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This past Black Friday, online sales jumped more than 23 percent, crossing $6 billion, while online sales surpassed $3.7 billion on Thanksgiving, according to Adobe Analytics.
Nine-year-old Tumelo shows off antiretroviral (ARV) pills before taking his medication at Nkosi's Haven, south of Johannesburg, Nov. 28, 2014.
Just a decade ago, South Africa was a grim place for AIDS sufferers - and worse for pregnant women, who had no access to drugs that would prevent them from giving the life-threatening virus to their babies. That changed when a group of South African patients stepped forward and sued for access to cheaper drugs.
Hazel Tau says she remembers the dark days of HIV in South Africa, the nation with the world’s highest burden of the disease.
But the 45-year-old is not talking about the now-distant year of 1991, when she was first diagnosed with HIV. She is talking about her decision in 2002 to reveal her status to the entire country by suing in South African court for access to cheaper AIDS drugs, which were then behind a high wall of patent protection. At the time, she was working as an HIV counselor and spending more than one-fifth of her pay on medication.
In winning that landmark case, she became the mother of a cause, and the results have been living and breathing HIV-free babies. Her fight to bring down drug prices also enabled widespread availability of preventive medicines for pregnant, HIV-positive women. Today, transmission rates between mothers and children hover below three percent in South Africa.
And for that, this World AIDS Day more than two decades after her diagnosis, Tau says she is thankful that she, and about 2.5 million South Africans, have access to free AIDS medicine.
“Things are much, much, much better. Treatment, access to treatment to prevent the unborn baby [from contracting HIV]. For people who have tested positive, treatment is accessible and there are different regimens of treatment,” said Tau.
Doctors Without Borders head HIV/TB coordinator for Southern Africa Eric Goemaere says much has changed since he arrived in South Africa in 1999.
“While everybody speaks about reducing incidence, reducing new infection, it is extremely difficult to do with sexual transmission. But in this case, mother-to-child transmission, actually it is an easy-to-do intervention. ... When I arrived here, we had something like 20, 22 percent transmission - meaning one mother [out of] five would give birth to an HIV-positive child. And it has been reduced now to 2.7 percent nationwide, so it is one-tenth of this. Still too many, it should not exist anymore, that is something that is an easy intervention to do, it is something that should be eradicated, like it has almost been eradicated in the Western world,” he stated.
Dr. Goemaere and Tau say the fight now is to extend antenatal treatment to all women in South Africa and bring the mother-to-child transmission rate down even further. Many women in poor and rural communities do not receive antiretroviral treatment in time to prevent their babies from contracting HIV - and so, to this day, thousands of South Africans are born with this chronic disease.
Tau says she would sue all over again. She says she has 24 compelling reasons to do so. “It is why now, I am an activist, and I am working class, and I am a breadwinner. I have got a mother, I have got siblings, I have got 23 siblings, and I am looking after them,” she notes.
But her legal victory came too late for her. Tau never became a mother, her husband packed up and left shortly after learning of her status, and her diagnosis came during the grim days when AIDS patients were advised to not procreate at all.
But this World AIDS Day, millions of HIV-free babies in South Africa owe their health to the fruits of her labor.
For nearly a decade, Lithuania-American photographer Andrew Miksys has documented the culture of Lithuania's village discos. Fascinated by the crumbling, post-Soviet spaces, Miksys found them to be the perfect spots to photograph youth culture in the Eastern European nation.
"I was quite fascinated by all this debris of a dead empire," Miksys wrote. "It seemed like a perfect backdrop to make a series of photographs about young people in Lithuania, a crumbling past and the uncertain future of a new generation together in one room."
However mixed his reputation, however compromised his life, he remains the consummate artist of American popular song.
What will Frank Sinatra be remembered for? In the decade prior to his retirement in 1995, his singing became a grotesque and embarrassing self-caricature. His oft-reported ties to organized crime have figured prominently in the tabloids for years. And then there are the various cults that have formed around him. His most passionate fans, obsessed with his charismatic manner, celebrate his best singing and his worst indiscriminately. Meanwhile, another cult, a cottage industry of scholars specializing in “cultural studies,” neglects his art to focus on his status as an “iconic” figure in American popular culture; a conference to be held next year at Hofstra University on Frank Sinatra: The Man, the Music, the Legend, is typical of the breed.
