text:
Home celebrity Deepika Padukone slammed Salman Khan for his views on depression
Deepika Padukone slammed Salman Khan for his views on depression
Deepika Padukone has been very vocal about her battle with depression and struggles. Salman Khan had once commented on depression and it apparently did not go down well with the actress.
Salman had said he sees a lot of people getting depressed and emotional, but he can't afford that luxury of being depressed or sad or emotional no matter what he is going through. According to the actor, it works against him.
Slamming the 'Dabangg' star for such comments, Deepika had stated that people often confuse it with being a bit sad. Hinting at Salman's comments, she added, "A male star said recently that he didn't have the luxury to be depressed. As if depression is a choice."
Time and again, Deepika has also spoken about her battle with depression and how the journey has been for her fighting it, overcoming it, and all the other barriers she faced.
Meanwhile, on the work front, the actress will next be seen in Siddharth Anand's 'Pathaan' with Shah Rukh Khan and John Abraham and 'Fighter' with Hrithik Roshan. Apart from these, she also has Nag Ashwin's untitled next with Prabhas in her kitty. She will also be seen reuniting with Amitabh Bachchan in 'The Intern' after 'Piku'.
Reports are also rife that Deepika will be seen playing a cameo in Atlee's next with Shah Rukh Khan. The actress has reportedly started shooting for the same.
Previous articleBrahmastra Lands In A Danger Zone
Next articleRaveena Tandon's daughter Rasha dons a traditional outfit for Ganesh Chaturthi; Netizens call her 'Tara Sutaria 2.0'


Expect years of lasting value from this table! Its heavy-gauge, tubular steel pedestal legs have a steel strap folding mechanism. You won't have to worry about this table collapsing — its gravity-activated locking ring securely locks legs into place, making collapse impossible.
The 29" high table top is made of high-pressure laminate plastic with a solid core, and has a thickness of 11/16" (17 mm). Plastic crutch tips on the feet protect the floor from slipping or marring.
The Walnut finish table has a colored top with black trim and walnut colored metal.


FLAGSTAFF, Ariz. Liz Neuman of Minnesota died Saturday at a Flagstaff hospital, Yavapai County sheriff's spokesman Dwight D'Evelyn said.
The 49-year-old suffered multiple organ damage during the Oct. 8 ceremony at a resort near Sedona, a resort town 115 miles north of Phoenix that draws many in the New Age spiritual movement.
Authorities were treating all three deaths as homicides, but no charges have been filed.
D'Evelyn did not provide a city of residence for Neuman, but public records showed an address in Prior Lake, about 25 miles southwest of Minneapolis.
Neuman was among more than 50 people crowded inside the sweat lodge run by self-help guru /*James Arthur Ray*/. An emergency call two hours after they entered the lodge reported two people not breathing.
Twenty-one people were taken to area hospitals with illnesses ranging from dehydration to kidney failure. Kirby Brown, 38, of Westtown, N.Y., and James Shore, 40, of Milwaukee died upon arrival at a hospital.
No one else remains hospitalized.
Authorities haven't determined what caused the deaths. Autopsy results on Brown and Shore are pending further testing.
The Rev. Meredith Ann Murray of Bellingham, Wash., who has completed all of Ray's retreats, said Neuman was among Ray's earliest followers and had attended dozens of his events.
According to Ray's Web site, Neuman was the leader of the Minneapolis-area "Journey Expansion Team." The teams, developed by Ray's friends and followers around the country, meet to exchange ideas on his principles. The next Minneapolis-area meeting is scheduled for Oct. 23.
Ray had rented the Angel Valley Retreat Center for his five-day "Spiritual Warrior" event that culminated in the sweat lodge ceremony. Participants paid between $9,000 and $10,000 to attend the retreat.
Ray declined to be interviewed by the sheriff's office on the night of the incident and Arizona authorities said he had not spoken to them as of Thursday. In his first public appearance Tuesday in Los Angeles, Ray told a crowd of about 200 that he has hired his own investigative team to determine what went wrong.
His spokesman, Howard Bragman, has said that Ray's team and Ray's attorney are cooperating with the sheriff's investigators.
More than 100 people attended the funeral for Brown on Saturday at Holy Name of Jesus Church in Otisville, N.Y., according to The Times Herald-Record in Middletown, N.Y. The avid hiker and surfer who had a passion for art was remembered as a spiritual seeker.
Services for Shore were held late Saturday afternoon at the Hubbard Lodge in Milwaukee.


The Effort Calculator tool is available within the Effort Commitment system in order to assist users in determining the correct effort commitment percentage to enter.
The Effort Calculator does not store any data; it simply assists the user in determining the appropriate effort commitment percentage that can be returned to the Effort Commitment Maintenance entry screen.
You can also access the calculator directly.
Note: This will allow you to calculate and view percentages, but if you wish to apply the calculations to a specific individual, please follow the steps below.


text:
Photo Release -- Northrop Grumman, US Navy Celebrate Legacy of EA-6B Prowler, Future of Their Electronic Attack Partnership
NAVAL AIR STATION WHIDBEY ISLAND, Wash. – June 29, 2015 – The U.S. Navy's venerable EA-6B Prowler tactical jamming aircraft, designed and built by Northrop Grumman Corporation (NYSE:NOC), has been a fixture at Naval Air Station Whidbey Island and in the nation's carrier-based strike forces since 1971.
On Saturday, June 27, the longest serving carrier-based aircraft in history passed that electronic attack baton to its successor, the EA-18G Growler, with a ceremonial final take-off and flyaway from its longtime home base. It was the culmination of a two-day event honoring the legendary aircraft.
As the Navy's last operational EA-6B Prowler, bureau number 163890, rolled down the runway and lifted off, each of them said farewell in their own way – some cheered, some waved American flags, some quietly remembered fallen comrades. But all of them applauded the spirit, the history, and the operational excellence of the Navy's longest serving electronic attack aircraft and the community that has supported her.
"Without question, the arrival of the EA-6B Prowler on the carrier deck established airborne electronic attack as an invaluable, 'don't leave home without it' part of every Navy and Marine strike mission," said Rick Morgan, LCDR, USN (Ret.) and historian for the Prowler Association. "The men and women of the Whidbey EA-6B community who served her are incredibly proud of their role turning this 'little airplane that could' into a true national asset."
