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kanggroupservices · 26 days ago

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Home-Based Business and Professional Indemnity Insurance in Dallas – Kang Group Services Guide

Home-based Business Insurance in Dallas is becoming increasingly essential as more entrepreneurs shift to running businesses from their homes. While this setup offers flexibility and lower operational costs, it also introduces specific risks that need to be managed. To protect your business, it’s important to explore suitable insurance solutions. Two key coverages to consider are Home-Based Business Insurance and Professional Indemnity Insurance.

Understanding Home-Based Business Insurance

Home-Based Business Insurance is designed specifically for entrepreneurs who run their businesses from home. This insurance offers protection for both your business assets and personal property. Here are some essential components of this coverage:

Property Coverage: Just like a traditional business, home-based businesses require protection for physical assets. This coverage can help replace or repair business equipment, inventory, and other property damaged due to events like fire, theft, or natural disasters.

Liability Protection: Liability claims can arise from accidents that occur on your property or as a result of your business operations. For example, if a client slips and falls while visiting your home office, liability coverage can help cover medical expenses and legal fees.

Business Interruption Coverage: If a disaster occurs that forces you to temporarily close your business, business interruption coverage can help replace lost income during the downtime. This is essential for maintaining financial stability during unforeseen events.

Coverage for Employees: If you have employees working from home, it’s important to include coverage for their safety and wellbeing. Workers' compensation insurance may be necessary to cover injuries that occur while they are performing work-related tasks.

Why You Need Professional Indemnity Insurance

Professional Indemnity Insurance (PII) is critical for service-based businesses, particularly those providing advice or professional services. This type of insurance protects you against claims of negligence or malpractice that may arise from your professional activities. Here’s why PII is essential:

Legal Protection: If a client believes they received inadequate service or incorrect advice, they may file a lawsuit against you. Professional Indemnity Insurance can cover legal fees, court costs, and settlements, protecting your financial assets.

Reputation Management: Even unfounded claims can tarnish your reputation. Having PII in place allows you to address these issues professionally without risking your business’s credibility.

Contractual Requirements: Many clients, particularly larger organizations, require service providers to have Professional Indemnity Insurance. This coverage can enhance your business's credibility and make you more competitive in the market.

Peace of Mind: Knowing you have the necessary protection in place allows you to focus on running your business without the constant worry of potential claims.

Choosing the Right Coverage

When selecting insurance coverage for your home-based business, it’s essential to consider your specific needs and risks. Here are some tips to guide you through the process:

Evaluate Your Business Activities: Assess the nature of your business and the risks associated with it. Consider the types of services you offer and the potential liabilities you may face.

Consult with an Insurance Professional: Working with a knowledgeable insurance agent, like those at Kang Group Services, can help you navigate the complexities of home-based business insurance and professional indemnity insurance. They can assess your unique needs and recommend tailored coverage options.

Review Your Policies Regularly: As your business grows, so do your insurance needs. Regularly review your policies to ensure they remain adequate and adjust coverage as necessary.

Consider Bundling Policies: Many insurance providers offer discounts for bundling multiple types of coverage. Inquire about options to combine your home-based business insurance with professional indemnity insurance for potential cost savings.

Conclusion

Running a home-based business can be a rewarding venture, but it’s essential to protect yourself against potential risks. Home-Based Business Insurance and Professional Indemnity in Dallas provide crucial coverage that can help ensure your business's longevity and success.

At Kang Group Services, we understand the unique challenges home-based entrepreneurs face. Our experienced team is ready to help you find the right insurance solutions tailored to your needs. Don't leave your business's future to chance—contact us today to learn more about how we can help safeguard your home-based business.

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film-classics · 3 months ago

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Barbara Stanwyck - The Queen of Film Noir

Barbara Stanwyck (born Ruby Catherine Stevens in Brooklyn, New York on July 16, 1907) was an American actress with a 60-year professional career. As one of the most celebrated femme fatales in cinema, she fleshed out iconic and radiant characters in numerous film noirs, making her "The Queen of Film Noir."

Of English and Scottish descent, Stanwyck made her debut on stage in the chorus as a Ziegfeld girl at 16, and within a few years was acting in plays. Her first lead role, which was in the hit Burlesque (1927), established her as a Broadway star. That same year, she debuted in films.

After moving to Hollywood in 1928, Stanwyck starred in a number of sound films. Unlike most of her peers, she never signed a long-term contract with one studio. In the early 1930s, she signed a short-term non-exclusive contract with Columbia and at the same time also had a similar contract with Warner Bros. When her contracts with both studios ended, she did not renew and became a free agent instead.

Stanwyck then signed with Paramount in the 1940s, again with a non-exclusive contract. By this time, she had become the highest paid woman in the country. It was at Paramount where she made her some of her most memorable films, including The Lady Eve (1941) and Double Indemnity (1944).

As her film career declined during the 1950s, she successfully moved to television and even hosted an anthology drama series titled The Barbara Stanwyck Show in 1961. She retired from acting in 1986 and busied herself with charity work.

At the age of 82, she passed away from congestive heart failure and chronic obstructive pulmonary disease while in hospital in Santa Monica, California

Legacy:

Nominated four times for the Academy Award for Best Actress: Stella Dallas (1937), Ball of Fire (1941), Double Indemnity (1944), and Sorry, Wrong Number (1948)

Won the 1966 Primetime Emmy Award for Outstanding Lead Actress – Drama Series and nominated two more times (1967 and 1968) for The Big Valley

Won the Golden Globe Award for Best Supporting Actress – Series and the Primetime Emmy Award for Outstanding Lead Actress – Miniseries for The Thorn Birds (1983)

Nominated for the Primetime Emmy Award Outstanding Performance by an Actress in a Series for The Barbara Stanwyck Show (1961)

Nominated thrice for Best TV Star – Female at the Golden Globe Awards - 1966, 1967 and 1968 - for The Big Valley

Received an Honorary Academy Award in 1982

Presented the Cecil B. DeMille Award at the 1986 Golden Globe Awards

Honored with a block in the forecourt of Grauman’s Chinese Theatre in 1941

Won the Golden Laurel for Top Female Dramatic Performance for Three Came Home (1950)

Chosen as 1953 and 1963 Woman of the Year at the Los Angeles American Advertising Awards

Awarded the Venice Film Festival Special Jury Prize for ensemble acting for Executive Suite (1954)

Inducted into the Brave Dog Society of the Blackfoot First Nation in 1954

Chosen by the Professional Photographers of California –as The First Lady of the Camera in 1963

Granted the 1963 Golden Anniversary Award and the 1965 Heart of Gold Award at the City of Hope Biennial Awards

Awarded Best Performance by an Actress in a Television Program at the 1966 American Cinema Editors Award for The Big Valley

Received the Life Achievement Award in 1967 by the Screen Actors Guild Awards

Awarded Most Popular Female Star in 1967 and 1968, a Special Award in 1957, and Best Performances of the Month for July 1939 by Photoplay Awards

Honored by the Los Angeles Film Critics Association Awards in 1981 with the Career Achievement Award

Won the Golden Apple Award for Most Cooperative Actress in 1961 and Female Star of the Year in 1983

Honored with the 1967 Life Achievement Award by the Screen Actors Guild

Inducted into the Hall of Great Western Performers at the Western Heritage Awards and the Cowboy Hall of Fame in Oklahoma City in 1973

