Toon Incest 3d Pic

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Стоковые фотографии, векторная графика и иллюстрации по запросу «mom and dad cartoon» без лицензионных платежей (роялти): 30 330. mom and dad cartoon: стоковые видеоклипы


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No mum..., Chlamydia isn't the name of a sweet little princess and STD-land surely
isn't an amusement park..., but dad always had a way with words... and
Note: STD stands for Sexually Transmitted Diseases...
Jessica Rabbit is a fictional character in Who Censored Roger Rabbit? and its film adaptation, Who Framed Roger Rabbit. She is depicted as Roger's human toon wife in various Roger Rabbit media. Jessica is renowned as one of the best-known sex symbols in animation.
Tags: #SL #Secondlife #Roleplay #Jessica #Rabbit
... unless you have something to hide.. or tell.
GEORDIE SHORE CAST WAS GETTING READY TO FILM HERE !
For those who wonder why i am less active here or on Second Life lately... maybe you can put the blame on Her.
These days, Leinjan steals my attention, more than ever. Whether she is redheaded or blonde, i guess i just can't stop but looking at her.
Try to prove me i am wrong. Protip : you can't :)
Dutch press photo. Toon Agterberg and Peter Tuinman in Spetters (Paul Verhoeven, 1980).
Paul Verhoeven's Dutch film Spetters (1980) is the tale of two young amateur motocross racers and their mechanic who are seduced by a cute and smart girl who sells French fries and croquettes from the van that she operates with her brother. Everyone is hoping to escape a dead-end, working-class existence and is looking for a better life. At the time, the film was heavily criticised in The Netherlands, which was for Verhoeven one of the reasons to move to the USA. Nowadays international critics think much more positively about this quirky, black, and frank film.
Spetters (1980) was the first film by director Paul Verhoeven and screenwriter Gerard Soeteman that was not produced by Rob Houwer. They left Houwer over the many artistic and financial arguments they had had over the years. Verhoeven went to Joop van den Ende, who was pretty much the only other large producer in the Netherlands who could secure the necessary budget at the time. The title 'Spetters' comes from a Dutch slang term meaning 'hot shots' or 'hunks'. Originally the film was titled 'Buddies', before Paul Verhoeven's wife, Martine, came up with the word. Another meaning of the word is 'splashes', as in oil/grease splashes, a reference to another popular youth film from the same era: Grease (Randall Kleisner, 1978), be it a more gloomy version. The first version of the screenplay was rejected by a Dutch film foundation for being too vulgar. The script was re-written and funding was obtained, but in reality, Verhoeven used the original screenplay as the shooting script. Renée Soutendijk stars as Fientje, the young woman at the concession stand. She wants out of the business and away from her brother (Peter Tuinman). The three motorcycle lovers dream of fame, fortune, and sex. They want to make their marks as professional racers, like their hero, Gerrit Witkamp (Rutger Hauer). Witkamp was modeled after real-life Dutch motocross racing champion Gerrit Wolsink. The suits worn by the three boys during motocross racing reflect their nature: Rien (Hans van Tongeren), the most talented and valiant of the three, is dressed in white; Eef (Toon Agterberg), the ambivalent and secretly homosexual one, is two-colored (red and black); and Hans (Maarten Spanjer), the fool and coward, wears yellow. The racing scene in the film was Paul Verhoeven's homage to the chariot race from Ben Hur (William Wyler, 1959). It contains several direct references to this scene, such as the initial presentation of the contenders, and several accidents occurring during the race. Their lives don't go according to their dreams. Two years after the release of the film, Hans van Tongeren committed suicide in a sad and strange parallel to what happens to his character, who commits suicide after becoming paralysed.
