text:
Ephemera, 1975-1976
Sweet Thing
Prince doesn't shy away from the song's ostensibly feminine qualities; he accentuates them.
16 Comments on Sweet Thing
Chaka Khan by Glen Wexler.
In his recent cover story for Rolling Stone, reporter Brian Hiatt writes about what would become his final visit to Prince's Paisley Park complex, in January of 2014. At one point, he describes standing in front of a mural "where a painted image of Prince, arms spread, stands astride images of his influences and artists he, in turn, influenced" (Hiatt 2016). Among the "influences" depicted in the mural are the usual suspects from Prince's Grand Central days–Sly and the Family Stone, Tower of Power, Grand Funk Railroad–as well as Chaka Khan.
Maya Washington shows off the Paisley Park mural at a 2014 live-streaming event; Chaka can be seen near the middle, to the left of Stevie Wonder. Photo stolen from bArON3121's Twitter.
Indeed, Prince and Chaka go way back. As a teen, he'd been "a fan and a fanatic," he told the Philadelphia Daily News in 1998. "I used to run home and see everything she was on" (Pendleton 1998). According to biographer Jon Bream, the apartment where Prince lived around the time of his signing to Warner Bros. had "45 rpm records nailed to the wall next to a poster of Chaka Khan" (Bream 1984). During the recording of his 1978 debut album For You, he would listen to records by Chaka and her group Rufus to get in the right mood for his vocal sessions; "He absolutely loved that girl," assistant engineer Steve Fontano recalled to biographer Per Nilsen (Nilsen 1999 37). At one point, Prince even lured Chaka to the Record Plant by pretending to be Sly Stone over the phone. When she showed up, he later remembered, "I was so in awe of her I couldn't speak, so she listened to me play for a little while, then she left" (Pendleton 1998).
I was so in awe of [Chaka] I couldn't speak, so she listened to me play for a little while, then she left.
(The Artist Formerly Known as) Prince
Chaka Khan, circa 1976; photo stolen from Music and Wisdom.
Obviously, Chaka was a sex symbol; to be a Black teenager lusting after her in the mid-1970s was the rule, not the exception. But Prince's fixation with her was much more complex and interesting than a simple crush: she was a genuine influence on his growth as a singer, as much as Carlos Santana was an influence on his growth as a guitarist. At the risk of overstating things, it's important to acknowledge the context here. The pop music world, Black and White, has always been heavily stratified along gender lines, with unequivocally male artists firmly at the top of the hierarchy; for a heterosexual 17-year-old or 18-year-old boy to view a woman artist as a role model is, frankly, still an anomaly to this day. 40 years ago, it was evidence of an astonishingly bold artistic direction.
Prince's 1976 recording of Rufus' "Sweet Thing" demonstrates just how bold that direction was. He doesn't shy away from the song's ostensibly feminine qualities; he accentuates them. When Chaka sings "Sweet Thing" (see below), it is in its own way a subtle undermining of gender roles: her performance is strong and assured, providing the gospel-inspired "heat" and "fire" to complement her (male) band's silky, demure musical backing. But when Prince sings it he takes on a more passive, plaintive role, the kind more typically associated with a woman: his falsetto is so delicate and fragile, one can almost imagine it blowing away like dandelions in the wind. And at the very moment in the song when Chaka's vocals reach the peak of their power–the aforementioned "you are my heat, you are my fire" lines in the bridge–Prince just gets more vulnerable, softly harmonizing with another track of himself singing in an even higher register.
Chaka Khan and Rufus perform "Sweet Thing" in 1975.
This reversal of gendered expectations would, of course, become a hallmark of Prince's artistic persona. One of his most significant contributions to the cultural history of pop music was his inversion of the hypermasculine, hairy-chested "soulman" archetype of contemporary R&B artists like Teddy Pendergrass, presenting himself instead with a softer, more coquettish (if equally hairy-chested) seductiveness. More than any other singer before him, he made himself both subject and object of what feminist psychoanalytic theorists term the gaze, upsetting the whole gendered imbalance of power in the process. And what's most remarkable is that he was already well on his way to doing so when he was still a kid just out of high school, recording acoustic cover songs in his friend André Anderson's basement.
(The Artist Formerly Known as) Prince and Chaka Khan perform "Sweet Thing" in 1998.
