The 1948 abduction that inspired Vladimir Nabokov’s “Lolita”

Florence “Sally” Horner was 11 years old when she stole a 5 cent notebook in her town of Camden, New Jersey after some friends dared her to. A fifty year old man with the name of Frank La Salle caught her stealing and posed as a FBI agent, but he let her go. However, as Sally was leaving school the next day, La Salle instructed the child to convince her mother that he was the father of some school friends and he would take them to a seashore vacation. But in reality he was going to abduct her and said he was going to take her to Atlantic City. 

During the 2 year long journey across the United States, La Salle molested and raped her and said if she did not comply, he would turn her in for stealing. He sent her to school, where he claimed to be Sally’s father. After she confided in a friend who he was, she managed to escape and was finally able to call her sister from San Jose, California in March 1950, telling her, “Send the FBI!”

Frank La Salle was convicted to 30 to 35 years in prison under the Mann Act. Florence Horner died in a tragic car accident in New Jersey on August 18th, 1952. She was 15 years old.

Onision’s Track Record: Underage Girls

In light of recent events, here is a post detailing Greg’s relationships with underage girls. Getting in trouble with the legal age of consent is nothing new to Greg and something he has a lot of experience defending himself for. I hope this sheds some light to the current situation with his forums and exploiting his underage fans.


Shiloh explicitly states that Greg violated the Mann Act, which is essentially a federal law claiming that it is illegal to transport women/girls across state lines for sexual acts. People are still prosecuted to this date for violating this law, a pastor was recently convicted in 2012 for transporting a minor to a state with a lower age of consent to have sex with her. Which is the exact same thing Greg had done multiple times with Shiloh.

In this screenshot, Shiloh recounts her abusive relationship with Greg again but with more details into his warped sexual fantasies. Near the end Shiloh mentions how young she was when she was taken advantage of and announces her fear that Taylor could experience the same abuse. She makes a point to mention her age being the same as Taylor’s when they began their relationship with Greg.


Greg knowingly entered a relationship with Taylor while she was underage and attending high school. Greg met with lawyers frequently to confirm the legality of their relationship, while Taylor’s father objected that it was illegal in his opinion. The age of consent in New Mexico being 17. Greg and Taylor met only 10 days making contact online and had sex the first day they met in person. Greg obviously does not take issue with having sexual relationships with minors. Greg also married Taylor secretly from her parents only a month after turning 18! Which doesn’t seem totally underhanded and sketchy at all! /s

Side Note:

Billie joined their relationship in the end of 2015/early 2016 when she was 18 years old. Age of consent in Billie’s home state, Virginia, is 18. I find it curious that Greg seems to carefully check the laws before pursuing anything. He’s aware he is doing something morally wrong and knows he can get into some legal shit if he isn’t careful.

Also here is a screenshot of Taylor patronizing Billie for her age even though she was even younger when she got with Greg.

Greg like to harp on to the fact that a lot of his criticizers seem to point out the fact that he’s been in multiple questionable relationships with minors, and still feels like he hasn’t done anything wrong. The fact that this has happened not once, but twice shows his true intentions when it comes to children. Greg likes to forget the fact that teenagers are still children.

His Audience in General

OnisionDrama made a great post outlining Greg’s target demographic and why YouTube analytics aren’t exactly a valid reference when trying to determine the average age of an Onision fan. I know personally I lied about my age online from the time I was 12-17, which is the exact age range of Greg’s followers. Here we have multiple polls from 2012-2016 showing the majority of fans are indeed minors. Which is why most of the girls featured in his “body positivity” videos are underage.

Here is a poll from Taylor as well, showing most of their shared demographic being under 16 years old.


Sarah is a friend of Taylor’s. They began talking when she was 14. After her sixteenth birthday, Greg and Taylor started housing her officially. She moved in with them around Halloween 2016 and has been there since. The age of consent is 16 in Washington. Notice how once again, Greg calculated the perfect time to move her in after she became legal.

Miscellaneous  Notes

It’s been speculated that Greg privately emailed Robert Casio to defend his actions and offered verbal support. Robert Casio being a convicted sex criminal after impregnating a 13 year-old child. Casio uploaded this video thanking Greg for his kind words of encouragement, but only referred to him by his first name and not his online persona as to prevent public backlash.

AntiSouthernMovement being a well-known second alias of Greg, left this comment showing his support of a convicted sex felon. SG also did a video calling Greg out which has more details of the situation.

What I feel to be pretty damning against Onision’s case of “dindu nuffin wrong” was the email scandal that happened in 2013. Someone sent Greg an email claiming to be a model/actress that would like to collaborate sometime, she mentioned being 17 years old, and attached a topless photo. Greg then pursued and asked for her facebook for more pictures and to communicate further. After this came out to the public, Greg began the process of covering his own ass at first by saying “I didn’t see her age!” then later changing it to “I never opened the attachment!”.

Another piece of damning evidence is how much Greg has announced that he isn’t a therapist. He has no desire to help his followers. 

He never wanted to offer guidance to his audience. He dismissed and out right ignored any fans emailing him for help/advice. But now he has changed his tune since it’s more convenient for him to act like his videos are therapy for those who need it, rather than admitting he was asking for pictures of minors’ bodies.

It’s also important to note context. Greg says the photos are harmless and nothing you wouldn’t see in a public swimming pool. The context of underwear though is that is IS private. Swimwear serves an obvious purpose for being comfortable clothing specially to swim in. Underwear’s purpose is to protect your genitals, it is meant for privacy, to be worn underneath clothing. The hard difference between the two is obvious, swimwear is public, while underwear is private.