Honored by the Film Society of Lincoln Center Gala Tribute in 1981

Received the 1981 Career Achievement Award by Los Angeles Film Critics Association

Was the recipient of the 1987 Lifetime Achievement Award and chosen as the the 11th-greatest female star of classic Hollywood cinema in 1999 by the American Film Institute

Honored with the In Memoriam Award at the 1998 Golden Boot Awards

Inducted in the Online Film & Television Association Hall of Fame in 2000

Ranked #98 in Premiere magazine’s 100 Greatest Performances of All Time in 2006 for Double Indemnity (1944)

Has had her former home, the Oakridge Estate, turned into a museum since 2009

Has a star on the Hollywood Walk of Fame at 1751 Vine Street for her motion picture

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barbara-stanwyck-1907-1990 · 4 years ago

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Barbara Stanwyck (born Ruby Catherine Stevens; July 16, 1907 – January 20, 1990) was an American actress, model and dancer. A stage, film and television star, she was known during her 60-year career as a consummate and versatile professional for her strong, realistic screen presence. A favorite of directors including Cecil B. DeMille, Fritz Lang and Frank Capra, she made 85 films in 38 years before turning to television.

Stanwyck got her start on the stage in the chorus as a Ziegfeld girl in 1923 at age 16 and within a few years was acting in plays. She was then cast in her first lead role in Burlesque (1927), becoming a Broadway star. Soon after that, Stanwyck obtained film roles and got her major break when Frank Capra chose her for his romantic drama Ladies of Leisure (1930), which led to additional lead roles.

In 1937 she had the title role in Stella Dallas and received her first Academy Award nomination for best actress. In 1941 she starred in two successful screwball comedies: Ball of Fire with Gary Cooper, and The Lady Eve with Henry Fonda. She received her second Academy Award nomination for Ball of Fire, and in recent decades The Lady Eve has come to be regarded as a romantic comedy classic with Stanwyck's performance called one of the best in American comedy.

By 1944, Stanwyck had become the highest-paid woman in the United States. She starred alongside Fred MacMurray in the seminal film noir Double Indemnity (1944), playing the smoldering wife who persuades MacMurray's insurance salesman to kill her husband. Described as one of the ultimate portrayals of villainy, it is widely thought that Stanwyck should have won the Academy Award for Best Actress rather than being just nominated. She received another Oscar nomination for her lead performance as an invalid wife overhearing her own murder plot in the thriller film noir, Sorry, Wrong Number (1948). After she moved into television in the 1960s, she won three Emmy Awards – for The Barbara Stanwyck Show (1961), the western series The Big Valley (1966), and miniseries The Thorn Birds (1983).

She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986 and was the recipient of several other honorary lifetime awards. She was ranked as the 11th greatest female star of classic American cinema by the American Film Institute. An orphan at the age of four, and partially raised in foster homes, she always worked; one of her directors, Jacques Tourneur, said of Stanwyck, "She only lives for two things, and both of them are work."

Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York. She was the fifth – and youngest – child of Catherine Ann (née McPhee) (1870-1911) and Byron E. Stevens (1872-1919), working-class parents. Her father, of English descent, was a native of Lanesville, Massachusetts, and her mother, of Scottish descent, was an immigrant from Sydney, Nova Scotia. When Ruby was four, her mother died of complications from a miscarriage after she was knocked off a moving streetcar by a drunk. Two weeks after the funeral, her father joined a work crew digging the Panama Canal and was never seen again by his family. Ruby and her older brother, Malcolm Byron (later nicknamed "By") Stevens, were raised by their eldest sister Laura Mildred, (later Mildred Smith) (1886–1931), who died of a heart attack at age 45. When Mildred got a job as a showgirl, Ruby and Byron were placed in a series of foster homes (as many as four in a year), from which young Ruby often ran away.

"I knew that after fourteen I'd have to earn my own living, but I was willing to do that ... I've always been a little sorry for pampered people, and of course, they're 'very' sorry for me."

Ruby toured with Mildred during the summers of 1916 and 1917, and practiced her sister's routines backstage. Watching the movies of Pearl White, whom Ruby idolized, also influenced her drive to be a performer. At the age of 14, she dropped out of school, taking a package wrapping job at a Brooklyn department store. Ruby never attended high school, "although early biographical thumbnail sketches had her attending Brooklyn's famous Erasmus Hall High School."

Soon afterward, she took a filing job at the Brooklyn telephone office for $14 a week, which allowed her to become financially independent. She disliked the job; her real goal was to enter show business, even as her sister Mildred discouraged the idea. She then took a job cutting dress patterns for Vogue magazine, but customers complained about her work and she was fired. Ruby's next job was as a typist for the Jerome H. Remick Music Company; work she reportedly enjoyed, however her continuing ambition was in show business, and her sister finally gave up trying to dissuade her.

In 1923, a few months before her 16th birthday, Ruby auditioned for a place in the chorus at the Strand Roof, a nightclub over the Strand Theatre in Times Square. A few months later, she obtained a job as a dancer in the 1922 and 1923 seasons of the Ziegfeld Follies, dancing at the New Amsterdam Theater. "I just wanted to survive and eat and have a nice coat", Stanwyck said. For the next several years, she worked as a chorus girl, performing from midnight to seven a.m. at nightclubs owned by Texas Guinan. She also occasionally served as a dance instructor at a speakeasy for gays and lesbians owned by Guinan. One of her good friends during those years was pianist Oscar Levant, who described her as being "wary of sophisticates and phonies."

Billy LaHiff, who owned a popular pub frequented by showpeople, introduced Ruby in 1926 to impresario Willard Mack. Mack was casting his play The Noose, and LaHiff suggested that the part of the chorus girl be played by a real one. Mack agreed, and after a successful audition gave the part to Ruby. She co-starred with Rex Cherryman and Wilfred Lucas. As initially staged, the play was not a success. In an effort to improve it, Mack decided to expand Ruby's part to include more pathos. The Noose re-opened on October 20, 1926, and became one of the most successful plays of the season, running on Broadway for nine months and 197 performances. At the suggestion of David Belasco, Ruby changed her name to Barbara Stanwyck by combining the first name from the play Barbara Frietchie with the last name of the actress in the play, Jane Stanwyck; both were found on a 1906 theater program.

Stanwyck became a Broadway star soon afterward, when she was cast in her first leading role in Burlesque (1927). She received rave reviews, and it was a huge hit. Film actor Pat O'Brien would later say on a 1960s talk show, "The greatest Broadway show I ever saw was a play in the 1920s called 'Burlesque'." Arthur Hopkins described in his autobiography To a Lonely Boy, how he came to cast Stanwyck:

After some search for the girl, I interviewed a nightclub dancer who had just scored in a small emotional part in a play that did not run [The Noose]. She seemed to have the quality I wanted, a sort of rough poignancy. She at once displayed more sensitive, easily expressed emotion than I had encountered since Pauline Lord. She and Skelly were the perfect team, and they made the play a great success. I had great plans for her, but the Hollywood offers kept coming. There was no competing with them. She became a picture star. She is Barbara Stanwyck.

He also called Stanwyck "The greatest natural actress of our time", noting with sadness, "One of the theater's great potential actresses was embalmed in celluloid."

Around this time, Stanwyck was given a screen test by producer Bob Kane for his upcoming 1927 silent film Broadway Nights. She lost the lead role because she could not cry in the screen test, but was given a minor part as a fan dancer. This was Stanwyck's first film appearance.

