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8.04.2010
Sex Pistols Inspiration? Wurzels 'Combine Harvester' (to tune of Rollerskating Song) via Stewart McSherry Facebook
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"i'm guessing this song and band in 76 (number 1 in top of the pops for that year)
inspired the sex pistols... and the 2008 tour was named after this song.... thoughts?"
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I want to shit my iPod! It’s bound to happen eventually
I want to shit my iPod! It’s bound to happen eventually.
At one point or another everyone makes a humiliating mistake.The following are some of my favorites in Argentina. Hopefully all you readers out there can learn yourselves!
Here we go:Intended word: Pops (Papá)
Intended statement: Hey pops! How’s it going?
What was said: “Che papa! Cómo andas?”
Translation: Hey Potato! How’s it going?
Conclusion: One of those tricky pronunciation attempts that can go bad. I did that to a waiter fairly recently and he couldn’t stop laughing.Intended word: years (años)
Intended statement: How old are you?
What was said: Cuántos anos tenés?
Translation: How many anuses do you have?
Conclusion: Ah sweet ñ! Ñever have you caused so many problems!
Intended statement: Excuse me, after accidentally brushing a woman’s leg. (Permiso)
What was said: Con tu permiso.
Translation: With your permission.
Conclusion: I suppose it might work?Intended word: hot (calor)
Intended statement: I’m hot.
What was said: Estoy caliente.
Translation: I’m horny.
Conclusion: Maybe that’s what Principal Anderson meant to say? Anyone catch that reference?
Intended word: excited (emocionante)
Intended statement: I’m really excited to be here!
What was said: Estoy muy excitante para estar aca!
Translation: I’m really horny to be here!
Conclusion: I’ve heard different opinions on this one, Argentines and foreign students alike. Many Argentines believe this word is more commonly used as slang for horny. Others claim there is nothing wrong with using it as an adjective.Intended statement: I don’t care (Me chupa un huevo)
What was said: Me chupo un huevo
Translation: I sucked my own ball
Conclusion: Such talent.Thanks to commentor “Cagador” from the last edition…
Intended phrase: I want to charge my iPod (Quiero cargar mi iPod)
What was said: Quiero cagar mi iPod
Translation: I want to shit my iPod
I think there should be examples for each origin, not just Vesre, and the examples could be a lot more nicer and shorter. Let's say:
The examples that are now are not very representative, they just try to be funny.
- Fiaca; meaning laziness, from the Italian word fiaco (weak)
- Gurí; meaning boy in Guarani_language
- Gomías; (amigos) meaning friends said as in vesre.
- Morfar; meaning to eat (origin unknown).
- Feel free to modify the article, that's what wikipedia is about. I've read morfar is a deformation of mangiare (mangiare -> manshar -> morfar). Don't know how accurate that is. SpiceMan12:17 pm, 2 December 2004, Thursday
Other Italian words:
- I´m not sure that morfar came from mangiare, but manyar is a real lunfardo word, meaning to have knowledge.--Jfa10:50 am, 16 June 2005, Thursday
- Manyar' is to have knowledge?? I only use it as to eat. -Mariano 07:21, 2005 Jun 17 (UTC)
- Sure: Este tema lo tengo manyado (I know very well this subject).--Jfa10:17 am, 17 June 2005, Friday
- You're right, I checked it out. Yet it's also used as To Eat. I never heard it asaide from food... -Mariano 16:22, 2005 Jun 17 (UTC)
-Mariano 14:55, 2005 Jun 16 (UTC)
- Cualunque - Of bad cuality (Italian qualunque -any)
- Esquiafo - slap (italian schiaffo -slap)
- Anque - Including/As well as (italian anche -also)
- I think it´s actually cualunque, not calunque (I always say it like that, cualunque). Another example is anque (meaning not to mention, or and even), from italian anche (but, even).--Jfa 10:46 am, 16 June 2005, Thursday (5 years, 1 month, 18 days ago) (UTC−5)
- Cualunque, of course, it was just a Typo.
- You're right about anque (anche). It's funny, I never realized it's actually not spanish! But it doesn't means even, it means also (I think we also use it that way)
French [edit]
- Does anyone know any notable from french? -Mariano 07:21, 2005 Jun 17 (UTC)
- Well, partusa, from the french partouse (slang for orgy).--Jfa10:14 am, 17 June 2005, Friday
- Cocó for cocaine was French slang and made its way into a famous tango (A media luz). Other tangos from the 1920s and 1930s have quite a lot of French in them, but lunfardo did not assimilate them very well. Papusa is from French as well. Look here for a list of prostitution-related French terms.
- I found one, but I think is rather new, from the 70s or so: Boîte (box)
- Another one is de cóte (sidewise). This one I'm sure is old tango stzle lunfardo.
- What about Piantar anyone knows where does that come from? -Mariano 09:15, July 11, 2005 (UTC)
- "Piantare" in standard Italian (to plant) => "Piantar" in most Southern Italian dialects. elpincha4:43 pm, 19 January 2006, Thursday
Leche=>Chele [edit]
I'm from Buenos Aires and I've got yet to hear "chele" meaning leche (milk). I was born in 1979, is it a word which is no longer used? SpiceMan4:03 am, 4 December 2004, Saturday (5 years, 7 months, 31 days ago) (UTC−6)
- Veinte años no es nada: Feca con chele. Just Google for feca and chele. --Error10:10 pm, 7 December 2004, Tuesday (5 years, 7 months, 28 days ago) (UTC−6)
slang [edit]
Nowadays argentine spanish slang is also called lunfardo. I haven't checked the article's history, but i'm pretty sure I've included such a notion in the article initially. Any reason why it is not longer here? I think it should be included. -SpiceMan12:17 pm, 26 February 2005, Saturday (5 years, 5 months, 8 days ago) (UTC−6)
- SpiceMan: Your point is not correct. Nobody ever called "tirame las agujas" or any such thing "lunfardo". And nobody ever called Córdoba's slang "lunfardo", so there goes "Argentine Spanish slang". elpincha11:46 pm, 26 February 2005, Saturday (5 years, 5 months, 8 days ago) (UTC−6)
- the distinction is quite unclear. I bet most argentine will say yes if asked asked whether trucho is lunfardo or not, and that term has started to be used around the early 90's... I doubt "hacer un pete" was part of the tango folklore, and it is on 2004's Oscar Conde's Diccionario etimológico del lunfardo, for instance. You could say that people ignoring the original meaning of lunfardo doesn't make argentina slang to be lunfardo, but even Clarin defined lunfardo as "all words of daily usage on Buenos Aires that are not on rae's dictionary" which is very arguable -and Buenos Aires centric-. But I do think that most people think of lunfardo in two ways: the old tango lunfardo, and as "argentine slang" (at least that's the case on Buenos Aires). So if that's not the case for all argentines, then it should be corrected and state "lunfardo is also the word porteños use to refer to argentine slang", but not erase that part of the article altogether. A nice link: [1]. Also [2] is noteworthy. SpiceMan3:20 am, 18 June 2005, Saturday (5 years, 1 month, 16 days ago) (UTC−5)
- Even if all of your points are correct, Cordoba slang and Mendoza slang and Corrientes slang are not lunfardo, so the Argentine part is incorrect in any case. "Trucho" is borderline lunfardo, but a lot of modern Buenos Aires usage is not; unwritten criteria negate lunfardo status to terms that grew out of the Plaza Francia scene (such as "tirame las agujas", "mata mil") and similar. Anyway, the classification of modern-day terms has also political overtones... Which could be incorporated into the article.
