The Child Slayer in Blue and his crooked partner have been arrested and that's damned awesome. That's right. And my heart is broken because that baby boy died over a fucking receipt for a phone that he bought with his own money. Damn. Just...damn. And it hurts more because this is art imitating life. Shit like this happens all of the time!

anonymous asked:

do u know of any good old(er) movies that empower women of color??

Carmen Jones, Porgy & Bess !!! Umm hmm maybe an imitation of life or a raisin in the sun, these movies are kind of sad though….

People put in some suggestions !!

Lana Del Rey Sentence Memes.
  • "Baby you’re no good for me, but baby I want you, I want you. "
  • "Do you think we’ll be in love forever, do you think we’ll be in love?"
  • "Baby put on heart-shaped sunglasses."
  • "Cause you and I, we were born to die."
  • "Don’t make me sad, don’t make me cry." 
  • "Lost but now I am found."
  • "I was an angel, living in the garden of evil."
  • "Gods dead, I said ‘Baby that’s alright with me.’"
  • "Life imitates art."
  • "If I get little prettier can I be your, baby."
  • "You got that medicine I need." 
  • "Put your hands on my waist and do it softly."
  • "It’s alarming, truly how disarming you can be."
  • "I’m his favourite sundress, watching me get undressed." 
  • "Heaven is a place on earth with you."
  • "I heard that you like the bad girls honey, is that true?"
  • "He holds me in his big arms drunken I am seeing stars."
  • "Only seventeen but she walks the streets so mean."
  • "You don’t wanna be like me, don’t wanna see al the things i’ve seen."
  • "The boys, the girls they all like —-"
  • "I’m dying, I’m dying.."
  • "You don’t wanna  get this way, streetwalker by night and a star by day."
  • "Blue jeans white shirt, walked into the room you know my eyes burn."  
  • "Love is mean, and love hurts."
  • "I will love you till the end of time."
  • "Promise you’ll remember that your mine."
  •  ”Love you more than those bitches before.”
  • "He loves me with beat of his cocaine heart."
  • "Light of my life, fire of my loins."
  • "He shows me, he knows me, every inch of my tar black soul."
  • "I’m your little harlot, starlet Queen of Coney Island, raising hell all over town." 
  • "Kiss me hard before you go."
  • "They would rue the day, I was alone without you."
  • "Think i’ll miss you forever, like a stars miss the sun in the morning sky."

”’How do you explain to your child, she was born to be hurt?' This line from Imitation of Life evokes the United States in its last desperate years of institutionalized racism. It seems more than coincidence that Douglas Sirk filmed his masterpiece in late summer of 1958, less than three years after Rosa Parks sat down in that bus in Montgomery and Rev. Martin Luther King Jr. led the boycott. Only a few years earlier, neither Hollywood nor the American public would have accepted this picture. (Even the 1934 Imitation of Life, conservative, safe, and devoid of subtext, encountered roadblocks…) In the spirit of those times, what might Juanita Moore’s lines to Lana Turner— ‘How do you explain to your child, she was born to be hurt?’ —have meant to audiences north and south when the film opened in 1959? What does it mean today? And how might we, in the ‘progressive’ twenty-first century, explain to those audiences at the the tail end of a similar era, that so much has changed, and so little?”
—Sam Staggs, Born to Be Hurt: The Untold Story of Imitation of Life


The Douglas Sirk Color Melodrama
Sirk’s melodramas of the 1950s, while highly commercially successful, were generally very poorly received by reviewers. His films were considered unimportant because they revolve around female emotions and domestic issues, seen as banal at the time because of their focus on larger-than-life feelings, and unrealistic because of their conspicuous style. Attitudes toward Sirk’s films changed drastically in the 1960s and 1970s as his work was re-examined by French, American, and British critics. From around 1970 there was a considerable interest among academic film scholars for Sirk’s work - especially his American melodramas. Often centering on the formerly criticized style, his films were now seen as masterpieces of irony. The plots of the films were no longer taken at face value, and the analyses instead found that the films really criticized American society underneath the banal surface plot. The criticism of the 1970s and early 1980s was dominated by an ideological take on Sirk’s work, gradually changing from being Marxist-inspired in the early 1970s to being focused on gender and sexuality in the late 1970s and early 1980s.