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The Fluffer (2. 00. IMDb After Paul Thomas Anderson's "Boogie Nights", the porn industry has been explored in a few interesting ways. Last year's "Wonderland" showed the downfall of porn legend John Holmes, a study of how desperate he became after realizing he hasn't been seen for anything but his "manhood". I recently saw "The Fluffer" which is detached to its subject, and simply shows how the characters are affected by their work."The Fluffer" is a film that unflinchingly shows the work of a small gay porn studio. I questioned its taste in some points, but I did in "Boogie Nights" also. Watch Excalibur Online Hoyts. I liked how it realistically shows how sex outweighing love leads to insanity in some form or another, but it is extremely hard to watch in spots. Wash Westmoreland's story follows a pure young man named Sean who lets himself be degraded and used in his work as a cameraman in the studio.

He falls for the studio's biggest star, Johnny Rebel. Rebel is straight, or so they say, but Sean can't help but love him. I found this point interesting, how Rebel (and I'm sure many straight porno stars) reduces himself to the homosexual market for more money. Anyway, Sean lets himself be dehumanized by Rebel and soon the industry sends all their lives in the wrong direction. As a whole, "The Fluffer" doesn't fully succeed. Its messages are all told in familiar ways, (note the use of American flags to show the faded American dream for example) and the ending isn't fully convincing. However, it is a film that never stops entertaining and is definitely one of the very bravest depictions of the porn industry I've ever seen.

We Are Young - Wikipedia"We Are Young" is a song recorded by American band Fun featuring Janelle Monáe, for their second studio album, Some Nights (2. It was released on September 2. The song received generally positive reviews from music critics, with many noting the song as a breakthrough for the indie genre and praising the song's catchiness. We Are Young" has attained commercial success worldwide, reaching number one in several countries. The track initially only gained attention from online media, although it did receive its first commercial radio airplay on Tampa Bay alternative radio station, 9. X, debuting on September 1.

Directed by Richard Glatzer, Wash Westmoreland. With Scott Gurney, Michael Cunio, Roxanne Day, Taylor Negron. A young man employed as a fluffer in the adult. "XO" is a song by American singer Beyoncé from her fifth studio album, Beyoncé (2013). Columbia Records released the song as the lead contemporary hit radio single.

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However, it was soon covered by the television show Glee. With the Glee version having success on the charts, the song was licensed for use in a Chevrolet Sonic commercial that aired during Super Bowl XLVI. The single song propelled the band into mainstream success, topping the digital charts in February 2.

Billboard Hot 1. 00 through airplay on contemporary hit radio stations, topping the chart for six weeks straight. It is also the first song to log seven weeks of 3. Eminem's "Love the Way You Lie" (2. We Are Young" has been certified five- times platinum by the Recording Industry Association of America, and is both Fun and Monáe's first charting single on the Hot 1. The song also topped the Hot 1. Airplay chart with 1. Destiny's Child's "Survivor" (2.

The song was named 9. Billboard Hot 1. 00 Songs of All- time.[2]An accompanying music video was directed by Marc Klasfeld at David Sukonick Concert Hall in Los Angeles. It features the group performing on a stage at a bar where a riot breaks out. As part of promotion for the song, it was performed at the 2.

Coachella Valley Music and Arts Festival, the American late night television show Conan, and was used as the opening song at the 2. MTV Movie Awards.

The song is featured in the music video game, Rock Band Blitz. Watch Another Streaming. The song won the Grammy Award for Song of the Year at the 5. Grammy Awards, where it was also a nominee for Record of the Year and Best Pop Duo/Group Performance.[3]Production[edit].

American R& B singer Janelle Monáe, pictured performing in 2. We Are Young". After the poor commercial performance of their debut album, Aim and Ignite, Fun decided to put Jeff Bhasker as producer for their second studio effort.[4] The band's frontman, Nate Ruess, met with Bhasker at his hotel in New York City in February 2. Ruess was anxious about meeting Bhasker, so he arrived early at the bar in the Bowery Hotel on the Lower East Side "and had a little to drink just to make sure I was loosened up."[5] According to Bhasker, he wasn't really wanting to meet the band, as he "was working with Beyoncé, and also with Alicia, Kanye and Jay- Z, and doing this had been a big goal in my life. I had no intention of being distracted."[4]Bhasker had just finished a long day in the studio with Beyoncé, and had decided to give Ruess 1.

He had previously already canceled two meetings with him. The two began talking about music, and Ruess' desire to merge hip- hop beats and electronic effects with pop rock intrigued Bhasker, who invited Ruess up to his hotel room to show him some Beyoncé tracks he had been working on. Slightly tipsy and feeling inspired," Ruess belted out the chorus for "We Are Young," which at that time was an unfinished composition.[5] Bhasker was taken aback and automatically "freaked out," demanding he see the band for studio time "in the next few days." The next day, Bhasker and Ruess booked a New York studio and cut a version of "We Are Young" not far from the final version of the track.[6]On the first day of recording at Jungle City, Bhasker programmed the drums on his Akai MPC3.

Roland] Juno 1. 06, and we added vocals and piano. We worked for many more days on it afterwards, but the core of the final version of the song was recorded on that first day." After the Jungle City sessions, more vocal, guitar and piano tracks were recorded at Electric Ladyland Studios, and from there sessions continued at Enormous Studios in Los Angeles, The Village Recorder to track the children's choir, and Abbey Road Studios to record the orchestral arrangements.[4] The band invited Janelle Monáe to provide guest vocals on "We Are Young" through her friendship with Bhasker. After being played the song, Monáe was enthused about the song and recorded her vocals in Bristol, England.[7] Bhasker further mixed the song in a 4.

Hz/2. 4- bit Pro Tools HD session at the course of almost two weeks, and the stereo mix was mastered using a L2 limiter and an API 5. EQ.[4]When Bhasker multitracked Ruess' vocals for the chorus, he noticed that it "had a Queen/Freddie Mercury vibe to it."[8] Guitarist Jack Antonoff called "We Are Young" the "bull's- eye center" of the sound the band was striving for while producing Some Nights.[9] The song displays the influences brought by Jeff Bhasker and hip- hop music. Antonoff agreed with the notion that the song was their de facto anthem: "It's pretty rare, because any other projects that we've done, I don't think any of us have ever had that song that was like, 'This is our band,'" Antonoff said. We're proud to say, 'Listen to this one song, and then come listen to the rest. Here it is.'"[9]Composition and lyrical interpretation[edit]The song is written in the key of F major, based almost entirely on the 5. I vi IV V) with the exception of its bridge, and follows a tempo of 1. The song has a slow hip hopgroove[9] from the first chorus onward, and the song in its entirety is in common time.[1.

The instrumentation of the original mix session consists of drums, bass guitar, synth bass, electric guitars, synths, piano, horns and other brass, and a huge amount of vocal tracks, as well as the rough mix and two reference tracks, by Queen and Kanye West, that are both muted in the final master.[4]A sample of "We Are Young", displaying the deep- layered drums and vocal harmonies, as well as the grandiose nature of the chorus.[1. Problems playing this file? See media help. According to Spin, the song incorporates a "marrying fist- pump stadium rock to the prim indie- pop of Grizzly Bear's "Two Weeks," keeping the deliberate beats and soaring melodies but replacing choirboy primness with a percussive whomp."[1.

Andrew Unterberger of Popdust compared the song's chorus to that of Pat Benatar's "Love Is a Battlefield" and Supergrass's "Alright".[1.