The Happy One

I had not smiled in a quite awhile. And I did not plan to smile that day - in those moments - but he made me feel beautiful. Not because he loved me in a romantic way, but in the way that a friend may love you. That is, after all, the best kind of love. It is far less likely that such a relationship will break your heart, your spirit, and I know this one will not.

He was so kind and tender with his words that I could feel my soul healing with every brush stroke, every etched line and crevice he so masterfully crafted. So I showed him no sign of a broken heart - of my broken heart. It’s wonderful what such an exchange of the human spirit can do to a soul - and none more than the exchange of an artist and his muse. And I am the muse. The muse portrayed with the happiness due to me!! And I will always love him for it. Though he did not complete the work for me, he triumphed in the completion of my upset, my sadness. 

I lost my little girl four years ago. I did not know what would become of me without her - without her here with me - and the hole in my heart grew to to a depth too grossly immense, too vividly substantial, that it’s dissolution and eradication seemed so far out of my reach. Too far out of my grasp. I healed rather minimally through my sweet and blessed children, my husband, and my glorious friends - who never failed to uplift my spirits, but there was always a piece missing. One I could not fulfill.

Sadness is a poison. It seeps through the veins of the disheartened so mercilessly, so unsympathetically, that it will turn the most benevolent and kindhearted souls into spirits of coldness and indestructible stone. I remember feeling such sadness that I could not feel my toes - and I could not get out of my sweet bed - because I could not feel my heart. My heart was missing. It was so hurt by me - by my loss - that it could not live happily in my own body. My heart was hurt. Plain and simple. My heart hurt.

But how he fulfilled my heart for me! What is a woman if she is not the leading lady of her own life? Of her own destiny? And this is what he asked me and inquired of me. And I know that a woman’s worth is of great value, and she should not be sorrowful if she has so much to live for and look forward to! How I love him for breathing such life into me and how I love him for showing me a way - and I will forever be known as the happy one because of him. I promise that I will return this to him with a smile - one that I will have forever. I could never repay him -- no amount of money, no amount of diamonds or gold  can compensate him for what he did for me. For the energy he gave to me. And whenever I think of him, I am given life again! I can think so clearly and I can actually do what I never thought possible - because he healed me with a simple brush stroke. With his art. He risked his station in life for me - he risked his career to heal me - and I will never forget it. I am forever indebted to him, for turning the light in my soul on again. And I will pay him back with my happiness,

I will pay him back with a smile.

My Reasons to Despair And Hope In the Name of Climate Change

Reason for despair:  Denial of climate change, inaction revolving around its indisputable reality, and reduced education in the fight for climate change mitigation are a few reasons to despair over such a global, environmental epidemic. Those who refuse to acknowledge that humans are majorly, or at least partially, responsible for the rise in the global temperature, the increase of greenhouse gases in the atmosphere, and the reduction of glacial ice, for example, pose more of a hazard to Earth than any other entity on the planet. We are seeing global warming at an unprecedented level, and it will  continue to worsen with any communal, definitively blind refutation revolving around its grave existence or any other assertion maintaining that humans bear no responsibility over Earth’s welfare and its increasingly fragile condition. I numbingly despair over those who deny climate change and its effects on our dear planet.

Reasons to hope: With the COP21 and other efforts to educate the world, encourage political action, and seek global solidarity in the fight to reduce climate change, I have hope that we will achieve a stable, environmental temperature, necessitate the creation of the tools and technology required to further aid in the mitigation of global warming, and foster an international consensus on the realities and threats of climate change. China, for example, is becoming a leader in the realm of climate change mitigation, and the country’s promise to reduce coal emissions is a huge step forward in this global effort. Their initiative is truly inspiring, simultaneously encouraging the rest of the world to follow suit -- promoting solidarity, support, and, most importantly, education.

Intro

Once upon a time there lived a princess. She lived in a world filled with gold, diamonds, and silver. Her favorite color was pink and her favorite food was cake. All kinds of cake. But she was still the size of a peanut. Her favorite day was Christmas and her favorite season was summer. How she loved summer time. The warmth of the golden air and the light of the sun’s strength beaming against her translucent skin. It was romantic and dazzling enough to be written about in any story, novella, or poem. Yes, summer was her favorite season, and during the cold winter months it was all she could think and dream about. 

Hm..

What should I write about today? I have this century’s worst case of writer’s block, and it won’t seem to shake. What do you write about on days when you cannot think of anything at all to pen on a sheet of paper, of an idea to artistically convey via the medium of language and literature?? Maybe I should just write about my writer’s block, then, ey? Well, it’s not very interesting. A short story, perhaps? Of what? I’m thinking of a young girl - and why a young girl, you ask? Young girls don’t have much of a voice in the world and I could provide such a voice to a girl who needs and deserves one, despite how miniature my own twitter and blogging platform is. Hm..

Brief "By the Sea" Review

Relationships are fascinating. Love is fascinating. The heartbreak and grief that often stem from these relationships and turbulent throws of love are fascinating, and so, too, are the internal mechanisms through which we cope with these feelings of loss and emotional discontent. Sadness is fascinating, selfish despair is fascinating, and witnessing characters overcome, or at least attempt to overcome, any form of melancholia is fascinating. Yes, sorrow is one of the most intriguing facets of the human experience, and the range of such self-despondency is virtually boundless. This sweeping, cognitive horizon and grand field of unsettled emotion is delicately explored in countless pieces of art, music, and literature, as well as in Angelina Jolie Pitt’s latest directorial and acting endeavor, “By the Sea.”

