Kendell Anderson, Philly Teen Murders Mother After She Takes Away His PlayStation
Thirty-seven-year-old Rashida Anderson had decided enough was enough.
After her son was accused of stealing a laptop from his school, they argued for over an hour on November 26, 2010, before she finally took away his Play Station, according to the NY Daily News.
Two days later, her partially charred body was discovered in an alley behind their South Philadelphia home.
According to his confession, 16-year-old Kendall Anderson paced the floors for three hours while his mother slept before deciding to murder her:
“I couldn’t stand the arguing,” the teen said in a statement read by Philadelphia police homicide Detective Thorsten Lucke during a preliminary hearing.
So he struck his mother with a claw hammer 20 times before attempting to “cremate” her in the oven.
When that failed, the 11th grader at Daniel Boone School in North Philadelphia repeatedly smashed her head with a chair leg before dragging her bloodied corpse in to the alley, where it remained undetected until family members became suspicious.
In December, Philadelphia Municipal Court Judge Karen Yvette Simmons ordered the youth to stand trial for murder, possession of an instrument of crime and abuse of corpse.
“If I could, I would not do it again,” he said in his confession. “I really miss my mom. … She was the only person who cared for me.”
Kendall is not the first child to ruthlessly murder his mother over a game.
In 2007, 17-year-old Daniel Petric shot both his parents, killing his mom, after they refused to let him play the violent video game Halo 3, leading some experts to suggest a rapidly growing phenomenon known as video game addiction as the true perpetrator of these crimes.
Symptoms, such as loss of appetite, depression, anxiety, lethargy and withdrawal, are all signs of this addiction, which is similar to the addiction with drugs and alcohol.
While the American Academy of Pediatrics suggests two-hour maximum screen time daily, most children are allowed far in excess of that number, oftentime sitting transfixed before a screen for eight hours or more.
And it’s not just the children who are unraveling due to technology overdose.
* In 2008, Tyrone Spellman of Philadelphia killed his 17-month-old daughter, after she broke his Xbox.
* In 2010, Alexandra Tobias of Jacksonville, Florida, plead guilty to second-degree murder, after shaking her baby to death for interrupting her while she played Farmville, a game popular with Facebook users.
* Also in 2010, Alejandro Morales stabbed 9-year-old Anthony Maldonado to death while playing a Tony Hawk video game.
The concept of video game addiction has continued to be controversial, with the American Medical Association recently withdrawing support from a proposal for it to be included in the next edition of the Diagnostic and Statistical Manual of Mental Disorders (DSM) in 2012.
We can speculate that Anderson was in the throes of this addiction when he murdered his mother, and that’s probably the politically correct direction this conversation should take.
However, there’s another equally plausible reason:
He’s just another spoiled juvenile delinquent who didn’t consider the long-reaching ramifications of his barbaric actions.
We’ve seen it before.
Child gets in to trouble, parent attempts to tighten the reins after years of allowing the child to run fancy free, child then responds to parent in disrespectful and previously accepted way.
Sadly, that disrespect sometimes turns fatal, and the horrific irony of a Mother giving birth to her death is impossible to escape.
I cannot begin to imagine the dynamics of a parent-child relationship that allowed this heinous crime to occur – or the depths of the mental instability present in the child – but I have no problem presuming that it was a perfect storm of unhealthful behavior that culminated with Rashida Anderson being bludgeoned to death by her own son and dumped in to an alley in South Philly.
As I look at this child’s mugshot, I am reminded that he could be my son, or your son, or our neighbor’s son. There is no them, there is only us, and we have to figure out where we’re going wrong.
Where was Kendall’s father? Why was Kendall being accused of theft? Were there issues inside the home? Were they struggling financially?
While there are too many unresolved questions to play this child’s judge and jury, I do know you can only get out of a child what is put in to them.
In this young man’s case, violence, selfishness and rage seemed to emboldened him to kill.
His actions were unconscionable, and inexcusable, and hopefully he receives the lesson in accountability he needs while behind bars. More than likely, though, two murders were committed on November 26th, 2010: Rashida Anderson’s and Kendall’s future.
