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Elisha Osipov
Elisha Osipov

Erin Star I Never Knew This Is A Fetish To Some...

Mile 23 to the finish was a battle. We turned back into the headwind around 24, and I took my last gel. My fueling plan worked out well, but my legs were not working so well at this point. I was so relieved they never locked up, but muscle cramps started. My quads, my hamstrings and my calves were all protesting. But I knew I could push through it, and I was starting to get excited about my time. At this point I knew 3:05 was going to happen.

Erin Star I never knew this is a fetish to some...

The important thing to remember here is that we all share a common interest. The common interest is to reduce the suffering of our fellow human beings. For the most part I would assert that the women in the sex industry, whether it be pornography or prostitution, are not there because they want to be. Past and future circumstances dictate to a large extend what your current predicament may be. I be if you interviewed healthy women that have no history of physical/sexual abuse, 99-99.9% of these women would not aspire to be a porn star. I do not think that it can be disputed that the sex industry preys off of peoples unfortunate circumstances and lack of knowledge on the subject. Regardless of religion (I myself do not believe in a supreme being) suffering is taking place. If you are religious than there is ample literature within your particular faith that condemns this human suffering. If you are not religious than there is also ample literature within psychology and sociology to condemn the sex industry for its ill-effects on the mental state of an individual.

Dear lord this movie is boring. It's somewhat historically important because it was the last movie to be worked on by some of Walt's legendary Nine Old Men, who then handed the animation duties off to a new generation of talented artists, many of whom would be responsible for shaping the next few generations of Disney animated features (among them: John Lasseter, Tim Burton, Ron Clements, John Musker, Mark Dindal and Brad Bird). Also of note was the fact that during production Don Bluth, one of the company's star animators and someone who many saw as the heir apparent to Walt Disney, staged a major defection with several other animators and left the studio, something that effectively waylaid the production (with 17% of the staff gone the release date was pushed from Christmas 1980 to summer 1981). Clearly, the creative tension between the old guard and the new crop of animators left its mark. You can feel a better movie trying to get out from under the cutesy, cloying façade of The Fox and the Hound, but sadly it never happens. (And just imagine if they had gone through with a sequence involving game show staple Charo as a crane singing a song called "Scoobie-Doobie Doobie Doo, Let Your Body Turn Goo." Actually, maybe that would have been incredible.) Sure, it's cute, but can you really remember anything besides the bear attack sequence and Pearl Bailey singing "Best of Friends?" Didn't think so.

One of the feature-length projects that Walt toyed with before Snow White and the Seven Dwarfs was a live action/animated feature based on Alice in Wonderland that would have starred Mary Pickford. (He had made a series of shorts early in his career that combined Alice, animation, and live action.) Walt would pick up the idea for a feature length Alice in Wonderland project, this time fully animated, after the conclusion of World War II but abandoned many of the concepts he had been tinkering with before (like literal adaptations of Sir John Tenniel's illustrations, which Walt found too dark even though Roy had gone out of his way to secure the rights to the drawings). At one point Disney hired Brave New World author Aldous Huxley to pen the script, although their relationship was contentious; after finding himself virtually ignored in story meetings he quickly left the project. While the movie was in production, Walt proclaimed it "unusually good" (high praise, especially after his frank assessment of Cinderella). That might have been Walt's optimism talking, though, considering the original Lewis Carroll story was unusually difficult to crack from a narrative perspective, since it's filled with wordy flights of fancy and whirling tangents, with Alice a virtual non-character in a sea of colorful weirdos. (At one point Walt hired a psychiatrist to get a new angle on the material.) Walt wanted to scrap the movie but had spent too much on it and their next film wasn't ready yet.

While The Little Mermaid was a hit, nothing could prepare people for the crossover appeal of Aladdin. It was just so hip. Originally conceived before Beauty and the Beast, but postponed because Michael Eisner was nervous about making an animated movie set in the Middle East, Aladdin is the work of a studio firing on all cylinders and conceived by a number of the studios' best, including filmmakers Ron Clements and John Musker, superstar screenwriters Ted Elliot and Terry Rossio and the musical team of Howard Ashman and Alan Menken (lyricist Tim Rice took over after Ashman tragically died from complications related to AIDS in early 1991). This film is bewilderingly entertaining, elegantly cast, swiftly told and beautifully animated. It's hard to find fault with any of Aladdin, really, beyond the suspicious similarities between it and Who Framed Roger Rabbit animator Richard Williams' ultimately unfinished The Thief and the Cobbler (similarities explored in the terrific indie documentary Persistence of Vision), an early version of a key song that suffered from acute cultural insensitivity and the rather unsavory relationship the studio had with Genie voice actor Robin Williams following the film's release. This was a movie that seemed destined to be a giant hit, and it was, spawning several direct-to-video sequels, a notoriously difficult videogame, a long-running television series, a Broadway musical, and an upcoming live-action adaptation. Truly, the sun has never set on Agrabah. 041b061a72


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