#Daktari Lorenz

[robe-and-wizard-hat]

[videomessiah]

Hot Love (1985)

[bigtits-boob-milena-velba]

Al poco de iniciar la web de milena-velba.de, se buscó promocionar en un festival llamado "2004 Venus Fair"

Aquí aparece Milena junto a Nadine, las dos protagonistas de las webs de Daktari Lorenz.

Ambas aparecen junto a Joana Bliss.

Allí promociono su web y conoció otras estrellas eróticas y del porno, en especial, con origen alemán.

Milena junto a Chloe Vevrier.

En las imágenes se busca una buena relación entre ellas, que llega a escenas lesbianas.

Según indicó un fan de Milena Velba, ella estuve en Venus Berlin show en 2004, 2007, 2010, y 2011, pero solo en 2004 con su propio stand, los siguientes solo como visitante.

[foodbucketjesus]

💥 Chrissi 📸 Daktari Lorenz

[maxispremades]

Panqueques Maker Picrew + Last Song

picrew

Last song: Daktari Lorenz — Katzi

Сейчас у меня новая прическа, но в этом мейкере нет ни бритых висков, ни моих привычных косичек 😭

I have a new hairstyle now, but this picrew doesn't include neither shaved temples nor even my usual plaits 😭

Thanks for the tag: @silwermoon-sims 🌺

I shall tag: @sarynsims, @borderpoint, @pixeldollhouse-ts4, @limeysims, @maaaryyyyx and anyone who wants 🍎

Feel free to ignore it ☕

[untergangsshow]

[vawonellam]

NEKRomantik (1987)

Duración: 75 min Dirección y guión: Jörg Buttgereit

[moviesandmania]

Nekromantik - West Germany, 1987 - overview and reviews

Nekromantik – West Germany, 1987 – overview and reviews

Nekromantik – stylized as NEKRomantik – is a 1987 West German horror film directed by Jörg Buttgereit. It was his first feature length film, although he had shot several shorts earlier.

The controversial movie, banned in a number of countries, became a cult film over the years due to its transgressive subject matter.

Buy: Amazon.com

Contrary to popular belief, the film was never submitted to the…

[bigtits-boob-milena-velba]

En febrero de 2007 se presenta con el título de "Samana"

En un vestido rojo, muy corto, insinuante, en una escalera, con el intenso contraste del blanco de los escalones y el rojo bramante de su traje. La blancura de su piel añade más intensidad.

Samaná es un municipio de la República Dominicana, situado en la provincia de Samaná.

Hoy en día, Samaná, con frecuencia abreviada para referirse a toda la península, está bien conectada por tierra y aire, sin embargo, sigue siendo el paradisíaco y remoto escape de playas salvajes, plantaciones de cocos y selvas tropicales de República Dominicana. Sus montañas ondulantes y valles forman los ríos cristalinos que desembocan en el Atlántico mientras se precipitan hacia brillantes playas de arena blanca que se extienden cientos de kilómetros alrededor de la costa rocosa de la península.

En febrero de 2007 Milena decidió hacer un viaje a la República Dominicana, por invitación de Daktari Lorenz. Este es el fotógrafo de Nadine Jansen, de otras mujeres similares y de Milena. Aquí aparece en primer plano, arrodillado, y al fondo, el marido de Milena, que destaca siempre por su calvicie y gran vientre.

El motivo del viaje fue hacer coincidir a Miosotis con Milena.

Miosotis Claribel nació el 16 de septiembre en Monte Chisti, Republica Dominicana. Su primera aparición fue en la página de Nadine Jansen con este modelo de bikini, en agosto de 2006.

En sus principios aparece con esta indumentaria. Posiblemente seria su ropaje auténtico, previo a ser atriz, y cambiar su estilo.

Un top, un pareo como falda, descalza y llevando en su cabeza una cesta de frutas, lo típico de las áreas rurales dominicanas.

En este encuentro, Miosotis invita a dos amigas más para valorar la posibilidad de participar en el reportaje. Sin embargo, el requisito fundamental es tener grandes pechos, asunto que solo lo cumple Miosotis.

