Hey guys and girlz, we got a certifiable rager on our hands coming up next monday Dec. 28th. This is the first and very exclusive live performance involving the collaboration between myself and Aaron G. This is gonna get raunchy.

INFO:
 MONDAY December 28th @ Bardot

3456 North Miami Ave.

www.bardotmiami.com

These days many women and the media will see celebrities as fashion icons and turn to inspire them somehow. Even in these days, the bag of Gucci Bardot purse is a very sought after, fifty years after it was designed and named after the famous actress Brigitte Bardot. Surname Bardo Bardot as pronounced. The actress was very famous in the sixties, with their exotic look chubby blonde and you can understand exactly why the bag was named after her, as sheBoth reflexes are wet.

A Gucci Bardot purse has the GG logo all over his body and is usually available in beige / brown and white / black in color and has a single strap. This is not just the bag associated with a celebrity designer, Jackie Kennedy was a constant double strap shoulder bag and became known as "Jackie O was renamed" handbag, because people do not even know what the case was called.

La Bardot is very trendy for a while, probably because of its versatility.There are many of these bags Bardot, you can buy second hand because it can not be in the range of Gucci. Beware of fraudsters who believe that a handbag is authentic advertised, bought and sent to run a fake. Gucci is a leading luxury and all items are in good shape, so as to accurately control the purse or ask the seller for more pictures when you buy online. At best, it would pay for the purchase, but with PayPal or a creditCard, so you can be reimbursed if you send your bag back.

Gucci had so many talented designers over the years, like Tom Ford and Calvin Klein, is currently the creative director Frida Giannini, whose talent and energy is being felt across the spectrum of Gucci. When he started working for Gucci in 2002, was the Director bag design, but it beats faster and today brings the world of fashion. There are many top design houses there like Chanel, Prada, Fendi,Louis Vuitton order to provide good quality and stunning design because the competition is very tough. Gucci in the coming years will undoubtedly continue their customers to look good and beauty products. Like Gucci Bardot purse this way, the house is a classic in its own right.

Many people love horses and traditionally, many French people have loved them even more with a side of salad.

That passion, however, has slowed to a trickle in the last couple of years as crisis-hit French consumers buy less meat and years of campaigning by animal rights groups take effect.

Looking to ram home their advantage, campaigners have launched a pre-Christmas blitz in Paris featuring posters of riding school ponies and graceful yearlings aimed at rending the hardest of hearts.

“Every year in France, riding school horses like Caramel are sent to the abattoir,” says one poster by the Fondation Brigitte Bardot, featuring a photo of a perky grey pony reflected in a knife blade.

“It disturbs us that people continue to eat horses at all and we are going to go on campaigning until people stop eating it altogether,” said Constance Cluset, a spokeswoman for the animal welfare group created by the former actress.

Last year, 15,820 horses were killed for their meat in France, of which over 7,000 were imported from abroad.

The group, whose campaign was timed to coincide with a horse fair, is pushing for a legislative bill to modify horses’ legal status to companion from production-type animals such as sheep.

While horse meat is traditionally cheaper than other animals, the financial crisis has only pushed consumers to buy more chicken, according to French agriculture ministry figures.

Consumption of horse meat has fallen 12 percent in the last two years and currently makes up less than 1 percent of all meat consumed in France, the ministry said in a report.

And while only a few years ago horse meat was relatively easy to find, now it takes more time to track it down.

“Horse is indeed a French dish, but you’d be very hard-pressed to find it in any restaurants now,” said the chef at restaurant Le Central in Paris, adding: “There’s so much publicity against it.”

Accounts vary on how France first took to eating equines.

Some historians say the country’s appetite for horse meat dates from the Battle of Eylau in 1807, when the chief surgeon of Napoleon’s army advised famished soldiers to feast on fallen horses on the battlefield.

The story adds that the cavalry cooked the trusted steeds using their breastplates as cooking pans.

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I was going through old folders I’ve managed to restore and realized I’d not yet shared any pictures of Brigitte Bardot, which is a scandal because I find her very interesting and entertaining. She is not a patron saint, but there is something about her that I found refreshingly real, albeit crazy and sometimes even racist. This is probably not fair because she’s outlived her famous beauty and the fame she enjoyed while societally-standard beautiful I think sort of warped her. But in her day …

A photograph can be an instant of life captured for eternity that will never cease looking back at you.

