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Film & TV: Pop Tarts (The Boston Phoenix . 10-27-97) Pop Tarts From Fallen Woman To "Pretty Woman," Hollywood's Love Affair With Hookers By Peter Keough OCTOBER 27, 1997: "Whatever you desire," is the slogan for Fleur de Lis, the agency in L.A.Confidential that provides its clients with call girls "cut" to resemblesuch movie stars as Rita Hayworth and Lana Turner. It's an appropriate mottofor Hollywood itself, which has made its fortune by cutting images to fulfillits audience's desires, offering the illusion of love, life, and death to bevicariously enjoyed for the price of a ticket. Prostitution in Hollywood is asanitized, sanctioned whoredom where stars transform themselves into theforbidden or inaccessible dreams, wet and otherwise, of their voyeuristicclientele. Small wonder then that the world's oldest profession has always fascinated theyoungest art. From Gloria Swanson in the silent Sadie Thompson (1928) toKim Basinger as the Veronica Lake wanna-be in L.A. Confidential , themost glamorous of Hollywood's beauties have prostituted themselves -- perhapsin an effort to elevate the institution that uncomfortably resembles their own.They've allowed Hollywood -- and us -- to have it both ways: we can reject theforbidden fruit even as we ogle it on screen. It's a lot safer and cheaper tosavor, say, Julia Roberts's charms in Pretty Woman (1990) and rejoice inher fairytale redemption than try to achieve the same result on Berkeley Streeton a sordid Saturday night. The body of films about prostitution reflects our culture's uneasy andobsessive love/hate affair with the ultimate commodity. It's a catalogue of thefantasies -- not all of them male adolescent -- that adorn prostitution likecheap perfume and tawdry glad rags. One of the earliest and most persistent isthat of the fallen woman saved from her fate by the love of a good man. In theracier years of the classic studio period, before the 1934 Production Codeeliminated any reference to the unwholesome facts of life, Hollywood was freeto call a whore a whore and not label her with euphemisms like "party girl" or"actress." The studios were still obliged, however, to reform her or elsepunish her for her sins -- and ours. In Josef von Sternberg's Shanghai Express (1932), Marlene Dietrich's"Shanghai Lili" becomes a high-class courtesan cruising the China coast afterbeing dumped by her stuffy lover, British Army officer Clive Brook, for testinghis jealousy. They meet years later on the title train, which is then seized byrevolutionary warlord Warner Oland. Dietrich gets a chance to make up for herrough trade and tough-minded independence by offering herself to Oland inreturn for her ex-lover's eyes, which the warlord, in a Freudian moment, hasthreatened to put out. The timely intervention of another hooker (playedseductively by Anna May Wong) discloses and prevents Dietrich's sacrifice, andall ends respectably. Not so in John Cromwell's adaptation of Somerset Maugham's Of HumanBondage (1934). Bette Davis, in the role that made her a star, plays thewaspish, consumptive waitress who seduces aspiring artist/physician LeslieHoward. As her treachery and bitchiness intensify, her health and professionalstanding decline; she winds up as a broken streetwalker dying in a poorhouse.It's a chilling lesson not to cheat on pallid, club-footed dreamers; the ironyis that Davis is far more attractive, if not more sympathetic, than Howard. Like Dietrich in Shanghai Express , Hollywood's women of little virtueshow a strength, independence, and allure that's more appealing than appalling.Especially when compared with the milksop representatives of respectablesociety. That's why hookers so often serve to send up the hypocrisy ofestablished morality. In Rain (1932), Lewis Milestone's remake of Sadie Thompson , Joan Crawford plays a South Seas trollop whosewantonness exposes the repressed desire behind puritanical preacher WalterHuston's intolerance of the flesh. In