The boy-in-a-blouse, above, has called me a fool.
But the boy-in-a-blouse cannot disagree the Koch got the redline around the City removed, allowing the underclasses access to capital for the first time since the war.
Koch's hand up created true social mobility, and did it without humiliating the poor like Lyndsay's relief handouts.
I see the changed the headline.
...among other things, like that whole "redlining" subject that fool up on this thread writes as if he doesn't understand how Koch and peers were a significant factor in that redlining of New York.
@Ragbag--Beckett's writing against Ed Koch dying in a hospital that has you all up in arms--was this anything like Koch's deliberate unwillingness to confront the AIDS epidemic while the plague ripped through New York's population? Oh no. That, in fact, was much much worse. So terrible that the NY Times took the extraordinary step of inserting Koch's craven apathy while many lay "now dying in a hospital room" so he could have his "3 term[s as] mayor [and have his] 'amazing career'" into their already lengthy and, as Beckett writes, hagiographic obituary. SO PLEASE. At least Beckett signs his name to his writing--what have you done but play terrible troll and hid your mirror, lube and lack of possibility behind a pseudonym?
Koch was a 3 term mayor, he had an amazing career before that and a fascinating arc in his politics. The guy is now dying in a hospital room and you publish and article "fuck Ed Koch" on opening night. The guy had the balls to devote his life to public service. What has Colin Beckett done except dismissed this mans life and work like a hipster reviewing the new Guy Flierei Diner. Colin Beckett should buy a full sized mirror, a bucket of lube and explore the possibilities.
If Koch didn't team up with banks the whole City would still be redlined. Lyndsay's fun City was fair, until you wanted to get a mortgage.
Let me guess, Dinkins fan?
The Albee Square Mall had been declining for *years* before it was razed. My parents used to take me there when I was a kid in the 80s. After a while there wasn't much left to the establishment at all. (More information here: http://mcbrooklyn.blogspot.com/2007/09/rip…) I'm not going to be nostalgic for the Albee Square Mall unless developers were going to restore it to its former glory and bring in some quality retailers.
Re: Adam's comment - "I now feel welcome on Fulton St, which is something I couldn't say ten years ago."
I didn't know that too many people not from a certain background were checking out Fulton Mall. I don't think that Fulton Mall was not making certain people feel welcome. This is how I saw things: Certain people wouldn't (cross over from Brooklyn Heights/BoCoCa/wherever to) go to the Fulton Mall because they chose not to. From what I've been told years ago the clientele used to be more diverse racially and economically. (See also Marty Markowitz's comments in this article: http://www.nytimes.com/2012/08/29/realesta…) Over the years as Fulton Mall changed, some of the clientele chose to go elsewhere. Now this type of clientele is coming back, and some of the less affluent clientele is being priced out. Don't get me wrong; I like Starbucks, and some of the stores on Fulton Mall were junky, but there should be enough space for everyone.
P.S. I'm still surprised that Macy's, who had taken over A&S's old spot, has managed to remain open all these years!
Good review, I cannot see why Hoffman and the others bothered with this empty vessel of a script.
I agree. It sucked. Just compare Hugh Jackman to Alfie Boe alone (not even to the incomoparable Colm Wilkinson). Matt Lucas was amazing in the 25th anniverasry show. By contrast Sacha does his usual Borat act and Helena does the only role she know how to do - Ms Lovett. I am actually very, very dissapointed in the movie.
Yo Adam, I am a white boy who has always shopped at Fulton Street and I think all that stuff is in your head. If need be I could probably show you how to put a little bop in your step and some twang in your slang so maybe you might fit in a bit more, but honestly the only thing you need down there is cash to shop.
I seriously can't believe there is an Armani Exchange on Fulton Street, that is something I would have never believed. I am excited to see this movie to contribute to my thoughts on why Brooklyn has changed so much so fast.
So entire ethnic, and socio-economic groups should be displaced in favor of high rise, high-end commercial development so that you, Adam, can feel welcome? Please rethink your comments. You invoke Dr. Martin Luther King's words, which suggests some awareness of the sensitivites regarding gentrification.
What's despicable is how ignorant you are, Adam. Your arguments are ridiculous and childish. The last thing you need on this earth is to feel welcome in another low-income underprivileged neighborhood. Your white male privilege welcomes you into places in this world that most of us only dream of. How about we try "integrating" Columbus Circle and the Upper East Side next?
Martin Luther King espoused a world where children of all races walked together in unity. The fulton mall, as it was, was not united. In order to make an omelette, you have to crack eggs.
one might counter that it's "despicable" (seriously, dude?) to call displacement "integration."
I'm not so sure integrating neighborhoods is a bad thing. It's pretty despicable to say otherwise. I now feel welcome on Fulton St, which is something I couldn't say ten years ago.
@alexpeterson Are you some PR plant? I loved this musical as a pre-teen in the 80s. I sang "On My Own" for my summer camp talent show. I had very high hopes for this one but I was disappointed.
THE ACTORS COULD NOT SING.
Les Miz's score is characterized by masculine parts written for big round booming voices. Hugh Jackman seemed to be rap-whispering phrases that—in the play—were soaring song. His performance was cringe inducing and he spoiled almost every scene. I am not entirely familiar with his work, and was shocked to hear that he has a history in musical theater because he simply chose not to sing his part at all.
The hair and make-up was appalling to the extent that it was distracting. Samantha Banks and her perfectly arched eyebrows seemed to have walked on set straight from X-Factor. The girl is gorgeous and a fantastic singer—but why does she have bangs and layers in her hair?
Les Misérables was an a very good film for quite a few reasons that this reviewer couldn't be bothered to notice:
1. The choice of live action, singing on the set creates a sense of realism and authenticity - this balances out the appropriately emotional tone of the acting, lyrics, context, setting and overall subject matter. As a consequence of this match, a fine balance of realism (to induce believability) and expressionism (to emphasise the raw emotion of the afforementioned aspects of the story and music) is born.
2. The choice of using handheld cameras also gives a much needed emphasis on the emotional nature of the storyline - the motionless, neutral standard of Hollywood filming tends to clash in a very unsavoury way with musical numbers. The judicious use of handheld filming further leads the audience to be 'in the moment' - the primacy of emotion is clearly evident.
3. The sets were all done well - this is reflected in the sparseness of Marius' arpartment, the grubbiness and dramatic positioning of a hideously damaged and distorted mermaid at the docks where Fantine falls into selling her body for money. The blood drowned barricade is yet another example of appropriate set design.
4. The costuming was well thought out and difficult to criticise. Small details such as the fact Jean Valjean is so heavily muscular he cannot wear buttoned collars serve as an example of well reasoned costume design. A small point, I know, but this instance merely serves as a microcosm of the many fabulous costumes.
5. The facial expressions in particular make a truly fitting companion for the lyricism and expressionism of the film. Amazing as the dreamcast was, they were made for singing first and foremost. It is fine to note that the cast in this film were primarily made to act, rather than sing perfectly.
6. The handling of the first duet, 'A heart full of love', between Cosette and Marius was magnificent. The nervous excitement of the two young future lovers is palpable, and the actors carry it in such a way that no pretension is evident. The singing was simply flawless, unlike some of the more prominent stars. Furthermore, the natural lighting of this scene serves the previously mentioned balance between expressionism and realism - once again the emotional lyricsm of the singing is peppered in this way to keep down the scepticism lf the audience.
7. The director has made novel use of crane cameras to dramatically segue from one problem to another. This is sparingly used (maybe twice), and so the audience doesn't become desensitised to it. Once more, though it is a relatively small point, the direction is well represented by this choice.
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