Given a document, find the main entity about whom the author is writing. Write the full name if mentioned in the text. Note that URLs in the text have been replaced with [Link].
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Question: In a recent New York Times article  Dr. Willie Parker says he believes “that as an abortion provider  [he is] doing God’s work.” It’s his Christian faith  the author contends  that drives him to abort babies. His “Life’s Work” (as his new book is ironically titled) is to end life for every preborn child that comes before him.
The Jewish people  some of whom later became the first Christians  were to avoid partaking in the practices of the surrounding peoples  who sacrificed their children to appease their gods. Christians have long held that to abort one’s child as an act of worship to the gods of convenience is not permitted by the God of the Bible. But abortion advocates will attempt to play the “he’s a Christian” card by spinning opposition from Christians to imply  Parker  is persecuted within  his  own faith tradition.
The second thing abortion elites love about  Parker  is  his  skin color. Any opposition he faces from white pro-lifers not associated with Christianity can be easily dismissed as bigotry. Sweep under the rug for a minute that even black celebrities are accusing abortion providers in black communities of genocide. While Planned Parenthood’s media arm proclaims support of black lives  its other arm is reaching for a pair of forceps to end life for hundreds of black babies each day.
In the tradition of the black slave owners in the Confederate South  Parker makes his money by breaking the backs (or spines and what-have-you) of others  many of whom share his skin color. He can’t admit that his work (some have called it his “ministry”) hurts his own people or it’d affect his bottom line. Abortion advocates want us all to simply accept that black lives only matter once they’ve had the privilege of being born. This brings us to the final contradiction of  Parker ’s platform.
 Parker  considers  himself  a feminist.  He  believes  he  is bettering the future for females. Don’t think too long about the number of female lives  he ’s ended before they’ve begun. This is nothing new to the insane logic of abortion advocacy. If they can successfully shift our attention off the rights of the life inside the womb to the perceived “rights” the pregnant woman has over her inhabited womb  they’ve succeeded.
 Parker ’s public persona is a farce.  He  parades the myth that  he  has a moral responsibility to “help women” while  he  strips them of their own responsibility to the children they’ve conceived. Christianity places value upon the lives of black women  so much so that it envisions a world in which their lives aren’t ended in the womb. But maybe we’re the ones who are deceiving pregnant women? Perhaps we’re the ones getting rich by volunteering with crisis pregnancy centers and giving away free pregnancy tests  ultrasounds  and diapers.

