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Are You Entitled to Compensation After a Car Accident?

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Are You Entitled to Compensation After a Car Accident?

No one leaves their home expecting to get in a car accident. After all, it’s not something you include on a daily to-do list. Unfortunately, vehicle accidents happen every day in Florida. In the city of Gainesville alone, 246 car accident-related injuries occurred in the first few months of the new year. 

Whether you’re involved in a single-car crash or a multi-vehicle pileup, you may be entitled to receive compensation for your damages. This can include both economic and non-economic expenses. However, before you can file a claim with an insurance provider there are a few things you should do to help protect your legal rights.

What to Do After a Car Crash in Florida

The most important thing to do, and the most obvious, is to assess yourself and anyone else involved in the vehicle accident for injuries; your health and safety always come first. For the moment, don’t worry about any damage to your vehicle. You can handle this after taking care of your health.

If your injuries warrant immediate medical attention, take the first responders up on an offered ride to the emergency room. If your injuries are significant, there’s nothing you can do at the accident scene and there’s no reason to risk your health. 

Even if your injuries aren’t immediately visible or you’re convinced everything is fine, still make an appointment with your primary care physician. Some injuries take a while to start showing signs and symptoms. For example, internal soft tissue injuries.

So, why is seeking medical attention so crucial? Other than taking care of your health, you’ll also need your medical records if you plan on pursuing a personal injury case. Your medical records support your injury claim. So, what other steps should you take after an auto accident?

Contact Your Insurance Provider

This is a call you’re probably dreading to have since most insurance companies aren’t thrilled to learn a client is submitting an accident claim. However, it’s a necessary phone call even when you’re not the at-fault driver. 

Yes, your accident claim starts with your insurance provider. Remember, Florida is a no-fault state, and this can be confusing even for lifelong residents. What is a no-fault state? The name pretty much says it all. Basically, no one is initially to blame for an auto accident. 

Even if you’re T-boned by a driver running a red light, no blame is assigned at the time of the accident—this is when your personal injury protection (PIP) policy kicks in. Yes, this is a standard part of your auto insurance policy. PIP is a legal requirement all drivers in Florida must carry. Your PIP policy will cover your medical expenses and lost wages if applicable. 

However, PIP comes with caps you can’t go over, and there aren’t any exceptions to this. Since your medical expenses will probably be more than your PIP coverage, this is when you turn to a personal injury lawsuit to cover the rest of your damages.

Pick up a Copy of the Accident Report

Florida law requires all vehicle accidents resulting in injuries or fatalities to be reported to the authorities. Don’t leave the accident scene; you don’t want to get a hit-and-run charge since this can make it all but impossible to successfully file a personal injury claim against the at-fault driver. If there aren’t any injuries stemming from the accident, you have up to ten days to file a report.

You want to get a copy of the accident report. Most are ready after about one week or so. You can get a copy of the report online or head to your local police department. There’s a nominal fee, but it’s typically less than $10. 

So, why do you want a copy of the accident report? The report contains a ton of information that can help support your personal injury claim. Everything from the driver’s information to witness contact numbers and more is included in the report. You’ll also find a mention of who the authorities believe is responsible for the accident.

Determine Liability

If a driver runs a red light or stop sign, it should be obvious who’s liable for the accident. However, don’t forget Florida is a no-fault state, and this can complicate the process. On top of this, Florida also follows a comparative negligence rule—just when you thought things couldn’t get any more confusing. 

But on the bright side, comparative negligence can work in your favor. Comparative negligence allows accident victims to still seek compensation even if they’re partially to blame for the accident.

For example, if you’re 30% at fault for the vehicle collision, you can still file for compensation. The amount you’re awarded is deducted by the percentage of blame you’re assigned for the wreck. Your police report and witness statements are often used to determine liability by insurance companies and the judge or jury if your personal injury case goes to court.

Never Admit Fault

Emotions are running high after an accident, even if it’s only a minor fender bender. You may be tempted to apologize to the other driver, even if you’re positive you aren’t responsible for the accident. Yes, this is polite behavior but now’s a good time to forget your manners. 

Never apologize, even to first responders. Your words can be seen as an admission of guilt. Remember the warning your words can and will be used against you? This isn’t limited to criminal cases; it can also apply to your civil personal injury lawsuit.

Gather Evidence if Possible

Okay, don’t go crazy and start acting like Sherlock Holmes or even Watson. You’re not a detective or even a legal representative. Your goal is only to make it a little easier to prove your personal injury claim. Take photos of your vehicle/property damage and start saving all of your paperwork relating to the accident.