"Northrop Grumman salutes the sailors, naval aviators and maintainers whose service and sacrifice shaped the remarkable career of the Navy EA-6B Prowler," said Pat McMahon, vice president and general manager, military aircraft systems division, Northrop Grumman Aerospace Systems. "We're proud to be partners with the U.S. Navy, then and now, in defining and producing some of the nation's most advanced airborne electronic attack capabilities."
The departure of the last Navy Prowler from Whidbey Island, noted McMahon, does not mark the end of the Prowler's service to the U.S. military. The U.S. Marines, who have operated the aircraft since 1977, plan to keep flying the jet from Marine Corps Air Station Cherry Point, North Carolina through 2019.
Northrop Grumman is the principal subcontractor to The Boeing Company in producing the EA-18G Growler, which entered service in 2009. The company produces the aircraft's primary electronic warfare subsystems at its Bethpage Electronic Attack Center of Excellence, and provides mission systems software maintenance and support services for the jet at Naval Base Ventura County, Point Mugu, California.
The company also produces the Growler's center/aft fuselage section, twin vertical tails and integrates all associated subsystems at its El Segundo (California) Manufacturing Center.
The final Navy EA-6B fly-away culminated three days of Northrop Grumman-sponsored "Prowler Sunset" festivities at NAS Whidbey Island that included a Navy Prowler memorial ceremony, a public Prowler-themed base open house and exhibition, and much more. The weekend events were organized and produced by the Whidbey Roost Chapter of the Association of Old Crows.
The EA-6B Prowler is a long range, all-weather electronic attack aircraft originally derived from the A-6 Intruder aircraft. Its primary mission is to detect, identify and disrupt enemy air defense radar system and related communications systems in support of airstrikes.
Between 1966 and 1991, 170 EA-6Bs rolled off Northrop Grumman's aircraft assembly line in Calverton, New York on Long Island. The first EA-6B entered service at NAS Whidbey Island in January 1971 and deployed to Vietnam in 1972.
Over the years, the Prowler has been operated by the Navy and the Marines, in combat zones that included Vietnam in the 1970s, Grenada and Libya in the 1980s, Kosovo and Iraq in the 1990s, and Afghanistan, Iraq, Libya and Syria during the first two decades of this century.
CONTACT: Brooks McKinney, APR
brooks.mckinney@ngc.com
Brooks McKinney, APR
Directed Energy, Tern
EA-6B Prowler, Final Take-Off
Missing Man Formation

redpajama_set_name: RedPajamaCommonCrawl


Experiences of love and loss are heightened during wartime. These items and oral histories reveal the bonds between those who serve together. They also demonstrate just how powerful circumstance and technology can be in changing the connections with loved ones at home during a conflict, and how important sustaining these relationships is.
Part of a series of illustrations on envelopes depicting various aspects of life at the front during the Second World War. They once contained letters written by a soldier to his family in Wangaratta.
Embroidered silk postcards reached peak popularity during the First World War. Their production became a booming industry largely driven by women. The sentimental designs and handwritten notes on this set of fourteen cards reflect this soldier's love for his family and the pain of long-term separation from loved ones.
These memorial plaques were presented to the next of kin of fallen service men and women during the First World War. This penny acknowledges the sacrifice of Private William Edward Ernest Bond of Geelong. William was 18 years old when he went missing in action on 19th July, 1917.
The First World War – perhaps more so than any other conflict – is closely linked with the literature of the period. The ability of poetry to convey powerful emotions made it a fitting medium to convey the senselessness and depravity of war and to respond to grief, loss and separation. This poem began appearing on greeting cards and in Australian newspapers in approximately 1916.
This decoration was intended to honour German mother's for exceptional merit to their nation during World War II. It reflects the Reich's attempt to bridle the ideological position of women following the Weimar Republic years. This object was donated to Lara RSL by John Leslie Sollory, who was a prisoner of war following the Battle of Crete.
Postcards from the First World War often reveal the enduring devotion and passion of troops and their loved ones at home. This postcard was written by soldier William West to his wife, Alice. A collection of his correspondence with home is held by the Wangaratta RSL, offering insight into this family's personal experience of long-term separation.
Part of a series of eight photographs documenting the cataclysmic damage to Hiroshima and Nagasaki in the aftermath of the atomic bombings.
Dog tags are worn by military personal to assist in the identification of dead and wounded soldiers. These belonged to Lance Corporal Edward Francis Camm, who was born in 1904 at Dargo, Victoria and enlisted on 14 July, 1940.


FOX's Summer Is Getting Even Bigger!
The network confirms our previous reports about the launch dates for "Mental" (May 29) and "More to Love" (July 28).
MORE TO LOVE, the inspirational new dating competition out to prove that love comes in all shapes and sizes, is set to premiere Tuesday, July 28 (9:00-10:00 PM ET/PT) on FOX. Executive-produced by Mike Fleiss ("The Bachelor," "The Bachelorette"), the unscripted series follows a single average guy with a big waist and an even bigger heart as he romances several confident and secure plus-size women. As the competition narrows, he will have to decide if one full-figured lady has what it takes to become his true love.
FOX's summer slate continues to grow with the new medical drama MENTAL now premiering Friday, May 29 (9:00-10:00 PM ET/PT). MENTAL follows Dr. Jack Gallagher (Chris Vance), a dynamic, young psychiatrist who serves as Director of Mental Health Services at a Los Angeles hospital. At work he must reconcile his effective, yet highly unorthodox treatment methods with his conservative boss, hospital administrator Nora Skoff (Annabella Sciorra), a woman with whom he shares a romantic past.


text:
"What I love about my job: meeting new people, solving unusual problems, playing and experimenting with new ideas and transforming faces to accentuate individual features.
I am a great believer in individual needs and attention to detail. No two jobs are ever the same. I have a diverse skill set which has come from a wide range of work experience: from working on film sets such as Layer Cake to working one-to-one with brides.
