When is this foolishness going to end??? Lone Star College In Houston Terrorized In School Shooting Via FoxNews Lone Star College, located in north Houston, was put on lockdown Tuesday after reports of several people being shot and injured on campus, MyFoxHouston.com reported. A federal law enforcement official told Fox News that one person is in custody and it is unclear if another suspect is on the run. Police are, however, searching the nearby countryside for a second shooter. Three victims were transported from the scene to area hospitals. Moments after the shooting, students could be seen being led out of the sprawling campus with their hands on their heads. Police SWAT teams were searching the campus. Details of the events leading to the shooting is unclear, but reports indicate that the incident stemmed from an earlier argument near the school’s library. An emergency alert was sent to students advising them and faculty to take immediate shelter and not to enter the campus until notified further. Other local school were also placed on lock down. The community college is a two-year school with about 28,000 students. The school is located just outside the George H.W. Bush International Airport. Thoughts and prayers are with the victims and the community. Check in with Bossip as more details on this tragedy emerge. Image via LoneStarCollege
Everything’s bigger in Texas. That apparently includes secession petitions . A petition to allow Texas to secede from the United States has qualified to receive a White House response, garnering more than 81,000 signatures. The Texas secession movement’s leader said President Obama’s reelection was a “catalyzing moment” for his group’s efforts “to quit the United States.” Daniel Miller, president of the Texas Nationalist Movement, said: “I am completely aware that Election Day was a catalyzing moment, but I do not believe that the underpinnings of this are solely about Barack Obama.” “This cake has been baking for a long time – it’s the Obama administration that put the candles on the cake and lit it for us.” The Texas secession petition reads : Given that the state of Texas maintains a balanced budget and is the 15th largest economy in the world, it is practically feasible for Texas to withdraw from the union. To do so would protect it’s citizens’ standard of living and re-secure their rights and liberties in accordance with the original ideas and beliefs of our founding fathers which are no longer being reflected by the federal government . The support for the petition has surged despite Texas Gov. Rick Perry – who has flirted with the secession idea in the past – callng to support the union. The governor’s press secretary, Catherine Frazier, said that Perry “believes in the greatness of our Union and nothing should be done to change it.” Perry does, however, “share the frustrations many Americans have with our federal government.” The Lone Star State is not exactly alone. Residents in more than 40 states have filed secession petitions to the Obama administration’s “We the People” site. Though none of the breakaway efforts have come even close to Texas’ huge number, many petitions have attracted 20,000-30,000 signatures.
What do you do if you hear two guys robbing your home? Chase them out, then grab a shovel and JUMP IN FRONT OF THEIR CAR to stop them from leaving, if you’re this brave, adrenaline-fueled Georgia resident. Watch the local news report below, in which he details how he fended off, and ultimately helped police identify the suspects responsible for this home invasion. His only weapons? A trusty shovel and some giant cojones: Guy Stops Burglars With Shovel
OMG. Matthew Broderick is finally reprising his career-defining role of Ferris Bueller. That’s the good news. The bad? It’s only for a Super Bowl commercial. The sequel to Ferris Bueller’s Day Off has been rumored for years, and will likely never happen. Which is probably for the best, as it could never be topped. Perhaps a 30- or 60-second Super Bowl ad – for what, we have no idea, but a teaser for the spot appears below – is the perfect dose of Bueller in 2012. Check out a gray-haired Matthew reenacting a famous scene below: Matthew Broderick Ferris Bueller Ad Tease We don’t know what’s funnier, seeing Broderick as a middle-aged version of Ferris, or that we live in an age where Super Bowl commercials have their own trailers.
Okay, okay, we’ll watch The Client List . In a new video to promote the Lifetime original series – which centers on a broke Texas housewife who takes over a brothel – star/executive producer Jennifer Love Hewitt takes off a great deal of clothing and writhes all around, surrounded by half-naked men. Her business is your pleasure , the tagline reads. And – GULP! – the show is not kidding. Sit back now, fellas, press Play and prepare a cold shower immediately afterwards. You’re gonna need it: The Client List Promotional Single: OMG, JLH!