“By the Sea” is a story of love, loss, and, of course, heartbreak revolving around the marginally redeemable yet sweetly corroded marriage of Vanessa (Jolie Pitt) and Roland (Brad Pitt). These characters are introduced to us in a lovely opening sequence driving through gorgeous weather on the sea-side in a flashy little convertible, really setting the picture’s aesthetic tone of ‘70s glamor with the perfect mixture of rustic naturalism and urbanite chic. If it sounds too good to be true, it’s because it is. It’s almost too pretty, but its beauty sucks the viewer in and adds several dimensions to the greater, overarching story. Yes, the scope of beauty in this picture is not remotely similar to the amount of beauty found in real life, especially in toxic, overwrought relationships, but it is this magnitude of incredible visuals and dreamy shots that counterbalance the inner-ugliness of these characters, and an ugliness that we come to discover during their stay in a hotel that is, of course, by the sea.

When viewing this picture as an intense character study and dynamic relationship piece, Angelina Jolie Pitt has struck gold. When viewing it as a narrative or plot production, we’re just happy that we have all of the pretty pictures to look at. In either case, there is still so much to be enjoyed about the feature. The craft and execution of the immaculate scenery is quite extraordinary, as well as the inner dimensions of these broken characters and their relationships with fellow hotel dwellers (who also happen to be newlyweds) Lea (Melanie Laurent) and Francois (Melvil Poupaud). Poupaud does great work here, but this is definitely a standout performance for Laurent, who portrays Lea with a delightful yet sexy enthusiasm, with a brilliant charisma and delightful sensuality to top it off. At any rate, their interactions with Vanessa and Roland are complex character machinations, and ones that Ms. Jolie Pitt should applaud herself for. The weaved synergy between all four of these personalities exposes the multi-faceted, layered nature of these characters so smoothly, it’s as though Jolie Pitt concocted a gourmet character dinner for the viewers to indulgently feast their cinematic proclivities on. This really helps show, more than anything, the various sides to Roland and Vanessa. We see them at the best of their relationship, and the worst of their relationship within several, heart-wrenching moments because of the simple presence of the newlyweds next door, who remind them of a love that they don’t share. Though Vanessa and Roland definitely love one another, and care very much for each other’s being, it is not the same kind of passionate love that is so deeply shared between Lea and Francois. 

Yes, “By the Sea” is a remarkable character piece, and one that reveals the human experience of grief, loss, and severe upset through a fearless intensity that draws the audience in by the fascinating character interactions. Though the picture may be viewed as a vanity piece, there is so much that connects it to the global human experience of grief and loss. Jolie Pitt definitely cements herself as the real deal in this feature, and I honestly can’t wait to see what she does next with other, more complex personalities.

HIV: What Exactly Is It?

And to make this treatment accessible on a global scale. Just because something is available does not mean it is accessible.

Human Immunodeficiency Virus is a retrovirus that attacks the body’s population of CD4 cells, or T cells. These cells are essential in fighting off disease and infections, and HIV kills off the population of these cells to make copies of itself. Though there is no known or accepted cure to HIV right now, the disease can be treated with ant-retroviral therapy.  This type of medication is required daily to allow those afflicted with HIV to live normal, happy lives. If left untreated, HIV can develop into Acquired Immunodeficiency Syndrome, or AIDS. AIDS is the final and last stage of the HIV disease, and not everybody reaches this stage of infection when provided the appropriate treatment. When the population of CD4 cells falls below a count of 200 cells per cubic millimeter in the human body, or when diagnosed with one or more opportunistic infections, HIV has reached the level of AIDS. 

There are sometimes no symptoms to HIV, so it’s important that those who are sexually active get tested frequently. Sometimes, within 2 to 4 weeks of exposure to the disease, people will experience the “worst flu ever” including symptoms of fever, swollen lymph nodes, sore throat, rash, fatigue, muscle pain, and severe headaches. Again, if left untreated, the infection will progress to AIDS and the symptoms will worsen to ones of rapid weight loss, recurring fever, extreme fatigue, diarrhea, bodily sores, pneumonia, purplish lesions all over the body, memory loss, and even depression. These symptoms are largely due to the opportunistic infections that occur alongside AIDS.

Currently, there are approximately 1.2 million people residing in the U.S. living with HIV and approximately 35 million people living with the infection globally. Apparently, 19 million out of the 35 million infected are unaware that they have HIV - a large statistic considering that the number is more than half of the HIV population. According to WHO, sub-Saharan Africa is the most largely affected, with approximately 24.7 million people infected with the virus, which is about 71% of the entire global HIV population.

To see change, we must cultivate a global awareness of HIV/AIDS, the ins and outs of its treatment, and the necessity for global accessibility to treatment. It is unacceptable for HIV to progress to AIDS with the availability of such anti-retroviral therapies and medicines that can stabilize a healthier T cell count in the body. We need to make use of this availability and create accessibility out of it as well.

