MySpace Music Editor
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MyGen 2.5 - MySpace Profile Creator/Editor/Generator :: View Forum - Music Home Create Profile Pre-made Profiles Contact Tables Generators Tutorials Log me on automatically each visit Register Log in to check your private messages MyGen.co.uk - MySpace Profile Generator Sponsored Links MyGen.co.uk Forum Index » Music Music Moderator: MyGen Mods Users browsing this forum: martyk189 , tchau Goto page Previous 1 , 2 , 3 , 4 Next Mark all topics read Topics Replies Author Views Last Post Help every code i get for music Or video from Generators.... 8 kell4809 333 Wednesday 14th December 3:23am kell4809 Playlist gone? 0 Hax0rPunk 85 Tuesday 13th December 5:23pm Hax0rPunk moving myspace music player and hide blogs 4 jifop 1039 Tuesday 13th December 2:16pm jifop Extracting sounds from a music video to mp3 format? 2 phas3r 109 Tuesday 13th December 11:14am jimmathon Hiding song info..... 1 Dem0liti0nL0ver3 136 Tuesday 13th December 11:03am Rocky Playlist Problem 1 claw4prey 139 Tuesday 13th December 10:53am Rocky music help 3 pimp_N 458 Monday 12th December 10:28pm skuller12 I need help..... 1 Lilboy02 106 Monday 12th December 8:30pm moomins189 How to make the music player invisable? 1 rAy]v[oNd 209 Monday 12th December 11:29am Rocky Playlist question 1 tootall88 149 Monday 12th December 11:15am Rocky Song images on myplaylist? [ Goto page: 1 , 2 ] 15 dborchert 585 Monday 12th December 10:33am jhayzchinita_chick012 Help! I'm New and none of my music videos are playing help!! 1 beamer1186 110 Monday 12th December 3:30am Rocky Turnoff Download option on Mygen player 2 sciz 151 Monday 12th December 3:29am Rocky Where do you get the codes for the music :?: 0 lperret 215 Sunday 11th December 7:45pm lperret Autonomous Radio needs Live Stream on MySpace help with code 2 KidJoe87 124 Sunday 11th December 6:53pm KidJoe87 help 1 JT 115 Saturday 10th December 1:14pm Rocky Extremely sloooooow music 1 arf0075 116 Saturday 10th December 12:30pm Rocky help again, playlist still won't work. 1 pointlessforever 134 Saturday 10th December 12:28pm Rocky I'm new to this and Need Serious Help? it would appreciated! 0 tafkap20 124 Friday 09th December 4:32pm tafkap20 'Add' music not working- No problems before now. Help apprec 1 Martin_steeper 828 Thursday 08th December 1:52pm Martin_steeper moving the playlist question 0 babanaja 136 Wednesday 07th December 4:45pm babanaja Mine isn't working (playlist) 1 Inu_Kyo_Luvr 173 Wednesday 07th December 3:42pm Rocky im soo lost. 1 allieheartschris 145 Wednesday 07th December 1:09pm Rocky Is there a code for this? 2 Neon 345 Wednesday 07th December 12:06am Neon OTHER url upload sites? those two aren't working... Please? 0 babanaja 255 Tuesday 06th December 8:26pm babanaja Random play? 0 august29th2005 123 Tuesday 06th December 2:40pm august29th2005 MySpace Player, Non Myspace Music? 1 shlongbear 653 Tuesday 06th December 1:55pm Rocky help needed!!! 1 cro_girl88 130 Tuesday 06th December 2:05am cro_girl88 PlayList 1 Jeana 388 Tuesday 06th December 12:34am superman57 My player will not play and im not sure whats wrong 2 kile 339 Monday 05th December 9:12pm clarkey88 NO AUTO PLAY 2 mykolmassive3m 210 Monday 05th December 8:29pm oldnewtype Moving the music player 4 ghostchant__x 355 Monday 05th December 4:46pm meep_meep visualizer for myspace!! 0 CLaire_bear 133 Monday 05th December 2:57pm CLaire_bear mouse over music video please help 0 AKCOWBOY 64 Monday 05th December 11:17am AKCOWBOY Music Player Help, PLEASE!! 9 Hotshot516 1535 Monday 05th December 7:20am iammagico showing playlist and equalizer 2 azngangof05 187 Monday 05th December 12:29am azngangof05 MyPlaylist and/or XSPF Playback Speed Problem 5 Jlennon 278 Monday 05th December 12:00am Jlennon i cant find the mp3 code 0 spartan73 212 Sunday 04th December 5:11pm spartan73 can't get my playlist to work 1 genmy 303 Sunday 04th December 3:27pm Rocky Can some one make me a playlist ill tell u the songs 0 thetruth 112 Saturday 03rd December 10:27pm thetruth PLAYLIST ERROR 4 kingpinpapi 204 Saturday 03rd December 9:44pm kingpinpapi what am i doing wrong? 0 kojo324 105 Saturday 03rd December 6:06pm kojo324 Making playlist from other myspace music pages. Possible? 0 reido86 133 Saturday 03rd December 4:30pm reido86 I dont kno .. 1 s0uth3rnshawtii 126 Saturday 03rd December 2:19pm MySpace Architect Myspace Music 1 sangreal 471 Friday 02nd December 9:39pm OMGMOLD Flash Player A little Tempremental. 4 RoR_UK 231 Friday 02nd December 9:28pm Rocky playlist problem "1 item remaining" 3 charcoalboy 151 Friday 02nd December 7:17pm Rocky HELP!! 1 nikczz 156 Friday 02nd December 2:18pm Rocky Playlist Wont Work In IE 3 fuzzyplantface 160 Friday 02nd December 11:44am fuzzyplantface I have my music on myspace but... 1 drdeath69 205 Friday 02nd December 8:56am Rocky Display topics from previous: All Topics 1 Day 7 Days 2 Weeks 1 Month 3 Months 6 Months 1 Year MyGen.co.uk Forum Index » Music All times are GMT Goto page Previous 1 , 2 , 3 , 4 Next Page 3 of 4 Jump to: Select a forum MyGen Announcements ---------------- News & Announcements MySpace Profile Help Forums ---------------- Profile Layout Images Music Videos Flash Other HTML/CSS Help MySpace Profile Help MyGen Forums ---------------- MyGen Support Suggestions/Comments MyGen Bugs Contact Tables Everything Else ---------------- Rate My Profile! 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Whore Train
