Word: pimp
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Dates: during 1980-1989
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...small, narrow, $888-a-month apartment ("a slot") with his wife, new baby and nurse (paid for by his mother-in-law). The underclass is represented mainly by ghetto felons: armed robbers who list their occupations as "security guards" and young drug pushers who have mastered "the Pimp Roll," a swaggering gait not uncommon on the city's streets...
Dark-eyed sex kitten Valerie Kaprisky plays the teenage vamp out for the blood of musclebound gigelo-pimp Romain (played by French hearthrob Bernard Giraudeau). The premise, not a plot but a torturously enacted idea for one, is a humourous example of self-conscious Freudiana: at the beginning of the film, Chris saves an eight-year-old boy from the deadly clutches of a field of jellyfish--read vagina--and in the end pushes superstud Giraudeau into the deadly metaphor...
Respectable pimps were forced by the law to wander as outcasts, calling out their wares nervously as they paced the lonely city streets: "Pot. Coke, Watches, Babies, Mescaline..." Customers interested in procuring a baby followed the pimps to dark abandoned buildings where lines of women waited to be chosen according to the specific genetic qualities desired by patrons. Customers indicated their choice, left a little sperm, and returned nine months later to pick-up their custom-made babies from the pimp...
Lawford and Jack Kennedy, then a Senator, stayed with Sinatra in Las Vegas at the Sands Hotel, in which the singer had a share. "Show girls from all over the town were running in and out," said a Justice Department report. Lawford confided ruefully, "I was Frank's pimp and Frank was Jack's. It sounds terrible now, but it was really a lot of fun." For his part, Sinatra introduced both J.F.K. and Giancana to a 25-year-old brunet named Judith Campbell (later Judith Exner); for over a year Kennedy, by then President, and the Mafia don shared...
...what're you doin'?" Jack (John Lurie), a pimp, asks one of his girls sitting outside in the New Orleans dusk. "Just watchin' the light change," she exhales. But watchin' the light change is the big payoff in a Jim Jarmusch movie. Stranger Than Paradise, a cult hit of 1984, cased its lowlifes with the metallic impassiveness of a closed-circuit monitor in a 7-Eleven store. You could find the proceedings funny or tedious; Jarmusch was too hip to care. He does have an eye, though, and aided by Cinematographer Robby Muller he makes Down by Law a ravishing...