Tag Archives: Interview
Zoo Review: The Real Mee – Part 3
Benjamin Mee & Matt Damon (Photo by Michael Loccisano/Getty Images)
We thought it would be fun to look back on We Bought A Zoo through the eyes of Benjamin Mee. Ben took the time to provide some detailed and thoughtful answers on how the film came together from his perspective. Here's the last part, enjoy!
What did you think about the film? Despite it being a fictional account, did it still hit home in a variety of ways?
Milo and Ella Mee
We thought it would be fun to look back on We Bought A Zoo through the eyes of Benjamin Mee. Ben took the time to provide some detailed and thoughtful answers on how the film came together from his perspective. Here's Part 2:
I'm sure you don't have a ton of time to watch films, but do you get a chance to take your children Milo and Ella to the theaters from time to time? If so, what are your favorite films or favorite type of films?
Benjamin Mee and Cameron Crowe
We thought it would be fun to look back on We Bought A Zoo through the eyes of Benjamin Mee. Ben took the time to provide some detailed and thoughtful answers on how the film came together from his perspective. We will share a different question and answer over the next few days…
What was your reaction when you found out Cameron would be directing the film? Had you seen any of his previous films?
Cameron On The Union
Cameron chats about The Union in this video interview. Topics include the origin of the documentary, the magic of capturing Elton John and Leon Russell in the studio and much more. The Union will debut Thursday, February 2nd at 9pm (EST/PST) exclusively on HBO.
Mark Kozelek Interview
As part of the release of Mark Kozelek's documentary Tour DVD, Cameron sat down for a chat with Mark. Topics include the new DVD, writing songs, interacting with fans on stage, Red House Painters, Almost Famous and much more. You can read the entire interview over at the Sun Kil Moon official site, but here's a few choice snippets:
Cameron: Kris Kristofferson once said, "I write a sad song when I'm happy, because generally when I'm sad, I'm too sad to write a good song." Where do you stand on the subject?
Mark: I'm the opposite. When I'm happy, the last thing that I want to do is shut myself away in a room and write. I generally write when I'm feeling down in an attempt to find some peace and contentment.
Cameron: You chose to film in black-and-white — what was the attraction to that?
Mark: That was Josh's idea. We are both fans of black and white, and it helped a lot on the technical end of things.
Cameron: Are you finding that your older material feels fresh to you again when playing it in a classical style?
Mark: Yes. Nylon strings feel good on my fingers and sound better to my ears, so it makes me want to play the guitar longer and better. But yeah, something like 'Katy Song' or 'Like The River', I love playing them in the more formal, nylon string style.
Cameron: How do you go about selecting set lists for your shows? Does it depend on the city? The venue? How certain songs are feeling for you that day? Do the set lists change much from show to show, or do you have a similar set for most of a tour?
Mark: What usually happens is that I get on stage with a list of maybe thirty songs to choose from. But as the tour goes along, I add or subtract songs, depending on what I feel is working or not. Some songs are easy to remember, like 'Carry Me Ohio', but others, I have to sit down at sound check or in my hotel and re-learn. On one of those tours with Josh, that's how we got the 'Lucky Man' hotel performance. I had completely forgotten it and was re-learning it in my hotel room one day. But seated and standing rooms are different. Sometimes I gauge my sets a little differently depending on the vibe of the crowd, and sometimes I tune my guitar a little lower if my voice is tired.
Cameron: Okay, last last question . . . are you ever going to act in another one of our movies? All our work was in the last century. Can we do some modern dramatic acting sometime soon?
Mark: Yes! I would love to. Give me a role and I'll knock it out of the park. I promise.
PJ20 Interview with Vanity Fair
Cameron with Mike McCready
Cameron reunites with longtime friend and rock writer Lisa Robinson for an interview about Pearl Jam Twenty for the September issue of Vanity Fair. I've also included a scan of the interview below (courtesy of the amazing PJ site, Two Feet Thick).
Hot Tracks – Cameron Crowe's New Documentary
Drugs, death and disaster are indigenous to rock 'n' roll. But according to Academy Award-winning filmmaker Cameron Crowe, director of the new documentary Pearl Jam Twenty, this band survived all the aforementioned dramas. The two-hour film, which opens in theaters this month and airs on PBS's American Masters in October, was directed by Crowe from 3,000 hours of new interview material and archival footage. Both the film and forthcoming book, also called Pearl Jam Twenty (to be published by Simon & Schuster, with an introduction by Crowe), celebrate the band's twentieth anniversary. Here, Crowe – director of such films as Singles, Jerry Maguire, Almost Famous, and the forthcoming We Bought A Zoo – talks to Lisa Robinson about "my little sketch of a rare American band that didn't break up."
Lisa Robinson: Why did you back to the band's beginnings as Mother Love Bone with their first lead singer, Andrew Wood?
Cameron Crowe: I wanted to tell that story of lightning striking twice. Nobody believed there was going to be a future for those guys after Andy Wood died, and it's kind of a rock miracle that Eddie [Vedder] – who was living in California at the time – sent in an audition tape.
L.R. What do you think Eddie brought to the band?
C.C. He brought promise, and also a challenge to their Seattle, set-in-their-ways community. Eddie, as a guy, wants to fit in, but he also wants to tilt against the windmills. That combination of push and pull really helped them. Andy was ready to play arenas with no guilt, and I think Eddie wanted to stay close to fans and build it slowly. He was both an insider and an outsider.
L.R. Do you think Eddie is the conscience of the band?
C.C. I do. And I think in a way Kurt Cobain was too – in that he kept [Pearl Jam] honest. Kurt was vocal and said, "Are we watching careerism here?" Of course, [with Nirvana] Kurt was his own careerist. But what ended up happening was that Pearl Jam actually swung the other way, and became more idiosyncratic than they would have been if Kurt hadn't been there [initally] saying Pearl Jam was more Guns N' Roses than the Melvins.
L.R. But doesn't every band that steps onstage want to be really big?
C.C. Of course. Now you can look back on it and see that they're all dying for a spot on the big stage. But the Pearl Jam situation was helped by the fact that they were in Seattle – it wasn't New York or L.A., it was around the corner. To me, that was the heart of Seattle – it was a pretty small community, and all these people played together. There's not a lot of other stuff to do. The cliche is, because it rains a lot, you stay inside and you play music and you get high. And in the movie, [guitarist] Mike McCready especially is pretty up-front about this former drug problems.
L.R. Pearl Jam protested against Ticketmaster, claiming it was a monopoly. What was the long-term effect of that protest?
C.C. They were out there touring without any help from other bands, trying to find places in the middle of nowhere to play. No other bands would come out to the sticks and play like Pearl Jam was forced to, and that became the basis of a whole new layer of fans for them. When you go see them now, it's a celebration of people who stuck it out with them. That's why their shows have become such a communal thing.
L.R. How much control did you have over the film, and how did the band react when they saw it?
C.C. I had final cut, and when we showed the movie to the band, especially the part where Mike said it used to be Stone [Gossard]'s band and now it's Ed's, there was no oxygen in the room. They had talked about that stuff to us, but not to each other.
L.R. How do you feel about the finished film?
C.C. When we got to the final reel of the film, it was the greatest feeling to turn it up and watch [the band perform"Better Man"] live on a big stage with the music sounding right. I make movies to get that transcendent feeling from time to time, and if we got it right in P.J. Twenty, I'm the happiest guy in the world.
Exclusive: Cameron On Music – PJ20, We Bought A Zoo & More
I'm very excited to share a recent interview that I conducted with Cameron on all things music entitled "Music Matters". We chatted about a variety of musical topics including Neil Young, Linda Ronstadt, Todd Rundgren, Led Zeppelin, the best guitarists he's seen live and much more. Then the questions turned to the musical aspects of both Pearl Jam Twenty and We Bought A Zoo. Another in-depth interview will occur this Fall and cover more specifics around the films, but today's interview is all about the music…
Mark Kozelek: DVD + Cameron Interview On 8/16!
Mark Kozelek will release a documentary DVD entitled On Tour. A Documentary on August 16th lensed by Joshua Stoddard. On the same day, the Sun Kil Moon site will post an written interview that Mark did with Cameron. So stay tuned for that. Here's the details from Caldo Verde Records:
For 19 years, critically acclaimed singer-songwriter Mark Kozelek has toured solo and as front man of both Red House Painters and Sun Kil Moon. Until now, he has never given filmmakers access into his life on the road. Filmed during portions of Mark Kozelek's European and North American tours of 2010 and 2011, this is a rare glimpse into Mark's backstage areas and passenger seat travels. Shot in black and white, this dynamic film captures the fast paced travel of a singer on a solo-acoustic journey, giving viewers an inspirational look at its high points, and also a stark view of its mundane realities. Footage includes an intimate version of 'Katy Song' performed at Sant'Ambrogio Church in Bologna, a mesmerizing 'Half Moon Bay' performed in Switzerland, and a flamenco-flourished 'Third and Seneca' filmed in a Copenhagen hotel room. The film's soundtrack includes album tracks, concert recordings, hotel room performances, and a score written and performed by Mark Kozelek.
