Criminal Penalties in a Dog Attack Case | The Law Offices of Barry G. Doyle, P.C.
If you or someone you love has been the victim of a dog attack, contact a Chicago dog bite attorney who will fight for your rights.Contacting a Chicago Dog Bite Lawyer Dog bite injuries can leave psychological and physical scars. At the Law Offices of Barry G. Doyle, P.C, our Chicago dog bite attorneys will examine all aspects of your dog bite case, determine liability, and aggressively pursue the full amount of compensation due to you for any injuries or loss you may have suffered as a result of your dog bite incident. Contact us today for a free case evaluation – 312-263-1080.


Issued on le Kiosque d'Orphée in 1979, Voyage aux fonds de la Mer is the only LP by Alain Meunier (not to be confused with French classical music cellist of the same name), and is one of the most elusive collector pieces of the 1970s electronic experimental French scene. This rare sought after album starts with an instrumental guitar introduction but from the second track onwards it becomes a totally electronic experimental psychedelic trip that can be aligned with the most kosmische side of kraut rock, and of course also with other works by French experimentalists of the era like Pascal Comelade's Fluence or Richard Pinhas' production (including Heldon). Guitar comes in now and then showing also a certain Robert Fripp influence. Instruments used according to the insert sheet that came with the LP are a Korg 800 DV synthesizer, a K.O. Welson Clavinet, effects like a Fender Echo or a Electroharmonix Small Stone phaser and a fuzz pedal, plus Meunier also used a Gibson Les Paul Custom Guitar, a 12 string acoustic Eko guitar and a 6 string Morris guitar. First ever vinyl reissue. Limited edition to 500 copies only. Remastered sound.


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Natural Wonder: The Marble Cathedral in Chile
Every once in a while, one stumbles upon a natural wonder that is so captivating that it's comparable to a spiritual experience. The Marble Cathedral lies on the shore of General Carrera Lake in Patagonia, Chile. This natural wonder gained its title due to the shape of the caverns, whose ceiling reflects that of a church. The structure is only accessible by boat and several of the caverns are actually underwater so they can't be observed by visitors. Luckily, however, the bright blue lake is often clear enough that visitors can catch a glimpse of the additional structures that lay beneath the water.
The region was covered in glaciers until roughly 10,000 to 15,000 years ago. The stone found in the taverns, however, was created roughly 300 million years ago when sedimentary limestone reacted with intense heat to form marble.
The chapel itself was sculpted by the lake water reacting with the rock over thousands of years to create beautiful, intricate structures and caverns that continue to be shaped to this day. The rocks are made of calcium carbonate, which is an extremely soluble substance. When the rocks were within the Earth's crust, they became deformed and developed fractures. The chipping away at the marble, or dissolution, happens more rapidly in areas where these fractures are located. The Marble Cathedral may not be as well-known as other natural wonders, but it is definitely awe-inspiring.
If you look closely at the cavern walls, you can see 'dissolution alveoli' which shows little cavities surrounded by elevated parts. This is how researchers can tell that the cave continues to shape and change over time. The Marble Cathedral also has a smaller version that neighbors it which has been called 'the chapel'. It's no surprise this spot is considered one of the natural wonders of the world.
Learn more about the World of Inspiration, and discover the wonder of the Southwest, the world's largest underwater cave, and Ireland's Cliffs of Moher.
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How much house can I afford based on my income? I'm leading with this question because the amount you spend on your home, is one of the biggest financial decisions you'll ever make.
The purpose of this post is to look at two financial rules of thumb for buying a home that can protect you from making a big mistake.
Before even considering buying a home, make sure you're prepared to live stay there for 10 years. If you're likely to relocate inside of 10 years, you're better off renting.
How is your job security?
What are the chances you'll have to relocate for your job?
Have you ever dreamed of living somewhere else, but didn't think it was possible?
Is it likely that you're going to change careers in the next 10 years?
Will you outgrow this house in ten years?
Will this house be too big for you in ten years?
Will you want to move to get into better school districts?
The ten year rule of thumb might sound conservative to you, but I promise you it's not. Just look at what has happened in the past five years in the housing market.
The total amount you could afford, i.e. $250,000, will vary depending on what interest rates, taxes, down payment, and insurance premiums are at the time of purchase. The important thing to keep in mind isn't to exceed that 28% or 36% mark.
This will seem small compared to what your mortgage broker or real estate agent might tell you, but do they really have your best interest in mind? A good mortgage broker or real estate agent is very helpful to the home buying process, but still, they shouldn't be giving you financial advice. The more you buy, the more they make.
One more thing, if you're currently a two income couple, who plans to have kids, in which one of you will be a stay at home parent, don't calculate how much house you can afford based on both of your incomes. Since you're going to be living off of one income in the future, only use one income to determine how much house you can afford.
Even if you plan on living somewhere for ten years and you can afford to buy a home for 28% of your income, don't automatically think you have to buy a house. A house comes with a lot of responsibilities.
A day will come when you have to make a decision to do maintenance on the house or spend the money on something you enjoy. When the estimate for repairs is sitting on your kitchen table, and you have to make a choice, what will you decide?
In the comments, for those of you who have bought a home, what rules of thumb did you use? Did you make any mistakes? What did you do well?
For those who haven't bought a home, would love to hear if you ever plan to buy. I know a lot of Gen Y'ers, who plan on renting for the rest of their lives. If so, why?
Hi! had this convo with a girl at a baby shower this weekend. We were talking about the fact that a lot of young couples get married and then buy a house right when they have their first kid, they feel like that's what they "should" do in order to be a real grown up.
This sounds like a whole lotta buying and selling and moving to me. I don't know why people don't think about how large they think they want to grow their family, so maybe 2 kids, and plan around that? Rent during your first kid then buy once the second is on the way. Obviously all has to go smoothly for this in terms of rent prices, interest rates, job, ability to have second kid etc. Anyway….seems like a lot of people buy and then want to sell 3-5 years later after having another few kids. With a little planning they'd save time and money.
Oh, and If you're buying a condo, don't forget HOA's, Home Owners Association dues. They can be hefty!
Unfortunately, I'm one of those people who bought a house and then want to move in a few years. I could have used some advanced planning at the time, but as I've said, after I got married, I just thought the next step was to buy a house. So I know the hard way, exactly what you mean.
- mortgage professionals/real estate agents definitely have the ability to make more off higher loans, however, regulation and ethic standards have come far in the last few years. Anyone pushing a buyer to go higher on price than they feel comfortable is not only violating ethical practices, but my guess is there is a decent chance they would be reprimanded by regulatory enforcement. Not to mention the impact on that professionals reputation, which is important for the longevity of their career.
- Lastly, I rent. But that isnt because I dont think buying a home is a great idea/good strategy. It's because I know I don't want to live in the area that I want to buy a home in, quite yet. This goes back to the looking forward idea. However, rents all over the city of Chicago are increasing. As they continually increase, buying a home becomes even more attractive. There are plenty of people buying now, paying less than what they do in rent, however, unlike renters, each monthly payment they make increases their equity in the home, not to mention that their monthly interest helps to reduce their income taxes (just throw appreciation out completely for the time being).
Just wanted to add some prospective from the other side.
You're right, they have gotten rid of a lot of the bad people out the business. I also didn't mean to bash these people. I couldn't have bought my house without their expertise. My point was that, you should never ask a realtor/mortgage broker how much house you should buy. You should make that decision based off of your situation.
It's also extremely hard, once someone gets the idea that buying a home is the next step, to change their mind. I admit, I made this mistake.
We could probably go on and on about the short-term vs. long term advantages and disadvantages of renting vs buying. There really isn't a perfect time to buy because you can't predict the future.
You are dead on about that, people call expecting you to tell them they can only be approved for X amount when they can be approved for way more than they need. It is a better idea to call, knowing you only feel comfortable paying a certain about, and just make sure you can be approved for that amount.
I think the first litmus test is extremely important, especially in light of recent developments during the downturn. What I learned from the fallout of the sub-prime crisis: A home is a place to live, not a speculative investment. Restoring that mindset is critical.
When we first started looking we had a set number on what we wanted to spend, but then something strange happened, we actually went into the houses that were selling for our number. I have rented some pretty suspect places and there was no way I was going to spend $200k on a house that needed repairs, upgrades and wasn't in the best neighborhoods.
When we went up to the full 26% range and decided to spend an additional $20k on the house the quality of homes increased dramatically and after almost two years we couldn't be happier. I love the fact that this is our house and if we want to paint we can. I lived with white walls for ten years, it is nice to have color in the home.
Good to have you back Patrick!!!
Sounds like you did your homework and stayed in your price range.
I bought a house that I am intending to be an income property in the next 2 to 5 years. Fortunately, it worked out that a college buddy of mine needed a place to live and I had an extra bedroom, so it is already producing. Anyway, I have been kicking myself a little bit because I opted for the 15 year mortgage over the 30 year to save a quarter percent on my interest rate. But with the interest so low, I feel like investing the money elsewhere could've given me a much better return over that term than saving a quarter percent on the mortage. The quicker I pay the mortgage off though, the better I can cover my mistake up, but in buying vs. renting, there is a lot to consider outside of just what you want/need in a house. Being a Gen Y'er, this was the first time I learned how important the long term is for decision making.
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Overseen by Priscilla Presley, who says her husband would have loved the idea, this project sets 14 Elvis vocals to an orchestral re-wiring of the original music. It's skilfully executed, with each arrangement sitting smoothly against that remarkable voice. From the restrained glide of "Love Me Tender" to the sumptuous, rollicking rumble of "Burning Love", the Royal Philharmonic's precision and elegance bring fresh vibrancy to the songs without ever smothering The King.
If I Can Dream: Elvis with the Royal Philharmonic Orchestra Elvis Presley
Fever (feat. Michael Bublé)
And the Grass Won't Pay No Mind
You've Lost That Loving Feeling
There's Always Me
Steamroller Blues
An American Trilogy
℗ 2015 RCA Records, a division of Sony Music Entertainment
PappyJP , 12/23/2018
Jerry Pullen
The entire album is incredible. Especially "There's Always You"
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The Voice and the Hand are a pair of ant siblings and Sylvan Wanderers. The Hand can only communicate with other bugs, whereas the Voice speaks common as well. They operate as a team.
They report to Ser John.


