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I have had a good, but difficult day in some ways.
I am completely beyond knackered. I am so tired that I was falling asleep standing up this afternoon and I think that is quite an achievement! Most of my friends will know that when I am this tired then anything out of what I expect will throw me. This is kind of OK when it is small things, but not so good when it potentially could upset people you love and don't want to hurt. That's kind of what happened this weekend. I survived the day, and had a good time, but I have also been quite grumpy and the worst bit is that I know I have been. I had to go back to the car for a little sleep in the middle of the afternoon because I had reached the point of just not coping.
It's just hard to manage a new job which is incredibly challenging whilst trying to run a home and give quality time to The Mister and all the other people who want a piece of my time. I could do with curling up into a ball and hibernating tomorrow. Sadly that isn't going to happen.
The Constant Gardener by John le Carre is a cracking read. Justin Quayle is a British diplomat in the High Commission in Nairobi. His wife Tessa is investigating, along with her Dr friend Arnold Bluhm, the use of a drug for TB which is causing the deaths in many people. The drug is effectively being trialled in Africa, on people 'who don't matter' so that it can be released in the Western World with no side effects. However, Tessa and Arnold are murdered and Justin sets out to investigate their deaths, whilst trying to avoid being killed himself. This is a great read, very exciting and a real page turner. My only complaint is that it is sometimes hard to know who is narrating the story and I had to re-read a couple of bits to make sure I was understanding. I have also seen the film of this novel and have to admit that it was really well done and worth a watch.
The Last Anniversary by Liane Moriarty is a quirky and charming book and I really enjoyed it. Connie Thrum is the rather determined matriarch of a very unconventional family who live on the rather gorgeously named Scribbly Gum Island. For years she and her sister and other relatives have hid a huge secret. When Connie and her sister Rose were children the found a baby in an abandoned house. The parents had just disappeared and a marble cake was cooling on the kitchen table. Over the years they have used this 'mystery' to make lots of cash and the baby grew up in the care of the sisters and she was rather aptly called Enigma. When Connie dies she leaves a few rather surprising bequests, including leaving her house to Sophie, the ex-girlfriend of her sister's grandson.
The reason I loved this book is that it was easy reading and had really gorgeous characters. The story was quirky and random and really quite unexpected. I loved it.
At A Time Like this by Catherine Dunne is quite a slow read. Four women gather together for a meal to celebrate their 25-year friendship. The book jumps about between time periods and is narrated by all the different women which made it both quite annoying to read, but also quite disjointed. I think sometimes this style works and sometimes it doesn't – unfortunately it was the latter in this case. I found the characters shallow and selfish and I just didn't feel that I would want to be friends with any of them!! Anyway, it passed the time of day whilst I commuted. It will go back to the charity shop now!
The Infidelity Chain by Tess Simpsonis a pretty good read. Two married people (married to each other I mean!), Jackson & Ella are having an affair with each other. In their opinions all is going well until Ella's husband dies and things change dramatically. This book is narrated both by Ella and Jackon, but also by Jackson's wife and daughter. It's a clever book in that you find the same conversations repeated in the next chapter, but from another person's perspective. It quite clearly shows that infidelity is not only a bad idea, but that it affects so many more people than just those directly involved in the affair.
Where Rainbows End by Ceclilia Ahern is a sweet little book. The whole book is written in the form of letters, emails and msn messages which makes it really quick to read. Starting with the friendship of Rosie and Alex whilst they are still at primary school the book follows their friendship and their love lives right through until they are 50. All the way through it I spent my time wondering why they didn't pull themselves together and have a relationship… finally it all works out in the end. A very typical chick lit book but I like the way Ahern writes – she is one of the better authors!
The Secret Friend by Chris Mooney is crime fiction, in the same ilk as Kathy Reichs and those sorts of authors. Two girls go missing and many years later their bodies are found. No-one knows where they have been and who might have killed them. Another girl goes missing and the race is on to try and find her before she has the same fate as the other girls. Add to that one renegade ex-FBI agent and it makes it all even more exciting. A good book, not quite in the same league as some of the other crime writers, but a good story all the same.
The Good Guy by Dean Koontz is a thriller and a bit of a page-turner which made it quite a quick read!
Tim Carrier is sitting in his local bar having a beer when a man comes in and clearly thinks he who someone who has been hired to kill a woman called Linda. Being the model citizen he is he decides to warn this woman and there starts a game of cat and mouse. Pretty exciting read and I enjoyed it.
Brother Odd by Dean Koontz is, quite frankly, an odd book.
Set in a snowbound monastery the main character is a man called Odd Thomas. He has a psychic gift and sees all sorts of evil and demons and to be honest they seem to follow him all over the place! He gets the sense that something dreadful is about to happen and he is in charge of stopping it. It was a very exciting story, but also very, very peculiar. At times I found myself really confused by what was going on. The cross-over between what was the real world and what was the spirit world was sometimes not so clearly defined, but it was a fascinating book.
Apparently this was the third in a trilogy about Odd Thomas, so maybe I will read them in reverse order!
The Secret Life of Evie Hamilton by Catherine Alliott is good chick-lit. I know some people might think that is an oxymoron but it really is good chick-lit. So often books in that category are predictable and the characters are either nasty or nice but nothing in between.
Evie Hamilton is a privileged middle-class mother of one daughter, married to an Oxford don living a rather charmed and easy life. Things get complicated when her husband finds out that he has another daughter, conceived after a one-night stand when he was engaged to Evie. The book shows Evie spectacularly losing it, but also eventually coming to terms with the situation and the characters are lovely. I feel like they could be people I know. I enjoyed it. A good read!
The Cellist of Sarajevo is a truly beautiful book. Whilst the book follows the fictional lives of three people living in Sarajevo during the siege the cellist is based on a the real-life story of the cellist who sat and played in the burned out mortar crater for 22 days following the deaths of 22 people who were queuing for bread. He played the beautiful and haunting Albinoni's Adagio, risking his own life but serving as a memorial for the dead. The book is sad, and, I suspect, shockingly accurate with regards to the atrocities that happened in the city. Well worth a read.
I thought the book Anyone Can Do It by Duncan Bannatyne would be really quite annoying and I would just found him very arrogant. I have to admit that at some points this thought did cross by mind, but the book also made me laugh and I found him very inspiring. One of the things I was most taken with was that Duncan Bannatyne was still bumming about on a beach in Jersey in his thirties and he didn't actively start pursuing a business profile until after that. He is a true entrepreneur and he has invested in many different businesses over the year – he sees a gap in the market and gets on with it. One his most impressive investments was his business in the nursing and care home market – he wanted to build homes that were efficient but also compassionate. He also briefly mentions his charity work but didn't dwell onto it too much. One of the only complaints I had about this book is that the grammar is dreadful and he needed a decent proofreader! Think I might move on to reading the rest of the books written by the Dragons.
I can decide whether Bee Season by Myla Goldberg is an extraordinary book or a strange one. Maybe it is both.
The book is about the Naumann family. A Jewish family whose daughter, Eliza, enters the school spelling bee and ends up going to the national competition. The first half of the book is about her journey from being fairly ordinary to a spelling genius. She always feels second place to her older brother, but her talent for spelling gives her some sort of kudos.
The second half of the book shifts to becoming a story of the individuals who are trying to find enlightment. Her older brother Aaron turns against the religion of his birth and joins the Hare Krishnas and spends his time chanting whilst wearing saffron robes. Her father introduces Eliza to the writings of a Kabbalist mystic and she begins her only journey, chanting on words. Their mother is a kleptomaniac who has a breakdown.
It really is an interesting book but I found it quite hard going in places. An interesting read in lots of ways. The Jewish aspects of family life were interesting and it was quite a deep thinking book. Good stuff.
The Dead Room by Chris Mooney is a pacey crime novel. It sees the return of Crime Scene Investigator Darby McCormick. She is called to investigate the murder of a woman in front of her 11 year old son. He doesn't die but tells Darby that he knows that his grandparents had been murdered too and he knows who did it. Then he tries to kill himself. The book is the unfolding of this case but also involves police corruption on a grand scale. A fairly straightforward but good read.
This is a particularly attractive photo of me… circa about 1986/1987 (I think). I am posing with my clarinet wearing my Guernsey Music Centre tie. The fringe is dire don't you think?
I was reminded of this picture (which my Dad kindly showed during his speech at my wedding!) when I was watching the TV programme on Channel 4 called Orchestra United. Basically a conductor is taking young people who play instruments, but who have no opportunity to play in an orchestra, and turning them into a concert orchestra. I loved watching it… loved seeing how the kids were passionate about their music, and also how much they started to learn through playing with each other. I love that they recognised that whilst some of the kids weren't musically brilliant, they had potential.
Growing up in Guernsey we were extremely fortunate to have access to the most fantastic music service. Admittedly we worked really hard, from about 10am-3pm every Saturday, but I played in a Youth Orchestra, Concert Wind Band, Clarinet Choir and sang in the Guernsey Girls Choir and Guernsey Youth Choir. We had music and singing lessons, and aural and theory lessons were also included in the package. It was hard work and took up a lot of time, but when your best friends also play instruments and are in the same orchestras than it doesn't seem to matter so much. It was fun, we had inspiring teachers and we worked hard but I wouldn't have changed it for the world.
Music made such a difference, both to my social life but also to my confidence. Since moving to Leeds I have been on a 10-week choral singing course and have loved it. I am still contemplating whether I will have the time to commit to a choir at the moment, but I have realised how much I love being in a choir. Music has always mattered to me, but there is something particularly special about working hard at something with your friends and achieving something great. I am looking forward to seeing whether Orchestra United manage it.
Well The Mister and I went to London at the weekend. Even though I didn't live in London before I used to go in every now and then. I hadn't realised how much I was missing it until I went back. We went to stay with Cal and it was fab to catch up, we drank wine, gossiped and wandered around near her flat. It was lovely!
On Saturday we went to the Maps exhibition at the British Library with a few people from the Ship of Fools. That was follwed by a little lunch somewhere-or-other (no idea where!) and then The Mister and I went to HMS Belfast. I felt like we should actually go and do something touristy! HMS Belfast was really interesting although the slight swell coupled with going up and down ladders into the bowels of the ship made me feel quite queasy.
On Saturday evening we went to see Penn and Teller at The Hammersmith Apollo. I didn't massively want to go, but I have to say that it was AMAZING! They were so clever and funny and I just couldn't take my eyes off them when they were performing their illusions and tricks. It was brilliant! So that ended an extremely long and very full day.
On Sunday we went for a little wander in the morning and then The Mister and I made our way to the train, via a little lunch with a couple of my cousins. We travelled back to Leeds in First Class. I never want to travel cattle class again.
It was such a fab weekend. The perfect mix of seeing friends, going to fab events and having some time to ourselves. Perfect!!!
Last weekend The Mister and I went to the Garforth Arts Festival along with Tom and Anne and the boys. We had no idea what this would be like. The website had very little information on it and all we knew was that there were some good artists playing. What we found was a rather brilliant local festival. Most of the afternoon was taken up by performances from the kids at the school and their various bands, and some of them were very, very good. They also had a parade of African music and dancing as the school is affiliated with a school somewhere in South Africa.
In the evening Oompah Brass played, dressed appropriately in lederhosen but rather less typically playing pop songs. The London Community Gospel Choir played and as always they were brilliant, followed by the rather bizarrely named Get Cape, Wear Cape, Fly who was pretty good and the evening was topped off with the brilliant Seth Lakeman. I am still amazed that they managed to get him to play at such a small, local event but it was fantastic.
All in all it was a fab day. Great music, lovely weather and the chance to spend time with some of our best friends and their funny children. Matthew and Andrew kept us entertained all afternoon by dancing (oh and Andrew shuffling along on his bottom and thinking it was hilarious!) and baby Mark was just…. cuddly!
The Mister and I have had a really nice weekend at Waddington Airshow. It is a gonormous airshow with a huge static display and a great flying show. The Mister was pant-wettingly excited to actually get to see the Vulcan fly. Every airshow we have been to he has hoped that this plane would actually make it, and so far it has been absent. This time however, he was fortunate to see it (yeah it was good, but I am still not sure what is actually so great about it to be honest!) One of my favourite bits of the day was seeing a swing and jazz female harmony group called The Manhattan Dolls – they were brilliant!
We also saw the Red Arrows who are always brilliant but they were missing one of the planes this time which made every formation look wonky and just not quite right. Anyway, we had a brilliant time and we stayed on the campsite next to the airshow which means we got to watch a bit more of today's display whilst we were packing up (in gale force I might mention!) It was a great weekend, although The Mister and I have discovered that we are both grumpy little shites when we are tired and hungry!
I think Barnabas likes his birthday present from us!!!!
Look here for the video.
Well our lovely nephew Barnabas is one year old today. He is so gorgeous and a real little pickle and I miss him loads.
The pain of not having children certainly hasn't receded with him coming along, in fact in many ways it has made that pain more intense and more pronounced as I can see just what I am missing out on. Not knowing if we will ever get that experience is pretty hard to deal with. However, I certainly wouldn't miss out on having Barnabas around. he is a complete joy and great fun and I can't wait to see him again!!
We bought Barnabas a big present but I couldn't resist making him something (boys are so hard to make for!) so I made him some little aprons which I thought he might be able to use when he is painting or colouring or cooking with Granny. Here's a pic!