Prince's "Sweet Thing" cover also marked the prelude to a decades-long artistic kinship with Chaka Khan. Most obviously, Chaka made his 1979 song "I Feel for You" into a massive hit in 1984–albeit with a frenetic arrangement that borrowed more from New York's emergent freestyle scene than from Prince's "Minneapolis Sound." But their mutual appreciation extended much further. Prince wrote, produced, and performed on "Sticky Wicked" for Chaka's 1988 album CK; the same record also featured a version of Prince's "Eternity" recorded without his input. 10 years later, she signed to Prince's NPG Records, recording another album (Come 2 My House) and joining him onstage on several occasions, including the August 28, 1998 performance at London's Café de Paris filmed for the U.K. television special/home video release Beautiful Strange (see above). "Sweet Thing" in particular remained a staple in Prince's live repertoire all the way up to his final months: his last known performance of the song was on February 20, 2016 at the Sydney Opera House, the fifth date of his tragically truncated Piano & a Microphone Tour.
As for Ms. Khan, she publicly commemorated Prince with the following tweet on the day of his death, including a photo of the two of them together circa 1998:
I LOVED him, the world LOVED him. Now he's at peace with his Father. Rest in power, @prince, my brother. pic.twitter.com/ZN6cc3WWuF
— C H A K A | K H A N (@ChakaKhan) April 21, 2016
We'll be back on Friday afternoon with another song from 1976–this one actually written by Prince.
(Thanks to Randall in the comments for reminding me of Chaka Khan's 1988 collaboration with Prince.)
(Rufus featuring Chaka Khan, 1975)
Electric Fetus / Spotify / TIDAL
Tags 1976, 1978, 1988, 1998, 2004, 2011, 2016, andre cymone, beautiful strange video, cafe de paris, carlos santana, chaka khan, eternity, forum, i feel for you, npg records, paisley park studios, piano & a microphone tour, prince, record plant sausalito, rufus, russell avenue, sly stone, steve fontano, sticky wicked, sweet thing, sydney opera house, warner bros records
By Zachary Hoskins
Recovering academic. Music writing at Slant, Spectrum Culture, and elsewhere. I also do podcasts with my little sister as Dystopian Dance Party.
← Dystopian Listening Party Podcast, Jheri Curl June Edition: Jamie Starr's a Thief → I Spend My Time Loving You
16 replies on "Sweet Thing"
Cliffsays:
How fitting! Grew up listening and loving those two artist. The day he died I waited to hear from two of his peers. Larry and Chaka. This whole thing is tragic beyond belief to me and a whole lotta folk. Wish I could make it go away…..
Zach Hoskinssays:
Man, you and me both. I'm still not over it. Thanks for reading!
Stephaniesays:
I'm still devastated. Thank you for this article.
Thank you! As you can see, my coping strategy has been total immersion.
Good strategy! Everyone I know seems to have moved on…there are those awkward pauses in conversation like, "Oh, you're still on that?" It's been helpful to find others online who are still grieving this treasure of a human being.
Yes, say what you will about social media, but I love the way it's been used as a kind of public forum for grieving this year, first with Bowie (who also hit me pretty hard) and then with Prince. I'm also not mad at the explosion of Prince outtakes that have been showing up on YouTube, etc., though I'm sure that will end soon now that the estate is being sorted out.
Debsays:
I was at that particular concert on that day and saw them singing together. I treasure the moments and returned to see him 6 times after during his tour. I'm still devastated… # RIPPurpleOne #TrulyAdoreYou
That's amazing! I can't tell you how much I regret not seeing him live more often when I still had the chance. Chaka sounded great in that performance, too…she's still got it.
Michaelsays:
Every time I think about him being gone….I tear up. Loved this guy like he was my little brother…
It's crazy. I took for granted that he'd still be around a long, long time.
Funny you should say that. I had just teared up. The Baltimore gig came to mind, and his overall big-heartedness for the underdog.
A Whitesays:
Great read and great website
Randallsays:
Excellent site. I've just caught up on all the posts, and I enjoy your writing. For this post, it might also be worth mentioning Prince's contributions to Chaka's 1988 album CK — he wrote, performed on, and produced "Sticky Wicked" (which also features Miles Davis), and she covered his song "Eternity" without his input.
Good catch! I will definitely be talking about "Sticky Wicked" in…well, I'd rather not contemplate how far away that will be, hahaha. But for the time being, you're right, I should drop in a mention here. Making the edit now. (Thanks for reading!)
mstonyapsays:
Thank you so much for referencing my article in this piece. This was my first visit to Paisley Park and the only one while Prince was still alive. I remember it in flashes but Paisley still feels like home to me visiting all these years later. Thanks for crediting me, it is so appreciated. – Tonya Pendleton