I thrive off working in a creative industry, whilst pursing my career and whatever the future holds."
Arabella trained in Make-up and Prosthetics for the Performing Arts at London College of Fashion. She has worked as a make-up artist at London Fashion Week, Time Out Magazine, the National Theatre, and on the film Layer Cake. She has worked with celebrities such as Sienna Miller, Daniel Craig, Jodie Kidd, Nigella Lawson, Graham Norton and Gordon Ramsey. Her work has been published in wedding blogs such as Rock My Wedding and Rock 'n' Roll Bride as well as having written for Instyle. Arabella is a fully accredited MAC make up artist and has also worked for the well known luxury beauty boutique Space NK. She now works as a freelance make up artist specialising in bridal make up and hair.


Due to the resurfacing of Northbridge Oval, we will conduct our Summer Football Competitions at Chatswood High School Oval, Eddy Road, Chatswood this year.
Monday evenings, 12 Rounds from 10thSept – 10thDec, no games in school holidays, Chatswood High School Oval.
Games played between 6.30-9.30pm on Monday evenings. We play 12 Rounds starting Monday 10thSeptember (no games in school holidays).
We aim for games of 2x 20 minutes, with an earliest kick off time of 6.30pm, but game duration and actual kick off times will be subject to final number of teams registered.
Deadline for senior team registration and payment is Monday 3rdSeptember, although registrations will be closed sooner if we hit our limit. Players must be registered for insurance by Friday 7thSeptember.
Friday afternoons/evenings, 12 Rounds in Terms 3 & 4, no games in school holidays, Chatswood High School Oval.
Games played from 4.30-8.30pm on Fridays. We play 12 Rounds starting Friday 14thSeptember (no games in school holidays).
Games will be 2x 12 minutes. Kick off time will vary by week, but we aim to play the from youngest to oldest age group. Approximate timetable in table below.
DEADLINE EXTENDED UNTIL MONDAY 10th SEPT. Deadline for junior team registration and payment is Friday 7th September, although registrations will be closed sooner if we hit our limit. Players must be registered for insurance by Monday 10th September.
* Time frames are subject to number of teams in each Comp and Age Group. Some variation may occur. As a general guideline, the younger the age group, the earlier the kick-off.


text:
The Heartagram Path - HIM Approved Site - Your Italian source to Love Metal and HIM
Noah Kin's version of Join Me in Death
Created on Tuesday, 10 October 2017 20:51
Last Updated on Monday, 23 March 2020 12:27
Published on Tuesday, 10 October 2017 20:51
Written by Sweetie
Cover and article on Soundi HERE
Finnish rapper Noah Kin published on Soundcloud a cover of "Join Me in Death".
He told Soundi:" When I heard that the band was splitting up, I knew I had to give them a tribute, as a thank you for everything they gave to me in all these years, as an artist and as a person."
XMas Song available for preorder
Created on Wednesday, 23 November 2016 20:16
Last Updated on Wednesday, 23 November 2016 20:16
XMas song, the Christmas single by Andy McCoy ft. Ville Valo is now available for preorder on Levykauppa Äx. The price is 4.95 euros and the release date is December 7th.
Ville Valo and Andy McCoy about to release a christmas song
Created on Thursday, 17 November 2016 19:52
Published on Thursday, 17 November 2016 19:52
Do you remember this picture? It showed Ville Valo and AndyMcCoy at East Sound Studios, working on a mysterious project. Is about to be published (release date is still unknown, though) a Christmas single called "X-Mas Song", with backing vocals by Ville.
Original articles (and press release) HERE and HERE
No Helldone this year
Created on Friday, 16 September 2016 19:29
Picture by Mika Jussila
The band released today a press statement, announcing there will be no Helldone Festival this year (source: Helldone Festival
Dear friends, 1(2)
as a band, we had agreed right from the start that the New Year's shows would be on if, and only if, we have new songs to present you. There have indeed emerged exciting ideas for songs - all we would need was time to work on them.
You see, originally we had agreed to give our various side projects the precedence this year. In our wildest dreams we thought we could maybe manage both tasks!
First of the side projects is Linde's band Daniel Lioneye, that also has Mige and Burton in its ranks. The band's third album, appropriately titled "Vol. III", is out now and the guys are going to be touring it in the fall. The European leg of the tour will end in mid-December...
…and, you guessed it, that doesn't leave us with the time we would need to finish some new material before New Year's Eve. There would be no point in 'rush-releasing' the new songs, playing them in an embryonic state. We strongly feel they deserve more – and so do indeed you!
Hence, no Helldone shows this year.
(Oh yeah, there are also a couple of… hmm… Mystery Projects in the works. More of them later!)
HIM would like to thank you for your continuing support – see you again in 2017! Helldone will return!!
Ville, Linde, Mige, Burton, Jukka
Olet Mun Kaikuluotain: preorder
Created on Wednesday, 13 July 2016 16:15
Published on Wednesday, 13 July 2016 16:15
The new single, a 7" vinyl, will be out on August 19th. The preorder has started today on Levykauppa Äx, HERE.
Ilta Sanomat and the new video
A new cover by Ville Valo
Jukka interviewed by Savon sanomat
New article on Savon sanomat
template joomlatemplate joomla gratis
Italian site
Helldone 2009
HIM's crew
The Heartagram Path is an HIM Approved Site recognized both from HIM, the management and Warner Brothers on January 2010. THP is not a registered online newspaper; we do not violate any copyrights. If you find any material which is yours, please, contact us and we will delete it or credit it, as you wish. You can use original stuff from our site, as long as you credit us. THP is a Gossip Free site!
Tears on Tape
A2 Saint Petersburg (Russia) on Oct 21
Greenfest Krasnodar (Russia) on Oct 23
Stadium Live Moscow (Russia) on Oct 25
HIM APPROVED SITE
Ville's greetings
music playlistmyspace fetishflash mp3 players
Click to see the video
THP Friends
Natali K. Photography
Mika Jussila
Kimmo Kuusniemi
Avelina DeMoray
SadDolls
To/Die/For
EMP Partnership
The Heartagram Path is optimized for Mozilla Firefox.
