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Mauricio Umansky to undergo surgery after rushed to hospital from Aspen ski accident

Mauricio Umansky to undergo surgery after rushed to hospital from Aspen ski accident

Fox News15-02-2025

Celebrity real estate mogul Mauricio Umansky was rushed to the hospital after he suffered a major injury during an Aspen ski trip.
The "Real Housewives of Beverly Hills" alum took to social media to share his health updates and revealed he needed surgery.
Umansky, 54, was seen being carried by ski patrol on a snowy mountain, with his arm in a sling.
"I feel so blessed to be taken care of by such amazing humans. Ski patrol, [paramedics], Aspen Hospital, you're all the best. Broken clavicle," he wrote on his Instagram Story, as he laid on a hospital bed with a medical tube in his nose.
The second photo he posted was a picture of his X-Ray, as he showed his injury.
"Let's get this surgery done so I can heal. Play hard sometimes you get hurt. But the care here has been incredible," he added.
Details of the ski accident remain unclear.
Reps for Umansky did not immediately respond to Fox News Digital's request for comment.
His injury comes after he recently opened up about how the Los Angeles fires impacted his business.
The founder and CEO of The Agency, a real estate and brokerage firm primarily located in Southern California, previously told Fox News Digital they have been working hard to get housing for displaced clients who live in places like Pacific Palisades. Umansky also starred in the Netflix reality series "Buying Beverly Hills."
He said 25 staff members and agents there have also lost their homes.
"It's just been extremely difficult to deal with that," he said. "On top of that, we do have offices directly where everything is happening in the Altadena Fire, the Pacific Palisades Fire, the one up in Malibu, and we have a tremendous amount of clientele, colleagues, friends, brothers, sisters that have all been affected by the fires. Obviously, the most devastating is the complete loss of a home and the people being displaced and evacuated and not being able to go home."He said the people left homeless need the most help in finding a place to stay.
"And that's what we do for a living," he said, adding that they are also imploring landlords not to take advantage of the desperate situation.
Meanwhile, Umansky has split from his wife of 27 years, "Real Housewives of Beverly Hills" star Kyle Richards.
The couple announced their split in July 2023 with joint statements shared on social media.
"In regards to the news that came out about us today… Any claims regarding us divorcing are untrue. However, yes, we have had a rough year," they wrote in his-and-hers posts shared on Instagram at the time. "The most challenging one of our marriage. But we both love and respect each other tremendously."
"There has been no wrongdoing on anyone's part," they continued. "Although we are in the public eye, we ask to be able to work through our issues privately. While it may be entertaining to speculate, please do not create false stories to fit a further salacious narrative."
The estranged couple has yet to file for divorce.
The "Real Housewives" star has been married to the real estate tycoon since 1996.
Richards and Umansky have three daughters together: Alexia, Sophia and Portia. The "Halloween" actress also has daughter Farrah Brittany from her first marriage with Guraish Aldjufrie.

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Caamp frontman Taylor Meier says he's ‘C-list folk singer famous,' but he sold out the Salt Shed
Caamp frontman Taylor Meier says he's ‘C-list folk singer famous,' but he sold out the Salt Shed

Chicago Tribune

timean hour ago

  • Chicago Tribune

Caamp frontman Taylor Meier says he's ‘C-list folk singer famous,' but he sold out the Salt Shed

