I'm nearly finished posting all my current posters at
my first Pink film blog, which covers the years 1990 to the present. I just have to finish 2002. So far, I've made a total of over 1,200 posts, each representing a film, with information and poster(s). I've been slowly adding some info to IMDb, and their coverage of, for example, the filmography of
Sachi Hamano, and the personnel involved in the making of those films, is improving. IMDb even gladly accepted an article on
Mariko Morikawa's sole cinematic venture,
Big Tit Monestary, linking to my blog's
posters of both releases of the film. Nearly all of this information, needless to say, would now be unwelcomed at the project formerly claiming to aspire to "the sum of human knowledge."
[ BREAKING NEWS: The geniuses (i.e. anonymous, uninformed and biased volunteers) at Wikipedia are now
in the process of removing awards as proof of "notability" for Pink film personnel, based on equating them with US low-grade, hardcore pornography personnel. According to the
Historical Dictionary of Japanese Cinema, Pink film "must be considered a crucial sector of [Japanese] domestic film production." Do similar reference books on US cinema say this of US hardcore pornography? No matter. Soon, articles on Japanese performers in mainstream films will be targeted for deletion because of a guideline set up to deal with (i.e., delete) articles on U.S. hardcore porn stars. As far as sexual exlicitness, Pink films are the equivalent of US R- and NC-17 films. So will the geniuses at Wikipedia judge filmmakers and films in the US R- and NC-17 categories by the same standard? No, no, no, of course not.
But, Dekkappai-san! You don't mean that Wikipedia's "notability" guidelines violate Wikipedia's own policies of "No original research", "Neutral Point of View" and "Not Censored" by allowing editors frame it with their un-supported opinions and personal prejudices, resulting in cultural bias throughout the project! That's EXACTLY what I don't mean nothin' else BUT! ]
Scene from Tamaki Yasuoka's new DVDSpeaking of Hell on the Internet. I got a notice that the edit-warring and sourced-content-deletion of full-time Wiki-asshole Hullaballoo Wolfowitz had been brought to the attention of Jimbo Wales. I made the mistake of blundering in and pointing out that HW was one of the arrogant, ignorant, incompetent, lazy sons-of-bitches who had played a role in my leaving the project-- after having contributed over 600 articles including two Good and one Featured on the mainpage. And how did Wales react? Silence. I was then attacked and insulted on Jimbo's talkpage by a pimply-faced Anglo-centric piece of shit who has never contributed anything to the project, and spends all his time seeing that his self-important, ignorant opinion is represented at every discussion. And how did Wales react? Silent agreement.
A week before Daylight Savings time, I had another brush with Wikipedia. My old computer indicated it was time to set the clocks back, but, knowing that the date had been changed within the last decade, I decided to check around first. I figured even the incompetent blow-hards at Wikipedia could manage to give me the correct time of day. One would think that, for one, is one of the rare, relatively non-controversial topics which doesn't attract crackpottery, edit-warring and deletion of real information. One would thing wrong. The article on Daylight Savings Time does not give the dates of time change. I checked another article-- "Daylight Savings Time in various countries" or whatever. That did not give the dates of time-change either. At this point I did what I should have done before I even went to the site: said "FUCK Wikipedia!" and easily Googled my answer. I can only imagine that the constipated, rule-making "Wikipedia is not" apes went on a "Wikipedia is NOT an almanac!" crusade and deleted any information that might help users in this area. And Jimbo Wales and the rest of the Neville Chamberlains sat on their smug asses silently "assuming good faith".
Tamaki-san's wine date, Mei AsakiSo far so good.
Then, today I get an email from the marvelous Wikipedia system telling me that an article I started on the Korean animated film
Robot Taekwon V and Golden Wing way back in 2006 had suddenly been put up for speedy deletion. Against my better judgement, I looked in to see what was up. What happened illustrates the bureaucratic incompetence that has taken hold at Wikipedia, and which is only getting worse, to the satisfaction of the incompetent teens-playing-bureaucrats who run the place now. Some stupid fucking idiot vandalized the article, adding a lot of hoax information involving Nicholas Cage, President Obama, Roger Ebert, etc. Ha ha ha. Funny. OK. Easily fixed. Just revert it, right? Wrong. But that's how the marvelous Wikipedia system works, isn't it? No. That's how the
old Wikipedia worked. The Wikipedia that was set up to accept and present information. How does the new, modernized, BLP-ized, Notability-ized, Deletion-ized Wikipedia system handle this? It speedy-deletes the article as a hoax, then warns me-- retired, good-faith contributor, non-vandal ME-- not to add inappropriate material. Fine. IMDb will be happy to accept information on this "hoax" film when I eventually tire of Pink cinema and branch out to Korean cinema.
Here's the entry for that "hoax" over at
the Korean Movie Database, and to the right, more hoaxery deceives your eyes. Of course none of the English and American idiots at Wikipedia would think to search for information on a Korean animated film in Korean, would they? No, anyone who reads Korean has either left the project to contribute real information someplace that accepts it, or has accepted what Wikipedia is now, and stayed on to push one point of view and to fight other point-of-view-pushers... Chatting, trolling, fighting other trolls, vandalizing and fighting other vandals... that's what all the repected editors do...
