How do you become a male pornstar?
Serious answer? Apply. They’re looking for guys who have above average dicks(we’re talking 8-9″ min). Can get hard very quickly with little to no real stimulation. And you should be able to cum on command. You shouldn’t have a problem with doing some things that might seem gay to most men. Rubbing you’re balls on another man’s balls while DPing an actress is a pretty common thing. You have to have a professional portfolio. Modeling pics, maybe some experience, even if it’s amateur.
If you get as far as an interview, you will walk into a room with an older dude. He will tell you to pull out your dick. You have 30 seconds to get hard. There may or may not be an actress there. She may or may not help you. As in, she’ll allow you to look at her boobs (if you’re a good looking dude she might even let you touch her. Nothing below the waist). You will be asked to masturbate for around 10-15 min, again… With no visual stimulation or anything. The director will tell you to cum. You have a minute, tops, to blow your load. You will be given 15 min to reset and then you must get erect again and be able to maintain an erection for another 10 minutes or so and then you will be asked to cum again. 30 seconds, they get very uninterested if you have trouble controlling your climax. If you get through all that and perform well enough. They may offer you a job.
You’ll being doing very little at first, but they’ll offer you a contract that will consist of several scenes that you have to film but may never be used. I’m explaining this from a friend who was offered a job with BangBros in Miami. They offered him 35k for the year. Not sure how much “work” he did. Or if any of it got past editing. I lost contact with him once he moved down there. I’ll tell you this, he was bi-sexual which I believe helped him get the job. He also had a professionally done modeling portfolio to begin with and some semi amateur videos.
While filming a shoot, you are expected to stay erect while they change camera angels, chit chat about what the director wants, reapply the female actress’s make up, fuck around with lighting, etc. You’ve got you be able to fuck in very odd positions. For example, leg up doggy style, sideways shot from behind. Keep in mind they’re looking for good shots of the woman and you’re just a dick. Move your leg this way, it’ll seem very awkward and uncomfortable. But it’s about what the camera sees and how it feels to you. There’s also about 12 people behind the camera during each scene, so no being modest. Try to look like you’re really turned on with the girl even though you’re thinking in your head about you’re about whatever stops you from cumming. If you blow too soon, scene is over and you’ve wasted time and money. Get it going again quickly and you can redeem yourself. Being able to control your nut is probably the most important skill you can have. Get hard on demand, cum on demand, learn to aim your nut with a snipers precision. And be quick about being able to nut again. The director will want multiple money shots so he can choose the best one. Know to keep your fucking hands and legs out of the fucking way, but still make it seem natural.
You also need to be fit. If you can’t toss the girl around with ease you’re going to have trouble. Some of the girls are easy and tiny, but others are “voluptuous” and weight close to a buck 50. Anyways… This is about as much as i can tell you. Again, you gotta be cool with some gay shit. If you’re double teaming a girl and your dicks are touching while they’re in her mouth that’s something that you gotta stay hard through. If a guy blows a load and it gets on your leg or something, don’t freak out. No one wants to reshoot if they don’t have to. Remember, time is money. They’re not in the business to lose money. It is possible you might have to suck a dick. It’s all about seeing how comfortable you are with sex. It helps to be bi, or even gay, since you’re going to be fucking a girl for upwards of an hour and you can’t be fighting your nut the entire time. Anyways… This is what I learned from a friend who got a year long contact with Bang Bros. I would imagine Brazzers and all that other shit isn’t much difference. It’s easy to get into as a girl, it’s extremely difficult to get into as a guy.
How does mental or emotional stress manifest with different physical symptoms (i.e. pimples, nausea, panic attacks, etc.)?
When you are faced with danger, the threat of danger, or sometimes, even the idea of danger, your body reacts with what is called the “fight or flight” response, which I’ll call the stress response. Stress is a threat to your well-being, so your body perceives this as danger.
Your body prepares itself to protect you. It does this by releasing a hormone, epinephrine, aka adrenaline, into your bloodstream. Adrenaline constricts your veins and arteries, as well as increases your heart rate and breathing rate, so that oxygen rich blood can be delivered. It also diverts bloodflow away from the digestive system since its not terribly important right now (this causes the nausea). This is to prepare you to either fight the danger, or flee from it. Either way you’re going to need lots of oxygen delivered quickly to your muscles.
