Pavlov was fascinated with “ideas of the opposite.” Call it a cluster of cells, somewhere on the cortex of the brain. Helping to distinguish pleasure from pain, light from dark, dominance from submission... . But when, somehow—starve them, traumatize, shock, castrate them, send them over into one of the transmarginal phases, past borders of their waking selves, past “equivalent” and “paradoxical” phases —you weaken this idea of the opposite, and here all at once is the paranoid patient who would be master, yet now feels himself a slave... who would be loved, but suffers his world’s indifference, and, “I think,” Pavlov writing to Janet, “it is precisely the ultraparadoxical phase which is the base of the weakening of the idea of the opposite in our patients.” Our madmen, our paranoid, maniac, schizoid, morally imbecile—However, for much of the history, particular that regarding intelligence agencies (whether that is WWII activity such as the O.S.S. or the S.O.E., or CIA activity in the 60s and 70s around the time that Pynchon was writing GR in a Californian beach house, very near where groups such as the Black Panthers were operating, targets of programs such as COINTELPRO and Operation CHAOS), the books had not even been written yet. I think the first few pages, with the carriage full of evacuees, can be interpreted as moving into the darkest parts of lost or repressed history, e.g.:
and it is poorer the deeper they go... ruinous secret cities of poor, places whose names he has never heard..These names he has never heard could range from the Herero tribe whose genocide he discovered while writing V. ten years before, to Novi Pazar (with the Adenoid passage), to the all other hidden history in the book. I have also read people remarking on how in The Crying of Lot 49 it seems like Pynchon was somehow aware of MK-Ultra (which Dr Hilarius was involved with) before well the documents were leaked and the program confirmed. However, fortunately, many these history books have since been written. If anyone is interested, a great place to start is The Devil's Chessboard: Allen Dulles, the CIA, and the Rise of America's Secret Government, published in 2016, which follows Dulles from his time at the Wall Street law firm Sullivan and Cromwell to his time in the O.S.S. in Switzerland, working with Nazis in Operation Paperclip, to his directorship of the CIA through the 50s and 60s. Reading about this Cold War history, and also the writing of Huey Newton (who I strongly believe Enzian is in part based on), made a lot of GR far clearer. It is important to recognise that these histories of intelligence agencies contain irrefutable documented facts that the public at large is collectively in denial about - because they are too dark for them to acknowledge and face. For them to acknowledge these facts requires integrating that darkness into their conscious minds, before anything can be done about it on the political level. I think that, through the incorporation of all the world's darkness, from politics to history to sexual and paedophilic fantasies to etc..., this is the Secret Integration that Pynchon is trying to accomplish, and which concept he wrote a story about, published in Slow Learner. Reading this book causes the beginnings of this process, as all of the darkness is brought into one's mind by reading it.
The trouble with Sigmund was the place he happened to be living in, a drafty, crenelated deformity overlooking a cold little lake in the Bavarian Alps. Parts of it must have dated back to the fall of Rome. That was where Sigmund brought her.This is a similar process to what Slothrop goes through in the Abreaction Ward, when under sodium amytal ("truth serum") and the supervision of psychoanalysts, Slothrop explores the parts of his unconscious that he has repressed, including his feelings towards race and homosexuality.
She had got the idea somewhere that she was part Jewish. Things in Germany by then, as everyone knows, were very bad. Margherita was terrified of being “found out.” She heard Gestapo in every puff of air that slipped in, among any of a thousand windways of dilapidation. Sigmund spent whole nights trying to talk it away. He was no better at it than Rollo. It was around this time that her symptoms began.
However psychogenic these pains, tics, hives and nauseas, her suffering was real. Acupuncturists came down by Zeppelin from Berlin, showing up in the middle of the night with little velvet cases full of gold needles. Viennese analysts, Indian holy men, Baptists from America trooped in and out of Sigmund’s castle, stage-hypnotists and Colombian curanderos slept on the rug in front of the fireplace. Nothing worked. Sigmund grew alarmed, and before long as ready as Margherita to hallucinate. Probably it was she who suggested Bad Karma. It had a reputation that summer for its mud, hot and greasy mud with traces of radium, jet black, softly bubbling. Ah. Anyone who’s been sick in that way can imagine her hope. That mud would cure anything. Where was anybody that summer before the War? Dreaming. The spas that summer, the summer Ensign Morituri came to Bad Karma, were crowded with sleepwalkers. Nothing for him to do at the Embassy. They suggested a holiday till September. He should have known something was up, but he only went on holiday to Bad Karma—spent the days drinking Pilsener Urquelle in the cafe by the lake in the Pavilion Park. He was a stranger, half the time drunk, silly beer-drunk, and he hardly spoke their language. But what he saw must have been going on all over Germany. A premeditated frenzy.
PISCES: We want to talk some more about Boston today, Slothrop. You recall that we were talking last time about the Negroes, in Roxbury. Now we know it’s not all that comfortable for you, but do try, won’t you. Now—where are you, Slothrop? Can you see anything?By the presence of Red (Malcolm X) in the scene where Slothrop flees the black men at the jazz club trying to rape him down the toilet (which leads through a trip not only through Slothrop's own unconscious racism but also through the repressed histories, all the Preterite lost and forgotten.
Slothrop: Well no, not see exactly...
Either he lets the harp go, his silver chances of song, or he has to follow. Follow? Red, the Negro shoeshine boy, waits by his dusty leather seat. The Negroes all over wasted Roxbury wait. Follow? “Cherokee” comes wailing up from the dance floor below, over the hi-hat, the string bass, the thousand sets of feet where moving rose lights suggest not pale Harvard boys and their dates, but a lotta dolled-up redskins. The song playing is one more lie about white crimes. But more musicians have floundered in the channel to “Cherokee” than have got through from end to end.Here, among other things, if we consider Slothrop's mouth harp a (Rilke-referencing) metaphor, in part, for Pynchon's own tools of artistry, I feel like these floundering musicians can be seen as other writers who have not come to terms with the darkest parts of history, and thus their own unconscious. And the decision to delve into these things as an artist necessitates exposing one's own unconscious repressions, which causes you to be in a vulnerable position - particularly since They like to use these aspects of people to control them, as with Prentice and the drawing of the Scorpia Mossmoon lookalike he is given to activate the Kryptosam. In Pynchon's case, this means exposing his own racism and homophobia:
If Slothrop follows that harp down the toilet it’ll have to be headfirst, which is not so good, cause it leaves his ass up in the air helpless, and with Negroes around that’s just what a fella doesn’t want, his face down in some fetid unknown darkness and brown fingers, strong and sure, all at once undoing his belt, unbuttoning his fly, strong hands holding his legs apart—and he feels the cold Lysol air on his thighs as down come the boxer shorts too, now, with the colorful bass lures and trout flies on them. He struggles to work himself farther into the toilet hole as dimly, up through the smelly water, comes the sound of a whole dark gang of awful Negroes come yelling happily into the white men’s room, converging on poor wriggling Slothrop, jiving around the way they do singing, “Slip the talcum to me, Malcolm!” [*] And the voice that replies is who but that Red, the shoeshine boy who’s slicked up Slothrop’s black patents a dozen times down on his knees jes poppin’ dat rag to beat the band... now Red the very tall, skinny, extravagantly conked redhead Negro shoeshine boy who’s just been “Red” to all the Harvard fellas—“Say Red, any of those Sheiks in the drawer?” “How ’bout another luck-changin’ phone number there, Red?”—this Negro whose true name now halfway down the toilet comes at last to Slothrop’s hearing—as a thick finger with a gob of very slippery jelly or cream comes sliding down the crack now toward his asshole, chevroning the hairs along like topo lines up a river valley—the true name is Malcolm, and all the black cocks know him, Malcolm, have known him all along—Red Malcolm the Unthinkable Nihilist sez, “Good golly he sure is all asshole ain’t he?” Jeepers Slothrop, what a position for you to be in! Even though he has succeeded in getting far enough down now so that only his legs protrude and his buttocks heave and wallow just under the level of the water like pallid domes of ice. Water splashes, cold as the rain outside, up the walls of the white bowl. “Grab him ’fo’ he gits away!” “Yowzah!” Distant hands clutch after his calves and ankles, snap his garters and tug at the argyle sox Mom knitted for him to go to Harvard in, but these insulate so well, or he has progressed so far down the toilet by now, that he can hardly feel the hands at all...GR can be seen even as a process of abreaction that Pynchon underwent. If the rumours that he used drugs through writing it are true, then that would mean exposing things in him unconscious even to himself while writing it. Worth at this point also to note Jung's criticisms of Freud's use of abreaction, and thus the possible dangers of doing this.
Though traumata of clearly aetiological significance were occasionally present, the majority of them appeared very improbable. Many traumata were so unimportant, even so normal, that they could be regarded at most as a pretext for the neurosis. But what especially aroused my criticism was the fact that not a few traumata were simply inventions of fantasy and had never happened at all.However, as Daoism asserts, light and darkness is in everything. For the Pavlovian Pointsman, who views things in binary, this is impossible to accept - the idea that for between every extreme - like black and white - lies a spectrum, a continuous rainbow. As Western humans understand things through this differentiation and analysis, this continuity causes an inherent conflict. Pointsman, the pure cause-and-effect man, the "Antimexico" (since Mexico, the statistician who thinks all can be explained through independent variables and probability distributions, takes the opposite position), says this on Daoist thinking early on.
“Pierre Janet —sometimes the man talked like an Oriental mystic. He had no real grasp of the opposites. ‘The act of injuring and the act of being injured are joined in the behavior of the whole injury.’ Speaker and spoken-of, master and slave, virgin and seducer, each pair most conveniently coupled and inseparable—The last refuge of the incorrigibly lazy, Mexico, is just this sort of yang-yin rubbish.But by the end of Beyond the Zero, he's having a breakdown, as his unconscious is trying to tell him the truth of the Daoist wisdom he was so quick to reject in his scientific arrogance.
“Talking to myself, here. Little—sort of—eccentricity, heh, heh.”With all that out of the way, the plot of what GR is actually about can perhaps begin to be discussed. I'm going to make a lot of assumptions here that many of the male characters are based on Pynchon himself. You may disagree with this approach, which is very understandable, given my total lack of evidence. My justification for it is the following passages from Slothrop's trip down the toilet:
“Yang and Yin,” whispers the Voice, “Yang and Yin... .”
Here now is Crutchfield or Crouchfield, the westwardman. Not “archetypical” westwardman, but the only. Understand, there was only one. There was only one Indian who ever fought him. Only one fight, one victory, one loss. And only one president, and one assassin, and one election. True. One of each of everything. You had thought of solipsism, and imagined the structure to be populated—on your level—by only, terribly, one. No count on any other levels. But it proves to be not quite that lonely. Sparse, yes, but a good deal better than solitary. One of each of everything’s not so bad. Half an Ark’s better than none.Then slightly later on:
Isn’t there supposed to be only one of each?However, given the extent to which Pynchon has managed to keep his life quiet, I'm aware that this assumption could be projection from me. I think might be by design of the book though:
A. Yes.
Q. Then one Indian girl...
A. One pure Indian. One mestiza. One criolla. [*] Then: one Yaqui. One Navaho. One Apache—
Q. Wait a minute, there was only one Indian to begin with. The one that Crutchfield killed.
A. Yes. Look on it as an optimization problem. The country can best support only one of each.
Q. Then what about all the others? Boston. London. The ones who live in cities. Are those people real, or what?
A. Some are real, and some aren’t.
Q. Well are the real ones necessary? or unnecessary?
A. It depends what you have in mind.
Q. Shit, I don’t have anything in mind.
A. We do.
“Pre cise-ly why,” leaps Rozsavolgyi, “we are now proposing, to give, Slothrop a com plete- ly dif-ferent sort, of test. We are now de sign- ing for him, a so called, ‘projec-tive’ test. The most famil-iar exam- ple of the type, is the Rorschach ink-blot. The ba- sic theory, is that when given an un struc-tured stimulus, some shape-less blob of exper-ience, the subject, will seek to impose, struc- ture on it. How, he goes a -bout struc-turing this blob, will reflect his needs, his hopes—will pro vide, us with clues, to his dreams, fan- tasies , the deepest re-gions of his mind.”With those disclaimers out the way, here's what I think. I think Mexico is the "cheap nihilist" of Pynchon as a younger man, before he's delved into his own darkness, and still very much without belief in any sort of spiritualism:
“It makes no sense unless we also consider those who’ve passed over to the other side. We do transact with them, don’t we? Through specialists like Eventyr and their controls over there. But all together we form a single subculture, a psychical community, if you will.”Pointsman is his analytical side, obsessed with cause-and-effect, which eventually, he comes to realise, necessitates delving in the darkest regions of Slothrop's mind, but still obsessed with control, never losing control:
“I won’t,” Mexico says dryly, “but yes I suppose someone ought to be looking into it.”
