Jill Kelly (actress)
Jill Kelly is the stage name of an American pornographic actress and producer. Kelly is an AVN Hall of Fame inductee. Kelly's stage name was derived from the names of the Charlie's Angels characters portrayed by Farrah Fawcett and Jaclyn Smith, she started out as a stripper at the Babydolls adult entertainment theater in her hometown, first performing at the age of 15 with false identification. After she broke up with her then-boyfriend, he informed the club of her true age, which caused them to fire her; when Kelly turned 18 she returned to the club, commenting that "they didn't recognize me."She did live sex shows with Tiffany Million at the O'Farrell Theatre in San Francisco. Kelly has appeared in over 50 B movies, including The Legend of the Roller Blade Seven, Toad Warriors, Big Sister 2000. In the spring of 1998 she appeared in Spike Lee's He Got Game. Kelly started her own company, Jill Kelly Productions, in October 1998. In April 2005, following the company's bankruptcy filing, Penthouse magazine paid $1.765 million to acquire its assets, which included the entire JKP back catalogue and nearly 60 unreleased features.
A native of Southern California, Kelly was born in the Los Angeles suburb of Pomona. She married porn actor Cal Jammer, whom she met at a CES convention in Las Vegas in 1993, they were married a month later. Jammer introduced her to the world of adult movies and her career was launched. However, she separated from him due to his infidelities off-camera, which she called "the deal breaker". Jammer took the separation hard, committing suicide by shooting himself to death on the road in front of Kelly's house on January 25, 1995. On May 6, 2000, she married adult star Julian, but the couple was divorced by the end of 2001, she married a third time, to porn actor/producer/director Corey Jordan on September 20, 2003. This marriage would not last and the couple parted ways a year only to finalize their divorce in October 2004. Kelly had an off-screen relationship with her fellow female colleague P. J. Sparxx in the mid-'90s; the pair would tour together and dance on stage as part of a dance duo act called "Fire & Ice".
They released a porn feature film of the dance act called Fire & Ice: Caught In The Act. Kelly and Sparxx elucidated on their relationship in the "Behind the Scenes" documentary series Sex Under Hot Lights. Sparxx posited. Kelly stated that Sparxx had supported her following her husband's suicide in January 1995. Sparxx and Kelly claimed to be involved in terms of women, but were in an open relationship in regards to other men, with Kelly claiming she was involved with a boyfriend at the time. Kelly identifies as bisexual. 1996 AVN Award – Best All-Girl Sex Scene – Takin' It To The Limit 6 1996 XRCO Award – Best Girl-Girl Sex Scene – Takin' It To The Limit 6 1997 AVN Award – Best All-Girl Sex Scene – Dreams of Desire 1998 XRCO Award – Female Performer of the Year 1999 AVN Award – Best Couples Sex Scene – Dream Catcher 1999 Hot d'Or Award – Best American Actress – Exile 1999 NightMoves Award – Best Actress 2001 FOXE Award – Female Fan Favorite 2002 FOXE Award – Female Fan Favorite 2003 AVN Hall of Fame 2003 FOXE Award – Female Performer of the Year 2007 NightMoves Hall of Fame Jill Kelly on IMDb Jill Kelly at the Internet Adult Film Database Jill Kelly at the Adult Film Database Biography at AVN
Joseph "Joe" Estevez is an American actor and producer. He is the younger brother of actor Martin Sheen and the uncle of Emilio Estevez, Charlie Sheen, Renée Estevez and Ramon Estevez. Estevez was born in Dayton, Ohio to a Catholic, Galician-born father, Francisco Estévez, an Irish mother, Mary Anne, he is one of ten children -- one girl. As a child, he lived in the South Park neighborhood of Dayton. During a family trip in April 1959, he participated in the White House Easter Egg Roll and met President Dwight D. Eisenhower, he attended a Catholic High School located in Dayton. Upon his graduation, he served in the United States Navy. After serving in the United States Navy, Estevez began pursuing an acting career starting in the early 1970s, he used his mother's maiden name, before using his surname, Estevez. Throughout his career, Estevez has appeared in numerous film and television roles in lead and minor parts playing protagonists and antagonists, he appears in moderate and low-budget independent features and B-movies.