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According to a TI poll, Pakistan's most corrupt sector is the police
By Zarish Sajid Last updated Dec 9, 2022, 11:12 pm 22 0
According to an annual survey, the police sector is viewed as the most corrupt sector at the national level, followed by the procurement and contracting sector, the judiciary, and the education sector, in that order.
Transparency International (TI) Pakistan revealed the results of the National Corruption Perception Survey 2022 (NCPS) on Friday, International Anti-Corruption Day. This survey is the seventh series conducted over the past 21 years. The police also ranked first in the previous year's research.
The regional breakdown of the three "most corrupt" sectors found that in Sindh, the education sector was regarded as the most corrupt, followed by the police and tendering and contracting.
In Punjab, the police again ranked first, followed by the tendering and contracting industry and the courts.
In Khyber Pakhtunkhwa, the court was viewed as the most corrupt sector, followed by the procurement and contracting industry and the police, in that order.
In Balochistan, tendering and contracting took the top rank, followed by the police and the court, in that order.
Justice (retired) Zia Pervez, chairman of TI Pakistan, stated that the 2022 survey had been entrusted to its partner organizations to enhance the NCPS's legitimacy and knowledge of public survey processes.
He hoped other government ministries would use the survey's findings to implement reforms.
"This will assist reduce corruption and improve the lives of the general public," he stated.
45% believe anti-corruption institutions are ineffective.
At the national level, 45 percent of respondents rated the function of anti-corruption institutions as "ineffective," not combating corruption in the nation.
In Sindh, only 35% of Pakistanis viewed the National Accountability Bureau (NAB) as a competent anti-corruption organization. In Khyber Pakhtunkhwa, 61 percent believed that "none of the anti-corruption institutions" were efficient in combating corruption, followed by Balochistan (58 percent) and Punjab (54 percent) (31pc).
At the national level, Pakistanis continued to believe that public service delivery was rife with corruption. According to the report, the three most corrupt public services were contracts for roads (40%), uninterrupted access to energy (28%), and access to clean drinking water (28%). (17pc).
In Sindh, Punjab, and Balochistan, citizens ranked road maintenance as the most corrupt aspect of public service delivery. In KP, most residents (47%) viewed uninterrupted power service as the most dishonest public service delivery.
Separately, the poll identified "delayed decisions" in corruption cases (31%), the manipulation of state institutions by governments for personal gain (26%), and government incompetence as the top three causes of corruption at the national level (19pc).
At 43% and 29%, the inhabitants of Sindh and Punjab viewed "the use of state institutions for personal gain by governments" as the most significant cause of corruption in Pakistan.
At 43% and 32%, respectively, in KP and Balochistan, "delay in judgements in corruption cases" was cited as the leading cause of corruption in the country.
Moreover, according to the report, 33 percent of Pakistanis believe that corruption should be penalized by life imprisonment as a kind of deterrence.
In addition, 28% believe that all government officials, politicians, military officers, and judges should disclose their assets to the public, and 25% believe that anti-corruption courts, the National Anti-Corruption Bureau (NAB), and the Federal Investigation Agency (FIA) should hear and decide corruption cases daily and within six months.
Citizens in Sindh feel that to combat corruption. Cases should be heard daily in NAB, FIA, and anti-corruption courts and decided within six months.
Thirty-two percent of Punjab residents and 38 percent of KP residents believe corruption should be penalized by life imprisonment.
Thirty-three percent of respondents in Balochistan believed that to combat corruption, the government should immediately require all officials, parliamentarians, military officers, and judges to reveal their assets to the public.
Local NGOs are seen as efficient during flood response.
The NCPS also focused light on the terrible floods that occurred during this year's monsoon season by emphasizing the need for transparency and accountability in using flood-related monies.
Approximately 62% of Pakistanis saw the participation of local non-governmental organizations (NGOs) during the recent floods as successful and superior.
The percentage of people in each province who believed that local NGOs performed well during the flood response was as follows: 52 percent in Balochistan, 54 percent in Punjab, 62 percent in Sindh, and 79 percent in Khyber Pakhtunkhwa.
In addition, an overwhelming majority of Pakistanis, 70 percent, believed that the cash was not disbursed transparently. The province split revealed that 62 percent of citizens in Punjab, 67 percent in Sindh, 68 percent in Punjab, and 82 percent in KP held this view.
Sixty percent of national poll respondents believed that NGOs' flood donations and assistance efforts should be made more open. Sixty-four percent were from Sindh, 60 percent from Punjab, 75 percent from KP, and 40 percent from Balochistan.
In addition, 88 percent of the national people agreed that the donations and expenditures of all NGOs should be made public on their websites. It was 86 percent in Sindh, 93 percent in Punjab, 92 percent in KP, and 90 percent in Balochistan.
Lack of clarity and information
Nationally, 77% of the population considered it difficult to get public information from public authorities following right-to-information rules.
It was 87 percent in Sindh, 83 percent in Punjab, 71 percent in KP, and 68 percent in Balochistan.
This coincided with 66 percent of national respondents who believed the government did little to address their issues. At the provincial level, 57 percent in Sindh, 70 percent in Punjab, 70 percent in KP, and 67 percent in Balochistan were unhappy with the government's response to their complaints.
Nationally, 64 percent of Pakistanis said the country had not benefited from the International Monetary Fund (IMF) arrangement.
Fifty-eight percent of Sindh residents said Pakistan had benefited from the arrangement. However, 70% in Punjab, 67% in KP, and 76% in Balochistan disagreed.
In addition, 54 percent of Pakistanis considered that news outlets' reporting was biased. The poll revealed 61 percent in KP, and 53 percent in Balochistan believed the contrary.
In Sindh and Punjab, 72 percent and 59 percent viewed news channel reporting as biased.
#NGOcorruptionNABpolice sectorTI
Zarish Sajid 855 posts 0 comments
A journalist with a passion for writing. Zarish has a strong grip on feminism, environmental crisis, and social justice issues. Being an avid reader who enjoys classic literature, she loves to weave her stories with the inquisitiveness of a reader and the critical thinking of a writer.
She believes that writing is similar to performing arts. A writer has to stage a performance by diving deep into the scene without overdoing the optics. You can connect with her here: Twitter: @SajidZarish or on Facebook: https://www.facebook.com/zarishsajid.6
Congress gets majority in Himachal by winning 40 Seats, BJP shrinks to 25
Google registered as a business entity in Pakistan


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Consultation part of efforts to build European green hydrogen community
The European Commission has launched a public consultation on green hydrogen.
Spanning the continent, the consultation is part of the agenda process, which started in 2021, as a pilot initiative of the new European Research Area (ERA), bringing together science, industry, civil society and public administration with the goal of building an inter- and transdisciplinary European green hydrogen community.
The consultation, which will close at 22:59 on 26 September in the UK, is inviting all interested parties to contribute to the preparation of a joint strategic research and innovation agenda on green hydrogen.
Three seed papers were prepared as a starting point for this agenda by leading experts, covering production, transport/infrastructure, and market stimulation, with the consultation seeking ideas and comments on these. This feedback will then be discussed and further elaborated on during thematic workshops in October, with transport and infrastructure discussed in Berlin from 7-8 October, market stimulation covered in Vienna on 22 October, and production elaborated on in Rome during the third week of the month.
Hydrogen innovation pipeline could deliver tens of thousands of jobs
HyDeploy trial a success, opens way to larger demonstration
Over £31mn in funding to help industry cut emissions and energy costs
Environmental Audit Committee hears evidence on the role of hydrogen in decarbonisation


Professional marketing is not about hawking a bunch of stuff people don't need, it's about understanding the needs of a large group of other people, and then creating a product or service that meets those needs very, very well.
Once someone learns how marketing works and the power of it, if they're not kind of ethically developed and if they haven't considered ethical implications in life, and so forth, they're likely to go out and just use it to sell a lot of stuff. A lot of marketing crosses over that line. A lot of people have seen that kind of marketing, or they've fallen prey to it, and then they just hate all marketing. It becomes generalized.
Another reason marketing gets a bad rap, is because people don't like people who are direct and that ask people to take action. They just don't like the emotional pressure, so they demonize marketers. In other words, a lot of it is legitimate. A lot of it, we've kind of done to ourselves, as marketers. We've overused certain techniques.
One more thing, just to add to this topic, when I teach marketing I teach that every marketing project is, essentially, an ethical dilemma in and of itself. You can go too far with your marketing, anywhere, but after understanding the needs of a group of people, and creating a product or service that meets those needs; then learning how to communicate in a way that gets the prospective customer to pay attention, to make a decision, to take action, and to buy… it stops becoming this unethical manipulation game, and it starts becoming, almost what we might call, a hyper-conscious, hyper-ethical game.
For the full episode, check out The one with Eben Pagan.


