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Dolemite

Dolemite is a fictional character created and portrayed by American comedian and actor Rudy Ray Moore, embodying a profane, rhyming pimp and crime-fighter in urban folklore-inspired toasts that Moore adapted for his stand-up routines and recordings in the late 1960s.^[1]^[2] Moore developed the persona after overhearing rhymed street stories from a vagrant customer named Rico at a Los Angeles record store where he worked, incorporating the character's boastful, obscenity-laced monologues into comedy albums that he sold independently from his car trunk, achieving underground success in African American communities.^[1]^[2] The character gained wider notoriety through the 1975 low-budget blaxploitation film Dolemite, written, produced, and starring Moore as a jailed pimp released to dismantle a drug ring using martial arts, firearms, and allies including prostitutes trained in combat; the production, funded by Moore with approximately $100,000 and crewed by unpaid UCLA film students, featured improvised dialogue, visible production errors like errant boom microphones, and enthusiastic but amateurish action sequences.^[3]^[4] Despite critical derision for its technical shortcomings and exploitative content, the film developed a cult following, particularly among hip-hop artists who emulated its rhythmic profanity and bravado, crediting Moore's innovations in spoken-word rhyme as precursors to rap music.^[5]^[1] Moore reprised Dolemite in sequels like The Human Tornado (1976) and continued performing the routine until his death in 2008, cementing the character's legacy as a symbol of DIY filmmaking and unpolished cultural expression in American entertainment.^[6]^[3]

Origins of the Dolemite Persona

Rudy Ray Moore's Early Career and Comedy Roots

Rudy Ray Moore, born Rudolph Frank Moore on March 17, 1927, in Fort Smith, Arkansas, and raised in Cleveland, Ohio, initiated his entertainment pursuits following service in the United States Navy during World War II.^[7] He commenced performing as a singer in Cleveland nightclubs, supplementing income through manual labor such as dishwashing, amid a landscape of limited opportunities for Black artists in mainstream venues.^[8] By the mid-1950s, Moore recorded rhythm and blues singles on small independent labels, yet encountered consistent rejections from major record companies seeking more conventional material.^[8] In the late 1960s, Moore pivoted to stand-up comedy, honing routines in nightclubs across Detroit and Los Angeles that incorporated profane language, sexual themes, and oral traditions like the "Signifying Monkey" toast drawn from urban Black folklore.^[7] These performances, often delivered as emcee or solo acts, emphasized raw, unfiltered storytelling over polished appeal, reflecting his adaptation to audiences receptive to explicit content excluded from broadcast media.^[7] Facing barriers to traditional industry entry, Moore self-financed recordings of these routines, releasing "party records" on his own labels that captured live-style banter and built a dedicated underground following through direct sales at shows and independent distribution.^[8] This era underscored Moore's entrepreneurial persistence, as he bypassed gatekeepers by producing approximately 17 such albums, prioritizing volume and accessibility over commercial sanitization, which laid the groundwork for his later independent ventures.^[7] Albums like The Turning Point (1972) exemplified this approach, compiling comedic narratives that resonated with working-class listeners attuned to vernacular humor, though they garnered no mainstream radio play due to their candid explicitness.^[8] His trajectory from fringe performer to self-sustaining artist highlighted a reliance on personal initiative amid systemic exclusions in the entertainment industry.^[7]

