list http://www.spout.com/ Recent community activity around Hustle & Flow on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Hustle_Flow/256892/default.aspx Title: Hustle & Flow
Year: 2005
Director: Craig Brewer
Plot: One man's struggle to rise above his circumstances prompts him to try a career in music in this acclaimed drama from writer and director Craig Brewer. Djay (Terrence Howard) is a low-level pimp and drug dealer who scraped together a living in the ghettos of Memphis, TN. Djay isn't happy with his life, and the realization that he's reached the same age when his father unexpectedly died has made him start thinking about changing his ways. Djay has always had a gift for spinning stories, and after picking up a cheap keyboard, he begins picking out beats to go along with his rhymes. After bumping into an old high-school buddy who works in gospel music, Key (Anthony Anderson), Djay decided to take the plunge and remake himself as a rapper. With the technical know-how of Key and the musical input of a local beat maker named Shelby (DJ Qualls), Djay begins turning his way with words and his first-hand knowledge of the street life into music, as his two live-in girlfriends, Lexus (Paula Jai Parker) and Shug (Taraji P. Henson), add their musical input and emotional support and Nola (Taryn Manning) continues to turn tricks to pay the bills. When local boy-turned-nationwide hip-hop star Skinny Black (Ludacris) comes to town to pay a visit to Arnel (Isaac Hayes), a club owner friendly with Djay, he sees an opportunity to put his demo in the hands of someone who can bring his music to the masses, though it turns out to be far more difficult than he expected. Hustle & Flow had its world premiere at the 2005 Sundance Film Festival, where it received a number of rave reviews and took home the Audience Award. ~ Mark Deming, All Movie Guide
Times Tagged: 46
Number of Lists: 33
Number of blog posts: 3
Number of discussion threads: 2
SpoutRating: 3
]]>Sun, 16 Aug 2009 19:24:54 GMTHustle & Flow2005Craig BrewerOne man's struggle to rise above his circumstances prompts him to try a career in music in this acclaimed drama from writer and director <a href="/players/P___299159/default.aspx" style='text-decoration:underline'>Craig Brewer</a>. Djay (<a href="/players/P____33528/default.aspx" style='text-decoration:underline'>Terrence Howard</a>) is a low-level pimp and drug dealer who scraped together a living in the ghettos of Memphis, TN. Djay isn't happy with his life, and the realization that he's reached the same age when his father unexpectedly died has made him start thinking about changing his ways. Djay has always had a gift for spinning stories, and after picking up a cheap keyboard, he begins picking out beats to go along with his rhymes. After bumping into an old high-school buddy who works in gospel music, Key (<a href="/players/P___269163/default.aspx" style='text-decoration:underline'>Anthony Anderson</a>), Djay decided to take the plunge and remake himself as a rapper. With the technical know-how of Key and the musical input of a local beat maker named Shelby (DJ Qualls), Djay begins turning his way with words and his first-hand knowledge of the street life into music, as his two live-in girlfriends, Lexus (<a href="/players/P___199208/default.aspx" style='text-decoration:underline'>Paula Jai Parker</a>) and Shug (Taraji P. Henson), add their musical input and emotional support and Nola (<a href="/players/P___290120/default.aspx" style='text-decoration:underline'>Taryn Manning</a>) continues to turn tricks to pay the bills. When local boy-turned-nationwide hip-hop star Skinny Black (<a href="/players/P___362190/default.aspx" style='text-decoration:underline'>Ludacris</a>) comes to town to pay a visit to Arnel (<a href="/players/P____31228/default.aspx" style='text-decoration:underline'>Isaac Hayes</a>), a club owner friendly with Djay, he sees an opportunity to put his demo in the hands of someone who can bring his music to the masses, though it turns out to be far more difficult than he expected. Hustle & Flow had its world premiere at the 2005 Sundance Film Festival, where it received a number of rave reviews and took home the Audience Award. ~ Mark Deming, All Movie Guide46Tag Target (>10)33323http://www.spout.com/ProductImages/u34985da3pb.jpghttp://www.spout.com/films/Hustle_Flow/256892/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/12/22/38710.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/22/2008 1:01:38 PM
