This was her husband's birthday thing but she didn't pay for it
In an era of body positivity, more people are noting the way American culture stigmatizes obesity and discriminates by weight. One challenge for studying this inequality is that a common measure for obesity—Body Mass Index (BMI), a ratio of height to weight—has been criticized for ignoring important variation in healthy bodies. Plus, the basis for weight discrimination is what other people see as “too fat,” and that’s a standard with a lot of variation.
Recent research in Sociological Science from Vida Maralani and Douglas McKee gives us a picture of how the relationship between obesity and inequality changes with social context. Using data from the National Longitudinal Surveys of Youth (NLSY), Maralani and McKee measure BMI in two cohorts, one in 1981 and one in 2003. They then look at social outcomes seven years later, including wages, the probability of a person being married, and total family income.
The figure below shows their findings for BMI and 2010 wages for each group in the study. The dotted lines show the same relationships from 1988 for comparison.
For White and Black men, wages actually go up as their BMI increases from the “Underweight” to “Normal” ranges, then levels off and slowly decline as they cross into the “Obese” range. This pattern is fairly similar to 1988, but check out the “White Women” graph in the lower left quadrant. In 1988, the authors find a sharp “obesity penalty” in which women over a BMI of 30 reported a steady decline in wages. By 2010, this has largely leveled off, but wage inequality didn’t go away. Instead, that spike near the beginning of the graph suggests people perceived as skinny started earning more. The authors write:
The results suggest that perceptions of body size may have changed across cohorts differently by race and gender in ways that are consistent with a normalizing of corpulence for black men and women, a reinforcement of thin beauty ideals for white women, and a status quo of a midrange body size that is neither too thin nor too large for white men (pgs. 305-306).
This research brings back an important lesson about what sociologists mean when they say something is “socially constructed”—patterns in inequality can change and adapt over time as people change the way they interpret the world around them.Evan Stewart is a Ph.D. candidate in sociology at the University of Minnesota. You can follow him on Twitter.
On the way home from the park I took odd shots of the neighbourhood.
Love the door and window screens.
“I’m wearing a coat by a young Estonian talent Sirli Pohlak, some Adidas Originals Essencials and sandals by once again Estonian brand TOKU with illustrations by myself. My style inspirations are always changing and right now I just want to look like I seriously put some effort in to my look without actually putting in any effort, rolling out of bed and looking awesome is my goal. Current favorites are definitely oversized coats that look like blankets & kimonos.”
25 July 2017, Korkeavuorenkatu
“Today my clothing was inspired by my stairway with light orange and light green walls. Actually this color mixture reminds me of puke. I am an active user of colors and I don't feel myself cozy in black. My forever sources of inspiration: monochromatism, retrofuturism, sex and fairytales.”
25 July 2017, Mannerheimintie
Dashcam footage released last week shows a Georgia police officer telling a passenger during a traffic stop that cops “only shoot black people.” The video isn’t just a bad joke caught on camera. It reveals layers of historical and present police violence against black people – often in the name of making white women feel safe.
The dashcam footage, which surfaced last week, shows Lt. Greg Abbott standing outside of a vehicle during a DUI traffic stop in July 2016. After the passenger – a white woman – expresses fear that she would be shot for moving her hands during the stop, Abbott responds: “But you’re not black. Remember, we only shoot black people. Yeah, we only kill black people, right?” Lt. Abbott retired last Thursday after backlash in response to the video. His attorney released a troubling statement, saying: “In context, his comments were clearly aimed at attempting to gain compliance by using the passenger’s own statements and reasoning to avoid making an arrest.”
It’s sad to admit that Lt. Abbott’s comments do point to a cold, hard truth: law enforcement disproportionately murders people of color. Just last year, black people were over twice as likely to be murdered by police compared to white people; indigenous folks were nearly four times as likely to be killed. This state murder isn’t something unique to our day and age. As Claudia Rankine writes, be it “Dying in ship hulls [...] gunned down by police, or warehoused in prisons,” dead black people are “part of normal life here.”
The state murder of black people is indeed normalized in America – and in case you missed it, this police violence is a feminist issue. Whether or not Lt. Abbott was serious or joking in his comments, they are unacceptable; and they reveal the continued pattern of the state dehumanizing black people — here by treating black lives as punchlines — as a means of comforting white women. As police officers feel emboldened to joke about the black people they kill, how are black people — women, femmes, trans and non-binary folk, men — supposed to navigate our safety and livelihood? And what will white women, even those who like this passenger are seemingly aware of police violence, do to dismantle the police state that will do anything to protect their mutual whiteness?
