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William Donohue: Cuomo's obscene abortion law allows foot doctors to perform abortions
religion | Jan 28, 2019 | By William Donohue
Rev. Martin Luther King, Jr. had a dream: it was to unite the races. While that dream remains unfulfilled, much progress has been made, thanks largely to him. Gov. Andrew Cuomo also had a dream: to allow children to be killed in their mother's womb right up until birth by non-physicians. Now his dream has been realized.
It is indisputable that in the third trimester the baby is capable of feeling pain, so when the baby has his head punctured with a blunt instrument—that's what happens in partial-birth abortions—he feels it.
Cuomo has also sanctioned the killing of infants. Even babies who survive a botched abortion are now allowed to die unattended by staff. Infanticide is usually associated with Hitlerian regimes, not democratic ones.
Cuomo was so ecstatic about winning that he ordered One World Trade Center to light up the sky in pink. Red would have been a more apt choice.
It would be impossible to find any politician in the United States who is more enthusiastic about abortion than Andrew Cuomo. He is literally orgasmic about it. "Because it's her body, it's her choice. Because it's her body, it's her choice. Because it's her body, it's her choice."
Cuomo's three-time refrain was voiced in 2013. He failed then, largely because of the Republican controlled Assembly. But now that the Democrats own both houses of the legislature, he finally won. Gloria Steinem, who aborted her child when she was 22, was among the first to congratulate him. In his victory speech, the former altar boy ended by saying, "God bless you."
If this isn't demonic, the word has no meaning.
There are many parts of Cuomo's bill that are obscene, but there is one part that deserves special mention. That is the part that allows eye doctors, foot doctors, teeth doctors and others to perform abortions.
I am not making this up. Cuomo's bill allows "licensed health practitioners" to perform abortions.
Section 238-11 of New York State Public Health Law says, "'Practitioner' shall mean a licensed or registered physician, dentist, podiatrist, chiropractor, nurse, midwife, physician assistant or specialist assistant, physical therapist, or optometrist."
There you have it. Cuomo knows there aren't enough doctors who will agree to suction a baby out of the mother's womb at nine months, so he has to allow those who have no training as a physician to do so. By the way, when Planned Parenthood pushed for the same type of legislation in California in 2012, the California Nurses Association fought it.
What will Cuomo do if there aren't enough non-physicians to do the dirty deed? Permit orderlies to do it?
Here's a fast quiz. Which women will be the most likely to have a non-physician do their abortion? Rich white women? Or poor blacks and Hispanics?
Doing an abortion successfully (meaning not hurting the woman) takes a lot of experience, so don't expect the foot doctors to catch on quickly. In 1990, Minnesota abortionist Jane Hodgson received The Margaret Sanger award from Planned Parenthood. Here is what she said.
"When I first started doing abortions, I took my boards in Obstetrics and Gynecology, and therefore I knew I was competent to do it. After I had done my first few hundred I realized how silly I had been. At this point, having done somewhere around 12,000 procedures, I'm beginning to think I am reasonably competent."
It is not likely that the average chiropractor will be able to reach that level of competence about this "procedure" any time soon.
So what happens to the women who undergo an abortion and wind up bleeding all over the place? What will the dentist do? We know from the work of emergency room physician Dr. Matt Zban that trained doctors have a difficult time as it is tending to women pushed out of clinics after experiencing severe complications following their abortion. What can we reasonably expect the eye doctors will do?
The family of the first woman to die as a result of an abortion performed by a non-physician should sue New York State.
Rep. Lee Zeldin is an observant Jewish congressman from Long Island. Here is what he said the day Cuomo signed his bill.
"As a parent of identical girls born in their 2nd trimester at less than 1.5 pounds, I'm especially disgusted by the NYS legislature voting today to allow late term, partial birth abortions up to the end of the 3rd trimester & allowing non doctors to perform abortion. So wrong!"
It's a tragedy that the non-observant Catholic governor of New York can't see the truth in Zeldin's observation.
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JAKARTA, March 1 (AFP) - Some 300 Indonesian teachers protested Monday in the East Timor capital of Dili to demand relocation to their home provinces, saying they were no longer safe in the troubled territory, a report said.
The migrant teachers, grouped under the East Timor Teachers' Brotherhood Forum, said they had been terrorized and intimidated by their students and other pro-independence East Timorese, the state-run Antara news agency said.
"Teachers working in East Timor have been treated badly by the students and members of community. We, therefore, demand withdrawal (from East Timor) and relocation to other provinces," group leader Nicolaus Kun was quoted by Antara as saying.
"There is no recognition and respect for teachers here," he added.
They also demanded the government compensate them for what they would leave behind in the former Portuguese colony, including houses and land, and provide "legal protection" for those still in service.
During the peaceful protest outside a local education office in Dili the teachers waved banners and sang the Indonesian anthem and the popular Indonesian song "Gelang Sepatu Gelang", or "Let's Go Home."
Four representatives of the group, led by Hari Suprihanto, are currently in Jakarta to meet top officials, including President B.J. Habibie.
The protest followed similar demands by Indonesian doctors in Dili, who have several times forced the state hospital there to close because of hostility from patients and their relatives.
Tensions have been rising in East Timor since Indonesia announced on January 27 that it would consider independence for the territory should its residents reject a broad autonomy offer. Groups in favour or against independence have been consolidating their forces.
Jakarta unilaterally annexed East Timor in 1976 after the military invaded it the previous year. The UN and most countries did not recognize the move and still view Portugal as the official administrator in the territory.
The United Nations since 1984 has mediated talks between Indonesia and Portugal to discuss East Timor, and the two sides are scheduled to meet in New York March 9 to finalize the autonomy offer.


Hi, I'm Janna. Welcome to my website.
I'm a single mom, advocate, messenger, and writer. I'm an attentive ear, a survivor connection, and a champion of all women, but especially those who have been in an abusive relationship.
Woman, Determined is the brand, an approach, a conviction borne of both my personal history and professional experiences. I'm determined not only to live my own life with self-confidence and empowerment, but to help other women understand their worth and claim their potential, whether in life or in career.
The menu navigates to pages devoted to some of my work, past and present, like resume services, freelance writing and editing, and advocacy for abused women. Please have a look around, and let me know if there's anything I can do for you.
My topical blog aims to educate about abusive behaviors and their patterns, statistics, and outcomes, so that women might learn to recognize the red flags, identify their reality, and find hope with the means to take steps toward a better, healthier life.
You'll also find me on social media, the links for which are in the side bar.
Thanks for stopping by. Best wishes in all your endeavors.
Lisa, thank you for visiting and for commenting. I hear you, and I want you to know you are not alone.
Please, do not get caught up in the damaging cycle of thinking he treats her better. It's all a facade. It's a game and he's playing it on purpose.
A narcissist will do everything in his power to make you believe he has found someone he adores, and that it's someone who deserves to be treated better than he treated you. Don't fall for it! He will intentionally do FOR her the things he didn't do for you, because he knows that is hurtful. Likewise, he will not do TO her the same things he did to you. He can't give up the ruse that his treatment toward you was all your fault and that you deserved it, so he's going to keep going. But know that for every thing he does with her that seems loving and respectful, he is denying and abusing her in another way. She probably has no clue. If she isn't living the same hell you did yet, she will be soon. Please try to focus on your health and healing, and find some comfort in the fact that YOU aren't his supply anymore.
It's never too late to start over, heal, and learn your worth, then find happiness. You're on the right path, Lisa.


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Lucy Lumsden: A New Television Auteur?
SARAH RALPH
Who is the auteur of a TV series? Is it the director? The writer? The producer? A show might use a number of directors during the course of a series, and it is even more common for there to be a change of director if a show is recommissioned for many seasons. Solo-authored shows are becoming less common; some writers might pen multiple episodes, others just one, or there may be a writing duo or team scripting the series. Television auteurism has tended to favour producers, but contemporary series often have a host of them. Where is the singular creative vision to be located in television production?
