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Politics & Government
State House for Sale: SC's 'very murky' system
From $1.2 million in state Medicaid payments to a $1 Diet Coke, South Carolina's state legislators and constitutional officers reported $19.5 million in income and other benefits from public sources in 2012.
Only 23 percent of that money came from lawmakers' state salaries and reimbursements. The rest came from fees that lawmakers earned from government entities, full or part-time jobs at public agencies, state and federal retirement benefits, and gifts.
State lawmakers are required to disclose the income and benefits they receive from public sources. But a review by The State newspaper of 179 statements of economic interest forms filed in April reveals a wildly inconsistent system with little oversight, making it impossible to say definitively how much lawmakers earn from public sources.
A key question in the debate over overhauling state ethics laws is how much lawmakers should reveal about who pays them. Some argue requiring lawmakers to disclose too much would prevent qualified people from running for office. The state Legislature is designed, they say, for part-time lawmakers – people who have to make their living elsewhere in a full-time job that is subject to the laws and regulations that legislators write.
But others say too little disclosure allows lawmakers to hide their conflicts of interests, creating a cottage industry of cronyism that is inherently at odds with the public interest.
State Sen. Tom Davis, R-Beaufort, said the state's disclosure law is so "vague and general that it allows too much subjective interpretation by the lawmaker."
That is why Davis listed the value of every property he owns, including his $1.1 million home, on his statement of economic interest. Davis says those properties benefit "through contributions through the local government fund," which state lawmakers control, "or through road funding or through something that I may have had a hand in making help happen."
"That's the reasoning," said Davis, one of only a few legislators to disclose property. "Whether I am right or not, I don't know."
Other lawmakers do not disclose money from the state, saying they either did not know about the income or did not know they were required to disclose it.
State Sen. Hugh Leatherman, R-Florence, chairman of the powerful Senate Finance Committee, disclosed that he is a minority owner of the Florence Concrete Co., which he founded in 1955 and managed until 1994. But Leatherman did not report the state Department of Transportation awarded Florence Concrete Co. $735,000 in contracts in 2012, according to state procurement records.
"I don't know anything about those," Leatherman said. "I'm not the boss. I don't know what they get or don't get or when they get (it)."
As a result, Leatherman contends, disclosing his minority ownership stake – not the value of the company's state business – meets the requirements of state law.
A bill before the state Legislature would require lawmakers, for the first time, to disclose all of their sources of income, both private and public. South Carolina is the only state that does not require such disclosures from its elected officials. But the proposed law would do little to clear up confusion about what lawmakers are supposed to report from public sources.
The bill passed the House, but the Senate adjourned for the year earlier this month without taking it up. Senators will continue the debate in January.
In the meantime, Senate President Pro Tem John Courson, R-Richland, has assigned a special committee – three Republicans and three Democrats – to study the ethics proposal during the legislative off season and hold public hearings across the state.
"My fear is that concern about tightening our ethics laws could start to wane as time goes by unless we have some entity to keep it alive," Courson said. "I'm hoping this (committee) will do that."
'It's very murky'
The $19.5 million in income and other benefits that lawmakers reported on their 2013 statements of economic interest included:
• $7.4 million in fees lawmakers earned from government entities, including Medicaid payments and legal cases heard before the state Workers' Compensation Commission
• $4.5 million in salaries associated with their positions as state officeholders
• $3.7 million worth of property, including Sen.' Davis' $1.1 million house
• $2 million in salaries that lawmakers or their family members earned from government agencies. (For example, the wife of state Sen. Larry Martin, R-Pickens, works for the Pickens County school district, while state Rep. Rita Allison, R-Spartanburg, works for the Commission on Higher Education, a state agency.)
• $158,000 in gifts
State law 8-11-1120(2) says lawmakers must disclose "the source, type and amount or value of income" of $500 or more "received from a governmental entity." But some lawmakers say, in their cases, it is difficult to comply with the requirement.
For example, state Rep. Kris Crawford, R-Florence, is an emergency-room doctor. In 2012, he was paid $28,000 from the state's Medicaid program, the joint federal-state health insurance program for the poor and disabled. But Crawford did not disclose that income on his statement of economic interest.
Crawford said he does not have a contract with Medicaid and does not know what kind of insurance his patients have. His company's billing office handles those matters. "I never know, and I don't know how I could ever account for that appropriately on my statement of economic interests," he said.
However, several of Crawford's peers reported their income from Medicaid.
State Sen. Kevin Bryant, an Anderson Republican who owns a pharmacy and medical-supply company, reported receiving $1.6 million in Medicaid payments. And state Rep. Murrell Smith, R-Sumter, who co-owns a medical supply company, reported $197,656.40 in Medicaid payments.
"They own their businesses, and so they know what flows in. They know who they get their money from," Crawford said. "I get paid an hourly rate."
In 2011, Crawford did report receiving $164,244.40 from Medicaid, but he said that was only because the agency sent the money to him directly that year.
"The way that we report now, I don't think is particularly clear," Crawford said. "It's very murky for folks. I think I'm compliant. One year, they write you the money one way and you have to report it, and, the next year, they write you the money a different way."
Crawford said if he told his bosses at the emergency room where he works that he needed them to account for exactly how much money Medicaid pays for his services, they would tell him to resign from the House or quit his job.
"You have to make this a place where people can serve. Obviously, all businesses appreciate some level of privacy," Crawford said. "How long can you stay here and be in the workforce?"
House lawmakers authorized the state Medicaid program to spend an extra $528 million in the state budget year that begins July 1. Crawford did not vote on the section of the budget that authorized the new spending. But he did vote on the part of the budget that tells the Medicaid agency how to spend the money.
Rep. Smith, who co-owns a medical-supply company, did vote for Medicaid increase. Sen. Bryant, who owns a pharmacy, voted against it.
Sen. Leatherman, who has a minority ownership in a concrete company, voted to approve the Department of Transportation's budget, including an additional $140 million in spending.
Understaffed ethics police
Leatherman says South Carolina does not have a problem stemming from having a weak ethics law governing lawmakers – it has a problem enforcing its existing ethics law.
Consider the case of state Rep. B.R. Skelton.
For five years, the Pickens Republican did not report any income on his statement of economic interests – not even his taxpayer-funded salary, as state law requires. Skelton said he did not know he was required to disclose that pay. After being questioned by a reporter, Skelton filed amended reports disclosing his state salary for the past five years.
No one seemed to notice that Skelton had not disclosed his salary. As a state lawmaker, Skelton is outside the jurisdiction of the State Ethics Commission. Instead, he falls under the oversight of the House Ethics Committee, which until this year had five members, all lawmakers. (It now has 10 lawmaker-members, five from each party.)
The committee's job is to monitor the hundreds of ethics reports filed by the House's 124 members. Four times a year, each member must file a report listing everyone who donated to the member's campaign account, plus how their campaign spent that money. That is in addition to the annual statements of economic interest forms.
Also, House members are up for election every two years, meaning hundreds of challengers for the House's 124 seats also file disclosure reports and statements of economic interest.
But the House Ethics Committee only has two part-time staffers to monitor these reports. And those staffers have other committee responsibilities. For example, the Ethics Committee's attorney also is assigned to the House Judiciary Committee, one of the busiest committees in the Legislature.
In contrast, the House Ways and Means Committee – which handles the state budget – has 11 full-time staff members.
Likewise, the Senate Ethics Committee has one staff member to monitor reports from 46 senators plus any candidates who oppose those incumbents every four years.
Staffing is even worse at the State Ethics Commission, which has jurisdiction over statewide elected officials, including the governor, and hundreds of local elected officials, including school boards and city and county councils.
Herb Hayden, the Ethics Commission's executive director, told lawmakers in January that his agency receives 25,000 ethics filings every year. The agency only has three or four staffers to audit those filings. But it only audits a filing if someone files a complaint.
That understaffing is one reason that Leatherman, the chairman of the Senate Finance Committee, said the problem is not the state's ethics laws but its enforcement.
"I want to give the Ethics Committee enough competent people to look at every statement as it comes in. And I mean, look at it," Leatherman said. "If there is somebody looking at every report that comes in, in depth, there is no way anybody is going to do anything, if they've got any sense. So I'll be pushing that when we get back here in January."
The State Ethics Commission gets nearly all of its $815,000 annual budget from fines and fees, including registration fees paid by lobbyists.
The House budget proposal for the state's fiscal year that starts July 1 would have increased those registration fees by $100, giving the Ethics Commission another $100,000. But the state Senate did not include the increase in its budget plan, and state budget negotiators – including Leatherman – killed the increase.
'There is a big difference'
Other legislators agree the current ethics committees are overwhelmed.
"If we are going to maintain separate House and Senate Ethics Committees, they have to be staffed appropriately to do our jobs," said state Rep. Kenny Bingham, R-Lexington, chairman of the House Ethics Committee.
The House and Senate ethics committees could look very different after the 2014 legislative session. A House proposal would combine the two committees into one committee that would include a mix of lawmakers and citizens.
A Senate proposal would keep the House and Senate ethics committees in place but would outsource the investigation of ethics complaints to the now-understaffed State Ethics Commission. Based on the Ethics Commission's findings from its investigation, the House and Senate ethics committees would decide on what, if any, punishment was warranted for a legislator.
Whatever lawmakers decide, ethics reform almost certainly will include more staff for the ethics committees. And it would require lawmakers to report the sources – public and, for the first time, private – of all of their income. However, legislators would not have to report the amounts they were paid by private employers.
Most lawmakers are opposed to requiring legislators to disclose how much they earn – the one time this year that idea was voted on, in a committee meeting, it easily was defeated – and ethics reform advocates can't agree on whether amounts should be disclosed.
Ashley Landess, president of the libertarian S.C. Policy Council think tank, says the amount does not matter because "if there is an income source, there is a payment stream, period. And that creates the conflict."
"Whether it is $1 or $100,000, it is a conflict of interest," she said. "That's what we want to watch."
Others disagree.
"There is a big difference between getting $2,000 and $200,000," said Lynn Teague, advocacy director for the S.C. chapter of the League of Women Voters.
"If the object is for the public to make up their mind on this person – does this person have a personal financial interest that conflicts with his public duties? – in this respect, it's a big difference," she said.
Forty-seven states require some type of income disclosure from both private and public sources, according to the S.C. Commission on Ethics Reform, appointed by Gov. Nikki Haley. South Carolina is the only state that requires just one source of income to be disclosed — government income.
The House and Senate ethics reform proposals would require lawmakers to disclose their private sources of income in different ways.
The House version would require lawmakers to disclose who pays them if:
• It is more than $2,500
• It is disclosed on a W-2, K-1, 1099 or any other reporting form used by the Internal Revenue Service
The Senate version is more direct, requiring lawmakers to disclose "the source of any other income received by the filer or a member of the filer's immediate family."
Courson: Public must care
While lawmakers debate requiring lawmakers to disclose their sources of income, one S.C. advocacy group is tired of waiting.
The S.C. Policy Council, in coordination with several other groups, is asking lawmakers to voluntarily disclose their income. President Landess says the groups have organized more than 700 emails to politicians asking them to voluntarily disclose all of the sources of their income, both public and private.
So far, 34 lawmakers have replied.
"It's not something we expect to happen overnight," Landess said. "A lot of the ones who don't have anything to hide are the first ones who stepped forward."
Most of the voluntary disclosures mirror what lawmakers already have disclosed on their statements of economic interest. For example, Rep. Bingham disclosed all of the companies that pay him on the Policy Council's voluntary form that he previously had disclosed on his statement of economic interest.
That duplication is why House Speaker Bobby Harrell, R-Charleston, said he has not participated in the voluntary program. Harrell's statement of economic interest already lists the Charlestowne Development Corp. and the Robert Harrell Insurance Co. "That's all of my income — the Legislature, the businesses I own. That's it," he said. "So I did report all of the sources right."
It will take more than campaigns by groups, like the controversial Policy Council, and newspapers to pass ethics reform next year, said Courson, the Senate president pro tem.
Reform only will pass if there is "a groundswell of public opinion that would allow for the citizens to contact their legislators and strongly encourage them to vote for a meaningful ethics reform bill," Courson said. "It cannot be just editorial writers, major daily newspapers in the state plus Common Cause and the League of Women Voters. That's, basically, what you've got now."


