By Msnbc.com staff and wire
Singer Etta James has died of leukemia at 73, her manager told the Associated Press.
The singer, known as the Matriarch of R&B, had been in failing health for several years.
She was hospitalized earlier this month but was taken home to be with her husband and family on Jan. 6.
James, a six-time Grammy winner and member of the Rock & Roll Hall of Fame as well as the Blues Hall of Fame, is perhaps most famous for her 1961 hit "At Last." The song reached No.47 on the Billboard Hot 100, and became a favorite at weddings.
In January 2009, President Obama and wife Michelle danced to different versions of the song at each of their 10 inaugural balls. Singer Beyonce performed the song at the first ball, and James later said the singer "had no business" performing her signature number.
From :
http://entertainment.msnbc.msn.com/_news/2012/01/20/10199717-singer-etta-james-dies-at-73
Jumat, 20 Januari 2012
Senin, 02 Januari 2012
The Iron Lady : Critics' Reviews
"People don't think anymore," an aggrieved Margaret Thatcher (Meryl Streep) complains to her physician about two-thirds of the way through "The Iron Lady." "They want to be governed by people who care more about feelings than about thoughts or ideas." I do not know if the inclusion of this bit of musing, which the audience is clearly meant to get right behind and cheer on, was intended as some kind of perverse in-joke on the part of screenwriter Abi Morgan and/or director Phyllida Lloyd. But whatever their intention, they certainly do have their nerve.
Because "The Iron Lady," a portrait of the first female prime minister of Great Britain in her Sadly Dementia-Tinged Dotage, her Resilient Days of Early Struggle, and, in its most triumphalist key, her Controversial and Steely Tenure as the Woman Who Politically and Economically Reshaped the United Kingdom, is almost altogether bald in its desire that the viewer not think about Margaret Thatcher, or her ideas, or her actions, and pretty relentless in its efforts to squelch thought while promoting pity, empathy and a little dread.
Search: More on Meryl Streep
That the movie succeeds at all in doing the latter is almost entirely attributable to the acting work of Streep, who is remarkably precise, respectful and frequently quite witty in her portrayal of two of the three above-cited incarnations of Thatcher (the young and oddly hot Margaret is played by plucky Alexandra Roach), and of Jim Broadbent, playing a more hamishe version of Thatcher's husband, Denis, than many who recall Denis' disposition in public life might find probable. Of course, the Denis Thatcher of this film often exists solely in the imagination of Margaret, whose contemporary mental condition, as per the movie -- the present-day segments of which take place during the 2008 Mumbai terrorist bombings -- is deteriorating rapidly. As Margaret sees news reports on the television about the attacks, her mind goes back, not just to the assassination attempt against her in 1984 (also a bombing, in this case, of the Grand Hotel in Brighton), but, of course, to her entire career, from humble beginnings as a grocer's daughter to early political ambitions met with snobbery and sexism to conflicted family life and on. These memories are interspersed with dreary scenes of her life now. Soon daughter Carol (Olivia Colman, looking like she's dropping by on her way to a Mike Leigh film) turns up and is immediately alarmed by her mom's condition. But while Thatcher's mind is going, her defenses, and the indomitability that earned her the nickname that gives the film its title, are still very much in place.
The point being that even an iron lady is, like all the rest of us, only human after all. This message is not being entirely well-received by certain righties, who would like to see Thatcher marry Ronald Reagan in Conservative Oz, or by many lefties, who have a stately figure of Thatcher cracking a whip at some Dickensian waifs on their carousel of history's greatest monsters. Those whose knowledge of recent British political history is mostly informed by new wave music of the '80s (The English Beat's "Stand Down Margaret," Robert Wyatt's "Shipbuilding," and Elvis Costello's "Tramp the Dirt Down," in which the singer imagines himself tending Thatcher's grave, are among the standout protest songs in what is practically a subgenre) are not going to be necessarily persuaded by the largely favorable light the film casts on Thatcher's rule.