30 Gifts for his 30th birthday!
Have you ever punched someone?
4 things every Indian loves about Holi!
One of the biggest festivals of colour in the world, Holi (Rang Panchami ) is known for it's entertainment and joyful spirit. During the celebration, in a span of a few hours, every corner, buildings, roadside in India gets seeped in Colors. The best thing about this festival is that it lasts only for a day.


text:
August 27, 2013 features / Oral History
An oral history of the cult classic Q: The Winged Serpent
by Will Harris
The Dissolve's oral histories dig up the stories behind the filmmaking scenes by talking to those who were there.
Larry Cohen isn't the undisputed king of cult cinema, but as the man who wrote, directed, and produced films ranging from Black Caesar and Hell Up In Harlem to It's Alive and God Told Me To, he's certainly worthy of consideration. But add in a certain 1982 creature-feature classic into the mix, and Cohen suddenly seems much closer to being a cinch for the crown.
Even those unfamiliar with Q: The Winged Serpent will be less than shocked to discover that the film revolves around a winged serpent, but let's be more specific: It's the Aztec god Quetzalcoatl, and she's decided to nest in the spire of the Chrysler Building. As if that weren't enough, it turns out there's a surprisingly active Aztec community in New York, and they're just beside themselves about Q's arrival, celebrating with all the ritual murders they can manage, which are of particular interest to NYPD detectives Shepard (David Carradine) and Powell (Richard Roundtree). Completely incidental to these events, there's also a slightly unstable petty criminal (Michael Moriarty) whose latest endeavor takes him into the Chrysler Building. Oops.
With Q finally earning a Blu-ray release, The Dissolve spoke with Cohen and some of the film's cast members, all of whom dug deep into their memory banks to reflect on the film's inception, the process of pulling the whole thing together, and the way its cult following has endured over three decades.
Larry Cohen (Director): The Empire State building had their monster, but I thought the Chrysler Building was a better-looking building, so I thought, "Well, they should have their own monster!" [Laughs.] And if you're going to have a monster that's a bird, what better place to have it nest than up at the top of the Chrysler Building? It's kind of designed with a bird-like motif: It's got gargoyles that look like giant bird-like creatures around the sides of it, and the whole top of it is kind of centered. If I was a giant bird and I was going to pick a nesting place, that's where I'd go. So then I started looking for a bird that was a monster, and, well, [Quetzalcoatl] is probably the prime bird-monster there is, and the fact that the Aztecs worshipped it as a god and performed human sacrifices to it, that all fit in with the story I was going to do.
Cohen: I only did two days of pre-production on Q. I got fired off the previous picture I was working on, which was I, The Jury, with Armand Assante, Laurene Landon, and Barbara Carrera. After a week of working on that picture, the producers and I, we just couldn't get along, and they were running out of money, and I just couldn't handle being involved with a project where we had to lie to people and tell them we could pay them when we couldn't. And these were people I'd dealt with on my other films, so I didn't want my reputation to be ruined with the people renting the equipment, the lights, and everything else in New York. I'd worked with them many times, and I thought, "I don't want them to get stung and think it's me that's doing it." I got very good prices for these producers for the work that needed to be done and for the equipment, and it looked to me like they weren't going to be able to pay the bills. So I had to call my friends up and say, "Look, you better get paid right now, 'cause you might not get paid at all!" Well, when the producers heard that, they fired me.
"I thought, 'That sounds really cool!' But I hadn't read the script or anything."
As soon as that happened, I said, "Well, I'm not leaving! I'm starting another movie!" So two days later, we were shooting Q, and we were shooting out of the same hotel as I, The Jury! We'd meet them in the lobby. When they went off to shoot their picture, we'd be down there assembling to go off and shoot our movie. We finished way ahead of them. They went way over budget and the company went bankrupt. They sold the picture at a bankruptcy sale. [Laughs.] And we finished our picture in three weeks!
Lo and behold, six months later, the two pictures opened the same day in New York. We opened at the Rivoli and they opened at the National down the street. Their picture cost seven or eight times as much as ours, but they didn't do as well as we did. We did three times the business that I, The Jury did. We did triple their box office at one-seventh the cost. I was vindicated! [Laughs.]
Cohen: All the lead actors in the picture were well-known actors. Carradine was. Moriarty was. And Richard Roundtree, of course, was in Shaft. He flew in from the coast. He was the only actor who was brought in. Most of the other people in the film were just good New York actors, some of whom had been in other movies I'd done. Malachy McCourt, he played the commissioner. He's a very fine actor. And his brother wrote Angela's Ashes! Malachy wrote a book, too. He was a delightful Irishman, perfect for the role.
Malachy McCourt ("Comissioner"): It was great fun. I always loved those sorts of films, with their deadly seriousness of the threat of mythological creatures, or the world coming to an end. Or when the creature's going to attack, and the person says, "Well, we're covered on the right here, and we're covered on the left," and then someone else asks, "Well, what if it comes from overhead?" And then, of course, the first person says, "Well, then, it's all up to God," and casts his eyes upward. [Laughs.] So I was totally enjoying it. You had to keep the twinkle out of your eye. You couldn't go winking at people as if to say, "I don't believe this!" But it was a delightful film to do. I always smile when I think of it.
Cohen: Candy Clark, she was an Academy Award nominee for American Graffiti, and she'd also been in The Man Who Fell To Earth with David Bowie, if you remember. She was the female lead in that picture, and then she'd been in many others, too, so she was a well-known actress. She was appearing in a play off Broadway at the time, so I grabbed her.
Candy Clark ("Joan"): Larry just offered me the role. I don't remember [how he contacted me]. When did that thing come out? '82? Would you remember how someone contacted you back in 1981? [Laughs.] But he was someone I'd known for a long time. His sister was my PR lady. Ronni Chasen, that was his sister. But I thought it would be fun. And the people working in the movie were excellent actors—Michael Moriarty and also Carradine—so I thought that'd be great.
David Carradine ("Shepard," in a 2008 interview with the author): I was in the Army with Larry Cohen, and he was a real close buddy of mine.
Cohen: We were in Fort Eustis, Virginia. We were supposed to be stevedores, but it didn't work out that way. We both ended up working for the chaplain. I wrote the chaplain's radio program every week—this was the Protestant chaplain—and David painted the murals. [Laughs.] And then we did a play together called Once Upon A Mattress, which was a famous Broadway musical. We did a touring company of it with military personnel playing the parts, and we toured a certain number of the bases of the United States with that, and had a lot of fun. So we had a very enjoyable time together in the Army, all in all, and we cemented our friendship for the rest of our lifetime.
Carradine: We always wanted to make a movie together, and one time, I was at the Cannes Film Festival, and I got a telegram that said, "Show up on June 14 in New York with clothes for a New York detective."
Cohen: That's what happened, yes. David was over in Cannes for a picture that he had directed [Americana] and was showing there, and I needed him, so I cabled him and told him I needed him to come back. And he did! He didn't read the material or anything, he had no idea what he was getting into, but he came back.
Carradine: I thought, "That sounds really cool!" [But] I hadn't read the script or anything.
Cohen: It wouldn't have mattered to him. The fact that it was a monster film wouldn't have affected his willingness to do it.
Carradine: So I showed up, and they gave me the script, and they said, "You're not working tomorrow," and I said, "Okay, then I'm not going to read it tonight." And then the next morning I read it, and I said, "Oh my God, it's a monster movie. I don't do these things!" But I thought, y'know, "I've made the commitment, so I have to do it."
Cohen: I think he knew that if I was doing it, it'd have a certain degree of quality, and the writing would be upscale. He came and walked right into his first scene, sat down at the bar, and played it. And I think he did one of his best performances, both there and all throughout the picture.
"I remember being on the Chrysler Building, firing bullets, and the casings were falling down onto the street, so the cops came."
Carradine: I thought if [Larry] had left the monster out of it, between me and Michael Moriarty, there was a real great story there between the detectives and the sleazebag heroin addict/petty-thief character. That's where the power in the movie is. That's where the heart of it is… and not in the chicken that ate New York! [Laughs.] But that's Larry.
Cohen: "The Chicken That Ate New York"? That could've been the title! [Laughs.] Actually, my ad campaign had a picture of this bird carrying a girl away in his claws, and it said, "New York is famous for good eating." I thought that was pretty good. Plus, it also showed you that there was going to be some humor in it, too.
Carradine: That bird… it wasn't even CGI. It was Claymation! [Laughs.] I do love the guy, though. And it turned out that Q became a cult classic. Not on the level of Death Race 2000, but in that direction.
Cohen: As far as Michael Moriarty goes, I was a big fan of his work on Broadway, and I'd seen him on television and films, but I was in a café near Lincoln Center in New York with a friend, and I was describing to her who Michael Moriarty was, 'cause he was sitting at a nearby table. I was telling her that he'd won, like, three Emmy Awards, a Tony Award for Best Actor on Broadway, and a couple of Golden Globe awards. And then when I turned around again, he was smiling at me, because he'd overheard it. So I walked over to him and said, "Listen, I'm trying to put together a movie, and I'd sure like you to be in it." So he said, "Send me the script!" He didn't live that far away—near Carnegie Hall—so I dropped the script off there, and he called me the next day and said, "I love this part, and I want to do this! My agent will probably try and talk me out of it, but I'm gonna do it!" And he was as good as his word, and he did it.