Sam Wong Hotel
Katy Song
Australian Winter
Tonight In Bilbao
Four Fingered Fisherman
Like The River
Lost Verses
Blue Orchids
Third And Seneca
Carry Me Ohio
You Are My Sun
Heron Blue


Actors Entertainment
Feroze Khan
January 2, 2022 March 7, 2022 admin 0 Comments
Feroze Khan is one of the gorgeous multifaceted Pakistani actors who has been dominating the TV screens with his impressive performances. He is the twin brother of the Pakistani Actress Humaima Khan. He was married in the year 2018 to Alizey Fatima. Feroze Khan is enjoying a blissful life. On March 6, 2020, he made public his decision to quit Showbiz. This article provides all details about him and Feroze Khan Biography, Family, Net Worth, Sisters, Movies and Dramas.
About/ Details
Syeda Alizey Fatima
9 million Dollars (2022)
Humaima Khan, Dua Khan
FEROZE KHAN BIOGRAPHY
Feroze is a beautiful Pakistani model and an extremely skilled Pakistani actor who is one of the top stars of the Showbiz industry. Feroze gained much attention for his diverse acting skills and attractive appearance. He is a warm person, friendly and enthusiastic who delivers his memorable performances each time, and it's certainly not surprising for his admirers. His charming personality has always managed to get us excited with his versatile and multi-skilled acting skills in Dramas and Films since 2014.
FROZE KHAN DATE OF BIRTH
His birth date was July 11 1990, in Quetta, and later, his family relocated to Karachi. Presently, he lives with his family in Karachi along with family members.
FEROZE KHAN FAMILY
He is part of a moderate and caring family that is supportive and moderate. His older sibling Humaima Malik is a well-known name in the showbiz world who has also been a part of Bollywood. The younger sibling Dua Malik too, is known as a Pakistani actress. Feroze has been engaged to Pakistani actress Sajal Ali, but unfortunately, they parted paths after a few years. In 2018, Feroze was engaged to Syeda Alizey Fatima (a non-artistic person). The couple has an infant boy. His brother-in-law, Sohail Haider, is a Pakistani musician.
Education of FEROZE Khan
Feroze has the degree of Bachelors of Arts, which they earned from Karachi.
Bilal Abbas Khan Complete Biography
Sehar Hayat Complete Biography
Aima Baig Complete Biography
SHOWBIZ Careers
Feroze began his career as a VJ; however, he's always dreamed to be an actor. In 2014, he was offered his first chance to be a part-time actor in a drama series called "Bikhra Mera Naseeb" together with Ayeza Khan, Samantha Khan, and Seemi Pasha. He was the best actor in his debut that gave him a wide range of possibilities. He was later offered to portray the character Azar in a drama series "Chup Raho" with Sajal Ali and Syed Jibran. The show was well-loved by the audience for the performance that earned him the respect of directors and the public. Feroze got various offers in the following years and proved himself each year.
He was part of a variety of serials until today. The show Khan appeared in Gul e Rana which starred Sajal Ali and Imran Ashraf. Also, there is 'Woh Aik pal' with Ayesha Omar and Ramsha Khan. The series that established his place in the business is 'Khaani', which attracted the viewers' attention and became the talking point of the town. He also won an award for Best actor prize for his impressive acting abilities.
In 2016, the actor was able to make his Lollywood debut in the movie "Zindagi kitni Haseen hai" with Sajal Ali, Nabeel Zuberi and Shafqat Cheema, which Anjum Shehzad directs. The film could not please the public and had a lower collection in the theatre. He's ready to appear in a different Lollywood film called 'Tich button" starring Iman Ali, Sonya Hussain and Farhan Saeed, which is the first time directed with Urwa Hocane. The film was scheduled to release during Eid ul Fitr 2020.
FEROZE KHAN LEFT SHOWBIZ
Feroze stunned his followers by announcing leaving Showbiz forever on March 6 2020, via a tweet. The actor also said that he plans to dedicate his entire time to the study of Islam. Numerous celebrities offered him their best wishes, and many people congratulated his choice.
FEROZE KHAN NET WORTH:
Feroze Khan's wealth is believed to be 9 million dollars in 2022. The reason he made this amount was professional actors.
DRAMA List:
Bikhra Mera Naseeb (2014)
Chup Raho (2014)
Tumse Mil Kay (2015)
Gul-e-Rana (2015-16)
Kitni Girhain Baaki Hain (2017)
Woh Aik Pal (2017)
Khaani (2017-18)
Dino Ki Dulhaniya (2018)
Romeo Weds Heer (2018-19)
Dil Kiya Karay (2019)
Ishqiya (2020)
Dil Tera Hogaya (2020)
Khuda Aur Mohabbat 3 (2021)
MOVIES LIST:
Zindagi Kitni Haseen Hay (2016)
Tich Button (2019)
https://www.instagram.com/ferozekhan/
https://twitter.com/ferozekhaan
https://www.facebook.com/FerozeKhanOfficial/
Pics/Photos
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Modern Day Slavery: Study asks workers what needs to be done to clean up Leicester's tarnished textiles sector
'It is vital the community are involved in helping provide solutions to labour exploitation in the garment industry in Leicester'
Image from a Channel 4 Disptaches investigation into exploitation in Leicester (Image: Channel 4)
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A new study is being carried out to see what needs to be done to improve working conditions in some of Leicester's textile factories.
Researchers from De Montfort University, Leicester, and the Rights Lab at University of Nottingham, hope their findings will help to make changes in the industry.
The study has been commissioned by the new Leicester Garment and Textiles Workers Trust, which has been given £1 million by Manchester-based fast fashion retailer Boohoo to help improve the industry which has been tarnished by regular allegations of exploitation.
Recent studies and investigations have unearthed examples of modern day slavery in a minority of Leicester factories, with workers underpaid and employed off the books.
Factory workers were recently invited to complete an anonymous questionnaire asking about their experiences working in the garment sector – good and bad – and their ideas about making things better.
Findings from the survey will be used to make recommendations to the Leicester Garment and Textile Workers Trust.
The study will also examine other actions businesses, government agencies, NGOs and communities can take to improve the lives of garment workers.
Dr Alison Gardner, Rights Lab Associate Director (Communities and Society Programme) and Nottingham Research Fellow in Slavery-Free Communities, is leading the project.
She said: "This study will provide a holistic overview of the current situation in Leicester with an emphasis on workers' perspectives.
"We are pooling all of the insights and experiences from across the community to identify realistic, evidence-based solutions that local partners can work on together."
Co-researcher Professor Dave Walsh, Professor in Criminal Investigation at DMU, said: "It is vital that the community are involved in helping provide solutions to the problem of labour exploitation in the garment industry in Leicester so that the rights of workers are respected where, for example, they receive a fair wage for the work they do."
Khudeja Amer-Sharif is chief executive of the Shama Women's Centre in Leicester, which has been helping with the survey.
She said: "Shama has a 35-year history of empowering thousands of women in Leicester, many of whom have gained machinist skills in our purpose-built industrial unit; helping them gain work in the garment industry.
"More importantly we are committed to ensuring that women seeking work in the garment industry are armed with the knowledge of their employment rights and the confidence to seek help when needed.
"I believe this research will be key in identifying the barriers that many of these women face and inform workable solutions to address some of the ethical issues facing the garment industry."
Paul McAnulty, UK and Europe Programme Director at the charity Hope for Justice, which has a Community Engagement Hub in the East Midlands, said: "We have been helping people to empower themselves and others to freedom, and we are proud to be working alongside the partners on this project.
"Together, we want to ensure that the true nature of exploitation in Leicester's textile industry is understood."