Caamp frontman Taylor Meier isn't fazed by writer's block. 'I'm never like, 'Oh, I wonder if I have the songs,'' he admits over the phone from home in Columbus, Ohio, during that liminal space between intense rehearsals and the kickoff of a 32-date tour that brings the banjo-infused folk rockers to the Salt Shed Fairgrounds for two sold-out shows on Thursday and Friday to promote this week's release of a long-awaited fifth album, 'Copper Changes Color.' 'They're coming to me at such a rate right now and such a sincerity,' he says. And, yes, he understands how infuriating that sounds. 'I'm friends with enough musicians and enough creatives at this point to be super aware of what the inverse looks like, and to see people struggle and go dry and doubt themselves,' he says. 'I'm sure that a slower era is on my horizon at some point.' The deceptively simple secret to this prolific output that keeps Caamp (in addition to Sumbuck, his solo side project) awash in deeply personal, bittersweet vignettes? 'I don't shy away from writing. If it comes, I write the song,' he says bluntly. He fears probing deeper into the mystery of his craft. 'If I knew, I don't think I'd really be able to do what I do,' he attests. 'Yes, it's from me in a way, but it's also very much for me. I do this stuff because it truly makes my soul happy. What I do makes me smile. I'm lucky to still be in love with it all.' That rose-colored sheen dipped in 2023 after eight years of grinding it out on the road and in the studio, first as a duo with Caamp co-founder and childhood friend Evan Westfall (banjo) and then with an expanded, permanent lineup including Matt Vinson (bass), Joseph Kavalec (keyboards) and Nicholas Falk (drums). Despite incremental successes (late-night TV appearances, conquering Colorado's iconic Red Rocks, major festival slots, a spot on former president Barack Obama's summer playlist and strong chart showings culminating with 2022's 'Lavender Days' reaching the No. 5 spot on Billboard's Americana/Folk Albums chart), Meier abruptly pulled the plug on all the band's remaining appearances for the year citing 'untimely knocks to my health' in an Instagram post and offered refunds to bewildered ticket holders. Speculation percolated online, some of it wild and a lot of it invasive, like most internet chatter is, which didn't upset Meier as much as it stunned him. 'I'm not even famous!' he exclaims. 'I am C-list folk singer famous. I can't even imagine what the actual tops of my industry go through.' Apart from scattered one-off dates, Caamp flew under the radar until the 'Somewhere' EP broke through the winter doldrums in February with Meier tenderly pointing out in his sandy squall of a voice on the first single 'Let Things Go' that maintaining a death grip on the entanglements and duties battling for our attention is a recipe for disaster. He doesn't mince words in the lyrics: 'You can let it roar / You can let it out / You can let things go / And anything your heart needs to make you feel better.' 'That song is the anecdote. It's not an answer by any means, but it's just kind of me trying to sing a lesson to myself,' he reveals. 'I chose to keep the details of my struggle private and will continue to do so, but that's the sentiment that got me through it and that's what I want to sing to my fans every night.' Gearing up to leave the comforts of home behind takes some grit, especially for a bunch of self-described 'homebodies.' 'We love our houses, routine, community,' Vinson admits in a separate phone call, stressing that he's not complaining about the road, it's just 'you caught us at the exact perfect time when we're leaving in one week and it kind of seems like the world is ending.' Pre-tour jitters aside, Vinson says the band is 'fully, fully rested' and 'morale is good.' Meier emphasizes the interpersonal work everyone put in during the break to come back together stronger. 'Heal the heart and fix the head,' he intones like a mantra. And just like Dorothy and her ruby slippers, the path to this place of ease always lurked inside him. 'You have all the tools the whole time, but it's just what you choose to pay attention to. Maybe I was paying attention to the wrong things — whatever it was. But I feel as if I'm dialed into the right things now,' he explains. In between the expected campfire harmonies and a left turn into Strokes-era nostalgia, the gorgeous 'Copper Changes Color' lays bare Meier's evolving mental state. In the jostling 'Mistakes,' he sings, 'Feels like I'm just trying to keep my plants alive / And trying to drink water,' while in the plaintive, piano-driven 'Living & Dying & In Between,' he reveals 'I wanna live/I don't want to die/They can feel so much alike.' Madi Diaz guests on the gauzy 'One True Way,' which contemplates if we're really meant for one thing. And 'Drive' cinematically rides off into the sunset, unsure of the destination, but certain of how to get there. The album's 11 tracks don't strive to be confessional, just open. 'It's kind of been this crazy process of, as I've gotten older, of getting a little bit more transparent,' Meier explains. 'Before, it could have been maybe construed on life stuff that I was wanting to feel. But there's bits of me in there now and I don't really hide from it or hide behind it.' Recorded in bursts between Oregon, Texas and New York, the sessions for 'Copper Changes Color' adhered to the same process in place since the band's self-titled debut in 2016. Meier brings in almost fully-fleshed out songs, which the band learns on the spot and then it's go-time. 'It's not as do or die as it sounds,' Vinson reassures. Minor things can be added or edited out months later, but importantly, 'there's an element of something live in everything Caamp has truly ever done.' That ability of the five members to lock-in on stage or in the studio without going 'through the grinder' to achieve it keeps the band from straying too far. 'Our chemistry playing is something that will never not amaze me. Just being in a room together and the telepathy of our musicianship, which is fueled by our friendship — that will never get old,' Vinson says. Meier shares the sentiment. 'There's always gonna be other music and other projects and other collaborators in my life,' he admits. But, 'I always come back home.'