Moriarty followed the script, [but] we had improvisations. The first day we shot, I noticed he was listening to a recording he had brought along, but I couldn't hear it 'cause he had headphones on. I said, "What are you listening to?" He said, "Some of my piano music." So I listened, too. Turned out he wrote songs, and he occasionally appeared in clubs playing piano and singing his own songs. So I said, "Well, wait a minute: This character in the movie, let's turn him into a wannabe performer. Let's do a scene where he auditions for a job and doesn't get it, and then because he doesn't get the job as a performer in a club, he has no choice but to take the opportunity to participate in a robbery he's been offered."
So that's what we did. I said to my people, "Go find me a club that's open during the day that we can rent, and it has to have a piano in it." I think it was The Bitter End, in [Greenwich] Village, and we went in there and shot the next day. It was not on the schedule, the scene was completely written the day before, when Michael was sitting next to me, watching me write it— which is always magic time, when an actor sees you write a scene and then he plays it. After that, you more or less own the actor. He's yours for the rest of the shoot. Michael did everything I asked him to do. He had a marvelous power of concentration, and you could throw lines to him during the scene from off-camera and he would incorporate them right into the scene without a blink. Other actors can't do that, but Michael, you could just keep feeding him lines from off-camera. He loved it.
Clark: I'd only really seen Michael Moriarty in that one movie, Bang The Drum Slowly, so I didn't really know what to expect, but I knew he had a big star name. But I thought he was fantastic [in Q]… and really quite the distraction, because he was so good! That was quite the challenge, because I was so amazed at how well he did that character. I'd never been so distracted, even when I worked with David Bowie, who was distracting because he's very handsome and—well, because he's David Bowie! [Laughs.]
But Moriarty was just superb. I'd get caught up in watching him doing his acting right in front of me, and it seemed so real that I would kind of forget I was supposed to be doing dialogue. I'd just be staring at him, thinking, "Wow, this guy is really excellent! Boy, is he good! Wow!" That's what I'd be thinking instead of, "Oh, my line!" [Laughs.] So, yeah, he was so good, he was distracting, that's for sure. It was a really super performance. And I didn't realize he played the piano so well, either! He was excellent. He was just such a surprise.
McCourt: Michael Moriarty was an absolute delight. Someone told me he was very difficult. He was quirky, but he was such a considerate actor. Carradine was a very nice guy as well.
Eddie Jones ("The Watchman"): I thought Moriarty did a great job. He was really quite a fine actor. I remember watching him doing a scene, and I was amazed at how good he was, especially in that kind of a crazy situation. He was terrific. I didn't have a big part in the film, so I didn't have that much to do with [Larry] directly. I just came in, did the scene, and there wasn't any particular direction or anything. But he seemed to be…high-strung is a good word, I think. [Laughs.] But he was trying to get everything done, y'know? And he ended up getting it done in three weeks, from what I remember, so that's pretty good.
McCourt: I never saw anyone use the camera the way Cohen used it. I never saw how he could coordinate the shots. It was amazing, technically. I thought, "He isn't going to be able to do this!" But close-ups, overheads, and so on, he did it. But he never seemed to be plotting or planning like other directors do. It was really amazing.
Making The Monster
Cohen: I drew the monster, and then the guys who did the stop-motion animation, Randy Cook and his partner, David Allen, they brought it into existence. It was a clay model, of course, at one time, and then they cast it and made various variations on it, which they could animate in the Ray Harryhausen style. They did a very nice job, [but] it was very slow going. We'd go all the way out to their studio in the valley, and they'd have maybe two shots at the end of the week. And then the following week, they'd have two more shots. It went on a long time. Longer than I had hoped. [Laughs.] But they did a decent job, and I was happy with the final result. Of course, Randy has gone on to do [Peter Jackson'] King Kong over there in New Zealand. He actually appeared in the picture! He's firing the machine guns from the biplane that kills King Kong on the Empire State Building. That's Randy. David Allen, unfortunately, has passed away.
They were rather upset when I first approached them, though. They said, "You've already shot the whole movie in New York without consulting us! That's not how it's supposed to be done! What you're supposed to do is work out the shots with us before you shoot, and then we tell you where to put the monster and where to put the actors, and then we go to work on our end of it." I said, "Well, it's not gonna be that way this time, 'cause the picture's all completed! But I know where the monster's supposed to go. I've already made arrangements for where to place the creature in every shot, and I'm gonna tell you where to put it, and you just do it." "Well, we don't usually do that…" I said, "Well, I guess this is the way you're gonna do it this time!" [Laughs.] So they did it!
They also told me, "Oh, you can't have the camera moving if the monster's gonna be in the picture. The shot has to be frozen. You have to have a lockdown shot." I said, "Well, you can't have a lockdown shot when it's taken from a helicopter flying around the Chrysler Building, so you're gonna have to learn how to do it." So they learned how to do it, and they did it. A lot of this was a matter of reeducation. I guess I did it all wrong, but I made it come out right!
Clark: I never was in any room when we had to deal with the special effects, because my character dealt basically with Michael Moriarty and his drug addiction. But there was one scene we shot in Central Park where we're kind of looking up and pretending we're seeing the winged serpent. That was fun: me, Michael Moriarty, and David Carradine, running around Central Park, looking up in the sky, going, "AAAAAAAH!" [Laughs.]
The Chrysler Building
Cohen: They turned me down the first six or seven times we approached them [about filming at the Chrysler Building], but we kept going back, and finally we offered them enough money that they said yes. But they didn't know we were gonna go all the way up to the needle of the building. They didn't realize how high up I had intended to go. They thought I was just gonna stay on the top floor. They didn't think I was gonna get on this little rickety ladder and go all the way up four or five more levels, into the very pinnacle of the building. And I don't think they believed anybody would go up there, let alone that the crew would go up there with cameras and equipments and lights. But we did.
I led the way, and I was surprised: They all followed. [Laughs.] I didn't argue with them, I just said, "C'mon, let's go!" And there they went! I guess they thought if I had the guts to do it, they could do it, too, because everybody was up there. And it was very dangerous. Seventy-seven stories above the street, no guardrails, no windows, completely exposed on all sides. It was like a platform, really. A platform in space. And if you stepped off the platform, that was the end of you. You'd go flying down into the street. So it was a hairy place to shoot a movie. But we couldn't afford to build the top of the Chrysler Building, so we had to do it at the real place!
McCourt: I was racking my brain for any sort of unusual incidents, but the only ones I know of are the consternation caused by the folks in the film being on top of the Chrysler Building and shooting machine guns at the nonexistent monster.
Jones: Yeah, I remember being on the Chrysler Building, firing bullets, and the casings were falling down onto the street, so the cops came. But by that time, thankfully, most of the shooting had been done.
McCourt: I don't think they even had permits to do the shooting!
Cohen: We had permits. We even had off-duty police officers doing the shooting. But we, uh, still caused kind of a panic. [Laughs.] People thought someone was shooting at the United Nations building. We made the papers!
Jones: I thought Q was a lot of fun. For a horror film, it's very good. And it's become kind of a cult classic, I guess. I enjoyed it. And I enjoyed doing it, too.
Clark: I always say it's got a cult following, but I don't know if it's a great movie. I thought the special effects were okay. You know, it was a low-budget film. Compared to today's special effects, they're a little old-timey. But, you know, that was then and this is now, so it's not really fair to compare them.
McCourt: Do you know about the discovery of the egg? I didn't actually witness it myself, but I read about it. It was some time later, well after the film, and in the attic of a place down on Elizabeth Street, I think it was. They had this big egg that was in the film, and somehow or another, the props people left it behind. And someone else discovered it a few years later, and the people who found it just kind of said, "What the fuck is this?" [Laughs.] Because not only had they abandoned the egg, but they'd left it in a nest of sorts!
Cohen: For me, the only surprising thing [about the cult following] is how people forget it was a pretty big hit when it first played. It was the No. 1 picture everywhere it played in New York or Los Angeles or anywhere else. But the problem was, they didn't make enough prints to play everywhere in the country at once, so they played regionally. So it played one part of the country, then another part of the country a few weeks later, and then another part of the country a few weeks after that. So we didn't get all that big blockbuster income coming in at the box office all in one week. It came in over a period of weeks. Otherwise, we would've been the No. 1 picture in the country for several weeks. But as it was, we were the No. 1 picture in every city we played in.
What Might've Been
Cohen: Bruce Willis came up for auditions for I, The Jury when he was working as a bartender, and I had him read the Mike Hammer part, just for fun. Armand Assante had already been cast, but I said, "Just for fun, read this part. Let me hear you do it." He read it, and he did a terrific job. I said, "You're gonna be a star! I can't give you the part of Mike Hammer, 'cause it's already cast, but I know you're gonna make it." So he went off, and then when I started to make Q, I thought, "Hey, maybe I should hire that young actor." But the people with the money said, "We need a box-office name, somebody who can sell tickets and get us some money in pre-sales from foreign markets." And David Carradine certainly fit the bill, so I pitched David Carradine and didn't take Bruce Willis. So there you are.
"A lot of this was a matter of re-education. I guess I did it all wrong, but I made it come out right!"
And like I said, I was very much in love with Moriarty's work, but just before we started, I saw another actor at the Improv comedy club in New York, a young black comedian, and I said, "Oh, geez, this guy would've been really great in the part I just gave to Moriarty. But I can't hire him!" So I didn't hire him, and you know who he was? Eddie Murphy. So we came within a hairsbreadth of having Bruce Willis and Eddie Murphy in Q. I'm sure it'd be a bigger picture today if they'd been in it. There's no question about it. But that's the way it is.