Spetters proved to be popular, with 1,124,162 admissions in the Netherlands alone but was also heavily criticised. Many Dutch critics accused the film of being anti-gay and called the film devoid of morals. This criticism was one of the contributing factors in director Paul Verhoeven's decision to begin making movies in America. On the commentary track of the DVD release, Verhoeven states that the reason he was not fazed by the negative criticism of Showgirls (1995) was that he'd already been through it with Spetters (1980). At the beginning of the 1980s, Paul Verhoeven's Dutch films had come to the attention of Kathleen Kennedy, who showed them to her business partner Steven Spielberg. Spielberg was hugely impressed with Soldaat van Oranje (1977) and even considered recommending Verhoeven to his friend George Lucas as a potential director for Star Wars: Episode VI - Return of the Jedi (1983). However, he changed his mind after seeing Spetters. Bart Blackstone at IMDb: "This is an 80's disco motocross movie that has very little disco and very little motocross. What it has are many strong characters, all of them navigating life transitions and trying to figure out their place in the world. As for the "shocking" scenes that a lot of people are referring to in the posts, there is a fair amount of sex and nudity (male especially) in this film but to call it "shocking" is misleading. The reason the film's frank treatment of sexuality is so eye-opening is the way Verhoeven handles it as no big deal. Two men sneak into a subway for a tryst, and you actually see one of the guys go down on the other guy. Two pairs of teenagers sneak into an abandoned building to have sex and you see it. Or when a man and a woman lay in bed talking after having sex, you see the guy totally naked as well as the girl. What happens, happens and it's presented as it is. Verhoeven doesn't cut away from nudity, but at the same time doesn't artificially sexualize it by zooming in it, laying in sexy background music, etc. " Nathan Southern at AllMovie: "all of the arcs are completely credible, anchored by uniformly strong performances from the young cast. Verhoeven also works in a great deal of offbeat humor, as in an inventive sequence where two adjacent couples audibly feign intercourse to impress each other, and a riotous secret about Fientje's food service van that doesn't emerge until 2/3 of the way through the picture."
Sources: Bart Blackstone (IMDb), Nathan Southern (AllMovie), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards .
In the 1920s, "spade" started being used as a slang term, and then a derogatory slur, for a black person just like the word "nigg3r" was used to degrade and belittle the black community the term spade was used in the same sense. This racist shift in the phrase's meaning also lead to the equally offensive phrase "black as the ace of spades" or "Queen Of Spade" (Rerfering to the white woman as queen of Nigg3r's)
In my opinion black men or women should have more respect for themselves than to sell their souls and heritage for pennies in Second life by supporting anything that refers to them as Nigg3rs, Spade, (BBC) Big Black Cock , Breeding Bulls or any other racist term used to give into the NIGG3R FETISH that some of the insecure whites and foreigners of SL use to pleasure themselves (Meaning their Own hand wont fuck them unless they in a black toon) and who have also given into their own perverted gay cuckold nature, because lets face it when they sit there tugging themselves they getting off on watching a black toon fucking. Let me say this for the adults in the room. Human beings are not a fetish. Black people are not a fetish. Trans people are not a fetish.
Also don't tell me you love Black men because you love black dick or because you think we are sexy. What makes us sexy is being able to defy odds/obstacles & thrive. And If you cant understand or respect that than all the Spade or black owned tattoos & gang bangs don’t make you an ally it just means you’re out to exploit our shine.
There is nothing wrong with interracial content/kink/sex/love but it should not be fetishized and play on stereotypes that are detrimental or offensive to any group of people.
This type of roleplay is a part of the problem as any other racists spreading that shit.... unfortunately the ones unaware of just how fucked up it is , try to dupe themselves and others into believing this is a badge of honor or giving them a one up on white men... when in reality it is no different than when the plantation owner would sexually abuse and exploit their slaves treating them less than humans but object of twisted perversions
So to clear the air .This is NOT a nod of adoration for black men.
So if you Fuck in Second life be free and have fun but let go of that racist mind set.
"STOP SELLING YOUR SOUL AND HERITAGE FOR PENNIES IN A VIRTUAL GAME OR STOP PRETENDING LIKE YOUR ROCK SOLID WHEN YOU SOFTER THAN BABY SHIT." Tell them Sparta said that.
O Que surgiu também na década de 60 foi:
- As Pin ups.. Minha inspiração de estilo e moda..
Origem: Wikipédia, a enciclopédia livre.
Fotografias de pin-ups na revista estadunidense Yank, the Army Weekly.Uma pin-up é uma modelo cujas imagens sensuais produzidas em grande escala exercem um forte atrativo na cultura pop. Destinadas à exibição informal, as pin-ups constituem-se num tipo leve de erotismo. As mulheres consideradas pin-ups são geralmente modelos e atrizes.