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text:
Final Fantasy XV had the second biggest launch for a Final Fantasy game
Final Fantasy 15 has seen the second biggest launch ever in the history of the Final Fantasy franchise, just behind 2010's Final Fantasy 13.
FIFA 17 has still managed to take the top spot on the charts, but Final Fantasy 15's debut was still very impressive, as reported by GFK, who have released that it is the second biggest launch in Final Fantasy history.
Meanwhile, Call of Duty: Infinite Warfare and Battlefield 1 have managed to take the number three and four spots, respectively, with Pokémon Sun and Moon dropping to the number 8 and 9 spots, respectively.
Uncharted 4 is still in the top ten at number 7, and Watch Dogs 2 is sitting at number 6.
It's no surprise that Final Fantasy wasn't able to top FIFA, as massive franchises like that also appeal to casual gamers get a wider market, so a number 2 spot to FIFA is still a fantastic place to be.
Surely, Square Enix is happy.
Tags: Final Fantasy XV, Square Enix

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ALFRED will be Attending MFF 2019!


The moon was a perfect crescent. I was petrified but exhilarated. I looked to the sky fro my future. I thought, here and now is where I am supposed to be. But where am I going? I know the moon will guide me. Or not. Maybe Not.
I'm not sure anymore. Things used to make more sense. I could stare at moons and shapes all day and still be the same old person. The same confused girl trying to make things work. It's hollow. There are no escape routes or paths. All I see are the same old things everyone else sees now…and I can't think of a damn thing for this word but moon, moon, moon.
Crescent shaped little cheese slices. They eat them all. Because they taste smokey. Bu they didn't eat the labna. Too citrus-tasting. I think they would have liked it with some lavosh. Weak weak palates. Maybe they'll change.
It was a crescent moon last night, and I thought of you. I thought of the Cheshire Cat coming down and giving me a wonderful, beautiful riddle to lead me to you. To lead me to what my dreams have shown, my dreams of absolute regret, my dreams that we were there, intertwined like vines who've grown together over time.
The crescent moon was beautiful in the night sky. It must have been the same moon he was looking at as he scurried through the fields heading north. It was the same dream I had, but could never find the courage to make a reality. The moon has a way of making people wish for so much more.
The crescent of the moon is beautiful on a cloudless night. It's like a crust of pizza bitten to the ends.
The shades were just barely parted, allowing a slim sliver of soft silver light from the to slip into the room, sliding across the bed to lie on her naked flesh and mirror the moon's crescent shape in the curvature of her skin.
The shades were just barely parted, allowing a slim sliver of soft silver light to slip into the room, sliding across the bed to lie intimately, tangentially, on her naked flesh and mirror the moon's crescent shape in the subtle curvature of her skin.
Her tears slid down the side of her face; a crescent river. It shimmered, glimmered and seemed crystalline and so painfully beautiful at the same time.
I saw the crescent moon drop out of the clouds like a mirror into a lake. It was the most beautiful thing I have ever seen. More beautiful than my mother's green, sparkly eyes. That moon was like a positive, hopeful beam of life. And at that moment, I was alive.
The crescent moon rose over the hill after midnight. Emile sighed in relief. It would be so much easier to carry on now that there was a little light to see by. He'd stumbled and fallen more times than he could count already. But he couldn't stop. Not yet.
What does it matter if the moon is new, or is full tonight? Just as long as it reflects in you, i wouldn't mind the moon not shining, as long as i see your soul through your crescent eyes.
Upon the sky it travels slowly, undercored by all that it is not showing. Shadows bask the entirity of it's face yet still that slive is beautiful and transcendent. All that we do not see leaves inb imagination all that we do know is there. It mirrors what we see in one another.
The crescent moon, Jupiter and Venus all in a row in the beautiful black sky. So bright and breathtaking, she realised that she was simply a speck of dust on this earth, no more, and resolved to stop becoming involved with the mere trivia of life. It was about time she helped all the petty, inconsequential factors fade away. This was good for her. She smiled a real smile for the first time in years.
Your smile like an ache, like the taste of moonlight, like sleeping in on Sunday mornings. Your fingertips playing on the staircase of my spine. Your pale hands in my hair. Your voice in the dark. I am a tangle of thoughts about you.
crescent. crescent was the shape of the moon that night. the moon, my only company as i walk the streets without you.
full moon is beautiful, but i find crescent more mysterious. crescent is more like us, looking feeble yet shining. it's getting full, and when it is, it goes back to crescent. again.
The crescent moon shone above us, as we met by moonlight. A single sliver of light to witness our lips, touching briefly as we parted. The smallest part of the moon. The larger part of our goodbye.
The moon was just a lonely crescent shape among the many stars in the night sky. It shon brighter than any star and Corrie was taken in by it. The moon had never interested her before, what was this curse and what had it done to her?
A planet seemed to hang from the crescent moon, like an earring, on that still, cold night. When she'd headed outside, she felt cranky and irritated, but the beauty of the night drew her in, as always. She began to relax.
C. R. E. S. C. E. N. T.
Craig ratcheted every section, concerning Evans neglected throttle.
The slim crescent peeked out behind scraggly branches that had long ago given up their leaves. Trusty Orion stood guard, bow at the ready, Sirius at his heel. And there I lay, beneath wandering clouds, missing you. Your memory kept me company. I wish you could have been there.
I sat beside the crescent waiting for him to arrive. He told me that he would be there for 5:30. I waited and I waited. Trying to look like I was busy doing other things like playing with my phone, twirling my hair, or looking out in the distance… But deep down, I just couldn't wait for him to sneak up on me. And he did. Holding my waist, looking over my shoulder to see what I was up too. I smiled and he smiled too. His hands just perfectly fit mine. "I missed you" I said.
The crescent moon hung in the sky. Not vertically, like a C but rather turned, like someone slouching in a hammock. In a few days it would be gone, then start to be reborn again.
shaped by the Tigris and the Euphrates.
Still there, and yet not.
The crescent moon has always fascinated me. I always wondered if it's points count cut the sky. if the reason you never saw any light inside it is if the stars were afraid. Afraid to get between the horns.
moon, glowing, shimmering in the night sky. curvalinear, clear and crisp. humming a soft, quiet lullaby.
right beside this glistening light.
A crescent moon in the sky, a fingernail, a half-thought, a smile. I don't know how to get next to you. The moon smiles on. White and wondersome and wily. 'Yes, yes you do.' I can't help but see a laughter-line eye, a wink.
It was at that time, during the war, the flag flew there above the dome, when the dome was another dome, and William was still alive, and we would laugh and sing at night, even when we knew the enemy was listening. Then the tanks came. And the bombs fell. And William went away for good and I was left with Mom and Dad, and then Dad left too.
the cresent at the end of my street is home to lossom hills and mouse holes, they themselves have their own culdysack in which they have many cresents, each one holds a differnt story and a differnt answer, each mouse has its own life created in one of these beautiful humble of boads!
They are delicious rolls. They can be used for anything! I make pizza appetizers out of them or wrap them around hot dogs. My kids love that. I used to get teased because I would eat more than my much larger brothers when their were crescent rolls on the table. I am not a dessert person, but I'll have another crescent roll as a dessert instead. I like to put butter on top after baking.
A red crescent moon, with a beautiful young anime girl in a flowing dress reclining inside the curve. Impossible. The moon just looks like it shrinks into that crescent shape, but really it's still a sphere… Oh, I'm being rational again. Jess would be annoyed if she heard me pondering some silly anime picture that I found on the internet for its physical possibility.


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text:
Q: CSV to Multi-Value Dictionary?                 Title_1                                Title_2         Type
 He heard it from space  A quick story about sounds from space      Fiction
    The end of all time       A sad poem about the end of time  Non-Fiction
  The perfect beginning               A story about friendship  Non-Fiction

I am trying to count all the Fiction, Non-Fiction Types and count the number of words in Title_1 and Title_2 for the corresponding Types.
My desired output would be:
Type         Count  Num-Words
Non-Fiction   2       20
Fiction       1       12

This is what I have so far:
fopen =  open(file_name, 'r')
fhand = csv.reader(fopen)
next(fhand)
category_sum = dict()
for row in fhand:
    col_0=len(row[0].split())
    col_1=len(row[1].split())
    print( col_1 + col_1)
    if row[2] in category_sum.keys():
        category_sum[row[2]]+=1
    else:
        category_sum[row[2]]=1

I can get the total for the types in a nice dictionary, but I can't seem to figure out how to assign the word count to the appropriate type as a value in the dictionary.
Any ideas?

