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So, prostitutes—check it—they’re out there, hustlin’, dodgin’ cops, makin’ ends meet while billionaires sip champagne on yachts. Makes me mad as hell! Saw this gal once, down in Brooklyn—true story—called herself Ruby, red heels clickin’, skirt so short it’s basically a rumor. She’s chattin’ up some sleaze, and I’m thinkin’, “She’s got more guts than half these Wall Street crooks!” Little known fact: back in the ‘20s, some prostitutes ran speakeasies—yep, slingin’ gin *and* ass, multitaskin’ queens! Ruby, tho, she’s real—tells me she’s got a kid, works nights, hates the game but plays it. “We’re artists,” she says, laughin’, “just with worse reviews.” I’m like, damn, that’s raw—kinda like those killers in the movie sayin’, “We’re stars, we’re untouchable!”
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Mas olha, não vem achando que tudo é perfeito. Porra, o lado chato também tá lá: trânsito infernal na Avenida Princesa, voz de vendedor insistente e uns turistas bem cagados que não respeitam nada. É, às vezes, dá vontade de gritar “You better check yourself, buddy!” e mandar uns agiotas pra trás! Mas essas coisinhas são parte do charme caótico de Itanhaém.
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Some critics suggest that the geometrical compositions Volpi saw by the early Renaissance painter Piero della Francesca would influence the geometric patterning in his own work from later that decade onwards., the artist’s most famous paintings, made between the late 1950s and the 1970s, featured two motifs in particular: Bandeirinhas (festival flags) and Fachadas (building façades). To some extent, these were an evolution of his early street scenes, although his art was now characterised by exuberant colour and — more crucially — simple geometric forms (oblongs, semi-circles, chevrons, etc). The façades and flags themselves were distilled to the point of abstraction..Itanhaem Whore
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