Any enquiries, please contact:
2021 Home globbers joomla template


INCHEON, Korea – May 24, 2016 – Samsung Bioepis Co., Ltd. today announced that the U.S. Food and Drug Administration (FDA) has accepted for review the company's Biologics License Application (BLA) for SB2, a biosimilar candidate referencing Remicade® (infliximab), for the treatment of rheumatoid arthritis, Crohn's disease, ulcerative colitis, ankylosing spondylitis, psoriatic arthritis, and psoriasis.
SB2 is the first Samsung Bioepis biosimilar candidate submitted for review in the US. If approved, the marketing and distribution of SB2 in the US will be handled by Merck, in accordance with a commercialization agreement signed in 2013.
Samsung Bioepis' BLA for SB2 was based on Phase 1 and Phase 3 clinical studies that tested the biosimilarity of SB2 to Remicade®. In a 54-week Phase 3 clinical study, SB2 showed comparable safety and equivalent efficacy to Remicade®, as evidenced in ACR20 response rate of 65.3% in the SB2 arm versus 69.2% in the Remicade® arm, fully supporting the 30-week study results of 64.1% and 66.0%, respectively. The SB2 study randomized 584 patients with moderate to severe rheumatoid arthritis despite methotrexate therapy across 73 sites in 11 countries.


text:
DMT Quest is not a Movie
It is a MOVEMENT that will affect
everybody... everywhere
Fundraising Efforts + Scientific Research + Media Platform = Global Transformation
Founded in 2016, DMT Quest is a 501(c)(3) non-profit research and educational organization that focuses on discovering innate pathways to unveil the mysteries of human perception as well as potential. The mission encompasses truths so deep that they can seem "movie-like" at times. It signifies the ultimate quest for answers about life. It will comprise of a comprehensive, interdisciplinary study of the mechanisms related to and responsible for internal dimethyltryptamine (DMT) production within the human body. We believe that the significance regarding naturally produced DMT is potentially far greater than simply providing "hallucinatory" visions within the mind. A combination of transparency in terms of lab results, finances, open discussion, and the journey of the study in video documentary format (as well as audio/written) will provide the platform for the general public to comprehend the implications. For a more detailed synopsis and thought-process of DMT Quest click here.
Thank you for donating to DMT Quest
By John Chavez	/ December 8, 2021
By John Chavez	/ October 12, 2021
By John Chavez	/ April 15, 2021
The advisory panel for DMT Quest will comprise of people who will contribute to the project on a part-time basis in terms of providing insights and guidance on the study's protocols, results, and providing general input. We will be expanding the panel based on the need for expertise from a wide variety of perspectives.
Wim "The Iceman" Hof
Wim Hof holds 26 Guinness World Records ranging from cold endurance challenges such as climbing Mount Kilimanjaro within two days to running a full marathon (42 kilometres (26 miles)) above the Arctic Circle at temperatures hovering around −20 °C (−4 °F). Mr. Hof would accomplish both of these feats wearing nothing but a pair of shorts. In 2011, Wim would also complete a 26 mile marathon in the Namib Desert in Africa without ingesting any water. Read more >
Dr. Jimo Borjigin
Dr. Jimo Borjigin is the world's leading active endogenous DMT researcher. She was born and raised in Hohhot, the capital of the Inner Mongolia Autonomous Region of China. She received her Bachelor's degree in Physics and Master's degree in Biophysics from Tohoku University in Sendai, Japan. In 1994, she received her PhD in Neuroscience from the Department of Neuroscience at Johns Hopkins University. Read more >
Dr. Dennis McKenna
Dr. Dennis McKenna is an ethnopharmacologist, author and founder of Symbio Life Sciences. He has dedicated his career to the study of hallucinogens and psychedelics and is a founding board member of the Heffter Research Institute, a non-profit organisation dedicated to investigating therapeutic uses of psychedelic medicines. Read more >
Dr. Roland Griffiths
Ph.D., Professor in the Departments of Psychiatry and Neurosciences at the Johns Hopkins University School of Medicine, has been conducting psychopharmacology research at Johns Hopkins for more than four decade and has published more than 380 scientific reports. In 1999 he initiated a research program investigating the effects of the classic psychedelic psilocybin that includes studies in healthy volunteers, Read more >
Dr. Ede Frecska
Dr. Ede Frecska is the Chairman of Psychiatry at the Faculty of Medicine of the University of Debrecen. He received his medical degree in 1977 from the Semmelweis University in Hungary. He then earned qualifications as certified psychologist from the Department of Psychology at Lorand Eotvos University in Budapest. Dr. Frecska completed his residency training in Psychiatry both in Hungary (1986). Read more >
Dr. Edith Ubuntu Chan is a pioneering explorer of human potential and author of Amazon bestseller "SuperWellness: Become Your Own Best Healer". She is a world-reknowned explorer of multi-layered manners of maintaining one's own optimal health. Dr. Chan's academic background includes a Doctoral Degree from Five Branches University (specializing in Endocrinology and. Read more >
Anton Bilton
Anton Bilton is an international property entrepreneur, philanthropist, and a consciousness researcher. In 2015, Anton launched the Tyringham Initiative (TI) as a world-class think-tank for the evolution, expansion and deeper understanding of the human experience and potential. Between September 2015 and September 2018, Read more
Dr. David Luke
Dr David Luke is Senior Lecturer in Psychology at the University of Greenwich where he has been teaching an undergraduate course on the Psychology of Exceptional Human Experience since 2009, and he is also Honorary Senior Lecturer at the Centre for Psychedelic Research, Imperial College. Read more >
Dr. Mauro Zappaterra
Dr. Zappaterra graduated from Harvard Medical School with an MD and PhD and now specializes in Physical Medicine and Rehabilitation with a particular focus on regenerative medicine, neuro-rehabilitation, neuroplasticity, musculoskeletal medicine, and pain. He completed his PhD doing work with neuronal stem cells and the effects of the cerebrospinal fluid (CSF) in brain development and in the adult. Read more >
Dr. Andrew Gallimore
Neurobiologist, chemist, and pharmacologist interested in the relationship between psychedelic drugs, the brain, consciousness and the structure of reality. Currently based at the Okinawa Institute of Science and Technology. Read more>
Dr. Jason Wallach
Dr. Jason Wallach is a research scientist and has particular interests in endogenous hallucinogens and analytical characterization and pharmacology of psychoactive substances. He is a professor at the Cooper Medical School of Rowan University teaching courses in pharmacology, clinical psychopharmacology and physiology. Read more >
Dr. Ovidiu Brazdau
Hello! My research is focused on studying intentional evolution, developing the Consciousness Quotient Inventory (CQ-i), and introducing the conscious experience as a research variable in psychological assessment.