And at IMDb? No vandals, no self-important, incompetent assholes endlessly creating, changing, interpreting and re-interpreting their own rules... just submit your information with back-up sources and people with actual authority approve it or reject it... I should have made the move to IMDb long ago.
But, in Boobpedian news: The gorgeous
Tamaki Yasuoka has a new DVD release, code name: WZA-04. She can be seen at the top of this post. Tamaki-san reports in
her blog that she and lovely
Mei Asaki had a wine date a couple weeks ago. See the picture below Ms. Yasuoka above for Asaki-san. Put me between those four... er, two... with a little scotch instead of the wine, and you've got the stuff that Dekkappedlian dreams are made of...
And, beating all the odds,
Bon-Bon Cherry has finally released a decent screenshot to
DMM. Take a look at the layout presented in their DVD Bomc-032:
Bomc-032... and with that, I wish you soft, warm, squishy, pleasant dreams...
Scene from Tamaki Yasuoka's new DVD
Tamaki-san's wine date, Mei Asaki
Bomc-032
Finished the Boin Box series bio-stubblies for the new actresses this a.m. I know I have a moral obligation here to live up to my "Adult Content" warning, but I can't resist... allow me to once again indulge my fetish for clothed women. Feast your eyes on the gorgeous Boin Box sweater-girl Rei Minami to your left, here from a DVD code-named TMEM-012 on the as-yet unexplored Baltan label. Combine that with the unveiling on the right, and you have as pleasant a little scenario for your viewing pleasure as you could ask for.
Unfortunately none of the images have her face visible. To the left, Haruki further satisfies my fetish for clothed models. However, note the rounded window pane in the background of the image at left, indicating that either Haruki lives in a home constructed by hobbits, or the photographer felt the need to enhance the model's supernatural attributes with that fish-eye lens I was complaining about a couple days ago. I mean, what the hell, Uncle Bon Bon?! This is may be the biggest bazoom yet captured in the history of Japanese AV, and you feel the need to exaggerate it with photographic manipulation?
The image at right seems to give a better idea of what the lady's chestular attributes look like clothed, with a minimum of photographic interference from our dear Uncle.
I finished the BOMC series, up to the most recent release-- BOMC-029, details of which were made available during the couple days I was working on the series. 
This ends my first stab at the series on a spectacular high note-- A T-cup, no less. Let's see how long that record holds. After that I slowed down a bit, perusing sites for other series to start or update. IZM has three new DVDs out, so I started articles on them. I downloaded their new Masaki Amamiya video clip (Masaki seen at right) which greatly meets with my hearty approval. M-m-m-BOY! That's one fine chunk of woman! "Warmth in the winter and shade in the summer," as the man says.
ilbert, and directed by Eddie Kline. Decent little B-movie comedy, the one really funny scene was with Kennedy "taiming" two lions who had just been drugged with sleeping pills, and trying to make them appear ferocious enough to give the audience a thrill. A nice touch is when he trips on one of the dozing felines on his way out of the cage, and the lion looks up and yawns. The director didn't quite milk that scene for its potential worth though... Eddie Kline's kind of an odd duck anyway-- He directed some of the greatest comedies of all time-- Keaton's One Week, W.C. Fields' The Bank Dick and Never Give a Sucker an Even Break), yet he actually doesn't seem to really have been much of a director. He wasn't consistent. His stars handled the show. In fact I think I read where Fields requested Kline to direct Bank Dick and Never Give a Sucker an Even Break, because the studio wouldn't let him-- Fields-- direct, but he knew Kline wouldn't object to Fields saying how things should be done. Peck's Bad Boy gave Edgar Kennedy a chance for a bigger role, to show off his talents as he does in his classic Laurel & Hardy and Marx Brothers (Duck Soup) appearances, though, of course, this film doesn't compare at all to those classics, or to the classics Kline directed. Or, for that matter, the classic Laurel & Hardy films Edgar Kennedy himself directed (You're Darn Tootin' for one). All-in-all a decent, though not spectacular, way to pass 65 minutes. It gave a few laughs. Click here, and watch it for yourself. After that I watched the Laurel and Hardy short, Double Whoopee (1929), the "talkie" version that Chuck McCann dubbed over the original silent in the '60s. Absolutely hilarious, with great bits from L&H regulars Charlie Hall and Tiny Sandford.
I watched The Affairs of Cappy Ricks (1937) in the evening. Sort of a drawing-room farce set on the high seas, and on a desert island. Walter Brennan starred as the grizzled old salt. He cornered the market on grizzled. It wasn't bad. Son liked it a lot. Gave us both a couple laughs.
The fact that it is the women who abuse and dominate the men makes it much less unpalatable than the other way around, which used to be the norm. The mysoginistic aspect of many of the best-known Pink and Roman Porno films of the '60s and '70s was never attractive to me in the least. I enjoy sex (cinematic and real) and violence (cinematic only, please) as much as, if not more than, the next guy, but not when the women are being abused. I tolerate it to see beautiful actresses like Naomi Tani (though I have to admit that woman does look stunning in ropes; see for yourself at right.) I contend she would be considered the Marilyn Monroe of Japan, if she hadn't worked in the not-quite-respectable genre of S&M soft-porn. The interesting work that the writers and directors sometimes bring to the Pink film genre is an added bonus.
