Conjured by o~ SeMeN SPeRmS ~o on August 27, 2016
‘Is it wrong to masturbate if you have a pet in your room?’ teenhelp.org/forums/f6-sex-…
The average penis size has been revealed and it’s smaller than you think independent.co.uk/life-style/lov…
Photograph of potato sells for $1.5 million – smh.com.au/entertainment/…
Man walked ‘$1.6m worth of Xanax across Canadian border on a SLED dailym.ai/1n0Bmi9
The Euthanasia coaster’ a white-knuckle ride to your death dailym.ai/1UXOqA5
The human brain’s capacity is 10 TIMES greater than first thought: one petabyte, or 1,000,000,000,000,000 bytes dailym.ai/1nnA7dU
First Flower Grown in Space (Or Not): Zinnia Blooms on Space Station space.com/31687-zinnia-n…
Sex Wearables Go Where Fitbit Dare Not Tread nbcnews.to/1ZOV6aq
Porn’s dirtiest secret: What everyone gets paid cnb.cx/1V8dwfG
Conjured by o~ SeMeN SPeRmS ~o on January 25, 2016
Shot from his window, the forty minute video, called “Doin’ Time in Times Square,” includes everything you’d expect from candid 1980s Times Square footage—slow mo knock-out punches, neon XXX signs, plenty of cameos from the NYPD, and chaos. The chaos, however, is interspersed with quiet scenes from inside the apartment where all of this was being filmed from. It’s been described as “the home video from hell,” and was shown at the New York Film Festival in the 1990s.
“Described as the home video from hell, Doin Time in Times Square documents the view and action outside director Charlie Ahearns 43rd Street apartment window from 1981 to 1983. Charlie Ahearn, whose 1983 film Wild Style was a cult hip hop hit, was blessed with a generous view of the sleeze emporiums up Eighth Avenue and down 43rd. His window provides a view into midtown New Yorks street brutality in those dark years before it was cleaned up and Disneyfied, His Hi-8 camera captures rip-offs, drug sales, police stake-outs and fights – lots of fights. On any given day we see fist-fights, domestic squabbles and bad deals going down. It is both a social and personal document.”
Conjured by o~ SeMeN SPeRmS ~o on August 5, 2015
During the early 1970s, in Munich, Hofbauer teamed with Walter Boos, Wolf C. Hartwig, and Ludwig Spitaler to produce the original thirteen films under the banner Schulmadchen Report (or Schoolgirl Report); the stories were adapted from books written by Guenther Hunold, while Guenther Heller composed the film script, Klaus Werner did the camera work, and the music was handled by Gert Wilden & Orchestra. Hofbauer and Boos were referred to as the ‘Titans of Teen Libido’. The films were classified as ‘sexploitation’, and were extremely popular, seen by more than 30 million people all over the world.
In the United States, the films were released in grindhouses and drive-ins, and the names of the films were changed to conform to American standards. Because the films focused on young girls who may have been under legal age in this country, the Schoolgirl Report series was eventually suppressed.
The Schoolgirl Report series was very interesting because the films portrayed many unknown teenagers and actresses who were vibrant, beautiful, naive, innocent, and unabashed. Most of the films related a series of vignettes to tell an interesting story. Hidden pedophile lust, co-ed skinnydipping, situations involving first-time sexual experiences, and encounters with teachers were all shown in the episodes. Interracial love affairs, male and female masturbation sequences, forced prostitution, rape, voyeurism, harmless erotic games, seduction, and erotic touching are also portrayed in the vignettes. Well-known German sex kitten Ingrid Steeger and the ever-horny Italian comic Rinaldo Talamonti play key roles in many of the vignettes. Rosl Mayr appears in almost all of the thirteen Schulmadchen Report films as an elderly lady with a comic role. She is perfectly cast as a comedic talent and is the only senior actress that plays a key element in many of the vignettes. Marie Ekorre, Sonja Jeannine, Christina Lindberg, and Birgit Tetzlaff are a few of the young actresses who titillate the audience with their erotic encounters. Friedrich von Thon conducted street interviews to discuss the plots in the vignettes, and many of the situations were followed up with a courtroom setting (the male actors were charged with statutory rape). The Schoolgirl Report films were classified as ‘soft-core’ eroticism, which is similar to the David Hamilton genre.