Sign and symptoms. Was Spectro right? Could Outside and Inside be part of the same field? If only in fairness... in fairness... Pointsman ought to be seeking the answer at the interface... oughtn’t he... on the cortex of Lieutenant Slothrop. The man will suffer—perhaps, in some clinical way, be destroyed—but how many others tonight are suffering in his name? For pity’s sake, every day in Whitehall they’re weighing and taking risks that make his, in this, seem almost trivial. Almost. There’s something here, too transparent and swift to get a hold on—Psi Section might speak of ectoplasms—but he knows that the time has never been better, and that the exact experimental subject is in his hands. He must seize now, or be doomed to the same stone hallways, whose termination he knows. But he must remain open—even to the possibility that the Psi people are right. “We may all be right,” he puts in his journal tonight, “so may be all we have speculated, and more. Whatever we may find, there can be no doubt that he is, physiologically, historically, a monster. We must never lose control. The thought of him lost in the world of men, after the war, fills me with a deep dread I cannot extinguish...”Prentice, the employee, the seasoned intelligence veteran, strikes me as a maturation from Pynchon's earlier Mexico phase, into a more realistic and experienced person and, by the time he gets into the Counterforce, "activist". This could be projection but given that the book was written from around the mid-60s until 1973, and how much changed in that time, I feel like this could be based on his own experiences with political activism in California around that time. Might be totally wrong about that, but I just got that impression from reading the weird "interview" towards the end of the book with the Wall Street Journal between the interviewer and the "spokesman for the Counterforce". Who knows, read it again and see what you think.
Slowly then, a revelation through the nacreous film of his seed, in Negro-brown, comes his message: put in a simple Nihilist transposition whose keywords he can almost guess. Most of it he does in his head. There is a time given, a place, a request for help. He burns the message, fallen on him from higher than Earth’s atmosphere, salvaged from Earth’s prime meridian, keeps the picture, hmm, and washes his hands. His prostate is aching. There is more to this than he can see. He has no recourse, no appeal: he has to go over there and bring the operative out again. The message is tantamount to an order from the highest levels.This "highest orders" thing can be compared with Slothrop seeing the hand of God pointing down at him.
There is in his history, and likely, God help him, in his dossier, a peculiar sensitivity to what is revealed in the sky. (But a hardon?) On the old schist of a tombstone in the Congregational churchyard back home in Mingeborough, Massachusetts, [*] the hand of God emerges from a cloud, the edges of the figure here and there eroded by 200 years of seasons’ fire and ice chisels at work, and the inscription reading:...
In Memory of Constant
Slothrop, who died March
ye 4th 1766, in ye 29th
year of his age.
Death is a debt to nature due,
Which I have paid, and so must you.
6:43:16 BDST—in the sky right now here is the same unfolding, just about to break through, his face deepening with its light, everything about to rush away and he to lose himself, just as his countryside has ever proclaimed... slender church steeples poised up and down all these autumn hillsides, white rockets about to fire, only seconds of countdown away, rose windows taking in Sunday light, elevating and washing the faces above the pulpits defining grace, swearing this is how it does happen—yes the great bright hand reaching out of the cloud...I think Pynchon recognised that with his unique abilities, perception, intelligence, and even privilege, it was his duty to delve into these hidden histories and play his role in bringing about this integration of the darkest levels of the unconscious. But Beyond the Zero is all about systems, and as Pynchon is well aware all systems are inherently limited because there are irrational elements in the world. So after this we have the briefer section in the Casino Hermann Goering, where the role of chance - or fate, depending on your interpretation - is recognised, and systems are examined, particularly language systems, like the drinking game Prince. So after that, with the third part, In the Zone, I think he may have been using drugs and various other techniques to bring out unconscious things in himself, to get past these conscious systems. And then completed with the Tarot reading performed at the end, where it says "here are the cards, exactly as they came up" - I think it's very possible that he did an actual Tarot reading at this point. Maybe I'm wrong about this though, I don't want to make too many assumptions given the lack of information we really have on him. If that thing with the drugs is true, it would explain that infamous quote Jules Seigal attributed to him, "I was so fucked up while I was writing it... that now I go back over some of those sequences and I can't figure out what I could have meant." But it's unclear whether that quote is real or not.
There doesn’t exactly dawn, no but there breaks, as that light you’re afraid will break some night at too deep an hour to explain away—there floods on Enzian what seems to him an extraordinary understanding. This serpentine slagheap he is just about to ride into now, this ex-refinery, Jamf Ölfabriken Werke AG, is not a ruin at all. It is in perfect working order. Only waiting for the right connections to be set up, to be switched on... modified, precisely, deliberately by bombing that was never hostile, but part of a plan both sides—”sides?” —had always agreed on... yes and now what if we—all right, say we are supposed to be the Kabbalists out here, say that’s our real Destiny, to be the scholar-magicians of the Zone, with somewhere in it a Text, to be picked to pieces, annotated, explicated, and masturbated till it’s all squeezed limp of its last drop... well we assumed—natürlich!—that this holy Text had to be the Rocket, orururumo orunene the high, rising, dead, the blazing, the great one (“orunene” is already being modified by the Zone-Herero children to “omunene,” the eldest brother)... our Torah. What else? Its symmetries, its latencies, the cuteness of it enchanted and seduced us while the real Text persisted, somewhere else, in its darkness, our darkness... even this far from Südwest we are not to be spared the ancient tragedy of lost messages, a curse that will never leave us... . But, if I’m riding through it, the Real Text, right now, if this is it... or if I passed it today somewhere in the devastation of Hamburg, breathing the ashdust, missing it completely... if what the IG built on this site were not at all the final shape of it, but only an arrangement of fetishes, come-ons to call down special tools in the form of 8th AF bombers yes the “Allied” planes all would have been, ultimately, IG-built, by way of Director Krupp, through his English interlocks—the bombing was the exact industrial process of conversion, each release of energy placed exactly in space and time, each shock-wave plotted in advance to bring precisely tonight’s wreck into being thus decoding the Text, thus coding, recoding, redecoding the holy Text... If it is in working order, what is it meant to do? The engineers who built it as a refinery never knew there were any further steps to be taken. Their design was “finalized,” and they could forget it. It means this War was never political at all, the politics was all theatre, all just to keep the people distracted... secretly, it was being dictated instead by the needs of technology... by a conspiracy between human beings and techniques, by something that needed the energy-burst of war, crying, “Money be damned, the very life of [insert name of Nation] is at stake,” but meaning, most likely, dawn is nearly here, I need my night’s blood, my funding, funding, ahh more, more... . The real crises were crises of allocation and priority, not among firms—it was only staged to look that way—but among the different Technologies, Plastics, Electronics, Aircraft, and their needs which are understood only by the ruling elite...Some words of wisdom from the seasoned veteran Prentice:
Yes but Technology only responds (how often this argument has been iterated, dogged and humorless as a Gaussian reduction, among the younger Schwarzkommando especially), “All very well to talk about having a monster by the tail, but do you think we’d’ve had the Rocket if someone, some specific somebody with a name and a penis hadn’t wanted to chuck a ton of Amatol 300 miles and blow up a block full of civilians? Go ahead, capitalize the T on technology, deify it if it’ll make you feel less responsible—but it puts you in with the neutered, brother, in with the eunuchs keeping the harem of our stolen Earth for the numb and joyless hardens of human sultans, human elite with no right at all to be where they are—”
We have to look for power sources here, and distribution networks we were never taught, routes of power our teachers never imagined, or were encouraged to avoid... we have to find meters whose scales are unknown in the world, draw our own schematics, getting feedback, making connections, reducing the error, trying to learn the real function... zeroing in on what incalculable plot?
Up here, on the surface, coaltars, hydrogenation, synthesis were always phony, dummy functions to hide the real, the planetary mission yes perhaps centuries in the unrolling... this ruinous plant, waiting for its Kabbalists and new alchemists to discover the Key, teach the mysteries to others...
And if it isn’t exactly Jamf Ölfabriken Werke? what if it’s the Krupp works in Essen, what if it’s Blohm & Voss right here in Hamburg or another make-believe “ruin,” in another city? Another country? YAAAGGGGHHHHH!
Well, this is stimulant talk here, yes Enzian’s been stuffing down Nazi surplus Pervitins these days like popcorn at the movies, and by now the bulk of the refinery—named, incidentally, for the famous discoverer of Oneirine—is behind them, and Enzian is on into some other paranoid terror, talking, talking, though each man’s wind and motor cuts him off from conversation.
“You’re a novice paranoid, Roger,” first time Prentice has ever used his Christian name and it touches Roger enough to check his tirade. “Of course a well-developed They-system is necessary—but it’s only half the story. For every They there ought to be a We. In our case there is. Creative paranoia means developing at least as thorough a We-system as a They-system—”And finally, amid all this darkness, in a superlatively dark book, some hope at last, to hold onto, that makes life worth living, and why I think that despite what many say, GR is not a nihilistic work at all (Tchitcherine, the born nihilist, is almost a parody of this position). It starts with Slothrop's awakening to nature:
“Wait, wait, first where’s the Haig and Haig, be a gracious host, second what is a ‘They-system,’ I don’t pull Chebychev’s Theorem on you, do I?”
“I mean what They and Their hired psychiatrists call ‘delusional systems.’
Needless to say, ‘delusions’ are always officially defined. We don’t have to worry about questions of real or unreal. They only talk out of expediency. It’s the system that matters. How the data arrange themselves inside it. Some are consistent, others fall apart. Your idea that Pointsman sent Gloaming takes a wrong fork. Without any contrary set of delusions—delusions about ourselves, which I’m calling a We-system—the Gloaming idea might have been all right—”
“Delusions about ourselves?”
“Not real ones.”
“But officially defined.”
“Out of expediency, yes.”
“Well, you’re playing Their game, then.”
“Don’t let it bother you. You’ll find you can operate quite well. Seeing as we haven’t won yet, it isn’t really much of a problem.”
Roger is totally confused.
Trees, now—Slothrop’s intensely alert to trees, finally. When he comes in among trees he will spend time touching them, studying them, sitting very quietly near them and understanding that each tree is a creature, carrying on its individual life, aware of what’s happening around it, not just some hunk of wood to be cut down. Slothrop’s family actually made its money killing trees, amputating them from their roots, chopping them up, grinding them to pulp, bleaching that to paper and getting paid for this with more paper. “That’s really insane.” He shakes his head. “There’s insanity in my family.” He looks up. The trees are still. They know he’s there. They probably also know what he’s thinking. “I’m sorry,” he tells them. “I can’t do anything about those people, they’re all out of my reach. What can I do?” A medium-size pine nearby nods its top and suggests, “Next time you come across a logging operation out here, find one of their tractors that isn’t being guarded, and take its oil filter with you. That’s what you can do.”And then, after Slothrop's harp makes its trip down the toilet, and through all of the darkness of the book until that point, where does it next show up? After he draws a rocket mandala, scrawls Rocketman was here on a wall, after the sequence with the Magician using black magic and a mandrake to multiply money, and a delegate from the Committee on Idiopathic Archetypes shows up to visit:
Crosses, swastikas, Zone-mandalas, how can they not speak to Slothrop? He’s sat in Säure Bummer’s kitchen, the air streaming with kif moires, reading soup recipes and finding in every bone and cabbage leaf paraphrases of himself... news flashes, names of wheelhorses that will pay him off enough for a certain getaway... . He used to pick and shovel at the spring roads of Berkshire, April afternoons he’s lost, “Chapter 81 work,” they called it, following the scraper that clears the winter’s crystal attack-from-within, its white necropolizing... picking up rusted beer cans, rubbers yellow with preterite seed, Kleenex wadded to brain shapes hiding preterite snot, preterite tears, newspapers, broken glass, pieces of automobile, days when in superstition and fright he could make it all fit, seeing clearly in each an entry in a record, a history: his own, his winter’s, his country’s... instructing him, dunce and drifter, in ways deeper than he can explain, have been faces of children out the train windows, two bars of dance music somewhere, in some other street at night, needles and branches of a pine tree shaken clear and luminous against night clouds, one circuit diagram out of hundreds in a smudged yellowing sheaf, laughter out of a cornfield in the early morning as he was walking to school, the idling of a motorcycle at one duskheavy hour of the summer... and now, in the Zone, later in the day he became a crossroad, after a heavy rain he doesn’t recall, Slothrop sees a very thick rainbow here, a stout rainbow cock driven down out of pubic clouds into Earth, green wet valleyed Earth, and his chest fills and he stands crying, not a thing in his head, just feeling natural...And later:
Slothrop moseys down the trail to a mountain stream where he’s left his harp to soak all night, wedged between a couple of rocks in a quiet pool. ... Through the flowing water, the holes of the old Hohner Slothrop found are warped one by one, squares being bent like notes, a visual blues being played by the clear stream.There's hope after all, and I think it's reflected in how much more positive all his later works have been. Thanks so much for reading, I hope it was at least vaguely interesting, not too much of an unstructured ramble. Also, this is such a great subreddit, really I love the community here. My very best to you all!