Dr. Robert Davis
Robert Davis is an internationally recognized scientist in his field, and served as a professor at the State University of New York for over 30 years. He graduated with a Ph.D in Neuroscience from The Ohio State University. Read more >
PROJECT FOUNDER
John Chavez
I'm just a guy that believes that distinct changes in perception and "supernormal" abilities can be converged into a demystified conversation. Based on my experience, I do believe the world can change quickly and profoundly once the subject has been developed to it's fullest potential. In 2019, the connectivity of inspired minds across the world will assist in creating a new conversation about what we think we know about this world and our places in it.


With our Travel Now, Pay Later product, you can spread the cost of your holiday, flights, hotel, cruise or tour… you can even book a last minute getaway and pay the balance when you return over 6, 10 or 12 months.
£1 to £100000 only please!
Flexible Repayments... Safe and Secure... Face and Easy!
Simply call our fully trained cruise specialists and will take you through the application process in under 5 minutes.
Terms & Conditions Apply. Holiday price correct at time of print. Barrhead Travel Service Ltd is registered in Scotland SC057208. Registered office: 190-194 Main Street, Barrhead, Glasgow G78 1SL.
Barrhead Travel Service acts as a credit broker and only offers credit products from Omni Capital Retail Finance Ltd. Barrhead Travel Service Ltd is authorised and regulated by the Financial Conduct Authority. Our registration number is FRN 680958. Credit provided subject to age and status.


I was on a short holiday with my family last week when I was alerted to a breaking story about Taylor Swift changing her contract..
Various people claiming "You've won, she's backed down", "Well done!" "Great to see her knocked down a peg or two"…… Well, let's slow down a bit..
She said the right thing, at the right time. Just under the wrong circumstances.
My open letter to her was nothing personal, and musical or personal taste had nothing to do with it (for the record, I quite like some of her songs). I've seen many comments on my own blog and many other articles criticising her personally for her songs or her looks, and her background. These comments are completely unfair, unwarranted and not only do they not reflect my own feelings, they do nothing to help the issue at hand – Photographers being forced under economic duress (and in one case for myself, actual physical duress) to sign unfair contracts in order to carry out their work – AFTER they have already been accredited and received confirmation that a photo pass will be issued.
Anyway, being away from the computer, I hadn't had chance to examine the alleged new contract, and let me first of all issue a caveat here – I have not been provided the contract by any "official" source – no-one from Taylor Swift's management or representatives have spoken to me directly since my open letter, so I can not claim this contract is genuine or if it is being presented to press photographers as at the time of writing. I have seen several articles questioning the authenticity of the 2011 contract I published in my original post – I can categorically state that it IS genuine (and less severe than the 2015 contract), and was supplied to my commissioning newspaper by Taylor Swift's UK PR company back in early 2011.
So now I'm back in my office and had time to study the contract in detail and will publish my thoughts on the revised contract.
Before I do that however, let's understand the industry we're talking about – concert photography. Many die-hard Taylor Swift fans seem to think of concert photographers as 'paparazzi', or 'parasitic scum' as one put so eloquently, seemingly sucking a living off the talent of "real artists" and having no skill of our own. Or they thought of ME as paparazzi scum at least. I'm not paparazzi, and never have been. I have no interest in stalking celebrities to take photos of them buying a pint of milk, thank you very much. Anyway, clearly, they didn't read my second post on the subject which explained how the access is granted in a fair exchange for the expectation of publicity, and that concert photographers help provide and maximise the coverage that the artist achieves in newspapers and magazines (and which they are paying a publicist to help achieve!).
1. The "Work for hire" or Tour Photographer. Where a photographer is paid to photograph a show, or any number of shows along the tour, and paid a mutually agreed fee. Rights are negotiated – though usually bigger names try to have all rights assigned, including copyright, so the photographer effectively gets paid once, and can't do anything with their photos again – they effectively belong to the artist or management. Occasionally, photographers retain copyright and may grant the artist 'exclusive' rights, maybe in perpetuity, sometimes with a time limit of 6 or 12 months, after which the photographer is free to license the images to other clients – save for advertising or commercial use.
This type of concert photographer is NOT the subject of the 'unfair contracts' issue – as there is opportunity for both parties to negotiate terms well in advance, and the photographer is under no pressure to sign an unfair contract due to commitments made to their existing clients, which may include newspapers or magazines.
2. The "Staff Photographer" Where a publication, such as a newspaper or magazine sends an employee to photograph a concert. The photographer is paid by the publication, regardless of them getting in to the show or getting any usable photos. Naturally, they will be under some pressure to make sure they do their job, but put a contract under their nose and some of them will sign it – because it makes no difference to them or their paycheque. The copyright in their photos belongs to the publication, as they are employees. However, many of these contracts are legally binding documents, and most staff photographers are not authorised to enter into them on behalf of their employers, but some of the staff photographers I know don't care – and don't believe the contracts are worth the paper they're written on.
3. The "Agency / Freelance" Some agencies like Getty, or Press Association use a mixture of freelance and staff photographers. Again, staff photographers will get paid a shift rate and the copyright belongs to the agency. Freelance, or contributing photographers only get paid when images are published, and the agency takes a percentage of the sale – typically 50% (Getty currently takes 65% from the photographer). A contributing photographer usually shoots on spec – they will seek out their own accreditation, usually under the name of the agency with their permission, and cover their own out of pocket expenses the entire way. This includes all equipment, lens hire if necessary, insurance (including public liability etc). The contributor earns nothing except for what they make in royalties, so if a picture isn't published, the photographer earns nothing – despite whatever expenses they have incurred. Sometimes, a photographer may need to hire a long lens for particular jobs. There is little point buying a lens for £8,000+ ($12,000) when it might only be used 5 or 6 times a year, so it's much more sensible to hire one for less than £100 a day… but that hire cost still needs to be paid, and this may take more than one picture sale to even recover this cost, before you make any profit!