I'm well aware that these aren't new questions, they've been asked frequently by media commentators and academics. Yet a talk given by Lucy Lumsden at the BFI this month prompted me to revisit - and reconsider - the notion of the TV Auteur, particularly in British television comedy. Lumsden joined Sky as its first Head of Comedy in the Autumn of 2009, after leaving her post as the BBC's controller of comedy commissioning earlier that year, and has since commissioned the broadcaster's entire comedy slate. Lumsden has become the Poster Woman for not only Sky's assertive push into the genre, but for a broader revival of scripted comedy on British television. (The choice of title for the BFI event, 'TV's Comedy Renaissance: Lucy Lumsden in Conversation', underscoring this).
Sky's comedies, such as Trollied (which debuted with 1.2 million viewers, Sky1's biggest overnight rating of 2011), Mount Pleasant, Stella, The Café and Spy (for which Darren Boyd won a 2012 BAFTA for Best Comedy Performance), have generated a lot of industry and press buzz. However there's more than just a sense of novelty unifying Lumsden's commissions to date. These shows seem to have a distinct tone, a particular flavour which brings them together as a body of work in spite of the range of producers, directors, writers and on-screen talent involved. When talking about the development of Sky's comedy program, there were three characteristics that Lumsden indicated were common to all the shows: place, family, and love.
When Lumsden's role was created Sky was best known for its American acquisitions and so an important rationale behind new commissions was that they reflected modern Britain; 'that it was about us' as she puts it. To do that she focused on precinct shows, with which came 'a strong sense of place': Trollied in a Warrington supermarket, The Café set in Weston-super-Mare, Stella in the Welsh valleys. However she swiftly adds that there was a more pragmatic reason for the emphasis on regionality in the shows' settings, in that 'it's a bit of a shortcut to having strong characters with a very strong identity'.
Media observers have been quick to suggest that TV comedy's revitalization is linked to the economic recession, but Lumsden denies this: 'When I started that wasn't the mantra of the time. What is that about? I think it was about a return to family maybe; sort of values that felt very important.' This seems to connect significantly with the quality she suggests is central to all Sky's comedy crop so far, something which may have been lacking in the genre in the preceding years. 'The other thing is love is at the heart of pretty much all of our shows', she says, 'I'm not obsessed with this, and there will be other sorts of comedy, but I just felt we needed it. We needed it in our comedy.' Love also seems to be at the heart of Lumsden's relationship with the comedies themselves. She claims she has been able to work more closely with producers, writers and directors than in her BBC role, and so has felt much more connected to her commissions: 'I've enjoyed a bit more of a personal relationship with each of the shows, it's really creatively rewarding to feel you're at the beginning of each journey'.
Lumsden's motivations, sensibility and approach to comedy production – the atmosphere of creative freedom she has sought to create – have given Sky's comedy output a clear sense of brand. There's certainly a strong argument for presenting her as a contemporary television auteur. She, however, is uneasy about the mantle that has been placed upon her and speaks self-deprecatingly about being 'just thrilled' to be involved during such a great time for comedy. 'I mean, look at that' she says, indicating the projection of the BFI talk's title, 'it feels a bit ridiculous, a bit surreal!'
Posted by Eylem Atakav and Melanie Williams at 07:00 No comments:
Labels: BAFTA, BAFTA 2012, BFI, Darren Boyd, Head of Comedy, Lucy Lumsden, Mount Pleasant, Sky, Spy, Stella, The Cafe, Trollied
The discreet harm of the bourgeoisie: Archipelago (Joanna Hogg, 2010)
The director who seems to best understand the English bourgeoisie at this moment in time is Joanna Hogg. Her films Unrelated (2008) and Archipelago (2010) both deal with the exquisite tortures of middle-class holidays which descend from conviviality into confrontation and conflict. In her debut feature, Unrelated, it was an Italian villa somewhere in 'Chianti-shire' which provided the setting, and the focus was on the midlife crisis of Anna (Kathryn Worth) as she wondered with which generational grouping in the holiday party she should align herself. In Archipelago, Hogg's second feature, the focus is more diffuse, stretching across a number of family members gathered together for a holiday on the Scilly Islands, including grown-up brother and sister Edward (Tom Hiddleston) and Cynthia (Lydia Leonard), their mother Patricia (Kate Fahy), their hired cook Rose (Amy Lloyd) and their painting instructor Christopher (Christopher Baker). The occasion for the gathering is the son's last family holiday before he embarks for voluntary work in Africa, an updated version of the 'white man's burden' for upstanding young Englishmen. The film is careful not to play this for obvious satire, instead imbuing his social concern with sincerity and a sense of vocation, even if it is slightly wavering and uncertain (Hiddleston plays a quite different character from the cruel cocksure boy he portrayed in Hogg's Unrelated). 'Africa' figures in Archipelago was a different kind of world beyond the confines of the middle-class family, the possibility of a less hampered existence but also a more dangerous one. Not that the Tresco holiday home is a quiet but dull pastoral idyll – anything but. Edward's missionary impulses seem to bring out the worst in Cynthia who accuses him of self-important self-righteousness cloaked by false modesty. Tom's immanent departure and the awkward friendship he strikes up with Rose, asking her about her life and wanting to invite her to dine with the family, seem to act as twin flashpoints for Cynthia's anger, manifesting first in behind-the-back sniping and second in outright argument. The film's outstanding set-piece is undoubtedly the fraught group outing to a restaurant which goes from bad (not being able to settle on the best place to sit and moving tables several time) to worse (Cynthia's passive-aggressive response to what she perceives to be an undercooked guinea fowl; Lydia Leonard's performance is brilliantly excruciating here). As the holiday goes increasingly awry, the mother attempts to intervene, albeit ineffectually, and Hogg punctuates the drama with a series of phone calls to the absent patriarch (who is meant to be there but keeps being unaccountably delayed) which begin with expressions of maternal contentment, and how wonderful it is to be gathered together like old times, but soon deteriorate into desperate pleading with him to come and help and finally furious accusations of neglect. In less coolly assured hands, it could be a cliché but Hogg's directorial control and her sympathetic immersion in the milieu of her characters insures that Archipelago presents with verve and astringent originality the old truism that the comfortably-off family can be anything but comfortable at times.
Labels: Archipelago, Joanna Hogg, Unrelated
Nora Ephron, 1941-2012
It goes without saying that Auteuse Theory was very sad to hear of the passing of Nora Ephron, one of the most distinctive female authorial voices in Hollywood over the last 30-odd years. Despite her light-hearted statement of antipathy towards 'panels on women in film' (one of the things she said she wouldn't miss after her death: http://www.guardian.co.uk/film/2012/jun/27/nora-ephron-miss-wont-miss), her work demonstrated the significant difference that a female point-of-view could make in the treatment of women on the screen.
Here are some of the tribute pieces we particularly enjoyed on Ephron:
http://www.guardian.co.uk/film/2012/jun/27/nora-ephron-how-miss-her?intcmp=239
http://www.telegraph.co.uk/culture/film/9359536/Nora-Ephron-The-heroinhtml
http://www.guardian.co.uk/commentisfree/2012/jun/27/nora-ephron-feminism-plenty-shes-having?intcmp=239
http://www.independent.co.uk/opinion/commentators/christina-patterson/christina-patterson-can-we-have-what-she-had-nora-ephrons-legacy-7893791.html
http://www.newyorker.com/online/blogs/culture/2012/06/lena-dunham-remembers-nora-ephron.html
The discreet harm of the bourgeoisie: Archipelago ...

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Home » John Dvorak
Dvorak is wrong about the cyber war
Dave Farquhar security October 14, 2012 1990s, DBA, john c dvorak, John Dvorak, mortgage, playstation, sony, unix, Vietnam, windows nt
So John C Dvorak (I'll call him John Dvorak because he hates it–John Dvorak John Dvorak John Dvorak) says that cyber warfare, like Y2K, is a bunch of hooey.