So understand that photos of underage girls alone in their room, posing in bra and panties, will always been seen in a sexual context. 

So what we can gather from all of the above is:

  1. Greg has no issues being in sexual relationships with minors. As long as it’s barely within the legal limits, he has no moral opposition to dating children.
  2. Greg invites minors into his life and supports relationships with minors even as young as 13.
  3. Greg is aware of his demographic’s age and takes advantage of their naivety for sexually themed photographs of minors.
  4. Greg never intended his “body positivity” videos to be helpful. Greg never had any intentions on helping his fans.
  5. Greg is not qualified to comment on the health of developing girls’ bodies. Greg has no medical certifications nor any experience in the medical field. This includes therapy.
  6. Greg somehow doesn’t understand that you legally can’t make money from minors’ images without parental consent. Minors cannot legally consent without their parents permission.
  7. No matter how many excuses Greg comes up with, there’s no way he can talk himself out of being a hebephile piece of trash.


Movie Quote of the Day is FIVE YEARS OLD today! Below is all of the Movie Quote of the Day posts from June 30th, 2014 thru today, but you can see all 1,799 movies/quotes here.

  • Three Men and a Baby, 1987 (dir. Leonard Nimoy)
  • Hush…Hush, Sweet Charlotte, 1964 (dir. Robert Aldrich)
  • The Canyons, 2013 (dir. Paul Schrader)
  • A Little Bit of Heaven, 2012 (dir. Nicole Kassell)
  • Rocky IV, 1985 (dir. Sylvester Stallone)
  • Killer Joe, 2012 (dir. William Friedkin)
  • Reaching For The Moon, 2013 (dir. Bruno Barreto)
  • We Bought a Zoo, 2011 (dir. Cameron Crowe)
  • The Grifters, 1990 (dir. Stephen Frears)
  • Splash, 1984 (dir. Ron Howard)
  • 12 Years A Slave, 2013 (dir. Steve McQueen)
  • The Station Agent, 2003 (dir. Thomas McCarthy)
  • Point Break, 1991 (dir. Kathryn Bigelow)
  • Clear and Present Danger, 1994 (dir. Phillip Noyce)
  • The Bad News Bears, 1976 (dir. Michael Ritchie)
  • Dazed and Confused, 1993 (dir. Richard Linklater)
  • Ladies They Talk About, 1933 (dir. Howard Bretherton, William Keighley)
  • 2046, 2004 (dir. Wong Kar-Wai)
  • Riddick, 2013 (dir. David Twohy)
  • Julia, 1977 (dir. Fred Zinnemann)
  • The Americanization of Emily, 1964 (dir. Arthur Hiller)
  • Hook, 1991 (dir. Steven Spielberg)
  • Affliction, 1997 (dir. Paul Schrader)
  • Dogfight, 1991 (dir. Nancy Savoca)
  • Drugstore Cowboy, 1989 (dir. Gus Van Sant)
  • Dunston Checks In, 1996 (dir. Ken Kwapis)
  • The Expendables 2, 2012 (dir. Simon West)
  • The Lucky One, 2012 (dir. Scott Hicks)
  • The Avengers, 2012 (dir. Joss Whedon)
  • Brassed Off, 1996 (dir. Mark Herman)
  • School of Rock, 2003 (dir. Richard Linklater)
  • The Recruit, 2003 (dir. Roger Donaldson)
  • Revolutionary Road, 2008 (dir. Sam Mendes)
  • Picture Perfect, 1997 (dir. Glenn Gordon Caron)
  • Into the Night, 1985 (dir. John Landis)
  • All the Pretty Horses, 2000 (dir. Billy Bob Thornton)
  • Albert Nobbs, 2011 (dir. Rodrigo García)
  • Signs, 2002 (dir. M. Night Shyamalan)
  • Knock On Any Door, 1949 (dir. Nicholas Ray)
  • Merrily We Go To Hell, 1932 (dir. Dorothy Arzner)
  • Pitch Perfect, 2012 (dir. Jason Moore)
  • Inland Empire, 2006 (dir. David Lynch)
  • The Help, 2011 (dir. Tate Taylor)
  • Patch Adams, 1998 (dir. Tom Shadyac)
  • Foreign Correspondent, 1940 (dir. Alfred Hitchcock)
  • In weiter Ferne, so nah! (Faraway, So Close!), 1993 (dir. Wim Wenders)
  • Gone Baby Gone, 2007 (dir. Ben Affleck)
  • Devil in a Blue Dress, 1995 (dir. Carl Franklin)
  • Predator, 1987 (dir. John McTiernan)
  • Indecent Proposal, 1993 (dir. Adrian Lyne)
  • Get Over It, 2001 (dir. Tommy O’Haver)
  • Miss Pettigrew Lives for a Day, 2008 (dir. Bharat Nalluri)
  • Starlet, 2012 (dir. Sean Baker)
  • The Turning Point, 1977 (dir. Herbert Ross)
  • Humoresque, 1946 (dir. Jean Negulesco)
  • The Rebound, 2009 (dir. Bart Freundlich)
  • Seance on a Wet Afternoon, 1964 (dir. Bryan Forbes)
  • Panic Room, 2002 (dir. David Fincher)
  • Glengarry Glen Ross, 1992 (dir. James Foley)
  • Beyond Borders, 2003 (dir. Martin Campbell)
  • Night of the Comet, 1984 (dir. Thom Eberhardt)
  • The Steel Trap, 1952 (dir. Andrew L. Stone)
  • 28 Days, 2000 (dir. Betty Thomas)
  • The Presidio, 1988 (dir. Peter Hyams)
  • Bound For Glory, 1976 (dir. Hal Ashby)
  • 3 Women, 1977 (dir. Robert Altman)
  • Johnny Suede, 1991 (dir. Tom DiCillo)
  • Rounders, 1998 (dir. John Dahl)
