The Hustlers at Scores - A modern Robin Hood story: the strippers who stole from (mostly) rich men

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The Hustlers at Scores

A modern Robin Hood story: the strippers who stole from (mostly) rich, (usually) disgusting men and gave to, well, themselves.
By Jessica Pressler Illustrations by Clay Rodery
Hustlers, the movie based on this New York Magazine article, releases in theaters on September 13. Illustration: Clay Rodery
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In another life, Roselyn Keo might have liked to work on Wall Street. “I’m smart enough, I know,” she told me, sitting in the immaculate white kitchen of her suburban home. She’s organized, she pointed out, and good at math, and there is little doubt she has an entrepreneurial streak. As a kid, she said, she used to buy candy in bulk and sell it at school for a profit, which I later remembered is the same story hedge-fund billionaire John Paulson tells about himself. But John Paulson was born into his body and Roselyn Keo was born into hers, which happens to be a rather more overtly sexy shape, with the sort of waist-to-hip ratio scientists have concluded affects men like a drug. It’s the kind of body that, as they used to say, could get a girl in trouble, though getting into trouble was something Rosie was plenty capable of all by herself.

Growing up here in Rockland County, Rosie, as she likes to be called, was a wild child. She ran with a tough crowd, had bad boyfriends, got into fights at school. Now 31, she has since made some inquiries into the field of psychology and concluded that this behavior was likely the result of her parents’ having taken off to Atlantic City when she was young and leaving her and her brother behind with elderly grandparents.

According to Rosie, her parents were Cambodian refugees who came to America hoping for a better life and “got caught up with the, you know, material crap, and the nice cars, and the nightlife,” she said. “And just somewhere, they went wrong.”

(I say “according to Rosie” because her family did not respond to interview requests, and because Rosie is an admitted liar with multiple pending felony charges. Still, she is occasionally prone to offering up indisputable truths. “American culture is a little fucked up,” she mused. “You know?”)

Anyway, according to Rosie, this was what eventually led to her going wrong — to her dropping out of school and, at 17, taking a job at the New City Diner, a greasy spoon off the main drag in Nanuet, in order to supplement her grandparents’ meager income. Late at night and early in the morning, she poured coffee and took orders from customers, many of whom were employees from Lace, the nearby gentlemen’s club. One night, one of Lace’s managers dropped a $20 tip on a $20 check, gave her uniform a long up-and-down look, and suggested she come by if she was interested in making more money.

This was back in the early aughts, when the industry was enjoying a cultural moment. Improbably, the values of third-wave feminism had aligned with those of Howard Stern, ushering in an era in which taking off one’s clothes in front of an audience was no longer degrading but sexually liberating and financially empowering. New York City clubs like Scores, with their bright lights and bottle service, had successfully marketed themselves as a naughty-but-harmless night out for men and women, and celebrities and athletes were all too happy to be photographed with dancers who looked as wholesome as topless cheerleaders.

Rosie had seen the HBO show G String Divas and observed the huge wads of cash the dancers peeled off their ankles at the end of the night. She went to Lace the next day, lied about her age, and landed a job making, by her recollection, $500 to $1,000 a night. But the real money, she knew, was in Manhattan. Soon, she started driving her used Honda into the city, to Flash Dancers in Times Square and Larry Flynt’s Hustler Club. Which is where she met Samantha Foxx.

Samantha, born Samantha Barbash, was one of Hustler’s top moneymakers. A single mother from the Bronx, she’d started dancing at 19, and, like an ornamental plant purposefully stunted to conform to a certain ideal, she’d been shaped by the industry in which she grew up. Her body was Jessica Rabbit curvy, her lips Angelina Jolie puffy; her hair, which concealed tattoos of a cascade of stars running down her neck, was Cleopatra black. Buried within this ultrafeminine package was a mercenary streak worthy of Gordon Gekko.

By the time Rosie met her, Samantha was in her 30s — ancient by stripper standards — but she’d maintained her supremacy in part by cultivating younger dancers. While evolutionary theory and The Bachelor would suggest that a room full of women hoping to attract the attention of a few men would be cutthroat-competitive, it’s actually better for strippers to work together, because while most men might be able keep their wits, and their wallets, around one scantily clad, sweet-smelling sylph, they tend to lose their grip around three or four. Which is why at Hustler, as elsewhere, the dancers worked in groups. “And everyone wanted to work with Samantha,” Rosie recalled. “Because she had a lot of clients and she knew how to work well.”

Samantha took Rosie under her wing, introducing her, in her throaty, Mae West voice, to some of her regular customers. “Mostly Wall Street guys,” Samantha told me, in a tone that suggested a more populist outlook than I had anticipated, “who want to have fun and get drunk and party with girls.”

At this point, it was 2007. Strip clubs weren’t as popular as they had been — a series of mob-related arrests at Scores had taken away some of the gloss — but they were as good a place as any to blow off steam after a day pushing around billions of millions. Better, really, since strip clubs were one of the few places outside Wall Street where large sums of money could be treated just as cavalierly. “It was like la-la land in there,” Rosie recalled of Hustler. “We had a guy who was — is — at Guggenheim Partners. He spent 300 grand in one week. He came in three times, 100 grand every time he walked in the room. Everyone made $10,000 every time he came in.”

“That’s nothing to them,” Samantha told me in a separate conversation. “Noth-ing.”

The men were mostly assholes. Even when they didn’t start out that way, they’d get drunk and say things like, “Did your father abuse you? Is that why you do this?,” which was unnerving even when it wasn’t true. The majority were married, though that didn’t stop them from asking for things like blow jobs or sex or to be penetrated with a Champagne bottle, a request that they were shocked came from a clean-cut family man.

In the beginning, after work, Rosie would pick fights with her boyfriend, accusing him of cheating. “It fucked me up in the head a little,” she said of the window her job gave her into the male psyche. “The girls develop a terrible contempt,” one former Scores manager told me. “They stop believing men are real. They think: They are there for me to manipulate and take money from.

And when it came to that, they all preferred the assholes. There’s something extra-satisfying about persuading a man who thinks you’re trash to spend his time and money on you. Preferably so much that in the end, they hate themselves. It’s like, Who doesn’t have any self-respect now, motherfucker?

At least they were worthy opponents. Not like the sad-sack losers who came in just to talk. “Like,” Rosie said, “I want you to look at me like I’m not one of those scumbag perverts.” Those guys had their uses, since you could string them along forever and extract payments for “rent” or “school.” But their weakness was pathetic. “I had so many damsel-in-distress stories,” Rosie said with a sigh. “Don’t tell me you love me. That means I know I can milk you for everything, and then some.”

Rosie has an open face, with a wide-eyed innocence she enhances through eyelash extensions, and in time she attracted a lot of these types of men. One of them was — is — a white-collar professional we’ll call Brian, who would sit at the bar and watch Rosie study. “It was just unbelievable how organized she was,” he told me. “Her penmanship was perfect.”

