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new research on the subject emphasizes the importance of safety, above all, on a woman's decision to ride. writing in the international journal of sustainable transportation, a study group led by of ohio state university conclude that "women are less likely to feel safe" on a bike than men particularly in an area with lots of car traffic.
in other words, american cities are doing something wrong here. just what that something is has been the subject of debate before at cities. genevieve walker has argued that making bike stores friendlier to women would be a good step toward reducing the gender gap. alex baca, writing in response, concluded that the task requires stronger infrastructure, convenience, and community in short, a stronger biking environment .
it's no secret that american women are less likely than american men to ride bikes in cities. some reports put one woman on a bike for every two men in the united states, and some have the ratio at a lady for every three guys. this isn't a universal condition by any stretch of the imagination; in european countries like denmark, germany, and the netherlands, the split is right around fifty-fifty.
akar and colleagues surveyed commute behavior on campus in a sample of about people, from faculty to undergrads. while a convenient study location, the campus also had some natural advantages. first, women don't have the same household responsibilities that keep many older women from riding (just reporting here, folks); and second, columbus, ohio, is a place that's only recently implemented measures, which makes it reflective of many american cities.
most residents commuted to the school by car 73 percent for the whole group with women more likely to drive than men (78 to 65 percent). not quite 8 percent of all study participants said the bike was their primary commute mode, but the gender split for that response favored men 13 to 6 percent. distance from campus obviously had a lot to do with a person's decision to ride too, with people most likely to ride (17 percent mode share) when they lived 1 to 5 miles away.
the big question, of course, was what kept more women from biking. men and women gave several of the same reasons for not riding, including distance from campus and to need to carry things, but the biggest disparity was a safety concern regarding nearby car traffic. while 43 percent of women cited that concern as a reason they didn't ride, only 28 percent of men said the same.
a related concern lack of bike lanes also showed a pretty big gender gap, with 37 percent of women citing the reason, to 30 percent of men. (respondents could choose more than one reason.) when the researchers analyzed the figures in closer detail, they found that being within half a mile of a bike trail or path was significantly associated with riding for women, but not for men.
the researchers offer some clear recommendations based on their findings: campuses (and, more broadly, cities) can make riding more appealing to women by adding bike paths or improving bike lanes on general roads. what's encouraging about this finding is that enhanced bike infrastructure whether bike paths or dedicated bike lanes is something cities must do to promote bike riding in general. knowing these upgrades will have a double effect of encouraging women to ride should only make these policies more popular.
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nu ˈrisərʧ ɔn ðə ˈsəbʤɪkt ˈɛmfəˌsaɪzɪz ðə ˌɪmˈpɔrtəns əv ˈseɪfti, əˈbəv ɔl, ɔn ə ˈwʊmənz dɪˈsɪʒən tɪ raɪd. ˈraɪtɪŋ ɪn ðə ˌɪnərˈnæʃənɑl ˈʤərnəl əv səˈsteɪnəbəl ˌtrænspərˈteɪʃən, ə ˈstədi grup lɛd baɪ əv oʊˈhaɪoʊ steɪt ˌjunəˈvərsəti kənˈklud ðət "ˈwɪmən ər lɛs ˈlaɪkli tɪ fil seɪf" ɔn ə baɪk ðən mɛn ˌpɑrˈtɪkjələrli ɪn ən ˈɛriə wɪθ lɑts əv kɑr ˈtræfɪk. ɪn ˈəðər wərdz, əˈmɛrɪkən ˈsɪtiz ər duɪŋ ˈsəmθɪŋ rɔŋ hir. ʤɪst wət ðət ˈsəmθɪŋ ɪz həz bɪn ðə ˈsəbʤɪkt əv dəˈbeɪt ˌbiˈfɔr æt ˈsɪtiz. ˈʤɛnəˌviv ˈwɔkər həz ˈɑrgjud ðət ˈmeɪkɪŋ baɪk stɔrz ˈfrɛndliər tɪ ˈwɪmən wʊd bi ə gʊd stɛp təˈwɔrd rɪˈdusɪŋ ðə ˈʤɛndər gæp. ˈæləks ˈbækə, ˈraɪtɪŋ ɪn rɪˈspɑns, kənˈkludɪd ðət ðə tæsk rikˈwaɪərz ˈstrɔŋgər ˌɪnfrəˈstrəkʧər, kənˈvinjəns, ənd kəmˈjunɪti ɪn ʃɔrt, ə ˈstrɔŋgər ˈbaɪkɪŋ ɪnˈvaɪrənmənt ɪts noʊ ˈsikrɪt ðət əˈmɛrɪkən ˈwɪmən ər lɛs ˈlaɪkli ðən əˈmɛrɪkən mɛn tɪ raɪd baɪks ɪn ˈsɪtiz. səm rɪˈpɔrts pʊt wən ˈwʊmən ɔn ə baɪk fər ˈɛvəri tu mɛn ɪn ðə juˈnaɪtɪd steɪts, ənd səm hæv ðə ˈreɪʃiˌoʊ æt ə ˈleɪdi fər ˈɛvəri θri gaɪz. ðɪs ˈɪzənt ə ˌjunəˈvərsəl kənˈdɪʃən baɪ ˈɛni strɛʧ əv ðə ˌɪˌmæʤəˈneɪʃən; ɪn ˌjʊrəˈpiən ˈkəntriz laɪk ˈdɛnˌmɑrk, ˈʤərməni, ənd ðə ˈnɛðərləndz, ðə splɪt ɪz raɪt əraʊnd fifty-fifty*. ənd ˈkɑligz ˈsərˌveɪd kəmˈjut bɪˈheɪvjər ɔn ˈkæmpəs ɪn ə ˈsæmpəl əv əˈbaʊt ˈpipəl, frəm ˈfækəlti tɪ undergrads*. waɪl ə kənˈvinjənt ˈstədi loʊˈkeɪʃən, ðə ˈkæmpəs ˈɔlsoʊ hæd səm ˈnæʧərəl ædˈvæntɪʤɪz. fərst, ˈwɪmən doʊnt hæv ðə seɪm ˈhaʊsˌhoʊld riˌspɑnsəˈbɪlətiz ðət kip ˈmɛni ˈoʊldər ˈwɪmən frəm ˈraɪdɪŋ (ʤɪst rɪˈpɔrtɪŋ hir, foʊks); ənd ˈsɛkənd, kəˈləmbəs, oʊˈhaɪoʊ, ɪz ə pleɪs ðæts ˈoʊnli ˈrisəntli ˈɪmpləˌmɛnəd ˈmɛʒərz, wɪʧ meɪks ɪt rɪˈflɛktɪv əv ˈmɛni əˈmɛrɪkən ˈsɪtiz. moʊst ˈrɛzɪdənts kəmˈjutɪd tɪ ðə skul baɪ kɑr 73 pərˈsɛnt fər ðə hoʊl grup wɪθ ˈwɪmən mɔr ˈlaɪkli tɪ draɪv ðən mɛn 78 tɪ 65 pərˈsɛnt). nɑt kwaɪt 8 pərˈsɛnt əv ɔl ˈstədi pɑrˈtɪsəpənts sɛd ðə baɪk wɑz ðɛr ˈpraɪˌmɛri kəmˈjut moʊd, bət ðə ˈʤɛndər splɪt fər ðət rɪˈspɑns ˈfeɪvərd mɛn 13 tɪ 6 pərˈsɛnt. ˈdɪstəns frəm ˈkæmpəs ˈɑbviəsli hæd ə lɔt tɪ du wɪθ ə ˈpərsənz dɪˈsɪʒən tɪ raɪd tu, wɪθ ˈpipəl moʊst ˈlaɪkli tɪ raɪd 17 pərˈsɛnt moʊd ʃɛr) wɪn ðeɪ lɪvd 1 tɪ 5 maɪəlz əˈweɪ. ðə bɪg kˈwɛʃən, əv kɔrs, wɑz wət kɛpt mɔr ˈwɪmən frəm ˈbaɪkɪŋ. mɛn ənd ˈwɪmən geɪv ˈsɛvərəl əv ðə seɪm ˈrizənz fər nɑt ˈraɪdɪŋ, ˌɪnˈkludɪŋ ˈdɪstəns frəm ˈkæmpəs ənd tɪ nid tɪ ˈkɛri θɪŋz, bət ðə ˈbɪgəst dɪˈspɛrəti wɑz ə ˈseɪfti kənˈsərn rɪˈgɑrdɪŋ ˈnɪrˈbaɪ kɑr ˈtræfɪk. waɪl 43 pərˈsɛnt əv ˈwɪmən ˈsaɪtɪd ðət kənˈsərn ɛz ə ˈrizən ðeɪ ˈdɪdənt raɪd, ˈoʊnli 28 pərˈsɛnt əv mɛn sɛd ðə seɪm. ə rɪˈleɪtɪd kənˈsərn læk əv baɪk leɪnz ˈɔlsoʊ ʃoʊd ə ˈprɪti bɪg ˈʤɛndər gæp, wɪθ 37 pərˈsɛnt əv ˈwɪmən ˈsaɪtɪŋ ðə ˈrizən, tɪ 30 pərˈsɛnt əv mɛn. (rɪˈspɑndənts kʊd ʧuz mɔr ðən wən ˈrizən.) wɪn ðə ˈrisərʧərz ˈænəˌlaɪzd ðə ˈfɪgjərz ɪn ˈkloʊzər ˈditeɪl, ðeɪ faʊnd ðət biɪŋ wɪˈθɪn hæf ə maɪl əv ə baɪk treɪl ər pæθ wɑz sɪgˈnɪfɪkəntli əˈsoʊʃiˌeɪtəd wɪθ ˈraɪdɪŋ fər ˈwɪmən, bət nɑt fər mɛn. ðə ˈrisərʧərz ˈɔfər səm klɪr ˌrɛkəmənˈdeɪʃənz beɪst ɔn ðɛr ˈfaɪndɪŋz: ˈkæmpəsɪz (ənd, mɔr ˈbrɔdli, ˈsɪtiz) kən meɪk ˈraɪdɪŋ mɔr əˈpilɪŋ tɪ ˈwɪmən baɪ ˈædɪŋ baɪk pæθs ər ˌɪmˈpruvɪŋ baɪk leɪnz ɔn ˈʤɛnərəl roʊdz. wəts ɪnˈkərəʤɪŋ əˈbaʊt ðɪs ˈfaɪndɪŋ ɪz ðət ɛnˈhænst baɪk ˌɪnfrəˈstrəkʧər ˈwɛðər baɪk pæθs ər ˈdɛdəkeɪtəd baɪk leɪnz ɪz ˈsəmθɪŋ ˈsɪtiz məst du tɪ prəˈmoʊt baɪk ˈraɪdɪŋ ɪn ˈʤɛnərəl. noʊɪŋ ðiz ˈəpˌgreɪdz wɪl hæv ə ˈdəbəl ˈifɛkt əv ɪnˈkərəʤɪŋ ˈwɪmən tɪ raɪd ʃʊd ˈoʊnli meɪk ðiz ˈpɑləsiz mɔr ˈpɑpjələr. tɔp ˈɪmɪʤ:
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winners at sunday creative arts emmy awards included actors bob newhart, carrie preston, melissa leo, dan and lily tomlin and reality hosts heidi and tim gunn, along with the realityw “undercover boss” and the variety special “the kennedy center honors.”
steven “behind the candelabra” was the biggest winner, with eight emmys.
the awards were handed out at the nokia theatre in downtown los angeles, and will be aired on in an edited version on saturday, sept. 21, the day before the primetime emmys.
also read: creative arts emmys: ‘behind the candelabra’ ruled the night, but bob newhart stole thew
the nominees and winners:
outstanding host for a reality or program
ryan seacrest, american idol
betty white, betty off their rockers
tom bergeron, dancing with the stars
heidi and tim gunn, project runway * winner
cat deeley, so you think you can dance
anthony, the taste
outstanding guest actor in a drama series
nathan lane, the good wife
michael j. fox the good wife
rupert friend, homeland
robert morse, mad men
harry hamlin, mad men
dan bucatinsky, scandal * winner
outstanding guest actress in a drama series
margo martindale, the americans
diana rigg, game of
carrie preston, the good wife * winner
linda cardellini, mad men
jane fonda, the newsroom
joan cusack, shameless
outstanding guest actor in a comedy series
bob newhart, the big bang theory * winner
nathan lane, modern family
bobby cannavale, nurse jackie
louis c.k., saturday night live
justin timberlake, saturday night live
will forte, 30 rock
outstanding guest actress in a comedy series
molly shannon, enlightened
dot-marie jones, glee
melissa leo, louie * winner
melissa mccarthy, saturday night live
kristen wiig, saturday night live
elaine stritch, 30 rock
outstanding variety special
the kennedy center honors * winner
louis c.k.: oh my god
mel brooks strikes back! with mel brooks and alan
saturday night live: weekend update thursday (part one)
12-12-12: the concert for sandy relief
outstanding writing for a variety special
the annual golden globe awards
louis c.k.: oh my god * winner
night of too many stars: america comes together for autism programs saturday night live: weekend update thursday (part one)
66th annual tony awards
outstanding directing for a variety special
louis j. horvitz, the kennedy center honors * winner
bucky and hamish hamilton, london 2012 olympic games opening louis c.k., ceremony louis c.k.: oh my god
don mischer, the oscars
michael dempsey,: the concert for sandy relief
outstanding special class programs
the annual golden globe awards
london 2012 olympic games opening ceremony
the oscars
rodgers & carousel (live from lincoln center)
66th annual tony awards * winner
outstanding special class entertainment programs
between two ferns
burning love
childrens hospital * winner
the dailyw correspondents explain
super bowl halftimew starring beyoncé
30 rock: the
outstanding special class nonfiction programs
comedians in cars getting coffee
jay garage
the office: the farewells
remembering * winner
30 rock: the final season
top chef: last chance kitchen
outstanding interactive program
bravo’s top chef interactive experience
game of season three enhanced digital experience
the homeland sync experience
killing lincoln
night of too many stars: america comes together for autism * winner
the team coco sync experience
the walking dead story sync
outstanding creative achievement in interactive media original interactive program award)
the lizzie bennett diaries * winner
outstanding program
good luck charlie
icarly
nick news with linda ellerbee forgotten but not gone: kids, & aids * winner
the weight of the nation for kids: quiz ed!
a
outstanding reality program
antiques roadshow
deadliest catch
diners, and dives
mythbusters
shark tank
undercover boss * winner
outstanding documentary or nonfiction special
all the men revisited
crossfire hurricane
death and the civil war (american experience)
ethel
manhunt: the inside story of the hunt for bin laden * winner
outstanding documentary or nonfiction series
the abolitionists (american experience)
american masters * winner
the men who built america
through the wormhole with morgan freeman
vice
outstanding informational series or special
anthony: parts unknown * winner
brain games
inside the actors studio * winner
oprah’s master class
stand up to cancer
exceptional merit in documentary filmmaking award)
mea maxima culpa: silence in the house of god * winner
outstanding writing for nonfiction programming
anthony: parts unknown, anthony
the dust bowl, dayton duncan
ethel, mark bailey
mea maxima culpa: silence in the house of god , alex gibney * winner
the men who built america a new war begins, stephen david, patrick reams, david c. white, keith palmer and randy
outstanding directing for nonfiction programming
american masters: mel brooks: make a noise, robert trachtenberg * winner
ethel, rory kennedy
mea maxima culpa: silence in the house of god, alex gibney
survivor: live finale and reunion (caramoan: fans vs. favorites), glenn weiss
survivor: live finale and reunion (philippines), michael simon
outstanding animated program
bob’s burgers : o.t.: the outside toilet
kung fu panda: legends of awesomeness: enter the dragon
regularw: the christmas special
the simpsons: of horror
south park: raising the bar * winner
outstanding animated program
adventure time: simon & marcy
clarence
disney mickey mouse croissant de triomphe * winner
regularw: a bunch of full grown geese
robot chicken: robot atm christmas special
outstanding individual achievement in animation award)
adventure time: puhoy, andy * winner
disney mickey mouse croissant de triomphe, jenny * winner
dickey mickey mouse de triiomphe, joseph holt * winner
disney tron: uprising, alberto * winner
dragons: riders of berk, andy * winner
the simpsons: of horror, paul wee * winner
outstanding performance
lily tomlin, an apology to elephants * winner
seth macfarlane, family guy
alex borstein, family guy: lois comes out of her shell
bob bergen, the looney tunesw: in big truffle
sam elliott, robot chicken: from a helicopter into a speeding train
seth green, robot chicken dc comics special
outstanding art direction for a series
the big bang theory
how i met your mother
masterchef * winner
two and a half men
2 broke girls
outstanding art direction for a series
boardwalk empire * winner
the
downton abbey
game of
true blood
outstanding art direction for a miniseries or movie
american horror story: asylum: i am anne frank (part 2)
american horror story: asylum: welcome to briarcliff
behind the candelabra * winner
phil spector
seal team six: the raid on osama bin laden
outstanding art direction for variety or nonfiction programming
dancing with the stars
london 2012 olympic games opening ceremony * winner
the oscars
saturday night live * winner
the voice
outstanding casting for a comedy series
girls
modern family
nurse jackie
30 rock * winner
veep
outstanding casting for a drama series
downton abbey
game of
the good wife
homeland
house of cards * winner
outstanding casting for a miniseries, movie or a special
american horror story: asylum
behind the candelabra * winner
the hour
political animals
top of the lake
outstanding cinematography for a series
the exes
how i met your mother * winner
mike & molly
two and a half men
2 broke girls
outstanding cinematography for a series
boardwalk empire
breaking bad
game of
homeland
house of cards * winner
mad men
outstanding cinematography for a miniseries or movie
american horror story: asylum
behind the candelabra
the girl
parade’s end
top of the lake * winner
outstanding cinematography for nonfiction programming
anthony: parts unknown * winner
ethel
manhunt: the inside story of the hunt for bin laden
mea maxima culpa: silence in the house of god
the men who built america
outstanding cinematography for reality programming
the amazing race
deadliest catch * winner
project runway
survivor
top chef
outstanding commercial
the chase grey
inspired canon * winner
jess time google chrome
jogger nike
outstanding costumes for a series
boardwalk empire
the * winner
downton abbey
game of
once upon a time
outstanding costumes for a miniseries, movie or a special
american horror story: asylum
behind the candelabra * winner
the girl
killing lincoln
parade’s end
phil spector
outstanding costumes for a variety program or a special
the annual grammy awards
the men who built america
portlandia * winner
outstanding picture editing for a drama series
breaking bad: dead freight
breaking bad: gliding over all * winner
game of: the rains of
house of cards: chapter 1
mad men: the collaborators
outstanding picture editing for a comedy series
arrested development: flight of the phoenix
louie: girlfriend (part 2)
modern family: party
the office: finale * winner
30 rock: hogcock! / last lunch
outstanding picture editing for a comedy series
the big bang theory: the love spell potential
the colbert report: episode 9082
conan: occupy conan
hot in cleveland: magic diet candy
how i met your mother: p.s. i love you * winner
outstanding picture editing for a miniseries or a movie
american horror story: asylum:
behind the candelabra * winner
killing lincoln
phil spector
top of the lake: part 5
outstanding picture editing forrt-form segments and variety specials
the colbert report: university (episode 9083)
the dailyw with jon stewart: australia & gun aftermath (part 3) (episode 18092) * winner
london 2012 olympic games opening ceremony
louis c.k.: oh my god
saturday night live: lincoln (host: louis c.k.)
outstanding picture editing for nonfiction programming
american masters: mel brooks: make a noise
crossfire hurricane
ethel
mea maxima culpa: silence in the house of god * winner
richard pryor: omit the logic
outstanding picture editing for reality programming
the amazing race: be safe and hit a cow
deadliest catch: mutiny on the bering sea * winner
project runway: a times square anniversary party
project runway: europe, here we come
survivor: zipping over the nest
outstanding for a series
boardwalk empire: resolution *winner
the: the wolf and the lamb
downton abbey: episode 4
game of: second sons
mad men: the doorway
outstanding for a series or special
the big bang theory the bakersfield expedition
dancing with the stars episode 1608
the oscars
saturday night live host: jennifer lawrence * winner
the voice the livews (part 1) (season 3)
outstanding for a miniseries or a movie
american horror story: asylum
behind the candelabra * winner
liz & dick
phil spector
political animals
ring of fire
outstanding lighting direction for a variety series
american idol: finale
dancing with the stars: episode 1605
saturday night live: host: martinrt
so you think you can dance: season 9 finale
the voice: live final performances (season 3) * winner
outstanding lighting direction for a variety special
andrea bocelli: love in (great performances)
london 2012 olympic games opening ceremony
the oscars
2013 rock and roll hall of fame induction
super bowl halftimew starring beyoncé * winner
outstanding main title design
american horror story: asylum
da demons * winner
elementary
halo 4: forward unto dawn
the newsroom
vikings
outstanding makeup for a series (non-prosthetic)
boardwalk empire
the
game of * winner
glee
mad men
once upon a time
outstanding makeup for a series or special (non-prosthetic)
dancing with the stars
how i met your mother
key & peele
the oscars
saturday night live host: justin timberlake * winner
outstanding makeup for a miniseries or a movie (non-prosthetic)
american horror story: asylum
behind the candelabra * winner
liz & dick
phil spector
ring of fire
outstanding prosthetic makeup for a series, miniseries, movie or a special
american horror story: asylum
behind the candelabra * winner
game of
saturday night live host: jennifer lawrence
the walking dead
outstanding music composition for a series (original dramatic score)
arrested development
the
downton abbey * winner
house of cards
last resort
mr selfridge (masterpiece)
outstanding music composition for a miniseries, movie or a special (original dramatic score)
the girl
mea maxima culpa: silence in the house of god
parade’s end
restless
ring of fire
world without end * winner
outstanding music direction
christmas in washington
the kennedy center honors
the oscars
rodgers & carousel (live from lincoln center)
66th annual tony awards * winner
outstanding original music and lyrics
nashville: never get out of this world alive / song title: nothing in this world will ever break my heart again
the neighbors: sing like a larry bird / song title: more or less the kind of thing you may or may not possibly see on broadway
smash: the parents / song title: hang the moon
smash: the bells and whistles / song title: i hear your voice in a dream
30 rock: hogock! / last lunch / song title: rural juror
66th annual tony awards song title: if i had time * winner
outstanding original main title theme music
the americans
copper
da demons * winner
elementary
hemlock
house of cards
outstanding sound editing for a series
boardwalk empire * winner
breaking bad
game of
nikita
vikings
outstanding sound editing for a miniseries, movie or a special
american horror story: asylum * winner
battlestar galactica: blood & chrome
the bible: beginnings
seal team six: the raid on osama bin laden
world without end: medieval life and death
outstanding sound editing for nonfiction programming (single or)
the amazing race
crossfire hurricane
the dust bowl: the great plow up
history of the eagles
the men who built america: bloody battles * winner
survivor: create a little chaos
outstanding sound mixing for a comedy or drama series (one hour)
boardwalk empire * * winner
breaking bad
game of
homeland
mad men
outstanding sound mixing for a miniseries or a movie
american horror story: asylum
battlestar galactica: blood & chrome
behind the candelabra * winner
the bible: beginnings
phil spector
outstanding sound mixing for a comedy or drama series (half-hour) and animation
modern family
nurse jackie * winner
the office
parks and recreation
30 rock
outstanding sound mixing for a variety series or special
american idol
the colbert report: episode
the dailyw with jon stewart: episode 17153
the annual grammy awards * winner
the oscars
outstanding sound mixing for nonfiction programming
the amazing race
anthony: parts unknown
crossfire hurricane
deadliest catch
history of the eagles * winner
survivor
outstanding special visual effects
battlestar galactica: blood & chrome
defiance
falling skies
game of * winner
hemlock grove
last resort
outstanding special visual effects in a supporting role
banshee * winner
boardwalk empire
the
da demons
revolution
vikings
outstanding stunt coordination for a comedy series or a variety program
it’s always sunny in philadelphia
modern family
supah ninjas * winner
workaholics
outstanding stunt coordination for a drama series, miniseries or movie
blue bloods
ncis
revolution * winner
southland
outstanding technical direction, camerawork, video control for a series
the big bang theory * winner
the dailyw with jon stewart
dancing with the stars
jimmy kimmel live
saturday night live: host: martinrt
the voice
outstanding technical direction, camerawork, video control for a miniseries, movie or a special
the kennedy center honors
the oscars
2013 rock and roll hall of fame induction ceremony
super bowl halftimew starring beyoncé
66th annual tony awards * winner
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ˈwɪnərz æt ˈsənˌdi kriˈeɪtɪv ɑrts ˈɛmi əˈwɔrdz ˌɪnˈkludɪd ˈæktərz bɑb ˈnuˌhɑrt, ˈkɛri ˈprɛstən, məˈlɪsə ˈlioʊ, dæn ənd ˈlɪli ˈtɑmlɪn ənd ˌriˈæləˌti hoʊsts ˈhaɪdi ənd tɪm gən, əˈlɔŋ wɪθ ðə ˌriˈæləˌti ʃoʊ boss”*” ənd ðə vərˈaɪəti ˈspɛʃəl ˈkɛnədi ˈsɛnər honors.”*.” ˈstivən ðə candelabra”*” wɑz ðə ˈbɪgəst ˈwɪnər, wɪθ eɪt ˈɛmiz. ðə əˈwɔrdz wər ˈhændɪd aʊt æt ðə ˈnoʊkiə ˈθiətər ɪn ˈdaʊnˈtaʊn lɔs ˈænʤəlɪs, ənd wɪl bi ɛrd ɔn ɪn ən ˈɛdɪtɪd ˈvərʒən ɔn ˈsæˌtɪˌdeɪ, sɛpt. 21 ðə deɪ ˌbiˈfɔr ðə ˈpraɪmˌtaɪm ˈɛmiz. ˈɔlsoʊ rɛd: kriˈeɪtɪv ɑrts ˈɛmiz: ðə candelabra’*’ ruld ðə naɪt, bət bɑb ˈnuˌhɑrt stoʊl ðə ʃoʊ ðə ˌnɑməˈniz ənd ˈwɪnərz: ˌaʊtˈstændɪŋ hoʊst fər ə ˌriˈæləˌti ər ˈproʊˌgræm raɪən seacrest*, əˈmɛrɪkən ˈaɪdəl ˈbɛti waɪt, ˈbɛti ɔf ðɛr ˈrɑkərz tɑm ˈbərgərɔn, ˈdænsɪŋ wɪθ ðə stɑrz ˈhaɪdi ənd tɪm gən, ˈprɑʤɛkt ˈrənˌweɪ ˈwɪnər kæt ˈdili, soʊ ju θɪŋk ju kən dæns ˈænθɔˌni, ðə teɪst ˌaʊtˈstændɪŋ gɛst ˈæktər ɪn ə ˈdrɑmə ˈsɪriz ˈneɪθən leɪn, ðə gʊd waɪf ˈmaɪkəl ʤeɪ. fɑks ðə gʊd waɪf ˈrupərt frɛnd, ˈhoʊmˌlænd ˈrɑbərt mɔrs, mæd mɛn ˈhɛri ˈhæmlɪn, mæd mɛn dæn bucatinsky*, ˈskændəl ˈwɪnər ˌaʊtˈstændɪŋ gɛst ˈæktrəs ɪn ə ˈdrɑmə ˈsɪriz ˈmɑrgoʊ ˈmɑrtɪndeɪl, ðə əˈmɛrɪkənz daɪˈænə rɪg, geɪm əv ˈkɛri ˈprɛstən, ðə gʊd waɪf ˈwɪnər ˈlɪndə cardellini*, mæd mɛn ʤeɪn ˈfɑndə, ðə ˈnuzˌrum ʤoʊn ˈkjuzək, ˈʃeɪmləs ˌaʊtˈstændɪŋ gɛst ˈæktər ɪn ə ˈkɑmədi ˈsɪriz bɑb ˈnuˌhɑrt, ðə bɪg bæŋ ˈθɪri ˈwɪnər ˈneɪθən leɪn, ˈmɑdərn ˈfæməli ˈbɑbi cannavale*, nərs ˈʤæki luɪs c.k*., ˈsæˌtɪˌdeɪ naɪt lɪv ˈʤəstɪn ˈtɪmbərˌleɪk, ˈsæˌtɪˌdeɪ naɪt lɪv wɪl ˈfɔrteɪ, 30 rɑk ˌaʊtˈstændɪŋ gɛst ˈæktrəs ɪn ə ˈkɑmədi ˈsɪriz ˈmɑli ˈʃænən, ˌɛnˈlaɪtənd ʤoʊnz, gli məˈlɪsə ˈlioʊ, lui ˈwɪnər məˈlɪsə məˈkɑrθi, ˈsæˌtɪˌdeɪ naɪt lɪv ˈkrɪstən wiig*, ˈsæˌtɪˌdeɪ naɪt lɪv ˌiˈleɪn stritch*, 30 rɑk ˌaʊtˈstændɪŋ vərˈaɪəti ˈspɛʃəl ðə ˈkɛnədi ˈsɛnər ˈɑnərz ˈwɪnər luɪs c.k*.: oʊ maɪ gɑd mɛl brʊks straɪks bæk! wɪθ mɛl brʊks ənd ˈælən ˈsæˌtɪˌdeɪ naɪt lɪv: ˈwiˌkɪnd ˈəpˌdeɪt ˈθərzˌdeɪ (pɑrt wən) ðə ˈkɑnsərt fər ˈsændi rɪˈlif ˌaʊtˈstændɪŋ ˈraɪtɪŋ fər ə vərˈaɪəti ˈspɛʃəl ðə ˈænjuəl ˈgoʊldən gloʊb əˈwɔrdz luɪs c.k*.: oʊ maɪ gɑd ˈwɪnər naɪt əv tu ˈmɛni stɑrz: əˈmɛrɪkə kəmz təˈgɛðər fər ˈɔˌtɪzəm ˈproʊˌgræmz ˈsæˌtɪˌdeɪ naɪt lɪv: ˈwiˌkɪnd ˈəpˌdeɪt ˈθərzˌdeɪ (pɑrt wən) ˈænjuəl ˈtoʊni əˈwɔrdz ˌaʊtˈstændɪŋ dɪˈrɛktɪŋ fər ə vərˈaɪəti ˈspɛʃəl luɪs ʤeɪ. ˈhɔrvɪts, ðə ˈkɛnədi ˈsɛnər ˈɑnərz ˈwɪnər ˈbəki ənd ˈhæmɪʃ ˈhæməltən, ˈləndən 2012 oʊˈlɪmpɪk geɪmz ˈoʊpənɪŋ luɪs c.k*., ˈsɛrəˌmoʊni luɪs c.k*.: oʊ maɪ gɑd dɑn ˈmɪʃər, ðə ˈɔskərz ˈmaɪkəl ˈdɛmpsi, ðə ˈkɑnsərt fər ˈsændi rɪˈlif ˌaʊtˈstændɪŋ ˈspɛʃəl klæs ˈproʊˌgræmz ðə ˈænjuəl ˈgoʊldən gloʊb əˈwɔrdz ˈləndən 2012 oʊˈlɪmpɪk geɪmz ˈoʊpənɪŋ ˈsɛrəˌmoʊni ðə ˈɔskərz ˈrɑʤərz ˈkɛrəˌsɛl (lɪv frəm ˈlɪŋkən ˈsɛnər) ˈænjuəl ˈtoʊni əˈwɔrdz ˈwɪnər ˌaʊtˈstændɪŋ ˈspɛʃəl klæs ˌɛnərˈteɪnmənt ˈproʊˌgræmz bɪtˈwin tu fərnz ˈbərnɪŋ ləv ˈʧɪldrənz ˈhɑˌspɪtəl ˈwɪnər ðə ˈdeɪli ʃoʊ ˌkɔrəˈspɑndənts ɪkˈspleɪn ˈsupər boʊl ˈhæfˌtaɪm ʃoʊ ˈstɑrɪŋ beyoncé*é 30 rɑk: ðə ˌaʊtˈstændɪŋ ˈspɛʃəl klæs nɑnˈfɪkʃən ˈproʊˌgræmz kəˈmidiənz ɪn kɑz ˈgɪtɪŋ ˈkɔfi ʤeɪ gərɑʒ ðə ˈɔfəs: ðə ˌfɛrˈwɛlz rɪˈmɛmbərɪŋ ˈwɪnər 30 rɑk: ðə ˈfaɪnəl ˈsizən tɔp ʃɛf: læst ʧæns ˈkɪʧən ˌaʊtˈstændɪŋ ˌɪnərˈæktɪv ˈproʊˌgræm tɔp ʃɛf ˌɪnərˈæktɪv ɪkˈspɪriəns geɪm əv ˈsizən θri ɛnˈhænst ˈdɪʤɪtəl ɪkˈspɪriəns ðə ˈhoʊmˌlænd sɪŋk ɪkˈspɪriəns ˈkɪlɪŋ ˈlɪŋkən naɪt əv tu ˈmɛni stɑrz: əˈmɛrɪkə kəmz təˈgɛðər fər ˈɔˌtɪzəm ˈwɪnər ðə tim ˈkoʊˌkoʊ sɪŋk ɪkˈspɪriəns ðə ˈwɔkɪŋ dɛd ˈstɔri sɪŋk ˌaʊtˈstændɪŋ kriˈeɪtɪv əˈʧivmənt ɪn ˌɪnərˈæktɪv ˈmidiə ərˈɪʤənəl ˌɪnərˈæktɪv ˈproʊˌgræm əˈwɔrd) ðə ˈlɪzi ˈbɛnɪt ˈdaɪəriz ˈwɪnər ˌaʊtˈstændɪŋ ˈproʊˌgræm gʊd lək ˈʧɑrli nɪk nuz wɪθ ˈlɪndə ɪˈlərbi fərˈgɑtən bət nɑt gɔn: kɪdz, eɪdz ˈwɪnər ðə weɪt əv ðə ˈneɪʃən fər kɪdz: kwɪz ɛd! ə ˌaʊtˈstændɪŋ ˌriˈæləˌti ˈproʊˌgræm ænˈtiks ˈroʊdˌʃoʊ ˈdɛdliəst kæʧ ˈdaɪnərz, ənd daɪvz ʃɑrk tæŋk ˌəndərˈkəvər bɔs ˈwɪnər ˌaʊtˈstændɪŋ ˌdɑkjəˈmɛnəri ər nɑnˈfɪkʃən ˈspɛʃəl ɔl ðə mɛn riˈvɪzətɪd ˈkrɔsˌfaɪr ˈhərəˌkeɪnz dɛθ ənd ðə ˈsɪvəl wɔr (əˈmɛrɪkən ɪkˈspɪriəns) ˈɛθəl ˈmænˌhənt: ðə ˌɪnˈsaɪd ˈstɔri əv ðə hənt fər bɪn ˈleɪdən ˈwɪnər ˌaʊtˈstændɪŋ ˌdɑkjəˈmɛnəri ər nɑnˈfɪkʃən ˈsɪriz ðə ˌæbəˈlɪʃənəsts (əˈmɛrɪkən ɪkˈspɪriəns) əˈmɛrɪkən ˈmæstərz ˈwɪnər ðə mɛn hu bɪlt əˈmɛrɪkə θru ðə ˈwərmˌhɔl wɪθ ˈmɔrgən ˈfrimən vaɪs ˌaʊtˈstændɪŋ ˌɪnˈfɔrˌmeɪʃənəl ˈsɪriz ər ˈspɛʃəl ˈænθɔˌni: pɑrts ənˈnoʊn ˈwɪnər breɪn geɪmz ˌɪnˈsaɪd ðə ˈæktərz ˈstudiˌoʊ ˈwɪnər ˈmæstər klæs stænd əp tɪ ˈkænsər ɪkˈsɛpʃənəl ˈmɛrət ɪn ˌdɑkjəˈmɛnəri ˈfɪlˌmeɪkɪŋ əˈwɔrd) mi ˈmæksəmə ˈkəlpə: ˈsaɪləns ɪn ðə haʊs əv gɑd ˈwɪnər ˌaʊtˈstændɪŋ ˈraɪtɪŋ fər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ ˈænθɔˌni: pɑrts ənˈnoʊn, ˈænθɔˌni ðə dəst boʊl, ˈdeɪtən ˈdəŋkən ˈɛθəl, mɑrk ˈbeɪli mi ˈmæksəmə ˈkəlpə: ˈsaɪləns ɪn ðə haʊs əv gɑd ˈæləks ˈʤɪbni ˈwɪnər ðə mɛn hu bɪlt əˈmɛrɪkə ə nu wɔr bɪˈgɪnz, ˈstivən ˈdeɪvɪd, ˈpætrɪk rimz, ˈdeɪvɪd si. waɪt, kiθ ˈpɑmər ənd ˈrændi ˌaʊtˈstændɪŋ dɪˈrɛktɪŋ fər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ əˈmɛrɪkən ˈmæstərz: mɛl brʊks: meɪk ə nɔɪz, ˈrɑbərt ˈtræktənbərg ˈwɪnər ˈɛθəl, ˈrɔri ˈkɛnədi mi ˈmæksəmə ˈkəlpə: ˈsaɪləns ɪn ðə haʊs əv gɑd, ˈæləks ˈʤɪbni sərˈvaɪvər: lɪv fəˈnæli ənd riˈunjən (caramoan*: fænz ˈvərsəz. ˈfeɪvərɪts), glɛn waɪs sərˈvaɪvər: lɪv fəˈnæli ənd riˈunjən (ˈfɪləˌpinz), ˈmaɪkəl ˈsaɪmən ˌaʊtˈstændɪŋ ˈænəˌmeɪtɪd ˈproʊˌgræm ˈbərgərz o.t*.: ðə ˈaʊtˈsaɪd ˈtɔɪlət kəŋ fu ˈpændə: ˈlɛʤəndz əv awesomeness*: ˈɛnər ðə ˈdrægən ˈrɛgjələr ʃoʊ: ðə ˈkrɪsməs ˈspɛʃəl ðə ˈsɪmpsənz: əv ˈhɔrər saʊθ pɑrk: ˈreɪzɪŋ ðə bɑr ˈwɪnər ˌaʊtˈstændɪŋ ˈænəˌmeɪtɪd ˈproʊˌgræm ədˈvɛnʧər taɪm: ˈsaɪmən ˈmɑrsi ˈklɛrəns ˈdɪzni ˈmɪki maʊs kˌwɑˈsɑnt də triˈoʊmf ˈwɪnər ˈrɛgjələr ʃoʊ: ə bənʧ əv fʊl groʊn gis ˈroʊˌbət ˈʧɪkən: ˈroʊˌbət ˈeɪˌtiˈɛm ˈkrɪsməs ˈspɛʃəl ˌaʊtˈstændɪŋ ˌɪndəˈvɪʤəwəl əˈʧivmənt ɪn ˌænəˈmeɪʃən əˈwɔrd) ədˈvɛnʧər taɪm: puhoy*, ˈændi ˈwɪnər ˈdɪzni ˈmɪki maʊs kˌwɑˈsɑnt də triˈoʊmf, ˈʤɛni ˈwɪnər ˈdɪki ˈmɪki maʊs də triiomphe*, ˈʤoʊzəf hoʊlt ˈwɪnər ˈdɪzni trɑn: ˈəˌpraɪzɪŋ, ælˈbərtoʊ ˈwɪnər ˈdrægənz: ˈraɪdərz əv bərk, ˈændi ˈwɪnər ðə ˈsɪmpsənz: əv ˈhɔrər, pɔl wi ˈwɪnər ˌaʊtˈstændɪŋ pərˈfɔrməns ˈlɪli ˈtɑmlɪn, ən əˈpɑləˌʤi tɪ ˈɛləfənts ˈwɪnər sɛθ məkˈfɑrlən, ˈfæməli gaɪ ˈæləks borstein*, ˈfæməli gaɪ: loʊəs kəmz aʊt əv hər ʃɛl bɑb ˈbərgən, ðə ˈluni tunz ʃoʊ: ɪn bɪg ˈtrəfəl sæm ˈɛliət, ˈroʊˌbət ˈʧɪkən: frəm ə ˈhɛlɪˌkɑptər ˈɪntu ə ˈspidɪŋ treɪn sɛθ grin, ˈroʊˌbət ˈʧɪkən ˌdiˈsi ˈkɑmɪks ˈspɛʃəl ˌaʊtˈstændɪŋ ɑrt dɪˈrɛkʃɪn fər ə ˈsɪriz ðə bɪg bæŋ ˈθɪri haʊ aɪ mɛt jʊr ˈməðər ˈwɪnər tu ənd ə hæf mɛn 2 broʊk gərlz ˌaʊtˈstændɪŋ ɑrt dɪˈrɛkʃɪn fər ə ˈsɪriz ˈbɔrdˌwɔk ˈɛmpaɪər ˈwɪnər ðə ˈæbi geɪm əv tru bləd ˌaʊtˈstændɪŋ ɑrt dɪˈrɛkʃɪn fər ə ˈmɪnɪˌsɛriz ər ˈmuvi əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm: aɪ æm æn fræŋk (pɑrt 2 əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm: ˈwɛlkəm tɪ ˈbraɪrˌklɪf bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər fɪl ˈspɛktər sil tim sɪks: ðə reɪd ɔn oʊˈsɑmə bɪn ˈleɪdən ˌaʊtˈstændɪŋ ɑrt dɪˈrɛkʃɪn fər vərˈaɪəti ər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ ˈdænsɪŋ wɪθ ðə stɑrz ˈləndən 2012 oʊˈlɪmpɪk geɪmz ˈoʊpənɪŋ ˈsɛrəˌmoʊni ˈwɪnər ðə ˈɔskərz ˈsæˌtɪˌdeɪ naɪt lɪv ˈwɪnər ðə vɔɪs ˌaʊtˈstændɪŋ ˈkæstɪŋ fər ə ˈkɑmədi ˈsɪriz gərlz ˈmɑdərn ˈfæməli nərs ˈʤæki 30 rɑk ˈwɪnər vip ˌaʊtˈstændɪŋ ˈkæstɪŋ fər ə ˈdrɑmə ˈsɪriz ˈæbi geɪm əv ðə gʊd waɪf ˈhoʊmˌlænd haʊs əv kɑrdz ˈwɪnər ˌaʊtˈstændɪŋ ˈkæstɪŋ fər ə ˈmɪnɪˌsɛriz, ˈmuvi ər ə ˈspɛʃəl əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər ðə aʊər pəˈlɪtɪkəl ˈænəməlz tɔp əv ðə leɪk ˌaʊtˈstændɪŋ ˌsɪnɪməˈtɑgrəfi fər ə ˈsɪriz ðə ˈɛksɪz haʊ aɪ mɛt jʊr ˈməðər ˈwɪnər maɪk ˈmɑli tu ənd ə hæf mɛn 2 broʊk gərlz ˌaʊtˈstændɪŋ ˌsɪnɪməˈtɑgrəfi fər ə ˈsɪriz ˈbɔrdˌwɔk ˈɛmpaɪər ˈbreɪkɪŋ bæd geɪm əv ˈhoʊmˌlænd haʊs əv kɑrdz ˈwɪnər mæd mɛn ˌaʊtˈstændɪŋ ˌsɪnɪməˈtɑgrəfi fər ə ˈmɪnɪˌsɛriz ər ˈmuvi əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ðə gərl ɛnd tɔp əv ðə leɪk ˈwɪnər ˌaʊtˈstændɪŋ ˌsɪnɪməˈtɑgrəfi fər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ ˈænθɔˌni: pɑrts ənˈnoʊn ˈwɪnər ˈɛθəl ˈmænˌhənt: ðə ˌɪnˈsaɪd ˈstɔri əv ðə hənt fər bɪn ˈleɪdən mi ˈmæksəmə ˈkəlpə: ˈsaɪləns ɪn ðə haʊs əv gɑd ðə mɛn hu bɪlt əˈmɛrɪkə ˌaʊtˈstændɪŋ ˌsɪnɪməˈtɑgrəfi fər ˌriˈæləˌti ˈproʊˌgræmɪŋ ðə əˈmeɪzɪŋ reɪs ˈdɛdliəst kæʧ ˈwɪnər ˈprɑʤɛkt ˈrənˌweɪ sərˈvaɪvər tɔp ʃɛf ˌaʊtˈstændɪŋ kəˈmərʃəl ðə ʧeɪs greɪ ˌɪnˈspaɪərd ˈkænən ˈwɪnər ʤɛs taɪm ˈgugəl kroʊm ˈʤɑgər ˈnaɪki ˌaʊtˈstændɪŋ ˈkɑstumz fər ə ˈsɪriz ˈbɔrdˌwɔk ˈɛmpaɪər ðə ˈwɪnər ˈæbi geɪm əv wəns əˈpɑn ə taɪm ˌaʊtˈstændɪŋ ˈkɑstumz fər ə ˈmɪnɪˌsɛriz, ˈmuvi ər ə ˈspɛʃəl əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər ðə gərl ˈkɪlɪŋ ˈlɪŋkən ɛnd fɪl ˈspɛktər ˌaʊtˈstændɪŋ ˈkɑstumz fər ə vərˈaɪəti ˈproʊˌgræm ər ə ˈspɛʃəl ðə ˈænjuəl ˈgræmi əˈwɔrdz ðə mɛn hu bɪlt əˈmɛrɪkə ˈwɪnər ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər ə ˈdrɑmə ˈsɪriz ˈbreɪkɪŋ bæd: dɛd freɪt ˈbreɪkɪŋ bæd: ˈglaɪdɪŋ ˈoʊvər ɔl ˈwɪnər geɪm əv: ðə reɪnz əv haʊs əv kɑrdz: ˈʧæptər 1 mæd mɛn: ðə kəˈlæbərˌeɪtərz ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər ə ˈkɑmədi ˈsɪriz ərˈɛstɪd dɪˈvɛləpmənt: flaɪt əv ðə ˈfinɪks lui: ˈgərlˌfrɛnd (pɑrt 2 ˈmɑdərn ˈfæməli: ˈpɑrti ðə ˈɔfəs: fəˈnæli ˈwɪnər 30 rɑk: hogcock*! læst lənʧ ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər ə ˈkɑmədi ˈsɪriz ðə bɪg bæŋ ˈθɪri: ðə ləv spɛl pəˈtɛnʃəl ðə ˈkoʊlbərt rɪˈpɔrt: ˈɛpɪˌsoʊd 9082 ˈkoʊnən: ˈɑkjəˌpaɪ ˈkoʊnən hɑt ɪn ˈklivlənd: ˈmæʤɪk daɪət ˈkændi haʊ aɪ mɛt jʊr ˈməðər: piz. aɪ ləv ju ˈwɪnər ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər ə ˈmɪnɪˌsɛriz ər ə ˈmuvi əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm: bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər ˈkɪlɪŋ ˈlɪŋkən fɪl ˈspɛktər tɔp əv ðə leɪk: pɑrt 5 ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər ˌsɛgˈmɛnts ənd vərˈaɪəti ˈspɛʃəlz ðə ˈkoʊlbərt rɪˈpɔrt: ˌjunəˈvərsəti (ˈɛpɪˌsoʊd 9083 ðə ˈdeɪli ʃoʊ wɪθ ʤɑn stuərt: ɔˈstreɪljə gən ˈæftərˌmæθ (pɑrt 3 (ˈɛpɪˌsoʊd 18092 ˈwɪnər ˈləndən 2012 oʊˈlɪmpɪk geɪmz ˈoʊpənɪŋ ˈsɛrəˌmoʊni luɪs c.k*.: oʊ maɪ gɑd ˈsæˌtɪˌdeɪ naɪt lɪv: ˈlɪŋkən (hoʊst: luɪs c.k*.) ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ əˈmɛrɪkən ˈmæstərz: mɛl brʊks: meɪk ə nɔɪz ˈkrɔsˌfaɪr ˈhərəˌkeɪnz ˈɛθəl mi ˈmæksəmə ˈkəlpə: ˈsaɪləns ɪn ðə haʊs əv gɑd ˈwɪnər ˈrɪʧərd praɪər: oʊˈmɪt ðə ˈlɑʤɪk ˌaʊtˈstændɪŋ ˈpɪkʧər ˈɛdɪtɪŋ fər ˌriˈæləˌti ˈproʊˌgræmɪŋ ðə əˈmeɪzɪŋ reɪs: bi seɪf ənd hɪt ə kaʊ ˈdɛdliəst kæʧ: mˈjutəni ɔn ðə ˈbɛrɪŋ si ˈwɪnər ˈprɑʤɛkt ˈrənˌweɪ: ə taɪmz skwɛr ˌænəˈvərsəri ˈpɑrti ˈprɑʤɛkt ˈrənˌweɪ: ˈjʊrəp, hir wi kəm sərˈvaɪvər: ˈzɪpɪŋ ˈoʊvər ðə nɛst ˌaʊtˈstændɪŋ fər ə ˈsɪriz ˈbɔrdˌwɔk ˈɛmpaɪər: ˌrɛzəˈluʃən *ˈwɪnər ðə: ðə wʊlf ənd ðə læm ˈæbi: ˈɛpɪˌsoʊd 4 geɪm əv: ˈsɛkənd sənz mæd mɛn: ðə ˈdɔrˌweɪ ˌaʊtˈstændɪŋ fər ə ˈsɪriz ər ˈspɛʃəl ðə bɪg bæŋ ˈθɪri ðə ˈbeɪkərzˌfild ˌɛkspəˈdɪʃən ˈdænsɪŋ wɪθ ðə stɑrz ˈɛpɪˌsoʊd 1608 ðə ˈɔskərz ˈsæˌtɪˌdeɪ naɪt lɪv hoʊst: ˈʤɛnəfər ˈlɔrəns ˈwɪnər ðə vɔɪs ðə lɪv ʃoʊz (pɑrt 1 (ˈsizən 3 ˌaʊtˈstændɪŋ fər ə ˈmɪnɪˌsɛriz ər ə ˈmuvi əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər lɪz dɪk fɪl ˈspɛktər pəˈlɪtɪkəl ˈænəməlz rɪŋ əv faɪər ˌaʊtˈstændɪŋ ˈlaɪtɪŋ dɪˈrɛkʃɪn fər ə vərˈaɪəti ˈsɪriz əˈmɛrɪkən ˈaɪdəl: fəˈnæli ˈdænsɪŋ wɪθ ðə stɑrz: ˈɛpɪˌsoʊd 1605 ˈsæˌtɪˌdeɪ naɪt lɪv: hoʊst: ˈmɑrtɪn ʃɔrt soʊ ju θɪŋk ju kən dæns: ˈsizən 9 fəˈnæli ðə vɔɪs: lɪv ˈfaɪnəl pərˈfɔrmənsɪz (ˈsizən 3 ˈwɪnər ˌaʊtˈstændɪŋ ˈlaɪtɪŋ dɪˈrɛkʃɪn fər ə vərˈaɪəti ˈspɛʃəl ˌɑnˈdreɪə bocelli*: ləv ɪn (greɪt pərˈfɔrmənsɪz) ˈləndən 2012 oʊˈlɪmpɪk geɪmz ˈoʊpənɪŋ ˈsɛrəˌmoʊni ðə ˈɔskərz 2013 rɑk ənd roʊl hɔl əv feɪm ˌɪnˈdəkʃən ˈsupər boʊl ˈhæfˌtaɪm ʃoʊ ˈstɑrɪŋ beyoncé*é ˈwɪnər ˌaʊtˈstændɪŋ meɪn ˈtaɪtəl dɪˈzaɪn əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm ˈdiˈeɪ ˈdimənz ˈwɪnər ˌɛləˈmɛnʧri ˈheɪloʊ 4 ˈfɔrwərd ˈəntu dɔn ðə ˈnuzˌrum ˈvaɪkɪŋz ˌaʊtˈstændɪŋ ˈmeɪˌkəp fər ə ˈsɪriz (non-prosthetic*) ˈbɔrdˌwɔk ˈɛmpaɪər ðə geɪm əv ˈwɪnər gli mæd mɛn wəns əˈpɑn ə taɪm ˌaʊtˈstændɪŋ ˈmeɪˌkəp fər ə ˈsɪriz ər ˈspɛʃəl (non-prosthetic*) ˈdænsɪŋ wɪθ ðə stɑrz haʊ aɪ mɛt jʊr ˈməðər ki pil ðə ˈɔskərz ˈsæˌtɪˌdeɪ naɪt lɪv hoʊst: ˈʤəstɪn ˈtɪmbərˌleɪk ˈwɪnər ˌaʊtˈstændɪŋ ˈmeɪˌkəp fər ə ˈmɪnɪˌsɛriz ər ə ˈmuvi (non-prosthetic*) əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər lɪz dɪk fɪl ˈspɛktər rɪŋ əv faɪər ˌaʊtˈstændɪŋ prɑsˈθɛtɪk ˈmeɪˌkəp fər ə ˈsɪriz, ˈmɪnɪˌsɛriz, ˈmuvi ər ə ˈspɛʃəl əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər geɪm əv ˈsæˌtɪˌdeɪ naɪt lɪv hoʊst: ˈʤɛnəfər ˈlɔrəns ðə ˈwɔkɪŋ dɛd ˌaʊtˈstændɪŋ mˈjuzɪk ˌkɑmpəˈzɪʃən fər ə ˈsɪriz (ərˈɪʤənəl drəˈmætɪk skɔr) ərˈɛstɪd dɪˈvɛləpmənt ðə ˈæbi ˈwɪnər haʊs əv kɑrdz læst rɪˈzɔrt ˈmɪstər ˈsɛlfrɪʤ (ˈmæstərˌpis) ˌaʊtˈstændɪŋ mˈjuzɪk ˌkɑmpəˈzɪʃən fər ə ˈmɪnɪˌsɛriz, ˈmuvi ər ə ˈspɛʃəl (ərˈɪʤənəl drəˈmætɪk skɔr) ðə gərl mi ˈmæksəmə ˈkəlpə: ˈsaɪləns ɪn ðə haʊs əv gɑd ɛnd ˈrɛstləs rɪŋ əv faɪər wərld wɪˈθaʊt ɛnd ˈwɪnər ˌaʊtˈstændɪŋ mˈjuzɪk dɪˈrɛkʃɪn ˈkrɪsməs ɪn ˈwɔʃɪŋtən ðə ˈkɛnədi ˈsɛnər ˈɑnərz ðə ˈɔskərz ˈrɑʤərz ˈkɛrəˌsɛl (lɪv frəm ˈlɪŋkən ˈsɛnər) ˈænjuəl ˈtoʊni əˈwɔrdz ˈwɪnər ˌaʊtˈstændɪŋ ərˈɪʤənəl mˈjuzɪk ənd ˈlɪrɪks ˈnæʃvɪl: ˈnɛvər gɪt aʊt əv ðɪs wərld əˈlaɪv sɔŋ ˈtaɪtəl: ˈnəθɪŋ ɪn ðɪs wərld wɪl ˈɛvər breɪk maɪ hɑrt əˈgɛn ðə ˈneɪbərz: sɪŋ laɪk ə ˈlɛri bərd sɔŋ ˈtaɪtəl: mɔr ər lɛs ðə kaɪnd əv θɪŋ ju meɪ ər meɪ nɑt ˈpɑsəbli si ɔn ˈbrɔdˌweɪ smæʃ: ðə ˈpɛrənts sɔŋ ˈtaɪtəl: hæŋ ðə mun smæʃ: ðə bɛlz ənd ˈwɪsəlz sɔŋ ˈtaɪtəl: aɪ hir jʊr vɔɪs ɪn ə drim 30 rɑk: hogock*! læst lənʧ sɔŋ ˈtaɪtəl: ˈrʊrəl ˈʤʊrər ˈænjuəl ˈtoʊni əˈwɔrdz sɔŋ ˈtaɪtəl: ɪf aɪ hæd taɪm ˈwɪnər ˌaʊtˈstændɪŋ ərˈɪʤənəl meɪn ˈtaɪtəl θim mˈjuzɪk ðə əˈmɛrɪkənz ˈkɑpər ˈdiˈeɪ ˈdimənz ˈwɪnər ˌɛləˈmɛnʧri ˈhɛmˌlɑk haʊs əv kɑrdz ˌaʊtˈstændɪŋ saʊnd ˈɛdɪtɪŋ fər ə ˈsɪriz ˈbɔrdˌwɔk ˈɛmpaɪər ˈwɪnər ˈbreɪkɪŋ bæd geɪm əv ˌnɪˈkitə ˈvaɪkɪŋz ˌaʊtˈstændɪŋ saʊnd ˈɛdɪtɪŋ fər ə ˈmɪnɪˌsɛriz, ˈmuvi ər ə ˈspɛʃəl əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm ˈwɪnər gəˈlækˌtɪkə: bləd kroʊm ðə ˈbaɪbəl: bɪˈgɪnɪŋz sil tim sɪks: ðə reɪd ɔn oʊˈsɑmə bɪn ˈleɪdən wərld wɪˈθaʊt ɛnd: mɪˈdjivəl laɪf ənd dɛθ ˌaʊtˈstændɪŋ saʊnd ˈɛdɪtɪŋ fər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ (ˈsɪŋgəl ər) ðə əˈmeɪzɪŋ reɪs ˈkrɔsˌfaɪr ˈhərəˌkeɪnz ðə dəst boʊl: ðə greɪt plaʊ əp ˈhɪstəri əv ðə ˈigəlz ðə mɛn hu bɪlt əˈmɛrɪkə: ˈblədi ˈbætəlz ˈwɪnər sərˈvaɪvər: kriˈeɪt ə ˈlɪtəl keɪɑs ˌaʊtˈstændɪŋ saʊnd ˈmɪksɪŋ fər ə ˈkɑmədi ər ˈdrɑmə ˈsɪriz (wən aʊər) ˈbɔrdˌwɔk ˈɛmpaɪər ˈwɪnər ˈbreɪkɪŋ bæd geɪm əv ˈhoʊmˌlænd mæd mɛn ˌaʊtˈstændɪŋ saʊnd ˈmɪksɪŋ fər ə ˈmɪnɪˌsɛriz ər ə ˈmuvi əˈmɛrɪkən ˈhɔrər ˈstɔri: əˈsaɪləm gəˈlækˌtɪkə: bləd kroʊm bɪˈhaɪnd ðə ˌkændəˈlɑbrə ˈwɪnər ðə ˈbaɪbəl: bɪˈgɪnɪŋz fɪl ˈspɛktər ˌaʊtˈstændɪŋ saʊnd ˈmɪksɪŋ fər ə ˈkɑmədi ər ˈdrɑmə ˈsɪriz (ˈhæˌfaʊər) ənd ˌænəˈmeɪʃən ˈmɑdərn ˈfæməli nərs ˈʤæki ˈwɪnər ðə ˈɔfəs pɑrks ənd ˌrɛkriˈeɪʃən 30 rɑk ˌaʊtˈstændɪŋ saʊnd ˈmɪksɪŋ fər ə vərˈaɪəti ˈsɪriz ər ˈspɛʃəl əˈmɛrɪkən ˈaɪdəl ðə ˈkoʊlbərt rɪˈpɔrt: ˈɛpɪˌsoʊd ðə ˈdeɪli ʃoʊ wɪθ ʤɑn stuərt: ˈɛpɪˌsoʊd 17153 ðə ˈænjuəl ˈgræmi əˈwɔrdz ˈwɪnər ðə ˈɔskərz ˌaʊtˈstændɪŋ saʊnd ˈmɪksɪŋ fər nɑnˈfɪkʃən ˈproʊˌgræmɪŋ ðə əˈmeɪzɪŋ reɪs ˈænθɔˌni: pɑrts ənˈnoʊn ˈkrɔsˌfaɪr ˈhərəˌkeɪnz ˈdɛdliəst kæʧ ˈhɪstəri əv ðə ˈigəlz ˈwɪnər sərˈvaɪvər ˌaʊtˈstændɪŋ ˈspɛʃəl ˈvɪʒəwəl ˈifɛkts gəˈlækˌtɪkə: bləd kroʊm dɪˈfaɪəns ˈfɑlɪŋ skaɪz geɪm əv ˈwɪnər ˈhɛmˌlɑk groʊv læst rɪˈzɔrt ˌaʊtˈstændɪŋ ˈspɛʃəl ˈvɪʒəwəl ˈifɛkts ɪn ə səˈpɔrtɪŋ roʊl ˈbænʃi ˈwɪnər ˈbɔrdˌwɔk ˈɛmpaɪər ðə ˈdiˈeɪ ˈdimənz ˌrɛvəˈluʃən ˈvaɪkɪŋz ˌaʊtˈstændɪŋ stənt koʊˌɔrdəˈneɪʃən fər ə ˈkɑmədi ˈsɪriz ər ə vərˈaɪəti ˈproʊˌgræm ˈɔlˌweɪz ˈsəni ɪn ˌfɪləˈdɛlfiə ˈmɑdərn ˈfæməli ˈnɪnʤəz ˈwɪnər ˌwərkəˈhɑlɪks ˌaʊtˈstændɪŋ stənt koʊˌɔrdəˈneɪʃən fər ə ˈdrɑmə ˈsɪriz, ˈmɪnɪˌsɛriz ər ˈmuvi blu blədz ˌrɛvəˈluʃən ˈwɪnər ˈsaʊθˌlænd ˌaʊtˈstændɪŋ ˈtɛknɪkəl dɪˈrɛkʃɪn, camerawork*, ˈvɪdioʊ kənˈtroʊl fər ə ˈsɪriz ðə bɪg bæŋ ˈθɪri ˈwɪnər ðə ˈdeɪli ʃoʊ wɪθ ʤɑn stuərt ˈdænsɪŋ wɪθ ðə stɑrz ˈʤɪmi ˈkɪməl lɪv ˈsæˌtɪˌdeɪ naɪt lɪv: hoʊst: ˈmɑrtɪn ʃɔrt ðə vɔɪs ˌaʊtˈstændɪŋ ˈtɛknɪkəl dɪˈrɛkʃɪn, camerawork*, ˈvɪdioʊ kənˈtroʊl fər ə ˈmɪnɪˌsɛriz, ˈmuvi ər ə ˈspɛʃəl ðə ˈkɛnədi ˈsɛnər ˈɑnərz ðə ˈɔskərz 2013 rɑk ənd roʊl hɔl əv feɪm ˌɪnˈdəkʃən ˈsɛrəˌmoʊni ˈsupər boʊl ˈhæfˌtaɪm ʃoʊ ˈstɑrɪŋ beyoncé*é ˈænjuəl ˈtoʊni əˈwɔrdz ˈwɪnər
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the joint typhoon warning center (jtwc) is a joint united states navy united states air force command located in pearl harbor, hawaii. the is responsible for the issuing of tropical cyclone warnings in the pacific ocean, south pacific ocean, and indian ocean for all branches of the u.s. department of defense and other u.s. government agencies. their warnings are intended for the protection of primarily military ships and aircraft as well as military installations jointly operated with other countries around the]
its u.s. navy components are aligned with naval meteorology and oceanography command.
history [ edit ]
the origins of the joint typhoon warning center (jtwc) can be traced back to june 1945, when the fleet weather tracking center was established on the island of guam, after multiple typhoons, including typhoon cobra of december 1944 and june 1945, had caused a significant loss of men and] at this time the centre was one of three navy and two air force units responsible for tropical cyclone reconnaissance and warnings in the] over the next few years the coordination of tropical warnings between the centres was at times difficult or impossible due to various communication] during 1958, the united states department of defense weather services and the weather bureau formed the joint meteorology committee to the pacific command and proposed the formation of a joint navy and air force center for typhoon analysis and] a committee was subsequently set up to study the issue which issued a report during january 1959, which gave recommendation that the center be set] based on the report and the conclusions reached at the march 1959 annual tropical cyclone conference, the joint meteorology committee formally urged, the commander in chief, us pacific command (cincpac) to establish a joint typhoon warning] the subsequently petitioned the joint chiefs of staff, who gave permission for the centre to be set up effective may 1, 1959, under the command of the fleet weather center's]
the initially consisted of ten people with two officers and three enlisted personnel provided by each] it was required to provide warnings on all tropical cyclones, between the malay peninsular and the international dateline for us government] they also had to determine reconnaissance requirements, prepare annual typhoon summaries, and conduct research into tropical cyclone forecasting and] in november 1962, typhoon karen destroyed the building housing the fleet weather typhoon warning center. it relocated in a more building in] between 1971 and 1976, gradually expanded out the's area of responsibility, to include the area between the international dateline and the african coasts. in october 1978, the fleet weather became the navy oceanographic command typhoon warning center and responsible for the whole oceanic environment, from the bottom of the ocean to the top of the] the subsequently started issuing warnings for the southern hemisphere between the african coast and the international dateline during october] it was relocated to pearl harbor on january 1, 1999 due to the 1995 base realignment and closure commission round. during october 2011, the's name changed from the “naval maritime forecast typhoon warning center” to just the joint typhoon warning center, as it became a command for the first time in its]
standards and practices [ edit ]
a more modernized method for forecasting tropical cyclones had become apparent by the 1980s. prior to the development of, the tools used by the department of defense to forecast tropical cyclone track were acetate, grease pencils, and disparate computer] the software was developed by the naval research laboratory for the beginning in] and used since 1988. it was adapted for use at the national hurricane center (nhc) in]
jtwc adheres to the world meteorological organization's (wmo) rules for storm names and adheres to acknowledged guidelines for intensity of tropical cyclones and tropical storms, with the exception of using the u.s. standard of measuring sustained winds for instead of the span recommended by the (see hurricane scale). the is not one of the designated regional specialized meteorological centres, nor one of its tropical cyclone warning centres, as its main mission is to support the united states government] monitors, analyzes, and forecasts tropical cyclone formation, development, and movement year] its area of responsibility covers 89% of the world's tropical cyclone]
staffing [ edit ]
the center is manned by about 37 u.s. air force and navy] the uses several satellite systems and sensors, radar, surface and upper level synoptic data as well as atmospheric models to complete its]
see also [ edit ]
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ðə ʤɔɪnt ˌtaɪˈfun ˈwɔrnɪŋ ˈsɛnər (jtwc*) ɪz ə ʤɔɪnt juˈnaɪtɪd steɪts ˈneɪvi juˈnaɪtɪd steɪts ɛr fɔrs kəˈmænd ˈloʊˌkeɪtəd ɪn pərl ˈhɑrbər, həˈwaɪˌi. ðə ɪz riˈspɑnsəbəl fər ðə ˈɪʃuɪŋ əv ˈtrɑpɪkəl sɪˈkloʊn ˈwɔrnɪŋz ɪn ðə pəˈsɪfɪk ˈoʊʃən, saʊθ pəˈsɪfɪk ˈoʊʃən, ənd ˈɪndiən ˈoʊʃən fər ɔl ˈbrænʧɪz əv ðə juz. dɪˈpɑrtmənt əv dɪˈfɛns ənd ˈəðər juz. ˈgəvərnmənt ˈeɪʤənsiz. ðɛr ˈwɔrnɪŋz ər ˌɪnˈtɛndɪd fər ðə prəˈtɛkʃən əv praɪˈmɛrəli ˈmɪlɪˌtɛri ʃɪps ənd ˈɛrˌkræft ɛz wɛl ɛz ˈmɪlɪˌtɛri ˌɪnstəˈleɪʃənz ˈʤɔɪntli ˈɑpərˌeɪtəd wɪθ ˈəðər ˈkəntriz əraʊnd ðə ɪts juz. ˈneɪvi kəmˈpoʊnənts ər əˈlaɪnd wɪθ ˈneɪvəl ˌmitiərˈɑləʤi ənd ˌoʊʃəˈnɑgrəfi kəˈmænd. ˈhɪstəri ˈɛdət ðə ˈɔrəʤɪnz əv ðə ʤɔɪnt ˌtaɪˈfun ˈwɔrnɪŋ ˈsɛnər (jtwc*) kən bi treɪst bæk tɪ ʤun 1945 wɪn ðə flit ˈwɛðər ˈtrækɪŋ ˈsɛnər wɑz ɪˈstæblɪʃt ɔn ðə ˈaɪlənd əv gwɑm, ˈæftər ˈməltəpəl ˌtaɪˈfunz, ˌɪnˈkludɪŋ ˌtaɪˈfun ˈkoʊbrə əv dɪˈsɛmbər 1944 ənd ʤun 1945 hæd kɔzd ə sɪgˈnɪfɪkənt lɔs əv mɛn ənd æt ðɪs taɪm ðə ˈsɛntər wɑz wən əv θri ˈneɪvi ənd tu ɛr fɔrs ˈjunɪts riˈspɑnsəbəl fər ˈtrɑpɪkəl sɪˈkloʊn riˈkɑnəsəns ənd ˈwɔrnɪŋz ɪn ðə ˈoʊvər ðə nɛkst fju jɪrz ðə koʊˌɔrdəˈneɪʃən əv ˈtrɑpɪkəl ˈwɔrnɪŋz bɪtˈwin ðə ˈsɛntərz wɑz æt taɪmz ˈdɪfəkəlt ər ˌɪmˈpɑsəbəl du tɪ ˈvɛriəs kəmˌjunəˈkeɪʃən ˈdʊrɪŋ 1958 ðə juˈnaɪtɪd steɪts dɪˈpɑrtmənt əv dɪˈfɛns ˈwɛðər ˈsərvɪsɪz ənd ðə ˈwɛðər ˈbjʊroʊ fɔrmd ðə ʤɔɪnt ˌmitiərˈɑləʤi kəˈmɪti tɪ ðə pəˈsɪfɪk kəˈmænd ənd prəˈpoʊzd ðə fɔrˈmeɪʃən əv ə ʤɔɪnt ˈneɪvi ənd ɛr fɔrs ˈsɛnər fər ˌtaɪˈfun æˈnælɪsɪs ənd ə kəˈmɪti wɑz ˈsəbsəkwəntli sɛt əp tɪ ˈstədi ðə ˈɪʃu wɪʧ ˈɪʃud ə rɪˈpɔrt ˈdʊrɪŋ ˈʤænjuˌɛri 1959 wɪʧ geɪv ˌrɛkəmənˈdeɪʃən ðət ðə ˈsɛnər bi sɛt beɪst ɔn ðə rɪˈpɔrt ənd ðə kənˈkluʒənz riʧt æt ðə mɑrʧ 1959 ˈænjuəl ˈtrɑpɪkəl sɪˈkloʊn ˈkɑnfərəns, ðə ʤɔɪnt ˌmitiərˈɑləʤi kəˈmɪti ˈfɔrməli ərʤd, ðə kəˈmændər ɪn ʧif, ˈjuˈɛs pəˈsɪfɪk kəˈmænd (cincpac*) tɪ ɪˈstæblɪʃ ə ʤɔɪnt ˌtaɪˈfun ˈwɔrnɪŋ ðə ˈsəbsəkwəntli pəˈtɪʃənd ðə ʤɔɪnt ʧifs əv stæf, hu geɪv pərˈmɪʃən fər ðə ˈsɛntər tɪ bi sɛt əp ˈifɛktɪv meɪ 1 1959 ˈəndər ðə kəˈmænd əv ðə flit ˈwɛðər ˈsɛnərz ðə ˌɪˈnɪʃəli kənˈsɪstɪd əv tɛn ˈpipəl wɪθ tu ˈɔfɪsərz ənd θri ˌɛnˈlɪstɪd ˌpərsəˈnɛl prəˈvaɪdɪd baɪ iʧ ɪt wɑz rikˈwaɪərd tɪ prəˈvaɪd ˈwɔrnɪŋz ɔn ɔl ˈtrɑpɪkəl sɪˈkloʊnz, bɪtˈwin ðə ˈmeɪleɪ pəˈnɪnsələr ənd ðə ˌɪnərˈnæʃənɑl ˈdeɪˌtlaɪn fər ˈjuˈɛs ˈgəvərnmənt ðeɪ ˈɔlsoʊ hæd tɪ dɪˈtərmən riˈkɑnəsəns rɪkˈwaɪrmənts, priˈpɛr ˈænjuəl ˌtaɪˈfun ˈsəməriz, ənd ˈkɑndəkt ˈrisərʧ ˈɪntu ˈtrɑpɪkəl sɪˈkloʊn ˈfɔrˌkæstɪŋ ənd ɪn noʊˈvɛmbər 1962 ˌtaɪˈfun ˈkɛrən dɪˈstrɔɪd ðə ˈbɪldɪŋ ˈhaʊzɪŋ ðə flit ˈwɛðər ˌtaɪˈfun ˈwɔrnɪŋ ˈsɛnər. ɪt ˌriˈloʊkeɪtɪd ɪn ə mɔr ˈbɪldɪŋ ɪn bɪtˈwin 1971 ənd 1976 ˈgræʤuəli ɪkˈspændɪd aʊt ðə ˈɛriə əv riˌspɑnsəˈbɪləti, tɪ ˌɪnˈklud ðə ˈɛriə bɪtˈwin ðə ˌɪnərˈnæʃənɑl ˈdeɪˌtlaɪn ənd ðə ˈæfrɪkɑn koʊsts. ɪn ɑkˈtoʊbər 1978 ðə flit ˈwɛðər bɪˈkeɪm ðə ˈneɪvi ˌoʊʃənəˈgræfɪk kəˈmænd ˌtaɪˈfun ˈwɔrnɪŋ ˈsɛnər ənd riˈspɑnsəbəl fər ðə hoʊl ˌoʊʃiˈænɪk ɪnˈvaɪrənmənt, frəm ðə ˈbɑtəm əv ðə ˈoʊʃən tɪ ðə tɔp əv ðə ðə ˈsəbsəkwəntli ˈstɑrtɪd ˈɪʃuɪŋ ˈwɔrnɪŋz fər ðə ˈsəðərn ˈhɛmɪsˌfɪr bɪtˈwin ðə ˈæfrɪkɑn koʊst ənd ðə ˌɪnərˈnæʃənɑl ˈdeɪˌtlaɪn ˈdʊrɪŋ ɑkˈtoʊbər ɪt wɑz ˌriˈloʊkeɪtɪd tɪ pərl ˈhɑrbər ɔn ˈʤænjuˌɛri 1 1999 du tɪ ðə 1995 beɪs riəˈlaɪnmənt ənd ˈkloʊʒər kəˈmɪʃən raʊnd. ˈdʊrɪŋ ɑkˈtoʊbər 2011 ðə neɪm ʧeɪnʤd frəm ðə ˈmærəˌtaɪm ˈfɔrˌkæst ˌtaɪˈfun ˈwɔrnɪŋ center”*” tɪ ʤɪst ðə ʤɔɪnt ˌtaɪˈfun ˈwɔrnɪŋ ˈsɛnər, ɛz ɪt bɪˈkeɪm ə kəˈmænd fər ðə fərst taɪm ɪn ɪts ˈstændərdz ənd ˈpræktɪsɪz ˈɛdət ə mɔr ˈmɑdərˌnaɪzd ˈmɛθəd fər ˈfɔrˌkæstɪŋ ˈtrɑpɪkəl sɪˈkloʊnz hæd bɪˈkəm əˈpɛrənt baɪ ðə 1980s*. praɪər tɪ ðə dɪˈvɛləpmənt əv, ðə tulz juzd baɪ ðə dɪˈpɑrtmənt əv dɪˈfɛns tɪ ˈfɔrˌkæst ˈtrɑpɪkəl sɪˈkloʊn træk wər ˈæsəˌteɪt, gris ˈpɛnsəlz, ənd ˈdɪspərɪt kəmˈpjutər ðə ˈsɔfˌwɛr wɑz dɪˈvɛləpt baɪ ðə ˈneɪvəl ˈrisərʧ ˈlæbrəˌtɔri fər ðə bɪˈgɪnɪŋ ɪn ənd juzd sɪns 1988 ɪt wɑz əˈdæptɪd fər juz æt ðə ˈnæʃənəl ˈhərəˌkeɪnz ˈsɛnər (nhc*) ɪn əˈdhɪrz tɪ ðə wərld ˌmitiˌɔrəˈlɑʤɪkəl ˌɔrgənɪˈzeɪʃənz (wmo*) rulz fər stɔrm neɪmz ənd əˈdhɪrz tɪ ækˈnɑlɪʤd ˈgaɪˌdlaɪnz fər ˌɪnˈtɛnsɪti əv ˈtrɑpɪkəl sɪˈkloʊnz ənd ˈtrɑpɪkəl stɔrmz, wɪθ ðə ɪkˈsɛpʃən əv ˈjuzɪŋ ðə juz. ˈstændərd əv ˈmɛʒərɪŋ səˈsteɪnd wɪndz fər ˌɪnˈstɛd əv ðə spæn ˌrɛkəˈmɛndɪd baɪ ðə (si ˈhərəˌkeɪnz skeɪl). ðə ɪz nɑt wən əv ðə ˈdɛzɪgˌneɪtɪd ˈriʤənəl ˈspɛʃəˌlaɪzd ˌmitiˌɔrəˈlɑʤɪkəl ˈsɛntərz, nɔr wən əv ɪts ˈtrɑpɪkəl sɪˈkloʊn ˈwɔrnɪŋ ˈsɛntərz, ɛz ɪts meɪn ˈmɪʃən ɪz tɪ səˈpɔrt ðə juˈnaɪtɪd steɪts ˈgəvərnmənt ˈmɑnətərz, ˈænəˌlaɪzɪz, ənd ˈfɔrˌkæsts ˈtrɑpɪkəl sɪˈkloʊn fɔrˈmeɪʃən, dɪˈvɛləpmənt, ənd ˈmuvmənt jɪr ɪts ˈɛriə əv riˌspɑnsəˈbɪləti ˈkəvərz 89 əv ðə wərldz ˈtrɑpɪkəl sɪˈkloʊn ˈstæfɪŋ ˈɛdət ðə ˈsɛnər ɪz mænd baɪ əˈbaʊt 37 juz. ɛr fɔrs ənd ˈneɪvi ðə ˈjuzɪz ˈsɛvərəl ˈsætəˌlaɪt ˈsɪstəmz ənd ˈsɛnsərz, ˈreɪˌdɑr, ˈsərfəs ənd ˈəpər ˈlɛvəl sɪˈnɑptɪk ˈdætə ɛz wɛl ɛz ˌætməsˈfɛrɪk ˈmɑdəlz tɪ kəmˈplit ɪts si ˈɔlsoʊ ˈɛdət
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micro-deliverability is a relatively new concept in the email marketing domain. it involves drilling down into by domains, or or relay servers and then the email list or campaigns based on the results to get best and performance for the marketing campaigns.
the best relay service providers have the overall rates of above 96%, but these rates keep on fluctuating based on as well as time. by carefully tracking these fluctuations of trends based on and time, one can route their emails for different segments using delivery servers that deliver the best performance for that particular segment. thus, using more than one email delivery system (hybrid system) can significantly enhance your email marketing performance.
redundancy
by redundancy, we mean, having more relay servers ready for use than you actually use. this redundancy can be a great asset to have at the worst of times. when there is a temporary outage or significant drop in for a specific relay server (for a particular segment), redundancy gives you the flexibility to immediately switch the relay server for that segment without impacting performance and.
email filtering by and issues
email filters are a fact of life,ecially for an email marketer. they are a necessary evil to filter out spam. but sometimes, legitimate email messages are mistakenly filtered as spam or sent into junk box. this is the collateral damage of email filters. the reputation causes many issues, but some issues are related to the relay service providers too.
why email filters are required in the first place?
according to symantec, nearly 70% of all email sent is spam.
these include phishing messages, malware, emails coming from who leverage this channel for nefarious purposes. if no filter existed, all these emails would be delivered to the. for every useful email, there will be two spam emails. this would make the whole email channel useless. email are the reason the filter emails.
causes of email issues
there are multiple reasons why a legitimate email ends up in a spam folder rather than the. some of these are related to the reputation while others are related to the email service provider the sender is using.
sender issues
sender’s reputation is considered in deciding whether an email will reach an or the spam folder. multiple factors determine the reputation. these factors are as mentioned below:
1.authentication
isps rely heavily on authentication to make sure that the stated sender is the actual sender of the email. three different authentication methods are used by the to do the authentication:
sender policy framework (spf)
sender id
domain keys identified mail (dkim)
domain message authentication reporting & conformance (dmarc)
these authentication methods allow the to compare email information with the records about the email sender. if the email information does not match the information, there are more chances of the email landing in the spam box rather than the. if the authentication is not in place, the reputation will deteriorate.
2. spam complaints
if the recipients are reporting emails as spam, the reputation will deteriorate. spam complaints should be less than% of the total sent volume for every email. if this rate is more than the% on a consistent basis, the reputation is bound to deteriorate.
3. bounce management
repeatedly getting their emails bounced will reduce the reputation. it shows the that the email list is not clean. the industry standard is to remove hard bounces after one occurrence and soft bounces after three consecutive sends.
4. recipient engagement
a reputation gets damaged when the recipients to whom the sender is sending emails opening those emails. in other words, the clicking/ opening rates are low. this detail shows that the recipients to whom the sender is sending emails are not interested enough in those emails.
smtp relay issues
there are relay issues due to which the email might get hampered. the most common problem is related to shared ip addresses. although the are moving towards filtering, most still filter at an ip address level. this means that if an ip address is sending emails which are perceived to be spam, all emails from that ip address will be blocked regardless of the domain it is sent from. even from a dedicated ip address, which is used by a single entity, one can experience relay side issues.
hindrances to achieve
1. scarcity of data
smtp relays publish their overall rates on a monthly or a quarterly basis. they do not have resources to post them more frequently. even in these publications, the rates are overall rates, not by domains/isps. these overall rates cannot be used for optimization purposes.
2. lack of time
even if the data would have been available for optimization purposes, the time taken to arrange that data and then use it for email segmentation purpose is unfeasible for the email marketers to carry them practically out.
3. single or model
most organizations tend to have a single or model. this is because learning and using multiple or relay interfaces, sending emails from multiple interfaces and the performance data from each one of them is and unfeasible, to say the least.
about pro
easysendy pro is an email marketing platform for the digital marketing team. it integrates with multiple relay service providers and enables delivery of email campaigns to a list of emails. you can split test email deliveries across the relay servers and check reports, track email clicks, opens of each email campaign. it also has smart and email list segmentation.
to support in emails; currently, pro allows integration with relay gateways like amazon ses, mandrill, sendgrid, sparkpost, leadersend, dyn, elasticemail, mailgun, sendinblue, mailjet, tipimail, and mailerq. if you are sending an email to a list of above email subscribers, then, of the email through multiple gateways provide better email open rate.
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micro-deliverability* ɪz ə ˈrɛlətɪvli nu ˈkɑnsɛpt ɪn ðə iˈmeɪl ˈmɑrkətɪŋ doʊˈmeɪn. ɪt ˌɪnˈvɑlvz ˈdrɪlɪŋ daʊn ˈɪntu baɪ doʊˈmeɪnz, ər ər ˈriˌleɪ ˈsərvərz ənd ðɛn ðə iˈmeɪl lɪst ər kæmˈpeɪnz beɪst ɔn ðə rɪˈzəlts tɪ gɪt bɛst ənd pərˈfɔrməns fər ðə ˈmɑrkətɪŋ kæmˈpeɪnz. ðə bɛst ˈriˌleɪ ˈsərvɪs prəˈvaɪdərz hæv ðə ˈoʊvərˌɔl reɪts əv əˈbəv 96 bət ðiz reɪts kip ɔn ˈfləkʧəˌweɪtɪŋ beɪst ɔn ɛz wɛl ɛz taɪm. baɪ ˈkɛrfəli ˈtrækɪŋ ðiz ˌfləkʧuˈeɪʃənz əv trɛnz beɪst ɔn ənd taɪm, wən kən rut ðɛr iˈmeɪlz fər ˈdɪfərənt ˌsɛgˈmɛnts ˈjuzɪŋ dɪˈlɪvəri ˈsərvərz ðət dɪˈlɪvər ðə bɛst pərˈfɔrməns fər ðət ˌpɑˈtɪkjələr ˌsɛgˈmɛnt. ðəs, ˈjuzɪŋ mɔr ðən wən iˈmeɪl dɪˈlɪvəri ˈsɪstəm (ˈhaɪbrɪd ˈsɪstəm) kən sɪgˈnɪfɪkəntli ɛnˈhæns jʊr iˈmeɪl ˈmɑrkətɪŋ pərˈfɔrməns. rɪˈdəndənsi baɪ rɪˈdəndənsi, wi min, ˈhævɪŋ mɔr ˈriˌleɪ ˈsərvərz ˈrɛdi fər juz ðən ju ˈæˌkʧuəli juz. ðɪs rɪˈdəndənsi kən bi ə greɪt ˈæˌsɛt tɪ hæv æt ðə wərst əv taɪmz. wɪn ðɛr ɪz ə ˈtɛmpərˌɛri ˈaʊtɪʤ ər sɪgˈnɪfɪkənt drɔp ɪn fər ə spɪˈsɪfɪk ˈriˌleɪ ˈsərvər (fər ə ˌpɑˈtɪkjələr ˌsɛgˈmɛnt), rɪˈdəndənsi gɪvz ju ðə ˌflɛksəˈbɪləti tɪ ˌɪˈmiˌdiətli swɪʧ ðə ˈriˌleɪ ˈsərvər fər ðət ˌsɛgˈmɛnt wɪˈθaʊt ˌɪmˈpæktɪŋ pərˈfɔrməns ənd. iˈmeɪl ˈfɪltərɪŋ baɪ ənd ˈɪʃuz iˈmeɪl ˈfɪltərz ər ə fækt əv laɪf, əˈspɛʃəli fər ən iˈmeɪl ˈmɑrkətər. ðeɪ ər ə ˈnɛsəˌsɛri ˈivəl tɪ ˈfɪltər aʊt spæm. bət ˈsəmˌtaɪmz, ləˈʤɪtəmət iˈmeɪl ˈmɛsɪʤɪz ər mɪˈsteɪkənli ˈfɪltərd ɛz spæm ər sɛnt ˈɪntu ʤəŋk bɑks. ðɪs ɪz ðə kəˈlætərəl ˈdæmɪʤ əv iˈmeɪl ˈfɪltərz. ðə ˌrɛpjəˈteɪʃən ˈkɔzɪz ˈmɛni ˈɪʃuz, bət səm ˈɪʃuz ər rɪˈleɪtɪd tɪ ðə ˈriˌleɪ ˈsərvɪs prəˈvaɪdərz tu. waɪ iˈmeɪl ˈfɪltərz ər rikˈwaɪərd ɪn ðə fərst pleɪs? əˈkɔrdɪŋ tɪ sɪˈmænˌtɛk, ˈnɪrli 70 əv ɔl iˈmeɪl sɛnt ɪz spæm. ðiz ˌɪnˈklud ˈfɪʃɪŋ ˈmɛsɪʤɪz, ˈmælˌwɛr, iˈmeɪlz ˈkəmɪŋ frəm hu ˈlɛvərɪʤ ðɪs ˈʧænəl fər nəˈfɛriəs ˈpərpəsɪz. ɪf noʊ ˈfɪltər ɪgˈzɪstəd, ɔl ðiz iˈmeɪlz wʊd bi dɪˈlɪvərd tɪ ðə. fər ˈɛvəri ˈjusfəl iˈmeɪl, ðɛr wɪl bi tu spæm iˈmeɪlz. ðɪs wʊd meɪk ðə hoʊl iˈmeɪl ˈʧænəl ˈjusləs. iˈmeɪl ər ðə ˈrizən ðə ˈfɪltər iˈmeɪlz. ˈkɔzɪz əv iˈmeɪl ˈɪʃuz ðɛr ər ˈməltəpəl ˈrizənz waɪ ə ləˈʤɪtəmət iˈmeɪl ɛndz əp ɪn ə spæm ˈfoʊldər ˈrəðər ðən ðə. səm əv ðiz ər rɪˈleɪtɪd tɪ ðə ˌrɛpjəˈteɪʃən waɪl ˈəðərz ər rɪˈleɪtɪd tɪ ðə iˈmeɪl ˈsərvɪs prəˈvaɪdər ðə ˈsɛndər ɪz ˈjuzɪŋ. ˈsɛndər ˈɪʃuz ˌrɛpjəˈteɪʃən ɪz kənˈsɪdərd ɪn ˌdɪˈsaɪdɪŋ ˈwɛðər ən iˈmeɪl wɪl riʧ ən ər ðə spæm ˈfoʊldər. ˈməltəpəl ˈfæktərz dɪˈtərmən ðə ˌrɛpjəˈteɪʃən. ðiz ˈfæktərz ər ɛz ˈmɛnʃənd bɪˈloʊ: rɪˈlaɪ ˈhɛvəli ɔn ɔˌθɛntəˈkeɪʃən tɪ meɪk ʃʊr ðət ðə ˈsteɪtɪd ˈsɛndər ɪz ðə ˈækʧəwəl ˈsɛndər əv ðə iˈmeɪl. θri ˈdɪfərənt ɔˌθɛntəˈkeɪʃən ˈmɛθədz ər juzd baɪ ðə tɪ du ðə ɔˌθɛntəˈkeɪʃən: ˈsɛndər ˈpɑləsi ˈfreɪmˌwərk (spf*) ˈsɛndər ˈaɪˈdi doʊˈmeɪn kiz aɪˈdɛntəˌfaɪd meɪl (dkim*) doʊˈmeɪn ˈmɛsɪʤ ɔˌθɛntəˈkeɪʃən rɪˈpɔrtɪŋ kənˈfɔrməns (dmarc*) ðiz ɔˌθɛntəˈkeɪʃən ˈmɛθədz əˈlaʊ ðə tɪ kəmˈpɛr iˈmeɪl ˌɪnˌfɔrˈmeɪʃən wɪθ ðə ˈrɛkərdz əˈbaʊt ðə iˈmeɪl ˈsɛndər. ɪf ðə iˈmeɪl ˌɪnˌfɔrˈmeɪʃən dɪz nɑt mæʧ ðə ˌɪnˌfɔrˈmeɪʃən, ðɛr ər mɔr ˈʧænsɪz əv ðə iˈmeɪl ˈlændɪŋ ɪn ðə spæm bɑks ˈrəðər ðən ðə. ɪf ðə ɔˌθɛntəˈkeɪʃən ɪz nɑt ɪn pleɪs, ðə ˌrɛpjəˈteɪʃən wɪl dɪˈtɪriərˌeɪt. 2 spæm kəmˈpleɪnts ɪf ðə rɪˈsɪpiənts ər rɪˈpɔrtɪŋ iˈmeɪlz ɛz spæm, ðə ˌrɛpjəˈteɪʃən wɪl dɪˈtɪriərˌeɪt. spæm kəmˈpleɪnts ʃʊd bi lɛs ðən əv ðə ˈtoʊtəl sɛnt ˈvɑljum fər ˈɛvəri iˈmeɪl. ɪf ðɪs reɪt ɪz mɔr ðən ðə ɔn ə kənˈsɪstənt ˈbeɪsɪs, ðə ˌrɛpjəˈteɪʃən ɪz baʊnd tɪ dɪˈtɪriərˌeɪt. 3 baʊns ˈmænɪʤmənt rɪˈpitɪdli ˈgɪtɪŋ ðɛr iˈmeɪlz baʊnst wɪl rɪˈdus ðə ˌrɛpjəˈteɪʃən. ɪt ʃoʊz ðə ðət ðə iˈmeɪl lɪst ɪz nɑt klin. ðə ˈɪndəstri ˈstændərd ɪz tɪ riˈmuv hɑrd ˈbaʊnsɪz ˈæftər wən əˈkərəns ənd sɔft ˈbaʊnsɪz ˈæftər θri kənˈsɛkjətɪv sɛndz. 4 rɪˈsɪpiənt ɛnˈgeɪʤmənt ə ˌrɛpjəˈteɪʃən gɪts ˈdæmɪʤd wɪn ðə rɪˈsɪpiənts tɪ hum ðə ˈsɛndər ɪz ˈsɛndɪŋ iˈmeɪlz ˈoʊpənɪŋ ðoʊz iˈmeɪlz. ɪn ˈəðər wərdz, ðə ˈklɪkɪŋ/ ˈoʊpənɪŋ reɪts ər loʊ. ðɪs ˈditeɪl ʃoʊz ðət ðə rɪˈsɪpiənts tɪ hum ðə ˈsɛndər ɪz ˈsɛndɪŋ iˈmeɪlz ər nɑt ˈɪntəˌrɛstɪd ɪˈnəf ɪn ðoʊz iˈmeɪlz. ˈriˌleɪ ˈɪʃuz ðɛr ər ˈriˌleɪ ˈɪʃuz du tɪ wɪʧ ðə iˈmeɪl maɪt gɪt ˈhæmpərd. ðə moʊst ˈkɑmən ˈprɑbləm ɪz rɪˈleɪtɪd tɪ ʃɛrd ˌaɪˌpi ˈæˈdrɛsɪz. ˌɔlˈðoʊ ðə ər ˈmuvɪŋ təˈwɔrdz ˈfɪltərɪŋ, moʊst stɪl ˈfɪltər æt ən ˌaɪˌpi ˈæˌdrɛs ˈlɛvəl. ðɪs minz ðət ɪf ən ˌaɪˌpi ˈæˌdrɛs ɪz ˈsɛndɪŋ iˈmeɪlz wɪʧ ər pərˈsivd tɪ bi spæm, ɔl iˈmeɪlz frəm ðət ˌaɪˌpi ˈæˌdrɛs wɪl bi blɑkt rəˈgɑrdləs əv ðə doʊˈmeɪn ɪt ɪz sɛnt frəm. ˈivɪn frəm ə ˈdɛdəkeɪtəd ˌaɪˌpi ˈæˌdrɛs, wɪʧ ɪz juzd baɪ ə ˈsɪŋgəl ˈɛntɪti, wən kən ɪkˈspɪriəns ˈriˌleɪ saɪd ˈɪʃuz. ˈhɪndrənsɪz tɪ əˈʧiv 1 ˈskɛrsɪti əv ˈdætə ˈriˌleɪz ˈpəblɪʃ ðɛr ˈoʊvərˌɔl reɪts ɔn ə ˈmənθli ər ə kˈwɔrtərli ˈbeɪsɪs. ðeɪ du nɑt hæv ˈrisɔrsɪz tɪ poʊst ðɛm mɔr ˈfrikwɛntli. ˈivɪn ɪn ðiz ˌpəblɪˈkeɪʃənz, ðə reɪts ər ˈoʊvərˌɔl reɪts, nɑt baɪ domains/isps*. ðiz ˈoʊvərˌɔl reɪts ˈkænɑt bi juzd fər ɑptɪmɪˈzeɪʃən ˈpərpəsɪz. 2 læk əv taɪm ˈivɪn ɪf ðə ˈdætə wʊd hæv bɪn əˈveɪləbəl fər ɑptɪmɪˈzeɪʃən ˈpərpəsɪz, ðə taɪm ˈteɪkən tɪ əreɪnʤ ðət ˈdætə ənd ðɛn juz ɪt fər iˈmeɪl ˌsɛgmənˈteɪʃən ˈpərpəs ɪz ənˈfizəbəl fər ðə iˈmeɪl ˌmɑrkətərz tɪ ˈkɛri ðɛm ˈpræktɪkəli aʊt. 3 ˈsɪŋgəl ər ˈmɑdəl moʊst ˌɔrgənəˈzeɪʃənz tɛnd tɪ hæv ə ˈsɪŋgəl ər ˈmɑdəl. ðɪs ɪz bɪˈkəz ˈlərnɪŋ ənd ˈjuzɪŋ ˈməltəpəl ər ˈriˌleɪ ˈɪnərˌfeɪsɪz, ˈsɛndɪŋ iˈmeɪlz frəm ˈməltəpəl ˈɪnərˌfeɪsɪz ənd ðə pərˈfɔrməns ˈdætə frəm iʧ wən əv ðɛm ɪz ənd ənˈfizəbəl, tɪ seɪ ðə list. əˈbaʊt proʊ proʊ ɪz ən iˈmeɪl ˈmɑrkətɪŋ ˈplætˌfɔrm fər ðə ˈdɪʤɪtəl ˈmɑrkətɪŋ tim. ɪt ˈɪnəˌgreɪts wɪθ ˈməltəpəl ˈriˌleɪ ˈsərvɪs prəˈvaɪdərz ənd ɪˈneɪbəlz dɪˈlɪvəri əv iˈmeɪl kæmˈpeɪnz tɪ ə lɪst əv iˈmeɪlz. ju kən splɪt tɛst iˈmeɪl dɪˈlɪvəriz əˈkrɔs ðə ˈriˌleɪ ˈsərvərz ənd ʧɛk rɪˈpɔrts, træk iˈmeɪl klɪks, ˈoʊpənz əv iʧ iˈmeɪl kæmˈpeɪn. ɪt ˈɔlsoʊ həz smɑrt ənd iˈmeɪl lɪst ˌsɛgmənˈteɪʃən. tɪ səˈpɔrt ɪn iˈmeɪlz; ˈkərəntli, proʊ əˈlaʊz ˌɪnəˈgreɪʃən wɪθ ˈriˌleɪ ˈgeɪtˌweɪz laɪk ˈæməˌzɑn ses*, ˈmændrɪl, sendgrid*, sparkpost*, leadersend*, dyn*, elasticemail*, mailgun*, sendinblue*, mailjet*, tipimail*, ənd mailerq*. ɪf ju ər ˈsɛndɪŋ ən iˈmeɪl tɪ ə lɪst əv əˈbəv iˈmeɪl səbˈskraɪbərz, ðɛn, əv ðə iˈmeɪl θru ˈməltəpəl ˈgeɪtˌweɪz prəˈvaɪd ˈbɛtər iˈmeɪl ˈoʊpən reɪt.
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providence, r.i. -- one of the five gang members accused in a shooting that killed a girl and wounded three women at a graduation party in june is sentenced to life in prison.
providence, r.i. -- one of the five gang members accused in a shooting that killed a girl and wounded three women at a graduation party in june is sentenced to life in prison.
ricardo vasquez, 20, pleaded guilty in superior court on friday to the murder, triple shooting, and conspiracy -- just two days after he and four other young men were indicted for the crimes. four charges of firing a gun were dismissed under the plea agreement.
the parents of vargas, 12, showed judge robert d. krause her photo from sixth grade. in a statement read by special assistant attorney general james baum,' parents said it had been an honor having her in their lives.
"`aynis was a good daughter,'" baum read to the judge.
vasquez declined to make a statement. his tearful father sat at the back of the courtroom, alone and apart from' family. he rushed out of the courtroom without speaking to them, as his son's lawyer, judith crowell, shook hands with' mother.
the providence police say the five men charged in the fatal shooting are members of the harriet street gang, or h-block, in the city's south side. that gang has been warring for years with the hartford soldiers gang, based in the hartford park housing projects on the other side of the city.
the fatal shooting late on june 15, the day before father's day, started over a broken window in minivan.
the hartford soldiers were blamed for the vandalism. vasquez and four other young men in the harriet street gang went out that night for revenge, baum told the court.
vasquez was driving his minivan around the hartford projects and they saw a party outside 256 hartford ave., baum said. he parked and a gunman -- branden castro, 21 -- got out and headed to the gathering, baum said.
there was and her mother, and other relatives, at a high school graduation party for a young friend. most there were women and children.
the masked gunman walked up and shot as she rose to speak to her mother. the dying girl collapsed in her mother's arms. the gunman also shot and wounded vilma tineo, 44, elaine devargas, 23, and cabrera-martinez, 33, baum said.
vasquez and castro were arrested in july; castro is expected to be arraigned in superior court on friday.
three other young men were arrested wednesday shortly after the indictments. angel valerio, 19, aka "young cyph," and luis gonzalez, aka "fat boy," 23, were arraigned thursday and ordered held without bail. an relative of gonzalez who was 17 at the time of the shootings was arraigned at family court. the attorney general will seek to have him tried as an adult.
the judge sentenced vasquez to life in prison for murder, plus 20 years for three counts of assault with a dangerous weapon, and 10 years for two counts of conspiracy. the sentences will run concurrently. with life in prison, the earliest vasquez could apply for parole is in 20 years.
aynis' father said later that he felt good that one of the men was already sentenced to prison. he didn't need to hear anything from vasquez. what he has to say doesn't matter.
"i only want one thing," vargas said. "i just want justice."
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ˈprɑvədəns, r.i*. wən əv ðə faɪv gæŋ ˈmɛmbərz əˈkjuzd ɪn ə ˈʃutɪŋ ðət kɪld ə gərl ənd ˈwundɪd θri ˈwɪmən æt ə ˌgræʤəˈweɪʃən ˈpɑrti ɪn ʤun ɪz ˈsɛntənst tɪ laɪf ɪn ˈprɪzən. ˈprɑvədəns, r.i*. wən əv ðə faɪv gæŋ ˈmɛmbərz əˈkjuzd ɪn ə ˈʃutɪŋ ðət kɪld ə gərl ənd ˈwundɪd θri ˈwɪmən æt ə ˌgræʤəˈweɪʃən ˈpɑrti ɪn ʤun ɪz ˈsɛntənst tɪ laɪf ɪn ˈprɪzən. rɪˈkɑrdoʊ væˈskɛz, 20 ˈplidɪd ˈgɪlti ɪn suˈpɪriər kɔrt ɔn ˈfraɪˌdeɪ tɪ ðə ˈmərdər, ˈtrɪpəl ˈʃutɪŋ, ənd kənˈspɪrəsi ʤɪst tu deɪz ˈæftər hi ənd fɔr ˈəðər jəŋ mɛn wər ˌɪnˈdaɪtɪd fər ðə kraɪmz. fɔr ˈʧɑrʤɪz əv ˈfaɪərrɪŋ ə gən wər dɪsˈmɪst ˈəndər ðə pli əˈgrimənt. ðə ˈpɛrənts əv ˈvɑrgəs, 12 ʃoʊd ʤəʤ ˈrɑbərt di. krɔs hər ˈfoʊˌtoʊ frəm sɪksθ greɪd. ɪn ə ˈsteɪtmənt rɛd baɪ ˈspɛʃəl əˈsɪstənt əˈtərni ˈʤɛnərəl ʤeɪmz bɔm,' ˈpɛrənts sɛd ɪt hæd bɪn ən ˈɑnər ˈhævɪŋ hər ɪn ðɛr lɪvz. wɑz ə gʊd ˈdɔtər,'" bɔm rɛd tɪ ðə ʤəʤ. væˈskɛz dɪˈklaɪnd tɪ meɪk ə ˈsteɪtmənt. hɪz ˈtɪrfəl ˈfɑðər sæt æt ðə bæk əv ðə ˈkɔrˌtrum, əˈloʊn ənd əˈpɑrt frəm' ˈfæməli. hi rəʃt aʊt əv ðə ˈkɔrˌtrum wɪˈθaʊt ˈspikɪŋ tɪ ðɛm, ɛz hɪz sənz ˈlɔjər, ˈʤudɪθ kroʊəl, ʃʊk hænz wɪθ' ˈməðər. ðə ˈprɑvədəns pəˈlis seɪ ðə faɪv mɛn ʧɑrʤd ɪn ðə ˈfeɪtəl ˈʃutɪŋ ər ˈmɛmbərz əv ðə ˈhɛriət strit gæŋ, ər h-block*, ɪn ðə ˈsɪtiz saʊθ saɪd. ðət gæŋ həz bɪn ˈwɔrɪŋ fər jɪrz wɪθ ðə ˈhɑrtfərd ˈsoʊlʤərz gæŋ, beɪst ɪn ðə ˈhɑrtfərd pɑrk ˈhaʊzɪŋ ˈprɑʤɛkts ɔn ðə ˈəðər saɪd əv ðə ˈsɪti. ðə ˈfeɪtəl ˈʃutɪŋ leɪt ɔn ʤun 15 ðə deɪ ˌbiˈfɔr ˈfɑðərz deɪ, ˈstɑrtɪd ˈoʊvər ə ˈbroʊkən ˈwɪndoʊ ɪn ˈmɪniˈvæn. ðə ˈhɑrtfərd ˈsoʊlʤərz wər bleɪmd fər ðə ˈvændəlɪzəm. væˈskɛz ənd fɔr ˈəðər jəŋ mɛn ɪn ðə ˈhɛriət strit gæŋ wɛnt aʊt ðət naɪt fər riˈvɛnʤ, bɔm toʊld ðə kɔrt. væˈskɛz wɑz ˈdraɪvɪŋ hɪz ˈmɪniˈvæn əraʊnd ðə ˈhɑrtfərd ˈprɑʤɛkts ənd ðeɪ sɔ ə ˈpɑrti ˈaʊtˈsaɪd 256 ˈhɑrtfərd ˈɑˌveɪ., bɔm sɛd. hi pɑrkt ənd ə ˈgənmən ˈbrændən ˈkæstroʊ, 21 gɑt aʊt ənd ˈhɛdɪd tɪ ðə ˈgæðərɪŋ, bɔm sɛd. ðɛr wɑz ənd hər ˈməðər, ənd ˈəðər ˈrɛlətɪvz, æt ə haɪ skul ˌgræʤəˈweɪʃən ˈpɑrti fər ə jəŋ frɛnd. moʊst ðɛr wər ˈwɪmən ənd ˈʧɪldrən. ðə mæskt ˈgənmən wɔkt əp ənd ʃɑt ɛz ʃi roʊz tɪ spik tɪ hər ˈməðər. ðə daɪɪŋ gərl kəˈlæpst ɪn hər ˈməðərz ɑrmz. ðə ˈgənmən ˈɔlsoʊ ʃɑt ənd ˈwundɪd ˈvɪlmə tineo*, 44 ˌiˈleɪn devargas*, 23 ənd cabrera-martinez*, 33 bɔm sɛd. væˈskɛz ənd ˈkæstroʊ wər ərˈɛstɪd ɪn ˌʤuˈlaɪ; ˈkæstroʊ ɪz ɪkˈspɛktɪd tɪ bi əreɪnd ɪn suˈpɪriər kɔrt ɔn ˈfraɪˌdeɪ. θri ˈəðər jəŋ mɛn wər ərˈɛstɪd ˈwɛnzˌdeɪ ˈʃɔrtli ˈæftər ðə ˌɪnˈdaɪtmənts. ˈeɪnʤəl vəˈlirioʊ, 19 ˈɑkə "jəŋ cyph*," ənd luis gɑnˈzɑləz, ˈɑkə "fæt bɔɪ," 23 wər əreɪnd ˈθərzˌdeɪ ənd ˈɔrdərd hɛld wɪˈθaʊt beɪl. ən ˈrɛlətɪv əv gɑnˈzɑləz hu wɑz 17 æt ðə taɪm əv ðə ˈʃutɪŋz wɑz əreɪnd æt ˈfæməli kɔrt. ðə əˈtərni ˈʤɛnərəl wɪl sik tɪ hæv ɪm traɪd ɛz ən ˈædəlt. ðə ʤəʤ ˈsɛntənst væˈskɛz tɪ laɪf ɪn ˈprɪzən fər ˈmərdər, pləs 20 jɪrz fər θri kaʊnts əv əˈsɔlt wɪθ ə ˈdeɪnʤərəs ˈwɛpən, ənd 10 jɪrz fər tu kaʊnts əv kənˈspɪrəsi. ðə ˈsɛntənsɪz wɪl rən kənˈkərəntli. wɪθ laɪf ɪn ˈprɪzən, ðə ˈərliəst væˈskɛz kʊd əˈplaɪ fər pəroʊl ɪz ɪn 20 jɪrz.' ˈfɑðər sɛd ˈleɪtər ðət hi fɛlt gʊd ðət wən əv ðə mɛn wɑz ɔˈrɛdi ˈsɛntənst tɪ ˈprɪzən. hi ˈdɪdənt nid tɪ hir ˈɛniˌθɪŋ frəm væˈskɛz. wət hi həz tɪ seɪ ˈdəzənt ˈmætər. "aɪ ˈoʊnli wɔnt wən θɪŋ," ˈvɑrgəs sɛd. "aɪ ʤɪst wɔnt ˈʤəstɪs."
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nestled in the alleys and a cluster of tightly constructed houses in downtown srinagar, is the deserted polling booth at, fateh area of srinagar, where 29 people out of 576 people have voted till sunday afternoon.
it is a frightening sight! every person moving towards the alley leading to polling booth, which otherwise is a library and community marriage hall, is mocked and locals counting every person entering the booth. the mood at this polling booth is reflected on almost all the polling stations in srinagar and area.
the huge queues of voters were missing from the almost all the parts of the srinagar city, and here at the polling both in old town of srinagar, the question was not how many people will vote, but who dared to come first.
“at am, 15 minutes before the polling was to start, almost a dozen people came and wanted to vote, but we told them to go back and come at am. they stayed in the courtyard till am, voted and left immediately,” presiding officer, ahmad, told.
as the lanes leading towards polling station remained deserted, people peeped through their house. a silence in the surroundings made things only worse for the polling staff inside. stray dogs roamed in groups and three soldiers remained alert to keep an eye on every moving object in the vicinity of the polling station.
“are we in the main srinagar,” a paramilitary forces soldiers guarding the polling both asked this reporter. “i have not seen more than 30 people since morning”.
the fringes of the old town of srinagar have traditionally been the supporter of national conference but who is going to benefit from the nearly deserted polling station of srinagar city this time, no one knows.
“if there are seven voters who took the risk of voting for national conference. these are people who did not get afraid when militancy was at its peak, so how would they get afraid this time,” mir, who stood outside the polling both number in area, told.
the polling was held under tight security as the election commission had deployed more then additional forces for the first phase of parliamentary to ensure peaceful polling in srinagar parliamentary constituency, which is spread over three districts of srinagar, and ganderbal.
the unprecedented security arrangements were made after militants carried out three attacks in srinagar in last two weeks in the summer capital.
“i have given election duty four times but this is the toughest one i am seeing,” a women polling officer, said inside a booth in the old town of srinagar.
violence was reported from all the three districts after the protests broke out in district, four people were killed during the clashes after hundred of youth came out to protests against the polling.
one youth was injured in village of in district he later succumbed to his injuries in hospital. earlier, two youths were killed in clashes near the polling stations in and villages of the district.
the angry youth entered a polling station and started beating the polling staff in khan area of were two staff members, both teachers, on poll duty were injured and shifted to hospital. clashes were also reported from other places of the district were twenty protesters were hit by pellets in village of central kashmir. two polling stations were closed after witnessing heavy stone pelting in in the same district.
till pm srinagar parliamentary constituency saw percent votes were cast out of total electorate of 1261395. by pm had exercised their right to vote.
chief electoral officer (ceo) said that fourteen were either damaged or snatched by mobs during through out the three districts.
the jammu and kashmir government has snapped the internet service in three districts falling under the srinagar parliamentary constituency.
“around 46 votes have been polled at out polling till 4:00pm. now the question is how will we go back home in the evening,” ahmad, the returning officer, said.
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ˈnɛsəld ɪn ðə ˈæliz ənd ə ˈkləstər əv ˈtaɪtli kənˈstrəktɪd ˈhaʊsɪz ɪn ˈdaʊnˈtaʊn ʃˈrinəˌgɑr, ɪz ðə dɪˈzərtɪd ˈpoʊlɪŋ buθ æt, ˈfɑtɛ ˈɛriə əv ʃˈrinəˌgɑr, wɛr 29 ˈpipəl aʊt əv 576 ˈpipəl hæv ˈvoʊtɪd tɪl ˈsənˌdi ˌæftərˈnun. ɪt ɪz ə ˈfraɪtənɪŋ saɪt! ˈɛvəri ˈpərsən ˈmuvɪŋ təˈwɔrdz ðə ˈæli ˈlidɪŋ tɪ ˈpoʊlɪŋ buθ, wɪʧ ˈəðərˌwaɪz ɪz ə ˈlaɪbrɛˌri ənd kəmˈjunɪti ˈmɛrɪʤ hɔl, ɪz mɑkt ənd ˈloʊkəlz ˈkaʊntɪŋ ˈɛvəri ˈpərsən ˈɛnərɪŋ ðə buθ. ðə mud æt ðɪs ˈpoʊlɪŋ buθ ɪz rɪˈflɛktɪd ɔn ˈɔlˌmoʊst ɔl ðə ˈpoʊlɪŋ ˈsteɪʃənz ɪn ʃˈrinəˌgɑr ənd ˈɛriə. ðə juʤ kjuz əv ˈvoʊtərz wər ˈmɪsɪŋ frəm ðə ˈɔlˌmoʊst ɔl ðə pɑrts əv ðə ʃˈrinəˌgɑr ˈsɪti, ənd hir æt ðə ˈpoʊlɪŋ boʊθ ɪn oʊld taʊn əv ʃˈrinəˌgɑr, ðə kˈwɛʃən wɑz nɑt haʊ ˈmɛni ˈpipəl wɪl voʊt, bət hu dɛrd tɪ kəm fərst. æm, 15 ˈmɪnəts ˌbiˈfɔr ðə ˈpoʊlɪŋ wɑz tɪ stɑrt, ˈɔlˌmoʊst ə ˈdəzən ˈpipəl keɪm ənd ˈwɔntɪd tɪ voʊt, bət wi toʊld ðɛm tɪ goʊ bæk ənd kəm æt æm. ðeɪ steɪd ɪn ðə ˈkɔrˌtjɑrd tɪl æm, ˈvoʊtɪd ənd lɛft immediately,”*,” prɪˈzaɪdɪŋ ˈɔfɪsər, ˈɑmɑd, toʊld. ɛz ðə leɪnz ˈlidɪŋ təˈwɔrdz ˈpoʊlɪŋ ˈsteɪʃən rɪˈmeɪnd dɪˈzərtɪd, ˈpipəl pipt θru ðɛr haʊs. ə ˈsaɪləns ɪn ðə sərˈaʊndɪŋz meɪd θɪŋz ˈoʊnli wərs fər ðə ˈpoʊlɪŋ stæf ˌɪnˈsaɪd. streɪ dɔgz roʊmd ɪn grups ənd θri ˈsoʊlʤərz rɪˈmeɪnd əˈlərt tɪ kip ən aɪ ɔn ˈɛvəri ˈmuvɪŋ ˈɑbʤɛkt ɪn ðə vɪˈsɪnɪti əv ðə ˈpoʊlɪŋ ˈsteɪʃən. wi ɪn ðə meɪn srinagar,”*,” ə ˌpɛrəˈmɪləˌtɛri ˈfɔrsɪz ˈsoʊlʤərz ˈgɑrdɪŋ ðə ˈpoʊlɪŋ boʊθ æst ðɪs rɪˈpɔrtər. hæv nɑt sin mɔr ðən 30 ˈpipəl sɪns morning”*”. ðə ˈfrɪnʤɪz əv ðə oʊld taʊn əv ʃˈrinəˌgɑr hæv trəˈdɪʃənəli bɪn ðə səˈpɔrtər əv ˈnæʃənəl ˈkɑnfərəns bət hu ɪz goʊɪŋ tɪ ˈbɛnəfɪt frəm ðə ˈnɪrli dɪˈzərtɪd ˈpoʊlɪŋ ˈsteɪʃən əv ʃˈrinəˌgɑr ˈsɪti ðɪs taɪm, noʊ wən noʊz. ðɛr ər ˈsɛvən ˈvoʊtərz hu tʊk ðə rɪsk əv ˈvoʊtɪŋ fər ˈnæʃənəl ˈkɑnfərəns. ðiz ər ˈpipəl hu dɪd nɑt gɪt əˈfreɪd wɪn ˈmɪlətənsi wɑz æt ɪts pik, soʊ haʊ wʊd ðeɪ gɪt əˈfreɪd ðɪs time,”*,” mɪr, hu stʊd ˈaʊtˈsaɪd ðə ˈpoʊlɪŋ boʊθ ˈnəmbər ɪn ˈɛriə, toʊld. ðə ˈpoʊlɪŋ wɑz hɛld ˈəndər taɪt sɪˈkjʊrəti ɛz ðə ɪˈlɛkʃən kəˈmɪʃən hæd dɪˈplɔɪd mɔr ðɛn əˈdɪʃənəl ˈfɔrsɪz fər ðə fərst feɪz əv ˌpɑrləˈmɛntəri tɪ ɪnˈʃʊr ˈpisfəl ˈpoʊlɪŋ ɪn ʃˈrinəˌgɑr ˌpɑrləˈmɛntəri kənˈstɪʧuənsi, wɪʧ ɪz sprɛd ˈoʊvər θri ˈdɪstrɪkts əv ʃˈrinəˌgɑr, ənd ganderbal*. ðə ənˈprɛsɪˌdɛntɪd sɪˈkjʊrəti ərˈeɪnʤmənts wər meɪd ˈæftər ˈmɪlətənts ˈkɛrid aʊt θri əˈtæks ɪn ʃˈrinəˌgɑr ɪn læst tu wiks ɪn ðə ˈsəmər ˈkæpɪtəl. hæv ˈgɪvɪn ɪˈlɛkʃən ˈduti fɔr taɪmz bət ðɪs ɪz ðə ˈtəfəst wən aɪ æm seeing,”*,” ə ˈwɪmən ˈpoʊlɪŋ ˈɔfɪsər, sɛd ˌɪnˈsaɪd ə buθ ɪn ðə oʊld taʊn əv ʃˈrinəˌgɑr. ˈvaɪələns wɑz ˌriˈpɔrtəd frəm ɔl ðə θri ˈdɪstrɪkts ˈæftər ðə ˈproʊˌtɛsts broʊk aʊt ɪn ˈdɪstrɪkt, fɔr ˈpipəl wər kɪld ˈdʊrɪŋ ðə ˈklæʃɪz ˈæftər ˈhənərd əv juθ keɪm aʊt tɪ ˈproʊˌtɛsts əˈgɛnst ðə ˈpoʊlɪŋ. wən juθ wɑz ˈɪnʤərd ɪn ˈvɪlɪʤ əv ɪn ˈdɪstrɪkt hi ˈleɪtər səˈkəmd tɪ hɪz ˈɪnʤəriz ɪn ˈhɑˌspɪtəl. ˈərliər, tu juθs wər kɪld ɪn ˈklæʃɪz nɪr ðə ˈpoʊlɪŋ ˈsteɪʃənz ɪn ənd ˈvɪlɪʤɪz əv ðə ˈdɪstrɪkt. ðə ˈæŋgri juθ ˈɛnərd ə ˈpoʊlɪŋ ˈsteɪʃən ənd ˈstɑrtɪd ˈbitɪŋ ðə ˈpoʊlɪŋ stæf ɪn kɑn ˈɛriə əv wər tu stæf ˈmɛmbərz, boʊθ ˈtiʧərz, ɔn poʊl ˈduti wər ˈɪnʤərd ənd ˈʃɪftɪd tɪ ˈhɑˌspɪtəl. ˈklæʃɪz wər ˈɔlsoʊ ˌriˈpɔrtəd frəm ˈəðər ˈpleɪsɪz əv ðə ˈdɪstrɪkt wər tˈwɛnti ˈproʊˌtɛstərz wər hɪt baɪ ˈpɛləts ɪn ˈvɪlɪʤ əv ˈsɛntrəl ˈkæʃmɪr. tu ˈpoʊlɪŋ ˈsteɪʃənz wər kloʊzd ˈæftər ˈwɪtnəsɪŋ ˈhɛvi stoʊn ˈpɛltɪŋ ɪn ɪn ðə seɪm ˈdɪstrɪkt. tɪl piɛm ʃˈrinəˌgɑr ˌpɑrləˈmɛntəri kənˈstɪʧuənsi sɔ pərˈsɛnt voʊts wər kæst aʊt əv ˈtoʊtəl ɪˈlɛktərət əv 1261395 baɪ piɛm hæd ˈɛksərˌsaɪzd ðɛr raɪt tɪ voʊt. ʧif ɪˈlɛktərəl ˈɔfɪsər (ˈsiˌiˈoʊ) sɛd ðət ˌfɔrˈtin wər ˈiðər ˈdæmɪʤd ər snæʧt baɪ mɑbz ˈdʊrɪŋ θru aʊt ðə θri ˈdɪstrɪkts. ðə ʤəˈmu ənd ˈkæʃmɪr ˈgəvərnmənt həz snæpt ðə ˈɪntərˌnɛt ˈsərvɪs ɪn θri ˈdɪstrɪkts ˈfɑlɪŋ ˈəndər ðə ʃˈrinəˌgɑr ˌpɑrləˈmɛntəri kənˈstɪʧuənsi. 46 voʊts hæv bɪn poʊld æt aʊt ˈpoʊlɪŋ tɪl 4:00pm*. naʊ ðə kˈwɛʃən ɪz haʊ wɪl wi goʊ bæk hoʊm ɪn ðə evening,”*,” ˈɑmɑd, ðə rɪˈtərnɪŋ ˈɔfɪsər, sɛd. ɪz naʊ ɔn. fər ðə ˈleɪtəst æˈnælɪsɪs, ˈkɑmənˌtɛri ənd nuz ˈəpˌdeɪts, saɪn əp fər ɑr ˈsərvɪsɪz. ʤɪst goʊ tɪ ənd hɪt ðə səbˈskraɪb ˈbətən.
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musically speaking,, on the left, is the real standout on the no. 1 hit by azalea (right). photo by ethan images
three decades ago, in an interview with master fred bronson for his billboard book of number 1 hits, blondie lead singer debbie harry said the following about “rapture”—the song with the rap about the man from mars eatin’ cars, and the first hot 100 no. 1 song to feature rapping.
“it took some getting used to for the guys [in the band],” harry said. “they really solidly behind rap music at the time. it was very underground they thought it might have been a little too much.”
discussing what, if anything, she would go back and change about her performance, harry added: “i think i would do the rap a little, what i would call tighter, more precise. to me a little bit off the beat. i only did one take on it and that was it. so if i were to do it again, i would have done a couple more takes.”
much as i hate to disagree with harry about her and blondie chris stein followed their muse to four stellar no. 1 songs, each in a vastly different at least a little bit wrong on both counts. first, the other members of blondie were probably wise to be wary about attempting rap; besides imperiling their rock bona fides, it may have felt like one cultural appropriation too far. and second, the slackness of rap may be the best thing about “rapture.” its quality is true to persona, saving it from the kind of appropriation the rest of the band likely feared. thank heavens she try another take.
thirty-three years later, one white lady who hesitate to appropriate is azalea. the australian model and rapper possesses the new no. 1 song on the hot 100, “fancy” featuring.
for azalea, born amethyst amelia kelly in new south wales, no or wishing for another take. thinks awesome, and here to tell you: “honest, the truth flow, retarded; each beat, dear, departed.” having relocated to miami at age 16, she adopted the argot and flow of an african-american from the dirty south; hip-hop academic and critic oliver wang calls it “a hat trick of appropriation: not american, not black, not southern.” as if leaning into the criticism, unleashes the bravado within “fancy’s” first 10 seconds, in the most memorable and rhyme: “first things first: the realest,” a statement laced with either unwitting irony or sardonic both.
azalea’s and make a kind of sense, inasmuch as very few female rappers of any race have ever topped premier song chart. besides harry, who even rap all the way through “rapture,” hill, who made it to no. 1 in 1998 with “doo wop (that thing),” her take on soul. three years later, rapper lil kim shared credit on a no. 1, the 2001 remake of “lady marmalade,” a that also featured christina aguilera, mya, and p!nk. and, unless you consider a valid but opinion held by, among others, the new york times’ jon it for lead female rappers at no. 1, until azalea this week. (among many injustices, rap godmothers peaked at no. 3 on the hot 100, and hip-hop innovator missy elliott has never gotten past no. 2.)
so give it up for the ladies who if has been called everything from to, more charitably, greatest drag performance. i have written my share in the past six months about the charts, race, and how the digital era has given a lift to hegemonic pop culture; we go there again. besides, the title of this series “why is cultural appropriation so profitable?” (short answer: it always has been.) “why is this song no. and it has to be said that “fancy” is crafted like a swiss watch.
as a, “fancy” has two big things going for it: tight production and a great supporting performer. rhythmically the song is electro-hop, powered not by a traditional rap but by a rubbery bounce. that sound is indebted to pioneer bambaataa, nu 1986 classic “i wait,” and trio fad. “fancy’s” production team the invisible men, working with kurtis “the arcade” mckenzie, have reduced the sonic footprint to little more than that digital pulse and a recurring beat, which owes more than a little to the 2004 smash “tipsy” by j-kwon.
but of all the talents swirling around “fancy,” the true is its featured performer, charlotte aitchison, aka, possessor of the gwen voice that coos the sticky hook. if her voice sounds familiar, probably because you spent last summer strutting to it, too: the “i love it,” credited to swedish duo pop featuring (a 2012 single that took a full year to emerge), was largely confection. so “fancy” makes this the second straight year the british has powered a monster summer jam credited to others that sprang in large part from her head. further evidence of’s skill can be found on her critically acclaimed 2013 album true romance, packed with chewy hooks that have pop fans falling over themselves to praise her. (could someone please get this lady a hit of her own now, please?)
compared to’s monster hook, rapping is the weaker sister. may be a more confident rapper than debbie harry in 1981, but she also sounds like trying really hard. but grating over the length of album the new classic is more charming on a supple pop single; her kind of works here. having trained herself to rap in a cadence vastly different from her native speaking voice,’s comes off brash but studied, and she resembles no one so much as her mentor, atlanta rapper t.i. listen to the way her tone rises on the line “you should want a bad bitch like this, clear homage to singsongy, conversational tone on smashes like “live your life” or his rap bridge on justin classic “my love.” they say that good artists copy and great artists steal. azalea is, at her best, a competent copycat, and unafraid to insert herself into the lineage of greats. her line about a rooftop in nostalgia for a time before azalea was born: an allusion to a rhyme by nas.
but forget the and the ’00s: is, to borrow a term from’s other big hit, “a bitch.” confirmed by the music video, an homage to clueless, the 1995 alicia silverstone comedy. billboard reports that the video was a linchpin in the climb to no. 1, having been viewed some 60 million times since its march debut. with the nostalgia cycle in full effect, amy masterwork was right on schedule for homage, though hard to see what azalea brings to the party other than recreating some the best scenes and looking cute in cher yellow plaid. if you squint pretty hard, you can see the video saying something about how young teens or themselves; though, honestly, that may be giving a clip likely dreamed up in a marketing meeting (“is this, like, a commercial or what?!”) more credit than it deserves.
between the smash music video and a tv performance in on the billboard music awards, “fancy” got its momentum to reach no. 1. during that same performance, azalea joined pop star ariana grande for a performance of “problem,” the ariana-fronted,-supported single currently no. 2 on the hot 100. these songs’ dual command of the chart has led to online chatter about just how azalea is right now.
as if stirring the pot, billboard noted that azalea is the first act to capture the top two positions with her first two hot 100 hits since the beatles. any billboard feat involving a modern pop act and the phrase “since the beatles” is guaranteed to rile up chart nerds, but the record is a footnote and an both acts. no proud statistic for the fab four, who chart in america until early 1964 only because the u.s. label refused to promote its records here sooner; once reached american shores, a flood of singles on multiple labels rushed the hot 100, sending “i want to hold your hand” and “she loves you” to the top two positions even though other beatles singles should have charted earlier. and azalea should have scored hits as far back as 2011, except that complicated label politics, and a slew of tracks recorded under prior contracts but withheld from promotion, essentially kept her off the radio more than two years, before island records finally sent her into the studio to record her “official” debut.
the other act being freely compared to this summer, thanks to her hit duopoly, is summer 2013 williams. with “fancy” and “problem” set to duke it out for the hot 100 penthouse over many weeks, much the way last two-supported hits held down nos. 1 and 2 for more than a month, azalea is looking like summer special sauce. but azalea a supporting performer on “fancy,” the lead. and anyway she have the decades of history built as a anyone right now deserves the designation,. about the only thing and have in common is taking a turn as shiny new object after hiding in plain sight.
ultimately, the success of “fancy” is owed largely to timing, which is the dark art of pop promotion. knowing when a this case,/’90s–referencing—is ascendant is a skill in itself, and after years of azalea scoring more headlines than hits, her team managed to make her seem new again. whether “fancy” signals longevity for her is another matter. for blondie in 1981, “rapture” came at the end of a great run as new biggest band; neither the group nor debbie harry came anywhere near top 10 again. rap may have closed their career, but now 2014, not 1981. if azalea truly is “the realest,” a career as leading lady is now hers to lose.
previously in why is this song no. 1?
john “all of me”
pharrell’s “happy”
katy “dark horse”
pitbull and’s “timber”
eminem’s “the monster”
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mˈjuzɪkli ˈspikɪŋ,, ɔn ðə lɛft, ɪz ðə ril ˈstænˌdaʊt ɔn ðə noʊ. 1 hɪt baɪ əˈzeɪljə (raɪt). ˈfoʊˌtoʊ baɪ ˈiθən ˈɪmɪʤɪz θri ˈdɛkeɪdz əˈgoʊ, ɪn ən ˈɪntərvˌju wɪθ ˈmæstər frɛd ˈbrɑnsən fər hɪz ˈbɪlˌbɔrd bʊk əv ˈnəmbər 1 hɪts, ˈblɑndi lɛd ˈsɪŋər ˈdɛbi ˈhɛri sɛd ðə ˈfɑloʊɪŋ əˈbaʊt sɔŋ wɪθ ðə ræp əˈbaʊt ðə mæn frəm mɑrz eatin’*’ kɑz, ənd ðə fərst hɑt 100 noʊ. 1 sɔŋ tɪ ˈfiʧər ˈræpɪŋ. tʊk səm ˈgɪtɪŋ juzd tɪ fər ðə gaɪz [ɪn ðə band],”*],” ˈhɛri sɛd. ˈrɪli ˈsɑlədli bɪˈhaɪnd ræp mˈjuzɪk æt ðə taɪm. ɪt wɑz ˈvɛri ˈəndərˌgraʊnd ðeɪ θɔt ɪt maɪt hæv bɪn ə ˈlɪtəl tu much.”*.” dɪˈskəsɪŋ wət, ɪf ˈɛniˌθɪŋ, ʃi wʊd goʊ bæk ənd ʧeɪnʤ əˈbaʊt hər pərˈfɔrməns, ˈhɛri ˈædɪd: θɪŋk aɪ wʊd du ðə ræp ə ˈlɪtəl, wət aɪ wʊd kɔl ˈtaɪtər, mɔr prɪˈsaɪs. tɪ mi ə ˈlɪtəl bɪt ɔf ðə bit. aɪ ˈoʊnli dɪd wən teɪk ɔn ɪt ənd ðət wɑz ɪt. soʊ ɪf aɪ wər tɪ du ɪt əˈgɛn, aɪ wʊd hæv dən ə ˈkəpəl mɔr takes.”*.” məʧ ɛz aɪ heɪt tɪ dɪsəˈgri wɪθ ˈhɛri əˈbaʊt hər ənd ˈblɑndi krɪs staɪn ˈfɑloʊd ðɛr mjuz tɪ fɔr ˈstɛlər noʊ. 1 sɔŋz, iʧ ɪn ə ˈvæstli ˈdɪfərənt æt list ə ˈlɪtəl bɪt rɔŋ ɔn boʊθ kaʊnts. fərst, ðə ˈəðər ˈmɛmbərz əv ˈblɑndi wər ˈprɑbəˌbli waɪz tɪ bi ˈwɛri əˈbaʊt əˈtɛmptɪŋ ræp; ˌbiˈsaɪdz ˌɪmˈpɛrəlɪŋ ðɛr rɑk ˈboʊnə faɪdz, ɪt meɪ hæv fɛlt laɪk wən ˈkəlʧərəl əˌproʊpriˈeɪʃən tu fɑr. ənd ˈsɛkənd, ðə sˈlæknəs əv ræp meɪ bi ðə bɛst θɪŋ əˈbaʊt ““rapture.”*.” ɪts kˈwɑləti ɪz tru tɪ pərˈsoʊnə, ˈseɪvɪŋ ɪt frəm ðə kaɪnd əv əˌproʊpriˈeɪʃən ðə rɛst əv ðə bænd ˈlaɪkli fɪrd. θæŋk ˈhɛvənz ʃi traɪ əˈnəðər teɪk. jɪrz ˈleɪtər, wən waɪt ˈleɪdi hu ˈhɛzəˌteɪt tɪ əˈproʊpriˌeɪt ɪz əˈzeɪljə. ðə ɔˈstreɪljən ˈmɑdəl ənd ˈræpər pəˈzɛsɪz ðə nu noʊ. 1 sɔŋ ɔn ðə hɑt 100 ““fancy”*” ˈfiʧərɪŋ. fər əˈzeɪljə, bɔrn ˈæmɪθɪst əˈmiljə ˈkɛli ɪn nu saʊθ weɪlz, noʊ ər ˈwɪʃɪŋ fər əˈnəðər teɪk. θɪŋks ˈɔsəm, ənd hir tɪ tɛl ju: ““honest*, ðə truθ floʊ, rɪˈtɑrdɪd; iʧ bit, dɪr, departed.”*.” ˈhævɪŋ ˌriˈloʊkeɪtɪd tɪ maɪˈæmi æt eɪʤ 16 ʃi əˈdɑptəd ðə ˈɑrgət ənd floʊ əv ən ˈæfrɪkənəˈmɛrɪkən frəm ðə ˈdərti saʊθ; ˈhɪˌphɔp ˌækəˈdɛmɪk ənd ˈkrɪtɪk ˈɑlɪvər wæŋ kɔlz ɪt hæt trɪk əv əˌproʊpriˈeɪʃən: nɑt əˈmɛrɪkən, nɑt blæk, nɑt southern.”*.” ɛz ɪf ˈlinɪŋ ˈɪntu ðə ˈkrɪtɪˌsɪzəm, ənˈliʃɪz ðə brəˈvɑdoʊ wɪˈθɪn ““fancy’s”*” fərst 10 ˈsɛkəndz, ɪn ðə moʊst ˈmɛmərəbəl ənd raɪm: θɪŋz fərst: ðə realest,”*,” ə ˈsteɪtmənt leɪst wɪθ ˈiðər ənˈwɪtɪŋ ˈaɪrəni ər sɑrˈdɑnɪk boʊθ. ənd meɪk ə kaɪnd əv sɛns, ˌɪˈnæsmək ɛz ˈvɛri fju ˈfiˌmeɪl ˈræpərz əv ˈɛni reɪs hæv ˈɛvər tɑpt prɛˈmɪr sɔŋ ʧɑrt. ˌbiˈsaɪdz ˈhɛri, hu ˈivɪn ræp ɔl ðə weɪ θru ““rapture,”*,” hɪl, hu meɪd ɪt tɪ noʊ. 1 ɪn 1998 wɪθ wɑp (ðət thing),”*),” hər teɪk ɔn soʊl. θri jɪrz ˈleɪtər, ˈræpər lɪl kɪm ʃɛrd ˈkrɛdɪt ɔn ə noʊ. 1 ðə 2001 ˈriˈmeɪk əv marmalade,”*,” ə ðət ˈɔlsoʊ ˈfiʧərd krɪˈstinə ɑgwiˈlɛrə, mya*, ənd p!nk*. ənd, ənˈlɛs ju kənˈsɪdər ə ˈvælɪd bət əˈpɪnjən hɛld baɪ, əˈməŋ ˈəðərz, ðə nu jɔrk times’*’ ʤɑn ɪt fər lɛd ˈfiˌmeɪl ˈræpərz æt noʊ. 1 ənˈtɪl əˈzeɪljə ðɪs wik. (əˈməŋ ˈmɛni ˌɪnˈʤəstəsɪz, ræp ˈgɑdˌməðərz pikt æt noʊ. 3 ɔn ðə hɑt 100 ənd ˈhɪˌphɔp ˈɪnəˌveɪtər ˈmɪsi ˈɛliət həz ˈnɛvər ˈgɔtən pæst noʊ. 2 soʊ gɪv ɪt əp fər ðə ˈleɪdiz hu ɪf həz bɪn kɔld ˈɛvriˌθɪŋ frəm tɪ, mɔr ˈʧɛrɪtəbli, ˈgreɪtəst dræg pərˈfɔrməns. aɪ hæv ˈrɪtən maɪ ʃɛr ɪn ðə pæst sɪks mənθs əˈbaʊt ðə ʧɑrts, reɪs, ənd haʊ ðə ˈdɪʤɪtəl ˈɪrə həz ˈgɪvɪn ə lɪft tɪ ˌhɛgəˈmɑnɪk pɑp ˈkəlʧər; wi goʊ ðɛr əˈgɛn. ˌbiˈsaɪdz, ðə ˈtaɪtəl əv ðɪs ˈsɪriz ɪz ˈkəlʧərəl əˌproʊpriˈeɪʃən soʊ profitable?”*?” (ʃɔrt ˈænsər: ɪt ˈɔlˌweɪz həz bɪn.) ɪz ðɪs sɔŋ noʊ. ənd ɪt həz tɪ bi sɛd ðət ““fancy”*” ɪz ˈkræftɪd laɪk ə swɪs wɔʧ. ɛz ə, ““fancy”*” həz tu bɪg θɪŋz goʊɪŋ fər ɪt: taɪt pərˈdəkʃən ənd ə greɪt səˈpɔrtɪŋ pərˈfɔrmər. ˈrɪðmɪkli ðə sɔŋ ɪz electro-hop*, paʊərd nɑt baɪ ə trəˈdɪʃənəl ræp bət baɪ ə ˈrəbəri baʊns. ðət saʊnd ɪz ˌɪnˈdɛtɪd tɪ ˌpaɪəˈnɪr bambaataa*, nu 1986 ˈklæsɪk wait,”*,” ənd ˈtriˌoʊ fæd. ““fancy’s”*” pərˈdəkʃən tim ðə ˌɪnˈvɪzəbəl mɛn, ˈwərkɪŋ wɪθ ˈkərtɪs arcade”*” məˈkɛnzi, hæv rɪˈdust ðə ˈsɑnɪk ˈfʊtˌprɪnt tɪ ˈlɪtəl mɔr ðən ðət ˈdɪʤɪtəl pəls ənd ə rɪˈkərɪŋ bit, wɪʧ oʊz mɔr ðən ə ˈlɪtəl tɪ ðə 2004 smæʃ ““tipsy”*” baɪ j-kwon*. bət əv ɔl ðə ˈtælənts sˈwərlɪŋ əraʊnd ““fancy,”*,” ðə tru ɪz ɪts ˈfiʧərd pərˈfɔrmər, ˈʃɑrlət ˈeɪʧɪsən, ˈɑkə, pəˈzɛsər əv ðə gwɛn vɔɪs ðət kus ðə ˈstɪki hʊk. ɪf hər vɔɪs saʊnz fəˈmɪljər, ˈprɑbəˌbli bɪˈkəz ju spɛnt læst ˈsəmər ˈstrətɪŋ tɪ ɪt, tu: ðə ləv it,”*,” ˈkrɛdɪtɪd tɪ sˈwidɪʃ ˈduoʊ pɑp ˈfiʧərɪŋ (ə 2012 ˈsɪŋgəl ðət tʊk ə fʊl jɪr tɪ ˈimərʤ), wɑz ˈlɑrʤli kənˈfɛkʃən. soʊ ““fancy”*” meɪks ðɪs ðə ˈsɛkənd streɪt jɪr ðə ˈbrɪtɪʃ həz paʊərd ə ˈmɑnstər ˈsəmər ʤæm ˈkrɛdɪtɪd tɪ ˈəðərz ðət spræŋ ɪn lɑrʤ pɑrt frəm hər hɛd. ˈfərðər ˈɛvədəns əv skɪl kən bi faʊnd ɔn hər ˈkrɪtɪkəli əˈkleɪmd 2013 ˈælbəm tru ˈroʊmæns, pækt wɪθ ʧui hʊks ðət hæv pɑp fænz ˈfɑlɪŋ ˈoʊvər ðɛmˈsɛlvz tɪ preɪz hər. (kʊd ˈsəmˌwən pliz gɪt ðɪs ˈleɪdi ə hɪt əv hər oʊn naʊ, pliz?) kəmˈpɛrd tɪ ˈmɑnstər hʊk, ˈræpɪŋ ɪz ðə ˈwikər ˈsɪstər. meɪ bi ə mɔr ˈkɑnfədənt ˈræpər ðən ˈdɛbi ˈhɛri ɪn 1981 bət ʃi ˈɔlsoʊ saʊnz laɪk traɪɪŋ ˈrɪli hɑrd. bət ˈgreɪtɪŋ ˈoʊvər ðə lɛŋθ əv ˈælbəm ðə nu ˈklæsɪk ɪz mɔr ˈʧɑrmɪŋ ɔn ə ˈsəpəl pɑp ˈsɪŋgəl; hər kaɪnd əv wərks hir. ˈhævɪŋ treɪnd hərˈsɛlf tɪ ræp ɪn ə ˈkeɪdəns ˈvæstli ˈdɪfərənt frəm hər ˈneɪtɪv ˈspikɪŋ vɔɪs, kəmz ɔf bræʃ bət ˈstədid, ənd ʃi rɪˈzɛmbəlz noʊ wən soʊ məʧ ɛz hər ˈmɛnˌtɔr, æˈtlæntə ˈræpər t.i*. ˈlɪsən tɪ ðə weɪ hər toʊn ˈraɪzɪz ɔn ðə laɪn ʃʊd wɔnt ə bæd bɪʧ laɪk ðɪs, klɪr ˈɑməʤ tɪ singsongy*, ˌkɑnvərˈseɪʃənəl toʊn ɔn sˈmæʃɪz laɪk jʊr life”*” ər hɪz ræp brɪʤ ɔn ˈʤəstɪn ˈklæsɪk love.”*.” ðeɪ seɪ ðət gʊd ˈɑrtɪsts ˈkɑpi ənd greɪt ˈɑrtɪsts stil. əˈzeɪljə ɪz, æt hər bɛst, ə ˈkɑmpətɪnt ˈkɑpiˌkæt, ənd ˌənəˈfreɪd tɪ ˌɪnˈsərt hərˈsɛlf ˈɪntu ðə ˈlɪniəʤ əv greɪts. hər laɪn əˈbaʊt ə ˈrufˌtɑp ɪn nɔˈstælʤə fər ə taɪm ˌbiˈfɔr əˈzeɪljə wɑz bɔrn: ən əˈluʒən tɪ ə raɪm baɪ nas*. bət fərˈgɛt ðə ənd ðə ’00s*: ɪz, tɪ ˈbɑˌroʊ ə tərm frəm ˈəðər bɪg hɪt, bitch.”*.” kənˈfərmd baɪ ðə mˈjuzɪk ˈvɪdioʊ, ən ˈɑməʤ tɪ ˈkluləs, ðə 1995 əˈlɪʃə ˈsɪlvərˌstoʊn ˈkɑmədi. ˈbɪlˌbɔrd rɪˈpɔrts ðət ðə ˈvɪdioʊ wɑz ə ˈlɪnʧˌpɪn ɪn ðə klaɪm tɪ noʊ. 1 ˈhævɪŋ bɪn vjud səm 60 ˈmɪljən taɪmz sɪns ɪts mɑrʧ ˈdeɪbju. wɪθ ðə nɔˈstælʤə ˈsaɪkəl ɪn fʊl ˈifɛkt, ˈeɪmi ˈmæstərˌwərk wɑz raɪt ɔn ˈskɛʤʊl fər ˈɑməʤ, ðoʊ hɑrd tɪ si wət əˈzeɪljə brɪŋz tɪ ðə ˈpɑrti ˈəðər ðən ˈrɛkriˌeɪtɪŋ səm ðə bɛst sinz ənd ˈlʊkɪŋ kjut ɪn ʃɛr ˈjɛloʊ plæd. ɪf ju skwɪnt ˈprɪti hɑrd, ju kən si ðə ˈvɪdioʊ seɪɪŋ ˈsəmθɪŋ əˈbaʊt haʊ jəŋ tinz ər ðɛmˈsɛlvz; ðoʊ, ˈɑnəstli, ðət meɪ bi ˈgɪvɪŋ ə klɪp ˈlaɪkli drimd əp ɪn ə ˈmɑrkətɪŋ ˈmitɪŋ ðɪs, laɪk, ə kəˈmərʃəl ər what?!”*?!”) mɔr ˈkrɛdɪt ðən ɪt dɪˈzərvz. bɪtˈwin ðə smæʃ mˈjuzɪk ˈvɪdioʊ ənd ə ˌtɛləˈvɪʒən pərˈfɔrməns ɪn ɔn ðə ˈbɪlˌbɔrd mˈjuzɪk əˈwɔrdz, ““fancy”*” gɑt ɪts moʊˈmɛntəm tɪ riʧ noʊ. 1 ˈdʊrɪŋ ðət seɪm pərˈfɔrməns, əˈzeɪljə ʤɔɪnd pɑp stɑr ɑriˈænə grænd fər ə pərˈfɔrməns əv ““problem,”*,” ðə ariana-fronted*, ˈsɪŋgəl ˈkərəntli noʊ. 2 ɔn ðə hɑt 100 ðiz songs’*’ duəl kəˈmænd əv ðə ʧɑrt həz lɛd tɪ ˈɔnˌlaɪn ˈʧætər əˈbaʊt ʤɪst haʊ əˈzeɪljə ɪz raɪt naʊ. ɛz ɪf stərɪŋ ðə pɑt, ˈbɪlˌbɔrd ˈnoʊtɪd ðət əˈzeɪljə ɪz ðə fərst ækt tɪ ˈkæpʧər ðə tɔp tu pəˈzɪʃənz wɪθ hər fərst tu hɑt 100 hɪts sɪns ðə ˈbitəlz. ˈɛni ˈbɪlˌbɔrd fit ˌɪnˈvɑlvɪŋ ə ˈmɑdərn pɑp ækt ənd ðə freɪz ðə beatles”*” ɪz ˌgɛrənˈtid tɪ raɪl əp ʧɑrt nərdz, bət ðə ˈrɛkərd ɪz ə ˈfʊtˌnoʊt ənd ən boʊθ ækts. noʊ praʊd stəˈtɪstɪk fər ðə fæb fɔr, hu ʧɑrt ɪn əˈmɛrɪkə ənˈtɪl ˈərli 1964 ˈoʊnli bɪˈkəz ðə juz. ˈleɪbəl rɪfˈjuzd tɪ prəˈmoʊt ɪts ˈrɛkərdz hir ˈsunər; wəns riʧt əˈmɛrɪkən ʃɔrz, ə fləd əv ˈsɪŋgəlz ɔn ˈməltəpəl ˈleɪbəlz rəʃt ðə hɑt 100 ˈsɛndɪŋ wɔnt tɪ hoʊld jʊr hand”*” ənd ləvz you”*” tɪ ðə tɔp tu pəˈzɪʃənz ˈivɪn ðoʊ ˈəðər ˈbitəlz ˈsɪŋgəlz ʃʊd hæv ˈʧɑrtɪd ˈərliər. ənd əˈzeɪljə ʃʊd hæv skɔrd hɪts ɛz fɑr bæk ɛz 2011 ɪkˈsɛpt ðət ˈkɑmpləˌkeɪtəd ˈleɪbəl ˈpɑləˌtɪks, ənd ə slu əv træks rɪˈkɔrdɪd ˈəndər praɪər ˈkɑnˌtrækts bət wɪθˈhɛld frəm pərˈmoʊʃən, ɛˈsɛnʃəli kɛpt hər ɔf ðə ˈreɪdiˌoʊ mɔr ðən tu jɪrz, ˌbiˈfɔr ˈaɪlənd ˈrɛkərdz ˈfaɪnəli sɛnt hər ˈɪntu ðə ˈstudiˌoʊ tɪ ˈrɛkərd hər ““official”*” ˈdeɪbju. ðə ˈəðər ækt biɪŋ ˈfrili kəmˈpɛrd tɪ ðɪs ˈsəmər, θæŋks tɪ hər hɪt ˈduoʊˌpɑli, ɪz ˈsəmər 2013 ˈwɪljəmz. wɪθ ““fancy”*” ənd ““problem”*” sɛt tɪ duk ɪt aʊt fər ðə hɑt 100 ˈpɛnˌthaʊs ˈoʊvər ˈmɛni wiks, məʧ ðə weɪ læst tu hɪts hɛld daʊn nos*. 1 ənd 2 fər mɔr ðən ə mənθ, əˈzeɪljə ɪz ˈlʊkɪŋ laɪk ˈsəmər ˈspɛʃəl sɔs. bət əˈzeɪljə ə səˈpɔrtɪŋ pərˈfɔrmər ɔn ““fancy,”*,” ðə lɛd. ənd ˈɛniˌweɪ ʃi hæv ðə ˈdɛkeɪdz əv ˈhɪstəri bɪlt ɛz ə ˈɛniˌwən raɪt naʊ dɪˈzərvz ðə ˌdɛzɪgˈneɪʃən,. əˈbaʊt ðə ˈoʊnli θɪŋ ənd hæv ɪn ˈkɑmən ɪz ˈteɪkɪŋ ə tərn ɛz ˈʃaɪni nu ˈɑbʤɛkt ˈæftər ˈhaɪdɪŋ ɪn pleɪn saɪt. ˈəltəmətli, ðə səkˈsɛs əv ““fancy”*” ɪz oʊd ˈlɑrʤli tɪ ˈtaɪmɪŋ, wɪʧ ɪz ðə dɑrk ɑrt əv pɑp pərˈmoʊʃən. noʊɪŋ wɪn ə ðɪs keɪs, əˈsɛndənt ɪz ə skɪl ɪn ˌɪtˈsɛlf, ənd ˈæftər jɪrz əv əˈzeɪljə ˈskɔrɪŋ mɔr ˈhɛˌdlaɪnz ðən hɪts, hər tim ˈmænɪʤd tɪ meɪk hər sim nu əˈgɛn. ˈwɛðər ““fancy”*” ˈsɪgnəlz lɔnˈʤɛvəti fər hər ɪz əˈnəðər ˈmætər. fər ˈblɑndi ɪn 1981 ““rapture”*” keɪm æt ðə ɛnd əv ə greɪt rən ɛz nu ˈbɪgəst bænd; ˈniðər ðə grup nɔr ˈdɛbi ˈhɛri keɪm ˈɛniˌwɛr nɪr tɔp 10 əˈgɛn. ræp meɪ hæv kloʊzd ðɛr kərɪr, bət naʊ 2014 nɑt 1981 ɪf əˈzeɪljə ˈtruli ɪz realest,”*,” ə kərɪr ɛz ˈlidɪŋ ˈleɪdi ɪz naʊ hərz tɪ luz. ˈpriviəsli ɪn waɪ ɪz ðɪs sɔŋ noʊ. 1 ʤɑn əv me”*” ““happy”*” ˈkeɪti horse”*” ənd ““timber”*” monster”*”
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this post was made with an older
best things that happened in gnome,
1. gnome its self. an amazing improvement over in almost every aspect till the last “bit”. gnome continues to surprise with the quality of development in each release and looking to gain the trend share from the very popular ubuntu unity.
keep on mind that framework 5 based on will also come soon (dates n/a), and that puts the 3 desktops in hard competition.
2. the gnome wayland port. gnome discussed the wayland port early this year, and they miss the dates, they postpone! full wayland support will be available in next version of gnome, as it was planned. right now, cannot launch a wayland session, but you can still run shell and on wayland server.
3. gnome software. gnome finally gets an easy way to search and install apps! the weakest spot of gnome is gone! naturally this will give a reason to people to write, as it will be easy to distribute them, and their work be hidden somewhere in “yum search.
4. fedora 20. gnome software mostly affects fedora rather gnome. fedora from their side return the favor, and they will backup gnome with a really solid and fast operating system and a new upgrade method (dnf/hawkey/librepo-based), that will make yum upstream deprecated soon perhaps)!