By the way, years later, at the Golden Globes in Hollywood, Bruce Willis came over to me and tapped me on the shoulder and said, "Do you remember me?" And I didn't remember him. I didn't know who he was. I didn't see that TV series, Moonlighting. He said, "Boy, you gave me more encouragement than anybody in New York ever did, and I wanted to say thank you." And I said, "Well, you're sure welcome. Everything going all right?" And he said, "Sure is!" And after he left, somebody said, "Don't you know who that is? He's got this hot TV series called Moonlighting." There you are. But unfortunately, years later, I ran into him again, and I said to him, "Remember when you came over to me and thanked me for being so encouraging to you?" And he looked at me and said, "Yeah, I remember." And he walked away. I wish I'd never run into him the second time. It ruined the whole story! [Laughs.] But there you go. That's Hollywood.
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Federal Budget 2016: Changes For Your Business
Budget 2016, entitled "Growing the Middle Class", was released today by the Department of Finance. Here is our summary of the primary tax measures in Budget 2016 and some preliminary thoughts on their impact; statutory references are to the Income Tax Act (Canada) (the "Act").
Tax System Review. Budget 2016 proposes to begin a review over the next year of the tax system to "eliminate poorly targeted and inefficient tax measures". Presumably, this leaves the door open for further measures targeting one of the government key stated goals: "to prevent unintended tax advantages that businesses and high-net-worth individuals may be able to obtain through sophisticated tax planning techniques involving private corporations and other mechanisms."
Small Business Deduction. Budget 2016 cancels the gradual reductions in the small business tax rate scheduled for 2017, 2018 and 2019. The federal small business rate will remain at 10.5 % for 2016 and subsequent taxation years.
The current $500,000 annual federal small business deduction rate will not change or be reduced in the future. The current gross-up factors and dividend tax credit rates applicable to non-eligible dividends will similarly remain unchanged.
As announced in Budget 2015, the Department of Finance reviewed whether income from property (rent and royalties) earned by corporations employing more than five full time employees should continue to qualify as active business income eligible for the small business deduction. This review is complete and Budget 2016 announced there will be no changes to the current rules.
Reduced Access to Multiple Small Business Deductions. Budget 2016 takes aim at some partnership and corporate structures that multiply access to the small business deduction. These new provisions are a direct hit on business structures commonly used by groups of professionals, such as doctors, accountants and lawyers. These measures also extend to other multiple-owner business structures.
Currently corporate members of a partnership are limited in the amount of small business deduction to a pro-rata share of $500,000. This eligible pro-rata share is known as "specified partnership income". For example, a Canadian-controlled private corporation (CCPC) that has a 10% interest in a partnership has specified partnership income of, and can claim the small business deduction, on $50,000. There are ways to enhance access to the small business deduction. For instance, a second CCPC can provide services to the partnership. The amount paid to this second CCPC would normally be deductible to the partnership and taxable to the second CCPC at the small business rate up to the remaining small business limit for that CCPC – $450,000 in the above example.
For CCPC taxation years that begin on or after Budget Day, the specified partnership income rules that limit access to the small business deduction will be extended to where: (i) the CCPC provides (directly or indirectly, in any manner whatever) services or property to a partnership during a taxation year of the CCPC; and (ii) where, at any time in the year, the CCPC or one of its shareholders is either a member of the partnership or does not deal at arm's length with a member of the partnership. In such circumstances, the CCPC is a "designated member" of the partnership (this is a new concept) and its specified partnership income is initially deemed to be nil. This means that none of the income from services or property provided to the partnership will be eligible for the small business deduction in the hands of the CCPC.
The new rules will permit an actual partner of the partnership who does not deal at arm's length with the CCPC to notionally assign to the CCPC a portion of their specified partnership income.
There is a relieving provision for CCPCs that earn 90% or more of their active business income from providing services or property to arm's length persons other than the partnership.
In essence, this proposal eliminates structures which extend the small business deduction to what would otherwise be partnership income by the use of service corporations.
A new concept of "specified corporate income" is also introduced for taxation years beginning on or after Budget Day, to address similar planning using a corporation.
A CCPC's active business income from providing services or property (directly or indirectly in any manner whatever) in its taxation year to a private corporation will be treated as "specified corporate income" and ineligible for the small business deduction where the CCPC, one of its shareholders or a person who does not deal at arm's length with such shareholder has a direct or indirect interest in the private corporation.
As with specified partnership income, a private corporation will be entitled to assign all or a portion of its unused business limit to CCPCs that are ineligible for the small business deduction where services are provided to the private corporation and the amount allocated is determined by the Minister of National Revenue to be reasonable in the circumstances. There is also a relieving provision for CCPCs that earn 90% or more of their active business income from providing services or property to arm's length persons other than the private corporation.
Investment Income between Associated Corporations. Budget 2016 also fixes the Department of Finance's concern with planning used to convert what would otherwise be investment income (such as interest or rental income) into active business income eligible for the small business deduction.
Associated corporations share the $500,000 federal small business limit on active business income. Where the aggregate taxable capital limit of the associated corporations exceeds $10M, the small business limit is reduced on a straight line basis until eliminated at $15M of aggregate taxable capital limit. Normally investment income is not eligible for the small business deduction; however, investment income realized by a CCPC from the active business of an associated corporation is eligible for the small business deduction.
Where there are two corporations (otherwise not associated) that are each associated with a third corporation, the first two are also associated with each other. If, however, the third corporation elects not to be associated with the first two, this breaks the association between the first two corporations. With the filing of this election, the third corporation is denied the small business deduction but each of the first two corporations remain associated with this third corporation for the purposes of conversion of investment income into active business income.
Budget 2016 provides that investment income derived from an associated third corporation's active business will no longer be deemed to be active business income where the third corporation so elects not to be associated. Additionally, the third corporation will continue to be associated with the other two corporations for the purpose of applying the taxable capital limit. This measure is effective for taxation years that begin on or after Budget Day.
Eligible Capital Property. Budget 2016 repeals the current eligible capital property regime and introduces a new regime with a new Class 14.1 pool for capital cost allowance (CCA). Expenditures that had been included in the CEC pool will be included in Class 14.1 at a 100% inclusion rate and will be subject to a 5% rate of depreciation. Current CEC balances will be transferred to Class 14.1 as of January 1, 2017. The CCA depreciation rate for property included in the Class 14.1 pool related to expenditures incurred before January 1, 2017 will be 7% until 2027. To facilitate the elimination of small balances, taxpayers will be allowed until 2027 to deduct the greater of $500 and the amount otherwise deductible in respect of Class 14.1 asset. A current business deduction will be allowed for incorporation costs up to $3,000.
Special rules apply for expenditures and receipts that do not relate to a specific property of a business. Expenditures that do not relate to a specific property will increase the capital cost of the goodwill of the business, and consequently the balance of the Class 14.1 pool. In contrast, a receipt that does not relate to a specific property will reduce the capital cost of the goodwill of the business, and the balance of the Class 14.1 pool, by the lesser of the goodwill or the amount of the receipt. If the goodwill balance is nil, then the amount will be treated as a capital gain.
Repeal of 2015 Charitable Donation Proposal. Budget 2016 will repeal the 2015 proposal to exempt capital gains realized on dispositions of private corporation shares or real estate if the proceeds are donated to registered charity within 30 days.
Section 55 Measures Confirmed. Budget 2016 confirms the most recent proposed amendments to section 55 of the Act. These amendments have the effect of converting otherwise tax free inter-corporate dividends into proceeds of disposition or capital gains. Inter-corporate transactions now require careful tax analysis. To learn more about the proposed amendments to section 55 of the Act, read McInnes Cooper's: It Gets Worse – 5 Key Proposed Changes to Section 55 of the Income Tax Act.
Life Insurance Policies. Budget 2016 proposes amendments intended to ensure that only the portion of the policy benefit received by a corporation (or a partnership) that exceeds the policyholder's adjusted cost basis of the policy is added to the corporation's capital dividend account (or the adjusted cost base of a partner's interest in the partnership). Corporations and partnerships that are not policyholders but are entitled to receive benefits under a life insurance policy will be subject to new information reporting requirements.
Budget 2016 also changes the rules relating to the non-arm's length disposition of an interest in a life insurance policy. The fair market value of any consideration given for an interest in a life insurance policy (rather than the interest surrender value) will now be included in the proceeds of disposition and purchaser's cost. Where the disposition of an interest in a life insurance policy arises on a contribution of capital to a corporation or partnership, any resulting increase in the paid-up capital of its shares and the adjusted cost base of the shares or of an interest in the partnership will be limited to the amount of the proceeds of disposition.