I lived through Y2K, and I'm fighting the cyber war. He's wrong on both counts. Read more
Overused (and underused) resume buzzwords
Dave Farquhar Uncategorized December 17, 2010 December 17, 2010 1990s, India, ISO, job duties, John Dvorak
This week the list of 10 most overused resume buzzwords came out. John C. "Don't call me John Dvorak" Dvorak offers his usual snarky analysis.
Here's mine. Read more
Dvorak is at least partly right about the gaming industry
Dave Farquhar Games April 29, 2005 October 2, 2010 1980s, 1990s, atari, atari 2600, Baseball Mogul, eye candy, john c dvorak, John Dvorak, knockoffs, video game
The big-time gamers are all up in arms over John C. Dvorak's assertion that the game industry is dying. But he's right an awful lot more than he's wrong.
The games aren't nearly as original as they used to be.Let's track the evolution of the first-person shooter. Games where you run around in a maze and shoot everything that moves aren't new. Castle Wolfenstein was a huge hit for Muse Software way back in 1981. The premise was simple: You're trapped in a castle full of Nazis and your job is to shoot everything that moves and escape. Simple enough.
Was it the first game of its type? I don't know. I don't even know for certain that it was the first popular game of its type. But it at least proves the idea is is at least 24 years old as of the time of this writing.
Eleven years later, Wolfenstein 3D was published and released. It took the same premise and put it in a 3D setting. Its inspiration was obvious. And like its famous predecessor, it pushed the limits of the time: You needed a pretty advanced CPU to play it, and the better your graphics and sound cards were, the better gaming experience you got. In the early 1990s I remember people bragging about the slowest computer they managed to get to run Wolf3D.
A year or so later, Doom was released. It was considered revolutionary. The graphics and sound were better, and it required a better computer, but as far as a plot went, all one had to do was replace the Nazis with monsters and give the main character a larger assortment of weapons.
And that's pretty much where we stand today. There is no revolution here. Each generation adds more eye candy and another layer of complexity, but the basic premise isn't really changed since that 1981 game. Some people like that kind of thing and others don't. Dvorak clearly doesn't. I never really got into it much either. Once I got over the initial wow factor of seeing a computer-generated 3D world, I found I just didn't enjoy it. I had a brief fling with a 3D FPS called Redneck Rampage. It used a recycled game engine, just replacing the original setting with a backwoods theme and replacing the characters with rednecks and aliens and playing off every stereotype in the book. I enjoyed the game mostly because I thought it was funny. Once the jokes wore off, I quit playing.
Whether this genre has been worked over to death depends on whether you like this sort of thing, I guess. And maybe that's where Dvorak is wrong. Neither he nor I see the originality, but people enjoy the games and keep buying them. I don't see the originality in country music either–to me, the songs pretty much sound alike, and the words are all about pretty much the same thing–but the country music industry is huge and it ain't exactly shrinkin', y'all.
Hrumph.
But maybe this is just a sign of a mature industry. One of my high school writing teachers was fond of pointing out that Shakespeare never wrote an original plot in his life. But the stories seemed new when he put new and compelling characters in new settings along with those tired old plots.
Some people will get bored with the FPS games and move on to another interest. Others will keep at it, no matter how bad or unoriginal the games get. The only question is whether the audience will grow or shrink as a whole over time, and if it shrinks, how profitable the genre will become.
I think part of the problem for both Dvorak and me is that we're both old enough to remember the early 1980s, when new games would come out and the new games really did seem new. All told, a total of about 900 games were released for the Atari 2600, and of those, about 100 were really common. (Of the remainders, a very large percentage of them were knockoffs or sequels and some of them were so bad that they sold terribly, so nobody saw them.)
Most of us who lived through that time and were really into technology saw those 100 or so games and enjoyed them.
There's another difference too. Those games were a lot simpler. That's both good and bad. A really avid gameplayer will probably master the game too quickly and get bored with it. But a more casual gamer can pick it up and learn it and enjoy it.
A really good Civilization player will probably enjoy Civ3 more than the original because it's more challenging. But I've come to prefer the first two, because I can still pick up the original and play it well. If I spent ten hours a week playing video games, it might be different.
The gaming industry hasn't completely lost me. There are still a handful of games I enjoy: the Civilization series, the Railroad Tycoon series, and the Baseball Mogul series. I haven't bought the new Pirates! yet, but I'm sure I will if and when the price comes down because I loved the original.
But I only pick up one or two of those games per year anymore, and I probably don't play them for more than a few weeks when I do.
Since my fiancee enjoys racing games where the two of us can race, if I'm ever out somewhere and I see two copies of a cheap racing game that looks decent and offers network play, I'll get it and a couple of USB steering wheels. I imagine she'll want to play a lot at first, and then it'll become something we do occasionally when we might otherwise go to the movies.
The gaming industry changed, and in doing so, it lost John Dvorak and it's probably written people like me off too, because I only spend $50 every two or three years on games.
Dvorak seems to think the gaming industry needs people like him. And that's the only point he makes that I'm not wholeheartedly ready to agree with. The gaming industry is very different now than it was when I was 15 and playing games a lot, but it's also a lot bigger.
Another entry from the Clueless Dept.
Dave Farquhar General February 6, 2002 September 30, 2010 1980s, American League, AOL, Bret Saberhagen, excel, IBM, John Dvorak, Kansas City, macintosh, spyware, webshots, Windows XP
Someone else who needs to buy a clue. I normally don't have a problem with John Dvorak, and frequently I actually like his stuff. He's not as clueless as some people make him out to be. Dvorak's not as smart as he thinks he is, but one thing I've noticed about his critics is that they usually aren't as smart as they think they are either.
Dvorak's most recent Modest Proposal is that we fire all the technology ignorami out there and then, essentially, throw away corporate standards, let end-users run anything they bloody well want, and basically make them administrators of their own machines.
I've got a real problem with that. Case point: One of my employer's executives recently brought in his home PC and insisted we get it running with remote access. Only one problem with that: He has Windows XP Home. XP Home's networking is deliberately crippled, so businesses don't try to save money by buying it. A sleazy move, but a reality we have to live with. We got it to work somewhat, but not to his satisfaction. He's mad, but mostly because he doesn't have any idea what changes went on under the hood in XP and doesn't know he's asking the impossible. But he's perfectly competent using Word, Excel, PowerPoint and Outlook. He's also very comfortable ripping his CDs to MP3 format–he's got one of the largest MP3 collections in the company. He's competent technologically. But he has no business with admin rights on his computer.
The same goes for a lot of our users. The record I've found for the most spyware-related files installed on a work PC is 87. These aren't the technical ignorami who are installing this garbage. It's the people who know how to use their stuff, but they love shareware and freeware. Maybe some of it helps them get their work done. But these people are the first to complain when their system crashes inexplicably. And I'm expected to keep not only the corporate standard apps like M$ Office running, but I'm also expected to support RealPlayer, Webshots, Go!Zilla, Gator, WinAmp, RealJukebox, AOL, and other programs that run ripshod all over the system and frequently break one another (or the apps I'm supposed to support).
If the users were completely responsible for keeping their systems running, that would be one thing. But install all that stuff on one computer and try to keep it running. You won't have enough time to do your job.
Dvorak argues that people like me should solely be concerned with keeping the network working. That's fine, but what about when some Luddite decides to ditch all modern apps and bring in an IBM PS/2 running DOS 5.0 and compatible versions of Lotus 1-2-3 and WordPerfect and dBASE? Unless there's already an Ethernet card in that machine, I won't be able to network it. And the person who decides a Macintosh SE/30 running System 6.0.8 is where it's at will have a very difficult time getting on the network and won't be able to exchange data with anyone else either.
Those scenarios are a bit ridiculous, but I've had users who would have done that if they could have. And someone wanting to run XP Home absolutely is not ridiculous, nor uncommon. If my job is to network every known operating system and make those users able to work together in this anarchy, my job has just become impossible.
