This classic book presents a thorough and comprehensive introduction to the field of insurance while emphasizing the consumer. The new Tenth Edition first examines the concept of risk, the nature of the insurance device, and the principles of risk management. It then discusses the traditional fields of life and health insurance as solutions to the risks connected with the loss of income. And it deals with the risks associated with the ownership of property and legal liability.
From the Back Cover
Take no chances! Learn about risk and insurance from the premier text.
Why learn about risk and insurance? You might be thinking of a career in the diverse and rewarding fields of risk management and insurance. If you plan on managing a business, you’ll need to know how to protect your organization from risk. And as an individual, you’ll want to make informed decisions about protecting yourself and your family with life, medical, home, auto, and many other kinds of insurance.
Whether you want to prepare for our career or simply become a more knowledgeable consumer, Vaughan and Vaughan’s Tenth Edition of Fundamentals of Risk and Insurance gives you a comprehensive, consumer-oriented introduction to the many facets of risk management and insurance.
The Tenth Edition presents the principles of risk management, summarizes the nature of pure risk on the individual and on society, and illustrates how insurance can be used to deal with the problems posed by such risk. In addition to clear and engaging coverage of insurance principles and theory, you’ll walk away from this book with practical, how-to advice that will come in handy in both your professional and personal life.
NEW FEATURES
Includes the changes to pension regulation introduced by the Pension Protection Act of 2006.
Reflects changes to the Medicare program that were introduced by the Medicare Prescription Drug Improvement and Modernization Act of 2003, including Medicare Part D.
Updated discussion of the personal auto policy incorporates changes introduced in 2005.
Incorporates changes in commercial lines forms, including the 2004 commercial general liability form, 2006 commercial crime program, and 2006 business owners policy.
Revised to reflect the 2001 CSO mortality table.
New discussions of enterprise risk management, insurance-linked securities, developments in auto insurance pricing and underwriting, and recent innovations in life and annuity products.
The photography was tastefully compiled…the captions were brief, yet usually thorough enough in detail…I would highly recommend this book to anyone who wants to see what downtown Fort Worth looked like before 1965. --Ft. Worth Star-Telegram
Product Description
Fort Worth is an American city quintessentially founded upon change. From its birth to the present, Fort Worth has consistently built and reshaped its appearance, ideals, and industry. Through changing fortunes, Fort Worth has continued to grow and prosper by overcoming adversity and maintaining the strong, independent culture of its citizens.
Historic Photos of Fort Worth captures this journey through still photography selected from the finest archives. From the Texas Spring Palace to Armour and Swift, the Carnegie Library to the Casa Manana and Frontier Centennial, Historic Photos of Fort Worth follows life, government, education, and events throughout the city's history.
This volume captures unique and rare scenes through the lens of hundreds of historic photographs. Published in striking black and white, these images communicate historic events and everyday life of two centuries of people building a unique and prosperous city.
I'm surprised at how small this collection is. Attorneys are such an inviting target for comedic attacks that it amazes me that as long as the New Yorker has been around, it only found about 85 attorney cartoons worthy of collection into this 1993 edition and that it hasn't found enough worthy cartoons since then to fill out a second edition.
Originality isn't a feature point of this New Yorker collection of cartoons, but talent is.
The 85 attorney cartoons largely revolve around two themes. One is surrealistic art which makes attorneys look as uncharacteristically undignified as possible (many of which are variations on the old "shark" joke that shows attorneys in the open water with fins and teeth).
The other is animated commentary on the ubiquitousness of attorneys in everyday life, a ubiquitousness that deprives each attorney of his individuality ("Would everyone check to see if they have an attorney?" asks a meeting-organizer. "I seem to have ended up with two.")
As I say though, the talent of the cartoonists is great enough that the same joke can be replayed several times and still retain a certain amount of freshness each time.
Still, the funniest cartoons are those which break the mold and display some actual knowledge about the profession such as the courtroom setting on the moon, in which judge, jury, and counsel are dutifully wearing spacesuits. The spaceships that transported them there are displayed in the background. "Not ANOTHER change of venue, counselor," the judge protests to one forceful advocate.
But as for the garden-variety attorney jokes, to my mind as a member of the bar myself, the joke is always on the jokester.
