Category Archives: Anatomy

Anatomy of Andrew Benintendi’s game-saving throw home – WEEI.com (blog)

This was no accident.

When Andrew Benintendi threw out Howie Kendrick at the plate with one out in the eighth inning, potentially saving the game for the Red Sox Tuesday night, it might have simply seemed like a nice toss home coupled with an ill-advised decision by the base-runner to try and score. (To see the play, click here.)

Butthere were a few more factors at play when considering what made Benintendi's throw possible.

The execution of the action could first be tracked back to the night before, when the Red Sox left fielder had scurried over to get a ball before hastily trying to pick it up with his barehand. That resulted in a bad throw. So when Benintendi approached the ricochet off the left field wall - which emanated from Maikel Franco's blast just a few feet shy of reaching home run distance - the memory of Monday night immediately flashed into his head.

"I was going to make sure I picked it up with my glove," Benintendi later said. "I didn't last time, and that didn't work."

The next piece of the equation was also a lesson learned, this one garnered during pregame activities. Prior to Tuesday night's game, Benintendi had joined the other outfielders in working on all their throws to the bases. They were drills that aren't done every day, but ended up being perfectly timed for this occasion, particuarly since it let the rookie get the kinks out.

"I was throwing all cutters. Not straight balls," Benintendi said of his practices tosses. "But the game is all that matters."

But perhaps what made the whole thing come together was simply a demeanor that many have referenced when describing the 22 year old. Throughout the chaos that came with the Red Sox' fate hanging in the balance, Benintendi remained remarkablycalm.

"I saw where the runner was and I saw how he had it gauged up. There was no sense in him panicking," said Red Sox center fielder Jackie Bradley Jr.. "He played the ball the way he was supposed to, but just got a hard kick. As he was running to get the ball I saw him pick his head up and kind of analyze where he was. That's why he knew the distance that he was wasn't very far and he able to throw a strike to home plate."

"To remain under control," said Red Sox manager John Farrell when asked what impressed him most about the play. "Hes got to chase that ball a long way after the carom. He comes up, throws a strike to home plate. Its the even temperament that he shows in probably every aspect of the game, particularly the final swing tonight."

That swing, of course, was Benintndi's first career walk-off hit, giving the Red Sox a 4-3, 12-inning win over the Phillies.

It's a swing that probably isn't made possible, however, if not for the outfielder's casual throw and catch with backstop Chritian Vazquez about an hour before.

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Anatomy of Andrew Benintendi's game-saving throw home - WEEI.com (blog)

London Theater Review: ‘Anatomy of a Suicide’ – Variety

The sins of the father revisited on the son its a stage staple that tracks back to Ancient Greece. From Captain Alving in Ibsens Ghosts to Arthur Millers arms-dealing Joe Keller in All My Sons, a mans acts live on. Feminist playwright (Revolt. She Said. Revolt Again.) and screenwriter (Lady Macbeth) Alice Birch offers an alternative in this chilly triptych, now play at the Royal Court Theater. Not once, but twice, a mothers trauma rebounds on her daughter. Mental illness becomes a baton passed between three generations: a frazzled 1970s housewife, a 1990s riot girl, a detached doctor in 2033. Katie Mitchells clinical staging forces us to watch forensically, sifting for clues about causality. Is this nature, nurture or social structure?

Birch splits the stage in three, so that three women, decades apart, appear side by side. In 1971, Carol (Hattie Morahan) emerges from hospital with her wrists wrapped in bandages, her husband berating her for ruining the floorboards. In 1997, Anna (Kate OFlynn) wobbles on her feet, off her bloodied head, with one arm in a sling, as a male nurse checks her over and ticks her off. In 2033, a third woman holds her bleeding hand, a fishhook dug into the palm but its her expressionless doctor, Bonnie (Adelle Leonce), who assumes importance.

These women couldnt be more different, and yet their individual stories echo each other sometimes exactly, as phrases and gestures ripple through time. Carol sits at home, alone, infantilized by her stern, shambolic husband (Paul Hilton), smoking at the kitchen table, a child crying somewhere in the house. Anna rampages off the rails, a laddette with a heroin addiction partying through the millennium. Bonnie, meanwhile, shuts everyone out. She might seem the most sorted of the three, but shes not really. All three incur mental health problems of some form or another: a mix of anxiety, depression and detachment.

