Easy To Pick-Up… V.D.
Conjured by o~ SeMeN SPeRmS ~o on August 12, 2015
Police Trolling Personal Ads to Trick People Into Sex Crimes
Whoremonger Google executive dies of a heroin OD on board his yacht, hooker gets blamed
Bloodshot hollow eyes, emaciated arms and rambling on the phone: Haunting video of Angelina Jolie the heroin addict
Teen gets 23 years for fatally shooting police dog
Connecticut drug treatment director bought crack cocaine for client who he also paid for sex
Psychonauts explore unknown world of legal highs – with themselves as lab rats
Man Discovers A Four Foot Long Venomous Snake Coiled In A Toilet
MindRDR Is A Google Glass App You Control With Your Thoughts
Great, soon Google will mine yer mind
Seattle police search for person who donated three human skulls to thrift store
Stem cell treatment causes nasal growth in woman’s back
Stripper’s Outfit Reveals More Than She Wanted
Hadda Google to see if there was a metal band named ‘Iron Dome’…There is!
Haah…Pro-Israel Metal about IDF tanks
Conjured by o~ SeMeN SPeRmS ~o on July 13, 2014
Dawn: Portrait of a Teenage Runaway is a dramatic made-for-television movie, which premiered on NBC on September 27, 1976.
The story follows a 15-year-old girl named Dawn Wetherby (Eve Plumb) who runs away from home to Hollywood and becomes a prostitute to support herself. Dawn finds herself taken under the wing of a tough-talking pimp named Swan. The film’s soundtrack features the song “Cherry Bomb” by The Runaways.
In Randal Kleiser’s telemovie Dawn: Portrait of a Teenage Runaway, Eve Plumb (The Brady Bunch) stars as Dawn, who leaves home at 15 for the glamour of L.A. Friendless, she is taken in by the smooth line of Swan (Bo Hopkins), who offers to be her protector. Before long, Dawn has become a streetwalker, with Swan taking a sizeable chunk of her earnings.
She finds true friendship in the form of another runaway, male hustler Alex (Leigh McCloskey) — whose own story would be delineated in a 1977 sequel, Alexander: The Other Side of Dawn. Having learned a lesson with its controversial airing of Born Innocent, NBC preceded the September 27, 1976, premiere of Dawn: Portrait of a Teenage Runaway with a “parental discretion” disclaimer.
Conjured by o~ SeMeN SPeRmS ~o on May 20, 2014
Marvin J. Chomsky directs this drama about a young girl (Linda Purl) who escapes her oppressive mother only to wind up on the lonely streets of Hollywood. Broke and with nowhere to turn for help, Hailey becomes trapped in the service of a pimp (Clifton Davis). With the help of his partner Russ Garfield (Louis Gossett Jr.), can detective Lyle York (David Soul), a former pimp himself, get Hailey off the streets?
The sister of ex-pimp and current Los Angeles Police detective Kyle York was murdered working the streets a few years ago. Since his reform, he has teamed with Officer Russ Garfield to clear the streets of under-age girls working in prostitution. Pretty, young runaway Hailey Atkins has been turned out. Down deep she wants to go straight but has had great difficultly escaping her pimp and doesn’t even have a place to go. York and Garfield go out on a limb to try and help.
Actors: David Soul, Louis Gossett Jr., Linda Purl, Clifton Davis, Carolyn Jones, Kathleen Quinlan, Lana Wood
Director: Marvin J. Chomsky
Writers: Hal Sitowitz, Ted Morgan
Producers: Aaron Spelling, Hal Sitowitz, Leonard Goldberg, Shelley Hull
Filming Locations: Los Angeles, California, USA
First Broadcast: Jan 16, 1977 (ABC TV movie of the week)
“Well, it was an eye-opener for me. I went with a male friend—a large male, physically strong friend—and we hung out in Hollywood and met and talked to some young prostitutes. Oh, the vacant stares in their eyes; the hopes for who they wanted to become. They wanted to become actresses. They had come to Hollywood, and they were sure that they could succeed. This was Hollywood Boulevard. You didn’t have to go far to look for this stuff going on” – Linda Purl on “Little Ladies of the Night”
Conjured by o~ SeMeN SPeRmS ~o on May 18, 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