In addition, he performs in stage productions. He has expressed in an interview. Estevez stood in for his brother in a number of long shots and in some of the voice-overs for Apocalypse Now, as Martin Sheen was recovering from his heart attack. In 1992, he acted in Armed for Blood on the Badge, he plays a villain, Cyrus, in the film Doonby, which features former The Dukes of Hazzard star John Schneider as a mysterious stranger who comes into a small town and falls in love with the spoiled daughter of Estevez's character, the local doctor. He co-stars with David Faustino in the feature Not Another B Movie released by Troma Entertainment. Estevez has worked with alternative-comedians Tim Heidecker and Gregg Turkington on various projects including On Cinema, The Tim Heidecker Murder Trial and as President Jason Davidson on the Adult Swim series Decker. In all his collaborations, Estevez either plays a fictionalized version of himself or a character being portrayed by a fictionalized version of Joe Estevez.
Estevez has been married twice. He married Shirley Monkman in 1978 and raised three daughters: Casey and Angela, his second wife is actress Constance Anderson, whom he married in 2004. Joe Estevez is the youngest sibling, to his brother Martin Sheen. Joe Estevez sounds similar to his older brother, a fact he took advantage of when he did a voice-over for a National Shooting Sports Foundation pro-gunmaker commercial in 2000. Sheen starred in a pro-gun control commercial that same year. Joe Estevez on IMDb Joe Estevez at AllMovie
Conrad Brooks was an American actor. Brooks moved to California, in 1948 to pursue a career in acting, he got his start in movies appearing in Ed Wood films such as Plan 9 from Outer Space, Glen or Glenda, Jail Bait. Brooks took a break from acting during the 1970s, he went on to write and direct several films. Along with Gregory Walcott and Paul Marco, Brooks appeared in Ed Wood. Brooks is played by Brent Hinkley in the movie. Brooks was a frequent guest at the Mid-Atlantic Nostalgia Convention, where he signed autographs for fans, he made a cameo appearance as the pianist for the Sound The Surrender music video by heavy metal band, Darkest Hour. When The Sinister Urge episode of Mystery Science Theater 3000 was released on DVD, Brooks filmed a special introduction. Brooks teamed up again with filmmaker Jonathan M. Parisen on two films, Toilet Gator and Space Vampires from The Planet Blood, a television show, Blast Corrigan: Rocketship To Earth. Brooks was founder and owner of Conrad Brooks Productions, which has produced the Gypsy Vampire series, starring Bruce "Porkchop" Lindsay as Count Lugo.
Brooks continued acting well into his 80s, making an appearance in a 2015 remake of Plan 9 From Outer Space. He made. Brooks died of complications from sepsis on December 6, 2017 in Martinsburg, West Virginia, at the age of 86. Conrad Brooks on IMDb Conrad Brooks at AllMovie
Martial arts are codified systems and traditions of combat practiced for a number of reasons such as self-defense and law enforcement applications, physical and spiritual development. Although the term martial art has become associated with the fighting arts of East Asia, it referred to the combat systems of Europe as early as the 1550s; the term means "arts of Mars", the Roman god of war. Some authors have argued that fighting arts or fighting systems would be more appropriate on the basis that many martial arts were never "martial" in the sense of being used or created by professional warriors. Martial arts may be categorized along a variety of criteria, including: Traditional or historical arts vs. contemporary styles of folk wrestling and modern hybrid martial arts. Techniques taught: Armed vs. unarmed, within these groups by type of weapon and by type of combat By application or intent: self-defense, combat sport, choreography or demonstration of forms, physical fitness, etc. Within Chinese tradition: "external" vs. "internal" styles UnarmedUnarmed martial arts can be broadly grouped into focusing on strikes, those focusing on grappling and those that cover both fields described as hybrid martial arts.