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James Edward Dibble AM MBE was an Australian television presenter, best known as the presenter of the Australian Broadcasting Corporation‘s (ABC) Sydney news, reading the first news bulletin in 1956, and remaining with the ABC for 27 years up until his retirement in 1983 died from cancer he was , 87.
(4 February 1923 – 13 December 2010)
Dibble joined the ABC after the end of World War II. He started as a clerk in the accounts department. His voice soon attracted attention, and in Canberra he gained his first ABC job in radio doing voice-overs.
Dibble was best known as the senior newsreader for ABC-TV, beginning with the first televised news bulletin on ABN-2 Sydney on 5 November 1956. He reported the biggest news stories of the period, including the Soviet intervention in the Hungarian Revolution (in his very first bulletin; the events in Hungary caused the scheduled commencement of the ABC-TV news service to be brought forward), the assassination of John F. Kennedy (1963), the disappearance of Prime Minister Harold Holt (1967), the Apollo 11 Moon landing (1969), the destruction of Darwin by Cyclone Tracy (1974), and the dismissal of the Whitlam government (1975).
He appeared as himself in episodes of the ABC-TV comedy series Our Man In Canberra and Our Man In The Company episodes, narrated segments of the radiophonic works ‘What’s Rangoon To You Is Grafton To Me‘(1978)  and ‘Hot Bananas‘, written by Russell Guy and originally broadcast on radio station 2JJ (Double Jay). Dibble also did voice-over work for many newsreels, documentaries and educational films.
Spanning almost 30 years, his career at the ABC ended with his retirement in 1983. His last broadcast was on 10 June of that year.
Dibble was the son of Roland and Vera Dibble. He attended school in Marrickville at St Brigid’s Primary School and then De La Salle College. He served in the Pacific with the Royal Australian Air Force during World War II as a wireless telegraphist.
Dibble never married or had children, but was described as a family orientated man.
He served as a director and chairman of the Peer Support Foundation, a president of the Rotary Club of Warringah, and a member of Rotary International District 9680 Public Relations Committee.
Dibble was appointed a Member of the Order of the British Empire (MBE) on 1 January 1972 for services to media, and a Member of the Order of Australia on 26 January 1989 for community and media services. He was also awarded a Centenary Medal in 2001.
He was the first winner of the Better Hearing Australia Clear Speech Award in 1967, for his clear diction. He also received Clear Speech Awards in 1968 and 1981.
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Enrique Morente Cotelo, known as Enrique Morente, was a flamenco singer and a controversial figure within the world of contemporary flamenco. After his orthodox beginnings, he plunged into experimentalism, writing new melodies for cante (flamenco singing) and jamming with musicians of all styles, without renouncing his roots in traditional flamenco singing, which he kept on cultivating did he was , 67. In spite of severe criticism from the most “purist” amongst the critics and public, he was perhaps the most influential contemporary flamenco singer, who not only innovated, but it could also can be said that he create tradition: some of his cantes have been performed by other singers such as Camarón de la Isla, Mayte Martín, Carmen Linares, Miguel Poveda, Segundo Falcón and Arcángel.
|(25 December 1942 – 13 December 2010)|
Enrique Morente, born in the traditional quarter of Albaicín in Granada, started to sing as a seise (a member of a group of children who sing, dance and play castanets on certain religious festivals) He started to feel attracted to flamenco singing as a child, and had the opportunity to learn at family gatherings and to listen to established figures from Granada like Cobitos, the family of the “Habichuelas”, or Aurelio Sellés (Aurelio de Cádiz):
“The cante begins inside you when you listen to the villager’s singing, to people in their birthplace. Groups of people that meet in a tavern and start singing, and then you listen to them and start singing as well: you learn that at family parties where everybody sings and everybody drinks, and everybody dances and… Apart from that, it turns out that, of course, you need a technique, you need a school, you need to learn. In order to achieve this, what you need… the main help you can get is to have a liking for it; and then the skill to know who to learn from, and from what sources, where to find the good. Then you are on.”