When your body reacts to mental or emotional, rather than physical stress, it still reacts the same way. Quick anecdote – I suffer from anxiety. About a year ago, I was in a bus accident and got thrown across the bus. It was terrifying (mental stress) and I did a pretty wicked faceplant (physical stress). What I noticed was that my physical reaction was almost identical to a panic attack I had a few months earlier.
Basically, your body is preparing you for some kind of physical throwdown when you’re stressed. But, there’s nothing to fight, especially when it’s something like an essay that’s half done and due in three hours, so you just have to ride out the adrenaline. So, you get a racing heart, hyperventilation, numbness in the fingers and toes, nausea, inability to stay still.
– midnightpatches
How do people live on a minimum wage in high-cost cities like New York or L.A.
As someone who lives in Los Angeles (which is a far cheaper city to live in than NY, SF or even Boston), something that a lot of people who don’t work in the television and film industry understand is that many entry-level positions are minimum wage, or unpaid. The trade-off is that work days are usually around 13 hours, minimum. When you get here, if you’re fortunate to get hired for a job, you’re making like $120 a day on 13 or 14 hour work day. You might only get to day-play, picking up days here and there. When I first started out, I’d go weeks without picking up any paid days, and volunteering for any and all unpaid ones.
How does someone survive making so little money? Well, for starters you probably live in a crappy apartment in a crappy part of town with a bunch of other people. The worst place I’ve had out here was $470 a month for my room with 3 other roommates (compared to a terrible apartment in brooklyn for $600 a month a few years ago, or a total hole-in-the-wall for $430 in Boston 10 years [!] ago). Disposable income is pretty much non-existent, and you learn to prepare cheap meals. There is unemployment insurance, but that comes from taxes that you pay into, so you’re only really getting money back that you agreed to have set aside. Factoring the costs of getting to and from work (when it’s there), eating (when you can) and paying for an apartment that you hate, you can survive in LA for like $600 a month or less. That’s also if you don’t have student loans, or car payments, and before essentials like a functioning cell phone and internet connection.
Hopefully this hasn’t scared you off from the big-city experience. Once you break into the second tier of paid work, it feels like you’ve been training with weights on. Suddenly, you can buy new clothes, and eat decent meals and go to bars like a civilized adult. The truth is that living on the skint is difficult, but tough and smart people can make it through with perseverance, good fiscal planning and the help of family and friends. And luck. And not having to pay for child support, or some other massive financial burden.
– KidLiquorous
Why haven’t other species evolved to be as intelligent as humans?
Species evolve qualities that are beneficial for survival, and passing on their genes. That’s the only reason a particular trait gets selected and passed on in a species. Humans developed large front brains (which make us intelligent), because intelligence confers advantages for surviving and passing on our genes. So, humans developed big, smart brains for the same reason that we developed arms, that rhinos developed thick skin, that alligators developed an incredibly slow metabolism, and that owls developed acute vision. All of these traits are very helpful for helping the creature survive and mate. So, our asking “Why aren’t other species as intelligent as us?” is very much like an alligator asking “Why don’t other creatures have as slow metabolisms as we do?” or an owl asking “Why can’t other creatures see or fly as well as we do?”. The answer is that those traits aren’t the ones that were helpful for those creatures to survive. Each creature developed the traits it did in order to overcome environmental challenges to survival, and it happens that intelligence was a huge help for primates in trying to survive, but not so much for alligators. Alligators don’t need to be able to make tools or to fly to weather their environmental challenges. What would be more helpful is if they could slow their metabolism to the point that they only need to eat about once a year – and this is the trait they developed. The same goes for us. Intelligence is one of many evolutionary tools developed for survival, but by no means the most efficient one. Bacteria – stupid as they are – are better at surviving than we are.
– syc0rax
What is borderline personality disorder?
It’s a personality disorder that’s really all about having very intense moods, feeling very unstable in relationships, and seeing the world in black and white—things are either all good or all bad. People with borderline feel empty, and they are always trying to fight off what they perceive as rejection and abandonment, so they see abandonment and rejection where it doesn’t necessarily exist. They’re so afraid of being alone, abandoned, or left, or people breaking up with them, that they sense it where it doesn’t exist and they need tons of reassurance. I think it’s one of the hardest personality disorders to have.
