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following up on its flagship announcement for 2015, is now supplementing its lineup as it does every year with more midrange options that can appeal to and target different audiences: a larger with a stylus for a approach and a smaller less powerful variant of its star player.
let's start with the stylus. it comes with a larger" display than the, albeit with a lower resolution that results in a rather average 258ppi. it has drawn the short end of the stick on other specs as well, coming with of ram and of internal storage, but there will be two variants: a one and an one. oddly, the former has a more powerful processor (and an camera) while the latter has a processor (and a camera). the stylus packs's stylus" for drawing and noting on the screen, has the's laser camera, and comes in silver or white.
if the specs and design sound slightly familiar, it's because we've already met the korean and north american version of this phone (seemingly the-only variant), dubbed g stylo. it was already released on boost mobile, it's coming to sprint in june, and should be headed to t-mobile as well.
next up is thec, a more alternative. it has a 5" display (294ppi), the same of ram and of internal storage as the stylus, a processor, and an rear camera. there will be no-only variant, allc phones will have. thec's other distinctive feature is its similarity with the in terms of battery cover design the same pattern is used on its gray, white, and gold models.
both phones will have a front shooter,'s now signature software features glance view, knock code, and gesture shot and hardware rear buttons for power and volume. they will also keep the company's recently found differentiating factor in terms of removable battery and slot for expandable storage.
there's no word on pricing or availability, except that they will be shipping "around the world in the next several weeks," and they're both "exceptionally priced." what that means is open to interpretation.
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ˈfɑloʊɪŋ əp ɔn ɪts ˈflægˌʃɪp əˈnaʊnsmɛnt fər 2015 ɪz naʊ ˌsəpləˈmɛntɪŋ ɪts ˈlaɪˌnəp ɛz ɪt dɪz ˈɛvəri jɪr wɪθ mɔr ˈmɪˌdreɪnʤ ˈɔpʃənz ðət kən əˈpil tɪ ənd ˈtərgət ˈdɪfərənt ˈɔdiənsəz: ə ˈlɑrʤər wɪθ ə ˈstaɪləs fər ə əˈproʊʧ ənd ə sˈmɔlər lɛs ˈpaʊərfəl ˈvɛriənt əv ɪts stɑr pleɪər. lɛts stɑrt wɪθ ðə ˈstaɪləs. ɪt kəmz wɪθ ə ˈlɑrʤər dɪˈspleɪ ðən ðə ɔlˈbiɪt wɪθ ə loʊər ˌrɛzəˈluʃən ðət rɪˈzəlts ɪn ə ˈrəðər ˈævərɪʤ 258ppi*. ɪt həz drɔn ðə ʃɔrt ɛnd əv ðə stɪk ɔn ˈəðər spɛks ɛz wɛl, ˈkəmɪŋ wɪθ əv ræm ənd əv ˌɪnˈtərnəl ˈstɔrɪʤ, bət ðɛr wɪl bi tu ˈvɛriənts: ə wən ənd ən wən. ˈɑdli, ðə ˈfɔrmər həz ə mɔr ˈpaʊərfəl ˈprɑˌsɛsər (ənd ən ˈkæmərə) waɪl ðə ˈlætər həz ə ˈprɑˌsɛsər (ənd ə ˈkæmərə). ðə ˈstaɪləs pæks ˈstaɪləs" fər drɔɪŋ ənd ˈnoʊtɪŋ ɔn ðə skrin, həz ðə ˈleɪzər ˈkæmərə, ənd kəmz ɪn ˈsɪlvər ər waɪt. ɪf ðə spɛks ənd dɪˈzaɪn saʊnd sˈlaɪtli fəˈmɪljər, ɪts bɪˈkəz wiv ɔˈrɛdi mɛt ðə ˌkɔˈriən ənd nɔrθ əˈmɛrɪkən ˈvərʒən əv ðɪs foʊn (ˈsimɪŋli ðə ˈvɛriənt), dəbd ʤi stylo*. ɪt wɑz ɔˈrɛdi riˈlist ɔn bust ˈmoʊbəl, ɪts ˈkəmɪŋ tɪ sprɪnt ɪn ʤun, ənd ʃʊd bi ˈhɛdɪd tɪ ˈtiˌmoʊbəl ɛz wɛl. nɛkst əp ɪz ðə, ə mɔr ɔlˈtərnətɪv. ɪt həz ə 5 dɪˈspleɪ 294ppi*), ðə seɪm əv ræm ənd əv ˌɪnˈtərnəl ˈstɔrɪʤ ɛz ðə ˈstaɪləs, ə ˈprɑˌsɛsər, ənd ən rɪr ˈkæmərə. ðɛr wɪl bi noʊ ˈvɛriənt, ɔl foʊnz wɪl hæv. ðə ˈəðər dɪˈstɪŋktɪv ˈfiʧər ɪz ɪts ˌsɪməˈlɛrəti wɪθ ðə ɪn tərmz əv ˈbætəri ˈkəvər dɪˈzaɪn ðə seɪm ˈpætərn ɪz juzd ɔn ɪts greɪ, waɪt, ənd goʊld ˈmɑdəlz. boʊθ foʊnz wɪl hæv ə frənt ˈʃutər, naʊ ˈsɪgnəʧər ˈsɔfˌwɛr ˈfiʧərz glæns vju, nɑk koʊd, ənd ˈʤɛsʧər ʃɑt ənd ˈhɑrdˌwɛr rɪr ˈbətənz fər paʊər ənd ˈvɑljum. ðeɪ wɪl ˈɔlsoʊ kip ðə ˈkəmpəniz ˈrisəntli faʊnd ˌdɪfərˈɛnʧiˌeɪtɪŋ ˈfæktər ɪn tərmz əv rɪˈmuvəbəl ˈbætəri ənd slɑt fər ɪkˈspændəbəl ˈstɔrɪʤ. ðɛrz noʊ wərd ɔn ˈpraɪsɪŋ ər əˌveɪləˈbɪlɪti, ɪkˈsɛpt ðət ðeɪ wɪl bi ˈʃɪpɪŋ "əraʊnd ðə wərld ɪn ðə nɛkst ˈsɛvərəl wiks," ənd ðɛr boʊθ "ɪkˈsɛpʃənəli praɪst." wət ðət minz ɪz ˈoʊpən tɪ ˌɪnˌtərprɪˈteɪʃən.
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will there be more ‘planet of the apes’ movies? by sandy c.
the twelfth doctor, peter capaldi, finished his final days of filming only for it to be overshadowed by an extreme group of ‘doctor who’ “fans.”
peter capaldi wrapped up his final days as the time lord in cardiff, wales, on monday, july 10. the twelfth doctor who star was filming this christmas special, which is to be his final appearance as twelve.
however, this monumental occasion appears to have been overshadowed by a select group who trend under the, leaving many other fans sadly disappointed and some extremely angry.
what is?
#dwsr is a twitter hashtag that is dedicated to the latest news in doctor who filming. it stands for doctor who set report, although other names like doctor who spoiler report are also known. it can, in a way, be compared to the game of bloggers watchers on the wall, which is also dedicated to reporting breaking news on filming, casting and commentary.
any member of the public can use, but a dedicated few have used it so much that they have grown a significant following. many of their followers rely on their and reports to find out the latest in filming locations, spoilers and more.
so what happened?
well, as many have learned now, the final days of filming took place on monday in cardiff. what appears to have happened is a select few of what some are describing as the “elite” decided to either not inform their followers of this or purposely gave people a different filming date.
this led to many fans being left disappointed that they missed out on the opportunity of seeing final moments, with some being extremely angry.
now a lot are upset & deserved a better send off. one tweet to let people know the change of plans, that's all was needed (@welshtargaryen) july 12, 2017
curious why were milling about on the monday and were around to be by pc. sorry but i was lied to in a message (@neetypadjo) july 12, 2017
i heard thru the grapevine that peter, rachel, and crew know about the sleazy trick the stalker people did. made fools of themselves. (@pygmousian) july 12, 2017
those who were there and had the good fortune to meet some of the cast and crew shared this experience on twitter to then receive a wave of backlash from those who were either misinformed or not informed at all.
what does this mean for the future?
what this will mean for the future of remains unclear, but it may be the beginning of the end. with a new doctor coming and a new for season 11 change is certainly coming and it could also mean change for how fans get their doctor who news.
#dwsr is finished. the are aware of the situation that occurred & this will be sorted for series 11. no elite, no spoilers. (@somevfxguy) july 11, 2017
spoilers and leaks could now be a thing of the past, and fans will have to wait for the episode to air to find out what will happen next. this will, of course, be good news for those who want any spoilers, but not so good news for others.
are we all just overreacting?
no.
a rather simple answer i know. if this is indeed exactly what happened, it was mean and selfish. purposely misleading fans to get final doctor who moments to yourself is wrong.
nevermind the fact it hurt the fans, but it was a sad way to end moments as twelve. it was also a sad way to end doctor who era and disrespectful of everyone involved.
when it comes to potential plot leaks and spoilers, it would be a shame if they did put a stop to that. personally, if you want to see spoilers then read or following people or sites that report them. most sites are good enough now warn you beforehand anyway.
but, going back to the original point, the reaction to overshadowing the end of a fantastic era of peter capaldi as doctor who was not an overreaction at all.
the final episode of peter capaldi in doctor who will air later this year in the christmas special where the next doctor will hopefully be revealed. unless leaked or shared beforehand.
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wɪl ðɛr bi mɔr əv ðə apes’*’ ˈmuviz? baɪ ˈsændi si. ðə twɛlfθ ˈdɔktər, ˈpitər kɑˈpɑldi, ˈfɪnɪʃt hɪz ˈfaɪnəl deɪz əv ˈfɪlmɪŋ ˈoʊnli fər ɪt tɪ bi ˌoʊvərˈʃædoʊd baɪ ən ɪkˈstrim grup əv who’*’ ““fans.”*.” ˈpitər kɑˈpɑldi ræpt əp hɪz ˈfaɪnəl deɪz ɛz ðə taɪm lɔrd ɪn ˈkɑrdɪf, weɪlz, ɔn ˈmənˌdeɪ, ˌʤuˈlaɪ 10 ðə twɛlfθ ˈdɔktər hu stɑr wɑz ˈfɪlmɪŋ ðɪs ˈkrɪsməs ˈspɛʃəl, wɪʧ ɪz tɪ bi hɪz ˈfaɪnəl əˈpɪrəns ɛz twɛlv. ˌhaʊˈɛvər, ðɪs ˌmɑnjəˈmɛnəl əˈkeɪʒən əˈpɪrz tɪ hæv bɪn ˌoʊvərˈʃædoʊd baɪ ə səˈlɛkt grup hu trɛnd ˈəndər ðə, ˈlivɪŋ ˈmɛni ˈəðər fænz ˈsædli ˌdɪsəˈpɔɪnɪd ənd səm ɪkˈstrimli ˈæŋgri. wət ɪz? ɪz ə tˈwɪtər ˈhæʃˌtæg ðət ɪz ˈdɛdəkeɪtəd tɪ ðə ˈleɪtəst nuz ɪn ˈdɔktər hu ˈfɪlmɪŋ. ɪt stændz fər ˈdɔktər hu sɛt rɪˈpɔrt, ˌɔlˈðoʊ ˈəðər neɪmz laɪk ˈdɔktər hu ˈspɔɪlər rɪˈpɔrt ər ˈɔlsoʊ noʊn. ɪt kən, ɪn ə weɪ, bi kəmˈpɛrd tɪ ðə geɪm əv ˈblɔgərz ˈwɑʧərz ɔn ðə wɔl, wɪʧ ɪz ˈɔlsoʊ ˈdɛdəkeɪtəd tɪ rɪˈpɔrtɪŋ ˈbreɪkɪŋ nuz ɔn ˈfɪlmɪŋ, ˈkæstɪŋ ənd ˈkɑmənˌtɛri. ˈɛni ˈmɛmbər əv ðə ˈpəblɪk kən juz, bət ə ˈdɛdəkeɪtəd fju hæv juzd ɪt soʊ məʧ ðət ðeɪ hæv groʊn ə sɪgˈnɪfɪkənt ˈfɑloʊɪŋ. ˈmɛni əv ðɛr ˈfɑloʊərz rɪˈlaɪ ɔn ðɛr ənd rɪˈpɔrts tɪ faɪnd aʊt ðə ˈleɪtəst ɪn ˈfɪlmɪŋ loʊˈkeɪʃənz, ˈspɔɪlərz ənd mɔr. soʊ wət ˈhæpənd? wɛl, ɛz ˈmɛni hæv ˈlərnɪd naʊ, ðə ˈfaɪnəl deɪz əv ˈfɪlmɪŋ tʊk pleɪs ɔn ˈmənˌdeɪ ɪn ˈkɑrdɪf. wət əˈpɪrz tɪ hæv ˈhæpənd ɪz ə səˈlɛkt fju əv wət səm ər dɪˈskraɪbɪŋ ɛz ðə ““elite”*” ˌdɪˈsaɪdɪd tɪ ˈiðər nɑt ˌɪnˈfɔrm ðɛr ˈfɑloʊərz əv ðɪs ər ˈpərpəsli geɪv ˈpipəl ə ˈdɪfərənt ˈfɪlmɪŋ deɪt. ðɪs lɛd tɪ ˈmɛni fænz biɪŋ lɛft ˌdɪsəˈpɔɪnɪd ðət ðeɪ mɪst aʊt ɔn ðə ˌɑpərˈtunəti əv siɪŋ ˈfaɪnəl ˈmoʊmənts, wɪθ səm biɪŋ ɪkˈstrimli ˈæŋgri. naʊ ə lɔt ər ˈəpˌsɛt dɪˈzərvd ə ˈbɛtər sɛnd ɔf. wən twit tɪ lɛt ˈpipəl noʊ ðə ʧeɪnʤ əv plænz, ðæts ɔl wɑz ˈnidɪd (@welshtargaryen*) ˌʤuˈlaɪ 12 2017 ˈkjʊriəs waɪ wər ˈmɪlɪŋ əˈbaʊt ɔn ðə ˈmənˌdeɪ ənd wər əraʊnd tɪ bi baɪ ˈpiˈsi. ˈsɑri bət aɪ wɑz laɪd tɪ ɪn ə ˈmɛsɪʤ (@neetypadjo*) ˌʤuˈlaɪ 12 2017 aɪ hərd θru ðə ˈgreɪpˌvaɪn ðət ˈpitər, ˈreɪʧəl, ənd kru noʊ əˈbaʊt ðə sˈlizi trɪk ðə ˈstɔkər ˈpipəl dɪd. meɪd fulz əv ðɛmˈsɛlvz. (@pygmousian*) ˌʤuˈlaɪ 12 2017 ðoʊz hu wər ðɛr ənd hæd ðə gʊd ˈfɔrʧən tɪ mit səm əv ðə kæst ənd kru ʃɛrd ðɪs ɪkˈspɪriəns ɔn tˈwɪtər tɪ ðɛn rɪˈsiv ə weɪv əv ˈbæˌklæʃ frəm ðoʊz hu wər ˈiðər mɪsɪnˈfɔrmd ər nɑt ˌɪnˈfɔrmd æt ɔl. wət dɪz ðɪs min fər ðə fˈjuʧər? wət ðɪs wɪl min fər ðə fˈjuʧər əv rɪˈmeɪnz ənˈklɪr, bət ɪt meɪ bi ðə bɪˈgɪnɪŋ əv ðə ɛnd. wɪθ ə nu ˈdɔktər ˈkəmɪŋ ənd ə nu fər ˈsizən 11 ʧeɪnʤ ɪz ˈsərtənli ˈkəmɪŋ ənd ɪt kʊd ˈɔlsoʊ min ʧeɪnʤ fər haʊ fænz gɪt ðɛr ˈdɔktər hu nuz. ɪz ˈfɪnɪʃt. ðə ər əˈwɛr əv ðə ˌsɪʧuˈeɪʃən ðət əˈkərd ðɪs wɪl bi ˈsɔrtɪd fər ˈsɪriz 11 noʊ ɪˈlit, noʊ ˈspɔɪlərz. (@somevfxguy*) ˌʤuˈlaɪ 11 2017 ˈspɔɪlərz ənd liks kʊd naʊ bi ə θɪŋ əv ðə pæst, ənd fænz wɪl hæv tɪ weɪt fər ðə ˈɛpɪˌsoʊd tɪ ɛr tɪ faɪnd aʊt wət wɪl ˈhæpən nɛkst. ðɪs wɪl, əv kɔrs, bi gʊd nuz fər ðoʊz hu wɔnt ˈɛni ˈspɔɪlərz, bət nɑt soʊ gʊd nuz fər ˈəðərz. ər wi ɔl ʤɪst ˈoʊvərriˌæktɪŋ? noʊ. ə ˈrəðər ˈsɪmpəl ˈænsər aɪ noʊ. ɪf ðɪs ɪz ˌɪnˈdid ɪgˈzæktli wət ˈhæpənd, ɪt wɑz min ənd ˈsɛlfɪʃ. ˈpərpəsli mɪsˈlidɪŋ fænz tɪ gɪt ˈfaɪnəl ˈdɔktər hu ˈmoʊmənts tɪ ˈjɔrsɛlf ɪz rɔŋ. ˈnɛvərˌmaɪnd ðə fækt ɪt hərt ðə fænz, bət ɪt wɑz ə sæd weɪ tɪ ɛnd ˈmoʊmənts ɛz twɛlv. ɪt wɑz ˈɔlsoʊ ə sæd weɪ tɪ ɛnd ˈdɔktər hu ˈɪrə ənd ˌdɪsrɪˈspɛktfəl əv ˈɛvriˌwən ˌɪnˈvɑlvd. wɪn ɪt kəmz tɪ pəˈtɛnʃəl plɑt liks ənd ˈspɔɪlərz, ɪt wʊd bi ə ʃeɪm ɪf ðeɪ dɪd pʊt ə stɑp tɪ ðət. ˈpərsənəli, ɪf ju wɔnt tɪ si ˈspɔɪlərz ðɛn rɛd ər ˈfɑloʊɪŋ ˈpipəl ər saɪts ðət rɪˈpɔrt ðɛm. moʊst saɪts ər gʊd ɪˈnəf naʊ wɔrn ju bɪˈfɔˌrhænd ˈɛniˌweɪ. bət, goʊɪŋ bæk tɪ ðə ərˈɪʤənəl pɔɪnt, ðə riˈækʃən tɪ ˈoʊvərˈʃædoʊɪŋ ðə ɛnd əv ə fænˈtæstɪk ˈɪrə əv ˈpitər kɑˈpɑldi ɛz ˈdɔktər hu wɑz nɑt ən ˈoʊvərriˌækʃən æt ɔl. ðə ˈfaɪnəl ˈɛpɪˌsoʊd əv ˈpitər kɑˈpɑldi ɪn ˈdɔktər hu wɪl ɛr ˈleɪtər ðɪs jɪr ɪn ðə ˈkrɪsməs ˈspɛʃəl wɛr ðə nɛkst ˈdɔktər wɪl ˈhoʊpfəli bi rɪˈvild. ənˈlɛs likt ər ʃɛrd bɪˈfɔˌrhænd.
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square enix held a quite eventful keynote during the final fantasy fan fest 2016. the conference reached its climax when the company showed the trailer of, the second expansion for final fantasy which is scheduled to come out less than a year from now, during summer 2017.
the expansion, as many fans theorized, will be set in ala, a region of controlled by the empire. the main quest of the expansion will revolve around the resistance and the effort to get back the area from the imperium. ala is a zone that is talked about really often during the game and the expansion (especially if you happen to play a monk) and is a major plot point in the war betweenn and the empire. being finally able to explore its deserts and forests is something that fans of final fantasy wished for a long time.
reddit user posted a nice list of what has been revealed about during the keynote. give it a look.
stormblood will explore ala
main focus is to regain control of ala from the empire
20 years have passed sinces have had control
main antagonist to be galvus, legion and de facto ruler of ala
woman depicted in trailer to potentially be revealed in future patch
warrior of main job in is monk (akin to for)
area shown in teaser trailer is reach, the of ala’s main resistance.
multiple new jobs to be discussed at future date
yoshi-p wore a t-shirt of scarlet witch, said that was the only hint give at this time
new level cap: 70 (for all classes)
(for all classes) more actions for each job to go with new cap
revamped battle system to go with new actions
to go with new actions additional skill system to be overhauled, with skills shared by roles instead of jobs, and can choose from shared role ability options
reassessment of actions
example used is blood of the dragon buff, where in an showing how much time is left will be better visible on screen so players just staring at the current icon
new areas to be introduced, comparable in size to areas
stormblood will be a full worth of content
new to be introduced, including known names and ones.
new dungeons to be introduced with new battle and dungeon concepts to be introduced
high-end raids to also be added, with possibility of different story depending on difficulty, with normal on odd patches, savage on even ( note: i may have transcribed this backwards. please look forward to more information on it ).
). new alliance raids to be added. big news, but will wait until tokyo fan fest , but will be, “very, very final fantasy”
, but will be, “very, very final fantasy” expanded form of exploration to be introduced: the forbidden land of eureka (they really like!), something different from diadem and will expand its own entire area, unique to. there might even be notorious monsters that only appear once every 72 hours.
(they really like!), something different from diadem and will expand its own entire area, unique to. there might even be notorious monsters that only appear once every 72 hours. eureka may also be used for next set of high-end weapons, akin to relic/anima, rather than upgrades in “normal areas.”
new gear and recipes, including winners of gear design contest
item inventory (this got the biggest cheers so far), looking to increase “as much as humanly possible.” there is uncertainty in how this will be implemented due to the server needs, and it will be addressed in a future live letter
(this got the biggest cheers so far), looking to increase “as much as humanly possible.” there is uncertainty in how this will be implemented due to the server needs, and it will be addressed in a future live letter a residential area to be added. where? “sorry, tell ya.”
to be added. where? “sorry, tell ya.” footage of new areas shown
screenshots now being shown of new areas
indications are that ala is crossed via a wall in the black shroud, which will be shown in patch. yoshi joked that jump work to scale the wall, but that the warrior of light has a lot of practice falling off of things.
ala will not be just deserts and wasteland. forests are also part of it.
all areas of will be accessible by flying mounts, but there was an indication that it will again by like in. at groans from the audience, yoshi said it will be easier than quests.
that’s all the information for now from this keynote. more information will be released in other fan fests elsewhere, live letters, and so forth. “this is just the start.” yoshi teases he wants to say more everytime the audience cheers, but then be dead and come out.
two final announcements:
1) changes to windows version minimum specs requirements. current minimum specs are geared towards components you even buy anymore. so, for the best gaming experience possible, decided to raise their minimum specs. “if possible, maybe upgrade to os” but they will still support 32-bit. they just suggest will be best gaming experience.
2) end of playstation 3 support . this got the second biggest cheers. been examining numbers and have seen a large migration of to so they have decided it is the right time to end support. to show appreciation to their fans that helped them get to where they are now, there will be a special free to upgrade campaign .
1) changes to windows version minimum specs requirements. current minimum specs are geared towards components you even buy anymore. so, for the best gaming experience possible, decided to raise their minimum specs. “if possible, maybe upgrade to os” but they will still support 32-bit. they just suggest will be best gaming experience. 2) . this got the second biggest cheers. been examining numbers and have seen a large migration of to so they have decided it is the right time to end support. to show appreciation to their fans that helped them get to where they are now, . keynote ends with yoshi saying, in english, “please look forward to it.”
there are a couple of things that stand out in this list. first of all, no mention of new classes to be added into the game. with the release of, three new classes were added to final fantasy so only natural to expect the same from. square enix probably aims to reveal them in the future keynotes leading to the release of the expansion. looking at the teaser trailer, though, it would seem like expecting some kind of class would be a safe bet.
the second bullet point to stand out is the one about the company pulling the plug on playstation 3 support for the game. with the release of, it will not be possible anymore to play final fantasy on playstation 3. not unexpected news at this point. in order to allow the game to grow, square decided to interrupt the support on older hardware that risks to hold the game back. the fact that they also announced that going to raise the minimum pc requirements to play the game, attests the will of the to have more space to stretch their legs and experiment with new stuff.
for the warriors of light playing on out there, though, not everything is lost. players will be able to upgrade their version of the game to the version for free in order to continue to play on the new console. there are still no details about how the free upgrade will work but considering that support will continue until next summer, plenty of time to lay down details.
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skwɛr ˈɛnɪks hɛld ə kwaɪt ɪˈvɛntfəl ˈkiˌnoʊt ˈdʊrɪŋ ðə ˈfaɪnəl ˈfænəsi fæn fɛst 2016 ðə ˈkɑnfərəns riʧt ɪts ˈklaɪˌmæks wɪn ðə ˈkəmpəˌni ʃoʊd ðə ˈtreɪlər əv, ðə ˈsɛkənd ɪkˈspænʧən fər ˈfaɪnəl ˈfænəsi wɪʧ ɪz ˈskɛʤʊld tɪ kəm aʊt lɛs ðən ə jɪr frəm naʊ, ˈdʊrɪŋ ˈsəmər 2017 ðə ɪkˈspænʧən, ɛz ˈmɛni fænz θiəraɪzd, wɪl bi sɛt ɪn ˈælə, ə ˈriʤən əv kənˈtroʊld baɪ ðə ˈɛmpaɪər. ðə meɪn kwɛst əv ðə ɪkˈspænʧən wɪl riˈvɑlv əraʊnd ðə rɪˈzɪstəns ənd ðə ˈɛfərt tɪ gɪt bæk ðə ˈɛriə frəm ðə imperium*. ˈælə ɪz ə zoʊn ðət ɪz tɔkt əˈbaʊt ˈrɪli ˈɔfən ˈdʊrɪŋ ðə geɪm ənd ðə ɪkˈspænʧən (əˈspɛʃəli ɪf ju ˈhæpən tɪ pleɪ ə məŋk) ənd ɪz ə ˈmeɪʤər plɑt pɔɪnt ɪn ðə wɔr bɪtˈwin ənd ðə ˈɛmpaɪər. biɪŋ ˈfaɪnəli ˈeɪbəl tɪ ɪkˈsplɔr ɪts ˈdɛzərts ənd ˈfɔrəsts ɪz ˈsəmθɪŋ ðət fænz əv ˈfaɪnəl ˈfænəsi wɪʃt fər ə lɔŋ taɪm. ˈjuzər ˈpoʊstɪd ə nis lɪst əv wət həz bɪn rɪˈvild əˈbaʊt ˈdʊrɪŋ ðə ˈkiˌnoʊt. gɪv ɪt ə lʊk. wɪl ɪkˈsplɔr ˈælə meɪn ˈfoʊkɪs ɪz tɪ rɪˈgeɪn kənˈtroʊl əv ˈælə frəm ðə ˈɛmpaɪər 20 jɪrz hæv pæst sɪns hæv hæd kənˈtroʊl meɪn ænˈtægənəst tɪ bi galvus*, ˈliʤən ənd də ˈfæktoʊ ˈrulər əv ˈælə ˈwʊmən dɪˈpɪktɪd ɪn ˈtreɪlər tɪ pəˈtɛnʃəli bi rɪˈvild ɪn fˈjuʧər pæʧ ˈwɔrjər əv meɪn ʤɑb ɪn ɪz məŋk (ˈeɪkɪn tɪ fər ˈɛriə ʃoʊn ɪn ˈtizər ˈtreɪlər ɪz riʧ, ðə əv ˈælə meɪn rɪˈzɪstəns. ˈməltəpəl nu ʤɑbz tɪ bi dɪˈskəst æt fˈjuʧər deɪt wɔr ə ˈtiˌsərt əv ˈskɑrlət wɪʧ, sɛd ðət wɑz ðə ˈoʊnli hɪnt gɪv æt ðɪs taɪm nu ˈlɛvəl kæp: 70 (fər ɔl ˈklæsɪz) (fər ɔl ˈklæsɪz) mɔr ˈækʃənz fər iʧ ʤɑb tɪ goʊ wɪθ nu kæp riˈvæmpt ˈbætəl ˈsɪstəm tɪ goʊ wɪθ nu ˈækʃənz tɪ goʊ wɪθ nu ˈækʃənz əˈdɪʃənəl skɪl ˈsɪstəm tɪ bi ˈoʊvərˌhɔld, wɪθ skɪlz ʃɛrd baɪ roʊlz ˌɪnˈstɛd əv ʤɑbz, ənd kən ʧuz frəm ʃɛrd roʊl əˈbɪləˌti ˈɔpʃənz ˌriəˈsɛsmənt əv ˈækʃənz ɪgˈzæmpəl juzd ɪz bləd əv ðə ˈdrægən bəf, wɛr ɪn ən ʃoʊɪŋ haʊ məʧ taɪm ɪz lɛft wɪl bi ˈbɛtər ˈvɪzəbəl ɔn skrin soʊ pleɪərz ʤɪst ˈstɛrɪŋ æt ðə ˈkɑrənt ˈaɪkɑn nu ˈɛriəz tɪ bi ˌɪntrəˈdust, ˈkɑmprəbəl ɪn saɪz tɪ ˈɛriəz wɪl bi ə fʊl wərθ əv ˈkɑntɛnt nu tɪ bi ˌɪntrəˈdust, ˌɪnˈkludɪŋ noʊn neɪmz ənd wənz. nu ˈdənʤənz tɪ bi ˌɪntrəˈdust wɪθ nu ˈbætəl ənd ˈdənʤən ˈkɑnsɛpts tɪ bi ˌɪntrəˈdust haɪɛnd reɪdz tɪ ˈɔlsoʊ bi ˈædɪd, wɪθ ˌpɑsəˈbɪləˌti əv ˈdɪfərənt ˈstɔri dɪˈpɛndɪŋ ɔn ˈdɪfɪˌkəlti, wɪθ ˈnɔrməl ɔn ɑd ˈpæʧɪz, ˈsævɪʤ ɔn ˈivɪn noʊt: aɪ meɪ hæv trænˈskraɪbd ðɪs ˈbækwərdz. pliz lʊk ˈfɔrwərd tɪ mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ɪt nu əˈlaɪəns reɪdz tɪ bi ˈædɪd. bɪg nuz, bət wɪl weɪt ənˈtɪl ˈtoʊkiˌoʊ fæn fɛst bət wɪl bi, ““very*, ˈvɛri ˈfaɪnəl fantasy”*” bət wɪl bi, ““very*, ˈvɛri ˈfaɪnəl fantasy”*” ɪkˈspændɪd fɔrm əv ˌɛksplərˈeɪʃən tɪ bi ˌɪntrəˈdust: ðə ˈfɔrbɪdən lænd əv jʊˈrikə (ðeɪ ˈrɪli laɪk ˈsəmθɪŋ ˈdɪfərənt frəm ˈdaɪəˌdɛm ənd wɪl ɪkˈspænd ɪts oʊn ɪnˈtaɪər ˈɛriə, juˈnik tɪ. ðɛr maɪt ˈivɪn bi noʊˈtɔriəs ˈmɑnstərz ðət ˈoʊnli əˈpɪr wəns ˈɛvəri 72 aʊərz. (ðeɪ ˈrɪli laɪk ˈsəmθɪŋ ˈdɪfərənt frəm ˈdaɪəˌdɛm ənd wɪl ɪkˈspænd ɪts oʊn ɪnˈtaɪər ˈɛriə, juˈnik tɪ. ðɛr maɪt ˈivɪn bi noʊˈtɔriəs ˈmɑnstərz ðət ˈoʊnli əˈpɪr wəns ˈɛvəri 72 aʊərz. jʊˈrikə meɪ ˈɔlsoʊ bi juzd fər nɛkst sɛt əv haɪɛnd ˈwɛpənz, ˈeɪkɪn tɪ relic/anima*, ˈrəðər ðən ˈəpˌgreɪdz ɪn areas.”*.” nu gɪr ənd ˈrɛsəpiz, ˌɪnˈkludɪŋ ˈwɪnərz əv gɪr dɪˈzaɪn ˈkɑntɛst ˈaɪtəm ˌɪnvənˈtɔri (ðɪs gɑt ðə ˈbɪgəst ʧɪrz soʊ fɑr), ˈlʊkɪŋ tɪ ˌɪnˈkris məʧ ɛz ˈhjumənli possible.”*.” ðɛr ɪz ənˈsərtənti ɪn haʊ ðɪs wɪl bi ˈɪmpləˌmɛnəd du tɪ ðə ˈsərvər nidz, ənd ɪt wɪl bi əˈdrɛst ɪn ə fˈjuʧər lɪv ˈlɛtər (ðɪs gɑt ðə ˈbɪgəst ʧɪrz soʊ fɑr), ˈlʊkɪŋ tɪ ˌɪnˈkris məʧ ɛz ˈhjumənli possible.”*.” ðɛr ɪz ənˈsərtənti ɪn haʊ ðɪs wɪl bi ˈɪmpləˌmɛnəd du tɪ ðə ˈsərvər nidz, ənd ɪt wɪl bi əˈdrɛst ɪn ə fˈjuʧər lɪv ˈlɛtər ə ˌrɛzɪˈdɛnʃəl ˈɛriə tɪ bi ˈædɪd. wɛr? ““sorry*, tɛl ya.”*.” tɪ bi ˈædɪd. wɛr? ““sorry*, tɛl ya.”*.” ˈfʊtɪʤ əv nu ˈɛriəz ʃoʊn naʊ biɪŋ ʃoʊn əv nu ˈɛriəz ˌɪndəˈkeɪʃənz ər ðət ˈælə ɪz krɔst ˈviə ə wɔl ɪn ðə blæk ʃraʊd, wɪʧ wɪl bi ʃoʊn ɪn pæʧ ˈjoʊʃi ʤoʊkt ðət ʤəmp wərk tɪ skeɪl ðə wɔl, bət ðət ðə ˈwɔrjər əv laɪt həz ə lɔt əv ˈpræktɪs ˈfɑlɪŋ ɔf əv θɪŋz. ˈælə wɪl nɑt bi ʤɪst ˈdɛzərts ənd ˈweɪˌstlænd. ˈfɔrəsts ər ˈɔlsoʊ pɑrt əv ɪt. ɔl ˈɛriəz əv wɪl bi ækˈsɛsəbəl baɪ flaɪɪŋ maʊnts, bət ðɛr wɑz ən ˌɪndəˈkeɪʃən ðət ɪt wɪl əˈgɛn baɪ laɪk ɪn æt groʊnz frəm ðə ˈɔdiəns, ˈjoʊʃi sɛd ɪt wɪl bi ˈiziər ðən kwɛsts. ɔl ðə ˌɪnˌfɔrˈmeɪʃən fər naʊ frəm ðɪs ˈkiˌnoʊt. mɔr ˌɪnˌfɔrˈmeɪʃən wɪl bi riˈlist ɪn ˈəðər fæn fɛsts ˈɛlsˌwɛr, lɪv ˈlɛtərz, ənd soʊ fɔrθ. ɪz ʤɪst ðə start.”*.” ˈjoʊʃi ˈtizɪz hi wɔnts tɪ seɪ mɔr ˈɛvriˌtaɪm ðə ˈɔdiəns ʧɪrz, bət ðɛn bi dɛd ənd kəm aʊt. tu ˈfaɪnəl əˈnaʊnsmɛnts: 1 ˈʧeɪnʤɪz tɪ ˈwɪndoʊz ˈvərʒən ˈmɪnəməm spɛks rɪkˈwaɪrmənts. ˈkɑrənt ˈmɪnəməm spɛks ər gɪrd təˈwɔrdz kəmˈpoʊnənts ju ˈivɪn baɪ ˌɛniˈmɔr. soʊ, fər ðə bɛst ˈgeɪmɪŋ ɪkˈspɪriəns ˈpɑsəbəl, ˌdɪˈsaɪdɪd tɪ reɪz ðɛr ˈmɪnəməm spɛks. ˈpɑsəbəl, ˈmeɪbi ˈəpˈgreɪd tɪ os”*” bət ðeɪ wɪl stɪl səˈpɔrt 32-bit*. ðeɪ ʤɪst səˈʤɛst wɪl bi bɛst ˈgeɪmɪŋ ɪkˈspɪriəns. 2 ɛnd əv ˈpleɪˌsteɪʃən 3 səˈpɔrt ðɪs gɑt ðə ˈsɛkənd ˈbɪgəst ʧɪrz. bɪn ɪgˈzæmɪnɪŋ ˈnəmbərz ənd hæv sin ə lɑrʤ maɪˈgreɪʃən əv tɪ soʊ ðeɪ hæv ˌdɪˈsaɪdɪd ɪt ɪz ðə raɪt taɪm tɪ ɛnd səˈpɔrt. tɪ ʃoʊ əˌpriʃiˈeɪʃən tɪ ðɛr fænz ðət hɛlpt ðɛm gɪt tɪ wɛr ðeɪ ər naʊ, ðɛr wɪl bi ə ˈspɛʃəl fri tɪ ˈəpˈgreɪd kæmˈpeɪn 1 ˈʧeɪnʤɪz tɪ ˈwɪndoʊz ˈvərʒən ˈmɪnəməm spɛks rɪkˈwaɪrmənts. ˈkɑrənt ˈmɪnəməm spɛks ər gɪrd təˈwɔrdz kəmˈpoʊnənts ju ˈivɪn baɪ ˌɛniˈmɔr. soʊ, fər ðə bɛst ˈgeɪmɪŋ ɪkˈspɪriəns ˈpɑsəbəl, ˌdɪˈsaɪdɪd tɪ reɪz ðɛr ˈmɪnəməm spɛks. ˈpɑsəbəl, ˈmeɪbi ˈəpˈgreɪd tɪ os”*” bət ðeɪ wɪl stɪl səˈpɔrt 32-bit*. ðeɪ ʤɪst səˈʤɛst wɪl bi bɛst ˈgeɪmɪŋ ɪkˈspɪriəns. 2 ðɪs gɑt ðə ˈsɛkənd ˈbɪgəst ʧɪrz. bɪn ɪgˈzæmɪnɪŋ ˈnəmbərz ənd hæv sin ə lɑrʤ maɪˈgreɪʃən əv tɪ soʊ ðeɪ hæv ˌdɪˈsaɪdɪd ɪt ɪz ðə raɪt taɪm tɪ ɛnd səˈpɔrt. tɪ ʃoʊ əˌpriʃiˈeɪʃən tɪ ðɛr fænz ðət hɛlpt ðɛm gɪt tɪ wɛr ðeɪ ər naʊ, ˈkiˌnoʊt ɛndz wɪθ ˈjoʊʃi seɪɪŋ, ɪn ˈɪŋlɪʃ, lʊk ˈfɔrwərd tɪ it.”*.” ðɛr ər ə ˈkəpəl əv θɪŋz ðət stænd aʊt ɪn ðɪs lɪst. fərst əv ɔl, noʊ ˈmɛnʃən əv nu ˈklæsɪz tɪ bi ˈædɪd ˈɪntu ðə geɪm. wɪθ ðə riˈlis əv, θri nu ˈklæsɪz wər ˈædɪd tɪ ˈfaɪnəl ˈfænəsi soʊ ˈoʊnli ˈnæʧərəl tɪ ɪkˈspɛkt ðə seɪm frəm. skwɛr ˈɛnɪks ˈprɑbəˌbli eɪmz tɪ rɪˈvil ðɛm ɪn ðə fˈjuʧər ˈkiˌnoʊts ˈlidɪŋ tɪ ðə riˈlis əv ðə ɪkˈspænʧən. ˈlʊkɪŋ æt ðə ˈtizər ˈtreɪlər, ðoʊ, ɪt wʊd sim laɪk ɪkˈspɛktɪŋ səm kaɪnd əv klæs wʊd bi ə seɪf bɛt. ðə ˈsɛkənd ˈbʊlət pɔɪnt tɪ stænd aʊt ɪz ðə wən əˈbaʊt ðə ˈkəmpəˌni ˈpʊlɪŋ ðə pləg ɔn ˈpleɪˌsteɪʃən 3 səˈpɔrt fər ðə geɪm. wɪθ ðə riˈlis əv, ɪt wɪl nɑt bi ˈpɑsəbəl ˌɛniˈmɔr tɪ pleɪ ˈfaɪnəl ˈfænəsi ɔn ˈpleɪˌsteɪʃən 3 nɑt ˌənɪkˈspɛktɪd nuz æt ðɪs pɔɪnt. ɪn ˈɔrdər tɪ əˈlaʊ ðə geɪm tɪ groʊ, skwɛr ˌdɪˈsaɪdɪd tɪ ˌɪntərˈəpt ðə səˈpɔrt ɔn ˈoʊldər ˈhɑrdˌwɛr ðət rɪsks tɪ hoʊld ðə geɪm bæk. ðə fækt ðət ðeɪ ˈɔlsoʊ əˈnaʊnst ðət goʊɪŋ tɪ reɪz ðə ˈmɪnəməm ˈpiˈsi rɪkˈwaɪrmənts tɪ pleɪ ðə geɪm, əˈtɛsts ðə wɪl əv ðə tɪ hæv mɔr speɪs tɪ strɛʧ ðɛr lɛgz ənd ɪkˈspɛrəmənt wɪθ nu stəf. fər ðə ˈwɔrjərz əv laɪt pleɪɪŋ ɔn aʊt ðɛr, ðoʊ, nɑt ˈɛvriˌθɪŋ ɪz lɔst. pleɪərz wɪl bi ˈeɪbəl tɪ ˈəpˈgreɪd ðɛr ˈvərʒən əv ðə geɪm tɪ ðə ˈvərʒən fər fri ɪn ˈɔrdər tɪ kənˈtɪnju tɪ pleɪ ɔn ðə nu ˈkɑnsoʊl. ðɛr ər stɪl noʊ ˈditeɪlz əˈbaʊt haʊ ðə fri ˈəpˈgreɪd wɪl wərk bət kənˈsɪdərɪŋ ðət səˈpɔrt wɪl kənˈtɪnju ənˈtɪl nɛkst ˈsəmər, ˈplɛnti əv taɪm tɪ leɪ daʊn ˈditeɪlz. ʃɛr hæv ə tɪp fər ˈjuˈɛs? ˈɔsəm! ʃut ˈjuˈɛs ən iˈmeɪl æt [iˈmeɪl prəˈtɛktɪd] ənd wɪl teɪk ə lʊk!
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“the world sees germany as a country of hope and opportunity, that was not always the case,” ms. merkel said, reminding germans that they could be proud of a postwar country based on the principles of dignity, human rights and the right to political asylum.
ms. merkel said her government was planning measures in the coming months aimed at coordinating efforts between communities, states and the federal government, which each carry different responsibilities in welcoming, processing and integrating those who are granted the right to remain in the country as refugees.
ms. merkel praised the thousands of germans who had opened their homes and pocketbooks to the newcomers and who had donated their time. “there is no tolerance for those who question the dignity of other people,” she said, echoing comments she made last week at a reception center for asylum seekers in the eastern german city of that had been the site of violent protests.
germany needs to be able to process applications more swiftly, and language and teachers are needed to help families adapt in berlin alone, 400 new classes of students will be starting the new school year, the chancellor said.
germany must also overcome logistical hurdles like the cumbersome bureaucracy needed to construct shelters at a rapid enough pace, she said, pointing out the country lacks a fire safety ordinance for tents. ms. merkel said her government would address issues like those in a law that she hoped would be passed before the end of the year.
“german thoroughness is super, but right now what we need is german flexibility,” ms. merkel said, recalling the swift reaction to the global banking crisis of 2008, the ability to respond to natural disasters and, 25 years ago, the reunification of east and west germany.
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““the* wərld siz ˈʤərməni ɛz ə ˈkəntri əv hoʊp ənd ˌɑpərˈtunəti, ðət wɑz nɑt ˈɔlˌweɪz ðə case,”*,” mɪz. ˈmərkəl sɛd, riˈmaɪndɪŋ ˈʤərmənz ðət ðeɪ kʊd bi praʊd əv ə ˈpoʊstˈwɔr ˈkəntri beɪst ɔn ðə ˈprɪnsəpəlz əv ˈdɪgnəti, ˈjumən raɪts ənd ðə raɪt tɪ pəˈlɪtɪkəl əˈsaɪləm. mɪz. ˈmərkəl sɛd hər ˈgəvərnmənt wɑz ˈplænɪŋ ˈmɛʒərz ɪn ðə ˈkəmɪŋ mənθs eɪmd æt koʊˈɔrdəˌneɪtɪŋ ˈɛfərts bɪtˈwin kəmˈjunɪtiz, steɪts ənd ðə ˈfɛdərəl ˈgəvərnmənt, wɪʧ iʧ ˈkɛri ˈdɪfərənt riˌspɑnsəˈbɪlətiz ɪn ˈwɛlkəmɪŋ, ˈprɑsɛsɪŋ ənd ˈɪnəˌgreɪtɪŋ ðoʊz hu ər ˈgrænɪd ðə raɪt tɪ rɪˈmeɪn ɪn ðə ˈkəntri ɛz ˈrɛfˌjuʤiz. mɪz. ˈmərkəl preɪzd ðə ˈθaʊzənz əv ˈʤərmənz hu hæd ˈoʊpənd ðɛr hoʊmz ənd ˈpɑkətˌbʊks tɪ ðə ˈnuˌkəmərz ənd hu hæd ˈdoʊˌneɪtɪd ðɛr taɪm. ɪz noʊ ˈtɑlərəns fər ðoʊz hu kˈwɛʃən ðə ˈdɪgnəti əv ˈəðər people,”*,” ʃi sɛd, ˈɛkoʊɪŋ ˈkɑmɛnts ʃi meɪd læst wik æt ə rɪˈsɛpʃən ˈsɛnər fər əˈsaɪləm ˈsikərz ɪn ðə ˈistərn ˈʤərmən ˈsɪti əv ðət hæd bɪn ðə saɪt əv ˈvaɪələnt ˈproʊˌtɛsts. ˈʤərməni nidz tɪ bi ˈeɪbəl tɪ ˈprɔˌsɛs ˌæpləˈkeɪʃənz mɔr sˈwɪftli, ənd ˈlæŋgwɪʤ ənd ˈtiʧərz ər ˈnidɪd tɪ hɛlp ˈfæməliz əˈdæpt ɪn bərˈlɪn əˈloʊn, 400 nu ˈklæsɪz əv ˈstudənts wɪl bi ˈstɑrtɪŋ ðə nu skul jɪr, ðə ˈʧænsələr sɛd. ˈʤərməni məst ˈɔlsoʊ ˈoʊvərˌkəm ləˈʤɪstɪkəl ˈhərdəlz laɪk ðə ˈkəmbərsəm bjʊˈrɑkrəsi ˈnidɪd tɪ ˈkɑnstrəkt ˈʃɛltərz æt ə ˈræpɪd ɪˈnəf peɪs, ʃi sɛd, ˈpɔɪntɪŋ aʊt ðə ˈkəntri læks ə faɪər ˈseɪfti ˈɔrdənəns fər tɛnts. mɪz. ˈmərkəl sɛd hər ˈgəvərnmənt wʊd ˈæˌdrɛs ˈɪʃuz laɪk ðoʊz ɪn ə lɔ ðət ʃi hoʊpt wʊd bi pæst ˌbiˈfɔr ðə ɛnd əv ðə jɪr. ˈθəroʊnəs ɪz ˈsupər, bət raɪt naʊ wət wi nid ɪz ˈʤərmən flexibility,”*,” mɪz. ˈmərkəl sɛd, rɪˈkɔlɪŋ ðə swɪft riˈækʃən tɪ ðə ˈgloʊbəl ˈbæŋkɪŋ ˈkraɪsəs əv 2008 ðə əˈbɪləˌti tɪ rɪˈspɑnd tɪ ˈnæʧərəl dɪˈzæstərz ənd, 25 jɪrz əˈgoʊ, ðə riˌunəfəˈkeɪʃən əv ist ənd wɛst ˈʤərməni.
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that is not the way microsoft views things. microsoft always assumes they can force everybody to use their latest os release regardless of what users actually want and regardless of what the statistics say. microsoft would love to hack themselves off from 98% of the market on the off chance a few users might switch to their products. i honestly could see microsoft paying top dollar for unity and then gutting the massive advantage that unity has.
microsoft would not do it directly. they will do it in slow, subtle ways through a bunch of different seemingly trivial and dependencies. but eventually, unity development will require the absolute latest version of windows plus the absolute latest microsoft development tools and we will no longer be able to fully target other platforms when building games. we'll all have to install visual studio pro plus server. even though nobody would need server, microsoft will make some other piece of the software puzzle require server because that is microsoft's constant pattern in the it industry. microsoft makes sure everything requires more microsoft software in order to work. eventually, unity would require thousands of dollars worth of microsoft software and require several hours of additional software installs on the latest microsoft os in order to work.
ask anybody in the it industry about how microsoft operates and you will get a clear picture of what microsoft would likely do with unity if given the chance.
click to expand...
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ðət ɪz nɑt ðə weɪ ˈmaɪˌkroʊˈsɔft vjuz θɪŋz. ˈmaɪˌkroʊˈsɔft ˈɔlˌweɪz əˈsumz ðeɪ kən fɔrs ˈɛvriˌbɑdi tɪ juz ðɛr ˈleɪtəst ɑs riˈlis rəˈgɑrdləs əv wət ˈjuzərz ˈæˌkʧuəli wɔnt ənd rəˈgɑrdləs əv wət ðə stəˈtɪstɪks seɪ. ˈmaɪˌkroʊˈsɔft wʊd ləv tɪ hæk ðɛmˈsɛlvz ɔf frəm 98 əv ðə ˈmɑrkɪt ɔn ðə ɔf ʧæns ə fju ˈjuzərz maɪt swɪʧ tɪ ðɛr ˈprɑdəkts. aɪ ˈɑnəstli kʊd si ˈmaɪˌkroʊˈsɔft peɪɪŋ tɔp ˈdɔlər fər ˈjunɪti ənd ðɛn ˈgətɪŋ ðə ˈmæsɪv ædˈvæntɪʤ ðət ˈjunɪti həz. ˈmaɪˌkroʊˈsɔft wʊd nɑt du ɪt dɪˈrɛkli. ðeɪ wɪl du ɪt ɪn sloʊ, ˈsətəl weɪz θru ə bənʧ əv ˈdɪfərənt ˈsimɪŋli ˈtrɪviəl ənd dɪˈpɛndənsiz. bət ɪˈvɛnʧəwəli, ˈjunɪti dɪˈvɛləpmənt wɪl ˌrikˈwaɪər ðə ˈæbsəˌlut ˈleɪtəst ˈvərʒən əv ˈwɪndoʊz pləs ðə ˈæbsəˌlut ˈleɪtəst ˈmaɪˌkroʊˈsɔft dɪˈvɛləpmənt tulz ənd wi wɪl noʊ ˈlɔŋgər bi ˈeɪbəl tɪ ˈfʊli ˈtərgət ˈəðər ˈplætˌfɔrmz wɪn ˈbɪldɪŋ geɪmz. wɪl ɔl hæv tɪ ˌɪnˈstɔl ˈvɪʒəwəl ˈstudiˌoʊ proʊ pləs ˈsərvər. ˈivɪn ðoʊ ˈnoʊˌbɑˌdi wʊd nid ˈsərvər, ˈmaɪˌkroʊˈsɔft wɪl meɪk səm ˈəðər pis əv ðə ˈsɔfˌwɛr ˈpəzəl ˌrikˈwaɪər ˈsərvər bɪˈkəz ðət ɪz ˈmaɪˌkroʊˈsɔfts ˈkɑnstənt ˈpætərn ɪn ðə ɪt ˈɪndəstri. ˈmaɪˌkroʊˈsɔft meɪks ʃʊr ˈɛvriˌθɪŋ rikˈwaɪərz mɔr ˈmaɪˌkroʊˈsɔft ˈsɔfˌwɛr ɪn ˈɔrdər tɪ wərk. ɪˈvɛnʧəwəli, ˈjunɪti wʊd ˌrikˈwaɪər ˈθaʊzənz əv ˈdɔlərz wərθ əv ˈmaɪˌkroʊˈsɔft ˈsɔfˌwɛr ənd ˌrikˈwaɪər ˈsɛvərəl aʊərz əv əˈdɪʃənəl ˈsɔfˌwɛr ˌɪnˈstɔlz ɔn ðə ˈleɪtəst ˈmaɪˌkroʊˈsɔft ɑs ɪn ˈɔrdər tɪ wərk. æsk ˈɛnibədi ɪn ðə ɪt ˈɪndəstri əˈbaʊt haʊ ˈmaɪˌkroʊˈsɔft ˈɑpərˌeɪts ənd ju wɪl gɪt ə klɪr ˈpɪkʧər əv wət ˈmaɪˌkroʊˈsɔft wʊd ˈlaɪkli du wɪθ ˈjunɪti ɪf ˈgɪvɪn ðə ʧæns. klɪk tɪ ɪkˈspænd...
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so about a month ago, i got the bright idea to pitch a story featuring barry switzer telling old-school recruiting stories. the plan was to have the story run on national signing day. i emailed coach switzer, never heard anything back from him, and national signing day came and went.
no story for me.
but then i got an email two days after signing day
richard just saw this email! sorry for my poor response. would have love to been involved.
coach
coach?
is this some kind of joke? i mean, it was a hail mary when i requested an interview with switzer through his contact page at switzerfamilyvineyards.com. was this really the king returning my email? but wait. it had to be coach switzer; it was an aol address.
game on.
signing day had passed. i had no idea what the hell we were going to talk about. then i realized we going to talk about anything. he was going to talk, and i was going to listen to one of the greatest football storytellers alive. and for 32 minutes and 42 seconds, what happened.
how it was recruiting marcus dupree?
[laughs.] the world was recruiting marcus dupree.
i sent billy sims on a big private jet to philadelphia, mississippi, to bring marcus to oklahoma before national signing day. billy sims comes off the jet in his cowboy hat, blue jeans, big belt buckle, rolex, and his national championship ring. here he is, billy sims, nfl rookie of the year, and marcus is surprised to see billy get off the jet to pick him up. marcus takes billy back to school and introduces him to everyone in philadelphia, mississippi, before they get back on the plane to come back to oklahoma. marcus was sold after that.
it was different from any other experience. he was the best that never was, without a doubt. when i saw him in high school, he was better than anyone ever seen, and seen ’em all. seen the bo jacksons, the herschel walkers, the eric dickersons, earl campbells. i recruited them all. i saw ’em play live, seen the tape on ’em out of high school.
marcus was as good as there was and ever had been. what he had was a physical maturity as a senior in high school, being, 230 pounds that could run a dash. he was the fastest on the field and the strongest without a doubt. i saw him bench press in high school, in their weight room, 400 pounds.
the first time we put him in a game to return a punt, we worry about putting him back there because he had great hands. he returned the punt 83 yards against colorado, he just runs right through ’em, they just touch him. he takes it to the house as a freshman, first time he touches it.
i look back on it, and what makes him unique when i was recruiting him, the only guy that came with an agent. he called himself a counselor, minster, his preacher. his name was ken fairley. you saw the damn 30 for 30. the only thing that upset me about the 30 for 30 is, by god, that they did not say in there that marcus dupree ended up suing ken fairley for $5 million dollars. he took everything marcus had. a crook, a thief, and all you have to do is ask marcus about him. on public record. you saw it in there. marcus was 19 years old and [fairley] had him sign a power of attorney to get all his money turned over to him. [fairley] took his check away from him when he was in new orleans.
think about that, 19 years old, and this guy not even a family member and your agent. someone never been an agent in his life, not an attorney, all ever been is a baptist minister in jackson, mississippi, and marcus trusted him, and [fairley] ended up screwing him. the thing that really upset me. i had to try and get a piece of ear and ended up competing with everyone else tugging trying to get a piece of him.
if marcus had stayed with me and listened to me, probably would have won the heisman and couple of national championships. his senior year, we won the national championship without him; we beat an penn state team. he would have been in the backfield with and all those guys, spencer tillman, and been surrounded by brian bosworth, and that defense led the nation in,, and. in the defense was second.
i wish i would have handled him different, but history and i look back on that and think about how good he was and could have been. he was special.
i heard about the time you recruited somebody it might have been billy sims and there was a rumor you hid him in a basement?
i told billy to hide out for two days. i wanted to sign kenny king hell, i wanted to sign every player in texas, which i damn near did. i signed 13 of the 19 list that year. kenny king, daryl hunt, the tabor twins, greg roberts, thomas lott, billy sims, and several others. but i be everywhere, and kenny wanted me to sign him at 8 a.m. once i told billy to hide out, he went to houston with his dad for two days.
i sold him on it when i told him that once the smoke clears, everyone is going to be wondering billy sign? and then going to get all of the attention and all the press when you sign. he kind of liked that idea. two days later, he surfaces in hooks, texas, and all the attention and media in the country is given to him.
the no. 1 player in texas disappears for two days and in west texas after national signing day to sign his letter of intent. could you imagine that happening today?
it’s a different deal today, they commit so soon; they put hats on, on television at all-star games. this is a different day. we have television media. we have social media.
what would do today if you were recruiting players?
i would probably do pretty good, be busting my rear end like everybody else. [but] it was a different era. i could see a kid as many times as i wanted to, talk to him as many times as i wanted to.
what made you better recruiter than other coaches?
i say that a better recruiter than other coaches. only thing i can say is that keith mother, gladys, said it better than i can say it. when i was recruiting keith jackson you know who he is, obviously
out of little rock, arkansas. no. 1 tight end in the country. all-american. the philadelphia eagles’ first pick in the draft. he played eight years in the nfl. he won a super bowl with green bay. he caught 82 passes his first year in the nfl he only caught 62 his whole career at oklahoma running the wishbone, but he caught 82 his first year at philadelphia. he was nfl offensive rookie of the year, and that was a record for about 15 years in the nfl.
but what did his mom say about you?
well, keith told me this later. gladys remarked to keith, she says, “you know, the only head coach that has ever been in my home ever made me feel comfortable in my home.”
so keith told me that and i sat and reflected on that comment, and i said you know, maybe why i had the ability in recruiting. i elevate them; they always elevate me when i walk into a home. put me on a pedestal. [the families] are scared to death in the beginning. they want to make a good presentation, they hustle around and clean their home, do everything proper. and you know, having her make that comment made me understand my success was my ability to make people feel comfortable around me and at ease. i had the ability to be very candid, honest, and trustworthy in the way i came across.
and sure a lot of coaches are that way, but i came in a different era. there was no quota system in at ou. i was playing a black quarterback before anyone was recruiting a black quarterback in the southwest conference in 1972. i was recruiting tony and guys like that.
wait tony, how was that?
well, he was out of jackson, michigan. he was a hell of a quarterback. i busted my ass recruiting him, and then all of a sudden, we got a limit that year, then all of a sudden we had to back off. chuck fairbanks was the head coach at the time, and i was the assistant head coach in charge of the offense. i said to chuck, “there is a hell of quarterback, tony, that i want out of jackson, michigan.” chuck calls me when in detroit and he tells me to come on home, the just passed a limit. already got our 30. got more than 30 committed out of oklahoma and texas.
so next thing i know, tony even get to come visit. tony and i have laughed about that. been around each other several times since. we always laughed about that. he ended up having a great career, played quarterback at minnesota, and played pro football because he was a good athlete in the secondary.
we have a quota system back then. people were recruiting the black athletes because of the quota. bullshit. i was doing it because it was the right thing to do and i wanted to recruit whoever gave us the best chance to win. i wanted to recruit every player based on his talent and ability to play the game and what kind of person he is. and nothing else matters. and all my coaches, thank goodness, all believed the same thing or else they were going to be coaching with the wrong guy if they. people recognized that immediately. that the way we were, and the way oklahoma was.
we were playing texas when there a black player on their team. i had guys like our running back greg pruitt and joe washington put a couple hundred yards on their ass and puttin’ half a hundred on ’em. so, because of my reputation, all those things helped me tremendously.
pete carroll joined you and jimmy johnson as the only coaches to win a college national championship and a super bowl. how hard was that?
well, all of three of us inherited a great [college] program. when jimmy went to miami, they had just won a national championship. he went there, had a chance to win two or three, and he won one in his short span there. so we had great programs. i inherited a great program at oklahoma. bud wilkinson created a great monster here, and i had something to sell. and we did a good job of selling it, and we won greatly, and we were the best in college football for that period of time, 16 years, still today.
so then pete carroll gets to usc. he was on lou (arkansas) staff as an assistant when they beat our ass in the orange bowl 1977; he stay there long. he was a graduate assistant there. i know where pete went from there. he was a young kid then just starting out, and then he ends up getting the southern cal program, a great program with great tradition and something to sell.
so we all three had to have that. let me say this: if we had all been at a lot of other schools with lesser pedigrees and lesser tradition, i think any of us would have won a national championship. you know what i mean? i care how good of a coach we are. there are a lot of good coaches coaching those schools, you understand? [coaches] that have what pete had, what i had, and what jimmy had. so that was the first reason we were successful, all three of us. ok? we could get good players.
at the cowboys, jimmy was able to build a great program, him and jerry. got to throw in jerry in this. jerry was a part. jerry and jimmy built a great program at dallas with the herschel walker trade. in fact, having one of my ex-players, [troy] aikman, sitting at the top of the draft, a franchise player sitting there at the top of the draft out of who played for me at oklahoma, who i recruited out of high school, in henryetta, oklahoma. he was already there for jimmy. then obviously, they were able to trade herschel and get a lot of picks, and they built and evaluated the talent and were able to get a team in there with michael irvin, and emmitt smith, and get “the triplets,” and built a team around those guys and, obviously more importantly, troy aikman.
when i went there, i inherited a great team. i could have lost, but i.
i won a super bowl. i could have won two. shit, i came up within one game of winning two. they destructed in the championship game, too young to remember.
my first year there we played
san francisco! i remember. i was a huge fan. whenever san francisco and dallas played, that was the real super bowl.
right, both [teams] know gone hang half a hundred on san diego in the super bowl. [then] we go out and self-destruct. the first pass we throw is intercepted by eric davis and returned for a touchdown. our next possession, michael irvin fumbles the ball and ricky watters scores a touchdown on the next play. down and our defense has barely been on the field. then on the next possession, kevin williams fumbles the kickoff return in front of our bench. they go on a drive, score again, and down. only five minutes had gone off the damn clock. [laughs.] you know, what the hell does coaching got to do with it? you throw interceptions, you fumble, you put the ball on the ground, and make mistakes, get our ass beat what we did the first five minutes.
we fought back and jerry rice makes a great play right over larry brown as i remember. my biggest mistake in the first half was not running the ball. i told ernie zampese, our offensive coordinator, run the ball and go in at halftime. he says, “we just went right down the field and scored, we got momentum, go.” i let ernie talk me into it. i knew in my gut we needed to run the ball and run out the clock, kick or punt it away and give them no time left. we have three incomplete passes, give them the ball with a minute to go in the damn half, and they scored with it. sick. cursing myself out at the half, because i should have just said: ernie, run the damn ball. but that was my coaching mistake right there.
was the relationship between you and troy aikman as bad as the media made it out to be?
it bad as media made it out to be. it good, but it as bad as people made it out to be.
why it good?
you have to ask troy, i tell you. i can only give it to you from my perspective. i just coached the team a different way than what jimmy did. a different type of guy. most of the guys liked the way i coached the cowboys, the defensive guys especially. i was the only coach that was able to handle charles haley. now think about that. everyone else tried to run his ass off and won five super bowls. i had a great relationship with 99 percent of the team. a couple of them maybe not so much. but you know troy is a competitor, and maybe he wanted to do it his way or what he had been used to with jimmy. all different, and all been successful doing it out our own ways.
ok, two more questions. what are you thoughts on michael sam announcing that gay?
first of all, that to me is irrelevant. rather have a gay guy got game than a straight guy that got game. it all comes down to the ability to play the game.
would you have recruited him?
why, hell yes! i have a problem with that.
if you had to start a team with one player, who would it be?
well, peyton is at the twilight of his career this might surprise you, but i think the most dynamic player…
i’ve seen michael jordan and oscar robertson. seen oscar robertson play live. i saw him against my college team as a sophomore for cincinnati. with three minutes left to go in the game, my team had 54 points and oscar had 56, so outscoring my team. the only player, and then michael jordan comes along, but [robertson’s] the only player that can take control of a game and win a game by himself.
well, let me tell you, johnny is the first football player ever seen that can control the game like those guys did basketball. unbelievable the numbers that he can put up against the competition game after game after game.
i like some of his antics. sure kevin sumlin either. that all aside, let me tell you, he is a great, great football player. and i predict be drafted within the first five picks if not the first pick overall. i bet be no. 1 on a lot of board.
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soʊ əˈbaʊt ə mənθ əˈgoʊ, aɪ gɑt ðə braɪt aɪˈdiə tɪ pɪʧ ə ˈstɔri ˈfiʧərɪŋ ˈbɛri sˈwɪtsər ˈtɛlɪŋ ˌoʊldˈskul rɪˈkrutɪŋ ˈstɔriz. ðə plæn wɑz tɪ hæv ðə ˈstɔri rən ɔn ˈnæʃənəl ˈsaɪnɪŋ deɪ. aɪ iˈmeɪld koʊʧ sˈwɪtsər, ˈnɛvər hərd ˈɛniˌθɪŋ bæk frəm ɪm, ənd ˈnæʃənəl ˈsaɪnɪŋ deɪ keɪm ənd wɛnt. noʊ ˈstɔri fər mi. bət ðɛn aɪ gɑt ən iˈmeɪl tu deɪz ˈæftər ˈsaɪnɪŋ deɪ ˈrɪʧərd ʤɪst sɔ ðɪs iˈmeɪl! ˈsɑri fər maɪ pur rɪˈspɑns. wʊd hæv ləv tɪ bɪn ˌɪnˈvɑlvd. koʊʧ koʊʧ? ɪz ðɪs səm kaɪnd əv ʤoʊk? aɪ min, ɪt wɑz ə heɪl ˈmɛri wɪn aɪ rɪkˈwɛstɪd ən ˈɪntərvˌju wɪθ sˈwɪtsər θru hɪz ˈkɑnˌtækt peɪʤ æt switzerfamilyvineyards.com*. wɑz ðɪs ˈrɪli ðə kɪŋ rɪˈtərnɪŋ maɪ iˈmeɪl? bət weɪt. ɪt hæd tɪ bi koʊʧ sˈwɪtsər; ɪt wɑz ən əˈmərɪkəˈɑnˌlaɪn ˈæˌdrɛs. geɪm ɔn. ˈsaɪnɪŋ deɪ hæd pæst. aɪ hæd noʊ aɪˈdiə wət ðə hɛl wi wər goʊɪŋ tɪ tɔk əˈbaʊt. ðɛn aɪ ˈriəˌlaɪzd wi goʊɪŋ tɪ tɔk əˈbaʊt ˈɛniˌθɪŋ. hi wɑz goʊɪŋ tɪ tɔk, ənd aɪ wɑz goʊɪŋ tɪ ˈlɪsən tɪ wən əv ðə ˈgreɪtəst ˈfʊtˌbɔl ˈstɔriˌtɛlərz əˈlaɪv. ənd fər 32 ˈmɪnəts ənd 42 ˈsɛkəndz, wət ˈhæpənd. haʊ ɪt wɑz rɪˈkrutɪŋ ˈmɑrkəs dəˈpri? [læfs.] ðə wərld wɑz rɪˈkrutɪŋ ˈmɑrkəs dəˈpri. aɪ sɛnt ˈbɪli sɪmz ɔn ə bɪg ˈpraɪvət ʤɛt tɪ ˌfɪləˈdɛlfiə, ˌmɪsɪˈsɪpi, tɪ brɪŋ ˈmɑrkəs tɪ ˌoʊkləˈhoʊmə ˌbiˈfɔr ˈnæʃənəl ˈsaɪnɪŋ deɪ. ˈbɪli sɪmz kəmz ɔf ðə ʤɛt ɪn hɪz ˈkaʊˌbɔɪ hæt, blu ʤinz, bɪg bɛlt ˈbəkəl, ˈroʊlɛks, ənd hɪz ˈnæʃənəl ˈʧæmpiənˌʃɪp rɪŋ. hir hi ɪz, ˈbɪli sɪmz, ˈɛˌnɛˈfɛl ˈrʊki əv ðə jɪr, ənd ˈmɑrkəs ɪz səˈpraɪzd tɪ si ˈbɪli gɪt ɔf ðə ʤɛt tɪ pɪk ɪm əp. ˈmɑrkəs teɪks ˈbɪli bæk tɪ skul ənd ˌɪntrəˈdusɪz ɪm tɪ ˈɛvriˌwən ɪn ˌfɪləˈdɛlfiə, ˌmɪsɪˈsɪpi, ˌbiˈfɔr ðeɪ gɪt bæk ɔn ðə pleɪn tɪ kəm bæk tɪ ˌoʊkləˈhoʊmə. ˈmɑrkəs wɑz soʊld ˈæftər ðət. ɪt wɑz ˈdɪfərənt frəm ˈɛni ˈəðər ɪkˈspɪriəns. hi wɑz ðə bɛst ðət ˈnɛvər wɑz, wɪˈθaʊt ə daʊt. wɪn aɪ sɔ ɪm ɪn haɪ skul, hi wɑz ˈbɛtər ðən ˈɛniˌwən ˈɛvər sin, ənd sin ɔl. sin ðə boʊ ˈʤæksənz, ðə ˈhərʃəl ˈwɔkərz, ðə ˈɛrɪk dickersons*, ərl ˈkæmbəlz. aɪ rɪˈkrutɪd ðɛm ɔl. aɪ sɔ pleɪ lɪv, sin ðə teɪp ɔn aʊt əv haɪ skul. ˈmɑrkəs wɑz ɛz gʊd ɛz ðɛr wɑz ənd ˈɛvər hæd bɪn. wət hi hæd wɑz ə ˈfɪzɪkəl məˈʧʊrəti ɛz ə ˈsinjər ɪn haɪ skul, biɪŋ 230 paʊnz ðət kʊd rən ə dæʃ. hi wɑz ðə ˈfæstəst ɔn ðə fild ənd ðə ˈstrɔŋgəst wɪˈθaʊt ə daʊt. aɪ sɔ ɪm bɛnʧ prɛs ɪn haɪ skul, ɪn ðɛr weɪt rum, 400 paʊnz. ðə fərst taɪm wi pʊt ɪm ɪn ə geɪm tɪ rɪˈtərn ə pənt, wi ˈwəri əˈbaʊt ˈpʊtɪŋ ɪm bæk ðɛr bɪˈkəz hi hæd greɪt hænz. hi rɪˈtərnd ðə pənt 83 jɑrdz əˈgɛnst ˌkɑlərˈɑdoʊ, hi ʤɪst rənz raɪt θru, ðeɪ ʤɪst təʧ ɪm. hi teɪks ɪt tɪ ðə haʊs ɛz ə ˈfrɛʃmən, fərst taɪm hi ˈtəʧɪz ɪt. aɪ lʊk bæk ɔn ɪt, ənd wət meɪks ɪm juˈnik wɪn aɪ wɑz rɪˈkrutɪŋ ɪm, ðə ˈoʊnli gaɪ ðət keɪm wɪθ ən ˈeɪʤənt. hi kɔld hɪmˈsɛlf ə ˈkaʊnsələr, ˈmɪnstər, hɪz ˈpriʧər. hɪz neɪm wɑz kɛn ˈfɛrli. ju sɔ ðə dæm 30 fər 30 ðə ˈoʊnli θɪŋ ðət ˈəpˌsɛt mi əˈbaʊt ðə 30 fər 30 ɪz, baɪ gɑd, ðət ðeɪ dɪd nɑt seɪ ɪn ðɛr ðət ˈmɑrkəs dəˈpri ˈɛndɪd əp suɪŋ kɛn ˈfɛrli fər 5 ˈmɪljən ˈdɔlərz. hi tʊk ˈɛvriˌθɪŋ ˈmɑrkəs hæd. ə krʊk, ə θif, ənd ɔl ju hæv tɪ du ɪz æsk ˈmɑrkəs əˈbaʊt ɪm. ɔn ˈpəblɪk ˈrɛkərd. ju sɔ ɪt ɪn ðɛr. ˈmɑrkəs wɑz 19 jɪrz oʊld ənd [ˈfɛrli] hæd ɪm saɪn ə paʊər əv əˈtərni tɪ gɪt ɔl hɪz ˈməni tərnd ˈoʊvər tɪ ɪm. [ˈfɛrli] tʊk hɪz ʧɛk əˈweɪ frəm ɪm wɪn hi wɑz ɪn nu ˌɔˈrlinz. θɪŋk əˈbaʊt ðət, 19 jɪrz oʊld, ənd ðɪs gaɪ nɑt ˈivɪn ə ˈfæməli ˈmɛmbər ənd jʊr ˈeɪʤənt. ˈsəmˌwən ˈnɛvər bɪn ən ˈeɪʤənt ɪn hɪz laɪf, nɑt ən əˈtərni, ɔl ˈɛvər bɪn ɪz ə ˈbæptɪst ˈmɪnɪstər ɪn ˈʤæksən, ˌmɪsɪˈsɪpi, ənd ˈmɑrkəs ˈtrəstɪd ɪm, ənd [ˈfɛrli] ˈɛndɪd əp skruɪŋ ɪm. ðə θɪŋ ðət ˈrɪli ˈəpˌsɛt mi. aɪ hæd tɪ traɪ ənd gɪt ə pis əv ɪr ənd ˈɛndɪd əp kəmˈpitɪŋ wɪθ ˈɛvriˌwən ɛls ˈtəgɪŋ traɪɪŋ tɪ gɪt ə pis əv ɪm. ɪf ˈmɑrkəs hæd steɪd wɪθ mi ənd ˈlɪsənd tɪ mi, ˈprɑbəˌbli wʊd hæv wən ðə ˈhaɪsmən ənd ˈkəpəl əv ˈnæʃənəl ˈʧæmpiənˌʃɪps. hɪz ˈsinjər jɪr, wi wən ðə ˈnæʃənəl ˈʧæmpiənˌʃɪp wɪˈθaʊt ɪm; wi bit ən pɛn steɪt tim. hi wʊd hæv bɪn ɪn ðə ˈbækˌfild wɪθ ənd ɔl ðoʊz gaɪz, ˈspɛnsər ˈtɪlmən, ənd bɪn sərˈaʊndɪd baɪ braɪən ˈbɔzwərθ, ənd ðət dɪˈfɛns lɛd ðə ˈneɪʃən ɪn ənd ɪn ðə dɪˈfɛns wɑz ˈsɛkənd. aɪ wɪʃ aɪ wʊd hæv ˈhændəld ɪm ˈdɪfərənt, bət ˈhɪstəri ənd aɪ lʊk bæk ɔn ðət ənd θɪŋk əˈbaʊt haʊ gʊd hi wɑz ənd kʊd hæv bɪn. hi wɑz ˈspɛʃəl. aɪ hərd əˈbaʊt ðə taɪm ju rɪˈkrutɪd ˈsəmˌbɑdi ɪt maɪt hæv bɪn ˈbɪli sɪmz ənd ðɛr wɑz ə ˈrumər ju hɪd ɪm ɪn ə ˈbeɪsmənt? aɪ toʊld ˈbɪli tɪ haɪd aʊt fər tu deɪz. aɪ ˈwɔntɪd tɪ saɪn ˈkɛˌni kɪŋ hɛl, aɪ ˈwɔntɪd tɪ saɪn ˈɛvəri pleɪər ɪn ˈtɛksəs, wɪʧ aɪ dæm nɪr dɪd. aɪ saɪnd 13 əv ðə 19 lɪst ðət jɪr. ˈkɛˌni kɪŋ, ˈdɛrəl hənt, ðə ˈteɪbər twɪnz, grɛg ˈrɑbərts, ˈtɑməs lɑt, ˈbɪli sɪmz, ənd ˈsɛvərəl ˈəðərz. bət aɪ bi ˈɛvriˌwɛr, ənd ˈkɛˌni ˈwɔntɪd mi tɪ saɪn ɪm æt 8 a.m*. wəns aɪ toʊld ˈbɪli tɪ haɪd aʊt, hi wɛnt tɪ ˈhjustən wɪθ hɪz dæd fər tu deɪz. aɪ soʊld ɪm ɔn ɪt wɪn aɪ toʊld ɪm ðət wəns ðə smoʊk klɪrz, ˈɛvriˌwən ɪz goʊɪŋ tɪ bi ˈwəndərɪŋ ˈbɪli saɪn? ənd ðɛn goʊɪŋ tɪ gɪt ɔl əv ðə əˈtɛnʃən ənd ɔl ðə prɛs wɪn ju saɪn. hi kaɪnd əv laɪkt ðət aɪˈdiə. tu deɪz ˈleɪtər, hi ˈsərfəsɪz ɪn hʊks, ˈtɛksəs, ənd ɔl ðə əˈtɛnʃən ənd ˈmidiə ɪn ðə ˈkəntri ɪz ˈgɪvɪn tɪ ɪm. ðə noʊ. 1 pleɪər ɪn ˈtɛksəs ˌdɪsəˈpɪrz fər tu deɪz ənd ɪn wɛst ˈtɛksəs ˈæftər ˈnæʃənəl ˈsaɪnɪŋ deɪ tɪ saɪn hɪz ˈlɛtər əv ˌɪnˈtɛnt. kʊd ju ˌɪˈmæʤən ðət ˈhæpənɪŋ təˈdeɪ? ə ˈdɪfərənt dil təˈdeɪ, ðeɪ kəˈmɪt soʊ sun; ðeɪ pʊt hæts ɔn, ɔn ˈtɛləˌvɪʒən æt ˌɔlˈstɑr geɪmz. ðɪs ɪz ə ˈdɪfərənt deɪ. wi hæv ˈtɛləˌvɪʒən ˈmidiə. wi hæv ˈsoʊʃəl ˈmidiə. wət wʊd du təˈdeɪ ɪf ju wər rɪˈkrutɪŋ pleɪərz? aɪ wʊd ˈprɑbəˌbli du ˈprɪti gʊd, bi ˈbəstɪŋ maɪ rɪr ɛnd laɪk ˈɛvriˌbɑdi ɛls. [bət] ɪt wɑz ə ˈdɪfərənt ˈɪrə. aɪ kʊd si ə kɪd ɛz ˈmɛni taɪmz ɛz aɪ ˈwɔntɪd tɪ, tɔk tɪ ɪm ɛz ˈmɛni taɪmz ɛz aɪ ˈwɔntɪd tɪ. wət meɪd ju ˈbɛtər rɪˈkrutər ðən ˈəðər ˈkoʊʧɪz? aɪ seɪ ðət ə ˈbɛtər rɪˈkrutər ðən ˈəðər ˈkoʊʧɪz. ˈoʊnli θɪŋ aɪ kən seɪ ɪz ðət kiθ ˈməðər, ˈglædɪs, sɛd ɪt ˈbɛtər ðən aɪ kən seɪ ɪt. wɪn aɪ wɑz rɪˈkrutɪŋ kiθ ˈʤæksən ju noʊ hu hi ɪz, ˈɑbviəsli aʊt əv ˈlɪtəl rɑk, ˈɑrkənˌsɑ. noʊ. 1 taɪt ɛnd ɪn ðə ˈkəntri. all-american*. ðə ˌfɪləˈdɛlfiə eagles’*’ fərst pɪk ɪn ðə dræft. hi pleɪd eɪt jɪrz ɪn ðə ˈɛˌnɛˈfɛl. hi wən ə ˈsupər boʊl wɪθ grin beɪ. hi kɔt 82 ˈpæsɪz hɪz fərst jɪr ɪn ðə ˈɛˌnɛˈfɛl hi ˈoʊnli kɔt 62 hɪz hoʊl kərɪr æt ˌoʊkləˈhoʊmə ˈrənɪŋ ðə ˈwɪʃˌboʊn, bət hi kɔt 82 hɪz fərst jɪr æt ˌfɪləˈdɛlfiə. hi wɑz ˈɛˌnɛˈfɛl əˈfɛnsɪv ˈrʊki əv ðə jɪr, ənd ðət wɑz ə ˈrɛkərd fər əˈbaʊt 15 jɪrz ɪn ðə ˈɛˌnɛˈfɛl. bət wət dɪd hɪz mɑm seɪ əˈbaʊt ju? wɛl, kiθ toʊld mi ðɪs ˈleɪtər. ˈglædɪs rɪˈmɑrkt tɪ kiθ, ʃi sɪz, noʊ, ðə ˈoʊnli hɛd koʊʧ ðət həz ˈɛvər bɪn ɪn maɪ hoʊm ˈɛvər meɪd mi fil ˈkəmfərtəbəl ɪn maɪ home.”*.” soʊ kiθ toʊld mi ðət ənd aɪ sæt ənd rɪˈflɛktɪd ɔn ðət ˈkɑmɛnt, ənd aɪ sɛd ju noʊ, ˈmeɪbi waɪ aɪ hæd ðə əˈbɪləˌti ɪn rɪˈkrutɪŋ. aɪ ˈɛləˌveɪt ðɛm; ðeɪ ˈɔlˌweɪz ˈɛləˌveɪt mi wɪn aɪ wɔk ˈɪntu ə hoʊm. pʊt mi ɔn ə ˈpɛdəstəl. [ðə ˈfæməliz] ər skɛrd tɪ dɛθ ɪn ðə bɪˈgɪnɪŋ. ðeɪ wɔnt tɪ meɪk ə gʊd ˌprɛzənˈteɪʃən, ðeɪ ˈhəsəl əraʊnd ənd klin ðɛr hoʊm, du ˈɛvriˌθɪŋ ˈprɑpər. ənd ju noʊ, ˈhævɪŋ hər meɪk ðət ˈkɑmɛnt meɪd mi ˌəndərˈstænd maɪ səkˈsɛs wɑz maɪ əˈbɪləˌti tɪ meɪk ˈpipəl fil ˈkəmfərtəbəl əraʊnd mi ənd æt iz. aɪ hæd ðə əˈbɪləˌti tɪ bi ˈvɛri ˈkændɪd, ˈɑnəst, ənd ˈtrəstˌwərði ɪn ðə weɪ aɪ keɪm əˈkrɔs. ənd ʃʊr ə lɔt əv ˈkoʊʧɪz ər ðət weɪ, bət aɪ keɪm ɪn ə ˈdɪfərənt ˈɪrə. ðɛr wɑz noʊ kˈwoʊtə ˈsɪstəm ɪn æt u. aɪ wɑz pleɪɪŋ ə blæk kˈwɔrtərˌbæk ˌbiˈfɔr ˈɛniˌwən wɑz rɪˈkrutɪŋ ə blæk kˈwɔrtərˌbæk ɪn ðə ˌsaʊθˈwɛst ˈkɑnfərəns ɪn 1972 aɪ wɑz rɪˈkrutɪŋ ˈtoʊni ənd gaɪz laɪk ðət. weɪt ˈtoʊni, haʊ wɑz ðət? wɛl, hi wɑz aʊt əv ˈʤæksən, ˈmɪʃɪgən. hi wɑz ə hɛl əv ə kˈwɔrtərˌbæk. aɪ ˈbəstɪd maɪ æs rɪˈkrutɪŋ ɪm, ənd ðɛn ɔl əv ə ˈsədən, wi gɑt ə ˈlɪmət ðət jɪr, ðɛn ɔl əv ə ˈsədən wi hæd tɪ bæk ɔf. ʧək ˈfɛrbəŋks wɑz ðə hɛd koʊʧ æt ðə taɪm, ənd aɪ wɑz ðə əˈsɪstənt hɛd koʊʧ ɪn ʧɑrʤ əv ðə əˈfɛns. aɪ sɛd tɪ ʧək, ɪz ə hɛl əv kˈwɔrtərˌbæk, ˈtoʊni, ðət aɪ wɔnt aʊt əv ˈʤæksən, michigan.”*.” ʧək kɔlz mi wɪn ɪn ˈdiˌtrɔɪt ənd hi tɛlz mi tɪ kəm ɔn hoʊm, ðə ʤɪst pæst ə ˈlɪmət. ɔˈrɛdi gɑt ɑr 30 gɑt mɔr ðən 30 kəˈmɪtɪd aʊt əv ˌoʊkləˈhoʊmə ənd ˈtɛksəs. soʊ nɛkst θɪŋ aɪ noʊ, ˈtoʊni ˈivɪn gɪt tɪ kəm ˈvɪzɪt. ˈtoʊni ənd aɪ hæv læft əˈbaʊt ðət. bɪn əraʊnd iʧ ˈəðər ˈsɛvərəl taɪmz sɪns. wi ˈɔlˌweɪz læft əˈbaʊt ðət. hi ˈɛndɪd əp ˈhævɪŋ ə greɪt kərɪr, pleɪd kˈwɔrtərˌbæk æt ˌmɪnɪˈsoʊtə, ənd pleɪd proʊ ˈfʊtˌbɔl bɪˈkəz hi wɑz ə gʊd ˈæθˌlit ɪn ðə ˈsɛkənˌdɛri. wi hæv ə kˈwoʊtə ˈsɪstəm bæk ðɛn. ˈpipəl wər rɪˈkrutɪŋ ðə blæk ˈæθˌlits bɪˈkəz əv ðə kˈwoʊtə. ˈbʊlˌʃɪt. aɪ wɑz duɪŋ ɪt bɪˈkəz ɪt wɑz ðə raɪt θɪŋ tɪ du ənd aɪ ˈwɔntɪd tɪ rɪˈkrut huˈɛvər geɪv ˈjuˈɛs ðə bɛst ʧæns tɪ wɪn. aɪ ˈwɔntɪd tɪ rɪˈkrut ˈɛvəri pleɪər beɪst ɔn hɪz ˈtælənt ənd əˈbɪləˌti tɪ pleɪ ðə geɪm ənd wət kaɪnd əv ˈpərsən hi ɪz. ənd ˈnəθɪŋ ɛls ˈmætərz. ənd ɔl maɪ ˈkoʊʧɪz, θæŋk ˈgʊdnɪs, ɔl bɪˈlivd ðə seɪm θɪŋ ər ɛls ðeɪ wər goʊɪŋ tɪ bi ˈkoʊʧɪŋ wɪθ ðə rɔŋ gaɪ ɪf ðeɪ. ˈpipəl ˈrɛkəgˌnaɪzd ðət ˌɪˈmiˌdiətli. ðət ðə weɪ wi wər, ənd ðə weɪ ˌoʊkləˈhoʊmə wɑz. wi wər pleɪɪŋ ˈtɛksəs wɪn ðɛr ə blæk pleɪər ɔn ðɛr tim. aɪ hæd gaɪz laɪk ɑr ˈrənɪŋ bæk grɛg pruɪt ənd ʤoʊ ˈwɔʃɪŋtən pʊt ə ˈkəpəl ˈhənərd jɑrdz ɔn ðɛr æs ənd puttin’*’ hæf ə ˈhənərd ɔn. soʊ, bɪˈkəz əv maɪ ˌrɛpjəˈteɪʃən, ɔl ðoʊz θɪŋz hɛlpt mi trɪˈmɛndəsli. pit ˈkɛrəl ʤɔɪnd ju ənd ˈʤɪmi ˈʤɑnsən ɛz ðə ˈoʊnli ˈkoʊʧɪz tɪ wɪn ə ˈkɑlɪʤ ˈnæʃənəl ˈʧæmpiənˌʃɪp ənd ə ˈsupər boʊl. haʊ hɑrd wɑz ðət? wɛl, ɔl əv θri əv ˈjuˈɛs ˌɪnˈhɛrətɪd ə greɪt [ˈkɑlɪʤ] ˈproʊˌgræm. wɪn ˈʤɪmi wɛnt tɪ maɪˈæmi, ðeɪ hæd ʤɪst wən ə ˈnæʃənəl ˈʧæmpiənˌʃɪp. hi wɛnt ðɛr, hæd ə ʧæns tɪ wɪn tu ər θri, ənd hi wən wən ɪn hɪz ʃɔrt spæn ðɛr. soʊ wi hæd greɪt ˈproʊˌgræmz. aɪ ˌɪnˈhɛrətɪd ə greɪt ˈproʊˌgræm æt ˌoʊkləˈhoʊmə. bəd ˈwɪlkɪnsən kriˈeɪtɪd ə greɪt ˈmɑnstər hir, ənd aɪ hæd ˈsəmθɪŋ tɪ sɛl. ənd wi dɪd ə gʊd ʤɑb əv ˈsɛlɪŋ ɪt, ənd wi wən ˈgreɪtli, ənd wi wər ðə bɛst ɪn ˈkɑlɪʤ ˈfʊtˌbɔl fər ðət ˈpɪriəd əv taɪm, 16 jɪrz, stɪl təˈdeɪ. soʊ ðɛn pit ˈkɛrəl gɪts tɪ usc*. hi wɑz ɔn lu (ˈɑrkənˌsɑ) stæf ɛz ən əˈsɪstənt wɪn ðeɪ bit ɑr æs ɪn ðə ˈɔrɪnʤ boʊl 1977 hi steɪ ðɛr lɔŋ. hi wɑz ə ˈgræʤəˌweɪt əˈsɪstənt ðɛr. aɪ noʊ wɛr pit wɛnt frəm ðɛr. hi wɑz ə jəŋ kɪd ðɛn ʤɪst ˈstɑrtɪŋ aʊt, ənd ðɛn hi ɛndz əp ˈgɪtɪŋ ðə ˈsəðərn kæl ˈproʊˌgræm, ə greɪt ˈproʊˌgræm wɪθ greɪt trəˈdɪʃən ənd ˈsəmθɪŋ tɪ sɛl. soʊ wi ɔl θri hæd tɪ hæv ðət. lɛt mi seɪ ðɪs: ɪf wi hæd ɔl bɪn æt ə lɔt əv ˈəðər skulz wɪθ ˈlɛsər ˈpɛdəgriz ənd ˈlɛsər trəˈdɪʃən, aɪ θɪŋk ˈɛni əv ˈjuˈɛs wʊd hæv wən ə ˈnæʃənəl ˈʧæmpiənˌʃɪp. ju noʊ wət aɪ min? aɪ kɛr haʊ gʊd əv ə koʊʧ wi ər. ðɛr ər ə lɔt əv gʊd ˈkoʊʧɪz ˈkoʊʧɪŋ ðoʊz skulz, ju ˌəndərˈstænd? [ˈkoʊʧɪz] ðət hæv wət pit hæd, wət aɪ hæd, ənd wət ˈʤɪmi hæd. soʊ ðət wɑz ðə fərst ˈrizən wi wər səkˈsɛsfəl, ɔl θri əv ˈjuˈɛs. ˈoʊˈkeɪ? wi kʊd gɪt gʊd pleɪərz. æt ðə ˈkaʊˌbɔɪz, ˈʤɪmi wɑz ˈeɪbəl tɪ bɪld ə greɪt ˈproʊˌgræm, ɪm ənd ˈʤɛri. gɑt tɪ θroʊ ɪn ˈʤɛri ɪn ðɪs. ˈʤɛri wɑz ə pɑrt. ˈʤɛri ənd ˈʤɪmi bɪlt ə greɪt ˈproʊˌgræm æt ˈdæləs wɪθ ðə ˈhərʃəl ˈwɔkər treɪd. ɪn fækt, ˈhævɪŋ wən əv maɪ ex-players*, [trɔɪ] ˈeɪkmən, ˈsɪtɪŋ æt ðə tɔp əv ðə dræft, ə ˈfrænˌʧaɪz pleɪər ˈsɪtɪŋ ðɛr æt ðə tɔp əv ðə dræft aʊt əv hu pleɪd fər mi æt ˌoʊkləˈhoʊmə, hu aɪ rɪˈkrutɪd aʊt əv haɪ skul, ɪn henryetta*, ˌoʊkləˈhoʊmə. hi wɑz ɔˈrɛdi ðɛr fər ˈʤɪmi. ðɛn ˈɑbviəsli, ðeɪ wər ˈeɪbəl tɪ treɪd ˈhərʃəl ənd gɪt ə lɔt əv pɪks, ənd ðeɪ bɪlt ənd ɪˈvæljuˌeɪtəd ðə ˈtælənt ənd wər ˈeɪbəl tɪ gɪt ə tim ɪn ðɛr wɪθ ˈmaɪkəl ˈərvɪn, ənd ˈɛmɪt smɪθ, ənd gɪt triplets,”*,” ənd bɪlt ə tim əraʊnd ðoʊz gaɪz ənd, ˈɑbviəsli mɔr ˌɪmˈpɔrtəntli, trɔɪ ˈeɪkmən. wɪn aɪ wɛnt ðɛr, aɪ ˌɪnˈhɛrətɪd ə greɪt tim. aɪ kʊd hæv lɔst, bət aɪ. aɪ wən ə ˈsupər boʊl. aɪ kʊd hæv wən tu. ʃɪt, aɪ keɪm əp wɪˈθɪn wən geɪm əv ˈwɪnɪŋ tu. ðeɪ dɪˈstrəktɪd ɪn ðə ˈʧæmpiənˌʃɪp geɪm, tu jəŋ tɪ rɪˈmɛmbər. maɪ fərst jɪr ðɛr wi pleɪd sæn frænˈsɪskoʊ! aɪ rɪˈmɛmbər. aɪ wɑz ə juʤ fæn. wɛˈnɛvər sæn frænˈsɪskoʊ ənd ˈdæləs pleɪd, ðət wɑz ðə ril ˈsupər boʊl. raɪt, boʊθ [timz] noʊ gɔn hæŋ hæf ə ˈhənərd ɔn sæn diˈeɪgoʊ ɪn ðə ˈsupər boʊl. [ðɛn] wi goʊ aʊt ənd ˈsɛlfdɪˈstrəkt. ðə fərst pæs wi θroʊ ɪz ˌɪnərˈsɛptɪd baɪ ˈɛrɪk ˈdeɪvɪs ənd rɪˈtərnd fər ə ˈtəʧˌdaʊn. ɑr nɛkst pəˈzɛʃən, ˈmaɪkəl ˈərvɪn ˈfəmbəlz ðə bɔl ənd ˈrɪˌki ˈwɑtərz skɔrz ə ˈtəʧˌdaʊn ɔn ðə nɛkst pleɪ. daʊn ənd ɑr dɪˈfɛns həz ˈbɛrli bɪn ɔn ðə fild. ðɛn ɔn ðə nɛkst pəˈzɛʃən, ˈkɛvɪn ˈwɪljəmz ˈfəmbəlz ðə ˈkɪˌkɔf rɪˈtərn ɪn frənt əv ɑr bɛnʧ. ðeɪ goʊ ɔn ə draɪv, skɔr əˈgɛn, ənd daʊn ˈoʊnli faɪv ˈmɪnəts hæd gɔn ɔf ðə dæm klɑk. [læfs.] ju noʊ, wət ðə hɛl dɪz ˈkoʊʧɪŋ gɑt tɪ du wɪθ ɪt? ju θroʊ ˌɪnərˈsɛpʃənz, ju ˈfəmbəl, ju pʊt ðə bɔl ɔn ðə graʊnd, ənd meɪk mɪˈsteɪks, gɪt ɑr æs bit wət wi dɪd ðə fərst faɪv ˈmɪnəts. wi fɔt bæk ənd ˈʤɛri raɪs meɪks ə greɪt pleɪ raɪt ˈoʊvər ˈlɛri braʊn ɛz aɪ rɪˈmɛmbər. maɪ ˈbɪgəst mɪˈsteɪk ɪn ðə fərst hæf wɑz nɑt ˈrənɪŋ ðə bɔl. aɪ toʊld ˈərni zampese*, ɑr əˈfɛnsɪv koʊˈɔrdəˌneɪtər, rən ðə bɔl ənd goʊ ɪn æt ˈhæfˌtaɪm. hi sɪz, ʤɪst wɛnt raɪt daʊn ðə fild ənd skɔrd, wi gɑt moʊˈmɛntəm, go.”*.” aɪ lɛt ˈərni tɔk mi ˈɪntu ɪt. aɪ nu ɪn maɪ gət wi ˈnidɪd tɪ rən ðə bɔl ənd rən aʊt ðə klɑk, kɪk ər pənt ɪt əˈweɪ ənd gɪv ðɛm noʊ taɪm lɛft. wi hæv θri ˌɪnkəmˈplit ˈpæsɪz, gɪv ðɛm ðə bɔl wɪθ ə ˈmɪnət tɪ goʊ ɪn ðə dæm hæf, ənd ðeɪ skɔrd wɪθ ɪt. sɪk. ˈkərsɪŋ ˌmaɪˈsɛlf aʊt æt ðə hæf, bɪˈkəz aɪ ʃʊd hæv ʤɪst sɛd: ˈərni, rən ðə dæm bɔl. bət ðət wɑz maɪ ˈkoʊʧɪŋ mɪˈsteɪk raɪt ðɛr. wɑz ðə riˈleɪʃənˌʃɪp bɪtˈwin ju ənd trɔɪ ˈeɪkmən ɛz bæd ɛz ðə ˈmidiə meɪd ɪt aʊt tɪ bi? ɪt bæd ɛz ˈmidiə meɪd ɪt aʊt tɪ bi. ɪt gʊd, bət ɪt ɛz bæd ɛz ˈpipəl meɪd ɪt aʊt tɪ bi. waɪ ɪt gʊd? ju hæv tɪ æsk trɔɪ, aɪ tɛl ju. aɪ kən ˈoʊnli gɪv ɪt tɪ ju frəm maɪ pərˈspɛktɪv. aɪ ʤɪst koʊʧt ðə tim ə ˈdɪfərənt weɪ ðən wət ˈʤɪmi dɪd. ə ˈdɪfərənt taɪp əv gaɪ. moʊst əv ðə gaɪz laɪkt ðə weɪ aɪ koʊʧt ðə ˈkaʊˌbɔɪz, ðə dɪˈfɛnsɪv gaɪz əˈspɛʃəli. aɪ wɑz ðə ˈoʊnli koʊʧ ðət wɑz ˈeɪbəl tɪ ˈhændəl ˈʧɑrəlz ˈheɪli. naʊ θɪŋk əˈbaʊt ðət. ˈɛvriˌwən ɛls traɪd tɪ rən hɪz æs ɔf ənd wən faɪv ˈsupər boʊlz. aɪ hæd ə greɪt riˈleɪʃənˌʃɪp wɪθ 99 pərˈsɛnt əv ðə tim. ə ˈkəpəl əv ðɛm ˈmeɪbi nɑt soʊ məʧ. bət ju noʊ trɔɪ ɪz ə kəmˈpɛtɪtər, ənd ˈmeɪbi hi ˈwɔntɪd tɪ du ɪt hɪz weɪ ər wət hi hæd bɪn juzd tɪ wɪθ ˈʤɪmi. ɔl ˈdɪfərənt, ənd ɔl bɪn səkˈsɛsfəl duɪŋ ɪt aʊt ɑr oʊn weɪz. ˈoʊˈkeɪ, tu mɔr kˈwɛsʧənz. wət ər ju θɔts ɔn ˈmaɪkəl sæm əˈnaʊnsɪŋ ðət geɪ? fərst əv ɔl, ðət tɪ mi ɪz ˌɪˈrɛləvənt. ˈrəðər hæv ə geɪ gaɪ gɑt geɪm ðən ə streɪt gaɪ ðət gɑt geɪm. ɪt ɔl kəmz daʊn tɪ ðə əˈbɪləˌti tɪ pleɪ ðə geɪm. wʊd ju hæv rɪˈkrutɪd ɪm? waɪ, hɛl jɛs! aɪ hæv ə ˈprɑbləm wɪθ ðət. ɪf ju hæd tɪ stɑrt ə tim wɪθ wən pleɪər, hu wʊd ɪt bi? wɛl, ˈpeɪtən ɪz æt ðə tˈwaɪˌlaɪt əv hɪz kərɪr ðɪs maɪt səˈpraɪz ju, bət aɪ θɪŋk ðə moʊst daɪˈnæmɪk player…*… sin ˈmaɪkəl ˈʤɔrdən ənd ˈɔskər ˈrɑbərtsən. sin ˈɔskər ˈrɑbərtsən pleɪ lɪv. aɪ sɔ ɪm əˈgɛnst maɪ ˈkɑlɪʤ tim ɛz ə ˈsɑfˌmɔr fər ˌsɪnsəˈnæti. wɪθ θri ˈmɪnəts lɛft tɪ goʊ ɪn ðə geɪm, maɪ tim hæd 54 pɔɪnts ənd ˈɔskər hæd 56 soʊ aʊtˈskɔrɪŋ maɪ tim. ðə ˈoʊnli pleɪər, ənd ðɛn ˈmaɪkəl ˈʤɔrdən kəmz əˈlɔŋ, bət [robertson’s*] ðə ˈoʊnli pleɪər ðət kən teɪk kənˈtroʊl əv ə geɪm ənd wɪn ə geɪm baɪ hɪmˈsɛlf. wɛl, lɛt mi tɛl ju, ˈʤɑni ɪz ðə fərst ˈfʊtˌbɔl pleɪər ˈɛvər sin ðət kən kənˈtroʊl ðə geɪm laɪk ðoʊz gaɪz dɪd ˈbæskətˌbɔl. ˌənbəˈlivəbəl ðə ˈnəmbərz ðət hi kən pʊt əp əˈgɛnst ðə ˌkɑmpəˈtɪʃən geɪm ˈæftər geɪm ˈæftər geɪm. aɪ laɪk səm əv hɪz ˈæntɪks. ʃʊr ˈkɛvɪn ˈsəmlɪn ˈiðər. ðət ɔl əˈsaɪd, lɛt mi tɛl ju, hi ɪz ə greɪt, greɪt ˈfʊtˌbɔl pleɪər. ənd aɪ prɪˈdɪkt bi ˈdræftɪd wɪˈθɪn ðə fərst faɪv pɪks ɪf nɑt ðə fərst pɪk ˈoʊvərˌɔl. aɪ bɛt bi noʊ. 1 ɔn ə lɔt əv bɔrd.
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delia ann derbyshire (5 may 1937 3 july]) was an english musician and composer of electronic] she is best known for her pioneering work with the bbc workshop during the 1960s, particularly her popular electronic arrangement of the theme music to the british science-fiction television series doctor] she has been referred to as "the unsung heroine of british electronic]
biography [ edit ]
early life [ edit ]
derbyshire was born in coventry, daughter of emma dawson) and edward] of cedars avenue, coundon,] her father was a] she had one sibling, a sister, who died] her father died in 1965 and her mother in]
during the second world war, immediately after the coventry blitz in 1940, she was moved to preston, lancashire for safety. her parents had moved from there] and most of her surviving relatives still live in the] she was very bright and, by the age of four, was teaching others in her class to read and write in primary] but said "the radio was my] her parents bought her a piano when she was eight years old. educated at barr's hill grammar] from 1948 to 1956, she was accepted at both oxford and cambridge, "quite something for a working class girl in the 'fifties, where only one in 10 [students] were] winning a scholarship to study mathematics at girton college, cambridge but, apart from some success in the mathematical theory of electricity, she claims she did] after one year at cambridge she switched to music, graduating in 1959 with a ba in mathematics and music, having in medieval and modern music] her other principal qualification was in]
she approached the careers office at the university and told them she was interested in "sound, music and acoustics, to which they recommended a career in either deaf aids or depth] then she applied for a position at decca records, only to be told that the company did not employ women in their recording] instead, she took positions at the un in] from june to september, teaching piano to the children of the british and mathematics to the children of canadian and south american] then from september to december, she worked as an assistant to gerald g.] head of and general administrative radio conferences at the international telecommunications union. she returned to coventry and from january to april 1960 taught general subjects in a primary school there. then she went to london where from may to october she was an assistant in the promotion department of music publishers &]
bbc workshop [ edit ]
in november 1960, she joined the bbc as a trainee assistant studio] and worked on record review, a magazine programme where critics reviewed classical music recordings. she said: "some people thought i had a kind of second sight. one of the music critics would say, "i don't know where it is, but it's where the trombones come in" and i'd hold it up to the light and see the trombones and put the needle down exactly where it was. and they thought it was] she then heard about the workshop and decided that was where she wanted to work. this was received with some puzzlement by the heads in central programme operation because people were usually "assigned" to the workshop. but in april 1962 she was indeed assigned] in maida vale, where for eleven years she would create music and sound for almost 200 radio and television]
in august 1962 she assisted composer luciano at a summer school at hall, for which she borrowed several dozen items of equipment from the] one of her first works, and the most widely known, was her 1963 electronic realization of a score by ron for the theme tune of the doctor who] one of the first television themes to be created and produced by entirely electronic means.
doctor who theme excerpt an excerpt from the theme music to doctor who problems playing this file? see media help.
when first heard it, he was so amazed by her rendering of his theme that he asked "did i really write this?" to which derbyshire replied "most of] attempted to get her a credit, but the attempt was prevented by the bbc bureaucracy, which then preferred to keep the members of the workshop] she would not be credited on-screen for her work until doctor who's anniversary special, the day of the doctor. original arrangement served as doctor who's main theme for its first seventeen seasons, from. the theme was reworked over the years, to her horror, and the version that had her "stamp of approval" is her original] delia also composed some of the incidental music used in the show, including blue veils and golden sands and the]
in she collaborated with the british artist and playwright barry for the bbc's third programme to produce four inventions for radio, a collage of people describing their dreams, set to a background of electronic]
unit delta plus [ edit ]
in 1966, while still working at the bbc, derbyshire with fellow workshop member brian hodgson and founder peter set up unit delta] an organisation which they intended to use to create and promote electronic music. based in a studio in's townhouse at 49 road in putney, they exhibited their music at a few experimental and electronic music festivals, including the 1966 the million volt light and sound rave at which the beatles' "carnival of light" had its only public playing.
in 1966, she recorded a demo with anthony newley entitled bloogies, although as newley moved to the united states, the song was never released. after a troubled performance at the royal college of art, in 1967, the unit]
kaleidophon and years [ edit ]
in the late sixties, she again worked with hodgson in setting up the studio at camden high street in camden town with fellow electronic musician david] the studio produced electronic music for various london theatres and in 1968 the three used it to produce their first album as the band white] their debut, an electric storm, is now considered an important and influential album in the development of electronic4] derbyshire and hodgson left the group subsequently, and future white noise albums were solo projects.
the trio, using pseudonyms, also contributed to the standard music] many of these recordings, including compositions by derbyshire using the name "li de la russe" (from an use of the letters in "delia" and a reference to her auburn hair) were later used on the seventies science fiction rivals to doctor who: the tomorrow] and]
in 1967, she assisted guy with his electronic score for peter hall's production of macbeth with the royal shakespeare] the two composers also contributed the music to hall's film work is a word (1968).[28] her other work during this period included taking part in a performance of electronic music at the] which also featured work by paul mccartney, the score for an student fashion] and the sounds for anthony film of pamela photography, entitled circle of] she composed a score for yoko short film wrapping event, but no known copy of the film with the soundtrack is known to]
in 1973, she left the bbc and worked a brief stint at] during which time she contributed to the soundtrack to the film the legend of hell]
the studios and were named after early electrical musical instruments made by mager in germany.
in 1975 she stopped producing music. her final works were two soundtracks for video pioneers madelon and elsa stansfield on their short films van die dagen ("one of these days") in 1973 and ("about bridges") in]
later years [ edit ]
after her music career, derbyshire worked as a radio operator for the laying of a british gas pipeline, in an art gallery and in a] in late 1974 she married david] from in northumberland, the son of a] in an attempt to gain local acceptance; the relationship was brief and disastrous although she never divorced. she also frequented the gallery space of chinese artist li at his stone farmhouse in cumbria. in 1978 she returned to] and met clive blackburn. in january 1980 she bought a house in northampton where, four months later, blackburn joined her. he remained her partner for the rest of her life, though at one point they lived separately. according to blackburn, "in private, she never stopped writing music either. she simply refused to compromise her integrity in any way. and ultimately, she couldn't cope. she just burnt herself out. an obsessive need for perfection destroyed]
in 2001 she returned to music, providing sounds used as source material by pete on machine (taken from an unfinished dream), a track for the compilation grain: a compilation of 99 short tracks, released by dot dot dot music in 2001. in the liner notes, she is credited with "liquid paper sounds generated using fourier synthesis of sound based on info - to sound] the track was released posthumously and dedicated to her.
derbyshire's later life was chaotic due to chronic alcoholism; she died of renal failure, aged 64, in july]
archive [ edit ]
after death, 267 tapes and a box of a thousand papers were found in her attic. these were entrusted to mark ayres of the bbc and in 2007 were given on permanent loan to the university of manchester. almost all the tapes were in 2007 by louis niebur and david butler, but none of the music has been published due to copyright] in 2010, the university acquired childhood collection of papers and from wolf. this collection is accessible at the john library in]
dramatic and documentary portrayals [ edit ]
in 2002, bbc radio 4 broadcast a radio play entitled blue veils and golden sands as part of its afternoon play strand, telling the story of derbyshire and her pioneering musical] the play starred actress sophie thompson as] and was written by martyn]
in october 2004, the tron theatre, glasgow hosted standing wave, a play written by nicola mccartney, score by murphy. this was produced by reeling and writhing, directed by katherine]
in 2009, canadian filmmaker kara blake released the mode, a short documentary film about] the film won the genie award for best short documentary film in 2010.
in 2013, the bbc showed a television docudrama depicting the creation and early days of doctor who in 1963, called an adventure in space and time, as part of the celebrations for the fiftieth anniversary. derbyshire appeared as a character in it, portrayed by actress sarah]
episode 5 "derbyshire" of the bbc children's science tv programme absolute genius with dick & dom is an exploration of creation of the doctor who theme recording using her techniques on equipment from the]
coventry-based theatre company theatre produced a play named hymns for robots about working] which played at the 2018 edinburgh fringe festival.
honours [ edit ]
her hometown coventry named a street after her in november 2016, the 'derbyshire]
a blue plaque was unveiled at former home of 104 cedars avenue, coventry, on 15 june 2017 as part of a bbc initiative celebrating important musicians and] the ceremony was performed by former doctor who actors colin baker and nicola bryant along with bbc coventry & presenter vic]
on 20 november 2017 derbyshire was awarded a posthumous honorary doctorate for her pioneering contributions to electronic]
see also [ edit ]
references [ edit ]
further reading and documentaries [ edit ]
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ˈdiljə æn ˈdərbiˌʃər 5 meɪ 1937 3 ˌʤuˈlaɪ wɑz ən ˈɪŋlɪʃ mjuˈzɪʃən ənd kəmˈpoʊzər əv ˌɪˌlɛkˈtrɑnɪk ʃi ɪz bɛst noʊn fər hər ˌpaɪəˈnɪrɪŋ wərk wɪθ ðə ˌbibiˈsi ˈwərkˌʃɑp ˈdʊrɪŋ ðə 1960s*, ˌpɑrˈtɪkjələrli hər ˈpɑpjələr ˌɪˌlɛkˈtrɑnɪk ərˈeɪnʤmənt əv ðə θim mˈjuzɪk tɪ ðə ˈbrɪtɪʃ ˈsaɪənsˌfɪkʃən ˈtɛləˌvɪʒən ˈsɪriz ˈdɔktər ʃi həz bɪn rɪˈfərd tɪ ɛz "ðə ənˈsəŋ ˈhɛroʊən əv ˈbrɪtɪʃ ˌɪˌlɛkˈtrɑnɪk baɪˈɑgrəfi ˈɛdət ˈərli laɪf ˈɛdət ˈdərbiˌʃər wɑz bɔrn ɪn ˈkəvəntri, ˈdɔtər əv ˈɛmə ˈdɔsən) ənd ˈɛdwərd əv ˈsidərz ˈævəˌnu, coundon*, hər ˈfɑðər wɑz ə ʃi hæd wən ˈsɪblɪŋ, ə ˈsɪstər, hu daɪd hər ˈfɑðər daɪd ɪn 1965 ənd hər ˈməðər ɪn ˈdʊrɪŋ ðə ˈsɛkənd wərld wɔr, ˌɪˈmiˌdiətli ˈæftər ðə ˈkəvəntri blɪts ɪn 1940 ʃi wɑz muvd tɪ ˈprɛstən, ˈlæŋkəˌʃaɪr fər ˈseɪfti. hər ˈpɛrənts hæd muvd frəm ðɛr ənd moʊst əv hər sərˈvaɪvɪŋ ˈrɛlətɪvz stɪl lɪv ɪn ðə ʃi wɑz ˈvɛri braɪt ənd, baɪ ðə eɪʤ əv fɔr, wɑz ˈtiʧɪŋ ˈəðərz ɪn hər klæs tɪ rɛd ənd raɪt ɪn ˈpraɪˌmɛri bət sɛd "ðə ˈreɪdiˌoʊ wɑz maɪ hər ˈpɛrənts bɔt hər ə piˈænə wɪn ʃi wɑz eɪt jɪrz oʊld. ˈɛʤəˌkeɪtɪd æt bɑrz hɪl ˈgræmər frəm 1948 tɪ 1956 ʃi wɑz ækˈsɛptɪd æt boʊθ ˈɑksfərd ənd ˈkeɪmbrɪʤ, "kwaɪt ˈsəmθɪŋ fər ə ˈwərkɪŋ klæs gərl ɪn ðə 'ˈfɪftiz, wɛr ˈoʊnli wən ɪn 10 [ˈstudənts] wər ˈwɪnɪŋ ə ˈskɑlərˌʃɪp tɪ ˈstədi ˌmæθəˈmætɪks æt ˈgərtən ˈkɑlɪʤ, ˈkeɪmbrɪʤ bət, əˈpɑrt frəm səm səkˈsɛs ɪn ðə ˌmæθəˈmætɪkəl ˈθɪri əv ɪˌlɛkˈtrɪsəti, ʃi kleɪmz ʃi dɪd ˈæftər wən jɪr æt ˈkeɪmbrɪʤ ʃi swɪʧt tɪ mˈjuzɪk, ˈgræʤəˌweɪtɪŋ ɪn 1959 wɪθ ə ˌbiˈeɪ ɪn ˌmæθəˈmætɪks ənd mˈjuzɪk, ˈhævɪŋ ɪn mɪˈdjivəl ənd ˈmɑdərn mˈjuzɪk hər ˈəðər ˈprɪnsəpəl kˌwɑləfəˈkeɪʃən wɑz ɪn ʃi əˈproʊʧt ðə kərɪrz ˈɔfəs æt ðə ˌjunəˈvərsəti ənd toʊld ðɛm ʃi wɑz ˈɪntəˌrɛstɪd ɪn "saʊnd, mˈjuzɪk ənd əˈkustɪks, tɪ wɪʧ ðeɪ ˌrɛkəˈmɛndɪd ə kərɪr ɪn ˈiðər dɛf eɪdz ər dɛpθ ðɛn ʃi əˈplaɪd fər ə pəˈzɪʃən æt ˈdɛkə ˈrɛkərdz, ˈoʊnli tɪ bi toʊld ðət ðə ˈkəmpəˌni dɪd nɑt ɪmˈplɔɪ ˈwɪmən ɪn ðɛr rɪˈkɔrdɪŋ ˌɪnˈstɛd, ʃi tʊk pəˈzɪʃənz æt ðə ˈjuˈɛn ɪn frəm ʤun tɪ sɛpˈtɛmbər, ˈtiʧɪŋ piˈænə tɪ ðə ˈʧɪldrən əv ðə ˈbrɪtɪʃ ənd ˌmæθəˈmætɪks tɪ ðə ˈʧɪldrən əv kəˈneɪdiən ənd saʊθ əˈmɛrɪkən ðɛn frəm sɛpˈtɛmbər tɪ dɪˈsɛmbər, ʃi wərkt ɛz ən əˈsɪstənt tɪ ˈʤɛrəld ʤi. hɛd əv ənd ˈʤɛnərəl ədˈmɪnɪˌstreɪtɪv ˈreɪdiˌoʊ ˈkɑnfərənsəz æt ðə ˌɪnərˈnæʃənɑl ˌtɛləkəmˌjunəˈkeɪʃənz ˈjunjən. ʃi rɪˈtərnd tɪ ˈkəvəntri ənd frəm ˈʤænjuˌɛri tɪ ˈeɪprəl 1960 tɔt ˈʤɛnərəl ˈsəbʤɪkts ɪn ə ˈpraɪˌmɛri skul ðɛr. ðɛn ʃi wɛnt tɪ ˈləndən wɛr frəm meɪ tɪ ɑkˈtoʊbər ʃi wɑz ən əˈsɪstənt ɪn ðə pərˈmoʊʃən dɪˈpɑrtmənt əv mˈjuzɪk ˈpəblɪʃərz ˌbibiˈsi ˈwərkˌʃɑp ˈɛdət ɪn noʊˈvɛmbər 1960 ʃi ʤɔɪnd ðə ˌbibiˈsi ɛz ə ˈtreɪˈni əˈsɪstənt ˈstudiˌoʊ ənd wərkt ɔn ˈrɛkərd ˌrivˈju, ə ˈmægəˌzin ˈproʊˌgræm wɛr ˈkrɪtɪks rivˈjud ˈklæsɪkəl mˈjuzɪk rɪˈkɔrdɪŋz. ʃi sɛd: "səm ˈpipəl θɔt aɪ hæd ə kaɪnd əv ˈsɛkənd saɪt. wən əv ðə mˈjuzɪk ˈkrɪtɪks wʊd seɪ, "aɪ doʊnt noʊ wɛr ɪt ɪz, bət ɪts wɛr ðə trɑmˈboʊnz kəm ɪn" ənd aɪd hoʊld ɪt əp tɪ ðə laɪt ənd si ðə trɑmˈboʊnz ənd pʊt ðə ˈnidəl daʊn ɪgˈzæktli wɛr ɪt wɑz. ənd ðeɪ θɔt ɪt wɑz ʃi ðɛn hərd əˈbaʊt ðə ˈwərkˌʃɑp ənd ˌdɪˈsaɪdɪd ðət wɑz wɛr ʃi ˈwɔntɪd tɪ wərk. ðɪs wɑz rɪˈsivd wɪθ səm ˈpəzəlmənt baɪ ðə hɛdz ɪn ˈsɛntrəl ˈproʊˌgræm ˌɑpərˈeɪʃən bɪˈkəz ˈpipəl wər ˈjuʒəwəli "əˈsaɪnd" tɪ ðə ˈwərkˌʃɑp. bət ɪn ˈeɪprəl 1962 ʃi wɑz ˌɪnˈdid əˈsaɪnd ɪn ˈmeɪdə veɪl, wɛr fər ˈilɛvən jɪrz ʃi wʊd kriˈeɪt mˈjuzɪk ənd saʊnd fər ˈɔlˌmoʊst 200 ˈreɪdiˌoʊ ənd ˈtɛləˌvɪʒən ɪn ˈɔgəst 1962 ʃi əˈsɪstɪd kəmˈpoʊzər luʧiˈɑnoʊ æt ə ˈsəmər skul æt hɔl, fər wɪʧ ʃi ˈbɑˌroʊd ˈsɛvərəl ˈdəzən ˈaɪtəmz əv ɪkˈwɪpmənt frəm ðə wən əv hər fərst wərks, ənd ðə moʊst ˈwaɪdli noʊn, wɑz hər 1963 ˌɪˌlɛkˈtrɑnɪk ˈriləˈzeɪʃən əv ə skɔr baɪ rɑn fər ðə θim tun əv ðə ˈdɔktər hu wən əv ðə fərst ˈtɛləˌvɪʒən θimz tɪ bi kriˈeɪtɪd ənd prəˈdust baɪ ɪnˈtaɪərli ˌɪˌlɛkˈtrɑnɪk minz. ˈdɔktər hu θim ˈɛksərpt ən ˈɛksərpt frəm ðə θim mˈjuzɪk tɪ ˈdɔktər hu ˈprɑbləmz pleɪɪŋ ðɪs faɪl? si ˈmidiə hɛlp. wɪn fərst hərd ɪt, hi wɑz soʊ əˈmeɪzd baɪ hər ˈrɛndərɪŋ əv hɪz θim ðət hi æst "dɪd aɪ ˈrɪli raɪt ðɪs?" tɪ wɪʧ ˈdərbiˌʃər rɪˈplaɪd "moʊst əv əˈtɛmptəd tɪ gɪt hər ə ˈkrɛdɪt, bət ðə əˈtɛmpt wɑz prɪˈvɛnɪd baɪ ðə ˌbibiˈsi bjʊˈrɑkrəsi, wɪʧ ðɛn prɪˈfərd tɪ kip ðə ˈmɛmbərz əv ðə ˈwərkˌʃɑp ʃi wʊd nɑt bi ˈkrɛdɪtɪd ˈɑnˌskrin fər hər wərk ənˈtɪl ˈdɔktər huz ˌænəˈvərsəri ˈspɛʃəl, ðə deɪ əv ðə ˈdɔktər. ərˈɪʤənəl ərˈeɪnʤmənt sərvd ɛz ˈdɔktər huz meɪn θim fər ɪts fərst ˈsɛvənˈtin ˈsizənz, frəm ðə θim wɑz riˈwərkt ˈoʊvər ðə jɪrz, tɪ hər ˈhɔrər, ənd ðə ˈvərʒən ðət hæd hər "stæmp əv əˈpruvəl" ɪz hər ərˈɪʤənəl ˈdiljə ˈɔlsoʊ kəmˈpoʊzd səm əv ðə ˌɪnsɪˈdɛntəl mˈjuzɪk juzd ɪn ðə ʃoʊ, ˌɪnˈkludɪŋ blu veɪlz ənd ˈgoʊldən sændz ənd ðə ɪn ʃi kəˈlæbərˌeɪtɪd wɪθ ðə ˈbrɪtɪʃ ˈɑrtɪst ənd ˈpleɪˌraɪt ˈbɛri fər ðə ˌbibiˈsis θərd ˈproʊˌgræm tɪ ˈproʊdus fɔr ˌɪnˈvɛnʃənz fər ˈreɪdiˌoʊ, ə kəˈlɑʒ əv ˈpipəl dɪˈskraɪbɪŋ ðɛr drimz, sɛt tɪ ə ˈbækˌgraʊnd əv ˌɪˌlɛkˈtrɑnɪk ˈjunɪt ˈdɛltə pləs ˈɛdət ɪn 1966 waɪl stɪl ˈwərkɪŋ æt ðə ˌbibiˈsi, ˈdərbiˌʃər wɪθ ˈfɛloʊ ˈwərkˌʃɑp ˈmɛmbər braɪən ˈhɑʤsən ənd ˈfaʊndər ˈpitər sɛt əp ˈjunɪt ˈdɛltə ən ˌɔrgənɪˈzeɪʃən wɪʧ ðeɪ ˌɪnˈtɛndɪd tɪ juz tɪ kriˈeɪt ənd prəˈmoʊt ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk. beɪst ɪn ə ˈstudiˌoʊ ɪn ˈtaʊnˌhaʊs æt 49 roʊd ɪn ˈpətni, ðeɪ ɪgˈzɪbətəd ðɛr mˈjuzɪk æt ə fju ɪkˌspɛrɪˈmɛntəl ənd ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk ˈfɛstɪvəlz, ˌɪnˈkludɪŋ ðə 1966 ðə ˈmɪljən voʊlt laɪt ənd saʊnd reɪv æt wɪʧ ðə ˈbitəlz' "ˈkɑrnəvəl əv laɪt" hæd ɪts ˈoʊnli ˈpəblɪk pleɪɪŋ. ɪn 1966 ʃi rɪˈkɔrdɪd ə ˈdɛmoʊ wɪθ ˈænθɔˌni ˈnuli ɛnˈtaɪtəld bloogies*, ˌɔlˈðoʊ ɛz ˈnuli muvd tɪ ðə juˈnaɪtɪd steɪts, ðə sɔŋ wɑz ˈnɛvər riˈlist. ˈæftər ə ˈtrəbəld pərˈfɔrməns æt ðə rɔɪəl ˈkɑlɪʤ əv ɑrt, ɪn 1967 ðə ˈjunɪt ənd jɪrz ˈɛdət ɪn ðə leɪt ˈsɪkstiz, ʃi əˈgɛn wərkt wɪθ ˈhɑʤsən ɪn ˈsɛtɪŋ əp ðə ˈstudiˌoʊ æt ˈkæmdən haɪ strit ɪn ˈkæmdən taʊn wɪθ ˈfɛloʊ ˌɪˌlɛkˈtrɑnɪk mjuˈzɪʃən ˈdeɪvɪd ðə ˈstudiˌoʊ prəˈdust ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk fər ˈvɛriəs ˈləndən ˈθiətərz ənd ɪn 1968 ðə θri juzd ɪt tɪ ˈproʊdus ðɛr fərst ˈælbəm ɛz ðə bænd waɪt ðɛr ˈdeɪbju, ən ɪˈlɛktrɪk stɔrm, ɪz naʊ kənˈsɪdərd ən ˌɪmˈpɔrtənt ənd ˌɪnfluˈɛnʃəl ˈælbəm ɪn ðə dɪˈvɛləpmənt əv ˌɪˌlɛkˈtrɑnɪk ˈdərbiˌʃər ənd ˈhɑʤsən lɛft ðə grup ˈsəbsəkwəntli, ənd fˈjuʧər waɪt nɔɪz ˈælbəmz wər ˈsoʊˌloʊ ˈprɑʤɛkts. ðə ˈtriˌoʊ, ˈjuzɪŋ ˈsudəˌnɪmz, ˈɔlsoʊ kənˈtrɪbjutɪd tɪ ðə ˈstændərd mˈjuzɪk ˈmɛni əv ðiz rɪˈkɔrdɪŋz, ˌɪnˈkludɪŋ ˌkɑmpəˈzɪʃənz baɪ ˈdərbiˌʃər ˈjuzɪŋ ðə neɪm "li də lɑ rəs" (frəm ən juz əv ðə ˈlɛtərz ɪn "ˈdiljə" ənd ə ˈrɛfərəns tɪ hər ˈɑbərn hɛr) wər ˈleɪtər juzd ɔn ðə ˈsɛvəntiz saɪəns ˈfɪkʃən ˈraɪvəlz tɪ ˈdɔktər hu: ðə təˈmɑˌroʊ ənd ɪn 1967 ʃi əˈsɪstɪd gaɪ wɪθ hɪz ˌɪˌlɛkˈtrɑnɪk skɔr fər ˈpitər hɔlz pərˈdəkʃən əv məkˈbɛθ wɪθ ðə rɔɪəl ˈʃeɪkˌspir ðə tu kəmˈpoʊzərz ˈɔlsoʊ kənˈtrɪbjutɪd ðə mˈjuzɪk tɪ hɔlz fɪlm wərk ɪz ə wərd hər ˈəðər wərk ˈdʊrɪŋ ðɪs ˈpɪriəd ˌɪnˈkludɪd ˈteɪkɪŋ pɑrt ɪn ə pərˈfɔrməns əv ˌɪˌlɛkˈtrɑnɪk mˈjuzɪk æt ðə wɪʧ ˈɔlsoʊ ˈfiʧərd wərk baɪ pɔl məˈkɑrtni, ðə skɔr fər ən ˈstudənt ˈfæʃən ənd ðə saʊnz fər ˈænθɔˌni fɪlm əv ˈpæmələ fəˈtɑgrəfi, ɛnˈtaɪtəld ˈsərkəl əv ʃi kəmˈpoʊzd ə skɔr fər ˈjoʊkoʊ ʃɔrt fɪlm ˈræpɪŋ ɪˈvɛnt, bət noʊ noʊn ˈkɑpi əv ðə fɪlm wɪθ ðə ˈsaʊnˌtræk ɪz noʊn tɪ ɪn 1973 ʃi lɛft ðə ˌbibiˈsi ənd wərkt ə brif stɪnt æt ˈdʊrɪŋ wɪʧ taɪm ʃi kənˈtrɪbjutɪd tɪ ðə ˈsaʊnˌtræk tɪ ðə fɪlm ðə ˈlɛʤənd əv hɛl ðə ˈstudiˌoʊz ənd wər neɪmd ˈæftər ˈərli ɪˈlɛktrɪkəl mˈjuzɪkəl ˈɪnstrəmənts meɪd baɪ ˈmægər ɪn ˈʤərməni. ɪn 1975 ʃi stɑpt prəˈdusɪŋ mˈjuzɪk. hər ˈfaɪnəl wərks wər tu ˈsaʊnˌtræks fər ˈvɪdioʊ ˌpaɪəˈnɪrz mɑdeɪˈlɔn ənd ˈɛlsə ˈstænsfild ɔn ðɛr ʃɔrt fɪlmz væn daɪ ˈdægən ("wən əv ðiz deɪz") ɪn 1973 ənd ("əˈbaʊt ˈbrɪʤɪz") ɪn ˈleɪtər jɪrz ˈɛdət ˈæftər hər mˈjuzɪk kərɪr, ˈdərbiˌʃər wərkt ɛz ə ˈreɪdiˌoʊ ˈɑpərˌeɪtər fər ðə leɪɪŋ əv ə ˈbrɪtɪʃ gæs ˈpaɪˌplaɪn, ɪn ən ɑrt ˈgæləri ənd ɪn ə ɪn leɪt 1974 ʃi ˈmɛrid ˈdeɪvɪd frəm ɪn northumberland*, ðə sən əv ə ɪn ən əˈtɛmpt tɪ geɪn ˈloʊkəl əkˈsɛptəns; ðə riˈleɪʃənˌʃɪp wɑz brif ənd dɪˈzæstrəs ˌɔlˈðoʊ ʃi ˈnɛvər dɪˈvɔrst. ʃi ˈɔlsoʊ ˈfrikwəntɪd ðə ˈgæləri speɪs əv ʧaɪˈniz ˈɑrtɪst li æt hɪz stoʊn ˈfɑrmˌhaʊs ɪn cumbria*. ɪn 1978 ʃi rɪˈtərnd tɪ ənd mɛt klaɪv ˈblækbərn. ɪn ˈʤænjuˌɛri 1980 ʃi bɔt ə haʊs ɪn ˌnɔrˈθæmptən wɛr, fɔr mənθs ˈleɪtər, ˈblækbərn ʤɔɪnd hər. hi rɪˈmeɪnd hər ˈpɑrtnər fər ðə rɛst əv hər laɪf, ðoʊ æt wən pɔɪnt ðeɪ lɪvd ˈsɛpərətli. əˈkɔrdɪŋ tɪ ˈblækbərn, "ɪn ˈpraɪvət, ʃi ˈnɛvər stɑpt ˈraɪtɪŋ mˈjuzɪk ˈiðər. ʃi ˈsɪmpli rɪfˈjuzd tɪ ˈkɑmprəˌmaɪz hər ˌɪnˈtɛgrəti ɪn ˈɛni weɪ. ənd ˈəltəmətli, ʃi ˈkʊdənt koʊp. ʃi ʤɪst bərnt hərˈsɛlf aʊt. ən əbˈsɛsɪv nid fər pərˈfɛkʃən dɪˈstrɔɪd ɪn 2001 ʃi rɪˈtərnd tɪ mˈjuzɪk, prəˈvaɪdɪŋ saʊnz juzd ɛz sɔrs məˈtɪriəl baɪ pit ɔn məˈʃin (ˈteɪkən frəm ən ənˈfɪnɪʃt drim), ə træk fər ðə ˌkɑmpəˈleɪʃən greɪn: ə ˌkɑmpəˈleɪʃən əv 99 ʃɔrt træks, riˈlist baɪ dɑt dɑt dɑt mˈjuzɪk ɪn 2001 ɪn ðə ˈlaɪnər noʊts, ʃi ɪz ˈkrɛdɪtɪd wɪθ "ˈlɪkwɪd ˈpeɪpər saʊnz ˈʤɛnərˌeɪtɪd ˈjuzɪŋ ˈfʊrieɪ ˈsɪnθəsəs əv saʊnd beɪst ɔn ˈɪnfoʊ tɪ saʊnd ðə træk wɑz riˈlist ˈpɑsʧʊməsli ənd ˈdɛdəkeɪtəd tɪ hər. ˈleɪtər laɪf wɑz keɪˈɑtɪk du tɪ ˈkrɑnɪk ˈælkəˌhɔˌlɪzəm; ʃi daɪd əv ˈrinəl ˈfeɪljər, ˈeɪʤɪd 64 ɪn ˌʤuˈlaɪ ˈɑrˌkaɪv ˈɛdət ˈæftər dɛθ, 267 teɪps ənd ə bɑks əv ə ˈθaʊzənd ˈpeɪpərz wər faʊnd ɪn hər ˈætɪk. ðiz wər ɛnˈtrəstɪd tɪ mɑrk ɛrz əv ðə ˌbibiˈsi ənd ɪn 2007 wər ˈgɪvɪn ɔn ˈpərmɑˌnɛnt loʊn tɪ ðə ˌjunəˈvərsəti əv ˈmænˌʧɛstər. ˈɔlˌmoʊst ɔl ðə teɪps wər ɪn 2007 baɪ luɪs ˈnibər ənd ˈdeɪvɪd ˈbətlər, bət nən əv ðə mˈjuzɪk həz bɪn ˈpəblɪʃt du tɪ ˈkɑpiˌraɪt ɪn 2010 ðə ˌjunəˈvərsəti əkˈwaɪərd ˈʧaɪlˌdhʊd kəˈlɛkʃən əv ˈpeɪpərz ənd frəm wʊlf. ðɪs kəˈlɛkʃən ɪz ækˈsɛsəbəl æt ðə ʤɑn ˈlaɪbrɛˌri ɪn drəˈmætɪk ənd ˌdɑkjəˈmɛnəri pɔrˈtreɪəlz ˈɛdət ɪn 2002 ˌbibiˈsi ˈreɪdiˌoʊ 4 ˈbrɔdˌkæst ə ˈreɪdiˌoʊ pleɪ ɛnˈtaɪtəld blu veɪlz ənd ˈgoʊldən sændz ɛz pɑrt əv ɪts ˌæftərˈnun pleɪ strænd, ˈtɛlɪŋ ðə ˈstɔri əv ˈdərbiˌʃər ənd hər ˌpaɪəˈnɪrɪŋ mˈjuzɪkəl ðə pleɪ stɑrd ˈæktrəs ˈsoʊfi ˈtɑmsən ɛz ənd wɑz ˈrɪtən baɪ ˈmɑrtɪn ɪn ɑkˈtoʊbər 2004 ðə trɑn ˈθiətər, ˈglæˌskoʊ ˈhoʊstɪd ˈstændɪŋ weɪv, ə pleɪ ˈrɪtən baɪ nɪˈkoʊlɑ məˈkɑrtni, skɔr baɪ ˈmərfi. ðɪs wɑz prəˈdust baɪ ˈrilɪŋ ənd ˈrɪθɪŋ, dɪˈrɛktɪd baɪ ˈkæθərɪn ɪn 2009 kəˈneɪdiən ˈfɪlˌmeɪkər ˈkɛrə bleɪk riˈlist ðə moʊd, ə ʃɔrt ˌdɑkjəˈmɛnəri fɪlm əˈbaʊt ðə fɪlm wən ðə ˈʤini əˈwɔrd fər bɛst ʃɔrt ˌdɑkjəˈmɛnəri fɪlm ɪn 2010 ɪn 2013 ðə ˌbibiˈsi ʃoʊd ə ˈtɛləˌvɪʒən ˌdoʊkəˈdræmə dɪˈpɪktɪŋ ðə kriˈeɪʃən ənd ˈərli deɪz əv ˈdɔktər hu ɪn 1963 kɔld ən ədˈvɛnʧər ɪn speɪs ənd taɪm, ɛz pɑrt əv ðə ˌsɛləˈbreɪʃənz fər ðə ˈfɪftiɪθ ˌænəˈvərsəri. ˈdərbiˌʃər əˈpɪrd ɛz ə ˈkɛrɪktər ɪn ɪt, pɔrˈtreɪd baɪ ˈæktrəs ˈsɛrə ˈɛpɪˌsoʊd 5 "ˈdərbiˌʃər" əv ðə ˌbibiˈsi ˈʧɪldrənz saɪəns ˌtɛləˈvɪʒən ˈproʊˌgræm ˈæbsəˌlut ˈʤinjəs wɪθ dɪk dɑm ɪz ən ˌɛksplərˈeɪʃən əv kriˈeɪʃən əv ðə ˈdɔktər hu θim rɪˈkɔrdɪŋ ˈjuzɪŋ hər tɛkˈniks ɔn ɪkˈwɪpmənt frəm ðə ˈθiətər ˈkəmpəˌni ˈθiətər prəˈdust ə pleɪ neɪmd hɪmz fər ˈroʊˌbəts əˈbaʊt ˈwərkɪŋ wɪʧ pleɪd æt ðə 2018 ˈɛdənbəroʊ frɪnʤ ˈfɛstɪvəl. ˈɛdət hər ˈhoʊmˌtaʊn ˈkəvəntri neɪmd ə strit ˈæftər hər ɪn noʊˈvɛmbər 2016 ðə 'ˈdərbiˌʃər ə blu plæk wɑz ənˈveɪld æt ˈfɔrmər hoʊm əv 104 ˈsidərz ˈævəˌnu, ˈkəvəntri, ɔn 15 ʤun 2017 ɛz pɑrt əv ə ˌbibiˈsi ˌɪˈnɪʃətɪv ˈsɛləˌbreɪtɪŋ ˌɪmˈpɔrtənt mjuˈzɪʃənz ənd ðə ˈsɛrəˌmoʊni wɑz pərˈfɔrmd baɪ ˈfɔrmər ˈdɔktər hu ˈæktərz ˈkoʊlɪn ˈbeɪkər ənd nɪˈkoʊlɑ braɪənt əˈlɔŋ wɪθ ˌbibiˈsi ˈkəvəntri ˈprɛzəntər vɪk ɔn 20 noʊˈvɛmbər 2017 ˈdərbiˌʃər wɑz əˈwɔrdɪd ə ˈpɑsʧʊməs ˈɑnərˌɛri ˈdɑktərət fər hər ˌpaɪəˈnɪrɪŋ ˌkɑntrəˈbjuʃənz tɪ ˌɪˌlɛkˈtrɑnɪk si ˈɔlsoʊ ˈɛdət ˈrɛfərənsɪz ˈɛdət ˈfərðər ˈrɛdɪŋ ənd ˌdɑkjəˈmɛnəriz ˈɛdət
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the baseball crazy youngsters who pestered smokers and caused a major uproar in 1909 upon the release of the american tobacco trading cards knew it.
honus wagner was a huge star but finding his picture was a pain in the heinie.
little did they know their desires had been trumped by the pittsburgh pirates insistence on being left out of what would become known as the set. now one of the most important original is going on the auction block. part of a group of items consigned to auctions by j. ross greene, a collector from georgia.
fewer than 75 wagner cards are believed to exist but what makes this one special is its chain of ownership. the card can almost certainly be traced back to the time when it was new. also the first to have been featured in a newspaper story proclaiming its scarcity, an article that was published in 1930, just 21 years after those precious few made it into packs of cigarettes. now graded 1 (poor-fair), it could sell for $500,000 or more.
the history
in november of 1930, newark evening news writer fred j. bendel wrote about his colleague, willie ratner, a boxing writer who became a collector in his youth, acquiring cards from the and sets, including wagner. the newspaper feature on ratner carries an illustration of some of the baseball greats collection including the wagner with text indicating “old was the hardest” to get.
eventually, ratner sold the card to a fellow sports writer, wirt gammon, also a noted collector. in 1970, bill haber, a topps employee bought the card from gammon. haber died unexpectedly in 1995 and the card was sold at auction through pat sports collectors store, a chicago area shop, in march of 1996. the buyer remained a now.
the owner and the auction
greene, 76, is a financial consultant and author who purchased the card for nearly $48,500. it has remained in his collection since that time. the card will have its fifth owner when’s catalog auction takes place next month.
“i originally started collecting cards in 1951 and did so through greene recalled to sports collectors daily. “then i went on to other pursuits. i started back up again when i bought a box of cards in 1970 from a friend who needed some money. the box he had was a of baseball cards from bowman up to topps and the preponderance of cards was from the late ‘50s. he wanted $500 because he was going back to school to become a preacher. i said, ‘okay,’ and i gave him the $500. he know what they were worth and neither did i. then i put them in my closet and touch them for years. when card collecting started coming back into the fray in, i discovered that $500 had turned into about $10,000.
“one day i was looking through an [sports collectors digest] and saw this ad that had the wagner card going up for sale. it was a phone auction. i said to myself, ‘this might be my only shot at getting a wagner.’ all i knew was that the guy who had it [bill haber] passed away and now his wife was selling the card.
“i figured it might go for a price that i could afford. i really wanted to own a wagner but i going to put the kind of money into it that [bruce] mcnall and [wayne] gretzky had put into getting theirs [$451,000]. here i was building a house, my getting married, and my out hunting for furniture for the new house. i told my wife [lynne] that i can either get a [sherry] magie, [eddie] plank or [honus] wagner card. she said, ‘which one do you really want?’ and i said, ‘the wagner.’ she said, ‘go ahead.’
“so i called in and was told by pat quinn that the bidding was already at $37,500. he told me that the guy who placed the bid was sitting next to him. i bid $48,500 and the other guy dropped out. the next thing i know is he said, ‘you got it!’ he fed me the card and i put it a sock drawer. it was march of 1996. it stayed in that drawer for 20 years. the only time it came out was when i it to and walked it through with joe orlando. that was in 1999. as far as i could tell, not that many people knew about it.”
the decision to sell
greene says enjoyed owning the wagner card but after discussing matters of estate planning, the time seemed right to let someone else take possession.
“i was prompted first by the desire to protect my family from the often difficult process of selling inherited assets,” he said. “i have eight grandchildren and i exactly cut the card up into eight pieces. it was also my belief that returning this card which has been the focal point of the card collecting hobby for over a century to its rightful place, in the public discourse, was of utmost importance. why i enlisted auctions to handle the transfer of ownership.”
j. ross greene collection
greene also turned over several other items that will generate significant interest, including collections of cards from the he pieced together as an adult. his 1952 bowman large football set is ranked seventh on’s set registry and he also consigned full sets of 1951 bowman baseball and 1953 topps as well as a 1952 topps mickey mantle.
“that’s because my initial collecting years were 1951 to 1955 and then again when the topps reprint set came out in the early ‘70s,” he recalled. “around that time i went back to my home to get my original cards and i knew i had two full of ‘em. i use rubber bands, i put them in bicycle spokes and i never flipped them. when i got home i asked my mom where my cards were and she said, ‘daddy threw them out.’ it was easily 10 or 12 years’ worth.”
that parental error earned a reprieve with his decision to make a bid on the wagner 21 years ago. its value exploded. a ten fold increase in value would have been hard to predict, though.
“it’s probably a bit of a surprise but when you have prices go up based on scarcity, provenance and the history of such an iconic thing, nothing surprises me in terms of value anymore. it all comes down to how much somebody wants to spend on a wagner. and there will never be another wagner like this one.”
there is a tale behind many of the wagner cards that have been sold and countless stories written about them. however, there will always be something special about the one that was first showcased to the public at large, even if the provenance entirely known at the time greene purchased it.
“it’s very important. when i learned of the history of the card, it really made it more iconic in my mind. and i viewed myself as a steward or a caretaker at that point,” he stated.
“i am honored to have been the fourth caretaker and protector of this iconic piece of americana and the national pastime. willie ratner, wirt gammon and bill haber were truly keepers of the flame of sports card collecting as each passed the wagner baton, respectively. i am thrilled to be considered as part of the foursome and again pass it along. i hope the fortunate buyer cherishes their position as the latest steward of the, otherwise known as ‘the original wagner’.”
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ðə ˈbeɪsˈbɔl ˈkreɪzi ˈjəŋstərz hu ˈpɛstərd sˈmoʊkərz ənd kɔzd ə ˈmeɪʤər ˈəˌprɔr ɪn 1909 əˈpɑn ðə riˈlis əv ðə əˈmɛrɪkən təˈbæˌkoʊ ˈtreɪdɪŋ kɑrdz nu ɪt. ˈwægnər wɑz ə juʤ stɑr bət ˈfaɪndɪŋ hɪz ˈpɪkʧər wɑz ə peɪn ɪn ðə heinie*. ˈlɪtəl dɪd ðeɪ noʊ ðɛr dɪˈzaɪərz hæd bɪn trəmpt baɪ ðə ˈpɪtsbərg ˈpaɪrəts ˌɪnˈsɪstəns ɔn biɪŋ lɛft aʊt əv wət wʊd bɪˈkəm noʊn ɛz ðə sɛt. naʊ wən əv ðə moʊst ˌɪmˈpɔrtənt ərˈɪʤənəl ɪz goʊɪŋ ɔn ðə ˈɔkʃən blɑk. pɑrt əv ə grup əv ˈaɪtəmz kənˈsaɪnd tɪ ˈɔkʃənz baɪ ʤeɪ. rɔs grin, ə kəˈlɛktər frəm ˈʤɔrʤə. fjuər ðən 75 ˈwægnər kɑrdz ər bɪˈlivd tɪ ɪgˈzɪst bət wət meɪks ðɪs wən ˈspɛʃəl ɪz ɪts ʧeɪn əv ˈoʊnərˌʃɪp. ðə kɑrd kən ˈɔlˌmoʊst ˈsərtənli bi treɪst bæk tɪ ðə taɪm wɪn ɪt wɑz nu. ˈɔlsoʊ ðə fərst tɪ hæv bɪn ˈfiʧərd ɪn ə ˈnuzˌpeɪpər ˈstɔri proʊˈkleɪmɪŋ ɪts ˈskɛrsɪti, ən ˈɑrtɪkəl ðət wɑz ˈpəblɪʃt ɪn 1930 ʤɪst 21 jɪrz ˈæftər ðoʊz ˈprɛʃəs fju meɪd ɪt ˈɪntu pæks əv ˌsɪgəˈrɛts. naʊ ˈgreɪdɪd 1 (poor-fair*), ɪt kʊd sɛl fər ər mɔr. ðə ˈhɪstəri ɪn noʊˈvɛmbər əv 1930 nuərk ˈivnɪŋ nuz ˈraɪtər frɛd ʤeɪ. ˌbɛnˈdɛl roʊt əˈbaʊt hɪz ˈkɑlig, ˈwɪli ˈrætnər, ə ˈbɑksɪŋ ˈraɪtər hu bɪˈkeɪm ə kəˈlɛktər ɪn hɪz juθ, əkˈwaɪərɪŋ kɑrdz frəm ðə ənd sɛts, ˌɪnˈkludɪŋ ˈwægnər. ðə ˈnuzˌpeɪpər ˈfiʧər ɔn ˈrætnər ˈkɛriz ən ˌɪləˈstreɪʃən əv səm əv ðə ˈbeɪsˈbɔl greɪts kəˈlɛkʃən ˌɪnˈkludɪŋ ðə ˈwægnər wɪθ tɛkst ˈɪndəˌkeɪtɪŋ wɑz ðə hardest”*” tɪ gɪt. ɪˈvɛnʧəwəli, ˈrætnər soʊld ðə kɑrd tɪ ə ˈfɛloʊ spɔrts ˈraɪtər, wərt ˈgæmən, ˈɔlsoʊ ə ˈnoʊtɪd kəˈlɛktər. ɪn 1970 bɪl ˈheɪbər, ə tɑps ɪmˈplɔɪi bɔt ðə kɑrd frəm ˈgæmən. ˈheɪbər daɪd ˌənɪkˈspɛktɪdli ɪn 1995 ənd ðə kɑrd wɑz soʊld æt ˈɔkʃən θru pæt spɔrts kəˈlɛktərz stɔr, ə ʃəˈkɑˌgoʊ ˈɛriə ʃɑp, ɪn mɑrʧ əv 1996 ðə baɪər rɪˈmeɪnd ə naʊ. ðə ˈoʊnər ənd ðə ˈɔkʃən grin, 76 ɪz ə ˌfaɪˈnænʃəl kənˈsəltənt ənd ˈɔθər hu ˈpərʧəst ðə kɑrd fər ˈnɪrli ɪt həz rɪˈmeɪnd ɪn hɪz kəˈlɛkʃən sɪns ðət taɪm. ðə kɑrd wɪl hæv ɪts fɪθ ˈoʊnər wɪn ˈkætəlɔg ˈɔkʃən teɪks pleɪs nɛkst mənθ. ərˈɪʤənəli ˈstɑrtɪd kəˈlɛktɪŋ kɑrdz ɪn 1951 ənd dɪd soʊ θru grin rɪˈkɔld tɪ spɔrts kəˈlɛktərz ˈdeɪli. aɪ wɛnt ɔn tɪ ˈəðər pərˈsuts. aɪ ˈstɑrtɪd bæk əp əˈgɛn wɪn aɪ bɔt ə bɑks əv kɑrdz ɪn 1970 frəm ə frɛnd hu ˈnidɪd səm ˈməni. ðə bɑks hi hæd wɑz ə əv ˈbeɪsˈbɔl kɑrdz frəm ˈboʊmən əp tɪ tɑps ənd ðə priˈpɑndrəns əv kɑrdz wɑz frəm ðə leɪt ‘50s*. hi ˈwɔntɪd 500 bɪˈkəz hi wɑz goʊɪŋ bæk tɪ skul tɪ bɪˈkəm ə ˈpriʧər. aɪ sɛd, ‘‘okay,’*,’ ənd aɪ geɪv ɪm ðə 500 hi noʊ wət ðeɪ wər wərθ ənd ˈniðər dɪd aɪ. ðɛn aɪ pʊt ðɛm ɪn maɪ ˈklɑzət ənd təʧ ðɛm fər jɪrz. wɪn kɑrd kəˈlɛktɪŋ ˈstɑrtɪd ˈkəmɪŋ bæk ˈɪntu ðə freɪ ɪn aɪ dɪˈskəvərd ðət 500 hæd tərnd ˈɪntu əˈbaʊt deɪ aɪ wɑz ˈlʊkɪŋ θru ən [spɔrts kəˈlɛktərz ˈdaɪʤɛst] ənd sɔ ðɪs æd ðət hæd ðə ˈwægnər kɑrd goʊɪŋ əp fər seɪl. ɪt wɑz ə foʊn ˈɔkʃən. aɪ sɛd tɪ ˌmaɪˈsɛlf, maɪt bi maɪ ˈoʊnli ʃɑt æt ˈgɪtɪŋ ə wagner.’*.’ ɔl aɪ nu wɑz ðət ðə gaɪ hu hæd ɪt [bɪl ˈheɪbər] pæst əˈweɪ ənd naʊ hɪz waɪf wɑz ˈsɛlɪŋ ðə kɑrd. ˈfɪgjərd ɪt maɪt goʊ fər ə praɪs ðət aɪ kʊd əˈfɔrd. aɪ ˈrɪli ˈwɔntɪd tɪ oʊn ə ˈwægnər bət aɪ goʊɪŋ tɪ pʊt ðə kaɪnd əv ˈməni ˈɪntu ɪt ðət [brus] məkˈnɔl ənd [weɪn] ˈgrɛtˈski hæd pʊt ˈɪntu ˈgɪtɪŋ ðɛrz hir aɪ wɑz ˈbɪldɪŋ ə haʊs, maɪ ˈgɪtɪŋ ˈmɛrid, ənd maɪ aʊt ˈhəntɪŋ fər ˈfərnɪʧər fər ðə nu haʊs. aɪ toʊld maɪ waɪf [lɪn] ðət aɪ kən ˈiðər gɪt ə [ˈʃɛri] ˈmeɪʤi, [ˈɛdi] plæŋk ər [honus*] ˈwægnər kɑrd. ʃi sɛd, wən du ju ˈrɪli want?’*?’ ənd aɪ sɛd, wagner.’*.’ ʃi sɛd, ahead.’*.’ aɪ kɔld ɪn ənd wɑz toʊld baɪ pæt kwɪn ðət ðə ˈbɪdɪŋ wɑz ɔˈrɛdi æt hi toʊld mi ðət ðə gaɪ hu pleɪst ðə bɪd wɑz ˈsɪtɪŋ nɛkst tɪ ɪm. aɪ bɪd ənd ðə ˈəðər gaɪ drɑpt aʊt. ðə nɛkst θɪŋ aɪ noʊ ɪz hi sɛd, gɑt it!’*!’ hi fɛd mi ðə kɑrd ənd aɪ pʊt ɪt ə sɑk drɔr. ɪt wɑz mɑrʧ əv 1996 ɪt steɪd ɪn ðət drɔr fər 20 jɪrz. ðə ˈoʊnli taɪm ɪt keɪm aʊt wɑz wɪn aɪ ɪt tɪ ənd wɔkt ɪt θru wɪθ ʤoʊ ɔˈrlænˌdoʊ. ðət wɑz ɪn 1999 ɛz fɑr ɛz aɪ kʊd tɛl, nɑt ðət ˈmɛni ˈpipəl nu əˈbaʊt it.”*.” ðə dɪˈsɪʒən tɪ sɛl grin sɪz ˌɛnˈʤɔɪd ˈoʊnɪŋ ðə ˈwægnər kɑrd bət ˈæftər dɪˈskəsɪŋ ˈmætərz əv ɛˈsteɪt ˈplænɪŋ, ðə taɪm simd raɪt tɪ lɛt ˈsəmˌwən ɛls teɪk pəˈzɛʃən. wɑz ˈprɑmptɪd fərst baɪ ðə dɪˈzaɪər tɪ prəˈtɛkt maɪ ˈfæməli frəm ðə ˈɔfən ˈdɪfəkəlt ˈprɔˌsɛs əv ˈsɛlɪŋ ˌɪnˈhɛrətɪd assets,”*,” hi sɛd. hæv eɪt ˈgrænˌʧɪldrən ənd aɪ ɪgˈzæktli kət ðə kɑrd əp ˈɪntu eɪt ˈpisɪz. ɪt wɑz ˈɔlsoʊ maɪ bɪˈlif ðət rɪˈtərnɪŋ ðɪs kɑrd wɪʧ həz bɪn ðə ˈfoʊkəl pɔɪnt əv ðə kɑrd kəˈlɛktɪŋ ˈhɑbi fər ˈoʊvər ə ˈsɛnʧəri tɪ ɪts ˈraɪtfəl pleɪs, ɪn ðə ˈpəblɪk ˈdɪskɔrs, wɑz əv ˈətˌmoʊst ˌɪmˈpɔrtəns. waɪ aɪ ˌɛnˈlɪstɪd ˈɔkʃənz tɪ ˈhændəl ðə ˈtrænsfər əv ownership.”*.” ʤeɪ. rɔs grin kəˈlɛkʃən grin ˈɔlsoʊ tərnd ˈoʊvər ˈsɛvərəl ˈəðər ˈaɪtəmz ðət wɪl ˈʤɛnərˌeɪt sɪgˈnɪfɪkənt ˈɪntəˌrɛst, ˌɪnˈkludɪŋ kəˈlɛkʃənz əv kɑrdz frəm ðə hi pist təˈgɛðər ɛz ən ˈædəlt. hɪz 1952 ˈboʊmən lɑrʤ ˈfʊtˌbɔl sɛt ɪz ræŋkt ˈsɛvənθ ɔn sɛt ˈrɛʤɪstri ənd hi ˈɔlsoʊ kənˈsaɪnd fʊl sɛts əv 1951 ˈboʊmən ˈbeɪsˈbɔl ənd 1953 tɑps ɛz wɛl ɛz ə 1952 tɑps ˈmɪki ˈmæntəl. bɪˈkəz maɪ ˌɪˈnɪʃəl kəˈlɛktɪŋ jɪrz wər 1951 tɪ 1955 ənd ðɛn əˈgɛn wɪn ðə tɑps riˈprɪnt sɛt keɪm aʊt ɪn ðə ˈərli ‘70s,”*,” hi rɪˈkɔld. ðət taɪm aɪ wɛnt bæk tɪ maɪ hoʊm tɪ gɪt maɪ ərˈɪʤənəl kɑrdz ənd aɪ nu aɪ hæd tu fʊl əv ‘‘em*. aɪ juz ˈrəbər bændz, aɪ pʊt ðɛm ɪn ˈbaɪsɪkəl spoʊks ənd aɪ ˈnɛvər flɪpt ðɛm. wɪn aɪ gɑt hoʊm aɪ æst maɪ mɑm wɛr maɪ kɑrdz wər ənd ʃi sɛd, θru ðɛm out.’*.’ ɪt wɑz ˈizəli 10 ər 12 years’*’ worth.”*.” ðət pərˈɛntəl ˈɛrər ərnd ə riˈpriv wɪθ hɪz dɪˈsɪʒən tɪ meɪk ə bɪd ɔn ðə ˈwægnər 21 jɪrz əˈgoʊ. ɪts ˈvælju ɪkˈsploʊdɪd. ə tɛn foʊld ˌɪnˈkris ɪn ˈvælju wʊd hæv bɪn hɑrd tɪ prɪˈdɪkt, ðoʊ. ˈprɑbəˌbli ə bɪt əv ə səˈpraɪz bət wɪn ju hæv ˈpraɪsɪz goʊ əp beɪst ɔn ˈskɛrsɪti, ˈprɑvənəns ənd ðə ˈhɪstəri əv səʧ ən ˌaɪˈkɑnɪk θɪŋ, ˈnəθɪŋ səˈpraɪzɪz mi ɪn tərmz əv ˈvælju ˌɛniˈmɔr. ɪt ɔl kəmz daʊn tɪ haʊ məʧ ˈsəmˌbɑdi wɔnts tɪ spɛnd ɔn ə ˈwægnər. ənd ðɛr wɪl ˈnɛvər bi əˈnəðər ˈwægnər laɪk ðɪs one.”*.” ðɛr ɪz ə teɪl bɪˈhaɪnd ˈmɛni əv ðə ˈwægnər kɑrdz ðət hæv bɪn soʊld ənd ˈkaʊntləs ˈstɔriz ˈrɪtən əˈbaʊt ðɛm. ˌhaʊˈɛvər, ðɛr wɪl ˈɔlˌweɪz bi ˈsəmθɪŋ ˈspɛʃəl əˈbaʊt ðə wən ðət wɑz fərst ˈʃoʊˌkeɪst tɪ ðə ˈpəblɪk æt lɑrʤ, ˈivɪn ɪf ðə ˈprɑvənəns ɪnˈtaɪərli noʊn æt ðə taɪm grin ˈpərʧəst ɪt. ˈvɛri ˌɪmˈpɔrtənt. wɪn aɪ ˈlərnɪd əv ðə ˈhɪstəri əv ðə kɑrd, ɪt ˈrɪli meɪd ɪt mɔr ˌaɪˈkɑnɪk ɪn maɪ maɪnd. ənd aɪ vjud ˌmaɪˈsɛlf ɛz ə stuərd ər ə ˈkɛrˌteɪkər æt ðət point,”*,” hi ˈsteɪtɪd. æm ˈɑnərd tɪ hæv bɪn ðə fɔrθ ˈkɛrˌteɪkər ənd prəˈtɛktər əv ðɪs ˌaɪˈkɑnɪk pis əv əˌmɛrɪˈkænə ənd ðə ˈnæʃənəl ˈpæˌstaɪm. ˈwɪli ˈrætnər, wərt ˈgæmən ənd bɪl ˈheɪbər wər ˈtruli ˈkipərz əv ðə fleɪm əv spɔrts kɑrd kəˈlɛktɪŋ ɛz iʧ pæst ðə ˈwægnər ˈbæˌtɑn, rɪˈspɛktɪvli. aɪ æm θrɪld tɪ bi kənˈsɪdərd ɛz pɑrt əv ðə ˈfɔrsəm ənd əˈgɛn pæs ɪt əˈlɔŋ. aɪ hoʊp ðə ˈfɔrʧənət baɪər ˈʧɛrɪʃɪz ðɛr pəˈzɪʃən ɛz ðə ˈleɪtəst stuərd əv ðə ˈəðərˌwaɪz noʊn ɛz ərˈɪʤənəl wagner’.”*’.” ˈbɑtəm ˈmoʊbəl ˈbɑtəm ˈbænər
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the state on tuesday said it fears that leader might flee to swaziland.
dlamini is appearing in the johannesburg magistrates court on charges of theft‚ public violence‚ assault with intent to cause grievous bodily harm and being in possession of dangerous weapons.
in a court affidavit read out by prosecutor steven rubin‚ the state said it feared that if the court grants on bail‚ he might go to swaziland‚ where he was born.
“it appears that he is from swaziland and our main concern is that he might go to swaziland if released on bail‚” rubin said.
he said that‚ who is also a former president of the university of the src‚ has a propensity to ignore court orders. it added that has been instrumental in student protests despite a court order against such actions at wits.
the affidavit stated that the charges brought against the student leader are backed by video footage.
rubin said was caught on camera carrying dangerous weapons such as sticks and stones. he was also captured breaching a police line during protests and assaulted a police officer who tried to arrest him.
rubin also opposed the release of by saying that he lied about having a test at the university on tuesday‚ as there were no scheduled tests or exams for's course.
dlamini's lawyer‚ ntanga‚ said his client is not a violent person and does not have previous criminal convictions.
the bail hearing continues.
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ðə steɪt ɔn ˈtuzˌdeɪ sɛd ɪt fɪrz ðət ˈlidər maɪt fli tɪ sˈwɑzɪlənd. ɪz əˈpɪrɪŋ ɪn ðə ˌʤoʊˈhænɪsbərg ˈmæʤɪˌstreɪts kɔrt ɔn ˈʧɑrʤɪz əv theft‚*‚ ˈpəblɪk violence‚*‚ əˈsɔlt wɪθ ˌɪnˈtɛnt tɪ kɔz ˈgrivəs ˈbɑdəli hɑrm ənd biɪŋ ɪn pəˈzɛʃən əv ˈdeɪnʤərəs ˈwɛpənz. ɪn ə kɔrt ˌæfəˈdeɪvət rɛd aʊt baɪ ˈprɑsɪˌkjutər ˈstivən rubin‚*‚ ðə steɪt sɛd ɪt fɪrd ðət ɪf ðə kɔrt grænts ɔn bail‚*‚ hi maɪt goʊ tɪ swaziland‚*‚ wɛr hi wɑz bɔrn. əˈpɪrz ðət hi ɪz frəm sˈwɑzɪlənd ənd ɑr meɪn kənˈsərn ɪz ðət hi maɪt goʊ tɪ sˈwɑzɪlənd ɪf riˈlist ɔn bail‚”*‚” ˈrubɪn sɛd. hi sɛd ðət dlamini‚*‚ hu ɪz ˈɔlsoʊ ə ˈfɔrmər ˈprɛzɪdənt əv ðə ˌjunəˈvərsəti əv ðə src‚*‚ həz ə prəˈpɛnsɪti tɪ ˌɪgˈnɔr kɔrt ˈɔrdərz. ɪt ˈædɪd ðət həz bɪn ˌɪnstrəˈmɛnəl ɪn ˈstudənt ˈproʊˌtɛsts dɪˈspaɪt ə kɔrt ˈɔrdər əˈgɛnst səʧ ˈækʃənz æt wɪts. ðə ˌæfəˈdeɪvət ˈsteɪtɪd ðət ðə ˈʧɑrʤɪz brɔt əˈgɛnst ðə ˈstudənt ˈlidər ər bækt baɪ ˈvɪdioʊ ˈfʊtɪʤ. ˈrubɪn sɛd wɑz kɔt ɔn ˈkæmərə ˈkɛriɪŋ ˈdeɪnʤərəs ˈwɛpənz səʧ ɛz stɪks ənd stoʊnz. hi wɑz ˈɔlsoʊ ˈkæpʧərd ˈbriʧɪŋ ə pəˈlis laɪn ˈdʊrɪŋ ˈproʊˌtɛsts ənd əˈsɔltɪd ə pəˈlis ˈɔfɪsər hu traɪd tɪ ərˈɛst ɪm. ˈrubɪn ˈɔlsoʊ əˈpoʊzd ðə riˈlis əv baɪ seɪɪŋ ðət hi laɪd əˈbaʊt ˈhævɪŋ ə tɛst æt ðə ˌjunəˈvərsəti ɔn tuesday‚*‚ ɛz ðɛr wər noʊ ˈskɛʤʊld tɛsts ər ɪgˈzæmz fər kɔrs. lawyer‚*‚ ntanga‚*‚ sɛd hɪz klaɪənt ɪz nɑt ə ˈvaɪələnt ˈpərsən ənd dɪz nɑt hæv ˈpriviəs ˈkrɪmənəl kənˈvɪkʃənz. ðə beɪl ˈhirɪŋ kənˈtɪnjuz. ˈdɪʤɪtəl
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president correa temporary travel document amid concerns founder is ‘running the show’
the plan to spirit the surveillance whistleblower edward snowden to sanctuary in latin america appears to be amid tension between government and julian, the founder of.
president rafael correa halted an effort to help snowden leave russia amid concern was usurping the role of the ecuadoran government, according to leaked diplomatic correspondence published on friday.
amid signs quito was cooling with snowden and irritated with, correa declared invalid a temporary travel document which could have helped extract snowden from his reported location in moscow.
correa declared that the safe conduct pass issued by london consul in collaboration with was unauthorised, after other ecuadorean diplomats privately said the founder could be perceived as “running the show”.
according to the correspondence, which was obtained by the broadcaster univision and shared with the wall street journal, divisions over have roiled government.
ecuador’s ambassador to the us, nathalie cely, told presidential spokesman fernando alvarado that role in the drama was being overshadowed by the founder, who has sheltered in london embassy for the past year to avoid extradition.
“i suggest talking to to better control the communications. from outside, [assange] appears to be running the show.”
earlier this week a senior foreign diplomat in quito told the guardian that some though not all factions in the government were annoyed with what they saw as grandstanding.
in a message attributed to sent to foreign minister, ricardo patiño, and other top officials, the founder apologised “if we have unwittingly [caused] ecuador discomfort in the snowden matter.” the note continued: “there is a fog of war due to the rapid nature of events. if similar events arise you can be assured that they do not originate in any lack of respect or concern for ecuador or its government.”
assange appears to have had a strong role in obtaining the travel document for snowden, dated 22 june which bore the printed name, but not signature, of the london consul, fidel narvaez, a confidante. by narvaez was reportedly in moscow.
the document could have helped snowden, whose us passport has been revoked, leave the transit lounge of airport where he has reportedly holed up since fleeing hong kong last weekend.
on thursday, correa, who previously has hailed snowden for exposing us spying, and has earned kudos for defying washington pressure over the affair, reduced chances of making it to quito.
at a press conference the president declared the travel document invalid and said ecuador would not consider an asylum request unless snowden reached ecuadorean territory, an increasingly remote prospect.
“the situation of mr snowden is a complex situation and we know how he will solve it.”
correa did however ramp up defiance of the us by waiving preferential trade rights to thwart what officials called washington “blackmail”. analysts said correa, an economist who in game theory, had so far extracted political capital from the saga without drawing us retaliation.
in a tv interview on friday, father said said he was worried about the involvement of. “i want to put him in peril, but i am concerned about those who surround him,” lonnie snowden told nbc.
“i think, if looked at past history their focus necessarily the constitution of the united states. simply to release as much information as possible.”
snowden said he did not believe his son had betrayed his country. “at this point, i feel that committed treason. he has broken us law, in a sense that he has released classified information. and if folks want to classify him as a traitor, in fact he has betrayed his government. but i believe that betrayed the people of the united states.”
snowden said he had told us attorney general eric holder through his lawyer that his son might return home if he would not be detained before trial, could choose the location for his trial and would not be subjected to a gag order. it was not clear that lonnie snowden was communicating his views, as he also said they had not spoken since april.
© guardian news and media 2013
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ˈprɛzɪdənt ˈkɔriə ˈtɛmpərˌɛri ˈtrævəl ˈdɑkjəmɛnt əˈmɪd kənˈsərnz ˈfaʊndər ɪz ðə show’*’ ðə plæn tɪ ˈspɪrɪt ðə sərˈveɪləns ˈwɪsəlˌbloʊər ˈɛdwərd sˈnoʊdən tɪ ˈsæŋkʧuˌɛri ɪn ˈlætən əˈmɛrɪkə əˈpɪrz tɪ bi əˈmɪd ˈtɛnʃən bɪtˈwin ˈgəvərnmənt ənd ˈʤuljən, ðə ˈfaʊndər əv. ˈprɛzɪdənt ˌrɑfaɪˈɛl ˈkɔriə ˈhɔltɪd ən ˈɛfərt tɪ hɛlp sˈnoʊdən liv ˈrəʃə əˈmɪd kənˈsərn wɑz ˌjuˈsərpɪŋ ðə roʊl əv ðə ˌɛkwəˈdɔrən ˈgəvərnmənt, əˈkɔrdɪŋ tɪ likt ˌdɪpləˈmætɪk ˌkɔrəˈspɑndəns ˈpəblɪʃt ɔn ˈfraɪˌdeɪ. əˈmɪd saɪnz ˈkiˌtoʊ wɑz ˈkulɪŋ wɪθ sˈnoʊdən ənd ˈɪrəˌteɪtəd wɪθ, ˈkɔriə dɪˈklɛrd ˌɪnˈvæləd ə ˈtɛmpərˌɛri ˈtrævəl ˈdɑkjəmɛnt wɪʧ kʊd hæv hɛlpt ˈɛkˌstrækt sˈnoʊdən frəm hɪz ˌriˈpɔrtəd loʊˈkeɪʃən ɪn ˈmɔˌskaʊ. ˈkɔriə dɪˈklɛrd ðət ðə seɪf ˈkɑndəkt pæs ˈɪʃud baɪ ˈləndən ˈkɑnsəl ɪn kəˌlæbərˈeɪʃən wɪθ wɑz unauthorised*, ˈæftər ˈəðər ˌɛkwəˈdɔriən ˈdɪpləˌmæts ˈpraɪvətli sɛd ðə ˈfaʊndər kʊd bi pərˈsivd ɛz ðə show”*”. əˈkɔrdɪŋ tɪ ðə ˌkɔrəˈspɑndəns, wɪʧ wɑz əbˈteɪnd baɪ ðə ˈbrɔdˌkæstər ˌjunɪˈvɪʒən ənd ʃɛrd wɪθ ðə wɔl strit ˈʤərnəl, dɪˈvɪʒənz ˈoʊvər hæv rɔɪld ˈgəvərnmənt. æmˈbæsədər tɪ ðə ˈjuˈɛs, ˈnætəli cely*, toʊld ˌprɛzɪˈdɛnʃəl ˈspoʊksmən fərˈnɑndoʊ ˌælvərˈɑdoʊ ðət roʊl ɪn ðə ˈdrɑmə wɑz biɪŋ ˌoʊvərˈʃædoʊd baɪ ðə ˈfaʊndər, hu həz ˈʃɛltərd ɪn ˈləndən ˈɛmbəsi fər ðə pæst jɪr tɪ əˈvɔɪd ˌɛkstrəˈdɪʃən. səˈʤɛst ˈtɔkɪŋ tɪ tɪ ˈbɛtər kənˈtroʊl ðə kəmˌjunəˈkeɪʃənz. frəm ˈaʊtˈsaɪd, [assange*] əˈpɪrz tɪ bi ˈrənɪŋ ðə show.”*.” ˈərliər ðɪs wik ə ˈsinjər ˈfɔrən ˈdɪpləˌmæt ɪn ˈkiˌtoʊ toʊld ðə ˈgɑrdiən ðət səm ðoʊ nɑt ɔl ˈfækʃənz ɪn ðə ˈgəvərnmənt wər əˈnɔɪd wɪθ wət ðeɪ sɔ ɛz ˈgrændˌstændɪŋ. ɪn ə ˈmɛsɪʤ əˈtrɪbjətəd tɪ sɛnt tɪ ˈfɔrən ˈmɪnɪstər, rɪˈkɑrdoʊ patiño*, ənd ˈəðər tɔp əˈfɪʃəlz, ðə ˈfaʊndər əˈpɑləˌʤaɪzd wi hæv ənˈwɪtɪŋli [kɔzd] ˈɛkwəˌdɔr dɪˈskəmfərt ɪn ðə sˈnoʊdən matter.”*.” ðə noʊt kənˈtɪnjud: ɪz ə fɔg əv wɔr du tɪ ðə ˈræpɪd ˈneɪʧər əv ɪˈvɛnts. ɪf ˈsɪmələr ɪˈvɛnts əraɪz ju kən bi əˈʃʊrd ðət ðeɪ du nɑt ərˈɪʤəˌneɪt ɪn ˈɛni læk əv rɪˈspɛkt ər kənˈsərn fər ˈɛkwəˌdɔr ər ɪts government.”*.” əˈpɪrz tɪ hæv hæd ə strɔŋ roʊl ɪn əbˈteɪnɪŋ ðə ˈtrævəl ˈdɑkjəmɛnt fər sˈnoʊdən, ˈdeɪtɪd 22 ʤun wɪʧ bɔr ðə ˈprɪnɪd neɪm, bət nɑt ˈsɪgnəʧər, əv ðə ˈləndən ˈkɑnsəl, fɪˈdɛl nɑrˈvɑɛz, ə ˈkɑnfəˌdænt. baɪ nɑrˈvɑɛz wɑz rɪˈpɔrtədli ɪn ˈmɔˌskaʊ. ðə ˈdɑkjəmɛnt kʊd hæv hɛlpt sˈnoʊdən, huz ˈjuˈɛs ˈpæˌspɔrt həz bɪn rɪˈvoʊkt, liv ðə ˈtrænzɪt laʊnʤ əv ˈɛrˌpɔrt wɛr hi həz rɪˈpɔrtədli hoʊld əp sɪns fliɪŋ hɔŋ kɔŋg læst ˈwiˌkɪnd. ɔn ˈθərzˌdeɪ, ˈkɔriə, hu ˈpriviəsli həz heɪld sˈnoʊdən fər ɪkˈspoʊzɪŋ ˈjuˈɛs spaɪɪŋ, ənd həz ərnd ˈkudoʊs fər dɪˈfaɪɪŋ ˈwɔʃɪŋtən ˈprɛʃər ˈoʊvər ðə əˈfɛr, rɪˈdust ˈʧænsɪz əv ˈmeɪkɪŋ ɪt tɪ ˈkiˌtoʊ. æt ə prɛs ˈkɑnfərəns ðə ˈprɛzɪdənt dɪˈklɛrd ðə ˈtrævəl ˈdɑkjəmɛnt ˌɪnˈvæləd ənd sɛd ˈɛkwəˌdɔr wʊd nɑt kənˈsɪdər ən əˈsaɪləm rɪkˈwɛst ənˈlɛs sˈnoʊdən riʧt ˌɛkwəˈdɔriən ˈtɛrɪˌtɔri, ən ˌɪnˈkrisɪŋgli rɪˈmoʊt ˈprɑspɛkt. ˌsɪʧuˈeɪʃən əv ˈmɪstər sˈnoʊdən ɪz ə ˈkɑmplɛks ˌsɪʧuˈeɪʃən ənd wi noʊ haʊ hi wɪl sɑlv it.”*.” ˈkɔriə dɪd ˌhaʊˈɛvər ræmp əp dɪˈfaɪəns əv ðə ˈjuˈɛs baɪ ˈweɪvɪŋ ˌprɛfərˈɛnʃəl treɪd raɪts tɪ θwɔrt wət əˈfɪʃəlz kɔld ˈwɔʃɪŋtən ““blackmail”*”. ˈænəlɪsts sɛd ˈkɔriə, ən ɪˈkɑnəmɪst hu ɪn geɪm ˈθɪri, hæd soʊ fɑr ɛkˈstræktɪd pəˈlɪtɪkəl ˈkæpɪtəl frəm ðə ˈsɑgə wɪˈθaʊt drɔɪŋ ˈjuˈɛs riˌtæliˈeɪʃən. ɪn ə ˌtɛləˈvɪʒən ˈɪntərvˌju ɔn ˈfraɪˌdeɪ, ˈfɑðər sɛd sɛd hi wɑz ˈwərid əˈbaʊt ðə ˌɪnˈvɑlvmənt əv. wɔnt tɪ pʊt ɪm ɪn ˈpɛrəl, bət aɪ æm kənˈsərnd əˈbaʊt ðoʊz hu səraʊnd him,”*,” ˈlɔni sˈnoʊdən toʊld ˈɛnˌbiˈsi. θɪŋk, ɪf lʊkt æt pæst ˈhɪstəri ðɛr ˈfoʊkɪs ˌnɛsəˈsɛrəli ðə ˌkɑnstəˈtuʃən əv ðə juˈnaɪtɪd steɪts. ˈsɪmpli tɪ riˈlis ɛz məʧ ˌɪnˌfɔrˈmeɪʃən ɛz possible.”*.” sˈnoʊdən sɛd hi dɪd nɑt bɪˈliv hɪz sən hæd bɪˈtreɪd hɪz ˈkəntri. ðɪs pɔɪnt, aɪ fil ðət kəˈmɪtɪd ˈtrizən. hi həz ˈbroʊkən ˈjuˈɛs lɔ, ɪn ə sɛns ðət hi həz riˈlist ˈklæsəˌfaɪd ˌɪnˌfɔrˈmeɪʃən. ənd ɪf foʊks wɔnt tɪ ˈklæsəˌfaɪ ɪm ɛz ə ˈtreɪtər, ɪn fækt hi həz bɪˈtreɪd hɪz ˈgəvərnmənt. bət aɪ bɪˈliv ðət bɪˈtreɪd ðə ˈpipəl əv ðə juˈnaɪtɪd states.”*.” sˈnoʊdən sɛd hi hæd toʊld ˈjuˈɛs əˈtərni ˈʤɛnərəl ˈɛrɪk ˈhoʊldər θru hɪz ˈlɔjər ðət hɪz sən maɪt rɪˈtərn hoʊm ɪf hi wʊd nɑt bi dɪˈteɪnd ˌbiˈfɔr traɪəl, kʊd ʧuz ðə loʊˈkeɪʃən fər hɪz traɪəl ənd wʊd nɑt bi səˈbʤɛktɪd tɪ ə gæg ˈɔrdər. ɪt wɑz nɑt klɪr ðət ˈlɔni sˈnoʊdən wɑz kəmˈjunəˌkeɪtɪŋ hɪz vjuz, ɛz hi ˈɔlsoʊ sɛd ðeɪ hæd nɑt ˈspoʊkən sɪns ˈeɪprəl. ˈgɑrdiən nuz ənd ˈmidiə 2013
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20th-century american novelist, writer, journalist, political activist
upton beall sinclair jr. (september 20, 1878 november 25, 1968) was an american writer who wrote nearly 100 books and other works in several genres. work was well known and popular in the first half of the century, and he won the pulitzer prize for fiction in 1943.
in 1906, sinclair acquired particular fame for his classic novel the jungle, which exposed labor and sanitary conditions in the u.s. meatpacking industry, causing a public uproar that contributed in part to the passage a few months later of the 1906 pure food and drug act and the meat inspection] in 1919, he published the brass check, a exposé of american journalism that publicized the issue of yellow journalism and the limitations of the "free press" in the united states. four years after publication of the brass check, the first code of ethics for journalists was] time magazine called him "a man with every gift except humor and] he is also well remembered for the line: "it is difficult to get a man to understand something, when his salary depends upon his not understanding] he used this line in speeches and the book about his campaign for governor as a way to explain why the editors and publishers of the major newspapers in california would not treat seriously his proposals for old age pensions and other progressive reforms.
many of his novels can be read as historical works. writing during the progressive era, sinclair describes the world of industrialized america from both the working man's and the points of view. novels such as king coal (1917), the coal war (published posthumously), oil! (1927), and the king (1937) describe the working conditions of the coal, oil, and auto industries at the time.
the king describes the rise of henry ford, his "wage reform", and the company's sociological department to his decline into as publisher of the dearborn independent. king coal confronts john d. rockefeller jr., and his role in the 1913 ludlow massacre in the coal fields of colorado.
sinclair was an outspoken socialist and ran unsuccessfully for congress as a nominee from the socialist party. he was also the democratic party candidate for governor of california during the great depression, running under the banner of the end poverty in california campaign, but was defeated in the 1934 elections.
early life and education [ edit ]
sinclair was born in baltimore, maryland, to upton beall sinclair sr. and priscilla harden sinclair. his father was a liquor salesman whose alcoholism shadowed his son's childhood. priscilla harden sinclair was a strict episcopalian who disliked alcohol, tea, and coffee. as a child, sinclair slept either on sofas or on his parents' bed. when his father was out for the night, he would sleep alone in the bed with his] sinclair did not get along with her when he became older because of her strict rules and refusal to allow him independence. sinclair later told his son, david, that around year, he decided not to have anything to do with his mother, staying away from her for 35 years because an argument would start if they] his mother's family was very affluent: her parents were very prosperous in baltimore, and her sister married a millionaire. sinclair had wealthy maternal grandparents with whom he often stayed. this gave him insight into how both the rich and the poor lived during the late century. living in two social settings affected him and greatly influenced his books. upton beall sinclair, sr., was from a highly respected family in the south, but the family was financially ruined by the civil war, disruptions of the labor system during the reconstruction era, and an extended agricultural depression.
as he was growing up, family moved frequently, as his father was not successful in his career. he developed a love for reading when he was five years old. he read every book his mother owned for a deeper understanding of the world. he did not start school until he was 10 years old. he was deficient in math and worked hard to catch up quickly because of his] in 1888, the sinclair family moved to queens, new york, where his father sold shoes. upton entered the city college of new york five days before his] on september 15,] he wrote jokes, dime novels, and magazine articles in boys' weekly and pulp magazines to pay for his] with that income, he was able to move his parents to an apartment when he was seventeen years]
he graduated in june 1897 and studied for a time at columbia] his major was law, but he was more interested in writing, and he learned several languages, including spanish, german, and french. he paid the one-time enrollment fee to be able to learn a variety of things. he would sign up for a class and then later drop] he again supported himself through college by writing boys' adventure stories and jokes. he also sold ideas to] using stenographers, he wrote up to words of pulp fiction per day. his only complaint about his educational experience was that it failed to educate him about] after leaving columbia, he wrote four books in the next four years; they were commercially unsuccessful though critically well-received: king midas (1901), prince hagen (1902), the journal of arthur stirling (1903), and a civil war novel titled manassas (1904).[citation needed]
upton became close with reverend william moir. moir specialized in sexual abstinence and taught his beliefs to sinclair. he was taught to "avoid the subject of sex." sinclair was to report to moir monthly regarding his abstinence. despite their close relationship, sinclair identified as]
career [ edit ]
upton sinclair imagined himself a poet and dedicated his time to writing]
upton sinclair early in his career
upton sinclair wearing a white suit and black armband, picketing the rockefeller building in new york city
in 1904, sinclair spent seven weeks in disguise, working undercover in chicago's meatpacking plants to research his novel, the jungle (1906), a political exposé that addressed conditions in the plants, as well as the lives of poor immigrants. when it was published two years later, it became a bestseller.
with the income from the jungle, sinclair founded the white home colony in englewood, new jersey (helicon home colony was a space [16]). he ran as a socialist candidate for] the colony burned down under suspicious circumstances within a]
in the spring of 1905, sinclair issued a call for the formation of a new organization, a group to be called the intercollegiate socialist]
in, sinclair made three trips to the coal fields of colorado, which led him to write king coal and caused him to begin work on the larger, more historical the coal war. in 1914, sinclair helped organize demonstrations in new york city against rockefeller at the standard oil offices. the demonstrations touched off more actions by the industrial workers of the world (iww) and the mother earth group, a loose association of anarchists and members, in rockefeller's hometown of]
the moved to california in the and lived there for nearly four decades. during his years with his second wife, mary craig, sinclair wrote or produced several films. recruited by charlie chaplin, sinclair and mary craig produced ¡qué viva méxico! in]
other interests [ edit ]
aside from his political and social writings, sinclair took an interest in occult phenomena and experimented with telepathy. his book mental radio (1930) included accounts of his wife mary's telepathic experiences and] william mcdougall read the book and wrote an introduction to it, which led him to establish the department at duke]
political career [ edit ]
sinclair broke with the socialist party in 1917 and supported the war effort. by the, however, he had returned to the party.
in the, the moved to monrovia, california, near los angeles, where sinclair founded the state's chapter of the american civil liberties union. wanting to pursue politics, he twice ran unsuccessfully for united states congress on the socialist ticket: in 1920 for the house of representatives and in 1922 for the senate. he was the party candidate for governor california in 1930, winning nearly votes.
during this period, sinclair was also active in radical politics in los angeles. for instance, in 1923, to support the challenged free speech rights of industrial workers of the world, sinclair spoke at a rally during the san pedro maritime strike, in a neighborhood now known as liberty hill. he began to read from the bill of rights and was promptly arrested, along with hundreds of others, by the lapd. the arresting officer proclaimed: "we'll have none of that constitution]
in 1934, sinclair ran in the california gubernatorial election as a democrat. platform, known as the end poverty in california movement (epic), galvanized the support of the democratic party, and sinclair gained its] gaining votes made this his most successful run for office, but incumbent governor frank merriam defeated him by a sizable] gaining] hollywood studio bosses unanimously opposed sinclair. they pressured their employees to assist and vote for campaign, and made false propaganda films attacking sinclair, giving him no opportunity to]
upton sinclair
sinclair's plan to end poverty quickly became a controversial issue under the pressure of numerous migrants to california fleeing the dust bowl. conservatives considered his proposal an attempted communist takeover of their state and quickly opposed him, using propaganda to portray sinclair as a staunch communist. sinclair had been a member of the socialist party from 1902 to 1934, when he became a democrat, though always considering himself a socialist in] the socialist party in california and nationwide refused to allow its members to be active in any other party including the democratic party and expelled him, along with socialists who supported his california campaign. the expulsions destroyed the socialist party in]
at the same time, american and soviet communists disassociated themselves from him, considering him a] in later writings, such as his book the cup of fury, sinclair censured communism. science-fiction author robert a. heinlein was deeply involved in campaign, although he attempted to move away from the stance later in his] in the century, sinclair is considered an early american democratic]
after his loss to merriam, sinclair abandoned epic and politics to return to writing. in 1935, he published i, candidate for governor: and how i got licked, in which he described the techniques employed by supporters, including the then popular aimee semple mcpherson, who vehemently opposed socialism and what she perceived as modernism. line from this book "it is difficult to get a man to understand something, when his salary depends upon his not understanding it" has become well known and was for example quoted by al gore in an inconvenient]
of his gubernatorial bid, sinclair remarked in 1951:
the american people will take socialism, but they won't take the label. i certainly proved it in the case of epic. running on the socialist ticket i got votes, and running on the slogan to 'end poverty in california' i got. i think we simply have to recognize the fact that our enemies have succeeded in spreading the big lie. there is no use attacking it by a front attack, it is much better to]
personal life [ edit ]
in april 1900, sinclair went to lake in quebec to work on a novel. he had a small cabin rented for three months and then he moved to a] here, his future wife, meta fuller, and he became close. she was three years younger than him and had aspirations of being more than a housewife. sinclair gave her direction as to what to read and] meta had been a childhood friend whose family was one of the first families of virginia. each had warned the other about themselves and would later bring that up in arguments. they married october 18,] they used abstinence as their main form of birth control. meta became pregnant with a child shortly after they married and attempted to abort it multiple] the child was born on december 1, 1901, and named needed] meta and her family tried to get sinclair to give up writing and get "a job that would support his] around 1911, meta left sinclair for the poet harry] later known as the "dunes poet" of provincetown, massachusetts.
in 1913, sinclair married mary craig kimbrough (1883–1961), a woman from an elite greenwood, mississippi, family. she had written articles and a book on winnie davis, the daughter of confederate states of america president jefferson davis. he met her when she attended one of his lectures about the jungle. in the, the sinclair couple moved to california. they were married until her death in 1961. sinclair married again, to mary elizabeth willis (1882–1967).[43]
sinclair was opposed to sex outside of marriage and he viewed marital relations as necessary only for procreation. he told his first wife meta that only the birth of a child gave marriage "dignity and meaning". despite his beliefs, he had an adulterous affair with anna noyes during his marriage to meta. he wrote a novel about the affair called love's progress, a sequel to love's pilgrimage. it was never published. his wife next had an affair with john armistead collier, a theology student from memphis; they had a son together named ben.
in his novel, mammonart, he suggested that christianity was a religion that favored the rich and promoted a drop of standards. he was against]
late in life sinclair, with his third wife mary willis, moved to buckeye, arizona. they returned east to bound brook, new jersey. sinclair died there in a nursing home on november 25, 1968, a year after his] he is buried in rock creek cemetery in washington, d.c., next to willis.
writing [ edit ]
sinclair devoted his writing career to documenting and criticizing the social and economic conditions of the early century in both fiction and nonfiction. he exposed his view of the injustices of capitalism and the overwhelming effects of poverty among the working class. he also edited collections of fiction and nonfiction.
the jungle [ edit ]
his novel based on the meatpacking industry in chicago, the jungle, was first published in serial form in the socialist newspaper appeal to reason, from february 25, 1905, to november 4, 1905. it was published as a book by doubleday in]
sinclair had spent about six months investigating the chicago meatpacking industry for appeal to reason, the work which inspired his novel. he intended to "set forth the breaking of human hearts by a system which exploits the labor of men and women for] the novel featured rudkus, a lithuanian immigrant who works in a meat factory in chicago, his teenaged wife ona lukoszaite, and their extended family. sinclair portrays their mistreatment by rudkus' employers and the wealthier elements of society. his descriptions of the unsanitary and inhumane conditions that workers suffered served to shock and galvanize readers. jack london called book "the uncle tom's cabin of wage] domestic and foreign purchases of american meat fell by]
sinclair wrote in cosmopolitan in october 1906 about the jungle: "i aimed at the public's heart, and by accident i hit it in the] the novel brought public lobbying for congressional legislation and government regulation of the industry, including passage of the meat inspection act and the pure food and drug] at the time, president theodore roosevelt characterized sinclair as a] writing to william allen white, "i have an utter contempt for him. he is hysterical, unbalanced, and untruthful. of the things he said were absolute falsehoods. for some of the remainder there was only a basis of] after reading the jungle, roosevelt agreed with some of conclusions, but was opposed to legislation that he considered "socialist". he said, "radical action must be taken to do away with the efforts of arrogant and selfish greed on the part of the]
the brass check [ edit ]
in the brass check (1919), sinclair made a systematic and incriminating critique of the severe limitations of the "free press" in the united states. among the topics covered is the use of yellow journalism techniques created by william randolph hearst. sinclair called the brass check "the most important and most dangerous book i have ever]
sylvia novels [ edit ]
sylvia (1913) was a novel about a southern girl. in her autobiography, mary craig sinclair said she had written the book based on her own experiences as a girl, and upton collaborated with her. [note 1] [59] she asked him to publish it under his name. [60] when it appeared in 1913, the new york times called it "the best novel mr. sinclair has yet much the best that it stands in a class by itself." [61]
(1913) was a novel about a southern girl. in her autobiography, mary craig sinclair said she had written the book based on her own experiences as a girl, and upton collaborated with her. she asked him to publish it under his name. when it appeared in 1913, called it "the best novel mr. sinclair has yet much the best that it stands in a class by itself." sylvia's marriage (1914), craig and sinclair collaborated on a sequel, also published by john c. winston company under upton] in his 1962 autobiography, upton sinclair wrote: "[mary] craig had written some tales of her southern girlhood; and i had stolen them from her for a novel to be called]
i, governor of california, and how i ended poverty [ edit ]
this was a novel he published in 1934 as a preface to running for office. he outlined his plans in]
lanny budd series [ edit ]
between 1940 and 1953, sinclair wrote a series of 11 novels featuring a central character named lanny budd. the son of an american arms manufacturer, budd is portrayed as holding in the confidence of world leaders, and not simply witnessing events, but often propelling them. as a sophisticated socialite who mingles easily with people from all cultures and socioeconomic classes, budd has been characterized as the antithesis of the stereotyped "ugly]
sinclair placed budd within the important political events in the united states and europe in the first half of the century. an actual company named the budd company manufactured arms during world war ii, founded by edward g. budd in 1912.
the novels were bestsellers upon publication and were published in translation, appearing in 21 countries. the third book in the series, dragon's teeth (1942), won the pulitzer prize for the novel in] out of print and nearly forgotten for years, editions of the lanny budd series were published in]
the lanny budd series includes:
other works [ edit ]
sinclair was keenly interested in health and nutrition. he experimented with various diets, and with fasting. he wrote about this in his book, the fasting cure (1911), another] he believed that periodic fasting was important for health, saying, "i had taken several fasts of ten or twelve days' duration, with the result of a complete making over of my]
sinclair favored a raw food diet of predominantly vegetables and nuts. for long periods of time, he was a complete vegetarian, but he also experimented with eating meat. his attitude to these matters was fully explained in the chapter, "the use of meat", in the]
representation in popular culture [ edit ]
films [ edit ]
works [ edit ]
fiction
autobiographical
non-fiction
drama
as editor
see also [ edit ]
upton sinclair house in monrovia, california .
. will h. kindig, a supporter on the los angeles city council
notes [ edit ]
^ sylvia (1913) under his name. in her 1957 memoir, she described how her husband and she had collaborated on the work: upton and i struggled through several chapters of sylvia together, disagreeing about something on every page. but now and then each of us admitted that the other had improved something. i was learning fast now that this novelist was not much of a psychologist. he thought of characters in a book merely as vehicles for carrying his ideas. according to craig, at her insistence sinclair) under his name. in her 1957 memoir, she described how her husband and she had collaborated on the work:
references [ edit ]
further reading [ edit ]
arthur, anthony (2006), radical innocent upton sinclair , new york: random house .
. william a. bloodworth, jr., upton sinclair. boston: publishers, 1977.
boston: publishers, 1977. lauren coodley, editor, the land of orange groves and jails: upton california. berkeley, ca: heyday books, 2004.
berkeley, ca: heyday books, 2004. lauren coodley, upton sinclair: california socialist, celebrity intellectual. lincoln, ne: university of nebraska press, 2013.
lincoln, ne: university of nebraska press, 2013. engs, ruth clifford, [ed] unseen upton sinclair: nine unpublished stories, essays and other works. jefferson, nc: mcfarland & co. 2009.
jefferson, nc: mcfarland & co. 2009. graham, john, the coal war, colorado associated university press, 1976.
colorado associated university press, 1976. ronald gottesman, upton sinclair: an annotated checklist. kent state university press, 1973.
kent state university press, 1973. harris, leon. upton sinclair, american rebel. new york: thomas y. crowell co, 1975.
new york: thomas y. crowell co, 1975. leader, leonard. "upton epic switch: a dilemma for american socialists." southern california quarterly (1980):.
62.4 (1980):. mattson, kevin. upton sinclair and the other american century. hoboken, nj: john wiley & sons, 2006.
hoboken, nj: john wiley & sons, 2006. mitchell, greg. the campaign of the century: upton sinclair and the epic campaign in california. new york: atlantic monthly press, 1991.
new york: atlantic monthly press, 1991. swint, kerwin. mudslingers: the twenty-five dirtiest political campaigns of all time. westport, ct: praeger, 2006.
westport, ct: praeger, 2006. jon a. yoder, upton sinclair. new york: frederick ungar, 1975.
new york: frederick ungar, 1975. rob leicester wagner, hollywood bohemia: the roots of progressive politics in rob wagner's script 2016) ()
(janaway 2016) () martin zanger, "upton sinclair as california's socialist candidate for congress, 1920," southern california quarterly, vol. 56, no. 4 (winter 1974), pp..
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20th-century* əˈmɛrɪkən ˈnɑvələst, ˈraɪtər, ˈʤərnəlɪst, pəˈlɪtɪkəl ˈæktɪvɪst ˈəptən bil ˈsɪnklɛr jr*. (sɛpˈtɛmbər 20 1878 noʊˈvɛmbər 25 1968 wɑz ən əˈmɛrɪkən ˈraɪtər hu roʊt ˈnɪrli 100 bʊks ənd ˈəðər wərks ɪn ˈsɛvərəl ˈʒɑnrəz. wərk wɑz wɛl noʊn ənd ˈpɑpjələr ɪn ðə fərst hæf əv ðə ˈsɛnʧəri, ənd hi wən ðə ˈpʊlətsər praɪz fər ˈfɪkʃən ɪn 1943 ɪn 1906 ˈsɪnklɛr əkˈwaɪərd ˌpɑˈtɪkjələr feɪm fər hɪz ˈklæsɪk ˈnɑvəl ðə ˈʤəŋgəl, wɪʧ ɪkˈspoʊzd ˈleɪbər ənd ˈsænɪˌtɛri kənˈdɪʃənz ɪn ðə juz. ˈmitˌpækɪŋ ˈɪndəstri, ˈkɔzɪŋ ə ˈpəblɪk ˈəˌprɔr ðət kənˈtrɪbjutɪd ɪn pɑrt tɪ ðə ˈpæsɪʤ ə fju mənθs ˈleɪtər əv ðə 1906 pjʊr fud ənd drəg ækt ənd ðə mit ˌɪnˈspɛkʃən ɪn 1919 hi ˈpəblɪʃt ðə bræs ʧɛk, ə exposé*é əv əˈmɛrɪkən ˈʤərnəˌlɪzəm ðət ˈpəblɪˌsaɪzd ðə ˈɪʃu əv ˈjɛloʊ ˈʤərnəˌlɪzəm ənd ðə ˌlɪmɪˈteɪʃənz əv ðə "fri prɛs" ɪn ðə juˈnaɪtɪd steɪts. fɔr jɪrz ˈæftər ˌpəblɪˈkeɪʃən əv ðə bræs ʧɛk, ðə fərst koʊd əv ˈɛθɪks fər ˈʤərnəlɪsts wɑz taɪm ˈmægəˌzin kɔld ɪm "ə mæn wɪθ ˈɛvəri gɪft ɪkˈsɛpt ˈhjumər ənd hi ɪz ˈɔlsoʊ wɛl rɪˈmɛmbərd fər ðə laɪn: "ɪt ɪz ˈdɪfəkəlt tɪ gɪt ə mæn tɪ ˌəndərˈstænd ˈsəmθɪŋ, wɪn hɪz ˈsæləri dɪˈpɛndz əˈpɑn hɪz nɑt ˌəndərˈstændɪŋ hi juzd ðɪs laɪn ɪn ˈspiʧɪz ənd ðə bʊk əˈbaʊt hɪz kæmˈpeɪn fər ˈgəvərnər ɛz ə weɪ tɪ ɪkˈspleɪn waɪ ðə ˈɛdɪtərz ənd ˈpəblɪʃərz əv ðə ˈmeɪʤər ˈnuzˌpeɪpərz ɪn ˌkæləˈfɔrnjə wʊd nɑt trit ˈsɪriəsli hɪz prəˈpoʊzəlz fər oʊld eɪʤ ˈpɛnʃənz ənd ˈəðər prəˈgrɛsɪv rɪˈfɔrmz. ˈmɛni əv hɪz ˈnɑvəlz kən bi rɛd ɛz hɪˈstɔrɪkəl wərks. ˈraɪtɪŋ ˈdʊrɪŋ ðə prəˈgrɛsɪv ˈɪrə, ˈsɪnklɛr dɪˈskraɪbz ðə wərld əv ˌɪnˈdəstriəˌlaɪzd əˈmɛrɪkə frəm boʊθ ðə ˈwərkɪŋ mænz ənd ðə pɔɪnts əv vju. ˈnɑvəlz səʧ ɛz kɪŋ koʊl 1917 ðə koʊl wɔr (ˈpəblɪʃt ˈpɑsʧʊməsli), ɔɪl! 1927 ənd ðə kɪŋ 1937 dɪˈskraɪb ðə ˈwərkɪŋ kənˈdɪʃənz əv ðə koʊl, ɔɪl, ənd ˈɔtoʊ ˈɪndəstriz æt ðə taɪm. ðə kɪŋ dɪˈskraɪbz ðə raɪz əv ˈhɛnri fɔrd, hɪz "weɪʤ rɪˈfɔrm", ənd ðə ˈkəmpəniz ˌsoʊsiəˈlɑʤɪkəl dɪˈpɑrtmənt tɪ hɪz dɪˈklaɪn ˈɪntu ɛz ˈpəblɪʃər əv ðə ˈdɪrˌbɔrn ˌɪndɪˈpɛndənt. kɪŋ koʊl kənˈfrənts ʤɑn di. ˈrɑkəˌfɛlər jr*., ənd hɪz roʊl ɪn ðə 1913 ˈləˌdloʊ ˈmæsəkər ɪn ðə koʊl fildz əv ˌkɑlərˈɑdoʊ. ˈsɪnklɛr wɑz ən ˈaʊtˈspoʊkən ˈsoʊʃəlɪst ənd ræn ˌənsəkˈsɛsfəli fər ˈkɑŋgrəs ɛz ə ˌnɑməˈni frəm ðə ˈsoʊʃəlɪst ˈpɑrti. hi wɑz ˈɔlsoʊ ðə ˌdɛməˈkrætɪk ˈpɑrti ˈkænədɪt fər ˈgəvərnər əv ˌkæləˈfɔrnjə ˈdʊrɪŋ ðə greɪt dɪˈprɛʃən, ˈrənɪŋ ˈəndər ðə ˈbænər əv ðə ɛnd ˈpɑvərti ɪn ˌkæləˈfɔrnjə kæmˈpeɪn, bət wɑz dɪˈfitɪd ɪn ðə 1934 ɪˈlɛkʃənz. ˈərli laɪf ənd ˌɛʤəˈkeɪʃən ˈɛdət ˈsɪnklɛr wɑz bɔrn ɪn ˈbɔltəˌmɔr, ˈmɛrələnd, tɪ ˈəptən bil ˈsɪnklɛr ˈsɪstər. ənd prɪˈsɪlə ˈhɑrdən ˈsɪnklɛr. hɪz ˈfɑðər wɑz ə ˈlɪkər ˈseɪlzmən huz ˈælkəˌhɔˌlɪzəm ˈʃædoʊd hɪz sənz ˈʧaɪlˌdhʊd. prɪˈsɪlə ˈhɑrdən ˈsɪnklɛr wɑz ə strɪkt ɪˌpɪskəˈpeɪljən hu dɪsˈlaɪkt ˈælkəˌhɑl, ti, ənd ˈkɔfi. ɛz ə ʧaɪld, ˈsɪnklɛr slɛpt ˈiðər ɔn ˈsoʊfəz ər ɔn hɪz ˈpɛrənts' bɛd. wɪn hɪz ˈfɑðər wɑz aʊt fər ðə naɪt, hi wʊd slip əˈloʊn ɪn ðə bɛd wɪθ hɪz ˈsɪnklɛr dɪd nɑt gɪt əˈlɔŋ wɪθ hər wɪn hi bɪˈkeɪm ˈoʊldər bɪˈkəz əv hər strɪkt rulz ənd rɪfˈjuzəl tɪ əˈlaʊ ɪm ˌɪndɪˈpɛndəns. ˈsɪnklɛr ˈleɪtər toʊld hɪz sən, ˈdeɪvɪd, ðət əraʊnd jɪr, hi ˌdɪˈsaɪdɪd nɑt tɪ hæv ˈɛniˌθɪŋ tɪ du wɪθ hɪz ˈməðər, steɪɪŋ əˈweɪ frəm hər fər 35 jɪrz bɪˈkəz ən ˈɑrgjəmənt wʊd stɑrt ɪf ðeɪ hɪz ˈməðərz ˈfæməli wɑz ˈvɛri ˈæfluənt: hər ˈpɛrənts wər ˈvɛri ˈprɑspərəs ɪn ˈbɔltəˌmɔr, ənd hər ˈsɪstər ˈmɛrid ə ˌmɪljəˈnɛr. ˈsɪnklɛr hæd ˈwɛlθi məˈtərnəl ˈgrændˌpɛrənts wɪθ hum hi ˈɔfən steɪd. ðɪs geɪv ɪm ˈɪnˌsaɪt ˈɪntu haʊ boʊθ ðə rɪʧ ənd ðə pur lɪvd ˈdʊrɪŋ ðə leɪt ˈsɛnʧəri. ˈlɪvɪŋ ɪn tu ˈsoʊʃəl ˈsɛtɪŋz əˈfɛktɪd ɪm ənd ˈgreɪtli ˈɪnfluənst hɪz bʊks. ˈəptən bil ˈsɪnklɛr, ˈsɪstər., wɑz frəm ə ˈhaɪli rɪˈspɛktɪd ˈfæməli ɪn ðə saʊθ, bət ðə ˈfæməli wɑz ˌfaɪˈnænʃəli ruɪnd baɪ ðə ˈsɪvəl wɔr, dɪsˈrəpʃənz əv ðə ˈleɪbər ˈsɪstəm ˈdʊrɪŋ ðə ˌrikənˈstrəkʃən ˈɪrə, ənd ən ɪkˈstɛndɪd ˌægrɪˈkəlʧərəl dɪˈprɛʃən. ɛz hi wɑz groʊɪŋ əp, ˈfæməli muvd ˈfrikwɛntli, ɛz hɪz ˈfɑðər wɑz nɑt səkˈsɛsfəl ɪn hɪz kərɪr. hi dɪˈvɛləpt ə ləv fər ˈrɛdɪŋ wɪn hi wɑz faɪv jɪrz oʊld. hi rɛd ˈɛvəri bʊk hɪz ˈməðər oʊnd fər ə ˈdipər ˌəndərˈstændɪŋ əv ðə wərld. hi dɪd nɑt stɑrt skul ənˈtɪl hi wɑz 10 jɪrz oʊld. hi wɑz dɪˈfɪʃənt ɪn mæθ ənd wərkt hɑrd tɪ kæʧ əp kˈwɪkli bɪˈkəz əv hɪz ɪn 1888 ðə ˈsɪnklɛr ˈfæməli muvd tɪ kwinz, nu jɔrk, wɛr hɪz ˈfɑðər soʊld ʃuz. ˈəptən ˈɛnərd ðə ˈsɪti ˈkɑlɪʤ əv nu jɔrk faɪv deɪz ˌbiˈfɔr hɪz ɔn sɛpˈtɛmbər 15 hi roʊt ʤoʊks, daɪm ˈnɑvəlz, ənd ˈmægəˌzin ˈɑrtɪkəlz ɪn bɔɪz' ˈwikli ənd pəlp ˈmægəˌzinz tɪ peɪ fər hɪz wɪθ ðət ˈɪnˌkəm, hi wɑz ˈeɪbəl tɪ muv hɪz ˈpɛrənts tɪ ən əˈpɑrtmənt wɪn hi wɑz ˈsɛvənˈtin jɪrz hi ˈgræʤəˌweɪtɪd ɪn ʤun 1897 ənd ˈstədid fər ə taɪm æt kəˈləmbiə hɪz ˈmeɪʤər wɑz lɔ, bət hi wɑz mɔr ˈɪntəˌrɛstɪd ɪn ˈraɪtɪŋ, ənd hi ˈlərnɪd ˈsɛvərəl ˈlæŋgwɪʤɪz, ˌɪnˈkludɪŋ ˈspænɪʃ, ˈʤərmən, ənd frɛnʧ. hi peɪd ðə ˈwəˌtaɪm ɛnˈroʊlmənt fi tɪ bi ˈeɪbəl tɪ lərn ə vərˈaɪəti əv θɪŋz. hi wʊd saɪn əp fər ə klæs ənd ðɛn ˈleɪtər drɔp hi əˈgɛn səˈpɔrtɪd hɪmˈsɛlf θru ˈkɑlɪʤ baɪ ˈraɪtɪŋ bɔɪz' ədˈvɛnʧər ˈstɔriz ənd ʤoʊks. hi ˈɔlsoʊ soʊld aɪˈdiəz tɪ ˈjuzɪŋ stenographers*, hi roʊt əp tɪ wərdz əv pəlp ˈfɪkʃən pər deɪ. hɪz ˈoʊnli kəmˈpleɪnt əˈbaʊt hɪz ˌɛʤəˈkeɪʃənəl ɪkˈspɪriəns wɑz ðət ɪt feɪld tɪ ˈɛʤəˌkeɪt ɪm əˈbaʊt ˈæftər ˈlivɪŋ kəˈləmbiə, hi roʊt fɔr bʊks ɪn ðə nɛkst fɔr jɪrz; ðeɪ wər kəˈmərʃəli ˌənsəkˈsɛsfəl ðoʊ ˈkrɪtɪkəli well-received*: kɪŋ ˈmaɪdəs 1901 prɪns ˈheɪgən 1902 ðə ˈʤərnəl əv ˈɑrθər ˈstərlɪŋ 1903 ənd ə ˈsɪvəl wɔr ˈnɑvəl ˈtaɪtəld mæˈnɑsəs ˈnidɪd] ˈəptən bɪˈkeɪm kloʊz wɪθ ˈrɛvərənd ˈwɪljəm mɔɪr. mɔɪr ˈspɛʃəˌlaɪzd ɪn ˈsɛkʃuəl ˈæbstənəns ənd tɔt hɪz bɪˈlifs tɪ ˈsɪnklɛr. hi wɑz tɔt tɪ "əˈvɔɪd ðə ˈsəbʤɪkt əv sɛks." ˈsɪnklɛr wɑz tɪ rɪˈpɔrt tɪ mɔɪr ˈmənθli rɪˈgɑrdɪŋ hɪz ˈæbstənəns. dɪˈspaɪt ðɛr kloʊz riˈleɪʃənˌʃɪp, ˈsɪnklɛr aɪˈdɛntəˌfaɪd ɛz kərɪr ˈɛdət ˈəptən ˈsɪnklɛr ˌɪˈmæʤənd hɪmˈsɛlf ə poʊət ənd ˈdɛdəkeɪtəd hɪz taɪm tɪ ˈraɪtɪŋ ˈəptən ˈsɪnklɛr ˈərli ɪn hɪz kərɪr ˈəptən ˈsɪnklɛr ˈwɛrɪŋ ə waɪt sut ənd blæk ˈɑrmˌbænd, ˈpɪkətɪŋ ðə ˈrɑkəˌfɛlər ˈbɪldɪŋ ɪn nu jɔrk ˈsɪti ɪn 1904 ˈsɪnklɛr spɛnt ˈsɛvən wiks ɪn dɪsˈgaɪz, ˈwərkɪŋ ˌəndərˈkəvər ɪn ʃəˈkɑˌgoʊz ˈmitˌpækɪŋ plænts tɪ ˈrisərʧ hɪz ˈnɑvəl, ðə ˈʤəŋgəl 1906 ə pəˈlɪtɪkəl exposé*é ðət əˈdrɛst kənˈdɪʃənz ɪn ðə plænts, ɛz wɛl ɛz ðə lɪvz əv pur ˈɪməgrənts. wɪn ɪt wɑz ˈpəblɪʃt tu jɪrz ˈleɪtər, ɪt bɪˈkeɪm ə ˈbɛˈsɛlər. wɪθ ðə ˈɪnˌkəm frəm ðə ˈʤəŋgəl, ˈsɪnklɛr ˈfaʊndɪd ðə waɪt hoʊm ˈkɑləni ɪn ˈɛŋgəlˌwʊd, nu ˈʤərzi (ˈhɛlɪˌkɑn hoʊm ˈkɑləni wɑz ə speɪs 16 hi ræn ɛz ə ˈsoʊʃəlɪst ˈkænədɪt fər ðə ˈkɑləni bərnd daʊn ˈəndər səˈspɪʃəs ˈsərkəmˌstænsɪz wɪˈθɪn ə ɪn ðə spərɪŋ əv 1905 ˈsɪnklɛr ˈɪʃud ə kɔl fər ðə fɔrˈmeɪʃən əv ə nu ˌɔrgənəˈzeɪʃən, ə grup tɪ bi kɔld ðə ˌɪntərkəˈliʤət ˈsoʊʃəlɪst ɪn ˈsɪnklɛr meɪd θri trɪps tɪ ðə koʊl fildz əv ˌkɑlərˈɑdoʊ, wɪʧ lɛd ɪm tɪ raɪt kɪŋ koʊl ənd kɔzd ɪm tɪ bɪˈgɪn wərk ɔn ðə ˈlɑrʤər, mɔr hɪˈstɔrɪkəl ðə koʊl wɔr. ɪn 1914 ˈsɪnklɛr hɛlpt ˈɔrgəˌnaɪz ˌdɛmənˈstreɪʃənz ɪn nu jɔrk ˈsɪti əˈgɛnst ˈrɑkəˌfɛlər æt ðə ˈstændərd ɔɪl ˈɔfəsɪz. ðə ˌdɛmənˈstreɪʃənz təʧt ɔf mɔr ˈækʃənz baɪ ðə ˌɪnˈdəstriəl ˈwərkərz əv ðə wərld (iww*) ənd ðə ˈməðər ərθ grup, ə lus əˌsoʊʃiˈeɪʃən əv ˈænərˌkɪsts ənd ˈmɛmbərz, ɪn ˈrɑkəˌfɛlərz ˈhoʊmˌtaʊn əv ðə muvd tɪ ˌkæləˈfɔrnjə ɪn ðə ənd lɪvd ðɛr fər ˈnɪrli fɔr ˈdɛkeɪdz. ˈdʊrɪŋ hɪz jɪrz wɪθ hɪz ˈsɛkənd waɪf, ˈmɛri kreɪg, ˈsɪnklɛr roʊt ər prəˈdust ˈsɛvərəl fɪlmz. rɪˈkrutɪd baɪ ˈʧɑrli ˈʧæplɪn, ˈsɪnklɛr ənd ˈmɛri kreɪg prəˈdust ¡¡qué*é ˈvivə méxico*! ɪn ˈəðər ˈɪntərɪsts ˈɛdət əˈsaɪd frəm hɪz pəˈlɪtɪkəl ənd ˈsoʊʃəl ˈraɪtɪŋz, ˈsɪnklɛr tʊk ən ˈɪntəˌrɛst ɪn əˈkəlt fəˈnɑmənə ənd ɪkˈspɛrəməntəd wɪθ təˈlɛpəθi. hɪz bʊk ˈmɛntəl ˈreɪdiˌoʊ 1930 ˌɪnˈkludɪd əˈkaʊnts əv hɪz waɪf ˈmɛriz ˌtɛləˈpæθək ɪkˈspɪriənsɪz ənd ˈwɪljəm məkˈdugəl rɛd ðə bʊk ənd roʊt ən ˌɪntrəˈdəkʃən tɪ ɪt, wɪʧ lɛd ɪm tɪ ɪˈstæblɪʃ ðə dɪˈpɑrtmənt æt duk pəˈlɪtɪkəl kərɪr ˈɛdət ˈsɪnklɛr broʊk wɪθ ðə ˈsoʊʃəlɪst ˈpɑrti ɪn 1917 ənd səˈpɔrtɪd ðə wɔr ˈɛfərt. baɪ ðə, ˌhaʊˈɛvər, hi hæd rɪˈtərnd tɪ ðə ˈpɑrti. ɪn ðə, ðə muvd tɪ ˌmɑnˈroʊviə, ˌkæləˈfɔrnjə, nɪr lɔs ˈænʤəlɪs, wɛr ˈsɪnklɛr ˈfaʊndɪd ðə steɪts ˈʧæptər əv ðə əˈmɛrɪkən ˈsɪvəl ˈlɪbərˌtiz ˈjunjən. ˈwɑnɪŋ tɪ pərˈsu ˈpɑləˌtɪks, hi twaɪs ræn ˌənsəkˈsɛsfəli fər juˈnaɪtɪd steɪts ˈkɑŋgrəs ɔn ðə ˈsoʊʃəlɪst ˈtɪkɪt: ɪn 1920 fər ðə haʊs əv ˌrɛprɪˈzɛnətɪvz ənd ɪn 1922 fər ðə ˈsɛnɪt. hi wɑz ðə ˈpɑrti ˈkænədɪt fər ˈgəvərnər ˌkæləˈfɔrnjə ɪn 1930 ˈwɪnɪŋ ˈnɪrli voʊts. ˈdʊrɪŋ ðɪs ˈpɪriəd, ˈsɪnklɛr wɑz ˈɔlsoʊ ˈæktɪv ɪn ˈrædɪkəl ˈpɑləˌtɪks ɪn lɔs ˈænʤəlɪs. fər ˈɪnstəns, ɪn 1923 tɪ səˈpɔrt ðə ˈʧælənʤd fri spiʧ raɪts əv ˌɪnˈdəstriəl ˈwərkərz əv ðə wərld, ˈsɪnklɛr spoʊk æt ə ˈræli ˈdʊrɪŋ ðə sæn ˈpeɪdroʊ ˈmærəˌtaɪm straɪk, ɪn ə ˈneɪbərˌhʊd naʊ noʊn ɛz ˈlɪbərˌti hɪl. hi bɪˈgæn tɪ rɛd frəm ðə bɪl əv raɪts ənd wɑz ˈprɑmptli ərˈɛstɪd, əˈlɔŋ wɪθ ˈhənərdz əv ˈəðərz, baɪ ðə ˈɛˈleɪˈpiˈdi. ðə ərˈɛstɪŋ ˈɔfɪsər proʊˈkleɪmd: "wɪl hæv nən əv ðət ˌkɑnstəˈtuʃən ɪn 1934 ˈsɪnklɛr ræn ɪn ðə ˌkæləˈfɔrnjə guˌbərnəˈtɔˌriəl ɪˈlɛkʃən ɛz ə ˈdɛməˌkræt. ˈplætˌfɔrm, noʊn ɛz ðə ɛnd ˈpɑvərti ɪn ˌkæləˈfɔrnjə ˈmuvmənt (ˈɛpɪk), ˈgælvəˌnaɪzd ðə səˈpɔrt əv ðə ˌdɛməˈkrætɪk ˈpɑrti, ənd ˈsɪnklɛr geɪnd ɪts ˈgeɪnɪŋ voʊts meɪd ðɪs hɪz moʊst səkˈsɛsfəl rən fər ˈɔfəs, bət ˌɪnˈkəmbənt ˈgəvərnər fræŋk ˈmɛriəm dɪˈfitɪd ɪm baɪ ə ˈsaɪzəbəl ˈgeɪnɪŋ ˈhɑliˌwʊd ˈstudiˌoʊ ˈbɔsɪz juˈnænəməsli əˈpoʊzd ˈsɪnklɛr. ðeɪ ˈprɛʃərd ðɛr ɪmˈplɔɪiz tɪ əˈsɪst ənd voʊt fər kæmˈpeɪn, ənd meɪd fɔls ˌprɑpəˈgændə fɪlmz əˈtækɪŋ ˈsɪnklɛr, ˈgɪvɪŋ ɪm noʊ ˌɑpərˈtunəti tɪ ˈəptən ˈsɪnklɛr plæn tɪ ɛnd ˈpɑvərti kˈwɪkli bɪˈkeɪm ə ˌkɑntrəˈvərʃəl ˈɪʃu ˈəndər ðə ˈprɛʃər əv ˈnumərəs ˈmaɪgrənts tɪ ˌkæləˈfɔrnjə fliɪŋ ðə dəst boʊl. kənˈsərvətɪvz kənˈsɪdərd hɪz prəˈpoʊzəl ən əˈtɛmptəd ˈkɑmjənəst ˈteɪˌkoʊvər əv ðɛr steɪt ənd kˈwɪkli əˈpoʊzd ɪm, ˈjuzɪŋ ˌprɑpəˈgændə tɪ pɔrˈtreɪ ˈsɪnklɛr ɛz ə stɔnʧ ˈkɑmjənəst. ˈsɪnklɛr hæd bɪn ə ˈmɛmbər əv ðə ˈsoʊʃəlɪst ˈpɑrti frəm 1902 tɪ 1934 wɪn hi bɪˈkeɪm ə ˈdɛməˌkræt, ðoʊ ˈɔlˌweɪz kənˈsɪdərɪŋ hɪmˈsɛlf ə ˈsoʊʃəlɪst ɪn ðə ˈsoʊʃəlɪst ˈpɑrti ɪn ˌkæləˈfɔrnjə ənd ˈneɪʃənˈwaɪd rɪfˈjuzd tɪ əˈlaʊ ɪts ˈmɛmbərz tɪ bi ˈæktɪv ɪn ˈɛni ˈəðər ˈpɑrti ˌɪnˈkludɪŋ ðə ˌdɛməˈkrætɪk ˈpɑrti ənd ɪkˈspɛld ɪm, əˈlɔŋ wɪθ ˈsoʊʃəlɪsts hu səˈpɔrtɪd hɪz ˌkæləˈfɔrnjə kæmˈpeɪn. ðə ɪkˈspəlʃənz dɪˈstrɔɪd ðə ˈsoʊʃəlɪst ˈpɑrti ɪn æt ðə seɪm taɪm, əˈmɛrɪkən ənd ˈsoʊviˌɛt ˈkɑmjənəsts ˌdɪsəˈsoʊʃieɪtəd ðɛmˈsɛlvz frəm ɪm, kənˈsɪdərɪŋ ɪm ə ɪn ˈleɪtər ˈraɪtɪŋz, səʧ ɛz hɪz bʊk ðə kəp əv fˈjʊri, ˈsɪnklɛr ˈsɛnʃərd ˈkɑmjəˌnɪzəm. ˈsaɪənsˌfɪkʃən ˈɔθər ˈrɑbərt ə. ˈhaɪnˌlaɪn wɑz ˈdipli ˌɪnˈvɑlvd ɪn kæmˈpeɪn, ˌɔlˈðoʊ hi əˈtɛmptəd tɪ muv əˈweɪ frəm ðə stæns ˈleɪtər ɪn hɪz ɪn ðə ˈsɛnʧəri, ˈsɪnklɛr ɪz kənˈsɪdərd ən ˈərli əˈmɛrɪkən ˌdɛməˈkrætɪk ˈæftər hɪz lɔs tɪ ˈmɛriəm, ˈsɪnklɛr əˈbændənd ˈɛpɪk ənd ˈpɑləˌtɪks tɪ rɪˈtərn tɪ ˈraɪtɪŋ. ɪn 1935 hi ˈpəblɪʃt aɪ, ˈkænədɪt fər ˈgəvərnər: ənd haʊ aɪ gɑt lɪkt, ɪn wɪʧ hi dɪˈskraɪbd ðə tɛkˈniks ɪmˈplɔɪd baɪ səˈpɔrtərz, ˌɪnˈkludɪŋ ðə ðɛn ˈpɑpjələr ˈeɪˈmi ˈsɛmpəl məkˈfərsən, hu ˈviəməntli əˈpoʊzd ˈsoʊʃəˌlɪzəm ənd wət ʃi pərˈsivd ɛz ˈmɑdərˌnɪzəm. laɪn frəm ðɪs bʊk "ɪt ɪz ˈdɪfəkəlt tɪ gɪt ə mæn tɪ ˌəndərˈstænd ˈsəmθɪŋ, wɪn hɪz ˈsæləri dɪˈpɛndz əˈpɑn hɪz nɑt ˌəndərˈstændɪŋ ɪt" həz bɪˈkəm wɛl noʊn ənd wɑz fər ɪgˈzæmpəl kˈwoʊtɪd baɪ æl gɔr ɪn ən ˌɪnkənˈvinjənt əv hɪz guˌbərnəˈtɔˌriəl bɪd, ˈsɪnklɛr rɪˈmɑrkt ɪn 1951 ðə əˈmɛrɪkən ˈpipəl wɪl teɪk ˈsoʊʃəˌlɪzəm, bət ðeɪ woʊnt teɪk ðə ˈleɪbəl. aɪ ˈsərtənli pruvd ɪt ɪn ðə keɪs əv ˈɛpɪk. ˈrənɪŋ ɔn ðə ˈsoʊʃəlɪst ˈtɪkɪt aɪ gɑt voʊts, ənd ˈrənɪŋ ɔn ðə sˈloʊgən tɪ 'ɛnd ˈpɑvərti ɪn ˌkæləˈfɔrnjə' aɪ gɑt aɪ θɪŋk wi ˈsɪmpli hæv tɪ ˈrɛkəgˌnaɪz ðə fækt ðət ɑr ˈɛnəmiz hæv səkˈsidɪd ɪn ˈsprɛdɪŋ ðə bɪg laɪ. ðɛr ɪz noʊ juz əˈtækɪŋ ɪt baɪ ə frənt əˈtæk, ɪt ɪz məʧ ˈbɛtər tɪ ˈpərsɪnəl laɪf ˈɛdət ɪn ˈeɪprəl 1900 ˈsɪnklɛr wɛnt tɪ leɪk ɪn kwəˈbɛk tɪ wərk ɔn ə ˈnɑvəl. hi hæd ə smɔl ˈkæbən ˈrɛntɪd fər θri mənθs ənd ðɛn hi muvd tɪ ə hir, hɪz fˈjuʧər waɪf, ˈmitə ˈfʊlər, ənd hi bɪˈkeɪm kloʊz. ʃi wɑz θri jɪrz ˈjəŋgər ðən ɪm ənd hæd ˌæspərˈeɪʃənz əv biɪŋ mɔr ðən ə ˈhaʊsˌwaɪf. ˈsɪnklɛr geɪv hər dɪˈrɛkʃɪn ɛz tɪ wət tɪ rɛd ənd ˈmitə hæd bɪn ə ˈʧaɪlˌdhʊd frɛnd huz ˈfæməli wɑz wən əv ðə fərst ˈfæməliz əv vərˈʤɪnjə. iʧ hæd wɔrnd ðə ˈəðər əˈbaʊt ðɛmˈsɛlvz ənd wʊd ˈleɪtər brɪŋ ðət əp ɪn ˈɑrgjəmənts. ðeɪ ˈmɛrid ɑkˈtoʊbər 18 ðeɪ juzd ˈæbstənəns ɛz ðɛr meɪn fɔrm əv bərθ kənˈtroʊl. ˈmitə bɪˈkeɪm ˈprɛgnənt wɪθ ə ʧaɪld ˈʃɔrtli ˈæftər ðeɪ ˈmɛrid ənd əˈtɛmptəd tɪ əˈbɔrt ɪt ˈməltəpəl ðə ʧaɪld wɑz bɔrn ɔn dɪˈsɛmbər 1 1901 ənd neɪmd ˈnidɪd] ˈmitə ənd hər ˈfæməli traɪd tɪ gɪt ˈsɪnklɛr tɪ gɪv əp ˈraɪtɪŋ ənd gɪt "ə ʤɑb ðət wʊd səˈpɔrt hɪz əraʊnd 1911 ˈmitə lɛft ˈsɪnklɛr fər ðə poʊət ˈhɛri ˈleɪtər noʊn ɛz ðə "dunz poʊət" əv ˈprɑvənˌstaʊn, ˌmæsəˈʧusəts. ɪn 1913 ˈsɪnklɛr ˈmɛrid ˈmɛri kreɪg ˈkɪmbraʊ ə ˈwʊmən frəm ən ɪˈlit ˈgrinˌwʊd, ˌmɪsɪˈsɪpi, ˈfæməli. ʃi hæd ˈrɪtən ˈɑrtɪkəlz ənd ə bʊk ɔn ˈwɪni ˈdeɪvɪs, ðə ˈdɔtər əv kənˈfɛdərˌeɪt steɪts əv əˈmɛrɪkə ˈprɛzɪdənt ˈʤɛfərsən ˈdeɪvɪs. hi mɛt hər wɪn ʃi əˈtɛndəd wən əv hɪz ˈlɛkʧərz əˈbaʊt ðə ˈʤəŋgəl. ɪn ðə, ðə ˈsɪnklɛr ˈkəpəl muvd tɪ ˌkæləˈfɔrnjə. ðeɪ wər ˈmɛrid ənˈtɪl hər dɛθ ɪn 1961 ˈsɪnklɛr ˈmɛrid əˈgɛn, tɪ ˈmɛri ɪˈlɪzəbɪθ ˈwɪlɪs ˈsɪnklɛr wɑz əˈpoʊzd tɪ sɛks ˈaʊtˈsaɪd əv ˈmɛrɪʤ ənd hi vjud ˈmærətəl riˈleɪʃənz ɛz ˈnɛsəˌsɛri ˈoʊnli fər ˈproʊkriˈeɪʃən. hi toʊld hɪz fərst waɪf ˈmitə ðət ˈoʊnli ðə bərθ əv ə ʧaɪld geɪv ˈmɛrɪʤ "ˈdɪgnəti ənd ˈminɪŋ". dɪˈspaɪt hɪz bɪˈlifs, hi hæd ən əˈdəltərəs əˈfɛr wɪθ ˈænə nɔɪz ˈdʊrɪŋ hɪz ˈmɛrɪʤ tɪ ˈmitə. hi roʊt ə ˈnɑvəl əˈbaʊt ðə əˈfɛr kɔld ləvz ˈprɑˌgrɛs, ə ˈsikwəl tɪ ləvz ˈpɪlgrəmɪʤ. ɪt wɑz ˈnɛvər ˈpəblɪʃt. hɪz waɪf nɛkst hæd ən əˈfɛr wɪθ ʤɑn ˈɑrmɪˌstɛd ˈkɑljər, ə θiˈɑləʤi ˈstudənt frəm ˈmɛmpfɪs; ðeɪ hæd ə sən təˈgɛðər neɪmd bɛn. ɪn hɪz ˈnɑvəl, mammonart*, hi səˈʤɛstɪd ðət ˌkrɪsʧiˈænɪti wɑz ə rɪˈlɪʤən ðət ˈfeɪvərd ðə rɪʧ ənd prəˈmoʊtəd ə drɔp əv ˈstændərdz. hi wɑz əˈgɛnst leɪt ɪn laɪf ˈsɪnklɛr, wɪθ hɪz θərd waɪf ˈmɛri ˈwɪlɪs, muvd tɪ ˈbəˌkaɪ, ˌɛrɪˈzoʊnə. ðeɪ rɪˈtərnd ist tɪ baʊnd brʊk, nu ˈʤərzi. ˈsɪnklɛr daɪd ðɛr ɪn ə ˈnərsɪŋ hoʊm ɔn noʊˈvɛmbər 25 1968 ə jɪr ˈæftər hɪz hi ɪz ˈbɛrid ɪn rɑk krik ˈsɛmɪˌtɛri ɪn ˈwɔʃɪŋtən, d.c*., nɛkst tɪ ˈwɪlɪs. ˈraɪtɪŋ ˈɛdət ˈsɪnklɛr dɪˈvoʊtɪd hɪz ˈraɪtɪŋ kərɪr tɪ ˈdɑkjəmənɪŋ ənd ˈkrɪtɪˌsaɪzɪŋ ðə ˈsoʊʃəl ənd ˌɛkəˈnɑmɪk kənˈdɪʃənz əv ðə ˈərli ˈsɛnʧəri ɪn boʊθ ˈfɪkʃən ənd nɑnˈfɪkʃən. hi ɪkˈspoʊzd hɪz vju əv ðə ˌɪnˈʤəstəsɪz əv ˈkæpɪtəˌlɪzəm ənd ðə ˌoʊvərˈwɛlmɪŋ ˈifɛkts əv ˈpɑvərti əˈməŋ ðə ˈwərkɪŋ klæs. hi ˈɔlsoʊ ˈɛdɪtɪd kəˈlɛkʃənz əv ˈfɪkʃən ənd nɑnˈfɪkʃən. ðə ˈʤəŋgəl ˈɛdət hɪz ˈnɑvəl beɪst ɔn ðə ˈmitˌpækɪŋ ˈɪndəstri ɪn ʃəˈkɑˌgoʊ, ðə ˈʤəŋgəl, wɑz fərst ˈpəblɪʃt ɪn ˈsɪˌriəl fɔrm ɪn ðə ˈsoʊʃəlɪst ˈnuzˌpeɪpər əˈpil tɪ ˈrizən, frəm ˈfɛbruˌɛri 25 1905 tɪ noʊˈvɛmbər 4 1905 ɪt wɑz ˈpəblɪʃt ɛz ə bʊk baɪ ˈdəbəlˌdeɪ ɪn ˈsɪnklɛr hæd spɛnt əˈbaʊt sɪks mənθs ˌɪnˈvɛstəˌgeɪtɪŋ ðə ʃəˈkɑˌgoʊ ˈmitˌpækɪŋ ˈɪndəstri fər əˈpil tɪ ˈrizən, ðə wərk wɪʧ ˌɪnˈspaɪərd hɪz ˈnɑvəl. hi ˌɪnˈtɛndɪd tɪ "sɛt fɔrθ ðə ˈbreɪkɪŋ əv ˈjumən hɑrts baɪ ə ˈsɪstəm wɪʧ ˈɛkˌsplɔɪts ðə ˈleɪbər əv mɛn ənd ˈwɪmən fər ðə ˈnɑvəl ˈfiʧərd rudkus*, ə ˌlɪθəˈweɪniən ˈɪməgrənt hu wərks ɪn ə mit ˈfæktəri ɪn ʃəˈkɑˌgoʊ, hɪz ˈtiˌneɪʤd waɪf əˈnɑ lukoszaite*, ənd ðɛr ɪkˈstɛndɪd ˈfæməli. ˈsɪnklɛr pɔrˈtreɪz ðɛr mɪˈstritmənt baɪ rudkus*' ɪmˈplɔɪərz ənd ðə ˈwɛlθiər ˈɛləmənts əv soʊˈsaɪɪti. hɪz dɪˈskrɪpʃənz əv ðə ənˈsænəˌtɛri ənd ˌɪnhjuˈmeɪn kənˈdɪʃənz ðət ˈwərkərz ˈsəfərd sərvd tɪ ʃɑk ənd ˈgælvəˌnaɪz ˈridərz. ʤæk ˈləndən kɔld bʊk "ðə ˈəŋkəl tɑmz ˈkæbən əv weɪʤ dəˈmɛstɪk ənd ˈfɔrən ˈpərʧəsɪz əv əˈmɛrɪkən mit fɛl baɪ ˈsɪnklɛr roʊt ɪn ˌkɑzməˈpɑlətən ɪn ɑkˈtoʊbər 1906 əˈbaʊt ðə ˈʤəŋgəl: "aɪ eɪmd æt ðə ˈpəblɪks hɑrt, ənd baɪ ˈæksədənt aɪ hɪt ɪt ɪn ðə ðə ˈnɑvəl brɔt ˈpəblɪk ˈlɑbiɪŋ fər kənˈgrɛʃənəl ˌlɛʤəsˈleɪʃən ənd ˈgəvərnmənt ˌrɛgjəˈleɪʃən əv ðə ˈɪndəstri, ˌɪnˈkludɪŋ ˈpæsɪʤ əv ðə mit ˌɪnˈspɛkʃən ækt ənd ðə pjʊr fud ənd drəg æt ðə taɪm, ˈprɛzɪdənt ˈθiəˌdɔr ˈruzəˌvɛlt ˈkɛrɪktərˌaɪzd ˈsɪnklɛr ɛz ə ˈraɪtɪŋ tɪ ˈwɪljəm ˈælən waɪt, "aɪ hæv ən ˈətər kənˈtɛmpt fər ɪm. hi ɪz hɪˈstɛrɪkəl, ənˈbælənst, ənd ənˈtruθfəl. əv ðə θɪŋz hi sɛd wər ˈæbsəˌlut ˈfælsˌhʊdz. fər səm əv ðə rɪˈmeɪndər ðɛr wɑz ˈoʊnli ə ˈbeɪsɪs əv ˈæftər ˈrɛdɪŋ ðə ˈʤəŋgəl, ˈruzəˌvɛlt əˈgrid wɪθ səm əv kənˈkluʒənz, bət wɑz əˈpoʊzd tɪ ˌlɛʤəsˈleɪʃən ðət hi kənˈsɪdərd "ˈsoʊʃəlɪst". hi sɛd, "ˈrædɪkəl ˈækʃən məst bi ˈteɪkən tɪ du əˈweɪ wɪθ ðə ˈɛfərts əv ˈɛrəgənt ənd ˈsɛlfɪʃ grid ɔn ðə pɑrt əv ðə ðə bræs ʧɛk ˈɛdət ɪn ðə bræs ʧɛk 1919 ˈsɪnklɛr meɪd ə ˌsɪstəˈmætɪk ənd ˌɪnˈkrɪməˌneɪtɪŋ krɪˈtik əv ðə səˈvɪr ˌlɪmɪˈteɪʃənz əv ðə "fri prɛs" ɪn ðə juˈnaɪtɪd steɪts. əˈməŋ ðə ˈtɑpɪks ˈkəvərd ɪz ðə juz əv ˈjɛloʊ ˈʤərnəˌlɪzəm tɛkˈniks kriˈeɪtɪd baɪ ˈwɪljəm ˈrændɑlf hərst. ˈsɪnklɛr kɔld ðə bræs ʧɛk "ðə moʊst ˌɪmˈpɔrtənt ənd moʊst ˈdeɪnʤərəs bʊk aɪ hæv ˈɛvər ˈsɪlviə ˈnɑvəlz ˈɛdət ˈsɪlviə 1913 wɑz ə ˈnɑvəl əˈbaʊt ə ˈsəðərn gərl. ɪn hər ˌɔtəbaɪˈɑgrəfi, ˈmɛri kreɪg ˈsɪnklɛr sɛd ʃi hæd ˈrɪtən ðə bʊk beɪst ɔn hər oʊn ɪkˈspɪriənsɪz ɛz ə gərl, ənd ˈəptən kəˈlæbərˌeɪtɪd wɪθ hər. [noʊt 1 59 ʃi æst ɪm tɪ ˈpəblɪʃ ɪt ˈəndər hɪz neɪm. 60 wɪn ɪt əˈpɪrd ɪn 1913 ðə nu jɔrk taɪmz kɔld ɪt "ðə bɛst ˈnɑvəl ˈmɪstər. ˈsɪnklɛr həz jɛt məʧ ðə bɛst ðət ɪt stændz ɪn ə klæs baɪ ˌɪtˈsɛlf." 61 1913 wɑz ə ˈnɑvəl əˈbaʊt ə ˈsəðərn gərl. ɪn hər ˌɔtəbaɪˈɑgrəfi, ˈmɛri kreɪg ˈsɪnklɛr sɛd ʃi hæd ˈrɪtən ðə bʊk beɪst ɔn hər oʊn ɪkˈspɪriənsɪz ɛz ə gərl, ənd ˈəptən kəˈlæbərˌeɪtɪd wɪθ hər. ʃi æst ɪm tɪ ˈpəblɪʃ ɪt ˈəndər hɪz neɪm. wɪn ɪt əˈpɪrd ɪn 1913 kɔld ɪt "ðə bɛst ˈnɑvəl ˈmɪstər. ˈsɪnklɛr həz jɛt məʧ ðə bɛst ðət ɪt stændz ɪn ə klæs baɪ ˌɪtˈsɛlf." ˈsɪlviəz ˈmɛrɪʤ 1914 kreɪg ənd ˈsɪnklɛr kəˈlæbərˌeɪtɪd ɔn ə ˈsikwəl, ˈɔlsoʊ ˈpəblɪʃt baɪ ʤɑn si. ˈwɪnstən ˈkəmpəˌni ˈəndər ˈəptən ɪn hɪz 1962 ˌɔtəbaɪˈɑgrəfi, ˈəptən ˈsɪnklɛr roʊt: "[ˈmɛri] kreɪg hæd ˈrɪtən səm teɪlz əv hər ˈsəðərn ˈgərˌlhʊd; ənd aɪ hæd ˈstoʊlən ðɛm frəm hər fər ə ˈnɑvəl tɪ bi kɔld aɪ, ˈgəvərnər əv ˌkæləˈfɔrnjə, ənd haʊ aɪ ˈɛndɪd ˈpɑvərti ˈɛdət ðɪs wɑz ə ˈnɑvəl hi ˈpəblɪʃt ɪn 1934 ɛz ə ˈprɛfəs tɪ ˈrənɪŋ fər ˈɔfəs. hi ˈaʊˌtlaɪnd hɪz plænz ɪn ˈlæni bəd ˈsɪriz ˈɛdət bɪtˈwin 1940 ənd 1953 ˈsɪnklɛr roʊt ə ˈsɪriz əv 11 ˈnɑvəlz ˈfiʧərɪŋ ə ˈsɛntrəl ˈkɛrɪktər neɪmd ˈlæni bəd. ðə sən əv ən əˈmɛrɪkən ɑrmz ˌmænjəˈfækʧərər, bəd ɪz pɔrˈtreɪd ɛz ˈhoʊldɪŋ ɪn ðə ˈkɑnfədɛns əv wərld ˈlidərz, ənd nɑt ˈsɪmpli ˈwɪtnəsɪŋ ɪˈvɛnts, bət ˈɔfən prəˈpɛlɪŋ ðɛm. ɛz ə səˈfɪstɪˌkeɪtəd ˈsoʊʃəˌlaɪt hu ˈmɪŋgəlz ˈizəli wɪθ ˈpipəl frəm ɔl ˈkəlʧərz ənd soʊˌsiˌoʊˌɛkəˈnɑmɪk ˈklæsɪz, bəd həz bɪn ˈkɛrɪktərˌaɪzd ɛz ðə ænˈtɪθəsəs əv ðə ˈstɛrioʊˌtaɪpt "ˈəgli ˈsɪnklɛr pleɪst bəd wɪˈθɪn ðə ˌɪmˈpɔrtənt pəˈlɪtɪkəl ɪˈvɛnts ɪn ðə juˈnaɪtɪd steɪts ənd ˈjʊrəp ɪn ðə fərst hæf əv ðə ˈsɛnʧəri. ən ˈækʧəwəl ˈkəmpəˌni neɪmd ðə bəd ˈkəmpəˌni ˌmænjəˈfækʧərd ɑrmz ˈdʊrɪŋ wərld wɔr ii*, ˈfaʊndɪd baɪ ˈɛdwərd ʤi. bəd ɪn 1912 ðə ˈnɑvəlz wər ˈbɛˈsɛlərz əˈpɑn ˌpəblɪˈkeɪʃən ənd wər ˈpəblɪʃt ɪn trænzˈleɪʃən, əˈpɪrɪŋ ɪn 21 ˈkəntriz. ðə θərd bʊk ɪn ðə ˈsɪriz, ˈdrægənz tiθ 1942 wən ðə ˈpʊlətsər praɪz fər ðə ˈnɑvəl ɪn aʊt əv prɪnt ənd ˈnɪrli fərˈgɑtən fər jɪrz, ɪˈdɪʃənz əv ðə ˈlæni bəd ˈsɪriz wər ˈpəblɪʃt ɪn ðə ˈlæni bəd ˈsɪriz ˌɪnˈkludz: ˈəðər wərks ˈɛdət ˈsɪnklɛr wɑz ˈkinli ˈɪntəˌrɛstɪd ɪn hɛlθ ənd nuˈtrɪʃən. hi ɪkˈspɛrəməntəd wɪθ ˈvɛriəs daɪɪts, ənd wɪθ ˈfæstɪŋ. hi roʊt əˈbaʊt ðɪs ɪn hɪz bʊk, ðə ˈfæstɪŋ kjʊr 1911 əˈnəðər hi bɪˈlivd ðət ˌpɪriˈɑdɪk ˈfæstɪŋ wɑz ˌɪmˈpɔrtənt fər hɛlθ, seɪɪŋ, "aɪ hæd ˈteɪkən ˈsɛvərəl fæsts əv tɛn ər twɛlv deɪz' ˈdʊˈreɪʃən, wɪθ ðə rɪˈzəlt əv ə kəmˈplit ˈmeɪkɪŋ ˈoʊvər əv maɪ ˈsɪnklɛr ˈfeɪvərd ə rɑ fud daɪət əv ˌprɪˈdɑmənənˌtli ˈvɛʤtəbəlz ənd nəts. fər lɔŋ ˈpɪriədz əv taɪm, hi wɑz ə kəmˈplit ˌvɛʤəˈtɛˌriən, bət hi ˈɔlsoʊ ɪkˈspɛrəməntəd wɪθ ˈitɪŋ mit. hɪz ˈætəˌtud tɪ ðiz ˈmætərz wɑz ˈfʊli ɪkˈspleɪnd ɪn ðə ˈʧæptər, "ðə juz əv mit", ɪn ðə ˌrɛprəzɛnˈteɪʃən ɪn ˈpɑpjələr ˈkəlʧər ˈɛdət fɪlmz ˈɛdət wərks ˈɛdət ˈfɪkʃən ˌɔtəˌbaɪəˈgræfɪkəl nɑnˈfɪkʃən ˈdrɑmə ɛz ˈɛdɪtər si ˈɔlsoʊ ˈɛdət ˈəptən ˈsɪnklɛr haʊs ɪn ˌmɑnˈroʊviə, ˌkæləˈfɔrnjə wɪl eɪʧ. ˈkɪndɪg, ə səˈpɔrtər ɔn ðə lɔs ˈænʤəlɪs ˈsɪti ˈkaʊnsəl noʊts ˈɛdət ˈsɪlviə 1913 ˈəndər hɪz neɪm. ɪn hər 1957 ˈmɛmˌwɑr, ʃi dɪˈskraɪbd haʊ hər ˈhəzbənd ənd ʃi hæd kəˈlæbərˌeɪtɪd ɔn ðə wərk: ˈəptən ənd aɪ ˈstrəgəld θru ˈsɛvərəl ˈʧæptərz əv ˈsɪlviə təˈgɛðər, dɪsəˈgriɪŋ əˈbaʊt ˈsəmθɪŋ ɔn ˈɛvəri peɪʤ. bət naʊ ənd ðɛn iʧ əv ˈjuˈɛs ədˈmɪtəd ðət ðə ˈəðər hæd ˌɪmˈpruvd ˈsəmθɪŋ. aɪ wɑz ˈlərnɪŋ fæst naʊ ðət ðɪs ˈnɑvələst wɑz nɑt məʧ əv ə saɪˈkɑləʤəst. hi θɔt əv ˈkɛrɪktərz ɪn ə bʊk ˈmɪrli ɛz ˈviɪkəlz fər ˈkɛriɪŋ hɪz aɪˈdiəz. əˈkɔrdɪŋ tɪ kreɪg, æt hər ˌɪnˈsɪstəns ˈsɪnklɛr ˈəndər hɪz neɪm. ɪn hər 1957 ˈmɛmˌwɑr, ʃi dɪˈskraɪbd haʊ hər ˈhəzbənd ənd ʃi hæd kəˈlæbərˌeɪtɪd ɔn ðə wərk: ˈrɛfərənsɪz ˈɛdət ˈfərðər ˈrɛdɪŋ ˈɛdət ˈɑrθər, ˈænθɔˌni 2006 ˈrædɪkəl ˈɪnəsənt ˈəptən ˈsɪnklɛr nu jɔrk: ˈrændəm haʊs ˈwɪljəm ə. ˈblədˌwərθ, jr*., ˈəptən ˈsɪnklɛr. ˈbɔstən: ˈpəblɪʃərz, 1977 ˈbɔstən: ˈpəblɪʃərz, 1977 ˈlɔrən coodley*, ˈɛdɪtər, ðə lænd əv ˈɔrɪnʤ groʊvz ənd ʤeɪlz: ˈəptən ˌkæləˈfɔrnjə. ˈbərkli, ˈsiˈeɪ: ˈheɪˌdeɪ bʊks, 2004 ˈbərkli, ˈsiˈeɪ: ˈheɪˌdeɪ bʊks, 2004 ˈlɔrən coodley*, ˈəptən ˈsɪnklɛr: ˌkæləˈfɔrnjə ˈsoʊʃəlɪst, səˈlɛbrɪti ˌɪnəˈlɛkʧuəl. ˈlɪŋkən, ni: ˌjunəˈvərsəti əv nəˈbræskə prɛs, 2013 ˈlɪŋkən, ni: ˌjunəˈvərsəti əv nəˈbræskə prɛs, 2013 engs*, ruθ ˈklɪfərd, [ɛd] ənˈsin ˈəptən ˈsɪnklɛr: naɪn ənˈpəblɪʃt ˈstɔriz, ˈɛˌseɪz ənd ˈəðər wərks. ˈʤɛfərsən, nc*: məkˈfɑrlənd koʊ. 2009 ˈʤɛfərsən, nc*: məkˈfɑrlənd koʊ. 2009 græm, ʤɑn, ðə koʊl wɔr, ˌkɑlərˈɑdoʊ əˈsoʊʃiˌeɪtəd ˌjunəˈvərsəti prɛs, 1976 ˌkɑlərˈɑdoʊ əˈsoʊʃiˌeɪtəd ˌjunəˈvərsəti prɛs, 1976 ˈrɑnəld ˈgɑtsmən, ˈəptən ˈsɪnklɛr: ən ˌænəˈteɪtɪd ˈʧɛˌklɪst. kɛnt steɪt ˌjunəˈvərsəti prɛs, 1973 kɛnt steɪt ˌjunəˈvərsəti prɛs, 1973 ˈhɛrɪs, liɑn. ˈəptən ˈsɪnklɛr, əˈmɛrɪkən ˈrɛbəl. nu jɔrk: ˈtɑməs waɪ. kroʊəl koʊ, 1975 nu jɔrk: ˈtɑməs waɪ. kroʊəl koʊ, 1975 ˈlidər, ˈlɛnərd. "ˈəptən ˈɛpɪk swɪʧ: ə dɪˈlɛmə fər əˈmɛrɪkən ˈsoʊʃəlɪsts." ˈsəðərn ˌkæləˈfɔrnjə kˈwɔrtərli 1980 1980 ˈmætsən, ˈkɛvɪn. ˈəptən ˈsɪnklɛr ənd ðə ˈəðər əˈmɛrɪkən ˈsɛnʧəri. ˈhoʊboʊkən, nj*: ʤɑn ˈwaɪli sənz, 2006 ˈhoʊboʊkən, nj*: ʤɑn ˈwaɪli sənz, 2006 ˈmɪʧəl, grɛg. ðə kæmˈpeɪn əv ðə ˈsɛnʧəri: ˈəptən ˈsɪnklɛr ənd ðə ˈɛpɪk kæmˈpeɪn ɪn ˌkæləˈfɔrnjə. nu jɔrk: əˈtlæntɪk ˈmənθli prɛs, 1991 nu jɔrk: əˈtlæntɪk ˈmənθli prɛs, 1991 swɪnt, ˈkərwɪn. mudslingers*: ðə tˈwɛntiˌfaɪv ˈdərtiəst pəˈlɪtɪkəl kæmˈpeɪnz əv ɔl taɪm. ˈwɛstˌpɔrt, kɔrt: praeger*, 2006 ˈwɛstˌpɔrt, kɔrt: praeger*, 2006 ʤɑn ə. ˈjoʊdər, ˈəptən ˈsɪnklɛr. nu jɔrk: ˈfrɛdərɪk ˈəŋgər, 1975 nu jɔrk: ˈfrɛdərɪk ˈəŋgər, 1975 rɑb ˈlɛstər ˈwægnər, ˈhɑliˌwʊd boʊˈhimiə: ðə ruts əv prəˈgrɛsɪv ˈpɑləˌtɪks ɪn rɑb ˈwægnərz skrɪpt 2016 2016 ˈmɑrtɪn ˈzæŋər, "ˈəptən ˈsɪnklɛr ɛz ˌkælɪˈfɔrnjəz ˈsoʊʃəlɪst ˈkænədɪt fər ˈkɑŋgrəs, 1920 ˈsəðərn ˌkæləˈfɔrnjə kˈwɔrtərli, vol*. 56 noʊ. 4 (ˈwɪntər 1974 pp*.