Terms of Thrones
by DICK CHENEY
Imitators. Pretenders. I was the first man in the entire world to even conceive of writing recaps of Game of Thrones. Now in my old, older age, I don't have to the time to parcel through Jon Snow's periods, mutely observing the wet trail of blood he drapes across the snow. I don't pore over the show the way I once did, and indeed, there's a lot less to make fun of in general on HBO's cash cow now that they finally gave David Benioff the money he needed to make this look like a movie and not Babylon 5. It was far too obvious how much they had to cut back in order to make this work on television over the past decade, but that is all forgotten.
I remember when I used to quietly while an afternoon away scribbing down the various key moments in the history of the Targaryen family. Hints are still being dropped about Jon Snow's parentage, although the end result is quite obvious by now. In order to follow the action, you'll want to read this important encyclopedia, preferably while you are on the toilet.
ARYA STARK: Having Arya play lots of different roles in Winterfell is a very good idea for a storyline, and I'm sure we'll learn that the two of them are about to outsmart Littlefinger in short order. The castle itself has been a disappointing locale outside of the crypt — we never get a sense of it as a setting, really. Arya's acting is kind of hit or miss, but having a teenager as a female Superman is never going to get old. I loved her scene with Hot Pie, but moments with Sansa haven't been much, with the directors usually forcing them not to look at each other or touch in any way.
BRAN STARK: Fuck Brandon Stark. This little piece of shit has the nerve to say, "I haven't been Brandon Stark in a long time," like anyone gives two fucks that he had some mystical experience beyond the Wall. Like, if you're so all-knowing, how come you can't be the slightest bit polite to the people you depend on for food and sustenance. God how I wish the Lannisters had murdered this loser when they had the chance.
BRIENNE OF TARTH: Sending Brienne to King's Landing and reuniting her with the only straight man she ever loved (RIP Renly Baratheon, you were fabulous) is a positive move, since there was only so many times I could watch her giving wisened advice to the boy-man they call Podrick. I am looking forward to her battling the monster that never leaves Cersei's side.
CERSEI LANNISTER: Lena Headey has long been the best performer in this entire milieu, and her trials and tribulations made her eerily sympathetic over time. The amusing way she announced her latest pregnancy to Jaime was fun, and her newly unapologetic view of her own sexuality makes her something of heroine as well. It would make more sense for Dany to vanquish her before the Night King, and I hope it happens that way. I can't dislike a strong woman.
DAENERYS TARGARYEN: The true lowpoints of Emilia Clarke's acting career are thankfully in the past, although it would be a stretch that she is in any way suitable to portray this character. A queen that rides around on dragons and plots a war against a continent should be a far more dynamic figure; instead she is turned into a pesky do-gooder — she's basically a college student who just discovered socialism. Her chemistry with Kit Harington is decent to good, and when they touched hands I would be lying if I wasn't gripping a blanket. Her reaction to the emotional death of her dragon Ethan was a bit stoic for my tastes. I get what they were going for, but she just looked constipated.
GENDRY: He's been at that forge every day for nine years. It's a lucky thing he didn't take a long lunch.
GREY WORM: So he has no penis or no balls, or both? I'm not googling this.
HOT PIE: It is really too much to give Hot Pie a love interest? I only have so many years left; they couldn't write a scene where Arya ruffled his hair while eating his prepared food? Also, he could have done with a familiar, like possibly a parrot or capuchin monkey that demanded his lovely pies all the time.
JAIME LANNISTER: Jaime and Bronn have always been great together, but it's been a few seasons of this eerily codependent relationships and I feel like I'm ready to move on. Jaime's discomfort about renewing relations with his sister also seems like a weird retcon to get them back exactly where they started, as if nothing ever happened. Jaime's face turn is probably coming, but I get the feeling that even the producers really don't know what to do with the character at this point. It would have been great to see him acting like a father, but instead they killed all his kids off.
JON SNOW: I never thought I would ever praise Kit Harington. Go back, if you will, to his early days on Game of Thrones. Christ was his acting shit. His line deliveries were all over the place, and his movement was downright amateurish. My, how he has grown. It was maybe somewhat offensive how they made a point of saying how tiny he is; like is it really necessary to burn him with casting directors when you can simply shoot him from below? This season his voice and inflection have really been top notch, and his acting in his scenes with Dany has been excellent. He's singlehandedly carrying this show, and when he's not in the same scene as Sansa, it's really not half bad. Pairing him with the Onion Knight was a good move.