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Q: Approximating an interval

Corollary C is derived from $E_(x) = \frac{f''(x)}{2} \cdot (x-a)^2$
I'm having serious issues understanding this problem and I'm just not getting it right. I'm preparing for a test so this isn't really 'homework' so you can give as hard hints as you want. Thanks!

A: Perhaps it would more visual if it was related to mechanics:
Let $f(x)$ be the position of your car at time $x$, you have initial conditions which are :

*

*at time $x = 2$, you are at position $4$, that's $f(2) = 4$.

*at time $x = 2$, you are moving with speed $-1$, that's $f'(2) = -1$.

*For any time $x$, you have acceleration in the range $[0, \frac1x]$, that's $0 \le f''(x) \le \frac1x$.
Question is : Where can you be at time $x = 3$?

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VAN HALEN (1977–PRESENT). David Lee Roth (vocals, 1977–84, 2007– present), Eddie Van Halen (guitar), Alex Van Halen (drums), Michael Anthony (1977–2005), Sammy Hagar (vocals, 1985–?), Gary Cherone (vocals), Wolfgang Van Halen (bass, 2007–present).
Van Halen changed everything. The release of Van Halen's self-titled album in 1978—was it really in 1978?!—almost overnight changed the dominant paradigm in rock music. It's amazing to realize that before Van Halen was an eighties rock band, they were an eighties rock band, which is merely to say that heavy rock music in the eighties probably wouldn't have developed in quite the way that it did if Van Halen hadn't led the way out of the 1970s. As a whip-cracking guitarist, Eddie Van Halen cracked the loudest whip anyone had ever experienced, singlehandedly (well, actually he used both hands) changing the way a whole generation of guitarists conceived of their instrument, what it should do, how it should look, and how it should sound. His highly developed two-handed tapping technique and innovative use of the whammy (tremolo) bar expanded the vocabulary of rock guitar in one fell swoop.
And frontman David Lee Roth drew as much inspiration from lounge singers and vaudeville performers as from Robert Plant. And as a band (whose sound was very much shaped by the sound of that guitar), Van Halen effortlessly fused pop sensibilities into the sturm and drang power of heavy metal in such a way that most who followed could only offer what can at best be described as "pop metal" in the band's wake. Ultimately, the genius of the original VH lineup was in their charismatic approach to changing the rules, which helped them to become one of the most popular bands of the late seventies and early eighties.
the band, they hired bassist Michael Anthony to fill out their ranks. The band soon became a fixture on the Hollywood rock scene playing their high-energy original music. One early admirer was Kiss bassist Gene Simmons, who flew the band to New York to record a series of demos. Eddie, having to use rented gear, had trouble getting the unique signature guitar tones that he had been developing back home, and the band was not enthused with the results.
"Eruption" was the track, more than any other, that established Eddie Van Halen's reputation. The blistering, unaccompanied solo (save for its bombastic full band intro) was the sonic equivalent of "the world of guitar, according to Eddie." Achieving the fullest, richest tone of a cranked Marshall amp (later to be dubbe the "brown sound" by fans), Ed proceeded to rip into a series of improvised riffing that seamlessly led into the beautiful, baroque-sounding two-handed tapping flourishes that led more than one guitarist at the time to ask: "How is he doing that?!" As the solo climaxes and the last descending notes begin to fade, the track segues into the blistering power chords that start "You Really Got Me," and the band kicks in all their power. Not surprisingly, the band quickly became a powerful live attraction and toured heavily behind the album.
The band followed up their debut with Van Halen II, released in 1979. Again produced by Templeman, VH II contained the band's first hit single, "Dance the Night Away," which showed a much more melodic, pop side to the band. They also covered Linda Ronstadt's "You're No Good," which received a good amount of airplay.
Just as 1984 would remain a high-water mark for the band, it would also mark the end of an era, as tensions within the band, between Roth and the Van Halen brothers, came to a head. Roth had disapproved of Ed's playing on Michael Jackson's "Beat It," while Ed and Alex had grown tired of Roth's' comedic hijinks. Roth had experienced a good deal of success with his solo EP Crazy from the Heat, which had produced the hits "California Girls" and "Just a Gigolo/I Ain't Got Nobody." And when Roth's activities delayed the band's recording schedule, he was fired.
The band's choice of former Montrose frontman Sammy Hagar was on the surface an unlikely choice, given that the "Red rocker" was just the sort of serious rocker that Roth liked to parody. But given that the VH brothers were sick of Roth's humor, the choice made more sense. At the same time, as serious musicians, Ed and Alex's choice also made sense, in that Hagar was a skilled singer with a range and vocal technique that Roth hadn't possessed.
While the change upset many fans, the first album with Hagar did well. 5150, released in 1986, ended up being a massive hit, fueled by the hit singles "Why Can't This Be Love," "Dreams," and "Love Walks In." Hagar's vocal style was much different from Roth's and actually fit the band's evolving sound, which, following the experiment of "Jump," involved a greater integration of keyboards. The next album with Hagar, 1988s OU812, was similarly successful, producing the hits "When It's Love" and "Finish What You Started." For Unlawful Carnal Knowledge continued the string of hit albums of the "Van Hagar" version of the band, and produced the hit "Right Now." 1993 saw the release of the band's first live album, Right Here, Right Now.
While the Hagar/Van Halen union had been commercially and creatively successful, tensions had grown, especially between the singer and the guitarist. Eddie had undergone rehab for alcoholism while Hagar remained a friend of the party. After the release of Balance in 1995, the band wanted to schedule a greatest hits collection, an idea that Hagar was not in favor of. After another difference of opinion over a song being recorded for the Twister soundtrack, the band began recording some new music (to be included in the greatest hits collection) without telling Hagar. When the singer heard about the collaboration with Roth he hit the roof.
Accounts differ regarding Hagar's exit from the group, with Eddie claiming he quit, and Hagar claiming he was fired. At any rate, Roth ended up recording two new tracks for the Best of … collection and assumed he was back in the band. Unbeknownst to Roth, the position had allegedly been secretly offered to singer Mitch Malloy. But when the four original members of the band made a joint appearance on the MTV Music Awards, Malloy bowed out. After the awards show Roth was out again and cried foul, saying that he had been tricked into recording the tracks under the false pretense of a reunion.
The best-of collection, entitled Best of, Vol. 1, was a hit, and ex-Extreme vocalist Gary Cherone was brought on board as the new frontman for the band. The resulting studio album, Van Halen III, while entering the charts at number 3, performed poorly, becoming the least successful album in the band's catalog. After a single tour, the band and Cherone parted ways.
More rumors of a reunion with Roth began to circulate, with the singer alleging on his website that he had been recording with the band. Shortly thereafter, it was announced that Eddie, a longtime smoker, was suffering from oral cancer, but that the prognosis for a full recovery was good. A short time later came the surprising announcement that Van Halen was parting ways with longtime labelWarner Brothers. No new recording contract with any other labels was mentioned at the time.
After Eddie's treatment and recovery, the band reunited in 2004 for a tour that saw Sammy Hagar fronting the band again. After the tour, sessions were held with Hagar for a few new songs for the upcoming second volume of the band's greatest hits collection. Bassist Michael Anthony was conspicuous in his absence, with Eddie playing bass on the sessions.
In 2006, the band announced that Anthony had been fired from the band, with Eddie explaining to Rolling Stone magazine that since Anthony had been playing with Hagar, he couldn't be in two bands at the same time. Shortly thereafter, it was announced that Roth would indeed finally be returning to the band for an extended tour that would also feature Eddie's son Wolfgang taking Anthony's place on bass. While the tour was initially postponed while Eddie entered rehab again (Christie, 2008), and was mysteriously interrupted in early 2008, after a successful start in the fall of 2007; by June 2008, it was announced that the tour had thus far grossed over $93 million, making it the most successful Van Halen tour ever.
Discography: Van Halen (Warner Bros., 1978); Van Halen II (Warner Bros., 1979); Women and Children First (Warner Bros., 1980); Fair Warning (Warner Bros., 1981); Diver Down (Warner Bros., 1982); 1984 (Warner Bros., 1984); 5150 (Warner Bros., 1986); OU812 (Warner Bros., 1988); For Unlawful Carnal Knowledge (Warner Bros., 1991); Live: Right Here, Right Now (Warner Bros., 1993); Balance (Warner Bros., 1995); Van Halen III (Warner Bros., 1998); Best of Van Halen, Vol. 1 (Warner Bros., 1996); Live in Pittsburgh '98 (Import, 1998); Van Halen Box: 1986–1993 (WEA, 1999); Van Halen Box: 1978–1984 (WEA International, 2000); The Best of Both Worlds (Warner Bros., 2004); The Very Best of Van Halen (WEA International, 2004); Best of Van Halen: The Early Years (Rhino, 2007); Best of Van Halen 1978–1984 (Warner Bros., 2007).