There are harpmen and dulcimer players in all the rivers, wherever water moves. Like that Rilke prophesied,
And though Earthliness forget you,
To the stilled Earth say: I flow.
To the rushing water speak: I am.
It is still possible, even this far out of it, to find and make audible the spirits of lost harpmen. Whacking the water out of his harmonica, reeds singing against his leg, picking up the single blues at bar 1 of this morning’s segment, Slothrop, just suckin’ on his harp, is closer to being a spiritual medium than he’s been yet, and he doesn’t even know it.
| Rank | Title | Year |
|---|---|---|
| 1000. | Speed | 1994 |
| 999. | A Silent Voice | 2016 |
| 998. | Cube | 1997 |
| 997. | The Heiress | 1949 |
| 996. | The Cove | 2009 |
| 995. | A Close Shave | 1995 |
| 994. | Viva Zapata! | 1952 |
| 993. | Bill & Ted's Excellent Adventure | 1989 |
| 992. | Z | 1969 |
| 991. | The Long Goodbye | 1973 |
| 990. | The Naked Gun | 1988 |
| 989. | Son of Saul | 2015 |
| 988. | Around the World in Eighty Days | 1956 |
| 987. | Dawn of the Dead | 1978 |
| 986. | Young Frankenstein | 1974 |
| 985. | Gaslight | 1944 |
| 984. | The Asphalt Jungle | 1950 |
| 983. | Ballad of a Soldier | 1959 |
| 982. | The Man Who Wasn't There | 2001 |
| 981. | Stairway to Heaven | 1946 |
| 980. | The Twilight Samurai | 2002 |
| 979. | The King of Kong: A Fistful of Quarters | 2007 |
| 978. | Devils on the Doorstep | 2000 |
| 977. | Make Way for Tomorrow | 1937 |
| 976. | The Assassination of Jesse James | 2007 |
| 975. | Wake in Fright | 1971 |
| 974. | The City of Lost Children | 1995 |
| 973. | The Virgin Spring | 1960 |
| 972. | Earthlings | 2005 |
| 971. | Lord of War | 2005 |
| 970. | There's Something About Mary | 1998 |
| 969. | 28 Weeks Later | 2007 |
| 968. | The Man Who Fell to Earth | 1976 |
| 967. | The Enigma of Kaspar Hauser | 1974 |
| 966. | Kelly's Heroes | 1970 |
| 965. | Suspiria | 1977 |
| 964. | 1900 | 1976 |
| 963. | Audition | 1999 |
| 962. | Picnic at Hanging Rock | 1975 |
| 961. | Midnight Run | 1988 |
| 960. | Animal House | 1978 |
| 959. | Get Carter | 1971 |
| 958. | The Descent | 2005 |
| 957. | The Shop Around the Corner | 1940 |
| 956. | Fort Apache | 1948 |
| 955. | Flight | 2012 |
| 954. | The Ladykillers | 1955 |
| 953. | Argo | 2012 |
| 952. | The Breakfast Club | 1985 |
| 951. | Burnt by the Sun | 1994 |
| 950. | The Lady from Shanghai | 1947 |
| 949. | The War Game | 1965 |
| 948. | The Ascent | 1977 |
| 947. | Ferris Bueller’s Day Off | 1986 |
| 946. | The Wicker Man | 1973 |
| 945. | Marty | 1955 |
| 944. | The Naked Island | 1960 |
| 943. | The Palm Beach Story | 1942 |
| 942. | Knight of Cups | 2015 |
| 941. | Road to Perdition | 2002 |
| 940. | As Good as It Gets | 1997 |
| 939. | The Place Beyond the Pines | 2012 |
| 938. | Faults | 2014 |
| 937. | The Gospel According to Matthew | 1964 |
| 936. | American Graffiti | 1993 |
| 935. | Frances Ha | 2012 |
| 934. | Raising Arizona | 1987 |
| 933. | Songs from the Second Floor | 2000 |
| 932. | Anvil: The Story of Anvil | 2008 |
| 931. | The Day the Earth Stood Still | 1951 |
| 930. | In Cold Blood | 1967 |
| 929. | Saw | 2004 |
| 928. | The Adventures of Baron Munchausen | 1988 |
| 927. | Cairo Station | 1958 |
| 926. | The Tramp | 1915 |
| 925. | Whatever Works | 2009 |
| 924. | Moulin Rouge! | 2001 |
| 923. | Glory | 1989 |
| 922. | The Perks of Being a Wallflower | 2012 |
| 921. | Blood Diamond | 2006 |
| 920. | Stand by Me | 1986 |
| 919. | A Brighter Summer Day | 1991 |
| 918. | Stop Making Sense | 1984 |
| 917. | Operation 'Y' & Other Shurik's Adventures | 1965 |
| 916. | Dredd | 2012 |
| 915. | Close Encounters of the Third Kind | 1977 |
| 914. | Idiocracy | 2006 |
| 913. | West Side Story | 1961 |
| 912. | Repo Man | 1984 |
| 911. | The Last Emperor | 1987 |
| 910. | Papillon | 1973 |
| 909. | About Elly | 2009 |
| 908. | Mary Poppins | 1964 |
| 907. | Zabriskie Point | 1970 |
| 906. | Akira | |
| 905. | Cave of Forgotten Dreams | 2010 |
| 904. | The Last of the Mohicans | 1992 |
| 903. | The Day the Earth Stood Still | 1951 |
| 902. | The Diving Bell and the Butterfly | 2007 |
| 901. | Hamburger Hill | 1987 |
| 900. | Spider | 2002 |
| 899. | Cast Away | 2000 |
| 898. | The Hangover | 2009 |
| 897. | The Lost Weekend | 1945 |
| 896. | Bullitt | 1968 |
| 895. | Frida | 2002 |
| 894. | The Hustler | 1961 |
| 893. | Seven Years in Tibet | 1997 |
| 892. | Nocturnal Animals | 2016 |
| 891. | Swiss Army Man | 2016 |
| 890. | 48 Hrs. | 1982 |
| 889. | High Fidelity | 2000 |
| 888. | Casino Royale | 2006 |
| 887. | Dirty Dancing | 1987 |
| 886. | The Dark Valley | 2014 |
| 885. | Source Code | 2011 |
| 884. | El Mariachi | 1992 |
| 883. | The Meaning of Life | 1983 |
| 882. | The Mask | 1994 |
| 881. | Conan the Barbarian | 1982 |
| 880. | Primer | 2004 |
| 879. | Wall Street | 1987 |
| 878. | The New World | 2005 |
| 877. | The Rock | 1996 |
| 876. | Independence Day | 1996 |
| 875. | Hell or High Water | 2016 |
| 874. | 13 Assassins | 2010 |
| 873. | Traffic | 2000 |
| 872. | Yellow Submarine | 1968 |
| 871. | Apollo 13 | 1995 |
| 870. | Empire of the Sun | 1987 |
| 869. | Revolutionary Road | 2008 |
| 868. | Man on Wire | 2008 |
| 867. | Waterworld | 1995 |
| 866. | The Curious Case of Benjamin Button | 2008 |
| 865. | The Road Warrior | 1981 |
| 864. | Kramer vs. Kramer | 1979 |
| 863. | The Bourne Ultimatum | 2007 |
| 862. | Syriana | 2005 |
| 861. | Shaun of the Dead | 2004 |
| 860. | The Terminal | 2004 |
| 859. | The Passion of the Christ | 2004 |
| 858. | Face/Off | 1997 |
| 857. | Napoleon Dynamite | 2004 |
| 856. | From Russia with Love | 1963 |
| 855. | TRON | 1982 |
| 854. | The Secret in Their Eyes | 2009 |
| 853. | Wavelength | 1967 |
| 852. | Anchorman | 2004 |
| 851. | Straight Outta Compton | 2015 |
| 850. | Bad Lieutenant | 1992 |
| 849. | Three Kings | 1999 |
| 848. | Duck Soup | 1933 |
| 847. | Femme Fatale | 2002 |
| 846. | Predator | 1987 |
| 845. | Solaris | 2002 |
| 844. | Miller's Crossing | 1990 |
| 843. | As I Was Moving Ahead Occasionally I... | 2000 |
| 842. | Samurai Fiction | 1998 |
| 841. | The Truman Show | 1998 |
| 840. | Syndromes and a Century | 2006 |
| 839. | The Producers | 1967 |
| 838. | The Killing Fields | 1984 |
| 837. | Confessions of a Dangerous Mind | 2002 |
| 836. | Beau Travail | 1999 |
| 835. | Capote | 2005 |
| 834. | Slap Shot | 1977 |
| 833. | Drowning by Numbers | 1988 |
| 832. | Hard Eight | 1996 |
| 831. | All Is Lost | 2013 |
| 830. | Enter the Void | 2009 |
| 829. | Hunt for the Wilderpeople | 2016 |
| 828. | The Hateful Eight | 2015 |
| 827. | Under Pressure: Making 'The Abyss' | 1993 |
| 826. | The Gift | 2015 |
| 825. | The Man Who Knew Infinity | 2015 |
| 824. | Swimming Pool | 2003 |
| 823. | Monty Python: The Meaning of Live | 2014 |
| 822. | Enemy | 2013 |
| 821. | Lord of the Flies | 1990 |
| 820. | Lock, Stock and Two Smoking Barrels | 1998 |
| 819. | Ed Wood | 1994 |
| 818. | Dogtooth | 2009 |
| 817. | Swingers | 1996 |
| 816. | Split | 2016 |
| 815. | The Road | 2009 |
| 814. | Volver | 2006 |
| 813. | The Fountain | 2006 |
| 812. | Kiss Kiss Bang Bang | 2005 |
| 811. | Safe | 1995 |
| 810. | The Wages of Fear | 1953 |
| 809. | American Sniper | 2014 |
| 808. | Woyzeck | 1979 |
| 807. | The Aviator | 2004 |
| 806. | Super Troopers | 2001 |
| 805. | Dr. No | 1962 |
| 804. | Kingsman | 2014 |
| 803. | Hugo | 2011 |
| 802. | The Sound of Music | 1965 |
| 801. | Pretty Village, Pretty Flame | 1996 |
| 800. | Halloween | 1978 |
| 799. | Hatari! | 1962 |
| 798. | Twin Peaks: Fire Walk with Me | 1992 |
| 797. | Escape from New York | 1981 |
| 796. | Highlander | 1986 |
| 795. | The Matrix Reloaded | 2003 |
| 794. | Margin Call | 2011 |
| 793. | Phenomena | 1985 |
| 792. | The Starfish | 1928 |
| 791. | Logan | 2017 |
| 790. | 28 Days Later... | 2002 |
| 789. | The 39 Steps | 1935 |
| 788. | Who's Afraid of Virginia Woolf? | 1966 |
| 787. | The Phantom Carriage | 1921 |
| 786. | The Cook, the Thief, His Wife & Her Lover | 1989 |
| 785. | Drunken Master | 1978 |
| 784. | Arrival | 2016 |
| 783. | Baraka | 1992 |
| 782. | Brimstone | 2016 |
| 781. | Inside Out | 2015 |
| 780. | Planet of the Apes | 1968 |
| 779. | Dog Day Afternoon | 1975 |
| 778. | Embers | 2015 |
| 777. | Straw Dogs | 1971 |
| 776. | Kind Hearts and Coronets | 1949 |
| 775. | Coffee and Cigarettes | 2003 |
| 774. | Driving Miss Daisy | 1989 |
| 773. | A Woman Is a Woman | 1961 |
| 772. | Broken Blossoms | 1919 |
| 771. | Last Tango in Paris | 1972 |
| 770. | Avatar | 2009 |
| 769. | Zatoichi | 2003 |
| 768. | Hoop Dreams | 1994 |
| 767. | Crumb | 1994 |
| 766. | The Three Burials of Melquiades Estrada | 2005 |
| 765. | The Handmaiden | 2016 |
| 764. | Kung Fu Hustle | 2004 |
| 763. | Carlito's Way | 1993 |
| 762. | Zulu | 1964 |
| 761. | The Longest Day | 1962 |
| 760. | Les Misérables | 2012 |
| 759. | After Hours | 1985 |
| 758. | Breakfast at Tiffany's | 1961 |
| 757. | The Bridge | 1959 |
| 756. | Zelig | 1983 |
| 755. | I Vitelloni | 1953 |
| 754. | Snowpiercer | 2013 |
| 753. | I Am Cuba | 1964 |
| 752. | The Return | 2003 |
| 751. | L'argent | 1983 |
| 750. | Fail-Safe | 1964 |
| 749. | Quiz Show | 1994 |
| 748. | What Ever Happened to Baby Jane? | 1962 |
| 747. | The Thief of Bagdad | 1940 |
| 746. | Nanook of the North | 1922 |
| 745. | The Grapes of Wrath | 1940 |
| 744. | The Life of Oharu | 1952 |
| 743. | The Skin I Live In | 2011 |
| 742. | Bridge of Spies | 2015 |
| 741. | The Day of the Jackal | 1973 |
| 740. | Sexmission | 1984 |
| 739. | Interstellar | 2014 |
| 738. | Rebel Without a Cause | 1955 |
| 737. | Five Easy Pieces | 1970 |
| 736. | The Imitation Game | 2014 |
| 735. | Pirates of the Caribbean | 2003 |
| 734. | Schizopolis | 1996 |
| 733. | I Stand Alone | 1998 |
| 732. | WarGames | 1983 |
| 731. | The Great Train Robbery | 1903 |
| 730. | Star Trek | 2009 |
| 729. | True Romance | 1993 |
| 728. | Sin City | 2005 |
| 727. | Roma | 1972 |
| 726. | Thelma & Louise | 1991 |
| 725. | The Hurt Locker | 2008 |
| 724. | O Brother, Where Art Thou? | 2000 |
| 723. | Falling Down | 1993 |
| 722. | Forbidden Planet | 1956 |
| 721. | Carol | 2015 |
| 720. | Letters from Iwo Jima | 2006 |
| 719. | Harry Potter and the Sorcerer's Stone | 2001 |
| 718. | The Usual Suspects | 1995 |
| 717. | Ivan Vasilievich: Back to the Future | 1973 |
| 716. | Cremator | 1969 |
| 715. | In the Name of the Father | 1993 |
| 714. | The Revenant | 2015 |
| 713. | The Cameraman | 1928 |
| 712. | Zorba the Greek | 1964 |
| 711. | Infernal Affairs | 2002 |
| 710. | Onibaba | 1964 |
| 709. | The Raid: Redemption | 2011 |
| 708. | Spring, Summer, Fall, Winter... and Spring | 2003 |
| 707. | Collateral | 2004 |