Clarence Brown's adaptation of EugeneO'Neill's Anna Christie (1930), Greta Garbo talks for the first time onscreen and earns an Oscar nomination for her efforts as the fallen young womanof the title who returns to her ne'er-do-well seafaring father after beingabandoned 15 years before. What she did all that time to support herself isrevealed after a young sailor proposes to her -- but she's vindicated and thepatriarchal society that lowered her is condemned. Prostitutes became personae non grata once the Hays Office took over inthe mid '30s, so Hollywood called them showgirls, or the non-specified femmesfatales of film noir, or, in the notorious case of From Here to Eternity (1953), USO workers. With the easing of moral restraints in the '60s, however,hookers once again could speak their name on screen, ushering in an onslaughtof films whose changing take on the subject of prostitution is a coy history ofour society's attitudes toward sex, gender, power, and money. Elizabeth Taylor and Audrey Hepburn started things off timidly enough with Butterfield Eight (1960) and Breakfast at Tiffany's (1961), respectively. In Daniel Mann's diluted adaptation of John O'Hara's Eight , Taylor plays a "model" with a taste for rich men and late hours;she will abide being called a tramp, but she won't accept the $250 hersocialite lover Laurence Harvey leaves her. Neither will he leave his sexless,devoted wife for her, and Taylor is duly punished for offering Harvey andaudiences a sexy alternative to drab middle-class existence (she would berewarded later, with an Oscar). As Truman Capote's Holly Golightly in BlakeEdwards's Tiffany , Hepburn evades, briefly, the strictures ofrespectable housewifery by flittering on the fringes of Manhattan society,earning her keep from men by, it would seem, being witty and fascinating. Inneither film are the nuts and bolts of the actual business referred to: theheroine's lifestyle merely seems somewhat mysterious, maybe a littledepraved. But certainly enticing -- for women as well as men. There's the great clothes,the idle luxury, the independence (just like a James Bond film); there's alsothe lure of sexual experimentation, self-abasement, maybe even romance.Hollywood in the '60s contented itself with suggesting the forbidden appeal ofprostitution, but European filmmakers like Jean-Luc Godard with 1962's Vivresa vie (and, in a sense, every film he's made) and Luis Buñuel withhis deliciously perverse 1967 classic Belle de jour exploredprostitution both as a manifestation of repressed desire and as an allegory ofthe movie industry in particular and capitalist society in general. American filmmakers tend to be more idealistic, if not more naive. Especiallywhen they're trying to be hip, as they were in the late '60s and early '70s.One prostitution myth that evolved in this period was theknight-in-shining-armor scenario, in which the hero rescues the heroine fromthe wicked pimps who enslave her. In so doing he also frees himself from allhis unacknowledged inhibitions, which makes for a happy or at leastclarifyingly tragic ending. In Herbert Ross's The Owl and the Pussycat (1970), nerdy would-be writer George Segal is tossed together with unbearablyshrill call girl and actress Barbra Streisand. Think Pygmalion : heimproves her vocabulary, she screws him and teaches him how to be himself. The pattern is much the same if dicier in Alan Pakula's Klute (1971),as small-town policeman Donald Sutherland squires big-city call girl Jane Fonda(another hooker role that turned Oscar gold) for information about thedisappearance of a prominent acquaintance. His tight-lipped repressivenessdoesn't long withstand Fonda's frisky savoir faire, and his straight-arrowvirtue proves more therapeutic to her than her psychiatrist does. The formulagoes sour, however, in the uncompromising assault of Martin Scorsese's TaxiDriver (1975), in which Robert De Niro's lumpen Sir Galahad fuses squalorand chivalry to save an unwitting, pubescent Jodie Foster in one