Man surrenders to police after kidnapping, burying prophetess alive

Asaba—A 27-year-old man, who allegedly took part in the kidnap of a prophetess after which the woman was buried alive in his compound, has surrendered to the police eight months after the dastardly act. The suspect complained that the spirit of the prophetess was tormenting him.

Delta State Police Command’s spokesman, Mr. Charles Muka, who confirmed the development, told our reporter in Asaba, yesterday: “It was a case of kidnap and murder of a woman fully dressed in a white garment church attire, which was committed on  December 30, 2011 but the suspect surrendered self to police.”

Muka said that following the confession of the suspect, another suspect was arrested while efforts were on to exhume the body of the woman.

He said: “An unidentified woman said to be from Uzere and dressed in white garment church attire was kidnapped at Ughelli and taken to the house of one Emma,   male, 27 years old, who is the first suspect, from Owahawa, Ughelli South Local Government Area.

“The suspect surrendered himself to the police because his soul was troubled and confessed burying the victim alive in his compound when she became weak. His confession led to the arrest of another suspect. Detectives have also identified the spot where she was buried alive and the corpse would be exhumed when relations of victim are identified. We hereby call on members of the public, whose missing person depicts the description, to report to police area command Warri, while we are making effort to arrest others involved in the crime.”

Closing Ceremony of the London Olympics: Review

With a lineup that featured The Who, Annie Lennox, The Spice Girls, Madness, The Pet Shop Boys, George Michael, Liam Gallagher and Fatboy Slim, the London Olympics signoff ceremony was a Brit-pop orgy.

