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Two teen girl scouts are lost in the countryside and they got go to the nearest house and ask for help.The guy puts some first aid to them and he then licks their pussies.In return they throats his cock and lets him fuck their asses.
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Girl Guides (known as Girl Scouts in the United States and some other countries) is a worldwide movement, originally and largely still designed for girls and women only. The movement began in 1909 when girls requested to join the then-grassroots Boy Scout Movement.[1]
The movement developed in diverse ways in a variety of places around the world. In some places, girls joined or attempted to join preexisting Scouting organizations.[2] In other places, all girl groups were started independently; some would later open up to boys, while others merged with boys' organizations. In other cases, mixed-gender groups were formed, some of which sometimes later disbanded. In the same way, the name "Girl Guide" or "Girl Scout" has been used by a variety of groups across different times and places.
In those days, camping and hiking were not common activities for girls, as shown in an excerpt from The Boy Scouts Headquarters Gazette of 1909: "If a girl is not allowed to run, or even hurry, to swim, ride a bike, or raise her arms above her head, how can she become a Scout?"[5] Nevertheless, Girl Scouts were registered at Scout Headquarters. In 1909, there was a Boy Scout rally at Crystal Palace in London. Among the thousands of Scouts at the rally were several hundred Girl Scouts, including a group of girls from Peckham Rye who had no tickets to the event and asked that Baden-Powell let them join in. Following negative publicity in The Spectator magazine, Baden-Powell decided that a separate, single-sex organisation would be best. Baden-Powell asked his sister, Agnes Baden-Powell, to form a separate Girl Guides organisation.[6] In 1910, The Girl Guides Association was formed in the United Kingdom.[7] Other influential women in the history of the movement were Juliette Gordon Low, founder of the Girl Scouts of the USA, Olga Drahonowska-Małkowska in Poland and Antoinette Butte in France.[8] The first Girl Guide company to be registered was 1st Pinkneys Green Guides (Miss Baden-Powell's Own), who still exist in Pinkneys Green, Maidenhead, Berkshire.[9] Many Girl Guide and Girl Scout groups trace their roots to this point.
Baden-Powell chose the name "Guides" for the organisation from a regiment in the British Indian Army, the Corps of Guides, which served on the Northwest Frontier and was noted for its skills in tracking and survival.[10] In some countries, the girls preferred to call themselves "Girl Scouts".[11]
There has been much discussion about how similar Girl Guiding and Girl Scouting should be to boys' Scouting programmes. While many girls have sought to follow similar practices as boys' groups, some girls' organisations have sought to avoid simply copying or mimicking the activities of boys' organisations. Julie Bentley, appointed chief executive of the United Kingdom Girl Guides in 2012, described the Girl Guides in an interview with The Times as "the ultimate feminist organisation".[16]
Even when most Scout organisations became mixed-sex, Guiding remained sex-separated in most countries to provide a female-centred programme. For example, the UK Scout Association introduced a mixed-sex group in 1976 with the Venture Scout programme, which opened to all age-based sections in 1991 and became fully co-educational in 2007.[1] However, Girl Guiding in the UK remains limited to girls.
While there are many praising Charlotte Holmberg and her mother's Jason Momoa Samoa Girl Scout Cookies, there are more than a few critics on social media. One concerned mother says, "Teaching young girls that sex sells.. way to go," while another person says, "Can't wait to hear the outrage when the boys do something similar." The sexuality of the cookie box is one thing, but others are worried that it is not done with the permission of DC or Warner Bros., or even Momoa, though he's probably getting a kick out of it.
American girls start smoking when they are too young and use too much makeup. They also dress "kinda sloppy." These are the opinions of 13-year-old Barbara May, convening with 250 other teen-age girls from Colorado, Wyoming, Utah and Kansas last week in Denver.
Eventually she landed the part that finally made her a movie star—Alice in Bob & Carol & Ted & Alice. With stardom, there quickly came a reputation for star temperament and all the late arrivals, weeping fits and temper tantrums that go with it. "Like any strong woman," shrugs Producer Frankovich, "she's got fangs." The director who seems to have felt them most keenly is Preminger, himself no Teddy bear. On the set of Such Good Friends, they clashed over her lateness, his penchant for exacting retakes (58 on one scene), and her refusal to pose completely in the nude. Bare breasts were as far as she would go, a problem that Preminger eventually solved by superimposing her head on another actress's body. At one point she stamped off the set, leaving Preminger, who tends to forget names under stress, chasing after her calling, "Come back, Miss . . . Miss . . ."