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Le concert du nouvel an 2016 de l'orchestre philharmonique de Vienne, qui a lieu le , est le  concert du nouvel an donné au Musikverein, à Vienne, en Autriche. Il est dirigé  pour la troisième fois par le chef d'orchestre letton Mariss Jansons, quatre ans après sa dernière apparition.

C'est la première et unique fois qu'une œuvre de l'Autrichien Robert Stolz (la marche Uno-Marsch) est interprétée lors d'un concert du nouvel an au Musikverein. C'est également la première fois qu'une pièce du français Émile Waldteufel (la valse Espana) y est jouée, lequel sera à nouveau au programme l'année suivante.

Programme

Première partie

 Robert Stolz :Uno-Marsch, marche
 Johann Strauss II : , valse, op. 418
 Johann Strauss II : Violetta, polka française, op. 404
 Johann Strauss II : , polka rapide, op. 281
 Carl Michael Ziehrer : Weaner Madl'n, valse op. 388
 Eduard Strauss : Mit Extrapost, polka rapide, op. 259

Deuxième partie

 Johann Strauss II : ouverture de l'opérette Eine Nacht in Venedig (version viennoise)
 Eduard Strauss : Ausser Rand und Band, polka rapide, op. 168
 Josef Strauss : , valse, op. 235
 Johann Strauss II : Sängerslust, polka française, op. 328, œuvre chantée
 Josef Strauss : Auf Ferienreisen, polka rapide, op. 133, œuvre chantée
 Johann Strauss II : deuxième entr'acte de l'opérette
 Émile Waldteufel : Espana, valse, op. 23
 Josef Hellmesberger I : Ball-Szene'''
 Johann Strauss : Seufzer-Galopp, galop, op. 9
 Josef Strauss : Die Libelle, polka-mazurka, op. 204
 Johann Strauss II : Kaiserwalzer, valse; op. 437
 Johann Strauss II : , polka rapide, op. 373

 Rappels

 Johann Strauss II : , polka rapide, op. 348
 Johann Strauss II : Le Beau Danube bleu, valse, op. 314
 Johann Strauss : la Marche de Radetzky, marche, op. 228

 Discographie

 Mariss Jansons, Vienna Philharmonic – New Year's Concert 2016 : Sony Classical – 88875174752, 2 CD

 Vidéographie

 Mariss Jansons, Vienna Philharmonic – New Year's Concert 2016'' : Sony Classical – 88875174799, Bluray

Notes et références

2016
2016 en musique
2016 en Autriche
Janvier 2016
Johann Strauss fils
Josef Strauss
Johann Strauss
Eduard Strauss
Carl Michael Ziehrer
Josef Hellmesberger II
Émile Waldteufel