of cinema'smost astounding scenes of sparagmos . Too bad the knight syndrome didn't come to an end with Travis Bickle's killingspree -- we might not have had to endure the demeaning, vastly popular treacleof Garry Marshall's Pretty Woman (1990). Richard Gere is a corporatebuccaneer who dismembers companies and sells the fragments. Julia Roberts ismore in the corporeal line, and their chance merger is mutually beneficial asRoberts learns which is the proper fork to eat with and Gere learns to have agood time and stop being pissed off at his father. Needless to say, the brutal realities of both businesses are airbrushed --what's the deal with Roberts's drug-addict friend, for example? And yet thefilm is quite matter-of-fact about prostitution's capitalist nature. As suchit's another in a long line of films that explore the profits and losses ofwhoring. Leave it to Billy Wilder to come up with one of the first, the saucy ifoverlong Irma La Douce (1963), in which gendarme Jack Lemmon loses hisjob and his heart to Shirley MacLaine's Parisian trollop of the title. On therebound, he becomes her pimp, but since he cannot bear to have her sleep withanyone else, he disguises himself as a wealthy English lord who just wants toplay solitaire. The lord becomes her sole customer, and in order to pay her --in fact himself -- Lemmon must work nights in a meat market. After taking onthe roles of capital, labor, and the aristocracy, he's left too exhausted toenjoy the object of his desire. A similar critique of capitalism might be read from Robert Altman's McCabe& Mrs. Miller (1971). At the turn of century on the West Coast,entrepreneur and gambler McCabe, played with raffish insouciance by WarrenBeatty, joins forces with brothel keeper and opium addict Mrs. Miller, playedby a luminously besotted Julie Christie. Together they transform a sleepybackwater into a frontier boomtown, only to attract the interest of corporatehonchos back east. The film concludes with one of cinema's greatest sequences,one that is simultaneously lyrical, tragic, and epic -- a rapturous and somberimage heralding the end of the frontier spirit and the beginning of Americancorporate capitalism. In the age of Reagan, though, the corporate types are the heroes, not the badguys, so pioneer McCabe gets replaced by preppie self-promoter Tom Cruise in Risky Business (1983). Left home alone in his ritzy Chicago suburb,Cruise avails himself of the services of hooker Rebecca De Mornay and in shortorder turns the family home into a brothel. That annoys the lower-class scumwho are the girl's pimps, and after some misfortunes involving a Steuben eggand a Porsche in Lake Michigan, she gets reformed and he learns a lesson beforeheading off to Princeton, presumably to learn to become a corporate raider likeRichard Gere. Ron Howard's half-witted Night Shift (1982) plays the same theme offthe old pairing of love and death. Henry Winkler is a morgue attendant who'stempted by moronic colleague Michael Keaton to take advantage of the slowlate-night shift by setting up a brothel among the stiffs. All works well --the boys make money and the girls get health benefits -- but Howard, likeLemmon in Irma La Douce , falls in love with the merchandise, starstablemate Shelley Long. Then there's the requisite threat from thelower-class-scum pimps that want in on the action. Not to worry, though: thetrue love of heart-of-gold Long enables Winkler to shake off his middle-classrepressed self and his respectable eating-disordered fiancée and haveeverything his way (his sending back a sandwich he didn't order is a dramatichighlight). Recent Hollywood efforts have taken thisrespectable- folks- turning- brothel- keepers to new smarmy heights. Prostitutionbecomes not just as another business but a reflection of and cure-all for thedysfunctional family. In Mighty Aphrodite (1995), Woody Allen ickilymirrored his own tabloid-blazoned scandals as the father of an adopted childwho tracks down its natural mother in a misguided