4. The commissioned "Freelance" or "Stringer" Usually the same photographer as #3, but who has a regular commission from a client to provide them with pictures to accompany reviews. Sometimes the publication will ask for a specific event to be covered, and may, or may not choose to pay the photographer for attending, but usually it's still only payment on publication. This type of photographer has the pressure of having to fulfil their clients expectation of pictures. If they do not provide the pictures the client has requested, they may damage their relationship and could stand to lose the trust of the commissioning editor. The unfair contracts presented just before a concert put the photographer in an extremely awkward position, one of "economic duress" – where they stand to potentially damage their reputation, lose a client, or incur unrecoverable expenses if they do not sign the contract placed in front of them.
It is important to remember that NONE of these types of photographer are 'paparazzi', nor are they getting rich off the artist's talent in return for nothing. Remember, they are ALL shooting for "EDITORIAL" use – not merchandise, not mass produced posters or unauthorised mouse mats etc. The photo passes are provided on the basis they are used by MEDIA organisations for editorial coverage.
If you look on eBay for concert photos – you will usually find sellers with CD's full of concert photos… These are not photos taken by those with photo passes, but by FANS. Fans who take cameras in to the shows and take hundreds of photos during the whole show.. have no idea what a good photo looks like, and doesn't care if the singer has their eyes closed, tongue out, and traces of cocaine all around their nose.. those shots will be on the CD.. with no contract having to be signed. Yet the professional photographer who tries to present the artist in a positive light in every photo is expected to give up the rights to their work, and be lambasted by the very fans that actually ARE profiting from unauthorised photography. I am freelance – both #3 and #4. I license images directly to clients, I also syndicate my work through agencies where syndication is allowed. I am also commissioned directly by clients who expect me to supply images when they need them, but still only pay for what they publish. I have also been #1 but having a family restricts my options for this work. Being self-employed, I have to pay for my own equipment, my own software, insurance, and expenses. I also have a mortgage to pay, and since this is my "day job", I have nothing to fall back on if I can't work. If I can't work due to a restrictive contract, I have no chance of getting paid.
Back in 2011, I was asked by The Express and Star newspaper to photograph Taylor Swift at the LG Arena in Birmingham, United Kingdom. I was sent a copy of the contract, and I refused to agree to let my photos be supplied to Taylor Swift for her free use. As a freelance, I retain my copyright and license my work to the newspaper, so without my permission, the newspaper does not have the right to give my photos to anyone else. However, I still had the risk that if the newspaper didn't publish a picture, I would not be paid and I'd have had a wasted journey and out of pocket expenses, due to the 'one time only in the above publication' clause.
Fortunately, they did run a picture.. on the front page of the morning edition..
But by the time the first edition had been printed, the Hollywood legend Elizabeth Taylor died, so by the afternoon, most of the newspapers were dedicated to the life of a different Taylor. Thus, if it weren't for the newspaper having a first edition, then none of my pictures would have been used, I'd be unable to license the photos to anyone else, not even other local newspapers in the neighbouring regions, and I wouldn't have been paid a single penny for my work the previous night.
This is why I object to Taylor Swift's contract (and any other contract with similar restrictions). The above clipping is an example of why concert photographers are important. They DO provide publicity and coverage of the artist. A few people say the artist doesn't NEED publicity.. this may be true to an extent.. There will be times when an artist doesn't necessarily need it, but I guarantee, there will ALWAYS be a time that they DO need it. Taylor Swift didn't get to where she is today without the media helping to increase awareness of her. If they don't need publicity – why hire a publicist?
Publicity is important – it doesn't matter HOW big the artist is, publicity is good.. When an artist embarks on a new tour, their publicists usually engage the media to run 'preview' pieces in order to raise awareness of the impending ticket launch, or album. I frequently get emails from press officers promoting their roster and many expect their carefully crafted press release to be reproduced on the pages of a newspaper or on my blog. A photograph from last night's show is unlikely to help sell tickets for tonight's show, granted – but in 18 month's time when the artist is planning to return to the same city and tickets are about to go on sale, reproducing a photo from the previous tour along with a preview piece about the upcoming tour certainly will. Unless the contract prevents publishing a photo more than once of course.
And should anyone doubt the artist's need for publicity, less than two days after the above front page, Taylor's UK PR emailed me and asked if I could help get them a copy of the newspaper with Taylor on the front as they needed to send it to Taylor's team – they'd requested a copy, but had been sent the late edition which only contained Elizabeth Taylor.. so yes, they DO want the publicity, and they PAY publicists to prove they're getting it!
But – I digress, and I'm in danger of making this post a victim of TL&DR… so let's examine the alleged new contract from Taylor Swift's team in detail, and see how it affects the various types of concert photographer.
Again – I have not been contacted by any representatives of Taylor Swift, so I cannot guarantee the authenticity of this contract, which was obtained exclusively by Mashable.com – but assuming it is genuine, let's see go through it.
So they're guidelines – not explicit terms? "Guidelines" are recommendations, not enforceable requirements.. This seems a bit loose for a contract, but this is me splitting hairs.
A couple of issues here.. firstly, no photographer has the right to grant permission to use someone else's copyrighted work – This term requires the photographer to grant Taylor Swift or FEI permission to use the property of the publication.. No photographer has the right to allow a third party to use their employer or commissioning publication's intellectual property. By agreeing to this contract, the photographer is potentially opening themselves up to liability for copyright infringement. The photographer is not likely to write the words. Staff photographers (#2) don't own the copyright to their photos, and freelance photographers (#3 & #4) have no authority to allow any reproduction of their client's material either.. More seriously, this COULD result in Taylor Swift being liable for copyright infringement as well – I'll explain in a moment.