Its only gradually that we realise that theyre related three generations of the same family. As each individual narrative unfolds, it adds a little more context to the next. One womans life encompasses the others childhood, and so explains the issues they face in adulthood. Eerily, you intuit their deaths before they take place. Each is strangely absent from their daughters life and yet, equally, ever-present.

Its a beautifully organised play, an elegant information overload. Birch is an exacting writer; Revolt. She Said. Revolt Again proved her precision with language, but here, as in her recent film Lady Macbeth, she lets small slices of life assume momentous significance. As Carol smokes a sly cigarette at a childrens party, Anna crashes into a drug-induced coma. Bonnie stands outside a birthday bash, bottle in hand. Many of the micro-scenes have a painterly quality, a stark, unsentimental beauty.

Set designer Alex Eales encases the women in a grey concrete cell so that the world seems oddly absent, and only James Farncombes articulate lighting gives a sense of place. Melanie Wilsons soundscapes swim around like underwater echoes. Between scenes, as the years pass, the women stand, still as mannequins, as castmates undress and reclothe them. Fashions change, women dont, nor society neither any shifts are merely superficial. Birchs play is, among other things, a history of the care system. Patrician doctors become scrubbed-up careworkers, but the treatment prescribed is still the same: electric shock therapy.

As youd expect of the meticulous Mitchell, all three women are played with extraordinary clarity. Morahan wears a faraway frown as Carol, her eyes wide and watery, while OFlynn chews her words as if permanently brain-fuzzed and physically discombobulated. Leonce plays Bonnie with a clean-cut aloofness that almost borders on dissociation, as if to complete the cycle.

Theres something schematic in a play that works entirely through patterns. Birch asks us to compare and contrast, but the triptych form can feel like the complete-the-sequence section of an IQ test: A, B, ?. A mother who feels too little produces a daughter who feels too much. Her daughter, in turn, retreats to a numb silence. Sarah Blenkinsops costumes stress the point: Carol in red, Anna in green and black, Bonnie in white with hints of red. The driving concept is too close to the surface here, the causal chain too certain to ring true. That each woman is so of-their-own-era only exacerbates the problem. All three feel emblematic, rather than idiosyncratic individuals, and it can feel like Birchs thesis is leading her play.

Thats a small grumble, though, in an otherwise unflinching examination of motherhood and mental health, articulated with a sharp sense of theater.

Royal Court Theatre, London; 465 seats; 45, $57 top. Opened, June 8, 2016 reviewed June 8, 2016. Running time:2 HOURS.

A Royal Court production of a play in one act by Alice Birch.

Directed by Katie Mitchell; Set design,Alex Eales; costume design, Sarah Blenkinsop; lighting, James Farncombe; sound, Melanie Wilson; composer, Paul Clark.

Gershwyn Eustache Jnr, Paul Hilton, Peter Hobday, Adelle Leonce, Sarah Malin, Jodie McNee, Hattie Morahan, Kate OFlynn, Sophie Pettit, Vicki Szent-Kirallyi, Dickon Tyrrell.

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London Theater Review: 'Anatomy of a Suicide' - Variety

Anatomy of a doomed campaign – The Economist (blog)

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Anatomy of a doomed campaign - The Economist (blog)

Sandra Oh Just Landed Her Best Role Since Grey’s Anatomy – Cinema Blend

Sandra Oh will play Eve in the eight-episode first season of Killing Eve, which will air on BBC America. The role promises to give Oh the chance to stretch her dramatic and comedic muscles. Killing Eve is actually based on novellas penned by writer Luke Jennings, so it should be interesting to see how the plots and characters of the series compare with the source material. The project will be helmed by Phoebe Waller-Bridge, who is best known for creating, writing, and starring in the acclaimed comedy Fleabag. She'll work as showrunner and executive producer on Killing Eve.

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Sandra Oh Just Landed Her Best Role Since Grey's Anatomy - Cinema Blend

OSU baseball: The anatomy of the Beavers’ extraordinary win streaks – Albany Democrat Herald

The two longest winning streaks in Division I baseball this year belong to Oregon State.

The top-seeded Beavers (54-4), who open the College World Series at noon Saturday against Cal State Fullerton (39-22), will take the field at TD Ameritrade Park in Omaha, Nebraska as winners of 21 consecutive games. OSU closed the regular season with 16 straight victories and has outscored opponents 44-9 during its five NCAA tournament games.