Answer: Willie Parker


Question: After 50 prolific years spent producing masterful black-and-white photographs   Roger Ballen  is ready to take  his  place as a master of the medium.
The past few years have seen major moves from the American-born  South African–based artist.  He  earned  his  own wing of Cape Town's Zeitz Museum of Contemporary African Art  after the Roger Ballen Foundation contributed the largest financial donation from a foundation the brand-new institution has seen yet. Outside of photography   he 's gone from directing Die Antwoord music videos to  his  own short films. With a new retrospective monograph  Ballenesque  out October 10 from Thames & Hudson  Ballen declares for all the world to hear that  he  is an icon.
Ballenesque opens with an essay by historian and cultural critic Robert J.C. Young. In it  Young begins to define the mesmerizing  "instantly recognizable" quality of Ballen's images  which he variously calls "prehensile portraits " "aleatory assemblages " "windowless walls " and "dark junctures of disjunction." When Young introduces these cornerstones of  Ballen 's style  he writes  "We isolate four; you  the viewer of the photograph  may add a fifth to complete the secret."
The rest of the book is a guided tour through  Ballen 's work  complemented by 50 pages of the artist's own anecdotes  autobiography  thoughts on technique  and philosophy. It all starts with blurry family portraits  Ballen  shot with a Mamiya camera  he  bought at 13 years old.  He  shares the first photo  his  that  he  really liked  a picture of a dead cat on the side of the road.
As  he  got older   he  became a documentarian of 60s and 70s counterculture  from grimacing Vietnam War protesters to carefree nudists at Woodstock. Many photos from this period in  his  career are shown for the first time within the pages of Ballenesque. By 1979   Ballen  had begun to travel the world  collecting snapshots of kids from New York to Indonesia that would be collected into a series called Boyhood.
When he moved to South Africa   Ballen  became fixated on the human toll of apartheid.  He  traveled the impoverished South African countryside as a geologist  but photographed the people and places  he  saw along the way.  He  collected these images into the two series that made  him  famous  Platteland and Outland.
Also debuting in the new monograph are Ballen's paintings from the 1970s  which informed  his  abstract photography in Asylum of the Birds and The Theater of Apparitions. "It was exciting to put those paintings in the book "  he  said. Many of the paintings were lost when  his  father cleaned them out of their childhood home  but the ones that survive have been documented for Ballenesque. "I didn't paint for 30 years  but in a way these set the foundation for my later work."
By the end of the text   Ballen 's work seems to exist  like one of his paintings  largely within his own mind. "From about 2002 onward  you rarely see a human face in the photos "  Ballen  said.  His  current project  teased in the final pages  is called Ah Rats. Now the vermin that have infested the edges of  his  work for years are at its center. In January   Ballen  art directed Die Antwoord's video for "Tommy Can't Sleep " which is full of the rats that are on his brain.
 Ballen  still walks Johannesburg looking for places to take pictures for around five hours a day.  He  spends the rest of  his  time with  his  family  administrating the Roger Ballen Foundation  and tending  his  collection of more than 100 pets. "There's rats  snakes  chickens  ducks  lizards  rabbits  spiders  doves  pigeons  crows  mice "  he  rattles off. Around 10 percent have names  including a bird named Icarus and a rat named Stoffel.
Icarus  Stoffel  and  Ballen 's Johannesburg home are far from the roiling American political scene  but  Ballen  has some advice for young artists trying to distinguish themselves in a photographic era he describes as "amorphous" compared to when he cut his teeth.
Ballen is quick to clarify that he doesn't mean photographers should risk physical harm by "jumping the White House fence" to get a unique photograph. "It's years and years and hours and hours later that you're developing an approach. My pictures are powerful because they access the subconscious mind. 'On the line' can mean psychological  as well as physical." Years spent paying attention to places and people others would rather ignore are how  Ballen  put  himself  on the line. As a result   his  photographs of outsiders help the rest of us look inward.

