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Nipsey Hussle died three years ago. His memory looms large for protégé Pacman da Gunman

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Nipsey Hussle died three years ago. His memory looms large for protégé Pacman da Gunman

Pacman da Gunman wakened in temper on March 31, 2019.

It was a sunny day in Southern California, and his son was anticipated to be born at any second. Forward of the start, the rapper contemplated how he’d decelerate his personal life-style and the way he’d defend his son in a scary world.

Nonetheless, his eyes snapped from the long run to the current as soon as he bought the cellphone name — Nipsey Hussle, his buddy, mentor and All Cash In label boss, had been shot outdoors his storefront at Crenshaw and Slauson. Pacman hopped in his automobile and raced west on Interstate 10, hoping to assist protect a life earlier than welcoming a brand new one.

Later that day, it grew to become official — Hussle was useless.

“My son ended up being born on the date of the burial, April twelfth,” he stated.

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On “Until We Meet Once more,” the ultimate observe on Pacman’s new album, “Bulletproof Soul,” the rapper, born Da’Monte Lyles, outlines his recollections of that day and his later makes an attempt to reconcile with the loss. Launched on the third anniversary of Hussle’s loss of life by way of L.A. label OTR Information, the title pays homage to Pacman’s favourite Sade music of the identical title, which Hussle shouted out from behind the wheel of his drop-top Ferrari on “Victory Lap.”

Followers collect in August 2019 in entrance of a mural outdoors Nipsey Hussle’s Marathon Clothes retailer.

(Gary Coronado / Los Angeles Occasions)

The undertaking was produced by Hit-Boy, the Grammy-winning producer who’s made hits with Drake, Nas and Kendrick Lamar (and produced Hussle‘s remaining observe, “Racks within the Center”). Pacman approached Hit-Boy about making a tape in 2021, and the conviction in his voice made it a straightforward determination.

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“He at all times was a stable dude, however we’d by no means labored on music,” Hit-Boy stated. “He got here to me like, ‘What we gotta do to get this achieved? I would like you to know I’m severe, and I would like you to take this severe.’ That’s what made me actually be like, ‘We gotta do that, for actual.’”

It’s an album constructed for a cruise by way of the town, centered round a relaxed, West Coast-centric rhythm. The 2 present their versatility all through, connecting on up-tempo tracks like “Not Yo Common” and slow-rolling songs like “New Warmth,” which options fellow All Cash In artist J Stone.

“Until We Meet Once more” is particular for each rapper and producer, giving Hit-Boy flashbacks to the place he was on that notorious day.

“I do know everybody who was part of Nip’s life remembers the place they have been at, how they have been shifting after they bought the information,” Hit-Boy stated. “It’s so vivid for me in my very own expertise. However [Pac] driving on the freeway, seeing the scenario by way of his eyes, his ache, and the frustration he was coping with getting that information, [was powerful].”

On a heat March day just a few weeks earlier than the undertaking’s launch date, Pacman, 30, sat in a high-rise residence in downtown Los Angeles he makes use of as his workplace, watching a documentary on revolutionary Black nationalist Marcus Garvey. Apart from some photos of Hussle and some plaques, the partitions are largely naked, with the first pops of colour coming from the dozen or so fish milling about in a tank close to the door.

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“These two are the bullies,” he stated, motioning to 2 orange cichlids loitering within the middle of the tank. “This one’s an fool. He bought caught on this little-bitty gap the opposite day.”

Pacman is a mild large, giant in stature and pleasant in dialog. He’ll dish for hours about his life and upbringing with a razor-sharp reminiscence however struggles to reply when requested what he’d take into account the largest second in his profession — though he agrees when another person within the room brings up the affect of his music “Zero Tolerance,” that includes Nipsey Hussle and Mozzy.

Within the eyes of L.A. rapper Dom Kennedy, who views his friendship with Pacman as an extension of his brotherhood with Hussle, that humility made him a pure match for the All Cash In roster.

“Everyone doesn’t get drafted first,” stated Kennedy, who seems on “Bulletproof Soul’s” “Discover a Steadiness.” “I’ve seen [Pacman] at many reveals with Nip, not performing, however simply supporting his homie. Even when he didn’t have the visitor spot, he’d nonetheless be current. Occasions like that’s the place you study essentially the most.”

