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They don't only like TRAP "dudes" they like any one that's adventurous and is a risk taker. It's the he's dangerous / bad boy factor - been around for years. I mean they're not supposed just forget about you and throw you under the bus. Women like a lot of different things and its different for every guy. Women tend to like my confidence, I can cook, they think I am funny, and an all around good dude. I have never spent any real money on female or taken them around in expensive shit the most a female who is not my wife or long term girl has ever gotten from me is dinner and I have only taken a handful of females out to dinner. One finds redemption in her father's arms, and the other awaits salvation from her boyfriend. So deeply and subconsciously held are these ideas among many filmgoers that these kinds of representations of female drug users and dealers are allowed to dance past our eyes, unquestioned.
When her father finally tracks her down -- lifts her out of the pit into which she has sunk with no help from the same gun-wielding dealer to whom he first turns for help -- he finds her prostituting herself to a white businessman. They are, in the classic Hollywood scenario, in desperate need of rescue.
In all respects, this is an intelligent, demanding film that reaches for a new understanding of the scope of the drug problem in the U. Here, as in Requiem, the primary portrait of the female drug user is of a wealthy, intelligent, overachieving 16-year-old, Caroline Wakefield (played by Erika Christensen), whose own recreational drug use is introduced early in the film.
Caroline is none other than the daughter of the nation's newly appointed Drug Czar.
For all of Requiem's visual appeal and Traffic's much more weighty overall impact, both movies manage to hang on to the stubborn and dangerously entrenched view that African- American male drug dealers await the sexual availability and servitude of Euro-American female dope addicts.
The sorry plight of the drug addict has long since made for inviting and scintillating subject matter in Hollywood cinema.
(An empirical study presented at the 1999 American Psychological Association convention in Boston confirmed that African Americans themselves strongly objected to the representation of Black sexuality in films like Booty Call)What bears particular mention with both Requiem and Traffic is not only how these movies manage to perpetuate the damaging stereotype of crass, uber-sexual African American men, but also how they highlight the ease with which filmmakers slip into a mindframe -- a misguided mystique -- surrounding Black-on-White sex.