Earlier this year, the Beavers won a program-record 23 in a row from Feb. 25 to April 9, including a 12-0 start in Pac-12 play.

The two streaks have accounted for 44 of the teams 54 victories, another single-season school record. With a winning percentage of .931, OSU is on pace to break Arizona States 45-year-old all-time mark of .914 (the Sun Devils finished 64-6 in 1972).

Below is a breakdown of the Beavers winning streaks.

Runs scored: 136 (5.9 per game)

Runs allowed: 49 (2.1 per game)

A loss to Ohio State, which finished 148th in the NCAA RPI, dropped Oregon State to 5-1 early in the season.

The Beavers began the longest winning streak in school history with a 5-2 neutral-site victory over Nebraska, which later came to Oregon for the Corvallis Regional. OSU then got revenge against the Buckeyes to wrap up play in Surprise, Arizona before sweeping consecutive home series with UC Davis and Ball State.

Entering Pac-12 play 14-1 overall, the Beavers outscored Arizona State 16-1 during the three-game set to seize an immediate stranglehold on the conference standings. Starting pitchers Luke Heimlich (eight two-hit innings), Bryce Fehmel (eight innings, one run, four hits) and Jake Thompson (7 two-hit innings) were close to untouchable in the desert.

OSU picked up its first of six walk-off wins at Goss Stadium on March 24, knocking off Arizona 4-3 on a KJ Harrison single that plated Adley Rutschman. The Beavers trailed 3-1 entering the eighth.

One night later, OSU again overcame a deficit and walked off again when Preston Jones scored all the way from second on a wild pitch for a 5-4 win. A comfortable 11-7 decision in the series finale pushed the team to 20-1 overall and 6-0 in Pac-12 play.

The Beavers kept the streak alive with another come-from-behind effort, scoring three times in the ninth to steal a 4-3 victory at Saint Marys on March 28. Nick Madrigal collected the game-winning hit, a two-out, two-RBI single with the bases loaded.

Following another road sweep in which the Beavers outscored Stanford 25-8, OSU pulled out a 4-3 road decision at Portland for its 20th win in a row. Rutschmans two-run single in the sixth put the Beavers in front for good.

A home sweep of Utah including two more walk-offs left OSU 28-1 overall (12-0 Pac-12). Steven Kwan hit a game-winning single in the opener while a Rutschman sacrifice fly brought home Jack Anderson for a 5-4, 16-inning victory in Game 2.

The streak finally came to an end April 13, a 3-2 loss at Washington. But the Beavers fought back to win the final two games of the series.

Runs scored: 158 (7.5 per game)

Runs allowed: 41 (2.0 per game)

After starting the year 28-1, the Beavers went just 5-3 during a two-week span from April 13-29. The rocky patch included a 7-5, 10-inning home loss to USC, which finished in the Pac-12 basement with Arizona State.

Oregon State came back to rout the Trojans 10-1 in the series finale, igniting a winning streak that has yet to end.

A midweek home victory over Oregon followed by a three-game sweep of California put the Beavers on the brink of the Pac-12 championship. After cruising past the Ducks in Game 1 of the Civil War conference series, Mitchell Verburg struck out Ryne Nelson with the bases loaded in the bottom of the ninth to seal a 5-4 victory and the outright Pac-12 title.

Verburgs heroics also delivered career win No. 1,000 for coach Pat Casey.

The Beavers blanked Oregon 1-0 to sweep the series and cruised by Portland two days later before coming out flat against Washington State May 19. Trailing 3-2 entering the ninth, Steven Kwan and Jack Anderson drew consecutive base-loaded walks off Cougars closer Scott Sunitsch for a true walk-off.

OSU went on to outscore Washington State 19-3 in the final two games of the series, finishing with the best record in conference history at 27-3.

The streak nearly ended again May 26 against Abilene Christian, the Beavers final regular-season opponent. Knotted at 4 in the bottom of the 11th, Anderson knocked in Andy Atwood with a single for the teams sixth walk-off of the year. Reliever Mitch Hickey proposed to his girlfriend on the Goss Stadium turf immediately following the game.

