Archive for the ‘Messed up’ Category

Filed under (Messed up, New Videos, exclusive) by NydigGla @ 06:46 pm

Diddy Announces His New Show “StarMaker”

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Deshawn Stevenson & Richard Millsap

-reason why LeBron abused ya!

Filed under (Messed up, Random News, exclusive) by NydigGla @ 08:47 am


Isaac Hayes, the singer and songwriter whose luxurious, strutting funk arrangements in songs like “Theme From ‘Shaft’ ” defined the glories and excesses of soul music in the early 1970s, died on Sunday in East Memphis, Tenn. He was 65.
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Isaac Hayes in “Wattstax,” a documentary on the 1972 Watts Summer Festival in Los Angeles.
Times Topics: Isaac Hayes
Biography: Isaac HayesFilmography: Isaac Hayes
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After his first heyday in the world of soul, Mr. Hayes found ways to revive his career. Above, hosting his radio show in 1997.
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His character in the cartoon series “South Park.” Photobucket

The Shelby County Sheriff’s Office said that Mr. Hayes’s wife, Adjowa, found him collapsed near a treadmill at their home in Cordova, an eastern suburb of Memphis, and he was pronounced dead an hour later. The cause of death was not known.

With his lascivious bass-baritone and flamboyant wardrobe, Mr. Hayes developed a musical persona that was an embodiment of the hyper-masculine, street-savvy characters of the so-called blaxploitation films of the era. In his theme song to Gordon Parks’s “Shaft” from 1971, the title character is summed up in a line that has become a classic of kitsch: “Who’s a black private dick/Who’s a sex machine to all the chicks?”

(Furthermore: “He’s a complicated man/But no one understands him but his woman.”)

The “Shaft” theme won an Academy Award and has become one of his best-known songs. But Mr. Hayes’s career stretched far beyond soundtracks. For much of the 1960s and into the ’70s he was one of the principal songwriters and performers for Stax Records, the trailblazing Memphis R&B label, and in the 1990s he revived his career by providing the voice for the amorous and wise Chef on the cable television show “South Park.”

Isaac Hayes was born Aug. 20, 1942, in a tin shack in rural Covington, Tenn., to a mother who died early and a father who left home. He was raised largely by his grandparents, and worked in cotton fields while going to school. He began playing in local bands, and by early 1964, when he was 21, he was working as a backup musician for Stax. His first session was with Otis Redding.

Soon he began writing songs with David Porter, and their music — numbers like “Soul Man” and Hold On, I’m Comin’ ” for Sam and Dave, and “B-A-B-Y” for Carla Thomas — came to embody the Stax aesthetic. It was tight, catchy pop, but full of sweat and grit, a proudly unpolished Southern alternative to Motown.

By the late 1960s Mr. Hayes was stepping out as a solo artist, and his reputation grew as much for his dress as for his music. The cover of his 1969 album, “Hot Buttered Soul,” pictured him in customary style: shaved head, dark shades, gold chains, bare chest. The album was similarly eccentric, consisting of just four songs, including lengthy, elaborate versions of Burt Bacharach and Hal David’s “Walk On By” and Jimmy Webb’s “By the Time I Get to Phoenix.” It also included spoken segments that he called raps, and the album became one of his biggest hits, reaching No. 8.

When he was approached to create the score to “Shaft,” one of the first blaxploitation films, Mr. Hayes said he also wanted the lead role. The part went to Richard Roundtree, but Mr. Hayes recorded the music anyway. It was done in four days with several members of the Bar-Kays, one of the house bands at Stax.

With a cymbal pattern borrowed from Redding’s “Try a Little Tenderness,” which Mr. Hayes had arranged, the song layered funk guitars, horns, woodwinds and strings, prefiguring disco. It became a No. 1 hit.

In 1971 he followed up the “Shaft” soundtrack with “Black Moses,” a double album that was another ambitious expansion of the vocabulary of soul music. In its original issue, the cover folded out to reveal a portrait of Mr. Hayes in crucifix form.

In the mid-’70s Mr. Hayes’s finances collapsed and his music turned explicitly to disco, which turned out to be a career dead end. Through the 1970s and into the ’90s he acted in several films, including “Escape From New York” in 1981 and the spoof “I’m Gonna Git You Sucka” in 1988. His music from this era sold poorly, but his career revived in 1997 when he began playing Chef on “South Park.” A Scientologist, he quit the show in 2006, saying that he had been offended by an episode that ridiculed Tom Cruise and other prominent Scientologists. He also had a radio show in New York in the 1990s.

Mr. Hayes had health problems in recent years but had continued to tour and work occasionally in film (he had a role in “Soul Men,” a comedy set for release in November and starring Samuel L. Jackson and Bernie Mac, the comedian who died Saturday).