5. the year of linux desktop. that will never come, except if chrome counts as linux. but this latest combination, easily beats every other platform as a web development environment. we are talking about an amazing platform for all those of millions websites, and that run on the top of various frameworks and databases.
fedora since version 19 provides an excellent tool to set up fast and run flawlessly any popular service, while gnome with its minimalist but powerful and the excellent management of multiple windows, provides a very convenient environment to work on.
gnome software
gnome software will be available as a tech preview in fedora 20 and it will work aside with the old package. in this first version software is missing -among other things- ratings and comments, that will come on next release (hopefully!). in any case, a comparison with ubuntu software center would be unfair at this point. maybe, on the next version :)
unlike to ubuntu software, gnome software offer buys, and not sure if they will offer apps.
this is how software looks today, but is still on active development and it might be a little bit different in its final version.
gnome software provide a centralized web version which is something i really like, but on the other hand it gains in speed. while it follows the standard gnome 3 pattern, in this particular occasion, it work quite nice and it might should have been more colorful and playful, more “live”.
inside categories
while gnome removed categories from shell, they overdone it with categorization on software ;)
very clean interface with super fast response, but unfortunately you probably need to through all categories to find the application you are looking for.
inside applications
application view looks poor, and i think a of each app will be here prior to final release it looks poor as there ratings, comments and stuff that will be here in next version.
the red “remove” button, is replaced from a light blue “install”, when app not installed. there is also a history button, probably that keeps track of app activity, but it seem to work. also when installing there any progressive bars, and you just a get a message “app installed”. work at all on me.
search
finally a human friendly application search in fedora and gnome!
if you are still unhappy with file manager, there you go!
overall
lots of things are missing like “sort by”, comments, ratings, relatives, popular etc and also it misses a functionality to install libraries or single packages. however for a tech preview is awesome, and is really useful. i found a plethora of cool apps i know about them!
gnome software will be available on more desktops like mate and xfce, and without being totally sure about that, it should work with other than package tools. that means it will be available to mores.
credits for this work goes mainly to richard hughes, and as user i personally thank him for dedicating his time on this!
publish your app in gnome software
if you want to publish your app in gnome, check on: http://people.freedesktop.org/~hughsient/appdata/
richard’s blog provide much more info: http://blogs.gnome.org/hughsie/
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ðɪs poʊst wɑz meɪd wɪθ ən ˈoʊldər bɛst θɪŋz ðət ˈhæpənd ɪn noʊm 1 noʊm ɪts sɛlf. ən əˈmeɪzɪŋ ˌɪmˈpruvmənt ˈoʊvər ɪn ˈɔlˌmoʊst ˈɛvəri ˈæˌspɛkt tɪl ðə læst ““bit”*”. noʊm kənˈtɪnjuz tɪ səˈpraɪz wɪθ ðə kˈwɑləti əv dɪˈvɛləpmənt ɪn iʧ riˈlis ənd ˈlʊkɪŋ tɪ geɪn ðə trɛnd ʃɛr frəm ðə ˈvɛri ˈpɑpjələr ˌuˈbuˌtu ˈjunɪti. kip ɔn maɪnd ðət ˈfreɪmˌwərk 5 beɪst ɔn wɪl ˈɔlsoʊ kəm sun (deɪts n/a*), ənd ðət pʊts ðə 3 ˈdɛskˌtɑps ɪn hɑrd ˌkɑmpəˈtɪʃən. 2 ðə noʊm ˈweɪlənd pɔrt. noʊm dɪˈskəst ðə ˈweɪlənd pɔrt ˈərli ðɪs jɪr, ənd ðeɪ mɪs ðə deɪts, ðeɪ poʊstˈpoʊn! fʊl ˈweɪlənd səˈpɔrt wɪl bi əˈveɪləbəl ɪn nɛkst ˈvərʒən əv noʊm, ɛz ɪt wɑz plænd. raɪt naʊ, ˈkænɑt lɔnʧ ə ˈweɪlənd ˈsɛʃən, bət ju kən stɪl rən ʃɛl ənd ɔn ˈweɪlənd ˈsərvər. 3 noʊm ˈsɔfˌwɛr. noʊm ˈfaɪnəli gɪts ən ˈizi weɪ tɪ sərʧ ənd ˌɪnˈstɔl æps! ðə ˈwikəst spɑt əv noʊm ɪz gɔn! ˈnæʧərəli ðɪs wɪl gɪv ə ˈrizən tɪ ˈpipəl tɪ raɪt, ɛz ɪt wɪl bi ˈizi tɪ dɪˈstrɪbjut ðɛm, ənd ðɛr wərk bi ˈhɪdən ˈsəmˌwɛr ɪn sərʧ 4 fɪˈdɔrə 20 noʊm ˈsɔfˌwɛr ˈmoʊstli əˈfɛkts fɪˈdɔrə ˈrəðər noʊm. fɪˈdɔrə frəm ðɛr saɪd rɪˈtərn ðə ˈfeɪvər, ənd ðeɪ wɪl ˈbæˌkəp noʊm wɪθ ə ˈrɪli ˈsɑləd ənd fæst ˈɔpərˌeɪtɪŋ ˈsɪstəm ənd ə nu ˈəpˈgreɪd ˈmɛθəd (dnf/hawkey/librepo-based*), ðət wɪl meɪk jəm ˈəpˈstrim ˈdɛprəˌkeɪtəd sun pərˈhæps)! 5 ðə jɪr əv ˈlɪnəks ˈdɛskˌtɑp. ðət wɪl ˈnɛvər kəm, ɪkˈsɛpt ɪf kroʊm kaʊnts ɛz ˈlɪnəks. bət ðɪs ˈleɪtəst ˌkɑmbəˈneɪʃən, ˈizəli bits ˈɛvəri ˈəðər ˈplætˌfɔrm ɛz ə wɛb dɪˈvɛləpmənt ɪnˈvaɪrənmənt. wi ər ˈtɔkɪŋ əˈbaʊt ən əˈmeɪzɪŋ ˈplætˌfɔrm fər ɔl ðoʊz əv ˈmɪljənz ˈwɛbˌsaɪts, ənd ðət rən ɔn ðə tɔp əv ˈvɛriəs ˈfreɪmˌwərks ənd ˈdætəˌbeɪsɪz. fɪˈdɔrə sɪns ˈvərʒən 19 prəˈvaɪdz ən ˈɛksələnt tul tɪ sɛt əp fæst ənd rən ˈflɔləsli ˈɛni ˈpɑpjələr ˈsərvɪs, waɪl noʊm wɪθ ɪts ˈmɪnəməlɪst bət ˈpaʊərfəl ənd ðə ˈɛksələnt ˈmænɪʤmənt əv ˈməltəpəl ˈwɪndoʊz, prəˈvaɪdz ə ˈvɛri kənˈvinjənt ɪnˈvaɪrənmənt tɪ wərk ɔn. noʊm ˈsɔfˌwɛr noʊm ˈsɔfˌwɛr wɪl bi əˈveɪləbəl ɛz ə tɛk ˈprivˌju ɪn fɪˈdɔrə 20 ənd ɪt wɪl wərk əˈsaɪd wɪθ ðə oʊld ˈpækɪʤ. ɪn ðɪs fərst ˈvərʒən ˈsɔfˌwɛr ɪz ˈmɪsɪŋ -əˈməŋ ˈəðər θɪŋz- ˈreɪtɪŋz ənd ˈkɑmɛnts, ðət wɪl kəm ɔn nɛkst riˈlis (ˈhoʊpfəli!). ɪn ˈɛni keɪs, ə kəmˈpɛrəsən wɪθ ˌuˈbuˌtu ˈsɔfˌwɛr ˈsɛnər wʊd bi ˌɔnˈfɛr æt ðɪs pɔɪnt. ˈmeɪbi, ɔn ðə nɛkst ˈvərʒən ənˈlaɪk tɪ ˌuˈbuˌtu ˈsɔfˌwɛr, noʊm ˈsɔfˌwɛr ˈɔfər baɪz, ənd nɑt ʃʊr ɪf ðeɪ wɪl ˈɔfər æps. ðɪs ɪz haʊ ˈsɔfˌwɛr lʊks təˈdeɪ, bət ɪz stɪl ɔn ˈæktɪv dɪˈvɛləpmənt ənd ɪt maɪt bi ə ˈlɪtəl bɪt ˈdɪfərənt ɪn ɪts ˈfaɪnəl ˈvərʒən. noʊm ˈsɔfˌwɛr prəˈvaɪd ə ˈsɛntrəˌlaɪzd wɛb ˈvərʒən wɪʧ ɪz ˈsəmθɪŋ aɪ ˈrɪli laɪk, bət ɔn ðə ˈəðər hænd ɪt geɪnz ɪn spid. waɪl ɪt ˈfɑloʊz ðə ˈstændərd noʊm 3 ˈpætərn, ɪn ðɪs ˌpɑˈtɪkjələr əˈkeɪʒən, ɪt wərk kwaɪt nis ənd ɪt maɪt ʃʊd hæv bɪn mɔr ˈkələrfəl ənd ˈpleɪfəl, mɔr ““live”*”. ˌɪnˈsaɪd ˈkætəˌgɔriz waɪl noʊm riˈmuvd ˈkætəˌgɔriz frəm ʃɛl, ðeɪ ˈoʊvərˈdən ɪt wɪθ ˌkætəgərɪˈzeɪʃən ɔn ˈsɔfˌwɛr ˈvɛri klin ˈɪnərˌfeɪs wɪθ ˈsupər fæst rɪˈspɑns, bət ənˈfɔrʧənətli ju ˈprɑbəˌbli nid tɪ θru ɔl ˈkætəˌgɔriz tɪ faɪnd ðə ˌæpləˈkeɪʃən ju ər ˈlʊkɪŋ fər. ˌɪnˈsaɪd ˌæpləˈkeɪʃənz ˌæpləˈkeɪʃən vju lʊks pur, ənd aɪ θɪŋk ə əv iʧ æp wɪl bi hir praɪər tɪ ˈfaɪnəl riˈlis ɪt lʊks pur ɛz ðɛr ˈreɪtɪŋz, ˈkɑmɛnts ənd stəf ðət wɪl bi hir ɪn nɛkst ˈvərʒən. ðə rɛd ““remove”*” ˈbətən, ɪz ˌriˈpleɪst frəm ə laɪt blu ““install”*”, wɪn æp nɑt ˌɪnˈstɔld. ðɛr ɪz ˈɔlsoʊ ə ˈhɪstəri ˈbətən, ˈprɑbəˌbli ðət kips træk əv æp ækˈtɪvɪti, bət ɪt sim tɪ wərk. ˈɔlsoʊ wɪn ˌɪnˈstɔlɪŋ ðɛr ˈɛni prəˈgrɛsɪv bɑrz, ənd ju ʤɪst ə gɪt ə ˈmɛsɪʤ installed”*”. wərk æt ɔl ɔn mi. sərʧ ˈfaɪnəli ə ˈjumən ˈfrɛndli ˌæpləˈkeɪʃən sərʧ ɪn fɪˈdɔrə ənd noʊm! ɪf ju ər stɪl ənˈhæpi wɪθ faɪl ˈmænɪʤər, ðɛr ju goʊ! ˈoʊvərˌɔl lɑts əv θɪŋz ər ˈmɪsɪŋ laɪk by”*”, ˈkɑmɛnts, ˈreɪtɪŋz, ˈrɛlətɪvz, ˈpɑpjələr ˌɛtˈsɛtərə ənd ˈɔlsoʊ ɪt ˈmɪsɪz ə ˌfəŋkʃəˈnælɪti tɪ ˌɪnˈstɔl ˈlaɪbrɛˌriz ər ˈsɪŋgəl ˈpækɪʤɪz. ˌhaʊˈɛvər fər ə tɛk ˈprivˌju ɪz ˈɔsəm, ənd ɪz ˈrɪli ˈjusfəl. aɪ faʊnd ə ˈplɛθərə əv kul æps aɪ noʊ əˈbaʊt ðɛm! noʊm ˈsɔfˌwɛr wɪl bi əˈveɪləbəl ɔn mɔr ˈdɛskˌtɑps laɪk meɪt ənd xfce*, ənd wɪˈθaʊt biɪŋ ˈtoʊtəli ʃʊr əˈbaʊt ðət, ɪt ʃʊd wərk wɪθ ˈəðər ðən ˈpækɪʤ tulz. ðət minz ɪt wɪl bi əˈveɪləbəl tɪ mɔr distros*. ˈkrɛdɪts fər ðɪs wərk goʊz ˈmeɪnli tɪ ˈrɪʧərd juz, ənd ɛz ˈjuzər aɪ ˈpərsənəli θæŋk ɪm fər ˈdɛdɪˌkeɪtɪŋ hɪz taɪm ɔn ðɪs! ˈpəblɪʃ jʊr æp ɪn noʊm ˈsɔfˌwɛr ɪf ju wɔnt tɪ ˈpəblɪʃ jʊr æp ɪn noʊm, ʧɛk ɔn: http://people.freedesktop.org/~hughsient/appdata*/ blɔg prəˈvaɪd məʧ mɔr ˈɪnfoʊ: http://blogs.gnome.org/hughsie*/
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dayton, ohio -- a federal judge on friday again rejected a star basketball player's bid for reinstatement to the university of dayton after a suspension linked to a female student's sexual assault accusation.
dyshawn pierre's suspension ends soon, but he had hoped for a ruling to help clear his record and let him rejoin the flyers immediately.
attorney peter ginsberg said he and pierre are disappointed and considering their options, such as appealing the decision or continuing with his lawsuit against the university.
dayton, which declined to comment on the ruling, previously said pierre didn't suffer irreparable harm and that there was no reason to cut short the suspension.
his lawsuit noted that montgomery county, ohio, prosecutors declined to file charges against the senior from toronto. pierre has said the allegation stemmed from a consensual sexual encounter, and he called the school's investigation "fundamentally unfair" with a "wholly irrational, unsubstantiated" conclusion after a hearing that didn't accommodate his learning disability.
"in circumstances of this seriousness, the university owed a duty to do more than the bare minimum," ginsberg said. "it should have been fair and thorough and professional, and dayton has been none of those things."
dyshawn pierre's suspension ends dec. 20, but it is unclear if he will play for the flyers this season. spruce today sports
in october, u.s. district judge thomas rose denied a temporary order to stop the school from enforcing the suspension. rose ruled that the public interest is served by allowing universities to carry out disciplinary rules and procedures to keep an educational environment harassment-free.
rose wrote that the school's hearing board found pierre was "unable to demonstrate that he received any words or actions that indicated he had effective consent for sexual intercourse or sexual contact."
ginsberg argued that the disciplinary board lacked training to interpret medical and law enforcement issues in the case.
it's unclear whether pierre will play this season. coach archie miller told the dayton daily news on thursday that he will meet with pierre when the suspension ends dec. 20 to gauge his physical and mental status and ability to contribute this season. miller said pierre will play "if it's feasible" or sit out a year.
the flyers are after upsetting no. 21 vanderbilt on thursday.
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ˈdeɪtən, oʊˈhaɪoʊ ə ˈfɛdərəl ʤəʤ ɔn ˈfraɪˌdeɪ əˈgɛn rɪˈʤɛktɪd ə stɑr ˈbæskətˌbɔl pleɪərz bɪd fər ˌriɪnˈsteɪtmənt tɪ ðə ˌjunəˈvərsəti əv ˈdeɪtən ˈæftər ə səˈspɛnʃən lɪŋkt tɪ ə ˈfiˌmeɪl ˈstudənts ˈsɛkʃuəl əˈsɔlt ˌækjəˈzeɪʃən. piɛrz səˈspɛnʃən ɛndz sun, bət hi hæd hoʊpt fər ə ˈrulɪŋ tɪ hɛlp klɪr hɪz ˈrɛkərd ənd lɛt ɪm riˈʤɔɪn ðə flaɪərz ˌɪˈmiˌdiətli. əˈtərni ˈpitər ˈgɪnsbərg sɛd hi ənd piɛr ər ˌdɪsəˈpɔɪnɪd ənd kənˈsɪdərɪŋ ðɛr ˈɔpʃənz, səʧ ɛz əˈpilɪŋ ðə dɪˈsɪʒən ər kənˈtɪnjuɪŋ wɪθ hɪz ˈlɔˌsut əˈgɛnst ðə ˌjunəˈvərsəti. ˈdeɪtən, wɪʧ dɪˈklaɪnd tɪ ˈkɑmɛnt ɔn ðə ˈrulɪŋ, ˈpriviəsli sɛd piɛr ˈdɪdənt ˈsəfər ˌɪˈrɛpərəbəl hɑrm ənd ðət ðɛr wɑz noʊ ˈrizən tɪ kət ʃɔrt ðə səˈspɛnʃən. hɪz ˈlɔˌsut ˈnoʊtɪd ðət mɑntˈgəmri ˈkaʊnti, oʊˈhaɪoʊ, ˈprɑsɪˌkjutərz dɪˈklaɪnd tɪ faɪl ˈʧɑrʤɪz əˈgɛnst ðə ˈsinjər frəm tərˈɑntoʊ. piɛr həz sɛd ðə ˌæləˈgeɪʃən stɛmd frəm ə kənˈsɛnʃuəl ˈsɛkʃuəl ɪnˈkaʊnər, ənd hi kɔld ðə skulz ˌɪnˌvɛstəˈgeɪʃən "ˌfəndəˈmɛnəli ˌɔnˈfɛr" wɪθ ə "ˈhoʊli ˌɪˈræʃənəl, ˌənsəbˈstænʃiˌeɪtɪd" kənˈkluʒən ˈæftər ə ˈhirɪŋ ðət ˈdɪdənt əˈkɑməˌdeɪt hɪz ˈlərnɪŋ ˌdɪsəˈbɪlɪti. "ɪn ˈsərkəmˌstænsɪz əv ðɪs ˈsɪriəsnəs, ðə ˌjunəˈvərsəti oʊd ə ˈduti tɪ du mɔr ðən ðə bɛr ˈmɪnəməm," ˈgɪnsbərg sɛd. "ɪt ʃʊd hæv bɪn fɛr ənd θəroʊ ənd prəˈfɛʃənəl, ənd ˈdeɪtən həz bɪn nən əv ðoʊz θɪŋz." piɛrz səˈspɛnʃən ɛndz dɛk. 20 bət ɪt ɪz ənˈklɪr ɪf hi wɪl pleɪ fər ðə flaɪərz ðɪs ˈsizən. sprus təˈdeɪ spɔrts ɪn ɑkˈtoʊbər, juz. ˈdɪstrɪkt ʤəʤ ˈtɑməs roʊz dɪˈnaɪd ə ˈtɛmpərˌɛri ˈɔrdər tɪ stɑp ðə skul frəm ɛnˈfɔrsɪŋ ðə səˈspɛnʃən. roʊz ruld ðət ðə ˈpəblɪk ˈɪntəˌrɛst ɪz sərvd baɪ əˈlaʊɪŋ ˌjunəˈvərsətiz tɪ ˈkɛri aʊt ˈdɪsəpləˌnɛri rulz ənd prəˈsiʤərz tɪ kip ən ˌɛʤəˈkeɪʃənəl ɪnˈvaɪrənmənt harassment-free*. roʊz roʊt ðət ðə skulz ˈhirɪŋ bɔrd faʊnd piɛr wɑz "əˈneɪbəl tɪ ˈdɛmənˌstreɪt ðət hi rɪˈsivd ˈɛni wərdz ər ˈækʃənz ðət ˈɪndəˌkeɪtɪd hi hæd ˈifɛktɪv kənˈsɛnt fər ˈsɛkʃuəl ˈɪnərˌkɔrs ər ˈsɛkʃuəl ˈkɑnˌtækt." ˈgɪnsbərg ˈɑrgjud ðət ðə ˈdɪsəpləˌnɛri bɔrd lækt ˈtreɪnɪŋ tɪ ˌɪnˈtərprət ˈmɛdɪkəl ənd lɔ ɛnˈfɔrsmənt ˈɪʃuz ɪn ðə keɪs. ɪts ənˈklɪr ˈwɛðər piɛr wɪl pleɪ ðɪs ˈsizən. koʊʧ ˈɑrʧi ˈmɪlər toʊld ðə ˈdeɪtən ˈdeɪli nuz ɔn ˈθərzˌdeɪ ðət hi wɪl mit wɪθ piɛr wɪn ðə səˈspɛnʃən ɛndz dɛk. 20 tɪ geɪʤ hɪz ˈfɪzɪkəl ənd ˈmɛntəl ˈstætəs ənd əˈbɪləˌti tɪ kənˈtrɪbjut ðɪs ˈsizən. ˈmɪlər sɛd piɛr wɪl pleɪ "ɪf ɪts ˈfizəbəl" ər sɪt aʊt ə jɪr. ðə flaɪərz ər ˈæftər əpˈsɛtɪŋ noʊ. 21 ˈvændərbɪlt ɔn ˈθərzˌdeɪ.
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prime minister benjamin netanyahu on tuesday accused the united nations chief of “stoking terror” after ban said, in connection with the wave of palestinian deadly terror attacks, that it was “human nature to react to occupation.”
“there is no justification for terrorism,” netanyahu said. “the palestinian terrorists want to build a state; they want to destroy a state, and they say that proudly. they want to murder jews everywhere and they state that proudly. they murder for peace and they murder for human rights.”
the un has “lost its neutrality and its moral force, and these statements by the do nothing to improve its situation,” netanyahu said in a furious video statement. remarks, said netanyahu, “stoke terror.”
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ban had attributed the terror attacks in the past four months, in which over 25 israelis have been killed, to “palestinian frustration.”
“stabbings, vehicle attacks, and shootings by palestinians targeting israeli civilians all of which i condemn and clashes between palestinians and israeli security forces, have continued to claim lives,” ban had said earlier in the day at a session of the un security council.
“but security measures alone will not stop the violence. they cannot address the profound sense of alienation and despair driving some palestinians- especially young people. the full force of the law must be brought to bear on all those committing crimes- with a system of justice applied equally for israelis and palestinians alike,” said ban.
“palestinian frustration is growing under the weight of a half century of occupation and the paralysis of the peace process,” ban continued. “some have taken me to task for pointing out this indisputable truth. yet, as oppressed peoples have demonstrated throughout the ages, it is human nature to react to occupation, which often serves as a potent incubator of hate and extremism.”
in response to ban, deputy foreign minister said the un comments “harm the global fight against terror, that israel is leading, and gives legitimacy to those murderers to continue attacking.”
addressing the un security periodic middle east debate, ban also urged both sides to act now “to prevent the solution from slipping away forever.” he condemned rocket fire from terror groups in gaza into israel and called for an end to incitement. progress toward peace between israel and the palestinians requires that israel freeze its settlement construction, the un said tuesday, calling the settlement activities “an affront to the palestinian people and to the international community.”
palestinian ambassador to the un riyad mansour urged the council to act. he later told reporters that all 15 council members acknowledged that settlement building is “the main obstacle to any meaningful political process.” he said the palestinians are meeting with all council members to assess their readiness to act this year.
israel’s un ambassador, danny danon, did not address settlement-building. he instead showed reporters what he called “terror dolls” that he said are used to teach hatred to palestinian children. israel seized the dolls at haifa port last month, saying they were headed for the palestinian authority and were part of an incitement campaign.
“the un is encouraging terror instead of fighting terror,” he said.
yesh party leader also rushed to denounce remarks.
“terrorism against innocent civilians can not be justified. no one should provide excuses for it, especially not the un. terrorism against innocent civilians is the result of nothing except the murderous insanity of the perpetrators,” he said.
“there are millions of people in the world whose lives are harder than those of the palestinians,” continued. “in africa, in asia, in the middle east. there are hundreds of millions of people in the world for whom the un create a special body and to whom the un send billions of dollars (and then stood to one side while a corrupt government stole it).
“for some reason those people think there is anything, anything at all, which gives them license to take a knife and stab a mother of six. to take a knife and stab a woman who is five months pregnant. to take a knife and stab a wonderful 23 year old woman who had never harmed anyone.”
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praɪm ˈmɪnɪstər ˈbɛnʤəmən ˌnɛtənˈjɑˌhu ɔn ˈtuzˌdeɪ əˈkjuzd ðə juˈnaɪtɪd ˈneɪʃənz ʧif əv terror”*” ˈæftər bæn sɛd, ɪn kəˈnɛkʃən wɪθ ðə weɪv əv ˌpælɪˈstɪniən ˈdɛdli ˈtɛrər əˈtæks, ðət ɪt wɑz ˈneɪʧər tɪ riækt tɪ occupation.”*.” ɪz noʊ ˌʤəstəfəˈkeɪʃən fər terrorism,”*,” ˌnɛtənˈjɑˌhu sɛd. ˌpælɪˈstɪniən ˈtɛrəˌrɪsts wɔnt tɪ bɪld ə steɪt; ðeɪ wɔnt tɪ dɪˈstrɔɪ ə steɪt, ənd ðeɪ seɪ ðət ˈpraʊdli. ðeɪ wɔnt tɪ ˈmərdər ʤuz ˈɛvriˌwɛr ənd ðeɪ steɪt ðət ˈpraʊdli. ðeɪ ˈmərdər fər pis ənd ðeɪ ˈmərdər fər ˈjumən rights.”*.” ðə ˈjuˈɛn həz ɪts nuˈtræləti ənd ɪts ˈmɔrəl fɔrs, ənd ðiz ˈsteɪtmənts baɪ ðə du ˈnəθɪŋ tɪ ˌɪmˈpruv ɪts situation,”*,” ˌnɛtənˈjɑˌhu sɛd ɪn ə fˈjʊriəs ˈvɪdioʊ ˈsteɪtmənt. rɪˈmɑrks, sɛd ˌnɛtənˈjɑˌhu, terror.”*.” gɪt ðə taɪmz əv ˈɪzriəlz ˈdeɪli ɪˈdɪʃən baɪ iˈmeɪl ənd ˈnɛvər mɪs ɑr tɔp ˈstɔriz fri saɪn əp bæn hæd əˈtrɪbjətəd ðə ˈtɛrər əˈtæks ɪn ðə pæst fɔr mənθs, ɪn wɪʧ ˈoʊvər 25 ˌɪzˈreɪliz hæv bɪn kɪld, tɪ frustration.”*.” ““stabbings*, ˈviɪkəl əˈtæks, ənd ˈʃutɪŋz baɪ ˌpælɪˈstɪniənz ˈtɑrgətɪŋ ˌɪzˈreɪli səˈvɪljənz ɔl əv wɪʧ aɪ kənˈdɛm ənd ˈklæʃɪz bɪtˈwin ˌpælɪˈstɪniənz ənd ˌɪzˈreɪli sɪˈkjʊrəti ˈfɔrsɪz, hæv kənˈtɪnjud tɪ kleɪm lives,”*,” bæn hæd sɛd ˈərliər ɪn ðə deɪ æt ə ˈsɛʃən əv ðə ˈjuˈɛn sɪˈkjʊrəti ˈkaʊnsəl. sɪˈkjʊrəti ˈmɛʒərz əˈloʊn wɪl nɑt stɑp ðə ˈvaɪələns. ðeɪ ˈkænɑt ˈæˌdrɛs ðə proʊˈfaʊnd sɛns əv ˌeɪliəˈneɪʃən ənd dɪˈspɛr ˈdraɪvɪŋ səm ˌpælɪˈstɪniənz əˈspɛʃəli jəŋ ˈpipəl. ðə fʊl fɔrs əv ðə lɔ məst bi brɔt tɪ bɛr ɔn ɔl ðoʊz kəˈmɪtɪŋ kraɪmz wɪθ ə ˈsɪstəm əv ˈʤəstɪs əˈplaɪd ˈikwəli fər ˌɪzˈreɪliz ənd ˌpælɪˈstɪniənz alike,”*,” sɛd bæn. frəˈstreɪʃən ɪz groʊɪŋ ˈəndər ðə weɪt əv ə hæf ˈsɛnʧəri əv ˌɑkjəˈpeɪʃən ənd ðə pərˈælɪsɪs əv ðə pis process,”*,” bæn kənˈtɪnjud. hæv ˈteɪkən mi tɪ tæsk fər ˈpɔɪntɪŋ aʊt ðɪs ˌɪndɪˈspjutəbəl truθ. jɛt, ɛz əˈprɛst ˈpipəlz hæv ˈdɛmənˌstreɪtɪd θruaʊt ðə ˈeɪʤɪz, ɪt ɪz ˈjumən ˈneɪʧər tɪ riækt tɪ ˌɑkjəˈpeɪʃən, wɪʧ ˈɔfən sərvz ɛz ə ˈpoʊtənt ˈɪŋkjəˌbeɪtər əv heɪt ənd extremism.”*.” ɪn rɪˈspɑns tɪ bæn, ˈdɛpjəti ˈfɔrən ˈmɪnɪstər sɛd ðə ˈjuˈɛn ˈkɑmɛnts ðə ˈgloʊbəl faɪt əˈgɛnst ˈtɛrər, ðət ˈɪzriəl ɪz ˈlidɪŋ, ənd gɪvz lɪˈʤɪtəməsi tɪ ðoʊz ˈmərdərərz tɪ kənˈtɪnju attacking.”*.” æˈdrɛsɪŋ ðə ˈjuˈɛn sɪˈkjʊrəti ˌpɪriˈɑdɪk ˈmɪdəl ist dəˈbeɪt, bæn ˈɔlsoʊ ərʤd boʊθ saɪdz tɪ ækt naʊ prɪˈvɛnt ðə səˈluʃən frəm sˈlɪpɪŋ əˈweɪ forever.”*.” hi kənˈdɛmd ˈrɑkət faɪər frəm ˈtɛrər grups ɪn ˈgɑzə ˈɪntu ˈɪzriəl ənd kɔld fər ən ɛnd tɪ ˌɪnˈsaɪtmənt. ˈprɑˌgrɛs təˈwɔrd pis bɪtˈwin ˈɪzriəl ənd ðə ˌpælɪˈstɪniənz rikˈwaɪərz ðət ˈɪzriəl friz ɪts ˈsɛtəlmənt kənˈstrəkʃən, ðə ˈjuˈɛn sɛd ˈtuzˌdeɪ, ˈkɔlɪŋ ðə ˈsɛtəlmənt ækˈtɪvɪtiz əˈfrənt tɪ ðə ˌpælɪˈstɪniən ˈpipəl ənd tɪ ðə ˌɪnərˈnæʃənɑl community.”*.” ˌpælɪˈstɪniən æmˈbæsədər tɪ ðə ˈjuˈɛn riɑd ˈmænsər ərʤd ðə ˈkaʊnsəl tɪ ækt. hi ˈleɪtər toʊld rɪˈpɔrtərz ðət ɔl 15 ˈkaʊnsəl ˈmɛmbərz ækˈnɑlɪʤd ðət ˈsɛtəlmənt ˈbɪldɪŋ ɪz meɪn ˈɑbstəkəl tɪ ˈɛni ˈminɪŋfəl pəˈlɪtɪkəl process.”*.” hi sɛd ðə ˌpælɪˈstɪniənz ər ˈmitɪŋ wɪθ ɔl ˈkaʊnsəl ˈmɛmbərz tɪ əˈsɛs ðɛr ˈrɛdinəs tɪ ækt ðɪs jɪr. ˈjuˈɛn æmˈbæsədər, ˈdæni danon*, dɪd nɑt ˈæˌdrɛs settlement-building*. hi ˌɪnˈstɛd ʃoʊd rɪˈpɔrtərz wət hi kɔld dolls”*” ðət hi sɛd ər juzd tɪ tiʧ ˈheɪtrəd tɪ ˌpælɪˈstɪniən ˈʧɪldrən. ˈɪzriəl sizd ðə dɑlz æt ˈhaɪfə pɔrt læst mənθ, seɪɪŋ ðeɪ wər ˈhɛdɪd fər ðə ˌpælɪˈstɪniən əˈθɔrəti ənd wər pɑrt əv ən ˌɪnˈsaɪtmənt kæmˈpeɪn. ˈjuˈɛn ɪz ɪnˈkərəʤɪŋ ˈtɛrər ˌɪnˈstɛd əv ˈfaɪtɪŋ terror,”*,” hi sɛd. ˈpɑrti ˈlidər ˈɔlsoʊ rəʃt tɪ dɪˈnaʊns rɪˈmɑrks. əˈgɛnst ˈɪnəsənt səˈvɪljənz kən nɑt bi ˈʤəstəˌfaɪd. noʊ wən ʃʊd prəˈvaɪd ɪkˈskjuzɪz fər ɪt, əˈspɛʃəli nɑt ðə ˈjuˈɛn. ˈtɛrəˌrɪzəm əˈgɛnst ˈɪnəsənt səˈvɪljənz ɪz ðə rɪˈzəlt əv ˈnəθɪŋ ɪkˈsɛpt ðə ˈmərdərəs ˌɪnˈsænɪti əv ðə perpetrators,”*,” hi sɛd. ər ˈmɪljənz əv ˈpipəl ɪn ðə wərld huz lɪvz ər ˈhɑrdər ðən ðoʊz əv ðə palestinians,”*,” kənˈtɪnjud. ˈæfrɪkɑ, ɪn ˈeɪʒə, ɪn ðə ˈmɪdəl ist. ðɛr ər ˈhənərdz əv ˈmɪljənz əv ˈpipəl ɪn ðə wərld fər hum ðə ˈjuˈɛn kriˈeɪt ə ˈspɛʃəl ˈbɑdi ənd tɪ hum ðə ˈjuˈɛn sɛnd ˈbɪljənz əv ˈdɔlərz (ənd ðɛn stʊd tɪ wən saɪd waɪl ə kərəpt ˈgəvərnmənt stoʊl ɪt). səm ˈrizən ðoʊz ˈpipəl θɪŋk ðɛr ɪz ˈɛniˌθɪŋ, ˈɛniˌθɪŋ æt ɔl, wɪʧ gɪvz ðɛm ˈlaɪsəns tɪ teɪk ə naɪf ənd stæb ə ˈməðər əv sɪks. tɪ teɪk ə naɪf ənd stæb ə ˈwʊmən hu ɪz faɪv mənθs ˈprɛgnənt. tɪ teɪk ə naɪf ənd stæb ə ˈwəndərfəl 23 jɪr oʊld ˈwʊmən hu hæd ˈnɛvər hɑrmd anyone.”*.”
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one of the oddest features of the 2016 presidential race is that the republican nominee, donald trump, emerged on the political scene this decade by repeatedly questioning whether president barack obama was born in america and yet it seems embrace of this crackpot conspiracy theory has hardly been discussed during this campaign.
yes, the nominee was the "birther" for much of 2011, and continued to perpetuate the debunked nonsense for many years afterward, despite it being fringe racist nonsense.
now, though, the washington robert costa has elevated the subject again. in an interview with trump on wednesday, costa asked the candidate whether he now believed obama was born in hawaii, and trump refused to answer. answer that question at the right time," trump told costa. "i just want to answer it yet."
and when costa followed up by pointing out that top adviser, kellyanne conway, has said that trump now believed obama was born in the us, trump was noncommittal. okay. allowed to speak what she thinks," trump told costa. "i want to focus on jobs. i want to focus on other things."
hours after story was posted on thursday, trump adviser jason miller sent out a statement claiming that "mr. trump believes that president obama was born in the united states." furthermore, miller ludicrously tried to give trump credit for bringing "this ugly incident to its conclusion by successfully compelling president obama to release his birth certificate," as if he were doing some sort of public service.
finally, on friday, trump himself gave an extremely brief statement that "president barack obama was born in the united states, period," and again dishonestly blamed clinton for supposedly starting the controversy. but he be allowed to worm out of this so easily, because is in many ways the of presidential campaign. it demonstrates his willingness to mainstream fringe racism, his desire to flout the norms of political discourse, his ability to play the media, and his to facts. and trump has never truly been held to account for it during this campaign.
what is?
the us constitution requires that the president of the united states be a "natural born citizen." obama is one, by virtue of having been born in hawaii (to a us citizen mother). but raised the question ... what if he?
when obama first ran for president in 2008, he had a very different background from all previous presidential nominees. he white, his middle name was hussein, and he had lived abroad for several years as a child. and the fever swamps of the internet responded to this by letting their imaginations run wild. one fringe theory was that obama was a "secret muslim." another was that he was lying about having been born in hawaii, and was in fact born in another country likely kenya and was therefore ineligible for the presidency.
this chatter first emerged during the contentious 2008 democratic primary, but was limited to chain emails and such rather than being associated with anyone prominent, according to politico. it then continued during the general election and presidency and was embraced by fringe figures like orly and philip berg, and the pundit jerome corsi.
it never made a lick of sense. in the summer of 2008, the obama campaign released his birth certificate from the hawaii department of health. examined it and were satisfied that it was authentic. furthermore, there were contemporaneous announcements of birth printed in hawaiian newspapers at the time. then in 2011, obama finally dredged up his birth certificate. but since conspiracy theorists are conspiracy theorists, they invented all sorts of reasons to dismiss and disbelieve all this evidence.
what was role in the movement?
as trump publicly considered a presidential campaign against obama in 2011, he gained media attention and popularity on the right by becoming the "birther" ever. the timeline:
february 10, 2011: trump gives a speech to in which he says thinking about running for president, and dips his toe into. "our current president came out of nowhere. came out of nowhere," he told the crowd. "in fact, i'll go a step further: the people that went to school with him, they never saw him, they don't know who he is. it's crazy."
march 23, 2011: trump says on the view : "i want him to show his birth certificate. i want him to show his birth certificate. ... there's something on that birth certificate that he doesn't like."
: "i want him to show his birth certificate. i want him to show his birth certificate. ... there's something on that birth certificate that he doesn't like." march 28, 2011: asked on fox & friends whether he thinks obama was born in this country, trump responds, "i am really concerned." he went on to speculate that the birth announcement for obama in a hawaii newspaper could have been planted "for whatever reason."
whether he thinks obama was born in this country, trump responds, "i am really concerned." he went on to speculate that the birth announcement for obama in a hawaii newspaper could have been planted "for whatever reason." march 30, 2011: trump says on the factor , "if you are going to be president of the united states you have to be born in this country. and there is a doubt as to whether or not he was. ... he doesn't have a birth certificate. he may have one, but there's something on that, maybe religion, maybe it says he is a muslim. i don't know. maybe he doesn't want that. or he may not have one. but i will tell you this. if he wasn't born in this country, it's one of the great scams of all time."
, "if you are going to be president of the united states you have to be born in this country. and there is a doubt as to whether or not he was. ... he doesn't have a birth certificate. he may have one, but there's something on that, maybe religion, maybe it says he is a muslim. i don't know. maybe he doesn't want that. or he may not have one. but i will tell you this. if he wasn't born in this country, it's one of the great scams of all time." april 7, 2011: trump claims on nbc that he has sent a team of investigators to hawaii to study the matter. "i have people that have been studying it, and they cannot believe what they're finding," he said. "you are not allowed to be a president if you're not born in this country. right now i have real doubts."
april 15, 2011: a poll shows trump in first place in the republican primary race (though he announced a candidacy and end up doing so).
april 19, 2011: in a statement that is hilarious in retrospect, trump tells abc he would "love" to release his tax returns, and that "maybe" do it once obama released his birth certificate. (more than five years later, trump has still never released his tax returns.)
april 25, 2011: trump tells anderson cooper, "i've been told very recently, anderson, that the birth certificate is missing. i've been told that it's not there or it doesn't exist. and if that's the case, it's a big problem."
april 27, 2011: president obama releases his original birth certificate, attempting to at long last put the matter to rest. trump responds by ... simply changing the subject to college records. "the word is, according to what read, that he was a terrible student when he went to occidental. he then gets to columbia; he then gets to harvard," trump said. "maybe right, or maybe wrong. but i know why he release his records."
okay, but after obama delivered his birth certificate, trump moved on, right?
who are you kidding? it's very hard to convince conspiracy theorists that they're wrong with evidence, because they will just invent new reasons to disbelieve any piece of evidence they don't like. plus, this is donald trump talking about.
so contrary to his transparently false statement that trump brought "closure to the issue" in 2011, trump continued to spread nonsense about it for years afterward and come up with new bogus reasons not to believe the document obama released:
let's take a closer look at that birth certificate. was described in 2003 as being "born in kenya." donald j. trump (@realdonaldtrump) may 18, 2012
an 'extremely credible source' has called my office and told me that's birth certificate is a fraud. donald j. trump (@realdonaldtrump) august 6, 2012
why do the republicans keep apologizing on the so called "birther" issue? no more the offensive! donald j. trump (@realdonaldtrump) august 27, 2012
wake up america! see article: "israeli science: obama birth certificate is a fake" donald j. trump (@realdonaldtrump) september 13, 2012
how amazing, the state health director who verified copies of "birth certificate" died in plane crash today. all others lived donald j. trump (@realdonaldtrump) december 12, 2013
attention all hackers: you are hacking everything else so please hack obama's college records (destroyed?) and check "place of birth" donald j. trump (@realdonaldtrump) september 6, 2014
but other than all that, there was closure!
wait, though trump has repeatedly blamed hillary clinton for starting the movement. he lie to me about this, would he?
just remember, the movement was started by hillary clinton in 2008. she was all in! donald j. trump (@realdonaldtrump) september 23, 2015
there’s no evidence that hillary clinton or her 2008 campaign had anything to do with the theory none. nonpartisan have repeatedly debunked this claim, as you can see at politifact, factcheck, cnn, and the washington post.
now, the small grain of truth here is that a few clinton supporters did circulate the theory online during the contentious 2008 primary, according to ben smith though it's not really clear that they were the first to do so (as smith claims), since there was contemporaneous chatter about this in circles online at the time too. but once the primary concluded and obama first released his birth certificate that summer, this chatter quieted down in democratic circles, and moved instead to more and precincts.
update: this piece was updated with trump's statement on friday, and some new links on the origins of the controversy in 2008.
watch: trump on his role in the movement
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wən əv ðə ˈɑdəst ˈfiʧərz əv ðə 2016 ˌprɛzɪˈdɛnʃəl reɪs ɪz ðət ðə rɪˈpəblɪkən ˌnɑməˈni, ˈdɑnəld trəmp, ˈimərʤd ɔn ðə pəˈlɪtɪkəl sin ðɪs ˈdɛkeɪd baɪ rɪˈpitɪdli kˈwɛsʧənɪŋ ˈwɛðər ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə wɑz bɔrn ɪn əˈmɛrɪkə ənd jɛt ɪt simz ɪmˈbreɪs əv ðɪs ˈkrækˌpɑt kənˈspɪrəsi ˈθɪri həz ˈhɑrdli bɪn dɪˈskəst ˈdʊrɪŋ ðɪs kæmˈpeɪn. jɛs, ðə ˌnɑməˈni wɑz ðə "birther*" fər məʧ əv 2011 ənd kənˈtɪnjud tɪ pərˈpɛʧəˌweɪt ðə dɪˈbəŋkt ˈnɑnsɛns fər ˈmɛni jɪrz ˈæftərwərd, dɪˈspaɪt ɪt biɪŋ frɪnʤ ˈreɪsɪst ˈnɑnsɛns. naʊ, ðoʊ, ðə ˈwɔʃɪŋtən ˈrɑbərt ˈkɔstɑ həz ˈɛləˌveɪtɪd ðə ˈsəbʤɪkt əˈgɛn. ɪn ən ˈɪntərvˌju wɪθ trəmp ɔn ˈwɛnzˌdeɪ, ˈkɔstɑ æst ðə ˈkænədɪt ˈwɛðər hi naʊ bɪˈlivd ˌoʊˈbɑmə wɑz bɔrn ɪn həˈwaɪˌi, ənd trəmp rɪfˈjuzd tɪ ˈænsər. ˈænsər ðət kˈwɛʃən æt ðə raɪt taɪm," trəmp toʊld ˈkɔstɑ. "aɪ ʤɪst wɔnt tɪ ˈænsər ɪt jɛt." ənd wɪn ˈkɔstɑ ˈfɑloʊd əp baɪ ˈpɔɪntɪŋ aʊt ðət tɔp ædˈvaɪzər, ˈkɛliˈæn ˈkɑnˌweɪ, həz sɛd ðət trəmp naʊ bɪˈlivd ˌoʊˈbɑmə wɑz bɔrn ɪn ðə ˈjuˈɛs, trəmp wɑz ˈnɑnkəˈmɪtəl. ˌoʊˈkeɪ. əˈlaʊd tɪ spik wət ʃi θɪŋks," trəmp toʊld ˈkɔstɑ. "aɪ wɔnt tɪ ˈfoʊkɪs ɔn ʤɑbz. aɪ wɔnt tɪ ˈfoʊkɪs ɔn ˈəðər θɪŋz." aʊərz ˈæftər ˈstɔri wɑz ˈpoʊstɪd ɔn ˈθərzˌdeɪ, trəmp ædˈvaɪzər ˈʤeɪsən ˈmɪlər sɛnt aʊt ə ˈsteɪtmənt ˈkleɪmɪŋ ðət "ˈmɪstər. trəmp bɪˈlivz ðət ˈprɛzɪdənt ˌoʊˈbɑmə wɑz bɔrn ɪn ðə juˈnaɪtɪd steɪts." ˈfərðərˌmɔr, ˈmɪlər ˈludəkrəsli traɪd tɪ gɪv trəmp ˈkrɛdɪt fər ˈbrɪŋɪŋ "ðɪs ˈəgli ˈɪnsədənt tɪ ɪts kənˈkluʒən baɪ səkˈsɛsfəli kəmˈpɛlɪŋ ˈprɛzɪdənt ˌoʊˈbɑmə tɪ riˈlis hɪz bərθ sərˈtɪfɪkət," ɛz ɪf hi wər duɪŋ səm sɔrt əv ˈpəblɪk ˈsərvɪs. ˈfaɪnəli, ɔn ˈfraɪˌdeɪ, trəmp hɪmˈsɛlf geɪv ən ɪkˈstrimli brif ˈsteɪtmənt ðət "ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə wɑz bɔrn ɪn ðə juˈnaɪtɪd steɪts, ˈpɪriəd," ənd əˈgɛn dɪˈsɔnəstli bleɪmd ˈklɪntən fər səˈpoʊzədli ˈstɑrtɪŋ ðə ˈkɑntrəˌvərsi. bət hi bi əˈlaʊd tɪ wərm aʊt əv ðɪs soʊ ˈizəli, bɪˈkəz ɪz ɪn ˈmɛni weɪz ðə əv ˌprɛzɪˈdɛnʃəl kæmˈpeɪn. ɪt ˈdɛmənˌstreɪts hɪz ˈwɪlɪŋnəs tɪ ˈmeɪnˌstrim frɪnʤ ˈreɪˌsɪzəm, hɪz dɪˈzaɪər tɪ flaʊt ðə nɔrmz əv pəˈlɪtɪkəl ˈdɪskɔrs, hɪz əˈbɪləˌti tɪ pleɪ ðə ˈmidiə, ənd hɪz tɪ fækts. ənd trəmp həz ˈnɛvər ˈtruli bɪn hɛld tɪ əˈkaʊnt fər ɪt ˈdʊrɪŋ ðɪs kæmˈpeɪn. wət ɪz? ðə ˈjuˈɛs ˌkɑnstəˈtuʃən rikˈwaɪərz ðət ðə ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts bi ə "ˈnæʧərəl bɔrn ˈsɪtɪzən." ˌoʊˈbɑmə ɪz wən, baɪ ˈvərʧu əv ˈhævɪŋ bɪn bɔrn ɪn həˈwaɪˌi (tɪ ə ˈjuˈɛs ˈsɪtɪzən ˈməðər). bət reɪzd ðə kˈwɛʃən wət ɪf hi? wɪn ˌoʊˈbɑmə fərst ræn fər ˈprɛzɪdənt ɪn 2008 hi hæd ə ˈvɛri ˈdɪfərənt ˈbækˌgraʊnd frəm ɔl ˈpriviəs ˌprɛzɪˈdɛnʃəl ˌnɑməˈniz. hi waɪt, hɪz ˈmɪdəl neɪm wɑz huˈseɪn, ənd hi hæd lɪvd əˈbrɔd fər ˈsɛvərəl jɪrz ɛz ə ʧaɪld. ənd ðə ˈfivər swɔmps əv ðə ˈɪntərˌnɛt rɪˈspɑndɪd tɪ ðɪs baɪ ˈlɛtɪŋ ðɛr ˌɪˌmæʤəˈneɪʃənz rən waɪld. wən frɪnʤ ˈθɪri wɑz ðət ˌoʊˈbɑmə wɑz ə "ˈsikrɪt ˈməzlɪm." əˈnəðər wɑz ðət hi wɑz laɪɪŋ əˈbaʊt ˈhævɪŋ bɪn bɔrn ɪn həˈwaɪˌi, ənd wɑz ɪn fækt bɔrn ɪn əˈnəðər ˈkəntri ˈlaɪkli ˈkɛnjə ənd wɑz ˈðɛrˌfɔr ˌɪˈnɛlɪʤəbəl fər ðə ˈprɛzɪdənsi. ðɪs ˈʧætər fərst ˈimərʤd ˈdʊrɪŋ ðə kənˈtɛnʃəs 2008 ˌdɛməˈkrætɪk ˈpraɪˌmɛri, bət wɑz ˈlɪmɪtɪd tɪ ʧeɪn iˈmeɪlz ənd səʧ ˈrəðər ðən biɪŋ əˈsoʊʃiˌeɪtəd wɪθ ˈɛniˌwən ˈprɑmənənt, əˈkɔrdɪŋ tɪ pəˈlɪtɪˌkoʊ. ɪt ðɛn kənˈtɪnjud ˈdʊrɪŋ ðə ˈʤɛnərəl ɪˈlɛkʃən ənd ˈprɛzɪdənsi ənd wɑz ɛmˈbreɪst baɪ frɪnʤ ˈfɪgjərz laɪk ˈɔrli ənd ˈfɪlɪp bərg, ənd ðə ˈpəndət ʤəroʊm ˈkɔrsi. ɪt ˈnɛvər meɪd ə lɪk əv sɛns. ɪn ðə ˈsəmər əv 2008 ðə ˌoʊˈbɑmə kæmˈpeɪn riˈlist hɪz bərθ sərˈtɪfɪkət frəm ðə həˈwaɪˌi dɪˈpɑrtmənt əv hɛlθ. ɪgˈzæmənd ɪt ənd wər ˈsætɪsˌfaɪd ðət ɪt wɑz əˈθɛnɪk. ˈfərðərˌmɔr, ðɛr wər kənˌtɛmpərˈeɪniəs əˈnaʊnsmɛnts əv bərθ ˈprɪnɪd ɪn həˈwaɪən ˈnuzˌpeɪpərz æt ðə taɪm. ðɛn ɪn 2011 ˌoʊˈbɑmə ˈfaɪnəli drɛʤd əp hɪz bərθ sərˈtɪfɪkət. bət sɪns kənˈspɪrəsi θiərɪsts ər kənˈspɪrəsi θiərɪsts, ðeɪ ˌɪnˈvɛntɪd ɔl sɔrts əv ˈrizənz tɪ dɪsˈmɪs ənd dɪsbɪˈliv ɔl ðɪs ˈɛvədəns. wət wɑz roʊl ɪn ðə ˈmuvmənt? ɛz trəmp ˈpəblɪkli kənˈsɪdərd ə ˌprɛzɪˈdɛnʃəl kæmˈpeɪn əˈgɛnst ˌoʊˈbɑmə ɪn 2011 hi geɪnd ˈmidiə əˈtɛnʃən ənd ˌpɑpjəˈlɛrəti ɔn ðə raɪt baɪ bɪˈkəmɪŋ ðə "birther*" ˈɛvər. ðə ˈtaɪmlaɪn: ˈfɛbruˌɛri 10 2011 trəmp gɪvz ə spiʧ tɪ ɪn wɪʧ hi sɪz ˈθɪŋkɪŋ əˈbaʊt ˈrənɪŋ fər ˈprɛzɪdənt, ənd dɪps hɪz toʊ ˈɪntu. "ɑr ˈkɑrənt ˈprɛzɪdənt keɪm aʊt əv ˈnoʊˌwɛr. keɪm aʊt əv ˈnoʊˌwɛr," hi toʊld ðə kraʊd. "ɪn fækt, aɪl goʊ ə stɛp ˈfərðər: ðə ˈpipəl ðət wɛnt tɪ skul wɪθ ɪm, ðeɪ ˈnɛvər sɔ ɪm, ðeɪ doʊnt noʊ hu hi ɪz. ɪts ˈkreɪzi." mɑrʧ 23 2011 trəmp sɪz ɔn ðə vju "aɪ wɔnt ɪm tɪ ʃoʊ hɪz bərθ sərˈtɪfɪkət. aɪ wɔnt ɪm tɪ ʃoʊ hɪz bərθ sərˈtɪfɪkət. ðɛrz ˈsəmθɪŋ ɔn ðət bərθ sərˈtɪfɪkət ðət hi ˈdəzənt laɪk." "aɪ wɔnt ɪm tɪ ʃoʊ hɪz bərθ sərˈtɪfɪkət. aɪ wɔnt ɪm tɪ ʃoʊ hɪz bərθ sərˈtɪfɪkət. ðɛrz ˈsəmθɪŋ ɔn ðət bərθ sərˈtɪfɪkət ðət hi ˈdəzənt laɪk." mɑrʧ 28 2011 æst ɔn fɑks frɛndz ˈwɛðər hi θɪŋks ˌoʊˈbɑmə wɑz bɔrn ɪn ðɪs ˈkəntri, trəmp rɪˈspɑndz, "aɪ æm ˈrɪli kənˈsərnd." hi wɛnt ɔn tɪ ˈspɛkjəˌleɪt ðət ðə bərθ əˈnaʊnsmɛnt fər ˌoʊˈbɑmə ɪn ə həˈwaɪˌi ˈnuzˌpeɪpər kʊd hæv bɪn ˈplænɪd "fər ˌwəˈtɛvər ˈrizən." ˈwɛðər hi θɪŋks ˌoʊˈbɑmə wɑz bɔrn ɪn ðɪs ˈkəntri, trəmp rɪˈspɑndz, "aɪ æm ˈrɪli kənˈsərnd." hi wɛnt ɔn tɪ ˈspɛkjəˌleɪt ðət ðə bərθ əˈnaʊnsmɛnt fər ˌoʊˈbɑmə ɪn ə həˈwaɪˌi ˈnuzˌpeɪpər kʊd hæv bɪn ˈplænɪd "fər ˌwəˈtɛvər ˈrizən." mɑrʧ 30 2011 trəmp sɪz ɔn ðə ˈfæktər "ɪf ju ər goʊɪŋ tɪ bi ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts ju hæv tɪ bi bɔrn ɪn ðɪs ˈkəntri. ənd ðɛr ɪz ə daʊt ɛz tɪ ˈwɛðər ər nɑt hi wɑz. hi ˈdəzənt hæv ə bərθ sərˈtɪfɪkət. hi meɪ hæv wən, bət ðɛrz ˈsəmθɪŋ ɔn ðət, ˈmeɪbi rɪˈlɪʤən, ˈmeɪbi ɪt sɪz hi ɪz ə ˈməzlɪm. aɪ doʊnt noʊ. ˈmeɪbi hi ˈdəzənt wɔnt ðət. ər hi meɪ nɑt hæv wən. bət aɪ wɪl tɛl ju ðɪs. ɪf hi ˈwəzənt bɔrn ɪn ðɪs ˈkəntri, ɪts wən əv ðə greɪt skæmz əv ɔl taɪm." "ɪf ju ər goʊɪŋ tɪ bi ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts ju hæv tɪ bi bɔrn ɪn ðɪs ˈkəntri. ənd ðɛr ɪz ə daʊt ɛz tɪ ˈwɛðər ər nɑt hi wɑz. hi ˈdəzənt hæv ə bərθ sərˈtɪfɪkət. hi meɪ hæv wən, bət ðɛrz ˈsəmθɪŋ ɔn ðət, ˈmeɪbi rɪˈlɪʤən, ˈmeɪbi ɪt sɪz hi ɪz ə ˈməzlɪm. aɪ doʊnt noʊ. ˈmeɪbi hi ˈdəzənt wɔnt ðət. ər hi meɪ nɑt hæv wən. bət aɪ wɪl tɛl ju ðɪs. ɪf hi ˈwəzənt bɔrn ɪn ðɪs ˈkəntri, ɪts wən əv ðə greɪt skæmz əv ɔl taɪm." ˈeɪprəl 7 2011 trəmp kleɪmz ɔn ˈɛnˌbiˈsi ðət hi həz sɛnt ə tim əv ˌɪnˈvɛstəˌgeɪtərz tɪ həˈwaɪˌi tɪ ˈstədi ðə ˈmætər. "aɪ hæv ˈpipəl ðət hæv bɪn ˈstədiɪŋ ɪt, ənd ðeɪ ˈkænɑt bɪˈliv wət ðɛr ˈfaɪndɪŋ," hi sɛd. "ju ər nɑt əˈlaʊd tɪ bi ə ˈprɛzɪdənt ɪf jʊr nɑt bɔrn ɪn ðɪs ˈkəntri. raɪt naʊ aɪ hæv ril daʊts." ˈeɪprəl 15 2011 ə poʊl ʃoʊz trəmp ɪn fərst pleɪs ɪn ðə rɪˈpəblɪkən ˈpraɪˌmɛri reɪs (ðoʊ hi əˈnaʊnst ə ˈkændɪdəsi ənd ɛnd əp duɪŋ soʊ). ˈeɪprəl 19 2011 ɪn ə ˈsteɪtmənt ðət ɪz hɪˈlɛriəs ɪn ˈrɛtrəˌspɛkt, trəmp tɛlz ˈeɪˌbiˌsi hi wʊd "ləv" tɪ riˈlis hɪz tæks rɪˈtərnz, ənd ðət "ˈmeɪbi" du ɪt wəns ˌoʊˈbɑmə riˈlist hɪz bərθ sərˈtɪfɪkət. (mɔr ðən faɪv jɪrz ˈleɪtər, trəmp həz stɪl ˈnɛvər riˈlist hɪz tæks rɪˈtərnz.) ˈeɪprəl 25 2011 trəmp tɛlz ˈændərsən ˈkupər, "aɪv bɪn toʊld ˈvɛri ˈrisəntli, ˈændərsən, ðət ðə bərθ sərˈtɪfɪkət ɪz ˈmɪsɪŋ. aɪv bɪn toʊld ðət ɪts nɑt ðɛr ər ɪt ˈdəzənt ɪgˈzɪst. ənd ɪf ðæts ðə keɪs, ɪts ə bɪg ˈprɑbləm." ˈeɪprəl 27 2011 ˈprɛzɪdənt ˌoʊˈbɑmə rɪˈlisɪz hɪz ərˈɪʤənəl bərθ sərˈtɪfɪkət, əˈtɛmptɪŋ tɪ æt lɔŋ læst pʊt ðə ˈmætər tɪ rɛst. trəmp rɪˈspɑndz baɪ ˈsɪmpli ˈʧeɪnʤɪŋ ðə ˈsəbʤɪkt tɪ ˈkɑlɪʤ ˈrɛkərdz. "ðə wərd ɪz, əˈkɔrdɪŋ tɪ wət rɛd, ðət hi wɑz ə ˈtɛrəbəl ˈstudənt wɪn hi wɛnt tɪ ˌɑksəˈdɛntəl. hi ðɛn gɪts tɪ kəˈləmbiə; hi ðɛn gɪts tɪ ˈhɑrvərd," trəmp sɛd. "ˈmeɪbi raɪt, ər ˈmeɪbi rɔŋ. bət aɪ noʊ waɪ hi riˈlis hɪz ˈrɛkərdz." ˌoʊˈkeɪ, bət ˈæftər ˌoʊˈbɑmə dɪˈlɪvərd hɪz bərθ sərˈtɪfɪkət, trəmp muvd ɔn, raɪt? hu ər ju ˈkɪdɪŋ? ɪts ˈvɛri hɑrd tɪ kənˈvɪns kənˈspɪrəsi θiərɪsts ðət ðɛr rɔŋ wɪθ ˈɛvədəns, bɪˈkəz ðeɪ wɪl ʤɪst ˌɪnˈvɛnt nu ˈrizənz tɪ dɪsbɪˈliv ˈɛni pis əv ˈɛvədəns ðeɪ doʊnt laɪk. pləs, ðɪs ɪz ˈdɑnəld trəmp ˈtɔkɪŋ əˈbaʊt. soʊ ˈkɑntrɛri tɪ hɪz trænˈspɛrəntli fɔls ˈsteɪtmənt ðət trəmp brɔt "ˈkloʊʒər tɪ ðə ˈɪʃu" ɪn 2011 trəmp kənˈtɪnjud tɪ sprɛd ˈnɑnsɛns əˈbaʊt ɪt fər jɪrz ˈæftərwərd ənd kəm əp wɪθ nu ˈboʊgəs ˈrizənz nɑt tɪ bɪˈliv ðə ˈdɑkjəmɛnt ˌoʊˈbɑmə riˈlist: lɛts teɪk ə ˈkloʊzər lʊk æt ðət bərθ sərˈtɪfɪkət. wɑz dɪˈskraɪbd ɪn 2003 ɛz biɪŋ "bɔrn ɪn ˈkɛnjə." ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) meɪ 18 2012 ən 'ɪkˈstrimli ˈkrɛdəbəl sɔrs' həz kɔld maɪ ˈɔfəs ənd toʊld mi ðət bərθ sərˈtɪfɪkət ɪz ə frɔd. ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) ˈɔgəst 6 2012 waɪ du ðə rɪˈpəblɪkənz kip əˈpɑləˌʤaɪzɪŋ ɔn ðə soʊ kɔld "birther*" ˈɪʃu? noʊ mɔr ðə əˈfɛnsɪv! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) ˈɔgəst 27 2012 weɪk əp əˈmɛrɪkə! si ˈɑrtɪkəl: "ˌɪzˈreɪli saɪəns: ˌoʊˈbɑmə bərθ sərˈtɪfɪkət ɪz ə feɪk" ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) sɛpˈtɛmbər 13 2012 haʊ əˈmeɪzɪŋ, ðə steɪt hɛlθ dɪˈrɛktər hu ˈvɛrəˌfaɪd ˈkɑpiz əv "bərθ sərˈtɪfɪkət" daɪd ɪn pleɪn kræʃ təˈdeɪ. ɔl ˈəðərz lɪvd ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) dɪˈsɛmbər 12 2013 əˈtɛnʃən ɔl ˈhækərz: ju ər ˈhækɪŋ ˈɛvriˌθɪŋ ɛls soʊ pliz hæk ˌoʊˈbɑməz ˈkɑlɪʤ ˈrɛkərdz (dɪˈstrɔɪd?) ənd ʧɛk "pleɪs əv bərθ" ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) sɛpˈtɛmbər 6 2014 bət ˈəðər ðən ɔl ðət, ðɛr wɑz ˈkloʊʒər! weɪt, ðoʊ trəmp həz rɪˈpitɪdli bleɪmd ˈhɪləri ˈklɪntən fər ˈstɑrtɪŋ ðə ˈmuvmənt. hi laɪ tɪ mi əˈbaʊt ðɪs, wʊd hi? ʤɪst rɪˈmɛmbər, ðə ˈmuvmənt wɑz ˈstɑrtɪd baɪ ˈhɪləri ˈklɪntən ɪn 2008 ʃi wɑz ɔl ɪn! ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) sɛpˈtɛmbər 23 2015 noʊ ˈɛvədəns ðət ˈhɪləri ˈklɪntən ər hər 2008 kæmˈpeɪn hæd ˈɛniˌθɪŋ tɪ du wɪθ ðə ˈθɪri nən. nɑnˈpɑrtəzən hæv rɪˈpitɪdli dɪˈbəŋkt ðɪs kleɪm, ɛz ju kən si æt politifact*, factcheck*, ˈsiˈɛˈnɛn, ənd ðə ˈwɔʃɪŋtən poʊst. naʊ, ðə smɔl greɪn əv truθ hir ɪz ðət ə fju ˈklɪntən səˈpɔrtərz dɪd ˈsərkjəˌleɪt ðə ˈθɪri ˈɔnˌlaɪn ˈdʊrɪŋ ðə kənˈtɛnʃəs 2008 ˈpraɪˌmɛri, əˈkɔrdɪŋ tɪ bɛn smɪθ ðoʊ ɪts nɑt ˈrɪli klɪr ðət ðeɪ wər ðə fərst tɪ du soʊ (ɛz smɪθ kleɪmz), sɪns ðɛr wɑz kənˌtɛmpərˈeɪniəs ˈʧætər əˈbaʊt ðɪs ɪn ˈsərkəlz ˈɔnˌlaɪn æt ðə taɪm tu. bət wəns ðə ˈpraɪˌmɛri kənˈkludɪd ənd ˌoʊˈbɑmə fərst riˈlist hɪz bərθ sərˈtɪfɪkət ðət ˈsəmər, ðɪs ˈʧætər kˈwaɪətɪd daʊn ɪn ˌdɛməˈkrætɪk ˈsərkəlz, ənd muvd ˌɪnˈstɛd tɪ mɔr ənd ˈpriˌsɪŋkts. ˈəpˌdeɪt: ðɪs pis wɑz ˈəpˌdeɪtɪd wɪθ trəmps ˈsteɪtmənt ɔn ˈfraɪˌdeɪ, ənd səm nu lɪŋks ɔn ðə ˈɔrəʤɪnz əv ðə ˈkɑntrəˌvərsi ɪn 2008 wɔʧ: trəmp ɔn hɪz roʊl ɪn ðə ˈmuvmənt
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are you aware of your own strengths and weaknesses?
personal value is maximized by directing your focus into the arena where you have the greatest potential for success.
the first step of this process is realizing your own internal value so you can project it outwards.
without this drive, efforts fade into dust.
a person unaware of his own potential truly alive. he simply goes through the motions in order to barely scrape by.
each person is best suited for a different arena
attempting to force yourself into a lifestyle out of touch with your talents does the whole world a great disservice.
stem types are most likely not cut out to be lawyers, and vice versa.
comparing your own journey to the trajectory of another demographic will have you focus on all the wrong things. this can lead to unnecessary mental strife, ruining your progress. regardless who you are, you must learn to play to your own strengths.
value can take many different forms
highly physical goods
positive social capital in interactions
or simply the expression of useful ideas
life is economics, and markets are everywhere. a finely tuned intuition can sense the value exchanges happening all around.
due to the changing nature of the universe, abundant opportunities for investment are constantly unfolding. the only way to capitalize on your potential is to see the positive side of every situation, no matter how dire it may currently appear.
a man of value always asks himself,
what can i learn from this?
businesses fail when they are planted in infertile ground. trying to force value to flourish where there is no demand is like planting a garden in the harsh plains of antarctica.
your valuable time and effort should be channeled into a medium most conducive to success
it seems daunting to develop high value, but the process is actually quite simple.
all you need to do is find your strengths via experimentation.
from there on out, everything else is simply a matter of willpower.
p.s. click here to multiply the reach of your value.
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ər ju əˈwɛr əv jʊr oʊn strɛŋθs ənd ˈwiknəsɪz? ˈpərsɪnəl ˈvælju ɪz ˈmæksəˌmaɪzd baɪ dɪˈrɛktɪŋ jʊr ˈfoʊkɪs ˈɪntu ðə ərˈinə wɛr ju hæv ðə ˈgreɪtəst pəˈtɛnʃəl fər səkˈsɛs. ðə fərst stɛp əv ðɪs ˈprɔˌsɛs ɪz ˈriəˌlaɪzɪŋ jʊr oʊn ˌɪnˈtərnəl ˈvælju soʊ ju kən ˈprɑʤɛkt ɪt ˈaʊtwərdz. wɪˈθaʊt ðɪs draɪv, ˈɛfərts feɪd ˈɪntu dəst. ə ˈpərsən ˌənəˈwɛr əv hɪz oʊn pəˈtɛnʃəl ˈtruli əˈlaɪv. hi ˈsɪmpli goʊz θru ðə ˈmoʊʃənz ɪn ˈɔrdər tɪ ˈbɛrli skreɪp baɪ. iʧ ˈpərsən ɪz bɛst ˈsutɪd fər ə ˈdɪfərənt ərˈinə əˈtɛmptɪŋ tɪ fɔrs ˈjɔrsɛlf ˈɪntu ə ˈlaɪfˌstaɪl aʊt əv təʧ wɪθ jʊr ˈtælənts dɪz ðə hoʊl wərld ə greɪt dɪˈsərvəs. stɛm taɪps ər moʊst ˈlaɪkli nɑt kət aʊt tɪ bi ˈlɔjərz, ənd vaɪs ˈvərsə. kəmˈpɛrɪŋ jʊr oʊn ˈʤərni tɪ ðə trəˈʤɛktəri əv əˈnəðər ˌdɛməˈgræfɪk wɪl hæv ju ˈfoʊkɪs ɔn ɔl ðə rɔŋ θɪŋz. ðɪs kən lɛd tɪ ənˈnɛsəˌsɛri ˈmɛntəl straɪf, ˈruɪnɪŋ jʊr ˈprɑˌgrɛs. rəˈgɑrdləs hu ju ər, ju məst lərn tɪ pleɪ tɪ jʊr oʊn strɛŋθs. ˈvælju kən teɪk ˈmɛni ˈdɪfərənt fɔrmz ˈhaɪli ˈfɪzɪkəl gʊdz ˈpɑzətɪv ˈsoʊʃəl ˈkæpɪtəl ɪn ˌɪnərˈækʃənz ər ˈsɪmpli ðə ɪkˈsprɛʃən əv ˈjusfəl aɪˈdiəz laɪf ɪz ˌɛkəˈnɑmɪks, ənd ˈmɑrkɪts ər ˈɛvriˌwɛr. ə ˈfaɪnli tund ˌɪntuˈɪʃən kən sɛns ðə ˈvælju ɪksˈʧeɪnʤɪz ˈhæpənɪŋ ɔl əraʊnd. du tɪ ðə ˈʧeɪnʤɪŋ ˈneɪʧər əv ðə ˈjunəˌvərs, əˈbəndənt ˌɑpərˈtunətiz fər ˌɪnˈvɛstmənt ər ˈkɑnstəntli ənˈfoʊldɪŋ. ðə ˈoʊnli weɪ tɪ ˈkæpətəˌlaɪz ɔn jʊr pəˈtɛnʃəl ɪz tɪ si ðə ˈpɑzətɪv saɪd əv ˈɛvəri ˌsɪʧuˈeɪʃən, noʊ ˈmætər haʊ daɪər ɪt meɪ ˈkərəntli əˈpɪr. ə mæn əv ˈvælju ˈɔlˌweɪz æsks hɪmˈsɛlf, wət kən aɪ lərn frəm ðɪs? ˈbɪznɪsɪz feɪl wɪn ðeɪ ər ˈplænɪd ɪn ˌɪnˈfərtəl graʊnd. traɪɪŋ tɪ fɔrs ˈvælju tɪ flərɪʃ wɛr ðɛr ɪz noʊ dɪˈmænd ɪz laɪk ˈplæntɪŋ ə ˈgɑrdən ɪn ðə hɑrʃ pleɪnz əv ˌæˈnɑrtɪkə. jʊr ˈvæljəbəl taɪm ənd ˈɛfərt ʃʊd bi ˈʧænəld ˈɪntu ə ˈmidiəm moʊst kənˈdusɪv tɪ səkˈsɛs ɪt simz ˈdɔntɪŋ tɪ dɪˈvɛləp haɪ ˈvælju, bət ðə ˈprɔˌsɛs ɪz ˈæˌkʧuəli kwaɪt ˈsɪmpəl. ɔl ju nid tɪ du ɪz faɪnd jʊr strɛŋθs ˈviə ɪkˌspɛrəmənˈteɪʃən. frəm ðɛr ɔn aʊt, ˈɛvriˌθɪŋ ɛls ɪz ˈsɪmpli ə ˈmætər əv ˈwɪlˌpaʊər. piz. klɪk hir tɪ ˈməltəˌplaɪ ðə riʧ əv jʊr ˈvælju.
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you have to guess kid feelings on people who take a knee during the national anthem.
let’s just say not shy
"f*ck anyone who takes a knee or sits during our national anthem!" kid rock david (@dhookstead) september 11, 2017
from the daily caller:
amidst a lengthy, expletive rant about a variety of topics, the outspoken blasted players who are continuing colin national anthem protest in his absence in the league. he it either. “f**k anyone who takes a knee or sits during our national anthem!,” the performer said.
he continued:
“pretty sure if russell wilson or tom brady were doing it they would have no problem finding a job playing for any team they wanted in the nfl! so cut the bullsh*t!”
that.
all day long.
people! pay no attention to the garbage the extreme left is trying to create! kid rock (@kidrock) september 11, 2017
gonna get interesting, folks.
meanwhile , remains seated during our national anthem… james woods (@realjameswoods) september 10, 2017
heh.
related:
daaamn! david frum gets his ass handed to him for comparing ‘spirit of to charlottesville
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ju hæv tɪ gɛs kɪd ˈfilɪŋz ɔn ˈpipəl hu teɪk ə ni ˈdʊrɪŋ ðə ˈnæʃənəl ˈænθəm. ʤɪst seɪ nɑt ʃaɪ ˈɛniˌwən hu teɪks ə ni ər sɪts ˈdʊrɪŋ ɑr ˈnæʃənəl ˈænθəm!" kɪd rɑk ˈdeɪvɪd (@dhookstead*) sɛpˈtɛmbər 11 2017 frəm ðə ˈdeɪli ˈkɔlər: əˈmɪdst ə ˈlɛŋθi, ˈɛksplətɪv rænt əˈbaʊt ə vərˈaɪəti əv ˈtɑpɪks, ðə ˈaʊtˈspoʊkən ˈblæstɪd pleɪərz hu ər kənˈtɪnjuɪŋ ˈkoʊlɪn ˈnæʃənəl ˈænθəm ˈproʊˌtɛst ɪn hɪz ˈæbsəns ɪn ðə lig. hi ɪt ˈiðər. ˈɛniˌwən hu teɪks ə ni ər sɪts ˈdʊrɪŋ ɑr ˈnæʃənəl anthem!,”*!,” ðə pərˈfɔrmər sɛd. hi kənˈtɪnjud: ʃʊr ɪf ˈrəsəl ˈwɪlsən ər tɑm ˈbreɪdi wər duɪŋ ɪt ðeɪ wʊd hæv noʊ ˈprɑbləm ˈfaɪndɪŋ ə ʤɑb pleɪɪŋ fər ˈɛni tim ðeɪ ˈwɔntɪd ɪn ðə ˈɛˌnɛˈfɛl! soʊ kət ðə bullsh*t!”*!” ðət. ɔl deɪ lɔŋ. ˈpipəl! peɪ noʊ əˈtɛnʃən tɪ ðə ˈgɑrbɪʤ ðə ɪkˈstrim lɛft ɪz traɪɪŋ tɪ kriˈeɪt! kɪd rɑk (@kidrock*) sɛpˈtɛmbər 11 2017 ˈgɑnə gɪt ˈɪntəˌrɛstɪŋ, foʊks. ˈminˌwaɪl rɪˈmeɪnz ˈsitɪd ˈdʊrɪŋ ɑr ˈnæʃənəl anthem…*… ʤeɪmz wʊdz (@realjameswoods*) sɛpˈtɛmbər 10 2017 hɛ. rɪˈleɪtɪd: daaamn*! ˈdeɪvɪd frəm gɪts hɪz æs ˈhændɪd tɪ ɪm fər kəmˈpɛrɪŋ əv tɪ ˈʃɑrlətsˌvɪl
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the is a kind of robotic space plane, built by the us. been in orbit for more than 500 days. and its real purpose is a complete mystery. intrigued?
here’s what we do know about
constructed in california, the orbital space vehicle was built for the us air force as a test vehicle; not intended to reach production. it is a quarter the size of the endeavour space shuttle. it is equipped with protection for to atmosphere.
currently the is orbiting at 28,044km/h, at a distance of around in the sky. it can land, but no one will say when that will be.
“i’ll give you my standard line on general william shelton, commander of the air force space command told in may. “x-37 is doing great. i tell you what doing, but doing great.”
it’s been in the sky before, after being launched on april 22, 2010, on a rocket. it then landed on december 3, 2010 blowing a tire and suffering minor damage to its underbelly.
it took off again from cape canaveral on december 11, 2012 now reaching 500 days in orbit.
the air force also launched a second model of on march 5, 2011. described by the u.s. military as an “effort to test new space technologies”, it landed safely at vandenberg air force base on june 16, 2012, after 469 days in space. this third mission has now smashed this previous record.
x-37b’s actual functions are still heavily classified.
as imagine, conspiracy theorists are having a field day, and why:
powered by a solar panel that once in orbit, can open with small, payload bay in its middle think of a clamshell opening from underneath. room for more than just a solar panel too. exactly what items it carries, and why they need to be in space so long, has proved elusive for analysts, the space community, and the media.
to add further intrigue, the plane is classified as a secret project, yet maker boeing has released pictures and more than two pages of details on the. not how secrets are usually dealt with. by contrast, the secret lockheed blackbird was not declassified until decades after it had been flown in the vietnam war.
the started life way back in 1999 when nasa asked phantom works division to develop an orbital test vehicle. this was a civilian project, and the was originally as an unmanned, robotic spacecraft that would rendezvous with satellites to refuel, repair them, or crash them back to earth once their was complete. but in 2004 the project was transferred to darpa and since then, it has been highly classified.
the amateur community that documents satellites say orbiting between degrees north latitude to degrees south latitude. a band around the middle of earth that takes in much of the us, middle east, and asia, but is away from russia, and europe. spotters suggest that at the altitude of, it is ideal altitude for spying, but too low to refuel or fix other satellites.
it’s versatile, and has worked well enough that boeing is contracted to create the next model, thec. it will be at least 65 per cent larger and have the ability to carry up to six astronauts, while operating unmanned.
what we can guess
the two most popular theories suggest the vehicle is simply running an extended duration test a marathon in space. the other theory is that the two previous missions prove the testing phase is complete, and it is now on an extended operation running a mission, or multiple missions.
the long endurance run theory has credit; proving that new, experimental critical components can work reliably for a in space, close to earth.
the has credit too with two previous missions complete, can now operate at length. and perhaps it is observing, spying, experimenting, hosting space-weapons, or collecting data for the nsa. we just know.
both theories are plausible.
joan johnson-freese, a professor of national security affairs at the u.s. naval war college, told, “while the classified nature of the has raised some concerns about its intended operational purposes, technically, the program must be commended for doing something new… and successfully.”
she speculated’s payload would include new sensors and satellite hardware to be tested.
what it
plenty of conspiracy theorist have posed the question of carrying a nuclear payload, to guarantee a ‘first strike’ opportunity (or to have a in place).
if you have any hope for humanity, that be right. the us is a signatory to the space treaty, which is no joke. weapons of mass destruction are banned.
(one curious example of a weapon that banned is a kinetic strike, where objects whizzing around the earth at great speed are intentionally sent to the ground, causing a impact and widespread damage. this type of attack is also known as ‘rods from god’.)
general characteristics
crew: none
length:
wingspan:
height:
loaded weight:
powerplant: 1 aerojet rocket engine (hydrazine)
power: gallium arsenide solar cells with batteries
update: we have touchdown! after 674 days in space, landed. we have all the images and information for you here.
more content we hope enjoy:
»why space is hell for astronauts: nine ways wreaks havoc on humans
»amazing of the annular solar eclipse: how i took them, and how you can too
»the problem with turtles: they just belong
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ðə ɪz ə kaɪnd əv ˌroʊˈbɑtɪk speɪs pleɪn, bɪlt baɪ ðə ˈjuˈɛs. bɪn ɪn ˈɔrbət fər mɔr ðən 500 deɪz. ənd ɪts ril ˈpərpəs ɪz ə kəmˈplit ˈmɪstəri. ˌɪnˈtrigd? wət wi du noʊ əˈbaʊt kənˈstrəktɪd ɪn ˌkæləˈfɔrnjə, ðə ˈɔrbətəl speɪs ˈviɪkəl wɑz bɪlt fər ðə ˈjuˈɛs ɛr fɔrs ɛz ə tɛst ˈviɪkəl; nɑt ˌɪnˈtɛndɪd tɪ riʧ pərˈdəkʃən. ɪt ɪz ə kˈwɔrtər ðə saɪz əv ðə ɪnˈdɛvər speɪs ˈʃətəl. ɪt ɪz ɪkˈwɪpt wɪθ prəˈtɛkʃən fər tɪ ˈætməsˌfɪr. ˈkərəntli ðə ɪz ˈɔrbətɪŋ æt 28,044km/h*, æt ə ˈdɪstəns əv əraʊnd ɪn ðə skaɪ. ɪt kən lænd, bət noʊ wən wɪl seɪ wɪn ðət wɪl bi. gɪv ju maɪ ˈstændərd laɪn ɔn ˈʤɛnərəl ˈwɪljəm ˈʃɛltən, kəˈmændər əv ðə ɛr fɔrs speɪs kəˈmænd toʊld ɪn meɪ. ɪz duɪŋ greɪt. aɪ tɛl ju wət duɪŋ, bət duɪŋ great.”*.” bɪn ɪn ðə skaɪ ˌbiˈfɔr, ˈæftər biɪŋ lɔnʧt ɔn ˈeɪprəl 22 2010 ɔn ə ˈrɑkət. ɪt ðɛn ˈlændɪd ɔn dɪˈsɛmbər 3 2010 bloʊɪŋ ə taɪər ənd ˈsəfərɪŋ ˈmaɪnər ˈdæmɪʤ tɪ ɪts ˈəndərˌbɛli. ɪt tʊk ɔf əˈgɛn frəm keɪp kəˈnævərəl ɔn dɪˈsɛmbər 11 2012 naʊ ˈriʧɪŋ 500 deɪz ɪn ˈɔrbət. ðə ɛr fɔrs ˈɔlsoʊ lɔnʧt ə ˈsɛkənd ˈmɑdəl əv ɔn mɑrʧ 5 2011 dɪˈskraɪbd baɪ ðə juz. ˈmɪlɪˌtɛri ɛz ən tɪ tɛst nu speɪs technologies”*”, ɪt ˈlændɪd ˈseɪfli æt ˈvændənbərg ɛr fɔrs beɪs ɔn ʤun 16 2012 ˈæftər 469 deɪz ɪn speɪs. ðɪs θərd ˈmɪʃən həz naʊ smæʃt ðɪs ˈpriviəs ˈrɛkərd. ˈækʧəwəl ˈfəŋkʃənz ər stɪl ˈhɛvəli ˈklæsəˌfaɪd. ɛz ˌɪˈmæʤən, kənˈspɪrəsi θiərɪsts ər ˈhævɪŋ ə fild deɪ, ənd waɪ: paʊərd baɪ ə ˈsoʊlər ˈpænəl ðət wəns ɪn ˈɔrbət, kən ˈoʊpən wɪθ smɔl, ˈpeɪˌloʊd beɪ ɪn ɪts ˈmɪdəl θɪŋk əv ə ˈklæmˌʃɛl ˈoʊpənɪŋ frəm ˌəndərˈniθ. rum fər mɔr ðən ʤɪst ə ˈsoʊlər ˈpænəl tu. ɪgˈzæktli wət ˈaɪtəmz ɪt ˈkɛriz, ənd waɪ ðeɪ nid tɪ bi ɪn speɪs soʊ lɔŋ, həz pruvd ɪˈlusɪv fər ˈænəlɪsts, ðə speɪs kəmˈjunɪti, ənd ðə ˈmidiə. tɪ æd ˈfərðər ˌɪnˈtrig, ðə pleɪn ɪz ˈklæsəˌfaɪd ɛz ə ˈsikrɪt ˈprɑʤɛkt, jɛt ˈmeɪkər boʊɪŋ həz riˈlist ˈpɪkʧərz ənd mɔr ðən tu ˈpeɪʤɪz əv ˈditeɪlz ɔn ðə. nɑt haʊ ˈsikrɪts ər ˈjuʒəwəli dɛlt wɪθ. baɪ ˈkɑntræst, ðə ˈsikrɪt ˈlɑˌkhid ˈblækbərd wɑz nɑt dɪˈklæsəˌfaɪd ənˈtɪl ˈdɛkeɪdz ˈæftər ɪt hæd bɪn floʊn ɪn ðə viˌɛtˈnɑm wɔr. ðə ˈstɑrtɪd laɪf weɪ bæk ɪn 1999 wɪn ˈnæsə æst ˈfænəm wərks dɪˈvɪʒən tɪ dɪˈvɛləp ən ˈɔrbətəl tɛst ˈviɪkəl. ðɪs wɑz ə səˈvɪljən ˈprɑʤɛkt, ənd ðə wɑz ərˈɪʤənəli ɛz ən ənˈmænd, ˌroʊˈbɑtɪk ˈspeɪˌskræft ðət wʊd ˈrɑndɪˌvu wɪθ ˈsætəˌlaɪts tɪ rifˈjuəl, rɪˈpɛr ðɛm, ər kræʃ ðɛm bæk tɪ ərθ wəns ðɛr wɑz kəmˈplit. bət ɪn 2004 ðə ˈprɑʤɛkt wɑz ˈtrænsfərd tɪ ˈdɑrpə ənd sɪns ðɛn, ɪt həz bɪn ˈhaɪli ˈklæsəˌfaɪd. ðə ˈæməˌʧər kəmˈjunɪti ðət ˈdɑkjəmənts ˈsætəˌlaɪts seɪ ˈɔrbətɪŋ bɪtˈwin dɪˈgriz nɔrθ ˈlætəˌtud tɪ dɪˈgriz saʊθ ˈlætəˌtud. ə bænd əraʊnd ðə ˈmɪdəl əv ərθ ðət teɪks ɪn məʧ əv ðə ˈjuˈɛs, ˈmɪdəl ist, ənd ˈeɪʒə, bət ɪz əˈweɪ frəm ˈrəʃə, ənd ˈjʊrəp. ˈspɑtərz səˈʤɛst ðət æt ðə ˈæltəˌtud əv, ɪt ɪz aɪˈdil ˈæltəˌtud fər spaɪɪŋ, bət tu loʊ tɪ rifˈjuəl ər fɪks ˈəðər ˈsætəˌlaɪts. ˈvərsətəl, ənd həz wərkt wɛl ɪˈnəf ðət boʊɪŋ ɪz ˈkɑntræktəd tɪ kriˈeɪt ðə nɛkst ˈmɑdəl, ðə x-37c*. ɪt wɪl bi æt list 65 pər sɛnt ˈlɑrʤər ənd hæv ðə əˈbɪləˌti tɪ ˈkɛri əp tɪ sɪks ˈæstrəˌnɔts, waɪl ˈɔpərˌeɪtɪŋ ənˈmænd. wət wi kən gɛs ðə tu moʊst ˈpɑpjələr ˈθɪriz səˈʤɛst ðə ˈviɪkəl ɪz ˈsɪmpli ˈrənɪŋ ən ɪkˈstɛndɪd ˈdʊˈreɪʃən tɛst ə ˈmɛrəˌθɑn ɪn speɪs. ðə ˈəðər ˈθɪri ɪz ðət ðə tu ˈpriviəs ˈmɪʃənz pruv ðə ˈtɛstɪŋ feɪz ɪz kəmˈplit, ənd ɪt ɪz naʊ ɔn ən ɪkˈstɛndɪd ˌɑpərˈeɪʃən ˈrənɪŋ ə ˈmɪʃən, ər ˈməltəpəl ˈmɪʃənz. ðə lɔŋ ˈɛndərəns rən ˈθɪri həz ˈkrɛdɪt; ˈpruvɪŋ ðət nu, ɪkˌspɛrɪˈmɛntəl ˈkrɪtɪkəl kəmˈpoʊnənts kən wərk rɪˈlaɪəbli fər ə ɪn speɪs, kloʊz tɪ ərθ. ðə həz ˈkrɛdɪt tu wɪθ tu ˈpriviəs ˈmɪʃənz kəmˈplit, kən naʊ ˈɔpərˌeɪt æt lɛŋθ. ənd pərˈhæps ɪt ɪz əbˈzərvɪŋ, spaɪɪŋ, ɛkˈspɛrəˌmɛntɪŋ, ˈhoʊstɪŋ space-weapons*, ər kəˈlɛktɪŋ ˈdætə fər ðə nsa*. wi ʤɪst noʊ. boʊθ ˈθɪriz ər ˈplɔzəbəl. ʤoʊn johnson-freese*, ə prəˈfɛsər əv ˈnæʃənəl sɪˈkjʊrəti əˈfɛrz æt ðə juz. ˈneɪvəl wɔr ˈkɑlɪʤ, toʊld, ðə ˈklæsəˌfaɪd ˈneɪʧər əv ðə həz reɪzd səm kənˈsərnz əˈbaʊt ɪts ˌɪnˈtɛndɪd ˌɑpərˈeɪʃənəl ˈpərpəsɪz, ˈtɛknɪkəli, ðə ˈproʊˌgræm məst bi kəˈmɛndɪd fər duɪŋ ˈsəmθɪŋ new…*… ənd successfully.”*.” ʃi ˈspɛkjəˌleɪtɪd ˈpeɪˌloʊd wʊd ˌɪnˈklud nu ˈsɛnsərz ənd ˈsætəˌlaɪt ˈhɑrdˌwɛr tɪ bi ˈtɛstɪd. wət ɪt ˈplɛnti əv kənˈspɪrəsi θiərɪst hæv poʊzd ðə kˈwɛʃən əv ˈkɛriɪŋ ə ˈnukliər ˈpeɪˌloʊd, tɪ ˌgɛrənˈti ə strike’*’ ˌɑpərˈtunəti (ər tɪ hæv ə ɪn pleɪs). ɪf ju hæv ˈɛni hoʊp fər juˈmænɪti, ðət bi raɪt. ðə ˈjuˈɛs ɪz ə ˈsɪgnəˌtɔri tɪ ðə speɪs ˈtriti, wɪʧ ɪz noʊ ʤoʊk. ˈwɛpənz əv mæs dɪˈstrəkʃən ər bænd. (wən ˈkjʊriəs ɪgˈzæmpəl əv ə ˈwɛpən ðət bænd ɪz ə kɪˈnɛtɪk straɪk, wɛr ˈɑbʤɛkts ˈwɪzɪŋ əraʊnd ðə ərθ æt greɪt spid ər ˌɪnˈtɛnʃənəli sɛnt tɪ ðə graʊnd, ˈkɔzɪŋ ə ˌɪmˈpækt ənd ˈwaɪdˈsprɛd ˈdæmɪʤ. ðɪs taɪp əv əˈtæk ɪz ˈɔlsoʊ noʊn ɛz frəm god’*’.) ˈʤɛnərəl ˌkɛrɪktərˈɪstɪks kru: nən lɛŋθ: ˈwɪŋˌspæn: haɪt: ˈloʊdɪd weɪt: powerplant*: 1 ˈɛroʊˌʤɛt ˈrɑkət ˈɪnʤən (ˈhaɪdrəˌzin) paʊər: ˈgæliəm ˈɑrsəˌnaɪd ˈsoʊlər sɛlz wɪθ ˈbætəriz ˈəpˌdeɪt: wi hæv ˈtəʧˌdaʊn! ˈæftər 674 deɪz ɪn speɪs, ˈlændɪd. wi hæv ɔl ðə ˈɪmɪʤɪz ənd ˌɪnˌfɔrˈmeɪʃən fər ju hir. mɔr ˈkɑntɛnt wi hoʊp ˌɛnˈʤɔɪ: »waɪ speɪs ɪz hɛl fər ˈæstrəˌnɔts: naɪn weɪz riks ˈhævək ɔn ˈjumənz »əˈmeɪzɪŋ əv ðə ˈænjələr ˈsoʊlər ɪˈklɪps: haʊ aɪ tʊk ðɛm, ənd haʊ ju kən tu »ðə ˈprɑbləm wɪθ ˈtərtəlz: ðeɪ ʤɪst bɪˈlɔŋ
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strike suit zero will remind you of the heyday of space combat, whilst simultaneously introducing exciting newnics to make it relevant for audience. to ensure that the game brings space combat back with a bang, brought in the best names in and sci-fi to really put a stamp on the genre.
this is space combat reborn.
if you're a fan of, you'll be excited to learn that ship and craft designs come courtesy of junji okubo, who has previously lent his talents to steel battalion, infinite space, appleseed: ex and creed. working closely with the born ready team, junji who normally favours a western design philosophy has brought some more traditional eastern traits to the strike suit designs.
as a special reward for backers, we're offering two backers the chance to have their ideas for a mech or turned into a real design by junji himself. see below for more on this exclusive opportunity!
you can see junji talking about his work on strike suit zero in the developer diary below:
in addition to this, paul, who has composed the homeworld soundtrack, has furnished the game with an original score. with its otherworldly tones and fusion of styles, paul has created something perfect for strike suit zero.
the main strike suit theme is a collaboration between paul and a japanese well known for her work with and videogames. has leant her vocal talents to numerous and games, including: tales of innocence, origin: spirits of the past and gunslinger girl: il teatrino.
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there's a fusion of cultures at the heart of strike suit zero; a strong notion of east meets west. from the soundtrack, to the mechs, to the way the gameplay itself unfolds. strike suit zero is a combination of sounds, designs andnics that have been brought together with the precise aim of making the best space combat experience possible.
in the year 2299, an interstellar war rages. earth's dwindling forces - the united nations of earth (u.n.e) - repel a fearless enemy, fighting to protect a planet on the brink of destruction. you begin the game behind the front lines on a post defending a station near earth. after repelling an attack, word comes through from earth's command that the enemy are intending to end the war with one decisive strike.
they've amassed a colossal fleet, and are bringing it to earth.
you're sent into deep space to join earth's forces as they attempt to intercept the fleet....
fast, frantic space combat: you can freely engage multiple enemies, dogfight other pilots, fight massive fleet battles and defend vast structures.
you can freely engage multiple enemies, dogfight other pilots, fight massive fleet battles and defend vast structures. the strike suit: strategically switch from pursuit mode (speed and power) to strike mode (a powerful, highly maneuverable combat mode)
strategically switch from pursuit mode (speed and power) to strike mode (a powerful, highly maneuverable combat mode) multiple endings: your choices in game - for example, the secondary objectives you choose to complete - directly affect the state of earth at the end of the game. with multiple endings, preventing destruction is your immediate concern but preserving its future is your ultimate goal.
your choices in game - for example, the secondary objectives you choose to complete - directly affect the state of earth at the end of the game. with multiple endings, preventing destruction is your immediate concern but preserving its future is your ultimate goal. capital ship destruction: take capital ships apart piece by piece take out their turrets or target to blow out entire sections of their superstructure.
take capital ships apart piece by piece take out their turrets or target to blow out entire sections of their superstructure. vibrant and vivid universe: space is far from the dark, featureless void you'd expect. discover the colour and vibrancy of the strike suit universe across 13 unique locations.
space is far from the dark, featureless void you'd expect. discover the colour and vibrancy of the strike suit universe across 13 unique locations. ship designs from renownednical design engineer junji okubo ( appleseed: ex , steel battalion. )
from renownednical design engineer junji okubo ( , ) music from sound designer paul (homeworld) including a collaboration with japanese (tales of innocence, gunslinger girl: teatrino)
"born ready games have put a lot of effort into building battles that entirely revolve around you. “we have almost a full combat simulation happening while doing your objectives,” he says." -- pc gamer
"...this took on vessels that made galactica look like sputnik." -- rock paper shotgun
"strike suit zero has plenty to satisfy your cravings."
"...then everyone sort of stopped making space games, and a lot of people were forced to pack away their dreams of being interstellar combat pilots. it was heartbreaking.
thank your lucky stars, then, for strike suit zero from born ready, a space combat simulator that recalls those heady days just with super detailed visuals and a touch of-style mech action. " -- inc
"it has intelligent, tough enemy ai and a great strike suit advantage that prepares you for the challenges ahead with powerful defensive and offensive abilities. the eerie, otherworldly soundtrack is certainly no slouch either." -- destructoid.
important: the first 1000 backers who pledge $50 or more will gain exclusive access to the beta later this year.
strike suit zero just a game; a universe, and with our tiered reward system, inviting you to be a part of it. tied into our rewards are ranks corresponding to how much you've backed. every single pledge - be it one dollar, or - will get your name added to the roll of honour on the credits for the game.
here’s an idea of what your money can get you:
join the fight to save earth and enlist for updates! get your name added to the roll of honour in the credits for the game! we'll also provide you with a wallpaper pack exclusive to, and you'll be kept up to date with all news on the project.
the early bird gets the worm! 1000 early adopters will pay just $15 for strike suit zero on the day of its release. get those pledges in quickly!
$20 will get you strike suit zero on the day of release. you'll also get an exclusive set of wallpapers - specific to this tier - for your desktop, mobile phone and tablet.
the wing commander tier offers the definitive strike suit zero bundle. not only will you get the game, digital art-book, soundtrack and additional content, you'll also get the-exclusive marauder strike suit, strictly available to our backers only.
the first 1000 backers from $50 and up will be given access to the exclusive strike suit zero beta.
strike pilots will get their very own apparel. the official strike suit zero t-shirt has been designed in collaboration with insert coin clothing; a limited run of tees that will be the envy of fans everywhere.
in addition to the t-shirt from the previous tier, chief strike pilots get the deluxe strike suit zero artbook; a physical book with 40 pages of concept art, and ship designs, with commentary from the team.
space is cold. layer up. the squad captain reward offers an exclusive - designed alongside our friends at insert coin clothing - and is exclusively available through. at this tier, you'll also be eligible for all strike suit zero in the future.
one for the music lovers. the fleet conductor tier offers a physical copy of the strike suit zero soundtrack, composed and arrange by paul. exclusive to, this limited run of cds not only features bonus tracks and commentary that isn't available anywhere else, but is also signed by paul himself.
the world and art of strike suit zero is one of the game's shining assets. with the commodore reward tier, we're giving you the opportunity to take that art into your home. these stunning paintings - approximately 6" x 30" are printed at the highest possible grade, and framed ready for your wall of choice.
the is entitled to his or her very own strike suit. standing approximately tall, these detailed strike suit figures are the perfect addition to the desk of any or space combat fan.
become in strike suit lore. have your name and likeness added to a special mission in the game. you'll be one of the heroes of the fleet, and will become a permanent fixture in the lore and history of strike suit zero.
the ultimate reward for connoisseurs of space combat and. based on your designs, ideas and instructions, junji okubo will design you your very own mech; one of only two that will ever be created. this mech will then be turned into a model by the born ready art team, and sent for printing. you'll own your very own mech, a collaboration of your ideas and design talents.
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$130,000 -- mod tools
- if the campaign reaches $130,000 we will take our in-house editing tool to the next level and open it to the community. you will be able to create your own missions - your own campaign - and share them with the community.
$180,000 -- mac and linux support
- should we hit $180,000, we'll be able to offer strike suit zero on both the mac and linux platforms. should we reach this target, your pledge (given it's $15 or more) will get you the game - on your platform of choice - shortly after the main release of the game.
we are born ready, a game studio based in guildford, uk. a team with a deeply rooted passion for not just the space combat genre but the industry as a whole. been hard at work on strike suit zero for two years, and wait to get it into your hands.
the team has years of cumulative experience in the industry, having worked on the likes of call of duty finest hour, warhammer: firewarrior, wars, dark messiah of might and magic, dungeon & dragons tactics and geometry wars galaxies, amongst others.
to all our backers: a hearty ‘thank you’ from everybody at born ready. with your help, able to take strike suit zero to next level; able to incorporate player feedback from pax and gamescom, and let our beta players shape the final months of development. convinced that the game can be something special, and giving us the opportunity to prove it. again, thank you.
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straɪk sut ˈziroʊ wɪl riˈmaɪnd ju əv ðə ˈheɪˌdeɪ əv speɪs ˈkɑmbæt, waɪlst ˌsaɪməlˈteɪniəsli ˌɪntrəˈdusɪŋ ɪkˈsaɪtɪŋ nu məˈkænɪks tɪ meɪk ɪt ˈrɛləvənt fər ˈɔdiəns. tɪ ɪnˈʃʊr ðət ðə geɪm brɪŋz speɪs ˈkɑmbæt bæk wɪθ ə bæŋ, brɔt ɪn ðə bɛst neɪmz ɪn ənd ˌsaɪˈfaɪ tɪ ˈrɪli pʊt ə stæmp ɔn ðə ˈʒɑnrə. ðɪs ɪz speɪs ˈkɑmbæt ˈriˈbɔrn. ɪf jʊr ə fæn əv, jul bi ɪkˈsaɪtɪd tɪ lərn ðət ʃɪp ənd kræft dɪˈzaɪnz kəm ˈkərtəsi əv ˈʤənʤi oʊˈkuboʊ, hu həz ˈpriviəsli lɛnt hɪz ˈtælənts tɪ stil bəˈtæljən, ˈɪnfənət speɪs, ˈæpəlˌsid: ɛks ənd krid. ˈwərkɪŋ ˈkloʊsli wɪθ ðə bɔrn ˈrɛdi tim, ˈʤənʤi hu ˈnɔrməli ˈfeɪvərz ə ˈwɛstərn dɪˈzaɪn fəˈlɑsəfi həz brɔt səm mɔr trəˈdɪʃənəl ˈistərn treɪts tɪ ðə straɪk sut dɪˈzaɪnz. ɛz ə ˈspɛʃəl rɪˈwɔrd fər ˈbækərz, wɪr ˈɔfərɪŋ tu ˈbækərz ðə ʧæns tɪ hæv ðɛr aɪˈdiəz fər ə mɛk ər tərnd ˈɪntu ə ril dɪˈzaɪn baɪ ˈʤənʤi hɪmˈsɛlf. si bɪˈloʊ fər mɔr ɔn ðɪs ɪkˈsklusɪv ˌɑpərˈtunəti! ju kən si ˈʤənʤi ˈtɔkɪŋ əˈbaʊt hɪz wərk ɔn straɪk sut ˈziroʊ ɪn ðə dɪˈvɛləpər ˈdaɪəri bɪˈloʊ: ɪn əˈdɪʃən tɪ ðɪs, pɔl, hu həz kəmˈpoʊzd ðə ˈhoʊmˌwərld ˈsaʊnˌtræk, həz ˈfərnɪʃt ðə geɪm wɪθ ən ərˈɪʤənəl skɔr. wɪθ ɪts ˈəðərˈwərldli toʊnz ənd fˈjuʒən əv staɪlz, pɔl həz kriˈeɪtɪd ˈsəmθɪŋ ˈpərˌfɪkt fər straɪk sut ˈziroʊ. ðə meɪn straɪk sut θim ɪz ə kəˌlæbərˈeɪʃən bɪtˈwin pɔl ənd ə ˌʤæpəˈniz wɛl noʊn fər hər wərk wɪθ ənd videogames*. həz ˈliənt hər ˈvoʊkəl ˈtælənts tɪ ˈnumərəs ənd geɪmz, ˌɪnˈkludɪŋ: teɪlz əv ˈɪnəsəns, ˈɔrəʤən: ˈspɪrɪts əv ðə pæst ənd ˈgənsˌlɪŋər gərl: ɪl teatrino*. ðɛrz ə fˈjuʒən əv ˈkəlʧərz æt ðə hɑrt əv straɪk sut ˈziroʊ; ə strɔŋ ˈnoʊʃən əv ist mits wɛst. frəm ðə ˈsaʊnˌtræk, tɪ ðə mechs*, tɪ ðə weɪ ðə ˈgeɪmˌpleɪ ˌɪtˈsɛlf ənˈfoʊldz. straɪk sut ˈziroʊ ɪz ə ˌkɑmbəˈneɪʃən əv saʊnz, dɪˈzaɪnz ənd məˈkænɪks ðət hæv bɪn brɔt təˈgɛðər wɪθ ðə prɪˈsaɪs eɪm əv ˈmeɪkɪŋ ðə bɛst speɪs ˈkɑmbæt ɪkˈspɪriəns ˈpɑsəbəl. ɪn ðə jɪr 2299 ən ˌɪntərˈstɛlər wɔr ˈreɪʤɪz. ərθs dˈwɪndəlɪŋ ˈfɔrsɪz ðə juˈnaɪtɪd ˈneɪʃənz əv ərθ (u.n.e*) rɪˈpɛl ə ˈfɪrləs ˈɛnəmi, ˈfaɪtɪŋ tɪ prəˈtɛkt ə ˈplænət ɔn ðə brɪŋk əv dɪˈstrəkʃən. ju bɪˈgɪn ðə geɪm bɪˈhaɪnd ðə frənt laɪnz ɔn ə poʊst dɪˈfɛndɪŋ ə ˈsteɪʃən nɪr ərθ. ˈæftər rəˈpɛlɪŋ ən əˈtæk, wərd kəmz θru frəm ərθs kəˈmænd ðət ðə ˈɛnəmi ər ˌɪnˈtɛndɪŋ tɪ ɛnd ðə wɔr wɪθ wən dɪˈsaɪsɪv straɪk. ðeɪv əˈmæst ə kəˈlɑsəl flit, ənd ər ˈbrɪŋɪŋ ɪt tɪ ərθ. jʊr sɛnt ˈɪntu dip speɪs tɪ ʤɔɪn ərθs ˈfɔrsɪz ɛz ðeɪ əˈtɛmpt tɪ ˌɪnərˈsɛpt ðə flit.... fæst, ˈfræntɪk speɪs ˈkɑmbæt: ju kən ˈfrili ɪnˈgeɪʤ ˈməltəpəl ˈɛnəmiz, ˈdɑgˌfaɪt ˈəðər ˈpaɪləts, faɪt ˈmæsɪv flit ˈbætəlz ənd dɪˈfɛnd væst ˈstrəkʧərz. ju kən ˈfrili ɪnˈgeɪʤ ˈməltəpəl ˈɛnəmiz, ˈdɑgˌfaɪt ˈəðər ˈpaɪləts, faɪt ˈmæsɪv flit ˈbætəlz ənd dɪˈfɛnd væst ˈstrəkʧərz. ðə straɪk sut: strəˈtiʤɪkli swɪʧ frəm pərˈsut moʊd (spid ənd paʊər) tɪ straɪk moʊd (ə ˈpaʊərfəl, ˈhaɪli məˈnuvərəbəl ˈkɑmbæt moʊd) strəˈtiʤɪkli swɪʧ frəm pərˈsut moʊd (spid ənd paʊər) tɪ straɪk moʊd (ə ˈpaʊərfəl, ˈhaɪli məˈnuvərəbəl ˈkɑmbæt moʊd) ˈməltəpəl ˈɛndɪŋz: jʊr ˈʧɔɪsɪz ɪn geɪm fər ɪgˈzæmpəl, ðə ˈsɛkənˌdɛri əˈbʤɛktɪvz ju ʧuz tɪ kəmˈplit dɪˈrɛkli əˈfɛkt ðə steɪt əv ərθ æt ðə ɛnd əv ðə geɪm. wɪθ ˈməltəpəl ˈɛndɪŋz, prɪˈvɛnɪŋ dɪˈstrəkʃən ɪz jʊr ˌɪˈmiˌdiət kənˈsərn bət prɪˈzərvɪŋ ɪts fˈjuʧər ɪz jʊr ˈəltəmət goʊl. jʊr ˈʧɔɪsɪz ɪn geɪm fər ɪgˈzæmpəl, ðə ˈsɛkənˌdɛri əˈbʤɛktɪvz ju ʧuz tɪ kəmˈplit dɪˈrɛkli əˈfɛkt ðə steɪt əv ərθ æt ðə ɛnd əv ðə geɪm. wɪθ ˈməltəpəl ˈɛndɪŋz, prɪˈvɛnɪŋ dɪˈstrəkʃən ɪz jʊr ˌɪˈmiˌdiət kənˈsərn bət prɪˈzərvɪŋ ɪts fˈjuʧər ɪz jʊr ˈəltəmət goʊl. ˈkæpɪtəl ʃɪp dɪˈstrəkʃən: teɪk ˈkæpɪtəl ʃɪps əˈpɑrt pis baɪ pis teɪk aʊt ðɛr tərəts ər ˈtərgət tɪ bloʊ aʊt ɪnˈtaɪər ˈsɛkʃənz əv ðɛr ˈsupərˌstrəkʧər. teɪk ˈkæpɪtəl ʃɪps əˈpɑrt pis baɪ pis teɪk aʊt ðɛr tərəts ər ˈtərgət tɪ bloʊ aʊt ɪnˈtaɪər ˈsɛkʃənz əv ðɛr ˈsupərˌstrəkʧər. ˈvaɪbrənt ənd ˈvɪvɪd ˈjunəˌvərs: speɪs ɪz fɑr frəm ðə dɑrk, ˈfiʧərləs vɔɪd jʊd ɪkˈspɛkt. dɪˈskəvər ðə ˈkələr ənd ˈvaɪbrənsi əv ðə straɪk sut ˈjunəˌvərs əˈkrɔs 13 juˈnik loʊˈkeɪʃənz. speɪs ɪz fɑr frəm ðə dɑrk, ˈfiʧərləs vɔɪd jʊd ɪkˈspɛkt. dɪˈskəvər ðə ˈkələr ənd ˈvaɪbrənsi əv ðə straɪk sut ˈjunəˌvərs əˈkrɔs 13 juˈnik loʊˈkeɪʃənz. ʃɪp dɪˈzaɪnz frəm rɪˈnaʊnd məˈkænɪkəl dɪˈzaɪn ˈɛnʤəˈnɪr ˈʤənʤi oʊˈkuboʊ ˈæpəlˌsid: ɛks stil bəˈtæljən. frəm rɪˈnaʊnd məˈkænɪkəl dɪˈzaɪn ˈɛnʤəˈnɪr ˈʤənʤi oʊˈkuboʊ mˈjuzɪk frəm saʊnd dɪˈzaɪnər pɔl (ˈhoʊmˌwərld) ˌɪnˈkludɪŋ ə kəˌlæbərˈeɪʃən wɪθ ˌʤæpəˈniz (teɪlz əv ˈɪnəsəns, ˈgənsˌlɪŋər gərl: teatrino*) "bɔrn ˈrɛdi geɪmz hæv pʊt ə lɔt əv ˈɛfərt ˈɪntu ˈbɪldɪŋ ˈbætəlz ðət ɪnˈtaɪərli riˈvɑlv əraʊnd ju. hæv ˈɔlˌmoʊst ə fʊl ˈkɑmbæt ˌsɪmjəˈleɪʃən ˈhæpənɪŋ waɪl duɪŋ jʊr objectives,”*,” hi sɪz." ˈpiˈsi ˈgeɪmər "...ðɪs tʊk ɔn ˈvɛsəlz ðət meɪd gəˈlækˌtɪkə lʊk laɪk ˈspətnɪk." rɑk ˈpeɪpər ˈʃɑtˌgən "straɪk sut ˈziroʊ həz ˈplɛnti tɪ ˈsætɪsˌfaɪ jʊr ˈkreɪvɪŋz." "...ðɛn ˈɛvriˌwən sɔrt əv stɑpt ˈmeɪkɪŋ speɪs geɪmz, ənd ə lɔt əv ˈpipəl wər fɔrst tɪ pæk əˈweɪ ðɛr drimz əv biɪŋ ˌɪntərˈstɛlər ˈkɑmbæt ˈpaɪləts. ɪt wɑz ˈhɑrtˌbreɪkɪŋ. θæŋk jʊr ˈləki stɑrz, ðɛn, fər straɪk sut ˈziroʊ frəm bɔrn ˈrɛdi, ə speɪs ˈkɑmbæt ˈsɪmjəˌleɪtər ðət ˈriˌkɔlz ðoʊz ˈhɛdi deɪz ʤɪst wɪθ ˈsupər dɪˈteɪld ˈvɪʒwəlz ənd ə təʧ əv mɛk ˈækʃən. ɪŋk "ɪt həz ˌɪnˈtɛləʤənt, təf ˈɛnəmi eɪaɪ ənd ə greɪt straɪk sut ædˈvæntɪʤ ðət pərˈpɛrz ju fər ðə ˈʧælənʤɪz əˈhɛd wɪθ ˈpaʊərfəl dɪˈfɛnsɪv ənd əˈfɛnsɪv əˈbɪləˌtiz. ðə ˈɪri, ˈəðərˈwərldli ˈsaʊnˌtræk ɪz ˈsərtənli noʊ slaʊʧ ˈiðər." destructoid*. ˌɪmˈpɔrtənt: ðə fərst 1000 ˈbækərz hu plɛʤ 50 ər mɔr wɪl geɪn ɪkˈsklusɪv ˈækˌsɛs tɪ ðə ˈbeɪtə ˈleɪtər ðɪs jɪr. straɪk sut ˈziroʊ ʤɪst ə geɪm; ə ˈjunəˌvərs, ənd wɪθ ɑr tird rɪˈwɔrd ˈsɪstəm, ˌɪnˈvaɪtɪŋ ju tɪ bi ə pɑrt əv ɪt. taɪd ˈɪntu ɑr rɪˈwɔrdz ər ræŋks ˌkɔrəˈspɑndɪŋ tɪ haʊ məʧ juv bækt. ˈɛvəri ˈsɪŋgəl plɛʤ bi ɪt wən ˈdɔlər, ər wɪl gɪt jʊr neɪm ˈædɪd tɪ ðə roʊl əv ˈɑnər ɔn ðə ˈkrɛdɪts fər ðə geɪm. ən aɪˈdiə əv wət jʊr ˈməni kən gɪt ju: ʤɔɪn ðə faɪt tɪ seɪv ərθ ənd ˌɛnˈlɪst fər ˈəpˌdeɪts! gɪt jʊr neɪm ˈædɪd tɪ ðə roʊl əv ˈɑnər ɪn ðə ˈkrɛdɪts fər ðə geɪm! wɪl ˈɔlsoʊ prəˈvaɪd ju wɪθ ə ˈwɔlˌpeɪpər pæk ɪkˈsklusɪv tɪ, ənd jul bi kɛpt əp tɪ deɪt wɪθ ɔl nuz ɔn ðə ˈprɑʤɛkt. ðə ˈərli bərd gɪts ðə wərm! 1000 ˈərli əˈdɑptərz wɪl peɪ ʤɪst 15 fər straɪk sut ˈziroʊ ɔn ðə deɪ əv ɪts riˈlis. gɪt ðoʊz ˈplɛʤɪz ɪn kˈwɪkli! 20 wɪl gɪt ju straɪk sut ˈziroʊ ɔn ðə deɪ əv riˈlis. jul ˈɔlsoʊ gɪt ən ɪkˈsklusɪv sɛt əv ˈwɔlˌpeɪpərz spɪˈsɪfɪk tɪ ðɪs tir fər jʊr ˈdɛskˌtɑp, ˈmoʊbəl foʊn ənd ˈtæblət. ðə wɪŋ kəˈmændər tir ˈɔfərz ðə dɪˈfɪnɪtɪv straɪk sut ˈziroʊ ˈbəndəl. nɑt ˈoʊnli wɪl ju gɪt ðə geɪm, ˈdɪʤɪtəl art-book*, ˈsaʊnˌtræk ənd əˈdɪʃənəl ˈkɑntɛnt, jul ˈɔlsoʊ gɪt ðə mərˈɔdər straɪk sut, ˈstrɪktli əˈveɪləbəl tɪ ɑr ˈbækərz ˈoʊnli. ðə fərst 1000 ˈbækərz frəm 50 ənd əp wɪl bi ˈgɪvɪn ˈækˌsɛs tɪ ðə ɪkˈsklusɪv straɪk sut ˈziroʊ ˈbeɪtə. straɪk ˈpaɪləts wɪl gɪt ðɛr ˈvɛri oʊn əˈpærəl. ðə əˈfɪʃəl straɪk sut ˈziroʊ ˈtiˌsərt həz bɪn dɪˈzaɪnd ɪn kəˌlæbərˈeɪʃən wɪθ ˌɪnˈsərt kɔɪn ˈkloʊðɪŋ; ə ˈlɪmɪtɪd rən əv tiz ðət wɪl bi ðə ˈɛnvi əv fænz ˈɛvriˌwɛr. ɪn əˈdɪʃən tɪ ðə ˈtiˌsərt frəm ðə ˈpriviəs tir, ʧif straɪk ˈpaɪləts gɪt ðə dəˈləks straɪk sut ˈziroʊ artbook*; ə ˈfɪzɪkəl bʊk wɪθ 40 ˈpeɪʤɪz əv ˈkɑnsɛpt ɑrt, ənd ʃɪp dɪˈzaɪnz, wɪθ ˈkɑmənˌtɛri frəm ðə tim. speɪs ɪz koʊld. leɪər əp. ðə skwɑd ˈkæptən rɪˈwɔrd ˈɔfərz ən ɪkˈsklusɪv dɪˈzaɪnd əˈlɔŋˈsaɪd ɑr frɛndz æt ˌɪnˈsərt kɔɪn ˈkloʊðɪŋ ənd ɪz ɪkˈsklusɪvli əˈveɪləbəl θru. æt ðɪs tir, jul ˈɔlsoʊ bi ˈɛlɪʤəbəl fər ɔl straɪk sut ˈziroʊ ɪn ðə fˈjuʧər. wən fər ðə mˈjuzɪk ˈləvərz. ðə flit kənˈdəktər tir ˈɔfərz ə ˈfɪzɪkəl ˈkɑpi əv ðə straɪk sut ˈziroʊ ˈsaʊnˌtræk, kəmˈpoʊzd ənd əreɪnʤ baɪ pɔl. ɪkˈsklusɪv tɪ, ðɪs ˈlɪmɪtɪd rən əv ˈsiˈdiz nɑt ˈoʊnli ˈfiʧərz ˈboʊnəs træks ənd ˈkɑmənˌtɛri ðət ˈɪzənt əˈveɪləbəl ˈɛniˌwɛr ɛls, bət ɪz ˈɔlsoʊ saɪnd baɪ pɔl hɪmˈsɛlf. ðə wərld ənd ɑrt əv straɪk sut ˈziroʊ ɪz wən əv ðə geɪmz ˈʃaɪnɪŋ ˈæˌsɛts. wɪθ ðə ˈkɑməˌdɔr rɪˈwɔrd tir, wɪr ˈgɪvɪŋ ju ðə ˌɑpərˈtunəti tɪ teɪk ðət ɑrt ˈɪntu jʊr hoʊm. ðiz ˈstənɪŋ ˈpeɪnɪŋz əˈprɑksəmətli 6 ɛks 30 ər ˈprɪnɪd æt ðə haɪəst ˈpɑsəbəl greɪd, ənd freɪmd ˈrɛdi fər jʊr wɔl əv ʧɔɪs. ðə ɪz ɛnˈtaɪtəld tɪ hɪz ər hər ˈvɛri oʊn straɪk sut. ˈstændɪŋ əˈprɑksəmətli tɔl, ðiz dɪˈteɪld straɪk sut ˈfɪgjərz ər ðə ˈpərˌfɪkt əˈdɪʃən tɪ ðə dɛsk əv ˈɛni ər speɪs ˈkɑmbæt fæn. bɪˈkəm ɪn straɪk sut lɔr. hæv jʊr neɪm ənd ˈlaɪknəs ˈædɪd tɪ ə ˈspɛʃəl ˈmɪʃən ɪn ðə geɪm. jul bi wən əv ðə ˈhɪroʊz əv ðə flit, ənd wɪl bɪˈkəm ə ˈpərmɑˌnɛnt ˈfɪksʧər ɪn ðə lɔr ənd ˈhɪstəri əv straɪk sut ˈziroʊ. ðə ˈəltəmət rɪˈwɔrd fər ˌkɑnəˈsərz əv speɪs ˈkɑmbæt ənd. beɪst ɔn jʊr dɪˈzaɪnz, aɪˈdiəz ənd ˌɪnˈstrəkʃənz, ˈʤənʤi oʊˈkuboʊ wɪl dɪˈzaɪn ju jʊr ˈvɛri oʊn mɛk; wən əv ˈoʊnli tu ðət wɪl ˈɛvər bi kriˈeɪtɪd. ðɪs mɛk wɪl ðɛn bi tərnd ˈɪntu ə ˈmɑdəl baɪ ðə bɔrn ˈrɛdi ɑrt tim, ənd sɛnt fər ˈprɪnɪŋ. jul oʊn jʊr ˈvɛri oʊn mɛk, ə kəˌlæbərˈeɪʃən əv jʊr aɪˈdiəz ənd dɪˈzaɪn ˈtælənts. mɔd tulz ɪf ðə kæmˈpeɪn ˈriʧɪz wi wɪl teɪk ɑr ˌɪnˈhaʊs ˈɛdɪtɪŋ tul tɪ ðə nɛkst ˈlɛvəl ənd ˈoʊpən ɪt tɪ ðə kəmˈjunɪti. ju wɪl bi ˈeɪbəl tɪ kriˈeɪt jʊr oʊn ˈmɪʃənz jʊr oʊn kæmˈpeɪn ənd ʃɛr ðɛm wɪθ ðə kəmˈjunɪti. mæk ənd ˈlɪnəks səˈpɔrt ʃʊd wi hɪt wɪl bi ˈeɪbəl tɪ ˈɔfər straɪk sut ˈziroʊ ɔn boʊθ ðə mæk ənd ˈlɪnəks ˈplætˌfɔrmz. ʃʊd wi riʧ ðɪs ˈtərgət, jʊr plɛʤ (ˈgɪvɪn ɪts 15 ər mɔr) wɪl gɪt ju ðə geɪm ɔn jʊr ˈplætˌfɔrm əv ʧɔɪs ˈʃɔrtli ˈæftər ðə meɪn riˈlis əv ðə geɪm. wi ər bɔrn ˈrɛdi, ə geɪm ˈstudiˌoʊ beɪst ɪn guildford*, uk*. ə tim wɪθ ə ˈdipli ˈrutɪd ˈpæʃən fər nɑt ʤɪst ðə speɪs ˈkɑmbæt ˈʒɑnrə bət ðə ˈɪndəstri ɛz ə hoʊl. bɪn hɑrd æt wərk ɔn straɪk sut ˈziroʊ fər tu jɪrz, ənd weɪt tɪ gɪt ɪt ˈɪntu jʊr hænz. ðə tim həz jɪrz əv ˈkjumjələtɪv ɪkˈspɪriəns ɪn ðə ˈɪndəstri, ˈhævɪŋ wərkt ɔn ðə laɪks əv kɔl əv ˈduti ˈfaɪnəst aʊər, warhammer*: firewarrior*, wɔrz, dɑrk məˈsaɪə əv maɪt ənd ˈmæʤɪk, ˈdənʤən ˈdrægənz ˈtæktɪks ənd ʤiˈɑmətri wɔrz ˈgæləksiz, əˈməŋst ˈəðərz. tɪ ɔl ɑr ˈbækərz: ə ˈhɑrti you’*’ frəm ˈɛvriˌbɑdi æt bɔrn ˈrɛdi. wɪθ jʊr hɛlp, ˈeɪbəl tɪ teɪk straɪk sut ˈziroʊ tɪ nɛkst ˈlɛvəl; ˈeɪbəl tɪ ˌɪnˈkɔrpərˌeɪt pleɪər ˈfidˌbæk frəm pæks ənd gamescom*, ənd lɛt ɑr ˈbeɪtə pleɪərz ʃeɪp ðə ˈfaɪnəl mənθs əv dɪˈvɛləpmənt. kənˈvɪnst ðət ðə geɪm kən bi ˈsəmθɪŋ ˈspɛʃəl, ənd ˈgɪvɪŋ ˈjuˈɛs ðə ˌɑpərˈtunəti tɪ pruv ɪt. əˈgɛn, θæŋk ju.
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dolphins could teach humans a thing or two about finding nemo. the aquatic mammals may pinpoint prey hidden in bubbles by using mental math.
by adjusting the volume of sonar clicks, then processing the incoming echoes, dolphins might have solved a problem that still stymies man-made sonar: how to peer through frothy water. using clicks that mimic an atlantic dolphin, scientists devised a system that weeds out sound clutter from underwater bubbles.
“it’s really ingenious, actually,” says oceanographer grant deane of the scripps institution of oceanography in la jolla, calif. “i think very clever work, and there are a number of significant applications for it.”
using something like a hose, researchers shot bubbles into a huge water tank set underground. the bubbles cloaked a submerged target: a steel ball slightly smaller than a baseball. then, the researchers sent out short bursts of so
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ˈdɑlfənz kʊd tiʧ ˈjumənz ə θɪŋ ər tu əˈbaʊt ˈfaɪndɪŋ ˈnɛmoʊ. ðə əkˈwɑtɪk ˈmæməlz meɪ ˈpɪnˌpɔɪnt preɪ ˈhɪdən ɪn ˈbəbəlz baɪ ˈjuzɪŋ ˈmɛntəl mæθ. baɪ əˈʤəstɪŋ ðə ˈvɑljum əv ˈsoʊnɑr klɪks, ðɛn ˈprɑsɛsɪŋ ðə ˈɪnˌkəmɪŋ ˈɛkoʊz, ˈdɑlfənz maɪt hæv sɑlvd ə ˈprɑbləm ðət stɪl ˈstaɪmiz ˈmænˌmeɪd ˈsoʊnɑr: haʊ tɪ pɪr θru ˈfrɔθi ˈwɔtər. ˈjuzɪŋ klɪks ðət ˈmɪmɪk ən əˈtlæntɪk ˈdɑlfən, ˈsaɪəntɪsts dɪˈvaɪzd ə ˈsɪstəm ðət widz aʊt saʊnd ˈklətər frəm ˈəndərˌwɔtər ˈbəbəlz. ˈrɪli ˌɪnˈʤinjəs, actually,”*,” sɪz ˌoʊʃəˈnɑgrəfər grænt din əv ðə skrɪps ˌɪnstɪˈtuʃən əv ˌoʊʃəˈnɑgrəfi ɪn lɑ ˈʤoʊlə, ˈkælɪf. θɪŋk ˈvɛri ˈklɛvər wərk, ənd ðɛr ər ə ˈnəmbər əv sɪgˈnɪfɪkənt ˌæpləˈkeɪʃənz fər it.”*.” ˈjuzɪŋ ˈsəmθɪŋ laɪk ə hoʊz, ˈrisərʧərz ʃɑt ˈbəbəlz ˈɪntu ə juʤ ˈwɔtər tæŋk sɛt ˈəndərˌgraʊnd. ðə ˈbəbəlz kloʊkt ə səbˈmərʤd ˈtərgət: ə stil bɔl sˈlaɪtli sˈmɔlər ðən ə ˈbeɪsˈbɔl. ðɛn, ðə ˈrisərʧərz sɛnt aʊt ʃɔrt bərsts əv soʊ
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it all began because allison shower working. she went to a house on mansion road to take a shower, and coming back she saw two young people walking on the side of the road. one of them, a young woman, was sobbing, and looking a little worse for wear. allison asked the couple if she could help, or if they needed a ride, and the young woman, cathleen turner, through her tears, said, “yes.”
allison then heard what this was all about.
cathleen had lost her engagement and wedding rings, and she was scratched up desperately trying to find them in the place where she thought they had been lost. cathleen and her husband, da wei, were just married on wednesday and were having their honeymoon here on the island.
the rings could not be found.
allison and resident bruce johnson then took to the block island bulletin board to see if there would be anyone interested in helping cathleen replace her rings, and the donations just came rolling in. not long after, enough donations had come in to buy a replacement ring. and peter gibbons offered a ring that could be purchased wholesale, and the surprised couple were presented the ring on the little porch of the blue dory inn at p.m. this afternoon.
“i’m really overhwhelmed,” cathleen said over and over, as she exchanged hugs and tears with those that were present and had given donations.
cathleen and da have one more night on the island, and then back home to wakefield.
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ɪt ɔl bɪˈgæn bɪˈkəz ˈælɪsən ʃaʊər ˈwərkɪŋ. ʃi wɛnt tɪ ə haʊs ɔn ˈmænʃən roʊd tɪ teɪk ə ʃaʊər, ənd ˈkəmɪŋ bæk ʃi sɔ tu jəŋ ˈpipəl ˈwɔkɪŋ ɔn ðə saɪd əv ðə roʊd. wən əv ðɛm, ə jəŋ ˈwʊmən, wɑz ˈsɑbɪŋ, ənd ˈlʊkɪŋ ə ˈlɪtəl wərs fər wɛr. ˈælɪsən æst ðə ˈkəpəl ɪf ʃi kʊd hɛlp, ər ɪf ðeɪ ˈnidɪd ə raɪd, ənd ðə jəŋ ˈwʊmən, ˌkæθˈlin ˈtərnər, θru hər tɪrz, sɛd, ““yes.”*.” ˈælɪsən ðɛn hərd wət ðɪs wɑz ɔl əˈbaʊt. ˌkæθˈlin hæd lɔst hər ɛnˈgeɪʤmənt ənd ˈwɛdɪŋ rɪŋz, ənd ʃi wɑz skræʧt əp ˈdɛspərətli traɪɪŋ tɪ faɪnd ðɛm ɪn ðə pleɪs wɛr ʃi θɔt ðeɪ hæd bɪn lɔst. ˌkæθˈlin ənd hər ˈhəzbənd, ˈdiˈeɪ weɪ, wər ʤɪst ˈmɛrid ɔn ˈwɛnzˌdeɪ ənd wər ˈhævɪŋ ðɛr ˈhəniˌmun hir ɔn ðə ˈaɪlənd. ðə rɪŋz kʊd nɑt bi faʊnd. ˈælɪsən ənd ˈrɛzɪdənt brus ˈʤɑnsən ðɛn tʊk tɪ ðə blɑk ˈaɪlənd ˈbʊlɪtən bɔrd tɪ si ɪf ðɛr wʊd bi ˈɛniˌwən ˈɪntəˌrɛstɪd ɪn ˈhɛlpɪŋ ˌkæθˈlin ˌriˈpleɪs hər rɪŋz, ənd ðə doʊˈneɪʃənz ʤɪst keɪm ˈroʊlɪŋ ɪn. nɑt lɔŋ ˈæftər, ɪˈnəf doʊˈneɪʃənz hæd kəm ɪn tɪ baɪ ə rɪˈpleɪsmənt rɪŋ. ənd ˈpitər ˈgɪbɪnz ˈɔfərd ə rɪŋ ðət kʊd bi ˈpərʧəst ˈhoʊlˌseɪl, ənd ðə səˈpraɪzd ˈkəpəl wər pərˈzɛnəd ðə rɪŋ ɔn ðə ˈlɪtəl pɔrʧ əv ðə blu ˈdɔri ɪn æt p.m*. ðɪs ˌæftərˈnun. ˈrɪli overhwhelmed,”*,” ˌkæθˈlin sɛd ˈoʊvər ənd ˈoʊvər, ɛz ʃi ɪksˈʧeɪnʤd həgz ənd tɪrz wɪθ ðoʊz ðət wər ˈprɛzənt ənd hæd ˈgɪvɪn doʊˈneɪʃənz. ˌkæθˈlin ənd ˈdiˈeɪ hæv wən mɔr naɪt ɔn ðə ˈaɪlənd, ənd ðɛn bæk hoʊm tɪ ˈweɪkˌfild.
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xyara (photo: provided)
it's been over a month, now, since we first learned that the blue ridge landfill in estill county had become the dumping grounds for illegally imported radioactive so far, things seem to be business as usual.
when the land men showed up last year, looking to lease our mineral rights for, one of my first concerns was that my home would become convenient disposal for the huge quantities of poisonous water and sludge generated by the oil and gas industry. and now, in the county where i grew up, and possibly across this beautiful state, it already has.
despite hundreds of folks from our community in estill county and beyond showing up to demand accountability and answers, both have been in mighty short supply. it's no secret among the locals that trucks creep in and out of the dump at all hours of the night, and i grew up hearing a lot of speculation as to what they were burying in there.
and then, suddenly, it wasn't speculation anymore. at least tons of concentrated radioactive tailings from oil and gas operations (something we've been fighting to keep out of our own foothills) had slipped in "under the radar" and been dumped loose from the containers it was brought here in -- and no one seems to even know just exactly where, let alone have a plan for recovery.
no one seems to know, either, how much of that loose radioactive particulate matter may have become airborne during the time the occurred (several months, july through november of last year); how much of it may have drifted across the road to the frighteningly close middle and high schools. i attended that middle school the year it opened, and you sure can smell the dump from there. when we smell something, it means we're breathing in its particles. this thought keeps me up at night, and i'm not even a mom.
the blue ridge landfill is neither equipped nor allowed to accept this sort of waste. tenorms, they call it, for technologically enhanced naturally occurring radioactive material. the on the stuff is more than a thousand years, so when we're told, "oh, the air tests came back fine, don't worry about it," it's a little insulting. the liners at the landfill last about 30 years, and are into that already. the landfill is near the kentucky river, a pretty major watershed in these parts (don't forget, once it gets in the water, it's in all our backyards).
so you'd think there'd be outrage that we (and our future generations) have been put at this kind of risk, and that our officials on all levels would rally to shut down these privately owned corporations that acted illegally (blue ridge landfill is owned by advanced disposal, and then of course there are the companies that brought the waste in).
but, unfortunately, we live in a state where our energy and environment cabinet is headed up by the recently retired president of eastern u.s. operations for arch coal, charles snavely, whose attitude toward regulations can be summed up by his statement that, as the new regulator, he'll make sure “we are not a hindrance to any industry.” when he says about the waste dumped in estill county, "we will hold the violators accountable to the law just as we would in any situation under our jurisdiction,” i'm not reassured enough to just sit back and assume it's taken care of.
when our regulatory agencies are deeply beholden to the same industries they're supposed to protect us from, i suppose the officials have the difficult choice between working for the people whose communities are being poisoned, or the people who made them rich. it's not hard to see which way that decision usually goes.
and so it's business as usual. there were a couple of "notices of violation" issued, stating essentially that "if you don't stop this sort of thing, we might have to do something about it!" the attorney general's office opened an investigation, but there hasn't been much noise since.
and meanwhile, no fines have been issued, no charges filed and the trucks still come and go across from the schools. the owners of the blue ridge landfill rest easy knowing that the money continues to flow; the operations continue to produce quantities of toxic sludge; our government continues its lip service while turning a blind eye -- or maybe that's a wink.
so now the question is this: will estill county -- our land, our water, our kids -- be written off as just another cost of doing business, or will this terrible tragedy serve to ignite the flame that burns through decades of government complacency and industry exploitation, and demands, once and for all, that the wellbeing of our community take precedence over the tired old expectation of "business as usual?"
xyara is a second generation artisan, homesteader and advocate for local resiliency who grew up in estill county, kentucky, and now lives in the red lick valley outside of berea.
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xyara* (ˈfoʊˌtoʊ: prəˈvaɪdɪd) ɪts bɪn ˈoʊvər ə mənθ, naʊ, sɪns wi fərst ˈlərnɪd ðət ðə blu rɪʤ ˈlændˌfɪl ɪn ɛˈstil ˈkaʊnti hæd bɪˈkəm ðə ˈdəmpɪŋ graʊnz fər ˌɪˈligəli ˌɪmˈpɔrtɪd ˌreɪdioʊˈæktɪv soʊ fɑr, θɪŋz sim tɪ bi ˈbɪznɪs ɛz ˈjuʒəwəl. wɪn ðə lænd mɛn ʃoʊd əp læst jɪr, ˈlʊkɪŋ tɪ lis ɑr ˈmɪnərəl raɪts fər, wən əv maɪ fərst kənˈsərnz wɑz ðət maɪ hoʊm wʊd bɪˈkəm kənˈvinjənt dɪˈspoʊzəl fər ðə juʤ kˈwɑntətiz əv ˈpɔɪzənəs ˈwɔtər ənd sləʤ ˈʤɛnərˌeɪtɪd baɪ ðə ɔɪl ənd gæs ˈɪndəstri. ənd naʊ, ɪn ðə ˈkaʊnti wɛr aɪ gru əp, ənd ˈpɑsəbli əˈkrɔs ðɪs ˈbjutəfəl steɪt, ɪt ɔˈrɛdi həz. dɪˈspaɪt ˈhənərdz əv foʊks frəm ɑr kəmˈjunɪti ɪn ɛˈstil ˈkaʊnti ənd bɪɔnd ʃoʊɪŋ əp tɪ dɪˈmænd əˈkaʊntəˌbɪlɪti ənd ˈænsərz, boʊθ hæv bɪn ɪn ˈmaɪti ʃɔrt səˈplaɪ. ɪts noʊ ˈsikrɪt əˈməŋ ðə ˈloʊkəlz ðət trəks krip ɪn ənd aʊt əv ðə dəmp æt ɔl aʊərz əv ðə naɪt, ənd aɪ gru əp ˈhirɪŋ ə lɔt əv ˌspɛkjəˈleɪʃən ɛz tɪ wət ðeɪ wər ˈbɛriɪŋ ɪn ðɛr. ənd ðɛn, ˈsədənli, ɪt ˈwəzənt ˌspɛkjəˈleɪʃən ˌɛniˈmɔr. æt list tənz əv ˈkɔnsənˌtreɪtɪd ˌreɪdioʊˈæktɪv ˈteɪlɪŋz frəm ɔɪl ənd gæs ˌɑpərˈeɪʃənz (ˈsəmθɪŋ wiv bɪn ˈfaɪtɪŋ tɪ kip aʊt əv ɑr oʊn ˈfʊˌthɪlz) hæd slɪpt ɪn "ˈəndər ðə ˈreɪˌdɑr" ənd bɪn dəmpt lus frəm ðə kənˈteɪnərz ɪt wɑz brɔt hir ɪn ənd noʊ wən simz tɪ ˈivɪn noʊ ʤɪst ɪgˈzæktli wɛr, lɛt əˈloʊn hæv ə plæn fər rɪˈkəvəri. noʊ wən simz tɪ noʊ, ˈiðər, haʊ məʧ əv ðət lus ˌreɪdioʊˈæktɪv pərˈtɪkjələt ˈmætər meɪ hæv bɪˈkəm ˈɛrˌbɔrn ˈdʊrɪŋ ðə taɪm ðə əˈkərd (ˈsɛvərəl mənθs, ˌʤuˈlaɪ θru noʊˈvɛmbər əv læst jɪr); haʊ məʧ əv ɪt meɪ hæv ˈdrɪftɪd əˈkrɔs ðə roʊd tɪ ðə ˈfraɪtənɪŋli kloʊz ˈmɪdəl ənd haɪ skulz. aɪ əˈtɛndəd ðət ˈmɪdəl skul ðə jɪr ɪt ˈoʊpənd, ənd ju ʃʊr kən smɛl ðə dəmp frəm ðɛr. wɪn wi smɛl ˈsəmθɪŋ, ɪt minz wɪr ˈbriðɪŋ ɪn ɪts ˈpɑrtɪkəlz. ðɪs θɔt kips mi əp æt naɪt, ənd əm nɑt ˈivɪn ə mɑm. ðə blu rɪʤ ˈlændˌfɪl ɪz ˈniðər ɪkˈwɪpt nɔr əˈlaʊd tɪ əkˈsɛpt ðɪs sɔrt əv weɪst. tenorms*, ðeɪ kɔl ɪt, fər ˌtɛknəˈlɑʤɪkəli ɛnˈhænst ˈnæʧərəli əˈkərɪŋ ˌreɪdioʊˈæktɪv məˈtɪriəl. ðə ɔn ðə stəf ɪz mɔr ðən ə ˈθaʊzənd jɪrz, soʊ wɪn wɪr toʊld, "oʊ, ðə ɛr tɛsts keɪm bæk faɪn, doʊnt ˈwəri əˈbaʊt ɪt," ɪts ə ˈlɪtəl ˌɪnˈsəltɪŋ. ðə ˈlaɪnərz æt ðə ˈlændˌfɪl læst əˈbaʊt 30 jɪrz, ənd ər ˈɪntu ðət ɔˈrɛdi. ðə ˈlændˌfɪl ɪz nɪr ðə kənˈtəki ˈrɪvər, ə ˈprɪti ˈmeɪʤər ˈwɔtərˌʃɛd ɪn ðiz pɑrts (doʊnt fərˈgɛt, wəns ɪt gɪts ɪn ðə ˈwɔtər, ɪts ɪn ɔl ɑr ˈbæˌkjɑrdz). soʊ jʊd θɪŋk ðɛrd bi ˈaʊˌtreɪʤ ðət wi (ənd ɑr fˈjuʧər ˌʤɛnərˈeɪʃənz) hæv bɪn pʊt æt ðɪs kaɪnd əv rɪsk, ənd ðət ɑr əˈfɪʃəlz ɔn ɔl ˈlɛvəlz wʊd ˈræli tɪ ʃət daʊn ðiz ˈpraɪvətli oʊnd ˌkɔrpərˈeɪʃənz ðət ˈæktɪd ˌɪˈligəli (blu rɪʤ ˈlændˌfɪl ɪz oʊnd baɪ ədˈvænst dɪˈspoʊzəl, ənd ðɛn əv kɔrs ðɛr ər ðə ˈkəmpəˌniz ðət brɔt ðə weɪst ɪn). bət, ənˈfɔrʧənətli, wi lɪv ɪn ə steɪt wɛr ɑr ˈɛnərʤi ənd ɪnˈvaɪrənmənt ˈkæbənət ɪz ˈhɛdɪd əp baɪ ðə ˈrisəntli rɪˈtaɪrd ˈprɛzɪdənt əv ˈistərn juz. ˌɑpərˈeɪʃənz fər ɑrʧ koʊl, ˈʧɑrəlz sˈneɪvli, huz ˈætəˌtud təˈwɔrd ˌrɛgjəˈleɪʃənz kən bi səmd əp baɪ hɪz ˈsteɪtmənt ðət, ɛz ðə nu ˈrɛgjəˌleɪtər, hil meɪk ʃʊr ər nɑt ə ˈhɪndrəns tɪ ˈɛni industry.”*.” wɪn hi sɪz əˈbaʊt ðə weɪst dəmpt ɪn ɛˈstil ˈkaʊnti, "wi wɪl hoʊld ðə ˈvaɪəleɪtərz əˈkaʊntəbəl tɪ ðə lɔ ʤɪst ɛz wi wʊd ɪn ˈɛni ˌsɪʧuˈeɪʃən ˈəndər ɑr jurisdiction,”*,” əm nɑt ˌriəˈʃʊrd ɪˈnəf tɪ ʤɪst sɪt bæk ənd əˈsum ɪts ˈteɪkən kɛr əv. wɪn ɑr ˈrɛgjələˌtɔri ˈeɪʤənsiz ər ˈdipli bɪˈhoʊldən tɪ ðə seɪm ˈɪndəstriz ðɛr səˈpoʊzd tɪ prəˈtɛkt ˈjuˈɛs frəm, aɪ səˈpoʊz ðə əˈfɪʃəlz hæv ðə ˈdɪfəkəlt ʧɔɪs bɪtˈwin ˈwərkɪŋ fər ðə ˈpipəl huz kəmˈjunɪtiz ər biɪŋ ˈpɔɪzənd, ər ðə ˈpipəl hu meɪd ðɛm rɪʧ. ɪts nɑt hɑrd tɪ si wɪʧ weɪ ðət dɪˈsɪʒən ˈjuʒəwəli goʊz. ənd soʊ ɪts ˈbɪznɪs ɛz ˈjuʒəwəl. ðɛr wər ə ˈkəpəl əv "ˈnoʊtɪsɪz əv vaɪəˈleɪʃən" ˈɪʃud, ˈsteɪtɪŋ ɛˈsɛnʃəli ðət "ɪf ju doʊnt stɑp ðɪs sɔrt əv θɪŋ, wi maɪt hæv tɪ du ˈsəmθɪŋ əˈbaʊt ɪt!" ðə əˈtərni ˈʤɛnərəlz ˈɔfəs ˈoʊpənd ən ˌɪnˌvɛstəˈgeɪʃən, bət ðɛr ˈhæzənt bɪn məʧ nɔɪz sɪns. ənd ˈminˌwaɪl, noʊ faɪnz hæv bɪn ˈɪʃud, noʊ ˈʧɑrʤɪz faɪld ənd ðə trəks stɪl kəm ənd goʊ əˈkrɔs frəm ðə skulz. ðə ˈoʊnərz əv ðə blu rɪʤ ˈlændˌfɪl rɛst ˈizi noʊɪŋ ðət ðə ˈməni kənˈtɪnjuz tɪ floʊ; ðə ˌɑpərˈeɪʃənz kənˈtɪnju tɪ ˈproʊdus kˈwɑntətiz əv ˈtɑksɪk sləʤ; ɑr ˈgəvərnmənt kənˈtɪnjuz ɪts lɪp ˈsərvɪs waɪl ˈtərnɪŋ ə blaɪnd aɪ ər ˈmeɪbi ðæts ə wɪŋk. soʊ naʊ ðə kˈwɛʃən ɪz ðɪs: wɪl ɛˈstil ˈkaʊnti ɑr lænd, ɑr ˈwɔtər, ɑr kɪdz bi ˈrɪtən ɔf ɛz ʤɪst əˈnəðər kɔst əv duɪŋ ˈbɪznɪs, ər wɪl ðɪs ˈtɛrəbəl ˈtræʤədi sərv tɪ ˌɪgˈnaɪt ðə fleɪm ðət bərnz θru ˈdɛkeɪdz əv ˈgəvərnmənt kəmˈpleɪsənsi ənd ˈɪndəstri ˌɛkˌsplɔɪˈteɪʃən, ənd dɪˈmændz, wəns ənd fər ɔl, ðət ðə ˌwɛlˈbiɪŋ əv ɑr kəmˈjunɪti teɪk ˈprɛsədəns ˈoʊvər ðə taɪərd oʊld ˌɛkspɛkˈteɪʃən əv "ˈbɪznɪs ɛz ˈjuʒəwəl?" ɪz ə ˈsɛkənd ˌʤɛnərˈeɪʃən ˈɑrtəzən, ˈhoʊmstɛdər ənd ˈædvəˌkeɪt fər ˈloʊkəl rɪˈzɪljənsi hu gru əp ɪn ɛˈstil ˈkaʊnti, kənˈtəki, ənd naʊ lɪvz ɪn ðə rɛd lɪk ˈvæli ˈaʊtˈsaɪd əv bərˈiə. rɛd ər ʃɛr ðɪs ˈstɔri:
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lessons from the weimar republic (updated)
i decided to become a political scientist in the spring of 1976, while i was attending the overseas study program. i had already declared an international relations major, but was trying to decide between going to law school (the supposedly safe option) or pursuing a ph.d. in political science (looked risky). while in berlin, i took professor gordon course on german history, and one lecture on the role of intellectuals in the weimar republic finally tipped the balance for me.
in that particular class, craig argued that one of the many forces that doomed the weimar republic was the irresponsible behavior of both and intellectuals. the german left was contemptuous of the liberal aspirations of the weimar constitution and other bourgeois features of weimar society, while "thinkers" like ernst junger glorified violence and disparaged the application of reason to political issues. so-called "liberal" intellectuals saw politics as a grubby business unworthy of their refined sensibilities, and so many just disengaged from politics entirely. this left the field to and extremists of various sorts and helped prepare the ground for nazism. (you can read account of this process in his book germany, chapter 13, on "weimar culture").
the lesson i took from lecture was that when intellectuals abandon liberal principles, disengage from politics, and generally abdicate their role as "truth-tellers" for society at large, it is easy for demagogues to play upon human fears and lead a society over the brink to disaster. so i decided to forego a legal career and get a ph.d. instead, hoping in some way to contribute to more reasonable discourse about issues of war, peace, and politics.
whether i succeeded in that aspiration i leave for others to decide, but been thinking about that episode as i contemplate the current state of american political discourse. plenty of reasoned debate out there, of course, and one could argue that the rise of the internet and the blogosphere may even have increased the amount of serious discussion by smart people across the political spectrum. but when i watch videos like this one, and i read the xenophobic bile spewed by like pam geller, then i help but hear echoes of the weimar experience. the left has never been very influential in american politics, but disappointment with obama is already reinforcing its disregard for existing u.s. institutions and may render it even less relevant going forward. meanwhile, the supposedly "conservative" american right is getting by the minute. instead of serious policy debate, it indulges in bizarre theories about religious beliefs, and his supposedly "socialist" (or "muslim") agenda and takes its marching orders from entertainers like rush limbaugh and glenn beck (who once admitted only in it for the money). when the party of leading lights include unprincipled opportunists like newt gingrich and sarah palin, you know a long way from the days of dwight eisenhower or brent scowcroft.
meanwhile, where are the and courageous defenders of the liberal values of tolerance, freedom of expression, and reasoned discourse? there are a few new york mayor michael bloomberg comes to mind but how many prominent politicians have shown any genuine political courage or been willing to take a tough position and stick to it in the face of the mob? extremists start to look admirable because at least they appear to stand for something (even if it is dangerous and bombast), while many traditional liberals seem all too willing to compromise whenever there is pac money on the line or the poll winds shift.
yes, i understand that politics is the art of the possible and some degree of compromise is inevitable, but you like to see a few liberals really dig down deep and fight for something they believe in? like the constitution?
apologies for the rant, but i really do think reason to worry. the u.s. economy is still in very bad shape, the iraq war over despite what being told, the war in afghanistan still looks like a lost cause, and made zero progress on long-term issues like climate change. and even get me started about the middle east peace process. and yet we are burning up bandwidth on manufactured controversies like the park 51 issue, mostly because a bunch of and politicos decided they could exploit the issue for their own selfish agendas.
i guess this means that if i became a political scientist to help preserve intelligent discourse about important political topics, then i done a very good job.
update: over at salon, glenn greenwald lists several other politicians who are standing up for traditional american values of religious tolerance and civil discourse, including: russ feingold, joe sestak, grover norquist, ron paul, jeff merkley, and a few others. one have to agree with everything that each of these individuals believes to admire their position on this issue. kudos to them.
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ˈlɛsənz frəm ðə ˈvaɪmɑr riˈpəblɪk (ˈəpˌdeɪtɪd) aɪ ˌdɪˈsaɪdɪd tɪ bɪˈkəm ə pəˈlɪtɪkəl ˈsaɪəntɪst ɪn ðə spərɪŋ əv 1976 waɪl aɪ wɑz əˈtɛndɪŋ ðə ˈoʊvərˈsiz ˈstədi ˈproʊˌgræm. aɪ hæd ɔˈrɛdi dɪˈklɛrd ən ˌɪnərˈnæʃənɑl riˈleɪʃənz ˈmeɪʤər, bət wɑz traɪɪŋ tɪ ˌdɪˈsaɪd bɪtˈwin goʊɪŋ tɪ lɔ skul (ðə səˈpoʊzədli seɪf ˈɔpʃən) ər pərˈsuɪŋ ə ph.d*. ɪn pəˈlɪtɪkəl saɪəns (lʊkt ˈrɪski). waɪl ɪn bərˈlɪn, aɪ tʊk prəˈfɛsər ˈgɔrdən kɔrs ɔn ˈʤərmən ˈhɪstəri, ənd wən ˈlɛkʧər ɔn ðə roʊl əv ˌɪntəˈlɛkʧuəlz ɪn ðə ˈvaɪmɑr riˈpəblɪk ˈfaɪnəli tɪpt ðə ˈbæləns fər mi. ɪn ðət ˌpɑˈtɪkjələr klæs, kreɪg ˈɑrgjud ðət wən əv ðə ˈmɛni ˈfɔrsɪz ðət dumd ðə ˈvaɪmɑr riˈpəblɪk wɑz ðə ˌɪrəˈspɑnsəbəl bɪˈheɪvjər əv boʊθ ənd ˌɪntəˈlɛkʧuəlz. ðə ˈʤərmən lɛft wɑz kənˈtɛmpʧuəs əv ðə ˈlɪˌbərəl ˌæspərˈeɪʃənz əv ðə ˈvaɪmɑr ˌkɑnstəˈtuʃən ənd ˈəðər ˈbʊrʒwɑ ˈfiʧərz əv ˈvaɪmɑr soʊˈsaɪɪti, waɪl "ˈθɪŋkərz" laɪk ərnst ˈʤəŋər ˈglɔrəˌfaɪd ˈvaɪələns ənd dɪˈspɛrɪʤd ðə ˌæpləˈkeɪʃən əv ˈrizən tɪ pəˈlɪtɪkəl ˈɪʃuz. ˈsoʊˈkɔld "ˈlɪˌbərəl" ˌɪntəˈlɛkʧuəlz sɔ ˈpɑləˌtɪks ɛz ə ˈgrəbi ˈbɪznɪs ənˈwərði əv ðɛr rɪˈfaɪnd ˌsɛnsɪˈbɪlɪtiz, ənd soʊ ˈmɛni ʤɪst dɪsɪnˈgeɪʤd frəm ˈpɑləˌtɪks ɪnˈtaɪərli. ðɪs lɛft ðə fild tɪ ənd ɪkˈstriməsts əv ˈvɛriəs sɔrts ənd hɛlpt priˈpɛr ðə graʊnd fər ˈnæzɪzəm. (ju kən rɛd əˈkaʊnt əv ðɪs ˈprɔˌsɛs ɪn hɪz bʊk ˈʤərməni ˈʧæptər 13 ɔn "ˈvaɪmɑr ˈkəlʧər"). ðə ˈlɛsən aɪ tʊk frəm ˈlɛkʧər wɑz ðət wɪn ˌɪntəˈlɛkʧuəlz əˈbændən ˈlɪˌbərəl ˈprɪnsəpəlz, dɪsɪnˈgeɪʤ frəm ˈpɑləˌtɪks, ənd ˈʤɛnərəli ˈæbdəˌkeɪt ðɛr roʊl ɛz "truth-tellers*" fər soʊˈsaɪɪti æt lɑrʤ, ɪt ɪz ˈizi fər ˈdɛməˌgɑgz tɪ pleɪ əˈpɑn ˈjumən fɪrz ənd lɛd ə soʊˈsaɪɪti ˈoʊvər ðə brɪŋk tɪ dɪˈzæstər. soʊ aɪ ˌdɪˈsaɪdɪd tɪ fɔrˈgoʊ ə ˈligəl kərɪr ənd gɪt ə ph.d*. ˌɪnˈstɛd, ˈhoʊpɪŋ ɪn səm weɪ tɪ kənˈtrɪbjut tɪ mɔr ˈrizənəbəl ˈdɪskɔrs əˈbaʊt ˈɪʃuz əv wɔr, pis, ənd ˈpɑləˌtɪks. ˈwɛðər aɪ səkˈsidɪd ɪn ðət ˌæspərˈeɪʃən aɪ liv fər ˈəðərz tɪ ˌdɪˈsaɪd, bət bɪn ˈθɪŋkɪŋ əˈbaʊt ðət ˈɛpɪˌsoʊd ɛz aɪ ˈkɑntəmˌpleɪt ðə ˈkɑrənt steɪt əv əˈmɛrɪkən pəˈlɪtɪkəl ˈdɪskɔrs. ˈplɛnti əv ˈrizənd dəˈbeɪt aʊt ðɛr, əv kɔrs, ənd wən kʊd ˈɑrgju ðət ðə raɪz əv ðə ˈɪntərˌnɛt ənd ðə ˈblɔgɔsˈfir meɪ ˈivɪn hæv ˌɪnˈkrist ðə əˈmaʊnt əv ˈsɪriəs dɪˈskəʃən baɪ smɑrt ˈpipəl əˈkrɔs ðə pəˈlɪtɪkəl ˈspɛktrəm. bət wɪn aɪ wɔʧ ˈvɪdioʊz laɪk ðɪs wən, ənd aɪ rɛd ðə ˌzɛnəˈfɑbɪk baɪl spjud baɪ laɪk pæm ˈgɛlər, ðɛn aɪ hɛlp bət hir ˈɛkoʊz əv ðə ˈvaɪmɑr ɪkˈspɪriəns. ðə lɛft həz ˈnɛvər bɪn ˈvɛri ˌɪnfluˈɛnʃəl ɪn əˈmɛrɪkən ˈpɑləˌtɪks, bət ˌdɪsəˈpɔɪntmənt wɪθ ˌoʊˈbɑmə ɪz ɔˈrɛdi ˌriɪnˈfɔrsɪŋ ɪts ˌdɪsrɪˈgɑrd fər ɪgˈzɪstɪŋ juz. ˌɪnstɪˈtuʃənz ənd meɪ ˈrɛndər ɪt ˈivɪn lɛs ˈrɛləvənt goʊɪŋ ˈfɔrwərd. ˈminˌwaɪl, ðə səˈpoʊzədli "kənˈsərvətɪv" əˈmɛrɪkən raɪt ɪz ˈgɪtɪŋ baɪ ðə ˈmɪnət. ˌɪnˈstɛd əv ˈsɪriəs ˈpɑləsi dəˈbeɪt, ɪt ˌɪnˈdəlʤɪz ɪn bɪˈzɑr ˈθɪriz əˈbaʊt rɪˈlɪʤəs bɪˈlifs, ənd hɪz səˈpoʊzədli "ˈsoʊʃəlɪst" (ər "ˈməzlɪm") əˈʤɛndə ənd teɪks ɪts ˈmɑrʧɪŋ ˈɔrdərz frəm ˌɛnərˈteɪnərz laɪk rəʃ ˈlɪmˌbɔ ənd glɛn bɛk (hu wəns ədˈmɪtəd ˈoʊnli ɪn ɪt fər ðə ˈməni). wɪn ðə ˈpɑrti əv ˈlidɪŋ laɪts ˌɪnˈklud ənˈprɪnsəpəld ˌɑpərˈtunɪsts laɪk nut ˈgɪŋgrɪʧ ənd ˈsɛrə ˈpælɪn, ju noʊ ə lɔŋ weɪ frəm ðə deɪz əv dwaɪt ˈaɪzənˌhaʊər ər brɛnt ˈskoʊˌkrɔft. ˈminˌwaɪl, wɛr ər ðə ənd kərˈeɪʤəs dɪˈfɛndərz əv ðə ˈlɪˌbərəl ˈvæljuz əv ˈtɑlərəns, ˈfridəm əv ɪkˈsprɛʃən, ənd ˈrizənd ˈdɪskɔrs? ðɛr ər ə fju nu jɔrk meɪər ˈmaɪkəl ˈblumbərg kəmz tɪ maɪnd bət haʊ ˈmɛni ˈprɑmənənt ˌpɑləˈtɪʃənz hæv ʃoʊn ˈɛni ˈʤɛnjuˌaɪn pəˈlɪtɪkəl kərɪʤ ər bɪn ˈwɪlɪŋ tɪ teɪk ə təf pəˈzɪʃən ənd stɪk tɪ ɪt ɪn ðə feɪs əv ðə mɑb? ɪkˈstriməsts stɑrt tɪ lʊk ˈædmərəbəl bɪˈkəz æt list ðeɪ əˈpɪr tɪ stænd fər ˈsəmθɪŋ (ˈivɪn ɪf ɪt ɪz ˈdeɪnʤərəs ənd ˈbɑmbæst), waɪl ˈmɛni trəˈdɪʃənəl ˈlɪˌbərəlz sim ɔl tu ˈwɪlɪŋ tɪ ˈkɑmprəˌmaɪz wɛˈnɛvər ðɛr ɪz pæk ˈməni ɔn ðə laɪn ər ðə poʊl wɪndz ʃɪft. jɛs, aɪ ˌəndərˈstænd ðət ˈpɑləˌtɪks ɪz ðə ɑrt əv ðə ˈpɑsəbəl ənd səm dɪˈgri əv ˈkɑmprəˌmaɪz ɪz ˌɪˈnɛvətəbəl, bət ju laɪk tɪ si ə fju ˈlɪˌbərəlz ˈrɪli dɪg daʊn dip ənd faɪt fər ˈsəmθɪŋ ðeɪ bɪˈliv ɪn? laɪk ðə ˌkɑnstəˈtuʃən? əˈpɑləˌʤiz fər ðə rænt, bət aɪ ˈrɪli du θɪŋk ˈrizən tɪ ˈwəri. ðə juz. ɪˈkɑnəmi ɪz stɪl ɪn ˈvɛri bæd ʃeɪp, ðə ˌɪˈrɑk wɔr ˈoʊvər dɪˈspaɪt wət biɪŋ toʊld, ðə wɔr ɪn æfˈgænəˌstæn stɪl lʊks laɪk ə lɔst kɔz, ənd meɪd ˈziroʊ ˈprɑˌgrɛs ɔn ˈlɔŋˈtərm ˈɪʃuz laɪk ˈklaɪmɪt ʧeɪnʤ. ənd ˈivɪn gɪt mi ˈstɑrtɪd əˈbaʊt ðə ˈmɪdəl ist pis ˈprɔˌsɛs. ənd jɛt wi ər ˈbərnɪŋ əp ˈbændwɪdθ ɔn ˌmænjəˈfækʧərd ˈkɑntrəˌvərsiz laɪk ðə pɑrk 51 ˈɪʃu, ˈmoʊstli bɪˈkəz ə bənʧ əv ənd pəˈlɪtɪˌkoʊz ˌdɪˈsaɪdɪd ðeɪ kʊd ˌɛkˈsplɔɪt ðə ˈɪʃu fər ðɛr oʊn ˈsɛlfɪʃ əˈʤɛndəz. aɪ gɛs ðɪs minz ðət ɪf aɪ bɪˈkeɪm ə pəˈlɪtɪkəl ˈsaɪəntɪst tɪ hɛlp prɪˈzərv ˌɪnˈtɛləʤənt ˈdɪskɔrs əˈbaʊt ˌɪmˈpɔrtənt pəˈlɪtɪkəl ˈtɑpɪks, ðɛn aɪ dən ə ˈvɛri gʊd ʤɑb. ˈəpˌdeɪt: ˈoʊvər æt səˈlɑn, glɛn ˈgrinˌwɔld lɪsts ˈsɛvərəl ˈəðər ˌpɑləˈtɪʃənz hu ər ˈstændɪŋ əp fər trəˈdɪʃənəl əˈmɛrɪkən ˈvæljuz əv rɪˈlɪʤəs ˈtɑlərəns ənd ˈsɪvəl ˈdɪskɔrs, ˌɪnˈkludɪŋ: rəs ˈfaɪŋgoʊld, ʤoʊ ˈsɛstək, ˈgroʊvər ˈnɔrkwɪst, rɑn pɔl, ʤɛf ˈmərkli, ənd ə fju ˈəðərz. wən hæv tɪ əˈgri wɪθ ˈɛvriˌθɪŋ ðət iʧ əv ðiz ˌɪndəˈvɪʤəwəlz bɪˈlivz tɪ ædˈmaɪr ðɛr pəˈzɪʃən ɔn ðɪs ˈɪʃu. ˈkudoʊs tɪ ðɛm.