A retroactive rule is introduced for transfers of an interest in a life insurance policy before Budget Day for consideration in excess of the proceeds of disposition under the existing policy transfer rule. The amount permitted to be added to a corporation's capital dividend account or the adjusted cost base of a partnership interest will be reduced by the amount of the excess. Similar rules will be put in place for transfers prior to Budget Day made as a contribution of capital to a corporation or partnership.
PERSONAL TAX MEASURES
Budget 2016 includes the following proposals affecting individuals:
Introduction of the Canada Child Benefit. The current child benefit system will be replaced with the new Canada Child Benefit. Qualifying families will receive a single payment each month on a tax-free basis beginning in July 2016. The new Canada Child Benefit will replace the Canada Child Tax Benefit and the Universal Child Care Benefit. An additional amount of up to $2,730 per child eligible for the disability tax credit will continue to be available in certain circumstances.
Elimination of Income-Splitting Measures. Budget 2016 proposes to eliminate income- splitting for couples with children under the age of 18 for the 2016 and subsequent taxation years. Pension income splitting will not be affected by this change.
Elimination of Children's Fitness and Arts Tax Credits. Budget 2016 proposes to reduce the maximum eligible expenses for the Children's Fitness and Arts Tax Credits by half for 2016. Both credits will be eliminated as of 2017.
Consequential Amendments (December 2015 Rate Changes). In December 2015, the Government announced the introduction of a top personal income tax rate of 33% on individual taxable income in excess of $200,000 and a reduction of the second personal income tax rate to 20.5% from 22%. At that time, consequential amendments were made relating to certain rules in the Act that use the top personal income tax rate or use rates or formulas that reflect the top personal income tax rate. Budget 2016 proposes further consequential amendments, including:
To provide a 33% charitable donation tax credit to trusts that are subject to the 33% rate on all of their taxable income.
To apply the 33% rate to excess employee profit sharing plan contributions.
To increase the tax rate on personal services business income earned by corporations to 33%. To learn more about taxation of personal services business income, read McInnes Cooper's: Tax Implications of Personal Services Business (PSB) Status & Strategies to Avoid It.
Labour-Sponsored Venture Capital Corporations Tax Credit. Budget 2016 restores the 15% labour-sponsored venture capital corporation (LSVCC) tax credit for provincially registered LSVCCs prescribed under the Act.
INTERNATIONAL TAX MEASURES
Budget 2016 includes the following international tax measures. To learn more about how Budget 2016 addresses international taxation issues, read Cross-Border Banter: BEPS and Liberal Government extends Anti-Conduit Rules to Royalties.
Base Erosion and Profit Shifting (BEPS) Measures. The Government is proceeding with initiatives to address base erosion and profit shifting (BEPS) subsequent to the release of the OECD's final reports from the BEPS project in October 2015, including:
Country-by-country reporting. Multinational enterprises (MNEs) with total annual consolidated group revenue of €750 million or more will be required to file a country-by-country report with the Canada Revenue Agency ("CRA") where such an MNE has an ultimate parent entity that is resident in Canada (or a Canadian resident subsidiary in circumstances where it is designated as the "surrogate" of a foreign parent entity for CbC reporting purposes). Reporting will apply for taxation years that begin after 2015. The CbC report will have to be filed with the CRA within one year after the fiscal year to which it relates. First exchanges between tax jurisdictions are expected to occur by June 2018. Draft legislation will be released for comment in the next few months.
Revised CRA guidance on transferring pricing. The CRA will adopt the improved interpretation of the arm's length principle arising from revisions to the OECD's Transfer Pricing Guidelines for Multinational Enterprises and Tax Administrations.
Treaty shopping and treaty abuse. The Government is committed to addressing treaty abuse (including treaty shopping) in accordance with the BEPS treaty abuse minimum standard, through the current negotiation of the multilateral instrument (target date for signature is the end of 2016), bilateral treaty negotiation or both. The budget does not suggest a legislative means to dealing with treaty abuse.
Spontaneous exchange of tax rulings. The Government intends to implement the BEPS minimum standard for the spontaneous exchange of certain tax rulings. The CRA will commence exchanging tax rulings in 2016 with other jurisdictions that have committed to the minimum standard.
Debt-Parking Transactions. Budget 2016 proposes to introduce new specific anti-avoidance rules to address the avoidance of foreign exchange gains on foreign dollar denominated debt through a form of debt-parking transaction. Normally, a foreign exchange gain (or income) would be realized by a debtor if it repaid a foreign dollar denominated debt (e.g., USD) and the Canadian dollar had strengthened as against the foreign currency since the date of the borrowing. The gain could be avoided if the debt is instead purchased by a non-arm's length person (a friendly purchaser) for a purchase price equal to the principal amount either in the foreign currency that the debt is denominated in or the Canadian dollar equivalent. In either scenario, the creditor is made whole, but in the latter scenario the debtor avoids the gain (or income) so long as the debt is not repaid. Under the new measures, accrued foreign exchange gains on a foreign currency debt will be realized when the debt becomes a "parked obligation". These new measures piggy-back on the debt-parking regime currently in place to address the avoidance of the debt forgiveness rules through debt-parking transactions. The new measures will deem the debtor to have incurred the gain, if any, that it otherwise would have incurred if it had repaid the principal amount of the debt equal to (i)the amount for which the debt was acquired by the friendly acquirer (where the debt becomes a parked obligation as a result of its acquisition by the acquirer); and (ii) in other cases, the fair market of the debt.
Generally, a foreign denominated debt will become a "parked obligation" when both of the following conditions are met: (i) the debt holder does not deal at arm's length with the debtor at the time it acquires the debt (or, where the debtor is a corporation, holds 25% or more of the votes or value in the corporation); and (ii) at any previous time, a person (i.e., the former creditor or lender) who held the debt dealt at arm's length with the debtor (and where the debtor is a corporation did not hold 25% or more of the votes and value of the corporation).
An exception to the debt-parking rules will be provided in the context of certain bona fide commercial transactions. These measures will apply to foreign denominated debt that meets the conditions of a "parked obligation" on or after March 22, 2016 (with an exception for such parked obligations resulting from a written agreement entered into before Budget Day).
Cross Border Surplus Stripping. The Act contains an anti-surplus stripping rule that, subject to certain exceptions, applies where a non-resident transfers shares of a Canadian corporation to another Canadian corporation and the transferor does not deal at arm's length person with the acquirer. Depending on the consideration received by the non-resident transferor, the rule will either reduce the paid-up capital of the shares received as consideration from the acquirer (a valuable tax attribute) or result in it being deemed to receive a dividend which would be subject to Canadian withholding tax.
The Government announced amendments to subsection 212.1(4) of the Act, also known as the exception to the anti-surplus stripping rule. Budget 2016 proposes to amend the exception by providing that the exception will not apply when a non-resident (i) owns, directly or indirectly, shares of the acquiring Canadian corporation, and (ii) does not deal at arm's length with the acquiring Canadian corporation.
The Government also proposes to clarify the application of the anti-surplus stripping rule in circumstances where it may be uncertain whether consideration has been received by a non-resident from the acquiring Canadian corporation (e.g., where shares are gifted to the acquiring corporation and contributed surplus has been created). In such a case, where the non-resident transferor receives neither shares or non-share consideration, new rules deem the non-resident to receive non-share consideration from the acquiring Canadian corporation equal to the fair market value of the shares that have been transferred.
Back-to-back Rules Extended. The Government announced an extension to rules regarding back-to-back loan arrangements. Budget 2016 includes: amending the existing back-to-back loan rules in Part XIII to extend their application to rents and royalties; adding character substitution rules to the back-to-back rules in Part XIII where the arrangement consist of a mixture of royalties and interest; adding back-to-back loan rules to the existing shareholder loan rules in the Act for domestic and international purposes; and clarifying the application of the back-to-back loan rules to multiple intermediary structures.
ADMINISTRATIVE MEASURES
Investment in Service and Capacity Enhancements for CRA. Budget 2016 announces significant investment in service and capacity enhancements for the CRA. It allocates $185.8M over five years to enhance the service capability of CRA, with a particular focus on improving telephone services, readability of correspondence and the turnaround time to resolve objections. At the same time, Budget 2016 makes it a priority to improve tax compliance with a specific focus on combating (indeed, "cracking down on") tax evasion and aggressive tax avoidance. To this end, it announces $444.4M over five years as a direct investment to provide CRA with sufficient resources to enforce tax laws and "crack down" on tax evasion and aggressive tax avoidance. This measure is expected to raise $2.6B in revenue and is intended to enhance collections capability of CRA with a $351.6M dollar investment over five years. The expected revenue from this measure is $7.4B.
The Small Business Deduction – Key Proposed Changes & Strategic Solutions
Federal Budget 2016 proposed to significantly reduce the benefit of and access to the Small Business Deduction. The Small Business...
It Gets Worse – 5 Key Proposed Changes to Section 55 of the Income Tax Act
Subsection 55(2) of the Income Tax Act (Canada) is an anti-avoidance provision intended to prevent capital gains stripping by deeming...
Tax Implications of Personal Services Businesses Status & Strategies to Avoid It
Incorporation offers legal advantages to sole proprietors of small businesses, including certain tax advantages. However, when a corporation carries on...