Body: The Academy’s list of 49 tunes deemed eligible for the Best Original Song Oscar this year seems like a lot for the Music Branch to pick through. That is, until you notice that more than one-fifth of those contenders are from the same film (High School Musical 3, which, thanks to a new rule, is only allowed, at most, two nominations in this category) and you recall that last year’s list included many more songs (59) to choose from. The talent involved this year, however, is tremendous, at least in terms of those performers who sing the tunes on the soundtrack (many of whom had a hand in the songwriting). These artists include Mariah Carey, Etta James, Beyonce Knowles (who played Etta James), Norah Jones, will.i.am, Jack White and Alicia Keys, Danny Elfman, Emmylou Harris, Chaka Khan and Regina Spektor. Add to those big names such heavyweights as Bruce Springsteen and Peter Gabriel, both of whom are locks to be nominated, as well as tween favorites Miley Cyrus and Zac Efron (along with the rest of the cast from High School Musical 3), and you could have one hell of a concert if the Academy simply turned its awards telecast into one big celebration of the year’s songs written for the screen. Unfortunately for ABC, the Oscars aren’t just about securing viewers, so there’s no promise that the most popular artists will be among the five nominees. Rather, the true Oscar-worthy songs are those tunes that serve their respective films best — in terms of context as much as in the quality of their songwriting. In addition to Springsteen and Gabriel, another sure thing nominee is Clint Eastwood, who wrote the title song for his film Gran Torino. As for the fourth slot, Cyrus could very well find herself a contender, which would technically allow the marketers of her upcoming Hannah Montana Movie to advertise the film as starring “Academy Award Nominee Miley Cyrus.” Her song, “I Thought I Lost You,” co-written with Jeffrey Steele (and co-performed with John Travolta), from Bolt has already received nominations for both a Golden Globe and a BFCA Critic’s Choice Award (as have Springsteen’s title song from The Wrestler and Gabriel’s “Down to Earth” from WALL-E). The only issue with a telecast performance of this song, despite the fact that it might draw higher ratings than a Best Picture nomination for The Dark Knight, is that a live duet between Cyrus and Travolta could be the creepiest musical number since Rob Lowe and Snow White’s infamous rendition of “Proud Mary” back in 1989. The final nominee is more difficult to predict. The Golden Globes selected Knowles’ “Once in a Lifetime” from Cadillac Records, which the Academy could use to make up for the singer/actress’ nominal exclusion as one of the songwriters of the 2007 nominee “Listen,” from Dreamgirls. Another favorite is M.I.A. and A. R. Rahman’s  “O…Saya” from Slumdog Millionaire, though this song has stiff competition from Rahman’s “Jai Ho” from the same film. A nod for the latter would be a wonderful recognition of Indian music, yet in a way it would also beg the question of why thousands of other great tunes from Bollywood haven’t been honored in the past (nor will they be recognized in the future). And why this song over other great “world music” possibilities like Bebel Gilberto’s “Forever,” from They Killed Sister Dorothy, and Angelique Kidjo’s “Djoyigbe,” from Pray the Devil Back to Hell? Oh yeah, because it’s the catchier number from the more upbeat (and fictional) Best Picture favorite. It will be a shame if, like many Oscar categories, there are no real surprises in the nominees for Best Original Song, so to assist the Music Branch in their task, I’ve picked out five alternative selections to those more likely to be nominated: “Barking at the Moon” by Jenny Lewis, from Bolt – Cyrus might be the bigger ratings draw, but Lewis would bring that indie “hipster” cred not really seen from the Academy since Elliott Smith’s nomination and performance more than ten years ago. Ratings aside, though, “Barking at the Moon” is actually the better of Bolt’s two eligible songs, and it’s just as catchy as “I Thought I Lost You.” Plus, its context is equivalent to the usual Randy Newman tune played over an animated film’s montage sequence. And since Newman is shockingly absent from the category this year, Lewis should fill in for him. “Sweet Ballad” by ‘Munchausen by Proxy,’ from Yes Man – If the Academy would rather recognize an