Contact a Car Accident Attorney

Contacting a personal injury attorney after a vehicle accident is a crucial step, as it allows you to discuss the specifics of your case with a legal expert. An attorney specializing in personal injury law can provide valuable guidance and representation, ensuring that your rights are protected throughout the process. 

They can negotiate on your behalf and work towards securing fair compensation for any damages or injuries you have sustained. Their expertise in navigating the complexities of liability and insurance claims can significantly influence the outcome, helping to achieve a settlement that reflects the true extent of your losses and injuries.

Danielle Durack Releases New Song ‘Dean’

Konstantinos Pappis
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Danielle Durack Releases New Song ‘Dean’

Danielle Durack has released ‘Dean’, the third offering from her forthcoming record Escape Artist. It follows earlier cuts ‘Shirt Song’ and ‘Good Dog’. Give it a listen below.

“Dean was my stepdad from ages 4-11, and remained a pretty large part of my life after his and my mom’s marriage ended until he moved away when I was 14,” Durack explained in a statement. “We stayed in touch via phone calls and texts, but I never saw him again. He was a father figure to me through some pretty foundational years, and due to some unfortunate circumstances, I wasn’t made aware of the funeral. I would have liked to have been there to share what he meant to me.”

“For the video, initially I wanted to use all home video footage, but after getting it all together, there were only a few of Dean as he was usually the one behind the camera,” Durack added. “I wanted to find a way to incorporate them in an animated collage and at first I wasn’t sure how I was going to coalesce all these elements, but I got to work and I’m really happy with how it turned out. All in all it took about 6 months: 1500 stills, hours of editing, hours of exacto-knife-ing, and hours of moving everything a centimeter at a time. I’m glad I got to honor him and his life somehow.”

Escape Artist will be released on February 16.

Prize Horse Unveil New Single ‘Know Better’

Konstantinos Pappis
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Prize Horse Unveil New Single ‘Know Better’

Prize Horse have unveiled a new single, ‘Know Better’, lifted from their forthcoming debut album Under Sound – out next Friday via New Morality Zine. The Minneapolis band has already previewed the LP with ‘Further From My Start’ and ‘Your Time’. Listen to the new cut below.

“‘Know Better’ is one of my favorite tracks on the album but also the second to last, so I’m glad we’re able to spotlight it as a single,” vocalist Jake Beitel shared in a statement. “My memory around writing this song is murky, but I do remember Jon and I having a blast while working it out. Classic example of us just rocking one out in the room together. This was a really special song to record, Corey had an awesome idea to strip back the drums for a part of the last section, and then we ran them through a big muff while I filtered it with the tone knob. Fun stuff.”

Nisa Announces Debut Album ‘Shapeshifting’, Shares Video for New Song

Konstantinos Pappis
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Nisa Announces Debut Album ‘Shapeshifting’, Shares Video for New Song

Nisa has announced her debut album, Shapeshifting, which is slated for release on April 26 via Tender Loving Empire Records. Nisa Lumaj has also shared the record’s lead single, ‘Smokescreen’, alongside an accompanying video. Check it out below.

“I wrote ‘Smokescreen’ about the dance between seeking closure while being unable to fully let go,” Lumaj explained in a statement. “I was stuck in a loop of repetitive behavior and somehow also expecting to feel different, and after a while, it started to weigh on me. In order to make a change, I had to admit that I was prone to harmful patterns, and this song is about that self-realization.”

Shapeshifting includes Nisa’s previously released tracks ‘Currents’ and ‘Vertigo’.

Shapeshifting Cover Artwork:

Shapeshifting Tracklist:

1. Ready… Set!
2. Pressure Principle
3. Currents
4. Dreamspeak
5. Dance Alone
6. Smokescreen
7. Vertigo
8. Breach
9. Crossing
10. Trance Form
11. Sea Glass

This Week’s Best New Songs: Camera Obscura, Burial, Dehd, and More

Konstantinos Pappis
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This Week’s Best New Songs: Camera Obscura, Burial, Dehd, and More

Throughout the week, we update our Best New Songs playlist with the new releases that caught our attention the most, be it a single leading up to the release of an album or a newly unveiled deep cut. And each Monday, we round up the best new songs released over the past week (the eligibility period begins on Monday and ends Sunday night) in this best new music segment.