[spectacletheater]

Nekromantik Valentine’s edition with bonus Mexican punks and South African B-Movie electrofunk.

Spectacle Radio ep.29, 02.17.19 :: I've always been fascinated by death

Hermann Kopp, Daktari Lorenz, & John Boy Walton - Menschentruemmer 4 (Der Todesking) // I've Always Been Fascinated by Death (Kissed) // Mark Reeder - Sex with a Saw (Nekromantik 2) // Hermann Kopp, Daktari Lorenz, & John Boy Walton - Supper (Nekromantik) // Townes Van Zandt - Waiting Around to Die (Heartworn Highways) // End Titles (Baby) // (Der Todesking) // J.B. Walton & Monika M -- Scelette Delicieux (Nekromantik 2) // Popol Vuh - Dream pt. 5 (San Frenesí) // Dave Alvin & Steve Berlin - Burning Guitar (Border Radio) // (Kissed) // Brian Eno - Berlin Horse // The Caretaker - Libet's Delay (Crumbs) // Hermann Kopp, Daktari Lorenz, & John Boy Walton - Freund Hein (Der Todesking) // Ashra Temple - Silence Sauvage // -- // Mark Reader - Yorkstrasse (Lust & Sound in West Berlin) // Gary Stockdale - dance (Dance of the Damned) // Sonny! (Charlie Steel) // Andrew Hung - Little Song (The Greasy Strangler) // Ryuichi Sakamoto - Adelic Penguins // (Video Road) // MIL KDU DES - Save the Earth (Godzilla vs. the Smog Monster) // Peter Cary & Nick Cenci - A Fine Day for a Massacre (Road Meat) // Keep It Cool, Charlie (Charlie Steel)OMD - Sealand (Nadie es Inocente) // -- // Sex Pistols - Hands to Hold You (Nadie es Inocente)

[nokogiribiki]

NOKO 125 - Rotten To The Score

original soundtracks, noir, GLS

NOKO 125 - Rotten To The Score

in this production our in-house 4:3 aspect ratio meets the 16:9 Gleichlaufschwankung for a mind experience in anamorphic widescreen. film classic soundtracks from the last 56 years come together. Gleichlaufgiribiki extract all that cruel & pleasant sounds from the background direct to your oul radio. what you hear is glorious stereo from the good analogue proceeding plus chiaroscuros effect.