| 706. | La Haine | 1995 |
| 705. | Irreversible | 2002 |
| 704. | Mouchette | 1967 |
| 703. | The Abyss | 1989 |
| 702. | Bonnie and Clyde | 1967 |
| 701. | Die Hard | 1988 |
| 700. | Italian for Beginners | 2000 |
| 699. | The King's Speech | 2010 |
| 698. | True Grit | 2010 |
| 697. | Gattaca | 1997 |
| 696. | Office Space | 1999 |
| 695. | Stranger Than Fiction | 2006 |
| 694. | Going to Bed Under Difficulties | 1900 |
| 693. | The 36th Chamber of Shaolin | 1978 |
| 692. | A Hard Day's Night | 1964 |
| 691. | Nebraska | 2013 |
| 690. | This Is England | 2006 |
| 689. | (500) Days of Summer | 2009 |
| 688. | Nosferatu the Vampyre | 1979 |
| 687. | 127 Hours | 2010 |
| 686. | Babel | 2006 |
| 685. | The Magnificent Seven | 1960 |
| 684. | Harakiri | 1962 |
| 683. | Mission: Impossible | 1996 |
| 682. | A Single Man | 2009 |
| 681. | Chicken Run | 2000 |
| 680. | Dead Poets Society | 1989 |
| 679. | Big Fish | 2003 |
| 678. | In the Heat of the Night | 1967 |
| 677. | On the Silver Globe | 1988 |
| 676. | The Scarlet Empress | 1934 |
| 675. | The Tenant | 1976 |
| 674. | Woman in the Dunes | 1964 |
| 673. | Grave of the Fireflies | 1988 |
| 672. | Bad Boy Bubby | 1993 |
| 671. | Strangers on a Train | 1951 |
| 670. | Gertie the Dinosaur | 1914 |
| 669. | Lord of the Flies | 1963 |
| 668. | Inception | 2010 |
| 667. | The Invisible Man | 1933 |
| 666. | Hacksaw Ridge | 2016 |
| 665. | From Dusk Till Dawn | 1996 |
| 664. | A Beautiful Mind | 2001 |
| 663. | Pumping Iron | 1977 |
| 662. | Ordinary People | 1980 |
| 661. | How Far, How Near | 1972 |
| 660. | The Royal Tenenbaums | 2001 |
| 659. | Mrs. Miniver | 1942 |
| 658. | You Can't Take It with You | 1938 |
| 657. | Don't Look Now | 1973 |
| 656. | Doctor Zhivago | 1965 |
| 655. | Elite Squad | 2007 |
| 654. | Chungking Express | 1994 |
| 653. | Spotlight | 2015 |
| 652. | Hannah and Her Sisters | 1986 |
| 651. | The Iron Giant | 1999 |
| 650. | My Fair Lady | 1964 |
| 649. | Mr. Nobody | 2009 |
| 648. | The Devils | 1971 |
| 647. | The Best Years of Our Lives | 1946 |
| 646. | About Time | 2013 |
| 645. | John Wick | 2014 |
| 644. | The Fighter | 2010 |
| 643. | 300 | 2006 |
| 642. | Antichrist | 2009 |
| 641. | The White Ribbon | 2009 |
| 640. | Good Bye Lenin! | 2003 |
| 639. | Shoeshine | 1946 |
| 638. | The Arrival of a Train | 1896 |
| 637. | Inherent Vice | 2014 |
| 636. | Everest | 2015 |
| 635. | The Machinist | 2004 |
| 634. | Stand by Me | 1986 |
| 633. | Mr. Smith Goes to Washington | 1939 |
| 632. | Munich | 2005 |
| 631. | The Great Beauty | 2013 |
| 630. | Seven Psychopaths | 2012 |
| 629. | Kin-dza-dza! | 1986 |
| 628. | Before Sunrise | 1995 |
| 627. | The Last Samurai | 2003 |
| 626. | Mystic River | 2003 |
| 625. | Blow | 2001 |
| 624. | Divorce Italian Style | 1961 |
| 623. | Up in the Air | 2009 |
| 622. | Resident Evil | 2002 |
| 621. | Up | 2009 |
| 620. | Pierrot le Fou | 1965 |
| 619. | Gettysburg | 1993 |
| 618. | Hot Fuzz | 2007 |
| 617. | Bunker Palace Hôtel | 1989 |
| 616. | Duck, You Sucker | 1971 |
| 615. | The Boondock Saints | 1999 |
| 614. | Clerks | 1994 |
| 613. | Blade | 1998 |
| 612. | Sonatine | 1993 |
| 611. | Ida | 2013 |
| 610. | Teorema | 1968 |
| 609. | Gummo | 1997 |
| 608. | Heist | 2001 |
| 607. | The Big Feast | 1973 |
| 606. | Catch Me If You Can | 2002 |
| 605. | Kids | 1995 |
| 604. | Fury | 1936 |
| 603. | The Prestige | 2006 |
| 602. | Sleuth | 1972 |
| 601. | Cinema Paradiso | 1988 |
| 600. | Koyaanisqatsi | 1982 |
| 599. | Killer of Sheep | 1978 |
| 598. | Saturday Night Fever | 1977 |
| 597. | Now You See Me | 2013 |
| 596. | Le Samouraï | 1967 |
| 595. | Repulsion | 1965 |
| 594. | Shane | 1953 |
| 593. | The Merchant of Four Seasons | 1972 |
| 592. | Before the Devil Knows You're Dead | 2007 |
| 591. | The Manchurian Candidate | 1962 |
| 590. | Monsieur Verdoux | 1947 |
| 589. | Rififi | 1955 |
| 588. | Chef | 2014 |
| 587. | A Wednesday | 2008 |
| 586. | Room | 2015 |
| 585. | The Nice Guys | 2016 |
| 584. | Her | 2013 |
| 583. | A Trip to the Moon | 1898 |
| 582. | I Spit on Your Grave | 1978 |
| 581. | Star Trek: First Contact | 1996 |
| 580. | House of Flying Daggers | 2004 |
| 579. | In Bruges | 2008 |
| 578. | Titanic | 1997 |
| 577. | The Spirit of the Beehive | 1973 |
| 576. | Aparajito | 1956 |
| 575. | I Don't Want to Be a Man | 1918 |
| 574. | The Idiots | 1998 |
| 573. | Borat | 2006 |
| 572. | Sicario | 2015 |
| 571. | The Grand Budapest Hotel | 2014 |
| 570. | The Life of Emile Zola | 1937 |
| 569. | The Fifth Element | 1997 |
| 568. | Butch Cassidy and the Sundance Kid | 1969 |
| 567. | Pinocchio | 1940 |
| 566. | Brother | 1997 |
| 565. | 21 Grams | 2003 |
| 564. | Gandhi | 1982 |
| 563. | The Incredibles | 2004 |
| 562. | Branded to Kill | 1967 |
| 561. | The Lobster | 2015 |
| 560. | Ninotchka | 1939 |
| 559. | Fanny and Alexander | 1982 |
| 558. | Oedipus Rex | 1967 |
| 557. | Kings of the Road | 1976 |
| 556. | Enter the Dragon | 1973 |
| 555. | Hotel Rwanda | 2004 |
| 554. | Warrior | 2011 |
| 553. | The Salvation | 2014 |
| 552. | Bugs Bunny Gets the Boid | 1942 |
| 551. | Amores Perros | 2000 |
| 550. | Dark City | 1998 |
| 549. | GoldenEye | 1995 |
| 548. | Rope | 1948 |
| 547. | A Pigeon Sat on a Branch Reflecting on Existence | 2014 |
| 546. | Fiddler on the Roof | 1971 |
| 545. | Slumdog Millionaire | 2008 |
| 544. | East of Eden | 1955 |
| 543. | The Rocky Horror Picture Show | 1975 |
| 542. | The Marriage of Maria Braun | 1979 |
| 541. | The Conversation | 1974 |
| 540. | 2046 | 2046 |
| 539. | Black Swan | 2010 |
| 538. | Pi | 1998 |
| 537. | About Schmidt | 2002 |
| 536. | V for Vendetta | 2005 |
| 535. | Dog Days | 2001 |
| 534. | The Artist | 2011 |
| 533. | Fireworks | 1997 |
| 532. | Total Recall | 1990 |
| 531. | Fury | 2014 |
| 530. | Run Lola Run | 1998 |
| 529. | It's Such a Beautiful Day | 2012 |
| 528. | Rain Man | 1988 |
| 527. | Drive | 2011 |
| 526. | A Serious Man | 2009 |
| 525. | Midnight in Paris | 2011 |
| 524. | Crazy, Stupid, Love. | 2011 |
| 523. | Moneyball | 2011 |
| 522. | The Martian | 2015 |
| 521. | Limitless | 2011 |
| 520. | Goldfinger | 1964 |
| 519. | Steamboat Bill, Jr. | 1928 |
| 518. | The Edge | 1997 |
| 517. | The Pink Panther | 1963 |
| 516. | Gran Torino | 2008 |
| 515. | Paisan | 1946 |
| 514. | Encounters at the End of the World | 2007 |
| 513. | Willy Wonka & the Chocolate Factory | 1971 |
| 512. | Summer with Monika | 1953 |
| 511. | Ocean's Eleven | 2001 |
| 510. | Short Cuts | 1993 |
| 509. | Kwaidan | 1964 |
| 508. | Trouble in Paradise | 1932 |
| 507. | The Untouchables | 1987 |
| 506. | Trading Places | 1983 |
| 505. | Match Point | 2005 |
| 504. | All That Jazz | 1979 |
| 503. | Hunger | 2008 |
| 502. | Let the Right One In | 2008 |
| 501. | Winter Light | 1963 |
| 500. | Sideways | 2004 |
| 499. | The Band's Visit | 2007 |
| 498. | Shadow of a Doubt | 1943 |
| 497. | Arsenic and Old Lace | 1944 |
| 496. | Oliver Twist | 1948 |
| 495. | Nashville | 1975 |
| 494. | Apocalypto | 2006 |
| 493. | The Elephant Man | 1980 |
| 492. | The Wolf of Wall Street | 2013 |
| 491. | Zodiac | 2007 |
| 490. | All About My Mother | 1999 |
| 489. | Hearts of Darkness: A Filmmaker's Apocalypse | 1991 |
| 488. | Aliens | 1986 |
| 487. | A Woman Under the Influence | 1974 |
| 486. | Diabolique | 1955 |
| 485. | Network | 1976 |
| 484. | 12 Years a Slave | 2013 |
| 483. | Gimme Shelter | 1970 |
| 482. | Prisoners | 2013 |
| 481. | King Kong | 2005 |
| 480. | Roman Holiday | 1953 |
| 479. | Mutiny on the Bounty | 1935 |
| 478. | The Counterfeiters | 2007 |
| 477. | Night and Fog | 1956 |
| 476. | The Lady Eve | 1941 |
| 475. | Inside Llewyn Davis | 2013 |
| 474. | Alexander Nevsky | 1938 |
| 473. | Dawn of the Dead | 2004 |
| 472. | The Deer Hunter | 1978 |
| 471. | Maria Full of Grace | 2004 |
| 470. | Masculin Féminin | 1966 |
| 469. | American Splendor | 2003 |
| 468. | The Bourne Identity | 2002 |
| 467. | Atanarjuat: The Fast Runner | 2001 |
| 466. | Chariots of Fire | 1981 |
| 465. | Judgment at Nuremberg | 1961 |
| 464. | Donnie Darko | 2001 |
| 463. | My Life to Live | 1962 |
| 462. | A Short Film About Killing | 1988 |
| 461. | Battle Royale | 2000 |
| 460. | Close-Up | 1990 |
| 459. | Jackie Brown | 1997 |
| 458. | The Master | 2012 |
| 457. | Dancer in the Dark | 2000 |
| 456. | Fantastic Mr. Fox | 2009 |
| 455. | Gosford Park | 2001 |
| 454. | Punch-Drunk Love | 2002 |
| 453. | The Twelve Tasks of Asterix | 1976 |
| 452. | Touch of Evil | 1958 |
| 451. | Bimbo's Initiation | 1931 |
| 450. | Elephant | 2003 |
| 449. | The Young Girls of Rochefort | 1967 |
| 448. | The Seashell and the Clergyman | 1928 |
| 447. | Man with a Movie Camera | 1929 |
| 446. | Rome, Open City | 1945 |
| 445. | The French Connection | 1971 |
| 444. | Skyfall | 2012 |
| 443. | Open Range | 2003 |
| 442. | El Topo | 1970 |
| 441. | The Endurance | 2000 |
| 440. | The Sixth Sense | 1999 |
| 439. | The Lion King | 1994 |
| 438. | The Big Heat | 1953 |
| 437. | His Girl Friday | 1940 |
| 436. | Star Trek II: The Wrath of Khan | 1982 |
| 435. | Mommy | 2014 |
| 434. | Dazed and Confused | 1993 |
| 433. | Naked Lunch | 1991 |
| 432. | L'Age d'Or | 1930 |
| 431. | The Maltese Falcon | 1941 |
| 430. | Europa | 1991 |
| 429. | Witness for the Prosecution | 1957 |
| 428. | Do the Right Thing | 1989 |
| 427. | Howl's Moving Castle | 2004 |
| 426. | Children of Paradise | 1945 |
| 425. | The Thin Man | 1934 |
| 424. | Blood Simple. | 1984 |
| 423. | Wings of Desire | 1987 |
| 422. | Dial M for Murder | 1954 |
| 421. | Mishima: A Life in Four Chapters | 1985 |
| 420. | The Trial | 1962 |
| 419. | Belle de Jour | 1967 |
| 418. | Ivan the Terrible, Part I | 1945 |
| 417. | Time of the Gypsies | 1988 |
| 416. | Captain Phillips | 2013 |
| 415. | The Magnificent Ambersons | 1942 |
| 414. | Starship Troopers | 1997 |
| 413. | Salò, or the 120 Days of Sodom | 1975 |
| 412. | Nashville | 1975 |
| 411. | Vivre sa vie | 1962 |
| 410. | Gangs of New York | 2002 |
| 409. | Pink Floyd: The Wall | 1982 |
| 408. | Snatch | 2000 |
| 407. | Superman | 1978 |
| 406. | Catch-22 | 1970 |
| 405. | The Last Picture Show | 1971 |
| 404. | Midnight Cowboy | 1969 |
| 403. | City of God | 2002 |
| 402. | The Ten Commandments | 1956 |
| 401. | The Kid | 1921 |
| 400. | The Party | 1968 |
| 399. | Ghostbusters | 1984 |
| 398. | Monster | 2003 |
| 397. | Million Dollar Baby | 2004 |
| 396. | Cool Hand Luke | 1967 |
| 395. | Princess Mononoke | 1997 |
| 394. | A Fistful of Dollars | 1964 |
| 393. | Stroszek | 1977 |
| 392. | Decapitation in Turkey | 1904 |
| 391. | Nightcrawler | 2014 |
| 390. | Cat on a Hot Tin Roof | 1958 |
| 389. | Mother's Day | 1993 |