JORAH MORMONT: There is this pernicious idea ensconsed in the world in general, and also on Game of Thrones which can only reflect our own world, that once people reach a certain age, they stop evolving or changing. I hate how the old folks of Westeros may as well all be suffering from greyscale. They just spend time trying to make up for these ancient mistakes; a penitent posture that starts to get old after the fifteenth time Jorah Mormont returned to the only woman he ever loved. I hate to break it to everyone, but greyscale can't be cured.
THE ONION KNIGHT: It's nice to have him around as comic relief, even though his weird tendency to grab onto whoever has power is never really explored thematically or by the other characters. Liam Cunningham is such a spectacular actor that I think they figured that they might as well keep giving him things to do.
SAMWELL TARLY: Sam's always been a bright spot on Game of Thrones. His experience at the Citadel was roundly boring, and they sort of just said mea culpa and moved him on his way. I would have liked to see him back running his father's estate in a multi-episode storyline, but it looks like he will simply be educating the people of Dragonstone. If he ends up leaving his incest-wife for Dany, I will never say anything bad about George R.R. Martin again.
SANSA STARK: Listening to Sansa rehash how she was terribly mistreated by some of the worst men in the ten kingdoms is getting a bit repetitive. I don't know what else she really does now, except question her brother publicly in front of everyone. It is obvious she doesn't respect Jon, and her political opinions are pretty rough overall. I really hope she is killed soon.
THEON GREYJOY: How many times can one man be redeemed and fall from grace? They probably should have sent him to Braavos and given him the face of Roose Bolton so I don't have to look at this fellow's slack, pale visage anymore. What is even the point of him existing now?
TYRION LANNISTER: Is there anyone who is not fully convinced at this point that Peter Dinklage smells his own farts like they were the most beautiful perfume on earth? What I would give to see him munched on by a dragon.
Dick Cheney is the senior contributor to This Recording.
An October 2015 piece published here about the potential dangers of tossing out or posting online your airline boarding pass remains one of the most-read stories on this site. One reason may be that the advice remains timely and relevant: A talk recently given at a Czech security conference advances that research and offers several reminders of how being careless with your boarding pass could jeopardize your privacy or even cause trip disruptions down the road.
In What’s In a Boarding Pass Barcode? A Lot, KrebsOnSecurity told the story of a reader whose friend posted a picture of a boarding pass on Facebook. The reader was able to use the airline’s Web site combined with data printed on the boarding pass to discover additional information about his friend. That data included details of future travel, the ability to alter or cancel upcoming flights, and a key component need to access the traveler’s frequent flyer account.
A search on Instagram for “boarding pass” returned 91,000+ results.
More recently, security researcher Michal Špaček gave a talk at a conference in the Czech Republic in which he explained how a few details gleaned from a picture of a friend’s boarding pass posted online give him the ability to view passport information on his friend via the airline’s Web site, and to change the password for another friend’s United Airlines frequent flyer account.
Working from a British Airways boarding pass that a friend posted to Instagram, Špaček found he could log in to the airline’s passenger reservations page using the six-digit booking code (a.k.a. PNR or passenger name record) and the last name of the passenger (both are displayed on the front of the BA boarding pass).
Once inside his friend’s account, Špaček saw he could cancel future flights, and view or edit his friend’s passport number, citizenship, expiration date and date of birth. In my 2015 story, I showed how this exact technique permitted access to the same information on Lufthansa customers (this still appears to be the case).
Špaček also reminds readers about the dangers of posting boarding pass barcodes or QR codes online, noting there are several barcode scanning apps and Web sites that can extract text data stored in bar codes and QR codes. Boarding pass bar codes and QR codes usually contain all of the data shown on the front of a boarding pass, and some boarding pass barcodes actually conceal even more personal information than what’s printed on the boarding pass.
As I noted back in 2015, United Airlines treats its customers’ frequent flyer numbers as secret access codes. For example, if you’re looking for your United Mileage Plus number, and you don’t have the original document or member card they mailed to you, good luck finding this information in your email correspondence with the company.
When United does include this code in correspondence, all but the last three characters are replaced with asterisks. The same is true with United’s boarding passes. However, the customer’s full Mileage Plus number is available if you take the time to decode the barcode on any United boarding pass.