actress who is also a singer rather than a singer-turned-actress (Knowles) or an actress-turned-singer (Lewis), then it’s time to honor Zooey Deschanel, who has performed on many of her films’ soundtracks, often diegetically and in character. This time she joined up with Von Iva to form Yes Man’s fake band Munchausen by Proxy, which has two songs eligible for the Oscar. The better of the two is this track, which sounds kind of like Julie Cruise fronting Goldfrapp (maybe David Lynch needs to cast Deschanel in something). It might be a little racy to perform a song featuring the repeated backing vocal lyric of “whore, whore, whore,” but it’s no worse than the Oscar-winning lyrics of “It’s Hard Out Here for a Pimp.” “Trouble the Water” by Blackkoldmadina, from Trouble the Water – Recently the Academy has honored two rap songs (“Lose Yourself” from 8 Mile and “It’s Hard Out Here for a Pimp” from Hustle & Flow) and one track off a documentary (“I Need to Wake Up” from An Inconvenient Truth), so it’s only fair to go the next step and at least nominate this rap song from a documentary. It would be another of the Academy’s favored stories of triumph, since the track is by the doc’s subject, a relatively upbeat Katrina survivor who turned lemons into lemonade with her home video footage of the hurricane. “Up To Our Nex” by Robyn Hitchcock, from Rachel Getting Married – If for some reason the Academy wishes to ignore the usual old guys (sure, Gabriel’s never been nominated, but isn’t he almost interchangeable with his former bandmate Phil Collins?), it could do well to nominate Hitchcock, whose song is both lyrically relevant to the film’s story and prominently performed diegetically, which is precisely how an Oscar-winning song should be. Considering how important music is to Rachel Getting Married, it would be terrible for it to be ignored in this category in favor of an end-credits number. “Dracula’s Lament” by Jason Segel, from Forgetting Sarah Marshall – It’s easy to dismiss both this and Hamlet 2’s “Rock Me Sexy Jesus” as being “funny” songs, comparable to the Oscar-nominated “Blame Canada” from South Park: Bigger, Longer & Uncut. But “Dracula’s Lament,” though plenty humorous, is no joke; it’s actually a great song that reflects the feelings of Segel’s character in the movie. And it would be the first Muppet-related Oscar-nominated song in more than 20 years. Originally posted on:SpoutBlog
]]>Mon, 22 Dec 2008 18:01:38 GMTSpoutBlogSpoutBlog on spout.com12/22/2008 1:01:38 PMThe Academy’s list of 49 tunes deemed eligible for the Best Original Song Oscar this year seems like a lot for the Music Branch to pick through. That is, until you notice that more than one-fifth of those contenders are from the same film (High School Musical 3, which, thanks to a new rule, is only allowed, at most, two nominations in this category) and you recall that last year’s list included many more songs (59) to choose from. The talent involved this year, however, is tremendous, at least in terms of those performers who sing the tunes on the soundtrack (many of whom had a hand in the songwriting). These artists include Mariah Carey, Etta James, Beyonce Knowles (who played Etta James), Norah Jones, will.i.am, Jack White and Alicia Keys, Danny Elfman, Emmylou Harris, Chaka Khan and Regina Spektor. Add to those big names such heavyweights as Bruce Springsteen and Peter Gabriel, both of whom are locks to be nominated, as well as tween favorites Miley Cyrus and Zac Efron (along with the rest of the cast from High School Musical 3), and you could have one hell of a concert if the Academy simply turned its awards telecast into one big celebration of the year’s songs written for the screen. Unfortunately for ABC, the Oscars aren’t just about securing viewers, so there’s no promise that the most popular artists will be among the five nominees. Rather, the true Oscar-worthy songs are those tunes that serve their respective films best — in terms of context as much as in the quality of their songwriting. In addition to Springsteen and Gabriel, another sure thing nominee is Clint Eastwood, who wrote the title song for his film Gran Torino. As for the fourth slot, Cyrus could very well find herself a contender, which would technically allow the marketers of her upcoming Hannah Montana Movie to advertise the film as starring “Academy Award Nominee Miley Cyrus.” Her song, “I Thought I Lost You,” co-written with Jeffrey Steele (and co-performed with John