I absolutely loathe luxury. It is the one thing I cannot stand.

Every age can be enchanting, provided you live within it.

Those are all quite beautiful quotes, actually, and each one is provoking thoughts in me. I will have to reconsider her patroness status.

 

brigitte bardot, originally uploaded by david haggard.

the heavy eyeliner, the long hair with bangs swept to the side, the innocent yet exuberant sexuality. brigitte bardot’s mid-to-late 60s iconic image was a natural successor to marilyn monroe’s mysterious, tragic, voluptuous sexiness.

being a natural blonde named brigid has frequently lead to acquaintances calling me brigitte bardot.

I found the photos in this set in various places. Some were in a group of photographs credited to Cornell Lucas. Others were attributed to Sam Levin (one has his name imprinted). Several had no photographer credit. The year 1955 is given for the Lucas photos. I assume that most of them taken at about the same time.

I don’t know if the costume worn in the Lucas and Levin photos was for a film. Bardot danced in at least three of her six films released in 1956 including the following two: En effeuillant la marguerite which was called Mademoiselle Striptease, or Plucking the Daisy (among other titles) in the US, and Cette sacrée gamine, which was titled Naughty Girl and That Naughty Girl in the US. A poster, left, and a screen shot, below, from Naughty Girl show her in a costume similar to the others in the gallery below. In the major dance sequence of En effeuillant la marguerite Bardot word very different costume, very skimpy (flower pasties instead of a bra, and what resemble “hot pants”, a fad which hit the street some 15 years later.

Revisited Contempt last night. Some thoughts:

The highly stylized, meticulously posed shots of Brigitte Bardot’s naked body serve as visual metaphors for the spectator’s experience during Contempt; it is a film with a cold, terrible loveliness. Despite Bardot’s attractiveness, Godard’s camera renders her as lifeless as a statue during the producer-ordained t&a scenes. To borrow a moment from Barton Fink, watching Contempt is like waking next to a beautiful and dead woman. You touch the skin only to find that all heat has left the flesh. The coldness lingers against the spectator long after the film has ended, a feeling lasting much longer than if the film had delivered to the viewer what producers Carlo Ponti and Joseph Levine sought: centerfold shots of Bardot in typical sex kitten fashion.

Although Bardot’s body, and the struggle for control over it, is central to any discussion of the film, Contempt is, above all, Godard’s treatise on cinema; it is, perhaps, his most perfect film. The casting is sublime, as are the breathtaking long takes and tracking shots. Enough cannot be said about the long takes. The film’s center, the disintegration of Paul and Camille’s relationship, is the best example of this. The audacity of its length, combined with the scene’s mise-en-scene, sound and editing, make for a masterclass in form=content. It really isn’t fair to other films; it sets the standards for quality too high. I’m off to stare a blank wall to detox. Maybe then I’ll be able to watch something else without disappointment.

An aside:

I’m currently reading Richard Brody’s exhaustive study of Godard, Everything Is Cinema, and in the early chapters Brody posits again and again that highly-influential film critic André Bazin and Godard disagreed fundamentally about cinematic form (Bazin was near-fetishistic when it came to long takes and deep focus while Godard favored a more intense editing style). Contempt, then, serves as an interesting counterpoint to Brody’s thesis; it is hard to imagine a film Bazin would find more pleasing. Had he been alive to see Contempt, one can only imagine his ecstatic response to the magnificent 30-min apartment sequence that is the film’s heart, what with its fluid long takes and marvelous use of the entire frame.

RS

Bardot are onto it. They have just announced a dress sale the week before Melbourne Cup – phew! The deal is 20% off all full priced dresses so if you are completely last minute like me; now is your time to shop.

Head to www.bardot.com.au to find your nearest location!

Make sure to attend the final Banana Split, one of the premiere club nights known throughout the world, this Sunday at Bardot – IN MEMORY OF DJ AM. They’ll be celebrating with a handful of our favorite DJs from the past 3 years. There is a suggested $10 donation to the Adam Goldstein Foundation. See you Sundae …

What do you mean surfing and existentialism is a strange mix?!