My Favorite 4 Female Characters in Martin Scorsese's Movies

Much of Martin Scorsese’s work revolves around the male psyche and male characters.  Many often critique this singular focus, overlooking the female perspectives, feminine subtext, and context of his films. Though Scorsese has a clear penchant for depicting male centralized pictures, his features would be nothing without his conscientious inclusion of the feminine paradigms, characters, and personas in his work. Yes, there is a predominantly male focus in the majority of his movies, but there is also a balanced female counterpoint in these pieces that remain integral and pertinent to the final, conclusive product. To say that Scorsese is ‘sexist’ or ‘misogynistic’ is absurd - to describe some of his male characters with the latter adjectives is perfectly fine. He is merely depicting and portraying worlds that he knows and, since people love to talk about what they know, or - in this case - creatively film what they know, it is fitting that someone with such a unique and rare comprehension of the world deliver that knowledge in his work. It’s as though he creates pictures that he, himself, would want to see, while incorporating characters that fascinate him rather than ones that seamlessly identify with his own personality and gender views. And with every intriguing male character he includes in his movies comes a female counterpart equally as essential to the meaning and overarching thematic undertones present in the respective work. Conversely, with every central female character comes a male or categorical group of men to counterbalance the prevailing essence of femininity exuding the particular feature. No matter the primary perspective, whether male or female, Scorsese maintains the gender integrity of his work by consistently incorporating varying psychological dimensions of men and women and their opposing voices. When the main character is a man coming to terms with his disputing inner voices and external conflicts, there is always a woman to help define this world and reality more evenly and precisely. Similarly, when the main character is a woman coping with daily obstacles and the friction between herself and her world, there is always a male voice or masculine perspective to balance the specific picture’s humanity. Yes, the majority of Scorsese’s art explores masculine identity, but this is more a result of his own artistic awareness of the male experience, not a disregard, disrespect, or dislike of the female experience as suggested through his provision of exceptional roles for women in his range of work. There are so many great female characters in the movies of Martin Scorsese, and characters that should not be overlooked simply because of arguments insinuating unconscious, artistic tones of sexism and misogyny. Do not mistake a misogynistic male character for a misogynistic male director. So, with that said, here are some of my favorite female roles as depicted by Scorsese...

Ellen Burstyn as Alice Hyatt in Alice Doesn’t Live Here Anymore (1974)

Alice Doesn’t Live Here Anymore (1974) is probably one of Martin Scorsese’s most feminist pieces, revolving around the psychology of a woman who just lost her husband, seeking internal/redemptive freedom while taking care of her young son and dealing with the losses and triumphs of unpredictable romance. Themes of female survivorship, motherhood, and gender equality dominate the feature, and the delicious little depiction of female resilience, perseverance, and strength resonates with the audience long after its viewing. Burstyn rightly won the Best Actress Oscar for her remarkable work here, and I’m curious to see if Scorsese and this leading lady will collaborate on anything again in the future.

Juliette Lewis as Danielle Bowden in Cape Fear (1991)

In this remake of 1962’s Cape Fear, Juliette Lewis portrays a young girl tackling the hardships of high school and the pubescent obstacles facing girls of that age and generation. The realism with which Lewis portrays Danielle Bowden is as striking as it is captivating, especially as a new-18-year-old actress. One of the most poignant scenes in the movie, in which Robert De Niro’s Max Cady manipulatively seduces Ms. Bowden, remains one of the most chillingly creepy and disturbing ten minutes in horror history, with Cady’s death sequence coming a close second. Lewis’ gorgeous narration and clear ability to hold her own in the various dramatic, horror, and action scenes of Cape Fear allows this role a canonical place in Scorsese’s list of iconic characters, regardless of gender.

Cathy Moriarty as Vickie La Motta in Raging Bull (1980)

The intrinsic nature of Vickie LaMotta in Raging Bull is complicated, unnerving, and definitively human. In lesser hands, this role would have come across as purely supportive to Robert De Niro’s Jake LaMotta, but Moriarty makes it her own with an intelligent and quick-humored performance, balancing perfectly with her male lead counterpart. She is able to cultivate a particular level of audience empathy to a somewhat detestable character, even after her various, underhanded choice of actions - like sleeping with her husband’s brother - could alienate some viewers. Yes, Vickie lives in a man’s world, and is just as bad as all of the men portrayed in Raging Bull, including Jake LaMotta himself. The ugliness of Vickie, however, is balanced with the sweetness she exudes during Jake’s courtship of her and the ultimate sequence depicting the building of their lives together. There are several sides to Vickie, and this multifaceted role is what makes this character one to remember.

Diahnne Abbott as Rita Keane in The King of Comedy (1982)

Though this is a fairly small role, Diahnne Abbott completely rocked it as Rita Keane in The King of Comedy. All of the cringeworthy and hard-to-watch-moments as provided by Robert De Niro’s Rupert Pupkin become easier to stomach with the normalcy and ordinariness of Rita Keane. She is calm, collected, and cool, offering a breath of fresh air against the outrageousness of Pupkin’s consistently unbearable persona. When Pupkin breaks into his idol’s home, Abbott is able to balance his palpable desperation with a necessary naivete and fundamental, subtle awareness. This allows the utter sadness of Pupkin’s character, who we come to pity at various points in the feature - and especially when he trespasses into the house of his hopeful mentor - to remain slightly more bearable to watch. Her sense of sanity and self is a much needed slice of normalcy in a feature that so fearlessly encapsulates idiocy, desperation, and, well, the darkness of comedy.