How does the fear of abandonment affect their romantic relationships?
When they are in relationships they get very intensely involved way too quickly. Men or women, whatever their [sexual preference] is, tend to really like [people with BPD] at first, because they are very intense, and very passionate. Everything they do is very intense—who is not going to be attracted to that? But then what comes along with it, a couple of weeks later, is: “Why didn’t you call me back immediately?” “Are you out with somebody else?” So [people with BPD] get attached very quickly, give [the relationship] their all, but then get disappointed very quickly. They start out thinking, “I love this guy, he’s the greatest,” but if he does a minor thing that disappoints them, they get deeply disturbed. Everything is done with passion, but it goes from being very happy and passionate to very disappointed and rageful.
– Dr. Barbara Greenberg
What is the difference between Fox “Hollywood” and “Fox News”? They seem to have contradictory interests politically and appeal to entirely different audiences. How do they get away with keeping the same brand without abandoning viewers?
Fox Hollywood, doesn’t have contradictory interests politically than Fox News. What 20th Century Fox produces is a lot of movies, and yes some do go against the grain of the political views of much of the Fox News shows. But the simple fact is they produce these movies, for the same reason Fox News itself exists: Money. Fox News came about because Murdock (I’m using him here as a figurehead here, not saying the idea was his or of that sort) believed that the media was biased, and he wanted to create a completely unbiased news network (read: a conservative news network [Note before those few on the right come to attack me: There is nothing wrong with having a conservative news network. It doesn’t have be “Fair and Balanced” as it tries to say, it isn’t, and it won’t ever be. Just like MSNBC, it has a sway to it, and it isn’t balanced, it is the opposite of MSNBC, and exists as that reason]). Now what this did was shift a huge portion of the CNN crowd who didn’t like being told that maybe their side does some wrong (they all do) and created a huge load of wealth for News Corp.
What 20th Century Fox does (and Fox Broadcasting Company does with a lot of it’s more political liberal [Simpsons, Family Guy, Glee, etc.] shows) is it ties in the other side of the spectrum. You now are being paid a huge buttload of money by pissed off conservatives, who then piss off a bunch of left wingers, who then use your movies and tvs as escapes into a better more liberal minded world, and you’re getting money from every single aspect. It’s money over philosophy, money over convictions.
So they exist, not because they are fighting internally against each other, but because they are able to fill in the needs that every side wants. And if you produce good enough movies, and funny enough tv shows, than those who don’t know squat about politics will also tag along, so you get the best of all worlds.
– thatsumoguy07
Why is the musical ‘Hamilton’ so popular?
1) Star Writer. Broadway doesn’t have a lot of rock star writers; even our most famous writers tend to be reclusive types (witness the public bashfulness and awkwardness of Jason Robert Brown, Stephen Sondheim, etc). Hamilton’s writer is also its star, and has famously high energy, a huge twitter following, and a real understanding of social media. Don’t believe me? 5 years ago one of his wedding videos went viral to the tune of 4.5 million views . Being a performer as well as a writer also allows him to promote his work in places other theatre writers might not; for example, he was invited to perform its opening number for Barack Obama in 2009 , which meant that the President of the United States was now excited to see Hamilton before anything other than an opening song had been written.
2) Ham4Ham and Modern Marketing. Hamilton’s marketing team has an easy tagline for the ticket lottery: See Hamilton [the show] for a Hamilton [$10]. And because Lin-Manuel gets the power of events, and social media, and charisma, he’s made the lottery into an event all its own. If you line up for the Wicked ticket lottery, you stand outside and maybe if you’re lucky you win a ticket. If you line up for the Hamilton ticket lottery, you get to see a show. Sometimes it’s a show with a major guest star, sometimes it’s a gimmick, sometimes it’s the cast switching it up. But it’s turned into a real event in NYC, with up to 1500 lining up in the cold for it. That’s incredible for continued word-of-mouth.
3) The Competition. Okay, social media and an on-the-street event. So what? Well, Broadway marketing is hopelessly dated and youth-repellant. This is a commercial for a Broadway show from last season . Brutal, right? So that’s the competition.