A lot of girls claimed to be students, but Rosie really was taking classes, at Berkeley College in New Jersey. With the help of Introduction to Psychology, she’d studied the dynamics of the club and found its long-term prospects unappealing. “The reason why Wall Street guys party so hard is because they’re not happy with their jobs,” she explained to me. “You make money, but you’re not happy, so you go out and splurge on strip clubs and drinking and drugs, then the money depletes and you have to make it again. The dancers are the same way. You make money, but then you’re depressed, so you end up shopping or going on vacation, and the money depletes, so you go back …”

This was not a pattern Rosie intended to get stuck in. Not like Samantha, whom she’d come to view as a cautionary tale. She would talk about the classes she took at F.I.T. and the swimsuit line she was starting, but the idea of her getting a straight job seemed about as likely as a vampire becoming a lifeguard. Rosie had ambition. Despite everyone who had indicated to her otherwise — her parents, her boyfriends, the guys who kicked her out of the Champagne Room because they “weren’t feeling her” — Rosie knew she was special.

On this point, she and Brian were in agreement, which is why she tolerated him and why he thought they had, in his words, “a connection.” So much of one that when his fiancée’s visa ran out, he let her return to Kazakhstan because he thought Rosie was finally going to give him a chance. “I felt in my heart,” he said, “that she liked me.”

So he was surprised when, instead, Rosie disappeared. He didn’t hear from her until nearly two years later, when she called from Arizona. She’d moved out there with a friend, and she wanted to come back. Could he help her pay for a moving truck?

“I could hear a baby crying in the background,” Brian told me. “She was like, ‘It’s my friend’s, I’m watching it.’ ”

“I told him I was in Arizona,” Rosie said later.

In reality, she had never left New York. She’d gotten pregnant with and engaged to her on-again-off-again boyfriend. But the couple had hit a rough patch, and Rosie was looking to assert financial independence for herself and her newborn daughter. She had started by calling the names on what she called her “Get Money” list.

Sadly for her, the Kazakh had come back, and Brian was now married, and when none of her other leads panned out to her satisfaction, Rosie drove back into the city, to Hustler. “You gotta do what you gotta do,” she said, sighing.

In the time she’d been gone, things had drastically changed. The market collapse in 2008 had left half of Wall Street unemployed, and the mood was such that the other half was staying as far from the Champagne Room as possible. The dancers, too, were all new, she found when she got on the floor. “There were all these Russian girls and Colombian girls, and they were giving blow jobs for $300,” Rosie said. “And they were good-looking. I was like, I can’t compete with this shit!

Then she saw a familiar face. Samantha Foxx wasn’t dancing anymore, but she was still at the clubs every night, running a crew of dark-haired minions who would pick men up and bring them into the clubs. Samantha called this, rather grandly, “marketing,” although it is generally known as “fishing” and not seen as something one could make a career out of. But Samantha seemed to be doing extraordinarily well, Rosie observed, as she watched them clicking in and out of the Champagne Room, red soles flashing. “I started noticing, these bitches make a lot of money, and they don’t even really work,” she said. “Samantha had found some kind of loophole, where ‘I can get paid and not have to actually have sex.’ ”

Whenever the door to the rooms opened, Rosie would peer in, trying to figure out what they were up to. It didn’t take her long to figure out what was going on. “Like I said, I’m smart,” she said. “I would see the guy laid out, chillin’, and I would be like, Hmmm.”

As long asSamantha had been in the business, it had been structured in a way that was disadvantageous to dancers. The girls were the main draw; this was as plain as the neon lights outside every strip club in America. Yet traditionally, instead of the clubs paying the dancers, the dancers pay the clubs for the privilege of working there. Not only that, they’re expected to tip out the bartender, the hosts, the DJ, and the house mom, as well as pay assorted other fees — like on the “funny money” Scores sells to customers in lieu of having an ATM, taking 20 percent on each side of the transaction.

Since the recession, however, Samantha had found that the tables had turned. The clubs needed customers, and she had the ability to bring them in. Rosie wasn’t the only one with a “Get Money” list.

At night, Samantha would go down the list of client phone numbers she’d accrued over the years. “You know, like a telemarketer would do,” she told me. Often, she couldn’t remember having met the guys, and sometimes the guys didn’t remember her either. But she’d send them a sexy text and a photograph and see if they were up for a night out.

Truth be told, Samantha didn’t always send her own picture.
Recognizing that she may have crossed a plastic-surgery Rubicon and could scare off those unaccustomed to creatures of the night, she sometimes sent a picture of one of the girls in her crew. Like Karina Pascucci, the sister of one of her dancer friends. Dark-haired and sloe-eyed, Karina had had her lips injected — an asshole boyfriend had called her unadulterated ones “disgusting” — but she was still natural-looking, enough that people often pointed out that she looked like a younger Samantha. They also said that about Marsi Rosen, another beauty in Samantha’s stable. Marsi, who lived near Samantha in Bayside, had been an easy recruit: Her boyfriend, a convicted drug dealer everyone called the Pimp, was apparently all too happy to have her provide another revenue stream.

pleaded guilty this year to unlawfully charging the credit cards of two customers. And although Rosie maintains that the group would occasionally swipe credit cards through Scores’ funny-money machine, she rejects the suggestion, made by some, that anyone at Scores was the driving force behind the scheme. “Nobody put us up to anything!” she snapped at me when I suggested it. “We are strong women who don’t fucking take shit from nobody.”


Rosie believed the hosts and managers appreciated her work. “There were nights and weeks where I brought in the club 100 grand. Without me making the effort to go out and market and promote, they wouldn’t have business.” She was no longer just a disposable dancer; she was the CFO of her own corporation. “It was like I moved up on the totem pole,” she said.

With Rosie’s business savvy and Samantha’s people skills, business boomed. That first Christmas, they bought their favorite prostitute her first pair of Louboutins. “We were like Kobe and Shaq,” said Rosie. “That’s what I always said to Samantha. We were untouchable.”


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Illustration: Clay Rodery
“How much are we going to make tonight?”

Rosie looked over at Samantha, whose face was illuminated by the iPad she was using to look at a pair of shoes on Gucci.com. It was fall 2013, and they were sitting outside a hotel on the Upper East Side in Rosie’s Escalade, waiting for one of the girls to come downstairs with the client’s credit card so they could run it over to the Roadhouse to swipe.

This was a new innovation. Their success hadn’t gone unnoticed by other dancers, and the market had gotten crowded enough with copycats that they’d decided to switch things up. Guys wanted to be around strippers, Rosie had observed, but they didn’t always want to go to the clubs — especially in Queens. “I saw there was a market for in-between,” Rosie told me. “You bring the strippers to the guy. It was good, and we had a monopoly on it for a while.”

The gang was doing well, as evidenced by the several luxury vehicles Rosie had in rotation. All of their closets were lined with Gucci and Chanel, and ordinarily, Rosie wouldn’t have blinked at spending a thousand dollars on shoes. “That was like a night for me,” she said. “Or like an hour.”

Still, something about seeing Samantha shopping in the car had irritated Rosie. “I think I’m just going to buy these tonight,” her partner said, swiping a finger across the screen.

In retrospect, Rosie recognizes this was the moment when she felt things were getting out of control. Running a team of hookers, strippers, and thieves was complicated. The prostitutes were unreliable. “They wouldn’t show up for work, they would be intoxicated, they would get beat up by their boyfriends and had to be in the hospital or had asthma,” Rosie said. And her attempts at being a den mother had been met with indifference. “You have opportunities,” she’d told one girl in frustration. “You just don’t take advantage of them.”