Morgan and Lloyd contrive their view of events so as not to tip an ideological hand, which naturally winds up landing the whole thing smack dab in the middle of dominant ideology. Thatcher's rise is depicted to demonstrate that strength of character and savvy application of learning always overcome odds; her standing up to trade unions is pitched as an object lesson in doing the right thing even when it's not the popular thing; her decision to wage war in the Falklands when she's told that the country can't afford a war shows us ... well, come to think of it, I'm not sure what I was supposed to get out of that bit, except maybe that a woman's gotta do what a woman's gotta do, or that Thatcher's special glory was in being given the power to send men to their deaths, and who then exercised that power, or ... I dunno. And her political fall, precipitated by a mistake of personal (what else?) hubris, and carried out by her former compatriots, is ostensibly a bit of ain't-it-ever-thus "Et tu, Brute?" universalist wisdom.
Whew. And much of this material is handled by Lloyd, who also directed Streep in, yes, the ABBA-song musical "Mamma Mia!," with notable maladroitness. A handful of scenes here provide textbook examples of where-not-to-put-the-camera shots, and her use of ostensibly emotion-boosting effects such as slow motion is so arbitrary in most instances that it might as well have been decided by a coin toss. For as much of a mess as this movie is, there are moments in which Streep and Broadbent draw it into a sharp humanist focus. But they don't occur often enough.
Glenn Kenny is chief film critic for MSN Movies. He was the chief film critic for Premiere magazine from 1998 to 2007. He contributes to various publications and websites, and blogs at http://somecamerunning.typepad.com. He lives in Brooklyn.
FRom :
http://movies.msn.com/movies/movie-critic-reviews/the-iron-lady/
Because "The Iron Lady," a portrait of the first female prime minister of Great Britain in her Sadly Dementia-Tinged Dotage, her Resilient Days of Early Struggle, and, in its most triumphalist key, her Controversial and Steely Tenure as the Woman Who Politically and Economically Reshaped the United Kingdom, is almost altogether bald in its desire that the viewer not think about Margaret Thatcher, or her ideas, or her actions, and pretty relentless in its efforts to squelch thought while promoting pity, empathy and a little dread.
Search: More on Meryl Streep
That the movie succeeds at all in doing the latter is almost entirely attributable to the acting work of Streep, who is remarkably precise, respectful and frequently quite witty in her portrayal of two of the three above-cited incarnations of Thatcher (the young and oddly hot Margaret is played by plucky Alexandra Roach), and of Jim Broadbent, playing a more hamishe version of Thatcher's husband, Denis, than many who recall Denis' disposition in public life might find probable. Of course, the Denis Thatcher of this film often exists solely in the imagination of Margaret, whose contemporary mental condition, as per the movie -- the present-day segments of which take place during the 2008 Mumbai terrorist bombings -- is deteriorating rapidly. As Margaret sees news reports on the television about the attacks, her mind goes back, not just to the assassination attempt against her in 1984 (also a bombing, in this case, of the Grand Hotel in Brighton), but, of course, to her entire career, from humble beginnings as a grocer's daughter to early political ambitions met with snobbery and sexism to conflicted family life and on. These memories are interspersed with dreary scenes of her life now. Soon daughter Carol (Olivia Colman, looking like she's dropping by on her way to a Mike Leigh film) turns up and is immediately alarmed by her mom's condition. But while Thatcher's mind is going, her defenses, and the indomitability that earned her the nickname that gives the film its title, are still very much in place.
The point being that even an iron lady is, like all the rest of us, only human after all. This message is not being entirely well-received by certain righties, who would like to see Thatcher marry Ronald Reagan in Conservative Oz, or by many lefties, who have a stately figure of Thatcher cracking a whip at some Dickensian waifs on their carousel of history's greatest monsters. Those whose knowledge of recent British political history is mostly informed by new wave music of the '80s (The English Beat's "Stand Down Margaret," Robert Wyatt's "Shipbuilding," and Elvis Costello's "Tramp the Dirt Down," in which the singer imagines himself tending Thatcher's grave, are among the standout protest songs in what is practically a subgenre) are not going to be necessarily persuaded by the largely favorable light the film casts on Thatcher's rule.