Salma Hayek looks stunning for 45 … or 35 or 25. But does this lace dress take it a bit too far? The Puss in Boots star made an appearance on Wednesday at the Prada 24 Hours Museum at Palais d’Iena in Paris for Couture Week, and raised more than a few eyebrows with this super low-cut item. Is the combination of Salma’s sheer lace and all the accessories glamorous or garish? Is the dress super va-va-voom or super forgettable? Vote below! Salma Hayek’s dress is :
Baylie Brown enjoyed a triumphant return to American Idol last night. Five years after her initial appearance on the show – during which she advanced to Hollywood, was paired with uncooperative teammates ere and then forgot the lyrics on stage – this 21-year old Texan showed off a new hair color and a great voice yesterday as one of the 54 Golden Ticket recipients (along with Kristine Osorio and Ramiro Garcia ) to make it out of The Lone Star State. Watch her first try out below, lament how much we miss Simon Cowell by watching him once again in action, and then compare it to her version of “Bed of Roses” from this week’s audition. Baylie Brown Season 6 Audition for American Idol Baylie Brown Season 11 Audition for American Idol
Cee Lo Green, Chiddy Bang and many others also featured at weekend’s Austin City Limits Festival. By Gil Kaufman Kanye West performs at ACL on Friday Photo: Flanigan/ Getty Images AUSTIN, Texas — It was a weekend of epic beginnings and endings at the 10th annual Austin City Limits Festival, among them: Kanye West shut the lid on the operatic My Beautiful Dark Twisted Fantasy tour (http://www.mtv.com/news/articles//kanye-west-essence-festival-performance.jhtml), Coldplay played one of the final American festival dates in the run-up to the release next month of Mylo Xyloto and perhaps most importantly for locals, Texans danced in ecstasy as the worst drought in Lone Star history got a brief reprieve thanks to some intermittent showers. Yes, there were three days of amazing music, ranging from folk to house, blues, rock, soul and hip-hop, but along with crowd-pleasing headline sets from such legends as Stevie Wonder and rockers My Morning Jacket and festival-closers Arcade Fire , what a lot of people will remember is the blessed rain. Friday The weekend got kicked off in style on Friday with electro rapper Theophilus London , who charmed the early afternoon crowd with the rolling pop of “Why Even Try,” the hard-spitting “Last Name London” and a brand-new trunk-rattler, “Big Spender.” Most fans show up to a festival like ACL looking to rock, but fey British ambient/dubstep king James Blake made them take a chill pill, sitting at his electric piano and keyboards and crooning wordless sounds amid droney synth washes and minimal, machine beats. Just after parched, wildfire-licked Austin got its first taste of rain in as long as anyone can remember, the Smith Westerns played some mellow humidity rock, with just enough energy to make you sway and bounce so a trickle of perspiration drips down your back during tunes like “End of the Night.” Outkast’s Big Boi had no such problem, fronting a 10-piece ATL soul rap revue that got asses shaking to “Rosa Parks,” a Parliament-Funkadelic-thick “Ms. Jackson,” and the triple-time sprints of “Ghetto Musick” and “B.O.B.” A short time later, dynamic duo Nas and Damian Marley wound up their main-stage set with a dancehall-spiced take on papa Bob’s iconic “Could You Be Loved,” which spread some loving vibes as the sun finally began to set. And with a psychedelic, pulsing cityscape backdrop, DJ Pretty Lights dropped some gut-shaking deep bass samples, mixing in stoned reggae beats and looped blues wailing for a soul-soothing set of head-bobbing “dance” music you didn’t have to sweat to. Kanye didn’t disappoint either, holding down the stage during all three parts of his relationship power-play ballet. He commanded the dramatically lit stage for 90 minutes, tearing through a roster of hits including “Runaway,” “Power,” “Jesus Walks,” “Monster,” Flashing Lights” and “Good Life,” occasionally joined by a troupe of ballet dancers, but mostly stalking the boards alone. Saturday Day two dawned hazy and new wave with New York band Twin Shadow’s guitar-heavy New Romantic psychedelia. VMA performers Young the Giant got an extra dose of energy from above when the skies opened up for a brief, torrential sun storm, making the most of it by pumping out their radio-friendly, impassioned rockers “Guns Out” and “Cough Syrup” to the soaked audience’s delight. Los Angeles’ Fitz and the Tantrums kept the sweaty audience raindancing during such Motown-esque jams as “Rich Girls” and “Don’t Gotta Work It Out,” and the gut-quaking bass of wildly popular DJ Skrillex sounded like thunder across the way, as he shouted along to the party-pumping refrain of his signature tune, “My Name Is