The show might have wrapped with The Who performing “My Generation,” but the celebration of British popular music that capped off the London Olympics had something for every generation of the past half-century or more. Sure to be regarded as a wonderfully chaotic treasure trove by some and a hot mess by others with a taste for more regimented spectacle, it was an exuberant after-party to 16 days of international athletic competition. Most of all, it echoed the fun, freewheeling spirit and quirky humor established by director Danny Boyle in his divisive opening ceremony.
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Artistic director of the three-hour closing show was former ballet dancer Kim Gavin, who larded the event with dance-troupe interludes – some more inventive and seamlessly interwoven than others. (Does anyone still need to see the Stomp ensemble punishing trash-can lids at this point?) But the driving force in a show titled A Symphony of British Music naturally was the music itself. And while purists will no doubt cry sacrilege about a game Russell Brand covering The Beatles, this all-star mix of live and pre-recorded music was a major crowdpleaser.
The show opened on a gorgeous set, with replicas of London’s famous monuments dotting the Olympic Stadium arena across artist Damien Hirst’s stylized representation of the Union Jack – all of it wrapped in newspaper covered with quotes from Britain’s great works of literature. A Day in the Life of London then unfolded, from morning rush hour through nightfall. A choral performance of The Beatles’ “Because” segued into Elgar’s “Salut d’Amour” led by cellist Julian Lloyd Webber, which gave way to actor Timothy Spall as Winston Churchill, busting through the top of Big Ben to recite the same passage from Shakespeare’s The Tempest that was the defining motif of Boyle’s opener. 
Many typically playful touches registered as just the briefest of throwaways, notably the performers wielding jackhammers to kick off the British national anthem. (Prince Harry and Kate Middleton were an appropriately youthful choice for royal duty at the ceremony.)
PHOTOS: Inside the Olympics Opening Ceremonies
Many non-Brits might have been scratching their heads over a mixed-reference nod to the classic 1969 caper comedy The Italian Job and to nationally beloved sitcom Only Fools and Horses, in which a low-rent Batman & Robin tumbled out of a yellow Robin Reliant (one of an endless series of iconic Brit autos featured in the show). This occurred as Madness got the party started with “Our House.” Then came The Massed Bands of the Household Division in their tall bearskin hats performing Blur’s “Parklife.” The Pet Shop Boys followed singing “West End Girls,” looking like wacky wizards on sculptural orange rickshaws. As a concession to the younger demographic, boy-band sensation One Direction performed “What Makes You Beautiful” while The Beatles’ “A Day in the Life” led into The Kinks frontman Ray Davies doing “Waterloo Sunset.” As a tribute to the Olympics host city, this section was a joy.
With gymnastics-dance troupe Spellbound and other performers bouncing all over the arena like a Cirque du Soleil training camp, plus color-coded partiers bopping along, there was invariably too much on which to focus. But overkill at these types of ceremonies is not necessarily a bad thing.
One of the loveliest touches early on was the emotionally charged film accompanying Emeli Sandé’s performance of her hit “Read All About It,” which celebrated not the triumphant medalists of the Games, but the stinging disappointments of many celebrated athletes who had come to London chasing gold and had been unlucky. This was an unexpected stroke, but perfectly in keeping with the Olympics’ participatory spirit.
PHOTOS: Famous Faces at the Olympics
Continuing the tradition of recent Games, the athletes entered the arena not in strict national groups but en masse in random clusters, herded into formation in the Union Jack segments to function as a mosh pit throughout the show. This was above all their night, and watching them sing, dance and cheer along was a large part of the pleasure.
Some of the bigger names in British music were absentees, represented in tributes. A pyramid formed out of white boxes representing the 303 Olympic events, underscored by Kate Bush’s “Running Up That Hill,” was a bit of a miss. Likewise a cheesy salute to British style, with David Bowie’s “Fashion” accompanied by trucks bearing giant glamour billboards that were ripped open to disgorge supermodels including Kate Moss and Naomi Campbell. 
A couple of departed greats were given more winning representation. Particularly stirring use was made of a film of John Lennon singing “Imagine” direct to camera, backed by a children’s choir. And seeing Freddie Mercury work the crowd at Wembley Stadium in a 1986 clip was a terrific intro to the surviving members of Queen. It did, however, cast an unflattering light on the posturing self-seriousness of Muse frontman Mathew Bellamy, who preceded with the band’s Olympic anthem “Survival.”
Younger crowd bait Jessie J, Tinie Tempah and Taio Cruz were fine doing their solo hits, but not so much when they grouped together to cover The Bee Gees’ “You Should Be Dancing.” However, Jessie J was a sexy standin for Mercury on “We Will Rock You.” George Michael aced a galvanizing performance of “Freedom 90,” but stuck around too long on a less memorable second number, “White Light,” a recent single unlikely to go down among the pop star’s classics. The Kaiser Chiefs capably covered The Who’s “Pinball Wizard,” while Liam Gallagher and his post-Oasis band Beady Eye sang the evergreen “Wonderwall.”
Ed Sheeran was an accomplished vocalist on “Wish You Were Here,” a Pink Floyd homage that included original members from that band and Genesis, culminating with an aerial tightrope recreation of the iconic man-on-fire album cover.
Anyone required to follow that most supremely theatrical British pop iconoclast Annie Lennox has a tough assignment. The task was made more difficult here by her spectacular vamping aboard a ghost galleon to “Little Bird,” while neo-romantic Goths minuetted alongside the vessel.
At the opposite end of the spectrum but arguably no less sublime was The Spice Girls reunion, an irresistible rush of pop-culture kitsch in which the ladies whipped through “Wannabe” and “Spice Up Your Life,” the latter while being propelled around the arena on the roofs of multicolored London cabs. Victoria Beckham’s stiffness hinted that she’s not unhappy to have left those frivolous days behind her, but seeing the trashtastic quintet reassembled in all their girl-power glory was a blast.
The most whimsical combo was Electric Light Orchestra’s “Mr. Blue Sky” segueing into Eric Idle doing “Always Look on the Bright Side of Life.” Piling on the Python-esque absurdism, Idle mingled with roller-skating nuns, Roman centurions, Bhangra dancers, Morris Men, the London Welsh Rugby Club and opera star Susan Bullock as a warbling Valkyrie. And Fatboy Slim manned the turntable for a pulse-pounding medley of his hits from atop a giant octopus that contained 700 meters of LED lights. That was some inflatable pool toy.
Lighting effects were possibly even more brilliant than the opening ceremony, with the pixel show created by computer chip-operated glasses on the spectators yielding some truly dazzling displays across the stadium.
PHOTOS: European Stars of the London Olympic Games
In his concluding remarks, London Olympics committee chief Sebastian Coe said, “At our opening ceremony, we said these would be a Games for everyone. At our closing ceremony, we can say that these were a Games by everyone.” That sense of a proud group effort was amplified by the audience’s role in creating visual magic, but also by the dominating presence of both adult and child volunteers among the performers. Like the opening ceremony, this meant that the overall choreography was clearly tailored to a limited skill set. But it contributed to the infectious inclusiveness of the event.
Despite some sound glitches that muffled the vocals, the handover segment at the end, in which 2016 host city Rio de Janeiro took up the flame, gave a promising taste of what’s to come four years from now. Anchored by a broom-wielding Renato Sorriso, a former street-sweeper who has become a regular Carnival fixture, the eight-minute sequence married glammed-up street culture with mythological figures, Capoeira fighters and futuristic flourishes to conjure the bustle of the Copacabana promenade. And judging by the rapturous reception for soccer superstar Pelé, the crowd couldn’t have asked for a more beloved Brazilian ambassador.
Both the Rio preview and the rousing Brit-pop marathon that preceded it were a reminder that the Olympics are as much about spectacle as sport.