Morgan and Lloyd contrive their view of events so as not to tip an ideological hand, which naturally winds up landing the whole thing smack dab in the middle of dominant ideology. Thatcher's rise is depicted to demonstrate that strength of character and savvy application of learning always overcome odds; her standing up to trade unions is pitched as an object lesson in doing the right thing even when it's not the popular thing; her decision to wage war in the Falklands when she's told that the country can't afford a war shows us ... well, come to think of it, I'm not sure what I was supposed to get out of that bit, except maybe that a woman's gotta do what a woman's gotta do, or that Thatcher's special glory was in being given the power to send men to their deaths, and who then exercised that power, or ... I dunno. And her political fall, precipitated by a mistake of personal (what else?) hubris, and carried out by her former compatriots, is ostensibly a bit of ain't-it-ever-thus "Et tu, Brute?" universalist wisdom.
Whew. And much of this material is handled by Lloyd, who also directed Streep in, yes, the ABBA-song musical "Mamma Mia!," with notable maladroitness. A handful of scenes here provide textbook examples of where-not-to-put-the-camera shots, and her use of ostensibly emotion-boosting effects such as slow motion is so arbitrary in most instances that it might as well have been decided by a coin toss. For as much of a mess as this movie is, there are moments in which Streep and Broadbent draw it into a sharp humanist focus. But they don't occur often enough.
Glenn Kenny is chief film critic for MSN Movies. He was the chief film critic for Premiere magazine from 1998 to 2007. He contributes to various publications and websites, and blogs at http://somecamerunning.typepad.com. He lives in Brooklyn.
FRom :
http://movies.msn.com/movies/movie-critic-reviews/the-iron-lady/
Rabu, 14 Desember 2011
Lady Gaga crushes rivals in 2011 music earnings
LOS ANGELES (Reuters) - Lady Gaga towered over other female musicians in 2011, heading a list of top earning women with an estimated $90 million in income, according to a Forbes.com survey released on Wednesday.
The "Born This Way" singer and performance artist made more than double her nearest rival -- country/pop artist Taylor Swift -- thanks to multiple endorsement deals and an estimated $1.3 million nightly gross ticket sales from her concert tour.
Swift earned about $45 million, thanks to her hit album "Speak Now", perfume line, and other deals, just ahead of "Teenage Dream" singer Katy Perry with $44 million.
Forbes.com drew up its list from data on pre-tax income compiled through record sales, touring data and interviews with music lawyers, managers and concert promoters.
Beyonce's 2011 income dipped to an estimated $35 million, mostly because of her relatively small amount of touring this year, but her new album "4", fashion line, and two fragrances helped to put her in 4th place.
Rihanna rounded out the top 5, earning an estimated $29 million from sales of her album "Loud", and endorsements from cosmetics company CoverGirl.
The full list can be seen on the Forbes.com site at http://tinyurl.com/d36m7gd.
(Reporting by Jill Serjeant; Editing by Bob Tourtellotte)
Kamis, 24 November 2011
Ian Somerhalder: Thanksgiving Is About Family, Not Discount Shopping
Don't expect to see Ian Somerhalder lining up at midnight to score some of this season's best shopping deals
The 32-year-old Vampire Diaries star wished his Twitter followers a "happy Thanksgiving" late Wednesday night, though he also vented his frustration with what's become of the holiday.
"What I'm not grateful for is the midnight black Friday crap," he wrote. "Thousands of families are missing out on family time."
The actor -- currently dating his costar Nina Dobrev -- added that "stores should be ashamed."
"Family is all we have, the foundation of our country and our world," he explained. "Just my two cents. It may not matter, but I said it."
