Tag Archives: crime

In Honor of the Batpod, 9 Other Memorable Movie Motorcycles

The Dark Knight Rises finally arrives this weekend, and curiously, amid the hype attending Christopher Nolan and his top-flight cast , two other performers have been strongly covered in the media: The behemoth tank that is The Tumbler , and the exciting off-shoot vehicle known as The Batpod. Considering the latter is one of the most arresting two-wheelers ever featured on-screen, we celebrate its revival by highlighting nine other curiosities Hollywood has offered up in the motorcycle category. Captain America Chopper – Easy Rider At first it might seem a pedestrian selection, but upon release in 1969 this was in fact a striking departure for motorcycle design. Following World War II, returning veterans kicked off a wave of automotive redesign with self-created modifications; garage-built hot rods rose in popularity, and similar to that were the emergence of “bobbers,” motorcycles mechanically altered by their owners. This involved taking a showroom motorcycle and trimming away parts deemed superfluous, such as fenders and foot boards, in an effort to make a streamlined and lighter bike. By the 1960s bobbing gave way to more extreme experimentation. Owners began making changes to the basic structure of the motorcycle itself, cutting and welding the frames into new shapes in a practice called “chopping.” This produced wholesale alterations to the appearance, and Easy Rider opened America’s eyes to the new practice. Features such as the lowered rider position, extended forks, and raised sissy-bar seat backs were stark visions at the time, and soon the term “chopper” entered the national lexicon to describe the lengthened cruising style motorcycle. Light Cycles – Tron , Tron Legacy It’s one thing to design a new look to motorcycles artistically, but to have that creation become iconic makes a real statement. Initially conceived for the video visual realm in the original movie, the light cycles quickly became one of the most popular components of the cult classic. These concept vehicles even became a linchpin component to the related video game. When Disney announced plans to remake their property years ago, much of the anticipation surrounded what the new light cycles would look like,and the studio made the digital vehicles a center point in their marketing. Where previously the design involved the characters morphing into a pixilated cycle, the new version had the rider stretched forward across and becoming incorporated into the cycle, remaining visible on camera. Even as both films had a number of detractors, the light cycles from each have maintained high levels of appreciation. Kaneda’s Street Bike – Akira What is probably the most popular anime out of Japan is one that instantly calls to mind a lone visual; any mention of the title automatically provokes the image of this highly-stylized motorcycle. Conceived with a futuristic combination of street-bike esthetics and over-sized touring-bike comfort, this vehicle provokes envy while challenging engineering. There have been many attempts over the years to replicate the physics of this hand-drawn creation into a reality (Kanye West even commissioned one to be built for a music video), but the results of those builds to date have underwhelmed. Fans still hold out hope that the proposed, yet oft-delayed, live-action version of the film will someday bring about a fully realized physical version of the famed bike. The Lawmaster – Judge Dredd When Sylvester Stallone donned the famous helmet of the violent jurist (and angered many by removing said helmet), he also had to carry forward other elements from the British comic. The opulent uniform was both true to form and ridiculous in execution (the codpiece was a nice touch); conversely, his famous ride paled in comparison to the comic origins. This is due to the motorcycle having rather cartoonish features in print, so when Stallone rode into frame for his introduction, the famed Lawmaster came off as almost a disappointment, and thus an afterthought. At the recent Comic-Con, footage of the reboot generated positive responses. Hopefully the producers worked on this detail. The Bonnevile Bike – The World’s Fastest Indian Some may have questioned Anthony Hopkins trying to pass himself as a Native American, but the Indian in the title actually refers to the make of motorcycle featured in the film. This is the true story of a New Zealand motorcycle racer named Burt Munro, who, in the 1960s, set a series of land-speed records on a bike of his own creation. Rather than state-of-the-art engineering, Munro modified his cycle entirely in his own garage simply with the tools at his disposal. More stunning was his doing so using a nearly 50-year old motorcycle. He cracked the 200mph threshold on his archaic ride, and even more amazingly, one of his speed records is still in place today. The Demon Chopper – Ghost Rider As a child stunt rider Johnny Blaze sells his soul to the Devil; later in life he is enlisted by Old Scratch to serve as a bounty hunter. In paying off his debt, Blaze changes into The Ghost Rider, and as he does the motorcycle transforms as well — into a rather daft looking set piece. As Johnny is full ablaze he lays his hands on the gas tank of his cherished bike (probably not the wisest move), and we watch as his ride morphs into a garish piece of machinery with a massive skull perched between the handlebars, long forks made of chain link, and an aforementioned gas tank webbed with bony fingers. The end result truly appears less a menacing conveyance from Hades than it does a goofy prop you’d likely see on stage during a GWAR concert. The V-Rex – Fast & Furious The fourth iteration of this car-intensive series features Paul Walker perched in the saddle of this wildly conceived motorcycle. The futuristic appearance also features a unique design function. The front wheel is not held by a traditional fork assembly but instead has a swing-arm mount, the sort normally seen as a rear-wheel set up. It is dampened by a solitary large shock absorber positioned beneath the twin halogen headlamps. This gives a vaguely robotic appearance, one which was actually pitched to Michael Bay as a possible component for the second Transformers . (He ultimately dismissed featuring a robotic motorcycle gang in that franchise.) Rather than a piece of fancy from a Hollywood design garage, this vehicle is actually a production model by Travertson, a Florida manufacturer. Moto Terminators – Terminator: Salvation One of the components included in the attempt at rejuvenation of this franchise was a collection of automaton two-wheeled terminators, outfitted with heavy ordnance and shown as distinctively riderless. The automatic gun turrets featured an articulated mounting that served as counter-balancing when the motorcycle leaned into turns. Sporting artificial intelligence and rocket launchers, the end result was a motorcycle gang on the roads more intimidating than the Hell’s Angels. The Turbine Bike – Priest Last summer’s Priest was soon forgotten by those few who watched it, and yet there has been one enduring memory: The title character’s motorcycle. The story is an odd one, set in both in a dystopian future and an alternate universe, involving a centuries-long battle between humans and vampires. Paul Bettany plays a warrior priest who breaks from the church to wage a battle, yadda-yadda. The one takeaway for most viewers was the striking bike Bettany uses to run down a train carrying vampires, a curiosity featuring an impressive turbine engine, mounted where one might normally expect the gas tank to be found. BONUS: Tricked-Out Scooter – Quadrophenia In this 1979 film adaptation of the classic Who album, disillusioned youths play out a dramatic existence in London, and mini-motor-bikes feature prominently. Some may find it a stretch to conjure a fully appointed Lambretta scooter serving as a metaphor, but the appearance of the multi-mirrored ride is enough to bring about a grin. [Clip language NSFW] Brad Slager has written about movies and entertainment for Film Threat, Mediaite, and is a columnist at CHUD.com . His less insightful impressions on entertainment can be found on Twitter .