Development of the Dolemite Character

The Dolemite persona originated in 1970 when Rudy Ray Moore, working at a Los Angeles record store, drew inspiration from the lewd, boastful rhymes and tall tales recounted by a frequent drunken patron known as Rico, a homeless storyteller whose narratives featured exaggerated feats of a pimp-like anti-hero named Dolemite.^[1]^[9] Unable to record Rico due to his intoxication, Moore adapted the material himself, incorporating elements of urban folklore such as the "signifying monkey" rhyme tradition and crude toilet humor overheard in social settings.^[2] This formed the basis for the character's debut on Moore's self-released party album Eat Out More Often, where Dolemite emerged as a verbose, sexually aggressive figure boasting superhuman prowess in fights and conquests.^[2] Moore expanded the character across subsequent recordings, including the 1970 follow-up This Pussy Belongs to Me, by employing multi-track recording techniques to simulate dialogues and crowd responses, often enlisting friends to provide additional voices for comedic effect.^[1] These albums portrayed Dolemite as a larger-than-life hustler engaging in profane signifying battles and absurd escapades, refining the persona through iterative performances that blended rhymed toasts with pimp archetype bravado. Live nightclub routines further developed Dolemite, as Moore began embodying the character onstage with customized attire and mannerisms to heighten audience engagement.^[9] The shift to Dolemite represented a pragmatic response to commercial pressures, as Moore's prior attempts at clean comedy and musical recordings had yielded limited sales through conventional channels.^[2] By pivoting to explicit content that tapped into underground demand for risqué party records, Moore achieved independent distribution success, personally hawking albums from his car trunk to liquor stores and urban outlets, which resonated with audiences seeking unfiltered, street-level humor over polished mainstream fare.^[1] This approach, as Moore later recounted, capitalized on the era's appetite for boundary-pushing material, enabling self-financed expansion of the persona beyond audio into visual media.^[9]

Film Overview

Plot Summary

Dolemite, a flamboyant pimp and nightclub owner portrayed by Rudy Ray Moore, is serving a prison sentence after being framed for drug possession by corrupt police captain Blake (Howard Maitland) and his rival pimp, Willie Green (D'Urville Martin).^[4] A sympathetic warden, convinced of Dolemite's innocence based on new evidence, releases him with a mandate to combat the city's drug trade and prove his frame-up.^[4] Upon exiting prison, Dolemite is greeted by his loyal associate Queen Bee (Vainus Rackstraw), who operates his brothel and helps coordinate his return.^[10] Determined to reclaim his business and exact revenge, Dolemite recruits his former prostitutes, training them in kung fu under the guidance of martial arts expert Black Belt Jones (Rudy Ray Moore in a dual role) to form an elite combat unit.^[11] The group launches a series of raids on criminal operations, including shootouts at nightclubs and confrontations with Green’s henchmen, escalating tensions with the police. Key sequences feature improvised martial arts fights, explicit dialogue emphasizing bravado and retribution, and chases through urban settings.^[4] The narrative builds to climactic battles where Dolemite dismantles Green's network and exposes the corrupt captain, resolving the frame-up through direct action rather than legal means. The 90-minute film, scripted by Jerry Jones, incorporates non-linear flashbacks to Dolemite's pre-incarceration exploits as a pimp enforcing his domain with threats and violence.^[4]^[12]

Cast and Key Roles

Rudy Ray Moore portrayed the lead role of Dolemite, a character derived from his own stand-up comedy persona as a brash pimp figure.^[4] The casting reflected Moore's direct involvement, as he self-financed and starred in the production without relying on professional Hollywood actors.^[13] Lady Reed played Queen Bee, Dolemite's steadfast female companion and aide, marking her film debut as a performer from Moore's comedy entourage.^[14]^[15] D'Urville Martin, who also directed the film, took on the antagonist role of Willie Green.^[4]^[16] Jerry Jones appeared as Blakeley, a figure of local authority, while also contributing as a screenwriter, exemplifying the multi-role participation common in the low-budget endeavor.^[17] Hy Pyke was cast as the Mayor, and supporting parts included musicians such as Howard Hewett as a singer and James Ingram as a keyboard player, underscoring the use of local talent from West Coast entertainment scenes rather than seasoned film performers.^[18] The cast's composition, drawn primarily from Moore's touring comedy group and non-actors, demonstrated resourceful improvisation amid financial constraints, bypassing traditional casting agencies.^[16]

