Word: childhood
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DIED. JAY VAN ANDEL, 80, billionaire co-founder of direct-sales behemoth Amway; in Ada, Mich. With his childhood friend Richard DeVos, Van Andel founded the company in the pair's basements in 1959 and built it into a worldwide network of individual distributors who sold cosmetics and furniture polish and earned a cut for recruiting others. In the 1970s the government investigated Amway, suspecting it was a pyramid scheme, but the charges were never proved. In 2000, it became part of a larger sales and business-services company, Alticor Inc., formed by Van Andel's and DeVos' families...
Combs survived a hard childhood in Mount Vernon, N.Y.; a senseless bicoastal rap war in the 1990s that probably cost the life of his best friend, top Bad Boy performer Christopher (Biggie Smalls) Wallace; and a 2001 gun-possession trial, which ended in acquittal, before acquiring his mainstream profits. And he's not finished. Bolstered by a $100 million investment from Los Angeles supermarket billionaire Ron Burkle, Combs signed a licensing deal with Estée Lauder to launch a men's fragrance next fall. This summer he opened a Sean John retail store on Manhattan's Fifth Avenue. More stores...
...live-action movie, Fat Albert. The movie is based on iconic comedian Bill Cosby’s hit 1970s cartoon series “Fat Albert and the Cosby Kids,” which is, itself, based off of Cosby’s standup routine about his childhood. Directed by Joel Zwick (coming off aptly enough from the high of another “fat” movie, My Big Fat Greek Wedding) and produced by Cosby, who also co-wrote the script with Charles Kipps, the problem-solving “big guy with the big heart?...
Orphaned and stricken by a crippling illness early in her childhood, Mathilde, beautifully played by Tautou, is too old and too wise and has seen too much pain for her years. She is also remarkably well acquainted with death, often quietly, quickly repeating to herself, “Ashes to ashes, dust to dust...
...itself a fiction film—a kind of aggrandizing simulacra of Ignacio’s identity. After we are shown that Ignacio’s flashbacks are no more than an imaginary cinematic representation, Almodovar is able to effectively coincide his look at Ignacio’s childhood into an “accurate” narrative account of the effects of his titular education...