Travolta), from Bolt has already received nominations for both a Golden Globe and a BFCA Critic’s Choice Award (as have Springsteen’s title song from The Wrestler and Gabriel’s “Down to Earth” from WALL-E). The only issue with a telecast performance of this song, despite the fact that it might draw higher ratings than a Best Picture nomination for The Dark Knight, is that a live duet between Cyrus and Travolta could be the creepiest musical number since Rob Lowe and Snow White’s infamous rendition of “Proud Mary” back in 1989. The final nominee is more difficult to predict. The Golden Globes selected Knowles’ “Once in a Lifetime” from Cadillac Records, which the Academy could use to make up for the singer/actress’ nominal exclusion as one of the songwriters of the 2007 nominee “Listen,” from Dreamgirls. Another favorite is M.I.A. and A. R. Rahman’s  “O…Saya” from Slumdog Millionaire, though this song has stiff competition from Rahman’s “Jai Ho” from the same film. A nod for the latter would be a wonderful recognition of Indian music, yet in a way it would also beg the question of why thousands of other great tunes from Bollywood haven’t been honored in the past (nor will they be recognized in the future). And why this song over other great “world music” possibilities like Bebel Gilberto’s “Forever,” from They Killed Sister Dorothy, and Angelique Kidjo’s “Djoyigbe,” from Pray the Devil Back to Hell? Oh yeah, because it’s the catchier number from the more upbeat (and fictional) Best Picture favorite. It will be a shame if, like many Oscar categories, there are no real surprises in the nominees for Best Original Song, so to assist the Music Branch in their task, I’ve picked out five alternative selections to those more likely to be nominated: “Barking at the Moon” by Jenny Lewis, from Bolt – Cyrus might be the bigger ratings draw, but Lewis would bring that indie “hipster” cred not really seen from the Academy since Elliott Smith’s nomination and performance more than ten years ago. Ratings aside, though, “Barking at the Moon” is actually the better of Bolt’s two eligible songs, and it’s just as catchy as “I Thought I Lost You.” Plus, its context is equivalent to the usual Randy Newman tune played over an animated film’s montage sequence. And since Newman is shockingly absent from the category this year, Lewis should fill in for him. “Sweet Ballad” by ‘Munchausen by Proxy,’ from Yes Man – If the Academy would rather recognize an actress who is also a singer rather than a singer-turned-actress (Knowles) or an actress-turned-singer (Lewis), then it’s time to honor Zooey Deschanel, who has performed on many of her films’ soundtracks, often diegetically and in character. This time she joined up with Von Iva to form Yes Man’s fake band Munchausen by Proxy, which has two songs eligible for the Oscar. The better of the two is this track, which sounds kind of like Julie Cruise fronting Goldfrapp (maybe David Lynch needs to cast Deschanel in something). It might be a little racy to perform a song featuring the repeated backing vocal lyric of “whore, whore, whore,” but it’s no worse than the Oscar-winning lyrics of “It’s Hard Out Here for a Pimp.” “Trouble the Water” by Blackkoldmadina, from Trouble the Water – Recently the Academy has honored two rap songs (“Lose Yourself” from 8 Mile and “It’s Hard Out Here for a Pimp” from Hustle & Flow) and one track off a documentary (“I Need to Wake Up” from An Inconvenient Truth), so it’s only fair to go the next step and at least nominate this rap song from a documentary. It would be another of the Academy’s favored stories of triumph, since the track is by the doc’s subject, a relatively upbeat Katrina survivor who turned lemons into lemonade with her home video footage of the hurricane. “Up To Our Nex” by Robyn Hitchcock, from Rachel Getting Married – If for some reason the Academy wishes to ignore the usual old guys (sure, Gabriel’s never been nominated, but isn’t he almost interchangeable with his former bandmate Phil Collins?), it could do well to nominate Hitchcock, whose song is both lyrically relevant to the film’s story and prominently performed diegetically, which is precisely how an Oscar-winning song should be. Considering how important music is to Rachel Getting Married, it would be terrible for it to be ignored in this category in favor of an end-credits number. “Dracula’s Lament” by Jason Segel, from Forgetting Sarah Marshall – It’s easy to dismiss both this and Hamlet 2’s “Rock Me Sexy Jesus” as being “funny” songs, comparable to the Oscar-nominated “Blame Canada” from South Park: Bigger, Longer & Uncut. But “Dracula’s Lament,” though plenty humorous, is no joke; it’s actually a great song that reflects the feelings of Segel’s character in the movie. And it would be the first Muppet-related Oscar-nominated song in more than 20 years. Originally posted on:SpoutBlog http://www.spout.com/blogs/captainryannn/archive/2008/12/4/37960.aspx Post By: CaptainRyannn