Until very recently, if you knew the Mileage Plus number and last name of a United customer, you would have been able to reset their frequent flyer account password simply by guessing the multiple-choice answer to two secret questions about the customer. However, United has since added a third step — requiring the customer to click a link in an email that gets generated when someone successfully guesses the multiple-choice answers to the two secret questions.
It’s crazy how many people post pictures of their boarding pass on various social networking sites, often before and/or during their existing trip. A search on Instagram for the term “boarding pass”, for example, returned more than 91,000 such images. Not all of those images include the full barcode or boarding record locator, but plenty enough do and that’s just one social network.
For anyone interested in how much of today’s airline industry still relies on security by obscurity, check out this excellent talk from last year’s Chaos Communication Congress (CCC) in Berlin by security researchers Karsten Nohl and Nemanja Nikodijevic. Nohl notes that the six digit booking code or PNR is essentially a temporary password issued by airlines that is then summarily printed on all luggage tags and inside all boarding pass barcodes.
“You would imagine that if they treat it as a password equivalent then they would keep it secret like a password,” Nohl said. “Only, they don’t, but rather print it on everything you get from the airline. For instance, on every piece of luggage you have your last name and the six-digit (PNR) code.”
In his talk, Nohl showed how these PNRs are used in code-sharing agreements between and among airlines, meaning that gaining access to someone else’s frequent flyer account may reveal information associated with that customer’s accounts at other airlines.
Nohl and his co-presenter also demonstrated how some third-party travel sites do little to prevent automated programs from rapidly submitting the same last name and changing the PNR, essentially letting an attacker brute-force a targeted customer’s PNR.
My advice: Avoid the temptation to brag online about that upcoming trip or vacation. Thieves looking to rob someone in your area will be delighted to see this kind of information posted online.
Don’t post online pictures of your boarding pass or anything else with a barcode in it (e.g., there are currently 42,000 search results on Instagram for “concert tickets”).
Finally, avoid leaving your boarding pass in the trash at the airport or tucked into that seat-back pocket in front of you before deplaning. Instead, bring it home and shred it. Better still, don’t get a paper boarding pass at all (use a mobile).
It's only $4000 to go to Tasmania with NQN
“I am wearing a Vivienne Westwood hippie stripes bolero with fringes, a Westwood hat, a Saint Laurent jacquard palm print bag from Surf Sound collection, and Gucci sunnies. I quite like the way men dressed in the 70s – Mick Jagger and Marc Bolan. They're quite feminine but still with a tomboyish look. Also Anita Pallenberg, I love the way she looked in the 60s.”
1 July 2017, Tarkk'ampujankatu
Earlier this week, Mr. Justice Peter Jackson of the English and Wales Family Division of the High Court handed down a relatively run-of-the-mill custody decision in what I think is an extraordinary format. The decision is written as a signed letter by the judge to the teenage boy whose custody was at issue. Here is an excerpt:
13 July 2017
It was a pleasure to meet you on Monday and I hope your camp this week went well.
This case is about you and your future, so I am writing this letter as a way of giving my decision to you and to your parents.
When a case like this comes before the court, the judge has to apply the law as found in the Children Act 1989, and particularly in Section 1. You may have looked at this already, but if you Google it, you will see that when making my decision, your welfare is my paramount consideration – more important than anything else. If you look at s.1(3), there is also a list of factors I have to consider, to make sure that everything is taken into account.
When I was appointed as a judge, I took the oath that every judge takes to apply the law in a way that is fair to everybody. Some people will say that this or that decision isn’t fair, but that’s usually their way of saying that they don’t like the decision. People who like decisions don’t usually say they are unfair. * * *
Sam, the evidence shows that you are doing well in life at the moment. You have your school, your friends, your music, and two homes. You’ve lived in England all your life. All your friends and most of your family are here. I have to consider the effect of any change in the arrangements and any harm that might come from it. In any case where parents don’t agree about a move overseas, the parent wanting to move has at least to show that they have a realistic plan. That plan can then be compared with other plans to see which is best. That has not been possible here. You will remember that at the earlier hearing in May, I made very clear to your father that if he was going to seriously put forward a move to Scandinavia, he had to give the court proper information about where you would be living and going to school, where the money would be coming from, and what the arrangements would be for you to keep in touch with family and friends in England. At this hearing, no information at all has been given. Your father described the move to Scandinavia as an adventure and said that once the court had given the green light, he would arrange everything. That is not good enough. In over 30 years of doing family law cases, I have never come across a parent who thought it might be, and no court could possibly accept it. What it means is that I have no confidence at all that a move to Scandinavia would work. Your dad thinks he would find a good life and good work there, but I have seen nothing to back that up – he hasn’t made a single enquiry about houses, schools or jobs. You don’t speak the language and you haven’t been there since before you were 5. Even your dad hasn’t been there for over 10 years. I also doubt his ability to provide you with a secure home and a reasonable standard of living if you lived with him full-time. I would worry about how it would be for you if things started to go wrong. I think you would find it exciting at first, but when reality set in, you might become sad and isolated. I also don’t think it is good for you to be with your father 24/7. In some ways, he would expand your vision of the world, but in many more ways he would narrow it, because he holds such very strong views himself, and because I believe that (maybe sincerely and without realising it) he needs you to fall in with his way of thinking. I also think it would be very harmful to be living so far away from your mum, from young Edward (who needs you too), and from Paul. * * *
So, coming to the orders I am going to make:
