T.I.'s Las Vegas Pool Party Altercation Footage Released

T.I. confronts security guards at a Las Vegas pool party.

Hours before his reported fight with Floyd Mayweather, T.I. was involved in a separate altercation at a pool party, according to TMZ. 

The rapper appears in a brief confrontation with another man, presumed to be a security guard, in a clip published by the publication. T.I. is shown being restrained by the guard and another gentleman. 

According to TMZ, "T.I.'s temper was already revved up just hours before he got into a violent brawl with Floyd Mayweather on the Vegas Strip when security at a crowded pool party denied his ass and it's all caught on video." 

The publication reports that security guards didn't recognize him. Once they realized he was T.I., they reportedly allowed him to enter the pool party. 

Las Vegas Police Department was also on hand at the time of the confrontation. 

Nicki Minaj performed at Liquid, the pool party at Aria, last weekend

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How to identify a suicide bomber

Suicide bombing is an act whereby an individual personally delivers explosives and detonates them with the sole aim of inflicting the greatest possible damage, killing himself in the process in order to serve the interests of the sponsoring individuals or organisations.

Records have revealed that suicide bombers are capable of carrying out very wicked, audacious and highly destructive acts that are shocking on the account of their specific intention to destroy critical infrastructure and kill mostly unsuspecting civilians or injure anyone within the range of the explosion. But if I may ask, what kind of a person would sacrifice his life in order to kill innocent people and what would possibly motivate that person to take the offer of becoming a suicide bomber?

In the wake of several tragic incidents, the government, civil society as well as security agencies have always found it difficult to objectively analyse the causes and processes through which suicide bombings are carried out since there is no single theory as to what brings about such wicked act. Although many people have cited negative indoctrination, radicalisation and religion as prime motivators but the act involved a wide variety of motivation including politics, quest for revenge, humiliation as well as altruism.

The willingness of the perpetrator to kill himself shows a very high symbolic value and dedication to whatever may be his cause. However, the truth is that suicide bombing has become a most accessible weapon of choice available to the terrorist groups because of its cost-effectiveness, lethality, ability to cause confusion as well as the tremendous amount of publicity and fear it generates as clearly witnessed in the series of bomb attacks across the nation. For example, immediately after the last blast, the usual crowd witnessed at motor parks, night clubs and other social event centres, in no time, disappeared because of the wide speculations through the media that there was likely to be another bomb attack in those areas. This is a classical example of the effect of fears associated with terrorism.

Characteristics of a potential suicide bomber

There is no specific profile for anyone who engages himself in suicide bombing. A suicide bomber can come from nearly every cultural background, religion, race, creed or gender. However, the following are common characteristics of a potential suicide bomber.

Through his behaviour

• He behaves in a way similar to someone with no future.

• His mental state could present clues – his eyes are secretive, he makes obvious attempt to avoid eye contact with the people he perceived to be his enemies and always looking at every possible exit.

• Mumbling prayers – may be fervently praying to himself, showing the impression of whispering to someone else.

• He shows no response to any authoritative voice, command or instruction.

Through his appearance

• He wears clothes that are unsuitable for the present-day weather. For instance, wearing of sweater or rain-coat during hot weather.

• He wears slack or puffy clothes. This gives the impression that his body is excessively larger than his head or feet.

• Sweating – resulting from tension and stress or wearing of unsuitable clothes. For instance, wearing a heavy coat during high weather temperature.

• He appears to be focused and more vigilant on his target.

• He will usually have his hands placed in the pocket, around the button of the detonator and ready to set off the bomb at the slightest opportunity.

• He carries big bags or backpacks tightly with wires piercing out of the bag.

• He may most likely have a clean shave or low hair-cut especially when he is ready to carry out the task. This may be done to disguise his real appearance.

• He displays signs of drug use. For instance, his pupils become enlarged with fixed staring.

• His breathings are heavy and rapid.

• Mostly male who falls between the age range of 16 to 30 years of age.

• He looks aggressive, restless, irritable and nervous.

Through his movement

• He walks awkwardly or clumsily in an unusual and odd manner. This is usually due to the unsuitable attire he is wearing and sometimes due to the weight of the explosive devices tied around his body.

• He tries to be evasive in movement. This unusual gait is adopted to evade security agents and some other persons who may foil his plans.

• Often times, he may not know the route to his target destination very well, hence he may occasionally ask for directions. One of the suicide bombers that struck at a church in Kaduna in late 2013 had to ask commercial motorcyclists for direction to the church he eventually struck.

Through his kind of person/other features

• He tries to blend into a group which he clearly does not belong to. For instance, he tries to attend Church worship services even as a non-Christian with clear intention to carry out surveillance and identify vulnerable areas before attack.