Pacman grew up just a few blocks southeast of Crenshaw and Slauson. The likes of Gerald Levert and the Commodores have been in fixed rotation in the home, though Pacman quickly gravitated to the Southern rap sound and avenue lyrics of the Scorching Boys, the New Orleans group consisting of Lil Wayne, Juvenile, B.G. and Turk. “That’s who I needed to be like,” says Pacman.

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Outdoors, his neighborhood was in turmoil. Gang tradition had a agency grip round his Hyde Park residence constructing, and a younger Pacman noticed all of it on the mile-long stroll to and from faculty — the sellers posted outdoors his constructing, the fixed run-ins with the police, gang members recruiting new our bodies.

A music producer in the studio, holding a small child

Hit-Boy within the studio along with his son.

(Jason Armond / Los Angeles Occasions)

It was the hustlers who had the money, and it was the hustlers who grew to become his position fashions.

“The older era, they’d the cash,” he stated. “They’d the automobiles, the massive chains, the edges and every little thing. That’s the very first thing that made me need to get some cash.”

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By the point he was 10 years outdated, Pacman found his personal hustle: taking out the trash at his residence advanced. He’d journey door to door in his constructing on eighth Avenue, providing to take out rubbish in trade for cash or meals stamps.

“I needed some new footwear,” he laughed. “I used to put on my momma’s footwear to high school, these beat-up Perry Ellis. I used to hate these issues, they’d be leaning and every little thing.”

Because the pocket change from shifting trash baggage grew to become much less and fewer interesting, Pacman graduated to the streets, towards his mom’s finest needs.

“We weren’t gonna go to McDonald’s and get $6.50 after we might go across the nook and get $250,” he stated.

Pacman by no means considered making music till All Cash In affiliate BH, who was already rapping, satisfied him to hop on the mic. It took Pacman a minute to determine it out, however as quickly as he heard his voice on the playback, he knew he’d discovered his true ardour.

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His early songs have been abrasive and confrontational — dissing different hoods, boasting his work within the streets and rapping about conditions “that would’ve had a n— doing life,” he remembered.

The music bought a buzz on-line and in the neighborhood, however the ceiling was low and the presentation nonexistent. Someday he bumped into Hussle and gave him a clean, untitled CD, hoping the neighborhood hero would take him and his scattershot assortment of songs to the following stage.

Hussle didn’t mince phrases.

“This ain’t it,” Pacman recalled his future crew member telling him. “If you happen to actually need to rap, this ain’t gonna work.”

Pacman took Hussle’s phrases to coronary heart. He began rapping about his struggles, the ache of shedding his father and rising up with a single mom.

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Finally he returned to Hussle with a brand new music, “Resort Recollections,” spilling his story over a soul pattern.

“He had simply bought the Maybach,” Pacman recalled about cuing up his music for Hussle. “It was me and him driving within the Maybach, and that music got here on. He advised me, ‘This my favourite music, proper right here.’”

Hussle quickly appeared on Pacman’s music “Grind Mode” and left room for his protégé to rap on “The place Yo Cash At?” — a observe on Hussle‘s acclaimed mixtape “Mailbox Cash.” Hussle advised Pacman to slap the All Cash In emblem onto his personal initiatives, cementing him into the group.

A man in a dark T-shirt sits with his hands folded in front of him.

“It’s bizarre being outdoors in L.A. now, since Hussle left,” says Pacman da Gunman.

(Christina Home / Los Angeles Occasions)

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Pacman moved out of Los Angeles in 2015 after tiring of incessant police harassment, planting roots in one other metropolis he doesn’t need to reveal publicly. Though he makes frequent journeys to his Crenshaw neighborhood, he says L.A. as an entire doesn’t really feel the identical with out Hussle.

“It’s bizarre being outdoors in L.A. now, since Hussle left,” he stated. “I bear in mind Peezy from Detroit got here out right here and stated, ‘It don’t even really feel the identical out right here.’ It’s loopy how he can come from Detroit and really feel it too.”

For Kennedy, it’s heartening to see the tributes to Hussle throughout the town, sprawling from Crenshaw and Slauson to North Hollywood espresso retailers. There’s hardly a day he doesn’t see a mural or a Marathon shirt.

“It’s a at some point at a time factor,” Kennedy stated. “For these of us who had the pleasure of realizing him, it’s laborious. And I think about it at all times shall be. That received’t ever be a day he’s not in my ideas.”