Read More:
http://www.usmagazine.com/celebrity-news/news/ian-somerhalder-thanksgiving-is-about-family-not-discount-shopping-20112411
The 32-year-old Vampire Diaries star wished his Twitter followers a "happy Thanksgiving" late Wednesday night, though he also vented his frustration with what's become of the holiday.
"What I'm not grateful for is the midnight black Friday crap," he wrote. "Thousands of families are missing out on family time."
The actor -- currently dating his costar Nina Dobrev -- added that "stores should be ashamed."
"Family is all we have, the foundation of our country and our world," he explained. "Just my two cents. It may not matter, but I said it."
Read More:
http://www.usmagazine.com/celebrity-news/news/ian-somerhalder-thanksgiving-is-about-family-not-discount-shopping-20112411
Jumat, 18 November 2011
Capsule reviews of new releases
"Arthur Christmas" — This pleasant holiday treat from Aardman, the British animation outfit behind "Chicken Run" and the "Wallace and Gromit" cartoons, has the old-fashioned spirit of Christmas at heart, spinning a snowflake-light tale with warmth, energy and goofy humor. The movie unveils the vast high-tech enterprise run by Santa to deliver all those presents as his big-hearted but bumbling younger son, Arthur (voiced by James McAvoy), races to deliver a single gift that fell through the cracks. The delightful, drolly funny voice cast includes Jim Broadbent, Bill Nighy, Hugh Laurie, Imelda Staunton and Ashley Jensen. Director Sarah Smith offers a fresh look at the Santa legend with a flawed Claus whose family is as dysfunctional as everyone else's. There are lulls and comic misfires that feel like stocking stuffers thrown in to pad the simple story to feature length, and the manic banter comes a bit too fast for viewers to digest it all. Still, the visual gags will carry youngsters along, while there are plenty of clever wisecracks to keep their parents occupied. PG for some mild rude humor. 97 minutes. Three stars out of four.
— David Germain, AP Movie Writer
___
"The Descendants" — Alexander Payne makes movies about men on the brink — of a nervous breakdown, of personal or professional ruin and, ultimately, maybe even some hard-earned peace. That's certainly true of George Clooney here. As real-estate lawyer Matt King, he finds everything in his life is in flux and on the verge of collapse simultaneously. This isn't any easier even though he lives in Hawaii, a place that's supposed to be paradise. Clooney being Clooney, though, makes every stage of his character's arc believable, from grief through anger and eventual acceptance, and he gives a performance that's so understated as to appear effortless. Matt's wife, Elizabeth, is lying in a hospital bed in a coma following a boating accident. Matt, who hasn't been the most available or hands-on father, must now take care of the couple's two daughters on his own: 17-year-old boarding school rebel Alexandra (Shailene Woodley) and 10-year-old troublemaker Scottie (Amara Miller). Then Alexandra drops another bombshell on her father: Elizabeth was having an affair at the time of her accident. As if all this weren't enough to handle, Matt's enormous family has put him in charge of deciding what to do with the 25,000 acres of pristine land on Kauai that they've inherited from their royal Hawaiian ancestors. Payne's pacing is often so languid that we don't feel the sort of mounting tension that we should. But the story keeps us guessing as to where it will go, and it features some piercing moments of emotional truth. R for language including some sexual references. 115 minutes. Three stars out of four.
— Christy Lemire, AP Movie Critic
___
"Happy Feet Two" — The dancing, singing penguins are as adorable as ever. Yet a couple of shrimplike krill almost steal the show in this animated sequel that sticks to the formula of the original while adding enough variety to give it a life of its own. It helps to have Brad Pitt and Matt Damon voicing the krill with great companionability as they join a vocal cast that includes returning stars Elijah Wood and Robin Williams. Wood's tap-dancing penguin now is a dad dealing with a misfit, runaway son embarrassed over his own lack of rhythm. Director and co-writer George Miller, who handled the same chores on the 2006 Academy Award-winning first film, keeps the focus on penguins in peril while adding an interesting nature-in-perspective angle with the side journey of those tiny krill trying to find their place in a world of bigger, hungrier things. The sequel delivers the key ingredients that made its predecessor such a hit: lovable characters, a rich blend of pop tunes employed in showstopping song-and-dance numbers and remarkable Antarctic landscapes whose bleak beauty pops off the screen even more than in the original, thanks to some of the finest use of 3-D animation since the digital age brought an extra dimension to the screen. PG for some rude humor and mild peril. 99 minutes. Three stars out of four.