As much as I would love for people to use Linux in my workplace and something other than Word and Outlook, the anarchy Dvorak is proposing is completely unworkable. It's many orders of magnitude worse than the current situation.
This is just wrong too. Yes, New Englanders, I know about heartbreak. I'm from Kansas City. At least your Red Sox have posted more than one winning record in the past 10 years.
Anyway, not only are the Royals' glory years over, they've forgotten where their glory years came from. They've once again denied Mark Gubicza entry into their Hall of Fame. Who? In the late 1980s, Mark Gubicza was the Royals' second-best pitcher, behind Bret Saberhagen. Injuries did him in the same as Saberhagen (only a little sooner) but he's still among their career leaders in wins and strikeouts.
And after spending 13 seasons in a Royals' uniform, the Royals had a chance to trade Gubicza for hard-hitting DH Chili Davis. But you don't trade a guy who's poured his heart and soul into the team for 13 years and stayed completely and totally loyal to it no matter how much it hurt, right? Gubicza said yes. Gubicza went to the GM and told him that if he could make the Royals a better team by trading him, to trade him.
Chili Davis hit 30 home runs for the Royals in 1997. Then he bolted for the Yankees.
Meanwhile, Gubicza blew out his arm for good and the Angels released him. He pitched two games for them.
It takes a great man to tell the team he loves that the best thing he can do for them is to get traded for someone who can help the team more. That was Mark Gubicza. They don't make 'em like him anymore.
But even more importantly, the immortal Charley Lau was once again denied entry. Who's he? He was a journeyman catcher who spent his entire career as a backup and whose career batting average was .255, but that was because he had about zero natural ability. He was a genius with the bat, which was how he managed to hit .255. More importantly, Lau was the Royals' hitting coach in the early 1970s. He spotted some skinny guy who was playing third base because Paul Schaal couldn't play third base on artificial turf and their first choice to replace him, Frank White, couldn't play third base at all. This skinny blond fielded just fine, but he was hitting terribly. Lau asked him what he was doing over the All-Star break. The kid said he was going fishing with Buck Martinez. Lau put his foot down. He told him he was going to stay in Kansas City and learn how to hit.
"He changed my stance. I had been standing up there like Carl Yastrzemski, but the next thing I knew I looked like Joe Rudi," the kid recalled. But he started hitting. By the end of the year, he'd pulled his average up to a very respectable .282.
Soon Lau had every player on the Royals standing at the plate like Joe Rudi, and taking the top hand off the bat after contact with the ball. And the Royals created a mini-dynasty in the American League Western Division.
What was the name of that kid, anyway?
George Brett.
If it hadn't been for Charley Lau, George Brett would have been nothing. The Royals probably would have never won anything. And they probably wouldn't be in Kansas City anymore either. Who puts up with 30 years of losing, besides Cubs fans?
Charley Lau belongs in their Hall of Fame. Even if nobody besides George Brett and me remembers who he was.
AMD, hoaxes, and trends
Dave Farquhar General November 3, 2000 amd, christmas, John Dvorak, republicans
There are reports of problems with the AMD 760 chipset. The Register reported this week that Gigabyte ran into problems with its AMD 760 design, and as a result there'd be a delay in the release of 760-based boards. AMD and Gigabyte are now denying this and saying there'll be 760-based systems in time for Christmas. The Register seems to get it right (and before most others) more often than not, so this is probably a story to watch. Problems with the 760 aren't inconceivable, but then again AMD is really on a roll lately.
Five bad Web trends. I think John Dvorak pretty much has it right here.
I think I need to do some cleanup to the left. People don't want a portal from me, they want questions and answers and useful tidbits, and if I can manage to be entertaining occasionally that helps too. I'll leave the "news from around the Web" to others. This isn't a portal but I've probably got more stuff there to the left than I need. (The book cover stays; this is, indirectly, an advertisement for the book. I notice when I'm keeping up my notes, book sales are about double what they are when I'm not.)
On to Dvorak's other points: I'm not for sale, nor do I lock you into frames, nor do I plan to go anywhere. Traffic isn't an issue now either; I run maybe 1,000 hits a week. So I go 4-for-5. Not bad but I want better.
I wonder how many will fall for this Internet hoax? One of my coworkers received e-mail to the following effect:
Due to an expected unusually high turnout this year, election day will be split into two days. Republicans will vote on Nov. 7. Democrats and independents will vote on Nov. 8.
I don't know where that leaves Libertarians and Greens and Reforms. This is the biggest load of bull ever (and not just for that reason), but it's curious. One could argue that this mail will do no harm, since if anyone who'd fall for that line is probably too ill-informed to have any business voting anyway, but…
I finally got my registration card in the mail today, so I finally get to go vote against Dick Gephardt next week. I can't wait. (One of the best things about living in South St. Louis is that every two years you get to tell Dick Gephardt he should retire.)
And the ACLU says it's OK to sell your vote… As long as you're just swapping Gore votes for Nader votes. Hey, it's the ACLU. This needs no comment from me.


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Given Nikon's silence on new camera products for almost a year now, look what's happening with this spring's camera buying. NikonUSA really only has two cameras that are generating any big dollars for the company, and for opposite reasons: the inexpensive and always on sale D3400 and the can't build enough D850. In the UK and Europe, Nikon raised the price of a number of products only to immediately offer cash back sales, which makes it look like they're on sale.
A number of you objected when I earlier wrote that Nikon needed to put out a D500s (and a D5s and D5x; but let's just focus on the more affordable D500 here). Your arguments tended to be that we didn't need another "lightweight" update.
First, would it have really been all that lightweight? Add the D7500's better touch capabilities to be best in class in handling. Add the D850's focus shift and silent photography features to be best in class in feature set. Pioneer one new thing—I'd suggest adding C1, C2, and C3 to the Exposure Mode settings—and you'd have more than enough to issue the press release that says "the best APS-C camera on the planet just got better and retains its lead over the others. More useful features, and now handles better than ever."
Add in Dynamic 9-point and the other two group AF settings from the D5, and the D500s would still be the mini-D5 anyone can afford and well ahead of the competition. I'm betting that the R&D costs of doing all those things I just mentioned would have been minimal. They require virtually no changes to the camera body or manufacturing process, and there's probably no significant internal changes, either. It's all firmware—and maybe some more internal memory to store that—for the most part. How much would such an effort really cost?
Instead, we have a fairly lame "get a battery pack and a slight discount" deal going on instead of a renewal of product leadership (see this companion article). And, of course, the UK higher-price-but-on-sale thing. When I look at retail sales numbers for the D500, what I see is that it has been slowly sliding lower and lower into irrelevance. The excitement is gone. And with that, the dollars.
Note also that the product upsell in the DX line is also damaged. While everyone complained about the features that were taken out of the D7500, the D7500 still has a better touchscreen implementation than the D500 (plus it has C1, C2, and C3). It comes close to matching the D500 in key features and matches it in image quality. Which means that you need to push the D500 a little further upscale to justify the price differential, not reduce its price so that it's closer to the D7500 in price.
Now I know that this is just me voicing lessons learned over a long career in Silicon Valley versus a whole building in Tokyo full of accountants, analysts, and Japanese CES-trained staffers. Yet I'm pretty sure I'm right and they're wrong. They'll argue that they're "optimizing the net ROI across a product line." I'll argue that you have to be careful what you measure if you measure narrowly, because that's what you'll achieve. When everything becomes an ROI cost decision, you're also making an assumption the public won't notice and it won't affect anything else in the buying cycle. I'm telling you—and I'm 100% confident in this assessment—that public perception has turned against Nikon. Thus, each new cost reduction or missing product update becomes a negative on overall ROI as people don't update or worse, sample or move to other brands.