- Also, note that ever since the 1960, under the influence of Freudianpsychoanalysis and European cabaret tradition, there is a lot of middle-class free usage of "bad words", and some might say this is lunfardo in action. Allow me to be a conservative voice even on this.
Using the word "Lunfardo" to designate just a segment of the dialectal popular Argentine Spanish restricted by historic period or origin, or else the whole spectrum of it is a choice. And I -- an Argentine -- chose to use it to name the whole thing, because doing otherwise would just make no sense, IMHO. And I believe that most people think alike when they think of it, and simply assume so when not thinking of it at all. The point is that if we do have a popular dialectal talk it deserves a name, then what's the point of refusing the name that it's had for more than a century in order to preserve don't-know-what supposedly scholar consideration, converting the word and its history in a museum item? The criterion of social sector procedence -- to include or exclude a word from Lunfardo -- seems feeble to me as well. Words from the ancient Lunfardo culture that no one today would exclude from it came from varied origins including upper class, cultivated and bohemian milieus, such as "bacán" or "vuaturé". What gives them their place as Lunfardo words is that they were (or are) popular dialectal voices used by a significant number of people during a significant period of time. In that sense, expressions such as "tirame las agujas" or "mata mil" would be excluded because they made no more than a short-lived fad, not for their procedence. Words or expressions such as "coparse", "copado", "pálida", "de onda", among others from similar origin, have in my opinion their legitimate place in (relatively) modern Lunfardo after about thirty years of continuous and expanding usage -- all over the country. For words no longer in use, we can talk of ancient Lunfardo, for those more recent we can talk of modern Lunfardo, for those who are still used since an ancient origin, we can talk of "classic" Lunfardo, and for the general dialectal popular language used in the present we can talk of current Lunfardo, or simply Lunfardo. Also, Lunfardo as I perceive it may very well include all regional popular dialectal talk of every Argentine province, such as Quechua origin "ishpar" (pee) or "aca" (shit) from Santiago del Estero, or Patagonian "bocha" (a lot) -- unless a particular region had (already or eventually) their own name.Mirarke12:21 am, 15 May 2006, Monday (4 years, 2 months, 22 days ago) (UTC−5)
- Anyway, the lower-class voice that gave lunfardo its color is now found mostly on cumbia villera, whose language will be incorporated into this (or other) article, sooner or later...elpincha11:35 pm, 18 June 2005, Saturday (5 years, 1 month, 16 days ago) (UTC−5)
Quilombo [edit]
Mariano: Any particular reason why you removed the Quilombo link? It shows where the word comes from. Quilombo article not about lunfardo -the reason you typed- doesn't make much sense to me, if the Quilombo article was about lunfardo, it's text would be in the lunfardo article, or the articles should be merged and then make a redirect or something. Just as the links to Spanish language, wordplay, and heart are not about lunfardo, I don't see why Quilombo doesn't belong in here. SpiceMan 6:38 am, 15 July 2005, Friday (5 years, 20 days ago) (UTC−5)
- Well, I removed the reference because the Quilombo article is neither about the Rioplatense Spanish word, nor about the origin of the word itself. It's just about how the word is used in Portuguese, and the Portuguese colonisation of Brazil, which is not connected to the Rioplatense word. The single line "In the Spanish of the Americas, the word has taken on the meanings of "brothel", "mess" and "boondocks"." seems both inaccurate (River Plate-area is much smaller than "The Americas") and forcefully added.
- If you consider the origin of the Rioplatense expression to be these Brazilian type of settlement and you whish to put it the reference, please try keep the definition in one line. -Mariano 7:02 am, 15 July 2005, Friday (5 years, 20 days ago) (UTC−5)
- Mariano, just edited your latest comment for clarity. elpincha1:05 am, 6 January 2006, Friday (4 years, 6 months, 29 days ago) (UTC−6)
- Quilombo is one of the black-oriented words that somehow shifted to mean ´´mess´´ in Buenos Aires after the end of the Rosas era (others would be: candombe, macumba). Borges used Quilombo in the second sentence (check) of Hombre de la Esquina Rosada, which was written initially in the 1920s, so go figure. elpincha 7:22 am, 15 July 2005, Friday (5 years, 20 days ago) (UTC−5)
- Feel free to fix my ignorant edit (XD). I just felt that quilombo (the word) was quite representative of lunfardo. I leave the details to you ;P. But I still feel that quilombo (the article) is quite interesting to see what was the original meaning of the word, etc. SpiceMan9:25 am, 16 July 2005, Saturday (5 years, 19 days ago) (UTC−5)
- Come on, Spicy, we're just trying to make a point. As you earylier pointed out, Brazilian Quilombo is not (necesarily) "the original meaning of the word". And it was not removed from the Lunfardo section but from the Modern Buenos Aires Slang. Please, move the word to Lunfardo and uncomment the HTML code to hide it. -Mariano2:23 am, 18 July 2005, Monday (5 years, 17 days ago) (UTC−5)
Drugs [edit]
It sounds a bit strange to me the mention of "drugs", I call specialists to check it.