The First Paragraph, Martin Scorsese's Female Characters

Much of Martin Scorsese’s work revolves around the male psyche and male characters.  Many often critique this singular focus, often overlooking the female perspectives, feminine subtext, and context of his films. Though Scorsese has a clear penchant for depicting male centralized pictures, his features would be nothing without his conscientious inclusion of the feminine paradigms, characters, and personas in his work. Yes, there is a predominantly male focus in the majority of his movies, but there is also a balanced female counterpoint in these pieces that remain integral and pertinent to the final, conclusive product. To say that Scorsese is ‘sexist’ or ‘misogynistic’ is absurd - to describe some of his male characters with the latter adjectives is perfectly fine. He is merely depicting and portraying worlds that he knows and, since people love to talk about what they know, or - in this case - creatively film what they know, it is fitting that someone with such a unique and rare comprehension of the world deliver that knowledge in his work. 

 

Nous Sommes Une Voix

Nous sommes la voix de la liberté,

Nous sommes la voix de la lumière.

L'humanité est ce qui nous amène,

Et nous chantons la liberté le droit.

Nous avons pleuré pas une fois aujourd'hui,

Pour le frère, la

soeur ou un ami.

Nous avons pleuré mais deux fois aujourd'hui,

Pour l'amant perdu, le fils doux,

Et ceux qui daignez.

Pour nous ne sont pas perdus à jamais,

Au coeur nous demeurent,

Et nous sommes ici pour toujours -

Dans cette terre, dans ce domaine.

La lumière, l'air, le quartier animé des arbres -

Un ange ray à travers un léger nuage,

Dans chaque mot dit en notre nom,

Nous ne pouvons pas aider mais se sentent fiers de diamants.

Nous sommes la voix de la liberté,

Nous sommes la voix de la lumière.

L'humanité est ce qui nous amène,

Et nous chantons la liberté le droit.

Eclipse: How Would You Dress Her Up?!

As many of you may remember, I made up my Eclipse character awhile ago and I just wanted to bring her back to show you a little more of her style. In each outfit I'm presenting to you, I'm wearing the famous Eclipse piece - but with much more balanced, less dramatic ensembles. So here they are...

In this photo, Eclipse is wearing her favorite piece, but with flared shorts, a leather jacket, and black pumps.

Here's Eclipse in her piece (again) with a tutu and nude pumps! 

Now she paired her piece with a red leather jacket, a dark wash jean, and brown pumps!

She kept the dark wash jean and her favorite piece of lingerie, and swapped the shoes in for some yellow heels and the jacket in for a shawl.

Here she's just wearing her piece with a pink bandeaux and black skirt. So many possibilities with this outfit!

So there you have it - just five outfits that Eclipse would wear with her all time famous, revealing one piece!
How would you dress Eclipse?!

And thanks for reading xx

But What Does Friendship Cost?

I told my friend goodbye,

Too many times today.

I told my friend I would not cry,

But I did so anyway.

I know the price of water lilies -

The ones on Florist Street -

I know the price to see the Phillies,

And the cost of the best seat.

I know the price of honey dew,

And the sunshine so bright and fair -

I know the price of silk-so-blue,

And the price of a peach and pear.

I know the price of yesterday,

And all that I have lost.

I know the price of love astray,

But what does friendship cost?

Its worth is of great smiles - 

A beating heart not blue.

Its worth is a million miles -

And joyous teardrops too.

I told my friend goodbye today -

And felt what I had lost.

I saw my friend just cry today -

Is this what friendship costs?

Physiognomy: What Do You Make Of It?

Some view the pseudo-science of physiognomy as extremely shallow, others view it as invariably exact -- I view it somewhere in between, but nevertheless find its study incredibly intriguing. For those who don’t know, the study of physiognomy revolves around deducing inner-personal character from one’s own facial features. Yes, judging someone by how they look. My grandfather actually introduced me to this subject and he always says “You can never trust the most handsome man” - make sense? So, it’s not necessarily a super shallow subject, but definitely a questionable one when we were taught since we were little that we should never, as they say, judge a book by its cover.

Well, do you believe in the saying “eyes are the window to the soul?” This is physiognomy. The shape, the color, and even their placement on the face supposedly indicate so much about someone’s persona. Well, what do you think? Do you think physiognomy is a credible science or just some silly, childish course of study??

'Steve Jobs' Review

Michael Fassbender as Steve Jobs

How does one depict someone so complicated, emotionally alienated, and complex? Well, a keen attempt was made in Danny Boyle’s Steve Jobs, written by Aaron Sorkin based on the book by Walter Isaacson. It begins at one of three grandiose product launches for Apple painting a portrait of the man behind these Apple machines and compositely crafted instruments, exposing his peculiar sensitivities, his light hearted humor, and his completely diabolical, tyrannical egomania. Yep - he wasn’t painted in the most positive light, but it is certainly within a very raw and real one.