In an interview on Sunday, Mr. Porter, Mr. Hayes’s fellow songwriter, said that his friend was “recuperating from a stroke,” but added that “in the middle of all that he was still trying to have fun” and had even returned to his birthplace in Covington to go fishing.

Mr. Hayes had been married three times previously. In addition to his wife, he is survived by their son, Nana, and 11 other children.

John M. Hubbell contributed reporting from Memphis.

Filed under (Messed up, Random News, exclusive) by NydigGla @ 11:31 am


Bernie Mac, a stand-up comic who played evil-tongued but lovable rogues in films like “Bad Santa” and “Mr. 3000” and combined menace and sentiment as a reluctant foster father on “The Bernie Mac Show” on Fox, died on Saturday in Evanston, Ill. He was 50 and lived near Chicago.
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Bernie Mac in Universal City, Calif. in 2004.
Times Topics: Bernie Mac

The cause was complications from pneumonia, said his publicist, Danica Smith.

Mr. Mac, an imposing stage presence with a line of scabrous insults, parlayed his success as a stand-up comedian onto the big screen in a string of comedies that cast him in cameo roles, usually as wily con men like Pastor Clever in “Friday” and Gin, the store detective in “Bad Santa.” He also excelled as short-tempered misanthropes, notably in his starring role as Stan Ross, the nation’s most hated baseball player, in “Mr. 3000.”

In 2001, the Fox network took a gamble with “The Bernie Mac Show,” an unconventional family comedy with Mr. Mac portraying a childless married comedian who reluctantly takes in his sister’s three youngsters when she goes into a drug-treatment program.

The irascible Mr. Mac made a different kind of TV dad, “more Ike Turner than Dr. Spock,” Chris Norris wrote in a 2002 profile for The New York Times Magazine. Mr. Mac’s special style of tough love — “I’m gonna bust your head ’til the white meat shows,” he warns his surly teenage neice — set the show apart from other family sitcoms and raised a few critical eyebrows, but audiences saw enough of the character’s soft center to find the show touching.

“The success of my comedy has been not being afraid to touch on subject matters or issues that everyone else is politically scared of,” Mr. Mac told The Times in 2001. “It’s a joke, believe me. I’m not trying to hurt anybody.”

Mr. Mac incorporated aspects of his standup act and during each episode would break the fictional world of the show and address the audience directly. On one show, he swiveled in his chair and said, “Now America, tell me again, why can’t I whip that girl?”

“The Bernie Mac Show” show ran for five seasons, and Mr. Mac won Emmy awards as outstanding actor in a comedy series in 2004, 2005 and 2006.

Bernard Jeffrey McCullough was born in Chicago to a single mother who inspired him, indirectly, to become a comedian. When he was 5, he told a television interviewer in 2001, he saw her sitting in front of the television set crying. “The Ed Sullivan Show” was playing, and when Bill Cosby began telling a story about snakes in the bathroom, she started laughing despite herself. “When I saw her laughing, I told her that I was going to be a comedian so she’d never cry again,” Mr. Mac said.

His mother died of cancer when he was 16, and he was raised by his grandmother on the South Side of Chicago. His two brothers also died, one in infancy, the other of a heart attack in his 20s.

At Chicago Vocational Career Academy, he was voted Class Clown by his graduating class. Already serious about his intended profession, turned down the honor “I said, ‘I’m funny. I’m a comedian, I’m not a clown,’” he later recalled. “My humor had changed from foolishness to making sense.”

After high school, Mr. Mac worked as a janitor, a mover and a school bus driver before finding a job at a General Motors plant. In 1976 he married his high school sweetheart, Rhonda who survives him, as does their daughter, Je’Neice, and a granddaughter.

Desperate to get started as a comedian, he told jokes for tips on the Chicago subway and worked comedy clubs, many of them off the beaten track. “When I started in the clubs, I had to work places where didn’t nobody else want to work,” he told The Washington Post. “I had to do clubs where street gangs were, had to do motorcycle gangs, gay balls and things of that nature.”

In 1983 he was laid off at GM and for a time his family had to move in with relatives. Plugging away at his comedy career, he caught the attention of Redd Foxx and Slappy White, who invited him to do off-the-cuff material in Las Vegas in 1989, and a year later he won the Miller Lite Comedy Search, a national contest, with his profanity-laced monologues on events in his own life and on black life in Chicago

In 1990, he was invited to do two shows with Def Comedy Jam, a tour featuring young black comedians that was filmed for HBO. Small film roles followed, in “Mo’ Money” (1992), “Who’s The Man?” (1993) and “House Party 3” (1994), as well as an HBO variety series, “Midnight Mac,” and a spot with the Original Kings of Comedy, a tour that showcased some of the most popular contemporary black comedians. The tour, which grossed an astounding $59 million, generated several HBO specials and a film by Spike Lee, “The Original Kings of Comedy.”