| 388. | The Nights of Cabiria | 1957 |
| 387. | From Here to Eternity | 1953 |
| 386. | Incendies | 2010 |
| 385. | Top Hat | 1935 |
| 384. | The Punch Bowl | 1944 |
| 383. | MASH | 1970 |
| 382. | On the Waterfront | 1954 |
| 381. | Manchester by the Sea | 2016 |
| 380. | Gone Girl | 2014 |
| 379. | Rush | 2013 |
| 378. | Shutter Island | 2010 |
| 377. | Borgman | 2013 |
| 376. | The Cabinet of Dr. Caligari | 1920 |
| 375. | Ordet | 1955 |
| 374. | The Salesman | 2016 |
| 373. | The Game | 1997 |
| 372. | Moonlight | 2016 |
| 371. | La La Land | 2016 |
| 370. | Days of Heaven | 1978 |
| 369. | Ex Machina | 2014 |
| 368. | Boyhood | 2014 |
| 367. | Moonrise Kingdom | 2012 |
| 366. | The Wrestler | 2008 |
| 365. | Iron Man | 2008 |
| 364. | Playtime | 1967 |
| 363. | Platoon | 1986 |
| 362. | Mission: Impossible - Ghost Protocol | 2011 |
| 361. | The Hidden Fortress | 1958 |
| 360. | Melancholia | 2011 |
| 359. | Chinatown | 1974 |
| 358. | A History of Violence | 2005 |
| 357. | Léon: The Professional | 1994 |
| 356. | High and Low | 1963 |
| 355. | Napoleon | 1927 |
| 354. | Deliverance | 1972 |
| 353. | RoboCop | 1987 |
| 352. | An American in Paris | 1951 |
| 351. | City of Women | 1980 |
| 350. | The Social Network | 2010 |
| 349. | The Terminator | 1984 |
| 348. | Ratatouille | 2007 |
| 347. | Edge of Tomorrow | 2014 |
| 346. | King Kong | 1933 |
| 345. | Minority Report | 2002 |
| 344. | The Illusionist | 2006 |
| 343. | Broken Flowers | 2005 |
| 342. | House of Games | 1987 |
| 341. | The Phantom of Liberty | 1974 |
| 340. | Pan's Labyrinth | 2006 |
| 339. | Rocco and His Brothers | 1960 |
| 338. | A Trip to the Moon | 1902 |
| 337. | The Dark Knight | 2008 |
| 336. | Erin Brockovich | 2000 |
| 335. | Groundhog Day | 1993 |
| 334. | The NeverEnding Story | 1984 |
| 333. | Little Miss Sunshine | 2006 |
| 332. | Inland Empire | 2006 |
| 331. | Brokeback Mountain | 2005 |
| 330. | Head-On | 2004 |
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| 328. | Dances with Wolves | 1990 |
| 327. | Braveheart | 1995 |
| 326. | Three Colors: Red | 1994 |
| 325. | Birdman | 2014 |
| 324. | Oldboy | 2003 |
| 323. | The Thing | 1982 |
| 322. | Lost in Translation | 2003 |
| 321. | Memories of Murder | 2003 |
| 320. | Antarctica: A Year on Ice | 2013 |
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| 318. | The Pianist | 2002 |
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| 316. | A Separation | 2011 |
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| 312. | Unforgiven | 1992 |
| 311. | The Mother and the Whore | 1973 |
| 310. | Back to the Future | 1985 |
| 309. | The Experiment | 2001 |
| 308. | The Blues Brothers | 1980 |
| 307. | Carrie | 1976 |
| 306. | Three Colors: Blue | |
| 305. | Synecdoche, New York | 2008 |
| 304. | Before Sunset | 2004 |
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| 301. | Kagemusha | 1980 |
| 300. | Badlands | 1973 |
| 299. | The Name of the Rose | 1986 |
| 298. | Being John Malkovich | 1999 |
| 297. | Manderlay | 2005 |
| 296. | The Piano Teacher | 2001 |
| 295. | Y Tu Mamá También | 2001 |
| 294. | The Life Aquatic with Steve Zissou | 2004 |
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| 291. | Gravity | 2013 |
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| 288. | Life of Pi | 2012 |
| 287. | L.A. Confidential | 1997 |
| 286. | Children of Men | 2006 |
| 285. | Eternal Sunshine of the Spotless Mind | 2004 |
| 284. | Dressed to Kill | 1980 |
| 283. | Memento | 2000 |
| 282. | Holy Motors | 2012 |
| 281. | Gladiator | 2000 |
| 280. | Rushmore | 1998 |
| 279. | Good Will Hunting | 1997 |
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| 276. | The Man from Earth | 2007 |
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| 272. | Se7en | 1995 |
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| 268. | Heat | 1995 |
| 267. | American Beauty | 1999 |
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| 264. | The Shawshank Redemption | 1994 |
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| 262. | Russian Ark | 2002 |
| 261. | Into the Wild | 2007 |
| 260. | Fight Club | 1999 |
| 259. | Ace in the Hole | 1951 |
| 258. | Master and Commander | 2003 |
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| 255. | Boogie Nights | 1997 |
| 254. | Down by Law | 1986 |
| 253. | The Hunt for Red October | 1990 |
| 252. | Stranger Than Paradise | 1984 |
| 251. | No Man's Land | 2001 |
| 250. | Wild Tales | 2014 |
| 249. | McCabe & Mrs. Miller | 1971 |
| 248. | Buena Vista Social Club | 1999 |
| 247. | Hero | 2002 |
| 246. | The Exorcist | 1973 |
| 245. | La Jetée | 1962 |
| 244. | Dersu Uzala | 1975 |
| 243. | Reservoir Dogs | 1992 |
| 242. | Fitzcarraldo | 1982 |
| 241. | Cries & Whispers | 1972 |
| 240. | The Birds | 1963 |
| 239. | The African Queen | 1951 |
| 238. | Toni Erdmann | 2016 |
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| 236. | Annie Hall | 1977 |
| 235. | In the Realm of the Senses | 1976 |
| 234. | Cleo from 5 to 7 | 1962 |
| 233. | Django Unchained | 2012 |
| 232. | Mulholland Dr. | 2001 |
| 231. | Ali: Fear Eats the Soul | 1974 |
| 230. | Moon | 2009 |
| 229. | Whiplash | 2014 |
| 228. | Dirty Harry | 1971 |
| 227. | The Wild Bunch | 1969 |
| 226. | The Great Dictator | 1940 |
| 225. | Double Indemnity | 1944 |
| 224. | The Graduate | 1967 |
| 223. | Satantango | 1994 |
| 222. | In the Mood for Love | 2000 |
| 221. | Blow-Up | 1966 |
| 220. | Why Does Herr R. Run Amok? | 1970 |
| 219. | The Leopard | 1963 |
| 218. | Beauty and the Beast | 1946 |
| 217. | Sullivan's Travels | 1941 |
| 216. | This Is Spinal Tap | 1984 |
| 215. | The Tree of Life | 2011 |
| 214. | All Quiet on the Western Front | 1930 |
| 213. | Entr'acte | 1924 |
| 212. | Yi Yi | 2000 |
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| 210. | Our Hospitality | 1923 |
| 209. | Nosferatu | 1922 |
| 208. | Ugetsu | 1953 |
| 207. | Mad Max: Fury Road | 2015 |
| 206. | The Triplets of Belleville | 2003 |
| 205. | Ivan's Childhood | 1962 |
| 204. | Yojimbo | 1961 |
| 203. | To Be or Not to Be | 1942 |
| 202. | Fear and Loathing in Las Vegas | 1998 |
| 201. | The Big Short | 2015 |
| 200. | The River | 1951 |
| 199. | Ben-Hur | 1959 |
| 198. | The Lives of Others | 2006 |
| 197. | Caché | 2005 |
| 196. | Modern Times | 1936 |
| 195. | Hiroshima Mon Amour | 1959 |
| 194. | Crimes and Misdemeanors | 1989 |
| 193. | Rosemary's Baby | 1968 |
| 192. | The Sun | 2005 |
| 191. | Throne of Blood | 1957 |
| 190. | 25th Hour | 2002 |
| 189. | Pather Panchali | 1955 |
| 188. | Indiana Jones and the Last Crusade | 1989 |
| 187. | A Day in the Country | 1936 |
| 186. | The Silence of the Lambs | 1991 |
| 185. | Weekend | 1967 |
| 184. | American Psycho | 2000 |
| 183. | Requiem for a Dream | 2000 |
| 182. | The Exterminating Angel | 1962 |
| 181. | The Gold Rush | 1925 |
| 180. | Crouching Tiger, Hidden Dragon | 2000 |
| 179. | Black Cat, White Cat | 1998 |
| 178. | The Thin Red Line | 1998 |
| 177. | American History X | 1998 |
| 176. | Downfall | 2004 |
| 175. | Kill Bill: Vol. 1 | 2003 |
| 174. | The Princess Bride | 1987 |
| 173. | District 9 | 2009 |
| 172. | Easy Rider | 1969 |
| 171. | The 400 Blows | 1959 |
| 170. | Touching the Void | 2003 |
| 169. | Funny Games | 1997 |
| 168. | Au Hasard Balthazar | 1966 |
| 167. | All About Eve | 1950 |
| 166. | Trainspotting | 1996 |
| 165. | The Sting | 1973 |
| 164. | A Man Escaped | 1956 |
| 163. | The Bridge on the River Kwai | 1957 |
| 162. | True Lies | 1994 |
| 161. | The Young and the Damned | 1950 |
| 160. | Black Hawk Down | 2001 |
| 159. | Schindler's List | 1993 |
| 158. | F for Fake | 1973 |
| 157. | Jaws | 1975 |
| 156. | Ikiru | 1952 |
| 155. | Blue Velvet | 1986 |
| 154. | 1984 | 1984 |
| 153. | Saving Private Ryan | 1998 |
| 152. | Blade Runner | 1982 |
| 151. | E.T. the Extra-Terrestrial | 1982 |
| 150. | The Shining | 1980 |
| 149. | The Umbrellas of Cherbourg | 1964 |
| 148. | Fantastic Planet | 1973 |
| 147. | Victoria | 2015 |
| 146. | The Fall | 2006 |
| 145. | Last Year at Marienbad | 1961 |
| 144. | La Soufrière | 1977 |
| 143. | Adaptation. | 2002 |
| 142. | The Holy Mountain | 1973 |
| 141. | Jesus Christ Superstar | 1973 |
| 140. | Mean Streets | 1973 |
| 139. | No Country for Old Men | 2007 |
| 138. | The Conformist | 1970 |
| 137. | Gone with the Wind | 1939 |
| 136. | Once Upon a Time in the West | 1968 |
| 135. | Delicatessen | 1991 |
| 134. | Andrei Rublev | 1966 |
| 133. | Jules and Jim | 1962 |
| 132. | Rebecca | 1940 |
| 131. | WALL·E | 2008 |
| 130. | Hard to Be a God | 2013 |
| 129. | M | 1931 |
| 128. | Nostalgia | 1983 |
| 127. | The Hunt | 2012 |
| 126. | Spartacus | 1960 |
| 125. | Some Like It Hot | 1959 |
| 124. | Brazil | 1985 |
| 123. | 12 Angry Men | 1957 |
| 122. | Wild Strawberries | 1957 |
| 121. | North by Northwest | 1959 |
| 120. | The Treasure of the Sierra Madre | 1948 |
| 119. | Bicycle Thieves | 1948 |
| 118. | Ashes and Diamonds | 1958 |
| 117. | Black Narcissus | 1947 |
| 116. | The Red Shoes | 1948 |
| 115. | A Fish Called Wanda | 1988 |
| 114. | Alien | 1979 |
| 113. | The Departed | 2006 |
| 112. | Metropolis | 1927 |
| 111. | Sunrise | 1927 |
| 110. | The Night of the Hunter | 1955 |
| 109. | Barton Fink | 1991 |
| 108. | Sunrise | 1926 |
| 107. | Un Chien Andalou | 1929 |
| 106. | It Happened One Night | 1934 |
| 105. | The Great Escape | 1963 |
| 104. | Battleship Potemkin | 1925 |
| 103. | Festen | 1998 |
| 102. | The Act of Killing | 2012 |
| 101. | Grizzly Man | 2005 |
| 100. | Inglourious Basterds | 2009 |
| 99. | The Big Lebowski | 1998 |
| 98. | Brief Encounter | 1945 |
| 97. | Seven Samurai | 1954 |
| 96. | Late Spring | 1949 |
| 95. | The General | 1926 |
| 94. | Breathless | 1960 |
| 93. | Casino | 1995 |
| 92. | Singin' in the Rain | 1952 |
| 91. | Fantasia | 1940 |
| 90. | The Battle of Algiers | 1966 |
| 89. | The Rules of the Game | 1939 |
| 88. | Shoah | 1985 |
| 87. | The Mirror | 1975 |
| 86. | L'Atalante | 1934 |
| 85. | Full Metal Jacket | 1987 |
| 84. | Almost Famous | 2000 |
| 83. | Underground | 1995 |
| 82. | Dogville | 2003 |
| 81. | Monty Python and the Holy Grail | 1975 |
| 80. | Vertigo | 1958 |
| 79. | Amélie | 2001 |
| 78. | Werckmeister Harmonies | 2000 |
| 77. | Fellini's Satyricon | 1969 |
| 76. | Rocky | 1976 |
| 75. | The Adventures of Prince Achmed | 1926 |
| 74. | The Fly | 1986 |
| 73. | Spirited Away | 2001 |
| 72. | Star Wars Trilogy | 1977 |
| 71. | The Matrix | 1999 |
| 70. | The Good, the Bad and the Ugly | 1966 |
| 69. | Eyes Wide Shut | 1999 |
| 68. | Amarcord | 1973 |
| 67. | Once Upon a Time in America | 1984 |
| 66. | Fargo | 1996 |
| 65. | Ran | 1985 |
| 64. | Magnolia | 1999 |