Intelligent and vivid surf writing

Is there any activity which better captures existential thought than the moment you catch and ride a wave? To illustrate my point I am going to turn to the book ‘Stealing the Wave’ by Andy Martin. Not just a mere surf writer, Andy is a Cambridge professor in French (hence his work on Bardot and Napoleon, the two pillars of French history) and here recounts the tale of two legends of the big wave arena. It is a riveting story and I think the odd touch of hyperbole is perfectly excusable in a world where everything is very, very, very exagerrated. At one point Andy turns to French Existentialism in order to describe one of the two surfers, Ken Bradshaw:

“Human beings suffer, Jean-Paul Sartre argued in ‘Being and Nothingness’, from a desire to be God. We want to be supreme and eternal: a waiter wants to be the Waiter, a philosopher wants to be the Philosopher, and a skier wants to be the Skier, in the way that a mountain is a mountain, completely, unambiguously, through and through. Whenever I bumped into Bradshaw in Hawaii it struck me that he was the living embodiment of that existential fantasy. He yearned after becoming the Surfer. He was not really satisfied with being a surfer, someone who happens to be surfing, who could just as easily be doing something else, anything else. This is the realm of contingency, in which anything goes, and nothing has any meaning…He wanted to feel 100 per cent committed, as if what he happened to be doing at this particular moment were his whole life.”

The book is a must-read for anyone interested in surfers with real cojones or who wants to understand a basic Sartrean principle through one page of ’surf-writing’!

Ken Bradshaw at Log Cabins in 1998

P.S. Good waves (although thankfully nothing on the scale above) predicted for this weekend on the East Coast. I am off to London so have fun!

For those that don’t know who this babe is, she is Sophie Monk. Sophie is from Australia and started out as a singer in the girl band Bardot and then broke away Timberlake style and started her own solo career. She then went into film and now she can currently be seen on your computer screen. Do you need to know any more about her? Not right now you don’t. All you need to know is that sugar looks good on rollerblades.

Last night, Hollywood’s Best & Brightest came out in full force to kick off L.A. Fashion Week in a big way!

Hollywood Life’s  6th Annual Hollywood Style Awards Sponsored by Express, Sebastian Professional & Dawn was held at the Hammer Museum in West West Hollywood last night, Sunday October 11, 2009.

L.A. Diary was lucky enough to have an all access pass to this spectacular open bar event put together wonderfully by Hollywood Life Magazine, Vox Entertainment Services Ltd. & GenArt.  Open Bar by Milagro Tequila & Catering by Wolfgang Puck. Magnificent!

Hammer Museum. Wilshire Blvd. Los Angeles, CA 10.11.09

Some of the top prizes went to our super fresh young hot Hollywood favorites such as:

Hayden Panetierre Recepient Of The Young Hollywood Style Icon Award In Catherine Malandrino

Presenter Lauren Conrad In Mara Hoffman & Brody Jenner Recepient Of The Young Men's Hollywood Style Icon Award

Kim Kardashian Recepient Of The Hollywood Style Siren Award In Altuzzara

Selena Gomez Recepient Of The Hollywood Style Ingenue Award

Kelly Osbourne Recepient Of The Hollywood Style Original Award

Dave La Chapelle Recepient Of The Hollywood Visionary Lensmaster Award & Pamela Anderson

After the ceremony, we headed over to Bardot, a lounge/nightclub in the heart of Hollywood for a slamming After Party sponsored by 55DSL/BPM Magazine.  One of our favorite Hollywood DJ’s Them Jeans spun a set for the decades from Crystal Waters “100% Pure Love” to “ Meet Me Halfway” by The Black Eyed Peas.  Drinks were flowing and the place was filled with the best in French, Italian, American, Japanese, Thai & Sengali stylists, photographers, artists & designers alike!

Welcome To Fashion Week Month in Los Angeles.  Get ready for 2009, the best year yet!

