Comedian and stoner Tommy Chong says ‘I kicked cancer’s ass!’ with a variety of treatments including diet and supplements
Tommy Chong, the veteran star of the dope-fuelled Cheech and Chong films, says he has beaten prostate cancer with a combination of cannabis use and a special diet.
Chong, 74, was diagnosed with cancer in June last year following a three-year period in which he said he had been drug free. He now says he is 99% free of the disease after a Canadian doctor helped him change his diet to include a variety of special supplements, as well as hemp oil. He then sat for a number of sessions with a practitioner named Adam Dreamhealer, described as a “world-renowned healer”.
“That’s right, I kicked cancer’s ass!” Chong wrote on the website CelebStoner.com. “So the magic plant does cure cancer with the right diet and supplements. I’m due for another blood test, MRI, etc, but I feel the best I’ve felt in years. And now for a celebration joint of the finest Kush …”
Together with collaborator Cheech Marin, Chong starred in eight films between 1971 and 1985, including the pair’s classic debut Up in Smoke. During that period the duo also released eight albums, three of which hit the US top 10. The duo split in the mid-80s, but began touring together again in 2008.
Following the rules is not easy for Jamie.
Dimon warns more sanctions are coming for JPMorgan.
Jamie Dimon warns that JPMorgan, which is under regulatory orders to tighten internal controls, will face more sanctions in the coming months. Dimon comments on the London Whale, criminal investigations into activities at the bank, illegal foreclosures, money laundering and the threat of cyber attack.
Here’s why Jamie is warning shareholders:
(theprp.com) Maynard James Keenan (Tool/A Perfect Circle/Puscifer) recently opened up to Phoenixnewtimes.com regarding his various projects (he had no comment on Tool); his thoughts on the music industry and his upcoming autobiography.
Some excerpts from the lengthy feature can be found below:
On his autobiography:
“I think there are a lot of misconceptions with some people that, all of a sudden, I was born when my first band came out. I actually had a life before that, and there were a lot of accomplishments. [The book] will kind of chronicle why it is I got to where I am, and why I got to where you knew about me.”
On the illegal downloading of music:
“There’s a disconnect between people not buying music and not understanding why [bands] go away. There are people who are like monkeys in a cage just hitting the coke button. They don’t really get that for [musicians and artists] to do these things, they have to fund them. They have to have something to pay the rent.”
On the future of the music industry:
“It’s going to have to default back to people who are willing to do more work for less money, basically. You have to kind of do it out of love, and doing it by living within your means and getting to an end of what you want to do, other than worrying about 401(k)s and insurance and all that crap that comes with being paid by someone else [so] you [can] coast.”
“The illusion is gone. There’s no longer blank checkbooks. I remember playing a show ages ago, where Helmet got offered a [record deal worth a] million dollars. Oh, my God! A million dollars.
Of course, all that did was make every other band with ego throw its dicks on the table and say, ‘Well, I want a million five.’ ‘Well, I want two million; I’m more popular.’ There was never any rhyme or reason to what those numbers ended up translating to at the end of the day.
If you go back and track what somebody actually paid for something, it’s not nearly as dialed-in as, say, a video-game corporation saying, ‘No, we’re going to sell exactly this many units of this game.’ It was never that calculated. The people running [the business] weren’t qualified to run it.”
On embracing digital distribution:
“I don’t know, I feel like I’m kind of torn. There’s two sides of my brain fighting with each other. There’s something about connecting with that physical piece of property, and also things you don’t know about.
When you download the song, there’s nothing. Sometimes it comes with a booklet, sometimes it comes with an image, but usually it doesn’t. It’s just this disconnected thing that you can’t touch and feel and experience. [There are] other nuances to the songs.
Some images and artwork that are totally connected and related to the song you’re hearing, and you make the connection by seeing that image, and it completes the joke or completes the thought; that’s a little disconnected.
However, as an independent project — no funding, no record label, no underwriters, nothing — the whole digital route is a lot more sustainable. You’re not wasting a lot of paper or plastic products, except for the manufacturing of computers, which apparently go out of date every week. Thank you very much, Apple.
But you’re able to get that music out there and have a direct connection to who you’re selling it to — and actually fund your project.
We have our own thing figured out. I think that’s how the pieces are going to settle into place. It’s going to default back to people who want to do this and are willing to do this. Once people find their own way and find their own audience, they might kind of peek their head up over the crowd long enough to see that there’s an entire movement happening, and we did it individually.
It’s critical mass; it all disseminates in a way that you go, ‘Oh, this is the new thing now.’ People just did it naturally, and people just did it in their own ways, in their lines and their mediums and surroundings. They’ll all step back and realize they’ve all come to the same place.”
Up next for Keenan is the February 19th release of Puscifer‘s new EP “Donkey Punch The Night“.