From the sorts of papers that are likely to be delivered at such a conference, as from the state of Sinatra’s reputation elsewhere, one would hardly suspect that he really deserves to be remembered as, in the words of the music critic John Rockwell, “the greatest singer in the history of American popular music.” Among those whose professional judgment counts, moreover, Rockwell is hardly alone. In 1956, the jazz critic Leonard Feather polled 120 noted musicians, asking them to name their all-time favorite singer. Sinatra received 56 votes; the runner-up, Nat Cole, received 13. Some of the musicians who put Sinatra at the top of their lists were Miles Davis, Duke Ellington, Stan Getz, Benny Goodman, Gerry Mulligan, Oscar Peterson, Lester Young—and Nat Cole.
What did these great jazz musicians admire about Sinatra? No doubt some were fascinated by his public personality; but in the end, a musician is significant only to the extent that he succeeds in expressing his personality through music. Sinatra’s ability to do this, and not his tempestuous love life or (to quote the Hofstra conference’s “call for papers”) his “multigenerational presence,” is what alone gives him a continuing claim on our attention.
Sinatra’s recordings with Dorsey may seem, on first hearing, not to justify his youthful celebrity. Such songs as “I’ll Never Smile Again” reveal a light, lyric baritone voice and an exceptional command of legato: the individual notes in each phrase are bound together seamlessly, and shaped with perfect taste. (“He sings with such a beautiful legato!” the music critic Virgil Thomson once remarked admiringly.) But most big bands featured “boy singers” with attractive baritone voices, all of them, like Sinatra himself, influenced by Bing Crosby, the dominant popular singer of the 30’s. If Sinatra’s earliest recordings do not strike today’s listeners as notably original in style, that is because we tend to forget that by 1942, he was already well on the way to replacing Crosby as the most frequently imitated male singer of the day.
I loved the way he sang, the way he phrased. I could understand the lyric. He had found an unusual sound quite unlike anybody I had heard before. . . . He listened to Tommy [Dorsey], and he tried to sing the way Tommy played: to assimilate the breathing technique so that everything [in the lyric] was tied together in a narrative, so that you could understand what was happening.
It’s important to know the proper manner in which to breathe at given points in a song, because otherwise what you’re saying becomes choppy. For instance, there’s a phrase in the song “Fools Rush In” that says, “Fools rush in where wise men never go/But wise men never fall in love/So how are they to know?” Now that should be one phrase because it tells the story right there. But you’ll hear somebody say, “Fools rush in,” and breathe, “Where wise men never go”—breath—“But wise men never fall in love. . . .” But if you do it [in one breath], that’s the point, you’ve told the whole story.
That this approach was not merely a technical innovation but a key feature of Sinatra’s interpretative approach becomes more obviously apparent in the solo recordings he began making for Columbia in 1943, most of them featuring the romantic orchestral arrangements of Axel Stordahl. Unlike Bing Crosby, whose informal singing style was notable for its relaxed, jazz-inflected air and its comparatively narrow expressive range, Sinatra recorded mostly ballads, often sung at very slow tempos and usually accompanied by medium-sized string sections. In these ballads, moreover, he “read” the lyrics with uncanny clarity and emotional directness. His phrasing communicated that directness, and made him stand out as among the first popular singers to take seriously the sentiments embodied in the songs he sang.
To be sure, the young Sinatra had not yet learned how to illuminate fully the subtleties of the more emotionally complex lyrics of the period; his early recordings of such Johnny Mercer lyrics as “Laura” and “One for My Baby” are painfully naive by comparison with the versions he re-recorded in the 50’s. Moreover, his voice, though already lovely, was still immature, and his sense of swing would remain undeveloped for another decade or so, causing him to sound awkward and uncomfortable in uptempo numbers.2 He was at his best in simple, straightforward ballads like Hoagy Carmichael’s “The Nearness of You,” recorded in 1947; his unaffected sincerity and sustained legato line in this song still move listeners a half-century later.
The course of Sinatra’s career took a sharp downward turn as he entered his mid-thirties. He was no longer young enough to be considered a “boy singer,” or to be dramatically credible in juvenile roles like the ones he had played successfully in the movies Anchors Aweigh (1945) and On the Town (1949). In 1950, he suffered a vocal crisis, possibly brought on by the stresses of his complicated private life. (Sinatra divorced his first wife the following year in order to marry the actress Ava Gardner, who left him shortly thereafter.) By 1952, he had been dropped by both Columbia and MGM, and was out of work and in debt.