| 63. | The Awful Truth | 1937 |
| 62. | Life Is Beautiful | 1997 |
| 61. | Breaking the Waves | 1996 |
| 60. | Jurassic Park | 1993 |
| 59. | Twelve Monkeys | 1995 |
| 58. | Forrest Gump | 1994 |
| 57. | The Message | 1976 |
| 56. | One Flew Over the Cuckoo's Nest | 1975 |
| 55. | Manhattan | 1979 |
| 54. | The Wizard of Oz | 1939 |
| 53. | The Apartment | 1960 |
| 52. | Contempt | 1963 |
| 51. | Raging Bull | 1980 |
| 50. | My Darling Clementine | 1946 |
| 49. | Girls in Uniform | 1931 |
| 48. | Goodfellas | 1990 |
| 47. | Pulp Fiction | 1994 |
| 46. | There Will Be Blood | 2007 |
| 45. | Paris, Texas | 1984 |
| 44. | Scarface | 1983 |
| 43. | Raiders of the Lost Ark | 1981 |
| 42. | Stalker | 1979 |
| 41. | Dr. Strangelove | 1964 |
| 40. | The Passion of Joan of Arc | 1928 |
| 39. | Lord of the Rings Trilogy | 2001 |
| 38. | Patton | 1970 |
| 37. | The Godfather Duology | 1972 |
| 36. | A Clockwork Orange | 1971 |
| 35. | Tokyo Story | 1953 |
| 34. | High Noon | 1952 |
| 33. | Safety Last! | 1923 |
| 32. | The Searchers | 1956 |
| 31. | Rashomon | 1950 |
| 30. | Barry Lyndon | 1975 |
| 29. | 8½ | 1963 |
| 28. | Persona | 1966 |
| 27. | Apocalypse Now | 1979 |
| 26. | Amadeus | 1984 |
| 25. | The Seventh Seal | 1957 |
| 24. | Solaris | 1972 |
| 23. | Life of Brian | 1979 |
| 22. | City Lights | 1931 |
| 21. | Taxi Driver | 1976 |
| 20. | It's a Wonderful Life | 1946 |
| 19. | Terminator 2 | 1991 |
| 18. | Aguirre, the Wrath of God | 1972 |
| 17. | La Dolce Vita | 1960 |
| 16. | Viridiana | 1961 |
| 15. | Notorious | 1946 |
| 14. | Sherlock Jr. | 1924 |
| 13. | Sunset Blvd. | 1950 |
| 12. | Das Boot | 1981 |
| 11. | Psycho | 1960 |
| 10. | La Grande Illusion | 1937 |
| 9. | Chimes at Midnight | 1965 |
| 8. | Paths of Glory | 1957 |
| 7. | The Third Man | 1949 |
| 6. | Come and See | 1985 |
| 5. | Casablanca | 1942 |
| 4. | Rear Window | 1954 |
| 3. | Lawrence of Arabia | 1962 |
| 2. | 2001: A Space Odyssey | 1968 |
| 1. | Citizen Kane | 1941 |
| Questions | Answers |
|---|---|
| What's the best way to go about getting a table/bottle service without completely breaking the bank? It's Vegas so of course it's not gonna be cheap by any stretch but do you have any tips to get the most bang for your buck? | Stay away from clubs that have a Major Dj/ Act on that night. Fridays and Saturdays are the worst. They'll price you according to how many people you have. For example at Encore beach club, if you have 6 in your group they'll price you at $1k-1500 to start with. Night clubs usually start at 4/bottle. If you have women with you get them inside through a guest list. They'll get in free. Example, its 4 guys and 4 girls they'll want to get you on a two bottle minimum. Instead have the guys walk in for the one bottle minimum and let the girls know what table number youre at. TA-DA! Youll also get just enough seating for 4-6 but fuck it, youre in a club so get up and have fun! |
| Its all about real estate. If you just want to have a table to enjoy your own space and not have to worry about waiting at the bar then get a table situated off the side. Also give hosts a hard time, don't just say YES to the first offer. Maybe see if they can throw in a bottle of champ or something. Or a buy two get one free. | |
| Whats the craziest thing you've seen in vegas? | Craziest? uhm sex inside clubs. Sex in cabs. Sex out in the open. A girl once was sooo fucked up that she was walking around The Aria with only a bikini bottom and a fishnet top. That's it. Fishnets used to catch Whales so a whole tit, and she had very nice sized tits, pretty much was hanging out. You could see a wave of jaws drop and conversations stop as she walked by with her drunk friend and their two guy friends. Ahh memories. But all in all, drugs, sex, and money being spent on the craziest things. Hobos fighting with themselves. Brides-to-be doing the walk of shame. Craziness. |
| Walk of shame? How do you mean? | Still in the clothes that they wore the last night. Usually because they spent the prior night with someone that they shouldn't have. But its Vegas, spend your night with whoever you can!!! Yaaay! |
| Hobos fighting themselves? Like, Tyler Durden style? | I saw a hobo talking to himself. He then got mad at himself and started punching himself in the gut. I didn't know who to put my money on. |
| Helix or dome fossil? | Helix. |
| What is the biggest scam on the strip? | Id say paying for club passes that are to be had for free. Biggest scam is paying for these wrist bands that promise you no line, no cover, and open bar all night. And its on a night when Tiesto or Zedd is playing. Yeah right, youre showing up to the club and they'll laugh at you. And after you tell them that you gave $30 to someone that seemed honest and even gave you his/her number. I once met a group of 26 girls from a sorority from AZ that each paid $25. After I told them that it was fake two out of the seven girls started tearing. I got them on guest lists to access the clubs for free with one offering an open bar. Was happy to alleviate some of the pain. |
| Oh shit, I forgot! The guys that bring out their tables on the strip and do the whole follow the ball thing. The people winning work with them. Watch them, they'll win and make sure they let out a WHOOO really loud and make sure people are looking. They lure in others and make it look really easy to win. I once saw a guy lose $1700 and a thick heavy as fuck gold chain in less than 3 minutes. he got on his knees and asked for some of it back . The guy gave him $200 because the idiot said it was the last of his money and was with his wife and three kids. Greed I tell ya. | |
| It's always hard for me to believe that in 2014, people actually still fall for that shit... I mean, it's completely unmodified, it's literally a movie cliche scam. | Exactly. I'm like really. Really people? I once saw a guy paying out $300 to 3 ladies and 2 dudes for helping. Imagine what he kept. |
| "A fool and his money are soon parted". Sounds like vegas exemplifies this adage? | I pondered how to answer this question for too long. Short and simple... yes. Perfectly. |
| What's the best way for a middle-aged couple to do clubs? We love the music but feel ridiculous (which kills the fun) queuing up with beautiful twenty-somethings. | First off, you wouldn't be the only middle aged couple. I see them all the time. Some just kick back and drink and then some are dancing all night and don't give a shit what anyone else thinks. Let me know what days you are here and I'll put you on some guest lists so you don't pay cover. |
| Where can I find those hot dogs? | At the Casino Royal, next to the Venetian. All the way in the back. Michelobs for $1 at the bar at the entrance. |
| What about the shots? | Bally's Casino. Taco joint in the back. |
| Sunglasses inside a nightclub. Fucking douche-bags or clever way to hide pupil dilation? | Fucking get the fuck out of here. I cannot say "fuck" enough when I see those idiots in the club. I hope they slip on spilled beer, fall on sticky residue and get up right when the confetti is shot out. |
| Did someone stab you with sunglasses or something? | No, they stabbed me with audacity... audacity to wear them inside a club. I guess its because I'm a form follows function type of guy. Sunglasses inside would only be ok when you're covering up a black eye from a beat down or your bloodshot red eyes would give away that you've been on a drug binge. |
| This is a long shot, but my friends and I are going to be in vegas for EDC, we plan to stay a week, is there anyway you could hook us up when EDC is over? | Sure. Text me before you're here and ill let you know what I can do. Worst case ill be able to do a reduced cover. 7736200454. |
| You are now in my phone as Vegas promoter. I do Vegas about 6 times a year. So expect a text soon and if your down I'll buy you a few beers. | You had me at "Beers". |
| Hey DisasterBUSE, got a question for you. I'm not really a club guy but I do like to go to bars. What are some of the better bars in the casinos that are good for someone who just likes to have a few drinks in between gambling. Also are there any good rock clubs in Vegas? If so, what are the called and where are they? | The Wynn and Encore are very lively at night. If you want to gamble and drink with a great view, that's the place. Venetian, Palazzo, Bellagio, Aria, and last but not least The Cosmopolitan ate great places with great energy. The clubs SurrendeEncore Beach Club and XS have gambling tables in case you'd like to soak a little of the scene in while playing a few hands. |
| How's papa Giorgio? | Not sure but I think he might look something like this nowadays. |
| Going to vegas for a cousins bachelor party from May 14 to 18. I am a student got any tips for me to be money wise? as the people I am going with are all older professionals with money. Any hook ups? thanks! | Do most of your drinking at slots, tables. Ill put in $10 in a slot, and sometimes not even gamble at all. Cocktail servers come around and ask if I want drinks..."two vodka/tonics please" and tip her $4. If youre doing any pool parties and not doing bottle service you might want to get tickets before hand since theyre cheaper than paying at the door. Flasks flasks flasks! Let me know if I missed anything that concerned you. |
| In all seriousness, I'll be in Vegas for the opening weekend of the NCAA tournament. Know of any awesome places (besides the casino sports books) to catch the games? | Bars off the strip are always great. No pressure and decent pricing on booze. unless youre willing to pony up and do Lagasses place at Venetian or something. |
| What's the most common misconception about clubbing and how do you correct people about it? | That theyre impossible to get in, theyre not fun, expensive to get in, girls are hard to meet/ leave the club with. The club I work for 75% of the times im able to get couples in free provided that they show up early. On slower nights Im able to get uneven ratios in (more guys than girls) or give tickets that grant free entrance. And the ladies. To me they all look the same BUT its hard to get over it. Ive seen guys pick up ladies super quick and they only had a beer in their hand, you don't need a massive table with free drinks galore. Theres a lot of girls in the clubs that have awesome personalities but have their guards of because theyre just not comfortable with being groped. Approach them in a non creepy way and youre golden. I see this every week. What surprises me is how many people come to vacation here and are just total Debbie downers. The most amazing thing about this place is that people come here to have fun and dance theyre asses off, even when they have no clue what theyre doing. Walk in to a club through a guest list and get in free, have a drink and enjoy an amazing sound system. Even if its for 30 min, I feel its large part of the Vegas experience. |
