Wavy 70’s Girls
The Photography of Joseph Szabo: Teenage
Conjured by o~ SeMeN SPeRmS ~o on August 11, 2015
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
“I’ll give you a blow job for a salad”
Florida John Offered Salad In Return For Sex
Can I Eat This?
New App Helps Travelers Avoid Diarrhea
What’s in Your Beer? Fish Bladder and Antifreeze Ingredient?
Slave Labor Shrimps
Fake ‘Twilight’ Actor Seduces Underage Girls
Serial Pool Raft Fucker Arrested for Fucking Another Pool Raft
Human faces evolved to be punched by human fists, researchers say
Cellular tracking systems force phones to register with them at maximum power, drain battery quickly
US pushing local police departments to keep quiet on cell-phone surveillance technology
Scumbag Memphis Cop Tries To Steal $1500 Make-A-Wish Foundation Giftcard From a Terminally Ill 3-Year-Old
Thousands of Irish Orphans Used as Guinea Pigs for Vaccine Drug Tests in 1930’s
Mass Graves Found
Woman makes up boy on Facebook to talk to her niece, who asks fictional boy to kill her aunt, uncle, cousin and dog
Conjured by o~ SeMeN SPeRmS ~o on June 14, 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
WTF, how come I’ve never heard of this crazy Charles Bronson lolita love story?! Susan George looks delicious as the underage love interest. Directed by Richard Donner (Lethal Weapon movies)
A 38 year old writer of pornographic novels Scott (Charles Bronson) meets and falls in love with a sixteen-year-old school girl (Susan George) whilst living in London.
When Scott is refused a permanent visa to remain in Britain, the couple get married in Scotland and move to America where by state law Twinky (Lola) must go to school. Tensions arise when Twinky wants to engage in pastimes, while Scott struggles to complete his novels in order to earn a living. She runs away and is found by Scott in the cellar. Twinky then leaves for London the next day after writing Scott a tearful farewell letter.
Alternative title: ‘Statutory Affair’ …Haah!
Conjured by o~ SeMeN SPeRmS ~o on May 17, 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