Shannon Michelle Wilsey (October 9, 1970 – July 11, 1994), commonly known by her stage name of Savannah, was an American pornographic performer, starring in more than 100 pornographic videos during her career. One of the most prominent adult-industry models of her time, she achieved notoriety within her short (1990–1994) career due to her on-screen presence and personal life. In January 2002, AVN ranked her at #19 on their list of the top 50 porn stars of all time.
Wilsey reportedly took her stage name from Savannah Smiles, a 1982 movie she enjoyed.
Wilsey was introduced to the adult film industry by pornographic actor and director Rex Cabo. She signed an exclusive contract with Vivid Entertainment in 1991. She began using drugs and spending large amounts of money, and she reportedly had severe financial troubles despite her substantial income. She also garnered a reputation for being temperamental, leading Vivid to sever its association with her in 1992.
Wilsey committed suicide in 1994 by shooting herself after a car accident. After her death, Bill Margold founded Protecting Adult Welfare (P.A.W.), a non-profit organization that provides counseling for adult performers in need.
Pixote: a Lei do Mais Fraco (Portuguese pronunciation: [piˈʃɔtʃi a ˈlej du ˈmajʃ ˈfɾaku], Pixote (small child): The Law of the Weakest) is a 1981 Braziliandramafilm directed by Hector Babenco. The screenplay was written by Babenco and Jorge Durán, based on the book A infância dos mortos (The Childhood of the Dead Ones) by José Louzeiro.
The film features Fernando Ramos Da Silva (who was killed at the age of 19 by Brazilian police in São Paulo) as Pixote and Marília Pêra as Sueli.
The plot revolves around Pixote, a young boy who is used as a child criminal in muggings and drug transport.
After a police round up of street children Pixote is sent to a juvenile reformatory (FEBEM). The prison is a hellish school where Pixote uses glue sniffing as a means of emotional escape from the constant threats of abuse and rape.
It soon becomes clear that the young criminals are only pawns in the criminal, sadistic games of the prison guards and their commander.
When a boy dies of physical abuse by the guards, they frame the lover of the transgendered effeminate boy known as Lilica (Jorge Julião), for the murder. This lover then conveniently also dies, with some help from the guards.
Soon after, Pixote, Lilica and her new lover Dito (Gilberto Moura) find an opportunity to flee from the prison. First they stay at the apartment of Cristal (Tony Tornado), a former lover of Lilica, but when tensions arise they go to Rio for a cocaine drug deal; there, however, they get duped by a showgirl.
After some time bumming around the city, Pixote and his friends go to a club for another drug deal. While there, Pixote finds the showgirl that took their drugs and stabs her.
They become pimps for the prostitute Sueli who is definitely past her prime and is possibly ill from a botched abortion. The group conspires to rob her johns, but when Lilica’s lover Dito falls for Sueli, Lillica leaves. The robbery scheme fails when an American john fights back (because he apparently does not understand Portuguese) so they have to shoot him. In the ensuing fight, Pixote accidentally shoots and kills Dito as well.
Pixote tries to gain comfort from Sueli, treating her as a mother figure, but she rejects him. He leaves and is seen walking down a railway line, gun in hand, away from the camera, his figure disappearing in the distance, out of the film’s view.
Film critic Roger Ebert, who writes for the Chicago Sun-Times, considers the film a classic, and wrote, “Pixote stands alone in Babenco’s work, a rough, unblinking look at lives no human being should be required to lead. And the eyes of Fernando Ramos da Silva, his doomed young actor, regard us from the screen not in hurt, not in accusation, not in regret — but simply in acceptance of a desolate daily reality.”
Critic Pauline Kael was impressed by its raw, documentary-like quality, and a certain poetic realism. She wrote, “Babenco’s imagery is realistic, but his point of view is shockingly lyrical. South American writers, such as Gabriel Garcia Marquez, seem to be in perfect, poetic control of madness, and Babenco has some of this gift, too. South American artists have to have it, in order to express the texture of everyday insanity.”
The New York Times film critic, Vincent Canby, liked the neo-realist acting and direction of the drama, and wrote, “[Pixote], the third feature film by the Argentine-born Brazilian director Hector Babenco, is a finely made, uncompromisingly grim movie about the street boys of São Paulo, in particular about Pixote – which, according to the program, translates roughly as Peewee…The performances are almost too good to be true, but Mr. Da Silva and Miss Pera are splendid. Pixote is not for the weak of stomach. A lot of the details are tough to take, but it is neither exploitative nor pretentious. Mr. Babenco shows us rock-bottom, and because he is an artist, he makes us believe it as well all of the possibilities that have been lost.”