A. I dismiss your dad’s applications to take you to live in Scandinavia and for you to apply for citizenship there.
B. You will have a holiday of a week in the second half of August this year with your dad, to be spent at his home unless he and your mother agree that it is going to be spent somewhere else. * * *
Sam, I realise that this order is not the one that you said you wanted me to make, but I am confident that it is the right order for you in the long run. Whatever each of your parents might think about it, I hope they have the dignity not to impose their views on you, so that you can work things out for yourself. I know that as you get older, you will do this increasingly and I hope that you will come to see why I have made these decisions. I wish you every success with your future and if you want to reply to this letter, I know that your solicitor will make sure that your reply reaches me.
The full opinion, which is worth reading is here. The citation is A (Letter to a Young Person), Re (Rev 1)  EWFC 48 (26 July 2017).
To my eye, this opinion has many of the hallmarks that Kathy Stanchi, Linda Berger and I identified (here) as characteristics of some feminist judgments including breaking rhetorical conventions, practical reasoning, and concern for power dynamics.
Mr. Justice Jackson’s decisions have attracted some attention before, as he was the first judge to use an emoji in an official ruling, so that his decision could be better understood by the children who would read it.
Mr. Justice Jackson has been recently elevated to the Court of Appeal.
She's changed the blog to Lorraine Elliot Not Quite Nigella
She didn't fix her white balance?
I tried to get Webber's parent to go to this but no dice
Her husband sounds so annoying!
by ALEX CARNEVALE
The Bad Batch
dir. Ana Lily Amirpour
The Bad Batch, the dynamite second feature of Iranian-American director Ana Lily Amirpour, begins when Arlen (Suki Waterhouse) is dumped into a cannibal desert wasteland. Everything is going against the film at that point: an overly glamorous model lead, music from Die Antwoord that impinges on every aspect of our senses, the constantly reused desert setting selected for its lack of cost to the production. Ten minutes later, Waterhouse is missing her right arm and her right leg, and Amirpour has written over every cliché you thought she was settling into so obscenely.
We first meet Miami Man (the consistently excellent Jason Momoa) in his trailer, where he is painting a portrait of his daughter. It is such an eye-raising way to discover a character, especially a cannibal. A few minutes later, Momoa is snapping the neck of a captured woman begging for her life. Amirpour offers these moments in a meaningful way; she chooses neither to overlay them with music or glorify the violence. She is fully in control at all times, and by the end of The Bad Batch, you realize what a miracle it must have been to shoot this on a budget of only $6 million.
Instead of sweeping, dull shoots of this wasteland environment, Amirpour has a deft eye for people — how they speak and relate to each other in ways that are unmistakably human. Scenes with Jim Carrey, Keanu Reeves and Giovanni Ribisi might have come across as stunt casting in another context. Each performer takes these smaller roles with a diverting seriousness that never takes away from the affecting moments of The Bad Batch. Even the tiniest scene, like a drifter asking Miami Man to sketch his portrait, is full of life.
After her violent amputation, Arlen escapes her confinement by smearing her body with feces and escaping when her captors try to clean her. She pushes her way across the landscape on skateboard, presumably unable to find a stick of any kind. Amirpour makes a point of not keeping Arlen in anguish or pain throughout. We might have emphasized more with the character if we were filled in on her struggles, but there is a deliberate effort here not to focus on a theme of suffering. This is just the way the world is, and Arlen knows it.