Underlying Nikon's decision not to create a D500s is probably this: the D500 didn't sell as well as they thought. Oh, initially it lit a fire. That first 25k units flew out the door. After that, things got much more difficult. But that, too, is Nikon's own fault. Beyond cutting back on marketing and advertising in that period after the D500 got its foot established, we have the issue of lenses. The D500 became popular with sports and wildlife shooters on a budget, and those folks just used existing lenses. Indeed, the budget go-to is the D500 with the 200-500mm f/5.6. Unfortunately, sports and wildlife shooters are just a subset of the full range of shooters. The rest of the bunch? Hmm. No real lens set to match the camera (buzz, buzz).
Worse still, the D850 effectively rendered the D500 irrelevant other than price. In essence, shooting DX on a D850 is the same as shooting DX on a D500 in pretty much every aspect. There's nothing unique about the D500 any more other than price.
The word I get out of Tokyo is that top management is effectively now saying "no" to most anything the Imaging Business prototypes or suggests. They want to see immediate and clear ROI on anything, and there are just too many open variables with clear costs in the path of virtually anything Nikon's camera group might want to put out.
The DL cancellation was the first clear indication of top management saying no. DLs weren't cancelled by imaging management. They were cancelled because soft sales projections and high known costs didn't square with top management. Let me remind you: the topmost management at Nikon currently consists of: 2 managers mostly with semiconductor equipment experience, 7 banker, life insurance, and financial side managers, and 2 former imaging group managers. And for those two former imaging group managers: one went on to run the healthcare side of the business, while the other spent the last decade in corporate planning. For a company where 50%+ of their sales still come from the fast-moving camera business, this seems like an incorrect balance of management, to say the least.
You may remember me writing about Nikon's approach to mirrorless and possible models to launch late last year or early this year. That, too, apparently is undergoing the same tight scrutiny for potential ROI that the DLs got. I've heard at least two stories now where the directors pushed back on the Imaging group, and mostly because of costs. There won't likely be any new ILC camera introduced before fall, and even come Photokina there are still indications that nothing is set in concrete. This isn't because things haven't been designed and prototyped. I believe it is because product plans aren't getting past top management.
Nikon is doing the opposite of what I learned to do. First, generate the excitement and volume. Then make sure you can drive costs out to produce the profits. Nikon is currently in a "first cut costs out of everything and then see what product you can still make" mode.
That resulted in a lame D3400 update.
That resulted in what many perceive (mostly incorrectly) to be a lame D7500 update.
That hasn't resulted in an update to the D610.
That didn't result in an update to the D500.
That didn't result in an update to the D5.
That has resulted in mirrorless products that have yet to appear.
That resulted in the DL line to be cut before production started.
Nikon has been in a downward spin for the last five years. What Nikon management has done is decide to just control the spin. That doesn't help you stop going downward ;~).
Something's got to give, and the time for that to happen is getting shorter and shorter.


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Prof Marta Simoncini
Marta Simoncini is an Assistant Professor in Administrative Law at LUISS "Guido Carli". Marta holds a Ph.D. in administrative law (University of Pisa), a Laurea in Political Sciences, majoring in law (University of Pisa), and a University Diploma in the same area (Scuola Superiore Sant'Anna in Pisa). Prior to joining LUISS, Marta was an FWO post-doctoral fellow at King's College London and the University of Antwerp and a Max Weber fellow at the European University Institute. Marta is also a fellow in EU law at University College London and of the UK Higher Education Academy. Her research interests cover European law and administrative governance, in particular in the check-and-balances applicable to discretion, especially in the context of risk-based regulation. She published extensively in international and national peer-reviewed journals. She also authored two monographs for Hart Publishing (2018) and Editoriale Scientifica (2010) and she co-edited a volume for Routledge (2017).


Thanksgiving Day means time with family, relaxation, reflection, and a substantial amount of calorie consumption. Being aware of how to burn off that extra energy isn't easy. But we've got some handy information about popular Thanksgiving Day foods, and the amount of time you need to spend on specific cardio equipment to work it off.
Calories: 121 calories from turkey gravy and 237 calories per cup of homemade mashed potatoes (358 calories total).
Workout: You'll need to jump on a Life Fitness PowerMill Climber or similar stair climber for 31 minutes at level 6 resistance – meaning about 1880 steps or 111 floors – to burn off the whole dish.
Workout: Hop on a Lifecycle GX or other similar stationary bike for 97 minutes at 70 Watts and 90 RPM before you burn off the whole dessert.
Calories: 310 from the roll and 83 calories of Brussel sprouts (393 calories total).
Workout: Jog on a treadmill at a 4% incline and a speed of 4.5 miles per hour for 33 minutes to burn off the whole plate.


We believe that every individual is entitled to independence at home and we aim to make sure you have a choice in the way you are cared for.
Our objective is to ensure that the care we provide has been agreed with you, your family and advocates so that it offers choices and lifestyle to match your needs. We offer families complete peace of mind with agreed home care plans tailor-made for your needs. We aim to enable you to enjoy the comfort of your own home whilst receiving care in a professional and unobtrusive yet friendly way.


Please note that these are indicative only! Charges differ greatly per country, please ask if you are unsure. Please note that size limitations apply, plants longer than about 120 cm can not be sent by parcel post. All the charges below are including packing. Shipping is normally done with DPD, in some cases it will be TNT (depending on cost per shipment, we choose the cheapest carriere in each case).
Country: Great Britain. Channel Islands please ask first, other islands surcharge € 23.00.
Country: Deutschland. Surcharge for Wadden Islands € 12.00.
Country: France. Islands have a surcharge of € 11.00.


The Galaxy Alpha versus the competition - how does it stack up?
Apple has long argued for the merits of a smartphone you can use one-handed, that's why the iPhone 5S grew taller, but not wider.
The idea of a scaled down flagship isn't alien to the big Android OEMs, but Sony is the only one so far to avoid scaling down the specs when it shrank the phone, which is why the Sony Xperia Z1 Compact is the current king of smaller Android smartphones.
But wait, what's this? A premium design in a small body with cutting edge specs? Samsung has been listening and it's trying to blow away the compact competition, including its own Galaxy S5 Mini, with the Samsung Galaxy Alpha. Does it have what it takes to be the leader in the category of mini hyperphones? Let's take a look.
Samsung is seriously excited about the design of the Galaxy Alpha. The fact that it's less than 7mm thick is impressive, but not a major surprise, what will raise eyebrows is the "high-quality metal frame and luxury look and feel."
From the front it's clearly a member of the Galaxy family, but that metal frame is solid, not plastic, and the soft matte finish echoes the mottled patterning of the S5, but looks a touch classier. It measures 132.4 x 66.5 x 6.7mm and weighs just 114g.
It's a tiny touch bigger than the S5 Mini which is 131.1 x 64.8 x 9.1mm and 120g, but much slimmer and slightly lighter, despite the new materials.
The Xperia Z1 Compact is much heavier at 137g, probably because of the glass back, but it's smaller, if a little fatter at 127 x 64.9 x 9.5mm.
The chamfered edges and metal frame are going to invite obvious comparisons with the iPhone 5S which is significantly smaller, but not quite as svelte and only a tiny bit lighter at 123.8 x 58.6 x 7.6mm and 112g.
Disappointingly, we're looking at a 4.7-inch Super AMOLED display in the Alpha with a resolution of 1280 x 720 pixels. This accounts for the larger height and width than its competitors, but still isn't the Full HD you'd be expecting on a high-end phone like this.
In comparison, the Z1 Compact has a 4.3-inch display, the S5 Mini has a 4.5-inch screen, and the iPhone 5S has a 4-inch area to poke at.
With the same resolution as the Alpha, but a smaller screen, the S5 Mini claims a higher pixel density at 326ppi, which is identical to the pixel density in the iPhone 5S. The Xperia Z1 Compact is the clear winner here with a ppi of 342, but you're unlikely to notice much of a difference given the smaller screen size.
This is where Samsung has economized in its more diminutive phones in the past; for example the S5 Mini has a 1.4GHz quad-core with 1.5GB of RAM. Not so this time, as the Alpha is going to be offered in octa-core (1.8GHz and 1.3GHz) and 2.5GHz quad-core variants with 2GB of RAM.