「 download 」

125 intro. John Carpenter - music, sound effects and dialogue excerpts part 1 >>> Dark Star (John Carpenter / 1974) 003: Klaus Schulze - freeze >>> Angst (Gerald Kargl / 1983) 010. Zdeněk Liška - witches firewall >>> The Little Mermaid (Karel Kachyňa / 1976) 011: Angelo Badalamenti w/ The City Of Prague Philharmonic - mulholland drive >>> Mulholland Drive (David Lynch / 2001) 015: Hilmar Örn Hilmarsson - journey >>> Children Of Nature (Friðrik Þór Friðriksson / 1991) 019. Mike Patton - forest of conscience >>> A Place Beyond The Pines (Derek Cianfrance / 2013) 022: Charlie Clouser - main titles >>> Dead Silence (James Wan / 2007) 025. Lalo Schifrin - torture sequence / prison talk sequence >>> THX 1138 (George Lucas / 1971) 028: Joseph Trapanese, Aria Prayogi, Fajar Yuskemal - showdown >>> The Raid 2 (Gareth Evans / 2014) 034: Paul Hertzog - samoan balls >>> Bloodsport (Newt Arnold / 1988) 036: Trevor Jones w/ Courtney Pine - i got this thing about chickens >>> Angel Heart (Alan Parker / 1987) 040. Bernard Herrmann - diary of a taxi driver >>> Taxi Driver (Martin Scorsese / 1976) 044. Bernard Herrmann - vertigo prelude and rooftop >>> Vertigo (Alfred Hitchcock / 1958) 048: Clint Mansell - "we're not programs, gerty, we're people" >>> Moon (Duncan Jones / 2009) 053. Biosphere - field >>> Insomnia (Erik Skjoldbjærg / 1997) 058: Burkhard Dallwitz - underground / storm >>> The Truman Show (Peter Weir / 1998) 061. Vangelis - wait for me >>> Blade Runner (Ridley Scott / 1982) 066: John Carpenter & Alan Howarth - junkins >>> Christine (John Carpenter / 1983) 069. Daktari Lorenz - katzi >>> Nekromantik (Jörg Buttgereit / 1987) 071: Laibach - moon attack potpourri >>> Iron Sky (Timo Vuorensola / 2012) 074. Le Syndicat Electronique - passion >>> Lebenspornografie (Edwin Brienen / 2003) 076: Michel Rubini & Denny Jaeger - beach house >>> The Hunger (Tony Scott / 1983) 079. Alejandro Jodorowsky, Don Cherry, Ronald Frangipane - rainbow room >>> The Holy Mountain (Alejandro Jodorowsky / 1973) 082. Zhao Jiping - summer >>> Raise The Red Lantern (Zhang Yimou / 1991) 083: Joseph LoDuca - ascent / inflection >>> The Evil Dead (Sam Raimi / 1981) 085: Daniel Licht - blood theme >>> Dexter (2006-2013) 087. Hermann Kopp - drunk >>> Nekromantik (Jörg Buttgereit / 1987) 091: Mike Patton - weight of consequences (quod erat demonstrandum) >>> The Solitude Of Prime Numbers (Saverio Costanzo / 2010) 095. Howard Shore - accident... accident... >>> Crash (David Cronenberg / 1996) 098: Angelo Badalamenti - theme from twin peaks - fire walk with me >>> Twin Peaks - Fire Walk With Me (David Lynch / 1992) 104. Michael Galasso - angkor wat theme finale >>> In The Mood For Love (Wong Kar-Wei / 2000) 107: Keiichi Suzuki - a house on fire and massacres all over >>> Zatōichi (Takeshi Kitano / 2003) 118: The RZA - opening theme (raise your sword instrumental) >>> Ghost Dog: The Way Of The Samurai (Jim Jarmusch / 1999)

2014-09-15 . noko 125 . radio blau 2014-09-20 : gls-128 : radio corax 2021-11-26 . fsk hamburg

[rheo-tu]

После сегодняшнего сна у меня весь день похоронное настроение. Как будто что-то, что долго и усердно пряталось в глубине подсознания, вдруг выскочило и закачалось, как поплавок, на поверхности. И весь день в голове крутилась эта мелодия. Кажется, я знаю, какой хэллоуиновский просмотр себе устрою. Главное, чтобы этот фильм не стал последним.

"Это Король смерти. Он делает так, чт��бы люди не хотели больше жить".

Daktari Lorenz - Der Menschentrümmer III (Der Todesking OST)

[anhed-nia]

BLOGTOBER 10/1/2019: DER TODESKING--”I DIE, THEREFORE I AM!”

I’m kicking off Blogtober this year with the first movie that really scared me. Well, maybe that’s not properly true, but I’m not sure what more accurate word to use. It was the first movie that really profoundly offended me, that gave me a taste of what Mary Whitehouse would have felt had she actually watched any of the movies that were granted eternal (and often undeserved) notoriety by the Video Nasty list. It bothered me in a way that was totally indefinable, since I had never seen anything like it before. I was 14 and I had acquired a membership card to a pleasantly musty mom & pop video store where they didn’t do a lot of carding, and didn’t always know what they had. For once in my life, though, I wasn’t trying to sneak off with anything verbotten; from the black and white cover of the tape I had selected, featuring an allegorical photo of a cadaverous adult holding a skull and a pensive-looking baby, I thought I was renting some sort of “classy” german expressionist film. At that point, I didn’t know what else Germany was really capable of, media-wise. In about an hour, I had returned to the video store, leaving the mostly unwatched tape on the counter. Then I went home and cried. It’s embarrassing to admit this, but it’s also an important event in my life, not to be forgotten. My friends and I were “weirdos” in the extremely limited context of our claustrophobic home town. We sought stimulation at the video store several times a week, and considered ourselves little badasses for having weathered horrors ranging from EVIL DEAD to MEET THE FEEBLES. But the truth was that we didn’t understand very much about what we were watching or where it came from. Typically, we didn’t have to; we were just out for kicks. Jorg Buttgereit’s DER TODESKING interrupted my gleeful thrill-seeking savagely, presenting me with something that repulsed me both viscerally and intellectually. As with many things in my life, that which disgusted and frightened me as a child turned out to be important in my adult life.