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theodor adorno, 1968
late capitalism or industrial society?
opening address to the german sociological congress
source: http://www.efn.org/~dredmond/adornosocaddr.html;
translation: 2001 dennis redmond;
copyleft: translation used with permission, creative commons (attribute & sharealike);
original german: from verlag as: theodor w. adorno. collected works, volume 4;
transcribed: by andy blunden.
it has become customary for the outgoing chair of the german society for sociology to say a few words of their own. in this case, his own position and the meaning of the problems being posed are not to be strictly separated: each is unavoidably conjoined to the other. on the other hand he can hardly present definitive solutions, which is the whole point of discussion by the congress. this theme was originally suggested by otto stammer. in the meeting of the executive committee charged with arranging the conference, it was gradually transformed; the present title crystallized out through “teamwork” [in english]. those who are unfamiliar with the state of current debate in the social sciences can be forgiven for suspecting that this is a question of mere nomenclature; that experts have the idle luxury of pondering whether the contemporary era is to be named late capitalism or industrial society. in truth, it is not a question of mere termini but something absolutely fundamental. the presentations and discussions will be assisting us to ascertain whether the capitalist system continues to rule, albeit in a modified form, or whether industrial development has made the concept of capitalism itself, the difference between capitalist and states, and indeed the critique of capitalism, outmoded. in other words, as to whether the currently popular thesis in sociology, that marx is obsolete, is correct. according to this thesis, the world has been so thoroughly determined by an technology [technik: technics], that the corresponding social relations which once defined capitalism, the transformation of living labor into commodities and therein the contradiction of classes, is becoming irrelevant, insofar as it has not become an archaic superstition. all this can be related to the unmistakable convergence between the technically most advanced countries, the united states and the soviet union. in terms of and consciousness, class differences have become on the whole far less visible in the western states in question than in the decades during and after the industrial revolution. the prognoses of such as and economic crisis have not been so drastically realized, as one must understand them, if they are not to be completely robbed of their content; one can speak of relative only in a comic sense. even if by no means one-sided law of sinking has not been borne out on a level, one must concede that capitalism has discovered resources within itself, which have permitted the postponing of economic collapse ad - resources which include the immense increase of the technical potential of society and therein also the consumer goods available to the members of the highly industrialized countries. at the same time the relations of production have shown themselves to be, in view of such technological developments, far more elastic than marx had suspected.
the criterion of class relations, which empirical research is fond of referring to as “social stratification” [in english], strata divided according to income, life-style, education, are generalizations of the findings of specific individuals. to that extent they may be called subjective. in contrast to this, the more traditional concept of class was objective, meant to be independent of indices, which are garnered out of the immediate life of subjects, however much, by the way, that these express social objectivities. marxist theory rests on the position of entrepreneurs and workers in the production-process, and ultimately of their control over the means of production. in the predominant contemporary strains of sociology this conclusion has for the most part been rejected as dogmatic. the controversy needs to be sorted out theoretically, not simply through the presentation of facts, which indeed for their part make numerous contributions to the critique, but which in light of critical theory can also conceal the structure. even the opponents of have no wish to delay a theory, which serves to account for own interests. the controversy is essentially one concerning interpretation - even if it were only the attempt to banish the demand for such in the purgatory of that which is extra-scientific.
a dialectical theory of society concerns itself with structural laws, which condition the facts, in which it manifests itself and from which it is modified. by structural laws we mean tendencies, which more or less stringently follow the historical constitution of the total system. the marxist models for this were the law of value, the law of accumulation, the law of economic crisis. dialectical theory did not intend to turn structures into ordered schematas, which could be applied to sociological findings as completely, continually and as possible; nor systemizations, but rather the procedures and data of scientific cognition of the system of society. such a theory ought least of all to withhold facts from itself, to twist them around according to a probandum. otherwise it would in fact fall right back into dogmatism and would repeat conceptually what the entrenched authorities of the eastern bloc have already perpetrated through the instrument of diamat: freezing into place what, according to its own concept, cannot be otherwise thought than as something which moves. the fetishism of the facts corresponds to one of the objective laws., which has had its fill of the painful experience of such hegemony, does not in turn, but criticizes this just as much as the appearance, that the and the concrete already determine the course of the world et [latin: here and now]. very likely that under the spell of the latter the and the concrete do not even exist yet. through the word pluralism, utopia is suppressed, as if it were already here; it serves as consolation. that is why however dialectical theory, which critically reflects on itself, may not for its part install itself in the medium of the generality. its intention is precisely to break out of this medium. it too is not immune before the false division of reflective thinking and empirical research. some time ago a russian intellectual of considerable influence told me that sociology is a new science in the soviet union. he meant of course the empirical kind; that this might have something to do with what in his country is a doctrine of society raised to a state religion was no more apparent to him, than the fact that marx conducted empirical inquests. consciousness does not end where the concept of has a place of honor. the inflated bluster over concepts such as “imperialism” or “monopoly,” without taking into consideration what these words factually entail [sachverhalten], and to what extent they are relevant, is as wrong, that is to say irrational, as a mode of conduct which, thanks to its blindly conception of the matter at hand [sachverhalten], refuses to consider that concepts such as might have their objectivity, revealing a compulsion of the generality behind the matter at hand [sachverhalten], which is by no means always adequately translated into the operational field of the facts of the matter [sachverhalte]. both are to be opposed; to this extent the theme of the congress, late capitalism or industrial society, testifies to the methodological intent of out of freedom.
a simple answer to the question which lies in thattic, is neither to be expected nor really to be sought after. alternatives which compel one to opt for one or the other determination, even if only theoretically, are already mandatory situations, modeled after an society and transposed onto the mind [geist], towards which the latter ought to do what it can to breakdom through its tenacious reflection. as completely as the may refuse to draw a defining line between late capitalism and industrial society, the less can he indulge in the pleasure of a non-committal on-the-one-hand-but-on-the-other-hand. he must guard against simplification, contrary to suggestion, precisely because the commonplace suggests the response, just as the opposite answer falls so easily from the lips from his opponents.
whoever does not wish to be hoodwinked by the experience of the preponderance of the structure over the matter at hand [sachverhalten], will not, unlike most of his opponents, devalue contradictions in advance to methodology, to mere conceptual errors and attempt to stamp them out through the harmony of scientific systematics. instead he will trace them back into the structure, which was antagonistic ever since organized society first emerged, and which remains so, just as the conflicts and the permanent possibility of a catastrophic war, most recently also the russian invasion of czechoslovakia, demonstrate. this glosses over an alternative thinking, to that unbroken which projects itself onto that which is to be thought. it is not a question of choosing between either form, according to scientific viewpoint or taste, but rather their relationship expresses for its part the contradiction which characterizes the current era, and it befits sociology to articulate this theoretically.
many prognoses of dialectical theory have a contradictory relationship to one another. some simply did not fulfill themselves; certain categories have lead meanwhile to aporias, which can only be thought out of the world with the utmost artifice. other predictions, originally closely associated with the former, have been resoundingly confirmed. even those who do not reduce the meaning of a theory to its prognoses, would not hesitate to ascribe the claim of the dialectical one as partly true and partly false. these divergences require for their part theoretical explanation. that one cannot speak of a proletarian in the leading industrial countries does not necessarily refute, in contrast to the [prevailingn], the existence of classes: class was determined by the position to the means of production, not by the consciousness of its members. there are no lack of plausible reasons for the lack of: that workers are no longer being immiserated, that they were increasing integrated into bourgeois society and its world-views, as compared to the period during and immediately after the industrial revolution, when the industrial proletariat was being recruited from paupers and stood to society, could not have been foreseen. social being does not immediately produce class consciousness. without the masses, and indeed precisely because of their social integration, having any more control over their social destiny than 120 years ago, they lack not only class solidarity, but also the full consciousness of this, that they are objects and not subjects of social processes, which nevertheless animate them as subjects. class- consciousness, on which according to marxist theory the qualitative leap forwards depended, was consequently and at the same time an epiphenomenon. if however no class consciousness emerges over long periods in countries supposedly determined by class relations, for example north america, insofar as it had ever been present there; if the question of the proletariat becomes a puzzle-picture, then quantity rebounds into quality, and the suspicion of a conceptual mythology can only be suppressed by decree, not assuaged by thought. this development is difficult to separate from the central plank of marxist theory, namely the doctrine of surplus value. this was supposed to explain the relationship of classes and the increase of class antagonisms as something objectively economic. but if the share of living labor, from which all surplus value accordingly flows, sinks, thanks to the extension of technological progress, to a limit-point, then this affects the central plank, the theory of surplus value. the current lack of an objective theory of value is conditioned not merely by what the academy narrowly defines as scholastic economics. it also refers back to the prohibitive difficulty of objectively grounding the construction of classes without the theory of surplus value. may find it illuminating, that even the so-called theories attempt to stop the holes in their treatment of problems with scraps of subjective economics. the responsibility for this is certainly not merely the weakness of theoretical capability. conceivable that contemporary society cannot be contained within a coherent theory. by comparison, marx had it much easier, when he laid out the system of liberalism as a science. he only needed to ask whether capitalism corresponded in its own dynamic categories to this model, in order to produce, out of the determinate negation of the preexisting theoretical system, a theory in its own right. meanwhile the market economy has become so honeycombed, that it mocks any such confrontation. the irrationality of the contemporary social structure hinders its rational development in theory. the perspective that the direction of economic processes is passing into the hands of political power, though it follows from the logical dynamic of the system, is at the same time also one of objective irrationality. this, and not simply the sterile dogmatism of its followers, should help to explain why for a long time no really convincing objective theory of society emerged. under this aspect the renunciation of such would be no critical advance of the scientific spirit, but an expression of compulsory resignation. the regression of society runs parallel to that of its thinking.
in the meantime we are faced with no less drastic facts, which for their part can be interpreted without emphasis] the usage of key concepts of capitalism only with th violence and caprice. the economic process continues to perpetuate domination over human beings. the objects of such are no longer merely the masses, but also the administrators and their hangers-on. in terms of the traditional theory, they have become largely functions of their own production-apparatus. the question of the “managerial revolution” [in english], concerning the supposed transition of domination from the owners to the bureaucracy is correspondingly secondary. then as now, this process produces and reproduces classes which, though not necessarily in the form of germinal, at the very least a structure which the nietzsche anticipated with the expression, all herd and no shepherd. in this, however, was concealed what he did not want to see: the same social oppression, only now become anonymous. if the theory of was not borne out of la [to the letter], then it certainly has in the no less frightening sense, thatdom, dependence on the consciousness of those who serve an uncontrollable apparatus, is spreading universally over humanity. the immaturity of the masses is only the reflex of this, this they are as little as ever autonomous masters of their lives; like in mythology, it confronts them as a doom [schicksal: fate, destiny]. empirical investigations show by the way that even subjectively, according to their [realitaetsbewusstsein], classes are by no means so leveled out as one at times presumes. even the theories of imperialism do not become obsolete due to the forcible withdrawal of the great powers from their colonies. the process which they referred to continues in the antagonism of both monstrous power-blocs. the supposedly outmoded doctrine of social antagonisms, including the telos of the final crisis, is being immeasurably trumped by manifestly political ones. whether and to what extent class relations have been relocated onto those between the leading industrial nations and the much developing countries, remains to be seen.
in the categories of theory i would like to suggest as a first and necessarily abstract answer, that contemporary society is above all an industrial society according to the level of its productive forces emphasis]. industrial labor has become the model pattern of society everywhere and across all borders of political systems. it developed itself into a totality due to the fact that modes of procedure, which resemble the industrial ones, are extending by economic necessity into the realms of material production, into administration, the and that which we call culture. conversely, society is capitalism in terms of its relations of production emphasis]. human beings are still what they were according to the marxist analysis of the middle of the century: appendages of machines, not merely in the literal sense as workers, who have to adapt themselves to the constitution of the machines which they serve, but far beyond this and metaphorically, compelled to assume the roles of the social mechanism and to model themselves on such, without reservation, on the level of their most intimate impulses. production goes on today just as it did before, for the sake of profits. needs have gone beyond anything marx could have foreseen in his time, completely becoming the function of the production-apparatus, which they potentially were all along, instead of the reverse. they are totally governed [gesteuert: mechanically steered, governed]. to be sure, even within this transformation, as and adapted to the interests of the apparatus as it is, the needs of human beings are smuggled in, something which the apparatus never fails to direct popular attention to. but the side of commodities has in the meantime been shorn of their last “naturally-grown” or truth [selbstverstaendlichkeit: casualness, self-evidence]. not only are needs satisfied purely indirectly, by means of exchange-values, but within the relevant economic sectors produced by the, and thus at the cost of the objective needs of the consumers, namely those for adequate housing, and completely so in terms of the education and information over the processes which most affect them. in the realm of necessities not directly connected with basic living standards,s as such are tending to dissolve or be exhausted; a phenomenon which appears in empirical sociology under termini such as status symbols and prestige, without really being objectively grasped by such. the highly industrialized countries of the earth, so long as, in spite of keynes, some renewed economic natural catastrophe does not occur, have learned to conceal the more visible forms of poverty, albeit not to the extent that the thesis of the “affluent society” [in english] would have it. the bane, however, which the system exerts over human beings, has only become stronger due to this integration, insofar as such comparisons can be reasonably made. it is undeniable that the increasing satisfaction of material needs, in spite of their distortion by the apparatus, hints incomparably more concretely to the possibility of a life without necessity. even in the poorest countries, no-one need hunger anymore. that the envelope before the consciousness of the possible has nonetheless become thin indeed, is supported by the fright created by any sort of social enlightenment which is not broadcast by the official communication systems. what marx and engels, who strove for a truly humane organization of society, denounced as utopian for merely sabotaging such an organization, has become a palpable reality. nowadays the critique of utopia has sunk into the common ideological stockpile, while at the same time the triumph of technical productivity strives to maintain the illusion that utopia, incompatible with the relations of production, has already been realized within its realm. but the contradictions in their new, quality - the arms race of east and west - make that which is possible at the same time impossible.
to see through all this demands, indeed, that one does not cast the blame on what critique has time and again been by, namely technics, that is to say the productive-forces, thereby indulging in a kind of theoretical on an expanded level. technics is not the disaster, but rather its intertwining with the social relations, in which it is entangled. one need only recall how the conscious application of the and [herrschaftsinteresse: “power-interest,” used here in the sense of factory discipline] technical development: they fatally harmonize, in the meantime, with the necessity of supervision. it is not for nothing that the invention of means of destruction has become the prototype of the new quality of technics. by contrast, the potential of those which distance themselves from domination, centralization, and violence against nature, and which would also probably permit the healing of much of what is literally and figuratively is damaged by technics, is left to die on the vine.
contemporary society exhibits, in spite of all assertions to the contrary, as its dynamism and increase of production, static aspects. these include the relations of production. these are no longer merely the property of the owner, but of the administration, all the way to the role of the state as total capitalist. to the extent that its rationalization with technical rationality, a.k.a. the productive forces, they've undeniably become more flexible. this has created the illusion that the universal interest has its ideal as the status quo and universal employment, not the liberation of work. but this condition, from an external political position quite labile, is a merely temporary balance, the result of forces, whose tension threatens to disrupt it. inside the dominant relations of production, humanity is virtually its own reserve army of labor and is fed through as such. expectation, that the primacy of the productive forces was certain to explode the relations of production, was all too optimistic. to that extent marx remained, as the sworn enemy of german idealism, true to its affirmative construction of history. trusting in the benefited the justification of later versions of that which, according to the eleventh thesis on feuerbach, was to have been changed. the relations of production have out of sheer continued to subjugate the unbound forces of production, through piecework and particular measures. the signature of the epoch is the preponderance of the relations of production over the productive forces, which have nonetheless mocked these relations for some time. that the extended arm of humanity can reach to distant and empty planets, but that it cannot create peace on earth, highlights the absurdity, towards which the social dialectic is moving. that things happened otherwise than was hoped for is not least due to the fact that the society has ingested what called the “underlying population.” but the only ones who could wish that this be undone, are those who put the happiness of the abstract totality over that of living individual beings. this development depends for its part once again on that of the productive forces. it was never identical, though, with its primacy over the relations of production. this was never imagined as something mechanical. its realization had for its precondition the spontaneity of those who were interested in the transformation of the relations, and their number has surpassed the actual industrial proletariat several times over. objective interest and subjective spontaneity yawn wide from each other; these wither under the disproportionate hegemony of the existent. the sentence of marx, that theory, too, becomes a genuine force as soon as it seizes the masses, has been turned flagrantly upside down by the course of the world. if the constitution of the world, through planned measures or automatically, hinders the simplest cognition and experience of the most threatening events and indispensable critical ideas and by means of the culture- and consciousness-industries; if it hamstrings, far beyond this, even the basic capacity to imagine the world differently than it overwhelmingly appears to be to those who constitute this world, then these and manipulated intellectual and spiritual conditions become indeed a genuine power, that of repression, just what its opposite, the emancipated mind [geist: mind, spirit, intellect], once wished to combat.
by contrast, the industrial society suggests, to a certain degree, that a question of the technocratic moment in marx, which this term would like to show the way out of the world, immediately in itself; as if the essence of society followed the level of the productive forces in lockstep, independent of its social conditions. astonishing, how rarely the sociological establishment actually considers this, how rarely it is analyzed. the best part, which by no means needs to be the best, is forgotten, namely the totality, or in words the ether of society. this however is anything but ethereal, but on the contrary an [latin: that which is real, materially existent]. insofar as it is veiled, the fault of its abstraction is not to be blamed on a and thinking, but on the exchange-relationships, the objective abstractions, which belongs to the social life-process. the power of that abstraction over humanity is far more than that of any single institution, which silently constitutes itself in advance according to the scheme of things and beats itself into human beings. the powerlessness which the individual experiences in the face of the totality is the most drastic expression of this. admittedly in sociology the leading social relations realize themselves in the social conditions of production, in accordance with their nature, far less palpably than in that concrete generality. they become neutralized into concepts of power or social control. in such categories, the point of the spike vanishes and thereby, one would like to say, that which is actually social in society, its structure. it is one of the tasks of sociological congress, to work towards changing this.
it is least of all permissible for dialectical theory to simply set up the productive forces and relations of production as polar opposites. they are by each another, each contains the other in itself. exactly this leads to the bland recurrence of the productive forces, where the relations of production have the upper hand. the productive forces are, more than ever before, mediated through the relations of production; so completely perhaps, that these appear exactly for that reason as their essence; they have completely become a second nature. their responsibility lies in this, that in an insane contradiction to what is possible, human beings across great stretches of the earth live in misery. even where an abundance of goods is the norm, this stands as if under a curse. the necessity which extends deep into the illusionary appearance [schein], infects goods with its illusionary character. objectively true and false needs can indeed be differentiated, though nowhere in the world ought to be signed over to bureaucratic regimentation for this reason. in needs exist always what is good and what is bad in the entire society; they may be the next best thing to market surveys, but they are not in the administered world in themselves the first thing. to judge between true and false consciousness would, according to the insight into the structure of society, require that of all its mediations. that which is fictitious, which distorts all of necessities nowadays, is undoubtedly perceived unconsciously; this contributes significantly to the contemporary discontent in culture. more important than even the almost impenetrable quid pro quo of need, satisfaction and profit- or is the unrelieved and continuing threat of one need, on which all others depend on, the motive of simple survival. to a horizon in which at any moment the bomb can fall, even the most riotous display of consumer goods contains an element of self-mockery. the international antagonisms which, however, for the first time are building to a truly total war, stand in flagrant context with the relations of production, in the most literal sense imaginable. the threat of one catastrophe is displaced by the catastrophe of the other. the relations of production could scarcely maintain themselves without the apocalyptic earthquake of renewed economic crises as tenaciously as they do, if an inordinate share of the social product, which would otherwise be unsaleable, were not dedicated to the production of the means of destruction. in the soviet union something similar is at work, despite the removal of the market economy. the economic reasons for this are obvious: the requirement for speedy increases in production in the underdeveloped lands necessitates tight, dictatorial administration. out of the of the forces of production emerged renewed fetters, those of the relations of production: production became its own end and hindered the purpose of such, i.e. undiminished and freedom. under both systems, the capitalist concept of socially essential work is reduced to a satanic parody: in the marketplace it is based on profit, never on utility for human beings themselves or their happiness. such domination of the relations of production over human beings requires above all the state of development of the forces of production. while both need to be differentiated, those who wish to grasp the merest part of the baleful spell cast on the situation must constantly use one as a means of understanding the other. the overproduction which drives that expansion, through which the apparently subjective need is received and substituted for, is spit out from a technical apparatus which has come so far towards realizing itself, that it has become, under a certain volume of production, irrational - that is, unprofitable; it is necessarily realized by the relations of production. it is solely from the viewpoint of total annihilation that the relations of production have not fettered the forces of production. the methods, however, with which in spite of everything the masses are kept in line, presuppose a kind of concentration and centralization which has not only an economic side but also a technological one, as the go to show; i.e. that it has become possible to homogenize the consciousness of countless individuals from just a few points, through the selection and presentation of news and commentary.
the power of the relations of production, which were not overthrown, is greater than ever, and yet at the same time they are, as objectively anachronistic, everywhere diseased, damaged, riddled with holes. they do not function by themselves. economic interventionism is not, as the older liberal school thought, something cobbled together from outside the system, but is rather, the embodiment of self-defense; nothing could illuminate the category of with greater clarity. this is analogous to what became of the erstwhile hegelian philosophy of law, wherein bourgeois ideology and the dialectic of bourgeois society are so deeply interwoven, in that the state, presumably intervening from beyond the reach of power-struggles, had to be conjured up out of the immanent dialectic of society in order to damper and police the antagonisms of such, lest society, following insight, disintegrate. the invasion of that which is not is at the same time also a piece of immanent, just as, on the opposite end of the spectrum, marx thought of the overthrow of the relations of production as something compelled by the course of history, and nevertheless as something to be realized outside the closure of the system, as a qualitatively different action. if one argued, on the grounds of interventionism and from the standpoint of large-scale planning, that late capitalism [consumer capitalism] has moved beyond the anarchy of commodity production and is therefore no longer really capitalism, the response must be that the social destiny of the particular within this latter is more contingent than ever before. the model of capitalism never applied so purely as its liberal apologists wished to think. it was already in day a critique of ideology, which was supposed to reveal how little the concept which capitalist society had of itself had to do with reality. not the least of the ironies of this critical motif is that liberalism, which even in its heyday was nothing of the sort, has today been in support of the thesis that capitalism is actually not what it is. this, too, points to a transformation. what since time immemorial in capitalist society was, in relation to free and fair exchange, and indeed by consequence of its own implications, irrational (that is to say, and unjust) has increased to the point that its model has collapsed. exactly this has become a condition, whose integration has turned into the prototype of disintegration, which is appraised as an asset. that which is alien to the system reveals itself to be the inner essence of the system, all the way into its political tendencies. in interventionism the power of resistance of the system has confirmed itself, indirectly in the theory of economic crisis; the transition to domination independent of market forces is its telos. the of the “prefab society” is unwitting testament to this. such a reconfiguration of liberal capitalism has its correlate in the reconfiguration of consciousness, a regression of human beings behind the objective possibility, which today would be open to them. human beings are sacrificing the characteristics which they no longer need and which only hinder them; the kernel of is beginning to come apart. only in recent times that signs of a are becoming visible in various groups of young people: resistance against blind adjustment, freedom for rationally chosen goals, disgust before the world of swindles and illusions, meditations on the possibility of transformation. whether the socially drive towards destruction triumphs in spite of this, only time will tell. subjective regression favors once again the regression of the system. to borrow a phrase which merton employed in a somewhat different context, because it became dysfunctional, the consciousness of the masses flattened out the system, such that it increasingly divested itself entaeussern: to relinquish, divest oneself of; also to conceptually disclose, to realize] of that rationality of the fixed, identical ego, which was still implicit in the idea of a functional society.
that the forces of production and the relations of production are one nowadays, and that one could immediately construe society from the standpoint of the productive forces alone, says that the current society is socially necessary appearance. it is socially necessary because in fact previously separated moments of the social process, which living human beings incarnate, are being brought into a kind of overall equivalence. material production, distribution, consumption are administered in common. their borders, which once separated from inside the total process of externally separated spheres, and thereby respected that which was qualitatively different, are melting away. everything is one. the totality of the process of mediation, in truth that of the exchange-principle, produces a second and deceptive immediacy. it makes it possible for that which is separate and antagonistic to be, against its own appearance, forgotten or to be repressed from consciousness. this consciousness of society is however an illusion, because it represents the consequences of technological and organizational homogenization, but nonetheless fails to see that this homogenization is not truly rational, but remains itself subordinated itself to a blind, irrational [gesetzmaessigkeit: lawfulness,ity]. no truly total subject of society yet exists. the mere appearance ought to be formulated as follows, that everything socially existent today is so thoroughly mediated, that even the moment of mediation is itself distorted by the totality. there is no standpoint outside of the whole affair which can be referred to, from which the ghost could be called by its name; the lever can be deployed only by means of its own incoherence. that is what and i described decades ago as the concept of the technological veil. the false identity between the constitution of the world and its inhabitants through the total expansion of technics is leading in the direction of the confirmation of the relations of production, whose true beneficiaries one searches for in vain, just as have become invisible. the of the system in relation to everyone, even functionaries, has reached a limit. it has turned into that fatality, which finds its expression in the current situation, to use words, in angst;, because it can no longer be fixed on living beings, people or classes. the only relationships ultimately realized between people, however, are those buried under the relations of production. this is why the overwhelming organization of things remains at the same time its own ideology, virtually powerless. as impenetrable as the bane [bann] is, only a spell [bann]. if sociology is to do more than just furnish welcome information to agents and interests, by fulfilling those tasks for which it was once conceived, then it is up to it, with means which do not themselves fall prey to the universal character of the fetish, toure, be it to ever so modest an extent, that the spell dissolves itself.
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ˈθiədər ɑˈdɔrnoʊ, 1968 leɪt ˈkæpɪtəˌlɪzəm ər ˌɪnˈdəstriəl soʊˈsaɪɪti? ˈoʊpənɪŋ ˈæˌdrɛs tɪ ðə ˈʤərmən ˌsoʊsiəˈlɑʤɪkəl ˈkɑŋgrəs sɔrs: http://www.efn.org/~dredmond/adornosocaddr.html*; trænzˈleɪʃən: 2001 ˈdɛnɪs ˈrɛdmənd; copyleft*: trænzˈleɪʃən juzd wɪθ pərˈmɪʃən, kriˈeɪtɪv ˈkɑmənz (əˈtrɪˌbjut sharealike*); ərˈɪʤənəl ˈʤərmən: frəm ˈvərlæg ɛz: ˈθiədər ˈdəbəlju. ɑˈdɔrnoʊ. kəˈlɛktəd wərks, ˈvɑljum 4 trænˈskraɪbd: baɪ ˈændi blunden*. ɪt həz bɪˈkəm ˈkəstəˌmɛri fər ðə ˈaʊtˌgoʊɪŋ ʧɛr əv ðə ˈʤərmən soʊˈsaɪɪti fər ˌsoʊsiˈɑləʤi tɪ seɪ ə fju wərdz əv ðɛr oʊn. ɪn ðɪs keɪs, hɪz oʊn pəˈzɪʃən ənd ðə ˈminɪŋ əv ðə ˈprɑbləmz biɪŋ poʊzd ər nɑt tɪ bi ˈstrɪktli ˈsɛpərˌeɪtɪd: iʧ ɪz ˌənəˈvɔɪdəbli ˌkɑnˈʤɔɪnd tɪ ðə ˈəðər. ɔn ðə ˈəðər hænd hi kən ˈhɑrdli ˈprɛzənt dɪˈfɪnɪtɪv səˈluʃənz, wɪʧ ɪz ðə hoʊl pɔɪnt əv dɪˈskəʃən baɪ ðə ˈkɑŋgrəs. ðɪs θim wɑz ərˈɪʤənəli səˈʤɛstɪd baɪ ˈɑˌtoʊ ˈstæmər. ɪn ðə ˈmitɪŋ əv ðə ɪgˈzɛkjətɪv kəˈmɪti ʧɑrʤd wɪθ ərˈeɪnʤɪŋ ðə ˈkɑnfərəns, ɪt wɑz ˈgræʤuəli trænsˈfɔrmd; ðə ˈprɛzənt ˈtaɪtəl ˈkrɪstəˌlaɪzd aʊt θru ““teamwork”*” [ɪn ˈɪŋlɪʃ]. ðoʊz hu ər ˌənfəˈmɪljər wɪθ ðə steɪt əv ˈkɑrənt dəˈbeɪt ɪn ðə ˈsoʊʃəl ˈsaɪənsɪz kən bi fərˈgɪvən fər səˈspɛktɪŋ ðət ðɪs ɪz ə kˈwɛʃən əv mɪr ˈnoʊmənˌkleɪʧər; ðət ˈɛkspərts hæv ðə ˈaɪdəl ˈləgʒəri əv ˈpɑndərɪŋ ˈwɛðər ðə kənˈtɛmpərˌɛri ˈɪrə ɪz tɪ bi neɪmd leɪt ˈkæpɪtəˌlɪzəm ər ˌɪnˈdəstriəl soʊˈsaɪɪti. ɪn truθ, ɪt ɪz nɑt ə kˈwɛʃən əv mɪr ˈtərmɪˌnaɪ bət ˈsəmθɪŋ ˌæbsəˈlutli ˌfəndəˈmɛnəl. ðə ˌprɛzənˈteɪʃənz ənd dɪˈskəʃənz wɪl bi əˈsɪstɪŋ ˈjuˈɛs tɪ ˌæsərˈteɪn ˈwɛðər ðə ˈkæpətəlɪst ˈsɪstəm kənˈtɪnjuz tɪ rul, ɔlˈbiɪt ɪn ə ˈmɑdəˌfaɪd fɔrm, ər ˈwɛðər ˌɪnˈdəstriəl dɪˈvɛləpmənt həz meɪd ðə ˈkɑnsɛpt əv ˈkæpɪtəˌlɪzəm ˌɪtˈsɛlf, ðə ˈdɪfərəns bɪtˈwin ˈkæpətəlɪst ənd steɪts, ənd ˌɪnˈdid ðə krɪˈtik əv ˈkæpɪtəˌlɪzəm, ˌaʊtˈmoʊdɪd. ɪn ˈəðər wərdz, ɛz tɪ ˈwɛðər ðə ˈkərəntli ˈpɑpjələr ˈθiˌsɪs ɪn ˌsoʊsiˈɑləʤi, ðət mɑrks ɪz ˌɑbsəˈlit, ɪz kərˈɛkt. əˈkɔrdɪŋ tɪ ðɪs ˈθiˌsɪs, ðə wərld həz bɪn soʊ ˈθəroʊli dɪˈtərmənd baɪ ən tɛkˈnɑləʤi [technik*: ˈtɛknɪks], ðət ðə ˌkɔrəˈspɑndɪŋ ˈsoʊʃəl riˈleɪʃənz wɪʧ wəns dɪˈfaɪnd ˈkæpɪtəˌlɪzəm, ðə ˌtrænsfərˈmeɪʃən əv ˈlɪvɪŋ ˈleɪbər ˈɪntu kəˈmɑdətiz ənd ðɛˈrɪn ðə ˌkɑntrəˈdɪkʃən əv ˈklæsɪz, ɪz bɪˈkəmɪŋ ˌɪˈrɛləvənt, ˈɪnsəfɑr ɛz ɪt həz nɑt bɪˈkəm ən ɑrˈkeɪɪk ˌsupərˈstɪʃən. ɔl ðɪs kən bi rɪˈleɪtɪd tɪ ðə ˌənmɪˈsteɪkəbəl kənˈvərʤəns bɪtˈwin ðə ˈtɛknɪkəli moʊst ədˈvænst ˈkəntriz, ðə juˈnaɪtɪd steɪts ənd ðə ˈsoʊviˌɛt ˈjunjən. ɪn tərmz əv ənd ˈkɑnʃəsnəs, klæs ˈdɪfərənsɪz hæv bɪˈkəm ɔn ðə hoʊl fɑr lɛs ˈvɪzəbəl ɪn ðə ˈwɛstərn steɪts ɪn kˈwɛʃən ðən ɪn ðə ˈdɛkeɪdz ˈdʊrɪŋ ənd ˈæftər ðə ˌɪnˈdəstriəl ˌrɛvəˈluʃən. ðə prɑgˈnoʊsiz əv səʧ ɛz ənd ˌɛkəˈnɑmɪk ˈkraɪsəs hæv nɑt bɪn soʊ ˈdræstɪkli ˈriəˌlaɪzd, ɛz wən məst ˌəndərˈstænd ðɛm, ɪf ðeɪ ər nɑt tɪ bi kəmˈplitli rɑbd əv ðɛr ˈkɑntɛnt; wən kən spik əv ˈrɛlətɪv ˈoʊnli ɪn ə ˈkɑmɪk sɛns. ˈivɪn ɪf baɪ noʊ minz ˌwənˈsaɪdəd lɔ əv ˈsɪŋkɪŋ həz nɑt bɪn bɔrn aʊt ɔn ə ˈlɛvəl, wən məst kənˈsid ðət ˈkæpɪtəˌlɪzəm həz dɪˈskəvərd ˈrisɔrsɪz wɪˈθɪn ˌɪtˈsɛlf, wɪʧ hæv pərˈmɪtɪd ðə poʊstˈpoʊnɪŋ əv ˌɛkəˈnɑmɪk kəˈlæps æd ˈrisɔrsɪz wɪʧ ˌɪnˈklud ðə ˌɪˈmɛns ˌɪnˈkris əv ðə ˈtɛknɪkəl pəˈtɛnʃəl əv soʊˈsaɪɪti ənd ðɛˈrɪn ˈɔlsoʊ ðə kənˈsumər gʊdz əˈveɪləbəl tɪ ðə ˈmɛmbərz əv ðə ˈhaɪli ˌɪnˈdəstriəˌlaɪzd ˈkəntriz. æt ðə seɪm taɪm ðə riˈleɪʃənz əv pərˈdəkʃən hæv ʃoʊn ðɛmˈsɛlvz tɪ bi, ɪn vju əv səʧ ˌtɛknəˈlɑʤɪkəl dɪˈvɛləpmənts, fɑr mɔr ɪˈlæstɪk ðən mɑrks hæd səˈspɛktɪd. ðə kraɪˈtɪriən əv klæs riˈleɪʃənz, wɪʧ ˌɛmˈpɪrɪkəl ˈrisərʧ ɪz fɑnd əv rɪˈfərɪŋ tɪ ɛz stratification”*” [ɪn ˈɪŋlɪʃ], ˈstrætə dɪˈvaɪdɪd əˈkɔrdɪŋ tɪ ˈɪnˌkəm, life-style*, ˌɛʤəˈkeɪʃən, ər ˌʤɛnərələˈzeɪʃənz əv ðə ˈfaɪndɪŋz əv spɪˈsɪfɪk ˌɪndəˈvɪʤəwəlz. tɪ ðət ɪkˈstɛnt ðeɪ meɪ bi kɔld səˈbʤɛktɪv. ɪn ˈkɑntræst tɪ ðɪs, ðə mɔr trəˈdɪʃənəl ˈkɑnsɛpt əv klæs wɑz əˈbʤɛktɪv, mɛnt tɪ bi ˌɪndɪˈpɛndənt əv ˈɪndɪˌsiz, wɪʧ ər ˈgɑrnərd aʊt əv ðə ˌɪˈmiˌdiət laɪf əv ˈsəbʤɪkts, ˌhaʊˈɛvər məʧ, baɪ ðə weɪ, ðət ðiz ɪkˈsprɛs ˈsoʊʃəl objectivities*. ˈmɑrksɪst ˈθɪri rɛsts ɔn ðə pəˈzɪʃən əv ˌɑntrəprəˈnərz ənd ˈwərkərz ɪn ðə production-process*, ənd ˈəltəmətli əv ðɛr kənˈtroʊl ˈoʊvər ðə minz əv pərˈdəkʃən. ɪn ðə prɪˈdɑmənənt kənˈtɛmpərˌɛri streɪnz əv ˌsoʊsiˈɑləʤi ðɪs kənˈkluʒən həz fər ðə moʊst pɑrt bɪn rɪˈʤɛktɪd ɛz dɔgˈmætɪk. ðə ˈkɑntrəˌvərsi nidz tɪ bi ˈsɔrtɪd aʊt ˌθiərˈɛtɪkəli, nɑt ˈsɪmpli θru ðə ˌprɛzənˈteɪʃən əv fækts, wɪʧ ˌɪnˈdid fər ðɛr pɑrt meɪk ˈnumərəs ˌkɑntrəˈbjuʃənz tɪ ðə krɪˈtik, bət wɪʧ ɪn laɪt əv ˈkrɪtɪkəl ˈθɪri kən ˈɔlsoʊ kənˈsil ðə ˈstrəkʧər. ˈivɪn ðə əˈpoʊnənts əv hæv noʊ wɪʃ tɪ dɪˈleɪ ə ˈθɪri, wɪʧ sərvz tɪ əˈkaʊnt fər oʊn ˈɪntərɪsts. ðə ˈkɑntrəˌvərsi ɪz ɛˈsɛnʃəli wən kənˈsərnɪŋ ˌɪnˌtərprɪˈteɪʃən ˈivɪn ɪf ɪt wər ˈoʊnli ðə əˈtɛmpt tɪ ˈbænɪʃ ðə dɪˈmænd fər səʧ ɪn ðə ˈpərgəˌtɔri əv ðət wɪʧ ɪz extra-scientific*. ə ˌdaɪəˈlɛktɪkəl ˈθɪri əv soʊˈsaɪɪti kənˈsərnz ˌɪtˈsɛlf wɪθ ˈstrəkʧərəl lɔz, wɪʧ kənˈdɪʃən ðə fækts, ɪn wɪʧ ɪt ˈmænəˌfɛsts ˌɪtˈsɛlf ənd frəm wɪʧ ɪt ɪz ˈmɑdəˌfaɪd. baɪ ˈstrəkʧərəl lɔz wi min ˈtɛndənsiz, wɪʧ mɔr ər lɛs ˈstrɪnʤəntli ˈfɑloʊ ðə hɪˈstɔrɪkəl ˌkɑnstəˈtuʃən əv ðə ˈtoʊtəl ˈsɪstəm. ðə ˈmɑrksɪst ˈmɑdəlz fər ðɪs wər ðə lɔ əv ˈvælju, ðə lɔ əv əˌkjumjəˈleɪʃən, ðə lɔ əv ˌɛkəˈnɑmɪk ˈkraɪsəs. ˌdaɪəˈlɛktɪkəl ˈθɪri dɪd nɑt ˌɪnˈtɛnd tɪ tərn ˈstrəkʧərz ˈɪntu ˈɔrdərd schematas*, wɪʧ kʊd bi əˈplaɪd tɪ ˌsoʊsiəˈlɑʤɪkəl ˈfaɪndɪŋz ɛz kəmˈplitli, kənˈtɪnjuəli ənd ɛz ˈpɑsəbəl; nɔr systemizations*, bət ˈrəðər ðə prəˈsiʤərz ənd ˈdætə əv ˌsaɪənˈtɪfɪk kɑgˈnɪʃən əv ðə ˈsɪstəm əv soʊˈsaɪɪti. səʧ ə ˈθɪri ɔt list əv ɔl tɪ wɪθˈhoʊld fækts frəm ˌɪtˈsɛlf, tɪ twɪst ðɛm əraʊnd əˈkɔrdɪŋ tɪ ə probandum*. ˈəðərˌwaɪz ɪt wʊd ɪn fækt fɔl raɪt bæk ˈɪntu ˈdɑgməˌtɪzəm ənd wʊd rɪˈpit kənˈsɛpʧuəli wət ðə ɪnˈtrɛnʧt əˈθɔrətiz əv ðə ˈistərn blɑk hæv ɔˈrɛdi ˈpərpəˌtreɪtɪd θru ðə ˈɪnstrəmənt əv diamat*: ˈfrizɪŋ ˈɪntu pleɪs wət, əˈkɔrdɪŋ tɪ ɪts oʊn ˈkɑnsɛpt, ˈkænɑt bi ˈəðərˌwaɪz θɔt ðən ɛz ˈsəmθɪŋ wɪʧ muvz. ðə ˈfɛtɪˌʃɪzəm əv ðə fækts ˌkɔrəˈspɑndz tɪ wən əv ðə əˈbʤɛktɪv lɔz., wɪʧ həz hæd ɪts fɪl əv ðə ˈpeɪnfəl ɪkˈspɪriəns əv səʧ hiˈʤɛməni, dɪz nɑt ɪn tərn, bət ˈkrɪtɪˌsaɪzɪz ðɪs ʤɪst ɛz məʧ ɛz ðə əˈpɪrəns, ðət ðə ənd ðə ˈkɑnkrit ɔˈrɛdi dɪˈtərmən ðə kɔrs əv ðə wərld ɛt [ˈlætən: hir ənd naʊ]. ˈvɛri ˈlaɪkli ðət ˈəndər ðə spɛl əv ðə ˈlætər ðə ənd ðə ˈkɑnkrit du nɑt ˈivɪn ɪgˈzɪst jɛt. θru ðə wərd ˈplʊrəˌlɪzəm, juˈtoʊpiə ɪz səˈprɛst, ɛz ɪf ɪt wər ɔˈrɛdi hir; ɪt sərvz ɛz ˌkɑnsəˈleɪʃən. ðət ɪz waɪ ˌhaʊˈɛvər ˌdaɪəˈlɛktɪkəl ˈθɪri, wɪʧ ˈkrɪtɪkəli rɪˈflɛkts ɔn ˌɪtˈsɛlf, meɪ nɑt fər ɪts pɑrt ˌɪnˈstɔl ˌɪtˈsɛlf ɪn ðə ˈmidiəm əv ðə ˌʤɛnərˈæləti. ɪts ˌɪnˈtɛnʧən ɪz prɪˈsaɪsli tɪ breɪk aʊt əv ðɪs ˈmidiəm. ɪt tu ɪz nɑt ˌɪmˈjun ˌbiˈfɔr ðə fɔls dɪˈvɪʒən əv rɪˈflɛktɪv ˈθɪŋkɪŋ ənd ˌɛmˈpɪrɪkəl ˈrisərʧ. səm taɪm əˈgoʊ ə ˈrəʃən ˌɪnəˈlɛkʧuəl əv kənˈsɪdərəbəl ˈɪnfluəns toʊld mi ðət ˌsoʊsiˈɑləʤi ɪz ə nu saɪəns ɪn ðə ˈsoʊviˌɛt ˈjunjən. hi mɛnt əv kɔrs ðə ˌɛmˈpɪrɪkəl kaɪnd; ðət ðɪs maɪt hæv ˈsəmθɪŋ tɪ du wɪθ wət ɪn hɪz ˈkəntri ɪz ə ˈdɔktərɪn əv soʊˈsaɪɪti reɪzd tɪ ə steɪt rɪˈlɪʤən wɑz noʊ mɔr əˈpɛrənt tɪ ɪm, ðən ðə fækt ðət mɑrks kənˈdəktəd ˌɛmˈpɪrɪkəl inquests*. ˈkɑnʃəsnəs dɪz nɑt ɛnd wɛr ðə ˈkɑnsɛpt əv həz ə pleɪs əv ˈɑnər. ðə ˌɪnˈfleɪtɪd ˈbləstər ˈoʊvər ˈkɑnsɛpts səʧ ɛz ““imperialism”*” ər ““monopoly,”*,” wɪˈθaʊt ˈteɪkɪŋ ˈɪntu kənˌsɪdərˈeɪʃən wət ðiz wərdz ˈfækʧuəli ɛnˈteɪl [sachverhalten*], ənd tɪ wət ɪkˈstɛnt ðeɪ ər ˈrɛləvənt, ɪz ɛz rɔŋ, ðət ɪz tɪ seɪ ˌɪˈræʃənəl, ɛz ə moʊd əv ˈkɑndəkt wɪʧ, θæŋks tɪ ɪts ˈblaɪndli kənˈsɛpʃən əv ðə ˈmætər æt hænd [sachverhalten*], rɪfˈjuzɪz tɪ kənˈsɪdər ðət ˈkɑnsɛpts səʧ ɛz maɪt hæv ðɛr ˌɑbʤɛkˈtɪvɪti, rɪˈvilɪŋ ə kəmˈpəlʃən əv ðə ˌʤɛnərˈæləti bɪˈhaɪnd ðə ˈmætər æt hænd [sachverhalten*], wɪʧ ɪz baɪ noʊ minz ˈɔlˌweɪz ˈædəkwɪtli trænzˈleɪtəd ˈɪntu ðə ˌɑpərˈeɪʃənəl fild əv ðə fækts əv ðə ˈmætər [sachverhalte*]. boʊθ ər tɪ bi əˈpoʊzd; tɪ ðɪs ɪkˈstɛnt ðə θim əv ðə ˈkɑŋgrəs, leɪt ˈkæpɪtəˌlɪzəm ər ˌɪnˈdəstriəl soʊˈsaɪɪti, ˈtɛstɪˌfaɪz tɪ ðə ˌmɛθədəˈlɑʤɪkəl ˌɪnˈtɛnt əv aʊt əv ˈfridəm. ə ˈsɪmpəl ˈænsər tɪ ðə kˈwɛʃən wɪʧ laɪz ɪn ðət θiˈmætɪk, ɪz ˈniðər tɪ bi ɪkˈspɛktɪd nɔr ˈrɪli tɪ bi sɔt ˈæftər. ɔlˈtərnətɪvz wɪʧ kəmˈpɛl wən tɪ ɑpt fər wən ər ðə ˈəðər dɪˌtərməˈneɪʃən, ˈivɪn ɪf ˈoʊnli ˌθiərˈɛtɪkəli, ər ɔˈrɛdi ˈmændəˌtɔri ˌsɪʧuˈeɪʃənz, ˈmɑdəld ˈæftər ən soʊˈsaɪɪti ənd trænˈspoʊzd ˈɔntu ðə maɪnd [gaɪst], təˈwɔrdz wɪʧ ðə ˈlætər ɔt tɪ du wət ɪt kən tɪ breɪk θru ɪts təˈneɪʃəs rɪˈflɛkʃən. ɛz kəmˈplitli ɛz ðə meɪ ˈrɛfˌjuz tɪ drɔ ə dɪˈfaɪnɪŋ laɪn bɪtˈwin leɪt ˈkæpɪtəˌlɪzəm ənd ˌɪnˈdəstriəl soʊˈsaɪɪti, ðə lɛs kən hi ˌɪnˈdəlʤ ɪn ðə ˈplɛʒər əv ə ˈnɑnkəˈmɪtəl on-the-one-hand-but-on-the-other-hand*. hi məst gɑrd əˈgɛnst ˌsɪmpləfɪˈkeɪʃən, ˈkɑntrɛri tɪ səˈʤɛsʧən, prɪˈsaɪsli bɪˈkəz ðə ˈkɑmənˌpleɪs səˈʤɛsts ðə rɪˈspɑns, ʤɪst ɛz ðə ˈɑpəzɪt ˈænsər fɔlz soʊ ˈizəli frəm ðə lɪps frəm hɪz əˈpoʊnənts. huˈɛvər dɪz nɑt wɪʃ tɪ bi ˈhʊdˌwɪŋkt baɪ ðə ɪkˈspɪriəns əv ðə priˈpɑndrəns əv ðə ˈstrəkʧər ˈoʊvər ðə ˈmætər æt hænd [sachverhalten*], wɪl nɑt, ənˈlaɪk moʊst əv hɪz əˈpoʊnənts, dɪˈvæˌlju ˌkɑntrəˈdɪkʃənz ɪn ədˈvæns tɪ ˌmɛθəˈdɑləʤi, tɪ mɪr kənˈsɛpʧuəl ˈɛrərz ənd əˈtɛmpt tɪ stæmp ðɛm aʊt θru ðə ˈhɑrməni əv ˌsaɪənˈtɪfɪk ˌsɪstəˈmætɪks. ˌɪnˈstɛd hi wɪl treɪs ðɛm bæk ˈɪntu ðə ˈstrəkʧər, wɪʧ wɑz ænˌtægəˈnɪstɪk ˈɛvər sɪns ˈɔrgəˌnaɪzd soʊˈsaɪɪti fərst ˈimərʤd, ənd wɪʧ rɪˈmeɪnz soʊ, ʤɪst ɛz ðə ˈkɑnflɪkts ənd ðə ˈpərmɑˌnɛnt ˌpɑsəˈbɪləˌti əv ə ˌkætəˈstrɑfɪk wɔr, moʊst ˈrisəntli ˈɔlsoʊ ðə ˈrəʃən ˌɪnˈveɪʒən əv ˌʧɛkəsloʊˈvɑkiə, ˈdɛmənˌstreɪt. ðɪs ˈglɔsɪz ˈoʊvər ən ɔlˈtərnətɪv ˈθɪŋkɪŋ, tɪ ðət ənˈbroʊkən wɪʧ ˈprɑʤɛkts ˌɪtˈsɛlf ˈɔntu ðət wɪʧ ɪz tɪ bi θɔt. ɪt ɪz nɑt ə kˈwɛʃən əv ˈʧuzɪŋ bɪtˈwin ˈiðər fɔrm, əˈkɔrdɪŋ tɪ ˌsaɪənˈtɪfɪk vˈjuˌpɔɪnt ər teɪst, bət ˈrəðər ðɛr riˈleɪʃənˌʃɪp ɪkˈsprɛsɪz fər ɪts pɑrt ðə ˌkɑntrəˈdɪkʃən wɪʧ ˈkɛrɪktərˌaɪzəz ðə ˈkɑrənt ˈɪrə, ənd ɪt bɪˈfɪts ˌsoʊsiˈɑləʤi tɪ ɑrˈtɪkjəˌleɪt ðɪs ˌθiərˈɛtɪkəli. ˈmɛni prɑgˈnoʊsiz əv ˌdaɪəˈlɛktɪkəl ˈθɪri hæv ə ˌkɑntrəˈdɪktəri riˈleɪʃənˌʃɪp tɪ wən əˈnəðər. səm ˈsɪmpli dɪd nɑt fʊlˈfɪl ðɛmˈsɛlvz; ˈsərtən ˈkætəˌgɔriz hæv lɛd ˈminˌwaɪl tɪ aporias*, wɪʧ kən ˈoʊnli bi θɔt aʊt əv ðə wərld wɪθ ðə ˈətˌmoʊst ˈɑrtəfɪs. ˈəðər priˈdɪkʃənz, ərˈɪʤənəli ˈkloʊsli əˈsoʊʃiˌeɪtəd wɪθ ðə ˈfɔrmər, hæv bɪn rɪˈzaʊndɪŋli kənˈfərmd. ˈivɪn ðoʊz hu du nɑt rɪˈdus ðə ˈminɪŋ əv ə ˈθɪri tɪ ɪts prɑgˈnoʊsiz, wʊd nɑt ˈhɛzəˌteɪt tɪ əˈskraɪb ðə kleɪm əv ðə ˌdaɪəˈlɛktɪkəl wən ɛz ˈpɑrtli tru ənd ˈpɑrtli fɔls. ðiz daɪˈvərʤənsɪz ˌrikˈwaɪər fər ðɛr pɑrt ˌθiərˈɛtɪkəl ˌɛkspləˈneɪʃən. ðət wən ˈkænɑt spik əv ə ˌproʊləˈtɛriən ɪn ðə ˈlidɪŋ ˌɪnˈdəstriəl ˈkəntriz dɪz nɑt ˌnɛsəˈsɛrəli rɪfˈjut, ɪn ˈkɑntræst tɪ ðə [prɪˈveɪlɪŋ əˈpɪnjən], ðə ɪgˈzɪstəns əv ˈklæsɪz: klæs wɑz dɪˈtərmənd baɪ ðə pəˈzɪʃən tɪ ðə minz əv pərˈdəkʃən, nɑt baɪ ðə ˈkɑnʃəsnəs əv ɪts ˈmɛmbərz. ðɛr ər noʊ læk əv ˈplɔzəbəl ˈrizənz fər ðə læk əv: ðət ˈwərkərz ər noʊ ˈlɔŋgər biɪŋ immiserated*, ðət ðeɪ wər ˌɪnˈkrisɪŋ ˈɪnəˌgreɪtɪd ˈɪntu ˈbʊrʒwɑ soʊˈsaɪɪti ənd ɪts world-views*, ɛz kəmˈpɛrd tɪ ðə ˈpɪriəd ˈdʊrɪŋ ənd ˌɪˈmiˌdiətli ˈæftər ðə ˌɪnˈdəstriəl ˌrɛvəˈluʃən, wɪn ðə ˌɪnˈdəstriəl ˌproʊləˈtɛriət wɑz biɪŋ rɪˈkrutɪd frəm ˈpɔpərz ənd stʊd tɪ soʊˈsaɪɪti, kʊd nɑt hæv bɪn ˌfɔrˈsin. ˈsoʊʃəl biɪŋ dɪz nɑt ˌɪˈmiˌdiətli ˈproʊdus klæs ˈkɑnʃəsnəs. wɪˈθaʊt ðə ˈmæsɪz, ənd ˌɪnˈdid prɪˈsaɪsli bɪˈkəz əv ðɛr ˈsoʊʃəl ˌɪnəˈgreɪʃən, ˈhævɪŋ ˈɛni mɔr kənˈtroʊl ˈoʊvər ðɛr ˈsoʊʃəl ˈdɛstəni ðən 120 jɪrz əˈgoʊ, ðeɪ læk nɑt ˈoʊnli klæs ˌsɑləˈdɛrəti, bət ˈɔlsoʊ ðə fʊl ˈkɑnʃəsnəs əv ðɪs, ðət ðeɪ ər ˈɑbʤɛkts ənd nɑt ˈsəbʤɪkts əv ˈsoʊʃəl ˈprɑsɛsəz, wɪʧ ˌnɛvərðəˈlɛs ˈænəˌmeɪt ðɛm ɛz ˈsəbʤɪkts. klæs- ˈkɑnʃəsnəs, ɔn wɪʧ əˈkɔrdɪŋ tɪ ˈmɑrksɪst ˈθɪri ðə kˈwɑləˌteɪtɪv lip ˈfɔrwərdz dɪˈpɛndɪd, wɑz ˈkɑnsəkˌwɛntli ənd æt ðə seɪm taɪm ən epiphenomenon*. ɪf ˌhaʊˈɛvər noʊ klæs ˈkɑnʃəsnəs ˈimərʤɪz ˈoʊvər lɔŋ ˈpɪriədz ɪn ˈkəntriz səˈpoʊzədli dɪˈtərmənd baɪ klæs riˈleɪʃənz, fər ɪgˈzæmpəl nɔrθ əˈmɛrɪkə, ˈɪnsəfɑr ɛz ɪt hæd ˈɛvər bɪn ˈprɛzənt ðɛr; ɪf ðə kˈwɛʃən əv ðə ˌproʊləˈtɛriət bɪˈkəmz ə puzzle-picture*, ðɛn kˈwɑntəti ˈriˌbaʊndz ˈɪntu kˈwɑləti, ənd ðə səˈspɪʃən əv ə kənˈsɛpʧuəl məˈθɑləˌʤi kən ˈoʊnli bi səˈprɛst baɪ dɪˈkri, nɑt əsˈweɪʤd baɪ θɔt. ðɪs dɪˈvɛləpmənt ɪz ˈdɪfəkəlt tɪ ˈsɛpərˌeɪt frəm ðə ˈsɛntrəl plæŋk əv ˈmɑrksɪst ˈθɪri, ˈneɪmli ðə ˈdɔktərɪn əv ˈsərpləs ˈvælju. ðɪs wɑz səˈpoʊzd tɪ ɪkˈspleɪn ðə riˈleɪʃənˌʃɪp əv ˈklæsɪz ənd ðə ˌɪnˈkris əv klæs ænˈtægəˌnɪzəmz ɛz ˈsəmθɪŋ ɑˈbʤɛktɪvli ˌɛkəˈnɑmɪk. bət ɪf ðə ʃɛr əv ˈlɪvɪŋ ˈleɪbər, frəm wɪʧ ɔl ˈsərpləs ˈvælju əˈkɔrdɪŋli floʊz, sɪŋks, θæŋks tɪ ðə ɪkˈstɛnʃən əv ˌtɛknəˈlɑʤɪkəl ˈprɑˌgrɛs, tɪ ə limit-point*, ðɛn ðɪs əˈfɛkts ðə ˈsɛntrəl plæŋk, ðə ˈθɪri əv ˈsərpləs ˈvælju. ðə ˈkɑrənt læk əv ən əˈbʤɛktɪv ˈθɪri əv ˈvælju ɪz kənˈdɪʃənd nɑt ˈmɪrli baɪ wət ðə əˈkædəmi ˈnɛroʊli dɪˈfaɪnz ɛz skəˈlæstɪk ˌɛkəˈnɑmɪks. ɪt ˈɔlsoʊ rɪˈfərz bæk tɪ ðə proʊˈhɪbətɪv ˈdɪfɪˌkəlti əv ɑˈbʤɛktɪvli ˈgraʊndɪŋ ðə kənˈstrəkʃən əv ˈklæsɪz wɪˈθaʊt ðə ˈθɪri əv ˈsərpləs ˈvælju. meɪ faɪnd ɪt ˌɪˈluməˌneɪtɪŋ, ðət ˈivɪn ðə ˈsoʊˈkɔld ˈθɪriz əˈtɛmpt tɪ stɑp ðə hoʊlz ɪn ðɛr ˈtritmənt əv ˈprɑbləmz wɪθ skræps əv səˈbʤɛktɪv ˌɛkəˈnɑmɪks. ðə riˌspɑnsəˈbɪləti fər ðɪs ɪz ˈsərtənli nɑt ˈmɪrli ðə ˈwiknəs əv ˌθiərˈɛtɪkəl ˌkeɪpəˈbɪləti. kənˈsivəbəl ðət kənˈtɛmpərˌɛri soʊˈsaɪɪti ˈkænɑt bi kənˈteɪnd wɪˈθɪn ə koʊˈhɪrənt ˈθɪri. baɪ kəmˈpɛrəsən, mɑrks hæd ɪt məʧ ˈiziər, wɪn hi leɪd aʊt ðə ˈsɪstəm əv ˈlɪˌbərəˌlɪzəm ɛz ə saɪəns. hi ˈoʊnli ˈnidɪd tɪ æsk ˈwɛðər ˈkæpɪtəˌlɪzəm ˌkɔrəˈspɑndɪd ɪn ɪts oʊn daɪˈnæmɪk ˈkætəˌgɔriz tɪ ðɪs ˈmɑdəl, ɪn ˈɔrdər tɪ ˈproʊdus, aʊt əv ðə dɪˈtərməˌneɪt nəˈgeɪʃən əv ðə ˈpriɪgˈzɪstɪŋ ˌθiərˈɛtɪkəl ˈsɪstəm, ə ˈθɪri ɪn ɪts oʊn raɪt. ˈminˌwaɪl ðə ˈmɑrkɪt ɪˈkɑnəmi həz bɪˈkəm soʊ honeycombed*, ðət ɪt mɑks ˈɛni səʧ ˌkɑnfrənˈteɪʃən. ðə ˌɪˌræʃəˈnæləti əv ðə kənˈtɛmpərˌɛri ˈsoʊʃəl ˈstrəkʧər ˈhɪndərz ɪts ˈræʃənəl dɪˈvɛləpmənt ɪn ˈθɪri. ðə pərˈspɛktɪv ðət ðə dɪˈrɛkʃɪn əv ˌɛkəˈnɑmɪk ˈprɑsɛsəz ɪz ˈpæsɪŋ ˈɪntu ðə hænz əv pəˈlɪtɪkəl paʊər, ðoʊ ɪt ˈfɑloʊz frəm ðə ˈlɑʤɪkəl daɪˈnæmɪk əv ðə ˈsɪstəm, ɪz æt ðə seɪm taɪm ˈɔlsoʊ wən əv əˈbʤɛktɪv ˌɪˌræʃəˈnæləti. ðɪs, ənd nɑt ˈsɪmpli ðə ˈstɛrəl ˈdɑgməˌtɪzəm əv ɪts ˈfɑloʊərz, ʃʊd hɛlp tɪ ɪkˈspleɪn waɪ fər ə lɔŋ taɪm noʊ ˈrɪli kənˈvɪnsɪŋ əˈbʤɛktɪv ˈθɪri əv soʊˈsaɪɪti ˈimərʤd. ˈəndər ðɪs ˈæˌspɛkt ðə rɪˌnənsiˈeɪʃən əv səʧ wʊd bi noʊ ˈkrɪtɪkəl ədˈvæns əv ðə ˌsaɪənˈtɪfɪk ˈspɪrɪt, bət ən ɪkˈsprɛʃən əv kəmˈpəlsəri ˌrɛzɪgˈneɪʃən. ðə rəˈgrɛʃən əv soʊˈsaɪɪti rənz ˈpɛrəˌlɛl tɪ ðət əv ɪts ˈθɪŋkɪŋ. ɪn ðə ˈminˌtaɪm wi ər feɪst wɪθ noʊ lɛs ˈdræstɪk fækts, wɪʧ fər ðɛr pɑrt kən bi ˌɪnˈtərprətəd wɪˈθaʊt ˈɛmfəsɪs] ðə ˈjusɪʤ əv ki ˈkɑnsɛpts əv ˈkæpɪtəˌlɪzəm ˈoʊnli wɪθ ˈtiˈeɪʧ ˈvaɪələns ənd kəˈpris. ðə ˌɛkəˈnɑmɪk ˈprɔˌsɛs kənˈtɪnjuz tɪ pərˈpɛʧəˌweɪt ˌdɑməˈneɪʃən ˈoʊvər ˈjumən biɪŋz. ðə ˈɑbʤɛkts əv səʧ ər noʊ ˈlɔŋgər ˈmɪrli ðə ˈmæsɪz, bət ˈɔlsoʊ ðə ædˈmɪnɪˌstreɪtərz ənd ðɛr hangers-on*. ɪn tərmz əv ðə trəˈdɪʃənəl ˈθɪri, ðeɪ hæv bɪˈkəm ˈlɑrʤli ˈfəŋkʃənz əv ðɛr oʊn production-apparatus*. ðə kˈwɛʃən əv ðə revolution”*” [ɪn ˈɪŋlɪʃ], kənˈsərnɪŋ ðə səˈpoʊzd trænˈzɪʃən əv ˌdɑməˈneɪʃən frəm ðə ˈoʊnərz tɪ ðə bjʊˈrɑkrəsi ɪz ˌkɔrəˈspɑndɪŋli ˈsɛkənˌdɛri. ðɛn ɛz naʊ, ðɪs ˈprɔˌsɛs prəˈdusɪz ənd ˌriprəˈdusɪz ˈklæsɪz wɪʧ, ðoʊ nɑt ˌnɛsəˈsɛrəli ɪn ðə fɔrm əv germinal*, æt ðə ˈvɛri list ə ˈstrəkʧər wɪʧ ðə ˈniʧi ænˈtɪsəˌpeɪtɪd wɪθ ðə ɪkˈsprɛʃən, ɔl hərd ənd noʊ ˈʃɛpərd. ɪn ðɪs, ˌhaʊˈɛvər, wɑz kənˈsild wət hi dɪd nɑt wɔnt tɪ si: ðə seɪm ˈsoʊʃəl əˈprɛʃən, ˈoʊnli naʊ bɪˈkəm əˈnɑnəməs. ɪf ðə ˈθɪri əv wɑz nɑt bɔrn aʊt əv lɑ [tɪ ðə ˈlɛtər], ðɛn ɪt ˈsərtənli həz ɪn ðə noʊ lɛs ˈfraɪtənɪŋ sɛns, ðət, dɪˈpɛndəns ɔn ðə ˈkɑnʃəsnəs əv ðoʊz hu sərv ən ˌənkənˈtroʊləbəl ˌæpərˈætəs, ɪz ˈsprɛdɪŋ ˌjunəˈvərsəli ˈoʊvər juˈmænɪti. ðə ˌɪməˈʧʊrɪti əv ðə ˈmæsɪz ɪz ˈoʊnli ðə ˈriflɛks əv ðɪs, ðɪs ðeɪ ər ɛz ˈlɪtəl ɛz ˈɛvər ɔˈtɑnəməs ˈmæstərz əv ðɛr lɪvz; laɪk ɪn məˈθɑləˌʤi, ɪt kənˈfrənts ðɛm ɛz ə dum [schicksal*: feɪt, ˈdɛstəni]. ˌɛmˈpɪrɪkəl ˌɪnˌvɛstəˈgeɪʃənz ʃoʊ baɪ ðə weɪ ðət ˈivɪn subjectively*, əˈkɔrdɪŋ tɪ ðɛr [realitaetsbewusstsein*], ˈklæsɪz ər baɪ noʊ minz soʊ ˈlɛvəld aʊt ɛz wən æt taɪmz prəˈzumz. ˈivɪn ðə ˈθɪriz əv ˌɪmˈpɪriəˌlɪzəm du nɑt bɪˈkəm ˌɑbsəˈlit du tɪ ðə ˈfɔrsəbəl wɪθˈdrɔəl əv ðə greɪt paʊərz frəm ðɛr ˈkɑləniz. ðə ˈprɔˌsɛs wɪʧ ðeɪ rɪˈfərd tɪ kənˈtɪnjuz ɪn ðə ænˈtægəˌnɪzəm əv boʊθ ˈmɑnstrəs power-blocs*. ðə səˈpoʊzədli ˌaʊtˈmoʊdɪd ˈdɔktərɪn əv ˈsoʊʃəl ænˈtægəˌnɪzəmz, ˌɪnˈkludɪŋ ðə ˈtɛloʊs əv ðə ˈfaɪnəl ˈkraɪsəs, ɪz biɪŋ ˌɪˈmɛʒərˌæbli trəmpt baɪ ˈmænəfɛstli pəˈlɪtɪkəl wənz. ˈwɛðər ənd tɪ wət ɪkˈstɛnt klæs riˈleɪʃənz hæv bɪn ˌriˈloʊkeɪtɪd ˈɔntu ðoʊz bɪtˈwin ðə ˈlidɪŋ ˌɪnˈdəstriəl ˈneɪʃənz ənd ðə məʧ dɪˈvɛləpɪŋ ˈkəntriz, rɪˈmeɪnz tɪ bi sin. ɪn ðə ˈkætəˌgɔriz əv ˈθɪri aɪ wʊd laɪk tɪ səˈʤɛst ɛz ə fərst ənd ˌnɛsəˈsɛrəli ˈæbˌstrækt ˈænsər, ðət kənˈtɛmpərˌɛri soʊˈsaɪɪti ɪz əˈbəv ɔl ən ˌɪnˈdəstriəl soʊˈsaɪɪti əˈkɔrdɪŋ tɪ ðə ˈlɛvəl əv ɪts pərˈdəktɪv ˈfɔrsɪz ˈɛmfəsɪs]. ˌɪnˈdəstriəl ˈleɪbər həz bɪˈkəm ðə ˈmɑdəl ˈpætərn əv soʊˈsaɪɪti ˈɛvriˌwɛr ənd əˈkrɔs ɔl ˈbɔrdərz əv pəˈlɪtɪkəl ˈsɪstəmz. ɪt dɪˈvɛləpt ˌɪtˈsɛlf ˈɪntu ə toʊˈtæləti du tɪ ðə fækt ðət moʊdz əv prəˈsiʤər, wɪʧ rɪˈzɛmbəl ðə ˌɪnˈdəstriəl wənz, ər ɪkˈstɛndɪŋ baɪ ˌɛkəˈnɑmɪk nəˈsɛsɪti ˈɪntu ðə rɛlmz əv məˈtɪriəl pərˈdəkʃən, ˈɪntu ædˌmɪnɪˈstreɪʃən, ðə ənd ðət wɪʧ wi kɔl ˈkəlʧər. ˈkɑnvərsli, soʊˈsaɪɪti ɪz ˈkæpɪtəˌlɪzəm ɪn tərmz əv ɪts riˈleɪʃənz əv pərˈdəkʃən ˈɛmfəsɪs]. ˈjumən biɪŋz ər stɪl wət ðeɪ wər əˈkɔrdɪŋ tɪ ðə ˈmɑrksɪst æˈnælɪsɪs əv ðə ˈmɪdəl əv ðə ˈsɛnʧəri: əˈpɛndɪʤɪz əv məˈʃinz, nɑt ˈmɪrli ɪn ðə ˈlɪtərəl sɛns ɛz ˈwərkərz, hu hæv tɪ əˈdæpt ðɛmˈsɛlvz tɪ ðə ˌkɑnstəˈtuʃən əv ðə məˈʃinz wɪʧ ðeɪ sərv, bət fɑr bɪɔnd ðɪs ənd ˌmɛtəˈfɔrɪkli, kəmˈpɛld tɪ əˈsum ðə roʊlz əv ðə ˈsoʊʃəl ˈmɛkəˌnɪzəm ənd tɪ ˈmɑdəl ðɛmˈsɛlvz ɔn səʧ, wɪˈθaʊt ˌrɛzərˈveɪʃən, ɔn ðə ˈlɛvəl əv ðɛr moʊst ˈɪnɪmət ˌɪmˈpəlsɪz. pərˈdəkʃən goʊz ɔn təˈdeɪ ʤɪst ɛz ɪt dɪd ˌbiˈfɔr, fər ðə seɪk əv ˈprɑfɪts. nidz hæv gɔn bɪɔnd ˈɛniˌθɪŋ mɑrks kʊd hæv ˌfɔrˈsin ɪn hɪz taɪm, kəmˈplitli bɪˈkəmɪŋ ðə ˈfəŋkʃən əv ðə production-apparatus*, wɪʧ ðeɪ pəˈtɛnʃəli wər ɔl əˈlɔŋ, ˌɪnˈstɛd əv ðə rɪˈvərs. ðeɪ ər ˈtoʊtəli ˈgəvərnd [gesteuert*: məˈkænɪkli stɪrd, ˈgəvərnd]. tɪ bi ʃʊr, ˈivɪn wɪˈθɪn ðɪs ˌtrænsfərˈmeɪʃən, ɛz ənd əˈdæptɪd tɪ ðə ˈɪntərɪsts əv ðə ˌæpərˈætəs ɛz ɪt ɪz, ðə nidz əv ˈjumən biɪŋz ər sˈməgəld ɪn, ˈsəmθɪŋ wɪʧ ðə ˌæpərˈætəs ˈnɛvər feɪlz tɪ dɪˈrɛkt ˈpɑpjələr əˈtɛnʃən tɪ. bət ðə saɪd əv kəˈmɑdətiz həz ɪn ðə ˈminˌtaɪm bɪn ʃɔrn əv ðɛr læst ““naturally-grown”*” ər truθ [selbstverstaendlichkeit*: ˈkæʒəwəlnɛs, self-evidence*]. nɑt ˈoʊnli ər nidz ˈsætɪsˌfaɪd ˈpjʊrli ˌɪndərˈɛkˌtli, baɪ minz əv exchange-values*, bət wɪˈθɪn ðə ˈrɛləvənt ˌɛkəˈnɑmɪk ˈsɛktərz prəˈdust baɪ ðə, ənd ðəs æt ðə kɔst əv ðə əˈbʤɛktɪv nidz əv ðə kənˈsumərz, ˈneɪmli ðoʊz fər ˈædəkˌweɪt ˈhaʊzɪŋ, ənd kəmˈplitli soʊ ɪn tərmz əv ðə ˌɛʤəˈkeɪʃən ənd ˌɪnˌfɔrˈmeɪʃən ˈoʊvər ðə ˈprɑsɛsəz wɪʧ moʊst əˈfɛkt ðɛm. ɪn ðə rɛlm əv nəˈsɛsɪtiz nɑt dɪˈrɛkli kəˈnɛktɪd wɪθ ˈbeɪsɪk ˈlɪvɪŋ ˈstændərdz, ɛz səʧ ər ˈtɛndɪŋ tɪ dɪˈzɑlv ər bi ɪgˈzɔstɪd; ə fəˈnɑməˌnɑn wɪʧ əˈpɪrz ɪn ˌɛmˈpɪrɪkəl ˌsoʊsiˈɑləʤi ˈəndər ˈtərmɪˌnaɪ səʧ ɛz ˈstætəs ˈsɪmbəlz ənd prɛˈstiʒ, wɪˈθaʊt ˈrɪli biɪŋ ɑˈbʤɛktɪvli græspt baɪ səʧ. ðə ˈhaɪli ˌɪnˈdəstriəˌlaɪzd ˈkəntriz əv ðə ərθ, soʊ lɔŋ ɛz, ɪn spaɪt əv keɪnz, səm rɪˈnud ˌɛkəˈnɑmɪk ˈnæʧərəl kəˈtæstrəfi dɪz nɑt əˈkər, hæv ˈlərnɪd tɪ kənˈsil ðə mɔr ˈvɪzəbəl fɔrmz əv ˈpɑvərti, ɔlˈbiɪt nɑt tɪ ðə ɪkˈstɛnt ðət ðə ˈθiˌsɪs əv ðə society”*” [ɪn ˈɪŋlɪʃ] wʊd hæv ɪt. ðə beɪn, ˌhaʊˈɛvər, wɪʧ ðə ˈsɪstəm ɪgˈzərts ˈoʊvər ˈjumən biɪŋz, həz ˈoʊnli bɪˈkəm ˈstrɔŋgər du tɪ ðɪs ˌɪnəˈgreɪʃən, ˈɪnsəfɑr ɛz səʧ kəmˈpɛrəsənz kən bi ˈrizənəbli meɪd. ɪt ɪz ˌəndɪˈnaɪəbəl ðət ðə ˌɪnˈkrisɪŋ ˌsætɪsˈfækʃən əv məˈtɪriəl nidz, ɪn spaɪt əv ðɛr dɪˈstɔrʃən baɪ ðə ˌæpərˈætəs, hɪnts ˌɪnˈkɑmpərəbli mɔr ˈkɑnˌkritli tɪ ðə ˌpɑsəˈbɪləˌti əv ə laɪf wɪˈθaʊt nəˈsɛsɪti. ˈivɪn ɪn ðə ˈpurɪst ˈkəntriz, ˈnoʊwən nid ˈhəŋgər ˌɛniˈmɔr. ðət ðə ˈɛnvəˌloʊp ˌbiˈfɔr ðə ˈkɑnʃəsnəs əv ðə ˈpɑsəbəl həz ˌnənðəˈlɛs bɪˈkəm θɪn ˌɪnˈdid, ɪz səˈpɔrtɪd baɪ ðə fraɪt kriˈeɪtɪd baɪ ˈɛni sɔrt əv ˈsoʊʃəl ˌɛnˈlaɪtənmənt wɪʧ ɪz nɑt ˈbrɔdˌkæst baɪ ðə əˈfɪʃəl kəmˌjunəˈkeɪʃən ˈsɪstəmz. wət mɑrks ənd ˈɛŋgəlz, hu stroʊv fər ə ˈtruli hjuˈmeɪn ˌɔrgənəˈzeɪʃən əv soʊˈsaɪɪti, dɪˈnaʊnst ɛz juˈtoʊpiən fər ˈmɪrli ˈsæbəˌtɑʒɪŋ səʧ ən ˌɔrgənəˈzeɪʃən, həz bɪˈkəm ə ˈpælpəbəl ˌriˈæləˌti. ˈnaʊəˌdeɪz ðə krɪˈtik əv juˈtoʊpiə həz səŋk ˈɪntu ðə ˈkɑmən ˌaɪdiəˈlɑʤɪkəl ˈstɑkˌpaɪl, waɪl æt ðə seɪm taɪm ðə traɪəmf əv ˈtɛknɪkəl ˌproʊdəkˈtɪvɪti straɪvz tɪ meɪnˈteɪn ðə ˌɪˈluʒən ðət juˈtoʊpiə, ˌɪnkəmˈpætəbəl wɪθ ðə riˈleɪʃənz əv pərˈdəkʃən, həz ɔˈrɛdi bɪn ˈriəˌlaɪzd wɪˈθɪn ɪts rɛlm. bət ðə ˌkɑntrəˈdɪkʃənz ɪn ðɛr nu, kˈwɑləti ðə ɑrmz reɪs əv ist ənd wɛst meɪk ðət wɪʧ ɪz ˈpɑsəbəl æt ðə seɪm taɪm ˌɪmˈpɑsəbəl. tɪ si θru ɔl ðɪs dɪˈmændz, ˌɪnˈdid, ðət wən dɪz nɑt kæst ðə bleɪm ɔn wət krɪˈtik həz taɪm ənd əˈgɛn bɪn baɪ, ˈneɪmli ˈtɛknɪks, ðət ɪz tɪ seɪ ðə productive-forces*, ˈðɛrˈbaɪ ˌɪnˈdəlʤɪŋ ɪn ə kaɪnd əv ˌθiərˈɛtɪkəl ɔn ən ɪkˈspændɪd ˈlɛvəl. ˈtɛknɪks ɪz nɑt ðə dɪˈzæstər, bət ˈrəðər ɪts ˈɪntərtˌwaɪnɪŋ wɪθ ðə ˈsoʊʃəl riˈleɪʃənz, ɪn wɪʧ ɪt ɪz ɛnˈtæŋgəld. wən nid ˈoʊnli ˈriˌkɔl haʊ ðə ˈkɑnʃəs ˌæpləˈkeɪʃən əv ðə ənd [herrschaftsinteresse*: ““power-interest,”*,” juzd hir ɪn ðə sɛns əv ˈfæktəri ˈdɪsəplən] ˈtɛknɪkəl dɪˈvɛləpmənt: ðeɪ ˈfeɪtəli ˈhɑrməˌnaɪz, ɪn ðə ˈminˌtaɪm, wɪθ ðə nəˈsɛsɪti əv ˌsupərˈvɪʒən. ɪt ɪz nɑt fər ˈnəθɪŋ ðət ðə ˌɪnˈvɛnʃən əv minz əv dɪˈstrəkʃən həz bɪˈkəm ðə ˈproʊtoʊˌtaɪp əv ðə nu kˈwɑləti əv ˈtɛknɪks. baɪ ˈkɑntræst, ðə pəˈtɛnʃəl əv ðoʊz wɪʧ ˈdɪstəns ðɛmˈsɛlvz frəm ˌdɑməˈneɪʃən, ˌsɛntrəlɪˈzeɪʃən, ənd ˈvaɪələns əˈgɛnst ˈneɪʧər, ənd wɪʧ wʊd ˈɔlsoʊ ˈprɑbəˌbli ˈpərˌmɪt ðə ˈhilɪŋ əv məʧ əv wət ɪz ˈlɪtərəli ənd fɪˈgjʊrətɪvli ɪz ˈdæmɪʤd baɪ ˈtɛknɪks, ɪz lɛft tɪ daɪ ɔn ðə vaɪn. kənˈtɛmpərˌɛri soʊˈsaɪɪti ɪgˈzɪbəts, ɪn spaɪt əv ɔl əˈsərʃənz tɪ ðə ˈkɑntrɛri, ɛz ɪts ˈdaɪnəˌmɪzəm ənd ˌɪnˈkris əv pərˈdəkʃən, ˈstætɪk ˈæˌspɛkts. ðiz ˌɪnˈklud ðə riˈleɪʃənz əv pərˈdəkʃən. ðiz ər noʊ ˈlɔŋgər ˈmɪrli ðə ˈprɑpərti əv ðə ˈoʊnər, bət əv ðə ædˌmɪnɪˈstreɪʃən, ɔl ðə weɪ tɪ ðə roʊl əv ðə steɪt ɛz ˈtoʊtəl ˈkæpətəlɪst. tɪ ðə ɪkˈstɛnt ðət ɪts ˌræʃənəlɪˈzeɪʃən wɪθ ˈtɛknɪkəl ˌræʃəˈnælɪti, a.k.a*. ðə pərˈdəktɪv ˈfɔrsɪz, ðeɪv ˌəndɪˈnaɪəbli bɪˈkəm mɔr ˈflɛksəbəl. ðɪs həz kriˈeɪtɪd ðə ˌɪˈluʒən ðət ðə ˌjunəˈvərsəl ˈɪntəˌrɛst həz ɪts aɪˈdil ɛz ðə ˈstætəs kwoʊ ənd ˌjunəˈvərsəl ɪmˈplɔɪmənt, nɑt ðə ˌlɪˌbərˈeɪʃən əv wərk. bət ðɪs kənˈdɪʃən, frəm ən ɪkˈstərnəl pəˈlɪtɪkəl pəˈzɪʃən kwaɪt labile*, ɪz ə ˈmɪrli ˈtɛmpərˌɛri ˈbæləns, ðə rɪˈzəlt əv ˈfɔrsɪz, huz ˈtɛnʃən θˈrɛtənz tɪ dɪsˈrəpt ɪt. ˌɪnˈsaɪd ðə ˈdɑmənənt riˈleɪʃənz əv pərˈdəkʃən, juˈmænɪti ɪz ˈvərʧuəli ɪts oʊn rɪˈzərv ˈɑrmi əv ˈleɪbər ənd ɪz fɛd θru ɛz səʧ. ˌɛkspɛkˈteɪʃən, ðət ðə ˈpraɪməsi əv ðə pərˈdəktɪv ˈfɔrsɪz wɑz ˈsərtən tɪ ɪkˈsploʊd ðə riˈleɪʃənz əv pərˈdəkʃən, wɑz ɔl tu ˌɑptɪˈmɪstɪk. tɪ ðət ɪkˈstɛnt mɑrks rɪˈmeɪnd, ɛz ðə swɔrn ˈɛnəmi əv ˈʤərmən aɪˈdilɪzəm, tru tɪ ɪts əˈfərmətɪv kənˈstrəkʃən əv ˈhɪstəri. ˈtrəstɪŋ ɪn ðə ˈbɛnəˌfɪtɪd ðə ˌʤəstəfəˈkeɪʃən əv ˈleɪtər ˈvərʒənz əv ðət wɪʧ, əˈkɔrdɪŋ tɪ ðə ˈilɛvənθ ˈθiˌsɪs ɔn feuerbach*, wɑz tɪ hæv bɪn ʧeɪnʤd. ðə riˈleɪʃənz əv pərˈdəkʃən hæv aʊt əv ʃɪr kənˈtɪnjud tɪ ˈsəbʤəˌgeɪt ðə ənˈbaʊnd ˈfɔrsɪz əv pərˈdəkʃən, θru ˈpisˌwərk ənd ˌpɑˈtɪkjələr ˈmɛʒərz. ðə ˈsɪgnəʧər əv ðə ˈɛpək ɪz ðə priˈpɑndrəns əv ðə riˈleɪʃənz əv pərˈdəkʃən ˈoʊvər ðə pərˈdəktɪv ˈfɔrsɪz, wɪʧ hæv ˌnənðəˈlɛs mɑkt ðiz riˈleɪʃənz fər səm taɪm. ðət ðə ɪkˈstɛndɪd ɑrm əv juˈmænɪti kən riʧ tɪ ˈdɪstənt ənd ˈɛmti ˈplænəts, bət ðət ɪt ˈkænɑt kriˈeɪt pis ɔn ərθ, ˈhaɪˌlaɪts ðə əbˈsərdəti, təˈwɔrdz wɪʧ ðə ˈsoʊʃəl ˌdaɪəˈlɛktɪk ɪz ˈmuvɪŋ. ðət θɪŋz ˈhæpənd ˈəðərˌwaɪz ðən wɑz hoʊpt fər ɪz nɑt list du tɪ ðə fækt ðət ðə soʊˈsaɪɪti həz ˌɪnˈʤɛstəd wət kɔld ðə population.”*.” bət ðə ˈoʊnli wənz hu kʊd wɪʃ ðət ðɪs bi ənˈdən, ər ðoʊz hu pʊt ðə ˈhæpinəs əv ðə ˈæbˌstrækt toʊˈtæləti ˈoʊvər ðət əv ˈlɪvɪŋ ˌɪndəˈvɪʤəwəl biɪŋz. ðɪs dɪˈvɛləpmənt dɪˈpɛndz fər ɪts pɑrt wəns əˈgɛn ɔn ðət əv ðə pərˈdəktɪv ˈfɔrsɪz. ɪt wɑz ˈnɛvər aɪˈdɛntɪkəl, ðoʊ, wɪθ ɪts ˈpraɪməsi ˈoʊvər ðə riˈleɪʃənz əv pərˈdəkʃən. ðɪs wɑz ˈnɛvər ˌɪˈmæʤənd ɛz ˈsəmθɪŋ məˈkænɪkəl. ɪts ˈriləˈzeɪʃən hæd fər ɪts ˌprikənˈdɪʃən ðə ˌspɑntəˈniəti əv ðoʊz hu wər ˈɪntəˌrɛstɪd ɪn ðə ˌtrænsfərˈmeɪʃən əv ðə riˈleɪʃənz, ənd ðɛr ˈnəmbər həz sərˈpæst ðə ˈækʧəwəl ˌɪnˈdəstriəl ˌproʊləˈtɛriət ˈsɛvərəl taɪmz ˈoʊvər. əˈbʤɛktɪv ˈɪntəˌrɛst ənd səˈbʤɛktɪv ˌspɑntəˈniəti jɔn waɪd frəm iʧ ˈəðər; ðiz ˈwɪðər ˈəndər ðə ˌdɪsprəˈpɔrʃənɪt hiˈʤɛməni əv ðə ɛgˈzɪstənt. ðə ˈsɛntəns əv mɑrks, ðət ˈθɪri, tu, bɪˈkəmz ə ˈʤɛnjuˌaɪn fɔrs ɛz sun ɛz ɪt ˈsizɪz ðə ˈmæsɪz, həz bɪn tərnd ˈfleɪgrəntli ˈəpˈsaɪd daʊn baɪ ðə kɔrs əv ðə wərld. ɪf ðə ˌkɑnstəˈtuʃən əv ðə wərld, θru plænd ˈmɛʒərz ər ˌɔtəˈmætɪkli, ˈhɪndərz ðə ˈsɪmpləst kɑgˈnɪʃən ənd ɪkˈspɪriəns əv ðə moʊst θˈrɛtənɪŋ ɪˈvɛnts ənd ˌɪndɪˈspɛnsəbəl ˈkrɪtɪkəl aɪˈdiəz ənd baɪ minz əv ðə ˈkəlʧər- ənd consciousness-industries*; ɪf ɪt ˈhæmˌstrɪŋz, fɑr bɪɔnd ðɪs, ˈivɪn ðə ˈbeɪsɪk kəˈpæsɪti tɪ ˌɪˈmæʤən ðə wərld ˈdɪfərˈɛntli ðən ɪt ˌoʊvərˈwɛlmɪŋli əˈpɪrz tɪ bi tɪ ðoʊz hu ˈkɑnstəˌtut ðɪs wərld, ðɛn ðiz ənd məˈnɪpjəˌleɪtɪd ˌɪnəˈlɛkʧuəl ənd ˈspɪrɪˌʧuəl kənˈdɪʃənz bɪˈkəm ˌɪnˈdid ə ˈʤɛnjuˌaɪn paʊər, ðət əv riˈprɛʃən, ʤɪst wət ɪts ˈɑpəzɪt, ðə ɪˈmænsəˌpeɪtɪd maɪnd [gaɪst: maɪnd, ˈspɪrɪt, ˈɪnəˌlɛkt], wəns wɪʃt tɪ ˈkɑmbæt. baɪ ˈkɑntræst, ðə ˌɪnˈdəstriəl soʊˈsaɪɪti səˈʤɛsts, tɪ ə ˈsərtən dɪˈgri, ðət ə kˈwɛʃən əv ðə ˌtɛknəˈkrætɪk ˈmoʊmənt ɪn mɑrks, wɪʧ ðɪs tərm wʊd laɪk tɪ ʃoʊ ðə weɪ aʊt əv ðə wərld, ˌɪˈmiˌdiətli ɪn ˌɪtˈsɛlf; ɛz ɪf ðə ˈɛsəns əv soʊˈsaɪɪti ˈfɑloʊd ðə ˈlɛvəl əv ðə pərˈdəktɪv ˈfɔrsɪz ɪn ˈlɑkˌstɛp, ˌɪndɪˈpɛndənt əv ɪts ˈsoʊʃəl kənˈdɪʃənz. əˈstɑnɪʃɪŋ, haʊ ˈrɛrli ðə ˌsoʊsiəˈlɑʤɪkəl ɪˈstæblɪʃmənt ˈæˌkʧuəli kənˈsɪdərz ðɪs, haʊ ˈrɛrli ɪt ɪz ˈænəˌlaɪzd. ðə bɛst pɑrt, wɪʧ baɪ noʊ minz nidz tɪ bi ðə bɛst, ɪz fərˈgɑtən, ˈneɪmli ðə toʊˈtæləti, ər ɪn wərdz ðə ˈiθər əv soʊˈsaɪɪti. ðɪs ˌhaʊˈɛvər ɪz ˈɛniˌθɪŋ bət ɪˈθɪriəl, bət ɔn ðə ˈkɑntrɛri ən [ˈlætən: ðət wɪʧ ɪz ril, məˈtɪriəli ɛgˈzɪstənt]. ˈɪnsəfɑr ɛz ɪt ɪz veɪld, ðə fɔlt əv ɪts æbˈstrækʃən ɪz nɑt tɪ bi bleɪmd ɔn ə ənd ˈθɪŋkɪŋ, bət ɔn ðə exchange-relationships*, ðə əˈbʤɛktɪv æbˈstrækʃənz, wɪʧ bɪˈlɔŋz tɪ ðə ˈsoʊʃəl life-process*. ðə paʊər əv ðət æbˈstrækʃən ˈoʊvər juˈmænɪti ɪz fɑr mɔr ðən ðət əv ˈɛni ˈsɪŋgəl ˌɪnstɪˈtuʃən, wɪʧ ˈsaɪləntli ˈkɑnstəˌtuts ˌɪtˈsɛlf ɪn ədˈvæns əˈkɔrdɪŋ tɪ ðə skim əv θɪŋz ənd bits ˌɪtˈsɛlf ˈɪntu ˈjumən biɪŋz. ðə ˈpaʊərləsnəs wɪʧ ðə ˌɪndəˈvɪʤəwəl ɪkˈspɪriənsɪz ɪn ðə feɪs əv ðə toʊˈtæləti ɪz ðə moʊst ˈdræstɪk ɪkˈsprɛʃən əv ðɪs. ædˈmɪtɪdli ɪn ˌsoʊsiˈɑləʤi ðə ˈlidɪŋ ˈsoʊʃəl riˈleɪʃənz ˈriəˌlaɪz ðɛmˈsɛlvz ɪn ðə ˈsoʊʃəl kənˈdɪʃənz əv pərˈdəkʃən, ɪn əˈkɔrdəns wɪθ ðɛr ˈneɪʧər, fɑr lɛs ˈpælpəbli ðən ɪn ðət ˈkɑnkrit ˌʤɛnərˈæləti. ðeɪ bɪˈkəm ˈnutrəˌlaɪzd ˈɪntu ˈkɑnsɛpts əv paʊər ər ˈsoʊʃəl kənˈtroʊl. ɪn səʧ ˈkætəˌgɔriz, ðə pɔɪnt əv ðə spaɪk ˈvænɪʃɪz ənd ˈðɛrˈbaɪ, wən wʊd laɪk tɪ seɪ, ðət wɪʧ ɪz ˈæˌkʧuəli ˈsoʊʃəl ɪn soʊˈsaɪɪti, ɪts ˈstrəkʧər. ɪt ɪz wən əv ðə tæsks əv ˌsoʊsiəˈlɑʤɪkəl ˈkɑŋgrəs, tɪ wərk təˈwɔrdz ˈʧeɪnʤɪŋ ðɪs. ɪt ɪz list əv ɔl pərˈmɪsəbəl fər ˌdaɪəˈlɛktɪkəl ˈθɪri tɪ ˈsɪmpli sɛt əp ðə pərˈdəktɪv ˈfɔrsɪz ənd riˈleɪʃənz əv pərˈdəkʃən ɛz ˈpoʊlər ˈɑpəzɪts. ðeɪ ər baɪ iʧ əˈnəðər, iʧ kənˈteɪnz ðə ˈəðər ɪn ˌɪtˈsɛlf. ɪgˈzæktli ðɪs lidz tɪ ðə blænd rɪˈkərəns əv ðə pərˈdəktɪv ˈfɔrsɪz, wɛr ðə riˈleɪʃənz əv pərˈdəkʃən hæv ðə ˈəpər hænd. ðə pərˈdəktɪv ˈfɔrsɪz ər, mɔr ðən ˈɛvər ˌbiˈfɔr, ˈmidiˌeɪtɪd θru ðə riˈleɪʃənz əv pərˈdəkʃən; soʊ kəmˈplitli pərˈhæps, ðət ðiz əˈpɪr ɪgˈzæktli fər ðət ˈrizən ɛz ðɛr ˈɛsəns; ðeɪ hæv kəmˈplitli bɪˈkəm ə ˈsɛkənd ˈneɪʧər. ðɛr riˌspɑnsəˈbɪləti laɪz ɪn ðɪs, ðət ɪn ən ˌɪnˈseɪn ˌkɑntrəˈdɪkʃən tɪ wət ɪz ˈpɑsəbəl, ˈjumən biɪŋz əˈkrɔs greɪt ˈstrɛʧɪz əv ðə ərθ lɪv ɪn ˈmɪzəri. ˈivɪn wɛr ən əˈbəndəns əv gʊdz ɪz ðə nɔrm, ðɪs stændz ɛz ɪf ˈəndər ə kərs. ðə nəˈsɛsɪti wɪʧ ɪkˈstɛndz dip ˈɪntu ðə ˌɪˈluʒəˌnɛri əˈpɪrəns [ʃaɪn], ˌɪnˈfɛkts gʊdz wɪθ ɪts ˌɪˈluʒəˌnɛri ˈkɛrɪktər. ɑˈbʤɛktɪvli tru ənd fɔls nidz kən ˌɪnˈdid bi ˌdɪfərˈɛnʧiˌeɪtəd, ðoʊ ˈnoʊˌwɛr ɪn ðə wərld ɔt tɪ bi saɪnd ˈoʊvər tɪ ˌbjʊrəˈkrætɪk ˌrɛʤəmɛnˈteɪʃən fər ðɪs ˈrizən. ɪn nidz ɪgˈzɪst ˈɔlˌweɪz wət ɪz gʊd ənd wət ɪz bæd ɪn ðə ɪnˈtaɪər soʊˈsaɪɪti; ðeɪ meɪ bi ðə nɛkst bɛst θɪŋ tɪ ˈmɑrkɪt ˈsərˌveɪz, bət ðeɪ ər nɑt ɪn ðə ədˈmɪnɪstərd wərld ɪn ðɛmˈsɛlvz ðə fərst θɪŋ. tɪ ʤəʤ bɪtˈwin tru ənd fɔls ˈkɑnʃəsnəs wʊd, əˈkɔrdɪŋ tɪ ðə ˈɪnˌsaɪt ˈɪntu ðə ˈstrəkʧər əv soʊˈsaɪɪti, ˌrikˈwaɪər ðət əv ɔl ɪts mediations*. ðət wɪʧ ɪz fɪkˈtɪʃəs, wɪʧ dɪˈstɔrts ɔl əv nəˈsɛsɪtiz ˈnaʊəˌdeɪz, ɪz ənˈdaʊtɪdli pərˈsivd ˌənˈkɑnʃəsli; ðɪs kənˈtrɪbjuts sɪgˈnɪfɪkəntli tɪ ðə kənˈtɛmpərˌɛri dɪskənˈtɛnt ɪn ˈkəlʧər. mɔr ˌɪmˈpɔrtənt ðən ˈivɪn ðə ˈɔlˌmoʊst ˌɪmˈpɛnətrəbəl kwɪd proʊ kwoʊ əv nid, ˌsætɪsˈfækʃən ənd ˈprɑfɪt- ər ɪz ðə ˌənriˈlivd ənd kənˈtɪnjuɪŋ θrɛt əv wən nid, ɔn wɪʧ ɔl ˈəðərz dɪˈpɛnd ɔn, ðə ˈmoʊtɪv əv ˈsɪmpəl sərˈvaɪvəl. tɪ ə hərˈaɪzən ɪn wɪʧ æt ˈɛni ˈmoʊmənt ðə bɔm kən fɔl, ˈivɪn ðə moʊst ˈraɪətəs dɪˈspleɪ əv kənˈsumər gʊdz kənˈteɪnz ən ˈɛləmənt əv self-mockery*. ðə ˌɪnərˈnæʃənɑl ænˈtægəˌnɪzəmz wɪʧ, ˌhaʊˈɛvər, fər ðə fərst taɪm ər ˈbɪldɪŋ tɪ ə ˈtruli ˈtoʊtəl wɔr, stænd ɪn ˈfleɪgrənt ˈkɑntɛkst wɪθ ðə riˈleɪʃənz əv pərˈdəkʃən, ɪn ðə moʊst ˈlɪtərəl sɛns ˌɪˈmæʤənəbəl. ðə θrɛt əv wən kəˈtæstrəfi ɪz dɪˈspleɪst baɪ ðə kəˈtæstrəfi əv ðə ˈəðər. ðə riˈleɪʃənz əv pərˈdəkʃən kʊd ˈskɛrsli meɪnˈteɪn ðɛmˈsɛlvz wɪˈθaʊt ðə əˌpɑkəˈlɪptɪk ˈərθkˌweɪk əv rɪˈnud ˌɛkəˈnɑmɪk ˈkraɪsiz ɛz təˈneɪʃəsli ɛz ðeɪ du, ɪf ən ˌɪˈnɔrdənɪt ʃɛr əv ðə ˈsoʊʃəl ˈprɑdəkt, wɪʧ wʊd ˈəðərˌwaɪz bi ənˈseɪləbəl, wər nɑt ˈdɛdəkeɪtəd tɪ ðə pərˈdəkʃən əv ðə minz əv dɪˈstrəkʃən. ɪn ðə ˈsoʊviˌɛt ˈjunjən ˈsəmθɪŋ ˈsɪmələr ɪz æt wərk, dɪˈspaɪt ðə rɪˈmuvəl əv ðə ˈmɑrkɪt ɪˈkɑnəmi. ðə ˌɛkəˈnɑmɪk ˈrizənz fər ðɪs ər ˈɑbviəs: ðə rɪkˈwaɪrmənt fər ˈspiˌdi ˌɪnˈkrisɪz ɪn pərˈdəkʃən ɪn ðə ˌəndərdɪˈvɛləpt lændz nəˈsɛsəˌteɪts taɪt, ˌdɪktəˈtɔriəl ædˌmɪnɪˈstreɪʃən. aʊt əv ðə əv ðə ˈfɔrsɪz əv pərˈdəkʃən ˈimərʤd rɪˈnud ˈfɛtərz, ðoʊz əv ðə riˈleɪʃənz əv pərˈdəkʃən: pərˈdəkʃən bɪˈkeɪm ɪts oʊn ɛnd ənd ˈhɪndərd ðə ˈpərpəs əv səʧ, i.e*. ˌəndəˈmɪnɪʃt ənd ˈfridəm. ˈəndər boʊθ ˈsɪstəmz, ðə ˈkæpətəlɪst ˈkɑnsɛpt əv ˈsoʊʃəli ɛˈsɛnʃəl wərk ɪz rɪˈdust tɪ ə səˈtænɪk ˈpɛrədi: ɪn ðə ˈmɑrkɪtˌpleɪs ɪt ɪz beɪst ɔn ˈprɑfɪt, ˈnɛvər ɔn juˈtɪləti fər ˈjumən biɪŋz ðɛmˈsɛlvz ər ðɛr ˈhæpinəs. səʧ ˌdɑməˈneɪʃən əv ðə riˈleɪʃənz əv pərˈdəkʃən ˈoʊvər ˈjumən biɪŋz rikˈwaɪərz əˈbəv ɔl ðə steɪt əv dɪˈvɛləpmənt əv ðə ˈfɔrsɪz əv pərˈdəkʃən. waɪl boʊθ nid tɪ bi ˌdɪfərˈɛnʧiˌeɪtəd, ðoʊz hu wɪʃ tɪ græsp ðə ˈmɛrəst pɑrt əv ðə ˈbeɪlfəl spɛl kæst ɔn ðə ˌsɪʧuˈeɪʃən məst ˈkɑnstəntli juz wən ɛz ə minz əv ˌəndərˈstændɪŋ ðə ˈəðər. ðə ˈoʊvərprəˈdəkʃən wɪʧ draɪvz ðət ɪkˈspænʧən, θru wɪʧ ðə əˈpɛrəntli səˈbʤɛktɪv nid ɪz rɪˈsivd ənd ˈsəbstəˌtutəd fər, ɪz spɪt aʊt frəm ə ˈtɛknɪkəl ˌæpərˈætəs wɪʧ həz kəm soʊ fɑr təˈwɔrdz ˈriəˌlaɪzɪŋ ˌɪtˈsɛlf, ðət ɪt həz bɪˈkəm, ˈəndər ə ˈsərtən ˈvɑljum əv pərˈdəkʃən, ˌɪˈræʃənəl ðət ɪz, ənˈprɑfɪtəbəl; ɪt ɪz ˌnɛsəˈsɛrəli ˈriəˌlaɪzd baɪ ðə riˈleɪʃənz əv pərˈdəkʃən. ɪt ɪz ˈsoʊəli frəm ðə vˈjuˌpɔɪnt əv ˈtoʊtəl əˌnaɪəˈleɪʃən ðət ðə riˈleɪʃənz əv pərˈdəkʃən hæv nɑt ˈfɛtərd ðə ˈfɔrsɪz əv pərˈdəkʃən. ðə ˈmɛθədz, ˌhaʊˈɛvər, wɪθ wɪʧ ɪn spaɪt əv ˈɛvriˌθɪŋ ðə ˈmæsɪz ər kɛpt ɪn laɪn, ˌprisəˈpoʊz ə kaɪnd əv ˌkɑnsənˈtreɪʃən ənd ˌsɛntrəlɪˈzeɪʃən wɪʧ həz nɑt ˈoʊnli ən ˌɛkəˈnɑmɪk saɪd bət ˈɔlsoʊ ə ˌtɛknəˈlɑʤɪkəl wən, ɛz ðə goʊ tɪ ʃoʊ; i.e*. ðət ɪt həz bɪˈkəm ˈpɑsəbəl tɪ hoʊˈmɑʤəˌnaɪz ðə ˈkɑnʃəsnəs əv ˈkaʊntləs ˌɪndəˈvɪʤəwəlz frəm ʤɪst ə fju pɔɪnts, θru ðə səˈlɛkʃən ənd ˌprɛzənˈteɪʃən əv nuz ənd ˈkɑmənˌtɛri. ðə paʊər əv ðə riˈleɪʃənz əv pərˈdəkʃən, wɪʧ wər nɑt ˌoʊvərθˈroʊn, ɪz ˈgreɪtər ðən ˈɛvər, ənd jɛt æt ðə seɪm taɪm ðeɪ ər, ɛz ɑˈbʤɛktɪvli əˌnækrəˈnɪstɪk, ˈɛvriˌwɛr dɪˈzizd, ˈdæmɪʤd, ˈrɪdəld wɪθ hoʊlz. ðeɪ du nɑt ˈfəŋkʃən baɪ ðɛmˈsɛlvz. ˌɛkəˈnɑmɪk ˌɪntərˈvɛnʃəˌnɪzəm ɪz nɑt, ɛz ðə ˈoʊldər ˈlɪˌbərəl skul θɔt, ˈsəmθɪŋ ˈkɑbəld təˈgɛðər frəm ˈaʊtˈsaɪd ðə ˈsɪstəm, bət ɪz ˈrəðər, ðə ɛmˈbɑdimənt əv ˌsɛlfdɪˈfɛns; ˈnəθɪŋ kʊd ˌɪˈlumɪnɪt ðə ˈkætəˌgɔri əv wɪθ ˈgreɪtər ˈklɛrɪti. ðɪs ɪz əˈnæləgəs tɪ wət bɪˈkeɪm əv ðə ˈərstˌwaɪl hiˈʤiliən fəˈlɑsəfi əv lɔ, wɛˈrɪn ˈbʊrʒwɑ ˌaɪdiˈɑləʤi ənd ðə ˌdaɪəˈlɛktɪk əv ˈbʊrʒwɑ soʊˈsaɪɪti ər soʊ ˈdipli ˌɪntərˈwoʊvən, ɪn ðət ðə steɪt, prɪˈzuməbli ˌɪntərˈvinɪŋ frəm bɪɔnd ðə riʧ əv power-struggles*, hæd tɪ bi ˈkɑnʤərd əp aʊt əv ðə ˈɪmənənt ˌdaɪəˈlɛktɪk əv soʊˈsaɪɪti ɪn ˈɔrdər tɪ ˈdæmpər ənd pəˈlis ðə ænˈtægəˌnɪzəmz əv səʧ, lɛst soʊˈsaɪɪti, ˈfɑloʊɪŋ ˈɪnˌsaɪt, dɪˈsɪntəˌgreɪt. ðə ˌɪnˈveɪʒən əv ðət wɪʧ ɪz nɑt ɪz æt ðə seɪm taɪm ˈɔlsoʊ ə pis əv ˈɪmənənt, ʤɪst ɛz, ɔn ðə ˈɑpəzɪt ɛnd əv ðə ˈspɛktrəm, mɑrks θɔt əv ðə ˈoʊvərθˌroʊ əv ðə riˈleɪʃənz əv pərˈdəkʃən ɛz ˈsəmθɪŋ kəmˈpɛld baɪ ðə kɔrs əv ˈhɪstəri, ənd ˌnɛvərðəˈlɛs ɛz ˈsəmθɪŋ tɪ bi ˈriəˌlaɪzd ˈaʊtˈsaɪd ðə ˈkloʊʒər əv ðə ˈsɪstəm, ɛz ə kˌwɑləˈteɪtɪvli ˈdɪfərənt ˈækʃən. ɪf wən ˈɑrgjud, ɔn ðə graʊnz əv ˌɪntərˈvɛnʃəˌnɪzəm ənd frəm ðə ˈstændˌpɔɪnt əv ˈlɑrʤˌskeɪl ˈplænɪŋ, ðət leɪt ˈkæpɪtəˌlɪzəm [kənˈsumər ˈkæpɪtəˌlɪzəm] həz muvd bɪɔnd ðə ˈænərˌki əv kəˈmɑdəti pərˈdəkʃən ənd ɪz ˈðɛrˌfɔr noʊ ˈlɔŋgər ˈrɪli ˈkæpɪtəˌlɪzəm, ðə rɪˈspɑns məst bi ðət ðə ˈsoʊʃəl ˈdɛstəni əv ðə ˌpɑˈtɪkjələr wɪˈθɪn ðɪs ˈlætər ɪz mɔr kənˈtɪnʤənt ðən ˈɛvər ˌbiˈfɔr. ðə ˈmɑdəl əv ˈkæpɪtəˌlɪzəm ˈnɛvər əˈplaɪd soʊ ˈpjʊrli ɛz ɪts ˈlɪˌbərəl əˈpɑləʤɪsts wɪʃt tɪ θɪŋk. ɪt wɑz ɔˈrɛdi ɪn deɪ ə krɪˈtik əv ˌaɪdiˈɑləʤi, wɪʧ wɑz səˈpoʊzd tɪ rɪˈvil haʊ ˈlɪtəl ðə ˈkɑnsɛpt wɪʧ ˈkæpətəlɪst soʊˈsaɪɪti hæd əv ˌɪtˈsɛlf hæd tɪ du wɪθ ˌriˈæləˌti. nɑt ðə list əv ðə ˈaɪrəniz əv ðɪs ˈkrɪtɪkəl moʊˈtif ɪz ðət ˈlɪˌbərəˌlɪzəm, wɪʧ ˈivɪn ɪn ɪts ˈheɪˌdeɪ wɑz ˈnəθɪŋ əv ðə sɔrt, həz təˈdeɪ bɪn ɪn səˈpɔrt əv ðə ˈθiˌsɪs ðət ˈkæpɪtəˌlɪzəm ɪz ˈæˌkʧuəli nɑt wət ɪt ɪz. ðɪs, tu, pɔɪnts tɪ ə ˌtrænsfərˈmeɪʃən. wət sɪns taɪm ˌɪməˈmɔriəl ɪn ˈkæpətəlɪst soʊˈsaɪɪti wɑz, ɪn riˈleɪʃən tɪ fri ənd fɛr ɪksˈʧeɪnʤ, ənd ˌɪnˈdid baɪ ˈkɑnsəkwəns əv ɪts oʊn ˌɪmpləˈkeɪʃənz, ˌɪˈræʃənəl (ðət ɪz tɪ seɪ, ənd ənˈʤəst) həz ˌɪnˈkrist tɪ ðə pɔɪnt ðət ɪts ˈmɑdəl həz kəˈlæpst. ɪgˈzæktli ðɪs həz bɪˈkəm ə kənˈdɪʃən, huz ˌɪnəˈgreɪʃən həz tərnd ˈɪntu ðə ˈproʊtoʊˌtaɪp əv dɪˌsɪnəˈgreɪʃən, wɪʧ ɪz əˈpreɪzd ɛz ən ˈæˌsɛt. ðət wɪʧ ɪz ˈeɪliən tɪ ðə ˈsɪstəm rɪˈvilz ˌɪtˈsɛlf tɪ bi ðə ˈɪnər ˈɛsəns əv ðə ˈsɪstəm, ɔl ðə weɪ ˈɪntu ɪts pəˈlɪtɪkəl ˈtɛndənsiz. ɪn ˌɪntərˈvɛnʃəˌnɪzəm ðə paʊər əv rɪˈzɪstəns əv ðə ˈsɪstəm həz kənˈfərmd ˌɪtˈsɛlf, ˌɪndərˈɛkˌtli ɪn ðə ˈθɪri əv ˌɛkəˈnɑmɪk ˈkraɪsəs; ðə trænˈzɪʃən tɪ ˌdɑməˈneɪʃən ˌɪndɪˈpɛndənt əv ˈmɑrkɪt ˈfɔrsɪz ɪz ɪts ˈtɛloʊs. ðə əv ðə society”*” ɪz ənˈwɪtɪŋ ˈtɛstəmənt tɪ ðɪs. səʧ ə rikənˌfɪgjərˈeɪʃən əv ˈlɪˌbərəl ˈkæpɪtəˌlɪzəm həz ɪts ˈkɔrəˌleɪt ɪn ðə rikənˌfɪgjərˈeɪʃən əv ˈkɑnʃəsnəs, ə rəˈgrɛʃən əv ˈjumən biɪŋz bɪˈhaɪnd ðə əˈbʤɛktɪv ˌpɑsəˈbɪləˌti, wɪʧ təˈdeɪ wʊd bi ˈoʊpən tɪ ðɛm. ˈjumən biɪŋz ər ˈsækrəˌfaɪsɪŋ ðə ˌkɛrɪktərˈɪstɪks wɪʧ ðeɪ noʊ ˈlɔŋgər nid ənd wɪʧ ˈoʊnli ˈhɪndər ðɛm; ðə ˈkərnəl əv ɪz bɪˈgɪnɪŋ tɪ kəm əˈpɑrt. ˈoʊnli ɪn ˈrisənt taɪmz ðət saɪnz əv ə ər bɪˈkəmɪŋ ˈvɪzəbəl ɪn ˈvɛriəs grups əv jəŋ ˈpipəl: rɪˈzɪstəns əˈgɛnst blaɪnd əˈʤəstmənt, ˈfridəm fər ˈræʃənəli ˈʧoʊzən goʊlz, dɪsˈgəst ˌbiˈfɔr ðə wərld əv sˈwɪndəlz ənd ˌɪˈluʒənz, ˌmɛdɪˈteɪʃənz ɔn ðə ˌpɑsəˈbɪləˌti əv ˌtrænsfərˈmeɪʃən. ˈwɛðər ðə ˈsoʊʃəli draɪv təˈwɔrdz dɪˈstrəkʃən traɪəmfs ɪn spaɪt əv ðɪs, ˈoʊnli taɪm wɪl tɛl. səˈbʤɛktɪv rəˈgrɛʃən ˈfeɪvərz wəns əˈgɛn ðə rəˈgrɛʃən əv ðə ˈsɪstəm. tɪ ˈbɑˌroʊ ə freɪz wɪʧ ˈmərtən ɪmˈplɔɪd ɪn ə ˈsəmˈwət ˈdɪfərənt ˈkɑntɛkst, bɪˈkəz ɪt bɪˈkeɪm dɪsˈfəŋkʃənəl, ðə ˈkɑnʃəsnəs əv ðə ˈmæsɪz ˈflætənd aʊt ðə ˈsɪstəm, səʧ ðət ɪt ˌɪnˈkrisɪŋgli daɪˈvɛstɪd ˌɪtˈsɛlf entaeussern*: tɪ rɪˈlɪŋkwɪʃ, dɪˈvɛst ˌwənˈsɛlf əv; ˈɔlsoʊ tɪ kənˈsɛpʧuəli dɪˈskloʊz, tɪ ˈriəˌlaɪz] əv ðət ˌræʃəˈnælɪti əv ðə fɪkst, aɪˈdɛntɪkəl ˈigoʊ, wɪʧ wɑz stɪl ˌɪmˈplɪsət ɪn ðə aɪˈdiə əv ə ˈfəŋkʃənəl soʊˈsaɪɪti. ðət ðə ˈfɔrsɪz əv pərˈdəkʃən ənd ðə riˈleɪʃənz əv pərˈdəkʃən ər wən ˈnaʊəˌdeɪz, ənd ðət wən kʊd ˌɪˈmiˌdiətli kənˈstru soʊˈsaɪɪti frəm ðə ˈstændˌpɔɪnt əv ðə pərˈdəktɪv ˈfɔrsɪz əˈloʊn, sɪz ðət ðə ˈkɑrənt soʊˈsaɪɪti ɪz ˈsoʊʃəli ˈnɛsəˌsɛri əˈpɪrəns. ɪt ɪz ˈsoʊʃəli ˈnɛsəˌsɛri bɪˈkəz ɪn fækt ˈpriviəsli ˈsɛpərˌeɪtɪd ˈmoʊmənts əv ðə ˈsoʊʃəl ˈprɔˌsɛs, wɪʧ ˈlɪvɪŋ ˈjumən biɪŋz ˌɪnˈkɑrˌneɪt, ər biɪŋ brɔt ˈɪntu ə kaɪnd əv ˈoʊvərˌɔl ɪkˈwɪvələns. məˈtɪriəl pərˈdəkʃən, ˌdɪstrəˈbjuʃən, kənˈsəmʃən ər ədˈmɪnɪstərd ɪn ˈkɑmən. ðɛr ˈbɔrdərz, wɪʧ wəns ˈsɛpərˌeɪtɪd frəm ˌɪnˈsaɪd ðə ˈtoʊtəl ˈprɔˌsɛs əv ɪkˈstərnəli ˈsɛpərˌeɪtɪd sfɪrz, ənd ˈðɛrˈbaɪ rɪˈspɛktɪd ðət wɪʧ wɑz kˌwɑləˈteɪtɪvli ˈdɪfərənt, ər ˈmɛltɪŋ əˈweɪ. ˈɛvriˌθɪŋ ɪz wən. ðə toʊˈtæləti əv ðə ˈprɔˌsɛs əv ˌmidiˈeɪʃən, ɪn truθ ðət əv ðə exchange-principle*, prəˈdusɪz ə ˈsɛkənd ənd dɪˈsɛptɪv ˌɪˈmiˌdiəsi. ɪt meɪks ɪt ˈpɑsəbəl fər ðət wɪʧ ɪz ˈsɛpərˌeɪt ənd ænˌtægəˈnɪstɪk tɪ bi, əˈgɛnst ɪts oʊn əˈpɪrəns, fərˈgɑtən ər tɪ bi riˈprɛst frəm ˈkɑnʃəsnəs. ðɪs ˈkɑnʃəsnəs əv soʊˈsaɪɪti ɪz ˌhaʊˈɛvər ən ˌɪˈluʒən, bɪˈkəz ɪt ˌrɛprɪˈzɛnts ðə ˈkɑnsəkˌwɛnsəz əv ˌtɛknəˈlɑʤɪkəl ənd ˌɔrgənəˈzeɪʃənəl hoʊˈmɑʤənɪˌzeɪʃən, bət ˌnənðəˈlɛs feɪlz tɪ si ðət ðɪs hoʊˈmɑʤənɪˌzeɪʃən ɪz nɑt ˈtruli ˈræʃənəl, bət rɪˈmeɪnz ˌɪtˈsɛlf səˈbɔrdəˌneɪtɪd ˌɪtˈsɛlf tɪ ə blaɪnd, ˌɪˈræʃənəl [gesetzmaessigkeit*: lawfulness*, juridicality*]. noʊ ˈtruli ˈtoʊtəl ˈsəbʤɪkt əv soʊˈsaɪɪti jɛt ɪgˈzɪsts. ðə mɪr əˈpɪrəns ɔt tɪ bi ˈfɔrmjəˌleɪtɪd ɛz ˈfɑloʊz, ðət ˈɛvriˌθɪŋ ˈsoʊʃəli ɛgˈzɪstənt təˈdeɪ ɪz soʊ ˈθəroʊli ˈmidiˌeɪtɪd, ðət ˈivɪn ðə ˈmoʊmənt əv ˌmidiˈeɪʃən ɪz ˌɪtˈsɛlf dɪˈstɔrtɪd baɪ ðə toʊˈtæləti. ðɛr ɪz noʊ ˈstændˌpɔɪnt ˈaʊtˈsaɪd əv ðə hoʊl əˈfɛr wɪʧ kən bi rɪˈfərd tɪ, frəm wɪʧ ðə goʊst kʊd bi kɔld baɪ ɪts neɪm; ðə ˈlɛvər kən bi dɪˈplɔɪd ˈoʊnli baɪ minz əv ɪts oʊn ˌɪnkoʊˈhɪrəns. ðət ɪz wət ənd aɪ dɪˈskraɪbd ˈdɛkeɪdz əˈgoʊ ɛz ðə ˈkɑnsɛpt əv ðə ˌtɛknəˈlɑʤɪkəl veɪl. ðə fɔls aɪˈdɛntəˌti bɪtˈwin ðə ˌkɑnstəˈtuʃən əv ðə wərld ənd ɪts ˌɪnˈhæbɪtənts θru ðə ˈtoʊtəl ɪkˈspænʧən əv ˈtɛknɪks ɪz ˈlidɪŋ ɪn ðə dɪˈrɛkʃɪn əv ðə ˌkɑnfərˈmeɪʃən əv ðə riˈleɪʃənz əv pərˈdəkʃən, huz tru ˌbɛnəˈfɪʃiˌɛriz wən ˈsərʧɪz fər ɪn veɪn, ʤɪst ɛz hæv bɪˈkəm ˌɪnˈvɪzəbəl. ðə əv ðə ˈsɪstəm ɪn riˈleɪʃən tɪ ˈɛvriˌwən, ˈivɪn ˈfəŋkʃəˌnɛriz, həz riʧt ə ˈlɪmət. ɪt həz tərnd ˈɪntu ðət fəˈtælɪti, wɪʧ faɪndz ɪts ɪkˈsprɛʃən ɪn ðə ˈkɑrənt ˌsɪʧuˈeɪʃən, tɪ juz wərdz, ɪn ɑŋkst;, bɪˈkəz ɪt kən noʊ ˈlɔŋgər bi fɪkst ɔn ˈlɪvɪŋ biɪŋz, ˈpipəl ər ˈklæsɪz. ðə ˈoʊnli riˈleɪʃənˌʃɪps ˈəltəmətli ˈriəˌlaɪzd bɪtˈwin ˈpipəl, ˌhaʊˈɛvər, ər ðoʊz ˈbɛrid ˈəndər ðə riˈleɪʃənz əv pərˈdəkʃən. ðɪs ɪz waɪ ðə ˌoʊvərˈwɛlmɪŋ ˌɔrgənəˈzeɪʃən əv θɪŋz rɪˈmeɪnz æt ðə seɪm taɪm ɪts oʊn ˌaɪdiˈɑləʤi, ˈvərʧuəli ˈpaʊərləs. ɛz ˌɪmˈpɛnətrəbəl ɛz ðə beɪn [bæn] ɪz, ˈoʊnli ə spɛl [bæn]. ɪf ˌsoʊsiˈɑləʤi ɪz tɪ du mɔr ðən ʤɪst ˈfərnɪʃ ˈwɛlkəm ˌɪnˌfɔrˈmeɪʃən tɪ ˈeɪʤənts ənd ˈɪntərɪsts, baɪ fʊlˈfɪlɪŋ ðoʊz tæsks fər wɪʧ ɪt wɑz wəns kənˈsivd, ðɛn ɪt ɪz əp tɪ ɪt, wɪθ minz wɪʧ du nɑt ðɛmˈsɛlvz fɔl preɪ tɪ ðə ˌjunəˈvərsəl ˈkɛrɪktər əv ðə ˈfɛtɪʃ, tɪ ɪnˈʃʊr, bi ɪt tɪ ˈɛvər soʊ ˈmɑdəst ən ɪkˈstɛnt, ðət ðə spɛl dɪˈzɑlvz ˌɪtˈsɛlf.
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in one of top news stories, has published new and alarming video from the incident in which baltimore ravens running back ray rice punched his then-fiancee, palmer, in an elevator of an atlantic city hotel. the footage shows rice striking palmer, at which point she falls against the handrail and then appears to pass out. when the elevator opens, rice makes a half-hearted effort to clear her from the elevator.
that’s a new angle on this story: prior to the emergence of the new video, there was less detailed footage from outside the elevator; it showed rice attempting to drag palmer from the elevator. palmer later married rice.
for his actions, rice was suspended by the nfl for two weeks. after a grand uproar about mild punishment, the league subsequently upped penalties for domestic violence.
whatever the appropriateness of penalties, the video itself is disturbing in the extreme. it brings domestic violence graphically right onto your computer screen. it shows a woman assaulted, unconscious, defenseless and degraded, lying motionless on a hotel floor while her fiance appears to be little concerned about the situation.
but at least the folks at “fox & friends,” easily cable most idiotic program, can mine it for a laugh or two. after running through the details of the assault this morning, brian joked, “i think the message is, take the stairs.”
here’s a that captures the response to’s quip:
unwilling to be outdone when it comes to laughing about graphic images of domestic violence, steve responded, “the message is when in an elevator, a camera.”
update p.m.: the baltimore ravens have made an announcement.
the #ravens have terminated ray contract this afternoon. baltimore ravens (@ravens) september 8, 2014
(h/t and sportsgrid)
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ɪn wən əv tɔp nuz ˈstɔriz, həz ˈpəblɪʃt nu ənd əˈlɑrmɪŋ ˈvɪdioʊ frəm ðə ˈɪnsədənt ɪn wɪʧ ˈbɔltəˌmɔr ˈreɪvənz ˈrənɪŋ bæk reɪ raɪs pənʧt hɪz then-fiancee*, ˈpɑmər, ɪn ən ˈɛləˌveɪtər əv ən əˈtlæntɪk ˈsɪti hoʊˈtɛl. ðə ˈfʊtɪʤ ʃoʊz raɪs ˈstraɪkɪŋ ˈpɑmər, æt wɪʧ pɔɪnt ʃi fɔlz əˈgɛnst ðə ˈhænˌdreɪl ənd ðɛn əˈpɪrz tɪ pæs aʊt. wɪn ðə ˈɛləˌveɪtər ˈoʊpənz, raɪs meɪks ə ˈhæfˌhɑrtɪd ˈɛfərt tɪ klɪr hər frəm ðə ˈɛləˌveɪtər. ə nu ˈæŋgəl ɔn ðɪs ˈstɔri: praɪər tɪ ðə ˈimərʤəns əv ðə nu ˈvɪdioʊ, ðɛr wɑz lɛs dɪˈteɪld ˈfʊtɪʤ frəm ˈaʊtˈsaɪd ðə ˈɛləˌveɪtər; ɪt ʃoʊd raɪs əˈtɛmptɪŋ tɪ dræg ˈpɑmər frəm ðə ˈɛləˌveɪtər. ˈpɑmər ˈleɪtər ˈmɛrid raɪs. fər hɪz ˈækʃənz, raɪs wɑz səˈspɛndɪd baɪ ðə ˈɛˌnɛˈfɛl fər tu wiks. ˈæftər ə grænd ˈəˌprɔr əˈbaʊt maɪld ˈpənɪʃmənt, ðə lig ˈsəbsəkwəntli əpt ˈpɛnəltiz fər dəˈmɛstɪk ˈvaɪələns. ˌwəˈtɛvər ðə əˈproʊpriətnəs əv ˈpɛnəltiz, ðə ˈvɪdioʊ ˌɪtˈsɛlf ɪz dɪˈstərbɪŋ ɪn ðə ɪkˈstrim. ɪt brɪŋz dəˈmɛstɪk ˈvaɪələns ˈgræfɪkli raɪt ˈɔntu jʊr kəmˈpjutər skrin. ɪt ʃoʊz ə ˈwʊmən əˈsɔltɪd, ˌənˈkɑnʃəs, dɪˈfɛnsləs ənd dɪˈgreɪdɪd, laɪɪŋ ˈmoʊʃənləs ɔn ə hoʊˈtɛl flɔr waɪl hər ˌfiˌɑnˈseɪ əˈpɪrz tɪ bi ˈlɪtəl kənˈsərnd əˈbaʊt ðə ˌsɪʧuˈeɪʃən. bət æt list ðə foʊks æt friends,”*,” ˈizəli ˈkeɪbəl moʊst ˌɪdiˈɑtɪk ˈproʊˌgræm, kən maɪn ɪt fər ə læf ər tu. ˈæftər ˈrənɪŋ θru ðə ˈditeɪlz əv ðə əˈsɔlt ðɪs ˈmɔrnɪŋ, braɪən ʤoʊkt, θɪŋk ðə ˈmɛsɪʤ ɪz, teɪk ðə stairs.”*.” ə ðət ˈkæpʧərz ðə rɪˈspɑns tɪ kwɪp: ənˈwɪlɪŋ tɪ bi ˈaʊtˈdən wɪn ɪt kəmz tɪ ˈlæfɪŋ əˈbaʊt ˈgræfɪk ˈɪmɪʤɪz əv dəˈmɛstɪk ˈvaɪələns, stiv rɪˈspɑndɪd, ˈmɛsɪʤ ɪz wɪn ɪn ən ˈɛləˌveɪtər, ə camera.”*.” ˈəpˌdeɪt p.m*.: ðə ˈbɔltəˌmɔr ˈreɪvənz hæv meɪd ən əˈnaʊnsmɛnt. ðə #ˈreɪvənz hæv ˈtərməˌneɪtɪd reɪ ˈkɑnˌtrækt ðɪs ˌæftərˈnun. ˈbɔltəˌmɔr ˈreɪvənz (@ˈreɪvənz) sɛpˈtɛmbər 8 2014 ənd sportsgrid*)
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some parents and education experts believe the programme has failed to raise standards and caused segregation
• this article was corrected and footnoted on 27 september 2011.
all over the swedish port city of malmö last week there were of students clutching brand-new laptops given to them on loan for the start of the school year. as schools fight over what, due to a demographic blip, is a declining number of students, the device you get has become a keen area of competition.
"i've just got a mini-hp, but you can pay a bit more and get a mac or an ipad," says stanbery, 16, who has just started at, the most popular of the town's free schools.
students arriving at the thoren business school have to make do with a dell. but pauli gymnasium, the biggest school, this year decided to give to all its students to stave off private competition.
what few of the students know is that the ultimate cause of their good fortune the competitive system of free schools sweden pioneered in the early is under assault.
sns, a prominent, issued a report last wednesday that sharply reversed its normal stance. the entry of private operators into education, it argued, had increased segregation and may not have improved educational standards at all.
"the empirical evidence showing that competition is good is not really credible, because they can't distinguish between grade inflation and real gains," dr jonas vlachos, who wrote the report on education, told the observer.
the report had a huge impact. it was a top story on swedish television, and was hotly debated the next day in the newspapers. how the debate plays out will be watched carefully by education experts in the uk, where 24 free schools, built on the swedish model, opened this year.
peje emilsson, the founder of, a private school company, attacked the research, deriding it as the worst report the had produced in 20 years.
but vlachos, an associate professor of economics at stockholm university, is standing his ground. his argument is based on his finding that students who entered gymnasium [sixth form] from free secondary schools on average went on to get lower grades over the next three years than those who had entered with the same grade from municipal secondary schools.
vlachos suspects that, because schools rather than external examining boards mark students, free schools are more generous than municipal schools in the grades they give. "there's been tremendous grade inflation in swedish schools," he said.
sweden's educational reforms of the have come under question since last december when the organisation for economic cooperation and development published the 2009 programme for international student assessment.
this showed that swedish students had dropped to place out of 57 countries for literacy, to in maths, and to in science. this compared with, and in studies done in 2000, 2003 and 2006 respectively [see footnote].
and swedes, used to coming near the top of just about every human development index, were appalled.
jan björklund, the minister of education, moved to tighten central control over schools and is soon to launch a parliamentary inquiry into competition and free schools.
"loopholes in the legislation have meant that free schools can elect not to have a library, student and school nurses," he complained. "and as they get just as much money as the municipal schools, the owners have been able to withdraw the surplus."
for now, swedish parents and students still support the reforms and neither björklund, nor the opposition social democratic party, are considering reversing them. but a poll carried out this year by found that swedes who want to ban companies from operating schools for profit now outnumber those that don't.
vlachos believes that the economic thinking underlying free schools is simply wrong. "it's very difficult for people to make an informed choice of what's a good school and that's not conducive to a market," he said. part of the problem is that students' priorities aren't always economic priorities. "there's been an explosion of media courses and arts courses such as singing and dancing," vlachos said. "they're not necessarily bad, but it's not obvious that all these things are stuff that we want to with taxpayers' money."
the other problem is unintended that damage society, such as increased segregation. this issue becomes obvious if you visit the two sixth forms in western harbour, a development of it office space and tasteful built on the city's redundant shipyards.
the first,, has some of the highest entry grades of any school in the city, and draws in some of the most ambitious teachers. there are only a few immigrant faces, teachers wear suits and the atmosphere in its bright, airy central lobby is like that of a trendy design company.
at, just five minutes' cycle ride away, the atmosphere could hardly be more different.
students lounge around in groups smoking and playing cards. well over 60% are from immigrant or refugee families. osterman, one teacher i spoke to, sports a hippie beard, long ginger hair, jeans and clumpy boots.
procivitas students have an average of 280 out of 320 points, the highest in the city, whereas at the average for social sciences is only 180, with some students getting in with just 65 points.
this has nothing to do with the schools' managements. in sweden, schools are only allowed to say how many places they have free. each student gets their grades at the end of secondary school and lists the sixth forms they want to go to. the malmö municipality fills the places in each school, both free and municipal, in order of grade. so if has 300 places, but students want to attend it, then the municipality gives the places to the 300 students with the best marks. if on the other hand has 400 places and only 360 students want to go, the municipality will give them all places, even if they have marks.
per ledin, managing director for sweden, argues that it is unfair to judge his company's 32 schools by.
"we have a surplus of capacity in malmö, so we get people coming into our school who can't get into other schools," he said, adding that on average his students get 11 points higher than would be predicted by their background.
but when i visited the malmö school, it was hard to see how. it was so noisy that i thought it must be break time. "students here, they don't have to do every task if they can show that they know it," a teacher said. "english for example, they can learn from the tv and other places."
much of the learning at the 32 schools in sweden run by the company is done alone by students, using an online system, with one-on-one guidance from teachers once a week, interspersed with lectures in classes of up to 60 students.
if students prefer to play cards and chat all day, it's up to them.
in his study, vlachos argued that such systems were brought in as much to save costs as to improve education.
kunskapsgymnasiet's teaching system allows it to cut the number of teachers it employs in malmö to teachers per 100 students, compared to an average of teachers per 100 students at municipal schools.
"many municipal schools are horrendously bad," vlachos said. "but the difference between the free schools and the municipal schools is that the free schools actually have a profit incentive to reduce quality."
kunskapsskolan can point to strong evidence that it works, but according to daniel rosen, a spanish teacher at a college in the city of uppsala, some graduates who come to him have alarming gaps in their knowledge.
"some do have problems with handling their freedom," admitted osterman. "freedom gives them less knowledge."
peter connée, who runs, argued that segregation was an unavoidable of the system. "fifteen years ago in sweden, we had segregation based on where you live, now it's based on ambition and ability."
osterman also doesn't believe it's necessarily a bad thing. "we are becoming a school for ambitious immigrants," he said.
but as i was leaving his school, one of his students, mohammed mahmoud (not his real name), put it differently. "this is a school for criminals," he declared, to laughter. "nobody's working in this school, because no one here has any future." his remark is clearly intended as a joke, but it suggests how he feels.
• this article was amended on 27 september 2011 to make it clear that mohammed mahmoud was using a false name and to qualify his remarks. this correction was published on 18 september 2011: swedish students have shown a significant fall in reading ability between 2000 and 2009, as reported in "doubts grow over the success of sweden's free schools experiment" (news). however, the studies referred to in the article, showing swedish students dropping from to in world rankings, should be seen in the context of the number of nations taking part more than doubling from 31 in 2000 to 65 in 2009.
• the following letter was published in the observer on 25 september 2011
sweden is a truly class act
personalised learning is key to the model of teaching. each student is supported to develop a strategy that meets their academic goals and takes account of their individual abilities. different lesson formats are used depending on each student's needs and the nature of the task at hand. contrary to your article's assertion, studies have shown that teachers working within the model spend around 50% more time tutoring, instructing, lecturing and coaching students than those in other schools.
official evaluations show schools outperform peers and our students exceed the expected norms. remains committed to our unique pedagogical model which has assured the success of countless children in sweden. we look forward to adding to that success in the years to come, in sweden as well as in our academies in the uk.
per ledin
ceo,, stockholm
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səm ˈpɛrənts ənd ˌɛʤəˈkeɪʃən ˈɛkspərts bɪˈliv ðə ˈproʊˌgræm həz feɪld tɪ reɪz ˈstændərdz ənd kɔzd ˌsɛgrəˈgeɪʃən ðɪs ˈɑrtɪkəl wɑz kərˈɛktɪd ənd ˈfʊtˌnoʊtɪd ɔn 27 sɛpˈtɛmbər 2011 ɔl ˈoʊvər ðə sˈwidɪʃ pɔrt ˈsɪti əv malmö*ö læst wik ðɛr wər əv ˈstudənts ˈkləʧɪŋ ˈbrændˌnu ˈlæpˌtɑps ˈgɪvɪn tɪ ðɛm ɔn loʊn fər ðə stɑrt əv ðə skul jɪr. ɛz skulz faɪt ˈoʊvər wət, du tɪ ə ˌdɛməˈgræfɪk blɪp, ɪz ə dɪˈklaɪnɪŋ ˈnəmbər əv ˈstudənts, ðə dɪˈvaɪs ju gɪt həz bɪˈkəm ə kin ˈɛriə əv ˌkɑmpəˈtɪʃən. "aɪv ʤɪst gɑt ə mini-hp*, bət ju kən peɪ ə bɪt mɔr ənd gɪt ə mæk ər ən ˈaɪˌpæd," sɪz ˈstænbəri, 16 hu həz ʤɪst ˈstɑrtɪd æt, ðə moʊst ˈpɑpjələr əv ðə taʊnz fri skulz. ˈstudənts ərˈaɪvɪŋ æt ðə ˈθɔrən ˈbɪznɪs skul hæv tɪ meɪk du wɪθ ə dɛl. bət ˈpɔˌli ʤɪmˈneɪziəm, ðə ˈbɪgəst skul, ðɪs jɪr ˌdɪˈsaɪdɪd tɪ gɪv tɪ ɔl ɪts ˈstudənts tɪ steɪv ɔf ˈpraɪvət ˌkɑmpəˈtɪʃən. wət fju əv ðə ˈstudənts noʊ ɪz ðət ðə ˈəltəmət kɔz əv ðɛr gʊd ˈfɔrʧən ðə kəmˈpɛtɪtɪv ˈsɪstəm əv fri skulz sˈwidən ˌpaɪəˈnɪrd ɪn ðə ˈərli ɪz ˈəndər əˈsɔlt. sns*, ə ˈprɑmənənt, ˈɪʃud ə rɪˈpɔrt læst ˈwɛnzˌdeɪ ðət ˈʃɑrpli rɪˈvərst ɪts ˈnɔrməl stæns. ðə ˈɛntri əv ˈpraɪvət ˈɔpərˌeɪtərz ˈɪntu ˌɛʤəˈkeɪʃən, ɪt ˈɑrgjud, hæd ˌɪnˈkrist ˌsɛgrəˈgeɪʃən ənd meɪ nɑt hæv ˌɪmˈpruvd ˌɛʤəˈkeɪʃənəl ˈstændərdz æt ɔl. "ðə ˌɛmˈpɪrɪkəl ˈɛvədəns ʃoʊɪŋ ðət ˌkɑmpəˈtɪʃən ɪz gʊd ɪz nɑt ˈrɪli ˈkrɛdəbəl, bɪˈkəz ðeɪ kænt dɪˈstɪŋgwɪʃ bɪtˈwin greɪd ˌɪnˈfleɪʃən ənd ril geɪnz," ˈdɑktər ˈʤoʊnəs vˈleɪkoʊs, hu roʊt ðə rɪˈpɔrt ɔn ˌɛʤəˈkeɪʃən, toʊld ðə əbˈzərvər. ðə rɪˈpɔrt hæd ə juʤ ˌɪmˈpækt. ɪt wɑz ə tɔp ˈstɔri ɔn sˈwidɪʃ ˈtɛləˌvɪʒən, ənd wɑz ˈhɑtli dəˈbeɪtɪd ðə nɛkst deɪ ɪn ðə ˈnuzˌpeɪpərz. haʊ ðə dəˈbeɪt pleɪz aʊt wɪl bi wɔʧt ˈkɛrfəli baɪ ˌɛʤəˈkeɪʃən ˈɛkspərts ɪn ðə uk*, wɛr 24 fri skulz, bɪlt ɔn ðə sˈwidɪʃ ˈmɑdəl, ˈoʊpənd ðɪs jɪr. emilsson*, ðə ˈfaʊndər əv, ə ˈpraɪvət skul ˈkəmpəˌni, əˈtækt ðə ˈrisərʧ, dɪˈraɪdɪŋ ɪt ɛz ðə wərst rɪˈpɔrt ðə hæd prəˈdust ɪn 20 jɪrz. bət vˈleɪkoʊs, ən əˈsoʊʃiˌeɪt prəˈfɛsər əv ˌɛkəˈnɑmɪks æt ˈstɑˌkhoʊlm ˌjunəˈvərsəti, ɪz ˈstændɪŋ hɪz graʊnd. hɪz ˈɑrgjəmənt ɪz beɪst ɔn hɪz ˈfaɪndɪŋ ðət ˈstudənts hu ˈɛnərd ʤɪmˈneɪziəm [sɪksθ fɔrm] frəm fri ˈsɛkənˌdɛri skulz ɔn ˈævərɪʤ wɛnt ɔn tɪ gɪt loʊər greɪdz ˈoʊvər ðə nɛkst θri jɪrz ðən ðoʊz hu hæd ˈɛnərd wɪθ ðə seɪm greɪd frəm mjuˈnɪsəpəl ˈsɛkənˌdɛri skulz. vˈleɪkoʊs ˈsəˌspɛkts ðət, bɪˈkəz skulz ˈrəðər ðən ɪkˈstərnəl ɪgˈzæmɪnɪŋ bɔrdz mɑrk ˈstudənts, fri skulz ər mɔr ˈʤɛnərəs ðən mjuˈnɪsəpəl skulz ɪn ðə greɪdz ðeɪ gɪv. "ðɛrz bɪn trɪˈmɛndəs greɪd ˌɪnˈfleɪʃən ɪn sˈwidɪʃ skulz," hi sɛd. sˈwidənz ˌɛʤəˈkeɪʃənəl rɪˈfɔrmz əv ðə hæv kəm ˈəndər kˈwɛʃən sɪns læst dɪˈsɛmbər wɪn ðə ˌɔrgənɪˈzeɪʃən fər ˌɛkəˈnɑmɪk kˌwɔpərˈeɪʃən ənd dɪˈvɛləpmənt ˈpəblɪʃt ðə 2009 ˈproʊˌgræm fər ˌɪnərˈnæʃənɑl ˈstudənt əˈsɛsmənt. ðɪs ʃoʊd ðət sˈwidɪʃ ˈstudənts hæd drɑpt tɪ pleɪs aʊt əv 57 ˈkəntriz fər ˈlɪtərəsi, tɪ ɪn maths*, ənd tɪ ɪn saɪəns. ðɪs kəmˈpɛrd wɪθ, ənd ɪn ˈstədiz dən ɪn 2000 2003 ənd 2006 rɪˈspɛktɪvli [si ˈfʊtˌnoʊt]. ənd swidz, juzd tɪ ˈkəmɪŋ nɪr ðə tɔp əv ʤɪst əˈbaʊt ˈɛvəri ˈjumən dɪˈvɛləpmənt ˈɪndɛks, wər əˈpɔld. ʤæn björklund*, ðə ˈmɪnɪstər əv ˌɛʤəˈkeɪʃən, muvd tɪ ˈtaɪtən ˈsɛntrəl kənˈtroʊl ˈoʊvər skulz ənd ɪz sun tɪ lɔnʧ ə ˌpɑrləˈmɛntəri ˌɪnkˈwaɪˌri ˈɪntu ˌkɑmpəˈtɪʃən ənd fri skulz. "ˈluˌphoʊlz ɪn ðə ˌlɛʤəsˈleɪʃən hæv mɛnt ðət fri skulz kən ɪˈlɛkt nɑt tɪ hæv ə ˈlaɪbrɛˌri, ˈstudənt ənd skul ˈnərsɪz," hi kəmˈpleɪnd. "ənd ɛz ðeɪ gɪt ʤɪst ɛz məʧ ˈməni ɛz ðə mjuˈnɪsəpəl skulz, ðə ˈoʊnərz hæv bɪn ˈeɪbəl tɪ wɪθˈdrɔ ðə ˈsərpləs." fər naʊ, sˈwidɪʃ ˈpɛrənts ənd ˈstudənts stɪl səˈpɔrt ðə rɪˈfɔrmz ənd ˈniðər björklund*, nɔr ðə ˌɑpəˈzɪʃən ˈsoʊʃəl ˌdɛməˈkrætɪk ˈpɑrti, ər kənˈsɪdərɪŋ rɪˈvərsɪŋ ðɛm. bət ə poʊl ˈkɛrid aʊt ðɪs jɪr baɪ faʊnd ðət swidz hu wɔnt tɪ bæn ˈkəmpəˌniz frəm ˈɔpərˌeɪtɪŋ skulz fər ˈprɑfɪt naʊ aʊtˈnəmbər ðoʊz ðət doʊnt. vˈleɪkoʊs bɪˈlivz ðət ðə ˌɛkəˈnɑmɪk ˈθɪŋkɪŋ ˌəndərˈlaɪɪŋ fri skulz ɪz ˈsɪmpli rɔŋ. "ɪts ˈvɛri ˈdɪfəkəlt fər ˈpipəl tɪ meɪk ən ˌɪnˈfɔrmd ʧɔɪs əv wəts ə gʊd skul ənd ðæts nɑt kənˈdusɪv tɪ ə ˈmɑrkɪt," hi sɛd. pɑrt əv ðə ˈprɑbləm ɪz ðət ˈstudənts' praɪˈɔrətiz ˈɑrənt ˈɔlˌweɪz ˌɛkəˈnɑmɪk praɪˈɔrətiz. "ðɛrz bɪn ən ɪkˈsploʊʒən əv ˈmidiə ˈkɔrsɪz ənd ɑrts ˈkɔrsɪz səʧ ɛz ˈsɪŋɪŋ ənd ˈdænsɪŋ," vˈleɪkoʊs sɛd. "ðɛr nɑt ˌnɛsəˈsɛrəli bæd, bət ɪts nɑt ˈɑbviəs ðət ɔl ðiz θɪŋz ər stəf ðət wi wɔnt tɪ wɪθ ˈtækˌspeɪərz' ˈməni." ðə ˈəðər ˈprɑbləm ɪz ˌənɪnˈtɛndɪd ðət ˈdæmɪʤ soʊˈsaɪɪti, səʧ ɛz ˌɪnˈkrist ˌsɛgrəˈgeɪʃən. ðɪs ˈɪʃu bɪˈkəmz ˈɑbviəs ɪf ju ˈvɪzɪt ðə tu sɪksθ fɔrmz ɪn ˈwɛstərn ˈhɑrbər, ə dɪˈvɛləpmənt əv ɪt ˈɔfəs speɪs ənd ˈteɪstfəl bɪlt ɔn ðə ˈsɪtiz rɪˈdəndənt ˈʃɪˌpjɑrdz. ðə fərst,, həz səm əv ðə haɪəst ˈɛntri greɪdz əv ˈɛni skul ɪn ðə ˈsɪti, ənd drɔz ɪn səm əv ðə moʊst æmˈbɪʃəs ˈtiʧərz. ðɛr ər ˈoʊnli ə fju ˈɪməgrənt ˈfeɪsɪz, ˈtiʧərz wɛr suts ənd ðə ˈætməsˌfɪr ɪn ɪts braɪt, ˈɛri ˈsɛntrəl ˈlɑbi ɪz laɪk ðət əv ə ˈtrɛndi dɪˈzaɪn ˈkəmpəˌni. æt, ʤɪst faɪv ˈmɪnəts' ˈsaɪkəl raɪd əˈweɪ, ðə ˈætməsˌfɪr kʊd ˈhɑrdli bi mɔr ˈdɪfərənt. ˈstudənts laʊnʤ əraʊnd ɪn grups sˈmoʊkɪŋ ənd pleɪɪŋ kɑrdz. wɛl ˈoʊvər 60 ər frəm ˈɪməgrənt ər ˈrɛfjuʤi ˈfæməliz. ˈɑstərmən, wən ˈtiʧər aɪ spoʊk tɪ, spɔrts ə ˈhɪpi bɪrd, lɔŋ ˈʤɪnʤər hɛr, ʤinz ənd ˈkləmpi buts. ˈstudənts hæv ən ˈævərɪʤ əv 280 aʊt əv 320 pɔɪnts, ðə haɪəst ɪn ðə ˈsɪti, wɛˈræz æt ðə ˈævərɪʤ fər ˈsoʊʃəl ˈsaɪənsɪz ɪz ˈoʊnli 180 wɪθ səm ˈstudənts ˈgɪtɪŋ ɪn wɪθ ʤɪst 65 pɔɪnts. ðɪs həz ˈnəθɪŋ tɪ du wɪθ ðə skulz' ˈmænɪʤmənts. ɪn sˈwidən, skulz ər ˈoʊnli əˈlaʊd tɪ seɪ haʊ ˈmɛni ˈpleɪsɪz ðeɪ hæv fri. iʧ ˈstudənt gɪts ðɛr greɪdz æt ðə ɛnd əv ˈsɛkənˌdɛri skul ənd lɪsts ðə sɪksθ fɔrmz ðeɪ wɔnt tɪ goʊ tɪ. ðə malmö*ö mˌjunɪsəˈpæləti fɪlz ðə ˈpleɪsɪz ɪn iʧ skul, boʊθ fri ənd mjuˈnɪsəpəl, ɪn ˈɔrdər əv greɪd. soʊ ɪf həz 300 ˈpleɪsɪz, bət ˈstudənts wɔnt tɪ əˈtɛnd ɪt, ðɛn ðə mˌjunɪsəˈpæləti gɪvz ðə ˈpleɪsɪz tɪ ðə 300 ˈstudənts wɪθ ðə bɛst mɑrks. ɪf ɔn ðə ˈəðər hænd həz 400 ˈpleɪsɪz ənd ˈoʊnli 360 ˈstudənts wɔnt tɪ goʊ, ðə mˌjunɪsəˈpæləti wɪl gɪv ðɛm ɔl ˈpleɪsɪz, ˈivɪn ɪf ðeɪ hæv mɑrks. pər ˈlɛdɪn, ˈmænəʤɪŋ dɪˈrɛktər fər sˈwidən, ˈɑrgjuz ðət ɪt ɪz ˌɔnˈfɛr tɪ ʤəʤ hɪz ˈkəmpəniz 32 skulz baɪ. "wi hæv ə ˈsərpləs əv kəˈpæsɪti ɪn malmö*ö, soʊ wi gɪt ˈpipəl ˈkəmɪŋ ˈɪntu ɑr skul hu kænt gɪt ˈɪntu ˈəðər skulz," hi sɛd, ˈædɪŋ ðət ɔn ˈævərɪʤ hɪz ˈstudənts gɪt 11 pɔɪnts haɪər ðən wʊd bi prɪˈdɪktɪd baɪ ðɛr ˈbækˌgraʊnd. bət wɪn aɪ ˈvɪzɪtɪd ðə malmö*ö skul, ɪt wɑz hɑrd tɪ si haʊ. ɪt wɑz soʊ ˈnɔɪzi ðət aɪ θɔt ɪt məst bi breɪk taɪm. "ˈstudənts hir, ðeɪ doʊnt hæv tɪ du ˈɛvəri tæsk ɪf ðeɪ kən ʃoʊ ðət ðeɪ noʊ ɪt," ə ˈtiʧər sɛd. "ˈɪŋlɪʃ fər ɪgˈzæmpəl, ðeɪ kən lərn frəm ðə ˌtɛləˈvɪʒən ənd ˈəðər ˈpleɪsɪz." məʧ əv ðə ˈlərnɪŋ æt ðə 32 skulz ɪn sˈwidən rən baɪ ðə ˈkəmpəˌni ɪz dən əˈloʊn baɪ ˈstudənts, ˈjuzɪŋ ən ˈɔnˌlaɪn ˈsɪstəm, wɪθ ˌwənɔnˈwən ˈgaɪdəns frəm ˈtiʧərz wəns ə wik, ˌɪntərˈspərst wɪθ ˈlɛkʧərz ɪn ˈklæsɪz əv əp tɪ 60 ˈstudənts. ɪf ˈstudənts prɪˈfər tɪ pleɪ kɑrdz ənd ʧæt ɔl deɪ, ɪts əp tɪ ðɛm. ɪn hɪz ˈstədi, vˈleɪkoʊs ˈɑrgjud ðət səʧ ˈsɪstəmz wər brɔt ɪn ɛz məʧ tɪ seɪv kɔsts ɛz tɪ ˌɪmˈpruv ˌɛʤəˈkeɪʃən. ˈtiʧɪŋ ˈsɪstəm əˈlaʊz ɪt tɪ kət ðə ˈnəmbər əv ˈtiʧərz ɪt ɪmˈplɔɪz ɪn malmö*ö tɪ ˈtiʧərz pər 100 ˈstudənts, kəmˈpɛrd tɪ ən ˈævərɪʤ əv ˈtiʧərz pər 100 ˈstudənts æt mjuˈnɪsəpəl skulz. "ˈmɛni mjuˈnɪsəpəl skulz ər ˌhɔˈrɛndəsli bæd," vˈleɪkoʊs sɛd. "bət ðə ˈdɪfərəns bɪtˈwin ðə fri skulz ənd ðə mjuˈnɪsəpəl skulz ɪz ðət ðə fri skulz ˈæˌkʧuəli hæv ə ˈprɑfɪt ˌɪnˈsɛnɪv tɪ rɪˈdus kˈwɑləti." kən pɔɪnt tɪ strɔŋ ˈɛvədəns ðət ɪt wərks, bət əˈkɔrdɪŋ tɪ ˈdænjəl ˈroʊzən, ə ˈspænɪʃ ˈtiʧər æt ə ˈkɑlɪʤ ɪn ðə ˈsɪti əv uppsala*, səm ˈgræʤəˌweɪts hu kəm tɪ ɪm hæv əˈlɑrmɪŋ gæps ɪn ðɛr ˈnɑlɪʤ. "səm du hæv ˈprɑbləmz wɪθ ˈhændəlɪŋ ðɛr ˈfridəm," ədˈmɪtəd ˈɑstərmən. "ˈfridəm gɪvz ðɛm lɛs ˈnɑlɪʤ." ˈpitər connée*, hu rənz, ˈɑrgjud ðət ˌsɛgrəˈgeɪʃən wɑz ən ˌənəˈvɔɪdəbəl əv ðə ˈsɪstəm. "ˈfɪfˈtin jɪrz əˈgoʊ ɪn sˈwidən, wi hæd ˌsɛgrəˈgeɪʃən beɪst ɔn wɛr ju lɪv, naʊ ɪts beɪst ɔn æmˈbɪʃən ənd əˈbɪləˌti." ˈɑstərmən ˈɔlsoʊ ˈdəzənt bɪˈliv ɪts ˌnɛsəˈsɛrəli ə bæd θɪŋ. "wi ər bɪˈkəmɪŋ ə skul fər æmˈbɪʃəs ˈɪməgrənts," hi sɛd. bət ɛz aɪ wɑz ˈlivɪŋ hɪz skul, wən əv hɪz ˈstudənts, moʊˈhæmɪd ˈmæmud (nɑt hɪz ril neɪm), pʊt ɪt ˈdɪfərˈɛntli. "ðɪs ɪz ə skul fər ˈkrɪmənəlz," hi dɪˈklɛrd, tɪ ˈlæftər. "ˈnoʊˌbɑˌdiz ˈwərkɪŋ ɪn ðɪs skul, bɪˈkəz noʊ wən hir həz ˈɛni fˈjuʧər." hɪz rɪˈmɑrk ɪz ˈklɪrli ˌɪnˈtɛndɪd ɛz ə ʤoʊk, bət ɪt səˈʤɛsts haʊ hi filz. ðɪs ˈɑrtɪkəl wɑz əˈmɛndɪd ɔn 27 sɛpˈtɛmbər 2011 tɪ meɪk ɪt klɪr ðət moʊˈhæmɪd ˈmæmud wɑz ˈjuzɪŋ ə fɔls neɪm ənd tɪ kˈwɑləˌfaɪ hɪz rɪˈmɑrks. ðɪs kərˈɛkʃən wɑz ˈpəblɪʃt ɔn 18 sɛpˈtɛmbər 2011 sˈwidɪʃ ˈstudənts hæv ʃoʊn ə sɪgˈnɪfɪkənt fɔl ɪn ˈrɛdɪŋ əˈbɪləˌti bɪtˈwin 2000 ənd 2009 ɛz ˌriˈpɔrtəd ɪn "daʊts groʊ ˈoʊvər ðə səkˈsɛs əv sˈwidənz fri skulz ɪkˈspɛrəmənt" (nuz). ˌhaʊˈɛvər, ðə ˈstədiz rɪˈfərd tɪ ɪn ðə ˈɑrtɪkəl, ʃoʊɪŋ sˈwidɪʃ ˈstudənts ˈdrɑpɪŋ frəm tɪ ɪn wərld ˈræŋkɪŋz, ʃʊd bi sin ɪn ðə ˈkɑntɛkst əv ðə ˈnəmbər əv ˈneɪʃənz ˈteɪkɪŋ pɑrt mɔr ðən ˈdəbəlɪŋ frəm 31 ɪn 2000 tɪ 65 ɪn 2009 ðə ˈfɑloʊɪŋ ˈlɛtər wɑz ˈpəblɪʃt ɪn ðə əbˈzərvər ɔn 25 sɛpˈtɛmbər 2011 sˈwidən ɪz ə ˈtruli klæs ækt ˈlərnɪŋ ɪz ki tɪ ðə ˈmɑdəl əv ˈtiʧɪŋ. iʧ ˈstudənt ɪz səˈpɔrtɪd tɪ dɪˈvɛləp ə ˈstrætəʤi ðət mits ðɛr ˌækəˈdɛmɪk goʊlz ənd teɪks əˈkaʊnt əv ðɛr ˌɪndəˈvɪʤəwəl əˈbɪləˌtiz. ˈdɪfərənt ˈlɛsən ˈfɔrˌmæts ər juzd dɪˈpɛndɪŋ ɔn iʧ ˈstudənts nidz ənd ðə ˈneɪʧər əv ðə tæsk æt hænd. ˈkɑntrɛri tɪ jʊr ˈɑrtɪkəlz əˈsərʃən, ˈstədiz hæv ʃoʊn ðət ˈtiʧərz ˈwərkɪŋ wɪˈθɪn ðə ˈmɑdəl spɛnd əraʊnd 50 mɔr taɪm ˈtutərɪŋ, ˌɪnˈstrəktɪŋ, ˈlɛkʧərɪŋ ənd ˈkoʊʧɪŋ ˈstudənts ðən ðoʊz ɪn ˈəðər skulz. əˈfɪʃəl ɪˌvæljuˈeɪʃənz ʃoʊ skulz ˈaʊtpərˌfɔrm pɪrz ənd ɑr ˈstudənts ɪkˈsid ðə ɪkˈspɛktɪd nɔrmz. rɪˈmeɪnz kəˈmɪtɪd tɪ ɑr juˈnik ˌpɛdəˈgɑʤɪkəl ˈmɑdəl wɪʧ həz əˈʃʊrd ðə səkˈsɛs əv ˈkaʊntləs ˈʧɪldrən ɪn sˈwidən. wi lʊk ˈfɔrwərd tɪ ˈædɪŋ tɪ ðət səkˈsɛs ɪn ðə jɪrz tɪ kəm, ɪn sˈwidən ɛz wɛl ɛz ɪn ɑr əˈkædəmiz ɪn ðə uk*. pər ˈlɛdɪn ˈsiˌiˈoʊ,, ˈstɑˌkhoʊlm
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amd detail raven ridge and pinnacle ridge
amd detail raven ridge and pinnacle ridge
| source: video author: mark campbell
amd detail raven ridge and pinnacle ridge
amd detail raven ridge and pinnacle ridge, listing both with a release in 2018 on desktop platforms. both of these new will come with "zen" cores, though at this time it expected that amd are already fine tuning their design for improved performance.
according to this roadmap, raven ridge will release first on mobile platforms on 2017, coming with 4 "zen" cores and in a configuration, releasing on desktops later on the socket.
pinnacle ridge is/summit ridge replacement, coming with up to eight cores and will use the same socket as.
raven ridge are detailed as having 4 zen cores and 11 vega cores, giving the a total of 704 cores (each has 64 stream processors). this is only 192 fewer cores than 460, which will make for a powerful given architectural improvements over polaris.
raven ridge will be a perfect solution for those that want an affordable gaming notebook, which will easily be able to play most modern titles with respectable on mobile platforms.
you can join the discussion on raven ridge and pinnacle ridge on the forums.
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ˈeɪˌɛmˈdi ˈditeɪl ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ ˈeɪˌɛmˈdi ˈditeɪl ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ sɔrs: ˈvɪdioʊ ˈɔθər: mɑrk ˈkæmbəl ˈeɪˌɛmˈdi ˈditeɪl ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ ˈeɪˌɛmˈdi ˈditeɪl ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ, ˈlɪstɪŋ boʊθ wɪθ ə riˈlis ɪn 2018 ɔn ˈdɛskˌtɑp ˈplætˌfɔrmz. boʊθ əv ðiz nu wɪl kəm wɪθ "zɛn" kɔrz, ðoʊ æt ðɪs taɪm ɪt ɪkˈspɛktɪd ðət ˈeɪˌɛmˈdi ər ɔˈrɛdi faɪn ˈtunɪŋ ðɛr dɪˈzaɪn fər ˌɪmˈpruvd pərˈfɔrməns. əˈkɔrdɪŋ tɪ ðɪs roadmap*, ˈreɪvən rɪʤ wɪl riˈlis fərst ɔn ˈmoʊbəl ˈplætˌfɔrmz ɔn 2017 ˈkəmɪŋ wɪθ 4 "zɛn" kɔrz ənd ɪn ə kənˌfɪgjərˈeɪʃən, riˈlisɪŋ ɔn ˈdɛskˌtɑps ˈleɪtər ɔn ðə ˈsɑkət. ˈpɪnəkəl rɪʤ ɪz rɪʤ rɪˈpleɪsmənt, ˈkəmɪŋ wɪθ əp tɪ eɪt kɔrz ənd wɪl juz ðə seɪm ˈsɑkət ɛz. ˈreɪvən rɪʤ ər dɪˈteɪld ɛz ˈhævɪŋ 4 zɛn kɔrz ənd 11 ˈveɪgə kɔrz, ˈgɪvɪŋ ðə ə ˈtoʊtəl əv 704 kɔrz (iʧ həz 64 strim ˈprɑˌsɛsərz). ðɪs ɪz ˈoʊnli 192 fjuər kɔrz ðən 460 wɪʧ wɪl meɪk fər ə ˈpaʊərfəl ˈgɪvɪn ˌɑrkəˈtɛkʧərəl ˌɪmˈpruvmənts ˈoʊvər poʊˈlɛrəs. ˈreɪvən rɪʤ wɪl bi ə ˈpərˌfɪkt səˈluʃən fər ðoʊz ðət wɔnt ən əˈfɔrdəbəl ˈgeɪmɪŋ ˈnoʊtˌbʊk, wɪʧ wɪl ˈizəli bi ˈeɪbəl tɪ pleɪ moʊst ˈmɑdərn ˈtaɪtəlz wɪθ rɪˈspɛktəbəl ɔn ˈmoʊbəl ˈplætˌfɔrmz. ju kən ʤɔɪn ðə dɪˈskəʃən ɔn ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ ɔn ðə ˈfɔrəmz. 1 ˈeɪˌɛmˈdi ˈditeɪl ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ 2 ˈeɪˌɛmˈdi ˈditeɪl ˈreɪvən rɪʤ ənd ˈpɪnəkəl rɪʤ 1 2 nɛkst» moʊst ˈrisənt ˈkɑmɛnts
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cleveland playhouse, which is heading into its season in, will take home the 2015 regional theater tony award.
the regional tony, presented every year during the tony awards, have long honored theater companies outside of new york whose work regularly eligible for the competitive awards. recently the tony organizers decided to consider off broadway eligible for the trophy, too; last year it went to signature theater.
cleveland playhouse prides itself on being a longtime champion for new work, having presented williams before “the glass menagerie” and, more recently, premiering titles by ken ludwig, lee blessing and deborah zoe laufer. pulitzer winner alegria is working on a commission for the company that will bow next season.
the regional theater tony winner was named hot on the heels of the tony administration decisions on category eligibility for the potential nominees. the rulings to come out of that meeting, the fourth and final such meeting held during the season, held few surprises.
among the more noteworthy rulings: booker prize winner hilary mantel, on whose novels “wolf hall” is based, will be eligible for the best play tony alongside adaptor mike poulton; and beth malone, one of the three actresses to play the protagonist of “fun home” at different stages of the characters’ life, will be eligible as a lead actress while the two younger actresses in the role will be considered featured. (so will judy kuhn, who portrays the mother in the show.)
nominations for the 2015 tony awards will be announced april 28 by parker and bruce willis, both of whom are on tap to appear in the new york theater productions next year.
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ˈklivlənd ˈpleɪˌhaʊs, wɪʧ ɪz ˈhɛdɪŋ ˈɪntu ɪts ˈsizən ɪn wɪl teɪk hoʊm ðə 2015 ˈriʤənəl ˈθieɪtər ˈtoʊni əˈwɔrd. ðə ˈriʤənəl ˈtoʊni, pərˈzɛnəd ˈɛvəri jɪr ˈdʊrɪŋ ðə ˈtoʊni əˈwɔrdz, hæv lɔŋ ˈɑnərd ˈθieɪtər ˈkəmpəˌniz ˈaʊtˈsaɪd əv nu jɔrk huz wərk ˈrɛgjələrli ˈɛlɪʤəbəl fər ðə kəmˈpɛtɪtɪv əˈwɔrdz. ˈrisəntli ðə ˈtoʊni ˈɔrgəˌnaɪzərz ˌdɪˈsaɪdɪd tɪ kənˈsɪdər ɔf ˈbrɔdˌweɪ ˈɛlɪʤəbəl fər ðə ˈtroʊfi, tu; læst jɪr ɪt wɛnt tɪ ˈsɪgnəʧər ˈθieɪtər. ˈklivlənd ˈpleɪˌhaʊs praɪdz ˌɪtˈsɛlf ɔn biɪŋ ə ˈlɔŋˌtaɪm ˈʧæmpiən fər nu wərk, ˈhævɪŋ pərˈzɛnəd ˈwɪljəmz ˌbiˈfɔr glæs menagerie”*” ənd, mɔr ˈrisəntli, prɛˈmɪrɪŋ ˈtaɪtəlz baɪ kɛn ˈlədwɪg, li ˈblɛsɪŋ ənd ˈdɛbərə zoʊi ˈlɔfər. ˈpʊlətsər ˈwɪnər əˈlɛgriə ɪz ˈwərkɪŋ ɔn ə kəˈmɪʃən fər ðə ˈkəmpəˌni ðət wɪl boʊ nɛkst ˈsizən. ðə ˈriʤənəl ˈθieɪtər ˈtoʊni ˈwɪnər wɑz neɪmd hɑt ɔn ðə hilz əv ðə ˈtoʊni ædˌmɪnɪˈstreɪʃən dɪˈsɪʒənz ɔn ˈkætəˌgɔri ˌɛlɪʤəˈbɪlɪti fər ðə pəˈtɛnʃəl ˌnɑməˈniz. ðə ˈrulɪŋz tɪ kəm aʊt əv ðət ˈmitɪŋ, ðə fɔrθ ənd ˈfaɪnəl səʧ ˈmitɪŋ hɛld ˈdʊrɪŋ ðə ˈsizən, hɛld fju səˈpraɪzɪz. əˈməŋ ðə mɔr ˈnoʊtˌwərði ˈrulɪŋz: ˈbʊkər praɪz ˈwɪnər ˈhɪləri ˈmæntəl, ɔn huz ˈnɑvəlz hall”*” ɪz beɪst, wɪl bi ˈɛlɪʤəbəl fər ðə bɛst pleɪ ˈtoʊni əˈlɔŋˈsaɪd əˈdæptər maɪk ˈpaʊltən; ənd bɛθ məˈloʊn, wən əv ðə θri ˈæktrəsɪz tɪ pleɪ ðə proʊˈtægənəst əv home”*” æt ˈdɪfərənt ˈsteɪʤɪz əv ðə characters’*’ laɪf, wɪl bi ˈɛlɪʤəbəl ɛz ə lɛd ˈæktrəs waɪl ðə tu ˈjəŋgər ˈæktrəsɪz ɪn ðə roʊl wɪl bi kənˈsɪdərd ˈfiʧərd. (soʊ wɪl ˈʤudi kun, hu pɔrˈtreɪz ðə ˈməðər ɪn ðə ʃoʊ.) ˌnɑməˈneɪʃənz fər ðə 2015 ˈtoʊni əˈwɔrdz wɪl bi əˈnaʊnst ˈeɪprəl 28 baɪ ˈpɑrkər ənd brus ˈwɪlɪs, boʊθ əv hum ər ɔn tæp tɪ əˈpɪr ɪn ðə nu jɔrk ˈθieɪtər pərˈdəkʃənz nɛkst jɪr.
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los angeles miracles for sale. price: $15,000 and likely climbing.
demand for the grateful july farewell shows at chicago's soldier field has been so staggering that by the time the public ticketmaster deal went down on saturday morning, secondary market sites like were offering single tickets for $1,000 and up, with some packages going for as much as $15,000.
see also: grammys prove rock 'n' roll isn't dead but it's sure getting old
it wasn't supposed to be this way, but hey, capitalism always finds new ways to skin the goat.
when the surviving members of the band announced the shows last month, deadheads were cheered to hear that the old-fashioned system was back, too: byzantine instructions, meant to separate 'heads from scalpers with no. 10 envelopes and index cards and postal money orders, were supposedly designed to gave fans a reasonable shot at a ticket.
but after the ticketing team reported receiving nearly requests via some envelopes, the ticketmaster date was pushed two weeks from feb. 14 to give them time to sort through the crush. as saturday's online sale approached, thousands of deadheads whoed had received rejection letters, while others were still in the dark.
but a lucky few were notified before the weekend sale via email that their orders had been accepted:
image: screen shot courtesy of megan mulry.
what many didn't know was that chicago bears holders, as part of their contract with the team and soldier field, had first dibs on seats meaning thousands of chicagoans had the option of either seeing the historic shows for face value, or turning their hundreds of dollars into several thousands of dollars.
like, several thousand:
and it's never been easier, with sites like, the largest ticket seller, which charges a flat fee to the seller who can list their tickets at whatever price they like. one agent, who declined to give his full name because he was not authorized to speak on behalf of the company, told that he'd never seen higher prices for a show.
"i’ve been doing this nine years, and i would say this is going to be the biggest one seen," he said. "the super bowl is always going to be bigger than anything. but this is definitely the biggest concert. by far. by far."
and with good reason.
"these will be the last shows with the four of us together," founding guitarist bob weir told billboard when the band announced the shows that would include him and surviving members phil lesh, mickey hart and bill kreutzmann.
standing in for jerry garcia, whose last show was at soldier field in 1995 a month before his death, will be phish guitarist trey anastasio. pianist bruce hornsby, who played with the grateful dead in the '90s, and jeff chimenti, who plays keyboard with weir's side project ratdog, are also on board.
it is as enticing a lineup as the band has put out since garcia's death they've toured in a few different iterations as the other ones, phil and friends, furthur, and just the dead over the past 20 years and combined with the declared finality, it's no wonder that some fans would be willing to spend several months' wages to be a part of it.
even passes to the soldier field parking lot, where you can hear the music and enjoy the festive party scene (if not see anything), were being sold on for $200.
other options include travel packages from companies like cid entertainment, which was offering two different "experiences," including general admission tickets, ranging in price from $519 to $2,198.
and of course, as touring vets know, there's one final option and it's been known to work:
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lɔs ˈænʤəlɪs ˈmɪrəkəlz fər seɪl. praɪs: ənd ˈlaɪkli ˈklaɪmɪŋ. dɪˈmænd fər ðə ˈgreɪtfəl ˌʤuˈlaɪ ˌfɛrˈwɛl ʃoʊz æt ʃəˈkɑˌgoʊz ˈsoʊlʤər fild həz bɪn soʊ ˈstægərˌɪŋ ðət baɪ ðə taɪm ðə ˈpəblɪk ˈtɪkɪtˌmæstər dil wɛnt daʊn ɔn ˈsæˌtɪˌdeɪ ˈmɔrnɪŋ, ˈsɛkənˌdɛri ˈmɑrkɪt saɪts laɪk wər ˈɔfərɪŋ ˈsɪŋgəl ˈtɪkɪts fər ənd əp, wɪθ səm ˈpækɪʤɪz goʊɪŋ fər ɛz məʧ ɛz si ˈɔlsoʊ: ˈgræmiz pruv rɑk 'ɛn' roʊl ˈɪzənt dɛd bət ɪts ʃʊr ˈgɪtɪŋ oʊld ɪt ˈwəzənt səˈpoʊzd tɪ bi ðɪs weɪ, bət heɪ, ˈkæpɪtəˌlɪzəm ˈɔlˌweɪz faɪndz nu weɪz tɪ skɪn ðə goʊt. wɪn ðə sərˈvaɪvɪŋ ˈmɛmbərz əv ðə bænd əˈnaʊnst ðə ʃoʊz læst mənθ, ˈdɛˌdhɛdz wər ʧɪrd tɪ hir ðət ðə ˌoʊldˈfæʃənd ˈsɪstəm wɑz bæk, tu: ˈbɪzənˌtin ˌɪnˈstrəkʃənz, mɛnt tɪ ˈsɛpərˌeɪt 'hɛdz frəm ˈskælpərz wɪθ noʊ. 10 ˈɛnvəˌloʊps ənd ˈɪndɛks kɑrdz ənd ˈpoʊstəl ˈməni ˈɔrdərz, wər səˈpoʊzədli dɪˈzaɪnd tɪ geɪv fænz ə ˈrizənəbəl ʃɑt æt ə ˈtɪkɪt. bət ˈæftər ðə ˈtɪkətɪŋ tim ˌriˈpɔrtəd rɪˈsivɪŋ ˈnɪrli rɪkˈwɛsts ˈviə səm ˈɛnvəˌloʊps, ðə ˈtɪkɪtˌmæstər deɪt wɑz pʊʃt tu wiks frəm ˈfɛbjəˌwɛri. 14 tɪ gɪv ðɛm taɪm tɪ sɔrt θru ðə krəʃ. ɛz ˈsætərdiz ˈɔnˌlaɪn seɪl əˈproʊʧt, ˈθaʊzənz əv ˈdɛˌdhɛdz hu hæd rɪˈsivd rɪˈʤɛkʃən ˈlɛtərz, waɪl ˈəðərz wər stɪl ɪn ðə dɑrk. bət ə ˈləki fju wər ˈnoʊtəˌfaɪd ˌbiˈfɔr ðə ˈwiˌkɪnd seɪl ˈviə iˈmeɪl ðət ðɛr ˈɔrdərz hæd bɪn ækˈsɛptɪd: ˈɪmɪʤ: skrin ʃɑt ˈkərtəsi əv ˈmeɪgən ˈməlri. wət ˈmɛni ˈdɪdənt noʊ wɑz ðət ʃəˈkɑˌgoʊ bɛrz ˈhoʊldərz, ɛz pɑrt əv ðɛr ˈkɑnˌtrækt wɪθ ðə tim ənd ˈsoʊlʤər fild, hæd fərst dɪbz ɔn sits ˈminɪŋ ˈθaʊzənz əv ʃəˈkɑˌgoʊənz hæd ðə ˈɔpʃən əv ˈiðər siɪŋ ðə hɪˈstɔrɪk ʃoʊz fər feɪs ˈvælju, ər ˈtərnɪŋ ðɛr ˈhənərdz əv ˈdɔlərz ˈɪntu ˈsɛvərəl ˈθaʊzənz əv ˈdɔlərz. laɪk, ˈsɛvərəl ˈθaʊzənd: ənd ɪts ˈnɛvər bɪn ˈiziər, wɪθ saɪts laɪk, ðə ˈlɑrʤəst ˈtɪkɪt ˈsɛlər, wɪʧ ˈʧɑrʤɪz ə flæt fi tɪ ðə ˈsɛlər hu kən lɪst ðɛr ˈtɪkɪts æt ˌwəˈtɛvər praɪs ðeɪ laɪk. wən ˈeɪʤənt, hu dɪˈklaɪnd tɪ gɪv hɪz fʊl neɪm bɪˈkəz hi wɑz nɑt ˈɔθərˌaɪzd tɪ spik ɔn bɪˈhæf əv ðə ˈkəmpəˌni, toʊld ðət hid ˈnɛvər sin haɪər ˈpraɪsɪz fər ə ʃoʊ. bɪn duɪŋ ðɪs naɪn jɪrz, ənd aɪ wʊd seɪ ðɪs ɪz goʊɪŋ tɪ bi ðə ˈbɪgəst wən sin," hi sɛd. "ðə ˈsupər boʊl ɪz ˈɔlˌweɪz goʊɪŋ tɪ bi ˈbɪgər ðən ˈɛniˌθɪŋ. bət ðɪs ɪz ˈdɛfənətli ðə ˈbɪgəst ˈkɑnsərt. baɪ fɑr. baɪ fɑr." ənd wɪθ gʊd ˈrizən. "ðiz wɪl bi ðə læst ʃoʊz wɪθ ðə fɔr əv ˈjuˈɛs təˈgɛðər," ˈfaʊndɪŋ ˌgɪˈtɑrɪst bɑb wir toʊld ˈbɪlˌbɔrd wɪn ðə bænd əˈnaʊnst ðə ʃoʊz ðət wʊd ˌɪnˈklud ɪm ənd sərˈvaɪvɪŋ ˈmɛmbərz fɪl lɛʃ, ˈmɪki hɑrt ənd bɪl kreutzmann*. ˈstændɪŋ ɪn fər ˈʤɛri ˌgɑrˈsiə, huz læst ʃoʊ wɑz æt ˈsoʊlʤər fild ɪn 1995 ə mənθ ˌbiˈfɔr hɪz dɛθ, wɪl bi fɪʃ ˌgɪˈtɑrɪst treɪ ˌænəˈstɑsioʊ. ˈpiənɪst brus ˈhɔrnzbi, hu pleɪd wɪθ ðə ˈgreɪtfəl dɛd ɪn ðə 90s*, ənd ʤɛf ʧɪˈmɛnti, hu pleɪz ˈkiˌbɔrd wɪθ wirz saɪd ˈprɑʤɛkt ratdog*, ər ˈɔlsoʊ ɔn bɔrd. ɪt ɪz ɛz ɛnˈtaɪsɪŋ ə ˈlaɪˌnəp ɛz ðə bænd həz pʊt aʊt sɪns gɑrˈsiəz dɛθ ðeɪv tʊrd ɪn ə fju ˈdɪfərənt ˌɪtəˈreɪʃənz ɛz ðə ˈəðər wənz, fɪl ənd frɛndz, furthur*, ənd ʤɪst ðə dɛd ˈoʊvər ðə pæst 20 jɪrz ənd kəmˈbaɪnd wɪθ ðə dɪˈklɛrd faɪˈnæləti, ɪts noʊ ˈwəndər ðət səm fænz wʊd bi ˈwɪlɪŋ tɪ spɛnd ˈsɛvərəl mənθs' ˈweɪʤɪz tɪ bi ə pɑrt əv ɪt. ˈivɪn ˈpæsɪz tɪ ðə ˈsoʊlʤər fild ˈpɑrkɪŋ lɔt, wɛr ju kən hir ðə mˈjuzɪk ənd ˌɛnˈʤɔɪ ðə ˈfɛstɪv ˈpɑrti sin (ɪf nɑt si ˈɛniˌθɪŋ), wər biɪŋ soʊld ɔn fər 200 ˈəðər ˈɔpʃənz ˌɪnˈklud ˈtrævəl ˈpækɪʤɪz frəm ˈkəmpəˌniz laɪk sɪd ˌɛnərˈteɪnmənt, wɪʧ wɑz ˈɔfərɪŋ tu ˈdɪfərənt "ɪkˈspɪriənsɪz," ˌɪnˈkludɪŋ ˈʤɛnərəl ədˈmɪʃən ˈtɪkɪts, ˈreɪnʤɪŋ ɪn praɪs frəm 519 tɪ ənd əv kɔrs, ɛz ˈtʊrɪŋ vɛts noʊ, ðɛrz wən ˈfaɪnəl ˈɔpʃən ənd ɪts bɪn noʊn tɪ wərk:
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everyone seems so quick to a savior coming out of the west. first, it was the raiders. most recently, it was the chargers. in both cases, you had a red hot team winning two to four games in very impressive fashion and, subsequently, the national media began to fawn all over each city like they were suddenly super bowl contenders. now? both of those teams sit at .500. so much for the super bowl.
perhaps you'll remember the circumstances well. just a month ago, the raiders were flying high with consecutive wins over the broncos, seahawks, and chiefs -- including a 59 point shellacking of denver at mile high. the national media hailed the team as a major force, and over the return of the raiders to the national stage. experts praised jason campbell as a difference maker and chastised mike shanahan for running him out of washington. needless to say, for those few weeks, they were the darlings of the west.
a bye week and two straight losses later, the chargers took over for the raiders atop the media's love list. the chargers were the realistic choice given their penchant to make a late run every single season and previous dominance atop the west the last few years. four straight victories over the titans, texans, broncos and colts placed phil rivers and company on the national radar again. however, this last sunday's loss to the raiders places even such a hot team like the chargers two games behind the division leading chiefs and at .500 overall.
meanwhile, the chiefs have never been out of first place all season. despite the media fanning the flames of oakland and san diego, the chiefs continue to hone their craft, do what they need to do to win and get right back to focusing on who is next. it hasn't always been pretty. there are still holes to fill and room to grow. but it's the final standings that determine who was, in fact, the best within a division.
and so far this season, despite the glowing reports of other teams, it's been the chiefs for the entire way.
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ˈɛvriˌwən simz soʊ kwɪk tɪ ə ˈseɪvjər ˈkəmɪŋ aʊt əv ðə wɛst. fərst, ɪt wɑz ðə ˈreɪdərz. moʊst ˈrisəntli, ɪt wɑz ðə ˈʧɑrʤərz. ɪn boʊθ ˈkeɪsɪz, ju hæd ə rɛd hɑt tim ˈwɪnɪŋ tu tɪ fɔr geɪmz ɪn ˈvɛri ˌɪmˈprɛsɪv ˈfæʃən ənd, ˈsəbsəkwəntli, ðə ˈnæʃənəl ˈmidiə bɪˈgæn tɪ fɔn ɔl ˈoʊvər iʧ ˈsɪti laɪk ðeɪ wər ˈsədənli ˈsupər boʊl kənˈtɛndərz. naʊ? boʊθ əv ðoʊz timz sɪt æt 500 soʊ məʧ fər ðə ˈsupər boʊl. pərˈhæps jul rɪˈmɛmbər ðə ˈsərkəmˌstænsɪz wɛl. ʤɪst ə mənθ əˈgoʊ, ðə ˈreɪdərz wər flaɪɪŋ haɪ wɪθ kənˈsɛkjətɪv wɪnz ˈoʊvər ðə ˈbrɑŋkoʊz, ˈsiˌhɔks, ənd ʧifs ˌɪnˈkludɪŋ ə 59 pɔɪnt ˌʃɛˈlækɪŋ əv ˈdɛnvər æt maɪl haɪ. ðə ˈnæʃənəl ˈmidiə heɪld ðə tim ɛz ə ˈmeɪʤər fɔrs, ənd ˈoʊvər ðə rɪˈtərn əv ðə ˈreɪdərz tɪ ðə ˈnæʃənəl steɪʤ. ˈɛkspərts preɪzd ˈʤeɪsən ˈkæmbəl ɛz ə ˈdɪfərəns ˈmeɪkər ənd ʧæˈstaɪzd maɪk ˈʃænəhæn fər ˈrənɪŋ ɪm aʊt əv ˈwɔʃɪŋtən. ˈnidləs tɪ seɪ, fər ðoʊz fju wiks, ðeɪ wər ðə ˈdɑrlɪŋz əv ðə wɛst. ə baɪ wik ənd tu streɪt ˈlɔsɪz ˈleɪtər, ðə ˈʧɑrʤərz tʊk ˈoʊvər fər ðə ˈreɪdərz əˈtɑp ðə ˈmidiəz ləv lɪst. ðə ˈʧɑrʤərz wər ðə ˌriəˈlɪstɪk ʧɔɪs ˈgɪvɪn ðɛr ˈpɛnʧənt tɪ meɪk ə leɪt rən ˈɛvəri ˈsɪŋgəl ˈsizən ənd ˈpriviəs ˈdɑmənəns əˈtɑp ðə wɛst ðə læst fju jɪrz. fɔr streɪt ˈvɪktəriz ˈoʊvər ðə ˈtaɪtənz, ˈtɛksənz, ˈbrɑŋkoʊz ənd koʊlts pleɪst fɪl ˈrɪvərz ənd ˈkəmpəˌni ɔn ðə ˈnæʃənəl ˈreɪˌdɑr əˈgɛn. ˌhaʊˈɛvər, ðɪs læst ˈsənˌdiz lɔs tɪ ðə ˈreɪdərz ˈpleɪsɪz ˈivɪn səʧ ə hɑt tim laɪk ðə ˈʧɑrʤərz tu geɪmz bɪˈhaɪnd ðə dɪˈvɪʒən ˈlidɪŋ ʧifs ənd æt 500 ˈoʊvərˌɔl. ˈminˌwaɪl, ðə ʧifs hæv ˈnɛvər bɪn aʊt əv fərst pleɪs ɔl ˈsizən. dɪˈspaɪt ðə ˈmidiə ˈfænɪŋ ðə fleɪmz əv ˈoʊklənd ənd sæn diˈeɪgoʊ, ðə ʧifs kənˈtɪnju tɪ hoʊn ðɛr kræft, du wət ðeɪ nid tɪ du tɪ wɪn ənd gɪt raɪt bæk tɪ ˈfoʊkɪsɪŋ ɔn hu ɪz nɛkst. ɪt ˈhæzənt ˈɔlˌweɪz bɪn ˈprɪti. ðɛr ər stɪl hoʊlz tɪ fɪl ənd rum tɪ groʊ. bət ɪts ðə ˈfaɪnəl ˈstændɪŋz ðət dɪˈtərmən hu wɑz, ɪn fækt, ðə bɛst wɪˈθɪn ə dɪˈvɪʒən. ənd soʊ fɑr ðɪs ˈsizən, dɪˈspaɪt ðə gloʊɪŋ rɪˈpɔrts əv ˈəðər timz, ɪts bɪn ðə ʧifs fər ðə ɪnˈtaɪər weɪ.
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why are my google display campaigns running on “xyz-hyperpartisan-site” with or altogether false articles? the polite version of a question heard in various forms over the past several weeks.
isn’t google taking steps against fake news on the display network? they ask. why are sites that spread misinformation still able to earn ad revenue through publisher network? they wonder. heard these questions over and over again recently. in a nutshell, the answer comes down to semantics, namely the difference between “misrepresentation” and “misinformation.” yes, google is addressing fake publishers that impersonate well-known news outlets or make up clickbait headlines to drive users to articles that push diet pills or other products. not looking at misinformation, hoaxes and conspiracy theories.
last fall, google earned a lot of press, including on this site, for updating its “misrepresentative content” policy to ostensibly “take aim at fake news,” as the new york times put it. in its most recent bad ads report, google said it kicked out 200 sites and blacklisted 340 sites out of some 2 million publishers from the network for violations including misrepresentation. there has been a trend to capitalize on because people are clicking.
google continues to profit from ads served on hundreds if not thousands of sites promoting propaganda, conspiracy theories, hoaxes and lies. some are fairly well-known publishers; others popped up during the election cycle and appear to exist solely to earn money from ads.
here’s what advertisers should understand about what “misrepresentative content” policy means and mean.
expectations versus reality
the “misrepresentative content” policy states:
“users want to be misled by the content they engage with online. for this reason, google ads may not be placed on pages that misrepresent, misstate, or conceal information about [the publisher], [its] content or the primary purpose of [the] web property.”
last fall, the general interpretation was that, as part of this update, google would stop allowing ads to be served alongside fake news stories (i.e., misinformation). that was largely because google stated in one of the policy examples that sites that were “deceptively presenting fake news articles as real” would be in violation. satire was safe, misinformation was not, went the thinking.
but not what google meant. and, as media matters reported in january, google quietly removed its reference to fake news (underlined below) at some point in late december or early january.
google lists some examples of violations with every policy; these are not and are intended to help publishers understand the spirit of the policy. also not uncommon for google to tweak policy examples. this is how the examples for the content policy now read:
the part about addressing “fake news” confused the issue leading the press, advertisers, and perhaps publishers to think it was going after fake news content so google removed it. after getting all that positive press. to be clear, the policy itself and enforcement of it change.
what the policy really means
marketing land has confirmed with google that the policy was never intended to address editorial veracity. google look at whether an article is true or not; it looks at whether the publisher is misrepresenting itself.
google says the information was meant to address the proliferation of deceptive information online and not to get into editorial decisions about facts. the content policy and others are purposely designed to be narrow. this is in part because its ad policies need to be defensible and enforcement intentional.
some examples
let’s take two of the most well-known fake news cases of last fall to better understand how this policy is applied: macedonians who built sites filled with false articles to rake in money from ads; and, the bizarre fake story involving the clintons that proliferated across far sites and culminated in a real-life incident. would these violate the policy?
yes: the macedonian sites that concealed information about who the publishers really were would fall under this policy.
no: the stories be flagged under the policy just for being made up.
the policy hinges on the tactics, not the content itself. google says the change provides the ability to go after bad sites that were impersonating or pretending to be affiliated with national and local news outlets. many of these sites use a bait and switch to lure users in with sensationalized headlines that lead to content actually promoting diet pills or some other product. as with the macedonian example, a news site that presents itself as operating out of new york city but is in fact based in europe would be in violation.
this specific policy has no bearing on whether publishers known to have extreme bias and publish hoaxes, conspiracy theories, overt propaganda or misinformation can carry and served ads on their pages.
that’s, in part, why find hundreds of and sites like breitbart.com, anncoulter.com, clashdaily.com, truthrevolt.org, leftliberal.com, liberalmountain.com, liberalplug.com, milo.yiannopoulos.net, theproudliberal.og, and on display network.
some of these sites have been around for years. many others, like “donaldtrumppotus45,” popped up during the election season.
the review process
in most cases, bad actors present sites that adhere to the policies in order to evade detection and then pivot after the sites have been approved.
for the misrepresentation policy, there is a human review process. teams are aided by technology that lets reviewers do things like look at an entire domain, identify rings of sites operated by one owner, and evaluate multiple sites using similar tactics. red flags are manually.
do these sites violate other policies?
many of theses sites are of ads, from google and other networks, and most rely heavily on content recommendation networks. content recommendation ads do count as ads under valuable content policy that covers ratios. not clear if google also counts ads from other ad networks under this policy. we have asked and will update here when we hear back.
the most of these sites are usually very clever and careful not to violate hate speech policy that prohibits content that advocates against an individual or group or organization often walking right up to the line between free speech and hate speech. google says it keeps a close eye on many of these sites.
with the sheer volume of sites, videos and ads, the company also relies on users and advertisers to report policy violations. this is true of content on youtube where the volume of new content being uploaded everyday is massive.
brand safety questions
the argument over whether google should be an arbiter of content is obviously a thorny one. policing fake news is far from easy, as danny sullivan covered in “why google might not be able to stop ‘fake news.” for now, it is profiting from and providing a revenue source for publishers of this type of content. misrepresentation policy is aimed at scammers, not necessarily ideologues and opportunists who pedal propaganda for ad clicks.
from interest targeting to retargeting, there are many ways brands running campaigns on the google display network can find their ads running on sites without realizing it. for more, see our companion piece, “brand safety: avoiding fake & news on the google display network.”
