There’s been a lot of talk on my feed about how the Gatewatch are just waltzing through the challenges they face like a home-made banner at a pep rally. While they are all currently whole in body, and the perceived threat from each plane is no longer actively threatening, follow me down this line of thought.
The Gatewatch have failed at what they have set out to do, every time.
East Oakland street Legend Darryl Lil D Reed was a 19 year old in the mid 1980′s that had the world in his hands. Darryl worked from the bottom up beginning as a street level hustler, and eventually lead one of the biggest “Cocaine Conglomerates” that California has ever seen.
What makes River stand out from so many of his contemporaries on screen is his courage to choose roles which aren’t guaranteed commercial success. His two latest films are evidence of this. In Dogfight he plays a young marine (with a very cute haircut) who gets involved with a cruel game where a bunch of soldiers invite unattractive girls to a party and bet on who can bring the ugliest date. River brings a dowdily dressed Lili Taylor (the funny one in Mystic Pizza) and learns that beauty comes from within when he falls for her charms. In My Own Private Idaho, he stars opposite Keanu Reeves as a lonely street hustler who prostitutes his body to gay men. Both roles were shunned by a lot of more image-conscious actors.
he’s a street kid, that’s p much a given. he’s a thief, a pickpocket, a burglar, a street hustler. he can fight like hell and defend himself against two fbi agents and have you see his getaway driving? the guy also rocks a leather jacket every time he’s not on stage, gets the Death card when he’s called in. if u see him walk past with a scrape ur just gonna assume there’s another guy out there who is currently registering to er
but the second he opens his mouth
purest, sweetest fucking cinnamon roll ever to cinnamon roll
A debate sparked last night between me and the girls (well just one: @ebonybella, the other was asleep) about the degree of influence “The Bimbo,” and “The Brain,” have in the sugar baby/ escorting world, and if calling a woman a “Bimbo” is insulting.
First of all, let me be clear. I consider both types of women to be intelligent. I don’t buy into the notion that Bimbos are stupid. That is merely a sexist ASSumption placed upon women who aren’t afraid to play up their sexuality in public. If showing off big boobs, hair and curves makes you stupid, then so should a big dick, perfect abs and too much testosterone.
And there are countless examples that prove Bimbos are not dumb but we’ll use my favorite:
Jessica Simpson: America’s early 2000s reality tv star and accidental Bimbo. Some background info: Simpson grew up in a strict, Christian household. She was a virgin on her wedding day and despite her blonde hair, big boobs and infectious smile, she never tapped into her sexuality until the show Newlyweds made her a star. But everyone thought she was dumb, for making that one silly comment on the first episode.
Either way, Jessica, who I like to think became a Bimbo on accident, let people think what they wanted. She played up the image, and while everyone was laughing at her, she was laughing all the way to the bank.
Today Jess runs a $1 Billion fashion empire.
Lemme say that again: Jessica Simpson runs a ONE BILLION DOLLAR fashion empire.
From the Kim K’s, to the Blac Chynas and everyone in between, The Bimbo has just as much as intellectual ability to reach greatness as their “Brain” counterparts. They’re simply not afraid to let people talk. And boy do they talk. The Good Girl hates Bimbos, and I know cause I used to be one. The Good Girls are not your Brains They’re not street hustlers. Rather their your primp and proper, straight-laced slut shamers who believe any woman that dares to use her beauty and sexuality as a come up should be stoned in the streets.
Good Girlslove to whine about Bimbos:
“He’s with Her? God, she’s so fake!”
“Her boobs aren’t even real! Why do men like that?!”
“We have 5 freaking degrees between the two of us!!”
Good girl tears
Bimbos Be Like…
I like Bimbos but I don’t have the look to be one.You have to be good with makeup, hair and clothes, You need curves, and nice ta-tas. Maybe a tat or piercing in some obscure place. Bimbos are fun. Bimbos know how to hustle. Bimbos light up the room. Everyone needs one on their team.
First of all, look at those screenshots. The left ones from the original color and the right ones from the modified color from Criterion Collection’s bluray edition.
Now let’s talk about this:
Gus Van Sant: When I see something - a film, say - that I think is a good idea, something that I might want to do, I don’t really see it as a whole. I see an image that I think represents the whole film. And so then I start to work towards that image, and then I fill it all out, and it becomes very complicated, because you have to have a lot of elements to make the image come to life. And on the way, you usually lose that one image It becomes a new thing, a thing unto itself. You keep it going along the lines that it’s got a mind of its own, and then by the end you say ‘Oh yeah, I remember the first image of this particular idea. I thought it was going to be like this black-and-white, dark thing that was set in the l950s.’ And you actually end up with a very colourful, bright story set in the 1990s.