Ernst Hofbauer directed many erotic films in addition to the original thirteen Schulmadchen Report classics. Sex sells, and Hofbauer exploited consumer demand for R-rated movies involving young actors and actresses. He had a unique style that combined youth, eroticism, wit, and anecdote. His exploitation films of the 1970s appealed to moviegoers from all walks of life.
A chronological list of the original 13 Schoolgirl Report films follows:
Conjured by o~ SeMeN SPeRmS ~o on July 20, 2014
Return to Angel Dust: PCP Is a Supporting Player in the Saga of Aaron Hernandez
A Russian court tried a 13-year-old as an adult based on the size of his genitals
The oldest known pants
3,000-year-old pair with woven leg decorations, belonged to nomadic horsemen in Central Asia
Government Treated Peaceful Boycott As Terrorism
Bikes Are the New Mobile Meth Labs
Robot will crack your phone’s PIN in hours
Think Internet Data Mining Goes Too Far? Then You Won’t Like This
Brain computer interfaces data mining your mind
Intruders for the Plugged-In Home, Coming in Through the Internet
Hacked Homes & Invasive Ads
Ex-Brooklyn D.A. Appears to Have Used Drug Money for Campaign Expenses
Video Game ‘Watch Dogs’ Features Dead Trayvon Martin ‘Easter Egg’
Why Don’t People Adopt Black Pets?
Cut Off Glassholes’ Wi-Fi With This Google Glass Detector
Expert Claims Selfies Are Giving Teens Head Lice
School Bus Sex Teen Cops Plea
Student struck boy who laughed when she “expelled wind” from her vulva during coitus thesmokinggun.com/documents/sex-…
The End Of Fish
Our oceans could become virtual deserts by 2050
Four-year-old draws in dad’s passport, gets family stuck in South Korea
White House Launches Propaganda At TROLL Level
Purchases Google Key Words to Slam Putin
Fat Dude Eats Pizza While Doing Crunches
Guy Sends Woman Unsolicited Dick Pic… So She Forwarded It to His Mom
New Mexico cook charged with battery on peace officer for allegedly licking cheese in sandwiches
Conjured by o~ SeMeN SPeRmS ~o on June 5, 2014
Story of a Junkie is a 1987 drama film directed by Lech Kowalski and starring John Spaceley. Distributed by Troma Entertainment. Filmed in documentary-style, the film follows the character of Gringo, a young man looking for fortune in New York, only to fall into heroin addiction.
The movie has amassed quite a reputation in certain circles for its depictions of hard drug usage in New York City’s East Village area. Many of the cast members, including leading man John Spaceley, are actual junkies. The numerous shooting-up sequences are reportedly entirely real, as are many of the drug dens and their denizens. Perhaps even more notable than the cinema verite structure is the almost total lack of moralizing on the part of the producers or its characters.
Lead actor Spaceley died in the early 1990s, reportedly from AIDS, which he contracted through intravenous drug use. His final moments are chronicled in yet another Lech Kowalski film, “Born to Lose: The Last Rock & Roll Movie”, a documentary about deceased former New York Dolls guitarist Johnny Thunders.
Troma Entertainment hails Story of a Junkie as one of the company’s best films; it’s one of the most well-known outside of the films directed by Troma founders Lloyd Kaufman and Michael Herz.
A harrowing, bloody story of heroin addiction that puts films like Trainspotting to shame, Gringo mixes documentary footage with staged scenes to show the life of addict John Spacely.