Mr. Mac made the move to television reluctantly. “The people come to see you, the person they fell in love with, but when they see you on TV you bvecome a whole other character, another person, and they become disappointed, and I wasn’t going to allow that to happen to me,” he said.

Nevertheless, he appeared in a recurring role as Uncle Bernie on the UPN sitcom “Moesha” for several years beginning in 1996, and in 2001 he took the plunge with “The Bernie Mac Show.”

Praised by the critics for its fresh irreverent take on the family sitcom, it became one of Fox’s biggest hits.

The show coincided with a spate of films that made Mr. Mac, if not a box office star, a welcome comedic presence in films like “What’s the Worst that Could Happen?” “Ocean’s 11” and its two sequels and “Charlie’s Angels: Full Throttle.”

In July, Mr. Mac, a fervent Barack Obama supporter, dismayed his candidate at a fund-raising dinner in Chicago. Delivering a stand-up routine, he told salacious jokes and drew a reprimand from Mr. Obama, who warned him, “Bernie, you’ve got to clean up your act next time.”

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US actor Danny Glover, who plans an epic next year on Haitian independence hero Toussaint-Louverture, said he slaved to raise funds for the movie because financiers complained there were no white heroes. Producers said ‘It’s a nice project, a great project… where are the white heroes?’” he told AFP during a stay in Paris this month for a seminar on film. I couldn’t get the money here, I couldn’t get the money in Britain. I went to everybody. You wouldn’t believe the number of producers based in Europe, and in the States, that I went to,” he said.

The first question you get, is ‘Is it a black film?’ All of them agree, it’s not going to do good in Europe, it’s not going to do good in Japan. Somebody has to prove that to be a lie!”, he said. “Maybe I’ll have the chance to prove it. Toussaint,” Glover’s first project as film director, is about Francois Dominique Toussaint Louverture (1743-1803), a former slave and one of the fathers of Haiti’s independence from France in 1804, making it the first black nation to throw off imperial rule and become a republic.
The uprising he led was bloodily put down in 1802 by 20,000 soldiers dispatched to the Caribbean by Napoleon Bonaparte, who then re-established slavery after its ban by the leaders of the French Revolution.

Due to be shot in Venezuela early next year, the film will star Don Cheadle, Mos Def, Wesley Snipes and Angela Bassett. I wasn’t the first one who had this idea,” he said. “Sergey Eisenstein had the same idea, Anthony Quinn had this idea, Harry Belafonte, Sidney Poitier, and this goes on. The “Lethal Weapon” co-star, just turned 62, finally raised 18 of the 30 million dollars needed from a Venezuelan cultural body set up in 2006 by his friend President Hugo Chavez to counter what he termed “the Hollywood film dictatorship”. Venezuelan filmmakers last year slammed the investment. It is Mr Glover who should be bringing dollars to Venezuela,” the National Association of Film Makers and the Venezuelan Chamber of Film Producers said in an open letter. Glover, a longtime activist, has supported Chavez’s political revolution since he was first elected in 1998. After making his debut with a bit role in 1979 movie starring Clint Eastwood, “Escape From Alcatraz”, Glover played in films such as “Silverado” and “Witness” but grabbed wide attention after Steven Spielberg’s 1985 movie “The Color Purple”. He is probably most widely known as “Lethal Weapon” co-star with Mel Gibson. Born in San Francisco, he enrolled at the Black Actors Workshop there and is known for his stand against discrimination as well as for his activism against the Iraqi war and anti-personnel mines.

An admirer of the Senegalese writer-filmmaker known as the father of African cinema, Ousmane Sembene, Glover has helped produce African films, including the recently-acclaimed arthouse movie “Bamako” by Abderrahmane Sissako. The first African films that I saw were films that portrayed Africans as savages, ignorant and uncivilized, and I wanted to know something else,” he said. “I was very fortunate, I had the chance to read writers like Mariama Ba, Aime Cesaire … and Leopold Sedar Senghor. I read him when I was 20. When I saw Sidney Poitier on screen, I was probably 10 or 11,” he added. “That was a different image, an image I had never seen before, on screen. The African-Americans I saw, they danced, they were buffoons, that was the image. So Sidney brought another image.” History, Glover said, had enabled him to play a wide range of roles because of the changes taking place in society. “I think cinema has played a great role in our re-imagining ourselves,” he said.


makes me sick!


this is funny lmao, i think i would go!!


welll welll welll if i wasnt listening to fuck the police with an hiv carrier

Filed under (Messed up, TV, ouch ouch ouch) by rush0 @ 12:05 am

This is not gonna help the theater seating Phobia

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thank you

and please make sure your 18 or that your watching it with a parent!!!
thank you now pass the popcorn!