Minister slams 'shocking' Leicester textile factory exploitation
Support offered to Leicester's textile manufacturers following months of negative headlines


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BACK TO FULL INDEX
SEARCH TOPICS A-G
SEARCH TOPICS H-N
Pardon Waiver Provision
In re Suh, 23 I&N Dec. 626 (BIA 2003) [controlled substances]
Balogun v. A.G., 425 F.3d 1356 (11th Cir. 2005) [controlled substances]
Aguilera-Montero v. Mukasey, 548 F.3d 1248 (9th Cir. 2008) [controlled substances]
Aristy-Rosa v. A.G., 994 F.3d 112 (3d Cir. 2021) [controlled substances] (PDF Summary)
Particular Social Groups: CIRCULARITY
Rreshpia v. Gonzales, 420 F.3d 551 (6th Cir. 2005)
Particular Social Groups: FOUNDATIONAL CASES
Matter of Acosta, 19 I&N Dec. 211 (BIA 1985) [immutability]
Fatin v. INS, 12 F.3d 1233 (3d Cir. 1993) [Alito] (PDF Summary)
Matter of C-A-, 23 I&N Dec. 951 (BIA 2006) [socially visible] (PDF Summary)
Matter of A-M-E- & J-G-U-, 24 I&N Dec. 69 (BIA 2007) [socially visible] (PDF Summary)
Matter of S-E-G-, 24 I&N Dec. 579 (BIA 2008) [gangs, age] (PDF Summary)
Particular Social Groups: SUCCESSFUL
Lukwago v. Ashcroft, 329 F.3d 157 (2003) [escaped child soldier, Uganda] (PDF Summary)
Konan v. Attorney General, 432 F.3d 497 (2005) [son of gendarme, Cote d'Ivoire] (PDF Summary)
Tapiero de Orejuela v. Gonzales, 423 F.3d 666 (7th Cir. 2005) [educated, landowning cattle farmers]
Gomez-Zuluaga v. A.G., 527 F.3d 330 (3d Cir. 2008) [women who escaped from FARC] (PDF Summary)
Torres v. Mukasey, 551 F.3d 616 (7th Cir. 2008) [family]
Garcia v. A.G., 665 F.3d 496 (3d Cir. 2011) [persons who testified as witnesses against gang members] (PDF Summary)
Crespin-Valladares v. Holder, 632 F.3d 117 (4th Cir. 2011) [family]
Henriquez Rivas v. Holder, 707 F.3d 1081 (9th Cir. 2013) (en banc) [persons who testified as witnesses against gang members] (PDF Summary)
Gonzalez-Posadas v. A.G., 781 F.3d 677 (3d Cir. 2015) [homosexual men, Honduras] (PDF Summary)
Rios v. Lynch, 807 F.3d 1123 (9th Cir. 2015) [family as quintessential PSG] (PDF Summary)
Matter of L-E-A-, 27 I&N Dec. 40 (BIA 2017) [family membership] (Study)
Matter of L-E-A-, 27 I&N Dec. 581 (A.G. 2019) (L-E-A- II) [family membership]
Matter of E-R-A-L-, 27 I&N Dec. 767 (BIA 2020) [Landowners] (PDF Summary)
Guzman Orellanas v. A.G., No. 19-1793 (3d Cir. April 17, 2020) [persons who publicly provide assistance against major Salvadoran gangs] (PDF Summary)
Matter of L-E-A-, 28 I&N Dec. 304 (A.G. 2021) (L-E-A- III) [family membership]
Particular Social Groups: UNSUCCESSFUL
Fatin v. INS, 12 F.3d 1233 (3d Cir. 1993) [educated feminist Iranian women] (PDF Summary)
Rreshpia v. Gonzales, 420 F.3d 551 (6th Cir. 2005) [young attractive women]
Ochoa v. Gonzales, 406 F.3d 1166 (9th Cir. 2005) [Colombian bus. owners resisting narcos]
In re C-A-, 23 I&N Dec. 951 (BIA 2006) [noncrim informants w/ cartels] (PDF Summary)
Arteaga v. Mukasey, 511 F.3d 940 (9th Cir. 2007): [gang members]
Valdiviezo-Goldamez v. A.G., 502 F.3d 285 (3d Cir. 2007) [resisting gang recruitment]
Matter of A-M-E- & J-G-U, 24 I&N Dec. 69 (BIA 2007) [affluence, wealth] (PDF Summary)
Matter of S-E-G-, 24 I&N Dec. 579 (BIA 2008) (PDF Summary)
Davila-Mejia v. Mukasey, 531 F.3d 624 (8th Cir. 2008) [competing family business owners]
Ahmed v. Holder, 611 F.3d 90 (1st Cir. 2010) [association with U.S.]
Lizama v. Holder, 629 F.3d 440 (4th Cir. 2011) [Americanization]
Khan v. A.G., 691 F.3d 488 (3d Circuit 2012) [secularized Pakistanis w/ U.S. ties] (PDF Summary)
Guzman Orellanas v. A.G., No. 19-1793 (3d Cir. April 17, 2020) [persons who publicly provide assistance against major Salvadoran gangs: NOT PSG] (PDF Summary)
K.A. v. A.G., 997 F.3d 99 (3d Cir. 2021)
Persecution: DEFINING IT
Fatin v. INS, 12 F.3d 1233 (3d Cir. 1993) [general standard]
**Asani v. INS, 154 F.3d 719 (7th Cir. 1998) [even single beating]
**Dandan v. Ashcroft, 339 F.3d 567 (7th Cir. 2003) [number of incidents]
**Mashiri v. Ashcroft, 383 F.3d 1112 (9th Cir. 2004) [emotional/psychological]
**Voci v. A.G., 409 F.3d 607 (3d Cir. 2005) [isolated incidents, no injury]
**Chavarria v. Gonzalez, 446 F.3d 508 (3d Cir. 2006) [not all unjust treatment]
Matter of T-Z-, 24 I&N Dec. 163 (BIA 2007) [not limited to physical harm] (PDF Summary)
**Kibinda v. A.G., 447 F.3d 113 (3d Cir. 2007) [medical severity]
**Gomez-Zuluaga v. A.G., 527 F.3d 330 (3d Cir. 2008) [death threats, etc.]
Persecution: CUMULATIVE EFFECT
Dandan v. Ashcroft, 339 F.3d 567 (7th Cir. 2003)
Voci v. Gonzales, 409 F.3d 607 (3d Cir. 2005) (PDF Summary)
Manzur v. Dep't of Homeland Sec., 494 F.3d 281 (2d Cir. 2007)
Fei Mei Cheng v. A.G., 623 F.3d 175 (3d Cir. 2010) (PDF Summary)
Persecution: GANG VIOLENCE
Lopez-Soto v. Ashcroft, 383 F.3d 228 (4th Cir. 2004)
Menjivar v. Gonzales, 416 F.3d 918 (8th Cir. 2005)
Ortiz-Araniba v. Keisler, 505 F.3d 39 (1st Cir. 2007)
Persecution: ECONOMIC SANCTIONS
Borca v. INS, 77 F.3d 210 (7th Cir. 1996)
Yong Hoo Chen v. INS, 195 F.3d 198 (4th Cir. 1999)
Guan Shan Liao v. USDOJ, 293 F.3d 61 (2d Cir. 2002)
Ahmed v. Ashcroft, 341 F.3d 214 (3d Cir. 2003)
Baballah v. Ashcroft, 367 F.3d 1067 (9th Cir. 2004)
Eduard v. Ashcroft, 379 F.3d 182 (5th Cir. 2004)
Li v. A.G., 400 F.3d … (3d 2005) (PDF Summary)
Ahmed v. Gonzales, 467 F.3d (7th Cir. 2006)
In re. T-Z-, 24 I&N Dec. 163 (BIA 2007) (PDF Summary)
Persecution: FAMILY PLANNING
Matter of Chang, 201 I&N Dec. 38 (BIA 1989) [overruled by IIRIRA]
Matter of T-Z-, 24 I&N Dec. 163 (BIA 2007) (PDF Summary)
In re M-F-W- & L-G-, 24 I&N Dec. 633 (BIA 2008) (PDF Summary)
Persecution: NEXUS
Konan v. A.G., 432 F.3d 497 (2005) (PDF Summary)
Ayala v. Sessions, 855 F.3d 1012 (9th Cir. 2017) [Extortion plus] (PDF Summary)
Persecution: THREATS
Boykov v. INS, 109 F.3d 413 (7th Cir. 1997)
Lim v. INS, 224 F.3d 929 (9th Cir. 2000)
Chavarria v. Gonzalez, 446 F.3d 508 (3d Cir. 2006) (PDF Summary)
Sumalia v. A.G., No. 189-1342 (3d Cir. March 31, 2020) (PDF Summary)
Herrera-Reyes v. A.G., No. 19-2255 (3d Cir. Feb. 28, 2020) (PDF Summary)
Doe v. A.G., 956 F.3d 135 (3d Cir. 2020) (PDF Summary)
Persecution: WHAT DOESN'T QUALIFY
Abdille v. Ashcroft, 242 F.3d 477 (3d Cir. 2001) [$ motive] (PDF Summary)
Konan v. A.G., 432 F.3d 497 (3d Cir. 2005) [general unrest] (PDF Summary)
Voci v. Gonzales, 409 F.3d 607 (3d Cir. 2005) [single instances of harm] (PDF Summary)
Shehu v. A.G., 482 F.3d 652 (3d Cir. 2007) [criminals motivated by money] (PDF Summary)
Iztlilco-Morales v. Keisler, 507 F.3d 651 (8th Cir. 2007) [poor health care for HIV+]
Gonzalez-Posadas v. A.G., 781 F.3d 677 (3d Cir. 2015) [isolated criminal acts] (PDF Summary)
Matter of A-B-, 27 I&N Dec. 316 (A.G. 2018) [DV/gang violence] (Summary)
Political Opinion / Imputed
INS v. Elias-Zacarias, 502 U.S. 478 (1992)
Matter of R-O-, 20 I&N Dec. 455 (BIA 1992)
Zacarias-Velasquez v. Mukasey, 509 F.3d 429 (8th Cir. 2007)
Bartolo-Diego v. Gonzales, 490 F.3d 1024 (8th Cir. 2007)
Espinosa-Cortez v. A.G., 607 F.3d 101 (3d Cir. 2010) (PDF Summary)
Matter of N-M-, 25 I&N Dec. 526 (BIA 2011) [whistleblowing] (PDF Summary)
Tilija v. A.G., 930 F.3d 165 (3d Cir. 2019) (PDF Summary)
Guzman Orellana v. A.G., 956 F.3d 171 (3d Cir. 2020) (PDF Summary)
Post-Departure Bar
William v. Gonzales, 499 F.3d 329 (4th Cir. 2007)
Marin-Rodriguez v. Holder, 612 F.3d 591 (7th Cir. 2010)
Coyt v. Holder, 593 F.3d 902 (9th Cir. 2010)
Pruidze v. Holder, 632 F.3d 234 (6th Cir. 2011)
Prestol Espinal v. A.G., 653 F.3d 213 (3d Cir. 2011)
Reyes Torres v. Holder, 645 F.3d 1073 (9th Cir. 2011)
Luna v. Holder, 637 F.3d 85 (2d Cir. 2011)
Prestol Espinal v. A.G., 653 F.3d 213 (3d Cir. 2011) [MTR, history] (PDF Summary)
REAL ID Act of 2005: CREDIBILITY
Gao v. Ashcroft, 299 F.3d 266 (3d Cir. 2002) (superseded: heart of the matter) (PDF Summary)
Toure v. A.G., 443 F.3d 310 (3d Cir. 2006) (PDF Summary)
REAL ID Act: MIXED MOTIVES
Gomez-Zuluaga v. A.G., 527 F.3d 330 (3d Cir. 2008) (PDF Summary)
In re J-B-N- & S-M-, 24 I&N Dec. 2008 (BIA 2007) (PDF Summary)
Ndayshimiye v. A.G., 557 f.3d 124 (3d Cir. 2009) (same as ^^) (PDF Summary)
Recission in absentia removal order
In re M-S-, 22 I&N Dec. 349 (BIA 1998) (PDF Summary)
Matter of J-G-, 26 I&N Dec. 161 (BIA 2013) (PDF Summary)
Reinstatement of prior removal order
Gonzalez-Posadas v. A.G., 781 F.3d 677 (3d Cir. 2015) (PDF Summary)
Andrade-Garcia v. Lynch, 828 F.3d 829 (9th Cir. 2016) [reasonable fear determination]
Ayala v. Sessions, 855 F.3d 1012 (9th Cir. 2017) [reasonable fear determination] (PDF Summary)
Bartolome v. Sessions, 904 F.3d 803 (9th Cir. 2018) (PDF Summary)
Removal of USC
Gallarza v. Szalczyk, 745 F.3d 634 (3d Cir. 2013) (Summary)
Similarly Situated Family Members
Termination of Case by IJ
Matter of S-O-G- & F-D-B-, 27 I&N Dec. 462 (A.G. 2018)
Torture (under the CAT)
Matter of R-A-F-, 27 I&N Dec. 778 (A.G. 2020) [poor conditions in MX mental health facility] (PDF Summary)
Kanacevic v. INS, 448 F.3d 129 (2d Cir. 2006)
Shehu v. A.G., 482 F.3d 652 (3d Cir. 2007) (PDF Summary)
Voluntary Departure
Sandie v. A.G., 562 F.3d 246 (3d Cir. 2009) (PDF Summary)