Waterhouse herself has some struggles. She is still growing as a performer, and her dark eyebrows barely move throughout The Bad Batch: she seems incapable of emitting measured, smaller responses to events. Her face remains vaguely placid no matter the situation, and her body does not really shake or move either. Sexuality is the last meaningful thing in her life. The first images we see of her smooth legs parody a cinema of exploitation until one of those limbs is quickly shorn off. In various ways Waterhouse would resemble an anime heroine if Amirpour had not put in evidence enough remarkable moments to make her real.
Because she is hateful of cannibals, when Arlen finds Miami Man's wife and daughter in a local dump, she shoots and kills the mother to save the girl from a fate of eating human flesh. Instead of explaining the motivation of every act in The Bad Batch, Amirpour's script is delightfully minimal, allowing us to puzzle out the various moralities and motivations ourselves. In this way, the metropolis of Comfort seems most like a living, breathing whorl. When Arlen finally meets Miami Man as he searches for his daughter, the coming together of these two disturbing figures is more than the sum of their parts.
Music by Jordan Lieb under the name Black Light Smoke preserves the dystopia in its latter stages. Arlen finds the young girl in custody of the Dream (Keanu Reeves), who lords over Comfort with a harem, in the film's least original aspect. Reeves' dialogue is so perfect it doesn't matter to us. The Bad Batch enters us into its hypnotic fugue, its rapid day and night cycles establishing a continuity independent of our own time. This exciting sophomore effort — from such an assured voice — heralds the coming of a new master.
Alex Carnevale is the editor of This Recording.
This week marks the 50th anniversary of the automated teller machine — better known to most people as the ATM or cash machine. Thanks to the myriad methods thieves have devised to fleece unsuspecting cash machine users over the years, there are now more ways than ever to get ripped off at the ATM. Think you’re good at spotting the various scams? A newly released ATM fraud inspection guide may help you test your knowledge.
The first cash machine opened for business on June 27, 1967 at a Barclays bank branch in Enfield, north London, but ATM transactions back then didn’t remotely resemble the way ATMs work today.
The first ATM was installed in Enfield, in North London, on June 27, 1967. Image: Barclays Bank.
The cash machines of 1967 relied not on plastic cards but instead on paper checks that the bank would send to customers in the mail. Customers would take those checks — which had little punched-card holes printed across the surface — and feed them into the ATM, which would then validate the checks and dispense a small amount of cash.
This week, Barclay’s turned the ATM at the same location into a gold color to mark its golden anniversary, dressing the machine with velvet ropes and a red carpet leading up to the machine’s PIN pad.
The location of the world’s first ATM, turned to gold and commemorated with a plaque to mark the cash machine’s golden anniversary. Image: Barclays Bank.
Chances are, the users of that gold ATM have little to worry about from skimmer scammers. But the rest of us practically need a skimming-specific dictionary to keep up with today’s increasingly ingenious thieves.
These days there are an estimated three million ATMs around the globe, and a seemingly endless stream of innovative criminal skimming devices has introduced us over the years to a range of terms specific to cash machine scams like wiretapping, eavesdropping, card-trapping, cash-trapping, false fascias, shimming, black box attacks, bladder bombs (pump skimmers), gas attacks, and deep insert skimmers.
Think you’ve got what it takes to spot the telltale signs of a skimmer? Then have a look at the ATM Fraud Inspection Guide (PDF) from cash machine giant NCR Corp., which briefly touches on the most common forms of ATM skimming and their telltale signs.
For example, below are a few snippets from that guide showing different cash trapping devices made to siphon bills being dispensed from the ATM.
Cash-trapping devices. Source: NCR.
As sophisticated as many modern ATM skimmers may be, most of them can still be foiled by ATM customers simply covering the PIN pad with their hands while entering their PIN (the rare exceptions here involve expensive, complex fraud devices called “PIN pad overlays”).
The proliferation of skimming devices can make a trip to any ATM seem like a stressful experience, but keep in mind that skimmers aren’t the only thing that can go wrong at an ATM. It’s a good idea to visit only ATMs that are in well-lit and public areas, and to be aware of your surroundings as you approach the cash machine. If you visit a cash machine that looks strange, tampered with, or out of place, then try to find another ATM.
You are far more likely to encounter ATM skimmers over the weekend when the bank is closed (skimmer thieves especially favor long holiday weekends when the banks are closed on Monday). Also, if you have the choice between a stand-alone, free-standing ATM and one that is installed at a fixed location (particularly a bank) opt for the fixed-location machine, which is typically more secure against physical tampering.
“Deep insert” skimmers, top. Below, ATM “shimming” devices. Source: NCR.