• He demonstrates forceful actions in order to reach his desired target by pushing the crowd so as to find his way into a restricted area or showing desperations to reach a crowded point or particular target.

• He will usually have an unusual herbal smell. This is as a result of incense used in the final rituals performed on him as he takes off for the suicide mission.

CSP FRANK MBA,Force PRO

• Culled from Frank Mba’s blog

Floyd Mayweather To T.I.: "These Hoes Ain't Loyal"

Floyd Mayweather reveals that he told T.I. that "these hoes ain't loyal."  Floyd Mayweather revealed what he recently told T.I. in a video that has been released by TMZ.   "That's what I told T.I.," Mayweather says in the clip. "These hoes ain't loyal."  The boxer was saying this as Chris Brown's "Loyal" played in the background of Larry Flynt's Hustler nightclub in Las Vegas, Nevada.  Mayweather was reportedly partying with several people that evening, including 2 Chainz, Flo Rida and Benzino. He allegedly spent $30,000 on strippers.    T.I. reportedly confronted Mayweather this weekend and the two were allegedly involved in a scuffle. T.I. later said he did not obtain any injuries on his face as a result of the brawl, but acknowledged that he injured his hand.

  Floyd Mayweather Jr. -- I Told T.I. ... 'These Hos Ain't Loyal'
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DBANJ LINKS UP WITH NEWCASTLE COACH ALAN PARDEW IN MONACO; LIVING THE GOOD YACHTLIFE!

Dbanj and Alan Pardew

Money good o! Dbanj said is perfectly when he said on instagram “When you’re big, you’re BIG, ehen you are large you in charge.” It’s not easy jare.

Dbanj was enjoying a the lavish lifestyle in Monaco (where all the biggest celebrities go to vacation), chilling on a yacht, and linking up with notable names, UK star Labrinth and Newcastle FC coach, Alan Pardew.

Even though his music career is not as high as it once was, his big boy status is still at am all time high! Eja Nla! Enjoy jare.

Check out pictures.

With UK star Labrinth

T

#CherryJuice: Lil' Wayne THREATENS Justin Bieber's Manager!!!! (VID)

  Lil Wayne -- Calls Out Bieber's Manager -- Stop Talkin' S*** About Lil' Twist!
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Robert De Niro: Me & My Gay Dad

The legendary actor shares the story of his father, an artist who struggled for recognition as the city changed around him

Photography by Platon

Many of us think we know Robert De Niro. We know him as Travis Bickle or Vito Corleone or any number of other gangsters or bad guys. His ability to combine corrupted virtue with deep sorrow and wit — along with a fearsome sensuality — has made him a film hero with a tough exterior. Perhaps that’s why it’s so shocking to see him shake and sob as he talks about his late father, who lived openly as a gay man.

It’s been more than 20 years since Robert De Niro Sr.’s death from cancer, but his memory is fresh for his son, who has preserved his father’s final home and studio in New York City’s SoHo. Filled with books, paintbrushes, and hundreds of canvases, some of which he never finished, it looks like pop stepped away for a coffee and should be back to finish another still life before dinner. The loft remains a quiet shrine to an artist that few recognize, perhaps mistaking his figurative paintings for a late Matisse or another French master. “It was the only way to keep his being, his existence alive,” De Niro explains. “To me, he was always a great artist.”

Now 70, the actor has decided to reveal this hidden sanctum and his own struggle with his late father’s memory in a new documentary that premieres June 9 on HBO. In Remembering the Artist: Robert De Niro, Sr., the son tears up as he reads from his father’s diaries. He shares intimate stories of his father’s despair about his sexual orientation and his stagnant artistic reputation. At one point, as De Niro was ascending to Hollywood’s top tier, he made a last-ditch effort to rescue his father, who was sick in Paris, where he’d been living as a starving artist. It’s clear that De Niro regrets that he wasn’t able to help him more before he died, and the film becomes a moving portrait of a son who wants to resurrect his father’s legacy before it’s too late. Out was given a rare glimpse into the legendary actor’s personal life, spending a day in his father’s studio. De Niro revealed a fragile, tender side as he explained why he hopes his dad’s work will live on.

After seeing the studio in the documentary, I wondered what this space meant to you. Do many people visit?
I’ve brought people here over the years. I’ve had a reception or two here. When I thought I was going to have to let it go, three or four years ago, I videotaped it and had photos taken and documented everything. But then I said, “I just can’t do it.”

It’s a different experience when you’re here than when you see it in photos. I did it for the grandkids and my young kids, who didn’t know their grandfather.