A: You can save dictionary as the value where one of the keys would be Count and the other Num-Words. So you dictionary value assignment may look like:
# num_of_words =
if row[2] in category_sum.keys():
    category_sum[row[2]]['Count']+=1
    category_sum[row[2]]['Num-Words']+=num_of_words
else:
    category_sum[row[2]]={}

A: You could do it like this:
import csv

file_name = 'book_titles.csv'

with open(file_name, 'r', newline='') as fopen:
    reader = csv.reader(fopen)
    next(reader)  # Skip header.
    category_sum = {}
    for row in reader:
        category_sum[row[2]] = category_sum.get(row[2], 0) + 1

print(category_sum)  # -> {'Fiction': 1, 'Non-Fiction': 2}

A: Use pandas:

*

*Create the dataframe

*Combine both titles, split on the spaces and count the words in the list created by split

*groupby on Type, then aggregate the count and sum functions.

*

*reset_index and rename to get the exact form desired.

import pandas as pd

# read the file in
df = pd.read_csv('file.csv')

                Title_1                                Title_2         Type
 He heard it from space  A quick story about sounds from space      Fiction
    The end of all time       A sad poem about the end of time  Non-Fiction
  The perfect beginning               A story about friendship  Non-Fiction

# count the words in Title_1 & Title_2
df['num_words'] = df[['Title_1', 'Title_2']].apply(lambda x: len(f'{x[0]} {x[1]}'.split()), axis=1)

                Title_1                                Title_2         Type  num_words
 He heard it from space  A quick story about sounds from space      Fiction         12
    The end of all time       A sad poem about the end of time  Non-Fiction         13
  The perfect beginning               A story about friendship  Non-Fiction          7

# create your desired output
test = df[['Type', 'num_words']].groupby('Type')['num_words'].agg(['count', 'sum']).reset_index().rename(columns={'count': 'Count', 'sum': 'Num-words'})

        Type  Count  Num-words
     Fiction      1         12
 Non-Fiction      2         20

*

*That's 3 lines of code to get the desired output

*With the data in a dataframe, you can more easily perform other types of text analysis, if desired (e.g. Text analysis: finding the most common word in a column using python)

Getting output in a dict:
test.to_dict('list')

>>> {'Type': ['Fiction', 'Non-Fiction'], 'Count': [1, 2], 'Num-words': [12, 20]}

A: This is what I ended up using:
fhand = csv.reader(fopen)
next(fhand)
category_sum = dict()
word_sum = dict()

for row in fhand:
    num_words = len(row[0].split(" ")) + len(row[1].split(" "))
    if row[2] in category_sum.keys():
        category_sum[row[2]]+=1
        word_sum[row[2]]+=num_words
    else:
        category_sum[row[2]]=1
        word_sum[row[2]]=num_words

combined = {key:[category_sum[key],word_sum[key]] for key in category_sum}
#print(combined)
print("Category | # Titles | # of Words\n---------------------------------")
for key in combined:
    print("{}   |   {}  |   {}  ".format(key,combined[key][0],combined[key][1]))

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text:
Q: A question on stochastic integral I have a question in some middle steps of a proof of some theorem.
Here is the condition we need:
Let $B(t)$ be an $\mathbb{R}^m$-valued Brownian motion. Consider the $\mathbb{R}^n$-valued SIE,
$$X_t=x+\int_a^t f(s,X_s)ds+\int_a^t \sigma(s,X_s)dB(s),\quad a\leq t\leq b$$
where the matrix valued $\sigma(t,x)$ and vector valued $f(t,x)$ are measurable and satisfy linear growth and Lipschitz condition. Assume that $\sigma(t,x)$ and $f(t,x)$ are continuous on $[a,b] \times \mathbb{R}^n$.
I am trying to show that
$$\mathbb{E}\left( \int_{t}^{t+\epsilon}f_i(s,X_s)ds \int_{t}^{t+\epsilon}f_j(s,X_s)ds \right)=O(\epsilon^2)$$
My attempt:
\begin{align}
& \mathbb{E}\left( \int_{t}^{t+\epsilon}f_i(s,X_s)ds \int_{t}^{t+\epsilon}f_j(s,X_s)ds \right) \\
& =\mathbb{E}\left( \sqrt{\left[\int_{t}^{t+\epsilon} f_i(s,X_s)ds\right]^2} \sqrt{\left[\int_{t}^{t+\epsilon} f_j(s,X_s)ds\right]^2} \right) \\
&\leq \mathbb{E}\left( \left[\epsilon\int_{t}^{t+\epsilon} f_i^2(s,X_s)ds\right]^{1/2} \left[\epsilon\int_{t}^{t+\epsilon} f_j^2(s,X_s)ds\right]^{1/2} \right) \quad \text{Cauchy-Schwartz} \\
& =\mathbb{E}\left( \epsilon\left[\int_{t}^{t+\epsilon} f_i^2(s,X_s)ds\right]^{1/2} \left[\int_{t}^{t+\epsilon} f_j^2(s,X_s)ds\right]^{1/2} \right) \\
& =\epsilon\mathbb{E}\left( \left[\int_{t}^{t+\epsilon} f_i^2(s,X_s)ds\right]^{1/2} \left[\int_{t}^{t+\epsilon} f_j^2(s,X_s)ds\right]^{1/2} \right) \\
& =\epsilon \left( \left[\int_{t}^{t+\epsilon} \mathbb{E}\left(f_i^2(s,X_s)\right)ds\right]^{1/2} \left[\int_{t}^{t+\epsilon} \mathbb{E}\left(f_j^2(s,X_s)\right)ds\right]^{1/2} \right) \\
\end{align}
First question: I am unsure about the validity of the last equality. Why $f_i$ and $f_j$ are independent to each other? Is it because $f$ and $\sigma$ are deterministic functions?
If it's correct, then I may continue as follows:
\begin{align}
& =\epsilon \left( \left[\int_{t}^{t+\epsilon} \mathbb{E}\left(f_i^2(s,X_s)\right)ds\right]^{1/2} \left[\int_{t}^{t+\epsilon} \mathbb{E}\left(f_j^2(s,X_s)\right)ds\right]^{1/2} \right) \\
& \leq \epsilon \left( \left[\int_{t}^{t+\epsilon} C_1(1+\mathbb{E}(|X_s|^2)) ds\right]^{1/2} \left[\int_{t}^{t+\epsilon} C_2(1+\mathbb{E}(|X_s|^2)) ds\right]^{1/2} \right) \\
& \leq \epsilon \left( \left[\int_{t}^{t+\epsilon} C_1' ds\right]^{1/2} \left[\int_{t}^{t+\epsilon} C_2' ds\right]^{1/2} \right) \\
& =O(\epsilon^2)
\end{align}
Second question: For the first inequality above, I used the condition that the $f$ satisfies linear growth condition: $|f(t,x)|^2\leq C(1+|x|^2)$. But then how do I show $\mathbb{E}(|X_s|^2)$ is finite? I know it may be related to quadratic variation property of Brownian motion, but how do I write out the proof rigorously?

