Pauline Kael (June 19, 1919 – September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Earlier in her career, her work appeared in City Lights, McCall's and The New Republic.
Kael was known for her "witty, biting, highly opinionated, and sharply focused" reviews, her opinions often contrary to those of her contemporaries. She is often regarded as the most influential American film critic of her day.
She left a lasting impression on many major critics, including Armond White, whose reviews are similarly non-conformist, and Roger Ebert, who has said that Kael "had a more positive influence on the climate for film in America than any other single person over the last three decades."Owen Gleiberman said she "was more than a great critic. She re-invented the form, and pioneered an entire aesthetic of writing. She was like the Elvis or the Beatles of film criticism."
Kael was born on a chicken farm in Petaluma, California, to Isaac Paul Kael and Judith Friedman Kael, Jewish immigrants from Poland. Her parents lost their farm when Kael was eight, and the family moved to San Francisco, California. She matriculated at the University of California, Berkeley, in 1936; she studied philosophy, literature, and the arts but dropped out in 1940 before completing her degree. Nevertheless, Kael intended to go on to law school but fell in with a group of artists and moved to New York City with the poet Robert Horan.
Plot
The Holly Wood Project is a bizarre journey through four of the finest movies of 1999. Film student, Holly Wood, enlists the help of legendary film critic Pauline Kael to do battle with Roger Ebert over his inexplicable 'Thumbs Up' review of "The Blair Witch Project." The evil Ebert then seduces Ms. Kael and Holly must rely on the wisdom of Gene Siskel's ghost who helps her secure his old job at the Chicago Tribune. There she finds an old refrigerator that allows her access to Ebert's brain and the opportunity to thwart an inevitable sequel.
Keywords: character-name-in-title
Oye rrraaa
Yo vamo' hacerlo
Boricua
Vamo' hacerlo
I'm a one bitch army
Y'all could hardly call me
So imagine when I team up with the Puerto rican Barbie
It's gon' be hard see
I'm so from the Bronx be
And all I really wanna see
Is blood on the concrete
Body's in bags and
Flowers on caskets
Corpses' swarmin'
With flies and maggots
Innocent girls and boys
Turn into bastards
I want bitches to die
Deaths that are tragic
And niggaz fucked in they ass
Turn into faggots
Their balls cut off
And mailed to they parent
See I don't give a fuck
I'm a mothafuckin' savage
Now ya'll tell me
What bitch is the baddest
Miss Remy con la queen
You need fire
Tu sabes fuego esta aqui
Vete pal carajo
Nigga far from me
No es dificil pa' ver
It ain't hard to see
A four clip in the extra
Yo soy la mierda tate quieta
This bitch got a bad temper
Respeta puta no pueda joder con nosotras
Un mierda!
[hook:]
[Remy Ma]
CMPR niggaz meant to
The Bronx is where they went to
Ima show ya'll mother fuckaz how to rhyme bilingual
[Ivy Queen]
Que llego la diva la caballota
Si preguntas en la calle soy la que te explota
[Remy Ma]
CMPR niggaz meant to
The Bronx is where they went to
Ima show ya'll mother fuckaz how to rhyme bilingual
[Ivy Queen]
Tu no querías mas aqui que me tienes
Dale dale ahora ahora nene
The girl is not to be fucked with
See I don't give a fuck
There's not a pussy on this planet that can't be fucked
Bitches don't exist to me
They all cum faced sluts
How much room in your mouth for my name with all that dick you suck
And your husband's a homo
He loves to get stuck
Like dildo's and vibrators shoved in his butt
We ran trizz on his lips
And made him dress up
And I got it on tape
We straight fuckin' raped him
Don't get it confused
See I hate male groupies
Pero he's willin'
Then I'm ready to take the opportunity
My bitches is the illest
So really we don't gotta care
Vete pa la mierda
Nigga get the fuck out of here
Yo no juego
Nigga I don't play
What I'm capable of
I don't know
Yo no se
Remy ma
I keeps the gun cocked in the auto
Miss ivy queen please canta la coro
[hook]
[Ivy Queen]
Ms. Remy con la Queen
Ahora nos vamo' a fuego
Este es mi estreno duro como un trueno
Cocoroca
La isla del encato
Volando en canto
Y sacarle con su llanto
A sangre fria
Mis quilas tienen crias
Jodedora por si tu no lo sabias
QUEEN llega
A escena
Dan pena
Con las locas que van nebuleando
Yo soy de la calle si me estas buscando
Ando con par de locos pa verte brincando
So no te ajores, no te desesperes mere
Yo tengo el control con las mujeres
Muchas me odian otras me quieren
Vendo mis discos
Y tengo mis bienes
Rrraaa
Remy get ready
Everybody
(Zhamzury)
VERSE 1
Dengarlah sayang penjelasan dariku
Sebelum kau tinggalku
Gadis semalam bukan kekasih baruku
Dan bukannya lawanmu
BRIDGE
Cubalah kau jangan terlalu mengikut hati
Dan janganlah salah sangka
Walaupun ku bersamanya
Tetap kaulah gadisku
CHORUS
Pulanglah, pulanglah (pulanglah kepadaku)
VERSE 2
Gadis semalam memang kawan rapatku
Tetapi ku cintamu
Janganlah kau fikir ku sayang padanya
Kerana ku sayangmu
BRIDGE
CHORUS 2X
SOLO
ENDING CHORUS
The only aphrodisiac I need is your voice
Hearing you speak my name
Beckoning me to answer
Telling me you want me
So I tell you that you're the answer to every question I've ever had about love
Without words I use my tongue to tell the tale of us
Tracing your shadowscape
Kneeling before you my eyes feast upon your masculinity and
All it's divinity and I praise you
Because all of that is for me
I begin to indulge myself of your delicacies
Digesting semi-sweet dark chocolate decadence as it melts
Dripping down my chin
Your taste is something Godiva couldn't re-create
Needing every atom of your anatomy
Necessity is placed upon me knowing you are the source of my serendipity
Dipping in and out of me stroking more than my consciesness
Subconsciously I find myself rewinding our love scenes
In my daydreams
Seeing that face you make when you're making me cum
And it makes me want you right there and then
Thinking of you in inappropriate places I get
Tingling sensations in private locations where I wish to be caught between a rock and your hard place
As wetness develops my legs begin to open and my spot turns to a backdraft and all I want you to do is extinguish it
You know my body like the back of your hands
And touch me and send me into ecstacy
My thighs quiver in anticipation of deep penetration which gets me high
Body rising
Sweating
Panting
Make-up melting
Pulling my hair and
Scratching my back
I get a temporary case of tourettes because all I can say are four letter words in a four octave-range screaming your name
Aye papi.... *English Translation of Spanish Lyrics* "You are so big and so hard, you give it to me so good, you are my mortal sin."
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
I see your tongue pink between your lips and I want it between mine
And I struggle
As you lick torturing me
I try to get away but
Not really
Running out of room begging for more up against the wall that has been scuffed by my stilletos
Again
You pry apart my thighs and tell me to be still
And I willingly submit to you because I love the way you dominate me
Demanding that I cum for you so I do as I'm told
You've molded me so I'm good to no-one else but you
You've conquered this once orgasmicless world and multiplied it
Again and
Again
My face radiates with after-glow
My pillow scented by you
A fragrance which haunts me
My room smells of the best sex
Covered in body prints and finger prints and you above me
Your name written indelibly upon my body in your genetic history
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual
You fucking me makes me bilingual