  • Female, 1933 (dir. Michael Curtiz, William Dieterle, William A. Wellman)
  • Soapdish, 1991 (dir. Michael Hoffman)
  • I Love You, Alice B. Toklas!, 1968 (dir. Hy Averback)
  • Dragon: The Bruce Lee Story, 1993 (dir. Rob Cohen)
  • The King’s Speech, 2010 (dir. Tom Hooper)
  • Carrie, 1976 (dir. Brian De Palma)
  • To The Wonder, 2013 (dir. Terrence Malick)
  • Something New, 2006 (dir. Sanaa Hamri)
  • Sirens, 1993 (dir. John Duigan)
  • Coal Miner’s Daughter, 1980 (dir. Michael Apted)
  • Flubber, 1997 (dir. Les Mayfield)
  • Days of Thunder, 1990 (dir. Tony Scott)
  • Walking and Talking, 1996 (dir. Nicole Holofcener)
  • The Ghost and Mrs. Muir, 1947 (dir. Joseph L. Mankiewicz)
  • The Firm, 1993 (dir. Sydney Pollack)
  • One Day, 2011 (dir. Lone Scherfig)
  • View From The Top, 2003 (dir. Bruno Barreto)
  • Phantoms, 1998 (dir. Joe Chappelle)
  • Little Black Book, 2004 (dir. Nick Hurran)
  • Serious Moonlight, 2009 (dir. Cheryl Hines)
  • Dead Man Walking, 1995 (dir. Tim Robbins)
  • The Awakening, 2011 (dir. Nick Murphy)
  • Robot & Frank, 2012 (dir. Jake Schreier)
  • Dante’s Peak, 1997 (dir. Roger Donaldson)
  • Brokedown Palace, 1999 (dir. Jonathan Kaplan)
  • Love & Basketball, 2000 (dir. Gina Prince-Bythewood)
  • The Black Cat, 1934 (dir. Edgar G. Ulmer)
  • Hammett, 1982 (dir. Wim Wenders)
  • The Hours, 2002 (dir. Stephen Daldry)
  • My Demon Lover, 1987 (dir. Charlie Loventhal)
  • Re-Animator, 1985 (dir. Stuart Gordon)
  • School Ties, 1992 (dir. Robert Mandel)
  • I Walked With A Zombie, 1943 (dir. Jacques Tourneur)
  • Sneakers, 1992 (dir. Phil Alden Robinson)
  • Black Christmas, 1974 (dir. Bob Clark)
  • The Prophecy, 1995 (dir. Gregory Widen)
  • Witchboard, 1986 (dir. Kevin Tenney)
  • Mystic Pizza, 1988 (dir. Donald Petrie)
  • Bridget Jones: The Edge of Reason, 2004 (dir. Beeban Kidron)
  • Sleepless in Seattle, 1993 (dir. Nora Ephron)
  • Enough Said, 2013 (dir. Nicole Holofcener)
  • Hachi: A Dog’s Tale, 2009 (dir. Lasse Hallström)
  • Kiss the Girls, 1997 (dir. Gary Fleder)
  • Beethoven, 1992 (dir. Brian Levant)
  • Along Came A Spider, 2001 (dir. Lee Tamahori)
  • Scream 2, 1997 (dir. Wes Craven)
  • Night of the Creeps, 1986 (dir. Fred Dekker)
  • The Ninth Gate, 1999 (dir. Roman Polanski)
  • My Week With Marilyn, 2011 (dir. Simon Curtis)
  • Bed of Roses,1996 (dir. Michael Goldenberg)
  • The Englishman Who Went Up a Hill But Came Down a Mountain, 1995 (dir. Christopher Monger)
  • The Yards, 2000 (dir. James Gray)
  • The Last Temptation of Christ, 1988 (dir. Martin Scorsese)
  • Vi är bäst! (We Are the Best! ), 2014 (dir. Lukas Moodysson)
  • Suspiria, 1977 (dir. Dario Argento)
  • Hellraiser, 1987 (dir. Clive Barker)
  • He Walked by Night, 1948 (dir. Alfred L. Werker)
  • This Woman is Dangerous, 1952 (dir. Felix E. Feist)
  • T-Men, 1947 (dir. Anthony Mann)
  • Act of Violence, 1948 (dir. Fred Zinnemann)
  • The Strange Love of Martha Ivers, 1946 (dir. Lewis Milestone)
  • The Red House, 1947 (dir. Delmer Daves)
  • This Gun for Hire,1942 (dir. Frank Tuttle)
  • The Dark Corner, 1946 (dir. Henry Hathaway)
  • Behind Locked Doors, 1948 (dir. Budd Boetticher)
  • Among the Living, 1941 (dir. Stuart Heisler)
  • Framed, 1947 (dir. Richard Wallace)
  • The Second Woman, 1950 (dir. James V. Kern)
  • Southside 1-1000, 1950 (dir. Boris Ingster)
  • His Kind of Woman, 1951 (dir. John Farrow)
  • Destination Murder, 1950 (dir. Edward L. Cahn)
  • Lust For Gold, 1949 (dir. S. Sylvan Simon)
  • Two Smart People, 1946 (dir. Jules Dassin)
  • Cause for Alarm!, 1951 (dir. Tay Garnett)
  • Woman on the Run, 1950 (dir. Norman Foster)
  • The Woman on Pier 13, 1949 (dir. Robert Stevenson)
  • While The City Sleeps, 1956 (dir. Fritz Lang)
  • I Wake Up Screaming, 1941(dir. H. Bruce Humberstone)
  • The Turning Point, 1952 (dir. William Dieterle)
  • Dark City, 1950 (dir. William Dieterle)
  • Crime Against Joe, 1956 (dir. Lee Sholem)
  • Witness to Murder, 1954 (dir. Roy Rowland)
  • Thieves’ Highway, 1949 (dir. Jules Dassin)
  • The Dark Mirror, 1946 (dir. Robert Siodmak)
  • Pitfall, 1948 (dir. André De Toth)
  • I, The Jury, 1953 (dir. Harry Essex)
  • Scoop, 2006 (dir. Woody Allen)
  • The Preacher’s Wife, 1996 (dir. Penny Marshall)
  • Reindeer Games, 2000 (dir. John Frankenheimer)
  • Evening, 2007 (dir. Lajos Koltai)
  • The Ghost and the Darkness, 1996 (dir. Stephen Hopkins)
  • La Vénus à la fourrure (Venus in Fur), 2014 (dir. Roman Polanski)
  • Flannel Pajamas, 2006 (dir. Jeff Lipsky)
  • What Women Want, 2000 (dir. Nancy Meyers)