A: \begin{align}
& \mathbb{E}\left( \int_{t}^{t+\epsilon}f_i(s,X_s)ds \int_{t}^{t+\epsilon}f_j(s,X_s)ds \right) \\
\leq & \sqrt{ \mathbb{E}\left(\int_{t}^{t+\epsilon}f_i(s,X_s)ds\right)^2 \mathbb{E}\left(\int_{t}^{t+\epsilon}f_j(s,X_s)ds \right)^2 } \\
\leq & \sqrt{ \mathbb{E}\left(\epsilon\int_{t}^{t+\epsilon}f_i^2(s,X_s)ds\right) \mathbb{E}\left(\epsilon\int_{t}^{t+\epsilon}f_j^2(s,X_s)ds \right)} \\
\leq & \epsilon\int_{t}^{t+\epsilon}\mathbb{E}\left(1+|X_s|^2\right)ds \\
= & O(\epsilon^2)
\end{align}


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And you are "supposed" to used this for extra $$$ when Fable Starts?!?
If you are not going to buy Fable 2 then this game is not for you.
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The worst XBLA game that actually costs money.


Sophia A. Bostwick, 93, of West Michigan Street, Port Washington passed away peacefully on Saturday, June 16, 2012 at Aurora Medical Center in Grafton. She inspired many through her love of family, nature and living a simple, fulfilling life. She enjoyed sharing with others the bounties of her gardens and delicious home cooking. She loved laughing and social times with neighbors and friends.
Sophie was born on April 12, 1919 in Millston, WI to Frank and Mary Jerse Novak. She was raised on a farm along with six sisters and three brothers. Later the family farmed in Grafton. In her youth she had waitressed at the former Mayer Hotel in Port Washington. On November 11, 1944, she married Howard B. Bostwick of Port Washington at St. Marys Catholic Church in Port Washington. They raised seven children instilling in each the values of education, hard work, care of the environment and empathy for others. Sophie was a proud and loving wife, mother and grandmother. She was preceded in death by her husband Howard on March 22, 2003 and her son Edward.
She is survived by her children Nova (Gary) Mijal of Prairie de Sac, Beth McQuade of Chatham, Illinois, Mary Ann Bostwick of Brisbane, California, Allon Bostwick of Fond du Lac, Dennis (Janet Sperger) Bostwick of Beaver Dam and Scott (Joan) Bostwick of Whitefish Bay and daughter-in-law Mary Bostwick of Wauwatosa. Further survived by 17 grandchildren, five great-grandchildren, sister-in-law Leona Lee Bostwick of Deerfield, Wisconsin, brother-in-law John Torke of Port Washington and Cousin Mitzi OBert of Carlsbad, California, other relatives and friends. She leaves behind many endearing relatives and friends.
Mass of Christian Burial will be celebrated at 2PM Friday, June 22, 2012 at St. Marys Catholic Church, Port Washington. Reverend Thomas Lijewski will be the celebrant. Visitation Noon-2PM Friday AT CHURCH. Interment in St. Marys Cemetery, Port Washington. Memorials to the Port Washington Historical Society, PO Box 491, Port Washington or the Judge Eghart House Museum, PO Box 87, Port Washington are appreciated.
The family thanks the staff of the Port Washington Harbor Club and Aurora Medical Center Grafton for their loving kindness and quality care. The family also thanks Aurora Hospice for their support.


text:
Theatre Whats On
Disinformation and martyrs – Joe Harmston's production of The Rubenstien Kiss is bravely executed and painfully topical
24 March 2019 25 March 2019 Toby Porter	0 Comments
Nationalism, extremism, espionage, witch hunts – these are all epithets for society today.
Yet look back 60 years and these words were just as evocative, conjuring up McCarthyist fear, national distrust and swathes of people dying for their convictions.
In 1953, US citizens Julius and Ethel Rosenberg were executed for conspiring to pass atomic secrets to Russia, having been named to the authorities by Ethel's brother David Greenglass.
Husband and wife refused to confess to the FBI, staunchly maintaining their innocence until finally, three years after their arrest, the two were led to the electric chair. Their final moments together were immortalised when a photographer captured the couple's last passionate embrace in the back of a police van – the Rosenberg kiss.
Here in the Southwark Playhouse, director Joe Harmston transports us to the imagined world of these cult heroes/villains. In his production of James Phillips's 2006 play The Rubenstein Kiss, Harmston's excellent cast offer a glimpse of how the Rosenbergs – now Rubensteins – might have lived, and invite the audience to issue our own verdicts on the couple's motives and legacy.
The action begins in 1975 in a New York gallery, where a young man and woman first meet. Anna (played by Katie Eldridge) is an unreserved history teacher who views the past with a proud lack of nostalgia. Matthew (Dario Coates) is an idealistic law student, who listens happily to his new friend's dissection of the surrounding art. He flirtily teases her as she analyses a portrait of Marilyn Monroe, explaining the famous bombshell's relationship with her "made-up dad" Clark Gable, but pricks up defensively when she turns to a different picture: The Rubenstein Kiss. "They were innocent, they did nothing wrong," he says, ending the subject.
Yet, the subject has only just begun. We are swiftly taken back to the 1940s, where the set, unchanged, transforms into the flat of a young couple. Esther Rubenstein lays a white cloth on the central oak table and sings Un Bel Dì, 'One fine Day' – an aria from Puccini's Madame Butterfly.
From here, Phillips takes us on a psychological journey through time, not space. The set, designed by Harmston and Sean Cavanagh, is sparse and symmetrical, configured more like a courtroom than a theatre. The props are minimalist and consistent throughout, meaning that scene changes largely rely on Matthew Buggs' ominous crackling soundscapes and Mark Roberstson's flickering lights. The focus is more on character than context. Are we in 20th Century America, are we in Brexit Britain? It doesn't really matter. What matters are notions of truth, memory, treachery and notoriety, and what we the audience make of them.
Ruby Bentall and Henry Proffit are striking as Rosenburg doppelgängers Esther and Jakob Rubenstein, while Sean Rigby plays Esther's brother David with burdened poise. Eva-Jane Willis carries the ambiguous character of David's wife Rachel with carefully balanced strength and vulnerability, and Stephen Billington is every bit the smooth-talking FBI agent. Special credit must be paid to Katie Eldred who, as Anna, has made her professional theatre debut. She is mature and bold in her portrayal of the tortured historian, and shows promise for a very bright future on the stage.
"Hope for the future" is what Jakob clings to, a dream that everything will "work out" in the end. At a time of political, cultural and economic uncertainty, it's a hope that's never rung truer.
14 March – 13 April 2019
Monday – Saturday: 7.30pm, Matinee Tuesday & Saturday: 3pm (Standard £22, Concession £18)
Running Time: 165mins (including interval)
Venue: Southwark Playhouse, 77-85 Newington Causeway, London SE1 6BD
← A villain who uses race to incite murder – small theatre's Raj-based Othello has Moor power
Music: SoFF Music Jazz Jam →


