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
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:
- ★ Schulmadchen Report I: What Parents Don’t Think is Possible, aka Schoolgirl Report Part I
- ★ Schulmadchen Report II: What Keeps Parents Awake at Night, aka Schoolgirl Report Part II
- ★ Schulmadchen Report III: What Parents Find Unthinkable, aka Schoolgirls Growing Up
- ★ Schulmadchen Report IV: What Drives Parents to Despair, aka Campus Swingers
- ★ Schulmadchen Report V: What All Parents Should Know, aka 14 and Under
- ★ Schulmadchen Report VI: Erotic Young Lovers, aka Campus Pussycats
- ★ Schulmadchen Report VII: But Heart Needs to Be There
- ★ Schulmadchen Report VIII: What Parents Should Never Get to Know, aka Naughty Coeds
- ★ Schulmadchen Report IX: Examination Before the Matriculation
- ★ Schulmadchen Report X: Every Girl Starts Sometime
- ★ Schulmadchen Report XI: Confessions of a Naked Virgin, aka Blue Dreams
- ★ Schulmadchen Report XII: Young Girls Need Love, aka Blue Fantasies
- ★ Schulmadchen Report XIII: Don’t Forget The Love When Having Sex
Conjured by o~ SeMeN SPeRmS ~o on July 20, 2014
Produced and directed by Henry Chalfant and Rita Fecher
Completed in 1993 Flyin’ Cut Sleeves presents alternating portrayals, from the past and the present, of former street gang presidents in the Bronx: Benjy Melendez, The Ghetto Brothers, Ben Buxton, The Savage Nomads, Nelly “China” Velez, The Savage Nomad Girls, Felipe “Blackie” Mercado, The Savage Skulls, and Lorine Padilla, Blackie’s wife. The project grew out of the experiences of Rita Fecher, the film’s co-producer, who taught in a South Bronx school in the late 1960′s and early 1970′s, became intimately involved with the gangs, their leaders, and the leaders’ families and began to document their lives. Their world was the streets, set against a backdrop of uprooted families, cultural alienation, drugs and violence. Neighborhood teenagers responded by organizing into street groups known to the members as “families”, but labeled in the most alarming terms as violent gangs by the press. In fact, the “families” had a stabilizing effect, enabling the youths to cope with their troubled environment and providing their young leaders with a means of exercising authority. The political climate at the time, movements of national liberation and such organizations as the Black Panthers and Young Lords Party influenced the young gang leaders to aspire to be more than warriors and to become, to some degree, a positive force in their communities. – HenryChalfant.com
Conjured by o~ SeMeN SPeRmS ~o on May 15, 2014
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Conjured by o~ SeMeN SPeRmS ~o on April 16, 2014