Problem is to distinguish Lunfardo from localisms. For instance, blanca, talco and porro are used almost everywhere (I mean the words, not the substances themselves, which are in fact also used almost everywhere, but that goes beyond the scope, not only of the Lunfardo article, but also of the syntactic analysis we are doing here). For the others, pincha, I wouldn't try Cocó, specially if in Brazil; it might leave you an after-taste. Good wiking, Mariano(t/c)3:04 am, 14 December 2005, Wednesday (4 years, 7 months, 21 days ago) (UTC−6)
- Cocó, blanca, talco, macoña, porro, pichicata, falopa, merca, caramelito, raviol... elpincha 11:22 pm, 13 December 2005, Tuesday (4 years, 7 months, 22 days ago) (UTC−6)
Cocó in Brazil means caca. Falopa sounds like vesre, but can't figure out form which word! Gracias por tus completamente desinteresados deseos... Mariano(t/c)8:22 am, 14 December 2005, Wednesday (4 years, 7 months, 21 days ago) (UTC−6)
- Cocó is pure lunfardo, and is featured in the tango A media luz. You are right about most of the others (e.g. raviol is funny and is pure Buenos Aires, but I'd argue it's not lunfardo). As of the 2000s, the closest IMHO to a pure lunfardo word would be falopa. Y que gane Boca hoy! elpincha7:14 am, 14 December 2005, Wednesday (4 years, 7 months, 21 days ago) (UTC−6)
- Truly, today I don't care about Lunfardo... but I do care about BOCA!!!! Thanks Pincha! Sebastian Kessel Talk10:12 am, 14 December 2005, Wednesday (4 years, 7 months, 21 days ago) (UTC−6)
- Now, cocó was brought into lunfardo by the French, especially French prostitutes. Cocaine was legal during the early 20th century... and don't you know the famous coach Cocó Basilé?????
In Spain, the slang is farlopa (even farla) with r. --84.20.17.846:36 am, 4 January 2007, Thursday (3 years, 6 months, 31 days ago) (UTC−6)
Intended word: borracha (drunk)
Intended statement: ¿Estás borracha? (Are you drunk?)
Comment posted on "Gainsbourg - Deneuve (Music Video-Interview)"
On Wed, Aug 4, 2010 at 3:51 PM
bruce68 has made a comment on Gainsbourg - Deneuve (Music Video-Interview):
c'est nul à chier cette chanson ! j'espère qu'elle l'a remercié en conséquence comme il se doit!! arf
You can reply to this comment by visiting the comments page.
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QUENTIN TARANTINO KINKY FOOT FETISH discussion
QUENTIN TARANTINO
KINKY
FOOT FETISH
discussion
Incidentally, I wonder what this still from “Go Go Tales” by Abel Ferrara says about his psyche…
The full clip is available online; I saw this at the cinema, and it just struck me as one-upping the scene with the woman and the canine in “The Real Blonde”. No big deal in my opinion. After all, it’s not like Asia Argento ate a DOG TURD, right?Why, thank you for your endorsement, Kyle!
Now all I have to do is overthrow the Queen and make Australia a republic, and…
Actually, I have enough trouble getting elected for local council. My city is so vanilla.“So when Michael Haneke makes a film about incest, sadomasochism, pornography and has his lead actress draw a used tissue from the bin in a porno booth, he’s an artist.”
Ummmm… yeah!Haha, Fandorin…Fandorin, cutting a clip of a real pornographic film into your movie and having a catatonic middle aged women inhale a tissue she’s pulled from the bin doesn’t make you an artist, it makes you “desperate” for a “shocking” moment. That doesn’t exite me, it doesn’t shock me, it just makes me wanna twirl my finger in the air all hom-hum like.
Things like this are pornography for repressed wankers who don’t have the guts to walk into a real porno cinema or share these kinks with another real human being, so they head for the arthouse instead and “project” onto a character with all these kinky fetishes in a “respectable” arthouse film.
Film Buff #1: What did you see?
Film Buff #2: “The Piano Teacher”. What about yourself?
Film Buff #1: I saw Q.T.’s latest film.
Film Buff #2: Oh, I can’t stand him, he’s SUCH a pervert! He is ALWAYS projecting his dirty kinks into his films!
…Irony?
Jarrod, don’t laugh at his non-humour. I find it funnier you are grossed out by something as benign as women’s feet.
And the point stands, Jarrod: this thread should be about Catherine Breillat and others moreso that Q.T.
No, no irony, because you just made that up ; )
So by that rationale Taxi Driver is for people who don’t have the guts to shoot some pimps?
The Piano Teacher is a character study. There is nothing pretentious or wannabe-shocking about it, it just shows you a person. You can judge this person however you like. Haneke has clearly made more shocking films and if you are that upset about himI shudder to think what character traits you might “discover” in Noé…
And unlike some other esteemed members of this site, Mark, I was not trying to be funny ; )Marl your misunderstand the entire point of this thread…i don’t in anyway find women’s feet to be gross, i just find the fact that Tarantino displays what he finds to be arousing for no other reason than the fact that he is aroused by it. Example, Jackie Brown, he had bridget Fonda in a bathing suit but focused entirely on her feet.I find feet pretty gross, but that’s just me. I’m also afraid of roller coasters.Fandorin: it’s a hypothetical Q and A argument based upon the attitudes expressed by yourself and others like you.
There really are people out there, F.S., who will defend Haneke and bash Tarantino for the same reasons they like Haneke. And vice versa. It takes diff’rent strokes to move the world. F.S.
But if you want to pretend a similar conversation could never or hasn’t taken place, knock yourself out.
F.S. said:
“So by that rationale Taxi Driver is for people who don’t have the guts to shoot some pimps?”
F.S., now you’re talking B.S. and being totally ignorant.
The world is FULL of people who use movies as a catharsis. I’m not saying films MAKE people go out and shoot folks, ‘cause if they wanna do that, they’ll do it, movie or no movie. However, a film CAN be a catharsis for some people.