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noʊt: baɪ səbˈmɪtɪŋ ðɪs fɔrm, ju əˈgri tɪ θərd dɔr ˈmidiəz tərmz wi rɪˈspɛkt jʊr ˈpraɪvəsi waɪ ər maɪ ˈgugəl dɪˈspleɪ kæmˈpeɪnz ˈrənɪŋ ɔn ““xyz-hyperpartisan-site”*” wɪθ ər ˌɔltəˈgɛðər fɔls ˈɑrtɪkəlz? ðə pəˈlaɪt ˈvərʒən əv ə kˈwɛʃən hərd ɪn ˈvɛriəs fɔrmz ˈoʊvər ðə pæst ˈsɛvərəl wiks. ˈgugəl ˈteɪkɪŋ stɛps əˈgɛnst feɪk nuz ɔn ðə dɪˈspleɪ ˈnɛtˌwərk? ðeɪ æsk. waɪ ər saɪts ðət sprɛd ˌmɪsɪnfərˈmeɪʃən stɪl ˈeɪbəl tɪ ərn æd ˈrɛvəˌnu θru ˈpəblɪʃər ˈnɛtˌwərk? ðeɪ ˈwəndər. hərd ðiz kˈwɛsʧənz ˈoʊvər ənd ˈoʊvər əˈgɛn ˈrisəntli. ɪn ə ˈnətˌʃɛl, ðə ˈænsər kəmz daʊn tɪ sɪˈmæntɪks, ˈneɪmli ðə ˈdɪfərəns bɪtˈwin ““misrepresentation”*” ənd ““misinformation.”*.” jɛs, ˈgugəl ɪz æˈdrɛsɪŋ feɪk ˈpəblɪʃərz ðət ˌɪmˈpərsəˌneɪt ˈwɛlˈnoʊn nuz ˈaʊˌtlɛts ər meɪk əp ˈklɪkˌbeɪt ˈhɛˌdlaɪnz tɪ draɪv ˈjuzərz tɪ ˈɑrtɪkəlz ðət pʊʃ daɪət pɪlz ər ˈəðər ˈprɑdəkts. nɑt ˈlʊkɪŋ æt ˌmɪsɪnfərˈmeɪʃən, ˈhoʊksɪz ənd kənˈspɪrəsi ˈθɪriz. læst fɔl, ˈgugəl ərnd ə lɔt əv prɛs, ˌɪnˈkludɪŋ ɔn ðɪs saɪt, fər ˈəpˌdeɪtɪŋ ɪts content”*” ˈpɑləsi tɪ ɑˈstɛnsəbli eɪm æt feɪk news,”*,” ɛz ðə nu jɔrk taɪmz pʊt ɪt. ɪn ɪts moʊst ˈrisənt bæd ædz rɪˈpɔrt, ˈgugəl sɛd ɪt kɪkt aʊt 200 saɪts ənd ˈblæˌklɪstɪd 340 saɪts aʊt əv səm 2 ˈmɪljən ˈpəblɪʃərz frəm ðə ˈnɛtˌwərk fər vaɪəˈleɪʃənz ˌɪnˈkludɪŋ mɪsˌrɛprɪzɛnˈteɪʃən. ðɛr həz bɪn ə trɛnd tɪ ˈkæpətəˌlaɪz ɔn bɪˈkəz ˈpipəl ər ˈklɪkɪŋ. ˈgugəl kənˈtɪnjuz tɪ ˈprɑfɪt frəm ædz sərvd ɔn ˈhənərdz ɪf nɑt ˈθaʊzənz əv saɪts prəˈmoʊtɪŋ ˌprɑpəˈgændə, kənˈspɪrəsi ˈθɪriz, ˈhoʊksɪz ənd laɪz. səm ər ˈfɛrli ˈwɛlˈnoʊn ˈpəblɪʃərz; ˈəðərz pɑpt əp ˈdʊrɪŋ ðə ɪˈlɛkʃən ˈsaɪkəl ənd əˈpɪr tɪ ɪgˈzɪst ˈsoʊəli tɪ ərn ˈməni frəm ædz. wət ˈædvərˌtaɪzərz ʃʊd ˌəndərˈstænd əˈbaʊt wət content”*” ˈpɑləsi minz ənd min. ˌɛkspɛkˈteɪʃənz ˈvərsəz ˌriˈæləˌti ðə content”*” ˈpɑləsi steɪts: wɔnt tɪ bi mɪsˈlɛd baɪ ðə ˈkɑntɛnt ðeɪ ɪnˈgeɪʤ wɪθ ˈɔnˌlaɪn. fər ðɪs ˈrizən, ˈgugəl ædz meɪ nɑt bi pleɪst ɔn ˈpeɪʤɪz ðət mɪsˌrɛprəˈzɛnt, mɪˈsteɪt, ər kənˈsil ˌɪnˌfɔrˈmeɪʃən əˈbaʊt [ðə ˈpəblɪʃər], [ɪts] ˈkɑntɛnt ər ðə ˈpraɪˌmɛri ˈpərpəs əv [ðə] wɛb property.”*.” læst fɔl, ðə ˈʤɛnərəl ˌɪnˌtərprɪˈteɪʃən wɑz ðət, ɛz pɑrt əv ðɪs ˈəpˌdeɪt, ˈgugəl wʊd stɑp əˈlaʊɪŋ ædz tɪ bi sərvd əˈlɔŋˈsaɪd feɪk nuz ˈstɔriz (i.e*., ˌmɪsɪnfərˈmeɪʃən). ðət wɑz ˈlɑrʤli bɪˈkəz ˈgugəl ˈsteɪtɪd ɪn wən əv ðə ˈpɑləsi ɪgˈzæmpəlz ðət saɪts ðət wər prɪˈzɛntɪŋ feɪk nuz ˈɑrtɪkəlz ɛz real”*” wʊd bi ɪn vaɪəˈleɪʃən. ˈsæˌtaɪər wɑz seɪf, ˌmɪsɪnfərˈmeɪʃən wɑz nɑt, wɛnt ðə ˈθɪŋkɪŋ. bət nɑt wət ˈgugəl mɛnt. ənd, ɛz ˈmidiə ˈmætərz ˌriˈpɔrtəd ɪn ˈʤænjuˌɛri, ˈgugəl kˈwaɪətli riˈmuvd ɪts ˈrɛfərəns tɪ feɪk nuz (ˈəndərˌlaɪnd bɪˈloʊ) æt səm pɔɪnt ɪn leɪt dɪˈsɛmbər ər ˈərli ˈʤænjuˌɛri. ˈgugəl lɪsts səm ɪgˈzæmpəlz əv vaɪəˈleɪʃənz wɪθ ˈɛvəri ˈpɑləsi; ðiz ər nɑt ənd ər ˌɪnˈtɛndɪd tɪ hɛlp ˈpəblɪʃərz ˌəndərˈstænd ðə ˈspɪrɪt əv ðə ˈpɑləsi. ˈɔlsoʊ nɑt ənˈkɑmən fər ˈgugəl tɪ twik ˈpɑləsi ɪgˈzæmpəlz. ðɪs ɪz haʊ ðə ɪgˈzæmpəlz fər ðə ˈkɑntɛnt ˈpɑləsi naʊ rɛd: ðə pɑrt əˈbaʊt æˈdrɛsɪŋ news”*” kənfˈjuzd ðə ˈɪʃu ˈlidɪŋ ðə prɛs, ˈædvərˌtaɪzərz, ənd pərˈhæps ˈpəblɪʃərz tɪ θɪŋk ɪt wɑz goʊɪŋ ˈæftər feɪk nuz ˈkɑntɛnt soʊ ˈgugəl riˈmuvd ɪt. ˈæftər ˈgɪtɪŋ ɔl ðət ˈpɑzətɪv prɛs. tɪ bi klɪr, ðə ˈpɑləsi ˌɪtˈsɛlf ənd ɛnˈfɔrsmənt əv ɪt ʧeɪnʤ. wət ðə ˈpɑləsi ˈrɪli minz ˈmɑrkətɪŋ lænd həz kənˈfərmd wɪθ ˈgugəl ðət ðə ˈpɑləsi wɑz ˈnɛvər ˌɪnˈtɛndɪd tɪ ˈæˌdrɛs ˌɛdəˈtɔriəl vərˈæsɪti. ˈgugəl lʊk æt ˈwɛðər ən ˈɑrtɪkəl ɪz tru ər nɑt; ɪt lʊks æt ˈwɛðər ðə ˈpəblɪʃər ɪz mɪsˌrɛprəˈzɛnɪŋ ˌɪtˈsɛlf. ˈgugəl sɪz ðə ˌɪnˌfɔrˈmeɪʃən wɑz mɛnt tɪ ˈæˌdrɛs ðə ˌproʊlɪfərˈeɪʃən əv dɪˈsɛptɪv ˌɪnˌfɔrˈmeɪʃən ˈɔnˌlaɪn ənd nɑt tɪ gɪt ˈɪntu ˌɛdəˈtɔriəl dɪˈsɪʒənz əˈbaʊt fækts. ðə ˈkɑntɛnt ˈpɑləsi ənd ˈəðərz ər ˈpərpəsli dɪˈzaɪnd tɪ bi ˈnɛroʊ. ðɪs ɪz ɪn pɑrt bɪˈkəz ɪts æd ˈpɑləsiz nid tɪ bi dɪˈfɛnsəbəl ənd ɛnˈfɔrsmənt ˌɪnˈtɛnʃənəl. səm ɪgˈzæmpəlz teɪk tu əv ðə moʊst ˈwɛlˈnoʊn feɪk nuz ˈkeɪsɪz əv læst fɔl tɪ ˈbɛtər ˌəndərˈstænd haʊ ðɪs ˈpɑləsi ɪz əˈplaɪd: ˌmæsəˈdoʊniənz hu bɪlt saɪts fɪld wɪθ fɔls ˈɑrtɪkəlz tɪ reɪk ɪn ˈməni frəm ædz; ənd, ðə bɪˈzɑr feɪk ˈstɔri ˌɪnˈvɑlvɪŋ ðə ˈklɪntənz ðət prəˈlɪfərˌeɪtɪd əˈkrɔs fɑr saɪts ənd ˈkəlməˌneɪtɪd ɪn ə ˈriˌllaɪf ˈɪnsədənt. wʊd ðiz ˈvaɪəleɪt ðə ˈpɑləsi? jɛs: ðə ˌmæsəˈdoʊnjən saɪts ðət kənˈsild ˌɪnˌfɔrˈmeɪʃən əˈbaʊt hu ðə ˈpəblɪʃərz ˈrɪli wər wʊd fɔl ˈəndər ðɪs ˈpɑləsi. noʊ: ðə ˈstɔriz bi flægd ˈəndər ðə ˈpɑləsi ʤɪst fər biɪŋ meɪd əp. ðə ˈpɑləsi ˈhɪnʤɪz ɔn ðə ˈtæktɪks, nɑt ðə ˈkɑntɛnt ˌɪtˈsɛlf. ˈgugəl sɪz ðə ʧeɪnʤ prəˈvaɪdz ðə əˈbɪləˌti tɪ goʊ ˈæftər bæd saɪts ðət wər ˌɪmˈpərsəˌneɪtɪŋ ər priˈtɛndɪŋ tɪ bi əˈfɪliˌeɪtɪd wɪθ ˈnæʃənəl ənd ˈloʊkəl nuz ˈaʊˌtlɛts. ˈmɛni əv ðiz saɪts juz ə beɪt ənd swɪʧ tɪ lʊr ˈjuzərz ɪn wɪθ sɛnˌseɪʃənəˈlaɪzd ˈhɛˌdlaɪnz ðət lɛd tɪ ˈkɑntɛnt ˈæˌkʧuəli prəˈmoʊtɪŋ daɪət pɪlz ər səm ˈəðər ˈprɑdəkt. ɛz wɪθ ðə ˌmæsəˈdoʊnjən ɪgˈzæmpəl, ə nuz saɪt ðət ˈprɛzənts ˌɪtˈsɛlf ɛz ˈɔpərˌeɪtɪŋ aʊt əv nu jɔrk ˈsɪti bət ɪz ɪn fækt beɪst ɪn ˈjʊrəp wʊd bi ɪn vaɪəˈleɪʃən. ðɪs spɪˈsɪfɪk ˈpɑləsi həz noʊ ˈbɛrɪŋ ɔn ˈwɛðər ˈpəblɪʃərz noʊn tɪ hæv ɪkˈstrim baɪəs ənd ˈpəblɪʃ ˈhoʊksɪz, kənˈspɪrəsi ˈθɪriz, ˈoʊvərt ˌprɑpəˈgændə ər ˌmɪsɪnfərˈmeɪʃən kən ˈkɛri ənd sərvd ædz ɔn ðɛr ˈpeɪʤɪz., ɪn pɑrt, waɪ faɪnd ˈhənərdz əv ənd saɪts laɪk breitbart.com*, anncoulter.com*, clashdaily.com*, truthrevolt.org*, leftliberal.com*, liberalmountain.com*, liberalplug.com*, milo.yiannopoulos.net*, theproudliberal.og*, ənd ɔn dɪˈspleɪ ˈnɛtˌwərk. səm əv ðiz saɪts hæv bɪn əraʊnd fər jɪrz. ˈmɛni ˈəðərz, laɪk pɑpt əp ˈdʊrɪŋ ðə ɪˈlɛkʃən ˈsizən. ðə ˌrivˈju ˈprɔˌsɛs ɪn moʊst ˈkeɪsɪz, bæd ˈæktərz ˈprɛzənt saɪts ðət əˈdhɪr tɪ ðə ˈpɑləsiz ɪn ˈɔrdər tɪ ɪˈveɪd dɪˈtɛkʃən ənd ðɛn ˈpɪvət ˈæftər ðə saɪts hæv bɪn əˈpruvd. fər ðə mɪsˌrɛprɪzɛnˈteɪʃən ˈpɑləsi, ðɛr ɪz ə ˈjumən ˌrivˈju ˈprɔˌsɛs. timz ər ˈeɪdɪd baɪ tɛkˈnɑləʤi ðət lɛts rivˈjuərz du θɪŋz laɪk lʊk æt ən ɪnˈtaɪər doʊˈmeɪn, aɪˈdɛntəˌfaɪ rɪŋz əv saɪts ˈɑpərˌeɪtəd baɪ wən ˈoʊnər, ənd ɪˈvæljuˌeɪt ˈməltəpəl saɪts ˈjuzɪŋ ˈsɪmələr ˈtæktɪks. rɛd flægz ər ˈmænjuəli. du ðiz saɪts ˈvaɪəleɪt ˈəðər ˈpɑləsiz? ˈmɛni əv ˈθisiz saɪts ər əv ædz, frəm ˈgugəl ənd ˈəðər ˈnɛtˌwərks, ənd moʊst rɪˈlaɪ ˈhɛvəli ɔn ˈkɑntɛnt ˌrɛkəmənˈdeɪʃən ˈnɛtˌwərks. ˈkɑntɛnt ˌrɛkəmənˈdeɪʃən ædz du kaʊnt ɛz ædz ˈəndər ˈvæljəbəl ˈkɑntɛnt ˈpɑləsi ðət ˈkəvərz ˈreɪʃiˌoʊz. nɑt klɪr ɪf ˈgugəl ˈɔlsoʊ kaʊnts ædz frəm ˈəðər æd ˈnɛtˌwərks ˈəndər ðɪs ˈpɑləsi. wi hæv æst ənd wɪl ˈəpˌdeɪt hir wɪn wi hir bæk. ðə moʊst əv ðiz saɪts ər ˈjuʒəwəli ˈvɛri ˈklɛvər ənd ˈkɛrfəl nɑt tɪ ˈvaɪəleɪt heɪt spiʧ ˈpɑləsi ðət proʊˈhɪbəts ˈkɑntɛnt ðət ˈædvəˌkeɪts əˈgɛnst ən ˌɪndəˈvɪʤəwəl ər grup ər ˌɔrgənəˈzeɪʃən ˈɔfən ˈwɔkɪŋ raɪt əp tɪ ðə laɪn bɪtˈwin fri spiʧ ənd heɪt spiʧ. ˈgugəl sɪz ɪt kips ə kloʊz aɪ ɔn ˈmɛni əv ðiz saɪts. wɪθ ðə ʃɪr ˈvɑljum əv saɪts, ˈvɪdioʊz ənd ædz, ðə ˈkəmpəˌni ˈɔlsoʊ rɪˈlaɪz ɔn ˈjuzərz ənd ˈædvərˌtaɪzərz tɪ rɪˈpɔrt ˈpɑləsi vaɪəˈleɪʃənz. ðɪs ɪz tru əv ˈkɑntɛnt ɔn ˈjuˌtub wɛr ðə ˈvɑljum əv nu ˈkɑntɛnt biɪŋ ˈəˌploʊdɪd ˈɛvriˈdeɪ ɪz ˈmæsɪv. brænd ˈseɪfti kˈwɛsʧənz ðə ˈɑrgjəmənt ˈoʊvər ˈwɛðər ˈgugəl ʃʊd bi ən ˈɑrbɪtər əv ˈkɑntɛnt ɪz ˈɑbviəsli ə ˈθɔrni wən. pəˈlisɪŋ feɪk nuz ɪz fɑr frəm ˈizi, ɛz ˈdæni ˈsəlɪvən ˈkəvərd ɪn ˈgugəl maɪt nɑt bi ˈeɪbəl tɪ stɑp news.”*.” fər naʊ, ɪt ɪz ˈprɑfətɪŋ frəm ənd prəˈvaɪdɪŋ ə ˈrɛvəˌnu sɔrs fər ˈpəblɪʃərz əv ðɪs taɪp əv ˈkɑntɛnt. mɪsˌrɛprɪzɛnˈteɪʃən ˈpɑləsi ɪz eɪmd æt ˈskæmərz, nɑt ˌnɛsəˈsɛrəli ˈaɪdiəlɔgz ənd ˌɑpərˈtunɪsts hu ˈpɛdəl ˌprɑpəˈgændə fər æd klɪks. frəm ˈɪntəˌrɛst ˈtɑrgətɪŋ tɪ retargeting*, ðɛr ər ˈmɛni weɪz brændz ˈrənɪŋ kæmˈpeɪnz ɔn ðə ˈgugəl dɪˈspleɪ ˈnɛtˌwərk kən faɪnd ðɛr ædz ˈrənɪŋ ɔn saɪts wɪˈθaʊt ˈriəˌlaɪzɪŋ ɪt. fər mɔr, si ɑr kəmˈpænjən pis, ˈseɪfti: əˈvɔɪdɪŋ feɪk nuz ɔn ðə ˈgugəl dɪˈspleɪ network.”*.”
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a massive security flaw that could let hackers listen in on private calls and read text messages has been revealed.
the flaw, is in a global telecom network called signal system 7 that helps phone carriers across the world, including and verizon, route calls and texts.
the flaws, to be reported at a hacker conference in hamburg this month, are the latest in a string of major flaws in the system.
the flaws are in a system called, the global network that allows the world's cellular carriers to route calls, texts and other services to each other
how it works the flaws discovered by the german researchers are actually functions built into for other purposes such as keeping calls connected as users speed down highways, switching from cell tower to cell tower. however, hackers worked out a way to the features for surveillance because of the lax security on the network.
'experts say it's increasingly clear that, first designed in the 1980s, is riddled with serious vulnerabilities that undermine the privacy of the world's billions of cellular customers,' said the washington post, which first uncovered flaws in the system earlier this year.
the flaws discovered by the german researchers are actually functions built into for other purposes such as keeping calls connected as users speed down highways, switching from cell tower to cell tower.
however, hackers worked out a way to the features for surveillance because of the lax security on the network.
although the extent of the flaws has not yet been revealed, it is believed hackers can locate callers anywhere in the world, listen to calls as they happen or record hundreds of encrypted calls and texts at a time for later decryption.
'it's like you secure the front door of the house, but the back door is wide open,' tobias engel, one of the german researchers, told the post.
there also is potential to defraud users and cellular carriers by using functions, the researchers say.
the the american civil liberties union has even warned people against using their handset in light of the breaches.
'don't use the telephone service provided by the phone company for voice,' principle technologist christopher told gizmodo.
hackers worked out a way to the features networks use to connect calls for surveillance because of the lax security on the network.
the voice channel they offer is not secure.
'you can use facetime, which is built into any iphone, or signal, which you can download from the app store.
'these allow you to have secure communication on an insecure channel.'
he also believes that security agencies could be using the flaws.
'many of the big intelligence agencies probably have teams that do nothing but research and exploitation.
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ə ˈmæsɪv sɪˈkjʊrəti flɔ ðət kʊd lɛt ˈhækərz ˈlɪsən ɪn ɔn ˈpraɪvət kɔlz ənd rɛd tɛkst ˈmɛsɪʤɪz həz bɪn rɪˈvild. ðə flɔ, ɪz ɪn ə ˈgloʊbəl ˈtɛləkɑm ˈnɛtˌwərk kɔld ˈsɪgnəl ˈsɪstəm 7 ðət hɛlps foʊn ˈkɛriərz əˈkrɔs ðə wərld, ˌɪnˈkludɪŋ ənd ˌvɛˈraɪzən, rut kɔlz ənd tɛksts. ðə flɔz, tɪ bi ˌriˈpɔrtəd æt ə ˈhækər ˈkɑnfərəns ɪn ˈhæmbərg ðɪs mənθ, ər ðə ˈleɪtəst ɪn ə strɪŋ əv ˈmeɪʤər flɔz ɪn ðə ˈsɪstəm. ðə flɔz ər ɪn ə ˈsɪstəm kɔld ðə ˈgloʊbəl ˈnɛtˌwərk ðət əˈlaʊz ðə wərldz ˈsɛljələr ˈkɛriərz tɪ rut kɔlz, tɛksts ənd ˈəðər ˈsərvɪsɪz tɪ iʧ ˈəðər haʊ ɪt wərks ðə flɔz dɪˈskəvərd baɪ ðə ˈʤərmən ˈrisərʧərz ər ˈæˌkʧuəli ˈfəŋkʃənz bɪlt ˈɪntu fər ˈəðər ˈpərpəsɪz səʧ ɛz ˈkipɪŋ kɔlz kəˈnɛktɪd ɛz ˈjuzərz spid daʊn ˈhaɪˌweɪz, sˈwɪʧɪŋ frəm sɛl taʊər tɪ sɛl taʊər. ˌhaʊˈɛvər, ˈhækərz wərkt aʊt ə weɪ tɪ ðə ˈfiʧərz fər sərˈveɪləns bɪˈkəz əv ðə læks sɪˈkjʊrəti ɔn ðə ˈnɛtˌwərk. 'ˈɛkspərts seɪ ɪts ˌɪnˈkrisɪŋgli klɪr ðət fərst dɪˈzaɪnd ɪn ðə 1980s*, ɪz ˈrɪdəld wɪθ ˈsɪriəs ˌvəlnərəˈbɪlɪtiz ðət ˈəndərˌmaɪn ðə ˈpraɪvəsi əv ðə wərldz ˈbɪljənz əv ˈsɛljələr ˈkəstəmərz,' sɛd ðə ˈwɔʃɪŋtən poʊst, wɪʧ fərst ənˈkəvərd flɔz ɪn ðə ˈsɪstəm ˈərliər ðɪs jɪr. ðə flɔz dɪˈskəvərd baɪ ðə ˈʤərmən ˈrisərʧərz ər ˈæˌkʧuəli ˈfəŋkʃənz bɪlt ˈɪntu fər ˈəðər ˈpərpəsɪz səʧ ɛz ˈkipɪŋ kɔlz kəˈnɛktɪd ɛz ˈjuzərz spid daʊn ˈhaɪˌweɪz, sˈwɪʧɪŋ frəm sɛl taʊər tɪ sɛl taʊər. ˌhaʊˈɛvər, ˈhækərz wərkt aʊt ə weɪ tɪ ðə ˈfiʧərz fər sərˈveɪləns bɪˈkəz əv ðə læks sɪˈkjʊrəti ɔn ðə ˈnɛtˌwərk. ˌɔlˈðoʊ ðə ɪkˈstɛnt əv ðə flɔz həz nɑt jɛt bɪn rɪˈvild, ɪt ɪz bɪˈlivd ˈhækərz kən ˈloʊˌkeɪt ˈkɔlərz ˈɛniˌwɛr ɪn ðə wərld, ˈlɪsən tɪ kɔlz ɛz ðeɪ ˈhæpən ər ˈrɛkərd ˈhənərdz əv ɪnˈkrɪptɪd kɔlz ənd tɛksts æt ə taɪm fər ˈleɪtər decryption*. 'ɪts laɪk ju sɪˈkjʊr ðə frənt dɔr əv ðə haʊs, bət ðə bæk dɔr ɪz waɪd ˈoʊpən,' təˈbaɪəs ˈɛngəl, wən əv ðə ˈʤərmən ˈrisərʧərz, toʊld ðə poʊst. ðɛr ˈɔlsoʊ ɪz pəˈtɛnʃəl tɪ dɪˈfrɔd ˈjuzərz ənd ˈsɛljələr ˈkɛriərz baɪ ˈjuzɪŋ ˈfəŋkʃənz, ðə ˈrisərʧərz seɪ. ðə ðə əˈmɛrɪkən ˈsɪvəl ˈlɪbərˌtiz ˈjunjən həz ˈivɪn wɔrnd ˈpipəl əˈgɛnst ˈjuzɪŋ ðɛr ˈhændˌsɛt ɪn laɪt əv ðə ˈbriʧɪz. 'doʊnt juz ðə ˈtɛləˌfoʊn ˈsərvɪs prəˈvaɪdɪd baɪ ðə foʊn ˈkəmpəˌni fər vɔɪs,' ˈprɪnsəpəl ˌtɛkˈnɑləʤɪst ˈkrɪstəfər toʊld gizmodo*. ˈhækərz wərkt aʊt ə weɪ tɪ ðə ˈfiʧərz ˈnɛtˌwərks juz tɪ kəˈnɛkt kɔlz fər sərˈveɪləns bɪˈkəz əv ðə læks sɪˈkjʊrəti ɔn ðə ˈnɛtˌwərk. ðə vɔɪs ˈʧænəl ðeɪ ˈɔfər ɪz nɑt sɪˈkjʊr. 'ju kən juz facetime*, wɪʧ ɪz bɪlt ˈɪntu ˈɛni ˈaɪˌfoʊn, ər ˈsɪgnəl, wɪʧ ju kən ˈdaʊnˌloʊd frəm ðə æp stɔr. 'ðiz əˈlaʊ ju tɪ hæv sɪˈkjʊr kəmˌjunəˈkeɪʃən ɔn ən ˈɪnsəkjər ˈʧænəl.' hi ˈɔlsoʊ bɪˈlivz ðət sɪˈkjʊrəti ˈeɪʤənsiz kʊd bi ˈjuzɪŋ ðə flɔz. 'ˈmɛni əv ðə bɪg ˌɪnˈtɛləʤəns ˈeɪʤənsiz ˈprɑbəˌbli hæv timz ðət du ˈnəθɪŋ bət ˈrisərʧ ənd ˌɛkˌsplɔɪˈteɪʃən.
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4k video recording is appearing on many new digital cameras these days, but it appears panasonic is itching to take the industry to the next level. a new report says the company is planning to launch a new camera during its fiscal year 2016 (a period that ends march 2017). this would likely be the first-capable camera.
the news was published by the japanese publication, which says the camera will be able to recording at 30 frames per second and at 60 frames per second. photographers will also reportedly be able to obtain still photographs by extracting single frames from the footage.
if this report turns out to be true, then it seems likely that the camera may be a unveiled at 2016 this september in cologne, germany. not much else is known about this upcoming camera, so just have to wait and see what develops. stay tuned.
(via via via 43 rumors)
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4k* ˈvɪdioʊ rɪˈkɔrdɪŋ ɪz əˈpɪrɪŋ ɔn ˈmɛni nu ˈdɪʤɪtəl ˈkæmərəz ðiz deɪz, bət ɪt əˈpɪrz ˌpænəˈsɑnɪk ɪz ˈɪʧɪŋ tɪ teɪk ðə ˈɪndəstri tɪ ðə nɛkst ˈlɛvəl. ə nu rɪˈpɔrt sɪz ðə ˈkəmpəˌni ɪz ˈplænɪŋ tɪ lɔnʧ ə nu ˈkæmərə ˈdʊrɪŋ ɪts ˈfɪskəl jɪr 2016 (ə ˈpɪriəd ðət ɛndz mɑrʧ 2017 ðɪs wʊd ˈlaɪkli bi ðə fərst ˈkæmərə. ðə nuz wɑz ˈpəblɪʃt baɪ ðə ˌʤæpəˈniz ˌpəblɪˈkeɪʃən, wɪʧ sɪz ðə ˈkæmərə wɪl bi ˈeɪbəl tɪ rɪˈkɔrdɪŋ æt 30 freɪmz pər ˈsɛkənd ənd æt 60 freɪmz pər ˈsɛkənd. fəˈtɑgrəfərz wɪl ˈɔlsoʊ rɪˈpɔrtədli bi ˈeɪbəl tɪ əbˈteɪn stɪl ˈfoʊtəˌgræfs baɪ ɛkˈstræktɪŋ ˈsɪŋgəl freɪmz frəm ðə ˈfʊtɪʤ. ɪf ðɪs rɪˈpɔrt tərnz aʊt tɪ bi tru, ðɛn ɪt simz ˈlaɪkli ðət ðə ˈkæmərə meɪ bi ə ənˈveɪld æt 2016 ðɪs sɛpˈtɛmbər ɪn kəˈloʊn, ˈʤərməni. nɑt məʧ ɛls ɪz noʊn əˈbaʊt ðɪs ˈəpˌkəmɪŋ ˈkæmərə, soʊ ʤɪst hæv tɪ weɪt ənd si wət dɪˈvɛləps. steɪ tund. (ˈviə ˈviə ˈviə 43 ˈrumərz)
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although not traditionally on many list of most feared animals, one persistent otter made a brave attempt to change all that yesterday in a co clare town.
the battle between the otter and the town of began at approximately when joe burke a farmer from nearby entered littleton animal feeds.
“i turned to mike hogan [owner of the store] and just said: ‘is that an otter outside?’”
the two men left the shop to discover that an otter was indeed making its way down the street.
“it turned into a courtyard and we decided to trap it. we had three pallets for with us so we blocked off the exit,” said mr burke.
the otter soon became aggressive as a large crowd gathered around.
“people were afraid to go near it they were intimidated by him. there was a bag lying there and it had gotten its head into it and some people were saying he would choke so i decided have to do something,” said mr burke
using a thick bag made to hold animal feed, he eventually captured the otter, which he described as “quite vicious” before putting it into the back of his suv to release it in a nearby lake.
however, not content to be defeated, the otter chewed through the bag, initiating round two.
“there was a small window broken in the back and he jumped out. now he was out in the open country,” mr burke added. “he had the upper hand on us. he was well able to duck us.”
after a prolonged chase, the two men eventually threw a traffic cone over the animal.
“he was very strong and was trying to escape so i had to stand on the cone and mike got a board and slipped it underneath. there was an air hole at the top so he was okay.”
when they arrived at the lake, almost an hour into the rescue, mr burke and mr hogan could have been forgiven for thinking their task was complete.
unfortunately, the exhausted otter needed help one more time as he quickly sank with exhaustion when freed into the water. “we stayed with him there for another 15 minutes and then released him again,” said mr burke.
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ˌɔlˈðoʊ nɑt trəˈdɪʃənəli ɔn ˈmɛni lɪst əv moʊst fɪrd ˈænəməlz, wən pərˈsɪstənt ˈɑtər meɪd ə breɪv əˈtɛmpt tɪ ʧeɪnʤ ɔl ðət ˈjɛstərˌdeɪ ɪn ə koʊ klɛr taʊn. ðə ˈbætəl bɪtˈwin ðə ˈɑtər ənd ðə taʊn əv bɪˈgæn æt əˈprɑksəmətli wɪn ʤoʊ bərk ə ˈfɑrmər frəm ˈnɪrˈbaɪ ˈɛnərd ˈlɪtəltən ˈænəməl fidz. tərnd tɪ maɪk ˈhoʊˌgɑn [ˈoʊnər əv ðə stɔr] ənd ʤɪst sɛd: ðət ən ˈɑtər outside?’”*?’” ðə tu mɛn lɛft ðə ʃɑp tɪ dɪˈskəvər ðət ən ˈɑtər wɑz ˌɪnˈdid ˈmeɪkɪŋ ɪts weɪ daʊn ðə strit. tərnd ˈɪntu ə ˈkɔrˌtjɑrd ənd wi ˌdɪˈsaɪdɪd tɪ træp ɪt. wi hæd θri ˈpæləts fər wɪθ ˈjuˈɛs soʊ wi blɑkt ɔf ðə exit,”*,” sɛd ˈmɪstər bərk. ðə ˈɑtər sun bɪˈkeɪm əˈgrɛsɪv ɛz ə lɑrʤ kraʊd ˈgæðərd əraʊnd. wər əˈfreɪd tɪ goʊ nɪr ɪt ðeɪ wər ˌɪnˈtɪmɪˌdeɪtɪd baɪ ɪm. ðɛr wɑz ə bæg laɪɪŋ ðɛr ənd ɪt hæd ˈgɔtən ɪts hɛd ˈɪntu ɪt ənd səm ˈpipəl wər seɪɪŋ hi wʊd ʧoʊk soʊ aɪ ˌdɪˈsaɪdɪd hæv tɪ du something,”*,” sɛd ˈmɪstər bərk ˈjuzɪŋ ə θɪk bæg meɪd tɪ hoʊld ˈænəməl fid, hi ɪˈvɛnʧəwəli ˈkæpʧərd ðə ˈɑtər, wɪʧ hi dɪˈskraɪbd ɛz vicious”*” ˌbiˈfɔr ˈpʊtɪŋ ɪt ˈɪntu ðə bæk əv hɪz ˌɛsˌjuˈvi tɪ riˈlis ɪt ɪn ə ˈnɪrˈbaɪ leɪk. ˌhaʊˈɛvər, nɑt ˈkɑntɛnt tɪ bi dɪˈfitɪd, ðə ˈɑtər ʧud θru ðə bæg, ˌɪˈnɪʃiˌeɪtɪŋ raʊnd tu. wɑz ə smɔl ˈwɪndoʊ ˈbroʊkən ɪn ðə bæk ənd hi ʤəmpt aʊt. naʊ hi wɑz aʊt ɪn ðə ˈoʊpən country,”*,” ˈmɪstər bərk ˈædɪd. hæd ðə ˈəpər hænd ɔn ˈjuˈɛs. hi wɑz wɛl ˈeɪbəl tɪ dək us.”*.” ˈæftər ə prəˈlɔŋd ʧeɪs, ðə tu mɛn ɪˈvɛnʧəwəli θru ə ˈtræfɪk koʊn ˈoʊvər ðə ˈænəməl. wɑz ˈvɛri strɔŋ ənd wɑz traɪɪŋ tɪ ɪˈskeɪp soʊ aɪ hæd tɪ stænd ɔn ðə koʊn ənd maɪk gɑt ə bɔrd ənd slɪpt ɪt ˌəndərˈniθ. ðɛr wɑz ən ɛr hoʊl æt ðə tɔp soʊ hi wɑz okay.”*.” wɪn ðeɪ əraɪvd æt ðə leɪk, ˈɔlˌmoʊst ən aʊər ˈɪntu ðə ˈrɛskju, ˈmɪstər bərk ənd ˈmɪstər ˈhoʊˌgɑn kʊd hæv bɪn fərˈgɪvən fər ˈθɪŋkɪŋ ðɛr tæsk wɑz kəmˈplit. ənˈfɔrʧənətli, ðə ɪgˈzɔstɪd ˈɑtər ˈnidɪd hɛlp wən mɔr taɪm ɛz hi kˈwɪkli sæŋk wɪθ ɪgˈzɔsʧən wɪn frid ˈɪntu ðə ˈwɔtər. steɪd wɪθ ɪm ðɛr fər əˈnəðər 15 ˈmɪnəts ənd ðɛn riˈlist ɪm again,”*,” sɛd ˈmɪstər bərk.
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wistfully watching my dream collection go to auction
photography by for
paris-based auction house will hold its fourth annual sale this friday, followed on saturday by an auction dedicated to some very special alfa romeos. i frequently browse’s catalogues and results, but a friendship forged years ago on a winter night in italy gives me a personal reason to focus a keen eye on this sale.
in the fall of 2010, i was browsing the alfa romeo bulletin board (one of my daily rituals) when i came upon a post telling of a large collection of for sale in italy. the post was short on thus long on i contacted the author of the post who turned out to be a based in florida get any shadier, right?). after explaining to the that fluent in italian and that i was already planning on being in italy in a couple of months, he agreed to put me directly in touch with the seller.
my wife, kika, and i flew to milan that december as we always do for the christmas holidays, and i waste much time before getting on the phone with francesco, the owner. a few days later, kika and i were on a train heading south to a seaside town where collection was located. francesco met us at the train station and, seeing the two weary travelers, decided that cars could wait.
“have you eaten lunch yet?” he asked.
before we could even respond, we found ourselves riding in black headed to a restaurant. for a man in his very late 60s, francesco had a ton of energy and not much regard for traffic regulations. we arrived at our lunch spot, a charming restaurant run by a local fisherman, friendly with francesco. as it turned out, francesco was friends with every second person we encountered: the man was obviously well-known and around town, and kika and i, as his guests, were welcomed into town like old friends.
fast cars and slow meals are quintessentially italian, and we spent the good part of the afternoon eating too much and drinking just the right amount. we could have happily spent all afternoon at the lazy spot if we been so curious to see what automotive treasures he had in store for us.
after a quick stop at our hotel (which francesco, overlooking nothing, had arranged), we headed for his warehouse. as we pulled up to the building i realized that it was, in fact, a hangar.
my jaw dropped as we walked inside. arrayed in front of me were about twenty-five pristine alfa romeos, mostly rare, highly desirable one of the most impressive alfa collections ever seen. a pair of junior race cars sat next to their siblings; a red mille 1957 sprint lightweight kept company with a 1960 sz. there were ferraris too and not just any ferraris but two of michele cars! and a 2009 alfa spider offered a modern contrast to the centerpiece, a red 1965 tz. dozens of other—including numerous gtvs, early berlinas, supers, and rare out the space. the condition of these cars fell into just two categories: perfectly preserved original condition or expertly restored. this room alone was worth our trip.
imagine my surprise, then, to learn that as cavernous as this room was, it was only half of the building. francesco led us through a small door in the rear and we entered yet another room full of, an additional forty or fifty in all. this was clearly the rehabilitation clinic: many works-in-progress, including a ti super, several duettos, a montreal, and even a humble sat in various stages of restoration. overseeing the work was personal mechanic, giordano, who had been with francesco since he began his collection.
francesco, we learned, had sold his company in the and in had set about assembling his collection of and ferraris. never married and without children, his cars were his life and it was impossible not to share in his bountiful enthusiasm as he talked of his love for building and restoring this collection.
“why and ferraris?” i asked him, always wanting to hear what sparks an passion for a certain marque. the question seemed to puzzle him.
“what else is there?” francesco replied, as if i had asked why he chose to breathe oxygen.
he then thought for a moment and said, “no other car sounds like an alfa, and alfa romeo is the mother of ferrari. if enzo had his racing success with alfa, who knows what might never have happened?”
we wandered about the shop for a long while, snooping in corners, snapping photos, and chatting with francesco and giordano. we could have happily remained amidst this family of for several more hours, lingering over their every detail, but the december sun was quickly setting outside and i worried that we might be our welcome. our tour, however, was just getting started.
“are you ready for the next stop on the tour?” asked francesco.
“you mean more?” i asked.
whatever else awaited us, i imagine it being more impressive than that hangar full of. francesco bundled us into his car and we sped off into the darkness, giordano and his assistant, following in a second car. after winding our way through the dark italian countryside for twenty minutes we pulled up in front of an old farmhouse and barn.
“where the hell are we?” i wondered to myself as we piled out of the car. i worried that i would soon find myself feigning interest in a collection of antique tractors and plows. francesco never lacks for surprises, however, and this stop was no exception.
with some effort, francesco and giordano parted the rickety barn doors to expose two gleaming industrial steel doors painted bright red. clearly, this was no ordinary cow shed. as francesco slid the steel doors open and flipped on the interior lights, we found ourselves standing in a clean room worthy of intel. with an system humming in the background and walls covered in electrostatic fabric, the room felt like a lair.
in the first room, parked on the glossy white floor, were each of supercars: an enzo, an, an, a 288 gto, and a 512 bb. next to this row sat a 360 challenge stradale, a 575 super america, a daytona, a 330 gtc, and even an alfa romeo that had evidently sneaked over from the alfa hangar. this place took the notion of “barn finds” into entirely new territory.
over the next several months, francesco and i became good friends and i eventually convinced him to part with two of his cars: a junior race car and a 1960 sz, both of which i shipped back to california. sometime later, after much pleading and cajoling on my part, francesco relented and sold me his 1957 sprint lightweight that i keep in italy.
since that first visit in 2010, we have visited francesco each time we are in italy, always talking cars but also nurturing a friendship that goes beyond the garage. even after knowing francesco for several years, though, the man still surprises me. now in his early 70s, francesco rang me one day in 2013 to announce that he was now engaged to a 27 and, more, that he and his fiance were expecting their first child. a stable of prancing horses, it seems, is the key to eternal youth.
francesco had planned to turn his collection into a museum and give the public a chance to share his passion for and ferraris, but a lack of suitable locations and the recent changes in his home life finally led him sell most of the cars. a single buyer purchased the majority of the lot and, just like that, barn and hangar were left with about a dozen on land that will soon be turned into a commercial development.
francesco had hoped to sell his cars to individuals as crazy as himself, and though a couple buyers like myself did pick up a few of his, it makes me feel a little uneasy knowing that a flipper bought the bulk of the collection. i guess i should take heart in the fact that they will ultimately go to true alfisti.
as i watch those and ferraris cross the block in paris this weekend, i will be thinking back fondly on that stunning assembly of cars in the italian countryside. in restoring and preserving his cars, francesco accepted nothing less than excellence. i know that the lucky individuals with the winning bids this weekend will also appreciate the cars’ former caretaker for his uncompromising standards.
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ˈwɪstfəli ˈwɑʧɪŋ maɪ drim kəˈlɛkʃən goʊ tɪ ˈɔkʃən fəˈtɑgrəfi baɪ fər ˈɔkʃən haʊs wɪl hoʊld ɪts fɔrθ ˈænjuəl seɪl ðɪs ˈfraɪˌdeɪ, ˈfɑloʊd ɔn ˈsæˌtɪˌdeɪ baɪ ən ˈɔkʃən ˈdɛdəkeɪtəd tɪ səm ˈvɛri ˈspɛʃəl ˈælfə ˈroʊmiˌoʊz. aɪ ˈfrikwɛntli braʊz ˈkætəˌlɔgz ənd rɪˈzəlts, bət ə ˈfrɛndʃɪp fɔrʤd jɪrz əˈgoʊ ɔn ə ˈwɪntər naɪt ɪn ˈɪtəli gɪvz mi ə ˈpərsɪnəl ˈrizən tɪ ˈfoʊkɪs ə kin aɪ ɔn ðɪs seɪl. ɪn ðə fɔl əv 2010 aɪ wɑz ˈbraʊzɪŋ ðə ˈælfə ˈroʊmiˌoʊ ˈbʊlɪtən bɔrd (wən əv maɪ ˈdeɪli ˈrɪʧuəlz) wɪn aɪ keɪm əˈpɑn ə poʊst ˈtɛlɪŋ əv ə lɑrʤ kəˈlɛkʃən əv fər seɪl ɪn ˈɪtəli. ðə poʊst wɑz ʃɔrt ɔn ðəs lɔŋ ɔn aɪ ˈkɑnˌtæktɪd ðə ˈɔθər əv ðə poʊst hu tərnd aʊt tɪ bi ə beɪst ɪn ˈflɔrɪdə gɪt ˈɛni shadier*, raɪt?). ˈæftər ɪkˈspleɪnɪŋ tɪ ðə ðət fluənt ɪn ˌɪˈtæljən ənd ðət aɪ wɑz ɔˈrɛdi ˈplænɪŋ ɔn biɪŋ ɪn ˈɪtəli ɪn ə ˈkəpəl əv mənθs, hi əˈgrid tɪ pʊt mi dɪˈrɛkli ɪn təʧ wɪθ ðə ˈsɛlər. maɪ waɪf, ˈkɪkə, ənd aɪ flu tɪ ˈmaɪˌlæn ðət dɪˈsɛmbər ɛz wi ˈɔlˌweɪz du fər ðə ˈkrɪsməs ˈhɑləˌdeɪz, ənd aɪ weɪst məʧ taɪm ˌbiˈfɔr ˈgɪtɪŋ ɔn ðə foʊn wɪθ frænˈʧɛskoʊ, ðə ˈoʊnər. ə fju deɪz ˈleɪtər, ˈkɪkə ənd aɪ wər ɔn ə treɪn ˈhɛdɪŋ saʊθ tɪ ə ˈsiˌsaɪd taʊn wɛr kəˈlɛkʃən wɑz ˈloʊˌkeɪtəd. frænˈʧɛskoʊ mɛt ˈjuˈɛs æt ðə treɪn ˈsteɪʃən ənd, siɪŋ ðə tu ˈwɪri ˈtrævələrz, ˌdɪˈsaɪdɪd ðət kɑz kʊd weɪt. ju ˈitən lənʧ yet?”*?” hi æst. ˌbiˈfɔr wi kʊd ˈivɪn rɪˈspɑnd, wi faʊnd ɑrˈsɛlvz ˈraɪdɪŋ ɪn blæk ˈhɛdɪd tɪ ə ˈrɛˌstrɑnt. fər ə mæn ɪn hɪz ˈvɛri leɪt 60s*, frænˈʧɛskoʊ hæd ə tən əv ˈɛnərʤi ənd nɑt məʧ rɪˈgɑrd fər ˈtræfɪk ˌrɛgjəˈleɪʃənz. wi əraɪvd æt ɑr lənʧ spɑt, ə ˈʧɑrmɪŋ ˈrɛˌstrɑnt rən baɪ ə ˈloʊkəl ˈfɪʃərˌmæn, ˈfrɛndli wɪθ frænˈʧɛskoʊ. ɛz ɪt tərnd aʊt, frænˈʧɛskoʊ wɑz frɛndz wɪθ ˈɛvəri ˈsɛkənd ˈpərsən wi ɪnˈkaʊnərd: ðə mæn wɑz ˈɑbviəsli ˈwɛlˈnoʊn ənd əraʊnd taʊn, ənd ˈkɪkə ənd aɪ, ɛz hɪz gɛsts, wər ˈwɛlkəmd ˈɪntu taʊn laɪk oʊld frɛndz. fæst kɑz ənd sloʊ milz ər kˌwɪntəˈsɛnʃəli ˌɪˈtæljən, ənd wi spɛnt ðə gʊd pɑrt əv ðə ˌæftərˈnun ˈitɪŋ tu məʧ ənd ˈdrɪŋkɪŋ ʤɪst ðə raɪt əˈmaʊnt. wi kʊd hæv ˈhæpəli spɛnt ɔl ˌæftərˈnun æt ðə ˈleɪzi spɑt ɪf wi bɪn soʊ ˈkjʊriəs tɪ si wət ˌɔtəˈmoʊtɪv ˈtrɛʒərz hi hæd ɪn stɔr fər ˈjuˈɛs. ˈæftər ə kwɪk stɑp æt ɑr hoʊˈtɛl (wɪʧ frænˈʧɛskoʊ, ˈoʊvərˌlʊkɪŋ ˈnəθɪŋ, hæd əreɪnʤd), wi ˈhɛdɪd fər hɪz ˈwɛˌrhaʊs. ɛz wi pʊld əp tɪ ðə ˈbɪldɪŋ aɪ ˈriəˌlaɪzd ðət ɪt wɑz, ɪn fækt, ə ˈhæŋər. maɪ ʤɔ drɑpt ɛz wi wɔkt ˌɪnˈsaɪd. əreɪd ɪn frənt əv mi wər əˈbaʊt tˈwɛntiˌfaɪv ˈprɪstin ˈælfə ˈroʊmiˌoʊz, ˈmoʊstli rɛr, ˈhaɪli dɪˈzaɪərəbəl wən əv ðə moʊst ˌɪmˈprɛsɪv ˈælfə kəˈlɛkʃənz ˈɛvər sin. ə pɛr əv ˈʤunjər reɪs kɑz sæt nɛkst tɪ ðɛr ˈsɪblɪŋz; ə rɛd mɪl 1957 sprɪnt ˈlaɪtˈweɪt kɛpt ˈkəmpəˌni wɪθ ə 1960 sz*. ðɛr wər fərˈɑrɪs tu ənd nɑt ʤɪst ˈɛni fərˈɑrɪs bət tu əv mɪˈʃɛl kɑz! ənd ə 2009 ˈælfə ˈspaɪdər ˈɔfərd ə ˈmɑdərn ˈkɑntræst tɪ ðə ˈsɛntərˌpis, ə rɛd 1965 tz*. ˈdəzənz əv ˈəðər ˈnumərəs gtvs*, ˈərli berlinas*, ˈsupərz, ənd rɛr aʊt ðə speɪs. ðə kənˈdɪʃən əv ðiz kɑz fɛl ˈɪntu ʤɪst tu ˈkætəˌgɔriz: ˈpərfəktli prɪˈzərvd ərˈɪʤənəl kənˈdɪʃən ər ˈɛkspərtli rɪˈstɔrd. ðɪs rum əˈloʊn wɑz wərθ ɑr trɪp. ˌɪˈmæʤən maɪ səˈpraɪz, ðɛn, tɪ lərn ðət ɛz ˈkævərnəs ɛz ðɪs rum wɑz, ɪt wɑz ˈoʊnli hæf əv ðə ˈbɪldɪŋ. frænˈʧɛskoʊ lɛd ˈjuˈɛs θru ə smɔl dɔr ɪn ðə rɪr ənd wi ˈɛnərd jɛt əˈnəðər rum fʊl əv, ən əˈdɪʃənəl ˈfɔrti ər ˈfɪfti ɪn ɔl. ðɪs wɑz ˈklɪrli ðə ˌriəˌbɪləˈteɪʃən ˈklɪnɪk: ˈmɛni works-in-progress*, ˌɪnˈkludɪŋ ə ti ˈsupər, ˈsɛvərəl duettos*, ə ˌməntriˈɔl, ənd ˈivɪn ə ˈhəmbəl sæt ɪn ˈvɛriəs ˈsteɪʤɪz əv ˌrɛstərˈeɪʃən. ˈoʊvərˌsiɪŋ ðə wərk wɑz ˈpərsɪnəl mɪˈkænɪk, ʤɔrˈdɑnoʊ, hu hæd bɪn wɪθ frænˈʧɛskoʊ sɪns hi bɪˈgæn hɪz kəˈlɛkʃən. frænˈʧɛskoʊ, wi ˈlərnɪd, hæd soʊld hɪz ˈkəmpəˌni ɪn ðə ənd ɪn hæd sɛt əˈbaʊt əˈsɛmbəlɪŋ hɪz kəˈlɛkʃən əv ənd fərˈɑrɪs. ˈnɛvər ˈmɛrid ənd wɪˈθaʊt ˈʧɪldrən, hɪz kɑz wər hɪz laɪf ənd ɪt wɑz ˌɪmˈpɑsəbəl nɑt tɪ ʃɛr ɪn hɪz ˈbaʊnɪfəl ɪnˈθuziˌæzəm ɛz hi tɔkt əv hɪz ləv fər ˈbɪldɪŋ ənd rɪˈstɔrɪŋ ðɪs kəˈlɛkʃən. ənd ferraris?”*?” aɪ æst ɪm, ˈɔlˌweɪz ˈwɑnɪŋ tɪ hir wət spɑrks ən ˈpæʃən fər ə ˈsərtən mɑrk. ðə kˈwɛʃən simd tɪ ˈpəzəl ɪm. ɛls ɪz there?”*?” frænˈʧɛskoʊ rɪˈplaɪd, ɛz ɪf aɪ hæd æst waɪ hi ʧoʊz tɪ brið ˈɑksɪʤən. hi ðɛn θɔt fər ə ˈmoʊmənt ənd sɛd, ˈəðər kɑr saʊnz laɪk ən ˈælfə, ənd ˈælfə ˈroʊmiˌoʊ ɪz ðə ˈməðər əv fərˈɑri. ɪf ˈɛnzoʊ hæd hɪz ˈreɪsɪŋ səkˈsɛs wɪθ ˈælfə, hu noʊz wət maɪt ˈnɛvər hæv happened?”*?” wi ˈwɑndərd əˈbaʊt ðə ʃɑp fər ə lɔŋ waɪl, sˈnupɪŋ ɪn ˈkɔrnərz, sˈnæpɪŋ ˈfoʊˌtoʊz, ənd ˈʧætɪŋ wɪθ frænˈʧɛskoʊ ənd ʤɔrˈdɑnoʊ. wi kʊd hæv ˈhæpəli rɪˈmeɪnd əˈmɪdst ðɪs ˈfæməli əv fər ˈsɛvərəl mɔr aʊərz, ˈlɪŋgərɪŋ ˈoʊvər ðɛr ˈɛvəri ˈditeɪl, bət ðə dɪˈsɛmbər sən wɑz kˈwɪkli ˈsɛtɪŋ ˈaʊtˈsaɪd ənd aɪ ˈwərid ðət wi maɪt bi ɑr ˈwɛlkəm. ɑr tʊr, ˌhaʊˈɛvər, wɑz ʤɪst ˈgɪtɪŋ ˈstɑrtɪd. ju ˈrɛdi fər ðə nɛkst stɑp ɔn ðə tour?”*?” æst frænˈʧɛskoʊ. min more?”*?” aɪ æst. ˌwəˈtɛvər ɛls əˈweɪtɪd ˈjuˈɛs, aɪ ˌɪˈmæʤən ɪt biɪŋ mɔr ˌɪmˈprɛsɪv ðən ðət ˈhæŋər fʊl əv. frænˈʧɛskoʊ ˈbəndəld ˈjuˈɛs ˈɪntu hɪz kɑr ənd wi spɛd ɔf ˈɪntu ðə ˈdɑrknəs, ʤɔrˈdɑnoʊ ənd hɪz əˈsɪstənt, ˈfɑloʊɪŋ ɪn ə ˈsɛkənd kɑr. ˈæftər ˈwaɪndɪŋ ɑr weɪ θru ðə dɑrk ˌɪˈtæljən ˈkəntriˌsaɪd fər tˈwɛnti ˈmɪnəts wi pʊld əp ɪn frənt əv ən oʊld ˈfɑrmˌhaʊs ənd bɑrn. ðə hɛl ər we?”*?” aɪ ˈwəndərd tɪ ˌmaɪˈsɛlf ɛz wi paɪld aʊt əv ðə kɑr. aɪ ˈwərid ðət aɪ wʊd sun faɪnd ˌmaɪˈsɛlf ˈfeɪnɪŋ ˈɪntəˌrɛst ɪn ə kəˈlɛkʃən əv ænˈtik ˈtræktərz ənd plaʊz. frænˈʧɛskoʊ ˈnɛvər læks fər səˈpraɪzɪz, ˌhaʊˈɛvər, ənd ðɪs stɑp wɑz noʊ ɪkˈsɛpʃən. wɪθ səm ˈɛfərt, frænˈʧɛskoʊ ənd ʤɔrˈdɑnoʊ ˈpɑrtɪd ðə ˈrɪkəti bɑrn dɔrz tɪ ɪkˈspoʊz tu ˈglimɪŋ ˌɪnˈdəstriəl stil dɔrz ˈpeɪnɪd braɪt rɛd. ˈklɪrli, ðɪs wɑz noʊ ˈɔrdəˌnɛri kaʊ ʃɛd. ɛz frænˈʧɛskoʊ slɪd ðə stil dɔrz ˈoʊpən ənd flɪpt ɔn ðə ˌɪnˈtɪriər laɪts, wi faʊnd ɑrˈsɛlvz ˈstændɪŋ ɪn ə klin rum ˈwərði əv ˌɪnˈtɛl. wɪθ ən ˈsɪstəm ˈhəmɪŋ ɪn ðə ˈbækˌgraʊnd ənd wɔlz ˈkəvərd ɪn ˌɪˌlɛktroʊˈstætɪk ˈfæbrɪk, ðə rum fɛlt laɪk ə lɛr. ɪn ðə fərst rum, pɑrkt ɔn ðə ˈglɔsi waɪt flɔr, wər iʧ əv supercars*: ən ˈɛnzoʊ, ən ən ə 288 gto*, ənd ə 512 bb*. nɛkst tɪ ðɪs roʊ sæt ə 360 ˈʧælənʤ stradale*, ə 575 ˈsupər əˈmɛrɪkə, ə deɪˈtoʊnə, ə 330 gtc*, ənd ˈivɪn ən ˈælfə ˈroʊmiˌoʊ ðət hæd ˈɛvədəntli snikt ˈoʊvər frəm ðə ˈælfə ˈhæŋər. ðɪs pleɪs tʊk ðə ˈnoʊʃən əv finds”*” ˈɪntu ɪnˈtaɪərli nu ˈtɛrɪˌtɔri. ˈoʊvər ðə nɛkst ˈsɛvərəl mənθs, frænˈʧɛskoʊ ənd aɪ bɪˈkeɪm gʊd frɛndz ənd aɪ ɪˈvɛnʧəwəli kənˈvɪnst ɪm tɪ pɑrt wɪθ tu əv hɪz kɑz: ə ˈʤunjər reɪs kɑr ənd ə 1960 sz*, boʊθ əv wɪʧ aɪ ʃɪpt bæk tɪ ˌkæləˈfɔrnjə. ˈsəmˌtaɪm ˈleɪtər, ˈæftər məʧ ˈplidɪŋ ənd kəˈʤoʊlɪŋ ɔn maɪ pɑrt, frænˈʧɛskoʊ rɪˈlɛntɪd ənd soʊld mi hɪz 1957 sprɪnt ˈlaɪtˈweɪt ðət aɪ kip ɪn ˈɪtəli. sɪns ðət fərst ˈvɪzɪt ɪn 2010 wi hæv ˈvɪzɪtɪd frænˈʧɛskoʊ iʧ taɪm wi ər ɪn ˈɪtəli, ˈɔlˌweɪz ˈtɔkɪŋ kɑz bət ˈɔlsoʊ ˈnərʧərɪŋ ə ˈfrɛndʃɪp ðət goʊz bɪɔnd ðə gərɑʒ. ˈivɪn ˈæftər noʊɪŋ frænˈʧɛskoʊ fər ˈsɛvərəl jɪrz, ðoʊ, ðə mæn stɪl səˈpraɪzɪz mi. naʊ ɪn hɪz ˈərli 70s*, frænˈʧɛskoʊ ræŋ mi wən deɪ ɪn 2013 tɪ əˈnaʊns ðət hi wɑz naʊ ɪnˈgeɪʤd tɪ ə 27 ənd, mɔr, ðət hi ənd hɪz ˌfiˌɑnˈseɪ wər ɪkˈspɛktɪŋ ðɛr fərst ʧaɪld. ə ˈsteɪbəl əv ˈprænsɪŋ ˈhɔrsɪz, ɪt simz, ɪz ðə ki tɪ ɪˈtərnəl juθ. frænˈʧɛskoʊ hæd plænd tɪ tərn hɪz kəˈlɛkʃən ˈɪntu ə mˈjuziəm ənd gɪv ðə ˈpəblɪk ə ʧæns tɪ ʃɛr hɪz ˈpæʃən fər ənd fərˈɑrɪs, bət ə læk əv ˈsutəbəl loʊˈkeɪʃənz ənd ðə ˈrisənt ˈʧeɪnʤɪz ɪn hɪz hoʊm laɪf ˈfaɪnəli lɛd ɪm sɛl moʊst əv ðə kɑz. ə ˈsɪŋgəl baɪər ˈpərʧəst ðə məˈʤɔrəti əv ðə lɔt ənd, ʤɪst laɪk ðət, bɑrn ənd ˈhæŋər wər lɛft wɪθ əˈbaʊt ə ˈdəzən ɔn lænd ðət wɪl sun bi tərnd ˈɪntu ə kəˈmərʃəl dɪˈvɛləpmənt. frænˈʧɛskoʊ hæd hoʊpt tɪ sɛl hɪz kɑz tɪ ˌɪndəˈvɪʤəwəlz ɛz ˈkreɪzi ɛz hɪmˈsɛlf, ənd ðoʊ ə ˈkəpəl baɪərz laɪk ˌmaɪˈsɛlf dɪd pɪk əp ə fju əv hɪz, ɪt meɪks mi fil ə ˈlɪtəl əˈnizi noʊɪŋ ðət ə ˈflɪpər bɔt ðə bəlk əv ðə kəˈlɛkʃən. aɪ gɛs aɪ ʃʊd teɪk hɑrt ɪn ðə fækt ðət ðeɪ wɪl ˈəltəmətli goʊ tɪ tru alfisti*. ɛz aɪ wɔʧ ðoʊz ənd fərˈɑrɪs krɔs ðə blɑk ɪn ˈpɛrɪs ðɪs ˈwiˌkɪnd, aɪ wɪl bi ˈθɪŋkɪŋ bæk ˈfɑndli ɔn ðət ˈstənɪŋ əˈsɛmbli əv kɑz ɪn ðə ˌɪˈtæljən ˈkəntriˌsaɪd. ɪn rɪˈstɔrɪŋ ənd prɪˈzərvɪŋ hɪz kɑz, frænˈʧɛskoʊ ækˈsɛptɪd ˈnəθɪŋ lɛs ðən ˈɛksələns. aɪ noʊ ðət ðə ˈləki ˌɪndəˈvɪʤəwəlz wɪθ ðə ˈwɪnɪŋ bɪdz ðɪs ˈwiˌkɪnd wɪl ˈɔlsoʊ əˈpriʃiˌeɪt ðə cars’*’ ˈfɔrmər ˈkɛrˌteɪkər fər hɪz ənˈkɑmprəmaɪzɪŋ ˈstændərdz. ʤɔɪn ðə ˌkɑnvərˈseɪʃən
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team legends: a challenger approaches
team legends: a challenger approaches
most competitors earn their stripes and status in the arena but this man was a legend far before he even stepped foot in his first competitive game. david “moonmeander” tan rose to fame with his crazy stream antics, constant big plays, and the infamous “neva eva” dance.
moon’s big splash onto the competitive scene was at when one of trademark members make it and he was flown in at the last minute. moon played his infamous tundra mid, beat notail, and made a name for himself as competitive player and not just an entertainer. moon is no stranger in the tournament having played against trademark when he was a part of complexity gaming. last time we saw him play in the tournament he had the win under his belt but because he decided to taunt first he ended up losing the match and eventually the joins zai, swindle, and era on team legends in the upcoming showdown. the showdown takes place on may at est / cet. for more information on the showdown visit/
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tim ˈlɛʤəndz: ə ˈʧælɪnʤər əˈproʊʧɪz tim ˈlɛʤəndz: ə ˈʧælɪnʤər əˈproʊʧɪz moʊst kəmˈpɛtɪtərz ərn ðɛr straɪps ənd ˈstætəs ɪn ðə ərˈinə bət ðɪs mæn wɑz ə ˈlɛʤənd fɑr ˌbiˈfɔr hi ˈivɪn stɛpt fʊt ɪn hɪz fərst kəmˈpɛtɪtɪv geɪm. ˈdeɪvɪd ““moonmeander”*” tæn roʊz tɪ feɪm wɪθ hɪz ˈkreɪzi strim ˈæntɪks, ˈkɑnstənt bɪg pleɪz, ənd ðə ˈɪnfəməs eva”*” dæns. bɪg splæʃ ˈɔntu ðə kəmˈpɛtɪtɪv sin wɑz æt wɪn wən əv ˈtreɪdˌmɑrk ˈmɛmbərz meɪk ɪt ənd hi wɑz floʊn ɪn æt ðə læst ˈmɪnət. mun pleɪd hɪz ˈɪnfəməs ˈtəndrə mɪd, bit notail*, ənd meɪd ə neɪm fər hɪmˈsɛlf ɛz kəmˈpɛtɪtɪv pleɪər ənd nɑt ʤɪst ən ˌɛnərˈteɪnər. mun ɪz noʊ ˈstreɪnʤər ɪn ðə ˈtʊrnəmənt ˈhævɪŋ pleɪd əˈgɛnst ˈtreɪdˌmɑrk wɪn hi wɑz ə pɑrt əv kəmˈplɛksɪti ˈgeɪmɪŋ. læst taɪm wi sɔ ɪm pleɪ ɪn ðə ˈtʊrnəmənt hi hæd ðə wɪn ˈəndər hɪz bɛlt bət bɪˈkəz hi ˌdɪˈsaɪdɪd tɪ tɔnt fərst hi ˈɛndɪd əp ˈluzɪŋ ðə mæʧ ənd ɪˈvɛnʧəwəli ðə ʤɔɪnz zai*, sˈwɪndəl, ənd ˈɪrə ɔn tim ˈlɛʤəndz ɪn ðə ˈəpˌkəmɪŋ ˈʃoʊˌdaʊn. ðə ˈʃoʊˌdaʊn teɪks pleɪs ɔn meɪ æt ɛst cet*. fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈʃoʊˌdaʊn ˈvɪzɪt
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bad science is a danger to public health
a new report in the journal of the american medical association found that from 2001 to 2010, almost one third of all drugs approved by the us food and drug administration (fda) had additional side effects after they were brought to market.
and of the 222 prescription drugs approved over the decade, 71 (32%) and a “postmarket safety event.”
the lead author of the study, dr. joseph ross, had this to say:
the large percentage of problems was a surprise… we know that safety concerns, new ones, are going to be identified once a drug is used in a wider population. just how it is. the fact that such a high number means the is working hard to evaluate drugs and once concerns are identified, communicating them.
it’s reasonable to expect some surprises when working with systems as complex such as human biology.
although this detract from the public humiliation that scientists have been experiencing in the media recently, nor does it preclude us asking why.
why are there so many issues with pharmacology, given that even minor problems could pose serious health risks?
2 in 3 researchers replicate other studies
much of it boils down to bad science, caused by the “publish or perish” mentality on university campuses.
back in february, the bbc published an article opining that “science is facing a ‘reproducibility crisis’ where more than two-thirds of researchers tried, and failed to reproduce another experiments.”
this was is response to an immunologist having trouble replicating 5 separate cancer studies.
the whole idea behind research is that it should be scrutinized in a way that ensures a high level of confidence in the results.
one way to do this is by testing to see if the study can be replicated. if it, then we should be less confident in the findings.
even more frightening: according to nature, 70% of researchers could not replicate another findings when independently running the same experiments.
this means that there are plenty of studies out there that are falling through the gaping crevice of the system—frankly, junk science is being used to craft public policy.
unfortunately, this is partly why the reverence of is often unfounded.
there are 2 major problems that need to be addressed, if we are to fix this:
1. we need to put more emphasis, and allocate more funding, to replication. part of the problem is that private researchers and institutions want to invest time and money into replicating other experiments because not no chance to find “the next big thing”, or to discover something new.
the system, as it is, prioritizes novelty over quality, which is becoming a major issue.
2. another problem is that science has become highly politicized: special interests fund science that tends to confirm their suspicions, rather than impartial studies, or basic research.
to make this point, just look at how the fake scientist bill nye relies on the “scientific consensus” to back up his political claims regarding climate change.
science needs to focus more on the scientific method, and less on politics.
at heart, we need to make science again.
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bæd saɪəns ɪz ə ˈdeɪnʤər tɪ ˈpəblɪk hɛlθ ə nu rɪˈpɔrt ɪn ðə ˈʤərnəl əv ðə əˈmɛrɪkən ˈmɛdɪkəl əˌsoʊʃiˈeɪʃən faʊnd ðət frəm 2001 tɪ 2010 ˈɔlˌmoʊst wən θərd əv ɔl drəgz əˈpruvd baɪ ðə ˈjuˈɛs fud ənd drəg ædˌmɪnɪˈstreɪʃən (fda*) hæd əˈdɪʃənəl saɪd ˈifɛkts ˈæftər ðeɪ wər brɔt tɪ ˈmɑrkɪt. ənd əv ðə 222 prəˈskrɪpʃən drəgz əˈpruvd ˈoʊvər ðə ˈdɛkeɪd, 71 32 ənd ə ˈseɪfti event.”*.” ðə lɛd ˈɔθər əv ðə ˈstədi, ˈdɑktər. ˈʤoʊzəf rɔs, hæd ðɪs tɪ seɪ: ðə lɑrʤ pərˈsɛnɪʤ əv ˈprɑbləmz wɑz ə surprise…*… wi noʊ ðət ˈseɪfti kənˈsərnz, nu wənz, ər goʊɪŋ tɪ bi aɪˈdɛntəˌfaɪd wəns ə drəg ɪz juzd ɪn ə ˈwaɪdər ˌpɑpjəˈleɪʃən. ʤɪst haʊ ɪt ɪz. ðə fækt ðət səʧ ə haɪ ˈnəmbər minz ðə ɪz ˈwərkɪŋ hɑrd tɪ ɪˈvæljuˌeɪt drəgz ənd wəns kənˈsərnz ər aɪˈdɛntəˌfaɪd, kəmˈjunəˌkeɪtɪŋ ðɛm. ˈrizənəbəl tɪ ɪkˈspɛkt səm səˈpraɪzɪz wɪn ˈwərkɪŋ wɪθ ˈsɪstəmz ɛz ˈkɑmplɛks səʧ ɛz ˈjumən baɪˈɑləʤi. ˌɔlˈðoʊ ðɪs dɪˈtrækt frəm ðə ˈpəblɪk hjuˌmɪliˈeɪʃən ðət ˈsaɪəntɪsts hæv bɪn ɪkˈspɪriənsɪŋ ɪn ðə ˈmidiə ˈrisəntli, nɔr dɪz ɪt prɪˈklud ˈjuˈɛs ˈæskɪŋ waɪ. waɪ ər ðɛr soʊ ˈmɛni ˈɪʃuz wɪθ ˌfɑrməˈkɑləʤi, ˈgɪvɪn ðət ˈivɪn ˈmaɪnər ˈprɑbləmz kʊd poʊz ˈsɪriəs hɛlθ rɪsks? 2 ɪn 3 ˈrisərʧərz ˈrɛplɪˌkeɪt ˈəðər ˈstədiz məʧ əv ɪt bɔɪlz daʊn tɪ bæd saɪəns, kɔzd baɪ ðə ər perish”*” mɛnˈtælɪti ɔn ˌjunəˈvərsəti ˈkæmpəsɪz. bæk ɪn ˈfɛbruˌɛri, ðə ˌbibiˈsi ˈpəblɪʃt ən ˈɑrtɪkəl oʊˈpaɪnɪŋ ðət ɪz ˈfeɪsɪŋ ə crisis’*’ wɛr mɔr ðən ˌtuˈθərdz əv ˈrisərʧərz traɪd, ənd feɪld tɪ ˌriprəˈdus əˈnəðər experiments.”*.” ðɪs wɑz ɪz rɪˈspɑns tɪ ən ˌɪmjuˈnɑləʤɪst ˈhævɪŋ ˈtrəbəl ˈrɛplɪˌkeɪtɪŋ 5 ˈsɛpərˌeɪt ˈkænsər ˈstədiz. ðə hoʊl aɪˈdiə bɪˈhaɪnd ˈrisərʧ ɪz ðət ɪt ʃʊd bi ˈskrutəˌnaɪzd ɪn ə weɪ ðət ɪnˈʃʊrz ə haɪ ˈlɛvəl əv ˈkɑnfədɛns ɪn ðə rɪˈzəlts. wən weɪ tɪ du ðɪs ɪz baɪ ˈtɛstɪŋ tɪ si ɪf ðə ˈstədi kən bi ˈrɛplɪˌkeɪtɪd. ɪf ɪt, ðɛn wi ʃʊd bi lɛs ˈkɑnfədənt ɪn ðə ˈfaɪndɪŋz. ˈivɪn mɔr ˈfraɪtənɪŋ: əˈkɔrdɪŋ tɪ ˈneɪʧər, 70 əv ˈrisərʧərz kʊd nɑt ˈrɛplɪˌkeɪt əˈnəðər ˈfaɪndɪŋz wɪn ˌɪndɪˈpɛndəntli ˈrənɪŋ ðə seɪm ɪkˈspɛrəmənts. ðɪs minz ðət ðɛr ər ˈplɛnti əv ˈstədiz aʊt ðɛr ðət ər ˈfɑlɪŋ θru ðə ˈgeɪpɪŋ ˈkrɛvəs əv ðə system—frankly*, ʤəŋk saɪəns ɪz biɪŋ juzd tɪ kræft ˈpəblɪk ˈpɑləsi. ənˈfɔrʧənətli, ðɪs ɪz ˈpɑrtli waɪ ðə ˈrɛvərəns əv ɪz ˈɔfən ənˈfaʊndɪd. ðɛr ər 2 ˈmeɪʤər ˈprɑbləmz ðət nid tɪ bi əˈdrɛst, ɪf wi ər tɪ fɪks ðɪs: 1 wi nid tɪ pʊt mɔr ˈɛmfəsɪs, ənd ˈæləˌkeɪt mɔr ˈfəndɪŋ, tɪ ˌrɛplɪˈkeɪʃən. pɑrt əv ðə ˈprɑbləm ɪz ðət ˈpraɪvət ˈrisərʧərz ənd ˌɪnstɪˈtuʃənz wɔnt tɪ ˌɪnˈvɛst taɪm ənd ˈməni ˈɪntu ˈrɛplɪˌkeɪtɪŋ ˈəðər ɪkˈspɛrəmənts bɪˈkəz nɑt noʊ ʧæns tɪ faɪnd nɛkst bɪg thing”*”, ər tɪ dɪˈskəvər ˈsəmθɪŋ nu. ðə ˈsɪstəm, ɛz ɪt ɪz, praɪˈɔrəˌtaɪzɪz ˈnɑvəlti ˈoʊvər kˈwɑləti, wɪʧ ɪz bɪˈkəmɪŋ ə ˈmeɪʤər ˈɪʃu. 2 əˈnəðər ˈprɑbləm ɪz ðət saɪəns həz bɪˈkəm ˈhaɪli pəˈlɪtɪˌsaɪzd: ˈspɛʃəl ˈɪntərɪsts fənd saɪəns ðət tɛndz tɪ kənˈfərm ðɛr səˈspɪʃənz, ˈrəðər ðən ˌɪmˈpɑrʃəl ˈstədiz, ər ˈbeɪsɪk ˈrisərʧ. tɪ meɪk ðɪs pɔɪnt, ʤɪst lʊk æt haʊ ðə feɪk ˈsaɪəntɪst bɪl naɪ rɪˈlaɪz ɔn ðə consensus”*” tɪ bæk əp hɪz pəˈlɪtɪkəl kleɪmz rɪˈgɑrdɪŋ ˈklaɪmɪt ʧeɪnʤ. saɪəns nidz tɪ ˈfoʊkɪs mɔr ɔn ðə ˌsaɪənˈtɪfɪk ˈmɛθəd, ənd lɛs ɔn ˈpɑləˌtɪks. æt hɑrt, wi nid tɪ meɪk saɪəns əˈgɛn.
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click here for the forbes list of the 25 best places to retire in 2014.
retirement is one of those chances in life to do something really different. with kids usually out of the house, many people look at it as an opportunity to move to a place that better fits their and affordable that's warmer (or colder), more rural (or urban), with good medical care and options for an active life, including perhaps a part-time job.
we’ve identified 25 such communities of varying sizes that retirees and those nearing retirement would do well to consider. these spots are spread across 16 states in all four continental time zones. four states--texas, florida, south carolina and two or more listings. about three-quarters of our picks are in climates considered warm or moderate. that's not surprising since weather is one factor taken into account, and polls show seniors prefer warm climates. nevertheless, a number of colder cities made the cut, including fargo, n.d., pittsburgh, pa., and boise, idaho.
for the full list, click on the picture above. the listings are in alphabetical order, meaning that all 25 are considered meritorious and not ranked among themselves.
perhaps surprisingly, only three were on last year's list, although nine graced our earlier or more narrowly focused lists. that's because for 2014, we screened even more locations, took into account additional factors and broadened acceptable ranges for other factors. but our focus remains, as in previous years, the identification of places that offer what we consider good retirement value.
to come up with the best 25, we sifted data on more than 400 cities from every state. the major factors taken into account were economic. these included overall cost of living and home prices as compared to national averages and general state tax climates for retirees (something that forbes has been tracking for years).
for cost of living, we draw largely on stats from findthedata.org. for home prices, we primarily use numbers collected by the national association of realtors, and zillow.com. although no one element is determinative, cost is a major reason only three places in the expensive northeast and west coast make the cut. they are repeat choice pittsburgh and best places list newcomers state college, pa., and bellingham, wash.
if money is truly no object, check out our choices for 25 top places to retire rich.
if for you, as for most folks, money is a consideration, then you may be hoping to cut your housing costs in retirement. that's a growing challenge since the the median home price across the country is $207,000, up 11% from last year's $186,000. still, there are bargains out there. seven places on our list have average prices below $140,000. the lowest is ogden, utah, $124,000; followed by pittsburgh, $130,000; and clemson, s.c., $135,000. moreover, only one city on the list has a typical price more than 10% above the average, bellingham at $266,000.
cost-of-living is expressed as an index, with 100 being the national average. we generally look for places with indexes no higher than 105. two on the list are higher: bellingham, again (109) and bluffton, s.c. (108). three places actually have indexes below 90, or more than 10% below the national average: abilene, tex. (87), ogden (88) and auburn, ala. (89).
with more and more retirees working at least part-time, we also consider estimates of current and future economic prosperity. these include local unemployment rates as collected by the bureau of labor statistics, and prospects for future growth, as gauged in hundreds of cities by the milken institute. for december 2013, the national unemployment rate was%, down from% a year before. only one place on the list has an unemployment rate substantially above the average, port saint lucie, fla., at%. all the others are near or below the national norm. some are way below: fargo,%; morgantown, w.v., and fredericksburg, tex., both%.
our focus on a state's tax climate for retirees takes into account the notion that what is low tax for retirees isn't always the same as for folks. nine states don't have a state income tax--alaska, florida, nevada, new hampshire, south dakota, tennessee, texas, washington and wyoming. but such states tend to make up for that with other, higher taxes, most notably, higher sales and real estate levies, which can hit seniors harder. on the other hand, many states with income taxes give special breaks to retirees, such as light or no taxation of social security and pension benefits, and inheritances. in our view, the best states for retirees from a tax perspective are alabama, alaska, arizona, georgia, idaho, kentucky, louisiana, mississippi, montana, new hampshire, new mexico, nevada, oklahoma, south carolina, south dakota, utah and west virginia.
seniors rightly worry about physical as well as economic security. so we also give weight to violent crime rates for cities and their surrounding areas as calculated by the federal bureau of factor in the number of doctors per capita as a proxy for the accessibility of health care.
today's retirees want to keep fit and active, as well as safe. so we look at ratings for attributes that encourage an active retirement. one we use is bicycling magazine's ratings of cities for "bikability". high grades here go to austin, boise, fargo, charleston, s.c., pittsburgh and salt lake city, utah. another is ratings for walkability, or the ability to shop and get places on foot (great for both exercise and on cars). top scores go to bellingham, bluffton, boise, brevard, n.c.; clemson, fredericksburg and state college. a third measure we use is the assessment by of the extent of adult volunteer activity. cities placing well here include austin, boise, cape coral, fla; fargo, ogden, oklahoma city, okla.; pittsburgh and salt lake city,
of course, no nationwide list can take into account your own personal considerations such as wanting to stay near friends and family. other things this list take into account, at least directly, are such intangible qualities as cultural milieu and scenic beauty. but upwards of a half-dozen places on the list could be classified as college towns (auburn, austin, bellingham, blacksburg, va.; clemson, las cruces, n.m.; morgantown and state college), which often afford enhance cultural opportunities for the community. and a fair number of our 25 offer mountain or water environments, including bellingham, blacksburg, bluffton, boise, brevard, cape coral, charleston, ogden, port saint lucie, salt lake city and venice, fla.
click here for the forbes list of the 25 best places to retire in 2014.
follow william p. barrett on twitter @williampbarrett.
watch: how to get real return on your retirement account
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klɪk hir fər ðə fɔrbz lɪst əv ðə 25 bɛst ˈpleɪsɪz tɪ ˌriˈtaɪər ɪn 2014 rɪˈtaɪərmənt ɪz wən əv ðoʊz ˈʧænsɪz ɪn laɪf tɪ du ˈsəmθɪŋ ˈrɪli ˈdɪfərənt. wɪθ kɪdz ˈjuʒəwəli aʊt əv ðə haʊs, ˈmɛni ˈpipəl lʊk æt ɪt ɛz ən ˌɑpərˈtunəti tɪ muv tɪ ə pleɪs ðət ˈbɛtər fɪts ðɛr ənd əˈfɔrdəbəl ðæts ˈwɔrmər (ər ˈkoʊldər), mɔr ˈrʊrəl (ər ˈərbən), wɪθ gʊd ˈmɛdɪkəl kɛr ənd ˈɔpʃənz fər ən ˈæktɪv laɪf, ˌɪnˈkludɪŋ pərˈhæps ə ˈpɑrtˈtaɪm ʤɑb. aɪˈdɛntəˌfaɪd 25 səʧ kəmˈjunɪtiz əv ˈvɛriɪŋ ˈsaɪzɪz ðət riˈtaɪˈriz ənd ðoʊz ˈnɪrɪŋ rɪˈtaɪərmənt wʊd du wɛl tɪ kənˈsɪdər. ðiz spɑts ər sprɛd əˈkrɔs 16 steɪts ɪn ɔl fɔr ˌkɑntəˈnɛnəl taɪm zoʊnz. fɔr states--texas*, ˈflɔrɪdə, saʊθ ˌkɛrəˈlaɪnə ənd tu ər mɔr ˈlɪstɪŋz. əˈbaʊt θˌrikˈwɔrtərz əv ɑr pɪks ər ɪn ˈklaɪmɪts kənˈsɪdərd wɔrm ər ˈmɑdərˌeɪt. ðæts nɑt səˈpraɪzɪŋ sɪns ˈwɛðər ɪz wən ˈfæktər ˈteɪkən ˈɪntu əˈkaʊnt, ənd poʊlz ʃoʊ ˈsinjərz prɪˈfər wɔrm ˈklaɪmɪts. ˌnɛvərðəˈlɛs, ə ˈnəmbər əv ˈkoʊldər ˈsɪtiz meɪd ðə kət, ˌɪnˈkludɪŋ ˈfɑrˌgoʊ, n.d*., ˈpɪtsbərg, pɑ., ənd ˈbɔɪzi, ˈaɪdəˌhoʊ. fər ðə fʊl lɪst, klɪk ɔn ðə ˈpɪkʧər əˈbəv. ðə ˈlɪstɪŋz ər ɪn ˌælfəˈbɛtɪkəl ˈɔrdər, ˈminɪŋ ðət ɔl 25 ər kənˈsɪdərd ˌmɛrəˈtɔriəs ənd nɑt ræŋkt əˈməŋ ðɛmˈsɛlvz. pərˈhæps səˈpraɪzɪŋli, ˈoʊnli θri wər ɔn læst jɪrz lɪst, ˌɔlˈðoʊ naɪn greɪst ɑr ˈərliər ər mɔr ˈnɛroʊli ˈfoʊkɪst lɪsts. ðæts bɪˈkəz fər 2014 wi skrind ˈivɪn mɔr loʊˈkeɪʃənz, tʊk ˈɪntu əˈkaʊnt əˈdɪʃənəl ˈfæktərz ənd ˈbrɔdənd əkˈsɛptəbəl ˈreɪnʤɪz fər ˈəðər ˈfæktərz. bət ɑr ˈfoʊkɪs rɪˈmeɪnz, ɛz ɪn ˈpriviəs jɪrz, ðə aɪˌdɛntəfəˈkeɪʃən əv ˈpleɪsɪz ðət ˈɔfər wət wi kənˈsɪdər gʊd rɪˈtaɪərmənt ˈvælju. tɪ kəm əp wɪθ ðə bɛst 25 wi ˈsɪftɪd ˈdætə ɔn mɔr ðən 400 ˈsɪtiz frəm ˈɛvəri steɪt. ðə ˈmeɪʤər ˈfæktərz ˈteɪkən ˈɪntu əˈkaʊnt wər ˌɛkəˈnɑmɪk. ðiz ˌɪnˈkludɪd ˈoʊvərˌɔl kɔst əv ˈlɪvɪŋ ənd hoʊm ˈpraɪsɪz ɛz kəmˈpɛrd tɪ ˈnæʃənəl ˈævrɪʤɪz ənd ˈʤɛnərəl steɪt tæks ˈklaɪmɪts fər riˈtaɪˈriz (ˈsəmθɪŋ ðət fɔrbz həz bɪn ˈtrækɪŋ fər jɪrz). fər kɔst əv ˈlɪvɪŋ, wi drɔ ˈlɑrʤli ɔn stæts frəm findthedata.org*. fər hoʊm ˈpraɪsɪz, wi praɪˈmɛrəli juz ˈnəmbərz kəˈlɛktəd baɪ ðə ˈnæʃənəl əˌsoʊʃiˈeɪʃən əv ˈriəltərz, ənd zillow.com*. ˌɔlˈðoʊ noʊ wən ˈɛləmənt ɪz dɪˈtərmɪnəˌtɪv, kɔst ɪz ə ˈmeɪʤər ˈrizən ˈoʊnli θri ˈpleɪsɪz ɪn ðə ɪkˈspɛnsɪv ˌnɔrˈθist ənd wɛst koʊst meɪk ðə kət. ðeɪ ər rɪˈpit ʧɔɪs ˈpɪtsbərg ənd bɛst ˈpleɪsɪz lɪst ˈnuˌkəmərz steɪt ˈkɑlɪʤ, pɑ., ənd ˈbɛlɪŋˌhæm, wɑʃ. ɪf ˈməni ɪz ˈtruli noʊ ˈɑbʤɛkt, ʧɛk aʊt ɑr ˈʧɔɪsɪz fər 25 tɔp ˈpleɪsɪz tɪ ˌriˈtaɪər rɪʧ. ɪf fər ju, ɛz fər moʊst foʊks, ˈməni ɪz ə kənˌsɪdərˈeɪʃən, ðɛn ju meɪ bi ˈhoʊpɪŋ tɪ kət jʊr ˈhaʊzɪŋ kɔsts ɪn rɪˈtaɪərmənt. ðæts ə groʊɪŋ ˈʧælənʤ sɪns ðə ðə ˈmidiən hoʊm praɪs əˈkrɔs ðə ˈkəntri ɪz əp 11 frəm læst jɪrz stɪl, ðɛr ər ˈbɑrgɪnz aʊt ðɛr. ˈsɛvən ˈpleɪsɪz ɔn ɑr lɪst hæv ˈævərɪʤ ˈpraɪsɪz bɪˈloʊ ðə loʊəst ɪz ˈɑgdən, ˈjuˌtɔ, ˈfɑloʊd baɪ ˈpɪtsbərg, ənd ˈklɛmsən, s.c*., mɔˈroʊvər, ˈoʊnli wən ˈsɪti ɔn ðə lɪst həz ə ˈtɪpɪkəl praɪs mɔr ðən 10 əˈbəv ðə ˈævərɪʤ, ˈbɛlɪŋˌhæm æt ɪz ɪkˈsprɛst ɛz ən ˈɪndɛks, wɪθ 100 biɪŋ ðə ˈnæʃənəl ˈævərɪʤ. wi ˈʤɛnərəli lʊk fər ˈpleɪsɪz wɪθ ˈɪndɛksɪz noʊ haɪər ðən 105 tu ɔn ðə lɪst ər haɪər: ˈbɛlɪŋˌhæm, əˈgɛn 109 ənd bluffton*, s.c*. 108 θri ˈpleɪsɪz ˈæˌkʧuəli hæv ˈɪndɛksɪz bɪˈloʊ 90 ər mɔr ðən 10 bɪˈloʊ ðə ˈnæʃənəl ˈævərɪʤ: ˈæbɪˌlin, tɛks. 87 ˈɑgdən 88 ənd ˈɑbərn, ˈælə. 89 wɪθ mɔr ənd mɔr riˈtaɪˈriz ˈwərkɪŋ æt list ˈpɑrtˈtaɪm, wi ˈɔlsoʊ kənˈsɪdər ˈɛstəˌmeɪts əv ˈkɑrənt ənd fˈjuʧər ˌɛkəˈnɑmɪk prɑˈspɛrəti. ðiz ˌɪnˈklud ˈloʊkəl ˌənɪmˈplɔɪmənt reɪts ɛz kəˈlɛktəd baɪ ðə ˈbjʊroʊ əv ˈleɪbər stəˈtɪstɪks, ənd ˈprɑspɛkts fər fˈjuʧər groʊθ, ɛz geɪʤd ɪn ˈhənərdz əv ˈsɪtiz baɪ ðə ˈmɪlkən ˈɪnstɪˌtut. fər dɪˈsɛmbər 2013 ðə ˈnæʃənəl ˌənɪmˈplɔɪmənt reɪt wɑz daʊn frəm ə jɪr ˌbiˈfɔr. ˈoʊnli wən pleɪs ɔn ðə lɪst həz ən ˌənɪmˈplɔɪmənt reɪt səbˈstænʃəli əˈbəv ðə ˈævərɪʤ, pɔrt seɪnt ˈlusi, fla*., æt ɔl ðə ˈəðərz ər nɪr ər bɪˈloʊ ðə ˈnæʃənəl nɔrm. səm ər weɪ bɪˈloʊ: ˈfɑrˌgoʊ, ˈmɔrgənˌtaʊn, w.v*., ənd ˈfrɛdərɪksbərg, tɛks., boʊθ ɑr ˈfoʊkɪs ɔn ə steɪts tæks ˈklaɪmɪt fər riˈtaɪˈriz teɪks ˈɪntu əˈkaʊnt ðə ˈnoʊʃən ðət wət ɪz loʊ tæks fər riˈtaɪˈriz ˈɪzənt ˈɔlˌweɪz ðə seɪm ɛz fər foʊks. naɪn steɪts doʊnt hæv ə steɪt ˈɪnˌkəm tax--alaska*, ˈflɔrɪdə, nəˈvɑdə, nu ˈhæmʃər, saʊθ dəˈkoʊtə, ˌtɛnəˈsi, ˈtɛksəs, ˈwɔʃɪŋtən ənd ˌwaɪˈoʊmɪŋ. bət səʧ steɪts tɛnd tɪ meɪk əp fər ðət wɪθ ˈəðər, haɪər ˈtæksɪz, moʊst ˈnoʊtəbli, haɪər seɪlz ənd ril ɛˈsteɪt ˈlɛviz, wɪʧ kən hɪt ˈsinjərz ˈhɑrdər. ɔn ðə ˈəðər hænd, ˈmɛni steɪts wɪθ ˈɪnˌkəm ˈtæksɪz gɪv ˈspɛʃəl breɪks tɪ riˈtaɪˈriz, səʧ ɛz laɪt ər noʊ tækˈseɪʃən əv ˈsoʊʃəl sɪˈkjʊrəti ənd ˈpɛnʃən ˈbɛnəfɪts, ənd inheritances*. ɪn ɑr vju, ðə bɛst steɪts fər riˈtaɪˈriz frəm ə tæks pərˈspɛktɪv ər ˌæləˈbæmə, əˈlæskə, ˌɛrɪˈzoʊnə, ˈʤɔrʤə, ˈaɪdəˌhoʊ, kənˈtəki, luˌiziˈænə, ˌmɪsɪˈsɪpi, mɑnˈtænə, nu ˈhæmʃər, nu ˈmɛksəˌkoʊ, nəˈvɑdə, ˌoʊkləˈhoʊmə, saʊθ ˌkɛrəˈlaɪnə, saʊθ dəˈkoʊtə, ˈjuˌtɔ ənd wɛst vərˈʤɪnjə. ˈsinjərz ˈraɪtli ˈwəri əˈbaʊt ˈfɪzɪkəl ɛz wɛl ɛz ˌɛkəˈnɑmɪk sɪˈkjʊrəti. soʊ wi ˈɔlsoʊ gɪv weɪt tɪ ˈvaɪələnt kraɪm reɪts fər ˈsɪtiz ənd ðɛr sərˈaʊndɪŋ ˈɛriəz ɛz ˈkælkjəˌleɪtɪd baɪ ðə ˈfɛdərəl ˈbjʊroʊ əv ˈfæktər ɪn ðə ˈnəmbər əv ˈdɑktərz pər ˈkæpɪtə ɛz ə ˈprɑksi fər ðə ˌæksɛsəˈbɪlɪti əv hɛlθ kɛr. ˈtudeɪz riˈtaɪˈriz wɔnt tɪ kip fɪt ənd ˈæktɪv, ɛz wɛl ɛz seɪf. soʊ wi lʊk æt ˈreɪtɪŋz fər əˈtrɪˌbjuts ðət ɪnˈkərəʤ ən ˈæktɪv rɪˈtaɪərmənt. wən wi juz ɪz ˈbaɪˌsɪkəlɪŋ ˈmægəˌzinz ˈreɪtɪŋz əv ˈsɪtiz fər "bikability*". haɪ greɪdz hir goʊ tɪ ˈɔstən, ˈbɔɪzi, ˈfɑrˌgoʊ, ˈʧɑrəlstən, s.c*., ˈpɪtsbərg ənd sɔlt leɪk ˈsɪti, ˈjuˌtɔ. əˈnəðər ɪz ˈreɪtɪŋz fər walkability*, ər ðə əˈbɪləˌti tɪ ʃɑp ənd gɪt ˈpleɪsɪz ɔn fʊt (greɪt fər boʊθ ˈɛksərˌsaɪz ənd ɔn kɑz). tɔp skɔrz goʊ tɪ ˈbɛlɪŋˌhæm, bluffton*, ˈbɔɪzi, ˈbrɛvərd, n.c*.; ˈklɛmsən, ˈfrɛdərɪksbərg ənd steɪt ˈkɑlɪʤ. ə θərd ˈmɛʒər wi juz ɪz ðə əˈsɛsmənt baɪ əv ðə ɪkˈstɛnt əv ˈædəlt ˌvɑlənˈtɪr ækˈtɪvɪti. ˈsɪtiz ˈpleɪsɪŋ wɛl hir ˌɪnˈklud ˈɔstən, ˈbɔɪzi, keɪp ˈkɔrəl, fla*; ˈfɑrˌgoʊ, ˈɑgdən, ˌoʊkləˈhoʊmə ˈsɪti, okla*.; ˈpɪtsbərg ənd sɔlt leɪk ˈsɪti, əv kɔrs, noʊ ˈneɪʃənˈwaɪd lɪst kən teɪk ˈɪntu əˈkaʊnt jʊr oʊn ˈpərsɪnəl kənˌsɪdərˈeɪʃənz səʧ ɛz ˈwɑnɪŋ tɪ steɪ nɪr frɛndz ənd ˈfæməli. ˈəðər θɪŋz ðɪs lɪst teɪk ˈɪntu əˈkaʊnt, æt list dɪˈrɛkli, ər səʧ ˌɪnˈtænʤəbəl kˈwɑlətiz ɛz ˈkəlʧərəl mɪˈljʊ ənd ˈsinɪk ˈbjuti. bət ˈəpwərdz əv ə ˈhæfˌdəzən ˈpleɪsɪz ɔn ðə lɪst kʊd bi ˈklæsəˌfaɪd ɛz ˈkɑlɪʤ taʊnz (ˈɑbərn, ˈɔstən, ˈbɛlɪŋˌhæm, ˈblæksbərg, va*.; ˈklɛmsən, ˈɛˈleɪˈɛs ˈkrusiz, n.m*.; ˈmɔrgənˌtaʊn ənd steɪt ˈkɑlɪʤ), wɪʧ ˈɔfən əˈfɔrd ɛnˈhæns ˈkəlʧərəl ˌɑpərˈtunətiz fər ðə kəmˈjunɪti. ənd ə fɛr ˈnəmbər əv ɑr 25 ˈɔfər ˈmaʊntən ər ˈwɔtər ɪnˈvaɪrənmənts, ˌɪnˈkludɪŋ ˈbɛlɪŋˌhæm, ˈblæksbərg, bluffton*, ˈbɔɪzi, ˈbrɛvərd, keɪp ˈkɔrəl, ˈʧɑrəlstən, ˈɑgdən, pɔrt seɪnt ˈlusi, sɔlt leɪk ˈsɪti ənd ˈvɛnɪs, fla*. klɪk hir fər ðə fɔrbz lɪst əv ðə 25 bɛst ˈpleɪsɪz tɪ ˌriˈtaɪər ɪn 2014 ˈfɑloʊ ˈwɪljəm pi. ˈbɛrɪt ɔn tˈwɪtər @williampbarrett*. wɔʧ: haʊ tɪ gɪt ril rɪˈtərn ɔn jʊr rɪˈtaɪərmənt əˈkaʊnt
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what if i told you that a substantial amount of your tax dollars went into financing one of the wealthiest, most powerful industries in the world? what if i added that this industry is responsible for the destruction of public health and the natural environment? to close it all off, i must mention that your representatives are highly dependent on ‘contributions’ from the said industry for their election campaigns. did i guess it right? you must not be very happy about it. and you must also be guessing which industry talking about.
according to international energy agency (iea) figures, in 2012 global fossil fuel subsidies amounted to $544 billion. on the other hand, the financial support provided to the renewable energy sector was under 20 percent of that, or $101 billion. the estimate of the international monetary fund (imf) for oil, coal and gas subsidies is much higher, putting the total nearer $2 trillion. the differences stem from the uncertain definition of what a ‘subsidy’ represents, but in any case, the figures are striking.
taking a national perspective, in the united states alone, reliable assessments of yearly fossil fuel subsidies range from $10 billion to $52 billion per annum. this number exceeds by times the amount spent on renewable energy generation.
this substantial chunk of the revenue would be much better spent financing socially beneficial projects such as building new schools, hospitals and infrastructure. in addition, fossil fuel subsidies, if diverted to the renewable energy sector, would serve a longer-term, more sustainable purpose that would not only provide for a cleaner environment, but would also reduce dependence on ‘dirty’ fuels that exacerbate the effects of climate change.
what is more, subsidies take many different forms, ranging from production subsidies for exploration of oil and gas reserves and tax breaks, to consumption subsidies granted to the end consumer by reducing the price paid for petrol or electricity. this helps create an uneven playing field for other energy companies and also spurs demand patterns on the consumer side. enough said about thefree market” hypothesis advocated by so many vigorous supporters of the fossil fuel business. providing such tremendous support to a powerful of an industry, out of state coffers, is hardly justifiable by the almighty free hand of market liberalism.
in terms of the government logic for continued provision of subsidies to the oil, coal and gas giants, the supposedly noble rationale of serving the most disadvantaged members of society stand scrutiny. indeed, it is the poorest members of the population that benefit least from subsidized fuel and electricity prices, because they often own a personal vehicle or expensive devices: according to the imf, the richest 20 percent get six times the benefit of the poorest 20 percent. it is apparent that fossil fuel subsidies benefit only the richest producers and the richest consumers of fuels.
recognizing these disparities, there have been numerous attempts, including by president barack obama, to introduce legislation in the united states that considerably reduces the subsidies provided to the fossil fuel industry. among the pieces of legislation proposed for adoption were: the repeal big oil tax subsidies act, sponsored by senator menendez (d-nj) and the end polluter welfare act, introduced by senator bernie sanders and representative keith ellison.
“ the supposedly noble rationale of serving the most disadvantaged members of society stand scrutiny. indeed, it is the poorest members of the population that benefit least from subsidized fuel and electricity prices, because they often own a personal vehicle or expensive devices.
however, such commendable legislative changes, aiming to free up much needed public funding for socially valuable projects and reducing reliance on unsustainable sources of energy, would not be taken up by the us congress. ‘surprising’, you would say congress supposed to have the best interests in mind?
the situation is a bit more complex. the reluctance to phase out fossil fuel subsidies might well stem from the fact that congressmen receive substantial support for their election campaigns from big oil (read here chevron, exxon mobil, koch industries, shell,, etc.). indeed, the amount spent by the fossil fuel lobby during the congress (in 2009 and 2010) totalled $347,282,110. however, this figure pales in comparison to the subsidies provided to fostering the reliance on oil, coal and gas: the full amount given to fossil fuel companies during the congress was $20,489,340,000. do the math and this represents a staggering 5800 percent return on investment!
there are winners and losers in every game, but certainly in this case, our governments are not winning. to make matters worse, according to the overseas development institute (odi), given the volatile market prices of fossil fuels at the moment, the policy of subsidizing already powerful big oil represents a poor investment of public money.
what is more, if the views of the most respected scientists are to be taken into account - look at the intergovernmental panel on climate change report: the physical science basis 2013 - then in order to avoid some of the most catastrophic consequences of climate change and environmental impact, we need to keep at least two-thirds of existing fossil fuel reserves in the ground. this, effectively, means that the majority of carbon fuels will have to stay unburnable, creating a carbon bubble (similar to the bubble and the 2008 mortgage crash).
the policy of relentlessly supporting fossil fuels seems all the more unreasonable in this light. yet, it is not advocated here that we need to, or indeed can, stop relying on energy altogether. energy is vital in supporting all the processes and workings of a modern world. what it will take, however, is a steep and consistent transition to cleaner, reliable and sources of energy that are here for the long run:.
for the sceptics, it must be noted that on 11 may 2014, germany (neither a very sunny, nor a windy country) managed to generate 75 percent of the overall energy demand from wind and solar power. moreover, the country - the economy in the world - generated 27 percent of its energy needs by in the first three months of 2014. this commendable example only goes to show that what is lacking is not capability, but political will, to make a change.
it also makes economic sense. studies suggest that represent much better value per dollar invested: every us dollar spent on renewable energy subsidies attracted $2.50 in investment, while a dollar in fossil fuel subsidies drew $1.30 of investment. this number excludes the socially harmful effects of pollution generated by big oil companies such as health impact, deteriorating environment and oil spills (e.g. the infamous gulf of mexico spill by in 2010); neither do these calculations take into account the benefits provided by energy in terms of job creation, green economy benefits, ‘natural’ benefits, human impact and improved natural habitats for biologically diverse flora and fauna.
the call is yours to make when approaching your elected representatives members of the public can demand a change by requesting their governments and organizations to divest from fossil fuels (just like the rockefeller brothers fund did in september last year). if a big name in big oil can do it, you can do it, too.
inna is a phd candidate at hong kong university. this article was written exclusively for eco-business.
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wət ɪf aɪ toʊld ju ðət ə səbˈstænʃəl əˈmaʊnt əv jʊr tæks ˈdɔlərz wɛnt ˈɪntu fɪˈnænsɪŋ wən əv ðə ˈwɛlθiəst, moʊst ˈpaʊərfəl ˈɪndəstriz ɪn ðə wərld? wət ɪf aɪ ˈædɪd ðət ðɪs ˈɪndəstri ɪz riˈspɑnsəbəl fər ðə dɪˈstrəkʃən əv ˈpəblɪk hɛlθ ənd ðə ˈnæʧərəl ɪnˈvaɪrənmənt? tɪ kloʊz ɪt ɔl ɔf, aɪ məst ˈmɛnʃən ðət jʊr ˌrɛprɪˈzɛnətɪvz ər ˈhaɪli dɪˈpɛndənt ɔn ‘‘contributions’*’ frəm ðə sɛd ˈɪndəstri fər ðɛr ɪˈlɛkʃən kæmˈpeɪnz. dɪd aɪ gɛs ɪt raɪt? ju məst nɑt bi ˈvɛri ˈhæpi əˈbaʊt ɪt. ənd ju məst ˈɔlsoʊ bi ˈgɛsɪŋ wɪʧ ˈɪndəstri ˈtɔkɪŋ əˈbaʊt. əˈkɔrdɪŋ tɪ ˌɪnərˈnæʃənɑl ˈɛnərʤi ˈeɪʤənsi (iea*) ˈfɪgjərz, ɪn 2012 ˈgloʊbəl ˈfɑsəl fjuəl ˈsəbsɪdiz əˈmaʊnɪd tɪ 544 ˈbɪljən. ɔn ðə ˈəðər hænd, ðə ˌfaɪˈnænʃəl səˈpɔrt prəˈvaɪdɪd tɪ ðə riˈnuəbəl ˈɛnərʤi ˈsɛktər wɑz ˈəndər 20 pərˈsɛnt əv ðət, ər 101 ˈbɪljən. ðə ˈɛstəˌmeɪt əv ðə ˌɪnərˈnæʃənɑl ˈmɑnəˌtɛri fənd (imf*) fər ɔɪl, koʊl ənd gæs ˈsəbsɪdiz ɪz məʧ haɪər, ˈpʊtɪŋ ðə ˈtoʊtəl ˈnɪrər 2 ˈtrɪljən. ðə ˈdɪfərənsɪz stɛm frəm ðə ənˈsərtən ˌdɛfəˈnɪʃən əv wət ə ‘‘subsidy’*’ ˌrɛprɪˈzɛnts, bət ɪn ˈɛni keɪs, ðə ˈfɪgjərz ər ˈstraɪkɪŋ. ˈteɪkɪŋ ə ˈnæʃənəl pərˈspɛktɪv, ɪn ðə juˈnaɪtɪd steɪts əˈloʊn, rɪˈlaɪəbəl əˈsɛsmənts əv ˈjɪrli ˈfɑsəl fjuəl ˈsəbsɪdiz reɪnʤ frəm 10 ˈbɪljən tɪ 52 ˈbɪljən pər ˈænəm. ðɪs ˈnəmbər ɪkˈsidz baɪ taɪmz ðə əˈmaʊnt spɛnt ɔn riˈnuəbəl ˈɛnərʤi ˌʤɛnərˈeɪʃən. ðɪs səbˈstænʃəl ʧəŋk əv ðə ˈrɛvəˌnu wʊd bi məʧ ˈbɛtər spɛnt fɪˈnænsɪŋ ˈsoʊʃəli ˌbɛnəˈfɪʃəl ˈprɑʤɛkts səʧ ɛz ˈbɪldɪŋ nu skulz, ˈhɑˌspɪtəlz ənd ˌɪnfrəˈstrəkʧər. ɪn əˈdɪʃən, ˈfɑsəl fjuəl ˈsəbsɪdiz, ɪf dɪˈvərtɪd tɪ ðə riˈnuəbəl ˈɛnərʤi ˈsɛktər, wʊd sərv ə longer-term*, mɔr səˈsteɪnəbəl ˈpərpəs ðət wʊd nɑt ˈoʊnli prəˈvaɪd fər ə ˈklinər ɪnˈvaɪrənmənt, bət wʊd ˈɔlsoʊ rɪˈdus dɪˈpɛndəns ɔn ‘‘dirty’*’ fjuəlz ðət ɪgˈzæsərˌbeɪt ðə ˈifɛkts əv ˈklaɪmɪt ʧeɪnʤ. wət ɪz mɔr, ˈsəbsɪdiz teɪk ˈmɛni ˈdɪfərənt fɔrmz, ˈreɪnʤɪŋ frəm pərˈdəkʃən ˈsəbsɪdiz fər ˌɛksplərˈeɪʃən əv ɔɪl ənd gæs rɪˈzərvz ənd tæks breɪks, tɪ kənˈsəmʃən ˈsəbsɪdiz ˈgrænɪd tɪ ðə ɛnd kənˈsumər baɪ rɪˈdusɪŋ ðə praɪs peɪd fər ˈpɛtroʊl ər ɪˌlɛkˈtrɪsəti. ðɪs hɛlps kriˈeɪt ən əˈnivən pleɪɪŋ fild fər ˈəðər ˈɛnərʤi ˈkəmpəˌniz ənd ˈɔlsoʊ spərz dɪˈmænd ˈpætərnz ɔn ðə kənˈsumər saɪd. ɪˈnəf sɛd əˈbaʊt ðə market”*” haɪˈpɑθəsəs ˈædvəˌkeɪtɪd baɪ soʊ ˈmɛni ˈvɪgərəs səˈpɔrtərz əv ðə ˈfɑsəl fjuəl ˈbɪznɪs. prəˈvaɪdɪŋ səʧ trɪˈmɛndəs səˈpɔrt tɪ ə ˈpaʊərfəl əv ən ˈɪndəstri, aʊt əv steɪt ˈkɔfərz, ɪz ˈhɑrdli ˈʤəstəˌfaɪəbəl baɪ ðə ɔlˈmaɪti fri hænd əv ˈmɑrkɪt ˈlɪˌbərəˌlɪzəm. ɪn tərmz əv ðə ˈgəvərnmənt ˈlɑʤɪk fər kənˈtɪnjud prəˈvɪʒən əv ˈsəbsɪdiz tɪ ðə ɔɪl, koʊl ənd gæs ʤaɪənts, ðə səˈpoʊzədli ˈnoʊbəl ˌræʃəˈnæl əv ˈsərvɪŋ ðə moʊst ˌdɪsədˈvænɪʤd ˈmɛmbərz əv soʊˈsaɪɪti stænd ˈskrutəni. ˌɪnˈdid, ɪt ɪz ðə ˈpurɪst ˈmɛmbərz əv ðə ˌpɑpjəˈleɪʃən ðət ˈbɛnəfɪt list frəm ˈsəbsɪˌdaɪzd fjuəl ənd ɪˌlɛkˈtrɪsəti ˈpraɪsɪz, bɪˈkəz ðeɪ ˈɔfən oʊn ə ˈpərsɪnəl ˈviɪkəl ər ɪkˈspɛnsɪv dɪˈvaɪsɪz: əˈkɔrdɪŋ tɪ ðə imf*, ðə ˈrɪʧəst 20 pərˈsɛnt gɪt sɪks taɪmz ðə ˈbɛnəfɪt əv ðə ˈpurɪst 20 pərˈsɛnt. ɪt ɪz əˈpɛrənt ðət ˈfɑsəl fjuəl ˈsəbsɪdiz ˈbɛnəfɪt ˈoʊnli ðə ˈrɪʧəst prəˈdusərz ənd ðə ˈrɪʧəst kənˈsumərz əv fjuəlz. ˈrɛkəgˌnaɪzɪŋ ðiz dɪˈspɛrətiz, ðɛr hæv bɪn ˈnumərəs əˈtɛmpts, ˌɪnˈkludɪŋ baɪ ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə, tɪ ˌɪntrəˈdus ˌlɛʤəsˈleɪʃən ɪn ðə juˈnaɪtɪd steɪts ðət kənˈsɪdərəbli rɪˈdusɪz ðə ˈsəbsɪdiz prəˈvaɪdɪd tɪ ðə ˈfɑsəl fjuəl ˈɪndəstri. əˈməŋ ðə ˈpisɪz əv ˌlɛʤəsˈleɪʃən prəˈpoʊzd fər əˈdɑpʃən wər: ðə rɪˈpil bɪg ɔɪl tæks ˈsəbsɪdiz ækt, ˈspɑnsərd baɪ ˈsɛnətər mɛˈnɛndɛz (d-nj*) ənd ðə ɛnd pəˈlutər ˈwɛlˌfɛr ækt, ˌɪntrəˈdust baɪ ˈsɛnətər ˈbərni ˈsændərz ənd ˌrɛprɪˈzɛnətɪv kiθ ˈɛlɪsən. ðə səˈpoʊzədli ˈnoʊbəl ˌræʃəˈnæl əv ˈsərvɪŋ ðə moʊst ˌdɪsədˈvænɪʤd ˈmɛmbərz əv soʊˈsaɪɪti stænd ˈskrutəni. ˌɪnˈdid, ɪt ɪz ðə ˈpurɪst ˈmɛmbərz əv ðə ˌpɑpjəˈleɪʃən ðət ˈbɛnəfɪt list frəm ˈsəbsɪˌdaɪzd fjuəl ənd ɪˌlɛkˈtrɪsəti ˈpraɪsɪz, bɪˈkəz ðeɪ ˈɔfən oʊn ə ˈpərsɪnəl ˈviɪkəl ər ɪkˈspɛnsɪv dɪˈvaɪsɪz. ˌhaʊˈɛvər, səʧ kəˈmɛndəbəl ˈlɛʤəsˌleɪtɪv ˈʧeɪnʤɪz, ˈeɪmɪŋ tɪ fri əp məʧ ˈnidɪd ˈpəblɪk ˈfəndɪŋ fər ˈsoʊʃəli ˈvæljəbəl ˈprɑʤɛkts ənd rɪˈdusɪŋ rɪˈlaɪəns ɔn ˌənsəˈsteɪnəbəl ˈsɔrsəz əv ˈɛnərʤi, wʊd nɑt bi ˈteɪkən əp baɪ ðə ˈjuˈɛs ˈkɑŋgrəs. ‘‘surprising’*’, ju wʊd seɪ ˈkɑŋgrəs səˈpoʊzd tɪ hæv ðə bɛst ˈɪntərɪsts ɪn maɪnd? ðə ˌsɪʧuˈeɪʃən ɪz ə bɪt mɔr ˈkɑmplɛks. ðə rɪˈləktəns tɪ feɪz aʊt ˈfɑsəl fjuəl ˈsəbsɪdiz maɪt wɛl stɛm frəm ðə fækt ðət ˈkɑŋgrəsmɪn rɪˈsiv səbˈstænʃəl səˈpɔrt fər ðɛr ɪˈlɛkʃən kæmˈpeɪnz frəm bɪg ɔɪl (rɛd hir ˈʃɛvrən, ˈɛksɑn ˈmoʊbəl, kɔʧ ˈɪndəstriz, ʃɛl,, ˌɛtˈsɛtərə.). ˌɪnˈdid, ðə əˈmaʊnt spɛnt baɪ ðə ˈfɑsəl fjuəl ˈlɑbi ˈdʊrɪŋ ðə ˈkɑŋgrəs (ɪn 2009 ənd 2010 ˈtoʊtəld ˌhaʊˈɛvər, ðɪs ˈfɪgjər peɪlz ɪn kəmˈpɛrəsən tɪ ðə ˈsəbsɪdiz prəˈvaɪdɪd tɪ ˈfɑstərɪŋ ðə rɪˈlaɪəns ɔn ɔɪl, koʊl ənd gæs: ðə fʊl əˈmaʊnt ˈgɪvɪn tɪ ˈfɑsəl fjuəl ˈkəmpəˌniz ˈdʊrɪŋ ðə ˈkɑŋgrəs wɑz du ðə mæθ ənd ðɪs ˌrɛprɪˈzɛnts ə ˈstægərˌɪŋ 5800 pərˈsɛnt rɪˈtərn ɔn ˌɪnˈvɛstmənt! ðɛr ər ˈwɪnərz ənd ˈluzərz ɪn ˈɛvəri geɪm, bət ˈsərtənli ɪn ðɪs keɪs, ɑr ˈgəvərnmənts ər nɑt ˈwɪnɪŋ. tɪ meɪk ˈmætərz wərs, əˈkɔrdɪŋ tɪ ðə ˈoʊvərˈsiz dɪˈvɛləpmənt ˈɪnstɪˌtut (odi*), ˈgɪvɪn ðə ˈvɑlətəl ˈmɑrkɪt ˈpraɪsɪz əv ˈfɑsəl fjuəlz æt ðə ˈmoʊmənt, ðə ˈpɑləsi əv ˈsəbsɪˌdaɪzɪŋ ɔˈrɛdi ˈpaʊərfəl bɪg ɔɪl ˌrɛprɪˈzɛnts ə pur ˌɪnˈvɛstmənt əv ˈpəblɪk ˈməni. wət ɪz mɔr, ɪf ðə vjuz əv ðə moʊst rɪˈspɛktɪd ˈsaɪəntɪsts ər tɪ bi ˈteɪkən ˈɪntu əˈkaʊnt lʊk æt ðə ˌɪntərˌgəvərnˈmɛntəl ˈpænəl ɔn ˈklaɪmɪt ʧeɪnʤ rɪˈpɔrt: ðə ˈfɪzɪkəl saɪəns ˈbeɪsɪs 2013 ðɛn ɪn ˈɔrdər tɪ əˈvɔɪd səm əv ðə moʊst ˌkætəˈstrɑfɪk ˈkɑnsəkˌwɛnsəz əv ˈklaɪmɪt ʧeɪnʤ ənd ɪnˌvaɪrənˈmɛnəl ˌɪmˈpækt, wi nid tɪ kip æt list ˌtuˈθərdz əv ɪgˈzɪstɪŋ ˈfɑsəl fjuəl rɪˈzərvz ɪn ðə graʊnd. ðɪs, ˈifɛktɪvli, minz ðət ðə məˈʤɔrəti əv ˈkɑrbən fjuəlz wɪl hæv tɪ steɪ unburnable*, kriˈeɪtɪŋ ə ˈkɑrbən ˈbəbəl (ˈsɪmələr tɪ ðə ˈbəbəl ənd ðə 2008 ˈmɔrgɪʤ kræʃ). ðə ˈpɑləsi əv rɪˈlɛntləsli səˈpɔrtɪŋ ˈfɑsəl fjuəlz simz ɔl ðə mɔr ənˈriznəbəl ɪn ðɪs laɪt. jɛt, ɪt ɪz nɑt ˈædvəˌkeɪtɪd hir ðət wi nid tɪ, ər ˌɪnˈdid kən, stɑp riˈlaɪɪŋ ɔn ˈɛnərʤi ˌɔltəˈgɛðər. ˈɛnərʤi ɪz ˈvaɪtəl ɪn səˈpɔrtɪŋ ɔl ðə ˈprɑsɛsəz ənd ˈwərkɪŋz əv ə ˈmɑdərn wərld. wət ɪt wɪl teɪk, ˌhaʊˈɛvər, ɪz ə stip ənd kənˈsɪstənt trænˈzɪʃən tɪ ˈklinər, rɪˈlaɪəbəl ənd ˈsɔrsəz əv ˈɛnərʤi ðət ər hir fər ðə lɔŋ rən:. fər ðə sceptics*, ɪt məst bi ˈnoʊtɪd ðət ɔn 11 meɪ 2014 ˈʤərməni (ˈniðər ə ˈvɛri ˈsəni, nɔr ə ˈwɪndi ˈkəntri) ˈmænɪʤd tɪ ˈʤɛnərˌeɪt 75 pərˈsɛnt əv ðə ˈoʊvərˌɔl ˈɛnərʤi dɪˈmænd frəm wɪnd ənd ˈsoʊlər paʊər. mɔˈroʊvər, ðə ˈkəntri ðə ɪˈkɑnəmi ɪn ðə wərld ˈʤɛnərˌeɪtɪd 27 pərˈsɛnt əv ɪts ˈɛnərʤi nidz baɪ ɪn ðə fərst θri mənθs əv 2014 ðɪs kəˈmɛndəbəl ɪgˈzæmpəl ˈoʊnli goʊz tɪ ʃoʊ ðət wət ɪz ˈlækɪŋ ɪz nɑt ˌkeɪpəˈbɪləti, bət pəˈlɪtɪkəl wɪl, tɪ meɪk ə ʧeɪnʤ. ɪt ˈɔlsoʊ meɪks ˌɛkəˈnɑmɪk sɛns. ˈstədiz səˈʤɛst ðət ˌrɛprɪˈzɛnt məʧ ˈbɛtər ˈvælju pər ˈdɔlər ˌɪnˈvɛstɪd: ˈɛvəri ˈjuˈɛs ˈdɔlər spɛnt ɔn riˈnuəbəl ˈɛnərʤi ˈsəbsɪdiz əˈtræktəd ɪn ˌɪnˈvɛstmənt, waɪl ə ˈdɔlər ɪn ˈfɑsəl fjuəl ˈsəbsɪdiz dru əv ˌɪnˈvɛstmənt. ðɪs ˈnəmbər ɪkˈskludz ðə ˈsoʊʃəli ˈhɑrmfəl ˈifɛkts əv pəˈluʃən ˈʤɛnərˌeɪtɪd baɪ bɪg ɔɪl ˈkəmpəˌniz səʧ ɛz hɛlθ ˌɪmˈpækt, dɪˈtɪriərˌeɪtɪŋ ɪnˈvaɪrənmənt ənd ɔɪl spɪlz (e.g*. ðə ˈɪnfəməs gəlf əv ˈmɛksəˌkoʊ spɪl baɪ ɪn 2010 ˈniðər du ðiz ˌkælkjəˈleɪʃənz teɪk ˈɪntu əˈkaʊnt ðə ˈbɛnəfɪts prəˈvaɪdɪd baɪ ˈɛnərʤi ɪn tərmz əv ʤɑb kriˈeɪʃən, grin ɪˈkɑnəmi ˈbɛnəfɪts, ‘‘natural’*’ ˈbɛnəfɪts, ˈjumən ˌɪmˈpækt ənd ˌɪmˈpruvd ˈnæʧərəl ˈhæbəˌtæts fər baɪəˈlɑʤɪkli dɪˈvərs ˈflɔrə ənd ˈfɔnə. ðə kɔl ɪz jʊrz tɪ meɪk wɪn əˈproʊʧɪŋ jʊr ɪˈlɛktɪd ˌrɛprɪˈzɛnətɪvz ˈmɛmbərz əv ðə ˈpəblɪk kən dɪˈmænd ə ʧeɪnʤ baɪ rɪkˈwɛstɪŋ ðɛr ˈgəvərnmənts ənd ˌɔrgənəˈzeɪʃənz tɪ dɪˈvɛst frəm ˈfɑsəl fjuəlz (ʤɪst laɪk ðə ˈrɑkəˌfɛlər ˈbrəðərz fənd dɪd ɪn sɛpˈtɛmbər læst jɪr). ɪf ə bɪg neɪm ɪn bɪg ɔɪl kən du ɪt, ju kən du ɪt, tu. ɪz ə ˈpiˌeɪʧˈdi ˈkænədɪt æt hɔŋ kɔŋg ˌjunəˈvərsəti. ðɪs ˈɑrtɪkəl wɑz ˈrɪtən ɪkˈsklusɪvli fər eco-business*.
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there was a time some years ago that was the surest way to get the latest build of android on your phone. it's a little slower these days, but development continues to chug along. the team hopes to roll out the first nightly builds of14.1 later tonight, but not all devices will be supported right away.
according to steve kondik, there are about a dozen devices slated for release in the first push. here they are.
angler (nexus 6p)
bullhead (nexus 5x)
cancro)
d855)
falcon/peregrine/thea/titan (moto g variants)
h811/h815)
klte/kltedv/kltespr/klteusc/kltevzw (samsung galaxy)
oneplus3 3)
z00l/z00t 2)
if you've got one of those devices with an unlocked bootloader, you will be able to install the flavor of nougat. the will probably have some bugs, but updates will be frequent. not all features will be available right away, and more devices will get support later. interested parties with sufficient courage to run a nightly should keep an eye on the download page.
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ðɛr wɑz ə taɪm səm jɪrz əˈgoʊ ðət wɑz ðə ˈʃʊrɪst weɪ tɪ gɪt ðə ˈleɪtəst bɪld əv ˈænˌdrɔɪd ɔn jʊr foʊn. ɪts ə ˈlɪtəl sloʊər ðiz deɪz, bət dɪˈvɛləpmənt kənˈtɪnjuz tɪ ʧəg əˈlɔŋ. ðə tim hoʊps tɪ roʊl aʊt ðə fərst ˈnaɪtli bɪldz əv ˈleɪtər təˈnaɪt, bət nɑt ɔl dɪˈvaɪsɪz wɪl bi səˈpɔrtɪd raɪt əˈweɪ. əˈkɔrdɪŋ tɪ stiv kondik*, ðɛr ər əˈbaʊt ə ˈdəzən dɪˈvaɪsɪz sˈleɪtɪd fər riˈlis ɪn ðə fərst pʊʃ. hir ðeɪ ər. ˈæŋglər (ˈnɛksəs 6p*) ˈbʊˌlhɛd (ˈnɛksəs 5x*) ˈkɑnkroʊ (ˈmoʊtoʊ ʤi ˈvɛriənts) (ˈsæmˌsəŋ ˈgæləksi 3 2 ɪf juv gɑt wən əv ðoʊz dɪˈvaɪsɪz wɪθ ən ənˈlɑkt bootloader*, ju wɪl bi ˈeɪbəl tɪ ˌɪnˈstɔl ðə ˈfleɪvər əv nougat*. ðə wɪl ˈprɑbəˌbli hæv səm bəgz, bət ˈəpˌdeɪts wɪl bi ˈfrikˌwɛnt. nɑt ɔl ˈfiʧərz wɪl bi əˈveɪləbəl raɪt əˈweɪ, ənd mɔr dɪˈvaɪsɪz wɪl gɪt səˈpɔrt ˈleɪtər. ˈɪntəˌrɛstɪd ˈpɑrtiz wɪθ səˈfɪʃənt kərɪʤ tɪ rən ə ˈnaɪtli ʃʊd kip ən aɪ ɔn ðə ˈdaʊnˌloʊd peɪʤ.
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in the latest flame war on immigration, some politicians are targeting the children of undocumented immigrants. they blithely state time and time again that undocumented immigrants are flooding the border to have their children in the u.s., thereby guaranteeing them citizenship. their solution to this supposed “baby dropping epidemic” is amending the u.s. constitution by repealing the fourteenth amendment, which states that, with very few exceptions, all persons born in the u.s. are u.s. citizens, regardless of the immigration status of their parents. sadly, however, their arguments are thin, the facts misrepresented and their attempts at reelection using on immigration platforms even thinner. when facts matter and immigrants is par for the course, attacking u.s. citizen children probably seems like a winning reelection strategy.
in a recent fox news interview, sen. lindsey graham (r-sc) reiterated the flawed conservative argument for ending birthright citizenship:
“people come here to have babies. they come here to drop a child, called drop and leave,” graham said. “to have a child in america, they cross the border, they go to the emergency room, they have a child, and that automatically an american citizen. that be the case. that attracts people for all the wrong reasons,” he added.
while some conservatives have taken a step back and challenged attacks on the fourteenth amendment, others have the argument into left crazy end of left field. texas state rep. debbie riddle went on cnn this week and claimed that pregnant women are coming to america to give birth, then raise their babies as terrorists. you heard me, terrorists. when asked for proof, she mentioned the fbi and then refused to give a source. surprise.
in fact, misrepresenting the facts has become par for the course in the immigration debate. the pew hispanic center recently released a report which estimated that of the million children born in the united states in 2008 had at least one unauthorized parent. the “at least one unauthorized parent” conditional, however, was only clarified in a footnote which read, “a child has unauthorized parents if either parent is unauthorized: a child has parents if all identified parents are u.s. born,” meaning that this figure includes families in which one parent is unauthorized and the other a u.s. citizen or legal immigrant households). but that footnote makes a huge difference when determining how many children would be affected by a change to the fourteenth amendment. numerous news articles ran with the pew estimate as though both parents were undocumented.
the truth is that majority of immigrants come to the u.s. to work, to reunite with their families, or to flee to have children. some immigrants do, in fact, have children in the u.s. and some of those families are mixed status families, but suggesting that undocumented immigrants anchor themselves here through childbirth is just false. as senator john kerry (d-ma) pointed out in a recent editorial , undocumented parents with children have to wait decades to apply for citizenship:
there is no epidemic of people “flying in” just to have their children born as u.s. citizens and every senator knows it. just as they know it takes more than two decades for a child born in america to sponsor anyone for immigration which means no back door for undocumented parents to become citizens on the sly.
denying birthright citizenship is not a solution to illegal will not discourage unauthorized immigrants from coming to the u.s., and it will not encourage those already here to leave. furthermore, it would force all american just prove the citizenship of their children through a cumbersome and expensive bureaucratic process. but conservative would rather rally their troops with false messaging and mischaracterizations than actually solve our immigration problem.
seth hoy
republished with permission from immigration impact.
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ɪn ðə ˈleɪtəst fleɪm wɔr ɔn ˌɪməˈgreɪʃən, səm ˌpɑləˈtɪʃənz ər ˈtɑrgətɪŋ ðə ˈʧɪldrən əv ənˈdɑkjəmɛnɪd ˈɪməgrənts. ðeɪ ˈblaɪθli steɪt taɪm ənd taɪm əˈgɛn ðət ənˈdɑkjəmɛnɪd ˈɪməgrənts ər ˈflədɪŋ ðə ˈbɔrdər tɪ hæv ðɛr ˈʧɪldrən ɪn ðə juz., ˈðɛrˈbaɪ ˌgɛrənˈtiɪŋ ðɛm ˈsɪtɪzənˌʃɪp. ðɛr səˈluʃən tɪ ðɪs səˈpoʊzd ˈdrɑpɪŋ epidemic”*” ɪz əˈmɛndɪŋ ðə juz. ˌkɑnstəˈtuʃən baɪ riˈpilɪŋ ðə ˌfɔrˈtinθ əˈmɛndmənt, wɪʧ steɪts ðət, wɪθ ˈvɛri fju ɪkˈsɛpʃənz, ɔl ˈpərsənz bɔrn ɪn ðə juz. ər juz. ˈsɪtɪzənz, rəˈgɑrdləs əv ðə ˌɪməˈgreɪʃən ˈstætəs əv ðɛr ˈpɛrənts. ˈsædli, ˌhaʊˈɛvər, ðɛr ˈɑrgjəmənts ər θɪn, ðə fækts ˌmɪsrɛprɪˈzɛnɪd ənd ðɛr əˈtɛmpts æt riɪˈlɛkʃən ˈjuzɪŋ ɔn ˌɪməˈgreɪʃən ˈplætˌfɔrmz ˈivɪn ˈθɪnər. wɪn fækts ˈmætər ənd ˈɪməgrənts ɪz pɑr fər ðə kɔrs, əˈtækɪŋ juz. ˈsɪtɪzən ˈʧɪldrən ˈprɑbəˌbli simz laɪk ə ˈwɪnɪŋ riɪˈlɛkʃən ˈstrætəʤi. ɪn ə ˈrisənt fɑks nuz ˈɪntərvˌju, sɛn. ˈlɪndzi græm (r-sc*) riˈɪtərˌeɪtɪd ðə flɔd kənˈsərvətɪv ˈɑrgjəmənt fər ˈɛndɪŋ ˈbərθˌraɪt ˈsɪtɪzənˌʃɪp: kəm hir tɪ hæv ˈbeɪbiz. ðeɪ kəm hir tɪ drɔp ə ʧaɪld, kɔld drɔp ənd leave,”*,” græm sɛd. hæv ə ʧaɪld ɪn əˈmɛrɪkə, ðeɪ krɔs ðə ˈbɔrdər, ðeɪ goʊ tɪ ðə ˈimərʤənsi rum, ðeɪ hæv ə ʧaɪld, ənd ðət ˌɔtəˈmætɪkli ən əˈmɛrɪkən ˈsɪtɪzən. ðət bi ðə keɪs. ðət əˈtrækts ˈpipəl fər ɔl ðə rɔŋ reasons,”*,” hi ˈædɪd. waɪl səm kənˈsərvətɪvz hæv ˈteɪkən ə stɛp bæk ənd ˈʧælənʤd əˈtæks ɔn ðə ˌfɔrˈtinθ əˈmɛndmənt, ˈəðərz hæv ðə ˈɑrgjəmənt ˈɪntu lɛft ˈkreɪzi ɛnd əv lɛft fild. ˈtɛksəs steɪt rɛpriˈzɛtətɪv. ˈdɛbi ˈrɪdəl wɛnt ɔn ˈsiˈɛˈnɛn ðɪs wik ənd kleɪmd ðət ˈprɛgnənt ˈwɪmən ər ˈkəmɪŋ tɪ əˈmɛrɪkə tɪ gɪv bərθ, ðɛn reɪz ðɛr ˈbeɪbiz ɛz ˈtɛrəˌrɪsts. ju hərd mi, ˈtɛrəˌrɪsts. wɪn æst fər pruf, ʃi ˈmɛnʃənd ðə ˈɛfˈbiˈaɪ ənd ðɛn rɪfˈjuzd tɪ gɪv ə sɔrs. səˈpraɪz. ɪn fækt, mɪsˌrɛprəˈzɛnɪŋ ðə fækts həz bɪˈkəm pɑr fər ðə kɔrs ɪn ðə ˌɪməˈgreɪʃən dəˈbeɪt. ðə pju hɪˈspænɪk ˈsɛnər ˈrisəntli riˈlist ə rɪˈpɔrt wɪʧ ˈɛstəˌmeɪtɪd ðət əv ðə ˈmɪljən ˈʧɪldrən bɔrn ɪn ðə juˈnaɪtɪd steɪts ɪn 2008 hæd æt list wən əˈnɔθərˌaɪzd ˈpɛrənt. ðə list wən əˈnɔθərˌaɪzd parent”*” kənˈdɪʃənəl, ˌhaʊˈɛvər, wɑz ˈoʊnli ˈklɛrəˌfaɪd ɪn ə ˈfʊtˌnoʊt wɪʧ rɛd, ʧaɪld həz əˈnɔθərˌaɪzd ˈpɛrənts ɪf ˈiðər ˈpɛrənt ɪz əˈnɔθərˌaɪzd: ə ʧaɪld həz ˈpɛrənts ɪf ɔl aɪˈdɛntəˌfaɪd ˈpɛrənts ər juz. born,”*,” ˈminɪŋ ðət ðɪs ˈfɪgjər ˌɪnˈkludz ˈfæməliz ɪn wɪʧ wən ˈpɛrənt ɪz əˈnɔθərˌaɪzd ənd ðə ˈəðər ə juz. ˈsɪtɪzən ər ˈligəl ˈɪməgrənt ˈhaʊsˌhoʊldz). bət ðət ˈfʊtˌnoʊt meɪks ə juʤ ˈdɪfərəns wɪn dɪˈtərmənɪŋ haʊ ˈmɛni ˈʧɪldrən wʊd bi əˈfɛktɪd baɪ ə ʧeɪnʤ tɪ ðə ˌfɔrˈtinθ əˈmɛndmənt. ˈnumərəs nuz ˈɑrtɪkəlz ræn wɪθ ðə pju ˈɛstəˌmeɪt ɛz ðoʊ boʊθ ˈpɛrənts wər ənˈdɑkjəmɛnɪd. ðə truθ ɪz ðət məˈʤɔrəti əv ˈɪməgrənts kəm tɪ ðə juz. tɪ wərk, tɪ ˌriuˈnaɪt wɪθ ðɛr ˈfæməliz, ər tɪ fli tɪ hæv ˈʧɪldrən. səm ˈɪməgrənts du, ɪn fækt, hæv ˈʧɪldrən ɪn ðə juz. ənd səm əv ðoʊz ˈfæməliz ər mɪkst ˈstætəs ˈfæməliz, bət səˈʤɛstɪŋ ðət ənˈdɑkjəmɛnɪd ˈɪməgrənts ˈæŋkər ðɛmˈsɛlvz hir θru ˈʧaɪldˌbərθ ɪz ʤɪst fɔls. ɛz ˈsɛnətər ʤɑn ˈkɛri (d-ma*) ˈpɔɪntɪd aʊt ɪn ə ˈrisənt ˌɛdəˈtɔriəl ənˈdɑkjəmɛnɪd ˈpɛrənts wɪθ ˈʧɪldrən hæv tɪ weɪt ˈdɛkeɪdz tɪ əˈplaɪ fər ˈsɪtɪzənˌʃɪp: ðɛr ɪz noʊ ˌɛpɪˈdɛmɪk əv ˈpipəl in”*” ʤɪst tɪ hæv ðɛr ˈʧɪldrən bɔrn ɛz juz. ˈsɪtɪzənz ənd ˈɛvəri ˈsɛnətər noʊz ɪt. ʤɪst ɛz ðeɪ noʊ ɪt teɪks mɔr ðən tu ˈdɛkeɪdz fər ə ʧaɪld bɔrn ɪn əˈmɛrɪkə tɪ ˈspɑnsər ˈɛniˌwən fər ˌɪməˈgreɪʃən wɪʧ minz noʊ bæk dɔr fər ənˈdɑkjəmɛnɪd ˈpɛrənts tɪ bɪˈkəm ˈsɪtɪzənz ɔn ðə slaɪ. dɪˈnaɪɪŋ ˈbərθˌraɪt ˈsɪtɪzənˌʃɪp ɪz nɑt ə səˈluʃən tɪ ˌɪˈligəl wɪl nɑt dɪˈskərɪʤ əˈnɔθərˌaɪzd ˈɪməgrənts frəm ˈkəmɪŋ tɪ ðə juz., ənd ɪt wɪl nɑt ɪnˈkərəʤ ðoʊz ɔˈrɛdi hir tɪ liv. ˈfərðərˌmɔr, ɪt wʊd fɔrs ɔl əˈmɛrɪkən ʤɪst pruv ðə ˈsɪtɪzənˌʃɪp əv ðɛr ˈʧɪldrən θru ə ˈkəmbərsəm ənd ɪkˈspɛnsɪv ˌbjʊrəˈkrætɪk ˈprɔˌsɛs. bət kənˈsərvətɪv wʊd ˈrəðər ˈræli ðɛr trups wɪθ fɔls ˈmɛsɪʤɪŋ ənd mɪˌskærəktərəˈzeɪʃənz ðən ˈæˌkʧuəli sɑlv ɑr ˌɪməˈgreɪʃən ˈprɑbləm. sɛθ hɔɪ wɪθ pərˈmɪʃən frəm ˌɪməˈgreɪʃən ˌɪmˈpækt.
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to many people, james is a hero -- the man who stopped the murderer whose rampage ended the life of former guitarist darrell on dec. 8, 2004. but as he admitted during a recent interview with the columbus dispatch , the 10 years since that fateful night haven't been easy for him.
"i found out real quickly that you have any control over your brain -- going to do what going to do," said, who told the newspaper he was diagnosed with post-traumatic stress disorder and severe anxiety disorder after the shooting. "cops are regular human beings. things affect us the same way they affect everyday citizens. we relive it and have to deal with the aftermath."
after arriving at the nightclub where the shooting took place -- and where the gunman remained onstage, firing into the crowd with a hostage in a -- entered through a back door and slowly approached the killer as he lined up his shot. the first one on the scene, he walked into the club without backup, and did the best anyone could have hoped under the circumstances -- but the incident also spelled the eventual end of his career on the police force.
saying it "changed my career path -- not for the better, certainly," added, happy to have been able to end the situation with no further tragedies after i arrived, but it certainly made my life any better." the article emphasizes the silver lining to the tragedy, exploring the friendship that developed between, club owner rick and andy, brother of erin, a security guard killed in the act of trying to stop the gunman. as put it, "we went through hell together. you develop a bond."
and for, it's and the others who jumped in before he arrived on the scene that truly deserve to be honored. "when tragedy strikes, there are people in this world who will step up and try to stop it. there are people who will stand up in the face of death and give their life to try to save others," he pointed out. "they did that with no police there, with no guns. those are the true heroes to me."
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tɪ ˈmɛni ˈpipəl, ʤeɪmz ɪz ə ˈhɪroʊ ðə mæn hu stɑpt ðə ˈmərdərər huz ˈræmˌpeɪʤ ˈɛndɪd ðə laɪf əv ˈfɔrmər ˌgɪˈtɑrɪst ˈdɛrəl ɔn dɛk. 8 2004 bət ɛz hi ədˈmɪtəd ˈdʊrɪŋ ə ˈrisənt ˈɪntərvˌju wɪθ ðə kəˈləmbəs dɪˈspæʧ ðə 10 jɪrz sɪns ðət ˈfeɪtfəl naɪt ˈhævənt bɪn ˈizi fər ɪm. "aɪ faʊnd aʊt ril kˈwɪkli ðət ju hæv ˈɛni kənˈtroʊl ˈoʊvər jʊr breɪn goʊɪŋ tɪ du wət goʊɪŋ tɪ du," sɛd, hu toʊld ðə ˈnuzˌpeɪpər hi wɑz ˌdaɪəgˈnoʊst wɪθ ˌpoʊstrɔˈmætɪk strɛs dɪˈsɔrdər ənd səˈvɪr æŋˈzaɪəti dɪˈsɔrdər ˈæftər ðə ˈʃutɪŋ. "kɑps ər ˈrɛgjələr ˈjumən biɪŋz. θɪŋz əˈfɛkt ˈjuˈɛs ðə seɪm weɪ ðeɪ əˈfɛkt ˈɛvriˈdeɪ ˈsɪtɪzənz. wi riˈlɪv ɪt ənd hæv tɪ dil wɪθ ðə ˈæftərˌmæθ." ˈæftər ərˈaɪvɪŋ æt ðə ˈnaɪtˌkləb wɛr ðə ˈʃutɪŋ tʊk pleɪs ənd wɛr ðə ˈgənmən rɪˈmeɪnd ˌɑnˈsteɪʤ, ˈfaɪərrɪŋ ˈɪntu ðə kraʊd wɪθ ə ˈhɑstɪʤ ɪn ə ˈɛnərd θru ə bæk dɔr ənd sˈloʊli əˈproʊʧt ðə ˈkɪlər ɛz hi laɪnd əp hɪz ʃɑt. ðə fərst wən ɔn ðə sin, hi wɔkt ˈɪntu ðə kləb wɪˈθaʊt ˈbæˌkəp, ənd dɪd ðə bɛst ˈɛniˌwən kʊd hæv hoʊpt ˈəndər ðə ˈsərkəmˌstænsɪz bət ðə ˈɪnsədənt ˈɔlsoʊ spɛld ðə əˈvɛnʧuəl ɛnd əv hɪz kərɪr ɔn ðə pəˈlis fɔrs. seɪɪŋ ɪt "ʧeɪnʤd maɪ kərɪr pæθ nɑt fər ðə ˈbɛtər, ˈsərtənli," ˈædɪd, ˈhæpi tɪ hæv bɪn ˈeɪbəl tɪ ɛnd ðə ˌsɪʧuˈeɪʃən wɪθ noʊ ˈfərðər ˈtræʤədiz ˈæftər aɪ əraɪvd, bət ɪt ˈsərtənli meɪd maɪ laɪf ˈɛni ˈbɛtər." ðə ˈɑrtɪkəl ˈɛmfəˌsaɪzɪz ðə ˈsɪlvər ˈlaɪnɪŋ tɪ ðə ˈtræʤədi, ɪkˈsplɔrɪŋ ðə ˈfrɛndʃɪp ðət dɪˈvɛləpt bɪtˈwin, kləb ˈoʊnər rɪk ənd ˈændi, ˈbrəðər əv ˈɛrɪn, ə sɪˈkjʊrəti gɑrd kɪld ɪn ðə ækt əv traɪɪŋ tɪ stɑp ðə ˈgənmən. ɛz pʊt ɪt, "wi wɛnt θru hɛl təˈgɛðər. ju dɪˈvɛləp ə bɑnd." ənd fər, ɪts ənd ðə ˈəðərz hu ʤəmpt ɪn ˌbiˈfɔr hi əraɪvd ɔn ðə sin ðət ˈtruli dɪˈzərv tɪ bi ˈɑnərd. "wɪn ˈtræʤədi straɪks, ðɛr ər ˈpipəl ɪn ðɪs wərld hu wɪl stɛp əp ənd traɪ tɪ stɑp ɪt. ðɛr ər ˈpipəl hu wɪl stænd əp ɪn ðə feɪs əv dɛθ ənd gɪv ðɛr laɪf tɪ traɪ tɪ seɪv ˈəðərz," hi ˈpɔɪntɪd aʊt. "ðeɪ dɪd ðət wɪθ noʊ pəˈlis ðɛr, wɪθ noʊ gənz. ðoʊz ər ðə tru ˈhɪroʊz tɪ mi."
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washington the $40 million shell of an unfinished prison in province; $2 million in laundered cash pocketed by government officials and contractors in hilla; an $80 invoice on a $1.41 piece of piping from a defense subcontractor near baghdad.
those are just three examples of fraudulent and wasteful spending that plagued u.s. reconstruction efforts in iraq, according to the special inspector general for iraq reconstruction, which on tuesday issued its final report on the u.s. $60 billion reconstruction program for that country.
the report identified at least $1.5 billion in wasted or questionable spending during the period from 2004 to 2013. it urged congress to create a new agency, the office for contingency operations, which would oversee and coordinate such reconstruction in the future, prospectively avoiding some of the worst excesses.
“if it had existed at the outset of the iraq program, the united states might have avoided wasting billions of taxpayer dollars,” said the report, titled “learning from iraq.”
such an office would be critical to better spending and contracting practices if, for example, the united states were to get involved in reconstruction in syria, where the civil war has devastated entire cities.
“experience has shown that we need a corps of dedicated civilian professionals in order to conduct these stabilization operations well,” said john herbst, the director of the center for complex operations at the national defense university in washington, who testified before the house foreign affairs committee. “we have created the greatest military, but without a civilian counterpart, this military will not conduct stabilization operations effectively.”
inspector general stuart bowen also used the example of potential reconstruction in syria to explain how such an agency would prove more effective than addressing each effort as it arises.
“it’s impossible to project the cost, but we do know the devastation in syria is massive. and thus the stabilization and rebuilding of the country will take time,” bowen said. were the office of contingency operations in existence, he added, it already would be “identifying the contractors, the personnel, the it system, the oversight, how money would be managed, the controls . . . to ensure that we avert fraud, waste and abuse of the kind that we saw in iraq.”
with an administrator appointed by the president, such an office also would bring accountability to a process that in iraq was handled largely by military officers or government civilians who rotated in and out of their posts before any of the projects were completed.
he cited the example of the federal emergency management mishandling of hurricane katrina to make his point.
“there was no one in charge for iraq specifically,” he said. “mike brown was there to fire when fema failed.”
the office would require roughly $25 million a year in funding, a small price, herbst said, compared to the estimated $200 million a year it would have saved in iraq spending.
the final report outlines nine years of questionable spending and misguided practices in the iraq reconstruction effort. it blamed lack of planning and coordination and shaky oversight for widespread fraud and waste.
the report listed a plethora of failings: many projects designed correctly, money designated for a specific use often was redirected to another project, defense and state department efforts coordinated and no one was in charge overall. contracts that have been approved slipped through the cracks, and deals were struck.
u.s. reconstruction efforts, herbst said, lacked legitimacy and the support of the iraqi people. the failure of u.s. troops to establish security before reconstruction efforts began led many projects to fail.
“you must have sufficient security before engaging in reconstruction activity,” said herbst. “that cost us billions of dollars and too many lives.”
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ˈwɔʃɪŋtən ðə 40 ˈmɪljən ʃɛl əv ən ənˈfɪnɪʃt ˈprɪzən ɪn ˈprɑvɪns; 2 ˈmɪljən ɪn ˈlɔndərd kæʃ ˈpɑkətɪd baɪ ˈgəvərnmənt əˈfɪʃəlz ənd ˈkɑnˌtræktərz ɪn ˈhɪlə; ən 80 ˈɪnvɔɪs ɔn ə pis əv ˈpaɪpɪŋ frəm ə dɪˈfɛns səbˈkɑnˌtræktər nɪr ˈbægdæd. ðoʊz ər ʤɪst θri ɪgˈzæmpəlz əv ˈfrɔʤələnt ənd ˈweɪstfəl ˈspɛndɪŋ ðət pleɪgd juz. ˌrikənˈstrəkʃən ˈɛfərts ɪn ˌɪˈrɑk, əˈkɔrdɪŋ tɪ ðə ˈspɛʃəl ˌɪnˈspɛktər ˈʤɛnərəl fər ˌɪˈrɑk ˌrikənˈstrəkʃən, wɪʧ ɔn ˈtuzˌdeɪ ˈɪʃud ɪts ˈfaɪnəl rɪˈpɔrt ɔn ðə juz. 60 ˈbɪljən ˌrikənˈstrəkʃən ˈproʊˌgræm fər ðət ˈkəntri. ðə rɪˈpɔrt aɪˈdɛntəˌfaɪd æt list ˈbɪljən ɪn ˈweɪstɪd ər kˈwɛsʧənəbəl ˈspɛndɪŋ ˈdʊrɪŋ ðə ˈpɪriəd frəm 2004 tɪ 2013 ɪt ərʤd ˈkɑŋgrəs tɪ kriˈeɪt ə nu ˈeɪʤənsi, ðə ˈɔfəs fər kənˈtɪnʤənsi ˌɑpərˈeɪʃənz, wɪʧ wʊd ˈoʊvərˌsi ənd koʊˈɔrdəˌneɪt səʧ ˌrikənˈstrəkʃən ɪn ðə fˈjuʧər, prəˈspɛktɪvli əˈvɔɪdɪŋ səm əv ðə wərst ˌɛkˈsɛsɪz. ɪt hæd ɪgˈzɪstəd æt ðə ˈaʊtˌsɛt əv ðə ˌɪˈrɑk ˈproʊˌgræm, ðə juˈnaɪtɪd steɪts maɪt hæv əˈvɔɪdɪd ˈweɪstɪŋ ˈbɪljənz əv ˈtækˌspeɪər dollars,”*,” sɛd ðə rɪˈpɔrt, ˈtaɪtəld frəm iraq.”*.” səʧ ən ˈɔfəs wʊd bi ˈkrɪtɪkəl tɪ ˈbɛtər ˈspɛndɪŋ ənd ˈkɑntræktɪŋ ˈpræktɪsɪz ɪf, fər ɪgˈzæmpəl, ðə juˈnaɪtɪd steɪts wər tɪ gɪt ˌɪnˈvɑlvd ɪn ˌrikənˈstrəkʃən ɪn ˈsɪriə, wɛr ðə ˈsɪvəl wɔr həz ˈdɛvəˌsteɪtɪd ɪnˈtaɪər ˈsɪtiz. həz ʃoʊn ðət wi nid ə kɔrz əv ˈdɛdəkeɪtəd səˈvɪljən prəˈfɛʃənəlz ɪn ˈɔrdər tɪ ˈkɑndəkt ðiz ˌsteɪbələˈzeɪʃən ˌɑpərˈeɪʃənz well,”*,” sɛd ʤɑn hərbst, ðə dɪˈrɛktər əv ðə ˈsɛnər fər ˈkɑmplɛks ˌɑpərˈeɪʃənz æt ðə ˈnæʃənəl dɪˈfɛns ˌjunəˈvərsəti ɪn ˈwɔʃɪŋtən, hu ˈtɛstɪˌfaɪd ˌbiˈfɔr ðə haʊs ˈfɔrən əˈfɛrz kəˈmɪti. hæv kriˈeɪtɪd ðə ˈgreɪtəst ˈmɪlɪˌtɛri, bət wɪˈθaʊt ə səˈvɪljən ˈkaʊntərˌpɑrt, ðɪs ˈmɪlɪˌtɛri wɪl nɑt ˈkɑndəkt ˌsteɪbələˈzeɪʃən ˌɑpərˈeɪʃənz effectively.”*.” ˌɪnˈspɛktər ˈʤɛnərəl stɔrt boʊən ˈɔlsoʊ juzd ðə ɪgˈzæmpəl əv pəˈtɛnʃəl ˌrikənˈstrəkʃən ɪn ˈsɪriə tɪ ɪkˈspleɪn haʊ səʧ ən ˈeɪʤənsi wʊd pruv mɔr ˈifɛktɪv ðən æˈdrɛsɪŋ iʧ ˈɛfərt ɛz ɪt ərˈaɪzɪz. ˌɪmˈpɑsəbəl tɪ ˈprɑʤɛkt ðə kɔst, bət wi du noʊ ðə ˌdɛvəˈsteɪʃən ɪn ˈsɪriə ɪz ˈmæsɪv. ənd ðəs ðə ˌsteɪbələˈzeɪʃən ənd riˈbɪldɪŋ əv ðə ˈkəntri wɪl teɪk time,”*,” boʊən sɛd. wər ðə ˈɔfəs əv kənˈtɪnʤənsi ˌɑpərˈeɪʃənz ɪn ɪgˈzɪstəns, hi ˈædɪd, ɪt ɔˈrɛdi wʊd bi ðə ˈkɑnˌtræktərz, ðə ˌpərsəˈnɛl, ðə ɪt ˈsɪstəm, ðə ˈoʊvərˌsaɪt, haʊ ˈməni wʊd bi ˈmænɪʤd, ðə kənˈtroʊlz tɪ ɪnˈʃʊr ðət wi əˈvərt frɔd, weɪst ənd əˈbjuz əv ðə kaɪnd ðət wi sɔ ɪn iraq.”*.” wɪθ ən ədˈmɪnɪˌstreɪtər əˈpɔɪntɪd baɪ ðə ˈprɛzɪdənt, səʧ ən ˈɔfəs ˈɔlsoʊ wʊd brɪŋ əˈkaʊntəˌbɪlɪti tɪ ə ˈprɔˌsɛs ðət ɪn ˌɪˈrɑk wɑz ˈhændəld ˈlɑrʤli baɪ ˈmɪlɪˌtɛri ˈɔfɪsərz ər ˈgəvərnmənt səˈvɪljənz hu ˈroʊˌteɪtɪd ɪn ənd aʊt əv ðɛr poʊsts ˌbiˈfɔr ˈɛni əv ðə ˈprɑʤɛkts wər kəmˈplitɪd. hi ˈsaɪtɪd ðə ɪgˈzæmpəl əv ðə ˈfɛdərəl ˈimərʤənsi ˈmænɪʤmənt mɪsˈhændlɪŋ əv ˈhərəˌkeɪnz kəˈtrinə tɪ meɪk hɪz pɔɪnt. wɑz noʊ wən ɪn ʧɑrʤ fər ˌɪˈrɑk specifically,”*,” hi sɛd. braʊn wɑz ðɛr tɪ faɪər wɪn ˈfimə failed.”*.” ðə ˈɔfəs wʊd ˌrikˈwaɪər ˈrəfli 25 ˈmɪljən ə jɪr ɪn ˈfəndɪŋ, ə smɔl praɪs, hərbst sɛd, kəmˈpɛrd tɪ ðə ˈɛstəˌmeɪtɪd 200 ˈmɪljən ə jɪr ɪt wʊd hæv seɪvd ɪn ˌɪˈrɑk ˈspɛndɪŋ. ðə ˈfaɪnəl rɪˈpɔrt ˈaʊˌtlaɪnz naɪn jɪrz əv kˈwɛsʧənəbəl ˈspɛndɪŋ ənd mɪsˈgaɪdɪd ˈpræktɪsɪz ɪn ðə ˌɪˈrɑk ˌrikənˈstrəkʃən ˈɛfərt. ɪt bleɪmd læk əv ˈplænɪŋ ənd koʊˌɔrdəˈneɪʃən ənd ˈʃeɪki ˈoʊvərˌsaɪt fər ˈwaɪdˈsprɛd frɔd ənd weɪst. ðə rɪˈpɔrt ˈlɪstɪd ə ˈplɛθərə əv ˈfeɪlɪŋz: ˈmɛni ˈprɑʤɛkts dɪˈzaɪnd kərˈɛktli, ˈməni ˈdɛzɪgˌneɪtɪd fər ə spɪˈsɪfɪk juz ˈɔfən wɑz ˌridərˈɛktɪd tɪ əˈnəðər ˈprɑʤɛkt, dɪˈfɛns ənd steɪt dɪˈpɑrtmənt ˈɛfərts koʊˈɔrdəneɪtɪd ənd noʊ wən wɑz ɪn ʧɑrʤ ˈoʊvərˌɔl. ˈkɑnˌtrækts ðət hæv bɪn əˈpruvd slɪpt θru ðə kræks, ənd dilz wər strək. juz. ˌrikənˈstrəkʃən ˈɛfərts, hərbst sɛd, lækt lɪˈʤɪtəməsi ənd ðə səˈpɔrt əv ðə ˌɪˈræki ˈpipəl. ðə ˈfeɪljər əv juz. trups tɪ ɪˈstæblɪʃ sɪˈkjʊrəti ˌbiˈfɔr ˌrikənˈstrəkʃən ˈɛfərts bɪˈgæn lɛd ˈmɛni ˈprɑʤɛkts tɪ feɪl. məst hæv səˈfɪʃənt sɪˈkjʊrəti ˌbiˈfɔr ɪnˈgeɪʤɪŋ ɪn ˌrikənˈstrəkʃən activity,”*,” sɛd hərbst. kɔst ˈjuˈɛs ˈbɪljənz əv ˈdɔlərz ənd tu ˈmɛni lives.”*.”
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senator paolo benigno aquino says the government should clarify its position on foreign affairs, given its conflicting statements
published pm, september 26, 2016
manila, philippines with all the conflicting statements of the executive branch on foreign relations, senator paolo benigno aquino has asked the senate to conduct an inquiry into the foreign policy direction of president rodrigo to protect the country's national interest.
in filing senate resolution number 158, aquino said there is a need for the government to clarify its position.
"given the number of conflicting statements coming from the president and senior government officials, there is a need to clarify government's position and engagement with its neighbors and allies, and to ensure the filipino public that we are pursuing a clear and coherent foreign policy that is most beneficial to the country," aquino said in the resolution.
he maintained a clear strategic foreign policy is "integral" to the country's development.
"our relations with members of the international community have bearing on our ability to protect our territory and environment, develop our economy, and promote the welfare and well-being of our citizens," aquino said.
he also cited the 1987 constitution, which mandates the government to pursue "an independent foreign policy," with national sovereignty, territorial integrity, and national interest as paramount considerations.
aquino, in his resolution, cited the different conflicting statements of and his men.
china
with the favorable permanent court of arbitration decision, aquino said the philippines had the chance and "initial momentum" to rally asian neighbors to unite against china's increasing aggressiveness in the region.
but what did instead, aquino said, was opt for a "soft landing" and send former president fidel v. ramos as special envoy to revive manila's relationship with beijing.
"speaking to the chinese ambassador on august 29, the president reportedly said that he is willing to temporarily set aside the ruling so as not to endanger the ongoing talks, but that he means to raise it at a later time," the senator said.
aquino also recalled the east asia summit, where the president opted to deviate from his prepared speech, which would have highlighted the need to respect international law, after the ruling favoring the country.
"the president instead raised the issue of killings in the philippines under the period of us occupations, seemingly to challenge present calls for the philippine government to uphold human rights in its war on drugs," aquino cited.
us president barack obama earlier questioned the administration's stance on human rights violations, which irked. (read: obama, clash over brutal crime war)
united states
in his resolution, aquino also cited the president's intentional skipping of the summit. earlier said the president was not feeling well but days after, himself said he purposefully did not attend "as a matter of principle."
aquino also noted that said in a speech before civil servants on september 12 that us troops must leave mindanao, as they could only aggravate security risks in the area.
the senator pointed out the inconsistencies in's statements concerning the topic presidential spokesman ernesto abella said's statement was not official policy but foreign secretary later said that the withdrawal of troops would only be temporary.
aquino also mentioned's plan to buy defense equipment from russia and china, which is contrary to the usual practice of buying weapons from the us.
the senator also cited the president's speech before the philippine air force, where he said the country would no longer join maritime patrols with the us to avoid hostilities., later on, clarified that the joint patrols within 12 nautical miles of the coastline would still be continued.
with all these, aquino highlighted the enhanced defense cooperation agreement signed by his cousin, former president benigno aquino iii, and obama, which allows the us military to deploy troops to the country for training exercises.
the supreme court upheld the agreement's constitutionality in january 2016.
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ˈsɛnətər ˈpaʊloʊ ˌbɛˈninjoʊ əˈkinoʊ sɪz ðə ˈgəvərnmənt ʃʊd ˈklɛrəˌfaɪ ɪts pəˈzɪʃən ɔn ˈfɔrən əˈfɛrz, ˈgɪvɪn ɪts kənˈflɪktɪŋ ˈsteɪtmənts ˈpəblɪʃt piɛm, sɛpˈtɛmbər 26 2016 məˈnɪlə, ˈfɪləˌpinz wɪθ ɔl ðə kənˈflɪktɪŋ ˈsteɪtmənts əv ðə ɪgˈzɛkjətɪv brænʧ ɔn ˈfɔrən riˈleɪʃənz, ˈsɛnətər ˈpaʊloʊ ˌbɛˈninjoʊ əˈkinoʊ həz æst ðə ˈsɛnɪt tɪ ˈkɑndəkt ən ˌɪnkˈwaɪˌri ˈɪntu ðə ˈfɔrən ˈpɑləsi dɪˈrɛkʃɪn əv ˈprɛzɪdənt rəˈdrigoʊ tɪ prəˈtɛkt ðə ˈkəntriz ˈnæʃənəl ˈɪntəˌrɛst. ɪn ˈfaɪlɪŋ ˈsɛnɪt ˌrɛzəˈluʃən ˈnəmbər 158 əˈkinoʊ sɛd ðɛr ɪz ə nid fər ðə ˈgəvərnmənt tɪ ˈklɛrəˌfaɪ ɪts pəˈzɪʃən. "ˈgɪvɪn ðə ˈnəmbər əv kənˈflɪktɪŋ ˈsteɪtmənts ˈkəmɪŋ frəm ðə ˈprɛzɪdənt ənd ˈsinjər ˈgəvərnmənt əˈfɪʃəlz, ðɛr ɪz ə nid tɪ ˈklɛrəˌfaɪ ˈgəvərnmənts pəˈzɪʃən ənd ɛnˈgeɪʤmənt wɪθ ɪts ˈneɪbərz ənd ˈælaɪz, ənd tɪ ɪnˈʃʊr ðə ˌfɪləˈpinoʊ ˈpəblɪk ðət wi ər pərˈsuɪŋ ə klɪr ənd koʊˈhɪrənt ˈfɔrən ˈpɑləsi ðət ɪz moʊst ˌbɛnəˈfɪʃəl tɪ ðə ˈkəntri," əˈkinoʊ sɛd ɪn ðə ˌrɛzəˈluʃən. hi meɪnˈteɪnd ə klɪr strəˈtiʤɪk ˈfɔrən ˈpɑləsi ɪz "ˈɪnəgrəl" tɪ ðə ˈkəntriz dɪˈvɛləpmənt. "ɑr riˈleɪʃənz wɪθ ˈmɛmbərz əv ðə ˌɪnərˈnæʃənɑl kəmˈjunɪti hæv ˈbɛrɪŋ ɔn ɑr əˈbɪləˌti tɪ prəˈtɛkt ɑr ˈtɛrɪˌtɔri ənd ɪnˈvaɪrənmənt, dɪˈvɛləp ɑr ɪˈkɑnəmi, ənd prəˈmoʊt ðə ˈwɛlˌfɛr ənd ˌwɛlˈbiɪŋ əv ɑr ˈsɪtɪzənz," əˈkinoʊ sɛd. hi ˈɔlsoʊ ˈsaɪtɪd ðə 1987 ˌkɑnstəˈtuʃən, wɪʧ ˈmænˌdeɪts ðə ˈgəvərnmənt tɪ pərˈsu "ən ˌɪndɪˈpɛndənt ˈfɔrən ˈpɑləsi," wɪθ ˈnæʃənəl ˈsɑvrənti, ˌtɛrɪˈtɔriəl ˌɪnˈtɛgrəti, ənd ˈnæʃənəl ˈɪntəˌrɛst ɛz ˈpɛrəˌmaʊnt kənˌsɪdərˈeɪʃənz. əˈkinoʊ, ɪn hɪz ˌrɛzəˈluʃən, ˈsaɪtɪd ðə ˈdɪfərənt kənˈflɪktɪŋ ˈsteɪtmənts əv ənd hɪz mɛn. ˈʧaɪnə wɪθ ðə ˈfeɪvərəbəl ˈpərmɑˌnɛnt kɔrt əv ˌɑrbɪˈtreɪʃən dɪˈsɪʒən, əˈkinoʊ sɛd ðə ˈfɪləˌpinz hæd ðə ʧæns ənd "ˌɪˈnɪʃəl moʊˈmɛntəm" tɪ ˈræli ˈeɪʒən ˈneɪbərz tɪ ˈjuˌnaɪt əˈgɛnst ˈʧaɪnəz ˌɪnˈkrisɪŋ əˈgrɛsɪvnəs ɪn ðə ˈriʤən. bət wət dɪd ˌɪnˈstɛd, əˈkinoʊ sɛd, wɑz ɑpt fər ə "sɔft ˈlændɪŋ" ənd sɛnd ˈfɔrmər ˈprɛzɪdənt fɪˈdɛl vi. ˈrɑmoʊs ɛz ˈspɛʃəl ˈɛnvɔɪ tɪ rɪˈvaɪv məˈnɪləz riˈleɪʃənˌʃɪp wɪθ ˌbeɪˈʒɪŋ. "ˈspikɪŋ tɪ ðə ʧaɪˈniz æmˈbæsədər ɔn ˈɔgəst 29 ðə ˈprɛzɪdənt rɪˈpɔrtədli sɛd ðət hi ɪz ˈwɪlɪŋ tɪ ˌtɛmpərˈɛrəli sɛt əˈsaɪd ðə ˈrulɪŋ soʊ ɛz nɑt tɪ ɛnˈdeɪnʤər ðə ˈɔnˌgoʊɪŋ tɔks, bət ðət hi minz tɪ reɪz ɪt æt ə ˈleɪtər taɪm," ðə ˈsɛnətər sɛd. əˈkinoʊ ˈɔlsoʊ rɪˈkɔld ðə ist ˈeɪʒə ˈsəmɪt, wɛr ðə ˈprɛzɪdənt ˈɑptɪd tɪ ˈdiviˌeɪt frəm hɪz priˈpɛrd spiʧ, wɪʧ wʊd hæv ˈhaɪˌlaɪtɪd ðə nid tɪ rɪˈspɛkt ˌɪnərˈnæʃənɑl lɔ, ˈæftər ðə ˈrulɪŋ ˈfeɪvərɪŋ ðə ˈkəntri. "ðə ˈprɛzɪdənt ˌɪnˈstɛd reɪzd ðə ˈɪʃu əv ˈkɪlɪŋz ɪn ðə ˈfɪləˌpinz ˈəndər ðə ˈpɪriəd əv ˈjuˈɛs ˌɑkjəˈpeɪʃənz, ˈsimɪŋli tɪ ˈʧælənʤ ˈprɛzənt kɔlz fər ðə ˈfɪləˌpin ˈgəvərnmənt tɪ əˈphoʊld ˈjumən raɪts ɪn ɪts wɔr ɔn drəgz," əˈkinoʊ ˈsaɪtɪd. ˈjuˈɛs ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ˈərliər kˈwɛsʧənd ðə ædˌmɪnɪˈstreɪʃənz stæns ɔn ˈjumən raɪts vaɪəˈleɪʃənz, wɪʧ ərkt. (rɛd: ˌoʊˈbɑmə, klæʃ ˈoʊvər ˈbrutəl kraɪm wɔr) juˈnaɪtɪd steɪts ɪn hɪz ˌrɛzəˈluʃən, əˈkinoʊ ˈɔlsoʊ ˈsaɪtɪd ðə ˈprɛzɪdənts ˌɪnˈtɛnʃənəl ˈskɪpɪŋ əv ðə ˈsəmɪt. ˈərliər sɛd ðə ˈprɛzɪdənt wɑz nɑt ˈfilɪŋ wɛl bət deɪz ˈæftər, hɪmˈsɛlf sɛd hi ˈpərpəsfəli dɪd nɑt əˈtɛnd "ɛz ə ˈmætər əv ˈprɪnsəpəl." əˈkinoʊ ˈɔlsoʊ ˈnoʊtɪd ðət sɛd ɪn ə spiʧ ˌbiˈfɔr ˈsɪvəl ˈsərvənts ɔn sɛpˈtɛmbər 12 ðət ˈjuˈɛs trups məst liv ˌmɪndəˈneɪoʊ, ɛz ðeɪ kʊd ˈoʊnli ˈægrəˌveɪt sɪˈkjʊrəti rɪsks ɪn ðə ˈɛriə. ðə ˈsɛnətər ˈpɔɪntɪd aʊt ðə ˌɪŋˈkɑnsɪˌstɛnsiz ɪn ˈsteɪtmənts kənˈsərnɪŋ ðə ˈtɑpɪk ˌprɛzɪˈdɛnʃəl ˈspoʊksmən ərˈnɛstoʊ əˈbɛlə sɛd ˈsteɪtmənt wɑz nɑt əˈfɪʃəl ˈpɑləsi bət ˈfɔrən ˈsɛkrəˌtɛri ˈleɪtər sɛd ðət ðə wɪθˈdrɔəl əv trups wʊd ˈoʊnli bi ˈtɛmpərˌɛri. əˈkinoʊ ˈɔlsoʊ ˈmɛnʃənd plæn tɪ baɪ dɪˈfɛns ɪkˈwɪpmənt frəm ˈrəʃə ənd ˈʧaɪnə, wɪʧ ɪz ˈkɑntrɛri tɪ ðə ˈjuʒəwəl ˈpræktɪs əv baɪɪŋ ˈwɛpənz frəm ðə ˈjuˈɛs. ðə ˈsɛnətər ˈɔlsoʊ ˈsaɪtɪd ðə ˈprɛzɪdənts spiʧ ˌbiˈfɔr ðə ˈfɪləˌpin ɛr fɔrs, wɛr hi sɛd ðə ˈkəntri wʊd noʊ ˈlɔŋgər ʤɔɪn ˈmærəˌtaɪm pəˈtroʊlz wɪθ ðə ˈjuˈɛs tɪ əˈvɔɪd hɑˈstɪlətiz., ˈleɪtər ɔn, ˈklɛrəˌfaɪd ðət ðə ʤɔɪnt pəˈtroʊlz wɪˈθɪn 12 ˈnɔtəkəl maɪəlz əv ðə ˈkoʊˌstlaɪn wʊd stɪl bi kənˈtɪnjud. wɪθ ɔl ðiz, əˈkinoʊ ˈhaɪˌlaɪtɪd ðə ɛnˈhænst dɪˈfɛns kˌwɔpərˈeɪʃən əˈgrimənt saɪnd baɪ hɪz ˈkəzən, ˈfɔrmər ˈprɛzɪdənt ˌbɛˈninjoʊ əˈkinoʊ iii*, ənd ˌoʊˈbɑmə, wɪʧ əˈlaʊz ðə ˈjuˈɛs ˈmɪlɪˌtɛri tɪ dɪˈplɔɪ trups tɪ ðə ˈkəntri fər ˈtreɪnɪŋ ˈɛksərˌsaɪzɪz. ðə səˈprim kɔrt əˈphɛld ðə əˈgrimənts ˌkɑnstɪˌtuʃəˈnælɪti ɪn ˈʤænjuˌɛri 2016
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the center was officially inaugurated in china with the attendance of an iranian delegation headed by saeed sarkar, head of research center for medical science and technology affiliated with tehran university of medical sciences, and representatives from suzhou institute of biomedical engineering and technology (sibet) in china.
the agreement for the establishment of the center was signed back in november 2016 between vp for science and technology, sattari, and presidency of the chinese academy of sciences.
the center will serve as a base for mutual collaboration in the field of medical engineering, conducting joint research, transfer programs, and holding joint scientific and technological workshops.
other missions of the center include cooperation for benefiting from the infrastructures of the two countries for conducting research and development of new products; and cooperation for obtaining licenses and mutual approvals for entry of medical equipment into iranian and chinese markets, as well as other countries’.
earlier this month, a nanotechnology student lab was inaugurated in guangzhou, china, equipped with iranian made equipment. nanotechnology company as the representative of company has initiated marketing nanotechnology training equipment packages in china since 2016. this company has set up the first educational nanotechnology student lab in suzhou, china, last year and the second lab in guangzhou, this year.
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ðə ˈsɛnər wɑz əˈfɪʃəli ˌɪˈnɔgərˌeɪtɪd ɪn ˈʧaɪnə wɪθ ðə əˈtɛndəns əv ən ˌɪˈrɑniən ˌdɛləˈgeɪʃən ˈhɛdɪd baɪ sɑid ˈsɑrˌkɑr, hɛd əv ˈrisərʧ ˈsɛnər fər ˈmɛdɪkəl saɪəns ənd tɛkˈnɑləʤi əˈfɪliˌeɪtɪd wɪθ ˌteɪˈrɑn ˌjunəˈvərsəti əv ˈmɛdɪkəl ˈsaɪənsɪz, ənd ˌrɛprɪˈzɛnətɪvz frəm ˈsuˌʒu ˈɪnstɪˌtut əv ˌbaɪoʊˈmɛdɪkəl ˈɛnʤəˈnɪrɪŋ ənd tɛkˈnɑləʤi (sibet*) ɪn ˈʧaɪnə. ðə əˈgrimənt fər ðə ɪˈstæblɪʃmənt əv ðə ˈsɛnər wɑz saɪnd bæk ɪn noʊˈvɛmbər 2016 bɪtˈwin ˌviˈpi fər saɪəns ənd tɛkˈnɑləʤi, sattari*, ənd ˈprɛzɪdənsi əv ðə ʧaɪˈniz əˈkædəmi əv ˈsaɪənsɪz. ðə ˈsɛnər wɪl sərv ɛz ə beɪs fər mˈjuʧuəl kəˌlæbərˈeɪʃən ɪn ðə fild əv ˈmɛdɪkəl ˈɛnʤəˈnɪrɪŋ, kənˈdəktɪŋ ʤɔɪnt ˈrisərʧ, ˈtrænsfər ˈproʊˌgræmz, ənd ˈhoʊldɪŋ ʤɔɪnt ˌsaɪənˈtɪfɪk ənd ˌtɛknəˈlɑʤɪkəl ˈwərkˌʃɑps. ˈəðər ˈmɪʃənz əv ðə ˈsɛnər ˌɪnˈklud kˌwɔpərˈeɪʃən fər ˈbɛnəfɪtɪŋ frəm ðə ˌɪnfrəˈstrəkʧərz əv ðə tu ˈkəntriz fər kənˈdəktɪŋ ˈrisərʧ ənd dɪˈvɛləpmənt əv nu ˈprɑdəkts; ənd kˌwɔpərˈeɪʃən fər əbˈteɪnɪŋ ˈlaɪsənsɪz ənd mˈjuʧuəl əˈpruvəlz fər ˈɛntri əv ˈmɛdɪkəl ɪkˈwɪpmənt ˈɪntu ˌɪˈrɑniən ənd ʧaɪˈniz ˈmɑrkɪts, ɛz wɛl ɛz ˈəðər countries’*’. ˈərliər ðɪs mənθ, ə ˌnænoʊˌtɛkˈnɑləˌʤi ˈstudənt læb wɑz ˌɪˈnɔgərˌeɪtɪd ɪn gˈwæŋˌzu, ˈʧaɪnə, ɪkˈwɪpt wɪθ ˌɪˈrɑniən meɪd ɪkˈwɪpmənt. ˌnænoʊˌtɛkˈnɑləˌʤi ˈkəmpəˌni ɛz ðə ˌrɛprɪˈzɛnətɪv əv ˈkəmpəˌni həz ˌɪˈnɪʃiˌeɪtɪd ˈmɑrkətɪŋ ˌnænoʊˌtɛkˈnɑləˌʤi ˈtreɪnɪŋ ɪkˈwɪpmənt ˈpækɪʤɪz ɪn ˈʧaɪnə sɪns 2016 ðɪs ˈkəmpəˌni həz sɛt əp ðə fərst ˌɛʤəˈkeɪʃənəl ˌnænoʊˌtɛkˈnɑləˌʤi ˈstudənt læb ɪn ˈsuˌʒu, ˈʧaɪnə, læst jɪr ənd ðə ˈsɛkənd læb ɪn gˈwæŋˌzu, ðɪs jɪr.
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the toronto district school board wants $3.6 million from the star before it releases a database of work orders showing what taxpayers have been charged for maintenance and construction projects at local schools. the ongoing investigation has already turned up high costs almost $3,000 to install an electrical outlet, $143 to screw in a pencil sharpener, and other examples. education director chris spence contacted the star late wednesday to say he had heard there was some “concern about the cost” in getting access to the work order database and that the board was determined to fill the request. he said the freedom of information office is willing to work with the star to “get the information you need.” last month, the star asked for an electronic copy showing three years of work at the to get a handle on the extent of the problem. the request was made under the municipal freedom of information and protection of privacy act, which helps the public, media included, bring scrutiny to bear on government and agencies. lawyer giselle has written to the star saying she believes “partial access to the records will be granted.” first, though, she said, there is the issue of fees., the freedom of information co-ordinator, estimates it would cost the school board:
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• $1,125,000 to search for the records in the sap database, which would take hours at $30 per hour $1,350,000 to prepare the records for release, which would take hours at $30 per hour. she estimates of the records would have to be “severed,” to remove information they objected to releasing. the star has seen sample pages from the records and there is no personal information, which is typically the type of information removed. $1,080,000 to photocopy the records, even though the star asked for an electronic copy of the database. the said there are million pages detailing the work orders and the charge levied would be 20 cents a page.
toronto star reporter jim rankin, an expert in obtaining electronic databases, recalls a whopping $1.6 million fee estimate he received in 2003 when he asked the for access (under the federal access to information law) to canadian criminal record information. the star challenged the fee and two years later received the requested data at no charge. the original estimate was based on antiquated regulations that mention costs associated with duplicating microfilm and “magnetic duplication.” in the school case, the data is stored on a modern sap system, and obtaining an electronic copy would be relatively easy. the work orders at issue detail and track jobs done by the maintenance and skilled trades council, which has an exclusive contract to perform electrical, carpentry, plumbing and other trade work at public schools. the workers are represented by the council, run by leader jimmy hazel, but they are employees of the. the sap database shows when a work order is requested by a school, when the work is done, how many hours are charged, how many workers are involved and other details.
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since the star began publishing stories on the issue in june, teachers, principals and parents have flooded the newspaper with calls and emails complaining about high costs, slow work and crumbling schools. the has responded to the stories by promising to put gps tracking devices on trades vehicles and working closely with principals to develop plans for priority jobs. chair chris bolton has said that a series of plans for the fall, plus some already implemented, will bring “greater transparency and accountability” to the board. to proceed with the request, said the star must provide a cheque for $1,777,500 as a deposit so the school board can “continue to address your request.” in her letter, the lawyer invites the star to apply for a “fee waiver” or abbreviate the size of the request. the star has written signalling that the paper will both request a fee waiver and appeal the school decision to the provincial information and privacy commission. communications manager shari said she was unaware of the fee estimate. “this is the first i heard of it. there is a way to make this work,” said of the request. she said the’s freedom of information office is willing to discuss the issue further. “this is not an end game.” more on star investigations toronto schools pay high prices for small jobs
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ðə tərˈɑntoʊ ˈdɪstrɪkt skul bɔrd wɔnts ˈmɪljən frəm ðə stɑr ˌbiˈfɔr ɪt rɪˈlisɪz ə ˈdætəˌbeɪs əv wərk ˈɔrdərz ʃoʊɪŋ wət ˈtækˌspeɪərz hæv bɪn ʧɑrʤd fər ˈmeɪntənəns ənd kənˈstrəkʃən ˈprɑʤɛkts æt ˈloʊkəl skulz. ðə ˈɔnˌgoʊɪŋ ˌɪnˌvɛstəˈgeɪʃən həz ɔˈrɛdi tərnd əp haɪ kɔsts ˈɔlˌmoʊst tɪ ˌɪnˈstɔl ən ɪˈlɛktrɪkəl ˈaʊˌtlɛt, 143 tɪ skru ɪn ə ˈpɛnsəl sharpener*, ənd ˈəðər ɪgˈzæmpəlz. ˌɛʤəˈkeɪʃən dɪˈrɛktər krɪs spɛns ˈkɑnˌtæktɪd ðə stɑr leɪt ˈwɛnzˌdeɪ tɪ seɪ hi hæd hərd ðɛr wɑz səm əˈbaʊt ðə cost”*” ɪn ˈgɪtɪŋ ˈækˌsɛs tɪ ðə wərk ˈɔrdər ˈdætəˌbeɪs ənd ðət ðə bɔrd wɑz dɪˈtərmənd tɪ fɪl ðə rɪkˈwɛst. hi sɛd ðə ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən ˈɔfəs ɪz ˈwɪlɪŋ tɪ wərk wɪθ ðə stɑr tɪ ðə ˌɪnˌfɔrˈmeɪʃən ju need.”*.” læst mənθ, ðə stɑr æst fər ən ˌɪˌlɛkˈtrɑnɪk ˈkɑpi ʃoʊɪŋ θri jɪrz əv wərk æt ðə tɪ gɪt ə ˈhændəl ɔn ðə ɪkˈstɛnt əv ðə ˈprɑbləm. ðə rɪkˈwɛst wɑz meɪd ˈəndər ðə mjuˈnɪsəpəl ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən ənd prəˈtɛkʃən əv ˈpraɪvəsi ækt, wɪʧ hɛlps ðə ˈpəblɪk, ˈmidiə ˌɪnˈkludɪd, brɪŋ ˈskrutəni tɪ bɛr ɔn ˈgəvərnmənt ənd ˈeɪʤənsiz. ˈlɔjər ʒɪˈsɛl həz ˈrɪtən tɪ ðə stɑr seɪɪŋ ʃi bɪˈlivz ˈækˌsɛs tɪ ðə ˈrɛkərdz wɪl bi granted.”*.” fərst, ðoʊ, ʃi sɛd, ðɛr ɪz ðə ˈɪʃu əv fiz., ðə ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən co-ordinator*, ˈɛstəˌmeɪts ɪt wʊd kɔst ðə skul bɔrd: ˈɑrtɪkəl kənˈtɪnjud bɪˈloʊ tɪ sərʧ fər ðə ˈrɛkərdz ɪn ðə sæp ˈdætəˌbeɪs, wɪʧ wʊd teɪk aʊərz æt 30 pər aʊər tɪ priˈpɛr ðə ˈrɛkərdz fər riˈlis, wɪʧ wʊd teɪk aʊərz æt 30 pər aʊər. ʃi ˈɛstəˌmeɪts əv ðə ˈrɛkərdz wʊd hæv tɪ bi ““severed,”*,” tɪ riˈmuv ˌɪnˌfɔrˈmeɪʃən ðeɪ əˈbʤɛktəd tɪ riˈlisɪŋ. ðə stɑr həz sin ˈsæmpəl ˈpeɪʤɪz frəm ðə ˈrɛkərdz ənd ðɛr ɪz noʊ ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən, wɪʧ ɪz ˈtɪpɪkəli ðə taɪp əv ˌɪnˌfɔrˈmeɪʃən riˈmuvd. tɪ ˈfoʊtoʊˌkɑpi ðə ˈrɛkərdz, ˈivɪn ðoʊ ðə stɑr æst fər ən ˌɪˌlɛkˈtrɑnɪk ˈkɑpi əv ðə ˈdætəˌbeɪs. ðə sɛd ðɛr ər ˈmɪljən ˈpeɪʤɪz dɪˈteɪlɪŋ ðə wərk ˈɔrdərz ənd ðə ʧɑrʤ ˈlɛvid wʊd bi 20 sɛnts ə peɪʤ. tərˈɑntoʊ stɑr rɪˈpɔrtər ʤɪm ˈræŋkɪn, ən ˈɛkspərt ɪn əbˈteɪnɪŋ ˌɪˌlɛkˈtrɑnɪk ˈdætəˌbeɪsɪz, ˈriˌkɔlz ə ˈwɑpɪŋ ˈmɪljən fi ˈɛstəˌmeɪt hi rɪˈsivd ɪn 2003 wɪn hi æst ðə fər ˈækˌsɛs (ˈəndər ðə ˈfɛdərəl ˈækˌsɛs tɪ ˌɪnˌfɔrˈmeɪʃən lɔ) tɪ kəˈneɪdiən ˈkrɪmənəl ˈrɛkərd ˌɪnˌfɔrˈmeɪʃən. ðə stɑr ˈʧælənʤd ðə fi ənd tu jɪrz ˈleɪtər rɪˈsivd ðə rɪkˈwɛstɪd ˈdætə æt noʊ ʧɑrʤ. ðə ərˈɪʤənəl ˈɛstəˌmeɪt wɑz beɪst ɔn ˈæntəkˌweɪtɪd ˌrɛgjəˈleɪʃənz ðət ˈmɛnʃən kɔsts əˈsoʊʃiˌeɪtəd wɪθ ˈduplɪˌkeɪtɪŋ ˈmaɪkrəˌfɪlm ənd duplication.”*.” ɪn ðə skul keɪs, ðə ˈdætə ɪz stɔrd ɔn ə ˈmɑdərn sæp ˈsɪstəm, ənd əbˈteɪnɪŋ ən ˌɪˌlɛkˈtrɑnɪk ˈkɑpi wʊd bi ˈrɛlətɪvli ˈizi. ðə wərk ˈɔrdərz æt ˈɪʃu ˈditeɪl ənd træk ʤɑbz dən baɪ ðə ˈmeɪntənəns ənd skɪld treɪdz ˈkaʊnsəl, wɪʧ həz ən ɪkˈsklusɪv ˈkɑnˌtrækt tɪ pərˈfɔrm ɪˈlɛktrɪkəl, ˈkɑrpəntri, ˈpləmɪŋ ənd ˈəðər treɪd wərk æt ˈpəblɪk skulz. ðə ˈwərkərz ər ˌrɛprɪˈzɛnɪd baɪ ðə ˈkaʊnsəl, rən baɪ ˈlidər ˈʤɪmi ˈheɪzəl, bət ðeɪ ər ɪmˈplɔɪiz əv ðə. ðə sæp ˈdætəˌbeɪs ʃoʊz wɪn ə wərk ˈɔrdər ɪz rɪkˈwɛstɪd baɪ ə skul, wɪn ðə wərk ɪz dən, haʊ ˈmɛni aʊərz ər ʧɑrʤd, haʊ ˈmɛni ˈwərkərz ər ˌɪnˈvɑlvd ənd ˈəðər ˈditeɪlz. ˈɑrtɪkəl kənˈtɪnjud bɪˈloʊ sɪns ðə stɑr bɪˈgæn ˈpəblɪʃɪŋ ˈstɔriz ɔn ðə ˈɪʃu ɪn ʤun, ˈtiʧərz, ˈprɪnsəpəlz ənd ˈpɛrənts hæv ˈflədɪd ðə ˈnuzˌpeɪpər wɪθ kɔlz ənd iˈmeɪlz kəmˈpleɪnɪŋ əˈbaʊt haɪ kɔsts, sloʊ wərk ənd ˈkrəmbəlɪŋ skulz. ðə həz rɪˈspɑndɪd tɪ ðə ˈstɔriz baɪ ˈprɑməsɪŋ tɪ pʊt ˈgipiˈɛs ˈtrækɪŋ dɪˈvaɪsɪz ɔn treɪdz ˈviɪkəlz ənd ˈwərkɪŋ ˈkloʊsli wɪθ ˈprɪnsəpəlz tɪ dɪˈvɛləp plænz fər praɪˈɔrəti ʤɑbz. ʧɛr krɪs ˈboʊltən həz sɛd ðət ə ˈsɪriz əv plænz fər ðə fɔl, pləs səm ɔˈrɛdi ˈɪmpləˌmɛnəd, wɪl brɪŋ trænˈspɛrənsi ənd accountability”*” tɪ ðə bɔrd. tɪ pərˈsid wɪθ ðə rɪkˈwɛst, sɛd ðə stɑr məst prəˈvaɪd ə ʧɛk fər ɛz ə dɪˈpɑzət soʊ ðə skul bɔrd kən tɪ ˈæˌdrɛs jʊr request.”*.” ɪn hər ˈlɛtər, ðə ˈlɔjər ˌɪnˈvaɪts ðə stɑr tɪ əˈplaɪ fər ə waiver”*” ər əˈbriviˌeɪt ðə saɪz əv ðə rɪkˈwɛst. ðə stɑr həz ˈrɪtən ˈsɪgnəlɪŋ ðət ðə ˈpeɪpər wɪl boʊθ rɪkˈwɛst ə fi ˈweɪvər ənd əˈpil ðə skul dɪˈsɪʒən tɪ ðə prəˈvɪnʃəl ˌɪnˌfɔrˈmeɪʃən ənd ˈpraɪvəsi kəˈmɪʃən. kəmˌjunəˈkeɪʃənz ˈmænɪʤər ˈʃɑri sɛd ʃi wɑz ˌənəˈwɛr əv ðə fi ˈɛstəˌmeɪt. ɪz ðə fərst aɪ hərd əv ɪt. ðɛr ɪz ə weɪ tɪ meɪk ðɪs work,”*,” sɛd əv ðə rɪkˈwɛst. ʃi sɛd ðə ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən ˈɔfəs ɪz ˈwɪlɪŋ tɪ dɪˈskəs ðə ˈɪʃu ˈfərðər. ɪz nɑt ən ɛnd game.”*.” mɔr ɔn stɑr ˌɪnˌvɛstəˈgeɪʃənz tərˈɑntoʊ skulz peɪ haɪ ˈpraɪsɪz fər smɔl ʤɑbz
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this is a rush transcript. copy may not be in its final form.
juan gonzález: with the obama administration asking congress to increase funding for charter schools by almost 50 percent, we turn to a major new report that claims charter schools are already spending billions of dollars of federal money with nearly no oversight, regulation or accountability. the report was released by the center for media and democracy, and called “new documents show how taxpayer money is wasted by charter schools.” according to the report, the federal government has spent more than $3 billion over the past two decades on the charter school industry, but there is no comprehensive database showing how those funds are spent and what results they produce.
amy goodman: the new report analyzes materials obtained from open records requests regarding independent audits of how states interact with charter schools and their authorizers. it concludes that the environment around charter schools, coupled with their lack of financial transparency, warrants a moratorium rather than increased charter funding.
well, for more, we go to denver, colorado, to denver open media, where joined by lisa graves, executive director of the center for media and democracy. their new report is called “new documents show how taxpayer money is wasted by charter schools.”
lisa, welcome to democracy now! lay out the key findings of your report.
lisa graves: thank you so much. we spent quite a bit of time trying to figure out how much money has even been spent by the federal government fueling this industry. and it turned out the sum is $3.3 billion. and so, we thought, with that much money at stake, there would be tremendous controls on that spending. but our open records requests showed time after time in which the federal government and the state governments have no idea how that money is being spent. and that, in part, is due to of those schools. the design at the state level, driven by alec, the american legislative exchange policies and a number of sort of extreme policies represent a real hostility to government schools, to the idea of public schools and government oversight. and so, what we saw in our records requests was time after time in which no one really knew how much money was being spent by the schools, how much of those tax dollars was being spent on executive pay, how much money was being outsourced to for-profit corporations.
but we know that this $3.3 billion have fueled an industry that now devotes millions of dollars each year to lobbying for more charter schools, and devotes millions of dollars advertising on public airways for people to send their kids to charter schools, things that public schools have a chance to do. public schools have the budget to advertise their benefits. even though these things are called public charter schools, in many respects these operate, in many instances, for the private sector, for the benefit of and wall street.
juan gonzález: well, lisa, one of the things that your report highlights is this black hole of accountability when it comes to charter schools, that the federal government is not holding the states responsible for the money it gives to the states for charter schools. the states are not holding their own charter authorizing agencies or even the individual charter schools accountable. and you conclude that this was not by accident.
lisa graves: right. you know, one of the things seen over and over again are promises by the department of education to do more to hold charter schools accountable. but what you see on the ground, based on the audits, based on the inspector report, is a real lack of controls. you basically have the department of charter operation sort of encouraging the states to do more. meanwhile, you have audits that show that in many instances the states have no idea where the money was spent once it went into the charter school system. they know how many kids were really served. they know what happened to assets that were purchased through our tax dollars. and a recent report last week from the center for popular democracy that shows, through looking through federal and state criminal fraud indictments, that there have been more than $200 million worth of fraud in the charter school industry. and so, this sort of circumstance calls for much greater control, much greater restraint, rather than the 50 percent increase that the administration has called for for charter school funding.
amy goodman: lisa, i wanted to turn to a mother featured in an ad released by charterswork.org.
mother: i had the potential to be great, but no one helped me to identify that. i was not letting that happen to my kids. public charter schools provide a high-quality education right in our community. i have a daughter that attends achievement first apollo, and no limits for her now. i voted for de blasio, but i vote for you to take my future.
amy goodman: so there you have it, and, of course, talking about de blasio, the mayor of new york city, mayor bill de blasio. but, lisa graves, what about this? and what about the success of or failure of charter schools overall?
lisa graves: well, you know, the studies that looked looked at a huge range of that overall the charter schools perform better than the public schools, the traditional public schools. and, in fact, in the worst circumstances, the charter schools perform far worse. you also can see circumstances in which in the so-called virtual public schools, where the dropout rates are higher, the failure rates, in essence, are higher. and so, while people can point to examples here and there of success or innovations, the overall studies seem to indicate that siphoning a lot of money out of our public school system to these charters, and some people are getting really rich off of it. some of these for-profit corporations are making fact, hundreds of dollars out of our tax dollars, and turning around and spending that money to lobby for more tax dollars, and spending that money to advertise for more kids to come through these systems, even though had record after record after record of failure, in many instances, by these charter schools.
what also seen, in one of the biggest studies, was that more money goes to so-called administration in charter schools than to students directly. and not a surprise when you see how these things are structured. some of these charter schools basically outsource everything to the private sector. and then the private sector is not accountable to open records requests in ohio, indiana, other states, where people have tried to figure out where the money went. how much money went to executive pay, how much money went to these for-profit operations, you even tell.
juan gonzález: lisa, i want to play for you a comment by reed hastings, who is the ceo of. a supporter and an investor in the education charter school network. last year, at a meeting of the california charter schools association, he called for the abolition of local school boards. his speech was posted on youtube. the audio is not great, but if you listen carefully, you can hear his words.
reed hastings: and so, the fundamental problem with school districts is not their fault. the fundamental problem is they get to control their board. and the importance of the charter school movement is to evolve america from a system where governance is constantly changing and you do long-term planning, to a system of large nonprofits. now, if we go to the general public and we say, “here’s an argument why you should get rid of school boards,” of course no going to go for that. school boards have been an iconic part of america for 200 years. and so, what we have to do is to work with school districts to grow steadily. and the work ahead is really hard, because at 8 percent of students in california, whereas in new orleans at 90 percent. so we have a lot of to do.
juan gonzález: that was reed hastings, the ceo of and a big supporter and investor in the charter school industry, last year at a meeting of the california charter schools association. lisa graves, your reaction, and also this whole issue of the long-term goal of eliminating any kind of democratic process for parents and communities in their school boards?
lisa graves: well, if you listen closely to what he said, what he said was we need to abolish the school districts; we need to abolish the school boards, basically. school boards are really the only way that we have democratic control, direct democracy, over our schools. for ordinary public schools, if they want to build a new gym or a new stadium, they have to often go to taxpayers to get permission to expand the school system, to get taxes to expand. and also, people can elect on that school board. what we see through charters and through the american legislative exchange agenda is an effort to circumvent local democratic control, to basically remove control of these schools, these charter schools, these often for-profit enterprises that are related to them, and part of the design of them. when you look back at the history of this, what you see is the year after brown v. board of education, when the supreme court unanimously ruled that the schools had to desegregate, milton friedman, sort of the godfather of the right on the economics, someone who has fueled and supported the american legislative exchange council before he passed friedman suggested that the solution to segregation was that there ought to be just purely private schools. they ought to abolish public schools, and people could choose schools, schools and mixed schools.
amy goodman: actually—
lisa graves: and milton friedman, you know—
amy goodman: actually, we have a clip of the late economist milton friedman back in 2006 talking about the public school system should be eliminated.
milton friedman: how do we get from where we are to where we want to be, to a system in which parents control the education of their children? of course, the ideal way would be to abolish the public school system and eliminate all the taxes that pay for it. then parents would have enough money to pay for private schools. but not going to do that. and so, you have to ask: what are politically feasible ways of solving the problem? and the answer is, in my opinion, choice, that you have to change the way government money is directed. instead of its being used to finance schools and buildings, you should decide how much money willing to spend on each child, and give that money to that money in the form of a voucher to the parents of the children, so that the parents can choose a school that they regard as best for their child.
amy goodman: so, the late milton friedman, the economist milton friedman, speaking in 2006. and behind him is the banner of alec, the american legislative exchange council. so if you can talk about the significance of this, lisa, and also, you referred to alec, but explain exactly its role in all of this, as well as the koch brothers?
lisa graves: so, you know, that was a speech to alec, as you point out. and what milton friedman was saying was basically the goal is to abolish the public schools. this is a radical, extreme goal, and it had been his goal since at least 1955. that goal has been joined by numerous billionaire families in this country, including the koch brothers. when david koch ran for vice president in 1980, one of his platforms was to abolish, privatize the public schools. you heard it in the last presidential cycle, in which the republican candidates were competing for which agencies to abolish. they wanted to do abolish the department of education. heard grover norquist and others joke about the need to get rid of public education. this is part of that agenda. also fueled by the devos family from the amway fortune, by the wal-mart family, the wal-mart foundation. all of them have basically wrapped their agenda in these words of “choice” that milton friedman suggested, that this is about choice, when, in fact, the agenda is hostile to the idea that there should be public schools. the radicals, basically, in the country, for a long time, including fred koch, who was david and charles father, believed that the idea of public schools was basically communist or socialist, which is really ridiculous. public schools are one of the basic innovations of america that has made our country strong and great, to have universal public education for all kids.
but what seen through alec is this combination of ideological right-wingers and for-profit entities and their trade groups coming together to actually vote as equals, behind closed doors, with legislators from across the country in this effort to privatize our schools, through vouchers, through expanded charters, through charters with very few controls, charters exempted from state and federal regulations, charters exempted from local regulations, charters exempted from control by local school boards. what happens at alec education task force that task force has been in the past by for-profit corporations that benefit from this agenda, as well as nonprofits that outsource money to task force meetings, unbelievably, legislators actually vote as equals on those model bills with these special interest groups, before those bills are introduced in our state houses and state legislatures across the country.
juan gonzález: well, lisa—
lisa graves: and one of the reasons why we work to expose alec.
juan gonzález: now, lisa, i wanted to ask you, particularly, the mention of friedman about having the money in the form of vouchers per child, rather than for schools itself. talked about how in wisconsin and other states now, getting online private schools. and talking not just in colleges. talking public school levels, charging, getting the same fee as a normal public school would get. could you talk about that?
lisa graves: yes, one of the most amazing bills i read, after the whistleblower gave me the bills in 2011 that were approved through this corporate voting process of alec with legislators, was a bill called the virtual public schools act. it and other alec bills basically require that these so-called virtual schools, that would get vouchers or tax dollars, would be paid basically the same amount as schools with bricks and mortar and air conditioning, blackboards, you know, lunch ladies, school buses, etc. the difference is profit. and so, you have a situation in which some of these vouchers are going to support operations that have far fewer costs, in part because some of these vouchers, at least in the virtual arena, are supporting schools or classrooms where one teacher for 50, 60 or hundreds of students. and in some states, like arizona, where they, through alec measures and related measures, have basically stripped down teacher certification rules so that you have to have the traditional teacher certification, you can have teachers teaching, in so-called virtual classrooms, hundreds of students, getting thousands per pupil, and meanwhile, the corporations that are involved, like, are making millions of dollars. has gone from a wall street firm that was created in part by the junk milken, you know, felon who was convicted for those junk bond schemes. he invested in. gone from about $200 million in revenue to nearly a billion dollars in revenue. almost entirely supported by federal and state tax dollars. and so, enormous profit to be made through these vouchers.
amy goodman: lisa, we have to leave it there. i thank you for being with us, executive director of the center for media and democracy. and we will link to your report at democracynow.org. as well, juan, link to your piece in the new york daily news called “feds failed to keep tabs on $3 billion in aid doled out to charter schools.”
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ðɪs ɪz ə rəʃ ˈtrænˌskrɪpt. ˈkɑpi meɪ nɑt bi ɪn ɪts ˈfaɪnəl fɔrm. wɑn gonzález*: wɪθ ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ˈæskɪŋ ˈkɑŋgrəs tɪ ˌɪnˈkris ˈfəndɪŋ fər ˈʧɑrtər skulz baɪ ˈɔlˌmoʊst 50 pərˈsɛnt, wi tərn tɪ ə ˈmeɪʤər nu rɪˈpɔrt ðət kleɪmz ˈʧɑrtər skulz ər ɔˈrɛdi ˈspɛndɪŋ ˈbɪljənz əv ˈdɔlərz əv ˈfɛdərəl ˈməni wɪθ ˈnɪrli noʊ ˈoʊvərˌsaɪt, ˌrɛgjəˈleɪʃən ər əˈkaʊntəˌbɪlɪti. ðə rɪˈpɔrt wɑz riˈlist baɪ ðə ˈsɛnər fər ˈmidiə ənd dɪˈmɑkrəsi, ənd kɔld ˈdɑkjəmənts ʃoʊ haʊ ˈtækˌspeɪər ˈməni ɪz ˈweɪstɪd baɪ ˈʧɑrtər schools.”*.” əˈkɔrdɪŋ tɪ ðə rɪˈpɔrt, ðə ˈfɛdərəl ˈgəvərnmənt həz spɛnt mɔr ðən 3 ˈbɪljən ˈoʊvər ðə pæst tu ˈdɛkeɪdz ɔn ðə ˈʧɑrtər skul ˈɪndəstri, bət ðɛr ɪz noʊ ˌkɑmpriˈhɛnsɪv ˈdætəˌbeɪs ʃoʊɪŋ haʊ ðoʊz fəndz ər spɛnt ənd wət rɪˈzəlts ðeɪ ˈproʊdus. ˈeɪmi ˈgʊdmən: ðə nu rɪˈpɔrt ˈænəˌlaɪzɪz məˈtɪriəlz əbˈteɪnd frəm ˈoʊpən ˈrɛkərdz rɪkˈwɛsts rɪˈgɑrdɪŋ ˌɪndɪˈpɛndənt ˈɑdəts əv haʊ steɪts ˌɪnərˈækt wɪθ ˈʧɑrtər skulz ənd ðɛr authorizers*. ɪt kənˈkludz ðət ðə ɪnˈvaɪrənmənt əraʊnd ˈʧɑrtər skulz, ˈkəpəld wɪθ ðɛr læk əv ˌfaɪˈnænʃəl trænˈspɛrənsi, ˈwɔrənts ə ˌmɔrəˈtɔriəm ˈrəðər ðən ˌɪnˈkrist ˈʧɑrtər ˈfəndɪŋ. wɛl, fər mɔr, wi goʊ tɪ ˈdɛnvər, ˌkɑlərˈɑdoʊ, tɪ ˈdɛnvər ˈoʊpən ˈmidiə, wɛr ʤɔɪnd baɪ ˈlisə greɪvz, ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈsɛnər fər ˈmidiə ənd dɪˈmɑkrəsi. ðɛr nu rɪˈpɔrt ɪz kɔld ˈdɑkjəmənts ʃoʊ haʊ ˈtækˌspeɪər ˈməni ɪz ˈweɪstɪd baɪ ˈʧɑrtər schools.”*.” ˈlisə, ˈwɛlkəm tɪ dɪˈmɑkrəsi naʊ! leɪ aʊt ðə ki ˈfaɪndɪŋz əv jʊr rɪˈpɔrt. ˈlisə greɪvz: θæŋk ju soʊ məʧ. wi spɛnt kwaɪt ə bɪt əv taɪm traɪɪŋ tɪ ˈfɪgjər aʊt haʊ məʧ ˈməni həz ˈivɪn bɪn spɛnt baɪ ðə ˈfɛdərəl ˈgəvərnmənt fˈjulɪŋ ðɪs ˈɪndəstri. ənd ɪt tərnd aʊt ðə səm ɪz ˈbɪljən. ənd soʊ, wi θɔt, wɪθ ðət məʧ ˈməni æt steɪk, ðɛr wʊd bi trɪˈmɛndəs kənˈtroʊlz ɔn ðət ˈspɛndɪŋ. bət ɑr ˈoʊpən ˈrɛkərdz rɪkˈwɛsts ʃoʊd taɪm ˈæftər taɪm ɪn wɪʧ ðə ˈfɛdərəl ˈgəvərnmənt ənd ðə steɪt ˈgəvərnmənts hæv noʊ aɪˈdiə haʊ ðət ˈməni ɪz biɪŋ spɛnt. ənd ðət, ɪn pɑrt, ɪz du tɪ əv ðoʊz skulz. ðə dɪˈzaɪn æt ðə steɪt ˈlɛvəl, ˈdrɪvən baɪ ˈælɪk, ðə əˈmɛrɪkən ˈlɛʤəsˌleɪtɪv ɪksˈʧeɪnʤ ˈpɑləsiz ənd ə ˈnəmbər əv sɔrt əv ɪkˈstrim ˈpɑləsiz ˌrɛprɪˈzɛnt ə ril hɑˈstɪləti tɪ ˈgəvərnmənt skulz, tɪ ðə aɪˈdiə əv ˈpəblɪk skulz ənd ˈgəvərnmənt ˈoʊvərˌsaɪt. ənd soʊ, wət wi sɔ ɪn ɑr ˈrɛkərdz rɪkˈwɛsts wɑz taɪm ˈæftər taɪm ɪn wɪʧ noʊ wən ˈrɪli nu haʊ məʧ ˈməni wɑz biɪŋ spɛnt baɪ ðə skulz, haʊ məʧ əv ðoʊz tæks ˈdɔlərz wɑz biɪŋ spɛnt ɔn ɪgˈzɛkjətɪv peɪ, haʊ məʧ ˈməni wɑz biɪŋ ˌaʊtˈsɔrst tɪ ˌfərˈprɑfɪt ˌkɔrpərˈeɪʃənz. bət wi noʊ ðət ðɪs ˈbɪljən hæv fjuəld ən ˈɪndəstri ðət naʊ dɪˈvoʊts ˈmɪljənz əv ˈdɔlərz iʧ jɪr tɪ ˈlɑbiɪŋ fər mɔr ˈʧɑrtər skulz, ənd dɪˈvoʊts ˈmɪljənz əv ˈdɔlərz ˈædvərˌtaɪzɪŋ ɔn ˈpəblɪk ˈɛrˌweɪz fər ˈpipəl tɪ sɛnd ðɛr kɪdz tɪ ˈʧɑrtər skulz, θɪŋz ðət ˈpəblɪk skulz hæv ə ʧæns tɪ du. ˈpəblɪk skulz hæv ðə ˈbəʤɪt tɪ ˈædvərˌtaɪz ðɛr ˈbɛnəfɪts. ˈivɪn ðoʊ ðiz θɪŋz ər kɔld ˈpəblɪk ˈʧɑrtər skulz, ɪn ˈmɛni rɪˈspɛkts ðiz ˈɔpərˌeɪt, ɪn ˈmɛni ˈɪnstənsɪz, fər ðə ˈpraɪvət ˈsɛktər, fər ðə ˈbɛnəfɪt əv ənd wɔl strit. wɑn gonzález*: wɛl, ˈlisə, wən əv ðə θɪŋz ðət jʊr rɪˈpɔrt ˈhaɪˌlaɪts ɪz ðɪs blæk hoʊl əv əˈkaʊntəˌbɪlɪti wɪn ɪt kəmz tɪ ˈʧɑrtər skulz, ðət ðə ˈfɛdərəl ˈgəvərnmənt ɪz nɑt ˈhoʊldɪŋ ðə steɪts riˈspɑnsəbəl fər ðə ˈməni ɪt gɪvz tɪ ðə steɪts fər ˈʧɑrtər skulz. ðə steɪts ər nɑt ˈhoʊldɪŋ ðɛr oʊn ˈʧɑrtər ˈɔθərˌaɪzɪŋ ˈeɪʤənsiz ər ˈivɪn ðə ˌɪndəˈvɪʤəwəl ˈʧɑrtər skulz əˈkaʊntəbəl. ənd ju kənˈklud ðət ðɪs wɑz nɑt baɪ ˈæksədənt. ˈlisə greɪvz: raɪt. ju noʊ, wən əv ðə θɪŋz sin ˈoʊvər ənd ˈoʊvər əˈgɛn ər ˈprɑməsəz baɪ ðə dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən tɪ du mɔr tɪ hoʊld ˈʧɑrtər skulz əˈkaʊntəbəl. bət wət ju si ɔn ðə graʊnd, beɪst ɔn ðə ˈɑdəts, beɪst ɔn ðə ˌɪnˈspɛktər rɪˈpɔrt, ɪz ə ril læk əv kənˈtroʊlz. ju ˈbeɪsɪkli hæv ðə dɪˈpɑrtmənt əv ˈʧɑrtər ˌɑpərˈeɪʃən sɔrt əv ɪnˈkərəʤɪŋ ðə steɪts tɪ du mɔr. ˈminˌwaɪl, ju hæv ˈɑdəts ðət ʃoʊ ðət ɪn ˈmɛni ˈɪnstənsɪz ðə steɪts hæv noʊ aɪˈdiə wɛr ðə ˈməni wɑz spɛnt wəns ɪt wɛnt ˈɪntu ðə ˈʧɑrtər skul ˈsɪstəm. ðeɪ noʊ haʊ ˈmɛni kɪdz wər ˈrɪli sərvd. ðeɪ noʊ wət ˈhæpənd tɪ ˈæˌsɛts ðət wər ˈpərʧəst θru ɑr tæks ˈdɔlərz. ənd ə ˈrisənt rɪˈpɔrt læst wik frəm ðə ˈsɛnər fər ˈpɑpjələr dɪˈmɑkrəsi ðət ʃoʊz, θru ˈlʊkɪŋ θru ˈfɛdərəl ənd steɪt ˈkrɪmənəl frɔd ˌɪnˈdaɪtmənts, ðət ðɛr hæv bɪn mɔr ðən 200 ˈmɪljən wərθ əv frɔd ɪn ðə ˈʧɑrtər skul ˈɪndəstri. ənd soʊ, ðɪs sɔrt əv ˈsərkəmˌstæns kɔlz fər məʧ ˈgreɪtər kənˈtroʊl, məʧ ˈgreɪtər rɪˈstreɪnt, ˈrəðər ðən ðə 50 pərˈsɛnt ˌɪnˈkris ðət ðə ædˌmɪnɪˈstreɪʃən həz kɔld fər fər ˈʧɑrtər skul ˈfəndɪŋ. ˈeɪmi ˈgʊdmən: ˈlisə, aɪ ˈwɔntɪd tɪ tərn tɪ ə ˈməðər ˈfiʧərd ɪn ən æd riˈlist baɪ charterswork.org*. ˈməðər: aɪ hæd ðə pəˈtɛnʃəl tɪ bi greɪt, bət noʊ wən hɛlpt mi tɪ aɪˈdɛntəˌfaɪ ðət. aɪ wɑz nɑt ˈlɛtɪŋ ðət ˈhæpən tɪ maɪ kɪdz. ˈpəblɪk ˈʧɑrtər skulz prəˈvaɪd ə ˌhaɪkˈwɑləti ˌɛʤəˈkeɪʃən raɪt ɪn ɑr kəmˈjunɪti. aɪ hæv ə ˈdɔtər ðət əˈtɛndz əˈʧivmənt fərst əˈpɑloʊ, ənd noʊ ˈlɪmɪts fər hər naʊ. aɪ ˈvoʊtɪd fər də blasio*, bət aɪ voʊt fər ju tɪ teɪk maɪ fˈjuʧər. ˈeɪmi ˈgʊdmən: soʊ ðɛr ju hæv ɪt, ənd, əv kɔrs, ˈtɔkɪŋ əˈbaʊt də blasio*, ðə meɪər əv nu jɔrk ˈsɪti, meɪər bɪl də blasio*. bət, ˈlisə greɪvz, wət əˈbaʊt ðɪs? ənd wət əˈbaʊt ðə səkˈsɛs əv ər ˈfeɪljər əv ˈʧɑrtər skulz ˈoʊvərˌɔl? ˈlisə greɪvz: wɛl, ju noʊ, ðə ˈstədiz ðət lʊkt lʊkt æt ə juʤ reɪnʤ əv ðət ˈoʊvərˌɔl ðə ˈʧɑrtər skulz pərˈfɔrm ˈbɛtər ðən ðə ˈpəblɪk skulz, ðə trəˈdɪʃənəl ˈpəblɪk skulz. ənd, ɪn fækt, ɪn ðə wərst ˈsərkəmˌstænsɪz, ðə ˈʧɑrtər skulz pərˈfɔrm fɑr wərs. ju ˈɔlsoʊ kən si ˈsərkəmˌstænsɪz ɪn wɪʧ ɪn ðə ˈsoʊˈkɔld ˈvərʧuəl ˈpəblɪk skulz, wɛr ðə ˈdrɑˌpaʊt reɪts ər haɪər, ðə ˈfeɪljər reɪts, ɪn ˈɛsəns, ər haɪər. ənd soʊ, waɪl ˈpipəl kən pɔɪnt tɪ ɪgˈzæmpəlz hir ənd ðɛr əv səkˈsɛs ər ˌɪnəˈveɪʃənz, ðə ˈoʊvərˌɔl ˈstədiz sim tɪ ˈɪndəˌkeɪt ðət ˈsaɪfənɪŋ ə lɔt əv ˈməni aʊt əv ɑr ˈpəblɪk skul ˈsɪstəm tɪ ðiz ˈʧɑrtərz, ənd səm ˈpipəl ər ˈgɪtɪŋ ˈrɪli rɪʧ ɔf əv ɪt. səm əv ðiz ˌfərˈprɑfɪt ˌkɔrpərˈeɪʃənz ər ˈmeɪkɪŋ fækt, ˈhənərdz əv ˈdɔlərz aʊt əv ɑr tæks ˈdɔlərz, ənd ˈtərnɪŋ əraʊnd ənd ˈspɛndɪŋ ðət ˈməni tɪ ˈlɑbi fər mɔr tæks ˈdɔlərz, ənd ˈspɛndɪŋ ðət ˈməni tɪ ˈædvərˌtaɪz fər mɔr kɪdz tɪ kəm θru ðiz ˈsɪstəmz, ˈivɪn ðoʊ hæd ˈrɛkərd ˈæftər ˈrɛkərd ˈæftər ˈrɛkərd əv ˈfeɪljər, ɪn ˈmɛni ˈɪnstənsɪz, baɪ ðiz ˈʧɑrtər skulz. wət ˈɔlsoʊ sin, ɪn wən əv ðə ˈbɪgəst ˈstədiz, wɑz ðət mɔr ˈməni goʊz tɪ ˈsoʊˈkɔld ædˌmɪnɪˈstreɪʃən ɪn ˈʧɑrtər skulz ðən tɪ ˈstudənts dɪˈrɛkli. ənd nɑt ə səˈpraɪz wɪn ju si haʊ ðiz θɪŋz ər ˈstrəkʧərd. səm əv ðiz ˈʧɑrtər skulz ˈbeɪsɪkli ˌaʊtˈsɔrs ˈɛvriˌθɪŋ tɪ ðə ˈpraɪvət ˈsɛktər. ənd ðɛn ðə ˈpraɪvət ˈsɛktər ɪz nɑt əˈkaʊntəbəl tɪ ˈoʊpən ˈrɛkərdz rɪkˈwɛsts ɪn oʊˈhaɪoʊ, ˌɪndiˈænə, ˈəðər steɪts, wɛr ˈpipəl hæv traɪd tɪ ˈfɪgjər aʊt wɛr ðə ˈməni wɛnt. haʊ məʧ ˈməni wɛnt tɪ ɪgˈzɛkjətɪv peɪ, haʊ məʧ ˈməni wɛnt tɪ ðiz ˌfərˈprɑfɪt ˌɑpərˈeɪʃənz, ju ˈivɪn tɛl. wɑn gonzález*: ˈlisə, aɪ wɔnt tɪ pleɪ fər ju ə ˈkɑmɛnt baɪ rid ˈheɪstɪŋz, hu ɪz ðə ˈsiˌiˈoʊ əv. ə səˈpɔrtər ənd ən ˌɪnˈvɛstər ɪn ðə ˌɛʤəˈkeɪʃən ˈʧɑrtər skul ˈnɛtˌwərk. læst jɪr, æt ə ˈmitɪŋ əv ðə ˌkæləˈfɔrnjə ˈʧɑrtər skulz əˌsoʊʃiˈeɪʃən, hi kɔld fər ðə ˌæbəˈlɪʃən əv ˈloʊkəl skul bɔrdz. hɪz spiʧ wɑz ˈpoʊstɪd ɔn ˈjuˌtub. ðə ˈɑdiˌoʊ ɪz nɑt greɪt, bət ɪf ju ˈlɪsən ˈkɛrfəli, ju kən hir hɪz wərdz. rid ˈheɪstɪŋz: ənd soʊ, ðə ˌfəndəˈmɛnəl ˈprɑbləm wɪθ skul ˈdɪstrɪkts ɪz nɑt ðɛr fɔlt. ðə ˌfəndəˈmɛnəl ˈprɑbləm ɪz ðeɪ gɪt tɪ kənˈtroʊl ðɛr bɔrd. ənd ðə ˌɪmˈpɔrtəns əv ðə ˈʧɑrtər skul ˈmuvmənt ɪz tɪ ɪˈvɑlv əˈmɛrɪkə frəm ə ˈsɪstəm wɛr ˈgəvərnəns ɪz ˈkɑnstəntli ˈʧeɪnʤɪŋ ənd ju du ˈlɔŋˈtərm ˈplænɪŋ, tɪ ə ˈsɪstəm əv lɑrʤ ˈnɑnˈprɑfɪts. naʊ, ɪf wi goʊ tɪ ðə ˈʤɛnərəl ˈpəblɪk ənd wi seɪ, ən ˈɑrgjəmənt waɪ ju ʃʊd gɪt rɪd əv skul boards,”*,” əv kɔrs noʊ goʊɪŋ tɪ goʊ fər ðət. skul bɔrdz hæv bɪn ən ˌaɪˈkɑnɪk pɑrt əv əˈmɛrɪkə fər 200 jɪrz. ənd soʊ, wət wi hæv tɪ du ɪz tɪ wərk wɪθ skul ˈdɪstrɪkts tɪ groʊ ˈstɛdəli. ənd ðə wərk əˈhɛd ɪz ˈrɪli hɑrd, bɪˈkəz æt 8 pərˈsɛnt əv ˈstudənts ɪn ˌkæləˈfɔrnjə, wɛˈræz ɪn nu ˌɔˈrlinz æt 90 pərˈsɛnt. soʊ wi hæv ə lɔt əv tɪ du. wɑn gonzález*: ðət wɑz rid ˈheɪstɪŋz, ðə ˈsiˌiˈoʊ əv ənd ə bɪg səˈpɔrtər ənd ˌɪnˈvɛstər ɪn ðə ˈʧɑrtər skul ˈɪndəstri, læst jɪr æt ə ˈmitɪŋ əv ðə ˌkæləˈfɔrnjə ˈʧɑrtər skulz əˌsoʊʃiˈeɪʃən. ˈlisə greɪvz, jʊr riˈækʃən, ənd ˈɔlsoʊ ðɪs hoʊl ˈɪʃu əv ðə ˈlɔŋˈtərm goʊl əv ɪˈlɪməˌneɪtɪŋ ˈɛni kaɪnd əv ˌdɛməˈkrætɪk ˈprɔˌsɛs fər ˈpɛrənts ənd kəmˈjunɪtiz ɪn ðɛr skul bɔrdz? ˈlisə greɪvz: wɛl, ɪf ju ˈlɪsən ˈkloʊsli tɪ wət hi sɛd, wət hi sɛd wɑz wi nid tɪ əˈbɑlɪʃ ðə skul ˈdɪstrɪkts; wi nid tɪ əˈbɑlɪʃ ðə skul bɔrdz, ˈbeɪsɪkli. skul bɔrdz ər ˈrɪli ðə ˈoʊnli weɪ ðət wi hæv ˌdɛməˈkrætɪk kənˈtroʊl, dɪˈrɛkt dɪˈmɑkrəsi, ˈoʊvər ɑr skulz. fər ˈɔrdəˌnɛri ˈpəblɪk skulz, ɪf ðeɪ wɔnt tɪ bɪld ə nu ʤɪm ər ə nu ˈsteɪdiəm, ðeɪ hæv tɪ ˈɔfən goʊ tɪ ˈtækˌspeɪərz tɪ gɪt pərˈmɪʃən tɪ ɪkˈspænd ðə skul ˈsɪstəm, tɪ gɪt ˈtæksɪz tɪ ɪkˈspænd. ənd ˈɔlsoʊ, ˈpipəl kən ɪˈlɛkt ɔn ðət skul bɔrd. wət wi si θru ˈʧɑrtərz ənd θru ðə əˈmɛrɪkən ˈlɛʤəsˌleɪtɪv ɪksˈʧeɪnʤ əˈʤɛndə ɪz ən ˈɛfərt tɪ ˌsərkəmˈvɛnt ˈloʊkəl ˌdɛməˈkrætɪk kənˈtroʊl, tɪ ˈbeɪsɪkli riˈmuv kənˈtroʊl əv ðiz skulz, ðiz ˈʧɑrtər skulz, ðiz ˈɔfən ˌfərˈprɑfɪt ˈɛnərˌpraɪzɪz ðət ər rɪˈleɪtɪd tɪ ðɛm, ənd pɑrt əv ðə dɪˈzaɪn əv ðɛm. wɪn ju lʊk bæk æt ðə ˈhɪstəri əv ðɪs, wət ju si ɪz ðə jɪr ˈæftər braʊn vi. bɔrd əv ˌɛʤəˈkeɪʃən, wɪn ðə səˈprim kɔrt juˈnænəməsli ruld ðət ðə skulz hæd tɪ dɪˈsɛgrəˌgeɪt, ˈmɪltən ˈfridmən, sɔrt əv ðə ˈgɑdˌfɑðər əv ðə raɪt ɔn ðə ˌɛkəˈnɑmɪks, ˈsəmˌwən hu həz fjuəld ənd səˈpɔrtɪd ðə əˈmɛrɪkən ˈlɛʤəsˌleɪtɪv ɪksˈʧeɪnʤ ˈkaʊnsəl ˌbiˈfɔr hi pæst ˈfridmən səˈʤɛstɪd ðət ðə səˈluʃən tɪ ˌsɛgrəˈgeɪʃən wɑz ðət ðɛr ɔt tɪ bi ʤɪst ˈpjʊrli ˈpraɪvət skulz. ðeɪ ɔt tɪ əˈbɑlɪʃ ˈpəblɪk skulz, ənd ˈpipəl kʊd ʧuz skulz, skulz ənd mɪkst skulz. ˈeɪmi ˈgʊdmən: actually—*— ˈlisə greɪvz: ənd ˈmɪltən ˈfridmən, ju know—*— ˈeɪmi ˈgʊdmən: ˈæˌkʧuəli, wi hæv ə klɪp əv ðə leɪt ɪˈkɑnəmɪst ˈmɪltən ˈfridmən bæk ɪn 2006 ˈtɔkɪŋ əˈbaʊt ðə ˈpəblɪk skul ˈsɪstəm ʃʊd bi ɪˈlɪməˌneɪtɪd. ˈmɪltən ˈfridmən: haʊ du wi gɪt frəm wɛr wi ər tɪ wɛr wi wɔnt tɪ bi, tɪ ə ˈsɪstəm ɪn wɪʧ ˈpɛrənts kənˈtroʊl ðə ˌɛʤəˈkeɪʃən əv ðɛr ˈʧɪldrən? əv kɔrs, ðə aɪˈdil weɪ wʊd bi tɪ əˈbɑlɪʃ ðə ˈpəblɪk skul ˈsɪstəm ənd ɪˈlɪməˌneɪt ɔl ðə ˈtæksɪz ðət peɪ fər ɪt. ðɛn ˈpɛrənts wʊd hæv ɪˈnəf ˈməni tɪ peɪ fər ˈpraɪvət skulz. bət nɑt goʊɪŋ tɪ du ðət. ənd soʊ, ju hæv tɪ æsk: wət ər ˈplɪtɪkli ˈfizəbəl weɪz əv ˈsɑlvɪŋ ðə ˈprɑbləm? ənd ðə ˈænsər ɪz, ɪn maɪ əˈpɪnjən, ʧɔɪs, ðət ju hæv tɪ ʧeɪnʤ ðə weɪ ˈgəvərnmənt ˈməni ɪz dɪˈrɛktɪd. ˌɪnˈstɛd əv ɪts biɪŋ juzd tɪ ˈfaɪˌnæns skulz ənd ˈbɪldɪŋz, ju ʃʊd ˌdɪˈsaɪd haʊ məʧ ˈməni ˈwɪlɪŋ tɪ spɛnd ɔn iʧ ʧaɪld, ənd gɪv ðət ˈməni tɪ ðət ˈməni ɪn ðə fɔrm əv ə ˈvaʊʧər tɪ ðə ˈpɛrənts əv ðə ˈʧɪldrən, soʊ ðət ðə ˈpɛrənts kən ʧuz ə skul ðət ðeɪ rɪˈgɑrd ɛz bɛst fər ðɛr ʧaɪld. ˈeɪmi ˈgʊdmən: soʊ, ðə leɪt ˈmɪltən ˈfridmən, ðə ɪˈkɑnəmɪst ˈmɪltən ˈfridmən, ˈspikɪŋ ɪn 2006 ənd bɪˈhaɪnd ɪm ɪz ðə ˈbænər əv ˈælɪk, ðə əˈmɛrɪkən ˈlɛʤəsˌleɪtɪv ɪksˈʧeɪnʤ ˈkaʊnsəl. soʊ ɪf ju kən tɔk əˈbaʊt ðə sɪgˈnɪfɪkəns əv ðɪs, ˈlisə, ənd ˈɔlsoʊ, ju rɪˈfərd tɪ ˈælɪk, bət ɪkˈspleɪn ɪgˈzæktli ɪts roʊl ɪn ɔl əv ðɪs, ɛz wɛl ɛz ðə kɔʧ ˈbrəðərz? ˈlisə greɪvz: soʊ, ju noʊ, ðət wɑz ə spiʧ tɪ ˈælɪk, ɛz ju pɔɪnt aʊt. ənd wət ˈmɪltən ˈfridmən wɑz seɪɪŋ wɑz ˈbeɪsɪkli ðə goʊl ɪz tɪ əˈbɑlɪʃ ðə ˈpəblɪk skulz. ðɪs ɪz ə ˈrædɪkəl, ɪkˈstrim goʊl, ənd ɪt hæd bɪn hɪz goʊl sɪns æt list 1955 ðət goʊl həz bɪn ʤɔɪnd baɪ ˈnumərəs ˌbɪljəˈnɛr ˈfæməliz ɪn ðɪs ˈkəntri, ˌɪnˈkludɪŋ ðə kɔʧ ˈbrəðərz. wɪn ˈdeɪvɪd kɔʧ ræn fər vaɪs ˈprɛzɪdənt ɪn 1980 wən əv hɪz ˈplætˌfɔrmz wɑz tɪ əˈbɑlɪʃ, ˈprɪvəˌtaɪz ðə ˈpəblɪk skulz. ju hərd ɪt ɪn ðə læst ˌprɛzɪˈdɛnʃəl ˈsaɪkəl, ɪn wɪʧ ðə rɪˈpəblɪkən ˈkænədɪts wər kəmˈpitɪŋ fər wɪʧ ˈeɪʤənsiz tɪ əˈbɑlɪʃ. ðeɪ ˈwɔntɪd tɪ du əˈbɑlɪʃ ðə dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən. hərd ˈgroʊvər ˈnɔrkwɪst ənd ˈəðərz ʤoʊk əˈbaʊt ðə nid tɪ gɪt rɪd əv ˈpəblɪk ˌɛʤəˈkeɪʃən. ðɪs ɪz pɑrt əv ðət əˈʤɛndə. ˈɔlsoʊ fjuəld baɪ ðə ˈdivoʊz ˈfæməli frəm ðə ˈæmˌweɪ ˈfɔrʧən, baɪ ðə ˈwɔlˌmɑrt ˈfæməli, ðə ˈwɔlˌmɑrt faʊnˈdeɪʃən. ɔl əv ðɛm hæv ˈbeɪsɪkli ræpt ðɛr əˈʤɛndə ɪn ðiz wərdz əv ““choice”*” ðət ˈmɪltən ˈfridmən səˈʤɛstɪd, ðət ðɪs ɪz əˈbaʊt ʧɔɪs, wɪn, ɪn fækt, ðə əˈʤɛndə ɪz ˈhɑstəl tɪ ðə aɪˈdiə ðət ðɛr ʃʊd bi ˈpəblɪk skulz. ðə ˈrædɪkəlz, ˈbeɪsɪkli, ɪn ðə ˈkəntri, fər ə lɔŋ taɪm, ˌɪnˈkludɪŋ frɛd kɔʧ, hu wɑz ˈdeɪvɪd ənd ˈʧɑrəlz ˈfɑðər, bɪˈlivd ðət ðə aɪˈdiə əv ˈpəblɪk skulz wɑz ˈbeɪsɪkli ˈkɑmjənəst ər ˈsoʊʃəlɪst, wɪʧ ɪz ˈrɪli rɪˈdɪkjələs. ˈpəblɪk skulz ər wən əv ðə ˈbeɪsɪk ˌɪnəˈveɪʃənz əv əˈmɛrɪkə ðət həz meɪd ɑr ˈkəntri strɔŋ ənd greɪt, tɪ hæv ˌjunəˈvərsəl ˈpəblɪk ˌɛʤəˈkeɪʃən fər ɔl kɪdz. bət wət sin θru ˈælɪk ɪz ðɪs ˌkɑmbəˈneɪʃən əv ˌaɪdiəˈlɑʤɪkəl ˌraɪtˈwɪŋərz ənd ˌfərˈprɑfɪt ˈɛntɪtiz ənd ðɛr treɪd grups ˈkəmɪŋ təˈgɛðər tɪ ˈæˌkʧuəli voʊt ɛz ˈikwəlz, bɪˈhaɪnd kloʊzd dɔrz, wɪθ ˈlɛʤəsˌleɪtərz frəm əˈkrɔs ðə ˈkəntri ɪn ðɪs ˈɛfərt tɪ ˈprɪvəˌtaɪz ɑr skulz, θru ˈvaʊʧərz, θru ɪkˈspændɪd ˈʧɑrtərz, θru ˈʧɑrtərz wɪθ ˈvɛri fju kənˈtroʊlz, ˈʧɑrtərz ɪgˈzɛmptɪd frəm steɪt ənd ˈfɛdərəl ˌrɛgjəˈleɪʃənz, ˈʧɑrtərz ɪgˈzɛmptɪd frəm ˈloʊkəl ˌrɛgjəˈleɪʃənz, ˈʧɑrtərz ɪgˈzɛmptɪd frəm kənˈtroʊl baɪ ˈloʊkəl skul bɔrdz. wət ˈhæpənz æt ˈælɪk ˌɛʤəˈkeɪʃən tæsk fɔrs ðət tæsk fɔrs həz bɪn ɪn ðə pæst baɪ ˌfərˈprɑfɪt ˌkɔrpərˈeɪʃənz ðət ˈbɛnəfɪt frəm ðɪs əˈʤɛndə, ɛz wɛl ɛz ˈnɑnˈprɑfɪts ðət ˌaʊtˈsɔrs ˈməni tɪ tæsk fɔrs ˈmitɪŋz, ˌənbəˈlivəbli, ˈlɛʤəsˌleɪtərz ˈæˌkʧuəli voʊt ɛz ˈikwəlz ɔn ðoʊz ˈmɑdəl bɪlz wɪθ ðiz ˈspɛʃəl ˈɪntəˌrɛst grups, ˌbiˈfɔr ðoʊz bɪlz ər ˌɪntrəˈdust ɪn ɑr steɪt ˈhaʊsɪz ənd steɪt ˈlɛʤɪsˌleɪʧərz əˈkrɔs ðə ˈkəntri. wɑn gonzález*: wɛl, lisa—*— ˈlisə greɪvz: ənd wən əv ðə ˈrizənz waɪ wi wərk tɪ ɪkˈspoʊz ˈælɪk. wɑn gonzález*: naʊ, ˈlisə, aɪ ˈwɔntɪd tɪ æsk ju, ˌpɑrˈtɪkjələrli, ðə ˈmɛnʃən əv ˈfridmən əˈbaʊt ˈhævɪŋ ðə ˈməni ɪn ðə fɔrm əv ˈvaʊʧərz pər ʧaɪld, ˈrəðər ðən fər skulz ˌɪtˈsɛlf. tɔkt əˈbaʊt haʊ ɪn wɪˈskɑnsən ənd ˈəðər steɪts naʊ, ˈgɪtɪŋ ˈɔnˌlaɪn ˈpraɪvət skulz. ənd ˈtɔkɪŋ nɑt ʤɪst ɪn ˈkɑlɪʤɪz. ˈtɔkɪŋ ˈpəblɪk skul ˈlɛvəlz, ˈʧɑrʤɪŋ, ˈgɪtɪŋ ðə seɪm fi ɛz ə ˈnɔrməl ˈpəblɪk skul wʊd gɪt. kʊd ju tɔk əˈbaʊt ðət? ˈlisə greɪvz: jɛs, wən əv ðə moʊst əˈmeɪzɪŋ bɪlz aɪ rɛd, ˈæftər ðə ˈwɪsəlˌbloʊər geɪv mi ðə bɪlz ɪn 2011 ðət wər əˈpruvd θru ðɪs ˈkɔrpərət ˈvoʊtɪŋ ˈprɔˌsɛs əv ˈælɪk wɪθ ˈlɛʤəsˌleɪtərz, wɑz ə bɪl kɔld ðə ˈvərʧuəl ˈpəblɪk skulz ækt. ɪt ənd ˈəðər ˈælɪk bɪlz ˈbeɪsɪkli ˌrikˈwaɪər ðət ðiz ˈsoʊˈkɔld ˈvərʧuəl skulz, ðət wʊd gɪt ˈvaʊʧərz ər tæks ˈdɔlərz, wʊd bi peɪd ˈbeɪsɪkli ðə seɪm əˈmaʊnt ɛz skulz wɪθ brɪks ənd ˈmɔrtər ənd ɛr kənˈdɪʃənɪŋ, ˈblækˌbɔrdz, ju noʊ, lənʧ ˈleɪdiz, skul ˈbəsɪz, ˌɛtˈsɛtərə. ðə ˈdɪfərəns ɪz ˈprɑfɪt. ənd soʊ, ju hæv ə ˌsɪʧuˈeɪʃən ɪn wɪʧ səm əv ðiz ˈvaʊʧərz ər goʊɪŋ tɪ səˈpɔrt ˌɑpərˈeɪʃənz ðət hæv fɑr fjuər kɔsts, ɪn pɑrt bɪˈkəz səm əv ðiz ˈvaʊʧərz, æt list ɪn ðə ˈvərʧuəl ərˈinə, ər səˈpɔrtɪŋ skulz ər ˈklæsˌrumz wɛr wən ˈtiʧər fər 50 60 ər ˈhənərdz əv ˈstudənts. ənd ɪn səm steɪts, laɪk ˌɛrɪˈzoʊnə, wɛr ðeɪ, θru ˈælɪk ˈmɛʒərz ənd rɪˈleɪtɪd ˈmɛʒərz, hæv ˈbeɪsɪkli strɪpt daʊn ˈtiʧər ˌsərtəfəˈkeɪʃən rulz soʊ ðət ju hæv tɪ hæv ðə trəˈdɪʃənəl ˈtiʧər ˌsərtəfəˈkeɪʃən, ju kən hæv ˈtiʧərz ˈtiʧɪŋ, ɪn ˈsoʊˈkɔld ˈvərʧuəl ˈklæsˌrumz, ˈhənərdz əv ˈstudənts, ˈgɪtɪŋ ˈθaʊzənz pər ˈpjupəl, ənd ˈminˌwaɪl, ðə ˌkɔrpərˈeɪʃənz ðət ər ˌɪnˈvɑlvd, laɪk ər ˈmeɪkɪŋ ˈmɪljənz əv ˈdɔlərz. həz gɔn frəm ə wɔl strit fərm ðət wɑz kriˈeɪtɪd ɪn pɑrt baɪ ðə ʤəŋk ˈmɪlkən, ju noʊ, ˈfɛlən hu wɑz kənˈvɪktəd fər ðoʊz ʤəŋk bɑnd skimz. hi ˌɪnˈvɛstɪd ɪn gɔn frəm əˈbaʊt 200 ˈmɪljən ɪn ˈrɛvəˌnu tɪ ˈnɪrli ə ˈbɪljən ˈdɔlərz ɪn ˈrɛvəˌnu. ˈɔlˌmoʊst ɪnˈtaɪərli səˈpɔrtɪd baɪ ˈfɛdərəl ənd steɪt tæks ˈdɔlərz. ənd soʊ, ɪˈnɔrmɪs ˈprɑfɪt tɪ bi meɪd θru ðiz ˈvaʊʧərz. ˈeɪmi ˈgʊdmən: ˈlisə, wi hæv tɪ liv ɪt ðɛr. aɪ θæŋk ju fər biɪŋ wɪθ ˈjuˈɛs, ɪgˈzɛkjətɪv dɪˈrɛktər əv ðə ˈsɛnər fər ˈmidiə ənd dɪˈmɑkrəsi. ənd wi wɪl lɪŋk tɪ jʊr rɪˈpɔrt æt democracynow.org*. ɛz wɛl, wɑn, lɪŋk tɪ jʊr pis ɪn ðə nu jɔrk ˈdeɪli nuz kɔld feɪld tɪ kip tæbz ɔn 3 ˈbɪljən ɪn eɪd doʊld aʊt tɪ ˈʧɑrtər schools.”*.”