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Ready, Steady, Bake Off
Upcycled Creative are located in the lovely surroundings of Markeaton Park in Derby.
Our workshop in the Craft Village is a great place to come and visit. You can see what we are up to if you happen to be stopping by for a cuppa or an ice cream in the park cafe, or maybe visiting many of the other crafty businesses located in our lovely courtyard.
On June 17th/18th there is also another exciting reason to come and visit because 'The Big Bake' is taking place brought to you as part of The Great Food and Drink Festival.
For fans of The Great British Bake Off, this might be right up your street as there will be a few of the star bakers and winners attending to share a few demos.
You can find out more about it here.
We're sure that Markeaton Park will be 'abuzz' with activity during the event and we would love for you to pop in and say hello to us during your visit.
Maybe you could think about upcyling a cake stand for the occasion? I'm sure you won't walk away without a tasty baked treat, so why not create something fun to present your purchase on and then share with us your creations.
Get in touch with us via our Facebook page or Twitter and share with us your baking inspired upcycled creations.
Hope to see you there...

subset: commoncrawl


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Income Taxation of Trusts in Belgium/
Volume 4 No 1 | Read Article
By Gerd D. Goyvaerts (guest author)
How are foreign trusts, Belgian beneficiaries, and Belgian settlors taxed in Belgium when Belgian law civil law generally does not recognize the existence of trusts? Depending on facts and circumstances, the so-called Cayman Tax Law will tax either the settlor or the beneficiary. Gerd D. Goyvaerts of Tiberghien, Brussels explains. See more →


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Looking Inward and Outward
Surviving the Shadow – Terry Gillmore
Paper Bark Press, 1990
(ISBN 0 9587801 45, pb, 100 pp. $ – )
Red Dirt – Tim Thorne
Paper Bark Press, 1990
(ISBN 0 9587801 53, pb., 95 pp. $ – )
It's good to see Paper Bark Press expanding their already distinctive poetry list with these two new books by very different poets. Paper Bark Press books I have seen always look well designed and presented, produced with the sort of care that small publishers are able to bring to their product. These are no exception.
Terry Gillmore's Surviving the Shadow is an introspective, occasionally uneven, book that seeks, often in poetry of the internal monologue, to come to terms with death and desire, loss and living. Always moving toward the meditative longer form, Gillmore's powerful concerns recur throughout the collection, repeated and enhanced through their reappearance in various moments.
Central to the collection is the idea in the haunting title poem, 'Surviving the shadow'; that the darkness of loss and grief can be survived, if not triumphed over. Many of these are poems of healing, of survival, of coming back from the brink to the world of humans again. The darkness of the shadow is mostly contained in the tragic death of the poet's daughter; an event that, quite naturally it seems to me, shakes the poet's belief in being human and loving, and creates a sense of bitterness at the hardness of the world. In this book we see the first reactions to loss, 'I cry out for the dancing daughter / I left behind as her beauty builds / in the blur of memory and repression', leading to the kind of self-protection and hardening that is necessary to avoid pain, 'How can we learn not to attach ourselves / to the objects of our love?', and 'the human soul is without protection'. Such impulses lead almost to an indifference, a belief in the 'hard-mean reality' of the world:
Hit the caravan parks, walk the wharf,
in bad times for the tuna boats; it is November,
a cruel beginning with no catch. Later that night
a seventy-five footer breaks up, and two men drown.
Such an outward image of loss of faith is not typical of Gillmore's work here. Most often the poetry is in the more purely personal mode, not attempting to find an objective model, but speaking directly and intensely of personal truths. These are intimate poems, of the most serious loss, of friendships lost and found, of relationships in the most personal sense of them. The books has the self-possession that only love or suffering can bring, moving inward always in a personal voice of personal things, 'What was between us was not a refuge', 'We talked of love, murder and children / of the reactions of others to unlimited grief'.
But the strength of this book is that Gillmore manages to move beyond grief and bitterness into something more positive. For these are poems of the poet's own resurrection, of the process of grieving and healing, 'I need to return to first things', of emerging into light again:
I could not bear the solitude of that Christmas,
and I could not reach the living.
You helped at my resurrection, helped me find the strength
to move across the line that isolated me.
The poems speak of the healing nature of time, of the difficulty, but the necessity, of 'submitting to compassion and stillness'. There is also a sensual and erotic element to many of the poems here. The final three sections of the book, 'Fields of Nowhere', 'Events of the Heart' and 'The Journey' move the book from loss and hurt and healing, into passion and desire. Here we find love poems in the most modern sense, 'holographs of lust', and of the purifying nature of 'grief and joy'. These are sensual poems, of 'the golden beast of desire' and they work with the same inward looking intensity of the earlier poems of loss and grief.
There is also some talk of poetry itself. I don't find such poetry very satisfying, and in an inward looking book like this, these meditations of the poet on poetry tend to remove the reader from the intimacy created in other places. It is interesting to see Gillmore's poetic aims so clearly put, 'to achieve that directness which is more than invocation / the art of dense conversation', but he largely succeeds in creating such an intensity of voice and doesn't need to talk about his aims with his readers. Such moments lead to a somewhat uneven feel to the first half of the book, a lapse in his own aim for the 'dense conversation' that is more than made up for in the many moments of sureness and intensity in these poems of loss and recovery:
but outrage and loss were in me
while the words, 'learn to lose, learn to lose,'
echoed in me like a grisly mantra for my life.
Tim Thorne's is a more outward sounding voice. In Red Dirt we have a voice commenting, often critically, on society and the harsh edges of the Tasmanian landscape and its history: 'well, genocide . . . there's something we know about'. No Tasmanian poet could write without the constant awareness of the violent history of that island, but Thorne ranges more widely too at times; speaking about Chernobyl, politics, television, art, mythology and even graffiti in a tone that is often witty and never merely clever:
In the decorated carriage
I remember this and I remember that
the Roman Empire tried to keep ASIANS OUT
The death of language leaves from all platforms.
Even the 'White Diamond Gloom' section of the book, full of images of surgery and hospitals, death and suffering, is never self-pitying but full of wit and bravado: 'You can / choose your gamble: Lit. Board or Medicare. / You're owed a living but you don't have to collect'. Thorne can be forgiven if the poems here do sometimes become more bleak as the persona verges on panic. However, like Gillmore, Thorne emerges somewhat healed of his 'shadow'; if not triumphant, then alive and kicking:
But for now seize the light
in a cry, suck in enough
tomorrows to flesh limbs
for a long, kicking fight.
However, it is in the other sections, 'Red Dirt I and II' and 'The Strutting Fire' that I found the books real strength. I like especially Thorne's poems of places; of Hobart, the Tamar Valley, Macquarie House, even the Seychelles. It is an earthy book, refreshing in its spaciousness after Gillmore's interiors. Thorne tackles places as serious and sharp as the hospital wards of earlier poems, places where 'grim snow / spikes the wind' and 'the estuary / bleeds out to sea'. They are chaotic, disconsolate landscapes and Thorne returns always to the human, 'the bright planned columns'. These are difficult poems at times, of the body and the mind, of reality and not wishing, with a similar sense of the hardness of the world to Gillmore; 'If you want to be shore-bird / study the art of wading.' Both poets too are impatient with the cliches of the past and while Thorne's poetry lacks something of the compression and intensity of Gillmore's voice, he has an easier way of moving from the cerebral to the physical or from the idea to the image; as on the liberation of the Seychelles: 'Where fish and foxes fly / ideals can leap into reality'. Both voices are to be welcomed.
Copyright – Warrick Wynne
This review originally appeared in The Australian Book Review.