I have a friend (who shall remain nameless) who gets VERY worked up at these sorts of films (and yes I do worry about him a little). he even yelled out, at the end of “Dirty Harry”, and I quote:
“DIE, YOU RAPIST BASTARD!”
In a crowded cinema full of about 400 people, F.S. After some films the guy will be shaking and almost weeping. And he knows martial arts too, so if someone upset him, he wouldn’t screw around.
Beside that though, he’s a lovely guy.
F.S., I’ve met plenty of seemingly normal people who see these sorts of films and say “I wish I had the guts to kill those scumbags”.
You think people who watch violent movies for catharsis don’t exists? Guess again. Not every person, but a lot do…even ones who would never go around shooting pimps, it’s still possibly cathartic for them.
And believe me, for SOME people, if they could, they would. That’s the thin line that separates people from thinking and doing, F.S. Obviously you have no idea how a disturbed mind works, which is why you buy into the “reality” of Michael Haneke (insert wink here).
But I guess you never heard of Wade Frankum or others of his type, F.S., so you are welcome to live in your fantasy world.
Something else to ponder:
What’s the bigger difference?
a) Watching a porno film or watching “The Piano Teacher”?
b) committing murder or watching “Taxi Driver”?
Less difference between the two in example A. People get much closer to living out their fantasies with “The Piano Teacher”. People don’t even come close with “Taxi Driver”, but it can be cathartic. You’d be surprised.
EVERYBODY defends “Piano” as a character study. That’s a pretentious wank right there.
Never said I was shocked by him, F.S. Learn how to read. I find Haneke’s “Piano” superficial and ho-hum. He’s a try-hard shock artist and that’s boring and laughable. What I am saying though, is if people find Q.T. shocking, so too, should they find Haneke disturbing.
And I’m not the one who finds women’s feet disgusting, F.S. I thought that was the topic. So if you’re going to have a laugh, maybe aim it at people who are too insecure to accept a normal human body.
I don’t have that problem.I thought you guys would get a kick out of this. It’s Tarantino on the Tyra Banks show touching women’s feet and “rating” them.
Jarrod said:
“yeah but being into girls butts is ok…but a foot, choking, and pee fetish? I love Tarantinos flicks but the dude just seems like one nasty mofo…”
Okay, so you said it yourself…
Gut, jah? (Welcome to the thread, Katja Kassin…Fandorin-San, if you were any kind of patriot, you would’ve beaten me to it)
Bad, no?
So an arse fetish is good, a foot fetish is bad. I’m only going on what you said.
And my point STILL stands: why pick on Q.T.?
Between the several hundred people on these forums, and all the directors discussed, the biggest offender we can find is Q.T.?
Get real. What about Pedro Penelope-Ben-Dovar, Catherine Breillat, et al?
Re-read my Jolie picture post. It says it all.
I haven’t seen the films in question so maybe I shouldn’t comment, but it seems to me that just because Quentin will showcase a woman’s foot from time to time doesn’t make him a pervert. I have seen some of his earlier films and films he wrote that were directed by others that could easily lead a person to believe he is racist. I don’t think he is, particularly when you look at some of his casting choices. Now getting back to the question of feet and pee and whatever other nonsense he throws into his conversations, they are just that, subject matter and nothing more. For the record, I feel there is no part of the female body that isn’t beautiful and just as subject matter.I love it how angry you become right away… But no pictures this time, what’s the matter? EDIT: Oh, there is a picture. I apologize…
As for the Taxi Driver thing, I simply took what you said and exaggerated it. Reducing a shocking element in a film to supressed personal desires of the viewer or filmmaker is, for lack of a better word, stupid.
You clearly understand what I wanted to say, but if you’d rather tell one or two of your amusing anecdotes, be my guest…
“Obviously you have no idea how a disturbed mind works, which is why you buy into the “reality” of Michael Haneke (insert wink here).”
The novel was written by Elfriede Jelinek, who is an acclaimed Austrian novelist and winner of the Nobel Price for literature (yes, I know, that’s not saying anything, just a bunch of snobs giving out awards etc, spare me…). Haneke is a renowned filmmaker and his work is admired by a lot of people (on this site and in the world). Clearly all of them have no idea how a disturbed mind works and all live happily in a shared dreamworld.
“EVERYBODY defends “Piano” as a character study. That’s a pretentious wank right there.”
Why? It is a character study. Just like Die Hard is an action film. What’s your point?
“And I’m not the one who finds women’s feet disgusting, F.S. I thought that was the topic.”
Listen, you brought Haneke into this discussion. So don’t act like it was me or someone else who went off-topic all of a sudden.
Try to contain your anger, if you can, but if you don’t have anything constructive to say, please don’t, because I don’t feel like turning this into a ping-pong game.Quentin likes feet; big deal. I’m not into feet sexually, but I like hips. If I ever become a director (not likely), I’m going to linger over the female hip like nobody’z biznizz, and then I’m going to crawl over to this site so I can read a thread about how I’m a perv for hips, not an artist.
And with that…the Phantom departs.
I just saw the youtube clip Liubei posted and I stand corrected.
See what i mean Strawdawg? I don’t find what he does as being exactly nasty, just completely unnecessary. I feel like the only reason he does it is for the gratification of himself and nothing more.
i think that picture was taken in a sushi bar in hollywood. I mean how can you say thats not perverted, to be sucking toes in public, and getting off on it.
Although I possess a general lack of enthusiasm for the man’s films, I have no issues with Tarantino projecting his fetishes and desires onto his cinema.
Jarrod: What kind of fetish do you have? If you were a filmmaker (and a successful one at that), wouldn’t you put forth some of those fetishes in your work? I’m convinced if I ever made a film, the lead actress will definitely wear black-rimmed glasses at some point.
Well I do have fetishes, but I don’t think I would be able to display my favorite one in my movies…but on the note of black rimmed glasses, I thought I was the only one that had that fetish, haha. But yeah I suppose I would also work in a woman with black rimmed glasses…
According to Freudian theory, only MEN can be fetishists. Based on my life experience, I would have to disagree.
What do the rest of you think?
I hope you excuse my curiosity regarding your above statement Dr. Tomasula. oh my!