The rest is here:
In Honor of the Batpod, 9 Other Memorable Movie Motorcycles

Peter Cullen — The Voice of Optimus Prime — On Saving Mankind Through The Power of Transformers

Famed voice actor Peter Cullen still remembers the feeling of surprise he had at his first fan convention when he realized how much characters like Optimus Prime, whom he voiced throughout the Transformers series and films, meant to fans. In an extended chat at Comic-Con , Cullen revealed how a pre-audition chat with his Vietnam veteran brother inspired his take on the Transformers hero and how, years later, he’s working with NASA and HASBRO to foster interest in science, math, and space in the latest generation of young fans. (Scroll down for the full 30-minute chat and let your nerd hearts melt, people.) Movieline correspondent Grace Randolph was on hand at Comic-Con to speak with Cullen, whose heartfelt discussion of his work on Transformers , G.I. Joe , and other seminal cartoons of the ’80s can be seen in its entirety below. “I based the character on my own brother, Larry Cullen,” recalled the voice acting legend of the day he headed to audition for Transformers . “Larry was a Marine Corp officer in Vietnam, he was a wounded medal recipient – he had two Purple Hearts and a Bronze Star – and we lived together in Burbank, California.” “You’ve got to understand that Larry is six inches taller, he’s got a deeper voice, and he’s probably the most honest, truthful, gentle, understanding, strong guy I ever known,” he continued. “He was my hero. I said, ‘I’m going to audition for a truck.’ He said, ‘What a way to make a living.’ I said, ‘But Larry, he’s a hero.'” “He says, ‘Interesting – well, Peter, be a real hero. Don’t be one of those Hollywood prototypes, be real. Be strong enough to be gentle, don’t be yelling and screaming all the time. That’s my advice, Peter – take it or leave it.'” His brother’s advice informed Cullen’s audition for Optimus Prime, and the rest is history. “Larry just jumped off the page when I started reading him,” he remembered, “and inside, spiritually, I felt something really connect. I had a feeling. I said, this is going to work. This is good. Nobody’s ever heard anything like this before. Nobody’s done it like this before. I left that audition and I said to myself, ‘If I don’t get this, there’s something wrong in the world.’ Cullen, who reprised the role of Optimus Prime on The Hub’s Emmy-winning Transformers: Prime series and says he saw himself as a sort of latchkey father figure to his young fans throughout the years, is working with HASBRO, The Hub, and NASA to encourage interest in the sciences and space in youngsters. The effort “will benefit the children of this country and around the world, to develop their enthusiasm for space, whether it’s in fiction or whether it’s in fact, science, technology, math, medicine – everything that’s connected with space. “If Optimus Prime can stir up enthusiasm in some form of interest that will benefit mankind by creating that enthusiasm to venture somewhere above and beyond our earth, I think Prime should.” Watch the full chat with Peter Cullen below. Read more from Comic-Con 2012 here . Follow Movieline on Twitter .

Go here to see the original:
Peter Cullen — The Voice of Optimus Prime — On Saving Mankind Through The Power of Transformers