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This fall, I attended my first national design conference in years. Along with the usual fun of seeing friends and being inspired, the big, repeating theme from speakers was "NEVER TURN DOWN A PROJECT." No matter the client, the money, the crazy deadline, never say "no."
About a week or so later, a call came in through FeistyPR in Winston-Salem, NC. "I have a crazy project with a crazy deadline and a crazy budget. Will you help?" Siobhan Olson asked.
"Absolutely!" I answered.
No Rules Theatre Company, based in Winston-Salem and Arlington, VA, needed a cohesive poster series to brand their 2013-2014 season performances. Inspired by their splatter logo and graphics, the posters are now a consistent and flexible system showcasing an inventive group of plays. I hope you'll check them out.
And if you're in Wash. D.C. or Winston-Salem, buy some tickets, too.


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Young people in Burkina Faso won't give up hope for a positive future.
Burkina Faso has a very young population with 56% being 18 years old or younger. Making up the largest percentage of society, they lack access to basic services such as healthcare, education, nutrition and employment. Also, problems such as early marriage, child labour and limited access to sexual and reproductive health education are prevalent throughout the country. This often means that children do not attend school and are prevented from pursuing their aspirations in life.
Reelmedia worked in collaboration with UNICEF to create a series of short films that highlight both the plight of the young generation in Burkina Faso, as well as those who are working towards making lasting positive change in the country.
This collection of photographs compliment a film project that Reelmedia was commissioned to make by UNICEF Burkina Faso in 2017.


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Interreligiöse Feierstunde
Jerusalem, Stadt des Friedens
Datum: Sonntag, 9. April 2006 um 10:00 Uhr
Ort: Seidengasse 28/4, 1070 Wien
Videoreport und Berichte teilnehmender Journalisten:
Middle East Peace Initiative: 15.-20. März 2006
Musik und Tanz
The Palestinian Band for Arts and Popular Folklore
About 100 people gathered for a interreligous Sunday service where Palm Sunday, the day commemorated for Jesus entry into Jerusalem was the appropriate occasion to give a report about the experiences during the Middle East Peace Symposium in Jerusalem last March.
Mr. M. Wolf, a professional cameraman from the Austrian national TV finished a 20 minutes Video report about the recent "Middle East Peace Initiative" (MEPI) right in time for this event and by watching this video everyone could vizualize entering the city of peace which has experienced wars throughout most of its history.
Participants of the recent pilgrimage to the
It was encouraging to hear about an organization called the "Parents' circle" that includes hundreds of Israeli and Palestinian bereaved families who have lost, as a result of the Israeli-Arab conflict, a close family member. Despite this most tragic fact the Families Forum, as the expanded group of about 500 families is called, seeks to solve the ongoing conflict between Israelis and Palestinians through dialogue and mutual understanding. Some of their leaders were appointed as Ambassadors for Peace.
For the second part of the program Dr. George Nicola, honorary
president of the Palestinian community in
The Folk Band, 18 musicians and young dancers, took us into their world of Arab culture and music. Especially the children were fascinated by their lively music.
The Palestinian ambassador to Austria, Dr. Zuheir Elwazar was moved by the friendly reception they could experience and in a short statement he mentioned that this young people show to the world that Palestinians can sing and dance and keep a spirit of hope while their country is bombed almost every day.
To conclude the event we invited the members of the Folklore band, the ambassador, the president and other leaders from the Viennese Palestinian community and Ambassadors for Peace for a nicely prepared lunch, where many new contacts were made.
Weitere Informationen telefonisch unter 0650/2588846
The Interreligious and International Federation for World Peace is an NGO in Special Consultative Status with the ECOSOC of the United Nations


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The Strokes Hit UK With Martin Audio W8l Arrays
London (April 27, 2006)--The Strokes recently wrapped up a run around the UK, teaming up with its long-time British sound engineer, James Gebhard, for a theater/arena tour.
The Strokes recently wrapped up a UK tour using Martin Audio line arrays each night.Aiming to get the band sounding "Raw, loud and in your face," Gebhard, teaming with Capital Sound's systems tech Al Woods, went with a Martin Audio line array, depending on the venue size and configuration. "The W8L/LC is my preferred system of choice," said Gebhard. "Martin is always the first name on my spec--which is why I use Capital, apart from the great working relationship I have with them."
With the Strokes since the beginning five years ago, Gebhard still masterminds their live sound with a largely transparent approach, keeping processing to a minimum. "I use a bit of reverb and delay--largely because the new album has it--and I use the Avalon preamps on Julian's (Casablancas) vocals for distortion on the older songs, but that's it."
Throughout the tour, production used both the W8L and W8LC as the main hangs, adding outfills and sidehangs and, wherever necessary, Martin's dedicated W8LD downfill box. At Hammersmith they introduced the W8LM mini line array for infills. "Other line array systems may sparkle but sometimes are just too 'polite'," said Woods. "The Martin system has always had a really raw energy to it, especially at the low end. On the W8L, especially, the low end is stunning--pure rock 'n' roll; but having said that I have mixed orchestras with it and achieved great results."
On stage, monitor engineer Jamie Landy provided eight monitor mixes via 12 Martin LE700Cs, while a W8C/S218 sidefill stack keeps the sound focused on stage. "Nicolai (Fraiture) has a lot of kick to his bass," says James, "and so the S218s were recommended--and he's not kicked his wedges off the stage yet." Another stage mix is sent to the W2/W2SA drum fill combo for drummer Fab Moretti.
Martin Audio


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LiveNet TV App is an extremely popular movie streaming app that is accessible for both the android gadgets as well as windows system. Live NetTV APK In the beginning, LiveNet TV App was made only for android yet by the use of emulators made it possible for the home windows to have LiveNet TV mounted in them.
LiveNet TV provides customers a comprehensive selection of latest as well as all type of films which were too upgraded. The motion pictures and also TV in LiveNet TV obtain updated weekly as well as sometimes everyday also relying on the content which is showing on LiveNet TV. You can filter the channels with numerous details like Genre, Year of release as well as ranking.
You will certainly additionally obtain Subtitles along with movie so that it will be very easy for you to comprehend the film if you are not skilled enough in that language. live nettv on iphone There is collection likewise where you can include the shows which you usually enjoy, and could play them often to make sure that you could be most satisfied while seeing them.
LiveNet TV was primary expanded simply for the android stage nevertheless after the presentation of a few emulators like Blue stacks; individuals are downloading them for windows too.
How to Download LiveNet TV for PC/Laptop on Windows?
Downloading and install LiveNet TV for Android is uncomplicated however yet different as you download and install in your android phones. Considering that LiveNet TV is developing for Android compatibility platform, in this way getting it downloaded on Windows is the bit time-consuming and various. Allow's see additionally what are the steps included in downloading and install the app on COMPUTER.
LiveNet TV for Android is not offered on Google Play store, so even in Android phones, they should most likely to its official site to download the app and that too you will certainly get the latest app which you can mount as well as download on your phone. In windows, such applications could be downloading and install by utilizing Android Emulator like Bluestacks.
It could be downloading and install from the Internet. After the establishment of BlueStacks on the PC, you have to download Apk document of LiveNet TV for Windows.
When you have downloaded app documents using Bluestacks then by the appropriate faucet on the Apk data, after that you need to choose "Open With." Open with Bluestacks and after that "Introduce App." By making use of this option, clients could present LiveNet TV on COMPUTER.
Currently the most up to date function which LiveNet TV has actually obtained is that now it uses the brand-new Music emphasize also and you will certainly be able to hear some extraordinary brand-new tunes. Now you will certainly be believing that how you can actually see images on LiveNet TV, it could be seen with MX gamer or any type of outside video clip player of your choice like VLC media gamer.
And tap the gear-tooth to get to the design listing if you are not able to uninstall the app after that go to Apps in your Settings menu. You can after that uninstall the application swiftly. In this means you could download the app as well as could mount in your home windows.
Related :
LiveNet TV Download For PC & Smartphone (Android)
Download Live NetTV App: Live NetTV For Android Free Download