attempt to heal his troubledmarriage and tweak his Oedipal curiosity. That the mother is a whore -- ascatological Mira Sorvino winning an Oscar by imitating Minnie Mouse -- says asmuch about Allen's trouble with women as Hollywood's inveterate misogyny. The unholy mother/whore combination can be seen in flagrante in RichardBenjamin's Milk Money (1994). A trio of scampish suburban kids puttogether a hundred bucks in change and ride their bikes to the big city. Therethey employ bimbo Melanie Griffith to show them her tits and give them a ridehome. One of the more annoying tykes is determined to hook Griffith up with dadEd Harris, a widower devoted to saving "the wetlands." The traditional avengingpimp turns up, of course -- not lower-class, this time, but Eurotrash BritMalcolm McDowell. Yet this marriage of suburbanite complacency andtransgressive urban sass is as inevitable as Griffith's cleavage. Although vastly inferior, Milk Money is reminiscent of Jonathan Demme's Something Wild . And not just because both feature Melanie Griffith in asundress. In Demme's masterpiece, she's Lulu, the spitting image of LouiseBrooks's archetypal prostitute from the Pabst silent film of the same name.(This latter-day Lulu's profession is left ambiguous.) She pounces ondown-on-his-luck corporate executive Jeff Daniels, who's lost his wife,furniture, and very likely his job when Lulu lures him through the HollandTunnel and on the road to an America Charles Kuralt never encountered. With RayLiotta in his first and finest performance as a psychopath who shows Daniels aglimpse of the dark side, Something Wild is exactly that, a rollickingvoyage through comedy and melodrama that discloses the savage face beneathgenial stereotypes. Demme's film also reminds us that, at their best (which is not often),Hollywood's movies about prostitution serve as a bridge -- in the case of Something Wild , a tunnel -- between the respectable and the forbidden,the repressed and the desired. In Leaving Las Vegas (1995), NicolasCage's sodden screenwriter abandons the glitz of LA for the desert of the titletown. There, at the bottom of cases of bottles, he finds call girl ElisabethShue. They fall in love, but neither reforms the other: he'll drink himself todeath; she'll sell herself until she's no longer desirable. They offer us noconsolation, and neither does the film. It takes the sweet beauty and theangelic attentions of Shue, in her Oscar-nominated performance, to make anaudience embrace those brutal truths. Which is Hollywood's way of showing thata hooker's heart of gold is in fact our own heart of darkness. Prostitution Theory 101 - A Boston Phoenix article on hookers The Boston Phoenix's Movies Archives Peter Keough Archives Film & TV: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 © 1995-99 DesertNet, LLC . The Boston Phoenix . Info Booth . Powered by Dispatch
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www.myspace.com/sabrosapurr MySpace.com | Home The Web MySpace Help | SignUp Home | Browse | Search | Invite | Rank | Mail | Blog | Favorites | Forum | Groups | Events | Games | Music | Classifieds Videos | Directory | Search | Top Artists | Shows | Music Forums | Music Classifieds | Artist Signup Sabrosa Purr Alternative / Indie / Rock "Debut E.P. available at www.SabrosaPurr.com" , United States Profile Views: 20110 Last Login: 01/11/2006 View more pics Contacting Sabrosa Purr MySpace URL: http://www.myspace.com/sabrosapurr Sabrosa Purr General Info Member Since May 11, 2004 Band Website SabrosaPurr.com Band Members Will Love-Guitar/Lead vocals,Jacob Thompson-Drums,Jeff Mendel-Guitar. Influences The itch in the back of my throat.The voices in my head.The things I've left behind.www.MySpace.com/MissMaviswww.MySpace.com/PedestrianMusicwww.MySpace.com/Devicswww.JonneineZapata.comwww.MySpace.com/Cheemwww.MySpace.com/CoolDryPlace Sounds Like Nirvana meets Sigur Ros. But everyone keeps saying Pink Floyd, so what the hell do I know?Here's a review from http://www.onetimesone.com/music-reviews/sabrosa-purr-music-from.phpSabrosa Purr Music From The Violet Room What exactly is this? No matter how many times I listen to Sabrosa Purr, I still cant put my finger on it. The only word that really, truly applies is "moody," so thatll be used with great frequency in this review. Track listing: 01 Nous sommes... 