I do my best writing
in my sleep,
when rain plays
percussion on rooftops,
a whop bop ting.
Fat pillows
sing sixteen bar solos
in my ears & in my dreams
I know what silence tastes like;
it’s olive oil,
candle wax,
& Lady Day.
Lady Day sounds like chocolate.
God Bless the Poet that hears
screeching tires,
saxophones blaring
serenades to my raw complexion,
almond eyes in a pool of syrup.
Metal collisions
! crash !
the cymbals,
syncopated chaos
between accented bass snores.
Dancers in my head
take to the floor,
roll over on one side
& try to forget
where the music comes from.
Static cling in their faces,
They cackle & stare
at me.
But it’s not me; it’s Cole Porter.
I slid my girl under my pillow
& we dreamed all night,
put the ‘R’ in Renaissance.
Morning wakes me, smiling.
I think, “This ain’t Bourbon Street,”
then forget it all until I see a pen.
Wednesday, September 30, 2009
Sleepy Solozzz
A mais nova sensação da playboy
Bárbara da Silva Borges e Cunha (Rio de Janeiro, 26 de janeiro de 1979) é uma atriz brasileira.
Sua estréia na televisão foi como Paquita (assistente de palco da apresentadora Xuxa Meneghel) em 1995, trabalho que durou quatro anos.
Bárbara entrou com 16 anos em 95 como paquita e saiu aos 20 anos.
Em 1999, faz sua primeira peça de teatro A Lista, de Oswaldo Montenegro. Entra para a faculdade de Artes Cênicas da UniverCidade, formando-se em 2001 com a peça Hand Bang, de Mark Ravenhill, dirigida por Alexandre de Mello.
No mesmo ano, participa de sua primeira novela na Rede Globo, Porto dos Milagres, como Luisa, novela de Aguinaldo Silva. Em seguida, é convidada pelo ator André Valli para atuar na peça Uma História Muito Estranha. Depois da peça, entra para o elenco da novela teen Malhação, em que interpretou Thaíssa e fica por duas temporadas.
Em 2004, é convidada para a novela Senhora do Destino, de Aguinaldo Silva, onde interpretou a lésbica Jennifer ao lado da atriz Milla Christie, papel esse que teve grande repercusão na mídia.
Bárbara Borges namorou o também ator Márcio Kieling, que atuou com ela em Malhação e no filme VINGANÇA.
Novamente com Oswaldo Montenegro, participa do musical Léo e Bia. Logo após, faz diversas participações em programas de TV como A Diarista, Sob Nova Direção, Carga Pesada e na novela Pé na Jaca, de Carlos Lombardi. Ao lado de Susana Vieira, atua na peça Namoradinha do Brasil, de Fernando Ceylão. Em fevereiro de 2005, com 26 anos, faz um ensaio fotográfico para a revista Playboy.
Recentemente, esteve no ar, na Rede Globo, com a novela Duas Caras, também de Aguinaldo Silva, interpretando mais uma personagem complexa e de grande apelo para o público: a jovem Clarissa, uma garota disléxica que tem uma relação muito intensa com sua mãe, Célia Mara, interpretada por Renata Sorrah.
Em 2008, participa do quadro “Circo do Faustão” no “Programa do Faustão” na Rede Globo e estréia no cinema no filme “Vingança” de Paulo Pons.
Em 2008, fez uma cirurgia plástica na qual colocou 270 ml de silicone nos seios.
Em Fevereiro de 2009 a atriz assinou contrato com a Rede Record por três anos. Estreou na novela “Bela, a Feia” no papel de Elvira.
Em setembro de 2009, faz um novo ensaio sensual para a revista Playboy, a capa da revista ficou eleita como uma das mais bonitas de todos os tempos. VIDEO DA BARBARATAM:10MB
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REVISTA PLAYBOY DA BARBARA
TAM:9 MB
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Monday, September 28, 2009
From Here To Eternity
Classic Scenes from Classic Films
If I were asked to pick a perfect movie I’d quickly name From Here to Eternity, starring Burt Lancaster and Deborah Kerr. The 1953 drama was adapted from the best selling novel by James Jones, screenplay by Daniel Taradash, and directed by Fred Zinnemann. I consider this film cinema gold from start to finish, but for the sake of brevity I’ll focus only on the relationship between the Lancaster and Kerr characters. Sergeant Warden and Karen Holmes’ love affair is the spine of the story and is introduced and developed by screenwriter Taradash in two perfect scenes, both of which come in the first twenty minutes of the film. Neither of them involve sand, sea or sex — at least not graphic sex.