Characteristically, Sinatra’s response was to reinvent himself. Putting his juvenile persona behind him once and for all, he accepted a supporting role in the 1953 film of James Jones’s war novel, From Here to Eternity, for which he won an Oscar.3 He then signed a contract with Capitol Records, hired Nelson Riddle as his chief arranger, and developed a new singing style whose appeal to 50’s audiences was as powerful as his youthful crooning had been in the 40’s.
The new Sinatra was a mature Sinatra. Not only had his voice grown darker and more characterful, but he also had a larger fund of emotional experience on which to draw, and his artistry deepened as a result. Though his taste in songs had always been good, he now concentrated primarily on first-rate standards; though he had long been musically painstaking, he now took still greater care in crafting his interpretations. Nelson Riddle, perhaps the finest arranger ever to work in the field of popular song, fashioned uniquely challenging musical settings for him, and in response, Sinatra created a fully adult alter ego to sing the “saloon songs” he loved. This persona—almost certainly based in part on the character Humphrey Bogart played in The Maltese Falcon and Casablanca—was a man who had been unlucky in love, and who was recounting his sufferings candidly and unsentimentally.
Sinatra’s musical growth is thrown into high relief by comparing his two recordings of the Jule Styne-Sammy Cahn torch song, “Guess I’ll Hang My Tears Out to Dry.” The first, made for Columbia in 1946, is a tasteful performance which does little more than skim the surface of the song. The second, made for Capitol in 1958, is pensive and subdued yet intensely dramatic, rising to an expansive climax in which Sinatra sings an open-throated, beautifully placed high E-flat. Riddle’s orchestral accompaniment, reminiscent of Maurice Ravel in its deployment of instrumental color (and conducted with remarkable rhythmic flexibility by Felix Slatkin, first violinist of the Hollywood String Quartet), adds immeasurably to the total effect of Sinatra’s singing, which is overwhelming in its impact.
This recording is part of Sinatra’s greatest album, Only the Lonely, a collection of twelve ballads which represents the high-water mark of postwar popular singing. Especially in “Guess I’ll Hang My Tears Out to Dry,” “It’s a Lonesome Old Town,” “Spring Is Here,” and “One for My Baby,” Sinatra attains a degree of vocal refinement and interpretative subtlety worthy of comparison—yes, I will say it—with a classical recitalist like the German baritone Dietrich Fischer-Dieskau. Each song is turned into a one-man, one-act dramatic monologue in which the music carries the words, precisely in the manner of Fischer-Dieskau’s performances of such art songs as Franz Schubert’s Erlkönig or Hugo Wolf’s Anakreons Grab. Yet vocal beauty is never subordinated to the demands of dramatic logic: Sinatra’s legato remains pristine throughout.
While there are other, equally valid ways to sing popular songs—including the lighter, more dispassionate style of singers like Crosby, Fred Astaire, and Ella Fitzgerald—Frank Sinatra’s mature style proved so compelling that it left its stamp on nearly every well-known male pop singer of the 50’s. Only those singers who (like Mel Tormé) were deeply influenced by jazz, or whose voice types bore no resemblance to Sinatra’s dark, viola-like baritone (as was the case with Tony Bennett), were able to escape his influence.
But Sinatra’s style also contained the seeds of its own eventual decadence. At its best, his highly dramatic singing was carefully balanced between restraint and exhibitionism—a balance he seems to have found it difficult to strike outside the tightly controlled environment of the recording studio. In concert, both in the singing itself and in his on-stage patter, he tended to lapse into a crowd-pleasing vulgarity astonishing in so sensitive a musician. “He sings with the grace of a poet,” the trombonist Milt Bernhart once said, “but when he’s talking to you, it’s New Jersey.” Only in the studio was he completely and consistently himself.
That self became harder to locate as rock-and-roll transformed American popular music beyond recognition. Starting in the mid-60’s, Sinatra attempted with limited success to reinvent himself yet again for a new generation of listeners, working with such rock-oriented musicians as Jimmy Bowen (who would become famous a quarter-century later for his work with Garth Brooks and other country singers). Though he also continued to look for new material compatible with his essential musical seriousness—he was among the first American popular singers, for example, to perform the work of the Brazilian composer Antonio Carlos Jobim—many of Sinatra’s recordings of the 60’s revealed a growing loss of artistic direction, and in 1971 he announced his retirement.