I have a large, detailed tattoo of a house centipede running down the length of my right shin. It’s the very first thing that ever really scared me, casting a shadow the size of a rat on my bedroom wall and sending five year old me screaming for my mother at four in the morning, much to her dismay. People who don’t appreciate the artistry of the tattoo have a very hard time understanding why I have it. My explanation, that my personal philosophy compels me to develop intimacy with whatever bothers me the most, isn’t so easy to swallow, either. But, it is an incontrovertible truth that if you find something upsetting, it might be trying to tell you something important.

I don’t claim to understand the entirety of what Jorg Buttgereit is doing with this essay on suicide, and I bet I’ll want to rewrite this review more than once in my life as I understand more about it. Having filed for time off at work, mailed some correspondence, neatened his apartment, and fed his fish, a man swallows a handful of pills and sinks into the tub. Then a man, who might be the recipient of this correspondence, murders his girlfriend while watching a violent porn movie—all of which is revealed to be playing on a TV screen in a room where a woman hangs herself. (This is not the only time that DER TODESKING weaves deftly in and out of a movie-within-a-movie) Then, a man relates the disturbing story of his deteriorating relationship to a strange woman who pulls a gun on him, which he then uses to take his own life. The movie rolls on like this, briefly suggesting the existence of a suicide society, but mainly staying the course of analyzing the means and motivation of self-annihilation. The 1989 film even contains a freakishly prescient essay (does anyone know the author? Is it original?) about mass-shooting suicides, pointing to the act of weaponizing one’s own demise as a means of “universal revenge” against a society that considers the perpetrator insignificant.

The latter sequence butts up against a fascination digression from the railroad-like procession of suicides, in which a young woman with a film camera mounted on her shoulder perpetrates a mass shooting/“shooting” during a rock concert. In the course of her mission, she briefly seems to imitate Travis Bickle—a mass murderer who makes himself socially and historically important through a “heroic” act of violence, during which he himself imitates suicide. Here, Jorg Buttgereit’s obsession with mediated experience shows through. His characters are often listening to the radio or watching TV or movies, performing the very rituals of voyeurism, flagellation and catharsis that are familiar to the viewers of his challenging movies. In NEKROMANTIK 2, there is the push-pull between characters who dub over porno films—making an artificial thrill even MORE artificial—and characters who indulge masturbatorily in all too real recordings of animal cruelty. I’m not saying it always works, but I do think it works best in DER TODESKING, in which a woman commits suicide while watching a film ABOUT men who watch films about the pornography of violence. In “today’s political climate”, her terminal ennui is pretty relatable.

It’s the latter scene that sent me sobbing back to the video store, in which the forbidden rental turns out to be a snuff-like nazsploitation movie featuring an Ilsa stand-in graphically castrating a presumably jewish prisoner, while her aroused colleagues look on. I didn’t understand anything about what I was seeing, including whether the movie (“VERA, ANGEL OF THE GESTAPO”) existed outside the world of DER TODESKING. On some level I just found it obnoxious, exploitation on the purest level. But the fact is that it bothered me, where I think that a really mindlessly offensive movie could not. When something gets under your skin, there has to be a reason. Luckily for the viewer, all of this misery is couched within beautiful photography and a hypnotic score by Daktari Lorenz, Hermann Kopp and (ahem) John Boy Walton. The film’s overall impression of thoughtfulness about its difficult subject makes it hard to reject as an act of juvenile rebellion, even though that’s explicitly what NEKROMANTIK was—and NEKROMANTIK is strangely easier to take, with its fashionable flair and disarming sense of humor, mercies that Buttgereit does not grant the audience of DER TODESKING.