Of course, anyone who knows anything about vintage movies is familiar with the erotic scene of Sergeant Warden and Karen kissing on the beach, the one with the wave breaking over their bodies. It’s an iconic film image, and the video is very popular on YouTube, even with people who have never seen the movie. Unlike couples in most movies, this wet duo enmeshed in a torrid embrace did not meet “cute.” You might even say they met “ugly,” or at least not very “pretty.” For me, their first scene together, which comes about ten minutes after the opening credits, is sexier than the beach scene by at least a factor of ten. No blatant fireworks, but there are sparks, a subtle display of sexual tension, mixed with an interesting undercurrent of dislike, even distrust. In that short scene there is strong attraction but also implicit conflict between the characters, and conflict, as we know, is the lifeblood of drama. For me, at least in dramatic terms, conflict is sexy. The smoldering and somewhat sarcastic banter between Karen and Warden in the scene foreshadows adultery to come. Karen, we quickly learn, is married to Warden’s commanding officer.
I’ve transcribed the two scenes by using a combination of Daniel Taradash’s second draft script, which I found on the Internet, and the movie. Both scenes as shot differ somewhat from the script, and I’ll point how the first one is changed after we read it. In that first scene we discover Sergeant Warden in front of the company supply room talking to Leva, the supply clerk (as played by Mickey Shaughnessy in a great character rendering). They watch as Karen arrives in the area looking for her husband.
LONG SHOT KAREN HOLMES FROM WARDEN AND LEVA’S ANGLE as she walks toward them. She is at a considerable distance. Karen is about thirty. She wears a sweater and skirt. She is aware the men are studying her.
MEDIUM CLOSE SHOT WARDEN AND LEVA watching Karen.
LEVA : Shooish! — her and them sweaters.
LONG SHOT KAREN FROM WARDEN AND LEVA’S POV as she continues toward them. Warden’s and Lava’s voices, loud at first, get softer and softer the nearer Karen gets to camera. At end of the shot, as she is only a few yards away, they are practically whispering.
WARDEN’S VOICE: I’ll bet she’s colder than an iceberg . . .
LEVA’S VOICE: Not her, Top, she knows the score like I been tellin you.
WARDEN’S VOICE: (sarcastic) Is that right?
LEVA’S VOICE: Listen, not around here, but I was back at Fort Bliss with Holmes. I heard plenty about this lady then. Plenty.
WARDEN’S VOICE: You did, huh?
LEVA’S VOICE: Okay, not me — but I know some of them she played ‘round with, so don’t tell me.
WARDEN’S VOICE: I ain’t tellin you. You’re tellin me.
Karen stops a few paces from camera.
KAREN: Good morning, Sergeant.
WARDEN: Morning, ma’am.
MEDIUM SHOT. Lava watches, listens avidly but discreetly in background. During the dialogue, Karen seems irritated by Warden, who looks at her coolly, appraisingly, physically.
KAREN: I’m looking for my husband.
WARDEN: Captain Holmes just went in town, ma’am. On business.
KAREN: Oh. He was to have left some things for me; do you know anything about them?
WARDEN: No I don’t, ma’am. Anything I can do for you?
KAREN: No, thanks.
WARDEN: I’d be glad to help. Ma’am.
She makes a slight move to go, then pauses.
KAREN: My husband’s been telling me a lot about you, Sergeant. He says you’re very efficient.
WARDEN: Yes, ma’am.
KAREN: What is it that makes you so efficient, Sergeant?
WARDEN: I was born smart, ma’am.
Karen laughs suddenly, quietly.
KAREN: I love that. Well goodbye, Sergeant.
Karen turns and walks back toward her car. Warden and Leva watch her. When she is out of earshot Leva speaks.
LEVA: Man, she sure is one, ain’t she?
WARDEN: One what?
LEVA: One woman.
WARDEN: (unconvincingly): I’ve seen better.
As performed, the first scene in the movie between Karen and Warden differs only slightly from the Daniel Taradash second draft script. Most of the tweaks involve a word change here and there, changes that perfectly sharpen and clarify the dialogue between the characters. The first scene is an excellent example of what experts agree are the three things an effective dramatic scene should do: Advance the story, develop (deepen) character, and establish (and/or deepen) conflict. I would add a fourth thing. A good scene should also “entertain.” The entertaining aspect may be the result of the quality of the writing or the performances or, as in this case, a combination of both. In From Here To Eternity I believe we’ve given all four elements in just about every scene throughout the movie — and that, in my opinion, is what makes it a great film.