REVIEW: Ambitious, Thrilling ‘Dark Knight Rises’ Undermined By Hollow Vision

The Batman brand is in the toilet at the outset of The Dark Knight Rises , the third and most self-consciously ornate pillar of Christopher Nolan’s caped crusader resurrection trilogy. The four years since The Dark Knight have passed as eight within the city state of Gotham — one of the neater doublings in a movie inlaid with prismatic tiling — and even the mayor condemns Batman as “a murderous thug.” The late Harvey Dent, by contrast, has been canonized as a civic hero; something called the “Dent Act” has ushered in an era of safe streets and soft despotism. Bruce Wayne (Christian Bale), meanwhile, is still heartbroken over the murder of Rachel Dawes and said to be peeing in Mason jars and polishing his curly fingernails in some shuttered wing of Wayne Manor. As a memorial for Dent drones and tinkles smugly on, the movie’s animating question flickers across Commissioner Gordon’s (Gary Oldman) face: Batman died for this ? The this at the heart of The Dark Knight Rises is a city whose predicament is conceived broadly enough to accommodate any number of thematic readings, but too hedged to explore any one of them well. In winding up at casual cross-purposes, the film’s perspective on governing power structures and mass psychology (to name only two) feel like Nolan playing ideological peek-a-boo. Despite heavy provocation, it’s a movie that can only supply embarrassment to those who look beyond the gleaming chaos and heroic suffering for meaning. What it amounts to is a frantic set of distractions from an uncommonly thrilling ride on the old Gotham express. Bruce Wayne’s first warning of what’s to come, and what’s happening beyond the manor gates — the Catwoman in the coalmine — arrives in the figure of a burglar named Selina Kyle (Anne Hathaway, tart but sexless). Selina draws Bruce out of hiding — something a philanthropist on the clean energy tip played by Marion Cotillard couldn’t manage — and warns him of a coming storm that will level the elite and the commoner. When the faithful Alfred Pennyworth (Michael Caine) implores him to focus on deploying his dwindling resources and building a better (or any) personal life, Wayne takes it as a challenge to his alter ego’s honor and his failing body. Meanwhile, Commissioner Gordon is paying more attention to his gut than the crime statistics, and it’s telling him something is rotten in Gotham. What that might be is considered from several angles — computer chaos, corporate greed, social inequality, nuclear threat, economic terrorism—and we wait to see which will prevail. Nolan never quite chooses, though, opting for a little bit of each whenever it’s convenient. Bending over all of them, in an arc extended from The Dark Knight (there are even more direct connections to Batman Begins ), is the obsessive pursuit of Batman’s “true” identity. “The idea was to be a symbol,” Wayne sighs to a hotfooted cop played by Joseph Gordon-Levitt. But there’s no place for symbols in a search-engined society; nothing so delicate can survive in cold, data-based climes. The city clamors for Batman, wanted for the death of their hero, on a plate: This Gotham seems destined for slow-motion self-destruction; our villain’s arrival is framed as more of a helping hand. They may have forsaken Batman, but the city’s need for viable symbols is borne out in the heavily spackled image of Dent, and, from his first appearance in the bravura prologue, the intransigent evil embodied by Tom Hardy’s Bane. “No one cared who I was until I put on the mask,” Bane gurgles (not true Tom Hardy! Not true!) in vocoder tones I’d put somewhere between Yoda post-testosterone patch and Sean Connery on appletinis. Batman’s comeback is hamstrung at every turn — by his vicious new opponent, by the police (led by Matthew Modine’s canine would-be commissioner), and by an app-loading tablet that the superhero considers in the universal stance of tech-befuddlement. Consigned, after a colossal ass-whipping, to a vaguely Arab