The public that enjoys these cartoons hates attorneys so much that they place their kids on an ever-increasing basis into law school and hire attorneys with the same frequency, expecting their own attorneys to engage in the same tactics that they would object to in anyone else's attorney. The public even hates attorneys enough to recently forgive an attorney who happened to be President of the United States for criminal and unethical conduct in a litigation setting.
Sure, this collection has a funny wedding-cake cartoon, in which the plastic bride-and-groom at the top of the cake are both accompanied by their respective plastic lawyers. In a world in which the divorce rate approaches 50 percent and pre-nups are necessary legal insurance, the bride and groom have created the need for counsel.
Sure, there's a cartoon in this collection that shows attorneys sold over the grocery counter in six-packs. Since 1993, at least one organization has taken to marketing legal services on a multi-level marketing basis in the same way that Amway or Herbalife market health products. Legal services ARE becoming like food, drink and health to the public.
Who creates such demand? Who's responsible for the proliferation of attorneys? The cartoonists who lampoon us and the public who laughs at the lampoons; that is, you, me and all of us because we've created the demand for that which we outwardly disdain. And I have a feeling that the cartoonists themselves know this.
It's OK to laugh at cleverly-delivered jokes ostensibly directed at the legal profession, but you'll probably enjoy the jokes more if you don't peer too closely to see if the joke isn't really on you.
"The Fighter" is easily director David O. Russell's most conventional film to date. Russell has been out of the film world for a few years after the mixed reception he received with the release of 2004's "I Heart Huckabees," an underrated film that may have tried a bit too hard. But when Russell burst onto the scene with the subversive "Spanking the Monkey," the exquisitely madcap "Flirting with Disaster," and the audacious "Three Kings"--I knew that I would follow this guy wherever he led! Well, he's back. "The Fighter" comes straight from the underdog sports genre of filmmaking, and in its plotting stays true to the course you would expect. But thankfully, there's a bit more to this appealing tale that's as much about brotherhood as it is about prizefighting. Sold by an A-list cast (the acting awards and nominations have already started rolling in), "The Fighter" manages, for the most part, to transcend the usual cliches with its focus on family.
Telling the true life tale of Micky Ward's unorthodox, and extremely bumpy, road to capturing the world light welterweight title--"The Fighter" appeals to the same everyman underdog sensibilities that countless films have already tapped. Mark Wahlberg, in a refreshingly understated way, lends a calmness to the center of the picture. The rest of the cast, for good and bad, go for broke in large showy performances. Christian Bale, gaunt and tweaking, plays Ward's brother. A former boxer and Micky's trainer, Bale is hapless and helpless as a habitual crack addict and a lowlife criminal. The drama between Bale and Wahlberg is easily the strongest element in "The Fighter" with Bale being both invaluable AND utterly destructive to Wahlberg's career prospects. Wahlberg is continually overshadowed within the family by his needier brother who tasted greatness before completely falling apart.
Make no mistake, in my opinion, "The Fighter" belongs to Christian Bale in perhaps the finest performance of his career and of the year. Stripped to skeletal proportions, Bale inhabits every moment with a desperate intensity. But despite everything, you understand why Wahlberg can't turn his back on his brother. Amy Adams displays a pleasing toughness in a change of pace role as Wahlberg's girlfriend. And Melissa Leo has been garnering a lot of attention as the brothers' mother. Unfortunately, the film is not without its shortcomings. For my taste, Leo is a bit over-the-top as is much of the other family dynamic. There are many sisters on hand, none of whom are developed, and so when the whole clan gets together--those scenes tend to veer over the line of believability.
I can easily overlook these false (and noisy) moments, however, to admire the interplay between the brothers. Every quiet moment is worth it. It's easy to lose Walhberg in all the larger than life shenanigans, but were it not for his simplicity--""The Fighter" might have pushed into overwrought melodrama. As is, he perfectly balances with Bale's manic energy. And I have to say it again--Bale is stunning! For this alone, "The Fighter" stands apart from every other film selling a similar story. Bale, Bale, Bale!!!!! KGHarris, 12/10.