It amazes me that SoHo has these hidden spaces that, no matter what, never seem to change.
Exactly. And I like things that don’t change. I like consistency. Constancy. People look forward to tradition, they come back, it’s still there, nothing’s changed. Like when you go to a certain restaurant and you go back, and all of sudden it’s changed because they hired a new chef. If it’s not broke, don’t fix it. This space is here, and in 20 years, people won’t know what a real space like this will be unless it was in a museum and they recreated it.

After your father’s death, did you lock the door and not come back? Or did you take a while before you decided what to do with it?
I didn’t think of just selling it and dismantling it. Luckily, I could afford to keep it going, so I left it as is. My mother was alive then. I don’t remember what we discussed. I documented and went through everything to make sure we catalogued it, and then I said, “I’m keeping it like this.”

His older studios, like, a block away, maybe 60 years ago, were not like this. Then it was Siberia — for real — on West Broadway or LaGuardia Place. My mother had this place first and then she gave it to my father; they were friends. She came down here a long time ago. She had a place in the Meatpacking District, like, 50 years ago.

When did you begin to read his diaries?
I haven’t even read all the diaries — I started. I read the ones for the film, but I haven’t read all the other material. I will, of course.

One of the things that was very moving for me in the film was the fact that you’re named after your father. How do you feel about that — sharing a name — and when you become more famous than the person you’re named after?
[De Niro begins to cry, takes off his glasses, and pauses to collect himself.]
I get emotional. I don’t know why.

When you were younger, it sounded like you had problems connecting with each other.
We were not the type of father and son who played baseball together, as you can surmise. But we had a connection. I wasn’t with him a lot, because my mother and he were separated and divorced. As I say in the documentary, I looked after him in certain ways.

In what ways?
I think of my own kids. I try to communicate with them, but it’s hard. I joke about it with them. They have their issues as teenagers. I give them their space, but when I have to step in and be firm about something, I am. But my father wasn’t a bad father, or absent. He was absent in some ways. He was very loving. He adored me... as I do my kids.

The legendary actor shares the story of his father, an artist who struggled for recognition as the city changed around him

Pictured: Robert De Niro in repose on a divan in his father's SoHo studio. | Photography by Platon

I think people may be curious because, in a way, you are coming out for your father. He may not have been hiding his lifestyle or who he was, but it’s not something that is common knowledge.
I felt I had to. I felt obligated. It was my responsibility to make a documentary about him. I was always planning on doing it, but never did. Then Jane Rosenthal, my partner at Tribeca [Enterprises], said, “We should start doing that now.” It was not intended to be on HBO. It was just something I wanted to do.

I had footage from a guy who used to follow my father around in the ’70s. We started with that. I bought it from him and gave the footage to Thelma Schoonmaker, who was Marty Scorsese’s editor. I asked her what she could do with it, and she assembled it and put it together — it was falling apart. Then we started the documentary, really working, using pieces that would make sense. My original idea was to do it for the kids, about my father — whatever it would be. I didn’t know how long it would be. The thing with HBO is, I felt they would be objective about certain things. I said, “Let’s see what we come up with.”

Is there a piece of your father’s that’s your favorite?
Oh, I have a lot. I have Venice by Night at my house. I love the ones at Locanda Verde, at the grill upstairs on the second floor. There are a lot of black-and-whites that are terrific. I like the delicacy of them, the refinement. They have a certain kind of clarity. They’re really great.

What did it mean to have two parents who were artists? You started acting, and all these creative paths mean a lot of rejection, being told “No.”
When I was young, I wasn’t afraid of being told “No.” I tell my kids, I tell everyone, “If you don’t go, you never know.” I didn’t take it as rejection. Certain things are stacked against you. You’re coming out of nowhere, starting out — that’s part of the excitement of it in a way, too.

If I may return to some of the things you read from the diaries in the documentary, your father said he felt like being an artist was an “affliction,” and he thought being gay was a sort of affliction. Do you think he was conflicted about his life’s passion?
About his homosexuality? Yeah, he probably was, being from that generation, especially from a small town upstate. I was not aware, much, of it. I wish we had spoken about it much more. My mother didn’t want to talk about things in general, and you’re not interested when you’re a certain age. Again, for my kids, I want them to stop and take a moment and realize that you sometimes have to do things now instead of later, because later may be 20 years from now — and that’s too late.

It seems that you are trying to recuperate your father’s legacy, to maybe make his name last longer than yours.
Well, you never know. His art could last longer than my films. Although the digital stuff, it’ll always be there. Great art should last forever.

Some of your contemporaries, like Al Pacino, have made films with queer themes. I wonder if your father’s sexual orientation may have influenced your choices. Were there projects you didn’t want to do because of your dad?
No, I didn’t... those were just the things I did or wanted to do. I won’t speak for Al. He did it because it was a good part at the time. It didn’t happen for me.