Matter of Viera-Garcia, 28 I&N Dec. 223 (BIA 2021) (PDF Summary)
Withholding-Only Proceedings
INS v. Cardoza-Fonseca, 480 U.S. 421 (1987)
INS v. Aguirre-Aguirre, 526 U.S. 415 (1999)
Matter of I-S- & C-S-, 24 I&N Dec. 432 (BIA 2008)
Padilla-Ramirez v. Bible, 882 F.3d 826 (CA9 2017)
Guerrero-Sanchez v. Warden YCP, 905 F.3d 208 (CA3 2018)
Martinez v. LaRose, 968 F.3d 555 (CA6 2020)
Nasrallah v. Barr, 590 U.S. ___ (2020)
Johnson v. Guzman Chavez, 594 U.S. ___ (2021) (PDF Summary)
The legal material found on this site is for informational and educational purposes only. I make no claim that it is accurate or up to date. I am not an attorney. For assistance with legal matters, please consult a professional.
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spain: +34 932 20 44 40
Probate in Spain
Understand the process for taking out probate in Spain when the deceased's nationality is from the UK, Ireland or another country.
Article Published: 12 Sep, 2014, Updated: 22 Nov, 2022 under Inheritance
Spanish Bureaucracy
Taking out probate in Spain tends to be more straightforward than in some other countries - however, this is only the case when you have all of the documentation in place.
The Spanish probate process is set-out below, and as you will see, it is predicated on having taking anticipatory steps to ensure all documentation is in place. Needless to say, this does not apply to everyone. In any case, we detail below the probate process and this starts with having created a legally valid Will in Spain:
Wills Drawn-up in Spain
The most straightforward situation is where the testator has drawn-up a will in Spain and in accordance with the legal provisions for creating a valid will.
How to Create and Register a Will in Spain
Making a will in Spain to cover your Spanish assets is a sensible action that will save time, money and stress for your heirs. The procedure is as follows:
Contact an English-speaking lawyer with experience in matters of probate.
The solicitor will draft a will that covers your assets in Spain and will distribute those assets according to your wishes and the law of your nationality.
Note carefully, it is important to highlight the fact that this will applies to your Spanish assets and not any other assets you may have elsewhere - if that is your intention.
The will is taken to a notary to have it formally drawn-up in a public document. The notary will hand over a copy of the will and retain the original for storage.
The notary informs the Central Registry for Wills in Madrid of the existence of the will.
When the time comes, your beneficiaries can obtain a certificate from the central registry that will certify that the will (of which they will have the copy the notary handed over) is in fact your final will and testament.
Creating a Spanish will greatly simplify matters though there still remains a series of actions that need to be carried out in order to have an estate's assets distributed correctly.
It is not advisable to try to do so without the assistance of a qualified expert in inheritance matters in Spain.
The first thing that needs to be carried-out is to obtain the Death Certificate (Certificado de Defunción ). If death occurred in Spain then this can be obtained from the Civil Registry (Registro Civil) where the death occurred. The address of the local Registro Civil can be found by going to: Registro Civil.
If the testator died outside Spain then a death certificate must be obtained from the relevant authority in that state. For example, if the testator died in England or Wales, information on obtaining a death certificate can be requested by clicking on the following links:
Please note that if the Death Certificate is not written in Spanish then it must be translated and legalised i.e have the Apostille stamp attached. It can then be used as an equivalent to the Spanish 'Certificado de Defunción'.
RGAUV Certificate
With the Certificado de Defunción or legalised Death Certificate arranged then the next step is to request the Certificado de Registro General de Actos de Última Voluntad (RGAUV). The RGAUV certificate is issued by the central office for wills and testaments in Madrid and verifies the existence or otherwise of a Spanish will.
It will be necessary to wait for a period of 15 days from the date when death occurred before ordering the certificate. If ordering the certificate then there is an administrative charge that requires completing form 790. It will be necessary to send an original (not a copy) of the death certificate and it normally takes around 10 days to receive the certificate.
It may also be convenient at this stage to acquire any Life Insurance Contract that may exist. If the life insurance contract was taken out in Spain then it will be registered in the same place as the RGAUV certificate.
If however, as is more likely, the life insurance was taken out in a country of origin such as the UK or Ireland then the insurance company will have their own process.
This will typically involve sending an original (not a copy) of the death certificate and completing whatever form the insurance company uses.
Certified Copy of the Will
Having the first two certificates on the list allows us to get a Certified copy of the will from the notary in which the will was signed. This must be an authorised copy and not the simple copy that a testator would typically take away after signing the will at the notary's office.
The RGAUV certificate will identify the most recent and therefore legitimate will as well as the notary office in which the will was signed. It is in this notary office that the will is kept and where an authorised copy can be obtained by presenting the Death Certificate and RGAUV certificate.
The cost is determined by the age and the number of pages in the will. The persons who are permitted to request this copy are those named in the will as beneficiaries or as executors of the will.
Property & Other Assets
An inventory should be carried-out to determine the final assets of the deceased. To identify property owned by the deceased is relatively simple where the property is registered on the local Property Registry and involves requesting a 'nota simple' which will detail the deceased as the current owner. This can now be done online by going to: Nota Simple.
Should the deceased have had bank accounts or share-holdings then it is necessary to request a certificate of the value of these on the date of death of the deceased by presenting the death and RGAUV certificates.
Please note that once these certificates have been obtained no money may be withdrawn from the account as it will be frozen until it has been legally transferred to the beneficiary.
Debts & Rejecting an Inheritance
Should the deceased have accumulated debts then these become the responsibility of the beneficiaries. This liability extends to the personal assets of the beneficiary should the proceeds of the inheritance not be sufficient to cover them.
So, this can be a very important aspect of inheritance to consider if inheriting a property that is in significant negative-equity. The benefit of inheriting will need to be balanced against the liabilities to decide whether it is worth accepting an inheritance.
Such acceptance can be tacit and so it is advisable to formally reject the inheritance via your lawyer.
On the basis of the inventory previously carried-out, a 'manifestación de herencia' is drawn-up which is a list of the assets and their valuations as well as any debts and obligations.
A 'cuaderno particional' is then drafted which, following the provisions of the will, stipulates how the assets are to be distributed and any debts satisfied.
In certain cases this document may be drawn-up privately, for example where there is only one sole heir or where the asset to be inherited is a property which is not to be divided for the time being. Otherwise, the document must be drawn-up publicly in the presence of a notary.
Once the 'cuaderno particional' has been drawn-up then it is necessary to pay any taxes due under the inheritance.
In Spain the liability for inheritance tax depends on the existing wealth of the beneficiary and the proximity of their relationship with the deceased. There are major differences with UK and Irish tax laws and, for example, there is no automatic exemption for spouses.
A major factor determining the tax payable is whether the beneficiaries are resident in the province as this can almost eliminate the tax payable. More information is available on: Spanish Regional Inheritance Tax Rates.
Distribution of the Assets
With the matter of taxes out of the way it is then possible to transfer the assets into the name of the beneficiaries.The exact requirement here depends upon the nature of the asset.
For example, a property should be registered in the name of the beneficiary in the local Property Registry (typically near or may also be located in the town-hall or Ayuntamiento).