Skrillex,” while mixing in bits of Robyn and Rob Base and DJ E-Z Rock. Cee Lo Green, known for his outrageous stage costumes, kept it tame, dressing down in a black Adidas track suit with red piping while his all-female band modeled skintight red jumpsuits and minidresses. He didn’t dial down the funk, though, blasting through “Bright Lights, Big City” and “Freak” as the setting sun blazed away on the main stage. He also did some gender reassignment with the Pussycat Dolls’ signature hit “Don’t Cha,” dedicated “Satisfied” to the victims of the recent Texas wildfires and played a slow, beat- and turntable-heavy version of the Gnarls Barkley hit “Crazy.” Elastic talkbox freak funkers Chromeo dedicated “I Am Somebody” to their recently passed collaborator, DJ Mehdi . And with a large portion of the sold-out crowd down at the other end for a rare festival set from soul icon Wonder, My Morning Jacket cranked their energy up a notch, blasting off with the slowly building “Victory Dance,” then segueing into the fierce reggae rock jam “Off the Record” and the majestic interstellar overdrive anthem “Gideon.” As usual, lead singer Jim James was in fine falsetto wailing voice, working the whole stage as he shook his mound of neon-lit curly hair. The fierce Southern gospel rock set included such favorites as “Wordless Chorus” and ended with a three-song mini-set featuring former tourmates New Orleans’ Preservation Hall Jazz Band. One of the givens at ACL is that you will get a chance to see a legend (or two), and this year’s Hall of Famer was Wonder, who soothed an exhausted crowd’s mind with a velvety lounge take on “Ribbon in the Sky” and a slow-dance grand piano stroll through “Overjoyed.” Then he picked it up like nobody can, pivoting into the sing-along “Signed, Sealed, Delivered I’m Yours” and the rubbery disco groove of “Sir Duke,” his keening vocals seemingly unchanged after half a century. They boogied hard to “Do I Do” and “My Cherie Amour” and lost their minds when he busted out the harmonica during “For Once in My Life.” Sunday Graffiti6 had the unenviable task of opening the final day, trying to draw a crowd with their Maroon 5-meets-Crosby, Stills and Nash blue-eyed acoustic pop soul, while downtown punkers-turned-rancheros Mariachi El Bronx cooked up some authentic really down South jams on tunes like “Cellmates.” But with their embroidered black suits, they won the race for the weekend’s most weather-unfriendly stage wear. Festival vets the Airborne Toxic Event pumped out muscular arena rock, including fiddle-assisted covers of Bruce Springsteen’s “I’m On Fire” and the Bobby Fuller Four’s “I Fought the Law.” Philly’s Chiddy Bang proved their freestyle skills once again, as rapper Chidera “Chiddy” Anamege took requests from the audience and strung together verses about Texas, “Saved by the Bell” and, shockingly, weed. Canadian collective Broken Social Scene just had to play their syncopated rocker “Texico Bitches,” but the weekend’s most intense visual spectacle was courtesy of Australia’s Empire of the Sun. Lead singer Luke Temple emerged in a blue glittery tunic and towering feathered headdress, along with four dancers in pink catsuits and frilled masks accented by oversize light-up cardboard guitars. Pounding new-wave dance rock tunes like “Standing on the Shore” amid multiple increasingly outrageous costume changes, the set felt like the sexy psychedelic space musical Duran Duran never mounted. Like a lot of bands, Canada’s Arcade Fire said Austin is their second home, and they were welcomed to the festival’s closing spot like favorite sons and daughters by a massive crowd that seemed to spread to the horizon. Their cinematic tour through the stations of teenage rebellion — complete with movie theater marquee showing black-and-white flicks — included stops at such ravers as “Ready to Start,” “No Cars Go,” the widescreen shout-along rouser “Wake Up!” and the live rarity, “Speaking in Tongues.” They were not going to send them home gently into that good night, though, instead charging through “Neighborhood #3 (Power Out)” as a goodbye memento worth keeping more than that wicked farmer’s tan and nasty heat headache. Beginnings, endings and one hell of a middle, ACL had plenty of all three. Related Artists Kanye West Arcade Fire