]]> http://counter-force.com/2009/10/06/im-only-in-rome-for-one-night-i-wont-have-my-heart-broken/ Wed, 07 Oct 2009 00:00:33 +0000 August Bravo & Marco Sparks http://counter-force.com/2009/10/06/im-only-in-rome-for-one-night-i-wont-have-my-heart-broken/

When in Rome… well, when you’re in Rome, you can pretend that your life isn’t so bad, that you’re not so bored in upstate New York, and that you’re maybe getting picked up by some guys straight out of a Fellini movie. Or, who wish they were in a Fellini movie. So, let’s get out of the office for the long, hot weekend and go make some accommodations while talking about last night’s episode of Mad Men, “Souvenir.”

August Bravo: Pete Campbell, man of reason.

Marco Sparks: And a reader of Ebony magazine!

August: And always so smart, so capable.

Marco: And ambassador to the Republic of Dresses! That would totally be a great indie rock band name, by the way.

August: Can you blame it on the kid for the ruined dress? Maybe you can, but Pete doesn’t. He’s just the man to step up and fix things on his own. But why just for a stranger?

Marco: He’s a sucker for a foreign accent?

August: Is he even really that good of a guy or does he just want a piece of ass?

Marco: Piece of ass. Definitely. Also a little boy…

…pretending to be a man. But without a proper understanding of what a man is (if any of us so called “men” really know).

August: And then there’s Betty’s man from the Governor’s office, coming through in a clutch. Is that more than she can say about Don? I think she thinks so.

Marco: It would seem that, as the show’s progressed, Don humors Betty less and less. But he did let her name the baby Eugene.

August: The reservoir is the only thing she’s shown passion in recently… or did I speak too soon? Who is this guy really and why is Betty so interested?

Marco: Perhaps it has more to do with the fact that he’s interested in her? Everyone sees Betty as an object of some kind, and more and more in a less favorable way since that’s all they see her as, so perhaps she’s entertained by this guy who definitely only sees her as an object that he wants to get into. Much like one would get into a reservoir, I would imagine, if I were to end this paragraph with a bad gender-related analogy.

August: She’s always had such a strange and wandering curiosity. And then she’s all smiles after the kiss in her father’s car.

Marco: Of course he compliments the car. Is this guy just lucky or does he know exactly how to play Betty? And as she drives off, who is she looking at in that rearview mirror? The man who wants her, or… just herself, satisfied?

August: Such a twisted woman. I’m slowly thinking she’s becoming more like Don with the deviousness.

Marco: It’s possible that, unlike Don, Betty knows how to be good and disgusted with herself after a bad time.

August: And then there’s Joan. Kicking herself maybe for leaving Sterling-Cooper?

Marco: Maybe, but she’s gonna play it cool. She’s Joan, after all. The fact that she showed up right then was perfect though, because, well, no matter how much Joan is used, she’ll always be underused. She is the climate of this show. She knows how to handle all of the characters on this show perfectly, including Pete, but except for herself. I mean, psychology? She knows her husband is less than pathetic. But I think she probably handles her marital lack of bliss better than Betty.

But it was also perfect that she showed up then because just as my disgust-o-meter with Pete was getting higher and higher, Joan showed up, cooled the whole thing down, played him like a fiddle, and reminded me of the only man on the show I think is more detestable than Pete Campbell: Joan’s rapist husband. But Pete will straddle that line before the episode’s end again.

You know things are bad for these characters when the recurring mantra on this show, said here and several places before, is: “This never happened.” It’ll shock you how that’s only a slighter worse philosophy than “When you have no power, delay.”

But your buddy Cosgrove had one scene in the episode and two fabulous lines, including this one, and then: “New York in August? It’s like a great big melting wax museum. Nothing but those fat girls with the hairy armpits putting their feet in the fountain.”

August: And then there’s Italy.

Marco: Just a quick jaunt over the ocean. When you look down at the water from the window of the plan, is it clear enough for you to see the bottom or do you only see your own reflection?

August: Don the big tipper?

Marco: Such a manly thing. I don’t know how much money I’m handling you and you know what? Fuck it. Take it all. Whatever. Get lost. The same with when Carla wanted to talk to Betty about Sally. Don’s all like, “Oh, this is about the kids? Shit. I’m gonna… go get the luggage. Or something.”