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nine tenants are homeless after fire inspectors deemed their apartment building unsafe.
a blue tarp is stretched across most of the roof, the brick work is crumbling, there are areas where the wood is rotting and fire crews told cbc news no one will be allowed to return until major repair work is completed.
city fire inspector cameron dunn said the big concern is water seeping into the electrical system.
"if water is in the electrical system there's potential for a short or something happening that could cause a fire incident," he said.
dunn said it's unusual to close an entire building.
"it's pretty rare. we may have to close part of a building and maybe move one person to another apartment or get them to stay with friends for a day or two, but this has become a larger incident because of the amount of water in the building at the time."
the nine tenants, some on social assistance, are getting help from the red cross and the provincial government. some are staying in local motels until the situation is remedied.
city mike o'brien said he thinks the unsafe building is just one of many in.
"we do call it the tip of the iceberg because there is the visible homeless in the city, about 300 or 400, and then below that are people living in situations like this," he said.
the city has ordered the landlord, bill, to repair the building.
petley said he plans to complete the repairs as soon as possible, but he couldn't say when residents can move back in.
he said he will be meeting safety and health inspectors next week.
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naɪn ˈtɛnənts ər ˈhoʊmləs ˈæftər faɪər ˌɪnˈspɛktərz dimd ðɛr əˈpɑrtmənt ˈbɪldɪŋ ənˈseɪf. ə blu tɑrp ɪz strɛʧt əˈkrɔs moʊst əv ðə rʊf, ðə brɪk wərk ɪz ˈkrəmbəlɪŋ, ðɛr ər ˈɛriəz wɛr ðə wʊd ɪz ˈrɑtɪŋ ənd faɪər kruz toʊld ˈsiˌbiˈsi nuz noʊ wən wɪl bi əˈlaʊd tɪ rɪˈtərn ənˈtɪl ˈmeɪʤər rɪˈpɛr wərk ɪz kəmˈplitɪd. ˈsɪti faɪər ˌɪnˈspɛktər ˈkæmərən dən sɛd ðə bɪg kənˈsərn ɪz ˈwɔtər ˈsipɪŋ ˈɪntu ðə ɪˈlɛktrɪkəl ˈsɪstəm. "ɪf ˈwɔtər ɪz ɪn ðə ɪˈlɛktrɪkəl ˈsɪstəm ðɛrz pəˈtɛnʃəl fər ə ʃɔrt ər ˈsəmθɪŋ ˈhæpənɪŋ ðət kʊd kɔz ə faɪər ˈɪnsədənt," hi sɛd. dən sɛd ɪts ənˈjuˌʒuəl tɪ kloʊz ən ɪnˈtaɪər ˈbɪldɪŋ. "ɪts ˈprɪti rɛr. wi meɪ hæv tɪ kloʊz pɑrt əv ə ˈbɪldɪŋ ənd ˈmeɪbi muv wən ˈpərsən tɪ əˈnəðər əˈpɑrtmənt ər gɪt ðɛm tɪ steɪ wɪθ frɛndz fər ə deɪ ər tu, bət ðɪs həz bɪˈkəm ə ˈlɑrʤər ˈɪnsədənt bɪˈkəz əv ðə əˈmaʊnt əv ˈwɔtər ɪn ðə ˈbɪldɪŋ æt ðə taɪm." ðə naɪn ˈtɛnənts, səm ɔn ˈsoʊʃəl əˈsɪstəns, ər ˈgɪtɪŋ hɛlp frəm ðə rɛd krɔs ənd ðə prəˈvɪnʃəl ˈgəvərnmənt. səm ər steɪɪŋ ɪn ˈloʊkəl moʊˈtɛlz ənˈtɪl ðə ˌsɪʧuˈeɪʃən ɪz ˈrɛmədid. ˈsɪti maɪk oʊˈbraɪɪn sɛd hi θɪŋks ðə ənˈseɪf ˈbɪldɪŋ ɪz ʤɪst wən əv ˈmɛni ɪn. "wi du kɔl ɪt ðə tɪp əv ðə ˈaɪsbərg bɪˈkəz ðɛr ɪz ðə ˈvɪzəbəl ˈhoʊmləs ɪn ðə ˈsɪti, əˈbaʊt 300 ər 400 ənd ðɛn bɪˈloʊ ðət ər ˈpipəl ˈlɪvɪŋ ɪn ˌsɪʧuˈeɪʃənz laɪk ðɪs," hi sɛd. ðə ˈsɪti həz ˈɔrdərd ðə ˈlænˌdlɔrd, bɪl, tɪ rɪˈpɛr ðə ˈbɪldɪŋ. sɛd hi plænz tɪ kəmˈplit ðə rɪˈpɛrz ɛz sun ɛz ˈpɑsəbəl, bət hi ˈkʊdənt seɪ wɪn ˈrɛzɪdənts kən muv bæk ɪn. hi sɛd hi wɪl bi ˈmitɪŋ ˈseɪfti ənd hɛlθ ˌɪnˈspɛktərz nɛkst wik.
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the post sports live crew analyzes kirk performance in eight career starts and debates whether he has proven he could ever be a top 20 quarterback in the nfl. (post sports washington post)
the post sports live crew analyzes kirk performance in eight career starts and debates whether he has proven he could ever be a top 20 quarterback in the nfl. (post sports washington post)
there is a sentiment that need never be repeated again in washington, and this: “dan snyder just wants to win.” the day the owner quits doubling down on his favorite mistakes is the day know football team is worth your interest again. the day bruce taxi is waiting to take him to the airport, to be replaced by an actual football professional as opposed to son or brother, is the day know this team just another fan swindle.
it’s mid-october, yet football fans once more feel like drinking flat beer. the team is in last place in the east, which makes 2014 no different from 2013, 2011 or 2010, and the conversation already has shifted to how many needs will have to be filled in the. well, count. the offensive line, which plays with all the enthusiasm of gravediggers; the secondary, which stop a seam route or a deep ball; the defensive line, which seem to mount a consistent pass rush; and then there is the matter of finding a quarterback who so easily breakable either physically or mentally.
nice job. way to build.
why is washington always facing the same problems? why, no matter how much changes, does nothing change? the reason is that snyder prefers spies, moles, and instead of accomplished managers. no coach or roster can succeed because they become fatalistic who have no faith in the basic organization. the cycle of internal dissolution is repetitive and inevitable: the front office and locker room are torn apart by disagreement and dissension because the suite is always open to the and the bad-mouthers.
think about how many times this past you heard a member of the organization plunge a knife into someone and distance themselves from blame. allen went out of his way to shuck responsibility for any roster problems, saying that with mike firing “the control will be mine,” and vowing to “redefine some of the characteristics that looking for in players.” he also any responsibility for robert griffin returning too quickly from a knee injury last season, saying it was “almost disrespectful,” and the quarterback was asked “to do the impossible.”
the post sports live crew predicts what will happen when the redskins take on the titans at fedex field on sunday. (post sports washington post)
allen is president of the ballclub. what a stand-up guy.
then there is the noble jim haslett, who whispered in the ear of all who would listen that his abysmal defensive performance last year was not his fault but a result of interference from above. deangelo hall said, “i’m excited after talking to haslett . . . of him being able to run his defense without anybody in his ear telling him what to call or what not to call.” haslett himself said he wanted to “turn loose” his players, and, “you’ll see more of what we want to do . . .” as if he had been shackled and gagged.
now, the point is not that shanahan did a job worth defending. he didn’t. the point is what this says about the culture in ashburn. if these are the sorts of things being said in the open, imagine the daggers plunged behind closed doors. but the real point is that this is what a very nice, well-meaning, seemingly talented, but not very empowered coach named jay can expect going forward.
disloyalty and unraveling, these are the hallmarks of ownership: vinny cerrato never missed a chance to cut up jim zorn. as the team starts to slide, there is a parade of and who complain into the ear of the owner, and the head coach leaves not just a failure, but damaged.
meanwhile, some of the wrong people are retained.
explain, please, how haslett could have been rehired from last staff. he had a squad ranked in the top half of the league since 2003. last season his unit was in points allowed and against the pass. this season, his “turned loose” unit has surrendered at least 27 points in its past four games and is giving up an average of yards, once again in the bottom third of the nfl. and this is with the addition of jason hatcher and ryan clark.
we know now where responsibility for performance lies: with haslett.
1 of 30 full screen close skip ad washington at arizona for week 6 view photos the redskins’ losing streak continues as they fall to the cardinals. caption the redskins’ losing streak continues as they fall to the cardinals. washington redskins outside linebacker brian and teammates take the field for a game against the arizona cardinals on october 12 in glendale, ariz. jonathan washington post buy photo wait 1 second to continue.
this is why washington is staggering in the east. the better teams, dallas and philadelphia, are playing with a percussive force, the exacting, synchronized rhythm of a drumroll. this is because they believe in what they are doing. even the drama-prone, emotionally messy cowboys exhibit more basic loyalty and steadfastness to their people and their plan when things go wrong.
washington, on the other hand, flies around chaotically, and yet as puts it “nothing is happening” for all of their seeming action. except 48 penalties, fifth most in the league, and a raft of interceptions by kirk cousins, who tries to play with conviction but apparently can neither close out a game nor overcome a deficit, and is growing more insecure by the game.
the nfl asks men to risk their long-term health for the sake of winning, and that takes a certain amount of faith in the bosses upstairs. without it, hard to pay the daily bodily dues to stand in, to play with real zeal instead of superficial. and hard to buy in when you know the coach, no matter how much you like him or hate him, likely will be undermined when things go wrong.
“a coach is someone who tells you what you want to hear, who has you see what you want to see, so you can be who you have always known you could be,” tom landry once said. exactly what chance does anyone in washington have of exercising those principles?
for more by sally jenkins, visit washingtonpost.com/jenkins.
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ðə poʊst spɔrts lɪv kru ˈænəˌlaɪzɪz kərk pərˈfɔrməns ɪn eɪt kərɪr stɑrts ənd dəˈbeɪts ˈwɛðər hi həz ˈpruvən hi kʊd ˈɛvər bi ə tɔp 20 kˈwɔrtərˌbæk ɪn ðə ˈɛˌnɛˈfɛl. (poʊst spɔrts ˈwɔʃɪŋtən poʊst) ðə poʊst spɔrts lɪv kru ˈænəˌlaɪzɪz kərk pərˈfɔrməns ɪn eɪt kərɪr stɑrts ənd dəˈbeɪts ˈwɛðər hi həz ˈpruvən hi kʊd ˈɛvər bi ə tɔp 20 kˈwɔrtərˌbæk ɪn ðə ˈɛˌnɛˈfɛl. (poʊst spɔrts ˈwɔʃɪŋtən poʊst) ðɛr ɪz ə ˈsɛnəmənt ðət nid ˈnɛvər bi rɪˈpitɪd əˈgɛn ɪn ˈwɔʃɪŋtən, ənd ðɪs: sˈnaɪdər ʤɪst wɔnts tɪ win.”*.” ðə deɪ ðə ˈoʊnər kwɪts ˈdəbəlɪŋ daʊn ɔn hɪz ˈfeɪvərɪt mɪˈsteɪks ɪz ðə deɪ noʊ ˈfʊtˌbɔl tim ɪz wərθ jʊr ˈɪntəˌrɛst əˈgɛn. ðə deɪ brus ˈtæksi ɪz ˈweɪtɪŋ tɪ teɪk ɪm tɪ ðə ˈɛrˌpɔrt, tɪ bi ˌriˈpleɪst baɪ ən ˈækʧəwəl ˈfʊtˌbɔl prəˈfɛʃənəl ɛz əˈpoʊzd tɪ sən ər ˈbrəðər, ɪz ðə deɪ noʊ ðɪs tim ʤɪst əˈnəðər fæn sˈwɪndəl. mid-october*, jɛt ˈfʊtˌbɔl fænz wəns mɔr fil laɪk ˈdrɪŋkɪŋ flæt bɪr. ðə tim ɪz ɪn læst pleɪs ɪn ðə ist, wɪʧ meɪks 2014 noʊ ˈdɪfərənt frəm 2013 2011 ər 2010 ənd ðə ˌkɑnvərˈseɪʃən ɔˈrɛdi həz ˈʃɪftɪd tɪ haʊ ˈmɛni nidz wɪl hæv tɪ bi fɪld ɪn ðə. wɛl, kaʊnt. ðə əˈfɛnsɪv laɪn, wɪʧ pleɪz wɪθ ɔl ðə ɪnˈθuziˌæzəm əv gravediggers*; ðə ˈsɛkənˌdɛri, wɪʧ stɑp ə sim rut ər ə dip bɔl; ðə dɪˈfɛnsɪv laɪn, wɪʧ sim tɪ maʊnt ə kənˈsɪstənt pæs rəʃ; ənd ðɛn ðɛr ɪz ðə ˈmætər əv ˈfaɪndɪŋ ə kˈwɔrtərˌbæk hu soʊ ˈizəli ˈbreɪkəbəl ˈiðər ˈfɪzɪkəli ər ˈmɛnəli. nis ʤɑb. weɪ tɪ bɪld. waɪ ɪz ˈwɔʃɪŋtən ˈɔlˌweɪz ˈfeɪsɪŋ ðə seɪm ˈprɑbləmz? waɪ, noʊ ˈmætər haʊ məʧ ˈʧeɪnʤɪz, dɪz ˈnəθɪŋ ʧeɪnʤ? ðə ˈrizən ɪz ðət sˈnaɪdər prɪˈfərz spaɪz, moʊlz, ənd ˌɪnˈstɛd əv əˈkɑmplɪʃt ˈmænɪʤərz. noʊ koʊʧ ər ˈrɑstər kən səkˈsid bɪˈkəz ðeɪ bɪˈkəm feɪtəˈlɪstɪk hu hæv noʊ feɪθ ɪn ðə ˈbeɪsɪk ˌɔrgənəˈzeɪʃən. ðə ˈsaɪkəl əv ˌɪnˈtərnəl ˌdɪsəˈluʃən ɪz rɪˈpɛtɪtɪv ənd ˌɪˈnɛvətəbəl: ðə frənt ˈɔfəs ənd ˈlɑkər rum ər tɔrn əˈpɑrt baɪ dɪsəˈgrimənt ənd dɪˈsɛnʃən bɪˈkəz ðə swit ɪz ˈɔlˌweɪz ˈoʊpən tɪ ðə ənd ðə bad-mouthers*. θɪŋk əˈbaʊt haʊ ˈmɛni taɪmz ðɪs pæst ju hərd ə ˈmɛmbər əv ðə ˌɔrgənəˈzeɪʃən plənʤ ə naɪf ˈɪntu ˈsəmˌwən ənd ˈdɪstəns ðɛmˈsɛlvz frəm bleɪm. ˈælən wɛnt aʊt əv hɪz weɪ tɪ ʃək riˌspɑnsəˈbɪləti fər ˈɛni ˈrɑstər ˈprɑbləmz, seɪɪŋ ðət wɪθ maɪk ˈfaɪərrɪŋ kənˈtroʊl wɪl bi mine,”*,” ənd vaʊɪŋ tɪ səm əv ðə ˌkɛrɪktərˈɪstɪks ðət ˈlʊkɪŋ fər ɪn players.”*.” hi ˈɔlsoʊ ˈɛni riˌspɑnsəˈbɪləti fər ˈrɑbərt ˈgrɪfɪn rɪˈtərnɪŋ tu kˈwɪkli frəm ə ni ˈɪnʤəri læst ˈsizən, seɪɪŋ ɪt wɑz disrespectful,”*,” ənd ðə kˈwɔrtərˌbæk wɑz æst du ðə impossible.”*.” ðə poʊst spɔrts lɪv kru prɪˈdɪkts wət wɪl ˈhæpən wɪn ðə ˈrɛdˌskɪnz teɪk ɔn ðə ˈtaɪtənz æt ˈfɛˈdɛks fild ɔn ˈsənˌdi. (poʊst spɔrts ˈwɔʃɪŋtən poʊst) ˈælən ɪz ˈprɛzɪdənt əv ðə ˈbɔlkləb. wət ə ˈstænˌdəp gaɪ. ðɛn ðɛr ɪz ðə ˈnoʊbəl ʤɪm ˈhæslɪt, hu ˈwɪspərd ɪn ðə ɪr əv ɔl hu wʊd ˈlɪsən ðət hɪz əˈbɪzməl dɪˈfɛnsɪv pərˈfɔrməns læst jɪr wɑz nɑt hɪz fɔlt bət ə rɪˈzəlt əv ˌɪnərˈfɪrəns frəm əˈbəv. dəŋˈgɛloʊ hɔl sɛd, ɪkˈsaɪtɪd ˈæftər ˈtɔkɪŋ tɪ ˈhæslɪt əv ɪm biɪŋ ˈeɪbəl tɪ rən hɪz dɪˈfɛns wɪˈθaʊt ˈɛnibədi ɪn hɪz ɪr ˈtɛlɪŋ ɪm wət tɪ kɔl ər wət nɑt tɪ call.”*.” ˈhæslɪt hɪmˈsɛlf sɛd hi ˈwɔntɪd tɪ loose”*” hɪz pleɪərz, ənd, si mɔr əv wət wi wɔnt tɪ du ɛz ɪf hi hæd bɪn ˈʃækəld ənd gægd. naʊ, ðə pɔɪnt ɪz nɑt ðət ˈʃænəhæn dɪd ə ʤɑb wərθ dɪˈfɛndɪŋ. hi didn’t*. ðə pɔɪnt ɪz wət ðɪs sɪz əˈbaʊt ðə ˈkəlʧər ɪn ˈæʃbərn. ɪf ðiz ər ðə sɔrts əv θɪŋz biɪŋ sɛd ɪn ðə ˈoʊpən, ˌɪˈmæʤən ðə ˈdægərz plənʤd bɪˈhaɪnd kloʊzd dɔrz. bət ðə ril pɔɪnt ɪz ðət ðɪs ɪz wət ə ˈvɛri nis, well-meaning*, ˈsimɪŋli ˈtæləntɪd, bət nɑt ˈvɛri ɪmˈpaʊərd koʊʧ neɪmd ʤeɪ kən ɪkˈspɛkt goʊɪŋ ˈfɔrwərd. dɪsˈlɔɪəlti ənd ənˈrævəlɪŋ, ðiz ər ðə ˈhɔlˌmɑrks əv ˈoʊnərˌʃɪp: ˈvɪni ʧərˈɑtoʊ ˈnɛvər mɪst ə ʧæns tɪ kət əp ʤɪm zɔrn. ɛz ðə tim stɑrts tɪ slaɪd, ðɛr ɪz ə pəreɪd əv ənd hu kəmˈpleɪn ˈɪntu ðə ɪr əv ðə ˈoʊnər, ənd ðə hɛd koʊʧ livz nɑt ʤɪst ə ˈfeɪljər, bət ˈdæmɪʤd. ˈminˌwaɪl, səm əv ðə rɔŋ ˈpipəl ər rɪˈteɪnd. ɪkˈspleɪn, pliz, haʊ ˈhæslɪt kʊd hæv bɪn riˈhaɪərd frəm læst stæf. hi hæd ə skwɑd ræŋkt ɪn ðə tɔp hæf əv ðə lig sɪns 2003 læst ˈsizən hɪz ˈjunɪt wɑz ɪn pɔɪnts əˈlaʊd ənd əˈgɛnst ðə pæs. ðɪs ˈsizən, hɪz loose”*” ˈjunɪt həz sərˈɛndərd æt list 27 pɔɪnts ɪn ɪts pæst fɔr geɪmz ənd ɪz ˈgɪvɪŋ əp ən ˈævərɪʤ əv jɑrdz, wəns əˈgɛn ɪn ðə ˈbɑtəm θərd əv ðə ˈɛˌnɛˈfɛl. ənd ðɪs ɪz wɪθ ðə əˈdɪʃən əv ˈʤeɪsən ˈhæʧər ənd raɪən klɑrk. wi noʊ naʊ wɛr riˌspɑnsəˈbɪləti fər pərˈfɔrməns laɪz: wɪθ ˈhæslɪt. 1 əv 30 fʊl skrin kloʊz skɪp æd ˈwɔʃɪŋtən æt ˌɛrɪˈzoʊnə fər wik 6 vju ˈfoʊˌtoʊz ðə redskins’*’ ˈluzɪŋ strik kənˈtɪnjuz ɛz ðeɪ fɔl tɪ ðə ˈkɑrdɪnəlz. ˈkæpʃən ðə redskins’*’ ˈluzɪŋ strik kənˈtɪnjuz ɛz ðeɪ fɔl tɪ ðə ˈkɑrdɪnəlz. ˈwɔʃɪŋtən ˈrɛdˌskɪnz ˈaʊtˈsaɪd ˈlaɪnˌbækər braɪən ənd ˈtimˌmeɪts teɪk ðə fild fər ə geɪm əˈgɛnst ðə ˌɛrɪˈzoʊnə ˈkɑrdɪnəlz ɔn ɑkˈtoʊbər 12 ɪn ˈglɛnˌdeɪl, ariz*. ˈʤɑnəθən ˈwɔʃɪŋtən poʊst baɪ ˈfoʊˌtoʊ weɪt 1 ˈsɛkənd tɪ kənˈtɪnju. ðɪs ɪz waɪ ˈwɔʃɪŋtən ɪz ˈstægərˌɪŋ ɪn ðə ist. ðə ˈbɛtər timz, ˈdæləs ənd ˌfɪləˈdɛlfiə, ər pleɪɪŋ wɪθ ə pərˈkəsəv fɔrs, ðə ɪgˈzæktɪŋ, ˈsɪŋkrəˌnaɪzd ˈrɪðəm əv ə drumroll*. ðɪs ɪz bɪˈkəz ðeɪ bɪˈliv ɪn wət ðeɪ ər duɪŋ. ˈivɪn ðə drama-prone*, ˈiˌmoʊʃnəli ˈmɛsi ˈkaʊˌbɔɪz ɪgˈzɪbɪt mɔr ˈbeɪsɪk ˈlɔɪəlti ənd ˈstɛdˌfæstnəs tɪ ðɛr ˈpipəl ənd ðɛr plæn wɪn θɪŋz goʊ rɔŋ. ˈwɔʃɪŋtən, ɔn ðə ˈəðər hænd, flaɪz əraʊnd chaotically*, ənd jɛt ɛz pʊts ɪt ɪz happening”*” fər ɔl əv ðɛr ˈsimɪŋ ˈækʃən. ɪkˈsɛpt 48 ˈpɛnəltiz, fɪθ moʊst ɪn ðə lig, ənd ə ræft əv ˌɪnərˈsɛpʃənz baɪ kərk ˈkəzənz, hu traɪz tɪ pleɪ wɪθ kənˈvɪkʃən bət əˈpɛrəntli kən ˈniðər kloʊz aʊt ə geɪm nɔr ˈoʊvərˌkəm ə ˈdɛfəsət, ənd ɪz groʊɪŋ mɔr ˈɪnsəkjər baɪ ðə geɪm. ðə ˈɛˌnɛˈfɛl æsks mɛn tɪ rɪsk ðɛr ˈlɔŋˈtərm hɛlθ fər ðə seɪk əv ˈwɪnɪŋ, ənd ðət teɪks ə ˈsərtən əˈmaʊnt əv feɪθ ɪn ðə ˈbɔsɪz əpˈstɛrz. wɪˈθaʊt ɪt, hɑrd tɪ peɪ ðə ˈdeɪli ˈbɑdəli duz tɪ stænd ɪn, tɪ pleɪ wɪθ ril zil ˌɪnˈstɛd əv ˌsupərˈfɪʃəl. ənd hɑrd tɪ baɪ ɪn wɪn ju noʊ ðə koʊʧ, noʊ ˈmætər haʊ məʧ ju laɪk ɪm ər heɪt ɪm, ˈlaɪkli wɪl bi ˌəndərˈmaɪnd wɪn θɪŋz goʊ rɔŋ. koʊʧ ɪz ˈsəmˌwən hu tɛlz ju wət ju wɔnt tɪ hir, hu həz ju si wət ju wɔnt tɪ si, soʊ ju kən bi hu ju hæv ˈɔlˌweɪz noʊn ju kʊd be,”*,” tɑm ˈlændri wəns sɛd. ɪgˈzæktli wət ʧæns dɪz ˈɛniˌwən ɪn ˈwɔʃɪŋtən hæv əv ˈɛksərˌsaɪzɪŋ ðoʊz ˈprɪnsəpəlz? fər mɔr baɪ ˈsæli ˈʤɛŋkɪnz, ˈvɪzɪt washingtonpost.com/jenkins*.
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“it is better to know how to learn than to know.” dr. seuss
at no point in history were you more capable of teaching yourself anything than today.
picking up new skills has become as easy as firing up google, doing some research, practicing in the right ways, and pushing yourself through the. but despite this incredible access to information, few people take full advantage of the opportunity they have for learning.
we’re stuck in the myth that to learn something you need to be educated on it when perfectly able to educate yourself. no longer necessary to get a college degree to be qualified to do something, and while big, old companies realized that yet, common wisdom in smaller, more startups. plenty of successful people today got where they are today by teaching themselves the skills, and no reason you do the same.
self-education can free you from a job you hate, from a college major you excited about, and it will be a core skill for the century. your ability to respond to changes in the landscape of work and technology will be dictated by how skilled of a you are. how well you can take full advantage of the information available to you to grow your skillset.
i started studying how to learn outside a classroom around my sophomore year of college and primarily focused it to marketing and writing. over the years of teaching myself new things, and now interviewing other people who have done the same, honed in on a method for educating yourself on anything.
if you follow this process, no reason you take yourself from novice to expert in any skill or topic without a help. it starts with rethinking how we actually learn.
this is one part of a on teaching yourself anything. if you want the other 6 parts, you can get them for free here.
how we learn
in high school, college, and most forms of higher education (in the united states, at least) the model of learning you operate in trains you to stop figuring things out for yourself and expect information to be handed to you.
how “well you do” in school is based on your grades. your grades are based on your test scores, papers, and projects, which are based on how well you apply information that was handed to you. for at least twelve years, trained to regurgitate and apply information for you but never trained to find that information on your own.
there are no classes where the professor shows up and says “figure out how to build a website by tomorrow,” and then leaves. more likely that be taught one way to build a website (probably using some awful tool like dreamweaver) and then expected to follow the steps you were shown.
but not how learning works in the real world. if you want to do anything remotely independent (entrepreneurship, creative work, freelancing, writing, lifestyle businesses, etc.) then you have to be able to figure things out without being handed the knowledge beforehand.
the way taught to learn:
the way you really learn:
if this sounds like “guess and check,” the process that some teacher probably told you was “bad” at some point, because it is guess and check. and a magnitudes better method than expecting to know the solution to your problems beforehand.
when you teach yourself something on your own, no curriculum, no playbook, no textbook, no professor to walk you through the steps. you move from one problem to the next slowly getting better at guessing and checking. you need a formal education in a subject, you just need the ability to experiment, push your abilities, and respond to feedback.
but after years of having knowledge to you, starting to learn this way might be intimidating. you have to train (or, retrain) your ability to be first. and the easiest way to start getting into that habit is to follow a technique developed called the “sandbox method.”
the sandbox method for
the sandbox method is an ongoing process for, based on the latest scientific research on how we learn and how we process information. it recognizes that we need to memorize facts, formulas, or other minutiae anymore. instead, we need to develop an intuitive understanding of our skills, expose ourselves to a broad swath of information about the skill, and constantly push ourselves to improve.
it can be done on your own, with a mentor, in school, in a company, any time. a process for continual learning and improvement, broken out into four cyclical steps.
step 1: build your sandbox
before doing any research on how to do, or how to better do, what you want to learn, you need to create an environment to practice it in. going to spend most of your time practicing and experimenting, not studying, so you need a way that you can easily exercise your skill and improvise.
this is your “sandbox,” an area where you can freely play around with the skill trying to learn without having to worry too much about taking it seriously. the sandbox lets you explore, experiment, and fail, without staking your entire future, savings, or reputation on it. an ideal environment for rapid learning.
this sandbox should be:
low cost or free: so you delay in starting low-stakes: so not afraid to fail or show your work public: so that you have to put your work out there in some manner
some examples:
programming : accounts on github, heroku, and for building projects and asking for help.
: accounts on github, heroku, and for building projects and asking for help. writing : a personal blog hosted on, medium, or squarespace.
: a personal blog hosted on, medium, or squarespace. photography : your camera and account.
: your camera and account. design : sketch, and a account to show your work on.
: sketch, and a account to show your work on. marketing: a blog or information site hosted on that you can try to grow.
whatever you want to learn, this sandbox must be in place before you get started. if you have an easy way to practice whatever trying to learn and to put your work out in the world as going, then learn much slower and have a harder time getting feedback.
putting your work out there when a novice is scary, but it will train you to get comfortable with having people see your creative projects before perfect and before an expert. school trains students to be afraid of the judgment of their work from being graded all the time, but if you can get over that latent fear and start sharing what working on with the community around your skill, advance much faster and make useful connections along the way.
with your sandbox in place, you can start researching and learning more about your target skill.
step 2: research
to continue expanding the borders of your sandbox, the extent of the skill that you can practice and apply, need to do a certain amount of research. the resources exist online to teach yourself anything, you just have to figure out worth reading, watching, or listening to.
in the beginning, the best kind of information to look for is recipes. clear ways of using the skill that you can immediately incorporate into your sandbox and try out. if you practice what reading (on your own, not just in the confines of the education platform like) then never truly learn it.
so as practicing the skill, go through materials that will broaden your understanding of it and give you new recipes to experiment with. these typically fall into a few categories:
books
i love books as a learning resource. used them to improve my photography, get better at marketing, learn how our minds work, learn how to learn, and many people swear by books as a resource. great for picking up broad techniques and mental models for certain skills and can be invaluable introductions to new parts of the skills that you might not have thought of.
you can also use books for harder skills like programming. at least one person spoken with taught himself how to program primarily through textbooks until he knew enough to figure out problems on his own using and the debugger.
they can also be great for improving your language skills, both by teaching you how to be a better language learner and helping you learn the intricacies of a grammar. you learn proper pronunciation or how to listen to a book, but they can be useful resources for mastering the finer points.
whatever trying to learn, books are a great resource to start with since generally more vetted and edited than what you can find online. but there are still plenty of great, sometimes better, resources to be found on the internet.
blogs and online resources
second to books, tons of written content online you can use to self-educate. some people have written whole blog posts on how to teach yourself marketing, teach yourself design, learn javascript, and if you search around a bit you can probably find a guide to teaching yourself anything.
some of these resources will explain specifically how to do something, and some, like the ones listed above, will help you navigate everything else out there. if trying to navigate the vast collection of resources, finding a good blog article or online resource that can cut through the noise is a huge boon.
the easiest way to find these is to simply google “how to do x” or “how to learn x” or “how to get better at x.” typically find a good article, discussion on reddit, or related question on quora that you can dig through to get started.
online courses and “moocs” (massive open online classrooms)
if you prefer watching and listening to reading, then online courses or “moocs” are a perfect solution for. the internet is full of free and paid online classes that can teach you anything from programming, to marketing, to design, to (i assume) basket weaving.
some colleges, even, have opened up free recordings of their courses. you can go through opencourseware, open learning, and free class recordings from tons of other universities.
there are also great dedicated platforms for online courses. i personally have used skillshare, khan academy,,, and udemy. there are also plenty of amazing teachers on youtube (like this ruby on rails series), teachers on teachable (like forte), and teachers who have built their own schools from scratch (like wes bos).
many of these materials can be expensive, but there are plenty of free online courses too. and some of the free ones are better than the paid ones. check out highly viewed youtube channels for skills trying to learn, and look at free university recordings and ted talks if you want to learn a subject. in many cases, these freely distributed courses are the best resources out there.
and take notes!
as learning, take notes on everything so you can refer back to them later. i like using and keeping highly detailed notes, since this makes it easy to find things that learned in the past and exactly where found them. it helps you remember everything, too, by building up a “personal wiki” in the words of andy hunt.
you should also consider publishing your notes as you go (as i do with books i read) since that forces you to clarify your understanding and articulate it in a way that other people will understand.
step 3: implement and practice
within your sandbox, how you practice what learning will be as important as what you choose to practice. the wrong practice methods can lead to hours, days, even years of wasted repetition, but the right practice methods can accelerate you to the level of competency in a matter of months.
the ineffective practice that most people engage in is called “naive practice,” named by anders ericsson in his book peak. naive practice is how most people trick themselves into thinking their practicing, while really, they learning anything.
some examples of naive practice would be:
playing a competitive game like go casually with a friend.
playing songs that you already know how to play.
looking up a recipe, baking a pie, and then keeping making that kind of pie in the future.
the problem is that in this kind of “practice,” not challenging yourself. if you go through the motions of naive practice, likely improve very little, if at all, so you have to incorporate the elements of purposeful and deliberate practice to make sure that truly learning while practicing.
practicing purposefully within your sandbox requires that you:
honestly assess your limits to figure out where you need to improve. set a goal just beyond your current ability to motivate yourself to stretch beyond your comfort zone. practice with intense focus. get feedback, in whatever way you can, and incorporate that feedback into your practice.
getting feedback will be the last part of our system.
step 4: get feedback
as you practice deliberately within your sandbox, continuing to do research to fill in the gaps of your knowledge, the last (and necessary) piece of the process is getting feedback.
if trying to improve your weightlifting, hard to know if your form is good or not without a coach there to give you corrections. when learning a language, hard to know whether pronouncing words correctly without someone to critique you. you can learn a lot on your own, but without a coach, mentor, or tool to provide feedback, get stuck eventually. or, worse, you might keep bad technique, making it harder to later.
for some skills, you can find online tools that will give you feedback. sites like tell you what you did wrong, and quizzes on more sites like check your comprehension as doing.
there are also online communities that have good systems for giving each other feedback. there are free, community feedback systems like for getting coding feedback. there are also more enforced sites like, where you give feedback to people trying to learn your language in return for feedback from people whose language trying to learn.
but the best form of feedback is always a coach, tutor, or mentor who already knows how to do what trying to learn. be able to provide the most targeted feedback, and if good, be able to preempt your and give you ideas about how you can design your learning program to avoid them.
if you have anyone who can coach you in person, try finding someone online. if you want to be a better writer, hire an editor on to give you feedback. if you want to get in shape, find an online service focused on improving your weightlifting abilities. if you want to learn a new language, find someone on that you can have conversations with.
you could also reach out to someone you look up to and ask for small bits of advice. they give as much hands-on coaching, but they can still be incredibly helpful.
another option is to use less direct forms of feedback. the market can be one good feedback loop, since if regularly publishing art, writing, photos, music, you can get a sense for what people like and like based on what they respond to. be careful with this method, though. sometimes get pulled in the direction of mass appeal instead of best work. fifty shades of grey is one of the books of all time… but not exactly a literary work to model your writing off of.
continue the loop
once gone through the process of designing your sandbox, researching how to improve your skill, applying that knowledge to purposeful practice within your sandbox, and getting feedback on your work as going, you simply repeat the process to continue developing your skill.
when you reach a learning goal, or feel like become comfortable with an aspect of the skill, you have to go back to the research phase to assess what else you need to learn, adjust your sandbox to allow you to learn that skill effectively, then purposefully practice it and solicit feedback to keep pushing yourself beyond your comfort zone.
this creates the loop. a perpetual cycle of constant learning and improvement, where you never have to stop improving your abilities or stagnate at a learning plateau:
troubleshooting
finally, possible that eventually get stuck somewhere. when that happens, you have to assess what the problem might be.
did you reach a point of “good enough” and plateau? then you need to learn how to bust through learning.
have you lost motivation and stop practicing? then you need to learn how to build a self-perpetuating motivation machine.
are you practicing diligently, but not improving? then you may need to get a better understanding of how to practice purposefully and deliberately.
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““it* ɪz ˈbɛtər tɪ noʊ haʊ tɪ lərn ðən tɪ know.”*.” ˈdɑktər. sus æt noʊ pɔɪnt ɪn ˈhɪstəri wər ju mɔr ˈkeɪpəbəl əv ˈtiʧɪŋ ˈjɔrsɛlf ˈɛniˌθɪŋ ðən təˈdeɪ. ˈpɪkɪŋ əp nu skɪlz həz bɪˈkəm ɛz ˈizi ɛz ˈfaɪərrɪŋ əp ˈgugəl, duɪŋ səm ˈrisərʧ, ˈpræktɪsɪŋ ɪn ðə raɪt weɪz, ənd ˈpʊʃɪŋ ˈjɔrsɛlf θru ðə. bət dɪˈspaɪt ðɪs ˌɪnˈkrɛdəbəl ˈækˌsɛs tɪ ˌɪnˌfɔrˈmeɪʃən, fju ˈpipəl teɪk fʊl ædˈvæntɪʤ əv ðə ˌɑpərˈtunəti ðeɪ hæv fər ˈlərnɪŋ. stək ɪn ðə mɪθ ðət tɪ lərn ˈsəmθɪŋ ju nid tɪ bi ˈɛʤəˌkeɪtɪd ɔn ɪt wɪn ˈpərfəktli ˈeɪbəl tɪ ˈɛʤəˌkeɪt ˈjɔrsɛlf. noʊ ˈlɔŋgər ˈnɛsəˌsɛri tɪ gɪt ə ˈkɑlɪʤ dɪˈgri tɪ bi kˈwɑləˌfaɪd tɪ du ˈsəmθɪŋ, ənd waɪl bɪg, oʊld ˈkəmpəˌniz ˈriəˌlaɪzd ðət jɛt, ˈkɑmən ˈwɪzdəm ɪn sˈmɔlər, mɔr ˈstɑrˌtəps. ˈplɛnti əv səkˈsɛsfəl ˈpipəl təˈdeɪ gɑt wɛr ðeɪ ər təˈdeɪ baɪ ˈtiʧɪŋ ðɛmˈsɛlvz ðə skɪlz, ənd noʊ ˈrizən ju du ðə seɪm. kən fri ju frəm ə ʤɑb ju heɪt, frəm ə ˈkɑlɪʤ ˈmeɪʤər ju ɪkˈsaɪtɪd əˈbaʊt, ənd ɪt wɪl bi ə kɔr skɪl fər ðə ˈsɛnʧəri. jʊr əˈbɪləˌti tɪ rɪˈspɑnd tɪ ˈʧeɪnʤɪz ɪn ðə ˈlænˌskeɪp əv wərk ənd tɛkˈnɑləʤi wɪl bi ˈdɪkˌteɪtɪd baɪ haʊ skɪld əv ə ju ər. haʊ wɛl ju kən teɪk fʊl ædˈvæntɪʤ əv ðə ˌɪnˌfɔrˈmeɪʃən əˈveɪləbəl tɪ ju tɪ groʊ jʊr skillset*. aɪ ˈstɑrtɪd ˈstədiɪŋ haʊ tɪ lərn ˈaʊtˈsaɪd ə ˈklæsˌrum əraʊnd maɪ ˈsɑfˌmɔr jɪr əv ˈkɑlɪʤ ənd praɪˈmɛrəli ˈfoʊkɪst ɪt tɪ ˈmɑrkətɪŋ ənd ˈraɪtɪŋ. ˈoʊvər ðə jɪrz əv ˈtiʧɪŋ ˌmaɪˈsɛlf nu θɪŋz, ənd naʊ ˈɪntərvˌjuɪŋ ˈəðər ˈpipəl hu hæv dən ðə seɪm, hoʊnd ɪn ɔn ə ˈmɛθəd fər ˈɛʤəˌkeɪtɪŋ ˈjɔrsɛlf ɔn ˈɛniˌθɪŋ. ɪf ju ˈfɑloʊ ðɪs ˈprɔˌsɛs, noʊ ˈrizən ju teɪk ˈjɔrsɛlf frəm ˈnɑvəs tɪ ˈɛkspərt ɪn ˈɛni skɪl ər ˈtɑpɪk wɪˈθaʊt ə hɛlp. ɪt stɑrts wɪθ riˈθɪŋkɪŋ haʊ wi ˈæˌkʧuəli lərn. ðɪs ɪz wən pɑrt əv ə ɔn ˈtiʧɪŋ ˈjɔrsɛlf ˈɛniˌθɪŋ. ɪf ju wɔnt ðə ˈəðər 6 pɑrts, ju kən gɪt ðɛm fər fri hir. haʊ wi lərn ɪn haɪ skul, ˈkɑlɪʤ, ənd moʊst fɔrmz əv haɪər ˌɛʤəˈkeɪʃən (ɪn ðə juˈnaɪtɪd steɪts, æt list) ðə ˈmɑdəl əv ˈlərnɪŋ ju ˈɔpərˌeɪt ɪn treɪnz ju tɪ stɑp ˈfɪgjərɪŋ θɪŋz aʊt fər ˈjɔrsɛlf ənd ɪkˈspɛkt ˌɪnˌfɔrˈmeɪʃən tɪ bi ˈhændɪd tɪ ju. haʊ ju do”*” ɪn skul ɪz beɪst ɔn jʊr greɪdz. jʊr greɪdz ər beɪst ɔn jʊr tɛst skɔrz, ˈpeɪpərz, ənd ˈprɑʤɛkts, wɪʧ ər beɪst ɔn haʊ wɛl ju əˈplaɪ ˌɪnˌfɔrˈmeɪʃən ðət wɑz ˈhændɪd tɪ ju. fər æt list twɛlv jɪrz, treɪnd tɪ ˌrɪˈgərʤəˌteɪt ənd əˈplaɪ ˌɪnˌfɔrˈmeɪʃən fər ju bət ˈnɛvər treɪnd tɪ faɪnd ðət ˌɪnˌfɔrˈmeɪʃən ɔn jʊr oʊn. ðɛr ər noʊ ˈklæsɪz wɛr ðə prəˈfɛsər ʃoʊz əp ənd sɪz aʊt haʊ tɪ bɪld ə ˈwɛbˌsaɪt baɪ tomorrow,”*,” ənd ðɛn livz. mɔr ˈlaɪkli ðət bi tɔt wən weɪ tɪ bɪld ə ˈwɛbˌsaɪt (ˈprɑbəˌbli ˈjuzɪŋ səm ˈɔfəl tul laɪk dreamweaver*) ənd ðɛn ɪkˈspɛktɪd tɪ ˈfɑloʊ ðə stɛps ju wər ʃoʊn. bət nɑt haʊ ˈlərnɪŋ wərks ɪn ðə ril wərld. ɪf ju wɔnt tɪ du ˈɛniˌθɪŋ riˈmoʊtli ˌɪndɪˈpɛndənt (ˌɑntrəprəˈnərʃɪp, kriˈeɪtɪv wərk, ˈfriˌlænsɪŋ, ˈraɪtɪŋ, ˈlaɪfˌstaɪl ˈbɪznɪsɪz, ˌɛtˈsɛtərə.) ðɛn ju hæv tɪ bi ˈeɪbəl tɪ ˈfɪgjər θɪŋz aʊt wɪˈθaʊt biɪŋ ˈhændɪd ðə ˈnɑlɪʤ bɪˈfɔˌrhænd. ðə weɪ tɔt tɪ lərn: ðə weɪ ju ˈrɪli lərn: ɪf ðɪs saʊnz laɪk ənd check,”*,” ðə ˈprɔˌsɛs ðət səm ˈtiʧər ˈprɑbəˌbli toʊld ju wɑz ““bad”*” æt səm pɔɪnt, bɪˈkəz ɪt ɪz gɛs ənd ʧɛk. ənd ə ˈmægnəˌtudz ˈbɛtər ˈmɛθəd ðən ɪkˈspɛktɪŋ tɪ noʊ ðə səˈluʃən tɪ jʊr ˈprɑbləmz bɪˈfɔˌrhænd. wɪn ju tiʧ ˈjɔrsɛlf ˈsəmθɪŋ ɔn jʊr oʊn, noʊ kərˈɪkjələm, noʊ ˈpleɪbʊk, noʊ ˈtɛkstˌbʊk, noʊ prəˈfɛsər tɪ wɔk ju θru ðə stɛps. ju muv frəm wən ˈprɑbləm tɪ ðə nɛkst sˈloʊli ˈgɪtɪŋ ˈbɛtər æt ˈgɛsɪŋ ənd ˈʧɛkɪŋ. ju nid ə ˈfɔrməl ˌɛʤəˈkeɪʃən ɪn ə ˈsəbʤɪkt, ju ʤɪst nid ðə əˈbɪləˌti tɪ ɪkˈspɛrəmənt, pʊʃ jʊr əˈbɪləˌtiz, ənd rɪˈspɑnd tɪ ˈfidˌbæk. bət ˈæftər jɪrz əv ˈhævɪŋ ˈnɑlɪʤ tɪ ju, ˈstɑrtɪŋ tɪ lərn ðɪs weɪ maɪt bi ˌɪnˈtɪmɪˌdeɪtɪŋ. ju hæv tɪ treɪn (ər, riˈtreɪn) jʊr əˈbɪləˌti tɪ bi fərst. ənd ðə ˈiziəst weɪ tɪ stɑrt ˈgɪtɪŋ ˈɪntu ðət ˈhæbət ɪz tɪ ˈfɑloʊ ə tɛkˈnik dɪˈvɛləpt kɔld ðə method.”*.” ðə ˈsændˌbɑks ˈmɛθəd fər ðə ˈsændˌbɑks ˈmɛθəd ɪz ən ˈɔnˌgoʊɪŋ ˈprɔˌsɛs fər, beɪst ɔn ðə ˈleɪtəst ˌsaɪənˈtɪfɪk ˈrisərʧ ɔn haʊ wi lərn ənd haʊ wi ˈprɔˌsɛs ˌɪnˌfɔrˈmeɪʃən. ɪt ˈrɛkəgˌnaɪzɪz ðət wi nid tɪ ˈmɛmərˌaɪz fækts, ˈfɔrmjələz, ər ˈəðər mɪˈnuʃiə ˌɛniˈmɔr. ˌɪnˈstɛd, wi nid tɪ dɪˈvɛləp ən ˌɪnˈtuətɪv ˌəndərˈstændɪŋ əv ɑr skɪlz, ɪkˈspoʊz ɑrˈsɛlvz tɪ ə brɔd swɑθ əv ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə skɪl, ənd ˈkɑnstəntli pʊʃ ɑrˈsɛlvz tɪ ˌɪmˈpruv. ɪt kən bi dən ɔn jʊr oʊn, wɪθ ə ˈmɛnˌtɔr, ɪn skul, ɪn ə ˈkəmpəˌni, ˈɛni taɪm. ə ˈprɔˌsɛs fər kənˈtɪnjuəl ˈlərnɪŋ ənd ˌɪmˈpruvmənt, ˈbroʊkən aʊt ˈɪntu fɔr ˈsɪklɪkəl stɛps. stɛp 1 bɪld jʊr ˈsændˌbɑks ˌbiˈfɔr duɪŋ ˈɛni ˈrisərʧ ɔn haʊ tɪ du, ər haʊ tɪ ˈbɛtər du, wət ju wɔnt tɪ lərn, ju nid tɪ kriˈeɪt ən ɪnˈvaɪrənmənt tɪ ˈpræktɪs ɪt ɪn. goʊɪŋ tɪ spɛnd moʊst əv jʊr taɪm ˈpræktɪsɪŋ ənd ɛkˈspɛrəˌmɛntɪŋ, nɑt ˈstədiɪŋ, soʊ ju nid ə weɪ ðət ju kən ˈizəli ˈɛksərˌsaɪz jʊr skɪl ənd ˌɪmprəˈvaɪz. ðɪs ɪz jʊr ““sandbox,”*,” ən ˈɛriə wɛr ju kən ˈfrili pleɪ əraʊnd wɪθ ðə skɪl traɪɪŋ tɪ lərn wɪˈθaʊt ˈhævɪŋ tɪ ˈwəri tu məʧ əˈbaʊt ˈteɪkɪŋ ɪt ˈsɪriəsli. ðə ˈsændˌbɑks lɛts ju ɪkˈsplɔr, ɪkˈspɛrəmənt, ənd feɪl, wɪˈθaʊt ˈsteɪkɪŋ jʊr ɪnˈtaɪər fˈjuʧər, ˈseɪvɪŋz, ər ˌrɛpjəˈteɪʃən ɔn ɪt. ən aɪˈdil ɪnˈvaɪrənmənt fər ˈræpɪd ˈlərnɪŋ. ðɪs ˈsændˌbɑks ʃʊd bi: loʊ kɔst ər fri: soʊ ju dɪˈleɪ ɪn ˈstɑrtɪŋ low-stakes*: soʊ nɑt əˈfreɪd tɪ feɪl ər ʃoʊ jʊr wərk ˈpəblɪk: soʊ ðət ju hæv tɪ pʊt jʊr wərk aʊt ðɛr ɪn səm ˈmænər səm ɪgˈzæmpəlz: ˈproʊˌgræmɪŋ əˈkaʊnts ɔn github*, heroku*, ənd fər ˈbɪldɪŋ ˈprɑʤɛkts ənd ˈæskɪŋ fər hɛlp. əˈkaʊnts ɔn github*, heroku*, ənd fər ˈbɪldɪŋ ˈprɑʤɛkts ənd ˈæskɪŋ fər hɛlp. ˈraɪtɪŋ ə ˈpərsɪnəl blɔg ˈhoʊstɪd ɔn, ˈmidiəm, ər squarespace*. ə ˈpərsɪnəl blɔg ˈhoʊstɪd ɔn, ˈmidiəm, ər squarespace*. fəˈtɑgrəfi jʊr ˈkæmərə ənd əˈkaʊnt. jʊr ˈkæmərə ənd əˈkaʊnt. dɪˈzaɪn skɛʧ, ənd ə əˈkaʊnt tɪ ʃoʊ jʊr wərk ɔn. skɛʧ, ənd ə əˈkaʊnt tɪ ʃoʊ jʊr wərk ɔn. ˈmɑrkətɪŋ: ə blɔg ər ˌɪnˌfɔrˈmeɪʃən saɪt ˈhoʊstɪd ɔn ðət ju kən traɪ tɪ groʊ. ˌwəˈtɛvər ju wɔnt tɪ lərn, ðɪs ˈsændˌbɑks məst bi ɪn pleɪs ˌbiˈfɔr ju gɪt ˈstɑrtɪd. ɪf ju hæv ən ˈizi weɪ tɪ ˈpræktɪs ˌwəˈtɛvər traɪɪŋ tɪ lərn ənd tɪ pʊt jʊr wərk aʊt ɪn ðə wərld ɛz goʊɪŋ, ðɛn lərn məʧ sloʊər ənd hæv ə ˈhɑrdər taɪm ˈgɪtɪŋ ˈfidˌbæk. ˈpʊtɪŋ jʊr wərk aʊt ðɛr wɪn ə ˈnɑvəs ɪz ˈskɛri, bət ɪt wɪl treɪn ju tɪ gɪt ˈkəmfərtəbəl wɪθ ˈhævɪŋ ˈpipəl si jʊr kriˈeɪtɪv ˈprɑʤɛkts ˌbiˈfɔr ˈpərˌfɪkt ənd ˌbiˈfɔr ən ˈɛkspərt. skul treɪnz ˈstudənts tɪ bi əˈfreɪd əv ðə ˈʤəʤmənt əv ðɛr wərk frəm biɪŋ ˈgreɪdɪd ɔl ðə taɪm, bət ɪf ju kən gɪt ˈoʊvər ðət ˈleɪtənt fɪr ənd stɑrt ˈʃɛrɪŋ wət ˈwərkɪŋ ɔn wɪθ ðə kəmˈjunɪti əraʊnd jʊr skɪl, ədˈvæns məʧ ˈfæstər ənd meɪk ˈjusfəl kəˈnɛkʃənz əˈlɔŋ ðə weɪ. wɪθ jʊr ˈsændˌbɑks ɪn pleɪs, ju kən stɑrt riˈsərʧɪŋ ənd ˈlərnɪŋ mɔr əˈbaʊt jʊr ˈtərgət skɪl. stɛp 2 ˈrisərʧ tɪ kənˈtɪnju ɪkˈspændɪŋ ðə ˈbɔrdərz əv jʊr ˈsændˌbɑks, ðə ɪkˈstɛnt əv ðə skɪl ðət ju kən ˈpræktɪs ənd əˈplaɪ, nid tɪ du ə ˈsərtən əˈmaʊnt əv ˈrisərʧ. ðə ˈrisɔrsɪz ɪgˈzɪst ˈɔnˌlaɪn tɪ tiʧ ˈjɔrsɛlf ˈɛniˌθɪŋ, ju ʤɪst hæv tɪ ˈfɪgjər aʊt wərθ ˈrɛdɪŋ, ˈwɑʧɪŋ, ər ˈlɪsənɪŋ tɪ. ɪn ðə bɪˈgɪnɪŋ, ðə bɛst kaɪnd əv ˌɪnˌfɔrˈmeɪʃən tɪ lʊk fər ɪz ˈrɛsəpiz. klɪr weɪz əv ˈjuzɪŋ ðə skɪl ðət ju kən ˌɪˈmiˌdiətli ˌɪnˈkɔrpərˌeɪt ˈɪntu jʊr ˈsændˌbɑks ənd traɪ aʊt. ɪf ju ˈpræktɪs wət ˈrɛdɪŋ (ɔn jʊr oʊn, nɑt ʤɪst ɪn ðə ˈkɑnˌfaɪnz əv ðə ˌɛʤəˈkeɪʃən ˈplætˌfɔrm laɪk) ðɛn ˈnɛvər ˈtruli lərn ɪt. soʊ ɛz ˈpræktɪsɪŋ ðə skɪl, goʊ θru məˈtɪriəlz ðət wɪl ˈbrɔdən jʊr ˌəndərˈstændɪŋ əv ɪt ənd gɪv ju nu ˈrɛsəpiz tɪ ɪkˈspɛrəmənt wɪθ. ðiz ˈtɪpɪkəli fɔl ˈɪntu ə fju ˈkætəˌgɔriz: bʊks aɪ ləv bʊks ɛz ə ˈlərnɪŋ ˈrisɔrs. juzd ðɛm tɪ ˌɪmˈpruv maɪ fəˈtɑgrəfi, gɪt ˈbɛtər æt ˈmɑrkətɪŋ, lərn haʊ ɑr maɪndz wərk, lərn haʊ tɪ lərn, ənd ˈmɛni ˈpipəl swɛr baɪ bʊks ɛz ə ˈrisɔrs. greɪt fər ˈpɪkɪŋ əp brɔd tɛkˈniks ənd ˈmɛntəl ˈmɑdəlz fər ˈsərtən skɪlz ənd kən bi ˌɪnˈvæljəbəl ˌɪntrəˈdəkʃənz tɪ nu pɑrts əv ðə skɪlz ðət ju maɪt nɑt hæv θɔt əv. ju kən ˈɔlsoʊ juz bʊks fər ˈhɑrdər skɪlz laɪk ˈproʊˌgræmɪŋ. æt list wən ˈpərsən ˈspoʊkən wɪθ tɔt hɪmˈsɛlf haʊ tɪ ˈproʊˌgræm praɪˈmɛrəli θru ˈtɛkstˌbʊks ənˈtɪl hi nu ɪˈnəf tɪ ˈfɪgjər aʊt ˈprɑbləmz ɔn hɪz oʊn ˈjuzɪŋ ənd ðə debugger*. ðeɪ kən ˈɔlsoʊ bi greɪt fər ˌɪmˈpruvɪŋ jʊr ˈlæŋgwɪʤ skɪlz, boʊθ baɪ ˈtiʧɪŋ ju haʊ tɪ bi ə ˈbɛtər ˈlæŋgwɪʤ ˈlərnər ənd ˈhɛlpɪŋ ju lərn ðə ˈɪntrəkəsiz əv ə ˈgræmər. ju lərn ˈprɑpər prəˌnənsiˈeɪʃən ər haʊ tɪ ˈlɪsən tɪ ə bʊk, bət ðeɪ kən bi ˈjusfəl ˈrisɔrsɪz fər ˈmæstərɪŋ ðə ˈfaɪnər pɔɪnts. ˌwəˈtɛvər traɪɪŋ tɪ lərn, bʊks ər ə greɪt ˈrisɔrs tɪ stɑrt wɪθ sɪns ˈʤɛnərəli mɔr ˈvɛtɪd ənd ˈɛdɪtɪd ðən wət ju kən faɪnd ˈɔnˌlaɪn. bət ðɛr ər stɪl ˈplɛnti əv greɪt, ˈsəmˌtaɪmz ˈbɛtər, ˈrisɔrsɪz tɪ bi faʊnd ɔn ðə ˈɪntərˌnɛt. blɔgz ənd ˈɔnˌlaɪn ˈrisɔrsɪz ˈsɛkənd tɪ bʊks, tənz əv ˈrɪtən ˈkɑntɛnt ˈɔnˌlaɪn ju kən juz tɪ self-educate*. səm ˈpipəl hæv ˈrɪtən hoʊl blɔg poʊsts ɔn haʊ tɪ tiʧ ˈjɔrsɛlf ˈmɑrkətɪŋ, tiʧ ˈjɔrsɛlf dɪˈzaɪn, lərn ˈʤɑvəˌskrɪpt, ənd ɪf ju sərʧ əraʊnd ə bɪt ju kən ˈprɑbəˌbli faɪnd ə gaɪd tɪ ˈtiʧɪŋ ˈjɔrsɛlf ˈɛniˌθɪŋ. səm əv ðiz ˈrisɔrsɪz wɪl ɪkˈspleɪn spəˈsɪfɪkli haʊ tɪ du ˈsəmθɪŋ, ənd səm, laɪk ðə wənz ˈlɪstɪd əˈbəv, wɪl hɛlp ju ˈnævəˌgeɪt ˈɛvriˌθɪŋ ɛls aʊt ðɛr. ɪf traɪɪŋ tɪ ˈnævəˌgeɪt ðə væst kəˈlɛkʃən əv ˈrisɔrsɪz, ˈfaɪndɪŋ ə gʊd blɔg ˈɑrtɪkəl ər ˈɔnˌlaɪn ˈrisɔrs ðət kən kət θru ðə nɔɪz ɪz ə juʤ bun. ðə ˈiziəst weɪ tɪ faɪnd ðiz ɪz tɪ ˈsɪmpli ˈgugəl tɪ du x”*” ər tɪ lərn x”*” ər tɪ gɪt ˈbɛtər æt x.”*.” ˈtɪpɪkəli faɪnd ə gʊd ˈɑrtɪkəl, dɪˈskəʃən ɔn reddit*, ər rɪˈleɪtɪd kˈwɛʃən ɔn kˈwɔrə ðət ju kən dɪg θru tɪ gɪt ˈstɑrtɪd. ˈɔnˌlaɪn ˈkɔrsɪz ənd ““moocs”*” (ˈmæsɪv ˈoʊpən ˈɔnˌlaɪn ˈklæsˌrumz) ɪf ju prɪˈfər ˈwɑʧɪŋ ənd ˈlɪsənɪŋ tɪ ˈrɛdɪŋ, ðɛn ˈɔnˌlaɪn ˈkɔrsɪz ər ““moocs”*” ər ə ˈpərˌfɪkt səˈluʃən fər. ðə ˈɪntərˌnɛt ɪz fʊl əv fri ənd peɪd ˈɔnˌlaɪn ˈklæsɪz ðət kən tiʧ ju ˈɛniˌθɪŋ frəm ˈproʊˌgræmɪŋ, tɪ ˈmɑrkətɪŋ, tɪ dɪˈzaɪn, tɪ (aɪ əˈsum) ˈbæskət ˈwivɪŋ. səm ˈkɑlɪʤɪz, ˈivɪn, hæv ˈoʊpənd əp fri rɪˈkɔrdɪŋz əv ðɛr ˈkɔrsɪz. ju kən goʊ θru opencourseware*, ˈoʊpən ˈlərnɪŋ, ənd fri klæs rɪˈkɔrdɪŋz frəm tənz əv ˈəðər ˌjunəˈvərsətiz. ðɛr ər ˈɔlsoʊ greɪt ˈdɛdəkeɪtəd ˈplætˌfɔrmz fər ˈɔnˌlaɪn ˈkɔrsɪz. aɪ ˈpərsənəli hæv juzd skillshare*, kɑn əˈkædəmi,,, ənd udemy*. ðɛr ər ˈɔlsoʊ ˈplɛnti əv əˈmeɪzɪŋ ˈtiʧərz ɔn ˈjuˌtub (laɪk ðɪs ˈrubi ɔn reɪlz ˈsɪriz), ˈtiʧərz ɔn ˈtiʧəbəl (laɪk ˈfɔrteɪ), ənd ˈtiʧərz hu hæv bɪlt ðɛr oʊn skulz frəm skræʧ (laɪk wɛs bɑs). ˈmɛni əv ðiz məˈtɪriəlz kən bi ɪkˈspɛnsɪv, bət ðɛr ər ˈplɛnti əv fri ˈɔnˌlaɪn ˈkɔrsɪz tu. ənd səm əv ðə fri wənz ər ˈbɛtər ðən ðə peɪd wənz. ʧɛk aʊt ˈhaɪli vjud ˈjuˌtub ˈʧænəlz fər skɪlz traɪɪŋ tɪ lərn, ənd lʊk æt fri ˌjunəˈvərsəti rɪˈkɔrdɪŋz ənd tɛd tɔks ɪf ju wɔnt tɪ lərn ə ˈsəbʤɪkt. ɪn ˈmɛni ˈkeɪsɪz, ðiz ˈfrili dɪˈstrɪbjətəd ˈkɔrsɪz ər ðə bɛst ˈrisɔrsɪz aʊt ðɛr. ənd teɪk noʊts! ɛz ˈlərnɪŋ, teɪk noʊts ɔn ˈɛvriˌθɪŋ soʊ ju kən rɪˈfər bæk tɪ ðɛm ˈleɪtər. aɪ laɪk ˈjuzɪŋ ənd ˈkipɪŋ ˈhaɪli dɪˈteɪld noʊts, sɪns ðɪs meɪks ɪt ˈizi tɪ faɪnd θɪŋz ðət ˈlərnɪd ɪn ðə pæst ənd ɪgˈzæktli wɛr faʊnd ðɛm. ɪt hɛlps ju rɪˈmɛmbər ˈɛvriˌθɪŋ, tu, baɪ ˈbɪldɪŋ əp ə wiki”*” ɪn ðə wərdz əv ˈændi hənt. ju ʃʊd ˈɔlsoʊ kənˈsɪdər ˈpəblɪʃɪŋ jʊr noʊts ɛz ju goʊ (ɛz aɪ du wɪθ bʊks aɪ rɛd) sɪns ðət ˈfɔrsɪz ju tɪ ˈklɛrəˌfaɪ jʊr ˌəndərˈstændɪŋ ənd ɑrˈtɪkjəˌleɪt ɪt ɪn ə weɪ ðət ˈəðər ˈpipəl wɪl ˌəndərˈstænd. stɛp 3 ˈɪmpləmənt ənd ˈpræktɪs wɪˈθɪn jʊr ˈsændˌbɑks, haʊ ju ˈpræktɪs wət ˈlərnɪŋ wɪl bi ɛz ˌɪmˈpɔrtənt ɛz wət ju ʧuz tɪ ˈpræktɪs. ðə rɔŋ ˈpræktɪs ˈmɛθədz kən lɛd tɪ aʊərz, deɪz, ˈivɪn jɪrz əv ˈweɪstɪd ˌrɛpəˈtɪʃən, bət ðə raɪt ˈpræktɪs ˈmɛθədz kən ækˈsɛlərˌeɪt ju tɪ ðə ˈlɛvəl əv ˈkɑmpətɪnsi ɪn ə ˈmætər əv mənθs. ðə ˌɪnɪˈfɛktɪv ˈpræktɪs ðət moʊst ˈpipəl ɪnˈgeɪʤ ɪn ɪz kɔld practice,”*,” neɪmd baɪ ˈændərz ˈɛrɪksən ɪn hɪz bʊk pik. naɪiv ˈpræktɪs ɪz haʊ moʊst ˈpipəl trɪk ðɛmˈsɛlvz ˈɪntu ˈθɪŋkɪŋ ðɛr ˈpræktɪsɪŋ, waɪl ˈrɪli, ðeɪ ˈlərnɪŋ ˈɛniˌθɪŋ. səm ɪgˈzæmpəlz əv naɪiv ˈpræktɪs wʊd bi: pleɪɪŋ ə kəmˈpɛtɪtɪv geɪm laɪk goʊ ˈkæʒəwəli wɪθ ə frɛnd. pleɪɪŋ sɔŋz ðət ju ɔˈrɛdi noʊ haʊ tɪ pleɪ. ˈlʊkɪŋ əp ə ˈrɛsəpi, ˈbeɪkɪŋ ə paɪ, ənd ðɛn ˈkipɪŋ ˈmeɪkɪŋ ðət kaɪnd əv paɪ ɪn ðə fˈjuʧər. ðə ˈprɑbləm ɪz ðət ɪn ðɪs kaɪnd əv ““practice,”*,” nɑt ˈʧælənʤɪŋ ˈjɔrsɛlf. ɪf ju goʊ θru ðə ˈmoʊʃənz əv naɪiv ˈpræktɪs, ˈlaɪkli ˌɪmˈpruv ˈvɛri ˈlɪtəl, ɪf æt ɔl, soʊ ju hæv tɪ ˌɪnˈkɔrpərˌeɪt ðə ˈɛləmənts əv ˈpərpəsfəl ənd dɪˈlɪbərˌeɪt ˈpræktɪs tɪ meɪk ʃʊr ðət ˈtruli ˈlərnɪŋ waɪl ˈpræktɪsɪŋ. ˈpræktɪsɪŋ ˈpərpəsfəli wɪˈθɪn jʊr ˈsændˌbɑks rikˈwaɪərz ðət ju: ˈɑnəstli əˈsɛs jʊr ˈlɪmɪts tɪ ˈfɪgjər aʊt wɛr ju nid tɪ ˌɪmˈpruv. sɛt ə goʊl ʤɪst bɪɔnd jʊr ˈkɑrənt əˈbɪləˌti tɪ ˈmoʊtəˌveɪt ˈjɔrsɛlf tɪ strɛʧ bɪɔnd jʊr ˈkəmfərt zoʊn. ˈpræktɪs wɪθ ˌɪnˈtɛns ˈfoʊkɪs. gɪt ˈfidˌbæk, ɪn ˌwəˈtɛvər weɪ ju kən, ənd ˌɪnˈkɔrpərˌeɪt ðət ˈfidˌbæk ˈɪntu jʊr ˈpræktɪs. ˈgɪtɪŋ ˈfidˌbæk wɪl bi ðə læst pɑrt əv ɑr ˈsɪstəm. stɛp 4 gɪt ˈfidˌbæk ɛz ju ˈpræktɪs dɪˈlɪbərətli wɪˈθɪn jʊr ˈsændˌbɑks, kənˈtɪnjuɪŋ tɪ du ˈrisərʧ tɪ fɪl ɪn ðə gæps əv jʊr ˈnɑlɪʤ, ðə læst (ənd ˈnɛsəˌsɛri) pis əv ðə ˈprɔˌsɛs ɪz ˈgɪtɪŋ ˈfidˌbæk. ɪf traɪɪŋ tɪ ˌɪmˈpruv jʊr ˈweɪˌtlɪftɪŋ, hɑrd tɪ noʊ ɪf jʊr fɔrm ɪz gʊd ər nɑt wɪˈθaʊt ə koʊʧ ðɛr tɪ gɪv ju kərˈɛkʃənz. wɪn ˈlərnɪŋ ə ˈlæŋgwɪʤ, hɑrd tɪ noʊ ˈwɛðər prəˈnaʊnsɪŋ wərdz kərˈɛktli wɪˈθaʊt ˈsəmˌwən tɪ krɪˈtik ju. ju kən lərn ə lɔt ɔn jʊr oʊn, bət wɪˈθaʊt ə koʊʧ, ˈmɛnˌtɔr, ər tul tɪ prəˈvaɪd ˈfidˌbæk, gɪt stək ɪˈvɛnʧəwəli. ər, wərs, ju maɪt kip bæd tɛkˈnik, ˈmeɪkɪŋ ɪt ˈhɑrdər tɪ ˈleɪtər. fər səm skɪlz, ju kən faɪnd ˈɔnˌlaɪn tulz ðət wɪl gɪv ju ˈfidˌbæk. saɪts laɪk tɛl ju wət ju dɪd rɔŋ, ənd kˈwɪzɪz ɔn mɔr saɪts laɪk ʧɛk jʊr ˌkɑmpriˈhɛnʃən ɛz duɪŋ. ðɛr ər ˈɔlsoʊ ˈɔnˌlaɪn kəmˈjunɪtiz ðət hæv gʊd ˈsɪstəmz fər ˈgɪvɪŋ iʧ ˈəðər ˈfidˌbæk. ðɛr ər fri, kəmˈjunɪti ˈfidˌbæk ˈsɪstəmz laɪk fər ˈgɪtɪŋ ˈkoʊdɪŋ ˈfidˌbæk. ðɛr ər ˈɔlsoʊ mɔr ɛnˈfɔrst saɪts laɪk wɛr ju gɪv ˈfidˌbæk tɪ ˈpipəl traɪɪŋ tɪ lərn jʊr ˈlæŋgwɪʤ ɪn rɪˈtərn fər ˈfidˌbæk frəm ˈpipəl huz ˈlæŋgwɪʤ traɪɪŋ tɪ lərn. bət ðə bɛst fɔrm əv ˈfidˌbæk ɪz ˈɔlˌweɪz ə koʊʧ, ˈtutər, ər ˈmɛnˌtɔr hu ɔˈrɛdi noʊz haʊ tɪ du wət traɪɪŋ tɪ lərn. bi ˈeɪbəl tɪ prəˈvaɪd ðə moʊst ˈtɑrgətɪd ˈfidˌbæk, ənd ɪf gʊd, bi ˈeɪbəl tɪ priɛmpt jʊr ənd gɪv ju aɪˈdiəz əˈbaʊt haʊ ju kən dɪˈzaɪn jʊr ˈlərnɪŋ ˈproʊˌgræm tɪ əˈvɔɪd ðɛm. ɪf ju hæv ˈɛniˌwən hu kən koʊʧ ju ɪn ˈpərsən, traɪ ˈfaɪndɪŋ ˈsəmˌwən ˈɔnˌlaɪn. ɪf ju wɔnt tɪ bi ə ˈbɛtər ˈraɪtər, haɪər ən ˈɛdɪtər ɔn tɪ gɪv ju ˈfidˌbæk. ɪf ju wɔnt tɪ gɪt ɪn ʃeɪp, faɪnd ən ˈɔnˌlaɪn ˈsərvɪs ˈfoʊkɪst ɔn ˌɪmˈpruvɪŋ jʊr ˈweɪˌtlɪftɪŋ əˈbɪləˌtiz. ɪf ju wɔnt tɪ lərn ə nu ˈlæŋgwɪʤ, faɪnd ˈsəmˌwən ɔn ðət ju kən hæv ˌkɑnvərˈseɪʃənz wɪθ. ju kʊd ˈɔlsoʊ riʧ aʊt tɪ ˈsəmˌwən ju lʊk əp tɪ ənd æsk fər smɔl bɪts əv ədˈvaɪs. ðeɪ gɪv ɛz məʧ ˌhænˈzɔn ˈkoʊʧɪŋ, bət ðeɪ kən stɪl bi ˌɪnˈkrɛdəbli ˈhɛlpfəl. əˈnəðər ˈɔpʃən ɪz tɪ juz lɛs dɪˈrɛkt fɔrmz əv ˈfidˌbæk. ðə ˈmɑrkɪt kən bi wən gʊd ˈfidˌbæk lup, sɪns ɪf ˈrɛgjələrli ˈpəblɪʃɪŋ ɑrt, ˈraɪtɪŋ, ˈfoʊˌtoʊz, mˈjuzɪk, ju kən gɪt ə sɛns fər wət ˈpipəl laɪk ənd laɪk beɪst ɔn wət ðeɪ rɪˈspɑnd tɪ. bi ˈkɛrfəl wɪθ ðɪs ˈmɛθəd, ðoʊ. ˈsəmˌtaɪmz gɪt pʊld ɪn ðə dɪˈrɛkʃɪn əv mæs əˈpil ˌɪnˈstɛd əv bɛst wərk. ˈfɪfti ʃeɪdz əv greɪ ɪz wən əv ðə bʊks əv ɔl time…*… bət nɑt ɪgˈzæktli ə ˈlɪtərˌɛri wərk tɪ ˈmɑdəl jʊr ˈraɪtɪŋ ɔf əv. kənˈtɪnju ðə lup wəns gɔn θru ðə ˈprɔˌsɛs əv dɪˈzaɪnɪŋ jʊr ˈsændˌbɑks, riˈsərʧɪŋ haʊ tɪ ˌɪmˈpruv jʊr skɪl, əˈplaɪɪŋ ðət ˈnɑlɪʤ tɪ ˈpərpəsfəl ˈpræktɪs wɪˈθɪn jʊr ˈsændˌbɑks, ənd ˈgɪtɪŋ ˈfidˌbæk ɔn jʊr wərk ɛz goʊɪŋ, ju ˈsɪmpli rɪˈpit ðə ˈprɔˌsɛs tɪ kənˈtɪnju dɪˈvɛləpɪŋ jʊr skɪl. wɪn ju riʧ ə ˈlərnɪŋ goʊl, ər fil laɪk bɪˈkəm ˈkəmfərtəbəl wɪθ ən ˈæˌspɛkt əv ðə skɪl, ju hæv tɪ goʊ bæk tɪ ðə ˈrisərʧ feɪz tɪ əˈsɛs wət ɛls ju nid tɪ lərn, əˈʤəst jʊr ˈsændˌbɑks tɪ əˈlaʊ ju tɪ lərn ðət skɪl ˈifɛktɪvli, ðɛn ˈpərpəsfəli ˈpræktɪs ɪt ənd səˈlɪsɪt ˈfidˌbæk tɪ kip ˈpʊʃɪŋ ˈjɔrsɛlf bɪɔnd jʊr ˈkəmfərt zoʊn. ðɪs kriˈeɪts ðə lup. ə pərˈpɛʧuəl ˈsaɪkəl əv ˈkɑnstənt ˈlərnɪŋ ənd ˌɪmˈpruvmənt, wɛr ju ˈnɛvər hæv tɪ stɑp ˌɪmˈpruvɪŋ jʊr əˈbɪləˌtiz ər ˈstægˌneɪt æt ə ˈlərnɪŋ plæˈtoʊ: ˈfaɪnəli, ˈpɑsəbəl ðət ɪˈvɛnʧəwəli gɪt stək ˈsəmˌwɛr. wɪn ðət ˈhæpənz, ju hæv tɪ əˈsɛs wət ðə ˈprɑbləm maɪt bi. dɪd ju riʧ ə pɔɪnt əv enough”*” ənd plæˈtoʊ? ðɛn ju nid tɪ lərn haʊ tɪ bəst θru ˈlərnɪŋ. hæv ju lɔst ˌmoʊtəˈveɪʃən ənd stɑp ˈpræktɪsɪŋ? ðɛn ju nid tɪ lərn haʊ tɪ bɪld ə ˌsɛlfpərˈpɛʧuˌeɪtɪŋ ˌmoʊtəˈveɪʃən məˈʃin. ər ju ˈpræktɪsɪŋ ˈdɪləʤəntli, bət nɑt ˌɪmˈpruvɪŋ? ðɛn ju meɪ nid tɪ gɪt ə ˈbɛtər ˌəndərˈstændɪŋ əv haʊ tɪ ˈpræktɪs ˈpərpəsfəli ənd dɪˈlɪbərətli.
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obama was not a realist president
barack obama is in the homestretch of his presidency, and it is only human for him to care about how he will be judged after he leaves office. that impulse probably explains his decision to participate in a series of interviews with the atlantic in which he defends his approach to foreign policy and explains why he has been reluctant to use american power as widely as his critics would have liked.
not surprisingly, this story has rekindled the recurring question of whether obama has been running a “realist” foreign policy for the past years or at least one heavily informed by realist thinking. (one of our sillier pundits once suggested i was the secret george kennan guiding his actions; anyone who reads this column regularly knows that u.s. foreign policy would have been markedly different if that were in fact the case.)
i understand why many people regard obama as some sort of realist, but from where i sit, the dimensions of his presidency are as prominent and important as any realist elements. and it is those features that account for his most obvious failures.
but first, what will legacy likely be? my view, for what worth, is that future historians will rate obama highly. he will be remembered for being first nonwhite president, of course, and for conducting his office with dignity, grace, and diligence. his administration was blissfully scandal-free, and he make a lot of hasty decisions that turned out badly. he was admirably and charitable toward most of his critics, despite the abuse and thinly veiled racism he faced from some of them. and no matter who wins in november, he is likely to look mighty good by comparison.
as we look back, obama will get credit for health care reform, for rescuing the country from the brink of another great depression, and for promoting greater tolerance toward minorities through legalization of gay marriage. when one remembers how scary things looked when he took office in 2009, this is no small set of achievements. and obama did these things while facing a republican opposition so toxic and extreme it kept devouring its own leaders and repeatedly threatening to shut down the entire federal government. “patriotism” for you.
but these elements of his legacy are all domestic achievements, and his record in foreign affairs is at best a mixed bag. still, obama can claim some clear successes: the u.s. image in most of the world is higher than when he took office; relations with china have been mostly tranquil despite the u.s. “pivot” to asia; and the nuclear deal with iran is a qualified success so far. also give obama props for ending long and counterproductive effort to ostracize cuba and for making progress on global nuclear security and climate change (though more needs to be done on both fronts).
unfortunately, record also contains a sizable number of depressing failures, beginning with afghanistan. obama agonized over this issue during his first year in office and ultimately sent nearly additional troops there. he promised this temporary “surge” would turn the tide against the taliban and enable the united states to get out with honor. it is now 2016, the taliban control more territory than at any time since 2001, and the united states is still fighting there with no end in sight. as some of us warned at the time, this policy was destined to fail and fail it did.
similarly, efforts to achieve peace between israelis and palestinians were a series of humiliations: israeli settlements kept expanding, gaza kept getting pummeled, moderate palestinians were discredited, hamas grew stronger, and the solution that bill clinton, george w. bush, and obama all favored is now dead (if not quite buried). obama and secretary of state john kerry wasted a lot of time and energy on this problem and got bupkis.
obama’s response to the “arab spring” was no more successful. the united states helped push hosni mubarak out in egypt and backed the newly elected government of mohamed, only to reverse course and turn a blind eye when a military coup ousted and imposed another dictatorship. u.s. air power helped topple muammar in libya (a decision obama now regrets), and the result is a failed state where the islamic state is active. obama declared “assad must go” in syria, despite there being no good way to ensure his departure and no good candidates to replace him, and then united states helped block the initial u.n. efforts to reach a cease-fire to end the fighting. today, syria is in ruins, and assad still rules the key areas. obama and his team were also blindsided by the emergence of the islamic state and by the rebellion in yemen. it pains me to say so, but the middle east will be in even worse shape when he leaves office than it was when he arrived. the united states is not solely responsible for this unfortunate trend, but our repeated meddling sowed additional chaos and alienated both friends and foes alike.
to be sure, dealing with simultaneous uprisings in several different countries would have been challenging for any president, and it is easy to imagine responses that would have been even worse than what the united states actually did. even so, obama and his team never seem to have figured out what they wanted to accomplish in the region (apart from stopping progress toward a nuclear bomb), and the end result was a series of incoherent improvisations.
lastly, obama deserves low marks for his handling of russia. no fan of vladimir putin, but u.s. officials erred by openly siding with the demonstrators seeking to oust former ukrainian president viktor and by failing to anticipate how russia was likely to respond. the result was a tragedy for the ukrainian people, an embarrassment for the united states, and a more precarious situation in europe, which hardly needed another problem on its agenda.
does this record reveal the shortcomings of a supposedly “realist” foreign policy, as some of liberal critics now contend? on the one hand, obama does have certain instincts that are consistent with a realist outlook. he recognizes that u.s. power is not unlimited and that military power is a crude instrument that cannot solve every problem. like most contemporary realists, he thinks the united states is extremely secure and that nuclear terrorism and climate change are the only existential threats it faces for the foreseeable future. his belief that asia is of rising strategic importance shows an appreciation for the key role that economic and military capability that is, hard power play in shaping world politics. indeed, his emphasis on “nation building at home” reflects an acute awareness that domestic strength is the bedrock of national security and international influence. and like most realists, he thinks the idea that the united states needs to fight foolish wars in order to keep its “credibility” intact is dangerous nonsense.
but on the other hand, the atlantic story shows that obama never fully embraced a realist either. he thinks there are four main strategic alternatives for the united states: realism, liberal interventionism, internationalism, and isolationism. he rejects the latter completely and believes making involves picking and choosing from among the first three. and though he offers some tart criticisms of the interventionist “d.c. playbook,” obama believes (along with most of the establishment) that the united states is an “exceptional” power and that american leadership is still “indispensable.” at bottom, he wants to have it both ways: to acknowledge there are limits to u.s. power and some problems it can safely ignore, but to still stand ready to intervene when vital interests are at risk or when u.s. power can produce positive results.
but after years in office, this most articulate of presidents never articulated a clear and coherent framework identifying what those vital interests are and why and spelling out how the united states could advance broader political ideals at acceptable cost and risk. to be specific: what regions of the world were worth significant commitments of american blood and treasure? why were these regions more important than others? under what conditions is it advisable to put u.s. citizens in way in order to keep the rest of us safe? when will the costs and risks of action outweigh the potential benefits? and forget the flip side: what regions or issues are of little or no importance to the united states and can safely be left to others?
the atlantic story suggests that obama has asked himself these questions more than once and is comfortable with the answers he has come up with for each. he is said to believe the middle east is of declining importance, for example, and that asia is rising. but obama never shared his overarching vision with the rest of us, and he never openly stated that some parts of the world lay outside the sphere of vital u.s. interests and were therefore not worth sending americans to fight and die for. instead of laying out a hierarchy of interests and explaining the logic behind his thinking, public utterances mostly echoed and reinforced the familiar of u.s. liberal hegemony.
in his 2009 speech accepting the nobel peace prize, he defended the need for military power and told the world that the united states has “helped underwrite global security for more than six decades with the blood of our citizens and the strength of our arms.” and he showed he meant it by ramping up the use of drones, targeted assassinations, and special operations activities. obama may have used military power in smaller increments and to achieve more modest goals than bush did, but he used it in a lot more places. but how he decided where to act and where to hold back remains something of a mystery, even to those of us who have been paying attention.
his failure to define u.s. interests clearly and his tendency to recite the familiar rhetoric of liberal hegemony had several unfortunate consequences. first, it meant obama faced constant pressure to “do something” whenever trouble beckoned in some distant corner of the world, but he had no overarching argument or principle with which to deflect the pressure (save for the correct but unhelpful dictum to avoid “stupid shit”). the danger, as the libya debacle shows clearly, is that advocates of intervention will sometimes manage to override more sensible instincts and convince even a reluctant president to act, even though vital u.s. interests are not at stake and washington has no idea what it is doing. in the absence of a clear strategy, stupid shit sometimes happens anyway.
second, because obama kept saying u.s. leadership was indispensable, he was vulnerable to criticism whenever he tried to end a failed policy or avoid some new quagmire. getting out of afghanistan and iraq and staying out of ukraine and syria were the right calls, because vital u.s. interests were not at stake in any of these countries or their problems. but obama never presented a convincing explanation for why this was the case (and in afghanistan, in fact, he said the opposite). thus, what he should have presented as difficult but hardheaded strategic judgments were seen as symptoms of and weakness.
this same ambivalence marred relations with u.s. allies. and “reckless driving” by u.s. allies clearly bothers obama, yet he spent considerable time and effort trying to convince many of these same allies they could count on uncle sam no matter what happened or what they did. what was the predictable result? u.s. allies continued to misbehave in various ways while getting angry and upset because washington doing everything they wanted. foreign governments might have been equally disappointed had obama told them why they had to do more to defend themselves, but at least they would have known where they stood (and so would the american taxpayer).
most importantly, because obama never publicly embraced an unvarnished realist outlook or tried to explain this view to the american people, he never disrupted the “d.c. playbook” that he now disparages. during his first presidential campaign, he said he want to just end the iraq war; he also wanted to “end the mindset that got us into war in the first place.” the american people are in some ways already there, but the establishment gotten the memo. the atlantic story describes obama as openly dismissive of the d.c. “think-tank complex,” but he appointed plenty of its members to prominent positions and embraced many of its most notably the of “u.s. leadership” throughout his presidency.
altering a mindset is not easy, and the president is just one voice (albeit an unusually influential one). changing the current consensus would have required obama to take on these entrenched interests and intellectual fiefdoms directly and to appoint a different sort of person to at least a few important government positions. he would have had to articulate a different grand strategy over the course of his presidency and not just in a couple of quickly forgotten speeches. no, changing a consensus requires making the case with the same persistence and focus that he showed in selling the iran deal. and while he was doing that, he would still have had to run the government and deal with each surprises. a lot to ask of any president and especially one who took office with the economy on the brink and without a lot of prior experience in washington.
in short, obama did not in fact run a “realist” foreign policy, because he fully embrace a realist, appoint many (any?) realists to key positions, and never really tried to dismantle the bipartisan consensus behind the grand strategy of liberal hegemony. as noted before, a genuinely “realist” foreign policy would have left afghanistan promptly in 2009, converted our “special relationships” in the middle east to normal ones, explicitly rejected further nato expansion, eschewed “regime change” and other forms of social engineering in foreign countries such as libya or syria, and returned to the broad strategy of restrained “offshore balancing” that served the united states so well in the past.
of course, even if obama had explained the logic behind this strategy carefully and followed it consistently, he might still have failed to transform the interventionist mindset. after all, that is supported by plenty of wealthy individuals, powerful corporations, influential think tanks, and lobbies. a more ambitious effort to change how americans think about foreign policy might not have succeeded. but as his presidency approaches its close, i still wish he had tried.
photo credit: kevin images
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ˌoʊˈbɑmə wɑz nɑt ə ˈriəlɪst ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə ɪz ɪn ðə ˈhoʊmˌstrɛʧ əv hɪz ˈprɛzɪdənsi, ənd ɪt ɪz ˈoʊnli ˈjumən fər ɪm tɪ kɛr əˈbaʊt haʊ hi wɪl bi ʤəʤd ˈæftər hi livz ˈɔfəs. ðət ˌɪmˈpəls ˈprɑbəˌbli ɪkˈspleɪnz hɪz dɪˈsɪʒən tɪ pɑrˈtɪsəˌpeɪt ɪn ə ˈsɪriz əv ˈɪntərvˌjuz wɪθ ðə əˈtlæntɪk ɪn wɪʧ hi dɪˈfɛndz hɪz əˈproʊʧ tɪ ˈfɔrən ˈpɑləsi ənd ɪkˈspleɪnz waɪ hi həz bɪn rɪˈləktənt tɪ juz əˈmɛrɪkən paʊər ɛz ˈwaɪdli ɛz hɪz ˈkrɪtɪks wʊd hæv laɪkt. nɑt səˈpraɪzɪŋli, ðɪs ˈstɔri həz riˈkɪndəld ðə rɪˈkərɪŋ kˈwɛʃən əv ˈwɛðər ˌoʊˈbɑmə həz bɪn ˈrənɪŋ ə ““realist”*” ˈfɔrən ˈpɑləsi fər ðə pæst jɪrz ər æt list wən ˈhɛvəli ˌɪnˈfɔrmd baɪ ˈriəlɪst ˈθɪŋkɪŋ. (wən əv ɑr ˈsɪliər ˈpəndɪts wəns səˈʤɛstɪd aɪ wɑz ðə ˈsikrɪt ʤɔrʤ ˈkɛnən ˈgaɪdɪŋ hɪz ˈækʃənz; ˈɛniˌwən hu ridz ðɪs ˈkɑləm ˈrɛgjələrli noʊz ðət juz. ˈfɔrən ˈpɑləsi wʊd hæv bɪn ˈmɑrkɪdli ˈdɪfərənt ɪf ðət wər ɪn fækt ðə keɪs.) aɪ ˌəndərˈstænd waɪ ˈmɛni ˈpipəl rɪˈgɑrd ˌoʊˈbɑmə ɛz səm sɔrt əv ˈriəlɪst, bət frəm wɛr aɪ sɪt, ðə dɪˈmɛnʃənz əv hɪz ˈprɛzɪdənsi ər ɛz ˈprɑmənənt ənd ˌɪmˈpɔrtənt ɛz ˈɛni ˈriəlɪst ˈɛləmənts. ənd ɪt ɪz ðoʊz ˈfiʧərz ðət əˈkaʊnt fər hɪz moʊst ˈɑbviəs ˈfeɪljərz. bət fərst, wət wɪl ˈlɛgəsi ˈlaɪkli bi? maɪ vju, fər wət wərθ, ɪz ðət fˈjuʧər hɪˈstɔriənz wɪl reɪt ˌoʊˈbɑmə ˈhaɪli. hi wɪl bi rɪˈmɛmbərd fər biɪŋ fərst ˈnɑnˈwaɪt ˈprɛzɪdənt, əv kɔrs, ənd fər kənˈdəktɪŋ hɪz ˈɔfəs wɪθ ˈdɪgnəti, greɪs, ənd ˈdɪlɪʤəns. hɪz ædˌmɪnɪˈstreɪʃən wɑz ˈblɪsfəli scandal-free*, ənd hi meɪk ə lɔt əv ˈheɪsti dɪˈsɪʒənz ðət tərnd aʊt ˈbædli. hi wɑz ˈædmərəbli ənd ˈʧɛrətəbəl təˈwɔrd moʊst əv hɪz ˈkrɪtɪks, dɪˈspaɪt ðə əˈbjuz ənd ˈθɪnli veɪld ˈreɪˌsɪzəm hi feɪst frəm səm əv ðɛm. ənd noʊ ˈmætər hu wɪnz ɪn noʊˈvɛmbər, hi ɪz ˈlaɪkli tɪ lʊk ˈmaɪti gʊd baɪ kəmˈpɛrəsən. ɛz wi lʊk bæk, ˌoʊˈbɑmə wɪl gɪt ˈkrɛdɪt fər hɛlθ kɛr rɪˈfɔrm, fər ˈrɛskjuɪŋ ðə ˈkəntri frəm ðə brɪŋk əv əˈnəðər greɪt dɪˈprɛʃən, ənd fər prəˈmoʊtɪŋ ˈgreɪtər ˈtɑlərəns təˈwɔrd məˈnɔrətiz θru ˌligələˈzeɪʃən əv geɪ ˈmɛrɪʤ. wɪn wən rɪˈmɛmbərz haʊ ˈskɛri θɪŋz lʊkt wɪn hi tʊk ˈɔfəs ɪn 2009 ðɪs ɪz noʊ smɔl sɛt əv əˈʧivmənts. ənd ˌoʊˈbɑmə dɪd ðiz θɪŋz waɪl ˈfeɪsɪŋ ə rɪˈpəblɪkən ˌɑpəˈzɪʃən soʊ ˈtɑksɪk ənd ɪkˈstrim ɪt kɛpt dɪˈvaʊərɪŋ ɪts oʊn ˈlidərz ənd rɪˈpitɪdli θˈrɛtənɪŋ tɪ ʃət daʊn ðə ɪnˈtaɪər ˈfɛdərəl ˈgəvərnmənt. ““patriotism”*” fər ju. bət ðiz ˈɛləmənts əv hɪz ˈlɛgəsi ər ɔl dəˈmɛstɪk əˈʧivmənts, ənd hɪz ˈrɛkərd ɪn ˈfɔrən əˈfɛrz ɪz æt bɛst ə mɪkst bæg. stɪl, ˌoʊˈbɑmə kən kleɪm səm klɪr səkˈsɛsɪz: ðə juz. ˈɪmɪʤ ɪn moʊst əv ðə wərld ɪz haɪər ðən wɪn hi tʊk ˈɔfəs; riˈleɪʃənz wɪθ ˈʧaɪnə hæv bɪn ˈmoʊstli ˈtræŋkwɪl dɪˈspaɪt ðə juz. ““pivot”*” tɪ ˈeɪʒə; ənd ðə ˈnukliər dil wɪθ ˌɪˈrɑn ɪz ə kˈwɑləˌfaɪd səkˈsɛs soʊ fɑr. ˈɔlsoʊ gɪv ˌoʊˈbɑmə prɑps fər ˈɛndɪŋ lɔŋ ənd ˈkaʊnərprəˌdəktɪv ˈɛfərt tɪ ˈɔstrəˌsaɪz ˈkjubə ənd fər ˈmeɪkɪŋ ˈprɑˌgrɛs ɔn ˈgloʊbəl ˈnukliər sɪˈkjʊrəti ənd ˈklaɪmɪt ʧeɪnʤ (ðoʊ mɔr nidz tɪ bi dən ɔn boʊθ frənts). ənˈfɔrʧənətli, ˈrɛkərd ˈɔlsoʊ kənˈteɪnz ə ˈsaɪzəbəl ˈnəmbər əv dɪˈprɛsɪŋ ˈfeɪljərz, bɪˈgɪnɪŋ wɪθ æfˈgænəˌstæn. ˌoʊˈbɑmə ˈægəˌnaɪzd ˈoʊvər ðɪs ˈɪʃu ˈdʊrɪŋ hɪz fərst jɪr ɪn ˈɔfəs ənd ˈəltəmətli sɛnt ˈnɪrli əˈdɪʃənəl trups ðɛr. hi ˈprɑməst ðɪs ˈtɛmpərˌɛri ““surge”*” wʊd tərn ðə taɪd əˈgɛnst ðə ˈtælɪˌbæn ənd ɪˈneɪbəl ðə juˈnaɪtɪd steɪts tɪ gɪt aʊt wɪθ ˈɑnər. ɪt ɪz naʊ 2016 ðə ˈtælɪˌbæn kənˈtroʊl mɔr ˈtɛrɪˌtɔri ðən æt ˈɛni taɪm sɪns 2001 ənd ðə juˈnaɪtɪd steɪts ɪz stɪl ˈfaɪtɪŋ ðɛr wɪθ noʊ ɛnd ɪn saɪt. ɛz səm əv ˈjuˈɛs wɔrnd æt ðə taɪm, ðɪs ˈpɑləsi wɑz ˈdɛstɪnd tɪ feɪl ənd feɪl ɪt dɪd. ˈsɪmələrli, ˈɛfərts tɪ əˈʧiv pis bɪtˈwin ˌɪzˈreɪliz ənd ˌpælɪˈstɪniənz wər ə ˈsɪriz əv ˌhjuˌmɪliˈeɪʃənz: ˌɪzˈreɪli ˈsɛtəlmənts kɛpt ɪkˈspændɪŋ, ˈgɑzə kɛpt ˈgɪtɪŋ ˈpəməld, ˈmɑdərˌeɪt ˌpælɪˈstɪniənz wər dɪˈskrɛdɪtɪd, ˌhɑˈmɑs gru ˈstrɔŋgər, ənd ðə səˈluʃən ðət bɪl ˈklɪntən, ʤɔrʤ ˈdəbəlju. bʊʃ, ənd ˌoʊˈbɑmə ɔl ˈfeɪvərd ɪz naʊ dɛd (ɪf nɑt kwaɪt ˈbɛrid). ˌoʊˈbɑmə ənd ˈsɛkrəˌtɛri əv steɪt ʤɑn ˈkɛri ˈweɪstɪd ə lɔt əv taɪm ənd ˈɛnərʤi ɔn ðɪs ˈprɑbləm ənd gɑt bupkis*. rɪˈspɑns tɪ ðə spring”*” wɑz noʊ mɔr səkˈsɛsfəl. ðə juˈnaɪtɪd steɪts hɛlpt pʊʃ ˈhɔsni muˈbɑrɪk aʊt ɪn ˈiʤɪpt ənd bækt ðə ˈnuli ɪˈlɛktɪd ˈgəvərnmənt əv moʊˈhɑmɛd, ˈoʊnli tɪ rɪˈvərs kɔrs ənd tərn ə blaɪnd aɪ wɪn ə ˈmɪlɪˌtɛri ku ˈaʊstɪd ənd ˌɪmˈpoʊzd əˈnəðər dɪkˈteɪtərˌʃɪp. juz. ɛr paʊər hɛlpt ˈtɑpəl muˈæmər ɪn ˈlɪˌbiə (ə dɪˈsɪʒən ˌoʊˈbɑmə naʊ rɪˈgrɛts), ənd ðə rɪˈzəlt ɪz ə feɪld steɪt wɛr ðə ˌɪzˈlɑmɪk steɪt ɪz ˈæktɪv. ˌoʊˈbɑmə dɪˈklɛrd məst go”*” ɪn ˈsɪriə, dɪˈspaɪt ðɛr biɪŋ noʊ gʊd weɪ tɪ ɪnˈʃʊr hɪz dɪˈpɑrʧər ənd noʊ gʊd ˈkænədɪts tɪ ˌriˈpleɪs ɪm, ənd ðɛn juˈnaɪtɪd steɪts hɛlpt blɑk ðə ˌɪˈnɪʃəl u.n*. ˈɛfərts tɪ riʧ ə ˈsisˈfaɪər tɪ ɛnd ðə ˈfaɪtɪŋ. təˈdeɪ, ˈsɪriə ɪz ɪn ruɪnz, ənd əˈsɑd stɪl rulz ðə ki ˈɛriəz. ˌoʊˈbɑmə ənd hɪz tim wər ˈɔlsoʊ ˈblaɪndˌsaɪdɪd baɪ ðə ˈimərʤəns əv ðə ˌɪzˈlɑmɪk steɪt ənd baɪ ðə rɪˈbɛljən ɪn ˈjɛmən. ɪt peɪnz mi tɪ seɪ soʊ, bət ðə ˈmɪdəl ist wɪl bi ɪn ˈivɪn wərs ʃeɪp wɪn hi livz ˈɔfəs ðən ɪt wɑz wɪn hi əraɪvd. ðə juˈnaɪtɪd steɪts ɪz nɑt ˈsoʊəli riˈspɑnsəbəl fər ðɪs ənˈfɔrʧənət trɛnd, bət ɑr rɪˈpitɪd ˈmɛdəlɪŋ soʊd əˈdɪʃənəl keɪɑs ənd ˈeɪliəˌneɪtɪd boʊθ frɛndz ənd foʊz əˈlaɪk. tɪ bi ʃʊr, ˈdilɪŋ wɪθ ˌsaɪməlˈteɪniəs ˈəˌpraɪzɪŋz ɪn ˈsɛvərəl ˈdɪfərənt ˈkəntriz wʊd hæv bɪn ˈʧælənʤɪŋ fər ˈɛni ˈprɛzɪdənt, ənd ɪt ɪz ˈizi tɪ ˌɪˈmæʤən rɪˈspɑnsɪz ðət wʊd hæv bɪn ˈivɪn wərs ðən wət ðə juˈnaɪtɪd steɪts ˈæˌkʧuəli dɪd. ˈivɪn soʊ, ˌoʊˈbɑmə ənd hɪz tim ˈnɛvər sim tɪ hæv ˈfɪgjərd aʊt wət ðeɪ ˈwɔntɪd tɪ əˈkɑmplɪʃ ɪn ðə ˈriʤən (əˈpɑrt frəm ˈstɑpɪŋ ˈprɑˌgrɛs təˈwɔrd ə ˈnukliər bɔm), ənd ðə ɛnd rɪˈzəlt wɑz ə ˈsɪriz əv ˌɪnkoʊˈhɪrənt ˌɪmprɑvɪˈzeɪʃənz. ˈlæstli, ˌoʊˈbɑmə dɪˈzərvz loʊ mɑrks fər hɪz ˈhændəlɪŋ əv ˈrəʃə. noʊ fæn əv vˈlædəmɪr ˈputɪn, bət juz. əˈfɪʃəlz ɛrd baɪ ˈoʊpənli ˈsaɪdɪŋ wɪθ ðə ˈdɛmənˌstreɪtərz ˈsikɪŋ tɪ aʊst ˈfɔrmər juˈkreɪniən ˈprɛzɪdənt ˈvɪktər ənd baɪ ˈfeɪlɪŋ tɪ ænˈtɪsəˌpeɪt haʊ ˈrəʃə wɑz ˈlaɪkli tɪ rɪˈspɑnd. ðə rɪˈzəlt wɑz ə ˈtræʤədi fər ðə juˈkreɪniən ˈpipəl, ən ɪmˈbɛrəsmənt fər ðə juˈnaɪtɪd steɪts, ənd ə mɔr priˈkɛriəs ˌsɪʧuˈeɪʃən ɪn ˈjʊrəp, wɪʧ ˈhɑrdli ˈnidɪd əˈnəðər ˈprɑbləm ɔn ɪts əˈʤɛndə. dɪz ðɪs ˈrɛkərd rɪˈvil ðə ˈʃɔrtˌkəmɪŋz əv ə səˈpoʊzədli ““realist”*” ˈfɔrən ˈpɑləsi, ɛz səm əv ˈlɪˌbərəl ˈkrɪtɪks naʊ kənˈtɛnd? ɔn ðə wən hænd, ˌoʊˈbɑmə dɪz hæv ˈsərtən ˈɪnstɪŋkts ðət ər kənˈsɪstənt wɪθ ə ˈriəlɪst ˈaʊˌtlʊk. hi ˈrɛkəgˌnaɪzɪz ðət juz. paʊər ɪz nɑt ənˈlɪmɪtɪd ənd ðət ˈmɪlɪˌtɛri paʊər ɪz ə krud ˈɪnstrəmənt ðət ˈkænɑt sɑlv ˈɛvəri ˈprɑbləm. laɪk moʊst kənˈtɛmpərˌɛri ˈriəlɪsts, hi θɪŋks ðə juˈnaɪtɪd steɪts ɪz ɪkˈstrimli sɪˈkjʊr ənd ðət ˈnukliər ˈtɛrəˌrɪzəm ənd ˈklaɪmɪt ʧeɪnʤ ər ðə ˈoʊnli ˌɛgˌzɪˈstɛnʃəl θrɛts ɪt ˈfeɪsɪz fər ðə fɔrˈsiəbəl fˈjuʧər. hɪz bɪˈlif ðət ˈeɪʒə ɪz əv ˈraɪzɪŋ strəˈtiʤɪk ˌɪmˈpɔrtəns ʃoʊz ən əˌpriʃiˈeɪʃən fər ðə ki roʊl ðət ˌɛkəˈnɑmɪk ənd ˈmɪlɪˌtɛri ˌkeɪpəˈbɪləti ðət ɪz, hɑrd paʊər pleɪ ɪn ˈʃeɪpɪŋ wərld ˈpɑləˌtɪks. ˌɪnˈdid, hɪz ˈɛmfəsɪs ɔn ˈbɪldɪŋ æt home”*” rɪˈflɛkts ən əˈkjut əˈwɛrnəs ðət dəˈmɛstɪk strɛŋθ ɪz ðə ˈbɛˌdrɑk əv ˈnæʃənəl sɪˈkjʊrəti ənd ˌɪnərˈnæʃənɑl ˈɪnfluəns. ənd laɪk moʊst ˈriəlɪsts, hi θɪŋks ðə aɪˈdiə ðət ðə juˈnaɪtɪd steɪts nidz tɪ faɪt ˈfulɪʃ wɔrz ɪn ˈɔrdər tɪ kip ɪts ““credibility”*” ˌɪnˈtækt ɪz ˈdeɪnʤərəs ˈnɑnsɛns. bət ɔn ðə ˈəðər hænd, ðə əˈtlæntɪk ˈstɔri ʃoʊz ðət ˌoʊˈbɑmə ˈnɛvər ˈfʊli ɛmˈbreɪst ə ˈriəlɪst ˈiðər. hi θɪŋks ðɛr ər fɔr meɪn strəˈtiʤɪk ɔlˈtərnətɪvz fər ðə juˈnaɪtɪd steɪts: ˈriəlɪzm, ˈlɪˌbərəl ˌɪntərˈvɛnʃəˌnɪzəm, ˌɪnərˈnæʃənɑˌlɪzəm, ənd ˌaɪsəˈleɪʃəˌnɪzəm. hi ˈriʤɛkts ðə ˈlætər kəmˈplitli ənd bɪˈlivz ˈmeɪkɪŋ ˌɪnˈvɑlvz ˈpɪkɪŋ ənd ˈʧuzɪŋ frəm əˈməŋ ðə fərst θri. ənd ðoʊ hi ˈɔfərz səm tɑrt ˈkrɪtɪˌsɪzəmz əv ðə ˌɪntərˈvɛnʃənɪst ““d.c*. playbook,”*,” ˌoʊˈbɑmə bɪˈlivz (əˈlɔŋ wɪθ moʊst əv ðə ɪˈstæblɪʃmənt) ðət ðə juˈnaɪtɪd steɪts ɪz ən ““exceptional”*” paʊər ənd ðət əˈmɛrɪkən ˈlidərˌʃɪp ɪz stɪl ““indispensable.”*.” æt ˈbɑtəm, hi wɔnts tɪ hæv ɪt boʊθ weɪz: tɪ ækˈnɑlɪʤ ðɛr ər ˈlɪmɪts tɪ juz. paʊər ənd səm ˈprɑbləmz ɪt kən ˈseɪfli ˌɪgˈnɔr, bət tɪ stɪl stænd ˈrɛdi tɪ ˌɪntərˈvin wɪn ˈvaɪtəl ˈɪntərɪsts ər æt rɪsk ər wɪn juz. paʊər kən ˈproʊdus ˈpɑzətɪv rɪˈzəlts. bət ˈæftər jɪrz ɪn ˈɔfəs, ðɪs moʊst ɑrˈtɪkjəˌleɪt əv ˈprɛzɪˌdɛnts ˈnɛvər ɑrˈtɪkjəˌleɪtəd ə klɪr ənd koʊˈhɪrənt ˈfreɪmˌwərk aɪˈdɛntəˌfaɪɪŋ wət ðoʊz ˈvaɪtəl ˈɪntərɪsts ər ənd waɪ ənd ˈspɛlɪŋ aʊt haʊ ðə juˈnaɪtɪd steɪts kʊd ədˈvæns ˈbrɔdər pəˈlɪtɪkəl aɪˈdilz æt əkˈsɛptəbəl kɔst ənd rɪsk. tɪ bi spɪˈsɪfɪk: wət ˈriʤənz əv ðə wərld wər wərθ sɪgˈnɪfɪkənt kəˈmɪtmənts əv əˈmɛrɪkən bləd ənd ˈtrɛʒər? waɪ wər ðiz ˈriʤənz mɔr ˌɪmˈpɔrtənt ðən ˈəðərz? ˈəndər wət kənˈdɪʃənz ɪz ɪt ədˈvaɪzəbəl tɪ pʊt juz. ˈsɪtɪzənz ɪn weɪ ɪn ˈɔrdər tɪ kip ðə rɛst əv ˈjuˈɛs seɪf? wɪn wɪl ðə kɔsts ənd rɪsks əv ˈækʃən ˈaʊtˌweɪ ðə pəˈtɛnʃəl ˈbɛnəfɪts? ənd fərˈgɛt ðə flɪp saɪd: wət ˈriʤənz ər ˈɪʃuz ər əv ˈlɪtəl ər noʊ ˌɪmˈpɔrtəns tɪ ðə juˈnaɪtɪd steɪts ənd kən ˈseɪfli bi lɛft tɪ ˈəðərz? ðə əˈtlæntɪk ˈstɔri səˈʤɛsts ðət ˌoʊˈbɑmə həz æst hɪmˈsɛlf ðiz kˈwɛsʧənz mɔr ðən wəns ənd ɪz ˈkəmfərtəbəl wɪθ ðə ˈænsərz hi həz kəm əp wɪθ fər iʧ. hi ɪz sɛd tɪ bɪˈliv ðə ˈmɪdəl ist ɪz əv dɪˈklaɪnɪŋ ˌɪmˈpɔrtəns, fər ɪgˈzæmpəl, ənd ðət ˈeɪʒə ɪz ˈraɪzɪŋ. bət ˌoʊˈbɑmə ˈnɛvər ʃɛrd hɪz ˈoʊvərˌɑrʧɪŋ ˈvɪʒən wɪθ ðə rɛst əv ˈjuˈɛs, ənd hi ˈnɛvər ˈoʊpənli ˈsteɪtɪd ðət səm pɑrts əv ðə wərld leɪ ˈaʊtˈsaɪd ðə sfɪr əv ˈvaɪtəl juz. ˈɪntərɪsts ənd wər ˈðɛrˌfɔr nɑt wərθ ˈsɛndɪŋ əˈmɛrɪkənz tɪ faɪt ənd daɪ fər. ˌɪnˈstɛd əv leɪɪŋ aʊt ə ˈhaɪˌrɑrki əv ˈɪntərɪsts ənd ɪkˈspleɪnɪŋ ðə ˈlɑʤɪk bɪˈhaɪnd hɪz ˈθɪŋkɪŋ, ˈpəblɪk ˈətərənsɪz ˈmoʊstli ˈɛkoʊd ənd ˌriɪnˈfɔrst ðə fəˈmɪljər əv juz. ˈlɪˌbərəl hiˈʤɛməni. ɪn hɪz 2009 spiʧ əkˈsɛptɪŋ ðə noʊˈbɛl pis praɪz, hi dɪˈfɛndɪd ðə nid fər ˈmɪlɪˌtɛri paʊər ənd toʊld ðə wərld ðət ðə juˈnaɪtɪd steɪts həz ˈəndərˌraɪt ˈgloʊbəl sɪˈkjʊrəti fər mɔr ðən sɪks ˈdɛkeɪdz wɪθ ðə bləd əv ɑr ˈsɪtɪzənz ənd ðə strɛŋθ əv ɑr arms.”*.” ənd hi ʃoʊd hi mɛnt ɪt baɪ ˈræmpɪŋ əp ðə juz əv droʊnz, ˈtɑrgətɪd əˌsæsəˈneɪʃənz, ənd ˈspɛʃəl ˌɑpərˈeɪʃənz ækˈtɪvɪtiz. ˌoʊˈbɑmə meɪ hæv juzd ˈmɪlɪˌtɛri paʊər ɪn sˈmɔlər ˈɪŋkrəˌmɛnts ənd tɪ əˈʧiv mɔr ˈmɑdəst goʊlz ðən bʊʃ dɪd, bət hi juzd ɪt ɪn ə lɔt mɔr ˈpleɪsɪz. bət haʊ hi ˌdɪˈsaɪdɪd wɛr tɪ ækt ənd wɛr tɪ hoʊld bæk rɪˈmeɪnz ˈsəmθɪŋ əv ə ˈmɪstəri, ˈivɪn tɪ ðoʊz əv ˈjuˈɛs hu hæv bɪn peɪɪŋ əˈtɛnʃən. hɪz ˈfeɪljər tɪ dɪˈfaɪn juz. ˈɪntərɪsts ˈklɪrli ənd hɪz ˈtɛndənsi tɪ rəˈsaɪt ðə fəˈmɪljər ˈrɛtərɪk əv ˈlɪˌbərəl hiˈʤɛməni hæd ˈsɛvərəl ənˈfɔrʧənət ˈkɑnsəkˌwɛnsəz. fərst, ɪt mɛnt ˌoʊˈbɑmə feɪst ˈkɑnstənt ˈprɛʃər tɪ something”*” wɛˈnɛvər ˈtrəbəl ˈbɛkənd ɪn səm ˈdɪstənt ˈkɔrnər əv ðə wərld, bət hi hæd noʊ ˈoʊvərˌɑrʧɪŋ ˈɑrgjəmənt ər ˈprɪnsəpəl wɪθ wɪʧ tɪ dɪˈflɛkt ðə ˈprɛʃər (seɪv fər ðə kərˈɛkt bət ənˈhɛlpfəl ˈdɪktəm tɪ əˈvɔɪd shit”*”). ðə ˈdeɪnʤər, ɛz ðə ˈlɪˌbiə dəˈbɑkəl ʃoʊz ˈklɪrli, ɪz ðət ˈædvəˌkeɪts əv ˌɪntərˈvɛnʃən wɪl ˈsəmˌtaɪmz ˈmænɪʤ tɪ ˈoʊvərˌraɪd mɔr ˈsɛnsəbəl ˈɪnstɪŋkts ənd kənˈvɪns ˈivɪn ə rɪˈləktənt ˈprɛzɪdənt tɪ ækt, ˈivɪn ðoʊ ˈvaɪtəl juz. ˈɪntərɪsts ər nɑt æt steɪk ənd ˈwɔʃɪŋtən həz noʊ aɪˈdiə wət ɪt ɪz duɪŋ. ɪn ðə ˈæbsəns əv ə klɪr ˈstrætəʤi, ˈstupɪd ʃɪt ˈsəmˌtaɪmz ˈhæpənz ˈɛniˌweɪ. ˈsɛkənd, bɪˈkəz ˌoʊˈbɑmə kɛpt seɪɪŋ juz. ˈlidərˌʃɪp wɑz ˌɪndɪˈspɛnsəbəl, hi wɑz ˈvəlnərəbəl tɪ ˈkrɪtɪˌsɪzəm wɛˈnɛvər hi traɪd tɪ ɛnd ə feɪld ˈpɑləsi ər əˈvɔɪd səm nu kˈwægˌmaɪər. ˈgɪtɪŋ aʊt əv æfˈgænəˌstæn ənd ˌɪˈrɑk ənd steɪɪŋ aʊt əv juˈkreɪn ənd ˈsɪriə wər ðə raɪt kɔlz, bɪˈkəz ˈvaɪtəl juz. ˈɪntərɪsts wər nɑt æt steɪk ɪn ˈɛni əv ðiz ˈkəntriz ər ðɛr ˈprɑbləmz. bət ˌoʊˈbɑmə ˈnɛvər pərˈzɛnəd ə kənˈvɪnsɪŋ ˌɛkspləˈneɪʃən fər waɪ ðɪs wɑz ðə keɪs (ənd ɪn æfˈgænəˌstæn, ɪn fækt, hi sɛd ðə ˈɑpəzɪt). ðəs, wət hi ʃʊd hæv pərˈzɛnəd ɛz ˈdɪfəkəlt bət ˈhɑrˌdhɛdɪd strəˈtiʤɪk ˈʤəʤmənts wər sin ɛz ˈsɪmptəmz əv ənd ˈwiknəs. ðɪs seɪm æmˈbɪvələns mɑrd riˈleɪʃənz wɪθ juz. ˈælaɪz. ənd driving”*” baɪ juz. ˈælaɪz ˈklɪrli ˈbɑðərz ˌoʊˈbɑmə, jɛt hi spɛnt kənˈsɪdərəbəl taɪm ənd ˈɛfərt traɪɪŋ tɪ kənˈvɪns ˈmɛni əv ðiz seɪm ˈælaɪz ðeɪ kʊd kaʊnt ɔn ˈəŋkəl sæm noʊ ˈmætər wət ˈhæpənd ər wət ðeɪ dɪd. wət wɑz ðə prɪˈdɪktəbəl rɪˈzəlt? juz. ˈælaɪz kənˈtɪnjud tɪ ˌmɪsbəˈheɪv ɪn ˈvɛriəs weɪz waɪl ˈgɪtɪŋ ˈæŋgri ənd ˈəpˌsɛt bɪˈkəz ˈwɔʃɪŋtən duɪŋ ˈɛvriˌθɪŋ ðeɪ ˈwɔntɪd. ˈfɔrən ˈgəvərnmənts maɪt hæv bɪn ˈikwəli ˌdɪsəˈpɔɪnɪd hæd ˌoʊˈbɑmə toʊld ðɛm waɪ ðeɪ hæd tɪ du mɔr tɪ dɪˈfɛnd ðɛmˈsɛlvz, bət æt list ðeɪ wʊd hæv noʊn wɛr ðeɪ stʊd (ənd soʊ wʊd ðə əˈmɛrɪkən ˈtækˌspeɪər). moʊst ˌɪmˈpɔrtəntli, bɪˈkəz ˌoʊˈbɑmə ˈnɛvər ˈpəblɪkli ɛmˈbreɪst ən ənˈvɑrnɪʃt ˈriəlɪst ˈaʊˌtlʊk ər traɪd tɪ ɪkˈspleɪn ðɪs vju tɪ ðə əˈmɛrɪkən ˈpipəl, hi ˈnɛvər dɪsˈrəptɪd ðə ““d.c*. playbook”*” ðət hi naʊ dɪˈspɛrɪʤɪz. ˈdʊrɪŋ hɪz fərst ˌprɛzɪˈdɛnʃəl kæmˈpeɪn, hi sɛd hi wɔnt tɪ ʤɪst ɛnd ðə ˌɪˈrɑk wɔr; hi ˈɔlsoʊ ˈwɔntɪd tɪ ðə ˈmaɪndˌsɛt ðət gɑt ˈjuˈɛs ˈɪntu wɔr ɪn ðə fərst place.”*.” ðə əˈmɛrɪkən ˈpipəl ər ɪn səm weɪz ɔˈrɛdi ðɛr, bət ðə ɪˈstæblɪʃmənt ˈgɔtən ðə ˈmɛˌmoʊ. ðə əˈtlæntɪk ˈstɔri dɪˈskraɪbz ˌoʊˈbɑmə ɛz ˈoʊpənli dɪsˈmɪsɪv əv ðə d.c*. complex,”*,” bət hi əˈpɔɪntɪd ˈplɛnti əv ɪts ˈmɛmbərz tɪ ˈprɑmənənt pəˈzɪʃənz ənd ɛmˈbreɪst ˈmɛni əv ɪts moʊst ˈnoʊtəbli ðə əv ““u.s*. leadership”*” θruaʊt hɪz ˈprɛzɪdənsi. ˈɔltərɪŋ ə ˈmaɪndˌsɛt ɪz nɑt ˈizi, ənd ðə ˈprɛzɪdənt ɪz ʤɪst wən vɔɪs (ɔlˈbiɪt ən ənˈjuˌʒuəli ˌɪnfluˈɛnʃəl wən). ˈʧeɪnʤɪŋ ðə ˈkɑrənt kənˈsɛnsəs wʊd hæv rikˈwaɪərd ˌoʊˈbɑmə tɪ teɪk ɔn ðiz ɪnˈtrɛnʧt ˈɪntərɪsts ənd ˌɪnəˈlɛkʧuəl ˈfifdəmz dɪˈrɛkli ənd tɪ əˈpɔɪnt ə ˈdɪfərənt sɔrt əv ˈpərsən tɪ æt list ə fju ˌɪmˈpɔrtənt ˈgəvərnmənt pəˈzɪʃənz. hi wʊd hæv hæd tɪ ɑrˈtɪkjəˌleɪt ə ˈdɪfərənt grænd ˈstrætəʤi ˈoʊvər ðə kɔrs əv hɪz ˈprɛzɪdənsi ənd nɑt ʤɪst ɪn ə ˈkəpəl əv kˈwɪkli fərˈgɑtən ˈspiʧɪz. noʊ, ˈʧeɪnʤɪŋ ə kənˈsɛnsəs rikˈwaɪərz ˈmeɪkɪŋ ðə keɪs wɪθ ðə seɪm pərˈsɪstəns ənd ˈfoʊkɪs ðət hi ʃoʊd ɪn ˈsɛlɪŋ ðə ˌɪˈrɑn dil. ənd waɪl hi wɑz duɪŋ ðət, hi wʊd stɪl hæv hæd tɪ rən ðə ˈgəvərnmənt ənd dil wɪθ iʧ səˈpraɪzɪz. ə lɔt tɪ æsk əv ˈɛni ˈprɛzɪdənt ənd əˈspɛʃəli wən hu tʊk ˈɔfəs wɪθ ðə ɪˈkɑnəmi ɔn ðə brɪŋk ənd wɪˈθaʊt ə lɔt əv praɪər ɪkˈspɪriəns ɪn ˈwɔʃɪŋtən. ɪn ʃɔrt, ˌoʊˈbɑmə dɪd nɑt ɪn fækt rən ə ““realist”*” ˈfɔrən ˈpɑləsi, bɪˈkəz hi ˈfʊli ɪmˈbreɪs ə ˈriəlɪst, əˈpɔɪnt ˈmɛni (ˈɛni?) ˈriəlɪsts tɪ ki pəˈzɪʃənz, ənd ˈnɛvər ˈrɪli traɪd tɪ dɪsˈmænəl ðə baɪˈpɑrtɪzən kənˈsɛnsəs bɪˈhaɪnd ðə grænd ˈstrætəʤi əv ˈlɪˌbərəl hiˈʤɛməni. ɛz ˈnoʊtɪd ˌbiˈfɔr, ə ˈʤɛnjuˌaɪnli ““realist”*” ˈfɔrən ˈpɑləsi wʊd hæv lɛft æfˈgænəˌstæn ˈprɑmptli ɪn 2009 kənˈvərtɪd ɑr relationships”*” ɪn ðə ˈmɪdəl ist tɪ ˈnɔrməl wənz, ɪkˈsplɪsətli rɪˈʤɛktɪd ˈfərðər ˈneɪtoʊ ɪkˈspænʧən, ˌɛˈʃud change”*” ənd ˈəðər fɔrmz əv ˈsoʊʃəl ˈɛnʤəˈnɪrɪŋ ɪn ˈfɔrən ˈkəntriz səʧ ɛz ˈlɪˌbiə ər ˈsɪriə, ənd rɪˈtərnd tɪ ðə brɔd ˈstrætəʤi əv riˈstreɪnd balancing”*” ðət sərvd ðə juˈnaɪtɪd steɪts soʊ wɛl ɪn ðə pæst. əv kɔrs, ˈivɪn ɪf ˌoʊˈbɑmə hæd ɪkˈspleɪnd ðə ˈlɑʤɪk bɪˈhaɪnd ðɪs ˈstrætəʤi ˈkɛrfəli ənd ˈfɑloʊd ɪt kənˈsɪstəntli, hi maɪt stɪl hæv feɪld tɪ ˈtrænsfɔrm ðə ˌɪntərˈvɛnʃənɪst ˈmaɪndˌsɛt. ˈæftər ɔl, ðət ɪz səˈpɔrtɪd baɪ ˈplɛnti əv ˈwɛlθi ˌɪndəˈvɪʤəwəlz, ˈpaʊərfəl ˌkɔrpərˈeɪʃənz, ˌɪnfluˈɛnʃəl θɪŋk tæŋks, ənd ˈlɑbiz. ə mɔr æmˈbɪʃəs ˈɛfərt tɪ ʧeɪnʤ haʊ əˈmɛrɪkənz θɪŋk əˈbaʊt ˈfɔrən ˈpɑləsi maɪt nɑt hæv səkˈsidɪd. bət ɛz hɪz ˈprɛzɪdənsi əˈproʊʧɪz ɪts kloʊz, aɪ stɪl wɪʃ hi hæd traɪd. ˈfoʊˌtoʊ ˈkrɛdɪt: ˈkɛvɪn ˈɪmɪʤɪz
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terry firma
when liberal democrat mark smith decided to run for lieutenant governor of pennsylvania recently, the amateur guitarist might not have counted on the votes of his conservative christian bandmates. but what his musical friends had in store for him astonished smith. the other members of the group, one floor away, told him have to quit making music with them unless he changed his position on marriage equality.
smith has spoken up for marriage equality on the campaign trail and on facebook. he refused to renounce his support, and lost the opportunity to play music he loves for a band that is recording its first album and seems to be going places in the christian rock scene.
“it sort of blew my mind,” smith said. “it was like a smack to the side of the head.” he said the record producer and a couple of his band mates gave him the ultimatum late last month as they were meeting in ithaca, n.y. for a recording session.
the other band members declined to comment on the affair, other than to say “what we do with our band, we prefer to keep quiet.” the group aims to spread the gospel of jesus christ, and smith says he was on board with that.
one floor away recently recorded a single featuring smith that was released on itunes; at request, it is being with a substitute part. he explains he “can’t support them any more than they support me.”
he also built the website, smith says. unclear whether one floor away will redesign it so as not to benefit from creative contributions by the insufficiently pious.
[image via philly.com]
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ˈtɛri ˈfərmə wɪn ˈlɪˌbərəl ˈdɛməˌkræt mɑrk smɪθ ˌdɪˈsaɪdɪd tɪ rən fər luˈtɛnənt ˈgəvərnər əv ˌpɛnsəlˈveɪnjə ˈrisəntli, ðə ˈæməˌʧər ˌgɪˈtɑrɪst maɪt nɑt hæv ˈkaʊntɪd ɔn ðə voʊts əv hɪz kənˈsərvətɪv ˈkrɪsʧɪn bandmates*. bət wət hɪz mˈjuzɪkəl frɛndz hæd ɪn stɔr fər ɪm əˈstɑnɪʃt smɪθ. ðə ˈəðər ˈmɛmbərz əv ðə grup, wən flɔr əˈweɪ, toʊld ɪm hæv tɪ kwɪt ˈmeɪkɪŋ mˈjuzɪk wɪθ ðɛm ənˈlɛs hi ʧeɪnʤd hɪz pəˈzɪʃən ɔn ˈmɛrɪʤ ɪkˈwɑləti. smɪθ həz ˈspoʊkən əp fər ˈmɛrɪʤ ɪkˈwɑləti ɔn ðə kæmˈpeɪn treɪl ənd ɔn ˈfeɪsˌbʊk. hi rɪfˈjuzd tɪ rɪˈnaʊns hɪz səˈpɔrt, ənd lɔst ðə ˌɑpərˈtunəti tɪ pleɪ mˈjuzɪk hi ləvz fər ə bænd ðət ɪz rɪˈkɔrdɪŋ ɪts fərst ˈælbəm ənd simz tɪ bi goʊɪŋ ˈpleɪsɪz ɪn ðə ˈkrɪsʧɪn rɑk sin. sɔrt əv blu maɪ mind,”*,” smɪθ sɛd. wɑz laɪk ə smæk tɪ ðə saɪd əv ðə head.”*.” hi sɛd ðə ˈrɛkərd prəˈdusər ənd ə ˈkəpəl əv hɪz bænd meɪts geɪv ɪm ðə ˌəltəˈmeɪtəm leɪt læst mənθ ɛz ðeɪ wər ˈmitɪŋ ɪn ˈɪθəkə, n.y*. fər ə rɪˈkɔrdɪŋ ˈsɛʃən. ðə ˈəðər bænd ˈmɛmbərz dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə əˈfɛr, ˈəðər ðən tɪ seɪ wi du wɪθ ɑr bænd, wi prɪˈfər tɪ kip quiet.”*.” ðə grup eɪmz tɪ sprɛd ðə ˈgɔspəl əv ˈʤizəs kraɪst, ənd smɪθ sɪz hi wɑz ɔn bɔrd wɪθ ðət. wən flɔr əˈweɪ ˈrisəntli rɪˈkɔrdɪd ə ˈsɪŋgəl ˈfiʧərɪŋ smɪθ ðət wɑz riˈlist ɔn ˈaɪˌtunz; æt rɪkˈwɛst, ɪt ɪz biɪŋ wɪθ ə ˈsəbstəˌtut pɑrt. hi ɪkˈspleɪnz hi səˈpɔrt ðɛm ˈɛni mɔr ðən ðeɪ səˈpɔrt me.”*.” hi ˈɔlsoʊ bɪlt ðə ˈwɛbˌsaɪt, smɪθ sɪz. ənˈklɪr ˈwɛðər wən flɔr əˈweɪ wɪl ˌridɪˈzaɪn ɪt soʊ ɛz nɑt tɪ ˈbɛnəfɪt frəm kriˈeɪtɪv ˌkɑntrəˈbjuʃənz baɪ ðə ˌɪnsəˈfɪʃəntli paɪəs. [ˈɪmɪʤ ˈviə philly.com*]
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berlin (reuters) - a gallery has discovered four paintings by otto dix, the german expressionist whose art chronicled the horrors of world war one, the depravity of the weimar republic and was labeled “degenerate” by adolf hitler.
gallery owner herbert remmert looks at recently discovered paintings of german artist otto dix during an exhibition in his gallery in duesseldorf, august 31, 2011. fassbender
famous for works critical of the darker side of german society in the 1920s, paintings were discovered among the belongings of his wife, gallery owner herbert remmert told reuters wednesday.
the paintings were found in a portfolio untouched for decades on an estate in bavaria owned by the ancestors of a duesseldorf doctor and art collector who remained close to dix even after his wife left him for the artist.
the three watercolors and one date from the first two years dix spent in duesseldorf from.
“this period represents some of the most important years for otto dix as an artist,” remmert said. “it was during this time that dix really developed his themes. even his technical skills developed his watercolor paintings matured and became more refined.”
dix was one of the leading artists of his era. when world war one broke out in 1914, he volunteered for the army and served on various frontlines, including the somme, until he was wounded and discharged from service in 1918.
he initially produced gruesome drawings and paintings portraying mangled soldiers in battle. as time went on, dix also became increasingly critical of postwar german society during a period in which soaring inflation meant financial ruin for most.
in his works from the 1920s, he captured the depravity of indulgence and destitution that marked the weimar republic.
his famous 1928 triptych “metropolis,” contrasts a crippled veteran surrounded by prostitutes in a berlin district while rich patrons dance in an jazz club.
when the nazis took power in 1933, hitler branded dix a degenerate and had many of his most important works burned.
gallery owners peter barth and remmert tracked the works down at the bavarian estate by accident. they were searching for other art on the estate owned by the daughter and granddaughter of the duesseldorf collectors hans and martha koch.
dix became entangled in the lives of the in duesseldorf. hans koch was a doctor and a leading art collector. wife, martha, fell in love with dix and their affair led her to divorce koch and leave her two children. dix later married martha in 1923.
hans koch and dix nevertheless remained close.
the remmert gallery in duesseldorf has collaborated with the family for more than 20 years and has discovered other treasures on the estate. but this is the first dix discovery.
last year, remmert and barth found a watercolor by dix contemporary george grosz titled “germany, a fairytale.”
dix was famous both for his portraits and his dour depictions of weimar society. the new discoveries will likely add to his legacy.
among the works found, two watercolors are titled “naechtens” and “soubrette” and the third is a large-scale work titled “strich iii,” depicting a with prostitutes.
the fourth work is a study for the portrait of alfred flechtheim. the famous portrait painted in 1926 currently hangs in the new national gallery in berlin.
the newly found works are valued at about euros ($287,960) each, according to remmert.
the remmert gallery plans to show the discovered paintings among other dix works in an exhibition later this year.
remmert suspects the koch estate holds additional undiscovered works. the estate also houses several books painted by dix but the family wants to hold off on releasing them.
“for that, we will have to be a bit more patient,” remmert said.
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bərˈlɪn (ˈrɔɪtərz) ə ˈgæləri həz dɪˈskəvərd fɔr ˈpeɪnɪŋz baɪ ˈɑˌtoʊ dɪks, ðə ˈʤərmən ɪkˈsprɛʃənəst huz ɑrt ˈkrɑnɪkəld ðə ˈhɔrərz əv wərld wɔr wən, ðə dɪˈprævəti əv ðə ˈvaɪmɑr riˈpəblɪk ənd wɑz ˈleɪbəld ““degenerate”*” baɪ ˈeɪdɑlf ˈhɪtlər. ˈgæləri ˈoʊnər ˈhərbərt ˈrɛmərt lʊks æt ˈrisəntli dɪˈskəvərd ˈpeɪnɪŋz əv ˈʤərmən ˈɑrtɪst ˈɑˌtoʊ dɪks ˈdʊrɪŋ ən ˌɛksəˈbɪʃən ɪn hɪz ˈgæləri ɪn ˈdusəlˌdɔrf, ˈɔgəst 31 2011 ˈfæsˌbɛndər ˈfeɪməs fər wərks ˈkrɪtɪkəl əv ðə ˈdɑrkər saɪd əv ˈʤərmən soʊˈsaɪɪti ɪn ðə 1920s*, ˈpeɪnɪŋz wər dɪˈskəvərd əˈməŋ ðə bɪˈlɔŋɪŋz əv hɪz waɪf, ˈgæləri ˈoʊnər ˈhərbərt ˈrɛmərt toʊld ˈrɔɪtərz ˈwɛnzˌdeɪ. ðə ˈpeɪnɪŋz wər faʊnd ɪn ə pɔrtˈfoʊliˌoʊ ənˈtəʧt fər ˈdɛkeɪdz ɔn ən ɛˈsteɪt ɪn bəˈvɛriə oʊnd baɪ ðə ˈænˌsɛstərz əv ə ˈdusəlˌdɔrf ˈdɔktər ənd ɑrt kəˈlɛktər hu rɪˈmeɪnd kloʊz tɪ dɪks ˈivɪn ˈæftər hɪz waɪf lɛft ɪm fər ðə ˈɑrtɪst. ðə θri ˈwɔtərˌkələrz ənd wən deɪt frəm ðə fərst tu jɪrz dɪks spɛnt ɪn ˈdusəlˌdɔrf frəm ˈpɪriəd ˌrɛprɪˈzɛnts səm əv ðə moʊst ˌɪmˈpɔrtənt jɪrz fər ˈɑˌtoʊ dɪks ɛz ən artist,”*,” ˈrɛmərt sɛd. wɑz ˈdʊrɪŋ ðɪs taɪm ðət dɪks ˈrɪli dɪˈvɛləpt hɪz θimz. ˈivɪn hɪz ˈtɛknɪkəl skɪlz dɪˈvɛləpt hɪz ˈwɔtərˌkələr ˈpeɪnɪŋz məˈtjʊrd ənd bɪˈkeɪm mɔr refined.”*.” dɪks wɑz wən əv ðə ˈlidɪŋ ˈɑrtɪsts əv hɪz ˈɪrə. wɪn wərld wɔr wən broʊk aʊt ɪn 1914 hi ˌvɑlənˈtɪrd fər ðə ˈɑrmi ənd sərvd ɔn ˈvɛriəs frontlines*, ˌɪnˈkludɪŋ ðə somme*, ənˈtɪl hi wɑz ˈwundɪd ənd ˈdɪsˌʧɑrʤd frəm ˈsərvɪs ɪn 1918 hi ˌɪˈnɪʃəli prəˈdust ˈgrusəm drɔɪŋz ənd ˈpeɪnɪŋz pɔrˈtreɪɪŋ ˈmæŋgəld ˈsoʊlʤərz ɪn ˈbætəl. ɛz taɪm wɛnt ɔn, dɪks ˈɔlsoʊ bɪˈkeɪm ˌɪnˈkrisɪŋgli ˈkrɪtɪkəl əv ˈpoʊstˈwɔr ˈʤərmən soʊˈsaɪɪti ˈdʊrɪŋ ə ˈpɪriəd ɪn wɪʧ ˈsɔrɪŋ ˌɪnˈfleɪʃən mɛnt ˌfaɪˈnænʃəl ruɪn fər moʊst. ɪn hɪz wərks frəm ðə 1920s*, hi ˈkæpʧərd ðə dɪˈprævəti əv ˌɪnˈdəlʤəns ənd ˈdɛstəˌtuʃən ðət mɑrkt ðə ˈvaɪmɑr riˈpəblɪk. hɪz ˈfeɪməs 1928 ˈtrɪptɪk ““metropolis,”*,” ˈkɑntræsts ə ˈkrɪpəld ˈvɛtərən sərˈaʊndɪd baɪ ˈprɑstəˌtuts ɪn ə bərˈlɪn ˈdɪstrɪkt waɪl rɪʧ ˈpeɪtrənz dæns ɪn ən ʤæz kləb. wɪn ðə ˈnɑtsiz tʊk paʊər ɪn 1933 ˈhɪtlər ˈbrændɪd dɪks ə dɪˈʤɛnərˌeɪt ənd hæd ˈmɛni əv hɪz moʊst ˌɪmˈpɔrtənt wərks bərnd. ˈgæləri ˈoʊnərz ˈpitər bɑrθ ənd ˈrɛmərt trækt ðə wərks daʊn æt ðə bəˈvɛriən ɛˈsteɪt baɪ ˈæksədənt. ðeɪ wər ˈsərʧɪŋ fər ˈəðər ɑrt ɔn ðə ɛˈsteɪt oʊnd baɪ ðə ˈdɔtər ənd ˈgrænˌdɔtər əv ðə ˈdusəlˌdɔrf kəˈlɛktərz hɑns ənd ˈmɑrθə kɔʧ. dɪks bɪˈkeɪm ɛnˈtæŋgəld ɪn ðə lɪvz əv ðə ɪn ˈdusəlˌdɔrf. hɑns kɔʧ wɑz ə ˈdɔktər ənd ə ˈlidɪŋ ɑrt kəˈlɛktər. waɪf, ˈmɑrθə, fɛl ɪn ləv wɪθ dɪks ənd ðɛr əˈfɛr lɛd hər tɪ dɪˈvɔrs kɔʧ ənd liv hər tu ˈʧɪldrən. dɪks ˈleɪtər ˈmɛrid ˈmɑrθə ɪn 1923 hɑns kɔʧ ənd dɪks ˌnɛvərðəˈlɛs rɪˈmeɪnd kloʊz. ðə ˈrɛmərt ˈgæləri ɪn ˈdusəlˌdɔrf həz kəˈlæbərˌeɪtɪd wɪθ ðə ˈfæməli fər mɔr ðən 20 jɪrz ənd həz dɪˈskəvərd ˈəðər ˈtrɛʒərz ɔn ðə ɛˈsteɪt. bət ðɪs ɪz ðə fərst dɪks ˌdɪˈskəvri. læst jɪr, ˈrɛmərt ənd bɑrθ faʊnd ə ˈwɔtərˌkələr baɪ dɪks kənˈtɛmpərˌɛri ʤɔrʤ groʊs ˈtaɪtəld ““germany*, ə fairytale.”*.” dɪks wɑz ˈfeɪməs boʊθ fər hɪz ˈpɔrtrəts ənd hɪz daʊər dɪˈpɪkʃənz əv ˈvaɪmɑr soʊˈsaɪɪti. ðə nu dɪˈskəvəriz wɪl ˈlaɪkli æd tɪ hɪz ˈlɛgəsi. əˈməŋ ðə wərks faʊnd, tu ˈwɔtərˌkələrz ər ˈtaɪtəld ““naechtens”*” ənd ““soubrette”*” ənd ðə θərd ɪz ə ˈlɑrʤˌskeɪl wərk ˈtaɪtəld iii,”*,” dɪˈpɪktɪŋ ə wɪθ ˈprɑstəˌtuts. ðə fɔrθ wərk ɪz ə ˈstədi fər ðə ˈpɔrtrət əv ˈælfrɪd flechtheim*. ðə ˈfeɪməs ˈpɔrtrət ˈpeɪnɪd ɪn 1926 ˈkərəntli hæŋz ɪn ðə nu ˈnæʃənəl ˈgæləri ɪn bərˈlɪn. ðə ˈnuli faʊnd wərks ər ˈvæljud æt əˈbaʊt ˈjuˌroʊz iʧ, əˈkɔrdɪŋ tɪ ˈrɛmərt. ðə ˈrɛmərt ˈgæləri plænz tɪ ʃoʊ ðə dɪˈskəvərd ˈpeɪnɪŋz əˈməŋ ˈəðər dɪks wərks ɪn ən ˌɛksəˈbɪʃən ˈleɪtər ðɪs jɪr. ˈrɛmərt ˈsəˌspɛkts ðə kɔʧ ɛˈsteɪt hoʊldz əˈdɪʃənəl ˌəndɪˈskəvərd wərks. ðə ɛˈsteɪt ˈɔlsoʊ ˈhaʊsɪz ˈsɛvərəl bʊks ˈpeɪnɪd baɪ dɪks bət ðə ˈfæməli wɔnts tɪ hoʊld ɔf ɔn riˈlisɪŋ ðɛm. ðət, wi wɪl hæv tɪ bi ə bɪt mɔr patient,”*,” ˈrɛmərt sɛd.
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on april 20, theropean political strategy centre, an in-house think tank that reports directly to, proposed that theropean union establish its own central intelligence agency, which would answer only to unelected bureaucrats.
on may 31, the, in partnership with facebook, twitter, youtube and microsoft, unveiled a "code of conduct" to combat the spread of "illegal hate speech" online. critics say the's definition of "hate speech" is so vague that it could include virtually anything deemed politically incorrect byropean authorities, including criticism of mass migration, islam or even the itself.
although the survey does not explicitly say so, the findings almost certainly reflect growing anger at the nature of the and its never-ending power grabs.
public anger is also being fueled by the growing number of issued by the unelected officials running theropean commission, the powerful administrative arm of the bloc, which has been relentless in its usurpation of sovereignty from the 28 nation states that comprise theropean union.
public opposition to theropean union is growing in all key member states, according to a new survey of voters in ten countries.
public disaffection with the is being fueled by the bloc's mishandling of the refugee and debt crises, according to the survey, which interviewed voters in britain, france, germany, greece, hungary, italy, the netherlands, poland, spain and sweden.
public anger is also being fueled by the growing number of issued by the unelected officials running theropean commission, the powerful administrative arm of the bloc, which has been relentless in its usurpation of sovereignty from the 28 nation states that comprise theropean union.
the report, beyond," was published by the pew research center on june 7, just two weeks before the june 23 referendum on whether britain will become the first country to leave theropean union blends the words britain and exit).
the following are excerpts:
much of the disaffection with the amongropeans can be attributed to brussels' handling of the refugee issue. in every country surveyed, overwhelming majorities disapprove of how brussels has dealt with the crisis. this includes 94% of greeks, 88% of swedes and 77% of italians. in hungary and poland, disapproval of how the refugee crisis has been managed stands at 72% and 71%, respectively. in france, 70% disapprove; in germany the figure is 67%. the strongest approval of management of the refugee crisis is in the netherlands, but that backing is a tepid 31%.
the's handling of economic issues is another huge source of disaffection with brussels. about greeks (92%) disapprove of how the has dealt with the ongoing economic crisis. roughly two-thirds of the italians (68%), french (66%) and spanish (65%) similarly disapprove. (france and spain are the two nations where the favorability of the has recently experienced the largest decline.) majorities in sweden (59%) and the (55%) also disapprove of the's job in dealing with economic challenges. the strongest approval of brussels' economic efforts is in poland and germany (both 47%).
nearly two-thirds (65%) of britons say they want the to return certain powers to national governments. thisroskepticism is not limited to britain. in greece, 68% of those surveyed want some powers devolved to the national government, followed by sweden (47%); the netherlands (44%) and germany (43%).
a median of 42% ofropeans across the ten countries surveyed say they want to reclaim some powers from brussels, while just 19% favor greater centralization (27% prefer the status quo).
conversely, there is little enthusiasm for transferring more power to brussels. only 6% of britons, 8% of greeks and 13% of swedes favor more power for the. the strongest backing for an ever closerrope is only 34%, in france. in most countries, a quarter or more of the public prefers to keep the current division of power.
three-quarters of britons who disapprove of the's handling of economic problems and 71% of those who have an unfavorable view of the bloc's handling of the refugee crisis believe that brussels should return powers to national governments.
the strongest backers of the are the poles (72%) and the hungarians (61%). in many other nations, support is tepid. just 27% of the greeks, 38% of the french (down from 69% in 2004) and 47% of the spanish (down from 80% in 2007) have a favorable opinion of the. notably, 44% of the british view the favorably, including 53% of the scottish.
eu favorability is down in five of the six nations surveyed in both 2015 and 2016. there has been a drop in france (down 17 percentage points) and spain (16 points), and declines in germany (8 points), the united kingdom (7 points) and italy (6 points).
young people those ages 18 to 34 are more favorable toward theropean union than people 50 and older in six of the 10 nations surveyed. the generation gap is most pronounced in france 25 percentage points with 56% of young people but only 31% of older people having a positive opinion of the. there are similar generation gaps of 19 points in the, 16 points in the netherlands, 14 points in poland and germany, and 13 points in greece. it remains unclear why youngropeans are so favorable to the, where youth unemployment is near 50% in some countries.
there is overwhelming sentiment acrossrope that would be a bad thing for theropean union: 89% in sweden, 75% in the netherlands and 74% in germany say the british leaving would not be good for the. france is the only country where more than a quarter (32%) of the public says it would be positive for the if the departed.
although the survey does not explicitly say so, the findings almost certainly reflect growing anger at the nature of the and its never-ending power grabs.
on may 31, theropean union, in partnership with facebook, twitter, youtube and microsoft, unveiled a "code of conduct" to combat the spread of "illegal hate speech" online inrope. critics say the initiative amounts to an assault on free speech inrope because the's definition of "hate speech" and "incitement to violence" is so vague that it could include virtually anything deemed politically incorrect byropean authorities, including criticism of mass migration, islam or even theropean union itself.
on may 24, the unelected president of theropean commission,, vowed to use sanctions to isolate or populist governments that are swept into office on the wave of popular anger against migration. under powers granted to theropean commission in 2014, can trigger a "rule of law alert" for countries that depart from "the common constitutional traditions of all member states." rather than accepting the will of the people at the voting booth, can impose sanctions to address "systemic deficiencies" in member states.
on may 4, warned that countries that failed to "show solidarity" by refusing take in migrants would face a fine of ($285,000) per migrant.
on april 20, theropean political strategy centre, an in-house think tank that reports directly to, proposed that theropean union establish its own central intelligence agency, which would answer only to unelected bureaucrats. according to the plan, the 28 member states would have a "legally binding duty to share information."
the british minister of state for the armed forces, penny mordaunt, responded:
"these matters are supposed to be, and must be the competence of member states. intelligence sharing can only be done on a bilateral basis. this latest integration project not only shows how little the cares for the sovereignty of nation states, but also how little it understands the business of counter-terrorism."
on december 15, 2015, theropean commission unveiled plans for a newropean border and coast guard force that can intervene anywhere in the, even without the host country's consent.
on march 8, 2015, said that the needed its own military in order to restore the bloc's standing around the world: "europe's image has suffered dramatically and also in terms of foreign policy, we don't seem to be taken entirely seriously."
jean-claude, the unelected president of theropean commission, recently vowed to use sanctions to isolate or populist governments that are swept into office on the wave of popular anger against migration. in december 2015, the commission unveiled plans for a newropean border and coast guard force that can intervene anywhere in the, even without the host country's consent. (image source:ropean union 2015 -ropean parliament)
in a recent interview with le monde, said that if britons voted to leave the, they would be treated as "deserters":
"i am sure the deserters will not be welcomed with open arms. if the british should say 'no' which i hope they do not then life in the will not go on as before. the united kingdom will be regarded as a third country and will have its fur stroked the wrong way le sens du poil). if the british leaverope, people will have to face the consequences. it is not a threat but our relations will no longer be what they are today."
in an interview with the telegraph, giles merritt, director of the friends ofrope think tank in brussels, summed it up this way:
"the policy elites are in panic. if the british vote to leave the shock will be so ghastly that they will finally wake up and realize that they can no longer ignore demands for democratic reform. they may have to dissolve the as it is and try to reinvent it, both in order to bring the brits back and because they fear that the whole political order will be swept away unless they do."
soeren kern is a senior fellow at the new institute. he is also senior fellow forropean politics at the grupo de / strategic studies group. follow him on facebook and on twitter. his first book, global fire, will be out in 2016.
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ɔn ˈeɪprəl 20 ðə ˌjʊrəˈpiən pəˈlɪtɪkəl ˈstrætəʤi ˈsɛntər, ən ˌɪnˈhaʊs θɪŋk tæŋk ðət rɪˈpɔrts dɪˈrɛkli tɪ, prəˈpoʊzd ðət ðə ˌjʊrəˈpiən ˈjunjən ɪˈstæblɪʃ ɪts oʊn ˈsɛntrəl ˌɪnˈtɛləʤəns ˈeɪʤənsi, wɪʧ wʊd ˈænsər ˈoʊnli tɪ ˌənɪˈlɛktɪd ˈbjʊrəˌkræts. ɔn meɪ 31 ðə, ɪn ˈpɑrtnərˌʃɪp wɪθ ˈfeɪsˌbʊk, tˈwɪtər, ˈjuˌtub ənd ˈmaɪˌkroʊˈsɔft, ənˈveɪld ə "koʊd əv ˈkɑndəkt" tɪ ˈkɑmbæt ðə sprɛd əv "ˌɪˈligəl heɪt spiʧ" ˈɔnˌlaɪn. ˈkrɪtɪks seɪ ðə ˌdɛfəˈnɪʃən əv "heɪt spiʧ" ɪz soʊ veɪg ðət ɪt kʊd ˌɪnˈklud ˈvərʧuəli ˈɛniˌθɪŋ dimd ˈplɪtɪkli ˌɪnkərˈɛkt baɪ ˌjʊrəˈpiən əˈθɔrətiz, ˌɪnˈkludɪŋ ˈkrɪtɪˌsɪzəm əv mæs maɪˈgreɪʃən, ˌɪsˈlɑm ər ˈivɪn ðə ˌɪtˈsɛlf. ˌɔlˈðoʊ ðə ˈsərˌveɪ dɪz nɑt ɪkˈsplɪsətli seɪ soʊ, ðə ˈfaɪndɪŋz ˈɔlˌmoʊst ˈsərtənli rɪˈflɛkt groʊɪŋ ˈæŋgər æt ðə ˈneɪʧər əv ðə ənd ɪts ˌnɛvərˈɛndɪŋ paʊər græbz. ˈpəblɪk ˈæŋgər ɪz ˈɔlsoʊ biɪŋ fjuəld baɪ ðə groʊɪŋ ˈnəmbər əv ˈɪʃud baɪ ðə ˌənɪˈlɛktɪd əˈfɪʃəlz ˈrənɪŋ ðə ˌjʊrəˈpiən kəˈmɪʃən, ðə ˈpaʊərfəl ədˈmɪnɪˌstreɪtɪv ɑrm əv ðə blɑk, wɪʧ həz bɪn rɪˈlɛntlɪs ɪn ɪts ˌjusərˈpeɪʃən əv ˈsɑvrənti frəm ðə 28 ˈneɪʃən steɪts ðət kəmˈpraɪz ðə ˌjʊrəˈpiən ˈjunjən. ˈpəblɪk ˌɑpəˈzɪʃən tɪ ðə ˌjʊrəˈpiən ˈjunjən ɪz groʊɪŋ ɪn ɔl ki ˈmɛmbər steɪts, əˈkɔrdɪŋ tɪ ə nu ˈsərˌveɪ əv ˈvoʊtərz ɪn tɛn ˈkəntriz. ˈpəblɪk ˌdɪsəˈfɛkʃən wɪθ ðə ɪz biɪŋ fjuəld baɪ ðə blɑks mɪsˈhændlɪŋ əv ðə ˈrɛfjuʤi ənd dɛt ˈkraɪsiz, əˈkɔrdɪŋ tɪ ðə ˈsərˌveɪ, wɪʧ ˈɪntərvˌjud ˈvoʊtərz ɪn ˈbrɪtən, fræns, ˈʤərməni, gris, ˈhəŋgəri, ˈɪtəli, ðə ˈnɛðərləndz, ˈpoʊlənd, speɪn ənd sˈwidən. ˈpəblɪk ˈæŋgər ɪz ˈɔlsoʊ biɪŋ fjuəld baɪ ðə groʊɪŋ ˈnəmbər əv ˈɪʃud baɪ ðə ˌənɪˈlɛktɪd əˈfɪʃəlz ˈrənɪŋ ðə ˌjʊrəˈpiən kəˈmɪʃən, ðə ˈpaʊərfəl ədˈmɪnɪˌstreɪtɪv ɑrm əv ðə blɑk, wɪʧ həz bɪn rɪˈlɛntlɪs ɪn ɪts ˌjusərˈpeɪʃən əv ˈsɑvrənti frəm ðə 28 ˈneɪʃən steɪts ðət kəmˈpraɪz ðə ˌjʊrəˈpiən ˈjunjən. ðə rɪˈpɔrt, bɪɔnd," wɑz ˈpəblɪʃt baɪ ðə pju ˈrisərʧ ˈsɛnər ɔn ʤun 7 ʤɪst tu wiks ˌbiˈfɔr ðə ʤun 23 ˌrɛfərˈɛndəm ɔn ˈwɛðər ˈbrɪtən wɪl bɪˈkəm ðə fərst ˈkəntri tɪ liv ðə ˌjʊrəˈpiən ˈjunjən blɛndz ðə wərdz ˈbrɪtən ənd ˈɛksət). ðə ˈfɑloʊɪŋ ər ˈɛksərpts: məʧ əv ðə ˌdɪsəˈfɛkʃən wɪθ ðə əˈməŋ ˌjʊrəˈpiənz kən bi əˈtrɪbjətəd tɪ ˈbrəsəlz' ˈhændəlɪŋ əv ðə ˈrɛfjuʤi ˈɪʃu. ɪn ˈɛvəri ˈkəntri ˈsərˌveɪd, ˌoʊvərˈwɛlmɪŋ məˈʤɔrɪtiz ˌdɪsəˈpruv əv haʊ ˈbrəsəlz həz dɛlt wɪθ ðə ˈkraɪsəs. ðɪs ˌɪnˈkludz 94 əv griks, 88 əv swidz ənd 77 əv ˌɪˈtæljənz. ɪn ˈhəŋgəri ənd ˈpoʊlənd, dɪsəˈpruvəl əv haʊ ðə ˈrɛfjuʤi ˈkraɪsəs həz bɪn ˈmænɪʤd stændz æt 72 ənd 71 rɪˈspɛktɪvli. ɪn fræns, 70 ˌdɪsəˈpruv; ɪn ˈʤərməni ðə ˈfɪgjər ɪz 67 ðə ˈstrɔŋgəst əˈpruvəl əv ˈmænɪʤmənt əv ðə ˈrɛfjuʤi ˈkraɪsəs ɪz ɪn ðə ˈnɛðərləndz, bət ðət ˈbækɪŋ ɪz ə ˈtɛpɪd 31 ðə ˈhændəlɪŋ əv ˌɛkəˈnɑmɪk ˈɪʃuz ɪz əˈnəðər juʤ sɔrs əv ˌdɪsəˈfɛkʃən wɪθ ˈbrəsəlz. əˈbaʊt griks 92 ˌdɪsəˈpruv əv haʊ ðə həz dɛlt wɪθ ðə ˈɔnˌgoʊɪŋ ˌɛkəˈnɑmɪk ˈkraɪsəs. ˈrəfli ˌtuˈθərdz əv ðə ˌɪˈtæljənz 68 frɛnʧ 66 ənd ˈspænɪʃ 65 ˈsɪmələrli ˌdɪsəˈpruv. (fræns ənd speɪn ər ðə tu ˈneɪʃənz wɛr ðə ˌfævərəˈbɪlɪti əv ðə həz ˈrisəntli ɪkˈspɪriənst ðə ˈlɑrʤəst dɪˈklaɪn.) məˈʤɔrɪtiz ɪn sˈwidən 59 ənd ðə 55 ˈɔlsoʊ ˌdɪsəˈpruv əv ðə ʤɑb ɪn ˈdilɪŋ wɪθ ˌɛkəˈnɑmɪk ˈʧælənʤɪz. ðə ˈstrɔŋgəst əˈpruvəl əv ˈbrəsəlz' ˌɛkəˈnɑmɪk ˈɛfərts ɪz ɪn ˈpoʊlənd ənd ˈʤərməni (boʊθ 47 ˈnɪrli ˌtuˈθərdz 65 əv ˈbrɪtənz seɪ ðeɪ wɔnt ðə tɪ rɪˈtərn ˈsərtən paʊərz tɪ ˈnæʃənəl ˈgəvərnmənts. ðɪs ɪz nɑt ˈlɪmɪtɪd tɪ ˈbrɪtən. ɪn gris, 68 əv ðoʊz ˈsərˌveɪd wɔnt səm paʊərz dɪˈvɑlvd tɪ ðə ˈnæʃənəl ˈgəvərnmənt, ˈfɑloʊd baɪ sˈwidən 47 ðə ˈnɛðərləndz 44 ənd ˈʤərməni 43 ə ˈmidiən əv 42 əv ˌjʊrəˈpiənz əˈkrɔs ðə tɛn ˈkəntriz ˈsərˌveɪd seɪ ðeɪ wɔnt tɪ riˈkleɪm səm paʊərz frəm ˈbrəsəlz, waɪl ʤɪst 19 ˈfeɪvər ˈgreɪtər ˌsɛntrəlɪˈzeɪʃən 27 prɪˈfər ðə ˈstætəs kwoʊ). ˈkɑnvərsli, ðɛr ɪz ˈlɪtəl ɪnˈθuziˌæzəm fər trænsˈfərɪŋ mɔr paʊər tɪ ˈbrəsəlz. ˈoʊnli 6 əv ˈbrɪtənz, 8 əv griks ənd 13 əv swidz ˈfeɪvər mɔr paʊər fər ðə. ðə ˈstrɔŋgəst ˈbækɪŋ fər ən ˈɛvər ˈkloʊzər ˈjʊrəp ɪz ˈoʊnli 34 ɪn fræns. ɪn moʊst ˈkəntriz, ə kˈwɔrtər ər mɔr əv ðə ˈpəblɪk prɪˈfərz tɪ kip ðə ˈkɑrənt dɪˈvɪʒən əv paʊər. θˌrikˈwɔrtərz əv ˈbrɪtənz hu ˌdɪsəˈpruv əv ðə ˈhændəlɪŋ əv ˌɛkəˈnɑmɪk ˈprɑbləmz ənd 71 əv ðoʊz hu hæv ən ˌənˈfeɪvərəbəl vju əv ðə blɑks ˈhændəlɪŋ əv ðə ˈrɛfjuʤi ˈkraɪsəs bɪˈliv ðət ˈbrəsəlz ʃʊd rɪˈtərn paʊərz tɪ ˈnæʃənəl ˈgəvərnmənts. ðə ˈstrɔŋgəst ˈbækərz əv ðə ər ðə poʊlz 72 ənd ðə həŋˈgɛriənz 61 ɪn ˈmɛni ˈəðər ˈneɪʃənz, səˈpɔrt ɪz ˈtɛpɪd. ʤɪst 27 əv ðə griks, 38 əv ðə frɛnʧ (daʊn frəm 69 ɪn 2004 ənd 47 əv ðə ˈspænɪʃ (daʊn frəm 80 ɪn 2007 hæv ə ˈfeɪvərəbəl əˈpɪnjən əv ðə. ˈnoʊtəbli, 44 əv ðə ˈbrɪtɪʃ vju ðə ˈfeɪvərəbli, ˌɪnˈkludɪŋ 53 əv ðə ˈskɑtɪʃ. ˌfævərəˈbɪlɪti ɪz daʊn ɪn faɪv əv ðə sɪks ˈneɪʃənz ˈsərˌveɪd ɪn boʊθ 2015 ənd 2016 ðɛr həz bɪn ə drɔp ɪn fræns (daʊn 17 pərˈsɛnɪʤ pɔɪnts) ənd speɪn 16 pɔɪnts), ənd dɪˈklaɪnz ɪn ˈʤərməni 8 pɔɪnts), ðə juˈnaɪtɪd ˈkɪŋdəm 7 pɔɪnts) ənd ˈɪtəli 6 pɔɪnts). jəŋ ˈpipəl ðoʊz ˈeɪʤɪz 18 tɪ 34 ər mɔr ˈfeɪvərəbəl təˈwɔrd ðə ˌjʊrəˈpiən ˈjunjən ðən ˈpipəl 50 ənd ˈoʊldər ɪn sɪks əv ðə 10 ˈneɪʃənz ˈsərˌveɪd. ðə ˌʤɛnərˈeɪʃən gæp ɪz moʊst prəˈnaʊnst ɪn fræns 25 pərˈsɛnɪʤ pɔɪnts wɪθ 56 əv jəŋ ˈpipəl bət ˈoʊnli 31 əv ˈoʊldər ˈpipəl ˈhævɪŋ ə ˈpɑzətɪv əˈpɪnjən əv ðə. ðɛr ər ˈsɪmələr ˌʤɛnərˈeɪʃən gæps əv 19 pɔɪnts ɪn ðə, 16 pɔɪnts ɪn ðə ˈnɛðərləndz, 14 pɔɪnts ɪn ˈpoʊlənd ənd ˈʤərməni, ənd 13 pɔɪnts ɪn gris. ɪt rɪˈmeɪnz ənˈklɪr waɪ jəŋ ˌjʊrəˈpiənz ər soʊ ˈfeɪvərəbəl tɪ ðə, wɛr juθ ˌənɪmˈplɔɪmənt ɪz nɪr 50 ɪn səm ˈkəntriz. ðɛr ɪz ˌoʊvərˈwɛlmɪŋ ˈsɛnəmənt əˈkrɔs ˈjʊrəp ðət wʊd bi ə bæd θɪŋ fər ðə ˌjʊrəˈpiən ˈjunjən: 89 ɪn sˈwidən, 75 ɪn ðə ˈnɛðərləndz ənd 74 ɪn ˈʤərməni seɪ ðə ˈbrɪtɪʃ ˈlivɪŋ wʊd nɑt bi gʊd fər ðə. fræns ɪz ðə ˈoʊnli ˈkəntri wɛr mɔr ðən ə kˈwɔrtər 32 əv ðə ˈpəblɪk sɪz ɪt wʊd bi ˈpɑzətɪv fər ðə ɪf ðə dɪˈpɑrtɪd. ˌɔlˈðoʊ ðə ˈsərˌveɪ dɪz nɑt ɪkˈsplɪsətli seɪ soʊ, ðə ˈfaɪndɪŋz ˈɔlˌmoʊst ˈsərtənli rɪˈflɛkt groʊɪŋ ˈæŋgər æt ðə ˈneɪʧər əv ðə ənd ɪts ˌnɛvərˈɛndɪŋ paʊər græbz. ɔn meɪ 31 ðə ˌjʊrəˈpiən ˈjunjən, ɪn ˈpɑrtnərˌʃɪp wɪθ ˈfeɪsˌbʊk, tˈwɪtər, ˈjuˌtub ənd ˈmaɪˌkroʊˈsɔft, ənˈveɪld ə "koʊd əv ˈkɑndəkt" tɪ ˈkɑmbæt ðə sprɛd əv "ˌɪˈligəl heɪt spiʧ" ˈɔnˌlaɪn ɪn ˈjʊrəp. ˈkrɪtɪks seɪ ðə ˌɪˈnɪʃətɪv əˈmaʊnts tɪ ən əˈsɔlt ɔn fri spiʧ ɪn ˈjʊrəp bɪˈkəz ðə ˌdɛfəˈnɪʃən əv "heɪt spiʧ" ənd "ˌɪnˈsaɪtmənt tɪ ˈvaɪələns" ɪz soʊ veɪg ðət ɪt kʊd ˌɪnˈklud ˈvərʧuəli ˈɛniˌθɪŋ dimd ˈplɪtɪkli ˌɪnkərˈɛkt baɪ ˌjʊrəˈpiən əˈθɔrətiz, ˌɪnˈkludɪŋ ˈkrɪtɪˌsɪzəm əv mæs maɪˈgreɪʃən, ˌɪsˈlɑm ər ˈivɪn ðə ˌjʊrəˈpiən ˈjunjən ˌɪtˈsɛlf. ɔn meɪ 24 ðə ˌənɪˈlɛktɪd ˈprɛzɪdənt əv ðə ˌjʊrəˈpiən kəˈmɪʃən,, vaʊd tɪ juz ˈsæŋkʃənz tɪ ˈaɪsəˌleɪt ər ˈpɑpjələst ˈgəvərnmənts ðət ər swɛpt ˈɪntu ˈɔfəs ɔn ðə weɪv əv ˈpɑpjələr ˈæŋgər əˈgɛnst maɪˈgreɪʃən. ˈəndər paʊərz ˈgrænɪd tɪ ðə ˌjʊrəˈpiən kəˈmɪʃən ɪn 2014 kən ˈtrɪgər ə "rul əv lɔ əˈlərt" fər ˈkəntriz ðət dɪˈpɑrt frəm "ðə ˈkɑmən ˌkɑnstəˈtuʃənəl trəˈdɪʃənz əv ɔl ˈmɛmbər steɪts." ˈrəðər ðən əkˈsɛptɪŋ ðə wɪl əv ðə ˈpipəl æt ðə ˈvoʊtɪŋ buθ, kən ˌɪmˈpoʊz ˈsæŋkʃənz tɪ ˈæˌdrɛs "sɪˈstɛmɪk dɪˈfɪʃənsiz" ɪn ˈmɛmbər steɪts. ɔn meɪ 4 wɔrnd ðət ˈkəntriz ðət feɪld tɪ "ʃoʊ ˌsɑləˈdɛrəti" baɪ rɪfˈjuzɪŋ teɪk ɪn ˈmaɪgrənts wʊd feɪs ə faɪn əv pər ˈmaɪgrənt. ɔn ˈeɪprəl 20 ðə ˌjʊrəˈpiən pəˈlɪtɪkəl ˈstrætəʤi ˈsɛntər, ən ˌɪnˈhaʊs θɪŋk tæŋk ðət rɪˈpɔrts dɪˈrɛkli tɪ, prəˈpoʊzd ðət ðə ˌjʊrəˈpiən ˈjunjən ɪˈstæblɪʃ ɪts oʊn ˈsɛntrəl ˌɪnˈtɛləʤəns ˈeɪʤənsi, wɪʧ wʊd ˈænsər ˈoʊnli tɪ ˌənɪˈlɛktɪd ˈbjʊrəˌkræts. əˈkɔrdɪŋ tɪ ðə plæn, ðə 28 ˈmɛmbər steɪts wʊd hæv ə "ˈligəli ˈbaɪndɪŋ ˈduti tɪ ʃɛr ˌɪnˌfɔrˈmeɪʃən." ðə ˈbrɪtɪʃ ˈmɪnɪstər əv steɪt fər ðə ɑrmd ˈfɔrsɪz, ˈpɛni mordaunt*, rɪˈspɑndɪd: "ðiz ˈmætərz ər səˈpoʊzd tɪ bi, ənd məst bi ðə ˈkɑmpətɪns əv ˈmɛmbər steɪts. ˌɪnˈtɛləʤəns ˈʃɛrɪŋ kən ˈoʊnli bi dən ɔn ə baɪˈlætərəl ˈbeɪsɪs. ðɪs ˈleɪtəst ˌɪnəˈgreɪʃən ˈprɑʤɛkt nɑt ˈoʊnli ʃoʊz haʊ ˈlɪtəl ðə kɛrz fər ðə ˈsɑvrənti əv ˈneɪʃən steɪts, bət ˈɔlsoʊ haʊ ˈlɪtəl ɪt ˌəndərˈstændz ðə ˈbɪznɪs əv counter-terrorism*." ɔn dɪˈsɛmbər 15 2015 ðə ˌjʊrəˈpiən kəˈmɪʃən ənˈveɪld plænz fər ə nu ˌjʊrəˈpiən ˈbɔrdər ənd koʊst gɑrd fɔrs ðət kən ˌɪntərˈvin ˈɛniˌwɛr ɪn ðə, ˈivɪn wɪˈθaʊt ðə hoʊst ˈkəntriz kənˈsɛnt. ɔn mɑrʧ 8 2015 sɛd ðət ðə ˈnidɪd ɪts oʊn ˈmɪlɪˌtɛri ɪn ˈɔrdər tɪ rɪˈstɔr ðə blɑks ˈstændɪŋ əraʊnd ðə wərld: "ˈjʊrəps ˈɪmɪʤ həz ˈsəfərd drəˈmætɪkəli ənd ˈɔlsoʊ ɪn tərmz əv ˈfɔrən ˈpɑləsi, wi doʊnt sim tɪ bi ˈteɪkən ɪnˈtaɪərli ˈsɪriəsli.", ðə ˌənɪˈlɛktɪd ˈprɛzɪdənt əv ðə ˌjʊrəˈpiən kəˈmɪʃən, ˈrisəntli vaʊd tɪ juz ˈsæŋkʃənz tɪ ˈaɪsəˌleɪt ər ˈpɑpjələst ˈgəvərnmənts ðət ər swɛpt ˈɪntu ˈɔfəs ɔn ðə weɪv əv ˈpɑpjələr ˈæŋgər əˈgɛnst maɪˈgreɪʃən. ɪn dɪˈsɛmbər 2015 ðə kəˈmɪʃən ənˈveɪld plænz fər ə nu ˌjʊrəˈpiən ˈbɔrdər ənd koʊst gɑrd fɔrs ðət kən ˌɪntərˈvin ˈɛniˌwɛr ɪn ðə, ˈivɪn wɪˈθaʊt ðə hoʊst ˈkəntriz kənˈsɛnt. (ˈɪmɪʤ sɔrs: ˌjʊrəˈpiən ˈjunjən 2015 ˌjʊrəˈpiən ˈpɑrləmɛnt) ɪn ə ˈrisənt ˈɪntərvˌju wɪθ lə mɑnd, sɛd ðət ɪf ˈbrɪtənz ˈvoʊtɪd tɪ liv ðə, ðeɪ wʊd bi ˈtritɪd ɛz "ˈdɛzərtərz": "aɪ æm ʃʊr ðə ˈdɛzərtərz wɪl nɑt bi ˈwɛlkəmd wɪθ ˈoʊpən ɑrmz. ɪf ðə ˈbrɪtɪʃ ʃʊd seɪ 'noʊ' wɪʧ aɪ hoʊp ðeɪ du nɑt ðɛn laɪf ɪn ðə wɪl nɑt goʊ ɔn ɛz ˌbiˈfɔr. ðə juˈnaɪtɪd ˈkɪŋdəm wɪl bi rɪˈgɑrdɪd ɛz ə θərd ˈkəntri ənd wɪl hæv ɪts fər stroʊkt ðə rɔŋ weɪ lə sɛnz də poil*). ɪf ðə ˈbrɪtɪʃ liv ˈjʊrəp, ˈpipəl wɪl hæv tɪ feɪs ðə ˈkɑnsəkˌwɛnsəz. ɪt ɪz nɑt ə θrɛt bət ɑr riˈleɪʃənz wɪl noʊ ˈlɔŋgər bi wət ðeɪ ər təˈdeɪ." ɪn ən ˈɪntərvˌju wɪθ ðə ˈtɛləˌgræf, ʤaɪlz ˈmɛrɪt, dɪˈrɛktər əv ðə frɛndz əv ˈjʊrəp θɪŋk tæŋk ɪn ˈbrəsəlz, səmd ɪt əp ðɪs weɪ: "ðə ˈpɑləsi ɪˈlits ər ɪn ˈpænɪk. ɪf ðə ˈbrɪtɪʃ voʊt tɪ liv ðə ʃɑk wɪl bi soʊ ˈgæstli ðət ðeɪ wɪl ˈfaɪnəli weɪk əp ənd ˈriəˌlaɪz ðət ðeɪ kən noʊ ˈlɔŋgər ˌɪgˈnɔr dɪˈmændz fər ˌdɛməˈkrætɪk rɪˈfɔrm. ðeɪ meɪ hæv tɪ dɪˈzɑlv ðə ɛz ɪt ɪz ənd traɪ tɪ ˌriɪnˈvɛnt ɪt, boʊθ ɪn ˈɔrdər tɪ brɪŋ ðə brɪts bæk ənd bɪˈkəz ðeɪ fɪr ðət ðə hoʊl pəˈlɪtɪkəl ˈɔrdər wɪl bi swɛpt əˈweɪ ənˈlɛs ðeɪ du." kərn ɪz ə ˈsinjər ˈfɛloʊ æt ðə nu ˈɪnstɪˌtut. hi ɪz ˈɔlsoʊ ˈsinjər ˈfɛloʊ fər ˌjʊrəˈpiən ˈpɑləˌtɪks æt ðə ˈgrupoʊ də strəˈtiʤɪk ˈstədiz grup. ˈfɑloʊ ɪm ɔn ˈfeɪsˌbʊk ənd ɔn tˈwɪtər. hɪz fərst bʊk, ˈgloʊbəl faɪər, wɪl bi aʊt ɪn 2016
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an israeli company named “xsight” offers airports a way to avoid expensive delays and more to save lives.
july 25, 2000, marked the beginning of the end of commercial high-speed supersonic flight a method of airline travel that transported passengers between new york and paris within just a few hours. on that date, an air france concorde supersonic plane caught fire, exploded, and crashed into a hotel, within minutes of takeoff.
all passengers and crew on the flight were killed, as were some employees of the hotel, for a death toll of 113.
the reason for the crash? a metal strip that fell off a plane that had taken off minutes before.
although the concorde continued to fly for several years after the incident, the crash, along with other issues, took the wind out of the sails, and the concorde and commercial supersonic flight was eventually scrapped.
if the idea of a tiny piece of metal taking down a hulking aircraft sounds ridiculous, clearly not familiar with (foreign object debris), a problem that air travel authorities, like the federal aviation authority, are very concerned about. besides claiming lives, incidents cost the airline industry an estimated $13 billion a year in repairs, delays, worker costs, and so on.
as a result, there has been a huge demand at airports around the world for detection systems. systems’etect is one of the leading providers of detection systems, and is already installed in airports in the us, europe, and asia.
“had the runway been inspected before the takeoff, the tragedy would have been avoided,” oded hanson, and told the times of israel. “but with takeoffs at commercial airports coming within two minutes of each other, there would have been no way to find the fatal metal strip. patrols on runways take place only several times a day, and the only way to find such debris is when workers or pilots observe them, which is very difficult to do when driving a vehicle down the runway.”
fodetect uses hybrid radar and electro optical technology to detect junk on runways, with units installed with runway lights. that, said hanson, is what separates’s system from the three others that are on the market for automated detection. “the lights are already installed and there is an electrical infrastructure in place already. we add theetect sensors to the lights, with each sensor responsible for the area around it. when debris is detected, the control tower is alerted, and they can contact the pilots and hold up flights as necessary. and thanks to the installed gps, they can tell ground crew exactly where the debris is located.”
fodetect is the only system that lets control tower workers “see” what is actually happening on the runway. “they see the runway from the tower, but with our system they are able to see and read exactly what is happening on the ground.”
fodetect has been installed at logan airport in boston, ben gurion airport, and bangkok airport. the system is approved by the faa, which wrote in a report last month that “theetect system was able to detect the objects of various shapes, sizes, and materials on runway surfaces and perform satisfactorily in nighttime, daytime, sun, rain, mist, fog, and snow conditions.”
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ən ˌɪzˈreɪli ˈkəmpəˌni neɪmd ““xsight”*” ˈɔfərz ˈɛrˌpɔrts ə weɪ tɪ əˈvɔɪd ɪkˈspɛnsɪv dɪˈleɪz ənd mɔr tɪ seɪv lɪvz. ˌʤuˈlaɪ 25 2000 mɑrkt ðə bɪˈgɪnɪŋ əv ðə ɛnd əv kəˈmərʃəl ˈhaɪˌspid ˌsupərˈsɑnɪk flaɪt ə ˈmɛθəd əv ˈɛˌrlaɪn ˈtrævəl ðət trænˈspɔrtəd ˈpæsənʤərz bɪtˈwin nu jɔrk ənd ˈpɛrɪs wɪˈθɪn ʤɪst ə fju aʊərz. ɔn ðət deɪt, ən ɛr fræns ˈkɑnˌkɔrd ˌsupərˈsɑnɪk pleɪn kɔt faɪər, ɪkˈsploʊdɪd, ənd kræʃt ˈɪntu ə hoʊˈtɛl, wɪˈθɪn ˈmɪnəts əv ˈteɪˌkɔf. ɔl ˈpæsənʤərz ənd kru ɔn ðə flaɪt wər kɪld, ɛz wər səm ɪmˈplɔɪiz əv ðə hoʊˈtɛl, fər ə dɛθ toʊl əv 113 ðə ˈrizən fər ðə kræʃ? ə ˈmɛtəl strɪp ðət fɛl ɔf ə pleɪn ðət hæd ˈteɪkən ɔf ˈmɪnəts ˌbiˈfɔr. ˌɔlˈðoʊ ðə ˈkɑnˌkɔrd kənˈtɪnjud tɪ flaɪ fər ˈsɛvərəl jɪrz ˈæftər ðə ˈɪnsədənt, ðə kræʃ, əˈlɔŋ wɪθ ˈəðər ˈɪʃuz, tʊk ðə wɪnd aʊt əv ðə seɪlz, ənd ðə ˈkɑnˌkɔrd ənd kəˈmərʃəl ˌsupərˈsɑnɪk flaɪt wɑz ɪˈvɛnʧəwəli skræpt. ɪf ðə aɪˈdiə əv ə ˈtaɪni pis əv ˈmɛtəl ˈteɪkɪŋ daʊn ə ˈhəlkɪŋ ˈɛrˌkræft saʊnz rɪˈdɪkjələs, ˈklɪrli nɑt fəˈmɪljər wɪθ (ˈfɔrən ˈɑbʤɛkt dəˈbri), ə ˈprɑbləm ðət ɛr ˈtrævəl əˈθɔrətiz, laɪk ðə ˈfɛdərəl ˌeɪviˈeɪʃən əˈθɔrəti, ər ˈvɛri kənˈsərnd əˈbaʊt. ˌbiˈsaɪdz ˈkleɪmɪŋ lɪvz, ˈɪnsədənts kɔst ðə ˈɛˌrlaɪn ˈɪndəstri ən ˈɛstəˌmeɪtɪd 13 ˈbɪljən ə jɪr ɪn rɪˈpɛrz, dɪˈleɪz, ˈwərkər kɔsts, ənd soʊ ɔn. ɛz ə rɪˈzəlt, ðɛr həz bɪn ə juʤ dɪˈmænd æt ˈɛrˌpɔrts əraʊnd ðə wərld fər dɪˈtɛkʃən ˈsɪstəmz. systems’*’ ɪz wən əv ðə ˈlidɪŋ prəˈvaɪdərz əv dɪˈtɛkʃən ˈsɪstəmz, ənd ɪz ɔˈrɛdi ˌɪnˈstɔld ɪn ˈɛrˌpɔrts ɪn ðə ˈjuˈɛs, ˈjʊrəp, ənd ˈeɪʒə. ðə ˈrənˌweɪ bɪn ˌɪnˈspɛktɪd ˌbiˈfɔr ðə ˈteɪˌkɔf, ðə ˈtræʤədi wʊd hæv bɪn avoided,”*,” ˈoʊdɛd ˈhænsən, ənd toʊld ðə taɪmz əv ˈɪzriəl. wɪθ ˈteɪˌkɔfs æt kəˈmərʃəl ˈɛrˌpɔrts ˈkəmɪŋ wɪˈθɪn tu ˈmɪnəts əv iʧ ˈəðər, ðɛr wʊd hæv bɪn noʊ weɪ tɪ faɪnd ðə ˈfeɪtəl ˈmɛtəl strɪp. pəˈtroʊlz ɔn ˈrənˌweɪz teɪk pleɪs ˈoʊnli ˈsɛvərəl taɪmz ə deɪ, ənd ðə ˈoʊnli weɪ tɪ faɪnd səʧ dəˈbri ɪz wɪn ˈwərkərz ər ˈpaɪləts əbˈzərv ðɛm, wɪʧ ɪz ˈvɛri ˈdɪfəkəlt tɪ du wɪn ˈdraɪvɪŋ ə ˈviɪkəl daʊn ðə runway.”*.” ˈjuzɪz ˈhaɪbrɪd ˈreɪˌdɑr ənd ɪˈlɛktroʊ ˈɑptɪkəl tɛkˈnɑləʤi tɪ dɪˈtɛkt ʤəŋk ɔn ˈrənˌweɪz, wɪθ ˈjunɪts ˌɪnˈstɔld wɪθ ˈrənˌweɪ laɪts. ðət, sɛd ˈhænsən, ɪz wət ˈsɛpərˌeɪts ˈsɪstəm frəm ðə θri ˈəðərz ðət ər ɔn ðə ˈmɑrkɪt fər ˈɔtəˌmeɪtɪd dɪˈtɛkʃən. laɪts ər ɔˈrɛdi ˌɪnˈstɔld ənd ðɛr ɪz ən ɪˈlɛktrɪkəl ˌɪnfrəˈstrəkʧər ɪn pleɪs ɔˈrɛdi. wi æd ðə ˈsɛnsərz tɪ ðə laɪts, wɪθ iʧ ˈsɛnsər riˈspɑnsəbəl fər ðə ˈɛriə əraʊnd ɪt. wɪn dəˈbri ɪz dɪˈtɛktɪd, ðə kənˈtroʊl taʊər ɪz əˈlərtɪd, ənd ðeɪ kən ˈkɑnˌtækt ðə ˈpaɪləts ənd hoʊld əp flaɪts ɛz ˈnɛsəˌsɛri. ənd θæŋks tɪ ðə ˌɪnˈstɔld ˈgipiˈɛs, ðeɪ kən tɛl graʊnd kru ɪgˈzæktli wɛr ðə dəˈbri ɪz located.”*.” ɪz ðə ˈoʊnli ˈsɪstəm ðət lɛts kənˈtroʊl taʊər ˈwərkərz ““see”*” wət ɪz ˈæˌkʧuəli ˈhæpənɪŋ ɔn ðə ˈrənˌweɪ. si ðə ˈrənˌweɪ frəm ðə taʊər, bət wɪθ ɑr ˈsɪstəm ðeɪ ər ˈeɪbəl tɪ si ənd rɛd ɪgˈzæktli wət ɪz ˈhæpənɪŋ ɔn ðə ground.”*.” həz bɪn ˌɪnˈstɔld æt ˈloʊgən ˈɛrˌpɔrt ɪn ˈbɔstən, bɛn ˈgjʊriən ˈɛrˌpɔrt, ənd ˈbæŋkɑk ˈɛrˌpɔrt. ðə ˈsɪstəm ɪz əˈpruvd baɪ ðə faa*, wɪʧ roʊt ɪn ə rɪˈpɔrt læst mənθ ðət ˈsɪstəm wɑz ˈeɪbəl tɪ dɪˈtɛkt ðə ˈɑbʤɛkts əv ˈvɛriəs ʃeɪps, ˈsaɪzɪz, ənd məˈtɪriəlz ɔn ˈrənˌweɪ ˈsərfəsɪz ənd pərˈfɔrm ˌsætɪsˈfæktrəli ɪn ˈnaɪtˌtaɪm, ˈdeɪˌtaɪm, sən, reɪn, mɪst, fɔg, ənd snoʊ conditions.”*.” fər ðə fʊl ˈstɔri: klɪk ‘‘like’*’ tɪ kənˈgræʧəˌleɪt fər ˈmeɪkɪŋ ˈɛrˌpɔrts ˈseɪfər. pliz ‘‘share’*’ ðɪs ˌɪnˈkrɛdəbəl ˈstɔri wɪθ jʊr ˈfæməli ənd frɛndz!
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here is the church, here is the steeple, open the doors, see a leprechaun fighting an in a dive bar.
people of america, welcome to american gods the television adaptation of neil 2001 adult contemporary fantasy novel, which will give your a new dose of deity when it premieres on in 2017. and guess what? your prayers for a sneak peek to tide you over until then have been answered.
ew has your exclusive first look at shadow (ricky whittle), mr. wednesday (ian mcshane), and mad sweeney (pablo schreiber) in a scene be instantly familiar to fans of novel: crocodile bar, one of the earliest settings, where shadow first proves his might and mettle to the mysterious wednesday in a with the pugnacious, drunk leprechaun.
“it was one of the sets that we were the most excited about and an opportunity to do a tonal for what we are and what the style of the show will be,” says exec producer bryan fuller (hannibal, pushing daisies), who with heroes producer michael green to adapt the novel. “[jack’s] is a kind of hillbilly chic aesthetic for into the world of the gods.”
if seeing primary protagonist duo shadow and wednesday together in the flesh is giving you strange sensations, not alone. fuller says wednesday, who always exercised a morbid comic bite in the novel, is just as darkly funny here. “i think the comedy and charm and ease of appeal is very for ian mcshane,” he says. “he has a vibrancy as wednesday that could have gone so many different ways in other actors’ hands, but has such a specificity and reality, despite the situation at hand.”
starz
shadow, on the other hand, is the complete opposite of wednesday stoic, kind, and, well, mortal. “there’s where ricky has been such a boon,” says green. “his experience of [the world of the gods] is very genuine and grounded, and we want to watch him be introduced to and beaten up by this new reality.”
american gods, in a nutshell, proposes a world where gods are real and all just pawns in their great chess game for attention. at the center of the conflict is shadow, released from prison and immediately gets caught up in a war of worship between the two bands of titans: the old gods, whose power in america has been slowly dying alongside the waning generation of immigrant believers who brought them to the country in the first place (e.g. sweeney, who struggles to figure out why he lost his charm), and the new gods, a set of modern myths born on our own home turf (e.g. gillian media, a goddess whose power feed the second you turn on your tv next year).
“neil created this wonderfully stuffed toy box filled with all sorts of cultural points of view on how american operates as a system, and that was so fascinating and mythological in and of itself,” says fuller. “it’s really much more of an immigration story than it is a god story.” green adds, “one of the biggest challenges was stripping the idea of gods as or giant empowered creatures who stomp on cities and throw the oceans. we wanted them to be people with problems. not about lightning bolts about the question of day-to-day survival.”
for more exclusive intel on american gods, pick up the latest issue of entertainment weekly.
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hir ɪz ðə ʧərʧ, hir ɪz ðə ˈstipəl, ˈoʊpən ðə dɔrz, si ə ˈlɛpərˌkɔn ˈfaɪtɪŋ ən ɪn ə daɪv bɑr. ˈpipəl əv əˈmɛrɪkə, ˈwɛlkəm tɪ əˈmɛrɪkən gɑdz ðə ˈtɛləˌvɪʒən ˌædəpˈteɪʃən əv nil 2001 ˈædəlt kənˈtɛmpərˌɛri ˈfænəsi ˈnɑvəl, wɪʧ wɪl gɪv jʊr ə nu doʊs əv ˈdiəti wɪn ɪt prɛˈmɪrz ɔn ɪn 2017 ənd gɛs wət? jʊr prɛrz fər ə snik pik tɪ taɪd ju ˈoʊvər ənˈtɪl ðɛn hæv bɪn ˈænsərd. həz jʊr ɪkˈsklusɪv fərst lʊk æt ˈʃæˌdoʊ (ˈrɪˌki ˈwɪtəl), ˈmɪstər. ˈwɛnzˌdeɪ (ˈiən məkˈʃeɪn), ənd mæd sˈwini (ˈpɑbloʊ ʃˈraɪbər) ɪn ə sin bi ˈɪnstəntli fəˈmɪljər tɪ fænz əv ˈnɑvəl: ˈkrɑkəˌdaɪl bɑr, wən əv ðə ˈərliəst ˈsɛtɪŋz, wɛr ˈʃæˌdoʊ fərst pruvz hɪz maɪt ənd ˈmɛtəl tɪ ðə mɪˈstɪriəs ˈwɛnzˌdeɪ ɪn ə wɪθ ðə pəgˈnæʃɪs, drəŋk ˈlɛpərˌkɔn. wɑz wən əv ðə sɛts ðət wi wər ðə moʊst ɪkˈsaɪtɪd əˈbaʊt ənd ən ˌɑpərˈtunəti tɪ du ə ˈtoʊnəl fər wət wi ər ənd wət ðə staɪl əv ðə ʃoʊ wɪl be,”*,” sɪz ˌɛgˈzɛk prəˈdusər braɪən ˈfʊlər (ˈhænɪbəl, ˈpʊʃɪŋ ˈdeɪziz), hu wɪθ ˈhɪroʊz prəˈdusər ˈmaɪkəl grin tɪ əˈdæpt ðə ˈnɑvəl. “[“[jack’s*] ɪz ə kaɪnd əv ˈhɪlbɪli ʃik ɛsˈθɛtɪk fər ˈɪntu ðə wərld əv ðə gods.”*.” ɪf siɪŋ ˈpraɪˌmɛri proʊˈtægənəst ˈduoʊ ˈʃæˌdoʊ ənd ˈwɛnzˌdeɪ təˈgɛðər ɪn ðə flɛʃ ɪz ˈgɪvɪŋ ju streɪnʤ sɛnˈseɪʃənz, nɑt əˈloʊn. ˈfʊlər sɪz ˈwɛnzˌdeɪ, hu ˈɔlˌweɪz ˈɛksərˌsaɪzd ə ˈmɔrbəd ˈkɑmɪk baɪt ɪn ðə ˈnɑvəl, ɪz ʤɪst ɛz ˈdɑrkli ˈfəni hir. θɪŋk ðə ˈkɑmədi ənd ʧɑrm ənd iz əv əˈpil ɪz ˈvɛri fər ˈiən mcshane,”*,” hi sɪz. həz ə ˈvaɪbrənsi ɛz ˈwɛnzˌdeɪ ðət kʊd hæv gɔn soʊ ˈmɛni ˈdɪfərənt weɪz ɪn ˈəðər actors’*’ hænz, bət həz səʧ ə ˌspɛsəˈfɪsəti ənd ˌriˈæləˌti, dɪˈspaɪt ðə ˌsɪʧuˈeɪʃən æt hand.”*.” ˈʃæˌdoʊ, ɔn ðə ˈəðər hænd, ɪz ðə kəmˈplit ˈɑpəzɪt əv ˈwɛnzˌdeɪ stoʊɪk, kaɪnd, ənd, wɛl, ˈmɔrtəl. wɛr ˈrɪˌki həz bɪn səʧ ə boon,”*,” sɪz grin. ɪkˈspɪriəns əv [ðə wərld əv ðə gɑdz] ɪz ˈvɛri ˈʤɛnjuˌaɪn ənd ˈgraʊndɪd, ənd wi wɔnt tɪ wɔʧ ɪm bi ˌɪntrəˈdust tɪ ənd ˈbitən əp baɪ ðɪs nu reality.”*.” əˈmɛrɪkən gɑdz, ɪn ə ˈnətˌʃɛl, prəˈpoʊzɪz ə wərld wɛr gɑdz ər ril ənd ɔl ʤɪst pɔnz ɪn ðɛr greɪt ʧɛs geɪm fər əˈtɛnʃən. æt ðə ˈsɛnər əv ðə ˈkɑnflɪkt ɪz ˈʃæˌdoʊ, riˈlist frəm ˈprɪzən ənd ˌɪˈmiˌdiətli gɪts kɔt əp ɪn ə wɔr əv ˈwərʃɪp bɪtˈwin ðə tu bændz əv ˈtaɪtənz: ðə oʊld gɑdz, huz paʊər ɪn əˈmɛrɪkə həz bɪn sˈloʊli daɪɪŋ əˈlɔŋˈsaɪd ðə ˈweɪnɪŋ ˌʤɛnərˈeɪʃən əv ˈɪməgrənt bɪˈlivərz hu brɔt ðɛm tɪ ðə ˈkəntri ɪn ðə fərst pleɪs (e.g*. sˈwini, hu ˈstrəgəlz tɪ ˈfɪgjər aʊt waɪ hi lɔst hɪz ʧɑrm), ənd ðə nu gɑdz, ə sɛt əv ˈmɑdərn mɪθs bɔrn ɔn ɑr oʊn hoʊm tərf (e.g*. ˈʤɪliən ˈmidiə, ə ˈgɑdəs huz paʊər fid ðə ˈsɛkənd ju tərn ɔn jʊr ˌtɛləˈvɪʒən nɛkst jɪr). kriˈeɪtɪd ðɪs ˈwəndərfəli stəft tɔɪ bɑks fɪld wɪθ ɔl sɔrts əv ˈkəlʧərəl pɔɪnts əv vju ɔn haʊ əˈmɛrɪkən ˈɑpərˌeɪts ɛz ə ˈsɪstəm, ənd ðət wɑz soʊ ˈfæsəˌneɪtɪŋ ənd ˌmɪθəˈlɑʤɪkəl ɪn ənd əv itself,”*,” sɪz ˈfʊlər. ˈrɪli məʧ mɔr əv ən ˌɪməˈgreɪʃən ˈstɔri ðən ɪt ɪz ə gɑd story.”*.” grin ædz, əv ðə ˈbɪgəst ˈʧælənʤɪz wɑz ˈstrɪpɪŋ ðə aɪˈdiə əv gɑdz ɛz ər ʤaɪənt ɪmˈpaʊərd ˈkriʧərz hu stɑmp ɔn ˈsɪtiz ənd θroʊ ðə ˈoʊʃənz. wi ˈwɔntɪd ðɛm tɪ bi ˈpipəl wɪθ ˈprɑbləmz. nɑt əˈbaʊt ˈlaɪtnɪŋ boʊlts əˈbaʊt ðə kˈwɛʃən əv ˈdeɪtuˌdeɪ survival.”*.” fər mɔr ɪkˈsklusɪv ˌɪnˈtɛl ɔn əˈmɛrɪkən gɑdz, pɪk əp ðə ˈleɪtəst ˈɪʃu əv ˌɛnərˈteɪnmənt ˈwikli.
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snowden confirms australian agencies involved in global spying
by peter symonds
10 july 2013
a classified national security agency (nsa) map leaked by whistleblower edward snowden confirms that four australian intelligence facilities are directly involved in the’s electronic spying operations in the united states and around the world.
the map published by american journalist glenn greenwald in collaboration with the brazilian newspaper o globo has revealed the locations of dozens of facilities in the us and its close allies that are involved in systematically intercepting and storing huge amounts of telecommunications and internet data.
the four australian sites are the us australian joint defence facility at pine gap near alice springs, and three australian defence signals directorate (dsd) bay receiving station near darwin, the australian defence satellite communications station at in western australia, and the naval communications station harman outside canberra.
these sites, along with others on every continent, contribute data to an program, which collects electronic data, separates it into streams of phone numbers, email addresses, and user activity for storage in massive data banks. the government security communications bureau facility at in new zealand is also part of the collection system.
an article in the age on monday by philip dorling, a journalist with knowledge of australian intelligence, explained that the data is “shunted off to various ‘production lines’ that deal with specific issues and the exploitation of different data types for (voice), (video), (call records) and marina (internet records).”
the fact that australian facilities have closely collaborated with the us in electronic spying is not new. new zealand and australia are part of the “five eyes” intelligence alliance, formed in the late to monitor electronic communications internationally. sometime later, the five countries ran a joint program known as echelon, to intercept, store and satellite, microwave and communications.
the vast expansion of the internet in the 1990s, however, raised the need for sophisticated new methods to plug into the cables carrying the data. the map demonstrates for the first time that australian facilities are intimately involved in this process. moreover, as part of the “five eyes” network, australian intelligence agencies have high-level access to the data, including on australian citizens.
an interview with snowden published by the german magazine der spiegel on monday raises further questions about the activities of australian intelligence agencies.
snowden explained: “in some cases, the so-called partners go beyond what the itself does. for instance, the general communications headquarters (gchq) has a system called. is the signals intelligence first ‘full-take’ internet buffer that care about content type and pays only marginal attention to the human rights act... ‘full take’ means it miss anything, and the entirety of each capacity.”
at this stage, the system only has the ability to store the entire internet content in and passing through britain for three days. however, as snowden explained, an intelligence analyst can “task” a particular individual or computer, ensuring that their data streams are “stored forever and ever, regardless of policy, because you can always get a waiver.”
snowden bluntly summed up what happens after the targets an individual. “they’re just owned,” he said. “it’s up to the analyst to do whatever they want at that machine belong to them anymore, it belongs to the us government.”
snowden did not refer directly to the operations of australian intelligence agencies, but the obvious question is whether similar systems exist or are under construction in australia. the age recently reported that a large new state-of-the-art data storage facility is currently under construction for the defence signals directorate at harman, for undisclosed purposes.
government ministers have flatly refused to answer questions about the involvement of australian intelligence agencies in the programs. the australian reported that a spokesman for prime minister kevin rudd refused to comment on the leaked map, repeating the standard line that the government did not comment on intelligence matters.
late last month, foreign minister bob carr made the same response to a question in parliament by independent senator nick xenophon, who asked whether the emails, and internet data of parliamentarians were exempt from the spying programs. carr declared that the and other agencies required specific ministerial under the intelligence services act to spy on australian citizens. but he failed to answer the question.
the’s programs are designed to gather up and store vast amounts of internet data, in this case from australia, or passing through australia, whether the individuals are citizens of australia or other countries. as far as the is concerned, there are no restrictions at all on spying on foreign citizens.
the labor government and australian intelligence agencies are deeply involved in this vast surveillance operation. the, australian security intelligence organisation (the domestic spy agency) and other agencies undoubtedly use their access to data bases to obtain, with or without ministerial, intelligence on a range of individuals, including australian citizens.
the australian political establishment as a whole and the media, with few exceptions, have been silent on revelations and their implications. but there are real fears in intelligence and political circles that they could compromise operations both at home and throughout the region.
attorney general mark dreyfus last month confirmed an interagency task force had been formed to monitor the situation and the response. reuters reported that the australian security intelligence organisation and the had briefed the parliamentary intelligence committee “about the security breach and its potential to embarrass relations with neighbouring asian countries.”
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sˈnoʊdən kənˈfərmz ɔˈstreɪljən ˈeɪʤənsiz ˌɪnˈvɑlvd ɪn ˈgloʊbəl spaɪɪŋ baɪ ˈpitər ˈsɪməndz 10 ˌʤuˈlaɪ 2013 ə ˈklæsəˌfaɪd ˈnæʃənəl sɪˈkjʊrəti ˈeɪʤənsi (nsa*) mæp likt baɪ ˈwɪsəlˌbloʊər ˈɛdwərd sˈnoʊdən kənˈfərmz ðət fɔr ɔˈstreɪljən ˌɪnˈtɛləʤəns fəˈsɪlɪtiz ər dɪˈrɛkli ˌɪnˈvɑlvd ɪn ðə ˌɪˌlɛkˈtrɑnɪk spaɪɪŋ ˌɑpərˈeɪʃənz ɪn ðə juˈnaɪtɪd steɪts ənd əraʊnd ðə wərld. ðə mæp ˈpəblɪʃt baɪ əˈmɛrɪkən ˈʤərnəlɪst glɛn ˈgrinˌwɔld ɪn kəˌlæbərˈeɪʃən wɪθ ðə brəˈzɪljən ˈnuzˌpeɪpər oʊ ˈgloʊboʊ həz rɪˈvild ðə loʊˈkeɪʃənz əv ˈdəzənz əv fəˈsɪlɪtiz ɪn ðə ˈjuˈɛs ənd ɪts kloʊz ˈælaɪz ðət ər ˌɪnˈvɑlvd ɪn ˌsɪstəˈmætɪkli ˌɪnərˈsɛptɪŋ ənd ˈstɔrɪŋ juʤ əˈmaʊnts əv ˌtɛləkəmˌjunəˈkeɪʃənz ənd ˈɪntərˌnɛt ˈdætə. ðə fɔr ɔˈstreɪljən saɪts ər ðə ˈjuˈɛs ɔˈstreɪljən ʤɔɪnt dɪˈfɛns fəˈsɪlɪti æt paɪn gæp nɪr ˈælɪs spərɪŋz, ənd θri ɔˈstreɪljən dɪˈfɛns ˈsɪgnəlz dɪˈrɛktərət (dsd*) beɪ rɪˈsivɪŋ ˈsteɪʃən nɪr ˈdɑrwɪn, ðə ɔˈstreɪljən dɪˈfɛns ˈsætəˌlaɪt kəmˌjunəˈkeɪʃənz ˈsteɪʃən æt ɪn ˈwɛstərn ɔˈstreɪljə, ənd ðə ˈneɪvəl kəmˌjunəˈkeɪʃənz ˈsteɪʃən ˈhɑrmən ˈaʊtˈsaɪd ˌkænˈbɛrə. ðiz saɪts, əˈlɔŋ wɪθ ˈəðərz ɔn ˈɛvəri ˈkɑntənənt, kənˈtrɪbjut ˈdætə tɪ ən ˈproʊˌgræm, wɪʧ kəˈlɛkts ˌɪˌlɛkˈtrɑnɪk ˈdætə, ˈsɛpərˌeɪts ɪt ˈɪntu strimz əv foʊn ˈnəmbərz, iˈmeɪl ˈæˈdrɛsɪz, ənd ˈjuzər ækˈtɪvɪti fər ˈstɔrɪʤ ɪn ˈmæsɪv ˈdætə bæŋks. ðə ˈgəvərnmənt sɪˈkjʊrəti kəmˌjunəˈkeɪʃənz ˈbjʊroʊ fəˈsɪlɪti æt ɪn nu ˈzilənd ɪz ˈɔlsoʊ pɑrt əv ðə kəˈlɛkʃən ˈsɪstəm. ən ˈɑrtɪkəl ɪn ðə eɪʤ ɔn ˈmənˌdeɪ baɪ ˈfɪlɪp dorling*, ə ˈʤərnəlɪst wɪθ ˈnɑlɪʤ əv ɔˈstreɪljən ˌɪnˈtɛləʤəns, ɪkˈspleɪnd ðət ðə ˈdætə ɪz ɔf tɪ ˈvɛriəs lines’*’ ðət dil wɪθ spɪˈsɪfɪk ˈɪʃuz ənd ðə ˌɛkˌsplɔɪˈteɪʃən əv ˈdɪfərənt ˈdætə taɪps fər (vɔɪs), (ˈvɪdioʊ), (kɔl ˈrɛkərdz) ənd mərˈinə (ˈɪntərˌnɛt records).”*).” ðə fækt ðət ɔˈstreɪljən fəˈsɪlɪtiz hæv ˈkloʊsli kəˈlæbərˌeɪtɪd wɪθ ðə ˈjuˈɛs ɪn ˌɪˌlɛkˈtrɑnɪk spaɪɪŋ ɪz nɑt nu. nu ˈzilənd ənd ɔˈstreɪljə ər pɑrt əv ðə eyes”*” ˌɪnˈtɛləʤəns əˈlaɪəns, fɔrmd ɪn ðə leɪt tɪ ˈmɑnətər ˌɪˌlɛkˈtrɑnɪk kəmˌjunəˈkeɪʃənz ˌɪnərˈnæʃənɑli. ˈsəmˌtaɪm ˈleɪtər, ðə faɪv ˈkəntriz ræn ə ʤɔɪnt ˈproʊˌgræm noʊn ɛz ˈɛʃəˌlɑn, tɪ ˌɪnərˈsɛpt, stɔr ənd ˈsætəˌlaɪt, ˈmaɪkrəˌweɪv ənd kəmˌjunəˈkeɪʃənz. ðə væst ɪkˈspænʧən əv ðə ˈɪntərˌnɛt ɪn ðə 1990s*, ˌhaʊˈɛvər, reɪzd ðə nid fər səˈfɪstɪˌkeɪtəd nu ˈmɛθədz tɪ pləg ˈɪntu ðə ˈkeɪbəlz ˈkɛriɪŋ ðə ˈdætə. ðə mæp ˈdɛmənˌstreɪts fər ðə fərst taɪm ðət ɔˈstreɪljən fəˈsɪlɪtiz ər ˈɪntɪmətli ˌɪnˈvɑlvd ɪn ðɪs ˈprɔˌsɛs. mɔˈroʊvər, ɛz pɑrt əv ðə eyes”*” ˈnɛtˌwərk, ɔˈstreɪljən ˌɪnˈtɛləʤəns ˈeɪʤənsiz hæv ˌhaɪˈlɛvəl ˈækˌsɛs tɪ ðə ˈdætə, ˌɪnˈkludɪŋ ɔn ɔˈstreɪljən ˈsɪtɪzənz. ən ˈɪntərvˌju wɪθ sˈnoʊdən ˈpəblɪʃt baɪ ðə ˈʤərmən ˈmægəˌzin dər ˈspigəl ɔn ˈmənˌdeɪ ˈreɪzɪz ˈfərðər kˈwɛsʧənz əˈbaʊt ðə ækˈtɪvɪtiz əv ɔˈstreɪljən ˌɪnˈtɛləʤəns ˈeɪʤənsiz. sˈnoʊdən ɪkˈspleɪnd: səm ˈkeɪsɪz, ðə ˈsoʊˈkɔld ˈpɑrtnərz goʊ bɪɔnd wət ðə ˌɪtˈsɛlf dɪz. fər ˈɪnstəns, ðə ˈʤɛnərəl kəmˌjunəˈkeɪʃənz ˈhɛdˌkɔrtərz (gchq*) həz ə ˈsɪstəm kɔld. ɪz ðə ˈsɪgnəlz ˌɪnˈtɛləʤəns fərst ‘‘full-take’*’ ˈɪntərˌnɛt ˈbəfər ðət kɛr əˈbaʊt ˈkɑntɛnt taɪp ənd peɪz ˈoʊnli ˈmɑrʤənəl əˈtɛnʃən tɪ ðə ˈjumən raɪts ækt... take’*’ minz ɪt mɪs ˈɛniˌθɪŋ, ənd ðə ɪnˈtaɪərti əv iʧ capacity.”*.” æt ðɪs steɪʤ, ðə ˈsɪstəm ˈoʊnli həz ðə əˈbɪləˌti tɪ stɔr ðə ɪnˈtaɪər ˈɪntərˌnɛt ˈkɑntɛnt ɪn ənd ˈpæsɪŋ θru ˈbrɪtən fər θri deɪz. ˌhaʊˈɛvər, ɛz sˈnoʊdən ɪkˈspleɪnd, ən ˌɪnˈtɛləʤəns ˈænəlɪst kən ““task”*” ə ˌpɑˈtɪkjələr ˌɪndəˈvɪʤəwəl ər kəmˈpjutər, ɪnˈʃʊrɪŋ ðət ðɛr ˈdætə strimz ər fərˈɛvər ənd ˈɛvər, rəˈgɑrdləs əv ˈpɑləsi, bɪˈkəz ju kən ˈɔlˌweɪz gɪt ə waiver.”*.” sˈnoʊdən ˈbləntli səmd əp wət ˈhæpənz ˈæftər ðə ˈtɑrgəts ən ˌɪndəˈvɪʤəwəl. ʤɪst owned,”*,” hi sɛd. əp tɪ ðə ˈænəlɪst tɪ du ˌwəˈtɛvər ðeɪ wɔnt æt ðət məˈʃin bɪˈlɔŋ tɪ ðɛm ˌɛniˈmɔr, ɪt bɪˈlɔŋz tɪ ðə ˈjuˈɛs government.”*.” sˈnoʊdən dɪd nɑt rɪˈfər dɪˈrɛkli tɪ ðə ˌɑpərˈeɪʃənz əv ɔˈstreɪljən ˌɪnˈtɛləʤəns ˈeɪʤənsiz, bət ðə ˈɑbviəs kˈwɛʃən ɪz ˈwɛðər ˈsɪmələr ˈsɪstəmz ɪgˈzɪst ər ər ˈəndər kənˈstrəkʃən ɪn ɔˈstreɪljə. ðə eɪʤ ˈrisəntli ˌriˈpɔrtəd ðət ə lɑrʤ nu ˌsteɪtəvðɪˈɑrt ˈdætə ˈstɔrɪʤ fəˈsɪlɪti ɪz ˈkərəntli ˈəndər kənˈstrəkʃən fər ðə dɪˈfɛns ˈsɪgnəlz dɪˈrɛktərət æt ˈhɑrmən, fər ˌəndɪˈskloʊzd ˈpərpəsɪz. ˈgəvərnmənt ˈmɪnɪstərz hæv ˈflætli rɪfˈjuzd tɪ ˈænsər kˈwɛsʧənz əˈbaʊt ðə ˌɪnˈvɑlvmənt əv ɔˈstreɪljən ˌɪnˈtɛləʤəns ˈeɪʤənsiz ɪn ðə ˈproʊˌgræmz. ðə ɔˈstreɪljən ˌriˈpɔrtəd ðət ə ˈspoʊksmən fər praɪm ˈmɪnɪstər ˈkɛvɪn rəd rɪfˈjuzd tɪ ˈkɑmɛnt ɔn ðə likt mæp, rɪˈpitɪŋ ðə ˈstændərd laɪn ðət ðə ˈgəvərnmənt dɪd nɑt ˈkɑmɛnt ɔn ˌɪnˈtɛləʤəns ˈmætərz. leɪt læst mənθ, ˈfɔrən ˈmɪnɪstər bɑb kɑr meɪd ðə seɪm rɪˈspɑns tɪ ə kˈwɛʃən ɪn ˈpɑrləmɛnt baɪ ˌɪndɪˈpɛndənt ˈsɛnətər nɪk ˈzɛnəfən, hu æst ˈwɛðər ðə iˈmeɪlz, ənd ˈɪntərˌnɛt ˈdætə əv ˌpɑrləmɛnˈtɛriənz wər ɪgˈzɛmpt frəm ðə spaɪɪŋ ˈproʊˌgræmz. kɑr dɪˈklɛrd ðət ðə ənd ˈəðər ˈeɪʤənsiz rikˈwaɪərd spɪˈsɪfɪk ˌmɪnɪˈstiriəl ˈəndər ðə ˌɪnˈtɛləʤəns ˈsərvɪsɪz ækt tɪ spaɪ ɔn ɔˈstreɪljən ˈsɪtɪzənz. bət hi feɪld tɪ ˈænsər ðə kˈwɛʃən. ðə ˈproʊˌgræmz ər dɪˈzaɪnd tɪ ˈgæðər əp ənd stɔr væst əˈmaʊnts əv ˈɪntərˌnɛt ˈdætə, ɪn ðɪs keɪs frəm ɔˈstreɪljə, ər ˈpæsɪŋ θru ɔˈstreɪljə, ˈwɛðər ðə ˌɪndəˈvɪʤəwəlz ər ˈsɪtɪzənz əv ɔˈstreɪljə ər ˈəðər ˈkəntriz. ɛz fɑr ɛz ðə ɪz kənˈsərnd, ðɛr ər noʊ riˈstrɪkʃənz æt ɔl ɔn spaɪɪŋ ɔn ˈfɔrən ˈsɪtɪzənz. ðə ˈleɪbər ˈgəvərnmənt ənd ɔˈstreɪljən ˌɪnˈtɛləʤəns ˈeɪʤənsiz ər ˈdipli ˌɪnˈvɑlvd ɪn ðɪs væst sərˈveɪləns ˌɑpərˈeɪʃən. ðə, ɔˈstreɪljən sɪˈkjʊrəti ˌɪnˈtɛləʤəns ˌɔrgənɪˈzeɪʃən (ðə dəˈmɛstɪk spaɪ ˈeɪʤənsi) ənd ˈəðər ˈeɪʤənsiz ənˈdaʊtɪdli juz ðɛr ˈækˌsɛs tɪ ˈdætə ˈbeɪsɪz tɪ əbˈteɪn, wɪθ ər wɪˈθaʊt ˌmɪnɪˈstiriəl, ˌɪnˈtɛləʤəns ɔn ə reɪnʤ əv ˌɪndəˈvɪʤəwəlz, ˌɪnˈkludɪŋ ɔˈstreɪljən ˈsɪtɪzənz. ðə ɔˈstreɪljən pəˈlɪtɪkəl ɪˈstæblɪʃmənt ɛz ə hoʊl ənd ðə ˈmidiə, wɪθ fju ɪkˈsɛpʃənz, hæv bɪn ˈsaɪlənt ɔn ˌrɛvəˈleɪʃənz ənd ðɛr ˌɪmpləˈkeɪʃənz. bət ðɛr ər ril fɪrz ɪn ˌɪnˈtɛləʤəns ənd pəˈlɪtɪkəl ˈsərkəlz ðət ðeɪ kʊd ˈkɑmprəˌmaɪz ˌɑpərˈeɪʃənz boʊθ æt hoʊm ənd θruaʊt ðə ˈriʤən. əˈtərni ˈʤɛnərəl mɑrk ˈdreɪfəs læst mənθ kənˈfərmd ən ˌɪntərˈeɪʤənsi tæsk fɔrs hæd bɪn fɔrmd tɪ ˈmɑnətər ðə ˌsɪʧuˈeɪʃən ənd ðə rɪˈspɑns. ˈrɔɪtərz ˌriˈpɔrtəd ðət ðə ɔˈstreɪljən sɪˈkjʊrəti ˌɪnˈtɛləʤəns ˌɔrgənɪˈzeɪʃən ənd ðə hæd brift ðə ˌpɑrləˈmɛntəri ˌɪnˈtɛləʤəns kəˈmɪti ðə sɪˈkjʊrəti briʧ ənd ɪts pəˈtɛnʃəl tɪ ɪmˈbɛrəs riˈleɪʃənz wɪθ ˈneɪbərɪŋ ˈeɪʒən countries.”*.”
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how many atoms are there in a kilogram of silicon? this number is constant and working out its value is one of the more important tasks that materials scientists face.
today, a group of physicists reveal the answer. they say there are) atoms in a single crystal of silicon weighing about a kilogram. and they say they know this is right because counted them. yep, counted them.
actually, they counted the number of atoms in a unit volume of silicon and measured the size of this volume. the number of times this fits into a lump of exactly 1 mole of near perfect single crystal sphere of silicon is number.
to have established this number to such accuracy is clearly an important piece of work but just how impressive is put in perspective by the monumental efforts of the international consortium behind it.
the work began in 2004 when a russian group created a sample of silicon with a specific isotopic content at the central design bureau of machine building in st. petersburg. a team at the institute of chemistry of substances of the russian academy of sciences in then turned this into a of silicon hydride which a group at the fur in berlin used to grow a lump of pure silicon in 2007.
the australian centre for precision optics then took samples from this lump and shaped them into spheres. they then made an x-ray interferometer from the left over silicon to determine its crystal structure. they also measured crystals’ surfaces to see what kind of crud had built up there and would therefore have to be taken into account in the final calculations. (various copper, nickel and silicon oxides had built up on the surface.)
various groups then measured the mass of the spheres by comparing them to the test kilograms owned by the bundesanstalt) in germany, the national institute of japan in and the bureau international des et in france.
the team then measured the volume of the spheres using optical interferometry. and the isotope content was measured by teams at the university of warsaw, the institute of mineral resources of the chinese academy of science and institute for physics of of the russian academy of sciences.
finally, the number of atoms in the sample was confirmed by a phd student using a magnifying glass and a pair of tweezers.
ok, i made that bit up.
the result compares well with other measurements of constant made using another method.
“our result leads to more consistent numerical values for the fundamental physical constants,” say this international group.
that’s of more than academic interest. the hope is to one day get rid of the kilograms which have a habit of loosing a few atoms every time a breeze ruffles the air around them, or worse, of gaining a few atoms each time their aged security guard sneezes.
in its place will be a definition of the kilogram based on an exact fixed value for number. “the value obtained,) x, is the most accurate input datum for a new definition of the kilogram,” say the team.
that’s not quite good enough to replace the existing kilogram. but with a few more years and the help of what seems to be most of the materials scientists on the planet, we should eventually get there.
ref:: an accurate determination of the constant by counting the atoms in a crystal
update: a couple of commenters have pointed out that a mole of silicon weighs not a kilogram and that i seem to be completely confused about this story. they are, of course, completely correct. moral: never write a blog post after midnight!
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haʊ ˈmɛni ˈætəmz ər ðɛr ɪn ə ˈkɪləˌgræm əv ˈsɪləkən? ðɪs ˈnəmbər ɪz ˈkɑnstənt ənd ˈwərkɪŋ aʊt ɪts ˈvælju ɪz wən əv ðə mɔr ˌɪmˈpɔrtənt tæsks ðət məˈtɪriəlz ˈsaɪəntɪsts feɪs. təˈdeɪ, ə grup əv ˈfɪzɪsɪsts rɪˈvil ðə ˈænsər. ðeɪ seɪ ðɛr ər ˈætəmz ɪn ə ˈsɪŋgəl ˈkrɪstəl əv ˈsɪləkən weɪɪŋ əˈbaʊt ə ˈkɪləˌgræm. ənd ðeɪ seɪ ðeɪ noʊ ðɪs ɪz raɪt bɪˈkəz ˈkaʊntɪd ðɛm. jɛp, ˈkaʊntɪd ðɛm. ˈæˌkʧuəli, ðeɪ ˈkaʊntɪd ðə ˈnəmbər əv ˈætəmz ɪn ə ˈjunɪt ˈvɑljum əv ˈsɪləkən ənd ˈmɛʒərd ðə saɪz əv ðɪs ˈvɑljum. ðə ˈnəmbər əv taɪmz ðɪs fɪts ˈɪntu ə ləmp əv ɪgˈzæktli 1 moʊl əv nɪr ˈpərˌfɪkt ˈsɪŋgəl ˈkrɪstəl sfɪr əv ˈsɪləkən ɪz ˈnəmbər. tɪ hæv ɪˈstæblɪʃt ðɪs ˈnəmbər tɪ səʧ ˈækjərəsi ɪz ˈklɪrli ən ˌɪmˈpɔrtənt pis əv wərk bət ʤɪst haʊ ˌɪmˈprɛsɪv ɪz pʊt ɪn pərˈspɛktɪv baɪ ðə ˌmɑnjəˈmɛnəl ˈɛfərts əv ðə ˌɪnərˈnæʃənɑl kənˈsɔrʃjəm bɪˈhaɪnd ɪt. ðə wərk bɪˈgæn ɪn 2004 wɪn ə ˈrəʃən grup kriˈeɪtɪd ə ˈsæmpəl əv ˈsɪləkən wɪθ ə spɪˈsɪfɪk ˌaɪsəˈtɑpɪk ˈkɑntɛnt æt ðə ˈsɛntrəl dɪˈzaɪn ˈbjʊroʊ əv məˈʃin ˈbɪldɪŋ ɪn st*. ˈpitərzbərg. ə tim æt ðə ˈɪnstɪˌtut əv ˈkɛmɪstri əv ˈsəbstənsɪz əv ðə ˈrəʃən əˈkædəmi əv ˈsaɪənsɪz ɪn ðɛn tərnd ðɪs ˈɪntu ə əv ˈsɪləkən ˈhaɪˌdraɪd wɪʧ ə grup æt ðə fər ɪn bərˈlɪn juzd tɪ groʊ ə ləmp əv pjʊr ˈsɪləkən ɪn 2007 ðə ɔˈstreɪljən ˈsɛntər fər priˈsɪʒən ˈɑptɪks ðɛn tʊk ˈsæmpəlz frəm ðɪs ləmp ənd ʃeɪpt ðɛm ˈɪntu sfɪrz. ðeɪ ðɛn meɪd ən ˈɛksˌreɪ ˌɪntərfərˈɑmətər frəm ðə lɛft ˈoʊvər ˈsɪləkən tɪ dɪˈtərmən ɪts ˈkrɪstəl ˈstrəkʧər. ðeɪ ˈɔlsoʊ ˈmɛʒərd crystals’*’ ˈsərfəsɪz tɪ si wət kaɪnd əv krəd hæd bɪlt əp ðɛr ənd wʊd ˈðɛrˌfɔr hæv tɪ bi ˈteɪkən ˈɪntu əˈkaʊnt ɪn ðə ˈfaɪnəl ˌkælkjəˈleɪʃənz. (ˈvɛriəs ˈkɑpər, ˈnɪkəl ənd ˈsɪləkən ˈɑkˌsaɪdz hæd bɪlt əp ɔn ðə ˈsərfəs.) ˈvɛriəs grups ðɛn ˈmɛʒərd ðə mæs əv ðə sfɪrz baɪ kəmˈpɛrɪŋ ðɛm tɪ ðə tɛst ˈkɪləˌgræmz oʊnd baɪ ðə bundesanstalt*) ɪn ˈʤərməni, ðə ˈnæʃənəl ˈɪnstɪˌtut əv ʤəˈpæn ɪn ənd ðə ˈbjʊroʊ ˌɪnərˈnæʃənɑl dɪ ɛt ɪn fræns. ðə tim ðɛn ˈmɛʒərd ðə ˈvɑljum əv ðə sfɪrz ˈjuzɪŋ ˈɑptɪkəl interferometry*. ənd ðə ˈaɪsəˌtoʊp ˈkɑntɛnt wɑz ˈmɛʒərd baɪ timz æt ðə ˌjunəˈvərsəti əv ˈwɔrˌsɔ, ðə ˈɪnstɪˌtut əv ˈmɪnərəl ˈrisɔrsɪz əv ðə ʧaɪˈniz əˈkædəmi əv saɪəns ənd ˈɪnstɪˌtut fər ˈfɪzɪks əv əv ðə ˈrəʃən əˈkædəmi əv ˈsaɪənsɪz. ˈfaɪnəli, ðə ˈnəmbər əv ˈætəmz ɪn ðə ˈsæmpəl wɑz kənˈfərmd baɪ ə ˈpiˌeɪʧˈdi ˈstudənt ˈjuzɪŋ ə ˈmægnəˌfaɪɪŋ glæs ənd ə pɛr əv tˈwizərz. ˈoʊˈkeɪ, aɪ meɪd ðət bɪt əp. ðə rɪˈzəlt kəmˈpɛrz wɛl wɪθ ˈəðər ˈmɛʒərmənts əv ˈkɑnstənt meɪd ˈjuzɪŋ əˈnəðər ˈmɛθəd. rɪˈzəlt lidz tɪ mɔr kənˈsɪstənt nuˈmɛrɪkəl ˈvæljuz fər ðə ˌfəndəˈmɛnəl ˈfɪzɪkəl constants,”*,” seɪ ðɪs ˌɪnərˈnæʃənɑl grup. əv mɔr ðən ˌækəˈdɛmɪk ˈɪntəˌrɛst. ðə hoʊp ɪz tɪ wən deɪ gɪt rɪd əv ðə ˈkɪləˌgræmz wɪʧ hæv ə ˈhæbət əv ˈlusɪŋ ə fju ˈætəmz ˈɛvəri taɪm ə briz ˈrəfəlz ðə ɛr əraʊnd ðɛm, ər wərs, əv ˈgeɪnɪŋ ə fju ˈætəmz iʧ taɪm ðɛr ˈeɪʤɪd sɪˈkjʊrəti gɑrd sˈnizɪz. ɪn ɪts pleɪs wɪl bi ə ˌdɛfəˈnɪʃən əv ðə ˈkɪləˌgræm beɪst ɔn ən ɪgˈzækt fɪkst ˈvælju fər ˈnəmbər. ˈvælju əbˈteɪnd, ɛks ɪz ðə moʊst ˈækjərət ˈɪnˌpʊt ˈdætəm fər ə nu ˌdɛfəˈnɪʃən əv ðə kilogram,”*,” seɪ ðə tim. nɑt kwaɪt gʊd ɪˈnəf tɪ ˌriˈpleɪs ðə ɪgˈzɪstɪŋ ˈkɪləˌgræm. bət wɪθ ə fju mɔr jɪrz ənd ðə hɛlp əv wət simz tɪ bi moʊst əv ðə məˈtɪriəlz ˈsaɪəntɪsts ɔn ðə ˈplænət, wi ʃʊd ɪˈvɛnʧəwəli gɪt ðɛr. rɛf: ən ˈækjərət dɪˌtərməˈneɪʃən əv ðə ˈkɑnstənt baɪ ˈkaʊntɪŋ ðə ˈætəmz ɪn ə ˈkrɪstəl ˈəpˌdeɪt: ə ˈkəpəl əv ˈkɑmɛntərz hæv ˈpɔɪntɪd aʊt ðət ə moʊl əv ˈsɪləkən weɪz nɑt ə ˈkɪləˌgræm ənd ðət aɪ sim tɪ bi kəmˈplitli kənfˈjuzd əˈbaʊt ðɪs ˈstɔri. ðeɪ ər, əv kɔrs, kəmˈplitli kərˈɛkt. ˈmɔrəl: ˈnɛvər raɪt ə blɔg poʊst ˈæftər ˈmɪdˌnaɪt!