— David Germain, AP Movie Writer
___"The Muppets" — Jason Segel, Amy Adams and friends deliver a very welcome return for Kermit the Frog, Miss Piggy and the rest of Jim Henson's creations after a 12-year big-screen absence. From start to finish, the movie is a healthy, dizzy dose of childlike bliss, the songs campy but catchy, the humor corny but clever. Co-writer Segel and Adams play small-town tourists embarking on a quest to reunite the Muppets and save their old Hollywood studio, which is targeted for demolition by an evil oil man (Chris Cooper). Director James Bobin maintains a nimble pace throughout, the story gleefully dashing from song-and-dance numbers to hilarious montages to the sort of precious asides that are a staple of the Muppets, among them plenty of self-aware winks at Hollywood convention. Celebrity cameos, also a Muppet strength, are plentiful but a bit disappointing; after such a long time in mothballs, the Muppets deserve a better turnout of top stars to welcome them back. But overall, the movie's refreshing on every level, a piece of nostalgia so old it's new again, and a breather from Hollywood's 3-D digital onslaught in favor of fur and fuzz. PG for some mild rude humor. 110 minutes, including an amusing "Toy Story" short that precedes the movie. Three stars out of four.
— David Germain, AP Movie Writer
___
"The Twilight Saga: Breaking Dawn — Part 1" — "Laughable" probably isn't the word the filmmakers were aiming for, but there it is; laughter, at all the wrong places. The fourth movie in the freakishly popular girl-vamp-wolf love triangle series is so self-serious, it's hard not to cackle at it. The dialogue is, of course, ridiculous and the acting ranges from stiff to mopey. But moments that should be pulsating with tension are usually hilarious because the special effects are still just so distractingly cheesy. This latest installment has yet another new director: Bill Condon, a man capable of both panache ("Dreamgirls") and serious artistry ("Gods and Monsters"), little of which you'll see here. The first of two films adapted from the final book in Stephenie Meyer's series (with part two coming next year), this serves as a placeholder for the ultimate finale but is jam-packed with developments in its own right. Bella Swan (Kristen Stewart) and her vampire beau, Edward Cullen (Robert Pattinson), marry in a lavish, romantic outdoor ceremony. Bella's childhood best friend and the other man in the equation, werewolf Jacob Black (Taylor Lautner), stops by as a gesture of goodwill. Finally, Bella and Edward can have sex, the thing she has wanted all along but he has been reluctant to do for fear that deflowering her will, you know, kill her. And he may have been right. He impregnates her on the honeymoon and the resulting hybrid spawn threatens to destroy her from inside. PG-13 for disturbing images, violence, sexuality/partial nudity and some thematic elements. 117 minutes. One and a half stars out of four.
Read More at
Detectives taking new look at Natalie Wood's death
LOS ANGELES (AP) — The circumstances of Natalie Wood's drowning death nearly 30 years ago remain one of Hollywood's enduring mysteries and continue to create renewed intrigue, with homicide detectives unexpectedly re-opening a case Thursday that had long been classified as a tragic accident.
A Los Angeles County sheriff's detective will speak to reporters Friday about the decision to take another look at the Oscar-nominated actress' nighttime demise in the chilly waters off Southern California on Nov. 29, 1981. Wood drowned after spending several hours drinking on Catalina Island and a yacht with husband Robert Wagner, fellow actor Christopher Walken and the ship's captain.