redpajama_set_name: RedPajamaWikipedia


text:
Bosnian news in English Monday, January 18, 2021
BH & EU
BH TOURISM
Business Owner from Britain reveals Advantages of living in Bosnia and Herzegovina
July 30, 2020 7:30 PM by Y.Z
Kathrin, one of the seven expat women interviewed in this story series, in Sarajevo. Photograph: @kathi.daniela/Instagram
From navigating a culture that preserves traditional gender roles, to being professionally and interpersonally hindered by language barriers, to facing overwhelming scrutiny for having an 'exotic' look, seven women originating from across the globe tell the Sarajevo Times what it's really like being a female foreigner living in the Balkans.
*All stories are unedited to maintain the interviewee's authentic voice. Some women have been asked specifically about their experiences as a female foreigner of colour.
Juliet, 41 year-old Business Owner from Britain in Sarajevo, Bosnia
'It's not always an easy place to be, but I wouldn't be anywhere else.'
What are the best aspects/most meaningful perks about living in Bosnia for you, particularly compared to your home country of Britain?
The most meaningful thing to me is the sense of community I experience here, not just with neighbours and friends, but with all the people I see every day while on my rounds. I decided I wanted to immigrate here because those small interactions are a big part of the way you feel in a place. When you move here as a Westerner people usually think you're insane, but they don't mind that you came. I've always felt welcome in Sarajevo.
What do you find most challenging about living in Bosnia as a female foreigner and why?
The gender roles are fairly rigid here, but I tend to ignore them. As a foreigner I think I have more freedom to do that than most local women, because I don't have to adhere to the same social expectations.
Can you describe your average day in a sentence or two to provide a snapshot of what your everyday normal life is like?
I live in Vratnik [Sarajevo], and have a shop in the old town. I walk to and from work, and then I'm in the shop until the evening. Friends come and visit, and sometimes I visit other people. Everything has changed this year because of the pandemic —my main business is centred around tourism, so there's a lot less work at the moment and a lot more time for coffee!
Can you share a specific instance where you thought to yourself: 'I am so happy I am living here', or perhaps, a time where you thought: 'I wish I wasn't living here'?
I think this every day. It's not always an easy place to be, but I wouldn't be anywhere else. Some of the friends I've made here are so close that it's hard to imagine there was a time I didn't know them. It hasn't quite gotten to the point that I thought "I wish I didn't live here", but there are times when I've felt helpless, especially when dealing with bureaucratic processes or decisions.
Anonymous, Housewife from Brazil in Zagreb, Croatia
"It bothers me a lot that I am seen and observed like an animal. I am trying to give back the creepy stares so people know how uncomfortable that feels like.'
What are the best aspects/most meaningful perks about living in Croatia for you, particularly compared to your home country of Brazil?
Croatia is much safer when compared to Brasil. I decided to move here without quite knowing much about the country, but I like how safe it is. Life is simple here (in its vast majority). And safety, as a Brazilian, is really important to me. It gives your freedom back to you.
What do you find most challenging about living in Croatia as a female foreigner of colour and why?
My color and my features. I am a brown/black Brazilian with very curly hair and a curvy body. My own existence here defies local standards. I live far from the center, so there aren't a lot of tourists here. I am seen and not in a good way. Not to make a racist correlation, but I often say I feel like a monkey in a zoo here. It bothers me a lot that I am seen and observed like an animal. I am trying to give back the creepy stares so people know how uncomfortable that feels like.
I don't work because it's very hard to find a job if you don't know the language (working on that!). So I'm a housewife, which mostly leads my life to taking care of my house, going out to meet fellow Brazilian expats and of course, a lot of trips to the supermarket.
Whenever I feel safe to go out by myself, especially at night, I tell myself how fortunate I am to live here. However, whenever someone looks at me differently or when I get very bad treatment for looking the way I do (like followed at stores – it has happened a LOT of times, even in empty stores) I just wish I could be back home in Brazil and be normal. Just be normal.
Interviews by Miya Yamanouchi for the Sarajevo Times
Tags: #Balkans, #foreigner, #happy, #life, #women, friends
Author: Y.Z
Sarajevo Times interview:
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Founders of an Instagram account sharing Bosnian oral tradition that has experienced rapid growth since its inception two months ago, say their popularity was unexpected and "not strategic." With over 32,000 followers, the Instagram account In Bosnia We Don't Say (@inbosniawedont) posts daily humorous Bosnian-specific linguistic and cultural expressions, translating the » read more
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Home » Casa Bruma by Fernanda Canales and Claudia Rodríguez
Residential ArchitectureRecord Houses
Casa Bruma by Fernanda Canales and Claudia Rodríguez
Casa Bruma comprises nine volumes of poured-in-place concrete, set at angles in its partially wooded site to create an irregularly shaped courtyard.
Photo © Rafael Gamo
The courtyard pavers conceal a below-grade cistern for collecting and storing rainwater, the house's only water source.
The family's primary shared spaces, including the living room and the dining room, are linked with glazed connectors.
The main living spaces have polished basalt floors and oak ceilings.
The main living spaces have polished basalt floors and oak ceilings
Many apertures, such as one in the kitchen (seen in the background), are placed to create long views through multiple spaces.
Most of the rooms, including a guest house, have windows on two sides.
Though nominally black, the concrete, especially on the exterior, has considerable color variation.
Image courtesy Fernanda Canales + Claudia Rodríguez
Joann Gonchar, FAIA
A house made of black concrete, inside and out, sounds aggressive and brooding—not an inviting place to live. And a black concrete country house? If you knew anything about its setting, you would assume such a dwelling would be terribly out of place in a forested rural environment.
Additional Content:
Jump to credits & specifications
But a recently completed residence made almost entirely of exposed black concrete defies all expectations. Designed by collaborating architects Fernanda Canales and Claudia Rodríguez, the house, located in the mountains about 100 miles southwest of Mexico City, is an engaging cluster of rustic board-formed boxes that are nestled at angles into their site around an irregularly shaped courtyard. Dubbed Casa Bruma for the mist that often shrouds the surrounding landscape, the 6,500-square-foot assemblage is a weekend retreat for an attorney, his marketing-executive wife, and their two young children. It is one of the first buildings to be constructed within a secluded community that will eventually contain only 70 houses on 500 mostly untamed acres.
The clients sought out Canales—known for her small but impressive body of residential and cultural projects, as well as her books and exhibitions on Mexican architecture—because they wanted an architect "who is hands-on." Canales spends much of her time on construction sites and does not have a traditional office or employees. But she often forms alliances, this time turning to Rodríguez, whom she has known since their days in architecture school at the Universidad Iberoamericana, in Mexico City.
Rodríguez had helped create the master plan for the new development and so was well versed in the construction restrictions, intended to restore the ecology of the land. For decades, it had been used for grazing cattle and logged for its once-plentiful supply of old-growth oak trees. The master plan placed few constraints on architectural form but included several pertaining to the individual homeowners' sites. Among them was: a requirement that the houses be designed so that all of their water, even for drinking, come from collected rainwater; a restriction on nonnative vegetation, and on cutting down trees. The idea, says Rodríguez, "was to allow freedom in expression of the houses, but strengthen the identity of the landscape."
In keeping with this philosophy, Canales and Rodríguez opted not to build on a flat, meadow-like portion of the clients' 2.7-acre, roughly rectangular property. Instead they chose a sloping spot at the edge of a wooded area, carefully tucking pieces of the residence among the trees. Canales explains that a desire for camouflage was one of the reasons for this placement and why Casa Bruma is "exploded" into nine discrete one- and two-story volumes. It was also the rationale for adding the black pigment to the concrete mix for the site-cast walls. The dark color, she says, makes the house recede into the shadows.
This strategy had another benefit: it allowed the architects to create the courtyard, building on a long history of such spaces in Mexican architecture. "It is a typology I'm always rethinking," says Canales. In fact, a house she just completed for her own family in the same development is organized as barrel-vaulted elements surrounding rectilinear open-air living spaces. But at Casa Bruma, the almost village-like grouping defines a less traditional, more organically shaped courtyard. Here clover sprouts between the stone pavers that conceal the below-grade rainwater cistern, and fringy ferns grow at the perimeter—almost as though the forest is intruding and trying to take over.
Four shaggy green roofs—another requirement of the master plan—and two planted roof terraces reinforce the impression that the architecture is an extension of nature. A variation in the texture and color of the concrete walls' exterior surface—shades from inky black to medium gray—also support this effect, making them appear to be products of weather and nature rather than man-made. "We thought of the buildings as rocks," explains Rodríguez.
Although Casa Bruma's exterior is almost wild and rough, the inside is more refined. The four volumes that contain the primary living areas—the kitchen, the dining room, the living room, and bedrooms—are linked with glazed connectors. The remaining five standalone concrete boxes, meanwhile, house two guest pavilions, a caretaker's apartment, a garage, and the utilities. Many of the spaces feature a pleasant palette of basalt floors, polished to reflect light, and oak ceilings, stairs, and doors made by local artisans, which add warmth and richness to the otherwise black interiors.
Almost all of the rooms have windows or generously sized glass doors on two exposures. These offer views of the woods, the courtyard, and the surrounding hills, as well as allow cross ventilation. The operable doors and windows, along with wood-burning stoves and fireplaces, are sufficient to keep the house comfortable despite temperatures that can swing more than 30 degrees Fahrenheit over the course of single day. Casa Bruma has no mechanical climate-control systems.
Throughout the house are clues revealing how the architects were constantly thinking from their clients' point of view. These range from the choice of concrete as the primary material, which should be almost maintenance-free, they point out, to ingenious touches like built-in bunk beds concealed behind sliding doors in the guest quarters. These allow the rooms to be used by families with small children or by single friends. The designers insist that addressing such practical concerns is a priority. "I never sacrifice comfort for image," says Canales. "Otherwise, the occupants suffer the consequence." No sacrifices have been made at Casa Bruma. She and Rodríguez have created striking architecture that is as effortlessly inhabitable as it is inventive.
Back to Record Houses 2018
Fernanda Canales + Claudia Rodríguez — Fernanda Canales, Claudia
Rodríguez, partners in charge; Hugo Vargas, Aarón Jassiel, Alejandra Tellez, project team
Grupos SAI
General contractor:
Metal frame windows: Cortizo, Venster
Glass: Venster
Skylights: Venster
Locksets: Baldwin
Cabinetwork and custom woodwork: CM2, Quetzal Cocinas
Paints and stains: Comex
Oak wood floors: Fine Floors
Stone living room and dining room floors: Marmoles Arca
Living room sofa: Studio Roca
Butterfly chairs: Studio Roca
Tray Table: Studio Roca
Chairs: Blu Dot, Herman Miller
Interior ambient lighting: David Pompa
Ceilings and wall lamps: Estevez, Cesa Ilumination
Wall lamps: Flos, Antonio Citterio
Ceiling light in bedrooms: Flos
Exterior: Estevez, Cesa Iluminación
Recent Articles by Joann Gonchar, FAIA
2021 Gold Medal Recognizes Ed Mazria's Climate Activism
Continuing Education: Building Electrification
Profession Must Zero in on Carbon to Meet 2030 Climate Goals
Joann Gonchar, FAIA, LEED AP, is a senior editor at Architectural Record. She joined RECORD in 2006, after working for eight years at its sister publication, Engineering News-Record. Before starting her career as a journalist, Joann worked for several architecture firms and spent three years in Kobe, Japan, with the firm Team Zoo, Atelier Iruka. She earned a Master of Architecture degree from the University of Pennsylvania and a Bachelor of Arts from Brown University. She is licensed to practice architecture in New York State.
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2014 TABLOID WITCH AWARD WINNERS ANNOUNCED
by Thomas M. Sipos, managing editor [September 14, 2014]
[HollywoodInvestigator.com] For the 11th year in a row, the Hollywood Investigator is happy to announce the winners of its Tabloid Witch Awards horror film contest.
Of 159 films considered this year (up from last year's 85), winning films hailed from the Czech Republic, Columbia, England, Ireland, Poland, Spain, and the United States.
As for trends in horror, judging by this year's output, serial killers and psychos have overtaken zombies in popularity. Supernatural films were also heavily represented. Far fewer filmmakers are producing horror/sci-fi films than films in other subgernes.
Three of this year's winning films had budgets of about $500, demonstrating that you don't need big money to produce big quality horror.
Here now are 2014's Tabloid Witch Award winning films:
* Best Horror Feature: Judas Ghost
While not the most original feature film of the year (borrowing elements from both The X-Files and Poltergeist: The Legacy), it is one of the slickest and most entertaining. Moving like a well-oiled monster machine, Judas Ghost sprints to a quick start, its paranormal investigators leaping into their assignment from the opening reel, not bothering with expositions or introductions. From there the pace never slackens, the film hurtling from scare to scare, like the proverbial funhouse rollercoaster (to mix metaphors) that horror is often likened to.
Production values are professional across the board, contributing to both the atmosphere and the scares. Like cotton candy, Judas Ghost is more enjoyable than memorable. It won't linger in the mind, but it tastes great going down.
Judas Ghost has a website.
* Best Dramatic Horror Short: The First Step
A family moves into a new house. Sara (Payton Walker), a little girl, hears noises in the cellar. That night Sara lies awake in her bedroom with the lights on. She still hears the noises. Creaking noises. Someone -- or something -- coming up the stairs. Creaking. Croaking. Calling out her name...
The First Step is terror stripped to its essence. No big dramatics or buckets of blood. Just a simple tale told mostly through sound and suggestion. The celler dweller (Jo Anna Van Thuyne) is poorly seen. Low lighting and a soft focus obscure the make-up effects' rough (low-budget) edges. The monster's creepiness is further heightened by Van Thuyne's herky-jerky body movements, which suggest a thing disjointed, ugly, and best left unseen.
Sound does much to enhance this film. Especially admirable is the basement door creaking open, blending into the creature's creaking and croaking. Great care was also taken with changes in the ambient sound as directors Daniel Brown and Kate McMean show us several dimly-lit and empty rooms at night, emphasizing the loneliness of the house.
More details at Wide Eyed Pictures's website.
* Best Comedic Horror Short: Psychic Sue
Fake psychic Sue (Andrea Coyne) is visited by the ghost of Andy (Joseph Stacey), a former lover. Andy suggests that Sue find a real psychic so they can communicate more clearly, as it's both difficult and expensive to communicate with unbelievers from the afterlife, and he's running out of change. Sue goes to real psychic Zoe (Sarah Agha) for Andy's message, but alas, the news isn't good...
Although it's a simple story, Psychic Sue packs a lot of humor into its short 13 minutes. The dialog is full of funny lines, expertly delivered by a talented cast. That includes Kate Finegan as Jennifer, a befuddled client who has trouble deciphering Sue's pretentiously spiritual gobbledygook.