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andyess
few athletes have left as deep an imprint on their sport as kevin garnett has on the nba. as celebrates his birthday, a collection of players, coaches and executives recount what made him such a unique and transformational figure over the last 20 seasons.
this is part 2 of oral history of nba career. part 1 is here and accessible through the links below.
click to other sections
• workout wonder
• pioneer
• intensity is a constant state of mind
• what could have been
• money makes the nba go 'round
• getting under everyone's skin
• trouble with the
• bound for boston
• at long last, a ring
• quirks, habits and virtues
• a joyous homecoming
though garnett quickly evolved into a dazzling, dominant player in minnesota, he grew frustrated with the' failures, opening the door for a trade to boston, where he found ultimate success while honing a reputation as one of the league's most interesting characters.
timber-woes
for most of his minnesota career, garnett was a superstar surrounded by bit players, a solo act in search of a worthy.
the granted wish on march 11, 1999, sending him to the nets in a trade that brought point guard terrell brandon, a all-star, to minnesota. though talented, brandon was undersized (5'11"), and his career was cut short by injuries.
the next to audition was wally, a forward drafted with the sixth pick in 1999. but the chemistry was poor from the start and their relationship bottomed out when garnett and scuffled in the room in november 2000.
chauncey billups spent two years on the roster, from, but he did not reach stardom until years later, in detroit. tom gugliotta had his best seasons alongside garnett, in and, but the let him go after the 1998 lockout to save room,esumably for marbury.
meanwhile, behemoth contract, which was grandfathered in after the lockout, made it extraordinarily difficult for officials to acquire elite talent. and the sabotaged themselves along the way, agreeing to an illegal deal with joe smith that cost the franchise multiple picks as part of the punishment.
andrew d. images
despite his immense talents, garnett became a playoff footnote, losing in the first round seven straight years from 1997 to 2003, never winning more than 51 games in a season.
flip saunders, coach,; 2014-present: it was difficult. we traded steph, we got terrell, who wasetty good. we also got wally in the deal, who became an all-star. what you have to have is not just a star, but you have to have two dynamic stars. to get a guy that maybe can be an might not be good enough back then.
steve aschburner, beat writer for minneapolis star-tribune,: i think [garnett] felt like wally was overrated, i think he resented that this guy that was sort of becoming his sidekick without any real chemistry and not enough chops. there was no chemistry there between them, at all.
sam mitchell, teammate,: a lot of that stuff is overblown. kevin respected wally, because wally could play. wally loved to play. now, wally wasn't the greatest defender, but when it came to scoring the basketball, wally can score.
kevin mchale, general manager: they were different people. they never seemed to have great chemistry, [but ] i don't think it was as bad as everybody said it was. they had their moments. wally made an all-star team with kevin. he wasn't a great passer, wasn't a great creator. [but] he played well with kevin. in my time there, nobody played better with kevin than gugliotta. you can look at some of the stuff they did together. very, very impressive.
flip saunders:'s the most unassuming superstar, in that he had more gratification passing the ball than scoring. so he didn't care about shooting, where wally, that's all he cared about. so he got wally a lot of shots.
fernando images
steve aschburner: when wally got his extension, [the media] broke the news to before shootaround. the look on was working his over the fact that this guy's going to be here long-term now, and being paid a whole bunch of money and that's going to get in the way of certain kinds of improvement they could make in that team.
andy miller, agent since 1995: i think that that was the thing thatobably caused the most turmoil. kevin always wants to be successful, always wants to win, wants the team to have success, wants everyone to shine. when you have constant frustration, always trying to plug a hole, and every year you end up with the same results, it's extraordinarily frustrating.
terry porter, guard,: we just didn't have enough weapons. you know, [garnett] wasn't the type of guy that was going take over a team and carry a team back then. and they were in the western conference, so it became more of a challenge early on. i remember us playing houston in the first round. he had a great series; we just didn't have enough.
steve aschburner: glen taylor pissed off his peers by signing garnett to that contract, but nobody's team suffered worse than glen taylor's.
finally, in 2003, the made two dramatic trades, acquiring point guard sam cassell from milwaukee and from new york,oviding garnett the best supporting cast of his minnesota career. the won 58 games, a franchise record, and garnett won the most valuable player award after averaging points, rebounds, 5 assists, blocks and steals.
nikkiess
that spring, garnett won the first two playoff series of his career, leading the into the western conference finals against the los angeles lakers, who had added karl malone and gary payton to the shaquille bryant core. but cassell entered the series with a badly injured hip, sustained in the second round, and his play suffered. he sat down for good after game 4 of the series, with the wolves trailing. the lakersevailed in six games, and garnett lost his best chance to bring a title to the twin cities.
despite a season, the missed the playoffs the next year, then parted ways with and cassell. they have not made the since.
flip saunders: we would have won that year. we were the no. 1 seed. i still believe, if sam wouldn't have got hurt, that we would have beat the lakers and i think weobably would have beaten detroit (in the finals) that year.
glen taylor, owner: we went out and [acquired] those guys, [and spent] more money than we could afford. i think everything went the way we planned it, except the injuries. and that's been our misfortune ever since, the injuries.
dwane casey, head coach,: in conversation, [kevin] would let it be known that that was something that he was frustrated with, that they broke up the team that had gone to the western conference finals.
steve aschburner: he was really fed up. he wasn't the one raising his hand or making demands in the media to exit, because he is a very loyal person. but i think he felt kind of betrayed by the inability of mchale and the organization to come through for him.
catherine images
terry porter: [garnett] knew at the end of the day, he was going to be judged by his playoff appearances.… he cares about how he's looked upon and what his legacy looks like.
kevin mchale: he thought, "i have to do more. i have to do more." really, there was nothing more he could do.
steve aschburner: i remember after the [playoff series in 2010], when lebron got eliminated by the celtics. and garnett told us from the podium, about how he told lebron about how fast things go. to me, that was garnett basically saying, "i wish i hadn't signed that last extension, because look how long it took me to get somewhere where i really could win." that wasetty telling.
the trade
charlesess
by 2007, garnett and the had reached a crossroads.
the sam era had been short-lived, with each star alienating the front office over contract demands. at age 31, window to chase a championship was diminishing. and the, stymied by their own missteps, and handcuffed by massive with another contract extension on the it was time to set a new course.
what was once inconceivable became essential: the franchise would have to trade the greatest player to ever have graced the uniform.
glen taylor: i said to kevin, "it's gonna take us a while again." and i think he kind of says, "i'd like to win." i say, "i'm not sure i'm gonna get you that here as fast as you want." so i would say that he kind of was unsure.
kevin mchale: it was hard on everybody. that really came down to just our owner i think glen was more than fair with number he wanted to sign everybody with, and he tried to get the cap more cap-friendly. kevin, just said he wanted x amount. it came down to a financial decision. it was hard.
glen taylor: i think now he says, "glen you traded me. i didn't want to be traded." but i'm not sure it was quite that clear. i think he sent me some messages that "i want to get on a [contending] team."
nathaniel s. images
danny ainge, celtics gm: because kevin and i were such close friends, we had numerous conversations over the years [about garnett]. we realized thatl [pierce] and would be a great combination. we thought that they really complemented each other well. so we discussed the possibility ofl going to minnesota or coming to boston, like which way is the best way to do it.
phil jackson, lakers head coach,;: when i realized that [garnett] was available and wanted to leave minnesota, i put a big push on (to acquire him).
andy miller: cleveland was involved. they were a distant third in the whole thing.
glen taylor:. really wanted him. well, i didn't know if i wanted him in the west. i thought i was getting better players. i thought could not give me the players that boston did.
the lakers offered a package built around forward lamar odom and center andrew bynum, aomising player who would eventually become an all-star. odom had a history of flaky behavior, however, and bynum was unproven.
the celtics' package was built around another talented, but young center, al jefferson, along with several other young players and draft picks.
phil jackson: dr. [jerry] buss came to me and said, "i have a handshake agreement with taylor, that he's going to come to. but mchale hasn't concurred yet." so i said, "well that's a good excuse." you always, as an owner, say, "i'll do this, but" so i kept that hope out there, that he was gonna be a part of the laker organization.
taylor: odom, i was a little afraid of. i thought bynum was gonna be a star.
miller: i think that what mchale was looking for, on top of picks, was a core young piece, and he was infatuated with al jefferson at the time.
david images
glen taylor: it became the lakers, and it became boston. and they both said, what does [garnett] want to get paid? and i told them what he wants to get paid. i told them the kind of contract. and those two teams said they would do it.
on july 31, 2007, the sent garnett to boston, in exchange for al jefferson, four other players and two picks. many experts considered the lakers' offer of odom and bynum to be the stronger package. the deal between ainge and mchale, close friends and former celtics teammates, stoked suspicion that mchale was acting more in the interests of his former franchise.
phil jackson: i've always kind of hinted that, in fun. of course, it's easier to make a deal with someone you know. but the (main) thing was, get him out of the conference, get him to the east coast, get him away from us, so we don't have to deal with him four times a year. so that makes sense. so that's understandable.
glen taylor: we went to boston, and i got a deal with boston and took it to kevin, and he says, "no, i don't want to be traded." then they went out and got [ray] allen. i went back to kevin and said to him, later on, "well, they're still here, they want you." i thought he said, "ok" to me. i really did. i don't know if he remembers it that way quite or not. because he has said at different times, "i wished i could have stayed there." but i thought i asked him. i thought he agreed. in thinking back, my guess is kevin wasn't sure which way he wanted to do it, and i made the decision for him, rather than heobably felt that i should have asked him again.
kg, fulfilled
brian images
ultimately, the chance to join two other future hall of famers,l pierce and ray allen, persuaded kevin garnett to accept a trade to the celtics, and to say goodbye to minnesota, the only nba home he had known.
in boston, impact was immediate andofound. the three stars were branded as co-equals, each dependent on the others to fulfill their championship dreams. but garnett was the linchpin to the partnership, instantly becoming the celtics' defensive conscience, their strongest voice and their emotional pulse.
the story of the celtics' championship run is one of individual sacrifice. garnett set the tone from day 1, demanding a total commitment from everyone, then setting the example himself, by surrendering shots and individual glory.
the veterans all respected garnett, and the celtics' youngest starters, kendrick perkins and rondo, were instantly drawn to his unique magnetism. they followed his lead in everything, and reflected his steely persona.
doc rivers, boston celtics head coach,: it was before our first first meeting withl, ray and kevin. the first thing he talked about is, "hey, we all say we're going to win a title, but what are you going to give up?" he challenged us right away. he was not around, and i love that about him.
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sam mitchell: i remember when i was coaching in toronto (in 2007), and we played the boston celtics in an exhibition in rome. and doc rivers and ray allen pulled me to the side. they was like, "man we need you to talk to." i was like, "what's wrong?" they said, "man, he's just so intense. he don't need to do all that." so they thought he was trying to impress them. i said, "doc, ray, he's like this every day. every day."
danny ainge: he changed everybody, from coaches to trainers to massage therapists, to the entire organization. i think that it was just his energy and enthusiasm. but also, it was the fact that he believed. he had this strong faith in what the team could be.
paul pierce: it wasn't about no now. the attitude around there was very boot camp-like. we're gonna go in here and do our work every day, and the laughing and the joking, that's out the window until maybe afteractice or on the bus.
brian, celtics forward,: over the course of 82 games, or games like we played, a lot of guys can get real loose. he never allowed that. one day leon powe and i were cracking up on eddie house's tattoo. [garnett] was like, "c'mon, scal, it's time to rock! what the 'f' are you doing?" and i was like, "you know what? you're right. it is time to rock." we're about to play the dallas mavericks and we're over here messing around. it was 55 (minutes) on the clock or something like that. he was locked in and focused. that's how it is with him. if you want to be on the team, that's how it is going to be.
paul pierce: itobably made some guys uncomfortable, maybe [some felt he] need[ed] to tone it down. but i'm like, "no, that's kevin. y'all tell him to tone it down like it's a weakness, but that's his strength. he's gotta be like this. he's getting ready."
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glen "big baby" davis, celtics forward,: i think he goes down as one of the best leaders of all time, somebody that led by example, but also policed his teams and said what was right all the time, in spite of what other people think. you talk about a guy who made a sacrifice coming to role changed, he was more of a defender. he was a guy that kind of facilitated and kept us all together.
danny ainge: doc would harp on him every day, like, "you gotta score more, you gotta shoot more. you gotta quit passing and you gotta shoot.", it just wasn't in his nature. he was such a team guy, and he cared so much about his teammates, and he cared about the camaraderie and the unity of our team, and was greatly affected by people that went off the reservation.
doc rivers: he's the best superstar role player i've ever seen. he's a superstar that can do everything, yet he gave himself to the team and played a role for the team to win, no matter what that took away from his individual stuff. i don't know if there's any superstar i've ever been around that is that unselfish.
danny ainge: kendrick (perkins) was a very important piece to a championship puzzle. kevin knew that. he sort of took perk under his wing and he loved perk for how hard perk played.l was always a great player. butl, all of a sudden, didn't have to carry the load (as the sole leader).'sesence just took a burden off ofl, and freed him up to be what he was, which was a great scorer.
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doc rivers: he wasepared, you better be. if you messed up in shootaround, he knew it. so he kept me on the edge because you knew he was asepared as the coaches, and it's rare you see that.
at the time the celtics created their new big three, there were legitimate concerns about fit and chemistry, and legitimate questions about how long it might take for three towering talents to mesh. the answers came quicker than anyone could haveedicted. the celtics started the season, then ripped off two winning streaks, pushing their record to on jan. 5.
the celtics finished with 66 wins, their best mark sine 1986. after a strenuous run through the eastern conference took seven games to beat atlanta and cleveland, six to beat celtics landed in the finals against their oldest rival (and the loser in the garnett stakes), the los angeles lakers.
boston dominated, claiming the championship in six games and unleashing a raucous celebration at the new boston garden. garnett averaged points, 13 rebounds, three assists, steals and one block per game in the series, while harassing the lakers' and piloting a celtics defense that had the lakers flummoxed.
as the green confetti fluttered, garnett took the microphone and unleashed aimal scream for the ages, an instantly iconic moment in finals history: "anything is possssibllllle!"
tyronn lue, longtime friend of, cavaliers assistant coach: theoudest moment for me was when he won that championship, and i got a chance to see his emotions and how he reacted. it was the best thing for me.
paul pierce: oh, man, he started crying. he broke down. when you saw that, it was just like, man, you felt him. you felt him. and then he went to the ground. that's when you knew. when a guy breaks down, a guy with the personality of, [who] is so strong, and [he] breaks down, then it means something. it means something to you.
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chris webber: i talked to him before he went to boston. i knew what that was about. think about it, that was his only chance. that goes down as one of my favorite sporting moments, seeing him win the championship, because i knew what he was saying.
the era of the new big three would last another four seasons, but garnett, pierce and allen would never reach that pinnacle again. their title defense was undermined by a knee injury that forced garnett to miss the entire 2009. the celtics returned to the finals in 2010 to face the lakers again, but they lost perkins to an injury in game 6 and lost an epic game 7 that went down to the final minute.
age and injuries eventually took their toll and the celtics'eeminence soon faded as the power shifted to a new big three rising in south beach.
paul pierce: i had no doubt in myobably would have won 70 games that year (2008-09) if was healthy. and the rings. so it's all a lot of what-ifs, but you have that through history, with a lot of teams who didn't stay healthy after they won.
danny ainge: it would have been nice to win two. we were close. kevin, he gave hope to our franchise every day for six years.
quirks, habits and virtues
winslowess
what do you see when you look at kevin garnett? over the years, he's alternately been viewed as a warrior and a bully, a fierce defender and a dirty player, a kind spirit and a mean person, an and a mentor. he is a tough on the edge and sometimes over a fiercely loyal teammate. his intensity sometimes seems to border on insanity. his rituals are legendary and quirky.
before introductions every night, garnett will sit in solitude on the bench. before tipoff, he will skip around the court, bellowing to the crowd. and he will bang his head into the basket several times, while muttering to himself and tying his shorts.
"he's still a little nuts," said former nets teammate mason plumlee. "even on the court, he's different, but in a good way, man."
good, bad or otherwise, personality is as unique as his game.
sam mitchell: he's gonna do the same routine. he stretches the same, he sits down on the floor in front of his locker at the same time. he has his hot packs for his knees at the same time. he puts his shoes on a particular way.
kendrick perkins, celtics teammate,: before the jump ball, he goes to the sections of the fans and is like [pounding his chest several times], "motherf-----s!" he'll say a whole lot of [stuff]. and the fans just go crazy. and then he started getting cheers and, and you feed off that, right?
jim labumbard, former director, now with toronto: even when he comes into town with visiting teams, i would never go say hi to himegame, because i knew he was just locked in in just that way. it would just be like talking to a wall.
sam mitchell: he's game mode, all day. you keep waiting to say, is he gonna burn out doing it? but he doesn't, man.
paul pierce: he's gonna eat a peanut butter and jelly sandwich. every game. we didn't even have peanut butter and jelly sandwiches until he got to boston. so then he made our ball boys make peanut butter and jelly sandwiches for everybody. when was eating them, everybody started eating them.
maryess
doc rivers: before game 6 in the (2008) finals when we beat the lakers, i walked in the locker room, and kevin gets [hyped] up to where sometimes he goes over the line. you could see it. i had him come in my office and sit. he's sitting there five, 10, 15 minutes. i don't say a word. i just go back to work. he's moving around and finally he says, "i'm in a timeout. i'm in timeout." i didn't even respond. you could hear him: "phew" (exhaling). but you think about a guy who has been in the league that long and is still that jacked up for a game that you literally have to calm him down. that's my favorite story.
kendrick perkins: it was in a playoff game. so we were down 10 or something in the third, double figures, coming back in the fourth. i remember him coming back on the defensive end. and you know how you get into (a defensive stance), you want to get low, like before the man crosses halfcourt. he literally about crawled on the ground and got up off his knees, like "let me see it!" that type of [thing]. it was like, damn.
tyronn lue: a lot of people do all their howling on the court and they're faking just for attention, but what he does is genuine. so one day we were at his house and we were watching puff daddy's show making the band, and in one of the scenes, some new guys came in and were trying to sing and were trying to compete against the guys who had been there. and just got so hyped, "motherf----r, you've got to stand up for yours! you've got to fight! motherf----r, you've got to come together!" he's going crazy, he's sweaty. and he just head butts the wall and put a hole in the wall of his house.
paul pierce: most guys, you get warmed up but you're gonna have a slight sweat. well, he'd have a full sweat, like he already played four quarters of a game. just him getting his mind right, getting his body right, ready to go. everybody's got their routine. that's his routine.
flip saunders: he hates change. if he had a chance, keep 20 guys on the roster, and he'd pay those last five guys we had to cut. he'd become attached to somebody in one week and want them to leave. so always have to talk to him and kind of reason with him why you might be trading someone. and funny, because many times the guys are the guys he has more of a soft spot, to try to help those guys out even more.
sometimes, even opponents are graced by that softer side. for a young wade, it was when garnett went out of his way to encourage him early in rookie season, in 2003. garnett followed up the next summer, too, seeking out wade in miami to offer his guidance and support. countless young players have been mentored by garnett over the last 20 years.
nathaniel s. images
dwyane wade, miami heat guard, 2003-present: i was a young kid. this is kevin garnett, of the league. but he believed in me at that time. he wasn't my teammate. i didn't even know him that much.but he pulled me aside, he talked to me for that weekend, and he let me know that i can be a star in this league. so that confidence from a guy like that, man, just went a long way.
mason plumlee, garnett teammate with the nets,: the first time i met him, he just told me, "look, i've done it all. i've been an all-star, been, i've won a championship." so like, "everything that i tell you is for you. it's coming from a place of success, a place know i want you to do well, because i've done it all." he's like, "i want to play and still be good, but i don't have toove myself anymore." it's funny, he says that and then he plays as if toove himself each night. i always remember that. that just gave me trust in everything he told me, that it wasn't for anything but my betterment.
doc rivers: he tries to teach the young guysofessionalism basketball. he bought them suits. he'd bring them in and get them all wired up and buy two or three suits for them, so they're dressed right. he told them, "if you're coming to work, you're coming in a suit and tie. you come to go to work." i never had to tell our young guys about being on time with him. you had him doing it.
the ultimate kevin garnett quirk? he refuses to accept the fact that makes him so unique: that he's a with the skills of a guard. since his first day in the nba, garnett has every coach, trainer and he be listed as".
sam mitchell: oh, he'd get mad. he never wanted to be 7-foot. i think he always felt like if you list him at 7-feet, you'd put him at center. he never really wanted to play center.
flip saunders: he doesn't like labels. he didn't want to be labeled a center. so i used to call him, because he's really".
jim labumbard: he was adamant, from day 1. ... i think we just kept him at". we just rolled with it. we've had other people come to us with requests on weight and things like that. to me it wasn't that big a deal. i just kind of laughed at it.
flip saunders: he never let anyone measure him.
the return
jimess
though notoriously change-averse, kevin garnett has waived his clause three times. he went to boston in 2007 to chase championships. when that window closed in 2013, he moved to brooklyn, to join another team with title hopes. and when that pursuit fizzled, garnett consented to one last move: back to the place he calls 'sota.
on feb. 19, with the trade deadline approaching, the nets shipped garnett to the in a swap for forward thaddeus young. for the nets, it was strictly a basketball move, a chance to get younger and more athletic. for the, it was strictly about kevin past and his future.
there was sentimentality in the deal, sure, and perhaps some marketing strategy at work, too. amid another losing season, the needed a move to the fan base. but value now transcends stats, ticket sales or winning percentages.
jordan images
the wanted garnett for his influence, for his ferocity and for his self-discipline, for the impression he will make on theiromising young wiggins, anthony bennett, zach lavine, and ricky rubio.
flip saunders: i said, "you know, kevin, you won a championship in boston, but when people think about you, they're always going to think about you as a timberwolf. that's when you were, all-nba, (team)." i thought that maybe there was a chance that he might want to come back and finish, because he never really did want to leave here.
paul pierce: i thought he made a good decision. i told him, "the people of minnesota are really going to appreciate you more than they do in brooklyn." and i think he felt that.
jerry zgoda: basketball-wise, it made no sense, giving up a guy 26, thad young, for this guy. but here, it was a little bit of a fairy tale, him coming back. i was actually surprised how (positively) people reacted to it. i don't know if that was so much that they were hoping that it was the same guy they traded away in 2007, or just the fact of it's just a good story.
glen taylor: i'm happy. and i told him.
david images
andrew wiggins, rookie: the first couple games we had, there were a lot of fans here at the beginning of the year. then it started fading away a little bit. then when came back, it was a packed house. a lot of fans came out, a lot of new faces, and you could just feel a different energy in the gym.
jerry zgoda: the night he came back was magic. you don't see that that much, especially in that arena. it was special.
paul pierce (who, as a member of the wizards, played against garnett in his first game back): oh man, it was unbelievable. i haven't seen minnesota like that since he left. it used to be one of the loudest buildings in the league when he was there. then he left, it was like a ghost town.
flip saunders: the first road trip we came back young guys were all in the back, three seats on each side. it was lorenzo [brown] and zach and wig. so started talking about stories and different things, concepts and games. and these three guys were sitting there, like this [saunders rests his chin on his crossed arms, staring eyes, it was like they just saw santa claus. if i had a were riveted to their seats.
anthony bennett, forward: he's always a hard worker, always intense, always talkative. everything about his vibe changed the locker room. someone missed a shot, he'll go to them, bring them back up. just the little things, but it goes a long way for other players.
flip saunders: we're trying to get guys that are 20 to start playing like they're 23 or 24. no one says it like he does. even the players we have that are the veteran guys, like gary neal, say, "i never imagined that was this type of leader."
jimess
paul pierce: he's going to give them an attitude. he might not be that dominant, the, the one dominating games. but his voice is louder than ever, in that locker room moreso i think than in brooklyn.
jerry zgoda: he was having a dialogue with zach lavine quite a bit of time before (a game in utah), giving him grief as much as anything. zach goes out and hits two big shots. i heard garnett was going crazy in the dressing room watching it, saying, "that's my guy."
flip saunders: what brings, the other things, how he might help these other guys analytically be better, is more important than a low pick or whatever it is.
those who know garnett best believe he will play another season or two, as a role player and mentor. after that, many believe garnett will be given a share of the franchise, or perhaps seek to purchase the club himself, with an investment group. however the next chapter unfolds, it appears garnett is back in minneapolis to stay.
paul pierce: let me tell you something, i heard say he was going to retire four years ago. in boston. after like 2010 or '11, he was like this is it, this is it. he's still here.
jerry zgoda: i think he's going to be the next owner. he won't put the big money behind it, but he'll be the face of it, like magic johnson is with the dodgers. i think that's why he agreed to do this.
jimess
sam mitchell: he came home. you think about it, he's the only timberwolf, period, in history that really means anything. he's everything. he is everything.
jerry zgoda: there's not much to beoud of if you're a wolves fan for the last 20 years, but he's the guy that defines all that is.
howard beck covers the nba for bleacher report and is a of nba sunday tip, a.m. et on bleacher report radio. follow him on twitter, @howardbeck.
credits
howard beck interviewed danny ainge,l pierce, flip saunders, sam mitchell, glen taylor, casey, terry porter, christian laettner, jim labumbard, phil jackson, gregg popovich, john hammond, john nash, jerry zgoda, steve aschburner, jonathan abrams, russ granik, ron klempner, kevin johnson, jose calderon, andy miller, mason plumlee, andrew wiggins and anthony bennett.
ethan skolnick interviewed wade, lebron james, dirk nowitzki, chris webber, kendrick perkins, henry walker and tony allen.
ric bucher interviewed sonny vaccaro, brian and alvin gentry.
jared interviewed doc rivers, glen davis, zach randolph, chris bosh, lue and joe abunassar.
kevin ding interviewed sam cassell and doc rivers.
jonathan feigen interviewed kevin mchale.
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ˈændi prɛs fju ˈæθˌlits hæv lɛft ɛz dip ən ˌɪmˈprɪnt ɔn ðɛr spɔrt ɛz ˈkɛvɪn ˈgɑrnɪt həz ɔn ðə ˈɛnˌbiˈeɪ. ɛz ˈsɛləˌbreɪts hɪz ˈbərθˌdeɪ, ə kəˈlɛkʃən əv pleɪərz, ˈkoʊʧɪz ənd ɪgˈzɛkjətɪvz ˌriˈkaʊnt wət meɪd ɪm səʧ ə juˈnik ənd ˌtrænsfərˈmeɪʃənəl ˈfɪgjər ˈoʊvər ðə læst 20 ˈsizənz. ðɪs ɪz pɑrt 2 əv ˈɔrəl ˈhɪstəri əv ˈɛnˌbiˈeɪ kərɪr. pɑrt 1 ɪz hir ənd ækˈsɛsəbəl θru ðə lɪŋks bɪˈloʊ. klɪk tɪ ˈəðər ˈsɛkʃənz ˈwərˌkaʊt ˈwəndər ˌpaɪəˈnɪr ˌɪnˈtɛnsɪti ɪz ə ˈkɑnstənt steɪt əv maɪnd wət kʊd hæv bɪn ˈməni meɪks ðə ˈɛnˌbiˈeɪ goʊ 'raʊnd ˈgɪtɪŋ ˈəndər ˈɛvriˌwənz skɪn ˈtrəbəl wɪθ ðə baʊnd fər ˈbɔstən æt lɔŋ læst, ə rɪŋ kwərks, ˈhæbəts ənd ˈvərʧuz ə ʤɔɪəs ˈhoʊmˌkəmɪŋ ðoʊ ˈgɑrnɪt kˈwɪkli ɪˈvɑlvd ˈɪntu ə ˈdæzəlɪŋ, ˈdɑmənənt pleɪər ɪn ˌmɪnɪˈsoʊtə, hi gru ˈfrəˌstreɪtəd wɪθ ðə' ˈfeɪljərz, ˈoʊpənɪŋ ðə dɔr fər ə treɪd tɪ ˈbɔstən, wɛr hi faʊnd ˈəltəmət səkˈsɛs waɪl ˈhoʊnɪŋ ə ˌrɛpjəˈteɪʃən ɛz wən əv ðə ligz moʊst ˈɪntəˌrɛstɪŋ ˈkɛrɪktərz. fər moʊst əv hɪz ˌmɪnɪˈsoʊtə kərɪr, ˈgɑrnɪt wɑz ə ˌsupərˈstɑr sərˈaʊndɪd baɪ bɪt pleɪərz, ə ˈsoʊˌloʊ ækt ɪn sərʧ əv ə ˈwərði. ðə ˈgrænɪd wɪʃ ɔn mɑrʧ 11 1999 ˈsɛndɪŋ ɪm tɪ ðə nɛts ɪn ə treɪd ðət brɔt pɔɪnt gɑrd ˈtɛrəl ˈbrændən, ə ˌɔlˈstɑr, tɪ ˌmɪnɪˈsoʊtə. ðoʊ ˈtæləntɪd, ˈbrændən wɑz ˈəndərˌsaɪzd ənd hɪz kərɪr wɑz kət ʃɔrt baɪ ˈɪnʤəriz. ðə nɛkst tɪ ɑˈdɪʃən wɑz ˈwɔli, ə ˈfɔrwərd ˈdræftɪd wɪθ ðə sɪksθ pɪk ɪn 1999 bət ðə ˈkɛmɪstri wɑz pur frəm ðə stɑrt ənd ðɛr riˈleɪʃənˌʃɪp ˈbɑtəmd aʊt wɪn ˈgɑrnɪt ənd ˈskəfəld ɪn ðə rum ɪn noʊˈvɛmbər 2000 ˈʧɔnsi ˈbɪləps spɛnt tu jɪrz ɔn ðə ˈrɑstər, frəm bət hi dɪd nɑt riʧ ˈstɑrdəm ənˈtɪl jɪrz ˈleɪtər, ɪn ˈdiˌtrɔɪt. tɑm gugliˈoʊtə hæd hɪz bɛst ˈsizənz əˈlɔŋˈsaɪd ˈgɑrnɪt, ɪn ənd bət ðə lɛt ɪm goʊ ˈæftər ðə 1998 ˈlɑˌkaʊt tɪ seɪv rum, prɪˈzuməbli fər ˈmɑrˌbɛri. ˈminˌwaɪl, ˈbihəməθ ˈkɑnˌtrækt, wɪʧ wɑz ˈgrænˌfɑðərd ɪn ˈæftər ðə ˈlɑˌkaʊt, meɪd ɪt ɛkˌstrɔrdəˈnɛrəli ˈdɪfəkəlt fər əˈfɪʃəlz tɪ əkˈwaɪər ɪˈlit ˈtælənt. ənd ðə ˈsæbəˌtɑʒd ðɛmˈsɛlvz əˈlɔŋ ðə weɪ, əˈgriɪŋ tɪ ən ˌɪˈligəl dil wɪθ ʤoʊ smɪθ ðət kɔst ðə ˈfrænˌʧaɪz ˈməltəpəl pɪks ɛz pɑrt əv ðə ˈpənɪʃmənt. ˈændru di. ˈɪmɪʤɪz dɪˈspaɪt hɪz ˌɪˈmɛns ˈtælənts, ˈgɑrnɪt bɪˈkeɪm ə pleɪɔf ˈfʊtˌnoʊt, ˈluzɪŋ ɪn ðə fərst raʊnd ˈsɛvən streɪt jɪrz frəm 1997 tɪ 2003 ˈnɛvər ˈwɪnɪŋ mɔr ðən 51 geɪmz ɪn ə ˈsizən. flɪp ˈsɔndərz, koʊʧ, 2014-present*: ɪt wɑz ˈdɪfəkəlt. wi ˈtreɪdɪd stɛf, wi gɑt ˈtɛrəl, hu wɑz ˈprɪti gʊd. wi ˈɔlsoʊ gɑt ˈwɔli ɪn ðə dil, hu bɪˈkeɪm ən ˌɔlˈstɑr. wət ju hæv tɪ hæv ɪz nɑt ʤɪst ə stɑr, bət ju hæv tɪ hæv tu daɪˈnæmɪk stɑrz. tɪ gɪt ə gaɪ ðət ˈmeɪbi kən bi ən maɪt nɑt bi gʊd ɪˈnəf bæk ðɛn. stiv aschburner*, bit ˈraɪtər fər ˌmɪniˈæpəlɪs star-tribune*, aɪ θɪŋk [ˈgɑrnɪt] fɛlt laɪk ˈwɔli wɑz ˌoʊvərˈreɪtɪd, aɪ θɪŋk hi riˈzɛnəd ðət ðɪs gaɪ ðət wɑz sɔrt əv bɪˈkəmɪŋ hɪz ˈsaɪdˌkɪk wɪˈθaʊt ˈɛni ril ˈkɛmɪstri ənd nɑt ɪˈnəf ʧɑps. ðɛr wɑz noʊ ˈkɛmɪstri ðɛr bɪtˈwin ðɛm, æt ɔl. sæm ˈmɪʧəl, ˈtiˌmeɪt, ə lɔt əv ðət stəf ɪz ˌoʊvərˈbloʊn. ˈkɛvɪn rɪˈspɛktɪd ˈwɔli, bɪˈkəz ˈwɔli kʊd pleɪ. ˈwɔli ləvd tɪ pleɪ. naʊ, ˈwɔli ˈwəzənt ðə ˈgreɪtəst dɪˈfɛndər, bət wɪn ɪt keɪm tɪ ˈskɔrɪŋ ðə ˈbæskətˌbɔl, ˈwɔli kən skɔr. ˈkɛvɪn məˈkeɪl, ˈʤɛnərəl ˈmænɪʤər ðeɪ wər ˈdɪfərənt ˈpipəl. ðeɪ ˈnɛvər simd tɪ hæv greɪt ˈkɛmɪstri, [bət aɪ doʊnt θɪŋk ɪt wɑz ɛz bæd ɛz ˈɛvriˌbɑdi sɛd ɪt wɑz. ðeɪ hæd ðɛr ˈmoʊmənts. ˈwɔli meɪd ən ˌɔlˈstɑr tim wɪθ ˈkɛvɪn. hi ˈwəzənt ə greɪt ˈpæsər, ˈwəzənt ə greɪt kriˈeɪtər. [bət] hi pleɪd wɛl wɪθ ˈkɛvɪn. ɪn maɪ taɪm ðɛr, ˈnoʊˌbɑˌdi pleɪd ˈbɛtər wɪθ ˈkɛvɪn ðən gugliˈoʊtə. ju kən lʊk æt səm əv ðə stəf ðeɪ dɪd təˈgɛðər. ˈvɛri, ˈvɛri ˌɪmˈprɛsɪv. flɪp ˈsɔndərz: ðə moʊst ˌənəˈsumɪŋ ˌsupərˈstɑr, ɪn ðət hi hæd mɔr ˌgrætəfəˈkeɪʃən ˈpæsɪŋ ðə bɔl ðən ˈskɔrɪŋ. soʊ hi ˈdɪdənt kɛr əˈbaʊt ˈʃutɪŋ, wɛr ˈwɔli, ðæts ɔl hi kɛrd əˈbaʊt. soʊ hi gɑt ˈwɔli ə lɔt əv ʃɑts. fərˈnɑndoʊ ˈɪmɪʤɪz stiv aschburner*: wɪn ˈwɔli gɑt hɪz ɪkˈstɛnʃən, [ðə ˈmidiə] broʊk ðə nuz tɪ ˌbiˈfɔr shootaround*. ðə lʊk ɔn wɑz ˈwərkɪŋ hɪz ˈoʊvər ðə fækt ðət ðɪs gaɪz goʊɪŋ tɪ bi hir ˈlɔŋˈtərm naʊ, ənd biɪŋ peɪd ə hoʊl bənʧ əv ˈməni ənd ðæts goʊɪŋ tɪ gɪt ɪn ðə weɪ əv ˈsərtən kaɪnz əv ˌɪmˈpruvmənt ðeɪ kʊd meɪk ɪn ðət tim. ˈændi ˈmɪlər, ˈeɪʤənt sɪns 1995 aɪ θɪŋk ðət ðət wɑz ðə θɪŋ ðət ˈprɑbəˌbli kɔzd ðə moʊst ˈtərˌmɔɪl. ˈkɛvɪn ˈɔlˌweɪz wɔnts tɪ bi səkˈsɛsfəl, ˈɔlˌweɪz wɔnts tɪ wɪn, wɔnts ðə tim tɪ hæv səkˈsɛs, wɔnts ˈɛvriˌwən tɪ ʃaɪn. wɪn ju hæv ˈkɑnstənt frəˈstreɪʃən, ˈɔlˌweɪz traɪɪŋ tɪ pləg ə hoʊl, ənd ˈɛvəri jɪr ju ɛnd əp wɪθ ðə seɪm rɪˈzəlts, ɪts ɛkˌstrɔrdəˈnɛrəli ˈfrəˌstreɪtɪŋ. ˈtɛri ˈpɔrtər, gɑrd, wi ʤɪst ˈdɪdənt hæv ɪˈnəf ˈwɛpənz. ju noʊ, [ˈgɑrnɪt] ˈwəzənt ðə taɪp əv gaɪ ðət wɑz goʊɪŋ teɪk ˈoʊvər ə tim ənd ˈkɛri ə tim bæk ðɛn. ənd ðeɪ wər ɪn ðə ˈwɛstərn ˈkɑnfərəns, soʊ ɪt bɪˈkeɪm mɔr əv ə ˈʧælənʤ ˈərli ɔn. aɪ rɪˈmɛmbər ˈjuˈɛs pleɪɪŋ ˈhjustən ɪn ðə fərst raʊnd. hi hæd ə greɪt ˈsɪriz; wi ʤɪst ˈdɪdənt hæv ɪˈnəf. stiv aschburner*: glɛn ˈteɪlər pɪst ɔf hɪz pɪrz baɪ ˈsaɪnɪŋ ˈgɑrnɪt tɪ ðət ˈkɑnˌtrækt, bət ˈnoʊˌbɑˌdiz tim ˈsəfərd wərs ðən glɛn ˈteɪlərz. ˈfaɪnəli, ɪn 2003 ðə meɪd tu drəˈmætɪk treɪdz, əkˈwaɪərɪŋ pɔɪnt gɑrd sæm ˈkæsɛl frəm mɪlˈwɔki ənd frəm nu jɔrk, prəˈvaɪdɪŋ ˈgɑrnɪt ðə bɛst səˈpɔrtɪŋ kæst əv hɪz ˌmɪnɪˈsoʊtə kərɪr. ðə wən 58 geɪmz, ə ˈfrænˌʧaɪz ˈrɛkərd, ənd ˈgɑrnɪt wən ðə moʊst ˈvæljəbəl pleɪər əˈwɔrd ˈæftər ˈævrɪʤɪŋ pɔɪnts, ˈriˌbaʊndz, 5 əˈsɪsts, blɑks ənd stilz. ˈnɪki prɛs ðət spərɪŋ, ˈgɑrnɪt wən ðə fərst tu pleɪɔf ˈsɪriz əv hɪz kərɪr, ˈlidɪŋ ðə ˈɪntu ðə ˈwɛstərn ˈkɑnfərəns ˈfaɪnəlz əˈgɛnst ðə lɔs ˈænʤəlɪs ˈleɪkərz, hu hæd ˈædɪd kɑrl məˈloʊn ənd ˈgɛri ˈpeɪtən tɪ ðə ʃəˈkil braɪənt kɔr. bət ˈkæsɛl ˈɛnərd ðə ˈsɪriz wɪθ ə ˈbædli ˈɪnʤərd hɪp, səˈsteɪnd ɪn ðə ˈsɛkənd raʊnd, ənd hɪz pleɪ ˈsəfərd. hi sæt daʊn fər gʊd ˈæftər geɪm 4 əv ðə ˈsɪriz, wɪθ ðə wʊlvz ˈtreɪlɪŋ ðə ˈleɪkərz prɪˈveɪld ɪn sɪks geɪmz, ənd ˈgɑrnɪt lɔst hɪz bɛst ʧæns tɪ brɪŋ ə ˈtaɪtəl tɪ ðə twɪn ˈsɪtiz. dɪˈspaɪt ə ˈsizən, ðə mɪst ðə pleɪɔfs ðə nɛkst jɪr, ðɛn ˈpɑrtɪd weɪz wɪθ ənd ˈkæsɛl. ðeɪ hæv nɑt meɪd ðə sɪns. flɪp ˈsɔndərz: wi wʊd hæv wən ðət jɪr. wi wər ðə noʊ. 1 sid. aɪ stɪl bɪˈliv, ɪf sæm ˈwʊdənt hæv gɑt hərt, ðət wi wʊd hæv bit ðə ˈleɪkərz ənd aɪ θɪŋk wi ˈprɑbəˌbli wʊd hæv ˈbitən ˈdiˌtrɔɪt (ɪn ðə ˈfaɪnəlz) ðət jɪr. glɛn ˈteɪlər, ˈoʊnər: wi wɛnt aʊt ənd [əkˈwaɪərd] ðoʊz gaɪz, [ənd spɛnt] mɔr ˈməni ðən wi kʊd əˈfɔrd. aɪ θɪŋk ˈɛvriˌθɪŋ wɛnt ðə weɪ wi plænd ɪt, ɪkˈsɛpt ðə ˈɪnʤəriz. ənd ðæts bɪn ɑr mɪsˈfɔrʧən ˈɛvər sɪns, ðə ˈɪnʤəriz. ˈkeɪsi, hɛd koʊʧ, ɪn ˌkɑnvərˈseɪʃən, [ˈkɛvɪn] wʊd lɛt ɪt bi noʊn ðət ðət wɑz ˈsəmθɪŋ ðət hi wɑz ˈfrəˌstreɪtəd wɪθ, ðət ðeɪ broʊk əp ðə tim ðət hæd gɔn tɪ ðə ˈwɛstərn ˈkɑnfərəns ˈfaɪnəlz. stiv aschburner*: hi wɑz ˈrɪli fɛd əp. hi ˈwəzənt ðə wən ˈreɪzɪŋ hɪz hænd ər ˈmeɪkɪŋ dɪˈmændz ɪn ðə ˈmidiə tɪ ˈɛksət, bɪˈkəz hi ɪz ə ˈvɛri lɔɪəl ˈpərsən. bət aɪ θɪŋk hi fɛlt kaɪnd əv bɪˈtreɪd baɪ ðə ˌɪnəˈbɪlɪti əv məˈkeɪl ənd ðə ˌɔrgənəˈzeɪʃən tɪ kəm θru fər ɪm. ˈkæθərɪn ˈɪmɪʤɪz ˈtɛri ˈpɔrtər: [ˈgɑrnɪt] nu æt ðə ɛnd əv ðə deɪ, hi wɑz goʊɪŋ tɪ bi ʤəʤd baɪ hɪz pleɪɔf appearances.…*.… hi kɛrz əˈbaʊt haʊ hiz lʊkt əˈpɑn ənd wət hɪz ˈlɛgəsi lʊks laɪk. ˈkɛvɪn məˈkeɪl: hi θɔt, "aɪ hæv tɪ du mɔr. aɪ hæv tɪ du mɔr." ˈrɪli, ðɛr wɑz ˈnəθɪŋ mɔr hi kʊd du. stiv aschburner*: aɪ rɪˈmɛmbər ˈæftər ðə [pleɪɔf ˈsɪriz ɪn 2010 wɪn ˈlɛbrən gɑt ɪˈlɪməˌneɪtɪd baɪ ðə ˈsɛltɪks. ənd ˈgɑrnɪt toʊld ˈjuˈɛs frəm ðə ˈpoʊdiəm, əˈbaʊt haʊ hi toʊld ˈlɛbrən əˈbaʊt haʊ fæst θɪŋz goʊ. tɪ mi, ðət wɑz ˈgɑrnɪt ˈbeɪsɪkli seɪɪŋ, "aɪ wɪʃ aɪ ˈhædənt saɪnd ðət læst ɪkˈstɛnʃən, bɪˈkəz lʊk haʊ lɔŋ ɪt tʊk mi tɪ gɪt ˈsəmˌwɛr wɛr aɪ ˈrɪli kʊd wɪn." ðət wɑz ˈprɪti ˈtɛlɪŋ. ðə treɪd ˈʧɑrəlz prɛs baɪ 2007 ˈgɑrnɪt ənd ðə hæd riʧt ə ˈkrɔsˌroʊdz. ðə sæm ˈɪrə hæd bɪn ˌʃɔrˈtlɪvd, wɪθ iʧ stɑr ˈeɪliəˌneɪtɪŋ ðə frənt ˈɔfəs ˈoʊvər ˈkɑnˌtrækt dɪˈmændz. æt eɪʤ 31 ˈwɪndoʊ tɪ ʧeɪs ə ˈʧæmpiənˌʃɪp wɑz dɪˈmɪnɪʃɪŋ. ənd ðə, ˈstaɪmid baɪ ðɛr oʊn mɪˈstɛps, ənd ˈhændˌkəft baɪ ˈmæsɪv wɪθ əˈnəðər ˈkɑnˌtrækt ɪkˈstɛnʃən ɔn ðə ɪt wɑz taɪm tɪ sɛt ə nu kɔrs. wət wɑz wəns ˌɪnkənˈsivəbəl bɪˈkeɪm ɛˈsɛnʃəl: ðə ˈfrænˌʧaɪz wʊd hæv tɪ treɪd ðə ˈgreɪtəst pleɪər tɪ ˈɛvər hæv greɪst ðə ˈjunəˌfɔrm. glɛn ˈteɪlər: aɪ sɛd tɪ ˈkɛvɪn, "ɪts ˈgɑnə teɪk ˈjuˈɛs ə waɪl əˈgɛn." ənd aɪ θɪŋk hi kaɪnd əv sɪz, "aɪd laɪk tɪ wɪn." aɪ seɪ, "əm nɑt ʃʊr əm ˈgɑnə gɪt ju ðət hir ɛz fæst ɛz ju wɔnt." soʊ aɪ wʊd seɪ ðət hi kaɪnd əv wɑz ənˈʃʊr. ˈkɛvɪn məˈkeɪl: ɪt wɑz hɑrd ɔn ˈɛvriˌbɑdi. ðət ˈrɪli keɪm daʊn tɪ ʤɪst ɑr ˈoʊnər aɪ θɪŋk glɛn wɑz mɔr ðən fɛr wɪθ ˈnəmbər hi ˈwɔntɪd tɪ saɪn ˈɛvriˌbɑdi wɪθ, ənd hi traɪd tɪ gɪt ðə kæp mɔr cap-friendly*. ˈkɛvɪn, ʤɪst sɛd hi ˈwɔntɪd ɛks əˈmaʊnt. ɪt keɪm daʊn tɪ ə ˌfaɪˈnænʃəl dɪˈsɪʒən. ɪt wɑz hɑrd. glɛn ˈteɪlər: aɪ θɪŋk naʊ hi sɪz, "glɛn ju ˈtreɪdɪd mi. aɪ ˈdɪdənt wɔnt tɪ bi ˈtreɪdɪd." bət əm nɑt ʃʊr ɪt wɑz kwaɪt ðət klɪr. aɪ θɪŋk hi sɛnt mi səm ˈmɛsɪʤɪz ðət "aɪ wɔnt tɪ gɪt ɔn ə [kənˈtɛndɪŋ] tim." nəˈθænjəl ɛs. ˈɪmɪʤɪz ˈdæni eɪŋ, ˈsɛltɪks gm*: bɪˈkəz ˈkɛvɪn ənd aɪ wər səʧ kloʊz frɛndz, wi hæd ˈnumərəs ˌkɑnvərˈseɪʃənz ˈoʊvər ðə jɪrz [əˈbaʊt ˈgɑrnɪt]. wi ˈriəˌlaɪzd ðət pɔl [pɪrs] ənd wʊd bi ə greɪt ˌkɑmbəˈneɪʃən. wi θɔt ðət ðeɪ ˈrɪli ˈkɑmpləˌmɛntɪd iʧ ˈəðər wɛl. soʊ wi dɪˈskəst ðə ˌpɑsəˈbɪləˌti əv pɔl goʊɪŋ tɪ ˌmɪnɪˈsoʊtə ər ˈkəmɪŋ tɪ ˈbɔstən, laɪk wɪʧ weɪ ɪz ðə bɛst weɪ tɪ du ɪt. fɪl ˈʤæksən, ˈleɪkərz hɛd koʊʧ, wɪn aɪ ˈriəˌlaɪzd ðət [ˈgɑrnɪt] wɑz əˈveɪləbəl ənd ˈwɔntɪd tɪ liv ˌmɪnɪˈsoʊtə, aɪ pʊt ə bɪg pʊʃ ɔn (tɪ əkˈwaɪər ɪm). ˈændi ˈmɪlər: ˈklivlənd wɑz ˌɪnˈvɑlvd. ðeɪ wər ə ˈdɪstənt θərd ɪn ðə hoʊl θɪŋ. glɛn ˈteɪlər:. ˈrɪli ˈwɔntɪd ɪm. wɛl, aɪ ˈdɪdənt noʊ ɪf aɪ ˈwɔntɪd ɪm ɪn ðə wɛst. aɪ θɔt aɪ wɑz ˈgɪtɪŋ ˈbɛtər pleɪərz. aɪ θɔt kʊd nɑt gɪv mi ðə pleɪərz ðət ˈbɔstən dɪd. ðə ˈleɪkərz ˈɔfərd ə ˈpækɪʤ bɪlt əraʊnd ˈfɔrwərd lɑˈmɑr ˈoʊdəm ənd ˈsɛnər ˈændru ˈbɪnəm, ə ˈprɑməsɪŋ pleɪər hu wʊd ɪˈvɛnʧəwəli bɪˈkəm ən ˌɔlˈstɑr. ˈoʊdəm hæd ə ˈhɪstəri əv ˈfleɪki bɪˈheɪvjər, ˌhaʊˈɛvər, ənd ˈbɪnəm wɑz ənˈpruvən. ðə ˈsɛltɪks' ˈpækɪʤ wɑz bɪlt əraʊnd əˈnəðər ˈtæləntɪd, bət jəŋ ˈsɛnər, æl ˈʤɛfərsən, əˈlɔŋ wɪθ ˈsɛvərəl ˈəðər jəŋ pleɪərz ənd dræft pɪks. fɪl ˈʤæksən: ˈdɑktər. [ˈʤɛri] bəs keɪm tɪ mi ənd sɛd, "aɪ hæv ə ˈhændˌʃeɪk əˈgrimənt wɪθ ˈteɪlər, ðət hiz goʊɪŋ tɪ kəm tɪ. bət məˈkeɪl ˈhæzənt kənˈkərd jɛt." soʊ aɪ sɛd, "wɛl ðæts ə gʊd ɪkˈskjuz." ju ˈɔlˌweɪz, ɛz ən ˈoʊnər, seɪ, "aɪl du ðɪs, bət soʊ aɪ kɛpt ðət hoʊp aʊt ðɛr, ðət hi wɑz ˈgɑnə bi ə pɑrt əv ðə ˈleɪkər ˌɔrgənəˈzeɪʃən. ˈteɪlər: ˈoʊdəm, aɪ wɑz ə ˈlɪtəl əˈfreɪd əv. aɪ θɔt ˈbɪnəm wɑz ˈgɑnə bi ə stɑr. ˈmɪlər: aɪ θɪŋk ðət wət məˈkeɪl wɑz ˈlʊkɪŋ fər, ɔn tɔp əv pɪks, wɑz ə kɔr jəŋ pis, ənd hi wɑz ˌɪnˈfæʧuˌeɪtɪd wɪθ æl ˈʤɛfərsən æt ðə taɪm. ˈdeɪvɪd ˈɪmɪʤɪz glɛn ˈteɪlər: ɪt bɪˈkeɪm ðə ˈleɪkərz, ənd ɪt bɪˈkeɪm ˈbɔstən. ənd ðeɪ boʊθ sɛd, wət dɪz [ˈgɑrnɪt] wɔnt tɪ gɪt peɪd? ənd aɪ toʊld ðɛm wət hi wɔnts tɪ gɪt peɪd. aɪ toʊld ðɛm ðə kaɪnd əv ˈkɑnˌtrækt. ənd ðoʊz tu timz sɛd ðeɪ wʊd du ɪt. ɔn ˌʤuˈlaɪ 31 2007 ðə sɛnt ˈgɑrnɪt tɪ ˈbɔstən, ɪn ɪksˈʧeɪnʤ fər æl ˈʤɛfərsən, fɔr ˈəðər pleɪərz ənd tu pɪks. ˈmɛni ˈɛkspərts kənˈsɪdərd ðə ˈleɪkərz' ˈɔfər əv ˈoʊdəm ənd ˈbɪnəm tɪ bi ðə ˈstrɔŋgər ˈpækɪʤ. ðə dil bɪtˈwin eɪŋ ənd məˈkeɪl, kloʊz frɛndz ənd ˈfɔrmər ˈsɛltɪks ˈtimˌmeɪts, stoʊkt səˈspɪʃən ðət məˈkeɪl wɑz ˈæktɪŋ mɔr ɪn ðə ˈɪntərɪsts əv hɪz ˈfɔrmər ˈfrænˌʧaɪz. fɪl ˈʤæksən: aɪv ˈɔlˌweɪz kaɪnd əv ˈhɪnɪd ðət, ɪn fən. əv kɔrs, ɪts ˈiziər tɪ meɪk ə dil wɪθ ˈsəmˌwən ju noʊ. bət ðə (meɪn) θɪŋ wɑz, gɪt ɪm aʊt əv ðə ˈkɑnfərəns, gɪt ɪm tɪ ðə ist koʊst, gɪt ɪm əˈweɪ frəm ˈjuˈɛs, soʊ wi doʊnt hæv tɪ dil wɪθ ɪm fɔr taɪmz ə jɪr. soʊ ðət meɪks sɛns. soʊ ðæts ˌəndərˈstændəbəl. glɛn ˈteɪlər: wi wɛnt tɪ ˈbɔstən, ənd aɪ gɑt ə dil wɪθ ˈbɔstən ənd tʊk ɪt tɪ ˈkɛvɪn, ənd hi sɪz, "noʊ, aɪ doʊnt wɔnt tɪ bi ˈtreɪdɪd." ðɛn ðeɪ wɛnt aʊt ənd gɑt [reɪ] ˈælən. aɪ wɛnt bæk tɪ ˈkɛvɪn ənd sɛd tɪ ɪm, ˈleɪtər ɔn, "wɛl, ðɛr stɪl hir, ðeɪ wɔnt ju." aɪ θɔt hi sɛd, "ˈoʊˈkeɪ" tɪ mi. aɪ ˈrɪli dɪd. aɪ doʊnt noʊ ɪf hi rɪˈmɛmbərz ɪt ðət weɪ kwaɪt ər nɑt. bɪˈkəz hi həz sɛd æt ˈdɪfərənt taɪmz, "aɪ wɪʃt aɪ kʊd hæv steɪd ðɛr." bət aɪ θɔt aɪ æst ɪm. aɪ θɔt hi əˈgrid. ɪn ˈθɪŋkɪŋ bæk, maɪ gɛs ɪz ˈkɛvɪn ˈwəzənt ʃʊr wɪʧ weɪ hi ˈwɔntɪd tɪ du ɪt, ənd aɪ meɪd ðə dɪˈsɪʒən fər ɪm, ˈrəðər ðən hi ˈprɑbəˌbli fɛlt ðət aɪ ʃʊd hæv æst ɪm əˈgɛn., fʊlˈfɪld braɪən ˈɪmɪʤɪz ˈəltəmətli, ðə ʧæns tɪ ʤɔɪn tu ˈəðər fˈjuʧər hɔl əv ˈfeɪmərz, pɔl pɪrs ənd reɪ ˈælən, pərsˈweɪdɪd ˈkɛvɪn ˈgɑrnɪt tɪ əkˈsɛpt ə treɪd tɪ ðə ˈsɛltɪks, ənd tɪ seɪ ˌgʊdˈbaɪ tɪ ˌmɪnɪˈsoʊtə, ðə ˈoʊnli ˈɛnˌbiˈeɪ hoʊm hi hæd noʊn. ɪn ˈbɔstən, ˌɪmˈpækt wɑz ˌɪˈmiˌdiət ənd proʊˈfaʊnd. ðə θri stɑrz wər ˈbrændɪd ɛz co-equals*, iʧ dɪˈpɛndənt ɔn ðə ˈəðərz tɪ fʊlˈfɪl ðɛr ˈʧæmpiənˌʃɪp drimz. bət ˈgɑrnɪt wɑz ðə ˈlɪnʧˌpɪn tɪ ðə ˈpɑrtnərˌʃɪp, ˈɪnstəntli bɪˈkəmɪŋ ðə ˈsɛltɪks' dɪˈfɛnsɪv ˈkɑnʃəns, ðɛr ˈstrɔŋgəst vɔɪs ənd ðɛr ˈiˌmoʊʃənəl pəls. ðə ˈstɔri əv ðə ˈsɛltɪks' ˈʧæmpiənˌʃɪp rən ɪz wən əv ˌɪndəˈvɪʤəwəl ˈsækrəˌfaɪs. ˈgɑrnɪt sɛt ðə toʊn frəm deɪ 1 dɪˈmændɪŋ ə ˈtoʊtəl kəˈmɪtmənt frəm ˈɛvriˌwən, ðɛn ˈsɛtɪŋ ðə ɪgˈzæmpəl hɪmˈsɛlf, baɪ sərˈɛndərɪŋ ʃɑts ənd ˌɪndəˈvɪʤəwəl ˈglɔri. ðə ˈvɛtərənz ɔl rɪˈspɛktɪd ˈgɑrnɪt, ənd ðə ˈsɛltɪks' ˈjəŋgəst ˈstɑrtərz, ˈkɛndrɪk ˈpərkɪnz ənd rondo*, wər ˈɪnstəntli drɔn tɪ hɪz juˈnik ˈmægnəˌtɪzəm. ðeɪ ˈfɑloʊd hɪz lɛd ɪn ˈɛvriˌθɪŋ, ənd rɪˈflɛktɪd hɪz ˈstili pərˈsoʊnə. dɑk ˈrɪvərz, ˈbɔstən ˈsɛltɪks hɛd koʊʧ, ɪt wɑz ˌbiˈfɔr ɑr fərst fərst ˈmitɪŋ wɪθ pɔl, reɪ ənd ˈkɛvɪn. ðə fərst θɪŋ hi tɔkt əˈbaʊt ɪz, "heɪ, wi ɔl seɪ wɪr goʊɪŋ tɪ wɪn ə ˈtaɪtəl, bət wət ər ju goʊɪŋ tɪ gɪv əp?" hi ˈʧælənʤd ˈjuˈɛs raɪt əˈweɪ. hi wɑz nɑt əraʊnd, ənd aɪ ləv ðət əˈbaʊt ɪm. ˈændru di. ˈɪmɪʤɪz sæm ˈmɪʧəl: aɪ rɪˈmɛmbər wɪn aɪ wɑz ˈkoʊʧɪŋ ɪn tərˈɑntoʊ (ɪn 2007 ənd wi pleɪd ðə ˈbɔstən ˈsɛltɪks ɪn ən ˌɛksəˈbɪʃən ɪn roʊm. ənd dɑk ˈrɪvərz ənd reɪ ˈælən pʊld mi tɪ ðə saɪd. ðeɪ wɑz laɪk, "mæn wi nid ju tɪ tɔk tɪ." aɪ wɑz laɪk, "wəts rɔŋ?" ðeɪ sɛd, "mæn, hiz ʤɪst soʊ ˌɪnˈtɛns. hi doʊnt nid tɪ du ɔl ðət." soʊ ðeɪ θɔt hi wɑz traɪɪŋ tɪ ˌɪmˈprɛs ðɛm. aɪ sɛd, "dɑk, reɪ, hiz laɪk ðɪs ˈɛvəri deɪ. ˈɛvəri deɪ." ˈdæni eɪŋ: hi ʧeɪnʤd ˈɛvriˌbɑdi, frəm ˈkoʊʧɪz tɪ ˈtreɪnərz tɪ məˈsɑʒ ˈθɛrəpɪsts, tɪ ðə ɪnˈtaɪər ˌɔrgənəˈzeɪʃən. aɪ θɪŋk ðət ɪt wɑz ʤɪst hɪz ˈɛnərʤi ənd ɪnˈθuziˌæzəm. bət ˈɔlsoʊ, ɪt wɑz ðə fækt ðət hi bɪˈlivd. hi hæd ðɪs strɔŋ feɪθ ɪn wət ðə tim kʊd bi. pɔl pɪrs: ɪt ˈwəzənt əˈbaʊt noʊ naʊ. ðə ˈætəˌtud əraʊnd ðɛr wɑz ˈvɛri but camp-like*. wɪr ˈgɑnə goʊ ɪn hir ənd du ɑr wərk ˈɛvəri deɪ, ənd ðə ˈlæfɪŋ ənd ðə ˈʤoʊkɪŋ, ðæts aʊt ðə ˈwɪndoʊ ənˈtɪl ˈmeɪbi ˈæftər ˈpræktɪs ər ɔn ðə bəs. braɪən, ˈsɛltɪks ˈfɔrwərd, ˈoʊvər ðə kɔrs əv 82 geɪmz, ər geɪmz laɪk wi pleɪd, ə lɔt əv gaɪz kən gɪt ril lus. hi ˈnɛvər əˈlaʊd ðət. wən deɪ liɑn paʊ ənd aɪ wər ˈkrækɪŋ əp ɔn ˈɛdi ˈhaʊsɪz ˌtæˈtu. [ˈgɑrnɪt] wɑz laɪk, "kəˈmɑn, scal*, ɪts taɪm tɪ rɑk! wət ðə 'ɛf' ər ju duɪŋ?" ənd aɪ wɑz laɪk, "ju noʊ wət? jʊr raɪt. ɪt ɪz taɪm tɪ rɑk." wɪr əˈbaʊt tɪ pleɪ ðə ˈdæləs ˈmævərɪks ənd wɪr ˈoʊvər hir ˈmɛsɪŋ əraʊnd. ɪt wɑz 55 (ˈmɪnəts) ɔn ðə klɑk ər ˈsəmθɪŋ laɪk ðət. hi wɑz lɑkt ɪn ənd ˈfoʊkɪst. ðæts haʊ ɪt ɪz wɪθ ɪm. ɪf ju wɔnt tɪ bi ɔn ðə tim, ðæts haʊ ɪt ɪz goʊɪŋ tɪ bi. pɔl pɪrs: ɪt ˈprɑbəˌbli meɪd səm gaɪz ənˈkəmfərtəbəl, ˈmeɪbi [səm fɛlt hi] need[ed*] tɪ toʊn ɪt daʊn. bət əm laɪk, "noʊ, ðæts ˈkɛvɪn. jɔl tɛl ɪm tɪ toʊn ɪt daʊn laɪk ɪts ə ˈwiknəs, bət ðæts hɪz strɛŋθ. hiz ˈgɑtə bi laɪk ðɪs. hiz ˈgɪtɪŋ ˈrɛdi." stiv ˈɪmɪʤɪz glɛn "bɪg ˈbeɪbi" ˈdeɪvɪs, ˈsɛltɪks ˈfɔrwərd, aɪ θɪŋk hi goʊz daʊn ɛz wən əv ðə bɛst ˈlidərz əv ɔl taɪm, ˈsəmˌbɑdi ðət lɛd baɪ ɪgˈzæmpəl, bət ˈɔlsoʊ pəˈlist hɪz timz ənd sɛd wət wɑz raɪt ɔl ðə taɪm, ɪn spaɪt əv wət ˈəðər ˈpipəl θɪŋk. ju tɔk əˈbaʊt ə gaɪ hu meɪd ə ˈsækrəˌfaɪs ˈkəmɪŋ tɪ roʊl ʧeɪnʤd, hi wɑz mɔr əv ə dɪˈfɛndər. hi wɑz ə gaɪ ðət kaɪnd əv fəˈsɪləˌteɪtɪd ənd kɛpt ˈjuˈɛs ɔl təˈgɛðər. ˈdæni eɪŋ: dɑk wʊd hɑrp ɔn ɪm ˈɛvəri deɪ, laɪk, "ju ˈgɑtə skɔr mɔr, ju ˈgɑtə ʃut mɔr. ju ˈgɑtə kwɪt ˈpæsɪŋ ənd ju ˈgɑtə ʃut.", ɪt ʤɪst ˈwəzənt ɪn hɪz ˈneɪʧər. hi wɑz səʧ ə tim gaɪ, ənd hi kɛrd soʊ məʧ əˈbaʊt hɪz ˈtimˌmeɪts, ənd hi kɛrd əˈbaʊt ðə ˌkɑmərˈɑdəri ənd ðə ˈjunɪti əv ɑr tim, ənd wɑz ˈgreɪtli əˈfɛktɪd baɪ ˈpipəl ðət wɛnt ɔf ðə ˌrɛzərˈveɪʃən. dɑk ˈrɪvərz: hiz ðə bɛst ˌsupərˈstɑr roʊl pleɪər aɪv ˈɛvər sin. hiz ə ˌsupərˈstɑr ðət kən du ˈɛvriˌθɪŋ, jɛt hi geɪv hɪmˈsɛlf tɪ ðə tim ənd pleɪd ə roʊl fər ðə tim tɪ wɪn, noʊ ˈmætər wət ðət tʊk əˈweɪ frəm hɪz ˌɪndəˈvɪʤəwəl stəf. aɪ doʊnt noʊ ɪf ðɛrz ˈɛni ˌsupərˈstɑr aɪv ˈɛvər bɪn əraʊnd ðət ɪz ðət unselfish*. ˈdæni eɪŋ: ˈkɛndrɪk (ˈpərkɪnz) wɑz ə ˈvɛri ˌɪmˈpɔrtənt pis tɪ ə ˈʧæmpiənˌʃɪp ˈpəzəl. ˈkɛvɪn nu ðət. hi sɔrt əv tʊk pərk ˈəndər hɪz wɪŋ ənd hi ləvd pərk fər haʊ hɑrd pərk pleɪd. pɔl wɑz ˈɔlˌweɪz ə greɪt pleɪər. bət pɔl, ɔl əv ə ˈsədən, ˈdɪdənt hæv tɪ ˈkɛri ðə loʊd (ɛz ðə soʊl ˈlidər). ˈprɛzəns ʤɪst tʊk ə ˈbərdən ɔf əv pɔl, ənd frid ɪm əp tɪ bi wət hi wɑz, wɪʧ wɑz ə greɪt ˈskɔrər. braɪən ˈɪmɪʤɪz dɑk ˈrɪvərz: hi wɑz priˈpɛrd, ju ˈbɛtər bi. ɪf ju mɛst əp ɪn shootaround*, hi nu ɪt. soʊ hi kɛpt mi ɔn ðə ɛʤ bɪˈkəz ju nu hi wɑz ɛz priˈpɛrd ɛz ðə ˈkoʊʧɪz, ənd ɪts rɛr ju si ðət. æt ðə taɪm ðə ˈsɛltɪks kriˈeɪtɪd ðɛr nu bɪg θri, ðɛr wər ləˈʤɪtəmət kənˈsərnz əˈbaʊt fɪt ənd ˈkɛmɪstri, ənd ləˈʤɪtəmət kˈwɛsʧənz əˈbaʊt haʊ lɔŋ ɪt maɪt teɪk fər θri ˈtaʊrɪŋ ˈtælənts tɪ mɛʃ. ðə ˈænsərz keɪm kˈwɪkər ðən ˈɛniˌwən kʊd hæv prɪˈdɪktɪd. ðə ˈsɛltɪks ˈstɑrtɪd ðə ˈsizən ðɛn rɪpt ɔf tu ˈwɪnɪŋ striks, ˈpʊʃɪŋ ðɛr ˈrɛkərd tɪ ɔn ʤæn. 5 ðə ˈsɛltɪks ˈfɪnɪʃt wɪθ 66 wɪnz, ðɛr bɛst mɑrk saɪn 1986 ˈæftər ə ˈstrɛnjuəs rən θru ðə ˈistərn ˈkɑnfərəns tʊk ˈsɛvən geɪmz tɪ bit æˈtlæntə ənd ˈklivlənd, sɪks tɪ bit ˈsɛltɪks ˈlændɪd ɪn ðə ˈfaɪnəlz əˈgɛnst ðɛr ˈoʊldəst ˈraɪvəl (ənd ðə ˈluzər ɪn ðə ˈgɑrnɪt steɪks), ðə lɔs ˈænʤəlɪs ˈleɪkərz. ˈbɔstən ˈdɑməˌneɪtəd, ˈkleɪmɪŋ ðə ˈʧæmpiənˌʃɪp ɪn sɪks geɪmz ənd ənˈliʃɪŋ ə ˈrɔkəs ˌsɛləˈbreɪʃən æt ðə nu ˈbɔstən ˈgɑrdən. ˈgɑrnɪt ˈævrɪʤd pɔɪnts, 13 ˈriˌbaʊndz, θri əˈsɪsts, stilz ənd wən blɑk pər geɪm ɪn ðə ˈsɪriz, waɪl hərˈæsɪŋ ðə ˈleɪkərz' ənd ˈpaɪlətɪŋ ə ˈsɛltɪks dɪˈfɛns ðət hæd ðə ˈleɪkərz fləˈmɔkst. ɛz ðə grin kənˈfɛti ˈflətərd, ˈgɑrnɪt tʊk ðə ˈmaɪkrəˌfoʊn ənd ənˈliʃt ə ˈpraɪməl skrim fər ðə ˈeɪʤɪz, ən ˈɪnstəntli ˌaɪˈkɑnɪk ˈmoʊmənt ɪn ˈfaɪnəlz ˈhɪstəri: "ˈɛniˌθɪŋ ɪz possssibllllle*!" lu, ˈlɔŋˌtaɪm frɛnd əv, ˌkævəˈlɪrz əˈsɪstənt koʊʧ: ðə ˈpraʊdəst ˈmoʊmənt fər mi wɑz wɪn hi wən ðət ˈʧæmpiənˌʃɪp, ənd aɪ gɑt ə ʧæns tɪ si hɪz ˈɪˌmoʊʃənz ənd haʊ hi riˈæktɪd. ɪt wɑz ðə bɛst θɪŋ fər mi. pɔl pɪrs: oʊ, mæn, hi ˈstɑrtɪd kraɪɪŋ. hi broʊk daʊn. wɪn ju sɔ ðət, ɪt wɑz ʤɪst laɪk, mæn, ju fɛlt ɪm. ju fɛlt ɪm. ənd ðɛn hi wɛnt tɪ ðə graʊnd. ðæts wɪn ju nu. wɪn ə gaɪ breɪks daʊn, ə gaɪ wɪθ ðə ˌpərsəˈnælɪti əv, [hu] ɪz soʊ strɔŋ, ənd [hi] breɪks daʊn, ðɛn ɪt minz ˈsəmθɪŋ. ɪt minz ˈsəmθɪŋ tɪ ju. ˈʤɛsi di. ˈɪmɪʤɪz krɪs ˈwɛbər: aɪ tɔkt tɪ ɪm ˌbiˈfɔr hi wɛnt tɪ ˈbɔstən. aɪ nu wət ðət wɑz əˈbaʊt. θɪŋk əˈbaʊt ɪt, ðət wɑz hɪz ˈoʊnli ʧæns. ðət goʊz daʊn ɛz wən əv maɪ ˈfeɪvərɪt ˈspɔrtɪŋ ˈmoʊmənts, siɪŋ ɪm wɪn ðə ˈʧæmpiənˌʃɪp, bɪˈkəz aɪ nu wət hi wɑz seɪɪŋ. ðə ˈɪrə əv ðə nu bɪg θri wʊd læst əˈnəðər fɔr ˈsizənz, bət ˈgɑrnɪt, pɪrs ənd ˈælən wʊd ˈnɛvər riʧ ðət ˈpɪnəkəl əˈgɛn. ðɛr ˈtaɪtəl dɪˈfɛns wɑz ˌəndərˈmaɪnd baɪ ə ni ˈɪnʤəri ðət fɔrst ˈgɑrnɪt tɪ mɪs ðə ɪnˈtaɪər 2009. ðə ˈsɛltɪks rɪˈtərnd tɪ ðə ˈfaɪnəlz ɪn 2010 tɪ feɪs ðə ˈleɪkərz əˈgɛn, bət ðeɪ lɔst ˈpərkɪnz tɪ ən ˈɪnʤəri ɪn geɪm 6 ənd lɔst ən ˈɛpɪk geɪm 7 ðət wɛnt daʊn tɪ ðə ˈfaɪnəl ˈmɪnət. eɪʤ ənd ˈɪnʤəriz ɪˈvɛnʧəwəli tʊk ðɛr toʊl ənd ðə ˈsɛltɪks' priˈɛmənəns sun ˈfeɪdɪd ɛz ðə paʊər ˈʃɪftɪd tɪ ə nu bɪg θri ˈraɪzɪŋ ɪn saʊθ biʧ. pɔl pɪrs: aɪ hæd noʊ daʊt ɪn maɪ ˈprɑbəˌbli wʊd hæv wən 70 geɪmz ðət jɪr ɪf wɑz ˈhɛlθi. ənd ðə rɪŋz. soʊ ɪts ɔl ə lɔt əv what-ifs*, bət ju hæv ðət θru ˈhɪstəri, wɪθ ə lɔt əv timz hu ˈdɪdənt steɪ ˈhɛlθi ˈæftər ðeɪ wən. ˈdæni eɪŋ: ɪt wʊd hæv bɪn nis tɪ wɪn tu. wi wər kloʊz. ˈkɛvɪn, hi geɪv hoʊp tɪ ɑr ˈfrænˌʧaɪz ˈɛvəri deɪ fər sɪks jɪrz. kwərks, ˈhæbəts ənd ˈvərʧuz ˈwɪnzloʊ prɛs wət du ju si wɪn ju lʊk æt ˈkɛvɪn ˈgɑrnɪt? ˈoʊvər ðə jɪrz, hiz ˈɔltərnətli bɪn vjud ɛz ə ˈwɔrjər ənd ə ˈbʊli, ə fɪrs dɪˈfɛndər ənd ə ˈdərti pleɪər, ə kaɪnd ˈspɪrɪt ənd ə min ˈpərsən, ən ənd ə ˈmɛnˌtɔr. hi ɪz ə təf ɔn ðə ɛʤ ənd ˈsəmˌtaɪmz ˈoʊvər ə ˈfɪrsli lɔɪəl ˈtiˌmeɪt. hɪz ˌɪnˈtɛnsɪti ˈsəmˌtaɪmz simz tɪ ˈbɔrdər ɔn ˌɪnˈsænɪti. hɪz ˈrɪʧuəlz ər ˈlɛʤənˌdɛri ənd kˈwərki. ˌbiˈfɔr ˌɪntrəˈdəkʃənz ˈɛvəri naɪt, ˈgɑrnɪt wɪl sɪt ɪn ˈsɑləˌtud ɔn ðə bɛnʧ. ˌbiˈfɔr ˈtɪˌpɔf, hi wɪl skɪp əraʊnd ðə kɔrt, ˈbɛloʊɪŋ tɪ ðə kraʊd. ənd hi wɪl bæŋ hɪz hɛd ˈɪntu ðə ˈbæskət ˈsɛvərəl taɪmz, waɪl ˈmətərɪŋ tɪ hɪmˈsɛlf ənd taɪɪŋ hɪz ʃɔrts. "hiz stɪl ə ˈlɪtəl nəts," sɛd ˈfɔrmər nɛts ˈtiˌmeɪt ˈmeɪsən ˈpləmˌli. "ˈivɪn ɔn ðə kɔrt, hiz ˈdɪfərənt, bət ɪn ə gʊd weɪ, mæn." gʊd, bæd ər ˈəðərˌwaɪz, ˌpərsəˈnælɪti ɪz ɛz juˈnik ɛz hɪz geɪm. sæm ˈmɪʧəl: hiz ˈgɑnə du ðə seɪm ruˈtin. hi ˈstrɛʧɪz ðə seɪm, hi sɪts daʊn ɔn ðə flɔr ɪn frənt əv hɪz ˈlɑkər æt ðə seɪm taɪm. hi həz hɪz hɑt pæks fər hɪz niz æt ðə seɪm taɪm. hi pʊts hɪz ʃuz ɔn ə ˌpɑˈtɪkjələr weɪ. ˈkɛndrɪk ˈpərkɪnz, ˈsɛltɪks ˈtiˌmeɪt, ˌbiˈfɔr ðə ʤəmp bɔl, hi goʊz tɪ ðə ˈsɛkʃənz əv ðə fænz ənd ɪz laɪk [ˈpaʊndɪŋ hɪz ʧɛst ˈsɛvərəl taɪmz], "motherf-----s*!" hil seɪ ə hoʊl lɔt əv [stəf]. ənd ðə fænz ʤɪst goʊ ˈkreɪzi. ənd ðɛn hi ˈstɑrtɪd ˈgɪtɪŋ ʧɪrz ənd, ənd ju fid ɔf ðət, raɪt? ʤɪm labumbard*, ˈfɔrmər dɪˈrɛktər, naʊ wɪθ tərˈɑntoʊ: ˈivɪn wɪn hi kəmz ˈɪntu taʊn wɪθ ˈvɪzɪtɪŋ timz, aɪ wʊd ˈnɛvər goʊ seɪ haɪ tɪ ɪm pregame*, bɪˈkəz aɪ nu hi wɑz ʤɪst lɑkt ɪn ɪn ʤɪst ðət weɪ. ɪt wʊd ʤɪst bi laɪk ˈtɔkɪŋ tɪ ə wɔl. sæm ˈmɪʧəl: hiz geɪm moʊd, ɔl deɪ. ju kip ˈweɪtɪŋ tɪ seɪ, ɪz hi ˈgɑnə bərn aʊt duɪŋ ɪt? bət hi ˈdəzənt, mæn. pɔl pɪrs: hiz ˈgɑnə it ə ˈpiˌnət ˈbətər ənd ˈʤɛli ˈsænwɪʧ. ˈɛvəri geɪm. wi ˈdɪdənt ˈivɪn hæv ˈpiˌnət ˈbətər ənd ˈʤɛli ˈsænwɪʧɪz ənˈtɪl hi gɑt tɪ ˈbɔstən. soʊ ðɛn hi meɪd ɑr bɔl bɔɪz meɪk ˈpiˌnət ˈbətər ənd ˈʤɛli ˈsænwɪʧɪz fər ˈɛvriˌbɑdi. wɪn wɑz ˈitɪŋ ðɛm, ˈɛvriˌbɑdi ˈstɑrtɪd ˈitɪŋ ðɛm. ˈmɛri prɛs dɑk ˈrɪvərz: ˌbiˈfɔr geɪm 6 ɪn ðə 2008 ˈfaɪnəlz wɪn wi bit ðə ˈleɪkərz, aɪ wɔkt ɪn ðə ˈlɑkər rum, ənd ˈkɛvɪn gɪts [haɪpt] əp tɪ wɛr ˈsəmˌtaɪmz hi goʊz ˈoʊvər ðə laɪn. ju kʊd si ɪt. aɪ hæd ɪm kəm ɪn maɪ ˈɔfəs ənd sɪt. hiz ˈsɪtɪŋ ðɛr faɪv, 10 15 ˈmɪnəts. aɪ doʊnt seɪ ə wərd. aɪ ʤɪst goʊ bæk tɪ wərk. hiz ˈmuvɪŋ əraʊnd ənd ˈfaɪnəli hi sɪz, "əm ɪn ə ˈtaɪˌmaʊt. əm ɪn ˈtaɪˌmaʊt." aɪ ˈdɪdənt ˈivɪn rɪˈspɑnd. ju kʊd hir ɪm: "fju" (exhaling*). bət ju θɪŋk əˈbaʊt ə gaɪ hu həz bɪn ɪn ðə lig ðət lɔŋ ənd ɪz stɪl ðət ʤækt əp fər ə geɪm ðət ju ˈlɪtərəli hæv tɪ kɑm ɪm daʊn. ðæts maɪ ˈfeɪvərɪt ˈstɔri. ˈkɛndrɪk ˈpərkɪnz: ɪt wɑz ɪn ə pleɪɔf geɪm. soʊ wi wər daʊn 10 ər ˈsəmθɪŋ ɪn ðə θərd, ˈdəbəl ˈfɪgjərz, ˈkəmɪŋ bæk ɪn ðə fɔrθ. aɪ rɪˈmɛmbər ɪm ˈkəmɪŋ bæk ɔn ðə dɪˈfɛnsɪv ɛnd. ənd ju noʊ haʊ ju gɪt ˈɪntu (ə dɪˈfɛnsɪv stæns), ju wɔnt tɪ gɪt loʊ, laɪk ˌbiˈfɔr ðə mæn ˈkrɔsɪz halfcourt*. hi ˈlɪtərəli əˈbaʊt krɔld ɔn ðə graʊnd ənd gɑt əp ɔf hɪz niz, laɪk "lɛt mi si ɪt!" ðət taɪp əv [θɪŋ]. ɪt wɑz laɪk, dæm. lu: ə lɔt əv ˈpipəl du ɔl ðɛr ˈhaʊlɪŋ ɔn ðə kɔrt ənd ðɛr ˈfeɪkɪŋ ʤɪst fər əˈtɛnʃən, bət wət hi dɪz ɪz ˈʤɛnjuˌaɪn. soʊ wən deɪ wi wər æt hɪz haʊs ənd wi wər ˈwɑʧɪŋ pəf ˈdædiz ʃoʊ ˈmeɪkɪŋ ðə bænd, ənd ɪn wən əv ðə sinz, səm nu gaɪz keɪm ɪn ənd wər traɪɪŋ tɪ sɪŋ ənd wər traɪɪŋ tɪ kəmˈpit əˈgɛnst ðə gaɪz hu hæd bɪn ðɛr. ənd ʤɪst gɑt soʊ haɪpt, "motherf----r*, juv gɑt tɪ stænd əp fər jʊrz! juv gɑt tɪ faɪt! motherf----r*, juv gɑt tɪ kəm təˈgɛðər!" hiz goʊɪŋ ˈkreɪzi, hiz sˈwɛti. ənd hi ʤɪst hɛd bəts ðə wɔl ənd pʊt ə hoʊl ɪn ðə wɔl əv hɪz haʊs. pɔl pɪrs: moʊst gaɪz, ju gɪt wɔrmd əp bət jʊr ˈgɑnə hæv ə slaɪt swɛt. wɛl, hid hæv ə fʊl swɛt, laɪk hi ɔˈrɛdi pleɪd fɔr kˈwɔrtərz əv ə geɪm. ʤɪst ɪm ˈgɪtɪŋ hɪz maɪnd raɪt, ˈgɪtɪŋ hɪz ˈbɑdi raɪt, ˈrɛdi tɪ goʊ. ˈɛvriˌbɑdiz gɑt ðɛr ruˈtin. ðæts hɪz ruˈtin. flɪp ˈsɔndərz: hi heɪts ʧeɪnʤ. ɪf hi hæd ə ʧæns, kip 20 gaɪz ɔn ðə ˈrɑstər, ənd hid peɪ ðoʊz læst faɪv gaɪz wi hæd tɪ kət. hid bɪˈkəm əˈtæʧt tɪ ˈsəmˌbɑdi ɪn wən wik ənd wɔnt ðɛm tɪ liv. soʊ ˈɔlˌweɪz hæv tɪ tɔk tɪ ɪm ənd kaɪnd əv ˈrizən wɪθ ɪm waɪ ju maɪt bi ˈtreɪdɪŋ ˈsəmˌwən. ənd ˈfəni, bɪˈkəz ˈmɛni taɪmz ðə gaɪz ər ðə gaɪz hi həz mɔr əv ə sɔft spɑt, tɪ traɪ tɪ hɛlp ðoʊz gaɪz aʊt ˈivɪn mɔr. ˈsəmˌtaɪmz, ˈivɪn əˈpoʊnənts ər greɪst baɪ ðət ˈsɔftər saɪd. fər ə jəŋ weɪd, ɪt wɑz wɪn ˈgɑrnɪt wɛnt aʊt əv hɪz weɪ tɪ ɪnˈkərəʤ ɪm ˈərli ɪn ˈrʊki ˈsizən, ɪn 2003 ˈgɑrnɪt ˈfɑloʊd əp ðə nɛkst ˈsəmər, tu, ˈsikɪŋ aʊt weɪd ɪn maɪˈæmi tɪ ˈɔfər hɪz ˈgaɪdəns ənd səˈpɔrt. ˈkaʊntləs jəŋ pleɪərz hæv bɪn ˈmɛntərd baɪ ˈgɑrnɪt ˈoʊvər ðə læst 20 jɪrz. nəˈθænjəl ɛs. ˈɪmɪʤɪz weɪd, maɪˈæmi hit gɑrd, 2003-present*: aɪ wɑz ə jəŋ kɪd. ðɪs ɪz ˈkɛvɪn ˈgɑrnɪt, əv ðə lig. bət hi bɪˈlivd ɪn mi æt ðət taɪm. hi ˈwəzənt maɪ ˈtiˌmeɪt. aɪ ˈdɪdənt ˈivɪn noʊ ɪm ðət məʧ. hi pʊld mi əˈsaɪd, hi tɔkt tɪ mi fər ðət ˈwiˌkɪnd, ənd hi lɛt mi noʊ ðət aɪ kən bi ə stɑr ɪn ðɪs lig. soʊ ðət ˈkɑnfədɛns frəm ə gaɪ laɪk ðət, mæn, ʤɪst wɛnt ə lɔŋ weɪ. ˈmeɪsən ˈpləmˌli, ˈgɑrnɪt ˈtiˌmeɪt wɪθ ðə nɛts, ðə fərst taɪm aɪ mɛt ɪm, hi ʤɪst toʊld mi, "lʊk, aɪv dən ɪt ɔl. aɪv bɪn ən ˌɔlˈstɑr, bɪn, aɪv wən ə ˈʧæmpiənˌʃɪp." soʊ laɪk, "ˈɛvriˌθɪŋ ðət aɪ tɛl ju ɪz fər ju. ɪts ˈkəmɪŋ frəm ə pleɪs əv səkˈsɛs, ə pleɪs noʊ aɪ wɔnt ju tɪ du wɛl, bɪˈkəz aɪv dən ɪt ɔl." hiz laɪk, "aɪ wɔnt tɪ pleɪ ənd stɪl bi gʊd, bət aɪ doʊnt hæv tɪ pruv ˌmaɪˈsɛlf ˌɛniˈmɔr." ɪts ˈfəni, hi sɪz ðət ənd ðɛn hi pleɪz ɛz ɪf tɪ pruv hɪmˈsɛlf iʧ naɪt. aɪ ˈɔlˌweɪz rɪˈmɛmbər ðət. ðət ʤɪst geɪv mi trəst ɪn ˈɛvriˌθɪŋ hi toʊld mi, ðət ɪt ˈwəzənt fər ˈɛniˌθɪŋ bət maɪ ˈbɛtərmənt. dɑk ˈrɪvərz: hi traɪz tɪ tiʧ ðə jəŋ gaɪz prəˈfɛʃənəˌlɪzəm ˈbæskətˌbɔl. hi bɔt ðɛm suts. hid brɪŋ ðɛm ɪn ənd gɪt ðɛm ɔl waɪərd əp ənd baɪ tu ər θri suts fər ðɛm, soʊ ðɛr drɛst raɪt. hi toʊld ðɛm, "ɪf jʊr ˈkəmɪŋ tɪ wərk, jʊr ˈkəmɪŋ ɪn ə sut ənd taɪ. ju kəm tɪ goʊ tɪ wərk." aɪ ˈnɛvər hæd tɪ tɛl ɑr jəŋ gaɪz əˈbaʊt biɪŋ ɔn taɪm wɪθ ɪm. ju hæd ɪm duɪŋ ɪt. ðə ˈəltəmət ˈkɛvɪn ˈgɑrnɪt kwərk? hi rɪfˈjuzɪz tɪ əkˈsɛpt ðə fækt ðət meɪks ɪm soʊ juˈnik: ðət hiz ə wɪθ ðə skɪlz əv ə gɑrd. sɪns hɪz fərst deɪ ɪn ðə ˈɛnˌbiˈeɪ, ˈgɑrnɪt həz ˈɛvəri koʊʧ, ˈtreɪnər ənd hi bi ˈlɪstɪd ɛz sæm ˈmɪʧəl: oʊ, hid gɪt mæd. hi ˈnɛvər ˈwɔntɪd tɪ bi 7-foot*. aɪ θɪŋk hi ˈɔlˌweɪz fɛlt laɪk ɪf ju lɪst ɪm æt 7-feet*, jʊd pʊt ɪm æt ˈsɛnər. hi ˈnɛvər ˈrɪli ˈwɔntɪd tɪ pleɪ ˈsɛnər. flɪp ˈsɔndərz: hi ˈdəzənt laɪk ˈleɪbəlz. hi ˈdɪdənt wɔnt tɪ bi ˈleɪbəld ə ˈsɛnər. soʊ aɪ juzd tɪ kɔl ɪm bɪˈkəz hiz ˈrɪli ʤɪm labumbard*: hi wɑz ˈædəmənt, frəm deɪ 1 aɪ θɪŋk wi ʤɪst kɛpt ɪm æt wi ʤɪst roʊld wɪθ ɪt. wiv hæd ˈəðər ˈpipəl kəm tɪ ˈjuˈɛs wɪθ rɪkˈwɛsts ɔn weɪt ənd θɪŋz laɪk ðət. tɪ mi ɪt ˈwəzənt ðət bɪg ə dil. aɪ ʤɪst kaɪnd əv læft æt ɪt. flɪp ˈsɔndərz: hi ˈnɛvər lɛt ˈɛniˌwən ˈmɛʒər ɪm. ðə rɪˈtərn ʤɪm prɛs ðoʊ noʊˈtɔriəsli change-averse*, ˈkɛvɪn ˈgɑrnɪt həz weɪvd hɪz klɔz θri taɪmz. hi wɛnt tɪ ˈbɔstən ɪn 2007 tɪ ʧeɪs ˈʧæmpiənˌʃɪps. wɪn ðət ˈwɪndoʊ kloʊzd ɪn 2013 hi muvd tɪ ˈbrʊklɪn, tɪ ʤɔɪn əˈnəðər tim wɪθ ˈtaɪtəl hoʊps. ənd wɪn ðət pərˈsut ˈfɪzəld, ˈgɑrnɪt kənˈsɛnɪd tɪ wən læst muv: bæk tɪ ðə pleɪs hi kɔlz 'sota*. ɔn ˈfɛbjəˌwɛri. 19 wɪθ ðə treɪd ˈdɛˌdlaɪn əˈproʊʧɪŋ, ðə nɛts ʃɪpt ˈgɑrnɪt tɪ ðə ɪn ə swɑp fər ˈfɔrwərd ˈθædiəs jəŋ. fər ðə nɛts, ɪt wɑz ˈstrɪktli ə ˈbæskətˌbɔl muv, ə ʧæns tɪ gɪt ˈjəŋgər ənd mɔr æθˈlɛtɪk. fər ðə, ɪt wɑz ˈstrɪktli əˈbaʊt ˈkɛvɪn pæst ənd hɪz fˈjuʧər. ðɛr wɑz ˌsɛnəmɛnˈtælɪti ɪn ðə dil, ʃʊr, ənd pərˈhæps səm ˈmɑrkətɪŋ ˈstrætəʤi æt wərk, tu. əˈmɪd əˈnəðər ˈluzɪŋ ˈsizən, ðə ˈnidɪd ə muv tɪ ðə fæn beɪs. bət ˈvælju naʊ trænˈsɛndz stæts, ˈtɪkɪt seɪlz ər ˈwɪnɪŋ pərˈsɛnɪʤɪz. ˈʤɔrdən ˈɪmɪʤɪz ðə ˈwɔntɪd ˈgɑrnɪt fər hɪz ˈɪnfluəns, fər hɪz fərˈɑsəti ənd fər hɪz self-discipline*, fər ðə ˌɪmˈprɛʃən hi wɪl meɪk ɔn ðɛr ˈprɑməsɪŋ jəŋ ˈwɪgɪnz, ˈænθɔˌni ˈbɛnɪt, zæk lɑˈvini, ənd ˈrɪˌki ˈrubioʊ. flɪp ˈsɔndərz: aɪ sɛd, "ju noʊ, ˈkɛvɪn, ju wən ə ˈʧæmpiənˌʃɪp ɪn ˈbɔstən, bət wɪn ˈpipəl θɪŋk əˈbaʊt ju, ðɛr ˈɔlˌweɪz goʊɪŋ tɪ θɪŋk əˈbaʊt ju ɛz ə timberwolf*. ðæts wɪn ju wər, all-nba*, (tim)." aɪ θɔt ðət ˈmeɪbi ðɛr wɑz ə ʧæns ðət hi maɪt wɔnt tɪ kəm bæk ənd ˈfɪnɪʃ, bɪˈkəz hi ˈnɛvər ˈrɪli dɪd wɔnt tɪ liv hir. pɔl pɪrs: aɪ θɔt hi meɪd ə gʊd dɪˈsɪʒən. aɪ toʊld ɪm, "ðə ˈpipəl əv ˌmɪnɪˈsoʊtə ər ˈrɪli goʊɪŋ tɪ əˈpriʃiˌeɪt ju mɔr ðən ðeɪ du ɪn ˈbrʊklɪn." ənd aɪ θɪŋk hi fɛlt ðət. ˈʤɛri zgoda*: basketball-wise*, ɪt meɪd noʊ sɛns, ˈgɪvɪŋ əp ə gaɪ 26 θæd jəŋ, fər ðɪs gaɪ. bət hir, ɪt wɑz ə ˈlɪtəl bɪt əv ə ˈfɛri teɪl, ɪm ˈkəmɪŋ bæk. aɪ wɑz ˈæˌkʧuəli səˈpraɪzd haʊ (ˈpɑzətɪvli) ˈpipəl riˈæktɪd tɪ ɪt. aɪ doʊnt noʊ ɪf ðət wɑz soʊ məʧ ðət ðeɪ wər ˈhoʊpɪŋ ðət ɪt wɑz ðə seɪm gaɪ ðeɪ ˈtreɪdɪd əˈweɪ ɪn 2007 ər ʤɪst ðə fækt əv ɪts ʤɪst ə gʊd ˈstɔri. glɛn ˈteɪlər: əm ˈhæpi. ənd aɪ toʊld ɪm. ˈdeɪvɪd ˈɪmɪʤɪz ˈændru ˈwɪgɪnz, ˈrʊki: ðə fərst ˈkəpəl geɪmz wi hæd, ðɛr wər ə lɔt əv fænz hir æt ðə bɪˈgɪnɪŋ əv ðə jɪr. ðɛn ɪt ˈstɑrtɪd ˈfeɪdɪŋ əˈweɪ ə ˈlɪtəl bɪt. ðɛn wɪn keɪm bæk, ɪt wɑz ə pækt haʊs. ə lɔt əv fænz keɪm aʊt, ə lɔt əv nu ˈfeɪsɪz, ənd ju kʊd ʤɪst fil ə ˈdɪfərənt ˈɛnərʤi ɪn ðə ʤɪm. ˈʤɛri zgoda*: ðə naɪt hi keɪm bæk wɑz ˈmæʤɪk. ju doʊnt si ðət ðət məʧ, əˈspɛʃəli ɪn ðət ərˈinə. ɪt wɑz ˈspɛʃəl. pɔl pɪrs (hu, ɛz ə ˈmɛmbər əv ðə ˈwɪzərdz, pleɪd əˈgɛnst ˈgɑrnɪt ɪn hɪz fərst geɪm bæk): oʊ mæn, ɪt wɑz ˌənbəˈlivəbəl. aɪ ˈhævənt sin ˌmɪnɪˈsoʊtə laɪk ðət sɪns hi lɛft. ɪt juzd tɪ bi wən əv ðə ˈlaʊdəst ˈbɪldɪŋz ɪn ðə lig wɪn hi wɑz ðɛr. ðɛn hi lɛft, ɪt wɑz laɪk ə goʊst taʊn. flɪp ˈsɔndərz: ðə fərst roʊd trɪp wi keɪm bæk jəŋ gaɪz wər ɔl ɪn ðə bæk, θri sits ɔn iʧ saɪd. ɪt wɑz lərˈɛnzoʊ [braʊn] ənd zæk ənd wɪg. soʊ ˈstɑrtɪd ˈtɔkɪŋ əˈbaʊt ˈstɔriz ənd ˈdɪfərənt θɪŋz, ˈkɑnsɛpts ənd geɪmz. ənd ðiz θri gaɪz wər ˈsɪtɪŋ ðɛr, laɪk ðɪs [ˈsɔndərz rɛsts hɪz ʧɪn ɔn hɪz krɔst ɑrmz, ˈstɛrɪŋ aɪz, ɪt wɑz laɪk ðeɪ ʤɪst sɔ ˈsænə klɔz. ɪf aɪ hæd ə wər ˈrɪvətɪd tɪ ðɛr sits. ˈænθɔˌni ˈbɛnɪt, ˈfɔrwərd: hiz ˈɔlˌweɪz ə hɑrd ˈwərkər, ˈɔlˌweɪz ˌɪnˈtɛns, ˈɔlˌweɪz ˈtɔkətɪv. ˈɛvriˌθɪŋ əˈbaʊt hɪz vaɪb ʧeɪnʤd ðə ˈlɑkər rum. ˈsəmˌwən mɪst ə ʃɑt, hil goʊ tɪ ðɛm, brɪŋ ðɛm bæk əp. ʤɪst ðə ˈlɪtəl θɪŋz, bət ɪt goʊz ə lɔŋ weɪ fər ˈəðər pleɪərz. flɪp ˈsɔndərz: wɪr traɪɪŋ tɪ gɪt gaɪz ðət ər 20 tɪ stɑrt pleɪɪŋ laɪk ðɛr 23 ər 24 noʊ wən sɪz ɪt laɪk hi dɪz. ˈivɪn ðə pleɪərz wi hæv ðət ər ðə ˈvɛtərən gaɪz, laɪk ˈgɛri nil, seɪ, "aɪ ˈnɛvər ˌɪˈmæʤənd ðət wɑz ðɪs taɪp əv ˈlidər." ʤɪm prɛs pɔl pɪrs: hiz goʊɪŋ tɪ gɪv ðɛm ən ˈætəˌtud. hi maɪt nɑt bi ðət ˈdɑmənənt, ðə, ðə wən ˈdɑməˌneɪtɪŋ geɪmz. bət hɪz vɔɪs ɪz ˈlaʊdər ðən ˈɛvər, ɪn ðət ˈlɑkər rum mɔˈrɛsoʊ aɪ θɪŋk ðən ɪn ˈbrʊklɪn. ˈʤɛri zgoda*: hi wɑz ˈhævɪŋ ə ˈdaɪəˌlɔg wɪθ zæk lɑˈvini kwaɪt ə bɪt əv taɪm ˌbiˈfɔr (ə geɪm ɪn ˈjuˌtɔ), ˈgɪvɪŋ ɪm grif ɛz məʧ ɛz ˈɛniˌθɪŋ. zæk goʊz aʊt ənd hɪts tu bɪg ʃɑts. aɪ hərd ˈgɑrnɪt wɑz goʊɪŋ ˈkreɪzi ɪn ðə ˈdrɛsɪŋ rum ˈwɑʧɪŋ ɪt, seɪɪŋ, "ðæts maɪ gaɪ." flɪp ˈsɔndərz: wət brɪŋz, ðə ˈəðər θɪŋz, haʊ hi maɪt hɛlp ðiz ˈəðər gaɪz ˌænəˈlɪtɪkli bi ˈbɛtər, ɪz mɔr ˌɪmˈpɔrtənt ðən ə loʊ pɪk ər ˌwəˈtɛvər ɪt ɪz. ðoʊz hu noʊ ˈgɑrnɪt bɛst bɪˈliv hi wɪl pleɪ əˈnəðər ˈsizən ər tu, ɛz ə roʊl pleɪər ənd ˈmɛnˌtɔr. ˈæftər ðət, ˈmɛni bɪˈliv ˈgɑrnɪt wɪl bi ˈgɪvɪn ə ʃɛr əv ðə ˈfrænˌʧaɪz, ər pərˈhæps sik tɪ ˈpərʧəs ðə kləb hɪmˈsɛlf, wɪθ ən ˌɪnˈvɛstmənt grup. ˌhaʊˈɛvər ðə nɛkst ˈʧæptər ənˈfoʊldz, ɪt əˈpɪrz ˈgɑrnɪt ɪz bæk ɪn ˌmɪniˈæpəlɪs tɪ steɪ. pɔl pɪrs: lɛt mi tɛl ju ˈsəmθɪŋ, aɪ hərd seɪ hi wɑz goʊɪŋ tɪ ˌriˈtaɪər fɔr jɪrz əˈgoʊ. ɪn ˈbɔstən. ˈæftər laɪk 2010 ər 11 hi wɑz laɪk ðɪs ɪz ɪt, ðɪs ɪz ɪt. hiz stɪl hir. ˈʤɛri zgoda*: aɪ θɪŋk hiz goʊɪŋ tɪ bi ðə nɛkst ˈoʊnər. hi woʊnt pʊt ðə bɪg ˈməni bɪˈhaɪnd ɪt, bət hil bi ðə feɪs əv ɪt, laɪk ˈmæʤɪk ˈʤɑnsən ɪz wɪθ ðə ˈdɑʤərz. aɪ θɪŋk ðæts waɪ hi əˈgrid tɪ du ðɪs. ʤɪm prɛs sæm ˈmɪʧəl: hi keɪm hoʊm. ju θɪŋk əˈbaʊt ɪt, hiz ðə ˈoʊnli timberwolf*, ˈpɪriəd, ɪn ˈhɪstəri ðət ˈrɪli minz ˈɛniˌθɪŋ. hiz ˈɛvriˌθɪŋ. hi ɪz ˈɛvriˌθɪŋ. ˈʤɛri zgoda*: ðɛrz nɑt məʧ tɪ bi praʊd əv ɪf jʊr ə wʊlvz fæn fər ðə læst 20 jɪrz, bət hiz ðə gaɪ ðət dɪˈfaɪnz ɔl ðət ɪz. haʊərd bɛk ˈkəvərz ðə ˈɛnˌbiˈeɪ fər ˈbliʧər rɪˈpɔrt ənd ɪz ə əv ˈɛnˌbiˈeɪ ˈsənˌdi tɪp, a.m*. ɛt ɔn ˈbliʧər rɪˈpɔrt ˈreɪdiˌoʊ. ˈfɑloʊ ɪm ɔn tˈwɪtər, @howardbeck*. ˈkrɛdɪts haʊərd bɛk ˈɪntərvˌjud ˈdæni eɪŋ, pɔl pɪrs, flɪp ˈsɔndərz, sæm ˈmɪʧəl, glɛn ˈteɪlər, ˈkeɪsi, ˈtɛri ˈpɔrtər, ˈkrɪsʧɪn laettner*, ʤɪm labumbard*, fɪl ˈʤæksən, grɛg ˈpɑpəvɪʧ, ʤɑn ˈhæmənd, ʤɑn næʃ, ˈʤɛri zgoda*, stiv aschburner*, ˈʤɑnəθən ˈeɪbrəmz, rəs granik*, rɑn ˈklɛmpnər, ˈkɛvɪn ˈʤɑnsən, ˌhoʊˈzeɪ ˌkældərˈoʊn, ˈændi ˈmɪlər, ˈmeɪsən ˈpləmˌli, ˈændru ˈwɪgɪnz ənd ˈænθɔˌni ˈbɛnɪt. ˈiθən ˈskoʊlnɪk ˈɪntərvˌjud weɪd, ˈlɛbrən ʤeɪmz, dərk nowitzki*, krɪs ˈwɛbər, ˈkɛndrɪk ˈpərkɪnz, ˈhɛnri ˈwɔkər ənd ˈtoʊni ˈælən. rɪk ˈbəkər ˈɪntərvˌjud ˈsəni vəˈkɑroʊ, braɪən ənd ˈælvɪn ˈʤɛntri. ˈʤɛrɪd ˈɪntərvˌjud dɑk ˈrɪvərz, glɛn ˈdeɪvɪs, zæk ˈrændɑlf, krɪs bɑʃ, lu ənd ʤoʊ abunassar*. ˈkɛvɪn dɪŋ ˈɪntərvˌjud sæm ˈkæsɛl ənd dɑk ˈrɪvərz. ˈʤɑnəθən ˈfaɪgən ˈɪntərvˌjud ˈkɛvɪn məˈkeɪl.
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half of americans (48%) say two is the ideal number of children for a family to have, reflecting a preference for a smaller family over a larger one.
but that always been the case, according to gallup. in 1971, there was a shift in attitudes, as americans’ “ideal” family switched from four kids (19%) to two kids (38%), with a mean saying kids was ideal. back in 1936, the mean ideal number of kids was, with 22% saying four children; 32% saying three children; and another 32% saying two children. fast-forward from the to 2013, the most recent data available, and you get a different picture, with as the mean ideal.
what’s behind the dramatic shift? likely a number of factors, beginning with the wide availability of the birth control pill in the 1960s; the growth of participation in the workforce, which surged in the 1970s; and, of course, the increasing cost of raising kids.
when gallup asked why couples having more kids, most americans (65%) in 2013, whether with or without children, cited the costs associated with raising a child. an additional 11% said because of the state of the economy and the jobs situation. just 6% cited personal choice, 3% cited lack of time and 3% cited career concerns.
the average cost of raising a child, from birth until they reach age 18, has risen over the decades, from $198,560 in 1960 to $245,340 in 2013, according to the u.s. department of agriculture. (those figures are adjusted for inflation and are calculated for raising a child from ages 0 through 17 in a middle-income, family.) housing, followed by child and food, were the largest expenses in 2013.
modern parenting in general is also much different from what it was just a few decades ago, according to a 2013 pew research center report. for one, mothers today are much more likely to be working. the share of mothers in the labor force (with children younger than 18) rose to 71% in 2012, from just 47% in 1975.
meanwhile, “traditional” roles for mothers and fathers are eroding. comparing data from 1965 and 2011 shows that mothers these days are spending more hours per week at their jobs, and fathers are spending more time doing housework. both mothers and fathers are spending more time on child care, though mothers still do more of this than fathers do.
not only do americans say smaller families are more ideal, also having smaller families. in 1976, 36% of women in their early had given birth to four or more children, while just 22% gave birth to two children, according to a new pew research center report. but according to 2014 data, more common nowadays for women of the same age to have two children: 35% gave birth to two children, while just 12% had four or more.
topics: family roles, birth rate and fertility, social values, education, family and relationships, household and family structure
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hæf əv əˈmɛrɪkənz 48 seɪ tu ɪz ðə aɪˈdil ˈnəmbər əv ˈʧɪldrən fər ə ˈfæməli tɪ hæv, rɪˈflɛktɪŋ ə ˈprɛfərəns fər ə sˈmɔlər ˈfæməli ˈoʊvər ə ˈlɑrʤər wən. bət ðət ˈɔlˌweɪz bɪn ðə keɪs, əˈkɔrdɪŋ tɪ ˈgæləp. ɪn 1971 ðɛr wɑz ə ʃɪft ɪn ˈætəˌtudz, ɛz americans’*’ ““ideal”*” ˈfæməli swɪʧt frəm fɔr kɪdz 19 tɪ tu kɪdz 38 wɪθ ə min seɪɪŋ kɪdz wɑz aɪˈdil. bæk ɪn 1936 ðə min aɪˈdil ˈnəmbər əv kɪdz wɑz wɪθ 22 seɪɪŋ fɔr ˈʧɪldrən; 32 seɪɪŋ θri ˈʧɪldrən; ənd əˈnəðər 32 seɪɪŋ tu ˈʧɪldrən. ˌfæstˈfɔrwərd frəm ðə tɪ 2013 ðə moʊst ˈrisənt ˈdætə əˈveɪləbəl, ənd ju gɪt ə ˈdɪfərənt ˈpɪkʧər, wɪθ ɛz ðə min aɪˈdil. bɪˈhaɪnd ðə drəˈmætɪk ʃɪft? ˈlaɪkli ə ˈnəmbər əv ˈfæktərz, bɪˈgɪnɪŋ wɪθ ðə waɪd əˌveɪləˈbɪlɪti əv ðə bərθ kənˈtroʊl pɪl ɪn ðə 1960s*; ðə groʊθ əv pɑrˌtɪsəˈpeɪʃən ɪn ðə ˈwərkˌfɔrs, wɪʧ sərʤd ɪn ðə 1970s*; ənd, əv kɔrs, ðə ˌɪnˈkrisɪŋ kɔst əv ˈreɪzɪŋ kɪdz. wɪn ˈgæləp æst waɪ ˈkəpəlz ˈhævɪŋ mɔr kɪdz, moʊst əˈmɛrɪkənz 65 ɪn 2013 ˈwɛðər wɪθ ər wɪˈθaʊt ˈʧɪldrən, ˈsaɪtɪd ðə kɔsts əˈsoʊʃiˌeɪtəd wɪθ ˈreɪzɪŋ ə ʧaɪld. ən əˈdɪʃənəl 11 sɛd bɪˈkəz əv ðə steɪt əv ðə ɪˈkɑnəmi ənd ðə ʤɑbz ˌsɪʧuˈeɪʃən. ʤɪst 6 ˈsaɪtɪd ˈpərsɪnəl ʧɔɪs, 3 ˈsaɪtɪd læk əv taɪm ənd 3 ˈsaɪtɪd kərɪr kənˈsərnz. ðə ˈævərɪʤ kɔst əv ˈreɪzɪŋ ə ʧaɪld, frəm bərθ ənˈtɪl ðeɪ riʧ eɪʤ 18 həz ˈrɪzən ˈoʊvər ðə ˈdɛkeɪdz, frəm ɪn 1960 tɪ ɪn 2013 əˈkɔrdɪŋ tɪ ðə juz. dɪˈpɑrtmənt əv ˈægrɪˌkəlʧər. (ðoʊz ˈfɪgjərz ər əˈʤəstɪd fər ˌɪnˈfleɪʃən ənd ər ˈkælkjəˌleɪtɪd fər ˈreɪzɪŋ ə ʧaɪld frəm ˈeɪʤɪz 0 θru 17 ɪn ə ˈmɪdəˌlɪnkəm, ˈfæməli.) ˈhaʊzɪŋ, ˈfɑloʊd baɪ ʧaɪld ənd fud, wər ðə ˈlɑrʤəst ɪkˈspɛnsɪz ɪn 2013 ˈmɑdərn ˈpɛrəntɪŋ ɪn ˈʤɛnərəl ɪz ˈɔlsoʊ məʧ ˈdɪfərənt frəm wət ɪt wɑz ʤɪst ə fju ˈdɛkeɪdz əˈgoʊ, əˈkɔrdɪŋ tɪ ə 2013 pju ˈrisərʧ ˈsɛnər rɪˈpɔrt. fər wən, ˈməðərz təˈdeɪ ər məʧ mɔr ˈlaɪkli tɪ bi ˈwərkɪŋ. ðə ʃɛr əv ˈməðərz ɪn ðə ˈleɪbər fɔrs (wɪθ ˈʧɪldrən ˈjəŋgər ðən 18 roʊz tɪ 71 ɪn 2012 frəm ʤɪst 47 ɪn 1975 ˈminˌwaɪl, ““traditional”*” roʊlz fər ˈməðərz ənd ˈfɑðərz ər ɪˈroʊdɪŋ. kəmˈpɛrɪŋ ˈdætə frəm 1965 ənd 2011 ʃoʊz ðət ˈməðərz ðiz deɪz ər ˈspɛndɪŋ mɔr aʊərz pər wik æt ðɛr ʤɑbz, ənd ˈfɑðərz ər ˈspɛndɪŋ mɔr taɪm duɪŋ ˈhaʊsˌwərk. boʊθ ˈməðərz ənd ˈfɑðərz ər ˈspɛndɪŋ mɔr taɪm ɔn ʧaɪld kɛr, ðoʊ ˈməðərz stɪl du mɔr əv ðɪs ðən ˈfɑðərz du. nɑt ˈoʊnli du əˈmɛrɪkənz seɪ sˈmɔlər ˈfæməliz ər mɔr aɪˈdil, ˈɔlsoʊ ˈhævɪŋ sˈmɔlər ˈfæməliz. ɪn 1976 36 əv ˈwɪmən ɪn ðɛr ˈərli hæd ˈgɪvɪn bərθ tɪ fɔr ər mɔr ˈʧɪldrən, waɪl ʤɪst 22 geɪv bərθ tɪ tu ˈʧɪldrən, əˈkɔrdɪŋ tɪ ə nu pju ˈrisərʧ ˈsɛnər rɪˈpɔrt. bət əˈkɔrdɪŋ tɪ 2014 ˈdætə, mɔr ˈkɑmən ˈnaʊəˌdeɪz fər ˈwɪmən əv ðə seɪm eɪʤ tɪ hæv tu ˈʧɪldrən: 35 geɪv bərθ tɪ tu ˈʧɪldrən, waɪl ʤɪst 12 hæd fɔr ər mɔr. ˈtɑpɪks: ˈfæməli roʊlz, bərθ reɪt ənd fərˈtɪlɪti, ˈsoʊʃəl ˈvæljuz, ˌɛʤəˈkeɪʃən, ˈfæməli ənd riˈleɪʃənˌʃɪps, ˈhaʊsˌhoʊld ənd ˈfæməli ˈstrəkʧər
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in 1931, a trawler called the sank its nets into the north sea, 25 miles off the coast of norfolk, and dredged up an unlikely a antler, long, with a set of barbs running along one side. identified it as a prehistoric harpoon and dated it to the mesolithic age, when sea levels around britain were more than 100 metres lower than they are today, and the sunken rim, at least according to some, was a fertile plain.
as long ago as the century, astute observers noted that coastlines were with trees, visible only at low tide. traditionally, the ‘drowned forests’ were regarded as evidence of flood relics of an world whose destruction is recorded in the most enduring of all the stories of great floods that sweep the earth and drown its people. at the beginning of the century, another explanation was proposed by the geologist clement reid. in his book submerged forests (1913), reid argued that ‘nothing but a change in sea level will account’ for the position of trees stretching from the high water mark ‘to the level of the lowest spring tide’. observations on the east coast of england led him to conclude that the thames and humber estuaries were once ‘flanked by a plain, lying some feet below the modern marsh surface’.
turning his attention to a substance known as ‘moorlog’, dredged up from the bed of the north sea at bank, reid identified nothing less than a time capsule. consists of the compacted remains of animal bones, shells, wood, and lumps of peat, and sample contained a variety of bones, including bear, wolf, hyena, bison, mammoth, beaver, walrus, elk and deer. he concluded that ‘noah’s woods’ once stretched far beyond the shore, with bank forming the ‘edge of a great alluvial plain, occupying what is now the southern half of the north sea, and stretching across to holland and denmark’.
the antler appeared to confirm theory, for it came from a freshwater deposit, meaning that it had not been dropped by a sea voyager, but by someone living in the landscape. according to vincent gaffney, simon fitch and david smith the trio of archaeologists at the university of birmingham who have made the most sustained attempts to build on research this was ‘the first real evidence that the north sea had been part of a great plain inhabited by the last in europe’.
mankind’s wickedness upset the so much that he wept a global deluge
the area, now calledland, was gradually submerged as the last ice age came to an end, and the melting glaciers raised sea levels. only around did britain finally become an island. the rediscovery of the great plain that formerly connected it to mainland europe is one of the most remarkable scientific stories of the past decade, yet there is a sense in which it should not come as a surprise at all.land addresses one of our oldest preoccupations; for we have always told stories about lost, hidden beneath the waves.
tales of great evolved for obvious reasons: the earliest human appeared in mesopotamia (‘the land between the rivers’), and the deltas of the yellow river, indus and nile. the egyptian year the basis of our calendar divided the seasons by the pattern of rainfall, the season of inundation being when the nile rose, flooding the surrounding fields. water was the source of life but also destruction and, as such, it inspired the earliest recorded version of the most famous ‘flood myth’ of all. the story of a, a just man who is instructed by a god to build an ark so as to survive a flood, appeared in the epic of gilgamish. in the bible is noah, and in greek mythology he is deucalion, a son of prometheus who recreates the human race by throwing his bones over his shoulder. there is a hindu noah, an noah, and a polynesian noah. a first nation version of the legend maintains that wickedness so upset the that he wept a global deluge.
some creation myths genesis, for example depict god creating land from a primeval waste of water, but another frequently recurring story reverses the process. in dialogue we have the oldest surviving account of a land that sinks beneath the waves: the lost continent of atlantis. in original rendering, athens is said to have ‘checked a great power that arrogantly advanced from its base in the atlantic ocean to attack the cities of europe and asia’. that power was atlantis an empire ruled by descendants of poseidon, ‘a powerful and remarkable dynasty of kings’. athens rose up and subdued atlantis, but her triumph was overtaken by natural disaster: in ‘a single dreadful day and night, all [athens’s] fighting men were swallowed up by the earth, and the island of atlantis was similarly swallowed up by the sea and vanished’.
scholars often insist that not meant to take accounts of atlantis literally. ‘the idea is that we should use the story to examine our ideas of government and power,’ says the philosopher julia annas in plato: a very short introduction (2003). ‘we have missed the point if instead of thinking about these issues we go off exploring the sea bed.’
the exact location of atlantis aroused little interest in antiquity, and early modern writers such as thomas more and francis bacon explored platonic ideals of the good society, in utopia (1516) and new atlantis (1624) respectively, without becoming bogged down in questions of geography. yet recently we have renounced the challenging task of interpreting layered inquiry into the nature of the good society in favour of millennial fantasies about drowned worlds.
in the novel the (1863) by charles kingsley, atlantis is merged with the legend of na or ‘st fairy isle’, a ‘great land’ that sank beneath the waves to the west of ireland. story suggests that the surviving traces of atlantis are not the sunken trees of ‘noah’s woods’ but the ‘strange flowers, which linger still about this land’, such as ‘the cornish heath, and cornish moneywort’. he described the flowers as ‘fairy tokens left for wise men and good children’. other writers have imagined the survival of more substantial remains of the sunken world.
in twenty thousand leagues under the sea (1870), jules verne describes the occupants of the submarine nautilus climbing through a sunken forest on the slopes of an erupting volcano on the bottom of the atlantic until they find themselves looking down on a ruined town ‘its roofs open to the sky, its temples fallen, its arches dislocated, its columns lying on the ground’. for the benefit of the submariners, captain nemo chalks a single word onto a rock of black basalt: ‘atlantis’. aronnax, the who narrates the book, is transfixed by the thought that standing ‘on the very spot where the contemporaries of the first man had walked’.
sir arthur conan doyle offered another version of the legend, though his atlantis was not, like verne’s, a ‘perfect escaped beneath the waters’ but a miraculously preserved and inhabited world. the underwater explorers of his short novel the deep (1929) are assailed by a giant crustacean that snips the cable of their ‘bathysphere’, plunging it to the bottom of the sea. they are rescued by the surviving atlantans and taken as curiosities to their submarine city.
the were right in one respect: we live on the edge of drowned worlds and are descended from their inhabitants
conan doyle threaded his spiritualist beliefs throughout the tale in a way that illustrates how lost worlds might allow us to improve upon the real one, if only in imagination. but the atlantis myth also allows us to rehearse our fears and fantasies of collapse and decay. in his novel after london (1885), the victorian naturalist richard jefferies portrayed britain as a kind of atlantis, its capital reduced to a putrid swamp, its interior covered by an inland sea. similarly, j g early novel, the drowned world (1962), pictures futuristic london as a tropical lagoon. characters welcome the of a primeval world: we fear the flood, his book implies and yet embrace it too.
in 1954, the american science fiction writer l sprague de camp said that the number of novels and stories about lost continents was ‘beyond count’. yet the treatment of the subject was not confined to books that advertised themselves as fiction.
the great champion of atlantis as ‘veritable history’ was an american politician called ignatius donnelly, who served as a congressman and state senator for minnesota at various times in the late century. donnelly was also a land speculator, farmer and fantasist, who proposed three equally striking and implausible theories that bacon had not only written plays but embedded a cipher within them; that great events in the history, such as the ice age, were brought on by ‘extraterrestrial catastrophism’; and that atlantis was a fragment of a once vast oceanic continent.
in atlantis: the world (1882), donnelly identified atlantis as source of all lost paradises: ‘the garden of eden; the gardens of the hesperides; the fields’. it represented ‘a universal memory of a great land, where early mankind dwelt for ages in peace and happiness’. donnelly believed that a few lucky survivors of drowning had escaped ‘in ships and on rafts’ to populate surrounding continents, citing, as proof, resemblances between european and american plants and animals, culture and language. sprague de camp notes that ‘most of statements of fact… either were wrong when he made them, or have been disproved by subsequent discoveries’. and even if they been wrong, he would still have drawn the wrong conclusions from them: the fact that people on both sides of the atlantic used spears and sails, customarily married and divorced, and believed in ghosts and flood legends ‘proves nothing about sunken continents’.
of course, being wrong is rarely a bar to success, especially in the realms of fantasy and conspiracy. book was reprinted 22 times in the eight years after publication, becoming ‘the new testament of atlantism’. and donnelly attracted a curious following among-century such as helena, who founded the society. believed that atlantis was one of several lost continents on which humanity had evolved. she claimed that her esoteric magnum opus the secret doctrine (1888) was originally dictated on atlantis, and that part of humanity was descended from another ‘root-race’ who lived on the vanished continent of.
blavatsky did not invent the name ‘lemuria’: it was proposed in 1864 by the english zoologist philip as a way of explaining the presence of lemur fossils in madagascar and india, but not in africa or the middle-east. lost land bridges were often invoked to explain how species had travelled across continents separated by water, and believed that india and madagascar had been conjoined on a continent that broke apart into islands or sank beneath the waves.
for, was ‘the cradle of mankind, of the physical sexual creature who through long out of the ethereal hermaphrodites’. in the lost (1904), her fellow william offered a vivid description of this ‘creature’:
his stature was gigantic, somewhere between 12 and 15 feet… his skin was very dark, being of a yellowish brown colour. he had a long lower jaw, a strangely flattened face, eyes small but piercing and set curiously far apart, so that he could see sideways as well as in front, while the eye at the back of the head… enabled him to see in that direction also.
the theory of continental drift, accepted in the early century, obviated the need to conjure a that explained the spread of fossils, but the idea has continued to fascinate occult writers. the american writer frederick s oliver pulled into an orbit of spiritualist ideas, including spirit guides, astral travel and channelling. his 1905 novel a dweller on two planets (1905), supposedly written under ‘spirit guidance’, tells the story of a community of sages who escaped from and settled on mount shasta, near home in northern california.
oliver’s book has been surprisingly influential. the idea of an community living on mount shasta was frequently reported during the and ‘30s, and acquired a surprising degree of detail. there were said to be magi, living in a ‘mystic village’ built around a temple. occasionally, they appeared in neighbouring towns, clad in long white robes, ‘polite but taciturn’. they paid for supplies with gold nuggets and, every midnight, they rejoiced in their escape from in ceremonies that bathed the mountains in red and green light. various californian luminaries, such as the actress shirley maclaine who recalled a past life as an androgynousn in her memoir over all that (2012) and guy warren ballard, founder of the flamboyant religious movement i am, were both inspired by novel. it still informs the philosophy of a new age organisation called then fellowship, which maintains that ‘the continents of atlantis and mu [often synonymous with] did exist, and still do, sunken beneath the waters of the atlantic and pacific oceans’.
the british occult writer james claimed to have learnt about mu from ancient tablets discovered in temples in india. his book the lost continent of mu: motherland of man (1926) was one of the last great manifestations of our preoccupation with lost worlds. it was published just five years before pilgrim e lockwood, skipper of the colina, hauled up his antler. the wild of the-century cult of atlantis were starting to be displaced by a picture of a lost world that was scarcely less astonishing, and which had the advantage of being true.
as early as 1936, only a handful of archaeologists went against the grain of thinking that bank was a mere ‘land bridge’ to speculate that its ancient plains would have been ‘especially for settlement’. over the last decade, however, their ideas have gained credence. in 2001, researchers at the university of birmingham decided to investigate further. using seismic data collected by norwegian oil companies, the vincent gaffney, simon fitch and david smith constructed rendering of ‘shallow deposits’ lying only metres beneath the seabed. they revealed the course of a river, large as the rhine, that once ran across bank. the scale of the lost territory has astonished the three researchers. they do not exaggerate when they write in lost world: the rediscovery ofland (2009) that exploring ‘an entire, preserved, european country’ a lost land that, at its most extensive, was as large as the uk. the team has now mapped the contours ofland and identified of river channels and 24 lakes or marshes. the emerging picture is that of ‘a massive plain dominated by water’. to the modern eye, this environment might appear featureless, even unattractive, yet to mesolithic communities, it offered rich living.
gaffney, fitch and smith understand that, with or without the science,land remains one of the most ‘enigmatic’ archaeological landscapes in the world, and that our lack of historic knowledge about the people who inhabited it will prove attractive to and conspiracy theorists alike. besides,land is not the only lost continent to be rediscovered. sundaland, the coastal shelf in the south china sea, and beringia, the land bridge that joined asia to alaska. although yet to be explored in any detail, their existence confirms that the were right in one respect, at least: we live on the edge of drowned worlds and are descended from their inhabitants.
yet one thing has changed: archaeologists now believe thatland’s settle the british isles until they were forced to abandon their traditional homes on the plain. humanity, of course, has always lived with the threat of great floods; but as water levels begin rising once again, we should remind ourselves that our densely inhabited world contains no comparable havens to which we might retreat.
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ɪn 1931 ə ˈtrɔlər kɔld ðə sæŋk ɪts nɛts ˈɪntu ðə nɔrθ si, 25 maɪəlz ɔf ðə koʊst əv ˈnɔrfək, ənd drɛʤd əp ən ənˈlaɪkli ə ˈæntlər, lɔŋ, wɪθ ə sɛt əv bɑrbz ˈrənɪŋ əˈlɔŋ wən saɪd. aɪˈdɛntəˌfaɪd ɪt ɛz ə ˌprihɪˈstɔrɪk hɑrˈpun ənd ˈdeɪtɪd ɪt tɪ ðə ˌmɛzəˈlɪθɪk eɪʤ, wɪn si ˈlɛvəlz əraʊnd ˈbrɪtən wər mɔr ðən 100 ˈmitərz loʊər ðən ðeɪ ər təˈdeɪ, ənd ðə ˈsəŋkən rɪm, æt list əˈkɔrdɪŋ tɪ səm, wɑz ə ˈfərtəl pleɪn. ɛz lɔŋ əˈgoʊ ɛz ðə ˈsɛnʧəri, əˈstut əbˈzərvərz ˈnoʊtɪd ðət ˈkoʊˌstlaɪnz wər wɪθ triz, ˈvɪzəbəl ˈoʊnli æt loʊ taɪd. trəˈdɪʃənəli, ðə forests’*’ wər rɪˈgɑrdɪd ɛz ˈɛvədəns əv fləd ˈrɛlɪks əv ən wərld huz dɪˈstrəkʃən ɪz rɪˈkɔrdɪd ɪn ðə moʊst ɪnˈdʊrɪŋ əv ɔl ðə ˈstɔriz əv greɪt flədz ðət swip ðə ərθ ənd draʊn ɪts ˈpipəl. æt ðə bɪˈgɪnɪŋ əv ðə ˈsɛnʧəri, əˈnəðər ˌɛkspləˈneɪʃən wɑz prəˈpoʊzd baɪ ðə ʤiˈɑləʤəst ˈklɛmənt rid. ɪn hɪz bʊk səbˈmərʤd ˈfɔrəsts 1913 rid ˈɑrgjud ðət bət ə ʧeɪnʤ ɪn si ˈlɛvəl wɪl account’*’ fər ðə pəˈzɪʃən əv triz ˈstrɛʧɪŋ frəm ðə haɪ ˈwɔtər mɑrk ðə ˈlɛvəl əv ðə loʊəst spərɪŋ tide’*’. ˌɑbzərˈveɪʃənz ɔn ðə ist koʊst əv ˈɪŋglənd lɛd ɪm tɪ kənˈklud ðət ðə tɛmz ənd ˈhəmbər ˈɛsʧuˌɛriz wər wəns baɪ ə pleɪn, laɪɪŋ səm fit bɪˈloʊ ðə ˈmɑdərn mɑrʃ surface’*’. ˈtərnɪŋ hɪz əˈtɛnʃən tɪ ə ˈsəbstəns noʊn ɛz ‘‘moorlog’*’, drɛʤd əp frəm ðə bɛd əv ðə nɔrθ si æt bæŋk, rid aɪˈdɛntəˌfaɪd ˈnəθɪŋ lɛs ðən ə taɪm ˈkæpsəl. kənˈsɪsts əv ðə kəmˈpæktɪd rɪˈmeɪnz əv ˈænəməl boʊnz, ʃɛlz, wʊd, ənd ləmps əv pit, ənd ˈsæmpəl kənˈteɪnd ə vərˈaɪəti əv boʊnz, ˌɪnˈkludɪŋ bɛr, wʊlf, haɪˈinə, ˈbaɪsən, ˈmæməθ, ˈbivər, ˈwɔlrəs, ɛlk ənd dɪr. hi kənˈkludɪd ðət woods’*’ wəns strɛʧt fɑr bɪɔnd ðə ʃɔr, wɪθ bæŋk ˈfɔrmɪŋ ðə əv ə greɪt ˌæˈluviəl pleɪn, ˈɑkjəˌpaɪɪŋ wət ɪz naʊ ðə ˈsəðərn hæf əv ðə nɔrθ si, ənd ˈstrɛʧɪŋ əˈkrɔs tɪ ˈhɑlənd ənd denmark’*’. ðə ˈæntlər əˈpɪrd tɪ kənˈfərm ˈθɪri, fər ɪt keɪm frəm ə ˈfrɛʃˌwɔtər dɪˈpɑzət, ˈminɪŋ ðət ɪt hæd nɑt bɪn drɑpt baɪ ə si ˈvɔɪɪʤər, bət baɪ ˈsəmˌwən ˈlɪvɪŋ ɪn ðə ˈlænˌskeɪp. əˈkɔrdɪŋ tɪ ˈvɪnsɪnt ˈgæfni, ˈsaɪmən fɪʧ ənd ˈdeɪvɪd smɪθ ðə ˈtriˌoʊ əv ˌɑrkiˈɑləʤɪsts æt ðə ˌjunəˈvərsəti əv ˈbərmɪŋˌhæm hu hæv meɪd ðə moʊst səˈsteɪnd əˈtɛmpts tɪ bɪld ɔn ˈrisərʧ ðɪs wɑz fərst ril ˈɛvədəns ðət ðə nɔrθ si hæd bɪn pɑrt əv ə greɪt pleɪn ˌɪnˈhæbətəd baɪ ðə læst ɪn europe’*’. ˈwɪkədnəs ˈəpˌsɛt ðə soʊ məʧ ðət hi wɛpt ə ˈgloʊbəl ˈdɛljuʤ ðə ˈɛriə, naʊ kɔld, wɑz ˈgræʤuəli səbˈmərʤd ɛz ðə læst aɪs eɪʤ keɪm tɪ ən ɛnd, ənd ðə ˈmɛltɪŋ ˈgleɪʃərz reɪzd si ˈlɛvəlz. ˈoʊnli əraʊnd dɪd ˈbrɪtən ˈfaɪnəli bɪˈkəm ən ˈaɪlənd. ðə ridɪˈskəvri əv ðə greɪt pleɪn ðət ˈfɔrmərli kəˈnɛktɪd ɪt tɪ ˈmeɪnˌlænd ˈjʊrəp ɪz wən əv ðə moʊst rɪˈmɑrkəbəl ˌsaɪənˈtɪfɪk ˈstɔriz əv ðə pæst ˈdɛkeɪd, jɛt ðɛr ɪz ə sɛns ɪn wɪʧ ɪt ʃʊd nɑt kəm ɛz ə səˈpraɪz æt ɔl. ˈæˈdrɛsɪz wən əv ɑr ˈoʊldəst priˌɑkjəˈpeɪʃənz; fər wi hæv ˈɔlˌweɪz toʊld ˈstɔriz əˈbaʊt lɔst, ˈhɪdən bɪˈniθ ðə weɪvz. teɪlz əv greɪt ɪˈvɑlvd fər ˈɑbviəs ˈrizənz: ðə ˈərliəst ˈjumən əˈpɪrd ɪn ˌmɛsəpəˈteɪmiə lænd bɪtˈwin ðə rivers’*’), ənd ðə ˈdɛltəz əv ðə ˈjɛloʊ ˈrɪvər, ˈɪndəs ənd naɪl. ðə ɪˈʤɪpʃən jɪr ðə ˈbeɪsɪs əv ɑr ˈkæləndər dɪˈvaɪdɪd ðə ˈsizənz baɪ ðə ˈpætərn əv ˈreɪnˌfɔl, ðə ˈsizən əv ˌɪnənˈdeɪʃən biɪŋ wɪn ðə naɪl roʊz, ˈflədɪŋ ðə sərˈaʊndɪŋ fildz. ˈwɔtər wɑz ðə sɔrs əv laɪf bət ˈɔlsoʊ dɪˈstrəkʃən ənd, ɛz səʧ, ɪt ˌɪnˈspaɪərd ðə ˈərliəst rɪˈkɔrdɪd ˈvərʒən əv ðə moʊst ˈfeɪməs myth’*’ əv ɔl. ðə ˈstɔri əv ə, ə ʤɪst mæn hu ɪz ˌɪnˈstrəktɪd baɪ ə gɑd tɪ bɪld ən ɑrk soʊ ɛz tɪ sərˈvaɪv ə fləd, əˈpɪrd ɪn ðə ˈɛpɪk əv gilgamish*. ɪn ðə ˈbaɪbəl ɪz noʊə, ənd ɪn grik məˈθɑləˌʤi hi ɪz deucalion*, ə sən əv prəˈmiˌθiəs hu ˈrɛkriˌeɪts ðə ˈjumən reɪs baɪ θroʊɪŋ hɪz boʊnz ˈoʊvər hɪz ˈʃoʊldər. ðɛr ɪz ə ˈhɪnˌdu noʊə, ən noʊə, ənd ə ˌpɑˌlɪˈniʒən noʊə. ə fərst ˈneɪʃən ˈvərʒən əv ðə ˈlɛʤənd meɪnˈteɪnz ðət ˈwɪkədnəs soʊ ˈəpˌsɛt ðə ðət hi wɛpt ə ˈgloʊbəl ˈdɛljuʤ. səm kriˈeɪʃən mɪθs ˈʤɛnəsəs, fər ɪgˈzæmpəl dɪˈpɪkt gɑd kriˈeɪtɪŋ lænd frəm ə praɪˈmivəl weɪst əv ˈwɔtər, bət əˈnəðər ˈfrikwɛntli rɪˈkərɪŋ ˈstɔri rɪˈvərsɪz ðə ˈprɔˌsɛs. ɪn ˈdaɪəˌlɔg wi hæv ðə ˈoʊldəst sərˈvaɪvɪŋ əˈkaʊnt əv ə lænd ðət sɪŋks bɪˈniθ ðə weɪvz: ðə lɔst ˈkɑntənənt əv æˈtlænɪs. ɪn ərˈɪʤənəl ˈrɛndərɪŋ, ˈæθənz ɪz sɛd tɪ hæv ə greɪt paʊər ðət ˈɛrəgəntli ədˈvænst frəm ɪts beɪs ɪn ðə əˈtlæntɪk ˈoʊʃən tɪ əˈtæk ðə ˈsɪtiz əv ˈjʊrəp ənd asia’*’. ðət paʊər wɑz æˈtlænɪs ən ˈɛmpaɪər ruld baɪ dɪˈsɛnɪnts əv pəˈsaɪdən, ˈpaʊərfəl ənd rɪˈmɑrkəbəl ˈdaɪnəsti əv kings’*’. ˈæθənz roʊz əp ənd səbˈdud æˈtlænɪs, bət hər traɪəmf wɑz ˈoʊvərˌteɪkən baɪ ˈnæʧərəl dɪˈzæstər: ɪn ˈsɪŋgəl ˈdrɛdfəl deɪ ənd naɪt, ɔl [athens’s*] ˈfaɪtɪŋ mɛn wər sˈwɑloʊd əp baɪ ðə ərθ, ənd ðə ˈaɪlənd əv æˈtlænɪs wɑz ˈsɪmələrli sˈwɑloʊd əp baɪ ðə si ənd vanished’*’. ˈskɑlərz ˈɔfən ˌɪnˈsɪst ðət nɑt mɛnt tɪ teɪk əˈkaʊnts əv æˈtlænɪs ˈlɪtərəli. aɪˈdiə ɪz ðət wi ʃʊd juz ðə ˈstɔri tɪ ɪgˈzæmɪn ɑr aɪˈdiəz əv ˈgəvərnmənt ənd power,’*,’ sɪz ðə fəˈlɑsəfər ˈʤuljə ˈænəz ɪn ˈpleɪtoʊ: ə ˈvɛri ʃɔrt ˌɪntrəˈdəkʃən 2003 hæv mɪst ðə pɔɪnt ɪf ˌɪnˈstɛd əv ˈθɪŋkɪŋ əˈbaʊt ðiz ˈɪʃuz wi goʊ ɔf ɪkˈsplɔrɪŋ ðə si bed.’*.’ ðə ɪgˈzækt loʊˈkeɪʃən əv æˈtlænɪs əraʊzd ˈlɪtəl ˈɪntəˌrɛst ɪn ænˈtɪkwəti, ənd ˈərli ˈmɑdərn ˈraɪtərz səʧ ɛz ˈtɑməs mɔr ənd ˈfrænsɪs ˈbeɪkən ɪkˈsplɔrd pləˈtɑnɪk aɪˈdilz əv ðə gʊd soʊˈsaɪɪti, ɪn juˈtoʊpiə 1516 ənd nu æˈtlænɪs 1624 rɪˈspɛktɪvli, wɪˈθaʊt bɪˈkəmɪŋ bɔgd daʊn ɪn kˈwɛsʧənz əv ʤiˈɑgrəfi. jɛt ˈrisəntli wi hæv rɪˈnaʊnst ðə ˈʧælənʤɪŋ tæsk əv ˈɪntərˌprɛtɪŋ leɪərd ˌɪnkˈwaɪˌri ˈɪntu ðə ˈneɪʧər əv ðə gʊd soʊˈsaɪɪti ɪn ˈfeɪvər əv mɪˈlɛniəl ˈfænəsiz əˈbaʊt draʊnd wərldz. ɪn ðə ˈnɑvəl ðə 1863 baɪ ˈʧɑrəlz ˈkɪŋzli, æˈtlænɪs ɪz mərʤd wɪθ ðə ˈlɛʤənd əv nɑ ər ˈfɛri isle’*’, ə land’*’ ðət sæŋk bɪˈniθ ðə weɪvz tɪ ðə wɛst əv ˈaɪərlənd. ˈstɔri səˈʤɛsts ðət ðə sərˈvaɪvɪŋ ˈtreɪsɪz əv æˈtlænɪs ər nɑt ðə ˈsəŋkən triz əv woods’*’ bət ðə flaʊərz, wɪʧ ˈlɪŋər stɪl əˈbaʊt ðɪs land’*’, səʧ ɛz ˈkɔrnɪʃ hiθ, ənd ˈkɔrnɪʃ moneywort’*’. hi dɪˈskraɪbd ðə flaʊərz ɛz ˈtoʊkənz lɛft fər waɪz mɛn ənd gʊd children’*’. ˈəðər ˈraɪtərz hæv ˌɪˈmæʤənd ðə sərˈvaɪvəl əv mɔr səbˈstænʃəl rɪˈmeɪnz əv ðə ˈsəŋkən wərld. ɪn tˈwɛnti ˈθaʊzənd ligz ˈəndər ðə si 1870 ʤulz vərn dɪˈskraɪbz ðə ˈɑkjəpənts əv ðə ˌsəbmərˈin ˈnɔtələs ˈklaɪmɪŋ θru ə ˈsəŋkən ˈfɔrɪst ɔn ðə sloʊps əv ən ˌɪˈrəptɪŋ vɑlˈkeɪnoʊ ɔn ðə ˈbɑtəm əv ðə əˈtlæntɪk ənˈtɪl ðeɪ faɪnd ðɛmˈsɛlvz ˈlʊkɪŋ daʊn ɔn ə ruɪnd taʊn rufs ˈoʊpən tɪ ðə skaɪ, ɪts ˈtɛmpəlz ˈfɑlən, ɪts ˈɑrʧɪz ˈdɪsloʊkeɪtɪd, ɪts ˈkɑləmz laɪɪŋ ɔn ðə ground’*’. fər ðə ˈbɛnəfɪt əv ðə submariners*, ˈkæptən ˈnɛmoʊ ʧɔks ə ˈsɪŋgəl wərd ˈɔntu ə rɑk əv blæk bəˈsɔlt: ‘‘atlantis’*’. aronnax*, ðə hu ˈnɛreɪts ðə bʊk, ɪz trænsˈfɪkst baɪ ðə θɔt ðət ˈstændɪŋ ðə ˈvɛri spɑt wɛr ðə kənˈtɛmpərˌɛriz əv ðə fərst mæn hæd walked’*’. sər ˈɑrθər ˈkoʊnən dɔɪl ˈɔfərd əˈnəðər ˈvərʒən əv ðə ˈlɛʤənd, ðoʊ hɪz æˈtlænɪs wɑz nɑt, laɪk verne’s*, ə ɪˈskeɪpt bɪˈniθ ðə waters’*’ bət ə mərˈækjələsli prɪˈzərvd ənd ˌɪnˈhæbətəd wərld. ðə ˈəndərˌwɔtər ɪkˈsplɔrərz əv hɪz ʃɔrt ˈnɑvəl ðə dip 1929 ər əˈseɪld baɪ ə ʤaɪənt krəˈsteɪʃən ðət snɪps ðə ˈkeɪbəl əv ðɛr ‘‘bathysphere’*’, ˈplənʤɪŋ ɪt tɪ ðə ˈbɑtəm əv ðə si. ðeɪ ər ˈrɛskjud baɪ ðə sərˈvaɪvɪŋ ˌæˈtlænənz ənd ˈteɪkən ɛz ˌkjʊriˈɑsətiz tɪ ðɛr ˌsəbmərˈin ˈsɪti. ðə wər raɪt ɪn wən rɪˈspɛkt: wi lɪv ɔn ðə ɛʤ əv draʊnd wərldz ənd ər dɪˈsɛndɪd frəm ðɛr ˌɪnˈhæbɪtənts ˈkoʊnən dɔɪl θˈrɛdɪd hɪz ˈspɪrɪˌʧuəˌlɪst bɪˈlifs θruaʊt ðə teɪl ɪn ə weɪ ðət ˈɪləˌstreɪts haʊ lɔst wərldz maɪt əˈlaʊ ˈjuˈɛs tɪ ˌɪmˈpruv əˈpɑn ðə ril wən, ɪf ˈoʊnli ɪn ˌɪˌmæʤəˈneɪʃən. bət ðə æˈtlænɪs mɪθ ˈɔlsoʊ əˈlaʊz ˈjuˈɛs tɪ riˈhərs ɑr fɪrz ənd ˈfænəsiz əv kəˈlæps ənd dɪˈkeɪ. ɪn hɪz ˈnɑvəl ˈæftər ˈləndən 1885 ðə vɪkˈtɔriən ˈnæʧərələst ˈrɪʧərd ˈʤɛfriz pɔrˈtreɪd ˈbrɪtən ɛz ə kaɪnd əv æˈtlænɪs, ɪts ˈkæpɪtəl rɪˈdust tɪ ə ˈpjutrɪd swɔmp, ɪts ˌɪnˈtɪriər ˈkəvərd baɪ ən ˈɪnˌlænd si. ˈsɪmələrli, ʤeɪ ʤi ˈərli ˈnɑvəl, ðə draʊnd wərld 1962 ˈpɪkʧərz fˌjuʧərˈɪstɪk ˈləndən ɛz ə ˈtrɑpɪkəl ləˈgun. ˈkɛrɪktərz ˈwɛlkəm ðə əv ə praɪˈmivəl wərld: wi fɪr ðə fləd, hɪz bʊk ˌɪmˈplaɪz ənd jɛt ɪmˈbreɪs ɪt tu. ɪn 1954 ðə əˈmɛrɪkən saɪəns ˈfɪkʃən ˈraɪtər ɛl spreɪg də kæmp sɛd ðət ðə ˈnəmbər əv ˈnɑvəlz ənd ˈstɔriz əˈbaʊt lɔst ˈkɑntənənts wɑz count’*’. jɛt ðə ˈtritmənt əv ðə ˈsəbʤɪkt wɑz nɑt kənˈfaɪnd tɪ bʊks ðət ˌædvərˈtaɪzd ðɛmˈsɛlvz ɛz ˈfɪkʃən. ðə greɪt ˈʧæmpiən əv æˈtlænɪs ɛz history’*’ wɑz ən əˈmɛrɪkən ˌpɑləˈtɪʃən kɔld ˌɪgˈneɪʃəs ˈdɑnɛli, hu sərvd ɛz ə ˈkɑŋgrəsmən ənd steɪt ˈsɛnətər fər ˌmɪnɪˈsoʊtə æt ˈvɛriəs taɪmz ɪn ðə leɪt ˈsɛnʧəri. ˈdɑnɛli wɑz ˈɔlsoʊ ə lænd ˈspɛkjəˌleɪtər, ˈfɑrmər ənd fantasist*, hu prəˈpoʊzd θri ˈikwəli ˈstraɪkɪŋ ənd ˌɪmˈplɔzəbəl ˈθɪriz ðət ˈbeɪkən hæd nɑt ˈoʊnli ˈrɪtən pleɪz bət ɛmˈbɛdɪd ə ˈsaɪfər wɪˈθɪn ðɛm; ðət greɪt ɪˈvɛnts ɪn ðə ˈhɪstəri, səʧ ɛz ðə aɪs eɪʤ, wər brɔt ɔn baɪ catastrophism’*’; ənd ðət æˈtlænɪs wɑz ə ˈfrægmənt əv ə wəns væst ˌoʊʃiˈænɪk ˈkɑntənənt. ɪn æˈtlænɪs: ðə wərld 1882 ˈdɑnɛli aɪˈdɛntəˌfaɪd æˈtlænɪs ɛz sɔrs əv ɔl lɔst paradises*: ˈgɑrdən əv ˈidən; ðə ˈgɑrdənz əv ðə hesperides*; ðə fields’*’. ɪt ˌrɛprɪˈzɛnɪd ˌjunəˈvərsəl ˈmɛməri əv ə greɪt lænd, wɛr ˈərli ˈmænˈkaɪnd dwɛlt fər ˈeɪʤɪz ɪn pis ənd happiness’*’. ˈdɑnɛli bɪˈlivd ðət ə fju ˈləki sərˈvaɪvərz əv ˈdraʊnɪŋ hæd ɪˈskeɪpt ʃɪps ənd ɔn rafts’*’ tɪ ˈpɑpjəˌleɪt sərˈaʊndɪŋ ˈkɑntənənts, ˈsaɪtɪŋ, ɛz pruf, riˈzɛmblənsəz bɪtˈwin ˌjʊrəˈpiən ənd əˈmɛrɪkən plænts ənd ˈænəməlz, ˈkəlʧər ənd ˈlæŋgwɪʤ. spreɪg də kæmp noʊts ðət əv ˈsteɪtmənts əv fact…*… ˈiðər wər rɔŋ wɪn hi meɪd ðɛm, ər hæv bɪn dɪˈspruvd baɪ ˈsəbsəkwənt discoveries’*’. ənd ˈivɪn ɪf ðeɪ bɪn rɔŋ, hi wʊd stɪl hæv drɔn ðə rɔŋ kənˈkluʒənz frəm ðɛm: ðə fækt ðət ˈpipəl ɔn boʊθ saɪdz əv ðə əˈtlæntɪk juzd spɪrz ənd seɪlz, ˌkəstəˈmɛrəli ˈmɛrid ənd dɪˈvɔrst, ənd bɪˈlivd ɪn goʊsts ənd fləd ˈlɛʤəndz ˈnəθɪŋ əˈbaʊt ˈsəŋkən continents’*’. əv kɔrs, biɪŋ rɔŋ ɪz ˈrɛrli ə bɑr tɪ səkˈsɛs, əˈspɛʃəli ɪn ðə rɛlmz əv ˈfænəsi ənd kənˈspɪrəsi. bʊk wɑz riˈprɪntɪd 22 taɪmz ɪn ðə eɪt jɪrz ˈæftər ˌpəblɪˈkeɪʃən, bɪˈkəmɪŋ nu ˈtɛstəmənt əv atlantism’*’. ənd ˈdɑnɛli əˈtræktəd ə ˈkjʊriəs ˈfɑloʊɪŋ əˈməŋ səʧ ɛz ˈhɛlənə, hu ˈfaʊndɪd ðə soʊˈsaɪɪti. bɪˈlivd ðət æˈtlænɪs wɑz wən əv ˈsɛvərəl lɔst ˈkɑntənənts ɔn wɪʧ juˈmænɪti hæd ɪˈvɑlvd. ʃi kleɪmd ðət hər ˌɛsəˈtɛrɪk ˈmægnəm ˈoʊpəs ðə ˈsikrɪt ˈdɔktərɪn 1888 wɑz ərˈɪʤənəli ˈdɪkˌteɪtɪd ɔn æˈtlænɪs, ənd ðət pɑrt əv juˈmænɪti wɑz dɪˈsɛndɪd frəm əˈnəðər ‘‘root-race’*’ hu lɪvd ɔn ðə ˈvænɪʃt ˈkɑntənənt əv. dɪd nɑt ˌɪnˈvɛnt ðə neɪm ‘‘lemuria’*’: ɪt wɑz prəˈpoʊzd ɪn 1864 baɪ ðə ˈɪŋlɪʃ zoʊˈɑləʤəst ˈfɪlɪp ɛz ə weɪ əv ɪkˈspleɪnɪŋ ðə ˈprɛzəns əv ˈlimər ˈfɑsəlz ɪn ˌmædəˈgæskər ənd ˈɪndiə, bət nɑt ɪn ˈæfrɪkɑ ər ðə middle-east*. lɔst lænd ˈbrɪʤɪz wər ˈɔfən ˌɪnˈvoʊkt tɪ ɪkˈspleɪn haʊ ˈspiʃiz hæd ˈtrævəld əˈkrɔs ˈkɑntənənts ˈsɛpərˌeɪtɪd baɪ ˈwɔtər, ənd bɪˈlivd ðət ˈɪndiə ənd ˌmædəˈgæskər hæd bɪn ˌkɑnˈʤɔɪnd ɔn ə ˈkɑntənənt ðət broʊk əˈpɑrt ˈɪntu ˈaɪləndz ər sæŋk bɪˈniθ ðə weɪvz. fər, wɑz ˈkreɪdəl əv ˈmænˈkaɪnd, əv ðə ˈfɪzɪkəl ˈsɛkʃuəl ˈkriʧər hu θru lɔŋ aʊt əv ðə ɪˈθɪriəl hermaphrodites’*’. ɪn ðə lɔst 1904 hər ˈfɛloʊ ˈwɪljəm ˈɔfərd ə ˈvɪvɪd dɪˈskrɪpʃən əv ðɪs ‘‘creature’*’: hɪz ˈstæʧər wɑz ʤaɪˈgænɪk, ˈsəmˌwɛr bɪtˈwin 12 ənd 15 feet…*… hɪz skɪn wɑz ˈvɛri dɑrk, biɪŋ əv ə ˈjɛloʊɪʃ braʊn ˈkələr. hi hæd ə lɔŋ loʊər ʤɔ, ə ˈstreɪnʤli ˈflætənd feɪs, aɪz smɔl bət ˈpɪrsɪŋ ənd sɛt ˈkjʊriəsli fɑr əˈpɑrt, soʊ ðət hi kʊd si ˈsaɪdˌweɪz ɛz wɛl ɛz ɪn frənt, waɪl ðə aɪ æt ðə bæk əv ðə head…*… ɪˈneɪbəld ɪm tɪ si ɪn ðət dɪˈrɛkʃɪn ˈɔlsoʊ. ðə ˈθɪri əv ˌkɑntəˈnɛnəl drɪft, ækˈsɛptɪd ɪn ðə ˈərli ˈsɛnʧəri, ˈɑbviˌeɪtəd ðə nid tɪ ˈkɑnʤər ə ðət ɪkˈspleɪnd ðə sprɛd əv ˈfɑsəlz, bət ðə aɪˈdiə həz kənˈtɪnjud tɪ ˈfæsəˌneɪt əˈkəlt ˈraɪtərz. ðə əˈmɛrɪkən ˈraɪtər ˈfrɛdərɪk ɛs ˈɑlɪvər pʊld ˈɪntu ən ˈɔrbət əv ˈspɪrɪˌʧuəˌlɪst aɪˈdiəz, ˌɪnˈkludɪŋ ˈspɪrɪt gaɪdz, ˈæstrəl ˈtrævəl ənd channelling*. hɪz 1905 ˈnɑvəl ə dˈwɛlər ɔn tu ˈplænəts 1905 səˈpoʊzədli ˈrɪtən ˈəndər guidance’*’, tɛlz ðə ˈstɔri əv ə kəmˈjunɪti əv ˈseɪʤɪz hu ɪˈskeɪpt frəm ənd ˈsɛtəld ɔn maʊnt ˈʃæstə, nɪr hoʊm ɪn ˈnɔrðərn ˌkæləˈfɔrnjə. bʊk həz bɪn səˈpraɪzɪŋli ˌɪnfluˈɛnʃəl. ðə aɪˈdiə əv ə kəmˈjunɪti ˈlɪvɪŋ ɔn maʊnt ˈʃæstə wɑz ˈfrikwɛntli ˌriˈpɔrtəd ˈdʊrɪŋ ðə ənd ‘30s*, ənd əkˈwaɪərd ə səˈpraɪzɪŋ dɪˈgri əv ˈditeɪl. ðɛr wər sɛd tɪ bi ˈmeɪʤaɪ, ˈlɪvɪŋ ɪn ə village’*’ bɪlt əraʊnd ə ˈtɛmpəl. ɔˈkeɪʒənəˌli, ðeɪ əˈpɪrd ɪn ˈneɪbərɪŋ taʊnz, klæd ɪn lɔŋ waɪt roʊbz, bət taciturn’*’. ðeɪ peɪd fər səˈplaɪz wɪθ goʊld ˈnəgəts ənd, ˈɛvəri ˈmɪdˌnaɪt, ðeɪ rɪˈʤɔɪst ɪn ðɛr ɪˈskeɪp frəm ɪn ˈsɛrəˌmoʊniz ðət beɪðd ðə ˈmaʊntənz ɪn rɛd ənd grin laɪt. ˈvɛriəs ˌkælɪˈfɔrnjən ˈluməˌnɛriz, səʧ ɛz ðə ˈæktrəs ˈʃərli məˈkleɪn hu rɪˈkɔld ə pæst laɪf ɛz ən ænˈdrɔʤənəs ɪn hər ˈmɛmˌwɑr ˈoʊvər ɔl ðət 2012 ənd gaɪ ˈwɔrən ˈbælərd, ˈfaʊndər əv ðə flæmˈbɔɪənt rɪˈlɪʤəs ˈmuvmənt aɪ æm, wər boʊθ ˌɪnˈspaɪərd baɪ ˈnɑvəl. ɪt stɪl ˌɪnˈfɔrmz ðə fəˈlɑsəfi əv ə nu eɪʤ ˌɔrgənɪˈzeɪʃən kɔld ðə ˈfɛloʊˌʃɪp, wɪʧ meɪnˈteɪnz ðət ˈkɑntənənts əv æˈtlænɪs ənd mu [ˈɔfən səˈnɑnəməs wɪθ] dɪd ɪgˈzɪst, ənd stɪl du, ˈsəŋkən bɪˈniθ ðə ˈwɔtərz əv ðə əˈtlæntɪk ənd pəˈsɪfɪk oceans’*’. ðə ˈbrɪtɪʃ əˈkəlt ˈraɪtər ʤeɪmz kleɪmd tɪ hæv lərnt əˈbaʊt mu frəm ˈeɪnʧənt ˈtæbləts dɪˈskəvərd ɪn ˈtɛmpəlz ɪn ˈɪndiə. hɪz bʊk ðə lɔst ˈkɑntənənt əv mu: ˈməðərˌlænd əv mæn 1926 wɑz wən əv ðə læst greɪt ˌmænəfɛˈsteɪʃənz əv ɑr priˌɑkjəˈpeɪʃən wɪθ lɔst wərldz. ɪt wɑz ˈpəblɪʃt ʤɪst faɪv jɪrz ˌbiˈfɔr ˈpɪlgrɪm i ˈlɑkˌwʊd, ˈskɪpər əv ðə koʊˈlinə, hɔld əp hɪz ˈæntlər. ðə waɪld əv ðə kəlt əv æˈtlænɪs wər ˈstɑrtɪŋ tɪ bi dɪˈspleɪst baɪ ə ˈpɪkʧər əv ə lɔst wərld ðət wɑz ˈskɛrsli lɛs əˈstɑnɪʃɪŋ, ənd wɪʧ hæd ðə ædˈvæntɪʤ əv biɪŋ tru. ɛz ˈərli ɛz 1936 ˈoʊnli ə ˈhændˌfʊl əv ˌɑrkiˈɑləʤɪsts wɛnt əˈgɛnst ðə greɪn əv ˈθɪŋkɪŋ ðət bæŋk wɑz ə mɪr bridge’*’ tɪ ˈspɛkjəˌleɪt ðət ɪts ˈeɪnʧənt pleɪnz wʊd hæv bɪn fər settlement’*’. ˈoʊvər ðə læst ˈdɛkeɪd, ˌhaʊˈɛvər, ðɛr aɪˈdiəz hæv geɪnd ˈkridəns. ɪn 2001 ˈrisərʧərz æt ðə ˌjunəˈvərsəti əv ˈbərmɪŋˌhæm ˌdɪˈsaɪdɪd tɪ ˌɪnˈvɛstəˌgeɪt ˈfərðər. ˈjuzɪŋ ˈsaɪzmɪk ˈdætə kəˈlɛktəd baɪ ˌnɔrˈwiʤən ɔɪl ˈkəmpəˌniz, ðə ˈvɪnsɪnt ˈgæfni, ˈsaɪmən fɪʧ ənd ˈdeɪvɪd smɪθ kənˈstrəktɪd ˈrɛndərɪŋ əv deposits’*’ laɪɪŋ ˈoʊnli ˈmitərz bɪˈniθ ðə ˈsiˌbɛd. ðeɪ rɪˈvild ðə kɔrs əv ə ˈrɪvər, lɑrʤ ɛz ðə raɪn, ðət wəns ræn əˈkrɔs bæŋk. ðə skeɪl əv ðə lɔst ˈtɛrɪˌtɔri həz əˈstɑnɪʃt ðə θri ˈrisərʧərz. ðeɪ du nɑt ɪgˈzæʤərˌeɪt wɪn ðeɪ raɪt ɪn lɔst wərld: ðə ridɪˈskəvri əv 2009 ðət ɪkˈsplɔrɪŋ ɪnˈtaɪər, prɪˈzərvd, ˌjʊrəˈpiən country’*’ ə lɔst lænd ðət, æt ɪts moʊst ɪkˈstɛnsɪv, wɑz ɛz lɑrʤ ɛz ðə uk*. ðə tim həz naʊ mæpt ðə ˈkɑnˌtʊrz əv ənd aɪˈdɛntəˌfaɪd əv ˈrɪvər ˈʧænəlz ənd 24 leɪks ər ˈmɑrʃɪz. ðə ˈimərʤɪŋ ˈpɪkʧər ɪz ðət əv ˈmæsɪv pleɪn ˈdɑməˌneɪtəd baɪ water’*’. tɪ ðə ˈmɑdərn aɪ, ðɪs ɪnˈvaɪrənmənt maɪt əˈpɪr ˈfiʧərləs, ˈivɪn ˌənəˈtræktɪv, jɛt tɪ ˌmɛzəˈlɪθɪk kəmˈjunɪtiz, ɪt ˈɔfərd rɪʧ ˈlɪvɪŋ. ˈgæfni, fɪʧ ənd smɪθ ˌəndərˈstænd ðət, wɪθ ər wɪˈθaʊt ðə saɪəns, rɪˈmeɪnz wən əv ðə moʊst ‘‘enigmatic’*’ ˌɑrkiəˈlɑʤɪkəl ˈlænˌskeɪps ɪn ðə wərld, ənd ðət ɑr læk əv hɪˈstɔrɪk ˈnɑlɪʤ əˈbaʊt ðə ˈpipəl hu ˌɪnˈhæbətəd ɪt wɪl pruv əˈtræktɪv tɪ ənd kənˈspɪrəsi θiərɪsts əˈlaɪk. ˌbiˈsaɪdz, ɪz nɑt ðə ˈoʊnli lɔst ˈkɑntənənt tɪ bi ridɪˈskəvərd. sundaland*, ðə ˈkoʊstəl ʃɛlf ɪn ðə saʊθ ˈʧaɪnə si, ənd beringia*, ðə lænd brɪʤ ðət ʤɔɪnd ˈeɪʒə tɪ əˈlæskə. ˌɔlˈðoʊ jɛt tɪ bi ɪkˈsplɔrd ɪn ˈɛni ˈditeɪl, ðɛr ɪgˈzɪstəns kənˈfərmz ðət ðə wər raɪt ɪn wən rɪˈspɛkt, æt list: wi lɪv ɔn ðə ɛʤ əv draʊnd wərldz ənd ər dɪˈsɛndɪd frəm ðɛr ˌɪnˈhæbɪtənts. jɛt wən θɪŋ həz ʧeɪnʤd: ˌɑrkiˈɑləʤɪsts naʊ bɪˈliv ðət ˈsɛtəl ðə ˈbrɪtɪʃ aɪlz ənˈtɪl ðeɪ wər fɔrst tɪ əˈbændən ðɛr trəˈdɪʃənəl hoʊmz ɔn ðə pleɪn. juˈmænɪti, əv kɔrs, həz ˈɔlˌweɪz lɪvd wɪθ ðə θrɛt əv greɪt flədz; bət ɛz ˈwɔtər ˈlɛvəlz bɪˈgɪn ˈraɪzɪŋ wəns əˈgɛn, wi ʃʊd riˈmaɪnd ɑrˈsɛlvz ðət ɑr ˈdɛnsli ˌɪnˈhæbətəd wərld kənˈteɪnz noʊ ˈkɑmprəbəl ˈheɪvənz tɪ wɪʧ wi maɪt riˈtrit.
