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As I said, just take a look to Ariel X vs Vendetta fights. Fantastic girls and fantastic action with a real rivalry.
Quote from: ofecteau on June 19, 2010, 08:34:33 PMIn the 90’s, before the internet completely changed the way female fighting videos were marketed and sold, you had remarkably fewer production companies making remarkably fewer products. These were cottage industry companies, and largely labors of love. I seriously doubt that California Wildcats, for example, turned much of a profit. I seriously wonder whether or not they even recovered their costs despite charging prices that would cause massive outrage in today’s market. Their videos would be released the same way a mother robin would treat her chick: push them out of the nest and hope the fuck they can fly. Their chance for success lay in the quality of the production: the hotness of the women and the intense realism of their content. The result: again, I cannot speak to financial side (although I will point this out before someone else does: they went out of the catfight business and into the “sexfight” business) the videos remain near-universal benchmarks for quality. SketchArtiste says their motto should be "Our old stuff still kicks ass on most of the new stuff available today." I would only say to that, most? Please, for the love of God and all that is holy, tell me who today (outside Central Europe) has women that hot in action that compelling? My credit card and I are dying to know.Along came the internet and the virtual bursting of the dam. Production companies sprang up all over. But it was Ultimate Surrender who saw the possibilities better than everyone else, saw the way to best exploit the new situation. Prices would be cut roughly in half, and new content was guaranteed on a weekly basis. Cash flow was guaranteed by charging for membership, which worked as well to make the consumer accept what they were given. The emphasis became on what was new, and more importantly, what was sure to come to you next week. This new mentality i.e. a constant supply of new material for a lot less than you were paying for a single CW product, worked as surely as did the ringing of the bell for Pavlov and his dogs. And to the dogs is precisely where US headed, diving for the low ground and greater profits with ever-diminshing attention to the quality side. Starting with the exquisite promise of Janay (has anyone other than Alecia Ames with Joan Wise ever been so associated with a production company as when Janay jumpstarted US?), who was jettisoned after the first year, it just got worse and worse. The quality of the women became basically irrelevant. No woman above the Mendoza Line (the attraction threshold below which a performer's presence in an erotic female fighting video cannot be justified), of Cal Wildcats quality, was ever going to perform for what US was paying their performers, and risk being on the business end of the trademark synthetic penis. And gone was the idea of a locale, i.e. outdoors, to provide texture and atmosphere. All US needed was a mat, a camera and two unattractive women who really needed the money and didn't mind being filmed while having something forcibly shoved up their cooch.Now , at this point, US began to realize something that the Bidwell family, owner of the Arizona Cardinals of the NFL, had kept to themselves for years: you make more money with a bad team. In the case of the Cardinals, with shared television and merchandising revenues coming in, there was not only no incentive to field a team with a shot at the playoffs, there was every incentive to field a shitty team with no chance of winning. You paid the players less, you kept less on and off field staff; you kept more of the guaranteed money. At US, with membership fees taking care of the cash flow and the consumer base conditioned to accept weekly released inferior products at a discounted price, where was US's incentive to improve?The direction of the industry was now set in stone. To use below Mendoza Line performers became the norm. New companies were formed, but would find it hard to break free of the virtual tourniquet that US had placed around the American arm of the industry. There was simply too much pressure to conform to the 1 video per week for less than $20 formula. And the overall quality of American female fighting videos took a nose dive. That’s the argument.
In the 90’s, before the internet completely changed the way female fighting videos were marketed and sold, you had remarkably fewer production companies making remarkably fewer products. These were cottage industry companies, and largely labors of love. I seriously doubt that California Wildcats, for example, turned much of a profit. I seriously wonder whether or not they even recovered their costs despite charging prices that would cause massive outrage in today’s market. Their videos would be released the same way a mother robin would treat her chick: push them out of the nest and hope the fuck they can fly. Their chance for success lay in the quality of the production: the hotness of the women and the intense realism of their content. The result: again, I cannot speak to financial side (although I will point this out before someone else does: they went out of the catfight business and into the “sexfight” business) the videos remain near-universal benchmarks for quality. SketchArtiste says their motto should be "Our old stuff still kicks ass on most of the new stuff available today." I would only say to that, most? Please, for the love of God and all that is holy, tell me who today (outside Central Europe) has women that hot in action that compelling? My credit card and I are dying to know.Along came the internet and the virtual bursting of the dam. Production companies sprang up all over. But it was Ultimate Surrender who saw the possibilities better than everyone else, saw the way to best exploit the new situation. Prices would be cut roughly in half, and new content was guaranteed on a weekly basis. Cash flow was guaranteed by charging for membership, which worked as well to make the consumer accept what they were given. The emphasis became on what was new, and more importantly, what was sure to come to you next week. This new mentality i.e. a constant supply of new material for a lot less than you were paying for a single CW product, worked as surely as did the ringing of the bell for Pavlov and his dogs. And to the dogs is precisely where US headed, diving for the low ground and greater profits with ever-diminshing attention to the quality side. Starting with the exquisite promise of Janay (has anyone other than Alecia Ames with Joan Wise ever been so associated with a production company as when Janay jumpstarted US?), who was jettisoned after the first year, it just got worse and worse. The quality of the women became basically irrelevant. No woman above the Mendoza Line (the attraction threshold below which a performer's presence in an erotic female fighting video cannot be justified), of Cal Wildcats quality, was ever going to perform for what US was paying their performers, and risk being on the business end of the trademark synthetic penis. And gone was the idea of a locale, i.e. outdoors, to provide texture and atmosphere. All US needed was a mat, a camera and two unattractive women who really needed the money and didn't mind being filmed while having something forcibly shoved up their cooch.Now , at this point, US began to realize something that the Bidwell family, owner of the Arizona Cardinals of the NFL, had kept to themselves for years: you make more money with a bad team. In the case of the Cardinals, with shared television and merchandising revenues coming in, there was not only no incentive to field a team with a shot at the playoffs, there was every incentive to field a shitty team with no chance of winning. You paid the players less, you kept less on and off field staff; you kept more of the guaranteed money. At US, with membership fees taking care of the cash flow and the consumer base conditioned to accept weekly released inferior products at a discounted price, where was US's incentive to improve?The direction of the industry was now set in stone. To use below Mendoza Line performers became the norm. New companies were formed, but would find it hard to break free of the virtual tourniquet that US had placed around the American arm of the industry. There was simply too much pressure to conform to the 1 video per week for less than $20 formula. And the overall quality of American female fighting videos took a nose dive. That’s the argument.
CB, you reside in North Beach? I always had you pegged for the Mission. Maybe it's because I recall the time when some angry dork on Barb's board wanted to fight you and you told him that he could meet you the Mission BART station because you pass through there everyday.Don't get to the city much anymore because the Saturday night traffic from the East Bay is prohibitive, not to mention parking AND East Bay restaurants have really upped their game. However, I have many fond memories of North Beach -- gaining admission into a strip club after our Senior Dinner (in high school), my bachelor party (and many others) ending up at Vesuvio's after hitting several clubs, and our annual pre-Bay-to-Breakers dinners at Washington Square Bar & Grill or Moose's. Great times.