When I first heard this album I was 19 years old working as an import buyer for Tower records in Portland, Oregon, I am now 39. And after 20 years there still hasn't been a record like it. The year this album came out Michael Jackson's Thriller album was on it's way to becoming the greatest selling album of all time. My main contact at an import distributor company told me of a new album called "Head Over Heels", by a group called Cocteau Twins that was getting rave reviews in Europe. For me personally I was sick to death of the music that was popular at the time and I decided to buy two copies, one for the store and one for me. When I took it home and listened to it I knew I was listening to a kind of music that had never been made before. After doing research, I discovered that this was actually their third recording, after "Garlands", and "Sunburst and Snowblind" and bought copies for me and the store of these records as well, and after this I became their biggest fan. I also found out that it was two 20 year old people, named Elizabeth Fraser and Robin Guthrie responsible for all that you hear. Ladies and Gentlemen, this record is a masterpiece. "Head Over Heels" is tied with "Victorialand" as my favorite Cocteau Twins record, but it is my favorite album of all time. From the incredible opening of "When Mama Was Moth", to the orgasmic ending of "Musette and Drums", this album is the best album ever made, in my opinion. Let me review my five favorite songs off of "Head Over Heels". 1)"Musette and Drums". It was after hearing this song for the first time, that I became their greatest fan. It was and still is my favorite song of all time. The last two minutes of this song is the greatest piece of music ever recorded. And understand that everything you are listening to is made by two people. This song is incredible. And after it is over, play it again. 2)"My Love Paramour". The sexiest, and most erotic song they have ever done. Pure genius. 3)"In Our Angelhood". Pure Rock and Roll, Cocteau Twins style. 4)"In The Gold Dust Rush". Angelic and beautiful. There is a part of this song that sounds likes an airplane is about to crash, it is actually the music spinning. Listen to it loud, and you will hear what I mean. Incredible production. 5)"The Tinderbox(of a Heart)". This song makes me feel like I am out looking at the ocean watching the tide roll in. I have this album to thank to having an open mind to listening to music. I learned to have patience and tolerance of all kinds of things because of this record. I rate this album the greatest along with the group that created it.
Tracklist :
1. When Mama Was Moth
2. Five Ten Fiftyfold
3. Sugar Hiccup
4. In Our Angelhood
5. Glass Candle Grenades
6. In the Gold Dust Rush
7. The Tinderbox (Of a Heart)
8. Multifoiled
9. My Love Paramour
10. Musette and Drums
Everyone has had their eye caught by an unusual classified advertisement and wondered about the story behind it. For the past two years William Shaw has investigated the eccentric, sad and occasionally alarming truth behind these ads and written about them for the Observer magazine. This book brings together, in expanded form, the most remarkable of those pieces. In it we encounter, among many others, the mother searching for the death certificate of her dead Bulgarian husband; the young woman investigating the healing power of crop circles; and the angry man, adopted in childhood, who after twenty years searching for his birth father was rejected by him and now wants to form a rock band with other adoptees. Small Ads is a transporting book that satisfies our insatiable curiosity about other peoples lives. It is as surprisingly moving as it is highly entertaining.
William Shaw writes the 'Small Ads' column in the Observer OM magazine. He works as a journalist in both the UK and the USA, writing for the Observer, the Sunday Telegraph and the Independent on Sunday, and for magazines such as GQ, The Face and Arena. His books include Spying in Guru Land (1994) on a year joining religious cults, Travellers (1993) on New Age travellers, and Westsiders (2000) on young men trying to make it in the hip hop industry.
"Music is the key to hearts all over the world."
Clint Peterson, WeActivist, skateboarder & international man of mystery.
It's that quote, together with all the love songs in the world, that has inspired and led WeSC to create some of the best headphones on the market. With great sound, cool shapes and innovative colors, patterns and collaborators all in one, the headphones for Fall 2010 will surely blow your mind.
Introducing new models as well as re-inventing the classics, the WeSC headphones presented are some of the best to date.
About WeSC
Our name-WeAretheSuperlativeConspiracy- symbolizes what we as a company represent: a group and family of good, competent people working towards the same ideals and goals. The Superlative Conspiracy is the idea and philosophy behind our brand. We aim to address likeminded people, who are awake and aware, regardless of race, religion or financial background. People within the Superlative Conspiracy share the values and lifestyle of the WeSC founders, who were all avid skateboarders, snowboarders and, above all, creative minds.
Late in 1999, the founders of WeSC joined forces to deliver a broader selection of streetfashion for men and women. The concepts of the envisioned brand were not to be found in the distribution network that they related to, so together they took the initiative to formulate the Superlative Conspiracy, and bring you “life after skate”- a more developed style targeting people both within, and outside of the skateboard community, while continuing to share and maintain core values.