That's enough to eclipse the 2.2GHz quad-core processor in the Z1 Compact, also backed by 2GB and it blows the 1.3GHz dual-core iPhone 5S with a paltry 1GB of RAM out of the water.
We're already hearing that the Alpha beats the S5 and HTC One M8 in benchmark tests, so while the screen sharpness is a let-down, the internals certainly aren't.
You'll find a 12MP main camera in the Galaxy Alpha and a 2.1MP front-facing camera. It also boasts a good range of photography features including real-time HD, making it close to rivaling the Galaxy S5 in terms of specs, although not quite.
The S5 Mini has a less impressive 8MP and 2.1MP combo, but the Xperia Z1 Compact wins the spec race with a 20.7MP main camera supported by a 2MP front-facing camera.
The iPhone 5S lags way behind on paper in this category with an 8MP main camera and a 1.2MP front-facing shooter, but that doesn't take into account the real world performance, which has seen Apple's smartphone become one of the leading cameras on planet Earth due to its simplicity of use.
They all have an LED flash and a range of software enhancements. The Alpha sounds decent, but we'll need a hands-on to do a meaningful comparison for the camera.
We find something of a surprise in the battery department. The Alpha has a relatively small 1,860mAh battery when compared to the 2,100mAh battery in the S5 Mini and the 2,300mAh battery in the Z1 Compact.
The iPhone 5S lags behind here too, with a 1,560mAh, but once again it's all about the real-world performance. With the biggest screen of the bunch, you could reasonably expect the Alpha to be packing a bit more power, but this could be one of the ways Samsung was able to make it so slim.
Will that hurt it in the real world? Experience would suggest that it would, especially with the more powerful version of the phone. Samsung's clearly making an effort to aim this phone at those that care about design, but sadly it looks like it's at the expense of battery life.
Naturally the Alpha comes with Samsung's full menu of apps, extra software features, and compatibility with its wearables range. It also inherits the fingerprint scanner and heart rate monitor from the S5, both of which are also present in the S5 Mini too. The heart rate monitor is in a different location than on the S5 though, which may present issues plugging your finger onto it.
It lacks a micro SD card slot, but there is 32GB of internal storage.
Unfortunately the dust and water resistance in the Z1 Compact (IP55/58) and the S5 Mini (IP67) are absent in the new Galaxy Alpha, as they are on the iPhone 5S. Do not throw that down the toilet.
Samsung hasn't announced the pricing for the Alpha yet, but we won't be surprised if it's close to the £550 that a SIM-free iPhone 5S will cost you. It's a weird one, as it seems to be a cut-down version of the Galaxy S5 in some respects (camera, screen and battery for example) so will consumers be ready to pay more for metal when that can be had elsewhere for less?
The Xperia Z1 Compact is significantly cheaper at £350 off-contract and the S5 Mini is a just a touch more than that at around £380.
It's encouraging to see Samsung follow Sony's lead in the power department by matching flagship processor performance in the Alpha. The premium design and svelte form factor are also a welcome departure.
But, we can't help being disappointed at the lack of water resistance and surprised by the omission of a micro SD card slot - and that battery size is a real worry.
Everything else looks like par for the course, but we'll have to see how the camera and battery perform in the wild before making a real judgment. The Galaxy Alpha's prospects of success depend heavily on Samsung's pricing, and with a release date set for September, it won't be long before we get the chance to give it a go in the real world.
Are microSD slots really needed any more?


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Telling Lies (Xbox One)
Sam Barlow
PS4, Switch eShop
Sorry, no review of Telling Lies yet.
A Video Game About Private Conversations
An investigative thriller game with non-linear storytelling, Telling Lies revolves around a cache of secretly recorded video conversations. Starring Logan Marshall-Green, Alexandra Shipp, Kerry Bishé, Angela Sarafyan and directed by Sam Barlow, creator of Her Story and Silent Hill: Shattered Memories.
Telling Lies sits you in front of an anonymous laptop loaded with a stolen NSA database full of footage. The footage covers two years in the intimate lives of four people whose stories are linked by a shocking incident. Explore the database by typing search terms, watch the clips where those words are spoken and piece together your story.
Unlike anything you've played before, Telling Lies is an intimate and intense experience. A game where you decide the truth.
Today Is Officially "Final Fantasy VII Day" In Japan


The old skool Kanye fan inside of me would've been hella excited and I would've been doing backflips to get a hold of tickets for Glasto this year. But when I heard the news all I could think was meh!
I'm sure Mr West will kill it, though he can act a bit off key, he is a bloody great musician, no one can deny that.
But the bad out weighs the good in this sitch. His recent actions have started to put me off him and I for one won't be trudging mud just to see him.
Here's hoping he has an amazing set though, and brings some of the old Kanye West that we loved so much back.


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SOUTH-SOUTH: Let me begin again
in AFRICAN ART, CONTEMPORARY ART, CROSS CONTINENTAL, CROSS-CULTURAL, EXHIBITION, HISTORICAL, IDENTITY, INSTALLATION, NEWS, PAINTING, PERFORMANCE, PHOTOGRAPHY, PRESS RELEASE, VISUAL CULTURE
In the second edition of the South-South series, Goodman Gallery presents Let me begin again, an exhibition drawing parallels between artists from the Global South, looking at and beyond the afterlife of political revolution. The show reveals cross-cultural influence and divergence – both historical and recent – between countries such as Cuba, Brazil, South Africa and Angola, as well as Mozambique, and Namibia; featured artists born in or living between these countries or in the diaspora.
Carlos Garaicoa, VALLA "RESISTIR", La Habana / RESIST BILLBOARD, Havana, 1991. Aluminium-mounted photograph, 122.8 x 175.5 x 3.56 cm.
Let me begin again considers a paradisal vision of racial and class equality, and autonomy from Western domination, championed in the mid- to late 20th century. It is rooted in the intersection and unravelling of ideologies that emerged after revolution in Cuba, the end of military dictatorships elsewhere in Latin America and independence in Africa, building up to the end of apartheid in the 1990s. The exhibition explores notions of adaptation; freedom and control; artists revising and recalling narratives or historical moments, and challenging instability, yet embracing flux. These are modes of expression divergent from, but still often linked to, political movements or ideals.
Rosana Paulino, Progresso das nações, a salvação almas, amor pela ciênica, 2015. Image transferred on paper, glue and dry tip, 56 x 42 cm.
In July 1991, Nelson Mandela, president of the African National Congress (ANC) at the time, and Fidel Castro, then president of Cuba, spoke together on the same platform in Havana. Mandela was on a tour of Latin America, but his visit to Cuba marked an important moment for both world leaders. This interaction reflected Cuba's mission of internationalism in the Global South and its support of African independence and involvement in the Angolan Civil War, which Mandela attributed as directly leading to the unbanning of the ANC.
"The decisive defeat of the aggressive apartheid forces [in Angola] destroyed the myth of the invincibility of the white oppressor," Mandela said. Both Mandela and Castro spoke of the emancipation of the poor and the rightless. Castro exclaimed persistently, "How far we slaves have come!" On reflection, these were distinct leaders from regions emerging from and moving towards different socio-political realities. But they were also converging on a conviction of equality and found common ground in evoking the power of what Ernesto Che Guevara called – in reference to the strength of the masses – the human tide.
Wilfredo Prieto, Apolítico/Apolitical, 2001. Flags, poles Variable dimensions.
Yet at the time, while victories such as free and quality health care and education were celebrated, the disappointments of transition were becoming palpable in Cuba, which in the early 1990s was deep in economic crisis due to the dissolution of the Soviet Union. And in Brazil, profound yet often concealed wounds were still only very slowly being revealed. Following Cuba, Mandela visited Brazil in August 1991, in efforts to seek continued sanctions in support for the end of apartheid. While there Mandela stated, "I have the feeling of being at home," but was surprised by the nuances of racial politics, and the latent and often clouded racial discrimination that lingered despite the transition into democracy.