The other girls weren’t much help. Marsi and Karina would sometimes get grossed out and disappear for weeks, and whenever that happened, tensions between Rosie and Samantha flared. “Samantha would get upset and start looking for other resources, for other girls,” Rosie said. Samantha had a soft spot for ex-strippers with problems — not the kind of girls Rosie trusted. “When I’m doing business with somebody, I want stand-up people, not junkies and criminals,” she told me. “People that have morals and principles.”

“If we’re a team and we’re making money and winning games, are you going to start trading players and bringing in new people?” she would argue with Samantha.

Samantha had zero business sense, was the problem. Look what happened with Rick, a banker they’d met. “He was good-looking, had money, was nice, and not a pervert,” Rosie said. Paraphrasing Warren Buffett’s long-term-greed philosophy, she’d suggested the gang would be better served by padding out Rick’s bills over time, rather than “banging him out” all at once. But after Samantha found out Rick had a credit limit of $50,000, that was that. Rick was predictably furious and never returned a text again. “That’s the problem with these girls,” Rosie told me of her cohort, shaking her head. “I see the forest. They just wanted a $50,000 tree.”

alleged had failed to pay a $135,000 bill he’d racked up during four visits to the club. “If he was drugged the first time, I guess he liked it,” a Scores spokesman quipped.


The doctor became a laughingstock, but the cops recognized the M.O. right away. “When you look at it out of context, it seems like he’s making it up,” one of the detectives told me. “But the dates were so tight together he didn’t know about the charges until it was over. It was sad — he actually thought he was dating the girl.”

Younan told the cops he’d met Karina Pascucci at a restaurant on Park Avenue. She said she was a nursing student and introduced him to her relatives, Samantha and Marsi. Their dates had ended a little fuzzily, he said, but it wasn’t until he got a phone call from American Express alerting him to $135,000 in charges made at Scores that he realized something was seriously wrong. After the story broke, one of the cops who’d interviewed him ran into a colleague.

“That guy’s full of shit,” the guy said.

“No,” protested the cop. “It really happened.”

Young men themselves, the cop and his colleagues were getting kind of spooked. “I’m paranoid,” one told me. “I know this job. You come here, you say this happened to me. Who’s going to believe me? Your gun is missing, your badge is missing, you blacked out, they have video of you at a go-go bar …”

At first, according to Rosie, Samantha was happy about the attention the doctor was getting in the tabloids. “She was like, ‘Good, now he’ll pay his bill.’ ” But Rosie had a bad feeling about it. Like she said, she’s perceptive.

On June 9, 2014, the cops cornered Samantha at an ATM in her neighborhood. “They were like, ‘Get in the car! You’re under arrest!’ ” she recalled. “The neighbors were staring. I’m having like a panic attack.” Karina was picked up next, then Marsi.

Rosie was last. In the car on the way to central booking, she and the cop bantered. “He was basically like, ‘How did you get wrapped up in this?’ ” Rosie told me. “ ‘You’re smart, you’re pretty.’ ”

“Maybe when all this is said and done, I’ll take you out for a drink,” Rosie said offhandedly.

In the rearview mirror, his face changed. “I ain’t never taking a drink from you,” he said tersely.

Rosie laughed. “Don’t worry, hon,” she said. “You don’t have no money for me to take.”

In addition to Younan, the cops had persuaded three other victims to testify, all professionals petrified of their names getting out. In interrogation sessions, the cops laid out the charges filed against the women — forgery, conspiracy, grand larceny, and assault — and explained to them how each of the men had been affected by what they’d done. One was Fred, the father with the autistic son. As it turned out, one of the credit cards they’d maxed out was corporate. His company had launched an internal investigation, and Fred had been fired. Later, after starting a new job, he was informed his name had been reported to an agency that tracks white-collar crime, and he was fired again. Since then, he’s been fortunate enough to find a consulting job, but he lives in fear of being found out by his current employer. “I wake up in the morning thinking about it,” Fred told me. “Every day, once or twice a day, I feel the barrel of the gun against my head.”

The women were unmoved. As they saw it, they should be considered the aggrieved parties. The cops were going after them, four hardworking women from difficult backgrounds, all because a “prominent doctor,” as Samantha put it, had complained that he’d been taken advantage of. Which they all maintained was bunk: Samantha had met Younan back at Hustler, they said; he was a regular. (Younan’s lawyers deny this.) “He’s a scumbag like the rest of them,” Samantha told me. “These guys are all over these girls,” she said of her clientele. “They get fucked up, they know what the hell they’re doing.”

If they’d done anything wrong — and she didn’t think they had — it was nothing compared to the stuff men got away with on a regular basis. And yet they were looking at three years in jail? It was outrageous. “What about the things the guys did?” Samantha fumed. “What about Bill Cosby?”

To add insult to injury, the tabloids reporting on their arrest kept referring to them as “strippers,” a descriptor they’d worked hard to transcend. “None of us are strippers,” Samantha insisted. This was a distinction lost on the men who arrested them. “I liked the part when one girl I was interviewing had a derogatory comment about the prostitutes they called in,” one of the cops said to his colleague. “Like, ‘I don’t do that.’ ”

The other guy laughed. “You think that drugging people without their consent is okay, but a prostitute is derogatory? They’re warped.”

Afterward, they were trucked out to Rikers, where they were reunited in a cell the following day. Samantha attempted to rally the troops. “Samantha was like, ‘Let’s all hold hands and fight this together!’ ” said Rosie. “ ‘It’s us against them. We didn’t do anything! We’re innocent!’ ”

Rosie looked at Samantha, who resembled a deranged Rosie the Riveter in the leopard hair wrap she was arrested in. “I’m thinking in my head, This is dumb,” she told me. “I said, ‘Yeah, we’re innocent. We’re all fuckin’ angels. You are delusional. Like, come on! Everything has already unraveled! Put your big-girl panties on. Just be truthful for one thing in life.’ ”

“Rosie basically had a breakdown,” Samantha said.

The correction officers eyed them with amusement. Even without their hair and makeup, they were a sight to behold, four exotic birds chirping in a cage.
“Which one of you is the ringleader?” one asked.

“Samantha pointed to me,” Rosie said. “I pointed to her.”

“Keo talked,” said Carmine Vitolo, brushing past Samantha Barbash outside Manhattan Criminal Court one morning in November 2014. Samantha, teetering on the steps in Gucci heels, paled visibly beneath her tan.

That afternoon, I drove to Nanuet to see Rosie. She opened the door looking wary. Samantha had already texted. We heard you took a deal. Good luck.

“At first I was like, ‘No. I don’t want to be a rat,’ ” Rosie told me, sitting on her couch, wrapped in a Gucci throw, while her daughter played with Barbies on the snow-white carpet. “But then I thought about it, and I’m, like, the only one of those girls that’s normal, with a brain on my head, with a child and a future.”

She wasn’t worried about her former colleagues, especially Samantha. “She’ll have a crew in jail,” she cracked. “I was watching Orange Is the New Black.
She’ll be like Red. She’ll be like V.”

Over the next year, I talked to Rosie many times. At first they were proper interviews, but then she’d call at random and we would just talk. She’d want to complain about Samantha and how she’d “fucked up my aspirations.” Or she’d return to her goals for the future and her struggles with anger and depression. “I know why we did it,” she told me at one point. “Hurt people hurt people.” Despite her obvious flaws, it was easy to understand why clients found her charming. She was funny and strange and oddly philosophical, especially on the subjects of greed and materialism. “I need to decipher the difference between what I want and what I need,” she said at one point while telling me about paring down her handbag collection. “Because the want of wanting is what’s killing me.”