One of the most important components of the Superlative Conspiracy is the Weactivist - someone that is extremely good at what they do, world famous or totally unknown. A Weactivist is someone that has a streetwise mentality, blazing his, or her own path, with a humble persona. Essentially, they are an informal ambassador flying the flag of the Superlative Conspiracy in a variety of subcultures, such as skate, music, film and art. They are always a friend and never chosen at random.
It is this unique partnership with Weactivists, employees, accounts and friends, coupled with our unparalleled identity and brand building tactics that makes WeSC stand out from the rest. These relationships are the very foundation of the Superlative Conspiracy, and we invite you to share in them.
"The Book of Bad reads like a textbook full of lessons on all the immoral sh-t you've always wanted but never knew quite how to do. Learn countless, awesome activities." -- Playboy online, TheSmokingJacket.com
"I LOVE this book!" -- Mancow Muller, The Mancow Show
"If your guy likes Maxim magazine he'll love this book. It's laugh out loud funny ... and surprisingly insightful." --TheGuysPerspective.com
"Yes, much of it is crude and misogynistic, but therein lies the fun. Pick it up now before somebody blames the "Rob a Bank" chapter on their crime spree and the inevitable book banning will begin." --Bookgasm.com
"A significant leap forward in the field of debauchery." --Ben Applebaum, author of The Book of Beer Pong
"The Book of Bad is a hilarious and necessary guide to starting a life of crime" - -ForkParty
Product Description
Unleash Your Dark SideLet your ass-kicking side kill your ass-kissing side.
Now is the time to be bad. Being good is for the afterlife. Learn the secrets that felons, cops and epic badasses have known for years.
Rob a Bank
Produce Porn
Fake Your Death
Pick a Lock
Rob a Vending Machine
Beat the Dice
Acquire a Harem
And much, much worse
Embrace your Bad. Don’t get caught.
Christopher Lee Barish has experienced all degrees of being bad firsthand. During his mobile youth, he was indoctrinated in the art of career gambling and illegal crop growing, and he began to research other criminal activities out of personal and creative interest. The Book of Bad is the result of that research. Today he is a copy and concept director at an advertising agency in New York where he has won Webby awards for his copywriting and concepts. He lives in Nyack, New York. --This text refers to the Kindle Edition edition.
-Some of the stuff in here is interesting, while other things are downright ridiculous, implausible, or even fictional. It's restroom material at best, entertaining from a narrative standpoint, but even if you were intent on doing nefarious deeds, you won't find any real useful information in here.
Whatever the problem, an asshole knows how to deal. And for those who don't--but want to--there's this guide. It takes the concepts covered in the bestselling original and applies them to everyday life.
Now you can quit being a pansy and get what you want without looking like a douchebag. It's spelled out step by step. Need to sign a new account? Done. Score better seats to the playoff game? Handled. Pick up that girl at the bar? Easy when you're an asshole.
Class was dismissed at the conclusion of A--holeology. Now it's time to take to the field with The Cheat Sheet.
Chris Illuminati is a freelance writer and fulltime a**hole. He's a regular contributor to sites such as AskMen.com and The BachelorGuy.com, and pretends to be witty daily on www.chrisilluminati.com. He lives at home with his wife and son.
This follow up to the debut Assholeology is as easy to read as the first. It is written so that it can be understood by all, but doesn't feel dumbed down at all. If you have the first book, you MUST have this one. If you don't have the first one, get this one, and you'll love it so much, you'll go buy the first one. Promise.
The first book Assholeology: The Science Behind Getting Your Way - and Getting Away with it told you what you already kinda knew to be true, but didn't really know how or why. This is the 'Applied Science' of being an A**hole in real life. If this book were to have come out 10 years ago I swear I would be making more money driving a sports car - these little nuggets of truth are MONEY! Buy this now or forever remain a loser.
"That’s A Pretty Good Love" Recording in 1956, Big Maybelle comes out of the box attacking the subject, making sure we understand that she's giving us a great deal as a potential lover. Roomful of Blues let the horns and guitar provide all the necessary seduction, while Phil Pemberton's vocal just sounds loyal.