Quentin Tarantino tells C4 news presenter Krishnan Guru-Murthy exactly what he thinks of his questions. Link to this video
(Guardian.co.uk) I am no fan of the slavery revenge western Django Unchained but you will meet few people more enthusiastic than I was about the abrasive, straight-shooting television interview given this week by its writer-director Quentin Tarantino to Channel 4 News. The presenter Krishnan Guru-Murthy began by trying to explore Tarantino’s interest in making violent films, only to be met with a polite brush-off: Judd Apatow doesn’t get asked why he makes comedies, the director reasoned. So far, so logical. But then he tried to prod Tarantino into reflecting on whether there was any link between violence in movies and in real life. “It’s none of your damn business what I think about that,” came the reply, “I’m saying ‘no’… If anyone cares what I have to say about it, they can Google me.”
Guru-Murthy remained immobile in his seat, as Tarantino ranted and raved, giving the impression that his eyes were going to pop from their sockets. He also provided the first instance of the phrase “I’m shutting your butt down!” I’ve ever seen on British TV.
The problem here was not the issue of violence itself, but the wearisome ploughing of the same furrow. You’ve got Quentin Tarantino sitting in front of you, one of the most stimulating interviewees in the world, and you ask him questions that he was unpicking 21 years ago when he promoted his debut Reservoir Dogs? Tarantino’s indignant response was proportionate and refreshing.
His prickliness should not detract from the points he scored against this pious style of questioning to which many news programmes resort whenever they are called upon to report on anything that intersects with popular culture. Like Graham Linehan, who objected on-air to the Today programme’s bear-baiting discussion tactics over his stage adaptation of The Ladykillers, Tarantino refused to adhere to this rigged news agenda.
The promotional tour for the director’s extravagantly violent and provocative fantasy was never going to resemble the usual round of red-carpet gladhanding. And it’s true that the path to PR glory has already encountered a few interesting speed-bumps: there was the mischievous attempt by one of the film’s stars, Samuel L Jackson, to goad an affable white interviewer into uttering the n-word, which features prominently in the movie’s dialogue. And this week there was some discomfort expressed over the decision to market collectible Django Unchained action figures. Even though these 8-inch dolls are designed for memorabilia nuts rather than Toys R Us, there’s still something disconcerting about the collision of merchandising and what Tarantino himself calls “the Auschwitzian aspect of the slave trade.” But this is emblematic of the film itself, which deliberately examines an era of traumatic historical injustice through the grime-tinted glasses of the exploitation genre.
The Channel 4 News argument didn’t address the meagre merits and political shortcomings of Django Unchained. Nevertheless, the rare glimpse it allows us behind the PR curtain is invaluable. It makes me recall the time I put a question to the director Abel Ferrara, who proceeded to slip into a dense and restful slumber before I had finished speaking. Or the afternoon I was standing outside a hotel room awaiting a private audience with Martin Scorsese, only to overhear him complaining that he had done enough interviews for one day. “I’m all wiped out,” he protested loudly to his assistant. “I don’t know how I’m gonna do Germany. I’ll do it, but I don’t know how.” Poor me. And, for that matter, poor Germany.
The demands of the relentless publicity treadmill can lead to compromises on all fronts: the subject can be crotchety, the interviewer nervous and hurried, and nobody gets what they want. The inanity of being quizzed by the same jaded journalists competing for identical soundbites was the catalyst for Tarantino’s blow-up. To be fair to journalists, the situation doesn’t always work in our favour: spending between 10 and 30 minutes with your subject in a hotel room is unlikely to produce relaxed and forthcoming testimonies. But then it’s the journalist’s job to use that small window of time to pose the most disarming and unusual enquiries they can manage.
It was perhaps ungracious of Tarantino to bellow: “I’m here to sell my movie! This is a commercial for the movie, make no mistake.” But I am inclined to blame tiredness, maybe jet-lag, since he is usually a witty interviewee. During the hour I spent with him in 2009 discussing his last picture, Inglourious Basterds, he was brilliantly, intelligently combative in a way which is rare in the mollycoddled trade-offs between movies and media.
Had he been less weary, he might have taken umbrage earlier in the Channel 4 interview, when Guru-Murthy asked “Why do you love violent movies?” That inane remark hardly takes into account the extraordinary sophistication of violence in Tarantino’s work: from the camera steering away from an ear-severing scene in Reservoir Dogs to the various murders-in-long-shot in Jackie Brown, or the Busby Berkeley approach to shooting mass carnage in Kill Bill, Vol 1. If only the line of questioning on Channel 4 News had been as nuanced and considered as one of Tarantino’s movies.
(Huffington Post) When Brittany Murphy died back in 2009, many believed the actress’s abuse of prescription drugs and historic eating disorders were to blame. But now a controversial documentary claims her demise was far more sinister.
Top Priority: The Terror Within tells the alleged true story of how Brittany was caught up in a government plot against a national security whistleblower.
Another conspiracy theory you may think but after speaking to the whistleblower and filmmaker Julia Davis the accusation does not seem so outlandish.
According to Julia, ‘Britt defended [her] from false allegations and [she] intends to keep doing the same for her, even in death.’
‘Britt was neither paranoid nor a drug abuser [but] was branded as such simply because her friends and industry contacts couldn’t believe the magnitude of retaliation the couple were facing.’