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washington the first battle that representative mike pompeo prepared to fight was against the russians, when he commanded a tank platoon in germany in the twilight of the cold war. on thursday, he made clear he was ready to take on old adversary if confirmed as director of the central intelligence agency.
but doing so may result in a battle closer to home: mr. pompeo and the c.i.a. versus donald j. trump, whose of the intelligence agencies has opened an extraordinary breach between an incoming president and the spies who will serve him.
the question hanging over mr. pompeo, and 17 intelligence agencies, is how to handle a president who embraces president vladimir v. putin of russia while the agency tries to keep russia in check. so far, nothing in the history has prepared it to deal with a president who is as openly derisive of its work as mr. trump.
the dispute has stoked fears at the c.i.a. that mr. trump, once in office, could halt or seek to limit inquiries into russian hacking and other issues that he has dismissed as politically motivated smears, current and former agency officials said.
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ˈwɔʃɪŋtən ðə fərst ˈbætəl ðət ˌrɛprɪˈzɛnətɪv maɪk ˈpoʊmpioʊ priˈpɛrd tɪ faɪt wɑz əˈgɛnst ðə ˈrəʃənz, wɪn hi kəˈmændɪd ə tæŋk pləˈtun ɪn ˈʤərməni ɪn ðə tˈwaɪˌlaɪt əv ðə koʊld wɔr. ɔn ˈθərzˌdeɪ, hi meɪd klɪr hi wɑz ˈrɛdi tɪ teɪk ɔn oʊld ˈædvərˌsɛri ɪf kənˈfərmd ɛz dɪˈrɛktər əv ðə ˈsɛntrəl ˌɪnˈtɛləʤəns ˈeɪʤənsi. bət duɪŋ soʊ meɪ rɪˈzəlt ɪn ə ˈbætəl ˈkloʊzər tɪ hoʊm: ˈmɪstər. ˈpoʊmpioʊ ənd ðə c.i.a*. ˈvərsəz ˈdɑnəld ʤeɪ. trəmp, huz əv ðə ˌɪnˈtɛləʤəns ˈeɪʤənsiz həz ˈoʊpənd ən ˌɛkstrəˈɔrdəˌnɛri briʧ bɪtˈwin ən ˈɪnˌkəmɪŋ ˈprɛzɪdənt ənd ðə spaɪz hu wɪl sərv ɪm. ðə kˈwɛʃən ˈhæŋɪŋ ˈoʊvər ˈmɪstər. ˈpoʊmpioʊ, ənd 17 ˌɪnˈtɛləʤəns ˈeɪʤənsiz, ɪz haʊ tɪ ˈhændəl ə ˈprɛzɪdənt hu ɛmˈbreɪsɪz ˈprɛzɪdənt vˈlædəmɪr vi. ˈputɪn əv ˈrəʃə waɪl ðə ˈeɪʤənsi traɪz tɪ kip ˈrəʃə ɪn ʧɛk. soʊ fɑr, ˈnəθɪŋ ɪn ðə ˈhɪstəri həz priˈpɛrd ɪt tɪ dil wɪθ ə ˈprɛzɪdənt hu ɪz ɛz ˈoʊpənli dərˈɪsɪv əv ɪts wərk ɛz ˈmɪstər. trəmp. ðə dɪˈspjut həz stoʊkt fɪrz æt ðə c.i.a*. ðət ˈmɪstər. trəmp, wəns ɪn ˈɔfəs, kʊd hɔlt ər sik tɪ ˈlɪmət ˌɪnkˈwaɪəriz ˈɪntu ˈrəʃən ˈhækɪŋ ənd ˈəðər ˈɪʃuz ðət hi həz dɪsˈmɪst ɛz ˈplɪtɪkli ˈmoʊtəˌveɪtəd smɪrz, ˈkɑrənt ənd ˈfɔrmər ˈeɪʤənsi əˈfɪʃəlz sɛd.
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thinking about leaving new york? a recent report from united van lines shows that most people are moving to the following states. thinking about leaving new york? a recent report from united van lines shows that most people are moving to the following states. photo: john carl buy photo photo: john carl image 1 of / 28 caption close people moving from new york outnumber arrivals by nearly two-to-one, report says 1 / 28 back to gallery
united van lines reported tuesday that nearly two-thirds of the moves involving new york households were outbound, a higher proportion than any other state except new jersey and illinois.
the 2016 national movers study by fenton, mo.- based united also found that almost 59 percent of the moves within the eastern united states were outbound.
where were people moving? mostly to western states and the carolinas, with one exception. that exception was vermont, which ranked second on the list of states with the highest proportion -- 67 percent -- of inbound moves.
south dakota had the highest share of inbound moves, at 68 percent.
new jersey and illinois, like new york, saw outbound moves making up 63 percent of all moves.
"this year's data clearly reflects retirees' location preferences," said michael stoll, an economist and professor at the university of california, los angeles. "interestingly enough, these retirees are leaving at such a fast pace that the movement of to urban areas in the midwest and northeast is being overshadowed."
in new york, inbound were 27 percent of inbound moves and 19 percent of those moving out. but of those over 65, 26 percent were outbound and 20 percent were inbound.
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ˈθɪŋkɪŋ əˈbaʊt ˈlivɪŋ nu jɔrk? ə ˈrisənt rɪˈpɔrt frəm juˈnaɪtɪd væn laɪnz ʃoʊz ðət moʊst ˈpipəl ər ˈmuvɪŋ tɪ ðə ˈfɑloʊɪŋ steɪts. ˈθɪŋkɪŋ əˈbaʊt ˈlivɪŋ nu jɔrk? ə ˈrisənt rɪˈpɔrt frəm juˈnaɪtɪd væn laɪnz ʃoʊz ðət moʊst ˈpipəl ər ˈmuvɪŋ tɪ ðə ˈfɑloʊɪŋ steɪts. ˈfoʊˌtoʊ: ʤɑn kɑrl baɪ ˈfoʊˌtoʊ ˈfoʊˌtoʊ: ʤɑn kɑrl ˈɪmɪʤ 1 əv 28 ˈkæpʃən kloʊz ˈpipəl ˈmuvɪŋ frəm nu jɔrk aʊtˈnəmbər ərˈaɪvəlz baɪ ˈnɪrli two-to-one*, rɪˈpɔrt sɪz 1 28 bæk tɪ ˈgæləri juˈnaɪtɪd væn laɪnz ˌriˈpɔrtəd ˈtuzˌdeɪ ðət ˈnɪrli ˌtuˈθərdz əv ðə muvz ˌɪnˈvɑlvɪŋ nu jɔrk ˈhaʊsˌhoʊldz wər ˈaʊtˌbaʊnd, ə haɪər prəˈpɔrʃən ðən ˈɛni ˈəðər steɪt ɪkˈsɛpt nu ˈʤərzi ənd ˌɪləˈnɔɪz. ðə 2016 ˈnæʃənəl ˈmuvərz ˈstədi baɪ ˈfɛntən, moʊ.- beɪst juˈnaɪtɪd ˈɔlsoʊ faʊnd ðət ˈɔlˌmoʊst 59 pərˈsɛnt əv ðə muvz wɪˈθɪn ðə ˈistərn juˈnaɪtɪd steɪts wər ˈaʊtˌbaʊnd. wɛr wər ˈpipəl ˈmuvɪŋ? ˈmoʊstli tɪ ˈwɛstərn steɪts ənd ðə ˌkɛrəˈlaɪnəz, wɪθ wən ɪkˈsɛpʃən. ðət ɪkˈsɛpʃən wɑz vərˈmɑnt, wɪʧ ræŋkt ˈsɛkənd ɔn ðə lɪst əv steɪts wɪθ ðə haɪəst prəˈpɔrʃən 67 pərˈsɛnt əv ˌɪnˈbaʊnd muvz. saʊθ dəˈkoʊtə hæd ðə haɪəst ʃɛr əv ˌɪnˈbaʊnd muvz, æt 68 pərˈsɛnt. nu ˈʤərzi ənd ˌɪləˈnɔɪz, laɪk nu jɔrk, sɔ ˈaʊtˌbaʊnd muvz ˈmeɪkɪŋ əp 63 pərˈsɛnt əv ɔl muvz. "ðɪs jɪrz ˈdætə ˈklɪrli rɪˈflɛkts riˈtaɪˈriz' loʊˈkeɪʃən ˈprɛfərənsɪz," sɛd ˈmaɪkəl stoʊl, ən ɪˈkɑnəmɪst ənd prəˈfɛsər æt ðə ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə, lɔs ˈænʤəlɪs. "ˈɪntəˌrɛstɪŋli ɪˈnəf, ðiz riˈtaɪˈriz ər ˈlivɪŋ æt səʧ ə fæst peɪs ðət ðə ˈmuvmənt əv tɪ ˈərbən ˈɛriəz ɪn ðə ˌmɪdˈwɛst ənd ˌnɔrˈθist ɪz biɪŋ ˌoʊvərˈʃædoʊd." ɪn nu jɔrk, ˌɪnˈbaʊnd wər 27 pərˈsɛnt əv ˌɪnˈbaʊnd muvz ənd 19 pərˈsɛnt əv ðoʊz ˈmuvɪŋ aʊt. bət əv ðoʊz ˈoʊvər 65 26 pərˈsɛnt wər ˈaʊtˌbaʊnd ənd 20 pərˈsɛnt wər ˌɪnˈbaʊnd.
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president-elect donald threats against china and its policies could ultimately hurt apple, the chinese government said on monday.
the global times, a news agency in china, on monday issued its strongest rebuke of trump and his policies, saying that if he “wrecks sino-u.s. trade,” several u.s. industries could be “impaired.” the news outlet, which called trump “naive,” signaled (aapl) iphone sales could be targeted by the chinese government.
“china will take a tit-for-tat approach then,” the global times threatens in its editorial. “a batch of boeing orders will be replaced by airbus. u.s. auto and iphone sales in china will suffer a setback, and u.s. soybean and maize imports will be halted. china can also limit the number of chinese students studying in the u.s.”
trump was one of the most outspoken critics of trade with china during the protracted presidential campaign. he said on numerous occasions that china was acting unfairly in its trade dealings with the u.s. and said he would label the government as a “currency manipulator” when he becomes president. trump said earlier this year that he could impose expensive tariffs on chinese imports and has called the chinese government the biggest thief.
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while china has not said that it will definitely engage in activities that could hurt american companies, little stopping it from doing so. china, after all, has an grip on the trade in its country and has banned several american companies from its borders, including google, facebook, and others. limiting sales on iphones, then, be much of a stretch.
for affected companies, china trouble could be disconcerting. the country has a massive middle class anxiously demanding the latest and greatest products. american companies have generated massive sums of revenue in the country despite trade regulations and continue to believe china will be critical to their growth and profit in the future.
apple, one of the companies china cited in its editorial on monday, last quarter generated nearly $9 billion in revenue in the country. while that figure was down 30% year-over-year, during an earnings call with investors and analysts, ceo tim cook said he believes china will continue to play an integral role in his operation in the coming years.
american presidents have for years criticized china for some of its trade policies, but none have gone so far as to impose the expensive tariff on the goods trump has floated. trump, though, has said that he would be acting in the best interests of the american people by taking a tougher stance against china.
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there has been some debate over how much influence a president trump could actually have over trade between the countries. even the global times acknowledged that in its editorial, saying that even a president trump “can exert limited influence” on what it believes is a mutually beneficial and “win-win” relationship for both countries.
still, the global times ends its editorial with a prediction on how trump could be viewed if he engages in a trade war with china, questioning if the u.s. media is attempting to bait trump into a mistake.
“the new president will be condemned for his recklessness, ignorance and incompetence and bear all the consequences,” the global times predicts, adding “very suspicious the trade war scenario is a trap set up by some american media to trip up the new president.”
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president-elect* ˈdɑnəld θrɛts əˈgɛnst ˈʧaɪnə ənd ɪts ˈpɑləsiz kʊd ˈəltəmətli hərt ˈæpəl, ðə ʧaɪˈniz ˈgəvərnmənt sɛd ɔn ˈmənˌdeɪ. ðə ˈgloʊbəl taɪmz, ə nuz ˈeɪʤənsi ɪn ˈʧaɪnə, ɔn ˈmənˌdeɪ ˈɪʃud ɪts ˈstrɔŋgəst rɪˈbjuk əv trəmp ənd hɪz ˈpɑləsiz, seɪɪŋ ðət ɪf hi sino-u.s*. trade,”*,” ˈsɛvərəl juz. ˈɪndəstriz kʊd bi ““impaired.”*.” ðə nuz ˈaʊˌtlɛt, wɪʧ kɔld trəmp ““naive,”*,” ˈsɪgnəld (aapl*) ˈaɪˌfoʊn seɪlz kʊd bi ˈtɑrgətɪd baɪ ðə ʧaɪˈniz ˈgəvərnmənt. wɪl teɪk ə ˈtɪtˌfɔrˈtæt əˈproʊʧ then,”*,” ðə ˈgloʊbəl taɪmz θˈrɛtənz ɪn ɪts ˌɛdəˈtɔriəl. bæʧ əv boʊɪŋ ˈɔrdərz wɪl bi ˌriˈpleɪst baɪ ˈɛrbəs. juz. ˈɔtoʊ ənd ˈaɪˌfoʊn seɪlz ɪn ˈʧaɪnə wɪl ˈsəfər ə ˈsɛtˌbæk, ənd juz. ˈsɔɪˌbin ənd meɪz ˌɪmˈpɔrts wɪl bi ˈhɔltɪd. ˈʧaɪnə kən ˈɔlsoʊ ˈlɪmət ðə ˈnəmbər əv ʧaɪˈniz ˈstudənts ˈstədiɪŋ ɪn ðə u.s.”*.” trəmp wɑz wən əv ðə moʊst ˈaʊtˈspoʊkən ˈkrɪtɪks əv treɪd wɪθ ˈʧaɪnə ˈdʊrɪŋ ðə proʊˈtræktɪd ˌprɛzɪˈdɛnʃəl kæmˈpeɪn. hi sɛd ɔn ˈnumərəs ɔˈkeɪʒənz ðət ˈʧaɪnə wɑz ˈæktɪŋ ənˈfɛrli ɪn ɪts treɪd ˈdilɪŋz wɪθ ðə juz. ənd sɛd hi wʊd ˈleɪbəl ðə ˈgəvərnmənt ɛz ə manipulator”*” wɪn hi bɪˈkəmz ˈprɛzɪdənt. trəmp sɛd ˈərliər ðɪs jɪr ðət hi kʊd ˌɪmˈpoʊz ɪkˈspɛnsɪv ˈtɛrəfs ɔn ʧaɪˈniz ˌɪmˈpɔrts ənd həz kɔld ðə ʧaɪˈniz ˈgəvərnmənt ðə ˈbɪgəst θif. gɪt ˈdætə ʃit, tɛkˈnɑləʤi ˈnuzˌlɛtər waɪl ˈʧaɪnə həz nɑt sɛd ðət ɪt wɪl ˈdɛfənətli ɪnˈgeɪʤ ɪn ækˈtɪvɪtiz ðət kʊd hərt əˈmɛrɪkən ˈkəmpəˌniz, ˈlɪtəl ˈstɑpɪŋ ɪt frəm duɪŋ soʊ. ˈʧaɪnə, ˈæftər ɔl, həz ən grɪp ɔn ðə treɪd ɪn ɪts ˈkəntri ənd həz bænd ˈsɛvərəl əˈmɛrɪkən ˈkəmpəˌniz frəm ɪts ˈbɔrdərz, ˌɪnˈkludɪŋ ˈgugəl, ˈfeɪsˌbʊk, ənd ˈəðərz. ˈlɪmətɪŋ seɪlz ɔn ˈaɪˌfoʊnz, ðɛn, bi məʧ əv ə strɛʧ. fər əˈfɛktɪd ˈkəmpəˌniz, ˈʧaɪnə ˈtrəbəl kʊd bi ˌdɪskənˈsərtɪŋ. ðə ˈkəntri həz ə ˈmæsɪv ˈmɪdəl klæs ˈæŋkʃəsli dɪˈmændɪŋ ðə ˈleɪtəst ənd ˈgreɪtəst ˈprɑdəkts. əˈmɛrɪkən ˈkəmpəˌniz hæv ˈʤɛnərˌeɪtɪd ˈmæsɪv səmz əv ˈrɛvəˌnu ɪn ðə ˈkəntri dɪˈspaɪt treɪd ˌrɛgjəˈleɪʃənz ənd kənˈtɪnju tɪ bɪˈliv ˈʧaɪnə wɪl bi ˈkrɪtɪkəl tɪ ðɛr groʊθ ənd ˈprɑfɪt ɪn ðə fˈjuʧər. ˈæpəl, wən əv ðə ˈkəmpəˌniz ˈʧaɪnə ˈsaɪtɪd ɪn ɪts ˌɛdəˈtɔriəl ɔn ˈmənˌdeɪ, læst kˈwɔrtər ˈʤɛnərˌeɪtɪd ˈnɪrli 9 ˈbɪljən ɪn ˈrɛvəˌnu ɪn ðə ˈkəntri. waɪl ðət ˈfɪgjər wɑz daʊn 30 year-over-year*, ˈdʊrɪŋ ən ˈərnɪŋz kɔl wɪθ ˌɪnˈvɛstərz ənd ˈænəlɪsts, ˈsiˌiˈoʊ tɪm kʊk sɛd hi bɪˈlivz ˈʧaɪnə wɪl kənˈtɪnju tɪ pleɪ ən ˈɪnəgrəl roʊl ɪn hɪz ˌɑpərˈeɪʃən ɪn ðə ˈkəmɪŋ jɪrz. əˈmɛrɪkən ˈprɛzɪˌdɛnts hæv fər jɪrz ˈkrɪtəˌsaɪzd ˈʧaɪnə fər səm əv ɪts treɪd ˈpɑləsiz, bət nən hæv gɔn soʊ fɑr ɛz tɪ ˌɪmˈpoʊz ðə ɪkˈspɛnsɪv ˈtɛrəf ɔn ðə gʊdz trəmp həz ˈfloʊtɪd. trəmp, ðoʊ, həz sɛd ðət hi wʊd bi ˈæktɪŋ ɪn ðə bɛst ˈɪntərɪsts əv ðə əˈmɛrɪkən ˈpipəl baɪ ˈteɪkɪŋ ə ˈtəfər stæns əˈgɛnst ˈʧaɪnə. fər mɔr əˈbaʊt ˈaɪˌfoʊn 7 wɔʧ: ðɛr həz bɪn səm dəˈbeɪt ˈoʊvər haʊ məʧ ˈɪnfluəns ə ˈprɛzɪdənt trəmp kʊd ˈæˌkʧuəli hæv ˈoʊvər treɪd bɪtˈwin ðə ˈkəntriz. ˈivɪn ðə ˈgloʊbəl taɪmz ækˈnɑlɪʤd ðət ɪn ɪts ˌɛdəˈtɔriəl, seɪɪŋ ðət ˈivɪn ə ˈprɛzɪdənt trəmp ɪgˈzərt ˈlɪmɪtɪd influence”*” ɔn wət ɪt bɪˈlivz ɪz ə mˈjuʧuəli ˌbɛnəˈfɪʃəl ənd ““win-win”*” riˈleɪʃənˌʃɪp fər boʊθ ˈkəntriz. stɪl, ðə ˈgloʊbəl taɪmz ɛndz ɪts ˌɛdəˈtɔriəl wɪθ ə priˈdɪkʃən ɔn haʊ trəmp kʊd bi vjud ɪf hi ɪnˈgeɪʤɪz ɪn ə treɪd wɔr wɪθ ˈʧaɪnə, kˈwɛsʧənɪŋ ɪf ðə juz. ˈmidiə ɪz əˈtɛmptɪŋ tɪ beɪt trəmp ˈɪntu ə mɪˈsteɪk. nu ˈprɛzɪdənt wɪl bi kənˈdɛmd fər hɪz ˈrɛkləsnəs, ˈɪgnərəns ənd ˌɪnˈkɑmpətəns ənd bɛr ɔl ðə consequences,”*,” ðə ˈgloʊbəl taɪmz prɪˈdɪkts, ˈædɪŋ səˈspɪʃəs ðə treɪd wɔr sɪˈnɛrioʊ ɪz ə træp sɛt əp baɪ səm əˈmɛrɪkən ˈmidiə tɪ trɪp əp ðə nu president.”*.”
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when j. heard that the invoice generation code had started to run slowly, alarm bells sounded in his head. the invoicing system hadn't been touched in a long while, no business process had changed, no new outside interfaces, no hardware changes, no logical reason that it wouldn't be running as quickly as it always had. in fact, this was just the step that generated the invoice; not invoice items, just creating a draft invoice. a single insert that would produce a single row.
yohan started by checking the invoice table to get a spread of invoices over the past few months to see if volume had increased substantially. it hadn't. though, oddly, the invoice numbers were all over the board. he spotted an 000015 and a 702438 that were created within hours of eachother. how is it even generating these? he wondered, expecting to find a constraint on the column containing an algorithm to generate the invoice numbers.
create table if not exists `invoices` ( `code`) not null default '000000', `dtcode` date not null default '0000-00-00', `type`) not null default '', ) default;
damn, not even the decency to enforce a primary key constraint on the code column. oh well, on to the stored procedure that generates the new invoice codes. ha, just kidding! there was no stored procedure. invoice codes were generated in the code:
no keys in the table, no enforced uniqueness of invoice numbers, and a while loop using a random number generator until it stumbles on an unused invoice number. yup, this code has wound up right where it belongs.
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wɪn ʤeɪ. hərd ðət ðə ˈɪnvɔɪs ˌʤɛnərˈeɪʃən koʊd hæd ˈstɑrtɪd tɪ rən sˈloʊli, əˈlɑrm bɛlz ˈsaʊndɪd ɪn hɪz hɛd. ðə ˈɪnˌvɔɪsɪŋ ˈsɪstəm ˈhædənt bɪn təʧt ɪn ə lɔŋ waɪl, noʊ ˈbɪznɪs ˈprɔˌsɛs hæd ʧeɪnʤd, noʊ nu ˈaʊtˈsaɪd ˈɪnərˌfeɪsɪz, noʊ ˈhɑrdˌwɛr ˈʧeɪnʤɪz, noʊ ˈlɑʤɪkəl ˈrizən ðət ɪt ˈwʊdənt bi ˈrənɪŋ ɛz kˈwɪkli ɛz ɪt ˈɔlˌweɪz hæd. ɪn fækt, ðɪs wɑz ʤɪst ðə stɛp ðət ˈʤɛnərˌeɪtɪd ðə ˈɪnvɔɪs; nɑt ˈɪnvɔɪs ˈaɪtəmz, ʤɪst kriˈeɪtɪŋ ə dræft ˈɪnvɔɪs. ə ˈsɪŋgəl ˌɪnˈsərt ðət wʊd ˈproʊdus ə ˈsɪŋgəl roʊ. ˈstɑrtɪd baɪ ˈʧɛkɪŋ ðə ˈɪnvɔɪs ˈteɪbəl tɪ gɪt ə sprɛd əv ˈɪnvɔɪsɪz ˈoʊvər ðə pæst fju mənθs tɪ si ɪf ˈvɑljum hæd ˌɪnˈkrist səbˈstænʃəli. ɪt ˈhædənt. ðoʊ, ˈɑdli, ðə ˈɪnvɔɪs ˈnəmbərz wər ɔl ˈoʊvər ðə bɔrd. hi ˈspɑtɪd ən 000015 ənd ə 702438 ðət wər kriˈeɪtɪd wɪˈθɪn aʊərz əv eachother*. haʊ ɪz ɪt ˈivɪn ˈʤɛnərˌeɪtɪŋ ðiz? hi ˈwəndərd, ɪkˈspɛktɪŋ tɪ faɪnd ə kənˈstreɪnt ɔn ðə ˈkɑləm kənˈteɪnɪŋ ən ˈælgərˌɪðəm tɪ ˈʤɛnərˌeɪt ðə ˈɪnvɔɪs ˈnəmbərz. kriˈeɪt ˈteɪbəl ɪf nɑt ɪgˈzɪsts `ˈɪnvɔɪsɪz` `koʊd` nɑt nəl dɪˈfɔlt 000000 `dtcode*` deɪt nɑt nəl dɪˈfɔlt `taɪp` nɑt nəl dɪˈfɔlt dɪˈfɔlt dæm, nɑt ˈivɪn ðə ˈdisənsi tɪ ɛnˈfɔrs ə ˈpraɪˌmɛri ki kənˈstreɪnt ɔn ðə koʊd ˈkɑləm. oʊ wɛl, ɔn tɪ ðə stɔrd prəˈsiʤər ðət ˈʤɛnərˌeɪts ðə nu ˈɪnvɔɪs koʊdz. hɑ, ʤɪst ˈkɪdɪŋ! ðɛr wɑz noʊ stɔrd prəˈsiʤər. ˈɪnvɔɪs koʊdz wər ˈʤɛnərˌeɪtɪd ɪn ðə koʊd: noʊ kiz ɪn ðə ˈteɪbəl, noʊ ɛnˈfɔrst juˈniknəs əv ˈɪnvɔɪs ˈnəmbərz, ənd ə waɪl lup ˈjuzɪŋ ə ˈrændəm ˈnəmbər ˈʤɛnərˌeɪtər ənˈtɪl ɪt ˈstəmbəlz ɔn ən ənˈjuzd ˈɪnvɔɪs ˈnəmbər. jəp, ðɪs koʊd həz wund əp raɪt wɛr ɪt bɪˈlɔŋz.
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eureka (ap) police in northern california say a man robbed a gas station only to return hours later to give the money back and apologize.
eureka police sgt. steve watson said sunday that warren abbott jr. told officers he needed cash to leave town for a fresh start but then realized his mistake.
watson says abbott first entered the gas station demanding cash with what the clerk believed was a semiautomatic handgun.
he says the clerk gave abbott some cash, and abbott left, also taking two bottles of beer.
watson says three hours later abbott returned, giving back most of the cash and saying he was sorry.
watson says the weapon turned out to be a gun, which officers found.
abbott was booked into jail on $50,000 bail.
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jʊˈrikə (ˌeɪˈpi) pəˈlis ɪn ˈnɔrðərn ˌkæləˈfɔrnjə seɪ ə mæn rɑbd ə gæs ˈsteɪʃən ˈoʊnli tɪ rɪˈtərn aʊərz ˈleɪtər tɪ gɪv ðə ˈməni bæk ənd əˈpɑləˌʤaɪz. jʊˈrikə pəˈlis ˈsɑrʤənt. stiv ˈwɑtsən sɛd ˈsənˌdi ðət ˈwɔrən ˈæbət jr*. toʊld ˈɔfɪsərz hi ˈnidɪd kæʃ tɪ liv taʊn fər ə frɛʃ stɑrt bət ðɛn ˈriəˌlaɪzd hɪz mɪˈsteɪk. ˈwɑtsən sɪz ˈæbət fərst ˈɛnərd ðə gæs ˈsteɪʃən dɪˈmændɪŋ kæʃ wɪθ wət ðə klərk bɪˈlivd wɑz ə ˌsɛmɪˌɔtəˈmætɪk ˈhændˌgən. hi sɪz ðə klərk geɪv ˈæbət səm kæʃ, ənd ˈæbət lɛft, ˈɔlsoʊ ˈteɪkɪŋ tu ˈbɑtəlz əv bɪr. ˈwɑtsən sɪz θri aʊərz ˈleɪtər ˈæbət rɪˈtərnd, ˈgɪvɪŋ bæk moʊst əv ðə kæʃ ənd seɪɪŋ hi wɑz ˈsɑri. ˈwɑtsən sɪz ðə ˈwɛpən tərnd aʊt tɪ bi ə gən, wɪʧ ˈɔfɪsərz faʊnd. ˈæbət wɑz bʊkt ˈɪntu ʤeɪl ɔn beɪl.
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ashlee simpson defends jessica simpson's weight (photos)
the internet went crazy yesterday after photos surfaced like she had put on some pounds . the singer performed at a concert put on by radio kiss in conjunction with an annual chili in pembroke pines, florida on sunday.
jessica's little sister simpson is disgusted with all the attention that the news is giving to her sister's weight. took the time to address this situation on her blog.
"since when did a woman's weight become newsworthy. a week after the inauguration and with such a feeling of hope in the air for our country, i find it completely embarrassing and belittling to all the women to read about a woman's weight or figure. all women come in different shapes, sizes and forms and because you're a celebrity, there shouldn't be a different standard."
ok, we don't think she's overweight, what we do think is that her stylist is to blame and that person should get fired asap. those awful pants would make anyone look like they have put on a few pounds and the belt right under her chest isn't doing anything positive for her figure either.
more photos below, including a few from her 'daisy duke' days.
chili photos:
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ashlee* ˈsɪmpsən dɪˈfɛndz ˈʤɛsɪkə ˈsɪmpsənz weɪt (ˈfoʊˌtoʊz) ðə ˈɪntərˌnɛt wɛnt ˈkreɪzi ˈjɛstərˌdeɪ ˈæftər ˈfoʊˌtoʊz ˈsərfɪst laɪk ʃi hæd pʊt ɔn səm paʊnz ðə ˈsɪŋər pərˈfɔrmd æt ə ˈkɑnsərt pʊt ɔn baɪ ˈreɪdiˌoʊ kɪs ɪn kənˈʤəŋkʃən wɪθ ən ˈænjuəl ˈʧɪli ɪn ˈpɛmˌbroʊk paɪnz, ˈflɔrɪdə ɔn ˈsənˌdi. ˈʤɛsɪkəz ˈlɪtəl ˈsɪstər ˈsɪmpsən ɪz dɪsˈgəstɪd wɪθ ɔl ðə əˈtɛnʃən ðət ðə nuz ɪz ˈgɪvɪŋ tɪ hər ˈsɪstərz weɪt. tʊk ðə taɪm tɪ ˈæˌdrɛs ðɪs ˌsɪʧuˈeɪʃən ɔn hər blɔg. "sɪns wɪn dɪd ə ˈwʊmənz weɪt bɪˈkəm ˈnuzˌwərði. ə wik ˈæftər ðə ˌɪˌnɔgjəˈreɪʃən ənd wɪθ səʧ ə ˈfilɪŋ əv hoʊp ɪn ðə ɛr fər ɑr ˈkəntri, aɪ faɪnd ɪt kəmˈplitli ɪmˈbɛrəsɪŋ ənd bɪˈlɪtəlɪŋ tɪ ɔl ðə ˈwɪmən tɪ rɛd əˈbaʊt ə ˈwʊmənz weɪt ər ˈfɪgjər. ɔl ˈwɪmən kəm ɪn ˈdɪfərənt ʃeɪps, ˈsaɪzɪz ənd fɔrmz ənd bɪˈkəz jʊr ə səˈlɛbrɪti, ðɛr ˈʃʊdənt bi ə ˈdɪfərənt ˈstændərd." ˈoʊˈkeɪ, wi doʊnt θɪŋk ʃiz ˌoʊvərˈweɪt, wət wi du θɪŋk ɪz ðət hər ˈstaɪlɪst ɪz tɪ bleɪm ənd ðət ˈpərsən ʃʊd gɪt faɪərd ˈeɪˌsæp. ðoʊz ˈɔfəl pænts wʊd meɪk ˈɛniˌwən lʊk laɪk ðeɪ hæv pʊt ɔn ə fju paʊnz ənd ðə bɛlt raɪt ˈəndər hər ʧɛst ˈɪzənt duɪŋ ˈɛniˌθɪŋ ˈpɑzətɪv fər hər ˈfɪgjər ˈiðər. mɔr ˈfoʊˌtoʊz bɪˈloʊ, ˌɪnˈkludɪŋ ə fju frəm hər 'ˈdeɪzi duk' deɪz. ˈʧɪli ˈfoʊˌtoʊz:
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nightingale the
medium humanoid, neutral evil
armor class 16 (studded leather)
16 (studded leather) hit points 112 (16d8+40)
112 (16d8+40) speed 30ft.
str dex con wis cha 14 (+2) 18 (+4) 16 (+3) 12 (+1) 20 (+5) 9 (-1)
senses passive perception 20
passive perception 20 languages common
common challenge 7 (2,900 xp)
from the whistle of a nightingale. all the plants in 30 miles radius of the lair are dead.
he screams like a wild animal. nightingale can mimic any animal noises. a creature that hears the sounds can tell they are imitations with a successful dc 15 wisdom (insight) check.
actions
multiattack. nightingale makes either two ranged attacks with his shortbow, or two melee attacks with his yatagan.
whistle (recharge). each creature in a cone must make a dc 15 constitution saving throw or take 30 (6d8 + 3) thunder damage and be stunned for 1 minute. a creature can repeat the saving throw at the end of each of its turns, ending the effect on a success.
shortbow. ranged weapon attack: +7 to hit, reach 5ft., one target. hit: 7 (1d6 + 4) piercing damage.
yatagan. melee weapon attack: +7 to hit, reach 5ft., one target. hit: 7 (1d6 + 4) slashing damage.
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ˈnaɪtɪŋgeɪl ðə ˈmidiəm ˈhjuməˌnɔɪd, ˈnutrəl ˈivəl ˈɑrmər klæs 16 (ˈstədɪd ˈlɛðər) 16 (ˈstədɪd ˈlɛðər) hɪt pɔɪnts 112 112 spid 30ft*. dɛks kɑn wɪs ʧɑ 14 2 18 4 16 3 12 1 20 5 9 1 ˈsɛnsɪz ˈpæsɪv pərˈsɛpʃən 20 ˈpæsɪv pərˈsɛpʃən 20 ˈlæŋgwɪʤɪz ˈkɑmən ˈkɑmən ˈʧælənʤ 7 xp*) frəm ðə ˈwɪsəl əv ə ˈnaɪtɪŋgeɪl. ɔl ðə plænts ɪn 30 maɪəlz ˈreɪdiəs əv ðə lɛr ər dɛd. hi skrimz laɪk ə waɪld ˈænəməl. ˈnaɪtɪŋgeɪl kən ˈmɪmɪk ˈɛni ˈænəməl ˈnɔɪzɪz. ə ˈkriʧər ðət hirz ðə saʊnz kən tɛl ðeɪ ər ˌɪmɪˈteɪʃənz wɪθ ə səkˈsɛsfəl ˌdiˈsi 15 ˈwɪzdəm (ˈɪnˌsaɪt) ʧɛk. ˈækʃənz multiattack*. ˈnaɪtɪŋgeɪl meɪks ˈiðər tu reɪnʤd əˈtæks wɪθ hɪz shortbow*, ər tu ˈmeɪˌleɪ əˈtæks wɪθ hɪz yatagan*. ˈwɪsəl (riˈʧɑrʤ iʧ ˈkriʧər ɪn ə koʊn məst meɪk ə ˌdiˈsi 15 ˌkɑnstəˈtuʃən ˈseɪvɪŋ θroʊ ər teɪk 30 3 ˈθəndər ˈdæmɪʤ ənd bi stənd fər 1 ˈmɪnət. ə ˈkriʧər kən rɪˈpit ðə ˈseɪvɪŋ θroʊ æt ðə ɛnd əv iʧ əv ɪts tərnz, ˈɛndɪŋ ðə ˈifɛkt ɔn ə səkˈsɛs. shortbow*. reɪnʤd ˈwɛpən əˈtæk: 7 tɪ hɪt, riʧ 5ft*., wən ˈtərgət. hɪt: 7 4 ˈpɪrsɪŋ ˈdæmɪʤ. yatagan*. ˈmeɪˌleɪ ˈwɛpən əˈtæk: 7 tɪ hɪt, riʧ 5ft*., wən ˈtərgət. hɪt: 7 4 sˈlæʃɪŋ ˈdæmɪʤ.
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well, it certainly raises some in my mind.
earn2life.com, one of a number of such ‘get linden dollars for completing surveys’ that seen over the years, has raised funds through the second life capital exchange (slcapex, or just).
us-based service describes itself thusly: “capital exchange (capex) is a fictional stock market simulation game operating for entertainment and educational purposes only.” and “to be very clear, capital exchange is not a real-world stock exchange and does not offer opportunity for direct real-world investment or profit. shares purchased on this stock exchange simulation game do not entitle you to any legal real-world rights to a listed virtual company. please play accordingly!” from the web-site. emphasis is mine.
got all that?
russian second life user gassner, of has just received roughly fourteen and a dollars of err “entertainment and education” as more than 200 investors stumped up funds for his business’.
that’s million linden dollars with which he could buy some very real groceries, make mortgage payments, convert to any national currency, pay for his web-hosting, or just blow on beer and books.
in return, gassner has committed to paying 70% of the site profits to the couple of hundred investors. those dividends could then be spent on digital or physical goods services.
forgive me if that sound particularly fictional to me. a fictional exchange would imply no transfer of value, and value is clearly being exchanged. indeed, exists because of that trade.
fictional it isn’t. no more fictional than any other stock market, which trade in all manner of and intangibles as a matter-of-course. in fact, this looks a lot like trade in unregistered securities, which is generally considered quite naughty whether it is being done in us dollars or convertible moonbux.
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tags:.com, gassner,, linden dollar, opinion, russia, second life,, us dollar, usa, virtual environments and virtual worlds
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wɛl, ɪt ˈsərtənli ˈreɪzɪz səm ɪn maɪ maɪnd. earn2life.com*, wən əv ə ˈnəmbər əv səʧ ˈlɪndən ˈdɔlərz fər kəmˈplitɪŋ surveys’*’ ðət sin ˈoʊvər ðə jɪrz, həz reɪzd fəndz θru ðə ˈsɛkənd laɪf ˈkæpɪtəl ɪksˈʧeɪnʤ (slcapex*, ər ʤɪst). ˈsərvɪs dɪˈskraɪbz ˌɪtˈsɛlf ˈðəsli: ɪksˈʧeɪnʤ (capex*) ɪz ə ˈfɪkʃənəl stɑk ˈmɑrkɪt ˌsɪmjəˈleɪʃən geɪm ˈɔpərˌeɪtɪŋ fər ˌɛnərˈteɪnmənt ənd ˌɛʤəˈkeɪʃənəl ˈpərpəsɪz only.”*.” ənd bi ˈvɛri klɪr, ˈkæpɪtəl ɪksˈʧeɪnʤ ɪz nɑt ə ˈrilˌwərld stɑk ɪksˈʧeɪnʤ ənd dɪz nɑt ˈɔfər ˌɑpərˈtunəti fər dɪˈrɛkt ˈrilˌwərld ˌɪnˈvɛstmənt ər ˈprɑfɪt. ʃɛrz ˈpərʧəst ɔn ðɪs stɑk ɪksˈʧeɪnʤ ˌsɪmjəˈleɪʃən geɪm du nɑt ɪnˈtaɪtəl ju tɪ ˈɛni ˈligəl ˈrilˌwərld raɪts tɪ ə ˈlɪstɪd ˈvərʧuəl ˈkəmpəˌni. pliz pleɪ accordingly!”*!” frəm ðə web-site*. ˈɛmfəsɪs ɪz maɪn. gɑt ɔl ðət? ˈrəʃən ˈsɛkənd laɪf ˈjuzər ˈgæsnər, əv həz ʤɪst rɪˈsivd ˈrəfli ˌfɔrˈtin ənd ə ˈdɔlərz əv ɛr ənd education”*” ɛz mɔr ðən 200 ˌɪnˈvɛstərz stəmpt əp fəndz fər hɪz business’*’. ˈmɪljən ˈlɪndən ˈdɔlərz wɪθ wɪʧ hi kʊd baɪ səm ˈvɛri ril ˈgroʊsəriz, meɪk ˈmɔrgɪʤ ˈpeɪmənts, ˈkɑnvərt tɪ ˈɛni ˈnæʃənəl ˈkərənsi, peɪ fər hɪz web-hosting*, ər ʤɪst bloʊ ɔn bɪr ənd bʊks. ɪn rɪˈtərn, ˈgæsnər həz kəˈmɪtɪd tɪ peɪɪŋ 70 əv ðə saɪt ˈprɑfɪts tɪ ðə ˈkəpəl əv ˈhənərd ˌɪnˈvɛstərz. ðoʊz ˈdɪvɪˌdɛndz kʊd ðɛn bi spɛnt ɔn ˈdɪʤɪtəl ər ˈfɪzɪkəl gʊdz ˈsərvɪsɪz. fərˈgɪv mi ɪf ðət saʊnd ˌpɑrˈtɪkjələrli ˈfɪkʃənəl tɪ mi. ə ˈfɪkʃənəl ɪksˈʧeɪnʤ wʊd ˌɪmˈplaɪ noʊ ˈtrænsfər əv ˈvælju, ənd ˈvælju ɪz ˈklɪrli biɪŋ ɪksˈʧeɪnʤd. ˌɪnˈdid, ɪgˈzɪsts bɪˈkəz əv ðət treɪd. ˈfɪkʃənəl ɪt isn’t*. noʊ mɔr ˈfɪkʃənəl ðən ˈɛni ˈəðər stɑk ˈmɑrkɪt, wɪʧ treɪd ɪn ɔl ˈmænər əv ənd ˌɪnˈtænʤəbəlz ɛz ə matter-of-course*. ɪn fækt, ðɪs lʊks ə lɔt laɪk treɪd ɪn ənˈrɛʤɪstərd sɪˈkjʊrətiz, wɪʧ ɪz ˈʤɛnərəli kənˈsɪdərd kwaɪt ˈnɔti ˈwɛðər ɪt ɪz biɪŋ dən ɪn ˈjuˈɛs ˈdɔlərz ər kənˈvərtəbəl moonbux*. ʃɛr ðɪs: tˈwɪtər ˈgugəl ˈfeɪsˌbʊk ˈtəmblər mɔr ˈpɑkət prɪnt tægz: earn2life.com*, ˈgæsnər,, ˈlɪndən ˈdɔlər, əˈpɪnjən, ˈrəʃə, ˈsɛkənd laɪf,, ˈjuˈɛs ˈdɔlər, ˈjuˈɛˈseɪ, ˈvərʧuəl ɪnˈvaɪrənmənts ənd ˈvərʧuəl wərldz
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in the future the years will most likely be referred to as a turning point in finnish political history. before this time, the crux of the political consensus was in maintaining the welfare state, whereas after this point it will been seen as building sustainable growth.
demos helsinki has the recent political discourse and recognised a clear and very recently appeared sustainable growth rhetoric.
this text gives suggestions and proposals as to how sustainable growth policy is brought to centre around concrete initiatives instead of remaining a short term political phrase like controlled structural change in the or responsible economic management in the early in finland.
what is sustainable growth?
the priorities are reducing poverty, inequality and social exclusion, consolidating public finances and promoting sustainable economic growth, employment and competitiveness.
the government programme of the new prime minister alexander thus describes the missions that unite all governing parties. along with more traditional themes, sustainable economic growth has found its way onto the list of the missions.
the government program was not the first instance where sustainable growth was brought to the fore. the sustainable growth department of the parliamentary committee for the future working group has operated since 2012, with the opposition lead sipilä as its chairman. the previous government led by prime minister published a government report on the future called well-being through sustainable growth in the autumn of 2013. sustainable growth has raised discussion in other contexts as well.
why talk about sustainable growth right now? for two reasons:
finland has reached a period of slow growth the scarcity of natural resources transforms societal structures and economic life
the political means to support long term (i.e. sustainable) growth are few and far between when macroeconomic preconditions change. throughout the second half of the century, finland experienced relatively fast paced economic growth, thanks to which we became one of the wealthiest and most wellbeing societies the finnish miracle, like the name of andré book published a couple of years back. today, however, further growth is impeded by trends such as demographic structure, the shift in the global economic centre of gravity, and changes in the crucial export industries. while politicians and officials continue to hail the importance of growth for the society, growth has become an increasingly elusive phenomenon.
in a highly developed country like finland with an educated population, growth cannot be pursued at all costs, and limitations related to human wellbeing and the physical capacity of the planet need to be taken seriously. this is also on the wish list of the finns themselves: the fourth finnish attitude survey published by the finnish business and policy forum (eva) in 2014 reveals that three fourths of finnish people considers the welfare state worthy of its cost, and over two thirds believes that current style economic growth is detrimental to both nature and the human kind in the long run.
the idea of sustainable growth comes very close to sustainable development, which has been on the table since the. its definition originates from the brundtland commission report our common future. its guiding principle is increasing the living standards of the poorest section of world population without infringing upon the opportunities of future generations.
sustainable growth introduces a new attitude towards long-term thinking into politics. as the world around us changes, we are forced to evaluate the long-term impact of our actions more than before. as an example, due to climate and resource challenges, infrastructure development has to be resource smart. economic opportunities no longer only entail mastering new technologies, but rather necessitate making use of the business opportunities that the demand for solutions to global problems presents.
are sustainable growth and the welfare state incompatible?
since the 1970s, all political parties have unanimously agreed that the nordic welfare model is one of the strengths of the finnish society, and that its protection and enhancement may justify certain political reforms. the finnish welfare state is traditionally synonymous with a strong interventionist state that levels the inequalities of welfare between citizens and smooths out risks related to different phases of life. although differing views on the means (and to some extent ends) exist, no party has questioned the value base and principles of the welfare state.
political parties are unanimous in thinking that strong economic growth and the welfare state are interdependent. according to many a politician maintaining growth is a crucial part of welfare policy: wealth has to be created before it can be dealt. in this way the turn from the welfare state to sustainable growth may seem like a small shift in the focus of the related wording.
yet for the internal dynamics of politics, the shift is more substantial. it is a matter of opening up a new trail in the political discourse: while the importance of sustainable growth is acknowledged by all political actors, there are differing views on how to bring it about.
these differing views on how to realise sustainable growth may generate new coalitions. compared to the welfare state discourse, in the sustainable growth discussion there is a lot more leeway for different perspectives, and less focus on technical detail. in this way this kind of a shift in political wording is an appealing option for key party figures: letting go of the old and concentrating efforts on an equally important issue.
at this point, however, it is important to reflect upon the previous period of change in finnish politics, and remember that the welfare state policy started off as new growth policy. the initiatives that now comprise the welfare state improved the living conditions and capability of the population, which meant a healthier and more able labour force, and thus better productivity. the “welfare generates growth” line of thought was in the by kuusi, now often considered the main ideologist behind the finnish welfare model. the spread of this idea signified a great change in political thought: whereas before the aim of social policy had been to prevent conflicts arising from neighbourly love as well as from inequality, thereafter it was labelled as investment policy that builds the future of the nation.
can the rise of welfare policy be used as an example in developing sustainable growth policy?
the political discourse on sustainable growth is embodied in the thought that we need to invest in that which creates growth and develop the society. this definition, however, remains too narrow in that it leaves unmentioned the concrete things that we need to invest in to generate growth.
looking at global it is clear that sustainable growth needs to be based on a resource smart economy and on developing capabilities. these together form the foundation of societal development. has rid us of a large chunk of the barriers between learning and cooperation. the successful sectors of the future are ones that know how to motivate people to become curious about the future and about new possibilities for cooperation.
the most secure way to generate growth in times of global competition is to develop and solutions for the wicked problems of the human kind, such as climate change or lifestyle diseases. turning wicked problems and their solutions into business opportunities requires a certain set of skills, as do application of technology and international trade.
welfare policy first developed as a series of political initiatives that were, in essence, slowly accumulating investments into human wellbeing and growth. similar cutting edge initiatives are now needed for sustainable growth policy. we suggest that in the coming months, as part of their electoral and in the subsequent government negotiations, finnish politicians start building concrete initiatives for sustainable growth upon the following key areas:
investments for sustainable growth
generating sustainable growth requires new investments into resource smart infrastructure, abilities and new businesses. merely directing public funds into these areas is not enough. the focus of the investments made by other institutions and private individuals must also change.
the susceptibility of pension funds and other institutions to the carbon bubble, or their dependency on oil, coal and gas companies must be reduced. moreover the focus of investments has to shift towards impact investment: into initiatives and companies that alongside economic profit provide new solutions to social and healthcare services and resource intelligence.
new measures to promote consumer
the cutting edge sector of the finnish innovation and economic policy has in recent years been. its focus has been in industrial solutions based on innovations in companies of the process industries. is based upon the idea of resolving global wicked problems, and demand is likely to abound in the future as well. as the importance of traditional heavy export industries diminishes, it is important to extend the ground of finnish towards consumer services towards consumer. municipalities, construction companies and property owners can bring about experimental markets for new consumer companies. furthermore venture capital must be made available for consumer startups.
a broader perspective on work
the general line of thought in finland has been that jobs are created through investments by large companies. however, the ability of old companies to generate new jobs is unlikely to improve in the coming years. in the future, more and more jobs are created in small businesses and organisations or through. a paid job or can increasingly often be found through a hobby or voluntary work the boundaries between different types of activity fade. the entire field of employment policy must be and extended to make use of opportunities that arise from voluntary work and a new kind of entrepreneurship.
education built upon curiosity
we have reached a turning point in the development of capability: the role of traditional educational institutions in this development diminishes, and the old methods to maintain high performance in education lose effectiveness. the major challenge at all levels of education is strengthening the enthusiasm, motivation and curiosity of students. without a curious and enthusiastic attitude a portion of the students finish their studies too early, and the ability to apply that learnt school in the working life is left wanting. education policy has to gain courage to renew the various forms of education.
from caring of the sick to promoting health
the hottest political debate in recent years is that of developing the social service and healthcare system. the central aim has been to increase the productivity of the healthcare sector. hence, the focus has been on the most expensive areas of the service system: caring of the sick and social services. the greatest potential impact, however, lies in preventative measures. a lot less attention has been lent to this side of healthcare. the focus has to shift into developing the resources of communities and promoting healthcare broadly in the different areas of policy.
why is demos helsinki interested in sustainable growth?
sustainable growth has a lot in common with the main themes that demos helsinki works on: the resource smart economy and democracy of capabilities. sustainable growth necessitates search for a new direction for social and economic activity, and sets the boundaries and preconditions for development.
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ɪn ðə fˈjuʧər ðə jɪrz wɪl moʊst ˈlaɪkli bi rɪˈfərd tɪ ɛz ə ˈtərnɪŋ pɔɪnt ɪn ˈfɪnɪʃ pəˈlɪtɪkəl ˈhɪstəri. ˌbiˈfɔr ðɪs taɪm, ðə krəks əv ðə pəˈlɪtɪkəl kənˈsɛnsəs wɑz ɪn meɪnˈteɪnɪŋ ðə ˈwɛlˌfɛr steɪt, wɛˈræz ˈæftər ðɪs pɔɪnt ɪt wɪl bɪn sin ɛz ˈbɪldɪŋ səˈsteɪnəbəl groʊθ. ˈdɛˌmoʊz ˈhɛlsɪŋki həz ðə ˈrisənt pəˈlɪtɪkəl ˈdɪskɔrs ənd ˈrɛkəgˌnaɪzd ə klɪr ənd ˈvɛri ˈrisəntli əˈpɪrd səˈsteɪnəbəl groʊθ ˈrɛtərɪk. ðɪs tɛkst gɪvz səˈʤɛsʧənz ənd prəˈpoʊzəlz ɛz tɪ haʊ səˈsteɪnəbəl groʊθ ˈpɑləsi ɪz brɔt tɪ ˈsɛntər əraʊnd ˈkɑnkrit ˌɪˈnɪʃətɪvz ˌɪnˈstɛd əv rɪˈmeɪnɪŋ ə ʃɔrt tərm pəˈlɪtɪkəl freɪz laɪk kənˈtroʊld ˈstrəkʧərəl ʧeɪnʤ ɪn ðə ər riˈspɑnsəbəl ˌɛkəˈnɑmɪk ˈmænɪʤmənt ɪn ðə ˈərli ɪn ˈfɪnˌlænd. wət ɪz səˈsteɪnəbəl groʊθ? ðə praɪˈɔrətiz ər rɪˈdusɪŋ ˈpɑvərti, ˌɪnɪkˈwɑləti ənd ˈsoʊʃəl ɪkˈskluʒən, kənˈsɑləˌdeɪtɪŋ ˈpəblɪk ˈfaɪˌnænsɪz ənd prəˈmoʊtɪŋ səˈsteɪnəbəl ˌɛkəˈnɑmɪk groʊθ, ɪmˈplɔɪmənt ənd kəmˈpɛtɪtɪvnɪs. ðə ˈgəvərnmənt ˈproʊˌgræm əv ðə nu praɪm ˈmɪnɪstər ˌælɪgˈzændər ðəs dɪˈskraɪbz ðə ˈmɪʃənz ðət ˈjuˌnaɪt ɔl ˈgəvərnɪŋ ˈpɑrtiz. əˈlɔŋ wɪθ mɔr trəˈdɪʃənəl θimz, səˈsteɪnəbəl ˌɛkəˈnɑmɪk groʊθ həz faʊnd ɪts weɪ ˈɔntu ðə lɪst əv ðə ˈmɪʃənz. ðə ˈgəvərnmənt ˈproʊˌgræm wɑz nɑt ðə fərst ˈɪnstəns wɛr səˈsteɪnəbəl groʊθ wɑz brɔt tɪ ðə fɔr. ðə səˈsteɪnəbəl groʊθ dɪˈpɑrtmənt əv ðə ˌpɑrləˈmɛntəri kəˈmɪti fər ðə fˈjuʧər ˈwərkɪŋ grup həz ˈɑpərˌeɪtəd sɪns 2012 wɪθ ðə ˌɑpəˈzɪʃən lɛd sipilä*ä ɛz ɪts ˈʧɛrmən. ðə ˈpriviəs ˈgəvərnmənt lɛd baɪ praɪm ˈmɪnɪstər ˈpəblɪʃt ə ˈgəvərnmənt rɪˈpɔrt ɔn ðə fˈjuʧər kɔld ˌwɛlˈbiɪŋ θru səˈsteɪnəbəl groʊθ ɪn ðə ˈɔtəm əv 2013 səˈsteɪnəbəl groʊθ həz reɪzd dɪˈskəʃən ɪn ˈəðər ˈkɑnˌtɛksts ɛz wɛl. waɪ tɔk əˈbaʊt səˈsteɪnəbəl groʊθ raɪt naʊ? fər tu ˈrizənz: ˈfɪnˌlænd həz riʧt ə ˈpɪriəd əv sloʊ groʊθ ðə ˈskɛrsɪti əv ˈnæʧərəl ˈrisɔrsɪz trænsˈfɔrmz səˈsaɪɪtəl ˈstrəkʧərz ənd ˌɛkəˈnɑmɪk laɪf ðə pəˈlɪtɪkəl minz tɪ səˈpɔrt lɔŋ tərm (i.e*. səˈsteɪnəbəl) groʊθ ər fju ənd fɑr bɪtˈwin wɪn ˌmækroʊɛkəˈnɑmɪk ˌprikənˈdɪʃənz ʧeɪnʤ. θruaʊt ðə ˈsɛkənd hæf əv ðə ˈsɛnʧəri, ˈfɪnˌlænd ɪkˈspɪriənst ˈrɛlətɪvli fæst peɪst ˌɛkəˈnɑmɪk groʊθ, θæŋks tɪ wɪʧ wi bɪˈkeɪm wən əv ðə ˈwɛlθiəst ənd moʊst ˌwɛlˈbiɪŋ səˈsaɪɪtiz ðə ˈfɪnɪʃ ˈmɪrəkəl, laɪk ðə neɪm əv andré*é bʊk ˈpəblɪʃt ə ˈkəpəl əv jɪrz bæk. təˈdeɪ, ˌhaʊˈɛvər, ˈfərðər groʊθ ɪz ˌɪmˈpidɪd baɪ trɛnz səʧ ɛz ˌdɛməˈgræfɪk ˈstrəkʧər, ðə ʃɪft ɪn ðə ˈgloʊbəl ˌɛkəˈnɑmɪk ˈsɛntər əv ˈgrævɪti, ənd ˈʧeɪnʤɪz ɪn ðə ˈkruʃəl ˈɛkspɔrt ˈɪndəstriz. waɪl ˌpɑləˈtɪʃənz ənd əˈfɪʃəlz kənˈtɪnju tɪ heɪl ðə ˌɪmˈpɔrtəns əv groʊθ fər ðə soʊˈsaɪɪti, groʊθ həz bɪˈkəm ən ˌɪnˈkrisɪŋgli ɪˈlusɪv fəˈnɑməˌnɑn. ɪn ə ˈhaɪli dɪˈvɛləpt ˈkəntri laɪk ˈfɪnˌlænd wɪθ ən ˈɛʤəˌkeɪtɪd ˌpɑpjəˈleɪʃən, groʊθ ˈkænɑt bi pərˈsud æt ɔl kɔsts, ənd ˌlɪmɪˈteɪʃənz rɪˈleɪtɪd tɪ ˈjumən ˌwɛlˈbiɪŋ ənd ðə ˈfɪzɪkəl kəˈpæsɪti əv ðə ˈplænət nid tɪ bi ˈteɪkən ˈsɪriəsli. ðɪs ɪz ˈɔlsoʊ ɔn ðə wɪʃ lɪst əv ðə fɪnz ðɛmˈsɛlvz: ðə fɔrθ ˈfɪnɪʃ ˈætəˌtud ˈsərˌveɪ ˈpəblɪʃt baɪ ðə ˈfɪnɪʃ ˈbɪznɪs ənd ˈpɑləsi ˈfɔrəm (ˈivə) ɪn 2014 rɪˈvilz ðət θri fɔrθs əv ˈfɪnɪʃ ˈpipəl kənˈsɪdərz ðə ˈwɛlˌfɛr steɪt ˈwərði əv ɪts kɔst, ənd ˈoʊvər tu θərdz bɪˈlivz ðət ˈkɑrənt staɪl ˌɛkəˈnɑmɪk groʊθ ɪz ˌdɛtrəˈmɛnəl tɪ boʊθ ˈneɪʧər ənd ðə ˈjumən kaɪnd ɪn ðə lɔŋ rən. ðə aɪˈdiə əv səˈsteɪnəbəl groʊθ kəmz ˈvɛri kloʊz tɪ səˈsteɪnəbəl dɪˈvɛləpmənt, wɪʧ həz bɪn ɔn ðə ˈteɪbəl sɪns ðə. ɪts ˌdɛfəˈnɪʃən ərˈɪʤəˌneɪts frəm ðə ˈbrəntlənd kəˈmɪʃən rɪˈpɔrt ɑr ˈkɑmən fˈjuʧər. ɪts ˈgaɪdɪŋ ˈprɪnsəpəl ɪz ˌɪnˈkrisɪŋ ðə ˈlɪvɪŋ ˈstændərdz əv ðə ˈpurɪst ˈsɛkʃən əv wərld ˌpɑpjəˈleɪʃən wɪˈθaʊt ˌɪnˈfrɪnʤɪŋ əˈpɑn ðə ˌɑpərˈtunətiz əv fˈjuʧər ˌʤɛnərˈeɪʃənz. səˈsteɪnəbəl groʊθ ˌɪntrəˈdusɪz ə nu ˈætəˌtud təˈwɔrdz ˈlɔŋˈtərm ˈθɪŋkɪŋ ˈɪntu ˈpɑləˌtɪks. ɛz ðə wərld əraʊnd ˈjuˈɛs ˈʧeɪnʤɪz, wi ər fɔrst tɪ ɪˈvæljuˌeɪt ðə ˈlɔŋˈtərm ˌɪmˈpækt əv ɑr ˈækʃənz mɔr ðən ˌbiˈfɔr. ɛz ən ɪgˈzæmpəl, du tɪ ˈklaɪmɪt ənd ˈrisɔrs ˈʧælənʤɪz, ˌɪnfrəˈstrəkʧər dɪˈvɛləpmənt həz tɪ bi ˈrisɔrs smɑrt. ˌɛkəˈnɑmɪk ˌɑpərˈtunətiz noʊ ˈlɔŋgər ˈoʊnli ɛnˈteɪl ˈmæstərɪŋ nu tɛkˈnɑləʤiz, bət ˈrəðər nəˈsɛsəˌteɪt ˈmeɪkɪŋ juz əv ðə ˈbɪznɪs ˌɑpərˈtunətiz ðət ðə dɪˈmænd fər səˈluʃənz tɪ ˈgloʊbəl ˈprɑbləmz ˈprɛzənts. ər səˈsteɪnəbəl groʊθ ənd ðə ˈwɛlˌfɛr steɪt ˌɪnkəmˈpætəbəl? sɪns ðə 1970s*, ɔl pəˈlɪtɪkəl ˈpɑrtiz hæv juˈnænəməsli əˈgrid ðət ðə ˈnɔrdɪk ˈwɛlˌfɛr ˈmɑdəl ɪz wən əv ðə strɛŋθs əv ðə ˈfɪnɪʃ soʊˈsaɪɪti, ənd ðət ɪts prəˈtɛkʃən ənd ɛnˈhænsmənt meɪ ˈʤəstəˌfaɪ ˈsərtən pəˈlɪtɪkəl rɪˈfɔrmz. ðə ˈfɪnɪʃ ˈwɛlˌfɛr steɪt ɪz trəˈdɪʃənəli səˈnɑnəməs wɪθ ə strɔŋ ˌɪntərˈvɛnʃənɪst steɪt ðət ˈlɛvəlz ðə ˌɪnɪkˈwɑlɪtiz əv ˈwɛlˌfɛr bɪtˈwin ˈsɪtɪzənz ənd smuðz aʊt rɪsks rɪˈleɪtɪd tɪ ˈdɪfərənt ˈfeɪzɪz əv laɪf. ˌɔlˈðoʊ ˈdɪfərɪŋ vjuz ɔn ðə minz (ənd tɪ səm ɪkˈstɛnt ɛndz) ɪgˈzɪst, noʊ ˈpɑrti həz kˈwɛsʧənd ðə ˈvælju beɪs ənd ˈprɪnsəpəlz əv ðə ˈwɛlˌfɛr steɪt. pəˈlɪtɪkəl ˈpɑrtiz ər juˈnænəməs ɪn ˈθɪŋkɪŋ ðət strɔŋ ˌɛkəˈnɑmɪk groʊθ ənd ðə ˈwɛlˌfɛr steɪt ər ˌɪntərdɪˈpɛndənt. əˈkɔrdɪŋ tɪ ˈmɛni ə ˌpɑləˈtɪʃən meɪnˈteɪnɪŋ groʊθ ɪz ə ˈkruʃəl pɑrt əv ˈwɛlˌfɛr ˈpɑləsi: wɛlθ həz tɪ bi kriˈeɪtɪd ˌbiˈfɔr ɪt kən bi dɛlt. ɪn ðɪs weɪ ðə tərn frəm ðə ˈwɛlˌfɛr steɪt tɪ səˈsteɪnəbəl groʊθ meɪ sim laɪk ə smɔl ʃɪft ɪn ðə ˈfoʊkɪs əv ðə rɪˈleɪtɪd ˈwərdɪŋ. jɛt fər ðə ˌɪnˈtərnəl daɪˈnæmɪks əv ˈpɑləˌtɪks, ðə ʃɪft ɪz mɔr səbˈstænʃəl. ɪt ɪz ə ˈmætər əv ˈoʊpənɪŋ əp ə nu treɪl ɪn ðə pəˈlɪtɪkəl ˈdɪskɔrs: waɪl ðə ˌɪmˈpɔrtəns əv səˈsteɪnəbəl groʊθ ɪz ækˈnɑlɪʤd baɪ ɔl pəˈlɪtɪkəl ˈæktərz, ðɛr ər ˈdɪfərɪŋ vjuz ɔn haʊ tɪ brɪŋ ɪt əˈbaʊt. ðiz ˈdɪfərɪŋ vjuz ɔn haʊ tɪ ˈriəˌlaɪz səˈsteɪnəbəl groʊθ meɪ ˈʤɛnərˌeɪt nu ˌkoʊəˈlɪʃənz. kəmˈpɛrd tɪ ðə ˈwɛlˌfɛr steɪt ˈdɪskɔrs, ɪn ðə səˈsteɪnəbəl groʊθ dɪˈskəʃən ðɛr ɪz ə lɔt mɔr ˈliˌweɪ fər ˈdɪfərənt pərˈspɛktɪvz, ənd lɛs ˈfoʊkɪs ɔn ˈtɛknɪkəl ˈditeɪl. ɪn ðɪs weɪ ðɪs kaɪnd əv ə ʃɪft ɪn pəˈlɪtɪkəl ˈwərdɪŋ ɪz ən əˈpilɪŋ ˈɔpʃən fər ki ˈpɑrti ˈfɪgjərz: ˈlɛtɪŋ goʊ əv ðə oʊld ənd ˈkɑnsənˌtreɪtɪŋ ˈɛfərts ɔn ən ˈikwəli ˌɪmˈpɔrtənt ˈɪʃu. æt ðɪs pɔɪnt, ˌhaʊˈɛvər, ɪt ɪz ˌɪmˈpɔrtənt tɪ rɪˈflɛkt əˈpɑn ðə ˈpriviəs ˈpɪriəd əv ʧeɪnʤ ɪn ˈfɪnɪʃ ˈpɑləˌtɪks, ənd rɪˈmɛmbər ðət ðə ˈwɛlˌfɛr steɪt ˈpɑləsi ˈstɑrtɪd ɔf ɛz nu groʊθ ˈpɑləsi. ðə ˌɪˈnɪʃətɪvz ðət naʊ kəmˈpraɪz ðə ˈwɛlˌfɛr steɪt ˌɪmˈpruvd ðə ˈlɪvɪŋ kənˈdɪʃənz ənd ˌkeɪpəˈbɪləti əv ðə ˌpɑpjəˈleɪʃən, wɪʧ mɛnt ə ˈhɛlθiər ənd mɔr ˈeɪbəl ˈleɪbər fɔrs, ənd ðəs ˈbɛtər ˌproʊdəkˈtɪvɪti. ðə ˈʤɛnərˌeɪts growth”*” laɪn əv θɔt wɑz ɪn ðə baɪ kuusi*, naʊ ˈɔfən kənˈsɪdərd ðə meɪn ˌaɪdiˈɑləʤəst bɪˈhaɪnd ðə ˈfɪnɪʃ ˈwɛlˌfɛr ˈmɑdəl. ðə sprɛd əv ðɪs aɪˈdiə ˈsɪgnəˌfaɪd ə greɪt ʧeɪnʤ ɪn pəˈlɪtɪkəl θɔt: wɛˈræz ˌbiˈfɔr ðə eɪm əv ˈsoʊʃəl ˈpɑləsi hæd bɪn tɪ prɪˈvɛnt ˈkɑnflɪkts ərˈaɪzɪŋ frəm ˈneɪbərli ləv ɛz wɛl ɛz frəm ˌɪnɪkˈwɑləti, ðɛˈræftər ɪt wɑz ˈleɪbəld ɛz ˌɪnˈvɛstmənt ˈpɑləsi ðət bɪldz ðə fˈjuʧər əv ðə ˈneɪʃən. kən ðə raɪz əv ˈwɛlˌfɛr ˈpɑləsi bi juzd ɛz ən ɪgˈzæmpəl ɪn dɪˈvɛləpɪŋ səˈsteɪnəbəl groʊθ ˈpɑləsi? ðə pəˈlɪtɪkəl ˈdɪskɔrs ɔn səˈsteɪnəbəl groʊθ ɪz ɪmˈbɑdid ɪn ðə θɔt ðət wi nid tɪ ˌɪnˈvɛst ɪn ðət wɪʧ kriˈeɪts groʊθ ənd dɪˈvɛləp ðə soʊˈsaɪɪti. ðɪs ˌdɛfəˈnɪʃən, ˌhaʊˈɛvər, rɪˈmeɪnz tu ˈnɛroʊ ɪn ðət ɪt livz ənˈmɛnʧənd ðə ˈkɑnkrit θɪŋz ðət wi nid tɪ ˌɪnˈvɛst ɪn tɪ ˈʤɛnərˌeɪt groʊθ. ˈlʊkɪŋ æt ˈgloʊbəl ɪt ɪz klɪr ðət səˈsteɪnəbəl groʊθ nidz tɪ bi beɪst ɔn ə ˈrisɔrs smɑrt ɪˈkɑnəmi ənd ɔn dɪˈvɛləpɪŋ ˌkeɪpəˈbɪlətiz. ðiz təˈgɛðər fɔrm ðə faʊnˈdeɪʃən əv səˈsaɪɪtəl dɪˈvɛləpmənt. həz rɪd ˈjuˈɛs əv ə lɑrʤ ʧəŋk əv ðə ˈbɛriərz bɪtˈwin ˈlərnɪŋ ənd kˌwɔpərˈeɪʃən. ðə səkˈsɛsfəl ˈsɛktərz əv ðə fˈjuʧər ər wənz ðət noʊ haʊ tɪ ˈmoʊtəˌveɪt ˈpipəl tɪ bɪˈkəm ˈkjʊriəs əˈbaʊt ðə fˈjuʧər ənd əˈbaʊt nu ˌpɑsəˈbɪlətiz fər kˌwɔpərˈeɪʃən. ðə moʊst sɪˈkjʊr weɪ tɪ ˈʤɛnərˌeɪt groʊθ ɪn taɪmz əv ˈgloʊbəl ˌkɑmpəˈtɪʃən ɪz tɪ dɪˈvɛləp ənd səˈluʃənz fər ðə ˈwɪkəd ˈprɑbləmz əv ðə ˈjumən kaɪnd, səʧ ɛz ˈklaɪmɪt ʧeɪnʤ ər ˈlaɪfˌstaɪl dɪˈzizɪz. ˈtərnɪŋ ˈwɪkəd ˈprɑbləmz ənd ðɛr səˈluʃənz ˈɪntu ˈbɪznɪs ˌɑpərˈtunətiz rikˈwaɪərz ə ˈsərtən sɛt əv skɪlz, ɛz du ˌæpləˈkeɪʃən əv tɛkˈnɑləʤi ənd ˌɪnərˈnæʃənɑl treɪd. ˈwɛlˌfɛr ˈpɑləsi fərst dɪˈvɛləpt ɛz ə ˈsɪriz əv pəˈlɪtɪkəl ˌɪˈnɪʃətɪvz ðət wər, ɪn ˈɛsəns, sˈloʊli əˈkjumjəˌleɪtɪŋ ˌɪnˈvɛstmənts ˈɪntu ˈjumən ˌwɛlˈbiɪŋ ənd groʊθ. ˈsɪmələr ˈkətɪŋ ɛʤ ˌɪˈnɪʃətɪvz ər naʊ ˈnidɪd fər səˈsteɪnəbəl groʊθ ˈpɑləsi. wi səˈʤɛst ðət ɪn ðə ˈkəmɪŋ mənθs, ɛz pɑrt əv ðɛr ɪˈlɛktərəl ənd ɪn ðə ˈsəbsəkwənt ˈgəvərnmənt nɪˌgoʊʃiˈeɪʃənz, ˈfɪnɪʃ ˌpɑləˈtɪʃənz stɑrt ˈbɪldɪŋ ˈkɑnkrit ˌɪˈnɪʃətɪvz fər səˈsteɪnəbəl groʊθ əˈpɑn ðə ˈfɑloʊɪŋ ki ˈɛriəz: ˌɪnˈvɛstmənts fər səˈsteɪnəbəl groʊθ ˈʤɛnərˌeɪtɪŋ səˈsteɪnəbəl groʊθ rikˈwaɪərz nu ˌɪnˈvɛstmənts ˈɪntu ˈrisɔrs smɑrt ˌɪnfrəˈstrəkʧər, əˈbɪləˌtiz ənd nu ˈbɪznɪsɪz. ˈmɪrli dɪˈrɛktɪŋ ˈpəblɪk fəndz ˈɪntu ðiz ˈɛriəz ɪz nɑt ɪˈnəf. ðə ˈfoʊkɪs əv ðə ˌɪnˈvɛstmənts meɪd baɪ ˈəðər ˌɪnstɪˈtuʃənz ənd ˈpraɪvət ˌɪndəˈvɪʤəwəlz məst ˈɔlsoʊ ʧeɪnʤ. ðə səˌsɛptəˈbɪləti əv ˈpɛnʃən fəndz ənd ˈəðər ˌɪnstɪˈtuʃənz tɪ ðə ˈkɑrbən ˈbəbəl, ər ðɛr dɪˈpɛndənsi ɔn ɔɪl, koʊl ənd gæs ˈkəmpəˌniz məst bi rɪˈdust. mɔˈroʊvər ðə ˈfoʊkɪs əv ˌɪnˈvɛstmənts həz tɪ ʃɪft təˈwɔrdz ˌɪmˈpækt ˌɪnˈvɛstmənt: ˈɪntu ˌɪˈnɪʃətɪvz ənd ˈkəmpəˌniz ðət əˈlɔŋˈsaɪd ˌɛkəˈnɑmɪk ˈprɑfɪt prəˈvaɪd nu səˈluʃənz tɪ ˈsoʊʃəl ənd ˈhɛlθˌkɛr ˈsərvɪsɪz ənd ˈrisɔrs ˌɪnˈtɛləʤəns. nu ˈmɛʒərz tɪ prəˈmoʊt kənˈsumər ðə ˈkətɪŋ ɛʤ ˈsɛktər əv ðə ˈfɪnɪʃ ˌɪnəˈveɪʃən ənd ˌɛkəˈnɑmɪk ˈpɑləsi həz ɪn ˈrisənt jɪrz bɪn. ɪts ˈfoʊkɪs həz bɪn ɪn ˌɪnˈdəstriəl səˈluʃənz beɪst ɔn ˌɪnəˈveɪʃənz ɪn ˈkəmpəˌniz əv ðə ˈprɔˌsɛs ˈɪndəstriz. ɪz beɪst əˈpɑn ðə aɪˈdiə əv riˈzɑlvɪŋ ˈgloʊbəl ˈwɪkəd ˈprɑbləmz, ənd dɪˈmænd ɪz ˈlaɪkli tɪ əˈbaʊnd ɪn ðə fˈjuʧər ɛz wɛl. ɛz ðə ˌɪmˈpɔrtəns əv trəˈdɪʃənəl ˈhɛvi ˈɛkspɔrt ˈɪndəstriz dɪˈmɪnɪʃɪz, ɪt ɪz ˌɪmˈpɔrtənt tɪ ɪkˈstɛnd ðə graʊnd əv ˈfɪnɪʃ təˈwɔrdz kənˈsumər ˈsərvɪsɪz təˈwɔrdz kənˈsumər. mˌjunɪsəˈpælɪtiz, kənˈstrəkʃən ˈkəmpəˌniz ənd ˈprɑpərti ˈoʊnərz kən brɪŋ əˈbaʊt ɪkˌspɛrɪˈmɛntəl ˈmɑrkɪts fər nu kənˈsumər ˈkəmpəˌniz. ˈfərðərˌmɔr ˈvɛnʧər ˈkæpɪtəl məst bi meɪd əˈveɪləbəl fər kənˈsumər ˈstɑrˌtəps. ə ˈbrɔdər pərˈspɛktɪv ɔn wərk ðə ˈʤɛnərəl laɪn əv θɔt ɪn ˈfɪnˌlænd həz bɪn ðət ʤɑbz ər kriˈeɪtɪd θru ˌɪnˈvɛstmənts baɪ lɑrʤ ˈkəmpəˌniz. ˌhaʊˈɛvər, ðə əˈbɪləˌti əv oʊld ˈkəmpəˌniz tɪ ˈʤɛnərˌeɪt nu ʤɑbz ɪz ənˈlaɪkli tɪ ˌɪmˈpruv ɪn ðə ˈkəmɪŋ jɪrz. ɪn ðə fˈjuʧər, mɔr ənd mɔr ʤɑbz ər kriˈeɪtɪd ɪn smɔl ˈbɪznɪsɪz ənd ˌɔrgənɪˈzeɪʃənz ər θru. ə peɪd ʤɑb ər kən ˌɪnˈkrisɪŋgli ˈɔfən bi faʊnd θru ə ˈhɑbi ər ˈvɑləntɛri wərk ðə ˈbaʊndəriz bɪtˈwin ˈdɪfərənt taɪps əv ækˈtɪvɪti feɪd. ðə ɪnˈtaɪər fild əv ɪmˈplɔɪmənt ˈpɑləsi məst bi ənd ɪkˈstɛndɪd tɪ meɪk juz əv ˌɑpərˈtunətiz ðət əraɪz frəm ˈvɑləntɛri wərk ənd ə nu kaɪnd əv ˌɑntrəprəˈnərʃɪp. ˌɛʤəˈkeɪʃən bɪlt əˈpɑn ˌkjʊriˈɑsəti wi hæv riʧt ə ˈtərnɪŋ pɔɪnt ɪn ðə dɪˈvɛləpmənt əv ˌkeɪpəˈbɪləti: ðə roʊl əv trəˈdɪʃənəl ˌɛʤəˈkeɪʃənəl ˌɪnstɪˈtuʃənz ɪn ðɪs dɪˈvɛləpmənt dɪˈmɪnɪʃɪz, ənd ðə oʊld ˈmɛθədz tɪ meɪnˈteɪn haɪ pərˈfɔrməns ɪn ˌɛʤəˈkeɪʃən luz ˈifɛktɪvnəs. ðə ˈmeɪʤər ˈʧælənʤ æt ɔl ˈlɛvəlz əv ˌɛʤəˈkeɪʃən ɪz ˈstrɛŋθənɪŋ ðə ɪnˈθuziˌæzəm, ˌmoʊtəˈveɪʃən ənd ˌkjʊriˈɑsəti əv ˈstudənts. wɪˈθaʊt ə ˈkjʊriəs ənd ɪnˌθuziˈæstɪk ˈætəˌtud ə ˈpɔrʃən əv ðə ˈstudənts ˈfɪnɪʃ ðɛr ˈstədiz tu ˈərli, ənd ðə əˈbɪləˌti tɪ əˈplaɪ ðət lərnt skul ɪn ðə ˈwərkɪŋ laɪf ɪz lɛft ˈwɑnɪŋ. ˌɛʤəˈkeɪʃən ˈpɑləsi həz tɪ geɪn kərɪʤ tɪ rɪˈnu ðə ˈvɛriəs fɔrmz əv ˌɛʤəˈkeɪʃən. frəm ˈkɛrɪŋ əv ðə sɪk tɪ prəˈmoʊtɪŋ hɛlθ ðə ˈhɑtəst pəˈlɪtɪkəl dəˈbeɪt ɪn ˈrisənt jɪrz ɪz ðət əv dɪˈvɛləpɪŋ ðə ˈsoʊʃəl ˈsərvɪs ənd ˈhɛlθˌkɛr ˈsɪstəm. ðə ˈsɛntrəl eɪm həz bɪn tɪ ˌɪnˈkris ðə ˌproʊdəkˈtɪvɪti əv ðə ˈhɛlθˌkɛr ˈsɛktər. hɛns, ðə ˈfoʊkɪs həz bɪn ɔn ðə moʊst ɪkˈspɛnsɪv ˈɛriəz əv ðə ˈsərvɪs ˈsɪstəm: ˈkɛrɪŋ əv ðə sɪk ənd ˈsoʊʃəl ˈsərvɪsɪz. ðə ˈgreɪtəst pəˈtɛnʃəl ˌɪmˈpækt, ˌhaʊˈɛvər, laɪz ɪn priˈvɛntətɪv ˈmɛʒərz. ə lɔt lɛs əˈtɛnʃən həz bɪn lɛnt tɪ ðɪs saɪd əv ˈhɛlθˌkɛr. ðə ˈfoʊkɪs həz tɪ ʃɪft ˈɪntu dɪˈvɛləpɪŋ ðə ˈrisɔrsɪz əv kəmˈjunɪtiz ənd prəˈmoʊtɪŋ ˈhɛlθˌkɛr ˈbrɔdli ɪn ðə ˈdɪfərənt ˈɛriəz əv ˈpɑləsi. waɪ ɪz ˈdɛˌmoʊz ˈhɛlsɪŋki ˈɪntəˌrɛstɪd ɪn səˈsteɪnəbəl groʊθ? səˈsteɪnəbəl groʊθ həz ə lɔt ɪn ˈkɑmən wɪθ ðə meɪn θimz ðət ˈdɛˌmoʊz ˈhɛlsɪŋki wərks ɔn: ðə ˈrisɔrs smɑrt ɪˈkɑnəmi ənd dɪˈmɑkrəsi əv ˌkeɪpəˈbɪlətiz. səˈsteɪnəbəl groʊθ nəˈsɛsəˌteɪts sərʧ fər ə nu dɪˈrɛkʃɪn fər ˈsoʊʃəl ənd ˌɛkəˈnɑmɪk ækˈtɪvɪti, ənd sɛts ðə ˈbaʊndəriz ənd ˌprikənˈdɪʃənz fər dɪˈvɛləpmənt.
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archie’s sonic the hedgehog comic is an intimidating beast. over 200 issues long and 10 or 11 wide, most newcomers know where to start. and believe me, starting at issue #1 is not a good idea.
for those looking to get in with the latest issues, they might be left a little perplexed. old school fans of the games from the could be put off by all the modern sonic trappings they care about. and youngsters who alive in the previous century give a about those weird characters like sally and bunnie and antoine.
how do you satisfy older fans who want the nostalgia of the as well as younger fans who want all that baggage from a 25 cartoon that got cancelled after two seasons?
writer ian flynn and artist tyson hesse may have very well found the solution.
sonic mega drive #1 (archie comics)
sonic mega drive #1 picks up shortly after the events of sonic cd. sonic reunites with tails and together they endeavor to stop (dr.) from collecting the seven ancient gears. intends to use their power to create the mega drive and pick up where his foiled death egg scheme left off. sonic and tails journey through numerous zones to keep the gears from him, linking up some old friends (amy and knuckles) along the way.
look man, not much of a modern sonic the hedgehog guy. the genesis trilogy and sonic cd are sort of where i draw the line on his games, and that for lack of trying. i quit somewhere around the mediocrity of sonic heroes and from what i understand the games only proceeded to get less (never touched the 2006 sonic game, but the videos on youtube are a riot).
so when it comes to sonic, an old fogy forever trapped in the (hence my preference for “robotnik” over whatever stupid thing sega says supposed to call him now).
that said, i do like some of the stuff. ever since the reboot, sonic the hedgehog ongoing has been downright readable for perhaps the first time in its entire publication history. you think being all “damning with faint praise”, but i dare you to read anything between issues #50 and #160. hell, go do a google image search for some page or panel selections.
no, not a fan comic from looking at. official sega licensed sonic the hedgehog comic art. people paid money to read these.
but yeah, the been pretty good since it rebooted. the cartoon characters like sally and all them persist, but been into an aesthetic style with actual sonic character designs. so now it look like sonic and tails have wandered into some gross fetish commission.
as enjoyable as the ongoing has been, the reboot had one downside. it picked the story up at a contemporary point in the narrative, leaving a huge stretch of back story unseen. the events of the sega games are canon, and editorial notes will often tell readers to go play them if they want to know what referencing, but so far as the comic goes got a lot of missing history.
the sonic mega drive special sort of helps to fill in that gap, playing a role in the ongoing series while also being instantly accessible to newcomers and nostalgia junkies alike.
there’s a refreshing innocence to the comic, as sonic and pals are just adventurers and treasure hunters, looking to do good while having a good time. none of that dark and gloomy with mutilating animals and populations; none of that freedom fighter stuff with sonic teaming up alongside a bunch of original characters to play eco-terrorist. nah, just… fun. and despite what many of the recent sonic games might encourage you to think, sonic the hedgehog should be fun.
the art style by hesse (with color by matt herms) goes for a look, but not the one you might be thinking of. rather than aim for sonic as he looked in the from a western perspective, this is design as seen in japan. we glimpse it much on our shores, but probably recognize it from the sonic cd cut scenes or sonic the hedgehog: the movie. confess that a much more palatable design than the weird version i grew up with; the one with the mohawk and the alarmingly consistent white voice-over.
robotnik, too, has his sega design which never appeared in any of the american cartoons (where he looked radically different from one to the other). that teddy roosevelt look that always liked; so incredibly and perfectly befitting of such a goofy loser. honestly, has invariably been the best thing about every sonic cartoon and i think ever been a bad version of him, or actor who has played him (he was the best part of sonic boom by a wide margin). i love me some, even if supposed to call him “eggman” now (kinda pulls the rug out from under the gimmick when the book call him by the name he had in the).
hesse’s layouts are very fluid and the characters are always moving all the time. you might breeze through the pages quickly, but only because the draftsmanship is so intuitive that it encourages you to zip through the panels at a hectic speed. yes, this comic comes with blast processing. free of charge.
hesse’s expressions are where at, too. the characters just look funny and much of the humor in the dialogue, but in how the characters physically react to all the or zone hazards getting in their way. he tries to make the environments consistent with how they appeared in the games of the era, which might be a little surreal but certainly distinct. so there are random loops in mountains and floating platforms and when explode they leave tiny animals behind and if sonic gets on the head then rings fall out of his anus, etc.
yes, this comic comes with blast processing. free of charge.
taking place after sonic cd, the story tries to stitch the continuity of the games together a little tighter. cd takes place after sonic 3 & knuckles, but tails was absent from cd, so he familiar with amy and wants to know what happened during adventure on the little planet. likewise, amy around during sonic 3 & knuckles, so she has no idea who knuckles is and has to be introduced to him.
it’s a neat gesture on part, maybe filling in a sort of narrative gap between games (these characters were all introduced separately then sort of became a group at some point prior to adventure).
so far as characterization goes, sonic and tails have anything to really discuss. a cool guy and tails is smart; their usual shtick. flynn finds a merciful with amy, dialing back her stalker tendencies. more interested in proving to sonic that a capable adventurer rather than, i dunno, rape him or whatever always trying to do in the japanese games and cartoons.
knuckles picks up with him still being in a grey area with sonic; not quite friend and not quite foe. the image of knuckles always remember (the snickering jerk who pulls switches and dumps you down pits at the end of zones), so it was sweet to see that era revisited. personality-wise, he seems to hew closer to his sonic boom persona: an idiot. knuckles as a drooling moron is a concept that lives and dies by the quality of the material given (and luckily the writers of the boom cartoon gave him some great lines) and hesse does it well. a great flashback sequence, from knuckles’ perspective, and another one of those cases where art sells the gag.
mega drive is a but not a complete story. a sequel coming in the fall called mega drive: the next level. so expect any closure on this adventure. that said, the art is superb and the nostalgia is in high gear. it hits that sweet spot i mentioned earlier, attracting older folks who used to eat and breathe sonic in the as well as novices who that familiar with the comic book history.
if looking to get into sonic comics, you really ought to pick it up.
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archie’s* ˈsɑnɪk ðə ˈhɛˌʤhɑg ˈkɑmɪk ɪz ən ˌɪnˈtɪmɪˌdeɪtɪŋ bist. ˈoʊvər 200 ˈɪʃuz lɔŋ ənd 10 ər 11 waɪd, moʊst ˈnuˌkəmərz noʊ wɛr tɪ stɑrt. ənd bɪˈliv mi, ˈstɑrtɪŋ æt ˈɪʃu 1 ɪz nɑt ə gʊd aɪˈdiə. fər ðoʊz ˈlʊkɪŋ tɪ gɪt ɪn wɪθ ðə ˈleɪtəst ˈɪʃuz, ðeɪ maɪt bi lɛft ə ˈlɪtəl pərˈplɛkst. oʊld skul fænz əv ðə geɪmz frəm ðə kʊd bi pʊt ɔf baɪ ɔl ðə ˈmɑdərn ˈsɑnɪk ˈtræpɪŋz ðeɪ kɛr əˈbaʊt. ənd ˈjəŋstərz hu əˈlaɪv ɪn ðə ˈpriviəs ˈsɛnʧəri gɪv ə əˈbaʊt ðoʊz wɪrd ˈkɛrɪktərz laɪk ˈsæli ənd ˈbəni ənd ɑntˈwɑn. haʊ du ju ˈsætɪsˌfaɪ ˈoʊldər fænz hu wɔnt ðə nɔˈstælʤə əv ðə ɛz wɛl ɛz ˈjəŋgər fænz hu wɔnt ɔl ðət ˈbægɪʤ frəm ə 25 kɑrˈtun ðət gɑt ˈkænsəld ˈæftər tu ˈsizənz? ˈraɪtər ˈiən flɪn ənd ˈɑrtɪst ˈtaɪsən hɛs meɪ hæv ˈvɛri wɛl faʊnd ðə səˈluʃən. ˈsɑnɪk ˈmɛgə draɪv 1 (ˈɑrʧi ˈkɑmɪks) ˈsɑnɪk ˈmɛgə draɪv 1 pɪks əp ˈʃɔrtli ˈæftər ðə ɪˈvɛnts əv ˈsɑnɪk ˈsiˈdi. ˈsɑnɪk ˌriuˈnaɪts wɪθ teɪlz ənd təˈgɛðər ðeɪ ɪnˈdɛvər tɪ stɑp (ˈdɑktər.) frəm kəˈlɛktɪŋ ðə ˈsɛvən ˈeɪnʧənt gɪrz. ˌɪnˈtɛndz tɪ juz ðɛr paʊər tɪ kriˈeɪt ðə ˈmɛgə draɪv ənd pɪk əp wɛr hɪz fɔɪld dɛθ ɛg skim lɛft ɔf. ˈsɑnɪk ənd teɪlz ˈʤərni θru ˈnumərəs zoʊnz tɪ kip ðə gɪrz frəm ɪm, ˈlɪŋkɪŋ əp səm oʊld frɛndz (ˈeɪmi ənd ˈnəkəlz) əˈlɔŋ ðə weɪ. lʊk mæn, nɑt məʧ əv ə ˈmɑdərn ˈsɑnɪk ðə ˈhɛˌʤhɑg gaɪ. ðə ˈʤɛnəsəs ˈtrɪləʤi ənd ˈsɑnɪk ˈsiˈdi ər sɔrt əv wɛr aɪ drɔ ðə laɪn ɔn hɪz geɪmz, ənd ðət fər læk əv traɪɪŋ. aɪ kwɪt ˈsəmˌwɛr əraʊnd ðə ˌmidiˈɑkrəti əv ˈsɑnɪk ˈhɪroʊz ənd frəm wət aɪ ˌəndərˈstænd ðə geɪmz ˈoʊnli prəˈsidəd tɪ gɪt lɛs (ˈnɛvər təʧt ðə 2006 ˈsɑnɪk geɪm, bət ðə ˈvɪdioʊz ɔn ˈjuˌtub ər ə raɪət). soʊ wɪn ɪt kəmz tɪ ˈsɑnɪk, ən oʊld ˈfoʊgi fərˈɛvər træpt ɪn ðə (hɛns maɪ ˈprɛfərəns fər ““robotnik”*” ˈoʊvər ˌwəˈtɛvər ˈstupɪd θɪŋ ˈsigə sɪz səˈpoʊzd tɪ kɔl ɪm naʊ). ðət sɛd, aɪ du laɪk səm əv ðə stəf. ˈɛvər sɪns ðə riˈbut, ˈsɑnɪk ðə ˈhɛˌʤhɑg ˈɔnˌgoʊɪŋ həz bɪn ˈdaʊnˌraɪt ˈridəbəl fər pərˈhæps ðə fərst taɪm ɪn ɪts ɪnˈtaɪər ˌpəblɪˈkeɪʃən ˈhɪstəri. ju θɪŋk biɪŋ ɔl wɪθ feɪnt praise”*”, bət aɪ dɛr ju tɪ rɛd ˈɛniˌθɪŋ bɪtˈwin ˈɪʃuz 50 ənd 160 hɛl, goʊ du ə ˈgugəl ˈɪmɪʤ sərʧ fər səm peɪʤ ər ˈpænəl səˈlɛkʃənz. noʊ, nɑt ə fæn ˈkɑmɪk frəm ˈlʊkɪŋ æt. əˈfɪʃəl ˈsigə ˈlaɪsənst ˈsɑnɪk ðə ˈhɛˌʤhɑg ˈkɑmɪk ɑrt. ˈpipəl peɪd ˈməni tɪ rɛd ðiz. bət jæ, ðə bɪn ˈprɪti gʊd sɪns ɪt rebooted*. ðə kɑrˈtun ˈkɛrɪktərz laɪk ˈsæli ənd ɔl ðɛm pərˈsɪst, bət bɪn ˈɪntu ən ɛsˈθɛtɪk staɪl wɪθ ˈækʧəwəl ˈsɑnɪk ˈkɛrɪktər dɪˈzaɪnz. soʊ naʊ ɪt lʊk laɪk ˈsɑnɪk ənd teɪlz hæv ˈwɑndərd ˈɪntu səm groʊs ˈfɛtɪʃ kəˈmɪʃən. ɛz ˌɛnˈʤɔɪəbəl ɛz ðə ˈɔnˌgoʊɪŋ həz bɪn, ðə riˈbut hæd wən ˈdaʊnˌsaɪd. ɪt pɪkt ðə ˈstɔri əp æt ə kənˈtɛmpərˌɛri pɔɪnt ɪn ðə ˈnɛrətɪv, ˈlivɪŋ ə juʤ strɛʧ əv bæk ˈstɔri ənˈsin. ðə ɪˈvɛnts əv ðə ˈsigə geɪmz ər ˈkænən, ənd ˌɛdəˈtɔriəl noʊts wɪl ˈɔfən tɛl ˈridərz tɪ goʊ pleɪ ðɛm ɪf ðeɪ wɔnt tɪ noʊ wət ˈrɛfərənsɪŋ, bət soʊ fɑr ɛz ðə ˈkɑmɪk goʊz gɑt ə lɔt əv ˈmɪsɪŋ ˈhɪstəri. ðə ˈsɑnɪk ˈmɛgə draɪv ˈspɛʃəl sɔrt əv hɛlps tɪ fɪl ɪn ðət gæp, pleɪɪŋ ə roʊl ɪn ðə ˈɔnˌgoʊɪŋ ˈsɪriz waɪl ˈɔlsoʊ biɪŋ ˈɪnstəntli ækˈsɛsəbəl tɪ ˈnuˌkəmərz ənd nɔˈstælʤə ˈʤəŋkiz əˈlaɪk. ə rɪˈfrɛʃɪŋ ˈɪnəsəns tɪ ðə ˈkɑmɪk, ɛz ˈsɑnɪk ənd pælz ər ʤɪst ədˈvɛnʧərərz ənd ˈtrɛʒər ˈhəntərz, ˈlʊkɪŋ tɪ du gʊd waɪl ˈhævɪŋ ə gʊd taɪm. nən əv ðət dɑrk ənd ˈglumi wɪθ mˈjutəˌleɪtɪŋ ˈænəməlz ənd ˌpɑpjəˈleɪʃənz; nən əv ðət ˈfridəm ˈfaɪtər stəf wɪθ ˈsɑnɪk ˈtimɪŋ əp əˈlɔŋˈsaɪd ə bənʧ əv ərˈɪʤənəl ˈkɛrɪktərz tɪ pleɪ eco-terrorist*. nɑ, just…*… fən. ənd dɪˈspaɪt wət ˈmɛni əv ðə ˈrisənt ˈsɑnɪk geɪmz maɪt ɪnˈkərəʤ ju tɪ θɪŋk, ˈsɑnɪk ðə ˈhɛˌʤhɑg ʃʊd bi fən. ðə ɑrt staɪl baɪ hɛs (wɪθ ˈkələr baɪ mæt hərmz) goʊz fər ə lʊk, bət nɑt ðə wən ju maɪt bi ˈθɪŋkɪŋ əv. ˈrəðər ðən eɪm fər ˈsɑnɪk ɛz hi lʊkt ɪn ðə frəm ə ˈwɛstərn pərˈspɛktɪv, ðɪs ɪz dɪˈzaɪn ɛz sin ɪn ʤəˈpæn. wi glɪmps ɪt məʧ ɔn ɑr ʃɔrz, bət ˈprɑbəˌbli ˈrɛkəgˌnaɪz ɪt frəm ðə ˈsɑnɪk ˈsiˈdi kət sinz ər ˈsɑnɪk ðə ˈhɛˌʤhɑg: ðə ˈmuvi. kənˈfɛs ðət ə məʧ mɔr ˈpælətəbəl dɪˈzaɪn ðən ðə wɪrd ˈvərʒən aɪ gru əp wɪθ; ðə wən wɪθ ðə ˈmoʊˌhɔk ənd ðə əˈlɑrmɪŋli kənˈsɪstənt waɪt voice-over*., tu, həz hɪz ˈsigə dɪˈzaɪn wɪʧ ˈnɛvər əˈpɪrd ɪn ˈɛni əv ðə əˈmɛrɪkən kɑrˈtunz (wɛr hi lʊkt ˈrædɪkli ˈdɪfərənt frəm wən tɪ ðə ˈəðər). ðət ˈtɛdi ˈruzəˌvɛlt lʊk ðət ˈɔlˌweɪz laɪkt; soʊ ˌɪnˈkrɛdəbli ənd ˈpərfəktli bɪˈfɪtɪŋ əv səʧ ə ˈgufi ˈluzər. ˈɑnəstli, həz ˌɪnˈvɛriəbli bɪn ðə bɛst θɪŋ əˈbaʊt ˈɛvəri ˈsɑnɪk kɑrˈtun ənd aɪ θɪŋk ˈɛvər bɪn ə bæd ˈvərʒən əv ɪm, ər ˈæktər hu həz pleɪd ɪm (hi wɑz ðə bɛst pɑrt əv ˈsɑnɪk bum baɪ ə waɪd ˈmɑrʤən). aɪ ləv mi səm, ˈivɪn ɪf səˈpoʊzd tɪ kɔl ɪm ““eggman”*” naʊ (ˈkɪndə pʊlz ðə rəg aʊt frəm ˈəndər ðə ˈgɪmɪk wɪn ðə bʊk kɔl ɪm baɪ ðə neɪm hi hæd ɪn ðə). leɪaʊts ər ˈvɛri fluɪd ənd ðə ˈkɛrɪktərz ər ˈɔlˌweɪz ˈmuvɪŋ ɔl ðə taɪm. ju maɪt briz θru ðə ˈpeɪʤɪz kˈwɪkli, bət ˈoʊnli bɪˈkəz ðə ˈdræftsmənˌʃɪp ɪz soʊ ˌɪnˈtuətɪv ðət ɪt ɪnˈkərəʤəz ju tɪ zɪp θru ðə ˈpænəlz æt ə ˈhɛktɪk spid. jɛs, ðɪs ˈkɑmɪk kəmz wɪθ blæst ˈprɑsɛsɪŋ. fri əv ʧɑrʤ. ɪkˈsprɛʃənz ər wɛr æt, tu. ðə ˈkɛrɪktərz ʤɪst lʊk ˈfəni ənd məʧ əv ðə ˈhjumər ɪn ðə ˈdaɪəˌlɔg, bət ɪn haʊ ðə ˈkɛrɪktərz ˈfɪzɪkəli riækt tɪ ɔl ðə ər zoʊn ˈhæzərdz ˈgɪtɪŋ ɪn ðɛr weɪ. hi traɪz tɪ meɪk ðə ɪnˈvaɪrənmənts kənˈsɪstənt wɪθ haʊ ðeɪ əˈpɪrd ɪn ðə geɪmz əv ðə ˈɪrə, wɪʧ maɪt bi ə ˈlɪtəl sərˈil bət ˈsərtənli dɪˈstɪŋkt. soʊ ðɛr ər ˈrændəm lups ɪn ˈmaʊntənz ənd ˈfloʊtɪŋ ˈplætˌfɔrmz ənd wɪn ɪkˈsploʊd ðeɪ liv ˈtaɪni ˈænəməlz bɪˈhaɪnd ənd ɪf ˈsɑnɪk gɪts ɔn ðə hɛd ðɛn rɪŋz fɔl aʊt əv hɪz ˈeɪnəs, ˌɛtˈsɛtərə. jɛs, ðɪs ˈkɑmɪk kəmz wɪθ blæst ˈprɑsɛsɪŋ. fri əv ʧɑrʤ. ˈteɪkɪŋ pleɪs ˈæftər ˈsɑnɪk ˈsiˈdi, ðə ˈstɔri traɪz tɪ stɪʧ ðə ˌkɑntəˈnuəti əv ðə geɪmz təˈgɛðər ə ˈlɪtəl ˈtaɪtər. ˈsiˈdi teɪks pleɪs ˈæftər ˈsɑnɪk 3 ˈnəkəlz, bət teɪlz wɑz ˈæbsənt frəm ˈsiˈdi, soʊ hi fəˈmɪljər wɪθ ˈeɪmi ənd wɔnts tɪ noʊ wət ˈhæpənd ˈdʊrɪŋ ədˈvɛnʧər ɔn ðə ˈlɪtəl ˈplænət. ˈlaɪkˌwaɪz, ˈeɪmi əraʊnd ˈdʊrɪŋ ˈsɑnɪk 3 ˈnəkəlz, soʊ ʃi həz noʊ aɪˈdiə hu ˈnəkəlz ɪz ənd həz tɪ bi ˌɪntrəˈdust tɪ ɪm. ə nit ˈʤɛsʧər ɔn pɑrt, ˈmeɪbi ˈfɪlɪŋ ɪn ə sɔrt əv ˈnɛrətɪv gæp bɪtˈwin geɪmz (ðiz ˈkɛrɪktərz wər ɔl ˌɪntrəˈdust ˈsɛpərətli ðɛn sɔrt əv bɪˈkeɪm ə grup æt səm pɔɪnt praɪər tɪ ədˈvɛnʧər). soʊ fɑr ɛz ˌkɛrɪktərɪˈzeɪʃən goʊz, ˈsɑnɪk ənd teɪlz hæv ˈɛniˌθɪŋ tɪ ˈrɪli dɪˈskəs. ə kul gaɪ ənd teɪlz ɪz smɑrt; ðɛr ˈjuʒəwəl ʃtɪk. flɪn faɪndz ə ˈmərsɪfəl wɪθ ˈeɪmi, ˈdaɪəlɪŋ bæk hər ˈstɔkər ˈtɛndənsiz. mɔr ˈɪntəˌrɛstɪd ɪn ˈpruvɪŋ tɪ ˈsɑnɪk ðət ə ˈkeɪpəbəl ədˈvɛnʧərər ˈrəðər ðən, aɪ dəˈnoʊ, reɪp ɪm ər ˌwəˈtɛvər ˈɔlˌweɪz traɪɪŋ tɪ du ɪn ðə ˌʤæpəˈniz geɪmz ənd kɑrˈtunz. ˈnəkəlz pɪks əp wɪθ ɪm stɪl biɪŋ ɪn ə greɪ ˈɛriə wɪθ ˈsɑnɪk; nɑt kwaɪt frɛnd ənd nɑt kwaɪt foʊ. ðə ˈɪmɪʤ əv ˈnəkəlz ˈɔlˌweɪz rɪˈmɛmbər (ðə sˈnɪkərɪŋ ʤərk hu pʊlz sˈwɪʧɪz ənd dəmps ju daʊn pɪts æt ðə ɛnd əv zoʊnz), soʊ ɪt wɑz swit tɪ si ðət ˈɪrə riˈvɪzətɪd. personality-wise*, hi simz tɪ hju ˈkloʊzər tɪ hɪz ˈsɑnɪk bum pərˈsoʊnə: ən ˈɪˌdiət. ˈnəkəlz ɛz ə ˈdrulɪŋ ˈmɔˌrɑn ɪz ə ˈkɑnsɛpt ðət lɪvz ənd daɪz baɪ ðə kˈwɑləti əv ðə məˈtɪriəl ˈgɪvɪn (ənd ˈləkəli ðə ˈraɪtərz əv ðə bum kɑrˈtun geɪv ɪm səm greɪt laɪnz) ənd hɛs dɪz ɪt wɛl. ə greɪt ˈflæʃˌbæk ˈsikwəns, frəm knuckles’*’ pərˈspɛktɪv, ənd əˈnəðər wən əv ðoʊz ˈkeɪsɪz wɛr ɑrt sɛlz ðə gæg. ˈmɛgə draɪv ɪz ə bət nɑt ə kəmˈplit ˈstɔri. ə ˈsikwəl ˈkəmɪŋ ɪn ðə fɔl kɔld ˈmɛgə draɪv: ðə nɛkst ˈlɛvəl. soʊ ɪkˈspɛkt ˈɛni ˈkloʊʒər ɔn ðɪs ədˈvɛnʧər. ðət sɛd, ðə ɑrt ɪz sʊˈpərb ənd ðə nɔˈstælʤə ɪz ɪn haɪ gɪr. ɪt hɪts ðət swit spɑt aɪ ˈmɛnʃənd ˈərliər, əˈtræktɪŋ ˈoʊldər foʊks hu juzd tɪ it ənd brið ˈsɑnɪk ɪn ðə ɛz wɛl ɛz ˈnɑvəsɪz hu ðət fəˈmɪljər wɪθ ðə ˈkɑmɪk bʊk ˈhɪstəri. ɪf ˈlʊkɪŋ tɪ gɪt ˈɪntu ˈsɑnɪk ˈkɑmɪks, ju ˈrɪli ɔt tɪ pɪk ɪt əp.
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arsene wenger is facing a keeper crisis after david ospina was ruled out with a back injury.
it leaves wenger having to play third choice keeper martinez against west ham - and he could have to play for the next fortnight.
ospina suffered an injury after a heavy fall against manchester city on sunday and it is understood that he is out injured.
that comes on top of first choice petr cech being ruled out with a calf problem for at least another two weeks.
(image: arsenal/getty)
(image: reuters)
(image: matthew lewis)
martinez has played three games in the league cup this season and is not a rookie but it will still be a worry as he could be up against west giant striker andy carroll.
ospina is set to leave arsenal this summer - marseille are keen on him as well as interest from turkey - and this latest injury worry is a major setback.
it could mean that martinez has to for the next few games.
arsenal have recalled rookie keeper matt macey from his loan spell at luton to ease the crisis with ospina and cech out.
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ðə ˈvɪdioʊ wɪl stɑrt ɪn 8 ˈkænsəl gɪt ðə ˈbɪgəst ˈɑrsənəl ˈstɔriz baɪ iˈmeɪl səbˈskraɪb θæŋk ju fər səbˈskraɪbɪŋ wi hæv mɔr ˈnuzˌlɛtərz ʃoʊ mi si ɑr ˈpraɪvəsi ˈnoʊtɪs kʊd nɑt səbˈskraɪb, traɪ əˈgɛn ˈleɪtər ˌɪnˈvæləd iˈmeɪl ˈwɛŋər ɪz ˈfeɪsɪŋ ə ˈkipər ˈkraɪsəs ˈæftər ˈdeɪvɪd oʊˈspinə wɑz ruld aʊt wɪθ ə bæk ˈɪnʤəri. ɪt livz ˈwɛŋər ˈhævɪŋ tɪ pleɪ θərd ʧɔɪs ˈkipər mɑrˈtinɛz əˈgɛnst wɛst hæm ənd hi kʊd hæv tɪ pleɪ fər ðə nɛkst ˈfɔrtˌnaɪt. oʊˈspinə ˈsəfərd ən ˈɪnʤəri ˈæftər ə ˈhɛvi fɔl əˈgɛnst ˈmænˌʧɛstər ˈsɪti ɔn ˈsənˌdi ənd ɪt ɪz ˌəndərˈstʊd ðət hi ɪz aʊt ˈɪnʤərd. ðət kəmz ɔn tɔp əv fərst ʧɔɪs ˈpɛtər sɛk biɪŋ ruld aʊt wɪθ ə kæf ˈprɑbləm fər æt list əˈnəðər tu wiks. (ˈɪmɪʤ: ˈɑrsənəl fc/getty*) (ˈɪmɪʤ: ˈrɔɪtərz) (ˈɪmɪʤ: ˈmæθju luɪs) mɑrˈtinɛz həz pleɪd θri geɪmz ɪn ðə lig kəp ðɪs ˈsizən ənd ɪz nɑt ə ˈrʊki bət ɪt wɪl stɪl bi ə ˈwəri ɛz hi kʊd bi əp əˈgɛnst wɛst ʤaɪənt ˈstraɪkər ˈændi ˈkɛrəl. oʊˈspinə ɪz sɛt tɪ liv ˈɑrsənəl ðɪs ˈsəmər mɑrˈsaɪl ər kin ɔn ɪm ɛz wɛl ɛz ˈɪntəˌrɛst frəm ˈtərki ənd ðɪs ˈleɪtəst ˈɪnʤəri ˈwəri ɪz ə ˈmeɪʤər ˈsɛtˌbæk. ɪt kʊd min ðət mɑrˈtinɛz həz tɪ fər ðə nɛkst fju geɪmz. ˈɑrsənəl hæv rɪˈkɔld ˈrʊki ˈkipər mæt ˈmeɪsi frəm hɪz loʊn spɛl æt ˈlutən tɪ iz ðə ˈkraɪsəs wɪθ oʊˈspinə ənd sɛk aʊt. ˈvɪdioʊ ˈloʊdɪŋ ˈvɪdioʊ ˌənəˈveɪləbəl klɪk tɪ pleɪ tæp tɪ pleɪ ðə ˈvɪdioʊ wɪl stɑrt ɪn 8 ˈkænsəl pleɪ naʊ
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this article first appeared in school administrator.
to much of the public, that public schools are “failing” when large achievement gaps separate middle-class white and low-income minority youth. why, they ask, should skin color or family earnings affect whether children may benefit from effective teachers?
of course, minority or low-income status does not itself depress achievement, but on average, disadvantaged children achieve at lower levels. international tests confirm this in every industrialized country.
why is this so? poor nutrition, inadequate health care, substandard housing and unstable families all are factors that contribute to a inability to learn at high levels.
each of these social class differences between middle-class and low-income students has a small effect on average performance, but their cumulative effect explains much of the achievement gap.
richard rothstein, research associate at the economic policy institute, is one of the authorities on the impact of socioeconomic factors on disparities in student achievement.
isolation’s impact
the negative effects of racial and economic disadvantage are exacerbated when low-income black students are concentrated in segregated schools. remediation becomes routine, and teachers must focus more on discipline and less on instruction, leaving them little time to challenge those exceptional students who can overcome personal, family and community hardships that typically interfere with learning.
this isolation is a problem not only of poverty but of race. in urban areas, low-income white students are more likely integrated into middle-class neighborhoods and less likely to attend schools filled with other disadvantaged students. nationwide, low-income black students’ isolation has increased. the share of black students attending schools that are less than 10 percent white increased from less than 34 percent in 1989 to 39 percent in 2007. in 1989, black students typically attended schools where 43 percent of students were low-income; by 2007, this grew to 59 percent. (statistics provided by a 2009 report by the civil rights project at ucla, http://civilrightsproject.ucla.edu.)
schools with poorly performing students cannot be turned around while they remain racially and isolated. the problems these students bring to school are so overwhelming that policy should never assume that even the most skilled faculty can overcome them. schools certainly can make a difference, but they cannot fully erase damage caused by concentrated poverty and racial isolation.
regulated housing
throughout most of the century, federal policy created black ghettos in metropolitan areas by placing public housing for white and black families in separate neighborhoods; guaranteeing low-cost mortgages for white (but not black) families to move from this public housing and from other urban neighborhoods to suburbs of homes; establishing bank and savings and loan regulatory policies that included racial discrimination as part of sound lending policy; granting tax exemptions to organizations formed for the purpose of enforcing racial barriers and to other organizations (and churches) for whom this was also a purpose; and deliberately routing federal highways through cities to create racial barriers and segregation.
state governments heavily regulated a real estate industry that sold and rented homes to whites in neighborhoods designated for whites, and (if at all) to blacks in neighborhoods designated for blacks. state prosecutors and local police tolerated, even encouraged, mob violence against african americans who dared try to move into neighborhoods.
high court ruling
sociological, economic and historical research demonstrates that black student performance improves with integration, without any loss for whites. however, in 2007, the u.s. supreme court, in its parents involved in community schools v. seattle school district no. 1 ruling, prohibited districts from taking race into account when assigning pupils to schools in an attempt to integrate. the decision arose from cases in seattle, wash., and louisville, ky., where the school districts used race as a factor to achieve diversity when assigning students to schools.
expressing the plurality opinion, chief justice john roberts asserted that explicit racial integration was permissible only to remedy a previous explicit policy of segregation. he said that black students’ isolation today is not deliberate; rather, it results from de facto neighborhood segregation that arose from income differences, demographic trends, and choices of white and black families to live in neighborhoods. the dissent, by liberal justice stephen breyer, did not disagree on this point, arguing only that for de facto segregation, it is good public policy to permit districts voluntarily to integrate, even if not constitutionally compelled to do so.
but segregation in seattle and louisville was no accident. it was created largely by public policy. in seattle, subdivisions created by (such as william boeing) were financed by the federal government with racial restrictions, or designated for in plans approved by the city and county. in louisville, when a couple sold a home in their white neighborhood to a black purchaser, not only did police stand by during the ensuing riot, but prosecutors responded by trying, convicting and imprisoning the white seller for “sedition.”
forgotten practices
both roberts’ and opinions reflect colossal historical amnesia. in truth, neighborhoods across the nation in which our schools are located were segregated by purposeful federal, state and local government policy. many such policies are no longer in force, but their effects endure.
in 1954, the supreme court, in brown v. board of education, prohibited school districts from maintaining separate schools for blacks and whites. the decision was aimed at practices in the south and assumed that blacks and whites lived in the same neighborhoods and could attend the same schools if permitted to do so. but the brown decision could do little to remedy segregation that results not from a racial pupil assignment plan but from geographic separation of the races. busing is rarely a solution because distances between affluent white suburbs and urban black ghettos are now too great in many metropolitan areas.
simply repealing the kind of school segregation policy banned by the brown decision can integrate schools if districts draw integrated school attendance zones. but repealing an intentional residential segregation policy that already has led to substantial racial isolation accomplishes little, because once populations have been firmly established in separate areas, even modest integration could take decades if left to ordinary vacancies and in-migration.
consider the iconic levittown suburb in nassau county, n.y. in 1947, a vast housing shortage existed for both black and white workers and returning war veterans. the federal government financed the levitt company to construct units. these levittown homes were easily affordable, but the government explicitly prohibited levitt from selling (or renting) to african americans. (similar federal restrictions applied to other projects, many obscure and some well known, like the giant lakewood development south of los angeles and the daly city suburb south of san francisco, memorialized by malvina reynolds’ song about “ticky tacky” houses.)
an executive order by president kennedy in 1962 and the 1968 fair housing act repealed government policies requiring racial housing segregation. yet although many black families in new york city and nassau county need better housing, levittown remains today less than 1 percent black, compared to the nearby long island town of roosevelt, which is 79 percent black.
in part, this is because white families fortunate enough to purchase levittown homes in the and saw their equity appreciate more rapidly than their wages, so asset values helped propel them into the middle class. but by the time legal barriers to segregation fell, these homes were no longer affordable for working families, so african americans were permanently excluded from the suburban boom and its amenities.
a myth perpetuated
that our segregation is de facto, not de jure (created by law and public policy) is an urban myth, shared by supreme court justices, national policymakers, legislators and educators. we continue to teach this myth in public schools, where social studies curricula characterize residential racial segregation as resulting only from private discrimination or as a purely random phenomenon.
for example, in the more than pages of mcdougal widely used high school textbook, the americans, a single paragraph is devoted to “discrimination in the north” in the century. the book devotes one sentence to residential segregation: “african americans found themselves forced into segregated neighborhoods,” with no further explanation of how this happened or who was responsible. similar characterize the textbooks of other publishers.
superintendents cannot hope to narrow the achievement gap without integrating their student populations, and they cannot hope to do this until the neighborhoods from which students come are integrated. although federal, state and local governments have many policy alternatives they could employ to promote residential integration, there is no popular support for such policies.
this lack of public support is partly our own fault, because we fail to teach an accurate account of the segregation policies that were the most important determinant of our contemporary metropolitan landscape. as a result, the myth of de facto segregation endures. if we teach students that residential segregation was unconstitutionally created by our government, and requires a constitutional remedy, how can we expect them, as adults, to act on this understanding?
richard rothstein is a research associate at the economic policy institute in washington, d.c., and author of several books, including class and schools: using social, economic, and educational reform to close the achievement gap (economic policy institute, 2004). e-mail:
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ðɪs ˈɑrtɪkəl fərst əˈpɪrd ɪn skul ədˈmɪnɪˌstreɪtər. tɪ məʧ əv ðə ˈpəblɪk, ðət ˈpəblɪk skulz ər ““failing”*” wɪn lɑrʤ əˈʧivmənt gæps ˈsɛpərˌeɪt ˈmɪdəlˈklæs waɪt ənd ˌloʊˈɪnkəm məˈnɔrəti juθ. waɪ, ðeɪ æsk, ʃʊd skɪn ˈkələr ər ˈfæməli ˈərnɪŋz əˈfɛkt ˈwɛðər ˈʧɪldrən meɪ ˈbɛnəfɪt frəm ˈifɛktɪv ˈtiʧərz? əv kɔrs, məˈnɔrəti ər ˌloʊˈɪnkəm ˈstætəs dɪz nɑt ˌɪtˈsɛlf dɪˈprɛs əˈʧivmənt, bət ɔn ˈævərɪʤ, ˌdɪsədˈvænɪʤd ˈʧɪldrən əˈʧiv æt loʊər ˈlɛvəlz. ˌɪnərˈnæʃənɑl tɛsts kənˈfərm ðɪs ɪn ˈɛvəri ˌɪnˈdəstriəˌlaɪzd ˈkəntri. waɪ ɪz ðɪs soʊ? pur nuˈtrɪʃən, ˌɪˈnædəkˌweɪt hɛlθ kɛr, səbˈstændərd ˈhaʊzɪŋ ənd ənˈsteɪbəl ˈfæməliz ɔl ər ˈfæktərz ðət kənˈtrɪbjut tɪ ə ˌɪnəˈbɪlɪti tɪ lərn æt haɪ ˈlɛvəlz. iʧ əv ðiz ˈsoʊʃəl klæs ˈdɪfərənsɪz bɪtˈwin ˈmɪdəlˈklæs ənd ˌloʊˈɪnkəm ˈstudənts həz ə smɔl ˈifɛkt ɔn ˈævərɪʤ pərˈfɔrməns, bət ðɛr ˈkjumjələtɪv ˈifɛkt ɪkˈspleɪnz məʧ əv ðə əˈʧivmənt gæp. ˈrɪʧərd ˈrɔθstin, ˈrisərʧ əˈsoʊʃiˌeɪt æt ðə ˌɛkəˈnɑmɪk ˈpɑləsi ˈɪnstɪˌtut, ɪz wən əv ðə əˈθɔrətiz ɔn ðə ˌɪmˈpækt əv soʊˌsiˌoʊˌɛkəˈnɑmɪk ˈfæktərz ɔn dɪˈspɛrətiz ɪn ˈstudənt əˈʧivmənt. ˌɪmˈpækt ðə ˈnɛgətɪv ˈifɛkts əv ˈreɪʃəl ənd ˌɛkəˈnɑmɪk ˌdɪsədˈvænɪʤ ər ɪgˈzæsərˌbeɪtɪd wɪn ˌloʊˈɪnkəm blæk ˈstudənts ər ˈkɔnsənˌtreɪtɪd ɪn ˈsɛgrəˌgeɪtɪd skulz. rɪˌmidiˈeɪʃən bɪˈkəmz ruˈtin, ənd ˈtiʧərz məst ˈfoʊkɪs mɔr ɔn ˈdɪsəplən ənd lɛs ɔn ˌɪnˈstrəkʃən, ˈlivɪŋ ðɛm ˈlɪtəl taɪm tɪ ˈʧælənʤ ðoʊz ɪkˈsɛpʃənəl ˈstudənts hu kən ˈoʊvərˌkəm ˈpərsɪnəl, ˈfæməli ənd kəmˈjunɪti ˈhɑrdʃɪps ðət ˈtɪpɪkəli ˌɪnərˈfɪr wɪθ ˈlərnɪŋ. ðɪs ˌaɪsəˈleɪʃən ɪz ə ˈprɑbləm nɑt ˈoʊnli əv ˈpɑvərti bət əv reɪs. ɪn ˈərbən ˈɛriəz, ˌloʊˈɪnkəm waɪt ˈstudənts ər mɔr ˈlaɪkli ˈɪnəˌgreɪtɪd ˈɪntu ˈmɪdəlˈklæs ˈneɪbərˌhʊdz ənd lɛs ˈlaɪkli tɪ əˈtɛnd skulz fɪld wɪθ ˈəðər ˌdɪsədˈvænɪʤd ˈstudənts. ˈneɪʃənˈwaɪd, ˌloʊˈɪnkəm blæk students’*’ ˌaɪsəˈleɪʃən həz ˌɪnˈkrist. ðə ʃɛr əv blæk ˈstudənts əˈtɛndɪŋ skulz ðət ər lɛs ðən 10 pərˈsɛnt waɪt ˌɪnˈkrist frəm lɛs ðən 34 pərˈsɛnt ɪn 1989 tɪ 39 pərˈsɛnt ɪn 2007 ɪn 1989 blæk ˈstudənts ˈtɪpɪkəli əˈtɛndəd skulz wɛr 43 pərˈsɛnt əv ˈstudənts wər ˌloʊˈɪnkəm; baɪ 2007 ðɪs gru tɪ 59 pərˈsɛnt. (stəˈtɪstɪks prəˈvaɪdɪd baɪ ə 2009 rɪˈpɔrt baɪ ðə ˈsɪvəl raɪts ˈprɑʤɛkt æt ucla*, http://civilrightsproject.ucla.edu*.) skulz wɪθ ˈpurli pərˈfɔrmɪŋ ˈstudənts ˈkænɑt bi tərnd əraʊnd waɪl ðeɪ rɪˈmeɪn ˈreɪʃəli ənd ˈaɪsəˌleɪtɪd. ðə ˈprɑbləmz ðiz ˈstudənts brɪŋ tɪ skul ər soʊ ˌoʊvərˈwɛlmɪŋ ðət ˈpɑləsi ʃʊd ˈnɛvər əˈsum ðət ˈivɪn ðə moʊst skɪld ˈfækəlti kən ˈoʊvərˌkəm ðɛm. skulz ˈsərtənli kən meɪk ə ˈdɪfərəns, bət ðeɪ ˈkænɑt ˈfʊli ɪˈreɪs ˈdæmɪʤ kɔzd baɪ ˈkɔnsənˌtreɪtɪd ˈpɑvərti ənd ˈreɪʃəl ˌaɪsəˈleɪʃən. ˈrɛgjəˌleɪtɪd ˈhaʊzɪŋ θruaʊt moʊst əv ðə ˈsɛnʧəri, ˈfɛdərəl ˈpɑləsi kriˈeɪtɪd blæk ˈgɛtoʊz ɪn ˌmɛtrəˈpɑlətən ˈɛriəz baɪ ˈpleɪsɪŋ ˈpəblɪk ˈhaʊzɪŋ fər waɪt ənd blæk ˈfæməliz ɪn ˈsɛpərˌeɪt ˈneɪbərˌhʊdz; ˌgɛrənˈtiɪŋ ˌloʊˈkɔst ˈmɔrgɪʤɪz fər waɪt (bət nɑt blæk) ˈfæməliz tɪ muv frəm ðɪs ˈpəblɪk ˈhaʊzɪŋ ənd frəm ˈəðər ˈərbən ˈneɪbərˌhʊdz tɪ ˈsəbərbz əv hoʊmz; ɪˈstæblɪʃɪŋ bæŋk ənd ˈseɪvɪŋz ənd loʊn ˈrɛgjələˌtɔri ˈpɑləsiz ðət ˌɪnˈkludɪd ˈreɪʃəl dɪˌskrɪməˈneɪʃən ɛz pɑrt əv saʊnd ˈlɛndɪŋ ˈpɑləsi; ˈgrænɪŋ tæks ɪgˈzɛmpʃənz tɪ ˌɔrgənəˈzeɪʃənz fɔrmd fər ðə ˈpərpəs əv ɛnˈfɔrsɪŋ ˈreɪʃəl ˈbɛriərz ənd tɪ ˈəðər ˌɔrgənəˈzeɪʃənz (ənd ˈʧərʧɪz) fər hum ðɪs wɑz ˈɔlsoʊ ə ˈpərpəs; ənd dɪˈlɪbərətli ˈrutɪŋ ˈfɛdərəl ˈhaɪˌweɪz θru ˈsɪtiz tɪ kriˈeɪt ˈreɪʃəl ˈbɛriərz ənd ˌsɛgrəˈgeɪʃən. steɪt ˈgəvərnmənts ˈhɛvəli ˈrɛgjəˌleɪtɪd ə ril ɛˈsteɪt ˈɪndəstri ðət soʊld ənd ˈrɛntɪd hoʊmz tɪ waɪts ɪn ˈneɪbərˌhʊdz ˈdɛzɪgˌneɪtɪd fər waɪts, ənd (ɪf æt ɔl) tɪ blæks ɪn ˈneɪbərˌhʊdz ˈdɛzɪgˌneɪtɪd fər blæks. steɪt ˈprɑsɪˌkjutərz ənd ˈloʊkəl pəˈlis ˈtɑlərˌeɪtəd, ˈivɪn ɪnˈkərəʤd, mɑb ˈvaɪələns əˈgɛnst ˈæfrɪkɑn əˈmɛrɪkənz hu dɛrd traɪ tɪ muv ˈɪntu ˈneɪbərˌhʊdz. haɪ kɔrt ˈrulɪŋ ˌsoʊsiəˈlɑʤɪkəl, ˌɛkəˈnɑmɪk ənd hɪˈstɔrɪkəl ˈrisərʧ ˈdɛmənˌstreɪts ðət blæk ˈstudənt pərˈfɔrməns ˌɪmˈpruvz wɪθ ˌɪnəˈgreɪʃən, wɪˈθaʊt ˈɛni lɔs fər waɪts. ˌhaʊˈɛvər, ɪn 2007 ðə juz. səˈprim kɔrt, ɪn ɪts ˈpɛrənts ˌɪnˈvɑlvd ɪn kəmˈjunɪti skulz vi. siˈætəl skul ˈdɪstrɪkt noʊ. 1 ˈrulɪŋ, proʊˈhɪbətəd ˈdɪstrɪkts frəm ˈteɪkɪŋ reɪs ˈɪntu əˈkaʊnt wɪn əˈsaɪnɪŋ ˈpjupəlz tɪ skulz ɪn ən əˈtɛmpt tɪ ˈɪnəˌgreɪt. ðə dɪˈsɪʒən əroʊz frəm ˈkeɪsɪz ɪn siˈætəl, wɑʃ., ənd ˈluiˌvɪl, ky*., wɛr ðə skul ˈdɪstrɪkts juzd reɪs ɛz ə ˈfæktər tɪ əˈʧiv dɪˈvərsɪti wɪn əˈsaɪnɪŋ ˈstudənts tɪ skulz. ɪkˈsprɛsɪŋ ðə plərˈælɪti əˈpɪnjən, ʧif ˈʤəstɪs ʤɑn ˈrɑbərts əˈsərtəd ðət ɪkˈsplɪsət ˈreɪʃəl ˌɪnəˈgreɪʃən wɑz pərˈmɪsəbəl ˈoʊnli tɪ ˈrɛmədi ə ˈpriviəs ɪkˈsplɪsət ˈpɑləsi əv ˌsɛgrəˈgeɪʃən. hi sɛd ðət blæk students’*’ ˌaɪsəˈleɪʃən təˈdeɪ ɪz nɑt dɪˈlɪbərˌeɪt; ˈrəðər, ɪt rɪˈzəlts frəm də ˈfæktoʊ ˈneɪbərˌhʊd ˌsɛgrəˈgeɪʃən ðət əroʊz frəm ˈɪnˌkəm ˈdɪfərənsɪz, ˌdɛməˈgræfɪk trɛnz, ənd ˈʧɔɪsɪz əv waɪt ənd blæk ˈfæməliz tɪ lɪv ɪn ˈneɪbərˌhʊdz. ðə dɪˈsɛnt, baɪ ˈlɪˌbərəl ˈʤəstɪs ˈstivən breɪər, dɪd nɑt dɪsəˈgri ɔn ðɪs pɔɪnt, ˈɑrgjuɪŋ ˈoʊnli ðət fər də ˈfæktoʊ ˌsɛgrəˈgeɪʃən, ɪt ɪz gʊd ˈpəblɪk ˈpɑləsi tɪ ˈpərˌmɪt ˈdɪstrɪkts ˌvɑlənˈtɛrəli tɪ ˈɪnəˌgreɪt, ˈivɪn ɪf nɑt ˌkɑnstəˈtuʃənəli kəmˈpɛld tɪ du soʊ. bət ˌsɛgrəˈgeɪʃən ɪn siˈætəl ənd ˈluiˌvɪl wɑz noʊ ˈæksədənt. ɪt wɑz kriˈeɪtɪd ˈlɑrʤli baɪ ˈpəblɪk ˈpɑləsi. ɪn siˈætəl, ˈsəbdɪˌvɪʒənz kriˈeɪtɪd baɪ (səʧ ɛz ˈwɪljəm boʊɪŋ) wər ˈfaɪˌnænst baɪ ðə ˈfɛdərəl ˈgəvərnmənt wɪθ ˈreɪʃəl riˈstrɪkʃənz, ər ˈdɛzɪgˌneɪtɪd fər ɪn plænz əˈpruvd baɪ ðə ˈsɪti ənd ˈkaʊnti. ɪn ˈluiˌvɪl, wɪn ə ˈkəpəl soʊld ə hoʊm ɪn ðɛr waɪt ˈneɪbərˌhʊd tɪ ə blæk ˈpərʧəsər, nɑt ˈoʊnli dɪd pəˈlis stænd baɪ ˈdʊrɪŋ ðə ˈɛnsuɪŋ raɪət, bət ˈprɑsɪˌkjutərz rɪˈspɑndɪd baɪ traɪɪŋ, kənˈvɪktɪŋ ənd ˌɪmˈprɪzənɪŋ ðə waɪt ˈsɛlər fər ““sedition.”*.” fərˈgɑtən ˈpræktɪsɪz boʊθ roberts’*’ ənd əˈpɪnjənz rɪˈflɛkt kəˈlɑsəl hɪˈstɔrɪkəl æmˈniʒə. ɪn truθ, ˈneɪbərˌhʊdz əˈkrɔs ðə ˈneɪʃən ɪn wɪʧ ɑr skulz ər ˈloʊˌkeɪtəd wər ˈsɛgrəˌgeɪtɪd baɪ ˈpərpəsfəl ˈfɛdərəl, steɪt ənd ˈloʊkəl ˈgəvərnmənt ˈpɑləsi. ˈmɛni səʧ ˈpɑləsiz ər noʊ ˈlɔŋgər ɪn fɔrs, bət ðɛr ˈifɛkts ɪnˈdʊr. ɪn 1954 ðə səˈprim kɔrt, ɪn braʊn vi. bɔrd əv ˌɛʤəˈkeɪʃən, proʊˈhɪbətəd skul ˈdɪstrɪkts frəm meɪnˈteɪnɪŋ ˈsɛpərˌeɪt skulz fər blæks ənd waɪts. ðə dɪˈsɪʒən wɑz eɪmd æt ˈpræktɪsɪz ɪn ðə saʊθ ənd əˈsumd ðət blæks ənd waɪts lɪvd ɪn ðə seɪm ˈneɪbərˌhʊdz ənd kʊd əˈtɛnd ðə seɪm skulz ɪf pərˈmɪtɪd tɪ du soʊ. bət ðə braʊn dɪˈsɪʒən kʊd du ˈlɪtəl tɪ ˈrɛmədi ˌsɛgrəˈgeɪʃən ðət rɪˈzəlts nɑt frəm ə ˈreɪʃəl ˈpjupəl əˈsaɪnmənt plæn bət frəm ˌʤiəˈgræfɪk ˌsɛpərˈeɪʃən əv ðə ˈreɪsɪz. ˈbəsɪŋ ɪz ˈrɛrli ə səˈluʃən bɪˈkəz ˈdɪstənsɪz bɪtˈwin ˈæfluənt waɪt ˈsəbərbz ənd ˈərbən blæk ˈgɛtoʊz ər naʊ tu greɪt ɪn ˈmɛni ˈɛriəz. ˈsɪmpli riˈpilɪŋ ðə kaɪnd əv skul ˌsɛgrəˈgeɪʃən ˈpɑləsi bænd baɪ ðə braʊn dɪˈsɪʒən kən ˈɪnəˌgreɪt skulz ɪf ˈdɪstrɪkts drɔ ˈɪnəˌgreɪtɪd skul əˈtɛndəns zoʊnz. bət riˈpilɪŋ ən ˌɪnˈtɛnʃənəl ˌrɛzɪˈdɛnʃəl ˌsɛgrəˈgeɪʃən ˈpɑləsi ðət ɔˈrɛdi həz lɛd tɪ səbˈstænʃəl ˈreɪʃəl ˌaɪsəˈleɪʃən əˈkɑmplɪʃɪz ˈlɪtəl, bɪˈkəz wəns ˌpɑpjəˈleɪʃənz hæv bɪn ˈfərmli ɪˈstæblɪʃt ɪn ˈsɛpərˌeɪt ˈɛriəz, ˈivɪn ˈmɑdəst ˌɪnəˈgreɪʃən kʊd teɪk ˈdɛkeɪdz ɪf lɛft tɪ ˈɔrdəˌnɛri ˈveɪkənsiz ənd in-migration*. kənˈsɪdər ðə ˌaɪˈkɑnɪk ˈlɛvɪˌtaʊn ˈsəbərb ɪn ˈnæsɔ ˈkaʊnti, n.y*. ɪn 1947 ə væst ˈhaʊzɪŋ ˈʃɔrtɪʤ ɪgˈzɪstəd fər boʊθ blæk ənd waɪt ˈwərkərz ənd rɪˈtərnɪŋ wɔr ˈvɛtərənz. ðə ˈfɛdərəl ˈgəvərnmənt ˈfaɪˌnænst ðə ˈlɛvɪt ˈkəmpəˌni tɪ ˈkɑnstrəkt ˈjunɪts. ðiz ˈlɛvɪˌtaʊn hoʊmz wər ˈizəli əˈfɔrdəbəl, bət ðə ˈgəvərnmənt ɪkˈsplɪsətli proʊˈhɪbətəd ˈlɛvɪt frəm ˈsɛlɪŋ (ər ˈrɛntɪŋ) tɪ ˈæfrɪkɑn əˈmɛrɪkənz. (ˈsɪmələr ˈfɛdərəl riˈstrɪkʃənz əˈplaɪd tɪ ˈəðər ˈprɑʤɛkts, ˈmɛni əbˈskjʊr ənd səm wɛl noʊn, laɪk ðə ʤaɪənt ˈleɪkˌwʊd dɪˈvɛləpmənt saʊθ əv lɔs ˈænʤəlɪs ənd ðə ˈdeɪli ˈsɪti ˈsəbərb saʊθ əv sæn frænˈsɪskoʊ, məˈmɔriəˌlaɪzd baɪ mɑlˈvinə reynolds’*’ sɔŋ əˈbaʊt tacky”*” ˈhaʊsɪz.) ən ɪgˈzɛkjətɪv ˈɔrdər baɪ ˈprɛzɪdənt ˈkɛnədi ɪn 1962 ənd ðə 1968 fɛr ˈhaʊzɪŋ ækt rɪˈpild ˈgəvərnmənt ˈpɑləsiz rikˈwaɪərɪŋ ˈreɪʃəl ˈhaʊzɪŋ ˌsɛgrəˈgeɪʃən. jɛt ˌɔlˈðoʊ ˈmɛni blæk ˈfæməliz ɪn nu jɔrk ˈsɪti ənd ˈnæsɔ ˈkaʊnti nid ˈbɛtər ˈhaʊzɪŋ, ˈlɛvɪˌtaʊn rɪˈmeɪnz təˈdeɪ lɛs ðən 1 pərˈsɛnt blæk, kəmˈpɛrd tɪ ðə ˈnɪrˈbaɪ lɔŋ ˈaɪlənd taʊn əv ˈruzəˌvɛlt, wɪʧ ɪz 79 pərˈsɛnt blæk. ɪn pɑrt, ðɪs ɪz bɪˈkəz waɪt ˈfæməliz ˈfɔrʧənət ɪˈnəf tɪ ˈpərʧəs ˈlɛvɪˌtaʊn hoʊmz ɪn ðə ənd sɔ ðɛr ˈɛkwəti əˈpriʃiˌeɪt mɔr ˈræpədli ðən ðɛr ˈweɪʤɪz, soʊ ˈæˌsɛt ˈvæljuz hɛlpt prəˈpɛl ðɛm ˈɪntu ðə ˈmɪdəl klæs. bət baɪ ðə taɪm ˈligəl ˈbɛriərz tɪ ˌsɛgrəˈgeɪʃən fɛl, ðiz hoʊmz wər noʊ ˈlɔŋgər əˈfɔrdəbəl fər ˈwərkɪŋ ˈfæməliz, soʊ ˈæfrɪkɑn əˈmɛrɪkənz wər ˈpərmɑˌnɛnˌtli ɪkˈskludɪd frəm ðə səˈbərbən bum ənd ɪts əˈmɛnətiz. ə mɪθ pərˈpɛʧəˌweɪtɪd ðət ɑr ˌsɛgrəˈgeɪʃən ɪz də ˈfæktoʊ, nɑt də ʤʊr (kriˈeɪtɪd baɪ lɔ ənd ˈpəblɪk ˈpɑləsi) ɪz ən ˈərbən mɪθ, ʃɛrd baɪ səˈprim kɔrt ˈʤəstɪsɪz, ˈnæʃənəl ˈpɑləsiˌmeɪkərz, ˈlɛʤəsˌleɪtərz ənd ˈɛʤəˌkeɪtərz. wi kənˈtɪnju tɪ tiʧ ðɪs mɪθ ɪn ˈpəblɪk skulz, wɛr ˈsoʊʃəl ˈstədiz kərˈɪkjəˌlɑ ˈkɛrɪktərˌaɪz ˌrɛzɪˈdɛnʃəl ˈreɪʃəl ˌsɛgrəˈgeɪʃən ɛz rɪˈzəltɪŋ ˈoʊnli frəm ˈpraɪvət dɪˌskrɪməˈneɪʃən ər ɛz ə ˈpjʊrli ˈrændəm fəˈnɑməˌnɑn. fər ɪgˈzæmpəl, ɪn ðə mɔr ðən ˈpeɪʤɪz əv məkˈdugəl ˈwaɪdli juzd haɪ skul ˈtɛkstˌbʊk, ðə əˈmɛrɪkənz, ə ˈsɪŋgəl ˈpɛrəˌgræf ɪz dɪˈvoʊtɪd tɪ ɪn ðə north”*” ɪn ðə ˈsɛnʧəri. ðə bʊk dɪˈvoʊts wən ˈsɛntəns tɪ ˌrɛzɪˈdɛnʃəl ˌsɛgrəˈgeɪʃən: əˈmɛrɪkənz faʊnd ðɛmˈsɛlvz fɔrst ˈɪntu ˈsɛgrəˌgeɪtɪd neighborhoods,”*,” wɪθ noʊ ˈfərðər ˌɛkspləˈneɪʃən əv haʊ ðɪs ˈhæpənd ər hu wɑz riˈspɑnsəbəl. ˈsɪmələr ˈkɛrɪktərˌaɪz ðə ˈtɛkstˌbʊks əv ˈəðər ˈpəblɪʃərz. ˌsupərɪnˈtɛndənts ˈkænɑt hoʊp tɪ ˈnɛroʊ ðə əˈʧivmənt gæp wɪˈθaʊt ˈɪnəˌgreɪtɪŋ ðɛr ˈstudənt ˌpɑpjəˈleɪʃənz, ənd ðeɪ ˈkænɑt hoʊp tɪ du ðɪs ənˈtɪl ðə ˈneɪbərˌhʊdz frəm wɪʧ ˈstudənts kəm ər ˈɪnəˌgreɪtɪd. ˌɔlˈðoʊ ˈfɛdərəl, steɪt ənd ˈloʊkəl ˈgəvərnmənts hæv ˈmɛni ˈpɑləsi ɔlˈtərnətɪvz ðeɪ kʊd ɪmˈplɔɪ tɪ prəˈmoʊt ˌrɛzɪˈdɛnʃəl ˌɪnəˈgreɪʃən, ðɛr ɪz noʊ ˈpɑpjələr səˈpɔrt fər səʧ ˈpɑləsiz. ðɪs læk əv ˈpəblɪk səˈpɔrt ɪz ˈpɑrtli ɑr oʊn fɔlt, bɪˈkəz wi feɪl tɪ tiʧ ən ˈækjərət əˈkaʊnt əv ðə ˌsɛgrəˈgeɪʃən ˈpɑləsiz ðət wər ðə moʊst ˌɪmˈpɔrtənt dɪˈtərmənənt əv ɑr kənˈtɛmpərˌɛri ˌmɛtrəˈpɑlətən ˈlænˌskeɪp. ɛz ə rɪˈzəlt, ðə mɪθ əv də ˈfæktoʊ ˌsɛgrəˈgeɪʃən ɪnˈdʊrz. ɪf wi tiʧ ˈstudənts ðət ˌrɛzɪˈdɛnʃəl ˌsɛgrəˈgeɪʃən wɑz ˌənˌkɑnstəˈtuʃənəli kriˈeɪtɪd baɪ ɑr ˈgəvərnmənt, ənd rikˈwaɪərz ə ˌkɑnstəˈtuʃənəl ˈrɛmədi, haʊ kən wi ɪkˈspɛkt ðɛm, ɛz ˈædəlts, tɪ ækt ɔn ðɪs ˌəndərˈstændɪŋ? ˈrɪʧərd ˈrɔθstin ɪz ə ˈrisərʧ əˈsoʊʃiˌeɪt æt ðə ˌɛkəˈnɑmɪk ˈpɑləsi ˈɪnstɪˌtut ɪn ˈwɔʃɪŋtən, d.c*., ənd ˈɔθər əv ˈsɛvərəl bʊks, ˌɪnˈkludɪŋ klæs ənd skulz: ˈjuzɪŋ ˈsoʊʃəl, ˌɛkəˈnɑmɪk, ənd ˌɛʤəˈkeɪʃənəl rɪˈfɔrm tɪ kloʊz ðə əˈʧivmənt gæp (ˌɛkəˈnɑmɪk ˈpɑləsi ˈɪnstɪˌtut, 2004 ˈiˌmeɪl:
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there are multiple errors and misrepresentations in niall cover story in newsweek i guess they do but this is the one that jumped out at me. ferguson says:
the president pledged that reform would not add a cent to the deficit. but the and the joint committee on taxation now estimate that the provisions of the aca will have a net cost of close to $1.2 trillion over the period.
readers are no doubt meant to interpret this as saying that found that the act will increase the deficit. but anyone who actually read, or even skimmed, the report (pdf) knows that it found that the aca would reduce, not increase, the deficit because the insurance subsidies were fully paid for.
now, people on the right like to argue that the was wrong. but not the argument ferguson is making he is deliberately misleading readers, conveying the impression that the had actually rejected claim that health reform is deficit-neutral, when in fact the opposite is true.
more than that: by its very nature, health reform that expands coverage requires that families receive subsidies to make coverage affordable. so of course reform comes with a positive number for subsidies finding that this number is indeed positive says nothing at all about the impact on the deficit unless you ask whether and how the subsidies are paid for. ferguson has to know this (unless completely ignorant about the whole subject, which i guess has to be considered as a possibility). but he goes for the cheap shot anyway.
we’re not talking about ideology or even economic analysis here just a plain misrepresentation of the facts, with an august publication letting itself be used to misinform readers. the times would require an abject correction if something like that slipped through. will newsweek?
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ðɛr ər ˈməltəpəl ˈɛrərz ənd mɪsˌrɛprɪzɛnˈteɪʃənz ɪn naɪəl ˈkəvər ˈstɔri ɪn ˈnuzˌwik aɪ gɛs ðeɪ du bət ðɪs ɪz ðə wən ðət ʤəmpt aʊt æt mi. ˈfərgəsən sɪz: ðə ˈprɛzɪdənt plɛʤd ðət rɪˈfɔrm wʊd nɑt æd ə sɛnt tɪ ðə ˈdɛfəsət. bət ðə ənd ðə ʤɔɪnt kəˈmɪti ɔn tækˈseɪʃən naʊ ˈɛstəˌmeɪt ðət ðə prəˈvɪʒənz əv ðə ˈækə wɪl hæv ə nɛt kɔst əv kloʊz tɪ ˈtrɪljən ˈoʊvər ðə ˈpɪriəd. ˈridərz ər noʊ daʊt mɛnt tɪ ˌɪnˈtərprət ðɪs ɛz seɪɪŋ ðət faʊnd ðət ðə ækt wɪl ˌɪnˈkris ðə ˈdɛfəsət. bət ˈɛniˌwən hu ˈæˌkʧuəli rɛd, ər ˈivɪn skɪmd, ðə rɪˈpɔrt (pdf*) noʊz ðət ɪt faʊnd ðət ðə ˈækə wʊd rɪˈdus, nɑt ˌɪnˈkris, ðə ˈdɛfəsət bɪˈkəz ðə ˌɪnˈʃʊrəns ˈsəbsɪdiz wər ˈfʊli peɪd fər. naʊ, ˈpipəl ɔn ðə raɪt laɪk tɪ ˈɑrgju ðət ðə wɑz rɔŋ. bət nɑt ðə ˈɑrgjəmənt ˈfərgəsən ɪz ˈmeɪkɪŋ hi ɪz dɪˈlɪbərətli mɪsˈlidɪŋ ˈridərz, kənˈveɪɪŋ ðə ˌɪmˈprɛʃən ðət ðə hæd ˈæˌkʧuəli rɪˈʤɛktɪd kleɪm ðət hɛlθ rɪˈfɔrm ɪz deficit-neutral*, wɪn ɪn fækt ðə ˈɑpəzɪt ɪz tru. mɔr ðən ðət: baɪ ɪts ˈvɛri ˈneɪʧər, hɛlθ rɪˈfɔrm ðət ɪkˈspændz ˈkəvərɪʤ rikˈwaɪərz ðət ˈfæməliz rɪˈsiv ˈsəbsɪdiz tɪ meɪk ˈkəvərɪʤ əˈfɔrdəbəl. soʊ əv kɔrs rɪˈfɔrm kəmz wɪθ ə ˈpɑzətɪv ˈnəmbər fər ˈsəbsɪdiz ˈfaɪndɪŋ ðət ðɪs ˈnəmbər ɪz ˌɪnˈdid ˈpɑzətɪv sɪz ˈnəθɪŋ æt ɔl əˈbaʊt ðə ˌɪmˈpækt ɔn ðə ˈdɛfəsət ənˈlɛs ju æsk ˈwɛðər ənd haʊ ðə ˈsəbsɪdiz ər peɪd fər. ˈfərgəsən həz tɪ noʊ ðɪs (ənˈlɛs kəmˈplitli ˈɪgnərənt əˈbaʊt ðə hoʊl ˈsəbʤɪkt, wɪʧ aɪ gɛs həz tɪ bi kənˈsɪdərd ɛz ə ˌpɑsəˈbɪləˌti). bət hi goʊz fər ðə ʧip ʃɑt ˈɛniˌweɪ. nɑt ˈtɔkɪŋ əˈbaʊt ˌaɪdiˈɑləʤi ər ˈivɪn ˌɛkəˈnɑmɪk æˈnælɪsɪs hir ʤɪst ə pleɪn mɪsˌrɛprɪzɛnˈteɪʃən əv ðə fækts, wɪθ ən ˈɔgəst ˌpəblɪˈkeɪʃən ˈlɛtɪŋ ˌɪtˈsɛlf bi juzd tɪ mɪˌsɪnˈfɔrm ˈridərz. ðə taɪmz wʊd ˌrikˈwaɪər ən ˈæbʤɛkt kərˈɛkʃən ɪf ˈsəmθɪŋ laɪk ðət slɪpt θru. wɪl ˈnuzˌwik?
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a south korean official on tuesday warned that north korea is increasing its nuclear capability more rapidly than previously estimated as it seeks to build a nuclear missile capable of reaching the mainland u.s.
"north korea has been developing its nuclear weapons at a pace,” said cho myoung-gyon, the unification minister for south korea, as reported by the yonhap news agency.
“we cannot rule out the possibility that north korea could announce its completion of a clear force within one year,” cho said.
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cho cited 2018, the anniversary of the korean separation into two states, as a crucial year for pyongyang's nuclear ambitions, which have proven to be a thorn in the side of president trump donald john committee believes it has evidence trump requested putting ally in charge of cohen probe: report vietnamese airline takes steps to open flights to us on sidelines of summit attorneys say he should get less than 10 years in prison more during his first year in office.
pyongyang in september said it had successfully tested a miniaturized hydrogen bomb that can be placed on an intercontinental ballistic missile (icbm), causing the united nations security council to unanimously vote to ramp up sanctions.
the aggression has caused increased concern in the region, particularly from its southern neighbor and japan. pyongyang fired a ballistic missile over japan in august and again in september.
"it is a fact that we have witnessed some noteworthy movements in north korea. but it remains to be seen whether pyongyang would make further provocations," cho said in the reported remarks.
his comments add to the ongoing threat from north korea, which in july conducted two tests.
trump, who recently returned from a tour of asia where north aggression was a key focal point, has cautioned pyongyang against making provocations toward the u.s.
“today, i hope i speak not only for our countries but for all civilized nations when i say to the north: do not underestimate us, and do not try us. we will defend our common security, our shared prosperity and our sacred liberty,” trump said during a speech earlier this month to south national assembly.
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ə saʊθ ˌkɔˈriən əˈfɪʃəl ɔn ˈtuzˌdeɪ wɔrnd ðət nɔrθ ˌkɔˈriə ɪz ˌɪnˈkrisɪŋ ɪts ˈnukliər ˌkeɪpəˈbɪləti mɔr ˈræpədli ðən ˈpriviəsli ˈɛstəˌmeɪtɪd ɛz ɪt siks tɪ bɪld ə ˈnukliər ˈmɪsəl ˈkeɪpəbəl əv ˈriʧɪŋ ðə ˈmeɪnˌlænd juz. "nɔrθ ˌkɔˈriə həz bɪn dɪˈvɛləpɪŋ ɪts ˈnukliər ˈwɛpənz æt ə pace,”*,” sɛd ʧoʊ myoung-gyon*, ðə ˌjunəfəˈkeɪʃən ˈmɪnɪstər fər saʊθ ˌkɔˈriə, ɛz ˌriˈpɔrtəd baɪ ðə ˈjɑnˌhæp nuz ˈeɪʤənsi. ˈkænɑt rul aʊt ðə ˌpɑsəˈbɪləˌti ðət nɔrθ ˌkɔˈriə kʊd əˈnaʊns ɪts kəmˈpliʃən əv ə klɪr fɔrs wɪˈθɪn wən year,”*,” ʧoʊ sɛd. ˌædvərˈtaɪzmənt ʧoʊ ˈsaɪtɪd 2018 ðə ˌænəˈvərsəri əv ðə ˌkɔˈriən ˌsɛpərˈeɪʃən ˈɪntu tu steɪts, ɛz ə ˈkruʃəl jɪr fər ˈpjɔŋˈjæŋz ˈnukliər æmˈbɪʃənz, wɪʧ hæv ˈpruvən tɪ bi ə θɔrn ɪn ðə saɪd əv ˈprɛzɪdənt trəmp ˈdɑnəld ʤɑn kəˈmɪti bɪˈlivz ɪt həz ˈɛvədəns trəmp rɪkˈwɛstɪd ˈpʊtɪŋ ˈælaɪ ɪn ʧɑrʤ əv koʊən proʊb: rɪˈpɔrt viˌɛtnɑˈmis ˈɛˌrlaɪn teɪks stɛps tɪ ˈoʊpən flaɪts tɪ ˈjuˈɛs ɔn ˈsaɪˌdlaɪnz əv ˈsəmɪt əˈtərniz seɪ hi ʃʊd gɪt lɛs ðən 10 jɪrz ɪn ˈprɪzən mɔr ˈdʊrɪŋ hɪz fərst jɪr ɪn ˈɔfəs. ˈpjɔŋˈjæŋ ɪn sɛpˈtɛmbər sɛd ɪt hæd səkˈsɛsfəli ˈtɛstɪd ə ˈmɪnɪʧərˌaɪzd ˈhaɪdrəʤən bɔm ðət kən bi pleɪst ɔn ən ˌɪntərˌkɑntəˈnɛntəl bəˈlɪstɪk ˈmɪsəl (icbm*), ˈkɔzɪŋ ðə juˈnaɪtɪd ˈneɪʃənz sɪˈkjʊrəti ˈkaʊnsəl tɪ juˈnænəməsli voʊt tɪ ræmp əp ˈsæŋkʃənz. ðə əˈgrɛʃən həz kɔzd ˌɪnˈkrist kənˈsərn ɪn ðə ˈriʤən, ˌpɑrˈtɪkjələrli frəm ɪts ˈsəðərn ˈneɪbər ənd ʤəˈpæn. ˈpjɔŋˈjæŋ faɪərd ə bəˈlɪstɪk ˈmɪsəl ˈoʊvər ʤəˈpæn ɪn ˈɔgəst ənd əˈgɛn ɪn sɛpˈtɛmbər. "ɪt ɪz ə fækt ðət wi hæv ˈwɪtnəst səm ˈnoʊtˌwərði ˈmuvmənts ɪn nɔrθ ˌkɔˈriə. bət ɪt rɪˈmeɪnz tɪ bi sin ˈwɛðər ˈpjɔŋˈjæŋ wʊd meɪk ˈfərðər ˌprɑvəˈkeɪʃənz," ʧoʊ sɛd ɪn ðə ˌriˈpɔrtəd rɪˈmɑrks. hɪz ˈkɑmɛnts æd tɪ ðə ˈɔnˌgoʊɪŋ θrɛt frəm nɔrθ ˌkɔˈriə, wɪʧ ɪn ˌʤuˈlaɪ kənˈdəktəd tu tɛsts. trəmp, hu ˈrisəntli rɪˈtərnd frəm ə tʊr əv ˈeɪʒə wɛr nɔrθ əˈgrɛʃən wɑz ə ki ˈfoʊkəl pɔɪnt, həz ˈkɔʃənd ˈpjɔŋˈjæŋ əˈgɛnst ˈmeɪkɪŋ ˌprɑvəˈkeɪʃənz təˈwɔrd ðə juz. ““today*, aɪ hoʊp aɪ spik nɑt ˈoʊnli fər ɑr ˈkəntriz bət fər ɔl ˈsɪvəˌlaɪzd ˈneɪʃənz wɪn aɪ seɪ tɪ ðə nɔrθ: du nɑt ˈəndərˈɛstəˌmeɪt ˈjuˈɛs, ənd du nɑt traɪ ˈjuˈɛs. wi wɪl dɪˈfɛnd ɑr ˈkɑmən sɪˈkjʊrəti, ɑr ʃɛrd prɑˈspɛrəti ənd ɑr ˈseɪkrɪd liberty,”*,” trəmp sɛd ˈdʊrɪŋ ə spiʧ ˈərliər ðɪs mənθ tɪ saʊθ ˈnæʃənəl əˈsɛmbli.
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following the immediate and widespread in response to donald firing of fbi director james, the president sent out a statement wednesday to clear the air regarding his controversial decision. trump explained that, despite appearances of impropriety, the real reason he fired was that was simply taking too long to uncover his ties to the russian government.
trump did not pull any punches in his statement, calling totally incompetent for being unable to hit what basically amounts to an investigative softball out of the park:
“uncovering any misconduct involving my administration and russia should be a relatively simple endeavor, and troubled by mr.’s continued failure to do so despite having more than enough time and investigative resources at his disposal,” statement read. “the american people need a leader they can trust to expose any poorly concealed webs of corruption involving elected officials, and mr.’s baffling inability to connect the dots regarding my ties to russia makes it clear that he is not that person.”
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trump went on to say that between the hacking scandal, the countless alarming connections his close advisors maintain with russia, the steele dossier, and his own frequent public praise of russian president vladimir putin, “probably knocked this thing out in an afternoon.” he also added that there were a significant number of red flags right underneath’s nose that a more capable investigator detected immediately, and he trusts that whoever he chooses to appoint as his successor should have no problem digging them up.
“if mr. had thoroughly examined the suspicious interactions with russia involving michael flynn, carter page, paul manafort, and jeff sessions, and had he bothered to consider what bearing my business relationships with russia might have on my refusal to disclose my tax returns, he been able to wrap this one up with a bow in no time,” the statement continued. “this the da vinci code dealing with, okay? this should be easy. if you come home and the got frosting all over its snout, you should be able to figure out it was the dog that ate the cake. but not mr., which is why i felt i had no choice but to remove him from his post.”
trump’s statement marked a rare moment of transparency for an administration frequently been criticized for its furtive dealings, and it should go a long way toward quelling the outrage surrounding his decision to fire. hopefully whoever trump picks to fill the fbi director role is someone who can put together the easiest puzzle a little more quickly than.
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ˈfɑloʊɪŋ ðə ˌɪˈmiˌdiət ənd ˈwaɪdˈsprɛd ɪn rɪˈspɑns tɪ ˈdɑnəld ˈfaɪərrɪŋ əv ˈɛfˈbiˈaɪ dɪˈrɛktər ʤeɪmz, ðə ˈprɛzɪdənt sɛnt aʊt ə ˈsteɪtmənt ˈwɛnzˌdeɪ tɪ klɪr ðə ɛr rɪˈgɑrdɪŋ hɪz ˌkɑntrəˈvərʃəl dɪˈsɪʒən. trəmp ɪkˈspleɪnd ðət, dɪˈspaɪt əˈpɪrənsəz əv ˌɪmprəˈpraɪəti, ðə ril ˈrizən hi faɪərd wɑz ðət wɑz ˈsɪmpli ˈteɪkɪŋ tu lɔŋ tɪ ənˈkəvər hɪz taɪz tɪ ðə ˈrəʃən ˈgəvərnmənt. trəmp dɪd nɑt pʊl ˈɛni ˈpənʧɪz ɪn hɪz ˈsteɪtmənt, ˈkɔlɪŋ ˈtoʊtəli ˌɪnˈkɑmpətənt fər biɪŋ əˈneɪbəl tɪ hɪt wət ˈbeɪsɪkli əˈmaʊnts tɪ ən ˌɪnˈvɛstəˌgeɪtɪv ˈsɔfˌbɔl aʊt əv ðə pɑrk: ˈɛni mɪˈskɑndəkt ˌɪnˈvɑlvɪŋ maɪ ædˌmɪnɪˈstreɪʃən ənd ˈrəʃə ʃʊd bi ə ˈrɛlətɪvli ˈsɪmpəl ɪnˈdɛvər, ənd ˈtrəbəld baɪ ˈmɪstər. kənˈtɪnjud ˈfeɪljər tɪ du soʊ dɪˈspaɪt ˈhævɪŋ mɔr ðən ɪˈnəf taɪm ənd ˌɪnˈvɛstəˌgeɪtɪv ˈrisɔrsɪz æt hɪz disposal,”*,” ˈsteɪtmənt rɛd. əˈmɛrɪkən ˈpipəl nid ə ˈlidər ðeɪ kən trəst tɪ ɪkˈspoʊz ˈɛni ˈpurli kənˈsild wɛbz əv kərˈəpʃən ˌɪnˈvɑlvɪŋ ɪˈlɛktɪd əˈfɪʃəlz, ənd ˈmɪstər. ˈbæfəlɪŋ ˌɪnəˈbɪlɪti tɪ kəˈnɛkt ðə dɑts rɪˈgɑrdɪŋ maɪ taɪz tɪ ˈrəʃə meɪks ɪt klɪr ðət hi ɪz nɑt ðət person.”*.” ˌædvərˈtaɪzmənt trəmp wɛnt ɔn tɪ seɪ ðət bɪtˈwin ðə ˈhækɪŋ ˈskændəl, ðə ˈkaʊntləs əˈlɑrmɪŋ kəˈnɛkʃənz hɪz kloʊz ædˈvaɪzərz meɪnˈteɪn wɪθ ˈrəʃə, ðə stil ˌdɔsˈjeɪ, ənd hɪz oʊn ˈfrikˌwɛnt ˈpəblɪk preɪz əv ˈrəʃən ˈprɛzɪdənt vˈlædəmɪr ˈputɪn, nɑkt ðɪs θɪŋ aʊt ɪn ən afternoon.”*.” hi ˈɔlsoʊ ˈædɪd ðət ðɛr wər ə sɪgˈnɪfɪkənt ˈnəmbər əv rɛd flægz raɪt ˌəndərˈniθ noʊz ðət ə mɔr ˈkeɪpəbəl ˌɪnˈvɛstəˌgeɪtər dɪˈtɛktɪd ˌɪˈmiˌdiətli, ənd hi trəsts ðət huˈɛvər hi ˈʧuzɪz tɪ əˈpɔɪnt ɛz hɪz səkˈsɛsər ʃʊd hæv noʊ ˈprɑbləm ˈdɪgɪŋ ðɛm əp. ˈmɪstər. hæd ˈθəroʊli ɪgˈzæmənd ðə səˈspɪʃəs ˌɪnərˈækʃənz wɪθ ˈrəʃə ˌɪnˈvɑlvɪŋ ˈmaɪkəl flɪn, ˈkɑrtər peɪʤ, pɔl ˈmænəfɔrt, ənd ʤɛf ˈsɛʃənz, ənd hæd hi ˈbɑðərd tɪ kənˈsɪdər wət ˈbɛrɪŋ maɪ ˈbɪznɪs riˈleɪʃənˌʃɪps wɪθ ˈrəʃə maɪt hæv ɔn maɪ rɪfˈjuzəl tɪ dɪˈskloʊz maɪ tæks rɪˈtərnz, hi bɪn ˈeɪbəl tɪ ræp ðɪs wən əp wɪθ ə boʊ ɪn noʊ time,”*,” ðə ˈsteɪtmənt kənˈtɪnjud. ðə ˈdiˈeɪ ˈvɪnʧi koʊd ˈdilɪŋ wɪθ, ˌoʊˈkeɪ? ðɪs ʃʊd bi ˈizi. ɪf ju kəm hoʊm ənd ðə gɑt ˈfrɔstɪŋ ɔl ˈoʊvər ɪts snaʊt, ju ʃʊd bi ˈeɪbəl tɪ ˈfɪgjər aʊt ɪt wɑz ðə dɔg ðət eɪt ðə keɪk. bət nɑt ˈmɪstər., wɪʧ ɪz waɪ aɪ fɛlt aɪ hæd noʊ ʧɔɪs bət tɪ riˈmuv ɪm frəm hɪz post.”*.” ˈsteɪtmənt mɑrkt ə rɛr ˈmoʊmənt əv trænˈspɛrənsi fər ən ædˌmɪnɪˈstreɪʃən ˈfrikwɛntli bɪn ˈkrɪtəˌsaɪzd fər ɪts ˈfərtɪv ˈdilɪŋz, ənd ɪt ʃʊd goʊ ə lɔŋ weɪ təˈwɔrd kˈwɛlɪŋ ðə ˈaʊˌtreɪʤ sərˈaʊndɪŋ hɪz dɪˈsɪʒən tɪ faɪər. ˈhoʊpfəli huˈɛvər trəmp pɪks tɪ fɪl ðə ˈɛfˈbiˈaɪ dɪˈrɛktər roʊl ɪz ˈsəmˌwən hu kən pʊt təˈgɛðər ðə ˈiziəst ˈpəzəl ə ˈlɪtəl mɔr kˈwɪkli ðən.
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an post has apologised after a dublin letter to santa claus was returned to her home.
speaking on john murray show, alan campbell, the father, said the letter was returned last week with a sticker marked “insufficient address”.
he said the address on the envelope, which was written in his handwriting, was marked santa claus, grotto, lapland, the north pole.
“we were horrified to get a letter like that back. my daughter found the letter at the end of the stairs when she came down and was quite concerned as to why her little letter made it to its destination.”
mr campbell said he was glad he brought his daughters to meet santa in before christmas where they told him what gifts they wanted.
an post said it was “very upset” to learn of the case and that “it simply should not have happened”.
it received nearly letters to santa over christmas and sent them on to the north pole and helped santa get letters back to the children.
“an post takes its role in helping santa claus reply to letters very seriously, and has done so for almost 30 years,” it said in a statement.
an investigation began into the returned santa letter after an post spotted a picture of the letter on mr twitter account. the company said it contacted the family straightaway on twitter and then by telephone.
“we apologised totally for what had happened and offered to do whatever we could to make good the damage done to his faith in santa and santa letters.”
an post said it offered to arrange for santa to send a “very special letter” to mr daughter which would include details of the gifts the had received at christmas.
mr campbell told rté he satisfied with an response.
separately, a second santa letter, sent by a young boy in dublin on november 30th, took nearly two months to arrive at its destination in connemara.
the letter, which was addressed in irish to tuismitheoirí na (parents of the gaeltacht) in connemara, ended up in a royal mail sorting office before making way back to limerick and finally arriving at its destination in last week.
before christmas tuismitheoirí na called on irish speaking children to send their santa letters to it and promised they would receive a personal response from “the big man”.
last thursday the parents’ group posted a picture on its facebook page of a santa letter stamped by both the national return letter centre in limerick and the royal mail.
an post told that the fact the letter was addressed in irish had nothing to do with its long journey and that it accepted the blame.
“an post does not understand how the letter ended up in the. however, this is not a question of language. this could have happened even if ‘main street, gort, co galway’ was written on the envelope.”
the group has arranged for a personal letter to be sent to the young boy in dublin from santa and also plans to send a collection of gifts to the boy.
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ən poʊst həz əˈpɑləˌʤaɪzd ˈæftər ə ˈdəblɪn ˈlɛtər tɪ ˈsænə klɔz wɑz rɪˈtərnd tɪ hər hoʊm. ˈspikɪŋ ɔn ʤɑn ˈməri ʃoʊ, ˈælən ˈkæmbəl, ðə ˈfɑðər, sɛd ðə ˈlɛtər wɑz rɪˈtərnd læst wik wɪθ ə ˈstɪkər mɑrkt address”*”. hi sɛd ðə ˈæˌdrɛs ɔn ðə ˈɛnvəˌloʊp, wɪʧ wɑz ˈrɪtən ɪn hɪz ˈhænˌdraɪtɪŋ, wɑz mɑrkt ˈsænə klɔz, ˈgrɑˌtoʊ, ˈlæˌplænd, ðə nɔrθ poʊl. wər ˈhɔrəˌfaɪd tɪ gɪt ə ˈlɛtər laɪk ðət bæk. maɪ ˈdɔtər faʊnd ðə ˈlɛtər æt ðə ɛnd əv ðə stɛrz wɪn ʃi keɪm daʊn ənd wɑz kwaɪt kənˈsərnd ɛz tɪ waɪ hər ˈlɪtəl ˈlɛtər meɪd ɪt tɪ ɪts destination.”*.” ˈmɪstər ˈkæmbəl sɛd hi wɑz glæd hi brɔt hɪz ˈdɔtərz tɪ mit ˈsænə ɪn ˌbiˈfɔr ˈkrɪsməs wɛr ðeɪ toʊld ɪm wət gɪfts ðeɪ ˈwɔntɪd. ən poʊst sɛd ɪt wɑz upset”*” tɪ lərn əv ðə keɪs ənd ðət ˈsɪmpli ʃʊd nɑt hæv happened”*”. ɪt rɪˈsivd ˈnɪrli ˈlɛtərz tɪ ˈsænə ˈoʊvər ˈkrɪsməs ənd sɛnt ðɛm ɔn tɪ ðə nɔrθ poʊl ənd hɛlpt ˈsænə gɪt ˈlɛtərz bæk tɪ ðə ˈʧɪldrən. poʊst teɪks ɪts roʊl ɪn ˈhɛlpɪŋ ˈsænə klɔz rɪˈplaɪ tɪ ˈlɛtərz ˈvɛri ˈsɪriəsli, ənd həz dən soʊ fər ˈɔlˌmoʊst 30 years,”*,” ɪt sɛd ɪn ə ˈsteɪtmənt. ən ˌɪnˌvɛstəˈgeɪʃən bɪˈgæn ˈɪntu ðə rɪˈtərnd ˈsænə ˈlɛtər ˈæftər ən poʊst ˈspɑtɪd ə ˈpɪkʧər əv ðə ˈlɛtər ɔn ˈmɪstər tˈwɪtər əˈkaʊnt. ðə ˈkəmpəˌni sɛd ɪt ˈkɑnˌtæktɪd ðə ˈfæməli ˈstreɪtəˌweɪ ɔn tˈwɪtər ənd ðɛn baɪ ˈtɛləˌfoʊn. əˈpɑləˌʤaɪzd ˈtoʊtəli fər wət hæd ˈhæpənd ənd ˈɔfərd tɪ du ˌwəˈtɛvər wi kʊd tɪ meɪk gʊd ðə ˈdæmɪʤ dən tɪ hɪz feɪθ ɪn ˈsænə ənd ˈsænə letters.”*.” ən poʊst sɛd ɪt ˈɔfərd tɪ əreɪnʤ fər ˈsænə tɪ sɛnd ə ˈspɛʃəl letter”*” tɪ ˈmɪstər ˈdɔtər wɪʧ wʊd ˌɪnˈklud ˈditeɪlz əv ðə gɪfts ðə hæd rɪˈsivd æt ˈkrɪsməs. ˈmɪstər ˈkæmbəl toʊld rté*é hi ˈsætɪsˌfaɪd wɪθ ən rɪˈspɑns. ˈsɛpərətli, ə ˈsɛkənd ˈsænə ˈlɛtər, sɛnt baɪ ə jəŋ bɔɪ ɪn ˈdəblɪn ɔn noʊˈvɛmbər 30th*, tʊk ˈnɪrli tu mənθs tɪ əraɪv æt ɪts ˌdɛstɪˈneɪʃən ɪn connemara*. ðə ˈlɛtər, wɪʧ wɑz əˈdrɛst ɪn ˈaɪrɪʃ tɪ tuismitheoirí*í nɑ (ˈpɛrənts əv ðə gaeltacht*) ɪn connemara*, ˈɛndɪd əp ɪn ə rɔɪəl meɪl ˈsɔrtɪŋ ˈɔfəs ˌbiˈfɔr ˈmeɪkɪŋ weɪ bæk tɪ ˈlɪmərɪk ənd ˈfaɪnəli ərˈaɪvɪŋ æt ɪts ˌdɛstɪˈneɪʃən ɪn læst wik. ˌbiˈfɔr ˈkrɪsməs tuismitheoirí*í nɑ kɔld ɔn ˈaɪrɪʃ ˈspikɪŋ ˈʧɪldrən tɪ sɛnd ðɛr ˈsænə ˈlɛtərz tɪ ɪt ənd ˈprɑməst ðeɪ wʊd rɪˈsiv ə ˈpərsɪnəl rɪˈspɑns frəm bɪg man”*”. læst ˈθərzˌdeɪ ðə parents’*’ grup ˈpoʊstɪd ə ˈpɪkʧər ɔn ɪts ˈfeɪsˌbʊk peɪʤ əv ə ˈsænə ˈlɛtər stæmpt baɪ boʊθ ðə ˈnæʃənəl rɪˈtərn ˈlɛtər ˈsɛntər ɪn ˈlɪmərɪk ənd ðə rɔɪəl meɪl. ən poʊst toʊld ðət ðə fækt ðə ˈlɛtər wɑz əˈdrɛst ɪn ˈaɪrɪʃ hæd ˈnəθɪŋ tɪ du wɪθ ɪts lɔŋ ˈʤərni ənd ðət ɪt ækˈsɛptɪd ðə bleɪm. poʊst dɪz nɑt ˌəndərˈstænd haʊ ðə ˈlɛtər ˈɛndɪd əp ɪn ðə. ˌhaʊˈɛvər, ðɪs ɪz nɑt ə kˈwɛʃən əv ˈlæŋgwɪʤ. ðɪs kʊd hæv ˈhæpənd ˈivɪn ɪf strit, gɔrt, koʊ galway’*’ wɑz ˈrɪtən ɔn ðə envelope.”*.” ðə grup həz əreɪnʤd fər ə ˈpərsɪnəl ˈlɛtər tɪ bi sɛnt tɪ ðə jəŋ bɔɪ ɪn ˈdəblɪn frəm ˈsænə ənd ˈɔlsoʊ plænz tɪ sɛnd ə kəˈlɛkʃən əv gɪfts tɪ ðə bɔɪ.
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last weekend, over a dozen players met up in online. they were all in decked out in trucks, jeeps, and other rugged vehicles. they had one goal in mind: to cross the entirety of the los santos wilderness—rivers, mountains, forests and all.
the rules were simple. the players would go on a cruise spanning the entirety of the map, on a course designed to test the limits of vehicles (the only type of cars allowed on the tour). throughout the cruise, if a car got wrecked because of the terrain, they be allowed to just a have to continue in the passenger seat of someone car. the route contained four pit stops, which is where players would be allowed to repair their vehicles. all together, the tour would take at least two hours of driving.
yesterday, one of participants of the tour posted pictures of the event on reddit, and the journey looks like it was an amazing one. coordinating all those people to drive through tough terrain, instead of having it all devolve into mindless shooting? pretty impressive! so, too, are the pictures. at times, the tour seemed like something straight out of spintires.
these are but a small selection of pictures of the entire course the players ran. pictures courtesy of and hodorfirstofhishodor:
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(a rest stop.)
(climbing up mt. chilliad)
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though there were casualties along the way, the tour did conclude successfully. best of all, the tour awarded prizes to different players depending on how they drove, what their car looked like, how helpful they were, and who had the car. it sounds like the organizers are interested in throwing more of these types of tours too, which is always nice to see what the community can do when they come together with a single purpose.
“the best thing about doing the tour probably say the fact that we can bring players from the community and have some honest fun, and see some beautiful scenery without firing a single bullet,” blakeflaherty, one of the organizers behind the tour, told me via email. “the most surprising part of the tour is probably the amount of people interested in spending 4 hours of their time following one guy they had never met before this, and then just driving. the worst part is definitely the people who consider any driver other than themselves, which leads to crashes, and police being called on us.”
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flaherty says that to develop the route, he cruised through the map on a plane and marked areas that seemed of interest. then, he tested them out in a truck to see if it was possible to actually traverse the area. eventually he settled on the tour that you see in the pictures challenging course, but not impossible.
you can check out more awesome pictures of the tour here. those of you interested in in an event like this in the future should definitely check out the subreddit.
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læst ˈwiˌkɪnd, ˈoʊvər ə ˈdəzən pleɪərz mɛt əp ɪn ˈɔnˌlaɪn. ðeɪ wər ɔl ɪn dɛkt aʊt ɪn trəks, ʤips, ənd ˈəðər ˈrəgəd ˈviɪkəlz. ðeɪ hæd wən goʊl ɪn maɪnd: tɪ krɔs ðə ɪnˈtaɪərti əv ðə lɔs ˈsæntoʊs wilderness—rivers*, ˈmaʊntənz, ˈfɔrəsts ənd ɔl. ðə rulz wər ˈsɪmpəl. ðə pleɪərz wʊd goʊ ɔn ə kruz ˈspænɪŋ ðə ɪnˈtaɪərti əv ðə mæp, ɔn ə kɔrs dɪˈzaɪnd tɪ tɛst ðə ˈlɪmɪts əv ˈviɪkəlz (ðə ˈoʊnli taɪp əv kɑz əˈlaʊd ɔn ðə tʊr). θruaʊt ðə kruz, ɪf ə kɑr gɑt rɛkt bɪˈkəz əv ðə təreɪn, ðeɪ bi əˈlaʊd tɪ ʤɪst ə hæv tɪ kənˈtɪnju ɪn ðə ˈpæsənʤər sit əv ˈsəmˌwən kɑr. ðə rut kənˈteɪnd fɔr pɪt stɑps, wɪʧ ɪz wɛr pleɪərz wʊd bi əˈlaʊd tɪ rɪˈpɛr ðɛr ˈviɪkəlz. ɔl təˈgɛðər, ðə tʊr wʊd teɪk æt list tu aʊərz əv ˈdraɪvɪŋ. ˈjɛstərˌdeɪ, wən əv pɑrˈtɪsəpənts əv ðə tʊr ˈpoʊstɪd ˈpɪkʧərz əv ðə ɪˈvɛnt ɔn reddit*, ənd ðə ˈʤərni lʊks laɪk ɪt wɑz ən əˈmeɪzɪŋ wən. koʊˈɔrdəˌneɪtɪŋ ɔl ðoʊz ˈpipəl tɪ draɪv θru təf təreɪn, ˌɪnˈstɛd əv ˈhævɪŋ ɪt ɔl dɪˈvɑlv ˈɪntu ˈmaɪndləs ˈʃutɪŋ? ˈprɪti ˌɪmˈprɛsɪv! soʊ, tu, ər ðə ˈpɪkʧərz. æt taɪmz, ðə tʊr simd laɪk ˈsəmθɪŋ streɪt aʊt əv spintires*. ðiz ər bət ə smɔl səˈlɛkʃən əv ˈpɪkʧərz əv ðə ɪnˈtaɪər kɔrs ðə pleɪərz ræn. ˈpɪkʧərz ˈkərtəsi əv ənd hodorfirstofhishodor*: ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt (ə rɛst stɑp.) (ˈklaɪmɪŋ əp ˈɛmˈti. chilliad*) ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ˌædvərˈtaɪzmənt ðoʊ ðɛr wər ˈkæʒəwəltiz əˈlɔŋ ðə weɪ, ðə tʊr dɪd kənˈklud səkˈsɛsfəli. bɛst əv ɔl, ðə tʊr əˈwɔrdɪd ˈpraɪzɪz tɪ ˈdɪfərənt pleɪərz dɪˈpɛndɪŋ ɔn haʊ ðeɪ droʊv, wət ðɛr kɑr lʊkt laɪk, haʊ ˈhɛlpfəl ðeɪ wər, ənd hu hæd ðə kɑr. ɪt saʊnz laɪk ðə ˈɔrgəˌnaɪzərz ər ˈɪntəˌrɛstɪd ɪn θroʊɪŋ mɔr əv ðiz taɪps əv tʊrz tu, wɪʧ ɪz ˈɔlˌweɪz nis tɪ si wət ðə kəmˈjunɪti kən du wɪn ðeɪ kəm təˈgɛðər wɪθ ə ˈsɪŋgəl ˈpərpəs. bɛst θɪŋ əˈbaʊt duɪŋ ðə tʊr ˈprɑbəˌbli seɪ ðə fækt ðət wi kən brɪŋ pleɪərz frəm ðə kəmˈjunɪti ənd hæv səm ˈɑnəst fən, ənd si səm ˈbjutəfəl ˈsinəri wɪˈθaʊt ˈfaɪərrɪŋ ə ˈsɪŋgəl bullet,”*,” blakeflaherty*, wən əv ðə ˈɔrgəˌnaɪzərz bɪˈhaɪnd ðə tʊr, toʊld mi ˈviə iˈmeɪl. moʊst səˈpraɪzɪŋ pɑrt əv ðə tʊr ɪz ˈprɑbəˌbli ðə əˈmaʊnt əv ˈpipəl ˈɪntəˌrɛstɪd ɪn ˈspɛndɪŋ 4 aʊərz əv ðɛr taɪm ˈfɑloʊɪŋ wən gaɪ ðeɪ hæd ˈnɛvər mɛt ˌbiˈfɔr ðɪs, ənd ðɛn ʤɪst ˈdraɪvɪŋ. ðə wərst pɑrt ɪz ˈdɛfənətli ðə ˈpipəl hu kənˈsɪdər ˈɛni ˈdraɪvər ˈəðər ðən ðɛmˈsɛlvz, wɪʧ lidz tɪ ˈkræʃɪz, ənd pəˈlis biɪŋ kɔld ɔn us.”*.” ˌædvərˈtaɪzmənt ˈflɛrti sɪz ðət tɪ dɪˈvɛləp ðə rut, hi kruzd θru ðə mæp ɔn ə pleɪn ənd mɑrkt ˈɛriəz ðət simd əv ˈɪntəˌrɛst. ðɛn, hi ˈtɛstɪd ðɛm aʊt ɪn ə trək tɪ si ɪf ɪt wɑz ˈpɑsəbəl tɪ ˈæˌkʧuəli ˈtrævərs ðə ˈɛriə. ɪˈvɛnʧəwəli hi ˈsɛtəld ɔn ðə tʊr ðət ju si ɪn ðə ˈpɪkʧərz ˈʧælənʤɪŋ kɔrs, bət nɑt ˌɪmˈpɑsəbəl. ju kən ʧɛk aʊt mɔr ˈɔsəm ˈpɪkʧərz əv ðə tʊr hir. ðoʊz əv ju ˈɪntəˌrɛstɪd ɪn ɪn ən ɪˈvɛnt laɪk ðɪs ɪn ðə fˈjuʧər ʃʊd ˈdɛfənətli ʧɛk aʊt ðə subreddit*.
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joanna muse is the whole of the natural world. the harvard university materials scientist takes her inspiration from creatures that suggest engineering of substances in unexpected ways. ocean creatures in particular have proved inspirational. the brittle star, a relative of the starfish and the sea urchin, has a shell coated with lenses, which may furnish ideas for new types of optical communication systems. there is also the sponge with a crown composed of optical fibers.
aizenberg's early life in russia and her brilliant, creative career as an engineer that followed at harvard the massachusetts institute of technology are the focus of a feature in the february 2012 scientific american.
her laboratory has mustered a basic understanding of the physics of water to design a finely structured polymer coating that resists every attempt to a layer of ice at temperatures as low as 30 degrees celsius. the material, or some analogue thereof, might one day find its way into aircraft, towers and building roofs.
watch this incredible video of a droplet of water pinging off no-icing, surface. for comparison, the video starts with two other hydrophilic and the other merely hydrophobic.
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ʤoʊˈænə mjuz ɪz ðə hoʊl əv ðə ˈnæʧərəl wərld. ðə ˈhɑrvərd ˌjunəˈvərsəti məˈtɪriəlz ˈsaɪəntɪst teɪks hər ˌɪnspərˈeɪʃən frəm ˈkriʧərz ðət səˈʤɛst ˈɛnʤəˈnɪrɪŋ əv ˈsəbstənsɪz ɪn ˌənɪkˈspɛktɪd weɪz. ˈoʊʃən ˈkriʧərz ɪn ˌpɑˈtɪkjələr hæv pruvd ˌɪnspərˈeɪʃənəl. ðə ˈbrɪtəl stɑr, ə ˈrɛlətɪv əv ðə ˈstɑrˌfɪʃ ənd ðə si ˈərʧən, həz ə ʃɛl ˈkoʊtɪd wɪθ ˈlɛnzɪz, wɪʧ meɪ ˈfərnɪʃ aɪˈdiəz fər nu taɪps əv ˈɑptɪkəl kəmˌjunəˈkeɪʃən ˈsɪstəmz. ðɛr ɪz ˈɔlsoʊ ðə spənʤ wɪθ ə kraʊn kəmˈpoʊzd əv ˈɑptɪkəl ˈfaɪbərz. ˈərli laɪf ɪn ˈrəʃə ənd hər ˈbrɪljənt, kriˈeɪtɪv kərɪr ɛz ən ˈɛnʤəˈnɪr ðət ˈfɑloʊd æt ˈhɑrvərd ðə ˌmæsəˈʧusəts ˈɪnstɪˌtut əv tɛkˈnɑləʤi ər ðə ˈfoʊkɪs əv ə ˈfiʧər ɪn ðə ˈfɛbruˌɛri 2012 ˌsaɪənˈtɪfɪk əˈmɛrɪkən. hər ˈlæbrəˌtɔri həz ˈməstərd ə ˈbeɪsɪk ˌəndərˈstændɪŋ əv ðə ˈfɪzɪks əv ˈwɔtər tɪ dɪˈzaɪn ə ˈfaɪnli ˈstrəkʧərd ˈpɑləmər ˈkoʊtɪŋ ðət rɪˈzɪsts ˈɛvəri əˈtɛmpt tɪ ə leɪər əv aɪs æt ˈtɛmpərəʧərz ɛz loʊ ɛz 30 dɪˈgriz ˈsɛlsiəs. ðə məˈtɪriəl, ər səm ˈænəˌlɔg ˌðɛˈrəv, maɪt wən deɪ faɪnd ɪts weɪ ˈɪntu ˈɛrˌkræft, taʊərz ənd ˈbɪldɪŋ rufs. wɔʧ ðɪs ˌɪnˈkrɛdəbəl ˈvɪdioʊ əv ə ˈdrɑplət əv ˈwɔtər ˈpɪŋɪŋ ɔf no-icing*, ˈsərfəs. fər kəmˈpɛrəsən, ðə ˈvɪdioʊ stɑrts wɪθ tu ˈəðər ˌhaɪdrəˈfɪlɪk ənd ðə ˈəðər ˈmɪrli hydrophobic*.
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dermatophytes are fungi that use keratin for their nutrition and may cause infections of the nails, skin, and hair, known as. these organisms are classified into three genera: epidermophyton, trichophyton, and]. although not life-threatening, superficial due to have been among the most common communicable diseases of humans since antiquity, and have considerable social and implications [2].
generally, infect the superficial layers of skin. however, patients, such as aids patients or recipients of kidney transplants, can be affected by deep injury in the dermal layer, resulting in disseminated lesions that may take fatal forms [3]-[6]. although many are available, their side effects and drug interactions, and the existence of resistant organisms have created a need to find safer and more effective treatments [7]. also, treatments are, in general, expensive and must be applied over long periods.
natural products have proven to be an alternative source of new active molecules. in many countries, mainly in developing countries, plants have been used as the primary basic health treatment. the pomegranate is a bush 3 to 5 meters in height, with opposite and obtuse leaves, flowers with wrinkled white, yellow, or orange petals. the fruit is composed of a yellow to red peel that covers the seeds, the fleshy of which are eaten. is a plant with worldwide application in folk medicine. there are references to an effect of pomegranate products against many pathogenic bacterial species, including inhibition of formation of [8]-[11], activity, and effects against and]. extracted from pomegranate fruit rind were active against fungi [13]. the extract of p. showed good results as a topical antifungal agent for the treatment of associated with denture [14]. thelagin is the major component of pomegranate fruit peel. this substance was isolated not only from, but also was described from and brachystemma, as having antifungal activity against candida albicans, c. krusei, and c.].
the present study evaluate the activity of pomegranate fruit peel extract and investigate its effect on different fungal development stages, and possible mechanisms of action. the active substance of pomegranate peel was isolated and identified as well.
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dermatophytes* ər ˈfənʤaɪ ðət juz ˈkɛrətɪn fər ðɛr nuˈtrɪʃən ənd meɪ kɔz ˌɪnˈfɛkʃənz əv ðə neɪlz, skɪn, ənd hɛr, noʊn ɛz. ðiz ˈɔrgəˌnɪzəmz ər ˈklæsəˌfaɪd ˈɪntu θri ˈʤɛnərə: epidermophyton*, trichophyton*, ənd ˌɔlˈðoʊ nɑt ˈlaɪfθˌrɛtnɪŋ, ˌsupərˈfɪʃəl du tɪ hæv bɪn əˈməŋ ðə moʊst ˈkɑmən kəmˈjunəkəbəl dɪˈzizɪz əv ˈjumənz sɪns ænˈtɪkwəti, ənd hæv kənˈsɪdərəbəl ˈsoʊʃəl ənd ˌɪmpləˈkeɪʃənz 2 ˈʤɛnərəli, ˌɪnˈfɛkt ðə ˌsupərˈfɪʃəl leɪərz əv skɪn. ˌhaʊˈɛvər, ˈpeɪʃənz, səʧ ɛz eɪdz ˈpeɪʃənz ər rɪˈsɪpiənts əv ˈkɪdni trænˈsplænts, kən bi əˈfɛktɪd baɪ dip ˈɪnʤəri ɪn ðə ˈdərməl leɪər, rɪˈzəltɪŋ ɪn dɪˈsɛməˌneɪtəd ˈliʒənz ðət meɪ teɪk ˈfeɪtəl fɔrmz ˌɔlˈðoʊ ˈmɛni ər əˈveɪləbəl, ðɛr saɪd ˈifɛkts ənd drəg ˌɪnərˈækʃənz, ənd ðə ɪgˈzɪstəns əv rɪˈzɪstənt ˈɔrgəˌnɪzəmz hæv kriˈeɪtɪd ə nid tɪ faɪnd ˈseɪfər ənd mɔr ˈifɛktɪv ˈtritmənts 7 ˈɔlsoʊ, ˈtritmənts ər, ɪn ˈʤɛnərəl, ɪkˈspɛnsɪv ənd məst bi əˈplaɪd ˈoʊvər lɔŋ ˈpɪriədz. ˈnæʧərəl ˈprɑdəkts hæv ˈpruvən tɪ bi ən ɔlˈtərnətɪv sɔrs əv nu ˈæktɪv ˈmɑləˌkjulz. ɪn ˈmɛni ˈkəntriz, ˈmeɪnli ɪn dɪˈvɛləpɪŋ ˈkəntriz, plænts hæv bɪn juzd ɛz ðə ˈpraɪˌmɛri ˈbeɪsɪk hɛlθ ˈtritmənt. ðə ˌpɑməˈgrænət ɪz ə bʊʃ 3 tɪ 5 ˈmitərz ɪn haɪt, wɪθ ˈɑpəzɪt ənd ɑbˈtus livz, flaʊərz wɪθ ˈrɪŋkəld waɪt, ˈjɛloʊ, ər ˈɔrɪnʤ ˈpɛtəlz. ðə frut ɪz kəmˈpoʊzd əv ə ˈjɛloʊ tɪ rɛd pil ðət ˈkəvərz ðə sidz, ðə ˈflɛʃi əv wɪʧ ər ˈitən. ɪz ə plænt wɪθ ˈwərldˈwaɪd ˌæpləˈkeɪʃən ɪn foʊk ˈmɛdəsən. ðɛr ər ˈrɛfərənsɪz tɪ ən ˈifɛkt əv ˌpɑməˈgrænət ˈprɑdəkts əˈgɛnst ˈmɛni ˌpæθəˈʤɛnɪk bækˈtɪriəl ˈspiʃiz, ˌɪnˈkludɪŋ ˌɪnəˈbɪʃən əv fɔrˈmeɪʃən əv ækˈtɪvɪti, ənd ˈifɛkts əˈgɛnst ənd ɛkˈstræktɪd frəm ˌpɑməˈgrænət frut raɪnd wər ˈæktɪv əˈgɛnst ˈfənʤaɪ 13 ðə ˈɛkˌstrækt əv pi. ʃoʊd gʊd rɪˈzəlts ɛz ə ˈtɑpɪkəl ˌænˌtiˈfəŋgəl ˈeɪʤənt fər ðə ˈtritmənt əv əˈsoʊʃiˌeɪtəd wɪθ ˈdɛnʧər 14 ðə ɪz ðə ˈmeɪʤər kəmˈpoʊnənt əv ˌpɑməˈgrænət frut pil. ðɪs ˈsəbstəns wɑz ˈaɪsəˌleɪtɪd nɑt ˈoʊnli frəm, bət ˈɔlsoʊ wɑz dɪˈskraɪbd frəm ənd brachystemma*, ɛz ˈhævɪŋ ˌænˌtiˈfəŋgəl ækˈtɪvɪti əˈgɛnst ˈkændɪdə albicans*, si. krusei*, ənd si. ðə ˈprɛzənt ˈstədi ɪˈvæljuˌeɪt ðə ækˈtɪvɪti əv ˌpɑməˈgrænət frut pil ˈɛkˌstrækt ənd ˌɪnˈvɛstəˌgeɪt ɪts ˈifɛkt ɔn ˈdɪfərənt ˈfəŋgəl dɪˈvɛləpmənt ˈsteɪʤɪz, ənd ˈpɑsəbəl ˈmɛkəˌnɪzəmz əv ˈækʃən. ðə ˈæktɪv ˈsəbstəns əv ˌpɑməˈgrænət pil wɑz ˈaɪsəˌleɪtɪd ənd aɪˈdɛntəˌfaɪd ɛz wɛl.
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i told you to look out for something big, and here it is it is time, my friends!
what better week could there be to start the “tournament” of tournaments than the same week that the enters into their first weekend of “madness”? it is time. crown the all in readers’ favorite magic kingdom attraction!
if been around for a while, you know that we have already named our
… favorite attractions for hollywood studios, animal kingdom, and epcot. click the links for full re-caps. well, in the spirit of the magic kingdom trivia questions we tackled this past weekend, it is time to take on the crown jewel of walt disney world and ask that question just what is our favorite magic kingdom attraction?
we “rocked the charts” with well over 200 votes when we handled epcot. we pounded our keyboards, phones, and tablets with 107 responses to last trivia question. do it again, my friends!! 40 attractions, 10 groups, only the top 2 in each group will move on. vote! vote! vote!
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aɪ toʊld ju tɪ lʊk aʊt fər ˈsəmθɪŋ bɪg, ənd hir ɪt ɪz ɪt ɪz taɪm, maɪ frɛndz! wət ˈbɛtər wik kʊd ðɛr bi tɪ stɑrt ðə ““tournament”*” əv ˈtərnəmənts ðən ðə seɪm wik ðət ðə ˈɛnərz ˈɪntu ðɛr fərst ˈwiˌkɪnd əv ““madness”*”? ɪt ɪz taɪm. kraʊn ðə ɔl ɪn readers’*’ ˈfeɪvərɪt ˈmæʤɪk ˈkɪŋdəm əˈtrækʃən! ɪf bɪn əraʊnd fər ə waɪl, ju noʊ ðət wi hæv ɔˈrɛdi neɪmd ɑr ˈfeɪvərɪt əˈtrækʃənz fər ˈhɑliˌwʊd ˈstudiˌoʊz, ˈænəməl ˈkɪŋdəm, ənd ˈɛpˌkɔt. klɪk ðə lɪŋks fər fʊl re-caps*. wɛl, ɪn ðə ˈspɪrɪt əv ðə ˈmæʤɪk ˈkɪŋdəm ˈtrɪviə kˈwɛsʧənz wi ˈtækəld ðɪs pæst ˈwiˌkɪnd, ɪt ɪz taɪm tɪ teɪk ɔn ðə kraʊn ʤuəl əv wɔlt ˈdɪzni wərld ənd æsk ðət kˈwɛʃən ʤɪst wət ɪz ɑr ˈfeɪvərɪt ˈmæʤɪk ˈkɪŋdəm əˈtrækʃən? wi ðə charts”*” wɪθ wɛl ˈoʊvər 200 voʊts wɪn wi ˈhændəld ˈɛpˌkɔt. wi ˈpaʊndɪd ɑr ˈkiˌbɔrdz, foʊnz, ənd ˈtæbləts wɪθ 107 rɪˈspɑnsɪz tɪ læst ˈtrɪviə kˈwɛʃən. du ɪt əˈgɛn, maɪ frɛndz!! 40 əˈtrækʃənz, 10 grups, ˈoʊnli ðə tɔp 2 ɪn iʧ grup wɪl muv ɔn. voʊt! voʊt! voʊt!
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vermont business magazine new york residents pay the most for basic health insurance and vermont is second, but has the highest monthly premium at $469 a month, compared with new mexico, which has the lowest monthly premium at $181 a month. new mexico pays the least for basic health insurance, according to a new study released today by leading personal finance website.com. the study compared silver plans the most popular plan according to the department of health and human services offered through the national or insurance exchanges administered through the affordable care act.
the silver plans for each state were ranked based on the favorability of the following cost factors:
the plan's monthly premium
the deductible
the emergency care
the for care from a primary physician
"higher insurance costs in many states are tied to high costs of living or being in rural areas," said kirkham, the lead reporter on the study. "where costs of living are high, like new york or vermont, care is also likely to be more expensive, a cost which insurers pass to enrollees through higher premiums."
"competition is another key factor of health insurance costs," said kirkham. "in rural states like wyoming and oklahoma, fewer residents means a smaller health insurance market with fewer options, where insurers can charge more without losing customers. of course, subsidies can offset these costs, but this form of assistance also varies widely from state to state," she said.
the 10 states with the highest health insurance costs
new york vermont south carolina alabama new jersey mississippi oklahoma indiana delaware wyoming
2. vermont
vermont's cheapest silver option, the silver plan from blue cross and blue shield of vermont, has the highest monthly premium of any state, charging $469 a month, or $5,628 a year in premiums. the yearly cost on this plan is estimated at $7,317 on average by vermont's exchange site and up to $11,377 in a "bad year" with many health expenses.
these high costs are offset somewhat by a low deductible of just $1,425, one of the lowest of the silver plans included in this ranking. the policyholder is still responsible for some costs once the deductible is met, however, such as a 25 percent on emergency care and a 10 percent charge for visits to a primary care physician. vermont's health insurance exchange, vermont health connect, added a comparison tool to its website in december 2015 that allows shoppers to compare costs and premiums on different plans.
the 10 states with the lowest health insurance costs
new mexico utah california texas pennsylvania michigan district of columbia hawaii oregon idaho
additional insights:
the state with the highest monthly premium is vermont, at $469 a month, compared with new mexico, which has the lowest monthly premium at $181 a month.
primary doctors vary widely by state. west virginia and indiana have nos, but californians's are the highest $250.
deductible costs range from $1,300 in north dakota to $6,850 in south carolina, which is more than five times the price.
despite new mexico's low costs, many residents have encountered difficulties in january 2016 getting their health coverage due to a high volume of december 2015 health insurance applications still being processed.
50 states and d.c. ranked by health insurance costs
here is the full ranking of the 50 states and the district of columbia from best to worst, according to their health insurance costs for the silver plan with the lowest monthly premium in each state.
1 new mexico 18 minnesota 35 north carolina 2 utah 19 virginia 36 georgia 3 california 20 iowa 37 florida 4 texas 21 nevada 38 alaska 5 pennsylvania 22 new hampshire 39 tennessee 6 michigan 23 maine 40 missouri 7 district of columbia 24 kentucky 41 colorado 8 hawaii 25 north dakota 42 wyoming 9 oregon 26 west virginia 43 delaware 10 idaho 27 washington 44 indiana 11 wisconsin 28 ohio 45 oklahoma 12 connecticut 29 montana 46 mississippi 13 arizona 30 maryland 47 new jersey 14 louisiana 31 arkansas 48 alabama 15 illinois 32 south dakota 49 south carolina 16 kansas 33 rhode island 50 vermont 17 massachusetts 34 nebraska 51 new york
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los angeles, jan. 20, 2016 /prnewswire/ --.com
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vərˈmɑnt ˈbɪznɪs ˈmægəˌzin nu jɔrk ˈrɛzɪdənts peɪ ðə moʊst fər ˈbeɪsɪk hɛlθ ˌɪnˈʃʊrəns ənd vərˈmɑnt ɪz ˈsɛkənd, bət həz ðə haɪəst ˈmənθli ˈprimiəm æt 469 ə mənθ, kəmˈpɛrd wɪθ nu ˈmɛksəˌkoʊ, wɪʧ həz ðə loʊəst ˈmənθli ˈprimiəm æt 181 ə mənθ. nu ˈmɛksəˌkoʊ peɪz ðə list fər ˈbeɪsɪk hɛlθ ˌɪnˈʃʊrəns, əˈkɔrdɪŋ tɪ ə nu ˈstədi riˈlist təˈdeɪ baɪ ˈlidɪŋ ˈpərsɪnəl ˈfaɪˌnæns ˈwɛbˌsaɪt. ðə ˈstədi kəmˈpɛrd ˈsɪlvər plænz ðə moʊst ˈpɑpjələr plæn əˈkɔrdɪŋ tɪ ðə dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz ˈɔfərd θru ðə ˈnæʃənəl ər ˌɪnˈʃʊrəns ɪksˈʧeɪnʤɪz ədˈmɪnɪstərd θru ðə əˈfɔrdəbəl kɛr ækt. ðə ˈsɪlvər plænz fər iʧ steɪt wər ræŋkt beɪst ɔn ðə ˌfævərəˈbɪlɪti əv ðə ˈfɑloʊɪŋ kɔst ˈfæktərz: ðə plænz ˈmənθli ˈprimiəm ðə dɪˈdəktəbəl ðə ˈimərʤənsi kɛr ðə fər kɛr frəm ə ˈpraɪˌmɛri fəˈzɪʃən "haɪər ˌɪnˈʃʊrəns kɔsts ɪn ˈmɛni steɪts ər taɪd tɪ haɪ kɔsts əv ˈlɪvɪŋ ər biɪŋ ɪn ˈrʊrəl ˈɛriəz," sɛd ˈkərkhəm, ðə lɛd rɪˈpɔrtər ɔn ðə ˈstədi. "wɛr kɔsts əv ˈlɪvɪŋ ər haɪ, laɪk nu jɔrk ər vərˈmɑnt, kɛr ɪz ˈɔlsoʊ ˈlaɪkli tɪ bi mɔr ɪkˈspɛnsɪv, ə kɔst wɪʧ ˌɪnˈʃʊrərz pæs tɪ ɛnˈroʊˈliz θru haɪər ˈprimiəmz." "ˌkɑmpəˈtɪʃən ɪz əˈnəðər ki ˈfæktər əv hɛlθ ˌɪnˈʃʊrəns kɔsts," sɛd ˈkərkhəm. "ɪn ˈrʊrəl steɪts laɪk ˌwaɪˈoʊmɪŋ ənd ˌoʊkləˈhoʊmə, fjuər ˈrɛzɪdənts minz ə sˈmɔlər hɛlθ ˌɪnˈʃʊrəns ˈmɑrkɪt wɪθ fjuər ˈɔpʃənz, wɛr ˌɪnˈʃʊrərz kən ʧɑrʤ mɔr wɪˈθaʊt ˈluzɪŋ ˈkəstəmərz. əv kɔrs, ˈsəbsɪdiz kən ˈɔfˌsɛt ðiz kɔsts, bət ðɪs fɔrm əv əˈsɪstəns ˈɔlsoʊ ˈvɛriz ˈwaɪdli frəm steɪt tɪ steɪt," ʃi sɛd. ðə 10 steɪts wɪθ ðə haɪəst hɛlθ ˌɪnˈʃʊrəns kɔsts nu jɔrk vərˈmɑnt saʊθ ˌkɛrəˈlaɪnə ˌæləˈbæmə nu ˈʤərzi ˌmɪsɪˈsɪpi ˌoʊkləˈhoʊmə ˌɪndiˈænə ˈdɛləˌwɛr ˌwaɪˈoʊmɪŋ 2 vərˈmɑnt vərˈmɑnts ˈʧipəst ˈsɪlvər ˈɔpʃən, ðə ˈsɪlvər plæn frəm blu krɔs ənd blu ʃild əv vərˈmɑnt, həz ðə haɪəst ˈmənθli ˈprimiəm əv ˈɛni steɪt, ˈʧɑrʤɪŋ 469 ə mənθ, ər ə jɪr ɪn ˈprimiəmz. ðə ˈjɪrli kɔst ɔn ðɪs plæn ɪz ˈɛstəˌmeɪtɪd æt ɔn ˈævərɪʤ baɪ vərˈmɑnts ɪksˈʧeɪnʤ saɪt ənd əp tɪ ɪn ə "bæd jɪr" wɪθ ˈmɛni hɛlθ ɪkˈspɛnsɪz. ðiz haɪ kɔsts ər ˈɔfˌsɛt ˈsəmˈwət baɪ ə loʊ dɪˈdəktəbəl əv ʤɪst wən əv ðə loʊəst əv ðə ˈsɪlvər plænz ˌɪnˈkludɪd ɪn ðɪs ˈræŋkɪŋ. ðə ˈpɑləsiˌhoʊldər ɪz stɪl riˈspɑnsəbəl fər səm kɔsts wəns ðə dɪˈdəktəbəl ɪz mɛt, ˌhaʊˈɛvər, səʧ ɛz ə 25 pərˈsɛnt ɔn ˈimərʤənsi kɛr ənd ə 10 pərˈsɛnt ʧɑrʤ fər ˈvɪzɪts tɪ ə ˈpraɪˌmɛri kɛr fəˈzɪʃən. vərˈmɑnts hɛlθ ˌɪnˈʃʊrəns ɪksˈʧeɪnʤ, vərˈmɑnt hɛlθ kəˈnɛkt, ˈædɪd ə kəmˈpɛrəsən tul tɪ ɪts ˈwɛbˌsaɪt ɪn dɪˈsɛmbər 2015 ðət əˈlaʊz ˈʃɑpərz tɪ kəmˈpɛr kɔsts ənd ˈprimiəmz ɔn ˈdɪfərənt plænz. ðə 10 steɪts wɪθ ðə loʊəst hɛlθ ˌɪnˈʃʊrəns kɔsts nu ˈmɛksəˌkoʊ ˈjuˌtɔ ˌkæləˈfɔrnjə ˈtɛksəs ˌpɛnsəlˈveɪnjə ˈmɪʃɪgən ˈdɪstrɪkt əv kəˈləmbiə həˈwaɪˌi ˈɔrəˌgɑn ˈaɪdəˌhoʊ əˈdɪʃənəl ˈɪnˌsaɪts: ðə steɪt wɪθ ðə haɪəst ˈmənθli ˈprimiəm ɪz vərˈmɑnt, æt 469 ə mənθ, kəmˈpɛrd wɪθ nu ˈmɛksəˌkoʊ, wɪʧ həz ðə loʊəst ˈmənθli ˈprimiəm æt 181 ə mənθ. ˈpraɪˌmɛri ˈdɔktər ˈvɛri ˈwaɪdli baɪ steɪt. wɛst vərˈʤɪnjə ənd ˌɪndiˈænə hæv noʊ, bət ˌkælɪˈfɔrnjənz' ər ðə haɪəst 250 dɪˈdəktəbəl kɔsts reɪnʤ frəm ɪn nɔrθ dəˈkoʊtə tɪ ɪn saʊθ ˌkɛrəˈlaɪnə, wɪʧ ɪz mɔr ðən faɪv taɪmz ðə praɪs. dɪˈspaɪt nu ˈmɛksəˌkoʊz loʊ kɔsts, ˈmɛni ˈrɛzɪdənts hæv ɪnˈkaʊnərd ˈdɪfɪˌkəltiz ɪn ˈʤænjuˌɛri 2016 ˈgɪtɪŋ ðɛr hɛlθ ˈkəvərɪʤ du tɪ ə haɪ ˈvɑljum əv dɪˈsɛmbər 2015 hɛlθ ˌɪnˈʃʊrəns ˌæpləˈkeɪʃənz stɪl biɪŋ ˈprɑsɛst. 50 steɪts ənd d.c*. ræŋkt baɪ hɛlθ ˌɪnˈʃʊrəns kɔsts hir ɪz ðə fʊl ˈræŋkɪŋ əv ðə 50 steɪts ənd ðə ˈdɪstrɪkt əv kəˈləmbiə frəm bɛst tɪ wərst, əˈkɔrdɪŋ tɪ ðɛr hɛlθ ˌɪnˈʃʊrəns kɔsts fər ðə ˈsɪlvər plæn wɪθ ðə loʊəst ˈmənθli ˈprimiəm ɪn iʧ steɪt. 1 nu ˈmɛksəˌkoʊ 18 ˌmɪnɪˈsoʊtə 35 nɔrθ ˌkɛrəˈlaɪnə 2 ˈjuˌtɔ 19 vərˈʤɪnjə 36 ˈʤɔrʤə 3 ˌkæləˈfɔrnjə 20 ˈaɪəwə 37 ˈflɔrɪdə 4 ˈtɛksəs 21 nəˈvɑdə 38 əˈlæskə 5 ˌpɛnsəlˈveɪnjə 22 nu ˈhæmʃər 39 ˌtɛnəˈsi 6 ˈmɪʃɪgən 23 meɪn 40 məˈzʊri 7 ˈdɪstrɪkt əv kəˈləmbiə 24 kənˈtəki 41 ˌkɑlərˈɑdoʊ 8 həˈwaɪˌi 25 nɔrθ dəˈkoʊtə 42 ˌwaɪˈoʊmɪŋ 9 ˈɔrəˌgɑn 26 wɛst vərˈʤɪnjə 43 ˈdɛləˌwɛr 10 ˈaɪdəˌhoʊ 27 ˈwɔʃɪŋtən 44 ˌɪndiˈænə 11 wɪˈskɑnsən 28 oʊˈhaɪoʊ 45 ˌoʊkləˈhoʊmə 12 kəˈnɛtəkət 29 mɑnˈtænə 46 ˌmɪsɪˈsɪpi 13 ˌɛrɪˈzoʊnə 30 ˈmɛrələnd 47 nu ˈʤərzi 14 luˌiziˈænə 31 ˈɑrkənˌsɑ 48 ˌæləˈbæmə 15 ˌɪləˈnɔɪz 32 saʊθ dəˈkoʊtə 49 saʊθ ˌkɛrəˈlaɪnə 16 ˈkænzəs 33 roʊd ˈaɪlənd 50 vərˈmɑnt 17 ˌmæsəˈʧusəts 34 nəˈbræskə 51 nu jɔrk əˈbaʊt ɪz ə ˈlidɪŋ ˈpɔrtəl fər ˈpərsɪnəl ˈfaɪˌnæns ənd kənˈsumər ˈbæŋkɪŋ ˌɪnˌfɔrˈmeɪʃən, ˈɔfərɪŋ ˈvɪzɪtərz ðə ˈleɪtəst ɔn ˈɛvriˌθɪŋ frəm ˈfaɪndɪŋ ə gʊd ˈɪntəˌrɛst reɪt tɪ ˈstrætəʤiz fər ˈseɪvɪŋ ˈməni, ˌɪnˈvɛstɪŋ fər rɪˈtaɪərmənt ənd ˈgɪtɪŋ ə loʊn. ɪts ˈɛdɪtərz ər ˈrɛgjələrli ˈfiʧərd ɔn ˈmidiə ˈaʊˌtlɛts, ˌɪnˈkludɪŋ juz. nuz wərld rɪˈpɔrt, fɔrbz, ˈbɪznɪs ˌɪnˈsaɪdər, ˈdeɪli ˈfaɪˌnæns, ˈhəfɪŋtən poʊst ənd mɔr. ɪt ˈspɛʃəˌlaɪzɪz ɪn kəˈnɛktɪŋ kənˈsumərz wɪθ ðə bɛst ˌfaɪˈnænʃəl ˌɪnstɪˈtuʃənz ənd ˈbæŋkɪŋ ˈprɑdəkts ˈneɪʃənˈwaɪd. lɔs ˈænʤəlɪs, ʤæn. 20 2016 /prnewswire*/
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at this, i played a portion of for campaign -- a campaign designed to help sell the fantasy of playing as a ancient warrior, thrust into a unique slice of universe where other equally skilled warriors also exist. at a stretch, a contextual anomaly that is hard to sell, but in practice, pure childhood fantasy come to life, only with a layer of depth few games in the space have, and with a skill ceiling that could very quickly separate the grown ups from the a lot to get through with what for honor has to offer across pc and console, which includes everything from competitive multiplayer, to, co-op and beyond. the level of on offer is huge for the sort of game it is, and in the form we viewed, and played, at this, looking fantastic despite the relative age of the anvil engine running at its core, the game is a rock, paper and scissors outing that may, or may not, suffer from a crowded room approach. the demo we played, played to player strengths and, as mentioned earlier, worked tirelessly to sell the fantasy. campaign mode in the short amount that experienced is a nice necessity that works on an aesthetic level, but the meat of this entire experience is going to be in its multiplayer offering, which is equal parts fun and still plenty of ironing out to do, specifically where balance is concerned, but if i had to leverage any issue with for honor so far, in the systems that lack in encounters with more than one player. basically, in any one on one scenario, you can hold your own and succumbing to, or prompting your rock, paper or scissors attack will be the difference between death and victory. you can also evade, and charge attack, but these are minor shifts away from that core three-way conflict system. the problem is, when faced with more than one opponent striking you multiple times, being able to combat two, or even three different attacks is nigh on impossible. the strategy then calls for running away. or, you can try and stand your ground -- successful blocks of a handful of attacks gives you a chance to activate your revenge mode, which is essentially a super, but this can easily be shut down by another strikes while attempting to wail on one of could all be the product of not playing enough of the game to fully grasp the intricate balance of all the systems though. however, i did play for an hour on a single mode called objective, which is a multiplayer offering with three capture points -- two (a and c) flanking a single, heavily ai populated lane (b). ai are a filler concept, and based on the tide of the match, it will either be your or the enemy who flood the lane. also a kind of and health currency. you can also gain health for standing in a captured area, and earn twice as many points for populating a captured point, and defending it. in objective, you can also revive downed players and earn feats (like kill streak rewards) for what the team is calling renown, which is basically being one of the better players on the field of had a chance to play as one character from all three factions -- knights, samurai and vikings with mostly heavies on offer, as well as the class, which is essentially a more nimble assassin. you have endless run regardless of the archetype you play, and you can use the environment to your advantage. the viking warlord for example can run at their opponent and if timed correctly, you can grab them, lift them off the ground and essentially spear tackle them into the environment. some spiked walls make this a dangerous move if in the wrong position, while being anywhere near a ledge when a warlord comes gunning for you could be one of your worst mistakes. each character has the ability to use the environment in unique ways like this, and once the game is out in the wild going to be interesting to see just how the community starts to this ulterior form of maps are all appropriately themed to the three factions, and they look stunning. as mentioned earlier, all running off the creed anvil engine, which is quite old, but has arguably the best animation system going around. each character feels like they have weight and purpose and combat offers a real sense of feedback as a result. i do feel the evade motion needs to be sped up, slightly. if only to give outnumbered players an out. it could even have a negative effect on your renown, severely hampering your ability to call in feats for running away like a coward, but if you need to choose between death (and therefore a cooldown), or running away to regroup and how your next encounter is going to play out, then be all over the latter. it would just be good to have the option, was just a taste of the whole experience though, and we have another day here at with more modes, including duel which is a affair where strategy and cat and mouse gameplay become a new way to play the best of five rounds with a larger emphasis on the environment to your advantage). so have even more coverage of the rest of the unique new product from honor is slated for release on february 14, 2016 on pc, and one.
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æt ðɪs aɪ pleɪd ə ˈpɔrʃən əv fər kæmˈpeɪn ə kæmˈpeɪn dɪˈzaɪnd tɪ hɛlp sɛl ðə ˈfænəsi əv pleɪɪŋ ɛz ə ˈeɪnʧənt ˈwɔrjər, θrəst ˈɪntu ə juˈnik slaɪs əv ˈjunəˌvərs wɛr ˈəðər ˈikwəli skɪld ˈwɔrjərz ˈɔlsoʊ ɪgˈzɪst. æt ə strɛʧ, ə ˌkɑnˈtɛksˌʧuəl əˈnɑməli ðət ɪz hɑrd tɪ sɛl, bət ɪn ˈpræktɪs, pjʊr ˈʧaɪlˌdhʊd ˈfænəsi kəm tɪ laɪf, ˈoʊnli wɪθ ə leɪər əv dɛpθ fju geɪmz ɪn ðə speɪs hæv, ənd wɪθ ə skɪl ˈsilɪŋ ðət kʊd ˈvɛri kˈwɪkli ˈsɛpərˌeɪt ðə groʊn əps frəm ðə ə lɔt tɪ gɪt θru wɪθ wət fər ˈɑnər həz tɪ ˈɔfər əˈkrɔs ˈpiˈsi ənd ˈkɑnsoʊl, wɪʧ ˌɪnˈkludz ˈɛvriˌθɪŋ frəm kəmˈpɛtɪtɪv ˈməltiˌpleɪər, tɪ koʊɑp ənd bɪɔnd. ðə ˈlɛvəl əv ɔn ˈɔfər ɪz juʤ fər ðə sɔrt əv geɪm ɪt ɪz, ənd ɪn ðə fɔrm wi vjud, ənd pleɪd, æt ðɪs, ˈlʊkɪŋ fænˈtæstɪk dɪˈspaɪt ðə ˈrɛlətɪv eɪʤ əv ðə ˈænvəl ˈɪnʤən ˈrənɪŋ æt ɪts kɔr, ðə geɪm ɪz ə rɑk, ˈpeɪpər ənd ˈsɪzərz ˈaʊtɪŋ ðət meɪ, ər meɪ nɑt, ˈsəfər frəm ə ˈkraʊdɪd rum əˈproʊʧ. ðə ˈdɛmoʊ wi pleɪd, pleɪd tɪ pleɪər strɛŋθs ənd, ɛz ˈmɛnʃənd ˈərliər, wərkt ˈtaɪrləsli tɪ sɛl ðə ˈfænəsi. kæmˈpeɪn moʊd ɪn ðə ʃɔrt əˈmaʊnt ðət ɪkˈspɪriənst ɪz ə nis nəˈsɛsɪti ðət wərks ɔn ən ɛsˈθɛtɪk ˈlɛvəl, bət ðə mit əv ðɪs ɪnˈtaɪər ɪkˈspɪriəns ɪz goʊɪŋ tɪ bi ɪn ɪts ˈməltiˌpleɪər ˈɔfərɪŋ, wɪʧ ɪz ˈikwəl pɑrts fən ənd stɪl ˈplɛnti əv ˈaɪərnɪŋ aʊt tɪ du, spəˈsɪfɪkli wɛr ˈbæləns ɪz kənˈsərnd, bət ɪf aɪ hæd tɪ ˈlɛvərɪʤ ˈɛni ˈɪʃu wɪθ fər ˈɑnər soʊ fɑr, ɪn ðə ˈsɪstəmz ðət læk ɪn ɪnˈkaʊnərz wɪθ mɔr ðən wən pleɪər. ˈbeɪsɪkli, ɪn ˈɛni wən ɔn wən sɪˈnɛrioʊ, ju kən hoʊld jʊr oʊn ənd səˈkəmɪŋ tɪ, ər ˈprɑmptɪŋ jʊr rɑk, ˈpeɪpər ər ˈsɪzərz əˈtæk wɪl bi ðə ˈdɪfərəns bɪtˈwin dɛθ ənd ˈvɪktəri. ju kən ˈɔlsoʊ ɪˈveɪd, ənd ʧɑrʤ əˈtæk, bət ðiz ər ˈmaɪnər ʃɪfts əˈweɪ frəm ðət kɔr θˈriˌweɪ ˈkɑnflɪkt ˈsɪstəm. ðə ˈprɑbləm ɪz, wɪn feɪst wɪθ mɔr ðən wən əˈpoʊnənt ˈstraɪkɪŋ ju ˈməltəpəl taɪmz, biɪŋ ˈeɪbəl tɪ ˈkɑmbæt tu, ər ˈivɪn θri ˈdɪfərənt əˈtæks ɪz naɪ ɔn ˌɪmˈpɑsəbəl. ðə ˈstrætəʤi ðɛn kɔlz fər ˈrənɪŋ əˈweɪ. ər, ju kən traɪ ənd stænd jʊr graʊnd səkˈsɛsfəl blɑks əv ə ˈhændˌfʊl əv əˈtæks gɪvz ju ə ʧæns tɪ ˈæktəˌveɪt jʊr riˈvɛnʤ moʊd, wɪʧ ɪz ɛˈsɛnʃəli ə ˈsupər, bət ðɪs kən ˈizəli bi ʃət daʊn baɪ əˈnəðər straɪks waɪl əˈtɛmptɪŋ tɪ weɪl ɔn wən əv kʊd ɔl bi ðə ˈprɑdəkt əv nɑt pleɪɪŋ ɪˈnəf əv ðə geɪm tɪ ˈfʊli græsp ðə ˈɪntrəkət ˈbæləns əv ɔl ðə ˈsɪstəmz ðoʊ. ˌhaʊˈɛvər, aɪ dɪd pleɪ fər ən aʊər ɔn ə ˈsɪŋgəl moʊd kɔld əˈbʤɛktɪv, wɪʧ ɪz ə ˈməltiˌpleɪər ˈɔfərɪŋ wɪθ θri ˈkæpʧər pɔɪnts tu (ə ənd si) ˈflæŋkɪŋ ə ˈsɪŋgəl, ˈhɛvəli eɪaɪ ˈpɑpjəˌleɪtəd leɪn (bi). eɪaɪ ər ə ˈfɪlər ˈkɑnsɛpt, ənd beɪst ɔn ðə taɪd əv ðə mæʧ, ɪt wɪl ˈiðər bi jʊr ər ðə ˈɛnəmi hu fləd ðə leɪn. ˈɔlsoʊ ə kaɪnd əv ənd hɛlθ ˈkərənsi. ju kən ˈɔlsoʊ geɪn hɛlθ fər ˈstændɪŋ ɪn ə ˈkæpʧərd ˈɛriə, ənd ərn twaɪs ɛz ˈmɛni pɔɪnts fər ˈpɑpjəˌleɪtɪŋ ə ˈkæpʧərd pɔɪnt, ənd dɪˈfɛndɪŋ ɪt. ɪn əˈbʤɛktɪv, ju kən ˈɔlsoʊ rɪˈvaɪv daʊnd pleɪərz ənd ərn fits (laɪk kɪl strik rɪˈwɔrdz) fər wət ðə tim ɪz ˈkɔlɪŋ rɪˈnaʊn, wɪʧ ɪz ˈbeɪsɪkli biɪŋ wən əv ðə ˈbɛtər pleɪərz ɔn ðə fild əv hæd ə ʧæns tɪ pleɪ ɛz wən ˈkɛrɪktər frəm ɔl θri ˈfækʃənz naɪts, ˈsæmʊˌraɪ ənd ˈvaɪkɪŋz wɪθ ˈmoʊstli ˈhɛviz ɔn ˈɔfər, ɛz wɛl ɛz ðə klæs, wɪʧ ɪz ɛˈsɛnʃəli ə mɔr ˈnɪmbəl əˈsæsən. ju hæv ˈɛndləs rən rəˈgɑrdləs əv ðə ˈɑrkɪˌtaɪp ju pleɪ, ənd ju kən juz ðə ɪnˈvaɪrənmənt tɪ jʊr ædˈvæntɪʤ. ðə ˈvaɪkɪŋ ˈwɔˌrlɔrd fər ɪgˈzæmpəl kən rən æt ðɛr əˈpoʊnənt ənd ɪf taɪmd kərˈɛktli, ju kən græb ðɛm, lɪft ðɛm ɔf ðə graʊnd ənd ɛˈsɛnʃəli spɪr ˈtækəl ðɛm ˈɪntu ðə ɪnˈvaɪrənmənt. səm spaɪkt wɔlz meɪk ðɪs ə ˈdeɪnʤərəs muv ɪf ɪn ðə rɔŋ pəˈzɪʃən, waɪl biɪŋ ˈɛniˌwɛr nɪr ə lɛʤ wɪn ə ˈwɔˌrlɔrd kəmz ˈgənɪŋ fər ju kʊd bi wən əv jʊr wərst mɪˈsteɪks. iʧ ˈkɛrɪktər həz ðə əˈbɪləˌti tɪ juz ðə ɪnˈvaɪrənmənt ɪn juˈnik weɪz laɪk ðɪs, ənd wəns ðə geɪm ɪz aʊt ɪn ðə waɪld goʊɪŋ tɪ bi ˈɪntəˌrɛstɪŋ tɪ si ʤɪst haʊ ðə kəmˈjunɪti stɑrts tɪ ðɪs əlˈtɪriər fɔrm əv mæps ər ɔl əˈproʊpriɪtli θimd tɪ ðə θri ˈfækʃənz, ənd ðeɪ lʊk ˈstənɪŋ. ɛz ˈmɛnʃənd ˈərliər, ɔl ˈrənɪŋ ɔf ðə krid ˈænvəl ˈɪnʤən, wɪʧ ɪz kwaɪt oʊld, bət həz ˈɑrgjuəbli ðə bɛst ˌænəˈmeɪʃən ˈsɪstəm goʊɪŋ əraʊnd. iʧ ˈkɛrɪktər filz laɪk ðeɪ hæv weɪt ənd ˈpərpəs ənd ˈkɑmbæt ˈɔfərz ə ril sɛns əv ˈfidˌbæk ɛz ə rɪˈzəlt. aɪ du fil ðə ɪˈveɪd ˈmoʊʃən nidz tɪ bi spɛd əp, sˈlaɪtli. ɪf ˈoʊnli tɪ gɪv ˌaʊtˈnəmbərd pleɪərz ən aʊt. ɪt kʊd ˈivɪn hæv ə ˈnɛgətɪv ˈifɛkt ɔn jʊr rɪˈnaʊn, səˈvɪrli ˈhæmpərɪŋ jʊr əˈbɪləˌti tɪ kɔl ɪn fits fər ˈrənɪŋ əˈweɪ laɪk ə kaʊərd, bət ɪf ju nid tɪ ʧuz bɪtˈwin dɛθ (ənd ˈðɛrˌfɔr ə cooldown*), ər ˈrənɪŋ əˈweɪ tɪ riˈgrup ənd haʊ jʊr nɛkst ɪnˈkaʊnər ɪz goʊɪŋ tɪ pleɪ aʊt, ðɛn bi ɔl ˈoʊvər ðə ˈlætər. ɪt wʊd ʤɪst bi gʊd tɪ hæv ðə ˈɔpʃən, wɑz ʤɪst ə teɪst əv ðə hoʊl ɪkˈspɪriəns ðoʊ, ənd wi hæv əˈnəðər deɪ hir æt wɪθ mɔr moʊdz, ˌɪnˈkludɪŋ duəl wɪʧ ɪz ə əˈfɛr wɛr ˈstrætəʤi ənd kæt ənd maʊs ˈgeɪmˌpleɪ bɪˈkəm ə nu weɪ tɪ pleɪ ðə bɛst əv faɪv raʊnz wɪθ ə ˈlɑrʤər ˈɛmfəsɪs ɔn ðə ɪnˈvaɪrənmənt tɪ jʊr ædˈvæntɪʤ). soʊ hæv ˈivɪn mɔr ˈkəvərɪʤ əv ðə rɛst əv ðə juˈnik nu ˈprɑdəkt frəm ˈɑnər ɪz sˈleɪtɪd fər riˈlis ɔn ˈfɛbruˌɛri 14 2016 ɔn ˈpiˈsi, ənd wən.