Strikes Punching: Boxing, Wing Chun, Karate Kicking: Taekwondo, Savate Others using strikes: Muay Thai, Kung Fu, Pencak SilatGrappling Throwing: Hapkido, Sumo, Aikido Joint lock/Chokeholds/Submission holds: Judo, Brazilian jiu-jitsu, Sambo Pinning Techniques: Judo, AikidoArmedThe traditional martial arts, which train in armed combat encompass a wide spectrum of melee weapons, including bladed weapons and polearms. Such traditions include eskrima, kalaripayat and historical European martial arts those of the German Renaissance. Many Chinese martial arts feature weapons as part of their curriculum. Sometimes, training with one specific weapon will be considered a style of martial arts in its own right, the case in Japanese martial arts with disciplines such as kenjutsu and kendo and kyudo. Modern martial arts and sports include modern fencing, stick-fighting systems like canne de combat, modern competitive archery. Combat-oriented Health-orientedMany martial arts those from Asia teach side disciplines which pertain to medicinal practices.
This is prevalent in traditional Asian martial arts which may teach bone-setting and other aspects of traditional medicine. Spirituality-orientedMartial arts can be linked with religion and spirituality. Numerous systems are reputed to have been disseminated, or practiced by monks or nuns. Throughout Asia, meditation may be incorporated as part of training. In those countries influenced by Hindu-Buddhist philosophy, the art itself may be used as an aid to attaining enlightenment. Japanese styles, when concerning non-physical qualities of the combat, are strongly influenced by Mahayana Buddhist philosophy. Concepts like "empty mind" and "beginner's mind" are recurrent. Aikido, for instance, can have a strong philosophical belief of the flow of energy and peace fostering, as idealised by its founder Morihei Ueshiba. Traditional Korean martial arts place emphasis on the development of the practitioner's spiritual and philosophical development. A common theme in most Korean styles, such as taekkyeon and taekwondo, is the value of "inner peace" in a practitioner, stressed to be only achieved through individual meditation and training.
The Koreans believe. Systema draws upon breathing and relaxation techniques, as well as elements of Russian Orthodox thought, to foster self-conscience and calmness, to benefit the practitioner in different levels: the physical, the psychological and the spiritual; some martial arts in various cultures can be performed in dance-like settings for various reasons, such as for evoking ferocity in preparation for battle or showing off skill in a more stylized manner. Many such martial arts incorporate music strong percussive rhythms; the oldest works of art depicting scenes of battle are cave paintings from eastern Spain dated between 10,000 and 6,000 BCE that show organized groups fighting with bows and arrows. Chinese martial arts originated during the legendary apocryphal, Xia Dynasty more than 4000 years ago, it is said. The Yellow Emperor is described as a famous general who before becoming China's leader, wrote lengthy treatises on medicine and martial arts. One of his main opponents was Chi You, credited as the creator of jiao di, a forerunner to the modern art of Chinese wrestling.
The foundation of modern Asian martial arts is a blend of early Chinese and Indian martial arts. During the Warring States period of Chinese history extensive development in martial philosophy and strategy emerged, as described by Sun Tzu in The Art of War. Legendary accounts link the origin of Shaolinquan to the spread of Buddhism from ancient India during the early 5th century AD, with the figure of Bodhidharma, to China. Written evidence of martial arts in Southern India dates back to the Sangam literature of about the 2nd century BC to the 2nd century AD; the combat techniques of the Sangam period were the earliest precursors to Kalaripayattu. In Europe, the earlie
Hell Comes to Frogtown
Hell Comes to Frogtown is a 1988 cult film, created by Donald G. Jackson; the screenplay was written by Randall Frakes. The film was directed by Jackson and R. J. Kizer, stars professional wrestler Roddy Piper as well as Sandahl Bergman, Cec Verrell, William Smith and Rory Calhoun; this film is set in a post-apocalyptic wasteland where few fertile men and women exist due to atomic fallout. As a result, the government places a high priority on those. Shortly before the movie opens, a group of mutant amphibians capture a group of fertile women and are using them as sex slaves. Sam Hell is a nomadic traveler, he is captured by an organization of warrior-nurses, the closest thing to a government in his region of the world, who reveal that they located him by tracking the trail of pregnant women left in his wake. Their original plan was to use him as breeding stock with their collection of fertile women, but this was the group captured by the mutants. With their own attempts to capture the women failing, the group presses Hell into service as a mercenary.