Rereading this meeting of minds now – twenty-five years later, with dreams further deferred, tenuous diplomatic breakthroughs between enemy states, dissident voices, state control, unfinished projects, presidents on trial, lingering mass inequality and institutional racism, as well as looming neo-colonialism, is revealing and disheartening. While the world seemed to stop after the death of Mandela – his critics emerging mainly from South Africa – it was at odds over Castro's more recent obituaries, and his very polarising legacy. In a time when the Western world is again seeing the terrifying rise of the extreme right, the Global South appears to be grappling with the ideals, victories, as well as conflicting narratives and setbacks of the revolutionary left. Within this context of emerging economies and racially diverse societies, seems to be a need not only to move forward, but to revise and reconsider where we came from, and to recover what has been lost.
Ângela Ferreira, Wattle and Daub, 2016. Pine, bamboo, slide projection, 190 x 360 x 230 cm. Installation view at Old School, Lisbon, with the special participation of singer Selma Uamusse.
This show comes twenty years after pivotal exhibitions such as Memorias Intimas Marcas – initiated by Fernando Alvim, in collaboration with Gavin Younge and Carlos Garaicoa, which looked at the residue of trauma caused by the Angolan Civil War – and the second and last Johannesburg Biennale, curated by Okwui Enwezor, which unusually for the international art world at the time included many artists from the Global South. Now, this edition of South-South reflects on how the ideologies that reached a pinnacle embrace in the 1990s have unfolded or collapsed in quieter, contemplative moments, while also being reignited or challenged in new instances of heated rupture.
Let me begin again offers a deferential plea to unearth the forgotten; rethink the misrepresented or misunderstood; confront the seemingly irreversible; tackle unfinished projects and traverse unending beginnings. Featured artists embody a variety of divergent socio-political stances and, in some cases, markedly or seemingly apolitical ones. But in each instance is the sensation of – or a call for – reinvention, renewal or adaptation, from historiography to processes of working.
Gustavo Speridião, Se fosse bom não chamava trabalho, 2015. Paint and varnish on canvas, 210 x 180 cm.
MORE ABOUT SOUTH-SOUTH
South-South is one of Goodman Gallery's ongoing curatorial initiatives established by gallery Director and Owner, Liza Essers. This major project considers inherent connections, as well as disconnections, within the output of artists working in the Global South. Its title is adopted from Brazil's foreign policy aimed to reinforce integration between major powers of the developing world, initiated by Luiz Inácio "Lula" da Silva. Emerging from this contemporary environment of integration trends, South-South was envisioned to explore the tricky notion of a connected Global South. At the same time it ultimately aims to present work by artists born into environs across the Atlantic that, although disparate, have engendered compelling cultural parallels. Let me begin again follows The Poetry in Between: South-South, the first edition in the series in 2015. This first installment of the project focused on southern Africa and Brazil in particular, a country that, during the leaderships of Lula and Dilma Rousseff, directed its attention to Africa from a foreign policy perspective. Now, following Rousseff's controversial impeachment, Brazil's current contentious leader Michel Temer plans to return to a foreign policy more aligned with US interests. Rooted within the first South-South was a consideration of the invention of both South America and Africa, providing a space to consider constructions and generalisations surrounding and connecting both continents. Integral to building an understanding of the South as one global region, but also as an idea, is acknowledging its hybridity, especially with regard to cultural production. These notions of crossing and circulation are at the heart of South-South. Let me begin again continues this conversation by also beginning a new one, bringing in regions, such as Cuba, that are not geographically speaking in the Southern Hemisphere, but still an integral part of the diverse, post-colonial developing world, revealing that the term "Global South" is not necessarily a geographical one. In recent history, Cuba has had an overwhelmingly important presence in both Latin America and Africa, despite being such a small country in the Caribbean. The next edition moves into the vastness of shared ideology, ideas and cultural theory and aesthetics that are developing in these regions in a reaction against and despite towering Western influence.
'South-South: Let me begin again' is on show at the Goodman Gallery in Cape Town, South Africa from 28 January – 04 March 2017.
MAXEKE: "This work is not yourselves" puppetry and object theatre production at Star Theatre, District Six Homecoming Centre, South Africa
The Fallacy of Borders: Amir H. Fallah at the Fowler Museum, United states
apexart International Open Call 2023-24


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Samsung Unpacked
7 iPhone Features I'd Like to See in iOS 12
By Jason Snell published 20 May 18
Rumor has it that iOS 12, due to be announced at Apple's annual Worldwide Developers Conference on June 4, will have a reduced scope as Apple tries to focus on improved security and reliability. Still, hope springs eternal — and for those of us who are dr
Rumor has it that iOS 12, due to be announced at Apple's annual Worldwide Developers Conference on June 4, will have a reduced scope as Apple tries to focus on improved security and reliability. Still, hope springs eternal — and for those of us who are dreaming of new iPhone features, this is prime hoping season. So, before my hopes get dashed, here's a wish list of items I'd like to see when Apple announces the next version of iOS in a few weeks.
Always-on lock screen for iPhone X
The iPhone X has an OLED screen and a robust battery, so it's time for Apple to let users opt to have their iPhones display the current time (and possibly some other basic information) on the screen at all times. We shouldn't have to pick up the device, tap the screen or push a button to get this information.
MORE: How to Use the iPhone X - A Guide to New (or Improved) Features
This could be a simple mode with just the date and time in white text on a black background — OLED pixels don't use power when they're set to black — but it would save me a gesture every single time I want to glance at my phone to see what's going on. Perhaps, optionally, we could add some other small amounts of information to that screen, like the number of notifications we have, a weather report, or even the most recent notification or two. (And yes, this mode should be optional, and you should be able to turn it off at night via Do Not Disturb.)
Improved Do Not Disturb
Speaking of Do Not Disturb, which lets you change iPhone behavior to be less obtrusive when you're asleep or driving, I'd like to see this feature become more powerful and flexible. When I'm driving, how about filtering out calls that aren't from an approved list, the behavior that's already available in the overnight version of Do Not Disturb? How about allowing notifications from certain apps to break through, while suppressing others?
And this is a larger issue, but I don't want my phone to make noise during the day — though it needs to make noise at night if there's an emergency when I'm sleeping. So, how about a feature that allows the phone to make noise even when the ringer is off and volume is turned down when someone from an approved list calls me late at night?
I'd also love it if the iPhone's motion sensors allowed it to make some guesses about when I'm asleep, based on movement and plugged-in status. I'm rarely out and about at 11:30 p.m., but if I am, and my iPhone's in my pocket, I'd like it to keep Do Not Disturb off until I get home, lay the device down and start charging it.
Improved Notification Center
Notification Center on iOS is kind of a mess. It's time for an overhaul. App notifications should be grouped together, with more opportunities to act on notifications directly from the notifications list. Clearing all notifications should be an obvious feature, and one that's available even on devices without 3D Touch.
I don't think iOS users are demanding all the tweaky possibilities that Android offers, but some moves in Android's direction would be welcome.
I'd also like a better interface to allow me to take control of my notifications, preferably by being able to adjust notification settings on a per-app basis from the notification screen itself. When I'm confronted with a notification of a kind that I don't want to see anymore, I'd like to be able to tap a settings icon and unsubscribe from that notification right then and there.
If this sounds like I'm asking for Android-style notifications on iOS, that's basically the truth — this is an area where Android has much more power than iOS. I don't think iOS users are demanding all the tweaky possibilities that Android offers, but some moves in Android's direction would be welcome.
A redesigned Control Center
When the iPhone X added the swipe-up gesture to go to the home screen, something had to give — and it was Control Center, which was relocated into the upper right corner of the display. This placement is both confusing and frustrating. There's got to be a better way. Maybe Apple should meld Control Center and Notification Center into a single pull-down interface; maybe Control Center could share space with app switching when you swipe and hold. Maybe it could appear when you swipe up from the home screen.