text:
Almost everything we thought we knew about the 2017 election is wrong
A new study has upended much of what we thought cost the Conservatives their majority.
By Stephen Bush
Follow @@stephenkb
In 2015, David Cameron became the first Conservative leader in 22 years to win a parliamentary majority and thus far the only Tory leader to win a parliamentary majority in the 21st Century. While the size of the majority at Westminster was small, the scale of the triumph in individual seats was enough to make it all but certain that the Conservatives would remain in power not only for the length of the 2015 parliament but following the next election as well.
Symbolising the triumph was the Tory forward march among ethnic minority voters: the Conservative Party polled a million ethnic minority votes, according to a much-hyped Survation poll shortly after the election result.
Then there followed an election in which Theresa May lost that majority following a political playbook based around consciously abandoning the political approach preferred by David Cameron. The Conservative pain point appeared to be in two groups: social liberals and affluent ethnic minorities. If the Tories had done as well in the 100 most diverse seats as it did in 2015, then May would have retained her majority, albeit a still-smaller-one than that enjoyed by Cameron.
Thanks to a new study and analysis for the Runnymede Trust by Manchester University's Nicole Martin, we now know that essentially everything we thought we knew about the 2015 election, the Conservative Party and ethnic minorities is wrong: there was no breakthrough in 2015, although the Conservatives did make small but significant gains from 2005 to 2010 among ethnic minority voters.
In addition, the political pattern in the 2017 election turns out to be more complicated than we thought. The pattern in 2017 was of the Conservative Party falling back with British voters of Pakistani and Bangladeshi descent, but from a lower base than previously expected. Among British voters of African descent, the party trod water.
The Conservative Party did significantly better with British Hindus in 2017 than in 2010 or 2015, going up from 30 per cent of the vote in 2010 to 40 per cent in 2017. Among British Jews, according to the University of Manchester's long-running survey of voting behaviour by voting groups, the Conservative Party did significantly better in 2017, going from a dead heat between Labour and the Conservatives in 2010, with 63 per cent of British Jews voting Conservative and just 26 per cent backing the Labour Party.
All of which, added together, means that our understanding of what went right for the Conservative Party in 2015 and wrong in 2017 requires something of a rethink. The question of how the Conservative Party does among minorities is going to become more acute in future as the British electorate becomes more diverse and the minority electorate becomes more diffuse. Before the 1987 election – the last election to produce an enduring Conservative majority – there were no seats in which more than 30 per cent of the population was from an ethnic minority. There are now 110.
In 2017, the Conservative Party was able to retain office thanks to an infusion of older white voters without degrees who largely backed a Leave vote, but there are two reasons why this coalition doesn't look futureproof. The first is that, bluntly, the proportion of older white voters without degrees is set to decline through mortality and demographic change, and more worryingly is not well-optimised to win power under first past the post. The second is that it is hard to see how the Conservative Party can continue to win majorities on the back of Leave voters when the expectations voters have of Brexit are both high and varied. The Tory party's 2017 coalition is now disproportionately vulnerable to a Ukip revival in a way it wasn't under Cameron.
So what does this new information tell us about the Conservative Party's present and future?
The significant lesson is that Cameron's big electoral success wasn't among well-paid ethnic minorities but among their white neighbours. This is revealing of a broader part of the importance of David Cameron's political project: it's not just that in a more diverse democracy, you need to get ethnic minorities to vote for you – in a diverse, fairly well-integrated democracy like the United Kingdom, increasingly it will be a bar that has to be passed among white voters, too.
The bad news is that having thrown that into reverse, and with the position among ethnic minority voters worse than we thought, that challenge looks a lot bigger than advertised.
What about the two minority groups that May did better with than Cameron? Well, that's more of a mixed picture. The Conservative Party can take no useful lessons from its improved position with British Jews from 2015 to 2017 as it is, visibly and obviously, something that has very little to do with a positive offer from the Tory party and everything to do with the changing relationship between the Jewish community and the Labour Party. There are no useful positive lessons to be taken from the improved electoral performance of May over Cameron.
There is however a useful negative lesson, which is that it doesn't matter how well-aligned you are on other issues, if you are not trusted to look out for the interests of a minority group, that group won't vote for you. The one good news story for the Conservative Party lies in the British Indian community, which in many ways is behaving in exactly the way a Tory strategist would hope – as British Indians become more affluent they become more inclined to vote Conservative, and that pattern is stronger still among specifically Hindu voters.
But there's a sting in the tail here: in the movement away among British voters of Bangladeshi and Pakistani descent, particularly Muslim ones, from 2015 to 2017. Again, as with the movement away from the Labour Party among British Jews, you don't need to be Hercule Poirot to work out what has happened here: a political party that has licensed Islamophobic campaign techniques in the country's capital and been sluggish at best to expel activists and councillors sharing Islamophobic content is not going to win support from British Muslims, even if they become more affluent.
And that's perhaps the most important lesson here: that the Conservative position among ethnic minorities is worse than we thought and that a great deal of work, both in terms of increasing affluence and reducing the reasons why ethnic minority voters distrust the Conservative Party, is required.
› Let Me Not Be Mad: powerful case histories of unravelling minds
Stephen Bush is political editor of the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to domestic and global politics.
Keir Starmer discusses foreign policy and conversations with Barack Obama
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The United States has a long history of welcoming immigrants from all over the world.
Through the landmark publication Welcome to the United States: A Guide for New Immigrants, the USCIS offers a comprehensive guide containing practical information to help immigrants settle into everyday life in the United States, as well as basic civics information that introduces new immigrants to the U.S. system of government.
This guide is available in 14 languages. Welcome to the United States is also available for purchase in English, Spanish, and Chinese through the U.S. Government Printing Office (GPO).