hellmouth with handy cable news access, Wayne spends the middle chunk of the movie striving for the spiritual strength to escape in time to keep Bane from his plan to “feed the people hope to poison their souls” before blowing the whole city to pieces. A sub-tangle with nuclear power, which is framed as both the savior of the world and its destroyer, provides the movie’s ultimate double. But Bane’s motives are obscured too long and too provocatively to succeed in drawing us into the wildly nettled political revolution he comes to represent. We’re told his power derives from his fanatical belief — something a privileged playboy can’t buy — but in what? His is a psychology of convenience and comic-book dogma, which is only a problem insofar as the film insists he have a psychology at all. Bane’s proselytizing about social equality and death by moral complacency inspires real dread, but again Nolan isn’t prepared to stand behind the incendiary postures he strikes. There’s always an out, in this case the fact that Bane’s politics are just a theatrical prelude to less complicated darkness. Undeniable is Hardy’s menace: Less a man than a masculine experiment gone awry, he seems to be strutting naked even in boots and crust punk combat gear. What Bane is most clearly is a terrorist, from his vaguely plotted assault on Gotham’s stock exchange, to the fondness for human shields and Taliban-tinged sports stadium executions, to the plan not to rule or capture the city with a grand gesture but to wipe it out. Though it was filmed in several locations, including Pittsburgh, in this installment that island city is most obviously New York, from the glimpse of the scaffolded Freedom Tower to the crippled Brooklyn Bridge to the richies dragged out of their Fifth Avenue penthouses. If anything the pretense of Gotham adds a certain gratuitousness to the clear references — symbols pulled out of their context for sheer, emotion-zapping effect. Beyond that a scrappy city all its own emerges, where Batman is just another part of the steeply vertical landscape and it wouldn’t be all that odd to find him slugging it out in the streets, as in his climactic, cleanly drawn confrontation with Bane. Beginning with a thrilling underground, multi-vehicle chase and through a series of old fashioned brawls, Nolan, director of photography Wally Pfister and editor Lee Smith restore a baseline of coherence to the action that in some instances has the feeling of a many-paneled page, with levels and layers of action — a ka-pow over here, a thwack over there. If New York is Gotham’s most obvious touchstone this time out, the Windy City asserts itself in Nolan’s script (co-written with his brother Jonathan, working from a story by Nolan and David S. Goyer). The dialogue is inflated to regulation turgidity and then some. Hathaway does her best, but without Heath Ledger’s Joker there’s no one to let the air out now and then, which makes this week’s cinematic rendering of the apocalypse more terribly earnest but also more genuinely terrifying than most. Along with making the most prominent case for the continued relevance of the auteur theory, with this trilogy the British director reminds us that well-built brands never really die. Certainly one elegiac current running under the The Dark Knight Rises is that they don’t make them like Batman anymore, either in Gotham City or your local cineplex. During its more didactic lapses, episodes of shocking darkness and overwhelming density, you can practically make out the silhouette of Nolan looming behind the screen, appraising us with folded arms: Do they deserve this movie? Are we worthy of it? The Dark Knight aspires to the epic and reaches it on a number of impressive and less impressive levels. That it is a frequently, unnervingly glorious triumph of brawn over brains is not despite but in spite of Nolan’s admirably stubborn — if persistently, risibly serious — insistence that the modern superhero can have it all. Follow Michelle Orange on Twitter . Follow Movieline on Twitter .