The initial scene in which we meet Jobs, played by Michael Fassbender, is interfused with a plethora of zigzagging story lines and metaphoric portraits, really setting the tone for each of his launches and the various internal, protruding issues he is forced to deal with prior to each of his performances. How he reacts to these conflicting struggles really provides the viewer a greater idea of who Jobs is than the singular, overlapping issues brought to him themselves, and we see his generous and selfish sides juxtaposed to one another like yin and yang.

The most pressing story line remains within Jobs' relationship with ex lover Chrisann Brennan, played by Katherine Waterston, and their child Lisa, played by Makenzie Moss and Perla Haney-Jardine. His communication, or lack thereof, with these particular characters exposes certain sides to Jobs that are sometimes selfish, sometimes heartwarming, and often times horrendously narrow-minded. The viewer desperately wants to like Jobs, especially as much as we like him in the inspirational messages and quotes that famously survived him, but it becomes difficult when he refuses to pay child and life support to the mother of his child. At the final product launch, Jobs, whose worth at this point exceeds hundreds of millions of dollars, and his initial refusal to pay for Lisa's tuition after her acceptance to Harvard University makes us want to reach through the cinematic screen and shake him - just as we do our iPhones when they're not working properly - and make him do what we want correctly, appropriately, and efficiently. (Just pay her damn tuition, Jobs - we want to say) Finally, he has a change of heart and offers to pay his daughter's tuition, making us love the dear, proverbial Apple product we see in Jobs again.

Another dynamic scrupulously surveyed in Steve Jobs is Jobs' relationship with his colleagues, primarily with Joanna Hoffman, played by Kate Winslet and Steve Wozniak, portrayed by Seth Rogen. In one of the most intimate and heart wrenching scenes, Jobs likens himself to a composer, for whom all of his colleagues are artists playing instruments. He claims that artists play instruments, the composer plays the artists - and Jobs, himself, is the composer. Thus another scene in which he damningly subordinates his co-workers, each of whom he would be nothing without. You see, in this particular portrait, he isn't the most likable guy, but one could not help but love his urge to bring about the best in people, perfection in another, and his drive to build a smoothly running, well oiled machine in Apple. Though one may hate him, we cannot help but respect his ambition as so depicted in this feature. He was the one who called all the shots, even if he wasn't the one pulling the trigger, in a way. Yes - he is very much like an Apple product himself, and one we want to work so badly in a vein sculpted to our own needs, likes, and dislikes- and, in the film, we find ourselves playing around with him, figuring out the various applications present within his mind that mere humans need an iPhone to download. And, even in his moments of thorough emotional abandonment and appalling disrespect of those around him, we come to hold on to him as though we would our own Apple devices without wanting to return the product. Yes, Steve Jobs is very much an extension of his products themselves as much as they are an extension of him, and one cannot help but remain fascinated with this binary relationship.

Koran Saines on Education

Koran Saines for Supervisor

Quality education is a key component of any healthy, sustainable community. Koran Saines is a strong believer in strengthening our school systems and investing in their maintenance, welfare, and progress. Loudoun County Public Schools are currently underfunded and an increase in teacher’s pay, an implementation of full-day kindergarten, and wholly endorsing the LCPS budget will attract and retain successful teachers, while providing students an environment to thrive. Yes, it’s true -- Loudoun County does not currently offer full-day kindergarten and this circumstance is simply unacceptable. Under Koran’s supervision, he will work to ensure that our school systems acknowledge the importance of providing full-day kindergarten academics, that LCPS is fully funded, and that the youth of Loudoun County are given the educational opportunities they deserve. 

Valley of the Dolls: A Feminist Portrait or A Work Subordinating the Female Experience?

Some describe Valley of the Dolls as a work of cheap art, a “dirty soap opera” or a modern, contemporary melodrama stocked with cliches and contraband stereotypes, limiting the viewer’s capacity to appreciate quality, pure gold cinema. Others view it as a feminist, women-will-rule-the-world-one-day pioneer and groundbreaking piece of work, giving voice to a population of drug-fettered women who are often ignored, shunned, and deemed too incapable to live a life of quality and self-made/self-earned excellence. Yes, Valley of the Dolls is that rare feature for me that qualifies itself as both a work of trash and a work of class, with a consistent sprinkle of brilliance, or drug-induced mania, throughout -- always a certain recipe for any iconic, cult classic. And to go a little bit deeper, the work itself is as much a piece of feminist lore as it is an outstanding, distinct rebellion against traditional cinema. It conveys that restless sense of enthusiasm that many works of melodramatic fare engage in while communicating such conceptual matter from a strictly female perspective. This perspective, of course, is what strikes me as the most fascinating angle of the entire piece and is what brings me to write about it today. Specifically, each central female character experiences a series of traumas and a subsequent backlash of their respective ordeals, shocks, and mental afflictions -- how they deal with these strains is a different matter, but remain pertinent to the overall appearance of Valley of the Dolls. The escapist allure of drugs, or “dolls”, remains compelling, and a comprehension of the various traumas these female characters endure stand as requisite for a viewer’s understanding for their need to use ‘uppers’, ‘downers’, and various ‘stabilizers.’ So - what is it about Valley of the Dolls that evokes its longevity - its durability - and cinematic stamina, especially when so many question its qualifications as such an artistic piece? Well, I say its magnetism lies within its female perspective from a trio of beautiful, charismatic women (a natural recipe to draw in any crowd), and its inherent fearlessness in the face of feminine trauma and the escapist reality that drugs tend to provide in the face of such personal and external demons. 