While playing in Burlesque, Stanwyck was introduced to her future husband, actor Frank Fay, by Oscar Levant. Stanwyck and Fay were married on August 26, 1928, and soon moved to Hollywood.

Stanwyck's first sound film was The Locked Door (1929), followed by Mexicali Rose, released in the same year. Neither film was successful; nonetheless, Frank Capra chose Stanwyck for his film Ladies of Leisure (1930). Her work in that production established an enduring friendship with the director and led to future roles in his films. Other prominent roles followed, among them as a nurse who saves two little girls from being gradually starved to death by Clark Gable's vicious character in Night Nurse (1931). In Edna Ferber's novel brought to screen by William Wellman, she portrays small town teacher and valiant Midwest farm woman Selena in So Big! (1932). She followed with a performance as an ambitious woman "sleeping" her way to the top from "the wrong side of the tracks" in Baby Face (1933), a controversial pre-Code classic. In The Bitter Tea of General Yen (1933), another controversial pre-Code film by director Capra, Stanwyck portrays an idealistic Christian caught behind the lines of Chinese civil war kidnapped by warlord Nils Asther. A flop at the time, containing "mysterious-East mumbo jumbo", the lavish film is "dark stuff, and its difficult to imagine another actress handling this ... philosophical conversion as fearlessly as Ms. Stanwyck does. She doesn't make heavy weather of it."

In Stella Dallas (1937) she plays the self-sacrificing title character who eventually allows her teenage daughter to live a better life somewhere else. She landed her first Academy Award nomination for Best Actress when she was able to portray her character as vulgar, yet sympathetic as required by the movie. Next, she played Molly Monahan in Union Pacific (1939) with Joel McCrea. Stanwyck was reportedly one of the many actresses considered for the role of Scarlett O'Hara in Gone with the Wind (1939), although she did not receive a screen test. In Meet John Doe she plays an ambitious newspaperwoman with Gary Cooper (1941).

In Preston Sturges's romantic comedy The Lady Eve (1941), she plays a slinky, sophisticated con-woman who falls for her intended victim, the guileless, wealthy snake-collector and scientist Henry Fonda, she "gives off an erotic charge that would straighten a boa constrictor." Film critic David Thomson described Stanwyck as "giving one of the best American comedy performances", and its reviewed as brilliantly versatile in "her bravura double performance" by The Guardian. The Lady Eve is among the top 100 movies of all time on Time and Entertainment Weekly's lists, and is considered to be both a great comedy and a great romantic film with its placement at #55 on the AFI's 100 Years ...100 Laughs list and #26 on its 100 Years ...100 Passions list.

Next, she was the extremely successful, independent doctor Helen Hunt in You Belong to Me (1941), also with Fonda. Stanwyck then played nightclub performer Sugerpuss O'Shea in the Howard Hawks directed, but Billy Wilder written comedy Ball of Fire (1941). In this update of the Snow White and Seven Dwarfs tale, she gives professor Gary Cooper a better understanding of "modern English" in the performance for which she received an Academy Award nomination for Best Actress.

In Double Indemnity, the seminal film noir thriller directed by Billy Wilder, she plays the sizzling, scheming wife/blonde tramp/"destiny in high heels" who lures an infatuated insurance salesman (Fred MacMurray) into killing her husband. Stanwyck brings out the cruel nature of the "grim, unflinching murderess", marking her as the "most notorious femme" in the film noir genre. Her insolent, self-possessed wife is one of the screen's "definitive studies of villainy - and should (it is widely thought) have won the Oscar for Best Actress", not just been nominated. Double Indemnity is usually considered to be among the top 100 films of all time, though it did not win any of its seven Academy Award nominations. It is the #38 film of all time on the American Film Institute's list, as well as the #24 on its 100 Years ...100 Thrillers list and #84 on its 100 Years ...100 Passions list.

She plays the columnist caught up in white lies and a holiday romance in Christmas in Connecticut (1945). In 1946 she was "liquid nitrogen" as Martha, a manipulative murderess, costarring with Van Heflin and newcomer Kirk Douglas in The Strange Love of Martha Ivers. Stanwyck was also the vulnerable, invalid wife that overhears her own murder being plotted in Sorry, Wrong Number (1948) and the doomed concert pianist in The Other Love (1947). In the latter film's soundtrack, the piano music is actually being performed by Ania Dorfmann, who drilled Stanwyck for three hours a day until the actress was able to synchronize the motion of her arms and hands to match the music's tempo, giving a convincing impression that it is Stanwyck playing the piano.

Pauline Kael, a longtime film critic for The New Yorker, admired the natural appearance of Stanwyck's acting style on screen, noting that she "seems to have an intuitive understanding of the fluid physical movements that work best on camera". In reference to the actress's film work during the early sound era, Kael observed that the "early talkies sentimentality...only emphasizes Stanwyck's remarkable modernism."

Many of her roles involve strong characters, yet Stanwyck was known for her accessibility and kindness to the backstage crew on any film set. She knew the names of their wives and children. Frank Capra said of Stanwyck: "She was destined to be beloved by all directors, actors, crews and extras. In a Hollywood popularity contest, she would win first prize, hands down." While working on 1954s Cattle Queen of Montana on location in Glacier National Park, she did some of her own stunts, including a swim in the icy lake.[49] A consummate professional, when aged 50, she performed a stunt in Forty Guns. Her character had to fall off her horse and, with her foot caught in the stirrup, be dragged by the galloping animal. This was so dangerous that the movie's professional stunt person refused to do it. Her professionalism on film sets led her to be named an Honorary Member of the Hollywood Stuntmen's Hall of Fame.

William Holden and Stanwyck were longtime friends and when Stanwyck and Holden were presenting the Best Sound Oscar for 1977, he paused to pay a special tribute to her for saving his career when Holden was cast in the lead for Golden Boy (1939). After a series of unsteady daily performances, he was about to be fired, but Stanwyck staunchly defended him, successfully standing up to the film producers. Shortly after Holden's death, Stanwyck recalled the moment when receiving her honorary Oscar: "A few years ago, I stood on this stage with William Holden as a presenter. I loved him very much, and I miss him. He always wished that I would get an Oscar. And so, tonight, my golden boy, you got your wish."

As Stanwyck's film career declined during the 1950s, she moved to television. In 1958 she guest-starred in "Trail to Nowhere", an episode of the Western anthology series Dick Powell's Zane Grey Theatre, portraying a wife who pursues, overpowers, and kills the man who murdered her husband. Later, in 1961, her drama series The Barbara Stanwyck Show was not a ratings success, but it earned her an Emmy Award. The show ran for a total of thirty-six episodes. She also guest-starred in this period on other television series, such as The Untouchables with Robert Stack and in four episodes of Wagon Train.

She stepped back into film for the 1964 Elvis Presley film Roustabout, in which she plays a carnival owner.

The western television series, The Big Valley, which was broadcast on ABC from 1965 to 1969, made her one of the most popular actresses on television, winning her another Emmy. She was billed in the series' opening credits as "Miss Barbara Stanwyck" for her role as Victoria, the widowed matriarch of the wealthy Barkley family. In 1965, the plot of her 1940 movie Remember the Night was adapted and used to develop the teleplay for The Big Valley episode "Judgement in Heaven".