A car should be registered at the nearest department of 'Traffico'.
Both of these processes will require all of the standard documentation: in the case of the car - details of the car such as the log book, mot certificate, as well as the 'cuaderno particional', original (not a copy)death certificate etc; in the case of the property you will need to bring the deeds of the property as well as the death certificate and the 'cuaderno particional'.
In both instances you will require original and copies of your DNI or passport.
* Please note that following a judgment by the European Court, the Spanish government has passed into law Ley 26/2014, which came into force on January 1st, 2015. The new legislation provides that European Union citizens, ordinarily resident in another European country, may apply any deductions available to residents of the region in Spain in which their assets are located.
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Johanna Count (Mar, 22 2021)
Following our father's death, my brother and I asked Rosa to act for us and guide us through the Spanish probate legal process. There were several obstacles and Rosa was always there for us, explaining what was required and liaising with professional bodies e.g. the notary, to ensure that ... Read More
Following our father's death, my brother and I asked Rosa to act for us and guide us through the Spanish probate legal process. There were several obstacles and Rosa was always there for us, explaining what was required and liaising with professional bodies e.g. the notary, to ensure that everything was done in a timely manner. Rosa also helped us immeasurably when my father's estate was sold. The pandemic meant that it was difficult for us to travel to complete the sale paperwork but to overcome this Rosa became our Power of Attorney and again liaised with professional bodies e.g. buyer's solicitors, the notary. Her English is excellent and her patience is inexhaustible. Thank you Rosa.
Peter Morgan (Dec, 02 2020)
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Lynn Miles (Jul, 30 2020)
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José was attentive and sympathetic throughout in his dealings with my brother (in Australia) and me (in the UK). Ours was a problematical case which involved José making contact with a Spanish notary and subsequently applying for NIEs for us and acting Power of Attorney. After this he was involved in protracted negotiations on our behalf with a particularly unhelpful Spanish bank in the matter of inheritance. He was a calming influence when needed and never less than professional. He kept us fully informed at all times.
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Consuelo has the highest praise and gratitude from this family by somehow reclaiming inheritance tax from Madrid. Previous solicitors left a mess,partial/incorrect and missing documents were received very late. Despite obstacles such as denial from tax office and virus Consuelo promptly, courteously and professionally simply got on with the job and succeeded against all odds. We cannot thank her enough!
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Beatriz has been wonderful to deal with she is very approachable and always professional and I would certainly recommend her to friends. When my circumstances changed Beatriz was extremely helpful and explained fully the action needed and the process required. I have communicated via email to her and she has always responded promptly and when I have visited her office she has always been very welcoming. Her english is excellent and she has always let me know the costs upfront of any work she has done.
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Rosa responded efficiently I was extremely happy and satisfied with this ! She explained everything I needed to know and more to help me understand. At the beginning I found the process daunting Rosa took this feeling way and helped me feel at ease. Paying was straight forward and I was we... Read More
Rosa responded efficiently I was extremely happy and satisfied with this ! She explained everything I needed to know and more to help me understand. At the beginning I found the process daunting Rosa took this feeling way and helped me feel at ease. Paying was straight forward and I was well informed with fees etc. Rosa took a very professional approach and I felt comfortable approaching her about any issues I had. She is a credit to advocate abroad !!!!! Thank you for your help !!!!!!!!!❤
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Jonathan Mackay (Mar, 12 2020)
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Alvaro is brilliant. He comes across very professional and friendly,nothing too much trouble. As I was unable to go to Spain initially all communication was via phone and was put at ease straight away as he understood exactly what was required to deal with my case, and all went exceptionally well. I was able to meet Alvaro in August to pass over documents required and made me very welcome. I have been so pleased with everything I have now engaged him on a further instruction on our property in Torrenueva..
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This service is available across Spain
For those who need to arrange for an estate abroad to be transferred to beneficiaries under a Will or via intestacy
Assistance obtaining a legalised copy of the death certificate.
Arrange a legal copy of any existing will.
Verification of the existence of any life insurance policies.
Power of Attorney to avoid excessive travel costs
Inheritance Acceptance Deed drawn-up with the public notary.
Payment of Inheritance Tax at the office.
New titles in the inherited assets are inscribed in the relevant registry
Simultaneous sale or disposal of assets if required (please request quotation).
I would like to receive occasional legal & tax updates relating to Spain
+34 932 20 44 40 spain


Home » Reviews » CD » B » Benighted - …Their Masters
Benighted - Dogs Always Bite Harder than Their Masters
Dogs Always Bite Harder than Their Masters
by Martin Knap at 31 October 2018, 9:32 AM
BENIGHTED are a force to be reckoned with. This French Death-Grind machine has been around since 1998 and has eight full-length releases under its belt. I'm not a connoisseur of their discography, but according to the all-knowing Metal Archives website BENIGHTED was a Black Metal band in it's beginnings. I'm not sure if this is the case, but one can tell that the members have different musical interests and can put it to use in their music. Death Metal and Grindcore are the basis of the band's musical style, but sometimes "blackened" atmospheric moments may give respite from the Death-Grind insanity.
The EP "Dogs Always Bite Harder than Their Master" comes on the heels of the 2017 LP "Necrobreed" that was quite a success for the band. Not only did it impress from a songwriting and production standpoint, but it's was also a high-water mark when it comes to the lyrics, which are not just over the top brutal to the point of being silly, as often lyrics produced in this genre are, but genuinely disturbing depictions of mental pathologies.
We find all the marks of BENIGHTED's style on the three original songs on this EP. The fabric of the songs is woven together from Death Metal riffing style and groovy grind riffs. The vocalist uses growls and pig-squeals and can be pretty versatile when needed. He shows his vocal abilities on the cover of AT THE GATES song "Slaughter of the Soul" where his voice sounds commanding even when singing this more melodic song. As is expected, the drumming is absolutely pulverizing.
Besides the three songs and a cover song we find six older songs recorded live, which makes this EP almost 35 minutes long. Putting all this bonus material on the EP is a really good incentive for the buyer I would say. The live recordings showcase what an absolutely bad-ass live band BENIGHTED are. Their chops as live musicians are well known among Death Metal fans and it's no wonder that they have been invited to play at all of the most important European festivals, including Hellfest, Wacken or Summer Breeze. This EP is good value for your money. The original songs are great, and the bonus material added to them you get a good slab of wholesome Death-Grind. If you want to jam something really brutal but fairly technical at the same time check it out.
Songwriting: 8
1. Teeth and Hatred
2. Martyr
3. Dogs Always Bite Harder than Their Master
4. Slaughter of the Soul (At the Gates cover)
5. Reptilian (live)
6. Cum with Disgust (live)
7. Spit (live)
8. Necrobreed (live)
9. Unborn Infected Children (live)
10. Foetus (live)
Julien Truchan – Vocals (Lead)
Emmanuel Dalle – Guitars
Fabien "Fack" Desgardins – Guitars
Pierre Arnoux – Bass, Vocals (Backing)
Kévin Paradis – Drums
Record Label: Season of Mist


Lazy Gramophones Journals
Eminem's Encore, From the Newly Converted
Written by Erin Norman on Monday the 10th of January 2011
I'll tell you what's futile. Writing a review of an album that came out in 2004 when its 2011. But being a child spawned of the Sex Pistols, Tori Amos and The Smiths I came to Eminem late and drip fed. When I began to give him my attention, I realised Eminem was raps answer to Morrissey, and I'm a sucker for a primal beat so I became a fan pretty quickly. I digest one album at a time; Eminem's Encore won the most recent lottery. I found it so comprehensive that, as a writer who once said I couldn't make music for shit but could listen to it better than anyone else, I had to sit down and write about it. First thing I understood was, this is one album you must listen to in one sitting, preferably with headphones on and in a comfortable position. Settle in with drinks because I don't want you to go anywhere until the end. This is a cinematic album, it will drag you into it, shake you up and spit you out, and I don't care if you like rap or not or if you desire the content for your own life. Do you only watch films about World War II? If you can handle a variety of films you can handle this. Moments that would be disorientating if faced isolated in the middle make perfect sense when seen within their context. Of course the two related skits are obvious examples of cohesion, but musically there are plenty of linear and non-linear link-ups as well.
There is the genius of Eminem, something I go as far to say that he shares with Mozart; to what extent I don't venture to guess. Because Mozart saw an entire composition as one piece, from a birds eye view in an instant, rather than as a series of individually isolated songs and notes, unconnected to each other. This ability clearly isn't too much a labour for Eminem either. When he blinks he sees language, music, ethics, beauty and filth, all exemplified by his own story, and he lays it down in a rap record for us to play as we will. The pleasure is all ours when we allow ourselves to sit back and bask in that snapshot. It's a puzzle to unpick the threads and connect the dots with marvel, while all sorts of puerile, passionate and ethical thoughts march through our heads to a deceptively simple beat. Now that makes it sound like it could only be improved upon if it exuded a nice musky scent, rubbed my neck and fed me bonbons but nevertheless... I loved it the first time I heard it, but the second, third and fourth times I realised it was actually quite special and now I want to evangelise about it with the zeal of the converted.