However, this appreciation for the popular side of flamenco does not mean that he considers flamenco as just “an art of the people”. A flamenco artist, for him, needs technique and dedication:
“It is us, the professional artists of flamenco, who have to make cante flamenco, and nobody else, Flamenco, like any other art, is an art of professionals, although there are many people who peer at us, with a look as if to say: What interesting little creatures! or maybe: Oh! What music the people are playing! and so on. And people often think that maybe you have to have fingers swollen from picking potatoes to be able to play the guitar with feeling. Look, picking potatoes is every bit as worthy as playing a guitar. But I can tell you that a man -with fine, sensitive fingers is not going to be able to make a go of picking potatoes: and I can also tell you that a man with fingers swollen from picking potatoes is not going to be able to play a guitar because he hasn’t got the manual dexterity and he hasn’t got the dedication. This is a profession like any other which you have to dedicate yourself to completely. It is an art of professionals.” 
Still in his teens, Morente went to live in Madrid to start a professional career as a singer. There he was able to meet some old masters like Pepe de la Matrona and Bernardo el de los Lobitos, and learned as much as he could from them. Pepe de la Matrona took special interest in teaching the young singer: “This interest was raised not so much by Enrique Morente’s intonation, by his registers or by his melismatic as by his attitude towards things, his respect and his learning capacity.” In Madrid, he started singing at peñas flamencas (clubs for flamenco fans). In 1964, he signed a contract with the Ballet de Marienma, with whom he then performed at the Spanish Pavilion at the New York Worlds Fair and at the Spanish Embassy in Washington DC. Later he took part in a flamenco festival at Teatro de los Alcázares de los Reyes Cristianos, sharing the bill with Juan Talega, Fernanda and Bernarda de Utrera, Gaspar de Utrera, Tomás Torre and Antonio Mairena. During that year and the following one, he also toured Europe and Japan with different flamenco dance companies, and was employed at several tablaos (flamenco venues) in Madrid, such as Las Cueva de Nemesio, Zambra and El Café de Chinitas.
Morente made his first recording, Cante flamenco in 1967 with guitarist Félix de Utrera. The recording received a special mention award from the Cátedra de Flamencología, and was followed by Cantes antiguos del flamenco (1969), with guitarist Niño Ricardo. His first recordings were strictly orthodox and showed deep knowledge of traditional flamenco, a rare quality for singers of his generation. During this period he also made his first contact with guitarist Manolo Sanlúcar, with whom he would cooperate on several occasions. Sanlúcar accompanied him in his concert in Ateneo de Madrid, the first occasion in which a flamenco singer performed in that prestigious cultural institution.
His next record, Homenaje flamenco a Miguel Hernández (Flamenco Homage to Miguel Hernández, 1971), initiated his frequent use of lyrics by outstanding poets. Later on, he would record flamenco songs with lyrics by Federico García Lorca, John of the Cross, Lope de Vega, Al-Mutamid, Antonio Machado and Manuel Machado, Jorge Guillén, and others. Soon later, an illegal live recording was published in Holland.
“The thing that most calls your attention in his first productions is how much care he devotes to the lyrics of his cantes. This is probably the first step in his future career as as an innovator in flamenco. The poems by Miguel Hernández, for example, became immortal in his impressive ‘Nana de la Cebolla’ or ‘El Niño Yuntero’. With the attitude he showed, in these poems, against the francoist regime, he became the favourite flamenco singer for the left-wing opposition in the country, as well as one of the first innovators.” 
In 1971 and 1972, he toured Mexico with guitarist Parrilla de Jerez and dancer Ana Parrilla, a tour which included his presentation at the Auditorium of the Universidad de las Américas, and performed at Lincoln Center (to which he would return to perform at again in 1973) and the Spanish Institute in New York. In 1972, he was also awarded the Premio Nacional del Cante (National Award for Flamenco Singing) by the Cátedra de Flamencología in Jerez.