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the budget proposal released by house republicans on tuesday promises it can repeal and save the government a lot of money in the process. but the document relies on some vague accounting to justify this claim.
it is easy, of course, to save the federal budget a lot of money by simply eliminating the spending provisions of the affordable care act. getting rid of the medicaid expansion to low-income people and its premium subsidies for middle-income insurance shoppers would save about $2 trillion over 10 years, according to the house budget estimates. that number is published clearly and prominently in the accompanying tables.
less explicitly accounted for is the fact that the health law, despite its huge federal spending on insurance expansion, was also designed to reduce the deficit. the law imposed substantial cuts to the medicare program and raised a series of new taxes, including ones on wages, health insurance and medical devices.
perfect estimates are difficult at this point, because most of those changes are now integrated into current budget estimates, but safe to say that the medicare cuts save more than $700 billion over the next 10 years, and the taxes will raise around $1 trillion.
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ðə ˈbəʤɪt prəˈpoʊzəl riˈlist baɪ haʊs rɪˈpəblɪkənz ɔn ˈtuzˌdeɪ ˈprɑməsəz ɪt kən rɪˈpil ənd seɪv ðə ˈgəvərnmənt ə lɔt əv ˈməni ɪn ðə ˈprɔˌsɛs. bət ðə ˈdɑkjəmɛnt rɪˈlaɪz ɔn səm veɪg əˈkaʊnɪŋ tɪ ˈʤəstəˌfaɪ ðɪs kleɪm. ɪt ɪz ˈizi, əv kɔrs, tɪ seɪv ðə ˈfɛdərəl ˈbəʤɪt ə lɔt əv ˈməni baɪ ˈsɪmpli ɪˈlɪməˌneɪtɪŋ ðə ˈspɛndɪŋ prəˈvɪʒənz əv ðə əˈfɔrdəbəl kɛr ækt. ˈgɪtɪŋ rɪd əv ðə ˈmɛdəˌkeɪd ɪkˈspænʧən tɪ ˌloʊˈɪnkəm ˈpipəl ənd ɪts ˈprimiəm ˈsəbsɪdiz fər ˈmɪdəˌlɪnkəm ˌɪnˈʃʊrəns ˈʃɑpərz wʊd seɪv əˈbaʊt 2 ˈtrɪljən ˈoʊvər 10 jɪrz, əˈkɔrdɪŋ tɪ ðə haʊs ˈbəʤɪt ˈɛstəˌmeɪts. ðət ˈnəmbər ɪz ˈpəblɪʃt ˈklɪrli ənd ˈprɑmənəntli ɪn ðə əˈkəmpəniɪŋ ˈteɪbəlz. lɛs ɪkˈsplɪsətli əˈkaʊntɪd fər ɪz ðə fækt ðət ðə hɛlθ lɔ, dɪˈspaɪt ɪts juʤ ˈfɛdərəl ˈspɛndɪŋ ɔn ˌɪnˈʃʊrəns ɪkˈspænʧən, wɑz ˈɔlsoʊ dɪˈzaɪnd tɪ rɪˈdus ðə ˈdɛfəsət. ðə lɔ ˌɪmˈpoʊzd səbˈstænʃəl kəts tɪ ðə ˈmɛdəˌkɛr ˈproʊˌgræm ənd reɪzd ə ˈsɪriz əv nu ˈtæksɪz, ˌɪnˈkludɪŋ wənz ɔn ˈweɪʤɪz, hɛlθ ˌɪnˈʃʊrəns ənd ˈmɛdɪkəl dɪˈvaɪsɪz. ˈpərˌfɪkt ˈɛstəˌmeɪts ər ˈdɪfəkəlt æt ðɪs pɔɪnt, bɪˈkəz moʊst əv ðoʊz ˈʧeɪnʤɪz ər naʊ ˈɪnəˌgreɪtɪd ˈɪntu ˈkɑrənt ˈbəʤɪt ˈɛstəˌmeɪts, bət seɪf tɪ seɪ ðət ðə ˈmɛdəˌkɛr kəts seɪv mɔr ðən 700 ˈbɪljən ˈoʊvər ðə nɛkst 10 jɪrz, ənd ðə ˈtæksɪz wɪl reɪz əraʊnd 1 ˈtrɪljən.
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bayern maintained their unbeaten home record against real in europe (9 wins, 1 draw) with an excellent team performance against a disheveled and nervy madrid side. a late goal by gomez decided the match after and özil each scored earlier. in what was an exciting, albeit typically ferocious and antagonistic meeting between these two sides, took control of the game in the first half and never relented until they were eventually rewarded for their persistence. madrid had a good spell in the opening stages of each half but never reached their best, suffering from a mismatch of tactics and some poor individual performances. in the end it was a deserving win for and a great lead going into what should be an intense second leg.
lineups and formations
having rested five players at the weekend and admitting that his side had been fatigued following their midweek loss against dortmund last week, resumed with his preferred line up. the only exclusion was that of, instead selecting a of, gustavo and playing off gomez.
4-2-3-1 was the order of the day for and who also returned coentrao, di maria, alonso and after resting them over the weekend. özil was picked to start in his official match for the club over with and marcelo benched, the latter being the only surprise exclusion at the start. theoretically included a more defensively sound player in coentrao, hoping the portuguese left back would contain robben. some also speculated that he would take a more defensive approach with three centralers like he has done in some matches against barcelona but he decided otherwise
heynckes said before this match that it will be more tactical than anything else and in the end he was right.’s approach initial approach and subsequent changes ultimately hindered them against motivated and focused. this is how the match unfolded.
first half control the game and madrid out of sync
real started with the bulk of possession, which is not surprising considering they have averaged more than any other side left in the competition bar barcelona. for the first 10 minutes could not get out of their own half and madrid nearly capitalized on that in the seventh minute after özil played a defense splitting through ball to but awareness kept the ball out. that short spell of domination was then broken when found his way into the box from the right, beat ramos, but went to ground appealing for a penalty. webb waved him off but madrid were phased. momentum slowly started swinging in’s favor.
real madrid have been particularly poor defending set pieces this season and they were exposed again on’s first goal.’s corner on seventeen minutes was not dealt with well by ramos and took advantage by reacting faster than anyone else by pouncing on the loose ball and beating casillas. it was the first time madrid had fallen behind in the champions league this season and it paved the way for to take full control of the game. the best chances madrid mustered in the first half came from free kicks won outside’s box but never managed any of them on target. nearly doubled’s lead on twenty-one minutes after set him up but his love driven shot went just wide.
surprisingly won the battle. the problem stemmed from özil, di maria, and constantly going wide, leaving no one to support alonso and and ample space between their and. maybe wanted to neutralize’s strengths on the wings but it had a detrimental effect elsewhere on the pitch. meanwhile dropped throughout the half, outnumbering madrid in and helping them control the flow of the match. it was an atypical performance from a side normally associated with organization. madrid distinctly lacked synergy in their play in this match. özil was mostly frustrated and double teamed on the right. and did a good job keeping him out of the game and rarely allowed him to cut inside or play into the middle.
moreover, when players went wide there was a lack of reciprocity from the players around them. for example constantly looked to go out wide to the left but no one came into the middle to provide him with an outlet. and at times di maria came centrally but lacked support in front of him. özil and regularly go out wide in la but against a more organized side like and a outnumbering them it was simply not effective. meanwhile, was weak link in defense and had a go at him the whole first half and always looked like giving away a free kick in a dangerous position. it was the kind of pernicious situation that and madrid rarely found themselves in this season.
second half’s changes prove costly
with their performance waning in the first half had to make adjustments at the break and madrid came out looking like a different side. after trying several permutations in the attacking third in the first half he chose a more straightforward approach özil no longer started from wide positions but stayed centrally where he was able to string together an otherwise disorderly offense. without the volatility of four roaming attackers there was now more focus in attacks and minutes in a madrid counter attack leveled the game., from the center this time, played through on the left, his shot parried away by neuer. picked up the rebound and squared it to whose cross into the box was finished by an oncoming özil.’s defense blinked for the first time in this match and it cost them a goal.
for a moment it looked as though madrid were finally ready and able to take charge of the game but in a rather puzzling move, pulled özil and brought on marcelo. perhaps wanted to inject a bit of energy for a fatigued özil but role itself was peculiar to say the least. filling in neither in his natural left back spot nor on the right, marcelo drifted all over the pitch with little impact other than to give away free kicks. or maybe it was a reaction to taking off an unfit on minutes which meant that had to play even deeper alongside gustavo with the more attack minded on to chase a second goal. theoretically it meant that’s numerical advantage in was diminished but positioning certainly indicate a clear intention to take advantage of that. also brought on shortly after, a move that many may have anticipated earlier in the game to match’s three centralers and now to hold on to the draw, but by then the fallout was nearly irreversible.
gone was central creative figure in özil while’s stability in only increased. the passing statistics tell the story. overall, madrid 334 to 288 and players who are usually strong on the ball like alonso and misplaced a combined 13 passes. their usual fluency was obviously missing and it may have been a case of too much tinkering by who is rarely ever flustered tactically but against a cogent plan from the beginning seemed to be missing.
this allowed to continue to press until madrid eventually capitulated and it could not have come at a worse time. coentrao, who was having a horrid time against lahm, went to ground too easily in the ninetieth minutes, was beaten by lahm and allowed to send an unchallenged cross for gomez to tuck away. casillas could have come to claim the cross but the writing was already on the wall well beforehand.’s seeming satisfaction with a draw allowed to continue to play their game almost unchallenged. an analogy with dortmund may best depict what happened. whereas dortmund exerted a tremendous amount of pressure against, madrid more or less sat back and invited it. in other words, dortmund did not allow to play their natural game, cut them off out wide and even moreso in the center. they did not need an invitation from, they went at them continuously from beginning to end. may have taken a cue from his performance against while in charge of inter two years ago but the same is not applicable to this madrid side, who are more geared towards attacking an opponent than defending against them.
final verdict
after a forgettable week in the bundesliga, put on their best champions league performance against a big side in years. came in with a clear game plan, use their strengths in wide area, namely and robben, to exploit and coentrao, and for the most part did so rather effectively. specifically was strong and won 21 duels compared to’s 9. even more impressive was’s handling of the game in the middle, with and without. had another impressive showing with a match high 76 touches on the ball and completing 48 passes.
the two times real madrid lost a first leg they were eventually eliminated. rarely gets in matches, especially in the champions league, but far too many questions have to be asked of him following this game. first, why were players so wide in the first half? if the instruction was to have a go at’s fullbacks why did he not readjust earlier after seeing his side struggle for half an hour in the first half? furthermore, why was özil withdrawn early in the second after he helped madrid get back into the match after kickoff. was he right to settle for the draw and set up more defensively and what was role in the game? madrid was struggling to absorb’s pressure and looked with every passing minute in the second half.
mourinho is in the unfortunate position of having the against barcelona sandwiched in between these two champions league fixtures, which is perhaps complicating his planning for all three. either way, a goal down madrid will have to outscore in spain, a task that be easy against one of’s most prolific ever sides. in the end, barcelona may well prove to be undoing in the champions league without even having to play them there.
you can an extensive reaction from’ about the game on here.
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bayern* meɪnˈteɪnd ðɛr ənˈbitən hoʊm ˈrɛkərd əˈgɛnst ril ɪn ˈjʊrəp 9 wɪnz, 1 drɔ) wɪθ ən ˈɛksələnt tim pərˈfɔrməns əˈgɛnst ə dɪˈʃɛvəld ənd ˈnərvi məˈdrɪd saɪd. ə leɪt goʊl baɪ ˈgoʊmɛz ˌdɪˈsaɪdɪd ðə mæʧ ˈæftər ənd iʧ skɔrd ˈərliər. ɪn wət wɑz ən ɪkˈsaɪtɪŋ, ɔlˈbiɪt ˈtɪpɪkəli fərˈoʊʃəs ənd ænˌtægəˈnɪstɪk ˈmitɪŋ bɪtˈwin ðiz tu saɪdz, tʊk kənˈtroʊl əv ðə geɪm ɪn ðə fərst hæf ənd ˈnɛvər rɪˈlɛntɪd ənˈtɪl ðeɪ wər ɪˈvɛnʧəwəli rɪˈwɔrdɪd fər ðɛr pərˈsɪstəns. məˈdrɪd hæd ə gʊd spɛl ɪn ðə ˈoʊpənɪŋ ˈsteɪʤɪz əv iʧ hæf bət ˈnɛvər riʧt ðɛr bɛst, ˈsəfərɪŋ frəm ə ˈmɪsˌmæʧ əv ˈtæktɪks ənd səm pur ˌɪndəˈvɪʤəwəl pərˈfɔrmənsɪz. ɪn ðə ɛnd ɪt wɑz ə dɪˈzərvɪŋ wɪn fər ənd ə greɪt lɛd goʊɪŋ ˈɪntu wət ʃʊd bi ən ˌɪnˈtɛns ˈsɛkənd lɛg. ˈlaɪˌnəps ənd fɔrˈmeɪʃənz ˈhævɪŋ ˈrɛstɪd faɪv pleɪərz æt ðə ˈwiˌkɪnd ənd ədˈmɪtɪŋ ðət hɪz saɪd hæd bɪn fəˈtigd ˈfɑloʊɪŋ ðɛr ˈmɪdˌwik lɔs əˈgɛnst ˈdɔrtmənd læst wik, rɪˈzumd wɪθ hɪz prɪˈfərd laɪn əp. ðə ˈoʊnli ɪkˈskluʒən wɑz ðət əv, ˌɪnˈstɛd səˈlɛktɪŋ ə əv, gəˈstɑvoʊ ənd pleɪɪŋ ɔf ˈgoʊmɛz. wɑz ðə ˈɔrdər əv ðə deɪ fər ənd hu ˈɔlsoʊ rɪˈtərnd coentrao*, di mərˈiə, əˈlɑnsoʊ ənd ˈæftər ˈrɛstɪŋ ðɛm ˈoʊvər ðə ˈwiˌkɪnd. wɑz pɪkt tɪ stɑrt ɪn hɪz əˈfɪʃəl mæʧ fər ðə kləb ˈoʊvər wɪθ ənd mɑˈrʧɛloʊ benched*, ðə ˈlætər biɪŋ ðə ˈoʊnli səˈpraɪz ɪkˈskluʒən æt ðə stɑrt. ˌθiərˈɛtɪkəli ˌɪnˈkludɪd ə mɔr dɪˈfɛnsɪvli saʊnd pleɪər ɪn coentrao*, ˈhoʊpɪŋ ðə ˈpɔrʧəˌgiz lɛft bæk wʊd kənˈteɪn ˈrɑbən. səm ˈɔlsoʊ ˈspɛkjəˌleɪtɪd ðət hi wʊd teɪk ə mɔr dɪˈfɛnsɪv əˈproʊʧ wɪθ θri ˈsɛntrəl laɪk hi həz dən ɪn səm ˈmæʧɪz əˈgɛnst ˌbɑrsɪˈloʊnə bət hi ˌdɪˈsaɪdɪd ˈəðərˌwaɪz sɛd ˌbiˈfɔr ðɪs mæʧ ðət ɪt wɪl bi mɔr ˈtæktɪkəl ðən ˈɛniˌθɪŋ ɛls ənd ɪn ðə ɛnd hi wɑz raɪt. əˈproʊʧ ˌɪˈnɪʃəl əˈproʊʧ ənd ˈsəbsəkwənt ˈʧeɪnʤɪz ˈəltəmətli ˈhɪndərd ðɛm əˈgɛnst ˈmoʊtəˌveɪtəd ənd ˈfoʊkɪst. ðɪs ɪz haʊ ðə mæʧ ənˈfoʊldəd. fərst hæf kənˈtroʊl ðə geɪm ənd məˈdrɪd aʊt əv sɪŋk ril ˈstɑrtɪd wɪθ ðə bəlk əv pəˈzɛʃən, wɪʧ ɪz nɑt səˈpraɪzɪŋ kənˈsɪdərɪŋ ðeɪ hæv ˈævrɪʤd mɔr ðən ˈɛni ˈəðər saɪd lɛft ɪn ðə ˌkɑmpəˈtɪʃən bɑr ˌbɑrsɪˈloʊnə. fər ðə fərst 10 ˈmɪnəts kʊd nɑt gɪt aʊt əv ðɛr oʊn hæf ənd məˈdrɪd ˈnɪrli ˈkæpɪtəˌlaɪzd ɔn ðət ɪn ðə ˈsɛvənθ ˈmɪnət ˈæftər pleɪd ə dɪˈfɛns ˈsplɪtɪŋ θru bɔl tɪ bət əˈwɛrnəs kɛpt ðə bɔl aʊt. ðət ʃɔrt spɛl əv ˌdɑməˈneɪʃən wɑz ðɛn ˈbroʊkən wɪn faʊnd hɪz weɪ ˈɪntu ðə bɑks frəm ðə raɪt, bit ˈrɑmoʊs, bət wɛnt tɪ graʊnd əˈpilɪŋ fər ə ˈpɛnəlti. wɛb weɪvd ɪm ɔf bət məˈdrɪd wər feɪzd. moʊˈmɛntəm sˈloʊli ˈstɑrtɪd sˈwɪŋɪŋ ɪn ˈfeɪvər. ril məˈdrɪd hæv bɪn ˌpɑrˈtɪkjələrli pur dɪˈfɛndɪŋ sɛt ˈpisɪz ðɪs ˈsizən ənd ðeɪ wər ɪkˈspoʊzd əˈgɛn ɔn fərst goʊl. ˈkɔrnər ɔn ˈsɛvənˈtin ˈmɪnəts wɑz nɑt dɛlt wɪθ wɛl baɪ ˈrɑmoʊs ənd tʊk ædˈvæntɪʤ baɪ riˈæktɪŋ ˈfæstər ðən ˈɛniˌwən ɛls baɪ ˈpaʊnsɪŋ ɔn ðə lus bɔl ənd ˈbitɪŋ kɑˈsɪləz. ɪt wɑz ðə fərst taɪm məˈdrɪd hæd ˈfɑlən bɪˈhaɪnd ɪn ðə ˈʧæmpiənz lig ðɪs ˈsizən ənd ɪt peɪvd ðə weɪ fər tɪ teɪk fʊl kənˈtroʊl əv ðə geɪm. ðə bɛst ˈʧænsɪz məˈdrɪd ˈməstərd ɪn ðə fərst hæf keɪm frəm fri kɪks wən ˈaʊtˈsaɪd bɑks bət ˈnɛvər ˈmænɪʤd ˈɛni əv ðɛm ɔn ˈtərgət. ˈnɪrli ˈdəbəld lɛd ɔn tˈwɛntiˌwɔn ˈmɪnəts ˈæftər sɛt ɪm əp bət hɪz ləv ˈdrɪvən ʃɑt wɛnt ʤɪst waɪd. səˈpraɪzɪŋli wən ðə ˈbætəl. ðə ˈprɑbləm stɛmd frəm, di mərˈiə, ənd ˈkɑnstəntli goʊɪŋ waɪd, ˈlivɪŋ noʊ wən tɪ səˈpɔrt əˈlɑnsoʊ ənd ənd ˈæmpəl speɪs bɪtˈwin ðɛr ənd. ˈmeɪbi ˈwɔntɪd tɪ ˈnutrəˌlaɪz strɛŋθs ɔn ðə wɪŋz bət ɪt hæd ə ˌdɛtrəˈmɛnəl ˈifɛkt ˈɛlsˌwɛr ɔn ðə pɪʧ. ˈminˌwaɪl drɑpt θruaʊt ðə hæf, ˈaʊtˌnəmbərɪŋ məˈdrɪd ɪn ənd ˈhɛlpɪŋ ðɛm kənˈtroʊl ðə floʊ əv ðə mæʧ. ɪt wɑz ən ˌeɪˈtɪpɪkəl pərˈfɔrməns frəm ə saɪd ˈnɔrməli əˈsoʊʃiˌeɪtəd wɪθ ˌɔrgənəˈzeɪʃən. məˈdrɪd dɪˈstɪŋktli lækt ˈsɪnərʤi ɪn ðɛr pleɪ ɪn ðɪs mæʧ. wɑz ˈmoʊstli ˈfrəˌstreɪtəd ənd ˈdəbəl timd ɔn ðə raɪt. ənd dɪd ə gʊd ʤɑb ˈkipɪŋ ɪm aʊt əv ðə geɪm ənd ˈrɛrli əˈlaʊd ɪm tɪ kət ˌɪnˈsaɪd ər pleɪ ˈɪntu ðə ˈmɪdəl. mɔˈroʊvər, wɪn pleɪərz wɛnt waɪd ðɛr wɑz ə læk əv ˌrɛsɪˈprɑsɪti frəm ðə pleɪərz əraʊnd ðɛm. fər ɪgˈzæmpəl ˈkɑnstəntli lʊkt tɪ goʊ aʊt waɪd tɪ ðə lɛft bət noʊ wən keɪm ˈɪntu ðə ˈmɪdəl tɪ prəˈvaɪd ɪm wɪθ ən ˈaʊˌtlɛt. ənd æt taɪmz di mərˈiə keɪm ˈsɛntrəli bət lækt səˈpɔrt ɪn frənt əv ɪm. ənd ˈrɛgjələrli goʊ aʊt waɪd ɪn lɑ bət əˈgɛnst ə mɔr ˈɔrgəˌnaɪzd saɪd laɪk ənd ə ˈaʊtˌnəmbərɪŋ ðɛm ɪt wɑz ˈsɪmpli nɑt ˈifɛktɪv. ˈminˌwaɪl, wɑz wik lɪŋk ɪn dɪˈfɛns ənd hæd ə goʊ æt ɪm ðə hoʊl fərst hæf ənd ˈɔlˌweɪz lʊkt laɪk ˈgɪvɪŋ əˈweɪ ə fri kɪk ɪn ə ˈdeɪnʤərəs pəˈzɪʃən. ɪt wɑz ðə kaɪnd əv pərˈnɪʃəs ˌsɪʧuˈeɪʃən ðət ənd məˈdrɪd ˈrɛrli faʊnd ðɛmˈsɛlvz ɪn ðɪs ˈsizən. ˈsɛkənd hæf ˈʧeɪnʤɪz pruv ˈkɔstli wɪθ ðɛr pərˈfɔrməns ˈweɪnɪŋ ɪn ðə fərst hæf hæd tɪ meɪk əˈʤəstmənts æt ðə breɪk ənd məˈdrɪd keɪm aʊt ˈlʊkɪŋ laɪk ə ˈdɪfərənt saɪd. ˈæftər traɪɪŋ ˈsɛvərəl ˌpərmjuˈteɪʃənz ɪn ðə əˈtækɪŋ θərd ɪn ðə fərst hæf hi ʧoʊz ə mɔr ˈstreɪtˈfɔrwərd əˈproʊʧ noʊ ˈlɔŋgər ˈstɑrtɪd frəm waɪd pəˈzɪʃənz bət steɪd ˈsɛntrəli wɛr hi wɑz ˈeɪbəl tɪ strɪŋ təˈgɛðər ən ˈəðərˌwaɪz dɪˈsɔrdərli əˈfɛns. wɪˈθaʊt ðə ˌvɑləˈtɪləti əv fɔr ˈroʊmɪŋ əˈtækərz ðɛr wɑz naʊ mɔr ˈfoʊkɪs ɪn əˈtæks ənd ˈmɪnəts ɪn ə məˈdrɪd ˈkaʊntər əˈtæk ˈlɛvəld ðə geɪm., frəm ðə ˈsɛnər ðɪs taɪm, pleɪd θru ɔn ðə lɛft, hɪz ʃɑt ˈpɛrid əˈweɪ baɪ nɔɪər. pɪkt əp ðə riˈbaʊnd ənd skwɛrd ɪt tɪ huz krɔs ˈɪntu ðə bɑks wɑz ˈfɪnɪʃt baɪ ən ˈɔnˌkəmɪŋ. dɪˈfɛns blɪŋkt fər ðə fərst taɪm ɪn ðɪs mæʧ ənd ɪt kɔst ðɛm ə goʊl. fər ə ˈmoʊmənt ɪt lʊkt ɛz ðoʊ məˈdrɪd wər ˈfaɪnəli ˈrɛdi ənd ˈeɪbəl tɪ teɪk ʧɑrʤ əv ðə geɪm bət ɪn ə ˈrəðər ˈpəzəlɪŋ muv, pʊld ənd brɔt ɔn mɑˈrʧɛloʊ. pərˈhæps ˈwɔntɪd tɪ ˌɪnˈʤɛkt ə bɪt əv ˈɛnərʤi fər ə fəˈtigd bət roʊl ˌɪtˈsɛlf wɑz pɪˈkjuljər tɪ seɪ ðə list. ˈfɪlɪŋ ɪn ˈniðər ɪn hɪz ˈnæʧərəl lɛft bæk spɑt nɔr ɔn ðə raɪt, mɑˈrʧɛloʊ ˈdrɪftɪd ɔl ˈoʊvər ðə pɪʧ wɪθ ˈlɪtəl ˌɪmˈpækt ˈəðər ðən tɪ gɪv əˈweɪ fri kɪks. ər ˈmeɪbi ɪt wɑz ə riˈækʃən tɪ ˈteɪkɪŋ ɔf ən ənˈfɪt ɔn ˈmɪnəts wɪʧ mɛnt ðət hæd tɪ pleɪ ˈivɪn ˈdipər əˈlɔŋˈsaɪd gəˈstɑvoʊ wɪθ ðə mɔr əˈtæk ˈmaɪndɪd ɔn tɪ ʧeɪs ə ˈsɛkənd goʊl. ˌθiərˈɛtɪkəli ɪt mɛnt ðət nuˈmɛrɪkəl ædˈvæntɪʤ ɪn wɑz dɪˈmɪnɪʃt bət pəˈzɪʃənɪŋ ˈsərtənli ˈɪndəˌkeɪt ə klɪr ˌɪnˈtɛnʧən tɪ teɪk ædˈvæntɪʤ əv ðət. ˈɔlsoʊ brɔt ɔn ˈʃɔrtli ˈæftər, ə muv ðət ˈmɛni meɪ hæv ænˈtɪsəˌpeɪtɪd ˈərliər ɪn ðə geɪm tɪ mæʧ θri ˈsɛntrəl ənd naʊ tɪ hoʊld ɔn tɪ ðə drɔ, bət baɪ ðɛn ðə ˈfɔˌlaʊt wɑz ˈnɪrli ˌɪrɪˈvərsəbəl. gɔn wɑz ˈsɛntrəl kriˈeɪtɪv ˈfɪgjər ɪn waɪl stəˈbɪlɪti ɪn ˈoʊnli ˌɪnˈkrist. ðə ˈpæsɪŋ stəˈtɪstɪks tɛl ðə ˈstɔri. ˈoʊvərˌɔl, məˈdrɪd 334 tɪ 288 ənd pleɪərz hu ər ˈjuʒəwəli strɔŋ ɔn ðə bɔl laɪk əˈlɑnsoʊ ənd mɪˈspleɪst ə kəmˈbaɪnd 13 ˈpæsɪz. ðɛr ˈjuʒəwəl ˈfluənsi wɑz ˈɑbviəsli ˈmɪsɪŋ ənd ɪt meɪ hæv bɪn ə keɪs əv tu məʧ ˈtɪŋkərɪŋ baɪ hu ɪz ˈrɛrli ˈɛvər ˈfləstərd ˈtæktɪkəli bət əˈgɛnst ə ˈkoʊʤənt plæn frəm ðə bɪˈgɪnɪŋ simd tɪ bi ˈmɪsɪŋ. ðɪs əˈlaʊd tɪ kənˈtɪnju tɪ prɛs ənˈtɪl məˈdrɪd ɪˈvɛnʧəwəli kəˈpɪʧəˌleɪtɪd ənd ɪt kʊd nɑt hæv kəm æt ə wərs taɪm. coentrao*, hu wɑz ˈhævɪŋ ə ˈhɔrəd taɪm əˈgɛnst læm, wɛnt tɪ graʊnd tu ˈizəli ɪn ðə ˈnaɪntiɪθ ˈmɪnəts, wɑz ˈbitən baɪ læm ənd əˈlaʊd tɪ sɛnd ən ənˈʧælɪnʤd krɔs fər ˈgoʊmɛz tɪ tək əˈweɪ. kɑˈsɪləz kʊd hæv kəm tɪ kleɪm ðə krɔs bət ðə ˈraɪtɪŋ wɑz ɔˈrɛdi ɔn ðə wɔl wɛl bɪˈfɔˌrhænd. ˈsimɪŋ ˌsætɪsˈfækʃən wɪθ ə drɔ əˈlaʊd tɪ kənˈtɪnju tɪ pleɪ ðɛr geɪm ˈɔlˌmoʊst ənˈʧælɪnʤd. ən əˈnæləʤi wɪθ ˈdɔrtmənd meɪ bɛst dɪˈpɪkt wət ˈhæpənd. wɛˈræz ˈdɔrtmənd ɪgˈzərtɪd ə trɪˈmɛndəs əˈmaʊnt əv ˈprɛʃər əˈgɛnst, məˈdrɪd mɔr ər lɛs sæt bæk ənd ˌɪnˈvaɪtɪd ɪt. ɪn ˈəðər wərdz, ˈdɔrtmənd dɪd nɑt əˈlaʊ tɪ pleɪ ðɛr ˈnæʧərəl geɪm, kət ðɛm ɔf aʊt waɪd ənd ˈivɪn mɔˈrɛsoʊ ɪn ðə ˈsɛnər. ðeɪ dɪd nɑt nid ən ˌɪnvɪˈteɪʃən frəm, ðeɪ wɛnt æt ðɛm kənˈtɪnjuəsli frəm bɪˈgɪnɪŋ tɪ ɛnd. meɪ hæv ˈteɪkən ə kju frəm hɪz pərˈfɔrməns əˈgɛnst waɪl ɪn ʧɑrʤ əv ˌɪnˈtər tu jɪrz əˈgoʊ bət ðə seɪm ɪz nɑt ˈæpləkəbəl tɪ ðɪs məˈdrɪd saɪd, hu ər mɔr gɪrd təˈwɔrdz əˈtækɪŋ ən əˈpoʊnənt ðən dɪˈfɛndɪŋ əˈgɛnst ðɛm. ˈfaɪnəl ˈvərdɪkt ˈæftər ə fərˈgɛtəbəl wik ɪn ðə bundesliga*, pʊt ɔn ðɛr bɛst ˈʧæmpiənz lig pərˈfɔrməns əˈgɛnst ə bɪg saɪd ɪn jɪrz. keɪm ɪn wɪθ ə klɪr geɪm plæn, juz ðɛr strɛŋθs ɪn waɪd ˈɛriə, ˈneɪmli ənd ˈrɑbən, tɪ ˌɛkˈsplɔɪt ənd coentrao*, ənd fər ðə moʊst pɑrt dɪd soʊ ˈrəðər ˈifɛktɪvli. spəˈsɪfɪkli wɑz strɔŋ ənd wən 21 duəlz kəmˈpɛrd tɪ 9 ˈivɪn mɔr ˌɪmˈprɛsɪv wɑz ˈhændəlɪŋ əv ðə geɪm ɪn ðə ˈmɪdəl, wɪθ ənd wɪˈθaʊt. hæd əˈnəðər ˌɪmˈprɛsɪv ʃoʊɪŋ wɪθ ə mæʧ haɪ 76 ˈtəʧɪz ɔn ðə bɔl ənd kəmˈplitɪŋ 48 ˈpæsɪz. ðə tu taɪmz ril məˈdrɪd lɔst ə fərst lɛg ðeɪ wər ɪˈvɛnʧəwəli ɪˈlɪməˌneɪtɪd. ˈrɛrli gɪts ɪn ˈmæʧɪz, əˈspɛʃəli ɪn ðə ˈʧæmpiənz lig, bət fɑr tu ˈmɛni kˈwɛsʧənz hæv tɪ bi æst əv ɪm ˈfɑloʊɪŋ ðɪs geɪm. fərst, waɪ wər pleɪərz soʊ waɪd ɪn ðə fərst hæf? ɪf ðə ˌɪnˈstrəkʃən wɑz tɪ hæv ə goʊ æt ˈfʊlˌbæks waɪ dɪd hi nɑt ˌriəˈʤəst ˈərliər ˈæftər siɪŋ hɪz saɪd ˈstrəgəl fər hæf ən aʊər ɪn ðə fərst hæf? ˈfərðərˌmɔr, waɪ wɑz wɪθˈdrɔn ˈərli ɪn ðə ˈsɛkənd ˈæftər hi hɛlpt məˈdrɪd gɪt bæk ˈɪntu ðə mæʧ ˈæftər ˈkɪˌkɔf. wɑz hi raɪt tɪ ˈsɛtəl fər ðə drɔ ənd sɛt əp mɔr dɪˈfɛnsɪvli ənd wət wɑz roʊl ɪn ðə geɪm? məˈdrɪd wɑz ˈstrəgəlɪŋ tɪ əbˈzɔrb ˈprɛʃər ənd lʊkt wɪθ ˈɛvəri ˈpæsɪŋ ˈmɪnət ɪn ðə ˈsɛkənd hæf. ɪz ɪn ðə ənˈfɔrʧənət pəˈzɪʃən əv ˈhævɪŋ ðə əˈgɛnst ˌbɑrsɪˈloʊnə ˈsænˌwɪʧt ɪn bɪtˈwin ðiz tu ˈʧæmpiənz lig ˈfɪksʧərz, wɪʧ ɪz pərˈhæps ˈkɑmpləˌkeɪtɪŋ hɪz ˈplænɪŋ fər ɔl θri. ˈiðər weɪ, ə goʊl daʊn məˈdrɪd wɪl hæv tɪ aʊtˈskɔr ɪn speɪn, ə tæsk ðət bi ˈizi əˈgɛnst wən əv moʊst proʊˈlɪfɪk ˈɛvər saɪdz. ɪn ðə ɛnd, ˌbɑrsɪˈloʊnə meɪ wɛl pruv tɪ bi ənˈduɪŋ ɪn ðə ˈʧæmpiənz lig wɪˈθaʊt ˈivɪn ˈhævɪŋ tɪ pleɪ ðɛm ðɛr. ju kən ən ɪkˈstɛnsɪv riˈækʃən frəm heynckes’*’ əˈbaʊt ðə geɪm ɔn hir.
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anonymous hackers behind the twitter account have hacked and chinese government websites in response to the detention of brazilian national david miranda, partner of guardian journalist glenn greenwald, at heathrow airport.
miranda was held by british authorities under a counterterrorism law after visiting documentary filmmaker laura poitras in berlin. poitras and greenwald are both involved with publishing classified information leaked by former contractor edward snowden.
the hackers gained access to, a site used by the local government district in surrey, a county in southeastern england.
more from globalpost: david miranda, glenn greenwald's partner, detained at london airport
in an effort to satirize miranda's detention under counterterrorism law, the described the "d0x," or leaked personal information, of us military and diplomatic personnel they then posted as containing “vital, surveillance information.” declaring their outrage over the targeting of loved ones, the hackers also posted what appears to be personal information belonging to the officials’ family members.
after several hours, the hacked domain was taken down, presumably by the administrators. the was then to ptzfcg.gov.cn, the domain for mainland china. the domain is managed through a branch of the chinese ministry of information industry.
the twitter account wrote:
“…site down, now at because the chinese are [sic] more cool on sharing things from their sites.”
the account had remained dormant for several months before the publishing of classified information leaked by edward snowden. is responsible for a number of high-profile hacks against the us government, the federal reserve and financial institutions that took place earlier this year.
“we expect there to be many pointed questions asked in the coming days, both domestically and internationally as to how and why an already ridiculously broad and draconian act of law was ripped of its last remaining shred of legitimacy in what cannot be described as anything other than an act of pure spite and intimidation, an act intended to exert a chilling effect on a stream of high-quality journalistic reporting whose historic importance cannot possibly be overstated,” read a message posted to the domain by.
more from globalpost: fear follows tor browser exploit
“we encourage anyone who is interested in preventing terror attacks to fully investigate these spouses and siblings and mothers and fathers and son and daughters, before they too are embroidered [sic] in terrible terror plots of the most heinous variety,” read the message.
the personal information includes addresses, dates of birth and email addresses hosted at various us government domains including and army.mil. the information also includes work and personal phone numbers and zip codes of spouses, siblings and children.
before miranda was released on monday, authorities seized a number of his personal effects, including his laptop, cellphone, various video game consoles, dvds and portable drives.
“this was obviously designed to send a message of intimidation to those of us working journalistically on reporting on the and its british counterpart, the gchq,” wrote greenwald following detention.
“but the last thing it will do is intimidate or deter us in any way from doing our job as journalists. quite the contrary: it will only embolden us more to continue to report aggressively."
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əˈnɑnəməs ˈhækərz bɪˈhaɪnd ðə tˈwɪtər əˈkaʊnt hæv hækt ənd ʧaɪˈniz ˈgəvərnmənt ˈwɛbˌsaɪts ɪn rɪˈspɑns tɪ ðə dɪˈtɛnʃən əv brəˈzɪljən ˈnæʃənəl ˈdeɪvɪd mərˈændə, ˈpɑrtnər əv ˈgɑrdiən ˈʤərnəlɪst glɛn ˈgrinˌwɔld, æt ˈhiθroʊ ˈɛrˌpɔrt. mərˈændə wɑz hɛld baɪ ˈbrɪtɪʃ əˈθɔrətiz ˈəndər ə ˈkaʊntərˌtɛrərˌɪzəm lɔ ˈæftər ˈvɪzɪtɪŋ ˌdɑkjəˈmɛnəri ˈfɪlˌmeɪkər ˈlɔrə pɔɪˈtrɑz ɪn bərˈlɪn. pɔɪˈtrɑz ənd ˈgrinˌwɔld ər boʊθ ˌɪnˈvɑlvd wɪθ ˈpəblɪʃɪŋ ˈklæsəˌfaɪd ˌɪnˌfɔrˈmeɪʃən likt baɪ ˈfɔrmər ˈkɑnˌtræktər ˈɛdwərd sˈnoʊdən. ðə ˈhækərz geɪnd ˈækˌsɛs tɪ, ə saɪt juzd baɪ ðə ˈloʊkəl ˈgəvərnmənt ˈdɪstrɪkt ɪn ˈsəri, ə ˈkaʊnti ɪn ˌsaʊˈθistərn ˈɪŋglənd. mɔr frəm globalpost*: ˈdeɪvɪd mərˈændə, glɛn ˈgrinˌwɔldz ˈpɑrtnər, dɪˈteɪnd æt ˈləndən ˈɛrˌpɔrt ɪn ən ˈɛfərt tɪ ˈsætərˌaɪz mərˈændəz dɪˈtɛnʃən ˈəndər ˈkaʊntərˌtɛrərˌɪzəm lɔ, ðə dɪˈskraɪbd ðə "d0x*," ər likt ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən, əv ˈjuˈɛs ˈmɪlɪˌtɛri ənd ˌdɪpləˈmætɪk ˌpərsəˈnɛl ðeɪ ðɛn ˈpoʊstɪd ɛz kənˈteɪnɪŋ ““vital*, sərˈveɪləns information.”*.” dɪˈklɛrɪŋ ðɛr ˈaʊˌtreɪʤ ˈoʊvər ðə ˈtɑrgətɪŋ əv ləvd wənz, ðə ˈhækərz ˈɔlsoʊ ˈpoʊstɪd wət əˈpɪrz tɪ bi ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən bɪˈlɔŋɪŋ tɪ ðə officials’*’ ˈfæməli ˈmɛmbərz. ˈæftər ˈsɛvərəl aʊərz, ðə hækt doʊˈmeɪn wɑz ˈteɪkən daʊn, prɪˈzuməbli baɪ ðə ædˈmɪnɪˌstreɪtərz. ðə wɑz ðɛn tɪ ptzfcg.gov.cn*, ðə doʊˈmeɪn fər ˈmeɪnˌlænd ˈʧaɪnə. ðə doʊˈmeɪn ɪz ˈmænɪʤd θru ə brænʧ əv ðə ʧaɪˈniz ˈmɪnɪstri əv ˌɪnˌfɔrˈmeɪʃən ˈɪndəstri. ðə tˈwɪtər əˈkaʊnt roʊt: daʊn, naʊ æt bɪˈkəz ðə ʧaɪˈniz ər [sɪk] mɔr kul ɔn ˈʃɛrɪŋ θɪŋz frəm ðɛr sites.”*.” ðə əˈkaʊnt hæd rɪˈmeɪnd ˈdɔrmənt fər ˈsɛvərəl mənθs ˌbiˈfɔr ðə ˈpəblɪʃɪŋ əv ˈklæsəˌfaɪd ˌɪnˌfɔrˈmeɪʃən likt baɪ ˈɛdwərd sˈnoʊdən. ɪz riˈspɑnsəbəl fər ə ˈnəmbər əv ˌhaɪˈproʊfaɪl hæks əˈgɛnst ðə ˈjuˈɛs ˈgəvərnmənt, ðə ˈfɛdərəl rɪˈzərv ənd ˌfaɪˈnænʃəl ˌɪnstɪˈtuʃənz ðət tʊk pleɪs ˈərliər ðɪs jɪr. ɪkˈspɛkt ðɛr tɪ bi ˈmɛni ˈpɔɪntɪd kˈwɛsʧənz æst ɪn ðə ˈkəmɪŋ deɪz, boʊθ dəˈmɛstɪkli ənd ˌɪnərˈnæʃənɑli ɛz tɪ haʊ ənd waɪ ən ɔˈrɛdi rəˈdɪkjələsli brɔd ənd drəˈkoʊniən ækt əv lɔ wɑz rɪpt əv ɪts læst rɪˈmeɪnɪŋ ʃrɛd əv lɪˈʤɪtəməsi ɪn wət ˈkænɑt bi dɪˈskraɪbd ɛz ˈɛniˌθɪŋ ˈəðər ðən ən ækt əv pjʊr spaɪt ənd ˌɪnˌtɪmɪˈdeɪʃən, ən ækt ˌɪnˈtɛndɪd tɪ ɪgˈzərt ə ˈʧɪlɪŋ ˈifɛkt ɔn ə strim əv ˌhaɪkˈwɑləti ˌʤərnəˈlɪstɪk rɪˈpɔrtɪŋ huz hɪˈstɔrɪk ˌɪmˈpɔrtəns ˈkænɑt ˈpɑsəbli bi overstated,”*,” rɛd ə ˈmɛsɪʤ ˈpoʊstɪd tɪ ðə doʊˈmeɪn baɪ. mɔr frəm globalpost*: fɪr ˈfɑloʊz tɔr ˈbraʊzər ˌɛkˈsplɔɪt ɪnˈkərəʤ ˈɛniˌwən hu ɪz ˈɪntəˌrɛstɪd ɪn prɪˈvɛnɪŋ ˈtɛrər əˈtæks tɪ ˈfʊli ˌɪnˈvɛstəˌgeɪt ðiz ˈspaʊsɪz ənd ˈsɪblɪŋz ənd ˈməðərz ənd ˈfɑðərz ənd sən ənd ˈdɔtərz, ˌbiˈfɔr ðeɪ tu ər ɛmˈbrɔɪdərd [sɪk] ɪn ˈtɛrəbəl ˈtɛrər plɑts əv ðə moʊst ˈheɪnəs variety,”*,” rɛd ðə ˈmɛsɪʤ. ðə ˈpərsɪnəl ˌɪnˌfɔrˈmeɪʃən ˌɪnˈkludz ˈæˈdrɛsɪz, deɪts əv bərθ ənd iˈmeɪl ˈæˈdrɛsɪz ˈhoʊstɪd æt ˈvɛriəs ˈjuˈɛs ˈgəvərnmənt doʊˈmeɪnz ˌɪnˈkludɪŋ ənd army.mil*. ðə ˌɪnˌfɔrˈmeɪʃən ˈɔlsoʊ ˌɪnˈkludz wərk ənd ˈpərsɪnəl foʊn ˈnəmbərz ənd zɪp koʊdz əv ˈspaʊsɪz, ˈsɪblɪŋz ənd ˈʧɪldrən. ˌbiˈfɔr mərˈændə wɑz riˈlist ɔn ˈmənˌdeɪ, əˈθɔrətiz sizd ə ˈnəmbər əv hɪz ˈpərsɪnəl ˈifɛkts, ˌɪnˈkludɪŋ hɪz ˈlæpˌtɑp, ˈsɛlfoʊn, ˈvɛriəs ˈvɪdioʊ geɪm kənˈsoʊlz, ˌdiˌviˈdiz ənd ˈpɔrtəbəl draɪvz. wɑz ˈɑbviəsli dɪˈzaɪnd tɪ sɛnd ə ˈmɛsɪʤ əv ˌɪnˌtɪmɪˈdeɪʃən tɪ ðoʊz əv ˈjuˈɛs ˈwərkɪŋ ˌʤərnəˈlɪstɪkəli ɔn rɪˈpɔrtɪŋ ɔn ðə ənd ɪts ˈbrɪtɪʃ ˈkaʊntərˌpɑrt, ðə gchq,”*,” roʊt ˈgrinˌwɔld ˈfɑloʊɪŋ dɪˈtɛnʃən. ðə læst θɪŋ ɪt wɪl du ɪz ˌɪnˈtɪmɪˌdeɪt ər dɪˈtər ˈjuˈɛs ɪn ˈɛni weɪ frəm duɪŋ ɑr ʤɑb ɛz ˈʤərnəlɪsts. kwaɪt ðə ˈkɑntrɛri: ɪt wɪl ˈoʊnli ɛmˈboʊldən ˈjuˈɛs mɔr tɪ kənˈtɪnju tɪ rɪˈpɔrt əˈgrɛsɪvli."
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iodine, a new health start-up from a former wired editor and google engineer offers an database of drug information.
the database, which launched on wednesday, uses google surveys to get consumer information on a wide variety of both and prescription drugs. users can search a specific drug from aleve to xanax and see how people generally feel about its efficacy, about the side effects from actual users, tradeoffs, comments from users, warnings, costs, and a readable versions of the package insert.
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and the database will continue to grow. according to the new york times, iodine uses google consumer surveys, of which they have ones completed, and they add to their website every day. iodine also uses data from clinical research, pharmacist surveys, adverse event reports made to the food and drug administration (fda) and the national average drug acquisition cost reports the average wholesale price pharmacies pay for over drugs.
thomas goetz, the former wired editor and of iodine told the times that iodine is developing the largest survey of drug use and experiences which could not just help consumers but help impact policy.
the folks behind iodine may have actually succeeded in making big data helpful.
contact us at editors@time.com.
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ˈaɪəˌdaɪn, ə nu hɛlθ ˈstɑrˌtəp frəm ə ˈfɔrmər waɪərd ˈɛdɪtər ənd ˈgugəl ˈɛnʤəˈnɪr ˈɔfərz ən ˈdætəˌbeɪs əv drəg ˌɪnˌfɔrˈmeɪʃən. ðə ˈdætəˌbeɪs, wɪʧ lɔnʧt ɔn ˈwɛnzˌdeɪ, ˈjuzɪz ˈgugəl ˈsərˌveɪz tɪ gɪt kənˈsumər ˌɪnˌfɔrˈmeɪʃən ɔn ə waɪd vərˈaɪəti əv boʊθ ənd prəˈskrɪpʃən drəgz. ˈjuzərz kən sərʧ ə spɪˈsɪfɪk drəg frəm əˈliv tɪ ˈzænæks ənd si haʊ ˈpipəl ˈʤɛnərəli fil əˈbaʊt ɪts ˈɛfɪˌkæsi, əˈbaʊt ðə saɪd ˈifɛkts frəm ˈækʧəwəl ˈjuzərz, ˈtreɪˌdɔfs, ˈkɑmɛnts frəm ˈjuzərz, ˈwɔrnɪŋz, kɔsts, ənd ə ˈridəbəl ˈvərʒənz əv ðə ˈpækɪʤ ˌɪnˈsərt. ðə brif ˈnuzˌlɛtər saɪn əp tɪ rɪˈsiv ðə tɔp ˈstɔriz ju nid tɪ noʊ raɪt naʊ. vju ˈsæmpəl saɪn əp naʊ ənd ðə ˈdætəˌbeɪs wɪl kənˈtɪnju tɪ groʊ. əˈkɔrdɪŋ tɪ ðə nu jɔrk taɪmz, ˈaɪəˌdaɪn ˈjuzɪz ˈgugəl kənˈsumər ˈsərˌveɪz, əv wɪʧ ðeɪ hæv wənz kəmˈplitɪd, ənd ðeɪ æd tɪ ðɛr ˈwɛbˌsaɪt ˈɛvəri deɪ. ˈaɪəˌdaɪn ˈɔlsoʊ ˈjuzɪz ˈdætə frəm ˈklɪnɪkəl ˈrisərʧ, ˈfɑrməsɪst ˈsərˌveɪz, ˌædˈvərs ɪˈvɛnt rɪˈpɔrts meɪd tɪ ðə fud ənd drəg ædˌmɪnɪˈstreɪʃən (fda*) ənd ðə ˈnæʃənəl ˈævərɪʤ drəg ˌækwəˈzɪʃən kɔst rɪˈpɔrts ðə ˈævərɪʤ ˈhoʊlˌseɪl praɪs ˈfɑrməsiz peɪ fər ˈoʊvər drəgz. ˈtɑməs gɛts, ðə ˈfɔrmər waɪərd ˈɛdɪtər ənd əv ˈaɪəˌdaɪn toʊld ðə taɪmz ðət ˈaɪəˌdaɪn ɪz dɪˈvɛləpɪŋ ðə ˈlɑrʤəst ˈsərˌveɪ əv drəg juz ənd ɪkˈspɪriənsɪz wɪʧ kʊd nɑt ʤɪst hɛlp kənˈsumərz bət hɛlp ˌɪmˈpækt ˈpɑləsi. ðə foʊks bɪˈhaɪnd ˈaɪəˌdaɪn meɪ hæv ˈæˌkʧuəli səkˈsidɪd ɪn ˈmeɪkɪŋ bɪg ˈdætə ˈhɛlpfəl. ˈkɑnˌtækt ˈjuˈɛs æt editors@time.com*.
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adopt
search for a pet by first clicking any button below. then you can select 'show additional search options' to refine your search by age, breed and more.
all animals listed are available at the ohs shelter in ne portland, unless otherwise indicated in their profile.
in order to better help you find your new friend, introduced a new icon to show when a pet is on hold: look for the clock symbol on pet profiles near their photos. let this deter have many more animals available for adoption, as you can see below.
select an animal type all animal types dogs and puppies cats and kittens small animals horses and farm animals search more search options... breed any breed afghan airedale akita alaskan malamute american bulldog american cocker american eskimo american eskimo dog american foxhound american hairless terrier american pit bull american staffordshire terrier american anatolian shepherd mountain dog australian bulldog australian australian shepherd australian silky terrier australian terrier basenji basset hound beagle bearded collie bedlington terrier belgian belgian belgian shepherd - belgian shepherd - belgian shepherd - belgian shepherd belgian shepherd belgian shepherd belgian mountain dog black and tan black mouth cur black russian terrier bloodhound blue healer blue border collie border terrier boston terrier bouvier des boxer british bulldog brittany spaniel brussels griffon bull arab bull terrier bull terrier, miniature bulldog cairn terrier canaan dog leopard dog cavalier king charles spaniel chesapeake bay retriever chihuahua chinese crested dog chinese crested chow chow spaniel cocker spaniel cocker spaniel, english collie rough collie smooth,, walker corgi corgi, cardigan welsh corgi, pembroke welsh de curly coated retriever dachshund dachshund, dachshund, dachshund, dalmatian terrier deer hound doberman de bordeaux dutch shepherd english bull dog english bulldog english foxhound english setter english springer spaniel english toy spaniel eskimo dog field spaniel finnish spitz flat coated retriever fox terrier fox terrier, smooth fox terrier, toy foxhound french bulldog german german shepherd german shorthaired pointer german pointer giant schnauzer glen of terrier golden retriever gordon setter great dane great pyrenees great swiss mountain dog greater swiss mountain dog greyhound griffon griffon, pointing harrier hound hungarian hungarian hound irish setter irish terrier irish water spaniel irish italian greyhound italian jack russell terrier japanese chin japanese spitz johnson bulldog karelian bear dog kerry blue terrier labrador labrador retriever lakeland terrier large cross breed large terrier cross lhasa apso long hair chihuahua dachshund low chen maltese manchester terrier manchester terrier, toy mastiff mcnab medium cross breed medium terrier cross mini australian shepherd mini cross mini foxy mini mix mixed mastiff newfoundland newfoundland - norfolk terrier norwich terrier nova scotia duck tolling retriever old english parsons jack russell terrier petit basset griffon deen pharaoh hound pit bull plott hound pointer pomeranian poodle miniature poodle standard poodle toy water dog pug mountain dog rat terrier retriever rhodesian saint bernard schnauzer schnauzer, giant schnauzer, miniature schnauzer, standard scottish terrier terrier setter shepherd shetland sheep dog shih siberian husky silky terrier skye terrier small small terrier cross smithfield cattle dog spaniel spaniel, american water spaniel, water spitz springer spaniel staffordshire bull terrier sussex spaniel swedish spaniel terrier terrier terrier, rat thai tibetan mastiff tibetan spaniel tibetan terrier toy fox terrier walker unknown welsh springer spaniel welsh terrier west highland white terrier wheaten terrier pointing griffon dachshund fox terrier jack russell yorkshire terrier sex any sex female male age any age puppy 6 mths. - 5 yrs. 5 - 10 yrs. 10 yrs. + weight any weight small (1-25 lbs) medium (26-50 lbs) large (51-100 lbs) (over 100 lbs) color any color albino apricot black black brindle black brown blenheim blonde blue blue brindle blue merle blue roan brindle bronze brown brown brindle buff charcoal chestnut chinchilla chocolate chocolate merle cinnamon cream fawn fawn brindle ghost grey gold grey grizzle lemon liver merle orange roan red red brown red gold red merle red roan roan rust sable sable sable salt and pepper sandy silver silver fawn slate slate merle strawberry roan swiss tri color tan tan points tawny ticked tiger brindle tri color brindle wheaten white white merle wolf grey yellow yellow gold select one or more additional criteria above, such as breed, age, or weight, to narrow your search. on the search results page, you can also sign up to receive email notifications when a pet that matches your criteria becomes available. search
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əˈdɑpt sərʧ fər ə pɛt baɪ fərst ˈklɪkɪŋ ˈɛni ˈbətən bɪˈloʊ. ðɛn ju kən səˈlɛkt 'ʃoʊ əˈdɪʃənəl sərʧ ˈɔpʃənz' tɪ rɪˈfaɪn jʊr sərʧ baɪ eɪʤ, brid ənd mɔr. ɔl ˈænəməlz ˈlɪstɪd ər əˈveɪləbəl æt ðə oʊz ˈʃɛltər ɪn ni ˈpɔrtlənd, ənˈlɛs ˈəðərˌwaɪz ˈɪndəˌkeɪtɪd ɪn ðɛr ˈproʊˌfaɪl. ɪn ˈɔrdər tɪ ˈbɛtər hɛlp ju faɪnd jʊr nu frɛnd, ˌɪntrəˈdust ə nu ˈaɪkɑn tɪ ʃoʊ wɪn ə pɛt ɪz ɔn hoʊld: lʊk fər ðə klɑk ˈsɪmbəl ɔn pɛt ˈproʊˌfaɪlz nɪr ðɛr ˈfoʊˌtoʊz. lɛt ðɪs dɪˈtər hæv ˈmɛni mɔr ˈænəməlz əˈveɪləbəl fər əˈdɑpʃən, ɛz ju kən si bɪˈloʊ. səˈlɛkt ən ˈænəməl taɪp ɔl ˈænəməl taɪps dɔgz ənd ˈpəpiz kæts ənd ˈkɪtənz smɔl ˈænəməlz ˈhɔrsɪz ənd fɑrm ˈænəməlz sərʧ mɔr sərʧ ˈɔpʃənz... brid ˈɛni brid ˈæfˌgæn ˈɛrˌdeɪl əˈkitə əˈlæskən ˈmæləmˌjut əˈmɛrɪkən ˈbʊlˌdɔg əˈmɛrɪkən ˈkɑkər əˈmɛrɪkən ˈɛskəˌmoʊ əˈmɛrɪkən ˈɛskəˌmoʊ dɔg əˈmɛrɪkən ˈfɑksˌhaʊnd əˈmɛrɪkən ˈhɛrləs ˈtɛriər əˈmɛrɪkən pɪt bʊl əˈmɛrɪkən ˈstæfərdˌʃaɪər ˈtɛriər əˈmɛrɪkən ˌænəˈtoʊliən ˈʃɛpərd ˈmaʊntən dɔg ɔˈstreɪljən ˈbʊlˌdɔg ɔˈstreɪljən ɔˈstreɪljən ˈʃɛpərd ɔˈstreɪljən ˈsɪlki ˈtɛriər ɔˈstreɪljən ˈtɛriər bəˈsɛnʤi ˈbæsɪt haʊnd ˈbigəl ˈbɪrdəd ˈkɑli ˈbɛdlɪŋtən ˈtɛriər ˈbɛlʤən ˈbɛlʤən ˈbɛlʤən ˈʃɛpərd ˈbɛlʤən ˈʃɛpərd ˈbɛlʤən ˈʃɛpərd ˈbɛlʤən ˈʃɛpərd ˈbɛlʤən ˈʃɛpərd ˈbɛlʤən ˈʃɛpərd ˈbɛlʤən ˈmaʊntən dɔg blæk ənd tæn blæk maʊθ kər blæk ˈrəʃən ˈtɛriər ˈblədhaʊnd blu ˈhilər blu ˈbɔrdər ˈkɑli ˈbɔrdər ˈtɛriər ˈbɔstən ˈtɛriər ˌbuviˈeɪ dɪ ˈbɑksər ˈbrɪtɪʃ ˈbʊlˌdɔg ˈbrɪtəni ˈspænjəl ˈbrəsəlz ˈgrɪfən bʊl ˈærəb bʊl ˈtɛriər bʊl ˈtɛriər, ˈmɪnɪˌʧʊr ˈbʊlˌdɔg kɛrn ˈtɛriər ˈkeɪnən dɔg ˈlɛpərd dɔg ˌkævəˈlɪr kɪŋ ˈʧɑrəlz ˈspænjəl ˈʧɛsəˌpik beɪ riˈtrivər ˌʧiˈwɑwə ʧaɪˈniz ˈkrɛstɪd dɔg ʧaɪˈniz ˈkrɛstɪd ʧaʊ ʧaʊ ˈspænjəl ˈkɑkər ˈspænjəl ˈkɑkər ˈspænjəl, ˈɪŋlɪʃ ˈkɑli rəf ˈkɑli smuð,, ˈwɔkər ˈkɔrgi ˈkɔrgi, ˈkɑrdɪgən wɛlʧ ˈkɔrgi, ˈpɛmˌbroʊk wɛlʧ də ˈkərli ˈkoʊtɪd riˈtrivər ˈdɑksˌhʊnd ˈdɑksˌhʊnd, ˈdɑksˌhʊnd, ˈdɑksˌhʊnd, dælˈmeɪʃən ˈtɛriər dɪr haʊnd ˈdoʊbərmən də bɔrˈdoʊ dəʧ ˈʃɛpərd ˈɪŋlɪʃ bʊl dɔg ˈɪŋlɪʃ ˈbʊlˌdɔg ˈɪŋlɪʃ ˈfɑksˌhaʊnd ˈɪŋlɪʃ ˈsɛtər ˈɪŋlɪʃ ˈsprɪŋər ˈspænjəl ˈɪŋlɪʃ tɔɪ ˈspænjəl ˈɛskəˌmoʊ dɔg fild ˈspænjəl ˈfɪnɪʃ spɪts flæt ˈkoʊtɪd riˈtrivər fɑks ˈtɛriər fɑks ˈtɛriər, smuð fɑks ˈtɛriər, tɔɪ ˈfɑksˌhaʊnd frɛnʧ ˈbʊlˌdɔg ˈʤərmən ˈʤərmən ˈʃɛpərd ˈʤərmən ˈʃɔrˌthɛrd ˈpɔɪntər ˈʤərmən ˈpɔɪntər ʤaɪənt ʃˈnaʊzər glɛn əv ˈtɛriər ˈgoʊldən riˈtrivər ˈgɔrdən ˈsɛtər greɪt deɪn greɪt ˈpɪrəiz greɪt swɪs ˈmaʊntən dɔg ˈgreɪtər swɪs ˈmaʊntən dɔg ˈgreɪˌhaʊnd ˈgrɪfən ˈgrɪfən, ˈpɔɪntɪŋ ˈhɛriər haʊnd həŋˈgɛriən həŋˈgɛriən haʊnd ˈaɪrɪʃ ˈsɛtər ˈaɪrɪʃ ˈtɛriər ˈaɪrɪʃ ˈwɔtər ˈspænjəl ˈaɪrɪʃ ˌɪˈtæljən ˈgreɪˌhaʊnd ˌɪˈtæljən ʤæk ˈrəsəl ˈtɛriər ˌʤæpəˈniz ʧɪn ˌʤæpəˈniz spɪts ˈʤɑnsən ˈbʊlˌdɔg kərˈiliən bɛr dɔg ˈkɛri blu ˈtɛriər ˈlæbrəˌdɔr ˈlæbrəˌdɔr riˈtrivər ˈleɪklənd ˈtɛriər lɑrʤ krɔs brid lɑrʤ ˈtɛriər krɔs ˈlɑsə ˈæpsoʊ lɔŋ hɛr ˌʧiˈwɑwə ˈdɑksˌhʊnd loʊ ʧɛn mɔlˈtiz ˈmænˌʧɛstər ˈtɛriər ˈmænˌʧɛstər ˈtɛriər, tɔɪ ˈmæstəf məkˈnæb ˈmidiəm krɔs brid ˈmidiəm ˈtɛriər krɔs ˈmɪni ɔˈstreɪljən ˈʃɛpərd ˈmɪni krɔs ˈmɪni ˈfɑksi ˈmɪni mɪks mɪkst ˈmæstəf ˈnufəndlənd ˈnufəndlənd ˈnɔrfək ˈtɛriər ˈnɔrwɪʧ ˈtɛriər ˈnoʊvə ˈskoʊʃə dək ˈtoʊlɪŋ riˈtrivər oʊld ˈɪŋlɪʃ ˈpɑrsənz ʤæk ˈrəsəl ˈtɛriər ˈpɛti ˈbæsɪt ˈgrɪfən din ˈfɛroʊ haʊnd pɪt bʊl plɑt haʊnd ˈpɔɪntər ˌpɑmərˈeɪniən ˈpudəl ˈmɪnɪˌʧʊr ˈpudəl ˈstændərd ˈpudəl tɔɪ ˈwɔtər dɔg pəg ˈmaʊntən dɔg ræt ˈtɛriər riˈtrivər roʊˈdiʒən seɪnt ˈbərnərd ʃˈnaʊzər ʃˈnaʊzər, ʤaɪənt ʃˈnaʊzər, ˈmɪnɪˌʧʊr ʃˈnaʊzər, ˈstændərd ˈskɑtɪʃ ˈtɛriər ˈtɛriər ˈsɛtər ˈʃɛpərd ˈʃɛtlənd ʃip dɔg ʃi saɪˈbɪriən ˈhəski ˈsɪlki ˈtɛriər skaɪ ˈtɛriər smɔl smɔl ˈtɛriər krɔs sˈmɪθfild ˈkætəl dɔg ˈspænjəl ˈspænjəl, əˈmɛrɪkən ˈwɔtər ˈspænjəl, ˈwɔtər spɪts ˈsprɪŋər ˈspænjəl ˈstæfərdˌʃaɪər bʊl ˈtɛriər ˈsəsɪks ˈspænjəl sˈwidɪʃ ˈspænjəl ˈtɛriər ˈtɛriər ˈtɛriər, ræt taɪ tɪˈbɛtən ˈmæstəf tɪˈbɛtən ˈspænjəl tɪˈbɛtən ˈtɛriər tɔɪ fɑks ˈtɛriər ˈwɔkər ənˈnoʊn wɛlʧ ˈsprɪŋər ˈspænjəl wɛlʧ ˈtɛriər wɛst ˈhaɪlənd waɪt ˈtɛriər ˈwitən ˈtɛriər ˈpɔɪntɪŋ ˈgrɪfən ˈdɑksˌhʊnd fɑks ˈtɛriər ʤæk ˈrəsəl ˈjɔrkʃər ˈtɛriər sɛks ˈɛni sɛks ˈfiˌmeɪl meɪl eɪʤ ˈɛni eɪʤ ˈpəpi 6 mths*. 5 yrs*. 5 10 yrs*. 10 yrs*. weɪt ˈɛni weɪt smɔl paʊndz) ˈmidiəm paʊndz) lɑrʤ paʊndz) (ˈoʊvər 100 paʊndz) ˈkələr ˈɛni ˈkələr ælˈbaɪˌnoʊ ˈeɪprəˌkɑt blæk blæk ˈbrɪndəl blæk braʊn ˈblɛnˌhaɪm blɑnd blu blu ˈbrɪndəl blu mərl blu roʊn ˈbrɪndəl brɑnz braʊn braʊn ˈbrɪndəl bəf ˈʧɑrˌkoʊl ˈʧɛsˌnət ʧɪnˈʧɪlə ˈʧɔklət ˈʧɔklət mərl ˈsɪnəmən krim fɔn fɔn ˈbrɪndəl goʊst greɪ goʊld greɪ ˈgrɪzəl ˈlɛmən ˈlɪvər mərl ˈɔrɪnʤ roʊn rɛd rɛd braʊn rɛd goʊld rɛd mərl rɛd roʊn roʊn rəst ˈseɪbəl ˈseɪbəl ˈseɪbəl sɔlt ənd ˈpɛpər ˈsændi ˈsɪlvər ˈsɪlvər fɔn sleɪt sleɪt mərl ˈstrɔˌbɛri roʊn swɪs traɪ ˈkələr tæn tæn pɔɪnts ˈtɑni tɪkt ˈtaɪgər ˈbrɪndəl traɪ ˈkələr ˈbrɪndəl ˈwitən waɪt waɪt mərl wʊlf greɪ ˈjɛloʊ ˈjɛloʊ goʊld səˈlɛkt wən ər mɔr əˈdɪʃənəl kraɪˈtɪriə əˈbəv, səʧ ɛz brid, eɪʤ, ər weɪt, tɪ ˈnɛroʊ jʊr sərʧ. ɔn ðə sərʧ rɪˈzəlts peɪʤ, ju kən ˈɔlsoʊ saɪn əp tɪ rɪˈsiv iˈmeɪl ˌnoʊtəfəˈkeɪʃənz wɪn ə pɛt ðət ˈmæʧɪz jʊr kraɪˈtɪriə bɪˈkəmz əˈveɪləbəl. sərʧ sɔrt baɪ: neɪm deɪt əˈveɪləbəl fər əˈdɑpʃən ə zi zi ə
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plated counterfeit coin of the roman emperor (81-96 ad). by using a copper core covered in a silver coating, the coin has a much lower intrinsic value, while face value remains the same.
coin counterfeiting of valuable antique coins is common; modern coins are also counterfeited and] counterfeit antique coins are generally made to a very high standard so that they can deceive experts; this is not easy and many coins still stand out.
history [ edit ]
counterfeits of coins in circulation, designed for general circulation at face value, have been made by criminals for thousands of years.
circulating coins [ edit ]
a real british pound coin , of the old type, on top of a fake. this coin was often counterfeited.
defective milling and letters on a counterfeit coin (top)
for modern coins in general circulation, the most common method of protection from forgeries is the use of coins made of two metals of different color, which are difficult to counterfeit at low cost. the most common way of forging these coins is to change the area that should be a different color by painting it; however, the paint is often easy to scratch off and the coins soon look very crude once worn. an increasing number of coins are cast from the same composition alloy as the real coin, but have poor reproduction of details such as the milling on the side of the coin and the stamped lettering.
when the euro was introduced into europe, there were initially very few counterfeits; however, the number increased massively as time went] the high and increasing number of fake euro coins in circulation in 2004 led to the creation of a technical and scientific center for the coordination of technical actions to protect euro coins against] between 2002 and 2006, approximately counterfeit euro coins were removed from circulation; however, "the overall number is very small by historical standards and by comparison to the 69 billion circulating (genuine) euro]
in 2014, it was estimated that% of all coins in circulation are] these coins were replaced on 15 october 2017 with new, harder to counterfeit,]
collectible counterfeit coins [ edit ]
a well known and popular numismatic item is the 1944 nickel counterfeited by francis leroy henning. unlike official specimens, this spurious item is missing a large for the philadelphia mint. because of a different wartime composition, all nickels of this period had larges. normally the philadelphia mint would not have included one, but in 1944 all of its nickels had a "p" above the dome of monticello. it is estimated that of these coins were placed into] today they remain readily available to collectors.
a from ancient athens, dated circa bc. contains multiple 'test cuts' which were commonly made by suspicious minds in antiquity to detect forgeries by assessing whether the base metal underneath was the same (silver) or a cheaper metal (e.g. bronze). this coin has silver beneath and is not an ancient forgery.
both scarce and dimes were found in circulation, and they are of interest to collectors since no such combinations were issued for this particular denomination. it has been suggested that they may have been part of an attempt by the soviet union to sell its silver on the world market by counterfeiting (with full precious metal weight) u.s. coins. if so, the blundered by producing "impossible"]
among the examples of counterfeits of collectible coins are the "omega" coins produced in the early by an unknown counterfeiter who signed his creations with a miniature greek letter omega. he is believed to have made over fake 1907 nominally gold double eagle coins with the signature omega in the claw of the eagle, worth hundreds of millions of dollars at today's prices. his counterfeits are of such high quality that collectors will pay upwards of $1,000 for one; although a genuine coin sells for about $50,000 to $100,000. the same counterfeiter also counterfeited other us gold coins, including a large quantity of $3 gold pieces, dated 1874, 1878 and 1882, with the 1882 being the most prevalent. three of the counterfeit $10 gold pieces, the 1910-p, the and the 1926-p, have the omega placed upside down within the upper loop of the "r" of "liberty" in the native american's]
an american counterfeiting coin mold. the coin mold would come with two halves that would be lined with clay to make an impression of a genuine coin, then molten lead would be poured into the mold and the fake coin later plated with a thin layer of silver . legitimate u.s. coins were made by government mints and stamped from silver or gold coin discs as most counterfeit coins were molded.
see also [ edit ]
references [ edit ]
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ˈpleɪtɪd ˈkaʊnərˌfɪt kɔɪn əv ðə ˈroʊmən ˈɛmpərər æd). baɪ ˈjuzɪŋ ə ˈkɑpər kɔr ˈkəvərd ɪn ə ˈsɪlvər ˈkoʊtɪŋ, ðə kɔɪn həz ə məʧ loʊər ˌɪnˈtrɪnsɪk ˈvælju, waɪl feɪs ˈvælju rɪˈmeɪnz ðə seɪm. kɔɪn ˈkaʊnərˌfɪtɪŋ əv ˈvæljəbəl ænˈtik kɔɪnz ɪz ˈkɑmən; ˈmɑdərn kɔɪnz ər ˈɔlsoʊ ˈkaʊnərˌfɪtɪd ənd ˈkaʊnərˌfɪt ænˈtik kɔɪnz ər ˈʤɛnərəli meɪd tɪ ə ˈvɛri haɪ ˈstændərd soʊ ðət ðeɪ kən dɪˈsiv ˈɛkspərts; ðɪs ɪz nɑt ˈizi ənd ˈmɛni kɔɪnz stɪl stænd aʊt. ˈhɪstəri ˈɛdət ˈkaʊnərˌfɪts əv kɔɪnz ɪn ˈsərkjəˌleɪʃən, dɪˈzaɪnd fər ˈʤɛnərəl ˈsərkjəˌleɪʃən æt feɪs ˈvælju, hæv bɪn meɪd baɪ ˈkrɪmənəlz fər ˈθaʊzənz əv jɪrz. ˈsərkjəˌleɪtɪŋ kɔɪnz ˈɛdət ə ril ˈbrɪtɪʃ paʊnd kɔɪn əv ðə oʊld taɪp, ɔn tɔp əv ə feɪk. ðɪs kɔɪn wɑz ˈɔfən ˈkaʊnərˌfɪtɪd. dɪˈfɛktɪv ˈmɪlɪŋ ənd ˈlɛtərz ɔn ə ˈkaʊnərˌfɪt kɔɪn (tɔp) fər ˈmɑdərn kɔɪnz ɪn ˈʤɛnərəl ˈsərkjəˌleɪʃən, ðə moʊst ˈkɑmən ˈmɛθəd əv prəˈtɛkʃən frəm ˈfɔrʤəriz ɪz ðə juz əv kɔɪnz meɪd əv tu ˈmɛtəlz əv ˈdɪfərənt ˈkələr, wɪʧ ər ˈdɪfəkəlt tɪ ˈkaʊnərˌfɪt æt loʊ kɔst. ðə moʊst ˈkɑmən weɪ əv ˈfɔrʤɪŋ ðiz kɔɪnz ɪz tɪ ʧeɪnʤ ðə ˈɛriə ðət ʃʊd bi ə ˈdɪfərənt ˈkələr baɪ ˈpeɪnɪŋ ɪt; ˌhaʊˈɛvər, ðə peɪnt ɪz ˈɔfən ˈizi tɪ skræʧ ɔf ənd ðə kɔɪnz sun lʊk ˈvɛri krud wəns wɔrn. ən ˌɪnˈkrisɪŋ ˈnəmbər əv kɔɪnz ər kæst frəm ðə seɪm ˌkɑmpəˈzɪʃən ˈæˌlɔɪ ɛz ðə ril kɔɪn, bət hæv pur ˌriprəˈdəkʃən əv ˈditeɪlz səʧ ɛz ðə ˈmɪlɪŋ ɔn ðə saɪd əv ðə kɔɪn ənd ðə stæmpt ˈlɛtərɪŋ. wɪn ðə ˈjʊrə wɑz ˌɪntrəˈdust ˈɪntu ˈjʊrəp, ðɛr wər ˌɪˈnɪʃəli ˈvɛri fju ˈkaʊnərˌfɪts; ˌhaʊˈɛvər, ðə ˈnəmbər ˌɪnˈkrist ˈmæsɪvli ɛz taɪm wɛnt ðə haɪ ənd ˌɪnˈkrisɪŋ ˈnəmbər əv feɪk ˈjʊrə kɔɪnz ɪn ˈsərkjəˌleɪʃən ɪn 2004 lɛd tɪ ðə kriˈeɪʃən əv ə ˈtɛknɪkəl ənd ˌsaɪənˈtɪfɪk ˈsɛnər fər ðə koʊˌɔrdəˈneɪʃən əv ˈtɛknɪkəl ˈækʃənz tɪ prəˈtɛkt ˈjʊrə kɔɪnz əˈgɛnst bɪtˈwin 2002 ənd 2006 əˈprɑksəmətli ˈkaʊnərˌfɪt ˈjʊrə kɔɪnz wər riˈmuvd frəm ˈsərkjəˌleɪʃən; ˌhaʊˈɛvər, "ðə ˈoʊvərˌɔl ˈnəmbər ɪz ˈvɛri smɔl baɪ hɪˈstɔrɪkəl ˈstændərdz ənd baɪ kəmˈpɛrəsən tɪ ðə 69 ˈbɪljən ˈsərkjəˌleɪtɪŋ (ˈʤɛnjuˌaɪn) ˈjʊrə ɪn 2014 ɪt wɑz ˈɛstəˌmeɪtɪd ðət əv ɔl kɔɪnz ɪn ˈsərkjəˌleɪʃən ər ðiz kɔɪnz wər ˌriˈpleɪst ɔn 15 ɑkˈtoʊbər 2017 wɪθ nu, ˈhɑrdər tɪ ˈkaʊnərˌfɪt, kəˈlɛktəbəl ˈkaʊnərˌfɪt kɔɪnz ˈɛdət ə wɛl noʊn ənd ˈpɑpjələr ˌnumɪsˈmætɪk ˈaɪtəm ɪz ðə 1944 ˈnɪkəl ˈkaʊnərˌfɪtɪd baɪ ˈfrænsɪs ˈliˌrɔɪ ˈhɛnɪŋ. ənˈlaɪk əˈfɪʃəl ˈspɛsəmənz, ðɪs ˈspəriəs ˈaɪtəm ɪz ˈmɪsɪŋ ə lɑrʤ fər ðə ˌfɪləˈdɛlfiə mɪnt. bɪˈkəz əv ə ˈdɪfərənt ˈwɔrˌtaɪm ˌkɑmpəˈzɪʃən, ɔl ˈnɪkəlz əv ðɪs ˈpɪriəd hæd lɑrʤ mintmarks*. ˈnɔrməli ðə ˌfɪləˈdɛlfiə mɪnt wʊd nɑt hæv ˌɪnˈkludɪd wən, bət ɪn 1944 ɔl əv ɪts ˈnɪkəlz hæd ə "pi" əˈbəv ðə doʊm əv ˌmɑntɪˈsɛloʊ. ɪt ɪz ˈɛstəˌmeɪtɪd ðət əv ðiz kɔɪnz wər pleɪst ˈɪntu təˈdeɪ ðeɪ rɪˈmeɪn ˈrɛdəli əˈveɪləbəl tɪ kəˈlɛktərz. ə frəm ˈeɪnʧənt ˈæθənz, ˈdeɪtɪd ˈsərkə bc*. kənˈteɪnz ˈməltəpəl 'tɛst kəts' wɪʧ wər ˈkɑmənli meɪd baɪ səˈspɪʃəs maɪndz ɪn ænˈtɪkwəti tɪ dɪˈtɛkt ˈfɔrʤəriz baɪ əˈsɛsɪŋ ˈwɛðər ðə beɪs ˈmɛtəl ˌəndərˈniθ wɑz ðə seɪm (ˈsɪlvər) ər ə ˈʧipər ˈmɛtəl (e.g*. brɑnz). ðɪs kɔɪn həz ˈsɪlvər bɪˈniθ ənd ɪz nɑt ən ˈeɪnʧənt ˈfɔrʤəri. boʊθ skɛrs ənd daɪmz wər faʊnd ɪn ˈsərkjəˌleɪʃən, ənd ðeɪ ər əv ˈɪntəˌrɛst tɪ kəˈlɛktərz sɪns noʊ səʧ ˌkɑmbəˈneɪʃənz wər ˈɪʃud fər ðɪs ˌpɑˈtɪkjələr dɪˌnɔməˈneɪʃən. ɪt həz bɪn səˈʤɛstɪd ðət ðeɪ meɪ hæv bɪn pɑrt əv ən əˈtɛmpt baɪ ðə ˈsoʊviˌɛt ˈjunjən tɪ sɛl ɪts ˈsɪlvər ɔn ðə wərld ˈmɑrkɪt baɪ ˈkaʊnərˌfɪtɪŋ (wɪθ fʊl ˈprɛʃəs ˈmɛtəl weɪt) juz. kɔɪnz. ɪf soʊ, ðə ˈbləndərd baɪ prəˈdusɪŋ "ˌɪmˈpɑsəbəl" əˈməŋ ðə ɪgˈzæmpəlz əv ˈkaʊnərˌfɪts əv kəˈlɛktəbəl kɔɪnz ər ðə "oʊˈmɛgə" kɔɪnz prəˈdust ɪn ðə ˈərli baɪ ən ənˈnoʊn ˈkaʊnərˌfɪtər hu saɪnd hɪz kriˈeɪʃənz wɪθ ə ˈmɪnɪˌʧʊr grik ˈlɛtər oʊˈmɛgə. hi ɪz bɪˈlivd tɪ hæv meɪd ˈoʊvər feɪk 1907 ˈnɑmənəli goʊld ˈdəbəl ˈigəl kɔɪnz wɪθ ðə ˈsɪgnəʧər oʊˈmɛgə ɪn ðə klɔ əv ðə ˈigəl, wərθ ˈhənərdz əv ˈmɪljənz əv ˈdɔlərz æt ˈtudeɪz ˈpraɪsɪz. hɪz ˈkaʊnərˌfɪts ər əv səʧ haɪ kˈwɑləti ðət kəˈlɛktərz wɪl peɪ ˈəpwərdz əv fər wən; ˌɔlˈðoʊ ə ˈʤɛnjuˌaɪn kɔɪn sɛlz fər əˈbaʊt tɪ ðə seɪm ˈkaʊnərˌfɪtər ˈɔlsoʊ ˈkaʊnərˌfɪtɪd ˈəðər ˈjuˈɛs goʊld kɔɪnz, ˌɪnˈkludɪŋ ə lɑrʤ kˈwɑntəti əv 3 goʊld ˈpisɪz, ˈdeɪtɪd 1874 1878 ənd 1882 wɪθ ðə 1882 biɪŋ ðə moʊst ˈprɛvələnt. θri əv ðə ˈkaʊnərˌfɪt 10 goʊld ˈpisɪz, ðə 1910-p*, ðə ənd ðə 1926-p*, hæv ðə oʊˈmɛgə pleɪst ˈəpˈsaɪd daʊn wɪˈθɪn ðə ˈəpər lup əv ðə "ɑr" əv "ˈlɪbərˌti" ɪn ðə ˈneɪtɪv əˈmɛrɪkənz ən əˈmɛrɪkən ˈkaʊnərˌfɪtɪŋ kɔɪn moʊld. ðə kɔɪn moʊld wʊd kəm wɪθ tu hævz ðət wʊd bi laɪnd wɪθ kleɪ tɪ meɪk ən ˌɪmˈprɛʃən əv ə ˈʤɛnjuˌaɪn kɔɪn, ðɛn ˈmoʊltən lɛd wʊd bi pɔrd ˈɪntu ðə moʊld ənd ðə feɪk kɔɪn ˈleɪtər ˈpleɪtɪd wɪθ ə θɪn leɪər əv ˈsɪlvər ləˈʤɪtəmət juz. kɔɪnz wər meɪd baɪ ˈgəvərnmənt mɪnts ənd stæmpt frəm ˈsɪlvər ər goʊld kɔɪn dɪsks ɛz moʊst ˈkaʊnərˌfɪt kɔɪnz wər ˈmoʊldɪd. si ˈɔlsoʊ ˈɛdət ˈrɛfərənsɪz ˈɛdət
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this week, house speaker john boehner raised eyebrows by turning down an offer to ride on air force one with president obama and others headed to a memorial service in tucson. instead, he appeared at a reception for republican operative maria cino. now, on the heels of renewed calls for bipartisanship and political rhetoric, boehner is saying “thanks, but no thanks” to another offer to appear at an event with the president white house state dinner.
the dinner, honoring the chinese president hu jintao, will pull together leaders on both sides of the aisle, along with celebs, ceos, cabinet members, supreme court justices and media bigwigs.
a boehner aide confirmed that the house speaker was invited to the dinner but will not be attending. boehner also turned down invitations to the previous two state dinners held during presidency, one honoring indian prime minister singh in november 2009, and the most recent state dinner honoring mexican president felipe calderon in may 2010, the aide said.
though boehner was invited, other prominent republican leaders were not. house majority leader eric cantor has not yet received an invitation, an aide told politico. though the guest list is still being finalized, empty mailbox could certainly be seen as a slight, considering the most recent former house majority leader, democrat steny hoyer, attended the most recent state dinner.
on the other side of the aisle: rep. james clyburn, the democrat in the house, was invited and plans to attend. aides are still confirming whether other democratic leaders, including minority leader nancy pelosi and minority whip hoyer, will be in attendance.
the most prominent in the obama administration, energy secretary steven chu, will be at the dinner as will california rep. judy chu. judy chu, the first woman elected to congress, has never been to a state dinner. judy chu said she was most looking forward to the receiving line, which will include the chinese president. “i guess be doing some shopping this weekend,” chu told politico.
while prominent administration officials and some members of congress are typically for an invite, a golden ticket to the event does not come easily to outsiders. the financial world has been buzzing over who will have an opportunity to chat up president hu jintao. considering place in the world economy, top bankers are looking at the state dinner as the best networking opportunity short of a flight to beijing.
natasha lennard contributed to this report.
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ðɪs wik, haʊs ˈspikər ʤɑn ˈboʊnər reɪzd ˈaɪˌbraʊz baɪ ˈtərnɪŋ daʊn ən ˈɔfər tɪ raɪd ɔn ɛr fɔrs wən wɪθ ˈprɛzɪdənt ˌoʊˈbɑmə ənd ˈəðərz ˈhɛdɪd tɪ ə məˈmɔriəl ˈsərvɪs ɪn ˈtuˌsɑn. ˌɪnˈstɛd, hi əˈpɪrd æt ə rɪˈsɛpʃən fər rɪˈpəblɪkən ˈɑpərətɪv mərˈiə ˈʧinoʊ. naʊ, ɔn ðə hilz əv rɪˈnud kɔlz fər baɪˈpɑrtəzənˌʃɪp ənd pəˈlɪtɪkəl ˈrɛtərɪk, ˈboʊnər ɪz seɪɪŋ ““thanks*, bət noʊ thanks”*” tɪ əˈnəðər ˈɔfər tɪ əˈpɪr æt ən ɪˈvɛnt wɪθ ðə ˈprɛzɪdənt waɪt haʊs steɪt ˈdɪnər. ðə ˈdɪnər, ˈɑnərɪŋ ðə ʧaɪˈniz ˈprɛzɪdənt hu jintao*, wɪl pʊl təˈgɛðər ˈlidərz ɔn boʊθ saɪdz əv ðə aɪəl, əˈlɔŋ wɪθ səˈlɛbz, ceos*, ˈkæbənət ˈmɛmbərz, səˈprim kɔrt ˈʤəstɪsɪz ənd ˈmidiə ˈbɪgˌwɪgz. ə ˈboʊnər eɪd kənˈfərmd ðət ðə haʊs ˈspikər wɑz ˌɪnˈvaɪtɪd tɪ ðə ˈdɪnər bət wɪl nɑt bi əˈtɛndɪŋ. ˈboʊnər ˈɔlsoʊ tərnd daʊn ˌɪnvɪˈteɪʃənz tɪ ðə ˈpriviəs tu steɪt ˈdɪnərz hɛld ˈdʊrɪŋ ˈprɛzɪdənsi, wən ˈɑnərɪŋ ˈɪndiən praɪm ˈmɪnɪstər sɪŋ ɪn noʊˈvɛmbər 2009 ənd ðə moʊst ˈrisənt steɪt ˈdɪnər ˈɑnərɪŋ ˈmɛksəkən ˈprɛzɪdənt fəˈlip ˌkældərˈoʊn ɪn meɪ 2010 ðə eɪd sɛd. ðoʊ ˈboʊnər wɑz ˌɪnˈvaɪtɪd, ˈəðər ˈprɑmənənt rɪˈpəblɪkən ˈlidərz wər nɑt. haʊs məˈʤɔrəti ˈlidər ˈɛrɪk ˈkæntər həz nɑt jɛt rɪˈsivd ən ˌɪnvɪˈteɪʃən, ən eɪd toʊld pəˈlɪtɪˌkoʊ. ðoʊ ðə gɛst lɪst ɪz stɪl biɪŋ ˈfaɪnəˌlaɪzd, ˈɛmti ˈmeɪlˌbɑks kʊd ˈsərtənli bi sin ɛz ə slaɪt, kənˈsɪdərɪŋ ðə moʊst ˈrisənt ˈfɔrmər haʊs məˈʤɔrəti ˈlidər, ˈdɛməˌkræt ˈstɛni hɔɪər, əˈtɛndəd ðə moʊst ˈrisənt steɪt ˈdɪnər. ɔn ðə ˈəðər saɪd əv ðə aɪəl: rɛpriˈzɛtətɪv. ʤeɪmz ˈklɪbərn, ðə ˈdɛməˌkræt ɪn ðə haʊs, wɑz ˌɪnˈvaɪtɪd ənd plænz tɪ əˈtɛnd. eɪdz ər stɪl kənˈfərmɪŋ ˈwɛðər ˈəðər ˌdɛməˈkrætɪk ˈlidərz, ˌɪnˈkludɪŋ məˈnɔrəti ˈlidər ˈnænsi pɛˈloʊsi ənd məˈnɔrəti wɪp hɔɪər, wɪl bi ɪn əˈtɛndəns. ðə moʊst ˈprɑmənənt ɪn ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən, ˈɛnərʤi ˈsɛkrəˌtɛri ˈstivən ʧu, wɪl bi æt ðə ˈdɪnər ɛz wɪl ˌkæləˈfɔrnjə rɛpriˈzɛtətɪv. ˈʤudi ʧu. ˈʤudi ʧu, ðə fərst ˈwʊmən ɪˈlɛktɪd tɪ ˈkɑŋgrəs, həz ˈnɛvər bɪn tɪ ə steɪt ˈdɪnər. ˈʤudi ʧu sɛd ʃi wɑz moʊst ˈlʊkɪŋ ˈfɔrwərd tɪ ðə rɪˈsivɪŋ laɪn, wɪʧ wɪl ˌɪnˈklud ðə ʧaɪˈniz ˈprɛzɪdənt. gɛs bi duɪŋ səm ˈʃɑpɪŋ ðɪs weekend,”*,” ʧu toʊld pəˈlɪtɪˌkoʊ. waɪl ˈprɑmənənt ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz ənd səm ˈmɛmbərz əv ˈkɑŋgrəs ər ˈtɪpɪkəli fər ən ˌɪnˈvaɪt, ə ˈgoʊldən ˈtɪkɪt tɪ ðə ɪˈvɛnt dɪz nɑt kəm ˈizəli tɪ aʊtˈsaɪdərz. ðə ˌfaɪˈnænʃəl wərld həz bɪn ˈbəzɪŋ ˈoʊvər hu wɪl hæv ən ˌɑpərˈtunəti tɪ ʧæt əp ˈprɛzɪdənt hu jintao*. kənˈsɪdərɪŋ pleɪs ɪn ðə wərld ɪˈkɑnəmi, tɔp ˈbæŋkərz ər ˈlʊkɪŋ æt ðə steɪt ˈdɪnər ɛz ðə bɛst ˈnɛtˌwərkɪŋ ˌɑpərˈtunəti ʃɔrt əv ə flaɪt tɪ ˌbeɪˈʒɪŋ. nəˈtɑʃə ˈlɛnərd kənˈtrɪbjutɪd tɪ ðɪs rɪˈpɔrt.
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sometimes when news breaks it is actually a precursor of what could end up being much larger news.
just before the new year, willamette week's nigel reported the timbers have approached the multnomah athletic club and the city of portland about an expansion of the south side of providence park that would increase the stadium's seating capacity by an estimated to seats by, at the earliest, the 2018 season. although, as jamie goldberg of the oregonian reported, the timbers remain in the design phase of the south end expansion, the additional seating could very well make providence park a more attractive option for luring international competition to the stadium.
this is, of course, good news, as the expansion would likely enclose the south side of the park and bring with it a material increase in seating capacity. but what was revealed from the twitter conversation involving timbers owner merritt paulson that spun off of's report may in the long term end up being much, much more significant news.
here is what we know today that we didn't previously: the timbers have investigated a significant expansion of the east side of providence park, concluded that it is architecturally feasible, and determined that any such expansion would take the form of an upper deck added on top of the current stand.
in the end it seems likely that such an expansion of the east side of providence park could allow the timbers to expand the capacity of the stadium to over, certainly making the timbers' home ground one of the largest stadiums in the united states.
any east side expansion, of course, is a much project than the south end development currently in the works. and there are still significant challenges that face any east side expansion, including financing, stadium infrastructure expansion, and a process that prevented the timbers from building above the in 2010.
but on wednesday we found out such a project is possible, even if the odds of seeing it completed in the first half of the would only arouse optimism in lloyd christmas.
so what would an expanded providence park look like? let's stretch out the imagination.
to start with, as portland history nerd and contributor emeritus michael orr pointed out on twitter, the idea of a providence park is nothing new.
since the west and north sides of the stadium took their modern form, various have drawn up plans to complete the horseshoe and build an upper deck. and, as the pictures orr shared demonstrate, it could also be done while preserving the overall architectural affect of the historic stadium, something that should be a priority for any expansion of the park.
although expanded capacity would be a primary purpose of the expansion, the opportunity for the club to install additional lucrative premium seating would be just as important. accordingly, any expansion on the east side would almost certainly include significant additional seating, likely at the top of the existing east grandstand as part of a building that would provide part of the anchor for the new stand.
as for the second deck of the east stand, it would very likely have its own concourse, restrooms, and concessions on the upper evel. concourse space is famously limited at providence park (although this is a bigger problem on the north and west sides than it is on the east side), so any additional capacity would require additional concourse space. and egress to the upper deck would be an architectural challenge, but probably a one.
the expanded capacity, however, may also allow the timbers to alleviate concourse congestion on the west side. as currently configured, some of the seating on the west side is covered by tarps to mitigate the concourse limitations. with added capacity in the east end (and perhaps as soon as the apparently south end expansion), the timbers could take out these rows of benches as well as several hundred seats worth of additional bleachers to be replaced by open-air, secondary premium seating similar to what the portland trailblazers have installed in the of the center.
the secondary premium seating would kill two veritable birds with one stone; it would reduce the number of people in the west concourse (and because food and drink would be hosted in this seating also reduce the number of people using the concessions), and add more seating for the timbers.
perhaps the biggest challenge facing an expansion of providence park would be accommodating parking for an additional fans. although the stadium's presence in the city center has significantly mitigated providence park's parking problems with easy access to transit, the notion of a-plus-capacity stadium without any significant dedicated parking seems farfetched.
difficult as this problem may be, though, it also seems solvable with several lightly utilized blocks east of providence park including the oregonian printing facility. moreover, with increased development starting to take place on the west side of near providence park but little parking in that neighborhood, it seems very possible that partners for a parking project near the stadium could be out there for the timbers to team up with.
and, finally, there are the political hurdles. the process around portland can be tedious, as the city can be (often for good reason) very protective of neighborhood interests and accommodating to those who want their voices heard. without question, many would have input -- and not all of it positive -- to provide regarding an expansion of providence park and any serious parking project in the neighborhood. so the political process would undoubtedly be long and difficult.
but so was the political process to bring to portland in the first place. and the timbers have never had more muscle than they do right now coming off of a championship season. the time to dream, therefore, is now.
so, while a major expansion of providence park is undeniably difficult, we now know that possible. and with plausibility comes the ability to dream about what the timbers’ home ground could become in the near and distant future.
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ˈsəmˌtaɪmz wɪn nuz breɪks ɪt ɪz ˈæˌkʧuəli ə priˈkərsər əv wət kʊd ɛnd əp biɪŋ məʧ ˈlɑrʤər nuz. ʤɪst ˌbiˈfɔr ðə nu jɪr, ˌwɪləˈmɛt wiks ˈnaɪʤəl ˌriˈpɔrtəd ðə ˈtɪmbərz hæv əˈproʊʧt ðə ˌməlˈnoʊmə æθˈlɛtɪk kləb ənd ðə ˈsɪti əv ˈpɔrtlənd əˈbaʊt ən ɪkˈspænʧən əv ðə saʊθ saɪd əv ˈprɑvədəns pɑrk ðət wʊd ˌɪnˈkris ðə ˈsteɪdiəmz ˈsitɪŋ kəˈpæsɪti baɪ ən ˈɛstəˌmeɪtɪd tɪ sits baɪ, æt ðə ˈərliəst, ðə 2018 ˈsizən. ˌɔlˈðoʊ, ɛz ˈʤeɪmi ˈgoʊldbərg əv ðə ˌɔrəˈgoʊniən ˌriˈpɔrtəd, ðə ˈtɪmbərz rɪˈmeɪn ɪn ðə dɪˈzaɪn feɪz əv ðə saʊθ ɛnd ɪkˈspænʧən, ðə əˈdɪʃənəl ˈsitɪŋ kʊd ˈvɛri wɛl meɪk ˈprɑvədəns pɑrk ə mɔr əˈtræktɪv ˈɔpʃən fər ˈlʊrɪŋ ˌɪnərˈnæʃənɑl ˌkɑmpəˈtɪʃən tɪ ðə ˈsteɪdiəm. ðɪs ɪz, əv kɔrs, gʊd nuz, ɛz ðə ɪkˈspænʧən wʊd ˈlaɪkli ɪnˈkloʊz ðə saʊθ saɪd əv ðə pɑrk ənd brɪŋ wɪθ ɪt ə məˈtɪriəl ˌɪnˈkris ɪn ˈsitɪŋ kəˈpæsɪti. bət wət wɑz rɪˈvild frəm ðə tˈwɪtər ˌkɑnvərˈseɪʃən ˌɪnˈvɑlvɪŋ ˈtɪmbərz ˈoʊnər ˈmɛrɪt ˈpɔlsən ðət spən ɔf əv rɪˈpɔrt meɪ ɪn ðə lɔŋ tərm ɛnd əp biɪŋ məʧ, məʧ mɔr sɪgˈnɪfɪkənt nuz. hir ɪz wət wi noʊ təˈdeɪ ðət wi ˈdɪdənt ˈpriviəsli: ðə ˈtɪmbərz hæv ˌɪnˈvɛstəˌgeɪtɪd ə sɪgˈnɪfɪkənt ɪkˈspænʧən əv ðə ist saɪd əv ˈprɑvədəns pɑrk, kənˈkludɪd ðət ɪt ɪz ˌɑrkɪˈtɛkʧərəli ˈfizəbəl, ənd dɪˈtərmənd ðət ˈɛni səʧ ɪkˈspænʧən wʊd teɪk ðə fɔrm əv ən ˈəpər dɛk ˈædɪd ɔn tɔp əv ðə ˈkɑrənt stænd. ɪn ðə ɛnd ɪt simz ˈlaɪkli ðət səʧ ən ɪkˈspænʧən əv ðə ist saɪd əv ˈprɑvədəns pɑrk kʊd əˈlaʊ ðə ˈtɪmbərz tɪ ɪkˈspænd ðə kəˈpæsɪti əv ðə ˈsteɪdiəm tɪ ˈoʊvər ˈsərtənli ˈmeɪkɪŋ ðə ˈtɪmbərz' hoʊm graʊnd wən əv ðə ˈlɑrʤəst ˈsteɪdiəmz ɪn ðə juˈnaɪtɪd steɪts. ˈɛni ist saɪd ɪkˈspænʧən, əv kɔrs, ɪz ə məʧ ˈprɑʤɛkt ðən ðə saʊθ ɛnd dɪˈvɛləpmənt ˈkərəntli ɪn ðə wərks. ənd ðɛr ər stɪl sɪgˈnɪfɪkənt ˈʧælənʤɪz ðət feɪs ˈɛni ist saɪd ɪkˈspænʧən, ˌɪnˈkludɪŋ fɪˈnænsɪŋ, ˈsteɪdiəm ˌɪnfrəˈstrəkʧər ɪkˈspænʧən, ənd ə ˈprɔˌsɛs ðət prɪˈvɛnɪd ðə ˈtɪmbərz frəm ˈbɪldɪŋ əˈbəv ðə ɪn 2010 bət ɔn ˈwɛnzˌdeɪ wi faʊnd aʊt səʧ ə ˈprɑʤɛkt ɪz ˈpɑsəbəl, ˈivɪn ɪf ðə ɑdz əv siɪŋ ɪt kəmˈplitɪd ɪn ðə fərst hæf əv ðə wʊd ˈoʊnli əraʊz ˈɑptɪˌmɪzəm ɪn lɔɪd ˈkrɪsməs. soʊ wət wʊd ən ɪkˈspændɪd ˈprɑvədəns pɑrk lʊk laɪk? lɛts strɛʧ aʊt ðə ˌɪˌmæʤəˈneɪʃən. tɪ stɑrt wɪθ, ɛz ˈpɔrtlənd ˈhɪstəri nərd ənd kənˈtrɪbjətər ɪˈmɛrətəs ˈmaɪkəl ɔr ˈpɔɪntɪd aʊt ɔn tˈwɪtər, ðə aɪˈdiə əv ə ˈprɑvədəns pɑrk ɪz ˈnəθɪŋ nu. sɪns ðə wɛst ənd nɔrθ saɪdz əv ðə ˈsteɪdiəm tʊk ðɛr ˈmɑdərn fɔrm, ˈvɛriəs hæv drɔn əp plænz tɪ kəmˈplit ðə ˈhɔrsˌʃu ənd bɪld ən ˈəpər dɛk. ənd, ɛz ðə ˈpɪkʧərz ɔr ʃɛrd ˈdɛmənˌstreɪt, ɪt kʊd ˈɔlsoʊ bi dən waɪl prɪˈzərvɪŋ ðə ˈoʊvərˌɔl ˌɑrkəˈtɛkʧərəl əˈfɛkt əv ðə hɪˈstɔrɪk ˈsteɪdiəm, ˈsəmθɪŋ ðət ʃʊd bi ə praɪˈɔrəti fər ˈɛni ɪkˈspænʧən əv ðə pɑrk. ˌɔlˈðoʊ ɪkˈspændɪd kəˈpæsɪti wʊd bi ə ˈpraɪˌmɛri ˈpərpəs əv ðə ɪkˈspænʧən, ðə ˌɑpərˈtunəti fər ðə kləb tɪ ˌɪnˈstɔl əˈdɪʃənəl ˈlukrətɪv ˈprimiəm ˈsitɪŋ wʊd bi ʤɪst ɛz ˌɪmˈpɔrtənt. əˈkɔrdɪŋli, ˈɛni ɪkˈspænʧən ɔn ðə ist saɪd wʊd ˈɔlˌmoʊst ˈsərtənli ˌɪnˈklud sɪgˈnɪfɪkənt əˈdɪʃənəl ˈsitɪŋ, ˈlaɪkli æt ðə tɔp əv ðə ɪgˈzɪstɪŋ ist ˈgrændˌstænd ɛz pɑrt əv ə ˈbɪldɪŋ ðət wʊd prəˈvaɪd pɑrt əv ðə ˈæŋkər fər ðə nu stænd. ɛz fər ðə ˈsɛkənd dɛk əv ðə ist stænd, ɪt wʊd ˈvɛri ˈlaɪkli hæv ɪts oʊn ˈkɑnˌkɔrs, ˈrɛˌstrumz, ənd kənˈsɛʃənz ɔn ðə ˈəpər ˈɛvəl. ˈkɑnˌkɔrs speɪs ɪz ˈfeɪməsli ˈlɪmɪtɪd æt ˈprɑvədəns pɑrk (ˌɔlˈðoʊ ðɪs ɪz ə ˈbɪgər ˈprɑbləm ɔn ðə nɔrθ ənd wɛst saɪdz ðən ɪt ɪz ɔn ðə ist saɪd), soʊ ˈɛni əˈdɪʃənəl kəˈpæsɪti wʊd ˌrikˈwaɪər əˈdɪʃənəl ˈkɑnˌkɔrs speɪs. ənd ɪˈgrɛs tɪ ðə ˈəpər dɛk wʊd bi ən ˌɑrkəˈtɛkʧərəl ˈʧælənʤ, bət ˈprɑbəˌbli ə wən. ðə ɪkˈspændɪd kəˈpæsɪti, ˌhaʊˈɛvər, meɪ ˈɔlsoʊ əˈlaʊ ðə ˈtɪmbərz tɪ əˈliviˌeɪt ˈkɑnˌkɔrs kənˈʤɛsʧən ɔn ðə wɛst saɪd. ɛz ˈkərəntli kənˈfɪgjərd, səm əv ðə ˈsitɪŋ ɔn ðə wɛst saɪd ɪz ˈkəvərd baɪ tɑrps tɪ ˈmɪtəˌgeɪt ðə ˈkɑnˌkɔrs ˌlɪmɪˈteɪʃənz. wɪθ ˈædɪd kəˈpæsɪti ɪn ðə ist ɛnd (ənd pərˈhæps ɛz sun ɛz ðə əˈpɛrəntli saʊθ ɛnd ɪkˈspænʧən), ðə ˈtɪmbərz kʊd teɪk aʊt ðiz roʊz əv ˈbɛnʧɪz ɛz wɛl ɛz ˈsɛvərəl ˈhənərd sits wərθ əv əˈdɪʃənəl ˈbliʧərz tɪ bi ˌriˈpleɪst baɪ open-air*, ˈsɛkənˌdɛri ˈprimiəm ˈsitɪŋ ˈsɪmələr tɪ wət ðə ˈpɔrtlənd ˈtreɪlˌbleɪzərz hæv ˌɪnˈstɔld ɪn ðə əv ðə ˈsɛnər. ðə ˈsɛkənˌdɛri ˈprimiəm ˈsitɪŋ wʊd kɪl tu ˈvɛrɪtəbəl bərdz wɪθ wən stoʊn; ɪt wʊd rɪˈdus ðə ˈnəmbər əv ˈpipəl ɪn ðə wɛst ˈkɑnˌkɔrs (ənd bɪˈkəz fud ənd drɪŋk wʊd bi ˈhoʊstɪd ɪn ðɪs ˈsitɪŋ ˈɔlsoʊ rɪˈdus ðə ˈnəmbər əv ˈpipəl ˈjuzɪŋ ðə kənˈsɛʃənz), ənd æd mɔr ˈsitɪŋ fər ðə ˈtɪmbərz. pərˈhæps ðə ˈbɪgəst ˈʧælənʤ ˈfeɪsɪŋ ən ɪkˈspænʧən əv ˈprɑvədəns pɑrk wʊd bi əˈkɑməˌdeɪtɪŋ ˈpɑrkɪŋ fər ən əˈdɪʃənəl fænz. ˌɔlˈðoʊ ðə ˈsteɪdiəmz ˈprɛzəns ɪn ðə ˈsɪti ˈsɛnər həz sɪgˈnɪfɪkəntli ˈmɪtəˌgeɪtɪd ˈprɑvədəns pɑrks ˈpɑrkɪŋ ˈprɑbləmz wɪθ ˈizi ˈækˌsɛs tɪ ˈtrænzɪt, ðə ˈnoʊʃən əv ə ˈsteɪdiəm wɪˈθaʊt ˈɛni sɪgˈnɪfɪkənt ˈdɛdəkeɪtəd ˈpɑrkɪŋ simz ˈfɑrˈfɛʧt. ˈdɪfəkəlt ɛz ðɪs ˈprɑbləm meɪ bi, ðoʊ, ɪt ˈɔlsoʊ simz ˈsɑlvəbəl wɪθ ˈsɛvərəl ˈlaɪtli ˈjutəˌlaɪzd blɑks ist əv ˈprɑvədəns pɑrk ˌɪnˈkludɪŋ ðə ˌɔrəˈgoʊniən ˈprɪnɪŋ fəˈsɪlɪti. mɔˈroʊvər, wɪθ ˌɪnˈkrist dɪˈvɛləpmənt ˈstɑrtɪŋ tɪ teɪk pleɪs ɔn ðə wɛst saɪd əv nɪr ˈprɑvədəns pɑrk bət ˈlɪtəl ˈpɑrkɪŋ ɪn ðət ˈneɪbərˌhʊd, ɪt simz ˈvɛri ˈpɑsəbəl ðət ˈpɑrtnərz fər ə ˈpɑrkɪŋ ˈprɑʤɛkt nɪr ðə ˈsteɪdiəm kʊd bi aʊt ðɛr fər ðə ˈtɪmbərz tɪ tim əp wɪθ. ənd, ˈfaɪnəli, ðɛr ər ðə pəˈlɪtɪkəl ˈhərdəlz. ðə ˈprɔˌsɛs əraʊnd ˈpɔrtlənd kən bi ˈtidiəs, ɛz ðə ˈsɪti kən bi (ˈɔfən fər gʊd ˈrizən) ˈvɛri prəˈtɛktɪv əv ˈneɪbərˌhʊd ˈɪntərɪsts ənd əˈkɑməˌdeɪtɪŋ tɪ ðoʊz hu wɔnt ðɛr ˈvɔɪsɪz hərd. wɪˈθaʊt kˈwɛʃən, ˈmɛni wʊd hæv ˈɪnˌpʊt ənd nɑt ɔl əv ɪt ˈpɑzətɪv tɪ prəˈvaɪd rɪˈgɑrdɪŋ ən ɪkˈspænʧən əv ˈprɑvədəns pɑrk ənd ˈɛni ˈsɪriəs ˈpɑrkɪŋ ˈprɑʤɛkt ɪn ðə ˈneɪbərˌhʊd. soʊ ðə pəˈlɪtɪkəl ˈprɔˌsɛs wʊd ənˈdaʊtɪdli bi lɔŋ ənd ˈdɪfəkəlt. bət soʊ wɑz ðə pəˈlɪtɪkəl ˈprɔˌsɛs tɪ brɪŋ tɪ ˈpɔrtlənd ɪn ðə fərst pleɪs. ənd ðə ˈtɪmbərz hæv ˈnɛvər hæd mɔr ˈməsəl ðən ðeɪ du raɪt naʊ ˈkəmɪŋ ɔf əv ə ˈʧæmpiənˌʃɪp ˈsizən. ðə taɪm tɪ drim, ˈðɛrˌfɔr, ɪz naʊ. soʊ, waɪl ə ˈmeɪʤər ɪkˈspænʧən əv ˈprɑvədəns pɑrk ɪz ˌəndɪˈnaɪəbli ˈdɪfəkəlt, wi naʊ noʊ ðət ˈpɑsəbəl. ənd wɪθ ˌplɔzɪˈbɪlɪti kəmz ðə əˈbɪləˌti tɪ drim əˈbaʊt wət ðə timbers’*’ hoʊm graʊnd kʊd bɪˈkəm ɪn ðə nɪr ənd ˈdɪstənt fˈjuʧər.
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masha gessen: i think donald trump was brought to power by americans. they voted for him.
goldberg: do you think we are overemphasizing intent or in this moment?
gessen: these are leading questions, but yes. absolutely. i do think that overemphasizing it. and i think overemphasizing it at the expense of actually being able to think about the election.
goldberg: what do you mean?
gessen: americans voted for trump. a lot of people in this country feel the system of representative democracy worked for them for a long, long time. and those are the issues that this election gives us an unfortunate opportunity to engage with. and engaging instead with the russia conspiracy takes up that bandwidth.
goldberg: is the russia conspiracy real?
gessen: i know. i mean, we know, right? but not a terribly important question or answer.
goldberg: whoa. wait, why?
gessen: well, because ultimately it matter what russia wanted. right? what matters is whether there was an actual arrangement with the trump campaign. the part we actually know yet.
goldberg: let me just push back a little bit and say that if a foreign power is actively trying to meddle in an american election it still seems to matter, no?
gessen: okay, let me give you an example. the weekend before the election i was in philadelphia with my daughter, canvassing for hillary. and there was this church where they handed out the clipboards. and so standing in line for clipboards, and a busload of dutch tourists get off and get in line. and my first reaction was like, oh these people are dutch. they shouldn't be canvassing. and then i thought, okay, these people over in donald trump is elected, they will live on this planet that will risk being annihilated by a nuclear holocaust and damaged by irreparable climate change. and do they have less right to ask the people of philadelphia to vote in a particular way than i, as a new yorker, have to ask the people of philadelphia to vote in a particular way?
goldberg: so not a huge fan of sovereignty as a concept.
gessen: as a concept, no, not a huge fan.
goldberg: as someone who does believe in american sovereignty, offended by the idea that any country would try to interfere in our domestic affairs. but even more so when you have a government that is adversarial.
gessen: russian attempts to sow of all, predictable. second of all, ridiculous. been doing pretty much the same thing for at least 50 years. american political reality has moved a lot closer to the russian used to be a really distorted perception, it used to be a total i think is a little disturbing.
goldberg: we are becoming more like russia?
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masha* gessen*: aɪ θɪŋk ˈdɑnəld trəmp wɑz brɔt tɪ paʊər baɪ əˈmɛrɪkənz. ðeɪ ˈvoʊtɪd fər ɪm. ˈgoʊldbərg: du ju θɪŋk wi ər ˈoʊvərˈɛmfəˌsaɪzɪŋ ˌɪnˈtɛnt ər ɪn ðɪs ˈmoʊmənt? gessen*: ðiz ər ˈlidɪŋ kˈwɛsʧənz, bət jɛs. ˌæbsəˈlutli. aɪ du θɪŋk ðət ˈoʊvərˈɛmfəˌsaɪzɪŋ ɪt. ənd aɪ θɪŋk ˈoʊvərˈɛmfəˌsaɪzɪŋ ɪt æt ðə ɪkˈspɛns əv ˈæˌkʧuəli biɪŋ ˈeɪbəl tɪ θɪŋk əˈbaʊt ðə ɪˈlɛkʃən. ˈgoʊldbərg: wət du ju min? gessen*: əˈmɛrɪkənz ˈvoʊtɪd fər trəmp. ə lɔt əv ˈpipəl ɪn ðɪs ˈkəntri fil ðə ˈsɪstəm əv ˌrɛprɪˈzɛnətɪv dɪˈmɑkrəsi wərkt fər ðɛm fər ə lɔŋ, lɔŋ taɪm. ənd ðoʊz ər ðə ˈɪʃuz ðət ðɪs ɪˈlɛkʃən gɪvz ˈjuˈɛs ən ənˈfɔrʧənət ˌɑpərˈtunəti tɪ ɪnˈgeɪʤ wɪθ. ənd ɪnˈgeɪʤɪŋ ˌɪnˈstɛd wɪθ ðə ˈrəʃə kənˈspɪrəsi teɪks əp ðət ˈbændwɪdθ. ˈgoʊldbərg: ɪz ðə ˈrəʃə kənˈspɪrəsi ril? gessen*: aɪ noʊ. aɪ min, wi noʊ, raɪt? bət nɑt ə ˈtɛrəbli ˌɪmˈpɔrtənt kˈwɛʃən ər ˈænsər. ˈgoʊldbərg: woʊ. weɪt, waɪ? gessen*: wɛl, bɪˈkəz ˈəltəmətli ɪt ˈmætər wət ˈrəʃə ˈwɔntɪd. raɪt? wət ˈmætərz ɪz ˈwɛðər ðɛr wɑz ən ˈækʧəwəl ərˈeɪnʤmənt wɪθ ðə trəmp kæmˈpeɪn. ðə pɑrt wi ˈæˌkʧuəli noʊ jɛt. ˈgoʊldbərg: lɛt mi ʤɪst pʊʃ bæk ə ˈlɪtəl bɪt ənd seɪ ðət ɪf ə ˈfɔrən paʊər ɪz ˈæktɪvli traɪɪŋ tɪ ˈmɛdəl ɪn ən əˈmɛrɪkən ɪˈlɛkʃən ɪt stɪl simz tɪ ˈmætər, noʊ? gessen*: ˌoʊˈkeɪ, lɛt mi gɪv ju ən ɪgˈzæmpəl. ðə ˈwiˌkɪnd ˌbiˈfɔr ðə ɪˈlɛkʃən aɪ wɑz ɪn ˌfɪləˈdɛlfiə wɪθ maɪ ˈdɔtər, ˈkænvəsɪŋ fər ˈhɪləri. ənd ðɛr wɑz ðɪs ʧərʧ wɛr ðeɪ ˈhændɪd aʊt ðə clipboards*. ənd soʊ ˈstændɪŋ ɪn laɪn fər clipboards*, ənd ə bəsˈloʊd əv dəʧ ˈtʊrɪsts gɪt ɔf ənd gɪt ɪn laɪn. ənd maɪ fərst riˈækʃən wɑz laɪk, oʊ ðiz ˈpipəl ər dəʧ. ðeɪ ˈʃʊdənt bi ˈkænvəsɪŋ. ənd ðɛn aɪ θɔt, ˌoʊˈkeɪ, ðiz ˈpipəl ˈoʊvər ɪn ˈdɑnəld trəmp ɪz ɪˈlɛktɪd, ðeɪ wɪl lɪv ɔn ðɪs ˈplænət ðət wɪl rɪsk biɪŋ əˈnaɪəˌleɪtɪd baɪ ə ˈnukliər ˈhɔləˌkɔst ənd ˈdæmɪʤd baɪ ˌɪˈrɛpərəbəl ˈklaɪmɪt ʧeɪnʤ. ənd du ðeɪ hæv lɛs raɪt tɪ æsk ðə ˈpipəl əv ˌfɪləˈdɛlfiə tɪ voʊt ɪn ə ˌpɑˈtɪkjələr weɪ ðən aɪ, ɛz ə nu ˈjɔrkər, hæv tɪ æsk ðə ˈpipəl əv ˌfɪləˈdɛlfiə tɪ voʊt ɪn ə ˌpɑˈtɪkjələr weɪ? ˈgoʊldbərg: soʊ nɑt ə juʤ fæn əv ˈsɑvrənti ɛz ə ˈkɑnsɛpt. gessen*: ɛz ə ˈkɑnsɛpt, noʊ, nɑt ə juʤ fæn. ˈgoʊldbərg: ɛz ˈsəmˌwən hu dɪz bɪˈliv ɪn əˈmɛrɪkən ˈsɑvrənti, əˈfɛndɪd baɪ ðə aɪˈdiə ðət ˈɛni ˈkəntri wʊd traɪ tɪ ˌɪnərˈfɪr ɪn ɑr dəˈmɛstɪk əˈfɛrz. bət ˈivɪn mɔr soʊ wɪn ju hæv ə ˈgəvərnmənt ðət ɪz ˌædvərˈsɛriəl. gessen*: ˈrəʃən əˈtɛmpts tɪ soʊ əv ɔl, prɪˈdɪktəbəl. ˈsɛkənd əv ɔl, rɪˈdɪkjələs. bɪn duɪŋ ˈprɪti məʧ ðə seɪm θɪŋ fər æt list 50 jɪrz. əˈmɛrɪkən pəˈlɪtɪkəl ˌriˈæləˌti həz muvd ə lɔt ˈkloʊzər tɪ ðə ˈrəʃən juzd tɪ bi ə ˈrɪli dɪˈstɔrtɪd pərˈsɛpʃən, ɪt juzd tɪ bi ə ˈtoʊtəl aɪ θɪŋk ɪz ə ˈlɪtəl dɪˈstərbɪŋ. ˈgoʊldbərg: wi ər bɪˈkəmɪŋ mɔr laɪk ˈrəʃə?
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london there are so many jews at the top of conservative party, prime minister david cameron once quipped, that it should be known as the torah party rather than the tory party.
with the announcement last wednesday that ian livingston was selected as trade and investment minister and elevated to the house of lords, cameron has appointed to the government possibly its most committed jew yet, and certainly its most outspoken supporter of israel which livingston has called “the most amazing state in the world.”
livingston, 48, is one of most visible business leaders, widely credited with steering telecom giant bt (formerly british telecom) through the global downturn as its chief executive. announcement of his departure from the company, which will take effect in september, immediately wiped million ($618 million) off its market value.
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in his new role as trade minister, which he will take up in december, livingston will promote trade globally and attract investment in the british economy. he is replacing lord green, an ordained priest in the church of england who is approaching retirement, and he was personally handpicked for the trade minister job by cameron, who said livingston “will bring huge talent to a vital national effort.”
other top jewish figures in the conservative party include lord feldman and grant, who has defined himself as “quite observant,” senior treasurer howard leigh, a member of the jewish leadership council; and former party treasurers richard harrington and lord fink, another member of the jlc.
livingston leads an active jewish life, regularly attending an orthodox shul, and united synagogue just outside london. he is a well-known supporter of israel and of jewish charities, in recent years hosting or speaking at events for high school college, the united jewish israel appeal, human rights ngo rene cassin, and jewish business incubator traide, among other causes.
in october 2011, in a discussion for the jewish chronicle newspaper, livingston said that he keeps a kosher home and that his two children, alastair and emma, “have chosen a reasonably orthodox path.” asked to describe and rank the three key determinants of his identity, he replied, “jewish, scot, male.”
in that same discussion, asked for a jewish new wish, livingston said he hoped to see the start of “a path to peace for israel. there is so much to celebrate in israel. it is the most amazing state in the world and the downside or the pity of it is that it is turning into something slightly different. i think there is a huge amount of time to start treading that path and i hope the next year actually starts to do so.”
according to his former rabbi, brawer, now ceo of the spiritual capital foundation, “ian is an extraordinarily bright guy with a real sense of commitment to wider society. the fact that leaving bt at the peak of his tenure in order to take up public service speaks volumes.
“he takes his jewishness very seriously, drawing on jewish values and texts. chair of bt is an extremely high-profile position in the, but ian and his wife debbie are the most humble people. they are fantastic parents, great friends, and live in the community with everyone else. there are no airs about them.”
livingston is not a supporter “of the current israeli government,” he said during the jewish chronicle discussion. “if there is a labour government in israel, i am happier. i can be more emotionally attached to it,” he said, but he stressed that this did not dramatically change “my approach and attitude to israel, any more than saying because i might disagree with the actions of the british government in some places, it somehow makes me less british.”
during his time at bt livingston dismissed calls by charity war on want for the company to disassociate itself from the israel telecom company bezeq, and told the jewish chronicle: “i have not received a single email from anyone in war on want expressing any concerns about a relationship we may or many not have had in syria, in libya or anywhere else. you wonder and ask yourself repeatedly: why is it? is it anti-americanism? is it anti-semitism? is it where they treat israel differently? that is a discomfort i feel just now. it is not a personal discomfort. it is a discomfort about something in society.”
shortly after his appointment as chief executive in 2008, he hosted a dinner for 19 israeli firms who showcased their products in the bt tower.
“the relationship with israel is good for bt because it means making money,” he told guests. “it is not just israel as a partner for innovation, but as a partner for business.”
livingston, who was born in glasgow in 1964, has long been regarded as a wunderkind. his mother rhoda was the secretary of oldest shul, garnet hill, while his father was a respected before his retirement. by age 19 he had graduated from the university of manchester with a degree in economics, and after several years working in accounting and banking, became the financial director of a company, the dixons group, at 32.
in his five years as chief executive of bt, he oversaw a program of cuts that saw the debt drop by over a fifth, and share price rise from to more than.
with much of his pay packet depending on share price performance, he pocketed almost million last year, it was reported last month, but his new government position will be unpaid.
livingston’s other great passion is celtic football club, where he sits on the board. according to someone who has known him well for many years but did not want to be identified, “he has been known to come back from places as far away as brazil to make a match and then go back.
“if he has sharp elbows, he deployed them in the world of business,” they added. “in his personal life, he is very family-minded, quiet, and soft-spoken. a real mensch.”
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ˈləndən ðɛr ər soʊ ˈmɛni ʤuz æt ðə tɔp əv kənˈsərvətɪv ˈpɑrti, praɪm ˈmɪnɪstər ˈdeɪvɪd ˈkæmərən wəns kwɪpt, ðət ɪt ʃʊd bi noʊn ɛz ðə ˈtɔrə ˈpɑrti ˈrəðər ðən ðə ˈtɔri ˈpɑrti. wɪθ ðə əˈnaʊnsmɛnt læst ˈwɛnzˌdeɪ ðət ˈiən ˈlɪvɪŋstən wɑz səˈlɛktɪd ɛz treɪd ənd ˌɪnˈvɛstmənt ˈmɪnɪstər ənd ˈɛləˌveɪtɪd tɪ ðə haʊs əv lɔrdz, ˈkæmərən həz əˈpɔɪntɪd tɪ ðə ˈgəvərnmənt ˈpɑsəbli ɪts moʊst kəˈmɪtɪd ʤu jɛt, ənd ˈsərtənli ɪts moʊst ˈaʊtˈspoʊkən səˈpɔrtər əv ˈɪzriəl wɪʧ ˈlɪvɪŋstən həz kɔld moʊst əˈmeɪzɪŋ steɪt ɪn ðə world.”*.” ˈlɪvɪŋstən, 48 ɪz wən əv moʊst ˈvɪzəbəl ˈbɪznɪs ˈlidərz, ˈwaɪdli ˈkrɛdɪtɪd wɪθ ˈstɪrɪŋ ˈtɛləkɑm ʤaɪənt ˈbiˈti (ˈfɔrmərli ˈbrɪtɪʃ ˈtɛləkɑm) θru ðə ˈgloʊbəl ˈdaʊnˌtərn ɛz ɪts ʧif ɪgˈzɛkjətɪv. əˈnaʊnsmɛnt əv hɪz dɪˈpɑrʧər frəm ðə ˈkəmpəˌni, wɪʧ wɪl teɪk ˈifɛkt ɪn sɛpˈtɛmbər, ˌɪˈmiˌdiətli waɪpt ˈmɪljən 618 ˈmɪljən) ɔf ɪts ˈmɑrkɪt ˈvælju. gɪt ðə taɪmz əv ˈɪzriəlz ˈdeɪli ɪˈdɪʃən baɪ iˈmeɪl ənd ˈnɛvər mɪs ɑr tɔp ˈstɔriz fri saɪn əp ɪn hɪz nu roʊl ɛz treɪd ˈmɪnɪstər, wɪʧ hi wɪl teɪk əp ɪn dɪˈsɛmbər, ˈlɪvɪŋstən wɪl prəˈmoʊt treɪd ˈgloʊbəli ənd əˈtrækt ˌɪnˈvɛstmənt ɪn ðə ˈbrɪtɪʃ ɪˈkɑnəmi. hi ɪz rɪˈpleɪsɪŋ lɔrd grin, ən ɔrˈdeɪnd prist ɪn ðə ʧərʧ əv ˈɪŋglənd hu ɪz əˈproʊʧɪŋ rɪˈtaɪərmənt, ənd hi wɑz ˈpərsənəli ˈhændˈpɪkt fər ðə treɪd ˈmɪnɪstər ʤɑb baɪ ˈkæmərən, hu sɛd ˈlɪvɪŋstən brɪŋ juʤ ˈtælənt tɪ ə ˈvaɪtəl ˈnæʃənəl effort.”*.” ˈəðər tɔp ʤuɪʃ ˈfɪgjərz ɪn ðə kənˈsərvətɪv ˈpɑrti ˌɪnˈklud lɔrd ˈfɛldmən ənd grænt, hu həz dɪˈfaɪnd hɪmˈsɛlf ɛz observant,”*,” ˈsinjər ˈtrɛʒərər haʊərd li, ə ˈmɛmbər əv ðə ʤuɪʃ ˈlidərˌʃɪp ˈkaʊnsəl; ənd ˈfɔrmər ˈpɑrti ˈtrɛʒərərz ˈrɪʧərd ˈhɛrɪŋtən ənd lɔrd fɪŋk, əˈnəðər ˈmɛmbər əv ðə jlc*. ˈlɪvɪŋstən lidz ən ˈæktɪv ʤuɪʃ laɪf, ˈrɛgjələrli əˈtɛndɪŋ ən ˈɔrθəˌdɑks shul*, ənd juˈnaɪtɪd ˈsɪnəˌgɔg ʤɪst ˈaʊtˈsaɪd ˈləndən. hi ɪz ə ˈwɛlˈnoʊn səˈpɔrtər əv ˈɪzriəl ənd əv ʤuɪʃ ˈʧɛrɪtiz, ɪn ˈrisənt jɪrz ˈhoʊstɪŋ ər ˈspikɪŋ æt ɪˈvɛnts fər haɪ skul ˈkɑlɪʤ, ðə juˈnaɪtɪd ʤuɪʃ ˈɪzriəl əˈpil, ˈjumən raɪts ɛŋˈgoʊ rəˈneɪ ˈkæsɪn, ənd ʤuɪʃ ˈbɪznɪs ˈɪŋkjəˌbeɪtər traide*, əˈməŋ ˈəðər ˈkɔzɪz. ɪn ɑkˈtoʊbər 2011 ɪn ə dɪˈskəʃən fər ðə ʤuɪʃ ˈkrɑnɪkəl ˈnuzˌpeɪpər, ˈlɪvɪŋstən sɛd ðət hi kips ə ˈkoʊʃər hoʊm ənd ðət hɪz tu ˈʧɪldrən, ˈæləˌstɛr ənd ˈɛmə, ˈʧoʊzən ə ˈrizənəbli ˈɔrθəˌdɑks path.”*.” æst tɪ dɪˈskraɪb ənd ræŋk ðə θri ki dɪˈtərmənənts əv hɪz aɪˈdɛntəˌti, hi rɪˈplaɪd, ““jewish*, skɑt, male.”*.” ɪn ðət seɪm dɪˈskəʃən, æst fər ə ʤuɪʃ nu wɪʃ, ˈlɪvɪŋstən sɛd hi hoʊpt tɪ si ðə stɑrt əv pæθ tɪ pis fər ˈɪzriəl. ðɛr ɪz soʊ məʧ tɪ ˈsɛləˌbreɪt ɪn ˈɪzriəl. ɪt ɪz ðə moʊst əˈmeɪzɪŋ steɪt ɪn ðə wərld ənd ðə ˈdaʊnˌsaɪd ər ðə ˈpɪti əv ɪt ɪz ðət ɪt ɪz ˈtərnɪŋ ˈɪntu ˈsəmθɪŋ sˈlaɪtli ˈdɪfərənt. aɪ θɪŋk ðɛr ɪz ə juʤ əˈmaʊnt əv taɪm tɪ stɑrt ˈtrɛdɪŋ ðət pæθ ənd aɪ hoʊp ðə nɛkst jɪr ˈæˌkʧuəli stɑrts tɪ du so.”*.” əˈkɔrdɪŋ tɪ hɪz ˈfɔrmər ˈræˌbaɪ, brɔər, naʊ ˈsiˌiˈoʊ əv ðə ˈspɪrɪˌʧuəl ˈkæpɪtəl faʊnˈdeɪʃən, ɪz ən ɛkˌstrɔrdəˈnɛrəli braɪt gaɪ wɪθ ə ril sɛns əv kəˈmɪtmənt tɪ ˈwaɪdər soʊˈsaɪɪti. ðə fækt ðət ˈlivɪŋ ˈbiˈti æt ðə pik əv hɪz ˈtɛnjər ɪn ˈɔrdər tɪ teɪk əp ˈpəblɪk ˈsərvɪs spiks ˈvɑljumz. teɪks hɪz ˈʤuɪʃnəs ˈvɛri ˈsɪriəsli, drɔɪŋ ɔn ʤuɪʃ ˈvæljuz ənd tɛksts. ʧɛr əv ˈbiˈti ɪz ən ɪkˈstrimli ˌhaɪˈproʊfaɪl pəˈzɪʃən ɪn ðə, bət ˈiən ənd hɪz waɪf ˈdɛbi ər ðə moʊst ˈhəmbəl ˈpipəl. ðeɪ ər fænˈtæstɪk ˈpɛrənts, greɪt frɛndz, ənd lɪv ɪn ðə kəmˈjunɪti wɪθ ˈɛvriˌwən ɛls. ðɛr ər noʊ ɛrz əˈbaʊt them.”*.” ˈlɪvɪŋstən ɪz nɑt ə səˈpɔrtər ðə ˈkɑrənt ˌɪzˈreɪli government,”*,” hi sɛd ˈdʊrɪŋ ðə ʤuɪʃ ˈkrɑnɪkəl dɪˈskəʃən. ðɛr ɪz ə ˈleɪbər ˈgəvərnmənt ɪn ˈɪzriəl, aɪ æm ˈhæpiər. aɪ kən bi mɔr ˈiˌmoʊʃnəli əˈtæʧt tɪ it,”*,” hi sɛd, bət hi strɛst ðət ðɪs dɪd nɑt drəˈmætɪkəli ʧeɪnʤ əˈproʊʧ ənd ˈætəˌtud tɪ ˈɪzriəl, ˈɛni mɔr ðən seɪɪŋ bɪˈkəz aɪ maɪt dɪsəˈgri wɪθ ðə ˈækʃənz əv ðə ˈbrɪtɪʃ ˈgəvərnmənt ɪn səm ˈpleɪsɪz, ɪt ˈsəmˌhaʊ meɪks mi lɛs british.”*.” ˈdʊrɪŋ hɪz taɪm æt ˈbiˈti ˈlɪvɪŋstən dɪsˈmɪst kɔlz baɪ ˈʧɛrɪti wɔr ɔn wɔnt fər ðə ˈkəmpəˌni tɪ ˌdɪsəˈsoʊʃieɪt ˌɪtˈsɛlf frəm ðə ˈɪzriəl ˈtɛləkɑm ˈkəmpəˌni bezeq*, ənd toʊld ðə ʤuɪʃ ˈkrɑnɪkəl: hæv nɑt rɪˈsivd ə ˈsɪŋgəl iˈmeɪl frəm ˈɛniˌwən ɪn wɔr ɔn wɔnt ɪkˈsprɛsɪŋ ˈɛni kənˈsərnz əˈbaʊt ə riˈleɪʃənˌʃɪp wi meɪ ər ˈmɛni nɑt hæv hæd ɪn ˈsɪriə, ɪn ˈlɪˌbiə ər ˈɛniˌwɛr ɛls. ju ˈwəndər ənd æsk ˈjɔrsɛlf rɪˈpitɪdli: waɪ ɪz ɪt? ɪz ɪt anti-americanism*? ɪz ɪt anti-semitism*? ɪz ɪt wɛr ðeɪ trit ˈɪzriəl ˈdɪfərˈɛntli? ðət ɪz ə dɪˈskəmfərt aɪ fil ʤɪst naʊ. ɪt ɪz nɑt ə ˈpərsɪnəl dɪˈskəmfərt. ɪt ɪz ə dɪˈskəmfərt əˈbaʊt ˈsəmθɪŋ ɪn society.”*.” ˈʃɔrtli ˈæftər hɪz əˈpɔɪntmənt ɛz ʧif ɪgˈzɛkjətɪv ɪn 2008 hi ˈhoʊstɪd ə ˈdɪnər fər 19 ˌɪzˈreɪli fərmz hu ˈʃoʊˌkeɪst ðɛr ˈprɑdəkts ɪn ðə ˈbiˈti taʊər. riˈleɪʃənˌʃɪp wɪθ ˈɪzriəl ɪz gʊd fər ˈbiˈti bɪˈkəz ɪt minz ˈmeɪkɪŋ money,”*,” hi toʊld gɛsts. ɪz nɑt ʤɪst ˈɪzriəl ɛz ə ˈpɑrtnər fər ˌɪnəˈveɪʃən, bət ɛz ə ˈpɑrtnər fər business.”*.” ˈlɪvɪŋstən, hu wɑz bɔrn ɪn ˈglæˌskoʊ ɪn 1964 həz lɔŋ bɪn rɪˈgɑrdɪd ɛz ə ˈwəndərˌkɪnd. hɪz ˈməðər ˈroʊdə wɑz ðə ˈsɛkrəˌtɛri əv ˈoʊldəst shul*, ˈgɑrnət hɪl, waɪl hɪz ˈfɑðər wɑz ə rɪˈspɛktɪd ˌbiˈfɔr hɪz rɪˈtaɪərmənt. baɪ eɪʤ 19 hi hæd ˈgræʤəˌweɪtɪd frəm ðə ˌjunəˈvərsəti əv ˈmænˌʧɛstər wɪθ ə dɪˈgri ɪn ˌɛkəˈnɑmɪks, ənd ˈæftər ˈsɛvərəl jɪrz ˈwərkɪŋ ɪn əˈkaʊnɪŋ ənd ˈbæŋkɪŋ, bɪˈkeɪm ðə ˌfaɪˈnænʃəl dɪˈrɛktər əv ə ˈkəmpəˌni, ðə ˈdɪksənz grup, æt 32 ɪn hɪz faɪv jɪrz ɛz ʧif ɪgˈzɛkjətɪv əv ˈbiˈti, hi ˈoʊvərˌsɔ ə ˈproʊˌgræm əv kəts ðət sɔ ðə dɛt drɔp baɪ ˈoʊvər ə fɪθ, ənd ʃɛr praɪs raɪz frəm tɪ mɔr ðən wɪθ məʧ əv hɪz peɪ ˈpækɪt dɪˈpɛndɪŋ ɔn ʃɛr praɪs pərˈfɔrməns, hi ˈpɑkətɪd ˈɔlˌmoʊst ˈmɪljən læst jɪr, ɪt wɑz ˌriˈpɔrtəd læst mənθ, bət hɪz nu ˈgəvərnmənt pəˈzɪʃən wɪl bi ənˈpeɪd. ˈəðər greɪt ˈpæʃən ɪz ˈsɛltɪk ˈfʊtˌbɔl kləb, wɛr hi sɪts ɔn ðə bɔrd. əˈkɔrdɪŋ tɪ ˈsəmˌwən hu həz noʊn ɪm wɛl fər ˈmɛni jɪrz bət dɪd nɑt wɔnt tɪ bi aɪˈdɛntəˌfaɪd, həz bɪn noʊn tɪ kəm bæk frəm ˈpleɪsɪz ɛz fɑr əˈweɪ ɛz brəˈzɪl tɪ meɪk ə mæʧ ənd ðɛn goʊ bæk. hi həz ʃɑrp ˈɛlˌboʊz, hi dɪˈplɔɪd ðɛm ɪn ðə wərld əv business,”*,” ðeɪ ˈædɪd. hɪz ˈpərsɪnəl laɪf, hi ɪz ˈvɛri family-minded*, kwaɪət, ənd soft-spoken*. ə ril mensch.”*.”
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a label on an bag featuring the circle symbol on the left and the reaching symbol on the right
an device is any device that reduces, dampens, or otherwise inhibits electrostatic discharge; the buildup or discharge of static] which can damage electrical components such as computer hard drives, and even ignite flammable liquids and gases.
many methods exist for neutralizing, varying in use and effectiveness depending on the application. agents are chemical compounds that can be added to an object, or the packaging of an object, to help deter the buildup or discharge of static] for the neutralization of static charge in a larger area, such as a factory floor or workshop, systems may utilize electron emission effects such as corona discharge or that introduce ions into the area that combine with and neutralize any electrically charged] in many situations, sufficient protection can be achieved with electrical grounding.
symbology [ edit ]
various symbols can be found on products, indicating that the product is sensitive, as with sensitive electrical components, or that it offers protection, as with bags.
reach symbol [ edit ]
ansi/esd standard is most commonly seen on applications related to electronics. several variations consist of a triangle with a reaching hand depicted inside of it using negative space.
versions of the symbol will often have the hand being crossed out as a warning for the component being protected, indicating that it is sensitive and is not to be touched unless precautions are taken.
another version of the symbol has the triangle surrounded by an arc. this variant is in reference to the protective device, such as an wrist strap, rather than the component being protected. it usually does not feature the hand being crossed out, indicating that it makes contact with the component]
circle [ edit ]
another common symbol takes the form of a bold circle being intersected by three arrows. originating as a u.s. military standard, it has been adopted industry-wide. it is intended as a depiction of a device or component being breached by static charges, indicated by the]
one version on the circle with three arrows can be seen at the left of this picture.
examples [ edit ]
types of devices include:
antistatic bag [ edit ]
an bag is a bag used for storing or shipping electronic components which may be prone to damage caused by electrostatic discharge (esd).
ionizing bar [ edit ]
an ionizing bar, sometimes referred to as a static bar, is a type of industrial equipment used for removing static electricity from a production line to dissipate static cling and other such phenomena that would disrupt the line. it is important in the manufacturing and printing industries, although it can be used in other applications as]
ionizing bars are most commonly suspended above a conveyor belt or other apparatus in a production line where the product can pass below it; the distance is usually calibrated for the specific] the bar works by emitting an corona onto the products below] if then a product on the line has a positive or negative static charge, as it passes through the aura created by the bar, it will attract the correspondingly charged positive or negative ions and become electrically]
antistatic garments [ edit ]
antistatic shoes
antistatic garments or clothing is required to prevent damage to electrical components or to prevent fires and explosions when working with flammable liquids and gases.
one of the ways to bond or electrically connect personnel to ground is the use of an garment. garments have conductive threads in them, creating a wearable version of a faraday cage. garments attempt to shield sensitive devices from harmful static charges from clothing such as wool, silk, and synthetic fabrics on people working with them. for these garments to work properly, they must also be connected to ground with a strap. most garments are not conductive enough to provide personal grounding so foot straps and wrist straps are also worn. garments are considered an optional method to control.
an protected area is a defined location with the necessary materials, tools, and equipment capable of controlling static electricity to a level that minimizes damage to susceptible items. in the protected area, all conductors in the environment, including personnel, shall be bonded or electrically connected and attached to a known ground or contrived ground. this attachment creates an balance between all items and personnel. electrostatic protection can be maintained at a potential above a "zero" voltage ground potential as long as all items in the system are at the same potential.
antistatic garments are used in many industries such as electronics, communications, telecommunications and defense applications. as computers and electronics become ever more pervasive in consumer products an increasing number of manufacturers will need to apply control measures. one such measure is apparel because people are the greatest source of static charge in the workplace.
transportation of electrostatic sensitive devices also requires packaging that provides protection from electrostatic hazards in the transportation or storage system. in the case of an protected area designed with continuous grounding of all conductors and dissipative items (including personnel), packaging may not be necessary.
the amount of static electricity we feel varies according to factors such as our body and foot size. a larger body and bigger feet require more charge to be stored to produce the same voltage. the material our clothes are made from and the soles of our shoes can influence static electricity too. weather affects it as well. there is more build-up of static charge when the air is dry. most people feel harmless shocks at around volts. however electrical components can be damaged by as little as a few volts. it is estimated that between eight percent and 33 percent of product proportion of products which are rendered due to static electricity. static electricity is generally harmless to the individual but if not controlled, electrostatic discharge can cause product damage to electrostatic sensitive devices and lead to machinery downtime, lost man-hours, returned products and warranty costs particularly in the semiconductor and electronics industries, which caused 5 billion worth of damage to products each year.
antistatic mat [ edit ]
an floor mat or ground mat is one of a number of devices designed to help eliminate static electricity. it does this by having a controlled low resistance: a metal mat would keep parts grounded but would short out exposed parts; an insulating mat would provide no ground reference and so would not provide grounding. typical resistance is on the order of 105 to 108 ohms between points on the mat and to] the mat would need to be grounded (earthed). this is usually accomplished by plugging into the grounded line in an electrical outlet. it's important to discharge at a slow rate, therefore a should be used in the mat. the, as well as allowing charges to leak through to earth, also prevents a shock hazard when working with parts. some ground mats allow you to connect an wrist strap to them. versions are designed for placement on both the floor and desk.
antistatic wrist strap [ edit ]
antistatic wrist strap connected to a bench mounted grounding socket
an wrist strap with crocodile clip.
an wrist strap, wrist strap, or ground bracelet is an device used to safely ground a person working on very sensitive electronic equipment, to prevent the buildup of static electricity on their body, which can result in electrostatic discharge (esd). it is used in the electronics industry by workers working on electronic devices which can be damaged by, and also sometimes by people working around explosives, to prevent electric sparks which could set off an explosion. it consists of an elastic band of fabric with fine conductive fibers woven into it, attached to a wire with a clip on the end to connect it to a ground conductor. the fibers are usually made of carbon or rubber, and the strap is bound with a stainless steel clasp or plate. they are usually used in conjunction with an mat on the workbench, or a special plastic laminate on the workbench surface.
the wrist strap is usually worn on the hand (the left wrist for a right-handed person). it is connected to ground through a coiled retractable cable and 1, which allows charges to leak through but prevents a shock hazard when working with parts. where higher voltages are present, extra resistance (0.75 per 250 v) is added in the path to ground to protect the wearer from excessive currents; this typically takes the form of a 4 in the coiled cable (or, more commonly, a 2 at each end).
wrist straps designed for industrial use usually connect to earth bonding points, ground connections built into the workplace, via either a standard 4 plug or 10 press stud, whereas straps designed for consumer use often have a crocodile clip for the ground connection.
in addition to wrist straps, ankle and heel straps are used in industry to bleed away accumulated charge from a body. these devices are usually not tethered to earth ground, but instead incorporate high resistance in their construction, and work by dissipating electrical charge to special floor tiles. such straps are used when workers need to be mobile in a work area and a grounding cable would get in the way. they are used particularly in an operating theatre, where oxygen or explosive anesthetic gases are used.