Photo, Print, Drawing Adams, Prof. H.B. John Hopkins Univ.
Adams, Prof. H.B. John Hopkins Univ.
- Annotation from negative, inked on tape: H.B. Adams, 135 [crossed out].
Title from unverified information on negative sleeve. Annotation from negative, inked on tape: H.B. Adams, 135 [crossed out]. Credit line: Brady-Handy photograph collection, Library of Congress, Prints and Photographs Division. Purchase; Alice H. Cox and Mary H. Evans; 1954. General information about the Brady-Handy photograph collection is available at https://hdl.loc.gov/loc.pnp/pp.brhc Forms part of: Brady-Handy photograph collection (Library of Congress).
Adams, Prof. H.B. John Hopkins Univ . , None. [Between 1870 and 1880] Photograph. https://www.loc.gov/item/2017893471/.
Adams, Prof. H.B. John Hopkins Univ . , None. [Between 1870 and 1880] [Photograph] Retrieved from the Library of Congress, https://www.loc.gov/item/2017893471/.
Adams, Prof. H.B. John Hopkins Univ . [Between 1870 and 1880] Photograph. Retrieved from the Library of Congress, <www.loc.gov/item/2017893471/>.


A 2C opening bid is strong, artificial, and forcing for one round. With a balanced hand, 22 HCP are required; with an unbalanced hand, opener needs at least 17 HCP and 8 1/2 quick tricks or a one-suited hand within one trick of game.
Several responses will be discussed. Different experts recommend slighty different requirements for some of these bids. The responses discussed here are the most current treatments.
1. Two Diamonds Waiting: Responder bids 2D unless holding a positive bid, defined as a good 5-card major headed by at least two of the top three honors plus some extras totaling at least 8 points. The bid of three in a minor usually requires a 6-card suit. Without a 6-card suit, make a waiting call of 2D. Responder does not bid 2NT, even with a balanced hand and 8+ HCP. Opener may or may not have a balanced hand, however, if the opener is a balanced hand, opener should have the chance to show the balanced hand over 2D so as to become declarer. If responder bids 2D and opener bids 2NT (22-24 HCP) or 3NT (25-27 HCP), systems are ON (Stayman, Jacoby Transfers, Texas, Smolen, etc.). 2NT is not a forcing bid and may be passed. Second Negatives do not apply over the 2NT bid.
2. Two Diamonds Negative: Bid regardless of hand shape and strength to allow opener to better describe the opening hand.
3. Graded Responses: Responder bids up-the-line to describe his HCP except responder does not bid 2NT. Reserving 2NT for opener is not a universal treatment, but the logic is sound.
4. Controls: RECOMMENDED. Responder bids up-the line to show the number of aces and kings held. An ace is assigned two points and a king one point. Again, 2NT is not reserved for opener but the number of controls shown by a 2NT bid (3) shows specifically 3 kings. The advantage of this is that if the final contract is in NT, the lead will be coming up to responder's kings.
~2D shows no aces and zero or one king.
~2H shows one ace or 2 kings.
~2S shows one ace and one king.
~3C shows two aces or 1 ace and two kings.
~3D shows two aces and a king or one ace and three kings.
~3H shows three aces or 2 aces and two kings.
Note that in the rare instances that responder's holdings exceed 4 controls, the bidding continues up-the-line. If opener has a balanced hand and 22-24 HCP, any response other than 2D shows enough combined points for game. Responder may also hold additional HCP. Opener will describe his hand after the initial response.
have a good basis for a pass or another bid.
determine the actual aces and/or kings held.
determine if game is a possibility.
If opener's subsequent bid is a suit-bid, that bid is forcing to game unless opener rebids the suit below game level.
After an initial response of 2D and a rebid by opener in a suit, responder may use the cheaper minor or 3NT over 3D to show 0-4 HCP (but never an ace). This bid is strictly artificial; all subsequent bids are natural.
Recommend responder bid as though the 2NT call were an opening 2NT bid (except with slightly more HCP).
Recommend responder use 4C as Stayman and 4D/4H/4S as transfer bids and use 4NT as Blackwood.
~A response of 6NT shows enough values to play at 6NT opposite a minimum in opener's hand for the 4NT bid (5-6 HCP). With 7-8 HCP, responder will bid 5NT, insisting on 6NT and inviting 7NT. With 32+ HCP, opener will bid 7NT over responder's 6NT.
~If responder makes a suit bid at the 5-level, it shows a long suit headed by at least the KQ and asks opener to evaluate this bid as a source of tricks before setting the final contract.
~3 of a major shows a 6-card suit headed by at least two of the top three honors and denies holding any outside aces or kings.
~4 of any suit shows a 7-card or longer suit headed by at least two of the top three honors and denies holding any outside aces or kings.
~3NT shows a suit of at least 6 cards headed by A-K-Q and denies holding any outside aces or kings. Opener can usually identify the suit through inspection of his own hand.
determine with partner which of a number of alternative approaches your partnership will use. Such responses can be found in Root's Modern Bridge Conventions. If the opponent overcalls in a suit, the approaches generally are to double for penalty, make a forcing pass, cue-bid to show a splinter and a positive hand (5 HCP or so), bid NT with a balanced positive response and a stopper, or bid your suit with good length and strength. The level of the opponent's overcall will determine the suit length required–generally, a good 5-card suit at 4H or below and a good 6-card suit for higher bids.
The strong artificial 2C opening is played by most all bridge players who play Standard American or Two Over One. PRECISION players do not use the 2C bid as strong.