Some people like feet – QT shoots them in an interesting way that ads artistically if you agree. When you see a woman’s bare feet in his movies I often get the feeling of how vulnerable they are (the women, not the feet). I commend him for being able to draw on sexuality of women without objectifying them (not that there’s anything wrong with a little objectification).
Frank, PhD. – I’ve read Freud ‘Civilization and its Discontents’ and I never got the impression he was saying only men can have fetishes. Even if he WAS saying it I would completely disagree.
I can see both sides of this – is it really necessary for QT to live out his fetishes publicly in his films? Does it add to the quality of the film?
But I also think society has a double standard – women or gays explore fetishes, they’re ‘empowered’. Straight men explore fetishes and they’re degenerate perverts. It seems the standard liberal platitude of ‘whatever turns you on, as long as you don’t hurt anybody’ doesn’t apply to straight males.
Asia Argento Does the Dog (i'm still trying to decide if it's too soon to put the video back up)
Asia Argento DOES the DOG!
Ms.
Argento provided the most talked-about scene of the film, perhaps even
of the festival: the canine kiss. She was terrified of the Rottweiler
at first, but after a day of bonding, grew comfortable enough to
incorporate the animal into her pole dance. Midscene, “the dog decides
he loves me,” she said. “So to keep him calm I kissed him.”
There’s
a sick punch line to the anecdote, an Argento-esque one you might
say. “The dog died,” she said. “Or that’s what Abel told me. I hope
it’s not because of the kiss.”
WITHIN the hothouse atmosphere of last month’s Cannes Film Festival, the Italian actress Asia Argento was a weather system unto herself, creating pockets of turbulence wherever she went. Ms. Argento, whose first name is pronounced “AH-zee-ah,” is one of those rare actors whose mere presence instantly makes a movie less predictable. She had three films in the festival, and in each one, handily conquered scenes that would reduce most performers to nervous wrecks or laughingstocks.
The World of Asia
In Catherine Breillat’s “Old Mistress,” playing a Spanish courtesan entangled with a pretty-boy aristocrat in 1830s Paris, she consummates the affair by hungrily lapping the blood off her wounded lover’s chest. They later have tearful sex next to their dead baby’s funeral pyre.
As an ex-prostitute in “Boarding Gate,” a transcontinental thriller by Olivier Assayas, she ensnares a former lover (Michael Madsen) in S-and-M mind games that turn increasingly physical. The highlight is a complicated maneuver involving handcuffs, a belt and a whole lot of nerve.
The real showstopper, though, is in Abel Ferrara’s “Go Go Tales.” As an exotic dancer — introduced as the “scariest, sexiest, most dangerous girl in the world” — she storms a strip-club stage, pet Rottweiler in tow, and proceeds to entwine tongues with the slobbering dog.
With her feral magnetism, Ms. Argento, 31, is indeed sexy and, for some, undoubtedly scary. But her taste for the outré, easy to dismiss as provocation, hints at a deeper fearlessness, apparent in her headlong performances as well as in her willful career choices. In a series of conversations during Cannes (and after the festival, by telephone from Rome) she openly discussed the pleasures and risks of self-exposure and the tension between person and persona.
“In Italy people think I’m a cliché,” she said. “The dark lady, the bitch from hell. All they can see is that I’m naked.”
If there is a theme in Ms. Argento’s career, it’s that there’s more than one way to be naked. The daughter of the Italian horror maestro Dario Argento, she is also a filmmaker and has created for herself a pair of flamboyantly lurid star vehicles: “Scarlet Diva” (2000), a Eurotrashy psychodrama about an actress who wants to be a filmmaker, and the full-throttle J T LeRoy adaptation “The Heart Is Deceitful Above All Things” (2004), in which she plays the mother of all monstrous mothers.
For Ms. Argento directing is partly a way to control her own image and by extension the course of her career. “It could have gone one way or another,” she said. “I was doing these mainstream comedies in Italy when I was a teenager and winning awards. I was a golden kid. And then I did ‘Scarlet Diva,’ and everyone was like, ‘Whoa, who is this?’ ”
Her English-language film career began in the late 1990s, in the under-the-radar indies “B Monkey” and “New Rose Hotel.” In 2002 she appeared opposite Vin Diesel in the blockbuster “XXX” and landed on the cover of Rolling Stone. (“She Puts the Sex in XXX.”) But instead of building on her new action-babe status, she moved toward smaller, quirkier roles.
She skulked through Versailles as Louis XV’s louche mistress in Sofia Coppola’s “Marie Antoinette,” blended into the hangers-on entourage in Gus Van Sant’s doomed-rocker elegy “Last Days” and — working with George Romero, an old colleague of her father’s — battled zombies in “Land of the Dead.”
Ms. Argento’s latest films, which prompted festivalgoers to crown her the “queen of Cannes,” are the most generous showcases yet of her charms. “An Old Mistress” and “Boarding Gate” feature the trademarks that have made her an all-purpose mystery lady — her salacious scowl, her damaged-goods vulnerability, her unplaceable exoticism, her many tattoos — while also throwing fresh challenges in her path.
In her decidedly uncorseted costume drama, Ms. Breillat positions Ms. Argento as a destabilizing force of nature, peeling away clothes and hypocrisies in a single swoop. Mr. Assayas creates a fanboy valentine, testing his star’s talent for erotic bravado and athletic action, even in lingerie and spike heels. (“Boarding Gate” will be released here this winter by Magnolia Pictures and is so far the only one of Ms. Argento’s three Cannes films with an American distributor.)
Mr. Assayas, who wrote “Boarding Gate” especially for Ms. Argento, said he had been impressed with her unpretentious openness. “She doesn’t distinguish between high and low art,” he said. “When she acts, it’s an amazing combination of pure instinct and virtuoso technique.”
Both of those qualities are on full display in the talky sequences that she and Mr. Madsen partly improvised. These long bouts of kinky one-upmanship got so extreme that she sometimes left the set in tears. In one particularly intense scene, “he bit me,” she said, providing unprintable specifics about where and how.
“He’s a brilliant actor, but he’s a manly man,” she said. “It was difficult for him not to be in charge.” To get the desired response she would try surprising her co-star, whom she called, with a laugh, “Mad-sen.” “There was a scene where he just couldn’t say the word ‘slave,’ so I started masturbating,” she said. “He was so taken off guard. It felt like the only thing I could do to make it work.”
