Man charged in death of Chicago baby after rapper killed

14 Jul 2015 | Author: | No comments yet »

Chief Keef Previews ‘Bang 3,’ Says Big Glo’s Death ‘Told Me ‘You Gotta Grow Up”.

Chicago rapper Capo, associated with rapper and record producer Chief Keef’s Glo Gang, was shot and killed in the South Shore area of Chicago in a drive-by shooting on Saturday.Following the deaths of Glo Gang rapper Capo and a one-year-old boy in a tragic drive-by Saturday in Chicago, Chief Keef announced that he’d stage a free concert in the city to raise money for both victims’ families as well as other Chicago charities. The rapper also announced he was forming the Stop the Violence Now foundation to raise awareness to the escalating violence in Chicago, a situation that has seen Chief Keef lose a pair of associates, his late cousin Big Glo and Capo, in shootings in the span of a year. After the shooting, the suspects allegedly drove recklessly and struck a stroller containing 13-month-old Dillon Harper as he and his mother were waiting for a bus.

Based on a first listen, Sosa’s going in a different sonic direction, one that’s somewhat more upbeat and smothered in Auto-Tune; lyrically, it’s less about guns and gangs. Police are reportedly questioning two men in relation to the murders, but no arrests have yet been made, and authorities have not yet released the names of any suspects. Cops say the alleged shooters lost control of their car about three miles away from the crime scene, mowing over Dillon Harris, a 13-month-old baby sitting in his stroller outside a bus stop. Last year, Interscope Records dropped him (which he admits to bringing on himself, by purposely doing “stuff” to get booted — like not showing up to performances); before that he was in rehab; then there’s the beef with other rap crews, social media spaz fests, and around two solid years of lawsuits. The baby’s mother, who declined to give her name to reporters, said she and three of her kids were on their way to the beach when the car suddenly jumped the curb.

Despite video of bystanders attempting to keep the rapper conscious as he bled out onto the sidewalk, Capo passed away at an area hospital soon after. Via the Chicago Sun Times: “The boys jumped out of the car right here in the alley and ran down the street and like I said, the two who were here, you could tell they didn’t know where to go,” a witness tells the network. With his first studio release since his Filthy Rich debut, he’s “going another way” musically, while showcasing his production skills, and keeping it light on guest features. The teen signed a two-album deal with FilmOn Networks, owned by Alki David — the billionaire behind George Zimmerman’s nixed celebrity boxing match and Hologram USA, a technology company that improves upon the satellite performance structure, allowing artists to digitally transport themselves to stages worldwide. “He went to jail, waived a gun at a cop… he’s like a crazy person,” jokes the businessman, before getting more serious about why he chose to collaborate with Keef. “He’s profoundly talented.

Capo’s death came a week after Chief Keef released a new single titled “Ain’t Missing You,” which was dedicated to Mario “Big Glo” Hess, who was killed in an April 2014 shooting. 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. Early production on The Late Show With Stephen Colbert came to a screeching halt Wednesday as United Airlines flights were grounded, the New York Stock Exchange went dark and dogs began walking on two legs — mass hysteria! He wants everyone to know that he’s done running amok, and that permanently relocating to L.A. has “changed” his life. “I got away from all the unnecessary trouble,” he says to the room. “It’s better out here [in L.A.] than in Chicago, because I got in so much trouble. Amidst the computer-bred chaos, though, Colbert sought safety in his office and recorded a dire, desperate message pondering humanity’s new fate. “I have to wonder if there’s anyone left alive to see this broadcast,” Colbert said. “For all I know, I’m the last celebrity alive on earth and the apes have taken over the talk shows.

It changed me, and [inspired] me to go somewhere bigger.” Around this time three years ago, “I Don’t Like” turned him into an overnight celebrity (by rap standards). They’re not ready for that kind of responsibility!” Colbert went on to lament mankind’s fragility and dependence on technology (such as that second fridge in the garage), but soon realized it was up to him to lead this brave new world.

A co-sign from Kanye West helped move things along, and before we knew it, rap’s newest “it-guy” was a rowdy teenager, who flaunted his obsession with firearms — even at the expense of his own freedom. He displayed his treasures — including “over 60 bags of snackable chip” — and introduced his new queen, Vindaloo, a chicken who stayed remarkably calm in Colbert’s arms for almost the entire clip. An interview with Pitchfork, which took place at a New York gun range, placed him behind bars, and opened the door to a string of bad decisions that dominated headlines and overshadowed his music.