The Beavers entered the NCAA tournament with a 49-4 record and breezed through the Corvallis Regional, outscoring Holy Cross and Yale by a combined margin of 27-3. Two comfortable wins over Vanderbilt in the Corvallis Super Regional pushed the winning streak to 21 as OSU prepares for its CWS opener.

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OSU baseball: The anatomy of the Beavers' extraordinary win streaks - Albany Democrat Herald

E3 2017: Grey’s Anatomy Star Jesse Williams Joins Detroit: Become Human – IGN

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Quantic Dream's upcoming neo-noir adventure, Detroit: Become Human, has a new cast member: Grey's Anatomy star Jesse Williams.

The actor plays a character named Marcus, and he was unveiled in a new gameplay demo on-stage, which saw him leading a group of androids in revolt against Detroit's humans.

Williams confirmed the news on Twitter, where he retweeted several mentions of the latest footage and simply said "It goes down in Detroit." Developer Quantic Dream confirmed on Twitter that Marcus is the third playable character in Detroit, joining previously-revealed characters Kara and Connor.

Detroit: Become Human was announced during Sony's Paris Games Week keynote in 2015. Based on Quantic Dream's "Kara" tech demo from 2012, Detroit: Become Human follows a number of playable characters in a world of sentient androids.

The story of Detroit: Become Human, similar to Heavy Rain, will feature several branching paths depending on player choices and character deaths. For more on the games of E3 2017, stay tuned to our E3 event hub.

Chloi Rad is an Associate Editor for IGN. Follow her on Twitter at @_chloi.

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E3 2017: Grey's Anatomy Star Jesse Williams Joins Detroit: Become Human - IGN

Anatomy of a Suicide review a startling study of mothers and daughters – The Guardian

What determines our character? Nature or nurture? Genetic inheritance or social environment? It is an age-old debate, and Alice Birch now adds to it with this startling theatrical triptych about three generations of mothers and daughters. Whatever my doubts about Birchs conclusion, the play is odd, arresting and, in Katie Mitchells immaculate production, highly original in its form.

Birchs progress as a writer has been fascinating to watch. She delivered a short, sharp shock in 2014 with Revolt, She Said, Revolt Again which was a subversive, playful piece calling for revolution in everything from sexual relationships to the workplace. In 2015, the Orange Tree brought us an earlier Birch play, Little Light, about sibling rivalries, that suffered from too much withheld information. Since then Birch has written a polemical piece about porn, We Want You to Watch; the admired Ophelias Zimmer, which I missed; and the recent film Lady Macbeth, which transposed a Russian novel to Victorian England and got a five-star review from Peter Bradshaw.

On the evidence so far, I would say Birch has a gift for radical experiment in the style of Caryl Churchill and Sarah Kane. In her new play we are confronted by three women, Carol, Anna and Bonnie, who we learn are mother, daughter and granddaughter. They exist in three different time zones but the story of their lives is told simultaneously. As Birch herself says, the text has been scored and can be read, or viewed, horizontally. In practical terms that means that, as dialogue and action often overlap, we decide where to focus our attention.

It is simpler than it sounds. We first meet Carol when she is emerging from hospital having tried to kill herself by slitting her wrists; subsequently giving birth does little to quell her visible unease. While following Carols story, we also see her grownup daughter Anna suffering from drug addiction, joining a commune and marrying a documentary film-maker by whom she has a daughter. That daughter, Bonnie, has grown up to be a skilled physician who is gay, guarded in her relationships and determined to avoid the possibility of procreation.

If I say that panels above the stage reveal early scenes to be taking place in 1973, 1998 and 2033 and that by the end the story has moved on by roughly a decade, you will get the general idea.

So what is Birch suggesting? Evidently that inherited suicide is a possibility and that the trauma of Carols life is transmitted to the next generation and beyond. I am not qualified to say whether that is psychologically true, but behind the play lies a genetic determinism that I resist. We all know what Larkin said about what parents do to their children (They fuck you up) but Birchs play leaves little scope either for self-invention or the impact of social and economic forces. Even Bonnies choice of profession seems shaped by her grandmothers actions, and you are led to wonder whether Carols momentary surrender to a womans kiss has some connection with Bonnies sexual preference.