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
Customize MySpace
CityOfCodes - The code directory for tools to customize profiles and blogs like MySpace & Xanga. Free music codes, layouts, generators, glitter graphics, backgrounds, and more! The code directory for tools to customize profiles and blogs like MySpace & Xanga. Free music codes , layouts , generators , glitter graphics , backgrounds , and more! [ send feedback ] SEARCH find it! SUGGEST SITE tell us! TOP RATED 123MySpace Annabella's HTML Help Bolt Directory Evince 4T Flash-Gear FreeCodeSource Funky-Chickens Mbif's Backgrounds Myspace Editor MySpace Forum more... NEWEST MySpace Contact Tables IM Chaos Blunt Truth Game Web Codez Video Code Lab The HTML Website Stagz Shimmering Graphix Profiled Creepy_Kitty Myspace tweaks more... -- © 2005, Bolt Media Inc. Top Rated Tools 1. 123MySpace Comprehensive directory for Myspace profiles: codes, myspace layouts, myspace editor, backgrounds, wallpapers, games, colors, effects, cursors, and graphics for... 2. 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MySpace Page Editor
MyGen.co.uk - Version 2.5 - MySpace Profile Creator, Editor & Generator Create Profile Pre-Made Contact Tables Generators Tutorials Forum Auto-Login? You Are Here MyGen.co.uk Tutorials Manualsubmit Sponsored Links Manual Submit Button If you've edited your profile, but now your Submit button has disappeared from the Preview page, then this is for you!! The Easy Way If you are using Internet Explorer, simple click below to add a Manual Submit Button to your favourites list. Add Manual Submit Button to Favourites Ifyou are using Firefox/Netscape etc... drag the following link to your favourites window. Myspace Submit Button The Hard Way! (For if the above didn't work for you!) Step One : Creating a Manual Submit button Sometimes, when editing your profile with some advanced codes, the 'Submit' button disappears from the Preview screen, so to counter this we have to create a manual submit button, or bookmarklet. Note : This process is for Internet Explorer, and is slightly different in other browsers, but the principle is the same throughout/ Firstly, open the Favourites tab (shown below) and hit the 'Add' button. The screen shown below will appear, type in 'Manual Submit' and hit OK. The bookmarklet will now appear in your bookmark list. Right-click on the bookmarklet and go to 'Properties'. The following screen will appear. Change the value of URL to exactly how it appears below, and hit OK. javascript:document.forms[1].submit() The following screen will appear, simply click Yes Your bookmarklet is now created and ready for use! You can use this button anytime you make a significant change to your profile, and are unable to press the 'Submit' button as a result! [ home ] [ create ] [ pre-made ] [ generators ] [ tutorials ] [ myplaylist ] [ forum ] [ faq ] [ promote ] [ contact ] All original content on this site is legal property of MyGen.co.uk unless otherwise stated. We do not permit use of our content anwhere except on MyGen.co.uk, unless permission is first granted from us or the original content owner. © Rob Hall and Rocky Wilkins 2005 MyGen v2.5 - 17583456 Unique Visitors This page was created in 0.697 seconds Powered by phpBB & phpBB Fetch All
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Best New Music BEST NEW MUSIC SHINE Gentley Insane rock alternative pop What a great name for an emerging group! 'Shine.' This is exactly what this quartet does, they shine - and blindingly so, this group is making some decent waves in the music scene, and it isn't surprising with the talent they've got. If the music doesn't reach you, then the lyrics will, especially when delivered by this prodigious vocalist! They will leave an indelible impression somewhere within your subconscious, and you won't realize it until you find yourself humming one of the songs from the disc! Shine is: Marnie Anderson (vocals), Jeff Fairbank (electric, acoustic guitars, backing vocals), Neil Bell (bass, backing vocals), and Matt Pavan (drums, percussion). Singularly, they are talented, together they are fantastic. Site: www.shinemusic.ca Samples: music.yahoo.com GooGoo Dolls Better Days rock alternative accoustic Early in their career, Buffalo natives the Goo Goo Dolls were frequently dismissed by critics as mere imitators of the Replacements; however, the band refined and mainstreamed their sound enough to become of the most popular adult alternative rock bands of the latter half of the '90s, selling millions of records to audiences largely unfamiliar with their inspirations. That's no knock on the band either their music simply improved in craft and accessibility as the years progressed, and radio happened to be receptive to what a decade earlier would have been considered collegiate power pop. Thus, the band landed two huge hits with the acoustic ballads "Name" and "Iris." The Goo Goo Dolls were formed in Buffalo, NY, in 1985 by guitarist / vocalist Johnny Rzeznik, bassist Robby Takac, and drummer George Tutuska Site: www.googoodolls.com Samples: music.space