  • Shadow of the Vampire, 2000 (dir. E. Elias Merhige)
  • Nell, 1994 (dir. Michael Apted)
  • An Ideal Husband, 1999 (dir. Oliver Parker)
  • The Wolf of Wall Street, 2013 (dir. Martin Scorsese)
  • Monkey Business, 1952 (dir. Howard Hawks)
  • Le week-end, 2014 (dir. Roger Michell)
  • Cold Mountain, 2003 (dir. Anthony Minghella)
  • Legends of the Fall, 1994 (dir. Edward Zwick)
  • Where the Wild Things Are, 2009 (dir. Spike Jonze)
  • Starstruck, 1982 (dir. Gillian Armstrong)
  • Flashdance, 1983 (dir. Adrian Lyne)
  • Romancing the Stone, 1984 (dir. Robert Zemeckis)
  • The Immigrant, 2014 (dir. James Gray)
  • The One I Love, 2014 (dir. Charlie McDowell)
  • Snowpiercer, 2014 (dir. Joon-ho Bong)
  • The Bells of St. Mary’s, 1945 (dir. Leo McCarey)
  • There’s No Business Like Show Business, 1954 (dir. Walter Lang)
  • Seven Years in Tibet, 1997 (dir. Jean-Jacques Annaud)
  • Murder with Pictures, 1936 (dir. Charles Barton)
  • Alfie, 2004 (dir. Charles Shyer)
  • The Good Earth, 1937 (dir. Sidney Franklin)
  • About Last Night, 2014 (dir. Steve Pink)
  • Obvious Child, 2014 (dir. Gillian Robespierre)
  • Mississippi Masala, 1991 (dir. Mira Nair)
  • Me and You and Everyone We Know, 2005 (dir. Miranda July)
  • I’ve Heard the Mermaids Singing, 1987 (dir. Patricia Rozema)
  • Your Sister’s Sister, 2012 (dir. Lynn Shelton
  • Variety, 1983 (dir. Bette Gordon)
  • In A World… , 2013 (dir. Lake Bell)
  • Efter brylluppet (After The Wedding), 2006 (dir. Susanne Bier)
  • The Guilt Trip, 2012 (dir. Anne Fletcher)
  • The Lifeguard, 2013 (dir. Liz W. Garcia)
  • Desert Hearts, 1986 (dir. Donna Deitch)
  • Hanging Up, 2000 (dir. Diane Keaton)
  • Cristo Rey, 2013 (dir. Leticia Tonos)
  • I Will Follow, 2010 (dir. Ava DuVernay)
  • Belle, 2014 (dir. Amma Asante)
  • She-Devil, 1989 (dir. Susan Seidelman)
  • Fort Bliss, 2014 (dir. Claudia Myers)
  • Gas Food Lodging, 1992 (dir. Allison Anders)
  • Cookie, 1989 (dir. Susan Seidelman)
  • Boys Don’t Cry, 1999 (dir. Kimberly Peirce)
  • Musical Chairs, 2012 (dir. Susan Seidelman)
  • Jumpin’ Jack Flash, 1986 (dir. Penny Marshall)
  • Puccini for Beginners, 2006 (dir. Maria Maggenti)
  • Deep Impact, 1998 (dir. Mimi Leder)
  • Real Genius, 1985 (dir. Martha Coolidge)
  • The Notorious Bettie Page, 2005 (dir. Mary Harron)
  • Le goût des autres (The Taste of Others), 2000 (dir. Agnès Jaoui)
  • Viaggio sola (A Five Star Life), 2014 (dir. Maria Sole Tognazzi)
  • Whale Rider, 2002 (dir. Niki Caro)
  • Phat Girlz, 2006 (dir. Nnegest Likké)
  • Away from Her, 2006 (dir. Sarah Polley)
  • Fish Tank, 2009 (dir. Andrea Arnold)
  • Groundhog Day, 1993 (dir. Harold Ramis)
  • Frida, 2002 (dir. Julie Taymor)
  • My American Cousin, 1985 (dir. Sandy Wilson)
  • Ginger & Rosa, 2012 (dir. Sally Potter)
  • The Dish & the Spoon, 2011 (dir. Alison Bagnall)
  • Palo Alto, 2014 (dir. Gia Coppola)
  • Night Catches Us, 2010 (dir. Tanya Hamilton)
  • Kung Fu Panda 2, 2011 (dir. Jennifer Yuh)
  • Seeking a Friend for the End of the World, 2012 (dir. Lorene Scafaria)
  • Pariah, 2011 (dir. Dee Rees)
  • Vital Signs, 1990 (dir. Marisa Silver)
  • Now and Then, 1995 (dir. Lesli Linka Glatter)
  • Children of a Lesser God, 1986 (dir. Randa Haines)
  • Overnight, 2012 (dir. Valerie Breiman)
  • Just Another Girl on the I.R.T., 1993 (dir. Leslie Harris)
  • Nuit #1, 2011 (dir. Anne Émond)
  • Chilly Scenes of Winter, 1979 (dir. Joan Micklin Silver)
  • Frozen River, 2008 (dir. Courtney Hunt)
  • La hija natural, 2011 (dir. Leticia Tonos)
  • Black Sheep, 1996 (dir. Penelope Spheeris)
  • Impulse, 1990 (dir. Sondra Locke)
  • Daughters of the Dust, 1991 (dir. Julie Dash)
  • The Watermelon Woman, 1996 (dir. Cheryl Dunye)
  • Cairo Time, 2010 (dir. Ruba Nadda)
  • Monster, 2003 (dir. Patty Jenkins)
  • Girlfight, 2000 (dir. Karyn Kusama)
  • Beyond The Lights, 2014 (dir. Gina Prince-Bythewood)
  • Lords of Dogtown, 2005 (dir. Catherine Hardwicke)
  • Mansfield Park, 1999 (dir. Patricia Rozema)
  • Carolina, 2003 (dir. Marleen Gorris)
  • Los insólitos peces gato (The Amazing Catfish), 2014 (dir. Claudia Sainte-Luce)
  • And While We Were Here, 2012 (dir. Kat Coiro)
  • The Prince & Me, 2004 (dir. Martha Coolidge)
  • Johnny Dangerously, 1984 (dir. Amy Heckerling)
  • Sunshine Cleaning, 2009 (dir. Christine Jeffs)
  • Elles, 2012 (dir. Malgorzata Szumowska)
  • And Then There Was You, 2013 (dir. Leila Djansi)
  • La Pointe-Courte, 1955 (dir. Agnès Varda)
  • Mikey and Nicky, 1976 (dir. Elaine May)
  • Last Night, 2011 (dir. Massy Tadjedin)