To make sure that the rebellious Hell follows his orders, he is forced to wear an electronic protective codpiece that will explode if he disobeys or tries to abort his mission. Having taken numerous samples of reproductive material from him, he is now deemed far more expendable than the women themselves. To aid him in his mission, he is paired with one of the nurses, an aggressive guard named Centinella. During their journey to Frogtown, Hell tries numerous times to escape but learns that a device Spangle carries will shock his genitals if used or if he gets too far away from it. Despite their rocky start and Spangle's initial cold demeanor, the pair grow closer during the journey and fall in love; when they reach Frogtown, everyone involved is captured. The frogs' second-in-command, tortures Hell and attempts to remove the codpiece for its technology. Meanwhile, a drugged Spangle is forced to work as a slave and dance for the frogs' Commander Toty in the notable "Dance of the Three Snakes" sequence.
Proving more successful than she had wished, the nurse soon finds herself at the mercy of the aroused commander. However, with the codpiece now removed, the escaped Hell rescues her along with the group of fertile women held captive. Roddy Piper as Sam Hell Sandahl Bergman as Spangle Cec Verrell as Centinella William Smith as Captain Devlin/Count Sodom Rory Calhoun as Looney Tunes Nicholas Worth as Bull Brian Frank as Commander Toty Julius LeFlore as Squidlips Eyde Byrde as Patton Lee Garlington as Briefing Officer Hell Comes to Frogtown spawned one sequel, Return to Frogtown, released directly to VHS in 1993. None of the original cast returned. Toad Warrior was released in 1996 and re-released as Max Hell Frog Warrior in 2002. According to Jackson, the film was intended as a stand-alone story. Hell Comes to Frogtown inspired the title of the "Hell Comes to Quahog" episode of animated television series Family Guy. Hell Comes to Frogtown on IMDb Hell Comes to Frogtown at AllMovie Hell Comes to Frogtown review on the When Wrestlers Act podcast Hell Comes to Frogtown at Horrordrome
Return to Frogtown
Return to Frogtown is a 1993 B movie directed by Donald G. Jackson, it is the sequel to the 1988 cult film. Like its predecessor, the film is set in a post-apocalyptic future where mutant frog-people are at war with mankind. Robert Z'Dar plays Sam Hell, in place of Piper. In the film, Sam Hell infiltrates Frog Town again to rescue a Texas Rocket Ranger. In what may be a direct reference to his Incredible Hulk fame, Ferrigno's character is modified and turned into a frog-person, giving him superhuman strength. Notable co-stars of the cast include: Don Stroud, Brion James, Charles Napier, Rhonda Shear; the movie was followed by Max Hell Frog Warrior. Robert Z'Dar as Sam Hell Denice Duff as Dr. Spangle Kelsey as Cmdr. Toty Mike Nyman as Frog Linda Singer as Nurse Cloris Lou Ferrigno as Ranger John Jones Don Stroud as Brandy Stone Brion James as Prof. Tanzer Charles Napier as Capt. Delano Rhonda Shear as Fuzzy Ken Davitian as Bud Brad Baker as Frog Guard Return to Frogtown on IMDb Return to Frogtown at AllMovie Return to Frogtown at Rotten Tomatoes
A cult film or cult movie commonly referred to as a cult classic, is a film that has acquired a cult following. Cult films are known for their dedicated, passionate fanbase, an elaborate subculture that engage in repeated viewings, quoting dialogue, audience participation. Inclusive definitions allow for major studio productions box office bombs, while exclusive definitions focus more on obscure, transgressive films shunned by the mainstream; the difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art. The term cult film itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies, though cult was in common use in film analysis for decades prior to that. Cult films trace their origin back to controversial and suppressed films kept alive by dedicated fans. In some cases, reclaimed or rediscovered films have acquired cult followings decades after their original release for their camp value.