When he resumed performing in 1974, he deemphasized recording in favor of public appearances, having learned that he could still fill large auditoriums with his aging but loyal fans. But like those fans, Sinatra too was growing older, and no sooner had he begun to perform in public again than it became clear that his voice was in decline—a natural development for a man of nearly sixty, but one he was apparently incapable of accepting. The decline was slow at first, but by the time he finally retired for good, a few months before his eightieth birthday, his worst performances had done his musical reputation a good deal of harm.
Not that it will ever be possible, or even necessarily desirable, to ignore completely the tawdry side of Frank Sinatra: his vulgarity is part of his mystery. But it is only in the pure light of his singing that the unsavory aspects of his long and eventful life remain visible. No other singer has done more to widen the expressive horizons of American popular song, and none has been more widely admired or influential. It is the consummate artistry of the man who recorded such classic albums as Only the Lonely and In the Wee Small Hours that will be remembered long after everything else about him is forgotten, or has become grist for the mills of gushy journalists and clueless professors.
1943-52: The Columbia Years, 1943-1952: The Complete Recordings (Columbia/Legacy CXK 46873, 12 CD’s) includes all 285 songs Sinatra did for Columbia (including numerous unissued sides), heard in exceptionally clear-sounding digital transfers from the original 78’s and master tapes. Dozens of albums drawn from this body of work have been released by Columbia over the years, of which the most recent and representative is Portrait of Sinatra: Columbia Classics (Columbia/Legacy C2K 65244, two CD’s), a 36-track anthology in which such performances as “The Nearness of You” and the first version of “Guess I’ll Hang My Tears Out to Dry” can be heard in the same excellent transfers originally made for The Columbia Years.
1953-59: Sinatra was at his vocal and artistic peak in the studio albums he made for Capitol during the 1950’s, the best of which are In the Wee Small Hours (Capitol CDP 7 46571-2), Close to You (CDP 7 46572-2), Songs for Swingin’ Lovers! (CDP 7 46570-2), and Only the Lonely (CDP 7 84471-2, including the second versions of “Guess I’ll Hang My Tears Out to Dry” and “One for My Baby”), all arranged by Nelson Riddle; Come Dance With Me (CDP 7 48468-2), arranged by Billy May; and Where Are You? (CDP 7 91209-2, including the second version of “Laura”), arranged by Gordon Jenkins. These six CD’s form the core of Sinatra’s recorded legacy.
1960-71: Starting in 1960, Sinatra began recording for Reprise, his own label. These albums were generally less interesting than the ones he made for Capitol, in part because Sinatra’s choice of material grew increasingly erratic. But he can be heard at the top of his form on Sinatra & Strings (Reprise 9 27020-2), arranged by Don Costa; Sinatra and Swingin’ Brass (9 27021-2) and Sinatra-Basie (1008-2), both arranged by Neal Hefti, the latter featuring the big band of Count Basie; and Francis Albert Sinatra & Antonio Carlos Jobim (1021-2), arranged by Claus Ogerman. Also of interest is The Reprise Collection (9 26340-2, four CD’s), an 81-track anthology which contains a cross-section of Sinatra’s best work for Reprise, including a number of outstanding performances otherwise available only on inferior albums.
1973-84: When Sinatra resumed performing and recording in 1973, his voice was already starting to show signs of technical decline, and none of his post-retirement albums is of consistently high quality. (Several of the better performances from this period are included on The Reprise Collection, above.) Sinatra made no commercial recordings between 1986 and 1993, when he was unwisely persuaded by Capitol to return to the studio for Duets (Capitol CDP 89611-2), an album which, though a great popular success, is of no musical interest whatsoever and reveals his voice to be in an advanced state of decrepitude.
1 No factually reliable full-length biography of Sinatra has yet been published. The best short treatment of his life and work is John Rockwell’s Sinatra: An American Classic (1984); also of interest is Gene Lees’s “The Sinatra Effect,” an insightful essay reprinted in Lees’s Singers and the Song (1987). The most useful books about Sinatra to appear in recent years are The Frank Sinatra Reader (Oxford, 297 pp., $27.50), a collection of essays edited by Steven Petkov and Leonard Mustazza, and Will Friedwald’s Sinatra! The Song Is You (Scribner, 557 pp., $30.00), an uneven and overpersonal but nonetheless informative survey of Sinatra’s singing career. Sinatra’s recordings themselves are discussed in the discography at the end of this article.