"wireless" or "dissipative" wrist straps are available, which claim to protect against without needing a ground wire, typically by air ionization or corona discharge. these are widely regarded as] if not fraudulent, and examples have been tested and shown not to] professional standards all require wired wrist]
see also [ edit ]
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ə ˈleɪbəl ɔn ən bæg ˈfiʧərɪŋ ðə ˈsərkəl ˈsɪmbəl ɔn ðə lɛft ənd ðə ˈriʧɪŋ ˈsɪmbəl ɔn ðə raɪt ən dɪˈvaɪs ɪz ˈɛni dɪˈvaɪs ðət rɪˈdusɪz, dampens*, ər ˈəðərˌwaɪz ˌɪnˈhɪbəts ˌɪˌlɛktroʊˈstætɪk ˈdɪsˌʧɑrʤ; ðə ˈbɪlˌdəp ər ˈdɪsˌʧɑrʤ əv ˈstætɪk wɪʧ kən ˈdæmɪʤ ɪˈlɛktrɪkəl kəmˈpoʊnənts səʧ ɛz kəmˈpjutər hɑrd draɪvz, ənd ˈivɪn ˌɪgˈnaɪt ˈflæməbəl ˈlɪkwɪdz ənd ˈgæsɪz. ˈmɛni ˈmɛθədz ɪgˈzɪst fər ˈnutrəˌlaɪzɪŋ, ˈvɛriɪŋ ɪn juz ənd ˈifɛktɪvnəs dɪˈpɛndɪŋ ɔn ðə ˌæpləˈkeɪʃən. ˈeɪʤənts ər ˈkɛmɪkəl ˈkɑmpaʊndz ðət kən bi ˈædɪd tɪ ən ˈɑbʤɛkt, ər ðə ˈpækɪʤɪŋ əv ən ˈɑbʤɛkt, tɪ hɛlp dɪˈtər ðə ˈbɪlˌdəp ər ˈdɪsˌʧɑrʤ əv ˈstætɪk fər ðə ˌnutrələˈzeɪʃən əv ˈstætɪk ʧɑrʤ ɪn ə ˈlɑrʤər ˈɛriə, səʧ ɛz ə ˈfæktəri flɔr ər ˈwərkˌʃɑp, ˈsɪstəmz meɪ ˈjutəˌlaɪz ˌɪˈlɛktrɑn ɪˈmɪʃən ˈifɛkts səʧ ɛz kərˈoʊnə ˈdɪsˌʧɑrʤ ər ðət ˌɪntrəˈdus aɪɑnz ˈɪntu ðə ˈɛriə ðət ˈkɑmbaɪn wɪθ ənd ˈnutrəˌlaɪz ˈɛni ɪˈlɛktrɪkəli ʧɑrʤd ɪn ˈmɛni ˌsɪʧuˈeɪʃənz, səˈfɪʃənt prəˈtɛkʃən kən bi əˈʧivd wɪθ ɪˈlɛktrɪkəl ˈgraʊndɪŋ. ˈɛdət ˈvɛriəs ˈsɪmbəlz kən bi faʊnd ɔn ˈprɑdəkts, ˈɪndəˌkeɪtɪŋ ðət ðə ˈprɑdəkt ɪz ˈsɛnsɪtɪv, ɛz wɪθ ˈsɛnsɪtɪv ɪˈlɛktrɪkəl kəmˈpoʊnənts, ər ðət ɪt ˈɔfərz prəˈtɛkʃən, ɛz wɪθ bægz. riʧ ˈsɪmbəl ˈɛdət ˈstændərd ɪz moʊst ˈkɑmənli sin ɔn ˌæpləˈkeɪʃənz rɪˈleɪtɪd tɪ ˌɪˌlɛkˈtrɑnɪks. ˈsɛvərəl ˌvɛriˈeɪʃənz kənˈsɪst əv ə ˈtraɪˌæŋgəl wɪθ ə ˈriʧɪŋ hænd dɪˈpɪktɪd ˌɪnˈsaɪd əv ɪt ˈjuzɪŋ ˈnɛgətɪv speɪs. ˈvərʒənz əv ðə ˈsɪmbəl wɪl ˈɔfən hæv ðə hænd biɪŋ krɔst aʊt ɛz ə ˈwɔrnɪŋ fər ðə kəmˈpoʊnənt biɪŋ prəˈtɛktɪd, ˈɪndəˌkeɪtɪŋ ðət ɪt ɪz ˈsɛnsɪtɪv ənd ɪz nɑt tɪ bi təʧt ənˈlɛs priˈkɔʃənz ər ˈteɪkən. əˈnəðər ˈvərʒən əv ðə ˈsɪmbəl həz ðə ˈtraɪˌæŋgəl sərˈaʊndɪd baɪ ən ɑrk. ðɪs ˈvɛriənt ɪz ɪn ˈrɛfərəns tɪ ðə prəˈtɛktɪv dɪˈvaɪs, səʧ ɛz ən rɪst stræp, ˈrəðər ðən ðə kəmˈpoʊnənt biɪŋ prəˈtɛktɪd. ɪt ˈjuʒəwəli dɪz nɑt ˈfiʧər ðə hænd biɪŋ krɔst aʊt, ˈɪndəˌkeɪtɪŋ ðət ɪt meɪks ˈkɑnˌtækt wɪθ ðə kəmˈpoʊnənt ˈsərkəl ˈɛdət əˈnəðər ˈkɑmən ˈsɪmbəl teɪks ðə fɔrm əv ə boʊld ˈsərkəl biɪŋ ˌɪntərˈsɛktɪd baɪ θri ˈɛroʊz. ərˈɪʤəˌneɪtɪŋ ɛz ə juz. ˈmɪlɪˌtɛri ˈstændərd, ɪt həz bɪn əˈdɑptəd industry-wide*. ɪt ɪz ˌɪnˈtɛndɪd ɛz ə dɪˈpɪkʃən əv ə dɪˈvaɪs ər kəmˈpoʊnənt biɪŋ briʧt baɪ ˈstætɪk ˈʧɑrʤɪz, ˈɪndəˌkeɪtɪd baɪ ðə wən ˈvərʒən ɔn ðə ˈsərkəl wɪθ θri ˈɛroʊz kən bi sin æt ðə lɛft əv ðɪs ˈpɪkʧər. ɪgˈzæmpəlz ˈɛdət taɪps əv dɪˈvaɪsɪz ˌɪnˈklud: bæg ˈɛdət ən bæg ɪz ə bæg juzd fər ˈstɔrɪŋ ər ˈʃɪpɪŋ ˌɪˌlɛkˈtrɑnɪk kəmˈpoʊnənts wɪʧ meɪ bi proʊn tɪ ˈdæmɪʤ kɔzd baɪ ˌɪˌlɛktroʊˈstætɪk ˈdɪsˌʧɑrʤ (esd*). ˈaɪəˌnaɪzɪŋ bɑr ˈɛdət ən ˈaɪəˌnaɪzɪŋ bɑr, ˈsəmˌtaɪmz rɪˈfərd tɪ ɛz ə ˈstætɪk bɑr, ɪz ə taɪp əv ˌɪnˈdəstriəl ɪkˈwɪpmənt juzd fər riˈmuvɪŋ ˈstætɪk ɪˌlɛkˈtrɪsəti frəm ə pərˈdəkʃən laɪn tɪ ˈdɪsəˌpeɪt ˈstætɪk klɪŋ ənd ˈəðər səʧ fəˈnɑmənə ðət wʊd dɪsˈrəpt ðə laɪn. ɪt ɪz ˌɪmˈpɔrtənt ɪn ðə ˌmænjəˈfækʧərɪŋ ənd ˈprɪnɪŋ ˈɪndəstriz, ˌɔlˈðoʊ ɪt kən bi juzd ɪn ˈəðər ˌæpləˈkeɪʃənz ɛz ˈaɪəˌnaɪzɪŋ bɑrz ər moʊst ˈkɑmənli səˈspɛndɪd əˈbəv ə kənˈveɪər bɛlt ər ˈəðər ˌæpərˈætəs ɪn ə pərˈdəkʃən laɪn wɛr ðə ˈprɑdəkt kən pæs bɪˈloʊ ɪt; ðə ˈdɪstəns ɪz ˈjuʒəwəli ˈkæləˌbreɪtəd fər ðə spɪˈsɪfɪk ðə bɑr wərks baɪ ɪˈmɪtɪŋ ən kərˈoʊnə ˈɔntu ðə ˈprɑdəkts bɪˈloʊ ɪf ðɛn ə ˈprɑdəkt ɔn ðə laɪn həz ə ˈpɑzətɪv ər ˈnɛgətɪv ˈstætɪk ʧɑrʤ, ɛz ɪt ˈpæsɪz θru ðə ˈɔrə kriˈeɪtɪd baɪ ðə bɑr, ɪt wɪl əˈtrækt ðə ˌkɔrəˈspɑndɪŋli ʧɑrʤd ˈpɑzətɪv ər ˈnɛgətɪv aɪɑnz ənd bɪˈkəm ɪˈlɛktrɪkəli ˈgɑrmənts ˈɛdət ʃuz ˈgɑrmənts ər ˈkloʊðɪŋ ɪz rikˈwaɪərd tɪ prɪˈvɛnt ˈdæmɪʤ tɪ ɪˈlɛktrɪkəl kəmˈpoʊnənts ər tɪ prɪˈvɛnt faɪərz ənd ɪkˈsploʊʒənz wɪn ˈwərkɪŋ wɪθ ˈflæməbəl ˈlɪkwɪdz ənd ˈgæsɪz. wən əv ðə weɪz tɪ bɑnd ər ɪˈlɛktrɪkəli kəˈnɛkt ˌpərsəˈnɛl tɪ graʊnd ɪz ðə juz əv ən ˈgɑrmənt. ˈgɑrmənts hæv kənˈdəktɪv θrɛdz ɪn ðɛm, kriˈeɪtɪŋ ə ˈwɛrəbəl ˈvərʒən əv ə ˈfærəˌdeɪ keɪʤ. ˈgɑrmənts əˈtɛmpt tɪ ʃild ˈsɛnsɪtɪv dɪˈvaɪsɪz frəm ˈhɑrmfəl ˈstætɪk ˈʧɑrʤɪz frəm ˈkloʊðɪŋ səʧ ɛz wʊl, sɪlk, ənd sɪnˈθɛtɪk ˈfæbrɪks ɔn ˈpipəl ˈwərkɪŋ wɪθ ðɛm. fər ðiz ˈgɑrmənts tɪ wərk ˈprɑpərli, ðeɪ məst ˈɔlsoʊ bi kəˈnɛktɪd tɪ graʊnd wɪθ ə stræp. moʊst ˈgɑrmənts ər nɑt kənˈdəktɪv ɪˈnəf tɪ prəˈvaɪd ˈpərsɪnəl ˈgraʊndɪŋ soʊ fʊt stræps ənd rɪst stræps ər ˈɔlsoʊ wɔrn. ˈgɑrmənts ər kənˈsɪdərd ən ˈɔpʃənəl ˈmɛθəd tɪ kənˈtroʊl. ən prəˈtɛktɪd ˈɛriə ɪz ə dɪˈfaɪnd loʊˈkeɪʃən wɪθ ðə ˈnɛsəˌsɛri məˈtɪriəlz, tulz, ənd ɪkˈwɪpmənt ˈkeɪpəbəl əv kənˈtroʊlɪŋ ˈstætɪk ɪˌlɛkˈtrɪsəti tɪ ə ˈlɛvəl ðət ˈmɪnəˌmaɪzəz ˈdæmɪʤ tɪ səˈsɛptəbəl ˈaɪtəmz. ɪn ðə prəˈtɛktɪd ˈɛriə, ɔl kənˈdəktərz ɪn ðə ɪnˈvaɪrənmənt, ˌɪnˈkludɪŋ ˌpərsəˈnɛl, ʃæl bi ˈbɑndɪd ər ɪˈlɛktrɪkəli kəˈnɛktɪd ənd əˈtæʧt tɪ ə noʊn graʊnd ər kənˈtraɪvd graʊnd. ðɪs əˈtæʧmənt kriˈeɪts ən ˈbæləns bɪtˈwin ɔl ˈaɪtəmz ənd ˌpərsəˈnɛl. ˌɪˌlɛktroʊˈstætɪk prəˈtɛkʃən kən bi meɪnˈteɪnd æt ə pəˈtɛnʃəl əˈbəv ə "ˈziroʊ" ˈvoʊltɪʤ graʊnd pəˈtɛnʃəl ɛz lɔŋ ɛz ɔl ˈaɪtəmz ɪn ðə ˈsɪstəm ər æt ðə seɪm pəˈtɛnʃəl. ˈgɑrmənts ər juzd ɪn ˈmɛni ˈɪndəstriz səʧ ɛz ˌɪˌlɛkˈtrɑnɪks, kəmˌjunəˈkeɪʃənz, ˌtɛləkəmˌjunəˈkeɪʃənz ənd dɪˈfɛns ˌæpləˈkeɪʃənz. ɛz kəmˈpjutərz ənd ˌɪˌlɛkˈtrɑnɪks bɪˈkəm ˈɛvər mɔr pərˈveɪsɪv ɪn kənˈsumər ˈprɑdəkts ən ˌɪnˈkrisɪŋ ˈnəmbər əv ˌmænjəˈfækʧərərz wɪl nid tɪ əˈplaɪ kənˈtroʊl ˈmɛʒərz. wən səʧ ˈmɛʒər ɪz əˈpærəl bɪˈkəz ˈpipəl ər ðə ˈgreɪtəst sɔrs əv ˈstætɪk ʧɑrʤ ɪn ðə ˈwərkˌpleɪs. ˌtrænspərˈteɪʃən əv ˌɪˌlɛktroʊˈstætɪk ˈsɛnsɪtɪv dɪˈvaɪsɪz ˈɔlsoʊ rikˈwaɪərz ˈpækɪʤɪŋ ðət prəˈvaɪdz prəˈtɛkʃən frəm ˌɪˌlɛktroʊˈstætɪk ˈhæzərdz ɪn ðə ˌtrænspərˈteɪʃən ər ˈstɔrɪʤ ˈsɪstəm. ɪn ðə keɪs əv ən prəˈtɛktɪd ˈɛriə dɪˈzaɪnd wɪθ kənˈtɪnjuəs ˈgraʊndɪŋ əv ɔl kənˈdəktərz ənd ˈdɪsəˌpeɪtɪv ˈaɪtəmz (ˌɪnˈkludɪŋ ˌpərsəˈnɛl), ˈpækɪʤɪŋ meɪ nɑt bi ˈnɛsəˌsɛri. ðə əˈmaʊnt əv ˈstætɪk ɪˌlɛkˈtrɪsəti wi fil ˈvɛriz əˈkɔrdɪŋ tɪ ˈfæktərz səʧ ɛz ɑr ˈbɑdi ənd fʊt saɪz. ə ˈlɑrʤər ˈbɑdi ənd ˈbɪgər fit ˌrikˈwaɪər mɔr ʧɑrʤ tɪ bi stɔrd tɪ ˈproʊdus ðə seɪm ˈvoʊltɪʤ. ðə məˈtɪriəl ɑr kloʊðz ər meɪd frəm ənd ðə soʊlz əv ɑr ʃuz kən ˈɪnfluəns ˈstætɪk ɪˌlɛkˈtrɪsəti tu. ˈwɛðər əˈfɛkts ɪt ɛz wɛl. ðɛr ɪz mɔr ˈbɪlˌdəp əv ˈstætɪk ʧɑrʤ wɪn ðə ɛr ɪz draɪ. moʊst ˈpipəl fil ˈhɑrmləs ʃɑks æt əraʊnd voʊlts. ˌhaʊˈɛvər ɪˈlɛktrɪkəl kəmˈpoʊnənts kən bi ˈdæmɪʤd baɪ ɛz ˈlɪtəl ɛz ə fju voʊlts. ɪt ɪz ˈɛstəˌmeɪtɪd ðət bɪtˈwin eɪt pərˈsɛnt ənd 33 pərˈsɛnt əv ˈprɑdəkt prəˈpɔrʃən əv ˈprɑdəkts wɪʧ ər ˈrɛndərd du tɪ ˈstætɪk ɪˌlɛkˈtrɪsəti. ˈstætɪk ɪˌlɛkˈtrɪsəti ɪz ˈʤɛnərəli ˈhɑrmləs tɪ ðə ˌɪndəˈvɪʤəwəl bət ɪf nɑt kənˈtroʊld, ˌɪˌlɛktroʊˈstætɪk ˈdɪsˌʧɑrʤ kən kɔz ˈprɑdəkt ˈdæmɪʤ tɪ ˌɪˌlɛktroʊˈstætɪk ˈsɛnsɪtɪv dɪˈvaɪsɪz ənd lɛd tɪ məˈʃinəri ˈdaʊnˌtaɪm, lɔst man-hours*, rɪˈtərnd ˈprɑdəkts ənd ˈwɔrənti kɔsts ˌpɑrˈtɪkjələrli ɪn ðə ˌsɛmɪkənˈdəktər ənd ˌɪˌlɛkˈtrɑnɪks ˈɪndəstriz, wɪʧ kɔzd 5 ˈbɪljən wərθ əv ˈdæmɪʤ tɪ ˈprɑdəkts iʧ jɪr. mæt ˈɛdət ən flɔr mæt ər graʊnd mæt ɪz wən əv ə ˈnəmbər əv dɪˈvaɪsɪz dɪˈzaɪnd tɪ hɛlp ɪˈlɪməˌneɪt ˈstætɪk ɪˌlɛkˈtrɪsəti. ɪt dɪz ðɪs baɪ ˈhævɪŋ ə kənˈtroʊld loʊ rɪˈzɪstəns: ə ˈmɛtəl mæt wʊd kip pɑrts ˈgraʊndɪd bət wʊd ʃɔrt aʊt ɪkˈspoʊzd pɑrts; ən ˈɪnsəˌleɪtɪŋ mæt wʊd prəˈvaɪd noʊ graʊnd ˈrɛfərəns ənd soʊ wʊd nɑt prəˈvaɪd ˈgraʊndɪŋ. ˈtɪpɪkəl rɪˈzɪstəns ɪz ɔn ðə ˈɔrdər əv 105 tɪ 108 oʊmz bɪtˈwin pɔɪnts ɔn ðə mæt ənd tɪ ðə mæt wʊd nid tɪ bi ˈgraʊndɪd (earthed*). ðɪs ɪz ˈjuʒəwəli əˈkɑmplɪʃt baɪ ˈpləgɪŋ ˈɪntu ðə ˈgraʊndɪd laɪn ɪn ən ɪˈlɛktrɪkəl ˈaʊˌtlɛt. ɪts ˌɪmˈpɔrtənt tɪ ˈdɪsˌʧɑrʤ æt ə sloʊ reɪt, ˈðɛrˌfɔr ə ʃʊd bi juzd ɪn ðə mæt. ðə, ɛz wɛl ɛz əˈlaʊɪŋ ˈʧɑrʤɪz tɪ lik θru tɪ ərθ, ˈɔlsoʊ prɪˈvɛnts ə ʃɑk ˈhæzərd wɪn ˈwərkɪŋ wɪθ pɑrts. səm graʊnd mæts əˈlaʊ ju tɪ kəˈnɛkt ən rɪst stræp tɪ ðɛm. ˈvərʒənz ər dɪˈzaɪnd fər ˈpleɪsmənt ɔn boʊθ ðə flɔr ənd dɛsk. rɪst stræp ˈɛdət rɪst stræp kəˈnɛktɪd tɪ ə bɛnʧ ˈmaʊnɪd ˈgraʊndɪŋ ˈsɑkət ən rɪst stræp wɪθ ˈkrɑkəˌdaɪl klɪp. ən rɪst stræp, rɪst stræp, ər graʊnd ˈbreɪslət ɪz ən dɪˈvaɪs juzd tɪ ˈseɪfli graʊnd ə ˈpərsən ˈwərkɪŋ ɔn ˈvɛri ˈsɛnsɪtɪv ˌɪˌlɛkˈtrɑnɪk ɪkˈwɪpmənt, tɪ prɪˈvɛnt ðə ˈbɪlˌdəp əv ˈstætɪk ɪˌlɛkˈtrɪsəti ɔn ðɛr ˈbɑdi, wɪʧ kən rɪˈzəlt ɪn ˌɪˌlɛktroʊˈstætɪk ˈdɪsˌʧɑrʤ (esd*). ɪt ɪz juzd ɪn ðə ˌɪˌlɛkˈtrɑnɪks ˈɪndəstri baɪ ˈwərkərz ˈwərkɪŋ ɔn ˌɪˌlɛkˈtrɑnɪk dɪˈvaɪsɪz wɪʧ kən bi ˈdæmɪʤd baɪ, ənd ˈɔlsoʊ ˈsəmˌtaɪmz baɪ ˈpipəl ˈwərkɪŋ əraʊnd ɪkˈsploʊsɪvz, tɪ prɪˈvɛnt ɪˈlɛktrɪk spɑrks wɪʧ kʊd sɛt ɔf ən ɪkˈsploʊʒən. ɪt kənˈsɪsts əv ən ɪˈlæstɪk bænd əv ˈfæbrɪk wɪθ faɪn kənˈdəktɪv ˈfaɪbərz ˈwoʊvən ˈɪntu ɪt, əˈtæʧt tɪ ə waɪər wɪθ ə klɪp ɔn ðə ɛnd tɪ kəˈnɛkt ɪt tɪ ə graʊnd kənˈdəktər. ðə ˈfaɪbərz ər ˈjuʒəwəli meɪd əv ˈkɑrbən ər ˈrəbər, ənd ðə stræp ɪz baʊnd wɪθ ə ˈsteɪnləs stil klæsp ər pleɪt. ðeɪ ər ˈjuʒəwəli juzd ɪn kənˈʤəŋkʃən wɪθ ən mæt ɔn ðə ˈwərkˌbɛnʧ, ər ə ˈspɛʃəl ˈplæstɪk ˈlæməˌneɪt ɔn ðə ˈwərkˌbɛnʧ ˈsərfəs. ðə rɪst stræp ɪz ˈjuʒəwəli wɔrn ɔn ðə hænd (ðə lɛft rɪst fər ə raɪˈthændɪd ˈpərsən). ɪt ɪz kəˈnɛktɪd tɪ graʊnd θru ə kɔɪld riˈtræktəbəl ˈkeɪbəl ənd 1, wɪʧ əˈlaʊz ˈʧɑrʤɪz tɪ lik θru bət prɪˈvɛnts ə ʃɑk ˈhæzərd wɪn ˈwərkɪŋ wɪθ pɑrts. wɛr haɪər ˈvoʊltɪʤɪz ər ˈprɛzənt, ˈɛkstrə rɪˈzɪstəns pər 250 vi) ɪz ˈædɪd ɪn ðə pæθ tɪ graʊnd tɪ prəˈtɛkt ðə ˈwɛrər frəm ɪkˈsɛsɪv kərənts; ðɪs ˈtɪpɪkəli teɪks ðə fɔrm əv ə 4 ɪn ðə kɔɪld ˈkeɪbəl (ər, mɔr ˈkɑmənli, ə 2 æt iʧ ɛnd). rɪst stræps dɪˈzaɪnd fər ˌɪnˈdəstriəl juz ˈjuʒəwəli kəˈnɛkt tɪ ərθ ˈbɑndɪŋ pɔɪnts, graʊnd kəˈnɛkʃənz bɪlt ˈɪntu ðə ˈwərkˌpleɪs, ˈviə ˈiðər ə ˈstændərd 4 pləg ər 10 prɛs stəd, wɛˈræz stræps dɪˈzaɪnd fər kənˈsumər juz ˈɔfən hæv ə ˈkrɑkəˌdaɪl klɪp fər ðə graʊnd kəˈnɛkʃən. ɪn əˈdɪʃən tɪ rɪst stræps, ˈæŋkəl ənd hil stræps ər juzd ɪn ˈɪndəstri tɪ blid əˈweɪ əˈkjumjəˌleɪtɪd ʧɑrʤ frəm ə ˈbɑdi. ðiz dɪˈvaɪsɪz ər ˈjuʒəwəli nɑt ˈtɛðərd tɪ ərθ graʊnd, bət ˌɪnˈstɛd ˌɪnˈkɔrpərˌeɪt haɪ rɪˈzɪstəns ɪn ðɛr kənˈstrəkʃən, ənd wərk baɪ ˈdɪsəˌpeɪtɪŋ ɪˈlɛktrɪkəl ʧɑrʤ tɪ ˈspɛʃəl flɔr taɪlz. səʧ stræps ər juzd wɪn ˈwərkərz nid tɪ bi ˈmoʊbəl ɪn ə wərk ˈɛriə ənd ə ˈgraʊndɪŋ ˈkeɪbəl wʊd gɪt ɪn ðə weɪ. ðeɪ ər juzd ˌpɑrˈtɪkjələrli ɪn ən ˈɔpərˌeɪtɪŋ ˈθiətər, wɛr ˈɑksɪʤən ər ɪkˈsploʊsɪv ˌænəsˈθɛtɪk ˈgæsɪz ər juzd. "ˈwaɪrlɪs" ər "ˈdɪsəˌpeɪtɪv" rɪst stræps ər əˈveɪləbəl, wɪʧ kleɪm tɪ prəˈtɛkt əˈgɛnst wɪˈθaʊt ˈnidɪŋ ə graʊnd waɪər, ˈtɪpɪkəli baɪ ɛr ˌaɪənəˈzeɪʃən ər kərˈoʊnə ˈdɪsˌʧɑrʤ. ðiz ər ˈwaɪdli rɪˈgɑrdɪd ɛz ɪf nɑt ˈfrɔʤələnt, ənd ɪgˈzæmpəlz hæv bɪn ˈtɛstɪd ənd ʃoʊn nɑt tɪ prəˈfɛʃənəl ˈstændərdz ɔl ˌrikˈwaɪər waɪərd rɪst si ˈɔlsoʊ ˈɛdət
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the twins have agreed to a deal with former tigers reliever joel, pending a physical, a major league official confirmed today.
the agreement was first reported by mlb.com.
zumaya, 27, is expected to take his physical sometime late this week, perhaps thursday or friday, and the twins plan to be careful not to comment publicly until after everything checks out ok.
the physical will be key because has had a history of arm issues. in 2010, he posted a era in 31 appearances before breaking his right arm on a pitch at target field.
but the twins had scouts on hand for his workout in dallas recently when he was throwing mph, easily, on every fastball.
one key note is that has agreed to a major league deal. this means he'll be given a spot on the roster, but the twins would be able to cut him in spring training and not be on the hook for all of the guaranteed money if something doesn't look right.
the contract would pay about $800,000, with up to about $900,000 in additional incentives, which are usually based on games pitched.
on the surface, this appears to be a nice low-risk, deal for the twins. if is throwing anywhere near as well as he was before the injury in 2010, the twins are getting a steal.
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ðə twɪnz hæv əˈgrid tɪ ə dil wɪθ ˈfɔrmər ˈtaɪgərz riˈlivər ʤoʊəl, ˈpɛndɪŋ ə ˈfɪzɪkəl, ə ˈmeɪʤər lig əˈfɪʃəl kənˈfərmd təˈdeɪ. ðə əˈgrimənt wɑz fərst ˌriˈpɔrtəd baɪ mlb.com*., 27 ɪz ɪkˈspɛktɪd tɪ teɪk hɪz ˈfɪzɪkəl ˈsəmˌtaɪm leɪt ðɪs wik, pərˈhæps ˈθərzˌdeɪ ər ˈfraɪˌdeɪ, ənd ðə twɪnz plæn tɪ bi ˈkɛrfəl nɑt tɪ ˈkɑmɛnt ˈpəblɪkli ənˈtɪl ˈæftər ˈɛvriˌθɪŋ ʧɛks aʊt ˈoʊˈkeɪ. ðə ˈfɪzɪkəl wɪl bi ki bɪˈkəz həz hæd ə ˈhɪstəri əv ɑrm ˈɪʃuz. ɪn 2010 hi ˈpoʊstɪd ə ˈɪrə ɪn 31 əˈpɪrənsəz ˌbiˈfɔr ˈbreɪkɪŋ hɪz raɪt ɑrm ɔn ə pɪʧ æt ˈtərgət fild. bət ðə twɪnz hæd skaʊts ɔn hænd fər hɪz ˈwərˌkaʊt ɪn ˈdæləs ˈrisəntli wɪn hi wɑz θroʊɪŋ ˈɛmˈpiˈeɪʧ, ˈizəli, ɔn ˈɛvəri ˈfæstˌbɔl. wən ki noʊt ɪz ðət həz əˈgrid tɪ ə ˈmeɪʤər lig dil. ðɪs minz hil bi ˈgɪvɪn ə spɑt ɔn ðə ˈrɑstər, bət ðə twɪnz wʊd bi ˈeɪbəl tɪ kət ɪm ɪn spərɪŋ ˈtreɪnɪŋ ənd nɑt bi ɔn ðə hʊk fər ɔl əv ðə ˌgɛrənˈtid ˈməni ɪf ˈsəmθɪŋ ˈdəzənt lʊk raɪt. ðə ˈkɑnˌtrækt wʊd peɪ əˈbaʊt wɪθ əp tɪ əˈbaʊt ɪn əˈdɪʃənəl ˌɪnˈsɪnɪvz, wɪʧ ər ˈjuʒəwəli beɪst ɔn geɪmz pɪʧt. ɔn ðə ˈsərfəs, ðɪs əˈpɪrz tɪ bi ə nis low-risk*, dil fər ðə twɪnz. ɪf ɪz θroʊɪŋ ˈɛniˌwɛr nɪr ɛz wɛl ɛz hi wɑz ˌbiˈfɔr ðə ˈɪnʤəri ɪn 2010 ðə twɪnz ər ˈgɪtɪŋ ə stil.
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how cool is all of this stuff?!
i was not expecting it to come today since it is labor day so this was a pleasant surprise!
i teach a class of 20 students, half and half kindergarten. we love books in my class and i just received 7 new books! who doesn't love bears??
i wear a smock at my school and i get to dress it up with some flair, so the buttons were perfect. plus, i love big bang theory, so it works out perfectly!
the hot potato game is too cute! i pushed it to listen and scared the crap out of my cats. totally worth it.
the pencils are wonderful!!! who doesn't love dr. seuss and the cat in the hat?
thank you, thank you, a million times, thank you!!! :) i think my kids will love all of this just as much as i do! i can't wait to read the stories to them!
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haʊ kul ɪz ɔl əv ðɪs stəf?! aɪ wɑz nɑt ɪkˈspɛktɪŋ ɪt tɪ kəm təˈdeɪ sɪns ɪt ɪz ˈleɪbər deɪ soʊ ðɪs wɑz ə ˈplɛzənt səˈpraɪz! aɪ tiʧ ə klæs əv 20 ˈstudənts, hæf ənd hæf ˈkɪndərˌgɑrtən. wi ləv bʊks ɪn maɪ klæs ənd aɪ ʤɪst rɪˈsivd 7 nu bʊks! hu ˈdəzənt ləv bɛrz?? aɪ wɛr ə smɑk æt maɪ skul ənd aɪ gɪt tɪ drɛs ɪt əp wɪθ səm flɛr, soʊ ðə ˈbətənz wər ˈpərˌfɪkt. pləs, aɪ ləv bɪg bæŋ ˈθɪri, soʊ ɪt wərks aʊt ˈpərfəktli! ðə hɑt pəˈteɪˌtoʊ geɪm ɪz tu kjut! aɪ pʊʃt ɪt tɪ ˈlɪsən ənd skɛrd ðə kræp aʊt əv maɪ kæts. ˈtoʊtəli wərθ ɪt. ðə ˈpɛnsəlz ər ˈwəndərfəl!!! hu ˈdəzənt ləv ˈdɑktər. sus ənd ðə kæt ɪn ðə hæt? θæŋk ju, θæŋk ju, ə ˈmɪljən taɪmz, θæŋk ju!!! aɪ θɪŋk maɪ kɪdz wɪl ləv ɔl əv ðɪs ʤɪst ɛz məʧ ɛz aɪ du! aɪ kænt weɪt tɪ rɛd ðə ˈstɔriz tɪ ðɛm!
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five weeks into the search for eric frein, resident james tully knows the drill. stop when a police officer approaches. show identification. be cooperative.
tully, 39, doesn't own a car and must walk five miles along heavily wooded route 447 directly through the search area twice each day on his way to and from his job at a metal fabrication plant.
he said he's been stopped more than 20 times by officers who thought he might be frein, the survivalist and expert marksman suspected of shooting two state police troopers, killing one. in fact, tully said, he was stopped seven times in one day.
an encounter last week, which tully said left him shaking with fear after a gun was pointed in his face, mirrors the frustration of a community caught in the middle of the police manhunt for frein, a search now in its second month.
residents live daily with the fear that a man whom police describe as an armed and dangerous murderer might be in their midst, a man who has managed to elude capture despite an unprecedented number of law enforcement officers on his trail.
after staying open monday following another reported sighting of suspect eric frein, pocono mountain school district closed tuesday. after staying open monday following another reported sighting of suspect eric frein, pocono mountain school district closed tuesday. see more videos
"i haven't had a good night's sleep since this whole thing started," tully said. "i don't have a choice; i have to walk through here. i can't miss work. i can't afford it."
he said most of the encounters he's had with police on his way to and from work have ended peacefully, with an officer looking over his identification and sending him on his way with a warning to be careful.
that changed thursday night, he said, when a man dressed in camouflage jumped out of a silver sport utility vehicle and pointed a rifle at his head.
"i had my id out, but he just kept yelling at me 'get on the ground, get on the ground!' i was scared. i just thought to myself: just let me live through this," tully said.
he said he tried to show the man his work identification and driver's license, which he wears on a lanyard around his neck, but the man with the gun kept shouting. tully claims the man used a knee to hold him on the ground, and said it seemed as if his spine were breaking.
tully said he was too stunned to ask the man to identify himself, but believes he was a law enforcement officer of some kind because a uniformed state trooper intervened, telling the man that tully was a local.
he said the incident sent him to a hospital emergency room with severely bruised ribs, and has added to the daily stress of living in the search area.
state police spokeswoman connie devens said she was unaware of the incident, noting that tully had not filed a complaint with state police.
tully said his family and friends have urged him to contact an attorney, but what he mostly wants is an apology.
his trek to work takes about two hours each way. walking home alone at night was already scary, tully said. unlike some of the bounty hunters who've flocked to the poconos hoping to claim the $175,000 fbi reward, he's just hoping he doesn't meet up with frein in the woods.
"what would i do? i would try to hide, try to avoid being seen by him. i would definitely notify police if i did see him," tully said.
frein, 31, of, remained at large tuesday despite the massive police presence in the poconos and the bounty on his head. the pocono mountain school district closed tuesday as a flurry of police activity descended on swiftwater, slightly south of the initial search area. police reported no confirmed sightings of frein.
frein is suspected of killing cpl. bryon dickson, 38, and wounding trooper alex douglass, 31, on sept. 12 at the blooming grove state police barracks in pike county. douglass is recovering at a rehabilitation facility after being released from a scranton hospital last week.
police have not publicly identified a motive for the shooting, but say frein has a grudge against law enforcement.
tully said he and his neighbors are growing weary of the seemingly endless manhunt and are starting to lose confidence in police. he believes that some of the so-called "credible sightings" police cite in their reasons for staying in the area are prompted by false tips called in by people sympathetic to frein to "throw off" the hunt.
tully also said he couldn't understand why police keep looking at him as the possible suspect, when he's just 5 feet 8 inches tall and frein is 6 feet 1 inch tall.
tully, a father of two who has lived in since 2001, said the town in northern monroe county is usually tranquil except for hunting season. now he's worried about letting his two daughters, ages 11 and 4, play outside.
"i have enough difficulties in my life already. i don't need this stress."
lmason@mcall.com
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faɪv wiks ˈɪntu ðə sərʧ fər ˈɛrɪk freɪn, ˈrɛzɪdənt ʤeɪmz ˈtəli noʊz ðə drɪl. stɑp wɪn ə pəˈlis ˈɔfɪsər əˈproʊʧɪz. ʃoʊ aɪˌdɛntəfəˈkeɪʃən. bi koʊˈɑpərˌeɪtɪv. ˈtəli, 39 ˈdəzənt oʊn ə kɑr ənd məst wɔk faɪv maɪəlz əˈlɔŋ ˈhɛvəli ˈwʊdɪd rut 447 dɪˈrɛkli θru ðə sərʧ ˈɛriə twaɪs iʧ deɪ ɔn hɪz weɪ tɪ ənd frəm hɪz ʤɑb æt ə ˈmɛtəl ˌfæbrɪˈkeɪʃən plænt. hi sɛd hiz bɪn stɑpt mɔr ðən 20 taɪmz baɪ ˈɔfɪsərz hu θɔt hi maɪt bi freɪn, ðə sərˈvaɪvəlɪst ənd ˈɛkspərt ˈmɑrksmən səˈspɛktɪd əv ˈʃutɪŋ tu steɪt pəˈlis ˈtrupərz, ˈkɪlɪŋ wən. ɪn fækt, ˈtəli sɛd, hi wɑz stɑpt ˈsɛvən taɪmz ɪn wən deɪ. ən ɪnˈkaʊnər læst wik, wɪʧ ˈtəli sɛd lɛft ɪm ˈʃeɪkɪŋ wɪθ fɪr ˈæftər ə gən wɑz ˈpɔɪntɪd ɪn hɪz feɪs, ˈmɪrərz ðə frəˈstreɪʃən əv ə kəmˈjunɪti kɔt ɪn ðə ˈmɪdəl əv ðə pəˈlis ˈmænˌhənt fər freɪn, ə sərʧ naʊ ɪn ɪts ˈsɛkənd mənθ. ˈrɛzɪdənts lɪv ˈdeɪli wɪθ ðə fɪr ðət ə mæn hum pəˈlis dɪˈskraɪb ɛz ən ɑrmd ənd ˈdeɪnʤərəs ˈmərdərər maɪt bi ɪn ðɛr mɪst, ə mæn hu həz ˈmænɪʤd tɪ ɪˈlud ˈkæpʧər dɪˈspaɪt ən ənˈprɛsɪˌdɛntɪd ˈnəmbər əv lɔ ɛnˈfɔrsmənt ˈɔfɪsərz ɔn hɪz treɪl. ˈæftər steɪɪŋ ˈoʊpən ˈmənˌdeɪ ˈfɑloʊɪŋ əˈnəðər ˌriˈpɔrtəd ˈsaɪtɪŋ əv ˈsəˌspɛkt ˈɛrɪk freɪn, ˈpoʊkəˌnoʊ ˈmaʊntən skul ˈdɪstrɪkt kloʊzd ˈtuzˌdeɪ. ˈæftər steɪɪŋ ˈoʊpən ˈmənˌdeɪ ˈfɑloʊɪŋ əˈnəðər ˌriˈpɔrtəd ˈsaɪtɪŋ əv ˈsəˌspɛkt ˈɛrɪk freɪn, ˈpoʊkəˌnoʊ ˈmaʊntən skul ˈdɪstrɪkt kloʊzd ˈtuzˌdeɪ. si mɔr ˈvɪdioʊz "aɪ ˈhævənt hæd ə gʊd naɪts slip sɪns ðɪs hoʊl θɪŋ ˈstɑrtɪd," ˈtəli sɛd. "aɪ doʊnt hæv ə ʧɔɪs; aɪ hæv tɪ wɔk θru hir. aɪ kænt mɪs wərk. aɪ kænt əˈfɔrd ɪt." hi sɛd moʊst əv ðə ɪnˈkaʊnərz hiz hæd wɪθ pəˈlis ɔn hɪz weɪ tɪ ənd frəm wərk hæv ˈɛndɪd ˈpisfəli, wɪθ ən ˈɔfɪsər ˈlʊkɪŋ ˈoʊvər hɪz aɪˌdɛntəfəˈkeɪʃən ənd ˈsɛndɪŋ ɪm ɔn hɪz weɪ wɪθ ə ˈwɔrnɪŋ tɪ bi ˈkɛrfəl. ðət ʧeɪnʤd ˈθərzˌdeɪ naɪt, hi sɛd, wɪn ə mæn drɛst ɪn ˈkæməˌflɑʒ ʤəmpt aʊt əv ə ˈsɪlvər spɔrt juˈtɪləti ˈviɪkəl ənd ˈpɔɪntɪd ə ˈraɪfəl æt hɪz hɛd. "aɪ hæd maɪ ˈaɪˈdi aʊt, bət hi ʤɪst kɛpt ˈjɛlɪŋ æt mi 'gɪt ɔn ðə graʊnd, gɪt ɔn ðə graʊnd!' aɪ wɑz skɛrd. aɪ ʤɪst θɔt tɪ ˌmaɪˈsɛlf: ʤɪst lɛt mi lɪv θru ðɪs," ˈtəli sɛd. hi sɛd hi traɪd tɪ ʃoʊ ðə mæn hɪz wərk aɪˌdɛntəfəˈkeɪʃən ənd ˈdraɪvərz ˈlaɪsəns, wɪʧ hi wɛrz ɔn ə ˈlænjərd əraʊnd hɪz nɛk, bət ðə mæn wɪθ ðə gən kɛpt ˈʃaʊtɪŋ. ˈtəli kleɪmz ðə mæn juzd ə ni tɪ hoʊld ɪm ɔn ðə graʊnd, ənd sɛd ɪt simd ɛz ɪf hɪz spaɪn wər ˈbreɪkɪŋ. ˈtəli sɛd hi wɑz tu stənd tɪ æsk ðə mæn tɪ aɪˈdɛntəˌfaɪ hɪmˈsɛlf, bət bɪˈlivz hi wɑz ə lɔ ɛnˈfɔrsmənt ˈɔfɪsər əv səm kaɪnd bɪˈkəz ə ˈjunəˌfɔrmd steɪt ˈtrupər ˌɪntərˈvind, ˈtɛlɪŋ ðə mæn ðət ˈtəli wɑz ə ˈloʊkəl. hi sɛd ðə ˈɪnsədənt sɛnt ɪm tɪ ə ˈhɑˌspɪtəl ˈimərʤənsi rum wɪθ səˈvɪrli bruzd rɪbz, ənd həz ˈædɪd tɪ ðə ˈdeɪli strɛs əv ˈlɪvɪŋ ɪn ðə sərʧ ˈɛriə. steɪt pəˈlis ˈspoʊksˌwʊmən ˈkɔni ˈdivənz sɛd ʃi wɑz ˌənəˈwɛr əv ðə ˈɪnsədənt, ˈnoʊtɪŋ ðət ˈtəli hæd nɑt faɪld ə kəmˈpleɪnt wɪθ steɪt pəˈlis. ˈtəli sɛd hɪz ˈfæməli ənd frɛndz hæv ərʤd ɪm tɪ ˈkɑnˌtækt ən əˈtərni, bət wət hi ˈmoʊstli wɔnts ɪz ən əˈpɑləˌʤi. hɪz trɛk tɪ wərk teɪks əˈbaʊt tu aʊərz iʧ weɪ. ˈwɔkɪŋ hoʊm əˈloʊn æt naɪt wɑz ɔˈrɛdi ˈskɛri, ˈtəli sɛd. ənˈlaɪk səm əv ðə ˈbaʊnti ˈhəntərz huv flɑkt tɪ ðə ˈpoʊkənoʊz ˈhoʊpɪŋ tɪ kleɪm ðə ˈɛfˈbiˈaɪ rɪˈwɔrd, hiz ʤɪst ˈhoʊpɪŋ hi ˈdəzənt mit əp wɪθ freɪn ɪn ðə wʊdz. "wət wʊd aɪ du? aɪ wʊd traɪ tɪ haɪd, traɪ tɪ əˈvɔɪd biɪŋ sin baɪ ɪm. aɪ wʊd ˈdɛfənətli ˈnoʊtəˌfaɪ pəˈlis ɪf aɪ dɪd si ɪm," ˈtəli sɛd. freɪn, 31 əv, rɪˈmeɪnd æt lɑrʤ ˈtuzˌdeɪ dɪˈspaɪt ðə ˈmæsɪv pəˈlis ˈprɛzəns ɪn ðə ˈpoʊkənoʊz ənd ðə ˈbaʊnti ɔn hɪz hɛd. ðə ˈpoʊkəˌnoʊ ˈmaʊntən skul ˈdɪstrɪkt kloʊzd ˈtuzˌdeɪ ɛz ə ˈfləri əv pəˈlis ækˈtɪvɪti dɪˈsɛndɪd ɔn swiftwater*, sˈlaɪtli saʊθ əv ðə ˌɪˈnɪʃəl sərʧ ˈɛriə. pəˈlis ˌriˈpɔrtəd noʊ kənˈfərmd ˈsaɪtɪŋz əv freɪn. freɪn ɪz səˈspɛktɪd əv ˈkɪlɪŋ cpl*. braɪən ˈdɪksən, 38 ənd ˈwundɪŋ ˈtrupər ˈæləks ˈdəgləs, 31 ɔn sɛpt. 12 æt ðə ˈblumɪŋ groʊv steɪt pəˈlis ˈbɛrəks ɪn paɪk ˈkaʊnti. ˈdəgləs ɪz rɪˈkəvərɪŋ æt ə ˌriəˌbɪləˈteɪʃən fəˈsɪlɪti ˈæftər biɪŋ riˈlist frəm ə ˈskræntən ˈhɑˌspɪtəl læst wik. pəˈlis hæv nɑt ˈpəblɪkli aɪˈdɛntəˌfaɪd ə ˈmoʊtɪv fər ðə ˈʃutɪŋ, bət seɪ freɪn həz ə grəʤ əˈgɛnst lɔ ɛnˈfɔrsmənt. ˈtəli sɛd hi ənd hɪz ˈneɪbərz ər groʊɪŋ ˈwɪri əv ðə ˈsimɪŋli ˈɛndləs ˈmænˌhənt ənd ər ˈstɑrtɪŋ tɪ luz ˈkɑnfədɛns ɪn pəˈlis. hi bɪˈlivz ðət səm əv ðə ˈsoʊˈkɔld "ˈkrɛdəbəl ˈsaɪtɪŋz" pəˈlis saɪt ɪn ðɛr ˈrizənz fər steɪɪŋ ɪn ðə ˈɛriə ər ˈprɑmptɪd baɪ fɔls tɪps kɔld ɪn baɪ ˈpipəl ˌsɪmpəˈθɛtɪk tɪ freɪn tɪ "θroʊ ɔf" ðə hənt. ˈtəli ˈɔlsoʊ sɛd hi ˈkʊdənt ˌəndərˈstænd waɪ pəˈlis kip ˈlʊkɪŋ æt ɪm ɛz ðə ˈpɑsəbəl ˈsəˌspɛkt, wɪn hiz ʤɪst 5 fit 8 ˈɪnʧɪz tɔl ənd freɪn ɪz 6 fit 1 ɪnʧ tɔl. ˈtəli, ə ˈfɑðər əv tu hu həz lɪvd ɪn sɪns 2001 sɛd ðə taʊn ɪn ˈnɔrðərn mənˈroʊ ˈkaʊnti ɪz ˈjuʒəwəli ˈtræŋkwɪl ɪkˈsɛpt fər ˈhəntɪŋ ˈsizən. naʊ hiz ˈwərid əˈbaʊt ˈlɛtɪŋ hɪz tu ˈdɔtərz, ˈeɪʤɪz 11 ənd 4 pleɪ ˈaʊtˈsaɪd. "aɪ hæv ɪˈnəf ˈdɪfɪˌkəltiz ɪn maɪ laɪf ɔˈrɛdi. aɪ doʊnt nid ðɪs strɛs." tˈwɪtər
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when the vegas golden knights take to the ice for their inaugural season later this year, it will be unlike any hockey experience las vegas has ever seen. and in some ways, that will be a shame.
the might be new to las vegas, but hockey has a history in the city. no fewer than eight professional and teams called vegas home in the 50 years preceding the incoming iteration, and some proved just as freewheeling and glitzy as the city they represented.
no team exemplified the joie de verve of las vegas more than the wranglers of the, who played at the orleans arena from. the wranglers were arguably the most successful franchise to call las vegas home, and held that distinction both on an off the ice, perhaps known best for its imaginative, if not irreverent, promotional themes. when you promote a game to coincide with the rapture, operating on another level.
more on that later. las vegas’ journey to the actually began in 1968, when afessional team called the las vegas gamblers debuted in the hockey league, playing at the international ice palace. while the gamblers only existed for three seasons, the league it played in would endure, transitioning to the pacific southwest hockey league before establishing itself as the west coast hockey league, which existed for decades before becoming part of the expanded in the mid-1990s.
a secondfessional team replaced the gamblers in 1971, with the las vegas outlaws taking the ice for two seasons. however brief, the outlaws left a mark in the city, going in the first of two seasons for one of the best records among any of the las vegas franchises.
but when the outlaws skipped town, the city would go two decades without a pro hockey presence. it would take an appearance by the great one in 1991 to infuse new life into vegas ice.
while the winter classic has become an annual tradition in the, it was nothing more than a preseason promotional gimmick in the early 1990s. and las vegas certainly shy away from hosting such a spectacle, welcoming the new york rangers and los angeles kings for an exhibition game on an outdoor rink at caesars palace before a crowd of. despite temperatures, the game played on and wayne gretzky scored for the kings in a victory.
within two years, as the began its southwestern migration, hockey returned to las vegas with the thunder of the. while the wranglers would later garner much fanfare, it was the thunder that truly put las vegas on the hockey map. playing its games at thomas & mack center, the thunder drew an average of more than fans in a debut campaign, and flourished in its six seasons, with several future stars dotting its roster, including alexei yashin, bonk and curtis joseph.
the thunder were not just some vegas side show. the team won a pair of division titles, in 1994 and, reached the conference finals twice, in and, and had a development deal with the phoenix coyotes of the.
but when refused to negotiate a lease extension with the thunder after the 1999 season, the team was left without a place to play and folded. but the run left an indelible impression and the franchise is credited with sparking initial interest in bringing an franchise to the city.
toward that end, the began hosting an exhibition series between the la kings and the colorado avalanche in las vegas called “frozen fury.” the annual game, which continues to this day, began in 1997 and was played at the mgm grand garden through 2015. in 2016, the series moved to the t-mobile arena, where the golden knights will play their home games.
throughout the 1990s, several teams attempted to join the las vegas hockey landscape alongside the thunder, but proved one-year wonders. the las vegas aces played one season (1994-95) in the pacific southwest league, while the las vegas ice dice never actually made it to the ice in 1995.
two summer roller hockey franchises emerged in 1993 and 1998, playing in a roller hockey international league that featured celebrity owners, including mark messier and tony danza. the las vegas flash played one season in and were coached by “miracle on ice” 1980 u.s. olympian ken morrow. the las vegas coyotes rolled for one year, in.
and then, there were the wranglers. debuting in 2003, the wranglers had the longest tenure of any las vegas team, concluding their run in 2014. in 11 seasons, the wranglers featured 19-bound players and had 11 winning seasons. but the wranglers will always be remembered for their imaginative promotions.
the team hosted rapture night on october 21, 2011. that was the date predicted by doomsayer harold camping as the last night on earth, and the wranglers going out without a party. the date was also the night of the wranglers’ season-opener, and all team coo billy johnson needed.
“this is a proposition,” johnson famously said. “if it go as planned, not the end of the world.”
the team went all out, even giving away t-shirts.
“nothing says rapture like a t-shirt night.” johnson said.
the wranglers also hosted “dick cheney hunting vest night” in 2006, giving out orange hunting vests to patrons that read, “don’t shoot, human!” in homage to the vice infamous hunting accident.
then there were the prison uniforms the team wore on rod night, in tribute to the disgraced former illinois governor who faced jail time for influence peddling. “over night featured uniform tops that made the players look like a scene out of “magic mike.”
and then there was the annual midnight game that started you guessed it at midnight, so that local casino workers who normally were on shift during wrangler games could see the team play.
the wranglers finally went the way of all the other las vegas hockey franchises, giving way to the golden knights, as the las vegas dream of the big leagues was finally realized with the.
rapture night? call it heaven on ice.
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wɪn ðə ˈveɪgəs ˈgoʊldən naɪts teɪk tɪ ðə aɪs fər ðɛr ˌɪˈnɔgərəl ˈsizən ˈleɪtər ðɪs jɪr, ɪt wɪl bi ənˈlaɪk ˈɛni ˈhɑki ɪkˈspɪriəns ˈɛˈleɪˈɛs ˈveɪgəs həz ˈɛvər sin. ənd ɪn səm weɪz, ðət wɪl bi ə ʃeɪm. ðə maɪt bi nu tɪ ˈɛˈleɪˈɛs ˈveɪgəs, bət ˈhɑki həz ə ˈhɪstəri ɪn ðə ˈsɪti. noʊ fjuər ðən eɪt prəˈfɛʃənəl ənd timz kɔld ˈveɪgəs hoʊm ɪn ðə 50 jɪrz priˈsidɪŋ ðə ˈɪnˌkəmɪŋ ˌɪtəˈreɪʃən, ənd səm pruvd ʤɪst ɛz ˈfriˌwilɪŋ ənd ˈglɪtsi ɛz ðə ˈsɪti ðeɪ ˌrɛprɪˈzɛnɪd. noʊ tim ɪgˈzɛmpləˌfaɪd ðə ʒwɑ də vərv əv ˈɛˈleɪˈɛs ˈveɪgəs mɔr ðən ðə ˈræŋgələrz əv ðə, hu pleɪd æt ðə ˌɔˈrlinz ərˈinə frəm ðə ˈræŋgələrz wər ˈɑrgjuəbli ðə moʊst səkˈsɛsfəl ˈfrænˌʧaɪz tɪ kɔl ˈɛˈleɪˈɛs ˈveɪgəs hoʊm, ənd hɛld ðət dɪˈstɪŋkʃən boʊθ ɔn ən ɔf ðə aɪs, pərˈhæps noʊn bɛst fər ɪts ˌɪˈmæʤənətɪv, ɪf nɑt ˌɪˈrɛvərənt, pərˈmoʊʃənəl θimz. wɪn ju prəˈmoʊt ə geɪm tɪ ˌkoʊɪnˈsaɪd wɪθ ðə ˈræpʧər, ˈɔpərˌeɪtɪŋ ɔn əˈnəðər ˈlɛvəl. mɔr ɔn ðət ˈleɪtər. ˈɛˈleɪˈɛs vegas’*’ ˈʤərni tɪ ðə ˈæˌkʧuəli bɪˈgæn ɪn 1968 wɪn ə tim kɔld ðə ˈɛˈleɪˈɛs ˈveɪgəs ˈgæmblərz ˈdeɪbjutɪd ɪn ðə ˈhɑki lig, pleɪɪŋ æt ðə ˌɪnərˈnæʃənɑl aɪs ˈpæləs. waɪl ðə ˈgæmblərz ˈoʊnli ɪgˈzɪstəd fər θri ˈsizənz, ðə lig ɪt pleɪd ɪn wʊd ɪnˈdʊr, trænˈzɪʃənɪŋ tɪ ðə pəˈsɪfɪk ˌsaʊθˈwɛst ˈhɑki lig ˌbiˈfɔr ɪˈstæblɪʃɪŋ ˌɪtˈsɛlf ɛz ðə wɛst koʊst ˈhɑki lig, wɪʧ ɪgˈzɪstəd fər ˈdɛkeɪdz ˌbiˈfɔr bɪˈkəmɪŋ pɑrt əv ðə ɪkˈspændɪd ɪn ðə mid-1990s*. ə ˈsɛkənd tim ˌriˈpleɪst ðə ˈgæmblərz ɪn 1971 wɪθ ðə ˈɛˈleɪˈɛs ˈveɪgəs ˈaʊˌtlɔz ˈteɪkɪŋ ðə aɪs fər tu ˈsizənz. ˌhaʊˈɛvər brif, ðə ˈaʊˌtlɔz lɛft ə mɑrk ɪn ðə ˈsɪti, goʊɪŋ ɪn ðə fərst əv tu ˈsizənz fər wən əv ðə bɛst ˈrɛkərdz əˈməŋ ˈɛni əv ðə ˈɛˈleɪˈɛs ˈveɪgəs ˈfrænˌʧaɪzɪz. bət wɪn ðə ˈaʊˌtlɔz skɪpt taʊn, ðə ˈsɪti wʊd goʊ tu ˈdɛkeɪdz wɪˈθaʊt ə proʊ ˈhɑki ˈprɛzəns. ɪt wʊd teɪk ən əˈpɪrəns baɪ ðə greɪt wən ɪn 1991 tɪ ˌɪnfˈjuz nu laɪf ˈɪntu ˈveɪgəs aɪs. waɪl ðə ˈwɪntər ˈklæsɪk həz bɪˈkəm ən ˈænjuəl trəˈdɪʃən ɪn ðə, ɪt wɑz ˈnəθɪŋ mɔr ðən ə ˌpriˈsizən pərˈmoʊʃənəl ˈgɪmɪk ɪn ðə ˈərli 1990s*. ənd ˈɛˈleɪˈɛs ˈveɪgəs ˈsərtənli ʃaɪ əˈweɪ frəm ˈhoʊstɪŋ səʧ ə ˈspɛktəkəl, ˈwɛlkəmɪŋ ðə nu jɔrk ˈreɪnʤərz ənd lɔs ˈænʤəlɪs kɪŋz fər ən ˌɛksəˈbɪʃən geɪm ɔn ən ˈaʊtˌdɔr rɪŋk æt ˈsizərz ˈpæləs ˌbiˈfɔr ə kraʊd əv dɪˈspaɪt ˈtɛmpərəʧərz, ðə geɪm pleɪd ɔn ənd weɪn ˈgrɛtˈski skɔrd fər ðə kɪŋz ɪn ə ˈvɪktəri. wɪˈθɪn tu jɪrz, ɛz ðə bɪˈgæn ɪts ˌsaʊθˈwɛstərn maɪˈgreɪʃən, ˈhɑki rɪˈtərnd tɪ ˈɛˈleɪˈɛs ˈveɪgəs wɪθ ðə ˈθəndər əv ðə. waɪl ðə ˈræŋgələrz wʊd ˈleɪtər ˈgɑrnər məʧ ˈfænˌfɛr, ɪt wɑz ðə ˈθəndər ðət ˈtruli pʊt ˈɛˈleɪˈɛs ˈveɪgəs ɔn ðə ˈhɑki mæp. pleɪɪŋ ɪts geɪmz æt ˈtɑməs mæk ˈsɛnər, ðə ˈθəndər dru ən ˈævərɪʤ əv mɔr ðən fænz ɪn ə ˈdeɪbju kæmˈpeɪn, ənd flərɪʃt ɪn ɪts sɪks ˈsizənz, wɪθ ˈsɛvərəl fˈjuʧər stɑrz ˈdɑtɪŋ ɪts ˈrɑstər, ˌɪnˈkludɪŋ əˈlɛkˌseɪ yashin*, bɑŋk ənd ˈkərtɪs ˈʤoʊzəf. ðə ˈθəndər wər nɑt ʤɪst səm ˈveɪgəs saɪd ʃoʊ. ðə tim wən ə pɛr əv dɪˈvɪʒən ˈtaɪtəlz, ɪn 1994 ənd riʧt ðə ˈkɑnfərəns ˈfaɪnəlz twaɪs, ɪn ənd ənd hæd ə dɪˈvɛləpmənt dil wɪθ ðə ˈfinɪks kaɪˈoʊtis əv ðə. bət wɪn rɪfˈjuzd tɪ nɪˈgoʊʃiˌeɪt ə lis ɪkˈstɛnʃən wɪθ ðə ˈθəndər ˈæftər ðə 1999 ˈsizən, ðə tim wɑz lɛft wɪˈθaʊt ə pleɪs tɪ pleɪ ənd ˈfoʊldɪd. bət ðə rən lɛft ən ˌɪnˈdɛlɪbəl ˌɪmˈprɛʃən ənd ðə ˈfrænˌʧaɪz ɪz ˈkrɛdɪtɪd wɪθ ˈspɑrkɪŋ ˌɪˈnɪʃəl ˈɪntəˌrɛst ɪn ˈbrɪŋɪŋ ən ˈfrænˌʧaɪz tɪ ðə ˈsɪti. təˈwɔrd ðət ɛnd, ðə bɪˈgæn ˈhoʊstɪŋ ən ˌɛksəˈbɪʃən ˈsɪriz bɪtˈwin ðə lɑ kɪŋz ənd ðə ˌkɑlərˈɑdoʊ ˈævəˌlænʧ ɪn ˈɛˈleɪˈɛs ˈveɪgəs kɔld fury.”*.” ðə ˈænjuəl geɪm, wɪʧ kənˈtɪnjuz tɪ ðɪs deɪ, bɪˈgæn ɪn 1997 ənd wɑz pleɪd æt ðə ˈɛmˈgiˈɛm grænd ˈgɑrdən θru 2015 ɪn 2016 ðə ˈsɪriz muvd tɪ ðə ˈtiˌmoʊbəl ərˈinə, wɛr ðə ˈgoʊldən naɪts wɪl pleɪ ðɛr hoʊm geɪmz. θruaʊt ðə 1990s*, ˈsɛvərəl timz əˈtɛmptəd tɪ ʤɔɪn ðə ˈɛˈleɪˈɛs ˈveɪgəs ˈhɑki ˈlænˌskeɪp əˈlɔŋˈsaɪd ðə ˈθəndər, bət pruvd ˈwənˌjɪr ˈwəndərz. ðə ˈɛˈleɪˈɛs ˈveɪgəs ˈeɪsɪz pleɪd wən ˈsizən ɪn ðə pəˈsɪfɪk ˌsaʊθˈwɛst lig, waɪl ðə ˈɛˈleɪˈɛs ˈveɪgəs aɪs daɪs ˈnɛvər ˈæˌkʧuəli meɪd ɪt tɪ ðə aɪs ɪn 1995 tu ˈsəmər ˈroʊlər ˈhɑki ˈfrænˌʧaɪzɪz ˈimərʤd ɪn 1993 ənd 1998 pleɪɪŋ ɪn ə ˈroʊlər ˈhɑki ˌɪnərˈnæʃənɑl lig ðət ˈfiʧərd səˈlɛbrɪti ˈoʊnərz, ˌɪnˈkludɪŋ mɑrk ˈmɛsiər ənd ˈtoʊni ˈdænzə. ðə ˈɛˈleɪˈɛs ˈveɪgəs flæʃ pleɪd wən ˈsizən ɪn ənd wər koʊʧt baɪ ɔn ice”*” 1980 juz. oʊˈlɪmpiən kɛn ˈmɔroʊ. ðə ˈɛˈleɪˈɛs ˈveɪgəs kaɪˈoʊtis roʊld fər wən jɪr, ɪn ənd ðɛn, ðɛr wər ðə ˈræŋgələrz. deɪˈbjutɪŋ ɪn 2003 ðə ˈræŋgələrz hæd ðə ˈlɔŋgɪst ˈtɛnjər əv ˈɛni ˈɛˈleɪˈɛs ˈveɪgəs tim, kənˈkludɪŋ ðɛr rən ɪn 2014 ɪn 11 ˈsizənz, ðə ˈræŋgələrz ˈfiʧərd 19 pleɪərz ənd hæd 11 ˈwɪnɪŋ ˈsizənz. bət ðə ˈræŋgələrz wɪl ˈɔlˌweɪz bi rɪˈmɛmbərd fər ðɛr ˌɪˈmæʤənətɪv pərˈmoʊʃənz. ðə tim ˈhoʊstɪd ˈræpʧər naɪt ɔn ɑkˈtoʊbər 21 2011 ðət wɑz ðə deɪt prɪˈdɪktɪd baɪ ˌdumˈseɪər ˈhɛrəld ˈkæmpɪŋ ɛz ðə læst naɪt ɔn ərθ, ənd ðə ˈræŋgələrz goʊɪŋ aʊt wɪˈθaʊt ə ˈpɑrti. ðə deɪt wɑz ˈɔlsoʊ ðə naɪt əv ðə wranglers’*’ season-opener*, ənd ɔl tim ku ˈbɪli ˈʤɑnsən ˈnidɪd. ɪz ə proposition,”*,” ˈʤɑnsən ˈfeɪməsli sɛd. ɪt goʊ ɛz plænd, nɑt ðə ɛnd əv ðə world.”*.” ðə tim wɛnt ɔl aʊt, ˈivɪn ˈgɪvɪŋ əˈweɪ ˈtiˌsərts. sɪz ˈræpʧər laɪk ə ˈtiˌsərt night.”*.” ˈʤɑnsən sɛd. ðə ˈræŋgələrz ˈɔlsoʊ ˈhoʊstɪd ˈʧeɪni ˈhəntɪŋ vɛst night”*” ɪn 2006 ˈgɪvɪŋ aʊt ˈɔrɪnʤ ˈhəntɪŋ vɛsts tɪ ˈpeɪtrənz ðət rɛd, ʃut, human!”*!” ɪn ˈɑməʤ tɪ ðə vaɪs ˈɪnfəməs ˈhəntɪŋ ˈæksədənt. ðɛn ðɛr wər ðə ˈprɪzən ˈjunəˌfɔrmz ðə tim wɔr ɔn rɑd naɪt, ɪn ˈtrɪbjut tɪ ðə dɪsˈgreɪst ˈfɔrmər ˌɪləˈnɔɪz ˈgəvərnər hu feɪst ʤeɪl taɪm fər ˈɪnfluəns ˈpɛdəlɪŋ. naɪt ˈfiʧərd ˈjunəˌfɔrm tɑps ðət meɪd ðə pleɪərz lʊk laɪk ə sin aʊt əv mike.”*.” ənd ðɛn ðɛr wɑz ðə ˈænjuəl ˈmɪdˌnaɪt geɪm ðət ˈstɑrtɪd ju gɛst ɪt æt ˈmɪdˌnaɪt, soʊ ðət ˈloʊkəl kəˈsinoʊ ˈwərkərz hu ˈnɔrməli wər ɔn ʃɪft ˈdʊrɪŋ ˈræŋgələr geɪmz kʊd si ðə tim pleɪ. ðə ˈræŋgələrz ˈfaɪnəli wɛnt ðə weɪ əv ɔl ðə ˈəðər ˈɛˈleɪˈɛs ˈveɪgəs ˈhɑki ˈfrænˌʧaɪzɪz, ˈgɪvɪŋ weɪ tɪ ðə ˈgoʊldən naɪts, ɛz ðə ˈɛˈleɪˈɛs ˈveɪgəs drim əv ðə bɪg ligz wɑz ˈfaɪnəli ˈriəˌlaɪzd wɪθ ðə. ˈræpʧər naɪt? kɔl ɪt ˈhɛvən ɔn aɪs. ðɪs ˈɑrtɪkəl fərst əˈpɪrd ɪn ðə ərˈinə ˈdaɪʤɛst ˈwikli ˈnuzˌlɛtər. ər ju ə səbˈskraɪbər? saɪn əp hir fər ə fri səbˈskrɪpʃən!
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as part of my doctor who main range directorial duties for big finish, early in 2016 i was given a script by mike tucker entitled order of thes. from the moment i read it, i just knew that we had to take advantage of this amazing opportunity to create a brand new type of one fashioned from bent lead and stained glass. i became slightly obsessive about this, and spent many weeks nagging producer david richardson and executive producer nicholas briggs asking them to let me bring the stained glass to life.
working with big finish and designer simon holub, i enlisted designer chris thompson to help bring my vision of mike stained glass to life.
so, now that the stained glass is ‘out there’, i asked chris to write a little report about the process:
thes are pretty awesome, iconic and well… unforgettable! unlike the where redesign and evolution is almost expected, the has remained the same for over 50 years with only a few alterations. deviating from the classic silhouette (as was attempted back in 2010) is often met with anger and disappointment. so imagine my reaction when jamie anderson emails me asking for not only a new design, but a new made mostly of stained glass. enough, always liked the idea of designs in different cultural styles, had a feudal japanese “samurai” that been planning to model for some time. my main thought process was to create a “gothic” and replace all the flat surfaces with glass designs. my initial sketches had palisades, crowns, spikes and other gothic elements, but we decided to dial a lot of these back for story reasons. in the episode itself these casings are made by very primitive monks so the focus needed to be on the stained glass and not the metal elements. the cloister style neck slats and the claw holding the eye did remain to add a bit of character. the glass was the tricky part and i felt that getting a good design here was important, as it in itself could mean something. the slats on the skirt represent the seasons of the planet, the eye on the chest represents the mutant inside, the dome is entirely decorative. we decided to omit the ear lights as a way of making the design even more primitive. luckily the idea turned out to be crazy enough that it came out well and the fans really seem to like what we now affectionately call “dalek stainley”. like to give my huge thanks to jamie for letting me do this, simon holub for the awesome cover and thanks to everyone who said nice things about it. maybe one day big finish will let me have a crack at the!
chris did a fantastic job, and the resulting cover is absolutely stunning.
order of thes is out this november and can be from big website.
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ɛz pɑrt əv maɪ ˈdɔktər hu meɪn reɪnʤ dɪrɛkˈtɔriəl ˈdutiz fər bɪg ˈfɪnɪʃ, ˈərli ɪn 2016 aɪ wɑz ˈgɪvɪn ə skrɪpt baɪ maɪk ˈtəkər ɛnˈtaɪtəld ˈɔrdər əv ðə. frəm ðə ˈmoʊmənt aɪ rɛd ɪt, aɪ ʤɪst nu ðət wi hæd tɪ teɪk ædˈvæntɪʤ əv ðɪs əˈmeɪzɪŋ ˌɑpərˈtunəti tɪ kriˈeɪt ə brænd nu taɪp əv wən ˈfæʃənd frəm bɛnt lɛd ənd steɪnd glæs. aɪ bɪˈkeɪm sˈlaɪtli əbˈsɛsɪv əˈbaʊt ðɪs, ənd spɛnt ˈmɛni wiks ˈnægɪŋ prəˈdusər ˈdeɪvɪd ˈrɪʧərdsən ənd ɪgˈzɛkjətɪv prəˈdusər ˈnɪkələs brɪgz ˈæskɪŋ ðɛm tɪ lɛt mi brɪŋ ðə steɪnd glæs tɪ laɪf. ˈwərkɪŋ wɪθ bɪg ˈfɪnɪʃ ənd dɪˈzaɪnər ˈsaɪmən ˈhoʊləb, aɪ ˌɛnˈlɪstɪd dɪˈzaɪnər krɪs ˈtɑmsən tɪ hɛlp brɪŋ maɪ ˈvɪʒən əv maɪk steɪnd glæs tɪ laɪf. soʊ, naʊ ðət ðə steɪnd glæs ɪz there’*’, aɪ æst krɪs tɪ raɪt ə ˈlɪtəl rɪˈpɔrt əˈbaʊt ðə ˈprɔˌsɛs: ðə ər ˈprɪti ˈɔsəm, ˌaɪˈkɑnɪk ənd well…*… ˌənfərˈgɛtəbəl! ənˈlaɪk ðə wɛr ˌridɪˈzaɪn ənd ˌɛvəˈluʃən ɪz ˈɔlˌmoʊst ɪkˈspɛktɪd, ðə həz rɪˈmeɪnd ðə seɪm fər ˈoʊvər 50 jɪrz wɪθ ˈoʊnli ə fju ˌɔltərˈeɪʃənz. ˈdiviˌeɪtɪŋ frəm ðə ˈklæsɪk ˌsɪləˈwɛt (ɛz wɑz əˈtɛmptəd bæk ɪn 2010 ɪz ˈɔfən mɛt wɪθ ˈæŋgər ənd ˌdɪsəˈpɔɪntmənt. soʊ ˌɪˈmæʤən maɪ riˈækʃən wɪn ˈʤeɪmi ˈændərsən iˈmeɪlz mi ˈæskɪŋ fər nɑt ˈoʊnli ə nu dɪˈzaɪn, bət ə nu meɪd ˈmoʊstli əv steɪnd glæs. ɪˈnəf, ˈɔlˌweɪz laɪkt ðə aɪˈdiə əv dɪˈzaɪnz ɪn ˈdɪfərənt ˈkəlʧərəl staɪlz, hæd ə fˈjudəl ˌʤæpəˈniz dalek”*” ðət bɪn ˈplænɪŋ tɪ ˈmɑdəl fər səm taɪm. maɪ meɪn θɔt ˈprɔˌsɛs wɑz tɪ kriˈeɪt ə ““gothic”*” ənd ˌriˈpleɪs ɔl ðə flæt ˈsərfəsɪz wɪθ glæs dɪˈzaɪnz. maɪ ˌɪˈnɪʃəl ˈskɛʧɪz hæd ˌpælɪˈseɪdz, kraʊnz, spaɪks ənd ˈəðər ˈgɑθɪk ˈɛləmənts, bət wi ˌdɪˈsaɪdɪd tɪ daɪəl ə lɔt əv ðiz bæk fər ˈstɔri ˈrizənz. ɪn ðə ˈɛpɪˌsoʊd ˌɪtˈsɛlf ðiz ˈkeɪsɪŋz ər meɪd baɪ ˈvɛri ˈprɪmɪtɪv məŋks soʊ ðə ˈfoʊkɪs ˈnidɪd tɪ bi ɔn ðə steɪnd glæs ənd nɑt ðə ˈmɛtəl ˈɛləmənts. ðə ˈklɔɪstər staɪl nɛk slæts ənd ðə klɔ ˈhoʊldɪŋ ðə aɪ dɪd rɪˈmeɪn tɪ æd ə bɪt əv ˈkɛrɪktər. ðə glæs wɑz ðə ˈtrɪki pɑrt ənd aɪ fɛlt ðət ˈgɪtɪŋ ə gʊd dɪˈzaɪn hir wɑz ˌɪmˈpɔrtənt, ɛz ɪt ɪn ˌɪtˈsɛlf kʊd min ˈsəmθɪŋ. ðə slæts ɔn ðə skərt ˌrɛprɪˈzɛnt ðə ˈsizənz əv ðə ˈplænət, ðə aɪ ɔn ðə ʧɛst ˌrɛprɪˈzɛnts ðə mˈjutənt ˌɪnˈsaɪd, ðə doʊm ɪz ɪnˈtaɪərli ˈdɛkrətɪv. wi ˌdɪˈsaɪdɪd tɪ oʊˈmɪt ðə ɪr laɪts ɛz ə weɪ əv ˈmeɪkɪŋ ðə dɪˈzaɪn ˈivɪn mɔr ˈprɪmɪtɪv. ˈləkəli ðə aɪˈdiə tərnd aʊt tɪ bi ˈkreɪzi ɪˈnəf ðət ɪt keɪm aʊt wɛl ənd ðə fænz ˈrɪli sim tɪ laɪk wət wi naʊ əˈfɛkʃənətli kɔl stainley”*”. laɪk tɪ gɪv maɪ juʤ θæŋks tɪ ˈʤeɪmi fər ˈlɛtɪŋ mi du ðɪs, ˈsaɪmən ˈhoʊləb fər ðə ˈɔsəm ˈkəvər ənd θæŋks tɪ ˈɛvriˌwən hu sɛd nis θɪŋz əˈbaʊt ɪt. ˈmeɪbi wən deɪ bɪg ˈfɪnɪʃ wɪl lɛt mi hæv ə kræk æt ðə! krɪs dɪd ə fænˈtæstɪk ʤɑb, ənd ðə rɪˈzəltɪŋ ˈkəvər ɪz ˌæbsəˈlutli ˈstənɪŋ. ˈɔrdər əv ðə ɪz aʊt ðɪs noʊˈvɛmbər ənd kən bi frəm bɪg ˈwɛbˌsaɪt. ʃɛr ðɪs: iˈmeɪl ˈfeɪsˌbʊk ˈgugəl ˈpɑkət tˈwɪtər
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the official opening of the main conference was today, tuesday. the conference is now in full swing until friday.
opening
attendance at the conference is flat terry yoo gave no precise numbers, but at least it's not shrinking. i figure they don't want to release precise numbers in the hope that there's just a bit of statistical fluctuation. it's a bit of a departure from previous years, though.
as in previous years, the opening presentation slides were straight out of the 1980s: blue gradient background, white text. we've moved on from red text on blue background at least, but it still blows my mind how this sort of thing is considered the right choice at a visualization conference. and not even just a visualization conference, but vis.
keynote: dr. ricardo hausmann
hausmann is an economist at harvard and runs the group behind the the atlas of economic complexity. the atlas is the embodiment of theory that the wealth gap between nations (and also between regions within countries) can be modeled by network effects.
the talk was really fascinating. hausmann started by pointing out the enormous gap between countries today (about between the richest and the poorest). his argument is that that difference is largely due to technology and the tacit knowledge people have the kind of knowledge that is not encoded and easily available, but that needs to be acquired by every individual. he also talked about the exponential growth that results from a country making a number of different things that can be combined into many more things (much like scrabble letters let you make a lot more words when you add just one). that growth depends on the things being technology though (in a wide sense), not natural resources (which are a dead end).
there was a lot more in this excellent talk, but it's a bit too much to describe here.
infovis
infovis had 37 papers accepted this year out of 165 submissions, for a% acceptance rate. this is up slightly from previous years, which is not a bad thing. pushing too hard on the acceptance rate is not healthy for the field.
visualization by demonstration: an interaction paradigm for visual data exploration by saket, hannah kim, eli t. brown, and alex shows an interesting new idea for how to construct. you show the system what you want to see in terms of encodings, and it figures out how to get there. this works well for things like size encodings, etc., where this would let you explore the data in a very unusual way: rather than trying to find the right measure that leads to what you need, you sketch what you want to see and it finds the fitting data.
it's certainly an unusual idea, but it has some limitations. there are a few interactions that seem a bit odd, like how to indicate that you want a bar chart when you're dealing with a (by stacking points in the) or the other way around (by moving points out bars).
vega-lite: a grammar of interactive graphics by arvind satyanarayan, dominik moritz, wongsuphasawat, and jeffrey heer received the best paper award this year. vega lite is a sort of successor to vega, which allows you to specify in a way. vega lite is much more concise however, because it fills in defaults for things that are not specified, and provides many complex things out of the box (like a selection based on a diagram, zooming and panning, brushing, etc.)
vega is open source, and there is an online playground to try it out. this is based on an earlier version than the paper presented though, but they hope to release an updated version soon. they are also seeing others build infrastructure on top of vega-lite, like a set of friendly python bindings called altair.
hindsight: encouraging exploration through direct encoding of personal interaction history by mi feng, cheng deng, evan m. peck, and lane harrison shows users their own histories to increase interaction and engagement. this is somewhat similar to the way browsers indicate visited links, but richer and with more of an idea of an information scent.
since i'm a bit sick, i ended up only attending a handful of talks and had to skip and the art show opening. hopefully this will get me back into shape for more extensive reporting tomorrow, though.
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ðə əˈfɪʃəl ˈoʊpənɪŋ əv ðə meɪn ˈkɑnfərəns wɑz təˈdeɪ, ˈtuzˌdeɪ. ðə ˈkɑnfərəns ɪz naʊ ɪn fʊl swɪŋ ənˈtɪl ˈfraɪˌdeɪ. ˈoʊpənɪŋ əˈtɛndəns æt ðə ˈkɑnfərəns ɪz flæt ˈtɛri ju geɪv noʊ prɪˈsaɪs ˈnəmbərz, bət æt list ɪts nɑt ʃˈrɪŋkɪŋ. aɪ ˈfɪgjər ðeɪ doʊnt wɔnt tɪ riˈlis prɪˈsaɪs ˈnəmbərz ɪn ðə hoʊp ðət ðɛrz ʤɪst ə bɪt əv stəˈtɪstɪkəl ˌfləkʧuˈeɪʃən. ɪts ə bɪt əv ə dɪˈpɑrʧər frəm ˈpriviəs jɪrz, ðoʊ. ɛz ɪn ˈpriviəs jɪrz, ðə ˈoʊpənɪŋ ˌprɛzənˈteɪʃən slaɪdz wər streɪt aʊt əv ðə 1980s*: blu ˈgreɪdiənt ˈbækˌgraʊnd, waɪt tɛkst. wiv muvd ɔn frəm rɛd tɛkst ɔn blu ˈbækˌgraʊnd æt list, bət ɪt stɪl bloʊz maɪ maɪnd haʊ ðɪs sɔrt əv θɪŋ ɪz kənˈsɪdərd ðə raɪt ʧɔɪs æt ə ˌvɪʒwələˈzeɪʃən ˈkɑnfərəns. ənd nɑt ˈivɪn ʤɪst ə ˌvɪʒwələˈzeɪʃən ˈkɑnfərəns, bət vɪs. ˈkiˌnoʊt: ˈdɑktər. rɪˈkɑrdoʊ ˈhaʊsmən ˈhaʊsmən ɪz ən ɪˈkɑnəmɪst æt ˈhɑrvərd ənd rənz ðə grup bɪˈhaɪnd ðə ðə ˈætləs əv ˌɛkəˈnɑmɪk kəmˈplɛksɪti. ðə ˈætləs ɪz ðə ɛmˈbɑdimənt əv ˈθɪri ðət ðə wɛlθ gæp bɪtˈwin ˈneɪʃənz (ənd ˈɔlsoʊ bɪtˈwin ˈriʤənz wɪˈθɪn ˈkəntriz) kən bi ˈmɑdəld baɪ ˈnɛtˌwərk ˈifɛkts. ðə tɔk wɑz ˈrɪli ˈfæsəˌneɪtɪŋ. ˈhaʊsmən ˈstɑrtɪd baɪ ˈpɔɪntɪŋ aʊt ðə ɪˈnɔrmɪs gæp bɪtˈwin ˈkəntriz təˈdeɪ (əˈbaʊt bɪtˈwin ðə ˈrɪʧəst ənd ðə ˈpurɪst). hɪz ˈɑrgjəmənt ɪz ðət ðət ˈdɪfərəns ɪz ˈlɑrʤli du tɪ tɛkˈnɑləʤi ənd ðə ˈtæsɪt ˈnɑlɪʤ ˈpipəl hæv ðə kaɪnd əv ˈnɑlɪʤ ðət ɪz nɑt ɛnˈkoʊdɪd ənd ˈizəli əˈveɪləbəl, bət ðət nidz tɪ bi əkˈwaɪərd baɪ ˈɛvəri ˌɪndəˈvɪʤəwəl. hi ˈɔlsoʊ tɔkt əˈbaʊt ðə ˌɛkspoʊˈnɛnʃəl groʊθ ðət rɪˈzəlts frəm ə ˈkəntri ˈmeɪkɪŋ ə ˈnəmbər əv ˈdɪfərənt θɪŋz ðət kən bi kəmˈbaɪnd ˈɪntu ˈmɛni mɔr θɪŋz (məʧ laɪk ˈskræbəl ˈlɛtərz lɛt ju meɪk ə lɔt mɔr wərdz wɪn ju æd ʤɪst wən). ðət groʊθ dɪˈpɛndz ɔn ðə θɪŋz biɪŋ tɛkˈnɑləʤi ðoʊ (ɪn ə waɪd sɛns), nɑt ˈnæʧərəl ˈrisɔrsɪz (wɪʧ ər ə dɛd ɛnd). ðɛr wɑz ə lɔt mɔr ɪn ðɪs ˈɛksələnt tɔk, bət ɪts ə bɪt tu məʧ tɪ dɪˈskraɪb hir. hæd 37 ˈpeɪpərz ækˈsɛptɪd ðɪs jɪr aʊt əv 165 səbˈmɪʃənz, fər ə əkˈsɛptəns reɪt. ðɪs ɪz əp sˈlaɪtli frəm ˈpriviəs jɪrz, wɪʧ ɪz nɑt ə bæd θɪŋ. ˈpʊʃɪŋ tu hɑrd ɔn ðə əkˈsɛptəns reɪt ɪz nɑt ˈhɛlθi fər ðə fild. ˌvɪʒwələˈzeɪʃən baɪ ˌdɛmənˈstreɪʃən: ən ˌɪnərˈækʃən ˈpɛrəˌdaɪm fər ˈvɪʒəwəl ˈdætə ˌɛksplərˈeɪʃən baɪ saket*, ˈhænə kɪm, ˈilaɪ ti. braʊn, ənd ˈæləks ʃoʊz ən ˈɪntəˌrɛstɪŋ nu aɪˈdiə fər haʊ tɪ ˈkɑnstrəkt. ju ʃoʊ ðə ˈsɪstəm wət ju wɔnt tɪ si ɪn tərmz əv encodings*, ənd ɪt ˈfɪgjərz aʊt haʊ tɪ gɪt ðɛr. ðɪs wərks wɛl fər θɪŋz laɪk saɪz encodings*, ˌɛtˈsɛtərə., wɛr ðɪs wʊd lɛt ju ɪkˈsplɔr ðə ˈdætə ɪn ə ˈvɛri ənˈjuˌʒuəl weɪ: ˈrəðər ðən traɪɪŋ tɪ faɪnd ðə raɪt ˈmɛʒər ðət lidz tɪ wət ju nid, ju skɛʧ wət ju wɔnt tɪ si ənd ɪt faɪndz ðə ˈfɪtɪŋ ˈdætə. ɪts ˈsərtənli ən ənˈjuˌʒuəl aɪˈdiə, bət ɪt həz səm ˌlɪmɪˈteɪʃənz. ðɛr ər ə fju ˌɪnərˈækʃənz ðət sim ə bɪt ɑd, laɪk haʊ tɪ ˈɪndəˌkeɪt ðət ju wɔnt ə bɑr ʧɑrt wɪn jʊr ˈdilɪŋ wɪθ ə (baɪ ˈstækɪŋ pɔɪnts ɪn ðə) ər ðə ˈəðər weɪ əraʊnd (baɪ ˈmuvɪŋ pɔɪnts aʊt bɑrz). vega-lite*: ə ˈgræmər əv ˌɪnərˈæktɪv ˈgræfɪks baɪ ˈɑrvɪnd satyanarayan*, dəˈmɪnɪk mɔˈrɪts, wongsuphasawat*, ənd ˈʤɛfri hiər rɪˈsivd ðə bɛst ˈpeɪpər əˈwɔrd ðɪs jɪr. ˈveɪgə laɪt ɪz ə sɔrt əv səkˈsɛsər tɪ ˈveɪgə, wɪʧ əˈlaʊz ju tɪ ˈspɛsəˌfaɪ ɪn ə weɪ. ˈveɪgə laɪt ɪz məʧ mɔr kənˈsaɪs ˌhaʊˈɛvər, bɪˈkəz ɪt fɪlz ɪn dɪˈfɔlts fər θɪŋz ðət ər nɑt ˈspɛsəˌfaɪd, ənd prəˈvaɪdz ˈmɛni ˈkɑmplɛks θɪŋz aʊt əv ðə bɑks (laɪk ə səˈlɛkʃən beɪst ɔn ə ˈdaɪəˌgræm, ˈzumɪŋ ənd ˈpænɪŋ, ˈbrəʃɪŋ, ˌɛtˈsɛtərə.) ˈveɪgə ɪz ˈoʊpən sɔrs, ənd ðɛr ɪz ən ˈɔnˌlaɪn ˈpleɪˌgraʊnd tɪ traɪ ɪt aʊt. ðɪs ɪz beɪst ɔn ən ˈərliər ˈvərʒən ðən ðə ˈpeɪpər pərˈzɛnəd ðoʊ, bət ðeɪ hoʊp tɪ riˈlis ən ˈəpˌdeɪtɪd ˈvərʒən sun. ðeɪ ər ˈɔlsoʊ siɪŋ ˈəðərz bɪld ˌɪnfrəˈstrəkʧər ɔn tɔp əv vega-lite*, laɪk ə sɛt əv ˈfrɛndli ˈpaɪθɑn ˈbaɪndɪŋz kɔld ɑlˈtɛr. ˈhaɪnˌsaɪt: ɪnˈkərəʤɪŋ ˌɛksplərˈeɪʃən θru dɪˈrɛkt ɛnˈkoʊdɪŋ əv ˈpərsɪnəl ˌɪnərˈækʃən ˈhɪstəri baɪ mi fɛŋ, ʧɛŋ dɛŋ, ˈɛvən ɛm. pɛk, ənd leɪn ˈhɛrɪsən ʃoʊz ˈjuzərz ðɛr oʊn ˈhɪstəriz tɪ ˌɪnˈkris ˌɪnərˈækʃən ənd ɛnˈgeɪʤmənt. ðɪs ɪz ˈsəmˈwət ˈsɪmələr tɪ ðə weɪ ˈbraʊzərz ˈɪndəˌkeɪt ˈvɪzɪtɪd lɪŋks, bət ˈrɪʧər ənd wɪθ mɔr əv ən aɪˈdiə əv ən ˌɪnˌfɔrˈmeɪʃən sɛnt. sɪns əm ə bɪt sɪk, aɪ ˈɛndɪd əp ˈoʊnli əˈtɛndɪŋ ə ˈhændˌfʊl əv tɔks ənd hæd tɪ skɪp ənd ðə ɑrt ʃoʊ ˈoʊpənɪŋ. ˈhoʊpfəli ðɪs wɪl gɪt mi bæk ˈɪntu ʃeɪp fər mɔr ɪkˈstɛnsɪv rɪˈpɔrtɪŋ təˈmɑˌroʊ, ðoʊ.
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why the update fever is bad
i just got asked by a customer why there hasn't been an update for several months now for one of the software products i create . and if this means that this software is dead now. i'm really baffled by this. especially because that product has already gotten nearly a dozen free updates, and is pretty stable and by just updated windows 10 on my main development pc with the fall creators update , causing several of the software i use to have failures, or degraded performance. and worst: some of some very old microsoft office tools i still have to use occasionally (for backwards compatibility for some customers) even completely stopped working after the for the error messages i get, i find that a lot of people have the same problem. this is something new for microsoft: usually they won't break their own old software with updates, they are known for keeping up backwards compatibility at all costs. wondering why this is. purpose? users are now trained by this behavior: an app or software now has to update at least once a week, or month, otherwise it is considered dead. if you ask the users about it, they don't even know why they want these updates. is there a feature they are missing? a specific bug they want to have fixed? they don't know. they only want updates, because they are used to for development software, it is better sometimes not to update that frequently: it could change a feature you are relying on, which causes a lot of work for you to adapt to that new update. or worse: even introduce new for critical software, it is sometimes better not to update that often. this update fever is bad both for developers and users.
fifteen comments, already:
bug fixes and various improvements code for keeping product in your mind
anonymous - 18 11 17 -
just give it a new version number and push out the same software. easy
earl grey (link) - 18 11 17 -
i think this be seen without considering how the user paid for an update. if a (today also very popular) subscription model, the user should expect regular updates (if the user paying for storage or resources).
but i also think the old days are over, where a software developer releases a new version when the old one is so old it start anymore. constant incremental updates can also be a slow update path for that nice feature you used to use to some new alternative software function (instead of a hard break with the next software release).
its good that windows ditches old finally. all that backwards compatibility has made windows a very bad system. my girlfriend installed a printer driver via and was presented with an windows dialog which defaulted to “a:” as path .
mark - 18 11 17 -
i agree with you.
many beautiful programs that i love only receive a few updates each year, and customers constantly ask if abandoned, even though the developers have a proven track record of yearly updates that can be very easily checked.
nikolaus! you must not let your encounters cloud your mind with sadness! withstand the barrage of distress! let the encroachment of sorrow emblazon your mind with hatred! you must stay strong! you must stay impervious!
wild master - 18 11 17 -
> so for critical software, it is sometimes better not to update that often. this update fever is bad both for developers and users.
non-security oriented software may be a security issue and require an update to or similar to close a security hole it know it opened.
piotr (link) - 18 11 17 -
[devil’s advocate hat: on]
i understand. stopping you? do you not know of any bugs in your software? or are they all so deep and complex that they would take prohibitively long to fix? or is your release process so inefficient you ship a new version every week or two?
asking for bug fixes (or performance improvements, or whatever) is not asking for interface changes. surely you have bugs you can fix while maintaining your current interfaces. your interfaces may not be perfect but have to have screwed them up pretty bad for it to be impossible to improve anything else without changing them.
if afraid to release an update because afraid that fixing one bug could cause even more bugs, a troubling statement about the of your process. how did you ever write the software in the first place, if you tell if any solution you implemented cause more problems than it solved? that would make me not trust your software at all.
what does “non-security critical software” mean these days? almost every program works with data from the internet today, like image files. your apps sandboxed, so i would definitely consider them to be security critical. they signed or distributed over a secure connection, either, so not sure how i can trust them at all.
i see a lot of hypothetical excuses, but i see a good explanation for why updates are inherently bad. microsoft had a bad release of windows, therefore not going to fix any issues with your own software?
sam - 18 11 17 -
had the same idea as earl grey… but in response to sam, even with the funny hat on: the arguments do miss the point niko made in the post, namely that there simply any relevant bugs to fix (at least that he knows of) and nothing indicating a bias against security updates. so probably that hat is made of tin foil…
what in my experience does come out of the “constantly update” paradigm is not so much an incremental improvement, but even more pressure to add new features, even if they are complete shit and mostly not working, because “it is what users expect”. we can then fix it with the following updates which rarely ever happens as these shall then include other new features, of course.
then again: security updates and other bug fixes are another thing entirely (and do at least ameliorate the previous point). that sometimes something goes wrong new it is about as easy to break software with an update as it is to make not working software in the first place, and it the first time nor will it be the last that microsoft sent out an update that broke stuff.
it may even be intentional, even if that sounds like an evil scheme (note that this is hyperbole): if a particular interface is deemed broken beyond fix it might be best to remove it (invoke an analogy with cancer at your discretion, i won’t). now in this case apparently it work out so well, but there have been numerous over time that just disappeared, and it was for good. so while the outcry is legitimate to a point we may start to exaggerate the issue out of proportion.
and yet back to the actual issue: i still think earl grey has the best solution just publish an update every couple of months with a new build number, which will without further interaction give an indication that, yes, this program is still maintained.
xaos - 20 11 17 -
month ago im back to win 7 after year of using win 10, cause win 10 is horrible os…
vitaliy (rolevix) - 20 11 17 -
so we should stay with because it is already stable ?? we should not compete with other engines because it just works right now ??
seriously niko i challenge you to put status at steam and your website saying that you wont update anymore because there is already tons of updates and you afraid that you will break stuff up. heck just copy paste this blog status and put at steam and your website and see the responses.
maybe tim sweeney should just maintain unreal engine 1998. or should just stay with because it just works.
people buy your software not just for the software alone, we buy the software to support you and have your commitment with the product. when i found out that you are busy doing your game and just left the the way it is now , i kinda with you. you even use for your games right ? just shows something can be improve your engine. why you use for ?
labu - 22 11 17 -
labu, is the main product of my company. it is and will be updated. and is using.
niko - 22 11 17 -
why is it in your blog you mentions that when you tried javascript it is too slow. so you convert it to c++ ? what version of are you using then ?
labu - 22 11 17 -
if you are using just as a level editor or placement editor for your objects, that does not count the same as using for your game development. if you even believe or use your own product , why should we ?
labu - 22 11 17 -
he is using pro. click help -> about, there you download the full c++ code.
erik - 22 11 17 -
if that is true, why he implement all the changes he made in c++ into the main product? he just said at his blog that is already good and no changes are needed? the reason he changes to c++ because javascript performance is poor. i believed he said that at this blog. so the main product does require some changes right? since he himself cant use it for his game due to low performance.
based on his logic, maybe i should buy creator on steam, you know one of the abandon software by the developer at steam. we need all the changes, updates and feature enhancement are bad for both developer and user.
we buy your product for your commitment and your time. if you bother to support us by improving the product. might as well just be a fulltime game developer and tell the user the truth that you are busy developing your games and you have time to improve anymore.
labu - 22 11 17 -
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waɪ ðə ˈəpˌdeɪt ˈfivər ɪz bæd aɪ ʤɪst gɑt æst baɪ ə ˈkəstəmər waɪ ðɛr ˈhæzənt bɪn ən ˈəpˌdeɪt fər ˈsɛvərəl mənθs naʊ fər wən əv ðə ˈsɔfˌwɛr ˈprɑdəkts aɪ kriˈeɪt ənd ɪf ðɪs minz ðət ðɪs ˈsɔfˌwɛr ɪz dɛd naʊ. əm ˈrɪli ˈbæfəld baɪ ðɪs. əˈspɛʃəli bɪˈkəz ðət ˈprɑdəkt həz ɔˈrɛdi ˈgɔtən ˈnɪrli ə ˈdəzən fri ˈəpˌdeɪts, ənd ɪz ˈprɪti ˈsteɪbəl ənd baɪ ʤɪst ˈəpˌdeɪtɪd ˈwɪndoʊz 10 ɔn maɪ meɪn dɪˈvɛləpmənt ˈpiˈsi wɪθ ðə fɔl kriˈeɪtərz ˈəpˌdeɪt ˈkɔzɪŋ ˈsɛvərəl əv ðə ˈsɔfˌwɛr aɪ juz tɪ hæv ˈfeɪljərz, ər dɪˈgreɪdɪd pərˈfɔrməns. ənd wərst: səm əv səm ˈvɛri oʊld ˈmaɪˌkroʊˈsɔft ˈɔfəs tulz aɪ stɪl hæv tɪ juz ɔˈkeɪʒənəˌli (fər ˈbækwərdz kəmˌpætəˈbɪləˌti fər səm ˈkəstəmərz) ˈivɪn kəmˈplitli stɑpt ˈwərkɪŋ ˈæftər ðə fər ðə ˈɛrər ˈmɛsɪʤɪz aɪ gɪt, aɪ faɪnd ðət ə lɔt əv ˈpipəl hæv ðə seɪm ˈprɑbləm. ðɪs ɪz ˈsəmθɪŋ nu fər ˈmaɪˌkroʊˈsɔft: ˈjuʒəwəli ðeɪ woʊnt breɪk ðɛr oʊn oʊld ˈsɔfˌwɛr wɪθ ˈəpˌdeɪts, ðeɪ ər noʊn fər ˈkipɪŋ əp ˈbækwərdz kəmˌpætəˈbɪləˌti æt ɔl kɔsts. ˈwəndərɪŋ waɪ ðɪs ɪz. ˈpərpəs? ˈjuzərz ər naʊ treɪnd baɪ ðɪs bɪˈheɪvjər: ən æp ər ˈsɔfˌwɛr naʊ həz tɪ ˈəpˌdeɪt æt list wəns ə wik, ər mənθ, ˈəðərˌwaɪz ɪt ɪz kənˈsɪdərd dɛd. ɪf ju æsk ðə ˈjuzərz əˈbaʊt ɪt, ðeɪ doʊnt ˈivɪn noʊ waɪ ðeɪ wɔnt ðiz ˈəpˌdeɪts. ɪz ðɛr ə ˈfiʧər ðeɪ ər ˈmɪsɪŋ? ə spɪˈsɪfɪk bəg ðeɪ wɔnt tɪ hæv fɪkst? ðeɪ doʊnt noʊ. ðeɪ ˈoʊnli wɔnt ˈəpˌdeɪts, bɪˈkəz ðeɪ ər juzd tɪ fər dɪˈvɛləpmənt ˈsɔfˌwɛr, ɪt ɪz ˈbɛtər ˈsəmˌtaɪmz nɑt tɪ ˈəpˌdeɪt ðət ˈfrikwɛntli: ɪt kʊd ʧeɪnʤ ə ˈfiʧər ju ər riˈlaɪɪŋ ɔn, wɪʧ ˈkɔzɪz ə lɔt əv wərk fər ju tɪ əˈdæpt tɪ ðət nu ˈəpˌdeɪt. ər wərs: ˈivɪn ˌɪntrəˈdus nu fər ˈkrɪtɪkəl ˈsɔfˌwɛr, ɪt ɪz ˈsəmˌtaɪmz ˈbɛtər nɑt tɪ ˈəpˌdeɪt ðət ˈɔfən. ðɪs ˈəpˌdeɪt ˈfivər ɪz bæd boʊθ fər dɪˈvɛləpərz ənd ˈjuzərz. ˈfɪfˈtin ˈkɑmɛnts, ɔˈrɛdi: ˈfɪksɪz ənd ˈvɛriəs improvements* koʊd fər ˈkipɪŋ ˈprɑdəkt ɪn jʊr maɪnd əˈnɑnəməs 18 11 17 ʤɪst gɪv ɪt ə nu ˈvərʒən ˈnəmbər ənd pʊʃ aʊt ðə seɪm ˈsɔfˌwɛr. ˈizi ərl greɪ (lɪŋk) 18 11 17 aɪ θɪŋk ðɪs bi sin wɪˈθaʊt kənˈsɪdərɪŋ haʊ ðə ˈjuzər peɪd fər ən ˈəpˌdeɪt. ɪf ə (təˈdeɪ ˈɔlsoʊ ˈvɛri ˈpɑpjələr) səbˈskrɪpʃən ˈmɑdəl, ðə ˈjuzər ʃʊd ɪkˈspɛkt ˈrɛgjələr ˈəpˌdeɪts (ɪf ðə ˈjuzər peɪɪŋ fər ˈstɔrɪʤ ər ˈrisɔrsɪz). bət aɪ ˈɔlsoʊ θɪŋk ðə oʊld deɪz ər ˈoʊvər, wɛr ə ˈsɔfˌwɛr dɪˈvɛləpər rɪˈlisɪz ə nu ˈvərʒən wɪn ðə oʊld wən ɪz soʊ oʊld ɪt stɑrt ˌɛniˈmɔr. ˈkɑnstənt ˌɪnkrəˈmɛntəl ˈəpˌdeɪts kən ˈɔlsoʊ bi ə sloʊ ˈəpˌdeɪt pæθ fər ðət nis ˈfiʧər ju juzd tɪ juz tɪ səm nu ɔlˈtərnətɪv ˈsɔfˌwɛr ˈfəŋkʃən (ˌɪnˈstɛd əv ə hɑrd breɪk wɪθ ðə nɛkst ˈsɔfˌwɛr riˈlis). gʊd ðət ˈwɪndoʊz ˈdɪʧɪz oʊld ˈfaɪnəli. ɔl ðət ˈbækwərdz kəmˌpætəˈbɪləˌti həz meɪd ˈwɪndoʊz ə ˈvɛri bæd ˈsɪstəm. maɪ ˈgərlˌfrɛnd ˌɪnˈstɔld ə ˈprɪnər ˈdraɪvər ˈviə ənd wɑz pərˈzɛnəd wɪθ ən ˈwɪndoʊz ˈdaɪəlɔg wɪʧ dɪˈfɔltɪd tɪ ““a:”*:” ɛz pæθ mɑrk 18 11 17 aɪ əˈgri wɪθ ju. ˈmɛni ˈbjutəfəl ˈproʊˌgræmz ðət aɪ ləv ˈoʊnli rɪˈsiv ə fju ˈəpˌdeɪts iʧ jɪr, ənd ˈkəstəmərz ˈkɑnstəntli æsk ɪf əˈbændənd, ˈivɪn ðoʊ ðə dɪˈvɛləpərz hæv ə ˈpruvən træk ˈrɛkərd əv ˈjɪrli ˈəpˌdeɪts ðət kən bi ˈvɛri ˈizəli ʧɛkt. ˈnɪkəlaʊz! ju məst nɑt lɛt jʊr ɪnˈkaʊnərz klaʊd jʊr maɪnd wɪθ ˈsædnəs! wɪθˈstænd ðə bərɑʒ əv dɪˈstrɛs! lɛt ðə ɛnˈkroʊʧmənt əv ˈsɑroʊ ɛmˈbleɪzən jʊr maɪnd wɪθ ˈheɪtrəd! ju məst steɪ strɔŋ! ju məst steɪ ˌɪmˈpərviəs! waɪld ˈmæstər 18 11 17 soʊ fər ˈkrɪtɪkəl ˈsɔfˌwɛr, ɪt ɪz ˈsəmˌtaɪmz ˈbɛtər nɑt tɪ ˈəpˌdeɪt ðət ˈɔfən. ðɪs ˈəpˌdeɪt ˈfivər ɪz bæd boʊθ fər dɪˈvɛləpərz ənd ˈjuzərz. ˈɔriˌɛntɪd ˈsɔfˌwɛr meɪ bi ə sɪˈkjʊrəti ˈɪʃu ənd ˌrikˈwaɪər ən ˈəpˌdeɪt tɪ ər ˈsɪmələr tɪ kloʊz ə sɪˈkjʊrəti hoʊl ɪt noʊ ɪt ˈoʊpənd. (lɪŋk) 18 11 17 ˈædvəˌkeɪt hæt: ɔn] aɪ ˌəndərˈstænd. ˈstɑpɪŋ ju? du ju nɑt noʊ əv ˈɛni bəgz ɪn jʊr ˈsɔfˌwɛr? ər ər ðeɪ ɔl soʊ dip ənd ˈkɑmplɛks ðət ðeɪ wʊd teɪk proʊˈhɪbətɪvli lɔŋ tɪ fɪks? ər ɪz jʊr riˈlis ˈprɔˌsɛs soʊ ˌɪnɪˈfɪʃənt ju ʃɪp ə nu ˈvərʒən ˈɛvəri wik ər tu? ˈæskɪŋ fər bəg ˈfɪksɪz (ər pərˈfɔrməns ˌɪmˈpruvmənts, ər ˌwəˈtɛvər) ɪz nɑt ˈæskɪŋ fər ˈɪnərˌfeɪs ˈʧeɪnʤɪz. ˈʃʊrli ju hæv bəgz ju kən fɪks waɪl meɪnˈteɪnɪŋ jʊr ˈkɑrənt ˈɪnərˌfeɪsɪz. jʊr ˈɪnərˌfeɪsɪz meɪ nɑt bi ˈpərˌfɪkt bət hæv tɪ hæv skrud ðɛm əp ˈprɪti bæd fər ɪt tɪ bi ˌɪmˈpɑsəbəl tɪ ˌɪmˈpruv ˈɛniˌθɪŋ ɛls wɪˈθaʊt ˈʧeɪnʤɪŋ ðɛm. ɪf əˈfreɪd tɪ riˈlis ən ˈəpˌdeɪt bɪˈkəz əˈfreɪd ðət ˈfɪksɪŋ wən bəg kʊd kɔz ˈivɪn mɔr bəgz, ə ˈtrəbəlɪŋ ˈsteɪtmənt əˈbaʊt ðə əv jʊr ˈprɔˌsɛs. haʊ dɪd ju ˈɛvər raɪt ðə ˈsɔfˌwɛr ɪn ðə fərst pleɪs, ɪf ju tɛl ɪf ˈɛni səˈluʃən ju ˈɪmpləˌmɛnəd kɔz mɔr ˈprɑbləmz ðən ɪt sɑlvd? ðət wʊd meɪk mi nɑt trəst jʊr ˈsɔfˌwɛr æt ɔl. wət dɪz ˈkrɪtɪkəl software”*” min ðiz deɪz? ˈɔlˌmoʊst ˈɛvəri ˈproʊˌgræm wərks wɪθ ˈdætə frəm ðə ˈɪntərˌnɛt təˈdeɪ, laɪk ˈɪmɪʤ faɪlz. jʊr æps sandboxed*, soʊ aɪ wʊd ˈdɛfənətli kənˈsɪdər ðɛm tɪ bi sɪˈkjʊrəti ˈkrɪtɪkəl. ðeɪ saɪnd ər dɪˈstrɪbjətəd ˈoʊvər ə sɪˈkjʊr kəˈnɛkʃən, ˈiðər, soʊ nɑt ʃʊr haʊ aɪ kən trəst ðɛm æt ɔl. aɪ si ə lɔt əv ˌhaɪpəˈθɛtɪkəl ɪkˈskjuzɪz, bət aɪ si ə gʊd ˌɛkspləˈneɪʃən fər waɪ ˈəpˌdeɪts ər ˌɪnˈhɛrəntli bæd. ˈmaɪˌkroʊˈsɔft hæd ə bæd riˈlis əv ˈwɪndoʊz, ˈðɛrˌfɔr nɑt goʊɪŋ tɪ fɪks ˈɛni ˈɪʃuz wɪθ jʊr oʊn ˈsɔfˌwɛr? sæm 18 11 17 hæd ðə seɪm aɪˈdiə ɛz ərl grey…*… bət ɪn rɪˈspɑns tɪ sæm, ˈivɪn wɪθ ðə ˈfəni hæt ɔn: ðə ˈɑrgjəmənts du mɪs ðə pɔɪnt ˈnikoʊ meɪd ɪn ðə poʊst, ˈneɪmli ðət ðɛr ˈsɪmpli ˈɛni ˈrɛləvənt bəgz tɪ fɪks (æt list ðət hi noʊz əv) ənd ˈnəθɪŋ ˈɪndəˌkeɪtɪŋ ə baɪəs əˈgɛnst sɪˈkjʊrəti ˈəpˌdeɪts. soʊ ˈprɑbəˌbli ðət hæt ɪz meɪd əv tɪn foil…*… wət ɪn maɪ ɪkˈspɪriəns dɪz kəm aʊt əv ðə update”*” ˈpɛrəˌdaɪm ɪz nɑt soʊ məʧ ən ˌɪnkrəˈmɛntəl ˌɪmˈpruvmənt, bət ˈivɪn mɔr ˈprɛʃər tɪ æd nu ˈfiʧərz, ˈivɪn ɪf ðeɪ ər kəmˈplit ʃɪt ənd ˈmoʊstli nɑt ˈwərkɪŋ, bɪˈkəz ɪz wət ˈjuzərz expect”*”. wi kən ðɛn fɪks ɪt wɪθ ðə ˈfɑloʊɪŋ ˈəpˌdeɪts wɪʧ ˈrɛrli ˈɛvər ˈhæpənz ɛz ðiz ʃæl ðɛn ˌɪnˈklud ˈəðər nu ˈfiʧərz, əv kɔrs. ðɛn əˈgɛn: sɪˈkjʊrəti ˈəpˌdeɪts ənd ˈəðər bəg ˈfɪksɪz ər əˈnəðər θɪŋ ɪnˈtaɪərli (ənd du æt list əˈmiljərˌeɪt ðə ˈpriviəs pɔɪnt). ðət ˈsəmˌtaɪmz ˈsəmθɪŋ goʊz rɔŋ nu ɪt ɪz əˈbaʊt ɛz ˈizi tɪ breɪk ˈsɔfˌwɛr wɪθ ən ˈəpˌdeɪt ɛz ɪt ɪz tɪ meɪk nɑt ˈwərkɪŋ ˈsɔfˌwɛr ɪn ðə fərst pleɪs, ənd ɪt ðə fərst taɪm nɔr wɪl ɪt bi ðə læst ðət ˈmaɪˌkroʊˈsɔft sɛnt aʊt ən ˈəpˌdeɪt ðət broʊk stəf. ɪt meɪ ˈivɪn bi ˌɪnˈtɛnʃənəl, ˈivɪn ɪf ðət saʊnz laɪk ən ˈivəl skim (noʊt ðət ðɪs ɪz haɪˈpərbəˌli): ɪf ə ˌpɑˈtɪkjələr ˈɪnərˌfeɪs ɪz dimd ˈbroʊkən bɪɔnd fɪks ɪt maɪt bi bɛst tɪ riˈmuv ɪt (ˌɪnˈvoʊk ən əˈnæləʤi wɪθ ˈkænsər æt jʊr dɪˈskrɛʃən, aɪ won’t*). naʊ ɪn ðɪs keɪs əˈpɛrəntli ɪt wərk aʊt soʊ wɛl, bət ðɛr hæv bɪn ˈnumərəs ˈoʊvər taɪm ðət ʤɪst ˌdɪsəˈpɪrd, ənd ɪt wɑz fər gʊd. soʊ waɪl ðə ˈaʊtˌkraɪ ɪz ləˈʤɪtəmət tɪ ə pɔɪnt wi meɪ stɑrt tɪ ɪgˈzæʤərˌeɪt ðə ˈɪʃu aʊt əv prəˈpɔrʃən. ənd jɛt bæk tɪ ðə ˈækʧəwəl ˈɪʃu: aɪ stɪl θɪŋk ərl greɪ həz ðə bɛst səˈluʃən ʤɪst ˈpəblɪʃ ən ˈəpˌdeɪt ˈɛvəri ˈkəpəl əv mənθs wɪθ ə nu bɪld ˈnəmbər, wɪʧ wɪl wɪˈθaʊt ˈfərðər ˌɪnərˈækʃən gɪv ən ˌɪndəˈkeɪʃən ðət, jɛs, ðɪs ˈproʊˌgræm ɪz stɪl meɪnˈteɪnd. 20 11 17 mənθ əˈgoʊ ɪm bæk tɪ wɪn 7 ˈæftər jɪr əv ˈjuzɪŋ wɪn 10 kɔz wɪn 10 ɪz ˈhɔrəbəl os…*… (rolevix*) 20 11 17 soʊ wi ʃʊd steɪ wɪθ bɪˈkəz ɪt ɪz ɔˈrɛdi ˈsteɪbəl wi ʃʊd nɑt kəmˈpit wɪθ ˈəðər ˈɛnʤənz bɪˈkəz ɪt ʤɪst wərks raɪt naʊ ˈsɪriəsli ˈnikoʊ aɪ ˈʧælənʤ ju tɪ pʊt ˈstætəs æt stim ənd jʊr ˈwɛbˌsaɪt seɪɪŋ ðət ju woʊnt ˈəpˌdeɪt ˌɛniˈmɔr bɪˈkəz ðɛr ɪz ɔˈrɛdi tənz əv ˈəpˌdeɪts ənd ju əˈfreɪd ðət ju wɪl breɪk stəf əp. hɛk ʤɪst ˈkɑpi peɪst ðɪs blɔg ˈstætəs ənd pʊt æt stim ənd jʊr ˈwɛbˌsaɪt ənd si ðə rɪˈspɑnsɪz. ˈmeɪbi tɪm sˈwini ʃʊd ʤɪst meɪnˈteɪn ənˈril ˈɪnʤən 1998 ər ʃʊd ʤɪst steɪ wɪθ bɪˈkəz ɪt ʤɪst wərks. ˈpipəl baɪ jʊr ˈsɔfˌwɛr nɑt ʤɪst fər ðə ˈsɔfˌwɛr əˈloʊn, wi baɪ ðə ˈsɔfˌwɛr tɪ səˈpɔrt ju ənd hæv jʊr kəˈmɪtmənt wɪθ ðə ˈprɑdəkt. wɪn aɪ faʊnd aʊt ðət ju ər ˈbɪzi duɪŋ jʊr geɪm ənd ʤɪst lɛft ðə ðə weɪ ɪt ɪz naʊ aɪ ˈkɪndə wɪθ ju. ju ˈivɪn juz fər jʊr geɪmz raɪt ʤɪst ʃoʊz ˈsəmθɪŋ kən bi ˌɪmˈpruv jʊr ˈɪnʤən. waɪ ju juz fər 22 11 17 , ɪz ðə meɪn ˈprɑdəkt əv maɪ ˈkəmpəˌni. ɪt ɪz ənd wɪl bi ˈəpˌdeɪtɪd. ənd ɪz ˈjuzɪŋ. ˈnikoʊ 22 11 17 waɪ ɪz ɪt ɪn jʊr blɔg ju ˈmɛnʃənz ðət wɪn ju traɪd ˈʤɑvəˌskrɪpt ɪt ɪz tu sloʊ. soʊ ju ˈkɑnvərt ɪt tɪ si++ wət ˈvərʒən əv ər ju ˈjuzɪŋ ðɛn 22 11 17 ɪf ju ər ˈjuzɪŋ ʤɪst ɛz ə ˈlɛvəl ˈɛdɪtər ər ˈpleɪsmənt ˈɛdɪtər fər jʊr ˈɑbʤɛkts, ðət dɪz nɑt kaʊnt ðə seɪm ɛz ˈjuzɪŋ fər jʊr geɪm dɪˈvɛləpmənt. ɪf ju ˈivɪn bɪˈliv ər juz jʊr oʊn ˈprɑdəkt waɪ ʃʊd wi 22 11 17 hi ɪz ˈjuzɪŋ proʊ. klɪk hɛlp əˈbaʊt, ðɛr ju ˈdaʊnˌloʊd ðə fʊl si++ koʊd. ˈɛrɪk 22 11 17 ɪf ðət ɪz tru, waɪ hi ˈɪmpləmənt ɔl ðə ˈʧeɪnʤɪz hi meɪd ɪn si++ ˈɪntu ðə meɪn ˈprɑdəkt? hi ʤɪst sɛd æt hɪz blɔg ðət ɪz ɔˈrɛdi gʊd ənd noʊ ˈʧeɪnʤɪz ər ˈnidɪd? ðə ˈrizən hi ˈʧeɪnʤɪz tɪ si++ bɪˈkəz ˈʤɑvəˌskrɪpt pərˈfɔrməns ɪz pur. aɪ bɪˈlivd hi sɛd ðət æt ðɪs blɔg. soʊ ðə meɪn ˈprɑdəkt dɪz ˌrikˈwaɪər səm ˈʧeɪnʤɪz raɪt? sɪns hi hɪmˈsɛlf kænt juz ɪt fər hɪz geɪm du tɪ loʊ pərˈfɔrməns. beɪst ɔn hɪz ˈlɑʤɪk, ˈmeɪbi aɪ ʃʊd baɪ kriˈeɪtər ɔn stim, ju noʊ wən əv ðə əˈbændən ˈsɔfˌwɛr baɪ ðə dɪˈvɛləpər æt stim. wi nid ɔl ðə ˈʧeɪnʤɪz, ˈəpˌdeɪts ənd ˈfiʧər ɛnˈhænsmənt ər bæd fər boʊθ dɪˈvɛləpər ənd ˈjuzər. wi baɪ jʊr ˈprɑdəkt fər jʊr kəˈmɪtmənt ənd jʊr taɪm. ɪf ju ˈbɑðər tɪ səˈpɔrt ˈjuˈɛs baɪ ˌɪmˈpruvɪŋ ðə ˈprɑdəkt. maɪt ɛz wɛl ʤɪst bi ə ˈfʊlˌtaɪm geɪm dɪˈvɛləpər ənd tɛl ðə ˈjuzər ðə truθ ðət ju ər ˈbɪzi dɪˈvɛləpɪŋ jʊr geɪmz ənd ju hæv taɪm tɪ ˌɪmˈpruv ˌɛniˈmɔr. 22 11 17
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interviewer: roskam is often referred to as the king of cannabis. he is the founder of green house coffee shops in amsterdam. is best known as a strain hunter, and his famous strains have won over 30 cannabis cups. when he's not in amsterdam, he spends most of his time traveling the world looking for the best strains of cannabis to be brought back to his lab with the goal of making the best strains of tomorrow. welcome,.
arjan: welcome. thank you for the beautiful introduction.
interviewer: for people that aren't familiar with you, can you give us just a little bit of background on who you are, and how you got into the cannabis business?
arjan: well, my name is roskam. i'm the founder and owner of green house and strain hunter companies. i started growing in '85. i grew up in africa.
interviewer: huh.
arjan: and when i was 17 i was traveling through asia, and i met a very interesting character up in the north of thailand who was curing heroin addicts with marijuana. and i was just a young guy passing by with my rucksack and i started talking to him. i stayed one day. i stayed three days, and i stayed seven days. when i left, i thought, "mm, this guy's pretty crazy" but i got more and more interested in his work. and when he left, he gave me a bunch of seeds, and he said, "in the future these seeds will overthrow governments."
interviewer: ah.
arjan: and i thought, "you're really crazy, you know" because i'm 49 now. so this is 32 years ago.
interviewer: yes.
arjan: so, you know, 32 years ago was a different world, no?
interviewer: yes.
arjan: and i went back to holland and didn't really know what to do. so i started working in the restaurant business. i was a chef for a while, and then i picked up those seeds and started growing. and the rest of the story is history.
interviewer: ah, and how many packets of seeds do you sell a year now?
arjan: a lot.
interviewer: [laughs] okay. and you really have a large market share, particularly in europe. i mean, do you have an idea of what percentage the market share of your seeds take?
arjan: yes, between 15 and 25%, depending on the country.
interviewer: okay. well, how do you think you got so much of the market share?
arjan: well, look, when we started green house coffee shops in ... basically i started my coffee shops because i started growing in '85, and '84 basically. and '85 we started selling marijuana, and at one point i was making ... are you still there?
interviewer: yes, i'm still here.
arjan: i thought you dropped away. i heard some sound. me and my wife, i started growing other varieties then. i started breeding and working, and i made special strains, and i was bringing them to the most famous at that time, like four of them. and i gave my new varieties, and they all said after two months, "you can come and pick it up because nobody's buying it."
interviewer: huh.
arjan: at that time the owners were friends of mine because i was selling them the regular skunk, and on the side i was selling them other stuff.
interviewer: okay.
arjan: but i underestimated the intelligence of the guy who was selling the marijuana. so i thought he would put more effort in it, but he was not really interested in my marijuana because he didn't like it. so i also did advocate it to the public. so after two, three months i took it back. i got my two kilos back from each shop. i gave them all one or two kilos. so my wife said, "if you really think that the product is so good, why don't you start your own club?"
so in '92 we started our own club. and the philosophy of our own club was to make something different, not the regular coffee shop at that time. it was looking like a jamaican hangout, with a jamaican flag on the wall and these kind of things.
interviewer: right.
arjan: so we made a very artistic cafe where your mother and my mother would possibly go inside for a cup of coffee and would not notice there's a marijuana place. it was very artistic. we made all the shop ourselves, decorations, mosaics on the wall. we made our own lives because we were pretty crazy. my wife is an interior architect, so interior designer. so this is how our first club started.
and then, again, i had the same problem because indeed the dutch really didn't like toe marijuana that i was making.
interviewer: ah.
arjan: and don't forget, 90% at that time was smoking hash until the mid-'90s.
interviewer: okay.
arjan: so '93 the kennedy family passed by on high times at that time, and they said, "listen, would you like to join a contest thanksgiving. november." it was the first marijuana competition in the world. and that time, of course, yeah, marijuana competition was one of the most crazy things to do. of course, it was really illegal.
interviewer: right.
arjan: so cnn came, bbc, there were like 25 television stations because which idiot in the world was going to make a marijuana contest? the cops were going to raid it. you know, the whole story, noa?
interviewer: yes.
arjan: well, to make a long story short, we completely forgot about the whole event because this was in april, and the event was in november. in november it was really high americans in front of my door. i had this little place in [sp] south of amsterdam, a little neighborhood. and suddenly i was confronted with all these people there. they're lucky i didn't have good thoughts. i just thought smoking, all the americans said to me, "oh man, this is really great. this is really great. we've never smoked this."
so, okay, i thought, yeah, yeah, sure, you know. yeah, you're happy now because you get something for free and blah, blah, blah, you know how it goes. but okay, five days later was the election. at that time in the red light there was a big hotel, and they got a club there. and then i won five of the six main prizes, main cups.
interviewer: oh wow.
arjan: i was a boy, very young. and so full television was on, cnn and bbc from that day on, things went very, very fast. so that's a little bit of history how the green house started and then, of course, people started asking for the seeds. so in '95 we established the seed company, and after we established three, four more clubs. then the king of cannabis came, and the kind of cannabis was created.
everybody thought, "yeah, this is some marketing thing and blah, blah, blah" but i just had an idea at that time. i became a spokesman for the cannabis retailers association for 12 years, and we had a very bad vibe in that period from the public and from the press and all these kind of things.
and i wanted to look better. i already realized that at the time when i was really young, especially my father said to me, "listen, boy, this whole story in 10 years is going to be finished because sweden is complaining, france is complaining. mr. reagan is complaining. you guys are all going to get closed here. so if you want to be legal in the future, you're going to have other countries coming and support us."
so one of the ideas was, "why don't we create a king of cannabis?" that was me. i made all the best varieties, and we started getting international famous people who smoked to europe and to the club here and tell them our story. tell them how good this product is. go back to your country and help us out.
interviewer: sure.
arjan: well, that happened with woody harrelson who became a very big advocate who was a great friend of mind, and all these kind of people and all the rappers came, and this is why i created the kind of cannabis. and then they went back to america, and this is where steve deangelo who was from harvard, for example, who's got now members. it's the biggest club in the states. and he saw what i was doing in the club, and one moment, guys ( is talking dutch to some people in the background, because they are too noisy). so all of those guys went back to america and started their own clubs, and from there on we created the king of cannabis.
the king of cannabis, yeah, was a thing for the regulation, and then in 2006, 2005 i came up with the idea of strain hunters. so now it's time because america's getting open and more things are happening, strain is happening. i said, "what will be really good is to show the world what really is happening on cannabis?" and then i started strain hunters. what i always did was go to the jungle and find species, but they said, "let's film it." and you probably saw some of those episodes.
interviewer: i did, i did.
arjan: well, one of the ideas was to show that 200 million people around the equator really depended on marijuana and how important marijuana is and to more show people what's really, really going on about marijuana. then, of course, national geographic picked it up, and now vice picked it up. and we're going to make a few more episodes for vice.
interviewer: good.
arjan: it was just all part of the regulation process to make people more aware of our industry and normalize the business.
interviewer: okay. for people that don't know what the term "land race" means, can you describe that because that's a big part of what you're doing with strain hunting?
arjan: well, yeah, the discussion about land race in science is a little bit diverse, but basically it's a species that grows for a certain time, they would say, this is the argue, like minimum years in a certain area or preferable hundreds of years that is known to this local area.
interviewer: okay.
arjan: again, there could be a malawi, golden malawi or durban poison in durban or whatever.
interviewer: and it has some unique qualities that make it strong for growing in that environment so it's been able to thrive in that environment. so you want to take back that particular seed and do something with it since it's done so well in that particular environment. is that the idea?
arjan: well, very partially. the idea is also that we could have different profiles in these plant profiles, cannabis profiles. it could have different tastes because of the so you can use it for breeding purposes. it could have some medicinal values that we don't know now, that maybe in the future could be helpful to autistic, epileptic, or cancer treatments, or whatever. we don't really know.
it has all kinds of value. one of the other values is that in some areas it's getting really wiped out. so we have to protect it also for the future. so it has all kinds of reasons.
interviewer: so other than ... a lot of people out there just think, "hey, you're looking for the highest value possible, but there's a lot of other variables you're considering." i mean, cbds, germinations, speed, how well it's resistant to diseases.
arjan: yeah.
interviewer: what other things do you look at when you're evaluating seeds where you say, "hey, this is something i really i think is a desirable seed."
arjan: well, basically all the ones you just mentioned, but also, for example, mold resistant can be a very important factor.
interviewer: yes.
arjan:s, some areas are really, really goods. like in america, it's all kush. in holland it's all indica. in spain, but you could mix those strains and create something really, really nice. so it has numerous interests.
interviewer: okay. and on the vice episodes you were on recently, you were really excited to find the punta strain.
arjan: yeah.
interviewer: can you tell us a little bit about that strain and why you're so excited about it?
arjan: well, first of all, there are three races there. there's lemon verde and the mango veecha. nobody really obtained a proper one. so it's an accomplishment to have those, especially lemon verde. we all know there's a big war going on there for the last 25 years.
interviewer: yes.
arjan: and basically we were the only people going in and out there without being kidnapped. so and it's a really, really good country for growing, and unfortunately a lot of cocaine took over there. and now we see marijuana coming back. one of the things we showed in that movie, "colombia" where you see all the lights that it used to be all cocaine plantations, and now people are growing grass again, like in the '70s.
interviewer: well, good.
arjan: what i see is very encouraging and very important for everybody. so this is one of the main reasons we went there is because we heard about a lot of growers are going back to pot again. and secondly, the varieties are really nice. they have some nice strains. they have some nice smoke. basically marijuana, you can compare to wine. how many times do we drink the same bottle of wine? rarely, huh? every restaurant we go we get another bottle of wine.
interviewer: right.
arjan: and this makes marijuana very interesting, and it's also very important for you as a smoker to smoke very diverse. if you smoke one variety all the time, at one point you have to smoke more and more of it which is not a good thing. and so personally i really advocate to smoke different varieties. so this is one of the main reasons i like to have a lot of varieties on my menu.
interviewer: oh good. and are you using any genetic modification techniques in your lab or is it just hybrids? how does that work?
arjan: oh nobody does. it's a big myth at the moment. nobody is using genetic medication techniques in the marijuana world as far as i know. we just make hybrids and that's it, very simple.
interviewer: now i've heard the term "hybrid vigor" which means when you create a new hybrid, they kind of thrive in a way that's interesting. do you witness that firsthand?
arjan: yes, of course, but that doesn't always work. of course, you try to create a new hybrid with a new taste. you try to bring the best threads from both species together, and you hope that the bubble gum from one and the lemon from the other comes together, you know? but that doesn't always work, of course.
interviewer: right.
arjan: this is the doctor who's working.
interviewer: yes.
arjan: it would be too easy now if everything goes like that.
interviewer: right. what is your most popular strain? i guess that probably changes over time, but what do you think the most popular strain is right now?
arjan: well, past [sp] the world's most famous strain is past due to the california ones. at the start of the business it was the skunk.
interviewer: yes.
arjan: later it became the white widow, my most famous strain from the early '90s. past was the super silver haze in '98 until early 2000s. and now it's the cheese and the super lemon haze. super lemon haze is probably the most famous strain ever. that one won three times the cannabis in high times. it was the most smoked, and if you go to all international seed banks every seed bank with this that's the number one seller. it's a very good, a very good grower and, yeah, it's a fantastic plant and a great smoke. and that's probably your main one, to say.
interviewer: okay. do you see any threats from the best seeds coming to market? is there any entrenched market interests or big companies or governments getting in the way from the best seeds coming to market?
arjan: well, let's not hope. let's not hope. i hope it will go in the same way that the wine industry went. of course, there will be a few big players, but as in france, as in australia, as in california, as in south america, in chile, there's still a lot of very good little wine houses.
interviewer: yes.
arjan: you never can stop the capitalist industry. we all know this. we have to be honest about this, but i hope guys like me will not get crushed by big tobacco companies to take over our business. but who knows? this is the future. it's getting more legal, amigo. let's hope that hillary clinton gets elected in 2016 and changes the federal laws. you see now very good movement in america with letters coming out from the white house from eric holder that it's ... back off of the and let them do their work if they're legal.
interviewer: yes.
arjan: so you live in the center of the center. you know better than anybody else. it's going pretty good in colorado. i understand that the first $40 million on tax has been spent on the schools.
interviewer: yes.
arjan: so a very, very, very intelligent move from the colorado state, and i hope it goes like that in the future.
interviewer: yes, i'm very optimistic. it's been going really well here in colorado.
arjan: yes.
interviewer: who do you feel like benefits from keeping cannabis illegal?
arjan: politicians.
interviewer: yeah.
arjan: politicians are too stupid to organize anything or solve any problem if the economic crisis starts speaking about drugs because they can't speak about economics. of course, a little bit of tobacco or a pharmaceutical or the alcohol industry. we can see that very, very clear in california where the alcohol industry is against us. i even heard that the owner of starbucks is putting money in the lobby against us. so even the coffee industry is against us.
interviewer: oh no.
arjan: yeah.
interviewer: now you've travelled all over the world looking for great strains. how have you seen different cultures, like you mentioned in thailand? how have you seen them use cannabis as a medicine?
arjan: oh well, you can see that in a lot of my movies, especially they use it for all kinds of things. first of all, they don't have anything else there. i'm from africa. you have to understand there. very poor families have three fields. they have a mini field that's a cornfield basically. they have a vegetable field, and they have marijuana fields. they don't have money for fences so this is the reason the children don't go to school. the children have to guard the cattle. if the cattle goes into the vegetable field, they just die of hunger.
so the marijuana they make to sell. now one of the things they use is if the kids are really sick, for example, and they have stomach problems or they have not enough food, it's sounds a little bit contradicting because in america you get the when you smoke really strong marijuana. but in africa and other places they give the kids a little bit of seeds and a little bit of marijuana because the seeds have a very high nutritional value. we all know there is omega 3, 6 and 9 im there in there.
interviewer: yes.
arjan: and there's a lot of seeds available in marijuana so they feed the kids seeds. we can see even the chickens are much more healthy in africa. the eggs are much more bigger in europe when they eat the marijuana seeds. it's a very scientific thing what you see. the meat is also much nicer of the chickens, but they use it in all kinds of ways. they make oils. they use it in all kinds of therapeutic ways, like in south america, for example. they use the cocoa leaves or they use the ayahuasca, all kinds of other herbs. in africa they use it to treat themselves because they don't have money to obtain pharmaceuticals. and pharmaceuticals are in many ways, anyway, not the answer as we all know. we have too many people who are addicted to sleeping tablets, tranquilizers, and all kinds of other things. and they should indeed take some cannabis instead of all these bad things for you.
interviewer: now you recently interviewed sir richard branson. i'm not sure when that was, but why do you feel his message is so important to get out?
arjan: well, it's the same as when i created the king of cannabis. i wanted to have all the famous actors and movie stars and singers to advocate our issue. you see my site, for example. now rihanna, you see these big people that are very important for young people telling, "hey, listen, i smoke. i don't care. it's not dangerous."
interviewer: yes.
arjan: and you can think whatever you want to about this message, but for me this is a very good message. now there's another very, very big league, the league of paul allen, the league of sir richard branson and these kind of people. for me this is very important because these people are respected businessmen, and now they are standing up and advocating our case. and they are also financially contributing to my organization a lot. sir richard branson donated euros last year for our congress and a lot of mayors attended and a lot of people from america.
and these people have money. they can help us, and they are much more creditable than us. and they are now telling the world that this is a good product. and that's why it's very important that these people come in. unfortunately, these people are only in america and in england and not yet in the mainland of europe and in holland, but this is the beginning. and he's also part of the drug commission of the united nations where he's with kofi annan and madeline albright.
so these people are very, very important to us for the regulation process.
interviewer: great. now you've been growing plants since the '80s. aside from new strains, is there any technology in the cannabis business that really excites you?
arjan: yeah, well what excites me more is, of course, the whole regulation process in america what i think is great, but, of course, yeah, you have the whole new edible industry, of course. that's very important where people don't have to smoke anymore but can take a cookie or whatever which is a new interesting thing. but i'm a real, real original grower and breeder and that's what excites me the most.
interviewer: is there any tips or suggestions you would give to people in colorado and washington that they can take away from your experience in amsterdam, you know, with legal cannabis there that they can make sure they do here to get off on the right foot?
arjan: the most important thing is to buy green house seeds.
interviewer and: [laugh]
interviewer: okay.
arjan: that's a joke. now listen, what i hope and what i hope will come to spain one time. yesterday we had allison the woman who wrote the thing for washington.
interviewer: okay.
arjan: the whole proposal. i hope we can make clubs like in amsterdam, like in spain where you would have food, where you would have drink and where you can smoke marijuana and obtain your marijuana. i think this is the future. and you also go to a restaurant to eat food. you don't only eat food in your house. you go to starbucks to buy your coffee. you go to apple phone to buy your phone, yeah?
interviewer: yeah.
arjan: so also when you come together and you smoke marijuana, you talk about social problems, this is very important. holland is a very international country.
interviewer: yes.
arjan: we're a very open country. we have legalized abortion, euthanasia, and gay marriage. we are famous for showing the world in which direction freedom should go. and i think it's very, very important to understand it. in a coffee shop in holland there's a black guy. there's a white guy, and there's a chinese guy at one table sharing a joint and talking about daily problems. and you don't see that much in other countries. marijuana, it's nice people. and i think that is the strongest message that we give out with those coffee shops, and that's why i think it's so important to have the coffee shop system in america in the future.
interviewer: great point. it would be a lot of fun.
arjan: it's nice for this interviewer.
interviewer: yes.
arjan: you probably have more questions.
interviewer: well, where are you up to next?
arjan: i never mention my trips because of security reasons, i'm sorry.
interviewer: that makes a lot of sense. i could see why after watching the vice colombia.
arjan: you have to keep it a little under the radar. i hope you understand.
interviewer: sure. and for listeners that want to follow your work and learn more about your seeds and your coffee shop, how can they do that?
arjan: well, we have a very big, famous forum on the www.strainraces.com.
interviewer: okay.
arjan: that's one place to log in. we have greenhouseseeds.nl, and these are two main websites where everybody can find us and everybody comes together there. another nice thing is to watch us grow, where there is a lot of people putting their little things on. and, of course, is really, really important, strain on where they can follow our trips and see a lot of nice pictures. and, yeah, that's basically the way to follow us.
interviewer: great. well,, thanks so much for the interview. i really appreciate it.