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Realizing the dearth of quality education for the Girls of Southern Punjab coupled with the increasing demand and requests of the parents of the area the President Board of Governors, SPS/the Governor Punjab, Lt. Gen. Khalid Maqbool decided to induct Girls at Sadiq.
Prof. Muhammad Asif Malik, the Principal was given the task of finalizing the plan for a separate Girls Section. He took the bold initiative and with his vast experience and untiring efforts, he made the dream of the parents of the area come true and on 6th May, 2003, it started with 9 Girls, a landmark in the history of SADIQ. The next day there were 11 Girls and by December 2003 the strength grew to 44.The opportunity of a standard education was provided to the Girls of the area for which the parents were highly obliged.
The Girls were housed in the Junior School building. Five new Classrooms were constructed and by 2007, the Girls Section comprised of the whole West Wing of the Junior School. The addition of the Girls Section gave a new dimension to Sadiq.
A purpose built Girls' Section was planned to be constructed on an area of 40 acres. The President UAE, His Highness Sheikh Khalifa Bin Zayed very graciously undertook the task of funding and constructing one half of the Girls Academic Building; construction started on January 19, 2006.
Maliha Hassan, who had been teaching in the Senior School, was given the responsibility of the Girls as House Mistress. The first Girls House, Fatima House was formed on September15, 2003 with the motto, 'Seek Strength through Patience & Prayer'.
The first batch of 9 Girls appeared in Intermediate Examination in 2005. All nine girls got 1st Divisions and a School record was set. All nine Girls got admission in various Medical Colleges of Pakistan.
Boarding House
The Girls Section is flourishing by leaps & bounds. After successful induction of Girls in Sadiq, the parents of the surrounding areas demanded for the opening of a Boarding House for Girls.
There was no such facility available for Girls in the whole of Southern Punjab, Baluchistan and Sindh and the Boarding House would cater the need of the people of these areas. Lt. Gen Khalid Maqbool (R) the Governor Punjab was the main force behind the induction of Girls and starting the Boarding House. He took keen interest in the projects. The GOC, Maj. Gen Khalid Naeem Lodhi, Chairman, Executive Committee, SPS visited SD House on March 15,2006 for assessing the possibility of housing the Girls.
The Girls Hostel started functioning on 29 August, 2006 with 21 Girls and within a short span of 9 years became saturated with 106 Girls.
Commissioning of the Girls Academic Block
The beautifully designed building with exotic fittings of the new Academic Block for Girls was commissioned on July 25, 2008. The levelling of ground and landscaping took another three months and the Girls shifted from the Junior School to the newly constructed Girls Block on October 6, 2008.
The Chairman and Members of Executive Committee, SPS visited the Girls Section and attended the first Morning Assembly on 06-10-2008.
Induction of Matric Stream
On April 15, 2008 Matric Stream was introduced for Girls. The first batch of 18 Girls appeared in the Matric Board Exam in the year 2011.The result was 100%.
Co-Curricular and Extra-Curricular
Swimming For Girls
Adjustments were made in one of the existing Swimming Pools and the Girls started swimming in October 2009; Sadiq thus, became the first boarding school of Pakistan where Girls are enjoying the art of Swimming. The following new programmes were introduced for Girls in 2010.
Cross Country Race, Girls
The first ever Cross Country Race was organized for Girls on February 3, 2010.
Girls were trained in Horse Riding and Sadiq got a status of the first ever educational institution in Pakistan offering horse riding facility to girls.
Future expansion:


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text: Elaquent's "Butterflies" is smoother than smooth. It's one of those tracks that forces the listener to instantly vibe with it. This song has a clean set of chords, a kick you can feel in the base of your spine, and one of the best baselines I've heard in a while. Elaquent's piece is one of twenty three beats on the compilation album On and On, which, more uniquely, features twenty three producers. Give this jam a listen; it definitely gets my head wobbling like a bobble head. You can purchase the album here.