KELVIN DAVIS AGAIN! Voakes is thwarted again as his header is pushed out for a corner again by the substitute keeper...who has had a barnstormer of a game since he came on!
GREAT SAVE! Heaton springs up and tips a Steven Davis header up and on to the bar and out for a corner. The away side are rocking here and must be begging for the half time whistle!
The players are making their way back on to the field here as we await the start of the second half.
HALF TIME - SOUTHAMPTON 1-0 BURNLEY. The referee blows for the break in a game that has well and truly gathered momentum after Long's strike. Plenty of chances, just the one goal but also a penalty shout for the visitors that on another day could have been given. More to come after the break!
We are nearing kick-off as referee Roger East prepares to lead both sides on to the St Mary's pitch. Who is your money on today?
PRE-MATCH STAT ATTACK: Victory for Burnley would complete a league double over the Saints for the first time since the 1946-47 season.
Meanwhile for the visitors, Sean Dyche names the same starting line-up that shocked title chasers Manchester City with a 1-0 win. The Clarets know that a win today could see them jump out of the bottom three...so prepare for one hell of a game between these two!
Saints boss Ronald Koeman makes just one change to his side as Graziano Pelle comes in to replace Victor Wanyama who drops to the bench as the south-coast side look to keep in the race for a Champions League place.
Burnley (4-4-2): Heaton, Trippier, Shackell, Duff, Mee, Boyd, Arfield, Jones, Barnes, Vokes, Ings. Subs: Gilks, Wallace, Kightly, Jutkiewicz, Sordell, Keane, Reid.
Southampton (4-2-3-1): Forster, Clyne, Fonte, Alderweireld, Bertrand, Schneiderlin, S. Davis, Tadic, Mane, Long, Pelle. Subs: K. Davis, Yoshida, Gardos, Wanyama, Djuricic, Ward-Prowse, Elia.
Southampton get us underway, kicking from left to right.
The visitors are looking to snap forward in attack as Mee slides the ball through to Ings but Fonte comes across to cover and lets the ball roll out of play for a goal kick to the home side.
A lovely lay-off from Long to Pelle releases Clyne down the right but his intrusive cross is headed away from danger by Duff.
STAT ATTACK: Twelve of Burnley's 25 points have been won against clubs currently in the top 10. West Brom are the only side in the bottom half to have a better record, with 15 points.
It's the home side who are well on top right now as Burnley look to steady the ship early on here. Bertrand and Clyne are attacking the wings with real purpose early on.
OUCH! Some real concern here for both Southampton and England manager Roy Hodgson as Forster slips as he goes to clear under pressure from Voakes and he has yet to return to his feet. The physio is coming on and it looks like he has hurt his knee.
STAT! Fraser Forster has kept a league-high 13 clean sheets - with 11 clean sheets and just 12 goals conceded in the Saints last 19 Premier League home games.
It's a standing ovation for Forster as he is carried from the field by an army of physios. Kelvin Davis will be introduced.
K. Davis enters the game and replaces F. Forster.
Sean Dyche is urging his side forward and Trippier sned a brilliant cross deep into the box looking for Ings but Alderweireld is alert to the danger.
Although this game hasn't enjoyed a blood and thunder start, the injury to the Saints' keeper has quelled all momentum for the time being as the home side look to build possession.
We are still lacking chances here but Tadic gets a yard or two of space on the left and whips a delicious cross in but it evades Pelle and is cleared. In the blink of an eye, Ings peels off the shoulder of Fonte and gets the ball stuck under his feet before Davis is able to clear.
STAT! All five of Burnley's Premier League wins this season have been by a single goal.
GREAT SAVE! Ings brings it down with a cushioned pass in the box and finds Voakes unmarked but his shot is palmed away by Kelvin Davis. Sean Dyche has his head in his hands on the touchline! What a chance!
PENALTY SHOUT! Southampton are clinging on a little here and Boyd pounces in the box and takes the ball past Fonte but the Saints man appears to catch the midfielder on his standing leg and brings him down but the referee waves play on.
HALF CHANCE! Duff lets Long slip past him and Heaton has to be quick off his line to keep the striker out.
The home side have been weathering the storm a little here but they are beginning to put their foot on the pedal here as an effort from Schneiderlin is deflected up and over by Shackell.
We have had half an hour of play here and despite a relative lack of goal mouth action the main talking point has been Burnley's penalty shout. Was Fonte a lucky boy when he brought down Boyd?