The Marathon Clothes retailer the place Hussle was gunned down stays closed to the general public. Hussle’s surviving household hopes to show it right into a web site the place followers can play tribute and reshape the encompassing buying advanced (which Hussle bought along with his enterprise companions in 2019) right into a neighborhood area. Plans are in movement for the Marathon Clothes retailer No. 2, nevertheless, which can quickly reside within the Melrose District.

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“This second location is a dream that Hussle at all times had, and it’s vital that his children are in a position to see his plans fulfilled,” Hussle‘s brother Blacc Sam advised the Guardian in February.

All Cash In continues to be rolling alongside regardless of the lack of its chief. J Stone has dropped a number of well-received initiatives since Hussle’s killing, most notably “The Definition of Loyalty” in 2019. Cobby Supreme — who Dom Kennedy calls the “battery of the All Cash In prepare” — is pushing the All Cash Enterprise clothes model, which he began with Hussle.

However Pacman stated the collective doesn’t come collectively as usually because it used to.

“We nonetheless faucet in with one another,” he stated. “I simply texted [Blacc] Sam, his birthday simply handed just a few weeks in the past. I hit him simply to verify on him. However all people’s doing their very own factor now.”

Though the ache stays the identical, as he raps on “The Cycle,” Pacman has reached the acceptance stage in his grief. He finds pleasure in his son, who’s already accustomed to his music and reacts particularly to Hussle‘s “Grindin’ All My Life.”

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Nonetheless, “Bulletproof Soul” is dotted with RIPs even apart from Hussle, forcing Pacman to come back to phrases with loss of life extra instances than he’d like.

“I settle for expiration,” he stated. “Every part residing has to die. However I’m conserving religion as a result of I actually need to depart one thing behind, to make them bear in mind me. I’ll suppose, once I go, are they going to have murals of me all over the place?”

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Movie Reviews

Miss You Movie Review

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Miss You Movie Review

Miss You, a romantic comedy film starring Siddharth and Ashika Ranganath, is directed by Rajasekhar. The movie, released in theaters on December 13 last year, is now streaming on Amazon Prime from January 10. It weaves a mix of humor, emotions, and romance, appealing to family audiences.

Plot Summary:
The tale begins in Chennai, where Vasu (Siddharth) resides with his family. Aspiring to become a film director, Vasu is determined and passionate about his goals. However, his honesty and short temper often land him in trouble. One such incident involves him filing a police complaint against the son of a powerful minister, Chinarayudu (Sharath Lohithaswa), in connection with a murder case. Enraged, the minister orchestrates an accident to harm Vasu.

The accident leaves Vasu with amnesia, erasing all memories of the past two years. Since Vasu no longer remembers the incident, Chinarayudu decides to leave him alone. As Vasu recovers, he befriends Bobby (Karunakaran), who later takes him to Bangalore. Bobby owns a large coffee shop there, where Vasu starts working casually. During this time, he meets Subbalakshmi (Ashika Ranganath).

The moment Vasu sees Subbalakshmi, he falls deeply in love with her. When he confesses his feelings, she bluntly rejects him. Undeterred, Vasu decides to win her over with the help of his parents and returns to Chennai. He shows her photo to his family and expresses his love for her. However, his parents and friends are taken aback and strongly oppose the idea of their marriage, stating that it is impossible.

Why do they oppose the match? Who is Subbalakshmi, and what is her connection to Vasu’s forgotten past? The answers to these questions form the crux of the story.

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Analysis:
Director Rajasekhar blends love, comedy, and family emotions into Miss You. The narrative is divided into two distinct halves: the first half builds the premise and mystery, while the second half focuses on uncovering the truth. The story’s unpredictability keeps the audience engaged.

The interactions between the hero and heroine, particularly a few key scenes, are impactful and relatable. The antagonist’s character is well-written and only appears when essential, maintaining the suspense. The emotional depth between the heroine and her father is another standout element.

While the narrative starts slowly, the screenplay gains momentum with each scene, making it compelling. The film offers fresh storytelling elements and relatable content for family audiences. However, the title, Miss You, may have failed to resonate with theatregoers, potentially impacting its box office performance.