He’s earning college credit.” Prepared, finally, to assume his role as leader, Colbert promised to disseminate weekly edicts from his bunker before kicking back and counting his trove of K-Cups — until he realized, he had no Keurig. “That’s not fair.

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Finding the ‘Joy’ in Jennifer Lawrence

20 Jan 2016 | Author: | No comments yet »

‘Joy’ review: Jennifer Lawrence cleans up in enjoyable biopic.

Writer-director David O. Their latest collaboration — following in the footsteps of Silver Linings Playbook and American Hustle — is a biographical picture about the life and times of Joy Mangano.Jennifer Lawrence groans when she’s asked about singing the classic Nancy and Frank Sinatra duet Something Stupid with co-star Edgar Ramirez in her new film Joy. “David [O Russell, the movie’s director] texted me last night to ask if he could put it on the soundtrack and this is what I texted him back,” the actor says as she digs around for her mobile phone and reads out her response verbatim. “‘David, no!!!’ and it is three exclamation marks.In a very abbreviated nutshell, that actually happened to Joy Mangano, 59, the fabulously successful Long Island entrepreneur/inventor and HSN pitchwoman whose rags-to-riches journey started with the invention of a mop.

Russell has made three kinds of movies: offbeat romances (“Flirting With Disaster”), surreal comedies (“I Heart Huckabees”) and dramas about dysfunctional yet appealing families (“The Fighter”). In real life, Mangano is the Long Island housewife and inventor who became famous and eventually rich after bouts of near-bankruptcy, by creating and marketing her Miracle Mop. Out Boxing Day in Australia, the film stars Jennifer Lawrence in the fictionalised life story of Joy Mangano, a single mum from Long Island who made her fortune selling a mop. On Christmas Day, “Joy,” a movie inspired by her struggles as a divorced, single mother turned mogul by way of that mop, will open at movie theaters across America.

This was before she hooked up with the giant Home Shopping Network, becoming their most effective pitch person and eventually selling her parent company, Ingenious Designs, to HSN. Gross, I can’t listen to it; I have to go to bed.’ And I said yes, but it’s a groaning, reluctant yes.” It’s the kind of unfiltered moment you come to expect when interviewing Lawrence, who may now be one of the most famous actors on the planet but still blurts out whatever she’s thinking with such self-deprecating charm it’s impossible not to be, well, charmed.

Jennifer Lawrence’s performance as Miracle Mop inventor and QVC pitchwoman Joy Mangano glues the movie together, but it threatens to unravel at any time. Lawrence, 25, looks genuinely surprised when complimented about how unchanged she seems from our earlier interviews before the fame and Oscars. “But there would be no reason to change,” she says with a shrug. “I just have a job and I love my job. In the film, Lawrence’s Mangano is a colourful character, a single mom with a unique relationship and friendship with her ex-husband, and an enterprising woman who parlays her creativity into an incredibly successful business.

Mom (Virginia Madsen) stays in her bedroom and watches soap operas, until she falls for a Haitian plumber (Jimmy Jean-Louis) who fixes a hole in her bedroom floor. She landed minor roles on TV shows such as Monk, Cold Case and Medium before her 2010 indie film Winter’s Bone led to her becoming the second youngest best actress Oscar nominee in history. This is true even when the film tilts off its rocker with a bit of Russell-esque madness built into the screenplay, and with the director failing to always keep the energy going. That resulted in not only a string of critically acclaimed films, an Academy Award and another Oscar nomination, but also her very own mega-franchise as Katniss Everdeen in The Hunger Games.

Joy’s grandma (endearing Diane Ladd) delivers messages of empowerment and smooths over constant fights, but she’s opposed by the money-grubbing rich woman (Isabella Rossellini) who dates Joy’s dad and sends negative messages about her. Lawrence’s endearing habit of speaking her mind resulted in a controversial essay she penned on Lena Dunham’s website about her discovery during the Sony hacks that she was being paid less “than the lucky people with dicks” on her recent films, including American Hustle. “I completely understand when people say actors shouldn’t talk about politics and things they don’t know about, but this was my gender at stake and it was being threatened with unfairness and I thought, ‘What is the point of having this voice if it’s not to speak out for myself and for everyone else who can’t?’,” she says unapologetically.