Mystery illness which causes woman to grow fingernails instead of hair

Movies :Five Reasons To See 'The Bourne Legacy' (Can Bourne Beat Batman? Experts Weigh In)

There was never just one. Sure, Aaron Cross is no Jason Bourne, but that doesn't mean he isn't one hell of a government operative nonetheless.
An expansion on author Robert Ludlum's world of secrets and spies, "The Bourne Legacy" is set concurrently with the events of the 2007 Matt Damon-starring "Bourne Ultimatum" and features Jeremy Renner as an Outcome agent who's overstayed his welcome on Earth — at least according to his employers — so he runs for his life with the beautiful Dr. Marta Shearing (Rachel Weisz) on his arm.
Written and directed by Tony Gilroy (who also wrote the screenplay for the first three "Bourne" films), the actioner packs a similar punch to the original trilogy: all of the dirty bureaucrats, gritty fight sequences and splashy car chases are here, yet it's clear the franchise is operating under a whole new regime.
Here are five reasons to see "The Bourne Legacy," now in theaters:
Bourne Again If 2007's "Bourne Ultimatum" left you with any burning questions, it's likely "Bourne Legacy" will provide at least a few answers. As mentioned above, the events of "Bourne Legacy" pick up in the middle of "Bourne Ultimatum," following through its conclusion and continuing to build and expand upon the threequel's world, while firmly standing on its own merits.
"It completely does its own thing," Weisz told MTV News of "Bourne Legacy." "It introduces new characters, but it lifts the curtain on the first three films. It sort of says, 'If you think you know who was in charge, you were wrong. This is who is really in charge.' [You see] the men behind the curtain pulling the puppet strings."
Jeremy Renner's A New Sort Of Agent Damon was always all business as Jason Bourne — and we liked it. But as Alex Cross, Renner brings the slightest touch of levity and warmth to his on-the-run agent, proving he's more man than machine. And you know what? We liked that too.
Steady Eddie If there was a chief gripe about "The Bourne Ultimatum," it had to be the film's close-cropped, often shaky fight sequences, which left at least a few moviegoers feeling queasy. Expect less of that herky-jerky style under Gilroy's direction.
"I really enjoyed the hand-to-hand [fight sequences], the stuff you cannot fake, the stuff that cameras can't do any trickery to make look better or worse," Renner recalled of the shoot. "So that's where I put a lot of time spent as well, into the hand-to-hand stuff."
Hollywood's Next Big Talent? The "Bourne" movies have something of a legacy of propelling their little-known assassins into box-office staples. As my colleague Brian Phares pointed out, both Clive Owen and Karl Urban took turns as sharp-shooters before hitting it big in future films. Will "Legacy" hit man Louis Ozawa Changchien break out in a similar fashion? Only time will tell, but wouldn't it be nice to say you knew him when?
Nostalgic Nuggets If you really find yourself missing the original "Bourne" trilogy, take solace in the visual and aural callbacks to the originals, which may just inspire a complete re-watch of Bourne's battle for his identity.