Production Process

Financing and Independent Approach

Rudy Ray Moore independently financed the 1975 blaxploitation film Dolemite using profits from his self-released comedy albums and live performances, amassing approximately $100,000 for production without relying on studio backing or external subsidies.^[19]^[20] This bootstrapped approach stemmed from rejections by major Hollywood studios, which viewed the project's explicit language, sexual content, and pimp-centric narrative as unpalatable for mainstream distribution.^[8] Moore's decision reflected a pragmatic response to systemic barriers in an industry dominated by white executives skeptical of Black-led projects outside conventional narratives, compelling him to leverage personal earnings and networks rather than seek institutional validation. Production commenced in 1974, with Moore retaining full creative control by assembling a low-cost team, including hiring actor D'Urville Martin as director through informal connections rather than formal industry channels.^[21] This DIY strategy minimized overhead by utilizing amateur crews, such as film students, and locations like a condemned hotel, underscoring Moore's entrepreneurial risk in wagering his career savings on a venture that bypassed traditional gatekeepers.^[1] Post-filming, Moore secured limited distribution through Dimension Pictures, which had initially rejected his pitch but later handled theatrical rollout after completion, allowing him to preserve autonomy over content while accessing limited exhibition circuits.^[22] This partnership highlighted the causal interplay between independent funding and opportunistic alliances, enabling market entry without ceding directorial or narrative oversight to external financiers.

Filming Challenges and Techniques

The production of Dolemite employed guerrilla filming methods in Los Angeles, utilizing real-world locations such as condemned hotels repurposed as drug dens, junkyards, and public spaces without formal permits to minimize costs and expedite shooting.^[23]^[1] These tactics, common in independent cinema of the era, exposed the crew to interruptions from authorities and environmental hazards but allowed for authentic urban grit unattainable through studio sets.^[20] An inexperienced cast and non-professional crew, largely comprising Rudy Ray Moore's personal acquaintances, contributed to pervasive technical deficiencies, including frequent visibility of the boom microphone in frames and inconsistent lighting from handheld equipment.^[20]^[24] Location audio proved unreliable due to ambient noise and substandard recording gear, necessitating extensive post-synchronization of dialogue, which resulted in audible mismatches between actors' lip movements and spoken lines.^[25] Action sequences highlighted these limitations, with fight choreography marred by obvious punch misses, actors visibly leaping into position mid-strike, and continuity lapses such as abrupt changes in participants' positions or injuries between shots.^[26]^[27] Director D'Urville Martin's approach was reportedly lax, prompting repeated on-set interventions by Moore as producer and lead to redirect scenes and ensure alignment with his vision of the character.^[28] Post-production editing amplified the film's rough-hewn quality, yielding choppy pacing and abrupt transitions evident in surviving prints, as the assembly prioritized speed over polish amid resource constraints.^[29] These elements, while compromising conventional craftsmanship, underscored the film's raw, unfiltered aesthetic born of practical necessity.^[20]

Release and Contemporary Reception

Initial Distribution and Box Office

Dolemite was distributed by Dimension Pictures, an independent company specializing in low-budget exploitation films, with an initial premiere on March 7, 1975, in Indianapolis, Indiana, followed by a wider U.S. theatrical release starting April 26, 1975.^[30] The film played primarily on double bills in grindhouse theaters and drive-ins, formats common for B-movies targeting working-class and urban audiences during the mid-1970s.^[31] Lacking support from major studios, its rollout emphasized limited regional bookings without national advertising campaigns, relying instead on grassroots promotion.^[13] Rudy Ray Moore supplemented the distribution by conducting personal appearances and live comedy tours at theaters screening the film, fostering word-of-mouth buzz among black urban communities where his stand-up persona had established a following.^[32] This approach capitalized on the film's quotable, rhyming dialogue and over-the-top action, encouraging repeat viewings among fans who memorized and recited lines.^[33] Financially, Dolemite achieved significant returns relative to its estimated $100,000 production budget, grossing over $6 million in its first 14 weeks of release as reported in contemporary trade publications.^[34] Overall domestic earnings are estimated at approximately $12 million, underscoring the profitability of independent blaxploitation fare in underserved markets despite the absence of mainstream promotion.^[35]

