Since department protocol limits the use of the AIS to cases where the victim is killed or is deemed likely to die, and local patrol officers are not trained to perform in-depth crash investigations, cases that involve injuries that are not considered life-threatening receive only cursory attention. When asked by Vallone how it could be that a cyclist or pedestrian could have both legs broken with no possibility of charges against the driver, Cassidy replied, “I don’t set policy.”
Why did it take so long for this to come to light? How long has it been the official policy of the NYPD not to investigate crashes where the pedestrian or cyclist is merely maimed?
This is beyond fail. It’s clear from a cyclist’s perspective that New York City streets represent a complete breakdown of civil, law-abiding society. I hope others notice soon.
“Contemporary culture is a two-tiered system, like the Morlocks and the Eloi in H.G. Wells’s The Time Machine, except that it’s been turned upside down. In The Time Machine the Eloi were an effete upper class, supported by lots of subterranean Morlocks who kept the technological wheels turning. But in our world it’s the other way round. The Morlocks are in the minority, and they are running the show, because they understand how everything works. The much more numerous Eloi learn everything they know from being steeped from birth in electronic media directed and controlled by book-reading Morlocks. So many ignorant people could be dangerous if they got pointed in the wrong direction, and so we’ve evolved a popular culture that is (a) almost unbelievably infectious and (b) neuters every person who gets infected by it, by rendering them unwilling to make judgments and incapable of taking stands. Morlocks, who have the energy and intelligence to comprehend details, go out and master complex subjects and produce Disney-like Sensorial Interfaces so that Eloi can get the gist without having to strain their minds or endure boredom.”—Neal Stephenson (via azspot)
Review in allmusic by Stephen Eddins: Australian pianist Sally Whitwell’s disregard for conventionality bubbles through just about every aspect of her recording dedicated to Philip Glass’ piano music, from the pop album look of the artwork to her sassy, unpretentious program notes (“If you require the official biography, that’s what the Interwebs are for, yeah? Google me.”), her choice of instrument (a Stuart & Sons piano that’s built using design and acoustic principals fundamentally different from traditional pianos, and that has 102 keys), and her highly individual approach to the music itself. Opening, a classic Glass solo, looks deceptively simple and unambiguous on paper, but Whitwell’s surprising rhythmic emphases may make anyone familiar with the piece sit up and do a double-take, and her tempo is about 25% faster than Glass’ version. It’s an enthralling, completely convincing performance, though. Her musical revisionism may not be as extreme in the other works, but it is no less engaging. She brings acute intelligence and sensitive musicality to each of the pieces, most of which have a delicately melancholy tone. She opens the program notes with the really insightful comment, “Philip Glass’ music up close is like impressionist pixilations. Step back a little and you see magnificent, undulating, organic shapes,” and in her playing proceeds to demonstrate just how true that assessment is. It’s in the more dynamically forceful music, like in sections of Mad Rush, that the distinctiveness of the Stuart & Son’s piano is most obvious; its lower register in particular has an almost startling resonance and power. (It’s tempting to dream of which pieces from the more traditional repertoire might work well on an instrument with this added resonance. La cathédrale engloutie, perhaps?) Sally Whitwell is certainly a performer to watch for. This is an album that should be of strong interest to fans of Glass and of minimalism, as well as anyone intrigued by the concept that the piano may be an instrument still in the process of evolution.
This post is a reblog from Sally, who has an informative and amusing tumblr,
sillywhatwell: For sooo long I’ve been saying to myself “Gee, I wish I could upload the title track of my album to Tumblr, but it’s a huge file and *grumble grumble*”. Then of course I realised that I could do it on Soundcloud.
“That is nearly my thesis about 9/11. l have been involved in U.S. intelligence for nearly 40 years and I knew about 9/11 before it was carried out and so did U.S. intelligence. They did not exactly invent it, but they did intentionally let it happen. If the U.S.public fails to get this this year, I predict terrorism and civil war to tear the country apart during the next presidency. My story sometimes reads like a novel, sometimes like a journalist’s report (I am a real journalist as much as a retired physician is still a doctor), sometimes like an academic (I went to college for 11 years and taught in colleges for 10 years). If you do not listen to me, you have the NYT, Washington Post, Time and Newsweek, etc. to blame. Will you have a right to punish the U.S. media when you finally find out the truth about 9/11. I’m just doing what spies with conflicted childhoods have been doing. Don’t miss this. It’s a free download.”—A Crazy Person.
The shadowy Calabrian mafia, the ‘Ndrangheta, has become one of the most powerful criminal organizations in the Western world through its dominance of the European cocaine trade. For the first time, local syndicate bosses described their business model to SPIEGEL. It’s a mixture of entrepreneurial talent, skillful management and deadly ruthlessness.
Joe Blitzstein is Professor of the Practice in Statistics at Harvard University and co-director of the graduate program. He moved to Harvard after obtaining his Ph.D. with Persi Diaconis at Stanford University. Since joining the faculty at Harvard, he has been…
Interesting interview about statistics and data science.
“Whatever the virtues of bus lanes, and there are many, this one is a trap — a lucrative one. One police officer, giving a summons at that spot recently, conceded that traffic would be backed up to 14th Street if some drivers did not make their way into that Broadway bus lane.”—
1) Any sentence starting with “Whatever the…” is a stupid, cowardly sentence.
2) Fines and tickets are not traps. They are used to discourage bad behavior.
3) Half of the point is to back up CAR traffic to 14th street. That way people will change their behavior and take the faster BUS.
After the Spotify hubbub a few months ago, I decided to add a portion of my catalog to it for a short period so that I could see for myself what an independent artist earns. Because Spotify doesn’t deal directly with artists, I had to go through CDBaby, who currently distributes my back…