"I would never make another film rather than work with Preminger again. I don't think he could direct his little nephew to the bathroom." To which Preminger replies with a ferocious gleam: "Imagine how good her performance will be in her next film if her performance in this one was so brilliant with a bad director." He adds: "I didn't hire her to praise me; I hired her to give a good performance. And she did." Her next film, to be released in the U.S. in February: The Burglars, in which, to top her list of easy-women roles, she plays a performer in a live-sex show. The picture, which has already done well in Europe, was shot on location in Greece, amid cake-throwing cast celebrations and plate-smashing parties in tavernas. Says she of fellow Performer Omar Sharif: "What a man! He's my ideal of a real movie star. He does the whole bit—horses, cars, girls."
Mark Pellington's feature debut was released at a curious time in American cinema. It was possible to make a decent return on movies about twenty somethings in their living rooms just talking, referencing movies, listening to records, drinking, smoking, and having sex. On its face it had a lot in common with the kinds of movies that made in-roads with audiences at the time but have more or less been forgotten, which also partly explains why this movie was also scrubbed pretty cleanly from the cultural memory. It looked like the kind of sarcastic gen-x comedies about generational divides where handsome people stumbling from one sexual encounter to the next - the 90s comedies were very much styled as an update of the French New Wave, down to Tarantino naming his production company after a film by Jean-Luc Godard. Some of the trouble of these movies was that they were making fun of their own existence even as they insisted upon their right to exist. Take Swingers and its parodying Reservoir Dogs while also presenting in earnest the story of an unlikeable guy finding his purpose and a girlfriend he cares about at the same time. Jon Favreau and Doug Liman gave their audience permission to not like their heroes even as they hinge the movie on your doing the same. It was an awkward dance and it explains why the directors who made them had to radically change if they wanted to survive or they just disappeared from the spotlight. Names like Rory Kelly, Alison Maclean, Jack Baran, Allan Moyle, and Risa Bramon Garcia faded while Ben Affleck, Ben Stiller, Liman and Favreau stayed. There were other factors, it isn't as simple as the zeitgeist, but it was proof enough that these movies weren't possessed of the winning formula that brought them onto people's VHS shelves, after all.
Pellington changed, too, becoming for a short period of time one of the most interesting makers of mass market drama. Arlington Road and Mothman Prophecies were movies tapped into the kinds of paranoid fantasy that were beginning to rule American discourse (wonder how that turned out...) but aesthetically he was making the kinds of movies he wanted to be making; a mix of his 90s music video sensibility (he directed some of the best and most memorable - he told me once that the video for Pearl Jam's Jeremy is among his favourite films among his own body of work because it turned out exactly the way he wanted it to) and his classically acerbic 60s and 70s tactility. So while Going All The Way hinted at the darkness he wanted to project upon the pure white canvas of American life (same as many a director working for Gen X audiences), it was also a different animal under the scenes of young men throwing out their childhood toys to jump the line to adulthood that refused to greet them otherwise and having sex in old cars. It was a burlesque of the kinds of stories that led to the existence of Going All The Way to begin with.
Understandably not everyone got what he was doing and the movie wasn't terribly successful (despite simmering performances from pre-superstardom Rachel Weisz and Rose McGowan and Pellington's usual formal daring). In the intervening years Pellington experienced all the things life has to offer from astonishing success to terrible tragedy, raising a kid by himself, working with legends, surviving the transition to streaming and digital, all the while maintaining his integrity as an artist, delving further and further into the aesthetic territory that he staked out for himself. His work of late has gone deeper into abstraction and so he had an idea, which was to go back to Going All The Way and re-fashion it into the object he always wanted it to be, something clearer of intention and with scenes and elements put back in where others are removed. They're calling it a director's edit rather than a director's cut, which is handy because the more you picture him at the keyboard, moving and experimenting and trying things out, the more you'll get right onto this new version of the movie's wavelength. It's a marvelous companion piece to Pellington's latest feature, The Severing, a wordless rumination on his own losses and emotional state through the bodies of dancers in a grotesque dungeon of the mind. The Severing is Pellington today, Going All The Way is who he was and who he became in conversation. Both center on the loss of identity regained through artistic expression 2b1af7f3a8