I love Wagon Wheels so much
OMG Totoro cakes
Woah Kenneth looks just like a thin Jody
we had a great Family Mother's Day Party ..
gorgeous food ....
Isn't this cake wonderful .... My granddaughter Christy made the cake and filled and decorated it ... Amazing ....
her sister Lisa and her did most of the cooking and food preparing ... they did a fabulous job... we were all so impressed ....
... it was a great party ..........
.... Barb xxxxx
I’m supposed to be studying but instead I made a pair of glasses for my cat and pretended he was studying 🙃
I'm in the oversized cheeks club too. It sux
by ETHAN PETERSON
dir. Jonathan Levine
Roger (Christopher Meloni) is a fellow traveler Emily Middleton (Amy Schumer) and her mother Linda (Goldie Hawn) meet in the Colombian jungle. Just 14,000 years ago, the residents of the region farmed maize, potato, quinoa and cotton. These three hikers do not even know what is edible. When Roger takes them to a valley they must cross by swinging on a thick vine, he suggests he go first because "I am the man." Women deal with this kind of sexism all the time. It is called "casual sexism" because it is not really ill-intentioned. Snatched, an important film that also features a scene where a romantic interest inadvertently catches sight of Emily Middleton wiping her vagina with the aid of a bathroom mirror, has Roger swing manfully to his death when the rope breaks.
Unfortunately and somewhat ironically, Meloni is the best actor in Snatched by far. The film is a substantial improvement on Ms. Schumer's last "comedy," in that it actually features some, but not many, jokes completely unrelated to the fictitious idea that she is unpleasant, unkempt, and unattractive. As her fervent fanbase can readily attest, none of these things are actually true. She is a lovely woman whose oversized cheeks only add to her considerable beauty.
In a key scene where Emily Middleton sunbathes at a resort in Ecuador, she shows off her body, which is also quite impressive. Later, she humbly suggests that her slim physique is due to a tapeworm, which is extracted orally in an extensive and graphic scene. Emily recovers from this parasite in a native village with a disturbing patriarchal culture. She is so offended by the sexism she finds there that she destroys their way of life. These heady subjects all occupy space in the best screenplay Katie Dippold (The Heat) has ever written.
Hawn is not given very much to do in Snatched. The character of Linda Middleton is an overbearing single mother; it is unclear why her relationship with the father of her children fell apart so many years ago, or why she has refused to have any sex in the years that followed. Dippold introduces this woman in a scene where she writes up a rough draft of a dating profile before deleting it in disgust. The profile says that she loves cats and Grey's Anatomy. Later on, we are informed that Linda is learning how to be a sculptor, although her daughter immediately dismisses the singular art she produces.
Emily Middleton also has a brother named Jeffrey (Ike Barinholtz). Barinholtz, recently the author of the Kevin Hart comedy Central Intelligence, plays an overly verbal loser in most supporting appearances. As he tries to recover his mother and sister after they are kidnapped and brought into Colombia, he makes a trip to the State Department when he cannot find anyone who will listen to him over the phone. This is a taxing and anxiety-ridden journey, since Jeffrey is substantially agoraphobic and makes his only income teaching piano lessons to young people.
Dippold acquiesces to Schumer's typical self-deprecating humor, but she treats Jeffrey's illness with astonishing sensitivity. The characters of Snatched are all ill, in fact. Whatever technology permitted them to stop farming maize and potatoes, as the first humans did quite easily, has also meant an end to any intrinsic chance of happiness. Emily Middleton's boyfriend Michael (the talented Korean-American actor Randall Park) explains that he is breaking up with her because she has no direction in her life – he is tired of her focus on appearances, and declines to accompany her on a trip which has the intrinsic purpose of subjectifying native cultures while having frequent, unemotional sex.
In another less sensitive film, the Middletons would befriend some locals who would show their inherent aboriginality. In Snatched, these white women are outsiders to every part of the culture. They are treated with respect for the most part, and they only come to harm out of their own stupidity. Emily in particular fights back with a velocity of violence never employed by her captors. Using an arrow, she kills the young son of the man ransoming her and her mother, and caves in the skull of another man who is transporting them to nicer living quarters. "You are an excellent murderer," Linda observes of her daughter.
The Spaniard Alonso de Ojeda was the first conquistador to discover Colombia. (He also gave Venezuela its name.) His expeditions were thoroughfares of rape and murder; no women and children were spared by his men. He was so ashamed by his actions that at the end of his life he died penniless and alone after ensuring that people would walk over his grave as punishment for his colonial acts of subjugation.