02 Sabrosa Purr, Pt. 1 03 ...by the water 04 The Lovely People 05 All the leaves... 06 God Damn You 07 Pink 08 Liars, Petty Thieves and Pets But the music? The genre? Classifying Sabrosa Purr is harder than liking the Bravery, but lets give it a try. Smashing Pumpkins + Nirvana + Led Zeppelin + a dash of insanity. Well, thats as close as you can get. Because Sabrosa Purr are the most mystifying, bizarre, and intriguing band youll hear for a long while. They can swing from tender folk to bombastic metal at the drop of a hat, and it never seems forced or contrived. The simple answer is that this is a band that loves music, and loves so much of it that they cant be bothered to choose just one style. How rebellious, how bold. Music From the Violet Room is just an 8-song EP, but it packs more heart, soul, and balls than most full-length releases. Opener Nous Sommes perhaps explains the mystery of Sabrosa Purr best. Instead of a thrilling, pounding song to start us off, it begins with an eerie voice whispering in French Fermez vos yeux. Voyez-vous? [Close your eyes. Do you see?], with no music to speak of. Clearly eccentric is just the tip of the iceberg. Just when you expected a pretentious odyssey into the depths of the Gaelic mind, in comes Sabrosa Purr, Pt. 1, a gloriously trippy exercise in mournful chic. Perhaps this is where those troublesome Pink Floyd comparisons come in, because this is decidedly music to space out to. As vocalist Will Love murmurs Id like to touch her hair, the music floats and hangs in the room like smoke, infusing any substances that touch it with a glamorously moody elegance. Sabrosa Purr, Pt. 1 is so delicate, so calm that By the Water simply blows it away. By the Water, summoning all the Nirvana charm it can manage, makes lyrics like My best friend since Im 13/Living through the magazines seem like a powerful, wounded cry. And then, the one-two-punch of that chorus, a screaming, strained shriek before slipping into calmness again. Like the Pixies, it switches from loud to soft and back again before you know whats hit you. If there was any justice, The Lovely People would be electrifying iPods everywhere. Opening with a monstrously catchy guitar riff, it spawns a new genre: Rock twang punk-metal. Which hopefully will take off any day now. Oh no, I can see you! Love intones as guitarist Jeff Mendel creates an instantly hummable melody. Queens of the Stone Age would kill to be this cool. And like any good prog-metal-indie-punk album, there must be one gently strummed folk tune. At least, All the Leaves would come off as that, if not for Loves Robert Plant vocals, which can take even the quietest of tunes and imbue them with a subtle malice. The same vocals come in again with God Damn You, slight throwaway in the hair-metal vein that just doesnt have the edge. Even ending with a squall of guitars cant give it the oomph flooding the rest of the EP. Pink would make the Floyd themselves show a little respect, with its moody (yes, again), languid charm. With indiscernible lyrics blocked by guitar chords, Pink has all the quiet glamour of drug-filled evenings in the suburbs, and hisses with restrained energy. Music from the Violet Room closes with Liars, Pretty Thieves and Pets, much like All the Leaves but with a more acoustic, looser folk feel. Lyrics like Sunlight makes nothing rightCant rely on honesty of friends make Sabrosa Purr seem so much older and world-weary than boys this young should be. But even if the sentiments are forced the music is brilliant. So, whats the evidence? Prog vocals, metal guitars, indie aesthetic? The result is simply the wonderful, mind bogglingly unique