text:
Five Guns West
At precisely the point when it appears that the drama of Five Guns West is expressed by the lighting as much as anything, Corman ends an interior day at the stagecoach waystation by panning right, from the girl and her uncle conversing at the table, to an unlit lamp.
He begins with extraordinary swiftness by having the prisoners hear their records of murder and rapine, upon which they are obliged to raise their hands and be sworn into the Army of the Confederacy. The journey to the waystation permits an extended display of Corman's great eye for natural wonders in an autumnal West with bare trees in front of the camera and deep views. Shadows are prevalent, not dispersed by counterlighting them, and forest scenes are often highlighted with glittering leaves while the main action is unlit, even in the foreground. Or daylight streams in horizontally to cast perpendicular shadows across a puddle.
These conscripted outlaws commandeer the waystation, which leads to a night filter barely inducing its effect, "darkness at noon." A second, deeper filter is used when the girl (Dorothy Malone) attempts to escape.
This is a basis for Eastwood's continual studies of light, principally here in Pale Rider. After the second night scene clinches the effect, shadowless light enforces the ambiguity, until the Union stagecoach arrives with a Confederate turncoat and a box of gold.
The final scene is the dramatic handling of the surrealistically developed theme. The outlaw leader (John Lund) defends the girl, the rest besiege the station. One is killed, another crawls under the building, firing up through the floorboards, and Lund has to go down after him.
There are precedents and comparisons for the lighting in Wellman, Ford and De Toth, and the theme has been explored elsewhere. Malone is surprisingly delicate, a flower of the wastelands, clever, sulky, with auric hair. Lund is a tough, silent hombre whose snake eyes twinge a bit at the list of his crimes (Mike Connors in this scene gives a great forced smile). A great film and a great Western, where a bad guy dies on the ground in a close-up that dissolves to the dirt being shoveled on his grave in the identical shot.
Corman lights a shadowed porch briefly for a conversation between Connors and Malone in the doorway, letting the jamb cast a dark countershadow. The waystation interior is a large room indeterminately lit by pools of light suggesting outdoors, and a shot frames the abstraction in an angular covered table with lamp and bottle, stained papered walls, the drunken uncle and the concerned girl.
Day the World Ended
The sea captain and his daughter (but not her fiancé), the geologist, the cheap hood and the striptease artist, the prospector and his burro, the man badly disfigured by radiation burns, live in the hills after "total destruction by nuclear weapons".
A very elegant system drives the screenplay, in which John Ford's Wagon Master has its part to play.
Stage One of the mutation is a craving for raw meat from contaminated game roundabout, Stage Five a horned demon.
God's plan for all this disaster is as simple as a walk in the countryside.
It Conquered the World
Drama of the quisling, a long-suffered crackpot vindicated by the Benefactor.
Terribly eloquent script by Lou Rusoff, fine score by Ronald Stein.
"The word 'enemy' is about to disappear from the human language."
"Well, what about the word 'tact'?"
The Benefactor is a Venusian, "born too soon" in a climate not so temperate as Earth's by "a million years".
All power resides in the Benefactor, literally, nothing else works. "Control devices" regulate civic leaders to the purpose.
And so forth in "the new world society", given out as the official response to "a Communist uprising". The Benefactor arrives in a commandeered orbiting Earth satellite.
A work of genius, with a shooting schedule of five days, reportedly.
Swamp Women
Girls on the make at Mardi Gras, typified singly in Marie, Daddy approves her choice of a young oilman with prospects in the swamps.
A drunken panhandler is a sober pickpocket in the first simple mirror of the theme.
A police lieutenant on the distaff side goes undercover to liberate diamonds stashed by a captured gang, she's put in prison with their molls. The four young women make their escape and commandeer the oilman's motor skiff to reach the hidden loot.
Contrary to some notions about the film, it is a perfect expression of Corman's pure style throughout, a masterwork on its subject. A certain critical disregard shames the whole human race, which happily flocked to see Swamp Women.
In the swamp, Corman achieves a Déjeuner sur l'herbe, and later (with Vera) an Olympia.
Carnival Rock
A tale of callow youth and punch-drunk age at a small nightclub on the fun pier. The young gambler and his singing mistress rise through adversity, the owner falls from cloud nine, it's studded with songs, the whole thing excellently well-played formally makes an ornamental x like a musical segno.
Not of This Earth
On the groundling side, the influence of Landers' The Boogie Man Will Get You is evident (as also on Wood's Bride of the Monster).
Upstairs, an alien with dying blood, colonist, destroyer.
Attack of the Crab Monsters
Pacific island, after nuclear testing. Second scientific expedition, the first was lost.
Immaterial crabs, molecularly liquid, devouring men with brains that stay intact as "electrical impulses", hence dead voices speak from metal objects on the island.
Fantastically complicated in its minute evocations of the dread peril, filmed for the maximum effect of minimal imagery, and supplied with a great Fred Katz score.
The fixed-liquid crabs, immense in size, reduce the island to manageable dimensions. They cannot be wounded, but their ions are negatively charged. Hence, a film that begins with a decapitation and ends not unlike Quatermass and the Pit.
The Undead
A fantastic symbological exploit on a complex case treated artistically as psychic research under hypnosis into past lives.
The streetwalker was a belle at court in Aquitaine, awaiting the grand ball. Before that, falsely accused as a witch and sentenced to beheading.
Her future selves cry out to be spared nonexistence if she escapes advised by her modern self.
There is much matter here, swiftly conveyed in a poetic screenplay well-run by Corman in clear anticipation of his later style, and nearly a witch-battle ahead of The Raven.
Teenage Doll
"Look down there, it's so quiet and empty. It's like it's deserted. It's like the face of the moon."
Fallen from a roof, dead in a back alley (cf. Buñuel's Los Olvidados).
Vandals and Vandalettes, Tarantulas and Black Widows, to them a girl from the Midwest, well brought up as far as it goes. "The most vital issue of our time... a sickness, a spreading epidemic that threatens to destroy our very way of life."
No glamor in it, rather the horrors are conveyed as far as possible (screenplay Charles B. Griffith, cinematography Floyd Crosby, music Walter Greene). "People are made, not born!"
The title in a Damon Runyon sense, "young lady".
Leonard Maltin, "above-average sleazy B". TV Guide, "nihilistic elegance".
Machine-Gun Kelly
His moll rides him like a rearing ass until the cold reality sets in, the modern Macbeth who knows the end of the play.
"You wanted the jungle, now live in it!"
He slaps cripples and homos and women around, savage as a wild mountain lion, a Tommy gun squares him against wreaths and skulls and the gaping coffin that is the madam's daughter.
And this is purely structured as a long ill-understood dream finally punctured with a shriek and a gunburst.
A great invention, well-received by Variety.
War of the Satellites
A UN manned satellite orbiting beyond the moon can't get there because of an "energy barrier" preventing the human race from exploring the universe.
The top scientist on the project is killed and replaced with an extraterrestrial duplicate impervious to pain who endows himself with a heart to pass a physical, and is furthermore capable of splitting his symmetrical self in two, each replica serving the function of a saboteur.
An adroitly-made original of Star Trek down to the "new frontier" attained at last.
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.
Teenage Cave Man
Reportedly the title was Prehistoric World, changed before release.
The film repays more than one debt to One Million B.C. in its strenuous sense of purpose and the marvels of primitive logic it portrays. The image is quite complete when it's stood on its end to telescope the dilemma.
A few years later came Chaffey's color version of the Hal Roach original, exhibiting the same deep awareness of essential problems in early humanity.
"Kill the beast!", says a certain tribesman, Brook's Lord of the Flies is already present in more than one scene.
She Gods of Shark Reef
It would be Corman, wouldn't it, who goes to Hawaii like Gauguin in Tahiti and gets the pictures that make the movie.
Incredible gag for openers. Military dock, two swimmers at night (one is Gunga Din's grandfather), they climb up after a shipment of rifles, a guard intervenes, the younger one turns to see his accomplice swimming away.
On the lam in the Sulu Archipelago, the young gunrunner and his brother are shipwrecked on an island of pearlfishers, all women, managed by "the island company".
The location is Hawaii, Hawaiian dress and songs prevail, the hula is amply demonstrated. The brothers wear native trunks, the scene is complete.
There is a shark god, the young men are taboo, a lovely maiden in a bikini made of flowers is tossed overboard from an outrigger, she descends to the god in a shroud of air bubbles, her lover rescues her, his brother dreams of escape, the company boat is due to arrive.
A Bucket of Blood
The title has a simple explanation. Walter Paisley is a busboy at The Yellow Door, a Beat café. When he accidentally kills his cat with a knife, he covers the body with clay (leaving the knife sticking out) and exhibits it as sculpture. A female admirer thrusts herself upon the nudnik, and finding her tribute to his genius not so much repulsed as ignored, she pays homage as best she can by slipping some pills into his pocket. An undercover cop observes, follows Paisley home and arrests him. Seeing a drawn pistol, Paisley becomes afraid and beans the cop with the edge of a pancake pan. His landlady hears the noise and knocks on the door. After a pause, he lets her in, shows her nothing is amiss, and in the background a limp arm drops into view near the ceiling in the kitchen. Paisley hustles her out, then goes over to place a large pot under the dripping body to catch the blood, all the while pondering miserably his next work. "I don't have another cat," he says to himself. The next day he unveils his first full-length figure, Murdered Man.
This stupefying masterpiece is not only the profound work of art that gave rise to Dementia 13, it's so deeply imbued with the Beats that it really belongs with Pull My Daisy as an authentic creation in the spirit of the time. Ulmer's The Black Cat is evidently a major influence, here and elsewhere.
It's said to have been made at a cost of $25,000, and it's quite a pearl. In the opening scene, a bearded poet (who later, at Paisley's art opening, wears black tie and sandals) poeticizes to the camera, accompanied by a jazz saxophone. His theme is art, it's an extensive poem and deserves to be cited verbatim. The camera pulls back and moves around the café, taking it all in.
I will talk to you of art, for there is nothing else to talk about, for
there is nothing else,
Life is an obscure hobo bumming a ride on the omnibus of art.
Burn gas, buggies, and whip your sour cream of
And hope, go ahead and sleep your bloody heads off.
Creation is, all else is not.
What is not creation is graham crackers, let it all
crumble to feed the creator.
The artist is, all others are not, a canvas is a canvas or a painting, a
rock is a rock or a statue, a sound is a sound or is music, a
preacher is a preacher or an artist.
Where are John Joe Jake Jim Jerk, dead dead dead, they were not
born before they were born, they were not born, where are
Leonardo, Rembrandt, Ludwig, alive alive alive, they were
Bring on the multitudes and the multitude of fishes,
Feed them to the fishes for liver oil, to nourish the artist, stretch
their skin upon an easel to give him canvas, crush their bones into a paste, that he might mold them, let them die, and by their miserable death become the clay within his hands, that he might form an ashtray or an ark,
For all that is comes through the eye of the artist.
The rest are blind fish, swimming in the cave of aloneness.
Swim on you mortal and muddling maddened fools
And dream, of one bright and sunny island,
Some artist will bait a hook, and let you bite upon it, bite hard, and
In his stomach, you are very close to immortality!
In the Nineties, television began to forgo art for a simpleminded realism, and finally ended up all geek and no circus. A Bucket of Blood not only discusses the theme, it directly touches on the Vatican's 1999 definition of God as "creator" vs. artist as "craftsman". A brassy model challenges Paisley to make something out of a bit of food, he mashes it in her palm and calls it Hand. She's not convinced, if he really were an artist he'd be able to create something, she says.
In the end, after amassing enough "sculptures" to have a formal show, the "artist" is found out and forced to flee. He returns home to his wretched apartment, daubs himself with clay, and hangs himself. "His greatest work," someone says, "Hanged Man".
Now, whether the French are as alive to this as they were when Baudelaire discovered Poe, Griffith and Corman are as vividly aware of the artist's life as anyone, and A Bucket of Blood is a sublime picture of it that also ranks with Losey's Eva (or, if you prefer, Picasso's Le Chef-d'Œuvre Inconnu) as a portrait of the artist, who creates beauty and truth in a tenuous relationship with inspiration by cutting away "everything that doesn't look like an elephant", as the old joke has it, after asking how you make a sculpture of an elephant...
The drily humorous depiction of these lesser Beats and their startlingly contemporaneous fads (health food, Yugoslavian wine, etc.) has led to a misconception in some quarters that this is a satire, and a "heavy-handed" one at that, as 'alliwell says. You could say as much (or as little) of Pull My Daisy's portrait of the bishop, and A Bucket of Blood also signifies, if you will, the human condition.
The Wasp Woman
"A woman is beautiful when she is loved." (Mr. Skeffington)
There can't be a doubt this is a response to the treatment in Vincent Sherman's film.
The wasp makeup is a mask.
Ski Troop Attack
An enemy patrol led by the director (an excellent actor) pursues a U.S. Army recon patrol on skis.
It's the Battle of the Bulge, the dramatic conflict is between the American lieutenant and his sergeant, recon or fight?
The lieutenant prevails, they spy a railroad bridge supplying the counterattack.
But first there is the hausfrau whose husband is at the Russian Front, the Americans observe her rancor and speculate that any wife at home would act the same way if Nazis invaded, she explains that Poland started the war, England and France followed suit, why are the Americans in Germany?
House of Usher
The type of mediocrity, Roderick Usher, is represented as vastly overshadowed by a plague upon the land, his arch-criminal forebears.
The story has been made into a film, as dully and dutifully noted by the New York Times.