In the opening track, "Curtains Up - Encore" we hear the crowd cheering him back on stage (Returning from the Eminem Show. In My 1st Single he makes reference to his inability to compete with his previous success.) Then it effortlessly slides into the studio style sounding first song, Evil Deeds. I liked how it went straight for the jugular, no extended bullshit about shaking asses but what we really want from Eminem: wit, honesty and fury. It set the tone for an album that had down and dirty intentions. He describes his childhood bouncing from place to place, singing to his absent father in mock prayer fashion. Then he comments on observers saying of him 'I can't imagine it, that little rich poor white bastard/Needs to take some of that cash out the bank and take a bath in it/Man if I only had half of it.' He responds, 'If you only knew the half of it'.
In the mesmerising Yellow Brick Road's intro there are several quotes sampled in. The first is about saving young individuals before it is too late for them, but the last says "We all have this idea that we should move a little bit from our parents station and each generation should do a little bit better..." After the intro of quotes he tells the story of his younger years, abandoned to grapple with racism and abuse. Those years that set him irreversibly on the path he was to tread on and hence set his own children on in an effort to steer them in a different direction, using the raw materials he had at hand. Bearing in mind that his intentions were to better his parents circumstances (as laid out by the intro quotes) I think he can be satisfied that he did very well, and use this album as proof of that. In Mosh he refers to himself as a fatherless Father. Of course no parent is perfect, and he holds his parenting up to a harsh light in his rap often, but there is no denying that he is a doting father who has fought to keep his daughters as stable, safe and loved as possible and they are constantly referred to in his songs. He is also indisputably wealthier than his parents were, and has been internationally recognised as a person of amazing musical talent. After all, I just compared him to Mozart, which is saying a hell of a lot. I consider Mozart the Original Genius Rock Star, and I don't pass the Mozart nod of genius out frequently. I award him this now. Therefore in both nurturing his young, providing materialistically and furthering humanity's achievement he has succeeded in the universal aim of improving on what came before him.
Eminem can put his success down to two things: His determination to exercise his right to freedom of speech no matter what his meaning or intent in order to pull himself up by his bootstraps and his remarkable talent as a wordsmith. The two characteristics combined are so compelling. I can see why people may find him repulsive because the subject matter he has to work with is not for the faint of heart, but I think he's a hero. A complete asshole at times, no doubt, but that's not what we're talking about here. I would drink with him any night despite this. If you look backwards over humanity all real progress has come from increasing the same basic ingredients (human rights, economic stability, artistic influences, and logic) so as far as I'm concerned he's exhibiting all the right signs of evolution. Right, so, down to the nitty gritty. Have I got your attention yet? Are you willing to put those headphones on and be entertained my way?
"Mosh" has to be one of the most rousing cries to fight for the anti-war cause I've ever heard. I would take up arms under Eminem as my general in the name of peace any day. But seriously, I like his anger, I like his venom towards George W. (Bearing in mind I'm writing this in 2011 and the album was released in 2004. I'm just having fun in my spare time, these days we've got Obama and the troops are still hanging in there. Eminem for President, me as First Lady? Quick! Hide the red button!) His fury in the moment when he says to put an AK47 in George's hands and send him off to war to impress Daddy is tangible, but his responsibility when he asks how we could empower the monster is just as raw. He answers the point that Americans can be patriotic without feeling we must be unquestionably loyal to the President; and that's something that many Americans need to hear. We are taught to respect our President as a matter of reverence to the office that bears our freedoms. But the whole song is about the fact that the respect given can be abused to erode those same freedoms, not only of Americans but of others. He pushes this rap out with a heave and a shaking fist, willing the heavens to break, begging to go head to head with the powers that be and charge into battle as leader of the screwed over millions. And he does it in love of America. He grew up in Missouri where I did and he's only a bit older than me. We were weaned on the same curriculum and in similar circumstances, I speak his language. The pledge of allegiance is at the beginning of that song; we said that at the beginning of each school day. We were taught that it meant something. The social studies classes and talks of the Revolutionary War in elementary school actually fell on to some fertile ground, but that ground was left to grow wild afterwards. Eminem didn't sample the pledge in to the beginning of Mosh to belittle America; he clings to his freedom of speech because he loves it. The one thing he clung to as a child when things were so hard for him was that there was justice in our right to freedom and equality. It's no accident that Like Toy Soldiers precedes Mosh. It seems there's one thing Eminem can't stomach, and that's betrayal of those you depend on and who depend on you, whether you're talking nationally or in matters of the heart.
It then moves straight into disgusting sounds of vomit, when he goes into a blistering tirade against the infamous Kim in the song "Puke". There are no comforting breaks between songs to make a cup of tea. You can imagine how she slowly heated, burned, then hit the fucking roof when she first heard this song. What a knife to twist. And he twisted it, and she knows exactly why. Not because its his permanent state of mind, but because he felt it bad enough, because they're both mad enough, it's real enough, and the rhyme came and it was irresistible enough, and it simply was. That's how they are where they are. It spins, it loops. In "Rain Man's" first ten lines he reduces etiquette to a comedy of errors, making a counter attack on those who attack him for profanity, on the grounds that he has a sacred right to say what he likes whether he means it or not, and whether other people like to hear it or not. He's almost gracious for drawing a line under offences since we're unable to do the same. Given the mention again of Bush in "Rain Man", I presume the previous bit about bisexual/lesbian and then homosexual sex was a parody of George W, in anticipation. The Rain Man theme stresses that he can't stop his need to verbalise and bewails his fate as the good guy at the mercy of his tongue. But its so clever, the joke goes so many ways. He demonstrates his inability to stop being offensive by being offensive, all in the name of a noble cause. It leaves you helpless and at his complete disposal. This is why it's a mistake when people say that what Eminem's rap is about is sex, swearing and violence. It's more often about the control and of sex, swearing and violence, which makes it a whole different kettle of fish.
I think he spends so much time proclaiming his right to say what he likes, that he feels obliged to prove it by scraping the bottom of the barrel to toughen us up and drive home his point. That moment is "Ass Like That" which for me is the albums lowest point for its sheer irritation and gross out factor. Once he's proven that his literal and literary cock is bigger than ours he gets back to his true passion, which is rapping about the matters of his heart. Mockingbird is a touching song to his daughters that explains the tender side of his love for Kim, and that segues straight into the climax of the album, Crazy in Love.
If you wondered why Puke was so vile then look no further. Anyone who can love this obsessively is deeply bound to lose all semblance of normality when the object of their love breaks their heart. Eminem & Rhianna's "Love the Way You Lie" is like a songbird compared to the mania that was his raw material called Crazy in Love. I may be forever excluded from my fellow feminists for this, but this is amongst the most romantic songs I've ever heard. Yes I know it involves both parties exchanging blows and we all know that's wrong etc but there is a madness in falling in love, and the naked, endearing need in this song is inspiring. It's got a sweetness to it, even a beguiling touch of a blush, despite mention of dildos. That feeling is one of the great marvels of humanity and he wrote it. Those things come with fire, that's why they are what they are, its why he is what he is. Health and Safety are modern inventions, genius, art and progress do not recognise them. Climax indeed. "Love you More", a bonus track, continues the description of all consuming love/hate relationship. I defy anyone to get to the end of that song without feeling like they've been sucker punched and they need to struggle for air.
Then it all goes wrong. The shots rain down. Then he's back on stage for his final encore. I had a happy accident, I was listening to the album on Spotify and my default setting on all albums is that they play continuously until I change them. So while listening to the final track "Encore/Curtains Down" which is deceptively light hearted, I was surprised when it ended with Eminem shooting up his cheering audience. But while I was taking in the end of the album, and they were still desperately trying to escape the venue in terror, the album simply began again from "Curtains Up/Encore" and I could hear that the two samples of the screaming/cheering crowds on either end were the same. It went seamlessly in a loop, which was the entire point of the whole album. A beautiful never-ending to a story that could never have gone any other way. His very own Phantom of the Opera. That's what this album is really about, its like the Christian apologists, but it shows us the process of a thorny genius realised. He did that, ticked that box. It was its own exercise, and I have thoroughly enjoyed it. Even if it is 7 years late...
Tags for this post: Eminem, freedom of speech.
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SYNAESTHESIA AND THE SENSES
On Monday The 5th Of August 2013
Paul Bloom's Five Things.
On Monday The 3rd Of June 2013
Alexander Aspinall's Five Things.
On Thursday The 30th Of May 2013
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Poignantly and eloquently put Jo Tedds, sharing your inside view on bereavement is a powerful thing. Thank you x
Cordbrowicz 25/07/15 10:07 am
Aye, freedom!,,,
Sid 02/10/11 2:44 pm
Tip top stuff. I'll epxcet more now.
Trudy 25/06/11 8:17 pm
That was a refreshing read! Now suddenly my own sorrow-ridden (or so I thought) love affairs seem cheerful and healthy :) Happy V-Day!
Ersi Marina 14/02/11 6:24 pm
No , Will - you are a Newton .
Justine 22/01/11 12:33 am
I'd like to see some in the westfield shopping centre please.
Jess 16/11/10 11:51 pm
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Trump and Mar-a-Lago in Palm Beach: How big is it? Is it open to the public and security breaches?
Jennifer Sangalang Holly Baltz
What's it like at Mar-a-Lago, Trump's private club? Here are things to know about the club dubbed the Southern White House during his presidency.