text:
Q: jquery e.preventdefault not working inside $.post Hi i'm try to check if a title in a form already exists in a database.
My Code does a $.post and gets back the data but it doesn't stop with the e.preventDefault(); or on return false. e.preventDefault(); works when title is empty.
    $(document).ready(function() {
        $('input[id$=btnSubmit]').click(function(e) {
                var title = $("#title").val();
                if (!title) {
                    alert('Please Add a title');
                    return false ;
                    e.preventDefault();
                } else {
                     $.post("http://xendesktop.nl/uploader/checktitle.php",{ title:$(this).val() } ,function(data) {
                        if(data=='exists') {
                            alert('This title already exists');
                            e.preventDefault();
                        }
                     });
                }
                var description = $("#description").val();
                if (!description) {
                    alert('Please Add a description');
                    return false ;
                    e.preventDefault();
                }

A: The $.post request happens asynchronously, so the button's default action hasn't been prevented until the the server sends back its response (which will just not happen on time) - or rather, execution flows past that point and the rest of the handler gets executed, causing the form to submit.

A: return false; is equivalent to BOTH preventing bubbling up and preventing the default.
Neither should go in an AJAX callback - that function gets called outside of the click callback.

redpajama_set_name: RedPajamaStackExchange


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If you are at the East Falls Church Metrorail station and head inbound on the Orange or Silver Line, what is the next station you will reach? Feel free to ignore station subtitles.