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ˈɪntərvˌjuər: ˈrɑskəm ɪz ˈɔfən rɪˈfərd tɪ ɛz ðə kɪŋ əv ˈkænəbəs. hi ɪz ðə ˈfaʊndər əv grin haʊs ˈkɔfi ʃɑps ɪn ˈæmstərˌdæm. ɪz bɛst noʊn ɛz ə streɪn ˈhəntər, ənd hɪz ˈfeɪməs streɪnz hæv wən ˈoʊvər 30 ˈkænəbəs kəps. wɪn hiz nɑt ɪn ˈæmstərˌdæm, hi spɛnz moʊst əv hɪz taɪm ˈtrævəlɪŋ ðə wərld ˈlʊkɪŋ fər ðə bɛst streɪnz əv ˈkænəbəs tɪ bi brɔt bæk tɪ hɪz læb wɪθ ðə goʊl əv ˈmeɪkɪŋ ðə bɛst streɪnz əv təˈmɑˌroʊ. ˈwɛlkəm,.: ˈwɛlkəm. θæŋk ju fər ðə ˈbjutəfəl ˌɪntrəˈdəkʃən. ˈɪntərvˌjuər: fər ˈpipəl ðət ˈɑrənt fəˈmɪljər wɪθ ju, kən ju gɪv ˈjuˈɛs ʤɪst ə ˈlɪtəl bɪt əv ˈbækˌgraʊnd ɔn hu ju ər, ənd haʊ ju gɑt ˈɪntu ðə ˈkænəbəs ˈbɪznɪs?: wɛl, maɪ neɪm ɪz ˈrɑskəm. əm ðə ˈfaʊndər ənd ˈoʊnər əv grin haʊs ənd streɪn ˈhəntər ˈkəmpəˌniz. aɪ ˈstɑrtɪd groʊɪŋ ɪn 85 aɪ gru əp ɪn ˈæfrɪkɑ. ˈɪntərvˌjuər: hə.: ənd wɪn aɪ wɑz 17 aɪ wɑz ˈtrævəlɪŋ θru ˈeɪʒə, ənd aɪ mɛt ə ˈvɛri ˈɪntəˌrɛstɪŋ ˈkɛrɪktər əp ɪn ðə nɔrθ əv ˈtaɪˌlænd hu wɑz ˈkjʊrɪŋ ˈhɛroʊən ˈæˌdɪkts wɪθ ˌmɛrəˈwɑnə. ənd aɪ wɑz ʤɪst ə jəŋ gaɪ ˈpæsɪŋ baɪ wɪθ maɪ ˈrəkˌsæk ənd aɪ ˈstɑrtɪd ˈtɔkɪŋ tɪ ɪm. aɪ steɪd wən deɪ. aɪ steɪd θri deɪz, ənd aɪ steɪd ˈsɛvən deɪz. wɪn aɪ lɛft, aɪ θɔt, "mm*, ðɪs gaɪz ˈprɪti ˈkreɪzi" bət aɪ gɑt mɔr ənd mɔr ˈɪntəˌrɛstɪd ɪn hɪz wərk. ənd wɪn hi lɛft, hi geɪv mi ə bənʧ əv sidz, ənd hi sɛd, "ɪn ðə fˈjuʧər ðiz sidz wɪl ˈoʊvərθˌroʊ ˈgəvərnmənts." ˈɪntərvˌjuər: ɑ.: ənd aɪ θɔt, "jʊr ˈrɪli ˈkreɪzi, ju noʊ" bɪˈkəz əm 49 naʊ. soʊ ðɪs ɪz 32 jɪrz əˈgoʊ. ˈɪntərvˌjuər: jɛs.: soʊ, ju noʊ, 32 jɪrz əˈgoʊ wɑz ə ˈdɪfərənt wərld, noʊ? ˈɪntərvˌjuər: jɛs.: ənd aɪ wɛnt bæk tɪ ˈhɑlənd ənd ˈdɪdənt ˈrɪli noʊ wət tɪ du. soʊ aɪ ˈstɑrtɪd ˈwərkɪŋ ɪn ðə ˈrɛˌstrɑnt ˈbɪznɪs. aɪ wɑz ə ʃɛf fər ə waɪl, ənd ðɛn aɪ pɪkt əp ðoʊz sidz ənd ˈstɑrtɪd groʊɪŋ. ənd ðə rɛst əv ðə ˈstɔri ɪz ˈhɪstəri. ˈɪntərvˌjuər: ɑ, ənd haʊ ˈmɛni ˈpækɪts əv sidz du ju sɛl ə jɪr naʊ?: ə lɔt. ˈɪntərvˌjuər: [læfs] ˌoʊˈkeɪ. ənd ju ˈrɪli hæv ə lɑrʤ ˈmɑrkɪt ʃɛr, ˌpɑrˈtɪkjələrli ɪn ˈjʊrəp. aɪ min, du ju hæv ən aɪˈdiə əv wət pərˈsɛnɪʤ ðə ˈmɑrkɪt ʃɛr əv jʊr sidz teɪk?: jɛs, bɪtˈwin 15 ənd 25 dɪˈpɛndɪŋ ɔn ðə ˈkəntri. ˈɪntərvˌjuər: ˌoʊˈkeɪ. wɛl, haʊ du ju θɪŋk ju gɑt soʊ məʧ əv ðə ˈmɑrkɪt ʃɛr?: wɛl, lʊk, wɪn wi ˈstɑrtɪd grin haʊs ˈkɔfi ʃɑps ɪn ˈbeɪsɪkli aɪ ˈstɑrtɪd maɪ ˈkɔfi ʃɑps bɪˈkəz aɪ ˈstɑrtɪd groʊɪŋ ɪn 85 ənd 84 ˈbeɪsɪkli. ənd 85 wi ˈstɑrtɪd ˈsɛlɪŋ ˌmɛrəˈwɑnə, ənd æt wən pɔɪnt aɪ wɑz ˈmeɪkɪŋ ər ju stɪl ðɛr? ˈɪntərvˌjuər: jɛs, əm stɪl hir.: aɪ θɔt ju drɑpt əˈweɪ. aɪ hərd səm saʊnd. mi ənd maɪ waɪf, aɪ ˈstɑrtɪd groʊɪŋ ˈəðər vərˈaɪətiz ðɛn. aɪ ˈstɑrtɪd ˈbridɪŋ ənd ˈwərkɪŋ, ənd aɪ meɪd ˈspɛʃəl streɪnz, ənd aɪ wɑz ˈbrɪŋɪŋ ðɛm tɪ ðə moʊst ˈfeɪməs æt ðət taɪm, laɪk fɔr əv ðɛm. ənd aɪ geɪv maɪ nu vərˈaɪətiz, ənd ðeɪ ɔl sɛd ˈæftər tu mənθs, "ju kən kəm ənd pɪk ɪt əp bɪˈkəz ˈnoʊˌbɑˌdiz baɪɪŋ ɪt." ˈɪntərvˌjuər: hə.: æt ðət taɪm ðə ˈoʊnərz wər frɛndz əv maɪn bɪˈkəz aɪ wɑz ˈsɛlɪŋ ðɛm ðə ˈrɛgjələr skəŋk, ənd ɔn ðə saɪd aɪ wɑz ˈsɛlɪŋ ðɛm ˈəðər stəf. ˈɪntərvˌjuər: ˌoʊˈkeɪ.: bət aɪ ˈəndərˈɛstəˌmeɪtɪd ðə ˌɪnˈtɛləʤəns əv ðə gaɪ hu wɑz ˈsɛlɪŋ ðə ˌmɛrəˈwɑnə. soʊ aɪ θɔt hi wʊd pʊt mɔr ˈɛfərt ɪn ɪt, bət hi wɑz nɑt ˈrɪli ˈɪntəˌrɛstɪd ɪn maɪ ˌmɛrəˈwɑnə bɪˈkəz hi ˈdɪdənt laɪk ɪt. soʊ aɪ ˈɔlsoʊ dɪd ˈædvəˌkeɪt ɪt tɪ ðə ˈpəblɪk. soʊ ˈæftər tu, θri mənθs aɪ tʊk ɪt bæk. aɪ gɑt maɪ tu ˈkiˌloʊz bæk frəm iʧ ʃɑp. aɪ geɪv ðɛm ɔl wən ər tu ˈkiˌloʊz. soʊ maɪ waɪf sɛd, "ɪf ju ˈrɪli θɪŋk ðət ðə ˈprɑdəkt ɪz soʊ gʊd, waɪ doʊnt ju stɑrt jʊr oʊn kləb?" soʊ ɪn 92 wi ˈstɑrtɪd ɑr oʊn kləb. ənd ðə fəˈlɑsəfi əv ɑr oʊn kləb wɑz tɪ meɪk ˈsəmθɪŋ ˈdɪfərənt, nɑt ðə ˈrɛgjələr ˈkɔfi ʃɑp æt ðət taɪm. ɪt wɑz ˈlʊkɪŋ laɪk ə ʤəˈmeɪkən ˈhæˌŋaʊt, wɪθ ə ʤəˈmeɪkən flæg ɔn ðə wɔl ənd ðiz kaɪnd əv θɪŋz. ˈɪntərvˌjuər: raɪt.: soʊ wi meɪd ə ˈvɛri ɑrˈtɪstɪk kəˈfeɪ wɛr jʊr ˈməðər ənd maɪ ˈməðər wʊd ˈpɑsəbli goʊ ˌɪnˈsaɪd fər ə kəp əv ˈkɔfi ənd wʊd nɑt ˈnoʊtɪs ðɛrz ə ˌmɛrəˈwɑnə pleɪs. ɪt wɑz ˈvɛri ɑrˈtɪstɪk. wi meɪd ɔl ðə ʃɑp ɑrˈsɛlvz, ˌdɛkərˈeɪʃənz, moʊˈzeɪɪks ɔn ðə wɔl. wi meɪd ɑr oʊn lɪvz bɪˈkəz wi wər ˈprɪti ˈkreɪzi. maɪ waɪf ɪz ən ˌɪnˈtɪriər ˈɑrkəˌtɛkt, soʊ ˌɪnˈtɪriər dɪˈzaɪnər. soʊ ðɪs ɪz haʊ ɑr fərst kləb ˈstɑrtɪd. ənd ðɛn, əˈgɛn, aɪ hæd ðə seɪm ˈprɑbləm bɪˈkəz ˌɪnˈdid ðə dəʧ ˈrɪli ˈdɪdənt laɪk toʊ ˌmɛrəˈwɑnə ðət aɪ wɑz ˈmeɪkɪŋ. ˈɪntərvˌjuər: ɑ.: ənd doʊnt fərˈgɛt, 90 æt ðət taɪm wɑz sˈmoʊkɪŋ hæʃ ənˈtɪl ðə mid-'90s*. ˈɪntərvˌjuər: ˌoʊˈkeɪ.: soʊ 93 ðə ˈkɛnədi ˈfæməli pæst baɪ ɔn haɪ taɪmz æt ðət taɪm, ənd ðeɪ sɛd, "ˈlɪsən, wʊd ju laɪk tɪ ʤɔɪn ə ˈkɑntɛst ˌθæŋksˈgɪvɪŋ. noʊˈvɛmbər." ɪt wɑz ðə fərst ˌmɛrəˈwɑnə ˌkɑmpəˈtɪʃən ɪn ðə wərld. ənd ðət taɪm, əv kɔrs, jæ, ˌmɛrəˈwɑnə ˌkɑmpəˈtɪʃən wɑz wən əv ðə moʊst ˈkreɪzi θɪŋz tɪ du. əv kɔrs, ɪt wɑz ˈrɪli ˌɪˈligəl. ˈɪntərvˌjuər: raɪt.: soʊ ˈsiˈɛˈnɛn keɪm, ˌbibiˈsi, ðɛr wər laɪk 25 ˈtɛləˌvɪʒən ˈsteɪʃənz bɪˈkəz wɪʧ ˈɪˌdiət ɪn ðə wərld wɑz goʊɪŋ tɪ meɪk ə ˌmɛrəˈwɑnə ˈkɑntɛst? ðə kɑps wər goʊɪŋ tɪ reɪd ɪt. ju noʊ, ðə hoʊl ˈstɔri, noʊə? ˈɪntərvˌjuər: jɛs.: wɛl, tɪ meɪk ə lɔŋ ˈstɔri ʃɔrt, wi kəmˈplitli fərˈgɑt əˈbaʊt ðə hoʊl ɪˈvɛnt bɪˈkəz ðɪs wɑz ɪn ˈeɪprəl, ənd ðə ɪˈvɛnt wɑz ɪn noʊˈvɛmbər. ɪn noʊˈvɛmbər ɪt wɑz ˈrɪli haɪ əˈmɛrɪkənz ɪn frənt əv maɪ dɔr. aɪ hæd ðɪs ˈlɪtəl pleɪs ɪn [sp*] saʊθ əv ˈæmstərˌdæm, ə ˈlɪtəl ˈneɪbərˌhʊd. ənd ˈsədənli aɪ wɑz kənˈfrəntɪd wɪθ ɔl ðiz ˈpipəl ðɛr. ðɛr ˈləki aɪ ˈdɪdənt hæv gʊd θɔts. aɪ ʤɪst θɔt sˈmoʊkɪŋ, ɔl ðə əˈmɛrɪkənz sɛd tɪ mi, "oʊ mæn, ðɪs ɪz ˈrɪli greɪt. ðɪs ɪz ˈrɪli greɪt. wiv ˈnɛvər smoʊkt ðɪs." soʊ, ˌoʊˈkeɪ, aɪ θɔt, jæ, jæ, ʃʊr, ju noʊ. jæ, jʊr ˈhæpi naʊ bɪˈkəz ju gɪt ˈsəmθɪŋ fər fri ənd blɑ, blɑ, blɑ, ju noʊ haʊ ɪt goʊz. bət ˌoʊˈkeɪ, faɪv deɪz ˈleɪtər wɑz ðə ɪˈlɛkʃən. æt ðət taɪm ɪn ðə rɛd laɪt ðɛr wɑz ə bɪg hoʊˈtɛl, ənd ðeɪ gɑt ə kləb ðɛr. ənd ðɛn aɪ wən faɪv əv ðə sɪks meɪn ˈpraɪzɪz, meɪn kəps. ˈɪntərvˌjuər: oʊ waʊ.: aɪ wɑz ə bɔɪ, ˈvɛri jəŋ. ənd soʊ fʊl ˈtɛləˌvɪʒən wɑz ɔn, ˈsiˈɛˈnɛn ənd ˌbibiˈsi frəm ðət deɪ ɔn, θɪŋz wɛnt ˈvɛri, ˈvɛri fæst. soʊ ðæts ə ˈlɪtəl bɪt əv ˈhɪstəri haʊ ðə grin haʊs ˈstɑrtɪd ənd ðɛn, əv kɔrs, ˈpipəl ˈstɑrtɪd ˈæskɪŋ fər ðə sidz. soʊ ɪn 95 wi ɪˈstæblɪʃt ðə sid ˈkəmpəˌni, ənd ˈæftər wi ɪˈstæblɪʃt θri, fɔr mɔr kləbz. ðɛn ðə kɪŋ əv ˈkænəbəs keɪm, ənd ðə kaɪnd əv ˈkænəbəs wɑz kriˈeɪtɪd. ˈɛvriˌbɑdi θɔt, "jæ, ðɪs ɪz səm ˈmɑrkətɪŋ θɪŋ ənd blɑ, blɑ, blɑ" bət aɪ ʤɪst hæd ən aɪˈdiə æt ðət taɪm. aɪ bɪˈkeɪm ə ˈspoʊksmən fər ðə ˈkænəbəs ˈriˌteɪlərz əˌsoʊʃiˈeɪʃən fər 12 jɪrz, ənd wi hæd ə ˈvɛri bæd vaɪb ɪn ðət ˈpɪriəd frəm ðə ˈpəblɪk ənd frəm ðə prɛs ənd ɔl ðiz kaɪnd əv θɪŋz. ənd aɪ ˈwɔntɪd tɪ lʊk ˈbɛtər. aɪ ɔˈrɛdi ˈriəˌlaɪzd ðət æt ðə taɪm wɪn aɪ wɑz ˈrɪli jəŋ, əˈspɛʃəli maɪ ˈfɑðər sɛd tɪ mi, "ˈlɪsən, bɔɪ, ðɪs hoʊl ˈstɔri ɪn 10 jɪrz ɪz goʊɪŋ tɪ bi ˈfɪnɪʃt bɪˈkəz sˈwidən ɪz kəmˈpleɪnɪŋ, fræns ɪz kəmˈpleɪnɪŋ. ˈmɪstər. ˈrigən ɪz kəmˈpleɪnɪŋ. ju gaɪz ər ɔl goʊɪŋ tɪ gɪt kloʊzd hir. soʊ ɪf ju wɔnt tɪ bi ˈligəl ɪn ðə fˈjuʧər, jʊr goʊɪŋ tɪ hæv ˈəðər ˈkəntriz ˈkəmɪŋ ənd səˈpɔrt ˈjuˈɛs." soʊ wən əv ðə aɪˈdiəz wɑz, "waɪ doʊnt wi kriˈeɪt ə kɪŋ əv ˈkænəbəs?" ðət wɑz mi. aɪ meɪd ɔl ðə bɛst vərˈaɪətiz, ənd wi ˈstɑrtɪd ˈgɪtɪŋ ˌɪnərˈnæʃənɑl ˈfeɪməs ˈpipəl hu smoʊkt tɪ ˈjʊrəp ənd tɪ ðə kləb hir ənd tɛl ðɛm ɑr ˈstɔri. tɛl ðɛm haʊ gʊd ðɪs ˈprɑdəkt ɪz. goʊ bæk tɪ jʊr ˈkəntri ənd hɛlp ˈjuˈɛs aʊt. ˈɪntərvˌjuər: ʃʊr.: wɛl, ðət ˈhæpənd wɪθ ˈwʊdi ˈhɛrɪlsən hu bɪˈkeɪm ə ˈvɛri bɪg ˈædvəˌkeɪt hu wɑz ə greɪt frɛnd əv maɪnd, ənd ɔl ðiz kaɪnd əv ˈpipəl ənd ɔl ðə ˈræpərz keɪm, ənd ðɪs ɪz waɪ aɪ kriˈeɪtɪd ðə kaɪnd əv ˈkænəbəs. ənd ðɛn ðeɪ wɛnt bæk tɪ əˈmɛrɪkə, ənd ðɪs ɪz wɛr stiv dəŋˈgɛloʊ hu wɑz frəm ˈhɑrvərd, fər ɪgˈzæmpəl, huz gɑt naʊ ˈmɛmbərz. ɪts ðə ˈbɪgəst kləb ɪn ðə steɪts. ənd hi sɔ wət aɪ wɑz duɪŋ ɪn ðə kləb, ənd wən ˈmoʊmənt, gaɪz ɪz ˈtɔkɪŋ dəʧ tɪ səm ˈpipəl ɪn ðə ˈbækˌgraʊnd, bɪˈkəz ðeɪ ər tu ˈnɔɪzi). soʊ ɔl əv ðoʊz gaɪz wɛnt bæk tɪ əˈmɛrɪkə ənd ˈstɑrtɪd ðɛr oʊn kləbz, ənd frəm ðɛr ɔn wi kriˈeɪtɪd ðə kɪŋ əv ˈkænəbəs. ðə kɪŋ əv ˈkænəbəs, jæ, wɑz ə θɪŋ fər ðə ˌrɛgjəˈleɪʃən, ənd ðɛn ɪn 2006 2005 aɪ keɪm əp wɪθ ðə aɪˈdiə əv streɪn ˈhəntərz. soʊ naʊ ɪts taɪm bɪˈkəz əˈmɛrɪkəz ˈgɪtɪŋ ˈoʊpən ənd mɔr θɪŋz ər ˈhæpənɪŋ, streɪn ɪz ˈhæpənɪŋ. aɪ sɛd, "wət wɪl bi ˈrɪli gʊd ɪz tɪ ʃoʊ ðə wərld wət ˈrɪli ɪz ˈhæpənɪŋ ɔn ˈkænəbəs?" ənd ðɛn aɪ ˈstɑrtɪd streɪn ˈhəntərz. wət aɪ ˈɔlˌweɪz dɪd wɑz goʊ tɪ ðə ˈʤəŋgəl ənd faɪnd ˈspiʃiz, bət ðeɪ sɛd, "lɛts fɪlm ɪt." ənd ju ˈprɑbəˌbli sɔ səm əv ðoʊz ˈɛpɪˌsoʊdz. ˈɪntərvˌjuər: aɪ dɪd, aɪ dɪd.: wɛl, wən əv ðə aɪˈdiəz wɑz tɪ ʃoʊ ðət 200 ˈmɪljən ˈpipəl əraʊnd ðə ɪkˈweɪtər ˈrɪli dɪˈpɛndɪd ɔn ˌmɛrəˈwɑnə ənd haʊ ˌɪmˈpɔrtənt ˌmɛrəˈwɑnə ɪz ənd tɪ mɔr ʃoʊ ˈpipəl wəts ˈrɪli, ˈrɪli goʊɪŋ ɔn əˈbaʊt ˌmɛrəˈwɑnə. ðɛn, əv kɔrs, ˈnæʃənəl ˌʤiəˈgræfɪk pɪkt ɪt əp, ənd naʊ vaɪs pɪkt ɪt əp. ənd wɪr goʊɪŋ tɪ meɪk ə fju mɔr ˈɛpɪˌsoʊdz fər vaɪs. ˈɪntərvˌjuər: gʊd.: ɪt wɑz ʤɪst ɔl pɑrt əv ðə ˌrɛgjəˈleɪʃən ˈprɔˌsɛs tɪ meɪk ˈpipəl mɔr əˈwɛr əv ɑr ˈɪndəstri ənd ˈnɔrməˌlaɪz ðə ˈbɪznɪs. ˈɪntərvˌjuər: ˌoʊˈkeɪ. fər ˈpipəl ðət doʊnt noʊ wət ðə tərm "lænd reɪs" minz, kən ju dɪˈskraɪb ðət bɪˈkəz ðæts ə bɪg pɑrt əv wət jʊr duɪŋ wɪθ streɪn ˈhəntɪŋ?: wɛl, jæ, ðə dɪˈskəʃən əˈbaʊt lænd reɪs ɪn saɪəns ɪz ə ˈlɪtəl bɪt dɪˈvərs, bət ˈbeɪsɪkli ɪts ə ˈspiʃiz ðət groʊz fər ə ˈsərtən taɪm, ðeɪ wʊd seɪ, ðɪs ɪz ðə ˈɑrgju, laɪk ˈmɪnəməm jɪrz ɪn ə ˈsərtən ˈɛriə ər ˈprɛfərəbəl ˈhənərdz əv jɪrz ðət ɪz noʊn tɪ ðɪs ˈloʊkəl ˈɛriə. ˈɪntərvˌjuər: ˌoʊˈkeɪ.: əˈgɛn, ðɛr kʊd bi ə məˈlɑwi, ˈgoʊldən məˈlɑwi ər ˈdərbən ˈpɔɪzən ɪn ˈdərbən ər ˌwəˈtɛvər. ˈɪntərvˌjuər: ənd ɪt həz səm juˈnik kˈwɑlətiz ðət meɪk ɪt strɔŋ fər groʊɪŋ ɪn ðət ɪnˈvaɪrənmənt soʊ ɪts bɪn ˈeɪbəl tɪ θraɪv ɪn ðət ɪnˈvaɪrənmənt. soʊ ju wɔnt tɪ teɪk bæk ðət ˌpɑˈtɪkjələr sid ənd du ˈsəmθɪŋ wɪθ ɪt sɪns ɪts dən soʊ wɛl ɪn ðət ˌpɑˈtɪkjələr ɪnˈvaɪrənmənt. ɪz ðət ðə aɪˈdiə?: wɛl, ˈvɛri ˈpɑrʃəli. ðə aɪˈdiə ɪz ˈɔlsoʊ ðət wi kʊd hæv ˈdɪfərənt ˈproʊˌfaɪlz ɪn ðiz plænt ˈproʊˌfaɪlz, ˈkænəbəs ˈproʊˌfaɪlz. ɪt kʊd hæv ˈdɪfərənt teɪsts bɪˈkəz əv ðə soʊ ju kən juz ɪt fər ˈbridɪŋ ˈpərpəsɪz. ɪt kʊd hæv səm məˈdɪsənəl ˈvæljuz ðət wi doʊnt noʊ naʊ, ðət ˈmeɪbi ɪn ðə fˈjuʧər kʊd bi ˈhɛlpfəl tɪ ɔˈtɪstɪk, ˌɛpɪˈlɛptɪk, ər ˈkænsər ˈtritmənts, ər ˌwəˈtɛvər. wi doʊnt ˈrɪli noʊ. ɪt həz ɔl kaɪnz əv ˈvælju. wən əv ðə ˈəðər ˈvæljuz ɪz ðət ɪn səm ˈɛriəz ɪts ˈgɪtɪŋ ˈrɪli waɪpt aʊt. soʊ wi hæv tɪ prəˈtɛkt ɪt ˈɔlsoʊ fər ðə fˈjuʧər. soʊ ɪt həz ɔl kaɪnz əv ˈrizənz. ˈɪntərvˌjuər: soʊ ˈəðər ðən ə lɔt əv ˈpipəl aʊt ðɛr ʤɪst θɪŋk, "heɪ, jʊr ˈlʊkɪŋ fər ðə haɪəst ˈvælju ˈpɑsəbəl, bət ðɛrz ə lɔt əv ˈəðər ˈvɛriəbəlz jʊr kənˈsɪdərɪŋ." aɪ min, cbds*, germinations*, spid, haʊ wɛl ɪts rɪˈzɪstənt tɪ dɪˈzizɪz.: jæ. ˈɪntərvˌjuər: wət ˈəðər θɪŋz du ju lʊk æt wɪn jʊr ɪˈvæljuˌeɪtɪŋ sidz wɛr ju seɪ, "heɪ, ðɪs ɪz ˈsəmθɪŋ aɪ ˈrɪli aɪ θɪŋk ɪz ə dɪˈzaɪərəbəl sid.": wɛl, ˈbeɪsɪkli ɔl ðə wənz ju ʤɪst ˈmɛnʃənd, bət ˈɔlsoʊ, fər ɪgˈzæmpəl, moʊld rɪˈzɪstənt kən bi ə ˈvɛri ˌɪmˈpɔrtənt ˈfæktər. ˈɪntərvˌjuər: jɛs.: sativas*, səm ˈɛriəz ər ˈrɪli, ˈrɪli gʊd sativas*. laɪk ɪn əˈmɛrɪkə, ɪts ɔl kʊʃ. ɪn ˈhɑlənd ɪts ɔl ˈɪdəkə. ɪn speɪn, bət ju kʊd mɪks ðoʊz streɪnz ənd kriˈeɪt ˈsəmθɪŋ ˈrɪli, ˈrɪli nis. soʊ ɪt həz ˈnumərəs ˈɪntərɪsts. ˈɪntərvˌjuər: ˌoʊˈkeɪ. ənd ɔn ðə vaɪs ˈɛpɪˌsoʊdz ju wər ɔn ˈrisəntli, ju wər ˈrɪli ɪkˈsaɪtɪd tɪ faɪnd ðə ˈpʊntər streɪn.: jæ. ˈɪntərvˌjuər: kən ju tɛl ˈjuˈɛs ə ˈlɪtəl bɪt əˈbaʊt ðət streɪn ənd waɪ jʊr soʊ ɪkˈsaɪtɪd əˈbaʊt ɪt?: wɛl, fərst əv ɔl, ðɛr ər θri ˈreɪsɪz ðɛr. ðɛrz ˈlɛmən ˈvərdi ənd ðə ˈmæŋgoʊ veecha*. ˈnoʊˌbɑˌdi ˈrɪli əbˈteɪnd ə ˈprɑpər wən. soʊ ɪts ən əˈkɑmplɪʃmənt tɪ hæv ðoʊz, əˈspɛʃəli ˈlɛmən ˈvərdi. wi ɔl noʊ ðɛrz ə bɪg wɔr goʊɪŋ ɔn ðɛr fər ðə læst 25 jɪrz. ˈɪntərvˌjuər: jɛs.: ənd ˈbeɪsɪkli wi wər ðə ˈoʊnli ˈpipəl goʊɪŋ ɪn ənd aʊt ðɛr wɪˈθaʊt biɪŋ ˈkɪdˌnæpt. soʊ ənd ɪts ə ˈrɪli, ˈrɪli gʊd ˈkəntri fər groʊɪŋ, ənd ənˈfɔrʧənətli ə lɔt əv koʊˈkeɪn tʊk ˈoʊvər ðɛr. ənd naʊ wi si ˌmɛrəˈwɑnə ˈkəmɪŋ bæk. wən əv ðə θɪŋz wi ʃoʊd ɪn ðət ˈmuvi, "kəˈləmbiə" wɛr ju si ɔl ðə laɪts ðət ɪt juzd tɪ bi ɔl koʊˈkeɪn ˌplænˈteɪʃənz, ənd naʊ ˈpipəl ər groʊɪŋ græs əˈgɛn, laɪk ɪn ðə 70s*. ˈɪntərvˌjuər: wɛl, gʊd.: wət aɪ si ɪz ˈvɛri ɪnˈkərəʤɪŋ ənd ˈvɛri ˌɪmˈpɔrtənt fər ˈɛvriˌbɑdi. soʊ ðɪs ɪz wən əv ðə meɪn ˈrizənz wi wɛnt ðɛr ɪz bɪˈkəz wi hərd əˈbaʊt ə lɔt əv groʊərz ər goʊɪŋ bæk tɪ pɑt əˈgɛn. ənd ˈsɛkəndli, ðə vərˈaɪətiz ər ˈrɪli nis. ðeɪ hæv səm nis streɪnz. ðeɪ hæv səm nis smoʊk. ˈbeɪsɪkli ˌmɛrəˈwɑnə, ju kən kəmˈpɛr tɪ waɪn. haʊ ˈmɛni taɪmz du wi drɪŋk ðə seɪm ˈbɑtəl əv waɪn? ˈrɛrli, hə? ˈɛvəri ˈrɛˌstrɑnt wi goʊ wi gɪt əˈnəðər ˈbɑtəl əv waɪn. ˈɪntərvˌjuər: raɪt.: ənd ðɪs meɪks ˌmɛrəˈwɑnə ˈvɛri ˈɪntəˌrɛstɪŋ, ənd ɪts ˈɔlsoʊ ˈvɛri ˌɪmˈpɔrtənt fər ju ɛz ə sˈmoʊkər tɪ smoʊk ˈvɛri dɪˈvərs. ɪf ju smoʊk wən vərˈaɪəti ɔl ðə taɪm, æt wən pɔɪnt ju hæv tɪ smoʊk mɔr ənd mɔr əv ɪt wɪʧ ɪz nɑt ə gʊd θɪŋ. ənd soʊ ˈpərsənəli aɪ ˈrɪli ˈædvəˌkeɪt tɪ smoʊk ˈdɪfərənt vərˈaɪətiz. soʊ ðɪs ɪz wən əv ðə meɪn ˈrizənz aɪ laɪk tɪ hæv ə lɔt əv vərˈaɪətiz ɔn maɪ ˈmɛnju. ˈɪntərvˌjuər: oʊ gʊd. ənd ər ju ˈjuzɪŋ ˈɛni ʤəˈnɛtɪk ˌmɑdəfəˈkeɪʃən tɛkˈniks ɪn jʊr læb ər ɪz ɪt ʤɪst ˈhaɪbrədz? haʊ dɪz ðət wərk?: oʊ ˈnoʊˌbɑˌdi dɪz. ɪts ə bɪg mɪθ æt ðə ˈmoʊmənt. ˈnoʊˌbɑˌdi ɪz ˈjuzɪŋ ʤəˈnɛtɪk ˌmɛdəˈkeɪʃən tɛkˈniks ɪn ðə ˌmɛrəˈwɑnə wərld ɛz fɑr ɛz aɪ noʊ. wi ʤɪst meɪk ˈhaɪbrədz ənd ðæts ɪt, ˈvɛri ˈsɪmpəl. ˈɪntərvˌjuər: naʊ aɪv hərd ðə tərm "ˈhaɪbrɪd ˈvɪgər" wɪʧ minz wɪn ju kriˈeɪt ə nu ˈhaɪbrɪd, ðeɪ kaɪnd əv θraɪv ɪn ə weɪ ðæts ˈɪntəˌrɛstɪŋ. du ju ˈwɪtnəs ðət ˈfərsthænd?: jɛs, əv kɔrs, bət ðət ˈdəzənt ˈɔlˌweɪz wərk. əv kɔrs, ju traɪ tɪ kriˈeɪt ə nu ˈhaɪbrɪd wɪθ ə nu teɪst. ju traɪ tɪ brɪŋ ðə bɛst θrɛdz frəm boʊθ ˈspiʃiz təˈgɛðər, ənd ju hoʊp ðət ðə ˈbəbəl gəm frəm wən ənd ðə ˈlɛmən frəm ðə ˈəðər kəmz təˈgɛðər, ju noʊ? bət ðət ˈdəzənt ˈɔlˌweɪz wərk, əv kɔrs. ˈɪntərvˌjuər: raɪt.: ðɪs ɪz ðə ˈdɔktər huz ˈwərkɪŋ. ˈɪntərvˌjuər: jɛs.: ɪt wʊd bi tu ˈizi naʊ ɪf ˈɛvriˌθɪŋ goʊz laɪk ðət. ˈɪntərvˌjuər: raɪt. wət ɪz jʊr moʊst ˈpɑpjələr streɪn? aɪ gɛs ðət ˈprɑbəˌbli ˈʧeɪnʤɪz ˈoʊvər taɪm, bət wət du ju θɪŋk ðə moʊst ˈpɑpjələr streɪn ɪz raɪt naʊ?: wɛl, pæst [sp*] ðə wərldz moʊst ˈfeɪməs streɪn ɪz pæst du tɪ ðə ˌkæləˈfɔrnjə wənz. æt ðə stɑrt əv ðə ˈbɪznɪs ɪt wɑz ðə skəŋk. ˈɪntərvˌjuər: jɛs.: ˈleɪtər ɪt bɪˈkeɪm ðə waɪt ˈwɪdoʊ, maɪ moʊst ˈfeɪməs streɪn frəm ðə ˈərli 90s*. pæst wɑz ðə ˈsupər ˈsɪlvər heɪz ɪn 98 ənˈtɪl ˈərli 2000s*. ənd naʊ ɪts ðə ʧiz ənd ðə ˈsupər ˈlɛmən heɪz. ˈsupər ˈlɛmən heɪz ɪz ˈprɑbəˌbli ðə moʊst ˈfeɪməs streɪn ˈɛvər. ðət wən wən θri taɪmz ðə ˈkænəbəs ɪn haɪ taɪmz. ɪt wɑz ðə moʊst smoʊkt, ənd ɪf ju goʊ tɪ ɔl ˌɪnərˈnæʃənɑl sid bæŋks ˈɛvəri sid bæŋk wɪθ ðɪs ðæts ðə ˈnəmbər wən ˈsɛlər. ɪts ə ˈvɛri gʊd, ə ˈvɛri gʊd groʊər ənd, jæ, ɪts ə fænˈtæstɪk plænt ənd ə greɪt smoʊk. ənd ðæts ˈprɑbəˌbli jʊr meɪn wən, tɪ seɪ. ˈɪntərvˌjuər: ˌoʊˈkeɪ. du ju si ˈɛni θrɛts frəm ðə bɛst sidz ˈkəmɪŋ tɪ ˈmɑrkɪt? ɪz ðɛr ˈɛni ɪnˈtrɛnʧt ˈmɑrkɪt ˈɪntərɪsts ər bɪg ˈkəmpəˌniz ər ˈgəvərnmənts ˈgɪtɪŋ ɪn ðə weɪ frəm ðə bɛst sidz ˈkəmɪŋ tɪ ˈmɑrkɪt?: wɛl, lɛts nɑt hoʊp. lɛts nɑt hoʊp. aɪ hoʊp ɪt wɪl goʊ ɪn ðə seɪm weɪ ðət ðə waɪn ˈɪndəstri wɛnt. əv kɔrs, ðɛr wɪl bi ə fju bɪg pleɪərz, bət ɛz ɪn fræns, ɛz ɪn ɔˈstreɪljə, ɛz ɪn ˌkæləˈfɔrnjə, ɛz ɪn saʊθ əˈmɛrɪkə, ɪn ˈʧɪli, ðɛrz stɪl ə lɔt əv ˈvɛri gʊd ˈlɪtəl waɪn ˈhaʊsɪz. ˈɪntərvˌjuər: jɛs.: ju ˈnɛvər kən stɑp ðə ˈkæpətəlɪst ˈɪndəstri. wi ɔl noʊ ðɪs. wi hæv tɪ bi ˈɑnəst əˈbaʊt ðɪs, bət aɪ hoʊp gaɪz laɪk mi wɪl nɑt gɪt krəʃt baɪ bɪg təˈbæˌkoʊ ˈkəmpəˌniz tɪ teɪk ˈoʊvər ɑr ˈbɪznɪs. bət hu noʊz? ðɪs ɪz ðə fˈjuʧər. ɪts ˈgɪtɪŋ mɔr ˈligəl, əˈmiˌgoʊ. lɛts hoʊp ðət ˈhɪləri ˈklɪntən gɪts ɪˈlɛktɪd ɪn 2016 ənd ˈʧeɪnʤɪz ðə ˈfɛdərəl lɔz. ju si naʊ ˈvɛri gʊd ˈmuvmənt ɪn əˈmɛrɪkə wɪθ ˈlɛtərz ˈkəmɪŋ aʊt frəm ðə waɪt haʊs frəm ˈɛrɪk ˈhoʊldər ðət ɪts bæk ɔf əv ðə ənd lɛt ðɛm du ðɛr wərk ɪf ðɛr ˈligəl. ˈɪntərvˌjuər: jɛs.: soʊ ju lɪv ɪn ðə ˈsɛnər əv ðə ˈsɛnər. ju noʊ ˈbɛtər ðən ˈɛnibədi ɛls. ɪts goʊɪŋ ˈprɪti gʊd ɪn ˌkɑlərˈɑdoʊ. aɪ ˌəndərˈstænd ðət ðə fərst 40 ˈmɪljən ɔn tæks həz bɪn spɛnt ɔn ðə skulz. ˈɪntərvˌjuər: jɛs.: soʊ ə ˈvɛri, ˈvɛri, ˈvɛri ˌɪnˈtɛləʤənt muv frəm ðə ˌkɑlərˈɑdoʊ steɪt, ənd aɪ hoʊp ɪt goʊz laɪk ðət ɪn ðə fˈjuʧər. ˈɪntərvˌjuər: jɛs, əm ˈvɛri ˌɑptɪˈmɪstɪk. ɪts bɪn goʊɪŋ ˈrɪli wɛl hir ɪn ˌkɑlərˈɑdoʊ.: jɛs. ˈɪntərvˌjuər: hu du ju fil laɪk ˈbɛnəfɪts frəm ˈkipɪŋ ˈkænəbəs ˌɪˈligəl?: ˌpɑləˈtɪʃənz. ˈɪntərvˌjuər: jæ.: ˌpɑləˈtɪʃənz ər tu ˈstupɪd tɪ ˈɔrgəˌnaɪz ˈɛniˌθɪŋ ər sɑlv ˈɛni ˈprɑbləm ɪf ðə ˌɛkəˈnɑmɪk ˈkraɪsəs stɑrts ˈspikɪŋ əˈbaʊt drəgz bɪˈkəz ðeɪ kænt spik əˈbaʊt ˌɛkəˈnɑmɪks. əv kɔrs, ə ˈlɪtəl bɪt əv təˈbæˌkoʊ ər ə ˌfɑrməˈsutɪkəl ər ðə ˈælkəˌhɑl ˈɪndəstri. wi kən si ðət ˈvɛri, ˈvɛri klɪr ɪn ˌkæləˈfɔrnjə wɛr ðə ˈælkəˌhɑl ˈɪndəstri ɪz əˈgɛnst ˈjuˈɛs. aɪ ˈivɪn hərd ðət ðə ˈoʊnər əv ˈstɑrˌbəks ɪz ˈpʊtɪŋ ˈməni ɪn ðə ˈlɑbi əˈgɛnst ˈjuˈɛs. soʊ ˈivɪn ðə ˈkɔfi ˈɪndəstri ɪz əˈgɛnst ˈjuˈɛs. ˈɪntərvˌjuər: oʊ noʊ.: jæ. ˈɪntərvˌjuər: naʊ juv ˈtrævəld ɔl ˈoʊvər ðə wərld ˈlʊkɪŋ fər greɪt streɪnz. haʊ hæv ju sin ˈdɪfərənt ˈkəlʧərz, laɪk ju ˈmɛnʃənd ɪn ˈtaɪˌlænd? haʊ hæv ju sin ðɛm juz ˈkænəbəs ɛz ə ˈmɛdəsən?: oʊ wɛl, ju kən si ðət ɪn ə lɔt əv maɪ ˈmuviz, əˈspɛʃəli ðeɪ juz ɪt fər ɔl kaɪnz əv θɪŋz. fərst əv ɔl, ðeɪ doʊnt hæv ˈɛniˌθɪŋ ɛls ðɛr. əm frəm ˈæfrɪkɑ. ju hæv tɪ ˌəndərˈstænd ðɛr. ˈvɛri pur ˈfæməliz hæv θri fildz. ðeɪ hæv ə ˈmɪni fild ðæts ə ˈkɔrnˌfild ˈbeɪsɪkli. ðeɪ hæv ə ˈvɛʤtəbəl fild, ənd ðeɪ hæv ˌmɛrəˈwɑnə fildz. ðeɪ doʊnt hæv ˈməni fər ˈfɛnsɪz soʊ ðɪs ɪz ðə ˈrizən ðə ˈʧɪldrən doʊnt goʊ tɪ skul. ðə ˈʧɪldrən hæv tɪ gɑrd ðə ˈkætəl. ɪf ðə ˈkætəl goʊz ˈɪntu ðə ˈvɛʤtəbəl fild, ðeɪ ʤɪst daɪ əv ˈhəŋgər. soʊ ðə ˌmɛrəˈwɑnə ðeɪ meɪk tɪ sɛl. naʊ wən əv ðə θɪŋz ðeɪ juz ɪz ɪf ðə kɪdz ər ˈrɪli sɪk, fər ɪgˈzæmpəl, ənd ðeɪ hæv ˈstəmək ˈprɑbləmz ər ðeɪ hæv nɑt ɪˈnəf fud, ɪts saʊnz ə ˈlɪtəl bɪt ˌkɑntrəˈdɪktɪŋ bɪˈkəz ɪn əˈmɛrɪkə ju gɪt ðə wɪn ju smoʊk ˈrɪli strɔŋ ˌmɛrəˈwɑnə. bət ɪn ˈæfrɪkɑ ənd ˈəðər ˈpleɪsɪz ðeɪ gɪv ðə kɪdz ə ˈlɪtəl bɪt əv sidz ənd ə ˈlɪtəl bɪt əv ˌmɛrəˈwɑnə bɪˈkəz ðə sidz hæv ə ˈvɛri haɪ nuˈtrɪʃənəl ˈvælju. wi ɔl noʊ ðɛr ɪz oʊˈmɛgə 3 6 ənd 9 ɪm ðɛr ɪn ðɛr. ˈɪntərvˌjuər: jɛs.: ənd ðɛrz ə lɔt əv sidz əˈveɪləbəl ɪn ˌmɛrəˈwɑnə soʊ ðeɪ fid ðə kɪdz sidz. wi kən si ˈivɪn ðə ˈʧɪkənz ər məʧ mɔr ˈhɛlθi ɪn ˈæfrɪkɑ. ðə ɛgz ər məʧ mɔr ˈbɪgər ɪn ˈjʊrəp wɪn ðeɪ it ðə ˌmɛrəˈwɑnə sidz. ɪts ə ˈvɛri ˌsaɪənˈtɪfɪk θɪŋ wət ju si. ðə mit ɪz ˈɔlsoʊ məʧ ˈnaɪsər əv ðə ˈʧɪkənz, bət ðeɪ juz ɪt ɪn ɔl kaɪnz əv weɪz. ðeɪ meɪk ɔɪlz. ðeɪ juz ɪt ɪn ɔl kaɪnz əv ˌθɛrəˈpjutɪk weɪz, laɪk ɪn saʊθ əˈmɛrɪkə, fər ɪgˈzæmpəl. ðeɪ juz ðə ˈkoʊkoʊ livz ər ðeɪ juz ðə ayahuasca*, ɔl kaɪnz əv ˈəðər ərbz. ɪn ˈæfrɪkɑ ðeɪ juz ɪt tɪ trit ðɛmˈsɛlvz bɪˈkəz ðeɪ doʊnt hæv ˈməni tɪ əbˈteɪn ˌfɑrməˈsutɪkəlz. ənd ˌfɑrməˈsutɪkəlz ər ɪn ˈmɛni weɪz, ˈɛniˌweɪ, nɑt ðə ˈænsər ɛz wi ɔl noʊ. wi hæv tu ˈmɛni ˈpipəl hu ər əˈdɪktɪd tɪ sˈlipɪŋ ˈtæbləts, ˈtræŋkwəˌlaɪzərz, ənd ɔl kaɪnz əv ˈəðər θɪŋz. ənd ðeɪ ʃʊd ˌɪnˈdid teɪk səm ˈkænəbəs ˌɪnˈstɛd əv ɔl ðiz bæd θɪŋz fər ju. ˈɪntərvˌjuər: naʊ ju ˈrisəntli ˈɪntərvˌjud sər ˈrɪʧərd ˈbrænsən. əm nɑt ʃʊr wɪn ðət wɑz, bət waɪ du ju fil hɪz ˈmɛsɪʤ ɪz soʊ ˌɪmˈpɔrtənt tɪ gɪt aʊt?: wɛl, ɪts ðə seɪm ɛz wɪn aɪ kriˈeɪtɪd ðə kɪŋ əv ˈkænəbəs. aɪ ˈwɔntɪd tɪ hæv ɔl ðə ˈfeɪməs ˈæktərz ənd ˈmuvi stɑrz ənd ˈsɪŋərz tɪ ˈædvəˌkeɪt ɑr ˈɪʃu. ju si maɪ saɪt, fər ɪgˈzæmpəl. naʊ ˌriˈhɑnə, ju si ðiz bɪg ˈpipəl ðət ər ˈvɛri ˌɪmˈpɔrtənt fər jəŋ ˈpipəl ˈtɛlɪŋ, "heɪ, ˈlɪsən, aɪ smoʊk. aɪ doʊnt kɛr. ɪts nɑt ˈdeɪnʤərəs." ˈɪntərvˌjuər: jɛs.: ənd ju kən θɪŋk ˌwəˈtɛvər ju wɔnt tɪ əˈbaʊt ðɪs ˈmɛsɪʤ, bət fər mi ðɪs ɪz ə ˈvɛri gʊd ˈmɛsɪʤ. naʊ ðɛrz əˈnəðər ˈvɛri, ˈvɛri bɪg lig, ðə lig əv pɔl ˈælən, ðə lig əv sər ˈrɪʧərd ˈbrænsən ənd ðiz kaɪnd əv ˈpipəl. fər mi ðɪs ɪz ˈvɛri ˌɪmˈpɔrtənt bɪˈkəz ðiz ˈpipəl ər rɪˈspɛktɪd ˈbɪznɪsˌmɛn, ənd naʊ ðeɪ ər ˈstændɪŋ əp ənd ˈædvəˌkeɪtɪŋ ɑr keɪs. ənd ðeɪ ər ˈɔlsoʊ ˌfaɪˈnænʃəli kənˈtrɪbjutɪŋ tɪ maɪ ˌɔrgənəˈzeɪʃən ə lɔt. sər ˈrɪʧərd ˈbrænsən ˈdoʊˌneɪtɪd ˈjuˌroʊz læst jɪr fər ɑr ˈkɑŋgrəs ənd ə lɔt əv meɪərz əˈtɛndəd ənd ə lɔt əv ˈpipəl frəm əˈmɛrɪkə. ənd ðiz ˈpipəl hæv ˈməni. ðeɪ kən hɛlp ˈjuˈɛs, ənd ðeɪ ər məʧ mɔr ˈkrɛdətəbəl ðən ˈjuˈɛs. ənd ðeɪ ər naʊ ˈtɛlɪŋ ðə wərld ðət ðɪs ɪz ə gʊd ˈprɑdəkt. ənd ðæts waɪ ɪts ˈvɛri ˌɪmˈpɔrtənt ðət ðiz ˈpipəl kəm ɪn. ənˈfɔrʧənətli, ðiz ˈpipəl ər ˈoʊnli ɪn əˈmɛrɪkə ənd ɪn ˈɪŋglənd ənd nɑt jɛt ɪn ðə ˈmeɪnˌlænd əv ˈjʊrəp ənd ɪn ˈhɑlənd, bət ðɪs ɪz ðə bɪˈgɪnɪŋ. ənd hiz ˈɔlsoʊ pɑrt əv ðə drəg kəˈmɪʃən əv ðə juˈnaɪtɪd ˈneɪʃənz wɛr hiz wɪθ ˈkoʊfi ˈænən ənd ˈmædəlɪn ˈɔlˌbraɪt. soʊ ðiz ˈpipəl ər ˈvɛri, ˈvɛri ˌɪmˈpɔrtənt tɪ ˈjuˈɛs fər ðə ˌrɛgjəˈleɪʃən ˈprɔˌsɛs. ˈɪntərvˌjuər: greɪt. naʊ juv bɪn groʊɪŋ plænts sɪns ðə 80s*. əˈsaɪd frəm nu streɪnz, ɪz ðɛr ˈɛni tɛkˈnɑləʤi ɪn ðə ˈkænəbəs ˈbɪznɪs ðət ˈrɪli ɪkˈsaɪts ju?: jæ, wɛl wət ɪkˈsaɪts mi mɔr ɪz, əv kɔrs, ðə hoʊl ˌrɛgjəˈleɪʃən ˈprɔˌsɛs ɪn əˈmɛrɪkə wət aɪ θɪŋk ɪz greɪt, bət, əv kɔrs, jæ, ju hæv ðə hoʊl nu ˈɛdəbəl ˈɪndəstri, əv kɔrs. ðæts ˈvɛri ˌɪmˈpɔrtənt wɛr ˈpipəl doʊnt hæv tɪ smoʊk ˌɛniˈmɔr bət kən teɪk ə ˈkʊki ər ˌwəˈtɛvər wɪʧ ɪz ə nu ˈɪntəˌrɛstɪŋ θɪŋ. bət əm ə ril, ril ərˈɪʤənəl groʊər ənd ˈbridər ənd ðæts wət ɪkˈsaɪts mi ðə moʊst. ˈɪntərvˌjuər: ɪz ðɛr ˈɛni tɪps ər səˈʤɛsʧənz ju wʊd gɪv tɪ ˈpipəl ɪn ˌkɑlərˈɑdoʊ ənd ˈwɔʃɪŋtən ðət ðeɪ kən teɪk əˈweɪ frəm jʊr ɪkˈspɪriəns ɪn ˈæmstərˌdæm, ju noʊ, wɪθ ˈligəl ˈkænəbəs ðɛr ðət ðeɪ kən meɪk ʃʊr ðeɪ du hir tɪ gɪt ɔf ɔn ðə raɪt fʊt?: ðə moʊst ˌɪmˈpɔrtənt θɪŋ ɪz tɪ baɪ grin haʊs sidz. ˈɪntərvˌjuər ənd: [læf] ˈɪntərvˌjuər: ˌoʊˈkeɪ.: ðæts ə ʤoʊk. naʊ ˈlɪsən, wət aɪ hoʊp ənd wət aɪ hoʊp wɪl kəm tɪ speɪn wən taɪm. ˈjɛstərˌdeɪ wi hæd ˈælɪsən ðə ˈwʊmən hu roʊt ðə θɪŋ fər ˈwɔʃɪŋtən. ˈɪntərvˌjuər: ˌoʊˈkeɪ.: ðə hoʊl prəˈpoʊzəl. aɪ hoʊp wi kən meɪk kləbz laɪk ɪn ˈæmstərˌdæm, laɪk ɪn speɪn wɛr ju wʊd hæv fud, wɛr ju wʊd hæv drɪŋk ənd wɛr ju kən smoʊk ˌmɛrəˈwɑnə ənd əbˈteɪn jʊr ˌmɛrəˈwɑnə. aɪ θɪŋk ðɪs ɪz ðə fˈjuʧər. ənd ju ˈɔlsoʊ goʊ tɪ ə ˈrɛˌstrɑnt tɪ it fud. ju doʊnt ˈoʊnli it fud ɪn jʊr haʊs. ju goʊ tɪ ˈstɑrˌbəks tɪ baɪ jʊr ˈkɔfi. ju goʊ tɪ ˈæpəl foʊn tɪ baɪ jʊr foʊn, jæ? ˈɪntərvˌjuər: jæ.: soʊ ˈɔlsoʊ wɪn ju kəm təˈgɛðər ənd ju smoʊk ˌmɛrəˈwɑnə, ju tɔk əˈbaʊt ˈsoʊʃəl ˈprɑbləmz, ðɪs ɪz ˈvɛri ˌɪmˈpɔrtənt. ˈhɑlənd ɪz ə ˈvɛri ˌɪnərˈnæʃənɑl ˈkəntri. ˈɪntərvˌjuər: jɛs.: wɪr ə ˈvɛri ˈoʊpən ˈkəntri. wi hæv ˈligəˌlaɪzd əˈbɔrʃən, ˌjuθəˈneɪʒə, ənd geɪ ˈmɛrɪʤ. wi ər ˈfeɪməs fər ʃoʊɪŋ ðə wərld ɪn wɪʧ dɪˈrɛkʃɪn ˈfridəm ʃʊd goʊ. ənd aɪ θɪŋk ɪts ˈvɛri, ˈvɛri ˌɪmˈpɔrtənt tɪ ˌəndərˈstænd ɪt. ɪn ə ˈkɔfi ʃɑp ɪn ˈhɑlənd ðɛrz ə blæk gaɪ. ðɛrz ə waɪt gaɪ, ənd ðɛrz ə ʧaɪˈniz gaɪ æt wən ˈteɪbəl ˈʃɛrɪŋ ə ʤɔɪnt ənd ˈtɔkɪŋ əˈbaʊt ˈdeɪli ˈprɑbləmz. ənd ju doʊnt si ðət məʧ ɪn ˈəðər ˈkəntriz. ˌmɛrəˈwɑnə, ɪts nis ˈpipəl. ənd aɪ θɪŋk ðət ɪz ðə ˈstrɔŋgəst ˈmɛsɪʤ ðət wi gɪv aʊt wɪθ ðoʊz ˈkɔfi ʃɑps, ənd ðæts waɪ aɪ θɪŋk ɪts soʊ ˌɪmˈpɔrtənt tɪ hæv ðə ˈkɔfi ʃɑp ˈsɪstəm ɪn əˈmɛrɪkə ɪn ðə fˈjuʧər. ˈɪntərvˌjuər: greɪt pɔɪnt. ɪt wʊd bi ə lɔt əv fən.: ɪts nis fər ðɪs ˈɪntərvˌjuər. ˈɪntərvˌjuər: jɛs.: ju ˈprɑbəˌbli hæv mɔr kˈwɛsʧənz. ˈɪntərvˌjuər: wɛl, wɛr ər ju əp tɪ nɛkst?: aɪ ˈnɛvər ˈmɛnʃən maɪ trɪps bɪˈkəz əv sɪˈkjʊrəti ˈrizənz, əm ˈsɑri. ˈɪntərvˌjuər: ðət meɪks ə lɔt əv sɛns. aɪ kʊd si waɪ ˈæftər ˈwɑʧɪŋ ðə vaɪs kəˈləmbiə.: ju hæv tɪ kip ɪt ə ˈlɪtəl ˈəndər ðə ˈreɪˌdɑr. aɪ hoʊp ju ˌəndərˈstænd. ˈɪntərvˌjuər: ʃʊr. ənd fər ˈlɪsənərz ðət wɔnt tɪ ˈfɑloʊ jʊr wərk ənd lərn mɔr əˈbaʊt jʊr sidz ənd jʊr ˈkɔfi ʃɑp, haʊ kən ðeɪ du ðət?: wɛl, wi hæv ə ˈvɛri bɪg, ˈfeɪməs ˈfɔrəm ɔn ðə www.strainraces.com*. ˈɪntərvˌjuər: ˌoʊˈkeɪ.: ðæts wən pleɪs tɪ lɔg ɪn. wi hæv greenhouseseeds.nl*, ənd ðiz ər tu meɪn ˈwɛbˌsaɪts wɛr ˈɛvriˌbɑdi kən faɪnd ˈjuˈɛs ənd ˈɛvriˌbɑdi kəmz təˈgɛðər ðɛr. əˈnəðər nis θɪŋ ɪz tɪ wɔʧ ˈjuˈɛs groʊ, wɛr ðɛr ɪz ə lɔt əv ˈpipəl ˈpʊtɪŋ ðɛr ˈlɪtəl θɪŋz ɔn. ənd, əv kɔrs, ɪz ˈrɪli, ˈrɪli ˌɪmˈpɔrtənt, streɪn ɔn wɛr ðeɪ kən ˈfɑloʊ ɑr trɪps ənd si ə lɔt əv nis ˈpɪkʧərz. ənd, jæ, ðæts ˈbeɪsɪkli ðə weɪ tɪ ˈfɑloʊ ˈjuˈɛs. ˈɪntərvˌjuər: greɪt. wɛl,, θæŋks soʊ məʧ fər ðə ˈɪntərvˌju. aɪ ˈrɪli əˈpriʃiˌeɪt ɪt.
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at&t killed wireless data. which sadly was inevitable. but if i'm paying for bytes like i do for minutes, why don't i get rollover data, too?
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the premise of's new wireless data plans is simple. they've gone to the same pricing model for data that they've always had for voice. just like paying $40 for 450 minutes of talk time or $60 for 900 minutes, you pay $15 for 200 megabytes, or $25 for 2 gigabytes of data. you're buying a set amount of data for a fixed price, so you pay per byte, just like you pay per minute. same deal. it breaks down like this:
at&t is the only major carrier in the us to offer rollover minutes as a standard perk. any minutes you don't use "roll over," banking them to use later, like on a rainy day when you're really bored and just want to sit on the phone for hours. you pay for 1400 minutes a month, but only talk for 950. those leftover 450 minutes are added to your general pool of minutes, so you'd have 1850 to use the following month. the net effect is that you're legitimately buying the minutes, in the same way you purchase a of soda for $5.
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if is going to count bytes like minutes, you should get rollover bytes. if you pay for 2 gigs of data, you should get 2 gigs of data. if you only use 500 megabytes that month, the leftover should rollover to the next month. particularly since there's no middle ground between the two new a massive gulf, 1000 percent wide, between and. so a lot of iphone users are stuck, since they use somewhere between and of skimpy enough to grab the cheaper $15-a-month plan, but not anything approaching. (a $20 plan would be dead on for most iphone owners, i is probably why it doesn't exist.)
rollover data would make's argument that the new plans are about simply strangling the most hardcore data users taxing the more convincing, since it would make the plans address the issue of network capacity in a tangible way.
unfortunately, it's highly unlikely that is particularly interested in fairness, or at least in the idea of you actually using all the data you pay for. senior vp of data and voice products mark collins' response about why they're charging $20 extra for the privilege of says it all:
that capability is enabling something you can't do today. you can use one device and get multiple connections so it's more useful to you. you're going to use more data so the price is based on the value that will be delivered. [emphasis mine]
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that doesn't make any sense at face value, because you're paying for every byte of data you consume, and the fee doesn't give include additional comes out of the you're already paying for. the subtext is that doesn't actually expect most people to use that, and in fact, they don't want you is they make it more expensive to make it easier to use.
look, i'll pay per byte. just give me all the bytes i pay for.
hat tip to reader ryan henson for throwing this suggestion our way
click to view
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at&t* kɪld ˈwaɪrlɪs ˈdætə. wɪʧ ˈsædli wɑz ˌɪˈnɛvətəbəl. bət ɪf əm peɪɪŋ fər baɪts laɪk aɪ du fər ˈmɪnəts, waɪ doʊnt aɪ gɪt ˈroʊˌloʊvər ˈdætə, tu? ˌædvərˈtaɪzmənt ðə ˈprɛmɪs əv nu ˈwaɪrlɪs ˈdætə plænz ɪz ˈsɪmpəl. ðeɪv gɔn tɪ ðə seɪm ˈpraɪsɪŋ ˈmɑdəl fər ˈdætə ðət ðeɪv ˈɔlˌweɪz hæd fər vɔɪs. ʤɪst laɪk peɪɪŋ 40 fər 450 ˈmɪnəts əv tɔk taɪm ər 60 fər 900 ˈmɪnəts, ju peɪ 15 fər 200 ˈmɛgəˌbaɪts, ər 25 fər 2 ˈgɪgəˌbaɪts əv ˈdætə. jʊr baɪɪŋ ə sɛt əˈmaʊnt əv ˈdætə fər ə fɪkst praɪs, soʊ ju peɪ pər baɪt, ʤɪst laɪk ju peɪ pər ˈmɪnət. seɪm dil. ɪt breɪks daʊn laɪk ðɪs: ɪz ðə ˈoʊnli ˈmeɪʤər ˈkɛriər ɪn ðə ˈjuˈɛs tɪ ˈɔfər ˈroʊˌloʊvər ˈmɪnəts ɛz ə ˈstændərd pərk. ˈɛni ˈmɪnəts ju doʊnt juz "roʊl ˈoʊvər," ˈbæŋkɪŋ ðɛm tɪ juz ˈleɪtər, laɪk ɔn ə ˈreɪni deɪ wɪn jʊr ˈrɪli bɔrd ənd ʤɪst wɔnt tɪ sɪt ɔn ðə foʊn fər aʊərz. ju peɪ fər 1400 ˈmɪnəts ə mənθ, bət ˈoʊnli tɔk fər 950 ðoʊz ˈlɛfˌtoʊvər 450 ˈmɪnəts ər ˈædɪd tɪ jʊr ˈʤɛnərəl pul əv ˈmɪnəts, soʊ jʊd hæv 1850 tɪ juz ðə ˈfɑloʊɪŋ mənθ. ðə nɛt ˈifɛkt ɪz ðət jʊr ləˈʤɪtəmətli baɪɪŋ ðə ˈmɪnəts, ɪn ðə seɪm weɪ ju ˈpərʧəs ə əv ˈsoʊdə fər 5 ˌædvərˈtaɪzmənt ɪf ɪz goʊɪŋ tɪ kaʊnt baɪts laɪk ˈmɪnəts, ju ʃʊd gɪt ˈroʊˌloʊvər baɪts. ɪf ju peɪ fər 2 gɪgz əv ˈdætə, ju ʃʊd gɪt 2 gɪgz əv ˈdætə. ɪf ju ˈoʊnli juz 500 ˈmɛgəˌbaɪts ðət mənθ, ðə ˈlɛfˌtoʊvər ʃʊd ˈroʊˌloʊvər tɪ ðə nɛkst mənθ. ˌpɑrˈtɪkjələrli sɪns ðɛrz noʊ ˈmɪdəl graʊnd bɪtˈwin ðə tu nu ə ˈmæsɪv gəlf, 1000 pərˈsɛnt waɪd, bɪtˈwin ənd. soʊ ə lɔt əv ˈaɪˌfoʊn ˈjuzərz ər stək, sɪns ðeɪ juz ˈsəmˌwɛr bɪtˈwin ənd əv ˈskɪmpi ɪˈnəf tɪ græb ðə ˈʧipər plæn, bət nɑt ˈɛniˌθɪŋ əˈproʊʧɪŋ. (ə 20 plæn wʊd bi dɛd ɔn fər moʊst ˈaɪˌfoʊn ˈoʊnərz, aɪ ɪz ˈprɑbəˌbli waɪ ɪt ˈdəzənt ɪgˈzɪst.) ˈroʊˌloʊvər ˈdætə wʊd meɪk ˈɑrgjəmənt ðət ðə nu plænz ər əˈbaʊt ˈsɪmpli ˈstræŋgəlɪŋ ðə moʊst ˈhɑrdˈkɔr ˈdætə ˈjuzərz ˈtæksɪŋ ðə mɔr kənˈvɪnsɪŋ, sɪns ɪt wʊd meɪk ðə plænz ˈæˌdrɛs ðə ˈɪʃu əv ˈnɛtˌwərk kəˈpæsɪti ɪn ə ˈtænʤəbəl weɪ. ənˈfɔrʧənətli, ɪts ˈhaɪli ənˈlaɪkli ðət ɪz ˌpɑrˈtɪkjələrli ˈɪntəˌrɛstɪd ɪn ˈfɛrnəs, ər æt list ɪn ðə aɪˈdiə əv ju ˈæˌkʧuəli ˈjuzɪŋ ɔl ðə ˈdætə ju peɪ fər. ˈsinjər ˌviˈpi əv ˈdætə ənd vɔɪs ˈprɑdəkts mɑrk ˈkɑlɪnz' rɪˈspɑns əˈbaʊt waɪ ðɛr ˈʧɑrʤɪŋ 20 ˈɛkstrə fər ðə ˈprɪvɪlɪʤ əv sɪz ɪt ɔl: ðət ˌkeɪpəˈbɪləti ɪz ɪˈneɪbəlɪŋ ˈsəmθɪŋ ju kænt du təˈdeɪ. ju kən juz wən dɪˈvaɪs ənd gɪt ˈməltəpəl kəˈnɛkʃənz soʊ ɪts mɔr ˈjusfəl tɪ ju. jʊr goʊɪŋ tɪ juz mɔr ˈdætə soʊ ðə praɪs ɪz beɪst ɔn ðə ˈvælju ðət wɪl bi dɪˈlɪvərd. [ˈɛmfəsɪs maɪn] ˌædvərˈtaɪzmənt ðət ˈdəzənt meɪk ˈɛni sɛns æt feɪs ˈvælju, bɪˈkəz jʊr peɪɪŋ fər ˈɛvəri baɪt əv ˈdætə ju kənˈsum, ənd ðə fi ˈdəzənt gɪv ˌɪnˈklud əˈdɪʃənəl kəmz aʊt əv ðə jʊr ɔˈrɛdi peɪɪŋ fər. ðə ˈsəbˌtɛkst ɪz ðət ˈdəzənt ˈæˌkʧuəli ɪkˈspɛkt moʊst ˈpipəl tɪ juz ðət, ənd ɪn fækt, ðeɪ doʊnt wɔnt ju ɪz ðeɪ meɪk ɪt mɔr ɪkˈspɛnsɪv tɪ meɪk ɪt ˈiziər tɪ juz. lʊk, aɪl peɪ pər baɪt. ʤɪst gɪv mi ɔl ðə baɪts aɪ peɪ fər. hæt tɪp tɪ ˈridər raɪən ˈhɛnsən fər θroʊɪŋ ðɪs səˈʤɛsʧən ɑr weɪ klɪk tɪ vju
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radical sci-fi by social activists the imagination'
can science fiction be a form of social activism? thinks so, and she's recruited everyone from burton to mumia to help her prove it.
"whenever we try to envision a world without war, without violence, without prisons, without capitalism, we are engaging in an exercise of speculative fiction," writes in brood: science fiction stories from social justice movements, an anthology of short sci-fi stories by her and adrienne brown. "organizers and activists dedicate their lives to creating and envisioning another world, or many other worlds, so what better venue for organizers to explore their work than through writing science fiction stories?"
although the anthology features established names and writers like burton, due and mumia—who shares an essay about star wars and editors reached out to lesser known social activists and organizers as well, including some who had little to no experience with fiction and science fiction.
some were initially hesitant to participate, but says that simply creating the space for them had a powerful impact, and that most responded within a few weeks with "incredible ideas and some with dozens of pages already written... the writers in this collection just need a little space, and perhaps permission."
the editors were also particularly interested in including the voices of people from marginalized backgrounds in brood. "for those of us from communities with historic collective trauma, we must understand that each of us is already science fiction walking around on two legs. our ancestors dreamed us up and then bent reality to create us."
the title is a reference to the celebrated black science-fiction writer octavia butler, whose work often explored issues of inequality and identity. as with many anthologies, some of the stories in brood are hit or miss, but most are quick, trips to distant or disturbingly familiar worlds that offer insight into our own.
highlights include "revolution shuffle" by bao phi, a story about a work internment camp for people of color set during a zombie apocalypse, and "the long memory" by phillips, about a society rejecting the wisdom of the intergenerational who act as their their conscience.
imarisha calls the progressive strain of sci-fi in brood "visionary fiction," defined by its insistence on imagining freer and more liberated worlds or critiquing injustice, rather than uncritically recreating the power structures of the world as we know it in garb.
"visionary fiction encompasses all of the fantastic, with the arc always towards justice," writes. "we believe this space is vital for any process of, for the of the imagination is the most dangerous and subversive form there is, for it is where all other forms of are born. once the imagination is unshackled, liberation is limitless."
for more from, read her recent article "rewriting the future" in bitch magazine or watch her give a talk titled the future: social justice and science fiction" at the independent publishing resource center in portland, oregon:
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ˈrædɪkəl ˌsaɪˈfaɪ baɪ ˈsoʊʃəl ˈæktɪvɪsts ðə ˌɪˌmæʤəˈneɪʃən' kən saɪəns ˈfɪkʃən bi ə fɔrm əv ˈsoʊʃəl ˈæktɪˌvɪzəm? θɪŋks soʊ, ənd ʃiz rɪˈkrutɪd ˈɛvriˌwən frəm ˈbərtən tɪ məˈmijə tɪ hɛlp hər pruv ɪt. "wɛˈnɛvər wi traɪ tɪ ɛnˈvɪʒən ə wərld wɪˈθaʊt wɔr, wɪˈθaʊt ˈvaɪələns, wɪˈθaʊt ˈprɪzənz, wɪˈθaʊt ˈkæpɪtəˌlɪzəm, wi ər ɪnˈgeɪʤɪŋ ɪn ən ˈɛksərˌsaɪz əv ˈspɛkjələtɪv ˈfɪkʃən," raɪts ɪn brud: saɪəns ˈfɪkʃən ˈstɔriz frəm ˈsoʊʃəl ˈʤəstɪs ˈmuvmənts, ən ænˈθɔləˌʤi əv ʃɔrt ˌsaɪˈfaɪ ˈstɔriz baɪ hər ənd ɑdriˈɛn braʊn. "ˈɔrgəˌnaɪzərz ənd ˈæktɪvɪsts ˈdɛdəˌkeɪt ðɛr lɪvz tɪ kriˈeɪtɪŋ ənd ɛnˈvɪʒənɪŋ əˈnəðər wərld, ər ˈmɛni ˈəðər wərldz, soʊ wət ˈbɛtər ˈvɛnju fər ˈɔrgəˌnaɪzərz tɪ ɪkˈsplɔr ðɛr wərk ðən θru ˈraɪtɪŋ saɪəns ˈfɪkʃən ˈstɔriz?" ˌɔlˈðoʊ ðə ænˈθɔləˌʤi ˈfiʧərz ɪˈstæblɪʃt neɪmz ənd ˈraɪtərz laɪk ˈbərtən, du ənd məˈmijə ʃɛrz ən ˈɛˌseɪ əˈbaʊt stɑr wɔrz ənd ˈɛdɪtərz riʧt aʊt tɪ ˈlɛsər noʊn ˈsoʊʃəl ˈæktɪvɪsts ənd ˈɔrgəˌnaɪzərz ɛz wɛl, ˌɪnˈkludɪŋ səm hu hæd ˈlɪtəl tɪ noʊ ɪkˈspɪriəns wɪθ ˈfɪkʃən ənd saɪəns ˈfɪkʃən. səm wər ˌɪˈnɪʃəli ˈhɛzɪtənt tɪ pɑrˈtɪsəˌpeɪt, bət sɪz ðət ˈsɪmpli kriˈeɪtɪŋ ðə speɪs fər ðɛm hæd ə ˈpaʊərfəl ˌɪmˈpækt, ənd ðət moʊst rɪˈspɑndɪd wɪˈθɪn ə fju wiks wɪθ "ˌɪnˈkrɛdəbəl aɪˈdiəz ənd səm wɪθ ˈdəzənz əv ˈpeɪʤɪz ɔˈrɛdi ˈrɪtən... ðə ˈraɪtərz ɪn ðɪs kəˈlɛkʃən ʤɪst nid ə ˈlɪtəl speɪs, ənd pərˈhæps pərˈmɪʃən." ðə ˈɛdɪtərz wər ˈɔlsoʊ ˌpɑrˈtɪkjələrli ˈɪntəˌrɛstɪd ɪn ˌɪnˈkludɪŋ ðə ˈvɔɪsɪz əv ˈpipəl frəm ˈmɑrʤənəˌlaɪzd ˈbækˌgraʊndz ɪn brud. "fər ðoʊz əv ˈjuˈɛs frəm kəmˈjunɪtiz wɪθ hɪˈstɔrɪk kəˈlɛktɪv ˈtrɔmə, wi məst ˌəndərˈstænd ðət iʧ əv ˈjuˈɛs ɪz ɔˈrɛdi saɪəns ˈfɪkʃən ˈwɔkɪŋ əraʊnd ɔn tu lɛgz. ɑr ˈænˌsɛstərz drimd ˈjuˈɛs əp ənd ðɛn bɛnt ˌriˈæləˌti tɪ kriˈeɪt ˈjuˈɛs." ðə ˈtaɪtəl ɪz ə ˈrɛfərəns tɪ ðə ˈsɛləˌbreɪtɪd blæk ˈsaɪənsˌfɪkʃən ˈraɪtər ɑkˈteɪviə ˈbətlər, huz wərk ˈɔfən ɪkˈsplɔrd ˈɪʃuz əv ˌɪnɪkˈwɑləti ənd aɪˈdɛntəˌti. ɛz wɪθ ˈmɛni ænˈθɔləʤiz, səm əv ðə ˈstɔriz ɪn brud ər hɪt ər mɪs, bət moʊst ər kwɪk, trɪps tɪ ˈdɪstənt ər dɪˈstərbɪŋli fəˈmɪljər wərldz ðət ˈɔfər ˈɪnˌsaɪt ˈɪntu ɑr oʊn. ˈhaɪˌlaɪts ˌɪnˈklud "ˌrɛvəˈluʃən ˈʃəfəl" baɪ baʊ faɪ, ə ˈstɔri əˈbaʊt ə wərk ˌɪnˈtərnmənt kæmp fər ˈpipəl əv ˈkələr sɛt ˈdʊrɪŋ ə ˈzɑmbi əˈpɑkəˌlɪps, ənd "ðə lɔŋ ˈmɛməri" baɪ ˈfɪlɪps, əˈbaʊt ə soʊˈsaɪɪti rɪˈʤɛktɪŋ ðə ˈwɪzdəm əv ðə ˌɪntərˈʤɛnərˈeɪʃənəl hu ækt ɛz ðɛr ðɛr ˈkɑnʃəns. kɔlz ðə prəˈgrɛsɪv streɪn əv ˌsaɪˈfaɪ ɪn brud "ˈvɪʒəˌnɛri ˈfɪkʃən," dɪˈfaɪnd baɪ ɪts ˌɪnˈsɪstəns ɔn ˌɪˈmæʤənɪŋ friər ənd mɔr ˈlɪˌbərˌeɪtɪd wərldz ər krɪˈtikɪŋ ˌɪnˈʤəstɪs, ˈrəðər ðən ənˈkrɪtɪkəli ˈrɛkriˌeɪtɪŋ ðə paʊər ˈstrəkʧərz əv ðə wərld ɛz wi noʊ ɪt ɪn gɑrb. "ˈvɪʒəˌnɛri ˈfɪkʃən ɛnˈkəmpəsəz ɔl əv ðə fænˈtæstɪk, wɪθ ðə ɑrk ˈɔlˌweɪz təˈwɔrdz ˈʤəstɪs," raɪts. "wi bɪˈliv ðɪs speɪs ɪz ˈvaɪtəl fər ˈɛni ˈprɔˌsɛs əv, fər ðə əv ðə ˌɪˌmæʤəˈneɪʃən ɪz ðə moʊst ˈdeɪnʤərəs ənd səbˈvərsɪv fɔrm ðɛr ɪz, fər ɪt ɪz wɛr ɔl ˈəðər fɔrmz əv ər bɔrn. wəns ðə ˌɪˌmæʤəˈneɪʃən ɪz ənˈʃækəld, ˌlɪˌbərˈeɪʃən ɪz ˈlɪmətləs." fər mɔr frəm, rɛd hər ˈrisənt ˈɑrtɪkəl "riˈraɪtɪŋ ðə fˈjuʧər" ɪn bɪʧ ˈmægəˌzin ər wɔʧ hər gɪv ə tɔk ˈtaɪtəld ðə fˈjuʧər: ˈsoʊʃəl ˈʤəstɪs ənd saɪəns ˈfɪkʃən" æt ðə ˌɪndɪˈpɛndənt ˈpəblɪʃɪŋ ˈrisɔrs ˈsɛnər ɪn ˈpɔrtlənd, ˈɔrəˌgɑn:
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josh white two little fishes (and five loaves of bread)
during this months investigations, been reminded a theme throughout the teachings. refraining from breaking the precepts is only half the journey. positive actions just as important.
here are some inspiring quotes from the buddha, shared on access to insight;
never underestimate the power of small gifts
“even if a person throws the of a bowl or a cup into a village pool or pond, thinking, ‘may whatever animals live here feed on this,’ that would be a source of merit.”
giving even last meal
“if beings knew, as i know, the results of giving & sharing, they would not eat without having given, nor would the stain of overcome their minds. even if it were their last bite, their last mouthful, they would not eat without having shared, if there were someone to receive their gift. but because beings do not know, as i know, the results of giving & sharing, they eat without having given. the stain of overcomes their minds.”
the rewards of giving
“these are the five rewards of generosity: one is dear and appealing to people at large, one is admired by good people, good name is spread about, one does not stray from the rightful duties of the householder, and with the of the body at death, one reappears in a good destination, in the heavenly worlds.”
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ʤɑʃ waɪt tu ˈlɪtəl ˈfɪʃɪz (ənd faɪv loʊvz əv brɛd) ˈdʊrɪŋ ðɪs mənθs ˌɪnˌvɛstəˈgeɪʃənz, bɪn riˈmaɪndɪd ə θim θruaʊt ðə ˈtiʧɪŋz. rɪˈfreɪnɪŋ frəm ˈbreɪkɪŋ ðə ˈpriˌsɛpts ɪz ˈoʊnli hæf ðə ˈʤərni. ˈpɑzətɪv ˈækʃənz ʤɪst ɛz ˌɪmˈpɔrtənt. hir ər səm ˌɪnˈspaɪərɪŋ kwoʊts frəm ðə ˈbudə, ʃɛrd ɔn ˈækˌsɛs tɪ ˈɪnˌsaɪt; ˈnɛvər ˈəndərˈɛstəˌmeɪt ðə paʊər əv smɔl gɪfts ɪf ə ˈpərsən θroʊz ðə əv ə boʊl ər ə kəp ˈɪntu ə ˈvɪlɪʤ pul ər pɑnd, ˈθɪŋkɪŋ, ˌwəˈtɛvər ˈænəməlz lɪv hir fid ɔn this,’*,’ ðət wʊd bi ə sɔrs əv merit.”*.” ˈgɪvɪŋ ˈivɪn læst mil biɪŋz nu, ɛz aɪ noʊ, ðə rɪˈzəlts əv ˈgɪvɪŋ ˈʃɛrɪŋ, ðeɪ wʊd nɑt it wɪˈθaʊt ˈhævɪŋ ˈgɪvɪn, nɔr wʊd ðə steɪn əv ˈoʊvərˌkəm ðɛr maɪndz. ˈivɪn ɪf ɪt wər ðɛr læst baɪt, ðɛr læst ˈmaʊθˌfʊl, ðeɪ wʊd nɑt it wɪˈθaʊt ˈhævɪŋ ʃɛrd, ɪf ðɛr wər ˈsəmˌwən tɪ rɪˈsiv ðɛr gɪft. bət bɪˈkəz biɪŋz du nɑt noʊ, ɛz aɪ noʊ, ðə rɪˈzəlts əv ˈgɪvɪŋ ˈʃɛrɪŋ, ðeɪ it wɪˈθaʊt ˈhævɪŋ ˈgɪvɪn. ðə steɪn əv ˈoʊvərˌkəmz ðɛr minds.”*.” ðə rɪˈwɔrdz əv ˈgɪvɪŋ ər ðə faɪv rɪˈwɔrdz əv ˌʤɛnərˈɑsəti: wən ɪz dɪr ənd əˈpilɪŋ tɪ ˈpipəl æt lɑrʤ, wən ɪz ədˈmaɪərd baɪ gʊd ˈpipəl, gʊd neɪm ɪz sprɛd əˈbaʊt, wən dɪz nɑt streɪ frəm ðə ˈraɪtfəl ˈdutiz əv ðə ˈhaʊsˌhoʊldər, ənd wɪθ ðə əv ðə ˈbɑdi æt dɛθ, wən ˌriəˈpɪrz ɪn ə gʊd ˌdɛstɪˈneɪʃən, ɪn ðə ˈhɛvənli worlds.”*.”
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by elliot foster
conor benn will make his professional debut in the spring.
the son of former middleweight and super middleweight champion nigel, 19, is set to make his bow in the paid game on a.
benn, who has promotional terms with eddie hearn and sport, will be trained by peter and tony sims at the boxing gym in brentwood, essex ahead of his maiden date in the pro game.
he will box on april 9 at the arena, with his fight which is expected to be a contest potentially being aired exclusively live on sky sports box office.
‘the destroyer,’ as he will be known, will be showcased on the pay platform as part of the same card as olympic gold medal winner anthony joshua (15-0, 15 kos).
‘aj’ will take on his toughest challenge to date as he faces world heavyweight champion charles martin (23-0-1, 21 kos) for the crown in only his fight.
the british and commonwealth champion, who made his debut at the same venue back in october, 2013, was last in the ring in december against arch rival whyte, who he knocked out inside seven rounds.
also on the card, brian rose (28-3-1, 8 kos) and matthew macklin (34-6, 22 kos) will clash in an official for the middleweight title, which is currently held by ‘canelo’ and will be challenged for by amir khan on may 7 at the new t-mobile arena in las vegas.
further fights for the bill are to be revealed in due course.
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baɪ ˈɛliət ˈfɑstər bɛn wɪl meɪk hɪz prəˈfɛʃənəl ˈdeɪbju ɪn ðə spərɪŋ. ðə sən əv ˈfɔrmər ˈmɪdəlˌweɪt ənd ˈsupər ˈmɪdəlˌweɪt ˈʧæmpiən ˈnaɪʤəl, 19 ɪz sɛt tɪ meɪk hɪz boʊ ɪn ðə peɪd geɪm ɔn ə. bɛn, hu həz pərˈmoʊʃənəl tərmz wɪθ ˈɛdi hərn ənd spɔrt, wɪl bi treɪnd baɪ ˈpitər ənd ˈtoʊni sɪmz æt ðə ˈbɑksɪŋ ʤɪm ɪn ˈbrɛntˌwʊd, ˈɛsɪks əˈhɛd əv hɪz ˈmeɪdən deɪt ɪn ðə proʊ geɪm. hi wɪl bɑks ɔn ˈeɪprəl 9 æt ðə ərˈinə, wɪθ hɪz faɪt wɪʧ ɪz ɪkˈspɛktɪd tɪ bi ə ˈkɑntɛst pəˈtɛnʃəli biɪŋ ɛrd ɪkˈsklusɪvli lɪv ɔn skaɪ spɔrts bɑks ˈɔfəs. destroyer,’*,’ ɛz hi wɪl bi noʊn, wɪl bi ˈʃoʊˌkeɪst ɔn ðə peɪ ˈplætˌfɔrm ɛz pɑrt əv ðə seɪm kɑrd ɛz oʊˈlɪmpɪk goʊld ˈmɛdəl ˈwɪnər ˈænθɔˌni ˈʤɑˌʃuə 15 kɑs). ‘‘aj’*’ wɪl teɪk ɔn hɪz ˈtəfəst ˈʧælənʤ tɪ deɪt ɛz hi ˈfeɪsɪz wərld ˈhɛviˌweɪt ˈʧæmpiən ˈʧɑrəlz ˈmɑrtɪn 21 kɑs) fər ðə kraʊn ɪn ˈoʊnli hɪz faɪt. ðə ˈbrɪtɪʃ ənd ˈkɑmənˌwɛlθ ˈʧæmpiən, hu meɪd hɪz ˈdeɪbju æt ðə seɪm ˈvɛnju bæk ɪn ɑkˈtoʊbər, 2013 wɑz læst ɪn ðə rɪŋ ɪn dɪˈsɛmbər əˈgɛnst ɑrʧ ˈraɪvəl waɪt, hu hi nɑkt aʊt ˌɪnˈsaɪd ˈsɛvən raʊnz. ˈɔlsoʊ ɔn ðə kɑrd, braɪən roʊz 8 kɑs) ənd ˈmæθju ˈmæklɪn 22 kɑs) wɪl klæʃ ɪn ən əˈfɪʃəl fər ðə ˈmɪdəlˌweɪt ˈtaɪtəl, wɪʧ ɪz ˈkərəntli hɛld baɪ ‘‘canelo’*’ ənd wɪl bi ˈʧælənʤd fər baɪ əˈmɪr kɑn ɔn meɪ 7 æt ðə nu ˈtiˌmoʊbəl ərˈinə ɪn ˈɛˈleɪˈɛs ˈveɪgəs. ˈfərðər faɪts fər ðə bɪl ər tɪ bi rɪˈvild ɪn du kɔrs.
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in what may be one of the most significant foreign policy decisions of his first year in office, trump is shutting down the covert program to arm rebels fighting the syrian government. this would constitute a monumental shift in terms of us priorities in syria which throughout most of the long war have focused on removing bashar al-assad. the washington post reports:
officials said trump made the decision to scrap the cia program nearly a month ago, after an oval office meeting with cia director mike pompeo and national security adviser h.r. mcmaster ahead of a july 7 meeting in germany with russian president vladimir putin.
the move is consistent with signals coming out of the white house over the past months, as well as in keeping with trump's early campaign promises that he would seek to wind down the war in syria by making isis the only objective, and not the removal of assad. there have been additional hints at willingness to work closer with russia in a strategic partnership in syria. secretary of state said in an april interview with abc news, as well several weeks ago, that assad's fate would be up for the syrian people to decide, adding that:
in that regard, we are hopeful that we can work with russia and use their influence to achieve areas of stabilization throughout syria and create the conditions for a political process through geneva in which we can engage all of the parties on the way forward, and it is through that political process that we believe the syrian people will lawfully be able to decide the fate of bashar al-assad.
image via syrian opposition social media/ the blaze
tillerson has made similar remarks throughout the summer. but there were at times contradictory statements being issued from other areas of the administration, especially the state department and ambassador to the un nikki haley, who often continued to reiterate the "assad must go" line - a policy put in place when obama first uttered those words all the way back in summer of 2011. the divergent statements left pundits confused as to what america's future role in syria would look like. the trump administration has from the start faced an uphill battle against hawks and in d.c. regarding syria, who are already accusing the president of appeasing assad and "falling into the russia trap."
after the al-qaeda linked accused assad and russia of committing the april chemical attack against civilians in khan shaykhun, immense pressure was up on trump to attack and remove assad. according to an investigative report by seymour hersh, trump's national security team presented the president with multiple plans after the murky incident in which russia, syria, and the al-qaeda affiliate traded blame. trump reportedly shot down the military's "decapitation" plan right away (removal of assad), but opted for what many saw as his merely "symbolic" strike on air base southeast of homs.
meanwhile, many analysts have for years pointed to the cia covert operation, called timber sycamore, as really nothing more than a replay of 'operation cyclone' - the cia program to arm afghan and arab mujahideen fighters against the soviet union in afghanistan. that secretive years long operation resulted in an unprecedented rise in international islamic terrorism, the installation of the radical taliban government in afghanistan, the rise of al-qaeda itself, and the attacks. on syria, change hawks have tended to downplay the size and impact of the syria weapons program, but a recent investigation by a prominent national security reporter concluded the following:
a declassified october 2012 defense intelligence agency report revealed that the shipment in late august 2012 had included 500 sniper rifles, 100 (rocket propelled grenade launchers) along with 300 rounds and 400 howitzers. each arms shipment encompassed as many as ten shipping containers, it reported, each of which held about pounds of cargo. that suggests a total payload of up to 250 tons of weapons per shipment. even if the cia had organized only one shipment per month, the arms shipments would have totaled tons of arms bound ultimately for syria from october 2011 through august 2012. more likely it was a multiple of that figure.
the program originated under obama and its details were unknown to the general public and even to many in congress. the washington post reported in 2015 (based on snowden documents) that it was “one the largest covert operations, with a budget approaching $1 billion a year” of the total budget according to the leaked documents).
yesterday we published sections from a 2016 whistle blower report recently unearthed from a restricted access special forces online platform in which green berets and other elite operatives slammed what they called a cia jihadist training program in syria. us military eyewitnesses testified that:
many [us military trainers overseen by cia officers] are actively sabotaging the programs by stalling and doing nothing, knowing that the supposedly secular rebels they are expected to train are actually terrorists.
indeed trump himself, while on the campaign trail decried the obama white house's covert activities in syria, even a declassified pentagon document pointing to both obama's and secretary of state hillary's role in empowering terrorists in order to overthrow assad.
an: media fell all over themselves criticizing what "may have insinuated about @potus." but he's right: donald j. trump (@realdonaldtrump) june 15, 2016
in prior years, long before he began campaigning, trump had consistently revealed his thinking on syria. in 2013 he referenced the armed opposition in syria as "radical jihadi islamists who are murdering christians" at a time when news of the program was slowly breaking, and questioned, "why would we ever fight with [alongside] them?"
today's news of shutting down the cia program comes on the heels of a new ceasefire deal in southwest syria in what's seen as a broader policy of in syria. all attempts at in syria have been widely panned by the lobby in congress, headed by john mccain and various other politicians, whose complex donors realize that the surest way to a sliding stock price for an is through peace.
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ɪn wət meɪ bi wən əv ðə moʊst sɪgˈnɪfɪkənt ˈfɔrən ˈpɑləsi dɪˈsɪʒənz əv hɪz fərst jɪr ɪn ˈɔfəs, trəmp ɪz ˈʃətɪŋ daʊn ðə ˈkoʊvərt ˈproʊˌgræm tɪ ɑrm ˈrɛbəlz ˈfaɪtɪŋ ðə ˈsɪriən ˈgəvərnmənt. ðɪs wʊd ˈkɑnstəˌtut ə ˌmɑnjəˈmɛnəl ʃɪft ɪn tərmz əv ˈjuˈɛs praɪˈɔrətiz ɪn ˈsɪriə wɪʧ θruaʊt moʊst əv ðə lɔŋ wɔr hæv ˈfoʊkɪst ɔn riˈmuvɪŋ bəˈʃɑr al-assad*. ðə ˈwɔʃɪŋtən poʊst rɪˈpɔrts: əˈfɪʃəlz sɛd trəmp meɪd ðə dɪˈsɪʒən tɪ skræp ðə siaɪeɪ ˈproʊˌgræm ˈnɪrli ə mənθ əˈgoʊ, ˈæftər ən ˈoʊvəl ˈɔfəs ˈmitɪŋ wɪθ siaɪeɪ dɪˈrɛktər maɪk ˈpoʊmpioʊ ənd ˈnæʃənəl sɪˈkjʊrəti ædˈvaɪzər h.r*. məkˈmæstər əˈhɛd əv ə ˌʤuˈlaɪ 7 ˈmitɪŋ ɪn ˈʤərməni wɪθ ˈrəʃən ˈprɛzɪdənt vˈlædəmɪr ˈputɪn. ðə muv ɪz kənˈsɪstənt wɪθ ˈsɪgnəlz ˈkəmɪŋ aʊt əv ðə waɪt haʊs ˈoʊvər ðə pæst mənθs, ɛz wɛl ɛz ɪn ˈkipɪŋ wɪθ trəmps ˈərli kæmˈpeɪn ˈprɑməsəz ðət hi wʊd sik tɪ wɪnd daʊn ðə wɔr ɪn ˈsɪriə baɪ ˈmeɪkɪŋ ˈaɪsəs ðə ˈoʊnli əˈbʤɛktɪv, ənd nɑt ðə rɪˈmuvəl əv əˈsɑd. ðɛr hæv bɪn əˈdɪʃənəl hɪnts æt ˈwɪlɪŋnəs tɪ wərk ˈkloʊzər wɪθ ˈrəʃə ɪn ə strəˈtiʤɪk ˈpɑrtnərˌʃɪp ɪn ˈsɪriə. ˈsɛkrəˌtɛri əv steɪt sɛd ɪn ən ˈeɪprəl ˈɪntərvˌju wɪθ ˈeɪˌbiˌsi nuz, ɛz wɛl ˈsɛvərəl wiks əˈgoʊ, ðət əˈsɑdz feɪt wʊd bi əp fər ðə ˈsɪriən ˈpipəl tɪ ˌdɪˈsaɪd, ˈædɪŋ ðət: ɪn ðət rɪˈgɑrd, wi ər ˈhoʊpfəl ðət wi kən wərk wɪθ ˈrəʃə ənd juz ðɛr ˈɪnfluəns tɪ əˈʧiv ˈɛriəz əv ˌsteɪbələˈzeɪʃən θruaʊt ˈsɪriə ənd kriˈeɪt ðə kənˈdɪʃənz fər ə pəˈlɪtɪkəl ˈprɔˌsɛs θru ʤəˈnivə ɪn wɪʧ wi kən ɪnˈgeɪʤ ɔl əv ðə ˈpɑrtiz ɔn ðə weɪ ˈfɔrwərd, ənd ɪt ɪz θru ðət pəˈlɪtɪkəl ˈprɔˌsɛs ðət wi bɪˈliv ðə ˈsɪriən ˈpipəl wɪl ˈlɔfəli bi ˈeɪbəl tɪ ˌdɪˈsaɪd ðə feɪt əv bəˈʃɑr al-assad*. ˈɪmɪʤ ˈviə ˈsɪriən ˌɑpəˈzɪʃən ˈsoʊʃəl ˈmidiə/ ðə bleɪz həz meɪd ˈsɪmələr rɪˈmɑrks θruaʊt ðə ˈsəmər. bət ðɛr wər æt taɪmz ˌkɑntrəˈdɪktəri ˈsteɪtmənts biɪŋ ˈɪʃud frəm ˈəðər ˈɛriəz əv ðə ædˌmɪnɪˈstreɪʃən, əˈspɛʃəli ðə steɪt dɪˈpɑrtmənt ənd æmˈbæsədər tɪ ðə ˈjuˈɛn ˈnɪki ˈheɪli, hu ˈɔfən kənˈtɪnjud tɪ riˈɪtərˌeɪt ðə "əˈsɑd məst goʊ" laɪn ə ˈpɑləsi pʊt ɪn pleɪs wɪn ˌoʊˈbɑmə fərst ˈətərd ðoʊz wərdz ɔl ðə weɪ bæk ɪn ˈsəmər əv 2011 ðə dɪˈvərʤənt ˈsteɪtmənts lɛft ˈpəndɪts kənfˈjuzd ɛz tɪ wət əˈmɛrɪkəz fˈjuʧər roʊl ɪn ˈsɪriə wʊd lʊk laɪk. ðə trəmp ædˌmɪnɪˈstreɪʃən həz frəm ðə stɑrt feɪst ən ˈəˈphɪl ˈbætəl əˈgɛnst hɔks ənd ɪn d.c*. rɪˈgɑrdɪŋ ˈsɪriə, hu ər ɔˈrɛdi əˈkjuzɪŋ ðə ˈprɛzɪdənt əv əˈpizɪŋ əˈsɑd ənd "ˈfɑlɪŋ ˈɪntu ðə ˈrəʃə træp." ˈæftər ðə ˌɑlˈkaɪdɑ lɪŋkt əˈkjuzd əˈsɑd ənd ˈrəʃə əv kəˈmɪtɪŋ ðə ˈeɪprəl ˈkɛmɪkəl əˈtæk əˈgɛnst səˈvɪljənz ɪn kɑn shaykhun*, ˌɪˈmɛns ˈprɛʃər wɑz əp ɔn trəmp tɪ əˈtæk ənd riˈmuv əˈsɑd. əˈkɔrdɪŋ tɪ ən ˌɪnˈvɛstəˌgeɪtɪv rɪˈpɔrt baɪ ˈsimɔr hərʃ, trəmps ˈnæʃənəl sɪˈkjʊrəti tim pərˈzɛnəd ðə ˈprɛzɪdənt wɪθ ˈməltəpəl plænz ˈæftər ðə ˈmərki ˈɪnsədənt ɪn wɪʧ ˈrəʃə, ˈsɪriə, ənd ðə ˌɑlˈkaɪdɑ əˈfɪliˌeɪt ˈtreɪdɪd bleɪm. trəmp rɪˈpɔrtədli ʃɑt daʊn ðə ˈmɪlɪˌtɛriz "dɪˌkæpɪˈteɪʃən" plæn raɪt əˈweɪ (rɪˈmuvəl əv əˈsɑd), bət ˈɑptɪd fər wət ˈmɛni sɔ ɛz hɪz ˈmɪrli "sɪmˈbɑlɪk" straɪk ɔn ɛr beɪs ˌsaʊˈθist əv hɑmz. ˈminˌwaɪl, ˈmɛni ˈænəlɪsts hæv fər jɪrz ˈpɔɪntɪd tɪ ðə siaɪeɪ ˈkoʊvərt ˌɑpərˈeɪʃən, kɔld ˈtɪmbər ˈsɪkəˌmɔr, ɛz ˈrɪli ˈnəθɪŋ mɔr ðən ə riˈpleɪ əv 'ˌɑpərˈeɪʃən sɪˈkloʊn' ðə siaɪeɪ ˈproʊˌgræm tɪ ɑrm ˈæfˌgæn ənd ˈærəb ˌmuʤəhɛˈdin ˈfaɪtərz əˈgɛnst ðə ˈsoʊviˌɛt ˈjunjən ɪn æfˈgænəˌstæn. ðət ˈsikrətɪv jɪrz lɔŋ ˌɑpərˈeɪʃən rɪˈzəltɪd ɪn ən ənˈprɛsɪˌdɛntɪd raɪz ɪn ˌɪnərˈnæʃənɑl ˌɪzˈlɑmɪk ˈtɛrəˌrɪzəm, ðə ˌɪnstəˈleɪʃən əv ðə ˈrædɪkəl ˈtælɪˌbæn ˈgəvərnmənt ɪn æfˈgænəˌstæn, ðə raɪz əv ˌɑlˈkaɪdɑ ˌɪtˈsɛlf, ənd ðə əˈtæks. ɔn ˈsɪriə, ʧeɪnʤ hɔks hæv ˈtɛndɪd tɪ ˈdaʊnˌpleɪ ðə saɪz ənd ˌɪmˈpækt əv ðə ˈsɪriə ˈwɛpənz ˈproʊˌgræm, bət ə ˈrisənt ˌɪnˌvɛstəˈgeɪʃən baɪ ə ˈprɑmənənt ˈnæʃənəl sɪˈkjʊrəti rɪˈpɔrtər kənˈkludɪd ðə ˈfɑloʊɪŋ: ə dɪˈklæsəˌfaɪd ɑkˈtoʊbər 2012 dɪˈfɛns ˌɪnˈtɛləʤəns ˈeɪʤənsi rɪˈpɔrt rɪˈvild ðət ðə ˈʃɪpmənt ɪn leɪt ˈɔgəst 2012 hæd ˌɪnˈkludɪd 500 sˈnaɪpər ˈraɪfəlz, 100 (ˈrɑkət prəˈpɛld grəˈneɪd ˈlɔnʧərz) əˈlɔŋ wɪθ 300 raʊnz ənd 400 ˈhaʊətsərz. iʧ ɑrmz ˈʃɪpmənt ɛnˈkəmpəst ɛz ˈmɛni ɛz tɛn ˈʃɪpɪŋ kənˈteɪnərz, ɪt ˌriˈpɔrtəd, iʧ əv wɪʧ hɛld əˈbaʊt paʊnz əv ˈkɑrˌgoʊ. ðət səˈʤɛsts ə ˈtoʊtəl ˈpeɪˌloʊd əv əp tɪ 250 tənz əv ˈwɛpənz pər ˈʃɪpmənt. ˈivɪn ɪf ðə siaɪeɪ hæd ˈɔrgəˌnaɪzd ˈoʊnli wən ˈʃɪpmənt pər mənθ, ðə ɑrmz ˈʃɪpmənts wʊd hæv ˈtoʊtəld tənz əv ɑrmz baʊnd ˈəltəmətli fər ˈsɪriə frəm ɑkˈtoʊbər 2011 θru ˈɔgəst 2012 mɔr ˈlaɪkli ɪt wɑz ə ˈməltəpəl əv ðət ˈfɪgjər. ðə ˈproʊˌgræm ərˈɪʤəˌneɪtəd ˈəndər ˌoʊˈbɑmə ənd ɪts ˈditeɪlz wər ənˈnoʊn tɪ ðə ˈʤɛnərəl ˈpəblɪk ənd ˈivɪn tɪ ˈmɛni ɪn ˈkɑŋgrəs. ðə ˈwɔʃɪŋtən poʊst ˌriˈpɔrtəd ɪn 2015 (beɪst ɔn sˈnoʊdən ˈdɑkjəmənts) ðət ɪt wɑz ðə ˈlɑrʤəst ˈkoʊvərt ˌɑpərˈeɪʃənz, wɪθ ə ˈbəʤɪt əˈproʊʧɪŋ 1 ˈbɪljən ə year”*” əv ðə ˈtoʊtəl ˈbəʤɪt əˈkɔrdɪŋ tɪ ðə likt ˈdɑkjəmənts). ˈjɛstərˌdeɪ wi ˈpəblɪʃt ˈsɛkʃənz frəm ə 2016 ˈwɪsəl bloʊər rɪˈpɔrt ˈrisəntli əˈnərθt frəm ə riˈstrɪktɪd ˈækˌsɛs ˈspɛʃəl ˈfɔrsɪz ˈɔnˌlaɪn ˈplætˌfɔrm ɪn wɪʧ grin ˈbɛrəts ənd ˈəðər ɪˈlit ˈɑpərətɪvz slæmd wət ðeɪ kɔld ə siaɪeɪ ʤiˈhɑˌdɪst ˈtreɪnɪŋ ˈproʊˌgræm ɪn ˈsɪriə. ˈjuˈɛs ˈmɪlɪˌtɛri ˈaɪˌwɪtnəsɪz ˈtɛstɪˌfaɪd ðət: ˈmɛni [ˈjuˈɛs ˈmɪlɪˌtɛri ˈtreɪnərz ˈoʊvərˌsin baɪ siaɪeɪ ˈɔfɪsərz] ər ˈæktɪvli ˈsæbəˌtɑʒɪŋ ðə ˈproʊˌgræmz baɪ ˈstɔlɪŋ ənd duɪŋ ˈnəθɪŋ, noʊɪŋ ðət ðə səˈpoʊzədli ˈsɛkjələr ˈrɛbəlz ðeɪ ər ɪkˈspɛktɪd tɪ treɪn ər ˈæˌkʧuəli ˈtɛrəˌrɪsts. ˌɪnˈdid trəmp hɪmˈsɛlf, waɪl ɔn ðə kæmˈpeɪn treɪl dɪˈkraɪd ðə ˌoʊˈbɑmə waɪt ˈhaʊsɪz ˈkoʊvərt ækˈtɪvɪtiz ɪn ˈsɪriə, ˈivɪn ə dɪˈklæsəˌfaɪd ˈpɛnɪˌgɑn ˈdɑkjəmɛnt ˈpɔɪntɪŋ tɪ boʊθ ˌoʊˈbɑməz ənd ˈsɛkrəˌtɛri əv steɪt ˈhɪləriz roʊl ɪn ɪmˈpaʊərɪŋ ˈtɛrəˌrɪsts ɪn ˈɔrdər tɪ ˈoʊvərθˌroʊ əˈsɑd. ən: ˈmidiə fɛl ɔl ˈoʊvər ðɛmˈsɛlvz ˈkrɪtɪˌsaɪzɪŋ wət "meɪ hæv ˌɪnˈsɪnjueɪtɪd əˈbaʊt @potus*." bət hiz raɪt: ˈdɑnəld ʤeɪ. trəmp (@realdonaldtrump*) ʤun 15 2016 ɪn praɪər jɪrz, lɔŋ ˌbiˈfɔr hi bɪˈgæn kæmˈpeɪnɪŋ, trəmp hæd kənˈsɪstəntli rɪˈvild hɪz ˈθɪŋkɪŋ ɔn ˈsɪriə. ɪn 2013 hi ˈrɛfərənst ðə ɑrmd ˌɑpəˈzɪʃən ɪn ˈsɪriə ɛz "ˈrædɪkəl ʤiˈhɑˌdi ˈɪsləmɪsts hu ər ˈmərdərɪŋ ˈkrɪsʧɪnz" æt ə taɪm wɪn nuz əv ðə ˈproʊˌgræm wɑz sˈloʊli ˈbreɪkɪŋ, ənd kˈwɛsʧənd, "waɪ wʊd wi ˈɛvər faɪt wɪθ [əˈlɔŋˈsaɪd] ðɛm?" ˈtudeɪz nuz əv ˈʃətɪŋ daʊn ðə siaɪeɪ ˈproʊˌgræm kəmz ɔn ðə hilz əv ə nu ˈsisˈfaɪər dil ɪn ˌsaʊθˈwɛst ˈsɪriə ɪn wəts sin ɛz ə ˈbrɔdər ˈpɑləsi əv ɪn ˈsɪriə. ɔl əˈtɛmpts æt ɪn ˈsɪriə hæv bɪn ˈwaɪdli pænd baɪ ðə ˈlɑbi ɪn ˈkɑŋgrəs, ˈhɛdɪd baɪ ʤɑn məˈkeɪn ənd ˈvɛriəs ˈəðər ˌpɑləˈtɪʃənz, huz ˈkɑmplɛks ˈdoʊnərz ˈriəˌlaɪz ðət ðə ˈʃʊrɪst weɪ tɪ ə sˈlaɪdɪŋ stɑk praɪs fər ən ɪz θru pis.
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putnam -- it might be poor fashion choice.
a man arrested for driving under the influence early monday after an accident, had his mug shot taken while he was wearing a t-shirt that said "hold my beer and watch this."
state police said around a.m., troopers were called to a one car accident on wilson road in putnam. troopers said the car was traveling east on wilson road when it struck a stone wall.
police said the vehicle was unregistered, uninsured and the registration plates on the car belonged to a different vehicle.
harrison wootton, 25, of woodstock, was charged with operating an unregistered motor vehicle, failure to have insurance, misuse of plates, failure to drive in the proper lane and operating under the influence of alcohol/drugs.
wootton is scheduled to appear in court on april 20 and was released on a $500 bond.
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pliz ɪˈneɪbəl ˈʤɑvəˌskrɪpt tɪ wɔʧ ðɪs ˈvɪdioʊ ˈpətnəm ɪt maɪt bi pur ˈfæʃən ʧɔɪs. ə mæn ərˈɛstɪd fər ˈdraɪvɪŋ ˈəndər ðə ˈɪnfluəns ˈərli ˈmənˌdeɪ ˈæftər ən ˈæksədənt, hæd hɪz məg ʃɑt ˈteɪkən waɪl hi wɑz ˈwɛrɪŋ ə ˈtiˌsərt ðət sɛd "hoʊld maɪ bɪr ənd wɔʧ ðɪs." steɪt pəˈlis sɛd əraʊnd a.m*., ˈtrupərz wər kɔld tɪ ə wən kɑr ˈæksədənt ɔn ˈwɪlsən roʊd ɪn ˈpətnəm. ˈtrupərz sɛd ðə kɑr wɑz ˈtrævəlɪŋ ist ɔn ˈwɪlsən roʊd wɪn ɪt strək ə stoʊn wɔl. pəˈlis sɛd ðə ˈviɪkəl wɑz ənˈrɛʤɪstərd, ˌənɪnˈʃʊrd ənd ðə ˌrɛʤɪˈstreɪʃən pleɪts ɔn ðə kɑr bɪˈlɔŋd tɪ ə ˈdɪfərənt ˈviɪkəl. ˈhɛrɪsən ˈwutən, 25 əv ˈwʊdˌstɑk, wɑz ʧɑrʤd wɪθ ˈɔpərˌeɪtɪŋ ən ənˈrɛʤɪstərd ˈmoʊtər ˈviɪkəl, ˈfeɪljər tɪ hæv ˌɪnˈʃʊrəns, mɪsˈjuz əv pleɪts, ˈfeɪljər tɪ draɪv ɪn ðə ˈprɑpər leɪn ənd ˈɔpərˌeɪtɪŋ ˈəndər ðə ˈɪnfluəns əv alcohol/drugs*. ˈwutən ɪz ˈskɛʤʊld tɪ əˈpɪr ɪn kɔrt ɔn ˈeɪprəl 20 ənd wɑz riˈlist ɔn ə 500 bɑnd.
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littlewood's law states that a person can expect to experience events with odds of one in a million (defined by the law as a "miracle") at the rate of about one per month.
history [ edit ]
the law was framed by cambridge university professor john littlewood, and published in a 1986 collection of his work, a miscellany. it seeks among other things to debunk one element of supposed supernatural phenomenology and is related to the more general law of truly large numbers, which states that with a sample size large enough, any outrageous (in terms of probability model of single sample) thing is likely to happen.
description [ edit ]
littlewood defines a miracle as an exceptional event of special significance occurring at a frequency of one in a million. he assumes that during the hours in which a human is awake and alert, a human will see or hear one "event" per second, which may be either exceptional or unexceptional. additionally, littlewood supposes that a human is alert for about eight hours per day.
as a result, a human will in 35 days have experienced under these suppositions about one million events. accepting this definition of a miracle, one can expect to observe one miraculous event for every 35 days' time, on average and therefore, according to this reasoning, seemingly miraculous events are actually commonplace.
see also [ edit ]
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littlewood's* lɔ steɪts ðət ə ˈpərsən kən ɪkˈspɛkt tɪ ɪkˈspɪriəns ɪˈvɛnts wɪθ ɑdz əv wən ɪn ə ˈmɪljən (dɪˈfaɪnd baɪ ðə lɔ ɛz ə "ˈmɪrəkəl") æt ðə reɪt əv əˈbaʊt wən pər mənθ. ˈhɪstəri ˈɛdət ðə lɔ wɑz freɪmd baɪ ˈkeɪmbrɪʤ ˌjunəˈvərsəti prəˈfɛsər ʤɑn ˈlɪtəlˌwʊd, ənd ˈpəblɪʃt ɪn ə 1986 kəˈlɛkʃən əv hɪz wərk, ə ˈmɪsəˌleɪni. ɪt siks əˈməŋ ˈəðər θɪŋz tɪ dɪˈbəŋk wən ˈɛləmənt əv səˈpoʊzd ˌsupərˈnæʧərəl fəˈnɑməˌnɑlɑˌgi ənd ɪz rɪˈleɪtɪd tɪ ðə mɔr ˈʤɛnərəl lɔ əv ˈtruli lɑrʤ ˈnəmbərz, wɪʧ steɪts ðət wɪθ ə ˈsæmpəl saɪz lɑrʤ ɪˈnəf, ˈɛni aʊˈtreɪʤəs (ɪn tərmz əv ˌprɑbəˈbɪləˌti ˈmɑdəl əv ˈsɪŋgəl ˈsæmpəl) θɪŋ ɪz ˈlaɪkli tɪ ˈhæpən. dɪˈskrɪpʃən ˈɛdət ˈlɪtəlˌwʊd dɪˈfaɪnz ə ˈmɪrəkəl ɛz ən ɪkˈsɛpʃənəl ɪˈvɛnt əv ˈspɛʃəl sɪgˈnɪfɪkəns əˈkərɪŋ æt ə ˈfrikwənsi əv wən ɪn ə ˈmɪljən. hi əˈsumz ðət ˈdʊrɪŋ ðə aʊərz ɪn wɪʧ ə ˈjumən ɪz əˈweɪk ənd əˈlərt, ə ˈjumən wɪl si ər hir wən "ɪˈvɛnt" pər ˈsɛkənd, wɪʧ meɪ bi ˈiðər ɪkˈsɛpʃənəl ər unexceptional*. əˈdɪʃəˌnəli, ˈlɪtəlˌwʊd səˈpoʊzɪz ðət ə ˈjumən ɪz əˈlərt fər əˈbaʊt eɪt aʊərz pər deɪ. ɛz ə rɪˈzəlt, ə ˈjumən wɪl ɪn 35 deɪz hæv ɪkˈspɪriənst ˈəndər ðiz ˌsəpəˈzɪʃənz əˈbaʊt wən ˈmɪljən ɪˈvɛnts. əkˈsɛptɪŋ ðɪs ˌdɛfəˈnɪʃən əv ə ˈmɪrəkəl, wən kən ɪkˈspɛkt tɪ əbˈzərv wən mərˈækjələs ɪˈvɛnt fər ˈɛvəri 35 deɪz' taɪm, ɔn ˈævərɪʤ ənd ˈðɛrˌfɔr, əˈkɔrdɪŋ tɪ ðɪs ˈrizənɪŋ, ˈsimɪŋli mərˈækjələs ɪˈvɛnts ər ˈæˌkʧuəli ˈkɑmənˌpleɪs. si ˈɔlsoʊ ˈɛdət
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libertarians often bemoan the expansion of the federal government over the centuries and cite thomas quotation, “the natural progress of things is for liberty to [sic], and government to gain ground.” of course, there have been important advances for liberty in the u.s. in the and centuries too, yet overall, impact on the economy has increased dramatically. in his book, the rise and decline of nations, political economist olson theorized that the simple passage of time permitted the accretion of more and more interest groups (“distributive coalitions”), who would lobby government to increase their share of the economic pie at the expense of the total size of the pie. therefore, more stable societies would see relative economic decline.
i have always been skeptical that the mere passage of time was an important predictor of power and bad economic policy. indeed, all of data came from the war 2 period, and he had good things to say about france and japan, particularly in relation to britain, that do not ring true 30 years after he wrote the book.
however, as i investigate the economic history of early modern europe, i am struck by what looks like a “law of political entropy,” that is, a tendency for relatively “associational” governments that act as agents for the taxpayer to become ossified, oligarchic, “predatory” states that exploit the taxpayer. consider the dutch republic and switzerland, probably the two most “associational” states in early modern europe.
during the dutch golden age, the highly decentralized federation acted as an agent of the provinces, who in turn were federated associations of the towns. the towns were ruled by the principal merchants. there was a “stadtholder” position at the central level, demanded by the ideology of the day, but the real political power lay with the great fact, during the period of the most rapid economic growth, there was no stadtholder, just an elected “grand pensionary,” the johan de witt, who supported free trade, republicanism, and religious toleration, opposed imperialism and military meddling, and strongly endorsing the doctrine of provincial (and town) sovereignty over control.
unfortunately, after the french and english launched a combined sneak attack on the republic in 1672, de witt was overthrown and lynched, and the returned. although the dutch escaped that war with their independence, over time the political system became more ossified, and by the end of the century english per capita had caught up with dutch. according to wikipedia,
at first the citizens in the guilds and could unite to form a certain counterbalance to the regenten, but in the course of the 16th, and century the administration of the cities and towns became in character, and it became harder and harder to enter their caste. from the latter part of the century the regent families were able to reserve government offices to themselves via contractual arrangements. most offices were filled by for life. thus the regent class tended to perpetuate itself into a closed class.
similarly, switzerland started off as an extremely loose confederation of republican cantons in the late middle ages (individual cantons could even declare war). the cantons themselves were originally established by peasants who had thrown out the habsburg aristocracy, winning a bloody victory over their knights at the battle of morgarten:
when the attacked from above with rocks, logs and halberds, the austrian knights had no room to defend themselves and suffered a crushing defeat, while the foot soldiers in the rear fled back to the city of zug. about habsburg soldiers were killed in the attack. according to karl von elgger, the, unfamiliar with the customs of battles between knights, brutally butchered retreating troops and everyone unable to flee. he records that some infantry preferred to drown themselves in the lake rather than face the brutality of the swiss. this established the’ reputation as fierce and barbaric fighters.
though its geographic isolation and poor soil helped keep switzerland fairly poor, it was an oasis of relative religious toleration and peace during the reformation and the thirty years’ war. but over time, the cantons became more oligarchic:
political power congealed around the 13 cantons of the old confederation. during this era, the patrician families decreased in number but increased in power. some patrician families were drawn from leadership in the guilds or trading groups within the town, while other families grew from successful mercenary captains and soldiers. the trend toward increasing authoritarianism conflicted with the history of public expression which grew out of the swiss reformation. in many regions the patrician families were unable to suppress the public assemblies but they did dominate the assemblies. the tradition of inviting the people to express their opinions died out mostly during this era. during this time, changes to the membership of city councils became increasingly rare. throughout the middle ages a seat on the town council was normally a lifetime appointment. however, plagues, battlefield deaths, and conflicts over the reformation guaranteed a regular turnover in the city councils. during the early modern era, growing scientific knowledge and relative peace reduced the number of open seats in the cities. at the same time, council members were increasingly able to fill the council with relatives. the population in europe began to expand again following the thirty years’ war. this led to population pressure that been experienced in several generations. for protection and help against the rising number of immigrants and landless peasants many villages began to draw closer to neighboring towns, eventually coming under the authority of the larger towns. during the century seats in the councils became increasingly hereditary. there were between 50 and 200 families that controlled all the key political, military and industrial positions in switzerland. in bern out of 360 burgher families only 69 still had any power and could be elected by the end of the century. however, the aristocracy remained generally open, and in some cities new families were accepted if they were successful and rich enough.
the problem of figuring out how to break out of this cycle of political entropy seems to recur throughout history. invasions certainly changed both the netherlands and switzerland fundamentally, though in the former case not for the better. in the case of england, renewal came through a bloodless revolution but by the century, the law of political entropy had smitten britain as well.
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ˌlɪbərˈtɛˌriənz ˈɔfən bɪˈmoʊn ðə ɪkˈspænʧən əv ðə ˈfɛdərəl ˈgəvərnmənt ˈoʊvər ðə ˈsɛnʧəriz ənd saɪt ˈtɑməs kwoʊˈteɪʃən, ˈnæʧərəl ˈprɑˌgrɛs əv θɪŋz ɪz fər ˈlɪbərˌti tɪ [sɪk], ənd ˈgəvərnmənt tɪ geɪn ground.”*.” əv kɔrs, ðɛr hæv bɪn ˌɪmˈpɔrtənt ədˈvænsɪz fər ˈlɪbərˌti ɪn ðə juz. ɪn ðə ənd ˈsɛnʧəriz tu, jɛt ˈoʊvərˌɔl, ˌɪmˈpækt ɔn ðə ɪˈkɑnəmi həz ˌɪnˈkrist drəˈmætɪkəli. ɪn hɪz bʊk, ðə raɪz ənd dɪˈklaɪn əv ˈneɪʃənz, pəˈlɪtɪkəl ɪˈkɑnəmɪst ˈoʊlsən θiəraɪzd ðət ðə ˈsɪmpəl ˈpæsɪʤ əv taɪm pərˈmɪtɪd ðə əˈkriʃən əv mɔr ənd mɔr ˈɪntəˌrɛst grups coalitions”*”), hu wʊd ˈlɑbi ˈgəvərnmənt tɪ ˌɪnˈkris ðɛr ʃɛr əv ðə ˌɛkəˈnɑmɪk paɪ æt ðə ɪkˈspɛns əv ðə ˈtoʊtəl saɪz əv ðə paɪ. ˈðɛrˌfɔr, mɔr ˈsteɪbəl səˈsaɪɪtiz wʊd si ˈrɛlətɪv ˌɛkəˈnɑmɪk dɪˈklaɪn. aɪ hæv ˈɔlˌweɪz bɪn ˈskɛptɪkəl ðət ðə mɪr ˈpæsɪʤ əv taɪm wɑz ən ˌɪmˈpɔrtənt prɪˈdɪktər əv paʊər ənd bæd ˌɛkəˈnɑmɪk ˈpɑləsi. ˌɪnˈdid, ɔl əv ˈdætə keɪm frəm ðə wɔr 2 ˈpɪriəd, ənd hi hæd gʊd θɪŋz tɪ seɪ əˈbaʊt fræns ənd ʤəˈpæn, ˌpɑrˈtɪkjələrli ɪn riˈleɪʃən tɪ ˈbrɪtən, ðət du nɑt rɪŋ tru 30 jɪrz ˈæftər hi roʊt ðə bʊk. ˌhaʊˈɛvər, ɛz aɪ ˌɪnˈvɛstəˌgeɪt ðə ˌɛkəˈnɑmɪk ˈhɪstəri əv ˈərli ˈmɑdərn ˈjʊrəp, aɪ æm strək baɪ wət lʊks laɪk ə əv pəˈlɪtɪkəl entropy,”*,” ðət ɪz, ə ˈtɛndənsi fər ˈrɛlətɪvli ““associational”*” ˈgəvərnmənts ðət ækt ɛz ˈeɪʤənts fər ðə ˈtækˌspeɪər tɪ bɪˈkəm ˈɑsəˌfaɪd, oligarchic*, ““predatory”*” steɪts ðət ˌɛkˈsplɔɪt ðə ˈtækˌspeɪər. kənˈsɪdər ðə dəʧ riˈpəblɪk ənd sˈwɪtsərlənd, ˈprɑbəˌbli ðə tu moʊst ““associational”*” steɪts ɪn ˈərli ˈmɑdərn ˈjʊrəp. ˈdʊrɪŋ ðə dəʧ ˈgoʊldən eɪʤ, ðə ˈhaɪli dɪˈsɛntrəˌlaɪzd ˌfɛdərˈeɪʃən ˈæktɪd ɛz ən ˈeɪʤənt əv ðə ˈprɑvənsəz, hu ɪn tərn wər ˈfɛdərˌeɪtɪd əˌsoʊʃiˈeɪʃənz əv ðə taʊnz. ðə taʊnz wər ruld baɪ ðə ˈprɪnsəpəl ˈmərʧənts. ðɛr wɑz ə ““stadtholder”*” pəˈzɪʃən æt ðə ˈsɛntrəl ˈlɛvəl, dɪˈmændɪd baɪ ðə ˌaɪdiˈɑləʤi əv ðə deɪ, bət ðə ril pəˈlɪtɪkəl paʊər leɪ wɪθ ðə greɪt fækt, ˈdʊrɪŋ ðə ˈpɪriəd əv ðə moʊst ˈræpɪd ˌɛkəˈnɑmɪk groʊθ, ðɛr wɑz noʊ stadtholder*, ʤɪst ən ɪˈlɛktɪd pensionary,”*,” ðə joʊˈhɑn də wɪt, hu səˈpɔrtɪd fri treɪd, rɪˈpəblɪkəˌnɪzəm, ənd rɪˈlɪʤəs ˌtɑlərˈeɪʃən, əˈpoʊzd ˌɪmˈpɪriəˌlɪzəm ənd ˈmɪlɪˌtɛri ˈmɛdəlɪŋ, ənd ˈstrɔŋli ɛnˈdɔrsɪŋ ðə ˈdɔktərɪn əv prəˈvɪnʃəl (ənd taʊn) ˈsɑvrənti ˈoʊvər kənˈtroʊl. ənˈfɔrʧənətli, ˈæftər ðə frɛnʧ ənd ˈɪŋlɪʃ lɔnʧt ə kəmˈbaɪnd snik əˈtæk ɔn ðə riˈpəblɪk ɪn 1672 də wɪt wɑz ˌoʊvərθˈroʊn ənd lɪnʧt, ənd ðə rɪˈtərnd. ˌɔlˈðoʊ ðə dəʧ ɪˈskeɪpt ðət wɔr wɪθ ðɛr ˌɪndɪˈpɛndəns, ˈoʊvər taɪm ðə pəˈlɪtɪkəl ˈsɪstəm bɪˈkeɪm mɔr ˈɑsəˌfaɪd, ənd baɪ ðə ɛnd əv ðə ˈsɛnʧəri ˈɪŋlɪʃ pər ˈkæpɪtə hæd kɔt əp wɪθ dəʧ. əˈkɔrdɪŋ tɪ ˈwɪkiˌpiˌdiə, æt fərst ðə ˈsɪtɪzənz ɪn ðə gɪldz ənd kʊd ˈjuˌnaɪt tɪ fɔrm ə ˈsərtən ˈkaʊnərˌbæləns tɪ ðə regenten*, bət ɪn ðə kɔrs əv ðə 16th*, ənd ˈsɛnʧəri ðə ædˌmɪnɪˈstreɪʃən əv ðə ˈsɪtiz ənd taʊnz bɪˈkeɪm ɪn ˈkɛrɪktər, ənd ɪt bɪˈkeɪm ˈhɑrdər ənd ˈhɑrdər tɪ ˈɛnər ðɛr kæst. frəm ðə ˈlætər pɑrt əv ðə ˈsɛnʧəri ðə ˈriʤənt ˈfæməliz wər ˈeɪbəl tɪ rɪˈzərv ˈgəvərnmənt ˈɔfəsɪz tɪ ðɛmˈsɛlvz ˈviə kənˈtrækʧuəl ərˈeɪnʤmənts. moʊst ˈɔfəsɪz wər fɪld baɪ fər laɪf. ðəs ðə ˈriʤənt klæs ˈtɛndɪd tɪ pərˈpɛʧəˌweɪt ˌɪtˈsɛlf ˈɪntu ə kloʊzd klæs. ˈsɪmələrli, sˈwɪtsərlənd ˈstɑrtɪd ɔf ɛz ən ɪkˈstrimli lus kənˌfɛdərˈeɪʃən əv rɪˈpəblɪkən ˈkæntənz ɪn ðə leɪt ˈmɪdəl ˈeɪʤɪz (ˌɪndəˈvɪʤəwəl ˈkæntənz kʊd ˈivɪn dɪˈklɛr wɔr). ðə ˈkæntənz ðɛmˈsɛlvz wər ərˈɪʤənəli ɪˈstæblɪʃt baɪ ˈpɛzənts hu hæd θroʊn aʊt ðə ˈhæpsbərg ˌɛrəˈstɑkrəsi, ˈwɪnɪŋ ə ˈblədi ˈvɪktəri ˈoʊvər ðɛr naɪts æt ðə ˈbætəl əv morgarten*: wɪn ðə əˈtækt frəm əˈbəv wɪθ rɑks, lɔgz ənd halberds*, ðə ˈɔstriən naɪts hæd noʊ rum tɪ dɪˈfɛnd ðɛmˈsɛlvz ənd ˈsəfərd ə ˈkrəʃɪŋ dɪˈfit, waɪl ðə fʊt ˈsoʊlʤərz ɪn ðə rɪr flɛd bæk tɪ ðə ˈsɪti əv zəg. əˈbaʊt ˈhæpsbərg ˈsoʊlʤərz wər kɪld ɪn ðə əˈtæk. əˈkɔrdɪŋ tɪ kɑrl vɔn elgger*, ðə, ˌənfəˈmɪljər wɪθ ðə ˈkəstəmz əv ˈbætəlz bɪtˈwin naɪts, ˈbrutəli ˈbʊʧərd riˈtritɪŋ trups ənd ˈɛvriˌwən əˈneɪbəl tɪ fli. hi ˈrɛkərdz ðət səm ˈɪnfəntri prɪˈfərd tɪ draʊn ðɛmˈsɛlvz ɪn ðə leɪk ˈrəðər ðən feɪs ðə bruˈtælɪti əv ðə swɪs. ðɪs ɪˈstæblɪʃt ðə confederates’*’ ˌrɛpjəˈteɪʃən ɛz fɪrs ənd bɑrˈbɛrɪk ˈfaɪtərz. ðoʊ ɪts ˌʤiəˈgræfɪk ˌaɪsəˈleɪʃən ənd pur sɔɪl hɛlpt kip sˈwɪtsərlənd ˈfɛrli pur, ɪt wɑz ən oʊˈeɪsɪs əv ˈrɛlətɪv rɪˈlɪʤəs ˌtɑlərˈeɪʃən ənd pis ˈdʊrɪŋ ðə ˌrɛfərˈmeɪʃən ənd ðə ˈθərˌdi years’*’ wɔr. bət ˈoʊvər taɪm, ðə ˈkæntənz bɪˈkeɪm mɔr oligarchic*: pəˈlɪtɪkəl paʊər kənˈʤild əraʊnd ðə 13 ˈkæntənz əv ðə oʊld kənˌfɛdərˈeɪʃən. ˈdʊrɪŋ ðɪs ˈɪrə, ðə pəˈtrɪʃən ˈfæməliz ˈdiˌkrist ɪn ˈnəmbər bət ˌɪnˈkrist ɪn paʊər. səm pəˈtrɪʃən ˈfæməliz wər drɔn frəm ˈlidərˌʃɪp ɪn ðə gɪldz ər ˈtreɪdɪŋ grups wɪˈθɪn ðə taʊn, waɪl ˈəðər ˈfæməliz gru frəm səkˈsɛsfəl ˈmərsəˌnɛri ˈkæptənz ənd ˈsoʊlʤərz. ðə trɛnd təˈwɔrd ˌɪnˈkrisɪŋ əˌθɔrəˈtɛriəˌnɪzəm kənˈflɪktɪd wɪθ ðə ˈhɪstəri əv ˈpəblɪk ɪkˈsprɛʃən wɪʧ gru aʊt əv ðə swɪs ˌrɛfərˈmeɪʃən. ɪn ˈmɛni ˈriʤənz ðə pəˈtrɪʃən ˈfæməliz wər əˈneɪbəl tɪ səˈprɛs ðə ˈpəblɪk əˈsɛmbliz bət ðeɪ dɪd ˈdɑməˌneɪt ðə əˈsɛmbliz. ðə trəˈdɪʃən əv ˌɪnˈvaɪtɪŋ ðə ˈpipəl tɪ ɪkˈsprɛs ðɛr əˈpɪnjənz daɪd aʊt ˈmoʊstli ˈdʊrɪŋ ðɪs ˈɪrə. ˈdʊrɪŋ ðɪs taɪm, ˈʧeɪnʤɪz tɪ ðə ˈmɛmbərˌʃɪp əv ˈsɪti ˈkaʊnsɪlz bɪˈkeɪm ˌɪnˈkrisɪŋgli rɛr. θruaʊt ðə ˈmɪdəl ˈeɪʤɪz ə sit ɔn ðə taʊn ˈkaʊnsəl wɑz ˈnɔrməli ə ˈlaɪfˌtaɪm əˈpɔɪntmənt. ˌhaʊˈɛvər, pleɪgz, ˈbætəlˌfild dɛθs, ənd ˈkɑnflɪkts ˈoʊvər ðə ˌrɛfərˈmeɪʃən ˌgɛrənˈtid ə ˈrɛgjələr ˈtərˌnoʊvər ɪn ðə ˈsɪti ˈkaʊnsɪlz. ˈdʊrɪŋ ðə ˈərli ˈmɑdərn ˈɪrə, groʊɪŋ ˌsaɪənˈtɪfɪk ˈnɑlɪʤ ənd ˈrɛlətɪv pis rɪˈdust ðə ˈnəmbər əv ˈoʊpən sits ɪn ðə ˈsɪtiz. æt ðə seɪm taɪm, ˈkaʊnsəl ˈmɛmbərz wər ˌɪnˈkrisɪŋgli ˈeɪbəl tɪ fɪl ðə ˈkaʊnsəl wɪθ ˈrɛlətɪvz. ðə ˌpɑpjəˈleɪʃən ɪn ˈjʊrəp bɪˈgæn tɪ ɪkˈspænd əˈgɛn ˈfɑloʊɪŋ ðə ˈθərˌdi years’*’ wɔr. ðɪs lɛd tɪ ˌpɑpjəˈleɪʃən ˈprɛʃər ðət bɪn ɪkˈspɪriənst ɪn ˈsɛvərəl ˌʤɛnərˈeɪʃənz. fər prəˈtɛkʃən ənd hɛlp əˈgɛnst ðə ˈraɪzɪŋ ˈnəmbər əv ˈɪməgrənts ənd ˈlændlɛs ˈpɛzənts ˈmɛni ˈvɪlɪʤɪz bɪˈgæn tɪ drɔ ˈkloʊzər tɪ ˈneɪbərɪŋ taʊnz, ɪˈvɛnʧəwəli ˈkəmɪŋ ˈəndər ðə əˈθɔrəti əv ðə ˈlɑrʤər taʊnz. ˈdʊrɪŋ ðə ˈsɛnʧəri sits ɪn ðə ˈkaʊnsɪlz bɪˈkeɪm ˌɪnˈkrisɪŋgli hərˈɛdəˌtɛri. ðɛr wər bɪtˈwin 50 ənd 200 ˈfæməliz ðət kənˈtroʊld ɔl ðə ki pəˈlɪtɪkəl, ˈmɪlɪˌtɛri ənd ˌɪnˈdəstriəl pəˈzɪʃənz ɪn sˈwɪtsərlənd. ɪn bərn aʊt əv 360 ˈbərgər ˈfæməliz ˈoʊnli 69 stɪl hæd ˈɛni paʊər ənd kʊd bi ɪˈlɛktɪd baɪ ðə ɛnd əv ðə ˈsɛnʧəri. ˌhaʊˈɛvər, ðə ˌɛrəˈstɑkrəsi rɪˈmeɪnd ˈʤɛnərəli ˈoʊpən, ənd ɪn səm ˈsɪtiz nu ˈfæməliz wər ækˈsɛptɪd ɪf ðeɪ wər səkˈsɛsfəl ənd rɪʧ ɪˈnəf. ðə ˈprɑbləm əv ˈfɪgjərɪŋ aʊt haʊ tɪ breɪk aʊt əv ðɪs ˈsaɪkəl əv pəˈlɪtɪkəl ˈɛntrəpi simz tɪ rɪˈkər θruaʊt ˈhɪstəri. ˌɪnˈveɪʒənz ˈsərtənli ʧeɪnʤd boʊθ ðə ˈnɛðərləndz ənd sˈwɪtsərlənd ˌfəndəˈmɛnəli, ðoʊ ɪn ðə ˈfɔrmər keɪs nɑt fər ðə ˈbɛtər. ɪn ðə keɪs əv ˈɪŋglənd, rɪˈnuəl keɪm θru ə ˈblədləs ˌrɛvəˈluʃən bət baɪ ðə ˈsɛnʧəri, ðə lɔ əv pəˈlɪtɪkəl ˈɛntrəpi hæd sˈmɪtən ˈbrɪtən ɛz wɛl.
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file ap republican presidential candidate donald trump speaks during a primary night news conference, tuesday, may 3, 2016, in new york. his tweet and facebook post to mark cinco de mayo quickly went viral on thursday.
presumptive republican presidential nominee donald trump celebrated cinco de mayo with a huge taco bowl in new york city.
trump posted a photo of himself, posing with the dish in his office at trump tower, to twitter and facebook thursday afternoon.
"happy cinco de mayo!" the candidate wrote in the caption. "the best taco bowls are made in trump tower grill."
"i love hispanics!" he added.
the photo had garnered more than shares and was liked more than times in under an hour after being posted to facebook. thousands commented on the photo as well.
"i'm a trump supporter and i thought this was funny," said facebook commenter alex earney.
it also went viral on twitter, where some users lambasted the photo.
"c'mon man, even your mexican food has a wall," danny o'dwyer, referring to trump's promise to build a wall between mexico and the united states.
democratic presidential candidate hillary clinton was also quick to criticize trump on social media, posting a video of him telling "nbc nightly news" host lester holt this week that he still plans to deport all undocumented immigrants from the country if he's elected president.
top news photos: r. kelly leaves jail after paying bond
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faɪl ˌeɪˈpi rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈdɑnəld trəmp spiks ˈdʊrɪŋ ə ˈpraɪˌmɛri naɪt nuz ˈkɑnfərəns, ˈtuzˌdeɪ, meɪ 3 2016 ɪn nu jɔrk. hɪz twit ənd ˈfeɪsˌbʊk poʊst tɪ mɑrk ˈsɪŋkoʊ də meɪoʊ kˈwɪkli wɛnt ˈvaɪrəl ɔn ˈθərzˌdeɪ. priˈzəmptɪv rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˌnɑməˈni ˈdɑnəld trəmp ˈsɛləˌbreɪtɪd ˈsɪŋkoʊ də meɪoʊ wɪθ ə juʤ ˈtɑkoʊ boʊl ɪn nu jɔrk ˈsɪti. trəmp ˈpoʊstɪd ə ˈfoʊˌtoʊ əv hɪmˈsɛlf, ˈpoʊzɪŋ wɪθ ðə dɪʃ ɪn hɪz ˈɔfəs æt trəmp taʊər, tɪ tˈwɪtər ənd ˈfeɪsˌbʊk ˈθərzˌdeɪ ˌæftərˈnun. "ˈhæpi ˈsɪŋkoʊ də meɪoʊ!" ðə ˈkænədɪt roʊt ɪn ðə ˈkæpʃən. "ðə bɛst ˈtɑkoʊ boʊlz ər meɪd ɪn trəmp taʊər grɪl." "aɪ ləv hɪˈspænɪks!" hi ˈædɪd. ðə ˈfoʊˌtoʊ hæd ˈgɑrnərd mɔr ðən ʃɛrz ənd wɑz laɪkt mɔr ðən taɪmz ɪn ˈəndər ən aʊər ˈæftər biɪŋ ˈpoʊstɪd tɪ ˈfeɪsˌbʊk. ˈθaʊzənz ˈkɑmɛntəd ɔn ðə ˈfoʊˌtoʊ ɛz wɛl. "əm ə trəmp səˈpɔrtər ənd aɪ θɔt ðɪs wɑz ˈfəni," sɛd ˈfeɪsˌbʊk ˈkɑmɛntər ˈæləks ˈərni. ɪt ˈɔlsoʊ wɛnt ˈvaɪrəl ɔn tˈwɪtər, wɛr səm ˈjuzərz ˌlæmˈbæstɪd ðə ˈfoʊˌtoʊ. "kəˈmɑn mæn, ˈivɪn jʊr ˈmɛksəkən fud həz ə wɔl," ˈdæni oʊdˈwaɪr, rɪˈfərɪŋ tɪ trəmps ˈprɑməs tɪ bɪld ə wɔl bɪtˈwin ˈmɛksəˌkoʊ ənd ðə juˈnaɪtɪd steɪts. ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈhɪləri ˈklɪntən wɑz ˈɔlsoʊ kwɪk tɪ ˈkrɪtɪˌsaɪz trəmp ɔn ˈsoʊʃəl ˈmidiə, ˈpoʊstɪŋ ə ˈvɪdioʊ əv ɪm ˈtɛlɪŋ "ˈɛnˌbiˈsi ˈnaɪtli nuz" hoʊst ˈlɛstər hoʊlt ðɪs wik ðət hi stɪl plænz tɪ dɪˈpɔrt ɔl ənˈdɑkjəmɛnɪd ˈɪməgrənts frəm ðə ˈkəntri ɪf hiz ɪˈlɛktɪd ˈprɛzɪdənt. tɔp nuz ˈfoʊˌtoʊz: ɑr. ˈkɛli livz ʤeɪl ˈæftər peɪɪŋ bɑnd
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in addition to a version number, every android release is also associated with two other identifiers: a and the final commercial name both typically named after desserts or treats. for android l, the was lemon pie and the final name was, obviously, lollipop. for android m it was macadamia nut cookie for the and marshmallow for the final name. so what about android n?
while google necessarily “officially” announce its internals, these tend to have a way of creeping out to the public, usually thanks to appearances in the repository. and to no surprise, now starting to see references to nyc, or what is believed to be the “new york cheesecake”.
of course, google has never ever picked a to be the actual final name, and unless they want completely troll us (which impossible), odds are the final name will be something totally different. so what can we expect from the final name? we probably know until android n releases in final form, but sundar previously joked about the possibility of a poll to figure out what to call it… and sure enough, such a thing as made its way into the google opinion rewards app in the form of two questions that necessarily mention android n, but are obviously references to it.
the first question is “what tasty food comes to mind that starts with the letter “n””, the second one asks “what is your favorite tasty treat from the list below?” with choices being napoleon, nut brittle, nachos,, noodles, nougat, neapolitan ice cream. (seaweed), nachos, and noodles exactly what call tasty treats, at least not in the conventional sense, but likely more just google getting its troll on.
the bigger question is if they are really using this survey information to help in their decision, or if just google being google, messing with our emotions. the later be too surprising. anyhow, what do you think is the most likely candidate for the “n” final name? and what do you think about the new? share your thoughts down in the comments.
learn more about android n by checking out our “diving into android n” series!
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ɪn əˈdɪʃən tɪ ə ˈvərʒən ˈnəmbər, ˈɛvəri ˈænˌdrɔɪd riˈlis ɪz ˈɔlsoʊ əˈsoʊʃiˌeɪtəd wɪθ tu ˈəðər identifiers*: ə ənd ðə ˈfaɪnəl kəˈmərʃəl neɪm boʊθ ˈtɪpɪkəli neɪmd ˈæftər dɪˈzərts ər trits. fər ˈænˌdrɔɪd ɛl, ðə wɑz ˈlɛmən paɪ ənd ðə ˈfaɪnəl neɪm wɑz, ˈɑbviəsli, ˈlɑliˌpɑp. fər ˈænˌdrɔɪd ɛm ɪt wɑz ˌmækəˈdeɪmiə nət ˈkʊki fər ðə ənd ˈmɑrʃˌmɛloʊ fər ðə ˈfaɪnəl neɪm. soʊ wət əˈbaʊt ˈænˌdrɔɪd ɛn? waɪl ˈgugəl ˌnɛsəˈsɛrəli ““officially”*” əˈnaʊns ɪts ˌɪnˈtərnəl codenames*, ðiz tɛnd tɪ hæv ə weɪ əv ˈkripɪŋ aʊt tɪ ðə ˈpəblɪk, ˈjuʒəwəli θæŋks tɪ əˈpɪrənsəz ɪn ðə riˈpɑzəˌtɔri. ənd tɪ noʊ səˈpraɪz, naʊ ˈstɑrtɪŋ tɪ si ˈrɛfərənsɪz tɪ nyc*, ər wət ɪz bɪˈlivd tɪ bi ðə jɔrk cheesecake”*”. əv kɔrs, ˈgugəl həz ˈnɛvər ˈɛvər pɪkt ə tɪ bi ðə ˈækʧəwəl ˈfaɪnəl neɪm, ənd ənˈlɛs ðeɪ wɔnt kəmˈplitli troʊl ˈjuˈɛs (wɪʧ ˌɪmˈpɑsəbəl), ɑdz ər ðə ˈfaɪnəl neɪm wɪl bi ˈsəmθɪŋ ˈtoʊtəli ˈdɪfərənt. soʊ wət kən wi ɪkˈspɛkt frəm ðə ˈfaɪnəl neɪm? wi ˈprɑbəˌbli noʊ ənˈtɪl ˈænˌdrɔɪd ɛn rɪˈlisɪz ɪn ˈfaɪnəl fɔrm, bət ˈsundɑr ˈpriviəsli ʤoʊkt əˈbaʊt ðə ˌpɑsəˈbɪləˌti əv ə poʊl tɪ ˈfɪgjər aʊt wət tɪ kɔl it…*… ənd ʃʊr ɪˈnəf, səʧ ə θɪŋ ɛz meɪd ɪts weɪ ˈɪntu ðə ˈgugəl əˈpɪnjən rɪˈwɔrdz æp ɪn ðə fɔrm əv tu kˈwɛsʧənz ðət ˌnɛsəˈsɛrəli ˈmɛnʃən ˈænˌdrɔɪd ɛn, bət ər ˈɑbviəsli ˈrɛfərənsɪz tɪ ɪt. ðə fərst kˈwɛʃən ɪz ˈteɪsti fud kəmz tɪ maɪnd ðət stɑrts wɪθ ðə ˈlɛtər ““n””*””, ðə ˈsɛkənd wən æsks ɪz jʊr ˈfeɪvərɪt ˈteɪsti trit frəm ðə lɪst below?”*?” wɪθ ˈʧɔɪsɪz biɪŋ nəˈpoʊljən, nət ˈbrɪtəl, ˈnɑˌʧoʊz,, ˈnudəlz, nougat*, ˌniəˈpɑlətən aɪs krim. (ˈsiˌwid), ˈnɑˌʧoʊz, ənd ˈnudəlz ɪgˈzæktli wət kɔl ˈteɪsti trits, æt list nɑt ɪn ðə kənˈvɛnʃənəl sɛns, bət ˈlaɪkli mɔr ʤɪst ˈgugəl ˈgɪtɪŋ ɪts troʊl ɔn. ðə ˈbɪgər kˈwɛʃən ɪz ɪf ðeɪ ər ˈrɪli ˈjuzɪŋ ðɪs ˈsərˌveɪ ˌɪnˌfɔrˈmeɪʃən tɪ hɛlp ɪn ðɛr dɪˈsɪʒən, ər ɪf ʤɪst ˈgugəl biɪŋ ˈgugəl, ˈmɛsɪŋ wɪθ ɑr ˈɪˌmoʊʃənz. ðə ˈleɪtər bi tu səˈpraɪzɪŋ. ˈɛniˌhaʊ, wət du ju θɪŋk ɪz ðə moʊst ˈlaɪkli ˈkænədɪt fər ðə ““n”*” ˈfaɪnəl neɪm? ənd wət du ju θɪŋk əˈbaʊt ðə nu? ʃɛr jʊr θɔts daʊn ɪn ðə ˈkɑmɛnts. lərn mɔr əˈbaʊt ˈænˌdrɔɪd ɛn baɪ ˈʧɛkɪŋ aʊt ɑr ˈɪntu ˈænˌdrɔɪd n”*” ˈsɪriz!
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david barton, who is a celebrity in christian right circles but mostly unknown outside them, is worried about cartoon animals. you or i may think cartoon animals of the sort you see in disney pictures are a harmless bit of entertainment, but barton believes they are something far more sinister: a gateway drug to babylonian pagan worship.
during a rant on is live" radio show on monday about how "we've gotten away from a biblical culture" and that's led to the supposed evil of the animal rights movement, barton turned on disney cartoon animals.
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"now i'm a huge disney fan," barton argued. "but when bambi comes out and suddenly, bambi is a human. daddy gets shot and man, it's like having your own daddy shot."
(it's telling that barton remembers it as father, when everyone knows that it's actually mother that dies. the casual disregard for the lives of women in the christian right runs right down to the cartoon animal level.)
barton's agreed, arguing that "bambi" is the first example of an animal. "before that, you had old yeller. before that, you had black beauty," he said. "bambi was not the first time an animal was not just an animal."
even in the zone that is any religious right program, this one is a hell of a whopper. "bambi" was released in 1942 and "old yeller" was published in 1956. and prior to bambi you had, off the top of my head: the peter rabbit books (1902), "winnie-the-pooh" (1926), the grimm brothers fairy tales (first published in 1812), and "a wind in the willows" (1908).
but never mind the facts, there is some bizarre paranoia that needs whipping up.
"if you look back at the time of the bible, a lot of the idols back then were actually animals," barton ominously warned. "dagon was the fish god."
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"the bible tells us that you are to be kind to your animals," he added, in case you weren't piecing together his insinuations on their own, "but you don't worship your animals, you don't make a dagon god out of them and that's what we've now done."
dagon is a fertility god in the shape of a fish and clearly a grave threat to barton's emotional stability, despite the fact that he hasn't been worshipped in a couple thousand years.
please don't anyone tell barton about furries. he might never recover.
listening to these fools who are so insecure that they feel jealous when kids cry over mom dying is amusing, but it should also be troubling. that's because barton isn't some random dude, sitting in a corner, worried that mickey mouse is turning kids towards the ancient babylonian faith. he's a hugely influential (and i hate to use this word) thinker on the religious right, a man whose invariably false ideas about american history have had an enormous impact on the goals and ideals of the religious right today.
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as the southern poverty law center lays out in their dossier on barton, he's built his career as a "historian" who is actually a propagandist who has spent his life trying to construct the notion that the founding fathers intended the united states not to be the secular democracy described in the constitution, but a christian nation built on his interpretation of the bible. to bolster this claim, he has published a series of books making bizarre arguments based on extremely shady and often outright fabricated evidence.
in 2012, "all things considered" aired a devastating expose of barton his bizarre idea that the founders based our constitution and system of governance on biblical ideas. he argued that the constitution, which doesn't even mention god, is constructed out of biblical quotations.
"you look at article 3, section 1, the treason clause," he had recently declared on trinity broadcast network. "direct quote out of the bible. you look at article 2, the quote on the president has to be a native born? that is, verbatim. i mean, it drives the secularists nuts because the bible's all over it!"
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"we looked up every citation barton said was from the bible, but not one of them checked out," the npr reporter said, before going on to lay out how barton repeatedly and aggressively lies flat out in his claims that men like thomas jefferson intended our government to be religious to the point of christian theocracy.
barton had his book on jefferson pulled from shelves by the publisher in 2012, due to dishonesty, but conservative forces are clearly still being influenced by his decades of work put into pushing the fantasy that the u.s. has a secret history as a christian nation that liberals and secularist have covered up.
the echoes of that belief are all over, for instance, the recent controversy in tennessee over the bible. the legislature in the state narrowly passed a bill making the bible the official state book, and it's up in the air whether the governor will have the to veto something so obviously in violation of the first amendment.
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in justifying this bill, one state senator argued that "the very founding of our nation, the very form of government we have to today" is based on the bible.
anyone who has followed the history of the religious right knows exactly where that idea comes from: david barton and his organization, the single most aggressive force for decades now in popularizing the idea that the founders were somehow trying to create a christian nation built on biblical principles.
while it might seem like a small thing to make the bible the official state book, this sort of thing is clearly being rolled out as a test of the legal boundaries, which is not only expensive, but if successful, will surely lead the way to other, more aggressive efforts to dismantle the wall between church and state. this is about constructing the entirely false narrative that the bible is an important document in that will therefore have to be taught in schools with misleading narratives about it being a foundational document.
while they're teaching kids that the bible is a foundational document of american history, they might as well teach barton's beliefs that love of cuddly cartoon animals leads to worshipping forgotten babylonian gods. the two beliefs, after all, have about the same amount of truth to them.
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ˈdeɪvɪd ˈbɑrtən, hu ɪz ə səˈlɛbrɪti ɪn ˈkrɪsʧɪn raɪt ˈsərkəlz bət ˈmoʊstli ənˈnoʊn ˈaʊtˈsaɪd ðɛm, ɪz ˈwərid əˈbaʊt kɑrˈtun ˈænəməlz. ju ər aɪ meɪ θɪŋk kɑrˈtun ˈænəməlz əv ðə sɔrt ju si ɪn ˈdɪzni ˈpɪkʧərz ər ə ˈhɑrmləs bɪt əv ˌɛnərˈteɪnmənt, bət ˈbɑrtən bɪˈlivz ðeɪ ər ˈsəmθɪŋ fɑr mɔr ˈsɪnɪstər: ə ˈgeɪtˌweɪ drəg tɪ ˌbæbəˈloʊniən ˈpeɪgən ˈwərʃɪp. ˈdʊrɪŋ ə rænt ɔn ɪz lɪv" ˈreɪdiˌoʊ ʃoʊ ɔn ˈmənˌdeɪ əˈbaʊt haʊ "wiv ˈgɔtən əˈweɪ frəm ə ˈbɪblɪkəl ˈkəlʧər" ənd ðæts lɛd tɪ ðə səˈpoʊzd ˈivəl əv ðə ˈænəməl raɪts ˈmuvmənt, ˈbɑrtən tərnd ɔn ˈdɪzni kɑrˈtun ˈænəməlz. ˌædvərˈtaɪzmənt: "naʊ əm ə juʤ ˈdɪzni fæn," ˈbɑrtən ˈɑrgjud. "bət wɪn ˈbæmbi kəmz aʊt ənd ˈsədənli, ˈbæmbi ɪz ə ˈjumən. ˈdædi gɪts ʃɑt ənd mæn, ɪts laɪk ˈhævɪŋ jʊr oʊn ˈdædi ʃɑt." (ɪts ˈtɛlɪŋ ðət ˈbɑrtən rɪˈmɛmbərz ɪt ɛz ˈfɑðər, wɪn ˈɛvriˌwən noʊz ðət ɪts ˈæˌkʧuəli ˈməðər ðət daɪz. ðə ˈkæʒəwəl ˌdɪsrɪˈgɑrd fər ðə lɪvz əv ˈwɪmən ɪn ðə ˈkrɪsʧɪn raɪt rənz raɪt daʊn tɪ ðə kɑrˈtun ˈænəməl ˈlɛvəl.) ˈbɑrtənz əˈgrid, ˈɑrgjuɪŋ ðət "ˈbæmbi" ɪz ðə fərst ɪgˈzæmpəl əv ən ˈænəməl. "ˌbiˈfɔr ðət, ju hæd oʊld yeller*. ˌbiˈfɔr ðət, ju hæd blæk ˈbjuti," hi sɛd. "ˈbæmbi wɑz nɑt ðə fərst taɪm ən ˈænəməl wɑz nɑt ʤɪst ən ˈænəməl." ˈivɪn ɪn ðə zoʊn ðət ɪz ˈɛni rɪˈlɪʤəs raɪt ˈproʊˌgræm, ðɪs wən ɪz ə hɛl əv ə ˈwɑpər. "ˈbæmbi" wɑz riˈlist ɪn 1942 ənd "oʊld yeller*" wɑz ˈpəblɪʃt ɪn 1956 ənd praɪər tɪ ˈbæmbi ju hæd, ɔf ðə tɔp əv maɪ hɛd: ðə ˈpitər ˈræbɪt bʊks 1902 "winnie-the-pooh*" 1926 ðə grɪm ˈbrəðərz ˈfɛri teɪlz (fərst ˈpəblɪʃt ɪn 1812 ənd "ə wɪnd ɪn ðə ˈwɪˌloʊz" 1908 bət ˈnɛvər maɪnd ðə fækts, ðɛr ɪz səm bɪˈzɑr ˌpɛrəˈnɔɪə ðət nidz ˈwɪpɪŋ əp. "ɪf ju lʊk bæk æt ðə taɪm əv ðə ˈbaɪbəl, ə lɔt əv ðə ˈaɪdəlz bæk ðɛn wər ˈæˌkʧuəli ˈænəməlz," ˈbɑrtən ˈɑmənəsli wɔrnd. "ˈdeɪgən wɑz ðə fɪʃ gɑd." ˌædvərˈtaɪzmənt: "ðə ˈbaɪbəl tɛlz ˈjuˈɛs ðət ju ər tɪ bi kaɪnd tɪ jʊr ˈænəməlz," hi ˈædɪd, ɪn keɪs ju wərənt ˈpisɪŋ təˈgɛðər hɪz ˌɪnˌsɪnjuˈeɪʃənz ɔn ðɛr oʊn, "bət ju doʊnt ˈwərʃɪp jʊr ˈænəməlz, ju doʊnt meɪk ə ˈdeɪgən gɑd aʊt əv ðɛm ənd ðæts wət wiv naʊ dən." ˈdeɪgən ɪz ə fərˈtɪlɪti gɑd ɪn ðə ʃeɪp əv ə fɪʃ ənd ˈklɪrli ə greɪv θrɛt tɪ ˈbɑrtənz ˈiˌmoʊʃənəl stəˈbɪlɪti, dɪˈspaɪt ðə fækt ðət hi ˈhæzənt bɪn ˈwərʃəpt ɪn ə ˈkəpəl ˈθaʊzənd jɪrz. pliz doʊnt ˈɛniˌwən tɛl ˈbɑrtən əˈbaʊt furries*. hi maɪt ˈnɛvər rɪˈkəvər. ˈlɪsənɪŋ tɪ ðiz fulz hu ər soʊ ˈɪnsəkjər ðət ðeɪ fil ˈʤɛləs wɪn kɪdz kraɪ ˈoʊvər mɑm daɪɪŋ ɪz əmˈjuzɪŋ, bət ɪt ʃʊd ˈɔlsoʊ bi ˈtrəbəlɪŋ. ðæts bɪˈkəz ˈbɑrtən ˈɪzənt səm ˈrændəm dud, ˈsɪtɪŋ ɪn ə ˈkɔrnər, ˈwərid ðət ˈmɪki maʊs ɪz ˈtərnɪŋ kɪdz təˈwɔrdz ðə ˈeɪnʧənt ˌbæbəˈloʊniən feɪθ. hiz ə ˈhjuʤli ˌɪnfluˈɛnʃəl (ənd aɪ heɪt tɪ juz ðɪs wərd) ˈθɪŋkər ɔn ðə rɪˈlɪʤəs raɪt, ə mæn huz ˌɪnˈvɛriəbli fɔls aɪˈdiəz əˈbaʊt əˈmɛrɪkən ˈhɪstəri hæv hæd ən ɪˈnɔrmɪs ˌɪmˈpækt ɔn ðə goʊlz ənd aɪˈdilz əv ðə rɪˈlɪʤəs raɪt təˈdeɪ. ˌædvərˈtaɪzmənt: ɛz ðə ˈsəðərn ˈpɑvərti lɔ ˈsɛnər leɪz aʊt ɪn ðɛr ˌdɔsˈjeɪ ɔn ˈbɑrtən, hiz bɪlt hɪz kərɪr ɛz ə "hɪˈstɔriən" hu ɪz ˈæˌkʧuəli ə ˌprɑpəˈgændəst hu həz spɛnt hɪz laɪf traɪɪŋ tɪ ˈkɑnstrəkt ðə ˈnoʊʃən ðət ðə ˈfaʊndɪŋ ˈfɑðərz ˌɪnˈtɛndɪd ðə juˈnaɪtɪd steɪts nɑt tɪ bi ðə ˈsɛkjələr dɪˈmɑkrəsi dɪˈskraɪbd ɪn ðə ˌkɑnstəˈtuʃən, bət ə ˈkrɪsʧɪn ˈneɪʃən bɪlt ɔn hɪz ˌɪnˌtərprɪˈteɪʃən əv ðə ˈbaɪbəl. tɪ ˈboʊlstər ðɪs kleɪm, hi həz ˈpəblɪʃt ə ˈsɪriz əv bʊks ˈmeɪkɪŋ bɪˈzɑr ˈɑrgjəmənts beɪst ɔn ɪkˈstrimli ˈʃeɪdi ənd ˈɔfən ˈaʊˈtraɪt ˈfæbrɪˌkeɪtɪd ˈɛvədəns. ɪn 2012 "ɔl θɪŋz kənˈsɪdərd" ɛrd ə ˈdɛvəˌsteɪtɪŋ ɪkˈspoʊz əv ˈbɑrtən hɪz bɪˈzɑr aɪˈdiə ðət ðə ˈfaʊndərz beɪst ɑr ˌkɑnstəˈtuʃən ənd ˈsɪstəm əv ˈgəvərnəns ɔn ˈbɪblɪkəl aɪˈdiəz. hi ˈɑrgjud ðət ðə ˌkɑnstəˈtuʃən, wɪʧ ˈdəzənt ˈivɪn ˈmɛnʃən gɑd, ɪz kənˈstrəktɪd aʊt əv ˈbɪblɪkəl kwoʊˈteɪʃənz. "ju lʊk æt ˈɑrtɪkəl 3 ˈsɛkʃən 1 ðə ˈtrizən klɔz," hi hæd ˈrisəntli dɪˈklɛrd ɔn ˈtrɪnɪti ˈbrɔdˌkæst ˈnɛtˌwərk. "dɪˈrɛkt kwoʊt aʊt əv ðə ˈbaɪbəl. ju lʊk æt ˈɑrtɪkəl 2 ðə kwoʊt ɔn ðə ˈprɛzɪdənt həz tɪ bi ə ˈneɪtɪv bɔrn? ðət ɪz vərˈbeɪtəm. aɪ min, ɪt draɪvz ðə ˈsɛkjələrɪsts nəts bɪˈkəz ðə ˈbaɪbəlz ɔl ˈoʊvər ɪt!" ˌædvərˈtaɪzmənt: "wi lʊkt əp ˈɛvəri saɪˈteɪʃən ˈbɑrtən sɛd wɑz frəm ðə ˈbaɪbəl, bət nɑt wən əv ðɛm ʧɛkt aʊt," ðə ˈɛnˈpiˈɑr rɪˈpɔrtər sɛd, ˌbiˈfɔr goʊɪŋ ɔn tɪ leɪ aʊt haʊ ˈbɑrtən rɪˈpitɪdli ənd əˈgrɛsɪvli laɪz flæt aʊt ɪn hɪz kleɪmz ðət mɛn laɪk ˈtɑməs ˈʤɛfərsən ˌɪnˈtɛndɪd ɑr ˈgəvərnmənt tɪ bi rɪˈlɪʤəs tɪ ðə pɔɪnt əv ˈkrɪsʧɪn θiˈɑkrəsi. ˈbɑrtən hæd hɪz bʊk ɔn ˈʤɛfərsən pʊld frəm ʃɛlvz baɪ ðə ˈpəblɪʃər ɪn 2012 du tɪ dɪˈsɑnəsti, bət kənˈsərvətɪv ˈfɔrsɪz ər ˈklɪrli stɪl biɪŋ ˈɪnfluənst baɪ hɪz ˈdɛkeɪdz əv wərk pʊt ˈɪntu ˈpʊʃɪŋ ðə ˈfænəsi ðət ðə juz. həz ə ˈsikrɪt ˈhɪstəri ɛz ə ˈkrɪsʧɪn ˈneɪʃən ðət ˈlɪˌbərəlz ənd ˈsɛkjələrɪst hæv ˈkəvərd əp. ðə ˈɛkoʊz əv ðət bɪˈlif ər ɔl ˈoʊvər, fər ˈɪnstəns, ðə ˈrisənt ˈkɑntrəˌvərsi ɪn ˌtɛnəˈsi ˈoʊvər ðə ˈbaɪbəl. ðə ˈlɛʤəsˌleɪʧər ɪn ðə steɪt ˈnɛroʊli pæst ə bɪl ˈmeɪkɪŋ ðə ˈbaɪbəl ðə əˈfɪʃəl steɪt bʊk, ənd ɪts əp ɪn ðə ɛr ˈwɛðər ðə ˈgəvərnər wɪl hæv ðə tɪ ˈviˌtoʊ ˈsəmθɪŋ soʊ ˈɑbviəsli ɪn vaɪəˈleɪʃən əv ðə fərst əˈmɛndmənt. ˌædvərˈtaɪzmənt: ɪn ˈʤəstəˌfaɪɪŋ ðɪs bɪl, wən steɪt ˈsɛnətər ˈɑrgjud ðət "ðə ˈvɛri ˈfaʊndɪŋ əv ɑr ˈneɪʃən, ðə ˈvɛri fɔrm əv ˈgəvərnmənt wi hæv tɪ təˈdeɪ" ɪz beɪst ɔn ðə ˈbaɪbəl. ˈɛniˌwən hu həz ˈfɑloʊd ðə ˈhɪstəri əv ðə rɪˈlɪʤəs raɪt noʊz ɪgˈzæktli wɛr ðət aɪˈdiə kəmz frəm: ˈdeɪvɪd ˈbɑrtən ənd hɪz ˌɔrgənəˈzeɪʃən, ðə ˈsɪŋgəl moʊst əˈgrɛsɪv fɔrs fər ˈdɛkeɪdz naʊ ɪn ˈpɑpjələrˌaɪzɪŋ ðə aɪˈdiə ðət ðə ˈfaʊndərz wər ˈsəmˌhaʊ traɪɪŋ tɪ kriˈeɪt ə ˈkrɪsʧɪn ˈneɪʃən bɪlt ɔn ˈbɪblɪkəl ˈprɪnsəpəlz. waɪl ɪt maɪt sim laɪk ə smɔl θɪŋ tɪ meɪk ðə ˈbaɪbəl ðə əˈfɪʃəl steɪt bʊk, ðɪs sɔrt əv θɪŋ ɪz ˈklɪrli biɪŋ roʊld aʊt ɛz ə tɛst əv ðə ˈligəl ˈbaʊndəriz, wɪʧ ɪz nɑt ˈoʊnli ɪkˈspɛnsɪv, bət ɪf səkˈsɛsfəl, wɪl ˈʃʊrli lɛd ðə weɪ tɪ ˈəðər, mɔr əˈgrɛsɪv ˈɛfərts tɪ dɪsˈmænəl ðə wɔl bɪtˈwin ʧərʧ ənd steɪt. ðɪs ɪz əˈbaʊt kənˈstrəktɪŋ ðə ɪnˈtaɪərli fɔls ˈnɛrətɪv ðət ðə ˈbaɪbəl ɪz ən ˌɪmˈpɔrtənt ˈdɑkjəmɛnt ɪn ðət wɪl ˈðɛrˌfɔr hæv tɪ bi tɔt ɪn skulz wɪθ mɪsˈlidɪŋ ˈnɛrətɪvz əˈbaʊt ɪt biɪŋ ə faʊnˈdeɪʃənəl ˈdɑkjəmɛnt. waɪl ðɛr ˈtiʧɪŋ kɪdz ðət ðə ˈbaɪbəl ɪz ə faʊnˈdeɪʃənəl ˈdɑkjəmɛnt əv əˈmɛrɪkən ˈhɪstəri, ðeɪ maɪt ɛz wɛl tiʧ ˈbɑrtənz bɪˈlifs ðət ləv əv ˈkədli kɑrˈtun ˈænəməlz lidz tɪ ˈwərʃəpɪŋ fərˈgɑtən ˌbæbəˈloʊniən gɑdz. ðə tu bɪˈlifs, ˈæftər ɔl, hæv əˈbaʊt ðə seɪm əˈmaʊnt əv truθ tɪ ðɛm.
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(editor’s note: training camp is an important time of year for the free agents, as unknown players will fight to earn roster spots all over the league. the cowboys have an especially rich history with free agents, given the success of players like tony romo, cole beasley, lance dunbar, jeff heath and dan bailey. this series will seek to preview this batch of rookies, as well as the challenge that awaits them at training camp. we'll continue the series with offensive tackle ryan mack.)
name: ryan mack
position: ot
height/weight: / 304
college: memphis
college career: was a key member of memphis’ offensive line in 2015, helping the tigers to a season. mack protected quarterback paxton lynch, one of college top passers last season. he transferred to memphis from louisville, where he was a regular starter for two years at right tackle.
*spring synopsis: *mack has played both sides of the line so far in the offseason, which is a trait that could help him stick around. being versatile is a key for any young player, especially on the line. mack has good size for the position and will likely only add strength leading up to camp. the fact the cowboys are willing to move him around is an indication there could be some potential to work with. finding good, young offensive linemen always easy and so the cowboys might be a little more patient with a guy like mack.]
how he makes it: mack can make this roster if he shows the coaching staff he can be physical, flexible and dependable. he obviously get hurt and needs to take advantage of situations involving other tackles around him that might get banged up and miss practice time. the cowboys are high on pick chaz green, but had some injury issues in the past. mack has to take all of the reps and play well in the second half of preseason games when his opportunity comes.
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(editor’s* noʊt: ˈtreɪnɪŋ kæmp ɪz ən ˌɪmˈpɔrtənt taɪm əv jɪr fər ðə fri ˈeɪʤənts, ɛz ənˈnoʊn pleɪərz wɪl faɪt tɪ ərn ˈrɑstər spɑts ɔl ˈoʊvər ðə lig. ðə ˈkaʊˌbɔɪz hæv ən əˈspɛʃəli rɪʧ ˈhɪstəri wɪθ fri ˈeɪʤənts, ˈgɪvɪn ðə səkˈsɛs əv pleɪərz laɪk ˈtoʊni ˈroʊmoʊ, koʊl ˈbizli, læns ˈdənbɑr, ʤɛf hiθ ənd dæn ˈbeɪli. ðɪs ˈsɪriz wɪl sik tɪ ˈprivˌju ðɪs bæʧ əv ˈrʊkiz, ɛz wɛl ɛz ðə ˈʧælənʤ ðət əˈweɪts ðɛm æt ˈtreɪnɪŋ kæmp. wɪl kənˈtɪnju ðə ˈsɪriz wɪθ əˈfɛnsɪv ˈtækəl raɪən mæk.) neɪm: raɪən mæk pəˈzɪʃən: ˈoʊˈti height/weight*: 304 ˈkɑlɪʤ: ˈmɛmpfɪs ˈkɑlɪʤ kərɪr: wɑz ə ki ˈmɛmbər əv memphis’*’ əˈfɛnsɪv laɪn ɪn 2015 ˈhɛlpɪŋ ðə ˈtaɪgərz tɪ ə ˈsizən. mæk prəˈtɛktɪd kˈwɔrtərˌbæk ˈpækstən lɪnʧ, wən əv ˈkɑlɪʤ tɔp ˈpæsərz læst ˈsizən. hi ˈtrænsfərd tɪ ˈmɛmpfɪs frəm ˈluiˌvɪl, wɛr hi wɑz ə ˈrɛgjələr ˈstɑrtər fər tu jɪrz æt raɪt ˈtækəl. *spərɪŋ sɪˈnɑpsɪs: *mæk həz pleɪd boʊθ saɪdz əv ðə laɪn soʊ fɑr ɪn ðə offseason*, wɪʧ ɪz ə treɪt ðət kʊd hɛlp ɪm stɪk əraʊnd. biɪŋ ˈvərsətəl ɪz ə ki fər ˈɛni jəŋ pleɪər, əˈspɛʃəli ɔn ðə laɪn. mæk həz gʊd saɪz fər ðə pəˈzɪʃən ənd wɪl ˈlaɪkli ˈoʊnli æd strɛŋθ ˈlidɪŋ əp tɪ kæmp. ðə fækt ðə ˈkaʊˌbɔɪz ər ˈwɪlɪŋ tɪ muv ɪm əraʊnd ɪz ən ˌɪndəˈkeɪʃən ðɛr kʊd bi səm pəˈtɛnʃəl tɪ wərk wɪθ. ˈfaɪndɪŋ gʊd, jəŋ əˈfɛnsɪv ˈlaɪnmən ˈɔlˌweɪz ˈizi ənd soʊ ðə ˈkaʊˌbɔɪz maɪt bi ə ˈlɪtəl mɔr ˈpeɪʃənt wɪθ ə gaɪ laɪk mæk. haʊ hi meɪks ɪt: mæk kən meɪk ðɪs ˈrɑstər ɪf hi ʃoʊz ðə ˈkoʊʧɪŋ stæf hi kən bi ˈfɪzɪkəl, ˈflɛksəbəl ənd dɪˈpɛndəbəl. hi ˈɑbviəsli gɪt hərt ənd nidz tɪ teɪk ædˈvæntɪʤ əv ˌsɪʧuˈeɪʃənz ˌɪnˈvɑlvɪŋ ˈəðər ˈtækəlz əraʊnd ɪm ðət maɪt gɪt bæŋd əp ənd mɪs ˈpræktɪs taɪm. ðə ˈkaʊˌbɔɪz ər haɪ ɔn pɪk ʧæz grin, bət hæd səm ˈɪnʤəri ˈɪʃuz ɪn ðə pæst. mæk həz tɪ teɪk ɔl əv ðə rɛps ənd pleɪ wɛl ɪn ðə ˈsɛkənd hæf əv ˌpriˈsizən geɪmz wɪn hɪz ˌɑpərˈtunəti kəmz.