David Letterman pays tribute to the late Calvert Deforest (aka Larry “Bud” Melman)
Little has been published about his early life. He was born to Calvert Martin DeForest, M.D., a physician who died in 1949, and Mabelle (Taylor) DeForest. He was a cousin of actor DeForest Kelley of Star Trek fame, and Bebe Daniels, a silent film star who survived the introduction of sound. Radio pioneer Lee De Forest was Daniels’s second cousin. The exact family connection of Lee De Forest to Calvert DeForest is unclear.
DeForest attended Poly Prep Country Day School in Brooklyn, New York. He worked for many years for the large pharmaceutical company Parke Davis, which was later acquired by Pfizer. He had aspirations of acting but was discouraged by his mother, who was briefly an actress herself. After her death in 1969, DeForest did part-time backstage work, which eventually led to acting work.
Work with David Letterman
He is credited with four films from 1972 to 1982 and, after his first appearance with David Letterman, appeared in 15 other films or television shows.
The Associated Press noted: “DeForest’s gnomish face was the first to greet viewers when Letterman’s NBC show debuted on February 1, 1982, offering a parody of the prologue to the Boris Karloff film Frankenstein. ‘It was the greatest thing that had happened in my life,’ he once said of his first Letterman appearance.”
The Melman character also opened Letterman’s first CBS show under his own name, but as essentially the same character, when Letterman moved from NBC to CBS in 1993. The name change was made because the character of “Larry ‘Bud’ Melman” was considered the intellectual property of NBC. Melman also appeared as “Kenny The Gardener”. He continued to appear on Letterman’s show until his 81st birthday in 2002 before retiring from acting. DeForest often “drew laughs by his bizarre juxtaposition as a Late Show correspondent at events such as the 1994 Winter Olympics in Norway and the Woodstock anniversary concert that year.” One of DeForest’s more memorable skits came on Letterman’s May 13, 1994, show. The host stated Johnny Carson would announce the evening’s Top 10 list, at which point DeForest, as Melman, appeared as “Johnny Carson.” On DeForest’s exit, the real Johnny Carson appeared in what would prove Carson’s last television appearance. DeForest was also noted for his remote interviews in which he would ask the interviewee a question, but pitch the microphone to the interviewee too quickly, resulting in a fade out of the last part of the question.
Letterman noted after DeForest’s death: “Everyone always wondered if Calvert was an actor playing a character, but in reality he was just himself: a genuine, modest and nice man. To our staff and to our viewers, he was a beloved and valued part of our show, and we will miss him.” When asked how he’d like to be remembered, DeForest responded “Just being able to make people laugh and knowing people enjoyed my humor. I also hope I haven’t offended anyone through the years.”
He was co-host (in charge of the digital switcher) on the local SF Bay Area radio program, 10@10, on KFOG-FM with Dave Morey.
DeForest also appeared on the hit albums Americana and Ixnay on the Hombre by The Offspring, doing some of the voices that can be heard before and after certain tracks. In late March 2007, a 20-minute clip of DeForest recording the voices for their album was posted on The Offspring’s website.
He appeared at Woodstock 1994 to announce Nine Inch Nails late night set by proclaiming, “Ladies and gentlemen, punch your balls off and please welcome Nine Inch Nails!”
Taking Off is a 1971 film comedy. It was Czech director Milos Forman‘s first American film. It tells the story of a group of parents whose children have run away from home. The parents take the opportunity to rediscover their youth.
It features a number of set pieces, including an open-mic record label audition which is woven throughout the film, featuring a number of female singers (including a young Carly Simon and an acoustic ballad by a then-unknown Kathy Bates) performing old standards, folk ballads, and rock songs; a meeting in which a group of generally middle-class conservative parents are taught how to smoke marijuana; and a raucous game of strip poker played by the adults.
It was written by Forman in collaboration with John Guare, along with Jean-Claude Carriere and John Klein.
Part of the movie also takes place at a Tina Turner concert.
Afterburner is the ninth studio album by Americanblues rock band ZZ Top, released in 1985 (see 1985 in music). Afterburner was a financial success, going several times platinum and launching several hit singles. The most successful single released from this album was “Sleeping Bag”, which peaked at No. 1 on the Mainstream Rock Tracks and No. 8 on the Billboard Hot 100.
In the UK, it was the band’s second album to be certified by the British Phonographic Industry, attaining Gold (100,000 units) in 1985. In 1990, it was certified Platinum (300,000 units), to date their final Platinum certification in the UK.