Ms. Argento’s usual sense of control was demolished when she worked with Ms. Breillat, who has a reputation for putting her actors through the wringer. “I thought, I’m such a soldier, she’s not going to hurt me,” Ms. Argento said. “But she did. She knew how to push my buttons.” Ms. Argento referred to Ms. Breillat variously as “a tough cookie,” “a great intellectual,” “a control freak,” “like my mother” and “a crazy bitch.” Ms. Breillat, sitting a few tables away at a Cannes restaurant, offered her own cool appraisal. “I chose Asia for her explosive subconscious, so I worked with her subconscious,” she said. “We had a few horrible blowups. She can terrorize people. She doesn’t like to be dominated. She would burst into tears and go, ‘Catherine doesn’t like me.’ And I would say, ‘Look, your tears are costing us time.’ ”
When the conversation turned to acting, Ms. Breillat spoke glowingly: “Put her in front of the camera, and she gives entirely of herself, body and soul, without any ego.”
Ms. Argento has been acting since she was 9, and she joined the family business partly as a way of joining the family. “I was shy and weird,” she said. “Making movies was the only time I belonged to something.” A defining moment came at the age of 5, when her mother, the actress Daria Nicolodi, showed her Tod Browning’s “Freaks.” She felt a strong kinship with the sideshow performers.
As a child she reached for the high shelf where videos of her father’s movies were stored and covertly screened them for her friends. As a teenager she started working with him, playing an anorexic orphan in “Trauma” (1993) and a rape victim in “The Stendhal Syndrome” (1996). Mr. Argento, speaking by telephone from Rome, said he was used to questions about subjecting his daughter to on screen torments. “I tell people it’s a movie,” he said.
Judging from the two features she has directed, Ms. Argento’s take on the intersection of life and art is more complicated. Her interest in confessional fiction backfired when J T LeRoy, author of the purportedly autobiographical tale of abuse, “The Heart Is Deceitful Above All Things,” was revealed to be the creation of a writer named Laura Albert. “On a human level I’m glad the story didn’t happen to somebody,” Ms. Argento said. “But I feel incapable of writing a movie now, and it’s a result of that deceit.”
After stints in Paris and Los Angeles, she now lives in Rome with her 6-year-old daughter (whose father is the Italian musician Marco Castoldi), but her relationship with the news media and the film world there remains contentious. “Italy to me is like the mean mother,” Ms. Argento said. “Whatever I do, it’s never good enough. People say I’m the queen of Cannes, but in Italy I get turned down for work.”
Her first Italian production in nearly a decade is a kind of family reunion. She stars alongside her mother in her father’s latest feature, “The Mother of Tears,” the final chapter of a trilogy that began with his 1977 classic, “Suspiria.”
Ms. Argento is very much her father’s daughter. “If I ever get too mainstream,” she said, “I feel like I’m neglecting his legacy.” Still, she has stepped out of his shadow, to the extent that “I think he’s kind of scared of me now,” she said. “He’s like, ‘Who is this monster I’ve created?’ He said to me once that ‘The Heart Is Deceitful’ is so extreme. And I’m like, ‘Look at your movies, Dad.’ I’ve realized that I also make horror films, but I deal with real life and not the fantastic.”
In that sense Ms. Argento’s true mentor has been Mr. Ferrara, who cast her in “New Rose Hotel” and whose raw, mordant brand of low-life poetry is a clear influence on her. (She has made documentaries about both her father and Mr. Ferrara.) Parked on a bar stool at his hotel in Cannes, Mr. Ferrara declined to discuss Ms. Argento — he would only say, “She’s awesome all the way” — because he was with his girlfriend, Shanyn Leigh, an actress who also appears in “Go Go Tales.”
Minnie Ripperton Mauled by Lion
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Minnie Ripperton Mauled by Lion
| Close Up: Susana Zabaleta por Adelaido Martínez |
¿Qué se puede decir de Susana Zabaleta que no se haya sabido ya? De todos es conocido su talento en teatro, cine, televisión, música, pero sobre todo, la sensualidad que desborda. Asimismo, también es conocida su franqueza, al grado de decir lo que piensa, sin importar las consecuencias de lo dicho por ella. Pero bueno, demos un repaso por la vasta trayectoria de esta polifacética y sensualísima mujer.Nacida en Monclova, Coahuila, el 30 de septiembre de 1964, incursionó desde muy joven en el mundo artístico, participando en espectáculos como “La Travista”, “Elixir de Amor” y “Dido y Aeneas” con la Orquesta de Cámara del Centro Cultural Ollin Yoliztli. Además, también ha hecho espectáculos de canto, actuación, pantomima y ópera, demostrando su preparación en México, particularmente en la Escuela Superior de Música, así como en Florencia, Italia.En 1986 conoce al fallecido Manolo Fábregas, quien la invita a participar en fastuosas puestas en escena que en aquel momento fueron muy bien recibidas por el público conocedor, como “Barnum”, “El Violinista en el Tejado”, “Magnolias de Acero” y varias más. El reconocimiento llegó particularmente por tres: “Sorpresas” (1989), “¡Qué Plantón!” (1989) y sobre todo "Cats" (1991), por la cual recibió varios reconocimientos debido a la alta calidad del clásico de Andrew Lloyd Webber.Su carrera teatral se complementa con otras obras como “Funesta” (1996), “La gran magia” (1997), “El hombre de la mancha” (2000) y una participación especial en el éxito teatral “Los monólogos de la vagina” en el 2003. Destaca, además, una serie de espectáculos presentados en El Hábito (en Coyoacán) como “Pocahontas con La Malinche” (1995), “Una sirena con patas” y “Matar o no Matar”, ambas en 1996.Sus estudios de canto con técnica operística también son su marca registrada. Lanzó su primer disco en 1995, llamado “¿O... fue un sueño?”, producido por Luis Carlos Esteban, famoso por el disco “Love” (1992) de Thalía. Gracias al éxito de este material, es invitada por Walt Disney Pictures para darle voz a Pocahontas en la película del mismo nombre. Participa en el soundtrack de esa cinta, con canciones como “¿Qué será? Quiero saber” y “Colores en el viento”, particularmente esta última es reconocida como una de las mejores canciones de películas producidas por la casa creadora de Mickey Mouse.