August: And apparently Don is the cock blocker of his own wife? Ha ha.

Marco: A scene that perfectly reverses what I said earlier about Don humoring Betty less and less. I found that scene both perfect and wonderful and also chilling. Roleplay adds so much excitement, but then again, it’s kind of sad when a couple needs that excitement. Betty wants to be someone desirable, and hopefully that someone is her, or the alternate universe her that never got married to Don and had kids? And Don? Don wants to roleplay as a guy who’s going to get laid.

August: Where the fuck did Betty learn Italian? Wait, she was a model there, wasn’t she? No idea she knew the language. Apparently this just attracts Eurotrash douchebags with bad hair  to hit on her.

Marco: The Eurotrash have been hitting on pretty girls with big, ridiculous 1960s hair and telling yankees to go home for a long, long time. Nevermind Franz Ferdinand, Pearl Harbor, and the Holocaust, I think that’s what the two world wars were actually about.

I love that Connie is fascinated by Don, and by Don’s wife. And he wants Don to see what it’s all really like in a Hilton hotel. It’s like he wants to tame and break Don. Or maybe at the end of the season he’s going to claim that Don is his lost son and give him his fortune?

August: Best moment of the episode: Sally asserting her dominance? I think so. All she wanted to do was play being married and kiss Ernie? Tsk tsk. She’s growing up so fast.

Marco: Sally’s going through a little kid version of what Betty’s going through, but she doesn’t understand it. Not that Betty does either. Not that Betty would explain it to her daughter even if she did. I was amazed to see Betty being calmly motherly about the first kisses, of which there’ll be lots of, so true, but not addressing a recurring problem that’s been coming up more and more: Sally’s latent anger.

Little Sally Draper’s still in my top 5 of favorite characters on this show just because of the scene where she watches her mother put the make up on in the mirror over her shoulder. Again, Betty sees herself, sees what she wants others to see, something desirable, something more, and ignores her daughter, and then leaves. And leaves her daughter only to ponder things that she’s too young to understand.

August: I guess that dress line/move does work! Man, is that what I should be doing?

Marco: No.

August: Shouldn’t I be walking around, trying to fix young German girls’ dresses? I guess that could get you into trouble…

Marco: Not only is it sleazy to the nth degree, it’s scary to see that Pete them forces himself on that girl. This is the little boy who yanks his shirt and tie off over his head once he gets home and his wife is gone, but then wants his “kindness” rewarded and his manliness affirmed. If not for the editing of the show, I think we would’ve been questioning if Pete Campbell was a rapist as well, making that au pair go through kleenex box after kleenex box afterward…

August: I was surprised at Pete’s feelings of guilt afterward, his silence as a confession to his wife.

Marco: The guy’s never been called out on his shit good and properly before. I’d like to say that maybe this will be a turning point for him, and it probably will be, but not necessarily for the better.

That’s one of the things I really liked about Peggy letting Pete know about the baby in last season’s finale: It’s not that we didn’t get a chance to see his emotional breakdown/reaction to the news, it’s that her telling him that left no space for it. She was making it clear what happened and that she didn’t care what he thought of it.

August: And now Pete wants Trudy around more? WTF? It’s the 60s. Who wants to be around their wife more?

Marco: As someone far smarter than the two of us put it: emosogyny. Also, Trudy can do better. But her reaction to his admittal/non-admittal fascinates me. It’s like there’s one thing on the mind of or on the tip of the tongue of every 1960s married couple: fidelity. And it’s fragile.

August: Betty keeps changing and changing. This woman is full of it. And yet, so empty…

Marco: The same ways as Pete. In fact, I feel like Betty and Pete are the same, with a few differences. Both want respect, both want to be desired and admired. Both are afraid of being in their house by themselves, or with kids (who aren’t really people yet, let’s face it). Both need their spouse to make this a home. But right now that may not be good enough for Betty…

But I’m going with that for now. The same as Peggy is a junior version of Don Draper, Pete is a junior version of Betty. Both couples, whether they know it or not, are destined to be stuck with each other.

August: Home is where the heart is. But where is the heart?

Marco: It’s in Italy.