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Superparamagnetic Effect: Myspace quiz Superparamagnetic Effect “They don’t come for my lookin’, they come for my cookin’” August 18, 2005 Myspace quiz Using your Current Initials, choose a different name for yourself: Caleb Allistar Franhoufer If you were born outside of your era, when would you want to be born and why? I'd want to be in my early twenties with the 70s rolled around, so I could go to tons of punk and rock shows, and then disco on the weekends. If you ran a store, what would you sell/have? I'd have a vegetarian restaurant. What part in a movie would you love to play? The nerdy, clever guy that ends up finding a way to solve the problem. In your opinion, why do people suck? Because they don’t care about anyone but themselves. If you had your own state, what would you put on your new quarter? A Powerbook and a TI calculator. What's the oldest article of clothing you own? One of those frilly tuxedo shirts form the 60s or 70s. What piece of furniture have you replaced the most? Bookshelves. What instrument do you wish you could be more than great at? Drums. Record, Tape or CD? All three, natch. Hey, why isn't 8-track in this list? What do you think would be the best concert ever? Trans Am, Mercury Program, Promise Ring, Mates of State, Shelter, Into Another, Rachel's, Fischerspooner What is the best part of your favorite movie(s)? When the really geeky guy with a big heart wins over the beautiful, smart, and sassy female lead. What do you think is the most over-rated candy ever? Black licorice. If you were writing out your will, who would you give your music collection to? Paul Cales. If you could only debate two topics the rest of your life, what would they be? Best cheap domestic beer (High Life) and what size Powerbook to buy (the debate still rages). Out of your friends, who would you say you are most jealous of, artistically? Scott Ritcher, Nate Larson, Mike Dixon. Most jealous of....intellectually? Jacqueline Campbell, Leah Hoffman, Genia Gabrielov. What do you collect? Smith & Corona manual typewriters, vintage Macs, screenprinted posters. What is broken that you have, that you wish was fixed? My teeth. What do you do when you're home sick? I don’t get homesick. Story behind your username? I got really drunk one night a few weeks ago at a party, then proceeded to go out to Hunter’s and then Chumley’s. Apparently I was so off the hook that Dave described it as follows: It’s like Frankenstein got into the sacrificial wine, and then decided to come down and scare all the villagers. Current Favorite Article of Clothing? Express MX1 dress shirts. Line from the last thing you wrote for someone? I looked at the pictures, and I can see where Tom might think there looks like a pop up flash in the rear view, but it doesn't really look like that to me. A famous person you have met? Gwen Stefani. Favorite way to waste time? Drinkin’. Last thing you bought yourself? A chair and a bed from IKEA. tags: quiz , Myspace , personal posted by Chris Foresman @ 10:10 AM 2 comments 2 Comments: At August 18, 2005 5:21 PM , Genia said... Chris - I'm very socially jealous of you ^^ Thanks for the love - Genia At August 18, 2005 11:51 PM , Justin said... Dude I would do this list as well but you already know all the answers. Insert these words at random to fill the blanks... Slayer Fourhorsemen Fuck it "YOU SUCK" "Whip it out" Vegas strippers Smokin up stairs in the VIP Praise Hail Satan ...not order with actual questions. ~J Post a Comment << Home About Me Name: Chris Foresman Location: Lafayette, Indiana, United States "I am afraid that I don't see much hope for a civilization so stupid that it demands a quantitative estimate of the value of its own umbilical cord." David Ehrenfeld, Rutgers University biologist View my complete profile -- About Me Name: Chris Foresman Location: Lafayette, Indiana, United States "I'm just looking for a thrill, something to ease my will. You may not realize when it's done or why but it may be the best thing." Blogger profile Myspace Profile Facebook Profile (Purdue) Amazon.com Wishlist AIM/iChat: foresmac -- Blogger Profile Myspace Profile Facebook Profile (Purdue) -- About me Name: Chris Foresman Location: Lafayette, Indiana, United States “I’m just looking for a thrill, something to ease my will. You may not realize when it's done or why but it may be the best thing.” Site Links Superparamagnetic Effect Photo Galleries Résumé Multipurpose Records Additive Theory Previous Posts MA 265 Grade Crazy night met by crazy morning Friday Random Ten Class is over for now... Charlie and the Chocolate Factory Friday Random Ten Geek Movie News New band photos up John Finnegan Friday Random Ten Brought to you by