In February, we met for lunch before her appearance in criminal court. When we got there, the judge was still hearing the previous case, about a shooting incident, and the prosecutor was showing a video of the defendant giving an interview to police in which he thoroughly incriminated himself. It was painful.

“Idiot,” muttered a guy in the front row. It turned out to be Rosie’s lawyer, who had not been returning my calls.

I began to feel nervous for Rosie, who’d been evasive about the terms of the deal she was expecting to get. But she hadn’t seemed at all concerned. “I mean, it’s white-collar crime,” she’d said at one point. As the defendant in front of us hung his head in regret, she nudged me and held up her phone, which displayed an array of caviar dishes on Yelp. “Do you like foie gras?” she whispered. “I love foie gras.”

All the women were desperate to avoid jail time, and their plea negotiations dragged the case into November, when Karina and Marsi pleaded guilty to conspiracy, assault, and grand larceny. A few weeks later, Samantha Barbash pleaded to the same charges. Their sentencings are scheduled for early in the New Year. In the meantime, Karina has a new retail job; Samantha is still working on her swimsuit line.

Rosie’s court date is scheduled for February. Throughout the ordeal, she has appeared mostly upbeat about the idea of sharing her story; she told me she was thinking of becoming a motivational speaker like Jordan Belfort, the banker made famous by The Wolf of Wall Street. But then later, when a fact-checker at this magazine called to confirm details, she declared she had made everything up. When she and I spoke, I told her this was impossible — her story is corroborated by multiple indictments and many interviews — and she seemed to acknowledge this. “Right now, I am telling you everything is fictional,” she said after I asked her about her Jordan Belfort plan and she paused for a long while. “If you want to write the fictional story I told you, you can.” Then she said something we both knew was true: “I am saving myself,” she said. “I am out for myself.”

Still, I like her. We’ve stayed in touch. Not long ago, when we spoke, she said she was living in California. I have no idea if this was true, but if it was, I will say she seemed happy. She and her fiancé were on the rocks again, but she’d been making new friends, she said. There was a man who was helping her get a job in pharmaceutical sales, and she was learning how to trade stocks.
“Guys out here all want to bang me. They’re all like, ‘I’ll take you on my private jet. We’ll go to Tampa, we’ll go to Vegas.’ ” She hadn’t said yes to anyone, but she was thinking about it. “I mean, I have all their numbers.”
 
They did the same at a stripclub in Atlanta some years ago, got a bunch of NBA, NFL and MLB dudes. Patrick Ewing, Reggie Miller, Larry Johnson, Terrel Davis, John Starks, etc.
http://proxy.espn.com/espn/page2/story?id=1237371
  • In 1997, Kaplan arranged a one-night trip to Charleston, S.C., to surprise some New York Knicks who were there for an exhibition game, imploring the strippers to have sex with the players and paying six of them $1,000 apiece.
  • Later that year, Patrick Ewing and some of his Knicks teammates were escorted to a semi-private "Gold Room" with "six to 10 girls" for a night of groping and lap dancing. Ziggy testified that, "Girls were having a good time, jumping on the players" and remembered hearing someone yell out, "There are no rules tonight!"


    (If you're ever in a room with a group of NBA players and strippers and somebody yells out the words, "There are no rules tonight," start running for your life. Just trust me.)
 
No matter what these strippers try to tell you, all that “i’m not a stripper i’m a EXOTIC DANCER/ENTERTAINER”, they all have/will sell pussy. Chicks be talking about only a few strippers in the stripclub sell pussy and give the “clean” strippers a bad name, they be lying they ass off
 
Stalking Janet Jackson, and Other Stories Behind the Hustlers Soundtrack


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Hustlers’ entire mission statement is right there in its first few frames. “This is a story about control,” intones Janet Jackson, as fledgling stripper Destiny (Constance Wu) examines herself nervously in a dressing-room mirror, adjusting her bra straps and applying a wet pink lip gloss. “My control,” continues Jackson. “Control of what I say, control of what I do. And this time I’m gonna do it my way.” Jackson’s 1986 hit keeps playing as the camera follows Destiny from behind as she hits the strip-club stage for the first time, her face briefly lighting up as she gently spins around the pole to cheers and applause.

When Destiny steps offstage, flushed and happy, a drunk Wall Street bro beckons her to his table, and her fleeting spell of confidence and Jackson’s song halt simultaneously. “Hey, Lucy Liu,” he yells. “Come here. This is my boy Danny. Can you show him a good time?” The camera cuts to a dead-eyed Destiny rapidly humping an old man in a private room.

Writer-director Lorene Scafaria says that Jackson’s “Control” was so essential to the opening scene that she’s not sure what she would’ve done had Jackson said no to licensing the song. “I said out of the gate, ‘If we don’t get this, I don’t know what this movie is.’ There’s a theme of control that runs throughout the movie, and I didn’t want to make any bones about it — I wanted that to be very clear,” Scafaria says. “When we have it, when we don’t. Even when we’re empowered, it doesn’t mean we’re in control. I wanted to start the movie on Destiny and follow her from the locker room onto the floor, and use that song as part of the storytelling to not just put us in her shoes but to ask us some questions while we’re with her in real time.”


According to music supervisor Jason Markey, the licensing for “Control” came down to the wire. When I spoke to him a few weeks before the film’s premiere, he told me he was “sweating, to be honest.” Though Universal, who owns Jackson’s masters, had given the film the go-ahead to use the song, they told Markey they couldn’t get ahold of Jackson while she was on tour to get the final approvals. “I said, ‘There’s no backing out. This is in the movie. We can’t take it out at this point, so we need this approved,’” says Markey. “I always have anxiety, but this was beyond anxiety. I doubled the Xanax.”

It wasn’t until Markey and his team sent actual footage of the opening scene to Jackson that she finally gave her blessing. “After she saw the clip, she loved it,” he says with palpable relief. “It’s like giving birth. I was walking in circles all day long, pacing, anxiety, bad dreams, you name it. Let’s just say we pulled off a miracle, okay?”

The rest of the Hustlers’ soundtrack — a combination of mid-aughts pop and hip-hop, Chopin cues, and classic rock — was just as nonnegotiable for Scafaria, who wrote music cues directly into the script, before she even knew she had the directing job. She went so far as to pen personal letters to some of the artists. The cues “made the script feel like a musical in my head,” she says. “So we shot to specific songs, timed things out to specific songs, and edited to those songs … and hoped we’d get the rights.”

Below, we picked out ten songs from the soundtrack and asked Scafaria, Markey, and editor Kayla Emter to tell us the stories — both stressful and sweet — behind the selection and licensing of each one.

1. “Control” and “Miss You Much,” Janet Jackson

After shooting the entirety of Hustlers in 29 days, Scafaria went straight to the editing room with Emter, who’d edited her previous film, The Meddler.The two played with soundtrack options, pausing the film and playing a variety of songs over the scenes, all the while cutting the film together. “We kind of joke about it, but we’d be up till 2 a.m., 4 a.m., just editing, exploring all of the options. We’d plug in her computer, her phone, she’ll just skip through tracks in the room and we’ll just push Play on the edit and mute it and see what emotion comes from the music,” says Emter. “Lorene left the editing room and didn’t stop working, which I always found really inspiring — she’d come back and go, ‘What if we use this music, or this ADR line?’ It really made me up my game as a contributor.”