Sabrosa Purr, so dont even try explaining it. -Emily Tartanella 01/03/06 Record Label www.DangerbirdRecords.com Type of Label Indie Upcoming Shows ( view all ) Jan 20 2006 8:00P Molly Malone's Los Angeles, CA Sabrosa Purr's Latest Blog Entry [ Subscribe to this Blog ] Chewy little bugs... ( view more ) Our E.P. is now availalble from our official website... ( view more ) Tour with Rev Smile and Last Amanda ( view more ) Review of October 5th Silverlake Lounge show... ( view more ) Address your messages to Will, Jacob or Jeff... ( view more ) [ View All Blog Entries ] About Sabrosa Purr Sabrosa Purr's Friend Space Sabrosa Purr has 2621 friends. Mavis Liz Alejandra Sinde Auf der Maur CHEEM .razorblade kiss. ve View All of Sabrosa Purr's Friends Sabrosa Purr'sFriends Comments Displaying 50 of 434 comments ( View/Edit All Comments ) Sammi Morelli Jan 11, 2006 01:53 PM THANKS you guys for letting me rave about your music on my TouqueHooligan show on scrubradio!! You guys ROCK!! bravissimo Alessandra Jan 11, 2006 07:46 AM Hey I got your cd today! yayy Moving Picture Show Jan 10, 2006 10:54 AM Fellas happy new year! I hope you guys all had fantabulous holidays full of mystery and intrigue. Man I think it's safe to say from the comments that the ladies still love you in the '06! hehehe See you soon, Matt Lydia Jan 9, 2006 12:27 PM amazing music as always..much love to u guys, especially jacob :) ♥ Diamonds&Pollen Jan 6, 2006 01:35 PM word of the day:excruciating randomness of the day: pain killers and ice cream don't mix well. and it makes you vomit. just so you know. Don't do it. mmhmm. I like crushing pills. BUT not as much as i like you guys. like summer in the spring, Dorothy virginia louisa maria carlotta polka-dot olivia thomas petey victoria josephina Martin SUZE Jan 5, 2006 06:54 PM i miss you guys! when ya gonna play ... when ya gonna play? happy 2006! i wish you all the luck this year! luv, suze WonderGround Jan 3, 2006 03:27 PM Greetings fellas. Pickin up stix in 2006. Taylor Jan 3, 2006 02:47 PM i am DYING for you guys to come to atlanta! lol Diamonds&Pollen Jan 3, 2006 10:58 AM So I finally got around to making The Lovely People my profile song. YAY! I adore you guys! CaeSoNia Jan 2, 2006 12:33 AM happy new year!!! && i heart your music.o.o.o.o Let Me Dress You Up Jan 1, 2006 10:23 PM Happy New Year guys! When are you kiddies gonna start playin some shows? ~Christy Diamonds&Pollen Jan 1, 2006 11:04 AM HAPPY NEEEEEEEEEEW YEAR! *i wished you one early...and one late* I adore you all. Like A Violent Storm During A Forest Fire, Devilsih Dotty Coralie Jan 1, 2006 05:44 AM My very best to Sabrosa Purr for the new year! I wish you some great, amazing and exciting moments in 2006 I hope youll have a fantastic one! Un grand MERCI pour la musique! Coralie. .razorblade kiss. Dec 31, 2005 02:01 PM HAPPY NEW YEAR Punkinhead Dec 31, 2005 01:06 PM Hey guys! I just wanted to wish you all a wonderful New Year! CoUrT-kNeE Dec 31, 2005 12:35 PM Chasing Euphony Dec 31, 2005 08:09 AM Happy New Year Boys! Candi Dec 30, 2005 02:54 PM CoUrT-kNeE Dec 30, 2005 04:37 AM hey guys whats up? *CoUrT* .razorblade kiss. Dec 29, 2005 07:25 PM im back miss me much? xx [ k ! k ! ] Dec 29, 2005 04:53 PM you guys' music is magicallllll ♥ Joni Dec 29, 2005 04:50 AM Hey guys, how was your Christmas? Hope your all doing well, keeping it real, & still kicking some ass! Have a rockin New Year! Pj Dec 28, 2005 08:35 PM Only one thing that i wish for every Purr HAPPY Dec 26, 2005 07:48 PM i finally heard pink and i love it!!!! i put it on my i pod. haha :) HeavensDust Dec 25, 2005 12:45 AM Thanks for being our myspace friend! Wish you a merry christmas and a happy new year from JAPAN!!! Shin www.heavensdust.com kiss Angi Dec 24, 2005 10:35 PM ♥ Been good for X-mas, gentlemen? XOXO ~Marcie~ Dec 24, 2005 01:42 PM Life is ours... Dec 24, 2005 10:36 AM christmas images Diamonds&Pollen Dec 24, 2005 05:31 AM wishing you a merry christmas, happy new year, and all that shit Tag Your Dead Dec 