Critical and Audience Responses in the 1970s

Contemporary critical reception to Dolemite was sparse, as the film's independent release limited its exposure to mainstream outlets, which largely overlooked or dismissed it for technical shortcomings like wooden performances, incoherent scripting, and shoddy production elements such as visible boom microphones.^[36] Where acknowledged, reviewers emphasized its amateurish execution over any artistic merit, aligning with broader skepticism toward low-budget blaxploitation entries.^[37] In contrast, audience responses among black working-class viewers were enthusiastic, drawn to the film's energetic humor, profane rhymes, and themes of personal empowerment through Dolemite's pimp persona triumphing over corrupt authorities and rivals.^[38] This appeal stemmed from an unmet demand for self-representational entertainment featuring unapologetically bold black protagonists, fueling word-of-mouth turnout in urban theaters and profitability despite negligible marketing.^[39] Black press coverage provided a more engaged counterpoint to mainstream indifference, with Rudy Ray Moore observing in 1978 that era-specific commentary originated predominantly from those publications rather than white press, indicating targeted resonance within black communities.^[40] While some outlets valued its independent portrayal of black agency and comedy, the blaxploitation genre overall—including Dolemite—elicited mixed reactions, polarizing viewers between appreciation for visibility and concerns over stereotypical or undemanding content.^[36]

Long-Term Impact and Rediscovery

Cult Following and Home Video Era

In the decades following its limited 1975 theatrical release, Dolemite developed a cult following driven by fan-driven circulation of bootleg videotapes and underground screenings, particularly among enthusiasts of blaxploitation and independent cinema in the 1980s. This organic preservation, independent of major studio support, relied on informal networks that kept the film alive through word-of-mouth and private viewings, fostering appreciation for Rudy Ray Moore's unpolished, self-financed style. Xenon Home Video formalized access with the first official VHS release in 1987, which ran 91 minutes and introduced the film to broader home audiences via rental stores and collectors.^[41] The VHS edition's availability sustained niche interest into the 1990s, with fans trading copies and hosting private events that emphasized the film's raw energy and Moore's rhymed dialogue. Xenon Entertainment Group expanded this revival with DVD releases starting around 2002, including editions bundled in collections like The Dolemite Collection featuring extras such as theatrical trailers, radio spots, and location tours with Moore himself.^[42] These formats preserved the original transfer's quirks, including visible boom mics from the low-budget production, which cult viewers embraced as authentic markers of its guerrilla ethos.^[43] Rudy Ray Moore's death on October 19, 2008, from diabetes-related complications prompted tributes that highlighted Dolemite's foundational role in rap-influenced comedy, with rapper Snoop Dogg crediting Moore directly for paving his path.^[44] This personal milestone amplified fan efforts but occurred before wider institutional rediscovery, underscoring the home video era's reliance on dedicated preservation rather than commercial hype. Steady demand for these physical media sustained revenue in specialty markets, reflecting the film's enduring appeal to those valuing unvarnished outsider artistry over polished narratives.