A complete and utter picture of Poe's idea, superbly acted by all the cast, with a typically fine Corman score by Les Baxter.
The Little Shop of Horrors
In Cancel My Reservation, Chief Dan George tells Bob Hope, who has come to seek enlightenment of a kind, to go and water his fern.
Blood, as the author of Creature from the Haunted Sea and Dr. Heckyl and Mr. Hype would say (and young Kate's Pa does say in Bloody Mama), is thicker than water.
A work of genius from its very first frame, with really magnificent cinematography, so reductively absurd in its tragic implications it brings down a very hefty weight of Sartre, Miller, Sophocles and whatnot to a nifty and pointed conclusion.
Obviously a response to The World, the Flesh and the Devil, and moving toward Knife in the Water and Cul-de-Sac. There is an especial beauty in the medium shots and one track along a row of windows, and a great eye for architecture. And then, Corman drops the thing into fairy-tale or Great American Nude like shifting an automatic.
Creature from the Haunted Sea
The outgoing Cuban government takes with it gold from the Treasury, in the care of "an American gangster and gambler" who has a fishing boat.
He undertakes to steal the gold for himself by concocting a "monster" to kill the Cuban soldiers on board.
Romance, adventure on the high seas, comedy in plenty, Hemingway, and Creature from the Black Lagoon.
Edgar Allan Poe's Pit and the Pendulum
The brilliant screenplay gives a clear series of images before the apparatus and its counterpart are shown, and still the critics ignored it. The Spanish Inquisition has its twofold theme, a careful division and a void.
The ambience of script and setting partakes of several Poe motifs, with a sense of creating a style appropriate to a film version. John Kerr is the Londoner whose sister Elizabeth (Barbara Steele) has died in Spain, Vincent Price the nobleman who married her, Luana Anders his sister, Antony Carbone his doctor and friend.
The horror stems from the practical application of sordid theories. Not to care how the other half lives and, finding out, enforcing the split or casting an offender into darkness below.
A typically fine production by Corman, with an ending that suggests an unfortunate reaction.
Premature Burial
An incomparable story of melancholia and psychological morbidness with a rare transcendent touch from a director who always states what he sees, here Corman gives a citation from Dreyer's Vampyr (the cortege and the windowed coffin) that justifies and explains the formal necessity of the dramatic turning that follows.
Sarris's absurd remarks simply do not attend, here is Lang's paranoia, if you like, that really is persecution.
The Intruder
It proceeds directly on Clarence Brown's Intruder in the Dust in the naturalism and immediacy of the treatment, which are taken up by Jewison for In the Heat of the Night.
As a study of the feminine psychology in crowds or mobs, the film was completely overlooked by critics and audiences alike. It's along these lines, however, that Beaumont arranges his art here, and his acting performance is one of two missed by reviewers (Leo Gordon is brilliant).
Shatner pulls off the tour de force, neatly balanced by a chorus of non-actors brought up to perfect pitch by Corman's expertise.
Tales of Terror
The vast and dusty palace looks as desolate as the country house berimed in Doctor Zhivago. Mother and daughter fight, the one from beyond the grave.
The Black Cat
A sot with a stingy wife bests a foppish and pretentious critic at a wine tasting, then immures him and the wife after the two have become lovers.
The Case of M. Valdemar
The mesmerist who forestalls Valdemar's extinction has designs upon the widow, who is loved by the doctor.
The moral terror in each instance is a fine trick of style, not to be confused with Corman's original camera stylizations for effect.
The performances are brilliant, as is the script by Matheson.
Tower of London
The great screenplay works its way along the course of Crookback's plot to gain the throne in a way like Ma Barker much later in Bloody Mama. It's the recognitions along the way, brought to the fore and played to the camera as the stated evil announced in the opening narration, that jar the spectator and completely arrest his attention.
Learnéd Clarence shall not rule the realm but war-hungry Richard, who tortures Mistress Shore to death and, so short of his design to prove the princes bastards, smothers them.
Ghosts appear, Mistress Shore he throttles as her shade appears to coincide with his wife, who beckons him later from her coffin. And so on to Bosworth.
The Young Racers
In the opening sequence at Monte Carlo (just ahead of Frankenheimer), the Roman ferocity of the sport is seen as rarely if ever, more like Ben-Hur than anything.
The dramatic concern begins with the Grand Prix fraternity and the winner who couldn't care less.
The Raven
Peter Lorre as the feathered twat, Vincent Price as the Great Masturbator and son of a shaman, Boris Karloff as the father of the feast, with two geniuses well to the fore (Olive Sturgess, Jack Nicholson) and Hazel Court as "the lost Lenore".
It cannot be possible to create a work of genius in the domain of literary criticism pertaining to Poe's immortal poem with any degree of relevance that compares to this, which is why Ken Russell in his magnum opus on the poet makes a sidling joke of it only (The Fall of the Louse of Usher), "he's raven mad!"
Anyone's masterpiece, Poe's, Corman's, Matheson's.
"Enough," as Pinter would say, "this is no answer!"
Le Mystère Picasso, Bride of Frankenstein.
The Terror
After the Polish campaign, Baron von Leppe (Boris Karloff) found his wife in bed with one Eric, there was a fight, and with the aid of his servant Stefan (Richard Miller), the Baroness was killed, but also the Baron.
Eric's mind snapped, ever after he believed himself to be the Baron and was abetted in this by Stefan.
Eric's mother Katherine (Dorothy Neumann) fashioned a revenge. Many years after the event, the spirit (Sandra Knight) of the Baroness has begun to appear, enticing the supposed Baron into suicide. Fearing damnation, mad Eric refuses, but finally the prospect of rejoining the Baroness is too much, he opens the seagates and dies in the flooded crypt beneath the Castle von Leppe.
The direction is rather unusual in its strange insistence on the voluminous and well-crafted set, and then again by contrast in its use of colored gels to light the crypt impressionistically as putrescent and ghastly.
The disused chapel in the castle graveyard is a false burial place, and leads beyond its heavy bronze inner door to the crypt.
A young lieutenant in the French Army (Jack Nicholson), whose father Count Duvalier was guillotined, has lost his way and seeks refuge in the castle.
The "mesmerism" scene is a great invention from Tales of Terror, consisting of a revolving magic lantern of colored glass and a lens.
Three months after The Birds, this film appeared with its falcon scene, a direct psychological shock interpolated like Max Ernst and ending with the bloody-eyed victim plunging off a cliff to the rocks below.
The Haunted Palace
It harbors the spirit of a warlock done to death, his descendant moves in to claim the property.
The new occupant grows possessed and uses his own wife to carry on "the work", breeding half-human monsters with the powers of darkness.
Blind cripples haunt the town from the previous owner's failed experiments. Revenge delays the resumption of efforts, all the townspeople must be burned alive.
Eugene Archer of the New York Times had a free ticket but otherwise no business at all in the place.
How, if you were to imagine powers of analysis literally complete, could you conceive a better representation? The thing skirts every level down to "the unborn city, its flesh dissolved in an acid of light, a city of the dead," and past that to Ray Milland in the torments of perception like Buster Keaton à la Film, finally wrenching away the all-seeing eye, Nabokov's oculus.
The Masque of the Red Death
The most sublime and terrible of Corman's films, because its terms are so simple and so absolute.
The temptation is to subscribe to the prince's delusion, there is no security in that, neither for him nor for anyone, even his wife.
The exacerbating demands of Poe's visual scheme are met with Nicolas Roeg and a slightly longer shooting schedule, and "Hop-Frog" as an interlude.
The Secret Invasion
Just before the invasion of Italy, five convicts are enlisted in a plan to liberate the Italian commander in Dubrovnik so that he can rally his troops against the Germans as a second front.
An IRA bomber, an art thief and master of disguise, a forger, a professional assassin, and a highly-educated criminal mastermind, under the command of a British Army major.
Opulently filmed on location, with an inner theme very closely related to The Masque of the Red Death.
The Tomb of Ligeia
The composition is worked out from Premature Burial in the Lady Ligeia's coffin (Dreyer's Vampyr), and thence flows along with Hitchcock's Rebecca until the finale erupts into Ulmer's The Black Cat, recalling a particularly grisly Faulkner story (cp. A Bucket of Blood).
A number of Poe themes are treated symphonically to crown this suite of films.
"Tedious and talky" (Variety). Time Out Film Guide rarely expresses admiration for a film of any worth, this is one.
Halliwell's Film Guide reports it as "complex but rather fascinating".
"Anyway," said Howard Thompson of the New York Times with that typical wit, "some honeymoon!"
The Wild Angels
The Nazi endeavor, from Benedek's The Wild One, a foreign adventure and a funeral.
Bosley Crowther of the New York Times had no use for it, just so much unpleasantness in "the Christmas season."
The St. Valentine's Day Massacre
A sordid, dull tale of gangland murders. Nothing great, and this requires all of Corman's resources, not a little skill goes into resisting the chrome and blandishment of stylization.
Even this is not a style, it's not a study of anything in particular, just a fact of life in Chicago then and renewed by the time of filming bigger than before.
The intent, as in its main precedent, The Untouchables on television, is to recognize the criminal element. Two citations from Wellman's The Public Enemy perfect this view.
The Trip
High in the Hills, down on the Strip, a television advertisement director on the verge of a divorce takes LSD.
Looking out over the city, he's neurotic and visionary. In the "mercantile Gehenna" and at a rock venue, he experiences the maelstrom of popular culture.
His wife has had an affair, he has one too.
The Kafkaesque graverobbers in Premature Burial are figments of his hallucinations, two black-robed Arabs on horseback, two motorcycle cops, two go-go dancers wearing the cops' helmets, his wife and his mistress.
On his descent he walks into a house and watches a TV news broadcast on the Vietnam War, the picture cannot be seen. A little girl asks him for a glass of milk, her father chases him away.
At a laundromat where he is fascinated by the machines there is a "sarcastic" young woman in curlers, she practically explains that her mother and father did it with each other.
He wakes up the next morning in bed with a blonde, realizing he loves his wife and "everybody".
The doors of perception in a guy who makes TV commercials, "it works... it's a living", he's seen at the start shooting a perfume ad, a posh young fashionable-looking couple embrace while standing on the ocean, she emits the slogan.
A perceptible influence can be construed on Russell's Altered States, perhaps also the snake-and-cross imagery in The Lair of the White Worm.
Bloody Mama
All the drama and all the psychology have been taken out of the gangster film, so that it most resembles the actual reality.
Critics undertook a stylization of their own to compensate, it became operatic, Jacobean (and tragic), Freudian, campish, and all the other little words.
Corman has precedents for every step he has taken, but he has taken them all without flinching or adopting a pose, even of objectivity.
His direction is neither too much nor too little, he takes stock of every situation in the swath of crime, his imbeciles rise on the world's stage for their inconscient greed and depart.
Ma Barker joins the "tyranny of complaint" at an early age, her brothers hold her down for a rape by her father, she vows then and there to have sons of her own to do her bidding and kill for her.
Von Richtofen and Brown
A major consideration of the Second Thirty Years War in its first phase (1914-18), and a major masterpiece by any consideration.
Wellman's Wings is the express starting point, given a direct and thorough analysis straight through, to reach an understanding of the war as fought.
In spite of all efforts, critics divined none of this whatsoever, though Greenspun of the New York Times was at least aware that a significant motion picture was being screened for him.
The great implication is that hunting The Red Baron without scruples merely opens the way for total war, and in fact leaves Goering to command the squadron.
This is Corman with an abundant budget, and nothing wasted. The flying sequences do Wellman proud by exceeding him, every reckoning is made of the dilemma in a typically profound Corman screenplay, the cast is excellent (Hatfield as Fokker), Friedhofer contributes apposite music.
Frankenstein Unbound
The main style is Hammer on location, the locus is Russell's Gothic. Corman records at once the shock of understanding before it is known, the film elucidates it.
Laser implosion is tested on a model of the Statue of Liberty, the scientist's son buries his bicycle because it's dead, how does he know? Because he has a new one. The heavens are rent, a Hun on horseback descends to beset the scientist with his spear, then returns. The scientist is in Geneva for the gathering of Byron, Shelley and Godwin. Dr. Victor Frankenstein has his laboratory nearby.
Some films cannot be understood at once because they anticipate events. "New Los Angeles, 2031" is the opening venue, Eli Broad has announced his intention of building it.
Dr. Frankenstein's brother is dead, a girl is to hang for it. The monster kills Frankenstein's mistress for spite, she is revived, the monster wants a mate.
The scientist's ultramodern car comes when it's called like a horse, prints out Mary Shelley's novel when it's unwritten, speaks in a female voice and provides the electricity for Dr. Frankenstein's experiment. The scientist gives the authoress a ride in it.
Byron wears telescopic goggles loaned by the scientist. He and Shelley are gentlemanly youths unfazed by the visitor from America.
"There are more things," the scientist all but says to Dr. Frankenstein, "in heaven and earth than are dreamt of in your philosophy." The man from the future heroically tries to rescue the condemned girl and is pitched into the lake. The monstress is appalled by her state, Dr. Frankenstein wants her for himself, his pistol is about to finish the expectant monster, she pulls it to her breast and dies.
The scientist has craftily transported them to the latter day, his laboratory greets him by name. Frankenstein is dead, broken by his monster (who early on rips a policeman's heart out), the scientist's weapon destroys the monster, he exits the lab in a bleak and wintry future to contemplate the city, with the monster's voice ringing in his ears, "unbound forever!"
Amid the many precedents, Cocteau's Orphée perhaps holds formal sway unexpectedly.