It wasn’t because you were shying away from certain roles?
No, they weren’t offered to me. If they had been offered to me by a good director, that’s something I would have considered.

Your daughter Drena is in the film, and she actually sat for your father.
Yes, he did some nice pieces of her. Raphael, my son, was too impatient to sit still. I was, too. But he had some nice things of her. That was between them. He would ask her to do it. I wish I would have pushed to have him do portraits of all of us.

In the movie, you reveal the fact that your father often felt superior. That sort of ego is something a creative person sometimes needs to survive. Do you think it’s rubbed off on you?
In some ways, but I like to be around people. He spent a lot of time alone, or with a still life or a model. That was his thing. What I remember him saying was, “People, what they appreciate in art, that’s their taste. It’s as valid as anything else.” On the other hand, he had very high standards. When a certain artist came along — an obvious one was Warhol — to his standards, he totally didn’t get that. This is a whole other thing. There are people who don’t know a bunch about art, but they buy it as an asset that will gain value, like a diamond. They don’t necessarily know what good art is. They don’t care.

Since you’re sharing his work in this way, do you also have plans to share his diaries?
I’m not sure. I’m going to go over them and talk to everybody about what they think. I have no problem with that. That’s part of his legacy, too — what he was, what he felt.

Even though you said this information is already out there, it’s a brave thing to share it. Was there anybody who said, “Don’t do it”?
No, no. I think it’s time. I thought about it, of course, but if you’re going to do something, you have to do it all the way. You can’t hide anything. That’s the whole point — the truth. That’s what people are attracted to. I should have done this 10 years earlier, but I’m glad I did it now.

Remembering the Artist: Robert De Niro, Sr. premieres June 9 on HBO. Watch the trailer below:

View photLOS ANGELES (AP) — "X-Men: Days of Future Past" is projected to be the fifth bes

The seventh installment in the "X-Men" franchise earned $111 million, according to studio estimates on Monday. Fox updated its holiday weekend projection, taking it up slightly from $91 million to $91.4 million.

2006's "X-Men: The Last Stand" is still the highest domestic opener of the series, gaining $123 million when it debuted over the Memorial holiday. "Days of Future Past," starring a solid cast including Hugh Jackman, Jennifer Lawrence, Halle Berry, Michael Fassbender, James McAvoy, Patrick Stewart, Ian McKellen, Peter Dinklage and Ellen Page, is now the second highest "X-Men" debut.

"We were hoping to get a $100 million in four days and we hoped to broaden the movie out to a more general audience, which has come to fruition from a gender standpoint, age standpoint and race standpoint," said Spencer Klein, senior vice president general sales manager for Fox.

The diverse domestic "X-Men" audience was 56 percent male and 44 percent female. Racially, 53 percent of the audience was white, 20 percent African-American, 14 percent Asian and 13 percent Hispanic.

The attention "Days of Future Past" director Bryan Singer received due a sexual assault lawsuit didn't keep fans away from theaters this weekend.

"We didn't really anticipate that it would," said Chris Aronson, president of domestic distribution for Fox. "It really shouldn't have an impact on audiences and seeing this movie. The audience reactions on a global basis are extraordinarily high, the best of any of our 'X-Men' films."

Globally, "Days of Future Past" earned $282 million with $171 million of that total gained from the international sales in 119 countries, all of which had the "X-Men" film ranked No. 1.

The projected worldwide box office cume of "Days of Future Past" through Monday is an astounding $302 million.

Warner Bros. sci-fi monster smash "Godzilla" dropped to No. 2, but landed solidly with $39.4 million from Thursday to Monday.

The Adam Sandler and Drew Barrymore-led comedy "Blended" held the third place spot with an $18.2 million debut. It's not a great start for the duo whose previous team-ups included "The Wedding Singer" and "50 First Dates." Both films grossed over $80 million domestically.

"Neighbors" and "The Amazing Spider-Man 2" rounded out the top five earning $17.2 million and $10 million, respectively.

The four-day Memorial weekend is estimated to generate nearly $230 million, which is down approximately 27 percent from last year's holiday weekend gross of $314.2 million.

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Estimated ticket sales for Friday through Tuesday at U.S. and Canadian theaters, according to Rentrak. Where available, latest international numbers are also included. Final domestic figures will be released on Tuesday.

1."X-Men: Days of Future Past," $111 million ($171 million international).

2."Godzilla," $39.4 million.

3."Blended," $18.2 million.

4."Neighbors," $17.2 million.

5."The Amazing Spider-Man 2," $10 million.

6."Million Dollar Arm," $9 million.

7."The Other Woman," $5 million.

8."Rio 2," $3.3 million.

9."Chef," $3 million.

10."Heaven Is for Real," $2.8 million.

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Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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