the housing market real quick. Bush in the White House. For a decade I haven't been able to afford a house because idiots have been buying houses at prices no one can afford with mortgages they knew they couldn't pay. Let the money-worshipping mother f'ers burn. It's such a welcome addition, and a hugely important part of any telling of this particular slice of history. The 90-minute documentary will premiere on on Friday, April 21 at 9 p. In the piece, promising a collision of history, poetry, and tragedy, Smith tackles the harrowing odyssey of Rodney King, from the national spotlight as the victim of police brutality, to his involuntary martyrdom that ignited the L.
The 90-minute documentary will premiere on Showtime on Friday, April 21 at 9 p. The movie was filmed as you would see on an hour long special on the history channel. If such devices were used throughout, it would represent a running commentary on the footage, a stylistic choice, but when it's used only once or twice it feels half-finished, like a half-developed idea. And after all the rich people are no longer rich, and all the idiots who are in houses they couldn't afford are out on their asses, guess what: people like me who saved instead of taking out stupid loans will be able to step into mansions, being the people with money as the economy collapses for everyone else. Let me tell you something: I'm still renting. Start your 30-day free trial now.
I guess the lesson is I should have been a friggin' idiot and took out a loan I couldn't pay. Let's keep Saddam in Kuwait. For a decade I haven't been able to afford a house because idiots have been buying houses at prices no one can afford with mortgages they knew they couldn't pay. The films features interviews from a diverse group of Los Angelenos including: Danny Bakewell Sr. And so I sat in my damned rental waiting for the market to shake them out, so finally, finally, I could buy a damned house. Counteracting that cynical apathy is the vibrant Black Lives Matter movement, and the galvanizing force of social media, all of which shine a constant spotlight on the issue of racism and police brutality. Don't want George Bush to stay in the White House? We don't need no water let the mother f'er burn.
The film traces a throughline from the 1962 ransacking of a Los Angeles Nation of Islam mosque which left many injured and one man dead to the 1965 Watts riots, the rise of L. Oscar-winning screenwriter Budd Schulberg formed the Watts Writers Workshop in 1965 after the uprising, and along with that came an artistic resurgence, poetry clubs, painting classes, a rich music scene. I've only really heard about the problems black people face when dealing with the police and from a few videos of police shootings that were completely uncalled for. Cut me a deal baby. The films features interviews from a diverse group of Los Angelenos including: Danny Bakewell Sr. Let me tell you something: I'm still renting. I'm a self-made monster of the city streets Remotely controlled by hard hip-hop beats But just living in the city is a serious task Didn't know what the cops wanted, didn't have time to ask.