Perhaps you’ve seen him somewhere and just can’t remember his name. The face is about an enigmatic as they come: classic Roman features topped by a greasy dyed matt of slicked back blond hair, pirate-style patch covering his right eye and cigarette dangling from an ever-present smirk. Or maybe you’ve never really noticed him and could frankly care less who he is or was. To you, John Spacely is just another loser, a human being throwing their life away by indulging in the most shameless of self-satisfactions: drug abuse. The minute you learn he’s a card-carrying member of the Riders of the White Horse, you’re thoughts turn to how selfish and stupid he is, how addiction is for the weak and lazy. You now no longer wish to know anything about him, his life, or how he ended up strung out in New York City. Instead, you sneer down your self-righteous nose and blame him (and his kind) for all the problems of the world. Maybe it would help you to learn a little about who John Spacely is. Perhaps your perceptions will change when you learn what drove him to drugs and what he has to do on a daily basis to survive. One thing’s for sure, the minute you see the horrifying docudrama Story of a Junkie, you will think twice about ever attempting to use drugs. This film is as successful a PSA warning about the terrors of dependency that you will probably ever see. It makes the Hollywood glamorization of such struggling souls that much more laughable.
GRINGO Story of a Junkie is about as close to pure European neo-realism as an American movie is ever likely to get. It is also a stunning example of the cinema vérité style of filmmaking, the capturing of events as they happen without concern about continuity or performance. Part documentary, part confessional, this occasionally brilliant but always brave movie is an incredibly searing indictment on the use and abuse of drugs.
Whereas Tinsel Town tripe likes to romanticize the ritualistic intake of mind and or mood altering substances as a photogenic character flaw, Story of a Junkie tells it like it really is. Never once white washing or trivializing the life of a heroin addict, director Lech Kowalski and his cast of real life drug users draw us directly into the warped urban war zone where the vast majority of pusher and partakers exist. Never cringing from the sights, the sounds, the smells and the surreality of the real drug culture, the desperation is palpable and the danger, predominant. From how fixes are “cut” to the hierarchy in a shooting gallery, you’ll be hard pressed to find another film that tackles this terrible subject with more authenticity. It is drug abuse as slasher film, a frightening, sometime funny and often fatalistic representation of people living a life with a maniacal monkey on their back.
It’s impossible for us non-addicts to understand the struggles and the will to survive (if only for the next score) of the person hopelessly obsessed with using. But for some reason, we are no longer a society that accepts brutal honesty. Everything needs to be sugarcoated with a small fraction of hope inserted to keep us feeling safe and secure. Frankly, the plain truth is all that Story of a Junkie has to offer. Without its integrity, its desire to get to the very heart of this corrupt cosmos, all we’d have is a carnival sideshow, a scandalous showcase of pure exploitation. But because of the tales it tells and the people who tell them, Story of a Junkie transcends its trappings to become a work of astounding power.
Conjured by o~ SeMeN SPeRmS ~o on May 25, 2014
A mix of clips of the New York City subway system on film, mostly from the ’70s and early ’80s, when graffiti was a mainstay on train cars and everything underground was, for the most part, grittier and more worn than it is today. The exact date range is 1966 to 1984…in other words, Lindsay to Koch.
Conjured by o~ SeMeN SPeRmS ~o on April 26, 2014
Pink film (ピンク映画 Pinku eiga or Pink eiga?) is a broad cinematic term used to categorize a wide variety of Japanese films with adult content. This encompasses everything from dramas to action thrillers and exploitation films (a.k.a. pinky violence), and softcore pornographic (romance pornography or roman poruno) features. The term is often mistakenly used to apply only to sex films. However, the so-called pink movie is part of an ongoing (and evolving) cycle of films rather than a specific genre.
Pinku eiga, along with the bloody and violent yakuza-eiga, or contemporary gangster film, both became wildly popular in the mid-1960s and dominated the Japanese domestic cinema through the mid-1980s. In the 1960s, the pink films were largely the product of small, independent studios. In the 1970s, some of Japan’s major studios, facing the loss of their theatrical audience, took over the pink film. With their access to higher production-values and talent, some of these films became critical and popular successes. Though the appearance of the AV (adult video) took away most of the pink film audience in the 1980s, films in this genre are still being produced.
Conjured by o~ SeMeN SPeRmS ~o on November 8, 2013