I don't know what the right answer is here, but the current one seems wrong. Time to try something different.
More fun in Photos
Photos is a functional app, but it's boring. It's got to do the heavy lifting of showing you all your photos and albums, including those in your iCloud Photo Library if you're syncing with that service. It's such an important app that I get why Apple is reluctant to turn it into something that feels more like Instagram. Likewise, the Camera app serves a vital purpose, so it sort of makes sense that this app is all business.
But Apple needs to do something more aggressively fun with photography. Photos creates algorithm-generated albums all the time, and they're pretty good, but if you never hit the Memories tab, you never see them. Maybe the solution is for Photos to crib from the App Store and launch in a Today view that includes quick access to recent photos, highlights of auto-generated memories and plenty of sharing options.
Or maybe there needs to be a third Apple app, something that's neither Photos nor Camera, but more geared toward exposing filters and camera effects, unearthing old pictures and sharing stuff with friends. The Photos app is probably the right place for that makeover, but if Apple wants to break this stuff out to create something more like Clips, the company's video-creation app, that works for me too. Photos on your phone shouldn't be boring. Apple's apps are a snooze.
More workflows in more places
Apple bought the indispensable Workflow app a few years ago, and in a lucky break for those of us who like to get the most out of our iOS devices, the app hasn't vanished but instead continues to work and be very good. Still, where are the fruits of that purchase? iOS could use ground-up support for robust scripting, automation and inter-app communication. The community (including that for Workflow) has spent a lot of effort to make its own solutions, from URL schemes to embedded JavaScript scripting. But for this to really take hold, Apple needs to make a commitment.
Augmented reality in Maps
I'm standing on a street corner wondering which way I need to go to get to my destination. Do I tap the Maps app to rotate so that forward is up? Do I read the arrow on my blue dot and figure out which way I'm oriented? I've got an idea: Apple should add an augmented-reality feature to Maps so that I can stand somewhere and see what's near me, what I'm looking at and where I need to go. Apple's high on augmented reality, and Maps seems like the best place for the company to integrate AR into the core set of iOS apps. (Google has already announced plans to do this with its Maps app.)
But who am I kidding? The company will probably add an AR mode that lets you take a selfie with an Animoji instead. We'll love it and make videos with it, and then after a couple of weeks, we'll get tired of it and stop using the feature. That's not something from my wish list ... it just seems inevitable.
iOS 11 Guide: Tips, Tricks and How-Tos
How to Customize Control Center in iOS 11
iPhone Rumors: What to Expect from Apple's Next Phone
Jason Snell
Jason Snell was lead editor of Macworld for more than a decade and still contributes a weekly column there. He's currently running the Six Colors blog, which covers all of Apple's doings, and he's the creative force behind The Incomparable, a weekly pop culture podcast and network of related shows.
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I am so grateful to be spending most of my summer in my beloved city— New York City. I am interning with wonderful artists: photographer, Catalina Kulczar and a creative collective that started in 2012, La Moutique, which is comprised of both Catalina and Juan Miguel Marin, a visual artist, art director, musician, and graphic designer. I will also be doing a handful of volunteering through NY Cares. I am so excited and eager to learn— I've already learned SO much! I've gotten to meet wonderful people, see some amazing art, assist with photographing product, go around Manhattan for errands, learn some new gear, and be inspired! Did I mention it is only my 2nd day there?!?
I have been arriving up to an hour early to my location in Long Island City and just browsing the area because it is one of those parts of NYC I am just not familiar with. I am noticing things here and there, such as a mural/art piece that I need to photograph.
This was something I was afraid of, showing excessive excitement, because frankly, I am an overly excited person. Seriously. Raspberry Iced Tea excites me, haha. However, both Catalina and Juan have made me feel comfortable enough to be myself.
Correct any mistakes in mispronunciation/preference in name. Scary, but you gotta do it.
There is a whole lot out there!
And I mean in terms of gear, resources, skills, etc. Like I said, I have so much to learn and just the past two days I have learned more about resources out there for photographers, gear other than stuff I have used in school, other people who help make a whole shoot happen, and simply, new routes on the MTA.
I haven't had time in NYC since summer of 2011. A lot has changed, which doesn't surprise me. Even my old neighborhood in the Bronx has changed since I left. However, that just means more things to see and only a few things to genuinely miss.
I haven't fretted too much about photographing, which is a huge feat for me. I get caught up in my anxiety and worries and don't get to enjoy my photography. I am working on some much personally and professionally, so this is a step in the right direction. Look forward to some photographs about my day to day trips between New Jersey and NYC. I have finally accepted in calling my home both NJ and NYC. In addition, look out for info on projects I am hoping to develop!


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St. Louis Brass Quintet - JPop.com
St. Louis Brass Quintet
Founded in 1964, the Saint Louis Brass Quintet is one of America's longest standing brass quintets. The group was originally formed by members of the St. Louis Symphony to play children's concerts around the St. Louis area. Soon though, they had expanded to present full length concerts funded by the National Endowment for the Arts, the Missouri Arts Council and the Mid-America Arts Alliance. Now, forty years and more than 2,500 engagements later, the only original member still in the group -- and the only one who actually lives in St. Read more on Last.fm
Founded in 1964, the Saint Louis Brass Quintet is one of America's longest standing brass quintets. The group was originally formed by members of the St. Louis Symphony to play children's concerts around the St. Louis area.
Soon though, they had expanded to present full length concerts funded by the National Endowment for the Arts, the Missouri Arts Council and the Mid-America Arts Alliance. Now, forty years and more than 2,500 engagements later, the only original member still in the group -- and the only one who actually lives in St. Louis -- is trombonist Melvyn Jernigan. The other quintet members hold top positions across the United States, and none of them are members of the St.
Louis Symphony. The group now performs three ten day concert tours throughout the United States each year, plus recording and international touring. The SLBQ was featured at the Norway Brass Band Festival in 1994, at a festival in Bombay, India in 1995, and they performed a two-week concert tour in Japan in 1997. In May of 1999 the quintet toured Mexico, and in October of 2001 they toured Germany. June 2003, they were performing in Sweden. It was out of the Saint Louis Brass Quintet that Summit Brass got its start.
In 1985, led by trumpeter David Hickman, who was at that time a member of the quintet, personnel were chosen for this new group. Since its first concerts in 1986, Summit Brass has hosted an annual institute for brass players, performed dozens of concert tours in the United States and Europe, and has recorded ten CDs. (via http://www.hornplanet.com/slbq/) Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
Brass Bonanza
Baroque Brass
Classical Music For People Who Hate Classical Music [Disc 2]
Jesu, Joy Of Man's Desiring & The Immortal Music of J.S. Bach
Bach: The Greatest Hits [Disc 1]
Bach: Greatest Hits
Joy To The World - A Baroque Christmas [Disc 5]
Bach's Greatest Hits
Baroque Brass Festival
A Baroque Festival [Disc 3]
Joy to the World - A Baroque Christmas
Vivaldi - Four Seasons
Bach - The Greatest Hits (Disc 1)
Coffeehouse Classics
Bach (JS): The Greatest Hits [Disc 1]
Christmas Brass
Bach: Jesu, Joy of Man's Desiring
Albinoni: Sonata in C Adagio
J.S. Bach: Arioso: from S. 1052
Saint Louis Brass Quinte…
Allan Dean, trumpet mast…
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A rank is a title that you acquire by accumulating points. Each rank has a name and an accompanying icon that is displayed in the dropdown below your user name on the black navigation bar, right next to your total points (figure 1). The rank is also shown prominently on your dashboard in the summary section. Most of the names stem from rank titles that were common during the Late Antiquity and the Middle Ages. Your initial rank is 'Novice', and the highest rank you can achieve is 'Deified Emperor/Empress'.
When you've received enough points to receive a higher rank, you will receive a message congratulating you with your promotion (figure 2). You only see this message at the end of a session (on the results page).