More here:
REVIEW: Ambitious, Thrilling ‘Dark Knight Rises’ Undermined By Hollow Vision

End Of Times: Man Posts ‘Vote Satan’ Sign In His Yard; Reports As Theft When It’s Stolen

What the hell? Man Claims Hate Crime When ‘Vote Satan’ Sign Is Stolen From His Yard It seems wildfires aren’t the only craziness going on in Colorado these days… A Colorado man is claiming that the theft of a “Vote Satan” sign from his property amounts to a hate crime. Luigi Bellavite, who is a member of the Church of Satan, reportedly had the sign hanging outside his Mountain View home next to an American flag. In an interview with local station KMGH-TV, Bellavite said he and his wife chose to display the sign “because it symbolizes freedom from dogmas.” Bellavite said that when the sign was stolen, police classified the case as a theft, but Bellavite believes it constitutes a hate crime, according to the station. “If it was the Star of David, absolutely it would be a hate crime,” he said. “There are such double standards that some religions and some ideas are protected and others are not.” Source

Read the original:
End Of Times: Man Posts ‘Vote Satan’ Sign In His Yard; Reports As Theft When It’s Stolen

WATCH: Joel Kinnaman In Way Over His Head in Martin Scorsese-Approved Easy Money

Before he skulked the streets of Seattle on The Killing and nabbed the role of Alex Murphy in the upcoming RoboCop reboot, Joel Kinnaman made a splash in his home country of Sweden with the crime drama Easy Money (nee Snabba Cash ). The Weinstein Co. snapped up the pic, which also put director Daniel Espinoza ( Safe House ) on Hollywood’s radar, and will debut it stateside this July… with the hefty endorsement of none other than Martin Scorsese. Finally (!) we have the first domestic trailer for Easy Money , in which Kinnaman’s pretty-boy business major, craving the wealthy lifestyle he never had growing up, becomes entangled with warring crime lords in Stockholm and finds himself in way over his head. In Easy Money , which screened to a packed house last weekend at the LA Film Fest , Kinnaman stars as JW, a small-town opportunist who attends business school by day and drives cabs at night. His dorm room walls are covered with fashion inserts from mens’ magazines, the blueprints by which he fakes his way into the upper-class social circle that he longs to be a part of. There’s a rich girl, Sophie, who catches his eye, and privileged bankers’ sons he befriends, but as much as JW is consumed by his need to be accepted by into this world of wealth and class, he’s acutely aware that he’s living a lie. Enter opportunity, in the form of local gangster Abdulkarim (Mahmut Suvakci), who has a task for JW: Pick up prison escapee Jorge (Matias Varela) for a small fortune, no questions asked. JW complies, seeing the chance to finally seize the life he dreams of. But as a rival gang’s operative (Dragomir Mrsic) begins questioning his own priorities — namely, the young daughter he hardly knows — the stakes escalate as all players follow their own agendas in the pursuit of a payday. Presented with English subtitles, Easy Money (based on the novel by Jens Lapidus) will be released on July 27, and as the domestic trailer hints at, Espinoza’s storytelling transcends the language barriers; his weaving of storylines and character motivations becomes impressively engrossing as Easy Money reaches its climax, bolstered by solid performances and a layered editing style. [Trailer debut via Apple ]