Ballad ‘Up in Flames’ is the final song the band recorded for their upcoming album Mylo Xyloto. By Gil Kaufman Chris Martin Photo: Joe Fox/ WireImage AUSTIN, Texas — For any English band, playing this Texas hipster mecca’s long-running PBS music show “Austin City Limits” is a big checkmark on the rock-and-roll bucket list. Coldplay got their second hash mark on Thursday night, taping a 90-minute special edition of the 37-year-old show just 24 hours before they take the stage for a much bigger crowd just around the corner at Zilker Park as part of the three-day Austin City Limits festival. Like plugging in at New York’s Radio City or Nashville’s Grand Ole Opry, it’s the kind of honor that most bands would kill for just once. Only this time, unlike their 2005 appearance, there was also some “Masterpiece Theater”-style acting involved, as they were taping a show intended to air on New Year’s Eve. That time-travel twist required a bit of cold-weather thinking in the midst of one of the hottest summers in Lone Star State history. As they’ve done all year at other festival appearances, the band mixed such crowd favorites as “The Scientist” with half a dozen new songs, including one singer Chris Martin said they just finished last month. (And, as they’ve been doing on this tour, this was all after they walked out to the theme from “Back to the Future”; see above time-travel reference.) Martin started the night at the piano for the album’s gentle coda, which segued right into the driving, triumphant “Hurts Like Heaven,” during which the room filled with candy-colored laser blasts from a pair of neon target set pieces at the back of the stage. The new downtown 2,700-capacity “Limits” studio was decked out like a neon blacklight wonderland, with audience members handed paint-splashed T-shirts as they walked in, which were to be kept under wraps until a big reveal later in the show. The band’s gear was also colorized, with brightly hued chalk-like scribblings covering their amps, piano and drums. It’s hard to describe the rush of watching a band that plays to tens of thousands on stages so tall you have to crane your neck to see them from the front row as they plug in and play just a few feet off the ground, easily within arm’s reach. And if you thought “Yellow” sounded huge in a field with 30,000 of your closest friends, imagine what it’s like when you can count the veins popping on Martin’s forehead. For the new, ripping, U2-esque “Major Minor,” I took a trip up to the control room and watched as the show’s director called out rapid-fire cues while watching a bank of 28 monitors. You can’t get a better feel for the band’s subtle, easy dynamic than watching isolated hi-def close-ups of all four members loping their way through “Lost!” and observing the unspoken internal rhythm that makes their shows so seamless. Drummer Will Champion cranked it up for “God Put a Smile Upon Your Face,” whip-cracking his kit with abandon as if for a moment he thought he was in the Foo Fighters. Ever polite, Martin apologized for being so sweaty — joking that his profuse perspiration is the very thing keeping his band off “The Bachelor” — before he unwrapped the world debut of the final song they finished for their upcoming album Mylo Xyloto . He said the gentle ballad “Up in Flames” — which features a memorable falsetto chorus and hypnotic tick-tock rhythm — was completed just five weeks earlier, just in the nick of time to make the cut. That tune moved into another new mellow one, the acoustic “Us Against the World,” which Martin started over again after dropping a barrage of not-safe-for-PBS f-bombs following a guitar mishap. The second time he got it right, as Champion joined him in perfect harmony on the line “slow it down,” with guitarist Jonny Buckland adding in some tasteful, sustained-note Morse code soloing. It wasn’t quiet for long, though, as “Politik” exploded with driving drums and piano. By the time Martin tinkled out the first notes of “Viva La Vida” on the piano, the audience was already whoa-oh-oooh-ing along. As it cranked up, they were on their feet, ecstatically clapping and singing along as the song built to its familiar crescendo. When the whoa-ooohs really kicked in, Martin jumped up on the drum riser and bounced on his toes, his arms held up like a triumphant prizefighter. With the crowd decked out in their paint-splashed T-shirts, Martin counted down to midnight, pretending it was cold outside, even though everyone in the chilly studio knew 85-degree nighttime swelter shortly awaited them. Confetti canons shot out paper butterflies and three screens covered the Day-Glo toys that descended for the new tune “Charlie Brown,” whose final line, fittingly, is about glowing in the dark. The set crashed to a close with another fresh track, the dark, funky “Paradise,” which seems ripe for a beat-heavy remix (perhaps with a hip-hop break from pal Jay-Z?). The encore rolled out the driving 1-2-3 punch of the swelling “Clocks,” slow-burn epic “Fix You” and recent uplifting single “Every Teardrop Is a Waterfall,” which had Martin pogoing along with, and for a brief moment in the middle of, the ecstatic audience. It was one of those special nights when a band with a major arsenal finds a way to take its giant energy and squeeze it down into a much smaller space, without losing any of their arena-packing magic. Related Artists Coldplay