Answer: Roger Ballen's


Question: This week    Melania Trump  found  herself  in yet another fashion scandal.  The first lady  was spotted boarding a plane to Texas in sky-high stilettos  though  she  was heading to an area devastated by Hurricane Harvey. Public perception of  Trump  and  her  immediate predecessor  Michelle Obama  couldn't be more different. Fans of Obama paint  her  as a J. Crew-clad woman of the people. Meanwhile   Trump  was slammed for a photo shoot in which  she  twirled a string of diamonds like spaghetti. For fans of  Trump   glitzy designer clothing is part of  her  appeal. Instagram accounts with thousands of followers track her every outfit. The far-right website Breitbart News  which criticized Obama for wearing a $2 290 dress to meet the pope in 2015  wrote that  Trump  was the "breakout star" of President Donald Trump's first trip abroad  radiating "high fashion." To see how accurate  Melania Trump's  frivolous  filthy-rich reputation is in contrast to Obama's more down-to-earth image  we decided to re-create a theoretical "week in the life" of the two first ladies. We wanted to see whether  Trump  was actually spending more than Obama  or whether  she  was just a victim of bad press. We compared seven iconic looks that Obama and  Trump  wore to similar events  from vacationing to campaigning  as well as their price tags. Fashion can be a strategic way for the first lady to send a message to the American people — and  Trump  and Obama both have different reputations and messages to send. Here's how the two first ladies measure up and what it means for how Americans see them. View As: One Page Slides
Campaigning at political conventions  Melania Trump at the Republican National Convention: $2 190 Roksanda dress and $675 Christian Louboutin heels .  Trump  made headlines after buying a Roksanda "Margot" dress from Net-a-Porter. The $2 190 dress sold out less than an hour after her speech. She paired the dress with $675 Christian Louboutin heels. Michelle Obama at the Democratic National Convention: $995 dress by Christian Siriano and $675 metallic Jimmy Choo heels. Obama's blue dress was extremely similar to a $995 cobalt-blue dress made by Siriano  a designer who rose to prominence after appearing on "Project Runway." Siriano reportedly custom-made the dress Obama wore as she gave her "they go low  we go high" speech. Her silver Jimmy Choo heels  spotted by Footwear News  cost $675.
Meeting with  foreign leaders Melania Trump  at the G-7 summit: $53 130 Dolce & Gabbana outfit.  Trump  made headlines when  she  wore a $51 500 Dolce & Gabbana jacket to a meeting with the spouses of some of the most powerful world leaders at the annual G-7 summit in Catania  Italy  in May. While we couldn't identify the first lady's dress and shoes   her  bag was also Dolce & Gabbana and costs $1 630. The first lady has worn Dolce & Gabbana on numerous occasions. The designer Stefano Gabbana has been extremely receptive of the support  posting many pictures of Trump in Dolce & Gabbana outfits on his Instagram. Michelle Obama at the G-20 summit: $474 J. Crew outfit. Obama also made headlines on her first trip to the United Kingdom as the first lady in 2009  thanks to her casual yet fashionable looks. The Guardian described her outfits  many of which were from J. Crew  as "a pitch of sunny  homely optimism  rather than sparkling glamour." One of Obama's most memorable outfits of the trip was the one she wore to meet British Prime Minister Gordon Brown. Fox News reported that the cardigan cost $298  the tank top $18  and the mint-green pencil skirt $158.
 Charity work Melania Trump at an abuse-prevention nonprofit: $1 150 pair of sandals to complete an otherwise low-key look . Footwear News reported (somewhat snarkily) that  Trump  wore a $1 150 pair of Rene Caovilla sandals to visit HomeSafe in April.  Trump  also wore a $225 pair of L'Agence Margot jeans and an unidentified khaki shirt. Michelle Obama at a food bank: $540 pair of sneakers to complete an otherwise low-key look. In 2009  Obama caused some controversy when she wore a $540 pair of Lanvin sneakers to volunteer at a food bank with Jill Biden. She paired them with a $188 J. Crew sweater.
Joint addresses to  Congress Melania Trump  at a 2017 joint address to Congress: $5 000 Michael Kors suit jacket.  Trump 's Michael Kors look cost an estimated $9 600  combining a black blazer that cost $5 000 and a matching skirt priced at $4 600. Michelle Obama at the 2015 State of the Union: $1 595 Michael Kors suit jacket. In 2015  Obama wore a suit that had been featured on CBS's political drama "The Good Wife." The $1 595 jacket quickly sold out after the first lady wore it to the State of the Union address.
 Vacation Melania Trump 's return from Camp David: $303 J. Crew and J Brand.  Trump  recently proved that Obama wasn't the only first lady getting clothes from J. Crew. In late August   she  returned from Camp David wearing a $75 pink top from the retailer. Yahoo Style reported that  she  paired the top with $228 pink J Brand jeans and pink patent-leather flats that we couldn't trace (though Vanity Fair reports they're Manolo Blahniks). Michelle Obama exiting Air Force One in shorts: ? Obama faced serious backlash after being spotted leaving Air Force One for a hike of the Grand Canyon in 2009 wearing shorts. Four years later  Obama called the shorts incident one of her biggest fashion regrets. While Time notes that no brand ever "stepped forward" to claim the "unflattering" shorts  the entire outfit looks very J. Crew. In any case  it's safe to say it wasn't too expensive.
Inauguration — and why the numbers don't tell the full story  Trump 's fashion picks tend to be more expensive than Obama's. But that's not the full story. First  there's the question of custom-made dresses. For the past three inaugurations  the first lady wore a custom-made look. (Obama wore Jason Wu both times  and  Trump  wore a Herve Pierre gown.)  Trump  has reportedly struggled to find designers willing to work with  her . Meanwhile  many of Obama's most iconic looks are made specifically for  her  and are priceless  such as a custom-made Versace gown with a theoretical price tag of $12 000. Then there's the question of why it even matters. First ladies' outfits are not paid for with taxpayer dollars. You could be horrified that anyone could buy a coat that costs more than the average American makes in a year. But if you're going to criticize  Trump  for wearing $1 000 shoes  you have to criticize Obama as well.  Melania Trump's  2017 Inauguration Ball gown: priceless  custom-made Herve Pierre. Michelle Obama's 2013 Inauguration Ball gown: priceless  custom-made Jason Wu.

Answer:
Melania Trump