Even if I question many of Birchs assumptions, she has found the ideal form in which to explore her subject. I can, in fact, think of few exact parallels to this play. Charlotte Keatley in My Mother Said I Never Should interwove four generations of mothers and daughters and Edward Albee in Three Tall Women cross-cut between the different stages of his adoptive mothers life. But Birch not only presents three lives concurrently but deftly establishes overt and subliminal links between them: Carols anguish over childbirth is echoed in Annas experience and even a word such as radiant takes on varied associations when applied to all three characters.

Mitchells production is characteristically precise and detailed, and Alex Ealess design of a strip-lit institutional room with five doors proves highly adaptable.

Casting also ensures that the three women, although linked by blood, are idiosyncratically different. Hattie Morahan plausibly lends Carol the air of a once-golden girl infinitely baffled by her inability to find happiness in marriage or parenthood. Kate OFlynn exactly captures Annas congenital instability and resentment at being treated by her future husband as a case history. Adelle Leonce meanwhile is all wariness and isolation as Bonnie, and there is good support from Jodie McNee as her ardent suitor and Paul Hilton as Carols perplexed husband.

Its a play that raises many more questions than it answers but for two uninterrupted hours it kept me hooked. It also confirms that Birch is a questingly experimental writer who, even if she insufficiently acknowledges our capacity to escape our parental legacy, has a remarkable gift for reinventing dramatic form.

At the Royal Court theatre, London, until 8 July. Box office: 020-7565 5000.

In the UK, the Samaritans can be contacted on 116 123. In the US, the National Suicide Prevention Hotline is 1-800-273-8255. In Australia, the crisis support service Lifeline is on 13 11 14. Hotlines in other countries can be found here.

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Anatomy of a Suicide review a startling study of mothers and daughters - The Guardian

Style anatomy: With Daneese Ali – The Express Tribune

The super-stylish fashionista breaks down her style. Find out all her style secrets and learn the dos and donts

The super-stylish fashionista breaks down her style. Find out all her style secrets and learn the dos and donts in her fashion rulebook

Understanding your body is the key to looking good and a trait found amongst all impeccably dressed fashionistas. While people shy away from talking about their bodies, these brave souls explain how they work their anatomies to their advantage

How would you describe your body type?

Im tall, slim and slender. I have a straight figure, and Im glad. Im not one of those girls who like curvy or voluptuous figures anyway!

Has your body type changed over the last five years?

I wanted to get rid of my baby fat so I became proactive about going to the gym and dieting. But the one thing I never gave up on was sweets. Its a necessity in ones life!

How has your style changed over the years?

I dont really think my style has changed because Ive always kept it classy and simple, and I think that never goes out of fashion. At most, I experiment with whatevers trending but if it doesnt suit me then its a big no! Fashion for me is what you feel comfortable in.

In your opinion what is your most troublesome area?

Im happy with the way my figure is but I can be self-conscious about my calves. They are chunky compared to the rest of my body.

How do you dress your body according to your body type?

Since Im slim and slender, I like to add curves to my frame with peplum style dresses and tops. Im obsessed with bootleg jeans and trousers because they are great for slender women as they add shape and dimension. I also feel skinny jeans look fabulous on me. To be honest, I feel I can carry off most styles because I dont have a full figure and hence I wont end up looking vulgar. A long top or sweater with culottes or skinny jeans is my everyday casual look.

In your opinion what is the biggest mistake a person can make while dressing here?

The biggest mistake women make is showing too much skin. I strongly believe that showing too much skin doesnt make you look sexy! Also, dont hide in the folds of your baggy outfit and dont try to squeeze yourself into something just for the sake of being able to say Im a size so-and-so. Thirdly, playing up your outfit with a couple of carefully chosen pieces of jewellery is a definite do. I really admire women who have the talent to mix and match and can pull off a new trend. Overdoing it however, is one of the worst fashion mistakes out there and probably something you want to avoid. Lastly, women here dont dress according to their age. They dress more maturely and it makes them look much older. You have your whole life ahead of you to dress maturely; dont take away your youth and innocence already!

Which silhouettes suit your body the most?

I dont wear a specific style of silhouette that suits my body because no matter what I wear, I make it my own. Also, Im lucky because I have a petite frame and I can easily fit in all sorts of ensembles.

What is the one piece of clothing that you shy away from wearing and why?