Sheriff's spokesman Steve Whitmore said Thursday the renewed inquiry was prompted by unspecified new information about Woods' case. The Los Angeles Times quoted Sheriff Lee Baca as saying recent comments by the captain, Dennis Davern, who was interviewed for a book project and whose comments from a 2000 article by Vanity Fair are being featured on a new print edition and a "48 Hours Mystery" episode that focus on Hollywood scandals.
In the magazine, Davern is quoted as saying that Wood and Wagner fought in their cabin before the actress went missing. Coroner's officials ruled her death an accidental drowning, perhaps caused by her slipping off the boat while trying to tie down a dinghy.
Wood's death sparked tabloid speculation that foul play was involved, but Wagner and Wood's sister have dismissed any suggestion the actress' death was anything more than an accident. Coroner's officials at the time agreed, writing that Wood was "possibly attempting to board the dinghy and had fallen into the water, striking her face."
It is not the first time Davern has contradicted statements he and others made to investigators after Woods' death, and the magazine notes that he has told his story through tabloids and has been shopping for a book deal for years. Attempts to reach Davern were unsuccessful Thursday night.
Sheriff's officials are also hoping for tips from the public that may shed new light on how Wood, who was afraid of being in the water, ended up drowning.
"Although no one in the Wagner family has heard from the LA County Sheriff's department about this matter, they fully support the efforts of the LA County Sheriff's Dept. and trust they will evaluate whether any new information relating to the death of Natalie Wood Wagner is valid, and that it comes from a credible source or sources other than those simply trying to profit from the 30 year anniversary of her tragic death," Wagner spokesman Alan Nierob wrote in a statement.
Wood, a three-time Oscar nominee famous for roles in "West Side Story," ''Rebel Without a Cause" and other Hollywood hits, was 43 when she died. She and Wagner, star of the TV series "Hart to Hart," were twice married, first in 1957 before divorcing six years later. They remarried in 1972.
Lana Wood wrote in a biography on her sister, "What happened is that Natalie drank too much that night."
Wagner wrote in a 2008 autobiography that he blamed himself for his wife's death.
He recounted the night of Wood's disappearance, during which the couple and Walken drank at a restaurant and on the boat. Wood went to the master cabin during an argument between her husband and Walken. The last time Wagner saw his wife, she was fixing her hair at a bathroom vanity and she shut the door.
Wagner wrote that despite various theories about what led Wood to the water, which she feared, it was impossible to know what exactly happened.
"Nobody knows," he wrote. "There are only two possibilities; either she was trying to get away from the argument, or she was trying to tie the dinghy. But the bottom line is that nobody knows exactly what happened."
Later in the book, Wagner wrote, "Did I blame myself? If I had been there, I could have done something. But I wasn't there. I didn't see her."
He wrote that he has never returned to Catalina Island.
Phone and email messages to Walken's publicist were not returned Thursday. Walken and Wood were co-stars in "Brainstorm," which was the actress' final big screen role.
___
AP reporter Alicia Rancilio contributed to this report.
Read More:
http://news.yahoo.com/detectives-taking-look-natalie-woods-death
A Los Angeles County sheriff's detective will speak to reporters Friday about the decision to take another look at the Oscar-nominated actress' nighttime demise in the chilly waters off Southern California on Nov. 29, 1981. Wood drowned after spending several hours drinking on Catalina Island and a yacht with husband Robert Wagner, fellow actor Christopher Walken and the ship's captain.
Sheriff's spokesman Steve Whitmore said Thursday the renewed inquiry was prompted by unspecified new information about Woods' case. The Los Angeles Times quoted Sheriff Lee Baca as saying recent comments by the captain, Dennis Davern, who was interviewed for a book project and whose comments from a 2000 article by Vanity Fair are being featured on a new print edition and a "48 Hours Mystery" episode that focus on Hollywood scandals.
In the magazine, Davern is quoted as saying that Wood and Wagner fought in their cabin before the actress went missing. Coroner's officials ruled her death an accidental drowning, perhaps caused by her slipping off the boat while trying to tie down a dinghy.