On this week’s list, we have ‘Big Love’, the lush, jangly lead single from Camera Obscura’s first full-length n 11 years; Burial’s ‘Dreamfear’, which careens between ominous atmospherics, evocative vocal samples, and skittering beats across its 13-minute runtime; Yaya Bey’s ‘chasing the bus’, the laid-back, enchanting lead single off her new album Ten Fold; ‘Heavy Bag’, the sparse, gently driving fourth single from Ducks Ltd.’s sophomore LP; Dehd’s ‘Mood Ring’, an infectious song about falling for a boy with a motorcycle; and ‘Beautiful Boy’, a striking ballad off the Last Dinner Party’s debut LP.

Best New Songs: February 5, 2024

Camera Obscura, ‘Big Love’

Song of the Week: Burial, ‘Dreamfear’

Yaya Bey, ‘chasing the bus’

Ducks Ltd., ‘Heavy Bag’

Dehd, ‘Mood Ring’

The Last Dinner Party, ‘Beautiful Boy’

Laetitia Sadier Shares New Single ‘Who + What’

Konstantinos Pappis
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Laetitia Sadier Shares New Single ‘Who + What’

Stereolab’s Laetitia Sadier has shared ‘Who + What’, the latest single from her upcoming album Rooting for Love. It follows previous offerings ‘Une Autre Attente’ and ‘Panser L’Innaceptable’. Check it out below.

Rooting for Love is set for release on February 23 on Drag City.

Review: Argylle

Prabhjot Bains
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Review: Argylle

Across its extensive, gimmicky marketing campaign, Matthew Vaughn’s Argylle repeatedly asks one eponymous question: Who is agent Argylle? It’s an enticing, almost Hitchcockian ask that beckons viewers into uncovering a secret so shocking, it threatens to redefine everything they thought they knew about the film. But upon its conclusion, audiences are left with another important question: Why should we care? It’s a query that ends up being much more practical, especially because Vaughn’s insipid spy-action satire manifests as little more than an amalgamation of all the half-baked tropes it seeks to make light of. In attempting to deconstruct it’s “Bondian” influences with a winking, high-concept plot, it retains none of the charm and wit that made them so memorable and, most of all, enjoyable—often becoming the butt of the joke it aims to deliver.

At the center of Argylle lies novelist Elly Conway (Bryce Dallas Howard), who on the heels of her successful 5th entry in the “Argylle” spy novel series hits a creative block drafting the next instalment. While on route to visit her mother (Catherine O’Hara) she runs into the scruffy, bumbling Aiden (Sam Rockwell, in the film’s sole good performance), a real-life operative who informs her that the plot of her latest novel has inadvertently aligned with and exposed the shady activities of a rogue spy organization led by the merciless Ritter (Bryan Cranston). With a gaggle of evil henchman hunting her, she must rely on Aiden to not only survive but uncover the conspiracy she finds herself embroiled in.

Argylle hopes to insert a metatextual wrinkle into its globe-trotting adventure by having Elly’s literary creation, secret agent Argylle (Henry Cavill), flicker on screen as a double for Aiden. But the effect, intended to parody spy movies, falls flat at each turn. Particularly because its fictional sequences— full of the intentionally corny platitudes 007 might spout—unfold exactly like their “real life” counterparts. Neither Elly or Aiden resemble genuine people, sharing more in common with the plasticky caricatures Vaughn and Company make fun of than anything else. Cranston’s Ritter is the walking embodiment of every cliched super villain committed to paper, from his menacing grin to his violent treatment of subordinates.

As a result, Argylle becomes the very shoddy, thinly written caper it clambers to poke holes in. Repeatedly bobbing for the lowest hanging fruit with groan-inducing dialogue like “It seems we serve the same master” or, even worse, “let the lamb roar”. What makes matters worse is that Argylle thinks we’re laughing with it during these moments, when we’re really laughing at it.

Any chance of Argylle’s smug, meta-narrative hitting its target is dashed by the over-polished filmmaking, which zaps the experience of any identity and personality—something its apparent influences could never be accused of lacking. The flatly lit cinematography gives way to a flurry of choppy action sequences that are defined by their over-reliance on cheesy slow-motion and reaction shots that more-or-less consist of Elly’s computer-generated feline giving a disgruntled stare. Vaughn’s insistence on underpinning these scenes with a steady stream of eye-rolling needle drops—the most soulless of which being The Beatles’ recently recovered “Now and Then”—puts an emphatic stamp on how trite and banal Argylle feels.