Influence on Comedy, Music, and Film

Rudy Ray Moore's portrayal of Dolemite exemplified a profane, boastful comedic style rooted in African American oral traditions like toasts and signifying, which directly influenced subsequent comedians through its character-driven humor and unfiltered delivery.^[5] Eddie Murphy has cited Moore's raunchy 1970s routines as a formative influence on his own early stand-up, crediting the audacious persona for shaping his approach to edgy, persona-based performance.^[45] This style's emphasis on self-promotion and raw authenticity resonated in comedy acts prioritizing bold, unapologetic narratives over polished production. In music, Moore's recordings, including Dolemite albums featuring rhythmic toasts and rhymed boasts, prefigured hip-hop's lyrical structure and served as a foundational influence on rap artists. Snoop Dogg has explicitly stated that "without Rudy Ray Moore, there would be no Snoop Dogg," highlighting Moore's role in pioneering the pimp archetype and flow that permeated West Coast rap.^[46] Ice-T and others like Big Daddy Kane drew from Moore's "godfather of rap" status, with his profane monologues inspiring gangsta rap's narrative bravado.^[47] Empirically, Moore's tracks were sampled extensively in hip-hop production; for instance, his "Signifying Monkey" routine appears in Dr. Dre's "Deeez Nuuuts" (1992) with Snoop Dogg, and elements from his discography underpin 2 Live Crew's "Dick Almighty" (1989), preserving and amplifying these oral traditions in over a dozen documented instances.^[48] Moore's Dolemite film modeled a DIY approach to independent production, financing and distributing via personal hustle, which echoed in blaxploitation sequels like The Human Tornado (1976), where he reprised the role amid similar low-budget ingenuity.^[49] This ethos of self-reliant filmmaking influenced later indie creators by demonstrating viable paths outside studio gatekeeping, as seen in the parody Black Dynamite (2009), which homages Dolemite's plot contrivances, action tropes, and stylistic quirks as archetypal of the genre's marginal triumphs.^[10] The film's cult persistence underscored a blueprint for bootstrapped cinema, prioritizing creator vision over technical polish.^[50]

The 2019 Biopic and Renewed Interest

Dolemite Is My Name is a 2019 biographical comedy film directed by Craig Brewer, with Eddie Murphy portraying Rudy Ray Moore in a dramatization of the comedian's efforts to produce and release his 1975 film Dolemite.^[51] The Netflix original premiered at the Toronto International Film Festival on September 7, 2019, before streaming worldwide on October 25, 2019.^[51] Featuring a supporting cast including Wesley Snipes, Mike Epps, and Tituss Burgess, the film emphasizes Moore's self-reliant hustle, including raising funds through personal album sales and recruiting non-professional actors to overcome Hollywood rejections.^[52] Critics praised the film's energetic portrayal of Moore's underdog determination, earning a 97% approval rating on Rotten Tomatoes from 234 reviews, with consensus highlighting Murphy's committed performance in capturing Moore's brash persona and DIY filmmaking ethos.^[53] At the 77th Golden Globe Awards, Dolemite Is My Name received nominations for Best Motion Picture – Musical or Comedy and for Murphy's performance in Best Actor – Musical or Comedy, though it secured no victories; Murphy also garnered Critics' Choice and other critics' circle nods for his role.^[54]^[55] The biopic catalyzed renewed attention to Moore's original Dolemite, driving increased streams and viewership of the 1975 cult classic on platforms like Netflix, where the film's low-budget charm and Moore's unfiltered comedy found fresh appreciation among new audiences.^[52] This revival underscored Moore's agency as a trailblazing independent producer who bypassed establishment barriers through sheer persistence, rather than portraying him primarily as a victim of systemic exclusion.^[39]