Morente arrived back to orthodox flamenco singing with his recording Homenaje a Don Antonio Chacón (Homage to Antonio Chacón, 1977, which obtained the National Award for best folk music album, granted by the Ministry of Culture. In this recording, Morente vindicated the figure of singer Antonio Chacón the creator of the granaína and a fundamental figure of flamenco in the first decades of the 20th century, who had been, nevertheless, relegated by the views of the 1950s-1970s flamencology, as a representative of the non-Romani (Gypsy) flamenco which that generation considered impure. However, in an alternation between tradition and innovation typical of Morente, the recording was immediately followed, in 1978, by Despegando (“Taking off”), this time in an innovative mood: the title itself is, in fact, a declaration of intentions.
In 1981 he toured a new show, Andalucía hoy (“Andalusia Today”), which he would later performed at the Paris Olympia in Paris, France. In 1982, some of his recordings were chosen by flamencologist José Blas Vega to take part in the flamenco anthology Magna Antología del Cante (a complete collection of traditional styles of cante) to illustrate songs such as the tarantas from Almería, several types of cartageneras, the fandangos by Frasquito Yerbabuena, and all the malagueñas and granaínas created by Antonio Chacón.
In 1990 in another comeback to orthodoxy, he recorded Morente-Sabicas, with guitarist Sabicas, who was already in his eighties. In the following year, he created and recorded a flamenco mass, a type of creation that already had some precedents, like the one recorded by Antonio Mairena, Luis Caballero, and Naranjito de Triana in 1968. However Morente’s mass is totally different from any previous examples. Whereas earlier flamenco masses basically tried to use traditional flamenco singing for the liturgy, Morente’s does not even have a liturgic purpose, and mixes flamenco with other genres like Gregorian chant. About this mass, in one of his touches of humour, Morente said:
“At a given point, I thought I could dedicate it to Pope Clement, the one of El Palmar de Troya, but then I remembered that he had canonized Franco, Primo de Rivera, Carrero Blanco and all those guys and, while on the one hand I thought it was funnier, on the other hand I thought the joke could be interpreted in a strange way and I didn’t do it, though I was about to do it. But the record was made with a sincerity and a true intention, no matter the results, and I thought it was like ruining it a bit because of the joke.. and that was too much!”
In 1995 he appeared singing a siguiriya in Carlos Saura‘s film Flamenco and recorded his most controversial recording: Omega, together with the alternative rock group Lagartija Nick, with the participation of guitarists such as Tomatito, Vicente Amigo, Juan Manuel Cañizares or Miguel Ángel Cortés and percussionists like Tino di Geraldo. Flamenco and punk rock are mingled with recreations of songs by Leonard Cohen, and lyrics by Federico García Lorca‘s book Poeta en Nueva York (“A Poet in New York“), together with traditional flamenco lyrics. The work was performed at the 2008 Festival Internacional de Benicàssim, under the stage name Morente Omega con Lagartija Nick.
The year 2001 saw the publishing of a very much sought for record by Morente, “Enrique Morente en la Casa Museo de García Lorca de Fuentevaqueros”, a collection of songs based on the poetry of Federico García Lorca. The recording had been made in studio in Madrid, in 1990, and it had been commissioned by the Diputación de Granada (a government institution). Only a limited edition was made and the copies were sent as gift to particular persons. In the second hand marked, those copies reached 25,000 pesetas (150 euros).
Another interesting release of Morente, El Pequeño Reloj, saw the light in 2003. Whereas the second half of the CD a more or less random collection of songs, the first half of the record comprises a surprising series of songs which are broken in two parts: in the first part of the song, Morente’s voice is superimposed on top of old 78 r.p.m recordings of old masters of the flamenco guitar like Ramón Montoya, Sabicas or Manolo de Huelva, while the second part is a modern development of the same palo, with the side guitar of the young and innovative guitarist Niño Josele.
Although Morente could not read musical notation he composed music for theatre plays, films and television, such as the work Las Arrecogidas del Beaterio de Santa María Egipcíaca”, the music for Oedipus the King with José Luis Gómez.