“Desde el baño” (1997) es su segunda producción discográfica. Para este material, Susana cuenta con colaboraciones de artistas como Sabo Romo, el cubano David Torrens y los hermanos Fernando y Eugenio Toussaint. Un año después, participa en un recopilado llamado “Mexican Divas”, al lado de gente como Betsy Pecanins, Eugenia León, Astrid Hadad, Liliana Felipe (una de sus autoras favoritas), Lila Downs y Margie Bermejo.En 2002, sacó “El pasado nos vuelve a pasar”, una producción en la que hace mancuerna con el tenor Mauro Calderón para interpretar temas clásicos del cine mexicano, como “Tú me acostumbraste”, “Piel canela”, “Santa” y “La mujer del puerto”. En ese mismo año, sale a la luz un disco de villancicos titulado simplemente Navidad donde hace gala de su voz cantando temas clásicos como “Noche de paz”, “Campaña sobre campaña”, “Blanca navidad”, “El niño del tambor” y otras tantas.Para 2004, graba “Quiero sentir bonito”, un disco con un título muy sugerente que es una recopilación en vivo de sus más grandes éxitos. Un año después, daba a conocer “Para darle cuerda al mundo”, disco compuesto por temas de Liliana Felipe y que alcanzó disco de oro por sus ventas. En 2006, apareció “De la A a la Z”, un DVD en concierto al lado de Armando Manzanero, donde interpretan, a dúo y por separado, algunos de los clásicos del compositor yucateco como “Voy a apagar la luz”, “No se tú”, “Contigo aprendí”, “Por debajo de la mesa” y otros más. La mancuerna sería tan exitosa, que a partir de entonces se convierte en una de sus intérpretes principales, tanto en el disco “Las Mujeres de Manzanero” (2007) como en “Amarrados” (2009), que podría ser el disco más exitoso de la misma, pues ha alcanzado ventas de platino.Complementa su discografía “Te busqué”, disco que salió en el 2007 con nuevas versiones de temas de gente como Alejandro Sanz, Fito Páez, Elton John, Nacho Cano, Reyli Barba, Miguel Bosé, pero el track que destacó fue el cóver a “Lovin’ You”, original de Minnie Ripperton, con el que demostró los infinitos alcances de su voz, sorprendiendo a propios y extraños.Con todo, es gracias a su carrera cinematográfica que ha conseguido algunos de sus mayores triunfos. Su primera intervención en cine ocurrió a través de un cortometraje llamado “Soma”, mientras que su primera película en forma fue “Sobrenatural” (1996), al lado de Alejandro Tomassi y Delia Casanova, bajo la dirección de Daniel Gruener. La cinta llama la atención del público debido a la alta calidad de la producción.Gruener, por su parte, queda prendado con Susana, al grado de casarse. Tienen dos hijos, Elizabetha y Matías, un niño adoptado por esta pareja, situación que la sumergió en una gran polémica que afortunadamente fue resuelta a su favor. Su siguiente trabajo fue en “Elisa antes del fin del mundo” (1997), de Juan Antonio de la Riva, así como en el proyecto “Cossi Fan Tute (o la Escuela de los Amantes)” (1996), al lado de Regina Orozco.Es en 1999 cuando logra su mejor papel hacia la fecha, en la multipremiada “Sexo, pudor y lágrimas” de Antonio Serrano, junto a Cecilia Suárez, Mónica Dionne, Jorge Salinas, Demián Bichir y Víctor Huggo Martín. La película logra establecer todo un récord de taquilla, rebasando cifras impuestas incluso por “Titanic” y “La guerra de las galaxias”. Además, esta película le significó a Susana un Ariel como Mejor Actriz en el 2000.En 2001, participa en la comedia “Vivir Mata,” de Nicolás Echevarría, al lado de Daniel Giménez Cacho, Luis Felipe Tovar, Emilio Echevarría y Alejandra Gollás. La película obtiene éxito, pero nunca como el de “Sexo...”. Además, ha hecho doblaje para las cintas “Silbad” (2003), “Colorín Colorado” (2007) y recientemente en “Boogie el Aceitoso” (2010).En la pantalla chica, ha participado en telenovelas como “Milagro y magia” (1990), “Al filo de la muerte” (1990), “La sombra del otro” (1995) y “Pueblo chico, infierno grande” (1996). Sin embargo, es en 1998 cuando consigue excelentes críticas gracias a su papel de villana (el primero en su carrera) en la telenovela infantil “Una luz en el camino”, aunque hay que admitir que a la novela no le fue muy bien que digamos.
En el 2000, repitió su papel de antagónica haciéndole la vida imposible a Lucero y Jorge Salinas en “Mi destino eres tú”, aunque la novela no obtuvo el éxito esperado; en “Bajo la misma piel” (2003), martirizó a más no poder a Kate del Castillo y Juan Soler, y curiosamente, la historia tampoco tuvo mucha repercusión entre el público. Fue “Fuego en la sangre” su más reciente participación en un culebrón, con una villana sensual que siempre dio que decir.Ha incursionado también en la conducción, en el programa producido por Canal 22, “Cultura en línea”. En 2006, es invitada a formar parte del jurado del reality show “Cantando por un sueño”, donde su carácter fue parte importante del show, poniendo en aprietos al conductor de dicha emisión, Adal Ramones, y protagonizando un singular duelo de aplausos con Lupita D’Alessio. Una de sus últimas apariciones fue precisamente en el reality show “Me quiero enamorar” (2009), donde si bien resulta ser un fracaso en cuanto a rating, su carácter protagónico logra captar la atención. Sus últimos trabajos en TV han sido en “S.O.S: Sexo y Otros Secretos” (2007), bajo la dirección de uno de sus maestros de actuación, el cineasta Benjamín Cann, y donde alternó con Marina de Tavira, Claudia Ramírez, y Luz María Zetina. Por desacuerdos con el mismo, declina participar en la segunda temporada de la serie; también participó en “Los simuladores” (2009).Este año ha sido noticia por dos sucesos: su participación en el proyecto musical “Las Corregidoras”, desde 2009, al lado de Ely Guerra, Natalia Lafourcade, Aurora Cano, Cecilia Toussaint, Amandititita y Regina Orozco, como parte de los festejos por el Bicentenario del Inicio de la lucha por la Independencia de México, así como el accidente que padeció su sobrino José Germán Villeda Ramos cuando un camión de basura le cayó encima en pleno Periférico de la ciudad de México. No se vislumbra un proyecto cercano por el cual esté presente de nuevo en un corto tiempo, pero sabemos que cuando Susana Zabaleta decida regresar, causará furor en unos, escozor en otros, pero siempre su talento hablará por ella.Fotografía: Jerry Bereta.