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home, sweet rome: painter and decorator recreates sistine chapel in every room of his council house
from the outside it looks like a normal, drab sixties house like any other on the terraced street.
but inside, tenant robert burns has transformed his rented council home in brighton into a stunning lookalike of the sistine chapel.
drawing on his skills as a retired decorator he has spent the past eight years turning his property on the outskirts of the east sussex town into an astonishing masterpiece.
every inch of the walls and ceilings is covered with elaborate frescoes inspired by century works by famous italian painters, complete with nativity scenes and portraits of the virgin mary.
inside his council flat, robert burns has created something that represents the sistine chapel the said his labour of love was prompted by the boredom of painting other people's houses in neutral, pastel colours. he said: 'i spent fifteen years of my working life applying exactly the same shade of magnolia to people's living rooms with a paint roller. you could teach a primate to be a decorator. i needed a creative outlet. 'one day i saw some photos of the vatican in rome and thought, "i could do that". i never looked back.'
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next electrifying: the terrifying moment a jet was struck by... rescued by the mail, how the orangutan found a friend share this article share unable to afford a trip to italy to look at the original masterpieces, mr burns had to recreate the paintings from art books bought in jumble sales. he even used standard emulsion paint, spending hours producing painstaking scale replicas. his most recent work - a copy of the sistine madonna - sits in his study and he thinks it's his best to date. unsuspecting: the terraced house looks like any other on the street the artist is not afraid of adding his own modern touches and in the hallway visitors are greeted by a portrait of jesus with an uncanny resemblance to russell brand and a crown of thorns on his head. mr burns said: 'that's no accident. i saw his photo in a newspaper and he was the spitting image of christ, so i lifted it. 'it's maybe a bit irreverent, but used real people as models for his angels, so i don't see any harm in it. in fact i wonder whether russell might want to buy the picture, like a real renaissance patron? 'i have huge respect for the old italian masters, but i don't mind making a few changes here and there. it has taken eight years for mr burns to complete the work throughout his house 'i copied a fresco by in my stairwell which has an eagle in it. but i think his eagle looks more like a turkey than a bird of prey, so i did my own one.' four years ago, when his house - then - first appeared in the papers, the caught the eye of a millionaire property tycoon who commissioned him to refurbish the painted ceiling of his crumbling ballroom. he said: 'that was a great job. it felt like i was was walking in the footsteps of great artists like rafael, who all earned their crust by working as glorified decorators. 'most people nowadays prefer to live in bland, homes though. we've lost the art of proper interior decorating. his work is painted onto plaster so when he and his wife move out they can't take it with them because he has never been able to afford to go to the sistine chapel mr burns used pictures of the interior of the chapel to help him with his paintings
'maybe they should give me my own daytime tv show where i could teach people how to do renaissance makeovers.
'this may be a council house, but i live in style, like the pope, or old italian nobility. if it's good enough for the medicis, it's good enough for me.'
his wife linda, 55, said she is her husband's sternest critic. she said: 'i always let him know what i think. he will ask me if a madonna would look good on a particular wall, or whether the eyebrows are painted on straight.
'i love what he's done with the house. robert is so talented. he was wasted as a decorator. the only problem is we have begun to realise his life's work is all painted on plaster.
'so if we ever had to move, we couldn't take it with us. and we can't afford to buy the house, so it all belongs to the council.
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hoʊm, swit roʊm: ˈpeɪnər ənd ˈdɛkərˌeɪtər ˈrɛkriˌeɪts ˈsɪstin ˈʧæpəl ɪn ˈɛvəri rum əv hɪz ˈkaʊnsəl haʊs frəm ðə ˈaʊtˈsaɪd ɪt lʊks laɪk ə ˈnɔrməl, dræb ˈsɪkstiz haʊs laɪk ˈɛni ˈəðər ɔn ðə ˈtɛrəst strit. bət ˌɪnˈsaɪd, ˈtɛnənt ˈrɑbərt bərnz həz trænsˈfɔrmd hɪz ˈrɛntɪd ˈkaʊnsəl hoʊm ɪn ˈbraɪtən ˈɪntu ə ˈstənɪŋ ˈlʊkəˌlaɪk əv ðə ˈsɪstin ˈʧæpəl. drɔɪŋ ɔn hɪz skɪlz ɛz ə rɪˈtaɪrd ˈdɛkərˌeɪtər hi həz spɛnt ðə pæst eɪt jɪrz ˈtərnɪŋ hɪz ˈprɑpərti ɔn ðə ˈaʊtˌskərts əv ðə ist ˈsəsɪks taʊn ˈɪntu ən əˈstɑnɪʃɪŋ ˈmæstərˌpis. ˈɛvəri ɪnʧ əv ðə wɔlz ənd ˈsilɪŋz ɪz ˈkəvərd wɪθ ɪˈlæbərˌeɪt ˈfrɛskoʊz ˌɪnˈspaɪərd baɪ ˈsɛnʧəri wərks baɪ ˈfeɪməs ˌɪˈtæljən ˈpeɪnərz, kəmˈplit wɪθ nəˈtɪvəti sinz ənd ˈpɔrtrəts əv ðə ˈvərʤɪn ˈmɛri. ˌɪnˈsaɪd hɪz ˈkaʊnsəl flæt, ˈrɑbərt bərnz həz kriˈeɪtɪd ˈsəmθɪŋ ðət ˌrɛprɪˈzɛnts ðə ˈsɪstin ˈʧæpəl ðə sɛd hɪz ˈleɪbər əv ləv wɑz ˈprɑmptɪd baɪ ðə ˈbɔrdəm əv ˈpeɪnɪŋ ˈəðər ˈpipəlz ˈhaʊsɪz ɪn ˈnutrəl, pæˈstɛl colours*. hi sɛd: 'aɪ spɛnt ˈfɪfˈtin jɪrz əv maɪ ˈwərkɪŋ laɪf əˈplaɪɪŋ ɪgˈzæktli ðə seɪm ʃeɪd əv mægˈnoʊljə tɪ ˈpipəlz ˈlɪvɪŋ rumz wɪθ ə peɪnt ˈroʊlər. ju kʊd tiʧ ə ˈpraɪˌmeɪt tɪ bi ə ˈdɛkərˌeɪtər. aɪ ˈnidɪd ə kriˈeɪtɪv ˈaʊˌtlɛt. 'wən deɪ aɪ sɔ səm ˈfoʊˌtoʊz əv ðə ˈvætɪkən ɪn roʊm ənd θɔt, "aɪ kʊd du ðət". aɪ ˈnɛvər lʊkt bæk.' rɪˈleɪtɪd ˈɑrtɪkəlz ˈpriviəs 1 nɛkst ɪˈlɛktrəˌfaɪɪŋ: ðə ˈtɛrəˌfaɪɪŋ ˈmoʊmənt ə ʤɛt wɑz strək baɪ... ˈrɛskjud baɪ ðə meɪl, haʊ ðə ɔˈræŋətɑn faʊnd ə frɛnd ʃɛr ðɪs ˈɑrtɪkəl ʃɛr əˈneɪbəl tɪ əˈfɔrd ə trɪp tɪ ˈɪtəli tɪ lʊk æt ðə ərˈɪʤənəl ˈmæstərˌpisɪz, ˈmɪstər bərnz hæd tɪ ˈrɛkriˌeɪt ðə ˈpeɪnɪŋz frəm ɑrt bʊks bɔt ɪn ˈʤəmbəl seɪlz. hi ˈivɪn juzd ˈstændərd ɪˈməlʃən peɪnt, ˈspɛndɪŋ aʊərz prəˈdusɪŋ ˈpeɪnˌsteɪkɪŋ skeɪl ˈrɛplɪkəz. hɪz moʊst ˈrisənt wərk ə ˈkɑpi əv ðə ˈsɪstin məˈdɑnə sɪts ɪn hɪz ˈstədi ənd hi θɪŋks ɪts hɪz bɛst tɪ deɪt. ˌənsəˈspɛktɪŋ: ðə ˈtɛrəst haʊs lʊks laɪk ˈɛni ˈəðər ɔn ðə strit ðə ˈɑrtɪst ɪz nɑt əˈfreɪd əv ˈædɪŋ hɪz oʊn ˈmɑdərn ˈtəʧɪz ənd ɪn ðə ˈhɔlˌweɪ ˈvɪzɪtərz ər ˈgritɪd baɪ ə ˈpɔrtrət əv ˈʤizəs wɪθ ən ənˈkæni rɪˈzɛmbləns tɪ ˈrəsəl brænd ənd ə kraʊn əv θɔrnz ɔn hɪz hɛd. ˈmɪstər bərnz sɛd: 'ðæts noʊ ˈæksədənt. aɪ sɔ hɪz ˈfoʊˌtoʊ ɪn ə ˈnuzˌpeɪpər ənd hi wɑz ðə ˈspɪtɪŋ ˈɪmɪʤ əv kraɪst, soʊ aɪ ˈlɪftɪd ɪt. 'ɪts ˈmeɪbi ə bɪt ˌɪˈrɛvərənt, bət juzd ril ˈpipəl ɛz ˈmɑdəlz fər hɪz ˈeɪnʤəlz, soʊ aɪ doʊnt si ˈɛni hɑrm ɪn ɪt. ɪn fækt aɪ ˈwəndər ˈwɛðər ˈrəsəl maɪt wɔnt tɪ baɪ ðə ˈpɪkʧər, laɪk ə ril ˌrɛnəˈsɑns ˈpeɪtrən? 'aɪ hæv juʤ rɪˈspɛkt fər ðə oʊld ˌɪˈtæljən ˈmæstərz, bət aɪ doʊnt maɪnd ˈmeɪkɪŋ ə fju ˈʧeɪnʤɪz hir ənd ðɛr. ɪt həz ˈteɪkən eɪt jɪrz fər ˈmɪstər bərnz tɪ kəmˈplit ðə wərk θruaʊt hɪz haʊs 'aɪ ˈkɑpid ə ˈfrɛskoʊ baɪ ɪn maɪ ˈstɛrˌwɛl wɪʧ həz ən ˈigəl ɪn ɪt. bət aɪ θɪŋk hɪz ˈigəl lʊks mɔr laɪk ə ˈtərki ðən ə bərd əv preɪ, soʊ aɪ dɪd maɪ oʊn wən.' fɔr jɪrz əˈgoʊ, wɪn hɪz haʊs ðɛn fərst əˈpɪrd ɪn ðə ˈpeɪpərz, ðə kɔt ðə aɪ əv ə ˌmɪljəˈnɛr ˈprɑpərti taɪˈkun hu kəˈmɪʃənd ɪm tɪ riˈfərbɪʃ ðə ˈpeɪnɪd ˈsilɪŋ əv hɪz ˈkrəmbəlɪŋ ˈbɔˌlrum. hi sɛd: 'ðət wɑz ə greɪt ʤɑb. ɪt fɛlt laɪk aɪ wɑz wɑz ˈwɔkɪŋ ɪn ðə ˈfʊtˌstɛps əv greɪt ˈɑrtɪsts laɪk ˌrɑfaɪˈɛl, hu ɔl ərnd ðɛr krəst baɪ ˈwərkɪŋ ɛz ˈglɔrəˌfaɪd ˈdɛkərˌeɪtərz. 'moʊst ˈpipəl ˈnaʊəˌdeɪz prɪˈfər tɪ lɪv ɪn blænd, hoʊmz ðoʊ. wiv lɔst ðə ɑrt əv ˈprɑpər ˌɪnˈtɪriər ˈdɛkərˌeɪtɪŋ. hɪz wərk ɪz ˈpeɪnɪd ˈɔntu ˈplæstər soʊ wɪn hi ənd hɪz waɪf muv aʊt ðeɪ kænt teɪk ɪt wɪθ ðɛm bɪˈkəz hi həz ˈnɛvər bɪn ˈeɪbəl tɪ əˈfɔrd tɪ goʊ tɪ ðə ˈsɪstin ˈʧæpəl ˈmɪstər bərnz juzd ˈpɪkʧərz əv ðə ˌɪnˈtɪriər əv ðə ˈʧæpəl tɪ hɛlp ɪm wɪθ hɪz ˈpeɪnɪŋz 'ˈmeɪbi ðeɪ ʃʊd gɪv mi maɪ oʊn ˈdeɪˌtaɪm ˌtɛləˈvɪʒən ʃoʊ wɛr aɪ kʊd tiʧ ˈpipəl haʊ tɪ du ˌrɛnəˈsɑns ˈmæˌkoʊvərz. 'ðɪs meɪ bi ə ˈkaʊnsəl haʊs, bət aɪ lɪv ɪn staɪl, laɪk ðə poʊp, ər oʊld ˌɪˈtæljən noʊˈbɪləti. ɪf ɪts gʊd ɪˈnəf fər ðə medicis*, ɪts gʊd ɪˈnəf fər mi.' hɪz waɪf ˈlɪndə, 55 sɛd ʃi ɪz hər ˈhəzbəndz ˈstərnəst ˈkrɪtɪk. ʃi sɛd: 'aɪ ˈɔlˌweɪz lɛt ɪm noʊ wət aɪ θɪŋk. hi wɪl æsk mi ɪf ə məˈdɑnə wʊd lʊk gʊd ɔn ə ˌpɑˈtɪkjələr wɔl, ər ˈwɛðər ðə ˈaɪˌbraʊz ər ˈpeɪnɪd ɔn streɪt. 'aɪ ləv wət hiz dən wɪθ ðə haʊs. ˈrɑbərt ɪz soʊ ˈtæləntɪd. hi wɑz ˈweɪstɪd ɛz ə ˈdɛkərˌeɪtər. ðə ˈoʊnli ˈprɑbləm ɪz wi hæv ˈbeɪgən tɪ ˈriəˌlaɪz hɪz laɪfs wərk ɪz ɔl ˈpeɪnɪd ɔn ˈplæstər. 'soʊ ɪf wi ˈɛvər hæd tɪ muv, wi ˈkʊdənt teɪk ɪt wɪθ ˈjuˈɛs. ənd wi kænt əˈfɔrd tɪ baɪ ðə haʊs, soʊ ɪt ɔl bɪˈlɔŋz tɪ ðə ˈkaʊnsəl.
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thomson reuters russian president vladimir putin addressing the news media in sochi, russia.
twitter and facebook will tell congress this week that russia's us election meddling on their platforms was wider than originally reported.
twitter will say more than accounts generated million during the final stretch of the campaign.
facebook will say nearly 126 million people were exposed to content tied to accounts over a period.
twitter will tell congress this week that accounts "generated approximately million automated,, which collectively received approximately 288 million impressions" last year from september 1 to november 15.
"for our analysis, we studied the time period of september 1 - november 15, 2016 covering 16 billion unique, (i.e., excluding retweets)," a source familiar with testimony said. "our review was deliberately broad, capturing 189 million."
in a portion of the prepared testimony, which business insider obtained monday, acting general counsel, sean edgett, wrote that the company "identified accounts that generated automated, content and had at least one of the characteristics we used to associate an account with russia."
that is far higher than the number of accounts twitter initially disclosed to the senate intelligence committee in a interview last month. twitter representatives reportedly told investigators that it had uncovered only 201 accounts, leading democratic sen. mark warner to tell reporters that the interview was "deeply inadequate."
when edgett appears before the senate intelligence and judiciary committees this week, however, he will testify that those accounts "generated approximately million automated,, which collectively received approximately 288 million impressions."
twitter emphasized in its prepared remarks that the nearly accounts represented "1/100th of a percent (0.012%) of the total accounts on twitter at the time."
by comparison, facebook will tell congress that accounts produced approximately posts on the platform from 2015 to 2017 that were seen by about 126 million americans.
"we estimate that roughly 29 million people were served content in their news feeds directly from the ira's posts over the two years," counsel colin stretch wrote in the testimony obtained by business insider. he added that facebook estimated that "approximately 126 million people may have been served one of their stories at some point during the period."
the ira, or internet research agency, is a russian "troll factory" that disinformation and propaganda on social media leading up to the us election.
twitter wrote in its testimony that it uncovered "more accounts linked to the internet research agency ("ira") as a result of our review."
"we connected the 201 accounts we initially identified with congressional investigators to broader russian activity on twitter, including the full set of accounts that we now believe are associated with the ira," the testimony says.
roughly 9% of the from the accounts were, twitter said, and more than 47% of those were automated.
the company said that all accounts had been suspended and that the company was "proactively giving committee investigators the handles of these accounts, and we have taken steps to block future registrations related to these accounts-- and we have pledged to congress that we will inform them as we uncover more related accounts."
twitter banned the russian news agencies and sputnik from advertising on its platform last week. the company said in its prepared remarks that it had "identified nine accounts that both had at least one criteria for russian origin and promoted content that violated existing or recently implemented ads policies. two of those accounts were and @rt_america."
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ˈtɑmsən ˈrɔɪtərz ˈrəʃən ˈprɛzɪdənt vˈlædəmɪr ˈputɪn æˈdrɛsɪŋ ðə nuz ˈmidiə ɪn ˈsoʊʧi, ˈrəʃə. tˈwɪtər ənd ˈfeɪsˌbʊk wɪl tɛl ˈkɑŋgrəs ðɪs wik ðət ˈrəʃəz ˈjuˈɛs ɪˈlɛkʃən ˈmɛdəlɪŋ ɔn ðɛr ˈplætˌfɔrmz wɑz ˈwaɪdər ðən ərˈɪʤənəli ˌriˈpɔrtəd. tˈwɪtər wɪl seɪ mɔr ðən əˈkaʊnts ˈʤɛnərˌeɪtɪd ˈmɪljən ˈdʊrɪŋ ðə ˈfaɪnəl strɛʧ əv ðə kæmˈpeɪn. ˈfeɪsˌbʊk wɪl seɪ ˈnɪrli 126 ˈmɪljən ˈpipəl wər ɪkˈspoʊzd tɪ ˈkɑntɛnt taɪd tɪ əˈkaʊnts ˈoʊvər ə ˈpɪriəd. tˈwɪtər wɪl tɛl ˈkɑŋgrəs ðɪs wik ðət əˈkaʊnts "ˈʤɛnərˌeɪtɪd əˈprɑksəmətli ˈmɪljən ˈɔtəˌmeɪtɪd,, wɪʧ kəˈlɛktɪvli rɪˈsivd əˈprɑksəmətli 288 ˈmɪljən ˌɪmˈprɛʃənz" læst jɪr frəm sɛpˈtɛmbər 1 tɪ noʊˈvɛmbər 15 "fər ɑr æˈnælɪsɪs, wi ˈstədid ðə taɪm ˈpɪriəd əv sɛpˈtɛmbər 1 noʊˈvɛmbər 15 2016 ˈkəvərɪŋ 16 ˈbɪljən juˈnik, (i.e*., ɪkˈskludɪŋ retweets*)," ə sɔrs fəˈmɪljər wɪθ ˈtɛstɪˌmoʊni sɛd. "ɑr ˌrivˈju wɑz dɪˈlɪbərətli brɔd, ˈkæpʧərɪŋ 189 ˈmɪljən." ɪn ə ˈpɔrʃən əv ðə priˈpɛrd ˈtɛstɪˌmoʊni, wɪʧ ˈbɪznɪs ˌɪnˈsaɪdər əbˈteɪnd ˈmənˌdeɪ, ˈæktɪŋ ˈʤɛnərəl ˈkaʊnsəl, ʃɔn ˈɛʤɪt, roʊt ðət ðə ˈkəmpəˌni "aɪˈdɛntəˌfaɪd əˈkaʊnts ðət ˈʤɛnərˌeɪtɪd ˈɔtəˌmeɪtɪd, ˈkɑntɛnt ənd hæd æt list wən əv ðə ˌkɛrɪktərˈɪstɪks wi juzd tɪ əˈsoʊʃiˌeɪt ən əˈkaʊnt wɪθ ˈrəʃə." ðət ɪz fɑr haɪər ðən ðə ˈnəmbər əv əˈkaʊnts tˈwɪtər ˌɪˈnɪʃəli dɪˈskloʊzd tɪ ðə ˈsɛnɪt ˌɪnˈtɛləʤəns kəˈmɪti ɪn ə ˈɪntərvˌju læst mənθ. tˈwɪtər ˌrɛprɪˈzɛnətɪvz rɪˈpɔrtədli toʊld ˌɪnˈvɛstəˌgeɪtərz ðət ɪt hæd ənˈkəvərd ˈoʊnli 201 əˈkaʊnts, ˈlidɪŋ ˌdɛməˈkrætɪk sɛn. mɑrk ˈwɔrnər tɪ tɛl rɪˈpɔrtərz ðət ðə ˈɪntərvˌju wɑz "ˈdipli ˌɪˈnædəkˌweɪt." wɪn ˈɛʤɪt əˈpɪrz ˌbiˈfɔr ðə ˈsɛnɪt ˌɪnˈtɛləʤəns ənd ʤuˈdɪʃiˌɛri kəˈmɪtiz ðɪs wik, ˌhaʊˈɛvər, hi wɪl ˈtɛstɪˌfaɪ ðət ðoʊz əˈkaʊnts "ˈʤɛnərˌeɪtɪd əˈprɑksəmətli ˈmɪljən ˈɔtəˌmeɪtɪd,, wɪʧ kəˈlɛktɪvli rɪˈsivd əˈprɑksəmətli 288 ˈmɪljən ˌɪmˈprɛʃənz." tˈwɪtər ˈɛmfəˌsaɪzd ɪn ɪts priˈpɛrd rɪˈmɑrks ðət ðə ˈnɪrli əˈkaʊnts ˌrɛprɪˈzɛnɪd əv ə pərˈsɛnt əv ðə ˈtoʊtəl əˈkaʊnts ɔn tˈwɪtər æt ðə taɪm." baɪ kəmˈpɛrəsən, ˈfeɪsˌbʊk wɪl tɛl ˈkɑŋgrəs ðət əˈkaʊnts prəˈdust əˈprɑksəmətli poʊsts ɔn ðə ˈplætˌfɔrm frəm 2015 tɪ 2017 ðət wər sin baɪ əˈbaʊt 126 ˈmɪljən əˈmɛrɪkənz. "wi ˈɛstəˌmeɪt ðət ˈrəfli 29 ˈmɪljən ˈpipəl wər sərvd ˈkɑntɛnt ɪn ðɛr nuz fidz dɪˈrɛkli frəm ðə ˈaɪrəz poʊsts ˈoʊvər ðə tu jɪrz," ˈkaʊnsəl ˈkoʊlɪn strɛʧ roʊt ɪn ðə ˈtɛstɪˌmoʊni əbˈteɪnd baɪ ˈbɪznɪs ˌɪnˈsaɪdər. hi ˈædɪd ðət ˈfeɪsˌbʊk ˈɛstəˌmeɪtɪd ðət "əˈprɑksəmətli 126 ˈmɪljən ˈpipəl meɪ hæv bɪn sərvd wən əv ðɛr ˈstɔriz æt səm pɔɪnt ˈdʊrɪŋ ðə ˈpɪriəd." ðə ˌaɪˌɑˈreɪ, ər ˈɪntərˌnɛt ˈrisərʧ ˈeɪʤənsi, ɪz ə ˈrəʃən "troʊl ˈfæktəri" ðət dɪˌzɪnfərˈmeɪʃən ənd ˌprɑpəˈgændə ɔn ˈsoʊʃəl ˈmidiə ˈlidɪŋ əp tɪ ðə ˈjuˈɛs ɪˈlɛkʃən. tˈwɪtər roʊt ɪn ɪts ˈtɛstɪˌmoʊni ðət ɪt ənˈkəvərd "mɔr əˈkaʊnts lɪŋkt tɪ ðə ˈɪntərˌnɛt ˈrisərʧ ˈeɪʤənsi ("ˌaɪˌɑˈreɪ") ɛz ə rɪˈzəlt əv ɑr ˌrivˈju." "wi kəˈnɛktɪd ðə 201 əˈkaʊnts wi ˌɪˈnɪʃəli aɪˈdɛntəˌfaɪd wɪθ kənˈgrɛʃənəl ˌɪnˈvɛstəˌgeɪtərz tɪ ˈbrɔdər ˈrəʃən ækˈtɪvɪti ɔn tˈwɪtər, ˌɪnˈkludɪŋ ðə fʊl sɛt əv əˈkaʊnts ðət wi naʊ bɪˈliv ər əˈsoʊʃiˌeɪtəd wɪθ ðə ˌaɪˌɑˈreɪ," ðə ˈtɛstɪˌmoʊni sɪz. ˈrəfli 9 əv ðə frəm ðə əˈkaʊnts wər, tˈwɪtər sɛd, ənd mɔr ðən 47 əv ðoʊz wər ˈɔtəˌmeɪtɪd. ðə ˈkəmpəˌni sɛd ðət ɔl əˈkaʊnts hæd bɪn səˈspɛndɪd ənd ðət ðə ˈkəmpəˌni wɑz "ˌproʊˈæktɪvˌli ˈgɪvɪŋ kəˈmɪti ˌɪnˈvɛstəˌgeɪtərz ðə ˈhændəlz əv ðiz əˈkaʊnts, ənd wi hæv ˈteɪkən stɛps tɪ blɑk fˈjuʧər ˌrɛʤɪˈstreɪʃənz rɪˈleɪtɪd tɪ ðiz əˈkaʊnts-- ənd wi hæv plɛʤd tɪ ˈkɑŋgrəs ðət wi wɪl ˌɪnˈfɔrm ðɛm ɛz wi ənˈkəvər mɔr rɪˈleɪtɪd əˈkaʊnts." tˈwɪtər bænd ðə ˈrəʃən nuz ˈeɪʤənsiz ənd ˈspətnɪk frəm ˈædvərˌtaɪzɪŋ ɔn ɪts ˈplætˌfɔrm læst wik. ðə ˈkəmpəˌni sɛd ɪn ɪts priˈpɛrd rɪˈmɑrks ðət ɪt hæd "aɪˈdɛntəˌfaɪd naɪn əˈkaʊnts ðət boʊθ hæd æt list wən kraɪˈtɪriə fər ˈrəʃən ˈɔrəʤən ənd prəˈmoʊtəd ˈkɑntɛnt ðət ˈvaɪəleɪtɪd ɪgˈzɪstɪŋ ər ˈrisəntli ˈɪmpləˌmɛnəd ædz ˈpɑləsiz. tu əv ðoʊz əˈkaʊnts wər ənd @rt_america*."
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the censorship of the pirate bay, which is slowly spreading to all around europe, is designed to reduce the availability of unauthorized media, but the site also allows artists without a delivery mechanism to self publish to the world. however, since blockades are a blunt instrument, their work is being wiped out too. on this basis, the legality of a recent pirate bay blockade is now being questioned.
during may 2011, the copyright information and centre (ciapc) and the finnish branch of the music industry group filed a lawsuit at the district court of helsinki.
the groups demanded that local elisa should start blocking the pirate bay in order to protect the copyrights of their members. while elisa initially refused, a subsequent court order in october 2011 forced them to comply and last month it was initiated.
the matter is currently under appeal but in the meantime block must remain, which means that no content indexed by the pirate bay illicit or fully authorized is available to the’s customers. for one elisa customer, that situation is unacceptable.
antti laine says that the enforcement order handed down to his was unlawful so he has responded by filing a complaint with the authority that sanctioned the block. his complaint states that under finnish copyright law, any injunction should avoid collateral damage.
such a wide block fails to consider this responsibility, laine insists, adding that “enforcement of the decision is based on an erroneous application of law.” his complaint is being made on three grounds.
1. laine says he has been working on a project and the media created is being distributed via the pirate bay. due to the block, distribution of the content is being affected.
2. as a client of elisa himself, laine says that due to the blockade he can no longer download or indeed upload any material that is deemed by creators to be for free distribution. under copyright law this legal content cannot be a target of the injunction but nevertheless its availability is being threatened.
3. laine states that the injunction is based on an incorrect application of the law. service providers can only be ordered to block access to infringing files, but the are huge numbers of other works being affected by the blanket censorship. furthermore, laine says that the blockade also affects all legal content uploaded to the pirate bay after it was initiated and such preemptive censorship is against constitution.
in respect of item 3, laine attached a list of creative commons, and public domain material affected including content from dope stars inc, titles such as steal this film, and zeitgeist from jamie vodo, rip: a manifesto, own star trek parody series star wreck and many open source software applications.
“no blocking mechanism should block content available legally,” of pirate party tells torrentfreak. “if the proposed methods reasonably differentiate between authorized and content, they should never be put in action.”
“there is no reason to block even the pirate website itself, as the texts and images there a whopping 90 megabytes are definitely not in illegal distribution per se,” adds.
laine seeks a correction of the existing injunction so that it no longer breaches the copyright act and constitutional law.
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ðə ˈsɛnsərˌʃɪp əv ðə ˈpaɪrət beɪ, wɪʧ ɪz sˈloʊli ˈsprɛdɪŋ tɪ ɔl əraʊnd ˈjʊrəp, ɪz dɪˈzaɪnd tɪ rɪˈdus ðə əˌveɪləˈbɪlɪti əv əˈnɔθərˌaɪzd ˈmidiə, bət ðə saɪt ˈɔlsoʊ əˈlaʊz ˈɑrtɪsts wɪˈθaʊt ə dɪˈlɪvəri ˈmɛkəˌnɪzəm tɪ sɛlf ˈpəblɪʃ tɪ ðə wərld. ˌhaʊˈɛvər, sɪns ˌblɑˈkeɪdz ər ə blənt ˈɪnstrəmənt, ðɛr wərk ɪz biɪŋ waɪpt aʊt tu. ɔn ðɪs ˈbeɪsɪs, ðə liˈgæləti əv ə ˈrisənt ˈpaɪrət beɪ ˌblɑˈkeɪd ɪz naʊ biɪŋ kˈwɛsʧənd. ˈdʊrɪŋ meɪ 2011 ðə ˈkɑpiˌraɪt ˌɪnˌfɔrˈmeɪʃən ənd ˈsɛntər (ciapc*) ənd ðə ˈfɪnɪʃ brænʧ əv ðə mˈjuzɪk ˈɪndəstri grup faɪld ə ˈlɔˌsut æt ðə ˈdɪstrɪkt kɔrt əv ˈhɛlsɪŋki. ðə grups dɪˈmændɪd ðət ˈloʊkəl əˈlizə ʃʊd stɑrt ˈblɑkɪŋ ðə ˈpaɪrət beɪ ɪn ˈɔrdər tɪ prəˈtɛkt ðə ˈkɑpiˌraɪts əv ðɛr ˈmɛmbərz. waɪl əˈlizə ˌɪˈnɪʃəli rɪfˈjuzd, ə ˈsəbsəkwənt kɔrt ˈɔrdər ɪn ɑkˈtoʊbər 2011 fɔrst ðɛm tɪ kəmˈplaɪ ənd læst mənθ ɪt wɑz ˌɪˈnɪʃiˌeɪtɪd. ðə ˈmætər ɪz ˈkərəntli ˈəndər əˈpil bət ɪn ðə ˈminˌtaɪm blɑk məst rɪˈmeɪn, wɪʧ minz ðət noʊ ˈkɑntɛnt ˈɪndɛkst baɪ ðə ˈpaɪrət beɪ ˌɪˈlɪsət ər ˈfʊli ˈɔθərˌaɪzd ɪz əˈveɪləbəl tɪ ðə ˈkəstəmərz. fər wən əˈlizə ˈkəstəmər, ðət ˌsɪʧuˈeɪʃən ɪz ˌənækˈsɛptəbəl. leɪn sɪz ðət ðə ɛnˈfɔrsmənt ˈɔrdər ˈhændɪd daʊn tɪ hɪz wɑz ənˈlɔfəl soʊ hi həz rɪˈspɑndɪd baɪ ˈfaɪlɪŋ ə kəmˈpleɪnt wɪθ ðə əˈθɔrəti ðət ˈsæŋkʃənd ðə blɑk. hɪz kəmˈpleɪnt steɪts ðət ˈəndər ˈfɪnɪʃ ˈkɑpiˌraɪt lɔ, ˈɛni ˌɪnˈʤəŋʃən ʃʊd əˈvɔɪd kəˈlætərəl ˈdæmɪʤ. səʧ ə waɪd blɑk feɪlz tɪ kənˈsɪdər ðɪs riˌspɑnsəˈbɪləti, leɪn ˌɪnˈsɪsts, ˈædɪŋ ðət əv ðə dɪˈsɪʒən ɪz beɪst ɔn ən ɛˈroʊniəs ˌæpləˈkeɪʃən əv law.”*.” hɪz kəmˈpleɪnt ɪz biɪŋ meɪd ɔn θri graʊnz. 1 leɪn sɪz hi həz bɪn ˈwərkɪŋ ɔn ə ˈprɑʤɛkt ənd ðə ˈmidiə kriˈeɪtɪd ɪz biɪŋ dɪˈstrɪbjətəd ˈviə ðə ˈpaɪrət beɪ. du tɪ ðə blɑk, ˌdɪstrəˈbjuʃən əv ðə ˈkɑntɛnt ɪz biɪŋ əˈfɛktɪd. 2 ɛz ə klaɪənt əv əˈlizə hɪmˈsɛlf, leɪn sɪz ðət du tɪ ðə ˌblɑˈkeɪd hi kən noʊ ˈlɔŋgər ˈdaʊnˌloʊd ər ˌɪnˈdid ˈəˌploʊd ˈɛni məˈtɪriəl ðət ɪz dimd baɪ kriˈeɪtərz tɪ bi fər fri ˌdɪstrəˈbjuʃən. ˈəndər ˈkɑpiˌraɪt lɔ ðɪs ˈligəl ˈkɑntɛnt ˈkænɑt bi ə ˈtərgət əv ðə ˌɪnˈʤəŋʃən bət ˌnɛvərðəˈlɛs ɪts əˌveɪləˈbɪlɪti ɪz biɪŋ θˈrɛtənd. 3 leɪn steɪts ðət ðə ˌɪnˈʤəŋʃən ɪz beɪst ɔn ən ˌɪnkərˈɛkt ˌæpləˈkeɪʃən əv ðə lɔ. ˈsərvɪs prəˈvaɪdərz kən ˈoʊnli bi ˈɔrdərd tɪ blɑk ˈækˌsɛs tɪ ˌɪnˈfrɪnʤɪŋ faɪlz, bət ðə ər juʤ ˈnəmbərz əv ˈəðər wərks biɪŋ əˈfɛktɪd baɪ ðə ˈblæŋkɪt ˈsɛnsərˌʃɪp. ˈfərðərˌmɔr, leɪn sɪz ðət ðə ˌblɑˈkeɪd ˈɔlsoʊ əˈfɛkts ɔl ˈligəl ˈkɑntɛnt ˈəˌploʊdɪd tɪ ðə ˈpaɪrət beɪ ˈæftər ɪt wɑz ˌɪˈnɪʃiˌeɪtɪd ənd səʧ priˈɛmptɪv ˈsɛnsərˌʃɪp ɪz əˈgɛnst ˌkɑnstəˈtuʃən. ɪn rɪˈspɛkt əv ˈaɪtəm 3 leɪn əˈtæʧt ə lɪst əv kriˈeɪtɪv ˈkɑmənz, ənd ˈpəblɪk doʊˈmeɪn məˈtɪriəl əˈfɛktɪd ˌɪnˈkludɪŋ ˈkɑntɛnt frəm doʊp stɑrz ɪŋk, ˈtaɪtəlz səʧ ɛz stil ðɪs fɪlm, ənd tˈsaɪtˌgaɪst frəm ˈʤeɪmi vodo*, rɪp: ə ˌmænɪˈfɛˌstoʊ, oʊn stɑr trɛk ˈpɛrədi ˈsɪriz stɑr rɛk ənd ˈmɛni ˈoʊpən sɔrs ˈsɔfˌwɛr ˌæpləˈkeɪʃənz. ˈblɑkɪŋ ˈmɛkəˌnɪzəm ʃʊd blɑk ˈkɑntɛnt əˈveɪləbəl legally,”*,” əv ˈpaɪrət ˈpɑrti tɛlz torrentfreak*. ðə prəˈpoʊzd ˈmɛθədz ˈrizənəbli ˌdɪfərˈɛnʧiˌeɪt bɪtˈwin ˈɔθərˌaɪzd ənd ˈkɑntɛnt, ðeɪ ʃʊd ˈnɛvər bi pʊt ɪn action.”*.” ɪz noʊ ˈrizən tɪ blɑk ˈivɪn ðə ˈpaɪrət ˈwɛbˌsaɪt ˌɪtˈsɛlf, ɛz ðə tɛksts ənd ˈɪmɪʤɪz ðɛr ə ˈwɑpɪŋ 90 ˈmɛgəˌbaɪts ər ˈdɛfənətli nɑt ɪn ˌɪˈligəl ˌdɪstrəˈbjuʃən pər se,”*,” ædz. leɪn siks ə kərˈɛkʃən əv ðə ɪgˈzɪstɪŋ ˌɪnˈʤəŋʃən soʊ ðət ɪt noʊ ˈlɔŋgər ˈbriʧɪz ðə ˈkɑpiˌraɪt ækt ənd ˌkɑnstəˈtuʃənəl lɔ.
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artist: the mountain goats
date: 08 april 2015
location: cat's cradle, carborro,
taper:
e-mail:
dc++ screenname:
date of seeding: 10 april 2015
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source info: >aud internal mic (-9 dual recording)
>tracks separated in cool edit pro
>tlh (level 8)
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additional info: recorded from middle of room.
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setlist: 01 intro
02 southwest territory
03 the diaz brothers
04 foreign object
05 slow west vultures
06 cry for judas
07 get lonely
08 stabbed to death outside san juan
09 there will be no divorce
10 song for the julian calendar
11 steal smoked fish
12 luna
13 love love love
14 never quite free
15 up the wolves
16 game shows touch our lives
17 werewolf gimmick
18 amy aka spent gladiator 1
19 animal mask
20 the legend of guerrero
21 blood capsules
22 this year
23 banter***
24 the ballad of bull ramos
25 no children
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note:
this concert was tons of fun. my first time seeing. no processing was done to the show other than splitting the into individual files in cep and converting to.
*** note on track 23: appear to be open to taping/trading; however, john very specifically requests and threatens violence on anyone recording the song played (sometimes we roman song). to respect his wishes, i have this track, including only the banter.
please enjoy as you please, but do not convert to and share, and don't make subtle changes and re-upload. please keep this file with this recording wherever you share.
cheers, and share the music :)
identifier source internal mic taped by year 2015
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ˈɑrtɪst: ðə ˈmaʊntən goʊts deɪt: 08 ˈeɪprəl 2015 loʊˈkeɪʃən: kæts ˈkreɪdəl, carborro*, ˈteɪpər: ˈiˌmeɪl: ˌdiˈsi++ screenname*: deɪt əv ˈsidɪŋ: 10 ˈeɪprəl 2015 sɔrs ˈɪnfoʊ: >ɔd ˌɪnˈtərnəl mɪk 9 duəl rɪˈkɔrdɪŋ) >træks ˈsɛpərˌeɪtɪd ɪn kul ˈɛdət proʊ (ˈlɛvəl 8 əˈdɪʃənəl ˈɪnfoʊ: rɪˈkɔrdɪd frəm ˈmɪdəl əv rum. setlist*: 01 ˈɪntroʊ 02 ˌsaʊθˈwɛst ˈtɛrɪˌtɔri 03 ðə diɑz ˈbrəðərz 04 ˈfɔrən ˈɑbʤɛkt 05 sloʊ wɛst ˈvəlʧərz 06 kraɪ fər ˈʤudəs 07 gɪt ˈloʊnli 08 stæbd tɪ dɛθ ˈaʊtˈsaɪd sæn wɑn 09 ðɛr wɪl bi noʊ dɪˈvɔrs 10 sɔŋ fər ðə ˈʤuljən ˈkæləndər 11 stil smoʊkt fɪʃ 12 ˈlunə 13 ləv ləv ləv 14 ˈnɛvər kwaɪt fri 15 əp ðə wʊlvz 16 geɪm ʃoʊz təʧ ɑr lɪvz 17 ˈwɛrˌwʊlf ˈgɪmɪk 18 ˈeɪmi ˈɑkə spɛnt ˈglædiˌeɪtər 1 19 ˈænəməl mæsk 20 ðə ˈlɛʤənd əv gərˈɛroʊ 21 bləd ˈkæpsəlz 22 ðɪs jɪr 23 24 ðə ˈbæləd əv bʊl ˈrɑmoʊs 25 noʊ ˈʧɪldrən noʊt: ðɪs ˈkɑnsərt wɑz tənz əv fən. maɪ fərst taɪm siɪŋ. noʊ ˈprɑsɛsɪŋ wɑz dən tɪ ðə ʃoʊ ˈəðər ðən ˈsplɪtɪŋ ðə ˈɪntu ˌɪndəˈvɪʤəwəl faɪlz ɪn sɛp ənd kənˈvərtɪŋ tɪ. noʊt ɔn træk 23 əˈpɪr tɪ bi ˈoʊpən tɪ taping/trading*; ˌhaʊˈɛvər, ʤɑn ˈvɛri spəˈsɪfɪkli rɪkˈwɛsts ənd θˈrɛtənz ˈvaɪələns ɔn ˈɛniˌwən rɪˈkɔrdɪŋ ðə sɔŋ pleɪd (ˈsəmˌtaɪmz wi ˈroʊmən sɔŋ). tɪ rɪˈspɛkt hɪz ˈwɪʃɪz, aɪ hæv ðɪs træk, ˌɪnˈkludɪŋ ˈoʊnli ðə ˈbæntər. pliz ˌɛnˈʤɔɪ ɛz ju pliz, bət du nɑt ˈkɑnvərt tɪ ənd ʃɛr, ənd doʊnt meɪk ˈsətəl ˈʧeɪnʤɪz ənd re-upload*. pliz kip ðɪs faɪl wɪθ ðɪs rɪˈkɔrdɪŋ wɛˈrɛvər ju ʃɛr. ʧɪrz, ənd ʃɛr ðə mˈjuzɪk aɪˈdɛntəˌfaɪər sɔrs ˌɪnˈtərnəl mɪk teɪpt baɪ jɪr 2015
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jacobs family makes big donation to marty reelection campaign
the owners of the bruins and garden are backing the mayor.
get a compelling long read and lifestyle tips in your every sunday morning great with coffee!
as chairman of the national hockey board of governors, bruins owner jeremy jacobs has had many a clash with the players’ union over the years. now, apparently backing a mayoral candidate known for his union credentials.
jacobs and his three sons, who own the food service and hospitality conglomerate delaware north, as well as their spouses, made a $13,000 donation to mayor marty reelection bid, following a fundraiser held at garden, also owned by the jacobs family. as the globe notes, this is their largest ever political contribution to a candidate in massachusetts, after predecessor, the late tom menino, for the latter half of his reign.
the jacobs family has enjoyed an amicable relationship with city hall during first term. last fall, the city a three-year deal with a delaware north subsidiary to program events at city hall plaza, starting with the wildly popular boston winter. bruins ceo charlie jacobs, son, was among the biggest donors to boston 2024, failed olympic bid, while garden president amy latimer also publicly supported the effort.
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ˈʤeɪkəbz ˈfæməli meɪks bɪg doʊˈneɪʃən tɪ ˈmɑrti riɪˈlɛkʃən kæmˈpeɪn ðə ˈoʊnərz əv ðə bruɪnz ənd ˈgɑrdən ər ˈbækɪŋ ðə meɪər. gɪt ə kəmˈpɛlɪŋ lɔŋ rɛd ənd ˈlaɪfˌstaɪl tɪps ɪn jʊr ˈɛvəri ˈsənˌdi ˈmɔrnɪŋ greɪt wɪθ ˈkɔfi! ɛz ˈʧɛrmən əv ðə ˈnæʃənəl ˈhɑki bɔrd əv ˈgəvərnərz, bruɪnz ˈoʊnər ˈʤɛrəˌmi ˈʤeɪkəbz həz hæd ˈmɛni ə klæʃ wɪθ ðə players’*’ ˈjunjən ˈoʊvər ðə jɪrz. naʊ, əˈpɛrəntli ˈbækɪŋ ə meɪərəl ˈkænədɪt noʊn fər hɪz ˈjunjən krəˈdɛnʃəlz. ˈʤeɪkəbz ənd hɪz θri sənz, hu oʊn ðə fud ˈsərvɪs ənd ˌhɑspəˈtæləti kənˈglɑmərət ˈdɛləˌwɛr nɔrθ, ɛz wɛl ɛz ðɛr ˈspaʊsɪz, meɪd ə doʊˈneɪʃən tɪ meɪər ˈmɑrti riɪˈlɛkʃən bɪd, ˈfɑloʊɪŋ ə ˈfənˌdreɪzər hɛld æt ˈgɑrdən, ˈɔlsoʊ oʊnd baɪ ðə ˈʤeɪkəbz ˈfæməli. ɛz ðə gloʊb noʊts, ðɪs ɪz ðɛr ˈlɑrʤəst ˈɛvər pəˈlɪtɪkəl ˌkɑntrəˈbjuʃən tɪ ə ˈkænədɪt ɪn ˌmæsəˈʧusəts, ˈæftər ˈprɛdəˌsɛsər, ðə leɪt tɑm məˈninoʊ, fər ðə ˈlætər hæf əv hɪz reɪn. ðə ˈʤeɪkəbz ˈfæməli həz ˌɛnˈʤɔɪd ən ˈæmɪkəbəl riˈleɪʃənˌʃɪp wɪθ ˈsɪti hɔl ˈdʊrɪŋ fərst tərm. læst fɔl, ðə ˈsɪti ə θˈriˌjɪr dil wɪθ ə ˈdɛləˌwɛr nɔrθ səbˈsɪdiˌɛri tɪ ˈproʊˌgræm ɪˈvɛnts æt ˈsɪti hɔl ˈplɑzə, ˈstɑrtɪŋ wɪθ ðə ˈwaɪldli ˈpɑpjələr ˈbɔstən ˈwɪntər. bruɪnz ˈsiˌiˈoʊ ˈʧɑrli ˈʤeɪkəbz, sən, wɑz əˈməŋ ðə ˈbɪgəst ˈdoʊnərz tɪ ˈbɔstən 2024 feɪld oʊˈlɪmpɪk bɪd, waɪl ˈgɑrdən ˈprɛzɪdənt ˈeɪmi ˈlætəmər ˈɔlsoʊ ˈpəblɪkli səˈpɔrtɪd ðə ˈɛfərt.
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if you are objective, open minded, you will know how to appreciate this peace of art. it's standard, this time with massive orchestrations. this is totally natural thing since they were the ones who laid foundation for heavy metal's called symphonic metal. it began with the crown and the ring (lament of the kings), although that song doesn't have electric guitars. but still, it sounds so heavy, 'cause they are heavy metal enough even without distorted guitars. this release has lots of short introduction songs and some instrumental overtures done in classical music style, because of richard wagner's influence. if you know something about, then you noticed that these stories in the blood of odin and glory majesty unity are done in the vein of the prayer from kings of metal album. so, they continued this epic story from 1988, and put it into this concept album, which consists of norse mythology, heavy metal, and their fans. also, warriors of the world had short classical piece valhalla and longer the march, so symphonic metal tendencies are not strange in's music.
joey demaio fully unveiled his artistic nature and showed his ability, creativity and talent to make classical music overtures: overture to the hymn of the immortal warriors and overture to odin, introduction parts: the ascension and beginning of as well, and epic stories: the blood of odin and glory majesty unity. these songs are the ones which turned this release into a concept album, since they don't have electric guitar, bass guitar and drums, but classical instruments and choir. when you remove these introductions, overtures and stories, instead of 16 songs, them 9 are songs where you can expect standard vocals, drums, bass and electric guitars. parts where band members are notable in these classical songs are the ascension, which is introduction for king of kings where eric starts to sing, and joey is narrator of the blood of odin story. army of the dead part 1 features eric, along with orchestrations and choir. army of the dead part 2 has identical lyrics, and the only difference is that part 2 has keyboards (with organ effect) intro where joey kicks serious ass. some can consider these songs as filler, because if you look few years back, since the triumph of steel, it takes them from 4, 5 to 6 years to release new studio albums. they toured a lot few years back, they had line-up changes, so it's natural that it takes lots of time to make new material, but lack of inspiration can't be ignored too.
manowar is a band that needs time to release new studio albums, but once they come out, they can't disappoint. it's worth waiting, since they do not release crap garbage every year, but high quality heavy metal material. what really will blow away any serious listener are these killer songs. eric played really important role here, and did impressive job. after all these years he was still capable to do screams in king of kings, god of fire, die for metal, blood brothers and in ending of the song gods of war. his voice filled these songs with insane amount of power, specially combination with strong chorus in songs sons of odin and gods of war, where whole thing is taken to higher level, and with symphonic arrangements these two songs sound massive, epic and orgasmic. hymn of the immortal warriors received the same blessing, and it has even more epic feel when joey starts the narration, and when he finishes, eric starts along with choir which always make me shudder. eric's intonation in's refrains is of key importance, otherwise song wouldn't sound that great. karl logan made excellent guitar solos. slow, with lots of passion to fit the mood of blood brothers power ballad and hymn of immortal warriors, which sounds like a national anthem. word "hymn" in the title makes perfect sense.
semi-furious, but technical solos are in gods of war, odin and die for metal, and furious solos full of arpeggios, sweeps and shredding in king of kings, with some slower parts, but with guitar rape in, and with use of to squeeze those notes. in god of fire and sons of odin he continued fast kick-ass playing. odin has nice lead guitar which causes eargasm, and god of fire has insane ending along with eric's singing, so you can't hear well some of his solo parts. it's refreshing to hear something like that, not just solos in the middle of the song without vocals. although this release is not full of memorable riffs, god of fire and die for metal have riffs which slay, and enough to leave great impression for the entire release. he placed power chords well in fast songs king of kings,, god of fire, in mid tempo songs sons of odin, gods of war and in slow songs die for metal, blood brothers and hymn of the immortal warriors. joey's bass guitar is not dominant on this release, but he was dedicated to keyboards with organ effect and in some parts of the songs. scott columbus could have done some different and more creative beats, instead of constant repeating the same pattern during the songs' durations. songs still sound excellent, and other members covered this lack.
good sides of this release:
this is unique symphonic metal masterpiece. unique because joey and karl have custom made equipment, their own distortion, there's only one eric adams and because orchestration here sounds totally different than any other band in heavy metal music did. proved they can set standards for symphonic metal, after years of classic heavy metal and power metal domination. this is really epic studio album, and word "epic" should be under their copyright hold.
bad sides of this release:
may turn off lazy asses and narrow minded people who simply don't want to listen carefully and try to appreciate these excellent classical music parts.
highlights:
everything. if you listen from beginning to the end, it leaves even bigger impression.
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ɪf ju ər əˈbʤɛktɪv, ˈoʊpən ˈmaɪndɪd, ju wɪl noʊ haʊ tɪ əˈpriʃiˌeɪt ðɪs pis əv ɑrt. ɪts ˈstændərd, ðɪs taɪm wɪθ ˈmæsɪv ˌɔrkəˈstreɪʃənz. ðɪs ɪz ˈtoʊtəli ˈnæʧərəl θɪŋ sɪns ðeɪ wər ðə wənz hu leɪd faʊnˈdeɪʃən fər ˈhɛvi ˈmɛtəlz kɔld sɪmˈfɑnɪk ˈmɛtəl. ɪt bɪˈgæn wɪθ ðə kraʊn ənd ðə rɪŋ (ləˈmɛnt əv ðə kɪŋz), ˌɔlˈðoʊ ðət sɔŋ ˈdəzənt hæv ɪˈlɛktrɪk gɪˈtɑrz. bət stɪl, ɪt saʊnz soʊ ˈhɛvi, 'kɔz ðeɪ ər ˈhɛvi ˈmɛtəl ɪˈnəf ˈivɪn wɪˈθaʊt dɪˈstɔrtɪd gɪˈtɑrz. ðɪs riˈlis həz lɑts əv ʃɔrt ˌɪntrəˈdəkʃən sɔŋz ənd səm ˌɪnstrəˈmɛnəl ˈoʊvərˌʧʊrz dən ɪn ˈklæsɪkəl mˈjuzɪk staɪl, bɪˈkəz əv ˈrɪʧərd ˈwægnərz ˈɪnfluəns. ɪf ju noʊ ˈsəmθɪŋ əˈbaʊt, ðɛn ju ˈnoʊtɪst ðət ðiz ˈstɔriz ɪn ðə bləd əv ˈoʊdən ənd ˈglɔri ˈmæʤəsti ˈjunɪti ər dən ɪn ðə veɪn əv ðə prɛr frəm kɪŋz əv ˈmɛtəl ˈælbəm. soʊ, ðeɪ kənˈtɪnjud ðɪs ˈɛpɪk ˈstɔri frəm 1988 ənd pʊt ɪt ˈɪntu ðɪs ˈkɑnsɛpt ˈælbəm, wɪʧ kənˈsɪsts əv nɔrs məˈθɑləˌʤi, ˈhɛvi ˈmɛtəl, ənd ðɛr fænz. ˈɔlsoʊ, ˈwɔrjərz əv ðə wərld hæd ʃɔrt ˈklæsɪkəl pis ˌvæˈlhælə ənd ˈlɔŋgər ðə mɑrʧ, soʊ sɪmˈfɑnɪk ˈmɛtəl ˈtɛndənsiz ər nɑt streɪnʤ ɪn mˈjuzɪk. ʤoʊi dɪˈmɑoʊ ˈfʊli ənˈveɪld hɪz ɑrˈtɪstɪk ˈneɪʧər ənd ʃoʊd hɪz əˈbɪləˌti, ˌkrieɪˈtɪvəti ənd ˈtælənt tɪ meɪk ˈklæsɪkəl mˈjuzɪk ˈoʊvərˌʧʊrz: ˈoʊvərʧər tɪ ðə hɪm əv ðə ˌɪˈmɔrtəl ˈwɔrjərz ənd ˈoʊvərʧər tɪ ˈoʊdən, ˌɪntrəˈdəkʃən pɑrts: ðə əˈsɛnʃən ənd bɪˈgɪnɪŋ əv ɛz wɛl, ənd ˈɛpɪk ˈstɔriz: ðə bləd əv ˈoʊdən ənd ˈglɔri ˈmæʤəsti ˈjunɪti. ðiz sɔŋz ər ðə wənz wɪʧ tərnd ðɪs riˈlis ˈɪntu ə ˈkɑnsɛpt ˈælbəm, sɪns ðeɪ doʊnt hæv ɪˈlɛktrɪk gɪˈtɑr, bæs gɪˈtɑr ənd drəmz, bət ˈklæsɪkəl ˈɪnstrəmənts ənd kwaɪər. wɪn ju riˈmuv ðiz ˌɪntrəˈdəkʃənz, ˈoʊvərˌʧʊrz ənd ˈstɔriz, ˌɪnˈstɛd əv 16 sɔŋz, ðɛm 9 ər sɔŋz wɛr ju kən ɪkˈspɛkt ˈstændərd ˈvoʊkəlz, drəmz, bæs ənd ɪˈlɛktrɪk gɪˈtɑrz. pɑrts wɛr bænd ˈmɛmbərz ər ˈnoʊtəbəl ɪn ðiz ˈklæsɪkəl sɔŋz ər ðə əˈsɛnʃən, wɪʧ ɪz ˌɪntrəˈdəkʃən fər kɪŋ əv kɪŋz wɛr ˈɛrɪk stɑrts tɪ sɪŋ, ənd ʤoʊi ɪz ˈnɛreɪtər əv ðə bləd əv ˈoʊdən ˈstɔri. ˈɑrmi əv ðə dɛd pɑrt 1 ˈfiʧərz ˈɛrɪk, əˈlɔŋ wɪθ ˌɔrkəˈstreɪʃənz ənd kwaɪər. ˈɑrmi əv ðə dɛd pɑrt 2 həz aɪˈdɛntɪkəl ˈlɪrɪks, ənd ðə ˈoʊnli ˈdɪfərəns ɪz ðət pɑrt 2 həz ˈkiˌbɔrdz (wɪθ ˈɔrgən ˈifɛkt) ˈɪntroʊ wɛr ʤoʊi kɪks ˈsɪriəs æs. səm kən kənˈsɪdər ðiz sɔŋz ɛz ˈfɪlər, bɪˈkəz ɪf ju lʊk fju jɪrz bæk, sɪns ðə traɪəmf əv stil, ɪt teɪks ðɛm frəm 4 5 tɪ 6 jɪrz tɪ riˈlis nu ˈstudiˌoʊ ˈælbəmz. ðeɪ tʊrd ə lɔt fju jɪrz bæk, ðeɪ hæd ˈlaɪˌnəp ˈʧeɪnʤɪz, soʊ ɪts ˈnæʧərəl ðət ɪt teɪks lɑts əv taɪm tɪ meɪk nu məˈtɪriəl, bət læk əv ˌɪnspərˈeɪʃən kænt bi ˌɪgˈnɔrd tu. ɪz ə bænd ðət nidz taɪm tɪ riˈlis nu ˈstudiˌoʊ ˈælbəmz, bət wəns ðeɪ kəm aʊt, ðeɪ kænt ˌdɪsəˈpɔɪnt. ɪts wərθ ˈweɪtɪŋ, sɪns ðeɪ du nɑt riˈlis kræp ˈgɑrbɪʤ ˈɛvəri jɪr, bət haɪ kˈwɑləti ˈhɛvi ˈmɛtəl məˈtɪriəl. wət ˈrɪli wɪl bloʊ əˈweɪ ˈɛni ˈsɪriəs ˈlɪsənər ər ðiz ˈkɪlər sɔŋz. ˈɛrɪk pleɪd ˈrɪli ˌɪmˈpɔrtənt roʊl hir, ənd dɪd ˌɪmˈprɛsɪv ʤɑb. ˈæftər ɔl ðiz jɪrz hi wɑz stɪl ˈkeɪpəbəl tɪ du skrimz ɪn kɪŋ əv kɪŋz, gɑd əv faɪər, daɪ fər ˈmɛtəl, bləd ˈbrəðərz ənd ɪn ˈɛndɪŋ əv ðə sɔŋ gɑdz əv wɔr. hɪz vɔɪs fɪld ðiz sɔŋz wɪθ ˌɪnˈseɪn əˈmaʊnt əv paʊər, ˈspɛʃəli ˌkɑmbəˈneɪʃən wɪθ strɔŋ ˈkɔrəs ɪn sɔŋz sənz əv ˈoʊdən ənd gɑdz əv wɔr, wɛr hoʊl θɪŋ ɪz ˈteɪkən tɪ haɪər ˈlɛvəl, ənd wɪθ sɪmˈfɑnɪk ərˈeɪnʤmənts ðiz tu sɔŋz saʊnd ˈmæsɪv, ˈɛpɪk ənd orgasmic*. hɪm əv ðə ˌɪˈmɔrtəl ˈwɔrjərz rɪˈsivd ðə seɪm ˈblɛsɪŋ, ənd ɪt həz ˈivɪn mɔr ˈɛpɪk fil wɪn ʤoʊi stɑrts ðə nɛˈreɪʃən, ənd wɪn hi ˈfɪnɪʃɪz, ˈɛrɪk stɑrts əˈlɔŋ wɪθ kwaɪər wɪʧ ˈɔlˌweɪz meɪk mi ˈʃədər. ˈɛrɪks ˌɪntəˈneɪʃən ɪn rɪˈfreɪnz ɪz əv ki ˌɪmˈpɔrtəns, ˈəðərˌwaɪz sɔŋ ˈwʊdənt saʊnd ðət greɪt. kɑrl ˈloʊgən meɪd ˈɛksələnt gɪˈtɑr ˈsoʊloʊz. sloʊ, wɪθ lɑts əv ˈpæʃən tɪ fɪt ðə mud əv bləd ˈbrəðərz paʊər ˈbæləd ənd hɪm əv ˌɪˈmɔrtəl ˈwɔrjərz, wɪʧ saʊnz laɪk ə ˈnæʃənəl ˈænθəm. wərd "hɪm" ɪn ðə ˈtaɪtəl meɪks ˈpərˌfɪkt sɛns. semi-furious*, bət ˈtɛknɪkəl ˈsoʊloʊz ər ɪn gɑdz əv wɔr, ˈoʊdən ənd daɪ fər ˈmɛtəl, ənd fˈjʊriəs ˈsoʊloʊz fʊl əv arpeggios*, swips ənd ʃˈrɛdɪŋ ɪn kɪŋ əv kɪŋz, wɪθ səm sloʊər pɑrts, bət wɪθ gɪˈtɑr reɪp ɪn, ənd wɪθ juz əv tɪ skwiz ðoʊz noʊts. ɪn gɑd əv faɪər ənd sənz əv ˈoʊdən hi kənˈtɪnjud fæst ˈkɪˌkæs pleɪɪŋ. ˈoʊdən həz nis lɛd gɪˈtɑr wɪʧ ˈkɔzɪz eargasm*, ənd gɑd əv faɪər həz ˌɪnˈseɪn ˈɛndɪŋ əˈlɔŋ wɪθ ˈɛrɪks ˈsɪŋɪŋ, soʊ ju kænt hir wɛl səm əv hɪz ˈsoʊˌloʊ pɑrts. ɪts rɪˈfrɛʃɪŋ tɪ hir ˈsəmθɪŋ laɪk ðət, nɑt ʤɪst ˈsoʊloʊz ɪn ðə ˈmɪdəl əv ðə sɔŋ wɪˈθaʊt ˈvoʊkəlz. ˌɔlˈðoʊ ðɪs riˈlis ɪz nɑt fʊl əv ˈmɛmərəbəl rɪfs, gɑd əv faɪər ənd daɪ fər ˈmɛtəl hæv rɪfs wɪʧ sleɪ, ənd ɪˈnəf tɪ liv greɪt ˌɪmˈprɛʃən fər ðə ɪnˈtaɪər riˈlis. hi pleɪst paʊər kɔrdz wɛl ɪn fæst sɔŋz kɪŋ əv kɪŋz,, gɑd əv faɪər, ɪn mɪd ˈtɛmˌpoʊ sɔŋz sənz əv ˈoʊdən, gɑdz əv wɔr ənd ɪn sloʊ sɔŋz daɪ fər ˈmɛtəl, bləd ˈbrəðərz ənd hɪm əv ðə ˌɪˈmɔrtəl ˈwɔrjərz. ʤoʊiz bæs gɪˈtɑr ɪz nɑt ˈdɑmənənt ɔn ðɪs riˈlis, bət hi wɑz ˈdɛdəkeɪtəd tɪ ˈkiˌbɔrdz wɪθ ˈɔrgən ˈifɛkt ənd ɪn səm pɑrts əv ðə sɔŋz. skɑt kəˈləmbəs kʊd hæv dən səm ˈdɪfərənt ənd mɔr kriˈeɪtɪv bits, ˌɪnˈstɛd əv ˈkɑnstənt rɪˈpitɪŋ ðə seɪm ˈpætərn ˈdʊrɪŋ ðə sɔŋz' ˈdʊˈreɪʃənz. sɔŋz stɪl saʊnd ˈɛksələnt, ənd ˈəðər ˈmɛmbərz ˈkəvərd ðɪs læk. gʊd saɪdz əv ðɪs riˈlis: ðɪs ɪz juˈnik sɪmˈfɑnɪk ˈmɛtəl ˈmæstərˌpis. juˈnik bɪˈkəz ʤoʊi ənd kɑrl hæv ˈkəstəm meɪd ɪkˈwɪpmənt, ðɛr oʊn dɪˈstɔrʃən, ðɛrz ˈoʊnli wən ˈɛrɪk ˈædəmz ənd bɪˈkəz ˌɔrkəˈstreɪʃən hir saʊnz ˈtoʊtəli ˈdɪfərənt ðən ˈɛni ˈəðər bænd ɪn ˈhɛvi ˈmɛtəl mˈjuzɪk dɪd. pruvd ðeɪ kən sɛt ˈstændərdz fər sɪmˈfɑnɪk ˈmɛtəl, ˈæftər jɪrz əv ˈklæsɪk ˈhɛvi ˈmɛtəl ənd paʊər ˈmɛtəl ˌdɑməˈneɪʃən. ðɪs ɪz ˈrɪli ˈɛpɪk ˈstudiˌoʊ ˈælbəm, ənd wərd "ˈɛpɪk" ʃʊd bi ˈəndər ðɛr ˈkɑpiˌraɪt hoʊld. bæd saɪdz əv ðɪs riˈlis: meɪ tərn ɔf ˈleɪzi ˈæsəz ənd ˈnɛroʊ ˈmaɪndɪd ˈpipəl hu ˈsɪmpli doʊnt wɔnt tɪ ˈlɪsən ˈkɛrfəli ənd traɪ tɪ əˈpriʃiˌeɪt ðiz ˈɛksələnt ˈklæsɪkəl mˈjuzɪk pɑrts. ˈhaɪˌlaɪts: ˈɛvriˌθɪŋ. ɪf ju ˈlɪsən frəm bɪˈgɪnɪŋ tɪ ðə ɛnd, ɪt livz ˈivɪn ˈbɪgər ˌɪmˈprɛʃən.
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jon huntsman sr. listens to secrets.
while the buzz right now is that jon huntsman sr. might be the republican bain investor who out mitt romney to harry reid, the man himself now insists that not. huntsman told the plum greg sargent that he has “absolutely no knowledge of bain or mitt tax returns.” but while on the subject, mitt romney is a deceptive monster and he hates the american people:
“i feel very badly that mitt release his taxes and be fair with the american people,” huntsman told me. in a reference to father, who pioneered the release of returns as a presidential candidate, huntsman said: “i loved george. he always said, pay your taxes for at least 10 or 12 years.” “mr. romney ought to square with the american people and release his taxes like any other candidate,” huntsman said. “i’ve supported mitt all along. i wish him well. but i do think he should release his income taxes.”
we do not think huntsman wishes romney well.
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ʤɑn ˈhəntsmən ˈsɪstər. ˈlɪsənz tɪ ˈsikrɪts. waɪl ðə bəz raɪt naʊ ɪz ðət ʤɑn ˈhəntsmən ˈsɪstər. maɪt bi ðə rɪˈpəblɪkən beɪn ˌɪnˈvɛstər hu aʊt mɪt ˈrɑmni tɪ ˈhɛri rid, ðə mæn hɪmˈsɛlf naʊ ˌɪnˈsɪsts ðət nɑt. ˈhəntsmən toʊld ðə pləm grɛg ˈsɑrʤənt ðət hi həz noʊ ˈnɑlɪʤ əv beɪn ər mɪt tæks returns.”*.” bət waɪl ɔn ðə ˈsəbʤɪkt, mɪt ˈrɑmni ɪz ə dɪˈsɛptɪv ˈmɑnstər ənd hi heɪts ðə əˈmɛrɪkən ˈpipəl: fil ˈvɛri ˈbædli ðət mɪt riˈlis hɪz ˈtæksɪz ənd bi fɛr wɪθ ðə əˈmɛrɪkən people,”*,” ˈhəntsmən toʊld mi. ɪn ə ˈrɛfərəns tɪ ˈfɑðər, hu ˌpaɪəˈnɪrd ðə riˈlis əv rɪˈtərnz ɛz ə ˌprɛzɪˈdɛnʃəl ˈkænədɪt, ˈhəntsmən sɛd: ləvd ʤɔrʤ. hi ˈɔlˌweɪz sɛd, peɪ jʊr ˈtæksɪz fər æt list 10 ər 12 years.”*.” ““mr*. ˈrɑmni ɔt tɪ skwɛr wɪθ ðə əˈmɛrɪkən ˈpipəl ənd riˈlis hɪz ˈtæksɪz laɪk ˈɛni ˈəðər candidate,”*,” ˈhəntsmən sɛd. səˈpɔrtɪd mɪt ɔl əˈlɔŋ. aɪ wɪʃ ɪm wɛl. bət aɪ du θɪŋk hi ʃʊd riˈlis hɪz ˈɪnˌkəm taxes.”*.” wi du nɑt θɪŋk ˈhəntsmən ˈwɪʃɪz ˈrɑmni wɛl.
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senator dismissed as “pure hearsay” on monday a claim that an “oligarch” was planning to bribe senators to acquit chief justice maria lourdes sereno in her impeachment trial.
“huwag kayo kay. kasi hearsay yung kanya, e di hearsay pa ito. ‘yun dun house hearsay, e ito pa ito, di hearsay. baka triple hearsay yan,” said when sought for comment on lawyer lorenzo allegation.
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(let’s not believe too much in. because everything from him is hearsay, so this is also hearsay. what testifying in the house is all hearsay, and this is just gossip, so the more hearsay. it might even be triple hearsay.)
“in the first place, wala alam na sa, wala nabalitaan. maybe, you know, ito ang tact to put the senators on the spot if and when the articles of impeachment will be transmitted to us. already putting us on the spot para rather than acquit,” the senator said.
(in the first place, i know anything about anyone talking to senators; i hear anything about it. maybe, you know, this is his tact to put the senators on the spot if and when the articles of impeachment will be transmitted to us. like already putting us on the spot to convict us rather than acquit.)
the impeachment complaint against sereno is still being heard by the house of representatives’ committee on justice.
and once the complaint reaches the senate as an impeachment court, said he would ask to reveal the sources of his bribery allegation.
“pagdating ask him kung sinong. sino ang sa kanya, nabalitaan. sayon pa sa kanya,” the senator added.
(when he comes here, ask him which senators referring to. who told him, where he found out about it. for now, i want to believe him.)
gadon, in a statement this monday, claimed that a still unnamed oligarch promised to bribe some senators to absolve sereno in the impeachment trial.
“ang ko daw nila ng million ang na ng kay sereno,” the lawyer was quoted in the report as saying.
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(what i heard is they will pay million each senator who will vote to absolve sereno.)
read: bares ‘bribery plan’ to acquit sereno; camp calls it ‘another big lie’
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ˈsɛnətər dɪsˈmɪst ɛz hearsay”*” ɔn ˈmənˌdeɪ ə kleɪm ðət ən ““oligarch”*” wɑz ˈplænɪŋ tɪ braɪb ˈsɛnətərz tɪ əkˈwɪt ʧif ˈʤəstɪs mərˈiə lɔrdz sɛˈreɪnoʊ ɪn hər ˌɪmˈpiʧmənt traɪəl. keɪoʊ keɪ. ˈkɑzi ˈhirˌseɪ jəŋ kanya*, i di ˈhirˌseɪ pɑ ˈiˌtoʊ. dən haʊs ˈhirˌseɪ, i ˈiˌtoʊ pɑ ˈiˌtoʊ, di ˈhirˌseɪ. ˈbɑkə ˈtrɪpəl ˈhirˌseɪ yan,”*,” sɛd wɪn sɔt fər ˈkɑmɛnt ɔn ˈlɔjər lərˈɛnzoʊ ˌæləˈgeɪʃən. ˌædvərˈtaɪzmənt nɑt bɪˈliv tu məʧ ɪn. bɪˈkəz ˈɛvriˌθɪŋ frəm ɪm ɪz ˈhirˌseɪ, soʊ ðɪs ɪz ˈɔlsoʊ ˈhirˌseɪ. wət ˈtɛstɪˌfaɪɪŋ ɪn ðə haʊs ɪz ɔl ˈhirˌseɪ, ənd ðɪs ɪz ʤɪst ˈgɑsəp, soʊ ðə mɔr ˈhirˌseɪ. ɪt maɪt ˈivɪn bi ˈtrɪpəl ˈhirˌseɪ.) ðə fərst pleɪs, ˈwɔlə əˈlæm nɑ sɑ, ˈwɔlə nabalitaan*. ˈmeɪbi, ju noʊ, ˈiˌtoʊ æŋ tækt tɪ pʊt ðə ˈsɛnətərz ɔn ðə spɑt ɪf ənd wɪn ðə ˈɑrtɪkəlz əv ˌɪmˈpiʧmənt wɪl bi trænzˈmɪtəd tɪ ˈjuˈɛs. ɔˈrɛdi ˈpʊtɪŋ ˈjuˈɛs ɔn ðə spɑt ˈpɛrə ˈrəðər ðən acquit,”*,” ðə ˈsɛnətər sɛd. (ɪn ðə fərst pleɪs, aɪ noʊ ˈɛniˌθɪŋ əˈbaʊt ˈɛniˌwən ˈtɔkɪŋ tɪ ˈsɛnətərz; aɪ hir ˈɛniˌθɪŋ əˈbaʊt ɪt. ˈmeɪbi, ju noʊ, ðɪs ɪz hɪz tækt tɪ pʊt ðə ˈsɛnətərz ɔn ðə spɑt ɪf ənd wɪn ðə ˈɑrtɪkəlz əv ˌɪmˈpiʧmənt wɪl bi trænzˈmɪtəd tɪ ˈjuˈɛs. laɪk ɔˈrɛdi ˈpʊtɪŋ ˈjuˈɛs ɔn ðə spɑt tɪ ˈkɑnvɪkt ˈjuˈɛs ˈrəðər ðən əkˈwɪt.) ðə ˌɪmˈpiʧmənt kəmˈpleɪnt əˈgɛnst sɛˈreɪnoʊ ɪz stɪl biɪŋ hərd baɪ ðə haʊs əv representatives’*’ kəˈmɪti ɔn ˈʤəstɪs. ənd wəns ðə kəmˈpleɪnt ˈriʧɪz ðə ˈsɛnɪt ɛz ən ˌɪmˈpiʧmənt kɔrt, sɛd hi wʊd æsk tɪ rɪˈvil ðə ˈsɔrsəz əv hɪz ˈbraɪbəri ˌæləˈgeɪʃən. æsk ɪm kəŋ ˈsaɪnoʊ. ˈsaɪnoʊ æŋ sɑ kanya*, nabalitaan*. sɑ pɑ sɑ kanya,”*,” ðə ˈsɛnətər ˈædɪd. (wɪn hi kəmz hir, æsk ɪm wɪʧ ˈsɛnətərz rɪˈfərɪŋ tɪ. hu toʊld ɪm, wɛr hi faʊnd aʊt əˈbaʊt ɪt. fər naʊ, aɪ wɔnt tɪ bɪˈliv ɪm.), ɪn ə ˈsteɪtmənt ðɪs ˈmənˌdeɪ, kleɪmd ðət ə stɪl ənˈneɪmd ˈoʊlɪˌgɑrk ˈprɑməst tɪ braɪb səm ˈsɛnətərz tɪ əbˈzɑlv sɛˈreɪnoʊ ɪn ðə ˌɪmˈpiʧmənt traɪəl. koʊ dɔ ˈnilə ɪŋ ˈmɪljən æŋ nɑ ɪŋ keɪ sereno,”*,” ðə ˈlɔjər wɑz kˈwoʊtɪd ɪn ðə rɪˈpɔrt ɛz seɪɪŋ. ˌædvərˈtaɪzmənt (wət aɪ hərd ɪz ðeɪ wɪl peɪ ˈmɪljən iʧ ˈsɛnətər hu wɪl voʊt tɪ əbˈzɑlv sɛˈreɪnoʊ.) rɛd: bɛrz plan’*’ tɪ əkˈwɪt sɛˈreɪnoʊ; kæmp kɔlz ɪt bɪg lie’*’ rɛd nɛkst ˈleɪtəst ˈstɔriz moʊst rɛd
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more dazzling of final fantasy x in
by spencer . november 11, 2013 .
we’re near the release of final fantasy and no reason to keep the sisters a secret. can find this off the beaten path in the calm lands.
final fantasy x has the expert sphere which was added to final fantasy x international and the pal version. this sphere grid gives players more options from the beginning since all of the characters start in the center relatively close by to each other. this grid also has extract abilities that basically act as the sphere distillers from vanilla final fantasy x.
for more about final fantasy x and the origins of read our interview with producer kitase.
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mɔr ˈdæzəlɪŋ əv ˈfaɪnəl ˈfænəsi ɛks ɪn baɪ ˈspɛnsər noʊˈvɛmbər 11 2013 nɪr ðə riˈlis əv ˈfaɪnəl ˈfænəsi ənd noʊ ˈrizən tɪ kip ðə ˈsɪstərz ə ˈsikrɪt. kən faɪnd ðɪs ɔf ðə ˈbitən pæθ ɪn ðə kɑm lændz. ˈfaɪnəl ˈfænəsi ɛks həz ðə ˈɛkspərt sfɪr wɪʧ wɑz ˈædɪd tɪ ˈfaɪnəl ˈfænəsi ɛks ˌɪnərˈnæʃənɑl ənd ðə pæl ˈvərʒən. ðɪs sfɪr grɪd gɪvz pleɪərz mɔr ˈɔpʃənz frəm ðə bɪˈgɪnɪŋ sɪns ɔl əv ðə ˈkɛrɪktərz stɑrt ɪn ðə ˈsɛnər ˈrɛlətɪvli kloʊz baɪ tɪ iʧ ˈəðər. ðɪs grɪd ˈɔlsoʊ həz ˈɛkˌstrækt əˈbɪləˌtiz ðət ˈbeɪsɪkli ækt ɛz ðə sfɪr dɪˈstɪlərz frəm vəˈnɪlə ˈfaɪnəl ˈfænəsi ɛks. fər mɔr əˈbaʊt ˈfaɪnəl ˈfænəsi ɛks ənd ðə ˈɔrəʤɪnz əv rɛd ɑr ˈɪntərvˌju wɪθ prəˈdusər kitase*.
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the university of washington has removed a poster for its cheerleading squad after the graphic received severe backlash, including may people calling it sexist and misogynistic.
the cheerleading flier featured a white woman with blond hair and was meant to give advice on how to tryout for the team. but the poster ended up being more upsetting than instructional and faced almost immediate reproach.
© provided by independent print limited
“i can't believe this is real,” perez, a university of washington student and a member of the student government, told the seattle times. “one of the first things that comes mind is and of western beauty, which are values i would like to believe the university want to perpetuate. as a student of color who looks nothing like the student in the poster, this feels very exclusive.”
but opposition came from more places than just the seattle campus.
@seattletimes please be a barbie doll, white christian woman or don't bother! great message! :d craig baker (@ucbooker) april 27, 2016
and here's what's wrong with america. university of washington publishes list for cheerleader tryouts. mike (@mikesington) april 28, 2016
in a statement, university of washington athletics officials said they created the graphic “in response to a high volume of student questions about cheer and dance team tryouts,” the seattle times reported.
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it was removed after the department “determined that some of the details and descriptions provided were inconsistent with the values of the spirit program and department of athletics.”
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ðə ˌjunəˈvərsəti əv ˈwɔʃɪŋtən həz riˈmuvd ə ˈpoʊstər fər ɪts ˈʧɪˌrlidɪŋ skwɑd ˈæftər ðə ˈgræfɪk rɪˈsivd səˈvɪr ˈbæˌklæʃ, ˌɪnˈkludɪŋ meɪ ˈpipəl ˈkɔlɪŋ ɪt ˈsɛksɪst ənd misogynistic*. ðə ˈʧɪˌrlidɪŋ flaɪər ˈfiʧərd ə waɪt ˈwʊmən wɪθ blɑnd hɛr ənd wɑz mɛnt tɪ gɪv ədˈvaɪs ɔn haʊ tɪ traɪaʊt fər ðə tim. bət ðə ˈpoʊstər ˈɛndɪd əp biɪŋ mɔr əpˈsɛtɪŋ ðən ˌɪnˈstrəkʃənəl ənd feɪst ˈɔlˌmoʊst ˌɪˈmiˌdiət riˈproʊʧ. prəˈvaɪdɪd baɪ ˌɪndɪˈpɛndənt prɪnt ˈlɪmɪtɪd kænt bɪˈliv ðɪs ɪz real,”*,” ˈpɛrɛz, ə ˌjunəˈvərsəti əv ˈwɔʃɪŋtən ˈstudənt ənd ə ˈmɛmbər əv ðə ˈstudənt ˈgəvərnmənt, toʊld ðə siˈætəl taɪmz. əv ðə fərst θɪŋz ðət kəmz maɪnd ɪz ənd əv ˈwɛstərn ˈbjuti, wɪʧ ər ˈvæljuz aɪ wʊd laɪk tɪ bɪˈliv ðə ˌjunəˈvərsəti wɔnt tɪ pərˈpɛʧəˌweɪt. ɛz ə ˈstudənt əv ˈkələr hu lʊks ˈnəθɪŋ laɪk ðə ˈstudənt ɪn ðə ˈpoʊstər, ðɪs filz ˈvɛri exclusive.”*.” bət ˌɑpəˈzɪʃən keɪm frəm mɔr ˈpleɪsɪz ðən ʤɪst ðə siˈætəl ˈkæmpəs. pliz bi ə ˈbɑrbi dɑl, waɪt ˈkrɪsʧɪn ˈwʊmən ər doʊnt ˈbɑðər! greɪt ˈmɛsɪʤ! :di kreɪg ˈbeɪkər (@ucbooker*) ˈeɪprəl 27 2016 ənd hɪrz wəts rɔŋ wɪθ əˈmɛrɪkə. ˌjunəˈvərsəti əv ˈwɔʃɪŋtən ˈpəblɪʃɪz lɪst fər ˈʧɪˌrlidər traɪaʊts. maɪk (@mikesington*) ˈeɪprəl 28 2016 ɪn ə ˈsteɪtmənt, ˌjunəˈvərsəti əv ˈwɔʃɪŋtən æθˈlɛtɪks əˈfɪʃəlz sɛd ðeɪ kriˈeɪtɪd ðə ˈgræfɪk rɪˈspɑns tɪ ə haɪ ˈvɑljum əv ˈstudənt kˈwɛsʧənz əˈbaʊt ʧɪr ənd dæns tim tryouts,”*,” ðə siˈætəl taɪmz ˌriˈpɔrtəd. prəˈvaɪdɪd baɪ ˌɪndɪˈpɛndənt prɪnt ˈlɪmɪtɪd ˈɪmɪʤ ɪt wɑz riˈmuvd ˈæftər ðə dɪˈpɑrtmənt ðət səm əv ðə ˈditeɪlz ənd dɪˈskrɪpʃənz prəˈvaɪdɪd wər ˌɪnkənˈsɪstənt wɪθ ðə ˈvæljuz əv ðə ˈspɪrɪt ˈproʊˌgræm ənd dɪˈpɑrtmənt əv athletics.”*.”
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while hosting the 2015 soul train awards on sunday night, badu made sure to throw a major diss the "black widow" singer's way. during her monologue, the singer made fake calls to people and pretended to invite them to the show. one of those people was azalea.
"uh, yes? who is this? azalea?" badu said. "yeah, hey. oh, no, no, no, no, you can come, 'cause what you doin' is definitely not rap."
ouch. that one's gotta sting a little.
the audience responded with thundering applause.
azalea caused quite the stir back in may when she won the billboard music award for top rap artist, beating out drake, nicki and j.cole, and the award for top rap song (for "fancy"). people were so disappointed, they actually started a petition to get the latter revoked. in 2014, azalea beat out and drake at the american music awards for favorite artist and album, which people also weren't happy about. judging by her comments, we'd say badu is one of those people.
but azalea isn't one to back down, so it's only a matter of time before she speaks out on this latest beef.
also on huffpost:
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waɪl ˈhoʊstɪŋ ðə 2015 soʊl treɪn əˈwɔrdz ɔn ˈsənˌdi naɪt, bəˈdu meɪd ʃʊr tɪ θroʊ ə ˈmeɪʤər dɪs ðə "blæk ˈwɪdoʊ" ˈsɪŋərz weɪ. ˈdʊrɪŋ hər ˈmɑnəˌlɔg, ðə ˈsɪŋər meɪd feɪk kɔlz tɪ ˈpipəl ənd priˈtɛndɪd tɪ ˌɪnˈvaɪt ðɛm tɪ ðə ʃoʊ. wən əv ðoʊz ˈpipəl wɑz əˈzeɪljə. "ə, jɛs? hu ɪz ðɪs? əˈzeɪljə?" bəˈdu sɛd. "jæ, heɪ. oʊ, noʊ, noʊ, noʊ, noʊ, ju kən kəm, 'kɔz wət ju doin*' ɪz ˈdɛfənətli nɑt ræp." aʊʧ. ðət wənz ˈgɑtə stɪŋ ə ˈlɪtəl. ðə ˈɔdiəns rɪˈspɑndɪd wɪθ ˈθəndərɪŋ əˈplɔz. əˈzeɪljə kɔzd kwaɪt ðə stər bæk ɪn meɪ wɪn ʃi wən ðə ˈbɪlˌbɔrd mˈjuzɪk əˈwɔrd fər tɔp ræp ˈɑrtɪst, ˈbitɪŋ aʊt dreɪk, ˈnɪki ənd j.cole*, ənd ðə əˈwɔrd fər tɔp ræp sɔŋ (fər "ˈfænsi"). ˈpipəl wər soʊ ˌdɪsəˈpɔɪnɪd, ðeɪ ˈæˌkʧuəli ˈstɑrtɪd ə pəˈtɪʃən tɪ gɪt ðə ˈlætər rɪˈvoʊkt. ɪn 2014 əˈzeɪljə bit aʊt ənd dreɪk æt ðə əˈmɛrɪkən mˈjuzɪk əˈwɔrdz fər ˈfeɪvərɪt ˈɑrtɪst ənd ˈælbəm, wɪʧ ˈpipəl ˈɔlsoʊ wərənt ˈhæpi əˈbaʊt. ˈʤəʤɪŋ baɪ hər ˈkɑmɛnts, wid seɪ bəˈdu ɪz wən əv ðoʊz ˈpipəl. bət əˈzeɪljə ˈɪzənt wən tɪ bæk daʊn, soʊ ɪts ˈoʊnli ə ˈmætər əv taɪm ˌbiˈfɔr ʃi spiks aʊt ɔn ðɪs ˈleɪtəst bif. ˈɔlsoʊ ɔn huffpost*:
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when canadian defence minister singh announced his first official trip to india two months ago, it reignited a sense oflective pride in punjab with expectations of a warm welcome for the return of the native. for, is the first sikh to hold the top defence job in a foreign land, and yet another incredible success story of the diaspora. but,’s high-profile visit has been met with ad reception from unexpected quarters punjab chief minister captain singh.
the visit got embroiled in an row even before set foot on indian soil on monday.
the captain started it all by dubbing a “khalistani sympathiser”, and refused to meet him during his visit to punjab later this week. the chief outburst triggered a chain of reactions, reflecting a sharp divide in opinion on’s credentials. while congress and were quick to come out in’s support, his remarks have not gone down well with other political parties and the sikh diaspora. slamming’s stand, the committee (sgpc), the apex sikh religious body, announced its plan to honour when he pays obeisance at the onil 20.
sikh fundamentalist groups such as the and dal khalsa were quick to seize the opportunity, asking the for permission to honour the visiting dignitary. but, chief singh correctly grasped the sensitivity of the matter and rejected the radical demand.
while the canadian authorities called’s allegations “incorrect and unfortunate”, initially refused to join issue and stuck to the and diplomatically correct script. he chose his own timing and place to clear the air. “i promote the of any country. my job is to promote the bilateral relations,” he said, hours after his arrival in new delhi.
that, however, is unlikely to mellow the captain. he has stuck to his guns, citing as “evidence” the fact that’s father has long been associated with the world sikh organisation (wso), an overseas body that once espoused and funded the cause of a separate sikh state.
it’s incredulous that as a seasoned politician as, barely five weeks into power, has chosen to rake up the lost cause of and used that as a ruse to distance himself from a top ranking canadian minister who ironically belongs to his own ilk. is a decorated war veteran of his adopted country.
in doing so, has given publicity oxygen to thei rump.
personal pique, public posture
more than an ideological stand, the real reason for’s snub for seemingly stems from his personal pique. he has a bone to pick since last year when the canadian authorities had put a spanner in his trip to the country before the punjab assembly elections, on the grounds of legal bar on political canvassing by foreigners. in a letter to the canadian prime minister, the captain had blamed the lobby for playing spoilsport. not surprisingly, his charge against the canadian minister sounds like payback.
in public perception,’s stance is not seen in good taste. from standpoint, he may have jettisoned any benefits accruing from the deepening bilateral ties between india and the justin trudeau government which has four sikh ministers more than the modi cabinet. that itself is a significant marker of the sway of the sikh diaspora in the maple power politics.
it is true that the traumatic events of the continue to resonate among the sikh diaspora and have come to be inextricably linked to domestic politics in canada. that explains ontario extraordinary motion recently, calling the 1984 violence genocide’ a move that india has frowned upon. yet, only a tiny section of the overseas sikh constituency still about. a silent majority has long moved away from the separatist mooring, as evident from the rising clout of moderates in the local politics.
ironically, the captain, in 2005, was the first, and last, punjab chief minister after operation to have ventured into canada. reaching out to the sullen sikh community, he had addressed a gathering in a toronto, then in control ofis. a controversy ensued, but he had justified his gesture as a bid to win over the alienated sikhs. in his second stint at the helm of punjab, may have lost an opportunity to reconnect with the and earn their goodwill.
first published: 18, 2017
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wɪn kəˈneɪdiən dɪˈfɛns ˈmɪnɪstər sɪŋ əˈnaʊnst hɪz fərst əˈfɪʃəl trɪp tɪ ˈɪndiə tu mənθs əˈgoʊ, ɪt ˌriɪgˈnaɪtɪd ə sɛns əv kəˈlɛktɪv praɪd ɪn ˈpənˌʤæb wɪθ ˌɛkspɛkˈteɪʃənz əv ə wɔrm ˈwɛlkəm fər ðə rɪˈtərn əv ðə ˈneɪtɪv. fər, ɪz ðə fərst sik tɪ hoʊld ðə tɔp dɪˈfɛns ʤɑb ɪn ə ˈfɔrən lænd, ənd jɛt əˈnəðər ˌɪnˈkrɛdəbəl səkˈsɛs ˈstɔri əv ðə daɪˈæspərə. bət, ˌhaɪˈproʊfaɪl ˈvɪzɪt həz bɪn mɛt wɪθ ə koʊld rɪˈsɛpʃən frəm ˌənɪkˈspɛktɪd kˈwɔrtərz ˈpənˌʤæb ʧif ˈmɪnɪstər ˈkæptən sɪŋ. ðə ˈvɪzɪt gɑt ɛmˈbrɔɪld ɪn ən roʊ ˈivɪn ˌbiˈfɔr sɛt fʊt ɔn ˈɪndiən sɔɪl ɔn ˈmənˌdeɪ. ðə ˈkæptən ˈstɑrtɪd ɪt ɔl baɪ ˈdəbɪŋ ə sympathiser”*”, ənd rɪfˈjuzd tɪ mit ɪm ˈdʊrɪŋ hɪz ˈvɪzɪt tɪ ˈpənˌʤæb ˈleɪtər ðɪs wik. ðə ʧif ˈaʊtˌbərst ˈtrɪgərd ə ʧeɪn əv riˈækʃənz, rɪˈflɛktɪŋ ə ʃɑrp dɪˈvaɪd ɪn əˈpɪnjən ɔn krəˈdɛnʃəlz. waɪl ˈkɑŋgrəs ənd wər kwɪk tɪ kəm aʊt ɪn səˈpɔrt, hɪz rɪˈmɑrks hæv nɑt gɔn daʊn wɛl wɪθ ˈəðər pəˈlɪtɪkəl ˈpɑrtiz ənd ðə sik daɪˈæspərə. sˈlæmɪŋ stænd, ðə kəˈmɪti (sgpc*), ðə ˈeɪˌpɛks sik rɪˈlɪʤəs ˈbɑdi, əˈnaʊnst ɪts plæn tɪ ˈɑnər wɪn hi peɪz oʊˈbeɪsəns æt ðə ɔn ˈeɪprəl 20 sik ˌfəndəˈmɛnəlɪst grups səʧ ɛz ðə ənd dæl ˈkɑlsə wər kwɪk tɪ siz ðə ˌɑpərˈtunəti, ˈæskɪŋ ðə fər pərˈmɪʃən tɪ ˈɑnər ðə ˈvɪzɪtɪŋ ˈdɪgnəˌtɛri. bət, ʧif sɪŋ kərˈɛktli græspt ðə ˌsɛnsɪˈtɪvɪti əv ðə ˈmætər ənd rɪˈʤɛktɪd ðə ˈrædɪkəl dɪˈmænd. waɪl ðə kəˈneɪdiən əˈθɔrətiz kɔld ˌæləˈgeɪʃənz ənd unfortunate”*”, ˌɪˈnɪʃəli rɪfˈjuzd tɪ ʤɔɪn ˈɪʃu ənd stək tɪ ðə ənd ˌdɪpləˈmætɪkli kərˈɛkt skrɪpt. hi ʧoʊz hɪz oʊn ˈtaɪmɪŋ ənd pleɪs tɪ klɪr ðə ɛr. prəˈmoʊt ðə əv ˈɛni ˈkəntri. maɪ ʤɑb ɪz tɪ prəˈmoʊt ðə baɪˈlætərəl relations,”*,” hi sɛd, aʊərz ˈæftər hɪz ərˈaɪvəl ɪn nu ˈdɛli. ðət, ˌhaʊˈɛvər, ɪz ənˈlaɪkli tɪ ˈmɛloʊ ðə ˈkæptən. hi həz stək tɪ hɪz gənz, ˈsaɪtɪŋ ɛz ““evidence”*” ðə fækt ðət ˈfɑðər həz lɔŋ bɪn əˈsoʊʃiˌeɪtəd wɪθ ðə wərld sik ˌɔrgənɪˈzeɪʃən (wso*), ən ˈoʊvərˈsiz ˈbɑdi ðət wəns ɪˈspaʊzd ənd ˈfəndɪd ðə kɔz əv ə ˈsɛpərˌeɪt sik steɪt. ˌɪnˈkrɛʤələs ðət ɛz ə ˈsizənd ˌpɑləˈtɪʃən ɛz, ˈbɛrli faɪv wiks ˈɪntu paʊər, həz ˈʧoʊzən tɪ reɪk əp ðə lɔst kɔz əv ənd juzd ðət ɛz ə ruz tɪ ˈdɪstəns hɪmˈsɛlf frəm ə tɔp ˈræŋkɪŋ kəˈneɪdiən ˈmɪnɪstər hu aɪˈrɑnɪkli bɪˈlɔŋz tɪ hɪz oʊn ɪlk. ɪz ə ˈdɛkərˌeɪtɪd wɔr ˈvɛtərən əv hɪz əˈdɑptəd ˈkəntri. ɪn duɪŋ soʊ, həz ˈgɪvɪn pəˈblɪsɪti ˈɑksɪʤən tɪ ðə rəmp. ˈpərsɪnəl pik, ˈpəblɪk ˈpɑsʧər mɔr ðən ən ˌaɪdiəˈlɑʤɪkəl stænd, ðə ril ˈrizən fər snəb fər ˈsimɪŋli stɛmz frəm hɪz ˈpərsɪnəl pik. hi həz ə boʊn tɪ pɪk sɪns læst jɪr wɪn ðə kəˈneɪdiən əˈθɔrətiz hæd pʊt ə ˈspænər ɪn hɪz trɪp tɪ ðə ˈkəntri ˌbiˈfɔr ðə ˈpənˌʤæb əˈsɛmbli ɪˈlɛkʃənz, ɔn ðə graʊnz əv ˈligəl bɑr ɔn pəˈlɪtɪkəl ˈkænvəsɪŋ baɪ ˈfɔrənərz. ɪn ə ˈlɛtər tɪ ðə kəˈneɪdiən praɪm ˈmɪnɪstər, ðə ˈkæptən hæd bleɪmd ðə ˈlɑbi fər pleɪɪŋ spoilsport*. nɑt səˈpraɪzɪŋli, hɪz ʧɑrʤ əˈgɛnst ðə kəˈneɪdiən ˈmɪnɪstər saʊnz laɪk ˈpeɪˌbæk. ɪn ˈpəblɪk pərˈsɛpʃən, stæns ɪz nɑt sin ɪn gʊd teɪst. frəm ˈstændˌpɔɪnt, hi meɪ hæv ˈʤɛtɪsənd ˈɛni ˈbɛnəfɪts əˈkruɪŋ frəm ðə ˈdipənɪŋ baɪˈlætərəl taɪz bɪtˈwin ˈɪndiə ənd ðə ˈʤəstɪn truˈdoʊ ˈgəvərnmənt wɪʧ həz fɔr sik ˈmɪnɪstərz mɔr ðən ðə ˈmoʊdi ˈkæbənət. ðət ˌɪtˈsɛlf ɪz ə sɪgˈnɪfɪkənt ˈmɑrkər əv ðə sweɪ əv ðə sik daɪˈæspərə ɪn ðə ˈmeɪpəl paʊər ˈpɑləˌtɪks. ɪt ɪz tru ðət ðə trɔˈmætɪk ɪˈvɛnts əv ðə kənˈtɪnju tɪ ˈrɛzəˌneɪt əˈməŋ ðə sik daɪˈæspərə ənd hæv kəm tɪ bi ˌɪˈnɛkstrɪˌkəbli lɪŋkt tɪ dəˈmɛstɪk ˈpɑləˌtɪks ɪn ˈkænədə. ðət ɪkˈspleɪnz ɑnˈtɛrioʊ ˌɛkstrəˈɔrdəˌnɛri ˈmoʊʃən ˈrisəntli, ˈkɔlɪŋ ðə 1984 ˈvaɪələns genocide’*’ ə muv ðət ˈɪndiə həz fraʊnd əˈpɑn. jɛt, ˈoʊnli ə ˈtaɪni ˈsɛkʃən əv ðə ˈoʊvərˈsiz sik kənˈstɪʧuənsi stɪl əˈbaʊt. ə ˈsaɪlənt məˈʤɔrəti həz lɔŋ muvd əˈweɪ frəm ðə ˈsɛpərətɪst ˈmʊrɪŋ, ɛz ˈɛvədənt frəm ðə ˈraɪzɪŋ klaʊt əv ˈmɑdərˌeɪts ɪn ðə ˈloʊkəl ˈpɑləˌtɪks. aɪˈrɑnɪkli, ðə ˈkæptən, ɪn 2005 wɑz ðə fərst, ənd læst, ˈpənˌʤæb ʧif ˈmɪnɪstər ˈæftər ˌɑpərˈeɪʃən tɪ hæv ˈvɛnʧərd ˈɪntu ˈkænədə. ˈriʧɪŋ aʊt tɪ ðə ˈsələn sik kəmˈjunɪti, hi hæd əˈdrɛst ə ˈgæðərɪŋ ɪn ə tərˈɑntoʊ, ðɛn ɪn kənˈtroʊl əv khalistanis*. ə ˈkɑntrəˌvərsi ɪnˈsud, bət hi hæd ˈʤəstəˌfaɪd hɪz ˈʤɛsʧər ɛz ə bɪd tɪ wɪn ˈoʊvər ðə ˈeɪliəˌneɪtɪd siks. ɪn hɪz ˈsɛkənd stɪnt æt ðə hɛlm əv ˈpənˌʤæb, meɪ hæv lɔst ən ˌɑpərˈtunəti tɪ rikəˈnɛkt wɪθ ðə ənd ərn ðɛr ˈgʊdˈwɪl. fərst ˈpəblɪʃt: 18 2017
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in response to recent spying allegations, brazil is pressing ahead with a new law to require internet companies like google to store data about brazilian users inside brazil, where it will be subject to local privacy laws. the proposed legislation could be signed into law as early as the end of this week. however, service started leaving the country on september 12th, the day president announced her intention to require local storage of user data.
brazil is the largest economy in latin america and one of the fastest growing domestic in the world. if companies like google feel like they have to stop providing local service in such a significant market due to new restrictions on their operations, brazilian internet users and multinational content providers could ultimately both suffer as a result of the new legislation. in all likelihood, google is taking a “wait and see” approach to determine how to legally provision their services in brazil. when they do, perhaps see the return of low-latency, local caches for their freely available service.
google in brazil
as most readers of this blog will know, when you access any resource on the internet by name (e.g., www.google.com), your computer must first convert this name into an ip address (e.g.,), which it then uses to gain access to the resource requested. this conversion process, called or domain name system, is typically transparently furnished to users by their internet service provider. since december 2009, google has offered their own version of this service for free to the public, branded as google public, at the well-known ip addresses and.
while google provides a public benefit to many, all “free” services ultimately have to be paid for somehow. by gaining visibility into the internet usage of its users, google can use this data to improve its commercial applications, such as the placement of advertisements. it is this user data that would presumably make google public subject to the more stringent privacy laws proposed by president.
however, no one is forced to use google. as we noted, most (and companies) provide their own services to their users. for those who or for those users who prefer using third party service, google is one of several open public services. and offer two others.) in brazil, read that smaller often use google service from paulo as part of their services.
last month, we noticed that google for latin america had stopped answering queries from paulo and had started forwarding queries back to the us for resolution. we presented this development at 59 and in a blog post earlier this month about internet performance. nobody from google would comment. by moving resolution out of brazil and back to the united states, google now operates outside of brazilian jurisdiction. it still works just fine for latin american users, just much more slowly.
below are graphs of the measured for several locations around latin america over the course of 2013. abruptly jumped when queries began getting passed back to the us instead of being handled in paulo. (another lesser known google ip address,, was also moved back to the us on 16 september.)
after others in the region confirmed the change in google service on the email list, one participant asked, “hay de google en la lista. un poco la razón” (there are people from google on this email list. could they clarify the reason [for the change]?). there was no response.
google did acknowledge the change on september 24th, but did not disclose a cause:
currently queries to google from brazil (and maybe other south american countries as well) are handled by in the united states. consequently you may experience longer latency than before. we are sorry about this inconvenience to you and are working to restart in brazil in the near future.
when i asked a google contact if this was a technical issue or a policy decision, i was referred to public affairs office.
conclusion
it seems only prudent that upon hearing of the new privacy law in brazil, google would begin the process of discontinuing its services there, pending a review of the final legislation by their lawyers. such a review could decide how google can restart local services in brazil, such as google.
alternatively, if google leaves brazil as they did in china, they could opt to make their local infrastructure investments in another country (mexico? colombia?), with privacy laws more to their liking. in addition, this development could spur local competition to google, perhaps with government encouragement, as seen with and yandex. this would not necessarily be a bad thing for brazil, and the region as a whole, in the long run.
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ɪn rɪˈspɑns tɪ ˈrisənt spaɪɪŋ ˌæləˈgeɪʃənz, brəˈzɪl ɪz ˈprɛsɪŋ əˈhɛd wɪθ ə nu lɔ tɪ ˌrikˈwaɪər ˈɪntərˌnɛt ˈkəmpəˌniz laɪk ˈgugəl tɪ stɔr ˈdætə əˈbaʊt brəˈzɪljən ˈjuzərz ˌɪnˈsaɪd brəˈzɪl, wɛr ɪt wɪl bi ˈsəbʤɪkt tɪ ˈloʊkəl ˈpraɪvəsi lɔz. ðə prəˈpoʊzd ˌlɛʤəsˈleɪʃən kʊd bi saɪnd ˈɪntu lɔ ɛz ˈərli ɛz ðə ɛnd əv ðɪs wik. ˌhaʊˈɛvər, ˈsərvɪs ˈstɑrtɪd ˈlivɪŋ ðə ˈkəntri ɔn sɛpˈtɛmbər 12th*, ðə deɪ ˈprɛzɪdənt əˈnaʊnst hər ˌɪnˈtɛnʧən tɪ ˌrikˈwaɪər ˈloʊkəl ˈstɔrɪʤ əv ˈjuzər ˈdætə. brəˈzɪl ɪz ðə ˈlɑrʤəst ɪˈkɑnəmi ɪn ˈlætən əˈmɛrɪkə ənd wən əv ðə ˈfæstəst groʊɪŋ dəˈmɛstɪk ɪn ðə wərld. ɪf ˈkəmpəˌniz laɪk ˈgugəl fil laɪk ðeɪ hæv tɪ stɑp prəˈvaɪdɪŋ ˈloʊkəl ˈsərvɪs ɪn səʧ ə sɪgˈnɪfɪkənt ˈmɑrkɪt du tɪ nu riˈstrɪkʃənz ɔn ðɛr ˌɑpərˈeɪʃənz, brəˈzɪljən ˈɪntərˌnɛt ˈjuzərz ənd ˌməlˌtiˈnæʃənəl ˈkɑntɛnt prəˈvaɪdərz kʊd ˈəltəmətli boʊθ ˈsəfər ɛz ə rɪˈzəlt əv ðə nu ˌlɛʤəsˈleɪʃən. ɪn ɔl ˈlaɪkliˌhʊd, ˈgugəl ɪz ˈteɪkɪŋ ə ənd see”*” əˈproʊʧ tɪ dɪˈtərmən haʊ tɪ ˈligəli prəˈvɪʒən ðɛr ˈsərvɪsɪz ɪn brəˈzɪl. wɪn ðeɪ du, pərˈhæps si ðə rɪˈtərn əv low-latency*, ˈloʊkəl ˈkæʃɪz fər ðɛr ˈfrili əˈveɪləbəl ˈsərvɪs. ˈgugəl ɪn brəˈzɪl ɛz moʊst ˈridərz əv ðɪs blɔg wɪl noʊ, wɪn ju ˈækˌsɛs ˈɛni ˈrisɔrs ɔn ðə ˈɪntərˌnɛt baɪ neɪm (e.g*., www.google.com*), jʊr kəmˈpjutər məst fərst ˈkɑnvərt ðɪs neɪm ˈɪntu ən ˌaɪˌpi ˈæˌdrɛs (e.g*., wɪʧ ɪt ðɛn ˈjuzɪz tɪ geɪn ˈækˌsɛs tɪ ðə ˈrisɔrs rɪkˈwɛstɪd. ðɪs kənˈvərʒən ˈprɔˌsɛs, kɔld ər doʊˈmeɪn neɪm ˈsɪstəm, ɪz ˈtɪpɪkəli trænˈspɛrəntli ˈfərnɪʃt tɪ ˈjuzərz baɪ ðɛr ˈɪntərˌnɛt ˈsərvɪs prəˈvaɪdər. sɪns dɪˈsɛmbər 2009 ˈgugəl həz ˈɔfərd ðɛr oʊn ˈvərʒən əv ðɪs ˈsərvɪs fər fri tɪ ðə ˈpəblɪk, ˈbrændɪd ɛz ˈgugəl ˈpəblɪk, æt ðə ˈwɛlˈnoʊn ˌaɪˌpi ˈæˈdrɛsɪz ənd waɪl ˈgugəl prəˈvaɪdz ə ˈpəblɪk ˈbɛnəfɪt tɪ ˈmɛni, ɔl ““free”*” ˈsərvɪsɪz ˈəltəmətli hæv tɪ bi peɪd fər ˈsəmˌhaʊ. baɪ ˈgeɪnɪŋ ˌvɪzəˈbɪlɪti ˈɪntu ðə ˈɪntərˌnɛt ˈjusɪʤ əv ɪts ˈjuzərz, ˈgugəl kən juz ðɪs ˈdætə tɪ ˌɪmˈpruv ɪts kəˈmərʃəl ˌæpləˈkeɪʃənz, səʧ ɛz ðə ˈpleɪsmənt əv ˈædvərˌtaɪzmənts. ɪt ɪz ðɪs ˈjuzər ˈdætə ðət wʊd prɪˈzuməbli meɪk ˈgugəl ˈpəblɪk ˈsəbʤɪkt tɪ ðə mɔr ˈstrɪnʤənt ˈpraɪvəsi lɔz prəˈpoʊzd baɪ ˈprɛzɪdənt. ˌhaʊˈɛvər, noʊ wən ɪz fɔrst tɪ juz ˈgugəl. ɛz wi ˈnoʊtɪd, moʊst (ənd ˈkəmpəˌniz) prəˈvaɪd ðɛr oʊn ˈsərvɪsɪz tɪ ðɛr ˈjuzərz. fər ðoʊz hu ər fər ðoʊz ˈjuzərz hu prɪˈfər ˈjuzɪŋ θərd ˈpɑrti ˈsərvɪs, ˈgugəl ɪz wən əv ˈsɛvərəl ˈoʊpən ˈpəblɪk ˈsərvɪsɪz. ənd ˈɔfər tu ˈəðərz.) ɪn brəˈzɪl, rɛd ðət sˈmɔlər ˈɔfən juz ˈgugəl ˈsərvɪs frəm ˈpɔˌloʊ ɛz pɑrt əv ðɛr ˈsərvɪsɪz. læst mənθ, wi ˈnoʊtɪst ðət ˈgugəl fər ˈlætən əˈmɛrɪkə hæd stɑpt ˈænsərɪŋ kˈwɪriz frəm ˈpɔˌloʊ ənd hæd ˈstɑrtɪd ˈfɔrwərdɪŋ kˈwɪriz bæk tɪ ðə ˈjuˈɛs fər ˌrɛzəˈluʃən. wi pərˈzɛnəd ðɪs dɪˈvɛləpmənt æt 59 ənd ɪn ə blɔg poʊst ˈərliər ðɪs mənθ əˈbaʊt ˈɪntərˌnɛt pərˈfɔrməns. ˈnoʊˌbɑˌdi frəm ˈgugəl wʊd ˈkɑmɛnt. baɪ ˈmuvɪŋ ˌrɛzəˈluʃən aʊt əv brəˈzɪl ənd bæk tɪ ðə juˈnaɪtɪd steɪts, ˈgugəl naʊ ˈɑpərˌeɪts ˈaʊtˈsaɪd əv brəˈzɪljən ˌʤʊrɪsˈdɪkʃən. ɪt stɪl wərks ʤɪst faɪn fər ˈlætən əˈmɛrɪkən ˈjuzərz, ʤɪst məʧ mɔr sˈloʊli. bɪˈloʊ ər græfs əv ðə ˈmɛʒərd fər ˈsɛvərəl loʊˈkeɪʃənz əraʊnd ˈlætən əˈmɛrɪkə ˈoʊvər ðə kɔrs əv 2013 əˈbrəptli ʤəmpt wɪn kˈwɪriz bɪˈgæn ˈgɪtɪŋ pæst bæk tɪ ðə ˈjuˈɛs ˌɪnˈstɛd əv biɪŋ ˈhændəld ɪn ˈpɔˌloʊ. (əˈnəðər ˈlɛsər noʊn ˈgugəl ˌaɪˌpi ˈæˌdrɛs, wɑz ˈɔlsoʊ muvd bæk tɪ ðə ˈjuˈɛs ɔn 16 sɛpˈtɛmbər.) ˈæftər ˈəðərz ɪn ðə ˈriʤən kənˈfərmd ðə ʧeɪnʤ ɪn ˈgugəl ˈsərvɪs ɔn ðə iˈmeɪl lɪst, wən pɑrˈtɪsəpənt æst, də ˈgugəl ɛn lɑ lista*. ˈjuˈɛn ˈpoʊkoʊ lɑ razón”*” (ðɛr ər ˈpipəl frəm ˈgugəl ɔn ðɪs iˈmeɪl lɪst. kʊd ðeɪ ˈklɛrəˌfaɪ ðə ˈrizən [fər ðə ʧeɪnʤ]?). ðɛr wɑz noʊ rɪˈspɑns. ˈgugəl dɪd ækˈnɑlɪʤ ðə ʧeɪnʤ ɔn sɛpˈtɛmbər 24th*, bət dɪd nɑt dɪˈskloʊz ə kɔz: ˈkərəntli kˈwɪriz tɪ ˈgugəl frəm brəˈzɪl (ənd ˈmeɪbi ˈəðər saʊθ əˈmɛrɪkən ˈkəntriz ɛz wɛl) ər ˈhændəld baɪ ɪn ðə juˈnaɪtɪd steɪts. ˈkɑnsəkˌwɛntli ju meɪ ɪkˈspɪriəns ˈlɔŋgər ˈleɪtənsi ðən ˌbiˈfɔr. wi ər ˈsɑri əˈbaʊt ðɪs ˌɪnkənˈvinjəns tɪ ju ənd ər ˈwərkɪŋ tɪ riˈstɑrt ɪn brəˈzɪl ɪn ðə nɪr fˈjuʧər. wɪn aɪ æst ə ˈgugəl ˈkɑnˌtækt ɪf ðɪs wɑz ə ˈtɛknɪkəl ˈɪʃu ər ə ˈpɑləsi dɪˈsɪʒən, aɪ wɑz rɪˈfərd tɪ ˈpəblɪk əˈfɛrz ˈɔfəs. kənˈkluʒən ɪt simz ˈoʊnli ˈprudənt ðət əˈpɑn ˈhirɪŋ əv ðə nu ˈpraɪvəsi lɔ ɪn brəˈzɪl, ˈgugəl wʊd bɪˈgɪn ðə ˈprɔˌsɛs əv dɪskənˈtɪnjuɪŋ ɪts ˈsərvɪsɪz ðɛr, ˈpɛndɪŋ ə ˌrivˈju əv ðə ˈfaɪnəl ˌlɛʤəsˈleɪʃən baɪ ðɛr ˈlɔjərz. səʧ ə ˌrivˈju kʊd ˌdɪˈsaɪd haʊ ˈgugəl kən riˈstɑrt ˈloʊkəl ˈsərvɪsɪz ɪn brəˈzɪl, səʧ ɛz ˈgugəl. ɔlˈtərnətɪvli, ɪf ˈgugəl livz brəˈzɪl ɛz ðeɪ dɪd ɪn ˈʧaɪnə, ðeɪ kʊd ɑpt tɪ meɪk ðɛr ˈloʊkəl ˌɪnfrəˈstrəkʧər ˌɪnˈvɛstmənts ɪn əˈnəðər ˈkəntri (ˈmɛksəˌkoʊ? kəˈləmbiə?), wɪθ ˈpraɪvəsi lɔz mɔr tɪ ðɛr ˈlaɪkɪŋ. ɪn əˈdɪʃən, ðɪs dɪˈvɛləpmənt kʊd spər ˈloʊkəl ˌkɑmpəˈtɪʃən tɪ ˈgugəl, pərˈhæps wɪθ ˈgəvərnmənt ɛnˈkərɪʤmənt, ɛz sin wɪθ ənd yandex*. ðɪs wʊd nɑt ˌnɛsəˈsɛrəli bi ə bæd θɪŋ fər brəˈzɪl, ənd ðə ˈriʤən ɛz ə hoʊl, ɪn ðə lɔŋ rən.
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ipa day 2015
this thursday, august 6th, marks the return of day, the international celebration of one of the most popular and iconic beer styles, the india pale ale. that bitter, refreshing bite all come to love has made mark on the beer world in many varieties, from the mild bitter of a session to the rough bite of your favorite imperial. be sure to to your favorite (see full list of styles below) on day, which is this thursday, august 6th, and you can unlock this “ipa day (2015)” badge.
qualifying varieities:
belgian
imperial / double black
black / dark ale
american
english
imperial / double
triple
white
session
you can learn more about day and its history over at craftbeer.com!
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ipa* deɪ 2015 ðɪs ˈθərzˌdeɪ, ˈɔgəst 6th*, mɑrks ðə rɪˈtərn əv deɪ, ðə ˌɪnərˈnæʃənɑl ˌsɛləˈbreɪʃən əv wən əv ðə moʊst ˈpɑpjələr ənd ˌaɪˈkɑnɪk bɪr staɪlz, ðə ˈɪndiə peɪl eɪl. ðət ˈbɪtər, rɪˈfrɛʃɪŋ baɪt ɔl kəm tɪ ləv həz meɪd mɑrk ɔn ðə bɪr wərld ɪn ˈmɛni vərˈaɪətiz, frəm ðə maɪld ˈbɪtər əv ə ˈsɛʃən tɪ ðə rəf baɪt əv jʊr ˈfeɪvərɪt ˌɪmˈpɪriəl. bi ʃʊr tɪ tɪ jʊr ˈfeɪvərɪt (si fʊl lɪst əv staɪlz bɪˈloʊ) ɔn deɪ, wɪʧ ɪz ðɪs ˈθərzˌdeɪ, ˈɔgəst 6th*, ənd ju kən ənˈlɑk ðɪs deɪ bæʤ. kˈwɑləˌfaɪɪŋ varieities*: ˈbɛlʤən ˌɪmˈpɪriəl ˈdəbəl blæk blæk dɑrk eɪl əˈmɛrɪkən ˈɪŋlɪʃ ˌɪmˈpɪriəl ˈdəbəl ˈtrɪpəl waɪt ˈsɛʃən ju kən lərn mɔr əˈbaʊt deɪ ənd ɪts ˈhɪstəri ˈoʊvər æt craftbeer.com*!
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commercial banks need to develop faster payment systems to counter the rise of, according to oneropean central bank executive.
yves mersch, who sits on the executive board, made the argument even while dismissing the impact of during an event in rome, according to a reuters report.
speaking this morning, mersch said:
“banks need to implement instant payments as soon as possible and provide an alternative narrative to the ongoing public debate on the alleged innovation brought by virtual currency schemes.”
mersch reportedly added that the would experiment with cash “on different digital technologies,” while more “adventurous applications” do not warrant attention.
the statements come a month after another executive board member, cœuré, indicated that the bank is not ignoring, but rather is monitoring their use.
at the same time, cœuré maintained the position that digital currencies are not a threat to thero, saying “the amounts involved are marginal.”
despite these claims, a 2015 report by the noted that could impact monetary policy and financial stability in therozone. at the time, the bank said was more attractive than traditional financial institutions in certain areas, including remittances.
the president, mario draghi, also recently said it cannot regulate, although he did declare that member nations cannot launch their own.
yves mersch image via archives
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kəˈmərʃəl bæŋks nid tɪ dɪˈvɛləp ˈfæstər ˈpeɪmənt ˈsɪstəmz tɪ ˈkaʊntər ðə raɪz əv, əˈkɔrdɪŋ tɪ wən ˌjʊrəˈpiən ˈsɛntrəl bæŋk ɪgˈzɛkjətɪv. iv mərʃ, hu sɪts ɔn ðə ɪgˈzɛkjətɪv bɔrd, meɪd ðə ˈɑrgjəmənt ˈivɪn waɪl dɪsˈmɪsɪŋ ðə ˌɪmˈpækt əv ˈdʊrɪŋ ən ɪˈvɛnt ɪn roʊm, əˈkɔrdɪŋ tɪ ə ˈrɔɪtərz rɪˈpɔrt. ˈspikɪŋ ðɪs ˈmɔrnɪŋ, mərʃ sɛd: nid tɪ ˈɪmpləmənt ˈɪnstənt ˈpeɪmənts ɛz sun ɛz ˈpɑsəbəl ənd prəˈvaɪd ən ɔlˈtərnətɪv ˈnɛrətɪv tɪ ðə ˈɔnˌgoʊɪŋ ˈpəblɪk dəˈbeɪt ɔn ðə əˈlɛʤd ˌɪnəˈveɪʃən brɔt baɪ ˈvərʧuəl ˈkərənsi schemes.”*.” mərʃ rɪˈpɔrtədli ˈædɪd ðət ðə wʊd ɪkˈspɛrəmənt wɪθ kæʃ ˈdɪfərənt ˈdɪʤɪtəl technologies,”*,” waɪl mɔr applications”*” du nɑt ˈwɔrənt əˈtɛnʃən. ðə ˈsteɪtmənts kəm ə mənθ ˈæftər əˈnəðər ɪgˈzɛkjətɪv bɔrd ˈmɛmbər, cœuré*é, ˈɪndəˌkeɪtɪd ðət ðə bæŋk ɪz nɑt ˌɪgˈnɔrɪŋ, bət ˈrəðər ɪz ˈmɑnətərɪŋ ðɛr juz. æt ðə seɪm taɪm, cœuré*é meɪnˈteɪnd ðə pəˈzɪʃən ðət ˈdɪʤɪtəl ˈkərənsiz ər nɑt ə θrɛt tɪ ðə ˈjʊrə, seɪɪŋ əˈmaʊnts ˌɪnˈvɑlvd ər marginal.”*.” dɪˈspaɪt ðiz kleɪmz, ə 2015 rɪˈpɔrt baɪ ðə ˈnoʊtɪd ðət kʊd ˌɪmˈpækt ˈmɑnəˌtɛri ˈpɑləsi ənd ˌfaɪˈnænʃəl stəˈbɪlɪti ɪn ðə eurozone*. æt ðə taɪm, ðə bæŋk sɛd wɑz mɔr əˈtræktɪv ðən trəˈdɪʃənəl ˌfaɪˈnænʃəl ˌɪnstɪˈtuʃənz ɪn ˈsərtən ˈɛriəz, ˌɪnˈkludɪŋ rəˈmɪtənsɪz. ðə ˈprɛzɪdənt, ˈmɑrioʊ draghi*, ˈɔlsoʊ ˈrisəntli sɛd ɪt ˈkænɑt ˈrɛgjəˌleɪt, ˌɔlˈðoʊ hi dɪd dɪˈklɛr ðət ˈmɛmbər ˈneɪʃənz ˈkænɑt lɔnʧ ðɛr oʊn. iv mərʃ ˈɪmɪʤ ˈviə ˈɑrˌkaɪvz
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10 reasons to teach abroad in egypt
by dara denney, the cookbook
during university i used to daydream about teaching english abroad. i was an english major with few other job prospects (or ideas), but i knew i wanted to travel the world. so teaching abroad seemed like the perfect solution; i would get to travel (and live) abroad and make money.
before i even graduated i thought a lot about where i would go. maybe to china for the food; or japan for the culture. or maybe even exotic thailand. i have always wanted to live near the beach.
but i never thought about egypt. why? i graduated university at the end of 2013, and even though i was always fascinated by egyptian pharaonic culture, i was scared off by reports of instability and violence. egypt was still trying to regain balance from the 2011 revolution, and any headlines seemed bleak at best.
at the beginning of 2015, i finally did make my way to egypt, for another job not teaching english. i was working for a consulting firm specializing in research in south sudan and was to spend only six months in cairo. little did i know that i would end up quitting that job to start teaching english in cairo, where i would be earning more than four times the amount i made at my own job.
enticed? here are ten other reasons why you should teach abroad in egypt:
1. the demand is high.
native english speakers are in high demand right now. once in egypt it is incredibly easy to begin tutoring or to teach full-time at a school, even if you have limited experience. a degree and experience will get you a high salary (even higher if you have a teaching certification!). even if you did not graduate from university it is still possible to find positions with decent salaries because the need for native speakers is so high.
2. the cost of living is incredibly low.
i have a higher quality of life here than i ever did in new york, or even ohio for that matter. and even though my salary would barely be livable in manhattan, in cairo i can afford to live in one of the best neighborhoods in the city with a great apartment, and i have a cleaning lady come twice a week. additionally, i am able to save a few hundred a month, eat out several times a week, and go on vacation a few times a year.
3. the is a bit more relaxed.
but in the interest of full disclosure: the children are a bit more difficult here than anywhere i have ever taught (versus usa, india, and west africa). but the egyptian mentality towards work is more relaxed and work stays at work. so every day when i walk out of the school doors my day is finished. and professionalism, for better or worse, is a bit more relaxed. (personally, i like that).
4. egypt has great cities to live in.
likely you will be in cairo, or maybe alexandria, and if you are lucky: hurghada, luxor, or sharm el sheikh. none of these would be anything to scoff at; there are amazing food, people, and several outdoor activities to occupy yourself at all of these locations.
5. egyptians are fun and welcoming.
the reason why i initially wanted to stay in cairo was because i felt like i had finally found a place where i belonged. this was after growing up in the states and living in west africa and india. out of all of those places, i felt like i belonged the most in egypt. why? the people. they always made me feel welcomed and like i was at home. (as opposed to, perhaps, france, where i was always aware that i was out of place).
6. you can learn arabic.
if you want to learn arabic, this is the place to do it. and why should you learn egyptian arabic? it is the most widely understood dialect due to the the massive movie industry in egypt, which are shown all over the middle east. likely, if someone speaks arabic, regardless of where they are from, they will understand egyptian.
7. travel in egypt is incredibly cheap.
so you will get to see a lot of the country and experience lifetime things at a fraction of the cost. (nile cruise, anyone?) ever since the 2011 revolution tourism took a from the notion that egypt is no longer safe. an unfortunate aspect of this is that there are no lines at any of the sights and prices are significantly cheaper, especially for hotels and tours.
8. the beach is always nearby.
cairo is an hour and a half from the beach. as is luxor. and sharm el sheikh are the beach).
9. cairo international airport has quick connections to europe, asia, and the rest of africa.
it is the perfect place if you want to explore more of the world, as there are cheap connections to just about everywhere. (fyi, italy is less than 3 hours away).
10. egypt will always look good on a resume.
many people teach abroad in china, south korea, and taiwan. egypt is a bit of a wildcard and will likely start a great conversation when you start seeking future employers. they will assume, rightly, that you if you can handle it here, you can handle it anywhere.
have you ever taught abroad? would you ever consider teaching abroad in egypt?
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10 ˈrizənz tɪ tiʧ əˈbrɔd ɪn ˈiʤɪpt baɪ ˈdærə ˈdɛni, ðə ˈkʊkˌbʊk ˈdʊrɪŋ ˌjunəˈvərsəti aɪ juzd tɪ ˈdeɪˌdrim əˈbaʊt ˈtiʧɪŋ ˈɪŋlɪʃ əˈbrɔd. aɪ wɑz ən ˈɪŋlɪʃ ˈmeɪʤər wɪθ fju ˈəðər ʤɑb ˈprɑspɛkts (ər aɪˈdiəz), bət aɪ nu aɪ ˈwɔntɪd tɪ ˈtrævəl ðə wərld. soʊ ˈtiʧɪŋ əˈbrɔd simd laɪk ðə ˈpərˌfɪkt səˈluʃən; aɪ wʊd gɪt tɪ ˈtrævəl (ənd lɪv) əˈbrɔd ənd meɪk ˈməni. ˌbiˈfɔr aɪ ˈivɪn ˈgræʤəˌweɪtɪd aɪ θɔt ə lɔt əˈbaʊt wɛr aɪ wʊd goʊ. ˈmeɪbi tɪ ˈʧaɪnə fər ðə fud; ər ʤəˈpæn fər ðə ˈkəlʧər. ər ˈmeɪbi ˈivɪn ɪgˈzɑtɪk ˈtaɪˌlænd. aɪ hæv ˈɔlˌweɪz ˈwɔntɪd tɪ lɪv nɪr ðə biʧ. bət aɪ ˈnɛvər θɔt əˈbaʊt ˈiʤɪpt. waɪ? aɪ ˈgræʤəˌweɪtɪd ˌjunəˈvərsəti æt ðə ɛnd əv 2013 ənd ˈivɪn ðoʊ aɪ wɑz ˈɔlˌweɪz ˈfæsəˌneɪtɪd baɪ ɪˈʤɪpʃən ˌfɛrəˈɑnɪk ˈkəlʧər, aɪ wɑz skɛrd ɔf baɪ rɪˈpɔrts əv ˌɪnstəˈbɪlɪti ənd ˈvaɪələns. ˈiʤɪpt wɑz stɪl traɪɪŋ tɪ rɪˈgeɪn ˈbæləns frəm ðə 2011 ˌrɛvəˈluʃən, ənd ˈɛni ˈhɛˌdlaɪnz simd blik æt bɛst. æt ðə bɪˈgɪnɪŋ əv 2015 aɪ ˈfaɪnəli dɪd meɪk maɪ weɪ tɪ ˈiʤɪpt, fər əˈnəðər ʤɑb nɑt ˈtiʧɪŋ ˈɪŋlɪʃ. aɪ wɑz ˈwərkɪŋ fər ə kənˈsəltɪŋ fərm ˈspɛʃəˌlaɪzɪŋ ɪn ˈrisərʧ ɪn saʊθ suˈdæn ənd wɑz tɪ spɛnd ˈoʊnli sɪks mənθs ɪn ˈkaɪroʊ. ˈlɪtəl dɪd aɪ noʊ ðət aɪ wʊd ɛnd əp kˈwɪtɪŋ ðət ʤɑb tɪ stɑrt ˈtiʧɪŋ ˈɪŋlɪʃ ɪn ˈkaɪroʊ, wɛr aɪ wʊd bi ˈərnɪŋ mɔr ðən fɔr taɪmz ðə əˈmaʊnt aɪ meɪd æt maɪ oʊn ʤɑb. ɪnˈtaɪst? hir ər tɛn ˈəðər ˈrizənz waɪ ju ʃʊd tiʧ əˈbrɔd ɪn ˈiʤɪpt: 1 ðə dɪˈmænd ɪz haɪ. ˈneɪtɪv ˈɪŋlɪʃ ˈspikərz ər ɪn haɪ dɪˈmænd raɪt naʊ. wəns ɪn ˈiʤɪpt ɪt ɪz ˌɪnˈkrɛdəbli ˈizi tɪ bɪˈgɪn ˈtutərɪŋ ər tɪ tiʧ ˈfʊlˌtaɪm æt ə skul, ˈivɪn ɪf ju hæv ˈlɪmɪtɪd ɪkˈspɪriəns. ə dɪˈgri ənd ɪkˈspɪriəns wɪl gɪt ju ə haɪ ˈsæləri (ˈivɪn haɪər ɪf ju hæv ə ˈtiʧɪŋ ˌsərtəfəˈkeɪʃən!). ˈivɪn ɪf ju dɪd nɑt ˈgræʤəˌweɪt frəm ˌjunəˈvərsəti ɪt ɪz stɪl ˈpɑsəbəl tɪ faɪnd pəˈzɪʃənz wɪθ ˈdisənt ˈsæləriz bɪˈkəz ðə nid fər ˈneɪtɪv ˈspikərz ɪz soʊ haɪ. 2 ðə kɔst əv ˈlɪvɪŋ ɪz ˌɪnˈkrɛdəbli loʊ. aɪ hæv ə haɪər kˈwɑləti əv laɪf hir ðən aɪ ˈɛvər dɪd ɪn nu jɔrk, ər ˈivɪn oʊˈhaɪoʊ fər ðət ˈmætər. ənd ˈivɪn ðoʊ maɪ ˈsæləri wʊd ˈbɛrli bi ˈlɪvəbəl ɪn mænˈhætən, ɪn ˈkaɪroʊ aɪ kən əˈfɔrd tɪ lɪv ɪn wən əv ðə bɛst ˈneɪbərˌhʊdz ɪn ðə ˈsɪti wɪθ ə greɪt əˈpɑrtmənt, ənd aɪ hæv ə ˈklinɪŋ ˈleɪdi kəm twaɪs ə wik. əˈdɪʃəˌnəli, aɪ æm ˈeɪbəl tɪ seɪv ə fju ˈhənərd ə mənθ, it aʊt ˈsɛvərəl taɪmz ə wik, ənd goʊ ɔn veɪˈkeɪʃən ə fju taɪmz ə jɪr. 3 ðə ɪz ə bɪt mɔr rɪˈlækst. bət ɪn ðə ˈɪntəˌrɛst əv fʊl dɪˈskloʊʒər: ðə ˈʧɪldrən ər ə bɪt mɔr ˈdɪfəkəlt hir ðən ˈɛniˌwɛr aɪ hæv ˈɛvər tɔt (ˈvərsəz ˈjuˈɛˈseɪ, ˈɪndiə, ənd wɛst ˈæfrɪkɑ). bət ðə ɪˈʤɪpʃən mɛnˈtælɪti təˈwɔrdz wərk ɪz mɔr rɪˈlækst ənd wərk steɪz æt wərk. soʊ ˈɛvəri deɪ wɪn aɪ wɔk aʊt əv ðə skul dɔrz maɪ deɪ ɪz ˈfɪnɪʃt. ənd prəˈfɛʃənəˌlɪzəm, fər ˈbɛtər ər wərs, ɪz ə bɪt mɔr rɪˈlækst. (ˈpərsənəli, aɪ laɪk ðət). 4 ˈiʤɪpt həz greɪt ˈsɪtiz tɪ lɪv ɪn. ˈlaɪkli ju wɪl bi ɪn ˈkaɪroʊ, ər ˈmeɪbi ˌæləgˈzændriə, ənd ɪf ju ər ˈləki: hurghada*, ˈləksər, ər ʃɑrm ɛl ʃik. nən əv ðiz wʊd bi ˈɛniˌθɪŋ tɪ skɔf æt; ðɛr ər əˈmeɪzɪŋ fud, ˈpipəl, ənd ˈsɛvərəl ˈaʊtˌdɔr ækˈtɪvɪtiz tɪ ˈɑkjəˌpaɪ ˈjɔrsɛlf æt ɔl əv ðiz loʊˈkeɪʃənz. 5 ɪˈʤɪpʃənz ər fən ənd ˈwɛlkəmɪŋ. ðə ˈrizən waɪ aɪ ˌɪˈnɪʃəli ˈwɔntɪd tɪ steɪ ɪn ˈkaɪroʊ wɑz bɪˈkəz aɪ fɛlt laɪk aɪ hæd ˈfaɪnəli faʊnd ə pleɪs wɛr aɪ bɪˈlɔŋd. ðɪs wɑz ˈæftər groʊɪŋ əp ɪn ðə steɪts ənd ˈlɪvɪŋ ɪn wɛst ˈæfrɪkɑ ənd ˈɪndiə. aʊt əv ɔl əv ðoʊz ˈpleɪsɪz, aɪ fɛlt laɪk aɪ bɪˈlɔŋd ðə moʊst ɪn ˈiʤɪpt. waɪ? ðə ˈpipəl. ðeɪ ˈɔlˌweɪz meɪd mi fil ˈwɛlkəmd ənd laɪk aɪ wɑz æt hoʊm. (ɛz əˈpoʊzd tɪ, pərˈhæps, fræns, wɛr aɪ wɑz ˈɔlˌweɪz əˈwɛr ðət aɪ wɑz aʊt əv pleɪs). 6 ju kən lərn ˈɛrəbɪk. ɪf ju wɔnt tɪ lərn ˈɛrəbɪk, ðɪs ɪz ðə pleɪs tɪ du ɪt. ənd waɪ ʃʊd ju lərn ɪˈʤɪpʃən ˈɛrəbɪk? ɪt ɪz ðə moʊst ˈwaɪdli ˌəndərˈstʊd ˈdaɪəˌlɛkt du tɪ ðə ðə ˈmæsɪv ˈmuvi ˈɪndəstri ɪn ˈiʤɪpt, wɪʧ ər ʃoʊn ɔl ˈoʊvər ðə ˈmɪdəl ist. ˈlaɪkli, ɪf ˈsəmˌwən spiks ˈɛrəbɪk, rəˈgɑrdləs əv wɛr ðeɪ ər frəm, ðeɪ wɪl ˌəndərˈstænd ɪˈʤɪpʃən. 7 ˈtrævəl ɪn ˈiʤɪpt ɪz ˌɪnˈkrɛdəbli ʧip. soʊ ju wɪl gɪt tɪ si ə lɔt əv ðə ˈkəntri ənd ɪkˈspɪriəns ˈlaɪfˌtaɪm θɪŋz æt ə ˈfrækʃən əv ðə kɔst. (naɪl kruz, ˈɛniˌwən?) ˈɛvər sɪns ðə 2011 ˌrɛvəˈluʃən ˈtʊˌrɪzəm tʊk ə frəm ðə ˈnoʊʃən ðət ˈiʤɪpt ɪz noʊ ˈlɔŋgər seɪf. ən ənˈfɔrʧənət ˈæˌspɛkt əv ðɪs ɪz ðət ðɛr ər noʊ laɪnz æt ˈɛni əv ðə saɪts ənd ˈpraɪsɪz ər sɪgˈnɪfɪkəntli ˈʧipər, əˈspɛʃəli fər hoʊˈtɛlz ənd tʊrz. 8 ðə biʧ ɪz ˈɔlˌweɪz ˈnɪrˈbaɪ. ˈkaɪroʊ ɪz ən aʊər ənd ə hæf frəm ðə biʧ. ɛz ɪz ˈləksər. ənd ʃɑrm ɛl ʃik ər ðə biʧ). 9 ˈkaɪroʊ ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt həz kwɪk kəˈnɛkʃənz tɪ ˈjʊrəp, ˈeɪʒə, ənd ðə rɛst əv ˈæfrɪkɑ. ɪt ɪz ðə ˈpərˌfɪkt pleɪs ɪf ju wɔnt tɪ ɪkˈsplɔr mɔr əv ðə wərld, ɛz ðɛr ər ʧip kəˈnɛkʃənz tɪ ʤɪst əˈbaʊt ˈɛvriˌwɛr. (ˌɛfˈwaɪˌaɪ, ˈɪtəli ɪz lɛs ðən 3 aʊərz əˈweɪ). 10 ˈiʤɪpt wɪl ˈɔlˌweɪz lʊk gʊd ɔn ə ˈrɛzəˌmeɪ. ˈmɛni ˈpipəl tiʧ əˈbrɔd ɪn ˈʧaɪnə, saʊθ ˌkɔˈriə, ənd ˈtaɪˈwɑn. ˈiʤɪpt ɪz ə bɪt əv ə ˈwaɪldˌkɑrd ənd wɪl ˈlaɪkli stɑrt ə greɪt ˌkɑnvərˈseɪʃən wɪn ju stɑrt ˈsikɪŋ fˈjuʧər ɪmˈplɔɪərz. ðeɪ wɪl əˈsum, ˈraɪtli, ðət ju ɪf ju kən ˈhændəl ɪt hir, ju kən ˈhændəl ɪt ˈɛniˌwɛr. hæv ju ˈɛvər tɔt əˈbrɔd? wʊd ju ˈɛvər kənˈsɪdər ˈtiʧɪŋ əˈbrɔd ɪn ˈiʤɪpt? səbˈskraɪb tɪ ɑr ˈnuzˌlɛtər
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stanford university was founded in 1885 by california senator leland stanford and his wife, jane, “to promote the public welfare by exercising an influence in behalf of humanity and civilization.”
a portrait of senator leland stanford, jane lathrop stanford, leland stanford jr. taken in 1878. (image credit: stanford university archives)
when railroad magnate and former california gov. leland stanford and his wife, jane lathrop stanford, lost their only child, leland, jr., to typhoid in 1884, they decided to build a university as the most fitting memorial, and deeded to it a large fortune that included the palo alto stock farm that became the campus. the campus is located within the traditional territory of the tribe. the made their plans just as the modern research university was taking form.
leland stanford junior university still its legal name opened oct. 1, 1891.
the and founding president david starr jordan aimed for their new university to be nonsectarian, and affordable, to produce cultured and useful graduates, and to teach both the traditional liberal arts and the technology and engineering that were already changing america.
their vision took shape on the fields of the san francisco peninsula as a matrix of arcades and designed for expansion and the dissolving of barriers between people, disciplines and ideas.
the boston firm shepley, rutan, and coolidge collaborated with frederick law to develop the final architectural plan, with its distinctive arches, and arcades. (image credit: stanford university archives)
from the start, stewardship of the founders’ extraordinary land gift has helped support university endeavors, and has made room for a multiplicity of institutes, schools and laboratories that each other with innovations that have changed the world. computer time-sharing, the first isolation of highly purified stem cells and the first synthesis of biologically active dna, among many other breakthroughs, all originated at stanford.
the early years were difficult, however, as even the’ wealth proved inadequate to their vision. after her death, jane stanford kept the fledgling university open through her leadership. the 1906 earthquake dealt a further blow, killing two people and destroying several campus buildings, some so new they had never been occupied.
university benefactor and trustee herbert hoover, future u.s. president and member of pioneer class of 1895, professionalized university operations in the and helped to put stanford on a sound financial footing. he founded an institute to collect global political material hoover institution library and archives and led the creation of the graduate school of business, both now world leaders in their respective fields.
engineering professor frederick terman, dubbed the “father of silicon valley,” left his stamp by encouraging stanford students not only to develop but also to commercialize their ideas. in 1937, physicists russell varian, sigurd varian and william hansen developed the vacuum tube, paving the way for commercial air navigation, satellite communication and particle accelerators. in 1939, graduate students william hewlett and david packard developed the precision audio oscillator, first low-cost method of measuring audio frequencies, and spun it into the company now known as hp. in 1951, the university developed its stanford research park to house firms led by such innovators. varian associates became the first tenants.
the varian brothers and william hansen with the. (image credit: stanford university archives)
the war era saw many research advances. in 1959, stanford medical school moved from san francisco to the main palo alto campus. the also saw planning of national accelerator laboratory, managed under license from the u.s. department of energy and opened in 1962. the first website in north america went online at 29 years later. advances in particle physics developed at led to the coherent light source, whose ability to capture images of chemical changes at atomic scale has made it a global destination for pharmaceutical research. the cold war also gave rise to “the dish,” the radio telescope that is a familiar landmark in the foothills behind campus. the hill housing the dish is a conservation area open to the public, and more than people run or hike “dish hill” each day.
in the foothills above campus, the dish is a radio telescope built in 1966 and still in use today. the trails are used by more than visitors a year. (image credit: alex webb)
deep in the foothills beyond the dish, a much smaller structure yielded epochal discoveries when it became home to the stanford artificial intelligence laboratory (sail), founded by john mccarthy and les earnest in 1965. sail researchers devised the first interactive system for computer design, as well as pioneering work on computer vision, robotics, laser printing and automated assembly. the first office desktop computer displays appeared at sail in 1971.
in the 1970s, stanford sought new ways to transform society and preserve the environment. it severed its links to classified defense research and forged new paths for service and stewardship. stanford reduced its dependence on the automobile by adding campus housing and the free marguerite shuttle, named after a horse that pulled a jitney between campus and palo alto. the jasper ridge biological preserve was designated in 1973 to help preserve the green “lungs” of the peninsula and access to the biological data compiled there that helped establish the field of population genetics.
the stanford humanities center, first of its kind in the nation and still the largest, opened in 1980 to advance research into the historical, philosophical, literary, artistic and cultural dimensions of the human experience. at this and 30 other centers on campus, scholars ranging from distinguished undergraduates to fellows create new understandings of the world and place in it.
from the start, stanford has valued experiential education. generous funding helps its undergraduates of diverse economic backgrounds to enjoy parity of experience and opportunity. in 2015, 85 percent of students received some form of financial assistance and 78 percent of stanford undergraduates graduated debt-free. more than undergraduates conduct research and honors projects each year, while take part in projects and study overseas, all without regard for ability to pay. since 1992, all undergraduates are guaranteed four years of housing, in keeping with emphasis on residential education and the experience of a small liberal arts college within the matrix of a large research university.
a significant physical transformation followed the 1989 loma prieta earthquake, which again challenged the resilience and vision. main green library renovated its heavily damaged west wing as the bing wing, while the similarly damaged stanford art museum reopened in 1999 as the iris & b. gerald cantor center for visual arts.
in 1985, the b. gerald cantor rodin sculpture garden opened as the largest collection of rodin bronzes outside paris. it became the nexus for a world-class collection of 20th- and sculpture, nearly all of it freely accessible to the public. today, the museum and sculpture garden are part of a stanford arts district that includes the bing concert hall, the mcmurtry building for experiential arts learning and the acclaimed anderson collection of american painting.
the anderson collection, which opened in 2014, is one of the most outstanding private assemblies of modern and contemporary american art. (image credit: alex webb)
the james h. clark center for biomedical engineering and sciences opened in 2003 as the geographic and intellectual nexus between the schools of engineering and medicine and the home of bio-x, a pioneering interdisciplinary biosciences institute led by professor carla shatz. its architecture set the tone for future building, furthering the that became a hallmark of university president john tenure. the environmentally sensitive construction seen in the clark center, the science and engineering quad, the school of medicine and elsewhere fulfills the deep commitment to sustainability in research, teaching and institutional practice. in 2015, stanford energy system innovations’ electric heat recovery system joined the solar and geothermal power procurement initiatives to reduce campus emissions by roughly 68 percent.
the plattner institute of design at stanford opened in the school of engineering in 2005, bringing students and faculty from radically different backgrounds together to develop innovative, solutions to real-world challenges. using techniques from design and engineering, the institute, known on campus as the d.school, instills creative confidence and draws students beyond the boundaries of traditional academic disciplines.
development campaigns of unprecedented scope carry forward the stanford vision. the 2000 campaign for undergraduate education raised $1 billion, while the stanford challenge concluded in 2012 after raising $6.2 billion, then the largest fundraising campaign undertaken by a university, to fund bold new initiatives. meanwhile, the $1 billion campaign for stanford medicine is rebuilding two hospitals for adults and children to advance the mission of precision health.
during 2016, stanford celebrated its year of transformational impact. a revamped roble gym opened with a dedicated “arts gym” to help make art an integral part of the student experience. “old chem,” one of first buildings, received new life as the sapp center for science teaching and learning. the school of humanities and sciences launched the humanities core, a new certificate and minor program providing undergraduates a structured pathway to explore fundamental questions of human existence. that year, stanford also expanded its bing overseas studies program, enhanced undergraduate research opportunities and played a pioneering role in exploring how best to use online technologies to expand access to high-quality education.
the sapp center for science teaching and learning has the historic “old chem” building with an eye toward the interdisciplinary future of science research and education. (image credit: l.a. cicero)
stanford university today comprises seven schools and 18 interdisciplinary institutes with more than students, faculty and postdoctoral scholars. stanford is an international institution, enrolling students from all 50 u.s. states and 91 other countries. it is also an athletics powerhouse, with 900 current and a history of 128 national titles and 22 consecutive sports directors’ cups, awarded to the top intercollegiate athletics program in the nation.
at the 2016 global entrepreneurship summit, hosted by stanford, president barack obama praised the university as “a place that celebrates our ability as human beings to discover and learn and to build, to question, to reimagine, to create new ways to connect and work with each other.”