  • Look Who’s Talking, 1989 (dir. Amy Heckerling)
  • Camilla, 1994 (dir. Deepa Mehta)
  • Ung flukt, 1959 (dir. Edith Carlmar)
  • The Punk Singer, 2013 (dir. Sini Anderson)
  • Entre Nos, 2009 (dir. Paola Mendoza & Gloria La Morte)
  • Arcadia, 2012 (dir. Olivia Silver)
  • Me Myself I, 2000 (dir. Pip Karmel)
  • Woo, 1998 (dir. Daisy von Scherler Mayer)
  • The Greatest, 2010 (dir. Shana Feste)
  • Unrelated, 2007 (dir. Joanna Hogg)
  • Wildflowers, 2000 (dir. Melissa Painter)
  • Happy End?!, 2014 (dir. Petra Clever)
  • Meek’s Cutoff, 2011 (dir. Kelly Reichardt)
  • The Iron Lady, 2011 (dir. Phyllida Lloyd)
  • The Proposal, 2009 (dir. Anne Fletcher)
  • Winter’s Bone, 2010 (dir. Debra Granik)
  • Doctor Dolittle, 1998 (dir. Betty Thomas)
  • Madeline, 1998 (dir. Daisy von Scherler Mayer)
  • Jennifer’s Body, 2009 (dir. Karyn Kusama)
  • Sugar & Spice, 2001 (dir. Francine McDougall)
  • Eve’s Bayou, 1997 (dir. Kasi Lemmons)
  • It Felt Like Love, 2014 (dir. Eliza Hittman)
  • L!fe Happens, 2012 (dir. Kat Coiro)
  • Bound, 1996 (dir. Lana & Andy Wachowski)
  • Life Partners, 2014 (dir. Susanna Fogel)
  • The Runaways, 2010 (dir. Floria Sigismondi)
  • The Riot Club, 2015 (dir. Lone Scherfig)
  • Lovely & Amazing, 2002 (dir. Nicole Holofcener)
  • The Jane Austen Book Club, 2007 (dir. Robin Swicord)
  • An Angel At My Table, 1990 (dir. Jane Campion)
  • The Sisterhood of Night, 2015 (dir. Caryn Waechter)
  • Aquamarine, 2006 (dir. Elizabeth Allen)
  • Me Without You, 2001 (dir. Sandra Goldbacher)
  • Monsoon Wedding, 2001 (dir. Mira Nair)
  • Renaissance Man, 1994 (dir. Penny Marshall)
  • Caprice, 1986 (dir. Joanna Hogg)
  • Post Grad, 2009 (dir. Vicky Jenson)
  • Look Who’s Talking Too, 1990 (dir. Amy Heckerling)
  • Austenland, 2013 (dir. Jerusha Hess)
  • Ride, 2015 (dir. Helen Hunt)
  • Afternoon Delight, 2013 (dir. Jill Soloway)
  • Grdzeli nateli dgeebi (In Bloom), 2013 (dir. Nana Ekvtimishvili & Simon Groß)
  • Lemale et ha’halal (Fill The Void), 2012 (dir. Rama Burshtein)
  • Herbie: Fully Loaded, 2005 (dir. Angela Robinson)
  • The Prize Winner of Defiance, Ohio, 2005 (dir. Jane Anderson)
  • Things We Lost in the Fire, 2007 (dir. Susanne Bier)
  • Elle s’en va, 2014 (dir. Emmanuelle Bercot)
  • The Babadook, 2014 (dir. Jennifer Kent)
  • Things Behind the Sun, 2001 (dir. Allison Anders)
  • Slums of Beverly Hills, 1998 (dir. Tamara Jenkins)
  • Peeples, 2013 (dir. Tina Gordon Chism)
  • The Secret Life of Bees, 2008 (dir. Gina Prince-Bythewood)
  • Jeg er din, 2013 (dir. Iram Haq)
  • The Pretty One, 2014 (dir. Jenée LaMarque)
  • Wuthering Heights, 2011 (dir. Andrea Arnold)
  • Fast Times at Ridgemont High, 1982 (dir. Amy Heckerling)
  • Laggies, 2014 (dir. Lynn Shelton)
  • Better Than Chocolate, 1999 (dir. Anne Wheeler)
  • Welcome to Me, 2015 (dir. Shira Piven)
  • Wanda, 1970 (dir. Barbara Loden)
  • Tank Girl, 1995 (dir. Rachel Talalay)
  • Archipelago, 2010 (dir. Joanna Hogg)
  • Catch and Release, 2006 (dir. Susannah Grant)
  • Tirez la langue, mademoiselle, 2013 (dir. Axelle Ropert)
  • Krylya (Wings), 1966 (dir. Larisa Shepitko)
  • Lick the Star, 1998 (dir. Sofia Coppola)
  • CB4, 1993 (dir. Tamra Davis)
  • A Girl’s Own Story, 1984 (dir. Jane Campion)
  • Forever’s Gonna Start Tonight, 2011 (dir. Eliza Hittman)
  • Hysteria, 2012 (dir. Tanya Wexler)
  • We Need to Talk About Kevin, 2011 (dir. Lynne Ramsay)
  • I Believe in Unicorns, 2015 (dir. Leah Meyerhoff)
  • Bande de filles, 2015 (dir. Céline Sciamma)
  • Sweetie, 1989 (dir. Jane Campion)
  • The To Do List, 2013 (dir. Maggie Carey)
  • Décalage Horaire (Jet Lag), 2002 (dir. Danièle Thompson)
  • Miss Meadows, 2014 (dir. Karen Leigh Hopkins)
  • Hester Street, 1975 (dir. Joan Micklin Silver)
  • The Queen of Versailles, 2012 (dir. Lauren Greenfield)
  • XXY, 2007 (dir. Lucía Puenzo)
  • Ir/Reconcilable, 2014 (dir. Gabrielle Fulton)
  • The Bigamist, 1953 (dir. Ida Lupino)
  • Advanced Style, 2014 (dir. Lina Plioplyte)
  • All Over the Guy, 2001 (dir. Julie Davis)
  • Pelo malo, 2014 (dir. Mariana Rondón)
  • Small, Beautifully Moving Parts, 2011 (dir. Annie Howell, Lisa Robinson)
  • The Night and the Moment, 1995 (dir. Anna Maria Tatò)
  • Una Hora Por Favora, 2011 (dir. Jill Soloway)
  • That’s What She Said, 2012 (dir. Carrie Preston)
  • Pay It Forward, 2000 (dir. Mimi Leder)
  • Madame Bovary, 2015 (dir. Sophie Barthes)
  • The Prince of Tides, 1991 (dir. Barbra Streisand)
  • Miele, 2014 (dir. Valeria Golino)
  • What Happened, Miss Simone?, 2015 (dir. Liz Garbus)