Emily Middleton's emotional journey is remarkably similar. On her next trip, this time to Kuala Lumpur, she stays within the tourist trappings so that no one else can be hurt. Emily has not altered who she is, she has only the knowledge that her inherent destructiveness must be contained to prevent it from harming the people around her. There is something so completely non-redemptive about Snatched, a refreshing, if depressing testimony to how little of life we are even capable of living.
Ethan Peterson is the reviews editor of This Recording. You can find an archive of his writing on This Recording here.
A wild blooper on pg 11 of A Million Random Digits. I’m painting all the zeros, with 389 pages/972,500 digits to go, and I’m writing a bit about it along the way. If you couldn’t imagine missing a single zero you can follow along at https://www.twitch.tv/weinventyou.
The only picture I had of our day out at the Royal National Park, I know I took more but I must have erased them or something.
On Thursday, Senator Bernie Sanders flew to Nebraska to campaign for Health Mello, a Democrat running for Mayor of Omaha. The stop is part of Bernie’s “Unity Tour” with Democratic National Committee Chair Tom Perez — the beginning of a national effort to rebuild and unite Democrats around a shared vision for the party’s future.
Here’s the catch: Heath Mello is a longtime opponent of abortion access who sponsored a 20-week abortion ban in 2010. It contained no exceptions for rape or incest. Mello has also co-sponsored legislation requiring doctors to perform medically-unnecessary ultrasounds, and he voted for a bill to ban insurance plans in the state from covering abortion, which would dramatically restrict access for low-income women. That’s not just “personal opposition”; it’s a clear, concerted campaign to restrict access to abortion.
Under heavy criticism, Sanders doubled down on his support of Mello, telling NPR that Democrats “can’t exclude people who disagree with us on one issue.”
But of course, Sanders is willing to deny his support to candidates who don’t support his economic justice agenda. Just this week, he bluntly panned Jon Ossoff, a pro-choice Democrat in a tight race to flip Tom Price’s Georgia House seat, as “not a progressive.”
In his fight to define what it means to be progressive and to “radically transform the Democratic Party,” Sanders has drawn an unspoken but clear distinction between the economic issues that animate him (on which he says we must not compromise) and reproductive freedom (on which, he says, we should). It’s a vision in which single-payer and free college are essential parts of the progressive, economic justice agenda, while a woman’s right to choose is not.
But here’s the thing: reproductive freedom is fundamentally an economic justice issue.
Access to abortion — the ability to decide when, and whether, to become a parent — is fundamental to the economic security of women (and other people who can become pregnant). If I found out I were pregnant tomorrow, and I didn’t have the right to choose, unplanned parenthood would derail my career, my educational plans, my entire economic future.
And I’d still be better off than most. Nearly 70 percent of women who obtain abortions live below 200% of the federal poverty line, often because they cannot afford to care for a (or another) child. As Michelle Kinsey Bruns points out, abortion has empowered her to escape “a life of hereditary poverty.” She’s not alone. The landmark “Turnaway Study” tracked women across 21 states who sought but were denied abortion care; researchers found that “women who carried an unwanted pregnancy to term are three times more likely than women who receive an abortion to be below the poverty level two years later.”
Without the ability to control when they become parents, women can’t control their economic futures. There’s no economic justice without abortion access — unless you only care about people who can’t become pregnant.
Like Sanders, Perez defended the DNC’s support for Mello to the Washington Post, arguing, “If you demand fealty on every single issue, then it’s a challenge . . . there are communities, like some in Kansas, where people have a different position.” (Never mind the fact that James Thompson, a staunchly pro-choice progressive running for a deep-red district in Kansas pulled off a 20-point Democratic swing with little DNC support just two weeks ago.)
Let’s be clear: Perez and Sanders aren’t saying that Democrats should compromise; they’re saying women should. Sanders would never urge Democrats to compromise on financial regulation or campaign finance; Perez would never urge the party support Democrats who don’t support the Affordable Care Act. Their calls for “flexibility” and “understanding” are reserved for so-called women’s issues. They recall the old, insidious idea that women should be flexible and understanding, prioritizing what’s viewed as men’s well-being over their own.
Women, of course, have heard this all before — all while women, especially women of color, are the Party’s base, are leading anti-Trump organizing, and are making the overwhelming majority (86 percent!) of calls to Congress. While the Democratic Party flirts with sidelining reproductive rights, women carry its weight. Maybe “unity” should start with supporting us, not negotiating our rights away.
Header image via.