Valley of the Dolls is centered around three female characters pursuing their dreams and careers in the entertainment industry, opening with Anne’s departure from her New England town of Lawrenceville, Massachusetts - a sequence loaded with the subliminal vow that she will never return and little doubt of her success in New York, the locale to which she is headed. Upon her arrival in New York City, she begins working for a talent agency, meeting Neely O’Hara and Jennifer North in the process. All of the women become quick friends and discover that fame, good fortune, and its various obstacles may not have been worth its keen pursuit after all.

Each of these characters experiences a series of traumas and internal obstacles - beginning  with O’Hara’s firing from the Broadway play of which she is a part. This leads to her eventual main role in a nightclub act and ultimate move to Hollywood, where she becomes a star. Her initial firing, though fairly meaningless at the time of its occurrence, sparks a subliminal, unconscious desire to escape from the realities of the effects of rejection and she goes to great lengths to alleviate the shock of such forced exclusion. Though this defense mechanism serves her well initially, provoking her drive to succeed as an actress and singer, it hurts her in the long term, as we see in her ultimate spiral into drugs and alcohol. Ultimately, she is committed to a sanitarium as her desire to escape the circumstances is too strong to face the definitive reality of her situation and deal with their consequences. We see this dynamic within Jennifer and Anne as well. Jennifer escapes from the realities of her circumstances through drugs, eventually committing suicide, whereas Anne does so in a more healthy, fact-facing manner.

Jennifer’s reliance on drugs or any need to escape her current realm of self-perceived dissatisfaction parallels the escapist need we see within O’Hara. It’s self-destructive, it’s self-damaging, and it’s self-harmful. The audience comprehends that Jennifer’s first series of traumas does not occur on-screen, but during her childhood, as we discover in the telephone conversations we witness between herself and her mother. Her mother’s continual requests for payment checks and incessant dismissals of Jennifer’s talents indicate that her unfortunate mental state was present before we meet Ms. North, unlike O’Hara and Anne, whose mental decline we witness firsthand. Jennifer’s condition continues to worsen as her relationship with Tony Polar deteriorates due to his own worsening mental and internal health. Her relationship with Polar not only exacerbates her own insecurities, but intensifies her crippling depression. Polar is committed to a sanitarium and, in order to pay his hospital bills, she is compelled to work in the soft core pornographic industry which, again, heightens her sense of self-uncertainty and doubt. To escape, she relies on her precious ‘dolls’ or drugs to assuage her personal demons and, ultimately, takes her own life as these hindrances become too much to handle.

The healthiest persona out of the three is Anne, who simply moves back home to Lawrenceville to cope with the traumas she witnesses and experiences in the entertainment industry. Her form of escape is not through dolls, but through relocation. Though Jennifer and Neely both relocate to L.A. after their time in New York, their movement is executed out of a desire to succeed rather than cope with a circumstance, as they rely on drugs to escape their traumas. Anne, however, experiences trauma that is much less than the hurtles and criticisms of the entertainment industry, but through her relationship with men, which, through her female perspective, is overcome-able through a move back home.

Each of these women experiences trauma. Each of these women has a means of escape. And each of these women offer differing ideas of what trauma is and particular formulations for a mental departure from such mental and emotional grievances. What sets them apart are the distinct and internal methodological procedures through which they survive their various tragedies. Yes, “Valley of the Dolls” is a portrait of a literal and figurative long-distance marathon of female endurance and aptitude, testing feminine will power, whether its through subordination, triumph, or rejection, and the ability or lack thereof to survive the menacing interpersonal and external discomforts of life’s inevitable obstacles. 

Part I, A Rough Sketch

Some describe Valley of the Dolls as a work of cheap art, a “dirty soap opera” or a modern, contemporary melodrama stocked with cliches and contraband stereotypes, limiting the viewer’s capacity to appreciate quality, pure gold cinema. Others view it as a feminist, women-will-rule-the-world-one-day pioneer and groundbreaking piece of work, giving voice to a population of drug-fettered women who are often ignored, shunned, and deemed too incapable to live a life of quality and self-made/self-earned excellence. Yes, Valley of the Dolls is that rare feature for me that qualifies itself as both a work of trash and a work of class, with a consistent sprinkle of brilliance, or drug-induced mania, throughout -- always a certain recipe for any iconic, cult classic. And to go a little bit deeper, the work itself is as much a piece of feminist lore as it is an outstanding, distinct rebellion against traditional cinema. 

Democratic Debate: How Will Hillary Come Out On Top??

The current Hillary Clinton campaign for presidency has experienced a bumpy, not-so-fun, and exhausting ride -- primarily due to the skewed efforts of the Benghazi committee against her use of a private email server. This has really hurt Hill at the polls, giving her fellow Democratic opponents the room to achieve their varied agendas and campaign objectives, whereas much of her focus is extended towards answering this so-called “scandal.” 