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(video) all-you-need-is-love history-of-popular-music Tony Palmer
http://whatgetsmehot.posterous.com/all-you-need-is-love-history-of-popular-music http://youtube.com/watch?v=bTKN4s4Xlts
See Full Transcription in this video Description.
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http://www.youtube.com/results?search_query=limbsandthings1+high+elvis&aq=f
It-it-it-it's very hard...
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Sam Phillips: At the risk of being immodest, that's alright with me also:
I call myself a rock 'n roll sanger...Rock 'n Roll Country sanger!
http://www.youtube.com/results?search_query=limbsandthings1%20%22jerry%20lee%20lewis%22%20 http://www.youtube.com/results?search_query=limbsandthings1+%22jerry+lee+lewis%22+&aq=f Jerry Lee Leiws
(berçant Jack Benny's violon ): Je 'appelle Sanger roll un rocher .
Rock 'n Roll Sanger pays!
Conway Twitty: a their feelings of but they were going to live through that precise second and the longer many of those who get together both policy how will prompt to each other on nightline tonight of the things I remember about %uh elvis is that until he came over to him but he broke the scene here %uh my pop world was based around to is a brewer a little that they use to call in the capital of island and that's one thing so you go out you reviewed always be around a lot of music and it was the beatles who they take time and the local no restraint had interested in that only and that course because being a as experts aren't so good and on listen to the tapes made it pretty willful which times to what did it end up but for their interests and religious enough to see it so he could translate for some suggest the whole thing's which he did you know honey come over the maze in technical things that so he's on the piano trading was slow but noel and and things like that you know it was on a you know couldn't tell you what caused that we have a special assistant to like this I m going to toss things into goes on I remember getting a I m a record called she loves year in October of nineteen sixty three what is the word that the toes which still is magical the composition stop I think we've struck from the depression are and I was playing folk songs that I had put a new but the mercy of the to the nafta and %uh people weren't going for the judge didn't really understand where he's coming from and if the home of things to say about Richard this reflections of our of our experiences and in our environment and the experience of a working when everybody's doing what they're supposed to do regarding a particular piece of music and it works it's really about through what now and I would talk to a lot of these kids and what about who they want to deliver if it's die very young in the republican caucus. but they just have no concern about small old of today. admiral boorda.
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Jeff Lynne Moves Cheap Trick California Man: http://youtu.be/oXpY0nqP0IQ
this is a response to mrdantefontana666 "The Move California Man" which is a response to this.
mark zuckerberg just called me and said he wanted to start an apt. complex in my area, and he asked me what we should call it. i said the facebook arms. he said he didn't get it
mark zuckerberg just called me and said he wanted to start an apt. complex in my area, and he asked me what we should call it. i said the facebook arms. he said he didn't get it
The Facebook Movie Has Been Tagged in an Oscar Prediction
David Fincher's "The Social Network," known casually as "The Facebook Movie," is going to be nominated for Oscars.
The only question is, which ones?
I haven't seen the movie yet -- nobody outside its production has -- but I have read Aaron Sorkin's 162-page script, which tells a fascinating story with the necessary ingredients to translate into one of the year's best films.
With ten Best Picture nominees again this year and no clear-cut front-runners in sight, it's likely that the Columbia film will find itself in the Oscar conversation during the increasingly long awards season.
Based on Ben Mezrich's book "The Accidental Billionaires: The Founding of Facebook, a Tale of Sex, Money, Genius and Betrayal," the story charts Facebook founder Mark Zuckerberg's transformation from a happy, 19-year-old Harvard sophomore to a miserable 24-year-old internet billionaire who created an international phenomenon that became an unwieldy monster.
Jesse Eisenberg stars as Zuckerberg and Andrew Garfield ("Lions For Lambs") plays Facebook co-founder and original financier Eduardo Saverin, while Justin Timberlake co-stars as Napster founder Sean Parker, the dot-com rock star who Zuckerberg became infatuated with after Facebook was established. In an interview with MTV, Eisenberg described the trio's relationship in the film as a platonic love triangle.
As far as the project's Oscar pedigree is concerned, Fincher earned his first Best Director nomination two years ago for "The Curious Case of Benjamin Button." Hollywood didn't always consider his films as awards bait, but "Benjamin Button" proved that Fincher is more than just a genre master ("Seven," "Zodiac"); he's an elite filmmaker whose work deserves to be included on any short-list of awards contenders, even if "The Social Network" represents a major deviation from the themes of his earlier movies.
The picture's Oscar chances are bolstered by the presence of power producer Scott Rudin, who won a Best Picture statue in 2008 for "No Country for Old Men," and was previously nominated for the Academy's highest honor in 2003 for "The Hours." Rudin also exec produced Best Picture nominees "The Queen" and "There Will Be Blood," and will be competing against himself again this year, as he's also a producer on the Coen Brothers' "True Grit" and an exec producer on Peter Weir's "The Way Back."
On the other hand, for all his A-list status, Sorkin has actually never been nominated for an Oscar, despite landing three Golden Globe nominations for his work on "A Few Good Men," "The American President" and "Charlie Wilson's War," which is interesting considering the Golden Globes only nominate five scripts a year, while the Oscars honor ten screenplays -- five original and five adapted.
And interestingly enough, Sorkin has described himself as computer ignorant, and reportedly had little to no knowledge of Facebook when he got the gig.
But "The Social Network's" best chance at an Oscar nomination comes from an unlikely source -- Timberlake.
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