But most of the music was locked down, at least in Scafaria’s mind, all the way back in 2016, when she first drafted the script. I always knew I wanted to bookend the movie with Janet,” she says. While Jackson’s “Control” opens the film, the softer “Miss You Much” closes it, playing over a bittersweet montage of Ramona and Destiny’s friendship. “She captures a sound and is an icon — larger than Ramona’s iconography, even,” adds Scafaria. “So I like the idea that it begins and ends with Janet.”

2. “Criminal,” Fiona Apple

Perhaps the most mind-blowing music cue in the entire film occurs about ten minutes in, when Jennifer Lopez, as veteran stripper Ramona, takes the stage and slowly strips to Fiona Apple’s “Criminal.” The song choice feels like a low-key feminist dog whistle: Lopez motorboats finance bros and smiles on cue for her drunken public but takes a deep pleasure in her own staggering physical achievements, set to cheeky lyrics likely lost on the men she’s performing for.

Though Lopez initially wanted to dance to a cover of “Wicked Game” for the scene, Scafaria suggested “Criminal” instead, and Lopez loved the idea. “I love the tempo, I love what it says, I’m obsessed with the song and in love with Fiona Apple,” says Scafaria. “The lyrics, the storytelling of it, the mood of it, the power of it, the seduction of it — there’s something layered to it. It’s about a lot more than it sounds like it’s about. I felt like it perfectly entered Ramona into the story and gave that character a really great showcase and entrance. There’s something emotional about it, too — that was the feeling I wanted to get across from Destiny’s POV. And I loved that it was a song that Ramona would choose for herself.”

The catch: Apple had never before licensed the song for a film. So Scafaria sent her the sequence and crossed her fingers. “Jennifer learned an entire routine to this edited version, and if Fiona didn’t give us rights, I’m not sure what we would’ve done,” she says. Fortunately, Apple said yes. Markey thinks it’s because she “liked the women empowerment involved, and is probably a fan of Jen’s, which helps.” But Scafria thinks it might’ve been the dance itself.

3. Étude, Op. 25, No. 7, in C-sharp minor, written by Frédéric François Chopin, arranged by Matt Herskowitz

Hustlers doesn’t have a traditional score, but Scafaria scatters several Chopin études throughout the film: when Ramona teaches Destiny to pole-dance, when the elated women sit down for a warm and luxurious Christmas at the height of their success, when Destiny thinks back on her tattered friendship with Ramona. Scafaria says the études were the first musical cues she dreamt up back in 2016.

“It started with the Chopin cues, these studies designed to teach very difficult arpeggios. I found a similarity between the difficulty and the flexibility and dexterity of playing those pieces to the strippers on the pole, and what’s required of them in order to do those dances, as well as the strength it takes just to walk through the room,” she says. “And they score the love story between Destiny and Ramona.”

Getting the rights to these specific pieces was, naturally, a challenge. “They were all by this pianist in Germany, and we spent six months trying to find him, and we couldn’t. It was impossible. I have called friends in Germany who are musicians, and they’d never heard of the guy. It was crazy,” says Markey.

“Then one of the women who worked with me found some random ad of his, about one of his albums, and it led to us finding his email address. We’d been sweating that one, too, forever.”

4. “Gimme More,” Britney Spears

As Destiny learns the ropes from Ramona, the two begin raking in cash, buying shoes and fur coats and couture with piles of $1 bills. In an early montage, the friends are sitting inside a massive Escalade at a harshly lit car dealership. Ramona reaches over to the radio and turns the dial. Britney’s unmistakable growl blares from the speakers: “It’s Britney, bitch.” Ramona and Destiny start dancing uncontrollably in their seats. “We got a pocket full of ones!” screams Ramona, laughing, as she turns up the music, to the chagrin of the surrounding male salesmen.

“This was another one written into the script that felt so important to the time period,” says Scafaria. “I was so desperate to see this in the montage. I was like, ‘It just has to be Britney and it has to be this song. It’s peak 2007.’”

Scafaria was encouraged to do a few takes without “Gimme More,” just in case Spears said no, but she refused. “Jennifer and I were like, ‘We can’t! It has to be Britney! We don’t know what to do if it’s not Britney!’ That’s my motherfucking song. I love Britney. She’s one of those artists I have an incredible amount of respect for. She was put through the wringer and she’s on the other side of it. She’s a mother, she has mouths to feed, and to come up during that time — to be sexualized and scrutinized and built up and torn down and maybe not be taken care of really well along the way — I feel so much for her. We got so lucky that Britney said yes.”

5. “Love in This Club,” Usher

Perhaps the most iconic meta-cameo in film history happens about a third of the way into Hustlers. It’s the height of 2007, just before the financial crash, and everyone is blindly living their best, most excessive lives. One night, as the dancers are getting ready to hop onstage, Lizzo runs, breathless, into the dressing room. “Motherfucking Usher is here!” she screams. “Usher, bitch!” And Usher himself, resplendent in his own 2007 fit, waltzes into the club in slow motion as “Love in This Club” blares from the speakers. “The entire scene was made in my dreams, and somehow fully realized,” says Scafaria.

“I wrote ‘Love in This Club’ into the script, and Usher did have a suggestion for a different song — I think it was ‘Bad Girl.’ And I was like, ‘Ooh, it has to be “Love in This Club,” I’m sorry!’ ” she laughs. “Not that I’m not a fan of his entire catalogue — I’m an Usher fan for life. But that is the sound of this scene and this moment, when everything was peaking for everyone and it felt like the sky was raining money, and we weren’t aware of what was right around the corner.”

Scafaria says it was easy to get Usher to come around on the song choice. “I think he realized once we were there just how electric the room was, and how much it meant to everyone dancing on the stage, and behind the camera as well. The mood in the room had to be Champagne flowing and money falling.”

6. “Next,” Scott Walker

The first night of Ramona and Destiny’s scam unfurls in a glorious, syrupy montage of men blissfully passing out in private rooms. “What’s your Social Security number?” they whisper to a series of smiling, slightly conscious Wall Streeters, who have no idea their credit cards are being run up by the minute. The whole thing is set to Scott Walker’s cover of Jacques Brel’s bruising, bizarre antiwar song “Next.” It’s perfectly out of step with the rest of the soundtrack and conveys just the right amount of stomach-churning surreality and bleak humor.

“Scott Walker is my idol,” says Scafaria. “His voice is made of a material not on Earth.” She says that she shot the scene to this song and, again, couldn’t imagine how it would work without it. “This song is so important to capture the tone of the scene, which is so tricky. It’s about a very different thing than what we’re watching, but it still seems to tell the story of it. It’s not a pretty sequence, and for some, it’s wildly uncomfortable. But I think the song lends itself to any interpretation of the scene. You can think, This is so strange and fucked up, or you can think, This is beautiful. And I think there’s something thrilling in using a song that I don’t think people have heard before in a sequence that I don’t think a lot of people have seen before — unless the sexes are reversed, and you’re reading the news.”