Additionally, her outspoken opposition to the Obama administration’s Trans-Pacific-Partnership deal has swayed support from Democratic voters who back this international, social, and economic treaty. This really gives her opposing candidates room to endorse their own economic concerns, especially Sanders - who will surely take advantage of this situation and I’m curious to see how Hillary will answer inquiries revolving around her own solutions on international trade and communication.

So, what do you think? Will Hillary come out on top despite the challenges facing her? I say absolutely, but I’ll guess we’ll just have to wait and see.

Iconic Style Basics: How Does Ursula Andress Inspire Your Wardrobe??

Ursula Andress is not only a true style icon, but she's a Bond girl, a comedian, a brilliant mind, a former love interest to the late James Dean, and one hell of a talent. She certainly embodies the whole package and that's why so many adored and still adore her work, her unique persona, and sexy, inherent charisma. Though there is so much to discuss about the iconic Andress and her distinct brilliance, in this post, I'm choosing to place a primary focus on her stylistic influence and how her fashionable impact has made its way into my own wardrobe. She is an inspiration to me, and here's why...

This is Ursula in the iconic white bikini she sports in "Dr. No" ... 

I don't have a white bikini, but the cropped bustier I'm wearing is exactly the same type of style as the bikini top Ms. Andress is wearing in the previous photo, mine is simply without straps and a bow - it's also patterned. I chose to pair it with a white skirt to parallel her white bikini bottoms in true Andress fashion..

Andress was such a fan of clean, crisp, white clothing...

And I bought this dress because of her over a year ago. I wear it all of the time, sometimes with boots, sometimes with heels, and other times with a pair of flats. It also works well with statement bracelets and rings.

She loved to show off her legs in sweet slinky tops...

Anddd so do I. There is so much I could pair this with it's ridiculous. I would provide suggestions but that truly is its own post. The jewelry, the bottoms, the hair - I can do anything with this and Andress taught me how.

This is probably my favorite look of hers - this long dark dress. 

And this is my absolute favorite dress - I treasure it. I haven't worn it to anything yet, and the only appearances it makes out of my wardrobe are the moments I'm bored and feel a need to play dress up. Like right now. I love it so much and I can't wait to wear it to something special :-)

A close up of the detailing.

And another one...

Andress in a chambray top..

....and me in a chambray top. So many ways to dress this up.

Also can be worn as a dress. 

All right, there you have it, my favorite pieces of style inspiration from the great Ursula Andress!! What are yours?? And are there any I failed to mention? Let me know and don't be shy :-)

And, as always, THANKS FOR READING Xxx

Water and Fruit til Sunday :)

 I had one overwhelming breakfast this morning filled with toast, cereal, eggs, and, ashamedly, a bit of chocolate (yes, chocolate...for breakfast) - after my meal I felt so guilty for all that I had consumed, took a look in the mirror, and just didn't feel like myself. Though the portions I had were not unhealthy, the sugars and fats - over time - could cause some major damage. Also, I had a little beer before I went to sleep last night so my face is extra puffy today. So, for my health, my body, and the maintenance of my facial features, I think I owe it to my arteries to go on a little bit of a detox. I posted a selfie - not for me to look at, I promise, but so people can see the puffiness of my features. At the end of my detox, I'll share a post-diet photo and, I promise, you will see a difference in my face. I've done these before, and a sugar free, gluten free, fattty free detox does just the trick to make anyone look ten years younger. ;-)

Water and fruit for the next five days.

Pre-detox photo.

A Brief 500 Words on Villeneuve's 'Sicario'

Denis Villeneuve’s Sicario is an unruly combination of violence, drugs, the ever present cinematic tendency towards the depiction of FBI-criminal relations, and, surprisingly, cemented with an under-rooted feminist theme declaring the strength of women, not only in film, but in any male dominated arena or specialty. In this case, Emily Blunt’s Kate Mercer is the one chosen to portray this male-female dilemma as the only woman on her FBI team, and does so with the utmost intelligence, rhythmic action, and dramatic creativity.

Granted, her character *surprise* is not given much to work with, but Blunt provides such a finesse to Mercer that her actions truly do speak louder than words - and the fractional material is taken in stride allowing Blunt’s Mercer an accessibility that may not have been present in lesser hands, especially with such a grandiose, overlong, intricate plot. 

The film begins in a whirlwind of dust, corpses, innocent Arizonian onlookers, and Kate's FBI crew who discovers these dead bodies in a regular, Arizonian suburban home courtesy of one of the most powerful Mexican drug gangs in history. And the discovery and re-discovery of dead bodies and the experiential manifestations of unexpected explosions do not stop there. When the FBI crew realizes the importance of going across the border (the first time) to find this gang and its leader to stop future... occurrences ... we come across even more gratuitous and unnecessary flashes of shootings, bombings, and the killing of innocent people. But it becomes easier to watch with the added talents of agents Matt Graver (Josh Brolin) and Alejandro (Benicio del Toro), and let me warn you, there is lots and lots of blood.