ASHVEIL Announces Highly-Anticipated New Project, Launching a Selection of Breakthrough Songs on Spotify and More
ASHVEIL Announces Highly-Anticipated New Project, Launching a Selection of Breakthrough Songs on Spotify and More

Associated Press

timean hour ago

  • Associated Press

ASHVEIL Announces Highly-Anticipated New Project, Launching a Selection of Breakthrough Songs on Spotify and More

This emerging ambient electronic music artist is reaching listeners everywhere with a strong online presence, inviting anyone who loves electronica to listen as new singles drop over the next few months. Emerging electronic music artist ASHVEIL has just announced the official release of several new singles, marking this Portland, Oregon, based artist's debut to the world as part of a new ongoing project. 'I always wanted to try to create a world of sound around me since I was young,' said ASHVEIL. A natural artist, ASHVEIL's journey led to working with industry professionals who helped to cultivate this unique songmaker's authentic brand of music. Diving into ambient electronic music, ASHVEIL brings something unheard to the world. ASHVEIL is shrouded with a taste of mystery but makes a strong impact in the minds, ears, hearts, and souls of all who listen to the carefully curated yet genuine music that is being released. According to ASHVEIL , 'I want people to listen to my songs and think, 'Wow, I've never heard something like this before'.' This couldn't be more evident in the incredible songlist that is available right now from ASHVEIL. Singles such as 'GATEWAY,' 'Grime,' 'Saturn,' 'Rectify,' and 'Fading Signals' take listeners on a journey through the universe with an ethereal electronic backdrop punctuated by the piercing sounds of ASHVEIL's voice. ASHVEIL says the idea behind this project is to truly take people away from the mundane monotony of everyday life, stress, pain, fear, and everything in between. ASHVEIL's music represents an exquisite escape from reality by way of harmony. On June 1, 2025, ASHVEIL will officially release new singles including 'Contortion' and 'ULTRAVIOLET.' Accompanying videos for ASHVEIL's singles can be found on Instagram and more, and the breakthrough singles can be found on Apple Music and Spotify. ASHVEIL will be traveling over the next few months and will drop new singles during this time. Fans, followers, and music enthusiasts everywhere can stay up to date by visiting ABOUT ASHVEIL ASHVEIL is a Portland, Oregon, based and world traveling emerging ambient electronic music artist. Follow on social media: Instagram: @ashveil_music Twitter/X: @_ashveil Reverbnation: @ashveil Media Contact Company Name: Ashveil Contact Person: Ashley Gray Email: Send Email City: PORTLAND State: OREGON Country: United States Website: Source: The Branded Word

Meet Soot, an explosive new media experience that's killing the social feed
Meet Soot, an explosive new media experience that's killing the social feed