August 2022:Former President Trump says FBI agents raided his Mar-a-Lago estate in Palm Beach
After the raid, Trump loyalists descend on Mar-a-Lago as news breaks of FBI search
But why did the FBI search Trump's Mar-a-Lago? 5 potential explanations
History of Mar-a-Lago
Post cereal heiress Marjorie Merriweather Post was Mrs. Edward F. Hutton when she commissioned Marion Sims Wyeth to build her a 58-bedroom Spanish-Moorish-Portuguese-Venetian palace on 17 acres of jungle between the ocean and the Intracoastal. By the time it was finished in 1927, Joseph Urban, a Viennese architect and theater designer, had provided much of the ornamentation.
Mar-a-Lago security:Since Trump won the presidency, Mar-a-Lago was always a national security red flag
Trump and Mar-a-Lago photos: Inside look at his private club
Photos:Celebrities at Mar-a-Lago, Trump's private beach club, over the years
How long did it take to build Mar-a-Lago?
Six hundred workers labored for more than three years to build Mar-a-Lago, using boatloads of Italian stone and about 36,000 antique Spanish and Portuguese tiles, as well as old marble floors and roof tiles from Cuba. The estate's 75-foot tower is a South Florida landmark — and a navigational aid to boaters.
When she died in 1973, Post gave Mar-a-Lago to the U.S. government for a presidential retreat, but the government balked at its million-dollar-a-year maintenance cost and its location under the Palm Beach International Airport's flight path.
There's no sidewalk. How can people "see" Mar-a-Lago?
The main entrance is on South Ocean Boulevard. To see Mar-a-Lago, you have to do a drive-by. People can park and walk by, though you'll be in the roadway. It's not uncommon for people to pull over their cars to catch a view. It is, however, very dangerous because there is no sidewalk, and there's no shoulder on the side of the road.
Is Mar-a-Lago open to the public?
It's a private club so generally Mar-a-Lago is not open to the public. Mar-a-Lago closes on Mother's Day after the traditional final brunch of the social season and reopens on Halloween.
How big is Mar-a-Lago?
Mar-a-Lago is 17 acres. It sounds like a lot for an estate, but there's a lot going on there. The private club has 500 members. Amenities include tennis, the Beach Club, croquet court and a spa.
We don't know the exact size of the living quarters of Mar-a-Lago — but it is speculated to be somewhere between 2,000 and 3,000 square feet.
What does 'Mar-a-Lago' mean?
Mar-a-Lago, which means "Sea to Lake" in Spanish, sits between the Atlantic Ocean and the Intracoastal Waterway.
When did Trump buy Mar-a-Lago?
In 1985, Donald Trump paid $10 million for the estate, which featured 33 bathrooms, three bomb shelters and a nine-hole golf course. Ten years later, he converted it to a private club with a spa, tennis and croquet courts, a new ballroom and beach club.
Pics:Ivana Trump, the first Mrs. Trump, at Mar-a-Lago and in Palm Beach over the years
Star power:Did you know these 23 celebrities lived in the Jupiter area?
How much is Mar-a-Lago worth?
In 2018, Forbes estimated the value of the Mar-a-Lago estate at about $160 million.
What was Mar-a-Lago like when Trump was president?
When Trump was president, he would host events and would drop in to events and galas unexpectedly. He was often seen on the dining patio. Many of the people there were among his biggest supporters.
Where is Mar-a-Lago located?
The luxury estate, which spans 17 acres of prime waterfront real estate, is located in Palm Beach. When Trump was president, his motorcade usually took Southern Boulevard for his trips between the Palm Beach International Airport and Mar-a-Lago.
After FBI search, supporters with signs, loud music cruise past Mar-A-Lago
What are some interesting Mar-a-Lago facts?
These quick hits were from the Palm Beach Post archives. Subscribe to the Palm Beach Post to read more fascinating stories about Mar-a-Lago, Trump and other Palm Beach coverage.
• In 1928, a deadly hurricane came ashore that year near West Palm Beach. Mar-a-Lago was left relatively unscathed.
• The owner's bedroom is still decorated as it was then in a Louis XV style.
• Several rooms have themes and names such as the Adam and American room.
• The fireplace in the nursery has a Sleeping Beauty theme.
Security at Mar-a-Lago
There were a number of security breaches during Trump's presidency, with some occurring when he was not in town.
• In January 2020, an opera singer made it through the security checkpoints. There was a high-speed chase through all of the barricades all the way down past Mar-a-Lago. Her car was shot at multiple times. She survived, but her car was destroyed. The woman, who has a history of mental illness, entered an insanity defense.
Woman who drove past Secret Service barricades at Mar-a-Lago found not guilty by reason of insanity
• Two Chinese women tried to enter Mar-a-Lago. One woman was carrying four cell
phones and a USB infected with malware.
• A University of Wisconsin student was intercepted when he was in the tunnel, which
connects the club to the beach.
• Other people have hidden in the bushes — and been caught.
Contributing: Christine Stapleton, Antonio Fins, Palm Beach Post


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1 International e-Conference on Recent Trends in Health and Diseases, January 19 - 21, 2022 organized by Institute of Advanced Molecular Genetics & Infectious Diseases (IAMGID) [1 MB] Language :English 18/01/2022 19:30
2 National Seminar cum workshop on Computational Biology on February 18 – 19, 2022 [308 KB] Language :English 12/01/2022 18:00
3 Counselling & Guidance Cell, University of Lucknow in association with "Brahma Kumaris and Young Managers Forum(YMF), Lucknow Management Association(LMA) organizes National Youth Day 2022 online session on the topic 'Being Young at Heart and Mind' on 12th January 2022 Language :English 12/01/2022 09:00
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8 Learn about the contribution of women in India's freedom struggle with the Department of Hindi and Modern Indian Languages. [178 KB] Language :English 11/11/2021 21:25
9 Department of Psychology's Tuberculosis Awareness Program. Click here for more information. [415 KB] Language :English 20/10/2021 12:23
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Home » Autism » Study Reveals Need for More Services for Young Adults with Autism
Study Reveals Need for More Services for Young Adults with Autism
By Traci Pedersen
As children with autism spectrum disorder (ASD) approach adulthood, milestones such as leaving school, finding jobs, and living alone can be extremely stressful experiences. In a new study, researchers from the University of Missouri (MU) analyzed the perspectives of adolescents with autism to identify the unique challenges they face as they "age out" of services. The new findings highlight the need for social workers and providers to continue assisting young people with autism as they transition to adulthood.
"The challenges of living independently, gaining employment, attaining postsecondary education, and building social relationships are greater for adolescents and young adults with autism," said Nancy Cheak-Zamora, assistant professor of health sciences in the MU School of Health Professions.
"It is vital that professionals are prepared to assist with the transition, and that they have insight into adolescent and caregiver experiences during the difficult time of transitioning to adulthood."
For the study, the researchers analyzed the reported experiences of adolescents with autism and their caregivers. They identified three main areas of stress that regularly impact autism families: challenges in accessing services, difficulties with adapting to transition changes, and managing multiple responsibilities and higher education challenges.
One of the study participants, a caregiver named Mary, related how the autism center in her community offered no support once children with autism leave home. She said that she wishes that services would increase during this period; but instead, once children reach a certain age, it becomes much more difficult to find help.
The researchers also found that caregivers and adolescents used a variety of strategies to help cope with the stress of transitioning to adulthood with autism. Some of their main forms of support included the following: accessing community support; receiving support from friends, family and teachers; and creating opportunities for self-determination, such as making independent choices and setting goals.
"For families who are experiencing a lack of available services for their adolescent with ASD, social workers can collaborate in forming family groups that advocate for more services for individuals living with autism into adulthood," said Jennifer First, a doctoral candidate in the MU School of Social Work.
"Social workers should assist families with the coordination of essential services such as medical treatment, mental health supports, independent living, respite care, college support, and enhanced vocational support."
According to the latest data from the Centers for Disease Control and Prevention, one in 45 children is diagnosed with autism.
The study, titled "A qualitative study of stress and coping when transitioning to adulthood with autism spectrum disorder," was published in the Journal of Family Social Work.
Source: University of Missouri Health
Traci Pedersen
Traci Pedersen is a professional writer with over a decade of experience. Her work consists of writing for both print and online publishers in a variety of genres including science chapter books, college and career articles, and elementary school curriculum.
Pedersen, T. (2018). Study Reveals Need for More Services for Young Adults with Autism. Psych Central. Retrieved on January 23, 2020, from https://psychcentral.com/news/2016/12/27/study-reveals-need-for-more-services-for-young-adults-with-autism/114386.html
Last updated: 8 Aug 2018 (Originally: 27 Dec 2016)
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CBC Coronavirus Service Update: 19th June 2020
Written by Spire Radio on 19 June 2020
As we move into the recovery phase of our response to the Coronavirus (Covid-19) outbreak Chesterfield Borough Council will continue to assess and respond to new requirements and will modify service provision in line with the latest Government guidance. Our priority is to ensure that the locations and workplaces from which we deliver our services are as safe as possible for our communities and staff.
Regular casual traders return to Chesterfield Market
Chesterfield Borough Council is pleased to announce that regular casual traders can begin trading from its outdoor markets from Monday 22 June.
This decision has been made following the successful restart of both the general markets and the flea market and after welcoming more shoppers back into the town centre as more non-essential retailers re-opened on Monday 15 June.
Councillor Kate Sarvent, cabinet member for town centres and visitor economy, said: "By allowing the return of regular casual traders we are taking another important step in reopening the high street. More traders mean more choice for the people of Chesterfield who I hope will return in their numbers to support our local economy by shopping on the market and in the town centre."