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the next thor and alien blockbusters will be made in australia, foreign minister julie bishop has announced.
homegrown hollywood heartthrob chris will be among reasonably familiar surroundings when he the title role of thor in the marvel superhero franchise, while the production of an alien film would bring famed director ridley scott to our shores.
ms bishop announced the government had signed a deal to bring the two films to australian shores, this afternoon.
"during recent visits to both los angeles and new york, i met with senior executives of major film and production houses, with walt disney company, marvel, century fox, warner brothers, village roadshow, nbc universal and directors ridley scott and brett ratner who all expressed a very keen desire to invest in significant new film production projects right here in australia," she said.
"they specifically spoke about the value in australia as a filming destination, the quality and variety of our locations, but more importantly our highly qualified and talented workforce, our embrace of innovative technology, our stable economy, our dollar, all this makes australia an attractive destination."
exact filming locations have not yet been decided by the production companies involved.
"but i particularly wanted to thank my ministerial colleagues steve ciobo, stu roberts and karen andrews because they have been fierce advocates for more film production and post production opportunities for the gold coast," she said.
"sir ridley scott told me he knows the fox studios very well and knows well, so we're hoping for some good news there."
prime minister malcolm turnbull was praised by arts minister mitch fifield for his efforts in securing the deals.
"the pm has taken a interest in this venture," he said.
"he was determined to see that this would be landed, and i think the announcement that we are making today is a concrete example of what the pm means when he talks about the agility of government, the agility of industry, to support innovation and to deliver jobs."
© nine digital pty ltd 2019
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ðə nɛkst θɔr ənd ˈeɪliən ˈblɑkˌbəstərz wɪl bi meɪd ɪn ɔˈstreɪljə, ˈfɔrən ˈmɪnɪstər ˈʤuli ˈbɪʃəp həz əˈnaʊnst. ˈhoʊmˈgroʊn ˈhɑliˌwʊd ˈhɑrtθˌrɑb krɪs wɪl bi əˈməŋ ˈrizənəbli fəˈmɪljər sərˈaʊndɪŋz wɪn hi ðə ˈtaɪtəl roʊl əv θɔr ɪn ðə ˈmɑrvəl ˌsupərˈhiroʊ ˈfrænˌʧaɪz, waɪl ðə pərˈdəkʃən əv ən ˈeɪliən fɪlm wʊd brɪŋ feɪmd dɪˈrɛktər ˈrɪdli skɑt tɪ ɑr ʃɔrz. mɪz ˈbɪʃəp əˈnaʊnst ðə ˈgəvərnmənt hæd saɪnd ə dil tɪ brɪŋ ðə tu fɪlmz tɪ ɔˈstreɪljən ʃɔrz, ðɪs ˌæftərˈnun. "ˈdʊrɪŋ ˈrisənt ˈvɪzɪts tɪ boʊθ lɔs ˈænʤəlɪs ənd nu jɔrk, aɪ mɛt wɪθ ˈsinjər ɪgˈzɛkjətɪvz əv ˈmeɪʤər fɪlm ənd pərˈdəkʃən ˈhaʊsɪz, wɪθ wɔlt ˈdɪzni ˈkəmpəˌni, ˈmɑrvəl, ˈsɛnʧəri fɑks, ˈwɔrnər ˈbrəðərz, ˈvɪlɪʤ ˈroʊdˌʃoʊ, ˈɛnˌbiˈsi ˌjunəˈvərsəl ənd dɪˈrɛktərz ˈrɪdli skɑt ənd brɛt ˈrætnər hu ɔl ɪkˈsprɛst ə ˈvɛri kin dɪˈzaɪər tɪ ˌɪnˈvɛst ɪn sɪgˈnɪfɪkənt nu fɪlm pərˈdəkʃən ˈprɑʤɛkts raɪt hir ɪn ɔˈstreɪljə," ʃi sɛd. "ðeɪ spəˈsɪfɪkli spoʊk əˈbaʊt ðə ˈvælju ɪn ɔˈstreɪljə ɛz ə ˈfɪlmɪŋ ˌdɛstɪˈneɪʃən, ðə kˈwɑləti ənd vərˈaɪəti əv ɑr loʊˈkeɪʃənz, bət mɔr ˌɪmˈpɔrtəntli ɑr ˈhaɪli kˈwɑləˌfaɪd ənd ˈtæləntɪd ˈwərkˌfɔrs, ɑr ɪmˈbreɪs əv ˈɪnəˌveɪtɪv tɛkˈnɑləʤi, ɑr ˈsteɪbəl ɪˈkɑnəmi, ɑr ˈdɔlər, ɔl ðɪs meɪks ɔˈstreɪljə ən əˈtræktɪv ˌdɛstɪˈneɪʃən." ɪgˈzækt ˈfɪlmɪŋ loʊˈkeɪʃənz hæv nɑt jɛt bɪn ˌdɪˈsaɪdɪd baɪ ðə pərˈdəkʃən ˈkəmpəˌniz ˌɪnˈvɑlvd. "bət aɪ ˌpɑrˈtɪkjələrli ˈwɔntɪd tɪ θæŋk maɪ ˌmɪnɪˈstiriəl ˈkɑligz stiv ciobo*, stu ˈrɑbərts ənd ˈkɛrən ˈænˌdruz bɪˈkəz ðeɪ hæv bɪn fɪrs ˈædvəˌkeɪts fər mɔr fɪlm pərˈdəkʃən ənd poʊst pərˈdəkʃən ˌɑpərˈtunətiz fər ðə goʊld koʊst," ʃi sɛd. "sər ˈrɪdli skɑt toʊld mi hi noʊz ðə fɑks ˈstudiˌoʊz ˈvɛri wɛl ənd noʊz wɛl, soʊ wɪr ˈhoʊpɪŋ fər səm gʊd nuz ðɛr." praɪm ˈmɪnɪstər ˈmælkəm ˈtərnˌbʊl wɑz preɪzd baɪ ɑrts ˈmɪnɪstər mɪʧ ˈfɪfild fər hɪz ˈɛfərts ɪn sɪˈkjʊrɪŋ ðə dilz. "ðə piɛm həz ˈteɪkən ə ˈɪntəˌrɛst ɪn ðɪs ˈvɛnʧər," hi sɛd. "hi wɑz dɪˈtərmənd tɪ si ðət ðɪs wʊd bi ˈlændɪd, ənd aɪ θɪŋk ðə əˈnaʊnsmɛnt ðət wi ər ˈmeɪkɪŋ təˈdeɪ ɪz ə ˈkɑnkrit ɪgˈzæmpəl əv wət ðə piɛm minz wɪn hi tɔks əˈbaʊt ðə əˈʤɪləti əv ˈgəvərnmənt, ðə əˈʤɪləti əv ˈɪndəstri, tɪ səˈpɔrt ˌɪnəˈveɪʃən ənd tɪ dɪˈlɪvər ʤɑbz." naɪn ˈdɪʤɪtəl taɪ ˈɛlˈtiˈdi 2019
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the powers of financial capitalism had (a) aim, nothing less than to create a world system of financial control in private hands able to dominate the political system of each country and the economy of the world as a whole. this system was to be controlled in a fashion by the central banks of the world acting in concert, by secret agreements arrived at in frequent meetings and conferences… professor carroll quigley, mentor to president bill clinton
dave hodges, contributor
activist post
very soon, america will be forced into water wars in order to secure the precious asset of water for our people. this will force our people into more wars of occupation in a search for water. meanwhile, every nation that america conquers, is one less country that the bankers have to worry about taking over. at the end of the day, if america wants water, someday, americans will have to go to war to obtain water.
as any aware person knows, agenda 21 is being used as a front for the purpose of increasing the bottom of line of select global corporations. bolivia is being exploited to this end and is serving as the canary in the mine with regard to what lies ahead for the united states and the coming water wars.
the united states sits upon a fiscal cliff. economic devastation is in the cards for the united states. many wonder what will happen when the country defaults and cannot pay its bills. the answer is simple, our country will enter receivership. once receivership is thrust upon our country, the bankers will begin to take control of our assets. among the prize assets coveted by the bankers will be our water supply. soon, very soon, our water supplies will become the most expensive in the world. obtaining water for many americans will soon be a life and death struggle.
global consumption of water is doubling every 20 years, more than twice the rate of human population growth (united nations development program, 2007). also, according to the united nations, more than one billion people already lack access to fresh drinking water (united nations developmental program, 2007). if the current trend continues, by 2025 the demand for fresh water is expected to rise by over 50% more than the amount of water that is currently available.
multinational corporations recognize these trends and are trying to monopolize water supplies around the world. monsanto, bechtel, and other global multinationals are seeking control of world water systems and supplies. the world bank recently adopted a policy of water privatization and water pricing. the world policy of privatizing the water supply conveniently coincides with the united nations agenda 21. agenda 21 is actively promoting the privatization for the water supplies through a “water for profit” scheme. “…(i) at the lowest appropriate level, delegation of water resources management, generally, to such a level, in accordance with national legislation, including decentralization of government services to local authorities, private enterprises and communities…” (united nations environment program, 2007).
agenda 21 further addresses the looming water crisis in chapter 18 (.35) which states that “…water is a unitary resource. long-term development of global freshwater requires holistic management of resources and a recognition of the of the elements related to freshwater and freshwater quality. there are few regions of the world that are still exempt from problems of loss of potential sources of freshwater supply, degraded water quality and pollution of surface and groundwater sources….” (the united nations department of economic and social affairs, 2007).
after reading the comforting manner in which agenda 21 addresses the coming water crisis, we should all be able to sleep soundly at night. unfortunately, this does not prove to be the case when one considers what has happened to bolivia ’s indigenous peoples’ access to fresh water.
agenda strategy for privatizing the water is quite simple: the united nations financial partner, the world bank, and its associated set of central banks around the planet, cripples a economy, largely through the use of fiat currency and forced assumption of derivative debt. subsequently, the world bank attempts to resuscitate that economy through a series of regime saving loans. world bank loans offer the hope of staving off massive human suffering resulting from a lack of basic necessities, staggering unemployment and all the other accompanying variables which could lead to a violent overthrow of a political power structure. however, the terms of a typical world bank loan would make the most adept loan shark green with envy. often, as a precondition to receiving the loan, the world bank imposes some very draconian conditions, such as the privatization of the basic necessities of life (e.g. water) from which their corporate partners derive great economic benefit.
nowhere has this scheme been played out more directly than in the late and the early in bolivia . the first large scale, dry run of agenda plan to privatize water, took place in bolivia when someone at the world bank flipped a switch and demanded the privatization of bolivia ’s water supplies as a precondition for massive debt relief.
in 1995, the government of bolivia owed nothing. however, bolivia did owe the world bank enormous sums of money. like a heroin addict, the bolivian government became dependent on its financial “drug dealer,” the world bank. predictably, repaying bolivian debt, to the world bank, was plunging the bolivian people and its government into the abyss of abject poverty and despair (watson, 2003).
in , bolivia , a city of people, the public water system of el alto and its neighbor la paz , the capital, was privatized in 1997. in a classic conflict of interest case, the private consortium that took control of the water, del illimani, is a subsidiary of bechtel, and a set of minority shareholders that includes, among others, an arm of the world bank (watson, 2003).
within weeks of taking over the public water company, bechtel hiked up rates by as much as 200%, far beyond what the poor could afford to pay. the bolivian poor, with a lack of access to clean water, have nearly one in ten children die before they reach the age of five. adding insult to injury, families living in el outskirts rely on well water in which community representatives say are contaminated with industrial waste (watson, 2003).
when all legitimate avenues of securing fresh water were blocked by bechtel, including the prohibition of collecting rain water in homemade pots and pans, the bolivian people took to the streets and an ongoing pattern of street violence ensued until bechtel exercised the better half of discretion and exited the country.
mark my words, when we do this in america, follow our coming contrived water shortage, americans will be met with drones and darpa killer robots.
bolivia’s past is future. why the american people have only heard a whimper about these corporate abuses at the hands of the san francisco based bechtel corporation, the world bank and the united nations agenda 21. in order to answer that question, one has to ask: who is bechtel owned by? bechtel is a subsidiary of general electric. general electric owns nbc (media owners.com, 2005). perhaps this is why the reporting of this tale of human abuse so sparsely reported in the united states .
how interconnected are the global corporations to the united states government, the united nations and agenda 21? consider the following list of bechtel employees who have moved into major policy making positions both in the united states government and the united nations.
bechtel’s ceo, riley p. bechtel, served on the president (43) export council (4/24/03)
george schultz. shortly after assuming his new position in bechtel, president reagan recruited schultz to washington to serve as secretary of state.
reagan’s secretary of defense caspar was a former bechtel general counsel.
w. k. davis was a bechtel vice-president for nuclear development before he was appointed as deputy secretary of energy and administrative head of the atomic energy commission.
william casey a former bechtel consultant served in a number of government positions including chairman of the sec under nixon, head of the bank under president ford, and director of the cia under reagan.
richard helm, who later became a ‘consultant’ to bechtel, had earlier been a cia director under nixon.
william simon, treasury secretary, was hired by bechtel as a consultant.
ross connelly, ceo of bechtel energy resources corporation (retired), was appointed by george w. bush (41) in june of 2001 to the overseas private investment corporation (opic). the opic has strong connections to the united nations privatization projects.
stew burkhammer, a current bechtel executive, is presently a member of the occupational safety and health (osha) advisory committee on construction safety and health (cooperative research, 2006).
marie-françoise of bechtel (france), d’etat, from 1979 to 1980, she was consultant of the united nations asian and pacific development center (united nations committee of experts on public administration, 2007)
the connections between these groups can be further exemplified by the following: united resolution 1483 (un security council, 2003), approved the occupation of iraq by american and british forces, thus making iraq into a de facto colony. as such, this opened door for a corporate feeding frenzy by companies such as bechtel as they lined up to “repair” iraq following gulf war ii. subsequently, bechtel received a $1.03 billion contract to oversee major reconstruction of iraq ‘s water and sewage.
in spite of promises, iraqi families continue to lack access to clean water. the company made providing southern potable water one of its top priorities in which bechtel promised delivery within 60 days following the commencement of the project. within a year, iraqi people still were suffering through epidemics of illnesses (e.g., cholera, kidney stones and diarrhea). bechtel failed to live up to its word, but they did make a lot of money (weston, 2003). and some people think that the united nations is merely a benign and benevolent organization which is essentially neutral on all areas of politics and finance. today, the stock holders of bechtel have the united nations to thank, in large part, for that extra vacation, their braces and the addition to their homes.
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bechtel is a major player in the evolving struggle to control the future water supply. bechtel and its peers have quietly been securing the rights to control the production and distribution of this essential resource and fully intend to make huge profits in the future when, as experts predict, water becomes a significantly scarce ‘commodity (watson, 2003).
as a footnote, in the face of 52 civilian deaths of bechtel personnel, at the hands of insurgent terrorists, bechtel did not withdraw from southern iraq . however, when its infrastructure projects came under fire from the insurgents, costing the corporation millions of dollars, bechtel ceased operations in southern iraq . by the way, it was bechtel which sold saddam its chemical stockpile of weapons in his war with iran. this was followed by invading iraq because it possessed weapons of mass destruction.
i also found it interesting that hillary clinton was on the board of directors for bechtel at the time of the sale of the weapons of mass destruction to iraq (august coalition, 2006). before the fall of the shah of iran, under president jimmy carter, bechtel was contracted to build iran ’s first nuclear power plant. as was the case with saddam hussein, iran ’s government is still standing in the way of unfettered investment by the global corporations. iran , the only middle eastern country which will not likely capitulate to president plans for a middle east free trade area, is now being threatened by the united states military, and remember, free trade is the one of the cornerstones of the agenda 21. this makes one wonder who former president bush really worked for.
i could have chosen any number of global corporations (e.g., monsanto, halliburton, etc.) to illustrate this abuse of humanity. the bechtel corporation is but one small corporate example of this disturbing trend.
in the era of globalization, flying under the banner of agenda policy of “global sustainability,” transnational corporations circle the globe looking for opportunities for profit, putting livelihoods, survival and the environment at risk. too often the global corporations victimize unsuspecting and impoverished people who can least afford to absorb the brunt of these profit generating schemes. these actions severely undermine national sovereignty and individual determinism. however, this process is not inevitable; or infallible, successful resistance is possible. however the clock is ticking and time is quickly running out.
do we think that this only happening in bolivia? similar projects are underway in manilla, pakistan and san francisco. yes, this is correct; bechtel now has a contract with san city government to upgrade the water system. bechtel employees are working side by side with city workers in a privatization move that fear will lead to an eventual of san francisco ’s water system and create a fiasco similar to the one in bolivia (chatterjee, 2000). the wolf is at the door.
as the roman empire declined in influence and power, feudalism replaced the government. the feudal lord was one of the few employers in the fourth and the fifth centuries. the feudal lords owned most of the land and nearly all the resources. today, the specter of feudalism has into a global headed by the united nations and agenda 21. the global corporations are constructing this brand of right before our eyes. unfortunately, the people (i.e., americans) who still have the power to stop it seem to possess the same flavor of glaucoma and refuse to see what is really happening. this is the same agenda 21 plan which wants to use the power of behemoth banks and corporations, under the guise of united nations sustainability rhetoric, in order to blackmail nations into allowing companies like bechtel to assess a surcharge upon poor people and their children for daring to collect the rain water in homemade pots and pans. in the early part of this decade, bolivians were asking each other, “have you seen the rain” in their unending search for fresh water.
much like a teenager being lured into financial devastation by being enticed to own their first credit card, national governments cannot resist the addiction of seemingly infinite credit which is made available through the use of unsecured, fiat currency. through the reckless spending of various governmental entities, tremendous debt is created. as the debt reaches critical levels and financial catastrophe looms, the world bank rides in on its black horse and offers a nation financial salvation. however, that financial salvation comes at a steep cost which usually includes the selling their national soul to the devil. all too frequently, this “salvation” involves the imposition of the political and financial agenda of the united nations and its partner, the world bank. and with an obama looming on the other side of the fiscal cliff, america is close to being the next bolivia.
how long will it be until america becomes the next bolivia ? with regard to agenda 21, this is only the tip of the iceberg. when this country is bankrupted by the bankers, america will be leveraged into seeking water in foreign countries and we will be all to happy to invade countries that plenty of the resource that we no longer have.
as the reader will discover in the second part of this series, the reader will discover that we just have to worry about a banker takeover of our water assets. we are being invaded from within. george h. w. bush and t. boone pickens are buying up major water sources inside of our country as america is about to get hit on two fronts. i can see no other purpose behind this madness except that our military will be leveraged to invade, yet another set of countries.
related activist post article:
10 reasons our shallow fresh water supply is in deep trouble
references:
august coalition (2006). why bechtel? (retrieved june 14, 2007).
chatterjee, pratap (may 31, 2000). the earth wrecker. san francisco bay guardian cooperative research (2006). un rubber stamps iraq occupation. (retrieved may 11, 2006).
fogerty, john (1975). have you ever seen the rain? chronicle: 20 greatest hits. credence clear water revival
global environment facility (gef). (2007). a joint initiative with and the world bank. jun 17, 2007).
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ðə paʊərz əv ˌfaɪˈnænʃəl ˈkæpɪtəˌlɪzəm hæd (ə) eɪm, ˈnəθɪŋ lɛs ðən tɪ kriˈeɪt ə wərld ˈsɪstəm əv ˌfaɪˈnænʃəl kənˈtroʊl ɪn ˈpraɪvət hænz ˈeɪbəl tɪ ˈdɑməˌneɪt ðə pəˈlɪtɪkəl ˈsɪstəm əv iʧ ˈkəntri ənd ðə ɪˈkɑnəmi əv ðə wərld ɛz ə hoʊl. ðɪs ˈsɪstəm wɑz tɪ bi kənˈtroʊld ɪn ə ˈfæʃən baɪ ðə ˈsɛntrəl bæŋks əv ðə wərld ˈæktɪŋ ɪn ˈkɑnsərt, baɪ ˈsikrɪt əˈgrimənts əraɪvd æt ɪn ˈfrikˌwɛnt ˈmitɪŋz ənd conferences…*… prəˈfɛsər ˈkɛrəl kˈwɪgli, ˈmɛnˌtɔr tɪ ˈprɛzɪdənt bɪl ˈklɪntən deɪv ˈhɑʤɪz, kənˈtrɪbjətər ˈæktɪvɪst poʊst ˈvɛri sun, əˈmɛrɪkə wɪl bi fɔrst ˈɪntu ˈwɔtər wɔrz ɪn ˈɔrdər tɪ sɪˈkjʊr ðə ˈprɛʃəs ˈæˌsɛt əv ˈwɔtər fər ɑr ˈpipəl. ðɪs wɪl fɔrs ɑr ˈpipəl ˈɪntu mɔr wɔrz əv ˌɑkjəˈpeɪʃən ɪn ə sərʧ fər ˈwɔtər. ˈminˌwaɪl, ˈɛvəri ˈneɪʃən ðət əˈmɛrɪkə ˈkɑŋkərz, ɪz wən lɛs ˈkəntri ðət ðə ˈbæŋkərz hæv tɪ ˈwəri əˈbaʊt ˈteɪkɪŋ ˈoʊvər. æt ðə ɛnd əv ðə deɪ, ɪf əˈmɛrɪkə wɔnts ˈwɔtər, ˈsəmˌdeɪ, əˈmɛrɪkənz wɪl hæv tɪ goʊ tɪ wɔr tɪ əbˈteɪn ˈwɔtər. ɛz ˈɛni əˈwɛr ˈpərsən noʊz, əˈʤɛndə 21 ɪz biɪŋ juzd ɛz ə frənt fər ðə ˈpərpəs əv ˌɪnˈkrisɪŋ ðə ˈbɑtəm əv laɪn əv səˈlɛkt ˈgloʊbəl ˌkɔrpərˈeɪʃənz. bəˈlɪviə ɪz biɪŋ ˈɛkˌsplɔɪtəd tɪ ðɪs ɛnd ənd ɪz ˈsərvɪŋ ɛz ðə kəˈnɛri ɪn ðə maɪn wɪθ rɪˈgɑrd tɪ wət laɪz əˈhɛd fər ðə juˈnaɪtɪd steɪts ənd ðə ˈkəmɪŋ ˈwɔtər wɔrz. ðə juˈnaɪtɪd steɪts sɪts əˈpɑn ə ˈfɪskəl klɪf. ˌɛkəˈnɑmɪk ˌdɛvəˈsteɪʃən ɪz ɪn ðə kɑrdz fər ðə juˈnaɪtɪd steɪts. ˈmɛni ˈwəndər wət wɪl ˈhæpən wɪn ðə ˈkəntri dɪˈfɔlts ənd ˈkænɑt peɪ ɪts bɪlz. ðə ˈænsər ɪz ˈsɪmpəl, ɑr ˈkəntri wɪl ˈɛnər rɪˈsivərˌʃɪp. wəns rɪˈsivərˌʃɪp ɪz θrəst əˈpɑn ɑr ˈkəntri, ðə ˈbæŋkərz wɪl bɪˈgɪn tɪ teɪk kənˈtroʊl əv ɑr ˈæˌsɛts. əˈməŋ ðə praɪz ˈæˌsɛts ˈkəvətɪd baɪ ðə ˈbæŋkərz wɪl bi ɑr ˈwɔtər səˈplaɪ. sun, ˈvɛri sun, ɑr ˈwɔtər səˈplaɪz wɪl bɪˈkəm ðə moʊst ɪkˈspɛnsɪv ɪn ðə wərld. əbˈteɪnɪŋ ˈwɔtər fər ˈmɛni əˈmɛrɪkənz wɪl sun bi ə laɪf ənd dɛθ ˈstrəgəl. ˈgloʊbəl kənˈsəmʃən əv ˈwɔtər ɪz ˈdəbəlɪŋ ˈɛvəri 20 jɪrz, mɔr ðən twaɪs ðə reɪt əv ˈjumən ˌpɑpjəˈleɪʃən groʊθ (juˈnaɪtɪd ˈneɪʃənz dɪˈvɛləpmənt ˈproʊˌgræm, 2007 ˈɔlsoʊ, əˈkɔrdɪŋ tɪ ðə juˈnaɪtɪd ˈneɪʃənz, mɔr ðən wən ˈbɪljən ˈpipəl ɔˈrɛdi læk ˈækˌsɛs tɪ frɛʃ ˈdrɪŋkɪŋ ˈwɔtər (juˈnaɪtɪd ˈneɪʃənz dɪˌvɛləpˈmɛnəl ˈproʊˌgræm, 2007 ɪf ðə ˈkɑrənt trɛnd kənˈtɪnjuz, baɪ 2025 ðə dɪˈmænd fər frɛʃ ˈwɔtər ɪz ɪkˈspɛktɪd tɪ raɪz baɪ ˈoʊvər 50 mɔr ðən ðə əˈmaʊnt əv ˈwɔtər ðət ɪz ˈkərəntli əˈveɪləbəl. ˌməlˌtiˈnæʃənəl ˌkɔrpərˈeɪʃənz ˈrɛkəgˌnaɪz ðiz trɛnz ənd ər traɪɪŋ tɪ məˈnɑpəˌlaɪz ˈwɔtər səˈplaɪz əraʊnd ðə wərld. ˌmɑnˈsæntoʊ, ˌbɛkˈtɛl, ənd ˈəðər ˈgloʊbəl ˌməlˌtiˈnæʃənəlz ər ˈsikɪŋ kənˈtroʊl əv wərld ˈwɔtər ˈsɪstəmz ənd səˈplaɪz. ðə wərld bæŋk ˈrisəntli əˈdɑptəd ə ˈpɑləsi əv ˈwɔtər ˈpraɪvətəˈzeɪʃən ənd ˈwɔtər ˈpraɪsɪŋ. ðə wərld ˈpɑləsi əv ˈpraɪvəˌtaɪzɪŋ ðə ˈwɔtər səˈplaɪ kənˈvinjəntli ˌkoʊɪnˈsaɪdz wɪθ ðə juˈnaɪtɪd ˈneɪʃənz əˈʤɛndə 21 əˈʤɛndə 21 ɪz ˈæktɪvli prəˈmoʊtɪŋ ðə ˈpraɪvətəˈzeɪʃən fər ðə ˈwɔtər səˈplaɪz θru ə fər profit”*” skim. “…(“…(i*) æt ðə loʊəst əˈproʊpriˌeɪt ˈlɛvəl, ˌdɛləˈgeɪʃən əv ˈwɔtər ˈrisɔrsɪz ˈmænɪʤmənt, ˈʤɛnərəli, tɪ səʧ ə ˈlɛvəl, ɪn əˈkɔrdəns wɪθ ˈnæʃənəl ˌlɛʤəsˈleɪʃən, ˌɪnˈkludɪŋ dɪˌsɛntrəlɪˈzeɪʃən əv ˈgəvərnmənt ˈsərvɪsɪz tɪ ˈloʊkəl əˈθɔrətiz, ˈpraɪvət ˈɛnərˌpraɪzɪz ənd communities…”*…” (juˈnaɪtɪd ˈneɪʃənz ɪnˈvaɪrənmənt ˈproʊˌgræm, 2007 əˈʤɛndə 21 ˈfərðər ˈæˈdrɛsɪz ðə ˈlumɪŋ ˈwɔtər ˈkraɪsəs ɪn ˈʧæptər 18 35 wɪʧ steɪts ðət ɪz ə ˈjunɪˌtɛri ˈrisɔrs. ˈlɔŋˈtərm dɪˈvɛləpmənt əv ˈgloʊbəl ˈfrɛʃˌwɔtər rikˈwaɪərz hoʊˈlɪstɪk ˈmænɪʤmənt əv ˈrisɔrsɪz ənd ə ˌrɛkɪgˈnɪʃən əv ðə əv ðə ˈɛləmənts rɪˈleɪtɪd tɪ ˈfrɛʃˌwɔtər ənd ˈfrɛʃˌwɔtər kˈwɑləti. ðɛr ər fju ˈriʤənz əv ðə wərld ðət ər stɪl ɪgˈzɛmpt frəm ˈprɑbləmz əv lɔs əv pəˈtɛnʃəl ˈsɔrsəz əv ˈfrɛʃˌwɔtər səˈplaɪ, dɪˈgreɪdɪd ˈwɔtər kˈwɑləti ənd pəˈluʃən əv ˈsərfəs ənd ˈgraʊndˌwɔtər sources….”*….” (ðə juˈnaɪtɪd ˈneɪʃənz dɪˈpɑrtmənt əv ˌɛkəˈnɑmɪk ənd ˈsoʊʃəl əˈfɛrz, 2007 ˈæftər ˈrɛdɪŋ ðə ˈkəmfərtɪŋ ˈmænər ɪn wɪʧ əˈʤɛndə 21 ˈæˈdrɛsɪz ðə ˈkəmɪŋ ˈwɔtər ˈkraɪsəs, wi ʃʊd ɔl bi ˈeɪbəl tɪ slip ˈsaʊndli æt naɪt. ənˈfɔrʧənətli, ðɪs dɪz nɑt pruv tɪ bi ðə keɪs wɪn wən kənˈsɪdərz wət həz ˈhæpənd tɪ bəˈlɪviə ˌɪnˈdɪʤənəs peoples’*’ ˈækˌsɛs tɪ frɛʃ ˈwɔtər. əˈʤɛndə ˈstrætəʤi fər ˈpraɪvəˌtaɪzɪŋ ðə ˈwɔtər ɪz kwaɪt ˈsɪmpəl: ðə juˈnaɪtɪd ˈneɪʃənz ˌfaɪˈnænʃəl ˈpɑrtnər, ðə wərld bæŋk, ənd ɪts əˈsoʊʃiˌeɪtəd sɛt əv ˈsɛntrəl bæŋks əraʊnd ðə ˈplænət, ˈkrɪpəlz ə ɪˈkɑnəmi, ˈlɑrʤli θru ðə juz əv faɪæt ˈkərənsi ənd fɔrst əˈsəmpʃən əv dərˈɪvɪtɪv dɛt. ˈsəbsəkwəntli, ðə wərld bæŋk əˈtɛmpts tɪ rɪˈsəsɪˌteɪt ðət ɪˈkɑnəmi θru ə ˈsɪriz əv rəˈʒim ˈseɪvɪŋ loʊnz. wərld bæŋk loʊnz ˈɔfər ðə hoʊp əv ˈsteɪvɪŋ ɔf ˈmæsɪv ˈjumən ˈsəfərɪŋ rɪˈzəltɪŋ frəm ə læk əv ˈbeɪsɪk nəˈsɛsɪtiz, ˈstægərˌɪŋ ˌənɪmˈplɔɪmənt ənd ɔl ðə ˈəðər əˈkəmpəniɪŋ ˈvɛriəbəlz wɪʧ kʊd lɛd tɪ ə ˈvaɪələnt ˈoʊvərθˌroʊ əv ə pəˈlɪtɪkəl paʊər ˈstrəkʧər. ˌhaʊˈɛvər, ðə tərmz əv ə ˈtɪpɪkəl wərld bæŋk loʊn wʊd meɪk ðə moʊst əˈdɛpt loʊn ʃɑrk grin wɪθ ˈɛnvi. ˈɔfən, ɛz ə ˌprikənˈdɪʃən tɪ rɪˈsivɪŋ ðə loʊn, ðə wərld bæŋk ˌɪmˈpoʊzɪz səm ˈvɛri drəˈkoʊniən kənˈdɪʃənz, səʧ ɛz ðə ˈpraɪvətəˈzeɪʃən əv ðə ˈbeɪsɪk nəˈsɛsɪtiz əv laɪf (e.g*. ˈwɔtər) frəm wɪʧ ðɛr ˈkɔrpərət ˈpɑrtnərz dəraɪv greɪt ˌɛkəˈnɑmɪk ˈbɛnəfɪt. ˈnoʊˌwɛr həz ðɪs skim bɪn pleɪd aʊt mɔr dɪˈrɛkli ðən ɪn ðə leɪt ənd ðə ˈərli ɪn bəˈlɪviə ðə fərst lɑrʤ skeɪl, draɪ rən əv əˈʤɛndə plæn tɪ ˈprɪvəˌtaɪz ˈwɔtər, tʊk pleɪs ɪn bəˈlɪviə wɪn ˈsəmˌwən æt ðə wərld bæŋk flɪpt ə swɪʧ ənd dɪˈmændɪd ðə ˈpraɪvətəˈzeɪʃən əv bəˈlɪviə ˈwɔtər səˈplaɪz ɛz ə ˌprikənˈdɪʃən fər ˈmæsɪv dɛt rɪˈlif. ɪn 1995 ðə ˈgəvərnmənt əv bəˈlɪviə oʊd ˈnəθɪŋ. ˌhaʊˈɛvər, bəˈlɪviə dɪd oʊ ðə wərld bæŋk ɪˈnɔrmɪs səmz əv ˈməni. laɪk ə ˈhɛroʊən ˈæˌdɪkt, ðə bəˈlɪviən ˈgəvərnmənt bɪˈkeɪm dɪˈpɛndənt ɔn ɪts ˌfaɪˈnænʃəl dealer,”*,” ðə wərld bæŋk. prɪˈdɪktəbli, riˈpeɪɪŋ bəˈlɪviən dɛt, tɪ ðə wərld bæŋk, wɑz ˈplənʤɪŋ ðə bəˈlɪviən ˈpipəl ənd ɪts ˈgəvərnmənt ˈɪntu ðə əˈbɪs əv ˈæbʤɛkt ˈpɑvərti ənd dɪˈspɛr (ˈwɑtsən, 2003 ɪn bəˈlɪviə ə ˈsɪti əv ˈpipəl, ðə ˈpəblɪk ˈwɔtər ˈsɪstəm əv ɛl ˈæltoʊ ənd ɪts ˈneɪbər lɑ pɑz ðə ˈkæpɪtəl, wɑz ˈpraɪvəˌtaɪzd ɪn 1997 ɪn ə ˈklæsɪk ˈkɑnflɪkt əv ˈɪntəˌrɛst keɪs, ðə ˈpraɪvət kənˈsɔrʃjəm ðət tʊk kənˈtroʊl əv ðə ˈwɔtər, dɛl illimani*, ɪz ə səbˈsɪdiˌɛri əv ˌbɛkˈtɛl, ənd ə sɛt əv məˈnɔrəti ˈʃɛˌrhoʊldərz ðət ˌɪnˈkludz, əˈməŋ ˈəðərz, ən ɑrm əv ðə wərld bæŋk (ˈwɑtsən, 2003 wɪˈθɪn wiks əv ˈteɪkɪŋ ˈoʊvər ðə ˈpəblɪk ˈwɔtər ˈkəmpəˌni, ˌbɛkˈtɛl haɪkt əp reɪts baɪ ɛz məʧ ɛz 200 fɑr bɪɔnd wət ðə pur kʊd əˈfɔrd tɪ peɪ. ðə bəˈlɪviən pur, wɪθ ə læk əv ˈækˌsɛs tɪ klin ˈwɔtər, hæv ˈnɪrli wən ɪn tɛn ˈʧɪldrən daɪ ˌbiˈfɔr ðeɪ riʧ ðə eɪʤ əv faɪv. ˈædɪŋ ˌɪnˈsəlt tɪ ˈɪnʤəri, ˈfæməliz ˈlɪvɪŋ ɪn ɛl ˈaʊtˌskərts rɪˈlaɪ ɔn wɛl ˈwɔtər ɪn wɪʧ kəmˈjunɪti ˌrɛprɪˈzɛnətɪvz seɪ ər kənˈtæməˌneɪtɪd wɪθ ˌɪnˈdəstriəl weɪst (ˈwɑtsən, 2003 wɪn ɔl ləˈʤɪtəmət ˈævəˌnuz əv sɪˈkjʊrɪŋ frɛʃ ˈwɔtər wər blɑkt baɪ ˌbɛkˈtɛl, ˌɪnˈkludɪŋ ðə ˌproʊəˈbɪʃən əv kəˈlɛktɪŋ reɪn ˈwɔtər ɪn ˈhoʊˈmeɪd pɑts ənd pænz, ðə bəˈlɪviən ˈpipəl tʊk tɪ ðə strits ənd ən ˈɔnˌgoʊɪŋ ˈpætərn əv strit ˈvaɪələns ɪnˈsud ənˈtɪl ˌbɛkˈtɛl ˈɛksərˌsaɪzd ðə ˈbɛtər hæf əv dɪˈskrɛʃən ənd ˈɛgzətɪd ðə ˈkəntri. mɑrk maɪ wərdz, wɪn wi du ðɪs ɪn əˈmɛrɪkə, ˈfɑloʊ ɑr ˈkəmɪŋ kənˈtraɪvd ˈwɔtər ˈʃɔrtɪʤ, əˈmɛrɪkənz wɪl bi mɛt wɪθ droʊnz ənd ˈdɑrpə ˈkɪlər ˈroʊˌbəts. pæst ɪz fˈjuʧər. waɪ ðə əˈmɛrɪkən ˈpipəl hæv ˈoʊnli hərd ə ˈwɪmpər əˈbaʊt ðiz ˈkɔrpərət əˈbjuzɪz æt ðə hænz əv ðə sæn frænˈsɪskoʊ beɪst ˌbɛkˈtɛl ˌkɔrpərˈeɪʃən, ðə wərld bæŋk ənd ðə juˈnaɪtɪd ˈneɪʃənz əˈʤɛndə 21 ɪn ˈɔrdər tɪ ˈænsər ðət kˈwɛʃən, wən həz tɪ æsk: hu ɪz ˌbɛkˈtɛl oʊnd baɪ? ˌbɛkˈtɛl ɪz ə səbˈsɪdiˌɛri əv ˈʤɛnərəl ɪˈlɛktrɪk. ˈʤɛnərəl ɪˈlɛktrɪk oʊnz ˈɛnˌbiˈsi (ˈmidiə owners.com*, 2005 pərˈhæps ðɪs ɪz waɪ ðə rɪˈpɔrtɪŋ əv ðɪs teɪl əv ˈjumən əˈbjuz soʊ ˈspɑrsli ˌriˈpɔrtəd ɪn ðə juˈnaɪtɪd steɪts haʊ ˌɪntərkəˈnɛktɪd ər ðə ˈgloʊbəl ˌkɔrpərˈeɪʃənz tɪ ðə juˈnaɪtɪd steɪts ˈgəvərnmənt, ðə juˈnaɪtɪd ˈneɪʃənz ənd əˈʤɛndə 21 kənˈsɪdər ðə ˈfɑloʊɪŋ lɪst əv ˌbɛkˈtɛl ɪmˈplɔɪiz hu hæv muvd ˈɪntu ˈmeɪʤər ˈpɑləsi ˈmeɪkɪŋ pəˈzɪʃənz boʊθ ɪn ðə juˈnaɪtɪd steɪts ˈgəvərnmənt ənd ðə juˈnaɪtɪd ˈneɪʃənz. ˈsiˌiˈoʊ, ˈraɪli pi. ˌbɛkˈtɛl, sərvd ɔn ðə ˈprɛzɪdənt 43 ˈɛkspɔrt ˈkaʊnsəl ʤɔrʤ ʃʊlts. ˈʃɔrtli ˈæftər əˈsumɪŋ hɪz nu pəˈzɪʃən ɪn ˌbɛkˈtɛl, ˈprɛzɪdənt ˈrigən rɪˈkrutɪd ʃʊlts tɪ ˈwɔʃɪŋtən tɪ sərv ɛz ˈsɛkrəˌtɛri əv steɪt. ˈsɛkrəˌtɛri əv dɪˈfɛns ˈkæˌspɑr wɑz ə ˈfɔrmər ˌbɛkˈtɛl ˈʤɛnərəl ˈkaʊnsəl. ˈdəbəlju. keɪ. ˈdeɪvɪs wɑz ə ˌbɛkˈtɛl ˈvaɪˈsprɛzədənt fər ˈnukliər dɪˈvɛləpmənt ˌbiˈfɔr hi wɑz əˈpɔɪntɪd ɛz ˈdɛpjəti ˈsɛkrəˌtɛri əv ˈɛnərʤi ənd ədˈmɪnɪˌstreɪtɪv hɛd əv ðə əˈtɑmɪk ˈɛnərʤi kəˈmɪʃən. ˈwɪljəm ˈkeɪsi ə ˈfɔrmər ˌbɛkˈtɛl kənˈsəltənt sərvd ɪn ə ˈnəmbər əv ˈgəvərnmənt pəˈzɪʃənz ˌɪnˈkludɪŋ ˈʧɛrmən əv ðə sɛk ˈəndər ˈnɪksən, hɛd əv ðə bæŋk ˈəndər ˈprɛzɪdənt fɔrd, ənd dɪˈrɛktər əv ðə siaɪeɪ ˈəndər ˈrigən. ˈrɪʧərd hɛlm, hu ˈleɪtər bɪˈkeɪm ə ‘‘consultant’*’ tɪ ˌbɛkˈtɛl, hæd ˈərliər bɪn ə siaɪeɪ dɪˈrɛktər ˈəndər ˈnɪksən. ˈwɪljəm ˈsaɪmən, ˈtrɛʒəri ˈsɛkrəˌtɛri, wɑz haɪərd baɪ ˌbɛkˈtɛl ɛz ə kənˈsəltənt. rɔs ˈkɑnəli, ˈsiˌiˈoʊ əv ˌbɛkˈtɛl ˈɛnərʤi ˈrisɔrsɪz ˌkɔrpərˈeɪʃən (rɪˈtaɪrd), wɑz əˈpɔɪntɪd baɪ ʤɔrʤ ˈdəbəlju. bʊʃ 41 ɪn ʤun əv 2001 tɪ ðə ˈoʊvərˈsiz ˈpraɪvət ˌɪnˈvɛstmənt ˌkɔrpərˈeɪʃən (ˈɑpɪk). ðə ˈɑpɪk həz strɔŋ kəˈnɛkʃənz tɪ ðə juˈnaɪtɪd ˈneɪʃənz ˈpraɪvətəˈzeɪʃən ˈprɑʤɛkts. stu ˈbərkhəmər, ə ˈkɑrənt ˌbɛkˈtɛl ɪgˈzɛkjətɪv, ɪz ˈprɛzəntli ə ˈmɛmbər əv ðə ɑkjəˈpeɪʃənəl ˈseɪfti ənd hɛlθ (ˈoʊʃə) ædˈvaɪzəri kəˈmɪti ɔn kənˈstrəkʃən ˈseɪfti ənd hɛlθ (koʊˈɑpərˌeɪtɪv ˈrisərʧ, 2006 əv ˌbɛkˈtɛl (fræns), d’etat*, frəm 1979 tɪ 1980 ʃi wɑz kənˈsəltənt əv ðə juˈnaɪtɪd ˈneɪʃənz ˈeɪʒən ənd pəˈsɪfɪk dɪˈvɛləpmənt ˈsɛnər (juˈnaɪtɪd ˈneɪʃənz kəˈmɪti əv ˈɛkspərts ɔn ˈpəblɪk ædˌmɪnɪˈstreɪʃən, 2007 ðə kəˈnɛkʃənz bɪtˈwin ðiz grups kən bi ˈfərðər ɪgˈzɛmpləˌfaɪd baɪ ðə ˈfɑloʊɪŋ: juˈnaɪtɪd ˌrɛzəˈluʃən 1483 (ˈjuˈɛn sɪˈkjʊrəti ˈkaʊnsəl, 2003 əˈpruvd ðə ˌɑkjəˈpeɪʃən əv ˌɪˈrɑk baɪ əˈmɛrɪkən ənd ˈbrɪtɪʃ ˈfɔrsɪz, ðəs ˈmeɪkɪŋ ˌɪˈrɑk ˈɪntu ə də ˈfæktoʊ ˈkɑləni. ɛz səʧ, ðɪs ˈoʊpənd dɔr fər ə ˈkɔrpərət ˈfidɪŋ ˈfrɛnzi baɪ ˈkəmpəˌniz səʧ ɛz ˌbɛkˈtɛl ɛz ðeɪ laɪnd əp tɪ ““repair”*” ˌɪˈrɑk ˈfɑloʊɪŋ gəlf wɔr ii*. ˈsəbsəkwəntli, ˌbɛkˈtɛl rɪˈsivd ə ˈbɪljən ˈkɑnˌtrækt tɪ ˈoʊvərˌsi ˈmeɪʤər ˌrikənˈstrəkʃən əv ˌɪˈrɑk ˈwɔtər ənd suɪʤ. ɪn spaɪt əv ˈprɑməsəz, ˌɪˈræki ˈfæməliz kənˈtɪnju tɪ læk ˈækˌsɛs tɪ klin ˈwɔtər. ðə ˈkəmpəˌni meɪd prəˈvaɪdɪŋ ˈsəðərn ˈpoʊtəbəl ˈwɔtər wən əv ɪts tɔp praɪˈɔrətiz ɪn wɪʧ ˌbɛkˈtɛl ˈprɑməst dɪˈlɪvəri wɪˈθɪn 60 deɪz ˈfɑloʊɪŋ ðə kəˈmɛnsmənt əv ðə ˈprɑʤɛkt. wɪˈθɪn ə jɪr, ˌɪˈræki ˈpipəl stɪl wər ˈsəfərɪŋ θru ˌɛpəˈdɛmɪks əv ˈɪlnəsɪz (e.g*., ˈkɑlərə, ˈkɪdni stoʊnz ənd ˌdaɪərˈiə). ˌbɛkˈtɛl feɪld tɪ lɪv əp tɪ ɪts wərd, bət ðeɪ dɪd meɪk ə lɔt əv ˈməni (ˈwɛstən, 2003 ənd səm ˈpipəl θɪŋk ðət ðə juˈnaɪtɪd ˈneɪʃənz ɪz ˈmɪrli ə bɪˈnaɪn ənd bəˈnɛvələnt ˌɔrgənəˈzeɪʃən wɪʧ ɪz ɛˈsɛnʃəli ˈnutrəl ɔn ɔl ˈɛriəz əv ˈpɑləˌtɪks ənd ˈfaɪˌnæns. təˈdeɪ, ðə stɑk ˈhoʊldərz əv ˌbɛkˈtɛl hæv ðə juˈnaɪtɪd ˈneɪʃənz tɪ θæŋk, ɪn lɑrʤ pɑrt, fər ðət ˈɛkstrə veɪˈkeɪʃən, ðɛr ˈbreɪsɪz ənd ðə əˈdɪʃən tɪ ðɛr hoʊmz. ˈdaʊnˌloʊd jʊr fərst ˈɪʃu fri! du ju wɔnt tɪ lərn haʊ tɪ bɪˈkəm ˌfaɪˈnænʃəli ˌɪndɪˈpɛndənt, meɪk ə ˈlɪvɪŋ wɪˈθaʊt ə trəˈdɪʃənəl ʤɑb ˈfaɪnəli lɪv fri? ˈdaʊnˌloʊd jʊr fri ˈkɑpi əv ˈkaʊntər ˈmɑrkɪts ˌbɛkˈtɛl ɪz ə ˈmeɪʤər pleɪər ɪn ðə ɪˈvɑlvɪŋ ˈstrəgəl tɪ kənˈtroʊl ðə fˈjuʧər ˈwɔtər səˈplaɪ. ˌbɛkˈtɛl ənd ɪts pɪrz hæv kˈwaɪətli bɪn sɪˈkjʊrɪŋ ðə raɪts tɪ kənˈtroʊl ðə pərˈdəkʃən ənd ˌdɪstrəˈbjuʃən əv ðɪs ɛˈsɛnʃəl ˈrisɔrs ənd ˈfʊli ˌɪnˈtɛnd tɪ meɪk juʤ ˈprɑfɪts ɪn ðə fˈjuʧər wɪn, ɛz ˈɛkspərts prɪˈdɪkt, ˈwɔtər bɪˈkəmz ə sɪgˈnɪfɪkəntli skɛrs (ˈwɑtsən, 2003 ɛz ə ˈfʊtˌnoʊt, ɪn ðə feɪs əv 52 səˈvɪljən dɛθs əv ˌbɛkˈtɛl ˌpərsəˈnɛl, æt ðə hænz əv ˌɪnˈsərʤənt ˈtɛrəˌrɪsts, ˌbɛkˈtɛl dɪd nɑt wɪθˈdrɔ frəm ˈsəðərn ˌɪˈrɑk ˌhaʊˈɛvər, wɪn ɪts ˌɪnfrəˈstrəkʧər ˈprɑʤɛkts keɪm ˈəndər faɪər frəm ðə ˌɪnˈsərʤənts, ˈkɔstɪŋ ðə ˌkɔrpərˈeɪʃən ˈmɪljənz əv ˈdɔlərz, ˌbɛkˈtɛl sist ˌɑpərˈeɪʃənz ɪn ˈsəðərn ˌɪˈrɑk baɪ ðə weɪ, ɪt wɑz ˌbɛkˈtɛl wɪʧ soʊld ˈsɑdəm ɪts ˈkɛmɪkəl ˈstɑkˌpaɪl əv ˈwɛpənz ɪn hɪz wɔr wɪθ ˌɪˈrɑn. ðɪs wɑz ˈfɑloʊd baɪ ˌɪnˈveɪdɪŋ ˌɪˈrɑk bɪˈkəz ɪt pəˈzɛst ˈwɛpənz əv mæs dɪˈstrəkʃən. aɪ ˈɔlsoʊ faʊnd ɪt ˈɪntəˌrɛstɪŋ ðət ˈhɪləri ˈklɪntən wɑz ɔn ðə bɔrd əv dɪˈrɛktərz fər ˌbɛkˈtɛl æt ðə taɪm əv ðə seɪl əv ðə ˈwɛpənz əv mæs dɪˈstrəkʃən tɪ ˌɪˈrɑk (ˈɔgəst ˌkoʊəˈlɪʃən, 2006 ˌbiˈfɔr ðə fɔl əv ðə ʃɑ əv ˌɪˈrɑn, ˈəndər ˈprɛzɪdənt ˈʤɪmi ˈkɑrtər, ˌbɛkˈtɛl wɑz ˈkɑntræktəd tɪ bɪld ˌɪˈrɑn fərst ˈnukliər paʊər plænt. ɛz wɑz ðə keɪs wɪθ ˈsɑdəm huˈseɪn, ˌɪˈrɑn ˈgəvərnmənt ɪz stɪl ˈstændɪŋ ɪn ðə weɪ əv ənˈfɛtərd ˌɪnˈvɛstmənt baɪ ðə ˈgloʊbəl ˌkɔrpərˈeɪʃənz. ˌɪˈrɑn ðə ˈoʊnli ˈmɪdəl ˈistərn ˈkəntri wɪʧ wɪl nɑt ˈlaɪkli kəˈpɪʧuˌleɪt tɪ ˈprɛzɪdənt plænz fər ə ˈmɪdəl ist fri treɪd ˈɛriə, ɪz naʊ biɪŋ θˈrɛtənd baɪ ðə juˈnaɪtɪd steɪts ˈmɪlɪˌtɛri, ənd rɪˈmɛmbər, fri treɪd ɪz ðə wən əv ðə ˈkɔrnərˌstoʊnz əv ðə əˈʤɛndə 21 ðɪs meɪks wən ˈwəndər hu ˈfɔrmər ˈprɛzɪdənt bʊʃ ˈrɪli wərkt fər. aɪ kʊd hæv ˈʧoʊzən ˈɛni ˈnəmbər əv ˈgloʊbəl ˌkɔrpərˈeɪʃənz (e.g*., ˌmɑnˈsæntoʊ, ˈhælɪˌbərtən, ˌɛtˈsɛtərə.) tɪ ˈɪləˌstreɪt ðɪs əˈbjuz əv juˈmænɪti. ðə ˌbɛkˈtɛl ˌkɔrpərˈeɪʃən ɪz bət wən smɔl ˈkɔrpərət ɪgˈzæmpəl əv ðɪs dɪˈstərbɪŋ trɛnd. ɪn ðə ˈɪrə əv ˌgloʊbəlɪˈzeɪʃən, flaɪɪŋ ˈəndər ðə ˈbænər əv əˈʤɛndə ˈpɑləsi əv sustainability,”*,” trænsˈnæʃənəl ˌkɔrpərˈeɪʃənz ˈsərkəl ðə gloʊb ˈlʊkɪŋ fər ˌɑpərˈtunətiz fər ˈprɑfɪt, ˈpʊtɪŋ ˈlaɪvliˌhʊdz, sərˈvaɪvəl ənd ðə ɪnˈvaɪrənmənt æt rɪsk. tu ˈɔfən ðə ˈgloʊbəl ˌkɔrpərˈeɪʃənz ˈvɪktəmaɪz ˌənsəˈspɛktɪŋ ənd ˌɪmˈpɑvrɪʃt ˈpipəl hu kən list əˈfɔrd tɪ əbˈzɔrb ðə brənt əv ðiz ˈprɑfɪt ˈʤɛnərˌeɪtɪŋ skimz. ðiz ˈækʃənz səˈvɪrli ˈəndərˌmaɪn ˈnæʃənəl ˈsɑvrənti ənd ˌɪndəˈvɪʤəwəl dɪˈtərməˌnɪzəm. ˌhaʊˈɛvər, ðɪs ˈprɔˌsɛs ɪz nɑt ˌɪˈnɛvətəbəl; ər ˌɪnˈfæləbəl, səkˈsɛsfəl rɪˈzɪstəns ɪz ˈpɑsəbəl. ˌhaʊˈɛvər ðə klɑk ɪz ˈtɪkɪŋ ənd taɪm ɪz kˈwɪkli ˈrənɪŋ aʊt. du wi θɪŋk ðət ðɪs ˈoʊnli ˈhæpənɪŋ ɪn bəˈlɪviə? ˈsɪmələr ˈprɑʤɛkts ər ˌəndərˈweɪ ɪn məˈnɪlə, ˈpækɪˌstæn ənd sæn frænˈsɪskoʊ. jɛs, ðɪs ɪz kərˈɛkt; ˌbɛkˈtɛl naʊ həz ə ˈkɑnˌtrækt wɪθ sæn ˈsɪti ˈgəvərnmənt tɪ ˈəpˈgreɪd ðə ˈwɔtər ˈsɪstəm. ˌbɛkˈtɛl ɪmˈplɔɪiz ər ˈwərkɪŋ saɪd baɪ saɪd wɪθ ˈsɪti ˈwərkərz ɪn ə ˈpraɪvətəˈzeɪʃən muv ðət fɪr wɪl lɛd tɪ ən əˈvɛnʧuəl əv sæn frænˈsɪskoʊ ˈwɔtər ˈsɪstəm ənd kriˈeɪt ə fiˈæskoʊ ˈsɪmələr tɪ ðə wən ɪn bəˈlɪviə (ʧəˈtərʤi, 2000 ðə wʊlf ɪz æt ðə dɔr. ɛz ðə ˈroʊmən ˈɛmpaɪər dɪˈklaɪnd ɪn ˈɪnfluəns ənd paʊər, fˈjudəˌlɪzəm ˌriˈpleɪst ðə ˈgəvərnmənt. ðə fˈjudəl lɔrd wɑz wən əv ðə fju ɪmˈplɔɪərz ɪn ðə fɔrθ ənd ðə fɪθ ˈsɛnʧəriz. ðə fˈjudəl lɔrdz oʊnd moʊst əv ðə lænd ənd ˈnɪrli ɔl ðə ˈrisɔrsɪz. təˈdeɪ, ðə ˈspɛktər əv fˈjudəˌlɪzəm həz ˈɪntu ə ˈgloʊbəl ˈhɛdɪd baɪ ðə juˈnaɪtɪd ˈneɪʃənz ənd əˈʤɛndə 21 ðə ˈgloʊbəl ˌkɔrpərˈeɪʃənz ər kənˈstrəktɪŋ ðɪs brænd əv raɪt ˌbiˈfɔr ɑr aɪz. ənˈfɔrʧənətli, ðə ˈpipəl (i.e*., əˈmɛrɪkənz) hu stɪl hæv ðə paʊər tɪ stɑp ɪt sim tɪ pəˈzɛs ðə seɪm ˈfleɪvər əv glɔˈkoʊmə ənd ˈrɛfˌjuz tɪ si wət ɪz ˈrɪli ˈhæpənɪŋ. ðɪs ɪz ðə seɪm əˈʤɛndə 21 plæn wɪʧ wɔnts tɪ juz ðə paʊər əv ˈbihəməθ bæŋks ənd ˌkɔrpərˈeɪʃənz, ˈəndər ðə gaɪz əv juˈnaɪtɪd ˈneɪʃənz səˌsteɪnəˈbɪlɪti ˈrɛtərɪk, ɪn ˈɔrdər tɪ ˈblækˌmeɪl ˈneɪʃənz ˈɪntu əˈlaʊɪŋ ˈkəmpəˌniz laɪk ˌbɛkˈtɛl tɪ əˈsɛs ə ˈsərˌʧɑrʤ əˈpɑn pur ˈpipəl ənd ðɛr ˈʧɪldrən fər ˈdɛrɪŋ tɪ kəˈlɛkt ðə reɪn ˈwɔtər ɪn ˈhoʊˈmeɪd pɑts ənd pænz. ɪn ðə ˈərli pɑrt əv ðɪs ˈdɛkeɪd, bəˈlɪviənz wər ˈæskɪŋ iʧ ˈəðər, ju sin ðə rain”*” ɪn ðɛr əˈnɛndɪŋ sərʧ fər frɛʃ ˈwɔtər. məʧ laɪk ə ˈtiˌneɪʤər biɪŋ lʊrd ˈɪntu ˌfaɪˈnænʃəl ˌdɛvəˈsteɪʃən baɪ biɪŋ ɪnˈtaɪst tɪ oʊn ðɛr fərst ˈkrɛdɪt kɑrd, ˈnæʃənəl ˈgəvərnmənts ˈkænɑt rɪˈzɪst ðə əˈdɪkʃən əv ˈsimɪŋli ˈɪnfənət ˈkrɛdɪt wɪʧ ɪz meɪd əˈveɪləbəl θru ðə juz əv ˌənsɪˈkjʊrd, faɪæt ˈkərənsi. θru ðə ˈrɛkləs ˈspɛndɪŋ əv ˈvɛriəs ˌgəvərnˈmɛntəl ˈɛntɪtiz, trɪˈmɛndəs dɛt ɪz kriˈeɪtɪd. ɛz ðə dɛt ˈriʧɪz ˈkrɪtɪkəl ˈlɛvəlz ənd ˌfaɪˈnænʃəl kəˈtæstrəfi lumz, ðə wərld bæŋk raɪdz ɪn ɔn ɪts blæk hɔrs ənd ˈɔfərz ə ˈneɪʃən ˌfaɪˈnænʃəl sælˈveɪʃən. ˌhaʊˈɛvər, ðət ˌfaɪˈnænʃəl sælˈveɪʃən kəmz æt ə stip kɔst wɪʧ ˈjuʒəwəli ˌɪnˈkludz ðə ˈsɛlɪŋ ðɛr ˈnæʃənəl soʊl tɪ ðə ˈdɛvəl. ɔl tu ˈfrikwɛntli, ðɪs ““salvation”*” ˌɪnˈvɑlvz ðə ˌɪmpəˈzɪʃən əv ðə pəˈlɪtɪkəl ənd ˌfaɪˈnænʃəl əˈʤɛndə əv ðə juˈnaɪtɪd ˈneɪʃənz ənd ɪts ˈpɑrtnər, ðə wərld bæŋk. ənd wɪθ ən ˌoʊˈbɑmə ˈlumɪŋ ɔn ðə ˈəðər saɪd əv ðə ˈfɪskəl klɪf, əˈmɛrɪkə ɪz kloʊz tɪ biɪŋ ðə nɛkst bəˈlɪviə. haʊ lɔŋ wɪl ɪt bi ənˈtɪl əˈmɛrɪkə bɪˈkəmz ðə nɛkst bəˈlɪviə wɪθ rɪˈgɑrd tɪ əˈʤɛndə 21 ðɪs ɪz ˈoʊnli ðə tɪp əv ðə ˈaɪsbərg. wɪn ðɪs ˈkəntri ɪz ˈbæŋkrəptɪd baɪ ðə ˈbæŋkərz, əˈmɛrɪkə wɪl bi ˈlɛvərɪʤd ˈɪntu ˈsikɪŋ ˈwɔtər ɪn ˈfɔrən ˈkəntriz ənd wi wɪl bi ɔl tɪ ˈhæpi tɪ ˌɪnˈveɪd ˈkəntriz ðət ˈplɛnti əv ðə ˈrisɔrs ðət wi noʊ ˈlɔŋgər hæv. ɛz ðə ˈridər wɪl dɪˈskəvər ɪn ðə ˈsɛkənd pɑrt əv ðɪs ˈsɪriz, ðə ˈridər wɪl dɪˈskəvər ðət wi ʤɪst hæv tɪ ˈwəri əˈbaʊt ə ˈbæŋkər ˈteɪˌkoʊvər əv ɑr ˈwɔtər ˈæˌsɛts. wi ər biɪŋ ˌɪnˈveɪdɪd frəm wɪˈθɪn. ʤɔrʤ eɪʧ. ˈdəbəlju. bʊʃ ənd ti. bun ˈpɪkənz ər baɪɪŋ əp ˈmeɪʤər ˈwɔtər ˈsɔrsəz ˌɪnˈsaɪd əv ɑr ˈkəntri ɛz əˈmɛrɪkə ɪz əˈbaʊt tɪ gɪt hɪt ɔn tu frənts. aɪ kən si noʊ ˈəðər ˈpərpəs bɪˈhaɪnd ðɪs ˈmædnəs ɪkˈsɛpt ðət ɑr ˈmɪlɪˌtɛri wɪl bi ˈlɛvərɪʤd tɪ ˌɪnˈveɪd, jɛt əˈnəðər sɛt əv ˈkəntriz. rɪˈleɪtɪd ˈæktɪvɪst poʊst ˈɑrtɪkəl: 10 ˈrizənz ɑr ˈʃæloʊ frɛʃ ˈwɔtər səˈplaɪ ɪz ɪn dip ˈtrəbəl ˈrɛfərənsɪz: ˈɔgəst ˌkoʊəˈlɪʃən 2006 waɪ ˌbɛkˈtɛl? (riˈtrivd ʤun 14 2007 ʧəˈtərʤi, ˈprɑtəp (meɪ 31 2000 ðə ərθ ˈrɛkər. sæn frænˈsɪskoʊ beɪ ˈgɑrdiən koʊˈɑpərˌeɪtɪv ˈrisərʧ 2006 ˈjuˈɛn ˈrəbər stæmps ˌɪˈrɑk ˌɑkjəˈpeɪʃən. (riˈtrivd meɪ 11 2006 ˈfɑʤərti, ʤɑn 1975 hæv ju ˈɛvər sin ðə reɪn? ˈkrɑnɪkəl: 20 ˈgreɪtəst hɪts. ˈkridəns klɪr ˈwɔtər rɪˈvaɪvəl ˈgloʊbəl ɪnˈvaɪrənmənt fəˈsɪlɪti (gef*). 2007 ə ʤɔɪnt ˌɪˈnɪʃətɪv wɪθ ənd ðə wərld bæŋk. ʤən 17 2007
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let’s start with the basics… this app all about!?
sweatcoin is a digital currency (cryptocurrency) that you earn by walking or running. you earn through an app on your phone; it tracks your outdoor steps throughout the day and rewards you with about 1 (1) per steps you make. these coins can been redeemed for gifts ranging from magazines, healthy energy drinks, music downloads, to digital watches, running shoes, electronics, and more.
heck, the app creators even said they want you to be able to pay your taxes withs… crazy, right!?
but what about earning money? keep reading!
yes, you really can earn free gifts… even gift cards!
since i downloaded the app back in 2016, added hundreds of new offers to the marketplace. cashed out on amazon cards, paypal, subscriptions, sunglasses, shoes, food boxes, and more. now, these things required a lot ofs at the time i was running 6 miles a day, so thes were stacking up fast.
(did you know, we have a page with tons of info about this app! click here to check it out.)
sweatcoin?? is this like?
sweatcoin is also going to be a (still in development as of september 2018).
it will be the first every you can earn by walking or running!
what that means is that you can buy and sells on an exchange.
but before we go deeper, watch an intro to video!
what is?
sweatcoin (swc) is an alternative form of currency gained by ‘mining’ through physical activity. you may have heard of (btc). you earn by using your graphics card to solve complex equations in hopes of finding the next block of coins, known as mining. is similar, but different, in that you use your real life steps to generate. not random whether or not you find coins it is guaranteed. many of the miners may spend months of processing and gain nothing due to the limited supply of. users who are runners can go out there and earn 1 in as little as 8 minutes, or even less!
click here to browse other frequently asked questions
but back up and start with the basics.
sweatcoin is an app that you install on your iphone (coming soon to android!) it runs in the background and tracks your physical activity running or walking and rewards you exactly for every steps you take.
you can either spend the coin right away on low-cost offers that interest you, such as music downloads or magazine subscriptions, or you can save up the to afford items such as digital watches, video game consoles, running shoes, and more. at one point, users were able to redeem a for the cost of several hundred coins!
the offers are very short-lived, and they circulate often. this keeps the experience always fresh. for example, if the app featured the same 5 offers for many months at a time, users would grow very weary. therefore, you have to be on your toes, checking in every day for new offers and strategically spending your on the ones with the most value. (read: determining offer value)
is the app really free?
yes! everything within the app costs. you never have to provide a credit card or address or any personal information. all needed is a and email address for verification.
how many coins can i earn?
with the free mover membership level, you can earn up to 5 of the per day, minus a 5% conversion commission. however, amazing about is that literally free to up how many steps you can track in a day. it only costs you! the very first day of using the app, i went out and ran 6 miles to earn 5swc. i used these fresh coins to purchase the shaker membership level, which allows me to earn up to per day. after upgrading, i went out and ran another 6 miles to reach my daily limit.
read our frequently asked questions!
does the app use up a lot of battery?
the app has a battery saver mode that limits battery consumption at the expense of some gps accuracy. some users note that this saves about 20% of its battery usage. however, i personally run the app without this battery saving mode and have not noticed a significant difference. if you compared this app to the very famous go app, it uses a mere fraction of the battery as that app uses.
more questions? read the handy!
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let’s* stɑrt wɪθ ðə basics…*… ðɪs æp ɔl əˈbaʊt!? ɪz ə ˈdɪʤɪtəl ˈkərənsi (cryptocurrency*) ðət ju ərn baɪ ˈwɔkɪŋ ər ˈrənɪŋ. ju ərn θru ən æp ɔn jʊr foʊn; ɪt træks jʊr ˈaʊtˌdɔr stɛps θruaʊt ðə deɪ ənd rɪˈwɔrdz ju wɪθ əˈbaʊt 1 1) pər stɛps ju meɪk. ðiz kɔɪnz kən bɪn rɪˈdimd fər gɪfts ˈreɪnʤɪŋ frəm ˈmægəˌzinz, ˈhɛlθi ˈɛnərʤi drɪŋks, mˈjuzɪk ˈdaʊnˌloʊdz, tɪ ˈdɪʤɪtəl ˈwɑʧɪz, ˈrənɪŋ ʃuz, ˌɪˌlɛkˈtrɑnɪks, ənd mɔr. hɛk, ðə æp kriˈeɪtərz ˈivɪn sɛd ðeɪ wɔnt ju tɪ bi ˈeɪbəl tɪ peɪ jʊr ˈtæksɪz wɪθ sweatcoins…*… ˈkreɪzi, raɪt!? bət wət əˈbaʊt ˈərnɪŋ ˈməni? kip ˈrɛdɪŋ! jɛs, ju ˈrɪli kən ərn fri gifts…*… ˈivɪn gɪft kɑrdz! sɪns aɪ ˈdaʊnˌloʊdɪd ðə æp bæk ɪn 2016 ˈædɪd ˈhənərdz əv nu ˈɔfərz tɪ ðə ˈmɑrkɪtˌpleɪs. kæʃt aʊt ɔn ˈæməˌzɑn kɑrdz, paypal*, səbˈskrɪpʃənz, ˈsənˌglæsɪz, ʃuz, fud ˈbɑksɪz, ənd mɔr. naʊ, ðiz θɪŋz rikˈwaɪərd ə lɔt əv æt ðə taɪm aɪ wɑz ˈrənɪŋ 6 maɪəlz ə deɪ, soʊ ðə wər ˈstækɪŋ əp fæst. (dɪd ju noʊ, wi hæv ə peɪʤ wɪθ tənz əv ˈɪnfoʊ əˈbaʊt ðɪs æp! klɪk hir tɪ ʧɛk ɪt aʊt.)?? ɪz ðɪs laɪk? ɪz ˈɔlsoʊ goʊɪŋ tɪ bi ə (stɪl ɪn dɪˈvɛləpmənt ɛz əv sɛpˈtɛmbər 2018 ɪt wɪl bi ðə fərst ˈɛvəri ju kən ərn baɪ ˈwɔkɪŋ ər ˈrənɪŋ! wət ðət minz ɪz ðət ju kən baɪ ənd sɛl ɔn ən ɪksˈʧeɪnʤ. bət ˌbiˈfɔr wi goʊ ˈdipər, wɔʧ ən ˈɪntroʊ tɪ ˈvɪdioʊ! wət ɪz? (swc*) ɪz ən ɔlˈtərnətɪv fɔrm əv ˈkərənsi geɪnd baɪ ‘‘mining’*’ θru ˈfɪzɪkəl ækˈtɪvɪti. ju meɪ hæv hərd əv (btc*). ju ərn baɪ ˈjuzɪŋ jʊr ˈgræfɪks kɑrd tɪ sɑlv ˈkɑmplɛks ɪkˈweɪʒənz ɪn hoʊps əv ˈfaɪndɪŋ ðə nɛkst blɑk əv kɔɪnz, noʊn ɛz ˈmaɪnɪŋ. ɪz ˈsɪmələr, bət ˈdɪfərənt, ɪn ðət ju juz jʊr ril laɪf stɛps tɪ ˈʤɛnərˌeɪt. nɑt ˈrændəm ˈwɛðər ər nɑt ju faɪnd kɔɪnz ɪt ɪz ˌgɛrənˈtid. ˈmɛni əv ðə ˈmaɪnərz meɪ spɛnd mənθs əv ˈprɑsɛsɪŋ ənd geɪn ˈnəθɪŋ du tɪ ðə ˈlɪmɪtɪd səˈplaɪ əv. ˈjuzərz hu ər ˈrənərz kən goʊ aʊt ðɛr ənd ərn 1 ɪn ɛz ˈlɪtəl ɛz 8 ˈmɪnəts, ər ˈivɪn lɛs! klɪk hir tɪ braʊz ˈəðər ˈfrikwɛntli æst kˈwɛsʧənz bət bæk əp ənd stɑrt wɪθ ðə ˈbeɪsɪks. ɪz ən æp ðət ju ˌɪnˈstɔl ɔn jʊr ˈaɪˌfoʊn (ˈkəmɪŋ sun tɪ ˈænˌdrɔɪd!) ɪt rənz ɪn ðə ˈbækˌgraʊnd ənd træks jʊr ˈfɪzɪkəl ækˈtɪvɪti ˈrənɪŋ ər ˈwɔkɪŋ ənd rɪˈwɔrdz ju ɪgˈzæktli fər ˈɛvəri stɛps ju teɪk. ju kən ˈiðər spɛnd ðə kɔɪn raɪt əˈweɪ ɔn ˌloʊˈkɔst ˈɔfərz ðət ˈɪntəˌrɛst ju, səʧ ɛz mˈjuzɪk ˈdaʊnˌloʊdz ər ˈmægəˌzin səbˈskrɪpʃənz, ər ju kən seɪv əp ðə tɪ əˈfɔrd ˈaɪtəmz səʧ ɛz ˈdɪʤɪtəl ˈwɑʧɪz, ˈvɪdioʊ geɪm kənˈsoʊlz, ˈrənɪŋ ʃuz, ənd mɔr. æt wən pɔɪnt, ˈjuzərz wər ˈeɪbəl tɪ rɪˈdim ə fər ðə kɔst əv ˈsɛvərəl ˈhənərd kɔɪnz! ðə ˈɔfərz ər ˈvɛri ˌʃɔrˈtlɪvd, ənd ðeɪ ˈsərkjəˌleɪt ˈɔfən. ðɪs kips ðə ɪkˈspɪriəns ˈɔlˌweɪz frɛʃ. fər ɪgˈzæmpəl, ɪf ðə æp ˈfiʧərd ðə seɪm 5 ˈɔfərz fər ˈmɛni mənθs æt ə taɪm, ˈjuzərz wʊd groʊ ˈvɛri ˈwɪri. ˈðɛrˌfɔr, ju hæv tɪ bi ɔn jʊr toʊz, ˈʧɛkɪŋ ɪn ˈɛvəri deɪ fər nu ˈɔfərz ənd strəˈtiʤɪkli ˈspɛndɪŋ jʊr ɔn ðə wənz wɪθ ðə moʊst ˈvælju. (rɛd: dɪˈtərmənɪŋ ˈɔfər ˈvælju) ɪz ðə æp ˈrɪli fri? jɛs! ˈɛvriˌθɪŋ wɪˈθɪn ðə æp kɔsts. ju ˈnɛvər hæv tɪ prəˈvaɪd ə ˈkrɛdɪt kɑrd ər ˈæˌdrɛs ər ˈɛni ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən. ɔl ˈnidɪd ɪz ə ənd iˈmeɪl ˈæˌdrɛs fər ˌvɛrəfəˈkeɪʃən. haʊ ˈmɛni kɔɪnz kən aɪ ərn? wɪθ ðə fri ˈmuvər ˈmɛmbərˌʃɪp ˈlɛvəl, ju kən ərn əp tɪ 5 əv ðə pər deɪ, ˈmaɪnəs ə 5 kənˈvərʒən kəˈmɪʃən. ˌhaʊˈɛvər, əˈmeɪzɪŋ əˈbaʊt ɪz ðət ˈlɪtərəli fri tɪ əp haʊ ˈmɛni stɛps ju kən træk ɪn ə deɪ. ɪt ˈoʊnli kɔsts ju! ðə ˈvɛri fərst deɪ əv ˈjuzɪŋ ðə æp, aɪ wɛnt aʊt ənd ræn 6 maɪəlz tɪ ərn 5swc*. aɪ juzd ðiz frɛʃ kɔɪnz tɪ ˈpərʧəs ðə ˈʃeɪkər ˈmɛmbərˌʃɪp ˈlɛvəl, wɪʧ əˈlaʊz mi tɪ ərn əp tɪ pər deɪ. ˈæftər ˈəpˌgreɪdɪŋ, aɪ wɛnt aʊt ənd ræn əˈnəðər 6 maɪəlz tɪ riʧ maɪ ˈdeɪli ˈlɪmət. rɛd ɑr ˈfrikwɛntli æst kˈwɛsʧənz! dɪz ðə æp juz əp ə lɔt əv ˈbætəri? ðə æp həz ə ˈbætəri ˈseɪvər moʊd ðət ˈlɪmɪts ˈbætəri kənˈsəmʃən æt ðə ɪkˈspɛns əv səm ˈgipiˈɛs ˈækjərəsi. səm ˈjuzərz noʊt ðət ðɪs seɪvz əˈbaʊt 20 əv ɪts ˈbætəri ˈjusɪʤ. ˌhaʊˈɛvər, aɪ ˈpərsənəli rən ðə æp wɪˈθaʊt ðɪs ˈbætəri ˈseɪvɪŋ moʊd ənd hæv nɑt ˈnoʊtɪst ə sɪgˈnɪfɪkənt ˈdɪfərəns. ɪf ju kəmˈpɛrd ðɪs æp tɪ ðə ˈvɛri ˈfeɪməs goʊ æp, ɪt ˈjuzɪz ə mɪr ˈfrækʃən əv ðə ˈbætəri ɛz ðət æp ˈjuzɪz. mɔr kˈwɛsʧənz? rɛd ðə ˈhændi!
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if eternal youth meant swapping dna with a lobster, would you be up for it?
and no, not using “swapping dna” as a euphemism for bestial naughtiness. really asking: if you could be eternally young and internally healthy, but it meant taking out some of your dna and replacing it with that of a giant sea insect, would you?
that choice could be a real one, and sooner than you may think. the next few decades are going to see a plethora of technology that goes well beyond and viagra, and our invertebrate cousins could be key to some of the most promising cures to the disease of being old. not exactly kosher, but when you get to play god, who cares?
finally, a wrinkle cream that really works!
before we go full lobster, ease into this thing with a technology that leaves your dna alone—heck, it even go skin deep. researchers at mit have developed a polymer that sits cleanly, softly, and atop the outermost layer of your epidermis and keeps things tight, elastic, and supple as a bottom.
it appears as though the hardcore scientists behind this research, who have the polymer into a startup called olivo laboratories, set out with an aging solution in mind. other applications, like invisible, fast-applying, and bandages were forefront in their thinking, but face is way more profitable than personal health and safety.
it’s a cool product: a clear gel is applied first, then a catalyst is rubbed on after to activate the polymer. the result is a thin cohesive layer of molecules that are soft to the touch yet possess a great deal of surface strength. it can hold back wrinkles and seal gaping wounds, and is sure to be equally popular amongst aging bluebloods and those who are simply bleeding to death.
breaking in new genes
now take a journey from the surface of your skin to the nuclei of your cells and the very blueprint of the amazing creature that is you. fuck off, ms. driving the bus this time, and this field trip is brought to you by our corporate sponsor calico.
this google…er, sorry, alphabet, made major waves when it was first announced in 2013, but aside from a few press releases they been making a whole lot of news despite some serious backing and brain power. it could be because the problems tackling are huge and fundamental to the issue of aging. calico looking to be first to market with a partial fix. they want to decode the aging process so they can hack it however they want and eliminate it altogether if possible.
that’s where lobster dna from other into play. calico, and other groups like the nonprofit sens research foundation, are looking at a variety of species with naturally “negligible senescence” to see if their genetic makeup can provide a map to our own fountain of youth. leaving no stone or unturned, and though there any viable therapies or products on the horizon, research has been promising.
both organizations are completely serious about the prospect of indefinitely prolonged life and health and got some of the best minds around saying entirely possible. with any luck, soon be living in an age where the rich never die and the poor become a food source!
ushering in the age of the cellular holocaust
unity biotechnology is also taking a cellular approach to the ugly, ugly problem of getting and being old, but got a narrower focus than calico and sens. in fact, they think they might already have the key to the aging process figured out and ready to burn away, almost literally. all based on research with mice, like everything else cool that medicine ever does, but this goes further than anything ever done before.
yes, even further than that.
the gist of it is this: in mice (and in humans, preliminary research suggests), aging seems to be triggered when a handful of cells just randomly (or for reasons unknown) stop dividing but die; instead they just sort of hang around and suck up nutrients. cellular division, for those who flunked high school biology, is both how we grow and how new cells are created to replace old and damaged cells. when division stops occurring, a cell has essentially lived out its usefulness and ought to go away, but for some reason they get more stubborn as they age.
once a few cells hit this curmudgeonly, time of life, it triggers a response that induces aging and problems in other cells. if this first handful of obstinate senior cells could be routinely cleared away, unity theorizes, that could be enough to stop widespread aging throughout the body and allow ongoing cellular division to keep our steps and our skin less saggy.
this would also prevent things like arthritis, dementia, osteoporosis, and other less-important, things.
we can make it better than it was. better. stronger. liver.
but why go through all the trouble of preventing aging when so easy just to grow new parts as the old ones wear out? the thinking behind the team of researchers at wake forest university and technologies, both of which have been developing proprietary methods for printing real, working, “living” tissue.
yes, printing and biological “inks” are coming together to make organ donation, donor matching, and a things of the past. the wake forest team has printed jawbones, cartilage structures, and other tissue and organ prototypes, and claims to have printed an organic tissue that can function as a human liver. while there are still going to be years of clinical trials and regulatory hoops to jump through, these “something to look forward to” here right now, they just need to be tested and refined.
bad news for anyone hoping to sell a kidney to fund their retirement, but it makes the prospect of testicular cancer slightly less unappealing.
very slightly.
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ɪf ɪˈtərnəl juθ mɛnt sˈwɑpɪŋ ˈdiˌɛˈneɪ wɪθ ə ˈlɑbstər, wʊd ju bi əp fər ɪt? ənd noʊ, nɑt ˈjuzɪŋ dna”*” ɛz ə ˈjufəˌmɪzəm fər ˈbɛsʧəl naughtiness*. ˈrɪli ˈæskɪŋ: ɪf ju kʊd bi ɪˈtərnəli jəŋ ənd ˌɪnˈtərnəli ˈhɛlθi, bət ɪt mɛnt ˈteɪkɪŋ aʊt səm əv jʊr ˈdiˌɛˈneɪ ənd rɪˈpleɪsɪŋ ɪt wɪθ ðət əv ə ʤaɪənt si ˈɪnˌsɛkt, wʊd ju? ðət ʧɔɪs kʊd bi ə ril wən, ənd ˈsunər ðən ju meɪ θɪŋk. ðə nɛkst fju ˈdɛkeɪdz ər goʊɪŋ tɪ si ə ˈplɛθərə əv tɛkˈnɑləʤi ðət goʊz wɛl bɪɔnd ənd vaɪˈægrə, ənd ɑr ˌɪnˈvərtəˌbreɪt ˈkəzənz kʊd bi ki tɪ səm əv ðə moʊst ˈprɑməsɪŋ kjʊrz tɪ ðə dɪˈziz əv biɪŋ oʊld. nɑt ɪgˈzæktli ˈkoʊʃər, bət wɪn ju gɪt tɪ pleɪ gɑd, hu kɛrz? ˈfaɪnəli, ə ˈrɪŋkəl krim ðət ˈrɪli wərks! ˌbiˈfɔr wi goʊ fʊl ˈlɑbstər, iz ˈɪntu ðɪs θɪŋ wɪθ ə tɛkˈnɑləʤi ðət livz jʊr ˈdiˌɛˈneɪ alone—heck*, ɪt ˈivɪn goʊ skɪn dip. ˈrisərʧərz æt ˈɛˈmaɪˈti hæv dɪˈvɛləpt ə ˈpɑləmər ðət sɪts ˈklinli, ˈsɔftli, ənd əˈtɑp ðə ˈaʊtərˌmoʊst leɪər əv jʊr ˌɛpɪˈdərməs ənd kips θɪŋz taɪt, ɪˈlæstɪk, ənd ˈsəpəl ɛz ə ˈbɑtəm. ɪt əˈpɪrz ɛz ðoʊ ðə ˈhɑrdˈkɔr ˈsaɪəntɪsts bɪˈhaɪnd ðɪs ˈrisərʧ, hu hæv ðə ˈpɑləmər ˈɪntu ə ˈstɑrˌtəp kɔld ɔˈlivoʊ ˈlæbrəˌtɔriz, sɛt aʊt wɪθ ən ˈeɪʤɪŋ səˈluʃən ɪn maɪnd. ˈəðər ˌæpləˈkeɪʃənz, laɪk ˌɪnˈvɪzəbəl, fast-applying*, ənd ˈbændɪʤɪz wər ˈfɔrˌfrənt ɪn ðɛr ˈθɪŋkɪŋ, bət feɪs ɪz weɪ mɔr ˈprɑfətəbəl ðən ˈpərsɪnəl hɛlθ ənd ˈseɪfti. ə kul ˈprɑdəkt: ə klɪr ʤɛl ɪz əˈplaɪd fərst, ðɛn ə ˈkætəˌlɪst ɪz rəbd ɔn ˈæftər tɪ ˈæktəˌveɪt ðə ˈpɑləmər. ðə rɪˈzəlt ɪz ə θɪn koʊˈhisɪv leɪər əv ˈmɑləˌkjulz ðət ər sɔft tɪ ðə təʧ jɛt pəˈzɛs ə greɪt dil əv ˈsərfəs strɛŋθ. ɪt kən hoʊld bæk ˈrɪŋkəlz ənd sil ˈgeɪpɪŋ wundz, ənd ɪz ʃʊr tɪ bi ˈikwəli ˈpɑpjələr əˈməŋst ˈeɪʤɪŋ ˈbluˌblədz ənd ðoʊz hu ər ˈsɪmpli ˈblidɪŋ tɪ dɛθ. ˈbreɪkɪŋ ɪn nu ʤinz naʊ teɪk ə ˈʤərni frəm ðə ˈsərfəs əv jʊr skɪn tɪ ðə ˈnukliˌaɪ əv jʊr sɛlz ənd ðə ˈvɛri ˈbluˌprɪnt əv ðə əˈmeɪzɪŋ ˈkriʧər ðət ɪz ju. fək ɔf, mɪz. ˈdraɪvɪŋ ðə bəs ðɪs taɪm, ənd ðɪs fild trɪp ɪz brɔt tɪ ju baɪ ɑr ˈkɔrpərət ˈspɑnsər ˈkæləˌkoʊ. ðɪs google…er*, ˈsɑri, ˈælfəˌbɛt, meɪd ˈmeɪʤər weɪvz wɪn ɪt wɑz fərst əˈnaʊnst ɪn 2013 bət əˈsaɪd frəm ə fju prɛs rɪˈlisɪz ðeɪ bɪn ˈmeɪkɪŋ ə hoʊl lɔt əv nuz dɪˈspaɪt səm ˈsɪriəs ˈbækɪŋ ənd breɪn paʊər. ɪt kʊd bi bɪˈkəz ðə ˈprɑbləmz ˈtækəlɪŋ ər juʤ ənd ˌfəndəˈmɛnəl tɪ ðə ˈɪʃu əv ˈeɪʤɪŋ. ˈkæləˌkoʊ ˈlʊkɪŋ tɪ bi fərst tɪ ˈmɑrkɪt wɪθ ə ˈpɑrʃəl fɪks. ðeɪ wɔnt tɪ dɪˈkoʊd ðə ˈeɪʤɪŋ ˈprɔˌsɛs soʊ ðeɪ kən hæk ɪt ˌhaʊˈɛvər ðeɪ wɔnt ənd ɪˈlɪməˌneɪt ɪt ˌɔltəˈgɛðər ɪf ˈpɑsəbəl. wɛr ˈlɑbstər ˈdiˌɛˈneɪ frəm ˈəðər ˈɪntu pleɪ. ˈkæləˌkoʊ, ənd ˈəðər grups laɪk ðə nɑnˈprɑfət sɛnz ˈrisərʧ faʊnˈdeɪʃən, ər ˈlʊkɪŋ æt ə vərˈaɪəti əv ˈspiʃiz wɪθ ˈnæʧərəli senescence”*” tɪ si ɪf ðɛr ʤəˈnɛtɪk ˈmeɪˌkəp kən prəˈvaɪd ə mæp tɪ ɑr oʊn ˈfaʊntən əv juθ. ˈlivɪŋ noʊ stoʊn ər ənˈtərnd, ənd ðoʊ ðɛr ˈɛni ˈvaɪəbəl ˈθɛrəpiz ər ˈprɑdəkts ɔn ðə hərˈaɪzən, ˈrisərʧ həz bɪn ˈprɑməsɪŋ. boʊθ ˌɔrgənəˈzeɪʃənz ər kəmˈplitli ˈsɪriəs əˈbaʊt ðə ˈprɑspɛkt əv ˌɪnˈdɛfənətli prəˈlɔŋd laɪf ənd hɛlθ ənd gɑt səm əv ðə bɛst maɪndz əraʊnd seɪɪŋ ɪnˈtaɪərli ˈpɑsəbəl. wɪθ ˈɛni lək, sun bi ˈlɪvɪŋ ɪn ən eɪʤ wɛr ðə rɪʧ ˈnɛvər daɪ ənd ðə pur bɪˈkəm ə fud sɔrs! ˈəʃərɪŋ ɪn ðə eɪʤ əv ðə ˈsɛljələr ˈhɔləˌkɔst ˈjunɪti ˌbaɪoʊˌtɛkˈnɑləʤi ɪz ˈɔlsoʊ ˈteɪkɪŋ ə ˈsɛljələr əˈproʊʧ tɪ ðə ˈəgli, ˈəgli ˈprɑbləm əv ˈgɪtɪŋ ənd biɪŋ oʊld, bət gɑt ə ˈnɛroʊər ˈfoʊkɪs ðən ˈkæləˌkoʊ ənd sɛnz. ɪn fækt, ðeɪ θɪŋk ðeɪ maɪt ɔˈrɛdi hæv ðə ki tɪ ðə ˈeɪʤɪŋ ˈprɔˌsɛs ˈfɪgjərd aʊt ənd ˈrɛdi tɪ bərn əˈweɪ, ˈɔlˌmoʊst ˈlɪtərəli. ɔl beɪst ɔn ˈrisərʧ wɪθ maɪs, laɪk ˈɛvriˌθɪŋ ɛls kul ðət ˈmɛdəsən ˈɛvər dɪz, bət ðɪs goʊz ˈfərðər ðən ˈɛniˌθɪŋ ˈɛvər dən ˌbiˈfɔr. jɛs, ˈivɪn ˈfərðər ðən ðət. ðə ʤɪst əv ɪt ɪz ðɪs: ɪn maɪs (ənd ɪn ˈjumənz, prɪˈlɪməˌnɛri ˈrisərʧ səˈʤɛsts), ˈeɪʤɪŋ simz tɪ bi ˈtrɪgərd wɪn ə ˈhændˌfʊl əv sɛlz ʤɪst ˈrændəmli (ər fər ˈrizənz ənˈnoʊn) stɑp dɪˈvaɪdɪŋ bət daɪ; ˌɪnˈstɛd ðeɪ ʤɪst sɔrt əv hæŋ əraʊnd ənd sək əp ˈnutriənts. ˈsɛljələr dɪˈvɪʒən, fər ðoʊz hu fləŋkt haɪ skul baɪˈɑləʤi, ɪz boʊθ haʊ wi groʊ ənd haʊ nu sɛlz ər kriˈeɪtɪd tɪ ˌriˈpleɪs oʊld ənd ˈdæmɪʤd sɛlz. wɪn dɪˈvɪʒən stɑps əˈkərɪŋ, ə sɛl həz ɛˈsɛnʃəli lɪvd aʊt ɪts ˈjusfəlnəs ənd ɔt tɪ goʊ əˈweɪ, bət fər səm ˈrizən ðeɪ gɪt mɔr ˈstəbərn ɛz ðeɪ eɪʤ. wəns ə fju sɛlz hɪt ðɪs curmudgeonly*, taɪm əv laɪf, ɪt ˈtrɪgərz ə rɪˈspɑns ðət ˌɪnˈdusɪz ˈeɪʤɪŋ ənd ˈprɑbləmz ɪn ˈəðər sɛlz. ɪf ðɪs fərst ˈhændˌfʊl əv ˈɑbstənət ˈsinjər sɛlz kʊd bi ruˈtinli klɪrd əˈweɪ, ˈjunɪti ˈθiərˌaɪzɪz, ðət kʊd bi ɪˈnəf tɪ stɑp ˈwaɪdˈsprɛd ˈeɪʤɪŋ θruaʊt ðə ˈbɑdi ənd əˈlaʊ ˈɔnˌgoʊɪŋ ˈsɛljələr dɪˈvɪʒən tɪ kip ɑr stɛps ənd ɑr skɪn lɛs saggy*. ðɪs wʊd ˈɔlsoʊ prɪˈvɛnt θɪŋz laɪk ɑrθˈraɪtɪs, dɪˈmɛnʃiə, ˌɔstiˌɑpərˈoʊsɪs, ənd ˈəðər less-important*, θɪŋz. wi kən meɪk ɪt ˈbɛtər ðən ɪt wɑz. ˈbɛtər. ˈstrɔŋgər. ˈlɪvər. bət waɪ goʊ θru ɔl ðə ˈtrəbəl əv prɪˈvɛnɪŋ ˈeɪʤɪŋ wɪn soʊ ˈizi ʤɪst tɪ groʊ nu pɑrts ɛz ðə oʊld wənz wɛr aʊt? ðə ˈθɪŋkɪŋ bɪˈhaɪnd ðə tim əv ˈrisərʧərz æt weɪk ˈfɔrɪst ˌjunəˈvərsəti ənd tɛkˈnɑləʤiz, boʊθ əv wɪʧ hæv bɪn dɪˈvɛləpɪŋ prəˈpraɪəˌtɛri ˈmɛθədz fər ˈprɪnɪŋ ril, ˈwərkɪŋ, ““living”*” ˈtɪʃu. jɛs, ˈprɪnɪŋ ənd ˌbaɪəˈlɑʤɪkəl ““inks”*” ər ˈkəmɪŋ təˈgɛðər tɪ meɪk ˈɔrgən doʊˈneɪʃən, ˈdoʊnər ˈmæʧɪŋ, ənd ə θɪŋz əv ðə pæst. ðə weɪk ˈfɔrɪst tim həz ˈprɪnɪd jawbones*, ˈkɑrtəlɪʤ ˈstrəkʧərz, ənd ˈəðər ˈtɪʃu ənd ˈɔrgən ˈproʊtoʊˌtaɪps, ənd kleɪmz tɪ hæv ˈprɪnɪd ən ɔrˈgænɪk ˈtɪʃu ðət kən ˈfəŋkʃən ɛz ə ˈjumən ˈlɪvər. waɪl ðɛr ər stɪl goʊɪŋ tɪ bi jɪrz əv ˈklɪnɪkəl traɪəlz ənd ˈrɛgjələˌtɔri hups tɪ ʤəmp θru, ðiz tɪ lʊk ˈfɔrwərd to”*” hir raɪt naʊ, ðeɪ ʤɪst nid tɪ bi ˈtɛstɪd ənd rɪˈfaɪnd. bæd nuz fər ˈɛniˌwən ˈhoʊpɪŋ tɪ sɛl ə ˈkɪdni tɪ fənd ðɛr rɪˈtaɪərmənt, bət ɪt meɪks ðə ˈprɑspɛkt əv ˌtɛˈstɪkjələr ˈkænsər sˈlaɪtli lɛs ˌənəˈpilɪŋ. ˈvɛri sˈlaɪtli.
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note: to celebrate the anniversary of the apollo 13 mission, for 13 days, universe today will feature things that saved apollo discussing different turning points of the mission with nasa engineer jerry woodfill.
a hollywood movie depicts three astronauts who survive an accident in space, but their lives hang in the balance as the people in mission control at nasa work night and day to figure out a way to bring the home safely.
you probably think describing the 1995 movie, “apollo by producer ron howard, but actually this is a recap of a 1969 movie called “marooned.”
“the correlation between ‘marooned’ and actual events threatening apollo 13 is really uncanny,” said nasa engineer jerry woodfill. “people may not agree, but in my mind this movie was actually a catalyst to the rescue of apollo
“marooned” starred gregory peck as a gene flight director, david janssen as head of the astronaut office (who looked strikingly like the real chief astronaut slayton), with richard crenna, james franciscus, and gene hackman as the astronauts. like the movie “apollo “marooned” dealt with three astronauts stranded in space, but was an adaptation of a 1964 novel of the same name by author martin, and not a real-life portrayal. the novel told the story of a single astronaut in a capsule, but the movie was adapted to reflect the apollo program.
“marooned” won an oscar award for best special visual effects, but when the movie “apollo received an academy award for best screen adaptation, joked that he should have received the award for the movie in his novel a quarter century before.
woodfill recounted how back in early 1970, he heard about the movie “marooned” and that the flight directors at nasa were invited to a special screening of the film, and later, the apollo 13 crew came to a special release and public viewing of the movie.
but most of the people who worked in mission control and the mission evaluation room afford to go see the movie. the viewing was at a plush theater on richmond avenue in houston in january of 1970.
“those days i worked as a young civil servant, and “marooned” was playing at the theater on richmond avenue in houston, which was $3.50 a ticket, which was out of reach for most of us,” said woodfill. “but working for nasa we had to be clever about keeping costs down taking our wives out. we called this low-cost date, “nasa night out,” where we could go to a neighborhood theater for $1.25, plus get a coupon if you took your wife to dinner at the monterey house, and afterwards, you could get a free cup of coffee if you filled up at a local gas station. we had to be innovative in those days!”
“marooned” made it to the $1.25-a-seat theater by the week of apollo rescue, and several nasa employees went to see it, including colleague and electrical engineer art campos, who is now deceased.
“art was a wonderful electrical engineer, a graduate of the university of texas in austin,” woodfill recalled, “as an engineer hailing from a hispanic family, he often encouraged those in his culture to pursue technical fields. art was also my mentor with regard to the electrical power system for the lunar lander. i often consulted him about caution and warning issues with regard to his lunar module electrical power system. he served as its system manager.”
campos went to see “marooned” the evening of april 13, 1970, and later told woodfill he was thinking about the movie as he returned home and went to sleep, and wondered about a problem faced by the astronaut actors regarding the emergency batteries, which had been depleted.
“in the movie, charging the batteries was the instruction to fix the problem,” said woodfill, “and art said he wondered, ‘what if we faced such dire problems?’ and other ‘what-ifs.’”
just a couple of hours later, campos was awakened by a phone call informing him that the apollo 13 spacecraft had suffered an accident, and that he needed to come in immediately to work on a way to get power to the emergency batteries in the command module, required for reentry.
“the crew had to use the emergency batteries in the command module to have time to transfer the guidance parameters to the lunar module computer,” said woodfill, “and there may not have been enough power in them for when the crew returned to earth. as art was driving to building 45 at the manned spacecraft center, where the mission evaluation room (mer) was housed, he recalled the movie, where they said ‘charge the batteries’ and then remembered a procedure he devised about a year earlier, a way to charge depleted emergency batteries by using a jumper charge between the two vehicles, because the lunar lander batteries are huge and would have ample power.”
woodfill said campos starting writing out the procedure while he and others in the mer rolled out drawings and schematics for the electrical systems on the two vehicles showing all the connectors and harness wiring. they finally found a small wire running between the two vehicles. it had been designed into the vehicles years ago to heat some components in the lander during the coast phase to the moon until the lander is powered up.”
“they found the wire, but they know if the procedure would work,” said woodfill, who sat next to the electrical engineers in the mer working this problem,” because there is a trickle charge and you have to set switches and the circuit breakers just the right way. they tried it out in the simulators, because there was a concern that current would flow the wrong way.”
and in fact, woodfill said, in the simulators, it work. the computer in the simulator refused to allow the procedure, but nevertheless, there was no other alternative. so, they tried it in space and it actually worked to the batteries in the command module.
“i really think “marooned” was the catalyst for art remembering this wire,” said woodfill, although never know for sure.
video clip from nasa footage. art campos is among the engineers shown in the mer.
woodfill also listed several other similarities between “marooned” and the real-life drama of apollo 13:
• the use of simulators is almost identical to that which apollo ground team used in the course of the rescue.
• gregory character announces, “every resource of nasa and our industrial contractors is being used to the fullest extent,” similar to what was done during the real apollo 13 drama.
• press conferences in the movie were similar to those conducted by chris kraft for the apollo 13 media coverage.
• the “marooned” crew wrongly thinks they may have suffered a meteor strike as did the crew of apollo 13.
• a hurricane threatens the rescue as was the case with apollo 13. even the weathermen wrongly predict its course as did the apollo 13 meteorologists.
• commanders of both “marooned” and apollo 13 are named jim.
• the threat of running out is dealt with in the same fashion as apollo 13 with severe conservation measures being utilized.
• the medics in “marooned” express concern for the sleep deprivation as did apollo doctors.
• the “marooned” crew is told to shut down fuel cells 2 and 3, using only fuel cell 1. this is what the apollo 13 flight controllers experienced as a result of the oxygen tank explosion, two fuel cells shut down with only one sustaining power, until it, too, was lost.
but perhaps, said woodfill, the most notable of “maroon’s” correlations with the apollo 13 rescue had to do with those reentry batteries discussed above, and this earlier article in the things that saved apollo series. the batteries were used during the time the ground team was confused about the source of apollo explosion. this severely depleted them, and without enough power to the command module, reentry could be fatal. these batteries normally were to be used only during the final hours to power the reentry capsule.
woodfill said that apollo john aaron commented recently at an apollo 13 anniversary event at johnson space center that he has reflected on how he allocated power from the those batteries to various system managers. he had refused a request for 2 from a official wanting power for to light a rescue beacon to locate the crew capsule in the ocean.
aaron commented, “thankfully, the was in sight of the carrier and no beacon was needed to find lovell and crew.“ but, he granted, “what if the landing had not been so accurate?” and woodfill, likewise wonders, “what if apollo 13 had landed in the seas of tropical storm helen?”
indeed, campos’ contribution was huge, and woodfill believes the procedure to recharge the batteries saved apollo 13.
next: part 12: the lunar orbit rendezvous plan
earlier articles from the things that saved apollo series:
introduction
part 1: timing
part 2: the hatch that close
part 3: charlie measles
part 4: using the for propulsion
part 5: unexplained shutdown of the saturn v center engine
part 6: navigating by terminator
part 7: the apollo 1 fire
part 8: the command module severed
part 9: position of the tanks
part 10: duct tape
part 11: a hollywood movie
part 12: lunar orbit rendezvous
part 13: the mission operations team
also:
your questions about apollo 13 answered by jerry woodfill (part 1)
more reader questions about apollo 13 answered by jerry woodfill (part 2)
final round of apollo 13 questions answered by jerry woodfill (part 3)
never before published images of apollo recovery
listen to an interview of jerry woodfill on the 365 days of astronomy podcast.
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[/ˈkæpʃən] noʊt: tɪ ˈsɛləˌbreɪt ðə ˌænəˈvərsəri əv ðə əˈpɑloʊ 13 ˈmɪʃən, fər 13 deɪz, ˈjunəˌvərs təˈdeɪ wɪl ˈfiʧər θɪŋz ðət seɪvd əˈpɑloʊ dɪˈskəsɪŋ ˈdɪfərənt ˈtərnɪŋ pɔɪnts əv ðə ˈmɪʃən wɪθ ˈnæsə ˈɛnʤəˈnɪr ˈʤɛri ˈwʊdˌfɪl. ə ˈhɑliˌwʊd ˈmuvi dɪˈpɪkts θri ˈæstrəˌnɔts hu sərˈvaɪv ən ˈæksədənt ɪn speɪs, bət ðɛr lɪvz hæŋ ɪn ðə ˈbæləns ɛz ðə ˈpipəl ɪn ˈmɪʃən kənˈtroʊl æt ˈnæsə wərk naɪt ənd deɪ tɪ ˈfɪgjər aʊt ə weɪ tɪ brɪŋ ðə hoʊm ˈseɪfli. ju ˈprɑbəˌbli θɪŋk dɪˈskraɪbɪŋ ðə 1995 ˈmuvi, baɪ prəˈdusər rɑn haʊərd, bət ˈæˌkʧuəli ðɪs ɪz ə ˈriˌkæp əv ə 1969 ˈmuvi kɔld ““marooned.”*.” ˌkɔrəˈleɪʃən bɪtˈwin ‘‘marooned’*’ ənd ˈækʧəwəl ɪˈvɛnts θˈrɛtənɪŋ əˈpɑloʊ 13 ɪz ˈrɪli uncanny,”*,” sɛd ˈnæsə ˈɛnʤəˈnɪr ˈʤɛri ˈwʊdˌfɪl. meɪ nɑt əˈgri, bət ɪn maɪ maɪnd ðɪs ˈmuvi wɑz ˈæˌkʧuəli ə ˈkætəˌlɪst tɪ ðə ˈrɛskju əv əˈpɑloʊ ““marooned”*” stɑrd ˈgrɛgəri pɛk ɛz ə ʤin flaɪt dɪˈrɛktər, ˈdeɪvɪd ˈʤænsən ɛz hɛd əv ðə ˈæstrəˌnɑt ˈɔfəs (hu lʊkt ˈstraɪkɪŋli laɪk ðə ril ʧif ˈæstrəˌnɑt sˈleɪtən), wɪθ ˈrɪʧərd crenna*, ʤeɪmz franciscus*, ənd ʤin ˈhækˌmæn ɛz ðə ˈæstrəˌnɔts. laɪk ðə ˈmuvi ““marooned”*” dɛlt wɪθ θri ˈæstrəˌnɔts ˈstrændɪd ɪn speɪs, bət wɑz ən ˌædəpˈteɪʃən əv ə 1964 ˈnɑvəl əv ðə seɪm neɪm baɪ ˈɔθər ˈmɑrtɪn, ənd nɑt ə ˈriˌllaɪf pɔrˈtreɪəl. ðə ˈnɑvəl toʊld ðə ˈstɔri əv ə ˈsɪŋgəl ˈæstrəˌnɑt ɪn ə ˈkæpsəl, bət ðə ˈmuvi wɑz əˈdæptɪd tɪ rɪˈflɛkt ðə əˈpɑloʊ ˈproʊˌgræm. ““marooned”*” wən ən ˈɔskər əˈwɔrd fər bɛst ˈspɛʃəl ˈvɪʒəwəl ˈifɛkts, bət wɪn ðə ˈmuvi rɪˈsivd ən əˈkædəmi əˈwɔrd fər bɛst skrin ˌædəpˈteɪʃən, ʤoʊkt ðət hi ʃʊd hæv rɪˈsivd ðə əˈwɔrd fər ðə ˈmuvi ɪn hɪz ˈnɑvəl ə kˈwɔrtər ˈsɛnʧəri ˌbiˈfɔr. ˈwʊdˌfɪl ˌriˈkaʊntɪd haʊ bæk ɪn ˈərli 1970 hi hərd əˈbaʊt ðə ˈmuvi ““marooned”*” ənd ðət ðə flaɪt dɪˈrɛktərz æt ˈnæsə wər ˌɪnˈvaɪtɪd tɪ ə ˈspɛʃəl ˈskrinɪŋ əv ðə fɪlm, ənd ˈleɪtər, ðə əˈpɑloʊ 13 kru keɪm tɪ ə ˈspɛʃəl riˈlis ənd ˈpəblɪk vjuɪŋ əv ðə ˈmuvi. bət moʊst əv ðə ˈpipəl hu wərkt ɪn ˈmɪʃən kənˈtroʊl ənd ðə ˈmɪʃən ɪˌvæljuˈeɪʃən rum əˈfɔrd tɪ goʊ si ðə ˈmuvi. ðə vjuɪŋ wɑz æt ə pləʃ ˈθieɪtər ɔn ˈrɪʧmənd ˈævəˌnu ɪn ˈhjustən ɪn ˈʤænjuˌɛri əv 1970 deɪz aɪ wərkt ɛz ə jəŋ ˈsɪvəl ˈsərvənt, ənd ““marooned”*” wɑz pleɪɪŋ æt ðə ˈθieɪtər ɔn ˈrɪʧmənd ˈævəˌnu ɪn ˈhjustən, wɪʧ wɑz ə ˈtɪkɪt, wɪʧ wɑz aʊt əv riʧ fər moʊst əv us,”*,” sɛd ˈwʊdˌfɪl. ˈwərkɪŋ fər ˈnæsə wi hæd tɪ bi ˈklɛvər əˈbaʊt ˈkipɪŋ kɔsts daʊn ˈteɪkɪŋ ɑr waɪvz aʊt. wi kɔld ðɪs ˌloʊˈkɔst deɪt, naɪt out,”*,” wɛr wi kʊd goʊ tɪ ə ˈneɪbərˌhʊd ˈθieɪtər fər pləs gɪt ə ˈkuˌpɔn ɪf ju tʊk jʊr waɪf tɪ ˈdɪnər æt ðə ˌmɑntəˈreɪ haʊs, ənd ˈæftərwərdz, ju kʊd gɪt ə fri kəp əv ˈkɔfi ɪf ju fɪld əp æt ə ˈloʊkəl gæs ˈsteɪʃən. wi hæd tɪ bi ˈɪnəˌveɪtɪv ɪn ðoʊz days!”*!” ““marooned”*” meɪd ɪt tɪ ðə ˈθieɪtər baɪ ðə wik əv əˈpɑloʊ ˈrɛskju, ənd ˈsɛvərəl ˈnæsə ɪmˈplɔɪiz wɛnt tɪ si ɪt, ˌɪnˈkludɪŋ ˈkɑlig ənd ɪˈlɛktrɪkəl ˈɛnʤəˈnɪr ɑrt ˈkæmpoʊz, hu ɪz naʊ dɪˈsist. wɑz ə ˈwəndərfəl ɪˈlɛktrɪkəl ˈɛnʤəˈnɪr, ə ˈgræʤəˌweɪt əv ðə ˌjunəˈvərsəti əv ˈtɛksəs ɪn austin,”*,” ˈwʊdˌfɪl rɪˈkɔld, ən ˈɛnʤəˈnɪr ˈheɪlɪŋ frəm ə hɪˈspænɪk ˈfæməli, hi ˈɔfən ɪnˈkərəʤd ðoʊz ɪn hɪz ˈkəlʧər tɪ pərˈsu ˈtɛknɪkəl fildz. ɑrt wɑz ˈɔlsoʊ maɪ ˈmɛnˌtɔr wɪθ rɪˈgɑrd tɪ ðə ɪˈlɛktrɪkəl paʊər ˈsɪstəm fər ðə ˈlunər ˈlændər. aɪ ˈɔfən kənˈsəltɪd ɪm əˈbaʊt ˈkɔʃən ənd ˈwɔrnɪŋ ˈɪʃuz wɪθ rɪˈgɑrd tɪ hɪz ˈlunər ˈmɑʤul ɪˈlɛktrɪkəl paʊər ˈsɪstəm. hi sərvd ɛz ɪts ˈsɪstəm manager.”*.” ˈkæmpoʊz wɛnt tɪ si ““marooned”*” ðə ˈivnɪŋ əv ˈeɪprəl 13 1970 ənd ˈleɪtər toʊld ˈwʊdˌfɪl hi wɑz ˈθɪŋkɪŋ əˈbaʊt ðə ˈmuvi ɛz hi rɪˈtərnd hoʊm ənd wɛnt tɪ slip, ənd ˈwəndərd əˈbaʊt ə ˈprɑbləm feɪst baɪ ðə ˈæstrəˌnɑt ˈæktərz rɪˈgɑrdɪŋ ðə ˈimərʤənsi ˈbætəriz, wɪʧ hæd bɪn dɪˈplitɪd. ðə ˈmuvi, ˈʧɑrʤɪŋ ðə ˈbætəriz wɑz ðə ˌɪnˈstrəkʃən tɪ fɪks ðə problem,”*,” sɛd ˈwʊdˌfɪl, ɑrt sɛd hi ˈwəndərd, ɪf wi feɪst səʧ daɪər problems?’*?’ ənd ˈəðər ‘‘what-ifs.’”*.’” ʤɪst ə ˈkəpəl əv aʊərz ˈleɪtər, ˈkæmpoʊz wɑz əˈweɪkənd baɪ ə foʊn kɔl ˌɪnˈfɔrmɪŋ ɪm ðət ðə əˈpɑloʊ 13 ˈspeɪˌskræft hæd ˈsəfərd ən ˈæksədənt, ənd ðət hi ˈnidɪd tɪ kəm ɪn ˌɪˈmiˌdiətli tɪ wərk ɔn ə weɪ tɪ gɪt paʊər tɪ ðə ˈimərʤənsi ˈbætəriz ɪn ðə kəˈmænd ˈmɑʤul, rikˈwaɪərd fər riˈɪntri. kru hæd tɪ juz ðə ˈimərʤənsi ˈbætəriz ɪn ðə kəˈmænd ˈmɑʤul tɪ hæv taɪm tɪ ˈtrænsfər ðə ˈgaɪdəns pərˈæmətərz tɪ ðə ˈlunər ˈmɑʤul computer,”*,” sɛd ˈwʊdˌfɪl, ðɛr meɪ nɑt hæv bɪn ɪˈnəf paʊər ɪn ðɛm fər wɪn ðə kru rɪˈtərnd tɪ ərθ. ɛz ɑrt wɑz ˈdraɪvɪŋ tɪ ˈbɪldɪŋ 45 æt ðə mænd ˈspeɪˌskræft ˈsɛnər, wɛr ðə ˈmɪʃən ɪˌvæljuˈeɪʃən rum (mɛr) wɑz haʊzd, hi rɪˈkɔld ðə ˈmuvi, wɛr ðeɪ sɛd ðə batteries’*’ ənd ðɛn rɪˈmɛmbərd ə prəˈsiʤər hi dɪˈvaɪzd əˈbaʊt ə jɪr ˈərliər, ə weɪ tɪ ʧɑrʤ dɪˈplitɪd ˈimərʤənsi ˈbætəriz baɪ ˈjuzɪŋ ə ˈʤəmpər ʧɑrʤ bɪtˈwin ðə tu ˈviɪkəlz, bɪˈkəz ðə ˈlunər ˈlændər ˈbætəriz ər juʤ ənd wʊd hæv ˈæmpəl power.”*.” ˈwʊdˌfɪl sɛd ˈkæmpoʊz ˈstɑrtɪŋ ˈraɪtɪŋ aʊt ðə prəˈsiʤər waɪl hi ənd ˈəðərz ɪn ðə mɛr roʊld aʊt drɔɪŋz ənd skɪˈmætɪks fər ðə ɪˈlɛktrɪkəl ˈsɪstəmz ɔn ðə tu ˈviɪkəlz ʃoʊɪŋ ɔl ðə kəˈnɛktərz ənd ˈhɑrnɪs ˈwaɪrɪŋ. ðeɪ ˈfaɪnəli faʊnd ə smɔl waɪər ˈrənɪŋ bɪtˈwin ðə tu ˈviɪkəlz. ɪt hæd bɪn dɪˈzaɪnd ˈɪntu ðə ˈviɪkəlz jɪrz əˈgoʊ tɪ hit səm kəmˈpoʊnənts ɪn ðə ˈlændər ˈdʊrɪŋ ðə koʊst feɪz tɪ ðə mun ənˈtɪl ðə ˈlændər ɪz paʊərd up.”*.” faʊnd ðə waɪər, bət ðeɪ noʊ ɪf ðə prəˈsiʤər wʊd work,”*,” sɛd ˈwʊdˌfɪl, hu sæt nɛkst tɪ ðə ɪˈlɛktrɪkəl ˈɛnʤəˈnɪrz ɪn ðə mɛr ˈwərkɪŋ ðɪs problem,”*,” bɪˈkəz ðɛr ɪz ə ˈtrɪkəl ʧɑrʤ ənd ju hæv tɪ sɛt sˈwɪʧɪz ənd ðə ˈsərkət ˈbreɪkərz ʤɪst ðə raɪt weɪ. ðeɪ traɪd ɪt aʊt ɪn ðə ˈsɪmjəˌleɪtərz, bɪˈkəz ðɛr wɑz ə kənˈsərn ðət ˈkɑrənt wʊd floʊ ðə rɔŋ way.”*.” ənd ɪn fækt, ˈwʊdˌfɪl sɛd, ɪn ðə ˈsɪmjəˌleɪtərz, ɪt wərk. ðə kəmˈpjutər ɪn ðə ˈsɪmjəˌleɪtər rɪfˈjuzd tɪ əˈlaʊ ðə prəˈsiʤər, bət ˌnɛvərðəˈlɛs, ðɛr wɑz noʊ ˈəðər ɔlˈtərnətɪv. soʊ, ðeɪ traɪd ɪt ɪn speɪs ənd ɪt ˈæˌkʧuəli wərkt tɪ ðə ˈbætəriz ɪn ðə kəˈmænd ˈmɑʤul. ˈrɪli θɪŋk ““marooned”*” wɑz ðə ˈkætəˌlɪst fər ɑrt rɪˈmɛmbərɪŋ ðɪs wire,”*,” sɛd ˈwʊdˌfɪl, ˌɔlˈðoʊ ˈnɛvər noʊ fər ʃʊr. ˈvɪdioʊ klɪp frəm ˈnæsə ˈfʊtɪʤ. ɑrt ˈkæmpoʊz ɪz əˈməŋ ðə ˈɛnʤəˈnɪrz ʃoʊn ɪn ðə mɛr. ˈwʊdˌfɪl ˈɔlsoʊ ˈlɪstɪd ˈsɛvərəl ˈəðər ˌsɪməˈlɛrətiz bɪtˈwin ““marooned”*” ənd ðə ˈriˌllaɪf ˈdrɑmə əv əˈpɑloʊ 13 ðə juz əv ˈsɪmjəˌleɪtərz ɪz ˈɔlˌmoʊst aɪˈdɛntɪkəl tɪ ðət wɪʧ əˈpɑloʊ graʊnd tim juzd ɪn ðə kɔrs əv ðə ˈrɛskju. ˈgrɛgəri ˈkɛrɪktər əˈnaʊnsɪz, ˈrisɔrs əv ˈnæsə ənd ɑr ˌɪnˈdəstriəl ˈkɑnˌtræktərz ɪz biɪŋ juzd tɪ ðə ˈfʊləst extent,”*,” ˈsɪmələr tɪ wət wɑz dən ˈdʊrɪŋ ðə ril əˈpɑloʊ 13 ˈdrɑmə. prɛs ˈkɑnfərənsəz ɪn ðə ˈmuvi wər ˈsɪmələr tɪ ðoʊz kənˈdəktəd baɪ krɪs kræft fər ðə əˈpɑloʊ 13 ˈmidiə ˈkəvərɪʤ. ðə ““marooned”*” kru ˈrɔŋli θɪŋks ðeɪ meɪ hæv ˈsəfərd ə ˈmitiər straɪk ɛz dɪd ðə kru əv əˈpɑloʊ 13 ə ˈhərəˌkeɪnz θˈrɛtənz ðə ˈrɛskju ɛz wɑz ðə keɪs wɪθ əˈpɑloʊ 13 ˈivɪn ðə ˈwɛðərˌmɛn ˈrɔŋli prɪˈdɪkt ɪts kɔrs ɛz dɪd ðə əˈpɑloʊ 13 ˌmitiərˈɑləʤɪsts. kəˈmændərz əv boʊθ ““marooned”*” ənd əˈpɑloʊ 13 ər neɪmd ʤɪm. ðə θrɛt əv ˈrənɪŋ aʊt ɪz dɛlt wɪθ ɪn ðə seɪm ˈfæʃən ɛz əˈpɑloʊ 13 wɪθ səˈvɪr ˌkɑnsərˈveɪʃən ˈmɛʒərz biɪŋ ˈjutəˌlaɪzd. ðə ˈmɛdɪks ɪn ““marooned”*” ɪkˈsprɛs kənˈsərn fər ðə slip ˌdɛprəˈveɪʃən ɛz dɪd əˈpɑloʊ ˈdɑktərz. ðə ““marooned”*” kru ɪz toʊld tɪ ʃət daʊn fjuəl sɛlz 2 ənd 3 ˈjuzɪŋ ˈoʊnli fjuəl sɛl 1 ðɪs ɪz wət ðə əˈpɑloʊ 13 flaɪt kənˈtroʊlərz ɪkˈspɪriənst ɛz ə rɪˈzəlt əv ðə ˈɑksɪʤən tæŋk ɪkˈsploʊʒən, tu fjuəl sɛlz ʃət daʊn wɪθ ˈoʊnli wən səˈsteɪnɪŋ paʊər, ənˈtɪl ɪt, tu, wɑz lɔst. bət pərˈhæps, sɛd ˈwʊdˌfɪl, ðə moʊst ˈnoʊtəbəl əv ““maroon’s”*” ˌkɔrəˈleɪʃənz wɪθ ðə əˈpɑloʊ 13 ˈrɛskju hæd tɪ du wɪθ ðoʊz riˈɪntri ˈbætəriz dɪˈskəst əˈbəv, ənd ðɪs ˈərliər ˈɑrtɪkəl ɪn ðə θɪŋz ðət seɪvd əˈpɑloʊ ˈsɪriz. ðə ˈbætəriz wər juzd ˈdʊrɪŋ ðə taɪm ðə graʊnd tim wɑz kənfˈjuzd əˈbaʊt ðə sɔrs əv əˈpɑloʊ ɪkˈsploʊʒən. ðɪs səˈvɪrli dɪˈplitɪd ðɛm, ənd wɪˈθaʊt ɪˈnəf paʊər tɪ ðə kəˈmænd ˈmɑʤul, riˈɪntri kʊd bi ˈfeɪtəl. ðiz ˈbætəriz ˈnɔrməli wər tɪ bi juzd ˈoʊnli ˈdʊrɪŋ ðə ˈfaɪnəl aʊərz tɪ paʊər ðə riˈɪntri ˈkæpsəl. ˈwʊdˌfɪl sɛd ðət əˈpɑloʊ ʤɑn ˈɛrən ˈkɑmɛntəd ˈrisəntli æt ən əˈpɑloʊ 13 ˌænəˈvərsəri ɪˈvɛnt æt ˈʤɑnsən speɪs ˈsɛnər ðət hi həz rɪˈflɛktɪd ɔn haʊ hi ˈæləˌkeɪtɪd paʊər frəm ðə ðoʊz ˈbætəriz tɪ ˈvɛriəs ˈsɪstəm ˈmænɪʤərz. hi hæd rɪfˈjuzd ə rɪkˈwɛst fər 2 frəm ə əˈfɪʃəl ˈwɑnɪŋ paʊər fər tɪ laɪt ə ˈrɛskju ˈbikən tɪ ˈloʊˌkeɪt ðə kru ˈkæpsəl ɪn ðə ˈoʊʃən. ˈɛrən ˈkɑmɛntəd, ““thankfully*, ðə wɑz ɪn saɪt əv ðə ˈkɛriər ənd noʊ ˈbikən wɑz ˈnidɪd tɪ faɪnd ˈləvəl ənd crew.“*.“ bət, hi ˈgrænɪd, ɪf ðə ˈlændɪŋ hæd nɑt bɪn soʊ accurate?”*?” ənd ˈwʊdˌfɪl, ˈlaɪkˌwaɪz ˈwəndərz, ɪf əˈpɑloʊ 13 hæd ˈlændɪd ɪn ðə siz əv ˈtrɑpɪkəl stɔrm helen?”*?” ˌɪnˈdid, campos’*’ ˌkɑntrəˈbjuʃən wɑz juʤ, ənd ˈwʊdˌfɪl bɪˈlivz ðə prəˈsiʤər tɪ riˈʧɑrʤ ðə ˈbætəriz seɪvd əˈpɑloʊ 13 nɛkst: pɑrt 12 ðə ˈlunər ˈɔrbət ˈrɑndɪˌvu plæn ˈərliər ˈɑrtɪkəlz frəm ðə θɪŋz ðət seɪvd əˈpɑloʊ ˈsɪriz: ˌɪntrəˈdəkʃən pɑrt 1 ˈtaɪmɪŋ pɑrt 2 ðə hæʧ ðət kloʊz pɑrt 3 ˈʧɑrli ˈmizəlz pɑrt 4 ˈjuzɪŋ ðə fər prəˈpəlʃən pɑrt 5 ˌənɪkˈspleɪnd ˈʃətˌdaʊn əv ðə ˈsætərn vi ˈsɛnər ˈɪnʤən pɑrt 6 ˈnævəˌgeɪtɪŋ baɪ ˈtərməˌneɪtər pɑrt 7 ðə əˈpɑloʊ 1 faɪər pɑrt 8 ðə kəˈmænd ˈmɑʤul ˈsɛvərd pɑrt 9 pəˈzɪʃən əv ðə tæŋks pɑrt 10 dəkt teɪp pɑrt 11 ə ˈhɑliˌwʊd ˈmuvi pɑrt 12 ˈlunər ˈɔrbət ˈrɑndɪˌvu pɑrt 13 ðə ˈmɪʃən ˌɑpərˈeɪʃənz tim ˈɔlsoʊ: jʊr kˈwɛsʧənz əˈbaʊt əˈpɑloʊ 13 ˈænsərd baɪ ˈʤɛri ˈwʊdˌfɪl (pɑrt 1 mɔr ˈridər kˈwɛsʧənz əˈbaʊt əˈpɑloʊ 13 ˈænsərd baɪ ˈʤɛri ˈwʊdˌfɪl (pɑrt 2 ˈfaɪnəl raʊnd əv əˈpɑloʊ 13 kˈwɛsʧənz ˈænsərd baɪ ˈʤɛri ˈwʊdˌfɪl (pɑrt 3 ˈnɛvər ˌbiˈfɔr ˈpəblɪʃt ˈɪmɪʤɪz əv əˈpɑloʊ rɪˈkəvəri ˈlɪsən tɪ ən ˈɪntərvˌju əv ˈʤɛri ˈwʊdˌfɪl ɔn ðə 365 deɪz əv əˈstrɑnəmi ˈpɔdˌkæst.
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this year, apple has launched almost -- but not quite -- identical handsets apart from the screen size. we've already evaluated apple's new iphone 6 , and now it's the turn of the larger iphone 6 plus. in 2013, by contrast, we got the premium iphone and the more affordable iphone 5c, both with displays and both still available (you can compare all iphone models at apple's website).
the iphone 6 plus is the biggest phone apple has ever made. it's also the most expensive, the version costing an (inc. vat, ex. vat) sim free. three sent us the version, which it is selling from a month with a upfront cost. this model costs (inc. vat, ex. vat) from apple.
image: apple
design
time was when apple would have dismissed the idea of a handset. then again, this reviewer once thought a screen was pushing the boundaries. times and user requirements have changed, and the appearance of a screen in an iphone is no surprise. nor is the fact that apple has presented it in a design.
the physical design is the same as that of the smaller iphone 6. button placement is identical with the power button on the right, volume buttons and mute switch on the left. the headset and proprietary lightning connector are on the bottom edge, along with the single speaker.
large top and bottom screen are a characteristic of apple's handsets, but this makes for a tall phone in the case of the iphone 6 plus. compare its height to for the sony , or just for the . the plus side of the large screen is the ease with which you can hold the handset in landscape mode for video watching or gaming, although you do need to take care not to cover the speaker in this orientation.
sound quality from the single speaker is noticeably better than from the smaller iphone 6 -- indeed it's among the best we've heard. having said that, stereo speakers might deliver an even better audio experience.
the screen occupies an glass front that curves down to meet the aluminium edges. these in turn curve into the back of the phone, whose metal expanse is broken by plastic antenna strips, plus the camera lens and led flash unit.
the camera lens slightly, which means that when the handset is flat on a desk it rocks from side to side as you tap the screen in a way we found quite annoying.
there's nothing apple could have done about this apart from increase the thickness of the handset, which is not something we'd have liked to see. the chassis is one of the iphone 6 plus's remarkable design features.
the thin profile means that even at wide and tall the iphone 6 plus feels comfortable in the hand. it has to be said, though, that smaller hands simply won't be able to reach across the screen. apple has a wheeze to help out in the shape of its 'reachability' feature, which also appears in the iphone 6: make two taps on the home button and the screen falls towards the bottom of the handset.
image: sandra
this feels somewhat unwieldy, leaving an empty space at the top of the phone, but means you might just be able to reach the notifications area. i still couldn't stretch across the width of the phone, though. the most elegant and ergonomic solution for operation on a large screen remains samsung's system used in the galaxy.
tales of bent iphone 6 plus handsets led us to apply quite severe pressure on the handset to see if it would bend. we found the aluminium chassis to be pretty tough: it's undoubtedly possible to bend the phone in your hands, but you'd have to apply a lot of force. in short, we didn't find the iphone 6 plus particularly vulnerable or poorly made in comparison to other smartphones.
features
there's plenty of processing power behind the iphone 6 plus, which, like the smaller iphone 6, uses the new apple running at. the main processor is accompanied by a motion coprocessor, in this case the new, that processing relating to sensor data (accelerometer, compass, gyroscope and barometer) for improved power efficiency. the iphone 6 plus, like its smaller sibling, comes with of ram.
internal storage is capped thanks to apple's policy of not providing a card slot. three sent us the model, which had of free capacity. there's no version: your other choices are either (likely to leave you with around free), or the most expensive model. you also get of free online storage with your account, which you can upgrade to 20gb, or for a monthly fee (see apple's website for prices).
as with the iphone 6, touch id fingerprint recognition worked flawlessly, although i found it impossible to when holding the phone.
dual-band wi-fi is supported, along with bluetooth le and mobile broadband -- now with expanded coverage of 20 frequency bands. is also present, but disappointingly it's currently redundant as far as users are concerned: it's configured solely for apple pay, which is only available in the us at present.
the iphone 6 plus's roster of sensors now includes a barometer, which can be used to gather data as part of its assault on the health and wellness sector. there's an ios 8 health app too, which can aggregate relevant information from a number of sources.
the main camera offers good speed (thanks to a new sensor with additional focus pixels), panoramas, a video mode, video at and video at up to 240fps. the camera, meanwhile, gets improved face detection, a burst mode andr video. optical image when shooting video is supported on the iphone 6 plus, but absent from its smaller sibling.
image: sandra
meanwhile, apple has taken advantage of the larger screen size to offer some additional keyboard features in landscape mode. cut, copy and paste tools, full-stop, comma, cursor movement, question mark and explanation mark all make an appearance and can speed up typing. sadly, though, there's no dedicated number row. however, ios 8 does support keyboards for the first time, so you can experiment with alternatives such as or swype.
the screen has a resolution of by pixels, giving a pixel density of 401ppi. apple calls this 'retina'. you can find higher resolutions -- the , for example, delivers by pixels for a pixel density of 534ppi. still, the screen on the iphone 6 plus is superbly sharp and bright, with great viewing angles. if you find text a little small, you can opt to permanently zoom the display, a feature also supported on the iphone 6.
performance & battery life
like the iphone 6, the iphone 6 plus is powered by the apple with of ram. we ran a number of benchmarks on the iphone, 6 and 6 plus -- and also, for comparison, on a high-end android phone, samsung's galaxy .
the 3 test examines integer, and memory performance, in and modes:
the test evaluates javascript performance:
the benchmark examines several subsystems -- (user experience), ram,, and i/o:
although it's unwise to read too much into mobile benchmarks, these results do indicate that the-powered iphone 6 plus (and iphone 6) delivers an incremental speed improvement over the iphone, and that it can more than hold its own against high-end android handsets in terms of performance.
we found battery life on the iphone 6 something of a disappointment, but the opposite is true for its larger sibling. during the test period, the iphone 6 plus's battery kept us going happily for two days, and we think apple has done a good job of balancing thinness with battery capacity.
the official battery life claims for the iphone 6 plus (with those for the iphone 6 in parentheses), are: 24 hours of talk (14h); 16 days on standby (10 days); 12 hours of internet use on, and wi-fi (10h on and, on wi-fi); 80 hours of audio playback (50h); and 14 hours of video playback (11h).
conclusion
while there's lots to like about the iphone 6 plus, we also have some grumbles. the speaker grille is easily covered by the hand, for instance, while apple's 'reachability' method for accessing the large screen feels like a bit of a fudge. we also still hanker for storage expansion, and the price is high.
still, the iphone 6 plus delivers better battery life and audio quality than the smaller iphone 6, along with superb design and solid build quality. if money were no object, we'd choose the model over its sibling.
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ðɪs jɪr, ˈæpəl həz lɔnʧt ˈɔlˌmoʊst bət nɑt kwaɪt aɪˈdɛntɪkəl ˈhændˌsɛts əˈpɑrt frəm ðə skrin saɪz. wiv ɔˈrɛdi ɪˈvæljuˌeɪtəd ˈæpəlz nu ˈaɪˌfoʊn 6 ənd naʊ ɪts ðə tərn əv ðə ˈlɑrʤər ˈaɪˌfoʊn 6 pləs. ɪn 2013 baɪ ˈkɑntræst, wi gɑt ðə ˈprimiəm ˈaɪˌfoʊn ənd ðə mɔr əˈfɔrdəbəl ˈaɪˌfoʊn 5c*, boʊθ wɪθ dɪˈspleɪz ənd boʊθ stɪl əˈveɪləbəl (ju kən kəmˈpɛr ɔl ˈaɪˌfoʊn ˈmɑdəlz æt ˈæpəlz ˈwɛbˌsaɪt). ðə ˈaɪˌfoʊn 6 pləs ɪz ðə ˈbɪgəst foʊn ˈæpəl həz ˈɛvər meɪd. ɪts ˈɔlsoʊ ðə moʊst ɪkˈspɛnsɪv, ðə ˈvərʒən ˈkɔstɪŋ ən (ɪŋk. væt, ɛks. væt) sɪm fri. θri sɛnt ˈjuˈɛs ðə ˈvərʒən, wɪʧ ɪt ɪz ˈsɛlɪŋ frəm ə mənθ wɪθ ə ˈəpˌfrənt kɔst. ðɪs ˈmɑdəl kɔsts (ɪŋk. væt, ɛks. væt) frəm ˈæpəl. ˈɪmɪʤ: ˈæpəl dɪˈzaɪn taɪm wɑz wɪn ˈæpəl wʊd hæv dɪsˈmɪst ðə aɪˈdiə əv ə ˈhændˌsɛt. ðɛn əˈgɛn, ðɪs rivˈjuər wəns θɔt ə skrin wɑz ˈpʊʃɪŋ ðə ˈbaʊndəriz. taɪmz ənd ˈjuzər rɪkˈwaɪrmənts hæv ʧeɪnʤd, ənd ðə əˈpɪrəns əv ə skrin ɪn ən ˈaɪˌfoʊn ɪz noʊ səˈpraɪz. nɔr ɪz ðə fækt ðət ˈæpəl həz pərˈzɛnəd ɪt ɪn ə dɪˈzaɪn. ðə ˈfɪzɪkəl dɪˈzaɪn ɪz ðə seɪm ɛz ðət əv ðə sˈmɔlər ˈaɪˌfoʊn 6 ˈbətən ˈpleɪsmənt ɪz aɪˈdɛntɪkəl wɪθ ðə paʊər ˈbətən ɔn ðə raɪt, ˈvɑljum ˈbətənz ənd mjut swɪʧ ɔn ðə lɛft. ðə ˈhɛdˌsɛt ənd prəˈpraɪəˌtɛri ˈlaɪtnɪŋ kəˈnɛktər ər ɔn ðə ˈbɑtəm ɛʤ, əˈlɔŋ wɪθ ðə ˈsɪŋgəl ˈspikər. lɑrʤ tɔp ənd ˈbɑtəm skrin ər ə ˌkɛrɪktərˈɪstɪk əv ˈæpəlz ˈhændˌsɛts, bət ðɪs meɪks fər ə tɔl foʊn ɪn ðə keɪs əv ðə ˈaɪˌfoʊn 6 pləs. kəmˈpɛr ɪts haɪt tɪ fər ðə ˈsoʊni ər ʤɪst fər ðə ðə pləs saɪd əv ðə lɑrʤ skrin ɪz ðə iz wɪθ wɪʧ ju kən hoʊld ðə ˈhændˌsɛt ɪn ˈlænˌskeɪp moʊd fər ˈvɪdioʊ ˈwɑʧɪŋ ər ˈgeɪmɪŋ, ˌɔlˈðoʊ ju du nid tɪ teɪk kɛr nɑt tɪ ˈkəvər ðə ˈspikər ɪn ðɪs ˌɔriɛnˈteɪʃən. saʊnd kˈwɑləti frəm ðə ˈsɪŋgəl ˈspikər ɪz ˈnoʊtɪsəbli ˈbɛtər ðən frəm ðə sˈmɔlər ˈaɪˌfoʊn 6 ˌɪnˈdid ɪts əˈməŋ ðə bɛst wiv hərd. ˈhævɪŋ sɛd ðət, ˈstɛriˌoʊ ˈspikərz maɪt dɪˈlɪvər ən ˈivɪn ˈbɛtər ˈɑdiˌoʊ ɪkˈspɪriəns. ðə skrin ˈɑkjəˌpaɪz ən glæs frənt ðət kərvz daʊn tɪ mit ðə ˌæˈljumɪnəm ˈɛʤɪz. ðiz ɪn tərn kərv ˈɪntu ðə bæk əv ðə foʊn, huz ˈmɛtəl ɪkˈspæns ɪz ˈbroʊkən baɪ ˈplæstɪk ænˈtɛnə strɪps, pləs ðə ˈkæmərə lɛnz ənd lɛd flæʃ ˈjunɪt. ðə ˈkæmərə lɛnz sˈlaɪtli, wɪʧ minz ðət wɪn ðə ˈhændˌsɛt ɪz flæt ɔn ə dɛsk ɪt rɑks frəm saɪd tɪ saɪd ɛz ju tæp ðə skrin ɪn ə weɪ wi faʊnd kwaɪt əˈnɔɪɪŋ. ðɛrz ˈnəθɪŋ ˈæpəl kʊd hæv dən əˈbaʊt ðɪs əˈpɑrt frəm ˌɪnˈkris ðə ˈθɪknəs əv ðə ˈhændˌsɛt, wɪʧ ɪz nɑt ˈsəmθɪŋ wid hæv laɪkt tɪ si. ðə ˈʧæsi ɪz wən əv ðə ˈaɪˌfoʊn 6 ˈpləsɪz rɪˈmɑrkəbəl dɪˈzaɪn ˈfiʧərz. ðə θɪn ˈproʊˌfaɪl minz ðət ˈivɪn æt waɪd ənd tɔl ðə ˈaɪˌfoʊn 6 pləs filz ˈkəmfərtəbəl ɪn ðə hænd. ɪt həz tɪ bi sɛd, ðoʊ, ðət sˈmɔlər hænz ˈsɪmpli woʊnt bi ˈeɪbəl tɪ riʧ əˈkrɔs ðə skrin. ˈæpəl həz ə wiz tɪ hɛlp aʊt ɪn ðə ʃeɪp əv ɪts 'reachability*' ˈfiʧər, wɪʧ ˈɔlsoʊ əˈpɪrz ɪn ðə ˈaɪˌfoʊn 6 meɪk tu tæps ɔn ðə hoʊm ˈbətən ənd ðə skrin fɔlz təˈwɔrdz ðə ˈbɑtəm əv ðə ˈhændˌsɛt. ˈɪmɪʤ: ˈsændrə ðɪs filz ˈsəmˈwət ənˈwildi, ˈlivɪŋ ən ˈɛmti speɪs æt ðə tɔp əv ðə foʊn, bət minz ju maɪt ʤɪst bi ˈeɪbəl tɪ riʧ ðə ˌnoʊtəfəˈkeɪʃənz ˈɛriə. aɪ stɪl ˈkʊdənt strɛʧ əˈkrɔs ðə wɪdθ əv ðə foʊn, ðoʊ. ðə moʊst ˈɛləgənt ənd ˌərgəˈnɑmɪk səˈluʃən fər ˌɑpərˈeɪʃən ɔn ə lɑrʤ skrin rɪˈmeɪnz ˈsæmˌsəŋz ˈsɪstəm juzd ɪn ðə ˈgæləksi teɪlz əv bɛnt ˈaɪˌfoʊn 6 pləs ˈhændˌsɛts lɛd ˈjuˈɛs tɪ əˈplaɪ kwaɪt səˈvɪr ˈprɛʃər ɔn ðə ˈhændˌsɛt tɪ si ɪf ɪt wʊd bɛnd. wi faʊnd ðə ˌæˈljumɪnəm ˈʧæsi tɪ bi ˈprɪti təf: ɪts ənˈdaʊtɪdli ˈpɑsəbəl tɪ bɛnd ðə foʊn ɪn jʊr hænz, bət jʊd hæv tɪ əˈplaɪ ə lɔt əv fɔrs. ɪn ʃɔrt, wi ˈdɪdənt faɪnd ðə ˈaɪˌfoʊn 6 pləs ˌpɑrˈtɪkjələrli ˈvəlnərəbəl ər ˈpurli meɪd ɪn kəmˈpɛrəsən tɪ ˈəðər smartphones*. ˈfiʧərz ðɛrz ˈplɛnti əv ˈprɑsɛsɪŋ paʊər bɪˈhaɪnd ðə ˈaɪˌfoʊn 6 pləs, wɪʧ, laɪk ðə sˈmɔlər ˈaɪˌfoʊn 6 ˈjuzɪz ðə nu ˈæpəl ˈrənɪŋ æt. ðə meɪn ˈprɑˌsɛsər ɪz əˈkəmpənid baɪ ə ˈmoʊʃən ˈkoʊˈprɑsɛsər, ɪn ðɪs keɪs ðə nu ðət ˈprɑsɛsɪŋ rɪˈleɪtɪŋ tɪ ˈsɛnsər ˈdætə (ækˌsɛlərˈɑmətər, ˈkəmpəs, ˈʤaɪrəˌskoʊp ənd bərˈɑmɪtər) fər ˌɪmˈpruvd paʊər ɪˈfɪʃənsi. ðə ˈaɪˌfoʊn 6 pləs, laɪk ɪts sˈmɔlər ˈsɪblɪŋ, kəmz wɪθ əv ræm. ˌɪnˈtərnəl ˈstɔrɪʤ ɪz kæpt θæŋks tɪ ˈæpəlz ˈpɑləsi əv nɑt prəˈvaɪdɪŋ ə kɑrd slɑt. θri sɛnt ˈjuˈɛs ðə ˈmɑdəl, wɪʧ hæd əv fri kəˈpæsɪti. ðɛrz noʊ ˈvərʒən: jʊr ˈəðər ˈʧɔɪsɪz ər ˈiðər (ˈlaɪkli tɪ liv ju wɪθ əraʊnd fri), ər ðə moʊst ɪkˈspɛnsɪv ˈmɑdəl. ju ˈɔlsoʊ gɪt əv fri ˈɔnˌlaɪn ˈstɔrɪʤ wɪθ jʊr əˈkaʊnt, wɪʧ ju kən ˈəpˈgreɪd tɪ 20gb*, ər fər ə ˈmənθli fi (si ˈæpəlz ˈwɛbˌsaɪt fər ˈpraɪsɪz). ɛz wɪθ ðə ˈaɪˌfoʊn 6 təʧ ˈaɪˈdi ˈfɪŋgərˌprɪnt ˌrɛkɪgˈnɪʃən wərkt ˈflɔləsli, ˌɔlˈðoʊ aɪ faʊnd ɪt ˌɪmˈpɑsəbəl tɪ wɪn ˈhoʊldɪŋ ðə foʊn. ˈwaɪˌfaɪ ɪz səˈpɔrtɪd, əˈlɔŋ wɪθ ˈbluˌtuθ lə ənd ˈmoʊbəl ˈbrɔdˌbænd naʊ wɪθ ɪkˈspændɪd ˈkəvərɪʤ əv 20 ˈfrikwənsi bændz. ɪz ˈɔlsoʊ ˈprɛzənt, bət dɪsəˈpɔɪnɪŋli ɪts ˈkərəntli rɪˈdəndənt ɛz fɑr ɛz ˈjuzərz ər kənˈsərnd: ɪts kənˈfɪgjərd ˈsoʊəli fər ˈæpəl peɪ, wɪʧ ɪz ˈoʊnli əˈveɪləbəl ɪn ðə ˈjuˈɛs æt ˈprɛzənt. ðə ˈaɪˌfoʊn 6 ˈpləsɪz ˈrɑstər əv ˈsɛnsərz naʊ ˌɪnˈkludz ə bərˈɑmɪtər, wɪʧ kən bi juzd tɪ ˈgæðər ˈdætə ɛz pɑrt əv ɪts əˈsɔlt ɔn ðə hɛlθ ənd ˈwɛlnəs ˈsɛktər. ðɛrz ən ˈioʊs 8 hɛlθ æp tu, wɪʧ kən ˈægrəgət ˈrɛləvənt ˌɪnˌfɔrˈmeɪʃən frəm ə ˈnəmbər əv ˈsɔrsəz. ðə meɪn ˈkæmərə ˈɔfərz gʊd spid (θæŋks tɪ ə nu ˈsɛnsər wɪθ əˈdɪʃənəl ˈfoʊkɪs ˈpɪksəlz), panoramas*, ə ˈvɪdioʊ moʊd, ˈvɪdioʊ æt ənd ˈvɪdioʊ æt əp tɪ 240fps*. ðə ˈkæmərə, ˈminˌwaɪl, gɪts ˌɪmˈpruvd feɪs dɪˈtɛkʃən, ə bərst moʊd ənd ˈvɪdioʊ. ˈɑptɪkəl ˈɪmɪʤ wɪn ˈʃutɪŋ ˈvɪdioʊ ɪz səˈpɔrtɪd ɔn ðə ˈaɪˌfoʊn 6 pləs, bət ˈæbsənt frəm ɪts sˈmɔlər ˈsɪblɪŋ. ˈɪmɪʤ: ˈsændrə ˈminˌwaɪl, ˈæpəl həz ˈteɪkən ædˈvæntɪʤ əv ðə ˈlɑrʤər skrin saɪz tɪ ˈɔfər səm əˈdɪʃənəl ˈkiˌbɔrd ˈfiʧərz ɪn ˈlænˌskeɪp moʊd. kət, ˈkɑpi ənd peɪst tulz, full-stop*, ˈkɑmə, ˈkərsər ˈmuvmənt, kˈwɛʃən mɑrk ənd ˌɛkspləˈneɪʃən mɑrk ɔl meɪk ən əˈpɪrəns ənd kən spid əp ˈtaɪpɪŋ. ˈsædli, ðoʊ, ðɛrz noʊ ˈdɛdəkeɪtəd ˈnəmbər roʊ. ˌhaʊˈɛvər, ˈioʊs 8 dɪz səˈpɔrt ˈkiˌbɔrdz fər ðə fərst taɪm, soʊ ju kən ɪkˈspɛrəmənt wɪθ ɔlˈtərnətɪvz səʧ ɛz ər swype*. ðə skrin həz ə ˌrɛzəˈluʃən əv baɪ ˈpɪksəlz, ˈgɪvɪŋ ə ˈpɪksəl ˈdɛnsɪti əv 401ppi*. ˈæpəl kɔlz ðɪs 'ˈrɛtənə'. ju kən faɪnd haɪər ˌrɛzəˈluʃənz ðə fər ɪgˈzæmpəl, dɪˈlɪvərz baɪ ˈpɪksəlz fər ə ˈpɪksəl ˈdɛnsɪti əv 534ppi*. stɪl, ðə skrin ɔn ðə ˈaɪˌfoʊn 6 pləs ɪz ˈsupərbli ʃɑrp ənd braɪt, wɪθ greɪt vjuɪŋ ˈæŋgəlz. ɪf ju faɪnd tɛkst ə ˈlɪtəl smɔl, ju kən ɑpt tɪ ˈpərmɑˌnɛnˌtli zum ðə dɪˈspleɪ, ə ˈfiʧər ˈɔlsoʊ səˈpɔrtɪd ɔn ðə ˈaɪˌfoʊn 6 pərˈfɔrməns ˈbætəri laɪf laɪk ðə ˈaɪˌfoʊn 6 ðə ˈaɪˌfoʊn 6 pləs ɪz paʊərd baɪ ðə ˈæpəl wɪθ əv ræm. wi ræn ə ˈnəmbər əv ˈbɛnʧˌmɑrks ɔn ðə ˈaɪˌfoʊn, 6 ənd 6 pləs ənd ˈɔlsoʊ, fər kəmˈpɛrəsən, ɔn ə haɪɛnd ˈænˌdrɔɪd foʊn, ˈsæmˌsəŋz ˈgæləksi ðə 3 tɛst ɪgˈzæmənz ˈɪntəʤər, ənd ˈmɛməri pərˈfɔrməns, ɪn ənd moʊdz: ðə tɛst ɪˈvæljuˌeɪts ˈʤɑvəˌskrɪpt pərˈfɔrməns: ðə ˈbɛnʧˌmɑrk ɪgˈzæmənz ˈsɛvərəl ˈsəbˌsɪstəmz (ˈjuzər ɪkˈspɪriəns), ræm,, ənd i/o*: ˌɔlˈðoʊ ɪts ənˈwaɪz tɪ rɛd tu məʧ ˈɪntu ˈmoʊbəl ˈbɛnʧˌmɑrks, ðiz rɪˈzəlts du ˈɪndəˌkeɪt ðət ðə ˈaɪˌfoʊn 6 pləs (ənd ˈaɪˌfoʊn 6 dɪˈlɪvərz ən ˌɪnkrəˈmɛntəl spid ˌɪmˈpruvmənt ˈoʊvər ðə ˈaɪˌfoʊn, ənd ðət ɪt kən mɔr ðən hoʊld ɪts oʊn əˈgɛnst haɪɛnd ˈænˌdrɔɪd ˈhændˌsɛts ɪn tərmz əv pərˈfɔrməns. wi faʊnd ˈbætəri laɪf ɔn ðə ˈaɪˌfoʊn 6 ˈsəmθɪŋ əv ə ˌdɪsəˈpɔɪntmənt, bət ðə ˈɑpəzɪt ɪz tru fər ɪts ˈlɑrʤər ˈsɪblɪŋ. ˈdʊrɪŋ ðə tɛst ˈpɪriəd, ðə ˈaɪˌfoʊn 6 ˈpləsɪz ˈbætəri kɛpt ˈjuˈɛs goʊɪŋ ˈhæpəli fər tu deɪz, ənd wi θɪŋk ˈæpəl həz dən ə gʊd ʤɑb əv ˈbælənsɪŋ ˈθɪnɪs wɪθ ˈbætəri kəˈpæsɪti. ðə əˈfɪʃəl ˈbætəri laɪf kleɪmz fər ðə ˈaɪˌfoʊn 6 pləs (wɪθ ðoʊz fər ðə ˈaɪˌfoʊn 6 ɪn pərˈɛnθəˌsiz), ər: 24 aʊərz əv tɔk 14h*); 16 deɪz ɔn ˈstændˈbaɪ 10 deɪz); 12 aʊərz əv ˈɪntərˌnɛt juz ɔn, ənd ˈwaɪˌfaɪ ɔn ənd, ɔn ˈwaɪˌfaɪ); 80 aʊərz əv ˈɑdiˌoʊ ˈpleɪˌbæk 50h*); ənd 14 aʊərz əv ˈvɪdioʊ ˈpleɪˌbæk). kənˈkluʒən waɪl ðɛrz lɑts tɪ laɪk əˈbaʊt ðə ˈaɪˌfoʊn 6 pləs, wi ˈɔlsoʊ hæv səm ˈgrəmbəlz. ðə ˈspikər grɪl ɪz ˈizəli ˈkəvərd baɪ ðə hænd, fər ˈɪnstəns, waɪl ˈæpəlz 'reachability*' ˈmɛθəd fər ˈækˌsɛsɪŋ ðə lɑrʤ skrin filz laɪk ə bɪt əv ə fəʤ. wi ˈɔlsoʊ stɪl ˈhæŋkər fər ˈstɔrɪʤ ɪkˈspænʧən, ənd ðə praɪs ɪz haɪ. stɪl, ðə ˈaɪˌfoʊn 6 pləs dɪˈlɪvərz ˈbɛtər ˈbætəri laɪf ənd ˈɑdiˌoʊ kˈwɑləti ðən ðə sˈmɔlər ˈaɪˌfoʊn 6 əˈlɔŋ wɪθ sʊˈpərb dɪˈzaɪn ənd ˈsɑləd bɪld kˈwɑləti. ɪf ˈməni wər noʊ ˈɑbʤɛkt, wid ʧuz ðə ˈmɑdəl ˈoʊvər ɪts ˈsɪblɪŋ.
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shinya (真壁, shin'ya, born september 29,] better known by his ring name (真壁, tōgi) is a japanese professional wrestler, trained by and currently performing for new japan (njpw), where he is a former one-time heavyweight champion, tag team champion and a never champion.
debuting in 1997, originally wrestled under his as a junior heavyweight (100 kilograms (220 lb)), before gaining several kilograms during a global excursion in 2001 and] he changed his given name to "togi" during the 2004 climax] his status in new japan rose significantly in 2007, making it to the finals of the new japan cup and the semifinals of the climax, and challenging nagata for the heavyweight championship. after a number of unsuccessful challenges at the title, finally won the heavyweight championship on may 3, 2010, by defeating nakamura.
makabe's wrestling style and character is heavily influenced by the late brody. known as the gorilla", is known for his violent, bloody style of wrestling, often illegally employing steel chairs and chains into his offense, including a lariat with a chain wrapped around his arm (like brody). he also uses brody's all japan pro wrestling theme "immigrant song" (albeit a cover made by hotei) as his own.
professional wrestling career [ edit ]
new japan [ edit ]
pursuing judo while enrolled in tokyo's university, passed an admission test in february 1996 and enrolled in the new japan in april of that year, training there for ten] he made his debut the following year, losing to otani on february 15,] began wrestling in the undercard, obtaining his first victory 20 months after his debut by defeating yutaka on october 15,] continued to wrestle in lesser matches through 1999 against other young wrestlers such as inoue and shibata, and defeating future heavyweight champion hiroshi in his debut match on october 10,]
in april 2000, entered the super j-cup, a tournament held in pro, involving junior heavyweights from a number of different promotions; he was eliminated in the first round by gran] later that month, also participated in's young lion cup, a tournament exclusive to young wrestlers; he finished in first place for the group stage, defeating all of his opponents (kenzo suzuki, hiroshi, inoue, shibata and masakazu fukuda by] though he lost to finisher kenzo suzuki in the] continued his tournament participation in may and june, entering new japan's best of the super juniors (bosj) tournament to decide the company's top junior heavyweight wrestler. finished in last place out of six in block a, scoring two points by defeating dr. wagner,] he later defeated minoru fujita, who finished in last place for block b to determine the tournament's finisher, leaving fujita at #12.[12] received the first title shot of his career on september 12, 2000, teaming with thunder to unsuccessfully challenge koji and minoru tanaka for the junior heavyweight tag team]
makabe made his debut in the tokyo dome, one of the largest venues in japan, during's annual event there on january 4, 2001, teaming with in a loss to koji and minoru] for the following few months, began competing amongst heavyweights, even teaming with to challenge satoshi kojima and for the world tag team championship, falling to a kojima] however, he returned to the best of the super juniors tournament in june, finishing in fifth place out of six in his block, earning 4 points by defeating shibata and]
on june 8, 2001, as part of a series of matches, and nagata entered all japan pro wrestling (ajpw) to challenge for the vacant all asia tag team championship, losing to and] in august 2001, announced that he would be leaving japan indefinitely to wrestle overseas in canada, great britain and puerto] he wrestled his farewell match on august 12, 2001, in a tag team loss with yutaka against and kenzo] wrestled in the aforementioned countries for the following 14 months, gaining a considerable amount of] and returning to new japan on october 14, 2002 in the tokyo dome as a heavyweight, teaming with minoru fujita to defeat kenzo suzuki and hiroshi;[19] he continued to team with fujita and his fellow member over the next few]
in january 2003, suspended his contract with, wrestling under his own] once again wrestled at's annual tokyo dome event on january 4, 2003, competing in the young generation cup tournament, losing in the first round to yutaka.[22] once again teamed with minoru fujita in february 2003, competing in an tournament to decide the #1 contenders to the tag team championship; they were eliminated in the first round by goto and hiro] regardless, challenged for the belts with a different partner, yoshihiroyama, on march 9, 2003, losing to champions masahiro and.[24] around the same time, participated in the climax, a tournament featuring only wrestlers under the age of 30 to decide the first champion. finished in first place out of five in block a, defeating hiroshi, and dan devine, and losing to #2. he would go on to defeat blue wolf in the semifinals before losing to hiroshi in the final on april 23,]
on july 1, 2003, travelled to pro wrestling noah, teaming with yoshihiroyama and noah'sshi to defeat jun akiyama, saito and makoto hashi. he andyama would go on to challenge and honda for the tag team championship, getting pinned after a] continued to wrestle mid- and wrestlers in throughout 2003 and much of 2004, before making his first appearance in new japan's annual climax heavyweight tournament, changing his name to and defeating nagai on august 7, 2004 to gain entrance into the competition. finished in seventh out of eight in his block with four points, defeating osamu nishimura by and yoshihiroyama by]
makabe again participated in the climax in august 2005, though he was in only two matches before tearing his achilles tendon in a match against nakamura. was forced to forfeit the rest of his matches due to the injury, finishing with zero] and taking him out of action for five months. he returned on january 8, 2006, teaming with toru yano in a losing effort against osamu nishimura and] entered the second annual new japan cup in april 2006, defeating goto in the first round before losing to nagata in the]
on july 2, 2006, teamed with in a one-night tournament to crown the interim tag team champions, after primary champions masahiro and became inactive. the duo defeated the teams of nagata and yamamoto and giant bernard and travis tomko to win the interim] the reign would be short-lived however, as and would lose the title to nakanishi ando omori just 15 days]
makabe entered the 2006 climax in august, finishing with three points in his block with a win over yamamoto and a double count out against] on september 24, 2006, entered apache army, defeating on their third anniversary show to revive the heavyweight championship, the first official japanese title of his] on october 2, 2006, announced a new faction featuring himself, and, naming it great bash heel (gbh) shortly afterward; toru yano and ishii, who had been feuding with and, also joined the] teamed with in the tag league later that month, finishing in last place in their block out of five, ending with two points via a victory over eventual winners masahiro and]
makabe entered another tag team tournament in november, the national area tag league, in which teams were organized by home region; teamed with, representing the kantō region. they lost both of their matches in block d, falling to hiroshi and yamamoto of kansai as well as milano collection at and prince devitt, representing] on november 18, 2006, made his first defense of the title on new japan's lock up brand, defeating in a] and teamed once again on december 10, 2006, unsuccessfully challenging the team of nakanishi and pro wrestlingo omori for the official tag team title after losing the interim title in]
makabe in august 2008
makabe teamed with allies yano and ishii on january 4, 2007, at wrestle kingdom in tokyo dome, defeating travis tomko and brown and] four days later, retained the title against kuroda at an event by apache pro andshi] he would defend the championship for a third time on february 4, 2007 at lock up's first show in hall, defeating mammoth sasaki in a cage death] on february 18, 2007, faced and lost to nakamura in a match pitting against nakamura and masahiro's black faction, subtitled] again entered the new japan cup in march 2007, making it to the finals with victories over travis tomko andshi by and by disqualification, before losing to nagata in the] on april 8, 2007, faced nakamura in a rematch of their february contest, defeating in a chain death] made his fourth defense of the title on april 15, 2007 in apache pro, again defeating mammoth] battled nakamura for a third time on may 3, 2007 in a match dubbed "reality or revenge", winning once]
on may 20, 2007, battled a black and alliance of nagata,, masahiro, nakamura and yamamoto; and survived, last eliminating heavyweight champion nagata by.[46] on june 24, 2007, lost the heavyweight championship in apache pro to in their third] followed up his over nagata in may with a challenge to title, his first singles title shot in new japan, on july 6, 2007 in front of a sold out hall; nagata won with a backdrop in just under 20]
makabe had his strongest showing to date in the climax in august, finishing first place in his block with six points with victories over giant bernard, nagata, and masahiro before losing in the semifinals to eventual winner hiroshi.[48] also made it to the semifinals in the tag league in november, scoring 8 points with toru yano in the tournament's single block by defeating the teams of nagata and nakanishi, akebono and masahiro, and and, as well as giant bernard in a handicap match when his partner travis tomko the event; bernard and tomko, the eventual winners, would defeat and yano in the] on december 9, 2007, and nakamura faced off in their fourth and final match of the year, this time with the winner receiving a shot at hiroshi's heavyweight title at the tokyo dome in january; nakamura was victorious, tying their series at]
on january 4, 2008, at wrestle kingdom in tokyo dome, fresh off of winning tokyo sports' tag team of the year award for] and toru yano were defeated by total nonstop action (tna) team (brother ray and brother devon) as part of an card between and.[52] and yano would later defeat giant bernard and travis tomko for the tag team championship on february 17,] earlier in the night, leader was betrayed and attacked by fellow members ishii, and, kicking him out of the]
makabe and yano made their first title defense on march 9, 2008, retaining over giant bernard and nakamura when interference from both teams' respective factions led to a no contest; as a result the match was stricken from the record, and is not considered an official defense. later that month, participated in the new japan cup for the third straight year, defeatingshi and ousted leader in the first two rounds, before falling to eventual winner hiroshi in the] and battled the following week in a tag team match, andshi defeating and yano when pinned.[52] the two teams battled again, this time for the championship, on april 27, 2008; and yano came out on top in their first official defense after betrayed and allowed the champions to retain, seemingly joining. in august once again finished first in his block of the climax tournament and advanced to the finals, where he was defeated by goto, despite interference from's team]
makabe in december 2010
on january 4, 2009, and yano were scheduled to defend the tag team championship at wrestle kingdomi in tokyo dome in a three way dance against team of wrestling and satoshi kojima and, but an injury to turned it into a match between & yano and, which won. also won the subsequent rematch a month later. this failure inevitably lead to the/yano team dissolving when yano cost a match against nakamura in early april. while was out due to a head injury suffered at the hands of yano, most of, yano included, went on to form chaos with nakamura, leaving and on their own. in august 2009 finished first in his block of the climax tournament for the third year in a row and then defeatedshi and nakamura to win the entire7] after hiroshi was forced to vacate the heavyweight championship due to an injury, and nakamura were booked in a rematch to determine the new champion. nakamura defeated with the ye to become the] at wrestle kingdom in tokyo dome defeated muhammad in an match between new japan and pro wrestling]
makabe in november 2011
in january along with his ally, would compete on noah's global tag league. they only won one] but left a huge mark by pinning heavyweight championshi in a tag team] on february 28, failed to claim the heavyweight championship fromshi at] in march 2010 entered the 2010 new japan cup and defeated ishii, toru yano and naito to advance to the finals, where he was once again defeated by goto in a rematch of their 2008 climax final] after goto failed in his title match against the heavyweight champion nakamura, laid a challenge for the belt and on may 3, 2010, at wrestling 2010, defeated nakamura to win the heavyweight] on june 19 at dominion, made his first successful title defense, defeating pro wrestling noah's go] on july 19 successfully defended the heavyweight championship against previous champion] the following month entered the 2010 climax tournament. after a rocky start, which included losses to naito and former tag team partner toru yano, came back with a four match winning streak, only to lose to hiroshi on the final day of the tournament and thus miss advancing to the] on october 11 lost the heavyweight championship to climax winner, satoshi] during the 2010 tag league, where he teamed with, suffered a neck injury in a match against tanaka and ishii that would sideline him] and tanaka would settle their grudge on january 4, 2011, at wrestle kingdom v in tokyo dome, in a match, where was] on may 3, formed a new partnership with satoshi kojima, after their match against each other, when the rest of kojima-gun, aided by the returning minoru suzuki, turned on their] later that same month, took part in new japan's first ever tour of the united states, the invasion tour 2011, during which he feuded with rhino. and rhino main the final day of the tour on may 15 at the asylum arena, where was victorious in a south philadelphia street] continued his rivalry with the by scoring victories over taichi, and lance archer, before being defeated by the group's leader minoru suzuki in a grudge match on october 10 at destruction '11.[82] in the 2011 tag league, teamed with satoshi kojima as the "beast] after picking up three wins and one loss in their first four matches, and kojima were defeated by the billion powers goto and hiroshi) on november 4, causing them to narrowly miss advancing to the semifinals of the] in late 2011, shifted from feuding with minoru suzuki to his partner yoshihiroyama, which built to a match on january 4, 2012, at wrestle kingdom vi in tokyo dome, where defeatedyama in a singles]'s rivalry with suzuki culminated on june 16 at dominion, where was victorious in a singles grudge] as a result, was granted a shot at the heavyweight championship, but he was unable to dethrone the defending champion, hiroshi, in their title match on july] ended his long rivalry with the on september 23 at destruction, when he defeated the newest member, mashimo, in a singles]
with his feud with behind him, began a new feud with the returning team of shibata and] leading to him and inoue losing to the two in tag team matches on october 8 at king of and november 11 at power] from november 20 to december 1, and inoue, billed collectively as "always] took part in the portion of the 2012 world tag league. the team finished with a record of four wins and two losses, winning their block and advancing to the semifinals of the] on december 2, and inoue were eliminated from the tournament in their semifinal match by the reigning tag team champions, k.e.s. (davey boy smith, jr. and lance] the rivalry between and shibata built to a grudge match on january 4, 2013, at wrestle kingdom 7 in tokyo dome, where was] the following month, started a new rivalry withrohashi.[96] the two first met each other in a singles match on february 10 at the new beginning, where was] on march 11, andhashi faced off in the first round of the 2013 new japan cup in a match, wherehashi emerged] on march 23, returned to new japan, aligning himself with in his war withhashi and the rest of] the reunited had their first match back together on april 7 at invasion attack, where they were defeated byhashi and tanaka in a tag team] andhashi faced off in another singles match on may 3 at wrestling 2013, where picked up a decisive win. after the main event of the evening, challenged okada to a match for the heavyweight] received his title shot on june 22 at dominion, but was defeated by] from august 1 to 11, took part in the 2013] where he finished with a record of five wins and four losses, with a loss against prince devitt on the final day costing him a spot in the] then started feuding with devitt and his bullet club] later in the year, after devitt began concentrating on defending his junior heavyweight championship, made another bullet club member, bad luck, whose interference had cost him his match against devitt in the climax, his main] in december, and made it to the semifinals of the 2013 world tag league, before being eliminated by the bullet club team of doc gallows and karl anderson, following outside interference from] the rivalry between and culminated in a king of destroyer match on january 4, 2014, at wrestle kingdom 8 in tokyo dome, where was] and faced off again on march 15 in the first round of the 2014 new japan cup, where was] the following month, and hiroshi formed a tag team named "ace to king" (japanese for "ace and king") to go after bullet club's tag team] on may 25 at back to the yokohama arena, and defeated goto and shibata to earn a shot at the tag team] and received their title shot on june 21 at dominion, but were defeated by bullet club's doc gallows and karl] then reunited with for the 2014 world tag] where the two finished last in their block with a record of three wins and four]
makabe in march 2015
on january 4, 2015, at wrestle kingdom 9 in tokyo dome, defeated ishii to win the never championship for the first] after coming down with influenza, was stripped of the title on february 14 due to being unable to wrestle ishii in a title rematch at the new beginning in] after recovering, defeated ishii on april 29 at wrestling to regain the never] he made his first successful title defense against ishii on july 5 at dominion in] from july 20 to august 14, took part in the 2015] where he finished in the middle of his block with a record of four wins and five] on september 23 at destruction in okayama, made his second successful defense of the never championship against ibushi, who had defeated him during the 2015] on october 12 at king of, lost the title back to]
in december, and won their block in the 2015 world tag league with a record of four wins and two losses, advancing to the finals of the] on december 9, and defeated los de (evil and naito) in the finals to win the 2015 world tag] on january 4, 2016, at wrestle kingdom 10 in tokyo dome, and defeated bullet club's doc gallows and karl anderson to win the tag team0] they made their first successful title defense on february 14 at the new beginning in in a rematch against gallows and] they lost the title to guerrillas of destiny (tama tonga and loa) on april 10 at invasion attack] from july 18 to august 12, took part in the 2016 climax, where he finished with a record of four wins and five] in december, and advanced to the finals of the 2016 world tag league by winning their block with a record of five wins and two] on december 10, and defeated the reigning tag team champions guerrillas of destiny to win the 2016 world tag] becoming the first ever team to win the tournament in two consecutive] on january 4, 2017, at wrestle kingdom 11 in tokyo dome, and took part in a three-way match for the tag team championship, which was won by ishii and toru] on february 21, celebrated his year as a professional wrestler with a special event promoted by. in the main event, and defeated tag team champions ishii and yano in a]
on january 30, 2019,, and yano defeated bullet club to win the never tag team9]
other media [ edit ]
makabe provided the voice of in the japanese dub of the 2015 film mad max: fury] in 2016,, along with hiroshi, appeared in garo: ashura, the anniversary special of the japanese series] he also provided the voice for the animated version of himself in the tiger mask w] voices a boss character on the japanese version of the video game let it]
king kong knee drop on performing theon nakanishi
championships and accomplishments [ edit ]
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shinya* shin'ya*, bɔrn sɛpˈtɛmbər 29 ˈbɛtər noʊn baɪ hɪz rɪŋ neɪm tōgi*) ɪz ə ˌʤæpəˈniz prəˈfɛʃənəl ˈrɛsələr, treɪnd baɪ ənd ˈkərəntli pərˈfɔrmɪŋ fər nu ʤəˈpæn (njpw*), wɛr hi ɪz ə ˈfɔrmər ˈwəˌtaɪm ˈhɛviˌweɪt ˈʧæmpiən, tæg tim ˈʧæmpiən ənd ə ˈnɛvər ˈʧæmpiən. deɪˈbjutɪŋ ɪn 1997 ərˈɪʤənəli ˈrɛsəld ˈəndər hɪz ɛz ə ˈʤunjər ˈhɛviˌweɪt 100 ˈkɪləˌgræmz 220 paʊnd)), ˌbiˈfɔr ˈgeɪnɪŋ ˈsɛvərəl ˈkɪləˌgræmz ˈdʊrɪŋ ə ˈgloʊbəl ɪkˈskərʒən ɪn 2001 ənd hi ʧeɪnʤd hɪz ˈgɪvɪn neɪm tɪ "togi*" ˈdʊrɪŋ ðə 2004 ˈklaɪˌmæks hɪz ˈstætəs ɪn nu ʤəˈpæn roʊz sɪgˈnɪfɪkəntli ɪn 2007 ˈmeɪkɪŋ ɪt tɪ ðə ˈfaɪnəlz əv ðə nu ʤəˈpæn kəp ənd ðə ˌsɛmɪˈfaɪnəlz əv ðə ˈklaɪˌmæks, ənd ˈʧælənʤɪŋ nɑˈgɑtə fər ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp. ˈæftər ə ˈnəmbər əv ˌənsəkˈsɛsfəl ˈʧælənʤɪz æt ðə ˈtaɪtəl, ˈfaɪnəli wən ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp ɔn meɪ 3 2010 baɪ dɪˈfitɪŋ nɑkɑˈmʊrə. ˈrɛsəlɪŋ staɪl ənd ˈkɛrɪktər ɪz ˈhɛvəli ˈɪnfluənst baɪ ðə leɪt ˈbroʊdi. noʊn ɛz ðə gərˈɪlə", ɪz noʊn fər hɪz ˈvaɪələnt, ˈblədi staɪl əv ˈrɛsəlɪŋ, ˈɔfən ˌɪˈligəli ɪmˈplɔɪɪŋ stil ʧɛrz ənd ʧeɪnz ˈɪntu hɪz əˈfɛns, ˌɪnˈkludɪŋ ə ˈlɛriət wɪθ ə ʧeɪn ræpt əraʊnd hɪz ɑrm (laɪk ˈbroʊdi). hi ˈɔlsoʊ ˈjuzɪz ˈbroʊdiz ɔl ʤəˈpæn proʊ ˈrɛsəlɪŋ θim "ˈɪməgrənt sɔŋ" (ɔlˈbiɪt ə ˈkəvər meɪd baɪ hotei*) ɛz hɪz oʊn. prəˈfɛʃənəl ˈrɛsəlɪŋ kərɪr ˈɛdət nu ʤəˈpæn ˈɛdət pərˈsuɪŋ ˈʤuˌdoʊ waɪl ɛnˈroʊld ɪn ˈtoʊkiˌoʊz ˌjunəˈvərsəti, pæst ən ədˈmɪʃən tɛst ɪn ˈfɛbruˌɛri 1996 ənd ɛnˈroʊld ɪn ðə nu ʤəˈpæn ɪn ˈeɪprəl əv ðət jɪr, ˈtreɪnɪŋ ðɛr fər tɛn hi meɪd hɪz ˈdeɪbju ðə ˈfɑloʊɪŋ jɪr, ˈluzɪŋ tɪ oʊˈtɑni ɔn ˈfɛbruˌɛri 15 bɪˈgæn ˈrɛsəlɪŋ ɪn ðə undercard*, əbˈteɪnɪŋ hɪz fərst ˈvɪktəri 20 mənθs ˈæftər hɪz ˈdeɪbju baɪ dɪˈfitɪŋ juˈtɑkə ɔn ɑkˈtoʊbər 15 kənˈtɪnjud tɪ ˈrɛsəl ɪn ˈlɛsər ˈmæʧɪz θru 1999 əˈgɛnst ˈəðər jəŋ ˈrɛsələrz səʧ ɛz ˌɪˈnoʊˌeɪ ənd ʃiˈbɑtə, ənd dɪˈfitɪŋ fˈjuʧər ˈhɛviˌweɪt ˈʧæmpiən hɪˈroʊʃi ɪn hɪz ˈdeɪbju mæʧ ɔn ɑkˈtoʊbər 10 ɪn ˈeɪprəl 2000 ˈɛnərd ðə ˈsupər j-cup*, ə ˈtʊrnəmənt hɛld ɪn proʊ, ˌɪnˈvɑlvɪŋ ˈʤunjər ˈhɛviˌweɪts frəm ə ˈnəmbər əv ˈdɪfərənt pərˈmoʊʃənz; hi wɑz ɪˈlɪməˌneɪtɪd ɪn ðə fərst raʊnd baɪ græn ˈleɪtər ðət mənθ, ˈɔlsoʊ pɑrˈtɪsəˌpeɪtɪd ɪn jəŋ laɪən kəp, ə ˈtʊrnəmənt ɪkˈsklusɪv tɪ jəŋ ˈrɛsələrz; hi ˈfɪnɪʃt ɪn fərst pleɪs fər ðə grup steɪʤ, dɪˈfitɪŋ ɔl əv hɪz əˈpoʊnənts (ˈkɛnzoʊ səˈzuki, hɪˈroʊʃi, ˌɪˈnoʊˌeɪ, ʃiˈbɑtə ənd ˌmɑsɑˈkɑˌzu fuˈkudə baɪ ðoʊ hi lɔst tɪ ˈfɪnɪʃər ˈkɛnzoʊ səˈzuki ɪn ðə kənˈtɪnjud hɪz ˈtʊrnəmənt pɑrˌtɪsəˈpeɪʃən ɪn meɪ ənd ʤun, ˈɛnərɪŋ nu ʤəˈpænz bɛst əv ðə ˈsupər ˈʤunjərz (bosj*) ˈtʊrnəmənt tɪ ˌdɪˈsaɪd ðə ˈkəmpəniz tɔp ˈʤunjər ˈhɛviˌweɪt ˈrɛsələr. ˈfɪnɪʃt ɪn læst pleɪs aʊt əv sɪks ɪn blɑk ə, ˈskɔrɪŋ tu pɔɪnts baɪ dɪˈfitɪŋ ˈdɑktər. ˈwægnər, hi ˈleɪtər dɪˈfitɪd mɪˈnɔru fuˈʤitə, hu ˈfɪnɪʃt ɪn læst pleɪs fər blɑk bi tɪ dɪˈtərmən ðə ˈtʊrnəmənts ˈfɪnɪʃər, ˈlivɪŋ fuˈʤitə æt rɪˈsivd ðə fərst ˈtaɪtəl ʃɑt əv hɪz kərɪr ɔn sɛpˈtɛmbər 12 2000 ˈtimɪŋ wɪθ ˈθəndər tɪ ˌənsəkˈsɛsfəli ˈʧælənʤ ˈkoʊʤi ənd mɪˈnɔru tɑˈnɑkə fər ðə ˈʤunjər ˈhɛviˌweɪt tæg tim meɪd hɪz ˈdeɪbju ɪn ðə ˈtoʊkiˌoʊ doʊm, wən əv ðə ˈlɑrʤəst ˈvɛnuz ɪn ʤəˈpæn, ˈdʊrɪŋ ˈænjuəl ɪˈvɛnt ðɛr ɔn ˈʤænjuˌɛri 4 2001 ˈtimɪŋ wɪθ ɪn ə lɔs tɪ ˈkoʊʤi ənd mɪˈnɔru fər ðə ˈfɑloʊɪŋ fju mənθs, bɪˈgæn kəmˈpitɪŋ əˈməŋst ˈhɛviˌweɪts, ˈivɪn ˈtimɪŋ wɪθ tɪ ˈʧælənʤ sɑˈtoʊʃi kəˈjaɪmə ənd fər ðə wərld tæg tim ˈʧæmpiənˌʃɪp, ˈfɑlɪŋ tɪ ə kəˈjaɪmə ˌhaʊˈɛvər, hi rɪˈtərnd tɪ ðə bɛst əv ðə ˈsupər ˈʤunjərz ˈtʊrnəmənt ɪn ʤun, ˈfɪnɪʃɪŋ ɪn fɪθ pleɪs aʊt əv sɪks ɪn hɪz blɑk, ˈərnɪŋ 4 pɔɪnts baɪ dɪˈfitɪŋ ʃiˈbɑtə ənd ɔn ʤun 8 2001 ɛz pɑrt əv ə ˈsɪriz əv ˈmæʧɪz, ənd nɑˈgɑtə ˈɛnərd ɔl ʤəˈpæn proʊ ˈrɛsəlɪŋ (ajpw*) tɪ ˈʧælənʤ fər ðə ˈveɪkənt ɔl ˈeɪʒə tæg tim ˈʧæmpiənˌʃɪp, ˈluzɪŋ tɪ ənd ɪn ˈɔgəst 2001 əˈnaʊnst ðət hi wʊd bi ˈlivɪŋ ʤəˈpæn ˌɪnˈdɛfənətli tɪ ˈrɛsəl ˈoʊvərˈsiz ɪn ˈkænədə, greɪt ˈbrɪtən ənd ˈpɔrtər hi ˈrɛsəld hɪz ˌfɛrˈwɛl mæʧ ɔn ˈɔgəst 12 2001 ɪn ə tæg tim lɔs wɪθ juˈtɑkə əˈgɛnst ənd ˈkɛnzoʊ ˈrɛsəld ɪn ðə əˈfɔrˌmɛnʃənd ˈkəntriz fər ðə ˈfɑloʊɪŋ 14 mənθs, ˈgeɪnɪŋ ə kənˈsɪdərəbəl əˈmaʊnt əv ənd rɪˈtərnɪŋ tɪ nu ʤəˈpæn ɔn ɑkˈtoʊbər 14 2002 ɪn ðə ˈtoʊkiˌoʊ doʊm ɛz ə ˈhɛviˌweɪt, ˈtimɪŋ wɪθ mɪˈnɔru fuˈʤitə tɪ dɪˈfit ˈkɛnzoʊ səˈzuki ənd hɪˈroʊʃi hi kənˈtɪnjud tɪ tim wɪθ fuˈʤitə ənd hɪz ˈfɛloʊ ˈmɛmbər ˈoʊvər ðə nɛkst fju ɪn ˈʤænjuˌɛri 2003 səˈspɛndɪd hɪz ˈkɑnˌtrækt wɪθ, ˈrɛsəlɪŋ ˈəndər hɪz oʊn wəns əˈgɛn ˈrɛsəld æt ˈænjuəl ˈtoʊkiˌoʊ doʊm ɪˈvɛnt ɔn ˈʤænjuˌɛri 4 2003 kəmˈpitɪŋ ɪn ðə jəŋ ˌʤɛnərˈeɪʃən kəp ˈtʊrnəmənt, ˈluzɪŋ ɪn ðə fərst raʊnd tɪ juˈtɑkə wəns əˈgɛn timd wɪθ mɪˈnɔru fuˈʤitə ɪn ˈfɛbruˌɛri 2003 kəmˈpitɪŋ ɪn ən ˈtʊrnəmənt tɪ ˌdɪˈsaɪd ðə 1 kənˈtɛndərz tɪ ðə tæg tim ˈʧæmpiənˌʃɪp; ðeɪ wər ɪˈlɪməˌneɪtɪd ɪn ðə fərst raʊnd baɪ ˈgoʊˌtu ənd ˈhɪroʊ rəˈgɑrdləs, ˈʧælənʤd fər ðə bɛlts wɪθ ə ˈdɪfərənt ˈpɑrtnər, ˌjoʊʃɪˈhiˌroʊ tɑkɑˈjɑmə, ɔn mɑrʧ 9 2003 ˈluzɪŋ tɪ ˈʧæmpiənz ˌmɑsɑˈhɪˌroʊ ənd əraʊnd ðə seɪm taɪm, pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈklaɪˌmæks, ə ˈtʊrnəmənt ˈfiʧərɪŋ ˈoʊnli ˈrɛsələrz ˈəndər ðə eɪʤ əv 30 tɪ ˌdɪˈsaɪd ðə fərst ˈʧæmpiən. ˈfɪnɪʃt ɪn fərst pleɪs aʊt əv faɪv ɪn blɑk ə, dɪˈfitɪŋ hɪˈroʊʃi, ənd dæn dəˈvaɪn, ənd ˈluzɪŋ tɪ 2 hi wʊd goʊ ɔn tɪ dɪˈfit blu wʊlf ɪn ðə ˌsɛmɪˈfaɪnəlz ˌbiˈfɔr ˈluzɪŋ tɪ hɪˈroʊʃi ɪn ðə ˈfaɪnəl ɔn ˈeɪprəl 23 ɔn ˌʤuˈlaɪ 1 2003 ˈtrævəld tɪ proʊ ˈrɛsəlɪŋ noʊə, ˈtimɪŋ wɪθ ˌjoʊʃɪˈhiˌroʊ tɑkɑˈjɑmə ənd noʊəz ˌtɑˈkɑʃi tɪ dɪˈfit ʤən ɑkiˈjɑmə, ˈseɪˌtoʊ ənd məˈkoʊtoʊ ˈhæˌʃi. hi ənd tɑkɑˈjɑmə wʊd goʊ ɔn tɪ ˈʧælənʤ ənd ˈhɔndə fər ðə tæg tim ˈʧæmpiənˌʃɪp, ˈgɪtɪŋ pɪnd ˈæftər ə kənˈtɪnjud tɪ ˈrɛsəl mɪd- ənd ˈrɛsələrz ɪn θruaʊt 2003 ənd məʧ əv 2004 ˌbiˈfɔr ˈmeɪkɪŋ hɪz fərst əˈpɪrəns ɪn nu ʤəˈpænz ˈænjuəl ˈklaɪˌmæks ˈhɛviˌweɪt ˈtʊrnəmənt, ˈʧeɪnʤɪŋ hɪz neɪm tɪ ənd dɪˈfitɪŋ nɑˈgɑi ɔn ˈɔgəst 7 2004 tɪ geɪn ˈɛntrəns ˈɪntu ðə ˌkɑmpəˈtɪʃən. ˈfɪnɪʃt ɪn ˈsɛvənθ aʊt əv eɪt ɪn hɪz blɑk wɪθ fɔr pɔɪnts, dɪˈfitɪŋ oʊˈsɑmu niʃiˈmʊrə baɪ ənd ˌjoʊʃɪˈhiˌroʊ tɑkɑˈjɑmə baɪ əˈgɛn pɑrˈtɪsəˌpeɪtɪd ɪn ðə ˈklaɪˌmæks ɪn ˈɔgəst 2005 ðoʊ hi wɑz ɪn ˈoʊnli tu ˈmæʧɪz ˌbiˈfɔr ˈtɪrɪŋ hɪz əˈkɪliz ˈtɛndən ɪn ə mæʧ əˈgɛnst nɑkɑˈmʊrə. wɑz fɔrst tɪ ˈfɔrfɪt ðə rɛst əv hɪz ˈmæʧɪz du tɪ ðə ˈɪnʤəri, ˈfɪnɪʃɪŋ wɪθ ˈziroʊ ənd ˈteɪkɪŋ ɪm aʊt əv ˈækʃən fər faɪv mənθs. hi rɪˈtərnd ɔn ˈʤænjuˌɛri 8 2006 ˈtimɪŋ wɪθ ˈtɔru ˈjɑnoʊ ɪn ə ˈluzɪŋ ˈɛfərt əˈgɛnst oʊˈsɑmu niʃiˈmʊrə ənd ˈɛnərd ðə ˈsɛkənd ˈænjuəl nu ʤəˈpæn kəp ɪn ˈeɪprəl 2006 dɪˈfitɪŋ ˈgoʊˌtu ɪn ðə fərst raʊnd ˌbiˈfɔr ˈluzɪŋ tɪ nɑˈgɑtə ɪn ðə ɔn ˌʤuˈlaɪ 2 2006 timd wɪθ ɪn ə ˌwəˈnaɪt ˈtʊrnəmənt tɪ kraʊn ðə ˈɪnərəm tæg tim ˈʧæmpiənz, ˈæftər ˈpraɪˌmɛri ˈʧæmpiənz ˌmɑsɑˈhɪˌroʊ ənd bɪˈkeɪm ˌɪˈnæktɪv. ðə ˈduoʊ dɪˈfitɪd ðə timz əv nɑˈgɑtə ənd jɑmɑˈmoʊtoʊ ənd ʤaɪənt ˈbərnərd ənd ˈtrævɪs ˈtɑmkoʊ tɪ wɪn ðə ˈɪnərəm ðə reɪn wʊd bi ˌʃɔrˈtlɪvd ˌhaʊˈɛvər, ɛz ənd wʊd luz ðə ˈtaɪtəl tɪ nɑkɑˈniʃi ənd ˌtɑˈkɑoʊ oʊˈmɔri ʤɪst 15 deɪz ˈɛnərd ðə 2006 ˈklaɪˌmæks ɪn ˈɔgəst, ˈfɪnɪʃɪŋ wɪθ θri pɔɪnts ɪn hɪz blɑk wɪθ ə wɪn ˈoʊvər jɑmɑˈmoʊtoʊ ənd ə ˈdəbəl kaʊnt aʊt əˈgɛnst ɔn sɛpˈtɛmbər 24 2006 ˈɛnərd əˈpæʧi ˈɑrmi, dɪˈfitɪŋ ɔn ðɛr θərd ˌænəˈvərsəri ʃoʊ tɪ rɪˈvaɪv ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp, ðə fərst əˈfɪʃəl ˌʤæpəˈniz ˈtaɪtəl əv hɪz ɔn ɑkˈtoʊbər 2 2006 əˈnaʊnst ə nu ˈfækʃən ˈfiʧərɪŋ hɪmˈsɛlf, ənd, ˈneɪmɪŋ ɪt greɪt bæʃ hil (gbh*) ˈʃɔrtli ˈæftərwərd; ˈtɔru ˈjɑnoʊ ənd ˌɪˈʃiˌi, hu hæd bɪn fˈjudɪŋ wɪθ ənd, ˈɔlsoʊ ʤɔɪnd ðə timd wɪθ ɪn ðə tæg lig ˈleɪtər ðət mənθ, ˈfɪnɪʃɪŋ ɪn læst pleɪs ɪn ðɛr blɑk aʊt əv faɪv, ˈɛndɪŋ wɪθ tu pɔɪnts ˈviə ə ˈvɪktəri ˈoʊvər əˈvɛnʧuəl ˈwɪnərz ˌmɑsɑˈhɪˌroʊ ənd ˈɛnərd əˈnəðər tæg tim ˈtʊrnəmənt ɪn noʊˈvɛmbər, ðə ˈnæʃənəl ˈɛriə tæg lig, ɪn wɪʧ timz wər ˈɔrgəˌnaɪzd baɪ hoʊm ˈriʤən; timd wɪθ, ˌrɛprɪˈzɛnɪŋ ðə kantō*ō ˈriʤən. ðeɪ lɔst boʊθ əv ðɛr ˈmæʧɪz ɪn blɑk di, ˈfɑlɪŋ tɪ hɪˈroʊʃi ənd jɑmɑˈmoʊtoʊ əv kænˈsaɪ ɛz wɛl ɛz miˈlɑnoʊ kəˈlɛkʃən æt ənd prɪns dɪˈvɪt, ˌrɛprɪˈzɛnɪŋ ɔn noʊˈvɛmbər 18 2006 meɪd hɪz fərst dɪˈfɛns əv ðə ˈtaɪtəl ɔn nu ʤəˈpænz lɑk əp brænd, dɪˈfitɪŋ ɪn ə ənd timd wəns əˈgɛn ɔn dɪˈsɛmbər 10 2006 ˌənsəkˈsɛsfəli ˈʧælənʤɪŋ ðə tim əv nɑkɑˈniʃi ənd proʊ ˈrɛsəlɪŋ ˌtɑˈkɑoʊ oʊˈmɔri fər ðə əˈfɪʃəl tæg tim ˈtaɪtəl ˈæftər ˈluzɪŋ ðə ˈɪnərəm ˈtaɪtəl ɪn ɪn ˈɔgəst 2008 timd wɪθ ˈælaɪz ˈjɑnoʊ ənd ˌɪˈʃiˌi ɔn ˈʤænjuˌɛri 4 2007 æt ˈrɛsəl ˈkɪŋdəm ɪn ˈtoʊkiˌoʊ doʊm, dɪˈfitɪŋ ˈtrævɪs ˈtɑmkoʊ ənd braʊn ənd fɔr deɪz ˈleɪtər, rɪˈteɪnd ðə ˈtaɪtəl əˈgɛnst kərˈoʊdə æt ən ɪˈvɛnt baɪ əˈpæʧi proʊ ənd ˌtɑˈkɑʃi hi wʊd dɪˈfɛnd ðə ˈʧæmpiənˌʃɪp fər ə θərd taɪm ɔn ˈfɛbruˌɛri 4 2007 æt lɑk əps fərst ʃoʊ ɪn hɔl, dɪˈfitɪŋ ˈmæməθ sɑˈsɑki ɪn ə keɪʤ dɛθ ɔn ˈfɛbruˌɛri 18 2007 feɪst ənd lɔst tɪ nɑkɑˈmʊrə ɪn ə mæʧ ˈpɪtɪŋ əˈgɛnst nɑkɑˈmʊrə ənd ˌmɑsɑˈhɪˌroʊ blæk ˈfækʃən, ˈsəbˌtaɪtəld əˈgɛn ˈɛnərd ðə nu ʤəˈpæn kəp ɪn mɑrʧ 2007 ˈmeɪkɪŋ ɪt tɪ ðə ˈfaɪnəlz wɪθ ˈvɪktəriz ˈoʊvər ˈtrævɪs ˈtɑmkoʊ ənd ˌtɑˈkɑʃi baɪ ənd baɪ dɪskˌwɑləfəˈkeɪʃən, ˌbiˈfɔr ˈluzɪŋ tɪ nɑˈgɑtə ɪn ðə ɔn ˈeɪprəl 8 2007 feɪst nɑkɑˈmʊrə ɪn ə ˈriˈmæʧ əv ðɛr ˈfɛbruˌɛri ˈkɑntɛst, dɪˈfitɪŋ ɪn ə ʧeɪn dɛθ meɪd hɪz fɔrθ dɪˈfɛns əv ðə ˈtaɪtəl ɔn ˈeɪprəl 15 2007 ɪn əˈpæʧi proʊ, əˈgɛn dɪˈfitɪŋ ˈmæməθ ˈbætəld nɑkɑˈmʊrə fər ə θərd taɪm ɔn meɪ 3 2007 ɪn ə mæʧ dəbd "ˌriˈæləˌti ər riˈvɛnʤ", ˈwɪnɪŋ wəns ɔn meɪ 20 2007 ˈbætəld ə blæk ənd əˈlaɪəns əv nɑˈgɑtə,, ˌmɑsɑˈhɪˌroʊ, nɑkɑˈmʊrə ənd jɑmɑˈmoʊtoʊ; ənd sərˈvaɪvd, læst ɪˈlɪməˌneɪtɪŋ ˈhɛviˌweɪt ˈʧæmpiən nɑˈgɑtə baɪ ɔn ʤun 24 2007 lɔst ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp ɪn əˈpæʧi proʊ tɪ ɪn ðɛr θərd ˈfɑloʊd əp hɪz ˈoʊvər nɑˈgɑtə ɪn meɪ wɪθ ə ˈʧælənʤ tɪ ˈtaɪtəl, hɪz fərst ˈsɪŋgəlz ˈtaɪtəl ʃɑt ɪn nu ʤəˈpæn, ɔn ˌʤuˈlaɪ 6 2007 ɪn frənt əv ə soʊld aʊt hɔl; nɑˈgɑtə wən wɪθ ə ˈbækˌdrɑp ɪn ʤɪst ˈəndər 20 hæd hɪz ˈstrɔŋgəst ʃoʊɪŋ tɪ deɪt ɪn ðə ˈklaɪˌmæks ɪn ˈɔgəst, ˈfɪnɪʃɪŋ fərst pleɪs ɪn hɪz blɑk wɪθ sɪks pɔɪnts wɪθ ˈvɪktəriz ˈoʊvər ʤaɪənt ˈbərnərd, nɑˈgɑtə, ənd ˌmɑsɑˈhɪˌroʊ ˌbiˈfɔr ˈluzɪŋ ɪn ðə ˌsɛmɪˈfaɪnəlz tɪ əˈvɛnʧuəl ˈwɪnər hɪˈroʊʃi ˈɔlsoʊ meɪd ɪt tɪ ðə ˌsɛmɪˈfaɪnəlz ɪn ðə tæg lig ɪn noʊˈvɛmbər, ˈskɔrɪŋ 8 pɔɪnts wɪθ ˈtɔru ˈjɑnoʊ ɪn ðə ˈtʊrnəmənts ˈsɪŋgəl blɑk baɪ dɪˈfitɪŋ ðə timz əv nɑˈgɑtə ənd nɑkɑˈniʃi, ˌækiˈboʊnoʊ ənd ˌmɑsɑˈhɪˌroʊ, ənd ənd, ɛz wɛl ɛz ʤaɪənt ˈbərnərd ɪn ə ˈhændiˌkæp mæʧ wɪn hɪz ˈpɑrtnər ˈtrævɪs ˈtɑmkoʊ ðə ɪˈvɛnt; ˈbərnərd ənd ˈtɑmkoʊ, ðə əˈvɛnʧuəl ˈwɪnərz, wʊd dɪˈfit ənd ˈjɑnoʊ ɪn ðə ɔn dɪˈsɛmbər 9 2007 ənd nɑkɑˈmʊrə feɪst ɔf ɪn ðɛr fɔrθ ənd ˈfaɪnəl mæʧ əv ðə jɪr, ðɪs taɪm wɪθ ðə ˈwɪnər rɪˈsivɪŋ ə ʃɑt æt hɪˈroʊʃi ˈhɛviˌweɪt ˈtaɪtəl æt ðə ˈtoʊkiˌoʊ doʊm ɪn ˈʤænjuˌɛri; nɑkɑˈmʊrə wɑz vɪkˈtɔriəs, taɪɪŋ ðɛr ˈsɪriz æt ɔn ˈʤænjuˌɛri 4 2008 æt ˈrɛsəl ˈkɪŋdəm ɪn ˈtoʊkiˌoʊ doʊm, frɛʃ ɔf əv ˈwɪnɪŋ ˈtoʊkiˌoʊ spɔrts' tæg tim əv ðə jɪr əˈwɔrd fər ənd ˈtɔru ˈjɑnoʊ wər dɪˈfitɪd baɪ ˈtoʊtəl ˌnɑnˈstɑp ˈækʃən (tna*) tim (ˈbrəðər reɪ ənd ˈbrəðər ˈdɛvən) ɛz pɑrt əv ən kɑrd bɪtˈwin ənd ənd ˈjɑnoʊ wʊd ˈleɪtər dɪˈfit ʤaɪənt ˈbərnərd ənd ˈtrævɪs ˈtɑmkoʊ fər ðə tæg tim ˈʧæmpiənˌʃɪp ɔn ˈfɛbruˌɛri 17 ˈərliər ɪn ðə naɪt, ˈlidər wɑz bɪˈtreɪd ənd əˈtækt baɪ ˈfɛloʊ ˈmɛmbərz ˌɪˈʃiˌi, ənd, ˈkɪkɪŋ ɪm aʊt əv ðə ənd ˈjɑnoʊ meɪd ðɛr fərst ˈtaɪtəl dɪˈfɛns ɔn mɑrʧ 9 2008 rɪˈteɪnɪŋ ˈoʊvər ʤaɪənt ˈbərnərd ənd nɑkɑˈmʊrə wɪn ˌɪnərˈfɪrəns frəm boʊθ timz' rɪˈspɛktɪv ˈfækʃənz lɛd tɪ ə noʊ ˈkɑntɛst; ɛz ə rɪˈzəlt ðə mæʧ wɑz ˈstrɪkən frəm ðə ˈrɛkərd, ənd ɪz nɑt kənˈsɪdərd ən əˈfɪʃəl dɪˈfɛns. ˈleɪtər ðət mənθ, pɑrˈtɪsəˌpeɪtɪd ɪn ðə nu ʤəˈpæn kəp fər ðə θərd streɪt jɪr, dɪˈfitɪŋ ˌtɑˈkɑʃi ənd ˈaʊstɪd ˈlidər ɪn ðə fərst tu raʊnz, ˌbiˈfɔr ˈfɑlɪŋ tɪ əˈvɛnʧuəl ˈwɪnər hɪˈroʊʃi ɪn ðə ənd ˈbætəld ðə ˈfɑloʊɪŋ wik ɪn ə tæg tim mæʧ, ənd ˌtɑˈkɑʃi dɪˈfitɪŋ ənd ˈjɑnoʊ wɪn pɪnd ðə tu timz ˈbætəld əˈgɛn, ðɪs taɪm fər ðə ˈʧæmpiənˌʃɪp, ɔn ˈeɪprəl 27 2008 ənd ˈjɑnoʊ keɪm aʊt ɔn tɔp ɪn ðɛr fərst əˈfɪʃəl dɪˈfɛns ˈæftər bɪˈtreɪd ənd əˈlaʊd ðə ˈʧæmpiənz tɪ rɪˈteɪn, ˈsimɪŋli ˈʤɔɪnɪŋ. ɪn ˈɔgəst wəns əˈgɛn ˈfɪnɪʃt fərst ɪn hɪz blɑk əv ðə ˈklaɪˌmæks ˈtʊrnəmənt ənd ədˈvænst tɪ ðə ˈfaɪnəlz, wɛr hi wɑz dɪˈfitɪd baɪ ˈgoʊˌtu, dɪˈspaɪt ˌɪnərˈfɪrəns frəm tim ɪn dɪˈsɛmbər 2010 ɔn ˈʤænjuˌɛri 4 2009 ənd ˈjɑnoʊ wər ˈskɛʤʊld tɪ dɪˈfɛnd ðə tæg tim ˈʧæmpiənˌʃɪp æt ˈrɛsəl ˈkɪŋdəm ɪn ˈtoʊkiˌoʊ doʊm ɪn ə θri weɪ dæns əˈgɛnst tim əv ˈrɛsəlɪŋ ənd sɑˈtoʊʃi kəˈjaɪmə ənd, bət ən ˈɪnʤəri tɪ tərnd ɪt ˈɪntu ə mæʧ bɪtˈwin ˈjɑnoʊ ənd, wɪʧ wən. ˈɔlsoʊ wən ðə ˈsəbsəkwənt ˈriˈmæʧ ə mənθ ˈleɪtər. ðɪs ˈfeɪljər ˌɪˈnɛvətəbli lɛd tɪ ðə tim dɪˈzɔlvɪŋ wɪn ˈjɑnoʊ kɔst ə mæʧ əˈgɛnst nɑkɑˈmʊrə ɪn ˈərli ˈeɪprəl. waɪl wɑz aʊt du tɪ ə hɛd ˈɪnʤəri ˈsəfərd æt ðə hænz əv ˈjɑnoʊ, moʊst əv, ˈjɑnoʊ ˌɪnˈkludɪd, wɛnt ɔn tɪ fɔrm keɪɑs wɪθ nɑkɑˈmʊrə, ˈlivɪŋ ənd ɔn ðɛr oʊn. ɪn ˈɔgəst 2009 ˈfɪnɪʃt fərst ɪn hɪz blɑk əv ðə ˈklaɪˌmæks ˈtʊrnəmənt fər ðə θərd jɪr ɪn ə roʊ ənd ðɛn dɪˈfitɪd ˌtɑˈkɑʃi ənd nɑkɑˈmʊrə tɪ wɪn ðə ɪnˈtaɪər ˈæftər hɪˈroʊʃi wɑz fɔrst tɪ ˈveɪkeɪt ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp du tɪ ən ˈɪnʤəri, ənd nɑkɑˈmʊrə wər bʊkt ɪn ə ˈriˈmæʧ tɪ dɪˈtərmən ðə nu ˈʧæmpiən. nɑkɑˈmʊrə dɪˈfitɪd wɪθ ðə jɛ tɪ bɪˈkəm ðə æt ˈrɛsəl ˈkɪŋdəm ɪn ˈtoʊkiˌoʊ doʊm dɪˈfitɪd mʊˈhɑməd ɪn ən mæʧ bɪtˈwin nu ʤəˈpæn ənd proʊ ˈrɛsəlɪŋ ɪn noʊˈvɛmbər 2011 ɪn ˈʤænjuˌɛri əˈlɔŋ wɪθ hɪz ˈælaɪ, wʊd kəmˈpit ɔn noʊəz ˈgloʊbəl tæg lig. ðeɪ ˈoʊnli wən wən bət lɛft ə juʤ mɑrk baɪ ˈpɪnɪŋ ˈhɛviˌweɪt ˈʧæmpiən ˌtɑˈkɑʃi ɪn ə tæg tim ɔn ˈfɛbruˌɛri 28 feɪld tɪ kleɪm ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp frəm ˌtɑˈkɑʃi æt ɪn mɑrʧ 2010 ˈɛnərd ðə 2010 nu ʤəˈpæn kəp ənd dɪˈfitɪd ˌɪˈʃiˌi, ˈtɔru ˈjɑnoʊ ənd ˈneɪtoʊ tɪ ədˈvæns tɪ ðə ˈfaɪnəlz, wɛr hi wɑz wəns əˈgɛn dɪˈfitɪd baɪ ˈgoʊˌtu ɪn ə ˈriˈmæʧ əv ðɛr 2008 ˈklaɪˌmæks ˈfaɪnəl ˈæftər ˈgoʊˌtu feɪld ɪn hɪz ˈtaɪtəl mæʧ əˈgɛnst ðə ˈhɛviˌweɪt ˈʧæmpiən nɑkɑˈmʊrə, leɪd ə ˈʧælənʤ fər ðə bɛlt ənd ɔn meɪ 3 2010 æt ˈrɛsəlɪŋ 2010 dɪˈfitɪd nɑkɑˈmʊrə tɪ wɪn ðə ˈhɛviˌweɪt ɔn ʤun 19 æt dəˈmɪnjən meɪd hɪz fərst səkˈsɛsfəl ˈtaɪtəl dɪˈfɛns, dɪˈfitɪŋ proʊ ˈrɛsəlɪŋ noʊəz goʊ ɔn ˌʤuˈlaɪ 19 səkˈsɛsfəli dɪˈfɛndɪd ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp əˈgɛnst ˈpriviəs ˈʧæmpiən ðə ˈfɑloʊɪŋ mənθ ˈɛnərd ðə 2010 ˈklaɪˌmæks ˈtʊrnəmənt. ˈæftər ə ˈrɑki stɑrt, wɪʧ ˌɪnˈkludɪd ˈlɔsɪz tɪ ˈneɪtoʊ ənd ˈfɔrmər tæg tim ˈpɑrtnər ˈtɔru ˈjɑnoʊ, keɪm bæk wɪθ ə fɔr mæʧ ˈwɪnɪŋ strik, ˈoʊnli tɪ luz tɪ hɪˈroʊʃi ɔn ðə ˈfaɪnəl deɪ əv ðə ˈtʊrnəmənt ənd ðəs mɪs ədˈvænsɪŋ tɪ ðə ɔn ɑkˈtoʊbər 11 lɔst ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp tɪ ˈklaɪˌmæks ˈwɪnər, sɑˈtoʊʃi ˈdʊrɪŋ ðə 2010 tæg lig, wɛr hi timd wɪθ, ˈsəfərd ə nɛk ˈɪnʤəri ɪn ə mæʧ əˈgɛnst tɑˈnɑkə ənd ˌɪˈʃiˌi ðət wʊd ˈsaɪˌdlaɪn ɪm ənd tɑˈnɑkə wʊd ˈsɛtəl ðɛr grəʤ ɔn ˈʤænjuˌɛri 4 2011 æt ˈrɛsəl ˈkɪŋdəm vi ɪn ˈtoʊkiˌoʊ doʊm, ɪn ə mæʧ, wɛr wɑz ɔn meɪ 3 fɔrmd ə nu ˈpɑrtnərˌʃɪp wɪθ sɑˈtoʊʃi kəˈjaɪmə, ˈæftər ðɛr mæʧ əˈgɛnst iʧ ˈəðər, wɪn ðə rɛst əv kojima-gun*, ˈeɪdɪd baɪ ðə rɪˈtərnɪŋ mɪˈnɔru səˈzuki, tərnd ɔn ðɛr ˈleɪtər ðət seɪm mənθ, tʊk pɑrt ɪn nu ʤəˈpænz fərst ˈɛvər tʊr əv ðə juˈnaɪtɪd steɪts, ðə ˌɪnˈveɪʒən tʊr 2011 ˈdʊrɪŋ wɪʧ hi fˈjudɪd wɪθ ˈraɪˌnoʊ. ənd ˈraɪˌnoʊ meɪn ðə ˈfaɪnəl deɪ əv ðə tʊr ɔn meɪ 15 æt ðə əˈsaɪləm ərˈinə, wɛr wɑz vɪkˈtɔriəs ɪn ə saʊθ ˌfɪləˈdɛlfiə strit kənˈtɪnjud hɪz ˈraɪvəlri wɪθ ðə baɪ ˈskɔrɪŋ ˈvɪktəriz ˈoʊvər taichi*, ənd læns ˈɑrʧər, ˌbiˈfɔr biɪŋ dɪˈfitɪd baɪ ðə grups ˈlidər mɪˈnɔru səˈzuki ɪn ə grəʤ mæʧ ɔn ɑkˈtoʊbər 10 æt dɪˈstrəkʃən ɪn ðə 2011 tæg lig, timd wɪθ sɑˈtoʊʃi kəˈjaɪmə ɛz ðə "bist ˈæftər ˈpɪkɪŋ əp θri wɪnz ənd wən lɔs ɪn ðɛr fərst fɔr ˈmæʧɪz, ənd kəˈjaɪmə wər dɪˈfitɪd baɪ ðə ˈbɪljən paʊərz ˈgoʊˌtu ənd hɪˈroʊʃi) ɔn noʊˈvɛmbər 4 ˈkɔzɪŋ ðɛm tɪ ˈnɛroʊli mɪs ədˈvænsɪŋ tɪ ðə ˌsɛmɪˈfaɪnəlz əv ðə ɪn leɪt 2011 ˈʃɪftɪd frəm fˈjudɪŋ wɪθ mɪˈnɔru səˈzuki tɪ hɪz ˈpɑrtnər ˌjoʊʃɪˈhiˌroʊ tɑkɑˈjɑmə, wɪʧ bɪlt tɪ ə mæʧ ɔn ˈʤænjuˌɛri 4 2012 æt ˈrɛsəl ˈkɪŋdəm vi ɪn ˈtoʊkiˌoʊ doʊm, wɛr dɪˈfitɪd tɑkɑˈjɑmə ɪn ə ˈsɪŋgəlz ˈraɪvəlri wɪθ səˈzuki ˈkəlməˌneɪtɪd ɔn ʤun 16 æt dəˈmɪnjən wɛr wɑz vɪkˈtɔriəs ɪn ə ˈsɪŋgəlz grəʤ ɛz ə rɪˈzəlt, wɑz ˈgrænɪd ə ʃɑt æt ðə ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp, bət hi wɑz əˈneɪbəl tɪ dɪθˈroʊn ðə dɪˈfɛndɪŋ ˈʧæmpiən, hɪˈroʊʃi, ɪn ðɛr ˈtaɪtəl mæʧ ɔn ˌʤuˈlaɪ ˈɛndɪd hɪz lɔŋ ˈraɪvəlri wɪθ ðə ɔn sɛpˈtɛmbər 23 æt dɪˈstrəkʃən, wɪn hi dɪˈfitɪd ðə nuəst ˈmɛmbər, mashimo*, ɪn ə ˈsɪŋgəlz wɪθ hɪz fjud wɪθ bɪˈhaɪnd ɪm, bɪˈgæn ə nu fjud wɪθ ðə rɪˈtərnɪŋ tim əv ʃiˈbɑtə ənd ˈlidɪŋ tɪ ɪm ənd ˌɪˈnoʊˌeɪ ˈluzɪŋ tɪ ðə tu ɪn tæg tim ˈmæʧɪz ɔn ɑkˈtoʊbər 8 æt kɪŋ əv ənd noʊˈvɛmbər 11 æt paʊər frəm noʊˈvɛmbər 20 tɪ dɪˈsɛmbər 1 ənd ˌɪˈnoʊˌeɪ, bɪld kəˈlɛktɪvli ɛz "ˈɔlˌweɪz tʊk pɑrt ɪn ðə ˈpɔrʃən əv ðə 2012 wərld tæg lig. ðə tim ˈfɪnɪʃt wɪθ ə ˈrɛkərd əv fɔr wɪnz ənd tu ˈlɔsɪz, ˈwɪnɪŋ ðɛr blɑk ənd ədˈvænsɪŋ tɪ ðə ˌsɛmɪˈfaɪnəlz əv ðə ɔn dɪˈsɛmbər 2 ənd ˌɪˈnoʊˌeɪ wər ɪˈlɪməˌneɪtɪd frəm ðə ˈtʊrnəmənt ɪn ðɛr ˌsɛmɪˈfaɪnəl mæʧ baɪ ðə ˈreɪnɪŋ tæg tim ˈʧæmpiənz, k.e.s*. (ˈdeɪvi bɔɪ smɪθ, jr*. ənd læns ðə ˈraɪvəlri bɪtˈwin ənd ʃiˈbɑtə bɪlt tɪ ə grəʤ mæʧ ɔn ˈʤænjuˌɛri 4 2013 æt ˈrɛsəl ˈkɪŋdəm 7 ɪn ˈtoʊkiˌoʊ doʊm, wɛr wɑz ðə ˈfɑloʊɪŋ mənθ, ˈstɑrtɪd ə nu ˈraɪvəlri wɪθ ðə tu fərst mɛt iʧ ˈəðər ɪn ə ˈsɪŋgəlz mæʧ ɔn ˈfɛbruˌɛri 10 æt ðə nu bɪˈgɪnɪŋ, wɛr wɑz ɔn mɑrʧ 11 ənd tɑkɑˈhɑʃi feɪst ɔf ɪn ðə fərst raʊnd əv ðə 2013 nu ʤəˈpæn kəp ɪn ə mæʧ, wɛr tɑkɑˈhɑʃi ˈimərʤd ɔn mɑrʧ 23 rɪˈtərnd tɪ nu ʤəˈpæn, əˈlaɪnɪŋ hɪmˈsɛlf wɪθ ɪn hɪz wɔr wɪθ tɑkɑˈhɑʃi ənd ðə rɛst əv ðə ˌriuˈnaɪtɪd hæd ðɛr fərst mæʧ bæk təˈgɛðər ɔn ˈeɪprəl 7 æt ˌɪnˈveɪʒən əˈtæk, wɛr ðeɪ wər dɪˈfitɪd baɪ tɑkɑˈhɑʃi ənd tɑˈnɑkə ɪn ə tæg tim ənd tɑkɑˈhɑʃi feɪst ɔf ɪn əˈnəðər ˈsɪŋgəlz mæʧ ɔn meɪ 3 æt ˈrɛsəlɪŋ 2013 wɛr pɪkt əp ə dɪˈsaɪsɪv wɪn. ˈæftər ðə meɪn ɪˈvɛnt əv ðə ˈivnɪŋ, ˈʧælənʤd oʊˈkɑdə tɪ ə mæʧ fər ðə ˈhɛviˌweɪt rɪˈsivd hɪz ˈtaɪtəl ʃɑt ɔn ʤun 22 æt dəˈmɪnjən bət wɑz dɪˈfitɪd baɪ frəm ˈɔgəst 1 tɪ 11 tʊk pɑrt ɪn ðə 2013 wɛr hi ˈfɪnɪʃt wɪθ ə ˈrɛkərd əv faɪv wɪnz ənd fɔr ˈlɔsɪz, wɪθ ə lɔs əˈgɛnst prɪns dɪˈvɪt ɔn ðə ˈfaɪnəl deɪ ˈkɔstɪŋ ɪm ə spɑt ɪn ðə ðɛn ˈstɑrtɪd fˈjudɪŋ wɪθ dɪˈvɪt ənd hɪz ˈbʊlət kləb ˈleɪtər ɪn ðə jɪr, ˈæftər dɪˈvɪt bɪˈgæn ˈkɑnsənˌtreɪtɪŋ ɔn dɪˈfɛndɪŋ hɪz ˈʤunjər ˈhɛviˌweɪt ˈʧæmpiənˌʃɪp, meɪd əˈnəðər ˈbʊlət kləb ˈmɛmbər, bæd lək, huz ˌɪnərˈfɪrəns hæd kɔst ɪm hɪz mæʧ əˈgɛnst dɪˈvɪt ɪn ðə ˈklaɪˌmæks, hɪz meɪn ɪn dɪˈsɛmbər, ənd meɪd ɪt tɪ ðə ˌsɛmɪˈfaɪnəlz əv ðə 2013 wərld tæg lig, ˌbiˈfɔr biɪŋ ɪˈlɪməˌneɪtɪd baɪ ðə ˈbʊlət kləb tim əv dɑk ˈgæloʊz ənd kɑrl ˈændərsən, ˈfɑloʊɪŋ ˈaʊtˈsaɪd ˌɪnərˈfɪrəns frəm ðə ˈraɪvəlri bɪtˈwin ənd ˈkəlməˌneɪtɪd ɪn ə kɪŋ əv dɪˈstrɔɪər mæʧ ɔn ˈʤænjuˌɛri 4 2014 æt ˈrɛsəl ˈkɪŋdəm 8 ɪn ˈtoʊkiˌoʊ doʊm, wɛr wɑz ənd feɪst ɔf əˈgɛn ɔn mɑrʧ 15 ɪn ðə fərst raʊnd əv ðə 2014 nu ʤəˈpæn kəp, wɛr wɑz ðə ˈfɑloʊɪŋ mənθ, ənd hɪˈroʊʃi fɔrmd ə tæg tim neɪmd "eɪs tɪ kɪŋ" (ˌʤæpəˈniz fər "eɪs ənd kɪŋ") tɪ goʊ ˈæftər ˈbʊlət kləbz tæg tim ɔn meɪ 25 æt bæk tɪ ðə ˌjoʊkəˈhɑmə ərˈinə, ənd dɪˈfitɪd ˈgoʊˌtu ənd ʃiˈbɑtə tɪ ərn ə ʃɑt æt ðə tæg tim ənd rɪˈsivd ðɛr ˈtaɪtəl ʃɑt ɔn ʤun 21 æt dəˈmɪnjən bət wər dɪˈfitɪd baɪ ˈbʊlət kləbz dɑk ˈgæloʊz ənd kɑrl ðɛn ˌriuˈnaɪtɪd wɪθ fər ðə 2014 wərld tæg wɛr ðə tu ˈfɪnɪʃt læst ɪn ðɛr blɑk wɪθ ə ˈrɛkərd əv θri wɪnz ənd fɔr ɪn mɑrʧ 2015 ɔn ˈʤænjuˌɛri 4 2015 æt ˈrɛsəl ˈkɪŋdəm 9 ɪn ˈtoʊkiˌoʊ doʊm, dɪˈfitɪd ˌɪˈʃiˌi tɪ wɪn ðə ˈnɛvər ˈʧæmpiənˌʃɪp fər ðə fərst ˈæftər ˈkəmɪŋ daʊn wɪθ ˌɪnfluˈɛnzə, wɑz strɪpt əv ðə ˈtaɪtəl ɔn ˈfɛbruˌɛri 14 du tɪ biɪŋ əˈneɪbəl tɪ ˈrɛsəl ˌɪˈʃiˌi ɪn ə ˈtaɪtəl ˈriˈmæʧ æt ðə nu bɪˈgɪnɪŋ ɪn ˈæftər rɪˈkəvərɪŋ, dɪˈfitɪd ˌɪˈʃiˌi ɔn ˈeɪprəl 29 æt ˈrɛsəlɪŋ tɪ rɪˈgeɪn ðə ˈnɛvər hi meɪd hɪz fərst səkˈsɛsfəl ˈtaɪtəl dɪˈfɛns əˈgɛnst ˌɪˈʃiˌi ɔn ˌʤuˈlaɪ 5 æt dəˈmɪnjən ɪn frəm ˌʤuˈlaɪ 20 tɪ ˈɔgəst 14 tʊk pɑrt ɪn ðə 2015 wɛr hi ˈfɪnɪʃt ɪn ðə ˈmɪdəl əv hɪz blɑk wɪθ ə ˈrɛkərd əv fɔr wɪnz ənd faɪv ɔn sɛpˈtɛmbər 23 æt dɪˈstrəkʃən ɪn okayama*, meɪd hɪz ˈsɛkənd səkˈsɛsfəl dɪˈfɛns əv ðə ˈnɛvər ˈʧæmpiənˌʃɪp əˈgɛnst ibushi*, hu hæd dɪˈfitɪd ɪm ˈdʊrɪŋ ðə 2015 ɔn ɑkˈtoʊbər 12 æt kɪŋ əv, lɔst ðə ˈtaɪtəl bæk tɪ ɪn dɪˈsɛmbər, ənd wən ðɛr blɑk ɪn ðə 2015 wərld tæg lig wɪθ ə ˈrɛkərd əv fɔr wɪnz ənd tu ˈlɔsɪz, ədˈvænsɪŋ tɪ ðə ˈfaɪnəlz əv ðə ɔn dɪˈsɛmbər 9 ənd dɪˈfitɪd lɔs də (ˈivəl ənd ˈneɪtoʊ) ɪn ðə ˈfaɪnəlz tɪ wɪn ðə 2015 wərld tæg ɔn ˈʤænjuˌɛri 4 2016 æt ˈrɛsəl ˈkɪŋdəm 10 ɪn ˈtoʊkiˌoʊ doʊm, ənd dɪˈfitɪd ˈbʊlət kləbz dɑk ˈgæloʊz ənd kɑrl ˈændərsən tɪ wɪn ðə tæg tim ðeɪ meɪd ðɛr fərst səkˈsɛsfəl ˈtaɪtəl dɪˈfɛns ɔn ˈfɛbruˌɛri 14 æt ðə nu bɪˈgɪnɪŋ ɪn ɪn ə ˈriˈmæʧ əˈgɛnst ˈgæloʊz ənd ðeɪ lɔst ðə ˈtaɪtəl tɪ gərˈɪləz əv ˈdɛstəni (ˈtɑmə ˈtɑngə ənd loa*) ɔn ˈeɪprəl 10 æt ˌɪnˈveɪʒən əˈtæk frəm ˌʤuˈlaɪ 18 tɪ ˈɔgəst 12 tʊk pɑrt ɪn ðə 2016 ˈklaɪˌmæks, wɛr hi ˈfɪnɪʃt wɪθ ə ˈrɛkərd əv fɔr wɪnz ənd faɪv ɪn dɪˈsɛmbər, ənd ədˈvænst tɪ ðə ˈfaɪnəlz əv ðə 2016 wərld tæg lig baɪ ˈwɪnɪŋ ðɛr blɑk wɪθ ə ˈrɛkərd əv faɪv wɪnz ənd tu ɔn dɪˈsɛmbər 10 ənd dɪˈfitɪd ðə ˈreɪnɪŋ tæg tim ˈʧæmpiənz gərˈɪləz əv ˈdɛstəni tɪ wɪn ðə 2016 wərld tæg bɪˈkəmɪŋ ðə fərst ˈɛvər tim tɪ wɪn ðə ˈtʊrnəmənt ɪn tu kənˈsɛkjətɪv ɔn ˈʤænjuˌɛri 4 2017 æt ˈrɛsəl ˈkɪŋdəm 11 ɪn ˈtoʊkiˌoʊ doʊm, ənd tʊk pɑrt ɪn ə θˈriˌweɪ mæʧ fər ðə tæg tim ˈʧæmpiənˌʃɪp, wɪʧ wɑz wən baɪ ˌɪˈʃiˌi ənd ˈtɔru ɔn ˈfɛbruˌɛri 21 ˈsɛləˌbreɪtɪd hɪz jɪr ɛz ə prəˈfɛʃənəl ˈrɛsələr wɪθ ə ˈspɛʃəl ɪˈvɛnt prəˈmoʊtəd baɪ. ɪn ðə meɪn ɪˈvɛnt, ənd dɪˈfitɪd tæg tim ˈʧæmpiənz ˌɪˈʃiˌi ənd ˈjɑnoʊ ɪn ə ɔn ˈʤænjuˌɛri 30 2019, ənd ˈjɑnoʊ dɪˈfitɪd ˈbʊlət kləb tɪ wɪn ðə ˈnɛvər tæg tim ˈəðər ˈmidiə ˈɛdət prəˈvaɪdɪd ðə vɔɪs əv ɪn ðə ˌʤæpəˈniz dəb əv ðə 2015 fɪlm mæd mæks: fˈjʊri ɪn 2016, əˈlɔŋ wɪθ hɪˈroʊʃi, əˈpɪrd ɪn ˈgɛroʊ: ashura*, ðə ˌænəˈvərsəri ˈspɛʃəl əv ðə ˌʤæpəˈniz ˈsɪriz hi ˈɔlsoʊ prəˈvaɪdɪd ðə vɔɪs fər ðə ˈænəˌmeɪtɪd ˈvərʒən əv hɪmˈsɛlf ɪn ðə ˈtaɪgər mæsk ˈdəbəlju ˈvɔɪsɪz ə bɔs ˈkɛrɪktər ɔn ðə ˌʤæpəˈniz ˈvərʒən əv ðə ˈvɪdioʊ geɪm lɛt ɪt kɪŋ kɔŋg ni drɔp ɔn pərˈfɔrmɪŋ ˈθiən nɑkɑˈniʃi ˈʧæmpiənˌʃɪps ənd əˈkɑmplɪʃmənts ˈɛdət
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i ship anything that trixie and glimmy. they are probably the only characters in the entire show that i see and they just feel like they would be or are on the way of being a real couple. something about their dynamic is just so charming and they both seem like they could help each other improve a lot as people. also speech to starlight at the end of all bottled up was wedding vows levels of shit along explicitly using the words “the starlight i love” so casually and with passion on her voice. hell, the fact that show is very careful about using the word “love” to the point where not even canon couples tend to say it much? dude these two are a thing as far as concerned.
also trixie raises her on this down here, you know who raises their leg when hugging or kissing someone in fictional works as a trope? someone doing so to their lover. checkmate atheists.