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Life could be a battleground. We have a choice in how you handle adversity. We can either wallow in self-pity and negativity, or consider the route of perseverance with hopefulness and joy seeing the good in spite of the hardships. This particular really is a story of loss, but is actually not one along with a happy final point. It is up just about every of us who endure troubles to choose the route of healing and wrapping your minds around is actually right, associated with what is wrong. It's up to you.
Just as other child, Simba rrncludes a carefree childhood, he was playful, adventurous, and fidgeting with friend, Nala, all day long. Although carefree childhood is so beautiful, children still require to get aged. When Simba and Nala were nearly killed by Hyenas in the Elephant Les Monuments, fortunately being rescued by his father, the lion king Mufasa, at that moment Mufasa realized that " I have to teach my son a lesson. " Mufasa asked Simba sternly: " Simba, I am very disappointed in anybody! You could also been killed. And what's worse, you put Nala on the line! " Mufasa didn't just blame Simba to take risks, more importantly, he put Nala at risk. If a person regardless of your own life that is your own business, anyone implicated others, this will be the question of responsibility.
The Navajo Nation lives up to its name with 27,000 square miles along with the biggest reservation in The nation. The Navajo Nation has fascinating culture, art, history, and scenic analysis. People can see historic petroglyphs, ruins, and national monuments such as Canyon de Chelly and Navajo National Monument in Monument Valley.
Fifty-somethings take part in no increased traffic crashes than younger middle-age drivers until approximately age 75. The 75 furthermore age group have increased crash rates (almost all the way to drivers 16 to 24), but greater death rates because of this older body's inability to recover from effect of a crash.
Following the newly learned techniques of this orthodox burial rituals, uncle Sam's body left our home forever towards the church. The holy water was sprinkled over his body merely us. Father Arnold led us the best way to the church for the pre-burial events. All through the moments the ceremonies had to have place, my tears to help roll cutting. The next step was to take place in the memorial Atchison KS home or the burial land. I was perplexed but contended, uncle Sam must be happy with this reception. Time passed on petals. Nowadays, burial grounds have become modern significant facilities. One among my cousins had make arrangements for flowers, cards and lightweight music to suit the environment.
Put together a mission statement – This can be an one sentence thesis of your life that will guide you thru the trying times when your direction is no longer clear, when everything becomes not known. Going back to your mission statement will call to mind the 'what' in your life, probably 'how' and indeed the 'why'. WHY could be the most important motivator there is.
Not long ago, news of the " Lion King" blue luxury suite exposed, nevertheless the actual release date was unknown, now the Walt Disney Company has confirmed a particular launch go out. The " Lion King" BD set shall be available on November 15 this year, shops are because of target price of $ 74. 99. At that time, whose childhood memories provides " Lion King" can once again grow along with Simba, of course, before the wonderful journey, keep as their objective to prepare a blu-ray converter, making your viewing far removed from worries.
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Twenty six = Thirteen. Please prove in detail. Some knowledge of series length may be useful (10 marks)
July 7, 2006
Another short post today until I go home and start working on my Haruhi wrapup.
I'm sure people have noticed that in recent years, there has been a trend toward single season series (13 episodes) rather than series spanning two seasons (26 episodes). Discounting Shounen series such as Yakitate!! Japan and Prince of Tennis, which go on for ever (or until the audience become so mind-numbingly bored that they stop watching), there has been a huge decline in the number of full length shows, especially in the popular category.
Of the recent seasons, I can only think of the Mai-Hime/Otome series, Speed Grapher, Higurashi, Black Cat and Shakugan no Shana that have lasted the full 24-26 episodes. However, other hugely popular series have been assigned 12-14 episode seasons, such as Ichigo Mashimaro, Magical Girl Lyrical Nanoha A's, Rozen Maiden, Full Metal Panic: TSR, Paradise Kiss and even the great Suzumiya Haruhi no Yuuutsu.
Meanwhile, to complicate things, some really just bad, or just inexplicable series get 26 episode seasons. For example, (though I myself am not complaining) both Strawberry Panic! and Simoun are going to run for the full 26 episodes, even though I would count these shows as "niche". Canvas 2 ran for 24 episodes, and I wouldn't even have acknowledged its existence, if it weren't for timely purchase of Megami magazine. And to top it all off (though probably completely irrelevant), Demashitaa! Powerpuff Girls Z is going to run for 52 episodes.
I definitely won't be watching ^_^. However, I do approve of this. In fact, the art here is arguably better than thenew show itself. I would watch it if the art quality were this good. And the plotlines also.
Anyway, getting back to the point, I was wondering what exactly decides whether a series is going to run 13 or 26 episodes, whether it was merchandising potential, or just plain time slots on networks. For example, are SP! and Simoun just going on networks that have ample time slots to show them and therefore can run the full length, while Haruhi cannot?
Also, is it just because more anime are produced per season that the number of 13 episode shows is increasing?
I for one would like to see more anime shifted to earlier on in the evening that isn't Pokemon Advanced or Duel masters or some form of battle kids show. Surely there is enough money in anime for TV companies in Japan to put it on at some time other than 0200 in the morning? Or do they really make more money out of rubbish JDramas and Quiz shows? If there were more time slots for anime I'm sure the number of episodes per season would rise.
And though I do enjoy watching compact 13 episode seasons, I think this would benefit some anime greatly (though the only one that comes immediately to mind is "Midori no Hibi")
So, 26 episodes or 13? What's the general opinion?
47 Responses to "Twenty six = Thirteen. Please prove in detail. Some knowledge of series length may be useful (10 marks)"
July 7, 2006 at 11:23 am
13 episodes is bit too short, some 26 episode animes seem to drag out a bit too much… how about 20 episode seasons instead? :P
By the way, your definition of "two season" and "single season" anime is incorrect. By definition, 26 episode animes are also single season animes (ie: Da Capo – 26 episodes, Da Capo ~Second Season~ – 26 episodes. Dunno what you'd call Naruto's as of yet uninterrupted 190+ episode run though, FILLER?)
July 7, 2006 at 11:24 am
What if, the quality of the series is inversely proportional to the length? Just like how in expensive restaurants, the portions are tiny.
July 7, 2006 at 11:25 am
In Japan, one season is 13 episodes. So his definition is correct.
July 7, 2006 at 11:48 am
Yeah, so quite a few animation studios must have gotten this wrong then, since they tend to throw it in regardless of episode count (Papillon Rose ~New SEASON~, Taiho Shichauzo Second Season).
July 7, 2006 at 11:56 am
From what I can remember, the simple reason why studios could not afford to put longer series to air was BECAUSE the industry grew too fast.
First, I don't know if you know this, but Anime studios PAY money to get timeslots, unless the sponsor is the TV station itself. This is different from cartoons in the West, where TV networks pay the STUDIO for cartoons.
Anime studios depend on DVD/merchandise sales to make their money back, thus screening anime on air is nothing more than expensive advertising.
Second, there had been a great many more anime series being green-lighted than before. If you check out an old Japan-Newtype Magazine 8 years ago, you will realise that there were comparatively fewer shows. (There was an article two years ago in the JP Newtype where an editor tried to watched EVERY episode of anime on air for that week. It was hell, and poof the the Japanese knows about the increase in series numbers.)
These two factors combined, creating the fact that, since there is only so many timeslots in existence, you get a large number of studios bidding for timeslots. The law of supply and demand thus means the cost of screening anime increase GREATLY.
That's why two things happened;
1. Many studios cram manga source material that could fit in 26, into 13 episode anime arcs. An example is Midori no Hibi, which had half its story arcs cut out.
2. Some studios skip airing on air all together and go for DVDs. That's why we got a revival recently.
Another side-effect, is that only certain TV stations permit adult/mature content, even in the dead-of-night slots. Shows that originally intended to be more mature is sometimes forced to censor themselves for screening because they couldn't get slots in the more tolerant TV stations. (compensated by DVD releases.)
Sorry for ranting, but this is what I know.
July 7, 2006 at 11:59 am
Another thing, the reason why there is so many new series is because the Anime studios were encouraged by licencing fees pumped in from the West.
Excess licensing is dying down, so hopefully the saturation of the market will die down eventually.
July 7, 2006 at 12:02 pm
I guess that technically would be a "season" after all.
Altho yeah, I would have just assumed a season to just be either 13, or 26 if it's uninterupted.. and I don't have any hard facts, but it sure feels like Naruto's and Bleach's big arcs end in multiples of 26 anyway.
As for which I prefer? Depends really. Unless you're dealing with a sitcom or epicly planned out series, most 26'ers seem to falter repeatedly and feel like they'd do better with a condensed episode count.
But then sometimes it's nice to spend an extra 13 episodes with certain characters even if the content feels stretched.. especially given that extra series made after a break from the first seem a lot more rare than what you'd see on American network television ("We didn't get canceled? Let's milk it!")
Although! if they are going to do a small run based on a manga that is still ongoing, I really would prefer to not see them paint themselves into a corner with a definate ending that they can't get out of, should it's popularity warrent more.
I'm not saying to have no closure.. just, give it some leeway for canon, that's all.
July 7, 2006 at 1:37 pm
I just read the midori no hibi manga the other day and honestly it was good at 13 eps…any longer and it woulda turned into a big gag filler show up until 26. The anime basically took a few gags, a few main points and finished it up nicely to basically give you the idea of the manga. The manga is more like a "supplement" to read if you wanted to see more goofy hand girl action
July 7, 2006 at 1:54 pm
Err… I presume you are not a Nao fan, then?^_^;
The shortening of Midori-no-Hibi means we lost all the arcs concerning Nao, her mad scientist father, and especially the mecha-Nao.
If you don't like her, I can understand… but personally the story is missing something without her.
July 7, 2006 at 2:26 pm
Vallen: Nao rocks. Thank you for the exposition on TV slots and that, it was very enlightening.
Oh yes, Lina: I was referring to TV seasons, since on Japanese TV there are 4 seasons in a year (Spring, Summer, Autumn, Winter), each of 13 weeks. Therefore 26 episode series technically stretch between 2 "seasons".
No one has explained to me why yet that shows such as SP! have managed to get 26 ep runs…are they just better funded?
July 7, 2006 at 3:44 pm
I'd heard that the length of TMoSH was due to the studio (Kyoto Animation) also doing the next Kanon series. Between that and Vallen Chaos Valiant's post above about studios paying for slots, it sounds like series length is heavily based on the studio creating it and how much they can do at once.
July 7, 2006 at 3:55 pm
"No one has explained to me why yet that shows such as SP! have managed to get 26 ep runs…are they just better funded? "
There is no reason why any show can't be 26 episodes long. It's a matter of risk.
In many cases, the studio was willing to spend the money for 26 weeks of TV exposure in order to improve DVD sales. The more episodes also means there is more DVDs to sell per customer.
When it comes down to it, it's all up to the individual studios and more likely, sponsors. If the sponsors are willing to pay the high price for a long series, that's what will happen. The purse-strings are tighter recently only because screening shows on air are costing so much more now than before. It depends on luck, really.
Shows like Bleach and Naruto are still getting long episodes, but that's because of an aggressive marketing campaign that generate profits that could cover the cost.
July 7, 2006 at 4:06 pm
Oh guess I misread "This anime SPANS two seasons" as opposed to "This is a two season anime", because you had the episode count in brackets… Galaxy Angel is a 26 episode anime, yet it only spans one season :P
Anyway, SP! gets a 26 episode run because it was created by Sakurako Kimino and initially serialized in G's Magazine, as opposed to Haruhi who was a nobody before the anime hit the air. Someone has to do the storyboard planning and pacing of the anime too… (Something Pierrot failed at in the first story Arc of Bleach.)
July 7, 2006 at 4:30 pm
Oops, there should be an "A", "AA", or "X" at the end of "Galaxy Angel", to avoid confusion…
July 7, 2006 at 5:15 pm
Chiiiigau! Not ALL JDramas are rubbish!
July 8, 2006 at 2:40 am
On the contrary, the Suzumiya Haruhi no Yuutsu novels were quite a sensation before the anime came out…they even won some prestigious award i think…but the anime has only 14 episodes because Kyoani is moving on to Kanon 2006…hope Kanon is as great a success as Suzumiya Haruhi!!!
July 9, 2006 at 11:20 pm
"but the anime has only 14 episodes because Kyoani is moving on to Kanon 2006"
That's completely baseless rumour, and was devised as an insult to KyoAni. Please stop spreading lies. It's IMPOSSIBLE to change episode-counts like that for KyoAni.
Suzumiya Haruhi as a novel did won an award, but good luck finding anything that suggest it was a "sensation" outside the people who had read the books. Most people in Japan didn't even know about it. There was ZERO expectations.
I am SICK of people making things up!!!
July 10, 2006 at 12:08 am
Footnote: I tracked the source of the "Kanon shortened Haruhi" rumour.
It was a miss-understanding. There was no such thing, as I was present when that random poster was ranting. He was demanding there to be 26 episodes of Haruhi because he didn't care for Kanon.
AnimeOnMyMind picked up the quote incorrectly in here:
And here is the origin of it all: And yes, I agree it's ironic that it began during that poster's argument with ME, of all people.
…And that's where all the lies started.
Your info is wrong. Accept it.
July 10, 2006 at 4:04 pm
Vallen Chaos Valiant >>
1. You said it was a baseless rumour then you went to say it's a definite lie, when we don't even know it's true or not.
2. IMPOSSIBLE? You're not in KyoAni, how'd you know? The episode hopping makes things easier.
3. Devised as an insult? Wow! Who devised it? You? I'd call it a compliment. KyoAni is a relatively small studio, so you can't expect spreading out of manpower. Assuming the rumour to be true, to be able to make such a sensational hit with just a mere assumed cut-short 14 episodes series very much proves its worth.
4. "Most people in Japan didn't even know about it."
Are you implying that most people in Japan know about it now?
5. ZERO expectations?
I expected a lot from a novel illustrated by Ito Noizi, along with SnS. I didn't even know an anime was coming out until I saw the tag on the novels. It would have been true if you said "little expectations" instead. ZERO is a sweeping statement and over-exaggeration.
6. "I am SICK of people making things up!!!"
Elitism at work. Everything that's not your way must be lies. You have no capacity for alternate possibilities. Hello Jason Miao No. 2.
July 12, 2006 at 8:13 am
"…And that's where all the lies started."
No one else can think of the possibility. Only you can. It's the sole source of the rumour. Wow you're so great!
"Your info is wrong. Accept it."
LOL Jason Miao No. 2. And I advise you to re-read my post above, for not once did I mention my stand. Of course you can't accept the fact you suck and I'm a aniblog troller. LOL dickhead.
July 12, 2006 at 5:36 pm
Ok, LOL, Yuribou.
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text: November 02, 2016 Road to Renewal November 02, 2016/ Lynda Mallory There are several roads to renewal or maybe several paths that we could take on the journey. Renewal could be in many forms as we go through life - whether it is recovery from a bad situation, break-up or the end of a personal or professional era.Ironically, the most common road to renewal for some is to go into hiding and not share their past or current pain. There's always a way... A way to get better, continue to do better and maintain sanity in uncertain times. I usually start with what inspires me with having faith being number one. This may require you to take time away to renew and decide on what you want to do to move forward with a decision about a career change, new venture, a relationship."How do I get started?" You may be asking that very question. I asked the same thing and it came down to taking care of myself; establishing my self-care routine. In case you missed the most recent blog post on the four easy ways to self-care, you will find it here. One additional note is to begin your renewal with what you find useful and insert a little fun in there. We all need fun from time to time. Enjoy and have faith in your decisions. Need help getting started? Comment below on what you need help with and if you are already on the road to renewal, share how you were able to get started. Sharing your story may help someone else if they are uncertain about the road ahead.