In 1983, Stanwyck earned her third Emmy for The Thorn Birds. In 1985 she made three guest appearances in the primetime soap opera Dynasty prior to the launch of its short-lived spin-off series, The Colbys, in which she starred alongside Charlton Heston, Stephanie Beacham and Katharine Ross. Unhappy with the experience, Stanwyck remained with the series for only the first season, and her role as "Constance Colby Patterson" would be her last. It was rumored Earl Hamner Jr., former producer of The Waltons, had initially wanted Stanwyck for the role of Angela Channing in the 1980s soap opera Falcon Crest, and she turned it down, with the role going to her friend, Jane Wyman; when asked Hamner assured Wyman it was a rumor.

Stanwyck's retirement years were active, with charity work outside the limelight. In 1981, she was awakened in the middle of the night, inside her home in the exclusive Trousdale section of Beverly Hills, by an intruder, who first hit her on the head with his flashlight, then forced her into a closet while he robbed her of $40,000 in jewels.

The following year, in 1982, while filming The Thorn Birds, the inhalation of special-effects smoke on the set may have caused her to contract bronchitis, which was compounded by her cigarette habit; she was a smoker from the age of nine until four years before her death.

Stanwyck died on January 20, 1990, aged 82, of congestive heart failure and chronic obstructive pulmonary disease (COPD) at Saint John's Health Center in Santa Monica, California. She had indicated that she wanted no funeral service. In accordance with her wishes, her remains were cremated and the ashes scattered from a helicopter over Lone Pine, California, where she had made some of her western films.

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wickedbettie · 4 years ago

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She received an Honorary Oscar in 1982, the Golden Globe Cecil B. DeMille Award in 1986 and was the recipient of several other honorary lifetime awards. She was ranked as the 11th greatest female star of classic American cinema by the American Film Institute.[2] An orphan at the age of four, and partially raised in foster homes, she always worked; one of her directors, Jacques Tourneur, said of Stanwyck, "She only lives for two things, and both of them are work."

#barbara stanwyck #classic hollywood #golden age of cinema #golden age of hollywood #classic cinema

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timeless-hollywood-classics · 4 years ago

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#barbara stanwyck #golden age of hollywood #classic cinema #classic movies #classic movie stars

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limitedvewor · 2 years ago

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txmedsolutions · 3 years ago

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kanggroupservices · 3 months ago

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Comprehensive Group and Home Insurance Solutions in Dallas by Kang Group Services

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Expert Advice: Their team of experienced professionals offers expert guidance, helping clients navigate the complexities of insurance policies and select the best options for their needs.

Local Expertise: With a deep understanding of the Dallas market, Kang Group Services is well-equipped to address the unique challenges and requirements of local businesses and homeowners.

Customer Service: They are dedicated to providing exceptional customer service, with a focus on building long-term relationships with their clients. Their support team is available to answer questions and assist with claims, ensuring a smooth and efficient experience.

How to Get Started

Getting started with Kang Group Services is straightforward. For businesses interested in group insurance, the process typically involves an initial consultation to assess the needs of the organization and its employees. Based on this assessment, a tailored group insurance plan is designed and implemented.

For homeowners seeking home insurance, the process begins with a review of the property and personal belongings to determine the appropriate coverage levels. Kang Group Services will then provide a customized policy that meets your needs and budget.

In both cases, Kang Group Services is committed to providing clear and transparent information, making it easy for clients to make informed decisions about their insurance coverage.

Conclusion

Kang Group Services stands out for its comprehensive approach to group and home insurance in Dallas. By offering tailored solutions, expert advice, and exceptional customer service, they provide invaluable support to businesses and homeowners alike. Whether you are looking to protect your employees with group insurance or safeguard your home with a robust insurance policy, Kang Group Services is a reliable partner that can meet your needs with professionalism and expertise.

#liability insurance company in Dallas #home and auto Insurance in Dallas #professional indemnity in Dallas #home insurance with flood protection #mobile home insurance policies in Dallas #home care insurance in Dallas

0 notes

uhhhcool · 4 years ago

Text

Dallas Commercial Water / Wastewater Service Installation Bond

The listed below post is a great intro to bid bonds. Quote bonds, as you understand, are bonds used in the building and construction industry. These bonds ensure that if someone bids on a task, and is granted the agreement, then they will go forward with performing under the regards to the contract.

See the below article for more good information. You can see the original article here: https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

Dallas Commercial Water / Wastewater Service Installation Bond

What is a Commercial Water / Wastewater Service Installation Bond in Dallas?

A Commercial Water / Wastewater Service Installation Bond is a type of license bond. The purpose of the bond is to protect the state or governmental entity for certain things, such as the payment of taxes.

To get this bond, please see our Commercial Water / Wastewater Service Installation Bond Application Form. Fill this out and mail to [email protected]

You can also Apply On Line by clicking on this link.

How Much does a Commercial Water / Wastewater Service Installation Bond Cost in Dallas?

Just fill out the form below and we’ll have you a quote in a few hours – at the absolute best possible rate.

How do I get a Commercial Water / Wastewater Service Installation Bond?

We make it easy to get a Commercial Water / Wastewater Service Installation Bond in Dallas. Fill out the form above and we’ll get right on this for you.

How Does this Process Work in Texas?

Once we get the Commercial Water / Wastewater Service Installation Bond application back from you, we process it right away. We typically have an answer within a few hours. Once you get approved, we’ll let you know the exact fee. Then:

You send us the fee

We send you the bond

For certain bonds, we may send you original forms to fill out (depends on the type of bond in TX)

Then we’ll get the Commercial Water / Wastewater Service Installation Bond right out to you. Easy.

Dallas Commercial Water / Wastewater Service Installation Bond Application Form Fill this out and mail to [email protected]

Apply On Line

Find a Commercial Water / Wastewater Service Installation Bond Near Me

We’ll work as hard as possible to get you the bond that you need in TX.

Find out more about our Permit and License Bonds

Introducing Trouble-Free Suggestions When Thinking Of Permit Surety Bonds

To every business or professional operation involves in making profit, acquiring license and permit bonds are essential. Any business operation that entails a consumer are mandated to offer permit bonds as a kind of security. You have to acquire the bond to get the license or permit for your business. The surety bond is a form of an insurance that guarantees the delivery of a service or infrastructure project to customers. In case the contractor is unable to supply the required project result, he or she shall face legal action. In this article, you are going to learn more about the important facts about how to obtain a permit bond.

Other Kinds of Bonds

License And Permit Bonds

License and permit surety bond is the most common type of bond. This bond is very necessary. If you intend to begin a business or a particular operation in your city to obtain you some profit, you will need a license. Before starting your operation, it is essential to understand first the demands of the government connected to your company or profession. The license to function doesn’t just approved your business or professional operation, but also explains the requirements that must be followed with regards to your operation. In these bonds, you can find all the limitations of your company. Thus, it helps you avoid the probable consequences of breaking these limitations. If you’d like to obtain a license or permit in Kansas, it’s important that you apply for a license and surety bond. There is a wide range of license and permit bonds that you might acquire, including a contractor license bond.

Performance Bond

Performance bond is very important in making certain that you get a sufficient project for example a building. When you engage a contractor to an infrastructure project, you should ensure that you receive a satisfactory result prior to making a final acceptance. The construction could be successful in a lot of cases due to the indemnity of a performance bond. In addition, you are going to still be paid out for a specific portion of the project should it break down, and even get another contractor to carry on the project. The amount they will get in case the project fails is stated in the performance bond.