Scene two between Sergeant Warden and Karen also has several departures from the draft script. These changes are more extensive. In fact, several lines of dialogue are cut from the end of the second draft version. I’ll talk a bit more about that after we’ve read the scene as filmed, which comes at about the twenty minute point in the movie:
EXT. BACK PORCH OF HOLMES’ HOUSE. DAY. MEDIUM CLOSE SHOT WARDEN standing outside in the rain. He wears a GI rain hat and coat. He pauses, then knocks briskly on the door of the screened porch. Karen opens the kitchen door onto the porch. She is in shorts and a blouse.
KAREN: Well, if it isn’t Sergeant Warden. You better step inside or you’ll get wet.
INT. PORCH OFF KITCHEN – DAY MEDIUM SHOT She opens the screen door and he steps onto the porch. He removes his rain hat, shaking off the raindrops.
WARDEN: I am wet.
KAREN: If you’re looking for the captain, he isn’t here.
WARDEN: (taking the long chance) And if I’m not looking for him?
KAREN: (unsmiling) He still isn’t here.
WARDEN: (quickly) Well, I’m looking for him. Do you know where he is?
KAREN: I haven’t the slightest idea. Perhaps he’s in town on business. That’s the way you put it the other day, isn’t it?
WARDEN: (fishes in his pocket, brings out papers) I got some papers it’s important for him to sign.
KAREN: (turns) I’ll try phoning him at the Club. Maybe he’s there.
WARDEN: Don’t do that. I never like to disturb a man when he’s drinking. I could use a drink my self. Aren’t you going to ask me in?
Karen finally smiles, faintly. She goes into the kitchen, leaving the door open. Warden follows her.
INT. KITCHEN HOLMES HOUSE – DAY MEDIUM SHOT The kitchen is small and undistinguished.
KAREN: (gestures): The liquor’s there, Sergeant — in the cabinet.
Warden takes a whisky bottle from the cabinet and pours a straight, stiff drink, puts the bottle on the table. He puts the papers down and drinks. Karen leans against the sink counter.
KAREN: You’re taking an awful chance, you know. My maid is liable to be home any time.
WARDEN: No she won’t. Thursday’s her day off.
KAREN: You think of everything, don’t you, Sergeant?
WARDEN: I try. In my position you have to.
KAREN: (goes to table and picks up the papers) Are these really important?
WARDEN: Yes. But not important they get signed today. Tomorrow’s okay.
Karen suddenly, deliberately, rips the papers in half, then crumbles and throws them into the wastebasket.
WARDEN: I got copies at the office, so it won’t be much work to fix them up.
Warden’s control has begun to affect Karen’s now. She is losing her poise.
KAREN: That’s what I like about you, Sergeant. You have confidence. It’s also what I dislike about you.
WARDEN: It’s not confidence, ma’am. It’s honesty. I just hate to see a beautiful woman goin all to waste.
He moves close to Karen, is on the verge of embracing her. Greatly tempted but greatly disturbed, she turns away. During her monologue she pours herself a drink. Her tone is no longer brittle. It is bitter.
KAREN: Waste, did you say, Sergeant? Now that’s a subject I might tell you something about. I know several kinds of waste, Sergeant. You’re probably not even remotely aware of some of them. Would you like to hear? For instance — what about the house without a child? There’s one sort for you. Then there’s another. (Karen takes a drink) You’re doing fine, Sergeant. My husband’s off somewhere, it’s raining outside, and we’re both drinking now. But you’ve probably got one thing wrong. The lady herself. The lady’s not what she seems. She’s a washout, if you know what I mean. And I’m sure you know what I mean.
WARDEN: You gonna cry?
KAREN: (turning away): Not if I can help it.
Warden takes a drink and puts the glass down on the table, hard enough for her to hear.
KAREN (turning back to him): What are you doing?
WARDEN I’m leaving. Isn’t that what you want?
KAREN (slowly) I don’t know, Sergeant. I don’t know.
They stare squarely at each other, both puzzled and a little afraid of their emotions. This is something neither had counted on. He goes to her and they kiss. Music up. The camera pulls back and out the window, into the rain.