Pin-up de Patrick Hitte.Pin-up também pode se referir a desenhos, pinturas e outras ilustrações feitas por imitação a estas fotos. O termo foi documentado pela primeira vez em inglês em 1941; contudo, seu uso pode ser rastreado pelo menos até a década de 1890. As imagens “pin up” podiam ser recortadas de revistas, jornais, cartões postais, cromo-litografias e assim por diante. Tais fotos apareciam freqüentemente em calendários, os quais eram produzidos para serem pendurados (em inglês, pin up) de alguma forma. Posteriormente, posters de “pin-up girls” começaram a ser produzidos em massa.
Muitas “pin ups” eram fotografias de celebridades consideradas sex symbols. Betty Grable foi uma das mais populares dentre as primeiras “pin-ups”. Um de seus posters tornou-se onipresente nos armários dos soldados norte-americanos durante a Segunda Guerra Mundial. Outras pin-ups eram trabalhos artísticos, freqüentemente representando versões idealizadas do que alguns imaginavam ser a representação de uma mulher particularmente atraente. Um exemplo antigo do último tipo foi a Gibson girl (garota de Gibson), desenhada por Charles Dana Gibson. O gênero também deu origem a vários artistas especializados, tais como Gil Elvgren, Alberto Vargas, George Petty e Art Frahm.
A expressão “cheesecake” é sinônimo de “foto pin-up”. O mais antigo uso documentado neste sentido é de 1934[1], antecipando-se a “pin-up”, embora anedotas afirmem que a expressão estava em uso na gíria pelo menos 20 anos antes, originalmente na frase (dita sobre uma bela mulher) “better than cheesecake” (algo como um verdadeiro pitéu).
Hoje em dia, homens também podem ser considerados “pin ups” e existem equivalentes masculinos de modelos e atores atraentes como Brad Pitt. O termo equivalente, nesta acepção, é “beefcake” (algo como bofe, em gíria brasileira).
Em anos recentes, ilustradores (a saber, Rion Vernon), têm explorado pin-ups de modo mais radical. Vernon, criador do termo "pinup toons" [1], fundiu a clássica garota pin-up com os elementos da HQ e cartoon.
Em HQs, uma pin-up é simplesmente uma arte que ocupa uma página inteira, costumeiramente sem diálogo, que exibe um personagem ou grupo de personagens, ou um acontecimento significativo, publicado numa edição regular ou especial e que não foi pensada para tornar-se um poster.
Em publicações profissionais para fãs de filmes e séries de televisão, uma pin-up pode representar uma fotografia posada dos atores ou atrizes do assunto em pauta, mas pode também exibir cenas específicas especialmente fotografadas para fins de divulgação (os chamados stills).
O Wikimedia Commons possui uma categoria contendo imagens e outros ficheiros sobre Pin-up(em inglês)-Galeria de Pin-ups antigas e modernas de diversos artistas
Como funcionam as pin-ups no HowStuffWorks
I STUMBLED ACROSS THE SHOOT ON THE QUAYSIDE DOON THA TOON
ON THE SET WITH HOLLY HAGAN AND VICKY PATTISON
Dutch postcard by Vara. Photo: Fotoatelier Nederlandse Omroep Stichting. Joost Prinssen as Erik Engerd (Eerie Eric), Wieteke van Dort as Deftige Dame (Posh Lady) and Aart Staartjes as Stratemaker op zee (Bricklayer at sea), in De Stratemaker op zee show/The bricklayer at sea show" (Frans Boelen, Aart Staartjes, 1972).
Today, 12 January 2020, Dutch actor and TV Icon Aart Staartjes has passed away. He was known in The Netherlands for such innovative children's TV classics as De stratenmaker op zee show/The bricklayer at sea show" (1972), De film van ome Willem (1974), J.J. de Bom voorheen: 'De kindervriend' (1979) and the Dutch version of Sesame Street , Sesamstraat . Two days ago, on 10 January, Staartjes was involved in a collision between a car and a quadricycle in Leeuwarden. He was taken to the hospital in critical condition and died two days later. Aart Staartjes was 81 years old.
Aart Staartjes was born in Nieuwendam, a neighbourhood of Amsterdam-Noord, in 1938. He had an older brother, and a younger sister. His father worked in a carpentry shop located behind the house. Staartjes started his primary education at the age of eight. After that, he attended the Mulo (more advanced primary education, comparable to Junior High School) in Amsterdam, followed by the Kweekschool, a teachers' college. He dropped out of the Kweekschool in 1958, and went to the theatre school instead, where he graduated in 1961. Staartjes made his debut in 1961 in Meneer Topaze, based on a play written by Marcel Pagnol in the 1930s. During the 1960s, he appeared in several TV films and TV series, and he performed the lead in the sex film Ibiza, zon en zonde/Song for Célestine (Roeland Kerbosch, 1969). Staartjes became known as the host of a religious children's program, Woord voor woord (1965–1976), that featured stories from the Bible adapted by Karel Eykman.