Halfway through filming the movie, and before Scafaria could ask for the rights to the song, Walker passed away. “I was really heartbroken. I’ve never met him; I’m just a fan from afar. But I was also worried that we weren’t going to get the rights to that song because of estates, at that point. I felt like I could write him a personal letter and hopefully get through, because that song was so crucial to this montage.” Fortunately, the song cleared, and the sequence stands as one of the strangest and most memorable in the film.

7. “Birthday Cake,” Rihanna

It’s the height of the strippers’ scam. Ramona’s in a massive fur coat, storming into the club in slow motion, surrounded by her equally radiant friends. Money rains from the rafters. “We brought 100 grand into the club,” Ramona brags in voice-over. In the background, Rihanna is extolling the virtues of cake.

“Rihanna was the last approval we had to get, and I wrote a letter to her,” says Scafaria. “I wrote about what she means to me, what she’s meant to all women over the years — being a self-made woman and being on Forbes lists.” For Scafaria, Rihanna was something of a soul mate to the Hustlers characters. “I loved telling the stories about all of these women who rose out of where they came from and did a lot with the hand they were given. We’re all dealt a certain hand of cards, and I really just admire everything that Rihanna made of herself. She does everything with what seems like kindness and grace, but also an incredible amount of power and strength.”

Apparently, Rihanna saw similar parallels, and agreed to license the song. “To hear her voice during that scene when the women are at the height of their power — that felt very important to me,” says Scafaria.

8. “Dance (A$$),” Big Sean

Immediately after the “Birthday Cake” scene, we’re transported to Ramona’s new luxury apartment, where a group of burly movers are attempting to lug her tanning bed up a set of stairs and fit it through the door. As they struggle and sweat, Big Sean sings sweetly: “Ass, ass, ass, ass, ass, ass, ass, ass, ass, ass, ass, ass, ass, ass, ass, ass.”

“That transition was so great,” laughs Scafaria. “I knew I wanted to go seamlessly from song to song, like a DJ does at a club. These songs just went together so perfectly. I love going from the women walking into the club to Rihanna’s voice, to the men moving the tanning bed with this male voice. It ended up going perfectly with how they struggle with the tanning bed — it went along with the lyrics. And then to see Jennifer and Constance in their Juicy tracksuits, living the high life in that moment, was really fun.”

9. “Night Moves,” Bob Seger

Near the end of Hustlers, when shit is going down in every sense, Dawn (Madeline Brewer) sells out her fellow scammers to the cops and participates in a jittery, chaotic sting operation. The score to the whole thing is unexpected, but absolutely perfect: Bob Seger’s “Night Moves.”

“I have to give credit to Kayla, who channeled that song — it wasn’t written into the script,” says Scafaria. “She had the sheet music for ‘Night Moves’ on the wall in a frame in our editing room. At the end of a particularly rough day, we’d always put it on to feel better. When we came to that part of the story where the cops take over the narrative in a way, I said, ‘I feel like the cops need their own soundtrack, their own sound.’ We’re outside of the club, so they need a song that really tells their story.”

At first, Seger wasn’t exactly onboard. “He was very on the fence with the movie,” says Markey. “I think one thing that could have possibly been the reason was the drugs. A lot of artists don’t like to be associated with any drugs. But I said, ‘Look, nobody got hurt. There’s no harm here.’ It’s not an optimal situation for anybody to get roofied or drugged, but nobody got harmed, nobody died.”

Eventually, Seger came around. “He saw the clip and ended up really liking it. So I think everything worked out in the end,” says Markey. When I point out that it’s a little ironic that a 1960s rock star didn’t want to be associated with drugs, he laughs. “No shit, right? This guy probably did more blow than anybody.”

10. “Royals,” Lorde

Ramona, clad in a black Juicy suit with a crown decal, heads to the ATM to withdraw some cash, her heels pounding the pavement in time with Lorde’s voice. Suddenly, she’s surrounded by cops. She raises her hands over her head as Lorde croons, “We’ll never be royals, it don’t run in our blood,” subtly underscoring the movie’s points about control, class, and capitalism. One by one, each of the women are rounded up and arrested. The door to their communal jail cell clangs shut just as Lorde sings, “And I’m in love with being queen.”

Scafaria had her heart set on “Royals” and shot Lopez walking specifically to the song. But it was perhaps the longest shot of the entire soundtrack. “That song’s never been licensed for a film,” says Markey. “Lorde is just very — she just doesn’t care about things. She’s very passive when it comes to that. She’s very precious and she usually just says no.”

So Markey, who says most of his job involves “begging,” got to work. “I called my friend Jonathan Daniel, who’s her manager, and pleaded with him to let us have that song. We think it’s so badass. And we sent her a clip of the movie.” Scafaria also wrote Lorde a letter, explaining what the song meant to her and to the scene. Ultimately, Lorde agreed to license her first-ever song to a film.

I asked Markey what he thinks Lorde loved, specifically, about the scene. “I’m not sure,” he says. “Women [artists] have just been rising up and realizing this is such an important movie, and giving us approvals based on that.”

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In Hustlers, Jennifer Lopez Proves the Power of the Movie Star
By Angelica Jade Bastién

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Jennifer Lopez and Constance Wu in Hustlers. Photo: Courtesy of STX


In 1962, on the set of the beleaguered production of writer-director Joseph Mankiewicz’s Cleopatra,Elizabeth Taylor gave Richard Burton a lesson on the power of a camera-lit star. As Sam Kashner and Nancy Schoenberger write in Furious Love,Burton was initially confused by what he perceived to be Taylor’s lack of technique. “She’s just not doing anything,” he complained to Mankiewicz of their scenes together. So the director took Burton aside and showed him what Taylor looked like onscreen. “It took his breath away,” the authors write. “Burton — trained to move, to speak, to act — was struck by Elizabeth’s absolute stillness.” Burton would later claim that he gleaned a lifelong skill from his time with Elizabeth: how to calmly acquiesce to the “camera’s cool eye.”

In Lorene Scafaria’s glittering crime spectacle Hustlers,Jennifer Lopez barely needs to move before the camera’s cool eye to pull our attention toward her. Consider her reintroduction onscreen, after she’s just finished pole dancing to Fiona Apple’s “Criminal.” She’s festooned by a magnificent fur coat, wearing towering Lucite platform heels and a silver-tasseled number that highlights her immense beauty and fine musculature. She’s on a roof, carefully smoking a cigarette, the city around her drenched in darkness. Lopez barely moves in this scene, but she doesn’t have to. The confidence she possesses is undeniable, in the posture of her body and the jut of her chin. Destiny (Constance Wu) recognizes this immediately. She stumbles onto that rooftop and into a deep friendship that will alter the course of her life in ways she’s still trying to understand by the end of the film. Lopez is a goddess and a general, a woman in full control of her body and the story it tells. And the body never lies. It’s this fearsome, layered, magnetic performance that Hustlers orbits.

Hustlers, which is based on a New York Magazinearticle, is ostensibly about a group of 2007–2008–era strippers, led by a woman named Ramona (Lopez), who begin drugging men with deep pockets after the financial crisis, maxing out their cards at the club and taking a cut for themselves. It’s a raucous, glitter-coated treatise on the pulverizing nature of capitalism, stuffed inside a rich period piece whose soundtrack and costuming work in concert to create a bracing time capsule. The strippers’ red-light-decked escapades are intercut with the individual story of Destiny, revealed through a series of prickly interactions with a journalist, Elizabeth (Julia Stiles, portraying New York’s Jessica Pressler), who’s interested in the scheme she hatched with Ramona. The strength of the film is in how it charts the fierce, complex, emotional relationship between these two women, as they alternately hustle to provide for their families and enjoy the luxury that the Wall Street suits they dance for take for granted.