Controversies and Debates

Blaxploitation Genre Critiques

Blaxploitation films emerged in an era when major Hollywood studios provided minimal investment in black-led projects, creating opportunities for independent black producers to fill market gaps through low-budget ventures targeted at underserved black audiences. These productions, often financed by black entrepreneurs like Rudy Ray Moore for Dolemite (1975), demonstrated viability by generating profits that sustained further independent work, with Moore self-funding the film using earnings from his comedy records and achieving commercial returns that supported his ongoing tours and recordings.^[19]^[56] The genre's economic model highlighted black entrepreneurial initiative, as low production costs—typically under $1 million per film—yielded high returns in urban theaters, exemplified by hits like Super Fly (1972), which grossed $24.8 million domestically.^[57] This approach countered studio underinvestment, enabling black casts, crews, and narratives centered on racial empowerment, though primarily through action-oriented formulas rather than diverse storytelling.^[58] Critics, particularly from civil rights organizations, contended that blaxploitation exploited black audiences by prioritizing profit over positive representation, with the NAACP leading 1970s backlash alongside groups like the Congress of Racial Equality (CORE) and Southern Christian Leadership Conference (SCLC) for films that glorified criminality, drug use, and hyper-masculine antiheroes such as pimps and hustlers.^[59]^[60] The NAACP specifically decried portrayals that entrenched negative stereotypes, arguing they undermined community progress by normalizing vice as heroic rebellion against systemic oppression.^[61] Defenders, including some filmmakers, countered that such content reflected audience demands for unfiltered depictions of urban black life ignored by mainstream cinema, fulfilling a commercial niche without studio oversight.^[58] Debates over the genre's intent reveal tensions between views of it as exploitative opportunism—often emphasized in left-leaning critiques focused on Hollywood's profit motives and reinforcement of underclass imagery—and perspectives highlighting market-driven black enterprise that bypassed gatekept industries.^[59]^[62] Empirically, blaxploitation's profitability sustained black independent production amid broader industry contraction, yet its formulaic emphasis on sensationalism raised questions about whether it crowded out more substantive black cinema or merely capitalized on voids in representation, with limited evidence of long-term economic empowerment for black filmmakers beyond short-term gains.^[63]^[64] These dynamics underscore causal trade-offs: immediate access to visibility and revenue versus potential entrenchment of reductive tropes that civil rights advocates saw as counterproductive to broader uplift.^[65]

Representations of Race, Violence, and Stereotypes

The film Dolemite features extensive depictions of violence, including numerous hand-to-hand combat sequences involving martial arts, improvised weapons, and shootouts, often culminating in exaggerated, over-the-top confrontations between the protagonist and his adversaries.^[66] These elements, combined with frequent profanity—characterized as severe in content ratings—and sexual content such as nudity and references to prostitution, align with Rudy Ray Moore's comedic style derived from African American oral traditions like "toasts," which emphasize hyperbolic bravado and ribald humor rather than literal endorsement of criminality.^[66]^[67] Critics in the blaxploitation era, however, argued that such portrayals risked normalizing aggression and exploitation as inherent to black masculinity, potentially undermining efforts for "respectable" representations amid 1970s debates on media influence.^[68] Racial dynamics in Dolemite center on the black protagonist's retaliation against a network of white corrupt officials and law enforcement who frame him for narcotics possession, framing his vengeance as a form of communal self-preservation against systemic injustice.^[4] This narrative echoes blaxploitation conventions where black heroes dismantle white-controlled criminal enterprises, as seen in Dolemite's alliances with prostitutes and kung fu experts to target figures like the corrupt mayor and police detectives.^[37] Yet, contemporaneous analyses highlighted how the film's reliance on pimp-centric heroism reinforced stereotypes of black men as hustlers or predators, contrasting with calls from black cultural nationalists for narratives prioritizing uplift over urban vice.^[69]^[70] While some 1970s critiques, often from academic and activist circles with progressive leanings, posited that these tropes perpetuated harmful welfare-associated or pimp archetypes detrimental to black image-building, empirical audience reception—evidenced by the film's draw in urban theaters despite low production values—suggests viewers exercised agency in favoring unfiltered, entertaining folklore over sanitized alternatives, challenging assumptions of passive harm from such content.^[68]^[69] Moore's intent, rooted in self-financed comedy records that popularized the Dolemite persona through profane street myths, positioned the film as satirical excess rather than prescriptive model, though its low-budget execution blurred lines between parody and reinforcement.^[67] This tension reflects broader causal realities in genre filmmaking, where commercial viability for black-led productions in segregated markets prioritized visceral appeal over ideological purity.^[70]

