Conjured by o~ SeMeN SPeRmS ~o on December 3, 2016
40 kids from the ages of 8-15 are put into the abandoned town of Bonanza City, New Mexico for 40 days. They have to build their own society by electing leaders, passing laws, and establish an economy.
The show, featuring 40 children aged 8 to 15, was filmed on location at the Bonanza Creek Movie Ranch, a privately owned town built on the ruins of Bonanza City, New Mexico, eight miles south of Santa Fe, with production beginning on April 1, 2007.
The show stresses the difficulty in creating a viable society. While each child received $5,000 for their involvement, Gold Stars valued at $20,000 and $50,000 were awarded to select outstanding participants as decided by the elected Town Council.
Speaking before an audience of television reviewers, producer Tom Forman acknowledged that Kid Nation would inevitably share some elements with William Golding’s novel Lord of the Flies, which depicted planewrecked children without adult supervision. But adults were present off-camera during the Kid Nation production, including cameramen, producers, a medic, and a child psychologist, although all interacted with the children as little as possible. Participants also missed a month of school, but Forman suggested that such real-world tasks as preparing a group breakfast, doing physical chores like fetching water, and making group decisions constituted an educational experience in its own right. Foreman said that all participants were cleared by a team of psychologists, any child could choose to go home at any time, and some did. – Wiki
Conjured by o~ SeMeN SPeRmS ~o on May 9, 2015
Goin’ Off Derels
“Originated by the IRAK graff crew/clothing line from new york; Derel is short for derelict, or someone thrown away by society. To these new york graff writers everyone is derel, anyone worth knowing anyway. The word can be found on IRAK tshirts, hats and tags all over NY.
Yo, Kunle and his boys are all derels, they steal and write graffiti all day.”
Conjured by o~ SeMeN SPeRmS ~o on March 29, 2015
Perversion for Profit is a 1965 propaganda film financed by Charles Keating and narrated by news reporter George Putnam. A vehement diatribe against pornography, the film argues that sexually explicit materials corrupt young viewers and readers, leading to acts of violence and “perverted” attitudes regarding sex—including inclination toward homosexuality. Although Perversion for Profit is quite serious in its suggestion that pornography could erode the integrity of American culture, Peter L. Stein of the San Francisco Chronicle wrote in a 2003 review that it was “shrill and sometimes comical”.
Today, Perversion for Profit is in the public domain, and due largely to its unintentional humor value, it has become popular on the Prelinger Archives website and on YouTube. As Peter L. Stein observes in an article for the San Francisco Chronicle, however, the film also has considerable historical significance, serving as a sort of time capsule of pornography from the era as well as an example of historical concerns regarding media influence:
…as the parade of girlie magazine covers, men’s physique pictorials and campy S&M leaflets continues, the film betrays a kind of prurience the filmmakers could hardly have intended. What results is a remarkable visual record of midcentury underground literature and sexual appetites, and a gloss on the values of the society that condemned them.
“Now, you might ask yourself ‘Why this sudden concern? Pornography and sex deviation have always been with mankind.’ This is true. But, now, consider another fact: never in the history of the world have the merchants of obscenity, the teachers of unnatural sex acts, had available to them the modern facilities for disseminating this filth. High-speed presses, rapid transportation, mass distribution: all have combined to put the vilest obscenity within reach of every man, woman, and child in the country.”—George Putnam, narrator.
“This same type of rot and decay caused sixteen of the nineteen major civilizations to vanish from the Earth. Magnificent Egypt, classical Greece, imperial Rome, all crumbled away not because of the strength of the aggressor, but because of moral decay from within. But we are in a unique position to cure our own ills: our Constitution was written by men who put their trust in God and founded a government based in His laws. These laws are on our side. We have a constitutional guarantee of protection against obscenity. And, in this day especially, we must seek to deliver ourselves from this twisting, torturing evil. We must save our nation from decay and deliver our children from the horrors of perversion. We must make our land, ‘the land of the free’, a safe home. Oh, God, deliver us, Americans, from evil.”—George Putnam, narrator (closing words).
Conjured by o~ SeMeN SPeRmS ~o on June 9, 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
Who was Dr Infinity?
The Curious Story of Adult Film’s First Autofellator
Punk’s Not Dead
…It’s Just Really Old
DEAD! Executions And The Power Of Photography
Blood, Guts And Ribs As Chinese Performer Suffers For His Art
He Yunchang ‘Alchemist Of Pain’
Pip And Flip Snow – The Pinheads Of Freaks
Brazil: Police warn visitors, ‘Don’t scream if robbed’
“Do not react, scream or argue”
Only 4 Teslas have been stolen in America since they were released
NYPD told to carry spray paint to cover graffiti
“spray a square around the tag and then fill it in”
This Kid’s Attempt To Trick His Teacher On A “True” Or “False” Exam Is Hilarious
Conjured by o~ SeMeN SPeRmS ~o on May 25, 2014