text:
Understand the strategic M&A drivers in 2019
#FrenchMnA
Request an Agenda
Registration and Coffee
Chair's Welcome Remarks
Managing Editor EMEA, Acuris
Opening Keynote: Value Creation in Deals
Edouard Bitton
Partner, Deals Leader for Strategy &, PwC
Keynote: Private markets- Alternatives, no more
Our keynote will explore how the increase in available private capital has impacted French M&A activity.
Anna Khazen
Managing Director, BlackRock Private Capital Markets
Panel: Opportunities for Foreign Investors in France
With mega deals elusive, the value of French mergers and acquisitions dropped in 2018, as big deals worth more than 5 billion failed to appear. Nonetheless, France has regained interest and attractiveness from foreign investors who accounted for the majority of the largest transactions last year. This panel will discuss the deal drivers for M&A from foreign investors.
Which sectors are attracting investment from foreign investors?
What are the incentives for investors looking at France?
Dr. Karl-Heinz Kramer
Head of M&A, Bechtle AG
Augustin de Beauchesne
Regional Sales Director, Imprima
Erwan Colder
Partner, Transaction Services Leader , PwC
Hubert Preschez
Managing Director, HSBC
Alexandre Rajbhandari
Senior Reporter, Mergermarket
Sector Focus: Healthcare & Lifestyles
The era of straight acquisition of global rights for life sciences products seems to be over. Complex co-development, co-promotion, regional and joint venture deals are increasing. New forms of collaborations are emerging, involving AI and Big Data. Panellists will discuss opportunities in this sector taking into consideration key legal issues for French/EU life science companies when structuring and negotiating these agreements in order to optimize development and commercialization strategies in the US, Europe and China.
Corinne Venot
Senior Director Business Development, BeiGene
Francois Maisonrouge
Senior Managing Director, Evercore
Guy Eiferman
Partner, Nextep
Dr. Rüdiger Herrmann
Partner, McDermott Will and Emery
Emmanuelle Trombe
Networking Coffee
Panel: Future of Private Equity in France and across Europe
This panel will give an outlook on the French private equity landscape and where it fits within Europe.
For PE firms with maturing portfolios, what is the pipeline for exits?
How are problems in certain sectors such as retail impacting the willingness of PEs to sell assets?
Alexandre Margoline
Partner and Head of Paris, Permira
Jean-Marc Sceo
President, Ekkio Capital
Aude Bonnemaison
Continental Europe Manager – M&A, Liberty Global Transaction Solutions
Francesca Ficai
Reporter, Acuris
Panel: Outbound M&A
Outbound M&A continued on from the strong activity seen last year with France-based companies conducting 473 acquisitions outside the country worth EUR 71.7bn in 2018. This panel will feature executives of French companies that have pursued deals abroad.
Key challenges corporates face when expanding internationally
How to successfully execute outbound M&A
Key sectors for French acquirers
Eric Madar
Group M&A Manager, SEGULAR Technologies
Joshua Goldstein
Principal, Mercer
Axel Jaud
Deputy HR Director, Servier
Hervé Descazeaux
Managing Partner , Cathay Capital
Chair's Closing Remarks
Networking Lunch
Edouard Bitton Partner, Deals Leader for Strategy & PwC
Edouard Bitton is a leading practitioner in M&A strategies for Strategy&, PwC's strategy consulting group. Based in Paris, he is a Partner with PwC France. He operates in the M&A Transformation Practice and primarily in the technology, engineered products and services and retail industries.
Within the M&A Transformation Practice, he accompanies investment funds and large French and international groups in their acquisition plans, divestitures and mergers/demergers. He led many pre and post-acquisition projects in a variety of sectors and industries; mainly in engineering and construction, aerospace and automotive, retail and technology.
His areas of expertise are:
Operational, technology and digital due diligences
M&A integration
Business carve out within divestiture/split projects
Assessment and enhancement of technology and digital capabilities
Preparation and driving of Value Creation programmes
Edouard holds an executive master in Finance from IEP Paris and a Master Degree in IT and Management from Paris XII University.
He joined Strategy& in 2003.
Anna Khazen Managing Director BlackRock Private Capital Markets
Anna Khazen, Managing Director, is EMEA Head of BlackRock Private Capital Markets (BPCM). Anna also serves on the Conseil de Pilotage Strategique of BlackRock France. Prior to joining BlackRock, Ms Khazen was Head of Investments at Generali Investments, based in Paris & responsible for an insurance perimeter of Fixed Income, Equities & Fund of Funds as well as diverse Third Party client assets. From 1999-2015, Ms Khazen was at Morgan Stanley & was lastly responsible for Credit Trading, Securitised Products Trading, Structuring & Sales as well as Asset-Based lending for EMEA. Ms Khazen serves on the Board of Directors of L.I.F.E & on the Board of Trustees of the National Theatre Foundation. Ms Khazen graduated with a BAHons & MAHons from Cambridge University & an MSc from the London School of Economics.
Dr. Karl-Heinz Kramer Head of M&A Bechtle AG
Karl-Heinz Kramer is head of M&A of Bechtle AG/Germany, one of Europe's largest IT system integrators, with a longstanding acquisitions history since its foundation. In 2018, Bechtle acquired Paris-based IT-Provider Inmac Wstore in its biggest acquisition to date. Before joining Bechtle in 2015 he worked many years for DELTON AG, a strategic management holding company of the Quandt family, and was responsible for various finance and M&A positions. Karl-Heinz Kramer studied economics and law at the University of St. Gallen/Switzerland.
Augustin de Beauchesne Regional Sales Director Imprima
Technology, and Fintech in particular, have always been Augustin's passion. This interest is reflected in his decade-long career of assisting French organisations with their M&A activity; Augustin now does this on a daily basis for Imprima as the head of our French team.
Augustin studied business management at Institut Supérieur de Gestion, and speaks both French and English.
Imprima is the leading Virtual Data Room provider, handling over $1 trillion-worth of transactions in over 160 countries.
We have an impressive customer base of high-profile corporations, financial institutions, and advisors. Our clients tell us they rely on Imprima when the stakes are high because we have the most secure, reliable and easy to use data room in the industry.
Whether it is working on a complex M&A transaction, managing asset portfolios or completing a time-sensitive restructure, using either one or a combination of our platforms will deliver value for you and your team.
Imprima Virtual Data Room (VDR) is a highly secure, fast and intuitive virtual data room that preserves the confidentiality of mission-critical documents and communications during any transaction.
Imprima Asset Lifecycle Management (ALM) empowers you to organise, manage and track your assets in an efficient and cost-effective way, ensuring they are sale-ready at any given time.
Imprima AI is a revolutionary tool that's embedding AI to M&A activity in ways that are driving efficiencies not seen before.
Erwan Colder Partner, Transaction Services Leader PwC
Erwan Colder is PwC France Transaction Services Leader.
With more than 20 years of professional experience in Europe, in the USA and in the Middle East, Erwan has worked on more than 250 transactions both on buy side and sell side (Vendor Assistance, VDD and refinancing). His main industry experiences are in industrial products, services, consumer products, leisure, hospitality, education and advertising.
Erwan has significant experience of large cross border corporate deals. He has been the global deal partner for CAC 40 groups advising them on their acquisitions worldwide. He has also a broad experience with large private equity clients have advised them in France and in the Middle East.
Erwan is the former head of Middle East Transaction Services, where he also led the Private Equity activity.
Alexandre Rajbhandari Senior Reporter Mergermarket
Alexandre reports on M&A activity in France for Mergermarket. Prior to joining Acuris, he has worked at Option Finance and Capital Finance in Paris. He has a Masters in Managerial and Financial Economics from HEC Paris.
Francois Maisonrouge Senior Managing Director Evercore
Francois Maisonrouge is a Senior Managing Director in Evercore Partners' advisory business with 31 years of relevant experience.
At Evercore, among other transactions, Mr. Maisonrouge was involved in advising Takeda on its acquisition of Ariad, Medivation on its sale to Pfizer, AstraZeneca on the sale of its anti-infectives business to Pfizer, Shire on its acquisitions of Baxalta and Dyax, Shire on its defense across from Abbvie, AstraZeneca in its defense across from Pfizer, Sun Pharmaceutical Industries on its acquisition of Ranbaxy Laboratories, Bristol-Myers Squibb on its acquisition of Amylin and sale of half of its interest in Amylin to AstraZeneca, Fenwal on its sale to Fresenius, Terumo on its acquisition of CaridianBCT, Sanofi on its acquisition of Genzyme and of Merck's 50% stake in Merial, TPG on its acquisition of IMS Health, and Wyeth on its combination with Pfizer.
Prior to joining Evercore, Mr. Maisonrouge was a Managing Director and Chairman of Life Sciences at Credit Suisse where he worked extensively in the fields of pharmaceuticals, specialty pharmaceuticals, biotechnology and medical technology.
Alexandre Margoline Partner and Head of Paris Permira
Alexandre heads Permira's Paris office and has extensive experience in Healthcare, Consumer and Technology. He has worked on a number of transactions including Althea, Corin, Creganna, eDreams Odigeo, Exclusive Group, Hana Group, I-MED, NDS and Vacalians.
Prior to joining Permira, Alexandre worked at Goldman Sachs Capital Partners (PIA) in London, focusing on Private Equity transactions largely in the telecom and media industries.
Alexandre has a degree in Corporate Finance and Strategy from ESSEC Business School, France.
Jean-Marc Sceo President Ekkio Capital
Jean-Marc Sceo is President of Ekkio Capital, a French independent investment firm, investing for more than 20 years in high-potential growing French and European SMEs across three sectors: tourism and leisure; health care and beauty; as well as control and security. With more than €250m under management and after its last fundraising of Ekkio Capital IV closed last May, the company plans to develop in Germany.
M. Sceo joined Ekkio Capital in 2001 and took the leadership in 2008, before managing its successful spin-off from Groupama Private Equity in 2013.
After 6 years at Crédit-Lyonnais General Inspection, Jean-Marc joined the Acquisitions Financing department, where he was in charge of arranging the financing of LBO transactions.
He is a graduate of Science-Po and has an MBA from INSEAD.
Aude Bonnemaison Continental Europe Manager – M&A Liberty Global Transaction Solutions
Aude graduated from the University of La Sorbonne with a Master Degree in Business and Tax Law and was admitted to the Paris Bar in 2011. Aude joined the Paris office of King and Wood Mallesons (SJ Berwin) in 2011 into the M&A/Private Equity team where she focused on acquisitions and divestments of companies for French and foreign private equity funds and investors.
In 2013, Aude joined AIG as a senior underwriter in Paris and product leader for the France-Benelux zone. She spent several months in London with the UK team underwriting warranty and indemnity insurance on European M&A transactions. Aude joined Liberty GTS (where she originally worked for Liberty's subsidiary Ironshore) in November 2015. She is in charge of Continental Europe.
Hervé Descazeaux Managing Partner Cathay Capital
Hervé Descazeaux is a Managing Partner of Cathay Capital, and is based in Paris.
Prior to joining Cathay in 2012, Hervé was a Partner and member of the Investment Committee at Apax Partners France since 2005. Hervé joined Apax as a Senior Associate in 1998 specializing in leveraged buy-outs in financial and business services and the healthcare sector in France.
Prior to this, he was a Senior Manager in charge of audit and due diligences on international group's operations at Pricewaterhouse Coopers for eight years, in France and in the US.
Hervé currently holds board positions at Cenexi, Ponroy, Byzance, Surys (ex Hologram), Caillau and Neoxam. Prior boards include Echosens.
Hervé is a Chartered Accountant. He graduated from Ecole Supérieure de Commerce de Paris (ESCP business school) in Paris.


text:
Australians are unaware of their most endangered species • Earth.com
Australians are unaware of their most endangered species
Australia is the fourth-worse country in the world in terms of species extinctions, and is in the top three globally for critically endangered animals. Although this week's Federal Budget included a $224 million allocation to help protecting these species, a new study led by the University of South Australia (UniSA) has revealed an overwhelming public ignorance of Australia's most threatened species, a factor that is most likely significantly contributing to the current extinction crisis.
By polling over 300 zoo visitors and other community members to assess their awareness of seven endangered species at risk of extinction within the next decade – the Tasmanian devil, the Leadbeater's possum, the eastern barred bandicoot, the helmeted honeyeater, the southern corroboree frog, the Lord Howe Island (LHI) stick insect, and the orange-bellied parrot – the researchers found that over 90 percent of people failed to recognize six of these seven species, the exception being the iconic Tasmanian devil.
"There are huge gaps in community knowledge regarding native Australian wildlife, with less than eight per cent of people able to correctly name six of seven endangered species when shown photographs," said study lead author Elisa Pearson, a conservation psychologist at UniSA.
"Apart from the Tasmanian devil, which 86 percent of people recognized, the level of familiarity and knowledge of our vulnerable species is limited. Misidentification is also common, particularly the eastern barred bandicoot which is often mistaken for a bilby."
The researchers highlight a clear link between species recognition, likeability, and conservation support, arguing that people are far more likely to donate toward the conservation of Australia's iconic kangaroo, koala, and wombat species, despite them being in fact not endangered. The most likable Australian animals – the koala and the kangaroo – also reflect the "similarity principle," which suggests that people tend to prefer animals that are more similar to them, and that when only a limited number of species can be conserved, mammals are always favored over other species, regardless of their endangered status.
"Apart from the likeability factor, our study showed that being able to recognize species increased people's willingness to support their conservation, so that is a starting point we need to address," Dr. Pearson said.
Endangered insects are unfortunately disliked by nearly 85 percent of people, a factor putting their survival at great risk. However, as the scientists argue, these perceptions could be changed through clever marketing initiatives.
"The LHI stick insect has some exceptional qualities, such as their resilience and survival against all odds, their ability to reproduce without males, their tendency to form large social groups during the day, or even the fact that their foot pads are heart shaped. If people knew these facts the likeability factor would likely shoot up," Dr. Pearson concluded.
The study is published in the Journal for Nature Conservation.