Post To: CaptainRyannn Blog
Post Date: 12/4/2008 4:53:27 PM
Body: You know it’s hard out here for a pimp, when you’re trying to get the money for the rent. For the Cadillac and gas money’s spent, there’s a whole lot of bitches jumping ship. In the Oscar-winning song “It’s Hard Out Here for a Pimp”, the lyrics tell the viewer the very essence of the film. This is the story of a hustler and a drug dealer, Djay (Terrence Howard), who is having a mid-life crisis. Tired of the same routine, he buys a keyboard and discovers that he wants to become a rapper. With his old high school pal, Key (Anthony Anderson), and the white boy with beats (DJ Qualls), he builds a make-shift home studio and begins his quest to become the next great thing. With hardships and hoes working against him around every corner, Djay struggles to maintain his “mode” and push that “good shit out” in time for a party that famed rapper Skinny Black (Ludacris) will be at in town. The reason I liked this movie so much is because offered a human dilemma. Not a black dilemma. Not a rapper dilemma. Not a drug dealer dilemma, but a universal human dilemma; the struggle for change. Even though I may still be young, I’ve felt the need to accomplish something with my life and not know how to go about doing it. The music in this movie is pretty awesome. Everything from Djay’s original songs to the rest of the soundtrack had me bouncing…and I don’t even care for most rap! So if you’re down for a good movie with some sweet music, check this one out.
]]>Thu, 04 Dec 2008 21:53:27 GMTCaptainRyannnCaptainRyannn Blog12/4/2008 4:53:27 PMYou know it&rsquo;s hard out here for a pimp, when you&rsquo;re trying to get the money for the rent. For the Cadillac and gas money&rsquo;s spent, there&rsquo;s a whole lot of bitches jumping ship. In the Oscar-winning song &ldquo;It&rsquo;s Hard Out Here for a Pimp&rdquo;, the lyrics tell the viewer the very essence of the film. This is the story of a hustler and a drug dealer, Djay (Terrence Howard), who is having a mid-life crisis. Tired of the same routine, he buys a keyboard and discovers that he wants to become a rapper. With his old high school pal, Key (Anthony Anderson), and the white boy with beats (DJ Qualls), he builds a make-shift home studio and begins his quest to become the next great thing. With hardships and hoes working against him around every corner, Djay struggles to maintain his &ldquo;mode&rdquo; and push that &ldquo;good shit out&rdquo; in time for a party that famed rapper Skinny Black (Ludacris) will be at in town. The reason I liked this movie so much is because offered a human dilemma. Not a black dilemma. Not a rapper dilemma. Not a drug dealer dilemma, but a universal human dilemma; the struggle for change. Even though I may still be young, I&rsquo;ve felt the need to accomplish something with my life and not know how to go about doing it. The music in this movie is pretty awesome. Everything from Djay&rsquo;s original songs to the rest of the soundtrack had me bouncing&hellip;and I don&rsquo;t even care for most rap! So if you&rsquo;re down for a good movie with some sweet music, check this one out. http://www.spout.com/groups/Movie_Soundtracks/Soundtrack_you_listen_to_the_most/100/17160/1/ShowPost.aspx Post By: KATTmandu
Post To: Movie Soundtracks
Post Date: 8/3/2007 10:58:48 AM
Body: While most of us may agree that Chariots of Fire or The Good, The Bad, and The Ugly may be fantastic soundtracks, you're probably not very likely to be listening to these on your iPod very often (unless maybe you're near the end of your run or you're feeling like a badass). Anyway, I am wondering what soundtrack you listen to the most? I'll probably catch some flack for this as it's not really within the genre of a typical spout member, but the soundtrack I listen to the most is actually Hustle and Flow (2005). I really enjoy it and don't forget the lead track did actually win an Oscar! Let me know what you think.