4) Word of Mouth Outside the Theatre Community. It is very, very important to the success of Hamilton that it is not just a hip-hop musical, but a hip-hop musical with very good raps in it. This means that it’s able to draw in not just theatre stars – who, let’s be honest, will probably see it anyway – but actual famous people. Beyoncé, Busta Rhymes, Questlove, etc. – they all went to see it, and they all had great things to say because the rap was authentic and good. And because of the previous Obama connection, now it has word of mouth among the most powerful in Washington, D.C. Especially since its content deals with the boring muck of politics in an exciting way – vote-gathering, cabinet meetings, debt plans, etc – it’s a big appeal to politicians. This means that early in its run it can brag that Barack Obama, Michelle Obama, and Dick Cheney all went to see it – and loved it. And once it gets all this attention – through big stars, through Ham4Ham, etc – it now has regular access to Late Night talk shows, which is practically unheard of for a Broadway musical these days. Snowball effect.
5) Networking. Lin-Manuel gets people involved. He auctioned off a rap to Jimmy Fallon, and he also brought on Questlove (Fallon’s bandleader) to co-produce the Hamilton cast recording. Guess what his first late-night talk show appearance was on? Jimmy Fallon.
6) It’s Really Fucking Good and/because It Respects Its Predecessors. All this publicity and exposure is meaningless if the quality isn’t there. Lin-Manuel Miranda isn’t just some guy who put rap into a musical; he’s a guy who understands musicals innately. Musicals are an extremely difficult art form to write well – in a century of American musical theatre, only a handful of writers have been able to emerge as consistent creators of content that is both good and commercial. It’s important that the show though it is stylistically groundbreaking, still follows a lot of rules of good musical theatre-writing, and borrows and then expands a lot of techniques from previous musicals. For example: the flashback in Act One that tells an historical event from a different person’s perspective, and the moment in Act Two where multiple characters recount their takes on a secret political meeting in a single song? Those are both done using storytelling techniques from the obscure Sondheim musical Pacific Overtures . The musical is filled with nods to its predecessors where rather than reinventing the wheel, it takes something innovative that was done before and does it just a little bit better.
7) It’s a High-Wire Act. Okay, so you wrote a good musical, you starred in it which gives you greater power to promote it, and now you’re also good at word-of-mouth and social media. So what? What’s a good show worth? Not much, really; plenty of spectacular shows open and close. Hamilton is also a high-wire act; it says “I’m going to tell a story about one of the least exciting and beloved Founding Fathers; I’m going to tell it through hip-hop and r&b; I’m going to tell it with daring theatrical devices and with a shifting perspective and timeline; I’m going to do it with a deliberately multicolored cast; and I’m going to do it without skimping on the policy, the internal politics, and the minute historical details.” It’s not just that it’s good, but that it’s good in a way that defies your expectations. It sets the bar impossibly high, and for the most part (I have some minor quibbles with it, after all) it totally clears the bar. Stephen Colbert described the experience of watching the first act as being amazed that any of this show works at all, and then being continuously surprised that it’s still working.
Anyway, I think that covers it. If it were as easy as “It’s a really good story” or “The music is great”, then there would be musicals this big every season. There aren’t. It’s more than that.
Edit to add: 8) Listenability for Casuals. A musical theatre score has a hard job to do. It has to evoke a world, characters, time, place, dramatic action, etc. Ever since the split between popular music and musical theatre music, it has been more and more difficult to do all these things while also incorporating music that may not be well-suited to dramatic storytelling. A song that sounds totally badass may not actually work onstage (this is why Jesus Christ Superstar is such an awesome record, and such a mediocre play), and a song that brings down the fucking house in the theatre may just feel kind of “easy listening” or old hat to someone listening to the record who doesn’t know its theatrical context. Hamilton uses contemporary music as its language, and it happens to do so very well. This makes it accessible and attractive to people who may not normally want to see musicals. (I should note that this isnot an easy thing to reproduce, and that using it as a gauge for what to do for future shows creates a musical straightjacket for future writers and storytellers – we can’t just say “oh, let’s use more pop and hip-hop in musicals!” as if that will work for every story.)
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