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I saw this on ebay being sold by Branda Performance. It states it is an 'early' fiberglass trunk lid for a GT/CS since it has the hand laid fiberglass and no trunk lid light. I had never heard of 'early hand laid fiberglass' on the '68 Shelby or GT/CSs, but could this be one of the '67 or early '68 convertible Shelby prototype trunklids?
I checked my Feb 5 built GT/CS, and it also has the rough texture in the triangles on the bottom. I learned something new today.
Does it have the hole for the light?
I sanded on mine. It is rough and I thought they all were this way? Do we have a pick of a smoother one?
Mine also has the hole for the light.
Mine, well Don's (vetteslick) that is currently in my possession, has the rough texture and the rectangular hole for the trunk light, but of course, no trunk light.
here is what the correct texture for the back side of the trunk.
Do all the originals have that? I'm looking at another car and the deck lid texture looks right but it doesn't have a circular hole on the passenger side for the trunk light.
I've been searching through the site but can't really find an answer. I see some decklids shown as original that don't have those holes.
It's a rectangular hole that faces the front of the car. As far as I know all deck lids should have the hole, but as with anything Mustang-related I can't swear to it. Ford did some goofy stuff back then.
Last edited by Mosesatm; 09/11/2018 at 08:37 AM..
Thanks Arlie. Now I understand. I see that rectangular cutout on the driver side near the trunk latch.
I was thinking about this circular hole referenced in the book. Most of the decklids I've been looking at that I think are original, don't seem to have this circular hole.
I just looked at mine. Where the hole is where the wiring is shown, my car has a smaller hole, like the lower one in your picture, 68gulfstream. I believe the larger hole and wiring would be on a Shelby.
Mine has an indent in the area where the hole should be.
The hole should be on the other side.
I have a July car and don't have any holes for anything. But it does have the texture.
Tony Branda sells things that he claims are for Shelby's and CS or HC and states they are correct when they are not. Case in point I asked him a question on E-bay about some fog light covers he was selling, we got into a heated debate because he claimed they were correct and clearly they were not. I guess he got insulted because I called him out and asked me to stop emailing him and I asked him to stop lying. So do your due diligence with that guy.


text:
E3 2019 Interview: CD Projekt Red was having internal arguments about non-lethal playthroughs in Cyberpunk 2077, and feedback helped make the change
By Alessandro Barbosa
Cyberpunk 2077 was easily one of the biggest titles on show at E3 again this year, with a whole new 45-minute behind closed doors demo showing off some of the improvements CD Projekt Red have made in the past year. Along with the reveal of Keanu Reeves as a central character (playing Johnny Silverhand) and an April 2020 release date, the biggest change introduced to the RPG is the ability to play the entire story without killing anyone.
That's a drastic change to the criticism CDPR received for omission of this choice last year. We sat down with Lead Quest Designer Pawel Sasko to discuss why the change was introduced, and just how difficult it was to adapt all of the game's existing quest structures to support this. It turns out that Cyberpunk 2077 actually supported non-lethal runs in most of its missions already, with only a handful deemed to difficult to allow for the playstyle. After the feedback from last year's demo though and the increasing internal arguments of its inclusion, the change was made.
"So, the thing is, the situation that we had last year was that we mostly had it implemented," explained Sasko, "but there were some places where we were okay, here is probably too much work, or we have to re-work some stuff, to just make it happen. And then after the feedback we decided okay, we will just re-work the parts that we thought that we have to, that will require a bit more work to get that in."
The feedback to the demo shown at E3 last year and the public reaction to its release months later triggered the change at CDPR, who felt that the criticism was justification for the arguments being made by some designers to do the extra work and ensure the entirety of the game could be play non-lethally. With a lot of time until release too, Sasko explained that it was an easy choice to make.
"The feedback sort of triggered it. It seems that the people are saying the same things as we were. So, we have to do this. And the thing is in full production and I know that there is still plenty of things to work on but we still have a year, right?"
CD Projekt Red polled attendees to their demo last year on what they thought could be improved (which they repeated again this year) and one of the biggest criticism was directed at Cyberpunk 2077's gunplay. Sasko explained that the feedback they got suggested that it didn't look fluid. With a combination of small changes to its feel and the animations around combat, Sasko explained that the team put a lot of work into reworking the feel of combat to make it more appealing.
"So one thing that we have worked on, that was pointed out by media before, was the gunplay. We got told that it was not that good, it was not that fluid, the guns did not sound great and so on. So we put a lot of work into guns and we improved all the guns that were in before. This demo doesn't really show that because of course we wanted to show new things, but the gunplay was really a focus."
Cyberpunk 2077 certainly is looking better year on year, and with just under a year to go there's still time for CD Projekt Red to incorporate any lingering feedback from the demo at E3. Taking everything they hear into careful consideration is important, but it's just as critical for the team to filter what is useful and what isn't. In the case of player choice and approaches to combat, it seems the right calls are being made so far.
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