Performances:

  • Siddharth: Delivers a commendable performance, portraying Vasu’s emotional struggles with finesse. His depiction of a character caught between a confusing past and a chaotic present is impressive.
  • Ashika Ranganath: Captivates with her glamorous appearance and expressive performance. Her emotional depth and chemistry with Siddharth are noteworthy.
  • Karunakaran: Provides comic relief and serves as a reliable support to Siddharth’s character.

Technical Aspects:

  • Direction: Rajasekhar’s ability to blend humour, romance, and drama works well for the narrative, making it appealing for a wide audience.
  • Cinematography: Venkatesh’s visuals are striking, especially in key emotional and romantic scenes. The use of traditional attire, particularly Ashika’s saree sequences, adds elegance.
  • Music: Ghibran’s songs are average, but his background score elevates the emotional impact of the film.
  • Editing: Dinesh ensures a neat and concise narrative flow, keeping the film engaging despite its slow start.

Final Verdict:
While Miss You features heartfelt drama and family-friendly content, its title may have misled the audience into perceiving it as a dubbing film. Nevertheless, it offers a good mix of emotions and humor, making it a watchable family entertainer.

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Pasadena Playhouse cancels 'Anything Goes,' 'Follies' concerts as fires threaten L.A. theater scene

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Pasadena Playhouse cancels 'Anything Goes,' 'Follies' concerts as fires threaten L.A. theater scene

Pasadena Playhouse producing artistic director Danny Feldman first had the idea years ago: concert stagings of classic American musicals, each featuring an all-star cast and a full orchestra.

The Tony-winning regional theater scheduled the shows for back-to-back weekends, three performances each, at the Pasadena Civic Auditorium: Cole Porter’s 1934 comedy “Anything Goes,” starring Jinkx Monsoon, Wayne Brady and J. Harrison Ghee and directed by Annie Tippe, on Jan. 25 and 26; and Stephen Sondheim’s 1971 composition “Follies,” led by Rachel Bay Jones, Stephanie J. Block, Derrick Baskin and Aaron Lazar and directed by Leigh Silverman, on Jan. 31 and Feb. 1.

But on Tuesday, multiple fires began to spread throughout areas of Los Angeles, killing 10 people and destroying thousands of homes, businesses and cultural institutions. The Eaton fire, which has burned 13,956 acres and structures in Altadena and Pasadena, spurred mandatory evacuations and official warnings about not consuming the region’s smoke-filled air and contaminated tap water supply.

With numerous Playhouse staff, board members and artists evacuated from their homes — some of which have been lost in the fires — as well as the ongoing hazardous conditions in the Pasadena area, Feldman made the decision on Friday to cancel all six performances.

“Everyone was trying their absolute hardest to keep going, but at a certain point, it just became clear that this wasn’t the best thing to move forward with,” Feldman said Friday afternoon. “We know how many people were looking forward to it, and we all were too. But my tiny heartbreak of all the work all of us have put into it pales in comparison to the loss everyone is dealing with, which is vast and overwhelming and deeply hitting.”

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Rehearsals for “Anything Goes” began at the nonprofit theater on Tuesday but were canceled starting Wednesday. (“Follies” was scheduled to start rehearsals next week). The performances at the 3,000-seat Pasadena Civic Auditorium — a first-time expansion of the Playhouse’s commitment to put on regional revivals of classic American musicals — were well on track to hit sales goals, with a final marketing push set to unfold in the coming weeks. The theater will be contacting ticket holders for both shows about refunds and other ticket options.

“It’s a huge unknown, but two to three weeks from now, people might be ready to smile again and enjoy, and we’d have to put in the work now to make that happen,” Feldman said.

“But it just hit a point where it stopped making sense to ask folks to come together in smoky conditions to make a thing, as much as we’d be doing so in service of the community. It’s going to be a financial hit, but there are just bigger things at hand. We have to care for our people and our community and make sure we can get everyone through this moment together.”

The Eaton fire torched Altadena Community Church.

(Christina House / Los Angeles Times)

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The Playhouse’s cancellations are among many throughout L.A.’s live performance scene. The Hollywood Pantages Theatre canceled three performances of “Wicked” this week and is aiming to resume on Saturday afternoon. The Wallis rescheduled its weekend Jeremy Jordan concerts and the Los Angeles Chamber Orchestra performance; Los Angeles Philharmonic postponed its shows with Igor Levit and Cody Fry, among others. The Actors’ Gang Theater canceled the opening weekend of its 10-minute play festival “Night Miracles,” now starting on Jan. 16 and runs through Feb. 8.