The Importance Of License And Permit Bonds To The Customers

License bonds hold great importance to all the customers. It serves as a protection to the customers that they will get the result they need since the contractors are mandated to follow.

Systematic Processes

The use of bonds has lots of advantages, and the first one is the assurance of getting systematic processes. Since the government provides a set of rules that will guide all business operations and processes, the business specialists should follow these. Failure to that, the consumer can sue the bond, which implies that the government will take legal action and compensate the customer.

Kind of Insurance

The consumer will get insurance that totals up to the bond available should a professional fail to meet all certain requirements of the customer. Therefore, this one major advantage protects all the clients from businesspersons who fail to supply as they promise.

Government Specifications

The government provide specifications on the regulations that must be followed concerning infrastructure projects, and these should be adhered to strictly. Do you know that the government will offer limitations in building houses with more than two floors for instance? These limitations are indicated in the permit bonds to let you understand the extent of construction that you could only provide.

Measures Involved In The Application

It is not challenging to apply for a license and permit bond as long as you follow the right procedures. The following are the easy methods that you need to follow when applying for license and permit bond.

The Online Form

First, you need to fill the application form. You could find this online application form through an approved issuing company that’s highly recommended by many users. This signifies that you have to not only choose a platform that has the application form, but also make certain that it has verification. Be honest when filling out the form for it may result in serious predicament if you don’t.

Obtaining A Quote

The quote will help you understand any payments that you’ve got to make and the amount. Therefore, the amount you must pay money for the bond is already offered in the quote. Take note. It is only after the application form has been successfully submitted that you will be able to get a quote.

Payment

After getting a quote, the next step will be the actual payment. Once you make payments, you will get a license and permit bond.

While Filling The Form;

Don’t lie in the form. The honest info you provide will keep you out of trouble. The government is cautious while checking this info. So even if you don’t have a great credit score, it’s still essential that you provide the correct data to your surety bond.

Essential Facts

When venturing into construction projects, it’s very important to know the details of license and permit bonds. To help you learn more about the license and permit bonds, below are a few essential facts for you. Insuring a construction project, for example, doesn’t suggest that you have to pay the entire cost of the project. Only relative amount is needed, with regards to the percentage stated therein. As an example, when buying a bond worth a million dollars, you’ll only pay 1% of the entire rate. Second, the bond is not a license for your company. It is rather an insurance to the consumers you are working with that their projects are secured and insured as mandated by the government’s existing regulations and rules. With that in mind, it is safe to claim that the license and permit bond is an insurance for your consumers, for which you pay.

There are only approved issuing company so do not forget to take into account that when obtaining a bond. An ideal way not to make a mistake is by educating yourself with the different kinds of bonds through professional help.

See our Dallas Paving Bond page here.

A Much Deeper Take A Look At Quote Bonds in Construction If awarded, a Bid Bond is a type of surety bond utilized to make sure that a professional bidding on a project or task will enter into the contract with the obligee.

A Quote Bond is provided in the amount of the agreement bid, with the identical requirements as that of a Performance Bond.

All About Bid Bonds in Building And Construction The origins of our business was closely connected with the arrangement of performance bonds to the contracting market. Slightly greater than one a century earlier, the federal authorities grew to become alarmed worrying the high failure cost amongst the personal firms it was utilizing to perform public building and construction tasks. It found that the private professional generally was insolvent when the task was granted, or grew to become insolvent earlier than the obstacle was completed. Accordingly, the federal government was constantly left with incomplete efforts, and the taxpayers had been required to cover the extra costs developing from the professional's default.

The standing of your surety firm is essential, since it ensures you that when you have problems or if worse includes worst you'll have a dependable partner to rely on and get help from. We work only with A-rated and T-listed companies, probably the most dependable corporations in the market.

Typically no, they are separate. Bid bonds mechanically turn into performance bonds in case you are awarded the agreement.

What Is A Construction Surety Bond? The origins of our organisation was carefully related to the arrangement of performance bonds to the contracting industry. Even if some jobs do not need cost and efficiency bonds, you will require to get bonded lastly due to the fact that the bulk of public efforts do require the bonds. The longer a little contractor waits to get bonded, the more long lasting it will be given that there will not be a observe report of meeting the compulsory requirements for bonding and carrying out bonded work.

The only restrict is the biggest bond you might get for one specific task. The aggregate limitation is the whole quantity of bonded work offered you perhaps can have without hold-up.

The Value Of Bid Bonds near You Arms, generators, radio towers, tree removal, computers, softward, fire alarms, decorative work, scaffolding, water towers, lighting, and resurfacing of present roads/paved areas. Bid bonds furthermore operate an extra assurance for project owners that a bidding contractor or subcontractor is qualified to carry out the job they're bidding on. There are 2 causes for this.

https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

0 notes

tomorowlandword · 4 years ago

Text

Dallas Commercial Water / Wastewater Service Installation Bond

See the below article for more good information. You can see the original article here: https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

Dallas Commercial Water / Wastewater Service Installation Bond

What is a Commercial Water / Wastewater Service Installation Bond in Dallas?

To get this bond, please see our Commercial Water / Wastewater Service Installation Bond Application Form. Fill this out and mail to [email protected]

You can also Apply On Line by clicking on this link.

How Much does a Commercial Water / Wastewater Service Installation Bond Cost in Dallas?

Just fill out the form below and we’ll have you a quote in a few hours – at the absolute best possible rate.

How do I get a Commercial Water / Wastewater Service Installation Bond?

We make it easy to get a Commercial Water / Wastewater Service Installation Bond in Dallas. Fill out the form above and we’ll get right on this for you.

How Does this Process Work in Texas?

You send us the fee

We send you the bond

For certain bonds, we may send you original forms to fill out (depends on the type of bond in TX)

Then we’ll get the Commercial Water / Wastewater Service Installation Bond right out to you. Easy.

Dallas Commercial Water / Wastewater Service Installation Bond Application Form Fill this out and mail to [email protected]

Apply On Line

Find a Commercial Water / Wastewater Service Installation Bond Near Me

We’ll work as hard as possible to get you the bond that you need in TX.

Find out more about our Permit and License Bonds

Introducing Trouble-Free Suggestions When Thinking Of Permit Surety Bonds

Other Kinds of Bonds

License And Permit Bonds

Performance Bond

The Importance Of License And Permit Bonds To The Customers

License bonds hold great importance to all the customers. It serves as a protection to the customers that they will get the result they need since the contractors are mandated to follow.

Systematic Processes

Kind of Insurance

Government Specifications

Measures Involved In The Application

The Online Form

Obtaining A Quote

Payment

After getting a quote, the next step will be the actual payment. Once you make payments, you will get a license and permit bond.

While Filling The Form;

Essential Facts

See our Dallas Paving Bond page here.

A Quote Bond is provided in the amount of the agreement bid, with the identical requirements as that of a Performance Bond.

Typically no, they are separate. Bid bonds mechanically turn into performance bonds in case you are awarded the agreement.

The only restrict is the biggest bond you might get for one specific task. The aggregate limitation is the whole quantity of bonded work offered you perhaps can have without hold-up.

https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

0 notes

delspanda · 4 years ago

Text

Dallas Commercial Water / Wastewater Service Installation Bond

See the below article for more good information. You can see the original article here: https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

Dallas Commercial Water / Wastewater Service Installation Bond

What is a Commercial Water / Wastewater Service Installation Bond in Dallas?