Aart Staartjes had his breakthough with the groundbreaking children's show De stratenmaker op zee show/The bricklayer at sea show (1972-1974) with Joost Prinsen and Wieteke van Dort. The show was directed by Staartjes and Frans Boelen, with music by Harry Bannink. Important lyrical contributions were by Willem Wilmink; other lyricists were Karel Eykman (writing as Hendrik Blaak) and Hans Dorrestijn. Each installment of De Stratemaker featured a collection of memorable songs ranging from hilarious or touching to naughty. Chip Douglas at IMDb: "Controversy struck by the time the third episode was broadcast, in which one of the main subjects was 'Pies & Poep'. It says something that even today these two rather childish names for bodily excrement's can't be mentioned on this site uncensored. Gossip journalist Henk van der Meyden denounced immediately the show in his Telegraaf newspaper column, which of course prompted a lot of parents to forbid their offspring to watch it and in turn caused the television ratings to sour sky high." Another hit was De film van ome Willem/Uncle Willem's Movie (1974-1989), a TV show for 4 to 6 year olds, in which Staartjes was Toon. Chip Douglas: "The makers wisely decided to break as many rules as possible instead of talking down to their audience. 'Uncle' Willem was played by jazz singer Edwin Rutten. He would come in through a paper door and join the musical trio of 'Geitenbreiers' playing the opening tune. Being a big child himself, Ome Willem loved to shock the other Geitenbreiers with dirty words like 'poop sandwich'." The third hit show was J.J. de Bom voorheen: 'De kindervriend' (1979-1982). It was made by the same team of writers and actors as De Stratemakeropzeeshow but aimed at a slightly older audience (10 to 15, just about the age viewers of the original 1972 show would have reached by 1979). This one tackled all kinds of subjects send in by young viewers, concerning teenage angst and puberty problems. 'J.J. de Bom' won the Nipkowschijf (Nipkow Award) for best educational programme in 1979.
Aart Staartjes also appeared in several children's films like Pinkeltje (Harrie Geelen, 1978), starring as the gnome Pinkeltje, and Martijn en de magiër/Martin and the Magician (Karst van der Meulen, 1979). In 1984, Aart Staartjes started to play the role of Mr. Aart in Sesamstraat, the Dutch adaptation of Sesame Street. Mr. Aart is a rather grumpy elderly man who always has something to complain about. Especially about the animal characters Pino, Tommie and Ieniemienie. This character was added because critics felt Sesamstraat was too idyllic and needed something to counteract this. Over the years, Mr. Aart gradually became milder developed into a more grandfatherly figure. In the persona of Meneer Aart, he authored a book called Meneer Aart: Leven en werken van de man die geen kindervriend wil heten (Mr. Aart: Life and work of the man who does not want to be named a friend to children). The team of de Stratenmakeropzee show returned in 1988 with the informative youth show Klokhuis. Staartjes, Wieteke van Dort and Joost Prinsen were now part of a much larger cast and a team of younger presenters filmed items on location. Staartjes also used to present the annual arrival of Sinterklaas in the Netherlands, and he had a starring role in the acclaimed drama series Waltz/Circus Waltz (Norbert ter Hall, 2008). Aart Staartjes was married twice. Only 22 years old, his first child was born, cinematographer Paul Staartjes. He divorced his first wife sixteen years later, and later married a woman named Hanna. On 10 January 2020, Staartjes was involved in a collision between a car and a quadricycle in Leeuwarden. He was taken to the hospital in critical condition and died two days later. He was 81 years old.
Sources: Wikipedia (English and Dutch) and IMDb.
And, please check out our blog European Film Star Postcards .
ONLY KIDDING STREET CANDID SHOT IN THA TOON
THE FILMING OF THE NEW SERIES OF GEORDIE SHORE
I STUMBLED ACROSS THE SET OF GEORDIE SHORE TO DAY GETTING READY TO BUNGEE JUMP !
been on a slight hiatus... i;ve got a lot goin on these days, and i do have
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