Link:
WATCH: Joel Kinnaman In Way Over His Head in Martin Scorsese-Approved Easy Money

WATCH: Joel Kinnaman In Way Over His Head in Martin Scorsese-Approved Easy Money

Before he skulked the streets of Seattle on The Killing and nabbed the role of Alex Murphy in the upcoming RoboCop reboot, Joel Kinnaman made a splash in his home country of Sweden with the crime drama Easy Money (nee Snabba Cash ). The Weinstein Co. snapped up the pic, which also put director Daniel Espinoza ( Safe House ) on Hollywood’s radar, and will debut it stateside this July… with the hefty endorsement of none other than Martin Scorsese. Finally (!) we have the first domestic trailer for Easy Money , in which Kinnaman’s pretty-boy business major, craving the wealthy lifestyle he never had growing up, becomes entangled with warring crime lords in Stockholm and finds himself in way over his head. In Easy Money , which screened to a packed house last weekend at the LA Film Fest , Kinnaman stars as JW, a small-town opportunist who attends business school by day and drives cabs at night. His dorm room walls are covered with fashion inserts from mens’ magazines, the blueprints by which he fakes his way into the upper-class social circle that he longs to be a part of. There’s a rich girl, Sophie, who catches his eye, and privileged bankers’ sons he befriends, but as much as JW is consumed by his need to be accepted by into this world of wealth and class, he’s acutely aware that he’s living a lie. Enter opportunity, in the form of local gangster Abdulkarim (Mahmut Suvakci), who has a task for JW: Pick up prison escapee Jorge (Matias Varela) for a small fortune, no questions asked. JW complies, seeing the chance to finally seize the life he dreams of. But as a rival gang’s operative (Dragomir Mrsic) begins questioning his own priorities — namely, the young daughter he hardly knows — the stakes escalate as all players follow their own agendas in the pursuit of a payday. Presented with English subtitles, Easy Money (based on the novel by Jens Lapidus) will be released on July 27, and as the domestic trailer hints at, Espinoza’s storytelling transcends the language barriers; his weaving of storylines and character motivations becomes impressively engrossing as Easy Money reaches its climax, bolstered by solid performances and a layered editing style. [Trailer debut via Apple ]

Link:
WATCH: Joel Kinnaman In Way Over His Head in Martin Scorsese-Approved Easy Money