The actress’s movie breakthrough came in the 90s as Ty in classic teen comedy Clueless. Afterwards, Brittany racked up a number of high profile roles, in films like Sin City, Don’t Say A Word and Just Married, where she met former beau Ashton Kutcher.
So like many I was shocked to hear of her death at such a young age and as a result ‘of natural causes’. Especially as two months after announcing the cause of death, Los Angeles Assistant Chief Coroner Ed Winter changed his mind, adding ‘multiple drug intoxication’ to the report.
The Girl, Interrupted star was laid to rest at Forest Lawn Memorial Park on Christmas Eve, 2009, but as worldwide speculation into her sudden death continued, her British husband Simon Monjack, 39, died under similar circumstances just five months later on May 23, 2010.
Celebrity blogger Perez Hilton said it ‘came as no surprise’, and, only a month before making this statement, he predicted that she would be the next big Hollywood death on a U.S. radio show.
In 2011 Brittany’s mother, Sharon Murphy, was unhappy with the coroner’s report and wanted a better explanation. She blamed the death of her daughter and son-in-law on toxic mould found in their Hollywood home.
That’s when Sharon – who lived in the house with the couple – decided to file a suit against Brittany’s lawyers who she claimed double-crossed her into giving up her rights to sue the builders for wrongful death.
However, the documentary points the finger at a far greater power, at U.S. government spooks who allegedly targeted Murphy and her husband.
The film reveals that:
‘Britt and her husband Simon didn’t deserve to be terrorized by the Department of Homeland Security for standing up to defend me,’ says Davis.
The former enforcement officer was suing the government for wrongful imprisonment and according to the film, Homeland Security falsely claimed that the statement given by Murphy supported their allegations against Davis.
Davis’s husband BJ – who co-produced the documentary – says that their actress friend was ‘completely taken aback’ by the department’s deceit and hit back against their lies by issuing a sworn statement through her attorneys.
But BJ says that ‘Britt’s life was never the same’ and from then on she placed herself ‘in the crosshairs of Julia’s attackers.’
The film isn’t the first to note the couple’s fear of being under government watch. American journalist, Alex Ben Block, said that Simon Monjack told him ‘they were under surveillance by helicopters and their phone was bugged.’
And within days of sharing his worries, on 21 December, Murphy was dead.
She was found unconscious in her bathroom by her mother, who called an ambulance to rush her daughter to Cedars-Sinai Medical Center, LA, where she was pronounced dead on arrival.
In a bid to find the truth about the star’s death – like her mother Sharon – Brittany’s father Angelo Bertolli had to pay for his daughter’s hair samples to be saved from destruction after the LA Coroner admitted tests ‘for poisons and toxic substances’ had not been carried out during the autopsy.
But as Angelo failed to term up to a court hearing to make his case, the lawsuit was subsequently thrown out. However, with the fresh investigation into Murphy’s death, favour does seem to be falling on the side of the filmmakers.
But let’s go back to the beginning, to the moment in 2004 when Homeland Security branded Davis a ‘domestic terrorist’ because she accused government officials of breaching national security.
Davis had discovered that 23 foreigners from terrorist countries had been allowed onto U.S. soil, the same day Osama Bin Laden had planned terrorist attacks on America.
After Julia Davis highlighted the security breach in a report to her supervisors, the film claims Homeland Security took ‘hostile action’ against Davis, her family and friends.
This included a staggering 54 investigations leading to two malicious prosecutions, two false imprisonments, and a Black Hawk helicopter raid on her home that involved 27 DHS agents and one U.S. Marshal.
Shockingly, the film says the hush-hush tactics and the attack on Julia Davis, her family and Hollywood friends took more military manpower than the assassination of Bin Laden.
Luckily for Davis, she was finally cleared of all accusations in 2010. But not content, she decided to tell her story by writing and producing the film, that made sure ‘these monsters’ didn’t get away with their crimes.
The film’s director Asif Akbar says that when he first met BJ and Julia Davis he knew the ‘incredible true story had to be told.’ The filmmaker found it shocking that so many government officials and citizens, ‘were willing to accept corruption as the norm of life.’
Akbar now claims he and his family are being targeted by Homeland Security. He says officials have ‘raided their business’ after Top Priority premiered at the Academy of Motion Picture Arts and Sciences on May 16 this year.
Remarkably, Julia Davis is still under surveillance by the government, saying that her bank accounts are levied ‘on special dates.’ But her film won’t be the only project to shed some light on the mysterious life of Brittany Murphy.
Akbar and Davis have teamed up again, along with the actress’s father, to write and produce a biopic, called Britt. The director says the film will cover everything during Brittany’s rise to fame including ‘her romances, lifestyle, career and her untimely death.’
Considering the subject matter and heavy accusations it is unsurprising that reviews of the documentary have not been kind, with the New York Times describing Top Priority as serving ‘neither the viewer nor its embattled subject.’
Another critic suggests it ‘too often distracts from the core story instead of enhancing it.’
Whether you believe Julia Davis’ story or not, there is no doubt that the ambiguous life of Brittany Murphy is a tale worth telling.
Watch the trailer for Top Priority: The Terror Within here…