FADE OUT
Now that’s one sexy scene, the sexiest in the movie, in my opinion. It’s much more erotic than that sea-soaked episode on the beach, the one that everyone remembers. Toggling back and forth between the second draft script and my tape of the movie was a revelation. I came to appreciate even more the writing skills involved, but also the contributions to the project the Kerr and Lancaster make — how subtly the nuance of facial expression, gesture, and body language communicate and reinforce emotions only hinted at on the page.
And remember that section of dialogue I mentioned that was cut from the second scene — removed either by the screenwriter in a later draft, or perhaps by the director as he shot the movie? In the Daniel Taradash second draft there was no kiss. In its place there was this, which comes after Karen says, “I don’t know, Sergeant. I don’t know.”
WARDEN: I know a beach near Diamond Head. Nobody ever goes there. The cars on the highway pass above and they never know it’s there. You feel like you used to feel when you were a kid, hiding by yourself in a cave, watching the others hunting you.
Karen turns, goes to the sink, puts the whisky bottle back in the cabinet.
KAREN: Maybe . . . why not?
WARDEN: How about Payday?
KAREN: You don’t have to spend money on me, Sergeant.
WARDEN: I just like to have some on me when I take out a woman. Can you get away?
KAREN: Maybe.
Warden grins. He goes to the door to the porch, pauses there.
WARDEN: I’ll be in Kuhio Park. Say, nine o’clock. Payday.
Karen leans back against the sink, watches him go out to the porch. A moment later the sound of the door is heard as he leaves. She turns on the faucet, starts to rinse the glasses they have used. Suddenly she turns the faucet on full force, watches it pound into the sink.
FADE OUT.
What is wrong with this second draft version of the scene? A more apt question is, What’s right with it? Take the blatant symbolism of the faucet water pounding into the sink, that’s downright corny. And the dialogue is too explicit, from Warden’s crude planning of their first “date” and it’s useless (to the audience) details. It’s all pure exposition that lacks even a suggestion of emotional nuance. Nothing is left for us to think about. Worse still, we feel nothing. We have been talked down to, led by the hand (nose) so that every thing is made perfectly (awfully) clear. Basically, we are disrespected and our intelligence is demeaned. We are insulted by being given TOO MUCH DIRECT INFORMATION.
You don’t have to be a professional screenwriter to figure out which of the two versions of that second scene between Karen and Sergeant Warden is best. It’s simple. The cuts and word changes made by the screenwriter and/or the director, enables us to connect to the story in a personal way. The same is true for the complete film. Throughout we are shown, not just told. We are allowed to feel our way into figuring it out for ourselves. The filmmakers permit us to collaborate in the creative process, and that’s what makes these two scenes — and the rest of the movie, all of which is treated with the same artful craft, so powerful. As I say, it’s a perfect film.
Copyright © 2009 Jim Sizemore.
If you have a classic scene from a classic movie that you’d like to share with the world, write it up (500-1,000 words) and send it along to jimscartoons@aol.com. I’d like to consider it for publication on the blog. Failing that, I’d at least like to know what you think of my choice in this case, pro or con.
Saturday, September 26, 2009
Grab N Go Espresso bikini baristas busted
So it appears those cute girls in bikinis were serving more than Hot Coffee!
Busted Bikini Beauties
Images
Bing on Bikini Barista
It is Better to be Drunk than Wasted
How to Travel Naked
Beer Alert
A Constellation of Idiots
It is Better to be Drunk than Wasted
Texas Toast
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Runes and Moons
Zazzle!
Angelic Verses
DeviantArt
Rumors of Angels
LuLu
CafePress
Luck
Digital Art
Angel Sightings
Cyber Rainbows
Selling Rainbows
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Friday, September 25, 2009
stripper's that let you touch & suck
last night was the last night of my birthday adventures so we decided to go stripper hoping after my boy’s fantastic performance!
we went to about three strip joints; one had too many boys there, it was like it was their very first time to see tits and even though the girls were hot, i got turned off by the crowd. the second joint didn’t have enough people, so the third place we went to was ‘B2o’ since it had become our new favourite spot. the crowd was good and whenever i blended in with the crowd, stripper’s would approach my boy thinking he was alone and it proved again (as i often forget) that my boy is quite a looker
even though we saw our fav stripper from the other night, i just wasn’t feeling it at these places. they were such a tease and the last time i got a dance i felt frustrated at the fact i couldn’t touch them. it was TOO much of a tease. i couldn’t even begin to imagine how a GUY would feel!