To get this bond, please see our Commercial Water / Wastewater Service Installation Bond Application Form. Fill this out and mail to [email protected]

You can also Apply On Line by clicking on this link.

How Much does a Commercial Water / Wastewater Service Installation Bond Cost in Dallas?

Just fill out the form below and we’ll have you a quote in a few hours – at the absolute best possible rate.

How do I get a Commercial Water / Wastewater Service Installation Bond?

We make it easy to get a Commercial Water / Wastewater Service Installation Bond in Dallas. Fill out the form above and we’ll get right on this for you.

How Does this Process Work in Texas?

You send us the fee

We send you the bond

For certain bonds, we may send you original forms to fill out (depends on the type of bond in TX)

Then we’ll get the Commercial Water / Wastewater Service Installation Bond right out to you. Easy.

Dallas Commercial Water / Wastewater Service Installation Bond Application Form Fill this out and mail to [email protected]

Apply On Line

Find a Commercial Water / Wastewater Service Installation Bond Near Me

We’ll work as hard as possible to get you the bond that you need in TX.

Find out more about our Permit and License Bonds

Introducing Trouble-Free Suggestions When Thinking Of Permit Surety Bonds

Other Kinds of Bonds

License And Permit Bonds

Performance Bond

The Importance Of License And Permit Bonds To The Customers

License bonds hold great importance to all the customers. It serves as a protection to the customers that they will get the result they need since the contractors are mandated to follow.

Systematic Processes

Kind of Insurance

Government Specifications

Measures Involved In The Application

The Online Form

Obtaining A Quote

Payment

After getting a quote, the next step will be the actual payment. Once you make payments, you will get a license and permit bond.

While Filling The Form;

Essential Facts

See our Dallas Paving Bond page here.

A Quote Bond is provided in the amount of the agreement bid, with the identical requirements as that of a Performance Bond.

Typically no, they are separate. Bid bonds mechanically turn into performance bonds in case you are awarded the agreement.

The only restrict is the biggest bond you might get for one specific task. The aggregate limitation is the whole quantity of bonded work offered you perhaps can have without hold-up.

https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

0 notes

aestheticsharry · 4 years ago

Text

Dallas Commercial Water / Wastewater Service Installation Bond

See the below article for more good information. You can see the original article here: https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

Dallas Commercial Water / Wastewater Service Installation Bond

What is a Commercial Water / Wastewater Service Installation Bond in Dallas?

To get this bond, please see our Commercial Water / Wastewater Service Installation Bond Application Form. Fill this out and mail to [email protected]

You can also Apply On Line by clicking on this link.

How Much does a Commercial Water / Wastewater Service Installation Bond Cost in Dallas?

Just fill out the form below and we’ll have you a quote in a few hours – at the absolute best possible rate.

How do I get a Commercial Water / Wastewater Service Installation Bond?

We make it easy to get a Commercial Water / Wastewater Service Installation Bond in Dallas. Fill out the form above and we’ll get right on this for you.

How Does this Process Work in Texas?

You send us the fee

We send you the bond

For certain bonds, we may send you original forms to fill out (depends on the type of bond in TX)

Then we’ll get the Commercial Water / Wastewater Service Installation Bond right out to you. Easy.

Dallas Commercial Water / Wastewater Service Installation Bond Application Form Fill this out and mail to [email protected]

Apply On Line

Find a Commercial Water / Wastewater Service Installation Bond Near Me

We’ll work as hard as possible to get you the bond that you need in TX.

Find out more about our Permit and License Bonds

Introducing Trouble-Free Suggestions When Thinking Of Permit Surety Bonds

Other Kinds of Bonds

License And Permit Bonds

Performance Bond

The Importance Of License And Permit Bonds To The Customers

License bonds hold great importance to all the customers. It serves as a protection to the customers that they will get the result they need since the contractors are mandated to follow.

Systematic Processes

Kind of Insurance

Government Specifications

Measures Involved In The Application

The Online Form

Obtaining A Quote

Payment

After getting a quote, the next step will be the actual payment. Once you make payments, you will get a license and permit bond.

While Filling The Form;

Essential Facts

See our Dallas Paving Bond page here.

A Quote Bond is provided in the amount of the agreement bid, with the identical requirements as that of a Performance Bond.

Typically no, they are separate. Bid bonds mechanically turn into performance bonds in case you are awarded the agreement.

The only restrict is the biggest bond you might get for one specific task. The aggregate limitation is the whole quantity of bonded work offered you perhaps can have without hold-up.

https://swiftbonds.com/license-permit-bonds/commercial-water-wastewater-service-installation-bond-dallas/

0 notes

dweemeister · 7 years ago

Photo

A Star Is Born (1937)

Hollywood fame and fortune and everything that goes with it has been a favorite topic of American movies since popular fan-driven culture around the art form has existed. Show People (1928), Sunset Boulevard (1950), and most recently La La Land (2016) have been crafted by Hollywood about Hollywood. One film about Hollywood that has been remade twice and, soon, thrice, is A Star Is Born – originally starring Janet Gaynor and Fredric March, directed by William A. Wellman, and produced by David O. Selznick. The 1954 version starred Judy Garland and James Mason; the 1976 version starred Barbra Streisand and Kris Kristofferson; the 2018 version will star Stefani Germanotta (Lady Gaga’s given name) and Bradley Cooper. I have not seen the 1976 A Star Is Born, and the 1954 remake is the subject of the first write-up I ever published on this blog (it’s short and embarrassing; I knew much less about writing on cinema than I do now... and I still don’t think I’m good at this).

Before A Star Is Born, Hollywood movies about Hollywood painted a rosy picture of the movie industry, where the greatest cinematic talents come to work and where success is no stranger to those to dedicate everything they have. Of course, that image is a sanitized one, and did not apply to countless ethnic and racial minorities, as well as advantaging men over women. Some things just have not changed, obviously (although the industry continues to make improvements), but A Star Is Born has never approached these inequalities from that angle. Nevertheless, it is still within this context that A Star Is Born frames a desire for stardom – the fantasy of what it looks like, the disappointment and personal tragedies that can occur.

Esther Victoria Blodgett (Gaynor) lives in an agricultural North Dakota town with her family. The local movie theater is one of her few means of escape, and she aspires to be the next Greta Garbo, Katharine Hepburn, or Mae West. Everyone in the family disparages those dreams, except Grandmother Lettie (May Robson). Grandmother Lettie lends Esther money for the train ride to and lodgings in Southern California. Esther begins living in a boarding house with other Hollywood hopefuls, like out-of-work assistant director Danny McGuire (Andy Devine), but is stonewalled when the casting agency refuses to accept any more applications for extra parts. Danny pulls some strings and gets Esther a job serving at a high-end Hollywood party. Actor Norman Maine (March) – whose career has been slowly declining – finds himself attracted to Esther, and convinces producer Oliver Niles (Adolphe Menjou) to allow her a screen test. She does well. In the tradition of the old Hollywood Studio System providing their newest contractees stage names, Esther is renamed “Vicki Lester”, and has a sensational debut film starring opposite Norman, her love. But as Norman’s career and mental health continue to tumble, Vicki Lester becomes the world’s darling.

