Ahoy there! Katie Couric, Jamie Foxx and Jimmy Fallon take selfies with sailors …

21 May 2015 | Author: | No comments yet »

Jamie Foxx Got Really, Really Into His Mick Jagger Impression on The Tonight Show.

Los Angeles – Not so long ago Jamie Foxx made some interesting headlines after his performance of the national anthem at the Floyd Mayweather and Manny Pacquiao fight. LOS ANGELES (AP) — Model Janice Dickinson sued Bill Cosby for defamation on Wednesday over denials made by the comedian’s representatives after she accused him last year of raping her in 1982.Jamie Foxx was onThe Tonight Show with Jimmie Fallon last night — right here on NBC — and in the middle of doing impressions of other singers, Foxx broke out his Doc Rivers impression.You might expect Jamie Foxx to make a respectable showing on Jimmy Fallon’s “Wheel of Musical Impressions”—after all, this is the man who, in addition to recording several R&B albums, won an Oscar for his uncanny portrayal of Ray Charles in Ray.

The late-night talk show’s game has Fallon and his guest hitting a button to get a random pairing of a famous singer with a jingle, TV show theme or children’s song. The suit states Dickinson has been re-victimized and her reputation has suffered because of pointed denials by Cosby’s attorney that the comedian drugged and raped her in a Lake Tahoe, California, hotel room more than 30 years ago. Foxx started off the game by singing The Lion King’s “Hakuna Matata” in the style of Mick Jagger, strutting across the stage and perfectly imitating the Rolling Stones’ singer’s flamboyant swagger. The allegations were first made in an interview with “Entertainment Tonight” after numerous other women accused Cosby of drugging them and inappropriate sexual conduct dating back several decades. The segment wrapped up with Fallon delivering his most patriotic version of Bruce Springsteen singing the America’s Funniest Home Videos theme, Foxx riffing on Clippers coach Doc Rivers’ raspy voice and one last impression from the actor and singer: “On Top of Spaghetti” in the booming, bombastic style of Jennifer Hudson. 2015 may not bring everything that Back to the Future II promised it would: flying cars, self-lacing shoes, we don’t see ’em happening over the next 12 months. (Then again, don’t bet against Nike.) But this year will definitely pack plenty of punch when it comes to cultural happenings.

The lawsuit details Dickinson’s allegations that Cosby raped her after giving her wine and a pill in the hotel room, and how she wanted to go public with her story in a 2002 autobiography but was prevented from doing so by the book’s publisher. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again.

The statute of limitations to criminally prosecute the actor-comedian has long since passed, as has the statute on civil claims directly related to the incident. One of the women, Therese Serignese, said after a court hearing earlier this month that she wanted her reputation restored after Cosby’s camp branded her a liar. After months of escalating protests and grassroots organizing in response to the police killings of Michael Brown and Eric Garner, police reformers have issued many demands. The moderates in this debate typically qualify their rhetoric with “We all know we need police, but…” It’s a familiar refrain to those of us who’ve spent years in the streets and the barrios organizing around police violence, only to be confronted by officers who snarl, “But who’ll help you if you get robbed?” We can put a man on the moon, but we’re still lacking creativity down here on Earth.

While law enforcers have existed in one form or another for centuries, the modern police have their roots in the relatively recent rise of modern property relations 200 years ago, and the “disorderly conduct” of the urban poor. Like every structure we’ve known all our lives, it seems that the policing paradigm is inescapable and everlasting, and the only thing keeping us from the precipice of a dystopic Wild West scenario. Rather than be scared of our impending Road Warrior future, check out just a few of the practicable, real-world alternatives to the modern system known as policing: Unarmed but trained people, often formerly violent offenders themselves, patrolling their neighborhoods to curb violence right where it starts. Stop believing that police are heroes because they are the only ones willing to get in the way of knives or guns – so are the members of groups like Cure Violence, who were the subject of the 2012 documentary The Interrupters. There are also feminist models that specifically organize patrols of local women, who reduce everything from cat-calling and partner violence to gang murders in places like Brooklyn.

While police forces have benefited from military-grade weapons and equipment, some of the most violent neighborhoods have found success through peace rather than war. Violent offenses count for a fraction of the 11 to 14 million arrests every year, and yet there is no real conversation about what constitutes a crime and what permits society to put a person in chains and a cage.

Decriminalization doesn’t work on its own: The cannabis trade that used to employ poor Blacks, Latinos, indigenous and poor whites in its distribution is now starting to be monopolized by already-rich landowners. To quote investigative journalist Christian Parenti’s remarks on criminal justice reform in his book Lockdown America, what we really need most of all is “less.” Also known as reparative or transformative justice, these models represent an alternative to courts and jails.

From hippie communes to the IRA and anti-Apartheid South African guerrillas to even some U.S. cities like Philadelphia’s experiment with community courts, spaces are created where accountability is understood as a community issue and the entire community, along with the so-called perpetrator and the victim of a given offense, try to restore and even transform everyone in the process. Communities that have tools to engage with each other about problems and disputes don’t have to consider what to do after anti-social behaviors are exhibited in the first place. Obviously these could become police themselves and then be subject to the same abuses, but as a temporary solution they have been making a real impact. In New York, Rikers Island jails as many people with mental illnesses “as all 24 psychiatric hospitals in New York State combined,” which is reportedly 40% of the people jailed at Rikers. Mental health has often been a trapdoor for other forms of institutionalized social control as bad as any prison, but shifting toward preventative, supportive and independent living care can help keep those most impacted from ending up in handcuffs or dead on the street.

The newest volume in Bloomsbury’s 33 1/3 series of books about important albums is on Devo’s 1980 mainstream breakthrough Freedom of Choice, written by Evie Nagy, a staff writer at Fast Company. Even when the chorus comes in with a more regular stride and promising build, the verse comes sulking back before any real resolution; the overall vibe is the rush-slash-dread of a game of musical chairs. Bostwick, published in The American Magazine in 1919 and reprinted widely in the years following (because the poem was written before 1923, it was not subject to U.S. copyright law when Mark adopted it): The source material is earnest motivational rhetoric, and therefore in the hands of Devo is satire by definition.

But we got together in Walter Reed and we wrote all this music, and we’re just happy that we got a chance to sacrifice our mobility for the U.S. of A. The answer to “What is it about Ohio that inspired the formation of Devo?” was “Clean living”; what Devo looked for in a girl was “Defects”; their next upcoming commercial venture was “A TV ad for nuclear energy sponsored by the F.E.C. using H-bomb test footage coupled with a Devo soundtrack.” But other answers were relatively sincere, or at least prescient, such as “Q: If you could name one thing that upsets Devo, what would it be?

A: Human behavior,” and “Q: Are the weird electronic effects that are so important to the Devo sound a permanent part of today’s pop music or just a passing fad? Anyone who is really honest will like this stuff!” Even if some people found this kind of double talk irritating, it was very obviously double talk, and the message was clear: nothing we do should be taken at pure face value, and therefore it should not be that difficult to invert it and extrapolate what we’re about. As Mark said in 2010 when discussing the band’s super-focus- grouped, ultra-corporate approach to developing and marketing Something For Everybody, “Devo at our best is people going, ‘Is that real or not?’ It’s a little bit Andy Kaufman.”

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