"She Walks Right In" Practically a perfect example of Texas jump blues from the early 1950s, Clarence "Gatemouth" Brown's version is relaxed, swinging, and punctuated by a typically fluid Gatemouth guitar solo. Roomful capture the spirit of the original perfectly, pushing the tenor sax counterpoint to the background, and giving Chris Vachon two choruses to pay tribute to a clear idol. Pemberton sings with more passion than Brown, though both are just right.
"Hook, Line & Sinker" Dave Bartholomew penned this one for the great New Orleans big-voiced blues shouter Smiley Lewis. The original benefits from the fabulous New Orleans rhythm approach, and a killer sax solo. The remake apes the original right down to the horn charts and the pumping New Orleans piano, adding only an extra chorus of sax. Either way, this is a delightful romp that deserves to be better known.
Kill Me
"Kill Me" Don & Dewey sat right on the cusp of R&B turning into rock 'n' roll with this over-the-top scream of agony from the late-1950s. It’s a raw masterpiece. Roomful of Blues slow it down, buff around the edges, and nail the song their own way. Pemberton wails, too, but with more control – and Vachon's guitar cuts right to the core on his short solo, too.
"Gate Walks To Board" A rollicking instrumental showcase for Gatemouth Brown's jazz leanings, the original of this swings so hard you'd think somebody would get hurt. And Gatemouth's guitar stings in nice contrast with the burly tenor sax with which it trades licks. Vachon's guitar sounds nastier, with crackling electricity on the remake. And the band has no problem kicking out the swinging jam. Giving both sax players, the trumpeter, and the pianist room for brief solos was a nicely democratic idea, but it doesn't match the sizzle of the original.
"Juice, Juice, Juice" Nobody ever sang more or better songs about the delights of alcohol than Amos Milburn. You know he’s in a perfect relationship when the problem of running out of juice at a party is solved by his baby's suggestion that he run out and get some more. Roomful copies the original arrangement, and Pemberton even captures Milburn's laconic vocal phrasing.
Ain't Nothing Happenin'
"Ain't Nothin' Happenin'" Before he became a king of rock 'n' roll, Little Richard worked in the prominent styles of the day, including showing off his jump-blues credentials on this delightful obscurity. It sounds like the New Orleans session gang backed him up, especially with the rolling baritone sax solo. Richard's vocal is smooth and silky, with none of his later trademarked shouting. Pemberton sings in the same vocal range as Penniman, and this song is right in the Roomful of Blues wheelhouse. The horn players have a blast soloing on this groove, too.
"With Me Baby" Gatemouth Brown could sing slow blues with conviction matched by few others, and deliver wicked guitar licks as well, which is what he did on the original of this. Pemberton sinks his teeth into it nicely, and Vachon cranks out the guitar licks with Brown's voice. It's possible they chose three Brown songs because of his recent passing; it's just as likely they think of Brown as one of the pillars of their approach to jump blues.
"It" Jerry Lieber and Mike Stoller got this song to jazz vocalist Jimmy Witherspoon in what sounds like an attempt to spring him on the youthful R&B market a la Big Joe Turner. It's actually an undeservingly rare number from both singer and writers. Roomful of Blues rescue it from the dustbins of history with a version that may not match Witherspoon's sumptuous vocals, but which shows off all the players rhythmic and melodic strengths.
Come On Home
"Come On Home" Talk about digging deep into the vaults for something out of the ordinary. Louis (Blues Boy) Jones sounds remarkably like a tougher Bobby "Blue" Bland on this obscure propulsive percussive gem. Roomful of Blues has no problem matching the original for vitality and verve, and Pemberton checks in with his strongest vocal of the album. They don't usually play music this close to being "soul," but this proves they can handle that as well as any jump blues ever written.
"Time Brings About A Change" Floyd Dixon was in the Charles Brown piano blues mold, and his original of this, cut for Specialty Records back in the mid-1950s, is a melancholy tale of loss meant to accompany multiple sips of whiskey on the rocks. Pemberton fits comfortably on that barstool with his own matter-of-fact delivery of what's changed. There are more comments from horns, guitar, and organ than the original could have dreamed would fit, but it all works perfectly. Colby's piano solo is particularly exquisite.
"Just A Little Love" Not one of Nappy Brown's wildest numbers, it actually comes closer to being a Bill Haley-styled rock 'n' roll number. But it's a delight nonetheless, and Brown is all over the place on vocals. By adding horns to essentially the same rhythm approach, Roomful of Blues return it to the blues realm with a jumping version which leaves the listener wanting more.
