lollipop Un Official Fan Site Tribute

lollipop : This Is An Un Official Fan Site Tribute
Maria Federica Besesti
Porn Queen Actress Superstar

Retired from pornography, she became a television personality as the official face of ContoTv, a satellite channel broadcasting the matches of Fiorentina in the UEFA Cup and of Salernitana in its national championship, and she had some minor roles in films directed by Paolo Virzì and Carlo Verdone. She died at 38 of a heart attack in her home
Lollipop, also known as Federica Gori (6 August 1970 – 5 February 2008) was an Italian pornographic actress and television personality. Born as Maria Federica Besesti in Rome, daughter and granddaughter of actors and voice actors, Lollipop debuted as a stripper,[1] then started her career in adult films after having met the Luca Damiano, who directed her in several films and with whom she was engaged for some years.[2] Her works include the series Lollipop e le sue amiche and an adult soap opera the satellite channel Stream TV.[1] In 2000 she also appeared in the documentary film Gladiatori: Reportage sul cinema hard italiano, that premiered at the Turin Film Festival.[1] In 2001 she filed a lawsuit against the musical group of Lollipop, that were, according to her, guilty of having stolen her stage name.

Kelly's Lost Movie (Video) (as Lollipop) 2002Lola e il professore (Video) Lola (as Lollipop) 2000The Witch and the Bitch (Video) (as Federica Dori) 2000Rocco y Kelly se lo follan todo (Video) (as Lollipop) 2000Rocco el pervertido (Video) (as Lolly Pop) Federica Gori was born on August 6, 1969 in Rome, Lazio, Italy as Maria Federica Besesti. She was an actress. She died on February 7, 2008 in Rome. One of the comics' earliest female superheroes appeared in newspaper strips, the Invisible Scarlet O'Neil by Russell Stamm.[3] The tough-fighting Miss Fury,[4] debuted in the eponymous comic strip by female cartoonist Tarpé Mills in 1941. One publisher in particular, Fiction House, featured several progressive heroines such as the jungle queen Sheena, whose sex appeal is what helped launched her comic series.[5] As Trina Robbins, in The Great Women Superheroes wrote:[6] [M]ost of [Fiction House's] pulp-style action stories either starred or featured strong, beautiful, competent heroines. They were war nurses, aviatrixes, girl detectives, counterspies, and animal skin-clad jungle queens, and they were in command. Guns blazing, daggers unsheathed, sword in hand, they leaped across the pages, ready to take on any villain. And they did not need rescuing. Cover of Sheena #4 "America's Typical Teenaged Girl": Ginger number 1, 1952. Artwork by George Frese. The Spirit, volume 1, number 22, August 1950. Artwork by Will Eisner. One of the earliest female superheros is writer-artist Fletcher Hanks's minor character Fantomah,[7] an ageless, ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House's Jungle Comics #2 (Feb. 1940), credited to the pseudonymous "Barclay Flagg". The first widely recognizable female superhero is Wonder Woman, from All-American Publications, one of three companies that would merge to form DC Comics. In an October 25, 1940, interview conducted by former student Olive Byrne (under the pseudonym 'Olive Richard') and published in Family Circle, titled "Don't Laugh at the Comics", William Moulton Marston described what he saw as the great educational potential of comic books (a follow up article was published two years later in 1942.[8]) This article caught the attention of comics publisher Max Gaines, who hired Marston as an educational consultant for National Periodicals and All-American Publications, two of the companies that would merge to form the future DC Comics. At that time, Marston decided to develop a new superhero. In the early 1940s the DC line was dominated by superpowered male characters such as the Green Lantern, Batman, and its flagship character, Superman. According to the Fall 2001 issue of the Boston University alumni magazine, it was his wife Elizabeth Hollowy's idea to create a female superhero.[9] Marston introduced the idea to Max Gaines, cofounder (along with Jack Liebowitz) of All-American Publications. Given the go-ahead, Marston developed Wonder Woman with Elizabeth (whom Marston believed to be a model of that era's unconventional, liberated woman).[9] In creating Wonder Woman, Marston was also inspired by Olive Byrne, who lived with the couple in a polygamous/polyamorous relationship.[10] In a 1943 issue of The American Scholar, Marston wrote: Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don't want to be tender, submissive, peace-loving as good women are. Women's strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman. Wonder Woman is an Amazon Princess, the Amazons were created by Aphrodite according to the stories and were made to be stronger and wiser than men. Some of Marston Moulton's early stories included Wonder Woman as president of the United States[a] and as a modern-day Incan Sun God,[b] both non-traditional roles for women. Despite such portrayals of women in leadership roles, however, editor Sheldon Mayer was disturbed by the recurring bondage imagery.