At least the cinematography of Roger Deakins is gorgeous and the landscape of Mexico is brought to life through his beautiful shots and clear technical acumen. The masterful score is equally as mesmerizing and Jóhann Jóhannsson's knocked it out of the park with his choices of instrumentation and consistent awareness of the character and cinematic beats - no note seems out of place.

Benicio del Toro provides such an edge to the film’s entirety, that any woman cannot help but drool at his on-screen presence. He nails every scene he’s in and his quiet charisma is definitely a force to be reckoned with, complementing the equal, intellectual energy Blunt brings to the table. Brolin’s intensity is additionally intriguing, and his performance evokes a level of watchability to the gory, un-watchability of the several violent scenes. And that takes some serious talent.

The feminist undertones are not solely present to generate a sense of female empowerment, but a greater thematic purpose of male-female equality. Yes, Emily Blunt’s role is incredibly feminist, but when balanced against Del Toro and Brolin, one comprehends that they are all equals to a whole - the sum of which could not work without the other. It is not just Blunt that is the knock out here, but her role’s ability to provide a humane fairness when playing against her male counterparts. There is humanity to it.

The Blood Red Moon: Are You Dressing Up?

As many of you may already know, a lunar eclipse is occurring tonight so I thought I'd dress up for the occasion. I really didn't feel like doing my makeup, so I definitely went for a much more natural, organic, and unaffected ensemble to parallel the tonal effect of my own mellow mood.

Here's what I'm wearing...

I decided to wear a navy maxi skirt with a light blue lace bandeaux to parallel the hues of the moon. And as for accessories? I just opted for a red-beaded necklace to match the red of the moon when the sun's glare from the Earth hits it.

A close up of the beading and bandeaux.

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The 17 Global Goals Pt. 1: Wanna Study With Me?

The 17 Global Goals

Today, the UN gathered to adopt the 17 global goals presented in its 2030 Agenda for Sustainable Development. The actual document in which these objectives are iterated provides supplementary initiatives to ensure that the economic, social, and political intentions of these goals are executed in a precise and ethical manner, securing prosperity, peace, partnership, the welfare of our planet, and the dignity of the people who inhabit its atmosphere. 

The global vision declared by the United Nations through these goals will only become a reality through international cooperation and unity - Through a worldly consensus on the crucial necessity to free the world of hunger, poverty, disease, and violence in all its forms and elemental, toxic constructs, and, without question, a comprehensive awareness of each and every sustainable development goal and the principal bases on which these particular series of goals were assembled and inspired.

Goal 1. End Poverty in all its forms everywhere.

Extreme poverty is currently assessed by those living on less than $1.25 a day. By 2030, the UN aims to halve the number of men, women, and children forced to rely on such menial resources and funding through governmental, environmental, and economic policy frameworks. I cannot claim to know what this experience is like, to live on less than two dollars a day, in realms that are very likely so personally costing and horrifically exhausting, as indicated by the measure of these provisions and limited assets, but I do know what it is like to survive on a severely restricted, rationed amount of money. From that perspective, as I cannot do much for these goals while I am stuck in NoVa, I am able to provide solace and a fractional form of compensation through experience. Though my own trials of ‘poverty’ surviving in New York pale in comparison, I know that my attention and voice can shed light on any extreme matter of deprivation and unrelieved destitution. At least for now. Until I can actually take direct action.

Goal 2. End hunger, achieve food security and improved nutrition and promote sustainable agriculture.

Sustainable agriculture is key to ending global hunger. The UN calls for greater investment in rural infrastructure and a correctional focus on trade restrictions and sanctions in international markets and trade systems.

Goal 3. Ensure healthy lives and promote well-being for all at all ages.

By 2030, the UN aims to abolish the AIDS epidemic, tuberculosis, malaria, and other communicable diseases. The research and development of vaccinations and medical care for these particular diseases is also highly supported, in addition to the education for developing countries of global health risks. Also, the goal aims to reduce the global maternal mortality rate to 70 per 100,000 live births.

Goal 4. Ensure Inclusive and equitable quality education and promote lifelong learning opportunities for all.

This particular goal calls for global education through high school and emphasizes the need for teacher training in developing countries and regions lacking quality schooling. 

Goal 5. Achieve gender equality and empower all women and girls.

The central aims of this goal are to end female genital mutilation, violence against women, and child marriage. 

Goal 6. Ensure availability and sustainable management of water and sanitation for all.

Goal 7. Ensure access to affordable, reliable, sustainable and modern energy for all.

Goal 8. Promote sustained, inclusive and sustainable economic growth, full and productive employment and decent work for all.

Goal 9. Build resilient infrastructure, promote inclusive and sustainable industrialization and foster innovation.

Goal 10. Reduce inequality within and among countries.

Goal 11. Make cities and human settlements inclusive, safe, resilient and sustainable.

Goal 12. Ensure sustainable consumption and productive patterns.

Goal 13. Take urgent action to combat climate change and its impacts.

Goal 14. Conserve and sustainably use the oceans, seas and marine resources for sustainable development.

Goal 15. Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably manage forests, combat desertification, and halt and reverse land degradation and halt biodiversity loss.

Goal 16. Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels.

Goal 17. Strengthen the means of implementation and revitalize the global partnership for sustainable development.