Wood's death sparked tabloid speculation that foul play was involved, but Wagner and Wood's sister have dismissed any suggestion the actress' death was anything more than an accident. Coroner's officials at the time agreed, writing that Wood was "possibly attempting to board the dinghy and had fallen into the water, striking her face."
It is not the first time Davern has contradicted statements he and others made to investigators after Woods' death, and the magazine notes that he has told his story through tabloids and has been shopping for a book deal for years. Attempts to reach Davern were unsuccessful Thursday night.
Sheriff's officials are also hoping for tips from the public that may shed new light on how Wood, who was afraid of being in the water, ended up drowning.
"Although no one in the Wagner family has heard from the LA County Sheriff's department about this matter, they fully support the efforts of the LA County Sheriff's Dept. and trust they will evaluate whether any new information relating to the death of Natalie Wood Wagner is valid, and that it comes from a credible source or sources other than those simply trying to profit from the 30 year anniversary of her tragic death," Wagner spokesman Alan Nierob wrote in a statement.
Wood, a three-time Oscar nominee famous for roles in "West Side Story," ''Rebel Without a Cause" and other Hollywood hits, was 43 when she died. She and Wagner, star of the TV series "Hart to Hart," were twice married, first in 1957 before divorcing six years later. They remarried in 1972.
Lana Wood wrote in a biography on her sister, "What happened is that Natalie drank too much that night."
Wagner wrote in a 2008 autobiography that he blamed himself for his wife's death.
He recounted the night of Wood's disappearance, during which the couple and Walken drank at a restaurant and on the boat. Wood went to the master cabin during an argument between her husband and Walken. The last time Wagner saw his wife, she was fixing her hair at a bathroom vanity and she shut the door.
Wagner wrote that despite various theories about what led Wood to the water, which she feared, it was impossible to know what exactly happened.
"Nobody knows," he wrote. "There are only two possibilities; either she was trying to get away from the argument, or she was trying to tie the dinghy. But the bottom line is that nobody knows exactly what happened."
Later in the book, Wagner wrote, "Did I blame myself? If I had been there, I could have done something. But I wasn't there. I didn't see her."
He wrote that he has never returned to Catalina Island.
Phone and email messages to Walken's publicist were not returned Thursday. Walken and Wood were co-stars in "Brainstorm," which was the actress' final big screen role.
___
AP reporter Alicia Rancilio contributed to this report.
Read More:
http://news.yahoo.com/detectives-taking-look-natalie-woods-death
Rabu, 16 November 2011
Drake : Biography
Biography
Known initially for his role as Jimmy Brooks on Degrassi: The Next Generation, Toronto, Ontario, native Drake (born Aubrey Drake Graham) stepped out as a rapper and singer with pop appeal in 2006, when he initiated a series of mixtapes. A year later, despite being unsigned, he scored major exposure when his cocky and laid-back track "Replacement Girl," featuring Trey Songz, was featured on BET's 106 & Park program as its "Joint of the Day." He raised his profile throughout the next several months by popping up on countless mixtapes and remixes, and as rumors swirled about contract offers from labels, he gradually became one of the most talked-about artists in the industry. It did not hurt that he had support from the likes of Kanye West, Jay-Z, and Lil Wayne. By the end of June 2009, "Best I Ever Had," a promotional single, had climbed to number two on Billboard's Hot R&B/Hip-Hop Songs chart. After a fierce bidding war, Drake signed with Universal Motown in late summer and released an EP (So Far Gone) made up of songs from his popular So Far Gone mixtape. It peaked at number six on the U.S. Billboard 200 chart and won a 2010 Juno Award for Rap Recording of the Year. Thank Me Later, a full-length featuring collaborations with the Kings of Leon, the-Dream, Jay-Z, Kanye West, and Lil Wayne, was issued through Young Money the following year. ~ Andy Kellman, Rovi
Read More:
http://music.msn.com/
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