Word: shafted
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...time hours each week... Attempts to vary that formula have stretched as far as TV writers' imaginations can fetch. The good guys come in wondrous array: in uniform (Adam-12, The Rookies), in disguise (Toma), in court (Perry Mason, Owen Marshall) and in hayseed (Hawkins, McCloud). They are black (Shaft, Tenafly), elderly (The Snoop Sisters), bald (Kojak), Polish (Banacek), portly (Cannon), paralytic (Ironside) and partly computer (The Six Million Dollar Man). They work alone (Mannix), in pairs (The Streets of San Francisco, Faraday and Company, McMillan & Wife) and in precision-movement teams (Chase, Hawaii Five-O). --TIME...
...very characteristic of an administration infamous for cracking down on finals clubs and the student union and giving undergraduates the shaft,” said Hillary Robinson ’03, president of the H-club...
...strong black man who fought, had explicit sex and tangled with white cops, yet didn't get killed for it by the end of the movie. Blaxploitation's heroes, men and women, had attitude and style and were true to the experience of black moviegoers. Roundtree's John Shaft, as Isaac Hayes sang, was "the black private dick that's a sex machine to all the chicks"--but couldn't hail a cab in Manhattan. "We knew him," Samuel L. Jackson remembers. "We felt...
BaadAsssss also examines the music, which the larger (i.e., white) audience probably knows better than the movies. There is archival footage of Shaft's director, Gordon Parks, coaching Hayes as he records the movie's funk-legend theme, and critic Elvis Mitchell explains how Curtis Mayfield's antidrug score for Superfly subtly rebuts the movie's pusher-glorifying plot (the same tension as exists in much gangsta rap). The documentary confirms blaxploitation's lasting influence on music and movies by interviewing Afeni Shakur (mother of late rapper Tupac) and Quentin Tarantino, the white boy whom blaxploitation made. The Oscars...
...BaadAsssss also examines the music, which the larger (i.e., white) audience probably knows better than the movies. There is archival footage of Shaft's director, Gordon Parks, coaching Hayes as he records the movie's funk-legend theme, and critic Elvis Mitchell explains how Curtis Mayfield's antidrug score for Superfly subtly rebuts the movie's pusher-glorifying plot (the same tension as exists in much gangsta rap). The documentary confirms blaxploitation's lasting influence on music and movies by interviewing Afeni Shakur (mother of late rapper Tupac) and Quentin Tarantino, the white boy whom blaxploitation made. The Oscars...