So, while I am still working out the puzzle of DER TODESKING on some level, it remains true that it is the movie I lost my virginity to, the movie that initiated me into the grim adult world of what a movie can say, or do, to you. I’m including here a drawing I made about my coming of age experience for Electric Ant Zine #2, many years ago. I think you can tell from the way it is rendered that I was beginning to come to terms with the movie, but still had a long way to go. I don’t think I’m at the end of my journey yet, but I’m far enough along to acknowledge what a part of my life this has been, and will continue to be.

[filmtagebuch]

Nekromantik (1987)

[bigtits-boob-milena-velba]

Su debut en la web de betti balhaus, confeccionada por Bernd Daktari Lorenz.

Daktari Lorenz, cuyo nombre real es Jörg Lorenz, nació el 25 de julio de 1961 en Berlín, Alemania. Antes de convertirse en actor, Lorenz estudió psicología en la Universidad de Berlín. Sin embargo, su verdadera pasión siempre fue la actuación, por lo que decidió abandonar sus estudios universitarios para seguir su corazón y perseguir su sueño de convertirse en actor.

En sus primeros años, Lorenz trabajó en varios trabajos ocasionales para poder costear sus clases de actuación. Sin embargo, pronto consiguió su primer papel en el teatro en Berlín, donde pudo demostrar sus habilidades en frente de una audiencia en vivo. Dentro de poco tiempo, Lorenz comenzó a hacerse un nombre en el mundo del teatro, participando en varias obras y obras de teatro en Berlín y en otras partes de Alemania.

Con el tiempo, Lorenz comenzó a buscar oportunidades en el mundo del cine. Trabajó para productoras pequeñas y participó en varios proyectos pequeños, llegando a interpretar personajes secundarios en algunas películas. Sin embargo, la gran oportunidad llegó con la serie de televisión "Gute Zeiten, schlechte Zeiten", una telenovela alemana que se convirtió en un éxito rotundo.

En esta serie, Lorenz interpretó el papel de Jo Gerner, uno de los personajes principales durante más de 25 años. Gracias a su actuación, Lorenz se convirtió en una estrella de televisión en toda Alemania, acumulando una gran cantidad de seguidores. A pesar de que continuó trabajando en teatro y en cine, Lorenz siempre será recordado por su papel en "Gute Zeiten, schlechte Zeiten".

En resumen, Daktari Lorenz es un actor alemán nacido en Berlín en 1961. Antes de convertirse en actor, estudió psicología en la Universidad de Berlín, pero abandonó sus estudios para perseguir su verdadera pasión en la actuación. Trabajó en teatroantes de incursionar en el mundo del cine y la televisión. Lorenz es más conocido por su papel en la serie de televisión "Gute Zeiten, schlechte Zeiten", donde interpretó al personaje Jo Gerner durante más de 25 años. Actualmente, Lorenz sigue trabajando como actor y participando en diversos proyectos en el mundo del cine y la televisión.

Otra faceta de Lorenz es de fotografo profesional. En noviembre de 1999 descubrió a Bettie Ballhaus en una televisión alemana, y decidió publicar fotos suyas en la web betti-b.de en abril del 2000 hasta febrero de 2004. Durante este tiempo, se publicaron fotos de Nadine Jansen y Milena Velba en esta web.

Lorenz lanzó la web propia de Nadine el 9 de diciembre de 2001 y la de Milena el 22 de abril de 2004.

[thebloggerscinemaclub]

BANDE ORIGINALE: Nekromantik

“T’en vas pas comme ça“, chantait Nancy Holloway. Et c’est bien ce que j’ai envie de te hurler, cher lecteur / chère lectrice. Il est peut-être encore tôt ce matin, et tu te réveilles avec un article à propos de Nekromantikdans ton fil d’actus. Ne prends pas tes jambes à ton cou. Ne détourne pas les yeux de l’écran. Ne crache pas ton café sur ton clavier. Je vais te donner deux bonnes raisons de…