References

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Rating 60% (15) A wrongly jailed man (Rudy Ray Moore) and his female kung-fu friends seek vengeance on the rival (D'Urville Martin) who put him away.
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Rudy Ray Moore plays Dolemite, D'Urville Martin plays Willie Green, and Jerry Jones plays Blakeley. Lady Reed plays The Queen Bee.
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“Dolemite” Approval - Hollywood Elsewhere
Nov 3, 2019 · The difference between Ed Wood and Dolemite is that a sizable African-American audience responds with enthusiasm and joy to the crappy ...
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Review: 'Dolemite Is My Name' Can Dig It - NPR
Oct 6, 2019 · Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the ...Missing: response 1970s
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From 1978: Does 'Dolemite' ring a bell? - Houston Chronicle
Jan 31, 2020 · "You'll notice that during that era, most of those comments came from the black press and not the white press," said Moore. "People just don't ...
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Dolemite VHS 1987 Xenon Home Video Rudy Ray Moore ... - eBay
In stock Free deliveryReleased on VHS in 1987 by Xenon Home Video, this tape delivers bone-crushing, skull-splitting, brain-blasting action as only Rudy Ray Moore can. Featuring ...
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Dolemite Collection: Bigger & Badder - Amazon.com
Product information ; Run time, ‎6 hours and 40 minutes ; Number of discs, ‎7 ; Media Format, ‎Color, Dolby, Multiple Formats, NTSC, Widescreen ; Actors, ‎Ebony ...
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Trivia - Dolemite (1975) - IMDb
The film was originally transferred without the proper ratio "gate" of 1.85:1, revealing more of the top and bottom of the frame than the film makers originally ...
[44]
Rudy Ray Moore, 81, a Precursor of Rap, Dies - The New York Times
Oct 22, 2008 · Most critics refrained from overpraising “Dolemite,” with the possible exception of John Leland, who wrote in The New York Times in 2002 ...
[45]
https://www.chathamnewsrecord.com/stories/murphy-is-dynamite-in-dolemite-but-snipes-steals-the-show%2C3650
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Who Was Rudy Ray Moore, the Godfather of Rap? - Biography
Sep 15, 2020 · ... Dolemite, “Without Rudy Ray Moore, there would be no Snoop Dogg, and that's for real.” But Moore's most known rhyme is for sure his ...
[47]
'Dolemite' comedian Rudy Ray Moore, inspiration to hip hop culture ...
Oct 21, 2008 · Rudy Ray Moore, the comedian, singer and actor who inspired rappers like Snoop Dogg and whose Dolemite character was one of the great street ...
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Rudy Ray Moore - Samples, Covers and Remixes - WhoSampled
was sampled in. Deeez Nuuuts by Dr. Dre and Snoop Dogg feat. Daz Dillinger, Nate Dogg and Warren G (1992); Dick Almighty by 2 Live Crew (1989) ...
[49]
He Was Dolemite: A Brief Guide to the Mad Masterpieces of Rudy ...
Oct 5, 2019 · The Human Tornado (1976). Dolemite was audacious even by blaxploitation standards, a freak hit that ended by promising a sequel. Moore made ...
[50]
Dolemite! — WiP | Xenon Pictures, Inc.
Rudy Ray Moore kicked down the door for every rapper today, making him an object of reverence for younger artists. Says Snoop Dogg, “If he wasn't here there ...
[51]
Dolemite Is My Name (2019) - IMDb
Rating 7.2/10 (67,233) Dolemite Is My Name: Directed by Craig Brewer. With Eddie Murphy, Keegan ... nomination for Murphy possible. The ensemble cast deserves a nod for ...Awards · Full cast & crew · Dolemite Is My Name · Meu Nome é Dolemite
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Dolemite is My Name movie review (2019) - Roger Ebert
Rating 3.5/4 · Review by Odie HendersonSep 16, 2019 · “Dolemite Is My Name” is a typical biopic buoyed by its unrelenting hilarity, its affection for its subject and commitment to the time and place it is set.Missing: impact original Nielsen
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Dolemite Is My Name | Rotten Tomatoes
Rating 97% (234) Cast & Crew ; Craig Brewer thumbnail image. Craig Brewer. Director ; Eddie Murphy thumbnail image. Eddie Murphy. Rudy Ray Moore ; Wesley Snipes thumbnail image.Cast & Crew · Movie Clips · More Like ThisMissing: members | Show results with:members