Last weekend, "The Dark Knight Rises" fended off competition from "Total Recall" to remain the #1 movie in America. But will "The Bourne Legacy," which sees Jeremy Renner taking over the action franchise, be the movie that finally topples Batman? All signs point to "yes," as box-office experts have bet on Bourne.
"Even without Matt Damon, 'Bourne Legacy' will definitely knock the Batman out of the box-office belfry and probably get close to $45 to $50 million," said Jeff Bock, a box-office analyst for Exhibitor Relations.
Changing leads in the middle of a franchise is often a risky move. So will the Bourne series, which is loosely based on the books by Robert Ludlum, have the success of the James Bond series, which has seen six actors wearing the tuxedo? Or is this move more akin to when Ice Cube took over "xXx" from Vin Diesel? "xXx" made more than $142 million at the domestic box office. The Diesel-less follow-up collected less than $27 million.
Hitfix.com editor Gregory Ellwood said it's probably somewhere in between. "While essentially a spin-off, Universal Studios has been using an image of Bourne himself, Matt Damon, in almost all the TV spots and trailers. That image appears in the movie, but the studio is using it to suggest to viewers Damon may actually appear in the film. It's a smart marketing strategy, but you can expect a lot of disgruntled moviegoers after they exit the theater."
While Batman will likely lose to Bourne, "The Dark Knight Rises" should still hold its own against "The Campaign." The R-rated comedy pairing Will Ferrell and Zack Galifianakis will have to settle for #3, according to Ellwood. " 'The Campaign' will have a solid opening, but it appears as though 'Rises' will still edge it out for #2."
Bock agreed, saying the political satire will likely settle for $22 million. That's better than most R-rated comedies this summer — we're looking at you, Adam Sandler — but a far cry from the $54 million pulled in by Seth MacFarlane's "Ted" when it debuted last month. "Ted" starred Ferrell's "The Other Guys" co-star, Mark Wahlberg.
"Political comedies, even starring these two comedy heavyweights, don't usually get elected to the top of the box office," said Bock. He predicted "The Campaign" should get to $65 million eventually; Ellwood put the number close to $90 million.
As for last weekend's big-budget hopeful? " 'Total Recall' will likely be erased from the minds of audiences with 'Bourne' and 'Campaign' hitting theaters," Bock said. "Expect a drop of 55 to 60 percent, putting it on target with summer's other misfire: 'Battleship.' "
Do you think "Dark Knight Rises" will be knocked out of #1 this weekend? Leave your comment below!

EXCLUSIVE PICTURES from THE STAGE July edition.

July edition featured loads of talented Nigerian talents. JOJO BODYBEAT, UCEE BLACK, HALOGEN, VEN VERSE, LAUGHING GAS (comedian), CUZ, ISAAC GERALD, ACCORD, SIDOT, A VIBE
(saxophonist),KAKA, MD FLOW, YEMI ALADE, PEESAY and host MC OHIS. This monthly platform
is open to music, comedy, dance, fashion, visual art, poetry and unique
talents. it holds at Koga lounge, Koga Entertainment, 2 Bolaji Street,
Oregun, Ikeja every last sunday.

OARHE Ohis Kelvin
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(BEEF)Kim Kardashian Disses Angelina Jolie: I’m More Famous Than You

Reality TV star Kim Kardashian reportedly told friends she’s more famous than Academy Award winning actress Angelina Jolie. Watch out Kim Kardashian, Angelina Jolie isn’t too happy with you!
The 31-year-old reality star was reportedly overheard boasting to friends that she’s more famous than the Oscar-winning actress. 
One of Angie’s team members pointed the story out to her, thinking she’d get a good laugh out of it, but she actually got annoyed,” an insider tells Star. “Angie works super hard to make an impact on the world with her charity work and everything else she does. 

The last thing she wants is to be compared to someone as shallow as Kim, who just shops and makes public appearances. She thinks Kim saying these things actually drags down her reputation.” Though Angelina tries her best to stay out of the Hollywood spotlight, she is furious that Kim would use her name simply to get media attention. “It’s ridiculous that Kim would think she’s more famous than Angie,” adds the insider. “Angie says they’re not even in the same league.” Who do you think is more famous, Kim or Angie?