River Phoenix: Referring to My Own Private Idaho?
Gus: Yeah, Idaho is a very good example, because it is very bright and colourful, and it is set in the 1990s. And I think the original ideas were dark and shadowy, but there’s not a lot of shadow in it.
River: Like there is in Mala Noche. So you start with a 'theme seedling’, and then that sprout s into its own tree and don’t really try to trim it. You let it grow and the end result is - whatever. Do you refine it? Do you try to reroute it back to what it was?
Gus: You refine it every step of the way. Usually I’m presented with new ideas. Like, our production designer, David Brisbin, showed up and said, 'I think that red and yellow are the colours of the film.’ And I might have no conception like that myself.
River: Right, right.
Gus: Except, actually, I gave him a book cover that was yellow, and that book cover did inspire the look of the film. So he was actually reacting to something. But it was a new idea to me when he said 'Yellow’ and based the colour scheme on pornographic bookshop storefronts, which are usually yellow, and neons… the city colours. So, directions keep changing, because everyone’s interpreting things in their own way. I know that you persuaded me against using black and white. You said, 'No, no, no. It has to be colour.’ [chuckles] I don’t know why you said that.
River: I wanted black and white, and, for me, colour was wrong, and that’s why I thought we should try for it because otherwise we might have ended up with something that really couldn’t be redone, like Stranger Than Paradise or Raging Bull. But black and white is dated in a sense, and this is a timeless picture. One of the things that I really appreciate in working with you is that in that collaborative stage you have no fear of your ego being stripped or anything. You’re not possessive, like some can be, but you let others ideas filter through without stopping them for fear of losing control, which would be rightful fear for someone who wants it to stay as pure as possible.
[My Director and I - Interview Magazine, March 1991]
One of the many things I really like about some films is their way to talk to you through images and colors, and My Own Private Idaho does it successfully. I love the yellow and red always present in the film, especially because it has really strong reasons for that, as Gus stated in this interview with River. He gave us a street hustlers atmosphere through those colors, the neon lights, the color of the city. And the big problem that is bothering me here in this bluray version is how they treated and modified the image, to be less yellow and red. Actually, I’m not seeing the yellow and red at all, everything I’m seeing in this edition is something very white and blue. Everything’s pale, not so colorful like My Own Private Idaho is originally.
Bluray editions always have those problems, they change the films a lot to be more normal and, let’s say, aesthetically pleasing to the general public. Some films you don’t even notice or bother about the changes, but films like Idaho and many others have a very important dialogue with the viewer through their images.
That’s it, I just needed to get this all of my annoying-audiovisual-analyzer-chest. And I hope other people have noticed this and also saw how wrong it is to change drastically the principal colors from My Own Private Idaho.
A common trap for a science fiction film, is to set itself so near into the future that it ends up having a very short shelf life. This one is about a street hustler played by Ralph Fiennes who deals in ‘recorded memories’ data discs (usually of an illicit nature) who stumbles on a police conspiracy in the last days of 1999. Not bad thriller, but seems a bit dated these days, ten years after the 'future time’ depicted in the film.
In 1995 Jay-Z and the newly-formed Roc-A-Fella Records crew headed out to St. Thomas in the Virgin Islands to film a video for one of his first official singles: ‘In My Lifetime’. They were hoping to get the song on MTV and shooting a stand-out video for the track would help with this. Dame Dash used the last of the money from Jay-Z’s PayDay Records deal and the initial $16,000 investment of the newest partner of the Roc, Kareem ‘Biggs’ Burke, to finance the video. Biggs was a well-connected street hustler and had links to the mansion property and speedboats in St. Thomas they used for the video shoot. So Hov, Dash, Biggs, director Abdul Malik Abbott, and the rest of the Roc crew boarded an American Airlines flight and headed to the Caribbean to video their party life.
It was during the promotion of this single that Roc-A-Fella Records was born. Hov and Dash had been driving around New York selling the original single out the back of their car since 1993; and the hype surrounding this practice gained the attention of indie label PayDay Records. They had been taking meetings with labels all over town, including Def Jam and Polygram, but no one was willing to sign Young Hov. So he signed a deal with PDR, and was given around $30,000 in return for a few singles and an album. Straight away Hov and Dash had many frustrations with the label, including royalties disagreements and the label’s lack of promotion for the single ‘I Can’t Get With That’. On one visit to the PDR offices they noticed that the entire marketing campaign the label had planned for the official release of ‘In My Lifetime’ consisted of just one box of flyers for street distribution. The label was unwilling to meet their promotional expectations, so Hov and Dash split from the label and handled the radio promotion and video shoot themselves. Using the buyout money they officially formed Roc-A-Fella Records, rented a small office space on John Street in Manhattan, and the rest is history…