As A Star Is Born was released to theaters, the career trajectories of Janet Gaynor and Fredric March were the reverse of the characters they played. Gaynor (1927′s 7th Heaven and Sunrise: A Song of Two Humans) became a premier box office draw for Fox Film Corporation (renamed “20th Century Fox” in 1935) in the later silent years, but her draw had waned by the mid-1930s, and she retired from the movies in 1939, at age thirty-three – her reason: to seek out other adventures and raise a family. For Fredric March, after years wallowing as an extra with Paramount, breakout leading roles came in Dr. Jekyll and Mr. Hyde (1932) and this film. March sustained an excellent standard of work into a decades-spanning career with highlights such as The Best Years of Our Lives (1946) and Inherit the Wind (1960).

Though March sometimes outperforms his co-star, do not underestimate Gaynor’s ability to sell the small-town-girl to the audience. There is an awkwardness and innocence in her performance as this North Dakotan transplant to Southern California. As the initial wonderment fades into a grind of job searching, Esther finds herself within touching distance of Hollywood royalty, but with the financial comforts of cinematic success galaxies away. When she receives her big break, Esther is a natural at acting (her brief imitations of the most popular American actresses of the 1930s during the party she is waitressing at are a treasure). But when she is no longer in the soundstage shooting a scene, Gaynor believably makes the transition from artifice to reality. As meta as that sounds (movies about Tinseltown tend to be riddled with self-references, whether self-important or satirical), we notice that Esther Blodgett – Vicki Lester – has changed with experience and the long hours her work demands. Compared to Judy Garland’s interpretation of the same role, there is more sunny optimism in Gaynor’s performance compared to Garland’s anxiety and natural melancholy. The latter is the better actress and produces the better performance. Even then, Gaynor’s turn as Esther Blodgett is worthy of acclaim.

March, whose character of Norman Maine is on the descendancy, is heartbreaking. Here, he plays of a man weakened by personal exhaustion, professional disappointment, feelings of worthlessness. His attitude swings are remarkable – at times, displaying a lovely intimacy with Gaynor; other times, going through the motions of a fearsome, drunken rage that frightens onlookers and enthralls the sensationalized press.

Since five years ago after viewing the 1954 Judy Garland-James Mason remake for the first time and dealing with my own mental health problems, your reviewer has become more sensitive to the portrayal of mental illness in movies – I am no expert, nor are my problems perfectly transferable to a piece of fiction or to the lives of others. Both the original and the 1954 remake share an almost identical error: an inability to portray Norman Maine in a way that fully contextualizes his alcoholism and mental problems, as well as providing a more acceptable cause and justification for his fate. Without spoiling for those who have never seen any iteration of A Star Is Born, it is obvious that Norman cares for Esther/Vicki, that jealousy – if Norman has any directed towards his love – is not actively defining their relationship. It makes Norman’s decisions in the film’s final minutes feel so arbitrary, swift.

We know more about mental illness better today than screenwriters Wellman, Robert Carson, Dorothy Parker, and Alan Campbell could possibly have done so in 1937. Yet the screenwriters actively portray a variety of characters – central and peripheral – attempting to shield Norman from the stigma hurled by those who do not care to understand. Norman’s destructiveness is handled sensitively, and Esther/Vicki’s decision to help her beloved is one of the most positive portrayals of being an ally to combat an enemy unknowable to many, unseen to all. Of course, A Star Is Born is Esther’s story of creativity and tenacity in what was and still remains an unforgiving, cutthroat industry. But as her world intermingles with his and as she begins to accept that arrangement, the screenplay is looking for a flourish for its Hollywood ending. That ending, however, disrespects Norman’s self-loathing and Esther’s sadness that she alone can only be of so much help.

One character, press agent Matt Libby (Lionel Stander), is depicted as a publicity-ravenous individual who distastes privacy, and delights himself in manufactured, all-American narratives for the stars of Oliver Niles’ studio. A Star Is Born’s cynicism is contained within Libby, with shame and taste becoming irrelevant when there are movie stars to profit from and fans – suckers, really – ready to swoon at their favorite actors’ work. If anything, Hollywood is a talent and personality machine, ready to assemble the newest products and to declare an earlier, outdated figure obsolete. There is no regard to hurt feelings, loyalty, or friendship here. Such is the Hollywood Esther Blodgett and Norman Maine find themselves in.

Accusations of plagiarism also hounded Selznick International Pictures, as a similarly-written movie, What Price Hollywood? (1932), released by RKO, has an almost identical premise and similar plot twists, but with lesser-known stars (Constance Bennett and Lowell Sherman). David O. Selznick produced both What Price Hollywood? and A Star Is Born, and though RKO prepared their lawyers to sue Selznick International, they ultimately declined to pursue the lawsuit.

After its release, Selznick International sold the rights to A Star Is Born to Warner Bros., which allowed them to remake the film in 1954. But when Warner Bros. failed to renew the copyright to the 1937 original, it entered the United States’ public domain. The curse of some public domain movies is that, without that commercial value of the copyright protection, studios are loath to grant such a film a restoration. W. Howard Greene’s cinematography suffers, as 1937′s A Star Is Born was one of the first live-action feature films to use three-strip Technicolor (invented in 1932, Walt Disney negotiated an exclusive use of three-strip Technicolor until September 1935), instead of using the limited shades of greens and reds seen in two-strip Technicolor. In this collaboration and in the imperfect print that I watched on Turner Classic Movies (TCM), Greene and Wellman never allow the Technicolor to feature the range of its palette as much as they could.

Following the film’s release, speculation abounded whether or not A Star Is Born was based on a real-life example of a closely-knit Hollywood rise and decline. Some cite Barbara Stanwyck’s (1937′s Stella Dallas, 1944′s Double Indemnity) seven-year marriage to Frank Fay (primarily a stage actor, originated Elwood P. Dowd in Harvey) to be the primary influence, even if John Bowers (1921′s The Ace of Hearts and The Sky Pilot) has been noted as the actual inspiration for Norman Maine. For those better-versed in the private lives of Hollywood actors than yours truly, speculate away.

So what is so compelling about A Star Is Born that this story has been repeated three other times? That’s not even mentioning derivative – a word which is not here being used in a derisive fashion – films that followed decades later. For as much as many movie fans and those not as accustomed to American cinema as a whole might be repulsed by what fame in the entertainment industry brings, we continue to consume these stories. Something in there, among the affluent actors, is an aspect we recognize about ourselves, us ordinary moviegoers that can no longer imagine ourselves as headline movie stars.

It seems appropriate, then, to have Grandmother Lettie help bring this write-up to its end:

Esther, everyone in this world who has ever dreamed about better things has been laughed at, don't you know that? But there's a difference between dreaming and doing. The dreamers just sit around and moon about how wonderful it would be if only things were different. And the years roll on and, by and by, they grow and they forget everything, even about their dreams.

Esther Blodgett has sacrificed her time, energy, sanity, and well-being to be where she is. By personalizing Esther the way this film has, we cannot help but root for her success, that those who love her the most are able to see her triumphs for themselves. If they are unable to do so, we hope that their support for her continues to leave legacies after the thrill of parties and premieres has gone.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

#A Star Is Born #William A. Wellman #David O. Selznick #Janet Gaynor #Fredric March #Adolphe Menjou #May Robson #Andy Devine #Lionel Stander #Owen Moore #Peggy Wood #Robert Carson #Dorothy Parker #Alan Campbell #Max Steiner #W. Howard Greene #TCM #My Movie Odyssey

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prosperopedia · 6 years ago

Text

Fixing the United States Healthcare System in Three Steps

Since the very first times I can remember paying for my own healthcare expenses – shortly after I became an adult – I’ve often found myself puzzled at how healthcare is done in America and wondering why it often seems so inefficient and expensive. As a now two-decades-long consumer (a purchase-with-my-own-hard-earned-money kind of healthcare consumer) of healthcare for myself and my family members, I’ve found a need to self-educate on a micro and macro level.