The psychic reading rooms are nicely lit, their set decor well-appointed with occult paraphernalia. Actually, Sue's and Zoe's reading rooms look identical. Sue notices this as she enters, but quickly ignores the strange coincidence. Sure, using the same room for both psychics made it easier on the film crew and the budget, but it also supports the humor. Monty Python often used the same sets for comedic effect, the characters pretending not to notice.
Psychic Sue is not the slickest or most expensive-looking horror comedy short this year, but it's full of charm and whimsy, funny lines and unexpected twists, capped with a simple but accurate life lesson.
Shot in Ireland with an Irish cast, by Apeiron Films, a German production company.
* Best Animated Horror Short: Za Edgara
Literary historians have long speculated about the inspirations behind Edgar Allan Poe's stories and poems. So have filmmakers. There is The Spectre of Edgar Allan Poe. There is Torture Garden's "The Man Who Loved Poe" episode. And there is also Za Edgara (aka To Edgar), a 6 minute animated film from Poland by Ewa Łuczków.
Using dark elegant lines against a sepia background (actually, paint on glass), Tuczkow animates a frustrated Poe struggling with writer's block. Quill pen posed over blank sheets, Poe glares silently, simmering and stewing, amid constant disturbances, from an irritatingly helpful wife to a disruptive black cat. When Poe can stand it no longer, he explodes into madness and literary legend.
Za Edgara has no dialog, nothing to identify its protagonist other than the icons that have become associated with Poe -- ravens, a black cat, a swinging pendulum on a grandfather clock, and Poe's own darkly brooding features. The film is a gem of visual storytelling, its minimalist lines conveying atmosphere, character, and events, all darkly horrific.
* Best Avant-Garde Horror Short: Lancaster Square
A young woman in a nightgown (Jenny Savage) wanders the empty halls of an apartment building, seeking the source of a baby's cries. Such narrative minimalism requires mood and mystery for it to intrigue and unsettle, and Eric Norcross's Lancaster Square delivers. The lighting is subtly menacing rather than obviously threatening. Janani Sreenivasan's minimalist, ominous score supports rather than overpowers the visuals.
Curiously, this year we received two short films about someone wandering the empty halls of a hotel or apartment building. Both films have subtly paranormal overtones and avant-garde elements. But Lancaster Square has something the other film doesn't. While many experimental films explore the bizarre for bizarro's sake, Lancaster Square's provocative ending offers food for thought.
Just what does its ending mean? Watch the film through to its end credits, several times over, and you might change your mind. Several times. In the best avant-garde tradition, Lancaster Square is more thought-provoking than polemic.
Eric Norcross has a website.
* Honorable Mention
Because of the extremely competative nature of the Tabloid Witch -- so many films to consider! -- winning an Honorable Mention is indeed cause for pride.
* Ticket to the Haunted Mansion
A city council representative (Daniel Nemes) visits a haunted house attraction to see if it complies with building safety codes. His officious attitude offends the ticket attendant (Jay Lawrence Kiman). His arrogant disbelief offends the main attraction -- a spectral hag named Deadly Daisy (Nikki Bohm). As one might expect, the inspector soon regrets his skepticism...
Writer/director Nuntakul Sakulchai tells a familiar horror yarn -- The arrogant skeptic gets his comeuppance. But he tells it exceptionally well. It's been said there are no new stories, that a film's success lies in its execution. Ticket to the Haunted Mansion benefits from a tight script that never bores. The actors are well cast and perform well. Chia-Yu Chen's beautifully eerie cinematography captures a house with richly atmospheric decor.
* Timothy
Serial killers and psychos remain a popular horror villain. Many entries this year had slashers. And many of them simply went through the motions, hacking and slashing in rote fashion, racking up their body counts with clockwork regularity. There's a reason so many modern psycho films are called torture porn.
Timothy offers more. Apart from its excellent production values -- sound, photography, make-up, music, art direction, and acting are all great -- its story and direction also rise above your typical slasher fare. Writer/director Marc Martínez Jordán strikes the perfect balance between fear and dark humor. Looking up from a fresh kill, the psycho Timothy (in a giant rabbit costume) greets a shocked boy with childish glee. The incident is hilarious, yet in a way that is simultaneously scary.
Costume designer Isis Velasco's rabbit outfit treads the fine edge of cutesy and creepy. Like the Teletubbies, Timothy is the sort of TV character who delights children, yet unnerves observant adults. As with some clowns, there's a hint of child molester in that rabbit costume. The film's music is also appropriate and effectively used, alternating from suspenseful to humorous to softly melodic at the right dramatic moments.
This Spanish film offers everything a fan could want in a slasher film. Although technically, Timothy is not a slasher. He favors an iron mallet. Some psychos slash. Others just bash. It's all good.
Marc Martínez Jordán has a website.
* The Heebie-Jeebies
A mother reads a scary bedtime story to her two small children ... but was it only a story? The Heebie-Jeebies is a gently humorous, old-fashioned spook tale, reminiscent of R.L. Stine's young adult Goosebumps novels, which should nevertheless entertain young and old alike. Production values are strong, from Patrick Ruth's beautiful photography, to the ghostly sounds that efficiently convey the children's fearful imaginings, to the final visual effects.
Frederik Wiedman's fantastical music has a Danny Elfman quality, spooky but not overly dark. The admirable cast includes harried mom Katie Preisig, dufus dad Brendan Mulhern, and the two kids, Liam and Lyla Slawsby. Their father, writer/director Todd Slawsby, has created a delightful family fright film, as tightly written and slickly executed as any Hollywood big studio product.
* Zugar Zombie
There weren't as many zombie films in 2014 as in past years, but they still keep sauntering in, the best being Zugar Zombie. While some recent zombie films try to modernize the walking dead, this Columbian film enthusiastically embraces all those classic zombie film tropes of decades past -- gore, dark humor, political satire, and zombies that shamble rather than run.
Writer/director Alexander Quezada's story concerns a mayor's (Marcial Martínez) corrupt re-election campaign. When his attempt to bribe voters with cheap, tainted food creates a zombie outbreak, his priority becomes suppressing the scandal, even at the cost of his campaign workers' lives.
Zugar Zombie's comedic overtones are enhanced by its bright and colorful cinematography. Editing is fast-paced, energetic ... and enigmatic. One online critic says the film tells the story backwards, but really, the scenes are a jumble, bouncing back and forth in time, eventually settling on the key shots that put all the preceding events into perspective. Only then do those events suddenly make sense.
This curious editing choice is Zugar Zombie's only concession to modern film language. Otherwise, you'd think you were watching something from Italy in the 1980s.
* The Fear Box: 666 Telemarketing
While some horror filmmakers strive for increasingly nihilistic gore (can that envelop be pushed any further?), Mari Cielo Pajares has scripted a violence-free, old-fashioned morality tale about good vs. evil -- from an unabashedly Christian perspective. The Fear Box: 666 Telemarketing was not the only film this year about Satan's search for souls, but it was the best.
The film is well-paced. Director Jose Angel Henrickson opens on a humorous note, injecting fear a third of the way in, whereupon the suspense keeps building, events darkening, until an unexpected twist ending. (Not easy to do with such a familiar trope.)
While production values are professional across the board, actor Gary Anthony Stennette raises the film's talent bar still higher with his excellent portrayal of a man harassed by Satan's telemarketing minions. Writer Pajares does double-duty (and a good job) as the demon on the other end of the phone line.
* The Stomach
Here's a ghost story that is neither subtle or spooky. The Stomach is brutal, gory, visceral horror. Spirits manifest inside the stomach of an unfortunate medium (Simon Meacock), who wants out of the séance business. But will the hoodlums who seek information from their dead partners let the medium retire?
The raw underworld characters in this English film evoke those in The Long Good Friday and Lock, Stock, and Two Smoking Barrels. Imagine seeing them through the distorting, flesh-obsessed lens of a Clive Barker or David Cronenberg, and you'll have an idea of The Stomach's mood and milieu. Yet within those familiar styles, writer/director Ben Steiner tells an admirably original ghost story. Production values are first rate, as is the entire cast.
* Banshee
A young man (Michael Hamory) suffers a "heart attack" in the dead of night, leaving his wife (Eva Larvoire) to uncover the cause of his heart failure. (Hint, the title is a giveaway.) Her sleuthing recalls Naomi Watt's investigative legwork in The Ring, while the banshee's movements evoke the ghosts of Insidious. But it's Larvoire's performance that anchors Banshee in a realism that makes the film's supernatural conceit so believable.
Banshee is a Czech film set in Ireland (the banshee is Irish legend), and while I don't know where it was shot, the hills of the Emerald Isle can't look any greener or more verdant than those depicted in Sophia Richards's beautifully atmospheric cinematography. With a budget of 400 Euros (only about $518), writer/director Sean van Leijenhorst has crafted a slick-looking spook story with impressive acting, sound, music, and make-up effects. Once again proving you don't need professional-sized budgets to make professional quality films.
* Additional Winners
Bashee would have been just another Irish ghost story but for actress Eva Larvoire. As the distraught wife of a banshee victim, Larvoire emotes with the realism of a seasoned method actress. Many horror actors scream and cry and shout with just enough conviction to create entertaining frights -- provided viewers willingly suspend their disbelief. Great performers don't require such an audience assist, because the depth of their emotions onscreen are real rather than artificial, their characters lingering in the mind long after the story is forgotten.
Such is Eva Larvoire's performance, for which she wins the Best Actress Award.
The Fear Box: 666 Telemarketing is about one man talking on the phone. That's almost all we ever see. We glimpse Satan's minion on the other end only briefly, and even then, only partly. Which means the actor playing that one man becomes critical to the film's success.
Gary Anthony Stennette rises to the task, displaying the range of emotions of a man whose drab life is unexpectedly shattered when he must suddenly fight for his soul. Stennette segues through boredom, bemusement, anger, rage, terror, despair, defeat, relief, and gratitude -- all with seemingly effortless naturalism.
Gary Anthony Stennette wins for Best Actor.
As Dark Vision's eccentric, slightly tipsy, haunted house caretaker, Judith Haley's very presence is like a page torn from an old English ghost story. (Or a reel from such classic films as Dead of Night, if you prefer film analogies.) Dismissing the young upstart ghost-hunters, with all their modern gizmos, Haley relates historical incidents full of dark portent, leavened with comedic timing, much like the great English character actors of yesteryear.
Judith Haley wins for Best Supporting Actress.
Actors often shine best when biting into the role of a juicy villain. As Judas Ghost's Judas ghost, Grahame Fox bites with the gusto of a ravenous wolf. Laughing maniacally, his orifices oozing blood, Fox's malevolent spirit revels in pure evil, inflicting pain and death with Satanic glee.
Grahame Fox wins for Best Supporting Actor.
A properly scary haunted house must be drenched in atmosphere (as least if it's to avoid the disaster of The Haunting's criminally dreadful remake).
The funhouse attraction in Ticket to the Haunted Mansion is filled with colored lights and somber shadows and smoky rooms, all suggesting a creepy supernatural presence amid the decaying family heirlooms.
Chia Yu-Chen wins for Best Cinematography.
Many films boasted professional sound recording and mixing. None put sound to better aesthetic effect than did The First Step.
The heavy ambient room tones throughout the house emphasize its foreboding emptiness. It feels as if even mom has abandoned Sara to the house (even if we know that mom's still around somewhere, albeit asleep and useless). The cellar dweller, mostly obscured by dim lighting and a soft focus, is largely suggested by its croaking voice, its approach by the creaking stairs.
The Best Sound award goes to Daniel Brown.
Zugar Zombie's nonlinear editing is self-consciously stylized, but it serves mostly to confuse. By contrast, The Heebie-Jeebies's editing propels the story. The sedentary act of a mother reading to her two children becomes a dynamic experience as the film quickly crosscuts amid an array of images -- the children's fearful faces, rack focuses of drawings and texts in the storybook, suddenly menacing room furnishings, POV shots from outside as the little girl imagines something peering at her through the window...
The editing is both efficient and unobtrusive, serving the narrative rather than drawing attention to itself. A fast-paced style that highlights the chills and laughs, trimming any fat that might hinder either the horror or the comedy.
Harold Parker wins for Best Editing.
If the entire story is no more than one man's scary encounters in a haunted house, then that house better appear convincingly scary and haunted.
The old house in Ticket to the Haunted Mansion is just that. Dusty portraits and decrepit furnishings, glowing candles and dim chandeliers, smoky rooms obscured by shadows -- all contributing to an atmosphere where the supernatural becomes believable.
Aprile Lanza Boettcher wins for Best Production Design.
This year saw the usual greenish-gray zombie faces, rubbery monster masks, and prosthetic wound effects. The cellar dweller in The First Step was more original, with its hideously distended body and gnarled face. If any of it looked artificial, that was admirably obscured by the low lighting and soft focus, leaving much of the creature to our imagination.
Here was a striking creature effect conceived in a way that served both the story and the low budget -- $500 for the entire film.
Delia De Cock wins for Best Make-Up Effects.
Four paranormal investigators stuck in a single room for the duration of a feature film better have something interesting to do -- or see -- lest events grow static and dull. Luckily (for audiences, if not for the investigators), the room is cursed with some very bad -- but very photogenic -- mojo.
Judas Ghost is not about the characters in the roller coaster, but the ride itself. A series of hauntings and supernatural manifestations, realized by a variety of impressive special effects, makes for an exhilarating ride.
John Swinnerton wins for Best Visual Effects.
Its music sets the mood from the opening credits. A simple melody of ethereal whimsy, informing viewers that what follows will be spooky but amusing. And it maintains that emotional tone through the length of Psychic Sue, supporting the events onscreen while softening the rough edges of a delightful, but obviously low-budget, piece of fluff. Other films had music as good, but no music did more to support the film.
Mirko Rizzello wins for Best Music Soundtrack.
* The Final Tally
Tabloid Witch Award Winners
* Best Horror Feature Film .......................... Simon Pearce & Simon R. Green (Judas Ghost)
* Best Dramatic Horror Short Film .............. Daniel Brown & Kate McMeans (The First Step)
* Best Comedic Horror Short Film .............. Dave Lojek & Gemma Swain (Psychic Sue)
* Best Animated Horror Short Film .............. Ewa Łuczków (Za Edgara)
* Best Avant-Garde Horror Short Film ......... Eric Norcross (Lancaster Square)
* Best Actress .............................................. Eva Larvoire (Banshee)
* Best Actor ................................................. Gary Anthony Stennette (The Fear Box: 666 Telemarketing)
* Best Supporting Actress ........................... Judith Haley (Dark Vision)
* Best Supporting Actor ............................... Grahame Fox (Judas Ghost)
* Best Cinematography ............................... Chia-Yu Chen (Ticket to the Haunted Mansion)
* Best Sound ................................................ Daniel Brown (The First Step)
* Best Editing ............................................... Harold Parker (The Heebie-Jeebies)
* Best Production Design ............................ Aprile Lanza Boettcher (Ticket to the Haunted Mansion)
* Best Visual Effects .................................... John Swinnerton (Judas Ghost)
* Best Make-Up Effects ............................... Delia De Cock (The First Step)
* Best Music Soundtrack ............................. Mirko Rizzello (Psychic Sue)
Tabloid Witch Honorable Mentions
* Jose Angel Henrickson & Mari Cielo Pajares (The Fear Box: 666 Telemarketing)
* Marc Martínez Jordán (Timothy)
* Todd Slawsby (The Heebie-Jeebies)
* Alexander Quezada (Zugar Zombie)
* Nuntakul Sakulchai (Ticket to the Haunted Mansion)
* Ben Steiner (The Stomach)
* Sean van Leijenhorst (Banshee)