Fast Company

timean hour ago

  • Fast Company

Meet Soot, an explosive new media experience that's killing the social feed

My daughter is 7 years old, and when she wakes up, the first thing she'll often do is position herself in the center of an unruly pile of stuff on our basement floor. Construction paper. Tape. Stuffed animals. Pipe cleaners. Markers. Bits of ribbon. To me, it's the definition of disarray. To her, it puts the creative process in arm's reach. It provides exactly what she needs to, minutes later, emerge with a charming invention or piece of art. I mention this not only as a proud father, but because it's the best metaphor I've been able to find to describe Soot. Soot is a visual catalog that's in many ways reminiscent of Pinterest, Behance, or even Instagram. But with $7.7 million in funding, its team is focused less on building the next social network than challenging the status quo of creative UX. Instead of showing just one image or a few images at a time, Soot displays hundreds to thousands of images on your screen at once, allowing you to mainline loosely sorted visual information. Built upon open-source AI and data viz technologies, Soot sorts and organizes images by visual similarity, or by metadata like an artist's name. The spacing is intentionally organic rather than overly rigid, so that what you're looking at becomes a resolved shape instead of a grid. And what you're left with is less a feed or website than it is a digital painter's palette, or a vast mood board of visual inspiration for you to wade through with your cursor. In this sense, the premise of Soot is perhaps more philosophical than directly practical. 'It's 2025, and we're still surfing in the vertical linear scroll. [People] look at the feed as the upper limit of what we can do,' says Soot cofounder Jake Harper. Harper believes that the file structures of the Macintosh share the same logic with the scroll of TikTok or Instagram. These are linear organizational views optimized to show you one thing buried under another at a time. The folders and subfolders that inhabit our desktop interfaces force us to inefficiently dig for information and can devolve from discovery to compulsion. 'Instead of having information in a scroll, you could see from structures that [pool] like a well that's not as insidious as the feeds,' he says. 'A lot of the negative impact of computers is inherent to the geometries of the interface.' An exploratory interface Harper began his career designing as a sound artist with Soundwalk Collective, before making his way to the self-driving car company Zoox (acquired by Amazon) to lead the expression and communication of robotic vehicles. His cofounder, Mary Nally, is the founder of Drop Everything, a creative retreat taking part every two years on the tiny Irish island of Inis Oírr. Soot is organized into invite-only personal spaces, and then everything from the service combines onto a site called Soot World. That includes 4 million pieces of media at the moment, from its 25,000 users in a private beta. Each Soot space can be built from media sourced in all sorts of ways, from direct uploading to copy and pasting URLs from YouTube or a social media account. Monthly subscriptions will be available for individuals, and also companies, as the service scales. But what about the Soot experience itself? A tour through the Guggenheim's catalog demonstrates how the interface sings. Drag around, and you'll see the groupings of impressionists like Monet abutting geometrically focused futurists like Gino Severini, before arriving at the dynamic explosions of Wassily Kandinsky. In terms of art history, you can tap into each piece to see its name, year, and provenance, revealing that it's all a bit of a blender. But zoomed out visually, Soot creates a gradient vibe that just makes sense. 'I remember the first time I saw all my own artwork in Soot,' Harper says. 'It was like, damn, seeing things from 15 years ago—a rejected student project next to something I made a week ago. It was a really weird experience.' The interface is fascinating in that it demonstrates just how low a lift our single image feeds are in an era when we all have supercomputers in our pockets. The fact that I can mouse over thousands of images through my browser, without my aging Macbook cursing at me through the fan, is a most certain demonstration that our computers are able to do a lot more than we ask of them these days. Zooming in and out in Soot with my trackwheel is instantaneous. And the entire school of images (they do self-organize almost like fish) moves with a satisfying inertia. That said, in my own observations, I found that I was really only focusing on one image at a time. Soot didn't open some new capacity in my brain. But seeing these interrelated ideas in my peripheral vision still seemed meaningful. And being able to explore a swatch of images in X, Y, and Z space felt more like true exploration than the whims of the algorithm. I am curious to see where Soot goes next, and can only imagine how we might begin to push the norms of UX as ideas like this leave the web browser and entire spaces like VR. I honestly don't know if the next 20 years of visual interface looks more like this, or more like the conventions in the 20 years we've had before. But I do think that, in the era of AI and seemingly limitless processing, we need more experimentation rather than less. We need to stretch what we think might be possible before we settle for what's worked so far. 'We're not fully there yet. Right now we're in our GPT2 era,' says Harper, alluding to the moment before OpenAI went mainstream. 'The core users love it, but it's not ready for mass-market adoption.'

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