| Good answer man! I'd love to have your job | Theres a lot of bad that come with the jobs. A significant other will not be happy with your phone blowing up until the early morning. A lof of girls are absolute bitches and think the whole world owes them something for having their tits out. Its a hustle and with every "NO!", "EWW", and "I HAVE A BOYFRIEND CREEP" you have to keep on and hope the next says yes. And please note, I always approach with something non creepy like "Hey ladies sorry to interrupt, have you been invited to see Macklemore & Ryan Lewis tonight on a guest list"? |
| I've always wondered you guys must get paid pretty good money right? (There was one particular promoter I always stuck with until he recently moved) but this guy had an assistant and took nice trips I kinda just always wondered how that system works. And do Diplo and Dillion Francis put on good shows? I wanna see either one sometime soon | Great question. First off Diplo is at my workplace tomorrow night so best believe Ill be instagramming tons of Videos. All of Maddecent are awesome. Dillon Francis and Diplo are both awesome. Tons of ass shaking tomorrow for sure! |
| So everyone pays differently. I only work at SurrendeEncore Beach and have a day job so my time is limited. So Ill breakdown promotions as much as I can. First off there are different types of Promoters. You have the ones that work at a club like yours truly. Since I only work at SurrendeEncore Beach club, which is run by Las vegas Nightlife Group. I only get paid for people that come to my club. XS and Tryst are owned by the same people and we are all located at the Wynn/Encore. You then have Tao Group, Angel Management Group (AMG), and Light Group. Tao clearly has Tao, Tao beach, Marquee and Marquee Dayclub. AMG has (or had, Hakkasan just bought the group out). Hakkasan, Wet Republic, Pure, LAX, Chateau, Venus, Coyote Ugly, Saville Row. LG runs Light, Daylight, Haze, 1Oak, The Bank and a few lounges/restaurants. Tao group promoters can have guest lists at all their venues so if they leave a group with a great impression and they check in on their guest list at all joints then the person just made $ times the number of venues they checked in. Light Group usually confines their employees to one club, unless they need help filling out another (which they usually do) and allow them to be paid (I waited 8 months to get paid by them, I don't like the way they manage their places). AMG varies as well, I heard some are only focusing on Wet and Hak but heard that before they had to have a certain amount check in at other properties. With all this said, if youre a good promoter, hardoworking, and have a good network, 1k a week is a cakewalk. Even 2k can be done for the greater part of the summer. I know of a guy that can make 4-8k/wk and its all through his phone. Money can be real good IF you work hard and hit high numbers. Ill elaborate a little more later on tonight if anyone wants me to. I need to head home. | |
| If you feel like elaborating, what's the difference between the 1k a week promoter and the promoter making 4-8k? | Well if you don't bring any people and ate not being paid hourly then you might not get a check at all. Those that are successful in this biz network hard, are usually seasoned, and are good enough to the point that clients want to go back to them and refer them to others. Ive heard of hosts being flown to exotic places, gifts being custom made as gifts, and so on. Its really like any other sales job, many do it, some are good, few are great. There are also many ways to make money. You can book hotel rooms, sell packages, etc. where you receive a kick back. When done right its a win/win/win. |
| What's are your experiences like with the Vegas drain dwellers? Any good stories? | Theyre all over the place. Usually just getting drunk and laying out on the sidewalk. I pay no attention to them. Some have demanded money and when I tell them I have no cash or simply say "sorry, cant help ya" at times can get very aggressive. Then they fall on their ass or something. Comical most of the times. Look at them too long though it becomes depressing. The sad thing is I see a lot that are soo young. There was this young girl with a sign that read "pregnant with 2nd child and cannot afford anything. please help". I sat down next to her and asked her why she was out there. I asked if she sought help. I was baffled that such a young person could be so out of luck. She proceeded with a story about her losing her Social Security Income when she moved to Arizona or something. When she moved back they denied her or something along those lines. In the end it seemed like she lost hope and possible gave up too quickly. She said she didn't have family to turn to. Those are the moments when I realize that I am lucky to have a great family that would take me in if I ever went near that route. |
| Whats a good tip to you afer helpi. Some people out? | I don't ever expect to get tipped. I get paid by the club. There are always people who value what I do and slip me a $20,$40. The most I've ever been tipped was $160. It was for setting up someone with table service at a few clubs. Tips humble me, just buy me a shot and we're good! |
| Show up at club with a big line. What amount should you slip the bouncer to let you in and a date? What would you say? I'm always afraid i'll hand over a hundred bucks and he'll make me wait in line anyway. | Depends on the club. If its just you and a date Id say start at $40. Order of difficulty to skip the line from hardest to easiest: All guys> More guys than girls>even ratio mixed group>all girls. That being said if its just a guy and a girl then Id start out at $40, they might come back with $60-$80. If you feel like pulling their bluff thank them for the help but youll just wait in line. Sometimes they'll see $40 better than nothing. Imagine if he does that 10 times a night? Not bad... |
| Another thing you might want to think about is say you just left at a restaurant that's in the casino. Id probably use the whole "My buddy So-and-so, manager at ___, told me to come check it out. I forgot the name of who Im supposed to ask though (maybe guess a name). Can we go in and check it out"? Worst case scenario is they say no, next is they let you pass and you pay cover, best thing is you walk in no line and no cover. Ive met people who have succeeded. | |
| I read your comment about tipping and whatnot and how its not really necessary. i went last august with a group of 12 for my buddy's bachelor party and we got tables at light on a friday and lavo on a sunday. we tipped on both occassions, as i was under the impression that it was proper etiquette. for light we gave the guy a little over 200, and he was able to move us from a table on the 2nd floor in the corner to one that was pretty close to the main floor for the same bottle minimum (we had planned on giving him that much anyway before he moved us). at lavo we hooked the guy up with 100. were we too generous? or is that pretty standard? | A 20% gratuity is always on the bill plus 8.1% tax. Now, with the $200+ you gave the host you then bettered your real estate setting in the club. While you don't really have to tip your host its customary to throw them a bone. You can get your table and have everyone leave you be except your busseserver. Start tipping security and they will make sure the crowd stays clear of your area. Tip your host and they seat you at a better table. Tip a "girl-guy" and they will bring you hot ladies. Now with that last one be very careful, ladies that table hop are very thirsty and the only way for them to stay alive is to have a constant source of alcohol. Party too hard and your 2k table has turned into 8k. Or your 7k has turned into 22k. Ive seen this happen at many clubs. If you just hit it big at the tables or hit a progressive at the slots then fuck it, LIVE IT UP! (Im kidding, save a small town from hunger). |
| Do promoters make a huge difference in cutting the line, hooks, and discounts, and saving money? Rather than just walking into the club blind? | A good promoter wants your experience to be soo awesome that they contact you on their next visit or mention their name when a friend has Vegas plans. That said, our guest lists offer no cover or reduced entry. Express entry is only done when their at the ropes and have an incentive to get you inside faster. If youre a dude youll probably have to tip someone off to skip the line. When I come across a couple I always offer to set them up somewhere else the following night. Its simply good business and I believe in paying it forward. Before I moved to Vegas I made a trip with my SO and I know how hard the city can be without a hookup. I put myself in their shoes and do what I can for them. I always provide pics of my club and explain the whole line/open bar situation. I don't lie to them just for them to get in, it comes back to bite you in your ass. |
| So what's the best way for an international tourist to get some good coke? I've heard it's best to hire a limo and ask the driver. What do you think? | Be very careful. Vice (undercover cops) are all over and look the role they are playing. I once was walking in front of the Bellagio fountains and within a matter of seconds a couple of men, tattoos on their necks and all, went from talking to a guy one second to quickly pulling out their badges and handcuffing the man. All I heard was "under arrest for possession and intent to..". |
| I'm a you get guy and I like older women, what are the best spots to meet them? Just to let you know im23 so older form me is 30+ | Check out the pools, casinos. There a ton of HOT older ladies. A difference between them and younger chicks: Mature woman have no problem having a drink, laying out, or just walking by themselves. You'll find these that are here for a convention and have nothing planned for the night. Whenever I get them on my guest list theres a 90% chance they'll show up. Two weeks ago I had a large group of 9 woman show up. Every. Single. One. Was. Hot! |
| What is the incentive for someone under 21 to visit Vegas? | To make it to 21 and join the fun! Now you have a goal. youre welcome. |