Additionally, many other companies that were readying to open full productions also saw their plans thwarted by the fires. The world premiere of Laura Shamas’ “Four Women in Red” was set to begin this weekend at Victory Theatre Center and is now scheduled to begin Jan. 17. Moving Arts Theatre’s world premiere of Lisa Kenner Grissom’s “here comes the night,” initially scheduled to start shows Jan. 16, has delayed its first performance by a week.

Colony Theatre canceled its first weekend of performances of Arthur Miller’s “Death of a Salesman” and is aiming to begin its run on Jan. 14. The production is offering free tickets to firefighters and first responders on Jan. 14, 15, 21, 22 and 25 (with code LAFF) and is doubling as a donation center for nonperishable foods, clothing and pet supplies.

Rogue Machine Theatre’s West Coast premiere of Will Arbery’s “Evanston Salt Costs Climbing,” set to begin performances at the Matrix Theatre on Jan. 18, lost power during Wednesday’s rehearsal but continued its preparations with lanterns in the parking lot and later canceled two rehearsals. Center Theatre Group’s world premiere of Larissa Fasthorse’s “Fake It ‘Til You Make It,” scheduled to start performances at the Mark Taper Forum on Jan. 29, initially canceled rehearsals and has since resumed.

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And both the Fountain Theatre’s production of Audrey Cefaly’s “Alabaster” (beginning Feb. 5) and A Noise Within’s staging of Shakespeare’s “Macbeth” (starting Feb. 9) have moved their rehearsals to Zoom this week.

These theaters are monitoring the situation as it develops, and preparing to potentially cancel more rehearsals and performances — a tough decision, said Feldman. But given the circumstances, it’s one that needs to be made.

“That phrase of ‘The show must go on’ is widely mistaken,” he said. “That’s for when you’re going onstage and your prop is missing, so you make it up. But when people are in pain and trauma the way our community is right now, I don’t think the show has to go on.”

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‘Flow’ Movie Review: If You See One Animated Latvian Movie This Year, Make it This One

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‘Flow’ Movie Review: If You See One Animated Latvian Movie This Year, Make it This One

One of the more agreeable outcomes at this past weekend’s Golden Globes was Flow winning for Best Animated Feature. As of this writing, it’s still playing here in the Valley, at Pollack Cinemas in Tempe and at AMC Ahwatukee 24.

If you see only one Latvian animated movie about a cat this year, make it this one. Directed by young Gints Zilbalodis from a script he wrote with Matiss Kaza, this wordless, dreamlike, almost free-associational feature is possibly the most visually beautiful movie of the year, and it has one of the year’s most vividly drawn heroes, too.

The main character – the title character? I couldn’t be sure; the title (Straume in Latvian) may just refer to the flow of the waters that sweep the characters along – is a small, dark, short-haired cat with wide, perpetually alarmed eyes. The creature wanders an idyllic wooded area alongside a body of water, reflection-gazing and hoping to score a fish from some stray dogs.

Then an enormous flash flood rages through the area. The cat barely makes it to high ground, and eventually takes refuge, as the waters continue to rise, aboard a derelict boat which gathers an inexplicably diverse assortment of other animal refugees from different continents or islands: a patient capybara, a ring-tailed lemur with hoarder tendencies, a stern but protective secretary-bird, a playful, irksomely guileless retriever.

It may be a postapocalyptic world through which the craft carries this oddball crew; human habitations appear to be deserted, and a colossal whale that surfaces nearby from time to time seems to be a multi-flippered mutant. Gradually the animals learn to steer the boat a little; they also learn to care and even sacrifice for each other.

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If this sounds sentimental and annoyingly anthropomorphic, I can only say that it didn’t feel that way to me. The animal behavior comes across believably, as does their capacity for growth and empathy. If it’s anthropomorphic, it’s about as low-key as anthropomorphism can be, and the subtle yet insistent sense of allegory for the human experience is moving.

Zilbalodis takes Flow into pretty epic and mystical realms in the later acts, yet on another level the movie works as an animal odyssey adventure in the genre of the Incredible Journey films, or Milo & Otis. At the core of it is the sympathetic and admirable pussycat, meowing indignantly at the perils all around, yet facing them with heart and pluck. It’s not to be missed.

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