He has tried the mixture between flamenco and classical music in works like Fantasía de cante jondo para voz y orquesta (Cante jondo Fantasy (music) for voice and orchestra, together with pianist Antonio Robledo, guitarists Juan Habichuela and Gerardo Núñez and the Madrid Symphony Orchestra, conducted by Luis Izquierdo, 1986) or with Allegro Soleá, which he presented at Seville‘s Flamenco Biennal in 1990. Along the lines of the mixture of flamenco with other types of music, he collaborated in the show Macama Jonda by José Heredia Maya, together with the Tetuan Andalusian Orchestra and Abdessadeq Cheqara, or with the Bulgarian Voices choir Angelite. In Morente’s aforementioned recording Omega, he mixed flamenco singing with punk rock, music by Leonard Cohen, and lyrics by Federico García Lorca. In the show África-Cuba-Cai he mixed flamenco with music from Senegal, and Cuba (Cai is the way Cádiz is pronounced in Andalusian Spanish). The show also underlinks the historic links between Cuban and flamenco music: “That’s always been close to flamenco, since way back, because the ships in Cádiz went to Cuba, some came and others stayed over there, we’ve always had that.”. It is difficult to think of any kind of music which has not interested Morente. After one of his concerts with Cheqara Orkesta of Tetuan, he declared: “…if I had to put out a CD for every culture I mixed with I’d be putting out about 7 or 8 CDs a year. It wouldn’t be bad – if I got paid for it by the record company then I could build myself a home.”
Owing to his innovative approach, Morente was widely criticized by the more extreme traditionalist sectors of flamenco’s critical faculty and public, though it had been said that “Needless to say, all this cost Morente a real torment, since flamenco is still a very closed world, in which the slightest attempt for novelty is taken as a deadly sin of heresy.”. Although Morente’s work is now widely recognized by most critics, and has inspired many singers of the young generation like Mayte Martín or Arcángel, there is still a section of traditionalist critics and public that still disparage his work:
“Aficionados were scratching their heads after the show, trying to figure out exactly, which forms–if any–Morente was working in much of the time. ‘Remember the old days when you could actually recognize what flamenco forms were being performed?'”
Ethnic bias is often not alien to these criticisms. A good number of flamenco critics and public were introduced into flamenco at the time of the “reappraisal period” led by singers like Antonio Mairena and critics like González Climent or Ricardo Molina, in whose views, pure flamenco singing would be a patrimony of Romanis, which non-Romanis could only try to imitate in vain without ever reaching its essence. In the same review quoted above we can read: “And once you have experienced truly great Romani singing of this sort, the erudition of an artist like Morente pales like a candle flame next to a blazing torch.”  These views on Morente,though very common in the seventies and eighties, have almost died down. The controversy between tradition and innovation, Romani and non-Romani singing and other topics, so common twenty years ago, is now relatively confined to a limited section of the public, while most flamenco fans and critics acknowledge Morente’s deep artistic intelligence and commitment:
“This comes from the man who never sings the same way twice, who tirelessly seeks that new inflection, that unheard-of scale, the change of tone that best matches the desired feeling and intentions at a given moment. The easy option would be the other one. To do what Enrique does you need extreme intellectual abilities and extreme emotional commitment. He takes the perfectly-laid, common foundations, defined by tradition, and on them builds with all the conceivable potential of flamenco.”