The Toei Pinky Violence-- with bad girls whipping the asses of men-- were more my style. Now show me Erika (seen at left in Ultra Bomber Boobs 152cm!) bouncing around on a 'Porno Pipsqueak' and I'm happy. Just have her on her own, parading around just being her gorgeous herself, and I've found bliss... Why not give her a plot to work with? Hunh? Hey Shintoho, Excess, OP! Where's the BBW Pink Films?! Enough with the skinny gals, throw us guys something we can sink our teeth into!
It is one of those 1941 films clearly anticipating the U.S. entry into the war, which must have seemed inevitable to everyone by then. (Can you imagine things similar to what was going on in the world in the '30s going on today, and the U.S. keeping its nose out of it?...) Spies are smuggling plans out of the country into Mexico... maybe the Kids anticipated war with Mexico? Or, I suppose, the enemy agents picked up the plans in Mexico then delivered them to England, or whomever it was predicted we'd fight. Not as enjoyable as the last night's Kids romp-- probably because Ernest "Sunshine Sammy" Morrison had a smaller role. Gorcey and Jordan were clearly the stars, but they weren't polished enough to carry the film. Don't believe me? Click here and watch it at the Internet Archive.
Continuing the JAMS project, I started a stub on their lovely actress Ayaka Yuzuki (pictured at right) this morning. Nice, pretty face, scrumptious ass and boobs, of course, but look at that belly! Oh, my, there's a place old Dekkappai would like to lay his weary head... The belly gets little respect these days, but why should a nice, plump, soft belly be any less desirable than ass & boobs with similar tactile and aesthetic qualities? Ms. Yuzuki also has a deep belly button to show off the pleasing tummy-flesh around it. All-in-all quite a beautiful girl-- I'd flip her in a nonce with relish! With a cup of French roast, that was a very nice way to start off the morning. I wasted my afternoon BP work time trying to figure out better how this blog site works. I figured out more, so I suppose it wasn't a total waste. I'll just post at night though, after the evening's editing is done.
you guessed it... sitting on their faces. (At left Anna Moriyama deals harshly with bill collectors in Huge-Ass Mask, Super Thunder-Thigh Amazon) I hope these story-based DVDs continue, simply because they make writing a synopsis more fun, but not to the extent that they revert back to the style of the early AVs. The AVs of the '80s were like mini, poorly-made Pink-films: All plot, with just fleeting scenes of nudity and/or sex... and the plots were not interesting, as those of Pink films can be. I enjoy good Pink films as straight films-- that is, films-- period-- which happen to have erotic content. When up for a bit of cinematic entertainment, one doesn't pop on an AV. The AVs address more primitive urges. As early AV idol, Kaoru Kuroki put it, they are "a bit like eating and menus in restaurants: you're hungry and you have a sudden craving for noodles, so you go and eat noodles. Your appetite is towards a porno video, so you go and rent whatever turns you on. And as with food, viewers can use basic ingredients to 'cook' the desired stimulation from the video themselves." (quoted in Bornoff, Nicholas (1994) [1991]. "Bye-Bye Pink Cinema, Hello Adult Video". Pink Samurai: An Erotic Exploration of Japanese Society; The Pursuit and Politics of Sex in Japan (Paperback ed.). London: HarperCollins. ISBN 0-586-20576-4.)
Calling it quits early, I watched Boys of the City-- an East Side Kids epic. I never was a fan of them, but my son likes them, and it's getting hard to persuade him to watch the good old crap with me these days. I watch the new crap with him at the theaters. Boys of the City has the Kids in a haunted house in the country, with murders, gangsters, and other clichés of low-brow 1940s comedy. The only thing missing to make it a complete encyclopedia of '40s crap-comedy-cliché is a guy in a really bad gorilla suit. (The Three Stooges must have had that gorilla suit tied up during the filming of Boys of the City.) The eye-rolling, knee-shaking, stammering "darkie" cliché was there in all its embarrassing glory, in the person of Ernest "Sunshine Sammy" Morrison. "Ah ain't afraid o' none o' dem ghostesses... ah's a-SCEERED ob 'em!"-type witticisms. I tried hard to be offended, but to tell the truth, "Sunshine Sammy" was the most entertaining character in the movie. Apparently Sammy had been in Hal Roach's silent Our Gang films. After his work with the East End Kids he went off to the war, then declined an offer to join the Bowery Boys when they were starting up that series. Too bad he didn't stick with them through the Bowery Boys years, toning down the stereotype, of course... Leo Gorcey hadn't quite developed his instrument yet. Just came off as a smart-ass kid most of the time. "Sunshine Sammy" obviously had talent, but that's probably as far as he could get in Hollywood of that day-- burying his face in watermelon and smacking his lips. Anyway, Boys wasn't as bad as expected. Not especially good, but not too bad. Click here and take a look at it for free at the Internet Archive.