a few years back i remembered going to my first strip club and they allowed clients to touch the stripper’s. i told my bf this and he too had heard this from a friend. so even though i wasn’t sure if this was still the case, we decided to make our final destination for the night there before heading home. it was nice and convenient because it was on the way home and very near to where we live.
we walked in for free being that it was 2am in the morning and the first thing i noticed was a guy smoking…then another guy…then another! i was ecstatic at the fact we could smoke in there and i lit one up straight away as i had a look around the joint to get myself comfortable. the place hadn’t changed one bit and as i looked towards the end of the joint, the familiar one and only lapdance room was there. this joint was different to other clubs because they only had one room where everyone who wanted a dance could into. no one got private rooms, it was like a massive stripper orgy!
the windows for the room were heavily tinted but i could still see inside as stripper’s were giving their client’s dances, one stripper in particular was straddled on top of her client facing him as he was softly fondling her beautiful breasts. i couldn’t believe as eyes as this TOO hadn’t changed! i looked at the other people in there getting their lapdances and they too were doing the same thing; having their stripper’s straddle them as they got to fondle their big beautiful breasts as they grinded up against them. i could hardly wait for mine!
i took a shot of wet pussy (no pun intended) and we sat near the room so that the next hot stripper who walked out we could grab straight away. we didn’t have much time left as the place was going to be closing soon too. one girl in there had a beautiful body and naturally big tits to match, not to mention a sexy face. i looked at my bf knowing that he too felt the same way.
as she walked out i slowly brushed my finger’s against her arm to get her attention and she greeted me with a big smile. i asked if she did couples and she said “ofcourse!” and we all made our way into the orgy room.
we were the only couple in there, not to mention I was the only non-stripper girl in there too. she started on me and i couldn’t help but touch her body straight away. i touched the smooth skin of her back and made her moan as i made my way up to cup her heavy breasts. and as she let her breasts tumble out i couldn’t help but want to ravish her right then and there as her nipples became hard gently rolling them in between my fingers.
she leant towards me and started kissing my neck and making her way towards my breasts. i put my hands through her long dark hair and then over the arch of her back to feel her smooth skin again. i leaned closer to her so could kiss her too and made her moan as i kissed the spots that i loved to be kissed on my own neck.
she then sexily gets up and makes her way towards my boyfriend and kisses his neck as she slowly unbuttons his shirt. i can’t help but have my hands fondle her tits as i can’t get enough. i then grab my boyfriend’s hand and make him squeeze her breasts in his hand continuing to play with the other, knowing how much pleasure this is giving to her.
she then turns around and sits on him, as i watch my bf giving her such sensual kisses on her back shoulder letting out moans as he rolls her jutted nipples in between his fingers…the sight is just TOO much for me to handle! i am so turned on at this point as iv got my hand rubbing on her thigh reminding myself that there is a no touching pussy policy! if you only knew how BADLY i wanted to touch her there! i was aching for her!
i then see my boyfriend lower his head making his way towards her breasts and he looks at me to do the same. we both take a nipple each into our mouths and make her moan in ecstasy! i wrap my lips around her nipple and suck it gently just like how i love to be sucked. i circle around and over her nipple with the tip of my tongue as i trace my finger’s around her breasts. i hear my boyfriend say to her, “you’re getting my girlfriend so horny…” and she replies back, “SHE’S getting me so horny!” i look up and give them both a very big sexy smile.
she gets off him and as she makes her way to kneel in between my legs, i look around the room and notice how EVERYONE being the security guard, stripper’s and clients ALL have their eyes on US! it was amazing! it was like we gave THEM a show!
the stripper had her hands on my thighs and slowly felt her way up under my skirt and before i knew it we were kissing! my bf later on told me that as soon as i started kissing her, her nipples became even harder…i’m pretty sure he too was finding it extremely hard to contain himself at this point. i pulled away in case i was coming on to her too much and she pulled me back for a lil bit more before our time was up. she looked at me with a gorgeous smile and said, “you’re so hot! i really hope you come back again!” i couldn’t help but think WHEN would be the next time i could have her and that experience again too!
as i got up and straightened myself out, everyone in the room had their jaws down to the ground, it felt so good knowing that i TOO turned them all on! i thanked the guard and gave him a smile, he too gave me a playful smile and a tap on the back (in other words, thanks for the show you kinky lil bitch! LOL)
writing this has gotten me so worked up that i’m going to grab my boy and role play a hot lil stripper scene…me being the stripper from last night and him telling me everything he would wanna do to her