The English Contagious Diseases legislation brought men into prostitution in a way they had never been before. The Contagious Diseases Acts made casual labour calculated; they made it a crime and involved it in a series of social relations that courted dependency. The Anerican 1910 White Slave Traffic Act (the Mann Act), which made it a felony to entice a woman to cross state lines for “the purpose of prostitution or debauchery,” also institutionalised and certified the role of men in prostitution. Both the Contagious Diseases laws and the Mann Act were designed to curtail women’s mobility. The differences between the legislations are greater than the similarities, but for my purposes it is necessary to understand that men and male control enter prostitution only AFTER the state does. Studies that show the male domination and violence behind women’s participation in prostitution may well reverse this particular chronology of criminalisation and control. Moreover, they shift the focus away from women and onto men, and away from the initiatives of women and their families. In most of the world, it would seem that prostitution became a social problem when impoverished peasantries and urban work forces sent their daughters into the streets in increasing numbers, and when the monies those daughters remitted to their families slowed down the rate of proletarianisation of the peasantry or entrance of casual labour into the order and discipline of wage labour. When states legislated against prostitution, ostensibly to protect middle-class men, the men in the prostitutes lives began to provide a structure and infrastructure for their work. The assault on prostitution in nineteenth-century England, for example, was part of a larger assault on casual labour, not just because prostitution was casual labour, but because urban prostitution subsidised casual labour. No wonder men in the 1890s began to “bully” the prostitutes with whine they lived: the criminalisation of prostitution brought about its decasualisation. “A husband or lover drifted into being a ‘bully… much as women… drift into prostitution.”