Hustlers’profoundvision of female friendship — physically intimate, occasionally uproarious, and always tangled up in power imbalances — dazzles in part because of the movie’s casting. I was especially mesmerized by the small turns by Lili Reinhart as Annabelle, a stripper estranged from her family who tends to vomit under emotional duress, and Cardi B, whose signature cackle was made to be documented on film. Constance Wu brings a wounded, yearning quality toDestiny, apparent even before we learn of her mother’s abandonment, casting in sharp relief why she’s so drawn to Ramona. Beyond the cast, Scafaria proves to be an immensely intelligent writer-director, who never looks down on her characters, allowing them to be rough-hewn anti-heroes rather than bland paragons of empowerment. Scafaria wisely revels in the hard-edged nature of women, allowing them to be angry, untrusting, vindictive, loving, and glamorous, all at the same time. In essence, they have humanity.

Much can be said about the aesthetic delights of the film, too. The film deftlyglides through time, owing to editor Kayla Emter, who balances the emotional, criminal, and cultural threads of the film. Mitchell Travers’s wardrobe design is some of the best I’ve seen this year; the second-skin tight dresses, silver thigh-high boots, chinchilla coats, and Juicy Couture hoodies feel totemic. The sound design and music supervision are stealthily beguiling. At one point, Destiny abruptly turns off Elizabeth’s recording device, ending the interview and plunging the film into silence. It’s a cunning choice.

But days later, I keep coming back to Jennifer Lopez’s performance. With a wave of her hand or a dip in her hips, light seems to change and move with her. Lopez has always been charming — even great — in films like Out of Sight (1998). But here she’s doing the best work of her career, weaponizing an undeniable charisma and turning it into something hard, pointed, righteous, even angry. The way she trains her Kohl-rimmed eyes on a mark is thrilling and frightening. The way she walks into a room — and the film gives us ample opportunity to study her strut in fur, into a bar, toward a salivating man, sometimes in slow motion — communicates such self-possession and raw grace that I found myself craning closer to the screen, as if I could identify the source of such power and adopt it myself. There’s a moment late in the film when we only see Lopez’s back to the camera, dressed in that Juicy Couture hoodie and leather leggings. Scafaria’s camera holds onto this image. We can’t see Lopez’s face, but her still back paints a picture of confidence, hard work, desire. It’s a fleeting moment but one that stopped me cold, in awe of the story her body had to tell.
 
Hustlers Beat the Odds at the Box Office to Become a Rare Non-Franchise Hit
By Chris Lee
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Photo: STXfilms

In the scam saga Hustlers, Jennifer Lopez, Constance Wu, Lili Reinhart, and Keke Palmer portray a quartet of pole-dancing strippers who devise a scheme to drug and dupe Wall Street bros out of hundreds of thousands of dollars. Over its opening weekend in theaters, the film (developed from a 2015 New York article by Jessica Pressler, “The Hustlers at Scores”) made off with an unexpectedly robust $33.2 million at the box office, surpassing prerelease tracking estimates by more than $8 million. On the astronomically high heels of ecstatic reviews out of the Toronto International Film Festival, where Hustlers premiered last Saturday night, that debut stands as J.Lo’s biggest non-animated movie opening to date, as well as the strongest bow for any film green-lit by Hustlers’ five-year-old distributor, STX Entertainment.

“The unexpected success of Hustlers is exactly what the industry needs after a summer of disappointing performances by non-franchise, adult-driven dramas that seemingly could not rise above the noise and bombast of their big-budget, franchise-powered counterparts,” says Comcast senior media analyst Paul Dergarabedian. “The film’s marketing campaign has been solid from the start. But it’s the rave reviews, star power, and, most importantly, the Zeitgeist buzz that have taken Hustlers to the next level and have made it the rare non-franchise event film.”

Although the $20 million comedy-drama — which features Cardi B and Lizzo as fellow strippers — couldn’t steal the top spot from It: Chapter Two ($40 million over its second weekend in release), Hustlers’ success arrives as a striking reversal of fortune for a film that came perilously close to not getting made at all. Initially set up at Annapurna Pictures with filmmaker Lorene Scafaria (The Meddler, Seeking a Friend for the End of the World) attached as screenwriter, the project was dumped when the Megan Ellison– studio hit a financial rough patch in October 2018. Scafaria (who wanted to direct the film), Lopez (who was also attached as a producer), and her producing partner Elaine Goldsmith-Thomas had to set off, hats in hand, around Hollywood, pitching new backers on their all-women Robin Hood–meets–Ocean’s 11 crime romp.


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Outside of 2012’s Magic Mike (and, to a lesser extent, The Full Monty), films plotted around strippers haven’t fared well at the box office. But thanks to Lopez and Goldsmith-Thomas’s preexisting relationship with STX (which had released the Lopez-starring 2018 dramedy-romance Second Act), the trio found a receptive audience in the studio’s chairman Adam Fogelson. He realized Hustlers’ potential to connect at the multiplex, where so many other male movie executives did not. “We were intrigued by the opportunity for a female writer-director, primarily female producers, and an almost exclusively female cast to take a based-on-a-true-story look at this world,” Fogelson says. “Whether it’s The Wolf of Wall Street or GoodFellas, people tend to love entertaining crime stories. The fact that the likable criminals were women and not men struck us as only a positive.”

STX’s unique business formula involves making movies featuring big stars “for a price” (that is, a low price), then tightly focusing their marketing efforts to spend about half of what other studios have shelled out to promote comparable female-centric films like Ocean’s 8 or Girls Trip. To get Hustlers in front of the widest possible audience this weekend, STX took a four-pronged approach:

Playing the Cardi B Card

Although real-life stripper-turned-rapper Cardi B only delivers a supporting performance, the filmmakers and studio executives felt her participation would play a key component in both establishing Hustlers’ cultural credibility and marketing the film. In Vulture’s oral history of the film, Lopez explained how she personally called the multiplatinum-selling “Bodak Yellow” MC and “told her she had to do it.”

“One of the big conversations we had was, ‘How do you fill out this cast in a way that creates hype around the movie but also creates authenticity for the movie?’” Fogelson says. “Everything you see in terms of Cardi wasn’t originally scripted, because she wasn’t attached to the movie when we took it on.”

Music created another viral marketing opportunity. “Having Cardi B’s ‘Money’ song as the anthem for this film with the connection of her being in it was another huge element,” he says. “I had the benefit of working on the marketing campaign for Eight Mile many years ago. And that Eminem song so clearly became the anthem for the film, you literally didn’t even need to see an image to know that was what was being talked about or sold.”

Where to Park the Trailer

While most movie trailers are unleashed on the internet four to six months prior to a film’s theatrical debut, STX made the relatively risky move not to unveil promotional clips until just a few weeks before Husters’ multiplex rollout. “We launched the trailer for this movie two months before it came out, which is, by all traditional measures, an impossibly short window of time to get a movie to reach critical mass in the marketplace,” the STX chairman explains. “Along with the filmmakers, we believed that any longer than that, you were actually going to run the risk of running out of steam. Because there was so much interest and so much enthusiasm for what this film was, how it was being made and who was in it, we believed that compressing it down to this time frame was going to create some sort of maximum sustainable enthusiasm to reach opening day.”