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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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Pimp My Mobile Bookmarks You are in the: ClickZ Network ClickZ Network Navigation ClickZ Network Home News Experts Stats Features Search Engine Watch Resources Members Area With Exclusive Content Already a member? Learn about the benefits: Departments & Info Home Latest Stories From SEW SEW Blog News From SEW & Beyond SEW Forums Come Discuss Search! Search Engine Submission Tips Web Searching Tips Search Engine Listings Search Ratings & Stats Search Engine Resources SearchDay Our Daily Newsletter Search Engine Report Our Monthly Newsletter Daily SearchCast Our Search Podcast All Newsletters & Feeds SEW Members Area Exclusive Content Advertising Info More About The Site Blog Info Archives Posts Today Posts This Week Posts This Month Other Options Search The Blog Other Info How To Comment How To Be Covered Our Blogroll Get Our Blog Feed! Blog Feed Via: Listen To Our Podcast! The Daily SearchCast Listen Via Odeo Listen Via iTunes Listen Via Yahoo Podcasts Bookmark This Page! Save To Yahoo My Web Our Blog Feed Has Feed Tracking & Management Provided By FeedBurner - Check Them Out! Web Analytics Provided By ClickTracks - Check Them Out! Search Engine Watch's conference on search engine marketing comes to: February 27 - March 2, 2006 New York, NY March 17 - 18, 2006 Nanjing, China March 30 - 31, 2006 Munich, Germany April 25 - 26, 2006 Toronto, Canada April 26 - 27, 2006 Milan, Italy April 27-28, 2006 Tokyo, Japan May 31 - June 2, 2006 London England July 10-11, 2006 Miami, Florida August 7 - 10, 2006 San Jose, CA Search Engine Watch Marketplace Learn How To Advertise Here! Search Engine Newsletters FREE! Over 150,000 readers depend on our free newsletters to keep upwith search engines. To join them, enter your email below: SearchDay (Daily) Search Engine Report (Monthly) Learn more about our newsletters and feeds Pimp My Mobile Bookmarks As many of you know I come from a research (library) and content background. It was great to hear from several of you who appreciated our first "pimping" post with useful but hidden features of the Internet Movie Database. I think the only one unhappy was my mom when she heard I was now in the Internet pimping business. Oh well. Believe me, there is much more to come in this series about plenty online search and research tools for all. Those of you who read the blog regularly know that two extra special interests of mine are mobile access to information and specialty/vertical databases. Since I regularly talk about both types of tools, I thought I would share a few info resources that I presently have in my bookmarks file of resources optimized for mobile web browsers. Btw, many of these will also work in your regular browser. Here are fifteen of many favorites in no specific order: Bloglines Mobile Rovenet Flight Checker Unlike other mobile web flight checkers, this service gives all sorts of data like altitude, air speed, direction etc. Just like what you would find from many web-based services. Data direct from FAA computers Skweezer.net Compresses and reformats web content for a better looking result (most of the time). National Weather Service for Wireless Browsers ConvertIt.com Time, distance, calculators, etc. Wireless TV Guide FAA Wireless for Airport Delays Speaking of travelling, the mobile version of SeatGuru.com Dictionary.com Basic Business Info via Mobile Version of Hoover's It can help many places including when you get to the gate and they've changed your seat. Wireless TVGuide Basic Business Info via Mobile Version of Hoover's Mobile Searchable Interface to PubMed* * The National Library of Medicine makes a number of mobile info tools available. Posted by Gary Price on Oct. 13, 2005 | Permalink See related stories in these categories! (available to SEW members ) Search Tips , Search Types: Mobile Next Post: Want to Be A Google AdWords Coordinator in China? Previous Post: Nice Work if You Can Get It: Details Emerge About Google's Newest Board Members Stock Package Return To: SEW Blog Home Page Search Engine Watch http://searchenginewatch.com Our Staff Incisive Interactive Marketing LLC. 2005 All rights reserved. Legal Notices, Licensing, Reprints & Permissions , Privacy Policy





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