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This is a convenience script to switch between different php5 versions installed via macports. The script simply changes the httpd.conf file located in /opt/local/apache2/conf/httpd.conf with sed. It's believed that you have installed your php versions with 'sudo port install php5x-apache2handler'.
# PHPSWAP for changing php5 versions installed via macports in apache2 config.


text:
Jessica Charlotte Poland, född 15 januari 1988 i Wall Township, mer känd under sitt artistnamn Charlotte Sometimes, är en amerikansk sångare.

Karriär
Hennes debutabum Waves and the Both of Us släpptes den 6 maj 2008. Albumet låg en vecka på Billboard 200 på plats 145. Den 14 maj 2010 släpptes EP-skivan Sideways. Hon släppte ännu en EP den 18 augusti 2011 med titeln The Wait. År 2012 deltog hon i den andra säsongen av den amerikanska versionen av TV-programmet The Voice. Bland hennes kändare låtar finns singeln "How I Could Just Kill a Man" vars officiella musikvideo hade 350 000 visningar på YouTube i september 2012.

Diskografi
Album
2008 – Waves and the Both of Us

EPs
2008 – Charlotte Sometimes
2010 – Sideways
2011 – The Wait
2012 – Circus Head
2014 – By Request

Singlar
2008 – "How I Could Just Kill a Man"
2012 – "Apologize"
2012 – "Pumped Up Kicks"
2012 – "Misery Business"
2012 – "Brilliant Broke and Beautiful"
2014 – "Magic"

Referenser

Externa länkar

Officiell webbplats
Diskografi (som Jessica Charlotte Poland) på Discogs
Diskografi (som Laces) på Discogs

Födda 1988
Kvinnor
Levande personer
Amerikanska sångare
Musiker från New Jersey

redpajama_set_name: RedPajamaWikipedia


Some of the works participating in the 2013 competition.
En bok i världsklass (approx. A World Famous Book) is an annual competition where Stockholm school classes creates pieces that consists of picture and text, related to a book the class has read. The competition is a part of the reading promoting project Barn & böcker (Children & Books).
ALMA has the privilege to have one representative in the jury for En bok i världsklass. It is always joyful to take part of all the amazing creations, and always a very hard task to choose between them.
The theme for the 2014 competition is "New worlds". All contributions will be exhibited at the Stockholm public libraries during the spring. And in May next year, during the ALMA award week, the winners are announced. Then we'll see what kind of new worlds the young participants have chosen to explore.
Stockholm teachers can read more about the competition, and register to participate (before January 24!) here.
Barn & böcker is a co-operation between the Education Department of Stockholm City Council, Stockholm City Library, Skansen, and the Astrid Lindgren Memorial Award.
More examples of the student's works.
Irma Gallo, reporter at Mexican culture channel N22, interviewed Isol during her participation at FIL Guadalajara.
Astrid Lindgren's childhood home at Näs.
Travel a hundred years back in time at Näs in Vimmerby, in the south of Sweden. It was here Astrid Anna Emilia Ericsson was born more than 100 years ago. Her father was tenant farmer at the rectory. Today cultural centre Astrid Lindgren's Näs start guided tours at her childhood home focusing on how the Ericsson family celebrated Christmas when Astrid was a girl.
Learn more about the family's Christmas traditions, and to be more exact, to Astrid Lindgren's strongest Christmas memory dated back to 1913. Smell the aroma of cinnamon and cloves, and listen to Astrid's father Samuel August reading the Christmas Gospel in a unique recording.
Link to Astrid Lindgren's Näs here.
When in Guadalajara Isol met with many literary friends, among them the poet Jorge Luján, also from Argentina but living in Mexico. Isol has illustrated several of his books, among them Numeralia.
Isol participated in several workshops for children at the fair and in the book shop Librería José Luis Martinez, where the children had had read Secreto de Familia in advance and then made drawings of invented strange family members.
An outdoor exhibition with Isol's illustrations were inagurated before she left Guadalajara at Museo El Trompo Mágico, an interactive eventful place for play and knowledge. People waiting in the cars during traffic stockings can now see illustrations from Intercambio Cultural, Vida de Perros asnd La Bella Griselda. Finally Isol started drawing an illustration on the museum wall (with the help of her son Antón) and children from neighbourhood schools compleated the drawing.
All photos are taken by Helen Sigeland.


Here's a pretty good video on the matter, generally any abrasive will remove the oxidization using high grit sand paper + wet sanding or a cutting compound generally used on paint is pretty good as well. Make sure you clean it properly after though, my brother used a high cut compound, wet sanded and polished his headlights on his Astra which the same thing happens too then covered the headlights with a protective clear tint, then also put headlight protectors over the lights so rocks didn't damage the film.
Just bought my 04' Xtrail and it had the fairly common yellowed headlights, which looks pretty ordinary.
I looked into the whole toothpaste/wet+dry paper technique and went out to get what I needed.
In Super cheap I came across a tin of Armorall cut+polish cream, which I bought to finish off with after I had done my wet+dry.
I got home and thought I would just give it a go with the Armorall, as it says it removes oxidation.... and you know what... it bloody does!
I went over the headlights with it and decided it wasn't worth the hastle of wet+dry because it had done such a good job by itself.
It isn't perfect but for the minimal effort required it is a decent result.
They look pretty cool them covers, Where can I get them?
No harm in asking the question anyway mate, so go for it and ask anything you like in those threads.
I restore mine every so often.
I use [sign in to see URL] sort of polish paste which I rub using a cloth.
Can you share before and after photos?


November 2017_The world of PR currently finds itself in a true revolution in which the offer of media is only increasing.
Final users can now be reached at any time, from any location and any device. Even more important is the fact that these users will make their very own choice in this.
How does this affect PR and communication?
The biggest affect is considered to be humanization, which is the credibility that lies in human-to-human communication.
This brings us to the micro influencers: bloggers, vloggers, Instagrammers, Facebookers, Snapchatters and so on, with a total range between 5.000 and 50.000 followers and a relatively high level of engagement on their profile. In the blink of an eye, these ordinary people start to function as role models. The commercial aspect does not drive the upper tone as the content is pure, conscious and chosen according to their personal style and preference.
This specially developed software can be implemented by the agency and is readily available to use. This software includes a large database of influencers, reach-data, and reporting capabilities in order to make sure that a brand's activities can be monitored. For great ideas and the most original content, we work with BIS (Brainstorming Independence System). This is a team of experienced creators and critics, including bloggers, creators, photographers, stylists, visionaries and designers that create the most unique campaigns.


Flexible, Rigid & Semi-Rigid Integral Skin Mouldings.
Upholstered leather look and feel.
Non slip grips and pads.
Sealed foam, ideal where high levels of hygiene required.
Colour co-ordinated to match the rest of the source product.
Viable alternative to rubber mouldings.
Your Company logo can be embossed into each component.
etc... the list of benefits are endless.


Acclaimed musical collective Lost In The Trees will be honored with their very own beer, as Fullsteam Brewery in Durham, North Carolina has just announced Lost In The Trees Farmhouse Ale. The group's singer and songwriter Ari Picker helped choose the flavors and offered up creative input into this one of a kind ale being made from local harvested figs.
"In the late summer and early fall, dozens of friends and supporters of the brewery harvested figs from local trees. Some gathered figs from their own backyard. Others asked a neighbor for permission to pick their tree," explains Sean Lilly Wilson, Fullsteam's Chief Executive Optimist. "A few brought organic figs they sell at the farmers market. All brought them to Fullsteam for inclusion in this collaborative offering.
The result is "Lost in the Trees," a farmhouse ale brewed with North Carolina figs. It's modest in alcohol (around 6%) with a nice balance between malt, hops, and the late-summer sweetness that can only come from sun-ripened figs. True, it's not fig season -- we're at the cusp of winter. But as the last of the fig leaves have finally fallen to the ground, it's a perfect time to partake in the great harvest, knowing that next summer is right around the bend."
"Buying local provisions including beer is very important to our household," contributes Ari Picker of Lost in the Trees. "So when I heard a local brewery was integrating these local ingredients into their brew, I was very excited! Home brewing is one of my hobbies, and it has been an honor to be involved with Fullsteam in helping with this project."
Lost In The Trees Farmhouse Ale will make its grand debut at the upcoming Lost in the Tree's performance in Durham at The Motorco Music Hall, Friday, December 3. After that the beer will be available for purchase from the Fullsteam Brewery.


Alexander got benched last year, Mook plays in the slot, and Floyd will lock down Rover. Beyond those 3 we have Deablo who looked good in a few games before his injury, Hunter who plays more like a linebacker and has been only hype, and Ladley who played OK in 2 games to end the season.
We lost 3 starters to the NFL, and both starting linebackers. We need bodies in the defensive backfield and the WR spots are a logjam.