With each easily predictable and confoundingly convenient twist, the film’s central mystery continues to lack a noticeable bite. An unfortunate effect the ceaselessly grating, monochromatic flashbacks only serve to heighten. The more Argylle explains its convoluted plot, the less interested we become, especially as each revelation forces these already skin-deep characters to shift gears and radically alter how they react to one another. The result is both jarring and lifeless, culminating in a climactic hallway action sequence that aims for the operatic and the idiosyncratic but rings hollow with each feigned maneuver.

At its best, Argylle is the cinematic equivalent of a very, very dull escape room. What could have been a sly satire of the much-adored spy genre is undone by the very foibles and failings that plague them. Vaughn’s haphazard attempt to connect it to the Kingsman franchise and tease a supposed sequel serves as a final, forgettable nail in film’s coffin. If nothing else, Argylle will make viewers appreciate the spirit of those cheesy, over-the-top spy movies that much more—just not in the way it intended.

Taylor Swift Wins Album of the Year for ‘Midnights’ at 2024 Grammys

Konstantinos Pappis
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Taylor Swift Wins Album of the Year for ‘Midnights’ at 2024 Grammys

Taylor Swift’s 10th studio album, Midnights, has won the 2024 Grammy Award for the Album of the Year. Celine Dion, who made a surprise appearance at the Crypto.com Arena in Los Angeles where the ceremony was being held, presented her with the award.

The record was nominated alongside boygenius’ the record, Janelle Monáe’s The Age of Pleasure, Jon Batiste’s World Music Radio, Lana Del Rey’s Did You Know That There’s a Tunnel Under Ocean Blvd, Miley Cyrus’s Endless Summer Vacation, Olivia Rodrigo’s Guts, and SZA’s SOS.

Swift has made Grammys history as the artist with the most wins for Album of the Year, pushing her total to four. She was previously tied with Paul Simon, Stevie Wonder, and Frank Sinatra, who each had three wins.

During her acceptance speech, Swift thanked her longtime collaborator Jack Antonoff, whom she called a “once-in a-generation” producer, her engineer, Laura Sisk, and Sam Dew. She also praised her fellow nominee Lana Del Rey, who features on Midnights‘ ‘Snow on the Beach’, as a “legacy artist” and a “legend in her prime right now.”

“I would love to tell you that this is the best moment of my life, but I feel this happy when I finish a song or when I crack the code to a bridge that I love or when I’m shot-listing a music video, or when I’m rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show,” Swift said. “For me, the award is the work. All I want to do is keep being able to do this. I love it so much. It makes me so happy.”“It makes me unbelievably blown away that it makes some people happy who voted for this award too. All I want to do is keep doing this. So thank you so much for giving me the opportunity to do what I love so much… mind blown”.

Swift got nominated in five additional categories at tonight’s ceremony, earning nods for for Record of the Year, Song of the Year, and Best Pop Solo Performance with ‘Anti-Hero’. She also won Best Pop Vocal Album and announced her new album, The Tortured Poets Department, while accepting the award. Swift now has a total of 14 Grammys.

Victoria Monét Wins Best New Artist at 2024 Grammys

Konstantinos Pappis
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Victoria Monét Wins Best New Artist at 2024 Grammys

Victoria Monét has won Best New Artist at the 2024 Grammys. She was nominated alongside Coco Jones, Gracie Abrams, Fred Again.., Ice Spice, Jelly Roll, Noah Kahan, Victoria Monét, and The War and Treaty.

Earlier in the ceremony, Monét picked up the award for Best R&B Album for Jaguar II. She also got nods for Record of the Year, Best R&B Song (‘On My Mama’), Best R&B Performance (‘How Does It Make You Feel’), and Best Traditional R&B Performance (‘Hollywood’). Check out the updating list of winners here.

Watch Joni Mitchell Perform ‘Both Sides Now’ at the 2024 Grammys

Konstantinos Pappis
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Watch Joni Mitchell Perform ‘Both Sides Now’ at the 2024 Grammys

Joni Mitchell made her Grammys performance debut at tonight’s ceremony, where she was joined by Brandi Carlile, Jacob Collier, Allison Russell, Sista Strings, Lucius, and Blake Mills for a powerful rendition of ‘Both Sides Now’. Carlile also introduced the performance. Watch footage below.

Mitchell’s live album Joni Mitchell in Newport won Best Folk Album at the pre-show ceremony. She won over albums by Dom Flemons (Traveling Wildfire), the Milk Carton Kids (I Only See the Moon), Nickel Creek (Celebrants), Old Crow Medicine Show (Jubilee), Paul Simon (Seven Psalms), and Rufus Wainwright (Folkocracy). Check out the list of updating winners here.

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