WATCH: Joel Kinnaman In Way Over His Head in Martin Scorsese-Approved Easy Money

Before he skulked the streets of Seattle on The Killing and nabbed the role of Alex Murphy in the upcoming RoboCop reboot, Joel Kinnaman made a splash in his home country of Sweden with the crime drama Easy Money (nee Snabba Cash ). The Weinstein Co. snapped up the pic, which also put director Daniel Espinoza ( Safe House ) on Hollywood’s radar, and will debut it stateside this July… with the hefty endorsement of none other than Martin Scorsese. Finally (!) we have the first domestic trailer for Easy Money , in which Kinnaman’s pretty-boy business major, craving the wealthy lifestyle he never had growing up, becomes entangled with warring crime lords in Stockholm and finds himself in way over his head. In Easy Money , which screened to a packed house last weekend at the LA Film Fest , Kinnaman stars as JW, a small-town opportunist who attends business school by day and drives cabs at night. His dorm room walls are covered with fashion inserts from mens’ magazines, the blueprints by which he fakes his way into the upper-class social circle that he longs to be a part of. There’s a rich girl, Sophie, who catches his eye, and privileged bankers’ sons he befriends, but as much as JW is consumed by his need to be accepted by into this world of wealth and class, he’s acutely aware that he’s living a lie. Enter opportunity, in the form of local gangster Abdulkarim (Mahmut Suvakci), who has a task for JW: Pick up prison escapee Jorge (Matias Varela) for a small fortune, no questions asked. JW complies, seeing the chance to finally seize the life he dreams of. But as a rival gang’s operative (Dragomir Mrsic) begins questioning his own priorities — namely, the young daughter he hardly knows — the stakes escalate as all players follow their own agendas in the pursuit of a payday. Presented with English subtitles, Easy Money (based on the novel by Jens Lapidus) will be released on July 27, and as the domestic trailer hints at, Espinoza’s storytelling transcends the language barriers; his weaving of storylines and character motivations becomes impressively engrossing as Easy Money reaches its climax, bolstered by solid performances and a layered editing style. [Trailer debut via Apple ]

Link:
WATCH: Joel Kinnaman In Way Over His Head in Martin Scorsese-Approved Easy Money

Ninety-Year-Old Woman Chases Down, Apprehends Mugger With Help of Good Samaritan

When he saw 90-year-old lady being knocked to the ground outside a convenience store by an mugger who ran away, Robb Revelli sprang into action. Revelli, 36, helped the woman grab her credit cards that fell during the attack, then asked if she wanted to go to the hospital or chase the attacker. “If she was down, I was down to go get him,” he said, “and we did.” The pair caught up to the attacker , 27-year-old Damarea Johnson. “[I] caught up to him and put him in a headlock, and he started throwing money,” Revelli (pictured), a former rugby player, told the Oakland Tribune . “He kept fighting the whole time. I had scratches on my face.” As Revelli held the man down, the woman called 911 to report the crime and to praise her good Samaritan rescuer. “He’s an excellent, wonderful fellow,” the woman, who has asked that her identity not be released, told police on the call. “I hope God protects him and blesses him for the rest of his life.”

Here is the original post:
Ninety-Year-Old Woman Chases Down, Apprehends Mugger With Help of Good Samaritan

Diamond & Lil Jon Rip The A Town Classic At Birthday Bash 17 [EXCLUSIVE]

Originally posted here:

Diamond rejoined Crime Mob and Lil Scrappy brought out A Town legend Lil Jon at Birthday Bash 17′s A Town Classic! Check out photos plus…

Diamond & Lil Jon Rip The A Town Classic At Birthday Bash 17 [EXCLUSIVE]

Hide Ya Kids: 38 Year-Old Mother Giggles And Laughs While Being Sentenced 15 Years For Raping Son’s 13-Year-Old Friend!

What the hell ever happened to grown folks enjoying sex with other GROWN folks?!? Oklahoma City Mother Sentenced 15 Years For Raping Her Son’s 13-Year-Old Friend A wife, mother and former nurse, accused of sexually abusing one of her son’s classmates is sentenced for the crime. Amy Blose, 38, faced two-dozen criminal counts of rape, sodomy and lewd molestation. Friday a Cleveland County judge sentenced the Norman woman to 15 years behind bars. In court, Blose frequently smiled and giggled. The judge, and several family friends of the victim, criticized her for not showing any remorse for the crime. “It’s heartbreaking she doesn’t take responsibility and stand up and say she’s sorry,” Stephanie Odle said. “It wasn’t about vengeance, it’s about making Amy responsible for her actions,” Angie George said. Blose entered a no contest plea in April. When she’s released from prison, she will have to register as a sex offender. Register as a sex offender??? She’ll be lucky if she gets back out in the streets ALIVE! Source

Go here to read the rest:
Hide Ya Kids: 38 Year-Old Mother Giggles And Laughs While Being Sentenced 15 Years For Raping Son’s 13-Year-Old Friend!