]]>Fri, 03 Aug 2007 14:58:48 GMTKATTmanduMovie Soundtracks8/3/2007 10:58:48 AMWhile most of us may agree that Chariots of Fire or The Good, The Bad, and The Ugly may be fantastic soundtracks, you&#39;re probably not very likely to be listening to these on your iPod very often (unless maybe you&#39;re near the end of your run or you&#39;re feeling like a badass). Anyway, I am wondering what soundtrack you listen to the most? I&#39;ll probably catch some flack for this as it&#39;s not really within the genre of a typical spout member, but the soundtrack I listen to the most is actually Hustle and Flow (2005). I really enjoy it and don&#39;t forget the lead track did actually win an Oscar! Let me know what you think. http://www.spout.com/blogs/gothere/archive/2007/2/11/5361.aspx Post By: gothere
Post To: You should go there
Post Date: 2/11/2007 2:33:00 PM
Body: Though they almost could've used the same theme song, Hustle & Flow is a far better than 8 Mile. Hustle & Flow is more real and more tragic, making it a lot more memorable.Terrence Howard is the kind of actor who has the ability to evoke several competing emotions in a sidewise glance. I love a film that capitalizes on such talent, as this one requires. Beside the more obviously hip 70's title sequence, catchy hooks, and hip-hop storyline of a pimp trying to make it big, what I like most about this film is its depiction of the creative process. The truth in people creating art from all walks of life in their living rooms, drawing from personal experience and as Howard's character, Djay puts it, that every man has to tell his story. I love that the song they create is an assemblage that crosses boundaries and is equal parts ego, angst, and happenstance. Even though it's hard out here, that this truth previals makes Hustle & Flow an optimistic film which shines through its sad veneer.
]]>Sun, 11 Feb 2007 19:33:00 GMTgothereYou should go there2/11/2007 2:33:00 PMThough they almost could&#39;ve used the same theme song, Hustle &amp; Flow is a far better than 8 Mile. Hustle &amp; Flow is more real and more tragic, making it a lot more memorable.Terrence Howard is the kind of actor who has the ability to evoke several competing emotions in a sidewise glance. I love a film that capitalizes on such talent, as this one requires. Beside the more obviously hip 70&#39;s title sequence, catchy hooks, and hip-hop storyline of a pimp trying to make it big, what I like most about this film is its depiction of the creative process. The truth in people creating art from all walks of life in their living rooms, drawing from personal experience and as Howard&#39;s character, Djay puts it, that every man has to tell his story. I love that the song they create is an assemblage that crosses boundaries and is equal parts ego, angst, and happenstance. Even though it&#39;s hard out here, that this truth previals makes Hustle &amp; Flow an optimistic film which shines through its sad veneer. http://www.spout.com/groups/did_you_enjoy_the_movie/hustle_and_flow/169/3044/1/ShowPost.aspx Post By: wonga
Post To: did you enjoy the movie
Post Date: 9/24/2006 9:47:30 AM
Body: this weekend Hustle and Flow went from my "want to see" list to my "have seen" list. i've had a used copy for a long time but have put off seeing it for whatever reason. i knew about the great reviews, oscar nominations, etc., but the premise didn't really seem like something i would like. anyway, as Roger Ebert or whoever put it, "it's not what it's about, it's how it's about it." a great story is a great story and by the end of the movie i was rooting for this extended "family" to make it. highly recommended for those who haven't gotten around to this one yet.
]]>Sun, 24 Sep 2006 13:47:30 GMTwongadid you enjoy the movie9/24/2006 9:47:30 AMthis weekend Hustle and Flow went from my "want to see" list to my "have seen" list. i've had a used copy for a long time but have put off seeing it for whatever reason. i knew about the great reviews, oscar nominations, etc., but the premise didn't really seem like something i would like. anyway, as Roger Ebert or whoever put it, "it's not what it's about, it's how it's about it." a great story is a great story and by the end of the movie i was rooting for this extended "family" to make it. highly recommended for those who haven't gotten around to this one yet. http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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