Clearly Positioning Hustlers as a Movie About Women by Women

Heading into opening weekend, studio executives correctly predicted the majority of Hustlers’ audience would be women (on Sunday, STX put out an announcement confirming that 67 percent of attendees were female). The marketing team deliberately sidestepped marketing materials showcasing the actresses in barely-there outfits, instead choosing to emphasize the characters’ full-fleshed humanity — even if that meant avoiding the kind of sexy spectacle that would, under ordinary circumstances, be a marketing go-to. “The movie is definitely shot from a female point of view,” says Fogelson. “It does not gratuitously present the world of a strip club, while still actually presenting an authentic and sexy version of it. It’s not a male gaze we are looking through.”

“It would have been possible in marketing materials to have very specifically selected certain moments that would have risked not reflecting that vision,” he continues. “And we wanted to be very careful never to err on the side of oversexualizing what this was.”

No Reason to be Antisocial

Fogelson waves away the idea that stars with giant social-media followings can somehow translate Facebook friends into ticket sales. But it’s impossible to ignore the principal cast’s social clout: Lopez has 100 million followers on Instagram, Cardi B has 50 million on the platform, and Reinhart has 19 million. The trick, the executive explains, is harnessing the actresses’ social engagement to get moviegoers more excited about the movie than they already were.

“We can go through a laundry list of people who have lots of followers who say, ‘Come see my movie’ and it doesn’t work out,” the chairman says. “There is evidence, however, that if you have a movie that people want to see and you have an incredibly sophisticated and socially engaged cast, you can amplify that message and meaningfully contain marketing costs — to the benefit of all the talent, who in one way or another will participate in the financial success of the film.”

He adds: “But if we didn’t have a movie people wanted to see, it wouldn’t have mattered.”
 
Could Hustlers Scam Its Way Into the Oscars Race?
By Nate Jones@kn8
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Last year at the Toronto International Film Festival, I attended a raucous premiere screening of a film about a diverse group of women achieving self-actualization by stealing from rich, white men. I came away convinced that this socially conscious, expertly crafted thrill ride would be a player in the awards race, but experts I spoke to were unconvinced — was this movie really the kind of thing the Academy would go for?

That film was Widows, and I covered that debate in a post called “Is Widows an Oscar Movie?” which just goes to prove the old adage that the answer to every question in a headline is “no.” Steve McQueen’s crime caper was roundly ignored by most awards bodies, and went on to achieve exactly zero Oscar nominations, a major letdown for a director whose previous movie had taken home Best Picture. Now, 12 months later, the same debate is happening again.

One of my favorite films of this year’s TIFF was Lorene Scafaria’s Hustlers, the real-life story of a gang of New York City strippers who moved from playing with Wall Street guys’ hearts to relieving them of their credit cards. More than one critic at Toronto called the movie “Goodfellas, with sex workers,” and the films do share a similar propulsive energy, as well as a knack for the perfect music cue. As Hustlers is based on a 2015 New York magazine article, I have no choice but to be completely in the tank for it, and were I an Oscar voter, I would choose it in every category, even some that don’t exist yet. (Julia Stiles for Best Performance by an Actor in a Role Based on Journalist Jessica Pressler!)

But despite film’s strong box office and outstanding reviews, Oscar-watchers are hesitant to put the film on their shortlists just yet. As with Widows, there is the lingering sense that Hustlers might not be “an Oscar movie,” a mental distinction that is no less real for being almost impossible to define. (Never forget that Suicide Squad is an Oscar winner.) In the season’s early days, when very few of the year’s contenders have screened, those kind of judgments matter; I’ve heard that over the summer Hustlers wasn’t even an option on GoldDerby’s back end, though that has since changed. Even after the premiere, not everyone is convinced. “Is it an Oscar contender? Don’t believe the hype,” pundit Anne Thompson wrote at Indiewire, adding that the film “is far more likely to play for the Hollywood Foreign Press than the more tony Academy voters, who want their Oscar contenders to shine with the patina of art.”

Getting voters to reconsider the film will come with some challenges. Hustlers is being distributed by STX, a mid-sized studio that, as one critic reminded me, has only one Oscar nomination to its name. (Best Adapted Screenplay for Molly’s Game.) A full-bore awards campaign is an expensive proposition, and compared to its deep-pocketed rivals, STX’s resources are slightly more limited. I’ve also seen the opening of a slight generation gap in how Hustlers has been received. The movie floats, if not outright endorses, the notion that many of the womens’ victims had it coming, an argument that doesn’t seem to be troubling younger viewers versed in an online culture where scamming is an aspirational goal. However, I’ve heard older female festival-goers say they thought the film was “disgusting” and “offensive,” complaints that may be echoed in Sherman Oaks come awards time.

What may ultimately sway voters to sidle up to Hustlers, appropriately enough, is money. Last year, one Oscar strategist pin-pointed to me where Widows went wrong: The film was so afraid of being pegged as “just a genre movie” that its marketing took great pains to emphasize its serious, socially conscious side. The result was a fairly dour campaign, and when audiences didn’t show up, Widows stumbled. Hustlers, meanwhile, is selling itself as unabashed fun, and after pulling in over $30 million on opening weekend looks like a hit. Now, having already established its box-office bonafides, the film can lean into its political message without seeming like vegetables — a pivot pulled off just last year by Bohemian Rhapsody.

And Hustlers also has something Widows lacked: a truly breakout performance from Jennifer Lopez as the ringleader of the gang of grifters. The part calls for Lopez to use every ounce of her star power — never more so than in her introduction, a powerhouse pole dance sequence set to Fiona Apple’s “Criminal” — but she also invests the role with previously unseen layers. “She’s doing the best work of her career,” our own Angelica Jade Bastién writes, “weaponizing an undeniable charisma and turning it into something hard, pointed, righteous, even angry.”

The film hasn’t yet announced which category Lopez would run in, but outside Laura Dern in Marriage Story, the supporting actress category feels open this year, and a savvy campaign for Lopez would not have to stretch STX’s budget to be effective. But this is a year with few early locks, and Lopez’s path to her first nomination will have some hurdles. The multi-hyphenate star is rumored to be a leading choice to perform at the Super Bowl halftime show, and while getting the gig would keep her name percolating (crucial for a September release), it would also pull her away from the trail during the shortened season’s home stretch. And as Kyle Buchanan notes in the Times, Lopez’s star image might be a hard sell for voters who prefer their Oscar first-timers to bring a touch of humility to the circuit: “If a crucial part of Lopez’s mystique is how she flaunts her hard-won success, academy members may sniff that she’s not doing much acting in Hustlers.”

Still, her character’s closing argument — “It’s all a strip club: You have people tossing the money, and people doing the dance” — may ring true to voters accustomed to pleasing their own paymasters, and the actress has cannily appropriated the line for herself on the Hustlers promo circuit. If enough viewers dig the message, Lopez remains the movie’s best chance at hearing its name read from a very different kind of stage next year. It’s just a shame many of her best scenes will never make a TV-broadcast clip package
 
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