It was the criminalisation of prostitution that created the conditions–the pimps, the apparent forces bf of women into the streets–that horrified reformers of the early 20th century? who compiled vivid reports about the extent of prostitution in a variety of American cities. In this way much of the data available to scholars about prostitution was created and determined by the political efforts to regulate and reform it. The categories and constructs were in a direct line from Parent-Duchatelet and Acton and did not reveal the place of women’s work in women’s families. Where there was no registration–Africa, or the American West–the data about prostitution have been more economic. This was not because the line between respectable and unrespectable was so thin in Nairobi or Mombasa or Elko or Helena but because census manuscripts, tax records, and oral data revealed a very different picture of prostitutes’ lives–and prostitutes’ earnings–than police records did.

—  Luise White, The Comforts of Home, 5

anonymous asked:

you onision hate blogs are being kinda pathetic, i mean what do you want him to do? he made an apology video, yet you still say he's manipulating his viewers. he's not a bad person.

- Cheated on his ex-wife with a 17-year-old Canadian popstar.
- Filmed his girlfriend having memory loss/a seizure and put it on YouTube.
- Killed his pet turtle by putting it under a plastic bin out in the sun.
- Cheated on his wife with Billie.
- Released Billie’s private information, such as, but not limited to, saying she had had an eating disorder.
- Told Billie she couldn’t see her family for a year, except on holidays.
- Twice nearly forced Billie to get a tattoo.
- Made fun of people for mourning Christina Grimmie when she was murdered.
- Was already planning on moving in with and living with Billie just a day after he and Lainey had decided to separate (Lainey talked about this in their video) and was willing to give up his kid for this.
- Pressured one of his girlfriends into sleeping with him multiple times the first day they met in person, even though she tried to say no. Refused to use condoms.
- Said he wishes people who smoke weed could overdose and die.
- Wanted to punish Billie by chaining her up in their basement for a week.
- Called Billie’s friend Ayalla ugly even though that was completely unnecessary (this is more of an example of something petty he did, though).
- Has been accused by more than one of his exes of being emotionally abusive.
- Puts pictures of underage girls in their underwear in his videos.
- Admitted to yelling “You cunt!” at Lainey.
- Tried to break-up with Lainey… on the very same day as their wedding anniversary.
- Had sex with his ex-girlfriend when she was 17 by taking her to a state where it was legal… which is illegal to do because it is in violation of the Mann Act.
“The Act also applies when a male takes his under-age girlfriend to a neighboring state, or a female transports an underage boy across the state line for sexual purposes.”

So all this equals = not a bad person? And that’s not even all the bad things he’s done or said. Just what I can think of off the top of my head currently.

By the way, I think being a married man breaking the law by violating the Mann Act and having sex with a 17-year-old is worse than smoking a little weed.
The Untold Story of Charlie Chaplin and Harry Crocker

Charlie Chaplin is among the most beloved figures in film history, so it may come as a surprise that there was a period when public sentiment in the United States largely turned against him. Beginning in the early 1940s, Chaplin experienced a litany of personal and professional setbacks that included a bogus paternity lawsuit, an indictment under the Mann Act, an investigation by the House Committee on Un-American Activities and poor public reception of his films. In 1952, following Chaplin’s departure for a visit to Europe with his family, the U. S. attorney general effectively barred Chaplin from returning to the United States by revoking his re-entry permit. During this period, Chaplin could find few friends in Hollywood and even fewer in the press, except for Harry Crocker.

Painting of Charlie Chaplin by Giovanni Omiccioli, 1952. From the Harry Crocker papers.

Harry Crocker was the heir apparent to a prominent San Francisco family that had its wealth entwined with the first transcontinental railroad. While he could have been contented to bask in his family legacy and fortune, he looked to the film industry to explore his own identity and find purpose. Throughout his lifetime, he would wear many hats that included acting in, directing and writing a number of classic films before ultimately finding his niche as an entertainment reporter for Hearst publications.

Publicity portrait of Harry Crocker, 1927

Crocker attended Yale University where he studied law, but his inclinations always pointed toward entertainment. After appearing in a number of stage musicals, he ventured to Hollywood in 1924 and ended up at MGM. From the time he arrived in Hollywood, the affable Crocker had little difficulty finding work and making friends. He first played bit parts in two King Vidor films: The Big Parade with John Gilbert and the Lillian Gish vehicle La Bohème. His next appearance was in Tillie the Toiler starring Marion Davies, with whom Crocker became close friends. Crocker also began a friendship with Davies’ paramour, William Randolph Hearst, who would provide Crocker with what ultimately became his legacy, the syndicated column “Behind the Makeup.”

“Behind the Makeup” first ran in 1928 and, unlike the column written by his Hearst publications peer Louella Parsons, Crocker chose to avoid gossip and focus more on business developments in the industry. Crocker eventually drifted away from the production side of film altogether in favor of his career as a writer. He penned “Behind the Makeup” until 1951 and wrote several books about Hollywood, including a substantial biography of the man who had stirred his imagination and inspired his creativity: Charlie Chaplin. 

