Bare Bottom Over Knee
File under SeMeN SPeRmS BLArRrG
Conjured by o~ SeMeN SPeRmS ~o on May 9, 2014
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 Brazilian drama film 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 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.”
Conjured by o~ SeMeN SPeRmS ~o on November 6, 2013
Conjured by o~ SeMeN SPeRmS ~o on May 16, 2013
More News Than Is Fit to Print — Designing Count Bruno de Caumont Launders Pedophile Imagery in A Masterstroke of Subliminal Messaging on the Front Page of the New York Times “House & Home Section, February 3, 2005
Conjured by o~ SeMeN SPeRmS ~o on March 16, 2013
Conjured by o~ SeMeN SPeRmS ~o on March 5, 2013
The Max Headroom broadcast signal intrusion was a television signal hijacking in Chicago, Illinois, on the evening of November 22, 1987. It is an example of what is known in the television business as broadcast signal intrusion. The intruder was successful in interrupting two television stations within three hours. Neither the hijacker nor the accomplices have ever been found or identified.
The first occurrence of the signal intrusion took place during WGN-TV (channel 9)’s live telecast of its primetime newscast, The Nine O’Clock News. During Chicago Bears highlights in the sports report, the station’s signal was interrupted for about half a minute by a video of a person wearing a Max Headroom mask, standing in front of a swaying sheet of corrugated metal, which imitated the background effect in the Max Headroom TV and movie appearances. There was no audio, only a buzzing noise. The hijack was stopped after engineers at WGN switched the frequency of their studio link to the John Hancock Center transmitter.
The incident left sports anchor Dan Roan flustered, saying, “Well, if you’re wondering what happened, so am I.”
Later that night, around 11:15 p.m., during a broadcast of the Doctor Who serial Horror of Fang Rock, PBS station WTTW (channel 11)’s signal was hijacked using the same video that was broadcast during the WGN-TV hijack, this time with distorted audio. The person in the Max Headroom mask appeared, as before, this time saying, “That does it. He’s a freakin’ nerd,” before laughing and jeering, “Yeah, I think I’m better than Chuck Swirsky. Freakin’ liberal.”
The unidentified man continued to utter various phrases, including New Coke‘s advertising slogan “Catch the Wave” while holding a Pepsi can (Max Headroom was a Coca-Cola spokesperson at the time), then tossing the can down, and giving the finger wearing a rubber extension over his middle finger (the gesture was cut off at the bottom of the screen due to the close-up of the camera) then retrieving the Pepsi can, and saying “Your love is fading,” before removing the rubber extension, then began humming the theme song to Clutch Cargo, and stating that he had “made a giant masterpiece for all the greatest world newspaper nerds” (the call letters WGN are an abbreviation for “World’s Greatest Newspaper,” in reference to the Tribune Company‘s Chicago Tribune). He then held up a glove and said, “My brother is wearing the other one,” and he put the glove on, commenting that it was “dirty” along with some unintelligible comments.
The picture suddenly cut over to a shot of the man’s lower torso. His buttocks were exposed, and he was holding the now-removed mask up to the camera (with the rubber extension now placed in the mouth of the mask) while being spanked with a flyswatter by an unidentified accomplice wearing a dress; he howls, “Oh no, they’re coming to get me!” The transmission then blacked out and cut off, and the hijack was over after about 90 seconds.
WTTW, which maintains its transmitter atop the Sears Tower, found that its engineers were unable to stop the hijacker. According to station spokesman Anders Yocom, technicians monitoring the transmission “attempted to take corrective measures, but couldn’t.” “By the time our people began looking into what was going on, it was over,” he told the Chicago Tribune. WTTW was able to find copies of the hijacker’s telecast with the help of Doctor Who fans who had been taping the show.
Not long after the incident, WMAQ-TV humorously inserted clips of the hijacking into a newscast during Mark Giangreco‘s sports highlights. “A lot of people thought it was for real – the pirate cutting into our broadcast. We got all kinds of calls about it,” said Giangreco.
Conjured by o~ SeMeN SPeRmS ~o on January 9, 2013
Lazy black folks in Lazy Town (Pop. 123½) are napping and attracting flies. They are so lethargic they even fight in slow motion. Then a riverboat arrives with a red hot mama on board and she quickly has everyone moving to a Harlem boogie beat, dancing, scrubbing clothes, and eating watermelon. As the boogie-woogie comes to a close, Mammy hoists her skirt. Her big bottom reads “The End”. – IMDb
Conjured by o~ SeMeN SPeRmS ~o on August 1, 2012
Conjured by o~ SeMeN SPeRmS ~o on July 28, 2012