23, 2005 07:01 PM Happy Holidays... Sinde Dec 23, 2005 06:55 PM hey guys, just stopping by to show some love to my favorite rockstars. have a great weekend and see you soon. s. CoUrT-kNeE Dec 22, 2005 11:00 PM °o.OPoUpInEtTeO.o° Dec 21, 2005 05:44 PM Bleeding Through Veins Dec 21, 2005 05:22 PM Hey Love The Music!!! Rock On!! Out of town to see FFTL :) Be back next week! Dec 21, 2005 12:39 PM Merry Christmas! DaNi Diamonds&Pollen Dec 21, 2005 07:26 AM Burn, procelain flesh. Burn tender skin. Innocent China Dolls murder infected Barbie sluts. Innocent China Dolls with skin whiter than milk. Burn til their skin is as black as your souls. Beautiful barbie hos give into temptation. Walk blindly into the trap. Let curiosity control. China dolls get the matches. Go porcelain arsonists, go! Burn, porcelain flesh. Burn, tender skin. Massacre. Massochistic. Massosoit. Massochistic Massacre. Narcotic induced tragedy. Smiting the ill-destined. Snicker behind their backs. Ravage, destroy, plunder, paralyze, annihilate. Burn, porcelain flesh. Burn, tender skin. Serial Killer innocence, white and Pure. Blood spatters on satin bows and lace.Darkness on milky porcelain face. poetry to read by your fireplaces ;) Andree-Anne Dec 20, 2005 11:12 PM All the best to you! MoNiCa Dec 20, 2005 09:40 PM More live shows please As of Now Dec 20, 2005 12:50 PM thanks for the add/support. we'll be getting some music up soon. so keep in touch! ♥ Britt (as of now) Dec 20, 2005 07:51 AM dear will, jacob, and jeff, you are my heroes love jazy :) ps:whats up It Started Out With A Kiss<3 Dec 20, 2005 01:45 AM why hello MY WEIRDNESS WILL!! hehe lol...yea hey its me laura yea just in case u dont remember me yea so how r u?...and ur guys??..... well i hope u milked a cow yet yea its kinda cool hehe so whats up with u and ur band?? comment me back kk Laura Dec 19, 2005 07:42 PM Hey sexy boys! Sounds like you're doing very well for yourselves! Kewl, kewl, kewl! Well, have an awesome Holiday Season! Take Good Care! Ciao!! stephanie Dec 19, 2005 06:22 PM oh man you guys dont get enough comments that you deserve. sabrosa purr has to be the next best thing since slice bread. will dont forget to come to lameville. ill be waiting =) take care fellahs. llamallamallama Dec 19, 2005 05:58 PM Diamonds&Pollen Dec 19, 2005 04:07 PM NO MORE STRESS!!! I think I passed all exams. Tis good in this crack-whore, methlab neighborhood! Chewy bugs indeed. Quote for you: "Their pride is as a shadow in the looking glass." The Testament of Job.woah. deep. Meth is DEATH, ..d..o..r..o..t..h..y.. Joni Dec 19, 2005 05:21 AM "If one night A fat man comes And stuffs you in a bag ... do not freak!!! I told that Old Saint Nick I wanted you for Christmas! Haha, send this to everybody you consider a friend. If you get this back, you are loved -- BiGTiME!" Diamonds&Pollen Dec 18, 2005 10:04 PM gah. sleep. needed. hate. exams. hate. children.hate. boys. love. sabrosa purr (even though you are all boys). gah. stress. gah.blurry. meep.christmas. yay. giving all those stupid kids presents tomorrow. GROOOOAR...I'm a dinosaur... i think i should sleep now i hope you enjoy this...or at least are able to understand like one word of it. Like an insomniac on crack, Devilish Dotty .razorblade kiss. Dec 16, 2005 09:50 AM hey... sabrosa purr=loves of my life just showing some love guys :-) xo jazy (the coolest girl ever) Michelle Dec 14, 2005 07:35 PM Diamonds&Pollen Dec 14, 2005 06:28 PM Ten Things You Should Know:::: 1) You guys make me giggle 2)You guys make me smile 3)I'm so tired I won't remember posting this 4) I can't wait until I go to New York 5) I really don't like writing papers about duckweed for environmental science 6)My cellphone is about to die 7) I'm going to shows one half of my weekend 8) I'm working the other half 9)boys are pretty..and girls too. 10) I like cheesecake. Add Comment About | FAQ | Terms | Privacy | Safety Tips | Contact Myspace | Promote! | Advertise ©2003-2006 MySpace.com All Rights Reserved.