Painting of Charlie Chaplin with angels and cat by an unknown artist. From the Harry Crocker papers.

In the latter half of the 1920s, Crocker met Chaplin and soon found himself serving as Chaplin’s assistant director on his 1928 classic, The Circus, as well as being cast as Rex the tightrope walker. Shortly after that production wrapped, Chaplin called upon Crocker to serve as his assistant director again (in addition to uncredited roles as writer and publicist) for 1931’s City Lights. Despite having a falling out during production of City Lights, Crocker and Chaplin resumed their friendship, with Crocker eventually working as a unit publicist on both Monsieur Verdoux and Limelight. Crocker also struck up friendships with two of Chaplin’s wives, actress Paulette Goddard (whom he divorced in 1942), and his widow, Oona O’Neill Chaplin. Crocker’s admiration for Chaplin ran so deep that he dedicated his first book to the cinematic icon, although the volume was never published.

Portrait of Charlie Chaplin as a boy by Francesco Perotti, 1952. From the Harry Crocker papers.

In the 1950s Crocker began and finished a book that was devoted exclusively to the subject of Chaplin entitled Charlie Chaplin: Man and Mime. Divided in two parts, the first half examines Chaplin’s childhood while the second half explores Crocker’s personal experiences working with Chaplin on The Circus and City Lights. The manuscript is rich with first-hand details of Chaplin’s creative genius at work as well as his explosive temperament; it provides a very sympathetic but even portrait of a man Crocker truly admired.

Ink drawing of Chaplin by an unknown artist made on the back of French-language sheet music, 1952. From the Harry Crocker papers.

As public sentiment turned away from Chaplin and he was barred from returning to the United States, Crocker saw fit to write an addendum to his manuscript that served as a defense of his friend. Crocker recalled how he tried to help: “Chaplin was in a pickle of unpopularity, and, while I felt that it would be impossible for me to make him popular overnight, I might, through my twenty-one years as a newspaper man and through my immense number of friends in the newspaper field, succeed in doing some good.” The manuscript was never published, however, and Crocker passed away in 1958 before seeing Chaplin restored to public favor in the U.S.

In the process of writing Charlie Chaplin: Man and Mime, Harry Crocker accumulated an array of research material that fueled his writing and allowed him to bring the story to life. This material, which includes manuscripts, drawings and more, is part of the Margaret Herrick Library’s Harry Crocker papers and can be viewed here.

Charlie Chaplin drawing and signature taken from Crocker’s autograph book (Chaplin’s sketch of Crocker in profile can be seen in the upper right corner). From the Harry Crocker papers.  

Photo: Library of Congress Prints and Photographs Division Washington, D.C. 20540.

#OnThisDay in 1903, John Arthur (Jack) Johnson won the Negro Heavyweight Title. He became the first African American world heavyweight #boxing champion when he defeated Ed “Denver" Martin at Hazard’s Pavilion in Los Angeles. He fought professionally from 1897 to 1928. Johnson was outspoken against racism and spent a year in federal prison for violating the Mann Act by transporting his white fiancée across state lines before their marriage. He wrote two books of memoirs, Mes Combats (in French, 1914) and Jack Johnson in the Ring and Out (1927; reprinted 1975). He was a member of the inaugural class of inductees into the International Boxing Hall of Fame in 1990.


With the addition of Rebbacus’ Grey Mann model, I think it’s time to merge it up with Lunarch’s Grey Mann voice acting. 

Here’s a preview so far of some animoot practice I’m doing with this Ring of Fired comic dub!

The Both is the name for the duo formed by the veteran singer-songwriters Aimee Mann and Ted Leo. The Both is also the name of their debut album. The two began performing together in 2012, when Ted Leo was Mann’s opening act. Mann began joining Leo onstage during his set. They liked the sound their voices made together, and started collaborating. Fresh Air rock critic Ken Tucker has a review of The Both:

As separate acts, Ted Leo is generally considered a punk-influenced indie musician for the work he’s done with his band the Pharmacists, and Aimee Mann as a sensitive singer-songwriter ever since she left the pop star life with the group ‘Til Tuesday in the 1980s. But of course both of these musicians are more than their genre categories. What their work as The Both suggests is that together they’ve found common ground in confidently precise, propulsive melodies and lyrics that twist with oblique cleverness.

Milwaukee” is one of the first songs Mann and Leo collaborated on in gradually hatching this plan to perform and record together as The Both. They bring out the best in each other musically: Leo gives Mann zip and vigor; she gives him poetry and hard-headedness. Sometimes one of them takes the lead vocal, at other times they trade off lines and harmonize throughout. 

In interviews, Aimee Mann has said working with Ted Leo has made her feel as though she’s in a rock band for the first time, which must make her old bandmates in 'Til Tuesday feel a tad dismayed. But if anything, The Both includes some of the most Aimee Mannish of Aimee Mann songs, the way her best singing captures an urgent longing and pessimism that is redeemed by a prickly self-awareness.

The Both works so well as an album because its songs cohere as the documentation of the ways a new creative partnership revitalizes the familiar habits, tics, tricks, and talents of the collaborators. It sets their individual talents in a new context that compels the listener to form a new appreciation for these musicians. They may begin the album singing about a gamble that didn’t pay off, but their own musical collusion really has.


Photo cred Christian Lantry/Super Ego Records