The second sentence has a problem though.. "That you published". Photographer type #2, the Staff Photographer is an employee of the publisher, but is not THE publisher. The freelances, types 3 and 4 aren't publishing the images.. but licensing them to the publisher and even further removed from the publisher. Therefore, since the photographer has not published anything, it could be argued that this clause cannot apply to the photographer.
It's hard enough trying to get publications to give us a byline in the first place, let alone let us put our watermark on the actual image. It's good that they intend to give proper and full credit to the photographer, but really, if they intend to post just the photograph outside of its original context (i.e. without the whole review), then the photographer should be paid. It's an entirely new reproduction of the image and should be licensed as such. If they intend to publish the whole article, then the photograph is incidental to that – but again, the photographer cannot grant that permission – it would have to come direct from the publishers.
This contract does NOT transfer copyright away from you, the photographer or publication.
Sensible, and reassuring. However, this could still leave Taylor Swift and Firefly liable for copyright infringement. Here, they are acknowledging that the copyright remains with the photographer, OR publication.. but they are asking the signatory of the contract to grant them permission to use copyrighted material which may not belong to the signatory. So what if a freelance photographer (#3 or #4) signed the contract, owning the copyright to the photographs, but not the published article or review. If a staff photographer (#2) signed the form, then the copyright to the photographs belong to the publication as well.. so if Taylor Swift then reproduces the review or photograph, the publication would have their copyright infringed and have a case. So Taylor Swift has a contract with the photographer? She would still be liable. The fact that a contract exists between her and the photographer does not automatically give her any rights to material which the photographer doesn't own. The photographer can not assign or grant rights to intellectual property he/she does not own, and thus it does not prevent Taylor Swift being liable for copyright infringement. It may well mitigate the circumstances, but since the copyright owner (the publication) has not explicitly granted permission to Taylor Swift, she is legally liable for the infringement if she publishes the copyrighted work.
I have had cases where a third party has infringed my copyright believing that a contract that existed between them and my own client (which stipulated my client had a requirement to supply the third party with images), they would not be liable when my client gave them MY images to use outside the scope of their original license. Both parties eventually discovered that is not the case, to their great expense, that no matter what contract exists between themselves parties, it does not mean the copyright owner is bound by it, or that the rights are transferrable as a result of that contract.
1. You will only take photographs of the performing artists during the first and second songs of the concert in the credentialed media area, and you will not use a flash or lighting device while photographing the performing artists. You will not access any other area without permission and accompaniment by management.
A perfectly reasonable condition. Typically we are given 3 songs to work in, but this is not set in stone. Sometimes we can shoot whole Shows, sometimes it's a few seconds, or a couple of minutes – depending on the artist. This is a challenge that we have to accept and just do the best we can. Sometimes, even a couple of minutes is too long, when it's a performer who is fairly static, with no costume changes or variety of movement.. you're never going to get anything different even if they give you the whole set to shoot.. so this is fine. Yes it would be nice to have the option to shoot a whole show, but the audience who paid for a ticket don't want to be distracted all night by a group of photographers vying for the best shots of the evening, so this is a fair compromise, in my personal opinion.
2. Any photographs taken by you will only be used by the organization you represent and its website for news and information/editorial purposes, and you will not use the photographs for any commercial purpose unless you receive prior written permission from us. This use will be for news or information/editorial purposes by the organization listed below and on its associated websites.
Again, perfectly fair. Although the phrasing here now says "organization" rather than publication, it implies the images can be syndicated by agencies, for editorial use only.. however, my understanding is that Taylor Swift does not allow agencies or syndication, except by Getty Images – so for "organization" in this clause, I read as publication. Who does "us" refer to in this paragraph? Is it the publicist who has sent the contract to the photographer, or is it Firefly? How do we contact them? There is no address or email contact listed on the contract.. so how can you even begin to seek permission?
3. Neither you nor others are allowed to use the images or names of the performing artists for any commercial purpose whatsoever, without prior written authorisation from FEI. Credited photos used by the publication can be used the photographer's website and portfolio.
Secondly, the wording also means that the photographer can ONLY use the pictures that the publication uses IF the picture(s) are accompanied by a credit – So if the publication doesn't print a by-line with the picture, this clause prevents the photographer using the photographs in their own website or portfolio.
4. You and your Publication release the performing artists, FEI and their agents, related entities as well as the entities' officers, directors, employers, contractors, and agents, from and against any and all liability of any kind arising out of this agreement and your attendance at the Concert.
5. The terms of this agreement are binding upon you, the Publication, all successors, representatives and agents. You do not have the right to assign the terms or rights hereunder.
Now, I'm not a lawyer, let me make that clear.. but I have a strong feeling that a third party can't be bound by a contract that I sign without their authority. I have absolutely NO authority to bind a publication or anyone else to a contract that I sign. Simple as.
Now Taylor and FEI may assume that this will protect them from copyright infringement if they then go on to publish a photo belonging to the publication, but no, it won't. It doesn't matter WHAT contract exists between me and Taylor Swift, it doesn't remove liability for copyright infringement of a third party, EVEN IF I SIGN THIS CONTRACT. The contract exists between the photographer and Taylor Swift/FEI – NOT any third party who may not even be aware of the existence of it. I cannot therefore assign rights I do not possess to someone else under the nose of the rights owner.. that is pretty simple to understand, right, even if, like me, you're not a lawyer?
6. If you or the Publication breach this Agreement, all rights will be immediately rescinded. You acknowledge that any unauthorized use of photographs or use of unauthorirzed images taken at the Concert may cause irreparable harm, injury and damage to FEI and Artist; and FEI and Artist may be entitled to equitable relief in addition to any other remedy. You understand that if you violate the rules of this agreement at the concert, you may be asked to leave the concert or credentialed media area, and that security may ask to view your images. If it is determined that you have taken photographs beyond the rules of this agreement while at the concert, you may be asked to delete those images.
I disagree with the part "you may be asked to delete those images" – I would NEVER agree to delete images under those circumstances. What they are asking you to do is effectively delete evidence you may rely on, IF any legal action were to be taken against you. If, for whatever reason – lets hypothetically say the artist swung a mic around and accidentally knocked out a fan in the audience and they blame a photographer who, rightly or wrongly, was taking a photo outside of the agreed number of songs.. That photo may be very important for the photographers defence.. it may even be vital for the ARTIST's defence if it turned out to be the fault of the fan who was struck. Not even the Police have the authority to delete photos from the back of a camera, without a court order. They can ask you to delete, but they can not force you, and I wouldn't recommend you agreeing to delete.