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This section is from "Every Woman's Encyclopaedia". Also available from Amazon: Every Woman's Encyclopaedia.
Required: The same ingredients as for lemon water ice, but substituting tangerine orange rinds and juice instead of lemon.
Prepare exactly in the same way as for lemon water ice. To serve this ice, scoop the pulp carefully out of some of the tangerine oranges, wipe the cases, and fill them with the frozen mixture just before serving. Those oranges to be used as cups must not have the rinds rubbed off.
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Issue link: http://cp.revolio.com/i/2624
70 Fall 2009 SopHIE kAHN Head of a Young Woman 3D facial scan with Polhemus Cobra Fast Scan, printed on a 3D printer and cast in bronze one thing i like about the 3d scan is that it's like a photograph in that you scan from one perspective. So if something is occluding your object then it's shadowed and you don't get to see the back, but then you can rotate that and you can see how limited that view is. " All photos by Sophie Barrett-Kahn.


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Nemanja Matic 'reveals' note passed to him by Jose Mourinho
Fans had been puzzled by the exchange in Sunday's game at Old Trafford.
Aside from the League Cup final and results in the top four race there was something bugging football fans on Sunday – what did the note Jose Mourinho passed to Nemanja Matic say?
Eric Bailly passed the note from the Red Devils boss to the midfielder during United's 2-1 victory at home to Chelsea and it stirred up all sorts of speculation among fans.
So what did it say? Well, according to Matic's latest post on Instagram, it was rather sweet.
It's hard to imagine Mourinho writes smiley faces on his notes or indeed hands out three days off will-nilly, so it's perhaps unlikely to be the note Matic received.
Still, it's a bit more fun than some of the other suggestions.
Mourinhos tactical note to Matic. pic.twitter.com/Sj0SnqfPNB— Vikki (@VikkiLou_mufc) February 25, 2018
What the note Mourinho gave Matic actually said 😂 pic.twitter.com/73wA1PhdPg— Football Stuff (@FootbalIStuff) February 25, 2018
February 26, 2018
United's victory over Chelsea propelled them back to second in the Premier League table, ahead of third-placed Liverpool by two points.
Chelsea are fifth, two points behind Tottenham.
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