First prize at the contest Málaga Cantaora (1967)
Premio Nacional de Cante (Flamenco Singing National Award) granted by Cátedra de Flamencología y Estudios Folklóricos Andaluces de Jerez de la Frontera (1972)
National Award for best folk recording, awarded by the Ministry of Culture (1978)
En 1989 es nombrado Socio de Honor del Club de Música y Jazz San Juan Evangelista
Honorary Membership of the San Juan Evangelista Jazz and Music Club (1989)
Premio Nacional de Música (Music National Award), Ministry of Culture, awarded to a flamenco singer for the first time (1994)
Golden medal of the Cátedra de Flamencología de Jerez de la Frontera (1995) Compás del Cante (1995)
“Galardón de Honor de los Premios de la Música”, awarded by the Ministry of Culture (1998)
Pastora Pavón (“Niña de los Peines”) Award, awarded by the autonomous government of Andalusia (2004)
Medal of Andalusia, awarded by the autonomous government of Andalusia (2005)
National Critics award for best DVD and best flamenco singing record for Morente sueña la Alhambra (2006)
National Award of Music for best flamenco recording for Morente sueña la Alhambra (2006)
Morato de Oro, awarded by Peña El Morato (2006)
Best flamenco recording, Deflamenco.com Awards (2006)
- Flamenco. Directed by Carlos Saura (1995)
- Morente sueña La Alhambra. Directed by José Sánchez-Montes (2005)
- Iberia. Directed by Carlos Saura (2005)
- Cante flamenco (1967)
- Cantes antiguos del flamenco (1969)
- Homenaje flamenco a Miguel Hernández (1971)
- Se hace camino al andar (1975)
- Homenaje a Don Antonio Chacón (1977)
- Despegando (1977)
- Morente en vivo, Díscolo, (1981), illegal recording live
- Sacromonte (1982)
- Cruz y Luna (1983)
- Esencias flamencas (1988)
- Morente – Sabicas (1990)
- Enrique Morente en la Casa Museo de Federico García Lorca de Fuentevaqueros (1990); Republished (2001)
- Misa flamenca (1991)
- Negra, si tú supieras (1992)
- Alegro, Soleá y Fantasía del Cante Jondo (1995)
- Omega (1996)
- Morente – Lorca (1998)
- El pequeño reloj (2003)
- Morente sueña la Alhambra (2005), Mute Records
- Pablo de Málaga (2008)
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Helen Florence (Betty) Roberts , later known by her married name, Betty Walker, was an English singer and actress, best known for her performances in soprano roles of the Savoy Operas with the D’Oyly Carte Opera Company .died she was , 98,.
After beginning her career touring in Italy and then England in grand opera, Roberts joined the D’Oyly Carte Opera Company as a principal soprano in 1938. She remained with that company for ten years, marrying another company member, the baritone Richard Walker, in 1944.
After four more years of theatre in Britain, the couple moved to Australia in 1948, where they joined the J. C. Williamson Gilbert and Sullivan Opera Company. They toured with Williamson throughout the 1950s and early 1960s. They also appeared in musicals, including a four-year engagement in the original Australian production of My Fair Lady. They also presented Gilbert and Sullivan in two-person entertainments throughout North America. After her husband died in 1989, Roberts returned to England.
(15 July 1912 – 12 December 2010)
Early life and career
Roberts was born in Cleethorpes, Lincolnshire. She was educated at the Bruton School for Girls, then studied music first in London and later in Italy. She toured in Italy with the Milan Opera Company, singing the role of Norina in Don Pasquale by Donizetti. After returning to England, she toured in Offenbach‘s The Tales of Hoffman as the Doll and Antonia and also sang briefly with the Glyndebourne Festival Opera.
In September 1938, Roberts was engaged by the D’Oyly Carte Opera Company as a principal soprano. She began to perform there under the name Betty Roberts, but Rupert D’Oyly Carte soon asked her to change it to something more fitting to a leading lady, and she returned to her birth forename. During her decade of performing with the D’Oyly Carte company, she appeared regularly as Josephine in H.M.S. Pinafore, Mabel in The Pirates of Penzance, the title character in Princess Ida, Elsie Maynard in The Yeomen of the Guard, and Gianetta in The Gondoliers. She soon added the role of Phyllis in Iolanthe to her repertoire. She sometimes also played as Yum-Yum in The Mikado and briefly played the title character in Patience. This was the longest continuous D’Oyly Carte career of any of the company’s principal sopranos. The Times repeatedly praised her singing and appearance, and The Manchester Guardian, reviewing the company’s 1941 tour, wrote, “One of the chief pleasures of last night’s performance was the lovely voice of Miss Helen Roberts.”
Roberts married fellow company member Richard Walker on 31 July 1944. Earlier that month, the two found themselves very close to an exploding German rocket near Piccadilly Circus, as they approached a restaurant. They were not seriously hurt, but just before they went on stage that evening as Wilfred and Elsie in The Yeomen of the Guard, Walker proposed marriage.