Other cult films have since become reassessed as classics. After failing in the cinema, some cult films have become regular fixtures on cable television or profitable sellers on home video. Others have inspired their own film festivals. Cult films can both form their own subcultures. Other media that reference cult films can identify which demographics they desire to attract and offer savvy fans an opportunity to demonstrate their knowledge. Cult films break cultural taboos, many feature excessive displays of violence, sexuality, profanity, or combinations thereof; this can lead to controversy and outright bans. Films that fail to attract requisite amounts of controversy may face resistance when labeled as cult films. Mainstream films and big budget blockbusters have attracted cult followings similar to more underground and lesser known films. Fans who like the films for the wrong reasons, such as perceived elements that represent mainstream appeal and marketing, will be ostracized or ridiculed.
Fans who stray from accepted subcultural scripts may experience similar rejection. Since the late 1970s, cult films have become popular. Films that once would have been limited to obscure cult followings are now capable of breaking into the mainstream, showings of cult films have proved to be a profitable business venture. Overbroad usage of the term has resulted in controversy, as purists state it has become a meaningless descriptor applied to any film, the slightest bit weird or unconventional. Films are stated to be an "instant cult classic" now before they are released. Fickle fans on the Internet have latched on to unreleased films only to abandon them on release. At the same time, other films have acquired massive, quick cult followings, owing to spreading virally through social media. Easy access to cult films via video on demand and peer-to-peer file sharing has led some critics to pronounce the death of cult films. A cult film is any film that has a cult following, although the term is not defined and can be applied to a wide variety of films.
Some definitions exclude films that have been released by major studios or have big budgets, that try to become cult films, or become accepted by mainstream audiences and critics. Cult films are defined by audience reaction as much as by their content; this may take the form of elaborate and ritualized audience participation, film festivals, or cosplay. Over time, the definition has become more vague and inclusive as it drifts away from earlier, stricter views. Increasing use of the term by mainstream publications has resulted in controversy, as cinephiles argue that the term has become meaningless or "elastic, a catchall for anything maverick or strange". Academic Mark Shiel has criticized the term itself as being reliant on subjectivity. According to feminist scholar Joanne Hollows, this subjectivity causes films with large female cult followings to be perceived as too mainstream and not transgressive enough to qualify as a cult film. Academic Mike Chopra‑Gant says that cult films become decontextualized when studied as a group, Shiel criticizes this recontextualization as cultural commodification.
In 2008, Cineaste asked a range of academics for their definition of a cult film. Several people defined cult films in terms of their opposition to mainstream films and conformism, explicitly requiring a transgressive element, though others disputed the transgressive potential, given the demographic appeal to conventional moviegoers and mainstreaming of cult films. Jeffrey Andrew Weinstock instead called them mainstream films with transgressive elements. Most definitions required a strong community aspect, such as obsessed fans or ritualistic behavior. Citing misuse of the term, Mikel J. Koven took a self-described hard-line stance that rejected definitions that use any other criteria. Matt Hills instead stressed the need for an open-ended definition rooted in structuration, where the film and the audience reaction are interrelated and neither is prioritized. Ernest Mathijs focused on the accidental nature of cult followings, arguing that cult film fans consider themselves too savvy to be marketed to, w