[11] If Wonder Woman's bracelets were chained together, she became as weak as any other woman. According to Marston this imagery of bondage was a reflection of the suffrage movement's use bondage as well. He insisted it was important that she could be seen freeing herself, both literally and symbolically, from man-made bondage.[12] But he also upheld some ideals of submission to "peace, restraint and good judgement."[13] One issue dealt with Wonder Woman losing control because her bracelets had broken; she was driven mad because the bracelets represented restraint, and stated "power without self-control tears a girl to pieces".[c] But under the control of other writers Wonder Woman often fell into more conventional female positions. After a conducting a survey among Justice Society Readers Wonder Woman was admitted to the organization in All-Star Comics # 11. Although published concurrently with Marston's run in Sensation Comics the writer of Justice Society kept Wonder Woman in the limited position as Secretary of the League, rarely involving her in action.[14] In 1947 Marston died, and despite his widow's petitioned to be hired as writer DC instead hired Robert Kanigher. Under his direction Wonder Woman's physical prowess declined. She was no longer depicted in chains she became more and more submissive, and her priorities shifted to a more conventional for her gender role.[15] Between crime fighting, Diana Prince's engaged in more feminine jobs as a babysitter, fashion model, or movie star and in her classic job as Steve Trevor's secretary with a new dedication to marrying him.[16] A new form of bondage that Wonder Woman craved was the mantle of wife and mother. In one Sensational Comics issue, Wonder Woman tells a woman that she envied her life as a mother and wife.[12] During World War II, women assumed jobs formerly occupied by men, becoming truck drivers, stevedores, and welders. The same was reflected into the comic books as heroes such as Hawkman needed help and turned to their wives or girlfriends, creating a new form of heroines: the partners.[5] Many women after World War II refused to give up their newfound freedom, creating a massive crisis in formerly naturalized definitions of masculinity and femininity.[17][18][16] The femme fatale (prevalent in The Spirit comic book) exemplified this crisis-a strong, sexually aggressive woman who refused to stay in her traditional "proper" place.[19] This was post-war tension affected the comic book industry directly when a Senate Subcommittee was created to address a perceived rise of juvenile delinquency. Influenced largely by Fredric Wertham's book published that same year, Seduction of the Innocent, a public hearing was held to determine if juvenile delinquency and comic books were linked. Wertham had specifically attacked the portrayal of many comic book women stating: "They are not homemakers. They do not bring up a family. Mother-love is entirely absent ... Even when Wonder Woman adopts a girl there are Lesbian overtones."[20] Comic books were deemed to be a threat to the stand of American decency and instead of undergoing government regulation the Comics Magazine Association of America agreed to create and adhere to its own code of self-censorship. The code explicitly censors violence, sexuality and "abnormal" romance for the implicit purpose of "emphasiz[ing] the value of the home and the sanctity of marriage," and a reenforcement of traditional gender roles.[21] Silver Age of Comic Books Between 1961 and 1963, one of the top two comic book genres was romance comics. Many influences from this genre overlapped in the superhero comics of the era. Although superhero titles would eventually become the leading genre, DC Comics' Young Romance would end its thirty-year run in 1977.[22] After the implementation of the Comics Code, DC Comics implemented its own in-house Editorial Policy Code regarding the portrayal of women, which stated, "The inclusion of females in stories is specifically discouraged. Women, when used in plot structure, should be secondary in importance, and should be drawn realistically, without exaggeration of feminine physical qualities".[23] Most of DC's Silver Age superheroes each had a major female supporting character. These included three career women: journalist Lois Lane, who worked at The Daily Planet with Superman's alter ego, Clark Kent; Jean Loring lawyer and girlfriend of Ray Palmer a.k.a. The Atom and aircraft manufacturer executive Carol Ferris, the boss of Green Lantern's alter ego, Hal Jordan. Iris West was the on-again, off-again girlfriend of the Flash's alter ego, Barry Allen. Batman's supporting cast, beginning in the 1950s, occasionally included journalist Vicki Vale and heiress Kathy Kane, whose alter ego was the motorcycle-riding masked crimefighter Batwoman. With a tip of her cowl to the Harvey Comics character the Black Cat, who preceded her by 15 years as a superheroine on a motorcycle, Batwoman used weapons as well, although hers included powder puffs, charm bracelets, perfume, a hair net, a compact mirror, and a shoulder bag utility case with matching bolo strap.