The system for regular casual traders has not changed, stalls will be assigned to these traders from 8am on market days on a first come first served basis. Please be aware that space is still limited, and the council cannot guarantee you will be able to trade.
Stalls have been placed on alternate rows in order to provide wider walkways for shoppers to socially distance and to ensure everyone has the opportunity to safely browse the market.
Regular casual traders can contact the Markets Office on 01246 345999 for further details. A regular casual trader is a trader that is not licensed but has traded on Chesterfield Market during the last year.
Find out all the latest updates about the Town Centre in our dedicated Coronavirus Information Hub.
Reopening High Streets Safely funding
Chesterfield Borough Council is pleased to announce that it has received £92,500 in funding from the Re-opening the High Street Safely Fund. The funding is primarily for use in Chesterfield town centre, but can also be used to support the re-opening of other district shopping areas such as Staveley town centre, Chatsworth Road and Whittington Moor.
The Government has allocated the funding from the European Regional Development Fund, as part of the European Structural and Investment Funds Growth Programme 2014-2020, to help support the process of reopening England's high streets safely.
The funding will be used in collaboration with Destination Chesterfield to help implement new measures to encourage the safe re-opening of Chesterfield town centre considering the challenges presented by Covid-19 and the need to promote and maintain safe social distancing. Some of the funding will also be used for communication and public information campaigns to market the town centre and the borough as a place to visit and to encourage more and more people to shop local.
We have already used some of the funding on signage and road and pavement markings to support shoppers to maintain safe social distancing around the outdoor market, market hall and Chesterfield town centre.
More information about how the funding will be spent will be announced over the coming weeks.
Tagged as Chesterfield Borough Council Coronavirus
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Joseph Paul Vorst
Herman du Toit
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The discovery of a Latter-day Saint artist from a former era, who had almost been forgotten to the vicissitudes of history, is a noteworthy event in the annals of The Church of Jesus Christ of Latter-day Saints. Joseph Paul Vorst's prolific painting career spanned two continents and two world wars during his short lifetime. Vorst excelled in a variety of techniques and media, producing a significant body of work. Glen Nelson's painstaking research has resulted in an eminently readable monograph compiled from multiple sources in Germany and the United States. It is the first book to explore Vorst's life and art. Founder of the Mormon Artists Group, Nelson is a seasoned writer and has published numerous books, including four New York Times best sellers. He is also an accomplished librettist.
A friend first alerted Nelson to Joseph Paul Vorst in June 2013, referring him to a blog post by Latter-day Saint historian Ardis E. Parshall, who had encountered a brief article about Vorst in a June 1940 issue of the Improvement Era and wondered if there was more to the story.1 Nelson contacted the Church History Museum in Salt Lake City and was thrilled when Alan Johnson, the director of the museum, and Laura Hurtado, the global acquisitions curator at the time, agreed to assist him with his research and with the publication of his sumptuously illustrated monograph. Hurtado and Nelson also cocurated an exhibition titled Joseph Paul Vorst: A Retrospective, which opened at the museum on November 9, 2017.
Nelson's book has nine chapters, which are divided into three sections. The first deals with Vorst's early history in Germany and records his conversion to The Church of Jesus Christ of Latter-day Saints. Part two documents his arrival in the United States and his rapid rise in prominence on the exhibition circuit of some of America's most important art museums. The third part documents his mature style as an American artist and ultimately his untimely death. The book is illustrated with 112 color images and 113 black-and-white illustrations.
Alongside beautiful color reproductions of Vorst's work, Nelson's book pieces together the few details that are known of Joseph Paul Vorst's life. He was born in 1897 into a large family of ten siblings in Essen, in the heart of the Ruhr valley in Germany. Although Vorst was born into poverty, Nelson observes that photographs of the family showed happy countenances and a humble but adequate rural environment (24). With the encouragement of his father, Vorst began to draw before he was five years old, using charcoal and pastels that other, more affluent children had discarded. After completing his secondary schooling, he enrolled at the Essen School of Trades and Applied Arts, and his studies there provided Vorst with a sound grounding for his career. He graduated in 1923 and was undoubtedly influenced by the styles of art prevalent in Germany at the time—namely, the Jugendstil, with its emotional and romantic view of nature; Die Brücke and its concern with authentic expression; and Der Blaue Reiter group, which produced emotional, raw imagery designed to provoke a visceral response from the genteel viewers of the day. In addition to his very accomplished teachers, several visiting figures also inspired him, including Richard Strauss and Pierre-Auguste Renoir.
After fighting in World War I (little is known of his service), he started producing artworks continuously and explored different styles during the 1920s as Europe recovered from the social and economic upheavals wreaked by the war. Soon, things began to change for the better, and the period 1924–29 was known as the Golden Twenties in Germany. Younger artists started to replace the emotionality of expressionism with a new dispassionate approach based on objectivity and realism. During this period, Vorst produced watercolors, oil paintings, linocuts, and lithographs in both the new objectivity and the expressionist styles. Reproductions of his artworks were often printed in local newspapers, and a large number of his works were of religious subjects.
The Weimar Republic was established in Germany after the end of World War I with the promise of a new democratic leadership. These hopes were dashed, however, when the Nazi party came to prominence. Vorst's antipathy toward the Nazi party was kindled early, and in 1924 he had a skirmish with a group of Hitler's Brownshirts. Around this same time, on June 10, 1924, Vorst was baptized in Essen and became a member of The Church of Jesus Christ of Latter-day Saints. It is unknown how he came in contact with his new religion. Church records indicate that, after his baptism, he served as the ward organist and sang in small ensembles with Church members. Vorst produced numerous prints, watercolors, and paintings that explored the incidence of streaming sunlight during the years following his baptism. According to Nelson, it is this interest in light that elevates his landscapes beyond the ordinary (45).
Around 1930, Vorst moved to Berlin, where he studied at the Academy of Arts under the tutelage of renowned Impressionists Max Slevogt and Max Liebermann. During this time, his work was widely exhibited and received notable recognition in the press. When his mentor Lieberman came under increasing censure because he was the son of a Jewish banker, Vorst decried fascism, and, concerned about increasing financial uncertainty, he fled to the United States.
After his arrival in New York, Vorst traveled to Ste. Genevieve, near St. Louis, Missouri. Here, his extended family, who had emigrated earlier, welcomed him, and he soon felt integrated within their community. His first trip after settling in the area was to Salt Lake City, where he performed multiple vicarious ordinances for deceased relatives. Family history also became a lifelong passion for him. As the Great Depression descended on the world a few years later, Vorst faced stiff challenges. During this time, however, he also met and fell in love with Lina Weller, another émigré from Germany. They were married on June 15, 1935, in St. Louis, and nine years later they had a son.
Vorst participated wholeheartedly in the art world of the United States. He became an exponent of the social realist school of art, and within ten years after arriving in the country, he exhibited widely and successfully at the most prestigious museums in America and even in the White House. Sadly, on October 15, 1947, Joseph Paul Vorst was conducting a choir rehearsal for his local church choir when he was struck by an aneurysm, and he died a short while later. He was just fifty years old.
Nelson's monograph is a valuable addition to the cannon of Latter-day Saint art. The narrative is well researched and painstakingly records Vorst's engagement with his adopted society. The book carefully explores the development of his style and provides astute analysis of individual examples of his artworks. Nelson's informed commentary on sociopolitical developments during this turbulent period in world history is equally engaging; two world wars and the Great Depression are the ever-present backdrop to this important Latter-day Saint artist's short but significant career. The book is a fitting tribute to an artist who produced a wealth of paintings, drawings, watercolors, murals, etchings, and sculptures that prominently reflect the social realist movement of his day, but who was almost forgotten in the onward rush of modernism.
Herman du Toit is the former head of audience education and research at the Brigham Young University Museum of Art in Provo, Utah. He has enjoyed an extensive career as an art educator, curator, administrator, critic, and author, both locally and abroad. He was director (dean) of the school of fine arts at the former Durban Technical Institute in South Africa and holds postgraduate degrees in art history, studio art, and sociology of education from the former University of Natal. While at BYU, he was awarded a J. Paul Getty Fellowship for his PhD study of the finest interpretive practices at some of America's leading art museums.
1. Ardis E. Parshall, "Joseph Paul Vorst: Regionalist Artist," Keepapitchinin (blog), June 24, 2013, http://www.keepapitchinin.org/2013/06/24/joseph-paul-vorst-regionalist-artist/.
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Featured Artists KOLAJ
KOLAJ
KOLAJ, a live duo from LA who has just dropped a fantastic indie dance number, 'The Touch" which debuted at #26 on the Billboard Dance/Electronica Chart. The duo, consisting of Teesa, Cham and Mighty Mike have earned their stripes working behind the scenes in the Pop industry, which is quite apparent in 'The Touch.' The track itself gives off the impression that it will drop out into your standard Kygo-esque tropical house. Thankfully, it doesn't.
Instead it's more of a gentle indie dance driven by Teesa's excellent vocals. The Touch has a unsurprising amount of pop sensibility, given the duo's background, but that's what makes it an enjoyable tune.
The name "KOLAJ" comes from the word 'Collage'. Collage means an art which is made from assemblage of different arts, creating a whole new one. KOLAJ's music and this concept is highly related to each other.


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