The football drought has ended and Accies faced Inverness in their first league match of the season, Hamilton had control for the full 90 minutes and left Thistle feeding off scraps for chances, front man Jamie Wilson ploughed a lonely furrow up-front with very little service and close attention from the Accies defence. The Lanarkshire side impressed throughout with Ryan Tierney being a stand out, lifting the home side's performance with that of his own.
Accies got off to the best possible start when in the second minute, were awarded a penalty kick after Carlton Morris was brought down on the edge of the penalty area, the pity being that he looked as if he might have run the ball out of play. Morris stepped up and chipped a cheeky little spot kick into the centre of the goal as keeper Daniel Hoban chose to commit himself by diving to his right, 1-0.
Inverness had a decent chance when they made their way towards the Accies goal. Chris Blackett played the ball out for Ali Sutherland to run onto, unfortunately the ball was a little beyond Sutherland's reach and his outstretched foot sent the 15-yard shot just wide.
Hamilton produced a great bit of football when defender Kieran MacDonald struck the ball upfield, Morris headed out towards the wing for Ryan Tierney who then ran on before crossing into the far post, Steven Boyd rose and headed wide. Greg Docherty almost stunned the Highlanders when he struck a speculative lob from 30 yards. It looked as if it might creep in under the crossbar but Hoban managed to get his footing right before touching over for a corner kick.
Accies were two goals to the good when Boyd kept his pass into the Inverness penalty area low towards Tierney, taking a touch he sent the ball past the keeper from 10 yards, 2-0.
Tierney then went on to set up a decent chance for Docherty, crossing into the far post area for Docherty to head wide of the post. Tierney finished the half strongly and headed a chance wide of the post and then went on to strike a 20-yard shot wide of the post after some nice work from Steven Boyd.
Hamilton came out the blocks quickly and won a throw in deep inside Thistle territory. Ben Reilly received the ball and played a nice one-two with Boyd before shooting wide from the edge of the penalty area. Accies were then denied by Hoban, Boyd held off several challenges inside the Inverness penalty area before losing possession, the ball found its way back to him and the keeper saved when he shot from 10 yards.
Accies bagged their third in the 65th minute when Boyd made his way into the box and went down during a challenge. The ball rolled to Morris and he then passed out to Docherty who found himself in a much better position to score. He shot from eight yards leaving the keeper with no chance, 3-0.
They made it four when Tierney made a strong run down the wing before cutting inside and shooting from the tightest of angles. The ball took a cruel deflection and into the goal for 4-0.
Hamilton then went on to have a couple of decent chances before the final whistle, the best of which saw the ball played through the Thistle defence that left Tierney one-on-one with the keeper. He slid the ball past Hoban from 15 yards but it inched by the far post. Reilly then intercepted during an Inverness break and sent the ball 70 yards upfield for Morris. His outstretched foot brought the ball under control before he went past a defender. His 15-yard shot flew wide of goal. Hamilton, having got their first three points, now face St Johnstone in Perth in a fortnight's time whilst Inverness play hosts to Dundee.
Ryan Tierney - Great game for full 90 minutes. Got two goals with a deflection on one, played his part in most of Hamilton's creative football.
Jamie Wilson - hard shift up front but did not have much to work with.
Hamilton's second goal, scored by Ryan Tierney, was well worked with Steven Boyd.
Thistle's third minute chance when Chris Blackett passed to Ali Sutherland.