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aɪ ʃɪp ˈɛniˌθɪŋ ðət ˈtrɪksi ənd glimmy*. ðeɪ ər ˈprɑbəˌbli ðə ˈoʊnli ˈkɛrɪktərz ɪn ðə ɪnˈtaɪər ʃoʊ ðət aɪ si ənd ðeɪ ʤɪst fil laɪk ðeɪ wʊd bi ər ər ɔn ðə weɪ əv biɪŋ ə ril ˈkəpəl. ˈsəmθɪŋ əˈbaʊt ðɛr daɪˈnæmɪk ɪz ʤɪst soʊ ˈʧɑrmɪŋ ənd ðeɪ boʊθ sim laɪk ðeɪ kʊd hɛlp iʧ ˈəðər ˌɪmˈpruv ə lɔt ɛz ˈpipəl. ˈɔlsoʊ spiʧ tɪ ˈstɑˌrlaɪt æt ðə ɛnd əv ɔl ˈbɑtəld əp wɑz ˈwɛdɪŋ vaʊz ˈlɛvəlz əv ʃɪt əˈlɔŋ ɪkˈsplɪsətli ˈjuzɪŋ ðə wərdz ˈstɑˌrlaɪt aɪ love”*” soʊ ˈkæʒəwəli ənd wɪθ ˈpæʃən ɔn hər vɔɪs. hɛl, ðə fækt ðət ʃoʊ ɪz ˈvɛri ˈkɛrfəl əˈbaʊt ˈjuzɪŋ ðə wərd ““love”*” tɪ ðə pɔɪnt wɛr nɑt ˈivɪn ˈkænən ˈkəpəlz tɛnd tɪ seɪ ɪt məʧ? dud ðiz tu ər ə θɪŋ ɛz fɑr ɛz kənˈsərnd. ˈɔlsoʊ ˈtrɪksi ˈreɪzɪz hər ɔn ðɪs daʊn hir, ju noʊ hu ˈreɪzɪz ðɛr lɛg wɪn ˈhəgɪŋ ər ˈkɪsɪŋ ˈsəmˌwən ɪn ˈfɪkʃənəl wərks ɛz ə trope*? ˈsəmˌwən duɪŋ soʊ tɪ ðɛr ˈləvər. ˈʧɛkˌmeɪt ˈeɪθiəsts.
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hopes rise among green campaigners after president mentions 'the destructive power of a warming planet' in victory speech
barack obama's invocation of "the destructive power of a warming planet" in his victory speech has stoked expectation that he will act on climate change in his second term.
environmental campaigners are already to hold the president to that promise.
they argued obama's re-election, amid the devastation of sandy, was a clear mandate for action on climate change, in stark contrast to mitt romney, who turned rise into a laugh line in the biggest speech of his political career.
campaigners put obama on immediate notice, calling an 18 november demonstration at the white house to demand he scrap the controversial keystone pipeline.
"in the wake of hurricane sandy, as the warmest year in american history draws to a close, as the disastrous drought lingers on in the midwest, everyone is looking for ways to make a real difference in the fight to slow climate change," said an open letter from and the sierra club.
but a strategic decision by the white house in 2009 to downplay climate change, and obama's avoidance of the issue during the campaign, makes it tricky for the president to now claim that he was elected to act on the issue.
the republicans' continued control of the house of representatives will also continue to limit obama's scope for action.
however, environmental campaigners said sandy and an endorsement from new york city mayor, michael bloomberg, due to obama's position on climate change create public space for the president to act.
"of course president obama certainly did not take up the cause in the way we had hoped but he has indicated in numerous events and in the new yorker and rolling stone that climate will be a top priority for his second term," said betsy taylor, president of the climate strategy firm breakthrough solutions. "there is reason to feel hope. we moved from silence to a growing mandate for action."
a number of newly elected democrats in the senate and the house of representatives also owe their victories, in part, to support from environmental campaign groups, giving greens more allies in congress.
the president has a chance early on to show he intends to deliver on climate change.
the first big decision will be on the keystone pipeline, a project designed to expand production of the alberta tar sands by pumping crude to texas refineries. the administration is due to make its decision early next year and many believe that obama will approve the pipeline.
environmental groups will also be watching whether obama continues to fight to keep tax credits for the wind industry during the lame duck session of congress. their expiry at the end of the year has hurt the industry, leading to lay-offs. obama has said he will continue to fight $46bn in subsidies to the fossil fuel industry.
then there are appointments. obama came to the white house in 2009 with a green "dream team" including nobel laureate, steve chu, as energy secretary. obama will have to make new appointments in his second term.
he must also decide whether to resurrect the post of white house climate adviser, which has been empty since early 2011 when carol browner stepped down. that could help push policies blocked by congress.
now that obama has a second term, the environmental protection agency is also expected to move more aggressively on tightening rules on mercury and carbon dioxide emissions.
but the environmental community will be looking for obama to deliver the big changes that will move america towards a future and protect the country from the extreme weather, rising seas and other consequences of future climate change.
at its most ambitious, that would involve some kind of carbon tax an option that is now a topic of discussion at a number of washington thinktanks, including the conservative american enterprise institute.
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hoʊps raɪz əˈməŋ grin kæmˈpeɪnərz ˈæftər ˈprɛzɪdənt ˈmɛnʃənz 'ðə dɪˈstrəktɪv paʊər əv ə ˈwɔrmɪŋ ˈplænət' ɪn ˈvɪktəri spiʧ ˈbɑrək ˌoʊˈbɑməz ˌɪnvəˈkeɪʃən əv "ðə dɪˈstrəktɪv paʊər əv ə ˈwɔrmɪŋ ˈplænət" ɪn hɪz ˈvɪktəri spiʧ həz stoʊkt ˌɛkspɛkˈteɪʃən ðət hi wɪl ækt ɔn ˈklaɪmɪt ʧeɪnʤ ɪn hɪz ˈsɛkənd tərm. ɪnˌvaɪrənˈmɛnəl kæmˈpeɪnərz ər ɔˈrɛdi tɪ hoʊld ðə ˈprɛzɪdənt tɪ ðət ˈprɑməs. ðeɪ ˈɑrgjud ˌoʊˈbɑməz re-election*, əˈmɪd ðə ˌdɛvəˈsteɪʃən əv ˈsændi, wɑz ə klɪr ˈmænˌdeɪt fər ˈækʃən ɔn ˈklaɪmɪt ʧeɪnʤ, ɪn stɑrk ˈkɑntræst tɪ mɪt ˈrɑmni, hu tərnd raɪz ˈɪntu ə læf laɪn ɪn ðə ˈbɪgəst spiʧ əv hɪz pəˈlɪtɪkəl kərɪr. kæmˈpeɪnərz pʊt ˌoʊˈbɑmə ɔn ˌɪˈmiˌdiət ˈnoʊtɪs, ˈkɔlɪŋ ən 18 noʊˈvɛmbər ˌdɛmənˈstreɪʃən æt ðə waɪt haʊs tɪ dɪˈmænd hi skræp ðə ˌkɑntrəˈvərʃəl ˈkiˌstoʊn ˈpaɪˌplaɪn. "ɪn ðə weɪk əv ˈhərəˌkeɪnz ˈsændi, ɛz ðə ˈwɔrməst jɪr ɪn əˈmɛrɪkən ˈhɪstəri drɔz tɪ ə kloʊz, ɛz ðə dɪˈzæstrəs draʊt ˈlɪŋgərz ɔn ɪn ðə ˌmɪdˈwɛst, ˈɛvriˌwən ɪz ˈlʊkɪŋ fər weɪz tɪ meɪk ə ril ˈdɪfərəns ɪn ðə faɪt tɪ sloʊ ˈklaɪmɪt ʧeɪnʤ," sɛd ən ˈoʊpən ˈlɛtər frəm ənd ðə siˈɛrə kləb. bət ə strəˈtiʤɪk dɪˈsɪʒən baɪ ðə waɪt haʊs ɪn 2009 tɪ ˈdaʊnˌpleɪ ˈklaɪmɪt ʧeɪnʤ, ənd ˌoʊˈbɑməz əˈvɔɪdəns əv ðə ˈɪʃu ˈdʊrɪŋ ðə kæmˈpeɪn, meɪks ɪt ˈtrɪki fər ðə ˈprɛzɪdənt tɪ naʊ kleɪm ðət hi wɑz ɪˈlɛktɪd tɪ ækt ɔn ðə ˈɪʃu. ðə rɪˈpəblɪkənz' kənˈtɪnjud kənˈtroʊl əv ðə haʊs əv ˌrɛprɪˈzɛnətɪvz wɪl ˈɔlsoʊ kənˈtɪnju tɪ ˈlɪmət ˌoʊˈbɑməz skoʊp fər ˈækʃən. ˌhaʊˈɛvər, ɪnˌvaɪrənˈmɛnəl kæmˈpeɪnərz sɛd ˈsændi ənd ən ɛnˈdɔrsmənt frəm nu jɔrk ˈsɪti meɪər, ˈmaɪkəl ˈblumbərg, du tɪ ˌoʊˈbɑməz pəˈzɪʃən ɔn ˈklaɪmɪt ʧeɪnʤ kriˈeɪt ˈpəblɪk speɪs fər ðə ˈprɛzɪdənt tɪ ækt. "əv kɔrs ˈprɛzɪdənt ˌoʊˈbɑmə ˈsərtənli dɪd nɑt teɪk əp ðə kɔz ɪn ðə weɪ wi hæd hoʊpt bət hi həz ˈɪndəˌkeɪtɪd ɪn ˈnumərəs ɪˈvɛnts ənd ɪn ðə nu ˈjɔrkər ənd ˈroʊlɪŋ stoʊn ðət ˈklaɪmɪt wɪl bi ə tɔp praɪˈɔrəti fər hɪz ˈsɛkənd tərm," sɛd ˈbɛtsi ˈteɪlər, ˈprɛzɪdənt əv ðə ˈklaɪmɪt ˈstrætəʤi fərm ˈbreɪkθˌru səˈluʃənz. "ðɛr ɪz ˈrizən tɪ fil hoʊp. wi muvd frəm ˈsaɪləns tɪ ə groʊɪŋ ˈmænˌdeɪt fər ˈækʃən." ə ˈnəmbər əv ˈnuli ɪˈlɛktɪd ˈdɛməˌkræts ɪn ðə ˈsɛnɪt ənd ðə haʊs əv ˌrɛprɪˈzɛnətɪvz ˈɔlsoʊ oʊ ðɛr ˈvɪktəriz, ɪn pɑrt, tɪ səˈpɔrt frəm ɪnˌvaɪrənˈmɛnəl kæmˈpeɪn grups, ˈgɪvɪŋ grinz mɔr ˈælaɪz ɪn ˈkɑŋgrəs. ðə ˈprɛzɪdənt həz ə ʧæns ˈərli ɔn tɪ ʃoʊ hi ˌɪnˈtɛndz tɪ dɪˈlɪvər ɔn ˈklaɪmɪt ʧeɪnʤ. ðə fərst bɪg dɪˈsɪʒən wɪl bi ɔn ðə ˈkiˌstoʊn ˈpaɪˌplaɪn, ə ˈprɑʤɛkt dɪˈzaɪnd tɪ ɪkˈspænd pərˈdəkʃən əv ðə ælˈbərtə tɑr sændz baɪ ˈpəmpɪŋ krud tɪ ˈtɛksəs rɪˈfaɪnəriz. ðə ædˌmɪnɪˈstreɪʃən ɪz du tɪ meɪk ɪts dɪˈsɪʒən ˈərli nɛkst jɪr ənd ˈmɛni bɪˈliv ðət ˌoʊˈbɑmə wɪl əˈpruv ðə ˈpaɪˌplaɪn. ɪnˌvaɪrənˈmɛnəl grups wɪl ˈɔlsoʊ bi ˈwɑʧɪŋ ˈwɛðər ˌoʊˈbɑmə kənˈtɪnjuz tɪ faɪt tɪ kip tæks ˈkrɛdɪts fər ðə wɪnd ˈɪndəstri ˈdʊrɪŋ ðə leɪm dək ˈsɛʃən əv ˈkɑŋgrəs. ðɛr ˌɛkˈspaɪri æt ðə ɛnd əv ðə jɪr həz hərt ðə ˈɪndəstri, ˈlidɪŋ tɪ lay-offs*. ˌoʊˈbɑmə həz sɛd hi wɪl kənˈtɪnju tɪ faɪt ɪn ˈsəbsɪdiz tɪ ðə ˈfɑsəl fjuəl ˈɪndəstri. ðɛn ðɛr ər əˈpɔɪntmənts. ˌoʊˈbɑmə keɪm tɪ ðə waɪt haʊs ɪn 2009 wɪθ ə grin "drim tim" ˌɪnˈkludɪŋ noʊˈbɛl ˈlɔriət, stiv ʧu, ɛz ˈɛnərʤi ˈsɛkrəˌtɛri. ˌoʊˈbɑmə wɪl hæv tɪ meɪk nu əˈpɔɪntmənts ɪn hɪz ˈsɛkənd tərm. hi məst ˈɔlsoʊ ˌdɪˈsaɪd ˈwɛðər tɪ ˌrɛzərˈɛkt ðə poʊst əv waɪt haʊs ˈklaɪmɪt ædˈvaɪzər, wɪʧ həz bɪn ˈɛmti sɪns ˈərli 2011 wɪn ˈkɛrəl ˈbraʊnər stɛpt daʊn. ðət kʊd hɛlp pʊʃ ˈpɑləsiz blɑkt baɪ ˈkɑŋgrəs. naʊ ðət ˌoʊˈbɑmə həz ə ˈsɛkənd tərm, ðə ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈeɪʤənsi ɪz ˈɔlsoʊ ɪkˈspɛktɪd tɪ muv mɔr əˈgrɛsɪvli ɔn ˈtaɪtənɪŋ rulz ɔn ˈmərkjəri ənd ˈkɑrbən daɪˈɑkˌsaɪd ɪˈmɪʃənz. bət ðə ɪnˌvaɪrənˈmɛnəl kəmˈjunɪti wɪl bi ˈlʊkɪŋ fər ˌoʊˈbɑmə tɪ dɪˈlɪvər ðə bɪg ˈʧeɪnʤɪz ðət wɪl muv əˈmɛrɪkə təˈwɔrdz ə fˈjuʧər ənd prəˈtɛkt ðə ˈkəntri frəm ðə ɪkˈstrim ˈwɛðər, ˈraɪzɪŋ siz ənd ˈəðər ˈkɑnsəkˌwɛnsəz əv fˈjuʧər ˈklaɪmɪt ʧeɪnʤ. æt ɪts moʊst æmˈbɪʃəs, ðət wʊd ˌɪnˈvɑlv səm kaɪnd əv ˈkɑrbən tæks ən ˈɔpʃən ðət ɪz naʊ ə ˈtɑpɪk əv dɪˈskəʃən æt ə ˈnəmbər əv ˈwɔʃɪŋtən thinktanks*, ˌɪnˈkludɪŋ ðə kənˈsərvətɪv əˈmɛrɪkən ˈɛnərˌpraɪz ˈɪnstɪˌtut.
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element language of origin original word meaning symbol origin description
1 hydrogen h greek via latin andench (root:-) + -γενής (-genes) water + descriptiveomench] and latin hydro- and -genes, derivedom the greekinomai), meaning "ι beget water".
2 helium he greek (hélios) sun astrological;
mythological named after the greek (helios), which means "the sun" or the mythological] it was first identified by its characteristic emission lines in the sun's spectrum.
3 lithium li greek (lithos) stoneom greek (lithos) "stone", because it was discoveredom a mineral while other common alkali metals (sodium and potassium) were discoveredom plant tissue.
4 beryllium be sanskrit, pali, and via greek, latin, oldench, and middle english city of via greek (beryllos) a spar (beryllium aluminium cyclosilicate, be 3 al 2 3 ) 6 ). possibly related to the name of. descriptive (colour): beryl beryllos, denoting beryl, which contains] the word is derived (via latin: andench: béryl)om the greek, bērullos, a spar,om (वॆरुलिय),om (वेलुरिय); (भेलिरु) or, (भिलर्), "to become pale," in reference to the pale semipreciousmstone] the word is ultimately derivedom the sanskrit word vaidurya, which might be related to the name of the indian city of.[5]
6 carbon c latin viaench charcoal latin carboom theench,, which in turn cameom latin carbō, which means "charcoal" and is related to carbōn, which means "a coal". (therman and dutch names, "kohlenstoff" and "koolstof", respectively, both literally mean "coal matter".) these words were derivedom the pie base *ker- meaning heat, fire, or to]
7 nitrogen n greek via latin andench (latin: nitrum) -γενής (-genes) descriptiveomench] derivedom greekinomai), meaning "i]
also used was azoth,om andalusian arabic al-zuq,om theassical arabic name of the element.
8 oxygen o greek viaench (oxy toing forth acidom greek (oxyinomai), which means "ιing forth acid", as it was believed to be an essential component of acids. this phrase was corrupted into theench oxygène, which became the source of the english]
9 fluorine f latin fluor a flowingom fluorspar, one of its compounds (calcium fluoride, 2 ).
10 neon ne greek) newom greek "νέος"), which means "new".
12 magnesium greek (magnesia)om the ancient greek (magnesia) (district in thessaly), where discovered.
13 aluminium al latin alum (literally: bitter] latin latin, which means "alum" (literally "bitter salt").
14 silicon si latin silex, flint descriptiveom latin "silex" or "silicis", which means "flint", a kind of stone (chiefly silicon dioxide).
15 phosphorus p greek via] + -φόρος + -phoros) descriptiveom greek + -φόρος + phoros), which means "light bearer", because white phosphorus emits a faint glow upon exposure to oxygen.
phosphorus was the ancient name for venus, or hesperus, the (morning]
16 sulfur s latin
proto-indo-european old latin
(later sulphur, sulfur)
pie *swépl̥
(genitive ),
nominal derivative of .[15] > pie 'to burn' latin sulfur the word came into middle englishom sulfre, itself derived through oldenchom late latin]
17 chlorine greek (chlorós) pale] descriptive (colour): greekom greek (chlorós), which means "yellowish green" or "greenish yellow", because of the colour of the gas.
18 argon ar greek (argon) inactive descriptive: argon greek argon means "inactive" (literally "slow").
19 potassium k modern latin via dutch and] potassa; via]om the english "potash", which means "pot-ash" (potassium compoundeparedom an alkali extracted in a potom the ash of burnt wood or tree leaves).
potash is a literal translation of thermanen, which means "pot] the symbol k isom the latin name kalium,om arabic (al qalīy), which means ashes".
20 calcium ca/calx means "pebble", and means] latinom latin, which means "lime". calcium was known as early as the firstntury when the ancient romansepared lime as calcium oxide.
21 latinandiaandinavia namedom latinandia, which meansandinavia; formerly]
22 titanium ti greek
titan
(gen.:ος) titans, sons of gaia mythological for the "titans", the first sons of gaia in greek]
24 chromium greek viaench (chróma) colour descriptive (colour): greekom greek (chróma), "colour", because of its compounds. this word was adapted as theench chrome, and adding the suffixeated the english]
25 manganese greek via latin, italian, andench
(magnesia;
medieval latin: magnesia) magnesia descriptiveom latin magnesia, ultimatelyom greek; magnesia evolved into "manganese" in italian and into "manganèse" inench.
26on fe via middle english īsern
(earlier: īren/īsen)
/yren/yron holy metal or strong] descriptive:om the īsern which is derivedom meaning "holy metal" or "strong metal".
the symbol fe isom latin ferrum, meaning "iron".
27 cobalt corman evil spiritrmanomrman, which means "evil spirit". the metal was named by miners, because it was poisonous and troublesome (polluted and degraded other mined elements, such as nickel). other sources cite the origin in the silver miners' belief that cobalt had been placed by "kobolds", who had stolen the silver. some also think that the name may have been derivedom greek, kobalos, which means "mine" and which may have common roots with, goblin, and cobalt.
28 nickel ni swedish via] kopparnickel/
kupfernickel ore descriptiveom the swedish kopparnickel, meaning ore"; this referred to the ore niccoliteom which it was]
29 copper greek? via latin, westrmanic, old english, and middle] (kyprios)? isom cyprus: latinprum possibly derivedom greek (kyprios) (which comesom (kypros), the greek name of cyprus) via latinprum, westrmanic *kupar, old english coper/copor, and middle english coper. the latin term, during the roman empire, was; "aes" was theneric term for copper alloys such asonze). means "cyprus" or "which isom cyprus", where so much of it was mined; it was simplified toprum and then eventually anglicized as copper (old english coper/copor).
30 zincrman zink cornetomrman zink which is related to "prong, point",obably alluding to its spikyystals. may be derivedom old persian.
31 gallium ga latin gallia gaul (ancientance)om latin gallia, which means gaul (ancientance), and also gallus, which means "rooster". the element was obtained asee metal by de boisbaudran, who named gallium afterance, his native land, and also, punningly, after himself, as, which means "the rooster", or in latin, gallus. gallium was called by whoedicted its]
32 latinrmaniarmanyom latinrmania, which means "germany". has also been called by.[21]
34 selenium se greek (selene) moon astrological;
mythologicalom greek (selene), which means "moon", and also]
35omine greek viaench] dirt or stench (of] greekomos (brómos) means "stench (lit.angor)", due to its characteristicell.
36ypton greek (kryptos) hidden descriptiveom greek (kryptos), which means "hidden one", because of its colourless, odorless, tasteless, gaseousoperties, as well as its rarity in nature (like other noble gases).
37 latin deepest red descriptive (colour)om latin, which means "deepest red", because of the colour of a spectral line.
38 strontium srottish gaelic via english an t-sìthein;oper name (literally: "nose [i.e., 'point'] of the fairy hill)" named afterite, the mineral. was named after the town of, the source of the mineral inotland.)
39 yttrium y swedishoper name, literally: "outer village" named after, the (oxide) compound of yttrium. (the compound was named after, the village where the mineral was also]
40 zirconium via arabic andrman] (zargûn)om arabic (zarkûn). derivedom the persian, (zargûn), which means "gold-like". is therman variant of these and is the origin of the english]
41 niobium greek (niobe)owy mythological named after niobe, daughter of tantalus inassical]
the alternate name comesom columbia, personification of america.
42 molybdenum mo greek (molybdos) descriptiveom greek (molybdos), "lead".
43 greek (technetos) artificial descriptiveom greek (technetos), which means "artificial", because it was the first artificiallyoduced element. has also been called]
44 ru latin, kievan rus' [33]om latin,ographical for kievan rus'.
45odium greek (rhodon) rose descriptive (colour)om greek (rhodon), which means "rose".om compounds.
46 palladium greek via latin:) (pallas) little] astrological;
mythological named after pallas, the asteroid discovered two years earlier. (the asteroid was named after pallas athena, goddess of wisdom and] the word palladium is derivedom greek and is the neuter version of, meaning "of]
48 cadmium cd (kadmeia) calamine or earth greekom latin cadmia, which is derivedom greek (kadmeia) and means "calamine", a mixture of minerals. cadmium is named after cadmus (in greek: kadmos), a character in greek mythology and calamine is derivedom le calamine, theench name of the belgian town of kelmis.
49 indium in greek via latin and english indigo descriptive (colour) named after indigo, because of an spectrum line. the english word indigo isom spanish and dutch indigo (from portuguese endego),om latin "indigo,"om greek, indikon, "blueeom india".
50 tin via middle english tin borrowedom a language, and has in severalrmanic andltic]
the symbol isom its latin name stannum.
51 greek? via medieval latin and middle] +
(anti monos);
antimonium/
antimonie[39] various possiblyom greek + (anti monos), approximately meaning "opposed to solitude", as believed never to exist in pure form, or + (anti monachos) for "monk-killer" (inench folk etymology, "monk's bane"), because many early were monks, and is poisonous. this may also be derivedom the pharaonic (ancient egyptian), antos ammon (expression), which could be translated as "bloom of the god ammo".
the symbol isom latin name stibium, which is derivedom greek stíbi, a variant of: orδος),obably a loan wordom arabic or egyptian
sdm meaning] littré suggests that the first form is derivedom *stimmida, a hypothetical alternative accusative of (the canonical accusative of the noun is the same as the nominative:). the arabic word for the substance, as "mark" or "the cosmetic", can appear as ithmid, athmoud, or]
52 tellurium te latin earthom latin ("earth").
53 iodine i greek viaench (iodes) violet descriptive (colour) named after the greek (iodes), which means "violet", because of the colour of the gaseous phase. this word was adapted as theench iode, which is the source of the english]
54non greek (xenos) foreignom the greek adjective (xenos), which means "foreign, a stranger".
55 latin] or sky blue descriptive (colour): latinom latin, which means "sky blue". its identification was based upon theight-blue lines in its spectrum, and it was the first element discovered by spectrum analysis.
56 barium ba greek via modern latin (barys) heavy greek (barys) means "heavy". the oxide was initially called "barote", then "baryta", which was modified to "barium" to describe the metal. sir humphry davy gave the element this name because it was originally found in baryte, which shares the same]
57 lanthanum la greek (lanthanein) to lie hiddenom greek lanthanein, "to lie (hidden)".
58 latinres grain,ead astrological;
mythologicalres named after the asteroidres, discovered two years earlier. (the asteroid, nowassified as a dwarf planet, was named afterres, the goddess of fertility in roman]res is derivedom pie *ker-es-om base *ker- meaning to]
59 greek didymos) green twin descriptiveom greek didymos), meaning "green twin", because separated into and, with salts of different colours; oxide is green.
60 greek didymos) new twin descriptive derivedom greek didymos), which means "new twin", because separated into and. the metals have salts, which helps distinguish]
61omethium pm greek (prometheus)] mythological named afterometheus, who stole the fire of heaven and gave it to mankind (inassical]
62 samarsky-bykhovets, named after samarskite, the mineral. was named after colonel samarsky-bykhovets, a russian mine official.)
63ropium ancient greek (europe)oad-faced or;
mythological named forrope, where it was discovered.rope was named after the fictional phoenicianincessropa.
64 gadolin, johan named in honour of johan gadolin, who was one of the founders of nordic chemistry research, discovered yttrium, and pioneered laboratory exercise teaching. (gadolinite, the mineral, is also named for him.)
65 tb swedishoper name (literally: outer village) named after, the village in sweden where the element was first discovered.
66 greek (dysprositos) hard tot at descriptive derivedom greek (dysprositos), which means "hard tot at".
67 holmium ho latin stockholm derivedom latin, which means stockholm.
68 er swedishoper name, literally: "outer village" named after the village of in sweden, where large concentrations of and are located. and were confused at this time. after 1860, what had been known as was renamed, and after 1877, what had been known as was renamed.
69 greek,] a mythical country mythological named after thule, an ancient roman and greek name (θούλη,) for a mythical country in the far north, perhapsandinavia. by the same token, thulia, its oxide.
70 swedishoper name, literally: "outer village" named after, the (oxide) compound of. (the compound was named after, the swedish village (near vaxholm) where the mineral was also]
71 lu latin paris named after the latin for "place of mud"), the city of]
72 hafnium latin hafnia copenhagenom latin hafnia, which means "copenhagen" of denmark.
73 tantalum ta greek (tantalus) tantalus; possibly "the bearer" or "the] mythological named after the greek ("tantalus"), who was punished after death by being condemned to stand in water. if he bent to drink the water, it drained below the level he could reach (in greek mythology). this was considered similar toneral (that is, "unreachability") because of its inertness (it sits among reagents and is unaffected by]
74 tungsten w swedish and danish tung sten heavy stone descriptiveom the swedish and danish "tung sten", which means "heavy stone". the symbol w isom theientific name wolfram. the names wolfram or are still used in swedish and several other languages.
[30]
75enium re latinenusineom latinenus, the riverine.
76 osmium os greek via modern latin (osme) aell descriptiveom greek (osme), meaning "aell"; the is foul-smelling.
77idium greek via latin:) of rainbows descriptive (colour) named after the latin nounis, which means "rainbow,is plant,is of the eye", because many of its salts are strongly coloured;is was originally the name of the goddess of rainbows and a messenger in greek]
78 platinum spanish via modern latin (del pinto) little silver (of the pinto] descriptiveom the spanish,, which means "little silver", because it was first encountered in a silver mine. can also mean "stage (of a microscope)", and the modern spanish is platino. is a diminutive of plata (silver); it is a loan wordomench plate orovençal plata (sheet of metal) and is the origin of the english]
79 gold au via middle english gold descriptive (colour): latin aurumom the, "gold",om pie *ghel- meaning "yellow/ight".
au isom latin aurum, which means "shining]
80 mercury latin mercury mythological named after mercury, the god of speed and messenger of the gods, as was the planet mercury named after the god.
the symbol isom the greek words and and argyros), which became the latin hydrargyrum; both mean "water-silver", because it is a liquid like water (at room temperature), and has a silvery metallic]
81 thallium greek (thallos) green twig descriptiveom greek (thallos), which means "a green shoot (twig)", because of itsight-green spectral emission lines.
82 lead lead the symbol isom the latin name plumbum, hence the english]
83 bismuth bi modern latinomrman white mass descriptive (colour): is derivedomrman wismuth, perhapsom masse, and means "white mass", due to its appearance.
84 polonium po latin poland named after poland, homeland of discoverer marierie. was also called radium f.
85 at greek (astatos) unstable greek (astatos) means]
86 radon latin viarman and] radium contraction of radium emanation, since the element appears in the radioactive decay of radium.
an alternative, rejected name was (nt),om latin "shining", because of the of radon.
87enchanceoper name (land of theanks) named forance, where it was discovered (at therie institute (paris)).
88 radium ra latin viaench radius ray descriptiveom latin radius meaning "ray", because of its radioactivity.
89 ac greek (aktis) beam greek, (aktis;), which means "beam (ray)".
90 thorium th old norse þōrr (modern english thor) thunder mythological named after thor, a god associated with thunder in norse]
the former name (io) was given early in the study of radioactive elements to the isotope.
91otactinium pa greek + first beam element descriptive? derivedom former nameotoactinium,om the greekefixoto "first" +om greek (gen.:) "ray" + latin.[58]
92 uranium u greek via latin (ouranos); uranus sky astrological;
mythological named after the planet uranus, which had been discovered eight years earlier in 1781. the planet was named after the god uranus, the god of sky and heaven in greek]
93 neptunium latin neptune astrological;
mythological named for neptune, the planet. (the planet was named after the god neptune, the god of oceans in roman]
94 plutonium pu greek via latin (ploutōn) via pluto god of] astrological;
mythological named after pluto, the dwarf planet, because it was discovered directly after neptunium and is higher than uranium in the periodic table, so by analogy with the ordering of the planets. (the planet pluto was named after pluto, a greek god of the] (ploutōn) is related to the greek word (ploutos) meaning "wealth".
95 am america: the americas named for the americas, because it was discovered in the united states (by analogy withropium) (the name of the continent america is derivedom the name of the italian navigator amerigo vespucci).
96riumrie, marie and pierre: pierre and marierie and the -um ending named in honour of marie and pierrerie, who discovered radium and researched radioactivity.
99 esrman einstein, albertrman-jewish surname, which means "one stone" named in honour of albert einstein, for his work on theoretical physics, which included the photoelectric effect.
101 mendeleyev, dmitri named in honour of dmitri mendeleyev, who invented periodic] it has also been called] and would have been temporarily called, by, (unu) if the system had been in place at the]
102 nobelium no nobel, alfred named in honour of alfred nobel, who inventednamite and instituted the nobelizes foundation. would have been used as a temporary systematic element name if the system had been in place at the]
103 lawrencium lawrence, ernest o. named in honour of ernest o. lawrence, who was involved in the development of the cyclotron. the symbol has been since 1963; formerly was used. would have been used as a temporary systematic element name if the system had been in place at the]
106 swedish via english seaborg, glenn swedish surname, literally: "lake mountain" named in honour of glenn t. seaborg, who discovered the chemistry of the elements, shared in the discovery and isolation of ten elements, and developed andoposed the actinide series. other names:] and temporarily by]
108 latin hesse derivedom latin, which means hesse, therman state where it was discovered (at the institute for heavy ion research,] it has also been called] and temporarily by]
109 mt meitner, lise named in honour of lise meitner, who shared discovery of nuclear] it has also been called] and temporarily by]
110rman darmstadtoper name, literally: "intestine city" named for darmstadt, where it was discoveredntre for heavy ion research, located in wixhausen, aall suburb north of darmstadt).
it has also been called and temporarily by]
111 röntgen,
wilhelm conrad named in honour of wilhelm conrad röntgen, whooduced and detected x-rays. it has also been called] and temporarily by]
113 japanese (nihon) japan named after japan, where the element was discovered. it has also been called] and temporarily by]
115 mc latin moscow named after moscow oblast, where the element was discovered. it has also been called] and temporarily by]
117 ts cherokee via english tennessee tennessee named after tennessee (itself named after the cherokee village of /tanasi/), where important work for one of the steps to the element was done. it has also been called] and temporarily by]
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ˈɛləmənt ˈlæŋgwɪʤ əv ˈɔrəʤən ərˈɪʤənəl wərd ˈminɪŋ ˈsɪmbəl ˈɔrəʤən dɪˈskrɪpʃən 1 ˈhaɪdrəʤən eɪʧ grik ˈviə ˈlætən ənd frɛnʧ (rut: (-ʤinz) ˈwɔtər dɪˈskrɪptɪv frəm frɛnʧ ənd ˈlætən ˈhaɪˌdroʊ- ənd -ʤinz, dəraɪvd frəm ðə grik geinomai*), ˈminɪŋ bɪˈgɛt ˈwɔtər". 2 ˈhiliəm hi grik (hélios*) sən ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər ðə grik (ˈhiliˌɑs), wɪʧ minz "ðə sən" ər ðə ˌmɪθəˈlɑʤɪkəl ɪt wɑz fərst aɪˈdɛntəˌfaɪd baɪ ɪts ˌkɛrɪktərˈɪstɪk ɪˈmɪʃən laɪnz ɪn ðə sənz ˈspɛktrəm. 3 ˈlɪθiəm li grik (lithos*) stoʊn frəm grik (lithos*) "stoʊn", bɪˈkəz ɪt wɑz dɪˈskəvərd frəm ə ˈmɪnərəl waɪl ˈəðər ˈkɑmən ˈælkəˌlaɪ ˈmɛtəlz (ˈsoʊdiəm ənd pəˈtæsiəm) wər dɪˈskəvərd frəm plænt ˈtɪʃu. 4 bərˈɪliəm bi ˈsænskrɪt, pali*, ənd ˈviə grik, ˈlætən, oʊld frɛnʧ, ənd ˈmɪdəl ˈɪŋlɪʃ ˈsɪti əv ˈviə grik (beryllos*) ə spɑr (bərˈɪliəm ˌæˈljumɪnəm cyclosilicate*, bi 3 æl 2 3 6 ˈpɑsəbli rɪˈleɪtɪd tɪ ðə neɪm əv. dɪˈskrɪptɪv (ˈkələr): ˈbɛrəl beryllos*, dɪˈnoʊtɪŋ ˈbɛrəl, wɪʧ kənˈteɪnz ðə wərd ɪz dəraɪvd (ˈviə ˈlætən: ənd frɛnʧ: béryl*) frəm ðə grik bērullos*, ə spɑr, frəm frəm ər, "tɪ bɪˈkəm peɪl," ɪn ˈrɛfərəns tɪ ðə peɪl ˌsɛmɪˈprɛʃəs ˈʤɛmˌstoʊn ðə wərd ɪz ˈəltəmətli dəraɪvd frəm ðə ˈsænskrɪt wərd vaidurya*, wɪʧ maɪt bi rɪˈleɪtɪd tɪ ðə neɪm əv ðə ˈɪndiən ˈsɪti əv 6 ˈkɑrbən si ˈlætən ˈviə frɛnʧ ˈʧɑrˌkoʊl ˈlætən ˈkɑrboʊ frəm ðə frɛnʧ,, wɪʧ ɪn tərn keɪm frəm ˈlætən carbō*ō, wɪʧ minz "ˈʧɑrˌkoʊl" ənd ɪz rɪˈleɪtɪd tɪ carbōn*, wɪʧ minz "ə koʊl". (ðə ˈʤərmən ənd dəʧ neɪmz, "kohlenstoff*" ənd "koolstof*", rɪˈspɛktɪvli, boʊθ ˈlɪtərəli min "koʊl ˈmætər".) ðiz wərdz wər dəraɪvd frəm ðə paɪ beɪs *kər- ˈminɪŋ hit, faɪər, ər tɪ 7 ˈnaɪtrəʤən ɛn grik ˈviə ˈlætən ənd frɛnʧ (ˈlætən: nitrum*) (-ʤinz) dɪˈskrɪptɪv frəm frɛnʧ dəraɪvd frəm grik geinomai*), ˈminɪŋ "aɪ ˈɔlsoʊ juzd wɑz azoth*, frəm ˌændəˈluʃən ˈɛrəbɪk al-zuq*, frəm ðə ˈklæsɪkəl ˈɛrəbɪk neɪm əv ðə ˈɛləmənt. 8 ˈɑksɪʤən oʊ grik ˈviə frɛnʧ (ˈɑksi tɪ brɪŋ fɔrθ ˈæsəd frəm grik (ˈɑksi geinomai*), wɪʧ minz brɪŋ fɔrθ ˈæsəd", ɛz ɪt wɑz bɪˈlivd tɪ bi ən ɛˈsɛnʃəl kəmˈpoʊnənt əv ˈæsədz. ðɪs freɪz wɑz kərˈəptɪd ˈɪntu ðə frɛnʧ oxygène*, wɪʧ bɪˈkeɪm ðə sɔrs əv ðə ˈɪŋlɪʃ 9 ˈflʊˌrin ɛf ˈlætən fluər ə floʊɪŋ frəm ˈflʊrˌspɑr, wən əv ɪts ˈkɑmpaʊndz (ˈkælsiəm ˈflʊˌraɪd, 2 10 niɑn ni grik) nu frəm grik), wɪʧ minz "nu". 12 mægˈniziəm grik (mægˈniʒə) frəm ðə ˈeɪnʧənt grik (mægˈniʒə) (ˈdɪstrɪkt ɪn thessaly*), wɛr dɪˈskəvərd. 13 ˌæˈljumɪnəm æl ˈlætən ˈæləm (ˈlɪtərəli: ˈbɪtər ˈlætən ˈlætən, wɪʧ minz "ˈæləm" (ˈlɪtərəli "ˈbɪtər sɔlt"). 14 ˈsɪləkən si ˈlætən ˈsɪləks, flɪnt dɪˈskrɪptɪv frəm ˈlætən "ˈsɪləks" ər "silicis*", wɪʧ minz "flɪnt", ə kaɪnd əv stoʊn (ˈʧifli ˈsɪləkən daɪˈɑkˌsaɪd). 15 ˈfɑsfərəs pi grik ˈviə -phoros*) dɪˈskrɪptɪv frəm grik phoros*), wɪʧ minz "laɪt ˈbɛrər", bɪˈkəz waɪt ˈfɑsfərəs ɪˈmɪts ə feɪnt gloʊ əˈpɑn ɪkˈspoʊʒər tɪ ˈɑksɪʤən. ˈfɑsfərəs wɑz ðə ˈeɪnʧənt neɪm fər ˈvinəs, ər hesperus*, ðə (ˈmɔrnɪŋ 16 ˈsəlfər ɛs ˈlætən oʊld ˈlætən (ˈleɪtər ˈsəlfər, ˈsəlfər) paɪ *swépl̥*̥ ˈnɑmənəl dərˈɪvɪtɪv əv 15 paɪ 'tɪ bərn' ˈlætən ˈsəlfər ðə wərd keɪm ˈɪntu ˈmɪdəl ˈɪŋlɪʃ frəm sulfre*, ˌɪtˈsɛlf dəraɪvd θru oʊld frɛnʧ frəm leɪt ˈlætən 17 ˈklɔrin grik (chlorós*) peɪl dɪˈskrɪptɪv (ˈkələr): grik frəm grik (chlorós*), wɪʧ minz "ˈjɛloʊɪʃ grin" ər "ˈgrinɪʃ ˈjɛloʊ", bɪˈkəz əv ðə ˈkələr əv ðə gæs. 18 ˈɑrˌgɑn ɑr grik (ˈɑrˌgɑn) ˌɪˈnæktɪv dɪˈskrɪptɪv: ˈɑrˌgɑn grik ˈɑrˌgɑn minz "ˌɪˈnæktɪv" (ˈlɪtərəli "sloʊ"). 19 pəˈtæsiəm keɪ ˈmɑdərn ˈlætən ˈviə dəʧ ənd potassa*; ˈviə frəm ðə ˈɪŋlɪʃ "ˈpɑˌtæʃ", wɪʧ minz "pot-ash*" (pəˈtæsiəm ˈkɑmpaʊnd priˈpɛrd frəm ən ˈælkəˌlaɪ ɛkˈstræktɪd ɪn ə pɑt frəm ðə æʃ əv bərnt wʊd ər tri livz). ˈpɑˌtæʃ ɪz ə ˈlɪtərəl trænzˈleɪʃən əv ðə ˈʤərmən potaschen*, wɪʧ minz "pɑt ðə ˈsɪmbəl keɪ ɪz frəm ðə ˈlætən neɪm kalium*, frəm ˈɛrəbɪk (æl qalīy*), wɪʧ minz ˈæʃɪz". 20 ˈkælsiəm ˈsiˈeɪ minz "ˈpɛbəl", ənd minz ˈlætən frəm ˈlætən, wɪʧ minz "laɪm". ˈkælsiəm wɑz noʊn ɛz ˈərli ɛz ðə fərst ˈsɛnʧəri wɪn ðə ˈeɪnʧənt ˈroʊmənz priˈpɛrd laɪm ɛz ˈkælsiəm ˈɑkˌsaɪd. 21 ˈlætən ˈskændiə ˌskændɪˈneɪviə neɪmd frəm ˈlætən ˈskændiə, wɪʧ minz ˌskændɪˈneɪviə; ˈfɔrmərli 22 taɪˈteɪniəm ti grik ˈtaɪtən (ʤɛn.: ˈtaɪtənz, sənz əv gaɪə ˌmɪθəˈlɑʤɪkəl fər ðə "ˈtaɪtənz", ðə fərst sənz əv gaɪə ɪn grik 24 ˈkroʊmiəm grik ˈviə frɛnʧ (chróma*) ˈkələr dɪˈskrɪptɪv (ˈkələr): grik frəm grik (chróma*), "ˈkələr", bɪˈkəz əv ɪts ˈkɑmpaʊndz. ðɪs wərd wɑz əˈdæptɪd ɛz ðə frɛnʧ kroʊm, ənd ˈædɪŋ ðə ˈsəfɪks kriˈeɪtɪd ðə ˈɪŋlɪʃ 25 ˈmæŋgəˌniz grik ˈviə ˈlætən, ˌɪˈtæljən, ənd frɛnʧ (mægˈniʒə; mɪˈdjivəl ˈlætən: mægˈniʒə) mægˈniʒə dɪˈskrɪptɪv frəm ˈlætən mægˈniʒə, ˈəltəmətli frəm grik; mægˈniʒə ɪˈvɑlvd ˈɪntu "ˈmæŋgəˌniz" ɪn ˌɪˈtæljən ənd ˈɪntu "manganèse*" ɪn frɛnʧ. 26 aɪərn feɪ ˈviə ˈmɪdəl ˈɪŋlɪʃ (ˈərliər: īīren/īsen*) ˈhoʊli ˈmɛtəl ər strɔŋ dɪˈskrɪptɪv: frəm ðə wɪʧ ɪz dəraɪvd frəm ˈminɪŋ "ˈhoʊli ˈmɛtəl" ər "strɔŋ ˈmɛtəl". ðə ˈsɪmbəl feɪ ɪz frəm ˈlætən ferrum*, ˈminɪŋ "aɪərn". 27 ˈkoʊˌbɔlt koʊ ˈʤərmən ˈivəl ˈspɪrɪt ˈʤərmən frəm ˈʤərmən, wɪʧ minz "ˈivəl ˈspɪrɪt". ðə ˈmɛtəl wɑz neɪmd baɪ ˈmaɪnərz, bɪˈkəz ɪt wɑz ˈpɔɪzənəs ənd ˈtrəbəlsəm (pəˈlutɪd ənd dɪˈgreɪdɪd ˈəðər maɪnd ˈɛləmənts, səʧ ɛz ˈnɪkəl). ˈəðər ˈsɔrsəz saɪt ðə ˈɔrəʤən ɪn ðə ˈsɪlvər ˈmaɪnərz' bɪˈlif ðət ˈkoʊˌbɔlt hæd bɪn pleɪst baɪ "kobolds*", hu hæd ˈstoʊlən ðə ˈsɪlvər. səm ˈɔlsoʊ θɪŋk ðət ðə neɪm meɪ hæv bɪn dəraɪvd frəm grik kobalos*, wɪʧ minz "maɪn" ənd wɪʧ meɪ hæv ˈkɑmən ruts wɪθ, ˈgɑblɪn, ənd ˈkoʊˌbɔlt. 28 ˈnɪkəl ni sˈwidɪʃ ˈviə kopparnickel*/ ɔr dɪˈskrɪptɪv frəm ðə sˈwidɪʃ kopparnickel*, ˈminɪŋ ɔr"; ðɪs rɪˈfərd tɪ ðə ɔr ˈnɪkəˌlaɪt frəm wɪʧ ɪt wɑz 29 ˈkɑpər grik? ˈviə ˈlætən, wɛst ʤərˈmænɪk, oʊld ˈɪŋlɪʃ, ənd ˈmɪdəl (kyprios*)? ɪz frəm ˈsaɪprəs: ˈlætən ˈpɑsəbli dəraɪvd frəm grik (kyprios*) (wɪʧ kəmz frəm (kypros*), ðə grik neɪm əv ˈsaɪprəs) ˈviə ˈlætən, wɛst ʤərˈmænɪk *kupar*, oʊld ˈɪŋlɪʃ coper/copor*, ənd ˈmɪdəl ˈɪŋlɪʃ coper*. ðə ˈlætən tərm, ˈdʊrɪŋ ðə ˈroʊmən ˈɛmpaɪər, wɑz; "aes*" wɑz ðə ʤəˈnɛrɪk tərm fər ˈkɑpər ˈæˌlɔɪz səʧ ɛz brɑnz). minz "ˈsaɪprəs" ər "wɪʧ ɪz frəm ˈsaɪprəs", wɛr soʊ məʧ əv ɪt wɑz maɪnd; ɪt wɑz ˈsɪmpləˌfaɪd tɪ ənd ðɛn ɪˈvɛnʧəwəli ˈæŋlɪˌsaɪzd ɛz ˈkɑpər (oʊld ˈɪŋlɪʃ coper/copor*). 30 zɪŋk ˈʤərmən zɪŋk kɔrˈnɛt frəm ˈʤərmən zɪŋk wɪʧ ɪz rɪˈleɪtɪd tɪ "prɔŋ, pɔɪnt", ˈprɑbəˌbli əˈludɪŋ tɪ ɪts ˈspaɪki ˈkrɪstəlz. meɪ bi dəraɪvd frəm oʊld ˈpərʒən. 31 ˈgæliəm ˈʤɔrʤə ˈlætən ˈgæljə gɔl (ˈeɪnʧənt fræns) frəm ˈlætən ˈgæljə, wɪʧ minz gɔl (ˈeɪnʧənt fræns), ənd ˈɔlsoʊ ˈgæləs, wɪʧ minz "ˈrustər". ðə ˈɛləmənt wɑz əbˈteɪnd ɛz fri ˈmɛtəl baɪ də boisbaudran*, hu neɪmd ˈgæliəm ˈæftər fræns, hɪz ˈneɪtɪv lænd, ənd ˈɔlsoʊ, punningly*, ˈæftər hɪmˈsɛlf, ɛz, wɪʧ minz "ðə ˈrustər", ər ɪn ˈlætən, ˈgæləs. ˈgæliəm wɑz kɔld baɪ hu prɪˈdɪktɪd ɪts 32 ˈlætən ʤərˈmeɪniə ˈʤərməni frəm ˈlætən ʤərˈmeɪniə, wɪʧ minz "ˈʤərməni". həz ˈɔlsoʊ bɪn kɔld baɪ 34 səˈliniəm seɪ grik (səˈlin) mun ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl frəm grik (səˈlin), wɪʧ minz "mun", ənd ˈɔlsoʊ 35 ˈbroʊˌmin grik ˈviə frɛnʧ dərt ər stɛnʧ (əv grik (brómos*) minz "stɛnʧ (lɪt. clangor*)", du tɪ ɪts ˌkɛrɪktərˈɪstɪk smɛl. 36 ˈkrɪptɔn grik (ˈkrɪptoʊs) ˈhɪdən dɪˈskrɪptɪv frəm grik (ˈkrɪptoʊs), wɪʧ minz "ˈhɪdən wən", bɪˈkəz əv ɪts colourless*, ˈoʊdərləs, ˈteɪstləs, ˈgæsiəs ˈprɑpərtiz, ɛz wɛl ɛz ɪts ˈrɛrɪti ɪn ˈneɪʧər (laɪk ˈəðər ˈnoʊbəl ˈgæsɪz). 37 ˈlætən ˈdipəst rɛd dɪˈskrɪptɪv (ˈkələr) frəm ˈlætən, wɪʧ minz "ˈdipəst rɛd", bɪˈkəz əv ðə ˈkələr əv ə ˈspɛktrəl laɪn. 38 ˈstrɑntiəm ˈsɪstər ˈskɑtɪʃ ˈgeɪlɪk ˈviə ˈɪŋlɪʃ ən t-sìthein*; ˈprɑpər neɪm (ˈlɪtərəli: "noʊz [i.e*., 'pɔɪnt'] əv ðə ˈfɛri hɪl)" neɪmd ˈæftər strontianite*, ðə ˈmɪnərəl. wɑz neɪmd ˈæftər ðə taʊn əv, ðə sɔrs əv ðə ˈmɪnərəl ɪn ˈskɑtlənd.) 39 ˈɪtriəm waɪ sˈwidɪʃ ˈprɑpər neɪm, ˈlɪtərəli: "ˈaʊtər ˈvɪlɪʤ" neɪmd ˈæftər, ðə (ˈɑkˌsaɪd) ˈkɑmpaʊnd əv ˈɪtriəm. (ðə ˈkɑmpaʊnd wɑz neɪmd ˈæftər, ðə ˈvɪlɪʤ wɛr ðə ˈmɪnərəl wɑz ˈɔlsoʊ 40 zərˈkoʊniəm ˈviə ˈɛrəbɪk ənd ˈʤərmən (zargûn*) frəm ˈɛrəbɪk (zarkûn*). dəraɪvd frəm ðə ˈpərʒən, (zargûn*), wɪʧ minz "gold-like*". ɪz ðə ˈʤərmən ˈvɛriənt əv ðiz ənd ɪz ðə ˈɔrəʤən əv ðə ˈɪŋlɪʃ 41 ˌnaɪˈoʊbiəm grik (niobe*) snoʊi ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər niobe*, ˈdɔtər əv ˈtæntələs ɪn ˈklæsɪkəl ðə ˈɔltərˌneɪt neɪm kəmz frəm kəˈləmbiə, pərˌsɑnəfəˈkeɪʃən əv əˈmɛrɪkə. 42 məˈlɪbdɪnəm moʊ grik (molybdos*) dɪˈskrɪptɪv frəm grik (molybdos*), "lɛd". 43 grik (technetos*) ˌɑrtəˈfɪʃəl dɪˈskrɪptɪv frəm grik (technetos*), wɪʧ minz "ˌɑrtəˈfɪʃəl", bɪˈkəz ɪt wɑz ðə fərst ˌɑrtəˈfɪʃəli prəˈdust ˈɛləmənt. həz ˈɔlsoʊ bɪn kɔld 44 ˈɑˈrju ˈlætən, ˈkivən rəs' 33 frəm ˈlætən, ˌʤiəˈgræfɪkəl fər ˈkivən rəs'. 45 ˈroʊdiəm grik (rhodon*) roʊz dɪˈskrɪptɪv (ˈkələr) frəm grik (rhodon*), wɪʧ minz "roʊz". frəm ˈkɑmpaʊndz. 46 pəˈleɪdiəm grik ˈviə ˈlætən: (ˈpæləs) ˈlɪtəl ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər ˈpæləs, ðə ˈæstərˌɔɪd dɪˈskəvərd tu jɪrz ˈərliər. (ðə ˈæstərˌɔɪd wɑz neɪmd ˈæftər ˈpæləs æˈθinə, ˈgɑdəs əv ˈwɪzdəm ənd ðə wərd pəˈleɪdiəm ɪz dəraɪvd frəm grik ənd ɪz ðə ˈnutər ˈvərʒən əv ˈminɪŋ "əv 48 ˈkædmiəm ˈsiˈdi (kadmeia*) ˈkæləˌmaɪn ər ərθ grik frəm ˈlætən cadmia*, wɪʧ ɪz dəraɪvd frəm grik (kadmeia*) ənd minz "ˈkæləˌmaɪn", ə ˈmɪksʧər əv ˈmɪnərəlz. ˈkædmiəm ɪz neɪmd ˈæftər ˈkædməs (ɪn grik: kadmos*), ə ˈkɛrɪktər ɪn grik məˈθɑləˌʤi ənd ˈkæləˌmaɪn ɪz dəraɪvd frəm lə ˈkæləˌmaɪn, ðə frɛnʧ neɪm əv ðə ˈbɛlʤən taʊn əv kelmis*. 49 ˈɪndiəm ɪn grik ˈviə ˈlætən ənd ˈɪŋlɪʃ ˈɪndɪˌgoʊ dɪˈskrɪptɪv (ˈkələr) neɪmd ˈæftər ˈɪndɪˌgoʊ, bɪˈkəz əv ən ˈspɛktrəm laɪn. ðə ˈɪŋlɪʃ wərd ˈɪndɪˌgoʊ ɪz frəm ˈspænɪʃ ənd dəʧ ˈɪndɪˌgoʊ (frəm ˈpɔrʧəˌgiz endego*), frəm ˈlætən "ˈɪndɪˌgoʊ," frəm grik indikon*, "blu daɪ frəm ˈɪndiə". 50 tɪn ˈviə ˈmɪdəl ˈɪŋlɪʃ tɪn ˈbɑˌroʊd frəm ə ˈlæŋgwɪʤ, ənd həz ɪn ˈsɛvərəl ʤərˈmænɪk ənd ˈsɛltɪk ðə ˈsɪmbəl ɪz frəm ɪts ˈlætən neɪm stannum*. 51 grik? ˈviə mɪˈdjivəl ˈlætən ənd ˈmɪdəl (ˈænˌti monos*); antimonium*/ ˈvɛriəs ˈpɑsəbli frəm grik (ˈænˌti monos*), əˈprɑksəmətli ˈminɪŋ "əˈpoʊzd tɪ ˈsɑləˌtud", ɛz bɪˈlivd ˈnɛvər tɪ ɪgˈzɪst ɪn pjʊr fɔrm, ər (ˈænˌti monachos*) fər "monk-killer*" (ɪn frɛnʧ foʊk ˌɛtɪˈmɑləʤi, "məŋks beɪn"), bɪˈkəz ˈmɛni ˈərli wər məŋks, ənd ɪz ˈpɔɪzənəs. ðɪs meɪ ˈɔlsoʊ bi dəraɪvd frəm ðə ˌfɛrəˈɑnɪk (ˈeɪnʧənt ɪˈʤɪpʃən), ˈɑntoʊz ˈæmən (ɪkˈsprɛʃən), wɪʧ kʊd bi trænzˈleɪtəd ɛz "blum əv ðə gɑd ˈæˌmoʊ". ðə ˈsɪmbəl ɪz frəm ˈlætən neɪm stibium*, wɪʧ ɪz dəraɪvd frəm grik stíbi*, ə ˈvɛriənt əv: ər ˈprɑbəˌbli ə loʊn wərd frəm ˈɛrəbɪk ər ɪˈʤɪpʃən ˈminɪŋ littré*é səˈʤɛsts ðət ðə fərst fɔrm ɪz dəraɪvd frəm *stimmida*, ə ˌhaɪpəˈθɛtɪkəl ɔlˈtərnətɪv əˈkjuzətɪv əv (ðə kəˈnɑnəkəl əˈkjuzətɪv əv ðə naʊn ɪz ðə seɪm ɛz ðə nominative*:). ðə ˈɛrəbɪk wərd fər ðə ˈsəbstəns, ɛz "mɑrk" ər "ðə kɑzˈmɛtɪk", kən əˈpɪr ɛz ithmid*, athmoud*, ər 52 tɛˈlʊriəm ti ˈlætən ərθ frəm ˈlætən ("ərθ"). 53 ˈaɪəˌdaɪn aɪ grik ˈviə frɛnʧ (iodes*) ˈvaɪəlɪt dɪˈskrɪptɪv (ˈkələr) neɪmd ˈæftər ðə grik (iodes*), wɪʧ minz "ˈvaɪəlɪt", bɪˈkəz əv ðə ˈkələr əv ðə ˈgæsiəs feɪz. ðɪs wərd wɑz əˈdæptɪd ɛz ðə frɛnʧ iode*, wɪʧ ɪz ðə sɔrs əv ðə ˈɪŋlɪʃ 54 ˈzinɑn grik (ˈzinoʊz) ˈfɔrən frəm ðə grik ˈæʤɪktɪv (ˈzinoʊz), wɪʧ minz "ˈfɔrən, ə ˈstreɪnʤər". 55 ˈlætən ər skaɪ blu dɪˈskrɪptɪv (ˈkələr): ˈlætən frəm ˈlætən, wɪʧ minz "skaɪ blu". ɪts aɪˌdɛntəfəˈkeɪʃən wɑz beɪst əˈpɑn ðə laɪnz ɪn ɪts ˈspɛktrəm, ənd ɪt wɑz ðə fərst ˈɛləmənt dɪˈskəvərd baɪ ˈspɛktrəm æˈnælɪsɪs. 56 ˈbɛriəm ˌbiˈeɪ grik ˈviə ˈmɑdərn ˈlætən (barys*) ˈhɛvi grik (barys*) minz "ˈhɛvi". ðə ˈɑkˌsaɪd wɑz ˌɪˈnɪʃəli kɔld "barote*", ðɛn "baryta*", wɪʧ wɑz ˈmɑdəˌfaɪd tɪ "ˈbɛriəm" tɪ dɪˈskraɪb ðə ˈmɛtəl. sər ˈhəmfri ˈdeɪvi geɪv ðə ˈɛləmənt ðɪs neɪm bɪˈkəz ɪt wɑz ərˈɪʤənəli faʊnd ɪn baryte*, wɪʧ ʃɛrz ðə seɪm 57 ˈlænθənəm lɑ grik (lanthanein*) tɪ laɪ ˈhɪdən frəm grik lanthanein*, "tɪ laɪ (ˈhɪdən)". 58 ˈlætən ˈsɪriz greɪn, brɛd ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl ˈsɪriz neɪmd ˈæftər ðə ˈæstərˌɔɪd ˈsɪriz, dɪˈskəvərd tu jɪrz ˈərliər. (ðə ˈæstərˌɔɪd, naʊ ˈklæsəˌfaɪd ɛz ə dwɔrf ˈplænət, wɑz neɪmd ˈæftər ˈsɪriz, ðə ˈgɑdəs əv fərˈtɪlɪti ɪn ˈroʊmən ˈsɪriz ɪz dəraɪvd frəm paɪ *ker-es*- frəm beɪs *kər- ˈminɪŋ tɪ 59 grik didymos*) grin twɪn dɪˈskrɪptɪv frəm grik didymos*), ˈminɪŋ "grin twɪn", bɪˈkəz ˈsɛpərˌeɪtɪd ˈɪntu ənd, wɪθ sɔlts əv ˈdɪfərənt colours*; ˈɑkˌsaɪd ɪz grin. 60 grik didymos*) nu twɪn dɪˈskrɪptɪv dəraɪvd frəm grik didymos*), wɪʧ minz "nu twɪn", bɪˈkəz ˈsɛpərˌeɪtɪd ˈɪntu ənd. ðə ˈmɛtəlz hæv sɔlts, wɪʧ hɛlps dɪˈstɪŋgwɪʃ 61 prəˈmiˌθiəm piɛm grik (prəˈmiˌθiəs) ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər prəˈmiˌθiəs, hu stoʊl ðə faɪər əv ˈhɛvən ənd geɪv ɪt tɪ ˈmænˈkaɪnd (ɪn ˈklæsɪkəl 62 samarsky-bykhovets*, neɪmd ˈæftər samarskite*, ðə ˈmɪnərəl. wɑz neɪmd ˈæftər ˈkərnəl samarsky-bykhovets*, ə ˈrəʃən maɪn əˈfɪʃəl.) 63 jʊˈroʊpiəm ˈeɪnʧənt grik (ˈjʊrəp) ər; ˌmɪθəˈlɑʤɪkəl neɪmd fər ˈjʊrəp, wɛr ɪt wɑz dɪˈskəvərd. ˈjʊrəp wɑz neɪmd ˈæftər ðə ˈfɪkʃənəl fəˈniʃən ˈprɪnsɛs jʊˈroʊpə. 64 gadolin*, joʊˈhɑn neɪmd ɪn ˈɑnər əv joʊˈhɑn gadolin*, hu wɑz wən əv ðə ˈfaʊndərz əv ˈnɔrdɪk ˈkɛmɪstri ˈrisərʧ, dɪˈskəvərd ˈɪtriəm, ənd ˌpaɪəˈnɪrd ˈlæbrəˌtɔri ˈɛksərˌsaɪz ˈtiʧɪŋ. (gadolinite*, ðə ˈmɪnərəl, ɪz ˈɔlsoʊ neɪmd fər ɪm.) 65 ˈtiˈbi sˈwidɪʃ ˈprɑpər neɪm (ˈlɪtərəli: ˈaʊtər ˈvɪlɪʤ) neɪmd ˈæftər, ðə ˈvɪlɪʤ ɪn sˈwidən wɛr ðə ˈɛləmənt wɑz fərst dɪˈskəvərd. 66 grik (dysprositos*) hɑrd tɪ gɪt æt dɪˈskrɪptɪv dəraɪvd frəm grik (dysprositos*), wɪʧ minz "hɑrd tɪ gɪt æt". 67 ˈhoʊlmiəm hoʊ ˈlætən ˈstɑˌkhoʊlm dəraɪvd frəm ˈlætən, wɪʧ minz ˈstɑˌkhoʊlm. 68 ər sˈwidɪʃ ˈprɑpər neɪm, ˈlɪtərəli: "ˈaʊtər ˈvɪlɪʤ" neɪmd ˈæftər ðə ˈvɪlɪʤ əv ɪn sˈwidən, wɛr lɑrʤ ˌkɑnsənˈtreɪʃənz əv ənd ər ˈloʊˌkeɪtəd. ənd wər kənfˈjuzd æt ðɪs taɪm. ˈæftər 1860 wət hæd bɪn noʊn ɛz wɑz riˈneɪmd, ənd ˈæftər 1877 wət hæd bɪn noʊn ɛz wɑz riˈneɪmd. 69 grik ə ˈmɪθɪkəl ˈkəntri ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər thule*, ən ˈeɪnʧənt ˈroʊmən ənd grik neɪm fər ə ˈmɪθɪkəl ˈkəntri ɪn ðə fɑr nɔrθ, pərˈhæps ˌskændɪˈneɪviə. baɪ ðə seɪm ˈtoʊkən, thulia*, ɪts ˈɑkˌsaɪd. 70 sˈwidɪʃ ˈprɑpər neɪm, ˈlɪtərəli: "ˈaʊtər ˈvɪlɪʤ" neɪmd ˈæftər, ðə (ˈɑkˌsaɪd) ˈkɑmpaʊnd əv. (ðə ˈkɑmpaʊnd wɑz neɪmd ˈæftər, ðə sˈwidɪʃ ˈvɪlɪʤ (nɪr vaxholm*) wɛr ðə ˈmɪnərəl wɑz ˈɔlsoʊ 71 lu ˈlætən ˈpɛrɪs neɪmd ˈæftər ðə ˈlætən fər "pleɪs əv məd"), ðə ˈsɪti əv 72 ˈhæfniəm ˈlætən ˈhæfniə ˈkoʊpənˌhɑgən frəm ˈlætən ˈhæfniə, wɪʧ minz "ˈkoʊpənˌhɑgən" əv ˈdɛnˌmɑrk. 73 ˈtæntələm tɑ grik (ˈtæntələs) ˈtæntələs; ˈpɑsəbli "ðə ˈbɛrər" ər "ðə ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər ðə grik ("ˈtæntələs"), hu wɑz ˈpənɪʃt ˈæftər dɛθ baɪ biɪŋ kənˈdɛmd tɪ stænd ɪn ˈwɔtər. ɪf hi bɛnt tɪ drɪŋk ðə ˈwɔtər, ɪt dreɪnd bɪˈloʊ ðə ˈlɛvəl hi kʊd riʧ (ɪn grik məˈθɑləˌʤi). ðɪs wɑz kənˈsɪdərd ˈsɪmələr tɪ ˈʤɛnərəl (ðət ɪz, "unreachability*") bɪˈkəz əv ɪts ˌɪˈnərtnəs (ɪt sɪts əˈməŋ ˈriʤənts ənd ɪz ˌənəˈfɛktɪd baɪ 74 ˈtəŋstən ˈdəbəlju sˈwidɪʃ ənd ˈdeɪnɪʃ təŋ stɛn ˈhɛvi stoʊn dɪˈskrɪptɪv frəm ðə sˈwidɪʃ ənd ˈdeɪnɪʃ "təŋ stɛn", wɪʧ minz "ˈhɛvi stoʊn". ðə ˈsɪmbəl ˈdəbəlju ɪz frəm ðə ˌsaɪənˈtɪfɪk neɪm ˈwʊlˌfræm. ðə neɪmz ˈwʊlˌfræm ər ər stɪl juzd ɪn sˈwidɪʃ ənd ˈsɛvərəl ˈəðər ˈlæŋgwɪʤɪz. 30 75 ri ˈlætən raɪn frəm ˈlætən, ðə ˈrɪvər raɪn. 76 ˈɑzmiəm ɑs grik ˈviə ˈmɑdərn ˈlætən (osme*) ə smɛl dɪˈskrɪptɪv frəm grik (osme*), ˈminɪŋ "ə smɛl"; ðə ɪz foul-smelling*. 77 ˌɪˈrɪdiəm grik ˈviə ˈlætən: əv ˈreɪnˌboʊz dɪˈskrɪptɪv (ˈkələr) neɪmd ˈæftər ðə ˈlætən naʊn ˈaɪrɪs, wɪʧ minz "ˈreɪnˌboʊ, ˈaɪrɪs plænt, ˈaɪrɪs əv ðə aɪ", bɪˈkəz ˈmɛni əv ɪts sɔlts ər ˈstrɔŋli ˈkələrd; ˈaɪrɪs wɑz ərˈɪʤənəli ðə neɪm əv ðə ˈgɑdəs əv ˈreɪnˌboʊz ənd ə ˈmɛsɪnʤər ɪn grik 78 ˈplætənəm ˈspænɪʃ ˈviə ˈmɑdərn ˈlætən (dɛl ˈpɪnˌtoʊ) ˈlɪtəl ˈsɪlvər (əv ðə ˈpɪnˌtoʊ dɪˈskrɪptɪv frəm ðə ˈspænɪʃ,, wɪʧ minz "ˈlɪtəl ˈsɪlvər", bɪˈkəz ɪt wɑz fərst ɪnˈkaʊnərd ɪn ə ˈsɪlvər maɪn. kən ˈɔlsoʊ min "steɪʤ (əv ə ˈmaɪkrəˌskoʊp)", ənd ðə ˈmɑdərn ˈspænɪʃ ɪz platino*. ɪz ə dɪˈmɪnjətɪv əv ˈplɑtə (ˈsɪlvər); ɪt ɪz ə loʊn wərd frəm frɛnʧ pleɪt ər ˈplɑtə (ʃit əv ˈmɛtəl) ənd ɪz ðə ˈɔrəʤən əv ðə ˈɪŋlɪʃ 79 goʊld oʊ ˈviə ˈmɪdəl ˈɪŋlɪʃ goʊld dɪˈskrɪptɪv (ˈkələr): ˈlætən ˈɔrəm frəm ðə, "goʊld", frəm paɪ *ghel*- ˈminɪŋ "ˈjɛloʊ/ braɪt". oʊ ɪz frəm ˈlætən ˈɔrəm, wɪʧ minz "ˈʃaɪnɪŋ 80 ˈmərkjəri ˈlætən ˈmərkjəri ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər ˈmərkjəri, ðə gɑd əv spid ənd ˈmɛsɪnʤər əv ðə gɑdz, ɛz wɑz ðə ˈplænət ˈmərkjəri neɪmd ˈæftər ðə gɑd. ðə ˈsɪmbəl ɪz frəm ðə grik wərdz ənd ənd argyros*), wɪʧ bɪˈkeɪm ðə ˈlætən hydrargyrum*; boʊθ min "water-silver*", bɪˈkəz ɪt ɪz ə ˈlɪkwɪd laɪk ˈwɔtər (æt rum ˈtɛmpərəʧər), ənd həz ə ˈsɪlvəri məˈtælɪk 81 ˈθæliəm grik (thallos*) grin twɪg dɪˈskrɪptɪv frəm grik (thallos*), wɪʧ minz "ə grin ʃut (twɪg)", bɪˈkəz əv ɪts ˈspɛktrəl ɪˈmɪʃən laɪnz. 82 lɛd lɛd ðə ˈsɪmbəl ɪz frəm ðə ˈlætən neɪm plumbum*, hɛns ðə ˈɪŋlɪʃ 83 ˈbɪzməθ baɪ ˈmɑdərn ˈlætən frəm ˈʤərmən waɪt mæs dɪˈskrɪptɪv (ˈkələr): ɪz dəraɪvd frəm ˈʤərmən wismuth*, pərˈhæps frəm mæs, ənd minz "waɪt mæs", du tɪ ɪts əˈpɪrəns. 84 pəˈloʊniəm poʊ ˈlætən ˈpoʊlənd neɪmd ˈæftər ˈpoʊlənd, ˈhoʊmˌlænd əv dɪˈskəvərər mərˈi ˈkjʊri. wɑz ˈɔlsoʊ kɔld ˈreɪdiəm ɛf. 85 æt grik (astatos*) ənˈsteɪbəl grik (astatos*) minz 86 ˈreɪˌdɑn ˈlætən ˈviə ˈʤərmən ənd ˈreɪdiəm kənˈtrækʃən əv ˈreɪdiəm ˌɛməˈneɪʃən, sɪns ðə ˈɛləmənt əˈpɪrz ɪn ðə ˌreɪdioʊˈæktɪv dɪˈkeɪ əv ˈreɪdiəm. ən ɔlˈtərnətɪv, rɪˈʤɛktɪd neɪm wɑz (nt*), frəm ˈlætən "ˈʃaɪnɪŋ", bɪˈkəz əv ðə əv ˈreɪˌdɑn. 87 frɛnʧ fræns ˈprɑpər neɪm (lænd əv ðə fræŋks) neɪmd fər fræns, wɛr ɪt wɑz dɪˈskəvərd (æt ðə ˈkjʊri ˈɪnstɪˌtut (ˈpɛrɪs)). 88 ˈreɪdiəm rɑ ˈlætən ˈviə frɛnʧ ˈreɪdiəs reɪ dɪˈskrɪptɪv frəm ˈlætən ˈreɪdiəs ˈminɪŋ "reɪ", bɪˈkəz əv ɪts ˌreɪdioʊˌækˈtɪvəˌti. 89 ˈeɪˈsi grik (aktis*) bim grik (aktis*;), wɪʧ minz "bim (reɪ)". 90 ˈθɑriəm ˈtiˈeɪʧ oʊld nɔrs (ˈmɑdərn ˈɪŋlɪʃ θɔr) ˈθəndər ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər θɔr, ə gɑd əˈsoʊʃiˌeɪtəd wɪθ ˈθəndər ɪn nɔrs ðə ˈfɔrmər neɪm (aɪoʊ) wɑz ˈgɪvɪn ˈərli ɪn ðə ˈstədi əv ˌreɪdioʊˈæktɪv ˈɛləmənts tɪ ðə ˈaɪsəˌtoʊp. 91 pɑ grik fərst bim ˈɛləmənt dɪˈskrɪptɪv? dəraɪvd frəm ˈfɔrmər neɪm protoactinium*, frəm ðə grik ˈprifɪks ˈproʊtə "fərst" frəm grik (ʤɛn.: "reɪ" ˈlætən 92 jərˈeɪniəm ju grik ˈviə ˈlætən (ouranos*); ˈjərənəs skaɪ ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər ðə ˈplænət ˈjərənəs, wɪʧ hæd bɪn dɪˈskəvərd eɪt jɪrz ˈərliər ɪn 1781 ðə ˈplænət wɑz neɪmd ˈæftər ðə gɑd ˈjərənəs, ðə gɑd əv skaɪ ənd ˈhɛvən ɪn grik 93 nɛpˈtuniəm ˈlætən ˈnɛptun ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl neɪmd fər ˈnɛptun, ðə ˈplænət. (ðə ˈplænət wɑz neɪmd ˈæftər ðə gɑd ˈnɛptun, ðə gɑd əv ˈoʊʃənz ɪn ˈroʊmən 94 pluˈtoʊniəm pu grik ˈviə ˈlætən (ploutōn*) ˈviə ˈplutoʊ gɑd əv ˌæstrəˈlɑʤɪkəl; ˌmɪθəˈlɑʤɪkəl neɪmd ˈæftər ˈplutoʊ, ðə dwɔrf ˈplænət, bɪˈkəz ɪt wɑz dɪˈskəvərd dɪˈrɛkli ˈæftər nɛpˈtuniəm ənd ɪz haɪər ðən jərˈeɪniəm ɪn ðə ˌpɪriˈɑdɪk ˈteɪbəl, soʊ baɪ əˈnæləʤi wɪθ ðə ˈɔrdərɪŋ əv ðə ˈplænəts. (ðə ˈplænət ˈplutoʊ wɑz neɪmd ˈæftər ˈplutoʊ, ə grik gɑd əv ðə (ploutōn*) ɪz rɪˈleɪtɪd tɪ ðə grik wərd (ploutos*) ˈminɪŋ "wɛlθ". 95 æm əˈmɛrɪkə: ðə əˈmɛrɪkəz neɪmd fər ðə əˈmɛrɪkəz, bɪˈkəz ɪt wɑz dɪˈskəvərd ɪn ðə juˈnaɪtɪd steɪts (baɪ əˈnæləʤi wɪθ jʊˈroʊpiəm) (ðə neɪm əv ðə ˈkɑntənənt əˈmɛrɪkə ɪz dəraɪvd frəm ðə neɪm əv ðə ˌɪˈtæljən ˈnævəˌgeɪtər ɑmərˈigoʊ vespucci*). 96 ˈkjʊri, mərˈi ənd piɛr: piɛr ənd mərˈi ˈkjʊri ənd ðə -əm ˈɛndɪŋ neɪmd ɪn ˈɑnər əv mərˈi ənd piɛr ˈkjʊri, hu dɪˈskəvərd ˈreɪdiəm ənd riˈsərʧt ˌreɪdioʊˌækˈtɪvəˌti. 99 ɛs ˈʤərmən ˈaɪnstaɪn, ˈælbərt ˈsərˌneɪm, wɪʧ minz "wən stoʊn" neɪmd ɪn ˈɑnər əv ˈælbərt ˈaɪnstaɪn, fər hɪz wərk ɔn ˌθiərˈɛtɪkəl ˈfɪzɪks, wɪʧ ˌɪnˈkludɪd ðə ˌfoʊtoʊɪˈlɛktrɪk ˈifɛkt. 101 mendeleyev*, dˈmitri neɪmd ɪn ˈɑnər əv dˈmitri mendeleyev*, hu ˌɪnˈvɛntɪd ˌpɪriˈɑdɪk ɪt həz ˈɔlsoʊ bɪn kɔld ənd wʊd hæv bɪn ˌtɛmpərˈɛrəli kɔld, baɪ, (unu*) ɪf ðə ˈsɪstəm hæd bɪn ɪn pleɪs æt ðə 102 noʊˈbɛliəm noʊ noʊˈbɛl, ˈælfrɪd neɪmd ɪn ˈɑnər əv ˈælfrɪd noʊˈbɛl, hu ˌɪnˈvɛntɪd ˈdaɪnəˌmaɪt ənd ˈɪnstɪˌtutɪd ðə noʊˈbɛl ˈpraɪzɪz faʊnˈdeɪʃən. wʊd hæv bɪn juzd ɛz ə ˈtɛmpərˌɛri ˌsɪstəˈmætɪk ˈɛləmənt neɪm ɪf ðə ˈsɪstəm hæd bɪn ɪn pleɪs æt ðə 103 lɔˈrɛnsiəm ˈlɔrəns, ˈərnɪst oʊ. neɪmd ɪn ˈɑnər əv ˈərnɪst oʊ. ˈlɔrəns, hu wɑz ˌɪnˈvɑlvd ɪn ðə dɪˈvɛləpmənt əv ðə ˈsaɪklətrɑn. ðə ˈsɪmbəl həz bɪn sɪns 1963 ˈfɔrmərli wɑz juzd. wʊd hæv bɪn juzd ɛz ə ˈtɛmpərˌɛri ˌsɪstəˈmætɪk ˈɛləmənt neɪm ɪf ðə ˈsɪstəm hæd bɪn ɪn pleɪs æt ðə 106 sˈwidɪʃ ˈviə ˈɪŋlɪʃ seaborg*, glɛn sˈwidɪʃ ˈsərˌneɪm, ˈlɪtərəli: "leɪk ˈmaʊntən" neɪmd ɪn ˈɑnər əv glɛn ti. seaborg*, hu dɪˈskəvərd ðə ˈkɛmɪstri əv ðə ˈɛləmənts, ʃɛrd ɪn ðə ˌdɪˈskəvri ənd ˌaɪsəˈleɪʃən əv tɛn ˈɛləmənts, ənd dɪˈvɛləpt ənd prəˈpoʊzd ðə ˈæktɪˌnaɪd ˈsɪriz. ˈəðər neɪmz: ənd ˌtɛmpərˈɛrəli baɪ 108 ˈlætən hɛs dəraɪvd frəm ˈlætən, wɪʧ minz hɛs, ðə ˈʤərmən steɪt wɛr ɪt wɑz dɪˈskəvərd (æt ðə ˈɪnstɪˌtut fər ˈhɛvi aɪən ˈrisərʧ, ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ 109 ˈɛmˈti meitner*, laɪz neɪmd ɪn ˈɑnər əv laɪz meitner*, hu ʃɛrd ˌdɪˈskəvri əv ˈnukliər ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ 110 ˈʤərmən ˈdɑrmˌstæt ˈprɑpər neɪm, ˈlɪtərəli: "ˌɪnˈtɛˌstaɪn ˈsɪti" neɪmd fər ˈdɑrmˌstæt, wɛr ɪt wɑz dɪˈskəvərd ˈsɛntər fər ˈhɛvi aɪən ˈrisərʧ, ˈloʊˌkeɪtəd ɪn wixhausen*, ə smɔl ˈsəbərb nɔrθ əv ˈdɑrmˌstæt). ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ 111 röntgen*, ˈwɪˌlhɛlm ˈkɑnræd neɪmd ɪn ˈɑnər əv ˈwɪˌlhɛlm ˈkɑnræd röntgen*, hu prəˈdust ənd dɪˈtɛktɪd ˈɛksˌreɪz. ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ 113 ˌʤæpəˈniz (ˈnɪhɑn) ʤəˈpæn neɪmd ˈæftər ʤəˈpæn, wɛr ðə ˈɛləmənt wɑz dɪˈskəvərd. ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ 115 ˈɛmˈsi ˈlætən ˈmɔˌskaʊ neɪmd ˈæftər ˈmɔˌskaʊ ˈɑblæst, wɛr ðə ˈɛləmənt wɑz dɪˈskəvərd. ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ 117 tiɛs ˈʧɛrəˌki ˈviə ˈɪŋlɪʃ ˌtɛnəˈsi ˌtɛnəˈsi neɪmd ˈæftər ˌtɛnəˈsi (ˌɪtˈsɛlf neɪmd ˈæftər ðə ˈʧɛrəˌki ˈvɪlɪʤ əv /tanasi*/), wɛr ˌɪmˈpɔrtənt wərk fər wən əv ðə stɛps tɪ ðə ˈɛləmənt wɑz dən. ɪt həz ˈɔlsoʊ bɪn kɔld ənd ˌtɛmpərˈɛrəli baɪ
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hey there! we are soothsayer hot sauce, a small batch hot sauce company from chicago. though we are just starting out, we are confident in saying that we are the premiere hot sauce company in chicago, if not the world. soothsayer might also be the only hot sauce company but that's besides the point. all of our sauces are all natural, gluten free, allergen free, vegan, and tasty as hell. our bottling is done by hand and each bottle is numbered for batch and bottle number. we pride ourselves on three things: fresh & locally ingredients, an exceptional flavor profile, and an accessible level of heat. these are not the sauces for a scoville scale strongman; we make products for everyone to enjoy. our sauces act as an excellent accent flavor with just the right amount of heat. speaking of our sauces, let's introduce them.
our sauces
our big 3 sauces: harbinger,, and omen.
harbinger:
a roasted red pepper base serves to mellow out the fiery manzano pepper and give the sauce nice, savory balance. touches of garlic and onion help add some depth of flavor and makes this an excellent sauce for italian leaning foods. coming from a city obsessed with pizza, we had to make sure we did this one right.
perdition:
this is the sauce that started the idea for making soothsayer a legitimate business. an all orange sauce, started as a prototype called 'orange crush' as it features oranges, carrots, and orange bell peppers. the sweetness of the carrots and bell peppers is balanced by the tang and spice of thes to give this sauce a truly unique flavor. higher on our spice scale, this sauce is still accessible to almost all who have tried it so far. this is an incredibly versatile sauce and will become an instant staple in your fridge.
omen:
based on a traditional mexican salsa verde, omen is our workhorse sauce and one of our most popular. packed with and garlic, it provides a little bit of kick with a whole lot of taste. though the least spicy of the three, it has proved to be one of the most popular as it will become almost impossible to eat a plate of eggs or indulge in taco tuesday without it.
who we are
hi! my name is kyle and i like hot sauce, tattoos, punk rock, and hot sauce.
the idea for soothsayer was inspired by years of punk and metal shows in dive bars, dumpy venues, old basements, and wherever else music can be played. not to sound overly cliche, but the do it yourself attitude is infectious and the support of the people in these communities is inspiring. so i said 'to hell with it' and started making hot sauce. and people started responding to it. earlier this year i sent out samples of these three sauces to over 25 different states and was flooded with reviews, feedback, pictures of what people used it on, and one other surprising request for more. i knew that i enjoyed our unique, fresh flavors but i wasn't sure how others would respond. here's a few of those:
"i am lucky enough to live in chicago and was able to score some early samples of soothsayer sauce, to my delight. as someone who consumes at least 2 different types of hot sauce on all my meals daily, i have a pretty high bar for the new wave of craft stuff. soothsayer delivers! i've tried most of the line and they have a wide range of diverse flavors i'm especially a fan of the citrusy,, and to be honest don't think i'll ever be able to eat pizza again without the omen on top. soothsayer has bite (especially harbinger) but walks the line, so that you can actually nuanced flavors in each." -lindsay turano
"[in reviewing] the of the three, this marvel has the delightfully fruity notes from both the citrus and the peppers, a respectable amount of heat, along with a savory undertone of onion and garlic. the full, fresh flavor of the chiles is perfectly presented alongside tangy, savory, and sweet elements, all playing in a harmonious unison." -phil "el rojo loco" (one of the original sample recipients)
an ode to soothsayer (to the tune of 'my favorite things)
"tacos, burritos, and style cheetos,
burgers, and sausage, and chicken taquitos,
mixed into soups and tossed on chicken wings,
these are this hot sauces favorite things!
when it lacks spice, and the meats dry,
when it just tastes bad, i simply remember what harbinger brings,
soothsayer makes food so rad."
-beautifully composed by seth beavis of blue steel
with such a positive response to our all natural sauces, i couldn't help but feel the need to continue on and try to bring these flavors to as many people as i can. and it is with that spirit of support and accessibility that we wish to continue, as we grow, to encourage independent ventures across chicago; as a combination of culinary, artistic, and musical ideas. through pop up cooking events, art shows with the involvement of local musicians, or events that feature a bit of all three. we at soothsayer strongly feel that everything is best done when you bring up those around you, and we strive to create experiences that embody that ideal.
our rewards
you've been introduced to the sauces. now let's take a look at the other items involved in our rewards, that we will be producing here in by ourselves or with some of our favorite local artists and merchants.
the soothsayer shirt. hand screened by our designer shane zobel, of clothing.
we in warm hands and cold beers.
speaking of frosty beverages, what better place to temporarily house them in then a custom etched pint glass?
your denim vest is looking a little lonely...
combined with a set of custom can't go wrong with this on your collar.
the biggest of thanks to those who helped bring all of this together:
shane zobel - designs and printing
noah schloss - video and editing
luhrs - photography and product shots
chris woods - custom pint etching
i highly encourage you to check out the works of these incredibly talented, unbelievably committed artists for anything you could need in the design and creative mediums.
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heɪ ðɛr! wi ər ˌsuθˈseɪər hɑt sɔs, ə smɔl bæʧ hɑt sɔs ˈkəmpəˌni frəm ʃəˈkɑˌgoʊ. ðoʊ wi ər ʤɪst ˈstɑrtɪŋ aʊt, wi ər ˈkɑnfədənt ɪn seɪɪŋ ðət wi ər ðə prɛˈmɪr hɑt sɔs ˈkəmpəˌni ɪn ʃəˈkɑˌgoʊ, ɪf nɑt ðə wərld. ˌsuθˈseɪər maɪt ˈɔlsoʊ bi ðə ˈoʊnli hɑt sɔs ˈkəmpəˌni bət ðæts ˌbiˈsaɪdz ðə pɔɪnt. ɔl əv ɑr ˈsɔsɪz ər ɔl ˈnæʧərəl, ˈglutən fri, ˈælərʤən fri, ˈvɛgən, ənd ˈteɪsti ɛz hɛl. ɑr ˈbɑtəlɪŋ ɪz dən baɪ hænd ənd iʧ ˈbɑtəl ɪz ˈnəmbərd fər bæʧ ənd ˈbɑtəl ˈnəmbər. wi praɪd ɑrˈsɛlvz ɔn θri θɪŋz: frɛʃ ˈloʊkəli ˌɪnˈgridiənts, ən ɪkˈsɛpʃənəl ˈfleɪvər ˈproʊˌfaɪl, ənd ən ækˈsɛsəbəl ˈlɛvəl əv hit. ðiz ər nɑt ðə ˈsɔsɪz fər ə ˈskoʊˌvɪl skeɪl ˈstrɔŋˌmæn; wi meɪk ˈprɑdəkts fər ˈɛvriˌwən tɪ ˌɛnˈʤɔɪ. ɑr ˈsɔsɪz ækt ɛz ən ˈɛksələnt ˈækˌsɛnt ˈfleɪvər wɪθ ʤɪst ðə raɪt əˈmaʊnt əv hit. ˈspikɪŋ əv ɑr ˈsɔsɪz, lɛts ˌɪntrəˈdus ðɛm. ɑr ˈsɔsɪz ɑr bɪg 3 ˈsɔsɪz: ˈhɑrbɪnʤər,, ənd ˈoʊmən. ˈhɑrbɪnʤər: ə ˈroʊstɪd rɛd ˈpɛpər beɪs sərvz tɪ ˈmɛloʊ aʊt ðə ˈfaɪəri mɑnˈzɑnoʊ ˈpɛpər ənd gɪv ðə sɔs nis, ˈseɪvəri ˈbæləns. ˈtəʧɪz əv ˈgɑrlɪk ənd ˈənjən hɛlp æd səm dɛpθ əv ˈfleɪvər ənd meɪks ðɪs ən ˈɛksələnt sɔs fər ˌɪˈtæljən ˈlinɪŋ fudz. ˈkəmɪŋ frəm ə ˈsɪti əbˈsɛst wɪθ ˈpitsə, wi hæd tɪ meɪk ʃʊr wi dɪd ðɪs wən raɪt.: ðɪs ɪz ðə sɔs ðət ˈstɑrtɪd ðə aɪˈdiə fər ˈmeɪkɪŋ ˌsuθˈseɪər ə ləˈʤɪtəmət ˈbɪznɪs. ən ɔl ˈɔrɪnʤ sɔs, ˈstɑrtɪd ɛz ə ˈproʊtoʊˌtaɪp kɔld 'ˈɔrɪnʤ krəʃ' ɛz ɪt ˈfiʧərz ˈɔrɪnʤ, ˈkɛrəts, ənd ˈɔrɪnʤ bɛl ˈpɛpərz. ðə sˈwitnəs əv ðə ˈkɛrəts ənd bɛl ˈpɛpərz ɪz ˈbælənst baɪ ðə tɑŋ ənd spaɪs əv ðə tɪ gɪv ðɪs sɔs ə ˈtruli juˈnik ˈfleɪvər. haɪər ɔn ɑr spaɪs skeɪl, ðɪs sɔs ɪz stɪl ækˈsɛsəbəl tɪ ˈɔlˌmoʊst ɔl hu hæv traɪd ɪt soʊ fɑr. ðɪs ɪz ən ˌɪnˈkrɛdəbli ˈvərsətəl sɔs ənd wɪl bɪˈkəm ən ˈɪnstənt ˈsteɪpəl ɪn jʊr frɪʤ. ˈoʊmən: beɪst ɔn ə trəˈdɪʃənəl ˈmɛksəkən ˈsɑlsə ˈvərdi, ˈoʊmən ɪz ɑr ˈwərˌkhɔrs sɔs ənd wən əv ɑr moʊst ˈpɑpjələr. pækt wɪθ ənd ˈgɑrlɪk, ɪt prəˈvaɪdz ə ˈlɪtəl bɪt əv kɪk wɪθ ə hoʊl lɔt əv teɪst. ðoʊ ðə list ˈspaɪsi əv ðə θri, ɪt həz pruvd tɪ bi wən əv ðə moʊst ˈpɑpjələr ɛz ɪt wɪl bɪˈkəm ˈɔlˌmoʊst ˌɪmˈpɑsəbəl tɪ it ə pleɪt əv ɛgz ər ˌɪnˈdəlʤ ɪn ˈtɑkoʊ ˈtuzˌdeɪ wɪˈθaʊt ɪt. hu wi ər haɪ! maɪ neɪm ɪz kaɪl ənd aɪ laɪk hɑt sɔs, ˌtæˈtuz, pəŋk rɑk, ənd hɑt sɔs. ðə aɪˈdiə fər ˌsuθˈseɪər wɑz ˌɪnˈspaɪərd baɪ jɪrz əv pəŋk ənd ˈmɛtəl ʃoʊz ɪn daɪv bɑrz, ˈdəmpi ˈvɛnuz, oʊld ˈbeɪsmənts, ənd wɛˈrɛvər ɛls mˈjuzɪk kən bi pleɪd. nɑt tɪ saʊnd ˈoʊvərli kliˈʃeɪ, bət ðə du ɪt ˈjɔrsɛlf ˈætəˌtud ɪz ˌɪnˈfɛkʃəs ənd ðə səˈpɔrt əv ðə ˈpipəl ɪn ðiz kəmˈjunɪtiz ɪz ˌɪnˈspaɪərɪŋ. soʊ aɪ sɛd 'tɪ hɛl wɪθ ɪt' ənd ˈstɑrtɪd ˈmeɪkɪŋ hɑt sɔs. ənd ˈpipəl ˈstɑrtɪd rɪˈspɑndɪŋ tɪ ɪt. ˈərliər ðɪs jɪr aɪ sɛnt aʊt ˈsæmpəlz əv ðiz θri ˈsɔsɪz tɪ ˈoʊvər 25 ˈdɪfərənt steɪts ənd wɑz ˈflədɪd wɪθ rəvˈjuz, ˈfidˌbæk, ˈpɪkʧərz əv wət ˈpipəl juzd ɪt ɔn, ənd wən ˈəðər səˈpraɪzɪŋ rɪkˈwɛst fər mɔr. aɪ nu ðət aɪ ˌɛnˈʤɔɪd ɑr juˈnik, frɛʃ ˈfleɪvərz bət aɪ ˈwəzənt ʃʊr haʊ ˈəðərz wʊd rɪˈspɑnd. hɪrz ə fju əv ðoʊz: "aɪ æm ˈləki ɪˈnəf tɪ lɪv ɪn ʃəˈkɑˌgoʊ ənd wɑz ˈeɪbəl tɪ skɔr səm ˈərli ˈsæmpəlz əv ˌsuθˈseɪər sɔs, tɪ maɪ dɪˈlaɪt. ɛz ˈsəmˌwən hu kənˈsumz æt list 2 ˈdɪfərənt taɪps əv hɑt sɔs ɔn ɔl maɪ milz ˈdeɪli, aɪ hæv ə ˈprɪti haɪ bɑr fər ðə nu weɪv əv kræft stəf. ˌsuθˈseɪər dɪˈlɪvərz! aɪv traɪd moʊst əv ðə laɪn ənd ðeɪ hæv ə waɪd reɪnʤ əv dɪˈvərs ˈfleɪvərz əm əˈspɛʃəli ə fæn əv ðə citrusy*,, ənd tɪ bi ˈɑnəst doʊnt θɪŋk aɪl ˈɛvər bi ˈeɪbəl tɪ it ˈpitsə əˈgɛn wɪˈθaʊt ðə ˈoʊmən ɔn tɔp. ˌsuθˈseɪər həz baɪt (əˈspɛʃəli ˈhɑrbɪnʤər) bət wɔks ðə laɪn, soʊ ðət ju kən ˈæˌkʧuəli nuɑnst ˈfleɪvərz ɪn iʧ." -ˈlɪndzi tʊˈrɑnoʊ "[ɪn rivˈjuɪŋ] ðə əv ðə θri, ðɪs ˈmɑrvəl həz ðə dɪˈlaɪtfəli ˈfruti noʊts frəm boʊθ ðə ˈsɪtrəs ənd ðə ˈpɛpərz, ə rɪˈspɛktəbəl əˈmaʊnt əv hit, əˈlɔŋ wɪθ ə ˈseɪvəri ˈəndərˌtoʊn əv ˈənjən ənd ˈgɑrlɪk. ðə fʊl, frɛʃ ˈfleɪvər əv ðə ˈʧɪliz ɪz ˈpərfəktli pərˈzɛnəd əˈlɔŋˈsaɪd tangy*, ˈseɪvəri, ənd swit ˈɛləmənts, ɔl pleɪɪŋ ɪn ə hɑrˈmoʊniəs ˈjunɪsən." -fɪl "ɛl ˈroʊʤoʊ ˈloʊkoʊ" (wən əv ðə ərˈɪʤənəl ˈsæmpəl rɪˈsɪpiənts) ən oʊd tɪ ˌsuθˈseɪər (tɪ ðə tun əv 'maɪ ˈfeɪvərɪt θɪŋz) "ˈtɑkoʊz, bərˈitoʊs, ənd staɪl cheetos*, ˈbərgərz, ənd ˈsɔsɪʤ, ənd ˈʧɪkən taquitos*, mɪkst ˈɪntu sups ənd tɔst ɔn ˈʧɪkən wɪŋz, ðiz ər ðɪs hɑt ˈsɔsɪz ˈfeɪvərɪt θɪŋz! wɪn ɪt læks spaɪs, ənd ðə mits draɪ, wɪn ɪt ʤɪst teɪsts bæd, aɪ ˈsɪmpli rɪˈmɛmbər wət ˈhɑrbɪnʤər brɪŋz, ˌsuθˈseɪər meɪks fud soʊ ræd." -ˈbjutəfli kəmˈpoʊzd baɪ sɛθ ˈbivəs əv blu stil wɪθ səʧ ə ˈpɑzətɪv rɪˈspɑns tɪ ɑr ɔl ˈnæʧərəl ˈsɔsɪz, aɪ ˈkʊdənt hɛlp bət fil ðə nid tɪ kənˈtɪnju ɔn ənd traɪ tɪ brɪŋ ðiz ˈfleɪvərz tɪ ɛz ˈmɛni ˈpipəl ɛz aɪ kən. ənd ɪt ɪz wɪθ ðət ˈspɪrɪt əv səˈpɔrt ənd ˌæksɛsəˈbɪlɪti ðət wi wɪʃ tɪ kənˈtɪnju, ɛz wi groʊ, tɪ ɪnˈkərəʤ ˌɪndɪˈpɛndənt ˈvɛnʧərz əˈkrɔs ʃəˈkɑˌgoʊ; ɛz ə ˌkɑmbəˈneɪʃən əv ˈkjulɪˌnɛri, ɑrˈtɪstɪk, ənd mˈjuzɪkəl aɪˈdiəz. θru pɑp əp ˈkʊkɪŋ ɪˈvɛnts, ɑrt ʃoʊz wɪθ ðə ˌɪnˈvɑlvmənt əv ˈloʊkəl mjuˈzɪʃənz, ər ɪˈvɛnts ðət ˈfiʧər ə bɪt əv ɔl θri. wi æt ˌsuθˈseɪər ˈstrɔŋli fil ðət ˈɛvriˌθɪŋ ɪz bɛst dən wɪn ju brɪŋ əp ðoʊz əraʊnd ju, ənd wi straɪv tɪ kriˈeɪt ɪkˈspɪriənsɪz ðət ɪmˈbɑdi ðət aɪˈdil. ɑr rɪˈwɔrdz juv bɪn ˌɪntrəˈdust tɪ ðə ˈsɔsɪz. naʊ lɛts teɪk ə lʊk æt ðə ˈəðər ˈaɪtəmz ˌɪnˈvɑlvd ɪn ɑr rɪˈwɔrdz, ðət wi wɪl bi prəˈdusɪŋ hir ɪn baɪ ɑrˈsɛlvz ər wɪθ səm əv ɑr ˈfeɪvərɪt ˈloʊkəl ˈɑrtɪsts ənd ˈmərʧənts. ðə ˌsuθˈseɪər ʃərt. hænd skrind baɪ ɑr dɪˈzaɪnər ʃeɪn ˈzoʊbəl, əv ˈkloʊðɪŋ. wi ɪn wɔrm hænz ənd koʊld bɪrz. ˈspikɪŋ əv ˈfrɔsti ˈbɛvrɪʤɪz, wət ˈbɛtər pleɪs tɪ ˌtɛmpərˈɛrəli haʊs ðɛm ɪn ðɛn ə ˈkəstəm ɛʧt paɪnt glæs? jʊr ˈdɛnəm vɛst ɪz ˈlʊkɪŋ ə ˈlɪtəl ˈloʊnli... kəmˈbaɪnd wɪθ ə sɛt əv ˈkəstəm kænt goʊ rɔŋ wɪθ ðɪs ɔn jʊr ˈkɑlər. ðə ˈbɪgəst əv θæŋks tɪ ðoʊz hu hɛlpt brɪŋ ɔl əv ðɪs təˈgɛðər: ʃeɪn ˈzoʊbəl dɪˈzaɪnz ənd ˈprɪnɪŋ noʊə ʃlɔs ˈvɪdioʊ ənd ˈɛdɪtɪŋ lʊrz fəˈtɑgrəfi ənd ˈprɑdəkt ʃɑts krɪs wʊdz ˈkəstəm paɪnt ˈɛʧɪŋ aɪ ˈhaɪli ɪnˈkərəʤ ju tɪ ʧɛk aʊt ðə wərks əv ðiz ˌɪnˈkrɛdəbli ˈtæləntɪd, ˌənbəˈlivəbli kəˈmɪtɪd ˈɑrtɪsts fər ˈɛniˌθɪŋ ju kʊd nid ɪn ðə dɪˈzaɪn ənd kriˈeɪtɪv ˈmidiəmz.
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oct 26, 2011
does the position of geologic strata determine age?
in part one of this article, a reference to laboratory experiments that falsify the consensus view of sediment deposition mentioned that fossil ages could not be reliably determined based on the so-called “geologic column.” the geologic column is defined as a series of depositional layers that form a chronological sequence. it is also called the “stratigraphical column.”
considering the position of fossils in rock strata, the following sequence is generally accepted:
era period epoch end date in million years quaternary pleistocene tertiary (cenozoic) pliocene 2 miocene oligocene eocene jurassic 65 triassic 190 primary (paleozoic) permian 225 carboniferous 280 devonian 345 395 440 cambrian 500 precambrian 570
thus, the extinction of the dinosaurs is said to have taken place over 65 million years ago. however, the popular notion that the geologic column represents vast periods of time is being questioned by a number of geologists who realize that it most likely results from a series of catastrophic events.
nicolaus steno is often said to be the father of geology. his “principle of superposition” influences geologists to this day, even though it was formulated in the late 1600s. in many ways it seems to be completely straight forward, but only now is it recognized that it was not based on experiments but on field observation.
“at the time when any given stratum was being formed, all the matter resting upon it was fluid, and, therefore, at the time when the lower stratum was being formed, none of the upper strata existed.”
in february 2000, guy wrote a paper in which he described several experiments that analyzed the hydraulic processes involved with sedimentary layering. his conclusions were subsequently published in and mineral resources, vol. 37, no. 5. under conditions of constant flow rate and a continuous supply of particles, he discovered that a mixture of coarse and fine particles would separate into thin.
material flowing through a flume under simulated flood conditions created a downstream deposit that sorted into several horizontal strata that continued to build up on the advancing face. the unusual aspect to the deposition of particles is that each layer was composed of younger than those farther back. rather than top stratum being younger than the bottom, all strata were deposited simultaneously in a horizontal fashion. as the paper states: “superposed strata are not, therefore, necessarily identical to successive sedimentary layers.”
another problem with the strata theory is speed of erosion. the current weathering rate for the continental shelves is thought to be six centimeters per thousand years. therefore, in less than 10 million years continental shelves will erode away. the difficulty with that assessment is that sediments hundreds of millions of years old are on top of all the continental shelves. how can this be when that material should have all washed away in the cenozoic era?
since rock layers are often dated by the type of fossil contained within them, and experiments reveal that the deposition of sediments containing skeletons can no longer be based on the principle of superposition, then rock layers can no longer be dated in that way.
another problem with gradualism in geology is the dating of rocks. rocks are typically dated using the principle of constant radioactive isotope decay rates and an assumption of the estimated original isotope ratios. the oldest rocks are dated using the ratios.
when rocks form, they contain a certain percentage of elements. zircon contains uranium and thorium atoms, but no lead. therefore, the assumption is that all the lead in zircon must be radiogenic. this idea depends on a uniform, gradual process free of sudden alteration. if the decay rates of various elements can be altered by external influences, then the percentage that indicate a age are unreliable.
“there has been in recent years the horrible realization that rates are not as constant as previously thought, nor are they immune to environmental influences. and this could mean that the atomic clocks are reset during some global disaster, and events which brought the mesozoic to a close may not be 65 million years ago but, rather, within the age and memory of man.” fred jueneman, faic, industrial research & development,, june 1982.
a foundation of electric universe theory is the flow of electricity through space and the catastrophic influence it had on planets and moons in the recent past. whatever phenomenon it was, within the recorded history of humanity a great cataclysm engulfed the earth. canyons were blasted out, mountains raised, ocean basins shifted, and great of plants, animals, and people obliterated in the blink of an eye.
those enormous energies, the rearrangement of the topography, and the intense radiation make it impossible to assign any measure of antiquity. repeated and rapid sedimentation that hardened to stone in mere minutes, its burden of organic detritus, means that what is visible on the surface might be the same age as what lies beneath.
stephen smith
hat tip to mel acheson
now available stars in an electric universe dvd
this outstanding lecture delivered by wallace thornhill at the 2011 conference is now out on dvd!
see our resources page for more information.
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ɔkt 26 2011 dɪz ðə pəˈzɪʃən əv ˌʤiəˈlɑʤɪk ˈstrætə dɪˈtərmən eɪʤ? ɪn pɑrt wən əv ðɪs ˈɑrtɪkəl, ə ˈrɛfərəns tɪ ˈlæbrəˌtɔri ɪkˈspɛrəmənts ðət ˈfɔlsəˌfaɪ ðə kənˈsɛnsəs vju əv ˈsɛdəmənt ˌdɛpəˈzɪʃən ˈmɛnʃənd ðət ˈfɑsəl ˈeɪʤɪz kʊd nɑt bi rɪˈlaɪəbli dɪˈtərmənd beɪst ɔn ðə ˈsoʊˈkɔld column.”*.” ðə ˌʤiəˈlɑʤɪk ˈkɑləm ɪz dɪˈfaɪnd ɛz ə ˈsɪriz əv ˌdɛpəˈzɪʃənəl leɪərz ðət fɔrm ə ˌkrɑnəˈlɑʤɪkəl ˈsikwəns. ɪt ɪz ˈɔlsoʊ kɔld ðə column.”*.” kənˈsɪdərɪŋ ðə pəˈzɪʃən əv ˈfɑsəlz ɪn rɑk ˈstrætə, ðə ˈfɑloʊɪŋ ˈsikwəns ɪz ˈʤɛnərəli ækˈsɛptɪd: ˈɪrə ˈpɪriəd ˈɛpək ɛnd deɪt ɪn ˈmɪljən jɪrz kˈwɑtərˌnɛri ˈplaɪstəˌsin ˈtərʃəri (ˌsinəˈzoʊɪk) ˈplaɪəˌsin 2 ˈmaɪəˌsin ˈɑləgoʊˌsin ˈiəˌsin ʤʊˈræsɪk 65 ˌtraɪˈæˌsɪk 190 ˈpraɪˌmɛri (ˌpeɪliəˈzoʊɪk) ˈpərmiən 225 ˌkɑrbəˈnɪfərəs 280 dɪˈvoʊniən 345 395 440 ˈkæmbriən 500 priˈkæmbriən 570 ðəs, ðə ɪkˈstɪŋʃən əv ðə ˈdaɪnəˌsɔrz ɪz sɛd tɪ hæv ˈteɪkən pleɪs ˈoʊvər 65 ˈmɪljən jɪrz əˈgoʊ. ˌhaʊˈɛvər, ðə ˈpɑpjələr ˈnoʊʃən ðət ðə ˌʤiəˈlɑʤɪk ˈkɑləm ˌrɛprɪˈzɛnts væst ˈpɪriədz əv taɪm ɪz biɪŋ kˈwɛsʧənd baɪ ə ˈnəmbər əv ʤiˈɑləʤɪsts hu ˈriəˌlaɪz ðət ɪt moʊst ˈlaɪkli rɪˈzəlts frəm ə ˈsɪriz əv ˌkætəˈstrɑfɪk ɪˈvɛnts. ˈnɪkɔlaʊz ˈstɛnoʊ ɪz ˈɔfən sɛd tɪ bi ðə ˈfɑðər əv ʤiˈɑləʤi. hɪz əv superposition”*” ˈɪnˌfluənsɪz ʤiˈɑləʤɪsts tɪ ðɪs deɪ, ˈivɪn ðoʊ ɪt wɑz ˈfɔrmjəˌleɪtɪd ɪn ðə leɪt 1600s*. ɪn ˈmɛni weɪz ɪt simz tɪ bi kəmˈplitli streɪt ˈfɔrwərd, bət ˈoʊnli naʊ ɪz ɪt ˈrɛkəgˌnaɪzd ðət ɪt wɑz nɑt beɪst ɔn ɪkˈspɛrəmənts bət ɔn fild ˌɑbzərˈveɪʃən. ðə taɪm wɪn ˈɛni ˈgɪvɪn ˈstrætəm wɑz biɪŋ fɔrmd, ɔl ðə ˈmætər ˈrɛstɪŋ əˈpɑn ɪt wɑz fluɪd, ənd, ˈðɛrˌfɔr, æt ðə taɪm wɪn ðə loʊər ˈstrætəm wɑz biɪŋ fɔrmd, nən əv ðə ˈəpər ˈstrætə existed.”*.” ɪn ˈfɛbruˌɛri 2000 gaɪ roʊt ə ˈpeɪpər ɪn wɪʧ hi dɪˈskraɪbd ˈsɛvərəl ɪkˈspɛrəmənts ðət ˈænəˌlaɪzd ðə haɪˈdrɔlɪk ˈprɑsɛsəz ˌɪnˈvɑlvd wɪθ ˌsɛdəˈmɛntəri leɪərɪŋ. hɪz kənˈkluʒənz wər ˈsəbsəkwəntli ˈpəblɪʃt ɪn ənd ˈmɪnərəl ˈrisɔrsɪz, vol*. 37 noʊ. 5 ˈəndər kənˈdɪʃənz əv ˈkɑnstənt floʊ reɪt ənd ə kənˈtɪnjuəs səˈplaɪ əv ˈpɑrtɪkəlz, hi dɪˈskəvərd ðət ə ˈmɪksʧər əv kɔrs ənd faɪn ˈpɑrtɪkəlz wʊd ˈsɛpərˌeɪt ˈɪntu θɪn. məˈtɪriəl floʊɪŋ θru ə flum ˈəndər ˈsɪmjəˌleɪtɪd fləd kənˈdɪʃənz kriˈeɪtɪd ə ˈdaʊnˈstrim dɪˈpɑzət ðət ˈsɔrtɪd ˈɪntu ˈsɛvərəl ˌhɔrəˈzɑntəl ˈstrætə ðət kənˈtɪnjud tɪ bɪld əp ɔn ðə ədˈvænsɪŋ feɪs. ðə ənˈjuˌʒuəl ˈæˌspɛkt tɪ ðə ˌdɛpəˈzɪʃən əv ˈpɑrtɪkəlz ɪz ðət iʧ leɪər wɑz kəmˈpoʊzd əv ˈjəŋgər ðən ðoʊz ˈfɑrðər bæk. ˈrəðər ðən tɔp ˈstrætəm biɪŋ ˈjəŋgər ðən ðə ˈbɑtəm, ɔl ˈstrætə wər dɪˈpɑzətəd ˌsaɪməlˈteɪniəsli ɪn ə ˌhɔrəˈzɑntəl ˈfæʃən. ɛz ðə ˈpeɪpər steɪts: ˈstrætə ər nɑt, ˈðɛrˌfɔr, ˌnɛsəˈsɛrəli aɪˈdɛntɪkəl tɪ səkˈsɛsɪv ˌsɛdəˈmɛntəri layers.”*.” əˈnəðər ˈprɑbləm wɪθ ðə ˈstrætə ˈθɪri ɪz spid əv ɪˈroʊʒən. ðə ˈkɑrənt ˈwɛðərɪŋ reɪt fər ðə ˌkɑntəˈnɛnəl ʃɛlvz ɪz θɔt tɪ bi sɪks ˈsɛntəˌmitərz pər ˈθaʊzənd jɪrz. ˈðɛrˌfɔr, ɪn lɛs ðən 10 ˈmɪljən jɪrz ˌkɑntəˈnɛnəl ʃɛlvz wɪl ˈiroʊd əˈweɪ. ðə ˈdɪfɪˌkəlti wɪθ ðət əˈsɛsmənt ɪz ðət ˈsɛdəmənts ˈhənərdz əv ˈmɪljənz əv jɪrz oʊld ər ɔn tɔp əv ɔl ðə ˌkɑntəˈnɛnəl ʃɛlvz. haʊ kən ðɪs bi wɪn ðət məˈtɪriəl ʃʊd hæv ɔl wɑʃt əˈweɪ ɪn ðə ˌsinəˈzoʊɪk ˈɪrə? sɪns rɑk leɪərz ər ˈɔfən ˈdeɪtɪd baɪ ðə taɪp əv ˈfɑsəl kənˈteɪnd wɪˈθɪn ðɛm, ənd ɪkˈspɛrəmənts rɪˈvil ðət ðə ˌdɛpəˈzɪʃən əv ˈsɛdəmənts kənˈteɪnɪŋ ˈskɛlətənz kən noʊ ˈlɔŋgər bi beɪst ɔn ðə ˈprɪnsəpəl əv superposition*, ðɛn rɑk leɪərz kən noʊ ˈlɔŋgər bi ˈdeɪtɪd ɪn ðət weɪ. əˈnəðər ˈprɑbləm wɪθ ˈgræʤəwəˌlɪzəm ɪn ʤiˈɑləʤi ɪz ðə ˈdeɪtɪŋ əv rɑks. rɑks ər ˈtɪpɪkəli ˈdeɪtɪd ˈjuzɪŋ ðə ˈprɪnsəpəl əv ˈkɑnstənt ˌreɪdioʊˈæktɪv ˈaɪsəˌtoʊp dɪˈkeɪ reɪts ənd ən əˈsəmpʃən əv ðə ˈɛstəˌmeɪtɪd ərˈɪʤənəl ˈaɪsəˌtoʊp ˈreɪʃiˌoʊz. ðə ˈoʊldəst rɑks ər ˈdeɪtɪd ˈjuzɪŋ ðə ˈreɪʃiˌoʊz. wɪn rɑks fɔrm, ðeɪ kənˈteɪn ə ˈsərtən pərˈsɛnɪʤ əv ˈɛləmənts. ˈzərkən kənˈteɪnz jərˈeɪniəm ənd ˈθɑriəm ˈætəmz, bət noʊ lɛd. ˈðɛrˌfɔr, ðə əˈsəmpʃən ɪz ðət ɔl ðə lɛd ɪn ˈzərkən məst bi radiogenic*. ðɪs aɪˈdiə dɪˈpɛndz ɔn ə ˈjunəˌfɔrm, ˈgræʤuəl ˈprɔˌsɛs fri əv ˈsədən ˌɔltərˈeɪʃən. ɪf ðə dɪˈkeɪ reɪts əv ˈvɛriəs ˈɛləmənts kən bi ˈɔltərd baɪ ɪkˈstərnəl ˈɪnˌfluənsɪz, ðɛn ðə pərˈsɛnɪʤ ðət ˈɪndəˌkeɪt ə eɪʤ ər ˌənrɪˈlaɪəbəl. həz bɪn ɪn ˈrisənt jɪrz ðə ˈhɔrəbəl ˈriləˈzeɪʃən ðət reɪts ər nɑt ɛz ˈkɑnstənt ɛz ˈpriviəsli θɔt, nɔr ər ðeɪ ˌɪmˈjun tɪ ɪnˌvaɪrənˈmɛnəl ˈɪnˌfluənsɪz. ənd ðɪs kʊd min ðət ðə əˈtɑmɪk klɑks ər ˈrisɛt ˈdʊrɪŋ səm ˈgloʊbəl dɪˈzæstər, ənd ɪˈvɛnts wɪʧ brɔt ðə ˌmɛsəˈzoʊɪk tɪ ə kloʊz meɪ nɑt bi 65 ˈmɪljən jɪrz əˈgoʊ bət, ˈrəðər, wɪˈθɪn ðə eɪʤ ənd ˈmɛməri əv man.”*.” frɛd jueneman*, faic*, ˌɪnˈdəstriəl ˈrisərʧ dɪˈvɛləpmənt, ʤun 1982 ə faʊnˈdeɪʃən əv ɪˈlɛktrɪk ˈjunəˌvərs ˈθɪri ɪz ðə floʊ əv ɪˌlɛkˈtrɪsəti θru speɪs ənd ðə ˌkætəˈstrɑfɪk ˈɪnfluəns ɪt hæd ɔn ˈplænəts ənd munz ɪn ðə ˈrisənt pæst. ˌwəˈtɛvər fəˈnɑməˌnɑn ɪt wɑz, wɪˈθɪn ðə rɪˈkɔrdɪd ˈhɪstəri əv juˈmænɪti ə greɪt ˈkætəˌklɪsəm ɪnˈgəlft ðə ərθ. ˈkænjənz wər ˈblæstɪd aʊt, ˈmaʊntənz reɪzd, ˈoʊʃən ˈbeɪsənz ˈʃɪftɪd, ənd greɪt əv plænts, ˈænəməlz, ənd ˈpipəl əˈblɪtərˌeɪtɪd ɪn ðə blɪŋk əv ən aɪ. ðoʊz ɪˈnɔrmɪs ˈɛnərʤiz, ðə riərˈeɪnʤmənt əv ðə təˈpɑgrəfi, ənd ðə ˌɪnˈtɛns ˌreɪdiˈeɪʃən meɪk ɪt ˌɪmˈpɑsəbəl tɪ əˈsaɪn ˈɛni ˈmɛʒər əv ænˈtɪkwəti. rɪˈpitɪd ənd ˈræpɪd ˌsɛdəmənˈteɪʃən ðət ˈhɑrdənd tɪ stoʊn ɪn mɪr ˈmɪnəts, ɪts ˈbərdən əv ɔrˈgænɪk ˈdɛtrətəs, minz ðət wət ɪz ˈvɪzəbəl ɔn ðə ˈsərfəs maɪt bi ðə seɪm eɪʤ ɛz wət laɪz bɪˈniθ. ˈstivən smɪθ hæt tɪp tɪ mɛl ˈæʧəsən naʊ əˈveɪləbəl stɑrz ɪn ən ɪˈlɛktrɪk ˈjunəˌvərs ˌdiˌviˈdi ðɪs ˌaʊtˈstændɪŋ ˈlɛkʧər dɪˈlɪvərd baɪ ˈwɔlɪs ˈθɔrnˌhɪl æt ðə 2011 ˈkɑnfərəns ɪz naʊ aʊt ɔn ˌdiˌviˈdi! si ɑr ˈrisɔrsɪz peɪʤ fər mɔr ˌɪnˌfɔrˈmeɪʃən.
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@bkudron
update: tuesday, december 30 at a.m. et
the free press published their tuesday edition with the proper harbaugh.
the newspaper reports that jim harbaugh is expected to be announced as head coach of the michigan football program at noon et.
---end of update---
in the midst of another night in the motor city, someone at the detroit free press plastered the wrong harbaugh brother on the front page of the paper's morning edition.
twitter user out an image of the goof-up.
this is john harbaugh, who is related to but not the same as jim harbaugh. you can tell by the baltimore ravens logo, and by the fact that they are two different people.
the photo plays up the ongoing jim harbaugh coaching drama. the san francisco announced after sunday's win over the arizona cardinals that they would be mutually parting ways with the coach.
this move only deepened the prevailing belief that harbaugh will take the university of michigan up on its handsome head coaching offer.
as for the free press, the newspaper apologized for the error monday morning.
it's ok, guys. the lions drove you to this. that's the story i'd go with.
follow dan on twitter for more sports and pop culture filigree.
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@bkudron* ˈəpˌdeɪt: ˈtuzˌdeɪ, dɪˈsɛmbər 30 æt a.m*. ɛt ðə fri prɛs ˈpəblɪʃt ðɛr ˈtuzˌdeɪ ɪˈdɪʃən wɪθ ðə ˈprɑpər ˈhɑrˌbɔ. ðə ˈnuzˌpeɪpər rɪˈpɔrts ðət ʤɪm ˈhɑrˌbɔ ɪz ɪkˈspɛktɪd tɪ bi əˈnaʊnst ɛz hɛd koʊʧ əv ðə ˈmɪʃɪgən ˈfʊtˌbɔl ˈproʊˌgræm æt nun ɛt. ---ɛnd əv ˈəpˌdeɪt--- ɪn ðə mɪst əv əˈnəðər naɪt ɪn ðə ˈmoʊtər ˈsɪti, ˈsəmˌwən æt ðə ˈdiˌtrɔɪt fri prɛs ˈplæstərd ðə rɔŋ ˈhɑrˌbɔ ˈbrəðər ɔn ðə frənt peɪʤ əv ðə ˈpeɪpərz ˈmɔrnɪŋ ɪˈdɪʃən. tˈwɪtər ˈjuzər aʊt ən ˈɪmɪʤ əv ðə goof-up*. ðɪs ɪz ʤɑn ˈhɑrˌbɔ, hu ɪz rɪˈleɪtɪd tɪ bət nɑt ðə seɪm ɛz ʤɪm ˈhɑrˌbɔ. ju kən tɛl baɪ ðə ˈbɔltəˌmɔr ˈreɪvənz ˈloʊgoʊ, ənd baɪ ðə fækt ðət ðeɪ ər tu ˈdɪfərənt ˈpipəl. ðə ˈfoʊˌtoʊ pleɪz əp ðə ˈɔnˌgoʊɪŋ ʤɪm ˈhɑrˌbɔ ˈkoʊʧɪŋ ˈdrɑmə. ðə sæn frænˈsɪskoʊ əˈnaʊnst ˈæftər ˈsənˌdiz wɪn ˈoʊvər ðə ˌɛrɪˈzoʊnə ˈkɑrdɪnəlz ðət ðeɪ wʊd bi mˈjuʧuəli ˈpɑrtɪŋ weɪz wɪθ ðə koʊʧ. ðɪs muv ˈoʊnli ˈdipənd ðə prɪˈveɪlɪŋ bɪˈlif ðət ˈhɑrˌbɔ wɪl teɪk ðə ˌjunəˈvərsəti əv ˈmɪʃɪgən əp ɔn ɪts ˈhænsəm hɛd ˈkoʊʧɪŋ ˈɔfər. ɛz fər ðə fri prɛs, ðə ˈnuzˌpeɪpər əˈpɑləˌʤaɪzd fər ðə ˈɛrər ˈmənˌdeɪ ˈmɔrnɪŋ. ɪts ˈoʊˈkeɪ, gaɪz. ðə laɪənz droʊv ju tɪ ðɪs. ðæts ðə ˈstɔri aɪd goʊ wɪθ. ˈfɑloʊ dæn ɔn tˈwɪtər fər mɔr spɔrts ənd pɑp ˈkəlʧər ˈfɪləˌgri.
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i post a lot about my mustang but i started from the beginning. a look at the engine before and after.
the engine and engine bay
this the look the stang sported before the new paint job i decided to do the engine first.
the engine:
you are looking at a ford 250 straight 6 engine, compression rated at 155. of course when it was new. with + miles less then powerful and is pretty tired. as you can see in the other photos the engine bay is in very good shape but not too pretty. look at the engine you can see it was in need of a lot of in the form of a complete tear down and rebuilding.
the replacement:
i decided on the 302 engine keeping with what was available at the factory at the in 1970. the 302 mated with a 3 speed transmission was an option at the time. this engine is a 1970 power plant by engines and bored .030. these are the photos of it still in the crate.
with all the components:
so it got??!!! well, we start with the main pieces: holley carb, typhoon intake manifold and hooker headers turning the single exhaust into dual with thruster mufflers oh the sound!!!!. i think it looks great. steve put it all together and detailed painted and routed electrical, gas line, hoses. cleaned up the entire engine bay. excellent job!!! a new triple core radiator and shroud, all new hoses all new heater hoses, a master.
the engine bay:
this is the engine bay nearly completed. clean and crisp. these images are before all then hoses and wiring were added. we took the time to remove parts from the bay wall and replaced them after hitting the complete inside with the flat black paint a work of art!!.
the finished product:
beautiful!!!!!!!!!
the engine puts out about 300 which makes this car a lot faster than it use to be.
thanks for reading.
tim
#mustang
#classiccars
i kind of want a muscle car
hooniverse obscure muscle car garage the mercury welcome to the obscure muscle car garage, a regular feature which aims to expand the notion of what a muscle car is, and maybe to change your thinking in the process. up until now there been a product
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aɪ poʊst ə lɔt əˈbaʊt maɪ ˈməˌstæŋ bət aɪ ˈstɑrtɪd frəm ðə bɪˈgɪnɪŋ. ə lʊk æt ðə ˈɪnʤən ˌbiˈfɔr ənd ˈæftər. ðə ˈɪnʤən ənd ˈɪnʤən beɪ ðɪs ðə lʊk ðə stæŋ ˈspɔrtɪd ˌbiˈfɔr ðə nu peɪnt ʤɑb aɪ ˌdɪˈsaɪdɪd tɪ du ðə ˈɪnʤən fərst. ðə ˈɪnʤən: ju ər ˈlʊkɪŋ æt ə fɔrd 250 streɪt 6 ˈɪnʤən, kəmˈprɛʃən ˈreɪtɪd æt 155. əv kɔrs wɪn ɪt wɑz nu. wɪθ maɪəlz lɛs ðɛn ˈpaʊərfəl ənd ɪz ˈprɪti taɪərd. ɛz ju kən si ɪn ðə ˈəðər ˈfoʊˌtoʊz ðə ˈɪnʤən beɪ ɪz ɪn ˈvɛri gʊd ʃeɪp bət nɑt tu ˈprɪti. lʊk æt ðə ˈɪnʤən ju kən si ɪt wɑz ɪn nid əv ə lɔt əv ɪn ðə fɔrm əv ə kəmˈplit tɪr daʊn ənd riˈbɪldɪŋ. ðə rɪˈpleɪsmənt: aɪ ˌdɪˈsaɪdɪd ɔn ðə 302 ˈɪnʤən ˈkipɪŋ wɪθ wət wɑz əˈveɪləbəl æt ðə ˈfæktəri æt ðə ɪn 1970 ðə 302 ˈmeɪtɪd wɪθ ə 3 spid trænzˈmɪʃən wɑz ən ˈɔpʃən æt ðə taɪm. ðɪs ˈɪnʤən ɪz ə 1970 paʊər plænt baɪ ˈɛnʤənz ənd bɔrd 030 ðiz ər ðə ˈfoʊˌtoʊz əv ɪt stɪl ɪn ðə kreɪt. wɪθ ɔl ðə kəmˈpoʊnənts: soʊ ɪt gɑt??!!! wɛl, wi stɑrt wɪθ ðə meɪn ˈpisɪz: ˈhɑli carb*, ˌtaɪˈfun ˈɪnˌteɪk ˈmænɪˌfoʊld ənd ˈhʊkər ˈhɛdərz ˈtərnɪŋ ðə ˈsɪŋgəl ɪgˈzɔst ˈɪntu duəl wɪθ θˈrəstər ˈməflərz oʊ ðə saʊnd!!!!. aɪ θɪŋk ɪt lʊks greɪt. stiv pʊt ɪt ɔl təˈgɛðər ənd dɪˈteɪld ˈpeɪnɪd ənd ˈrutɪd ɪˈlɛktrɪkəl, gæs laɪn, ˈhoʊzɪz. klind əp ðə ɪnˈtaɪər ˈɪnʤən beɪ. ˈɛksələnt ʤɑb!!! ə nu ˈtrɪpəl kɔr ˈreɪdiˌeɪtər ənd ʃraʊd, ɔl nu ˈhoʊzɪz ɔl nu ˈhitər ˈhoʊzɪz, ə ˈmæstər. ðə ˈɪnʤən beɪ: ðɪs ɪz ðə ˈɪnʤən beɪ ˈnɪrli kəmˈplitɪd. klin ənd krɪsp. ðiz ˈɪmɪʤɪz ər ˌbiˈfɔr ɔl ðɛn ˈhoʊzɪz ənd ˈwaɪrɪŋ wər ˈædɪd. wi tʊk ðə taɪm tɪ riˈmuv pɑrts frəm ðə beɪ wɔl ənd ˌriˈpleɪst ðɛm ˈæftər ˈhɪtɪŋ ðə kəmˈplit ˌɪnˈsaɪd wɪθ ðə flæt blæk peɪnt ə wərk əv ɑrt!!. ðə ˈfɪnɪʃt ˈprɑdəkt: ˈbjutəfəl!!!!!!!!! ðə ˈɪnʤən pʊts aʊt əˈbaʊt 300 wɪʧ meɪks ðɪs kɑr ə lɔt ˈfæstər ðən ɪt juz tɪ bi. θæŋks fər ˈrɛdɪŋ. tɪm #ˈməˌstæŋ aɪ kaɪnd əv wɔnt ə ˈməsəl kɑr əbˈskjʊr ˈməsəl kɑr gərɑʒ ðə ˈmərkjəri ˈwɛlkəm tɪ ðə əbˈskjʊr ˈməsəl kɑr gərɑʒ, ə ˈrɛgjələr ˈfiʧər wɪʧ eɪmz tɪ ɪkˈspænd ðə ˈnoʊʃən əv wət ə ˈməsəl kɑr ɪz, ənd ˈmeɪbi tɪ ʧeɪnʤ jʊr ˈθɪŋkɪŋ ɪn ðə ˈprɔˌsɛs. əp ənˈtɪl naʊ ðɛr bɪn ə ˈprɑdəkt laɪk dɪsˈlaɪk ʃɛr ðɪs: ˈfeɪsˌbʊk tˈwɪtər ˈgugəl ˈpɑkət mɔr iˈmeɪl ˈtəmblər prɪnt
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for many couples in the developed world, the only route to having a baby is international surrogacy. but the rapid rise of the industry in cambodia has raised concerns about the welfare of women.
in the industry of international surrogacy, destinations for low-cost options are constantly shifting. india used to be the top choice for western couples looking for value for money: until recently, a surrogate baby from india cost as little as $15,000, a quarter of what it usually costs in america. after a series of scandals around the ethics of outsourcing pregnancy to disadvantaged women led india to ban surrogacy for foreign couples, thailand, mexico and nepal took their turns at the top of the list. but over the past few years, each of those countries has banned or severely restricted foreign surrogacy.
now cambodia has stepped in to fill the gap, quickly forming a foreign surrogacy market that, according to officials, is fueled in part by thai brokers who moved their operations, and many of their surrogates, to the country. the government has suggested it will bring in laws to regulate the practice or even ban it by making it a trafficking offence, but nothing has yet been put in place. in the absence of any clear legal framework, scores of surrogacy agencies have sprung up offering cambodia packages for around $30,000 per baby.
“there is no doubt that surrogacy industry has been hurriedly assembled,” says sam everingham, director of the australian advocacy organization families through surrogacy. everingham visited cambodia a year ago to witness the surrogacy scene for himself. he says the facilities he visited were impressive, with western doctors employed to do the embryology.
however, he says, when an industry grows so quickly, there is the risk that proper procedure gets overlooked, and women could be harmed. “intended parents should be concerned about the risks of surrogates not being adequately screened or counseled in such an environment,” says everingham.
one of the biggest concerns campaigners have about the industry is that women are persuaded to undertake a surrogate pregnancy for money without proper recognition or understanding of the health risks involved. in india, it was found that women were being forced into surrogacy by their husbands or fathers. women were also reportedly being implanted with up to four embryos and then told to undergo selective abortions if that led to a multiple pregnancy.
in cambodia there is so little information about the industry, which has shrouded itself in secrecy for fear of being shut down, the risks are even higher, say campaigners.
women & girls hub contacted three surrogate agencies offering services in cambodia to ask for details on their surrogates and information on the services they offer. all of them declined to comment.
even parents who have used a surrogate in cambodia appear reluctant to talk about the experience. in june, the online magazine gay with kids announced greg, a british man, and his polish boyfriend were the proud new fathers of mickey, one of the first babies born through surrogacy in cambodia. he was delivered on day 2016.
when greg was contacted by newspaper the phnom penh post, he declined an interview. however, he reportedly sent the newspaper a message saying: “the more publicity about surrogacy the quicker it will close down [i’m] afraid the media has been no friend at all to the world of surrogacy.”
donna dickenson, emeritus professor of medical ethics and humanities at the university of london and author of the book me medicine vs. we medicine, says the fact that some surrogacy clients would prefer governments stay out of the industry shows a concerning attitude. “many countries feel [foreign parents] simply take the ‘third world’ for granted,” she says.
in the developing world, governments are taking a firm stand on foreign surrogacy, in part because they see the industry as a western import. and that, dickenson says, is good news. “’first world’ agencies present [surrogacy] as a win-win situation for everyone. the western parents get a baby, and the women in the ‘third world’ get money,” she says.
but she says the argument withstand scrutiny. the very fact the indian government decided to ban an industry valued at $400 million a year shows it had decided the ethical concerns outweighed the economic benefits.
while there is a risk clamping down on surrogacy in cambodia will drive the industry underground, dickenson says clear and strict legislation with penalties would deter parents from trying to break the law.
but everingham says parents should not be punished for wanting to have children. “bad practices tend to be the result of a lack of regulation and irresponsible operators,” he says.
noting that surrogacy in developing nations provides many parents who cannot afford the process in canada or the u.s. with their only viable option, everingham says what surrogacy industry needs are laws that respect the rights of surrogates and the unborn child, while underlining the responsibilities of parents and agencies to act ethically.
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fər ˈmɛni ˈkəpəlz ɪn ðə dɪˈvɛləpt wərld, ðə ˈoʊnli rut tɪ ˈhævɪŋ ə ˈbeɪbi ɪz ˌɪnərˈnæʃənɑl ˈsərəgəsi. bət ðə ˈræpɪd raɪz əv ðə ˈɪndəstri ɪn ˌkæmˈboʊdiə həz reɪzd kənˈsərnz əˈbaʊt ðə ˈwɛlˌfɛr əv ˈwɪmən. ɪn ðə ˈɪndəstri əv ˌɪnərˈnæʃənɑl ˈsərəgəsi, ˌdɛstəˈneɪʃənz fər ˌloʊˈkɔst ˈɔpʃənz ər ˈkɑnstəntli ˈʃɪftɪŋ. ˈɪndiə juzd tɪ bi ðə tɔp ʧɔɪs fər ˈwɛstərn ˈkəpəlz ˈlʊkɪŋ fər ˈvælju fər ˈməni: ənˈtɪl ˈrisəntli, ə ˈsərəˌgeɪt ˈbeɪbi frəm ˈɪndiə kɔst ɛz ˈlɪtəl ɛz ə kˈwɔrtər əv wət ɪt ˈjuʒəwəli kɔsts ɪn əˈmɛrɪkə. ˈæftər ə ˈsɪriz əv ˈskændəlz əraʊnd ðə ˈɛθɪks əv ˌaʊtˈsɔrsɪŋ ˈprɛgnənsi tɪ ˌdɪsədˈvænɪʤd ˈwɪmən lɛd ˈɪndiə tɪ bæn ˈsərəgəsi fər ˈfɔrən ˈkəpəlz, ˈtaɪˌlænd, ˈmɛksəˌkoʊ ənd nəˈpɔl tʊk ðɛr tərnz æt ðə tɔp əv ðə lɪst. bət ˈoʊvər ðə pæst fju jɪrz, iʧ əv ðoʊz ˈkəntriz həz bænd ər səˈvɪrli riˈstrɪktɪd ˈfɔrən ˈsərəgəsi. naʊ ˌkæmˈboʊdiə həz stɛpt ɪn tɪ fɪl ðə gæp, kˈwɪkli ˈfɔrmɪŋ ə ˈfɔrən ˈsərəgəsi ˈmɑrkɪt ðət, əˈkɔrdɪŋ tɪ əˈfɪʃəlz, ɪz fjuəld ɪn pɑrt baɪ taɪ ˈbroʊkərz hu muvd ðɛr ˌɑpərˈeɪʃənz, ənd ˈmɛni əv ðɛr ˈsərəˌgeɪts, tɪ ðə ˈkəntri. ðə ˈgəvərnmənt həz səˈʤɛstɪd ɪt wɪl brɪŋ ɪn lɔz tɪ ˈrɛgjəˌleɪt ðə ˈpræktɪs ər ˈivɪn bæn ɪt baɪ ˈmeɪkɪŋ ɪt ə ˈtræfɪkɪŋ offence*, bət ˈnəθɪŋ həz jɛt bɪn pʊt ɪn pleɪs. ɪn ðə ˈæbsəns əv ˈɛni klɪr ˈligəl ˈfreɪmˌwərk, skɔrz əv ˈsərəgəsi ˈeɪʤənsiz hæv sprəŋ əp ˈɔfərɪŋ ˌkæmˈboʊdiə ˈpækɪʤɪz fər əraʊnd pər ˈbeɪbi. ɪz noʊ daʊt ðət ˈsərəgəsi ˈɪndəstri həz bɪn ˈhəridli assembled,”*,” sɪz sæm ˈɛvərɪŋˌhæm, dɪˈrɛktər əv ðə ɔˈstreɪljən ˈædvəkəsi ˌɔrgənəˈzeɪʃən ˈfæməliz θru ˈsərəgəsi. ˈɛvərɪŋˌhæm ˈvɪzɪtɪd ˌkæmˈboʊdiə ə jɪr əˈgoʊ tɪ ˈwɪtnəs ðə ˈsərəgəsi sin fər hɪmˈsɛlf. hi sɪz ðə fəˈsɪlɪtiz hi ˈvɪzɪtɪd wər ˌɪmˈprɛsɪv, wɪθ ˈwɛstərn ˈdɑktərz ɪmˈplɔɪd tɪ du ðə ˌɛmbriˈɑləʤi. ˌhaʊˈɛvər, hi sɪz, wɪn ən ˈɪndəstri groʊz soʊ kˈwɪkli, ðɛr ɪz ðə rɪsk ðət ˈprɑpər prəˈsiʤər gɪts ˈoʊvərˌlʊkt, ənd ˈwɪmən kʊd bi hɑrmd. ˈpɛrənts ʃʊd bi kənˈsərnd əˈbaʊt ðə rɪsks əv ˈsərəˌgeɪts nɑt biɪŋ ˈædəkwɪtli skrind ər ˈkaʊnsəld ɪn səʧ ən environment,”*,” sɪz ˈɛvərɪŋˌhæm. wən əv ðə ˈbɪgəst kənˈsərnz kæmˈpeɪnərz hæv əˈbaʊt ðə ˈɪndəstri ɪz ðət ˈwɪmən ər pərsˈweɪdɪd tɪ ˈəndərˌteɪk ə ˈsərəˌgeɪt ˈprɛgnənsi fər ˈməni wɪˈθaʊt ˈprɑpər ˌrɛkɪgˈnɪʃən ər ˌəndərˈstændɪŋ əv ðə hɛlθ rɪsks ˌɪnˈvɑlvd. ɪn ˈɪndiə, ɪt wɑz faʊnd ðət ˈwɪmən wər biɪŋ fɔrst ˈɪntu ˈsərəgəsi baɪ ðɛr ˈhəzbəndz ər ˈfɑðərz. ˈwɪmən wər ˈɔlsoʊ rɪˈpɔrtədli biɪŋ ˌɪmˈplæntɪd wɪθ əp tɪ fɔr ˈɛmbriˌoʊz ənd ðɛn toʊld tɪ ˌəndərˈgoʊ səˈlɛktɪv əˈbɔrʃənz ɪf ðət lɛd tɪ ə ˈməltəpəl ˈprɛgnənsi. ɪn ˌkæmˈboʊdiə ðɛr ɪz soʊ ˈlɪtəl ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈɪndəstri, wɪʧ həz ʃˈraʊdɪd ˌɪtˈsɛlf ɪn ˈsikrəsi fər fɪr əv biɪŋ ʃət daʊn, ðə rɪsks ər ˈivɪn haɪər, seɪ kæmˈpeɪnərz. ˈwɪmən gərlz həb ˈkɑnˌtæktɪd θri ˈsərəˌgeɪt ˈeɪʤənsiz ˈɔfərɪŋ ˈsərvɪsɪz ɪn ˌkæmˈboʊdiə tɪ æsk fər ˈditeɪlz ɔn ðɛr ˈsərəˌgeɪts ənd ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈsərvɪsɪz ðeɪ ˈɔfər. ɔl əv ðɛm dɪˈklaɪnd tɪ ˈkɑmɛnt. ˈivɪn ˈpɛrənts hu hæv juzd ə ˈsərəˌgeɪt ɪn ˌkæmˈboʊdiə əˈpɪr rɪˈləktənt tɪ tɔk əˈbaʊt ðə ɪkˈspɪriəns. ɪn ʤun, ðə ˈɔnˌlaɪn ˈmægəˌzin geɪ wɪθ kɪdz əˈnaʊnst grɛg, ə ˈbrɪtɪʃ mæn, ənd hɪz ˈpɑlɪʃ ˈbɔɪˌfrɛnd wər ðə praʊd nu ˈfɑðərz əv ˈmɪki, wən əv ðə fərst ˈbeɪbiz bɔrn θru ˈsərəgəsi ɪn ˌkæmˈboʊdiə. hi wɑz dɪˈlɪvərd ɔn deɪ 2016 wɪn grɛg wɑz ˈkɑnˌtæktɪd baɪ ˈnuzˌpeɪpər ðə pəˈnɑm pɛn poʊst, hi dɪˈklaɪnd ən ˈɪntərvˌju. ˌhaʊˈɛvər, hi rɪˈpɔrtədli sɛnt ðə ˈnuzˌpeɪpər ə ˈmɛsɪʤ seɪɪŋ: mɔr pəˈblɪsɪti əˈbaʊt ˈsərəgəsi ðə kˈwɪkər ɪt wɪl kloʊz daʊn [i’m*] əˈfreɪd ðə ˈmidiə həz bɪn noʊ frɛnd æt ɔl tɪ ðə wərld əv surrogacy.”*.” ˈdɑnə ˈdɪkɪnsən, ɪˈmɛrətəs prəˈfɛsər əv ˈmɛdɪkəl ˈɛθɪks ənd juˈmænɪtiz æt ðə ˌjunəˈvərsəti əv ˈləndən ənd ˈɔθər əv ðə bʊk mi ˈmɛdəsən ˈvərsəz. wi ˈmɛdəsən, sɪz ðə fækt ðət səm ˈsərəgəsi klaɪənts wʊd prɪˈfər ˈgəvərnmənts steɪ aʊt əv ðə ˈɪndəstri ʃoʊz ə kənˈsərnɪŋ ˈætəˌtud. ˈkəntriz fil [ˈfɔrən ˈpɛrənts] ˈsɪmpli teɪk ðə world’*’ fər granted,”*,” ʃi sɪz. ɪn ðə dɪˈvɛləpɪŋ wərld, ˈgəvərnmənts ər ˈteɪkɪŋ ə fərm stænd ɔn ˈfɔrən ˈsərəgəsi, ɪn pɑrt bɪˈkəz ðeɪ si ðə ˈɪndəstri ɛz ə ˈwɛstərn ˌɪmˈpɔrt. ənd ðət, ˈdɪkɪnsən sɪz, ɪz gʊd nuz. world’*’ ˈeɪʤənsiz ˈprɛzənt [ˈsərəgəsi] ɛz ə ˌwɪnˈwɪn ˌsɪʧuˈeɪʃən fər ˈɛvriˌwən. ðə ˈwɛstərn ˈpɛrənts gɪt ə ˈbeɪbi, ənd ðə ˈwɪmən ɪn ðə world’*’ gɪt money,”*,” ʃi sɪz. bət ʃi sɪz ðə ˈɑrgjəmənt wɪθˈstænd ˈskrutəni. ðə ˈvɛri fækt ðə ˈɪndiən ˈgəvərnmənt ˌdɪˈsaɪdɪd tɪ bæn ən ˈɪndəstri ˈvæljud æt 400 ˈmɪljən ə jɪr ʃoʊz ɪt hæd ˌdɪˈsaɪdɪd ðə ˈɛθɪkəl kənˈsərnz aʊtˈweɪd ðə ˌɛkəˈnɑmɪk ˈbɛnəfɪts. waɪl ðɛr ɪz ə rɪsk ˈklæmpɪŋ daʊn ɔn ˈsərəgəsi ɪn ˌkæmˈboʊdiə wɪl draɪv ðə ˈɪndəstri ˈəndərˌgraʊnd, ˈdɪkɪnsən sɪz klɪr ənd strɪkt ˌlɛʤəsˈleɪʃən wɪθ ˈpɛnəltiz wʊd dɪˈtər ˈpɛrənts frəm traɪɪŋ tɪ breɪk ðə lɔ. bət ˈɛvərɪŋˌhæm sɪz ˈpɛrənts ʃʊd nɑt bi ˈpənɪʃt fər ˈwɑnɪŋ tɪ hæv ˈʧɪldrən. ˈpræktɪsɪz tɛnd tɪ bi ðə rɪˈzəlt əv ə læk əv ˌrɛgjəˈleɪʃən ənd ˌɪrəˈspɑnsəbəl operators,”*,” hi sɪz. ˈnoʊtɪŋ ðət ˈsərəgəsi ɪn dɪˈvɛləpɪŋ ˈneɪʃənz prəˈvaɪdz ˈmɛni ˈpɛrənts hu ˈkænɑt əˈfɔrd ðə ˈprɔˌsɛs ɪn ˈkænədə ər ðə juz. wɪθ ðɛr ˈoʊnli ˈvaɪəbəl ˈɔpʃən, ˈɛvərɪŋˌhæm sɪz wət ˈsərəgəsi ˈɪndəstri nidz ər lɔz ðət rɪˈspɛkt ðə raɪts əv ˈsərəˌgeɪts ənd ðə ˈənˈbɔrn ʧaɪld, waɪl ˈəndərˌlaɪnɪŋ ðə riˌspɑnsəˈbɪlətiz əv ˈpɛrənts ənd ˈeɪʤənsiz tɪ ækt ˈɛθɪkəli.
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best of the week
the murky, illogical world of life on a benefit
welcome to the dark, fuzzy, illogical, kafkaesque world where even repaying a loan financed by a bigger overdraft may be captured and called income, writes the university of susan john
the human experience is hugely challenging for us all no matter how in material terms we may be. it can be messy, heart-breaking, draining and painful yet often joyous and uplifting. and it is a long journey. life events are not black or white, right or wrong, bad or good, worthy or unworthy, deserving or undeserving.
unfortunately, this is rarely the view of the morally upright and self-righteous for whom there are no shades of grey.
this was clear in a recent letter to the new zealand herald, sent in the wake of historic benefits revelations, which asserted: “just as you be a little bit pregnant, you be a little bit dishonest”.
but actually, conforming to a bad law is not always the best, most humane, or even sensible action. anyone with even a modicum of history knows that. much like the letter writer who thinks he knows right from wrong absolutely, bureaucrats administer our highly dysfunctional welfare system by demanding adherence to the letter, not the spirit of the law. the price of not conforming to their rule book can be very high; yet the price of conforming might be even higher in ill-health, loss of hope and despair.
the problem is, what they are administering is not black and white.
what, for example, is income? is it the individual or income? what is a couple? what is the time frame? is it taxable? what about income ‘in kind’ (grandma provides babysitting for example or, shock horror, picks up the child after school sometimes)? what is business income? what expenses are deductible? is child support income? what about working for families, when does it count as income? there are a multitude of different definitions for different purposes, often without much of a rational basis.
here is just one example. suppose you are a grandparent with a son and daughter-in-law who have two children and areruggling on an income of $50,000. note that no one is on a benefit here. you decide the best way to help them is to gift $100 a week to help pay the household expenses. much to your horror, at the end of the year, inland revenue tells the family you were given $5200 and because this is over the allowable $5000 we are going to count the whole of the $5200 as income for working for families. your daughter-in-law gets a bill for $1170.
what will you do the next year? (and note under national in 2018, her bill will rise to $1300). would you to direct debit only 50 weeks of the year and give the family $200 in some other way? only a masochist would continue to expose the family to such an outrageous bill. welcome to the murky world beneficiaries inhabit every day.
in 1994, child poverty action group (cpag) was formed in response to the truly appalling changes ruth richardson rammed through in the early that saw rates of child poverty soar along with rates of third world child diseases. do people really understand that a sole benefit was cut below the poverty line, but if they tried to earn extra money, they lost most of it?
few on a benefit have the mental fortitude, or can access legal representation to take an appeal to a higher court. those who do, face the full might of theate legal machinery that can grind them up and leave them destitute.
suppose you were a sole parent in 1993 trying to exist on an income that had been slashed to under the poverty line. you needed an extra $80 a week to just keep your head above water. but $80 of extra income meant a bill of $24, it meant $20 less accommodation supplement (a veryupid 25 percent abatement on $0-80 earned), and $6 less core benefit (30 percent of income $60-80). if getting a to pay you $80, or earning an extra $80 delivered only $30, or virtually nothing after costs, what would you do? maybe you could go cap in hand and ask work and income for additional assistance? maybe ask for a grant, or a repayable loan for example, to meet the hire purchase payment on the washing machine? you may also need to queue for a food parcel from the local foodbank, or even get a loan from a loan shark as a last resort.
making up the shortfall with loans and charity is and inefficient in the extreme, especially ifudying full-time. impossible, even. and there is nothing particularly moral about getting access to the needed money this way - the cost comes from work and income (read taxpayers), or charities, (read donors). but this tedious way of getting enough money to survive is within the rule book, it satisfies the self-righteous, and be classed as an overpayment.
or will it? unbelievably, today loans may be treated as income. if you just make ends meet and you borrow from a loan shark, family, or extend your overdraft and credit card balances, the system may count these loans as income and reduce the core benefit and other assistance accordingly. you become ‘”too poor to help”.
what do black and white thinkers make of that? drawing down an overdraft or using a credit card are apparently the same as earning income with one of the tests being that the money is used for ‘income-related purposes’ such as replacing income, buying goods that would normally be bought from income, or make payments that would normally be made through income.
recently, i sat in on a case in the high court. the ministry for social development had alleged overpayments because a expenditure exceeded her benefit and the balance ‘must have been income’. she had to borrow to live, for example, to pay for a car, repairs to her house and expensive healthcare for chronic pain. at one point the judge asked if there was any loan that would not be counted as income. the crown lawyer said, through teeth, after a long pause: ‘yes, perhaps if the money was used to buy shares as that would not be a use for purposes’. really?
welcome to the dark, fuzzy, illogical, kafkaesque world where even repaying a loan financed by a bigger overdraft may be captured and called income; where decisions from the benefit review committee are confusing and for most beneficiaries who understand how the alleged overpayments were calculated. furthermore, any appeal to the very powerful and social security appeals authority lacks independence.
few on a benefit have the mental fortitude, or can access legal representation to take an appeal to a higher court. those who do, face the full might of theate legal machinery that can grind them up and leave them destitute. this is whyory - produced by - is so important and so rare.
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bɛst əv ðə wik ðə ˈmərki, ˌɪˈlɑʤɪkəl wərld əv laɪf ɔn ə ˈbɛnəfɪt ˈwɛlkəm tɪ ðə dɑrk, ˈfəzi, ˌɪˈlɑʤɪkəl, ˈkɑfkəˈɛsk wərld wɛr ˈivɪn riˈpeɪɪŋ ə loʊn ˈfaɪˌnænst baɪ ə ˈbɪgər ˈoʊvərˌdræft meɪ bi ˈkæpʧərd ənd kɔld ˈɪnˌkəm, raɪts ðə ˌjunəˈvərsəti əv ˈsuzən ʤɑn ðə ˈjumən ɪkˈspɪriəns ɪz ˈhjuʤli ˈʧælənʤɪŋ fər ˈjuˈɛs ɔl noʊ ˈmætər haʊ ɪn məˈtɪriəl tərmz wi meɪ bi. ɪt kən bi ˈmɛsi, heart-breaking*, ˈdreɪnɪŋ ənd ˈpeɪnfəl jɛt ˈɔfən ʤɔɪəs ənd ˈəˌplɪftɪŋ. ənd ɪt ɪz ə lɔŋ ˈʤərni. laɪf ɪˈvɛnts ər nɑt blæk ər waɪt, raɪt ər rɔŋ, bæd ər gʊd, ˈwərði ər ənˈwərði, dɪˈzərvɪŋ ər ˌəndɪˈzərvɪŋ. ənˈfɔrʧənətli, ðɪs ɪz ˈrɛrli ðə vju əv ðə ˈmɔrəli ˈəˌpraɪt ənd ˌsɛlˈfraɪʧəs fər hum ðɛr ər noʊ ʃeɪdz əv greɪ. ðɪs wɑz klɪr ɪn ə ˈrisənt ˈlɛtər tɪ ðə nu ˈzilənd ˈhɛrəld, sɛnt ɪn ðə weɪk əv hɪˈstɔrɪk ˈbɛnəfɪts ˌrɛvəˈleɪʃənz, wɪʧ əˈsərtəd: ɛz ju bi ə ˈlɪtəl bɪt ˈprɛgnənt, ju bi ə ˈlɪtəl bɪt dishonest”*”. bət ˈæˌkʧuəli, kənˈfɔrmɪŋ tɪ ə bæd lɔ ɪz nɑt ˈɔlˌweɪz ðə bɛst, moʊst hjuˈmeɪn, ər ˈivɪn ˈsɛnsəbəl ˈækʃən. ˈɛniˌwən wɪθ ˈivɪn ə ˈmɑdɪkəm əv ˈhɪstəri noʊz ðət. məʧ laɪk ðə ˈlɛtər ˈraɪtər hu θɪŋks hi noʊz raɪt frəm rɔŋ ˌæbsəˈlutli, ˈbjʊrəˌkræts ədˈmɪnɪstər ɑr ˈhaɪli dɪsˈfəŋkʃənəl ˈwɛlˌfɛr ˈsɪstəm baɪ dɪˈmændɪŋ əˈdhɪrəns tɪ ðə ˈlɛtər, nɑt ðə ˈspɪrɪt əv ðə lɔ. ðə praɪs əv nɑt kənˈfɔrmɪŋ tɪ ðɛr rul bʊk kən bi ˈvɛri haɪ; jɛt ðə praɪs əv kənˈfɔrmɪŋ maɪt bi ˈivɪn haɪər ɪn ill-health*, lɔs əv hoʊp ənd dɪˈspɛr. ðə ˈprɑbləm ɪz, wət ðeɪ ər ædˈmɪnɪˌstərɪŋ ɪz nɑt blæk ənd waɪt. wət, fər ɪgˈzæmpəl, ɪz ˈɪnˌkəm? ɪz ɪt ðə ˌɪndəˈvɪʤəwəl ər ˈɪnˌkəm? wət ɪz ə ˈkəpəl? wət ɪz ðə taɪm freɪm? ɪz ɪt ˈtæksəbəl? wət əˈbaʊt ˈɪnˌkəm kind’*’ (ˈgrændmɑ prəˈvaɪdz ˈbeɪbiˌsɪtɪŋ fər ɪgˈzæmpəl ər, ʃɑk ˈhɔrər, pɪks əp ðə ʧaɪld ˈæftər skul ˈsəmˌtaɪmz)? wət ɪz ˈbɪznɪs ˈɪnˌkəm? wət ɪkˈspɛnsɪz ər dɪˈdəktəbəl? ɪz ʧaɪld səˈpɔrt ˈɪnˌkəm? wət əˈbaʊt ˈwərkɪŋ fər ˈfæməliz, wɪn dɪz ɪt kaʊnt ɛz ˈɪnˌkəm? ðɛr ər ə ˈməltəˌtud əv ˈdɪfərənt ˌdɛfəˈnɪʃənz fər ˈdɪfərənt ˈpərpəsɪz, ˈɔfən wɪˈθaʊt məʧ əv ə ˈræʃənəl ˈbeɪsɪs. hir ɪz ʤɪst wən ɪgˈzæmpəl. səˈpoʊz ju ər ə ˈgrændˌpɛrənt wɪθ ə sən ənd ˈdɔtərɪnˌlɔ hu hæv tu ˈʧɪldrən ənd ər ˈstrəgəlɪŋ ɔn ən ˈɪnˌkəm əv noʊt ðət noʊ wən ɪz ɔn ə ˈbɛnəfɪt hir. ju ˌdɪˈsaɪd ðə bɛst weɪ tɪ hɛlp ðɛm ɪz tɪ gɪft 100 ə wik tɪ hɛlp peɪ ðə ˈhaʊsˌhoʊld ɪkˈspɛnsɪz. məʧ tɪ jʊr ˈhɔrər, æt ðə ɛnd əv ðə jɪr, ˈɪnˌlænd ˈrɛvəˌnu tɛlz ðə ˈfæməli ju wər ˈgɪvɪn 5200 ənd bɪˈkəz ðɪs ɪz ˈoʊvər ðə əˈlaʊəbəl 5000 wi ər goʊɪŋ tɪ kaʊnt ðə hoʊl əv ðə 5200 ɛz ˈɪnˌkəm fər ˈwərkɪŋ fər ˈfæməliz. jʊr ˈdɔtərɪnˌlɔ gɪts ə bɪl fər 1170 wət wɪl ju du ðə nɛkst jɪr? (ənd noʊt ˈəndər ˈnæʃənəl ɪn 2018 hər bɪl wɪl raɪz tɪ 1300 wʊd ju tɪ dɪˈrɛkt ˈdɛbɪt ˈoʊnli 50 wiks əv ðə jɪr ənd gɪv ðə ˈfæməli 200 ɪn səm ˈəðər weɪ? ˈoʊnli ə ˈmæsəkɪst wʊd kənˈtɪnju tɪ ɪkˈspoʊz ðə ˈfæməli tɪ səʧ ən aʊˈtreɪʤəs bɪl. ˈwɛlkəm tɪ ðə ˈmərki wərld ˌbɛnəˈfɪʃiˌɛriz ˌɪnˈhæbət ˈɛvəri deɪ. ɪn 1994 ʧaɪld ˈpɑvərti ˈækʃən grup (cpag*) wɑz fɔrmd ɪn rɪˈspɑns tɪ ðə ˈtruli əˈpɔlɪŋ ˈʧeɪnʤɪz ruθ ˈrɪʧərdsən ræmd θru ɪn ðə ˈərli ðət sɔ reɪts əv ʧaɪld ˈpɑvərti sɔr əˈlɔŋ wɪθ reɪts əv θərd wərld ʧaɪld dɪˈzizɪz. du ˈpipəl ˈrɪli ˌəndərˈstænd ðət ə soʊl ˈbɛnəfɪt wɑz kət bɪˈloʊ ðə ˈpɑvərti laɪn, bət ɪf ðeɪ traɪd tɪ ərn ˈɛkstrə ˈməni, ðeɪ lɔst moʊst əv ɪt? fju ɔn ə ˈbɛnəfɪt hæv ðə ˈmɛntəl ˈfɔrtɪˌtud, ər kən ˈækˌsɛs ˈligəl ˌrɛprəzɛnˈteɪʃən tɪ teɪk ən əˈpil tɪ ə haɪər kɔrt. ðoʊz hu du, feɪs ðə fʊl maɪt əv ðə steɪt ˈligəl məˈʃinəri ðət kən graɪnd ðɛm əp ənd liv ðɛm ˈdɛstəˌtut. səˈpoʊz ju wər ə soʊl ˈpɛrənt ɪn 1993 traɪɪŋ tɪ ɪgˈzɪst ɔn ən ˈɪnˌkəm ðət hæd bɪn slæʃt tɪ ˈəndər ðə ˈpɑvərti laɪn. ju ˈnidɪd ən ˈɛkstrə 80 ə wik tɪ ʤɪst kip jʊr hɛd əˈbəv ˈwɔtər. bət 80 əv ˈɛkstrə ˈɪnˌkəm mɛnt ə bɪl əv 24 ɪt mɛnt 20 lɛs əˌkɑməˈdeɪʃən ˌsəpləˈmɛnt (ə ˈvɛri ˈstupɪd 25 pərˈsɛnt əˈbeɪtmənt ɔn ərnd), ənd 6 lɛs kɔr ˈbɛnəfɪt 30 pərˈsɛnt əv ˈɪnˌkəm ɪf ˈgɪtɪŋ ə tɪ peɪ ju 80 ər ˈərnɪŋ ən ˈɛkstrə 80 dɪˈlɪvərd ˈoʊnli 30 ər ˈvərʧuəli ˈnəθɪŋ ˈæftər kɔsts, wət wʊd ju du? ˈmeɪbi ju kʊd goʊ kæp ɪn hænd ənd æsk wərk ənd ˈɪnˌkəm fər əˈdɪʃənəl əˈsɪstəns? ˈmeɪbi æsk fər ə grænt, ər ə riˈpeɪəbəl loʊn fər ɪgˈzæmpəl, tɪ mit ðə haɪər ˈpərʧəs ˈpeɪmənt ɔn ðə ˈwɑʃɪŋ məˈʃin? ju meɪ ˈɔlsoʊ nid tɪ kju fər ə fud ˈpɑrsəl frəm ðə ˈloʊkəl foodbank*, ər ˈivɪn gɪt ə loʊn frəm ə loʊn ʃɑrk ɛz ə læst rɪˈzɔrt. ˈmeɪkɪŋ əp ðə ˈʃɔrtˌfɔl wɪθ loʊnz ənd ˈʧɛrɪti ɪz ənd ˌɪnɪˈfɪʃənt ɪn ðə ɪkˈstrim, əˈspɛʃəli ɪf ˈstədiɪŋ ˈfʊlˌtaɪm. ˌɪmˈpɑsəbəl, ˈivɪn. ənd ðɛr ɪz ˈnəθɪŋ ˌpɑrˈtɪkjələrli ˈmɔrəl əˈbaʊt ˈgɪtɪŋ ˈækˌsɛs tɪ ðə ˈnidɪd ˈməni ðɪs weɪ ðə kɔst kəmz frəm wərk ənd ˈɪnˌkəm (rɛd ˈtækˌspeɪərz), ər ˈʧɛrɪtiz, (rɛd ˈdoʊnərz). bət ðɪs ˈtidiəs weɪ əv ˈgɪtɪŋ ɪˈnəf ˈməni tɪ sərˈvaɪv ɪz wɪˈθɪn ðə rul bʊk, ɪt ˈsætɪsˌfaɪz ðə ˌsɛlˈfraɪʧəs, ənd bi klæst ɛz ən ˈoʊvərˌpeɪmənt. ər wɪl ɪt? ˌənbəˈlivəbli, təˈdeɪ loʊnz meɪ bi ˈtritɪd ɛz ˈɪnˌkəm. ɪf ju ʤɪst meɪk ɛndz mit ənd ju ˈbɑˌroʊ frəm ə loʊn ʃɑrk, ˈfæməli, ər ɪkˈstɛnd jʊr ˈoʊvərˌdræft ənd ˈkrɛdɪt kɑrd ˈbælənsɪz, ðə ˈsɪstəm meɪ kaʊnt ðiz loʊnz ɛz ˈɪnˌkəm ənd rɪˈdus ðə kɔr ˈbɛnəfɪt ənd ˈəðər əˈsɪstəns əˈkɔrdɪŋli. ju bɪˈkəm pur tɪ help”*”. wət du blæk ənd waɪt ˈθɪŋkərz meɪk əv ðət? drɔɪŋ daʊn ən ˈoʊvərˌdræft ər ˈjuzɪŋ ə ˈkrɛdɪt kɑrd ər əˈpɛrəntli ðə seɪm ɛz ˈərnɪŋ ˈɪnˌkəm wɪθ wən əv ðə tɛsts biɪŋ ðət ðə ˈməni ɪz juzd fər purposes’*’ səʧ ɛz rɪˈpleɪsɪŋ ˈɪnˌkəm, baɪɪŋ gʊdz ðət wʊd ˈnɔrməli bi bɔt frəm ˈɪnˌkəm, ər meɪk ˈpeɪmənts ðət wʊd ˈnɔrməli bi meɪd θru ˈɪnˌkəm. ˈrisəntli, aɪ sæt ɪn ɔn ə keɪs ɪn ðə haɪ kɔrt. ðə ˈmɪnɪstri fər ˈsoʊʃəl dɪˈvɛləpmənt hæd əˈlɛʤd ˈoʊvərˌpeɪmənts bɪˈkəz ə ɪkˈspɛndɪʧər ɪkˈsidɪd hər ˈbɛnəfɪt ənd ðə ˈbæləns hæv bɪn income’*’. ʃi hæd tɪ ˈbɑˌroʊ tɪ lɪv, fər ɪgˈzæmpəl, tɪ peɪ fər ə kɑr, rɪˈpɛrz tɪ hər haʊs ənd ɪkˈspɛnsɪv ˈhɛlθˌkɛr fər ˈkrɑnɪk peɪn. æt wən pɔɪnt ðə ʤəʤ æst ɪf ðɛr wɑz ˈɛni loʊn ðət wʊd nɑt bi ˈkaʊntɪd ɛz ˈɪnˌkəm. ðə kraʊn ˈlɔjər sɛd, θru tiθ, ˈæftər ə lɔŋ pɔz: ‘‘yes*, pərˈhæps ɪf ðə ˈməni wɑz juzd tɪ baɪ ʃɛrz ɛz ðət wʊd nɑt bi ə juz fər purposes’*’. ˈrɪli? ˈwɛlkəm tɪ ðə dɑrk, ˈfəzi, ˌɪˈlɑʤɪkəl, ˈkɑfkəˈɛsk wərld wɛr ˈivɪn riˈpeɪɪŋ ə loʊn ˈfaɪˌnænst baɪ ə ˈbɪgər ˈoʊvərˌdræft meɪ bi ˈkæpʧərd ənd kɔld ˈɪnˌkəm; wɛr dɪˈsɪʒənz frəm ðə ˈbɛnəfɪt ˌrivˈju kəˈmɪti ər kənfˈjuzɪŋ ənd fər moʊst ˌbɛnəˈfɪʃiˌɛriz hu ˌəndərˈstænd haʊ ðə əˈlɛʤd ˈoʊvərˌpeɪmənts wər ˈkælkjəˌleɪtɪd. ˈfərðərˌmɔr, ˈɛni əˈpil tɪ ðə ˈvɛri ˈpaʊərfəl ənd ˈsoʊʃəl sɪˈkjʊrəti əˈpilz əˈθɔrəti læks ˌɪndɪˈpɛndəns. fju ɔn ə ˈbɛnəfɪt hæv ðə ˈmɛntəl ˈfɔrtɪˌtud, ər kən ˈækˌsɛs ˈligəl ˌrɛprəzɛnˈteɪʃən tɪ teɪk ən əˈpil tɪ ə haɪər kɔrt. ðoʊz hu du, feɪs ðə fʊl maɪt əv ðə steɪt ˈligəl məˈʃinəri ðət kən graɪnd ðɛm əp ənd liv ðɛm ˈdɛstəˌtut. ðɪs ɪz waɪ ˈstɔri prəˈdust baɪ ɪz soʊ ˌɪmˈpɔrtənt ənd soʊ rɛr.
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on a lonely friday night in, cookies rolled down the conveyer belt at main plant.
these were round, peanut butter cookies, packaged eight to a container under the name “smile & save.”
but few inside the plant were smiling.
as these treats marched through west plant on a conveyor belt last week friday, none followed behind.
they were the last ever produced in usa.
the cookie factory, opened in 1930, long has been a staple for the community.
yet, 85 years later, current owner conagra announced last may it would be shutting down the plant.
it meant about 300 employees would lose their jobs; it meant a community known for the scent of cookies baking on a cold day would close a proud chapter in its history.
conagra officials announced production would cease over the winter. last week, it became clear those final cookies would roll off the line last week friday.
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ɔn ə ˈloʊnli ˈfraɪˌdeɪ naɪt ɪn, ˈkʊkiz roʊld daʊn ðə kənˈveɪər bɛlt æt meɪn plænt. ðiz wər raʊnd, ˈpiˌnət ˈbətər ˈkʊkiz, ˈpækɪʤd eɪt tɪ ə kənˈteɪnər ˈəndər ðə neɪm save.”*.” bət fju ˌɪnˈsaɪd ðə plænt wər sˈmaɪlɪŋ. ɛz ðiz trits mɑrʧt θru wɛst plænt ɔn ə kənˈveɪər bɛlt læst wik ˈfraɪˌdeɪ, nən ˈfɑloʊd bɪˈhaɪnd. ðeɪ wər ðə læst ˈɛvər prəˈdust ɪn ˈjuˈɛˈseɪ. ðə ˈkʊki ˈfæktəri, ˈoʊpənd ɪn 1930 lɔŋ həz bɪn ə ˈsteɪpəl fər ðə kəmˈjunɪti. jɛt, 85 jɪrz ˈleɪtər, ˈkɑrənt ˈoʊnər ˌkɑˈnægrə əˈnaʊnst læst meɪ ɪt wʊd bi ˈʃətɪŋ daʊn ðə plænt. ɪt mɛnt əˈbaʊt 300 ɪmˈplɔɪiz wʊd luz ðɛr ʤɑbz; ɪt mɛnt ə kəmˈjunɪti noʊn fər ðə sɛnt əv ˈkʊkiz ˈbeɪkɪŋ ɔn ə koʊld deɪ wʊd kloʊz ə praʊd ˈʧæptər ɪn ɪts ˈhɪstəri. ˌkɑˈnægrə əˈfɪʃəlz əˈnaʊnst pərˈdəkʃən wʊd sis ˈoʊvər ðə ˈwɪntər. læst wik, ɪt bɪˈkeɪm klɪr ðoʊz ˈfaɪnəl ˈkʊkiz wʊd roʊl ɔf ðə laɪn læst wik ˈfraɪˌdeɪ.
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welcome to the brandon sanderson newsletter for march 2015! a new novella, perfect state, is out today, plus more exciting news below. but first i want to mention that after six years of maintaining the mailing list manually, my assistants have moved it over to mailchimp. you see much difference on your end (and your email address will still be kept private), but now much easier for you to update your subscription preferences. in fact, i highly recommend you click that link to update your info right now. be appearing at numerous events worldwide in the next couple of years, so if you tell me the nearest large metro area willing to travel to in order to see me, send you an email when i go there. of course, this is an optional part of being on the mailing list. the newsletters i send out to everyone on the list will still come only three or four times per year. in this newsletter: a new novella, perfect state
shadows for silence in the forests of hell
conventions & exclusive hardcover
words of radiance in paperback
shadows of self cover reveal
new on the brandon sanderson store
excerpt of perfect state
newsletter exclusive preview perfect state today marks the release of a new novella of mine, perfect state. this one is a bit different from anything else written, and i think enjoy it. the blurb: is lord of all he surveys. he has defeated all foes, has united the entire world beneath his rule, and has mastered the arcane arts. he spends his time sparring with his nemesis, who keeps trying to invade world. except for today. today, kai has to go on a date. forces have conspired to require him to meet with his woman from another world who has achieved just as much as he has. what happens when the most important man in the world is forced to have dinner with the most important woman in the world? perfect state is an novella about privilege, culture clash, and expectations. the cover illustration is by the talented j.p. targete, and you can get the novella now as an (with no drm) at the usual vendors. i have a worldwide collection of store links here. an excerpt toward the bottom of the newsletter, and info on a hardcover version below. shadows for silence in the forests of hell for those who missed it, my novella shadows for silence in the forest of hell is also now out as an independent. if you already read it in the dangerous women anthology, another opportunity for you to get your hands on it. the blurb: when the familiar and seemingly safe turns lethal, therein danger lies. amid a forest where the shades of the dead linger all around, every homesteader knows to follow the simple rules: “don’t kindle flame, shed the blood of another, run at night. these things draw shades.” silence has broken all three rules on more than one occasion. and to protect her family from a murderous gang with high bounties on their heads, silence will break every rule again, at the risk of becoming a shade herself. an excerpt of the story here on, and i shared some words on its inspiration here. the new has a great cover illustration by miranda meeks. conventions & exclusive hardcover whenever i release a new novella, many readers ask me if it will also be available in print. while i want my novels to be in as many bookstores as possible, that always make sense for because of their length. but i want to offer something to you collectors as well. a hardcover of the soul is available in my store, and later this year we will have new hardcovers of both legion books. a couple years ago i put out a double edition of my firstborn and defending elysium, and this year doing the same thing with perfect state and shadows for silence in the forests of hell. i also like to do something special for readers who attend conventions where a guest. so these two goals will coincide. the double hardcover of these two printed back-to-back, so there are two front covers) will start out as available exclusively at conventions, before going up on my website store sometime in the fall. if you want to pick one up, your first chance will be this week at in minneapolis. here are the conventions where a guest this year, and where you should be able to buy the hardcover double: 50, minneapolis, april
sharjah reading festival, united arab emirates, april 2
conquest 46, kansas city, may
worldcon, spokane, august
fantasycon, nottingham, october these are my confirmed appearances, and there are a few other conventions i might be attending that yet confirmed. check my events calendar throughout the year. words of radiance in paperback earlier this month, mass market paperbacks of words of radiance, the second book in the archive, were released in the us and the. as we were entering typo fixes for the paperback, i made changes to a few lines near the end. there was one particular scene that i was never satisfied with, and like you to be aware of what i changed and my reasoning for it. however, i also want to put too many spoilers in this newsletter, and if you read words of radiance, my explanation would definitely spoil a critical scene for you. so if already read the book and want to know what has changed, please see this blog post and skip down past the spoiler space. these changes are in the new us and mass market paperbacks, and still working on getting them into the versions as well. some readers have asked about the being updated, and this is a possibility looking into. it currently seems we may be able to get this done sometime later this year, when michael kramer is recording the audio for the next book. next book: shadows of self mentioned before that the next book, shadows of self (the sequel to the alloy of law), will be coming out in october. be starting the final draft on that (and its sequel, bands of mourning, which comes out in january) in a few weeks. recently, announced the cover for shadows of self, and one of my favorites from chris mcgrath. you can see a large version here. (though we heard today that tor might change the design a bit, swapping the placement of the title and my name. these things happen where marketing is concerned. also, that s is a bit hard to read with head in the way.) new in the store my assistant kara, who runs the brandon sanderson store, has put up a few new items. there are shirts, art prints, jewelry, and signed books as always, and the decals page now has a collection of mini symbols, including some of the symbols such as the one for shaw. she has also added hardcovers of words of radiance, and the new are in thes section. excerpt of perfect state on the anniversary of my birth, i finally managed to conquer the world. the entire world. it had made for a rather memorable birthday present, though admittedly been placed into this world with the intention and expectation that someday rule it. the next fifty years had put me at risk of boredom. after all, what did a man possibly do with his time after conquering the world? in my case, developed a nemesis. “he’s planning something, shale,” i said, stirring the sugar into my tea. “who?” shale was the only man i knew who could lounge while wearing full plate armor. he hardly ever took the stuff off; it was part of his concept. “who do you think?” i said, sipping the tea and leafing through the letters on my desk, each sealed by a daub of dark red wax. the two of us sat on a large flying stone platform with chairs and railings like a patio’s. us a barrier over the top to ward off the rainstorm outside. the grand aurora shimmered even through the the ground beneath us and painting it faintly blue. the occasional crashes of lightning from the storm highlighted a hundred other platforms flying in formation around my own. they carried a small retinue of six my honor guard. thunder shook us. shale yawned. “you really need to figure out weather, kai.” “i will eventually.” these last fifty years spent studying the practical application of lancing had been most productive, but controlling the least on a grand me. i sipped my tea. it was growing cold, but at least that i could do something about. i undid the buttons on my right sleeve, exposing my skin to the light pulsing from the sky. the grand aurora encircled the entire world, and even the mightiest storms did little more than churn its shimmering. the aurora defeated storms; that was how i knew someday be able to do it too. i entered, and everything around me dimmed. everything but the grand aurora. i basked in its warm light, which i could suddenly feel striking my skin with a pulsing rhythm. i drew the power in through my arm, then sent the energy up out my fingers and into the cup. the tea began to steam. i sipped it and left as i cracked open one of the letters. the seal was imprinted with the symbol of my spy networks. your majesty, the note read. i believe it necessary to inform you that the scroll has once again— i crumpled the paper. “uh-oh,” shale said. “it’s nothing,” i said, dropping the piece of paper and doing up my sleeve. it from my spy networks at all; simply knew i opened spy reports first. the platform shook in another peal of thunder as i looked through a set of reports, each with my imperial mark at the top. “you make this thing go any faster, can you?” shale asked. “be glad we have to do this the old way.” “the old way? like . . . on a horse?” shale scratched his chin. “i miss that.” “really? the sore backsides, riding through the rain, getting bitten, finding food for the beasts . . .” “horses have personality. this platform.” “you’re just saying that because part of your concept,” i said. “the dashing knight riding on horseback, winning the hands of fair maidens.” “sure, sure. i had quite the collection of hands. couple of arms, the occasional foot . . .” i smiled. shale was now happily married with five children. the only maidens he spent any time with were the ones who called him daddy and begged him for sweets. i continued looking through reports. the next was the preliminary sketch for a new set of coins to be minted later in the year, bearing my image. it was mostly right, depicting my strong features and hair that curled regally to my shoulders. the beard was too big, however. i wore mine neat and squared, kept at a modest length, to present a strong image. the thing in the picture was far too bushy. i made notes on the sketch, then continued on, ignoring the note thrown on the floor. was far too clever for his own good. i needed to fire the man and hire a stupid chancellor. either that or hack and rewrite his concept. rewriting concepts was a pain, though. and, truth be told, i was terrible at hacking, which was centuries never gotten around to changing. it, of course, because i was fond of the chancellor. the man never did what i told him. i ruled literally billions of people, and only this one ignored my will. “here,” i said, holding up a report to shale. “look at this.” shale over, armor clanking. “another robot?” he yawned. “melhi’s robots are dangerous.” “yawn.” “you just yawned. you need to say it.” “yawn. whatever happened to the big quests, kai? hunting dragons, searching out magical swords? all you do these days is study magic and duel with from other states.” “i’m getting older, shale,” i said, looking over the report again. my spies had overheard some of men in a border state bragging about this new robot of his. i shook my head. was still smarting after what done to him at lecours, a different border state we could both access. been so certain his armies would overwhelm mine. “getting older?” shale laughed. “what does that have to do with it? immortal. your body is young.” i explain it to him. the quests he referred a kingdom, searching out hidden treasures and secrets, uniting those who would follow and conquering those who would not . . . well, those had been what needed as a youth. made me into the person i was, the person who could rule an empire. that empire pretty much ruled itself these days. we had imperial senates, diplomats, ministers. i was very careful not to step in unless something grossly stupid needed straightening. in truth, i relished nights spent in my study, experimenting, meditating. only occasional government the one earlier today, where commemorated the fiftieth year since the unification of the me out. well, that and the attacks by. the churning rain outside suddenly vanished, and the heavens grew bright. the grand aurora was still there, but it now hovered in a sky that was blue instead of stormy grey. reached. i stood up from my desk, walking to the edge of the platform, and watched the streets of the city blur beneath us. at least here, at the center of my power, i could stop the storms. eventually, i thought to myself. eventually be able to do it without an affixed to the middle of the city. was a place of bulbous golden domes atop finger towers. the platform slowed in its course and swung down over the city, trailed by the hundred platforms carrying my honor guard. people waited below to watch us pass; my movements were matters of national record. and so, cheers roared beneath us, as if a stream to carry us along. i smiled. perhaps i should get out more. at my side, shale rested his hand on his sword, watching those below with narrowed eyes. “nobody’s going to be able to hit me from all the way down there,” i said, amused. “you never know, kai.” the platform descended toward the palace, which sat on the hill at the center of the city, and docked at the side of my large tower, becoming a balcony again. i strode off and into my study as a group of servants in vests, loose pants, and bare chests trotted out onto the balcony and lifted my desk to carry it after us. shale stretched, clinking. “that trip seems to get longer every time.” “it would probably be more comfortable without the armor.” “i’m your bodyguard, kai,” shale said. “one of us has to be ready. remember when those sky nomads tried to pinch you?” shale smiled fondly, in the way a man might while remembering a youthful romance. “or that time when we got trapped in the of sashim?” “sure do. you carried me . . . how far?” “a good fifty miles,” shale said. “lords. that was . . . that was over a hundred years ago now, it?” i said nothing. shale ago, he and i had discovered a secret draught of long life in the hoard of the dragon galbrometh. these days, i wondered if that draught had been placed there specifically for me to find, so have an acceptable reason for not aging. i known the truth of my nature until reached fifty, the’s age of awareness. shale stretched again. “well, best to remain vigilant. when everything is calm that you need to be most alert.” “most certainly. thank you for your help today.” “yeah. yeah, a good thing around, eh? anyway, going to go check in with sindria. see what the kids are up to, you know?” “good idea,” i said, watching the servants carefully arrange all the items on my desk. did i have time to file those reports . . . ? no. i needed to get moving. i walked toward shale, who was opening the doors that led to the hallway. he gave me a questioning look. “if quick,” i explained, “i might be able to get down into the lab before can—” shale pulled the door all the way open. stood outside. “ouch,” shale said. “sorry, kai.” raised a single eyebrow. he was like one of those statues that people carved on the outsides of buildings. limbs that seemed too long, robes too stiff, face expressionless. long ago, shared a drop of my draught of immortality with him. haunted me ever since. he bowed. “your imperial majesty.” “besk,” i said. “i’m afraid the daily briefing will have to wait. i had some very important mental breakthroughs regarding lancing that i absolutely must record.” regarded me for a long, moment. he carried a distinctive piece of slate in his fingers. as large as a book, yet incredibly thin, there was nothing else like it in the empire. to the side, one of the servants helpfully carried in the crumpled paper left on the balcony, then set it on the desk, just in case it was important.’s eyebrow rose another notch. “i will walk with you to the lab then, your majesty.” shale gave me a farewell pat on the shoulder, then away. faced assassins, terrors, and rebels without flinching, but even after all this time, made him nervous. “you may wish to consider giving sir shale a leave of retirement, your majesty,” said as we began to walk. “he likes what he does. and i like having him around.” “your will is, of course, law.” “yeah. unless the is involved.” “in over a century of rule, this is the only time the has called upon you.” held up the piece of slate he carried. the scroll, the only official means of communicating with the outside. the scroll was filled with words, none of which i wanted to read. from the little i saw, however, the tone of the’s letters was growing more forceful. i had been ignoring them too long. we walked for a time in silence until we eventually left the corridor and stepped out onto a between towers. i be so hard on, i knew. he was acting according to his concept, and was loyal in his own way, even when he was disobedient. below, a cheer went up, and i raised a hand toward my subjects. was that a band playing? the grand aurora shimmered in the sky, light failed to comfort me. “is it such an onerous task, your majesty?” asked. “the requests of you only one day, to go and perform a task most people would consider pleasurable.” “it’s not the task itself. the nature of being . . . summoned like this. what good is it to be emperor if someone else can just call on me as if i were a common or messenger boy? it undermines everything done, everything accomplished.” “they merely ask you to do your duty to your species.” “what duty has my species ever done to me?” “my lord,” said, stopping on the. “this is most unseemly of you. reminded of the child you were, not the king you have become.” i tried to walk onward without him, but my shoes felt as if they were filled with lead. i stopped a few steps ahead of him, not looking back. “it is your duty,” repeated. “i’m a brain in a jar,,” i said. “one of trillions. why they bother one of the others?” “it has been determined that you have accomplished great—” “we’ve all accomplished great things,” i said, spinning and waving my hands toward the city. “that’s the point of all this. how many of those trillions of others are living lives just like mine, in primary states?” “the programming each state be individually tailored.” “it matter,,” i said. lords! i hated thinking about this. the had only interfered with my life twice. first at age fifty, to inform me that my reality was a layered simulation. and now to demand that i procreate. “it’s meaningless,” i said, stepping up to. he of the, of course; never actually met any of them. he was a part of my reality, my state. but he, like everything else in the entirety of my existence, would serve the if required. they controlled the programming and, if pressed, they could change anything in this but me force me to obey. lords, how it hurt to think about that. “the requirements are inane,” i continued. “they need my dna to create new humans? well, fine. they can take it. stick a little needle or whatever into my jar and withdraw it. simple.” “they require you to interact with a woman, your majesty. the precepts say you must choose her, and she you, and then you must meet one another and perform the act.” “our bodies are just simulations. why must we meet?” “i do not know.” “bah!” i stalked off the and back into the palace. followed. “i’ve ordered the hunting range filled with wild draklings, your majesty. the most vicious we could find. perhaps destroying them will put you in a more fond mood.” “perhaps,” i said. even thinking about the turned me into a child again; was right on that count. commanded armies of thousands and forged an empire that spanned continents. but this . . . this made a spoiled brat out of me. i stopped inside the stairwell. “i do not know all the reasons for the rules, my lord,” said more softly, stepping up and resting a hand on my shoulder. “but they are ancient, and have served your kind well. doctrine states—” “don’t lecture me,” i said. he fell silent, but . . . damn it . . . i could hear his voice in my head. read off these rules to me often enough. doctrine states that the most essential morality of mankind is to create the greatest amount of happiness among the greatest number of people while using the least amount of resources. turned out, the best way to create greatly satisfied people using minimal resources was to remove their brains when they were fetuses and attach them to simulated realities tailored to fit their emerging personalities. each received an entire world in which they were the most important person of their time. some became artists, others politicians, but each had a chance for supreme greatness. all of this took only the space required for a box about the size of a machinery, brain, and nutrient bath all included. incredibly efficient. and . . . to be honest, i resent it; hell, i loved it. i got to be an emperor, and while the simulation gave me opportunities, each grueling quest or to be my own. earned this life. thinking of the millions upon millions of others who had done the same, though . . . that unnerved me. were there millions ofs, and millions of shales, millions of mes, all living beneath a grand aurora? everything else in my existence had taught me i was unique, important, and powerful. i rebelled at the idea that i might just be another person. “it will not take long, my lord,” said. “choose one of the women from the ranked them for you with compatibility send her a request to meet. perhaps you could dine together.” “a woman from their list,” i snapped. “a woman, with her own world to rule. lords, be insufferable.” the closest i ever wanted to get to another was across the battlefield in a border state, and it had taken me some time to warm even to that. my first meeting with had— “my lord,” said. “the wall.” i started, realizing that something had changed the stone wall of the stairwell. words were appearing in the stone, as if chiseled there, each line sinking in a trough. child emperor. i have created a nice surprise for you. “melhi, you snake! how did you hack my palace? violating the precepts of engagement.” the precepts are only words. so are screams. i will hear yours for the insult you gave me. “my spies already told me of your robot,. you should stop sending those. they never work properly in my state.” i mention that been surprised at how well they did work. far better than lancing would have worked in his state, where the laws of physics were different. you will scream, child. you will scream. i entered. here i could see the grand aurora even through the stone of the i stepped backward anyway, into the doorway, where the light could strike me directly. i drew strength into my arms from that warmth, then pushed it from me in a wave. with, i could see the core workings of all things, the very motes of thought, or whatever they made up my reality. i could also see hack. it manifested as of red creeping like venom into my palace. filled with strength, i cut him off, destroying the. they been accomplish a powerful hack without running afoul of the’s protective programs. the surface returned to normal. i melted the stone there for good measure, recast it into a new shape, then blinked my eyes back to my ordinary vision. “lords, but that man needs to learn to let go of a grudge,” i said. “he’s never going to beat me. surely he has to see that by now.” “indeed,” said. “he does seem to continue the same stubborn course, without maturity, and without careful consideration of the best path. you say?” “that’s quite enough,.” “i try to be topical when possible, your majesty.” i took a deep, calming breath. it work. “fine. fine, whatever. pick one of the women from the list. meet, get this over with, and return to my life.” “which one do i choose?” asked. “the one the thinks is most compatible?” “lords, no,” i snapped, walking away. “pick the one on the bottom of the list. i might as well have an interesting time of it.” continued in the full novella, available now. newsletter exclusive preview and now, a preview of calamity, the third book in the trilogy. if you read or firefight yet, you should probably steer clear of this, as it will contain spoilers. for that reason including a spoiler space below. note: this is a very rough draft (i even finished writing the whole book yet), and it could change substantially before released! thanks so much for subscribing. 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ˈwɛlkəm tɪ ðə ˈbrændən ˈsændərsən ˈnuzˌlɛtər fər mɑrʧ 2015 ə nu noʊˈvɛlə, ˈpərˌfɪkt steɪt, ɪz aʊt təˈdeɪ, pləs mɔr ɪkˈsaɪtɪŋ nuz bɪˈloʊ. bət fərst aɪ wɔnt tɪ ˈmɛnʃən ðət ˈæftər sɪks jɪrz əv meɪnˈteɪnɪŋ ðə ˈmeɪlɪŋ lɪst ˈmænjuəli, maɪ əˈsɪstənts hæv muvd ɪt ˈoʊvər tɪ mailchimp*. ju si məʧ ˈdɪfərəns ɔn jʊr ɛnd (ənd jʊr iˈmeɪl ˈæˌdrɛs wɪl stɪl bi kɛpt ˈpraɪvət), bət naʊ məʧ ˈiziər fər ju tɪ ˈəpˌdeɪt jʊr səbˈskrɪpʃən ˈprɛfərənsɪz. ɪn fækt, aɪ ˈhaɪli ˌrɛkəˈmɛnd ju klɪk ðət lɪŋk tɪ ˈəpˌdeɪt jʊr ˈɪnfoʊ raɪt naʊ. bi əˈpɪrɪŋ æt ˈnumərəs ɪˈvɛnts ˈwərldˈwaɪd ɪn ðə nɛkst ˈkəpəl əv jɪrz, soʊ ɪf ju tɛl mi ðə ˈnɪrəst lɑrʤ ˈmɛˌtroʊ ˈɛriə ˈwɪlɪŋ tɪ ˈtrævəl tɪ ɪn ˈɔrdər tɪ si mi, sɛnd ju ən iˈmeɪl wɪn aɪ goʊ ðɛr. əv kɔrs, ðɪs ɪz ən ˈɔpʃənəl pɑrt əv biɪŋ ɔn ðə ˈmeɪlɪŋ lɪst. ðə ˈnuzˌlɛtərz aɪ sɛnd aʊt tɪ ˈɛvriˌwən ɔn ðə lɪst wɪl stɪl kəm ˈoʊnli θri ər fɔr taɪmz pər jɪr. ɪn ðɪs ˈnuzˌlɛtər: ə nu noʊˈvɛlə, ˈpərˌfɪkt steɪt ˈʃæˌdoʊz fər ˈsaɪləns ɪn ðə ˈfɔrəsts əv hɛl kənˈvɛnʃənz ɪkˈsklusɪv ˈhɑrdˌkəvər wərdz əv ˈreɪˌdiəns ɪn ˈpeɪpərˌbæk ˈʃæˌdoʊz əv sɛlf ˈkəvər rɪˈvil nu ɔn ðə ˈbrændən ˈsændərsən stɔr ˈɛksərpt əv ˈpərˌfɪkt steɪt ˈnuzˌlɛtər ɪkˈsklusɪv ˈprivˌju ˈpərˌfɪkt steɪt təˈdeɪ mɑrks ðə riˈlis əv ə nu noʊˈvɛlə əv maɪn, ˈpərˌfɪkt steɪt. ðɪs wən ɪz ə bɪt ˈdɪfərənt frəm ˈɛniˌθɪŋ ɛls ˈrɪtən, ənd aɪ θɪŋk ˌɛnˈʤɔɪ ɪt. ðə blərb: ɪz lɔrd əv ɔl hi ˈsərˌveɪz. hi həz dɪˈfitɪd ɔl foʊz, həz juˈnaɪtɪd ðə ɪnˈtaɪər wərld bɪˈniθ hɪz rul, ənd həz ˈmæstərd ðə ˌɑrˈkeɪn ɑrts. hi spɛnz hɪz taɪm ˈspɑrɪŋ wɪθ hɪz ˈnɛməsɪs, hu kips traɪɪŋ tɪ ˌɪnˈveɪd wərld. ɪkˈsɛpt fər təˈdeɪ. təˈdeɪ, kaɪ həz tɪ goʊ ɔn ə deɪt. ˈfɔrsɪz hæv kənˈspaɪərd tɪ ˌrikˈwaɪər ɪm tɪ mit wɪθ hɪz ˈwʊmən frəm əˈnəðər wərld hu həz əˈʧivd ʤɪst ɛz məʧ ɛz hi həz. wət ˈhæpənz wɪn ðə moʊst ˌɪmˈpɔrtənt mæn ɪn ðə wərld ɪz fɔrst tɪ hæv ˈdɪnər wɪθ ðə moʊst ˌɪmˈpɔrtənt ˈwʊmən ɪn ðə wərld? ˈpərˌfɪkt steɪt ɪz ən noʊˈvɛlə əˈbaʊt ˈprɪvɪlɪʤ, ˈkəlʧər klæʃ, ənd ˌɛkspɛkˈteɪʃənz. ðə ˈkəvər ˌɪləˈstreɪʃən ɪz baɪ ðə ˈtæləntɪd j.p*. targete*, ənd ju kən gɪt ðə noʊˈvɛlə naʊ ɛz ən (wɪθ noʊ drm*) æt ðə ˈjuʒəwəl ˈvɛndərz. aɪ hæv ə ˈwərldˈwaɪd kəˈlɛkʃən əv stɔr lɪŋks hir. ən ˈɛksərpt təˈwɔrd ðə ˈbɑtəm əv ðə ˈnuzˌlɛtər, ənd ˈɪnfoʊ ɔn ə ˈhɑrdˌkəvər ˈvərʒən bɪˈloʊ. ˈʃæˌdoʊz fər ˈsaɪləns ɪn ðə ˈfɔrəsts əv hɛl fər ðoʊz hu mɪst ɪt, maɪ noʊˈvɛlə ˈʃæˌdoʊz fər ˈsaɪləns ɪn ðə ˈfɔrɪst əv hɛl ɪz ˈɔlsoʊ naʊ aʊt ɛz ən ˌɪndɪˈpɛndənt. ɪf ju ɔˈrɛdi rɛd ɪt ɪn ðə ˈdeɪnʤərəs ˈwɪmən ænˈθɔləˌʤi, əˈnəðər ˌɑpərˈtunəti fər ju tɪ gɪt jʊr hænz ɔn ɪt. ðə blərb: wɪn ðə fəˈmɪljər ənd ˈsimɪŋli seɪf tərnz ˈliθəl, ðɛˈrɪn ˈdeɪnʤər laɪz. əˈmɪd ə ˈfɔrɪst wɛr ðə ʃeɪdz əv ðə dɛd ˈlɪŋər ɔl əraʊnd, ˈɛvəri ˈhoʊmstɛdər noʊz tɪ ˈfɑloʊ ðə ˈsɪmpəl rulz: ˈkɪndəl fleɪm, ʃɛd ðə bləd əv əˈnəðər, rən æt naɪt. ðiz θɪŋz drɔ shades.”*.” ˈsaɪləns həz ˈbroʊkən ɔl θri rulz ɔn mɔr ðən wən əˈkeɪʒən. ənd tɪ prəˈtɛkt hər ˈfæməli frəm ə ˈmərdərəs gæŋ wɪθ haɪ ˈbaʊntiz ɔn ðɛr hɛdz, ˈsaɪləns wɪl breɪk ˈɛvəri rul əˈgɛn, æt ðə rɪsk əv bɪˈkəmɪŋ ə ʃeɪd hərˈsɛlf. ən ˈɛksərpt əv ðə ˈstɔri hir ɔn, ənd aɪ ʃɛrd səm wərdz ɔn ɪts ˌɪnspərˈeɪʃən hir. ðə nu həz ə greɪt ˈkəvər ˌɪləˈstreɪʃən baɪ mərˈændə miks. kənˈvɛnʃənz ɪkˈsklusɪv ˈhɑrdˌkəvər wɛˈnɛvər aɪ riˈlis ə nu noʊˈvɛlə, ˈmɛni ˈridərz æsk mi ɪf ɪt wɪl ˈɔlsoʊ bi əˈveɪləbəl ɪn prɪnt. waɪl aɪ wɔnt maɪ ˈnɑvəlz tɪ bi ɪn ɛz ˈmɛni ˈbʊkˌstɔrz ɛz ˈpɑsəbəl, ðət ˈɔlˌweɪz meɪk sɛns fər bɪˈkəz əv ðɛr lɛŋθ. bət aɪ wɔnt tɪ ˈɔfər ˈsəmθɪŋ tɪ ju kəˈlɛktərz ɛz wɛl. ə ˈhɑrdˌkəvər əv ðə soʊl ɪz əˈveɪləbəl ɪn maɪ stɔr, ənd ˈleɪtər ðɪs jɪr wi wɪl hæv nu ˈhɑrdˌkəvərz əv boʊθ ˈliʤən bʊks. ə ˈkəpəl jɪrz əˈgoʊ aɪ pʊt aʊt ə ˈdəbəl ɪˈdɪʃən əv maɪ ˈfərstˈbɔrn ənd dɪˈfɛndɪŋ ɪˈlɪziəm, ənd ðɪs jɪr duɪŋ ðə seɪm θɪŋ wɪθ ˈpərˌfɪkt steɪt ənd ˈʃæˌdoʊz fər ˈsaɪləns ɪn ðə ˈfɔrəsts əv hɛl. aɪ ˈɔlsoʊ laɪk tɪ du ˈsəmθɪŋ ˈspɛʃəl fər ˈridərz hu əˈtɛnd kənˈvɛnʃənz wɛr ə gɛst. soʊ ðiz tu goʊlz wɪl ˌkoʊɪnˈsaɪd. ðə ˈdəbəl ˈhɑrdˌkəvər əv ðiz tu ˈprɪnɪd back-to-back*, soʊ ðɛr ər tu frənt ˈkəvərz) wɪl stɑrt aʊt ɛz əˈveɪləbəl ɪkˈsklusɪvli æt kənˈvɛnʃənz, ˌbiˈfɔr goʊɪŋ əp ɔn maɪ ˈwɛbˌsaɪt stɔr ˈsəmˌtaɪm ɪn ðə fɔl. ɪf ju wɔnt tɪ pɪk wən əp, jʊr fərst ʧæns wɪl bi ðɪs wik æt ɪn ˌmɪniˈæpəlɪs. hir ər ðə kənˈvɛnʃənz wɛr ə gɛst ðɪs jɪr, ənd wɛr ju ʃʊd bi ˈeɪbəl tɪ baɪ ðə ˈhɑrdˌkəvər ˈdəbəl: 50 ˌmɪniˈæpəlɪs, ˈeɪprəl ˈrɛdɪŋ ˈfɛstɪvəl, juˈnaɪtɪd ˈærəb ˈɛmərˌeɪts, ˈeɪprəl 2 ˈkɑŋkwɛst 46 ˈkænzəs ˈsɪti, meɪ worldcon*, spoʊˈkæn, ˈɔgəst fantasycon*, ˈnɑtɪŋˌhæm, ɑkˈtoʊbər ðiz ər maɪ kənˈfərmd əˈpɪrənsəz, ənd ðɛr ər ə fju ˈəðər kənˈvɛnʃənz aɪ maɪt bi əˈtɛndɪŋ ðət jɛt kənˈfərmd. ʧɛk maɪ ɪˈvɛnts ˈkæləndər θruaʊt ðə jɪr. wərdz əv ˈreɪˌdiəns ɪn ˈpeɪpərˌbæk ˈərliər ðɪs mənθ, mæs ˈmɑrkɪt ˈpeɪpərˌbæks əv wərdz əv ˈreɪˌdiəns, ðə ˈsɛkənd bʊk ɪn ðə ˈɑrˌkaɪv, wər riˈlist ɪn ðə ˈjuˈɛs ənd ðə. ɛz wi wər ˈɛnərɪŋ ˈtaɪpoʊ ˈfɪksɪz fər ðə ˈpeɪpərˌbæk, aɪ meɪd ˈʧeɪnʤɪz tɪ ə fju laɪnz nɪr ðə ɛnd. ðɛr wɑz wən ˌpɑˈtɪkjələr sin ðət aɪ wɑz ˈnɛvər ˈsætɪsˌfaɪd wɪθ, ənd laɪk ju tɪ bi əˈwɛr əv wət aɪ ʧeɪnʤd ənd maɪ ˈrizənɪŋ fər ɪt. ˌhaʊˈɛvər, aɪ ˈɔlsoʊ wɔnt tɪ pʊt tu ˈmɛni ˈspɔɪlərz ɪn ðɪs ˈnuzˌlɛtər, ənd ɪf ju rɛd wərdz əv ˈreɪˌdiəns, maɪ ˌɛkspləˈneɪʃən wʊd ˈdɛfənətli spɔɪl ə ˈkrɪtɪkəl sin fər ju. soʊ ɪf ɔˈrɛdi rɛd ðə bʊk ənd wɔnt tɪ noʊ wət həz ʧeɪnʤd, pliz si ðɪs blɔg poʊst ənd skɪp daʊn pæst ðə ˈspɔɪlər speɪs. ðiz ˈʧeɪnʤɪz ər ɪn ðə nu ˈjuˈɛs ənd mæs ˈmɑrkɪt ˈpeɪpərˌbæks, ənd stɪl ˈwərkɪŋ ɔn ˈgɪtɪŋ ðɛm ˈɪntu ðə ˈvərʒənz ɛz wɛl. səm ˈridərz hæv æst əˈbaʊt ðə biɪŋ ˈəpˌdeɪtɪd, ənd ðɪs ɪz ə ˌpɑsəˈbɪləˌti ˈlʊkɪŋ ˈɪntu. ɪt ˈkərəntli simz wi meɪ bi ˈeɪbəl tɪ gɪt ðɪs dən ˈsəmˌtaɪm ˈleɪtər ðɪs jɪr, wɪn ˈmaɪkəl ˈkreɪmər ɪz rɪˈkɔrdɪŋ ðə ˈɑdiˌoʊ fər ðə nɛkst bʊk. nɛkst bʊk: ˈʃæˌdoʊz əv sɛlf ˈmɛnʃənd ˌbiˈfɔr ðət ðə nɛkst bʊk, ˈʃæˌdoʊz əv sɛlf (ðə ˈsikwəl tɪ ðə ˈæˌlɔɪ əv lɔ), wɪl bi ˈkəmɪŋ aʊt ɪn ɑkˈtoʊbər. bi ˈstɑrtɪŋ ðə ˈfaɪnəl dræft ɔn ðət (ənd ɪts ˈsikwəl, bændz əv ˈmɔrnɪŋ, wɪʧ kəmz aʊt ɪn ˈʤænjuˌɛri) ɪn ə fju wiks. ˈrisəntli, əˈnaʊnst ðə ˈkəvər fər ˈʃæˌdoʊz əv sɛlf, ənd wən əv maɪ ˈfeɪvərɪts frəm krɪs məˈgræθ. ju kən si ə lɑrʤ ˈvərʒən hir. (ðoʊ wi hərd təˈdeɪ ðət tɔr maɪt ʧeɪnʤ ðə dɪˈzaɪn ə bɪt, sˈwɑpɪŋ ðə ˈpleɪsmənt əv ðə ˈtaɪtəl ənd maɪ neɪm. ðiz θɪŋz ˈhæpən wɛr ˈmɑrkətɪŋ ɪz kənˈsərnd. ˈɔlsoʊ, ðət ɛs ɪz ə bɪt hɑrd tɪ rɛd wɪθ hɛd ɪn ðə weɪ.) nu ɪn ðə stɔr maɪ əˈsɪstənt ˈkɛrə, hu rənz ðə ˈbrændən ˈsændərsən stɔr, həz pʊt əp ə fju nu ˈaɪtəmz. ðɛr ər ʃərts, ɑrt prɪnts, ˈʤuəlri, ənd saɪnd bʊks ɛz ˈɔlˌweɪz, ənd ðə ˈdiˌkælz peɪʤ naʊ həz ə kəˈlɛkʃən əv ˈmɪni ˈsɪmbəlz, ˌɪnˈkludɪŋ səm əv ðə ˈsɪmbəlz səʧ ɛz ðə wən fər ʃɔ. ʃi həz ˈɔlsoʊ ˈædɪd ˈhɑrdˌkəvərz əv wərdz əv ˈreɪˌdiəns, ənd ðə nu ər ɪn ðə ˈsɛkʃən. ˈɛksərpt əv ˈpərˌfɪkt steɪt ɔn ðə ˌænəˈvərsəri əv maɪ bərθ, aɪ ˈfaɪnəli ˈmænɪʤd tɪ ˈkɑŋkər ðə wərld. ðə ɪnˈtaɪər wərld. ɪt hæd meɪd fər ə ˈrəðər ˈmɛmərəbəl ˈbərθˌdeɪ ˈprɛzənt, ðoʊ ædˈmɪtɪdli bɪn pleɪst ˈɪntu ðɪs wərld wɪθ ðə ˌɪnˈtɛnʧən ənd ˌɛkspɛkˈteɪʃən ðət ˈsəmˌdeɪ rul ɪt. ðə nɛkst ˈfɪfti jɪrz hæd pʊt mi æt rɪsk əv ˈbɔrdəm. ˈæftər ɔl, wət dɪd ə mæn ˈpɑsəbli du wɪθ hɪz taɪm ˈæftər ˈkɑŋkərɪŋ ðə wərld? ɪn maɪ keɪs, dɪˈvɛləpt ə ˈnɛməsɪs. ˈplænɪŋ ˈsəmθɪŋ, shale,”*,” aɪ sɛd, stərɪŋ ðə ˈʃʊgər ˈɪntu maɪ ti. ““who?”*?” ʃeɪl wɑz ðə ˈoʊnli mæn aɪ nu hu kʊd laʊnʤ waɪl ˈwɛrɪŋ fʊl pleɪt ˈɑrmər. hi ˈhɑrdli ˈɛvər tʊk ðə stəf ɔf; ɪt wɑz pɑrt əv hɪz ˈkɑnsɛpt. du ju think?”*?” aɪ sɛd, ˈsɪpɪŋ ðə ti ənd ˈlifɪŋ θru ðə ˈlɛtərz ɔn maɪ dɛsk, iʧ sild baɪ ə dɔb əv dɑrk rɛd wæks. ðə tu əv ˈjuˈɛs sæt ɔn ə lɑrʤ flaɪɪŋ stoʊn ˈplætˌfɔrm wɪθ ʧɛrz ənd ˈreɪlɪŋz laɪk ə patio’s*. ˈjuˈɛs ə ˈbɛriər ˈoʊvər ðə tɔp tɪ wɔrd ɔf ðə ˈreɪnˌstɔrm ˈaʊtˈsaɪd. ðə grænd ərˈɔrə ˈʃɪmərd ˈivɪn θru ðə ðə graʊnd bɪˈniθ ˈjuˈɛs ənd ˈpeɪnɪŋ ɪt ˈfeɪntli blu. ðə ɔˈkeɪʒənəl ˈkræʃɪz əv ˈlaɪtnɪŋ frəm ðə stɔrm ˈhaɪˌlaɪtɪd ə ˈhənərd ˈəðər ˈplætˌfɔrmz flaɪɪŋ ɪn fɔrˈmeɪʃən əraʊnd maɪ oʊn. ðeɪ ˈkɛrid ə smɔl ˈrɛtəˌnu əv sɪks maɪ ˈɑnər gɑrd. ˈθəndər ʃʊk ˈjuˈɛs. ʃeɪl jɔnd. ˈrɪli nid tɪ ˈfɪgjər aʊt ˈwɛðər, kai.”*.” wɪl eventually.”*.” ðiz læst ˈfɪfti jɪrz spɛnt ˈstədiɪŋ ðə ˈpræktɪkəl ˌæpləˈkeɪʃən əv ˈlænsɪŋ hæd bɪn moʊst pərˈdəktɪv, bət kənˈtroʊlɪŋ ðə list ɔn ə grænd mi. aɪ sɪpt maɪ ti. ɪt wɑz groʊɪŋ koʊld, bət æt list ðət aɪ kʊd du ˈsəmθɪŋ əˈbaʊt. aɪ ˌənˈdɪd ðə ˈbətənz ɔn maɪ raɪt sliv, ɪkˈspoʊzɪŋ maɪ skɪn tɪ ðə laɪt ˈpəlsɪŋ frəm ðə skaɪ. ðə grænd ərˈɔrə ɪnˈsərkəld ðə ɪnˈtaɪər wərld, ənd ˈivɪn ðə ˈmaɪtiəst stɔrmz dɪd ˈlɪtəl mɔr ðən ʧərn ɪts ˈʃɪmərɪŋ. ðə ərˈɔrə dɪˈfitɪd stɔrmz; ðət wɑz haʊ aɪ nu ˈsəmˌdeɪ bi ˈeɪbəl tɪ du ɪt tu. aɪ ˈɛnərd, ənd ˈɛvriˌθɪŋ əraʊnd mi dɪmd. ˈɛvriˌθɪŋ bət ðə grænd ərˈɔrə. aɪ bæskt ɪn ɪts wɔrm laɪt, wɪʧ aɪ kʊd ˈsədənli fil ˈstraɪkɪŋ maɪ skɪn wɪθ ə ˈpəlsɪŋ ˈrɪðəm. aɪ dru ðə paʊər ɪn θru maɪ ɑrm, ðɛn sɛnt ðə ˈɛnərʤi əp aʊt maɪ ˈfɪŋgərz ənd ˈɪntu ðə kəp. ðə ti bɪˈgæn tɪ stim. aɪ sɪpt ɪt ənd lɛft ɛz aɪ krækt ˈoʊpən wən əv ðə ˈlɛtərz. ðə sil wɑz ˌɪmˈprɪnɪd wɪθ ðə ˈsɪmbəl əv maɪ spaɪ ˈnɛtˌwərks. jʊr ˈmæʤəsti, ðə noʊt rɛd. aɪ bɪˈliv ɪt ˈnɛsəˌsɛri tɪ ˌɪnˈfɔrm ju ðət ðə skroʊl həz wəns again—*— aɪ ˈkrəmpəld ðə ˈpeɪpər. ““uh-oh,”*,” ʃeɪl sɛd. nothing,”*,” aɪ sɛd, ˈdrɑpɪŋ ðə pis əv ˈpeɪpər ənd duɪŋ əp maɪ sliv. ɪt frəm maɪ spaɪ ˈnɛtˌwərks æt ɔl; ˈsɪmpli nu aɪ ˈoʊpənd spaɪ rɪˈpɔrts fərst. ðə ˈplætˌfɔrm ʃʊk ɪn əˈnəðər pil əv ˈθəndər ɛz aɪ lʊkt θru ə sɛt əv rɪˈpɔrts, iʧ wɪθ maɪ ˌɪmˈpɪriəl mɑrk æt ðə tɔp. meɪk ðɪs θɪŋ goʊ ˈɛni ˈfæstər, kən you?”*?” ʃeɪl æst. glæd wi hæv tɪ du ðɪs ðə oʊld way.”*.” oʊld weɪ? laɪk ɔn ə horse?”*?” ʃeɪl skræʧt hɪz ʧɪn. mɪs that.”*.” ““really*? ðə sɔr ˈbækˌsaɪdz, ˈraɪdɪŋ θru ðə reɪn, ˈgɪtɪŋ ˈbɪtən, ˈfaɪndɪŋ fud fər ðə bists hæv ˌpərsəˈnælɪti. ðɪs ˈplætˌfɔrm doesn’t.”*.” ʤɪst seɪɪŋ ðət bɪˈkəz pɑrt əv jʊr concept,”*,” aɪ sɛd. ˈdæʃɪŋ naɪt ˈraɪdɪŋ ɔn ˈhɔrsˌbæk, ˈwɪnɪŋ ðə hænz əv fɛr maidens.”*.”, ʃʊr. aɪ hæd kwaɪt ðə kəˈlɛkʃən əv hænz. ˈkəpəl əv ɑrmz, ðə ɔˈkeɪʒənəl fʊt aɪ smaɪld. ʃeɪl wɑz naʊ ˈhæpəli ˈmɛrid wɪθ faɪv ˈʧɪldrən. ðə ˈoʊnli ˈmeɪdənz hi spɛnt ˈɛni taɪm wɪθ wər ðə wənz hu kɔld ɪm ˈdædi ənd bɛgd ɪm fər swits. aɪ kənˈtɪnjud ˈlʊkɪŋ θru rɪˈpɔrts. ðə nɛkst wɑz ðə prɪˈlɪməˌnɛri skɛʧ fər ə nu sɛt əv kɔɪnz tɪ bi ˈmɪntɪd ˈleɪtər ɪn ðə jɪr, ˈbɛrɪŋ maɪ ˈɪmɪʤ. ɪt wɑz ˈmoʊstli raɪt, dɪˈpɪktɪŋ maɪ strɔŋ ˈfiʧərz ənd hɛr ðət kərld ˈrigəli tɪ maɪ ˈʃoʊldərz. ðə bɪrd wɑz tu bɪg, ˌhaʊˈɛvər. aɪ wɔr maɪn nit ənd skwɛrd, kɛpt æt ə ˈmɑdəst lɛŋθ, tɪ ˈprɛzənt ə strɔŋ ˈɪmɪʤ. ðə θɪŋ ɪn ðə ˈpɪkʧər wɑz fɑr tu ˈbʊʃi. aɪ meɪd noʊts ɔn ðə skɛʧ, ðɛn kənˈtɪnjud ɔn, ˌɪgˈnɔrɪŋ ðə noʊt θroʊn ɔn ðə flɔr. wɑz fɑr tu ˈklɛvər fər hɪz oʊn gʊd. aɪ ˈnidɪd tɪ faɪər ðə mæn ənd haɪər ə ˈstupɪd ˈʧænsələr. ˈiðər ðət ər hæk ənd ˈriˌraɪt hɪz ˈkɑnsɛpt. riˈraɪtɪŋ ˈkɑnsɛpts wɑz ə peɪn, ðoʊ. ənd, truθ bi toʊld, aɪ wɑz ˈtɛrəbəl æt ˈhækɪŋ, wɪʧ wɑz ˈsɛnʧəriz ˈnɛvər ˈgɔtən əraʊnd tɪ ˈʧeɪnʤɪŋ. ɪt, əv kɔrs, bɪˈkəz aɪ wɑz fɑnd əv ðə ˈʧænsələr. ðə mæn ˈnɛvər dɪd wət aɪ toʊld ɪm. aɪ ruld ˈlɪtərəli ˈbɪljənz əv ˈpipəl, ənd ˈoʊnli ðɪs wən ˌɪgˈnɔrd maɪ wɪl. ““here,”*,” aɪ sɛd, ˈhoʊldɪŋ əp ə rɪˈpɔrt tɪ ʃeɪl. æt this.”*.” ʃeɪl ˈoʊvər, ˈɑrmər ˈklæŋkɪŋ. robot?”*?” hi jɔnd. ˈroʊˌbəts ər dangerous.”*.” ““yawn.”*.” ʤɪst jɔnd. ju nid tɪ seɪ it.”*.” ““yawn*. ˌwəˈtɛvər ˈhæpənd tɪ ðə bɪg kwɛsts, kaɪ? ˈhəntɪŋ ˈdrægənz, ˈsərʧɪŋ aʊt ˈmæʤɪkəl sɔrdz? ɔl ju du ðiz deɪz ɪz ˈstədi ˈmæʤɪk ənd duəl wɪθ frəm ˈəðər states.”*.” ˈgɪtɪŋ ˈoʊldər, shale,”*,” aɪ sɛd, ˈlʊkɪŋ ˈoʊvər ðə rɪˈpɔrt əˈgɛn. maɪ spaɪz hæd ˈoʊvərˈhərd səm əv mɛn ɪn ə ˈbɔrdər steɪt ˈbrægɪŋ əˈbaʊt ðɪs nu ˈroʊˌbət əv hɪz. aɪ ʃʊk maɪ hɛd. wɑz stɪl sˈmɑrtɪŋ ˈæftər wət dən tɪ ɪm æt lecours*, ə ˈdɪfərənt ˈbɔrdər steɪt wi kʊd boʊθ ˈækˌsɛs. bɪn soʊ ˈsərtən hɪz ˈɑrmiz wʊd ˌoʊvərˈwɛlm maɪn. older?”*?” ʃeɪl læft. dɪz ðət hæv tɪ du wɪθ ɪt? ˌɪˈmɔrtəl. jʊr ˈbɑdi ɪz young.”*.” aɪ ɪkˈspleɪn ɪt tɪ ɪm. ðə kwɛsts hi rɪˈfərd ə ˈkɪŋdəm, ˈsərʧɪŋ aʊt ˈhɪdən ˈtrɛʒərz ənd ˈsikrɪts, juˈnaɪtɪŋ ðoʊz hu wʊd ˈfɑloʊ ənd ˈkɑŋkərɪŋ ðoʊz hu wʊd nɑt wɛl, ðoʊz hæd bɪn wət ˈnidɪd ɛz ə juθ. meɪd mi ˈɪntu ðə ˈpərsən aɪ wɑz, ðə ˈpərsən hu kʊd rul ən ˈɛmpaɪər. ðət ˈɛmpaɪər ˈprɪti məʧ ruld ˌɪtˈsɛlf ðiz deɪz. wi hæd ˌɪmˈpɪriəl senates*, ˈdɪpləˌmæts, ˈmɪnɪstərz. aɪ wɑz ˈvɛri ˈkɛrfəl nɑt tɪ stɛp ɪn ənˈlɛs ˈsəmθɪŋ ˈgroʊsli ˈstupɪd ˈnidɪd ˈstreɪtənɪŋ. ɪn truθ, aɪ ˈrɛlɪʃt naɪts spɛnt ɪn maɪ ˈstədi, ɛkˈspɛrəˌmɛntɪŋ, ˈmɛdəˌteɪtɪŋ. ˈoʊnli ɔˈkeɪʒənəl ˈgəvərnmənt ðə wən ˈərliər təˈdeɪ, wɛr kəˈmɛmərˌeɪtɪd ðə ˈfɪftiɪθ jɪr sɪns ðə ˌjunəfəˈkeɪʃən əv ðə mi aʊt. wɛl, ðət ənd ðə əˈtæks baɪ. ðə ˈʧərnɪŋ reɪn ˈaʊtˈsaɪd ˈsədənli ˈvænɪʃt, ənd ðə ˈhɛvənz gru braɪt. ðə grænd ərˈɔrə wɑz stɪl ðɛr, bət ɪt naʊ ˈhəvərd ɪn ə skaɪ ðət wɑz blu ˌɪnˈstɛd əv ˈstɔrmi greɪ. riʧt. aɪ stʊd əp frəm maɪ dɛsk, ˈwɔkɪŋ tɪ ðə ɛʤ əv ðə ˈplætˌfɔrm, ənd wɔʧt ðə strits əv ðə ˈsɪti blər bɪˈniθ ˈjuˈɛs. æt list hir, æt ðə ˈsɛnər əv maɪ paʊər, aɪ kʊd stɑp ðə stɔrmz. ɪˈvɛnʧəwəli, aɪ θɔt tɪ ˌmaɪˈsɛlf. ɪˈvɛnʧəwəli bi ˈeɪbəl tɪ du ɪt wɪˈθaʊt ən əˈfɪkst tɪ ðə ˈmɪdəl əv ðə ˈsɪti. wɑz ə pleɪs əv ˈbəlbəs ˈgoʊldən doʊmz əˈtɑp ˈfɪŋgər taʊərz. ðə ˈplætˌfɔrm sloʊd ɪn ɪts kɔrs ənd swəŋ daʊn ˈoʊvər ðə ˈsɪti, treɪld baɪ ðə ˈhənərd ˈplætˌfɔrmz ˈkɛriɪŋ maɪ ˈɑnər gɑrd. ˈpipəl ˈweɪtɪd bɪˈloʊ tɪ wɔʧ ˈjuˈɛs pæs; maɪ ˈmuvmənts wər ˈmætərz əv ˈnæʃənəl ˈrɛkərd. ənd soʊ, ʧɪrz rɔrd bɪˈniθ ˈjuˈɛs, ɛz ɪf ə strim tɪ ˈkɛri ˈjuˈɛs əˈlɔŋ. aɪ smaɪld. pərˈhæps aɪ ʃʊd gɪt aʊt mɔr. æt maɪ saɪd, ʃeɪl ˈrɛstɪd hɪz hænd ɔn hɪz sɔrd, ˈwɑʧɪŋ ðoʊz bɪˈloʊ wɪθ ˈnɛroʊd aɪz. goʊɪŋ tɪ bi ˈeɪbəl tɪ hɪt mi frəm ɔl ðə weɪ daʊn there,”*,” aɪ sɛd, əmˈjuzd. ˈnɛvər noʊ, kai.”*.” ðə ˈplætˌfɔrm dɪˈsɛndɪd təˈwɔrd ðə ˈpæləs, wɪʧ sæt ɔn ðə hɪl æt ðə ˈsɛnər əv ðə ˈsɪti, ənd dɑkt æt ðə saɪd əv maɪ lɑrʤ taʊər, bɪˈkəmɪŋ ə ˈbælkəni əˈgɛn. aɪ stroʊd ɔf ənd ˈɪntu maɪ ˈstədi ɛz ə grup əv ˈsərvənts ɪn vɛsts, lus pænts, ənd bɛr ʧɛsts ˈtrɑtɪd aʊt ˈɔntu ðə ˈbælkəni ənd ˈlɪftɪd maɪ dɛsk tɪ ˈkɛri ɪt ˈæftər ˈjuˈɛs. ʃeɪl strɛʧt, clinking*. trɪp simz tɪ gɪt ˈlɔŋgər ˈɛvəri time.”*.” wʊd ˈprɑbəˌbli bi mɔr ˈkəmfərtəbəl wɪˈθaʊt ðə armor.”*.” jʊr ˈbɑdiˌgɑrd, kai,”*,” ʃeɪl sɛd. əv ˈjuˈɛs həz tɪ bi ˈrɛdi. rɪˈmɛmbər wɪn ðoʊz skaɪ ˈnoʊˌmædz traɪd tɪ pɪnʧ you?”*?” ʃeɪl smaɪld ˈfɑndli, ɪn ðə weɪ ə mæn maɪt waɪl rɪˈmɛmbərɪŋ ə ˈjuθfəl ˈroʊmæns. ðət taɪm wɪn wi gɑt træpt ɪn ðə əv sashim?”*?” du. ju ˈkɛrid mi haʊ far?”*?” gʊd ˈfɪfti miles,”*,” ʃeɪl sɛd. ““lords*. ðət wɑz ðət wɑz ˈoʊvər ə ˈhənərd jɪrz əˈgoʊ naʊ, it?”*?” aɪ sɛd ˈnəθɪŋ. ʃeɪl əˈgoʊ, hi ənd aɪ hæd dɪˈskəvərd ə ˈsikrɪt dræft əv lɔŋ laɪf ɪn ðə hɔrd əv ðə ˈdrægən galbrometh*. ðiz deɪz, aɪ ˈwəndərd ɪf ðət dræft hæd bɪn pleɪst ðɛr spəˈsɪfɪkli fər mi tɪ faɪnd, soʊ hæv ən əkˈsɛptəbəl ˈrizən fər nɑt ˈeɪʤɪŋ. aɪ noʊn ðə truθ əv maɪ ˈneɪʧər ənˈtɪl riʧt ˈfɪfti, ðə eɪʤ əv əˈwɛrnəs. ʃeɪl strɛʧt əˈgɛn. ““well*, bɛst tɪ rɪˈmeɪn ˈvɪʤələnt. wɪn ˈɛvriˌθɪŋ ɪz kɑm ðət ju nid tɪ bi moʊst alert.”*.” ˈsərtənli. θæŋk ju fər jʊr hɛlp today.”*.” ““yeah*. jæ, ə gʊd θɪŋ əraʊnd, ɛ? ˈɛniˌweɪ, goʊɪŋ tɪ goʊ ʧɛk ɪn wɪθ sindria*. si wət ðə kɪdz ər əp tɪ, ju know?”*?” idea,”*,” aɪ sɛd, ˈwɑʧɪŋ ðə ˈsərvənts ˈkɛrfəli əreɪnʤ ɔl ðə ˈaɪtəmz ɔn maɪ dɛsk. dɪd aɪ hæv taɪm tɪ faɪl ðoʊz rɪˈpɔrts noʊ. aɪ ˈnidɪd tɪ gɪt ˈmuvɪŋ. aɪ wɔkt təˈwɔrd ʃeɪl, hu wɑz ˈoʊpənɪŋ ðə dɔrz ðət lɛd tɪ ðə ˈhɔlˌweɪ. hi geɪv mi ə kˈwɛsʧənɪŋ lʊk. quick,”*,” aɪ ɪkˈspleɪnd, maɪt bi ˈeɪbəl tɪ gɪt daʊn ˈɪntu ðə læb ˌbiˈfɔr can—”*—” ʃeɪl pʊld ðə dɔr ɔl ðə weɪ ˈoʊpən. stʊd ˈaʊtˈsaɪd. ““ouch,”*,” ʃeɪl sɛd. ““sorry*, kai.”*.” reɪzd ə ˈsɪŋgəl ˈaɪˌbraʊ. hi wɑz laɪk wən əv ðoʊz ˈstæˌʧuz ðət ˈpipəl kɑrvd ɔn ðə ˈaʊtˈsaɪdz əv ˈbɪldɪŋz. lɪmz ðət simd tu lɔŋ, roʊbz tu stɪf, feɪs ɪkˌsprɛʃənlɪs. lɔŋ əˈgoʊ, ʃɛrd ə drɔp əv maɪ dræft əv ˌɪmɔrˈtælɪti wɪθ ɪm. ˈhɔntɪd mi ˈɛvər sɪns. hi boʊd. ˌɪmˈpɪriəl majesty.”*.” ““besk,”*,” aɪ sɛd. əˈfreɪd ðə ˈdeɪli ˈbrifɪŋ wɪl hæv tɪ weɪt. aɪ hæd səm ˈvɛri ˌɪmˈpɔrtənt ˈmɛntəl ˈbreɪkθˌruz rɪˈgɑrdɪŋ ˈlænsɪŋ ðət aɪ ˌæbsəˈlutli məst record.”*.” rɪˈgɑrdɪd mi fər ə lɔŋ, ˈmoʊmənt. hi ˈkɛrid ə dɪˈstɪŋktɪv pis əv sleɪt ɪn hɪz ˈfɪŋgərz. ɛz lɑrʤ ɛz ə bʊk, jɛt ˌɪnˈkrɛdəbli θɪn, ðɛr wɑz ˈnəθɪŋ ɛls laɪk ɪt ɪn ðə ˈɛmpaɪər. tɪ ðə saɪd, wən əv ðə ˈsərvənts ˈhɛlpfəli ˈkɛrid ɪn ðə ˈkrəmpəld ˈpeɪpər lɛft ɔn ðə ˈbælkəni, ðɛn sɛt ɪt ɔn ðə dɛsk, ʤɪst ɪn keɪs ɪt wɑz ˌɪmˈpɔrtənt. ˈaɪˌbraʊ roʊz əˈnəðər nɑʧ. wɪl wɔk wɪθ ju tɪ ðə læb ðɛn, jʊr majesty.”*.” ʃeɪl geɪv mi ə ˌfɛrˈwɛl pæt ɔn ðə ˈʃoʊldər, ðɛn əˈweɪ. feɪst əˈsæsənz, ˈtɛrərz, ənd ˈrɛbəlz wɪˈθaʊt ˈflɪnʧɪŋ, bət ˈivɪn ˈæftər ɔl ðɪs taɪm, meɪd ɪm ˈnərvəs. meɪ wɪʃ tɪ kənˈsɪdər ˈgɪvɪŋ sər ʃeɪl ə liv əv rɪˈtaɪərmənt, jʊr majesty,”*,” sɛd ɛz wi bɪˈgæn tɪ wɔk. laɪks wət hi dɪz. ənd aɪ laɪk ˈhævɪŋ ɪm around.”*.” wɪl ɪz, əv kɔrs, law.”*.” ““yeah*. ənˈlɛs ðə ɪz involved.”*.” ˈoʊvər ə ˈsɛnʧəri əv rul, ðɪs ɪz ðə ˈoʊnli taɪm ðə həz kɔld əˈpɑn you.”*.” hɛld əp ðə pis əv sleɪt hi ˈkɛrid. ðə skroʊl, ðə ˈoʊnli əˈfɪʃəl minz əv kəmˈjunəˌkeɪtɪŋ wɪθ ðə ˈaʊtˈsaɪd. ðə skroʊl wɑz fɪld wɪθ wərdz, nən əv wɪʧ aɪ ˈwɔntɪd tɪ rɛd. frəm ðə ˈlɪtəl aɪ sɔ, ˌhaʊˈɛvər, ðə toʊn əv ðə ˈlɛtərz wɑz groʊɪŋ mɔr ˈfɔrsfəl. aɪ hæd bɪn ˌɪgˈnɔrɪŋ ðɛm tu lɔŋ. wi wɔkt fər ə taɪm ɪn ˈsaɪləns ənˈtɪl wi ɪˈvɛnʧəwəli lɛft ðə ˈkɔrɪdər ənd stɛpt aʊt ˈɔntu ə bɪtˈwin taʊərz. aɪ bi soʊ hɑrd ɔn, aɪ nu. hi wɑz ˈæktɪŋ əˈkɔrdɪŋ tɪ hɪz ˈkɑnsɛpt, ənd wɑz lɔɪəl ɪn hɪz oʊn weɪ, ˈivɪn wɪn hi wɑz ˌdɪsəˈbidiənt. bɪˈloʊ, ə ʧɪr wɛnt əp, ənd aɪ reɪzd ə hænd təˈwɔrd maɪ ˈsəbʤɪkts. wɑz ðət ə bænd pleɪɪŋ? ðə grænd ərˈɔrə ˈʃɪmərd ɪn ðə skaɪ, laɪt feɪld tɪ ˈkəmfərt mi. ɪt səʧ ən ˈoʊnərəs tæsk, jʊr majesty?”*?” æst. rɪkˈwɛsts əv ju ˈoʊnli wən deɪ, tɪ goʊ ənd pərˈfɔrm ə tæsk moʊst ˈpipəl wʊd kənˈsɪdər pleasurable.”*.” nɑt ðə tæsk ˌɪtˈsɛlf. ðə ˈneɪʧər əv biɪŋ ˈsəmənd laɪk ðɪs. wət gʊd ɪz ɪt tɪ bi ˈɛmpərər ɪf ˈsəmˌwən ɛls kən ʤɪst kɔl ɔn mi ɛz ɪf aɪ wər ə ˈkɑmən ər ˈmɛsɪnʤər bɔɪ? ɪt ˌəndərˈmaɪnz ˈɛvriˌθɪŋ dən, ˈɛvriˌθɪŋ accomplished.”*.” ˈmɪrli æsk ju tɪ du jʊr ˈduti tɪ jʊr species.”*.” ˈduti həz maɪ ˈspiʃiz ˈɛvər dən tɪ me?”*?” lord,”*,” sɛd, ˈstɑpɪŋ ɔn ðə. ɪz moʊst ənˈsimli əv ju. riˈmaɪndɪd əv ðə ʧaɪld ju wər, nɑt ðə kɪŋ ju hæv become.”*.” aɪ traɪd tɪ wɔk ˈɔnwərd wɪˈθaʊt ɪm, bət maɪ ʃuz fɛlt ɛz ɪf ðeɪ wər fɪld wɪθ lɛd. aɪ stɑpt ə fju stɛps əˈhɛd əv ɪm, nɑt ˈlʊkɪŋ bæk. ɪz jʊr duty,”*,” rɪˈpitɪd. ə breɪn ɪn ə ʤɑr, besk,”*,” aɪ sɛd. əv ˈtrɪljənz. waɪ ðeɪ ˈbɑðər wən əv ðə others?”*?” həz bɪn dɪˈtərmənd ðət ju hæv əˈkɑmplɪʃt great—”*—” ɔl əˈkɑmplɪʃt greɪt things,”*,” aɪ sɛd, ˈspɪnɪŋ ənd ˈweɪvɪŋ maɪ hænz təˈwɔrd ðə ˈsɪti. ðə pɔɪnt əv ɔl ðɪs. haʊ ˈmɛni əv ðoʊz ˈtrɪljənz əv ˈəðərz ər ˈlɪvɪŋ lɪvz ʤɪst laɪk maɪn, ɪn ˈpraɪˌmɛri states?”*?” ˈproʊˌgræmɪŋ iʧ steɪt bi ˌɪndɪˈvɪʤəli tailored.”*.” ˈmætər, besk,”*,” aɪ sɛd. lɔrdz! aɪ ˈheɪtɪd ˈθɪŋkɪŋ əˈbaʊt ðɪs. ðə hæd ˈoʊnli ˌɪnərˈfɪrd wɪθ maɪ laɪf twaɪs. fərst æt eɪʤ ˈfɪfti, tɪ ˌɪnˈfɔrm mi ðət maɪ ˌriˈæləˌti wɑz ə leɪərd ˌsɪmjəˈleɪʃən. ənd naʊ tɪ dɪˈmænd ðət aɪ ˈproʊkriˈeɪt. meaningless,”*,” aɪ sɛd, ˈstɛpɪŋ əp tɪ. hi əv ðə, əv kɔrs; ˈnɛvər ˈæˌkʧuəli mɛt ˈɛni əv ðɛm. hi wɑz ə pɑrt əv maɪ ˌriˈæləˌti, maɪ steɪt. bət hi, laɪk ˈɛvriˌθɪŋ ɛls ɪn ðə ɪnˈtaɪərti əv maɪ ɪgˈzɪstəns, wʊd sərv ðə ɪf rikˈwaɪərd. ðeɪ kənˈtroʊld ðə ˈproʊˌgræmɪŋ ənd, ɪf prɛst, ðeɪ kʊd ʧeɪnʤ ˈɛniˌθɪŋ ɪn ðɪs bət mi fɔrs mi tɪ oʊˈbeɪ. lɔrdz, haʊ ɪt hərt tɪ θɪŋk əˈbaʊt ðət. rɪkˈwaɪrmənts ər inane,”*,” aɪ kənˈtɪnjud. nid maɪ ˈdiˌɛˈneɪ tɪ kriˈeɪt nu ˈjumənz? wɛl, faɪn. ðeɪ kən teɪk ɪt. stɪk ə ˈlɪtəl ˈnidəl ər ˌwəˈtɛvər ˈɪntu maɪ ʤɑr ənd wɪθˈdrɔ ɪt. simple.”*.” ˌrikˈwaɪər ju tɪ ˌɪnərˈækt wɪθ ə ˈwʊmən, jʊr ˈmæʤəsti. ðə ˈpriˌsɛpts seɪ ju məst ʧuz hər, ənd ʃi ju, ənd ðɛn ju məst mit wən əˈnəðər ənd pərˈfɔrm ðə act.”*.” ˈbɑdiz ər ʤɪst ˌsɪmjəˈleɪʃənz. waɪ məst wi meet?”*?” du nɑt know.”*.” ““bah!”*!” aɪ stɔkt ɔf ðə ənd bæk ˈɪntu ðə ˈpæləs. ˈfɑloʊd. ˈɔrdərd ðə ˈhəntɪŋ reɪnʤ fɪld wɪθ waɪld draklings*, jʊr ˈmæʤəsti. ðə moʊst ˈvɪʃəs wi kʊd faɪnd. pərˈhæps dɪˈstrɔɪɪŋ ðɛm wɪl pʊt ju ɪn ə mɔr fɑnd mood.”*.” ““perhaps,”*,” aɪ sɛd. ˈivɪn ˈθɪŋkɪŋ əˈbaʊt ðə tərnd mi ˈɪntu ə ʧaɪld əˈgɛn; wɑz raɪt ɔn ðət kaʊnt. kəˈmændɪd ˈɑrmiz əv ˈθaʊzənz ənd fɔrʤd ən ˈɛmpaɪər ðət spænd ˈkɑntənənts. bət ðɪs ðɪs meɪd ə spɔɪld bræt aʊt əv mi. aɪ stɑpt ˌɪnˈsaɪd ðə ˈstɛrˌwɛl. du nɑt noʊ ɔl ðə ˈrizənz fər ðə rulz, maɪ lord,”*,” sɛd mɔr ˈsɔftli, ˈstɛpɪŋ əp ənd ˈrɛstɪŋ ə hænd ɔn maɪ ˈʃoʊldər. ðeɪ ər ˈeɪnʧənt, ənd hæv sərvd jʊr kaɪnd wɛl. ˈdɔktərɪn states—”*—” ˈlɛkʧər me,”*,” aɪ sɛd. hi fɛl ˈsaɪlənt, bət dæm ɪt aɪ kʊd hir hɪz vɔɪs ɪn maɪ hɛd. rɛd ɔf ðiz rulz tɪ mi ˈɔfən ɪˈnəf. ˈdɔktərɪn steɪts ðət ðə moʊst ɛˈsɛnʃəl ˌmɔˈræləˌti əv ˈmænˈkaɪnd ɪz tɪ kriˈeɪt ðə ˈgreɪtəst əˈmaʊnt əv ˈhæpinəs əˈməŋ ðə ˈgreɪtəst ˈnəmbər əv ˈpipəl waɪl ˈjuzɪŋ ðə list əˈmaʊnt əv ˈrisɔrsɪz. tərnd aʊt, ðə bɛst weɪ tɪ kriˈeɪt ˈgreɪtli ˈsætɪsˌfaɪd ˈpipəl ˈjuzɪŋ ˈmɪnəməl ˈrisɔrsɪz wɑz tɪ riˈmuv ðɛr breɪnz wɪn ðeɪ wər ˈfitəsɪz ənd əˈtæʧ ðɛm tɪ ˈsɪmjəˌleɪtɪd ˌriˈæləˌtiz ˈteɪlərd tɪ fɪt ðɛr ˈimərʤɪŋ ˌpərsəˈnælɪtiz. iʧ rɪˈsivd ən ɪnˈtaɪər wərld ɪn wɪʧ ðeɪ wər ðə moʊst ˌɪmˈpɔrtənt ˈpərsən əv ðɛr taɪm. səm bɪˈkeɪm ˈɑrtɪsts, ˈəðərz ˌpɑləˈtɪʃənz, bət iʧ hæd ə ʧæns fər səˈprim ˈgreɪtnəs. ɔl əv ðɪs tʊk ˈoʊnli ðə speɪs rikˈwaɪərd fər ə bɑks əˈbaʊt ðə saɪz əv ə məˈʃinəri, breɪn, ənd ˈnutriənt bæθ ɔl ˌɪnˈkludɪd. ˌɪnˈkrɛdəbli ɪˈfɪʃənt. ənd tɪ bi ˈɑnəst, aɪ rɪˈzɛnt ɪt; hɛl, aɪ ləvd ɪt. aɪ gɑt tɪ bi ən ˈɛmpərər, ənd waɪl ðə ˌsɪmjəˈleɪʃən geɪv mi ˌɑpərˈtunətiz, iʧ ˈgruɪlɪŋ kwɛst ər tɪ bi maɪ oʊn. ərnd ðɪs laɪf. ˈθɪŋkɪŋ əv ðə ˈmɪljənz əˈpɑn ˈmɪljənz əv ˈəðərz hu hæd dən ðə seɪm, ðoʊ ðət ənˈnərvd mi. wər ðɛr ˈmɪljənz əv besks*, ənd ˈmɪljənz əv ʃeɪlz, ˈmɪljənz əv mes*, ɔl ˈlɪvɪŋ bɪˈniθ ə grænd ərˈɔrə? ˈɛvriˌθɪŋ ɛls ɪn maɪ ɪgˈzɪstəns hæd tɔt mi aɪ wɑz juˈnik, ˌɪmˈpɔrtənt, ənd ˈpaʊərfəl. aɪ rɪˈbɛld æt ðə aɪˈdiə ðət aɪ maɪt ʤɪst bi əˈnəðər ˈpərsən. wɪl nɑt teɪk lɔŋ, maɪ lord,”*,” sɛd. wən əv ðə ˈwɪmən frəm ðə ræŋkt ðɛm fər ju wɪθ kəmˌpætəˈbɪləˌti sɛnd hər ə rɪkˈwɛst tɪ mit. pərˈhæps ju kʊd daɪn together.”*.” ˈwʊmən frəm ðɛr list,”*,” aɪ snæpt. ˈwʊmən, wɪθ hər oʊn wərld tɪ rul. lɔrdz, bi insufferable.”*.” ðə ˈkloʊsəst aɪ ˈɛvər ˈwɔntɪd tɪ gɪt tɪ əˈnəðər wɑz əˈkrɔs ðə ˈbætəlˌfild ɪn ə ˈbɔrdər steɪt, ənd ɪt hæd ˈteɪkən mi səm taɪm tɪ wɔrm ˈivɪn tɪ ðət. maɪ fərst ˈmitɪŋ wɪθ had—*— lord,”*,” sɛd. wall.”*.” aɪ ˈstɑrtɪd, ˈriəˌlaɪzɪŋ ðət ˈsəmθɪŋ hæd ʧeɪnʤd ðə stoʊn wɔl əv ðə ˈstɛrˌwɛl. wərdz wər əˈpɪrɪŋ ɪn ðə stoʊn, ɛz ɪf ˈʧɪzəld ðɛr, iʧ laɪn ˈsɪŋkɪŋ ɪn ə trɔf. ʧaɪld ˈɛmpərər. aɪ hæv kriˈeɪtɪd ə nis səˈpraɪz fər ju. ““melhi*, ju sneɪk! haʊ dɪd ju hæk maɪ ˈpæləs? ˈvaɪəleɪtɪŋ ðə ˈpriˌsɛpts əv engagement.”*.” ðə ˈpriˌsɛpts ər ˈoʊnli wərdz. soʊ ər skrimz. aɪ wɪl hir jʊrz fər ðə ˌɪnˈsəlt ju geɪv mi. spaɪz ɔˈrɛdi toʊld mi əv jʊr ˈroʊˌbət,. ju ʃʊd stɑp ˈsɛndɪŋ ðoʊz. ðeɪ ˈnɛvər wərk ˈprɑpərli ɪn maɪ state.”*.” aɪ ˈmɛnʃən ðət bɪn səˈpraɪzd æt haʊ wɛl ðeɪ dɪd wərk. fɑr ˈbɛtər ðən ˈlænsɪŋ wʊd hæv wərkt ɪn hɪz steɪt, wɛr ðə lɔz əv ˈfɪzɪks wər ˈdɪfərənt. ju wɪl skrim, ʧaɪld. ju wɪl skrim. aɪ ˈɛnərd. hir aɪ kʊd si ðə grænd ərˈɔrə ˈivɪn θru ðə stoʊn əv ðə aɪ stɛpt ˈbækwərd ˈɛniˌweɪ, ˈɪntu ðə ˈdɔrˌweɪ, wɛr ðə laɪt kʊd straɪk mi dɪˈrɛkli. aɪ dru strɛŋθ ˈɪntu maɪ ɑrmz frəm ðət wɔrmθ, ðɛn pʊʃt ɪt frəm mi ɪn ə weɪv. wɪθ, aɪ kʊd si ðə kɔr ˈwərkɪŋz əv ɔl θɪŋz, ðə ˈvɛri moʊts əv θɔt, ər ˌwəˈtɛvər ðeɪ meɪd əp maɪ ˌriˈæləˌti. aɪ kʊd ˈɔlsoʊ si hæk. ɪt ˈmænəˌfɛstəd ɛz əv rɛd ˈkripɪŋ laɪk ˈvɛnəm ˈɪntu maɪ ˈpæləs. fɪld wɪθ strɛŋθ, aɪ kət ɪm ɔf, dɪˈstrɔɪɪŋ ðə. ðeɪ bɪn əˈkɑmplɪʃ ə ˈpaʊərfəl hæk wɪˈθaʊt ˈrənɪŋ əˈfaʊl əv ðə prəˈtɛktɪv ˈproʊˌgræmz. ðə ˈsərfəs rɪˈtərnd tɪ ˈnɔrməl. aɪ ˈmɛltɪd ðə stoʊn ðɛr fər gʊd ˈmɛʒər, riˈkæst ɪt ˈɪntu ə nu ʃeɪp, ðɛn blɪŋkt maɪ aɪz bæk tɪ maɪ ˈɔrdəˌnɛri ˈvɪʒən. ““lords*, bət ðət mæn nidz tɪ lərn tɪ lɛt goʊ əv ə grudge,”*,” aɪ sɛd. ˈnɛvər goʊɪŋ tɪ bit mi. ˈʃʊrli hi həz tɪ si ðət baɪ now.”*.” ““indeed,”*,” sɛd. dɪz sim tɪ kənˈtɪnju ðə seɪm ˈstəbərn kɔrs, wɪˈθaʊt məˈʧʊrəti, ənd wɪˈθaʊt ˈkɛrfəl kənˌsɪdərˈeɪʃən əv ðə bɛst pæθ. ju say?”*?” kwaɪt ɪˈnəf, besk.”*.” traɪ tɪ bi ˈtɑpɪkəl wɪn ˈpɑsəbəl, jʊr majesty.”*.” aɪ tʊk ə dip, ˈkɑmɪŋ brɛθ. ɪt wərk. ““fine*. faɪn, ˌwəˈtɛvər. pɪk wən əv ðə ˈwɪmən frəm ðə lɪst. mit, gɪt ðɪs ˈoʊvər wɪθ, ənd rɪˈtərn tɪ maɪ life.”*.” wən du aɪ choose?”*?” æst. wən ðə θɪŋks ɪz moʊst compatible?”*?” ““lords*, no,”*,” aɪ snæpt, ˈwɔkɪŋ əˈweɪ. ðə wən ɔn ðə ˈbɑtəm əv ðə lɪst. aɪ maɪt ɛz wɛl hæv ən ˈɪntəˌrɛstɪŋ taɪm əv it.”*.” kənˈtɪnjud ɪn ðə fʊl noʊˈvɛlə, əˈveɪləbəl naʊ. ˈnuzˌlɛtər ɪkˈsklusɪv ˈprivˌju ənd naʊ, ə ˈprivˌju əv kəˈlæmɪti, ðə θərd bʊk ɪn ðə ˈtrɪləʤi. ɪf ju rɛd ər ˈfaɪrˌfaɪt jɛt, ju ʃʊd ˈprɑbəˌbli stɪr klɪr əv ðɪs, ɛz ɪt wɪl kənˈteɪn ˈspɔɪlərz. fər ðət ˈrizən ˌɪnˈkludɪŋ ə ˈspɔɪlər speɪs bɪˈloʊ. noʊt: ðɪs ɪz ə ˈvɛri rəf dræft (aɪ ˈivɪn ˈfɪnɪʃt ˈraɪtɪŋ ðə hoʊl bʊk jɛt), ənd ɪt kʊd ʧeɪnʤ səbˈstænʃəli ˌbiˈfɔr riˈlist! θæŋks soʊ məʧ fər səbˈskraɪbɪŋ. (ðɪs ɪkˈsklusɪv ˈprivˌju ɪz ˈoʊnli əˈveɪləbəl ɪn jʊr iˈmeɪl klaɪənt ˈrəðər ðən ɔn ðɪs ˈɑrˌkaɪv peɪʤ. ɪf nɑt ə səbˈskraɪbər, saɪn əp hir.)