The Saints win a corner on the left that Tadic takes, but his outswinger lacks direction and is cleared comfortably by the Burnley defence.
Boyd is looking lively here and looks to run through to a Trippier long ball, but the midfielder can't catch up with the over hit pass and sees it drift out of play.
Despite linking up with play well, Pelle is cutting a frustrated figure here as he is yet to trouble Heaton. The striker's view is blocked by Mane and Shackell colliding in the box as they try to connect with a Tadic cross and the danger is cleared.
GOAL! The deadlock is broken as Shane Long pokes his foot out to a shot that was drifting wide from Clyne after it ping-pongs around the Burnley area and sends it in to the roof of the net for the first goal of the afternoon!
The St Mary's faithful have found their voice here as Mane beats Mee down the left but his low cross is pounced upon by Kelvin Davis.
A chorus of 'Happy birthday to you' rings around the stadium in honour of Ronald Koeman. It's looking a completely different game now as the home side are well on top now.
ANOTHER GREAT SAVE FROM KELVIN DAVIS! The substitute claws a thunderous effort from Ings around the post just moments after the hosts hit the bar! It's all going on now!
OFF THE BAR! Oh, so unlucky for Pelle! The Italian sees his effort strike the woodwork after a cushioned header back from Fonte as his goal drought continues.
There will be FIVE minutes of added on time.
D. Tadić is replaced with V. Wanyama.
We are back underway with Burnley kicking from left to right.
SIDE NETTING! Good ball in from Long as Pelle heads the ball down for Steven Davis who strikes the ball in to the side of the net from a tricky angle.
Voakes comes for a cross but fails to make a clear connection with the cross and Kelvin Davis is off his line to smother the loose ball.
Trippier is caught by Long before he is able to release the ball and draws the foul on the touchline. Burnley are not hanging around as they play a quick one in to the box but the Saints deal with the danger.
SIZZLING STRIKE BY LONG! The goalscorer is at it again and flashes a long range shot just wide of Heaton's post. The former West Brom man is looking lively here and hungry for more goals.
STAT ATTACK: Southampton have scored only three league goals in their last seven matches.
Referee Roger East is having a word with Pelle and Barnes after the Burnley man pushes the Italian in the back and shares some words with his rival afterwards.
OWN GOAL! Oh dear. The Clarets are in all sorts of trouble now as Bertrand thrashes a cross in to the area and Shackell diverts it past Heaton to double the Saints' lead. There was nothing he could do about that!
With half an hour to play, is there a shred of hope of the visitors here? The hosts are well on top now and the crowd know it as they lap up this dominating position.
Sean Dyche is urging his side to up their tempo and they do in response. Boyd breaks forward and is crowded out by Fonte who concedes a corner.
The Burnley midfield - barring Boyd - has been very quiet today and the lack of creativity is telling at the moment as the Saints back four are frustrating the likes of Ings and Voakes at the moment.
STAT ATTACK: Ashley Barnes has scored three goals in his last four league games against Southampton, including the winner in December's reverse fixture.
Mane has drifted out wide for the majority of the game today and sees a low cross partially cleared by Trippier - but there is a red-and-white striped tide coming and Mee is forced to concede another corner.
Clyne is riding high on confidence now as he beats Mee all ends up on the right flank. Both he and Mane are causing the Burnley defence all sorts of problems.
SHOULD HAVE SCORED! Pelle rises highest to a corner from the right but shows a lack of confidence to pick his spot and heads it straight at Heaton from close range.
The home fans are cheering every pass from their side now as the Saints begin to strut their stuff with some lovely one-two touches. The clock is ticking and Kelvin Davis is having a much quieter second half than he did in the first 45!
L. Jutkiewicz enters play, replacing S. Vokes.
STAT ATTACK: Burnley are without a clean sheet in 12 away matches, conceding 29 goals in the process.
Mane cuts inside and goes for goal but Arfield block the effort with his arm and concedes a free-kick just outside the area. There is a gaggle of Southampton players who want to take it. Alderweireld takes it and curls his effort high over the bar.
Bertrand gets down the byline again on the left side and is brought to the ground by Trippier. The full-back is incensed that the Burnley man is judged to have won the ball.
Despite being two goals down, the visitors have not put in a bad performance today. They failed to take their chances in the first half - and were repeatedly thwarted by an incredible string of saves from Kelvin Davis.
R. Wallace comes on for A. Barnes.