We certainly hope you enjoy your experience at The 1989 World Tour. Please let us know if there are any questions or concerns that we can address during your visit with us.
It's all very civil, very polite, and a grand gesture… but HOW do we contact you?
So how does this contract affect the different types of photographer?
Well, this contract won't apply to the Work For Hire (#1) or Freelance/Agency (#3) – as the tour photographer will have a different contract entirely. Agencies are not normally allowed at Taylor Swift shows, so this particular contract doesn't apply to the agency photographer either.. Getty (effectively the "Tour photographer" on The 1989 World Tour) may have to sign this contract, but since The 1989 Tour photos in the Getty library are credited "Getty Images for TAS", I suspect they have an exclusive licensing deal between them, and subject to a different photo contract.
So – this leaves the staff photographer, and the commissioned freelance photographer. The staff photographer isn't affected, whether they sign it or not. Most will be told they can't sign contracts like this for legal reasons, but they aren't usually going to face any consequences if they choose not to sign the contract and walk away from a show.
The freelance photographer however, who has been commissioned by a newspaper to get photos faces a dilemma.
If they don't sign the contract, they walk away with no pictures. This means they don't get paid, and the publication don't get pictures that they were expecting. This could lead to the publication losing faith in the photographer, and the photographer could lose future business or lose the client entirely.
If they DO sign the contract, the photographer is implicating the publication in a legally binding contract. I have already raised the issue of the legality surrounding this.. I personally don't believe that the publication CAN be bound by the contract unless it explicitly authorises the photographer to act on it's behalf – but either way, I see there being a huge loophole which could leave the photographer, the publication, or even the ARTIST with a big legal bill. Even so, signing it leaves the photographer with the risk of the publication still not publishing a photo, and the photographer still not getting paid, nor being able to use ANY photo in their portfolio – making it just as worthwhile to not bother signing the contract in the first place.
Remember – I am not a lawyer, but I have concerns over the wording and implications of this particular contract having had time to study it in detail. How can photographers be expected to understand, agree, or even negotiate contracts like this that may be presented to them with as little as 5 minutes before an artist takes the stage?
I understand artists, including Taylor Swift, wish to control their likeness and their brand. I support that. I also respect the artist's right NOT to allow photographers in to their concerts, I have no problem with that – I have no automatic right to be allowed to photograph ANY concert in a private venue, and if they want to close the books and hire a tour photographer, or have no photos at all, I'm still cool with that too.
I also respect the artist's right to restrict my photos to be licensed to one commissioning publication (sometimes referred to as "no agency/syndication", or "commissioned publications only").
However – when I am approved, accredited, and authorised to take photographs of a concert, I am also entitled to retain ALL rights to my work, to be granted the same legal protection as any other person, to be allowed a safe working environment (not placed in the middle of a drunk and violent crowd) rather than a secured area), and I should be entitled to show my work on my website, or in my own portfolio, and for the publication that commissioned me to be able to reproduce my photo as often as they see fit, so that I can get paid accordingly for each extra bit of publicity generated for the artist – especially if that publication has to be my exclusive outlet for that set of photos.
Thankfully, Taylor Swift has shown some compromise with the terms of her contract – but I don't believe it goes far enough to protect the interests of freelance photographers, especially those who may have been commissioned by a publication. A lot of newspapers are shedding photographers lately and hiring them on a freelance basis, so the role of "staff photographer" is becoming more scarce and the publications are relying more on freelances. I also wonder if this contract might just leave her open to unexpected liabilities for copyright infringement?
Is a contract really needed? What is a fair contract?
There really isn't any need for a contract – the photographers apply for a photopass to the artist's PR or press office, giving details of who the photographer is shooting for and between the PR and management, they decide who is granted access to shoot the show.. but access is granted on the basis that the photos are to be used for editorial purposes only. They are not normally given to photographers who just want to shoot a show for the fun of it, or to produce merchandise from..
If anything, tighter controls should be placed on the allocation of photo passes in the first place, rather than tighter restrictions on the working professionals that are accredited and trying to earn an honest living.
Thanks for reading, and if you read the whole thing up to this point, please feel free to comment and share your opinion.
If only Artists would respect photographers, and of course all photographers were to respect the artists, none of this nonsense would be necessary. I am astounded that Musicians and their management teams think it is perfectly acceptable to take control of photographers in the way that some of them try to do.
The photographer and artists agreement that Jason posted seems so reasonable. Why isn't it the industry standard?
I skimmed the article, I photographed her friday night for a large Newspaper, I am a staff photographer…and yes the paper published a few photos as it was a very tight deadline. My favorites now sit on an external HD… the opening acts will never see the light of day either… I am frustrated and confused by the contract. I would like to post some photos that were not published (and yes I own the copyright) on my social media page for friends and fans to see and am hesitant… Also, I am glad you spoke up regarding the contract and can't believe it took so many years for it finally to be an issue, bravo to you!
Maybe your publication might be willing to put a small gallery on its website, even if only for a day? Technically the images then become published and you're free to use them on your site?
I am not a lawyer either, but… if we read carefully §3 which says "Credited photos used by the publication can be used on the photographer's website and portfolio.", we notice that it doesn't really say "only credited photos". Unless there is something I've missed, it does not say anything about the other photos, and it should therefore not prevent you from using them as well…?
they made a very small gallery (about 5 images).
Once again a well considered response. Maybe one day artists and their PR companies will get together in a similar considered manor and agree to a contract like that outlined by Jason, however I won't be holding my breath. Taylor's people could have made the changes they did in the week following the initial open letter but dragged their feet and only just sorted the amendments. I'd like to think it was in response to Jason's open letter but I suspect it was as much to do with the negative publicity generated by other publications who took a stand against the abuse.
Thank you … very well written and argued. I'd like to hear from a lawyer about when or if a contract may be voided if any of its fundamental terms are illegal.