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a capitol christmas tree is shown. | john | john congress inaugurates a christmas tree tradition, dec. 24, 1913
on this day in 1913, thousands of people came to the u.s. capitol to celebrate first “community christmas.” the centerpiece of the festivities, a norway spruce christmas tree located on the east front plaza of the capitol, was adorned with red, white and blue electric bulbs.
the celebration also boasted a lighted placard with the inscription, “peace on earth, good will to men” and nativity scenes, and featured a chorus whose members sang christmas hymns. during the christmas eve celebration, the u.s. marine band played the national anthem.
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the holiday tradition resumed in december 1914. but it ended the next year due to a lack of funds. “shock awaits santa claus: no community christmas tree will be at the capitol for him,” a washington post headline read.
nearly a later, in 1962, house speaker john mccormack (d-mass.) supervised the placement of an indoor christmas tree in statuary hall.
it is “most appropriate that a christmas tree be placed in the capitol, which is [at] the heart of legislative activity of our country,” mccormack said. a year later, he spearheaded the revival of an official capitol christmas tree when he suggested that the architect of the capitol plant a tree on the west front lawn. that tradition continued, and the next year, on dec. 18, 1964, sen. carl hayden (d-ariz.), the president pro tempore, lit the “congressional” tree decorated with white lights and topped with a star.
since 1970 after two unsuccessful attempts to plant trees on the west front lawn the u.s. forest service and the office have selected a capitol christmas tree from a rotating group of u.s. national forests. in recent years, an annual ceremony has been held in early december, during which the house speaker presides over the lighting of the capitol tree.
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accordingly, on dec. 6, 2017, house speaker paul ryan (r-wis.) presided over this lighting of the capitol christmas tree. the tree had been transported to the capitol from national forest. during the ceremony, ryan showed ridley brandmayr, an montanan, which switch to flip on the dais that would light the tree.
in brief remarks, ryan said:
“amid our cares and troubles, we gather to see for ourselves that the light overcomes the darkness. we seek out the joy and the good in the world. we give back to those in need. we lend a hand to those in pain.
“we see that the glory of god shines all around us, and brings us closer to one another. these gifts never dim in our hearts. they are always there. all we need is a little of course, a little guide our path.”
the tree will remain lit from nightfall until 11 p.m. each evening through new day.
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ə ˈkæpɪtəl ˈkrɪsməs tri ɪz ʃoʊn. ʤɑn ʤɑn ˈkɑŋgrəs ˌɪˈnɔgjəˌreɪts ə ˈkrɪsməs tri trəˈdɪʃən, dɛk. 24 1913 ɔn ðɪs deɪ ɪn 1913 ˈθaʊzənz əv ˈpipəl keɪm tɪ ðə juz. ˈkæpɪtəl tɪ ˈsɛləˌbreɪt fərst christmas.”*.” ðə ˈsɛntərˌpis əv ðə fɛˈstɪvətiz, ə ˈnɔrˌweɪ sprus ˈkrɪsməs tri ˈloʊˌkeɪtəd ɔn ðə ist frənt ˈplɑzə əv ðə ˈkæpɪtəl, wɑz əˈdɔrnd wɪθ rɛd, waɪt ənd blu ɪˈlɛktrɪk bəlbz. ðə ˌsɛləˈbreɪʃən ˈɔlsoʊ ˈboʊstɪd ə ˈlaɪtɪd ˈplækərd wɪθ ðə ˌɪnˈskrɪpʃən, ɔn ərθ, gʊd wɪl tɪ men”*” ənd nəˈtɪvəti sinz, ənd ˈfiʧərd ə ˈkɔrəs huz ˈmɛmbərz sæŋ ˈkrɪsməs hɪmz. ˈdʊrɪŋ ðə ˈkrɪsməs iv ˌsɛləˈbreɪʃən, ðə juz. mərˈin bænd pleɪd ðə ˈnæʃənəl ˈænθəm. ˈstɔri kənˈtɪnjud bɪˈloʊ ðə ˈhɑlɪˌdeɪ trəˈdɪʃən rɪˈzumd ɪn dɪˈsɛmbər 1914 bət ɪt ˈɛndɪd ðə nɛkst jɪr du tɪ ə læk əv fəndz. əˈweɪts ˈsænə klɔz: noʊ kəmˈjunɪti ˈkrɪsməs tri wɪl bi æt ðə ˈkæpɪtəl fər him,”*,” ə ˈwɔʃɪŋtən poʊst ˈhɛˌdlaɪn rɛd. ˈnɪrli ə ˈleɪtər, ɪn 1962 haʊs ˈspikər ʤɑn məˈkɔrmək (d-mass*.) ˈsupərˌvaɪzd ðə ˈpleɪsmənt əv ən ˈɪnˌdɔr ˈkrɪsməs tri ɪn ˈstæʧuˌɛri hɔl. ɪt ɪz əˈproʊpriˌeɪt ðət ə ˈkrɪsməs tri bi pleɪst ɪn ðə ˈkæpɪtəl, wɪʧ ɪz [æt] ðə hɑrt əv ˈlɛʤəsˌleɪtɪv ækˈtɪvɪti əv ɑr country,”*,” məˈkɔrmək sɛd. ə jɪr ˈleɪtər, hi ˈspɪˌrhɛdɪd ðə rɪˈvaɪvəl əv ən əˈfɪʃəl ˈkæpɪtəl ˈkrɪsməs tri wɪn hi səˈʤɛstɪd ðət ðə ˈɑrkəˌtɛkt əv ðə ˈkæpɪtəl plænt ə tri ɔn ðə wɛst frənt lɔn. ðət trəˈdɪʃən kənˈtɪnjud, ənd ðə nɛkst jɪr, ɔn dɛk. 18 1964 sɛn. kɑrl ˈheɪdən (d-ariz*.), ðə ˈprɛzɪdənt proʊ ˌtɛmˈpɔri, lɪt ðə ““congressional”*” tri ˈdɛkərˌeɪtɪd wɪθ waɪt laɪts ənd tɑpt wɪθ ə stɑr. sɪns 1970 ˈæftər tu ˌənsəkˈsɛsfəl əˈtɛmpts tɪ plænt triz ɔn ðə wɛst frənt lɔn ðə juz. ˈfɔrɪst ˈsərvɪs ənd ðə ˈɔfəs hæv səˈlɛktɪd ə ˈkæpɪtəl ˈkrɪsməs tri frəm ə ˈroʊˌteɪtɪŋ grup əv juz. ˈnæʃənəl ˈfɔrəsts. ɪn ˈrisənt jɪrz, ən ˈænjuəl ˈsɛrəˌmoʊni həz bɪn hɛld ɪn ˈərli dɪˈsɛmbər, ˈdʊrɪŋ wɪʧ ðə haʊs ˈspikər prɪˈzaɪdz ˈoʊvər ðə ˈlaɪtɪŋ əv ðə ˈkæpɪtəl tri. pəˈlɪtɪˌkoʊ pəls ˈnuzˌlɛtər gɪt ðə ˈleɪtəst ɔn ðə hɛlθ kɛr faɪt, ˈɛvəri ˈwikˌdeɪ ˈmɔrnɪŋ ɪn jʊr inbox*. iˈmeɪl saɪn əp baɪ ˈsaɪnɪŋ əp ju əˈgri tɪ rɪˈsiv iˈmeɪl ˈnuzˌlɛtərz ər əˈlərts frəm pəˈlɪtɪˌkoʊ. ju kən ənsəbˈskraɪb æt ˈɛni taɪm. əˈkɔrdɪŋli, ɔn dɛk. 6 2017 haʊs ˈspikər pɔl raɪən (r-wis*.) prɪˈzaɪdɪd ˈoʊvər ðɪs ˈlaɪtɪŋ əv ðə ˈkæpɪtəl ˈkrɪsməs tri. ðə tri hæd bɪn trænˈspɔrtəd tɪ ðə ˈkæpɪtəl frəm ˈnæʃənəl ˈfɔrɪst. ˈdʊrɪŋ ðə ˈsɛrəˌmoʊni, raɪən ʃoʊd ˈrɪdli brandmayr*, ən mɑnˈtænən, wɪʧ swɪʧ tɪ flɪp ɔn ðə deɪz ðət wʊd laɪt ðə tri. ɪn brif rɪˈmɑrks, raɪən sɛd: ɑr kɛrz ənd ˈtrəbəlz, wi ˈgæðər tɪ si fər ɑrˈsɛlvz ðət ðə laɪt ˈoʊvərˌkəmz ðə ˈdɑrknəs. wi sik aʊt ðə ʤɔɪ ənd ðə gʊd ɪn ðə wərld. wi gɪv bæk tɪ ðoʊz ɪn nid. wi lɛnd ə hænd tɪ ðoʊz ɪn peɪn. si ðət ðə ˈglɔri əv gɑd ʃaɪnz ɔl əraʊnd ˈjuˈɛs, ənd brɪŋz ˈjuˈɛs ˈkloʊzər tɪ wən əˈnəðər. ðiz gɪfts ˈnɛvər dɪm ɪn ɑr hɑrts. ðeɪ ər ˈɔlˌweɪz ðɛr. ɔl wi nid ɪz ə ˈlɪtəl əv kɔrs, ə ˈlɪtəl gaɪd ɑr path.”*.” ðə tri wɪl rɪˈmeɪn lɪt frəm ˈnaɪtˌfɔl ənˈtɪl 11 p.m*. iʧ ˈivnɪŋ θru nu deɪ. sɔrs:
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freetown - in the rising afternoon humidity tom sits in the shade, picking fleas off his neighbour, unaware of how close he came to losing his home to ebola.
tom is a chimpanzee - one of around 5 500 in sierra leone for whom the tropical fever poses as deadly a threat as it does to humans.
his rainforest sanctuary in the verdant hills around the capital freetown suddenly found itself forced to close in august last year as the virus overwhelmed the human population, killing thousands.
with money running out and only a skeleton staff looking after chimpanzee sanctuary, tom and around 85 companions were facing homelessness as the closure began to look permanent.
"we were all worried about what our lives would be like if the sanctuary was not opened again," staff member abdul told afp, adding that he and his fellow workers saw the park as "a baby we have nurtured".
and then one day in january, everything changed.
weekly infections began dropping back down to double figures, and eventually single figures, and sierra leone was able to end curfews, lift travel restrictions, reopen borders and welcome back tourists.
"we have had many from local and overseas wildlife lovers asking when we would reopen and, taking into consideration the falling number of ebola cases in recent weeks, we have decided to open up," programme director bala told afp.
'strongest chimpanzee ever'
the centre was set up in 1995 to rescue chimpanzees whose families had been stolen for the pet trade or wiped out by hunters, habitat destruction and the civil war that raged until 2001.
"after the outbreak, we decided not to accept any new chimps due to the potential risk of bringing the disease into the sanctuary, which would have been catastrophic for the chimps," said, a sri lankan.
the jane goodall institute estimates that around a third of the worldwide population of chimpanzees has been killed by ebola since it first emerged in the 1970s.
the sanctuary - which was losing almost a third of its income - was finally able to open on thursday last week, and tom was among the residents welcoming the public back.
"he had been kept as a pet since a baby and had not interacted with other chimps since birth," said.
"he was gradually rehabilitated in 2014, fed with natural food and with the surroundings and sounds of other chimps. now he is just like the man next door."
the ebola outbreak is just the latest tumultuous chapter in the reserve's history of heroism, heartbreak and villainy.
among a cast of characters to have stayed at, undoubtedly the most infamous is bruno, described on the website as "charismatic, spectacularly imposing and physically the strongest chimpanzee we have ever had".
amarasekaran bought bruno for $20 in 1988, when he was a just a few months old, and named him after british heavyweight boxer frank bruno.
the centre was plunged into controversy in 2006 when bruno and a pack of 31 chimps escaped, attacking a group of us tourists and killing their sierra driver, according to witnesses.
hope for future
most of the chimps returned of their own accord, but the alpha male - who was said to have personally killed the driver - was never seen again.
"bruno was never traced and we can't say whether he is alive or dead," told afp.
the reserve also housed pinkie, thought to be the world's only albino chimpanzee, whose lifeless body was found in her enclosure in 2002, although no cause of death has ever been established.
unrelated to case, the reserve has also been struggling for a number of years with the mysterious sudden deaths of a number of chimpanzees.
staff believe a toxic plant endemic to the region, identified with the help of scientists from the royal botanic gardens in london, may be the culprit but have not ruled out other possibilities.
one positive outcome of the ebola crisis, as far as the sanctuary is concerned, is that it has curbed the traditional practice of killing chimpanzees for.
but habitat destruction is a larger threat to the wild chimpanzee population, with forest cover barely five percent of what it was 100 years ago.
the story of sierra chimpanzees may yet get a happy ending, as conservation efforts have helped the chimp population to double between 1980 and 2010, according to the country's first ever chimp census.
"as we prepare to celebrate our anniversary in september, protecting wild chimpanzees and their habitats through sustainable development remains the key to our future and this is the legacy we aim for," said.
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ˈfriˌtaʊn ɪn ðə ˈraɪzɪŋ ˌæftərˈnun hjuˈmɪdəti tɑm sɪts ɪn ðə ʃeɪd, ˈpɪkɪŋ fliz ɔf hɪz ˈneɪbər, ˌənəˈwɛr əv haʊ kloʊz hi keɪm tɪ ˈluzɪŋ hɪz hoʊm tɪ iˈboʊlə. tɑm ɪz ə ʧɪmˈpænzi wən əv əraʊnd 5 500 ɪn siˈɛrə liˈoʊn fər hum ðə ˈtrɑpɪkəl ˈfivər ˈpoʊzɪz ɛz ˈdɛdli ə θrɛt ɛz ɪt dɪz tɪ ˈjumənz. hɪz ˈraɪnˌfɔrəst ˈsæŋkʧuˌɛri ɪn ðə ˈvərdənt hɪlz əraʊnd ðə ˈkæpɪtəl ˈfriˌtaʊn ˈsədənli faʊnd ˌɪtˈsɛlf fɔrst tɪ kloʊz ɪn ˈɔgəst læst jɪr ɛz ðə ˈvaɪrəs ˌoʊvərˈwɛlmd ðə ˈjumən ˌpɑpjəˈleɪʃən, ˈkɪlɪŋ ˈθaʊzənz. wɪθ ˈməni ˈrənɪŋ aʊt ənd ˈoʊnli ə ˈskɛlətən stæf ˈlʊkɪŋ ˈæftər ʧɪmˈpænzi ˈsæŋkʧuˌɛri, tɑm ənd əraʊnd 85 kəmˈpænjənz wər ˈfeɪsɪŋ ˈhoʊmləsnəs ɛz ðə ˈkloʊʒər bɪˈgæn tɪ lʊk ˈpərmɑˌnɛnt. "wi wər ɔl ˈwərid əˈbaʊt wət ɑr lɪvz wʊd bi laɪk ɪf ðə ˈsæŋkʧuˌɛri wɑz nɑt ˈoʊpənd əˈgɛn," stæf ˈmɛmbər æbˈdul toʊld afp*, ˈædɪŋ ðət hi ənd hɪz ˈfɛloʊ ˈwərkərz sɔ ðə pɑrk ɛz "ə ˈbeɪbi wi hæv ˈnərʧərd". ənd ðɛn wən deɪ ɪn ˈʤænjuˌɛri, ˈɛvriˌθɪŋ ʧeɪnʤd. ˈwikli ˌɪnˈfɛkʃənz bɪˈgæn ˈdrɑpɪŋ bæk daʊn tɪ ˈdəbəl ˈfɪgjərz, ənd ɪˈvɛnʧəwəli ˈsɪŋgəl ˈfɪgjərz, ənd siˈɛrə liˈoʊn wɑz ˈeɪbəl tɪ ɛnd ˈkərfjuz, lɪft ˈtrævəl riˈstrɪkʃənz, riˈoʊpən ˈbɔrdərz ənd ˈwɛlkəm bæk ˈtʊrɪsts. "wi hæv hæd ˈmɛni frəm ˈloʊkəl ənd ˈoʊvərˈsiz ˈwaɪlˌdlaɪf ˈləvərz ˈæskɪŋ wɪn wi wʊd riˈoʊpən ənd, ˈteɪkɪŋ ˈɪntu kənˌsɪdərˈeɪʃən ðə ˈfɑlɪŋ ˈnəmbər əv iˈboʊlə ˈkeɪsɪz ɪn ˈrisənt wiks, wi hæv ˌdɪˈsaɪdɪd tɪ ˈoʊpən əp," ˈproʊˌgræm dɪˈrɛktər ˈbɑlə toʊld afp*. 'ˈstrɔŋgəst ʧɪmˈpænzi ˈɛvər' ðə ˈsɛntər wɑz sɛt əp ɪn 1995 tɪ ˈrɛskju ʧɪmˈpænziz huz ˈfæməliz hæd bɪn ˈstoʊlən fər ðə pɛt treɪd ər waɪpt aʊt baɪ ˈhəntərz, ˈhæbəˌtæt dɪˈstrəkʃən ənd ðə ˈsɪvəl wɔr ðət reɪʤd ənˈtɪl 2001 "ˈæftər ðə ˈaʊtˌbreɪk, wi ˌdɪˈsaɪdɪd nɑt tɪ əkˈsɛpt ˈɛni nu ʧɪmps du tɪ ðə pəˈtɛnʃəl rɪsk əv ˈbrɪŋɪŋ ðə dɪˈziz ˈɪntu ðə ˈsæŋkʧuˌɛri, wɪʧ wʊd hæv bɪn ˌkætəˈstrɑfɪk fər ðə ʧɪmps," sɛd, ə ˈɛˈsɑˈraɪ ˈlæŋkən. ðə ʤeɪn ˈgʊˌdɔl ˈɪnstɪˌtut ˈɛstəˌmeɪts ðət əraʊnd ə θərd əv ðə ˈwərldˈwaɪd ˌpɑpjəˈleɪʃən əv ʧɪmˈpænziz həz bɪn kɪld baɪ iˈboʊlə sɪns ɪt fərst ˈimərʤd ɪn ðə 1970s*. ðə ˈsæŋkʧuˌɛri wɪʧ wɑz ˈluzɪŋ ˈɔlˌmoʊst ə θərd əv ɪts ˈɪnˌkəm wɑz ˈfaɪnəli ˈeɪbəl tɪ ˈoʊpən ɔn ˈθərzˌdeɪ læst wik, ənd tɑm wɑz əˈməŋ ðə ˈrɛzɪdənts ˈwɛlkəmɪŋ ðə ˈpəblɪk bæk. "hi hæd bɪn kɛpt ɛz ə pɛt sɪns ə ˈbeɪbi ənd hæd nɑt ˌɪnərˈæktəd wɪθ ˈəðər ʧɪmps sɪns bərθ," sɛd. "hi wɑz ˈgræʤuəli ˌriəˈbɪləˌteɪtɪd ɪn 2014 fɛd wɪθ ˈnæʧərəl fud ənd wɪθ ðə sərˈaʊndɪŋz ənd saʊnz əv ˈəðər ʧɪmps. naʊ hi ɪz ʤɪst laɪk ðə mæn nɛkst dɔr." ðə iˈboʊlə ˈaʊtˌbreɪk ɪz ʤɪst ðə ˈleɪtəst ˌtuˈməˌlʧuəs ˈʧæptər ɪn ðə rɪˈzərvz ˈhɪstəri əv ˈhɛroʊˌɪzəm, ˈhɑrtˌbreɪk ənd villainy*. əˈməŋ ə kæst əv ˈkɛrɪktərz tɪ hæv steɪd æt, ənˈdaʊtɪdli ðə moʊst ˈɪnfəməs ɪz ˈbrunoʊ, dɪˈskraɪbd ɔn ðə ˈwɛbˌsaɪt ɛz "kɛrɪzˈmætɪk, spɛkˈtækjələrli ˌɪmˈpoʊzɪŋ ənd ˈfɪzɪkəli ðə ˈstrɔŋgəst ʧɪmˈpænzi wi hæv ˈɛvər hæd". bɔt ˈbrunoʊ fər 20 ɪn 1988 wɪn hi wɑz ə ʤɪst ə fju mənθs oʊld, ənd neɪmd ɪm ˈæftər ˈbrɪtɪʃ ˈhɛviˌweɪt ˈbɑksər fræŋk ˈbrunoʊ. ðə ˈsɛntər wɑz plənʤd ˈɪntu ˈkɑntrəˌvərsi ɪn 2006 wɪn ˈbrunoʊ ənd ə pæk əv 31 ʧɪmps ɪˈskeɪpt, əˈtækɪŋ ə grup əv ˈjuˈɛs ˈtʊrɪsts ənd ˈkɪlɪŋ ðɛr siˈɛrə ˈdraɪvər, əˈkɔrdɪŋ tɪ ˈwɪtnəsɪz. hoʊp fər fˈjuʧər moʊst əv ðə ʧɪmps rɪˈtərnd əv ðɛr oʊn əˈkɔrd, bət ðə ˈælfə meɪl hu wɑz sɛd tɪ hæv ˈpərsənəli kɪld ðə ˈdraɪvər wɑz ˈnɛvər sin əˈgɛn. "ˈbrunoʊ wɑz ˈnɛvər treɪst ənd wi kænt seɪ ˈwɛðər hi ɪz əˈlaɪv ər dɛd," toʊld afp*. ðə rɪˈzərv ˈɔlsoʊ haʊzd ˈpɪŋki, θɔt tɪ bi ðə wərldz ˈoʊnli ælˈbaɪˌnoʊ ʧɪmˈpænzi, huz ˈlaɪfləs ˈbɑdi wɑz faʊnd ɪn hər ɪnˈkloʊʒər ɪn 2002 ˌɔlˈðoʊ noʊ kɔz əv dɛθ həz ˈɛvər bɪn ɪˈstæblɪʃt. ˌənrɪˈleɪtɪd tɪ keɪs, ðə rɪˈzərv həz ˈɔlsoʊ bɪn ˈstrəgəlɪŋ fər ə ˈnəmbər əv jɪrz wɪθ ðə mɪˈstɪriəs ˈsədən dɛθs əv ə ˈnəmbər əv ʧɪmˈpænziz. stæf bɪˈliv ə ˈtɑksɪk plænt ɛnˈdɛmɪk tɪ ðə ˈriʤən, aɪˈdɛntəˌfaɪd wɪθ ðə hɛlp əv ˈsaɪəntɪsts frəm ðə rɔɪəl bəˈtænɪk ˈgɑrdənz ɪn ˈləndən, meɪ bi ðə ˈkəlprɪt bət hæv nɑt ruld aʊt ˈəðər ˌpɑsəˈbɪlətiz. wən ˈpɑzətɪv ˈaʊtˌkəm əv ðə iˈboʊlə ˈkraɪsəs, ɛz fɑr ɛz ðə ˈsæŋkʧuˌɛri ɪz kənˈsərnd, ɪz ðət ɪt həz kərbd ðə trəˈdɪʃənəl ˈpræktɪs əv ˈkɪlɪŋ ʧɪmˈpænziz fər. bət ˈhæbəˌtæt dɪˈstrəkʃən ɪz ə ˈlɑrʤər θrɛt tɪ ðə waɪld ʧɪmˈpænzi ˌpɑpjəˈleɪʃən, wɪθ ˈfɔrɪst ˈkəvər ˈbɛrli faɪv pərˈsɛnt əv wət ɪt wɑz 100 jɪrz əˈgoʊ. ðə ˈstɔri əv siˈɛrə ʧɪmˈpænziz meɪ jɛt gɪt ə ˈhæpi ˈɛndɪŋ, ɛz ˌkɑnsərˈveɪʃən ˈɛfərts hæv hɛlpt ðə ʧɪmp ˌpɑpjəˈleɪʃən tɪ ˈdəbəl bɪtˈwin 1980 ənd 2010 əˈkɔrdɪŋ tɪ ðə ˈkəntriz fərst ˈɛvər ʧɪmp ˈsɛnsəs. "ɛz wi priˈpɛr tɪ ˈsɛləˌbreɪt ɑr ˌænəˈvərsəri ɪn sɛpˈtɛmbər, prəˈtɛktɪŋ waɪld ʧɪmˈpænziz ənd ðɛr ˈhæbəˌtæts θru səˈsteɪnəbəl dɪˈvɛləpmənt rɪˈmeɪnz ðə ki tɪ ɑr fˈjuʧər ənd ðɪs ɪz ðə ˈlɛgəsi wi eɪm fər," sɛd.
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it’s difficult to hear anything above the screams.
sure, there are other noises here in u.s. bank arena. lee greenwood, for example, whose song "god bless the usa" is playing over the loudspeakers. perhaps somewhere in this building, someone is singing along. and then there are the signs, reading "trump pence" and "make america great again," all waving through the air, presumably with a sound. one has to imagine that the reporters, all sectioned off in the press pen, are making a noise as they type away on their laptops. a few babies are here. maybe crying. perhaps laughing. or maybe, as donald trump walks to the stage, joining the thousands of adults in this building by screaming too.
trump steps to the microphone and, eventually, the screams subside. thursday night in one of the most outrageous and weeks in the recent history of american politics, and the man who has given rise to the spectacle is preparing to speak. after a few platitudes, he begins, launching into talk of terror and immigration, manufacturing and trade.
"i love you, donald trump!" shouts someone from the floor.
even now. especially now. as campaign through october, these are the americans riding along in the flames.
"god bless a-fucking-merica!"
eighteen thousand people are here in cincinnati to affirm their support for a man whose presidential campaign seems to be in a moment of historic crisis. they are here even though trump was caught boasting on tape about assaulting women and a number of women came forward to allege that yes, his boasts were true. they are here even as republican leaders trump in droves, apparently willing to concede the white house to refocus their attention down the ballot.
i’m attending two trump rallies in two days, in cincinnati and charlotte, not as a credentialed reporter, but as any other member of the crowd. in conversations, identifying myself as a writer and am taking notes the entire time, but unless someone goes out of their way to tell me i can, agreeing not to identify the people i speak to by name. this is done in hopes of finding honesty and candor, of learning, with less than a month until the election, about the people who refuse to leave side.
on the stage, trump continues a vague and winding monologue. he says build a wall. he rails against nafta. he says defeat isis. mostly, though, he looks for reasons to elicit more screams. eventually he turns to his easiest trick: saying the words "hillary clinton."
"lock her the fuck up!" yells the man standing next to me, whom call ed. ed is short and muscular and middle-aged. he wears an oversize t-shirt that says "donald fuckin’ trump." he scans the room, awed by the spectacle in a way that feels contagious. he can barely see anything onstage, but a few times he jumps up so that he can catch a fleeting glimpse. at one point, he hands me his phone, and he asks me to take a panoramic photo of the room. when i oblige, he takes one look at the picture, and then he smiles up at me and says, with a certain reverence: "fucking bad-ass, dude. bad. fucking. ass." i look at the photo. right. the scene is astonishing.
and yet it is also jarring in a way that, days later, i will still be unable to fully describe. no stranger to red america. spent most of my life in the south, and i grew up attending evangelical christian schools. i once voted for the reelection of george w. bush. and beyond a life spent among people who are now trump supporters, also worked for years as a sportswriter, sitting among crowds and listening to people scream. the boos in philadelphia. the insults in cleveland. the gleefully polite bile that pours forth from stadiums all across the sec. and yet never experienced anything quite like tonight in cincinnati. ed either. "this is unreal," he says.
just to right stands a young woman. she enjoys screaming. she has a favorite word: fuck. "fuck obama!" "fuck syrians!" and at one point, when trump mentions republicans who have not honored their pledge to support him, she offers a vague but menacing "fuck them!" this is something of a moment, because right as she is screaming "fuck them!" ed is screaming "goddamn pussies!" and after they each scream their respective epithets, for a second, their eyes meet. they laugh. then they turn back toward trump and ready for their next chance to scream.
outside, after the rally, i meet a protester named who holds a sign that says, grab my pussy!" young men parade past her, all making the same joke, aping the response that trump has given at rallies all week. they say, "you have to worry about anyone grabbing your pussy," or some variation thereof, one after another, laughing every time.
at one point fires back. she yells at two young men, named clay and owen. clay is tall and skinny, wearing a backward trump hat. owen is short and stout, wearing a fedora adorned by a feather. calls them "rednecks." she makes a joke about them sleeping with their own mothers. they scream. she screams. takes a picture. clay and owen raise their middle fingers to her camera as it flashes.
the men take off jogging down the street, laughing the whole way. eventually, clay turns around. he shouts, at no one in particular, "god bless a-fucking-merica!"
this was among rallies all week.
"are on reddit?"
the next day in charlotte, a line forms in the bowels of the convention center, a small crowd waiting for doors to open for another rally. the room feels like something between a hangar and a basement, a wide and gray open expanse.
"do you think gonna gas us?"
that’s a woman call cynthia. middle-aged, wearing a blue visor and expressing concern. "i think they might gas us because trump supporters." she is joking, she makes clear. in front of her is another woman call anne, who wears a red "make america great again" hat. as anne takes in the growing crowd, she says, "do you think rallies look like this?"
"i saw one on tv," says cynthia. "they had to make everyone squeeze together, just so it looked like they had people there."
"well," says anne, chuckling, "you get dead people to your rallies. you can get them to vote, but you get them to your rallies."
she’s referencing voter fraud, a central talking point in the trump campaign. it is, according to a number of academic studies, journalistic investigations, and government probes, a virtually nonexistent phenomenon, a conspiracy theory with very little evidence to back it up.
"oh, i just loving reading conspiracy theories," says another woman call pam. fifties, blonde, wearing a dazzling red blouse and bright red lipstick. "are on reddit? have got to get on reddit."
anne and cynthia respond that yes, of course on reddit, corners of which serve as home to much of the fringe. "oh just so good," says pam, referring to a particular she enjoys. "everything is anti-hillary. and all true. oh, so good. every word. i just sit in bed, and i read it like a good novel."
pam continues. "these boys," she says, referring to the mostly young, mostly male coalition of nationalists who compose a core minority of support, telling you, they keep coming out with all these conspiracies. some of out there, but i love it. and i swear to you they been wrong yet!"
they start throwing out some of their favorite theories. a woman up ahead of them says that obama is going to impose martial law, that he leave office if trump wins. "oh, of course," someone says. been confirmed." another woman says that everyone needs to be careful not to harass any of accusers, because a rumor that the clinton campaign will murder one of them and make it look like a suicide. "mmm," comes the response. "you know people would believe it, too." anne says that clinton has stage 3 parkinson’s. not stage 2. not stage 4. "every neuro person knows it," she says. "they see it and they just know."
"hmm," says pam. "i really know about that."
"oh, i know it for a fact," says anne. 100 percent true."
cynthia chimes in: "i want her to die like that," she says. "i want her and bill to die just sitting and staring at each other, drool coming out of their mouths." quiet, for just a second, and then they laugh.
soon enough the doors open, and as we walk toward security, i talk with cynthia and anne in more depth. cynthia has been a republican since she met ronald reagan decades ago, but now leaving the party out of disgust for the way treated trump. anne speaks with precision and nuance about the failings of obamacare, and she speaks with a bashful shrug about comments regarding women and his alleged sexual assaults. from new yoooooorrrrrk," she says, drawing out the second word in an exaggerated drawl. been to new york. just different up there. people are more aggressive. not like the south. not as polite. people just need to understand where coming from."
they ask who voting for. i tell them it will not be trump. they needle me, just a little, but soon they start asking about my life. when i tell them from the south, and that i went to a conservative christian college, cynthia stares at me, briefly open-jawed. "and you vote democrat?" she says.
we pass through security and reconnect on the other side. before we part ways, i ask cynthia how she can continue to support trump given the way he treats women. "i went into this with eyes wide open," she says. "i knew who he was. everybody knew who he was. the hypocrites are the ones acting like they only know it now." she continues: 55 years old. had stuff like that" referring to uninvited grabbing and kissing "happen to me." she shrugs. "life is long. bad stuff happens."
"when it comes down to it," she finishes, "if in a foxhole, i want donald trump down there with me. i want hillary clinton." now a crowd is forming around the stage, and cynthia is worried about getting a good spot for the event. she has to go. a sweet boy," she says. "you could be my son if stop voting democrat." she squeezes my arm, and with that, she slips off into the crowd, out of sight.
"salam means peace"
minutes later i spot a small woman darting through the crowd. she carries a bag. she wears a hijab. every few seconds she approaches a man or woman and hands them a pen been made to look like a rose. it is green and red with white lettering that says, "salam means peace."
her name is rose hamid. 56, born in buffalo to a colombian mother and a palestinian father, and she now works as a flight attendant and lives in charlotte. she works the room, handing out pen after pen, and each time she looks up with a round face and brown eyes, and she offers the same soft and buoyant smile as she says, "have a nice day."
"thaaaank youuuuu," says one woman, who takes the pen and then looks at her friend with frozen lips and wild eyes. "cool," says a man in a t-shirt, nodding with genuine warmth. "very cool." most people meet eyes as she approaches, and they accept her gifts politely. a few make a point to look away, and rather than bothering them, she just moves on.
this is not first trump rally. she made news in january when she showed up at another one in rock hill, south carolina. during his speech that day, trump suggested some syrian refugees had ties to the islamic state, and at that moment hamid stood up silently behind him, wearing a shirt that said, "salam i come in peace." the crowd booed and jeered. police escorted her out of the rally. she came to another rally in august, and says she was booted from that one, too.
now back. "i think really important to do this," she tells me. "just to show people my face and allow them to actually encounter a muslim and show them that we are peaceful, that not terrorists. so many people have never even met a muslim. they know who we are." i tell her that it sounds like an incredible weight to carry, representing all of islam to people whose candidate would like to keep muslims from entering the country. she takes a quick, smiling breath, and she shakes her head kindly as she explains. "i already carry that weight. i carry it going to the grocery store, going about my day. every time people see the hijab, they know what it means. they know what i represent. i ever leave that behind."
she admits that she asked some muslim friends to join her tonight, but that they were too nervous to come along. but, she says, so far tonight encountered politeness from all and genuine curiosity from some. "one woman told me she was scared of me at first," she says. "but then she said she understand why she was scared. ‘you’re not that scary,’ she said. moments like that make this a good thing to do."
as talking, an older man walks up. he looks hamid up and down and he grins, warm and a little confused. "now i seen you on the news?" he asks.
she turns toward him and smiles. "maybe," she says.
"yeah," he says. "i think i seen you on there."
awkward silence. mutual nods. then he asks, "you having a good time tonight?"
"i am."
he registers this for a moment. he looks down, as if processing the weight of her words. "good," he says. good to hear. you have a nice night."
he walks away. as he leaves, hamid turns back to me and smiles. "see?" she says. "most people are really nice." now another man approaches, this one in a gray suit. he appears to be a campaign staffer. he is less curious. he is less nice. "come with me, please," he says, and she follows. he leads her toward the exit, and as she walks, she keeps smiling, pulling out pens and handing them to men and women on her way to the back of the room. she knows what this is. been through this before. finally they reach the exit and disappear.
minutes later, the man returns. she does not. i ask him what happened. confidential," he says. i ask if hamid had been asked to leave, and he says, "i believe so." he say anything more, not even his name.
a few minutes later, hamid says by phone that once she left the room, the man told her, "this is a private event. you are not welcome here."
she says she got in her car. she drove home.
"fuck donald trump!"
an hour passes. then two. omarosa, perhaps the most famous former apprentice contestant, speaks. rudy giuliani speaks. a few local politicians and a televangelist, james robison, all rise to the stage. the crowd and chants and cheers. speakers branch out into territory that was left unexplored in cincinnati. there is more talk of god, some bashing of liberals offended by north bathroom law. mostly, though, the speakers play the hits. by my second night on the trail, the rhythm is familiar and almost monotonous. people scream if someone says donald trump should be president. they chant if they say that hillary clinton should go to jail.
a few feet ahead of me in the crowd, i see a little boy, perhaps 5, sitting atop what i assume are his shoulders. his feet dangle on his chest. he wears lines of red, white, and blue paint on his face and a pair of glasses in the shape of two stars, and so big that he has to hold them in place to keep them from falling off his head. at one moment during the speech, he looks down at his dad and smiles, big and wide, adorable. then he pumps his fist and chants, "lock her up!"
when trump appears, the crowd squeals. for a moment, he basks in their adoration. then he speaks, long and rambling, without a teleprompter. he calls himself "a victim of one of the great political smear campaigns in the history of our country." several men, infiltrating protesters, start yelling for him to keep his hands off women. they hold signs: hands off women" and "end white male silence." the crowd boos and security escorts them out, and on their way to the back their signs written on fabric so that they could be folded and snuck in are grabbed and ripped, left as shreds on the convention floor. as the protesters reach the exit, they walk alongside a number of trump supporters who are already on their way out the door.
related the perfect pundit for the trump generation
i join them. i head through the doors and up to the plaza just outside the convention entrance. here is downtown charlotte, dark and cool, busy and alive. the trump supporters are filtering out the building and toward their cars, past a group of perhaps three dozen protesters, standing and holding signs. "no predators 4 president." "america, women, we deserve better." and finally, a sign with multicolored lettering that says,, hands off me," just above a sketch of an anthropomorphic vulva, complete with a scowling face and two middle fingers raised to the sky.
the protesters chant. "no justice! no peace! no justice! no peace!" that one is familiar here in charlotte, chanted throughout the city after keith lamont scott, a black man, was killed by police last month. "the whole damn system / is guilty as hell!" trump supporters continue to filter out of the convention center, and as they reach the protesters many stop and linger. for a while they stand on the edges, giggling at the scene. bodies continue pouring out of the building and the crowd of trump supporters continues to swell, until there is a small crowd of largely black and brown protesters surrounded by a massive crowd of nearly rallygoers.
at some point, the trump supporters decide had enough. i hear one shout, "go back where you came from!" another yells, "your on welfare!" as the number of trump supporters continues to grow, the group of protesters becomes more compact, squeezing together in a tight formation. as tensions rise they move to their most effective chant, and it booms crisply all over downtown.
"fuck donald trump! fuck donald trump! fuck donald trump!"
standing near the front of the group of trump supporters, a young man in a "make america great again" hat shakes his head. he turns around to the rest of his throng, and he whips his arms in the air as he leads a counterchant. "trump! trump! trump! trump!" now fists pump and grins turn downward into scowls. the trump supporters inch closer and closer to the protesters until there is only an imaginary line, a sliver of concrete separating the two groups. on each side, the same name.
"trump!"
"fuck donald trump!
"trump!"
"fuck donald trump!"
standing among them is a protester named giselle. while everyone around her screams, she stands, silent and blank-faced, rocking back and forth and holding a sign. giselle was born in brazil but moved to the united states at 13. she earned her citizenship just after president obama won reelection in 2012. next month, she will vote in her first presidential election.
later, when giselle and i speak, she shares something. this week, she says, has been "really, really rough." when she first saw the video of comments to billy bush, she felt a numbing anger, some shrugging rage. but later that day, she began to feel the spaces around her closing in. her heartbeat raced against her breath. all week, as women came forward accusing trump of sexual assault, these feelings returned. trembling. sweat. a seizing and confounding fear.
she realized then that those stories reminded her of her own. she thought of the older boy who she says raped her at 13. she thought of the way others excused her attacker. he was popular and powerful. surely he need rape for sex. if slept together, she says people told her, then she must have wanted it too.
now here she stands, rocking back and forth, silently holding her sign. the top half of it says, "my election as a queer, rape survivor, latina immigrant, and american citizen." the bottom half shows drawings of two middle fingers held high.
she continues rocking to the rhythm of the chants around her. she is nervous, she tells me later, about the possibility of violence from trump supporters. she feels, she says, actual fear. but in this moment she steels herself as she rocks. finally, she joins the chant.
"fuck donald trump! fuck donald trump! fuck donald trump!"
she screams and screams and screams.
"usa! usa! usa! usa!"
the two sides continue like this, chanting and counterchanting, pausing to shuffle around among themselves or to hurl scattered insults back at each other. finally, as the protesters begin another round of chants, the republican supporters shift tracks.
"usa! usa! usa! usa!"
as soon as it starts it spreads, grabbing and bystanders. all across the plaza, more and more mouths open and fists raise to the sky. as the chant spreads, the protesters go silent for just a second. they gather themselves, as if figuring out what to do next. finally, they join.
"usa! usa! usa! usa!"
on both sides, the same chant, full-throated. this might read like a moment of solidarity, two poles of american politics finding three letters on which they can all agree. but at the center of the scrum, just across each side of the imaginary line, they stare at each other, faces twisted into anger, yelling to drown each other out with the exact same thing.
"usa! usa! usa! usa!"
soon the chant morphs. again, it starts on the trump side. "i pledge allegiance to the flag" immediately, the protesters join. "… of the united states of america" the volume rises, and hands pound against hearts. "… and to the republic for which it stands" they are screaming, all of them. "one nation!" "under god!" the words sound different now, violent somehow, and as the screaming reaches its end, the protesters back into themselves, away from the trump supporters, who are bigger in number and volume and at least equal in rage.
the air is cool. somewhere a few blocks from here, the night is pleasant and the streets are at peace. in three weeks, most of these people will go to the polls. the day after the election, all will be left wondering what the hell comes next. for now, the protest nears its end. everyone joins together in yelling the familiar refrain. but the words themselves are empty casings, vessels for warring ideas of what this country means.
"indivisible!"
this is not a pledge. this is a threat.
"with liberty!"
"and justice!"
"for all!"
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it’s* ˈdɪfəkəlt tɪ hir ˈɛniˌθɪŋ əˈbəv ðə skrimz. ʃʊr, ðɛr ər ˈəðər ˈnɔɪzɪz hir ɪn juz. bæŋk ərˈinə. li ˈgrinˌwʊd, fər ɪgˈzæmpəl, huz sɔŋ "gɑd blɛs ðə ˈjuˈɛˈseɪ" ɪz pleɪɪŋ ˈoʊvər ðə ˈlaʊdˌspikərz. pərˈhæps ˈsəmˌwɛr ɪn ðɪs ˈbɪldɪŋ, ˈsəmˌwən ɪz ˈsɪŋɪŋ əˈlɔŋ. ənd ðɛn ðɛr ər ðə saɪnz, ˈrɛdɪŋ "trəmp pɛns" ənd "meɪk əˈmɛrɪkə greɪt əˈgɛn," ɔl ˈweɪvɪŋ θru ðə ɛr, prɪˈzuməbli wɪθ ə saʊnd. wən həz tɪ ˌɪˈmæʤən ðət ðə rɪˈpɔrtərz, ɔl ˈsɛkʃənd ɔf ɪn ðə prɛs pɛn, ər ˈmeɪkɪŋ ə nɔɪz ɛz ðeɪ taɪp əˈweɪ ɔn ðɛr ˈlæpˌtɑps. ə fju ˈbeɪbiz ər hir. ˈmeɪbi kraɪɪŋ. pərˈhæps ˈlæfɪŋ. ər ˈmeɪbi, ɛz ˈdɑnəld trəmp wɔks tɪ ðə steɪʤ, ˈʤɔɪnɪŋ ðə ˈθaʊzənz əv ˈædəlts ɪn ðɪs ˈbɪldɪŋ baɪ ˈskrimɪŋ tu. trəmp stɛps tɪ ðə ˈmaɪkrəˌfoʊn ənd, ɪˈvɛnʧəwəli, ðə skrimz səbˈsaɪd. ˈθərzˌdeɪ naɪt ɪn wən əv ðə moʊst aʊˈtreɪʤəs ənd wiks ɪn ðə ˈrisənt ˈhɪstəri əv əˈmɛrɪkən ˈpɑləˌtɪks, ənd ðə mæn hu həz ˈgɪvɪn raɪz tɪ ðə ˈspɛktəkəl ɪz pərˈpɛrɪŋ tɪ spik. ˈæftər ə fju ˈplætɪˌtudz, hi bɪˈgɪnz, ˈlɔnʧɪŋ ˈɪntu tɔk əv ˈtɛrər ənd ˌɪməˈgreɪʃən, ˌmænjəˈfækʧərɪŋ ənd treɪd. "aɪ ləv ju, ˈdɑnəld trəmp!" ʃaʊts ˈsəmˌwən frəm ðə flɔr. ˈivɪn naʊ. əˈspɛʃəli naʊ. ɛz kæmˈpeɪn θru ɑkˈtoʊbər, ðiz ər ðə əˈmɛrɪkənz ˈraɪdɪŋ əˈlɔŋ ɪn ðə fleɪmz. "gɑd blɛs a-fucking-merica*!" ˈeɪˈtin ˈθaʊzənd ˈpipəl ər hir ɪn ˌsɪnsəˈnæti tɪ əˈfərm ðɛr səˈpɔrt fər ə mæn huz ˌprɛzɪˈdɛnʃəl kæmˈpeɪn simz tɪ bi ɪn ə ˈmoʊmənt əv hɪˈstɔrɪk ˈkraɪsəs. ðeɪ ər hir ˈivɪn ðoʊ trəmp wɑz kɔt ˈboʊstɪŋ ɔn teɪp əˈbaʊt əˈsɔltɪŋ ˈwɪmən ənd ə ˈnəmbər əv ˈwɪmən keɪm ˈfɔrwərd tɪ əˈlɛʤ ðət jɛs, hɪz boʊsts wər tru. ðeɪ ər hir ˈivɪn ɛz rɪˈpəblɪkən ˈlidərz trəmp ɪn droʊvz, əˈpɛrəntli ˈwɪlɪŋ tɪ kənˈsid ðə waɪt haʊs tɪ riˈfoʊkəs ðɛr əˈtɛnʃən daʊn ðə ˈbælət. əˈtɛndɪŋ tu trəmp ˈræliz ɪn tu deɪz, ɪn ˌsɪnsəˈnæti ənd ˈʃɑrlət, nɑt ɛz ə krəˈdɛnʃəld rɪˈpɔrtər, bət ɛz ˈɛni ˈəðər ˈmɛmbər əv ðə kraʊd. ɪn ˌkɑnvərˈseɪʃənz, aɪˈdɛntəˌfaɪɪŋ ˌmaɪˈsɛlf ɛz ə ˈraɪtər ənd æm ˈteɪkɪŋ noʊts ðə ɪnˈtaɪər taɪm, bət ənˈlɛs ˈsəmˌwən goʊz aʊt əv ðɛr weɪ tɪ tɛl mi aɪ kən, əˈgriɪŋ nɑt tɪ aɪˈdɛntəˌfaɪ ðə ˈpipəl aɪ spik tɪ baɪ neɪm. ðɪs ɪz dən ɪn hoʊps əv ˈfaɪndɪŋ ˈɑnəsti ənd ˈkændər, əv ˈlərnɪŋ, wɪθ lɛs ðən ə mənθ ənˈtɪl ðə ɪˈlɛkʃən, əˈbaʊt ðə ˈpipəl hu ˈrɛfˌjuz tɪ liv saɪd. ɔn ðə steɪʤ, trəmp kənˈtɪnjuz ə veɪg ənd ˈwaɪndɪŋ ˈmɑnəˌlɔg. hi sɪz bɪld ə wɔl. hi reɪlz əˈgɛnst ˈnæftə. hi sɪz dɪˈfit ˈaɪsəs. ˈmoʊstli, ðoʊ, hi lʊks fər ˈrizənz tɪ ɪˈlɪsɪt mɔr skrimz. ɪˈvɛnʧəwəli hi tərnz tɪ hɪz ˈiziəst trɪk: seɪɪŋ ðə wərdz "ˈhɪləri ˈklɪntən." "lɑk hər ðə fək əp!" jɛlz ðə mæn ˈstændɪŋ nɛkst tɪ mi, hum kɔl ɛd. ɛd ɪz ʃɔrt ənd ˈməskjələr ənd ˈmɪdəˌleɪgd. hi wɛrz ən ˌoʊvərˈsaɪz ˈtiˌsərt ðət sɪz "ˈdɑnəld fuckin’*’ trəmp." hi skænz ðə rum, ɔd baɪ ðə ˈspɛktəkəl ɪn ə weɪ ðət filz kənˈteɪʤəs. hi kən ˈbɛrli si ˈɛniˌθɪŋ ˌɑnˈsteɪʤ, bət ə fju taɪmz hi ʤəmps əp soʊ ðət hi kən kæʧ ə ˈflitɪŋ glɪmps. æt wən pɔɪnt, hi hænz mi hɪz foʊn, ənd hi æsks mi tɪ teɪk ə ˌpænərˈæmɪk ˈfoʊˌtoʊ əv ðə rum. wɪn aɪ əˈblaɪʤ, hi teɪks wən lʊk æt ðə ˈpɪkʧər, ənd ðɛn hi smaɪlz əp æt mi ənd sɪz, wɪθ ə ˈsərtən ˈrɛvərəns: "ˈfəkɪŋ ˈbæˌdæs, dud. bæd. ˈfəkɪŋ. æs." aɪ lʊk æt ðə ˈfoʊˌtoʊ. raɪt. ðə sin ɪz əˈstɑnɪʃɪŋ. ənd jɛt ɪt ɪz ˈɔlsoʊ ˈʤɑrɪŋ ɪn ə weɪ ðət, deɪz ˈleɪtər, aɪ wɪl stɪl bi əˈneɪbəl tɪ ˈfʊli dɪˈskraɪb. noʊ ˈstreɪnʤər tɪ rɛd əˈmɛrɪkə. spɛnt moʊst əv maɪ laɪf ɪn ðə saʊθ, ənd aɪ gru əp əˈtɛndɪŋ ˌivænˈʤɛlɪkəl ˈkrɪsʧɪn skulz. aɪ wəns ˈvoʊtɪd fər ðə riɪˈlɛkʃən əv ʤɔrʤ ˈdəbəlju. bʊʃ. ənd bɪɔnd ə laɪf spɛnt əˈməŋ ˈpipəl hu ər naʊ trəmp səˈpɔrtərz, ˈɔlsoʊ wərkt fər jɪrz ɛz ə ˈspɔrtsˌraɪtər, ˈsɪtɪŋ əˈməŋ kraʊdz ənd ˈlɪsənɪŋ tɪ ˈpipəl skrim. ðə buz ɪn ˌfɪləˈdɛlfiə. ðə ˌɪnˈsəlts ɪn ˈklivlənd. ðə ˈglifəli pəˈlaɪt baɪl ðət pɔrz fɔrθ frəm ˈsteɪdiəmz ɔl əˈkrɔs ðə sɛk. ənd jɛt ˈnɛvər ɪkˈspɪriənst ˈɛniˌθɪŋ kwaɪt laɪk təˈnaɪt ɪn ˌsɪnsəˈnæti. ɛd ˈiðər. "ðɪs ɪz ənˈril," hi sɪz. ʤɪst tɪ raɪt stændz ə jəŋ ˈwʊmən. ʃi ˌɛnˈʤɔɪz ˈskrimɪŋ. ʃi həz ə ˈfeɪvərɪt wərd: fək. "fək ˌoʊˈbɑmə!" "fək ˈsɪriənz!" ənd æt wən pɔɪnt, wɪn trəmp ˈmɛnʃənz rɪˈpəblɪkənz hu hæv nɑt ˈɑnərd ðɛr plɛʤ tɪ səˈpɔrt ɪm, ʃi ˈɔfərz ə veɪg bət ˈmɛnəsɪŋ "fək ðɛm!" ðɪs ɪz ˈsəmθɪŋ əv ə ˈmoʊmənt, bɪˈkəz raɪt ɛz ʃi ɪz ˈskrimɪŋ "fək ðɛm!" ɛd ɪz ˈskrimɪŋ "ˌgɑˈdæm ˈpʊsiz!" ənd ˈæftər ðeɪ iʧ skrim ðɛr rɪˈspɛktɪv ˈɛpəˌθɛts, fər ə ˈsɛkənd, ðɛr aɪz mit. ðeɪ læf. ðɛn ðeɪ tərn bæk təˈwɔrd trəmp ənd ˈrɛdi fər ðɛr nɛkst ʧæns tɪ skrim. ˈaʊtˈsaɪd, ˈæftər ðə ˈræli, aɪ mit ə ˈproʊˌtɛstər neɪmd hu hoʊldz ə saɪn ðət sɪz, græb maɪ ˈpʊsi!" jəŋ mɛn pəreɪd pæst hər, ɔl ˈmeɪkɪŋ ðə seɪm ʤoʊk, ˈeɪpɪŋ ðə rɪˈspɑns ðət trəmp həz ˈgɪvɪn æt ˈræliz ɔl wik. ðeɪ seɪ, "ju hæv tɪ ˈwəri əˈbaʊt ˈɛniˌwən ˈgræbɪŋ jʊr ˈpʊsi," ər səm ˌvɛriˈeɪʃən ˌðɛˈrəv, wən ˈæftər əˈnəðər, ˈlæfɪŋ ˈɛvəri taɪm. æt wən pɔɪnt faɪərz bæk. ʃi jɛlz æt tu jəŋ mɛn, neɪmd kleɪ ənd oʊən. kleɪ ɪz tɔl ənd ˈskɪni, ˈwɛrɪŋ ə ˈbækwərd trəmp hæt. oʊən ɪz ʃɔrt ənd staʊt, ˈwɛrɪŋ ə fɪˈdɔrə əˈdɔrnd baɪ ə ˈfɛðər. kɔlz ðɛm "ˈrɛdˌnɛks." ʃi meɪks ə ʤoʊk əˈbaʊt ðɛm sˈlipɪŋ wɪθ ðɛr oʊn ˈməðərz. ðeɪ skrim. ʃi skrimz. teɪks ə ˈpɪkʧər. kleɪ ənd oʊən reɪz ðɛr ˈmɪdəl ˈfɪŋgərz tɪ hər ˈkæmərə ɛz ɪt ˈflæʃɪz. ðə mɛn teɪk ɔf ˈʤɔgɪŋ daʊn ðə strit, ˈlæfɪŋ ðə hoʊl weɪ. ɪˈvɛnʧəwəli, kleɪ tərnz əraʊnd. hi ʃaʊts, æt noʊ wən ɪn ˌpɑˈtɪkjələr, "gɑd blɛs a-fucking-merica*!" ðɪs wɑz əˈməŋ ˈræliz ɔl wik. "ər ɔn reddit*?" ðə nɛkst deɪ ɪn ˈʃɑrlət, ə laɪn fɔrmz ɪn ðə baʊəlz əv ðə kənˈvɛnʃən ˈsɛnər, ə smɔl kraʊd ˈweɪtɪŋ fər dɔrz tɪ ˈoʊpən fər əˈnəðər ˈræli. ðə rum filz laɪk ˈsəmθɪŋ bɪtˈwin ə ˈhæŋər ənd ə ˈbeɪsmənt, ə waɪd ənd greɪ ˈoʊpən ɪkˈspæns. "du ju θɪŋk ˈgɑnə gæs ˈjuˈɛs?" ə ˈwʊmən kɔl ˈsɪnθiə. ˈmɪdəˌleɪgd, ˈwɛrɪŋ ə blu ˈvaɪzər ənd ɪkˈsprɛsɪŋ kənˈsərn. "aɪ θɪŋk ðeɪ maɪt gæs ˈjuˈɛs bɪˈkəz trəmp səˈpɔrtərz." ʃi ɪz ˈʤoʊkɪŋ, ʃi meɪks klɪr. ɪn frənt əv hər ɪz əˈnəðər ˈwʊmən kɔl æn, hu wɛrz ə rɛd "meɪk əˈmɛrɪkə greɪt əˈgɛn" hæt. ɛz æn teɪks ɪn ðə groʊɪŋ kraʊd, ʃi sɪz, "du ju θɪŋk ˈræliz lʊk laɪk ðɪs?" "aɪ sɔ wən ɔn ˌtɛləˈvɪʒən," sɪz ˈsɪnθiə. "ðeɪ hæd tɪ meɪk ˈɛvriˌwən skwiz təˈgɛðər, ʤɪst soʊ ɪt lʊkt laɪk ðeɪ hæd ˈpipəl ðɛr." "wɛl," sɪz æn, ˈʧəklɪŋ, "ju gɪt dɛd ˈpipəl tɪ jʊr ˈræliz. ju kən gɪt ðɛm tɪ voʊt, bət ju gɪt ðɛm tɪ jʊr ˈræliz." ˈrɛfərənsɪŋ ˈvoʊtər frɔd, ə ˈsɛntrəl ˈtɔkɪŋ pɔɪnt ɪn ðə trəmp kæmˈpeɪn. ɪt ɪz, əˈkɔrdɪŋ tɪ ə ˈnəmbər əv ˌækəˈdɛmɪk ˈstədiz, ˌʤərnəˈlɪstɪk ˌɪnˌvɛstəˈgeɪʃənz, ənd ˈgəvərnmənt proʊbz, ə ˈvərʧuəli ˌnɑnəgˈzɪstənt fəˈnɑməˌnɑn, ə kənˈspɪrəsi ˈθɪri wɪθ ˈvɛri ˈlɪtəl ˈɛvədəns tɪ bæk ɪt əp. "oʊ, aɪ ʤɪst ˈləvɪŋ ˈrɛdɪŋ kənˈspɪrəsi ˈθɪriz," sɪz əˈnəðər ˈwʊmən kɔl pæm. ˈfɪftiz, blɑnd, ˈwɛrɪŋ ə ˈdæzəlɪŋ rɛd blaʊs ənd braɪt rɛd ˈlɪpˌstɪk. "ər ɔn reddit*? hæv gɑt tɪ gɪt ɔn reddit*." æn ənd ˈsɪnθiə rɪˈspɑnd ðət jɛs, əv kɔrs ɔn reddit*, ˈkɔrnərz əv wɪʧ sərv ɛz hoʊm tɪ məʧ əv ðə frɪnʤ. "oʊ ʤɪst soʊ gʊd," sɪz pæm, rɪˈfərɪŋ tɪ ə ˌpɑˈtɪkjələr ʃi ˌɛnˈʤɔɪz. "ˈɛvriˌθɪŋ ɪz anti-hillary*. ənd ɔl tru. oʊ, soʊ gʊd. ˈɛvəri wərd. aɪ ʤɪst sɪt ɪn bɛd, ənd aɪ rɛd ɪt laɪk ə gʊd ˈnɑvəl." pæm kənˈtɪnjuz. "ðiz bɔɪz," ʃi sɪz, rɪˈfərɪŋ tɪ ðə ˈmoʊstli jəŋ, ˈmoʊstli meɪl ˌkoʊəˈlɪʃən əv ˈnæʃənəlɪsts hu kəmˈpoʊz ə kɔr məˈnɔrəti əv səˈpɔrt, ˈtɛlɪŋ ju, ðeɪ kip ˈkəmɪŋ aʊt wɪθ ɔl ðiz kənˈspɪrəsiz. səm əv aʊt ðɛr, bət aɪ ləv ɪt. ənd aɪ swɛr tɪ ju ðeɪ bɪn rɔŋ jɛt!" ðeɪ stɑrt θroʊɪŋ aʊt səm əv ðɛr ˈfeɪvərɪt ˈθɪriz. ə ˈwʊmən əp əˈhɛd əv ðɛm sɪz ðət ˌoʊˈbɑmə ɪz goʊɪŋ tɪ ˌɪmˈpoʊz ˈmɑrʃəl lɔ, ðət hi liv ˈɔfəs ɪf trəmp wɪnz. "oʊ, əv kɔrs," ˈsəmˌwən sɪz. bɪn kənˈfərmd." əˈnəðər ˈwʊmən sɪz ðət ˈɛvriˌwən nidz tɪ bi ˈkɛrfəl nɑt tɪ həræs ˈɛni əv əˈkjuzərz, bɪˈkəz ə ˈrumər ðət ðə ˈklɪntən kæmˈpeɪn wɪl ˈmərdər wən əv ðɛm ənd meɪk ɪt lʊk laɪk ə ˈsuɪˌsaɪd. "mmm*," kəmz ðə rɪˈspɑns. "ju noʊ ˈpipəl wʊd bɪˈliv ɪt, tu." æn sɪz ðət ˈklɪntən həz steɪʤ 3 parkinson’s*. nɑt steɪʤ 2 nɑt steɪʤ 4 "ˈɛvəri ˈnʊˌroʊ ˈpərsən noʊz ɪt," ʃi sɪz. "ðeɪ si ɪt ənd ðeɪ ʤɪst noʊ." "həm," sɪz pæm. "aɪ ˈrɪli noʊ əˈbaʊt ðət." "oʊ, aɪ noʊ ɪt fər ə fækt," sɪz æn. 100 pərˈsɛnt tru." ˈsɪnθiə ʧaɪmz ɪn: "aɪ wɔnt hər tɪ daɪ laɪk ðət," ʃi sɪz. "aɪ wɔnt hər ənd bɪl tɪ daɪ ʤɪst ˈsɪtɪŋ ənd ˈstɛrɪŋ æt iʧ ˈəðər, drul ˈkəmɪŋ aʊt əv ðɛr maʊðz." kwaɪət, fər ʤɪst ə ˈsɛkənd, ənd ðɛn ðeɪ læf. sun ɪˈnəf ðə dɔrz ˈoʊpən, ənd ɛz wi wɔk təˈwɔrd sɪˈkjʊrəti, aɪ tɔk wɪθ ˈsɪnθiə ənd æn ɪn mɔr dɛpθ. ˈsɪnθiə həz bɪn ə rɪˈpəblɪkən sɪns ʃi mɛt ˈrɑnəld ˈrigən ˈdɛkeɪdz əˈgoʊ, bət naʊ ˈlivɪŋ ðə ˈpɑrti aʊt əv dɪsˈgəst fər ðə weɪ ˈtritɪd trəmp. æn spiks wɪθ priˈsɪʒən ənd nuɑns əˈbaʊt ðə ˈfeɪlɪŋz əv obamacare*, ənd ʃi spiks wɪθ ə ˈbæʃfəl ʃrəg əˈbaʊt ˈkɑmɛnts rɪˈgɑrdɪŋ ˈwɪmən ənd hɪz əˈlɛʤd ˈsɛkʃuəl əˈsɔlts. frəm nu yoooooorrrrrk*," ʃi sɪz, drɔɪŋ aʊt ðə ˈsɛkənd wərd ɪn ən ɪgˈzæʤərˌeɪtɪd drɔl. bɪn tɪ nu jɔrk. ʤɪst ˈdɪfərənt əp ðɛr. ˈpipəl ər mɔr əˈgrɛsɪv. nɑt laɪk ðə saʊθ. nɑt ɛz pəˈlaɪt. ˈpipəl ʤɪst nid tɪ ˌəndərˈstænd wɛr ˈkəmɪŋ frəm." ðeɪ æsk hu ˈvoʊtɪŋ fər. aɪ tɛl ðɛm ɪt wɪl nɑt bi trəmp. ðeɪ ˈnidəl mi, ʤɪst ə ˈlɪtəl, bət sun ðeɪ stɑrt ˈæskɪŋ əˈbaʊt maɪ laɪf. wɪn aɪ tɛl ðɛm frəm ðə saʊθ, ənd ðət aɪ wɛnt tɪ ə kənˈsərvətɪv ˈkrɪsʧɪn ˈkɑlɪʤ, ˈsɪnθiə stɛrz æt mi, ˈbrifli open-jawed*. "ənd ju voʊt ˈdɛməˌkræt?" ʃi sɪz. wi pæs θru sɪˈkjʊrəti ənd rikəˈnɛkt ɔn ðə ˈəðər saɪd. ˌbiˈfɔr wi pɑrt weɪz, aɪ æsk ˈsɪnθiə haʊ ʃi kən kənˈtɪnju tɪ səˈpɔrt trəmp ˈgɪvɪn ðə weɪ hi trits ˈwɪmən. "aɪ wɛnt ˈɪntu ðɪs wɪθ aɪz waɪd ˈoʊpən," ʃi sɪz. "aɪ nu hu hi wɑz. ˈɛvriˌbɑdi nu hu hi wɑz. ðə ˈhɪpəˌkrɪts ər ðə wənz ˈæktɪŋ laɪk ðeɪ ˈoʊnli noʊ ɪt naʊ." ʃi kənˈtɪnjuz: 55 jɪrz oʊld. hæd stəf laɪk ðət" rɪˈfərɪŋ tɪ ˌənɪnˈvaɪtɪd ˈgræbɪŋ ənd ˈkɪsɪŋ "ˈhæpən tɪ mi." ʃi ʃrəgz. "laɪf ɪz lɔŋ. bæd stəf ˈhæpənz." "wɪn ɪt kəmz daʊn tɪ ɪt," ʃi ˈfɪnɪʃɪz, "ɪf ɪn ə ˈfɑksˌhoʊl, aɪ wɔnt ˈdɑnəld trəmp daʊn ðɛr wɪθ mi. aɪ wɔnt ˈhɪləri ˈklɪntən." naʊ ə kraʊd ɪz ˈfɔrmɪŋ əraʊnd ðə steɪʤ, ənd ˈsɪnθiə ɪz ˈwərid əˈbaʊt ˈgɪtɪŋ ə gʊd spɑt fər ðə ɪˈvɛnt. ʃi həz tɪ goʊ. ə swit bɔɪ," ʃi sɪz. "ju kʊd bi maɪ sən ɪf stɑp ˈvoʊtɪŋ ˈdɛməˌkræt." ʃi skˈwizɪz maɪ ɑrm, ənd wɪθ ðət, ʃi slɪps ɔf ˈɪntu ðə kraʊd, aʊt əv saɪt. "sɑˈlɑm minz pis" ˈmɪnəts ˈleɪtər aɪ spɑt ə smɔl ˈwʊmən ˈdɑrtɪŋ θru ðə kraʊd. ʃi ˈkɛriz ə bæg. ʃi wɛrz ə hijab*. ˈɛvəri fju ˈsɛkəndz ʃi əˈproʊʧɪz ə mæn ər ˈwʊmən ənd hænz ðɛm ə pɛn bɪn meɪd tɪ lʊk laɪk ə roʊz. ɪt ɪz grin ənd rɛd wɪθ waɪt ˈlɛtərɪŋ ðət sɪz, "sɑˈlɑm minz pis." hər neɪm ɪz roʊz həˈmid. 56 bɔrn ɪn ˈbəfəˌloʊ tɪ ə kəˈləmbiən ˈməðər ənd ə ˌpælɪˈstɪniən ˈfɑðər, ənd ʃi naʊ wərks ɛz ə flaɪt əˈtɛndənt ənd lɪvz ɪn ˈʃɑrlət. ʃi wərks ðə rum, ˈhændɪŋ aʊt pɛn ˈæftər pɛn, ənd iʧ taɪm ʃi lʊks əp wɪθ ə raʊnd feɪs ənd braʊn aɪz, ənd ʃi ˈɔfərz ðə seɪm sɔft ənd bɔɪənt smaɪl ɛz ʃi sɪz, "hæv ə nis deɪ." youuuuu*," sɪz wən ˈwʊmən, hu teɪks ðə pɛn ənd ðɛn lʊks æt hər frɛnd wɪθ ˈfroʊzən lɪps ənd waɪld aɪz. "kul," sɪz ə mæn ɪn ə ˈtiˌsərt, ˈnɑdɪŋ wɪθ ˈʤɛnjuˌaɪn wɔrmθ. "ˈvɛri kul." moʊst ˈpipəl mit aɪz ɛz ʃi əˈproʊʧɪz, ənd ðeɪ əkˈsɛpt hər gɪfts pəˈlaɪtli. ə fju meɪk ə pɔɪnt tɪ lʊk əˈweɪ, ənd ˈrəðər ðən ˈbɑðərɪŋ ðɛm, ʃi ʤɪst muvz ɔn. ðɪs ɪz nɑt fərst trəmp ˈræli. ʃi meɪd nuz ɪn ˈʤænjuˌɛri wɪn ʃi ʃoʊd əp æt əˈnəðər wən ɪn rɑk hɪl, saʊθ ˌkɛrəˈlaɪnə. ˈdʊrɪŋ hɪz spiʧ ðət deɪ, trəmp səˈʤɛstɪd səm ˈsɪriən ˈrɛfˌjuʤiz hæd taɪz tɪ ðə ˌɪzˈlɑmɪk steɪt, ənd æt ðət ˈmoʊmənt həˈmid stʊd əp ˈsaɪləntli bɪˈhaɪnd ɪm, ˈwɛrɪŋ ə ʃərt ðət sɛd, "sɑˈlɑm aɪ kəm ɪn pis." ðə kraʊd bud ənd ʤɪrd. pəˈlis ɛˈskɔrtɪd hər aʊt əv ðə ˈræli. ʃi keɪm tɪ əˈnəðər ˈræli ɪn ˈɔgəst, ənd sɪz ʃi wɑz ˈbutɪd frəm ðət wən, tu. naʊ bæk. "aɪ θɪŋk ˈrɪli ˌɪmˈpɔrtənt tɪ du ðɪs," ʃi tɛlz mi. "ʤɪst tɪ ʃoʊ ˈpipəl maɪ feɪs ənd əˈlaʊ ðɛm tɪ ˈæˌkʧuəli ɪnˈkaʊnər ə ˈməzlɪm ənd ʃoʊ ðɛm ðət wi ər ˈpisfəl, ðət nɑt ˈtɛrəˌrɪsts. soʊ ˈmɛni ˈpipəl hæv ˈnɛvər ˈivɪn mɛt ə ˈməzlɪm. ðeɪ noʊ hu wi ər." aɪ tɛl hər ðət ɪt saʊnz laɪk ən ˌɪnˈkrɛdəbəl weɪt tɪ ˈkɛri, ˌrɛprɪˈzɛnɪŋ ɔl əv ˌɪsˈlɑm tɪ ˈpipəl huz ˈkænədɪt wʊd laɪk tɪ kip ˈməzlɪmz frəm ˈɛnərɪŋ ðə ˈkəntri. ʃi teɪks ə kwɪk, sˈmaɪlɪŋ brɛθ, ənd ʃi ʃeɪks hər hɛd ˈkaɪndli ɛz ʃi ɪkˈspleɪnz. "aɪ ɔˈrɛdi ˈkɛri ðət weɪt. aɪ ˈkɛri ɪt goʊɪŋ tɪ ðə ˈgroʊsəri stɔr, goʊɪŋ əˈbaʊt maɪ deɪ. ˈɛvəri taɪm ˈpipəl si ðə hijab*, ðeɪ noʊ wət ɪt minz. ðeɪ noʊ wət aɪ ˌrɛprɪˈzɛnt. aɪ ˈɛvər liv ðət bɪˈhaɪnd." ʃi ədˈmɪts ðət ʃi æst səm ˈməzlɪm frɛndz tɪ ʤɔɪn hər təˈnaɪt, bət ðət ðeɪ wər tu ˈnərvəs tɪ kəm əˈlɔŋ. bət, ʃi sɪz, soʊ fɑr təˈnaɪt ɪnˈkaʊnərd pəˈlaɪtnəs frəm ɔl ənd ˈʤɛnjuˌaɪn ˌkjʊriˈɑsəti frəm səm. "wən ˈwʊmən toʊld mi ʃi wɑz skɛrd əv mi æt fərst," ʃi sɪz. "bət ðɛn ʃi sɛd ʃi ˌəndərˈstænd waɪ ʃi wɑz skɛrd. nɑt ðət scary,’*,’ ʃi sɛd. ˈmoʊmənts laɪk ðət meɪk ðɪs ə gʊd θɪŋ tɪ du." ɛz ˈtɔkɪŋ, ən ˈoʊldər mæn wɔks əp. hi lʊks həˈmid əp ənd daʊn ənd hi grɪnz, wɔrm ənd ə ˈlɪtəl kənfˈjuzd. "naʊ aɪ sin ju ɔn ðə nuz?" hi æsks. ʃi tərnz təˈwɔrd ɪm ənd smaɪlz. "ˈmeɪbi," ʃi sɪz. "jæ," hi sɪz. "aɪ θɪŋk aɪ sin ju ɔn ðɛr." ˈɔkwərd ˈsaɪləns. mˈjuʧuəl nɑdz. ðɛn hi æsks, "ju ˈhævɪŋ ə gʊd taɪm təˈnaɪt?" "aɪ æm." hi ˈrɛʤɪstərz ðɪs fər ə ˈmoʊmənt. hi lʊks daʊn, ɛz ɪf ˈprɑsɛsɪŋ ðə weɪt əv hər wərdz. "gʊd," hi sɪz. gʊd tɪ hir. ju hæv ə nis naɪt." hi wɔks əˈweɪ. ɛz hi livz, həˈmid tərnz bæk tɪ mi ənd smaɪlz. "si?" ʃi sɪz. "moʊst ˈpipəl ər ˈrɪli nis." naʊ əˈnəðər mæn əˈproʊʧɪz, ðɪs wən ɪn ə greɪ sut. hi əˈpɪrz tɪ bi ə kæmˈpeɪn ˈstæfər. hi ɪz lɛs ˈkjʊriəs. hi ɪz lɛs nis. "kəm wɪθ mi, pliz," hi sɪz, ənd ʃi ˈfɑloʊz. hi lidz hər təˈwɔrd ðə ˈɛksət, ənd ɛz ʃi wɔks, ʃi kips sˈmaɪlɪŋ, ˈpʊlɪŋ aʊt pɛnz ənd ˈhændɪŋ ðɛm tɪ mɛn ənd ˈwɪmən ɔn hər weɪ tɪ ðə bæk əv ðə rum. ʃi noʊz wət ðɪs ɪz. bɪn θru ðɪs ˌbiˈfɔr. ˈfaɪnəli ðeɪ riʧ ðə ˈɛksət ənd ˌdɪsəˈpɪr. ˈmɪnəts ˈleɪtər, ðə mæn rɪˈtərnz. ʃi dɪz nɑt. aɪ æsk ɪm wət ˈhæpənd. ˌkɑnfəˈdɛnʃəl," hi sɪz. aɪ æsk ɪf həˈmid hæd bɪn æst tɪ liv, ənd hi sɪz, "aɪ bɪˈliv soʊ." hi seɪ ˈɛniˌθɪŋ mɔr, nɑt ˈivɪn hɪz neɪm. ə fju ˈmɪnəts ˈleɪtər, həˈmid sɪz baɪ foʊn ðət wəns ʃi lɛft ðə rum, ðə mæn toʊld hər, "ðɪs ɪz ə ˈpraɪvət ɪˈvɛnt. ju ər nɑt ˈwɛlkəm hir." ʃi sɪz ʃi gɑt ɪn hər kɑr. ʃi droʊv hoʊm. "fək ˈdɑnəld trəmp!" ən aʊər ˈpæsɪz. ðɛn tu. omarosa*, pərˈhæps ðə moʊst ˈfeɪməs ˈfɔrmər əˈprɛntɪs kənˈtɛstənt, spiks. ˈrudi ˌʤuliˈɑni spiks. ə fju ˈloʊkəl ˌpɑləˈtɪʃənz ənd ə ˌtɛləˈvænʤələst, ʤeɪmz ˈrɑbɪsən, ɔl raɪz tɪ ðə steɪʤ. ðə kraʊd ənd ʧænts ənd ʧɪrz. ˈspikərz brænʧ aʊt ˈɪntu ˈtɛrɪˌtɔri ðət wɑz lɛft ˌənɪkˈsplɔrd ɪn ˌsɪnsəˈnæti. ðɛr ɪz mɔr tɔk əv gɑd, səm ˈbæʃɪŋ əv ˈlɪˌbərəlz əˈfɛndɪd baɪ nɔrθ ˈbæθˌrum lɔ. ˈmoʊstli, ðoʊ, ðə ˈspikərz pleɪ ðə hɪts. baɪ maɪ ˈsɛkənd naɪt ɔn ðə treɪl, ðə ˈrɪðəm ɪz fəˈmɪljər ənd ˈɔlˌmoʊst məˈnɑtənəs. ˈpipəl skrim ɪf ˈsəmˌwən sɪz ˈdɑnəld trəmp ʃʊd bi ˈprɛzɪdənt. ðeɪ ʧænt ɪf ðeɪ seɪ ðət ˈhɪləri ˈklɪntən ʃʊd goʊ tɪ ʤeɪl. ə fju fit əˈhɛd əv mi ɪn ðə kraʊd, aɪ si ə ˈlɪtəl bɔɪ, pərˈhæps 5 ˈsɪtɪŋ əˈtɑp wət aɪ əˈsum ər hɪz ˈʃoʊldərz. hɪz fit ˈdæŋgəl ɔn hɪz ʧɛst. hi wɛrz laɪnz əv rɛd, waɪt, ənd blu peɪnt ɔn hɪz feɪs ənd ə pɛr əv ˈglæsɪz ɪn ðə ʃeɪp əv tu stɑrz, ənd soʊ bɪg ðət hi həz tɪ hoʊld ðɛm ɪn pleɪs tɪ kip ðɛm frəm ˈfɑlɪŋ ɔf hɪz hɛd. æt wən ˈmoʊmənt ˈdʊrɪŋ ðə spiʧ, hi lʊks daʊn æt hɪz dæd ənd smaɪlz, bɪg ənd waɪd, əˈdɔrəbəl. ðɛn hi pəmps hɪz fɪst ənd ʧænts, "lɑk hər əp!" wɪn trəmp əˈpɪrz, ðə kraʊd skwilz. fər ə ˈmoʊmənt, hi bæsks ɪn ðɛr ˌædərˈeɪʃən. ðɛn hi spiks, lɔŋ ənd ˈræmbəlɪŋ, wɪˈθaʊt ə ˈtɛləˌprɑmptər. hi kɔlz hɪmˈsɛlf "ə ˈvɪktɪm əv wən əv ðə greɪt pəˈlɪtɪkəl smɪr kæmˈpeɪnz ɪn ðə ˈhɪstəri əv ɑr ˈkəntri." ˈsɛvərəl mɛn, ˌɪnˈfɪlˌtreɪtɪŋ ˈproʊˌtɛstərz, stɑrt ˈjɛlɪŋ fər ɪm tɪ kip hɪz hænz ɔf ˈwɪmən. ðeɪ hoʊld saɪnz: hænz ɔf ˈwɪmən" ənd "ɛnd waɪt meɪl ˈsaɪləns." ðə kraʊd buz ənd sɪˈkjʊrəti ˈɛskɔrts ðɛm aʊt, ənd ɔn ðɛr weɪ tɪ ðə bæk ðɛr saɪnz ˈrɪtən ɔn ˈfæbrɪk soʊ ðət ðeɪ kʊd bi ˈfoʊldɪd ənd snək ɪn ər græbd ənd rɪpt, lɛft ɛz ʃrɛdz ɔn ðə kənˈvɛnʃən flɔr. ɛz ðə ˈproʊˌtɛstərz riʧ ðə ˈɛksət, ðeɪ wɔk əˈlɔŋˈsaɪd ə ˈnəmbər əv trəmp səˈpɔrtərz hu ər ɔˈrɛdi ɔn ðɛr weɪ aʊt ðə dɔr. rɪˈleɪtɪd ðə ˈpərˌfɪkt ˈpəndət fər ðə trəmp ˌʤɛnərˈeɪʃən aɪ ʤɔɪn ðɛm. aɪ hɛd θru ðə dɔrz ənd əp tɪ ðə ˈplɑzə ʤɪst ˈaʊtˈsaɪd ðə kənˈvɛnʃən ˈɛntrəns. hir ɪz ˈdaʊnˈtaʊn ˈʃɑrlət, dɑrk ənd kul, ˈbɪzi ənd əˈlaɪv. ðə trəmp səˈpɔrtərz ər ˈfɪltərɪŋ aʊt ðə ˈbɪldɪŋ ənd təˈwɔrd ðɛr kɑz, pæst ə grup əv pərˈhæps θri ˈdəzən ˈproʊˌtɛstərz, ˈstændɪŋ ənd ˈhoʊldɪŋ saɪnz. "noʊ ˈprɛdətərz 4 ˈprɛzɪdənt." "əˈmɛrɪkə, ˈwɪmən, wi dɪˈzərv ˈbɛtər." ənd ˈfaɪnəli, ə saɪn wɪθ ˌməltiˈkələrd ˈlɛtərɪŋ ðət sɪz,, hænz ɔf mi," ʤɪst əˈbəv ə skɛʧ əv ən ˌænθrəpəˈmɔrfɪk ˈvʊlvə, kəmˈplit wɪθ ə ˈskaʊlɪŋ feɪs ənd tu ˈmɪdəl ˈfɪŋgərz reɪzd tɪ ðə skaɪ. ðə ˈproʊˌtɛstərz ʧænt. "noʊ ˈʤəstɪs! noʊ pis! noʊ ˈʤəstɪs! noʊ pis!" ðət wən ɪz fəˈmɪljər hir ɪn ˈʃɑrlət, ˈʧæntɪd θruaʊt ðə ˈsɪti ˈæftər kiθ ləˈmɑnt skɑt, ə blæk mæn, wɑz kɪld baɪ pəˈlis læst mənθ. "ðə hoʊl dæm ˈsɪstəm ɪz ˈgɪlti ɛz hɛl!" trəmp səˈpɔrtərz kənˈtɪnju tɪ ˈfɪltər aʊt əv ðə kənˈvɛnʃən ˈsɛnər, ənd ɛz ðeɪ riʧ ðə ˈproʊˌtɛstərz ˈmɛni stɑp ənd ˈlɪŋər. fər ə waɪl ðeɪ stænd ɔn ðə ˈɛʤɪz, ˈgɪgəlɪŋ æt ðə sin. ˈbɑdiz kənˈtɪnju ˈpɔrɪŋ aʊt əv ðə ˈbɪldɪŋ ənd ðə kraʊd əv trəmp səˈpɔrtərz kənˈtɪnjuz tɪ swɛl, ənˈtɪl ðɛr ɪz ə smɔl kraʊd əv ˈlɑrʤli blæk ənd braʊn ˈproʊˌtɛstərz sərˈaʊndɪd baɪ ə ˈmæsɪv kraʊd əv ˈnɪrli rallygoers*. æt səm pɔɪnt, ðə trəmp səˈpɔrtərz ˌdɪˈsaɪd hæd ɪˈnəf. aɪ hir wən ʃaʊt, "goʊ bæk wɛr ju keɪm frəm!" əˈnəðər jɛlz, "jʊr ɔn ˈwɛlˌfɛr!" ɛz ðə ˈnəmbər əv trəmp səˈpɔrtərz kənˈtɪnjuz tɪ groʊ, ðə grup əv ˈproʊˌtɛstərz bɪˈkəmz mɔr ˈkɑmpækt, skˈwizɪŋ təˈgɛðər ɪn ə taɪt fɔrˈmeɪʃən. ɛz ˈtɛnʧənz raɪz ðeɪ muv tɪ ðɛr moʊst ˈifɛktɪv ʧænt, ənd ɪt bumz ˈkrɪspli ɔl ˈoʊvər ˈdaʊnˈtaʊn. "fək ˈdɑnəld trəmp! fək ˈdɑnəld trəmp! fək ˈdɑnəld trəmp!" ˈstændɪŋ nɪr ðə frənt əv ðə grup əv trəmp səˈpɔrtərz, ə jəŋ mæn ɪn ə "meɪk əˈmɛrɪkə greɪt əˈgɛn" hæt ʃeɪks hɪz hɛd. hi tərnz əraʊnd tɪ ðə rɛst əv hɪz θrɔŋ, ənd hi wɪps hɪz ɑrmz ɪn ðə ɛr ɛz hi lidz ə counterchant*. "trəmp! trəmp! trəmp! trəmp!" naʊ fɪsts pəmp ənd grɪnz tərn ˈdaʊnwərd ˈɪntu scowls*. ðə trəmp səˈpɔrtərz ɪnʧ ˈkloʊzər ənd ˈkloʊzər tɪ ðə ˈproʊˌtɛstərz ənˈtɪl ðɛr ɪz ˈoʊnli ən ˌɪˈmæʤəˌnɛri laɪn, ə sˈlɪvər əv ˈkɑnkrit ˈsɛpərˌeɪtɪŋ ðə tu grups. ɔn iʧ saɪd, ðə seɪm neɪm. "trəmp!" "fək ˈdɑnəld trəmp! "trəmp!" "fək ˈdɑnəld trəmp!" ˈstændɪŋ əˈməŋ ðɛm ɪz ə ˈproʊˌtɛstər neɪmd ʒɪˈsɛl. waɪl ˈɛvriˌwən əraʊnd hər skrimz, ʃi stændz, ˈsaɪlənt ənd blank-faced*, ˈrɑkɪŋ bæk ənd fɔrθ ənd ˈhoʊldɪŋ ə saɪn. ʒɪˈsɛl wɑz bɔrn ɪn brəˈzɪl bət muvd tɪ ðə juˈnaɪtɪd steɪts æt 13 ʃi ərnd hər ˈsɪtɪzənˌʃɪp ʤɪst ˈæftər ˈprɛzɪdənt ˌoʊˈbɑmə wən riɪˈlɛkʃən ɪn 2012 nɛkst mənθ, ʃi wɪl voʊt ɪn hər fərst ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən. ˈleɪtər, wɪn ʒɪˈsɛl ənd aɪ spik, ʃi ʃɛrz ˈsəmθɪŋ. ðɪs wik, ʃi sɪz, həz bɪn "ˈrɪli, ˈrɪli rəf." wɪn ʃi fərst sɔ ðə ˈvɪdioʊ əv ˈkɑmɛnts tɪ ˈbɪli bʊʃ, ʃi fɛlt ə ˈnəmɪŋ ˈæŋgər, səm ʃˈrəgɪŋ reɪʤ. bət ˈleɪtər ðət deɪ, ʃi bɪˈgæn tɪ fil ðə ˈspeɪsɪz əraʊnd hər ˈkloʊzɪŋ ɪn. hər ˈhɑrtˌbit reɪst əˈgɛnst hər brɛθ. ɔl wik, ɛz ˈwɪmən keɪm ˈfɔrwərd əˈkjuzɪŋ trəmp əv ˈsɛkʃuəl əˈsɔlt, ðiz ˈfilɪŋz rɪˈtərnd. ˈtrɛmbəlɪŋ. swɛt. ə ˈsizɪŋ ənd kənˈfaʊndɪŋ fɪr. ʃi ˈriəˌlaɪzd ðɛn ðət ðoʊz ˈstɔriz riˈmaɪndɪd hər əv hər oʊn. ʃi θɔt əv ðə ˈoʊldər bɔɪ hu ʃi sɪz reɪpt hər æt 13 ʃi θɔt əv ðə weɪ ˈəðərz ɪkˈskjuzd hər əˈtækər. hi wɑz ˈpɑpjələr ənd ˈpaʊərfəl. ˈʃʊrli hi nid reɪp fər sɛks. ɪf slɛpt təˈgɛðər, ʃi sɪz ˈpipəl toʊld hər, ðɛn ʃi məst hæv ˈwɔntɪd ɪt tu. naʊ hir ʃi stændz, ˈrɑkɪŋ bæk ənd fɔrθ, ˈsaɪləntli ˈhoʊldɪŋ hər saɪn. ðə tɔp hæf əv ɪt sɪz, "maɪ ɪˈlɛkʃən ɛz ə kwɪr, reɪp sərˈvaɪvər, ləˈtinə ˈɪməgrənt, ənd əˈmɛrɪkən ˈsɪtɪzən." ðə ˈbɑtəm hæf ʃoʊz drɔɪŋz əv tu ˈmɪdəl ˈfɪŋgərz hɛld haɪ. ʃi kənˈtɪnjuz ˈrɑkɪŋ tɪ ðə ˈrɪðəm əv ðə ʧænts əraʊnd hər. ʃi ɪz ˈnərvəs, ʃi tɛlz mi ˈleɪtər, əˈbaʊt ðə ˌpɑsəˈbɪləˌti əv ˈvaɪələns frəm trəmp səˈpɔrtərz. ʃi filz, ʃi sɪz, ˈækʧəwəl fɪr. bət ɪn ðɪs ˈmoʊmənt ʃi stilz hərˈsɛlf ɛz ʃi rɑks. ˈfaɪnəli, ʃi ʤɔɪnz ðə ʧænt. "fək ˈdɑnəld trəmp! fək ˈdɑnəld trəmp! fək ˈdɑnəld trəmp!" ʃi skrimz ənd skrimz ənd skrimz. "ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ!" ðə tu saɪdz kənˈtɪnju laɪk ðɪs, ˈʧæntɪŋ ənd counterchanting*, ˈpɔzɪŋ tɪ ˈʃəfəl əraʊnd əˈməŋ ðɛmˈsɛlvz ər tɪ hərl ˈskætərd ˌɪnˈsəlts bæk æt iʧ ˈəðər. ˈfaɪnəli, ɛz ðə ˈproʊˌtɛstərz bɪˈgɪn əˈnəðər raʊnd əv ʧænts, ðə rɪˈpəblɪkən səˈpɔrtərz ʃɪft træks. "ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ!" ɛz sun ɛz ɪt stɑrts ɪt sprɛdz, ˈgræbɪŋ ənd ˈbaɪˌstændərz. ɔl əˈkrɔs ðə ˈplɑzə, mɔr ənd mɔr maʊðz ˈoʊpən ənd fɪsts reɪz tɪ ðə skaɪ. ɛz ðə ʧænt sprɛdz, ðə ˈproʊˌtɛstərz goʊ ˈsaɪlənt fər ʤɪst ə ˈsɛkənd. ðeɪ ˈgæðər ðɛmˈsɛlvz, ɛz ɪf ˈfɪgjərɪŋ aʊt wət tɪ du nɛkst. ˈfaɪnəli, ðeɪ ʤɔɪn. "ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ!" ɔn boʊθ saɪdz, ðə seɪm ʧænt, full-throated*. ðɪs maɪt rɛd laɪk ə ˈmoʊmənt əv ˌsɑləˈdɛrəti, tu poʊlz əv əˈmɛrɪkən ˈpɑləˌtɪks ˈfaɪndɪŋ θri ˈlɛtərz ɔn wɪʧ ðeɪ kən ɔl əˈgri. bət æt ðə ˈsɛnər əv ðə scrum*, ʤɪst əˈkrɔs iʧ saɪd əv ðə ˌɪˈmæʤəˌnɛri laɪn, ðeɪ stɛr æt iʧ ˈəðər, ˈfeɪsɪz tˈwɪstɪd ˈɪntu ˈæŋgər, ˈjɛlɪŋ tɪ draʊn iʧ ˈəðər aʊt wɪθ ðə ɪgˈzækt seɪm θɪŋ. "ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ! ˈjuˈɛˈseɪ!" sun ðə ʧænt mɔrfs. əˈgɛn, ɪt stɑrts ɔn ðə trəmp saɪd. "aɪ plɛʤ əˈliʤəns tɪ ðə flæg ˌɪˈmiˌdiətli, ðə ˈproʊˌtɛstərz ʤɔɪn. əv ðə juˈnaɪtɪd steɪts əv əˈmɛrɪkə ðə ˈvɑljum ˈraɪzɪz, ənd hænz paʊnd əˈgɛnst hɑrts. ənd tɪ ðə riˈpəblɪk fər wɪʧ ɪt stændz ðeɪ ər ˈskrimɪŋ, ɔl əv ðɛm. "wən ˈneɪʃən!" "ˈəndər gɑd!" ðə wərdz saʊnd ˈdɪfərənt naʊ, ˈvaɪələnt ˈsəmˌhaʊ, ənd ɛz ðə ˈskrimɪŋ ˈriʧɪz ɪts ɛnd, ðə ˈproʊˌtɛstərz bæk ˈɪntu ðɛmˈsɛlvz, əˈweɪ frəm ðə trəmp səˈpɔrtərz, hu ər ˈbɪgər ɪn ˈnəmbər ənd ˈvɑljum ənd æt list ˈikwəl ɪn reɪʤ. ðə ɛr ɪz kul. ˈsəmˌwɛr ə fju blɑks frəm hir, ðə naɪt ɪz ˈplɛzənt ənd ðə strits ər æt pis. ɪn θri wiks, moʊst əv ðiz ˈpipəl wɪl goʊ tɪ ðə poʊlz. ðə deɪ ˈæftər ðə ɪˈlɛkʃən, ɔl wɪl bi lɛft ˈwəndərɪŋ wət ðə hɛl kəmz nɛkst. fər naʊ, ðə ˈproʊˌtɛst nɪrz ɪts ɛnd. ˈɛvriˌwən ʤɔɪnz təˈgɛðər ɪn ˈjɛlɪŋ ðə fəˈmɪljər rɪˈfreɪn. bət ðə wərdz ðɛmˈsɛlvz ər ˈɛmti ˈkeɪsɪŋz, ˈvɛsəlz fər ˈwɔrɪŋ aɪˈdiəz əv wət ðɪs ˈkəntri minz. "ˌɪndɪˈvɪsɪbəl!" ðɪs ɪz nɑt ə plɛʤ. ðɪs ɪz ə θrɛt. "wɪθ ˈlɪbərˌti!" "ənd ˈʤəstɪs!" "fər ɔl!"
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show full text range rover number one for auction
the first ever range rover, chassis number #001, will be going under the hammer in the salonivé sale, hosted in partnership with silverstone auctions, in london on september 4th. this incredibly special car, estimated at between and, was the first example of the iconic british suv to roll of theoduction line back in 1969.
the range rover story begins in the when rover acknowledged the demand for a new, more recreational type of vehicle, and so development began in 1967 headed by charles spencer king.
this car was built between november and december 1969 before being registered on january 1970, nearly six months before the official launch date of the range rover. the first owner of the car was michael furlong, theoducer of twoomotional films for the model.
in 1975 the car, by this time in bahama gold, passed onto a new owner. changes to registrations as well as colour meant that chassis number 001 was 'lost' for a number of years, passing through another owner, until discovery by the current vendor in the early 1990s. what followed was aofessional, six year ground up restoration, both bodily and mechanically executed to an exceptional standard as well as taking it back to its original olive green colour.
unusually, the vehicle retains all its "matching numbers" components; chassis, engine, gearbox, and axles, as well as the original aluminium bonnet, and the original body shell. in 1997 the reissued #001 with its original registration number 151h'.
speaking on the sale of this historical car, nick whale, managing director, silverstone auctions, said: "it's wonderful to be able to offer this iconic british model for auction at the finest event. these cars are incredibly popular and we expect a significant amount of interest when it goes under the hammer."
managing director of salonivé, andrew bagley, added: "the range rover is a truly landmark british icon and i'm delighted that chassis number 001 will be joining us at such an internationally recognised british event."
for more information on the car please visit.
there's a scene in the nicholas cage version of gone in 60 seconds, where the lead car thief marches into a ferrari dealership and laments a newer version of finest, claiming he saw three outside his local starbucks and calling their drivers wieners," before talking about a 1967 275. the salesman rightly points out that purchasing such a car would make cage's character a connoisseur. this is land rover's equivalent of that 275 the very first range rover , wearing chassis number rare land rover is slated to cross the silverstone auctions' block on september 4, where it's expected to fetch anywhere from to pounds ($167,000 to $235,000 at today's in late 1969, this particular example was registered some six months before the range rover's official launch date. it was considered "lost" until the 1990s, according to silverstone, thanks in large part to a new bahama gold paint job and registration changes. since its rediscovery, this suv underwent a six-year, a look up top at our fully gallery of images of this rarity, and then scroll down for theess release. and if you happen to be in london in early september and have about $230,000 burning a hole in your pocket, pick this classic. then head to starbucks and show up the wieners of the world.
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ʃoʊ fʊl tɛkst reɪnʤ ˈroʊvər ˈnəmbər wən fər ˈɔkʃən ðə fərst ˈɛvər reɪnʤ ˈroʊvər, ˈʧæsi ˈnəmbər 001 wɪl bi goʊɪŋ ˈəndər ðə ˈhæmər ɪn ðə səˈlɑn privé*é seɪl, ˈhoʊstɪd ɪn ˈpɑrtnərˌʃɪp wɪθ ˈsɪlvərˌstoʊn ˈɔkʃənz, ɪn ˈləndən ɔn sɛpˈtɛmbər 4th*. ðɪs ˌɪnˈkrɛdəbli ˈspɛʃəl kɑr, ˈɛstəˌmeɪtɪd æt bɪtˈwin ənd wɑz ðə fərst ɪgˈzæmpəl əv ðə ˌaɪˈkɑnɪk ˈbrɪtɪʃ ˌɛsˌjuˈvi tɪ roʊl əv ðə pərˈdəkʃən laɪn bæk ɪn 1969 ðə reɪnʤ ˈroʊvər ˈstɔri bɪˈgɪnz ɪn ðə wɪn ˈroʊvər ækˈnɑlɪʤd ðə dɪˈmænd fər ə nu, mɔr ˌrɛkriˈeɪʃənəl taɪp əv ˈviɪkəl, ənd soʊ dɪˈvɛləpmənt bɪˈgæn ɪn 1967 ˈhɛdɪd baɪ ˈʧɑrəlz ˈspɛnsər kɪŋ. ðɪs kɑr wɑz bɪlt bɪtˈwin noʊˈvɛmbər ənd dɪˈsɛmbər 1969 ˌbiˈfɔr biɪŋ ˈrɛʤɪstərd ɔn ˈʤænjuˌɛri 1970 ˈnɪrli sɪks mənθs ˌbiˈfɔr ðə əˈfɪʃəl lɔnʧ deɪt əv ðə reɪnʤ ˈroʊvər. ðə fərst ˈoʊnər əv ðə kɑr wɑz ˈmaɪkəl ˈfərˌlɔŋ, ðə prəˈdusər əv tu pərˈmoʊʃənəl fɪlmz fər ðə ˈmɑdəl. ɪn 1975 ðə kɑr, baɪ ðɪs taɪm ɪn bəˈhɑmə goʊld, pæst ˈɔntu ə nu ˈoʊnər. ˈʧeɪnʤɪz tɪ ˌrɛʤɪˈstreɪʃənz ɛz wɛl ɛz ˈkələr mɛnt ðət ˈʧæsi ˈnəmbər 001 wɑz 'lɔst' fər ə ˈnəmbər əv jɪrz, ˈpæsɪŋ θru əˈnəðər ˈoʊnər, ənˈtɪl ˌdɪˈskəvri baɪ ðə ˈkɑrənt ˈvɛndər ɪn ðə ˈərli 1990s*. wət ˈfɑloʊd wɑz ə prəˈfɛʃənəl, sɪks jɪr graʊnd əp ˌrɛstərˈeɪʃən, boʊθ ˈbɑdəli ənd məˈkænɪkli ˈɛksəˌkjutɪd tɪ ən ɪkˈsɛpʃənəl ˈstændərd ɛz wɛl ɛz ˈteɪkɪŋ ɪt bæk tɪ ɪts ərˈɪʤənəl ˈɑlɪv grin ˈkələr. ənˈjuˌʒuəli, ðə ˈviɪkəl rɪˈteɪnz ɔl ɪts "ˈmæʧɪŋ ˈnəmbərz" kəmˈpoʊnənts; ˈʧæsi, ˈɪnʤən, ˈgɪrˌbɑks, ənd ˈæksəlz, ɛz wɛl ɛz ðə ərˈɪʤənəl ˌæˈljumɪnəm ˈbɑnət, ənd ðə ərˈɪʤənəl ˈbɑdi ʃɛl. ɪn 1997 ðə riˈɪʃud 001 wɪθ ɪts ərˈɪʤənəl ˌrɛʤɪˈstreɪʃən ˈnəmbər 151h*'. ˈspikɪŋ ɔn ðə seɪl əv ðɪs hɪˈstɔrɪkəl kɑr, nɪk weɪl, ˈmænəʤɪŋ dɪˈrɛktər, ˈsɪlvərˌstoʊn ˈɔkʃənz, sɛd: "ɪts ˈwəndərfəl tɪ bi ˈeɪbəl tɪ ˈɔfər ðɪs ˌaɪˈkɑnɪk ˈbrɪtɪʃ ˈmɑdəl fər ˈɔkʃən æt ðə ˈfaɪnəst ɪˈvɛnt. ðiz kɑz ər ˌɪnˈkrɛdəbli ˈpɑpjələr ənd wi ɪkˈspɛkt ə sɪgˈnɪfɪkənt əˈmaʊnt əv ˈɪntəˌrɛst wɪn ɪt goʊz ˈəndər ðə ˈhæmər." ˈmænəʤɪŋ dɪˈrɛktər əv səˈlɑn privé*é, ˈændru ˈbægli, ˈædɪd: "ðə reɪnʤ ˈroʊvər ɪz ə ˈtruli ˈlændˌmɑrk ˈbrɪtɪʃ ˈaɪkɑn ənd əm dɪˈlaɪtɪd ðət ˈʧæsi ˈnəmbər 001 wɪl bi ˈʤɔɪnɪŋ ˈjuˈɛs æt səʧ ən ˌɪnərˈnæʃənɑli ˈrɛkəgˌnaɪzd ˈbrɪtɪʃ ɪˈvɛnt." fər mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ðə kɑr pliz ˈvɪzɪt ðɛrz ə sin ɪn ðə ˈnɪkələs keɪʤ ˈvərʒən əv gɔn ɪn 60 ˈsɛkəndz, wɛr ðə lɛd kɑr θif ˈmɑrʧɪz ˈɪntu ə fərˈɑri ˈdilərˌʃɪp ənd ləˈmɛnts ə nuər ˈvərʒən əv ˈfaɪnəst, ˈkleɪmɪŋ hi sɔ θri ˈaʊtˈsaɪd hɪz ˈloʊkəl ˈstɑrˌbəks ənd ˈkɔlɪŋ ðɛr ˈdraɪvərz ˈwinərz," ˌbiˈfɔr ˈtɔkɪŋ əˈbaʊt ə 1967 275 ðə ˈseɪlzmən ˈraɪtli pɔɪnts aʊt ðət ˈpərʧəsɪŋ səʧ ə kɑr wʊd meɪk ˈkeɪʤɪz ˈkɛrɪktər ə ˌkɑnəˈsər. ðɪs ɪz lænd ˈroʊvərz ɪkˈwɪvələnt əv ðət 275 ðə ˈvɛri fərst reɪnʤ ˈroʊvər ˈwɛrɪŋ ˈʧæsi ˈnəmbər rɛr lænd ˈroʊvər ɪz sˈleɪtɪd tɪ krɔs ðə ˈsɪlvərˌstoʊn ˈɔkʃənz' blɑk ɔn sɛpˈtɛmbər 4 wɛr ɪts ɪkˈspɛktɪd tɪ fɛʧ ˈɛniˌwɛr frəm tɪ paʊnz tɪ æt ˈtudeɪz ɪn leɪt 1969 ðɪs ˌpɑˈtɪkjələr ɪgˈzæmpəl wɑz ˈrɛʤɪstərd səm sɪks mənθs ˌbiˈfɔr ðə reɪnʤ ˈroʊvərz əˈfɪʃəl lɔnʧ deɪt. ɪt wɑz kənˈsɪdərd "lɔst" ənˈtɪl ðə 1990s*, əˈkɔrdɪŋ tɪ ˈsɪlvərˌstoʊn, θæŋks ɪn lɑrʤ pɑrt tɪ ə nu bəˈhɑmə goʊld peɪnt ʤɑb ənd ˌrɛʤɪˈstreɪʃən ˈʧeɪnʤɪz. sɪns ɪts ridɪˈskəvri, ðɪs ˌɛsˌjuˈvi ˌəndərˈwɛnt ə six-year*, ə lʊk əp tɔp æt ɑr ˈfʊli ˈgæləri əv ˈɪmɪʤɪz əv ðɪs ˈrɛrɪti, ənd ðɛn skroʊl daʊn fər ðə prɛs riˈlis. ənd ɪf ju ˈhæpən tɪ bi ɪn ˈləndən ɪn ˈərli sɛpˈtɛmbər ənd hæv əˈbaʊt ˈbərnɪŋ ə hoʊl ɪn jʊr ˈpɑkət, pɪk ðɪs ˈklæsɪk. ðɛn hɛd tɪ ˈstɑrˌbəks ənd ʃoʊ əp ðə ˈwinərz əv ðə wərld.
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apache aims to provide application developers with a technology stack that can be deployed to a simple and lightweight java ee container. in this return to the open source java projects series, author steven haines introduces, explains how it differs from tomcat, and helps you set it up in your development environment. he then walks through the process of configuring to integrate resources such as database connection pools and destinations -- bread and butter for today's enterprise apps.
tomcat is a popular choice among lightweight, open source application servers, but for developers seeking a more app server, the options have been mostly commercial. with, apache hopes to change all that -- and then some. in this installment in the open source java projects series, i'll go under the hood of to explain how it differs from plain old tomcat. you'll also have the opportunity to meet (pronounced "tommy") hands-on, with a review of what is required to configure to host your application. since the main benefit of using over tomcat is its support for enterprise technologies, i'll show you how to configure various types of resources, as well as the process to wire those resources into your application.
about
you might recognize from its parent project,. started out as the integration of tomcat with, but that definition proved too narrow. as explained on the, itself is an expansive specification, including support for most of the java specs used in enterprise java development today. but builds on top of integration with, web services, connectors,s, jpa,, and java transactions and security, adding support for activemq, cxf, myfaces, and openjpa.
in evolving to be tomcat plus java enterprise edition,'s open source development team worked with three key design principles:
don't mess with tomcat
keep it simple
avoid architectural overhead
the goal was to add enterprise features to tomcat without incurring additional requirements or startup time for larger applications. based on recently published benchmarks for, it looks like they succeeded. the following statistics compare the start times of applications in versus other deployment environments:
rails custom (44mb war):% of startup time (369% faster)
lift/scala sample app (23mb war):% of startup time (128% faster)
confluence (149mb unpacked):% of startup time (166% faster)
tomee and plus
it's no secret that the java ee technology stack is very large. this poses a variety of challenges, but can make it especially difficult for non-commercial vendors like apache, that cannot necessarily afford the infrastructure overhead of implementing a java ee application. so, with java 6, the introduced java ee certification profiles.
as of this writing there are two classifications of certification: java ee 6 full profile and java ee 6 web profile. commercial java ee app servers like oracle application server, oracle weblogic, and websphere, as well as the open source and application servers, are fully certified. is currently java ee 6 certified only against the web profile. this means that supports a subset of the java ee specifications that particularly apply to java web development, namely: cdi,, jpa, jsf, jsp, jstl, jta, api, javamail, and bean validation.
if your application only requires those technologies, then you can take advantage of's lightweight, container. projects that need a little more might consider using+, which is currently not java ee 6 certified.+ includes support for soap and restful web services, as well as and the java ee connector architecture. see the for an matrix comparing features available in tomcat,, plus, and.
you can download or+ from the. note that i used+ for the sample application, though you should be able to follow along with either version.
tomee in your development environment
after you've downloaded or+, it to a directory on your computer. just like tomcat, requires that you install a and configure a environment variable. the environment variable should point to the root of the directory in which you installed the and you should add the/bin directory to your path environment variable.
you can set the on windows with the following command (assuming that you installed your in ):
set="c:\program" set
note that if you are using windows and do not want to run this command for each new command prompt, you can configure a system- and environment variable through the system configuration in your control panel.
likewise, on linux or mac you can use the following command:
export=/home/user/java export
once you have installed anded locally and you have your set, then you can start up by executing the or file from's bin directory. like tomcat, writes its default logs to . if everything starts up correctly you should see something like the following in your log file:
may 24, 2012 pm may 24, 2012 pm info:ializing"] may 24, 2012 pm info:ializing"] may 24, 2012 pm <clinit> info: can't find class may 24, 2012 pm <init> info: ******************************************************************************** ... may 24, 2012 pmfaces warning: no of found. abortializing myfaces. may 24, 2012 pm start info: starting"] may 24, 2012 pm start info: starting"] may 24, 2012 pm start info: server startup in 15197 ms
the log file is much larger than a traditional tomcat log file because is starting far more services than tomcat. an informational message that states " server startup in ms " indicates that the server started successfully. to validate that is running, open a web browser to the " " web context on the machine on which is running, for example:
http://localhost:8080/tomee/
you should see something similar to the in figure 1.
figure 1. of the (click to enlarge)
from this page you can click on "testing your setup" to ensure that everything is working. this test suite first checks that the directory and environment are properly setup. it then tests that the classes can be loaded andialized, and that the lookups work. if all the tests pass then you're ready to start deploying your applications to.
application deployment with
deploying application artifacts to is very similar to deploying to tomcat: simply copy your war or ear file to the/webapps folder. when sees your war or ear file, it will explode your archive into a directory with the same name, but without the .war or .ear extension.
tomee supports a new feature introduced with java ee 6, which is the ability to deploy yours and web artifacts in a single web archive (war file). the purpose of doing this is to enable your web application and yours to share the same and libraries (such as spring), and to allows to see classes ands to see classes. for packaging purposes, the and-jar.xml files live in the same war file.
this new packaging scheme is quite a difference from and even java ee 5, which both required a strict separation betweens and web code. if you still need these layers of separation, you can package your war file and jar files inside an ear file. if you do not need the separation, however, it is more and much easier to configure all your classes in the same archive while sharing the same class loader.
defining external resources
an enterprise application would be pretty useless if it never interacted with any external resources. there are two basic strategies for defining resources:
container managed
application managed
container managed resources are configured in the container, outside of the application itself. the application subsequently acquires those resources from the container when it needs them. application managed resources are defined at the application-level, usually through configuration files. they are wired into the application on load or when needed.
the benefit of container managed resources is that the same application can run in different environments with just a few simple environmental configuration changes. for example, in a environment an application might be configured to persist data to and from a database and publish messages to topics; but in a user acceptance testing (uat) environment those external resources would be different. having the environmental configuration performed on the container also removes the risk that the application will inadvertently point to the wrong environment (such as deploying an application to a production environment that is pointing to a database). finally, most monitoring tools provide the ability to automatically discover container managed resources that publish resource metrics via java management extensions (jmx). most production support teams for medium- to large-scale applications configure resources at the container-level.
the benefits to defining resources inside the application are primarily with respect to ease-of-deployment. it is far easier to deploy an application that knows about all of its dependencies than it is to deploy one whose collection of resources must be externally defined. some projects get around this by combining the two approaches; for instance, the application might define the resource, such as configuring a database connection pool, but then extract the from the deployment environment.
defining a database connection pool
database connections are probably the most common resource to configure for an enterprise application, so we'll try configuring a database connection as a way of learning more about.
the first step is to copy your driver (jar or zip file) to the/lib folder so that the will be able to find it when starts up. next, you must configure the database connection in a <resource> xml node in the/conf/tomee.xml file.
to create a data source, define a <resource> node with a type of " ," as shown here:
<resource id="mydatasource" type="datasource"> </resource>
the body of this node accepts a simple set of pairs that configure the data source.
database configuration example
resource configuration is a huge topic, so i direct you to the for complete documentation. we'll practice with a database configuration, which includes all of the options summarized below.
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əˈpæʧi eɪmz tɪ prəˈvaɪd ˌæpləˈkeɪʃən dɪˈvɛləpərz wɪθ ə tɛkˈnɑləʤi stæk ðət kən bi dɪˈplɔɪd tɪ ə ˈsɪmpəl ənd ˈlaɪtˈweɪt ˈʤɑvə i kənˈteɪnər. ɪn ðɪs rɪˈtərn tɪ ðə ˈoʊpən sɔrs ˈʤɑvə ˈprɑʤɛkts ˈsɪriz, ˈɔθər ˈstivən heɪnz ˌɪntrəˈdusɪz, ɪkˈspleɪnz haʊ ɪt ˈdɪfərz frəm ˈtɑmˌkæt, ənd hɛlps ju sɛt ɪt əp ɪn jʊr dɪˈvɛləpmənt ɪnˈvaɪrənmənt. hi ðɛn wɔks θru ðə ˈprɔˌsɛs əv kənˈfɪgjərɪŋ tɪ ˈɪnəˌgreɪt ˈrisɔrsɪz səʧ ɛz ˈdætəˌbeɪs kəˈnɛkʃən pulz ənd ˌdɛstəˈneɪʃənz brɛd ənd ˈbətər fər ˈtudeɪz ˈɛnərˌpraɪz æps. ˈtɑmˌkæt ɪz ə ˈpɑpjələr ʧɔɪs əˈməŋ ˈlaɪtˈweɪt, ˈoʊpən sɔrs ˌæpləˈkeɪʃən ˈsərvərz, bət fər dɪˈvɛləpərz ˈsikɪŋ ə mɔr æp ˈsərvər, ðə ˈɔpʃənz hæv bɪn ˈmoʊstli kəˈmərʃəl. wɪθ, əˈpæʧi hoʊps tɪ ʧeɪnʤ ɔl ðət ənd ðɛn səm. ɪn ðɪs ˌɪnˈstɔlmənt ɪn ðə ˈoʊpən sɔrs ˈʤɑvə ˈprɑʤɛkts ˈsɪriz, aɪl goʊ ˈəndər ðə hʊd əv tɪ ɪkˈspleɪn haʊ ɪt ˈdɪfərz frəm pleɪn oʊld ˈtɑmˌkæt. jul ˈɔlsoʊ hæv ðə ˌɑpərˈtunəti tɪ mit (prəˈnaʊnst "ˈtɑmi") ˌhænˈzɔn, wɪθ ə ˌrivˈju əv wət ɪz rikˈwaɪərd tɪ kənˈfɪgjər tɪ hoʊst jʊr ˌæpləˈkeɪʃən. sɪns ðə meɪn ˈbɛnəfɪt əv ˈjuzɪŋ ˈoʊvər ˈtɑmˌkæt ɪz ɪts səˈpɔrt fər ˈɛnərˌpraɪz tɛkˈnɑləʤiz, aɪl ʃoʊ ju haʊ tɪ kənˈfɪgjər ˈvɛriəs taɪps əv ˈrisɔrsɪz, ɛz wɛl ɛz ðə ˈprɔˌsɛs tɪ waɪər ðoʊz ˈrisɔrsɪz ˈɪntu jʊr ˌæpləˈkeɪʃən. əˈbaʊt ju maɪt ˈrɛkəgˌnaɪz frəm ɪts ˈpɛrənt ˈprɑʤɛkt,. ˈstɑrtɪd aʊt ɛz ðə ˌɪnəˈgreɪʃən əv ˈtɑmˌkæt wɪθ, bət ðət ˌdɛfəˈnɪʃən pruvd tu ˈnɛroʊ. ɛz ɪkˈspleɪnd ɔn ðə, ˌɪtˈsɛlf ɪz ən ɪkˈspænsɪv ˌspɛsɪfɪˈkeɪʃən, ˌɪnˈkludɪŋ səˈpɔrt fər moʊst əv ðə ˈʤɑvə spɛks juzd ɪn ˈɛnərˌpraɪz ˈʤɑvə dɪˈvɛləpmənt təˈdeɪ. bət bɪldz ɔn tɔp əv ˌɪnəˈgreɪʃən wɪθ, wɛb ˈsərvɪsɪz, kəˈnɛktərz,, jpa*,, ənd ˈʤɑvə trænˈzækʃənz ənd sɪˈkjʊrəti, ˈædɪŋ səˈpɔrt fər activemq*, cxf*, myfaces*, ənd openjpa*. ɪn ɪˈvɑlvɪŋ tɪ bi ˈtɑmˌkæt pləs ˈʤɑvə ˈɛnərˌpraɪz ɪˈdɪʃən, ˈoʊpən sɔrs dɪˈvɛləpmənt tim wərkt wɪθ θri ki dɪˈzaɪn ˈprɪnsəpəlz: doʊnt mɛs wɪθ ˈtɑmˌkæt kip ɪt ˈsɪmpəl əˈvɔɪd ˌɑrkəˈtɛkʧərəl ˈoʊvərˈhɛd ðə goʊl wɑz tɪ æd ˈɛnərˌpraɪz ˈfiʧərz tɪ ˈtɑmˌkæt wɪˈθaʊt ˌɪnˈkərɪŋ əˈdɪʃənəl rɪkˈwaɪrmənts ər ˈstɑrˌtəp taɪm fər ˈlɑrʤər ˌæpləˈkeɪʃənz. beɪst ɔn ˈrisəntli ˈpəblɪʃt ˈbɛnʧˌmɑrks fər ɪt lʊks laɪk ðeɪ səkˈsidɪd. ðə ˈfɑloʊɪŋ stəˈtɪstɪks kəmˈpɛr ðə stɑrt taɪmz əv ˌæpləˈkeɪʃənz ɪn ˈvərsəz ˈəðər dɪˈplɔɪmənt ɪnˈvaɪrənmənts: reɪlz ˈkəstəm wɔr): əv ˈstɑrˌtəp taɪm 369 ˈfæstər) ˈsæmpəl æp wɔr): əv ˈstɑrˌtəp taɪm 128 ˈfæstər) ˈkɑnfluəns ənˈpækt): əv ˈstɑrˌtəp taɪm 166 ˈfæstər) ənd pləs ɪts noʊ ˈsikrɪt ðət ðə ˈʤɑvə i tɛkˈnɑləʤi stæk ɪz ˈvɛri lɑrʤ. ðɪs ˈpoʊzɪz ə vərˈaɪəti əv ˈʧælənʤɪz, bət kən meɪk ɪt əˈspɛʃəli ˈdɪfəkəlt fər ˈnɑnkəˈmərʃəl ˈvɛndərz laɪk əˈpæʧi, ðət ˈkænɑt ˌnɛsəˈsɛrəli əˈfɔrd ðə ˌɪnfrəˈstrəkʧər ˈoʊvərˈhɛd əv ˈɪmpləˌmɛnɪŋ ə ˈʤɑvə i ˌæpləˈkeɪʃən. soʊ, wɪθ ˈʤɑvə 6 ðə ˌɪntrəˈdust ˈʤɑvə i ˌsərtəfəˈkeɪʃən ˈproʊˌfaɪlz. ɛz əv ðɪs ˈraɪtɪŋ ðɛr ər tu ˌklæsəfəˈkeɪʃənz əv ˌsərtəfəˈkeɪʃən: ˈʤɑvə i 6 fʊl ˈproʊˌfaɪl ənd ˈʤɑvə i 6 wɛb ˈproʊˌfaɪl. kəˈmərʃəl ˈʤɑvə i æp ˈsərvərz laɪk ˈɔrəkəl ˌæpləˈkeɪʃən ˈsərvər, ˈɔrəkəl weblogic*, ənd websphere*, ɛz wɛl ɛz ðə ˈoʊpən sɔrs ənd ˌæpləˈkeɪʃən ˈsərvərz, ər ˈfʊli ˈsərtəˌfaɪd. ɪz ˈkərəntli ˈʤɑvə i 6 ˈsərtəˌfaɪd ˈoʊnli əˈgɛnst ðə wɛb ˈproʊˌfaɪl. ðɪs minz ðət səˈpɔrts ə ˈsəbˌsɛt əv ðə ˈʤɑvə i ˌspɛsəfəˈkeɪʃənz ðət ˌpɑrˈtɪkjələrli əˈplaɪ tɪ ˈʤɑvə wɛb dɪˈvɛləpmənt, ˈneɪmli: cdi*,, jpa*, jsf*, jsp*, jstl*, jta*, api*, javamail*, ənd bin ˌvæləˈdeɪʃən. ɪf jʊr ˌæpləˈkeɪʃən ˈoʊnli rikˈwaɪərz ðoʊz tɛkˈnɑləʤiz, ðɛn ju kən teɪk ædˈvæntɪʤ əv ˈlaɪtˈweɪt, kənˈteɪnər. ˈprɑʤɛkts ðət nid ə ˈlɪtəl mɔr maɪt kənˈsɪdər ˈjuzɪŋ+, wɪʧ ɪz ˈkərəntli nɑt ˈʤɑvə i 6 ˈsərtəˌfaɪd.+ ˌɪnˈkludz səˈpɔrt fər soʊp ənd ˈrɛstfəl wɛb ˈsərvɪsɪz, ɛz wɛl ɛz ənd ðə ˈʤɑvə i kəˈnɛktər ˈɑrkəˌtɛkʧər. si ðə fər ən ˈmeɪtrɪks kəmˈpɛrɪŋ ˈfiʧərz əˈveɪləbəl ɪn ˈtɑmˌkæt,, pləs, ənd. ju kən ˈdaʊnˌloʊd ər+ frəm ðə. noʊt ðət aɪ juzd+ fər ðə ˈsæmpəl ˌæpləˈkeɪʃən, ðoʊ ju ʃʊd bi ˈeɪbəl tɪ ˈfɑloʊ əˈlɔŋ wɪθ ˈiðər ˈvərʒən. ɪn jʊr dɪˈvɛləpmənt ɪnˈvaɪrənmənt ˈæftər juv ˈdaʊnˌloʊdɪd ər+, ɪt tɪ ə dɪˈrɛktəri ɔn jʊr kəmˈpjutər. ʤɪst laɪk ˈtɑmˌkæt, rikˈwaɪərz ðət ju ˌɪnˈstɔl ə ənd kənˈfɪgjər ə ɪnˈvaɪrənmənt ˈvɛriəbəl. ðə ɪnˈvaɪrənmənt ˈvɛriəbəl ʃʊd pɔɪnt tɪ ðə rut əv ðə dɪˈrɛktəri ɪn wɪʧ ju ˌɪnˈstɔld ðə ənd ju ʃʊd æd ðə dɪˈrɛktəri tɪ jʊr pæθ ɪnˈvaɪrənmənt ˈvɛriəbəl. ju kən sɛt ðə ɔn ˈwɪndoʊz wɪθ ðə ˈfɑloʊɪŋ kəˈmænd (əˈsumɪŋ ðət ju ˌɪnˈstɔld jʊr ɪn sɛt" sɛt noʊt ðət ɪf ju ər ˈjuzɪŋ ˈwɪndoʊz ənd du nɑt wɔnt tɪ rən ðɪs kəˈmænd fər iʧ nu kəˈmænd prɑmpt, ju kən kənˈfɪgjər ə ˈsɪstəm- ənd ɪnˈvaɪrənmənt ˈvɛriəbəl θru ðə ˈsɪstəm kənˌfɪgjərˈeɪʃən ɪn jʊr kənˈtroʊl ˈpænəl. ˈlaɪkˌwaɪz, ɔn ˈlɪnəks ər mæk ju kən juz ðə ˈfɑloʊɪŋ kəˈmænd: ˈɛkspɔrt ˈɛkspɔrt wəns ju hæv ˌɪnˈstɔld ənd ˈloʊkəli ənd ju hæv jʊr sɛt, ðɛn ju kən stɑrt əp baɪ ˈɛksəˌkjutɪŋ ðə ər faɪl frəm bɪn dɪˈrɛktəri. laɪk ˈtɑmˌkæt, raɪts ɪts dɪˈfɔlt lɔgz tɪ ɪf ˈɛvriˌθɪŋ stɑrts əp kərˈɛktli ju ʃʊd si ˈsəmθɪŋ laɪk ðə ˈfɑloʊɪŋ ɪn jʊr lɔg faɪl: meɪ 24 2012 piɛm meɪ 24 2012 piɛm ˈɪnfoʊ: meɪ 24 2012 piɛm ˈɪnfoʊ: meɪ 24 2012 piɛm <clinit*> ˈɪnfoʊ: kænt faɪnd klæs meɪ 24 2012 piɛm <init*> ˈɪnfoʊ: meɪ 24 2012 piɛm ˈwɔrnɪŋ: noʊ əv faʊnd. əˈbɔrt myfaces*. meɪ 24 2012 piɛm stɑrt ˈɪnfoʊ: ˈstɑrtɪŋ meɪ 24 2012 piɛm stɑrt ˈɪnfoʊ: ˈstɑrtɪŋ meɪ 24 2012 piɛm stɑrt ˈɪnfoʊ: ˈsərvər ˈstɑrˌtəp ɪn 15197 mɪz ðə lɔg faɪl ɪz məʧ ˈlɑrʤər ðən ə trəˈdɪʃənəl ˈtɑmˌkæt lɔg faɪl bɪˈkəz ɪz ˈstɑrtɪŋ fɑr mɔr ˈsərvɪsɪz ðən ˈtɑmˌkæt. ən ˌɪnˈfɔrˌmeɪʃənəl ˈmɛsɪʤ ðət steɪts ˈsərvər ˈstɑrˌtəp ɪn mɪz ˈɪndɪˌkeɪts ðət ðə ˈsərvər ˈstɑrtɪd səkˈsɛsfəli. tɪ ˈvælədeɪt ðət ɪz ˈrənɪŋ, ˈoʊpən ə wɛb ˈbraʊzər tɪ ðə wɛb ˈkɑntɛkst ɔn ðə məˈʃin ɔn wɪʧ ɪz ˈrənɪŋ, fər ɪgˈzæmpəl: http://localhost:8080/tomee*/ ju ʃʊd si ˈsəmθɪŋ ˈsɪmələr tɪ ðə ɪn ˈfɪgjər 1 ˈfɪgjər 1 əv ðə (klɪk tɪ ˌɛnˈlɑrʤ) frəm ðɪs peɪʤ ju kən klɪk ɔn "ˈtɛstɪŋ jʊr ˈsɛˌtəp" tɪ ɪnˈʃʊr ðət ˈɛvriˌθɪŋ ɪz ˈwərkɪŋ. ðɪs tɛst swit fərst ʧɛks ðət ðə dɪˈrɛktəri ənd ɪnˈvaɪrənmənt ər ˈprɑpərli ˈsɛˌtəp. ɪt ðɛn tɛsts ðət ðə ˈklæsɪz kən bi ˈloʊdɪd ənd ˌɪˈnɪʃəˌlaɪzd, ənd ðət ðə ˈlʊkəps wərk. ɪf ɔl ðə tɛsts pæs ðɛn jʊr ˈrɛdi tɪ stɑrt dɪˈplɔɪɪŋ jʊr ˌæpləˈkeɪʃənz tɪ. ˌæpləˈkeɪʃən dɪˈplɔɪmənt wɪθ dɪˈplɔɪɪŋ ˌæpləˈkeɪʃən ˈɑrtəˌfækts tɪ ɪz ˈvɛri ˈsɪmələr tɪ dɪˈplɔɪɪŋ tɪ ˈtɑmˌkæt: ˈsɪmpli ˈkɑpi jʊr wɔr ər ɪr faɪl tɪ ðə ˈfoʊldər. wɪn siz jʊr wɔr ər ɪr faɪl, ɪt wɪl ɪkˈsploʊd jʊr ˈɑrˌkaɪv ˈɪntu ə dɪˈrɛktəri wɪθ ðə seɪm neɪm, bət wɪˈθaʊt ðə .wɔr ər .ɪr ɪkˈstɛnʃən. səˈpɔrts ə nu ˈfiʧər ˌɪntrəˈdust wɪθ ˈʤɑvə i 6 wɪʧ ɪz ðə əˈbɪləˌti tɪ dɪˈplɔɪ jʊr ənd wɛb ˈɑrtəˌfækts ɪn ə ˈsɪŋgəl wɛb ˈɑrˌkaɪv (wɔr faɪl). ðə ˈpərpəs əv duɪŋ ðɪs ɪz tɪ ɪˈneɪbəl jʊr wɛb ˌæpləˈkeɪʃən ənd jʊr tɪ ʃɛr ðə seɪm ənd ˈlaɪbrɛˌriz (səʧ ɛz spərɪŋ), ənd tɪ əˈlaʊ tɪ si ˈklæsɪz ənd tɪ si ˈklæsɪz. fər ˈpækɪʤɪŋ ˈpərpəsɪz, ðə ənd faɪlz lɪv ɪn ðə seɪm wɔr faɪl. ðɪs nu ˈpækɪʤɪŋ skim ɪz kwaɪt ə ˈdɪfərəns frəm ənd ˈivɪn ˈʤɑvə i 5 wɪʧ boʊθ rikˈwaɪərd ə strɪkt ˌsɛpərˈeɪʃən bɪtˈwin ənd wɛb koʊd. ɪf ju stɪl nid ðiz leɪərz əv ˌsɛpərˈeɪʃən, ju kən ˈpækɪʤ jʊr wɔr faɪl ənd ʤɑr faɪlz ˌɪnˈsaɪd ən ɪr faɪl. ɪf ju du nɑt nid ðə ˌsɛpərˈeɪʃən, ˌhaʊˈɛvər, ɪt ɪz mɔr ənd məʧ ˈiziər tɪ kənˈfɪgjər ɔl jʊr ˈklæsɪz ɪn ðə seɪm ˈɑrˌkaɪv waɪl ˈʃɛrɪŋ ðə seɪm klæs ˈloʊdər. dɪˈfaɪnɪŋ ɪkˈstərnəl ˈrisɔrsɪz ən ˈɛnərˌpraɪz ˌæpləˈkeɪʃən wʊd bi ˈprɪti ˈjusləs ɪf ɪt ˈnɛvər ˌɪnərˈæktəd wɪθ ˈɛni ɪkˈstərnəl ˈrisɔrsɪz. ðɛr ər tu ˈbeɪsɪk ˈstrætəʤiz fər dɪˈfaɪnɪŋ ˈrisɔrsɪz: kənˈteɪnər ˈmænɪʤd ˌæpləˈkeɪʃən ˈmænɪʤd kənˈteɪnər ˈmænɪʤd ˈrisɔrsɪz ər kənˈfɪgjərd ɪn ðə kənˈteɪnər, ˈaʊtˈsaɪd əv ðə ˌæpləˈkeɪʃən ˌɪtˈsɛlf. ðə ˌæpləˈkeɪʃən ˈsəbsəkwəntli əkˈwaɪərz ðoʊz ˈrisɔrsɪz frəm ðə kənˈteɪnər wɪn ɪt nidz ðɛm. ˌæpləˈkeɪʃən ˈmænɪʤd ˈrisɔrsɪz ər dɪˈfaɪnd æt ðə application-level*, ˈjuʒəwəli θru kənˌfɪgjərˈeɪʃən faɪlz. ðeɪ ər waɪərd ˈɪntu ðə ˌæpləˈkeɪʃən ɔn loʊd ər wɪn ˈnidɪd. ðə ˈbɛnəfɪt əv kənˈteɪnər ˈmænɪʤd ˈrisɔrsɪz ɪz ðət ðə seɪm ˌæpləˈkeɪʃən kən rən ɪn ˈdɪfərənt ɪnˈvaɪrənmənts wɪθ ʤɪst ə fju ˈsɪmpəl ɪnˌvaɪrənˈmɛnəl kənˌfɪgjərˈeɪʃən ˈʧeɪnʤɪz. fər ɪgˈzæmpəl, ɪn ə ɪnˈvaɪrənmənt ən ˌæpləˈkeɪʃən maɪt bi kənˈfɪgjərd tɪ pərˈsɪst ˈdætə tɪ ənd frəm ə ˈdætəˌbeɪs ənd ˈpəblɪʃ ˈmɛsɪʤɪz tɪ ˈtɑpɪks; bət ɪn ə ˈjuzər əkˈsɛptəns ˈtɛstɪŋ (uat*) ɪnˈvaɪrənmənt ðoʊz ɪkˈstərnəl ˈrisɔrsɪz wʊd bi ˈdɪfərənt. ˈhævɪŋ ðə ɪnˌvaɪrənˈmɛnəl kənˌfɪgjərˈeɪʃən pərˈfɔrmd ɔn ðə kənˈteɪnər ˈɔlsoʊ riˈmuvz ðə rɪsk ðət ðə ˌæpləˈkeɪʃən wɪl ˌɪnədˈvərtəntli pɔɪnt tɪ ðə rɔŋ ɪnˈvaɪrənmənt (səʧ ɛz dɪˈplɔɪɪŋ ən ˌæpləˈkeɪʃən tɪ ə pərˈdəkʃən ɪnˈvaɪrənmənt ðət ɪz ˈpɔɪntɪŋ tɪ ə ˈdætəˌbeɪs). ˈfaɪnəli, moʊst ˈmɑnətərɪŋ tulz prəˈvaɪd ðə əˈbɪləˌti tɪ ˌɔtəˈmætɪkli dɪˈskəvər kənˈteɪnər ˈmænɪʤd ˈrisɔrsɪz ðət ˈpəblɪʃ ˈrisɔrs ˈmɛtrɪks ˈviə ˈʤɑvə ˈmænɪʤmənt ɪkˈstɛnʃənz (jmx*). moʊst pərˈdəkʃən səˈpɔrt timz fər ˈmidiəm- tɪ ˈlɑrʤˌskeɪl ˌæpləˈkeɪʃənz kənˈfɪgjər ˈrisɔrsɪz æt ðə container-level*. ðə ˈbɛnəfɪts tɪ dɪˈfaɪnɪŋ ˈrisɔrsɪz ˌɪnˈsaɪd ðə ˌæpləˈkeɪʃən ər praɪˈmɛrəli wɪθ rɪˈspɛkt tɪ ease-of-deployment*. ɪt ɪz fɑr ˈiziər tɪ dɪˈplɔɪ ən ˌæpləˈkeɪʃən ðət noʊz əˈbaʊt ɔl əv ɪts dɪˈpɛndənsiz ðən ɪt ɪz tɪ dɪˈplɔɪ wən huz kəˈlɛkʃən əv ˈrisɔrsɪz məst bi ɪkˈstərnəli dɪˈfaɪnd. səm ˈprɑʤɛkts gɪt əraʊnd ðɪs baɪ kəmˈbaɪnɪŋ ðə tu əˈproʊʧɪz; fər ˈɪnstəns, ðə ˌæpləˈkeɪʃən maɪt dɪˈfaɪn ðə ˈrisɔrs, səʧ ɛz kənˈfɪgjərɪŋ ə ˈdætəˌbeɪs kəˈnɛkʃən pul, bət ðɛn ˈɛkˌstrækt ðə frəm ðə dɪˈplɔɪmənt ɪnˈvaɪrənmənt. dɪˈfaɪnɪŋ ə ˈdætəˌbeɪs kəˈnɛkʃən pul ˈdætəˌbeɪs kəˈnɛkʃənz ər ˈprɑbəˌbli ðə moʊst ˈkɑmən ˈrisɔrs tɪ kənˈfɪgjər fər ən ˈɛnərˌpraɪz ˌæpləˈkeɪʃən, soʊ wɪl traɪ kənˈfɪgjərɪŋ ə ˈdætəˌbeɪs kəˈnɛkʃən ɛz ə weɪ əv ˈlərnɪŋ mɔr əˈbaʊt. ðə fərst stɛp ɪz tɪ ˈkɑpi jʊr ˈdraɪvər (ʤɑr ər zɪp faɪl) tɪ ðə ˈfoʊldər soʊ ðət ðə wɪl bi ˈeɪbəl tɪ faɪnd ɪt wɪn stɑrts əp. nɛkst, ju məst kənˈfɪgjər ðə ˈdætəˌbeɪs kəˈnɛkʃən ɪn ə <ˈrisɔrs> ˌɛkˌsɛˈmɛl noʊd ɪn ðə faɪl. tɪ kriˈeɪt ə ˈdætə sɔrs, dɪˈfaɪn ə <ˈrisɔrs> noʊd wɪθ ə taɪp əv ɛz ʃoʊn hir: <ˈrisɔrs id="mydatasource*" type="datasource*"> </ˈrisɔrs> ðə ˈbɑdi əv ðɪs noʊd ækˈsɛpts ə ˈsɪmpəl sɛt əv pɛrz ðət kənˈfɪgjər ðə ˈdætə sɔrs. ˈdætəˌbeɪs kənˌfɪgjərˈeɪʃən ɪgˈzæmpəl ˈrisɔrs kənˌfɪgjərˈeɪʃən ɪz ə juʤ ˈtɑpɪk, soʊ aɪ dɪˈrɛkt ju tɪ ðə fər kəmˈplit ˌdɑkjəmɛnˈteɪʃən. wɪl ˈpræktɪs wɪθ ə ˈdætəˌbeɪs kənˌfɪgjərˈeɪʃən, wɪʧ ˌɪnˈkludz ɔl əv ðə ˈɔpʃənz ˈsəmərˌaɪzd bɪˈloʊ.
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the should pay for organ donors’ funerals to encourage more volunteers and boost operations, says a new bioethics report.
a report from the council on bioethics says that a pilot scheme offering a funeral fund for organ donors would help to gauge public opinion and could boost the number of donors.
three people die every day while waiting for an organ, said, and paying for organ donors’ funerals could be an ethical incentive to encourage more people to sign the register.
the report rejected the idea of a system where organ donation is the default option and where organs would be transferred unless patients specifically opt out, but it backed a “mandated” or “prompted” system where people are encouraged to make a choice.
there are currently people on the organ transplant waiting list in the and the average wait for a suitable donor is three years.
although 18 million people are on the organ donor register, few die in circumstances where they are able to donate their organs, says keith rigg, a member of the working party behind the report, and a consultant transplant surgeon at nottingham university hospitals trust.
“in considering whether this would be ethical, firstly we did not think this would be harmful to the donor,” he said. “it would fit in with the altruistic approach to donation as the perceived reward of funeral expenses would not benefit the donor directly but it might help their family at a very difficult time.
“families will of course be able to turn the offer down if they so wished.”
we worry that offering funeral expenses in return for organs may result in families leaning on sick relatives to donate. roger goss, patient voice
the proposal is part of a series of recommendations following an inquiry into the ethics of encouraging people to donate in a range of health areas, including major organs to eggs, sperm, blood, tissue and whole bodies.
professor dame marilyn strathern, who headed the inquiry said: “paying for the funerals of organ donors would be ethically justified no harm can come to the donor, and it would be a form of recognition from society.
however roger goss, of patient concern, said: “we worry that offering funeral expenses in return for organs may result in families leaning on sick relatives to donate because it can save thousands of pounds.
“the number of cases that reach the court of protection because those holding power of attorney treat their charges as cash cows should be a warning that this is only too likely.”
he added: “we deplore the apparent acceptance of presumed consent as ethical and merely an issue of whether or not it produces more donors.”
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ðə ʃʊd peɪ fər ˈɔrgən donors’*’ fˈjunərəlz tɪ ɪnˈkərəʤ mɔr ˌvɑlənˈtɪrz ənd bust ˌɑpərˈeɪʃənz, sɪz ə nu ˌbaɪoʊˈɛθɪks rɪˈpɔrt. ə rɪˈpɔrt frəm ðə ˈkaʊnsəl ɔn ˌbaɪoʊˈɛθɪks sɪz ðət ə ˈpaɪlət skim ˈɔfərɪŋ ə fˈjunərəl fənd fər ˈɔrgən ˈdoʊnərz wʊd hɛlp tɪ geɪʤ ˈpəblɪk əˈpɪnjən ənd kʊd bust ðə ˈnəmbər əv ˈdoʊnərz. θri ˈpipəl daɪ ˈɛvəri deɪ waɪl ˈweɪtɪŋ fər ən ˈɔrgən, sɛd, ənd peɪɪŋ fər ˈɔrgən donors’*’ fˈjunərəlz kʊd bi ən ˈɛθɪkəl ˌɪnˈsɛnɪv tɪ ɪnˈkərəʤ mɔr ˈpipəl tɪ saɪn ðə ˈrɛʤɪstər. ðə rɪˈpɔrt rɪˈʤɛktɪd ðə aɪˈdiə əv ə ˈsɪstəm wɛr ˈɔrgən doʊˈneɪʃən ɪz ðə dɪˈfɔlt ˈɔpʃən ənd wɛr ˈɔrgənz wʊd bi ˈtrænsfərd ənˈlɛs ˈpeɪʃənz spəˈsɪfɪkli ɑpt aʊt, bət ɪt bækt ə ““mandated”*” ər ““prompted”*” ˈsɪstəm wɛr ˈpipəl ər ɪnˈkərəʤd tɪ meɪk ə ʧɔɪs. ðɛr ər ˈkərəntli ˈpipəl ɔn ðə ˈɔrgən trænˈsplænt ˈweɪtɪŋ lɪst ɪn ðə ənd ðə ˈævərɪʤ weɪt fər ə ˈsutəbəl ˈdoʊnər ɪz θri jɪrz. ˌɔlˈðoʊ 18 ˈmɪljən ˈpipəl ər ɔn ðə ˈɔrgən ˈdoʊnər ˈrɛʤɪstər, fju daɪ ɪn ˈsərkəmˌstænsɪz wɛr ðeɪ ər ˈeɪbəl tɪ ˈdoʊˌneɪt ðɛr ˈɔrgənz, sɪz kiθ rɪg, ə ˈmɛmbər əv ðə ˈwərkɪŋ ˈpɑrti bɪˈhaɪnd ðə rɪˈpɔrt, ənd ə kənˈsəltənt trænˈsplænt ˈsərʤɪn æt ˈnɑtɪŋˌhæm ˌjunəˈvərsəti ˈhɑˌspɪtəlz trəst. kənˈsɪdərɪŋ ˈwɛðər ðɪs wʊd bi ˈɛθɪkəl, ˈfərstli wi dɪd nɑt θɪŋk ðɪs wʊd bi ˈhɑrmfəl tɪ ðə donor,”*,” hi sɛd. wʊd fɪt ɪn wɪθ ðə ˌɔltruˈɪstɪk əˈproʊʧ tɪ doʊˈneɪʃən ɛz ðə pərˈsivd rɪˈwɔrd əv fˈjunərəl ɪkˈspɛnsɪz wʊd nɑt ˈbɛnəfɪt ðə ˈdoʊnər dɪˈrɛkli bət ɪt maɪt hɛlp ðɛr ˈfæməli æt ə ˈvɛri ˈdɪfəkəlt taɪm. wɪl əv kɔrs bi ˈeɪbəl tɪ tərn ðə ˈɔfər daʊn ɪf ðeɪ soʊ wished.”*.” wi ˈwəri ðət ˈɔfərɪŋ fˈjunərəl ɪkˈspɛnsɪz ɪn rɪˈtərn fər ˈɔrgənz meɪ rɪˈzəlt ɪn ˈfæməliz ˈlinɪŋ ɔn sɪk ˈrɛlətɪvz tɪ ˈdoʊˌneɪt. ˈrɑʤər gɔs, ˈpeɪʃənt vɔɪs ðə prəˈpoʊzəl ɪz pɑrt əv ə ˈsɪriz əv ˌrɛkəmənˈdeɪʃənz ˈfɑloʊɪŋ ən ˌɪnkˈwaɪˌri ˈɪntu ðə ˈɛθɪks əv ɪnˈkərəʤɪŋ ˈpipəl tɪ ˈdoʊˌneɪt ɪn ə reɪnʤ əv hɛlθ ˈɛriəz, ˌɪnˈkludɪŋ ˈmeɪʤər ˈɔrgənz tɪ ɛgz, spərm, bləd, ˈtɪʃu ənd hoʊl ˈbɑdiz. prəˈfɛsər deɪm ˈmɛrəlɪn strathern*, hu ˈhɛdɪd ðə ˌɪnkˈwaɪˌri sɛd: fər ðə fˈjunərəlz əv ˈɔrgən ˈdoʊnərz wʊd bi ˈɛθɪkəli ˈʤəstəˌfaɪd noʊ hɑrm kən kəm tɪ ðə ˈdoʊnər, ənd ɪt wʊd bi ə fɔrm əv ˌrɛkɪgˈnɪʃən frəm soʊˈsaɪɪti. ˌhaʊˈɛvər ˈrɑʤər gɔs, əv ˈpeɪʃənt kənˈsərn, sɛd: ˈwəri ðət ˈɔfərɪŋ fˈjunərəl ɪkˈspɛnsɪz ɪn rɪˈtərn fər ˈɔrgənz meɪ rɪˈzəlt ɪn ˈfæməliz ˈlinɪŋ ɔn sɪk ˈrɛlətɪvz tɪ ˈdoʊˌneɪt bɪˈkəz ɪt kən seɪv ˈθaʊzənz əv paʊnz. ˈnəmbər əv ˈkeɪsɪz ðət riʧ ðə kɔrt əv prəˈtɛkʃən bɪˈkəz ðoʊz ˈhoʊldɪŋ paʊər əv əˈtərni trit ðɛr ˈʧɑrʤɪz ɛz kæʃ kaʊz ʃʊd bi ə ˈwɔrnɪŋ ðət ðɪs ɪz ˈoʊnli tu likely.”*.” hi ˈædɪd: dɪˈplɔr ðə əˈpɛrənt əkˈsɛptəns əv prɪˈzumd kənˈsɛnt ɛz ˈɛθɪkəl ənd ˈmɪrli ən ˈɪʃu əv ˈwɛðər ər nɑt ɪt prəˈdusɪz mɔr donors.”*.”
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mondragón and the second or maternal family name is alí. this name uses spanish naming customs : the first or paternal family name the second or maternal family name is
faryd alí (born 21 june 1971) is a colombian retired who last played as a goalkeeper for cali in the colombian first division.
since his debut in 1993, he has played over 50 times for the colombian national team, making him alongside mario the last active members of the original golden generation of colombian football. he was named in the colombian squads for the 1992 olympics, two copa tournaments, two gold cups, and the world cups of 1994, 1998 and 2014. on 24 june 2014, made history by becoming the oldest player to play a world cup match at the age of 43 years and 3 days, a record that was broken four years later by egyptian goalkeeper el-hadary.
club career [ edit ]
born in cali of lebanese descent, began his career began at cali, and he moved to santa fe and then cerro in paraguay. his career took off when he joined the argentine first division side juniors in 1993, and then made his international debut for colombia. the following year he moved to club where he won, among other titles, the 1995 against flamengo. apart from some brief periods, he largely stood at the club until 2001.
he was the man behind the escape from from 1 at the end of the season. however, he was convicted of using a false greek passport and despite the mitigating circumstances (the passport would have been provided by shysters and metz had not reached the limit of players outside the eu), was not allowed to play in france and had to leave the country.
mondragón represented turkish power from 2001 to 2007, where he won two titles in 2002 and 2006. he was appreciated by the fans for his many saves and his commitment to the success of the team, and also become known for his prayers before and during games. he came to the fore in many european matches and was selected player of the week in the champions league two times.
mondragón transferred from istanbul to 1. in may 2007. after arriving at his new club, he was forced to compete with established goalkeeper stefan wessels for a spot in the starting eleven. one of the reasons that he chose 1. it was because the current coach christoph daum was working there. after an intense pre-season, was named as the new number one for 1.. this resulted in wessels leaving the club for everton in england. since wessels departure, established a first choice goalkeeper for the club until was relegated to the bench after an altercation with soldo over his desire to go on international duty. this resulted in being sent home from the team hotel and being replaced by young croatian stopper miro]
mondragón in his second spell at cali.
his contract with was terminated with effect from 31 december] the reason being's desire to play in the mls.
he spent the 2011 season with philadelphia union of major league soccer, where he was successful in providing leadership to a young team. on 30 january 2012, cali announced had signed a one-year contract to finish his career with his original professional] he retired after two and a half seasons back at the club.
international career [ edit ]
after making his debut against venezuela in] was a member of the colombian national teams that competed at the 1992 summer olympics and the 1994 and 1998 world cup. during the 1998 world cup, he started in goal for all three of their games, including the final match against england. despite conceding two goals, he made some impressive saves and in doing so kept the score down to, with the bbc's south american football correspondent tim vickery saying that was responsible for the fact that england did not run up a cricket] at the end of the game, broke down in tears and david seaman, england's goalkeeper, did his best to console him. according to german legend franz beckenbauer, had been the best goalkeeper of the first]
along with carlos valderrama, the country's most capped player, is the only colombian to have participated in five world cup qualification] in 2010, he was recalled to the colombian squad at the age of 39 after a five-year absence from international] in 2014, he was named in colombia's squad for the 2014 world cup, making him the oldest player at the tournament, and in world cup history, at the age of 43, and the only squad member at the 1994 world] he is also the only player to have participated in 6 different world cup qualifying campaigns since 1993. by coming on as a substitute in the minute of the final group game against japan on 24 june 2014, he became the oldest player ever to play in a world cup game at the age of 43 years and 3 days old, surpassing the record set by roger for cameroon at the 1994 world] gave a very emotional interview afterwards, expressing his gratitude to have been given the opportunity to represent colombia one last time at a world] his record for oldest player in world cup history was broken four years later at the 2018 world cup by egyptian goalkeeper el-hadary.
after colombia's elimination to the host country brazil in the quarter-finals, officially confirmed his retirement from football and thanked the fans and nation for the support after stating, "this is my last stadium as a professional player. i'm proud to be part of this wonderful group. thank you all for the years of]
career statistics [ edit ]
updated 27 june 2014
honours [ edit ]
independiente
galatasaray
deportivo cali
superliga colombiana: 2014
personal life [ edit ]
mondragón is of lebanese] his first name means "unique or unmatched" in] he is a maronite and has said so publicly along with making the sign of the cross on multiple occasions before]
see also [ edit ]
references [ edit ]
faryd at
argentine statistics at (in spanish)
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mondragón* ənd ðə ˈsɛkənd ər məˈtərnəl ˈfæməli neɪm ɪz alí*í. ðɪs neɪm ˈjuzɪz ˈspænɪʃ ˈneɪmɪŋ ˈkəstəmz ðə fərst ər pəˈtərnəl ˈfæməli neɪm ðə ˈsɛkənd ər məˈtərnəl ˈfæməli neɪm ɪz alí*í (bɔrn 21 ʤun 1971 ɪz ə kəˈləmbiən rɪˈtaɪrd hu læst pleɪd ɛz ə ˈgoʊlˌkipər fər ˈkɑli ɪn ðə kəˈləmbiən fərst dɪˈvɪʒən. sɪns hɪz ˈdeɪbju ɪn 1993 hi həz pleɪd ˈoʊvər 50 taɪmz fər ðə kəˈləmbiən ˈnæʃənəl tim, ˈmeɪkɪŋ ɪm əˈlɔŋˈsaɪd ˈmɑrioʊ ðə læst ˈæktɪv ˈmɛmbərz əv ðə ərˈɪʤənəl ˈgoʊldən ˌʤɛnərˈeɪʃən əv kəˈləmbiən ˈfʊtˌbɔl. hi wɑz neɪmd ɪn ðə kəˈləmbiən skwɑdz fər ðə 1992 oʊˈlɪmpɪks, tu ˈkoʊpə ˈtərnəmənts, tu goʊld kəps, ənd ðə wərld kəps əv 1994 1998 ənd 2014 ɔn 24 ʤun 2014 meɪd ˈhɪstəri baɪ bɪˈkəmɪŋ ðə ˈoʊldəst pleɪər tɪ pleɪ ə wərld kəp mæʧ æt ðə eɪʤ əv 43 jɪrz ənd 3 deɪz, ə ˈrɛkərd ðət wɑz ˈbroʊkən fɔr jɪrz ˈleɪtər baɪ ɪˈʤɪpʃən ˈgoʊlˌkipər el-hadary*. kləb kərɪr ˈɛdət bɔrn ɪn ˈkɑli əv ˈlɛbəˌniz dɪˈsɛnt, bɪˈgæn hɪz kərɪr bɪˈgæn æt ˈkɑli, ənd hi muvd tɪ ˈsænə feɪ ənd ðɛn ˈsɛroʊ ɪn ˈpɛrəgˌweɪ. hɪz kərɪr tʊk ɔf wɪn hi ʤɔɪnd ðə ˈɑrʤənˌtin fərst dɪˈvɪʒən saɪd ˈʤunjərz ɪn 1993 ənd ðɛn meɪd hɪz ˌɪnərˈnæʃənɑl ˈdeɪbju fər kəˈləmbiə. ðə ˈfɑloʊɪŋ jɪr hi muvd tɪ kləb wɛr hi wən, əˈməŋ ˈəðər ˈtaɪtəlz, ðə 1995 əˈgɛnst flamengo*. əˈpɑrt frəm səm brif ˈpɪriədz, hi ˈlɑrʤli stʊd æt ðə kləb ənˈtɪl 2001 hi wɑz ðə mæn bɪˈhaɪnd ðə ɪˈskeɪp frəm frəm 1 æt ðə ɛnd əv ðə ˈsizən. ˌhaʊˈɛvər, hi wɑz kənˈvɪktəd əv ˈjuzɪŋ ə fɔls grik ˈpæˌspɔrt ənd dɪˈspaɪt ðə ˈmɪtəˌgeɪtɪŋ ˈsərkəmˌstænsɪz (ðə ˈpæˌspɔrt wʊd hæv bɪn prəˈvaɪdɪd baɪ ˈʃaɪstərz ənd mɛts hæd nɑt riʧt ðə ˈlɪmət əv pleɪərz ˈaʊtˈsaɪd ðə eu*), wɑz nɑt əˈlaʊd tɪ pleɪ ɪn fræns ənd hæd tɪ liv ðə ˈkəntri. ˌrɛprɪˈzɛnɪd ˈtərkɪʃ paʊər frəm 2001 tɪ 2007 wɛr hi wən tu ˈtaɪtəlz ɪn 2002 ənd 2006 hi wɑz əˈpriʃiˌeɪtɪd baɪ ðə fænz fər hɪz ˈmɛni seɪvz ənd hɪz kəˈmɪtmənt tɪ ðə səkˈsɛs əv ðə tim, ənd ˈɔlsoʊ bɪˈkəm noʊn fər hɪz prɛrz ˌbiˈfɔr ənd ˈdʊrɪŋ geɪmz. hi keɪm tɪ ðə fɔr ɪn ˈmɛni ˌjʊrəˈpiən ˈmæʧɪz ənd wɑz səˈlɛktɪd pleɪər əv ðə wik ɪn ðə ˈʧæmpiənz lig tu taɪmz. ˈtrænsfərd frəm ˌɪstɑnˈbul tɪ 1 ɪn meɪ 2007 ˈæftər ərˈaɪvɪŋ æt hɪz nu kləb, hi wɑz fɔrst tɪ kəmˈpit wɪθ ɪˈstæblɪʃt ˈgoʊlˌkipər ˈstɛfɑn ˈwɛsəlz fər ə spɑt ɪn ðə ˈstɑrtɪŋ ˈilɛvən. wən əv ðə ˈrizənz ðət hi ʧoʊz 1 ɪt wɑz bɪˈkəz ðə ˈkɑrənt koʊʧ ˈkrɪstɔf dɔm wɑz ˈwərkɪŋ ðɛr. ˈæftər ən ˌɪnˈtɛns ˌpriˈsizən, wɑz neɪmd ɛz ðə nu ˈnəmbər wən fər 1. ðɪs rɪˈzəltɪd ɪn ˈwɛsəlz ˈlivɪŋ ðə kləb fər ˈɛvərtən ɪn ˈɪŋglənd. sɪns ˈwɛsəlz dɪˈpɑrʧər, ɪˈstæblɪʃt ə fərst ʧɔɪs ˈgoʊlˌkipər fər ðə kləb ənˈtɪl wɑz ˈrɛləˌgeɪtɪd tɪ ðə bɛnʧ ˈæftər ən ˌɑltərˈkeɪʃən wɪθ ˈsoʊldoʊ ˈoʊvər hɪz dɪˈzaɪər tɪ goʊ ɔn ˌɪnərˈnæʃənɑl ˈduti. ðɪs rɪˈzəltɪd ɪn biɪŋ sɛnt hoʊm frəm ðə tim hoʊˈtɛl ənd biɪŋ ˌriˈpleɪst baɪ jəŋ kroʊˈeɪʃən ˈstɑpər ˈmɪroʊ ɪn hɪz ˈsɛkənd spɛl æt ˈkɑli. hɪz ˈkɑnˌtrækt wɪθ wɑz ˈtərməˌneɪtɪd wɪθ ˈifɛkt frəm 31 dɪˈsɛmbər ðə ˈrizən biɪŋ dɪˈzaɪər tɪ pleɪ ɪn ðə mls*. hi spɛnt ðə 2011 ˈsizən wɪθ ˌfɪləˈdɛlfiə ˈjunjən əv ˈmeɪʤər lig ˈsɑkər, wɛr hi wɑz səkˈsɛsfəl ɪn prəˈvaɪdɪŋ ˈlidərˌʃɪp tɪ ə jəŋ tim. ɔn 30 ˈʤænjuˌɛri 2012 ˈkɑli əˈnaʊnst hæd saɪnd ə ˈwənˌjɪr ˈkɑnˌtrækt tɪ ˈfɪnɪʃ hɪz kərɪr wɪθ hɪz ərˈɪʤənəl prəˈfɛʃənəl hi rɪˈtaɪrd ˈæftər tu ənd ə hæf ˈsizənz bæk æt ðə kləb. ˌɪnərˈnæʃənɑl kərɪr ˈɛdət ˈæftər ˈmeɪkɪŋ hɪz ˈdeɪbju əˈgɛnst ˌvɛnɪzˈweɪlə ɪn wɑz ə ˈmɛmbər əv ðə kəˈləmbiən ˈnæʃənəl timz ðət kəmˈpitɪd æt ðə 1992 ˈsəmər oʊˈlɪmpɪks ənd ðə 1994 ənd 1998 wərld kəp. ˈdʊrɪŋ ðə 1998 wərld kəp, hi ˈstɑrtɪd ɪn goʊl fər ɔl θri əv ðɛr geɪmz, ˌɪnˈkludɪŋ ðə ˈfaɪnəl mæʧ əˈgɛnst ˈɪŋglənd. dɪˈspaɪt kənˈsidɪŋ tu goʊlz, hi meɪd səm ˌɪmˈprɛsɪv seɪvz ənd ɪn duɪŋ soʊ kɛpt ðə skɔr daʊn tɪ wɪθ ðə ˌbibiˈsis saʊθ əˈmɛrɪkən ˈfʊtˌbɔl ˌkɔrəˈspɑndənt tɪm vɪˈskəri seɪɪŋ ðət wɑz riˈspɑnsəbəl fər ðə fækt ðət ˈɪŋglənd dɪd nɑt rən əp ə ˈkrɪkɪt æt ðə ɛnd əv ðə geɪm, broʊk daʊn ɪn tɪrz ənd ˈdeɪvɪd ˈsimən, ˈɪŋgləndz ˈgoʊlˌkipər, dɪd hɪz bɛst tɪ ˈkɑnsoʊl ɪm. əˈkɔrdɪŋ tɪ ˈʤərmən ˈlɛʤənd frænz beckenbauer*, hæd bɪn ðə bɛst ˈgoʊlˌkipər əv ðə fərst əˈlɔŋ wɪθ ˈkɑrloʊs vɑldɛˈrɑmə, ðə ˈkəntriz moʊst kæpt pleɪər, ɪz ðə ˈoʊnli kəˈləmbiən tɪ hæv pɑrˈtɪsəˌpeɪtɪd ɪn faɪv wərld kəp kˌwɑləfəˈkeɪʃən ɪn 2010 hi wɑz rɪˈkɔld tɪ ðə kəˈləmbiən skwɑd æt ðə eɪʤ əv 39 ˈæftər ə ˈfaɪvˌjɪr ˈæbsəns frəm ˌɪnərˈnæʃənɑl ɪn 2014 hi wɑz neɪmd ɪn kəˈləmbiəz skwɑd fər ðə 2014 wərld kəp, ˈmeɪkɪŋ ɪm ðə ˈoʊldəst pleɪər æt ðə ˈtʊrnəmənt, ənd ɪn wərld kəp ˈhɪstəri, æt ðə eɪʤ əv 43 ənd ðə ˈoʊnli skwɑd ˈmɛmbər æt ðə 1994 wərld hi ɪz ˈɔlsoʊ ðə ˈoʊnli pleɪər tɪ hæv pɑrˈtɪsəˌpeɪtɪd ɪn 6 ˈdɪfərənt wərld kəp kˈwɑləˌfaɪɪŋ kæmˈpeɪnz sɪns 1993 baɪ ˈkəmɪŋ ɔn ɛz ə ˈsəbstəˌtut ɪn ðə ˈmɪnət əv ðə ˈfaɪnəl grup geɪm əˈgɛnst ʤəˈpæn ɔn 24 ʤun 2014 hi bɪˈkeɪm ðə ˈoʊldəst pleɪər ˈɛvər tɪ pleɪ ɪn ə wərld kəp geɪm æt ðə eɪʤ əv 43 jɪrz ənd 3 deɪz oʊld, sərˈpæsɪŋ ðə ˈrɛkərd sɛt baɪ ˈrɑʤər fər ˈkæmərˌun æt ðə 1994 wərld geɪv ə ˈvɛri ˈiˌmoʊʃənəl ˈɪntərvˌju ˈæftərwərdz, ɪkˈsprɛsɪŋ hɪz ˈgrætəˌtud tɪ hæv bɪn ˈgɪvɪn ðə ˌɑpərˈtunəti tɪ ˌrɛprɪˈzɛnt kəˈləmbiə wən læst taɪm æt ə wərld hɪz ˈrɛkərd fər ˈoʊldəst pleɪər ɪn wərld kəp ˈhɪstəri wɑz ˈbroʊkən fɔr jɪrz ˈleɪtər æt ðə 2018 wərld kəp baɪ ɪˈʤɪpʃən ˈgoʊlˌkipər el-hadary*. ˈæftər kəˈləmbiəz ɪˌlɪməˈneɪʃən tɪ ðə hoʊst ˈkəntri brəˈzɪl ɪn ðə quarter-finals*, əˈfɪʃəli kənˈfərmd hɪz rɪˈtaɪərmənt frəm ˈfʊtˌbɔl ənd θæŋkt ðə fænz ənd ˈneɪʃən fər ðə səˈpɔrt ˈæftər ˈsteɪtɪŋ, "ðɪs ɪz maɪ læst ˈsteɪdiəm ɛz ə prəˈfɛʃənəl pleɪər. əm praʊd tɪ bi pɑrt əv ðɪs ˈwəndərfəl grup. θæŋk ju ɔl fər ðə jɪrz əv kərɪr stəˈtɪstɪks ˈɛdət ˈəpˌdeɪtɪd 27 ʤun 2014 ˈɛdət ˈkɑli colombiana*: 2014 ˈpərsɪnəl laɪf ˈɛdət ɪz əv ˈlɛbəˌniz hɪz fərst neɪm minz "juˈnik ər ənˈmæʧt" ɪn hi ɪz ə ˈmɑrəˌnaɪt ənd həz sɛd soʊ ˈpəblɪkli əˈlɔŋ wɪθ ˈmeɪkɪŋ ðə saɪn əv ðə krɔs ɔn ˈməltəpəl ɔˈkeɪʒənz ˌbiˈfɔr si ˈɔlsoʊ ˈɛdət ˈrɛfərənsɪz ˈɛdət æt ˈɑrʤənˌtin stəˈtɪstɪks æt (ɪn ˈspænɪʃ)
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public schoolchildren across the country were physically restrained or isolated in rooms they leave at least times in the school year, despite a that such practices are dangerous and have no therapeutic benefit. many states have little regulation or oversight of such practices. this map shows where your state stands. data compiled as of january 2014. related: violent and legal: the shocking ways school kids are being pinned down, isolated against their will
compare states by total score is the use of restraints limited to emergencies? is the use of limited to emergencies? is parental notification of either practice required? is the use of prohibited? are restraints that restrict breathing banned? mechanical restraints prohibited awarded each state a score based on how closely they follow six key elements that are outlined in reform bills and u.s. department of education guidance. the highest score is 12, for most restrictions, and the lowest score is 0, meaning least restrictions. a patchwork of regulation awarded each state a score based on how closely they follow six key elements that are outlined in reform bills and u.s. department of education guidance. the lowest score is 0, with the least restrictions.
is the use of restraints limited to emergencies? emergencies involve potential harm to the student or others. did not consider “academic disruption” or “property damage” emergencies.
is the use of limited to emergencies? emergencies involve potential harm to the student or others. did not consider “academic disruption” or “property damage” emergencies. georgia is the only state to prohibit seclusion in all cases.
is parental notification of either practice required? most states require that parents be told every time children are subject to restraints or.
is the use of prohibited? georgia is the only state to prohibit seclusion in all cases.
are restraints that restrict breathing banned? this includes the so-called "prone" restraint, which some states have prohibited explicitly.
are mechanical restraints prohibited? “mechanical” restraints use something artificial like straps, handcuffs or bungee cords to do the restraining.
state total score restraints limited to emergencies seclusion limited to emergencies parental notification required prohibits seclusion prohibits restraints that restrict breathing prohibits mechanical restraints
* parental in some instances
** with parental waiver
*** if included in
**** ban limited to prone restraint
(a) prone restraint permitted by trained staff.
(b) prone restraint allowed through august 2015.
(c) seclusion allowed if child is "supervised."
(d) minnesota's statue "was drafted in a way to create some ambiguity," using "physical holding" instead of "restraint."
source: jessica butler, a national advocate for children with autism. provided research for this map.
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ˈpəblɪk ˈskuˌlʧɪldrən əˈkrɔs ðə ˈkəntri wər ˈfɪzɪkəli riˈstreɪnd ər ˈaɪsəˌleɪtɪd ɪn rumz ðeɪ liv æt list taɪmz ɪn ðə skul jɪr, dɪˈspaɪt ə ðət səʧ ˈpræktɪsɪz ər ˈdeɪnʤərəs ənd hæv noʊ ˌθɛrəˈpjutɪk ˈbɛnəfɪt. ˈmɛni steɪts hæv ˈlɪtəl ˌrɛgjəˈleɪʃən ər ˈoʊvərˌsaɪt əv səʧ ˈpræktɪsɪz. ðɪs mæp ʃoʊz wɛr jʊr steɪt stændz. ˈdætə kəmˈpaɪld ɛz əv ˈʤænjuˌɛri 2014 rɪˈleɪtɪd: ˈvaɪələnt ənd ˈligəl: ðə ˈʃɑkɪŋ weɪz skul kɪdz ər biɪŋ pɪnd daʊn, ˈaɪsəˌleɪtɪd əˈgɛnst ðɛr wɪl kəmˈpɛr steɪts baɪ ˈtoʊtəl skɔr ɪz ðə juz əv rɪˈstreɪnts ˈlɪmɪtɪd tɪ ˈimərʤənsiz? ɪz ðə juz əv ˈlɪmɪtɪd tɪ ˈimərʤənsiz? ɪz pərˈɛntəl ˌnoʊtəfəˈkeɪʃən əv ˈiðər ˈpræktɪs rikˈwaɪərd? ɪz ðə juz əv proʊˈhɪbətəd? ər rɪˈstreɪnts ðət riˈstrɪkt ˈbriðɪŋ bænd? məˈkænɪkəl rɪˈstreɪnts proʊˈhɪbətəd əˈwɔrdɪd iʧ steɪt ə skɔr beɪst ɔn haʊ ˈkloʊsli ðeɪ ˈfɑloʊ sɪks ki ˈɛləmənts ðət ər ˈaʊˌtlaɪnd ɪn rɪˈfɔrm bɪlz ənd juz. dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən ˈgaɪdəns. ðə haɪəst skɔr ɪz 12 fər moʊst riˈstrɪkʃənz, ənd ðə loʊəst skɔr ɪz 0 ˈminɪŋ list riˈstrɪkʃənz. ə ˈpæʧˌwərk əv ˌrɛgjəˈleɪʃən əˈwɔrdɪd iʧ steɪt ə skɔr beɪst ɔn haʊ ˈkloʊsli ðeɪ ˈfɑloʊ sɪks ki ˈɛləmənts ðət ər ˈaʊˌtlaɪnd ɪn rɪˈfɔrm bɪlz ənd juz. dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən ˈgaɪdəns. ðə loʊəst skɔr ɪz 0 wɪθ ðə list riˈstrɪkʃənz. ɪz ðə juz əv rɪˈstreɪnts ˈlɪmɪtɪd tɪ ˈimərʤənsiz? ˈimərʤənsiz ˌɪnˈvɑlv pəˈtɛnʃəl hɑrm tɪ ðə ˈstudənt ər ˈəðərz. dɪd nɑt kənˈsɪdər disruption”*” ər damage”*” ˈimərʤənsiz. ɪz ðə juz əv ˈlɪmɪtɪd tɪ ˈimərʤənsiz? ˈimərʤənsiz ˌɪnˈvɑlv pəˈtɛnʃəl hɑrm tɪ ðə ˈstudənt ər ˈəðərz. dɪd nɑt kənˈsɪdər disruption”*” ər damage”*” ˈimərʤənsiz. ˈʤɔrʤə ɪz ðə ˈoʊnli steɪt tɪ proʊˈhɪbət sɪˈkluʒən ɪn ɔl ˈkeɪsɪz. ɪz pərˈɛntəl ˌnoʊtəfəˈkeɪʃən əv ˈiðər ˈpræktɪs rikˈwaɪərd? moʊst steɪts ˌrikˈwaɪər ðət ˈpɛrənts bi toʊld ˈɛvəri taɪm ˈʧɪldrən ər ˈsəbʤɪkt tɪ rɪˈstreɪnts ər. ɪz ðə juz əv proʊˈhɪbətəd? ˈʤɔrʤə ɪz ðə ˈoʊnli steɪt tɪ proʊˈhɪbət sɪˈkluʒən ɪn ɔl ˈkeɪsɪz. ər rɪˈstreɪnts ðət riˈstrɪkt ˈbriðɪŋ bænd? ðɪs ˌɪnˈkludz ðə ˈsoʊˈkɔld "proʊn" rɪˈstreɪnt, wɪʧ səm steɪts hæv proʊˈhɪbətəd ɪkˈsplɪsətli. ər məˈkænɪkəl rɪˈstreɪnts proʊˈhɪbətəd? ““mechanical”*” rɪˈstreɪnts juz ˈsəmθɪŋ ˌɑrtəˈfɪʃəl laɪk stræps, ˈhændˌkəfs ər ˈbənʤi kɔrdz tɪ du ðə riˈstreɪnɪŋ. steɪt ˈtoʊtəl skɔr rɪˈstreɪnts ˈlɪmɪtɪd tɪ ˈimərʤənsiz sɪˈkluʒən ˈlɪmɪtɪd tɪ ˈimərʤənsiz pərˈɛntəl ˌnoʊtəfəˈkeɪʃən rikˈwaɪərd proʊˈhɪbəts sɪˈkluʒən proʊˈhɪbəts rɪˈstreɪnts ðət riˈstrɪkt ˈbriðɪŋ proʊˈhɪbəts məˈkænɪkəl rɪˈstreɪnts pərˈɛntəl ɪn səm ˈɪnstənsɪz wɪθ pərˈɛntəl ˈweɪvər ɪf ˌɪnˈkludɪd ɪn bæn ˈlɪmɪtɪd tɪ proʊn rɪˈstreɪnt (ə) proʊn rɪˈstreɪnt pərˈmɪtɪd baɪ treɪnd stæf. (bi) proʊn rɪˈstreɪnt əˈlaʊd θru ˈɔgəst 2015 (si) sɪˈkluʒən əˈlaʊd ɪf ʧaɪld ɪz "ˈsupərˌvaɪzd." (di) ˌmɪnəˈsoʊtəz ˈstæˌʧu "wɑz ˈdræftɪd ɪn ə weɪ tɪ kriˈeɪt səm ˌæmbɪˈgjuəti," ˈjuzɪŋ "ˈfɪzɪkəl ˈhoʊldɪŋ" ˌɪnˈstɛd əv "rɪˈstreɪnt." sɔrs: ˈʤɛsɪkə ˈbətlər, ə ˈnæʃənəl ˈædvəˌkeɪt fər ˈʧɪldrən wɪθ ˈɔˌtɪzəm. prəˈvaɪdɪd ˈrisərʧ fər ðɪs mæp.
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for the last three years, we found ourselves skipping past the mess of and setting our sights on mobile world congress, hoping that both and samsung had something special to show us. over those three years, some of their new products have blown our minds and others seem like minor upgrades from one to the next. if we look specifically at this year, one could argue that samsung gave us that “something special,” while played it much safer with the one.
the one looks almost identical to last one, except that the duo camera setup on the back is gone and there is a sharp ridge running around the side of the phone. almost as if slapped on a metal casing that was too big and said, “f*ck it, design!” oh, they also added this feature that turns adjusting the volume or turning the phone on or off into a game, thanks to a setup on the side of the phone. every time i go to press one, i help but quote the great rob schneider in demolition man, who said “he know how to use the three seashells!”
htc did change a few things, though. the camera on the back is a traditional sensor and the have all been upgraded. oh, and sense is here (spoiler: it looks a lot like sense).
we know that difficult for companies to go back to the drawing board each year. look, even apple do that. but this year feels safer than ever for a company who is still trying to figure out how to claw its way back into the game.
with all that said, our one review is ready. this a difficult one, as you might have guessed.
(our real review will be up soon enough. #checkthedate)
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fər ðə læst θri jɪrz, wi faʊnd ɑrˈsɛlvz ˈskɪpɪŋ pæst ðə mɛs əv ənd ˈsɛtɪŋ ɑr saɪts ɔn ˈmoʊbəl wərld ˈkɑŋgrəs, ˈhoʊpɪŋ ðət boʊθ ənd ˈsæmˌsəŋ hæd ˈsəmθɪŋ ˈspɛʃəl tɪ ʃoʊ ˈjuˈɛs. ˈoʊvər ðoʊz θri jɪrz, səm əv ðɛr nu ˈprɑdəkts hæv bloʊn ɑr maɪndz ənd ˈəðərz sim laɪk ˈmaɪnər ˈəpˌgreɪdz frəm wən tɪ ðə nɛkst. ɪf wi lʊk spəˈsɪfɪkli æt ðɪs jɪr, wən kʊd ˈɑrgju ðət ˈsæmˌsəŋ geɪv ˈjuˈɛs ðət special,”*,” waɪl pleɪd ɪt məʧ ˈseɪfər wɪθ ðə wən ðə wən lʊks ˈɔlˌmoʊst aɪˈdɛntɪkəl tɪ læst wən ɪkˈsɛpt ðət ðə ˈduoʊ ˈkæmərə ˈsɛˌtəp ɔn ðə bæk ɪz gɔn ənd ðɛr ɪz ə ʃɑrp rɪʤ ˈrənɪŋ əraʊnd ðə saɪd əv ðə foʊn. ˈɔlˌmoʊst ɛz ɪf slæpt ɔn ə ˈmɛtəl ˈkeɪsɪŋ ðət wɑz tu bɪg ənd sɛd, ɪt, design!”*!” oʊ, ðeɪ ˈɔlsoʊ ˈædɪd ðɪs ˈfiʧər ðət tərnz əˈʤəstɪŋ ðə ˈvɑljum ər ˈtərnɪŋ ðə foʊn ɔn ər ɔf ˈɪntu ə geɪm, θæŋks tɪ ə ˈsɛˌtəp ɔn ðə saɪd əv ðə foʊn. ˈɛvəri taɪm aɪ goʊ tɪ prɛs wən, aɪ hɛlp bət kwoʊt ðə greɪt rɑb ʃˈnaɪdər ɪn ˌdɛməˈlɪʃən mæn, hu sɛd noʊ haʊ tɪ juz ðə θri seashells!”*!” dɪd ʧeɪnʤ ə fju θɪŋz, ðoʊ. ðə ˈkæmərə ɔn ðə bæk ɪz ə trəˈdɪʃənəl ˈsɛnsər ənd ðə hæv ɔl bɪn ˈəpˌgreɪdɪd. oʊ, ənd sɛns ɪz hir (ˈspɔɪlər: ɪt lʊks ə lɔt laɪk sɛns wi noʊ ðət ˈdɪfəkəlt fər ˈkəmpəˌniz tɪ goʊ bæk tɪ ðə drɔɪŋ bɔrd iʧ jɪr. lʊk, ˈivɪn ˈæpəl du ðət. bət ðɪs jɪr filz ˈseɪfər ðən ˈɛvər fər ə ˈkəmpəˌni hu ɪz stɪl traɪɪŋ tɪ ˈfɪgjər aʊt haʊ tɪ klɔ ɪts weɪ bæk ˈɪntu ðə geɪm. wɪθ ɔl ðət sɛd, ɑr wən ˌrivˈju ɪz ˈrɛdi. ðɪs ə ˈdɪfəkəlt wən, ɛz ju maɪt hæv gɛst. (ɑr ril ˌrivˈju wɪl bi əp sun ɪˈnəf. #checkthedate*)
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what we eat shapes microbe societies inside us
enlarge this image toggle caption dennis kunkel microscopy, inc. dennis kunkel microscopy, inc.
deep inside your intestines, there's a complex microbial ecosystem, which scientists say contains nearly a thousand species of bacteria.
a lot of recent research has shown that the community of gut microbes acts almost like another organ in your body they're that crucial. they exert a pronounced effect on the nutrients and energy that get pulled out of food. and the bacteria are thought to play a big role in a slew of health conditions, including obesity and diabetes.
but a study just published in the journal science shows that the bugs don't have all the power in this symbiotic relationship. the dominant species in the gut are linked to and potentially controlled by your eating habits.
microbiologist frederic bushman of the university of pennsylvania and his compared detailed lists of what 98 people ate with bacterial dna from stool samples that they provided. "the kinds of bacteria that are there sort of fell into groups, and we see an association between these groups and long-term diet," bushman told shots.
two diet categories emerged as important. people who eat more animal protein and fat had gut microbes dominated by one genus of bacteria (bacteroides, if you're keeping track), while eaters tended to have more of a different genus (prevotella). these results line up with a smaller study comparing the diets of kids in europe, where people eat more animal products, with kids in burkina-faso, where the diet is primarily vegetable-based.
the study found these microbial communities are pretty stable in the short-term. the researchers changed the diets of 10 people for 10 days and took stool samples to monitor changes in gut microbes. although they could detect small changes in the bacterial mixture after only a day (shorter than the time it took for food to completely go through the intestines), each subject's basic gut ecosystem remained relatively unchanged even after 10 days on an altered diet.
bushman and colleagues say that this means that it's long-term eating habits, rather than short-term lapses, that are linked with gut microbial communities and health.
the health connection is why our gut microbes have drawn the interest of heavy hitters like the national institutes of health, which launched the human project in 2008. the bacterial cells in or on the average person outnumber human cells 10 to 1, and according to bushman, it's an even greater divide in stool samples. "the dna that's there is overwhelmingly bacterial," he says, estimating that less than 1% of the dna in a stool sample is human.
these results tell us that there's a difference between general types of gut bacteria, but they don't tell us which is good or bad. that's the next step, according to bushman, who is involved with applying these results to a study of kids with inflammatory bowel diseases, such as disease.
the step beyond that might be trying to change your gut ecosystem to improve your health, through probiotics, so-called "poop transplants," or, taking a tip from this study, an old-fashioned apple a day.
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wət wi it ʃeɪps ˈmaɪˌkroʊb səˈsaɪɪtiz ˌɪnˈsaɪd ˈjuˈɛs ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən ˈdɛnɪs ˈkəŋkəl maɪˈkrəskəpi, ɪŋk. ˈdɛnɪs ˈkəŋkəl maɪˈkrəskəpi, ɪŋk. dip ˌɪnˈsaɪd jʊr ˌɪnˈtɛstənz, ðɛrz ə ˈkɑmplɛks maɪˈkroʊbiəl ˈikoʊˌsɪstəm, wɪʧ ˈsaɪəntɪsts seɪ kənˈteɪnz ˈnɪrli ə ˈθaʊzənd ˈspiʃiz əv bækˈtɪriə. ə lɔt əv ˈrisənt ˈrisərʧ həz ʃoʊn ðət ðə kəmˈjunɪti əv gət ˈmaɪˌkroʊbz ækts ˈɔlˌmoʊst laɪk əˈnəðər ˈɔrgən ɪn jʊr ˈbɑdi ðɛr ðət ˈkruʃəl. ðeɪ ɪgˈzərt ə prəˈnaʊnst ˈifɛkt ɔn ðə ˈnutriənts ənd ˈɛnərʤi ðət gɪt pʊld aʊt əv fud. ənd ðə bækˈtɪriə ər θɔt tɪ pleɪ ə bɪg roʊl ɪn ə slu əv hɛlθ kənˈdɪʃənz, ˌɪnˈkludɪŋ əˈbisəti ənd ˌdaɪəˈbitiz. bət ə ˈstədi ʤɪst ˈpəblɪʃt ɪn ðə ˈʤərnəl saɪəns ʃoʊz ðət ðə bəgz doʊnt hæv ɔl ðə paʊər ɪn ðɪs ˌsɪmbiˈɑtɪk riˈleɪʃənˌʃɪp. ðə ˈdɑmənənt ˈspiʃiz ɪn ðə gət ər lɪŋkt tɪ ənd pəˈtɛnʃəli kənˈtroʊld baɪ jʊr ˈitɪŋ ˈhæbəts. ˌmaɪkroʊbiˈɑləʤɪst ˈfrɛdrɪk ˈbʊʃmən əv ðə ˌjunəˈvərsəti əv ˌpɛnsəlˈveɪnjə ənd hɪz kəmˈpɛrd dɪˈteɪld lɪsts əv wət 98 ˈpipəl eɪt wɪθ bækˈtɪriəl ˈdiˌɛˈneɪ frəm stul ˈsæmpəlz ðət ðeɪ prəˈvaɪdɪd. "ðə kaɪnz əv bækˈtɪriə ðət ər ðɛr sɔrt əv fɛl ˈɪntu grups, ənd wi si ən əˌsoʊʃiˈeɪʃən bɪtˈwin ðiz grups ənd ˈlɔŋˈtərm daɪət," ˈbʊʃmən toʊld ʃɑts. tu daɪət ˈkætəˌgɔriz ˈimərʤd ɛz ˌɪmˈpɔrtənt. ˈpipəl hu it mɔr ˈænəməl ˈproʊˌtin ənd fæt hæd gət ˈmaɪˌkroʊbz ˈdɑməˌneɪtəd baɪ wən ˈʤinəs əv bækˈtɪriə (bacteroides*, ɪf jʊr ˈkipɪŋ træk), waɪl ˈitərz ˈtɛndɪd tɪ hæv mɔr əv ə ˈdɪfərənt ˈʤinəs (prevotella*). ðiz rɪˈzəlts laɪn əp wɪθ ə sˈmɔlər ˈstədi kəmˈpɛrɪŋ ðə daɪɪts əv kɪdz ɪn ˈjʊrəp, wɛr ˈpipəl it mɔr ˈænəməl ˈprɑdəkts, wɪθ kɪdz ɪn bərˌkinəˈfɑsoʊ, wɛr ðə daɪət ɪz praɪˈmɛrəli vegetable-based*. ðə ˈstədi faʊnd ðiz maɪˈkroʊbiəl kəmˈjunɪtiz ər ˈprɪti ˈsteɪbəl ɪn ðə ˌʃɔrtˈtərm. ðə ˈrisərʧərz ʧeɪnʤd ðə daɪɪts əv 10 ˈpipəl fər 10 deɪz ənd tʊk stul ˈsæmpəlz tɪ ˈmɑnətər ˈʧeɪnʤɪz ɪn gət ˈmaɪˌkroʊbz. ˌɔlˈðoʊ ðeɪ kʊd dɪˈtɛkt smɔl ˈʧeɪnʤɪz ɪn ðə bækˈtɪriəl ˈmɪksʧər ˈæftər ˈoʊnli ə deɪ (ˈʃɔrtər ðən ðə taɪm ɪt tʊk fər fud tɪ kəmˈplitli goʊ θru ðə ˌɪnˈtɛstənz), iʧ ˈsəbʤɪkts ˈbeɪsɪk gət ˈikoʊˌsɪstəm rɪˈmeɪnd ˈrɛlətɪvli ənˈʧeɪnʤd ˈivɪn ˈæftər 10 deɪz ɔn ən ˈɔltərd daɪət. ˈbʊʃmən ənd ˈkɑligz seɪ ðət ðɪs minz ðət ɪts ˈlɔŋˈtərm ˈitɪŋ ˈhæbəts, ˈrəðər ðən ˌʃɔrtˈtərm ˈlæpsɪz, ðət ər lɪŋkt wɪθ gət maɪˈkroʊbiəl kəmˈjunɪtiz ənd hɛlθ. ðə hɛlθ kəˈnɛkʃən ɪz waɪ ɑr gət ˈmaɪˌkroʊbz hæv drɔn ðə ˈɪntəˌrɛst əv ˈhɛvi ˈhɪtərz laɪk ðə ˈnæʃənəl ˈɪnstɪˌtuts əv hɛlθ, wɪʧ lɔnʧt ðə ˈjumən ˈprɑʤɛkt ɪn 2008 ðə bækˈtɪriəl sɛlz ɪn ər ɔn ðə ˈævərɪʤ ˈpərsən aʊtˈnəmbər ˈjumən sɛlz 10 tɪ 1 ənd əˈkɔrdɪŋ tɪ ˈbʊʃmən, ɪts ən ˈivɪn ˈgreɪtər dɪˈvaɪd ɪn stul ˈsæmpəlz. "ðə ˈdiˌɛˈneɪ ðæts ðɛr ɪz ˌoʊvərˈwɛlmɪŋli bækˈtɪriəl," hi sɪz, ˈɛstəˌmeɪtɪŋ ðət lɛs ðən 1 əv ðə ˈdiˌɛˈneɪ ɪn ə stul ˈsæmpəl ɪz ˈjumən. ðiz rɪˈzəlts tɛl ˈjuˈɛs ðət ðɛrz ə ˈdɪfərəns bɪtˈwin ˈʤɛnərəl taɪps əv gət bækˈtɪriə, bət ðeɪ doʊnt tɛl ˈjuˈɛs wɪʧ ɪz gʊd ər bæd. ðæts ðə nɛkst stɛp, əˈkɔrdɪŋ tɪ ˈbʊʃmən, hu ɪz ˌɪnˈvɑlvd wɪθ əˈplaɪɪŋ ðiz rɪˈzəlts tɪ ə ˈstədi əv kɪdz wɪθ ɪnˈflæməˌtɔri baʊəl dɪˈzizɪz, səʧ ɛz dɪˈziz. ðə stɛp bɪɔnd ðət maɪt bi traɪɪŋ tɪ ʧeɪnʤ jʊr gət ˈikoʊˌsɪstəm tɪ ˌɪmˈpruv jʊr hɛlθ, θru probiotics*, ˈsoʊˈkɔld "pup trænˈsplænts," ər, ˈteɪkɪŋ ə tɪp frəm ðɪs ˈstədi, ən ˌoʊldˈfæʃənd ˈæpəl ə deɪ.
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british musician james blake is releasing his new lp the colour in anything tonight at midnight gmt, meaning listeners on the east coast will be able to hear it just in time for a relaxing evening listen. it's blake's third and first since overgrown, and it's his first substantive release since short 200 press ep. (he wrote and performed on several songs that made up recent "visual album" lemonade.) blake announced the release on annie mac's bbc radio 1 show while premiering new music, specifically a bon iver collaboration called "i need a forest fire" that's part of the tracklist. (it's embedded below.)
blake has been teasing this album for over a year, and his promotional efforts have up in recent weeks with the appearance of billboards in london and new york that bear the album's title. it was called radio silence at one point, and blake went as far as to premiere a recorded version of a song with the same name on mac's show last year. (an updated version is included in the embed below.) it's unclear whether or not "radio silence" and other recent releases like the tracks "modern soul," "timeless," and "rpg" will be on the colour in anything's tracklist, but we won't have to wait long to find out: the album's out in just a few hours.
update may et: three of blake's new songs the two mentioned above and another called "my willing heart" are now available on spotify.
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ˈbrɪtɪʃ mjuˈzɪʃən ʤeɪmz bleɪk ɪz riˈlisɪŋ hɪz nu ˈɛlˈpi ðə ˈkələr ɪn ˈɛniˌθɪŋ təˈnaɪt æt ˈmɪdˌnaɪt gmt*, ˈminɪŋ ˈlɪsənərz ɔn ðə ist koʊst wɪl bi ˈeɪbəl tɪ hir ɪt ʤɪst ɪn taɪm fər ə rɪˈlæksɪŋ ˈivnɪŋ ˈlɪsən. ɪts bleɪks θərd ənd fərst sɪns ˌoʊvərˈgroʊn, ənd ɪts hɪz fərst ˈsəbstəntɪv riˈlis sɪns ʃɔrt 200 prɛs ep*. (hi roʊt ənd pərˈfɔrmd ɔn ˈsɛvərəl sɔŋz ðət meɪd əp ˈrisənt "ˈvɪʒəwəl ˈælbəm" ˈlɛməˈneɪd.) bleɪk əˈnaʊnst ðə riˈlis ɔn ˈæni mæks ˌbibiˈsi ˈreɪdiˌoʊ 1 ʃoʊ waɪl prɛˈmɪrɪŋ nu mˈjuzɪk, spəˈsɪfɪkli ə bɑn ˈaɪvər kəˌlæbərˈeɪʃən kɔld "aɪ nid ə ˈfɔrɪst faɪər" ðæts pɑrt əv ðə tracklist*. (ɪts ɛmˈbɛdɪd bɪˈloʊ.) bleɪk həz bɪn ˈtizɪŋ ðɪs ˈælbəm fər ˈoʊvər ə jɪr, ənd hɪz pərˈmoʊʃənəl ˈɛfərts hæv əp ɪn ˈrisənt wiks wɪθ ðə əˈpɪrəns əv ˈbɪlˌbɔrdz ɪn ˈləndən ənd nu jɔrk ðət bɛr ðə ˈælbəmz ˈtaɪtəl. ɪt wɑz kɔld ˈreɪdiˌoʊ ˈsaɪləns æt wən pɔɪnt, ənd bleɪk wɛnt ɛz fɑr ɛz tɪ prɛˈmɪr ə rɪˈkɔrdɪd ˈvərʒən əv ə sɔŋ wɪθ ðə seɪm neɪm ɔn mæks ʃoʊ læst jɪr. (ən ˈəpˌdeɪtɪd ˈvərʒən ɪz ˌɪnˈkludɪd ɪn ðə ɪmˈbɛd bɪˈloʊ.) ɪts ənˈklɪr ˈwɛðər ər nɑt "ˈreɪdiˌoʊ ˈsaɪləns" ənd ˈəðər ˈrisənt rɪˈlisɪz laɪk ðə træks "ˈmɑdərn soʊl," "ˈtaɪmləs," ənd "rpg*" wɪl bi ɔn ðə ˈkələr ɪn ˈɛniˌθɪŋz tracklist*, bət wi woʊnt hæv tɪ weɪt lɔŋ tɪ faɪnd aʊt: ðə ˈælbəmz aʊt ɪn ʤɪst ə fju aʊərz. ˈəpˌdeɪt meɪ ɛt: θri əv bleɪks nu sɔŋz ðə tu ˈmɛnʃənd əˈbəv ənd əˈnəðər kɔld "maɪ ˈwɪlɪŋ hɑrt" ər naʊ əˈveɪləbəl ɔn spotify*.
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kasich awaits signal from god on presidential bid
ohio gov. john kasich continued to signal his increasing interest in running for president sunday, saying waiting for a signal from god before making the call.
“my family is a consideration,” the republican governor said on “meet the press.” “number two, the most important thing is, what does the lord want me to do with my life?”
while he awaits that clarity, kasich said been active on the trail just in case. “i’m not going to figure [it] out laying in bed, hoping lightning strikes,” he said.
the governor made waves in new hampshire over the weekend when he told activists to hold off on committing to any candidates until he made up his mind. one of five republican governors seriously considering a bid for the presidential nomination, including scott walker, new chris christie, rick snyder and bobby jindal.
kasich has been barnstorming the country to promote a federal constitutional amendment to balance the budget, and he recently stepped up his activity in the early nominating states.
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ˈkɑsɪʧ əˈweɪts ˈsɪgnəl frəm gɑd ɔn ˌprɛzɪˈdɛnʃəl bɪd oʊˈhaɪoʊ gəv. ʤɑn ˈkɑsɪʧ kənˈtɪnjud tɪ ˈsɪgnəl hɪz ˌɪnˈkrisɪŋ ˈɪntəˌrɛst ɪn ˈrənɪŋ fər ˈprɛzɪdənt ˈsənˌdi, seɪɪŋ ˈweɪtɪŋ fər ə ˈsɪgnəl frəm gɑd ˌbiˈfɔr ˈmeɪkɪŋ ðə kɔl. ˈfæməli ɪz ə consideration,”*,” ðə rɪˈpəblɪkən ˈgəvərnər sɛd ɔn ðə press.”*.” tu, ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪz, wət dɪz ðə lɔrd wɔnt mi tɪ du wɪθ maɪ life?”*?” waɪl hi əˈweɪts ðət ˈklɛrɪti, ˈkɑsɪʧ sɛd bɪn ˈæktɪv ɔn ðə treɪl ʤɪst ɪn keɪs. nɑt goʊɪŋ tɪ ˈfɪgjər [ɪt] aʊt leɪɪŋ ɪn bɛd, ˈhoʊpɪŋ ˈlaɪtnɪŋ strikes,”*,” hi sɛd. ðə ˈgəvərnər meɪd weɪvz ɪn nu ˈhæmʃər ˈoʊvər ðə ˈwiˌkɪnd wɪn hi toʊld ˈæktɪvɪsts tɪ hoʊld ɔf ɔn kəˈmɪtɪŋ tɪ ˈɛni ˈkænədɪts ənˈtɪl hi meɪd əp hɪz maɪnd. wən əv faɪv rɪˈpəblɪkən ˈgəvərnərz ˈsɪriəsli kənˈsɪdərɪŋ ə bɪd fər ðə ˌprɛzɪˈdɛnʃəl ˌnɑməˈneɪʃən, ˌɪnˈkludɪŋ skɑt ˈwɔkər, nu krɪs ˈkrɪsti, rɪk sˈnaɪdər ənd ˈbɑbi jindal*. ˈkɑsɪʧ həz bɪn ˈbɑrnˌstɔrmɪŋ ðə ˈkəntri tɪ prəˈmoʊt ə ˈfɛdərəl ˌkɑnstəˈtuʃənəl əˈmɛndmənt tɪ ˈbæləns ðə ˈbəʤɪt, ənd hi ˈrisəntli stɛpt əp hɪz ækˈtɪvɪti ɪn ðə ˈərli ˈnɑməˌneɪtɪŋ steɪts.
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researchers may be close to finding the secret to building the next generation of wind turbine blades for producing wind power. a case western reserve university researcher reports building a prototype blade that is lighter and tougher than those now in use. the key, he says, is using polyurethane reinforced with carbons.
as reported, larger wind turbines are something of a paradoxical pursuit in the wind industry these days. they can capture more energy but they can be costly, and if too much extra weight accompanies the larger size, the net effect can be reduced efficiency. because the heavier the blades, the more wind is needed to turn the rotor. in addition, larger blades are more prone to flex, further reducing their ability to capture energy.
marcio loos, a researcher, built a blade, that is lighter and more rigid than the commercial template he modeled it on. calling it “the first carbon reinforced polyurethane wind blade.”
so far, mechanical tests of the carbon and have shown that the material outperforms the resins application now used for wind turbine blades. in addtion, carbons are lighter than carbon fiber and aluminum and have five times the strength of carbon fiber and 60 times the strength of aluminum. fatigue testing showed the reinforced polyurethane composite lasts about eight times longer than epoxy reinforced with fiberglass.
loos and his team, supporter in their work by the u.s. department of energy and bayer materialscience, will continue to test optimal conditions for thes. the functional prototype blades built by loos, which were used to turn a turbine, will be stored in a laboratory and used for use in the next generation of wind turbine blades.
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ˈrisərʧərz meɪ bi kloʊz tɪ ˈfaɪndɪŋ ðə ˈsikrɪt tɪ ˈbɪldɪŋ ðə nɛkst ˌʤɛnərˈeɪʃən əv wɪnd ˈtərbaɪn bleɪdz fər prəˈdusɪŋ wɪnd paʊər. ə keɪs ˈwɛstərn rɪˈzərv ˌjunəˈvərsəti ˈrisərʧər rɪˈpɔrts ˈbɪldɪŋ ə ˈproʊtoʊˌtaɪp bleɪd ðət ɪz ˈlaɪtər ənd ˈtəfər ðən ðoʊz naʊ ɪn juz. ðə ki, hi sɪz, ɪz ˈjuzɪŋ ˌpɑˌliˈʊrəˌθeɪn ˌriɪnˈfɔrst wɪθ ˈkɑrbən. ɛz ˌriˈpɔrtəd, ˈlɑrʤər wɪnd ˈtərbaɪnz ər ˈsəmθɪŋ əv ə ˌpɛrəˈdɑksɪkəl pərˈsut ɪn ðə wɪnd ˈɪndəstri ðiz deɪz. ðeɪ kən ˈkæpʧər mɔr ˈɛnərʤi bət ðeɪ kən bi ˈkɔstli, ənd ɪf tu məʧ ˈɛkstrə weɪt əˈkəmpəniz ðə ˈlɑrʤər saɪz, ðə nɛt ˈifɛkt kən bi rɪˈdust ɪˈfɪʃənsi. bɪˈkəz ðə ˈhɛviər ðə bleɪdz, ðə mɔr wɪnd ɪz ˈnidɪd tɪ tərn ðə ˈroʊtər. ɪn əˈdɪʃən, ˈlɑrʤər bleɪdz ər mɔr proʊn tɪ flɛks, ˈfərðər rɪˈdusɪŋ ðɛr əˈbɪləˌti tɪ ˈkæpʧər ˈɛnərʤi. luz, ə ˈrisərʧər, bɪlt ə bleɪd, ðət ɪz ˈlaɪtər ənd mɔr ˈrɪʤɪd ðən ðə kəˈmərʃəl ˈtɛmplət hi ˈmɑdəld ɪt ɔn. ˈkɔlɪŋ ɪt fərst ˈkɑrbən ˌriɪnˈfɔrst ˌpɑˌliˈʊrəˌθeɪn wɪnd blade.”*.” soʊ fɑr, məˈkænɪkəl tɛsts əv ðə ˈkɑrbən ənd hæv ʃoʊn ðət ðə məˈtɪriəl ˈaʊtpərˈfɔrmz ðə ˈrɛzɪnz ˌæpləˈkeɪʃən naʊ juzd fər wɪnd ˈtərbaɪn bleɪdz. ɪn addtion*, ˈkɑrbən ər ˈlaɪtər ðən ˈkɑrbən ˈfaɪbər ənd əˈlumənəm ənd hæv faɪv taɪmz ðə strɛŋθ əv ˈkɑrbən ˈfaɪbər ənd 60 taɪmz ðə strɛŋθ əv əˈlumənəm. fəˈtig ˈtɛstɪŋ ʃoʊd ðə ˌriɪnˈfɔrst ˌpɑˌliˈʊrəˌθeɪn kəmˈpɑzət læsts əˈbaʊt eɪt taɪmz ˈlɔŋgər ðən ɪˈpɑksi ˌriɪnˈfɔrst wɪθ ˈfaɪbərˌglæs. luz ənd hɪz tim, səˈpɔrtər ɪn ðɛr wərk baɪ ðə juz. dɪˈpɑrtmənt əv ˈɛnərʤi ənd beɪər materialscience*, wɪl kənˈtɪnju tɪ tɛst ˈɑptɪməl kənˈdɪʃənz fər ðə. ðə ˈfəŋkʃənəl ˈproʊtoʊˌtaɪp bleɪdz bɪlt baɪ luz, wɪʧ wər juzd tɪ tərn ə ˈtərbaɪn, wɪl bi stɔrd ɪn ə ˈlæbrəˌtɔri ənd juzd fər juz ɪn ðə nɛkst ˌʤɛnərˈeɪʃən əv wɪnd ˈtərbaɪn bleɪdz.
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reigning champions mercedes have proposed a new solution to the problem of cockpit safety in formula one.
canopies and have been discussed at length behind closed doors since the fatal accident of racer henry surtees, and the serious injuries sustained by felipe massa when he was a ferrari driver in 2009.
the issue then returned to the top of the agenda late last year, when the now stricken jules helmeted head hit the underside of a vehicle during the japanese grand prix.
according to auto motor und sport, mercedes presented a proposed solution to the problem of open cockpits to the latest meeting of the technical working group.
it is a sort of ‘halo’, encircling the head and attached to the front of the just ahead of the steering wheel and dash.
“less respectful voices are calling it a toilet seat,” said correspondent michael schmidt. (gmm)
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ˈreɪnɪŋ ˈʧæmpiənz mərˈseɪdiz hæv prəˈpoʊzd ə nu səˈluʃən tɪ ðə ˈprɑbləm əv ˈkɑkˌpɪt ˈseɪfti ɪn ˈfɔrmjələ wən. ənd hæv bɪn dɪˈskəst æt lɛŋθ bɪˈhaɪnd kloʊzd dɔrz sɪns ðə ˈfeɪtəl ˈæksədənt əv ˈreɪsər ˈhɛnri surtees*, ənd ðə ˈsɪriəs ˈɪnʤəriz səˈsteɪnd baɪ fəˈlip ˈmæsə wɪn hi wɑz ə fərˈɑri ˈdraɪvər ɪn 2009 ðə ˈɪʃu ðɛn rɪˈtərnd tɪ ðə tɔp əv ðə əˈʤɛndə leɪt læst jɪr, wɪn ðə naʊ ˈstrɪkən ʤulz ˈhɛlmətɪd hɛd hɪt ðə ˈəndərˌsaɪd əv ə ˈviɪkəl ˈdʊrɪŋ ðə ˌʤæpəˈniz grænd pri. əˈkɔrdɪŋ tɪ ˈɔtoʊ ˈmoʊtər ənd spɔrt, mərˈseɪdiz pərˈzɛnəd ə prəˈpoʊzd səˈluʃən tɪ ðə ˈprɑbləm əv ˈoʊpən ˈkɑkˌpɪts tɪ ðə ˈleɪtəst ˈmitɪŋ əv ðə ˈtɛknɪkəl ˈwərkɪŋ grup. ɪt ɪz ə sɔrt əv ‘‘halo’*’, ɛnˈsərkəlɪŋ ðə hɛd ənd əˈtæʧt tɪ ðə frənt əv ðə ʤɪst əˈhɛd əv ðə ˈstɪrɪŋ wil ənd dæʃ. rɪˈspɛktfəl ˈvɔɪsɪz ər ˈkɔlɪŋ ɪt ə ˈtɔɪlət seat,”*,” sɛd ˌkɔrəˈspɑndənt ˈmaɪkəl ʃmɪt. (gmm*)
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