At the end of July 1948, Roberts and her husband, seeing some of their roles being given to new talent, left the D’Oyly Carte Opera Company. After a year playing in other theatre in Britain (he returned for part of that time to D’Oyly Carte), they joined J. C. Williamson Limited to tour Australia and New Zealand. They continued to appear with this company throughout the 1950s and early 1960s. The Williamson company played Gilbert and Sullivan for extended tours every few years, and Roberts reprised her D’Oyly Carte roles in these, adding the new roles of Plaintiff in Trial by Jury and Rose Maybud in Ruddigore. Roberts and Walker also performed in musical comedies in Australia under other management, including touring for more than four years in the original Australian production of My Fair Lady, beginning in 1959, in which she played Mrs. Eynsford-Hill (the mother of Eliza’s suitor Freddy), and he played Eliza’s father, Alfred P. Doolittle. She would later return to the role.
Roberts and Walker also gave two-person concert tours of Gilbert and Sullivan throughout North America beginning in the 1950s. President Eisenhower asked them to give their concert programme at his pre-inauguration party at the White House following his re-election in 1956, but they were unable to travel from Australia to attend.
After her husband’s death in 1989, Roberts returned to England and lived first at Blandford Forum and, in her last years, at Gillingham, Dorset, in a retirement home where her two sisters also lived. She died at The Malthouse, Gillingham, in December 2010, aged 98. Her remains were cremated at Salisbury Crematorium.
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Did you know that A ‘waffle’ is a a slang term for vagina?
Did you know that A ‘blue waffle’ is a slang term for a severe vaginal infection?
Did you know that Blue Waffle is a slang term for an extremely nasty or severe vaginal infection/STD ?
Did you know that this infection could cause lesions on the outside of the vagina, as well as bruising, which causes it to look blue in color?
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Achieving success in his local region, he quit his job as a shoe salesman and embarked on a career in comedy. His performances have led him to be in feature films, such as The 40-Year-Old Virgin, Soul Plane, Paper Soldiers, Scary Movie 3, Along Came Polly, Scary Movie 4, Death at a Funeral, Little Fockers, Not Easily Broken, and One Day in Jersey.
In 2009, Hart appeared in a series of eBay commercials Also in 2009, Hart played a sorcerer, “Zezelryck,” in a comedy television series for Comedy Central, Kröd Mändoon and the Flaming Sword of Fire.
A comedian at heart, he has done several stand-up TV specials for Comedy Central, including I’m a Grown Little Man (2009) and Seriously Funny (2010). In 2010, Hart appeared in Air Jordan commercials alongside Dwyane Wade.
Hart was born July 6, 1979 in Philadelphia, Pennsylvania. He is a graduate of George
Washington High School, and attended Temple University for two years. Hart married Torrei Hart in 2003. In March 2005, his daughter Heaven Leigh (pronounced Heavenly) Hart was born. As revealed on the commentary for The 40-Year-Old Virgin, he half-jokingly commented that he does not want her to “become a stripper”. On November 8, 2007, his son Hendrix Hart was born.
Scary Movie 3
Death of a Dynasty
P-Diddy / Cop 1 / Dance Coach / Hyper Rapper / H. Lector
Along Came Polly
The 40 Year Old Virgin
Smart Tech Customer
Scary Movie 4
Pawn Shop Dealer
Not Easily Broken
Kröd Mändoon and the Flaming Sword of Fire
Death at a Funeral
Something Like a Business
35 and Ticking
The Precious One
|2003||Scary Movie 3||CJ|
|Death of a Dynasty||P-Diddy / Cop 1 / Dance Coach / Hyper Rapper / H. Lector|
|2004||Along Came Polly||Vic|
|2005||The 40 Year Old Virgin||Smart Tech Customer|
|2006||Scary Movie 4||CJ|
|2008||Fool’s Gold||Bigg Bunny|
|Meet Dave||Number 17|
|Drillbit Taylor||Pawn Shop Dealer|
|2009||Party Down||Dro Grizzle|
|Not Easily Broken||Tree|
|Kröd Mändoon and the Flaming Sword of Fire||Zezelryck|
|2010||Death at a Funeral||Brian|
|Something Like a Business||JoJo|
|Little Fockers||Nurse Louis|
|2011||35 and Ticking||Cleavon|
|Let Go||Kris Styles|
|The Precious One||TBA|