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Dolemite Is My Name - Golden Globes
2020 Nominee. Best Motion Picture - Musical or Comedy. Dolemite Is My Name · 2020 Nominee. Best Performance by an Actor in a Motion Picture - Musical or Comedy.
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Eddie Murphy earns Critics' Choice Awards Lifetime Achievement ...
Dec 30, 2019 · 12. Murphy is already nominated for the best actor award for his role as Rudy Ray Moore in Netflix's "Dolemite."
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Dolemite, Eddie Murphy, And Rudy Ray Moore | KPBS Public Media
Oct 11, 2019 · Eddie Murphy plays Rudy Ray Moore in the Netflix movie "Dolemite is My Name." To discuss Murphy's new film as well as the original "Dolemite ...
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The Five Best Films of the Blaxploitation Era - Common Reader
Sep 21, 2023 · The highest-grossing Blaxploitation film ever, with an initial box office of $24.8 million, Superfly was a sensation. It was especially popular ...
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HOW BLAXPLOITATION MOVIES REDEFINED REBELLION
Feb 7, 2023 · The Blaxploitation era was a short-lived but hugely influential movement in American cinema, defining a new era for independent films in the early 1970s.Missing: critiques | Show results with:critiques
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Photo Essay - Blaxploitation Cinema
As described previously, the term "Blaxploitation" itself was intended as a critique of what some viewed as the genre's exploitative intentions. The NAACP ...
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The History Of Blaxploitation Cinema - Viddy Well
Jan 25, 2018 · All the while, the genre continued to receive backlash, which really boomed in the mid to late 70s. The NAACP continued to criticize the ...
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Controversy of the Blaxploitaiton genre | The Berkeley High Jacket
Feb 9, 2024 · Critics of the Blaxploitation genre, including civil rights groups like the NAACP, claim that these films are harmful to Black communities ...
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https://www.linkedin.com/pulse/entrepreneurship-through-lens-blaxploitation-films-tasemere-gathers
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Blaxploitation Reexamined: One Critic's Reinterpretation
Feb 26, 2022 · With the commercial success of Sweetback, Hollywood executives gave a green light to the Blaxploitation Era. Metro-Goldwyn-Mayer launched Shaft ...
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Black Hollywood: Blaxploitation and Advancing an Independent ...
Black Hollywood reveals that, unfortunately, the popularity of black exploitation films did not translate into lasting economic power for black artists. In a ...
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Blaxploitation: Black Power on the Big Screen - ArcGIS StoryMaps
Dec 16, 2020 · From the genre's first release, many organizations voiced their critiques. Most notably, the NAACP and CORE very publicly opposed the films ...
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Parents guide - Dolemite (1975) - IMDb
Sex & Nudity: Moderate · Violence & Gore: Moderate · Profanity: Severe · Alcohol, Drugs & Smoking: Moderate · Frightening & Intense Scenes: Mild ...
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Rudy Ray Moore (1927-2008) - BlackPast.org
Aug 13, 2020 · Moore filled his comedy albums and routines with profanity, sex, and several raunchy traditional toasts which included Shine and the Great ...Missing: rejections | Show results with:rejections
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[PDF] Back to Black: Analyzing the Presence of White Control Over Black ...
May 7, 2024 · critique the genre for its perceived exploitation of Black stereotypes and sensationalized depictions of violence, crime, and hypersexuality.
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[PDF] Race, Respectability, and African American Popular Culture in the ...
Sep 17, 1972 · amount of violence displayed throughout the film, Dolemite used his wits (employing an army of Kung-Fu fighting prostitutes, teaming up with ...
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[PDF] Blaxploitation Films of the 1970s: Blackness and Genre
Another black newspaper held similar sen- timent about the film ... Dolemite (1975), 108. Domestic servant as stereotype, 14, 80–81. DoQui, Robert ...