I went to three gynecologists, two urologists, one holistic doctor, and an acupuncturist after my symptoms began. Although each helped me a little in some aspect of my illness or at least eliminated other causes for my symptoms, no one knew what the problem was or how to fix it. Suffice it to say - Western medicine doctors do not have a clue how to diagnose or treat this disease. I now find their beliefs and statements about ic incorrect, uncaring, and cruel. Here's what they said to me - "You may just have to live with this problem"; "It's all psychological, there is some unhappiness in your life manifesting itself in your bladder"; and "I don't have time to help you". No wonder I went through a little depression! Matia's words to me on my first appointment were "I can get you over this fairly quickly".
I have been Matia's patient for 8 months and my symptoms have drastically reduced. I now have a lot of days with almost no symptoms at all. My symptoms are/were burning, urethra spasms and knot feeling, funny electrical feelings, constant feeling of needing to urinate, and cold hands and feet. I never had pain or burning in my bladder nor did I have frequency. I did not have burning from the potassium test and during the hydro distension test I held a normal capacity. Due to not having these symptoms, I was continually misdiagnosed. Again, Western medicine does not understand it is different for everyone and it is not just the bladder that is ill. By comparison, it is uncanny how Matia understands this disease and can interpret your every symptom. Matia believes I will improve quickly because I have no other major problems except the ic; because I did not do many of the Western medicine treatments or taken many antibiotics in my life; and because I have always been a healthy eater. I don't have a yeast problem and Matia does not believe I have a lot of bacteria either because the burning reduced so quickly. I quit the pill over a year ago and now my cycle is about every three weeks, so we are working on getting my hormones back in balance.
This is how the treatment is going for me. 1. It is hard to stay on the diet but I quickly realized how much better I felt, so it is worth it. Again I am lucky because I can tolerate some foods that others cannot such as potatoes, green peppers, onions, cream of wheat, coffee in the morning, etc. 2. I have learned to be patient. Chinese medicine is very slow but very healing. I tell Matia I am getting better inch by inch. 3. I have good days and bad days. After several days of feeling really good, bad days are scary and depressing. That's how this disease operates. I relish the good days and know that I will have more of them as treatment progresses. Even the bad days are great compared to how I felt before I began treatment. 4. There are days when I am tired of "the fight" and I just want to be normal again and eat normal again. On those days I try to occupy my mind with other things and not think about my illness, but it is hard. 5. I have anxious feelings. After hearing Western medicine's "We don't know what causes it and you can't get over it", I still get scared about having this disease. Matia says the anxiety will just disappear when I no longer feel symptoms. She is so right because the anxious feelings are almost gone. She is so confident about her treatment.
I have written about my experiences and my symptoms hoping someone will say "That's exactly like me". I have written about my treatment and my food tolerances so you understand that not everyone has the same problem, the same healing time, or the same food restrictions. I have written about my feelings because it is an emotional disease and treatment and no one understands unless they too have ic (except Matia). If you are reading this website trying to decide if you should consider Matia's treatment, stop wasting time and call Boma-Med. I promise you will not regret your decision.
I am returning to my normal life and my happiness through Matia's wonderful Chinese herbal medicine.


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WENN Media Group To Use Copytrack Infringement Tracking Service
Copytrack and WENN Media Group (WMG) have announced their future exclusive collaboration. WMG specialized in providing up-to-the-minute entertainment news content with production based in Los Angeles, New York, London and Berlin. Copytrack will provide WMG with the tracking and worldwide legal enforcement of copyright infringement.
WMG Chairman and acting CEO Lloyd Beiny said, "We are delighted to pledge our 30 year old photo archive, which encompasses over 10 million images, to COPYTRACK, whose record of ensuring copyright owners are compensated for infringements of their IP is most impressive. In my opinion, Copytrack is the very best service in the business. As the online digital world matures, the number of infringement incidents has increased exponentially. Photo asset owners need to demonstrably take a stand to curb this unlawful practice and ensure photographers and their agents are properly remunerated from those whose intent is to devalue our copyrights."
Marcus Schmitt, CEO of COPYTRACK, added "We are happy to have Lloyd and the WMG team on board. With their long history and huge image portfolio, WMG is a well-recognised and highly professional player in the image market. We are looking forward to a successful cooperation."
Copytrack does not charge a fee for its service and only receives a percentage commission in the event of success. Copytrack was founded in 2015 by Marcus Schmitt and today employs more than 35 international staff members, who have already successfully enforced cases in more than 90 countries.


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Read Next Tove Styrke 'Fell Madly In Love' with Her BFF and Wrote a Song. Now We Get to Hear It
July 20, 2020 10:19AM ET
John Oliver Taps John Cena, Alex Trebek to Help Debunk COVID-19 Conspiracy Theories
Last Week Tonight host explores why people are so quick to believe conspiracies, and how they can be dissuaded
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John Oliver explored the spread of COVID-19 conspiracy theories, examined what makes such outlandish claims so appealing and enlisted the help of several celebrities to stop the spread of misinformation on Last Week Tonight.
A global pandemic is the perfect kind of fodder for conspiracy theories, Oliver noted, and far from the first time a major health crisis has spawned such conjecture (there were even bubonic plague conspiracy theorists in the 14th century). Conspiracy theories, Oliver said, "help explain a chaotic, uncertain world," and they appeal to our desire to assume that big events must have big causes. To that end, he noted, the world-shaking assassination of John F. Kennedy has spawned hundreds of conspiracy theories, while a similar, although technically "smaller" event, the failed assassination attempt on Ronald Reagan, sparked none.
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"One man suddenly changing the world is inconceivable," Oliver said. "One man failing miserably isn't remotely surprising — something, which is also incidentally, the tagline for feminism."
The internet has also given conspiracy theories a particularly sinister sheen, with Oliver pointing to the documentary Plandemic, which uses high production values to peddle false information about COVID-19. Social media has also allowed such ideas to spread quickly, especially considering one of the biggest spreaders is President Donald Trump on Twitter.
"Conspiracies are sort of like ugly buildings and deeply tragic adult children," Oliver cracked, "in that Donald Trump loves to unleash them into the world and then refuse to take responsibility for them ever again."
Oliver closed by discussing ways to speak with, and potentially reach, people who do believe in conspiracy theories. Experts, he noted, say the best way isn't to shame or overwhelm someone with evidence, but to be empathetic, meet them where they are and then nudge them toward more critical thinking. To help those conversations, Oliver commissioned a series of videos from several very trustworthy figures — including Alex Trebek, John Cena, Billy Porter, Paul Rudd and Catherine O'Hara — who recorded a selection of charming videos now available to share on TheTrueTrueTruth.com.
In This Article: Alex Trebek,	conspiracy theories,	covid-19,	John Cena,	John Oliver,	Last Week Tonight