[23] During this time frame, the comics of the Silver Age of Comic Books published by Marvel and DC were different enough that if you liked one, you were liable not to like the other. If you wanted the classic feel of the original 1940s superheroes, you were a DC partisan. If you wanted fast action mixed with the emotional angst reflecting a world where social unrest was slowly coming to a boil, you were more likely to read the Marvel offerings.[24] When Atlas Comics became Marvel Comics in 1961, many brand new women superheroes were introduced; these superheroes were given a supporting roles. The first female superhero from the newly named Marvel Comics was the Invisible Girl, a.k.a. Susan Storm, charter member of the Fantastic Four. Although female characters would develop and become cornerstones of the Marvel Universe, their early treatment would resemble a struggle to be recognized as equals.[5] Supergirl of DC Comics went through such a struggle as she fights against the title of "Superman's kid cousin" to earn her own title as Power Girl.[5] Bronze Age of Comic Books The Bronze Age of Comics reflected many of the feminist tensions of the era. The number of female characters, both heroes and villains, increased substantially in the 1970s, in response to the feminist movement, and in an attempt to diversify readership.[25] However, these characters were often stereotypical, such as the man-hating Thundra or angry-feminist parody, Man-killer.[25] Meanwhile in the underground comic circle The Women's Liberation Basement Press began published a one-shot comic titled That Ain't Me Babe in 1970 that featured many of the most famous female comic icons. "Supergirl tells Superman to get lost, Veronica ditches Archie for Betty, Petunia Pig tells Porky Pig to cook his own dinner."[26] This would evolve into Wimmen's Comix, an underground anthology series that would run through 1992, dealing many controversial women's issues. The character Ms. Marvel is an example of Marvel's struggle with the issues of feminism. Debuting in 1977 at the height of the women's liberation movement, with the honorific "Ms." part of her cryptonym, the heroine's name was a strong symbol of feminist solidarity, as was her civilian job as editor of Woman magazine (a reference to the then-new Ms. Magazine). The first couple of issues of her self-titled comic book even included the cover line "This Female Fights Back!" The reality, however, was decidedly mixed. The controversial Ms. Marvel rape was handled poorly by Marvel Comics: first having Ms. Marvel be the victim to a man's attempt of escape from Limbo, give birth to said man that raped her, her teammates confused as to why she would not want the child, and subsequently fall in love with him and move into Limbo with him.[27] Throughout most of the Silver and Bronze Age, women in comics were not given leadership positions. In the 1980s, under writer-artist John Byrne, Susan Richards found new uses for her powers and developed an assertive self-confidence to use her powers more aggressively. She changed her alias from the Invisible Girl to the Invisible Woman. Eventually, the Invisible Woman would chair the Fantastic Four, while over in the Avengers, Wasp chaired the team.[5] Enormous impact was made both within comic book storylines and amongst comic book fans by the radical portrayal of women in the Uncanny X-Men comics, which had been relaunched in 1975. Previously existing female characters were given huge increases in power-levels, new code-names, flashier costumes, and strong, confident, assertive personalities: Jean Grey went from being Marvel Girl to the nigh-omnipotent Phoenix, and Lorna Dane became Polaris. New creation Storm (Ororo Monroe) was unique in many ways: not only was she (and still is) the most famous black superhero in history, she was portrayed as incredibly powerful, confident and capable from her very first appearance. Younger/teen-age female super-heroines, which heretofore had been portrayed as inept or limited in power, were re-examined by the portrayal of Kitty Pryde, who at age 13 became the youngest member of the X-Men. In the 1980s, the X-Men met with the Morlock tribe in which they kidnapped Kitty Pryde and forced her to marry one of their own. When Kitty escapes, she meets with a Japanese Sorcerer who uses mind control on her and she escapes from him as well, but changed greatly.[5] Much credit for the "turnaround" of portrayals of female super-heroes that happened in the 1970s could be given to X-Men writer Chris Claremont: his portrayals of Storm, Jean Grey, Emma Frost, Kitty Pryde, Rogue and Psylocke in The Uncanny X-Men (as well as his work on Ms. Marvel, Spider-Woman, Misty Knight and Coleen Wing) became known in the industry and amongst fandom as "Claremont Women": smart, powerful, capable, multi-faceted women super heroes

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