Upon learning that Lawrence would be playing her mom, Miranne says, “I braced myself so I wouldn’t fall on the floor.” As for Mangano, she says Lawrence playing her “made me feel old, number one. Lawrence hangs out with a posse of celebrity girlfriends, including Amy Schumer and singer Adele, but the reason is simple. “The friendship gets expedited a lot when you meet someone you know beyond a shadow of a doubt has no agenda,” she says. Draining her savings and taking out loans, she started off small, selling her mops to local boat owners. “She persuaded QVC to take a thousand, but sales were poor and they tried to send them back,” says Mason. “She suggested letting her demonstrate it herself, and the channel agreed.” Sales skyrocketed and Mangano’s career as a QVC pitch woman was launched. That’s so amazing there aren’t even words.” Mangano and her three children didn’t view “Joy” until the Dec. 13 premiere in Manhattan, though a family outing to see “Trainwreck” included a trailer.

This is, after all, the self-confessed reality-show junkie who confessed in a recent Vogue interview that on the night of her 25th birthday party, friends surprised her with a visit from reality queen Kris Jenner, who presented her with a cake inscribed, ‘Happy Birthday, you piece of shit!’ The only time she seems tongue-tied is when asked about her relationship status, after a four-year stint with X-Men: First Class co-star Nicholas Hoult and a year with Coldplay singer Chris Martin before their breakup earlier this year. “Next!” Lawrence says in a no-nonsense voice, pausing as she decides if she’ll continue that thought. For one thing, Mangano’s childhood is not that interesting for a film, despite some flashbacks to her as a youngster (when she is played by 10-year-old Isabella Cramp, who does actually look like we imagine Lawrence could have at the same age). A satire on the acquisitiveness of the public? (Here, QVC foists unnecessary things on gullible viewers who could better save their money.) Russell doesn’t seem to know. And, of course, the grave ending would be a lie: Mangano is very much alive at the age of 59, still inventing, still pitching products, still a superstar of the American home shopping universe. There’s the Clothes It All luggage system, essentially a rolling suitcase with a removable garment bag, and the Super Chic vacuum, which releases fragrance into the air.

If I even casually say something to a reporter, that quote haunts me for the rest of my life,” she says, “so I am never, ever, ever talking about boys again!” I don’t think any of us brought enough tissues!” A good portion of the film was shot last winter in Boston, and though the always-busy Mangano was twice scheduled to visit the set, snowstorms made travel impossible. He has mixed genres successfully before, as in the anti-war comedy-drama “Three Kings,” but the blender often grinds to a halt in “Joy.” Just as we’re getting used to the realism of Mangano’s fight for respect, Russell photographs Rossellini as if she were a gargoyle.

One of her creations, the thin and velvet-covered Huggable Hanger, remains a bestseller for HSN, at more than 300 million sold, and was endorsed by Oprah Winfrey. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lay back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown.

He had a presence all of his own.” At one point, Miranne says, “Jennifer grabbed Joy’s hand and said to David, ‘Look at the nails, a French manicure.’ ” (That manicure is a Mangano signature.) Lawrence revealed that in studying for her part as Joy, she watched recordings of the inventor’s early pitches on HSN, including ones for “Huggable Hangers” and found her so compelling that she wanted to buy them on the spot. There is something special when creative people get together.” Mangano’s take on Lawrence? “She’s beyond her years, so brilliant, hysterical and so talented.

Critically, Russell’s sense of wonder and beauty turns elegiac moments — especially when Joy Mangano becomes fully realized as a woman and as a business executive — into scenes of great beauty. Lawrence recently said on “The Tonight Show With Jimmy Fallon” that the movie was “half Joy Mangano’s story and half [Russell’s] imagination and other powerful, strong women who inspired him.” The director mined much of his Mangano material by phone.

The cast includes Edgar Ramirez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Susan Lucci (in a mock TV soap opera that gives Joy some of its silliness) and even Melissa Rivers as her late mother Joan Rivers. There’s no situation Joy cannot overcome or circumvent.” At a Newsday photo shoot at Mangano’s luxurious but serene 42,000-square-foot mansion on 11 acres in St. As for parting advice for the ambitious? “If this movie inspires even just one more person to believe in themselves and to go after their dreams, then it’s made a very special impact in this world.

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