What I have and always will avoid is low necklines. I feel it is very inappropriate and vulgar to show your cleavage. I dont think Ill ever be comfortable with that.

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Style anatomy: With Daneese Ali - The Express Tribune

Anatomy of an apology – Richmond Register

By the time you read this, this will be old news and the nation will most likely have already moved on to the next outrageous thing.

However, as Im writing this, Kathy Griffin is making headlines.

Who is Kathy Griffin (and why should you care)? Shes a 56-year-old comedian and self-identified D-list celebrity known for being abrasive, brash, crude and sarcastic.

Most recently she made the national news when she posed for a photo, holding up the fake, but realistic, bloody decapitated head of President Donald Trump.

Immediately, she experienced widespread backlash, and even lost a number of jobs, including a longstanding gig on CNN as their New Year's Eve in Times Square co-host.

Within hours, and with two lawyers at her side, she gave a tearful press conference apologizing for her artistic statement, as she called it.

Although no one but God really knows a persons heart, its not a stretch to say her apology may not have been heartfelt. She quickly went from, I went too far...I sincerely apologize, to, It is Trump who should apologize...for being the most woman-hating and tyrannical president in history, among other accusations.

In other words: Im sorry, but.

Whenever someone says, Im sorry, but you can bet that theyre not sorry. They may be sorry they got caught and sorry their actions caused them to suffer consequences, but the but is the real message.

Im sorry, but you deserved it.

Im sorry, but you made me do it.

Im sorry, but youve done worse.

Im sorry, but Id do it again.

Im sorry, but youll be even more sorry when Im done with you.

Chances are youve heard that from someone or thought it about or said it to someone else.

Im sorry, but.

In the book, The Five Languages of Apology, authors Gary Chapman and Jennifer Thomas describe five languages or ways people deliver and/or accept apologies: expressing regret (Im sorry), accepting responsibility (I was wrong), making restitution (What can I do do make it right?), genuinely repenting (Ill try not to do that again) and asking for forgiveness.

Chapman and Thomas write that not every person who has been wronged needs to hear all five from the person who has hurt them, but that can be true. It depends on the nature of the wrong, the damage it has caused and the individual emotional needs to the wronged person.

As an aside, the book includes a quiz to determine your language. Mine came out equally as expressing regret and accepting responsibility. So, if you wrong me in the future, I need you to own what you did and express true regret.

A gift card to Ulta or Panera is also acceptable.

The authors said the one universal aspect of an apology is that it cant contain a but. A person needs to take full responsibility, blame only him- or herself.

In a perfect world, there would be no need for apologies, Chapman and Thomas write. But because the world is imperfect, we cannot survive without them...Something within us cries out for reconciliation when wrongdoing has fractured a relationship. The desire for reconciliation is often more potent than the desire for justice, and the more intimate the relationship, the deeper the desire for reconciliation.

They go on to write, The need for apologies permeates all human relationships, and that without apologies, anger builds.

In the 1970 movie Love Story, after Oliver tells Jenny, Im sorry, Jenny replies, Love means never having to say youre sorry.

However, thats not only impossible for flawed humans, but its also not true. In fact, the opposite is true: Real love is humble enough to admit ones wrongs. Real love apologizes without a but and real love offers forgiveness in return.

Jesus told his followers: If you are about to place your gift on the altar and remember that someone is angry with you, leave your gift there.Make peace with that person, then come back and offer your gift to God (Matthew 5:23-24).

Is there someone you need to apologize to?

Ill pray for you, that God will give you the courage and the grace, the right timing and the best words to do it.

Even though doing the right thing is often difficult, its always good for the soul -- no if, ands or buts about it.

Nancy Kennedy is the author of Move Over, Victoria - I Know the Real Secret, Girl on a Swing, and her latest book, Lipstick Grace. She can be reached at 352-564-2927 or via email at nkennedy@chronicleonline.com.

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Anatomy of an apology - Richmond Register

Anatomy of a social media ‘troll’ – Chicago Tribune

Jon Timowski has been described as a social media "troll."

In internet slang, a troll is a person who stirs the pot by purposely starting arguments, angering social media users, or posting inflammatory comments solely to provoke an emotional reaction from others.

"How do I respond to being called a troll? I really don't," said Timowski, 40, of Lowell. "It is and has been very typical, and telling, for the left to lash out to name calling."