| I kid, kind of. I approach many under 21 and they all look like theyre having fun. I don't even think theres a curfew so you can at least people watch while sipping on whatever. The city never sleeps. Jump on the roller coaster at NYNY or head to Strasphere and have some fun. Lots of walking and selfie opportunities. | |
| Are there ways to get a table at a club for free? | If you have a group of great looking girls or have a local ID then yes, its possible. Youll only have to pay tip. $70-some odd bucks per bottle instead of $600 and change? not bad. |
| Does a promoter like yourself just walk up to us and say "hey, want a free table?" | It depends. For a group of all ladies and if theyre cute I can get them a table with champagne bottles for free. The clubs want pretty ladies in so some places offer then a free dinner and a free table. Every club is different. But if theyre hot my first questions is "so how many girls/guys with you" and when its all girls then its a go. Some clubs require a picture of all girls, it then has to be sent to a manager to approve the group. |
| Is that the real Caesars Palace? Did Caesar live there? | It was faxed it over bit by bit starting in the 60's. Yes Caesar lived there. Ordered tons of room service. |
| How often do people offer you drugs/money/sex in order to get into clubs? | Those younger than 21 are willing to give me their first born just to get in. I get offered tons of things, Im not surprised anymore. |
| Has anybody ever told you that you look like Ami James? Like if you tattooed your neck and stuff I swear you could pass as a double. | No but I see a resemblance. I always get Vin Diesel or Willie Nelson. Ok maybe not Willie. |
| What suggestions do you give for a small college restaurant/bar in terms of bringing people inside? Also what do you NOT suggest doing? | Suggestions like what works to get them inside your place? |
| Any place really! I've seen just about everything in my city but most bars here are dead(50-100k population being students alone!) | Its really location specific. Im from Chicago and Vegas is a whole different ball game. We deal with people that are here for a short amount of time. In the end though all places want bodies inside their place. Motion created commotion so if youre in a place that's packed and fun people want to stay and consume more. Most important, get bodies inside the club/bar early. Before 11 is key. That way any propect walking by sees that its busy and wants to be part of the fun. Does this make sense? |
| What would you recommend as far as afterhours edm parties go? | You might like Artisan. The times that Ive been there its been nothing but deep house and some edm. Really weird décor too, worth seeing. Body English and Drais usually mix it up. |
| What's the craft beer scene like? I've always been a fan of travel, and love checking out the local craft breweries/brewpubs in an area. | Sin City brewery at a few casinos, Big Dog Brewery, Banger Brewery in Downtown, Chicago Brewery to name a few. Yard House carries a few local brew I believe. |
| Chicago Brewing, at Rampart and Ft Apache was my stomping ground for the two years that I lived in Summerlin. I loved that place. Decent food and beer, and the upstairs bar area was perfect for baseball viewing. Good memories, thanks for reminding me of it. | I remember watching my first Bears game there. I got Goosebumps seeing all the people with their jerseys on. Refreshing in this transient city. |
| Hey, thanks for the AMA. What's the deal with dress codes at various clubs? Does it depend on night/weekend? Heading out to Vegas with a bachelor party in June, curious to get your thoughts on this and strategy for a group of 15 drunk idiot single guys. | You know, even I don't know. I mean if you're put together in a presentable manner than you shouldn't have a problem. If you stick to collared shirts and nice shoes then you're good. No athletic wear, no hats. Sometimes chucks slide but id rather you be safe than sorry. Clearly the day clubs are lenient on dress code, still no athletic wear. If you have a club in mind text me and ill make sure to find out what it is they are/are not tolerating. |
| You got me with the the VIP pass? | Hit me up and if I have tickets I don't see why not. |
| Whats the best nightclub on the strip? | Define Best and Ill tell you which one. |
| Surprise me. | My favorite is XS. Hakkasan is the latest and greatest. It cost $100m and was named Nightclub&Bars best top club for 2014. Light inside the Mandalay Bay is awesome. I like Surrender because its an outdoor club with a dancefloor inside (I don't like being shoved every two seconds). Tryst is also cool with a 90ft waterfall. Marquee has always done well and is a must visit (it also gets too crowded for me though). It really depends if you like dancing in the middle of the dancefloor, what kind of music you like, outdoor vs indoor. Then you have your older clubs that still have a following like Pure, Tao. Maybe its because they've been around FOREVER. |
| I fly around a decent amount, if I wanted to make Vegas a frequent destination how could I get in contact with you? | Buy calling/texting! 7736200454. Christopher Landeroz. Texting is way better, I can reply whenever. |
| Too bad doubles are 25$ there lol. | Yes, a simple sprite sets you back $7. $10 at Hakkasan! That's why I tell people to load up at a slot so you only need 1-2 more when you're inside the club. But the place is awesome. Awesome can be expensive =/ |
| Do those mexican guys on the Strip throwing phamplets at anyone actually manage to get people to call those escort lines? | I talk to a few on a regular basis. Super nice people sweating their asses off and getting paid very little. According to one of them theyre just there to pass them out for a company. They almost never see a bonus for it. If the people they work for still have them up and down the strip passing them out then people must be calling. I don't know too much about the escorts you get from calling those numbers. I do know escorts that work for themselves though. Some of those chicks make tons of dough. |
| Do you know my cousin Tiffany? | Does she own jewelry stores all over the place? Make pretty lamps with stained glass? Kidding. |
| Should I know her? Does she work there? | |
| She used to work at surrender now she works at light. | Server? Promoter? |
| I'll be in Vegas for edc weekend. Any chance you might be able to hook it up with guest list? :) | Sure. I'm pretty sure we'll have some major talent that week. Message me sooner than later. |
| What are y'all gonna do when the water runs out? | I should be back home in Chicago by then. Maybe swap out water for Vodka or something. |
| Promoter. | Tae? |
| Yea, tay. | Didn't talk to her much but yes, I remember her. |
| Leaving for Vegas tomorrow for Spring Break/My Bachelor Party! Any way to to get a sweet deal on your club for Saturday night? | Madeon will be there Saturday night! Text me 7736200454. |
| My fiancee is bringing me to LV for my birthday in April. Any tips on birthday hook ups or perks I can get out there? We're staying at The Wynn. | Your hook up is right here! Text me or message me. |
| I'll be there next week, any chance you could hook me up? :) EDIT: It'll also be my 21st Birthday! | Of course! message me. |
| Wanna hook me up VIP style for my 21st in July? | Why not! Message me! |
| I'll be there with my best friend in two weeks for her birthday. Any way you can help us out? | Yup! Message me! |
| I highly recommend the show Absinthe in Las Vegas. I was there about two weeks ago and the show was AMAZING. Although, the humor in the show can be a bit vulgar so if you're offended very easily then I wouldn't recommend it. | This. Ive heard nothing but good things about Absinthe. |
| I am going EBC when it opens March 29th for my birthday. Can I contact you for bottles !! | Yes. Text me! Number is on my instagram profile or message me! |
| I'll have to check it out from Australia sometime :) | Aussie Aussie Aussie!!! Aussies have to be some of the best people that come out. Super friendly, party hard, and uhh party hard! |
| Headed to Vegas the weekend of April 11th for my cousins bachelor party. Staying at Hard Rock. Need some direction on clubs! | Message me, and Ill let you know whats hot. It usually boils down to hip hop or house (and don't get me started on todays "hiphop, Im oldschool but whatev), outdoor or indoor, daytime or night? Ill point you the way. you cant go wrong with the clubs at the Wynn/Encore though. Don't pay for anything online, sometimes they can be had cheaper here. Example: strip club packages for a bachelorette/bachelor party online charge $30-50 when I can get you the same thing for $7-45. A group of girls from back home (Chicago) were referred to me. For some odd reason one of them decided to buy a package for 9 girls. Turns out they overpaid by $135. Its the internet, they know that people like to preplan so they get you like that. Knowing what I know now Id book a room in advance (but would probably willing to try the last minute hotel sites, Ive heard great things about them) and tickets for clubs if it was all males. |
| So i'm going to vegas for the first time starting the 12th of march for my 21st birthday/ mountain west tournament trip what do you think the best clubs and pool parties are to go to to get the whole first time vegas trip experience | Are you the one who text me already? If not then here it goes: (shameless plug) Surrender its an indoooutdoor club. We book talent ranging from hip hop, trap to EDC, Dubstep. While there check out XS and Tryst. Hakkasan at MGM is new and pretty big. Light at Mandalay Bay is new as well. Great lighting and "powered by Cirque du Soleil", meaning performers hang from the ceiling and behind their LED screen. Marquee at the cosmo has always held their weight. Both indoooutdoor. You then have Hyde, Pure, Tao, Moon, Ghost bar and many others. During the day I'm pretty Sure Ghost bar dayclub (GBDC) and Lavo Brunch will be going on during the day on Saturday. Basically they're clubs open during the day. Encore Beach Club might be open and a few others. Those dates are right on the cusp of pools opening so its TBD as of now. Message me and ill see what I can do for you. |
| You mean you're a mexican immigrant who flips cards at people? Or you're a strip bar "concierge" who wanders the strip getting bachelor parties to go to Treasures? And those cheap beers and tequila shots are available at the Taco place in Ballys... duh! | Yes, glad I made myself clear. And not everyone knows their way around Vegas, just trying to help. Thanks for your contribution to the cause. |
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