Over the past twenty years, I’ve learned as much as I can about health care premiums, deductibles, maximum out-of-pocket, healthcare provider networks, how billing is done, and many other aspects of the convoluted labyrinth that comprises the contemporary healthcare system in the United States. I’ve often wondered how things got to be this way, in the most prosperous, most innovative country known to this planet. I’ve also tried to articulate, based upon my limited experiences along with information from discussions with doctors, hospital administrators, insurance agents, medical products manufacturers, and lots of others in the healthcare industry.

Today I read a recently-written article by John Steele Gordon in the Imprimis monthly publication distributed by Hillsdale College. The article is titled, “A Short History of American Medical Insurance.” The points made in Mr. Gordon’s article sum up what I’ve observed to be the most direct answers to the problem most Americans face when it comes to an inefficient and exorbitant healthcare system. I’ll summarize the three-pronged solution here really quickly for you. Then I’ll review the history and background that makes this solution so practical.

To fix the broken healthcare system that exists today in the United States of America, these three things need to be done:

1: Medical providers need to be required to make the prices for their procedures publicly available for consumers.

As with other markets that operate more efficiently, when consumers have sufficient information about pricing and can compare options, competition lowers prices and makes the market much more efficient.

2: Fix the out of control malpractice lawsuit racket by requiring those who sue meritlessly and lose to pay not only their own legal fees, but also the defense fees of those they have sued.

When a situation exists that makes it profitable to wrongly accuse healthcare providers of malpractice, fraud and abuse naturally enter the system and create substantial waste. Reports from two of the most influential organizations in healthcare provider liability insurance, American Society for Healthcare Risk Management ASHRM and the Physicians Insurers Association of America (PIAA) estimate that the cost of each claim “closed with no indemnity” (meritless) to be between $17,400 and $24,000 for defense related expenses. It is estimated that only about 24% of malpractice cases result in valid claims for which indemnity payments must be made to claimants.

3: Increase the accountability healthcare consumers have for the cost of the healthcare they’re purchasing. Get rid of the cost abstraction that’s done through the current health insurance scenario.

Today’s “insurance” policies are not really insurance. Instead, it’s a “very expensive pre-payment plan that jacks up premiums,” as described by Mr. Gordon.

When I pay for insurance for my car, I don’t expect it to cover oil changes, gas, and wear on the tires. However, the expectation that has arisen out of the current healthcare environment has caused insured consumers to have their plans cover things like flu shots and minor illnesses and injuries that should not be covered, but should be paid for out of pocket.

Make pricing from healthcare providers publicly available.

Crack down on meritless medical malpractice lawsuits.

Increase consumer price accountability for healthcare product and services.

How Did We Get Here?

The historical innovation that has created healthcare products and services that make us much more comfortable and that have allowed us to live longer seems to have been absent from the factors that have created what we now experience with healthcare.

John Steel Gordon in his article reviews the historical costs of healthcare in this country. In 1930, healthcare expenses by Americans made up only 3.5% of our Gross Domestic Product. In 2015, that figure had moved up to 15%. Something happened over that 85-year period that skyrocketed healthcare costs so much that it becomes obvious that there is something else involved besides standard market economics. During the 1980s, healthcare costs went up 117%. After the experts account for increases due to factors such as general inflation, an aging population and expensive advances in technology, there is still a missing 24% of that total increase that is unaccounted for. The extra 24% can be attributed to the combination of two major developments. A new hospital-centered insurance cartel emerged in the medical industry the early- to mid-1900s. This cartel is now the accepted norm for medical treatment. Corresponding to the formation and propagation of the cartel was the removal of price transparency from that healthcare related services .

I will describe two major developments that led to what we experience in modern times as simply unaffordable healthcare.

Insurance for Hospital Visits

Before the 1900s, medical treatments were most commonly done in a person’s home, through doctor visits, or at small clinics operated by medical professionals. During a period spanning nearly a century, from 1873 to the late 1900s, the number of hospitals in the United States went from 149 to over 7,000. The nature of a hospital also changed at the beginning of that time period. Whereas they had been simply a place for the sick and the old to die, like a modern day hospice, they became medical clinic centers and cutting edge medical research institutions.

To become and remain profitable, hospitals in the early 1900s had to find a way to build a subscriber base, people who would pay consistent premiums to have access to the hospital’s resources.

Baylor University’s insurance plan for school teachers in the Dallas area, who paid $6 annually in exchange for up to 21 days in the Baylor hospital, was launched in 1929. The model provided cash flow to the hospital which offset and overcame the large fix costs it incurred.

This hospital “insurance” model worked well. Blue Cross adopted it in 1932. This system generated a steady demand for medical services and a consistent cash flow. However, this wasn’t really “insurance”, as the plans covered pretty much everything a person could need up to a certain limit.

This model differed from insurance in another important way. They didn’t provide indemnification payments to those covered, who would use the payment to shop for the best option for them. Instead, this version of insurance paid the bill for services used at the hospital in a way that made it appear not important to the consumer how much the service cost.

Other hospitals had to follow this model to be able to compete.

Employer-Paid Health Insurance Benefits

During World War II, the federal government enacted wage and price controls because of the tight labor market. To attract talent and manpower, and without the ability to offer higher salaries, companies began offering healthcare benefits to employees.

Employers’ payment of healthcare served to further distance people from the cost of their medical expenses. It also led to a lack of plan fluidity, as employees essentially had little other option than to “choose” the healthcare plan their employer provided.

In recent years, as small businesses and those who choose to work for themselves as contractors or simply self-employed, there are some options that are springing up, but those options are still very limited.

Catastrophic health plans pretty much disappeared with the introduction of Obamacare in 2010. [I like to tell people that Obamacare essentially made ALL health insurance plans catastrophic.] In recent years, health share options and others alternatives to employer plans have been promoted to provide flexibility in choice and cost, but those plans still tend to have too many unknowns to make the generally practical as they attempt to find a place among the rest of the health insurance world.

Can Our Failing Healthcare Environment Be Fixed?

As described above, there are some major flaws in the structure of our healthcare system that don’t seem like they can be easily removed, like a metastasized tumor. There are lobbyists and those they represent who are making far too much money to allow their golden goose to be easily moved. Also, the public servant mentality miraculously found among those who founded this country and led it in its infancy seems to have all but disappeared from Washington, DC as well as from the mines of power opportunities in state governments.

Can our healthcare issue be fixed? We can only hope. It would take a miracle.

In the meantime, the best approach I’ve found is to be highly accountable for your own health, and to depend as little as possible upon the public system. Eat healthy. Exercise. Try to avoid major unnecessary risks (like riding a motorcycle or skydiving).

And hope that something better comes along.

The post Fixing the United States Healthcare System in Three Steps appeared first on The Handbook for Happiness, and Success, and Prosperity Prosperopedia.

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kanggroupservices · 2 months ago

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Professional Indemnity and Permanent Whole Life Insurance: Essential Policies in Dallas - Kang Group Services

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