Though he disregards such disparaging labels from his critics, Timowski views our polarized country as left versus right, liberals versus conservatives, Democrats versus Republicans. In his personal world, "snowflakes" have nothing to do with winter storms and everything to do with political storms.

In internet slang, the word snowflake is used by conservatives or Republicans to mock liberals or describe Democrats who feel they're unique when they're anything but unique. Another insulting connotation refers to snowflakes easily melting when confronted by opposing views. It's an overused insult, I say, even pass at this point.

Like most social media users, Timowski is convinced about his political and ideological convictions, which have become heightened since President Trump has been on the scene. Timowksi also is prolific with his hundreds of unrelenting comments on many people's Facebook pages, including on my public page.

For several months, Timowski has been commenting on my social media posts regarding political topics, typically with a bluster that rankles other readers. Only once did I have to tell Timowski to ease back with his name-calling or I'd have to ask him to avoid commenting on my posts. (I've told this to quite a few readers through the years.)

Timowski understood, which is more than I can say about a few other online readers.

Though Timowski and I disagree on most everything political, or so it seems, I enjoy reading his comments and sharing his impassioned voice with my online readers. I think it offers an attempt at a balance between clashing viewpoints, especially with my own viewpoints.

"My purpose for comments, especially to (readers) on the left, at first was to educate them why the right, or conservatives, look at them the way they do," Timowski told me. "It was to point out the flaws in thought and, more importantly, actions that were waking the sleeping and forgotten conservatives."

A Hammond native, Timowski is married with a son. He works in the field of safety and security with disaster planning, which restricts him from sharing his photo for this column, he said. He's been using social media since the days of MySpace which, in the fast-paced evolution of social media, certainly dates him.

On one of his recent Facebook posts on his own page, Timowski wrote, "I love how many people are against the government except on the 1st of the month."

Would you describe his post as inflammatory or informational? Purposeful or confrontational? Is it the work of a social media troll or a "conversation starter," as I've been called by some readers?

"I believe social media can be a way to debate and discuss everything under the sun," Timowski told me. "Unfortunately, it often brings out the worst in people."

This is the absolute truth, as any user has found out. This also is why I wanted to profile Timowski and others like him who have been labeled as a troll by others. I'm guessing that Timowski is not the person you may first think they are, according to his posts and comments. The same can be said for many other social media users, I believe.

It's become too easy to judge others based on only one thin slice of their life. In this case, their social media rhetoric or comments, which can be redundant to the point of exhaustion or aggravation.

For instance, I had Timowski pegged as a lifelong conservative, voting Republican in every election regardless of race or candidate. I was wrong.

"I have been a lifelong Democrat, only voting for two Republicans in a local election in my lifetime," said Timowski, who said he voted for Trump in November. "Every other race locally, state and federal have been for Democrats. I guess that means I don't affiliate, but I have leaned left throughout my lifetime thus far."

So why the change in political parties and viewpoints?

"As a lifelong Democrat, I was awakened at what area officials had let happen to my home city and others around it while the conservative areas prospered and made better financial decisions," he replied.

In the past, Timowski was, "active on liberal-leaning webpages, trying to shed light that the country was growing tired of poor behavior, violence, laziness and entitlement," he said. "I truly wanted to help the left that I had voted for my whole life to get away from these things."

"The constant corruption and indictments did not help," he added. "I began to see through, what I was told my whole life, that the rich and business leaders were the devil. After learning to let go of hatred for others' success, I decided I wanted the best business decision-makers running my tax dollars."

"While I disagree with conservative ideology on many subjects, I realize government is in fact a business and my personal life choices are to be done on a personal level away from government," Timowski said.

He also cites the "violence and ignorance" that America has witnessed this past year through so many protests and demonstrations.

"While the right, and namely Trump supporters, have shown ignorance and even some isolated cases of violence, the left has far outreached these cases with the masses," he said. "It's like much of the same results we see with Democratic stronghold areas when it comes to violent crimes. Much like my childhood city (Hammond) and northern Lake County."

Timowski and I agree on one thing.

"We all have a trillion thoughts, and speak a trillion words, but we will be judged on only a few opinions if people don't bother to learn about each other," he said.

jdavich@post-trib.com

Twitter@jdavich

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Anatomy of a social media 'troll' - Chicago Tribune