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ˈstænfərd ˌjunəˈvərsəti wɑz ˈfaʊndɪd ɪn 1885 baɪ ˌkæləˈfɔrnjə ˈsɛnətər ˈlilənd ˈstænfərd ənd hɪz waɪf, ʤeɪn, prəˈmoʊt ðə ˈpəblɪk ˈwɛlˌfɛr baɪ ˈɛksərˌsaɪzɪŋ ən ˈɪnfluəns ɪn bɪˈhæf əv juˈmænɪti ənd civilization.”*.” ə ˈpɔrtrət əv ˈsɛnətər ˈlilənd ˈstænfərd, ʤeɪn ˈlæθrəp ˈstænfərd, ˈlilənd ˈstænfərd jr*. ˈteɪkən ɪn 1878 (ˈɪmɪʤ ˈkrɛdɪt: ˈstænfərd ˌjunəˈvərsəti ˈɑrˌkaɪvz) wɪn ˈreɪˌlroʊd ˈmægˌneɪt ənd ˈfɔrmər ˌkæləˈfɔrnjə gəv. ˈlilənd ˈstænfərd ənd hɪz waɪf, ʤeɪn ˈlæθrəp ˈstænfərd, lɔst ðɛr ˈoʊnli ʧaɪld, ˈlilənd, jr*., tɪ ˈtaɪfɔɪd ɪn 1884 ðeɪ ˌdɪˈsaɪdɪd tɪ bɪld ə ˌjunəˈvərsəti ɛz ðə moʊst ˈfɪtɪŋ məˈmɔriəl, ənd ˈdidɪd tɪ ɪt ə lɑrʤ ˈfɔrʧən ðət ˌɪnˈkludɪd ðə ˈpæloʊ ˈæltoʊ stɑk fɑrm ðət bɪˈkeɪm ðə ˈkæmpəs. ðə ˈkæmpəs ɪz ˈloʊˌkeɪtəd wɪˈθɪn ðə trəˈdɪʃənəl ˈtɛrɪˌtɔri əv ðə traɪb. ðə meɪd ðɛr plænz ʤɪst ɛz ðə ˈmɑdərn ˈrisərʧ ˌjunəˈvərsəti wɑz ˈteɪkɪŋ fɔrm. ˈlilənd ˈstænfərd ˈʤunjər ˌjunəˈvərsəti stɪl ɪts ˈligəl neɪm ˈoʊpənd ɔkt. 1 1891 ðə ənd ˈfaʊndɪŋ ˈprɛzɪdənt ˈdeɪvɪd stɑr ˈʤɔrdən eɪmd fər ðɛr nu ˌjunəˈvərsəti tɪ bi ˌnɑnsɛkˈtɛriən, ənd əˈfɔrdəbəl, tɪ ˈproʊdus ˈkəlʧərd ənd ˈjusfəl ˈgræʤəˌweɪts, ənd tɪ tiʧ boʊθ ðə trəˈdɪʃənəl ˈlɪˌbərəl ɑrts ənd ðə tɛkˈnɑləʤi ənd ˈɛnʤəˈnɪrɪŋ ðət wər ɔˈrɛdi ˈʧeɪnʤɪŋ əˈmɛrɪkə. ðɛr ˈvɪʒən tʊk ʃeɪp ɔn ðə fildz əv ðə sæn frænˈsɪskoʊ pəˈnɪnsələ ɛz ə ˈmeɪtrɪks əv ɑrˈkeɪdz ənd dɪˈzaɪnd fər ɪkˈspænʧən ənd ðə dɪˈzɔlvɪŋ əv ˈbɛriərz bɪtˈwin ˈpipəl, ˈdɪsəplənz ənd aɪˈdiəz. ðə ˈbɔstən fərm ˈʃɛpli, ˈrutən, ənd ˈkulɪʤ kəˈlæbərˌeɪtɪd wɪθ ˈfrɛdərɪk lɔ tɪ dɪˈvɛləp ðə ˈfaɪnəl ˌɑrkəˈtɛkʧərəl plæn, wɪθ ɪts dɪˈstɪŋktɪv ˈɑrʧɪz, ənd ɑrˈkeɪdz. (ˈɪmɪʤ ˈkrɛdɪt: ˈstænfərd ˌjunəˈvərsəti ˈɑrˌkaɪvz) frəm ðə stɑrt, ˈstuərdˌʃɪp əv ðə founders’*’ ˌɛkstrəˈɔrdəˌnɛri lænd gɪft həz hɛlpt səˈpɔrt ˌjunəˈvərsəti ɪnˈdɛvərz, ənd həz meɪd rum fər ə ˌməltəˈplɪsɪti əv ˈɪnstɪˌtuts, skulz ənd ˈlæbrəˌtɔriz ðət iʧ ˈəðər wɪθ ˌɪnəˈveɪʃənz ðət hæv ʧeɪnʤd ðə wərld. kəmˈpjutər time-sharing*, ðə fərst ˌaɪsəˈleɪʃən əv ˈhaɪli ˈpjʊrəˌfaɪd stɛm sɛlz ənd ðə fərst ˈsɪnθəsəs əv baɪəˈlɑʤɪkli ˈæktɪv ˈdiˌɛˈneɪ, əˈməŋ ˈmɛni ˈəðər ˈbreɪkθˌruz, ɔl ərˈɪʤəˌneɪtəd æt ˈstænfərd. ðə ˈərli jɪrz wər ˈdɪfəkəlt, ˌhaʊˈɛvər, ɛz ˈivɪn ðə stanfords’*’ wɛlθ pruvd ˌɪˈnædəkˌweɪt tɪ ðɛr ˈvɪʒən. ˈæftər hər dɛθ, ʤeɪn ˈstænfərd kɛpt ðə ˈflɛʤlɪŋ ˌjunəˈvərsəti ˈoʊpən θru hər ˈlidərˌʃɪp. ðə 1906 ˈərθkˌweɪk dɛlt ə ˈfərðər bloʊ, ˈkɪlɪŋ tu ˈpipəl ənd dɪˈstrɔɪɪŋ ˈsɛvərəl ˈkæmpəs ˈbɪldɪŋz, səm soʊ nu ðeɪ hæd ˈnɛvər bɪn ˈɑkjəˌpaɪd. ˌjunəˈvərsəti ˈbɛnəˌfæktər ənd ˌtrəˈsti ˈhərbərt ˈhuvər, fˈjuʧər juz. ˈprɛzɪdənt ənd ˈmɛmbər əv ˌpaɪəˈnɪr klæs əv 1895 prəˈfɛʃənəˌlaɪzd ˌjunəˈvərsəti ˌɑpərˈeɪʃənz ɪn ðə ənd hɛlpt tɪ pʊt ˈstænfərd ɔn ə saʊnd ˌfaɪˈnænʃəl ˈfʊtɪŋ. hi ˈfaʊndɪd ən ˈɪnstɪˌtut tɪ kəˈlɛkt ˈgloʊbəl pəˈlɪtɪkəl məˈtɪriəl ˈhuvər ˌɪnstɪˈtuʃən ˈlaɪbrɛˌri ənd ˈɑrˌkaɪvz ənd lɛd ðə kriˈeɪʃən əv ðə ˈgræʤəˌweɪt skul əv ˈbɪznɪs, boʊθ naʊ wərld ˈlidərz ɪn ðɛr rɪˈspɛktɪv fildz. ˈɛnʤəˈnɪrɪŋ prəˈfɛsər ˈfrɛdərɪk ˈtərmən, dəbd ðə əv ˈsɪləkən valley,”*,” lɛft hɪz stæmp baɪ ɪnˈkərəʤɪŋ ˈstænfərd ˈstudənts nɑt ˈoʊnli tɪ dɪˈvɛləp bət ˈɔlsoʊ tɪ kəˈmərʃəˌlaɪz ðɛr aɪˈdiəz. ɪn 1937 ˈfɪzɪsɪsts ˈrəsəl ˈvɛriən, ˈsɪgərd ˈvɛriən ənd ˈwɪljəm ˈhænsən dɪˈvɛləpt ðə ˈvækjum tub, ˈpeɪvɪŋ ðə weɪ fər kəˈmərʃəl ɛr ˌnævəˈgeɪʃən, ˈsætəˌlaɪt kəmˌjunəˈkeɪʃən ənd ˈpɑrtɪkəl ækˈsɛlərˌeɪtərz. ɪn 1939 ˈgræʤəˌweɪt ˈstudənts ˈwɪljəm ˈhjulɪt ənd ˈdeɪvɪd ˈpækərd dɪˈvɛləpt ðə priˈsɪʒən ˈɑdiˌoʊ ˈɑsəˌleɪtər, fərst ˌloʊˈkɔst ˈmɛθəd əv ˈmɛʒərɪŋ ˈɑdiˌoʊ ˈfrikwənsiz, ənd spən ɪt ˈɪntu ðə ˈkəmpəˌni naʊ noʊn ɛz hp*. ɪn 1951 ðə ˌjunəˈvərsəti dɪˈvɛləpt ɪts ˈstænfərd ˈrisərʧ pɑrk tɪ haʊs fərmz lɛd baɪ səʧ ˈɪnəˌveɪtərz. ˈvɛriən əˈsoʊʃiˌeɪts bɪˈkeɪm ðə fərst ˈtɛnənts. ðə ˈvɛriən ˈbrəðərz ənd ˈwɪljəm ˈhænsən wɪθ ðə. (ˈɪmɪʤ ˈkrɛdɪt: ˈstænfərd ˌjunəˈvərsəti ˈɑrˌkaɪvz) ðə wɔr ˈɪrə sɔ ˈmɛni ˈrisərʧ ədˈvænsɪz. ɪn 1959 ˈstænfərd ˈmɛdɪkəl skul muvd frəm sæn frænˈsɪskoʊ tɪ ðə meɪn ˈpæloʊ ˈæltoʊ ˈkæmpəs. ðə ˈɔlsoʊ sɔ ˈplænɪŋ əv ˈnæʃənəl ækˈsɛlərˌeɪtər ˈlæbrəˌtɔri, ˈmænɪʤd ˈəndər ˈlaɪsəns frəm ðə juz. dɪˈpɑrtmənt əv ˈɛnərʤi ənd ˈoʊpənd ɪn 1962 ðə fərst ˈwɛbˌsaɪt ɪn nɔrθ əˈmɛrɪkə wɛnt ˈɔnˌlaɪn æt 29 jɪrz ˈleɪtər. ədˈvænsɪz ɪn ˈpɑrtɪkəl ˈfɪzɪks dɪˈvɛləpt æt lɛd tɪ ðə koʊˈhɪrənt laɪt sɔrs, huz əˈbɪləˌti tɪ ˈkæpʧər ˈɪmɪʤɪz əv ˈkɛmɪkəl ˈʧeɪnʤɪz æt əˈtɑmɪk skeɪl həz meɪd ɪt ə ˈgloʊbəl ˌdɛstɪˈneɪʃən fər ˌfɑrməˈsutɪkəl ˈrisərʧ. ðə koʊld wɔr ˈɔlsoʊ geɪv raɪz tɪ dish,”*,” ðə ˈreɪdiˌoʊ ˈtɛləˌskoʊp ðət ɪz ə fəˈmɪljər ˈlændˌmɑrk ɪn ðə ˈfʊˌthɪlz bɪˈhaɪnd ˈkæmpəs. ðə hɪl ˈhaʊzɪŋ ðə dɪʃ ɪz ə ˌkɑnsərˈveɪʃən ˈɛriə ˈoʊpən tɪ ðə ˈpəblɪk, ənd mɔr ðən ˈpipəl rən ər haɪk hill”*” iʧ deɪ. ɪn ðə ˈfʊˌthɪlz əˈbəv ˈkæmpəs, ðə dɪʃ ɪz ə ˈreɪdiˌoʊ ˈtɛləˌskoʊp bɪlt ɪn 1966 ənd stɪl ɪn juz təˈdeɪ. ðə treɪlz ər juzd baɪ mɔr ðən ˈvɪzɪtərz ə jɪr. (ˈɪmɪʤ ˈkrɛdɪt: ˈæləks wɛb) dip ɪn ðə ˈfʊˌthɪlz bɪɔnd ðə dɪʃ, ə məʧ sˈmɔlər ˈstrəkʧər ˈjildɪd ˈɛpəkəl dɪˈskəvəriz wɪn ɪt bɪˈkeɪm hoʊm tɪ ðə ˈstænfərd ˌɑrtəˈfɪʃəl ˌɪnˈtɛləʤəns ˈlæbrəˌtɔri (seɪl), ˈfaʊndɪd baɪ ʤɑn məˈkɑrθi ənd lɛs ˈərnɪst ɪn 1965 seɪl ˈrisərʧərz dɪˈvaɪzd ðə fərst ˌɪnərˈæktɪv ˈsɪstəm fər kəmˈpjutər dɪˈzaɪn, ɛz wɛl ɛz ˌpaɪəˈnɪrɪŋ wərk ɔn kəmˈpjutər ˈvɪʒən, ˌroʊˈbɑtɪks, ˈleɪzər ˈprɪnɪŋ ənd ˈɔtəˌmeɪtɪd əˈsɛmbli. ðə fərst ˈɔfəs ˈdɛskˌtɑp kəmˈpjutər dɪˈspleɪz əˈpɪrd æt seɪl ɪn 1971 ɪn ðə 1970s*, ˈstænfərd sɔt nu weɪz tɪ ˈtrænsfɔrm soʊˈsaɪɪti ənd prɪˈzərv ðə ɪnˈvaɪrənmənt. ɪt ˈsɛvərd ɪts lɪŋks tɪ ˈklæsəˌfaɪd dɪˈfɛns ˈrisərʧ ənd fɔrʤd nu pæθs fər ˈsərvɪs ənd ˈstuərdˌʃɪp. ˈstænfərd rɪˈdust ɪts dɪˈpɛndəns ɔn ðə ˌɔtəmoʊˈbil baɪ ˈædɪŋ ˈkæmpəs ˈhaʊzɪŋ ənd ðə fri ˌmɑrgərˈit ˈʃətəl, neɪmd ˈæftər ə hɔrs ðət pʊld ə ˈʤɪtni bɪtˈwin ˈkæmpəs ənd ˈpæloʊ ˈæltoʊ. ðə ˈʤæspər rɪʤ ˌbaɪəˈlɑʤɪkəl prɪˈzərv wɑz ˈdɛzɪgˌneɪtɪd ɪn 1973 tɪ hɛlp prɪˈzərv ðə grin ““lungs”*” əv ðə pəˈnɪnsələ ənd ˈækˌsɛs tɪ ðə ˌbaɪəˈlɑʤɪkəl ˈdætə kəmˈpaɪld ðɛr ðət hɛlpt ɪˈstæblɪʃ ðə fild əv ˌpɑpjəˈleɪʃən ʤəˈnɛtɪks. ðə ˈstænfərd juˈmænɪtiz ˈsɛnər, fərst əv ɪts kaɪnd ɪn ðə ˈneɪʃən ənd stɪl ðə ˈlɑrʤəst, ˈoʊpənd ɪn 1980 tɪ ədˈvæns ˈrisərʧ ˈɪntu ðə hɪˈstɔrɪkəl, ˌfɪləˈsɑfɪkəl, ˈlɪtərˌɛri, ɑrˈtɪstɪk ənd ˈkəlʧərəl dɪˈmɛnʃənz əv ðə ˈjumən ɪkˈspɪriəns. æt ðɪs ənd 30 ˈəðər ˈsɛnərz ɔn ˈkæmpəs, ˈskɑlərz ˈreɪnʤɪŋ frəm dɪˈstɪŋgwɪʃt ˌəndərˈgræʤəwəts tɪ ˈfɛloʊz kriˈeɪt nu ˌəndərˈstændɪŋz əv ðə wərld ənd pleɪs ɪn ɪt. frəm ðə stɑrt, ˈstænfərd həz ˈvæljud ɛkˌspɛriˈɛnʃəl ˌɛʤəˈkeɪʃən. ˈʤɛnərəs ˈfəndɪŋ hɛlps ɪts ˌəndərˈgræʤəwəts əv dɪˈvərs ˌɛkəˈnɑmɪk ˈbækˌgraʊndz tɪ ˌɛnˈʤɔɪ ˈpɛrəti əv ɪkˈspɪriəns ənd ˌɑpərˈtunəti. ɪn 2015 85 pərˈsɛnt əv ˈstudənts rɪˈsivd səm fɔrm əv ˌfaɪˈnænʃəl əˈsɪstəns ənd 78 pərˈsɛnt əv ˈstænfərd ˌəndərˈgræʤəwəts ˈgræʤəˌweɪtɪd debt-free*. mɔr ðən ˌəndərˈgræʤəwəts ˈkɑndəkt ˈrisərʧ ənd ˈɑnərz ˈprɑʤɛkts iʧ jɪr, waɪl teɪk pɑrt ɪn ˈprɑʤɛkts ənd ˈstədi ˈoʊvərˈsiz, ɔl wɪˈθaʊt rɪˈgɑrd fər əˈbɪləˌti tɪ peɪ. sɪns 1992 ɔl ˌəndərˈgræʤəwəts ər ˌgɛrənˈtid fɔr jɪrz əv ˈhaʊzɪŋ, ɪn ˈkipɪŋ wɪθ ˈɛmfəsɪs ɔn ˌrɛzɪˈdɛnʃəl ˌɛʤəˈkeɪʃən ənd ðə ɪkˈspɪriəns əv ə smɔl ˈlɪˌbərəl ɑrts ˈkɑlɪʤ wɪˈθɪn ðə ˈmeɪtrɪks əv ə lɑrʤ ˈrisərʧ ˌjunəˈvərsəti. ə sɪgˈnɪfɪkənt ˈfɪzɪkəl ˌtrænsfərˈmeɪʃən ˈfɑloʊd ðə 1989 ˈloʊmə ˌpriˈeɪtə ˈərθkˌweɪk, wɪʧ əˈgɛn ˈʧælənʤd ðə rɪˈzɪljəns ənd ˈvɪʒən. meɪn grin ˈlaɪbrɛˌri ˈrɛnəˌveɪtɪd ɪts ˈhɛvəli ˈdæmɪʤd wɛst wɪŋ ɛz ðə bɪŋ wɪŋ, waɪl ðə ˈsɪmələrli ˈdæmɪʤd ˈstænfərd ɑrt mˈjuziəm riˈoʊpənd ɪn 1999 ɛz ðə ˈaɪrɪs bi. ˈʤɛrəld ˈkæntər ˈsɛnər fər ˈvɪʒəwəl ɑrts. ɪn 1985 ðə bi. ˈʤɛrəld ˈkæntər ˌroʊˈdæn ˈskəlpʧər ˈgɑrdən ˈoʊpənd ɛz ðə ˈlɑrʤəst kəˈlɛkʃən əv ˌroʊˈdæn ˈbrɑnzɪz ˈaʊtˈsaɪd ˈpɛrɪs. ɪt bɪˈkeɪm ðə ˈnɛksəs fər ə ˈwərldˌklæs kəˈlɛkʃən əv 20th*- ənd ˈskəlpʧər, ˈnɪrli ɔl əv ɪt ˈfrili ækˈsɛsəbəl tɪ ðə ˈpəblɪk. təˈdeɪ, ðə mˈjuziəm ənd ˈskəlpʧər ˈgɑrdən ər pɑrt əv ə ˈstænfərd ɑrts ˈdɪstrɪkt ðət ˌɪnˈkludz ðə bɪŋ ˈkɑnsərt hɔl, ðə məkˈmərtri ˈbɪldɪŋ fər ɛkˌspɛriˈɛnʃəl ɑrts ˈlərnɪŋ ənd ðə əˈkleɪmd ˈændərsən kəˈlɛkʃən əv əˈmɛrɪkən ˈpeɪnɪŋ. ðə ˈændərsən kəˈlɛkʃən, wɪʧ ˈoʊpənd ɪn 2014 ɪz wən əv ðə moʊst ˌaʊtˈstændɪŋ ˈpraɪvət əˈsɛmbliz əv ˈmɑdərn ənd kənˈtɛmpərˌɛri əˈmɛrɪkən ɑrt. (ˈɪmɪʤ ˈkrɛdɪt: ˈæləks wɛb) ðə ʤeɪmz eɪʧ. klɑrk ˈsɛnər fər ˌbaɪoʊˈmɛdɪkəl ˈɛnʤəˈnɪrɪŋ ənd ˈsaɪənsɪz ˈoʊpənd ɪn 2003 ɛz ðə ˌʤiəˈgræfɪk ənd ˌɪnəˈlɛkʧuəl ˈnɛksəs bɪtˈwin ðə skulz əv ˈɛnʤəˈnɪrɪŋ ənd ˈmɛdəsən ənd ðə hoʊm əv bio-x*, ə ˌpaɪəˈnɪrɪŋ ˌɪntərˈdɪsəpləˌnɛri ˌbaɪoʊˈsaɪənsɪz ˈɪnstɪˌtut lɛd baɪ prəˈfɛsər ˈkɑrlɑ ʃɑts. ɪts ˈɑrkəˌtɛkʧər sɛt ðə toʊn fər fˈjuʧər ˈbɪldɪŋ, ˈfərðərɪŋ ðə ðət bɪˈkeɪm ə ˈhɑlˌmɑrk əv ˌjunəˈvərsəti ˈprɛzɪdənt ʤɑn ˈtɛnjər. ðə ɪnˌvaɪrənˈmɛnəli ˈsɛnsɪtɪv kənˈstrəkʃən sin ɪn ðə klɑrk ˈsɛnər, ðə saɪəns ənd ˈɛnʤəˈnɪrɪŋ kwɑd, ðə skul əv ˈmɛdəsən ənd ˈɛlsˌwɛr fʊlˈfɪlz ðə dip kəˈmɪtmənt tɪ səˌsteɪnəˈbɪlɪti ɪn ˈrisərʧ, ˈtiʧɪŋ ənd ˌɪnstɪˈtuʃənəl ˈpræktɪs. ɪn 2015 ˈstænfərd ˈɛnərʤi ˈsɪstəm innovations’*’ ɪˈlɛktrɪk hit rɪˈkəvəri ˈsɪstəm ʤɔɪnd ðə ˈsoʊlər ənd ˌʤioʊˈθərməl paʊər proʊˈkjʊrmənt ˌɪˈnɪʃətɪvz tɪ rɪˈdus ˈkæmpəs ɪˈmɪʃənz baɪ ˈrəfli 68 pərˈsɛnt. ðə ˈplætnər ˈɪnstɪˌtut əv dɪˈzaɪn æt ˈstænfərd ˈoʊpənd ɪn ðə skul əv ˈɛnʤəˈnɪrɪŋ ɪn 2005 ˈbrɪŋɪŋ ˈstudənts ənd ˈfækəlti frəm ˈrædɪkli ˈdɪfərənt ˈbækˌgraʊndz təˈgɛðər tɪ dɪˈvɛləp ˈɪnəˌveɪtɪv, səˈluʃənz tɪ ˈrilˌwərld ˈʧælənʤɪz. ˈjuzɪŋ tɛkˈniks frəm dɪˈzaɪn ənd ˈɛnʤəˈnɪrɪŋ, ðə ˈɪnstɪˌtut, noʊn ɔn ˈkæmpəs ɛz ðə d.school*, ˌɪnˈstɪlz kriˈeɪtɪv ˈkɑnfədɛns ənd drɔz ˈstudənts bɪɔnd ðə ˈbaʊndəriz əv trəˈdɪʃənəl ˌækəˈdɛmɪk ˈdɪsəplənz. dɪˈvɛləpmənt kæmˈpeɪnz əv ənˈprɛsɪˌdɛntɪd skoʊp ˈkɛri ˈfɔrwərd ðə ˈstænfərd ˈvɪʒən. ðə 2000 kæmˈpeɪn fər ˌəndərˈgræʤəwət ˌɛʤəˈkeɪʃən reɪzd 1 ˈbɪljən, waɪl ðə ˈstænfərd ˈʧælənʤ kənˈkludɪd ɪn 2012 ˈæftər ˈreɪzɪŋ ˈbɪljən, ðɛn ðə ˈlɑrʤəst ˈfənˌdreɪsɪŋ kæmˈpeɪn ˈəndərˌteɪkən baɪ ə ˌjunəˈvərsəti, tɪ fənd boʊld nu ˌɪˈnɪʃətɪvz. ˈminˌwaɪl, ðə 1 ˈbɪljən kæmˈpeɪn fər ˈstænfərd ˈmɛdəsən ɪz riˈbɪldɪŋ tu ˈhɑˌspɪtəlz fər ˈædəlts ənd ˈʧɪldrən tɪ ədˈvæns ðə ˈmɪʃən əv priˈsɪʒən hɛlθ. ˈdʊrɪŋ 2016 ˈstænfərd ˈsɛləˌbreɪtɪd ɪts jɪr əv ˌtrænsfərˈmeɪʃənəl ˌɪmˈpækt. ə riˈvæmpt ˈroʊbəl ʤɪm ˈoʊpənd wɪθ ə ˈdɛdəkeɪtəd gym”*” tɪ hɛlp meɪk ɑrt ən ˈɪnəgrəl pɑrt əv ðə ˈstudənt ɪkˈspɪriəns. chem,”*,” wən əv fərst ˈbɪldɪŋz, rɪˈsivd nu laɪf ɛz ðə sæp ˈsɛnər fər saɪəns ˈtiʧɪŋ ənd ˈlərnɪŋ. ðə skul əv juˈmænɪtiz ənd ˈsaɪənsɪz lɔnʧt ðə juˈmænɪtiz kɔr, ə nu sərˈtɪfɪkət ənd ˈmaɪnər ˈproʊˌgræm prəˈvaɪdɪŋ ˌəndərˈgræʤəwəts ə ˈstrəkʧərd ˈpæθˌweɪ tɪ ɪkˈsplɔr ˌfəndəˈmɛnəl kˈwɛsʧənz əv ˈjumən ɪgˈzɪstəns. ðət jɪr, ˈstænfərd ˈɔlsoʊ ɪkˈspændɪd ɪts bɪŋ ˈoʊvərˈsiz ˈstədiz ˈproʊˌgræm, ɛnˈhænst ˌəndərˈgræʤəwət ˈrisərʧ ˌɑpərˈtunətiz ənd pleɪd ə ˌpaɪəˈnɪrɪŋ roʊl ɪn ɪkˈsplɔrɪŋ haʊ bɛst tɪ juz ˈɔnˌlaɪn tɛkˈnɑləʤiz tɪ ɪkˈspænd ˈækˌsɛs tɪ ˌhaɪkˈwɑləti ˌɛʤəˈkeɪʃən. ðə sæp ˈsɛnər fər saɪəns ˈtiʧɪŋ ənd ˈlərnɪŋ həz ðə hɪˈstɔrɪk chem”*” ˈbɪldɪŋ wɪθ ən aɪ təˈwɔrd ðə ˌɪntərˈdɪsəpləˌnɛri fˈjuʧər əv saɪəns ˈrisərʧ ənd ˌɛʤəˈkeɪʃən. (ˈɪmɪʤ ˈkrɛdɪt: l.a*. ˈsɪsərˌoʊ) ˈstænfərd ˌjunəˈvərsəti təˈdeɪ kəmˈpraɪzɪz ˈsɛvən skulz ənd 18 ˌɪntərˈdɪsəpləˌnɛri ˈɪnstɪˌtuts wɪθ mɔr ðən ˈstudənts, ˈfækəlti ənd ˌpoʊstˈdɑkˌtərəl ˈskɑlərz. ˈstænfərd ɪz ən ˌɪnərˈnæʃənɑl ˌɪnstɪˈtuʃən, ɛnˈroʊlɪŋ ˈstudənts frəm ɔl 50 juz. steɪts ənd 91 ˈəðər ˈkəntriz. ɪt ɪz ˈɔlsoʊ ən æθˈlɛtɪks ˈpaʊərˌhaʊs, wɪθ 900 ˈkɑrənt ənd ə ˈhɪstəri əv 128 ˈnæʃənəl ˈtaɪtəlz ənd 22 kənˈsɛkjətɪv spɔrts directors’*’ kəps, əˈwɔrdɪd tɪ ðə tɔp ˌɪntərkəˈliʤət æθˈlɛtɪks ˈproʊˌgræm ɪn ðə ˈneɪʃən. æt ðə 2016 ˈgloʊbəl ˌɑntrəprəˈnərʃɪp ˈsəmɪt, ˈhoʊstɪd baɪ ˈstænfərd, ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə preɪzd ðə ˌjunəˈvərsəti ɛz pleɪs ðət ˈsɛləˌbreɪts ɑr əˈbɪləˌti ɛz ˈjumən biɪŋz tɪ dɪˈskəvər ənd lərn ənd tɪ bɪld, tɪ kˈwɛʃən, tɪ reimagine*, tɪ kriˈeɪt nu weɪz tɪ kəˈnɛkt ənd wərk wɪθ iʧ other.”*.”
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it's fitting that president obama included in his big speech today a mention of newt gingrich, who represents a key common thread between the current presidential race and the last one to feature an incumbent democratic president.
the purpose of the address, which was delivered to a crowd of associated press editors and reporters, was for obama to present his objections to the paul budget blueprint that house republicans supported almost unanimously last week and that mitt romney has called "an excellent piece of work, and very much needed." obama derided the ryan plan as "thinly veiled social darwinism" that is "antithetical to our entire history as a land of opportunity and upward mobility for everyone willing to work for it.” basically, this was a rehearsal for obama, who will make this same case over and over again for the next seven months in an effort to tie romney to congressional republican extremism.
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the gingrich came when obama branded the ryan budget "so far to the right that it makes the contract with america look like the new deal."
"that renowned liberal newt gingrich first called the original version of the budget 'radical,'" obama reminded the crowd, "and said it would contribute to social engineering.' this is coming from newt gingrich!"
gingrich made that statement during a "meet the press" appearance last may, back when ryan's plan was limited to medicare, which he envisioned turning into a voucher program. the withering response from conservative leaders that gingrich's comment generated showed the degree to which adherence to ryan's agenda has become a litmus test for the right, and explains (in part) why romney has no choice but to embrace it. back then, gingrich tried, comically, to back away from his words, but it's hardly surprising obama is recycling them now, and it won't be shocking if they work their way into democratic talking points and television ads in the months ahead.
obama is trying to replicate the strategy that bill clinton used to win a second term in 1996, when clinton positioned himself as the last line of defense against a republican congress' efforts to gut the social safety net. the face of that republican congress was, of course, gingrich, who became house speaker after the 1994 midterm landslide and led the party through a damaging series of confrontations with clinton over spending on popular government programs, most notably medicare. the republicans' insistence on steep cuts allowed clinton to paint them as dangerous extremists and badly wounded the with some key demographic groups. in broad terms, the story that clinton told at the 1996 democratic convention in chicago sounds similar to the one that obama is telling now:
now, last year -- last year when the republican congress sent me a budget that violated those values and principles, i vetoed it, and i would do it again tomorrow. i could never allow cuts that devastate education for our children, that pollute our environment, that end the guarantee of health care for those who are served under medicaid, that end our duty or violate our duty to our parents through medicare. i just couldn't do that. as long as i'm president, i'll never let it happen. and it doesn't matter -- it doesn't matter if they try again, as they did before, to use the blackmail threat of a shutdown of the federal government to force these things on the american people. we didn't let it happen before. we won't let it happen again.
there are many reasons clinton was reelected in '96, including the public's widespread belief that the economy had improved substantially on his watch. but the profound unpopularity of gingrich and the congress' agenda also gave clinton a real boost. an exit poll on election day showed that 60 percent of voters had an unfavorable view of gingrich, with only 32 percent expressing a positive view. women voters abandoned the in droves in '96, favoring clinton by 17 points over bob dole -- even as men sided with dole by a point. analysts concluded that the perception that the was recklessly endangering the social safety net (and that clinton was committed to protecting it) was a major reason for the gender gap.
sixteen years ago, newt gingrich helped a democrat win a second presidential term for the first time since fdr. as obama's speech today showed, he may end up providing another assist this year.
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ɪts ˈfɪtɪŋ ðət ˈprɛzɪdənt ˌoʊˈbɑmə ˌɪnˈkludɪd ɪn hɪz bɪg spiʧ təˈdeɪ ə ˈmɛnʃən əv nut ˈgɪŋgrɪʧ, hu ˌrɛprɪˈzɛnts ə ki ˈkɑmən θrɛd bɪtˈwin ðə ˈkɑrənt ˌprɛzɪˈdɛnʃəl reɪs ənd ðə læst wən tɪ ˈfiʧər ən ˌɪnˈkəmbənt ˌdɛməˈkrætɪk ˈprɛzɪdənt. ðə ˈpərpəs əv ðə ˈæˌdrɛs, wɪʧ wɑz dɪˈlɪvərd tɪ ə kraʊd əv əˈsoʊʃiˌeɪtəd prɛs ˈɛdɪtərz ənd rɪˈpɔrtərz, wɑz fər ˌoʊˈbɑmə tɪ ˈprɛzənt hɪz əˈbʤɛkʃənz tɪ ðə pɔl ˈbəʤɪt ˈbluˌprɪnt ðət haʊs rɪˈpəblɪkənz səˈpɔrtɪd ˈɔlˌmoʊst juˈnænəməsli læst wik ənd ðət mɪt ˈrɑmni həz kɔld "ən ˈɛksələnt pis əv wərk, ənd ˈvɛri məʧ ˈnidɪd." ˌoʊˈbɑmə dɪˈraɪdɪd ðə raɪən plæn ɛz "ˈθɪnli veɪld ˈsoʊʃəl ˈdɑrwɪˌnɪzəm" ðət ɪz "ˌæntəˈθɛtɪkəl tɪ ɑr ɪnˈtaɪər ˈhɪstəri ɛz ə lænd əv ˌɑpərˈtunəti ənd ˈəpwərd moʊˈbɪlɪti fər ˈɛvriˌwən ˈwɪlɪŋ tɪ wərk fər it.”*.” ˈbeɪsɪkli, ðɪs wɑz ə rɪˈhərsəl fər ˌoʊˈbɑmə, hu wɪl meɪk ðɪs seɪm keɪs ˈoʊvər ənd ˈoʊvər əˈgɛn fər ðə nɛkst ˈsɛvən mənθs ɪn ən ˈɛfərt tɪ taɪ ˈrɑmni tɪ kənˈgrɛʃənəl rɪˈpəblɪkən ˌɪkˈstrɛmɪzəm. ˌædvərˈtaɪzmənt: ðə ˈgɪŋgrɪʧ keɪm wɪn ˌoʊˈbɑmə ˈbrændɪd ðə raɪən ˈbəʤɪt "soʊ fɑr tɪ ðə raɪt ðət ɪt meɪks ðə ˈkɑnˌtrækt wɪθ əˈmɛrɪkə lʊk laɪk ðə nu dil." "ðət rɪˈnaʊnd ˈlɪˌbərəl nut ˈgɪŋgrɪʧ fərst kɔld ðə ərˈɪʤənəl ˈvərʒən əv ðə ˈbəʤɪt 'ˈrædɪkəl,'" ˌoʊˈbɑmə riˈmaɪndɪd ðə kraʊd, "ənd sɛd ɪt wʊd kənˈtrɪbjut tɪ ˈsoʊʃəl ˈɛnʤəˈnɪrɪŋ.' ðɪs ɪz ˈkəmɪŋ frəm nut ˈgɪŋgrɪʧ!" ˈgɪŋgrɪʧ meɪd ðət ˈsteɪtmənt ˈdʊrɪŋ ə "mit ðə prɛs" əˈpɪrəns læst meɪ, bæk wɪn raɪənz plæn wɑz ˈlɪmɪtɪd tɪ ˈmɛdəˌkɛr, wɪʧ hi ɛnˈvɪʒənd ˈtərnɪŋ ˈɪntu ə ˈvaʊʧər ˈproʊˌgræm. ðə ˈwɪðərɪŋ rɪˈspɑns frəm kənˈsərvətɪv ˈlidərz ðət ˈgɪŋgrɪʧɪz ˈkɑmɛnt ˈʤɛnərˌeɪtɪd ʃoʊd ðə dɪˈgri tɪ wɪʧ əˈdhɪrəns tɪ raɪənz əˈʤɛndə həz bɪˈkəm ə ˈlɪtməs tɛst fər ðə raɪt, ənd ɪkˈspleɪnz (ɪn pɑrt) waɪ ˈrɑmni həz noʊ ʧɔɪs bət tɪ ɪmˈbreɪs ɪt. bæk ðɛn, ˈgɪŋgrɪʧ traɪd, ˈkɑmɪkəli, tɪ bæk əˈweɪ frəm hɪz wərdz, bət ɪts ˈhɑrdli səˈpraɪzɪŋ ˌoʊˈbɑmə ɪz riˈsaɪkəlɪŋ ðɛm naʊ, ənd ɪt woʊnt bi ˈʃɑkɪŋ ɪf ðeɪ wərk ðɛr weɪ ˈɪntu ˌdɛməˈkrætɪk ˈtɔkɪŋ pɔɪnts ənd ˈtɛləˌvɪʒən ædz ɪn ðə mənθs əˈhɛd. ˌoʊˈbɑmə ɪz traɪɪŋ tɪ ˈrɛplɪˌkeɪt ðə ˈstrætəʤi ðət bɪl ˈklɪntən juzd tɪ wɪn ə ˈsɛkənd tərm ɪn 1996 wɪn ˈklɪntən pəˈzɪʃənd hɪmˈsɛlf ɛz ðə læst laɪn əv dɪˈfɛns əˈgɛnst ə rɪˈpəblɪkən ˈkɑŋgrəs' ˈɛfərts tɪ gət ðə ˈsoʊʃəl ˈseɪfti nɛt. ðə feɪs əv ðət rɪˈpəblɪkən ˈkɑŋgrəs wɑz, əv kɔrs, ˈgɪŋgrɪʧ, hu bɪˈkeɪm haʊs ˈspikər ˈæftər ðə 1994 ˈmɪdˌtərm ˈlænsˌlaɪd ənd lɛd ðə ˈpɑrti θru ə ˈdæmɪʤɪŋ ˈsɪriz əv ˌkɑnfrənˈteɪʃənz wɪθ ˈklɪntən ˈoʊvər ˈspɛndɪŋ ɔn ˈpɑpjələr ˈgəvərnmənt ˈproʊˌgræmz, moʊst ˈnoʊtəbli ˈmɛdəˌkɛr. ðə rɪˈpəblɪkənz' ˌɪnˈsɪstəns ɔn stip kəts əˈlaʊd ˈklɪntən tɪ peɪnt ðɛm ɛz ˈdeɪnʤərəs ɪkˈstriməsts ənd ˈbædli ˈwundɪd ðə wɪθ səm ki ˌdɛməˈgræfɪk grups. ɪn brɔd tərmz, ðə ˈstɔri ðət ˈklɪntən toʊld æt ðə 1996 ˌdɛməˈkrætɪk kənˈvɛnʃən ɪn ʃəˈkɑˌgoʊ saʊnz ˈsɪmələr tɪ ðə wən ðət ˌoʊˈbɑmə ɪz ˈtɛlɪŋ naʊ: naʊ, læst jɪr læst jɪr wɪn ðə rɪˈpəblɪkən ˈkɑŋgrəs sɛnt mi ə ˈbəʤɪt ðət ˈvaɪəleɪtɪd ðoʊz ˈvæljuz ənd ˈprɪnsəpəlz, aɪ ˈviˌtoʊd ɪt, ənd aɪ wʊd du ɪt əˈgɛn təˈmɑˌroʊ. aɪ kʊd ˈnɛvər əˈlaʊ kəts ðət ˈdɛvəˌsteɪt ˌɛʤəˈkeɪʃən fər ɑr ˈʧɪldrən, ðət pəˈlut ɑr ɪnˈvaɪrənmənt, ðət ɛnd ðə ˌgɛrənˈti əv hɛlθ kɛr fər ðoʊz hu ər sərvd ˈəndər ˈmɛdəˌkeɪd, ðət ɛnd ɑr ˈduti ər ˈvaɪəleɪt ɑr ˈduti tɪ ɑr ˈpɛrənts θru ˈmɛdəˌkɛr. aɪ ʤɪst ˈkʊdənt du ðət. ɛz lɔŋ ɛz əm ˈprɛzɪdənt, aɪl ˈnɛvər lɛt ɪt ˈhæpən. ənd ɪt ˈdəzənt ˈmætər ɪt ˈdəzənt ˈmætər ɪf ðeɪ traɪ əˈgɛn, ɛz ðeɪ dɪd ˌbiˈfɔr, tɪ juz ðə ˈblækˌmeɪl θrɛt əv ə ˈʃətˌdaʊn əv ðə ˈfɛdərəl ˈgəvərnmənt tɪ fɔrs ðiz θɪŋz ɔn ðə əˈmɛrɪkən ˈpipəl. wi ˈdɪdənt lɛt ɪt ˈhæpən ˌbiˈfɔr. wi woʊnt lɛt ɪt ˈhæpən əˈgɛn. ðɛr ər ˈmɛni ˈrizənz ˈklɪntən wɑz riɪˈlɛktɪd ɪn 96 ˌɪnˈkludɪŋ ðə ˈpəblɪks ˈwaɪdˈsprɛd bɪˈlif ðət ðə ɪˈkɑnəmi hæd ˌɪmˈpruvd səbˈstænʃəli ɔn hɪz wɔʧ. bət ðə proʊˈfaʊnd ənˌpɑpjəˈlɛrɪti əv ˈgɪŋgrɪʧ ənd ðə ˈkɑŋgrəs' əˈʤɛndə ˈɔlsoʊ geɪv ˈklɪntən ə ril bust. ən ˈɛksət poʊl ɔn ɪˈlɛkʃən deɪ ʃoʊd ðət 60 pərˈsɛnt əv ˈvoʊtərz hæd ən ˌənˈfeɪvərəbəl vju əv ˈgɪŋgrɪʧ, wɪθ ˈoʊnli 32 pərˈsɛnt ɪkˈsprɛsɪŋ ə ˈpɑzətɪv vju. ˈwɪmən ˈvoʊtərz əˈbændənd ðə ɪn droʊvz ɪn 96 ˈfeɪvərɪŋ ˈklɪntən baɪ 17 pɔɪnts ˈoʊvər bɑb doʊl ˈivɪn ɛz mɛn ˈsaɪdɪd wɪθ doʊl baɪ ə pɔɪnt. ˈænəlɪsts kənˈkludɪd ðət ðə pərˈsɛpʃən ðət ðə wɑz ˈrɛkləsli ɛnˈdeɪnʤərɪŋ ðə ˈsoʊʃəl ˈseɪfti nɛt (ənd ðət ˈklɪntən wɑz kəˈmɪtɪd tɪ prəˈtɛktɪŋ ɪt) wɑz ə ˈmeɪʤər ˈrizən fər ðə ˈʤɛndər gæp. ˈsɪkˈstin jɪrz əˈgoʊ, nut ˈgɪŋgrɪʧ hɛlpt ə ˈdɛməˌkræt wɪn ə ˈsɛkənd ˌprɛzɪˈdɛnʃəl tərm fər ðə fərst taɪm sɪns fdr*. ɛz ˌoʊˈbɑməz spiʧ təˈdeɪ ʃoʊd, hi meɪ ɛnd əp prəˈvaɪdɪŋ əˈnəðər əˈsɪst ðɪs jɪr.
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new paper: 14 scientists affirm the sun, not, is ‘dominant control’ of recent climate change
written by kenneth richard
one of the “truths” for advocates of the position that humans are predominantly responsible for climate changes is that the sun could not have played more than a negligible role in the global warming of the last few centuries. indeed, the latest intergovernmental panel on climate change (ippc) report theorizes that the long-term solar contribution to climate change has been slightly above zero.
and yet scientists have not been deterred in their quest to document a robust link in the data… as well as in the temperature and climatic changes for recent decades. in 2016 alone, for example, there were over 130 scientific papers documenting a solar influence on climate.
climate scientist dr. li, who has himself authored over 300 scientific publications, continues this trend of linking climate changes to solar forcing. he and 13 other scientists just published a new paper in the journal quaternary science reviews in which they have clearly affirmed the dominance of the forcing on the climate of china (and for the northern hemisphere in general) during the past few thousand years, including the last century. the authors assert that climate changes and solar activity are well correlated throughout the record, and that if there is a role for greenhouse gases to influence climatic trends, that role is merely supplementary, not dominant. they also describe in detail how the variance acts to influence atmospheric and oceanic heat oscillations, and how this may affect regional precipitation, weather, and temperature changes.
summary
“we suggest that solar activity may play a key role in driving the climatic fluctuations in [north china] during the last 22 centuries, with its quasi, 50, 23, or clearly identified in our climatic reconstructions. it has been widely suggested from both climate modeling and observation data that solar activity plays a key role in driving late climatic fluctuations by triggering global temperature variability and atmospheric circulation (e.g., haigh, 1996; et al., 1999; bond et al., 2001; et al., 2003; et al.,
climate and solar activity well correlated for north china, northern hemisphere
“spectral analyses indicate that the [annual precipitation] record has significant at 100, 67, 57 and 23 years; and the tann [annual temperature] record displays notable at 118, 103, 80, 67, 56, 50, 40 and 22 years (fig. 4). the 100, 57 and 23 year periods for, as well as the 103, 50, and 22 year periods for tann, correlate well with the 100, 50, 23 and 22 year cycles for the solar activity observed in various solar parameters (e.g., wilson et al., 1996; li et al., 1996; chowdhury et al., 2009; zhang et al., 2014), therefore implying an relationship between the climatic oscillation in [north china] and solar activity. furthermore, a to centennial comparison of our tann reconstruction for with the total solar (tsi; vieira et al., 2011), the asian pacific oscillation index (apo; zhou et al., 2009), the convergence zone index (itcz; haug et al., 2001), the north atlantic oscillation index (nao; et al., 2009; olsen et al., 2012) and the debris record (ird; bond et al., 2001) from the north atlantic ocean, suggests a strong underlying between the [east asian monsoon] regime in and many other high- or climatic systems in different regions of the northern hemisphere.”
[notice there has been no significant net warming in north china since about 1950, consistent with the temperature trends for the northern hemisphere in general and similar to the identified pattern in reconstructions of total solar.]
the mechanism of solar forcing and changes
“in short, the mechanism of the climatic variations in [north china] can be likely summarized as follows. the strengthened solar activity could be significantly amplified by the variations in ultraviolet radiation as well as clouds (e.g., haigh, 1996; tinsley, 2000), resulting in the marked variability in global surface temperature. as the heat capacity between land and ocean differs notably, if increases, the thermal contrast between the east asian continent and the north pacific ocean would be enhanced, resulting in high values of and thus northward shift of both and western pacific high (wpsh) positions (e.g., zhao et al., 2007; zhou et al., 2009), so that the summer monsoon and its rain belt would move further north and stay longer in. at the same time, because the increased would lead to decreased values, but increased north atlantic deep water (nadw) circulation, and hence a positive phase, the continent including would receive less cold air masses from the regions of and thus be substantially warming up, so that the winter monsoon and westerlies would be concurrently weakened and retreat northward (e.g., wu and wang, 2002; wang et al., 2005; li et al., 2015a). as a result, the enhanced summer monsoon would bring more rainfall to where the surface temperature is also higher. in contrast, when declines, the land temperature falls quickly, whereas the winter monsoon and westerlies would be intensified, thus leading to increased values, but declining strength as well as a negative phase; and meanwhile the positions of both and would retreat southward, the summer monsoon intensity would be significantly weakened, thereby resulting in the decreased precipitation as well as temperature in.”
co2 may ‘partly’ affect climate variations, but its role is only superimposed on ‘solar-dominated control’
“additionally, increased el oscillation (enso) strength (possibly el phases) during drying periods, increased volcanic eruptions and the resulting aerosol load during cooling periods, as well as high volumes of greenhouse gases such as and during the recent warming periods, may also play a role in partly affecting the climatic variability in, on the overall long-term control (e.g., wanner et al., 2008; tan et al., 2011; et al., 2013; chen et al., 2015a,b).”
a closer look at the robust correlation between solar variability and modern climate
in examining the strong correlation between solar variability and temperature changes, notice the reconstruction of total solar (tsi) supplied in the li et al. (2017) paper (from vieira et al., 2011, shown in this leading graph above and now below). trends for the last several centuries indicate a dramatic rise in solar from the early century until about 1950, then a decline in solar forcing through the and, and then another rising trend after the until the early. these trends all correlate rather well with temperature trends not only for china, but for the entire northern hemisphere.
even using instrumental temperature reveal a similar oscillation for the northern hemisphere that is compatible with reconstructions of.
prior to elimination of of warming from the to 1940 period, as well as making of cooling disappear from the 1940 to 1970 trend, the national academy of sciences produced a graph (depicted below) indicating there was nearly of warming between the late and 1940, and then about -0.5 or -0.6°c of cooling between 1940 and 1975.
and then, since 1979, the temperature dataset (shown below) indicates that the northern hemisphere (nh) has warmed again by about +0.5 or +0.6° c overall since the, likely recovering completely from the earlier cooling period of similar magnitude (1940 to). since about 2000, the trend has been largely flat (until the super el warming event). therefore, using the instrumental records that have likely not been massively adjusted to fit climate models, the peak and the plateau are probably similar in warming magnitude. so, like the reconstructions shown above from li et al. (2017), even the instrumental record seems to correlate well with the vieira et al. (2011) reconstruction for the and centuries.
rss satellite graph
because large regions of the southern hemisphere (and middle latitudes) have not warmed since the (regions such as west antarctica, east antarctica, antarctica as a whole, the southern ocean, south america, australia, india, the indian ocean) even global surface temperatures may follow a oscillatory pattern for the century that correlates well with trends.
a 2014 paper also affirms a robust correlation between and temperatures
moffa-sánchez et al., 2014
“there were several fluctuations in the climate and oceanography of the north atlantic region over the past years, including a period of relative cooling from about ad 1450 to 1850 known as the little ice age. these variations may be linked to changes in solar, amplified through including the atlantic overturning circulation. the reconstructed variations in correlate with variability in total solar. we find a similar correlation in a simulation of climate over the past years. solar promotes the development of frequent and persistent atmospheric blocking events, in which a system in the eastern north atlantic modifies the flow of the westerly winds. our results reveal abrupt to centennial shifts in the temperature and salinity of the [north atlantic current] waters of °c and °c, respectively, during the past millennium. the magnitude of the hydrographic variability is substantial and comparable to that recorded in a lower resolution record spanning the present from a nearby site, which highlights the similarities in the ocean variability on a diverse range of timescales. the timing of the hydrographic shifts shows a strong correlation with total solar (tsi) variability. periods of solar (maxima) generally correspond to cold and fresh (warm and salty) conditions in the.”
conclusion
the has taken the position that the sun, and natural factors that influence its variable surface energy absorption (clouds, aerosols, etc.), has had effectively had little to no influence on climate changes in the last few hundred years. this conceptualization is rooted in the presupposition that humans are primarily if not exclusively responsible for temperature changes. media outlets have taken the cue and headlined stories such as was hottest year on record, and humans are to blame“.
considering the large and growing body of scientific evidence linking the sun to climate variations even for the and centuries it is long past due for the and other influential bodies to take a much closer look at the solar sciences as an explanation for past and present climate changes. with the evidence mounting by the week, it will likely be harder and harder to ignore the evidence for the connection much longer.
– see more at:
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nu ˈpeɪpər: 14 ˈsaɪəntɪsts əˈfərm ðə sən, nɑt ɪz control’*’ əv ˈrisənt ˈklaɪmɪt ʧeɪnʤ ˈrɪtən baɪ ˈkɛnɪθ ˈrɪʧərd wən əv ðə ““truths”*” fər ˈædvəˌkeɪts əv ðə pəˈzɪʃən ðət ˈjumənz ər ˌprɪˈdɑmənənˌtli riˈspɑnsəbəl fər ˈklaɪmɪt ˈʧeɪnʤɪz ɪz ðət ðə sən kʊd nɑt hæv pleɪd mɔr ðən ə ˈnɛglɪʤəbəl roʊl ɪn ðə ˈgloʊbəl ˈwɔrmɪŋ əv ðə læst fju ˈsɛnʧəriz. ˌɪnˈdid, ðə ˈleɪtəst ˌɪntərˌgəvərnˈmɛntəl ˈpænəl ɔn ˈklaɪmɪt ʧeɪnʤ (ippc*) rɪˈpɔrt ˈθiərˌaɪzɪz ðət ðə ˈlɔŋˈtərm ˈsoʊlər ˌkɑntrəˈbjuʃən tɪ ˈklaɪmɪt ʧeɪnʤ həz bɪn sˈlaɪtli əˈbəv ˈziroʊ. ənd jɛt ˈsaɪəntɪsts hæv nɑt bɪn dɪˈtərd ɪn ðɛr kwɛst tɪ ˈdɑkjəmɛnt ə roʊˈbəst lɪŋk ɪn ðə data…*… ɛz wɛl ɛz ɪn ðə ˈtɛmpərəʧər ənd klaɪˈmætɪk ˈʧeɪnʤɪz fər ˈrisənt ˈdɛkeɪdz. ɪn 2016 əˈloʊn, fər ɪgˈzæmpəl, ðɛr wər ˈoʊvər 130 ˌsaɪənˈtɪfɪk ˈpeɪpərz ˈdɑkjəmənɪŋ ə ˈsoʊlər ˈɪnfluəns ɔn ˈklaɪmɪt. ˈklaɪmɪt ˈsaɪəntɪst ˈdɑktər. li, hu həz hɪmˈsɛlf ˈɔθərd ˈoʊvər 300 ˌsaɪənˈtɪfɪk ˌpəblɪˈkeɪʃənz, kənˈtɪnjuz ðɪs trɛnd əv ˈlɪŋkɪŋ ˈklaɪmɪt ˈʧeɪnʤɪz tɪ ˈsoʊlər ˈfɔrsɪŋ. hi ənd 13 ˈəðər ˈsaɪəntɪsts ʤɪst ˈpəblɪʃt ə nu ˈpeɪpər ɪn ðə ˈʤərnəl kˈwɑtərˌnɛri saɪəns rəvˈjuz ɪn wɪʧ ðeɪ hæv ˈklɪrli əˈfərmd ðə ˈdɑmənəns əv ðə ˈfɔrsɪŋ ɔn ðə ˈklaɪmɪt əv ˈʧaɪnə (ənd fər ðə ˈnɔrðərn ˈhɛmɪsˌfɪr ɪn ˈʤɛnərəl) ˈdʊrɪŋ ðə pæst fju ˈθaʊzənd jɪrz, ˌɪnˈkludɪŋ ðə læst ˈsɛnʧəri. ðə ˈɔθərz əˈsərt ðət ˈklaɪmɪt ˈʧeɪnʤɪz ənd ˈsoʊlər ækˈtɪvɪti ər wɛl ˈkɔrəˌleɪtəd θruaʊt ðə ˈrɛkərd, ənd ðət ɪf ðɛr ɪz ə roʊl fər ˈgrinˌhaʊs ˈgæsɪz tɪ ˈɪnfluəns klaɪˈmætɪk trɛnz, ðət roʊl ɪz ˈmɪrli ˌsəpləˈmɛntəˌri, nɑt ˈdɑmənənt. ðeɪ ˈɔlsoʊ dɪˈskraɪb ɪn ˈditeɪl haʊ ðə ˈvɛriəns ækts tɪ ˈɪnfluəns ˌætməsˈfɛrɪk ənd ˌoʊʃiˈænɪk hit ˌɑsəˈleɪʃənz, ənd haʊ ðɪs meɪ əˈfɛkt ˈriʤənəl prɪˌsɪpɪˈteɪʃən, ˈwɛðər, ənd ˈtɛmpərəʧər ˈʧeɪnʤɪz. ˈsəməri səˈʤɛst ðət ˈsoʊlər ækˈtɪvɪti meɪ pleɪ ə ki roʊl ɪn ˈdraɪvɪŋ ðə klaɪˈmætɪk ˌfləkʧuˈeɪʃənz ɪn [nɔrθ ˈʧaɪnə] ˈdʊrɪŋ ðə læst 22 ˈsɛnʧəriz, wɪθ ɪts kˈwɑsi 50 23 ər ˈklɪrli aɪˈdɛntəˌfaɪd ɪn ɑr klaɪˈmætɪk ˌrikənˈstrəkʃənz. ɪt həz bɪn ˈwaɪdli səˈʤɛstɪd frəm boʊθ ˈklaɪmɪt ˈmɑdəlɪŋ ənd ˌɑbzərˈveɪʃən ˈdætə ðət ˈsoʊlər ækˈtɪvɪti pleɪz ə ki roʊl ɪn ˈdraɪvɪŋ leɪt klaɪˈmætɪk ˌfləkʧuˈeɪʃənz baɪ ˈtrɪgərɪŋ ˈgloʊbəl ˈtɛmpərəʧər vɛriəˈbɪlɪti ənd ˌætməsˈfɛrɪk ˈsərkjəˌleɪʃən (e.g*., heɪ, 1996 ɛt æl., 1999 bɑnd ɛt æl., 2001 ɛt æl., 2003 ɛt æl., ˈklaɪmɪt ənd ˈsoʊlər ækˈtɪvɪti wɛl ˈkɔrəˌleɪtəd fər nɔrθ ˈʧaɪnə, ˈnɔrðərn ˈhɛmɪsˌfɪr æˈnælɪˌsiz ˈɪndəˌkeɪt ðət ðə [ˈænjuəl prɪˌsɪpɪˈteɪʃən] ˈrɛkərd həz sɪgˈnɪfɪkənt æt 100 67 57 ənd 23 jɪrz; ənd ðə tæn [ˈænjuəl ˈtɛmpərəʧər] ˈrɛkərd dɪˈspleɪz ˈnoʊtəbəl æt 118 103 80 67 56 50 40 ənd 22 jɪrz (fɪg. 4 ðə 100 57 ənd 23 jɪr ˈpɪriədz fər, ɛz wɛl ɛz ðə 103 50 ənd 22 jɪr ˈpɪriədz fər tæn, ˈkɔrəˌleɪt wɛl wɪθ ðə 100 50 23 ənd 22 jɪr ˈsaɪkəlz fər ðə ˈsoʊlər ækˈtɪvɪti əbˈzərvd ɪn ˈvɛriəs ˈsoʊlər pərˈæmətərz (e.g*., ˈwɪlsən ɛt æl., 1996 li ɛt æl., 1996 ˈʧaʊduri ɛt æl., 2009 ʒɑŋ ɛt æl., 2014 ˈðɛrˌfɔr ˌɪmˈplaɪɪŋ ən riˈleɪʃənˌʃɪp bɪtˈwin ðə klaɪˈmætɪk ˌɑsəˈleɪʃən ɪn [nɔrθ ˈʧaɪnə] ənd ˈsoʊlər ækˈtɪvɪti. ˈfərðərˌmɔr, ə tɪ sɛnˈtɛniəl kəmˈpɛrəsən əv ɑr tæn ˌrikənˈstrəkʃən fər wɪθ ðə ˈtoʊtəl ˈsoʊlər (tsi*; viˈɛrə ɛt æl., 2011 ðə ˈeɪʒən pəˈsɪfɪk ˌɑsəˈleɪʃən ˈɪndɛks (apo*; ʒu ɛt æl., 2009 ðə kənˈvərʤəns zoʊn ˈɪndɛks (itcz*; hɔg ɛt æl., 2001 ðə nɔrθ əˈtlæntɪk ˌɑsəˈleɪʃən ˈɪndɛks (nao*; ɛt æl., 2009 ˈoʊlsən ɛt æl., 2012 ənd ðə dəˈbri ˈrɛkərd (ird*; bɑnd ɛt æl., 2001 frəm ðə nɔrθ əˈtlæntɪk ˈoʊʃən, səˈʤɛsts ə strɔŋ ˌəndərˈlaɪɪŋ bɪtˈwin ðə [ist ˈeɪʒən mɑnˈsun] rəˈʒim ɪn ənd ˈmɛni ˈəðər haɪ- ər klaɪˈmætɪk ˈsɪstəmz ɪn ˈdɪfərənt ˈriʤənz əv ðə ˈnɔrðərn hemisphere.”*.” [ˈnoʊtɪs ðɛr həz bɪn noʊ sɪgˈnɪfɪkənt nɛt ˈwɔrmɪŋ ɪn nɔrθ ˈʧaɪnə sɪns əˈbaʊt 1950 kənˈsɪstənt wɪθ ðə ˈtɛmpərəʧər trɛnz fər ðə ˈnɔrðərn ˈhɛmɪsˌfɪr ɪn ˈʤɛnərəl ənd ˈsɪmələr tɪ ðə aɪˈdɛntəˌfaɪd ˈpætərn ɪn ˌrikənˈstrəkʃənz əv ˈtoʊtəl ˈsoʊlər.] ðə ˈmɛkəˌnɪzəm əv ˈsoʊlər ˈfɔrsɪŋ ənd ˈʧeɪnʤɪz ʃɔrt, ðə ˈmɛkəˌnɪzəm əv ðə klaɪˈmætɪk ˌvɛriˈeɪʃənz ɪn [nɔrθ ˈʧaɪnə] kən bi ˈlaɪkli ˈsəmərˌaɪzd ɛz ˈfɑloʊz. ðə ˈstrɛŋθənd ˈsoʊlər ækˈtɪvɪti kʊd bi sɪgˈnɪfɪkəntli ˈæmpləˌfaɪd baɪ ðə ˌvɛriˈeɪʃənz ɪn ˌəltrəˈvaɪəlɪt ˌreɪdiˈeɪʃən ɛz wɛl ɛz klaʊdz (e.g*., heɪ, 1996 ˈtɪnsli, 2000 rɪˈzəltɪŋ ɪn ðə mɑrkt vɛriəˈbɪlɪti ɪn ˈgloʊbəl ˈsərfəs ˈtɛmpərəʧər. ɛz ðə hit kəˈpæsɪti bɪtˈwin lænd ənd ˈoʊʃən ˈdɪfərz ˈnoʊtəbli, ɪf ˌɪnˈkrisɪz, ðə ˈθərməl ˈkɑntræst bɪtˈwin ðə ist ˈeɪʒən ˈkɑntənənt ənd ðə nɔrθ pəˈsɪfɪk ˈoʊʃən wʊd bi ɛnˈhænst, rɪˈzəltɪŋ ɪn haɪ ˈvæljuz əv ənd ðəs ˈnɔrθwərd ʃɪft əv boʊθ ənd ˈwɛstərn pəˈsɪfɪk haɪ (wpsh*) pəˈzɪʃənz (e.g*., ʤaʊ ɛt æl., 2007 ʒu ɛt æl., 2009 soʊ ðət ðə ˈsəmər mɑnˈsun ənd ɪts reɪn bɛlt wʊd muv ˈfərðər nɔrθ ənd steɪ ˈlɔŋgər ɪn. æt ðə seɪm taɪm, bɪˈkəz ðə ˌɪnˈkrist wʊd lɛd tɪ ˈdiˌkrist ˈvæljuz, bət ˌɪnˈkrist nɔrθ əˈtlæntɪk dip ˈwɔtər (nadw*) ˈsərkjəˌleɪʃən, ənd hɛns ə ˈpɑzətɪv feɪz, ðə ˈkɑntənənt ˌɪnˈkludɪŋ wʊd rɪˈsiv lɛs koʊld ɛr ˈmæsɪz frəm ðə ˈriʤənz əv ənd ðəs bi səbˈstænʃəli ˈwɔrmɪŋ əp, soʊ ðət ðə ˈwɪntər mɑnˈsun ənd ˈwɛstərliz wʊd bi kənˈkərəntli ˈwikənd ənd riˈtrit ˈnɔrθwərd (e.g*., wu ənd wæŋ, 2002 wæŋ ɛt æl., 2005 li ɛt æl., 2015a*). ɛz ə rɪˈzəlt, ðə ɛnˈhænst ˈsəmər mɑnˈsun wʊd brɪŋ mɔr ˈreɪnˌfɔl tɪ wɛr ðə ˈsərfəs ˈtɛmpərəʧər ɪz ˈɔlsoʊ haɪər. ɪn ˈkɑntræst, wɪn dɪˈklaɪnz, ðə lænd ˈtɛmpərəʧər fɔlz kˈwɪkli, wɛˈræz ðə ˈwɪntər mɑnˈsun ənd ˈwɛstərliz wʊd bi ˌɪnˈtɛnsɪˌfaɪd, ðəs ˈlidɪŋ tɪ ˌɪnˈkrist ˈvæljuz, bət dɪˈklaɪnɪŋ strɛŋθ ɛz wɛl ɛz ə ˈnɛgətɪv feɪz; ənd ˈminˌwaɪl ðə pəˈzɪʃənz əv boʊθ ənd wʊd riˈtrit ˈsaʊθwərd, ðə ˈsəmər mɑnˈsun ˌɪnˈtɛnsɪti wʊd bi sɪgˈnɪfɪkəntli ˈwikənd, ˈðɛrˈbaɪ rɪˈzəltɪŋ ɪn ðə ˈdiˌkrist prɪˌsɪpɪˈteɪʃən ɛz wɛl ɛz ˈtɛmpərəʧər ɪn nc.”*.” meɪ ‘‘partly’*’ əˈfɛkt ˈklaɪmɪt ˌvɛriˈeɪʃənz, bət ɪts roʊl ɪz ˈoʊnli ˌsupərəmˈpoʊzd ɔn control’*’ ““additionally*, ˌɪnˈkrist ɛl ˌɑsəˈleɪʃən (enso*) strɛŋθ (ˈpɑsəbli ɛl ˈfeɪzɪz) ˈdʊrɪŋ draɪɪŋ ˈpɪriədz, ˌɪnˈkrist vɑlˈkænɪk ˌɪˈrəpʃənz ənd ðə rɪˈzəltɪŋ ˈɛrəˌsɑl loʊd ˈdʊrɪŋ ˈkulɪŋ ˈpɪriədz, ɛz wɛl ɛz haɪ ˈvɑljumz əv ˈgrinˌhaʊs ˈgæsɪz səʧ ɛz ənd ˈdʊrɪŋ ðə ˈrisənt ˈwɔrmɪŋ ˈpɪriədz, meɪ ˈɔlsoʊ pleɪ ə roʊl ɪn ˈpɑrtli əˈfɛktɪŋ ðə klaɪˈmætɪk vɛriəˈbɪlɪti ɪn, ɔn ðə ˈoʊvərˌɔl ˈlɔŋˈtərm kənˈtroʊl (e.g*., ˈwɑnər ɛt æl., 2008 tæn ɛt æl., 2011 ɛt æl., 2013 ʧɛn ɛt æl., 2015a,b).”*).” ə ˈkloʊzər lʊk æt ðə roʊˈbəst ˌkɔrəˈleɪʃən bɪtˈwin ˈsoʊlər vɛriəˈbɪlɪti ənd ˈmɑdərn ˈklaɪmɪt ɪn ɪgˈzæmɪnɪŋ ðə strɔŋ ˌkɔrəˈleɪʃən bɪtˈwin ˈsoʊlər vɛriəˈbɪlɪti ənd ˈtɛmpərəʧər ˈʧeɪnʤɪz, ˈnoʊtɪs ðə ˌrikənˈstrəkʃən əv ˈtoʊtəl ˈsoʊlər (tsi*) səˈplaɪd ɪn ðə li ɛt æl. 2017 ˈpeɪpər (frəm viˈɛrə ɛt æl., 2011 ʃoʊn ɪn ðɪs ˈlidɪŋ græf əˈbəv ənd naʊ bɪˈloʊ). trɛnz fər ðə læst ˈsɛvərəl ˈsɛnʧəriz ˈɪndəˌkeɪt ə drəˈmætɪk raɪz ɪn ˈsoʊlər frəm ðə ˈərli ˈsɛnʧəri ənˈtɪl əˈbaʊt 1950 ðɛn ə dɪˈklaɪn ɪn ˈsoʊlər ˈfɔrsɪŋ θru ðə ənd, ənd ðɛn əˈnəðər ˈraɪzɪŋ trɛnd ˈæftər ðə ənˈtɪl ðə ˈərli. ðiz trɛnz ɔl ˈkɔrəˌleɪt ˈrəðər wɛl wɪθ ˈtɛmpərəʧər trɛnz nɑt ˈoʊnli fər ˈʧaɪnə, bət fər ðə ɪnˈtaɪər ˈnɔrðərn ˈhɛmɪsˌfɪr. ˈivɪn ˈjuzɪŋ ˌɪnstrəˈmɛnəl ˈtɛmpərəʧər rɪˈvil ə ˈsɪmələr ˌɑsəˈleɪʃən fər ðə ˈnɔrðərn ˈhɛmɪsˌfɪr ðət ɪz kəmˈpætəbəl wɪθ ˌrikənˈstrəkʃənz əv. praɪər tɪ ɪˌlɪməˈneɪʃən əv əv ˈwɔrmɪŋ frəm ðə tɪ 1940 ˈpɪriəd, ɛz wɛl ɛz ˈmeɪkɪŋ əv ˈkulɪŋ ˌdɪsəˈpɪr frəm ðə 1940 tɪ 1970 trɛnd, ðə ˈnæʃənəl əˈkædəmi əv ˈsaɪənsɪz prəˈdust ə græf (dɪˈpɪktɪd bɪˈloʊ) ˈɪndəˌkeɪtɪŋ ðɛr wɑz ˈnɪrli əv ˈwɔrmɪŋ bɪtˈwin ðə leɪt ənd 1940 ənd ðɛn əˈbaʊt ər əv ˈkulɪŋ bɪtˈwin 1940 ənd 1975 ənd ðɛn, sɪns 1979 ðə ˈtɛmpərəʧər ˈdeɪtəˌsɛt (ʃoʊn bɪˈloʊ) ˈɪndɪˌkeɪts ðət ðə ˈnɔrðərn ˈhɛmɪsˌfɪr (nh*) həz wɔrmd əˈgɛn baɪ əˈbaʊt ər si ˈoʊvərˌɔl sɪns ðə, ˈlaɪkli rɪˈkəvərɪŋ kəmˈplitli frəm ðə ˈərliər ˈkulɪŋ ˈpɪriəd əv ˈsɪmələr ˈmægnəˌtud 1940 tɪ). sɪns əˈbaʊt 2000 ðə trɛnd həz bɪn ˈlɑrʤli flæt (ənˈtɪl ðə ˈsupər ɛl ˈwɔrmɪŋ ɪˈvɛnt). ˈðɛrˌfɔr, ˈjuzɪŋ ðə ˌɪnstrəˈmɛnəl ˈrɛkərdz ðət hæv ˈlaɪkli nɑt bɪn ˈmæsɪvli əˈʤəstɪd tɪ fɪt ˈklaɪmɪt ˈmɑdəlz, ðə pik ənd ðə plæˈtoʊ ər ˈprɑbəˌbli ˈsɪmələr ɪn ˈwɔrmɪŋ ˈmægnəˌtud. soʊ, laɪk ðə ˌrikənˈstrəkʃənz ʃoʊn əˈbəv frəm li ɛt æl. 2017 ˈivɪn ðə ˌɪnstrəˈmɛnəl ˈrɛkərd simz tɪ ˈkɔrəˌleɪt wɛl wɪθ ðə viˈɛrə ɛt æl. 2011 ˌrikənˈstrəkʃən fər ðə ənd ˈsɛnʧəriz. ˈsætəˌlaɪt græf bɪˈkəz lɑrʤ ˈriʤənz əv ðə ˈsəðərn ˈhɛmɪsˌfɪr (ənd ˈmɪdəl ˈlætəˌtudz) hæv nɑt wɔrmd sɪns ðə (ˈriʤənz səʧ ɛz wɛst ˌæˈnɑrtɪkə, ist ˌæˈnɑrtɪkə, ˌæˈnɑrtɪkə ɛz ə hoʊl, ðə ˈsəðərn ˈoʊʃən, saʊθ əˈmɛrɪkə, ɔˈstreɪljə, ˈɪndiə, ðə ˈɪndiən ˈoʊʃən ˈivɪn ˈgloʊbəl ˈsərfəs ˈtɛmpərəʧərz meɪ ˈfɑloʊ ə ˈɑsələˌtɔri ˈpætərn fər ðə ˈsɛnʧəri ðət ˈkɔrələts wɛl wɪθ trɛnz. ə 2014 ˈpeɪpər ˈɔlsoʊ əˈfərmz ə roʊˈbəst ˌkɔrəˈleɪʃən bɪtˈwin ənd ˈtɛmpərəʧərz ɛt æl., 2014 wər ˈsɛvərəl ˌfləkʧuˈeɪʃənz ɪn ðə ˈklaɪmɪt ənd ˌoʊʃəˈnɑgrəfi əv ðə nɔrθ əˈtlæntɪk ˈriʤən ˈoʊvər ðə pæst jɪrz, ˌɪnˈkludɪŋ ə ˈpɪriəd əv ˈrɛlətɪv ˈkulɪŋ frəm əˈbaʊt æd 1450 tɪ 1850 noʊn ɛz ðə ˈlɪtəl aɪs eɪʤ. ðiz ˌvɛriˈeɪʃənz meɪ bi lɪŋkt tɪ ˈʧeɪnʤɪz ɪn ˈsoʊlər, ˈæmpləˌfaɪd θru ˌɪnˈkludɪŋ ðə əˈtlæntɪk ˈoʊvərˌtərnɪŋ ˈsərkjəˌleɪʃən. ðə ˌrikənˈstrəktɪd ˌvɛriˈeɪʃənz ɪn ˈkɔrəˌleɪt wɪθ vɛriəˈbɪlɪti ɪn ˈtoʊtəl ˈsoʊlər. wi faɪnd ə ˈsɪmələr ˌkɔrəˈleɪʃən ɪn ə ˌsɪmjəˈleɪʃən əv ˈklaɪmɪt ˈoʊvər ðə pæst jɪrz. ˈsoʊlər prəˈmoʊts ðə dɪˈvɛləpmənt əv ˈfrikˌwɛnt ənd pərˈsɪstənt ˌætməsˈfɛrɪk ˈblɑkɪŋ ɪˈvɛnts, ɪn wɪʧ ə ˈsɪstəm ɪn ðə ˈistərn nɔrθ əˈtlæntɪk ˈmɑdəˌfaɪz ðə floʊ əv ðə ˈwɛstərli wɪndz. ɑr rɪˈzəlts rɪˈvil əˈbrəpt tɪ sɛnˈtɛniəl ʃɪfts ɪn ðə ˈtɛmpərəʧər ənd səˈlɪnəˌti əv ðə [nɔrθ əˈtlæntɪk ˈkɑrənt] ˈwɔtərz əv ənd, rɪˈspɛktɪvli, ˈdʊrɪŋ ðə pæst məˈlɛniəm. ðə ˈmægnəˌtud əv ðə ˌhaɪdrəˈgræfɪk vɛriəˈbɪlɪti ɪz səbˈstænʃəl ənd ˈkɑmprəbəl tɪ ðət rɪˈkɔrdɪd ɪn ə loʊər ˌrɛzəˈluʃən ˈrɛkərd ˈspænɪŋ ðə ˈprɛzənt frəm ə ˈnɪrˈbaɪ saɪt, wɪʧ ˈhaɪˌlaɪts ðə ˌsɪməˈlɛrətiz ɪn ðə ˈoʊʃən vɛriəˈbɪlɪti ɔn ə dɪˈvərs reɪnʤ əv timescales*. ðə ˈtaɪmɪŋ əv ðə ˌhaɪdrəˈgræfɪk ʃɪfts ʃoʊz ə strɔŋ ˌkɔrəˈleɪʃən wɪθ ˈtoʊtəl ˈsoʊlər (tsi*) vɛriəˈbɪlɪti. ˈpɪriədz əv ˈsoʊlər (ˈmæksəmə) ˈʤɛnərəli ˌkɔrəˈspɑnd tɪ koʊld ənd frɛʃ (wɔrm ənd ˈsɔlti) kənˈdɪʃənz ɪn ðə nac.”*.” kənˈkluʒən ðə həz ˈteɪkən ðə pəˈzɪʃən ðət ðə sən, ənd ˈnæʧərəl ˈfæktərz ðət ˈɪnfluəns ɪts ˈvɛriəbəl ˈsərfəs ˈɛnərʤi əbˈzɔrpʃən (klaʊdz, ˈɛrəˌsɑlz, ˌɛtˈsɛtərə.), həz hæd ˈifɛktɪvli hæd ˈlɪtəl tɪ noʊ ˈɪnfluəns ɔn ˈklaɪmɪt ˈʧeɪnʤɪz ɪn ðə læst fju ˈhənərd jɪrz. ðɪs kənˈsɛpʧwəlɪˌzeɪʃən ɪz ˈrutɪd ɪn ðə ˌprisəpəˈzɪʃən ðət ˈjumənz ər praɪˈmɛrəli ɪf nɑt ɪkˈsklusɪvli riˈspɑnsəbəl fər ˈtɛmpərəʧər ˈʧeɪnʤɪz. ˈmidiə ˈaʊˌtlɛts hæv ˈteɪkən ðə kju ənd ˈhɛˌdlaɪnd ˈstɔriz səʧ ɛz wɑz ˈhɑtəst jɪr ɔn ˈrɛkərd, ənd ˈjumənz ər tɪ blame“*“. kənˈsɪdərɪŋ ðə lɑrʤ ənd groʊɪŋ ˈbɑdi əv ˌsaɪənˈtɪfɪk ˈɛvədəns ˈlɪŋkɪŋ ðə sən tɪ ˈklaɪmɪt ˌvɛriˈeɪʃənz ˈivɪn fər ðə ənd ˈsɛnʧəriz ɪt ɪz lɔŋ pæst du fər ðə ənd ˈəðər ˌɪnfluˈɛnʃəl ˈbɑdiz tɪ teɪk ə məʧ ˈkloʊzər lʊk æt ðə ˈsoʊlər ˈsaɪənsɪz ɛz ən ˌɛkspləˈneɪʃən fər pæst ənd ˈprɛzənt ˈklaɪmɪt ˈʧeɪnʤɪz. wɪθ ðə ˈɛvədəns ˈmaʊntɪŋ baɪ ðə wik, ɪt wɪl ˈlaɪkli bi ˈhɑrdər ənd ˈhɑrdər tɪ ˌɪgˈnɔr ðə ˈɛvədəns fər ðə kəˈnɛkʃən məʧ ˈlɔŋgər. si mɔr æt: ʃɛr ðɪs: tˈwɪtər ˈfeɪsˌbʊk prɪnt mɔr ˈtɛləˌgræm ˈpɑkət skaɪp ˈtəmblər
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intel's next architecture reveals its secrets
in a bit of a strange move, intel disclosed next to nothing about its upcoming sandy bridge processor during the opening keynote last week, which you'll know if you refreshed the page as my live blog of the speech descended into tragic irrelevance and hairdo critiques. we've not usually been this close to the release of an intel are expected to arrive right as we ring in a sense of its basic for quite some time. fortunately, intel did finally disclose many of the architectural details of sandy bridge later at, during the technical sessions led by sandy bridge architects. we had the good fortune to attend some of them, but i've been traveling and unable to gather my thoughts on what we learned until now.
the first things to know about sandy bridge are that it's a chip built using intel's high-speed chip fabrication process, with initial variants expected to have four traditional cores, an integrated graphics processor, cache, and a memory controller located together on the same piece of silicon. intel essentially skipped building a processor at, opting to accelerate the schedule for sandy bridge instead. we've long known most of the above, that sandy bridge would include integrated graphics and would require a new socket and motherboards, and we've known that it would support intel's instructions for faster vector processing of media workloads and the like. the mystery has been pretty much everything else beyond those preliminaries.
a substantially new new
that mystery, it turns out, is pretty juicy, because sandy bridge is part of the unprecedented wave of brand-new microprocessor architectures hitting the market. just weeks after amd disclosed the outlines of its bulldozer and bobcat cores, intel has offered us an answer in the form of its own substantially new.
now, making a claim like i just did is fraught with peril, since new chip designs almost inevitably build on older ones, especially when you're talking about intel. that's the thing about sandy bridge, though: one of its architects proclaimed at that it was essentially a rebuild of the and execution engines. such changes were necessary to accommodate the doubled vector width of the instruction set, and it means something fairly momentous. as my friend david kanter observed, this is, at long last, the breaking point where one can finally say virtually nothing remains of the (pentium pro) roots that have everything from the core 2 to the core processors.
not only has the execution engine changed, but nearly everything around it has been replaced with new logic, as well, from the and branch predictor to the memory execution unit. outside of sandy bridge's cores, the "glue" logic on the chip is all new, too. the connections, memory controller, and power management have been tailored to accommodate the presence of a graphics processor. even the integrated graphics engine bears little resemblance to what has come before. if you're looking for a golden age of design, we're living in it, folks.
the most monumental change in sandy bridge has to be the incorporation of graphics onto the die, and intel has almost assuredly gone further toward deep integration than amd did in its ontario "fusion" chips. still, that step feels almost like an afterthought, as part of a logical progression like the integration of the memory controller and logic in the past few generations. the here is more of an accelerator, not a true for computation. such lofty goals will have to wait for later generations. for now, the biggest opportunities for progress come from the sweeping changes to sandy bridge's, where smart new logic may potentially deliver formidable increases in performance.
the looks fairly similar to or from a high-altitude, sort of view. the instruction cache is in size, and the decoder that turns instructions into internal "micro-ops" can still process four instructions per cycle in most cases. intel's architects point to two key changes here.
the first is that rebuilt branch predictor. in most processors, the branch prediction unit uses a clever algorithm to "guess" what path a program will take prior to execution and then feeds the engine with instructions to be processed speculatively. if it guesses right, the result is higher delivered performance, but if it guesses wrong, the results must be discarded and the proper program path must be executed instead, leading to a considerable performance hit. modern have very accurate branch predictors, causing some folks to wonder whether pushing further on this front makes sense. sandy bridge's architects suggested thinking about the problem not as a question of how much better one can do when one is already at 96% efficiency. instead, one should think in terms of reducing in mispredictions, where a change from, say, 7% to 4% represents an improvement of over 40%. with that in mind, they attacked the branch prediction problem anew in sandy bridge to achieve even lower rates of error. unfortunately, we didn't get any hard numbers on the accuracy of the new branch predictor, but it should be superior to's.
this and the other improvements discussed above should lead to general performance increases, even in familiar tasks where we haven't necessarily seen much improvement in performance in recent years.
the other innovation of note in sandy bridge's front end is the addition of a cache for decodeds. old-school geeks may recognize this mechanism from a similar one, called the execution trace cache, used in the pentium 4. again, this provision is a nod to the fact that modern processors don't execute instructions natively, preferring instead to translate them into their own internal instruction sets. the idea behind this new cache is to store instructions in the form of the processor's internals, after they've been processed by the decoders, rather than storing them as instructions. doing so can reduce pressure on the decoders and, i believe, improve the chip's power efficiency in the process. unlike the pentium 4, sandy bridge retains robust decode logic that it can call on when needed, so the presence of a cache should be a straightforward win, with few to no performance trade-offs.
to find the feature with the largest impact on sandy bridge performance, though, one has to look beyond the front end to the memory execution units. in, those units have three ports, but only one can do loads, so the chip is capable of a single load per cycle. in sandy bridge, the units are symmetric, so the chip can execute two loads per cycle. store and cache bandwidth is higher, as well. removing these constraints and doubling the number of loads per cycle allows sandy bridge to feed its formidable execution engine more fully, resulting in more work completed. this and the other improvements discussed above should lead to general performance increases, even in familiar tasks where we haven't necessarily seen much improvement in performance in recent years.
of course, programs that make use of the instruction set may see even larger gains, thanks to sandy bridge's ability to process more data in parallel via wider, vectors. should benefit some familiar workload types, including graphics and media processing, where the data to be processed can be grouped together in large blocks. we've known the outlines of sandy bridge's abilities here for a while, including the potential to execute a add and a multiply concurrently in the same clock cycle. at, we got a better sense of how complete an implementation sandy bridge really has, right down to a physical register file to store those vectors. this chip should be in a class of its own on this front, at least until bulldozer arrives later in 2011. even then, bulldozer will have half the peak throughput of sandy bridge and may only catch up when programs make use of fused (fma) only bulldozer will support.
the pathways connecting sandy bridge's cores together have expanded to enable this increased throughput thanks to a new interconnect that links the cores, graphics, cache, and memory controller. intel first used such a ring topology to connect the eight cores of the-ex processor. that concept has been borrowed and refined in sandy bridge. the chip's architects saw the need for a interconnect to allow cores and the to share the cache and memory controller, and they liked the ring concept because of its potential to scale up and down along with the modular elements of the architecture. because each core has some cache and a ring stop associated with it, cache bandwidth grows with the core count. at 3ghz, each stop can transfer up to 96, so a sandy bridge implementation peaks at 192 of cache bandwidth, while the variant peaks at a torrential 384.
intel's kahn said his team had made significant changes to the ring interconnect compared to the one used in-ex, and he expects it will scale up and be viable for use in processors for multiple generations. the same ring will likely be used in derivatives of sandy bridge with more cores and very modest graphics capabilities, if any.
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ˌɪnˈtɛlz nɛkst ˈɑrkəˌtɛkʧər rɪˈvilz ɪts ˈsikrɪts ɪn ə bɪt əv ə streɪnʤ muv, ˌɪnˈtɛl dɪˈskloʊzd nɛkst tɪ ˈnəθɪŋ əˈbaʊt ɪts ˈəpˌkəmɪŋ ˈsændi brɪʤ ˈprɑˌsɛsər ˈdʊrɪŋ ðə ˈoʊpənɪŋ ˈkiˌnoʊt læst wik, wɪʧ jul noʊ ɪf ju riˈfrɛʃt ðə peɪʤ ɛz maɪ lɪv blɔg əv ðə spiʧ dɪˈsɛndɪd ˈɪntu ˈtræʤɪk ˌɪˈrɛləvəns ənd ˈhɛrˌdu krɪˈtiks. wiv nɑt ˈjuʒəwəli bɪn ðɪs kloʊz tɪ ðə riˈlis əv ən ˌɪnˈtɛl ər ɪkˈspɛktɪd tɪ əraɪv raɪt ɛz wi rɪŋ ɪn ə sɛns əv ɪts ˈbeɪsɪk fər kwaɪt səm taɪm. ˈfɔrʧənətli, ˌɪnˈtɛl dɪd ˈfaɪnəli dɪˈskloʊz ˈmɛni əv ðə ˌɑrkəˈtɛkʧərəl ˈditeɪlz əv ˈsændi brɪʤ ˈleɪtər æt, ˈdʊrɪŋ ðə ˈtɛknɪkəl ˈsɛʃənz lɛd baɪ ˈsændi brɪʤ ˈɑrkəˌtɛkts. wi hæd ðə gʊd ˈfɔrʧən tɪ əˈtɛnd səm əv ðɛm, bət aɪv bɪn ˈtrævəlɪŋ ənd əˈneɪbəl tɪ ˈgæðər maɪ θɔts ɔn wət wi ˈlərnɪd ənˈtɪl naʊ. ðə fərst θɪŋz tɪ noʊ əˈbaʊt ˈsændi brɪʤ ər ðət ɪts ə ʧɪp bɪlt ˈjuzɪŋ ˌɪnˈtɛlz ˈhaɪˌspid ʧɪp ˌfæbrɪˈkeɪʃən ˈprɔˌsɛs, wɪθ ˌɪˈnɪʃəl ˈvɛriənts ɪkˈspɛktɪd tɪ hæv fɔr trəˈdɪʃənəl kɔrz, ən ˈɪnəˌgreɪtɪd ˈgræfɪks ˈprɑˌsɛsər, kæˈʃeɪ, ənd ə ˈmɛməri kənˈtroʊlər ˈloʊˌkeɪtəd təˈgɛðər ɔn ðə seɪm pis əv ˈsɪləkən. ˌɪnˈtɛl ɛˈsɛnʃəli skɪpt ˈbɪldɪŋ ə ˈprɑˌsɛsər æt, ˈɑptɪŋ tɪ ækˈsɛlərˌeɪt ðə ˈskɛʤʊl fər ˈsændi brɪʤ ˌɪnˈstɛd. wiv lɔŋ noʊn moʊst əv ðə əˈbəv, ðət ˈsændi brɪʤ wʊd ˌɪnˈklud ˈɪnəˌgreɪtɪd ˈgræfɪks ənd wʊd ˌrikˈwaɪər ə nu ˈsɑkət ənd motherboards*, ənd wiv noʊn ðət ɪt wʊd səˈpɔrt ˌɪnˈtɛlz ˌɪnˈstrəkʃənz fər ˈfæstər ˈvɛktər ˈprɑsɛsɪŋ əv ˈmidiə ˈwərˌkloʊdz ənd ðə laɪk. ðə ˈmɪstəri həz bɪn ˈprɪti məʧ ˈɛvriˌθɪŋ ɛls bɪɔnd ðoʊz prɪˈlɪməˌnɛriz. ə səbˈstænʃəli nu nu ðət ˈmɪstəri, ɪt tərnz aʊt, ɪz ˈprɪti ˈʤusi, bɪˈkəz ˈsændi brɪʤ ɪz pɑrt əv ðə ənˈprɛsɪˌdɛntɪd weɪv əv ˈbrændˌnu ˌmaɪkroʊˈprɑsɛsər ˈɑrkəˌtɛkʧərz ˈhɪtɪŋ ðə ˈmɑrkɪt. ʤɪst wiks ˈæftər ˈeɪˌɛmˈdi dɪˈskloʊzd ðə ˈaʊˌtlaɪnz əv ɪts ˈbʊlˌdoʊzər ənd ˈbɑbˌkæt kɔrz, ˌɪnˈtɛl həz ˈɔfərd ˈjuˈɛs ən ˈænsər ɪn ðə fɔrm əv ɪts oʊn səbˈstænʃəli nu. naʊ, ˈmeɪkɪŋ ə kleɪm laɪk aɪ ʤɪst dɪd ɪz frɔt wɪθ ˈpɛrəl, sɪns nu ʧɪp dɪˈzaɪnz ˈɔlˌmoʊst ˌɪˈnɛvətəbli bɪld ɔn ˈoʊldər wənz, əˈspɛʃəli wɪn jʊr ˈtɔkɪŋ əˈbaʊt ˌɪnˈtɛl. ðæts ðə θɪŋ əˈbaʊt ˈsændi brɪʤ, ðoʊ: wən əv ɪts ˈɑrkəˌtɛkts proʊˈkleɪmd æt ðət ɪt wɑz ɛˈsɛnʃəli ə riˈbɪld əv ðə ənd ˌɛksəˈkjuʃən ˈɛnʤənz. səʧ ˈʧeɪnʤɪz wər ˈnɛsəˌsɛri tɪ əˈkɑməˌdeɪt ðə ˈdəbəld ˈvɛktər wɪdθ əv ðə ˌɪnˈstrəkʃən sɛt, ənd ɪt minz ˈsəmθɪŋ ˈfɛrli moʊˈmɛntəs. ɛz maɪ frɛnd ˈdeɪvɪd ˈkæntər əbˈzərvd, ðɪs ɪz, æt lɔŋ læst, ðə ˈbreɪkɪŋ pɔɪnt wɛr wən kən ˈfaɪnəli seɪ ˈvərʧuəli ˈnəθɪŋ rɪˈmeɪnz əv ðə (ˈpɛntiəm proʊ) ruts ðət hæv ˈɛvriˌθɪŋ frəm ðə kɔr 2 tɪ ðə kɔr ˈprɑˌsɛsərz. nɑt ˈoʊnli həz ðə ˌɛksəˈkjuʃən ˈɪnʤən ʧeɪnʤd, bət ˈnɪrli ˈɛvriˌθɪŋ əraʊnd ɪt həz bɪn ˌriˈpleɪst wɪθ nu ˈlɑʤɪk, ɛz wɛl, frəm ðə ənd brænʧ prɪˈdɪktər tɪ ðə ˈmɛməri ˌɛksəˈkjuʃən ˈjunɪt. ˈaʊtˈsaɪd əv ˈsændi ˈbrɪʤɪz kɔrz, ðə "glu" ˈlɑʤɪk ɔn ðə ʧɪp ɪz ɔl nu, tu. ðə kəˈnɛkʃənz, ˈmɛməri kənˈtroʊlər, ənd paʊər ˈmænɪʤmənt hæv bɪn ˈteɪlərd tɪ əˈkɑməˌdeɪt ðə ˈprɛzəns əv ə ˈgræfɪks ˈprɑˌsɛsər. ˈivɪn ðə ˈɪnəˌgreɪtɪd ˈgræfɪks ˈɪnʤən bɛrz ˈlɪtəl rɪˈzɛmbləns tɪ wət həz kəm ˌbiˈfɔr. ɪf jʊr ˈlʊkɪŋ fər ə ˈgoʊldən eɪʤ əv dɪˈzaɪn, wɪr ˈlɪvɪŋ ɪn ɪt, foʊks. ðə moʊst ˌmɑnjəˈmɛnəl ʧeɪnʤ ɪn ˈsændi brɪʤ həz tɪ bi ðə ˌɪnˌkɔrpərˈeɪʃən əv ˈgræfɪks ˈɔntu ðə daɪ, ənd ˌɪnˈtɛl həz ˈɔlˌmoʊst əˈʃʊrədli gɔn ˈfərðər təˈwɔrd dip ˌɪnəˈgreɪʃən ðən ˈeɪˌɛmˈdi dɪd ɪn ɪts ɑnˈtɛrioʊ "fˈjuʒən" ʧɪps. stɪl, ðət stɛp filz ˈɔlˌmoʊst laɪk ən ˈæftərˌθɔt, ɛz pɑrt əv ə ˈlɑʤɪkəl prəˈgrɛʃən laɪk ðə ˌɪnəˈgreɪʃən əv ðə ˈmɛməri kənˈtroʊlər ənd ˈlɑʤɪk ɪn ðə pæst fju ˌʤɛnərˈeɪʃənz. ðə hir ɪz mɔr əv ən ækˈsɛlərˌeɪtər, nɑt ə tru fər ˌkɑmpjəˈteɪʃən. səʧ ˈlɔfti goʊlz wɪl hæv tɪ weɪt fər ˈleɪtər ˌʤɛnərˈeɪʃənz. fər naʊ, ðə ˈbɪgəst ˌɑpərˈtunətiz fər ˈprɑˌgrɛs kəm frəm ðə sˈwipɪŋ ˈʧeɪnʤɪz tɪ ˈsændi ˈbrɪʤɪz, wɛr smɑrt nu ˈlɑʤɪk meɪ pəˈtɛnʃəli dɪˈlɪvər ˌfɔrˈmɪdəbəl ˌɪnˈkrisɪz ɪn pərˈfɔrməns. ðə lʊks ˈfɛrli ˈsɪmələr tɪ ər frəm ə high-altitude*, sɔrt əv vju. ðə ˌɪnˈstrəkʃən kæˈʃeɪ ɪz ɪn saɪz, ənd ðə dɪˈkoʊdər ðət tərnz ˌɪnˈstrəkʃənz ˈɪntu ˌɪnˈtərnəl "micro-ops*" kən stɪl ˈprɔˌsɛs fɔr ˌɪnˈstrəkʃənz pər ˈsaɪkəl ɪn moʊst ˈkeɪsɪz. ˌɪnˈtɛlz ˈɑrkəˌtɛkts pɔɪnt tɪ tu ki ˈʧeɪnʤɪz hir. ðə fərst ɪz ðət riˈbɪlt brænʧ prɪˈdɪktər. ɪn moʊst ˈprɑˌsɛsərz, ðə brænʧ priˈdɪkʃən ˈjunɪt ˈjuzɪz ə ˈklɛvər ˈælgərˌɪðəm tɪ "gɛs" wət pæθ ə ˈproʊˌgræm wɪl teɪk praɪər tɪ ˌɛksəˈkjuʃən ənd ðɛn fidz ðə ˈɪnʤən wɪθ ˌɪnˈstrəkʃənz tɪ bi ˈprɑsɛst speculatively*. ɪf ɪt ˈgɛsɪz raɪt, ðə rɪˈzəlt ɪz haɪər dɪˈlɪvərd pərˈfɔrməns, bət ɪf ɪt ˈgɛsɪz rɔŋ, ðə rɪˈzəlts məst bi dɪˈskɑrdɪd ənd ðə ˈprɑpər ˈproʊˌgræm pæθ məst bi ˈɛksəˌkjutɪd ˌɪnˈstɛd, ˈlidɪŋ tɪ ə kənˈsɪdərəbəl pərˈfɔrməns hɪt. ˈmɑdərn hæv ˈvɛri ˈækjərət brænʧ prɪˈdɪktərz, ˈkɔzɪŋ səm foʊks tɪ ˈwəndər ˈwɛðər ˈpʊʃɪŋ ˈfərðər ɔn ðɪs frənt meɪks sɛns. ˈsændi ˈbrɪʤɪz ˈɑrkəˌtɛkts səˈʤɛstɪd ˈθɪŋkɪŋ əˈbaʊt ðə ˈprɑbləm nɑt ɛz ə kˈwɛʃən əv haʊ məʧ ˈbɛtər wən kən du wɪn wən ɪz ɔˈrɛdi æt 96 ɪˈfɪʃənsi. ˌɪnˈstɛd, wən ʃʊd θɪŋk ɪn tərmz əv rɪˈdusɪŋ ɪn mispredictions*, wɛr ə ʧeɪnʤ frəm, seɪ, 7 tɪ 4 ˌrɛprɪˈzɛnts ən ˌɪmˈpruvmənt əv ˈoʊvər 40 wɪθ ðət ɪn maɪnd, ðeɪ əˈtækt ðə brænʧ priˈdɪkʃən ˈprɑbləm əˈnu ɪn ˈsændi brɪʤ tɪ əˈʧiv ˈivɪn loʊər reɪts əv ˈɛrər. ənˈfɔrʧənətli, wi ˈdɪdənt gɪt ˈɛni hɑrd ˈnəmbərz ɔn ðə ˈækjərəsi əv ðə nu brænʧ prɪˈdɪktər, bət ɪt ʃʊd bi suˈpɪriər tɪ nehalem's*. ðɪs ənd ðə ˈəðər ˌɪmˈpruvmənts dɪˈskəst əˈbəv ʃʊd lɛd tɪ ˈʤɛnərəl pərˈfɔrməns ˌɪnˈkrisɪz, ˈivɪn ɪn fəˈmɪljər tæsks wɛr wi ˈhævənt ˌnɛsəˈsɛrəli sin məʧ ˌɪmˈpruvmənt ɪn pərˈfɔrməns ɪn ˈrisənt jɪrz. ðə ˈəðər ˌɪnəˈveɪʃən əv noʊt ɪn ˈsændi ˈbrɪʤɪz frənt ɛnd ɪz ðə əˈdɪʃən əv ə kæˈʃeɪ fər dɪˈkoʊdəd micro-ops*. ˌoʊldˈskul giks meɪ ˈrɛkəgˌnaɪz ðɪs ˈmɛkəˌnɪzəm frəm ə ˈsɪmələr wən, kɔld ðə ˌɛksəˈkjuʃən treɪs kæˈʃeɪ, juzd ɪn ðə ˈpɛntiəm 4 əˈgɛn, ðɪs prəˈvɪʒən ɪz ə nɑd tɪ ðə fækt ðət ˈmɑdərn ˈprɑˌsɛsərz doʊnt ˈɛksəˌkjut ˌɪnˈstrəkʃənz natively*, prɪˈfərɪŋ ˌɪnˈstɛd tɪ trænzˈleɪt ðɛm ˈɪntu ðɛr oʊn ˌɪnˈtərnəl ˌɪnˈstrəkʃən sɛts. ðə aɪˈdiə bɪˈhaɪnd ðɪs nu kæˈʃeɪ ɪz tɪ stɔr ˌɪnˈstrəkʃənz ɪn ðə fɔrm əv ðə ˈprɑˌsɛsərz ˌɪnˈtərnəl micro-ops*, ˈæftər ðeɪv bɪn ˈprɑsɛst baɪ ðə dɪˈkoʊdərz, ˈrəðər ðən ˈstɔrɪŋ ðɛm ɛz ˌɪnˈstrəkʃənz. duɪŋ soʊ kən rɪˈdus ˈprɛʃər ɔn ðə dɪˈkoʊdərz ənd, aɪ bɪˈliv, ˌɪmˈpruv ðə ʧɪps paʊər ɪˈfɪʃənsi ɪn ðə ˈprɔˌsɛs. ənˈlaɪk ðə ˈpɛntiəm 4 ˈsændi brɪʤ rɪˈteɪnz roʊˈbəst dɪˈkoʊd ˈlɑʤɪk ðət ɪt kən kɔl ɔn wɪn ˈnidɪd, soʊ ðə ˈprɛzəns əv ə kæˈʃeɪ ʃʊd bi ə ˈstreɪtˈfɔrwərd wɪn, wɪθ fju tɪ noʊ pərˈfɔrməns ˈtreɪˌdɔfs. tɪ faɪnd ðə ˈfiʧər wɪθ ðə ˈlɑrʤəst ˌɪmˈpækt ɔn ˈsændi brɪʤ pərˈfɔrməns, ðoʊ, wən həz tɪ lʊk bɪɔnd ðə frənt ɛnd tɪ ðə ˈmɛməri ˌɛksəˈkjuʃən ˈjunɪts. ɪn, ðoʊz ˈjunɪts hæv θri pɔrts, bət ˈoʊnli wən kən du loʊdz, soʊ ðə ʧɪp ɪz ˈkeɪpəbəl əv ə ˈsɪŋgəl loʊd pər ˈsaɪkəl. ɪn ˈsændi brɪʤ, ðə ˈjunɪts ər symmetric*, soʊ ðə ʧɪp kən ˈɛksəˌkjut tu loʊdz pər ˈsaɪkəl. stɔr ənd kæˈʃeɪ ˈbændwɪdθ ɪz haɪər, ɛz wɛl. riˈmuvɪŋ ðiz kənˈstreɪnts ənd ˈdəbəlɪŋ ðə ˈnəmbər əv loʊdz pər ˈsaɪkəl əˈlaʊz ˈsændi brɪʤ tɪ fid ɪts ˌfɔrˈmɪdəbəl ˌɛksəˈkjuʃən ˈɪnʤən mɔr ˈfʊli, rɪˈzəltɪŋ ɪn mɔr wərk kəmˈplitɪd. ðɪs ənd ðə ˈəðər ˌɪmˈpruvmənts dɪˈskəst əˈbəv ʃʊd lɛd tɪ ˈʤɛnərəl pərˈfɔrməns ˌɪnˈkrisɪz, ˈivɪn ɪn fəˈmɪljər tæsks wɛr wi ˈhævənt ˌnɛsəˈsɛrəli sin məʧ ˌɪmˈpruvmənt ɪn pərˈfɔrməns ɪn ˈrisənt jɪrz. əv kɔrs, ˈproʊˌgræmz ðət meɪk juz əv ðə ˌɪnˈstrəkʃən sɛt meɪ si ˈivɪn ˈlɑrʤər geɪnz, θæŋks tɪ ˈsændi ˈbrɪʤɪz əˈbɪləˌti tɪ ˈprɔˌsɛs mɔr ˈdætə ɪn ˈpɛrəˌlɛl ˈviə ˈwaɪdər, ˈvɛktərz. ʃʊd ˈbɛnəfɪt səm fəˈmɪljər ˈwərˌkloʊd taɪps, ˌɪnˈkludɪŋ ˈgræfɪks ənd ˈmidiə ˈprɑsɛsɪŋ, wɛr ðə ˈdætə tɪ bi ˈprɑsɛst kən bi grupt təˈgɛðər ɪn lɑrʤ blɑks. wiv noʊn ðə ˈaʊˌtlaɪnz əv ˈsændi ˈbrɪʤɪz əˈbɪləˌtiz hir fər ə waɪl, ˌɪnˈkludɪŋ ðə pəˈtɛnʃəl tɪ ˈɛksəˌkjut ə æd ənd ə ˈməltəˌplaɪ kənˈkərəntli ɪn ðə seɪm klɑk ˈsaɪkəl. æt, wi gɑt ə ˈbɛtər sɛns əv haʊ kəmˈplit ən ˌɪmpləmɛnˈteɪʃən ˈsændi brɪʤ ˈrɪli həz, raɪt daʊn tɪ ə ˈfɪzɪkəl ˈrɛʤɪstər faɪl tɪ stɔr ðoʊz ˈvɛktərz. ðɪs ʧɪp ʃʊd bi ɪn ə klæs əv ɪts oʊn ɔn ðɪs frənt, æt list ənˈtɪl ˈbʊlˌdoʊzər əraɪvz ˈleɪtər ɪn 2011 ˈivɪn ðɛn, ˈbʊlˌdoʊzər wɪl hæv hæf ðə pik θˈruˌpʊt əv ˈsændi brɪʤ ənd meɪ ˈoʊnli kæʧ əp wɪn ˈproʊˌgræmz meɪk juz əv fjuzd (fma*) ˈoʊnli ˈbʊlˌdoʊzər wɪl səˈpɔrt. ðə ˈpæθˌweɪz kəˈnɛktɪŋ ˈsændi ˈbrɪʤɪz kɔrz təˈgɛðər hæv ɪkˈspændɪd tɪ ɪˈneɪbəl ðɪs ˌɪnˈkrist θˈruˌpʊt θæŋks tɪ ə nu ˌɪntərkəˈnɛkt ðət lɪŋks ðə kɔrz, ˈgræfɪks, kæˈʃeɪ, ənd ˈmɛməri kənˈtroʊlər. ˌɪnˈtɛl fərst juzd səʧ ə rɪŋ təˈpɔləʤi tɪ kəˈnɛkt ðə eɪt kɔrz əv ðə ˈprɑˌsɛsər. ðət ˈkɑnsɛpt həz bɪn ˈbɑˌroʊd ənd rɪˈfaɪnd ɪn ˈsændi brɪʤ. ðə ʧɪps ˈɑrkəˌtɛkts sɔ ðə nid fər ə ˌɪntərkəˈnɛkt tɪ əˈlaʊ kɔrz ənd ðə tɪ ʃɛr ðə kæˈʃeɪ ənd ˈmɛməri kənˈtroʊlər, ənd ðeɪ laɪkt ðə rɪŋ ˈkɑnsɛpt bɪˈkəz əv ɪts pəˈtɛnʃəl tɪ skeɪl əp ənd daʊn əˈlɔŋ wɪθ ðə ˈmɑʤələr ˈɛləmənts əv ðə ˈɑrkəˌtɛkʧər. bɪˈkəz iʧ kɔr həz səm kæˈʃeɪ ənd ə rɪŋ stɑp əˈsoʊʃiˌeɪtəd wɪθ ɪt, kæˈʃeɪ ˈbændwɪdθ groʊz wɪθ ðə kɔr kaʊnt. æt 3ghz*, iʧ stɑp kən ˈtrænsfər əp tɪ 96, soʊ ə ˈsændi brɪʤ ˌɪmpləmɛnˈteɪʃən piks æt 192 əv kæˈʃeɪ ˈbændwɪdθ, waɪl ðə ˈvɛriənt piks æt ə tɔˈrɛnʃəl 384. ˌɪnˈtɛlz kɑn sɛd hɪz tim hæd meɪd sɪgˈnɪfɪkənt ˈʧeɪnʤɪz tɪ ðə rɪŋ ˌɪntərkəˈnɛkt kəmˈpɛrd tɪ ðə wən juzd ɪn, ənd hi ɪkˈspɛkts ɪt wɪl skeɪl əp ənd bi ˈvaɪəbəl fər juz ɪn ˈprɑˌsɛsərz fər ˈməltəpəl ˌʤɛnərˈeɪʃənz. ðə seɪm rɪŋ wɪl ˈlaɪkli bi juzd ɪn dərˈɪvətɪvz əv ˈsændi brɪʤ wɪθ mɔr kɔrz ənd ˈvɛri ˈmɑdəst ˈgræfɪks ˌkeɪpəˈbɪlətiz, ɪf ˈɛni.
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albuquerque, n.m. (ap) - new mexico attorney general hector balderas says the current electricity system is dysfunctional.
he took aim at utilities during a news conference wednesday in albuquerque, suggesting that the system is focused on representing the interests of wealthy corporations and special interests.
he says many families afford to pay their bills and the system needs to be revamped to include affordable clean energy.
balderas called on the state public regulation commission to investigate the value of solar and wind generation. he also directed his own office to lead in the creation of a statewide strategic energy security plan.
the attorney general also criticized a proposal for dealing with the san juan generating station in northwestern new mexico. he wants the parties to return to the table.
copyright 2019 the washington times, llc.
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ˈælbəkərki, n.m*. (ˌeɪˈpi) nu ˈmɛksəˌkoʊ əˈtərni ˈʤɛnərəl ˈhɛktər ˈbældərəz sɪz ðə ˈkɑrənt ɪˌlɛkˈtrɪsəti ˈsɪstəm ɪz dɪsˈfəŋkʃənəl. hi tʊk eɪm æt juˈtɪlətiz ˈdʊrɪŋ ə nuz ˈkɑnfərəns ˈwɛnzˌdeɪ ɪn ˈælbəkərki, səˈʤɛstɪŋ ðət ðə ˈsɪstəm ɪz ˈfoʊkɪst ɔn ˌrɛprɪˈzɛnɪŋ ðə ˈɪntərɪsts əv ˈwɛlθi ˌkɔrpərˈeɪʃənz ənd ˈspɛʃəl ˈɪntərɪsts. hi sɪz ˈmɛni ˈfæməliz əˈfɔrd tɪ peɪ ðɛr bɪlz ənd ðə ˈsɪstəm nidz tɪ bi riˈvæmpt tɪ ˌɪnˈklud əˈfɔrdəbəl klin ˈɛnərʤi. ˈbældərəz kɔld ɔn ðə steɪt ˈpəblɪk ˌrɛgjəˈleɪʃən kəˈmɪʃən tɪ ˌɪnˈvɛstəˌgeɪt ðə ˈvælju əv ˈsoʊlər ənd wɪnd ˌʤɛnərˈeɪʃən. hi ˈɔlsoʊ dɪˈrɛktɪd hɪz oʊn ˈɔfəs tɪ lɛd ɪn ðə kriˈeɪʃən əv ə ˈsteɪtˌwaɪd strəˈtiʤɪk ˈɛnərʤi sɪˈkjʊrəti plæn. ðə əˈtərni ˈʤɛnərəl ˈɔlsoʊ ˈkrɪtəˌsaɪzd ə prəˈpoʊzəl fər ˈdilɪŋ wɪθ ðə sæn wɑn ˈʤɛnərˌeɪtɪŋ ˈsteɪʃən ɪn ˌnɔrθˈwɛstərn nu ˈmɛksəˌkoʊ. hi wɔnts ðə ˈpɑrtiz tɪ rɪˈtərn tɪ ðə ˈteɪbəl. ˈkɑpiˌraɪt 2019 ðə ˈwɔʃɪŋtən taɪmz, llc*.
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konami today voluntarily delisted itself from the new york stock exchange, effective april 24.
konami first notified investors of plans to delist in november and filed the notice on april 1, according to sec documents. in today's filing, notes that percent of the trading of the company's stock over the past year occurred in japan and london.
in the april 1 filing, officials said the decision to delist the company from the new york stock exchange was a cost savings measure. u.s. regulatory compliance costs the company a minimum of $5 million a year, analyst michael pachter told polygon.
konami remains listed in london and toyko, and shares can still be traded in the u.s. on the market, according to the release.
it's unclear what if any impact this might have on the company moving forward. in today's release, officials wrote that the company will still share financial statements and other information in english, though they will no longer be obligated to under the exchange act.
the company will be with the sec effective july 12. reporting obligations will be terminated july 23.
the news comes hours after the company confirmed that it had killed off silent hills, the latest in the survival horror franchise. the game was to involve the work of hideo kojima and guillermo del toro and feature the likeness of norman reedus.
last month, removed name and the kojima productions logo from the official metal gear solid websites, twitter accounts and marketing materials. that spawned reports that kojima would be leaving the publisher for whom he has worked his entire career.
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konami* təˈdeɪ ˌvɑlənˈtɛrəli ˌdiˈlɪstɪd ˌɪtˈsɛlf frəm ðə nu jɔrk stɑk ɪksˈʧeɪnʤ, ˈifɛktɪv ˈeɪprəl 24 fərst ˈnoʊtəˌfaɪd ˌɪnˈvɛstərz əv plænz tɪ ˌdiˈlɪst ɪn noʊˈvɛmbər ənd faɪld ðə ˈnoʊtɪs ɔn ˈeɪprəl 1 əˈkɔrdɪŋ tɪ sɛk ˈdɑkjəmənts. ɪn ˈtudeɪz ˈfaɪlɪŋ, noʊts ðət pərˈsɛnt əv ðə ˈtreɪdɪŋ əv ðə ˈkəmpəniz stɑk ˈoʊvər ðə pæst jɪr əˈkərd ɪn ʤəˈpæn ənd ˈləndən. ɪn ðə ˈeɪprəl 1 ˈfaɪlɪŋ, əˈfɪʃəlz sɛd ðə dɪˈsɪʒən tɪ ˌdiˈlɪst ðə ˈkəmpəˌni frəm ðə nu jɔrk stɑk ɪksˈʧeɪnʤ wɑz ə kɔst ˈseɪvɪŋz ˈmɛʒər. juz. ˈrɛgjələˌtɔri kəmˈplaɪəns kɔsts ðə ˈkəmpəˌni ə ˈmɪnəməm əv 5 ˈmɪljən ə jɪr, ˈænəlɪst ˈmaɪkəl ˈpæktər toʊld ˈpɑlɪˌgɑn. rɪˈmeɪnz ˈlɪstɪd ɪn ˈləndən ənd ˈtɔɪkoʊ, ənd ʃɛrz kən stɪl bi ˈtreɪdɪd ɪn ðə juz. ɔn ðə ˈmɑrkɪt, əˈkɔrdɪŋ tɪ ðə riˈlis. ɪts ənˈklɪr wət ɪf ˈɛni ˌɪmˈpækt ðɪs maɪt hæv ɔn ðə ˈkəmpəˌni ˈmuvɪŋ ˈfɔrwərd. ɪn ˈtudeɪz riˈlis, əˈfɪʃəlz roʊt ðət ðə ˈkəmpəˌni wɪl stɪl ʃɛr ˌfaɪˈnænʃəl ˈsteɪtmənts ənd ˈəðər ˌɪnˌfɔrˈmeɪʃən ɪn ˈɪŋlɪʃ, ðoʊ ðeɪ wɪl noʊ ˈlɔŋgər bi ˈɑbləˌgeɪtɪd tɪ ˈəndər ðə ɪksˈʧeɪnʤ ækt. ðə ˈkəmpəˌni wɪl bi wɪθ ðə sɛk ˈifɛktɪv ˌʤuˈlaɪ 12 rɪˈpɔrtɪŋ ˌɑbləˈgeɪʃənz wɪl bi ˈtərməˌneɪtɪd ˌʤuˈlaɪ 23 ðə nuz kəmz aʊərz ˈæftər ðə ˈkəmpəˌni kənˈfərmd ðət ɪt hæd kɪld ɔf ˈsaɪlənt hɪlz, ðə ˈleɪtəst ɪn ðə sərˈvaɪvəl ˈhɔrər ˈfrænˌʧaɪz. ðə geɪm wɑz tɪ ˌɪnˈvɑlv ðə wərk əv hɪˈdeɪoʊ kəˈjaɪmə ənd gwɪˈljɛrmoʊ dɛl ˈtɔroʊ ənd ˈfiʧər ðə ˈlaɪknəs əv ˈnɔrmən reedus*. læst mənθ, riˈmuvd neɪm ənd ðə kəˈjaɪmə pərˈdəkʃənz ˈloʊgoʊ frəm ðə əˈfɪʃəl ˈmɛtəl gɪr ˈsɑləd ˈwɛbˌsaɪts, tˈwɪtər əˈkaʊnts ənd ˈmɑrkətɪŋ məˈtɪriəlz. ðət spɔnd rɪˈpɔrts ðət kəˈjaɪmə wʊd bi ˈlivɪŋ ðə ˈpəblɪʃər fər hum hi həz wərkt hɪz ɪnˈtaɪər kərɪr.
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washington federal food safety inspectors said a proposal by the agriculture department to expand a pilot program that allows private companies to take over the inspections at poultry plants could pose a health risk by allowing contaminated meat to reach customers.
currently, the agriculture food safety and inspection service inspectors are stationed along the assembly lines in poultry plants and examine the birds for blemishes, feces or visible defects before they are processed.
under the planned expansion, the agency would hand over these duties to poultry plant employees, while the inspectors would spend more time evaluating the and other safety programs. the department has run the pilot program in 20 poultry plants since 1998.
but many of the inspectors said the proposal puts consumers at risk for diseases like those caused by salmonella. about million cases of food poisoning are caused by salmonella each year, according to the centers for disease control and prevention.
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in affidavits given to the government accountability project, a nonprofit group for government whistle-blowers, several inspectors who work at plants where the pilot program is in place said the main problem is that they are removed from positions on the assembly line and put at the end of the line, which makes it impossible for them to spot diseased birds.
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ˈwɔʃɪŋtən ˈfɛdərəl fud ˈseɪfti ˌɪnˈspɛktərz sɛd ə prəˈpoʊzəl baɪ ðə ˈægrɪˌkəlʧər dɪˈpɑrtmənt tɪ ɪkˈspænd ə ˈpaɪlət ˈproʊˌgræm ðət əˈlaʊz ˈpraɪvət ˈkəmpəˌniz tɪ teɪk ˈoʊvər ðə ˌɪnˈspɛkʃənz æt ˈpoʊltri plænts kʊd poʊz ə hɛlθ rɪsk baɪ əˈlaʊɪŋ kənˈtæməˌneɪtɪd mit tɪ riʧ ˈkəstəmərz. ˈkərəntli, ðə ˈægrɪˌkəlʧər fud ˈseɪfti ənd ˌɪnˈspɛkʃən ˈsərvɪs ˌɪnˈspɛktərz ər ˈsteɪʃənd əˈlɔŋ ðə əˈsɛmbli laɪnz ɪn ˈpoʊltri plænts ənd ɪgˈzæmɪn ðə bərdz fər ˈblɛmɪʃɪz, ˈfiˌsiz ər ˈvɪzəbəl ˈdifɛkts ˌbiˈfɔr ðeɪ ər ˈprɑsɛst. ˈəndər ðə plænd ɪkˈspænʧən, ðə ˈeɪʤənsi wʊd hænd ˈoʊvər ðiz ˈdutiz tɪ ˈpoʊltri plænt ɪmˈplɔɪiz, waɪl ðə ˌɪnˈspɛktərz wʊd spɛnd mɔr taɪm ɪˈvæljuˌeɪtɪŋ ðə ənd ˈəðər ˈseɪfti ˈproʊˌgræmz. ðə dɪˈpɑrtmənt həz rən ðə ˈpaɪlət ˈproʊˌgræm ɪn 20 ˈpoʊltri plænts sɪns 1998 bət ˈmɛni əv ðə ˌɪnˈspɛktərz sɛd ðə prəˈpoʊzəl pʊts kənˈsumərz æt rɪsk fər dɪˈzizɪz laɪk ðoʊz kɔzd baɪ ˌsælməˈnɛlə. əˈbaʊt ˈmɪljən ˈkeɪsɪz əv fud ˈpɔɪzənɪŋ ər kɔzd baɪ ˌsælməˈnɛlə iʧ jɪr, əˈkɔrdɪŋ tɪ ðə ˈsɛnərz fər dɪˈziz kənˈtroʊl ənd priˈvɛnʃən. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ɪn ˌæfɪˈdeɪvɪts ˈgɪvɪn tɪ ðə ˈgəvərnmənt əˈkaʊntəˌbɪlɪti ˈprɑʤɛkt, ə nɑnˈprɑfət grup fər ˈgəvərnmənt whistle-blowers*, ˈsɛvərəl ˌɪnˈspɛktərz hu wərk æt plænts wɛr ðə ˈpaɪlət ˈproʊˌgræm ɪz ɪn pleɪs sɛd ðə meɪn ˈprɑbləm ɪz ðət ðeɪ ər riˈmuvd frəm pəˈzɪʃənz ɔn ðə əˈsɛmbli laɪn ənd pʊt æt ðə ɛnd əv ðə laɪn, wɪʧ meɪks ɪt ˌɪmˈpɑsəbəl fər ðɛm tɪ spɑt dɪˈzizd bərdz.
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today, american fossil hunt welcomes the first guest post on this blog, from patrick chasteen of fossil. the name should sound familiar. he was a big part of one of the first trip reports. patrick is the man behind fossil, the tour i took in the post. i reached out to patrick to see if he was willing to share how collecting has been thus far in 2017. he was glad to share his experiences and insight, and i trust you will enjoy the resulting read and photos as much as i did. and below we take a short trip to one of finest natural areas.
if you would like to share your collecting stories, trip reports, or outdoor adventures, please reach me at americanfossilhunt(at)gmail.com. part of the reason i ask is because i am only able to collect mazon creek, perhaps once or twice a month (weather permitting), and like to keep this blog as active as possible for all of us collectors. enjoy his words and photos below.
peace river fossil hunting- 2017 quarter
with the first quarter of the year already gone, and spring break in the rearview mirror, it is time to rewind and see what we accomplished and share our failures and successes with fossil addicts.
during the first four months of this year, we logged over 156 hours as a guide fossil hunting the peace river and her surrounding tributaries. we managed another 70 hours of scouting, prospecting, and personal hunting. we hunted near wachula, florida, just north to bowling green, in areas offer public access with either free or paid parking.
due to the lack of rain and drought conditions florida is experiencing this year, the waters are 24 inches below normal water flow and shallow collecting waters have been very easy to find. ironically, some of the creeks are so shallow, it is becoming hard to find deep enough water for proper sifting and digging.
river conditions
proper ethical digging requires you dig in areas of at least six inches of water depth, and as mentioned, we are seeing extremely low water conditions this year in florida. therefore, we have sought areas of very thin gravel laying a top solid limestone base, and open gravel pockets that are very thick. oftentimes these pockets are just inches below the sand bed. with currents being slow to nearly non-existent, there is a large amount of deciduous material, such as sticks, stems, dead leaves.
a tip for the novice fossil hunter: investigate these areas. if the pocket is deep enough for sticks and leaves to catch, it is likely an area for larger fossils that have settled over time. another tip is to focus on finding larger gravel when fossil hunting in florida. typically, the larger fossils will be mixed in with the larger gravel.
avoid digging in sand, unless you know there is a gravel bed below. as an experienced hunter, i have learned to use the to educate myself on the conditions. this is especially important during low water conditions. during a drought you are able to visually inspect the sedimentary layers along the river bed that are not visible during normal conditions.
when water levels are this low, a great tactic is to focus on the pockets where the water is still feet deep. then you will know you are accessing areas that would typically be under many feet of water during normal conditions. i promise you it can be rewarding.
the loot
the quantity and the quality of the shark teeth and fossils we are finding this season is incredible. from the jet black teeth of the peace river to the golden teeth of the iron creeks, the variety has been welcome. dozens of and have been recovered from our expeditions over the last several months, along with a variety of other vertebrate fossils. the photos below, highlight the color differentiation caused by the various minerals that were present at the time of fossilization.
we have logged samples from 20+ species in the past 120 days, including a giant from the alligator mississippienis. we also found a perfect complete, both photographed below.
the bar has been set high for our expectations for the remainder of 2017 with this fruitful beginning. while florida desperately needs its rains, the low waters are a welcome sight for us fossil hunters. there is no shortage of collecting sites along the 100+ miles of the peace river. as the rainy season approaches, its time to dig deep and stay late before the summer rains come and replenish. we hope to see you on the water soon! keep on digging my fossil, and be sure to share your finds with others to keep the information flowing and our hobby growing!
patrick chasteen
fossil
how have you been doing in collecting the peace river during these low water conditions? leave a comment below so we can all learn.
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təˈdeɪ, əˈmɛrɪkən ˈfɑsəl hənt ˈwɛlkəmz ðə fərst gɛst poʊst ɔn ðɪs blɔg, frəm ˈpætrɪk ʧəˈstin əv ˈfɑsəl. ðə neɪm ʃʊd saʊnd fəˈmɪljər. hi wɑz ə bɪg pɑrt əv wən əv ðə fərst trɪp rɪˈpɔrts. ˈpætrɪk ɪz ðə mæn bɪˈhaɪnd ˈfɑsəl, ðə tʊr aɪ tʊk ɪn ðə poʊst. aɪ riʧt aʊt tɪ ˈpætrɪk tɪ si ɪf hi wɑz ˈwɪlɪŋ tɪ ʃɛr haʊ kəˈlɛktɪŋ həz bɪn ðəs fɑr ɪn 2017 hi wɑz glæd tɪ ʃɛr hɪz ɪkˈspɪriənsɪz ənd ˈɪnˌsaɪt, ənd aɪ trəst ju wɪl ˌɛnˈʤɔɪ ðə rɪˈzəltɪŋ rɛd ənd ˈfoʊˌtoʊz ɛz məʧ ɛz aɪ dɪd. ənd bɪˈloʊ wi teɪk ə ʃɔrt trɪp tɪ wən əv ˈfaɪnəst ˈnæʧərəl ˈɛriəz. ɪf ju wʊd laɪk tɪ ʃɛr jʊr kəˈlɛktɪŋ ˈstɔriz, trɪp rɪˈpɔrts, ər ˈaʊtˌdɔr ædˈvɛnʧərz, pliz riʧ mi æt americanfossilhunt(at)gmail.com*. pɑrt əv ðə ˈrizən aɪ æsk ɪz bɪˈkəz aɪ æm ˈoʊnli ˈeɪbəl tɪ kəˈlɛkt məˈzoʊn krik, pərˈhæps wəns ər twaɪs ə mənθ (ˈwɛðər pərˈmɪtɪŋ), ənd laɪk tɪ kip ðɪs blɔg ɛz ˈæktɪv ɛz ˈpɑsəbəl fər ɔl əv ˈjuˈɛs kəˈlɛktərz. ˌɛnˈʤɔɪ hɪz wərdz ənd ˈfoʊˌtoʊz bɪˈloʊ. pis ˈrɪvər ˈfɑsəl ˈhəntɪŋ- 2017 kˈwɔrtər wɪθ ðə fərst kˈwɔrtər əv ðə jɪr ɔˈrɛdi gɔn, ənd spərɪŋ breɪk ɪn ðə ˈrɪrvju ˈmɪrər, ɪt ɪz taɪm tɪ ˈriwaɪnd ənd si wət wi əˈkɑmplɪʃt ənd ʃɛr ɑr ˈfeɪljərz ənd səkˈsɛsɪz wɪθ ˈfɑsəl ˈæˌdɪkts. ˈdʊrɪŋ ðə fərst fɔr mənθs əv ðɪs jɪr, wi lɔgd ˈoʊvər 156 aʊərz ɛz ə gaɪd ˈfɑsəl ˈhəntɪŋ ðə pis ˈrɪvər ənd hər sərˈaʊndɪŋ ˈtrɪbjəˌtɛriz. wi ˈmænɪʤd əˈnəðər 70 aʊərz əv ˈskaʊtɪŋ, ˌprɔˈspɛktɪŋ, ənd ˈpərsɪnəl ˈhəntɪŋ. wi ˈhənɪd nɪr wachula*, ˈflɔrɪdə, ʤɪst nɔrθ tɪ ˈboʊlɪŋ grin, ɪn ˈɛriəz ˈɔfər ˈpəblɪk ˈækˌsɛs wɪθ ˈiðər fri ər peɪd ˈpɑrkɪŋ. du tɪ ðə læk əv reɪn ənd draʊt kənˈdɪʃənz ˈflɔrɪdə ɪz ɪkˈspɪriənsɪŋ ðɪs jɪr, ðə ˈwɔtərz ər 24 ˈɪnʧɪz bɪˈloʊ ˈnɔrməl ˈwɔtər floʊ ənd ˈʃæloʊ kəˈlɛktɪŋ ˈwɔtərz hæv bɪn ˈvɛri ˈizi tɪ faɪnd. aɪˈrɑnɪkli, səm əv ðə kriks ər soʊ ˈʃæloʊ, ɪt ɪz bɪˈkəmɪŋ hɑrd tɪ faɪnd dip ɪˈnəf ˈwɔtər fər ˈprɑpər ˈsɪftɪŋ ənd ˈdɪgɪŋ. ˈrɪvər kənˈdɪʃənz ˈprɑpər ˈɛθɪkəl ˈdɪgɪŋ rikˈwaɪərz ju dɪg ɪn ˈɛriəz əv æt list sɪks ˈɪnʧɪz əv ˈwɔtər dɛpθ, ənd ɛz ˈmɛnʃənd, wi ər siɪŋ ɪkˈstrimli loʊ ˈwɔtər kənˈdɪʃənz ðɪs jɪr ɪn ˈflɔrɪdə. ˈðɛrˌfɔr, wi hæv sɔt ˈɛriəz əv ˈvɛri θɪn ˈgrævəl leɪɪŋ ə tɔp ˈsɑləd ˈlaɪmˌstoʊn beɪs, ənd ˈoʊpən ˈgrævəl ˈpɑkəts ðət ər ˈvɛri θɪk. ˈɔfənˌtaɪmz ðiz ˈpɑkəts ər ʤɪst ˈɪnʧɪz bɪˈloʊ ðə sænd bɛd. wɪθ kərənts biɪŋ sloʊ tɪ ˈnɪrli ˌnɑnəgˈzɪstənt, ðɛr ɪz ə lɑrʤ əˈmaʊnt əv ˌdɪˈsɪʤuəs məˈtɪriəl, səʧ ɛz stɪks, stɛmz, dɛd livz. ə tɪp fər ðə ˈnɑvəs ˈfɑsəl ˈhəntər: ˌɪnˈvɛstəˌgeɪt ðiz ˈɛriəz. ɪf ðə ˈpɑkət ɪz dip ɪˈnəf fər stɪks ənd livz tɪ kæʧ, ɪt ɪz ˈlaɪkli ən ˈɛriə fər ˈlɑrʤər ˈfɑsəlz ðət hæv ˈsɛtəld ˈoʊvər taɪm. əˈnəðər tɪp ɪz tɪ ˈfoʊkɪs ɔn ˈfaɪndɪŋ ˈlɑrʤər ˈgrævəl wɪn ˈfɑsəl ˈhəntɪŋ ɪn ˈflɔrɪdə. ˈtɪpɪkəli, ðə ˈlɑrʤər ˈfɑsəlz wɪl bi mɪkst ɪn wɪθ ðə ˈlɑrʤər ˈgrævəl. əˈvɔɪd ˈdɪgɪŋ ɪn sænd, ənˈlɛs ju noʊ ðɛr ɪz ə ˈgrævəl bɛd bɪˈloʊ. ɛz ən ɪkˈspɪriənst ˈhəntər, aɪ hæv ˈlərnɪd tɪ juz ðə tɪ ˈɛʤəˌkeɪt ˌmaɪˈsɛlf ɔn ðə kənˈdɪʃənz. ðɪs ɪz əˈspɛʃəli ˌɪmˈpɔrtənt ˈdʊrɪŋ loʊ ˈwɔtər kənˈdɪʃənz. ˈdʊrɪŋ ə draʊt ju ər ˈeɪbəl tɪ ˈvɪʒwəli ˌɪnˈspɛkt ðə ˌsɛdəˈmɛntəri leɪərz əˈlɔŋ ðə ˈrɪvər bɛd ðət ər nɑt ˈvɪzəbəl ˈdʊrɪŋ ˈnɔrməl kənˈdɪʃənz. wɪn ˈwɔtər ˈlɛvəlz ər ðɪs loʊ, ə greɪt ˈtæktɪk ɪz tɪ ˈfoʊkɪs ɔn ðə ˈpɑkəts wɛr ðə ˈwɔtər ɪz stɪl fit dip. ðɛn ju wɪl noʊ ju ər ˈækˌsɛsɪŋ ˈɛriəz ðət wʊd ˈtɪpɪkəli bi ˈəndər ˈmɛni fit əv ˈwɔtər ˈdʊrɪŋ ˈnɔrməl kənˈdɪʃənz. aɪ ˈprɑməs ju ɪt kən bi rɪˈwɔrdɪŋ. ðə lut ðə kˈwɑntəti ənd ðə kˈwɑləti əv ðə ʃɑrk tiθ ənd ˈfɑsəlz wi ər ˈfaɪndɪŋ ðɪs ˈsizən ɪz ˌɪnˈkrɛdəbəl. frəm ðə ʤɛt blæk tiθ əv ðə pis ˈrɪvər tɪ ðə ˈgoʊldən tiθ əv ðə aɪərn kriks, ðə vərˈaɪəti həz bɪn ˈwɛlkəm. ˈdəzənz əv ənd hæv bɪn rɪˈkəvərd frəm ɑr ˌɛkspəˈdɪʃənz ˈoʊvər ðə læst ˈsɛvərəl mənθs, əˈlɔŋ wɪθ ə vərˈaɪəti əv ˈəðər ˈvərtəˌbreɪt ˈfɑsəlz. ðə ˈfoʊˌtoʊz bɪˈloʊ, ˈhaɪˌlaɪt ðə ˈkələr ˌdɪfərˌɛnʧiˈeɪʃən kɔzd baɪ ðə ˈvɛriəs ˈmɪnərəlz ðət wər ˈprɛzənt æt ðə taɪm əv fossilization*. wi hæv lɔgd ˈsæmpəlz frəm 20 ˈspiʃiz ɪn ðə pæst 120 deɪz, ˌɪnˈkludɪŋ ə ʤaɪənt frəm ðə ˈæləˌgeɪtər mississippienis*. wi ˈɔlsoʊ faʊnd ə ˈpərˌfɪkt kəmˈplit, boʊθ ˈfoʊtəˌgræft bɪˈloʊ. ðə bɑr həz bɪn sɛt haɪ fər ɑr ˌɛkspɛkˈteɪʃənz fər ðə rɪˈmeɪndər əv 2017 wɪθ ðɪs ˈfrutfəl bɪˈgɪnɪŋ. waɪl ˈflɔrɪdə ˈdɛspərətli nidz ɪts reɪnz, ðə loʊ ˈwɔtərz ər ə ˈwɛlkəm saɪt fər ˈjuˈɛs ˈfɑsəl ˈhəntərz. ðɛr ɪz noʊ ˈʃɔrtɪʤ əv kəˈlɛktɪŋ saɪts əˈlɔŋ ðə 100 maɪəlz əv ðə pis ˈrɪvər. ɛz ðə ˈreɪni ˈsizən əˈproʊʧɪz, ɪts taɪm tɪ dɪg dip ənd steɪ leɪt ˌbiˈfɔr ðə ˈsəmər reɪnz kəm ənd riˈplɛnɪʃ. wi hoʊp tɪ si ju ɔn ðə ˈwɔtər sun! kip ɔn ˈdɪgɪŋ maɪ ˈfɑsəl, ənd bi ʃʊr tɪ ʃɛr jʊr faɪndz wɪθ ˈəðərz tɪ kip ðə ˌɪnˌfɔrˈmeɪʃən floʊɪŋ ənd ɑr ˈhɑbi groʊɪŋ! ˈpætrɪk ʧəˈstin ˈfɑsəl haʊ hæv ju bɪn duɪŋ ɪn kəˈlɛktɪŋ ðə pis ˈrɪvər ˈdʊrɪŋ ðiz loʊ ˈwɔtər kənˈdɪʃənz? liv ə ˈkɑmɛnt bɪˈloʊ soʊ wi kən ɔl lərn.
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those who celebrate the enduring legacy of roe v. wade must also be mindful of the barriers to reproductive autonomy that remain.
while celebrating the anniversary of roe v. wade, we must also mourn the staying power of rhetoric demonizing women who seek reproductive autonomy especially the young, the poor, rural women and women of color and the legislation that blocks their ability to access abortion. battles over the expansion of medicaid under the affordable care act are only the latest example, following two earlier victories that targeted these vulnerable populations both at home and abroad: the helms and hyde amendments.
the lesser known helms amendment to the 1973 foreign assistance act blocks us funds from use for abortion care abroad, even if abortion is legal in that country, as in the united states, exporting the agenda to other countries. in a country like nepal, which eased its abortion restrictions in 2002, helms puts up arduous barriers to access by forbidding the use of medical equipment and facilities funded by us aid for abortion services.
back on the home front, the 1976 hyde amendment ended federal funding of abortion care through medicaid, the “largest healthcare program in the united states,” with rape, incest and health exceptions. hyde set in motion the strategy of using legislation to chip away at roe and deprive poor women (disproportionately women of color) of access to abortion. states replicated the federal amendment, and of the 17 that use state funds to cover abortion under medicaid, all but four do so under court order.
this trend, combined with decades of the right unjustly blaming indigent mothers especially african-americans and for abusing social programs, ushered in chilling cuts and sweeping “reform” to federal welfare by the under the clinton administration. hyde and welfare reform comprise dramatic losses to the social safety net that ensures poor families can meet basic needs. unfortunately, the movement has largely been ineffective in fighting this narrative about poor women of color, or in moving toward eradicating hyde.
of course, legislative fights are just one way through which the right its agenda. in the four decades since roe, the movement has eroded promise through intimidation and violence (including murder), court cases and grassroots organizing.
emerging organizing trends: and adoption
prominent organizations like right to life and the american life league continue to galvanize the largely white and conservative christian movement. yet leadership is increasingly diverse: spokespeople include african-american leaders like dr. king, whose legacy as a niece of the late dr. martin luther king, jr. gives her a platform, and rev. arnold culbreath, who leads an urban outreach initiative. along with other groups led by people of color, they are creating racially targeted campaigns, like the radiance, which admits without qualms that “[co-founder ryan] bomberger and others like him accuse planned parenthood of exhorting black women to obtain abortions as a form of genocide.” its initial billboard campaign read: “black children are an endangered species.”
though it might not be immediately apparent, the historical rhetoric, accusing african-american women of having too many children in order to “hustle” increased welfare benefits, dovetails with this campaigning. loretta ross, and a reproductive justice leader noted the strategic shift in 2011: “the antiabortion opponents changed their tactics: now they claim to promote adoption for black children.” fiercely advocates adoption especially transracial adoption. the ideology remains consistent by claiming that while african-american women must carry unwanted pregnancies to term, single and poor moms should consider adoption to (male and female) and often white families.
after the “too many aborted” billboards in african-american communities, bomberger has turned to creating advertisements promoting adoption. his latest media campaign, “turn the unplanned into a loving plan,” is a collaborative effort with the crisis pregnancy center and bethany christian services, the largest international adoption agency a coup for gaining mainstream respectability and power. the web site is set to launch on february 13th, in time for day.
these public service announcements polish the public image with a veneer of youth and diversity. the emphasis on adoption and positive imagery, rather than traditional images of bloody fetuses, advances the attempts to appeal to broader audiences.
waging an war
mississippi, where health activists fight to keep the last clinic open, is the same state where a governor is refusing to expand medicaid under the federal affordable care act taking advantage of the us supreme court decision to allow states to opt out of the expansion. thousands of women will remain without affordable access to reproductive health care, contraceptive services and abortion even in cases of rape, incest, health or fetal impairment. this is only one example of how the right remains committed to undermining reproductive rights overall, and access to safe and legal abortion.
this is why i join other -color leaders in urging defenders of roe to take an approach to organizing. the reproductive justice framework acknowledges the intimate link between abortion access and racial and economic justice, as particularly demonstrated by the helms and hyde amendments, knowing that the right encroaches on abortion access for all women by stepping on poor women of color here and abroad.
for an informative analysis and useful tools for countering the right, please see the “what is reproductive justice and webinar” posted by the unitarian association and defending reproductive justice: an activist resource kit online.
this post is part of “still wading: forty years of resistance, resilience and reclamation in communities of color,” a blog series by strong families commemorating the anniversary of roe v. wade.
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ðoʊz hu ˈsɛləˌbreɪt ðə ɪnˈdʊrɪŋ ˈlɛgəsi əv roʊ vi. weɪd məst ˈɔlsoʊ bi ˈmaɪndfəl əv ðə ˈbɛriərz tɪ ˌriprəˈdəktɪv əˈtɑnəmi ðət rɪˈmeɪn. waɪl ˈsɛləˌbreɪtɪŋ ðə ˌænəˈvərsəri əv roʊ vi. weɪd, wi məst ˈɔlsoʊ mɔrn ðə steɪɪŋ paʊər əv ˈrɛtərɪk ˈdiməˌnaɪzɪŋ ˈwɪmən hu sik ˌriprəˈdəktɪv əˈtɑnəmi əˈspɛʃəli ðə jəŋ, ðə pur, ˈrʊrəl ˈwɪmən ənd ˈwɪmən əv ˈkələr ənd ðə ˌlɛʤəsˈleɪʃən ðət blɑks ðɛr əˈbɪləˌti tɪ ˈækˌsɛs əˈbɔrʃən. ˈbætəlz ˈoʊvər ðə ɪkˈspænʧən əv ˈmɛdəˌkeɪd ˈəndər ðə əˈfɔrdəbəl kɛr ækt ər ˈoʊnli ðə ˈleɪtəst ɪgˈzæmpəl, ˈfɑloʊɪŋ tu ˈərliər ˈvɪktəriz ðət ˈtɑrgətɪd ðiz ˈvəlnərəbəl ˌpɑpjəˈleɪʃənz boʊθ æt hoʊm ənd əˈbrɔd: ðə hɛlmz ənd haɪd əˈmɛndmənts. ðə ˈlɛsər noʊn hɛlmz əˈmɛndmənt tɪ ðə 1973 ˈfɔrən əˈsɪstəns ækt blɑks ˈjuˈɛs fəndz frəm juz fər əˈbɔrʃən kɛr əˈbrɔd, ˈivɪn ɪf əˈbɔrʃən ɪz ˈligəl ɪn ðət ˈkəntri, ɛz ɪn ðə juˈnaɪtɪd steɪts, ɪkˈspɔrtɪŋ ðə əˈʤɛndə tɪ ˈəðər ˈkəntriz. ɪn ə ˈkəntri laɪk nəˈpɔl, wɪʧ izd ɪts əˈbɔrʃən riˈstrɪkʃənz ɪn 2002 hɛlmz pʊts əp ˈɑrʤuəs ˈbɛriərz tɪ ˈækˌsɛs baɪ fərˈbɪdɪŋ ðə juz əv ˈmɛdɪkəl ɪkˈwɪpmənt ənd fəˈsɪlɪtiz ˈfəndɪd baɪ ˈjuˈɛs eɪd fər əˈbɔrʃən ˈsərvɪsɪz. bæk ɔn ðə hoʊm frənt, ðə 1976 haɪd əˈmɛndmənt ˈɛndɪd ˈfɛdərəl ˈfəndɪŋ əv əˈbɔrʃən kɛr θru ˈmɛdəˌkeɪd, ðə ˈhɛlθˌkɛr ˈproʊˌgræm ɪn ðə juˈnaɪtɪd states,”*,” wɪθ reɪp, ˈɪnˌsɛst ənd hɛlθ ɪkˈsɛpʃənz. haɪd sɛt ɪn ˈmoʊʃən ðə ˈstrætəʤi əv ˈjuzɪŋ ˌlɛʤəsˈleɪʃən tɪ ʧɪp əˈweɪ æt roʊ ənd dɪˈpraɪv pur ˈwɪmən (ˌdɪsprəˈpɔrʃənətli ˈwɪmən əv ˈkələr) əv ˈækˌsɛs tɪ əˈbɔrʃən. steɪts ˈrɛplɪˌkeɪtɪd ðə ˈfɛdərəl əˈmɛndmənt, ənd əv ðə 17 ðət juz steɪt fəndz tɪ ˈkəvər əˈbɔrʃən ˈəndər ˈmɛdəˌkeɪd, ɔl bət fɔr du soʊ ˈəndər kɔrt ˈɔrdər. ðɪs trɛnd, kəmˈbaɪnd wɪθ ˈdɛkeɪdz əv ðə raɪt ənˈʤəstli ˈbleɪmɪŋ ˈɪndɪʤənt ˈməðərz əˈspɛʃəli ˈæfrɪkənəˈmɛrɪkənz ənd fər əˈbjuzɪŋ ˈsoʊʃəl ˈproʊˌgræmz, ˈəʃərd ɪn ˈʧɪlɪŋ kəts ənd sˈwipɪŋ ““reform”*” tɪ ˈfɛdərəl ˈwɛlˌfɛr baɪ ðə ˈəndər ðə ˈklɪntən ædˌmɪnɪˈstreɪʃən. haɪd ənd ˈwɛlˌfɛr rɪˈfɔrm kəmˈpraɪz drəˈmætɪk ˈlɔsɪz tɪ ðə ˈsoʊʃəl ˈseɪfti nɛt ðət ɪnˈʃʊrz pur ˈfæməliz kən mit ˈbeɪsɪk nidz. ənˈfɔrʧənətli, ðə ˈmuvmənt həz ˈlɑrʤli bɪn ˌɪnɪˈfɛktɪv ɪn ˈfaɪtɪŋ ðɪs ˈnɛrətɪv əˈbaʊt pur ˈwɪmən əv ˈkələr, ər ɪn ˈmuvɪŋ təˈwɔrd ɪˈrædəˌkeɪtɪŋ haɪd. əv kɔrs, ˈlɛʤəsˌleɪtɪv faɪts ər ʤɪst wən weɪ θru wɪʧ ðə raɪt ɪts əˈʤɛndə. ɪn ðə fɔr ˈdɛkeɪdz sɪns roʊ, ðə ˈmuvmənt həz ɪˈroʊdɪd ˈprɑməs θru ˌɪnˌtɪmɪˈdeɪʃən ənd ˈvaɪələns (ˌɪnˈkludɪŋ ˈmərdər), kɔrt ˈkeɪsɪz ənd ˈgræsˈruts ˈɔrgəˌnaɪzɪŋ. ˈimərʤɪŋ ˈɔrgəˌnaɪzɪŋ trɛnz: ənd əˈdɑpʃən ˈprɑmənənt ˌɔrgənəˈzeɪʃənz laɪk raɪt tɪ laɪf ənd ðə əˈmɛrɪkən laɪf lig kənˈtɪnju tɪ ˈgælvəˌnaɪz ðə ˈlɑrʤli waɪt ənd kənˈsərvətɪv ˈkrɪsʧɪn ˈmuvmənt. jɛt ˈlidərˌʃɪp ɪz ˌɪnˈkrisɪŋgli dɪˈvərs: ˈspoʊkˌspipəl ˌɪnˈklud ˈæfrɪkənəˈmɛrɪkən ˈlidərz laɪk ˈdɑktər. kɪŋ, huz ˈlɛgəsi ɛz ə nis əv ðə leɪt ˈdɑktər. ˈmɑrtɪn ˈluθər kɪŋ, jr*. gɪvz hər ə ˈplætˌfɔrm, ənd rɛv. ˈɑrnəld ˈkəlˌbrɛθ, hu lidz ən ˈərbən ˈaʊˌtriʧ ˌɪˈnɪʃətɪv. əˈlɔŋ wɪθ ˈəðər grups lɛd baɪ ˈpipəl əv ˈkələr, ðeɪ ər kriˈeɪtɪŋ ˈreɪʃəli ˈtɑrgətɪd kæmˈpeɪnz, laɪk ðə ˈreɪˌdiəns, wɪʧ ədˈmɪts wɪˈθaʊt kwɑmz ðət raɪən] ˈbɑmbərgər ənd ˈəðərz laɪk ɪm əˈkjuz plænd ˈpɛrənˌthʊd əv ɪgˈzɔrtɪŋ blæk ˈwɪmən tɪ əbˈteɪn əˈbɔrʃənz ɛz ə fɔrm əv genocide.”*.” ɪts ˌɪˈnɪʃəl ˈbɪlˌbɔrd kæmˈpeɪn rɛd: ˈʧɪldrən ər ən ɪnˈdeɪnʤərd species.”*.” ðoʊ ɪt maɪt nɑt bi ˌɪˈmiˌdiətli əˈpɛrənt, ðə hɪˈstɔrɪkəl ˈrɛtərɪk, əˈkjuzɪŋ ˈæfrɪkənəˈmɛrɪkən ˈwɪmən əv ˈhævɪŋ tu ˈmɛni ˈʧɪldrən ɪn ˈɔrdər tɪ ““hustle”*” ˌɪnˈkrist ˈwɛlˌfɛr ˈbɛnəfɪts, ˈdəvˌteɪlz wɪθ ðɪs kæmˈpeɪnɪŋ. lərˈɛtə rɔs, ənd ə ˌriprəˈdəktɪv ˈʤəstɪs ˈlidər ˈnoʊtɪd ðə strəˈtiʤɪk ʃɪft ɪn 2011 ˈæntiəˈbɔrʃən əˈpoʊnənts ʧeɪnʤd ðɛr ˈtæktɪks: naʊ ðeɪ kleɪm tɪ prəˈmoʊt əˈdɑpʃən fər blæk children.”*.” ˈfɪrsli ˈædvəˌkeɪts əˈdɑpʃən əˈspɛʃəli ˌtrænzˈreɪʃəl əˈdɑpʃən. ðə ˌaɪdiˈɑləʤi rɪˈmeɪnz kənˈsɪstənt baɪ ˈkleɪmɪŋ ðət waɪl ˈæfrɪkənəˈmɛrɪkən ˈwɪmən məst ˈkɛri ənˈwɔntɪd ˈprɛgnənsiz tɪ tərm, ˈsɪŋgəl ənd pur mɑmz ʃʊd kənˈsɪdər əˈdɑpʃən tɪ (meɪl ənd ˈfiˌmeɪl) ənd ˈɔfən waɪt ˈfæməliz. ˈæftər ðə ˈmɛni aborted”*” ˈbɪlˌbɔrdz ɪn ˈæfrɪkənəˈmɛrɪkən kəmˈjunɪtiz, ˈbɑmbərgər həz tərnd tɪ kriˈeɪtɪŋ ˈædvərˌtaɪzmənts prəˈmoʊtɪŋ əˈdɑpʃən. hɪz ˈleɪtəst ˈmidiə kæmˈpeɪn, ðə ənˈplænd ˈɪntu ə ˈləvɪŋ plan,”*,” ɪz ə kəˈlæbərˌeɪtɪv ˈɛfərt wɪθ ðə ˈkraɪsəs ˈprɛgnənsi ˈsɛnər ənd ˈbɛθəni ˈkrɪsʧɪn ˈsərvɪsɪz, ðə ˈlɑrʤəst ˌɪnərˈnæʃənɑl əˈdɑpʃən ˈeɪʤənsi ə ku fər ˈgeɪnɪŋ ˈmeɪnˌstrim riˌspɛktəˈbɪlɪti ənd paʊər. ðə wɛb saɪt ɪz sɛt tɪ lɔnʧ ɔn ˈfɛbruˌɛri 13th*, ɪn taɪm fər deɪ. ðiz ˈpəblɪk ˈsərvɪs əˈnaʊnsmɛnts ˈpɑlɪʃ ðə ˈpəblɪk ˈɪmɪʤ wɪθ ə vəˈnɪr əv juθ ənd dɪˈvərsɪti. ðə ˈɛmfəsɪs ɔn əˈdɑpʃən ənd ˈpɑzətɪv ˈɪmɪʤri, ˈrəðər ðən trəˈdɪʃənəl ˈɪmɪʤɪz əv ˈblədi ˈfitəsɪz, ədˈvænsɪz ðə əˈtɛmpts tɪ əˈpil tɪ ˈbrɔdər ˈɔdiənsəz. ˈweɪʤɪŋ ən wɔr ˌmɪsɪˈsɪpi, wɛr hɛlθ ˈæktɪvɪsts faɪt tɪ kip ðə læst ˈklɪnɪk ˈoʊpən, ɪz ðə seɪm steɪt wɛr ə ˈgəvərnər ɪz rɪfˈjuzɪŋ tɪ ɪkˈspænd ˈmɛdəˌkeɪd ˈəndər ðə ˈfɛdərəl əˈfɔrdəbəl kɛr ækt ˈteɪkɪŋ ædˈvæntɪʤ əv ðə ˈjuˈɛs səˈprim kɔrt dɪˈsɪʒən tɪ əˈlaʊ steɪts tɪ ɑpt aʊt əv ðə ɪkˈspænʧən. ˈθaʊzənz əv ˈwɪmən wɪl rɪˈmeɪn wɪˈθaʊt əˈfɔrdəbəl ˈækˌsɛs tɪ ˌriprəˈdəktɪv hɛlθ kɛr, ˌkɑntrəˈsɛptɪv ˈsərvɪsɪz ənd əˈbɔrʃən ˈivɪn ɪn ˈkeɪsɪz əv reɪp, ˈɪnˌsɛst, hɛlθ ər ˈfitəl ˌɪmˈpɛrmənt. ðɪs ɪz ˈoʊnli wən ɪgˈzæmpəl əv haʊ ðə raɪt rɪˈmeɪnz kəˈmɪtɪd tɪ ˈəndərˌmaɪnɪŋ ˌriprəˈdəktɪv raɪts ˈoʊvərˌɔl, ənd ˈækˌsɛs tɪ seɪf ənd ˈligəl əˈbɔrʃən. ðɪs ɪz waɪ aɪ ʤɔɪn ˈəðər -ˈkələr ˈlidərz ɪn ˈərʤɪŋ dɪˈfɛndərz əv roʊ tɪ teɪk ən əˈproʊʧ tɪ ˈɔrgəˌnaɪzɪŋ. ðə ˌriprəˈdəktɪv ˈʤəstɪs ˈfreɪmˌwərk ækˈnɑlɪʤɪz ðə ˈɪnɪmət lɪŋk bɪtˈwin əˈbɔrʃən ˈækˌsɛs ənd ˈreɪʃəl ənd ˌɛkəˈnɑmɪk ˈʤəstɪs, ɛz ˌpɑrˈtɪkjələrli ˈdɛmənˌstreɪtɪd baɪ ðə hɛlmz ənd haɪd əˈmɛndmənts, noʊɪŋ ðət ðə raɪt ɪnˈkroʊʧɪz ɔn əˈbɔrʃən ˈækˌsɛs fər ɔl ˈwɪmən baɪ ˈstɛpɪŋ ɔn pur ˈwɪmən əv ˈkələr hir ənd əˈbrɔd. fər ən ˌɪnˈfɔrmətɪv æˈnælɪsɪs ənd ˈjusfəl tulz fər ˈkaʊnərɪŋ ðə raɪt, pliz si ðə ɪz ˌriprəˈdəktɪv ˈʤəstɪs ənd webinar”*” ˈpoʊstɪd baɪ ðə ˌjunəˈtɛriən əˌsoʊʃiˈeɪʃən ənd dɪˈfɛndɪŋ ˌriprəˈdəktɪv ˈʤəstɪs: ən ˈæktɪvɪst ˈrisɔrs kɪt ˈɔnˌlaɪn. ðɪs poʊst ɪz pɑrt əv ˈweɪdɪŋ: ˈfɔrti jɪrz əv rɪˈzɪstəns, rɪˈzɪljəns ənd ˌrɛkləˈmeɪʃən ɪn kəmˈjunɪtiz əv color,”*,” ə blɔg ˈsɪriz baɪ strɔŋ ˈfæməliz kəˈmɛmərˌeɪtɪŋ ðə ˌænəˈvərsəri əv roʊ vi. weɪd.
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new fish genus and species named for its red, fins
michelle ma news
after nearly 35 years, a fish known for its red “fingers” finally has a proper name.
university of washington scientists recently announced the name of a new genus and species of, which are small, stocky creatures found in most tropical and oceans around the world. the fish was first seen and collected in australia in 1980 by a graduate student, but the sole specimen disappeared soon after, leaving researchers no option but to shelve the discovery.
recently, another graduate student, rachel arnold, and fisheries professor ted pietsch again located the elusive fish in botany bay near sydney and helped collect new specimens one of the requirements for naming a new species.
after sequencing its dna, they realized they had in fact discovered a new genus and species.
“to find something on the genus level, a step above species, is pretty spectacular,” said pietsch, a professor of aquatic and fishery sciences and curator of fishes at the burke museum. “people have been diving and collecting in that location for hundreds of years and publishing vigorously for 100 years or more, and we find something now no one else has seen.”
now, or has been added to the exhaustive catalog of fishes database maintained by the california academy of sciences and had its dna housed in genbank. it even has its own wikipedia page.
arnold, who graduated with a doctoral degree last spring, is the lead author of a recent paper in the journal describing the discovery.
after the first specimen disappeared in the 1980s, divers again saw the fish in 2005, and the scientists worked with an australian museum to collect three specimens. the fish had two different color patterns, leading scientists to believe there were two different species under the new genus. but after arnold dna from each, she realized they were the same species that have the capability to change from a grayish color to one that varies from to orange for camouflage.
“we have a good idea of how many there are, but their population is very small,” she said. “we do know they have a very limited geographic range and are sensitive to habitat loss.”
the new species has a distinct red coloration on the tips of its pectoral fins. its dorsal fins have a unique shape, allowing the fish to dart quickly over rocks. other instead amble or “walk” across the seafloor.
some divers have observed the fish moving its fins, almost like waving its brightly colored fingers to catch the attention and curiosity of potential prey, pietsch said, though that connection is merely anecdotal.
while this particular fish has only been seen off the coast of sydney, are found worldwide, including u.s. shores along the atlantic coast, hawaii and as far north as los angeles. most species are thriving, and their strategy is to blend into reefs and bottom rocks using their spiny, textured outer skin for camouflage.
they hardly move and rarely swim but when they do, they clamber across the sea bottom using their fins as “feet.” they wait for crustaceans and other fish, even, to approach. then in a split second, they open and enlarge their mouths up to 12 times the original size, sucking in the prey whole. this can all happen in as little as 6 milliseconds.
a special muscle in the esophagus keeps the swallowed prey from escaping, and the can also expand its stomach to digest its hearty meal.
“they are so and yet so photogenic,” arnold said with a laugh.
so far nothing is planned for the in terms of population counts or conservation activities, arnold said, though its home in botany bay is full of industry and has water quality issues. she hopes this species is included in any future studies because a native fish not found elsewhere.
the other is rob harcourt of university in sydney. the work was funded by the dorothy t. gilbert research fund through the’s school of aquatic and fishery sciences.
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for more information, contact arnold ates@gmail.com or and pietsch at or.
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nu fɪʃ ˈʤinəs ənd ˈspiʃiz neɪmd fər ɪts rɛd, fɪnz mɪˈʃɛl mɑ nuz ˈæftər ˈnɪrli 35 jɪrz, ə fɪʃ noʊn fər ɪts rɛd ““fingers”*” ˈfaɪnəli həz ə ˈprɑpər neɪm. ˌjunəˈvərsəti əv ˈwɔʃɪŋtən ˈsaɪəntɪsts ˈrisəntli əˈnaʊnst ðə neɪm əv ə nu ˈʤinəs ənd ˈspiʃiz əv, wɪʧ ər smɔl, ˈstɑki ˈkriʧərz faʊnd ɪn moʊst ˈtrɑpɪkəl ənd ˈoʊʃənz əraʊnd ðə wərld. ðə fɪʃ wɑz fərst sin ənd kəˈlɛktəd ɪn ɔˈstreɪljə ɪn 1980 baɪ ə ˈgræʤəˌweɪt ˈstudənt, bət ðə soʊl ˈspɛsəmən ˌdɪsəˈpɪrd sun ˈæftər, ˈlivɪŋ ˈrisərʧərz noʊ ˈɔpʃən bət tɪ ʃɛlv ðə ˌdɪˈskəvri. ˈrisəntli, əˈnəðər ˈgræʤəˌweɪt ˈstudənt, ˈreɪʧəl ˈɑrnəld, ənd ˈfɪʃəriz prəˈfɛsər tɛd piʧ əˈgɛn ˈloʊˌkeɪtəd ðə ɪˈlusɪv fɪʃ ɪn ˈbɑtəni beɪ nɪr ˈsɪdni ənd hɛlpt kəˈlɛkt nu ˈspɛsəmənz wən əv ðə rɪkˈwaɪrmənts fər ˈneɪmɪŋ ə nu ˈspiʃiz. ˈæftər ˈsikwənsɪŋ ɪts ˈdiˌɛˈneɪ, ðeɪ ˈriəˌlaɪzd ðeɪ hæd ɪn fækt dɪˈskəvərd ə nu ˈʤinəs ənd ˈspiʃiz. faɪnd ˈsəmθɪŋ ɔn ðə ˈʤinəs ˈlɛvəl, ə stɛp əˈbəv ˈspiʃiz, ɪz ˈprɪti spectacular,”*,” sɛd piʧ, ə prəˈfɛsər əv əkˈwɑtɪk ənd ˈfɪʃəri ˈsaɪənsɪz ənd ˈkjʊrətər əv ˈfɪʃɪz æt ðə bərk mˈjuziəm. hæv bɪn ˈdaɪvɪŋ ənd kəˈlɛktɪŋ ɪn ðət loʊˈkeɪʃən fər ˈhənərdz əv jɪrz ənd ˈpəblɪʃɪŋ ˈvɪgərəsli fər 100 jɪrz ər mɔr, ənd wi faɪnd ˈsəmθɪŋ naʊ noʊ wən ɛls həz seen.”*.” naʊ, ər həz bɪn ˈædɪd tɪ ðə ɪgˈzɔstɪv ˈkætəlɔg əv ˈfɪʃɪz ˈdætəˌbeɪs meɪnˈteɪnd baɪ ðə ˌkæləˈfɔrnjə əˈkædəmi əv ˈsaɪənsɪz ənd hæd ɪts ˈdiˌɛˈneɪ haʊzd ɪn genbank*. ɪt ˈivɪn həz ɪts oʊn ˈwɪkiˌpiˌdiə peɪʤ. ˈɑrnəld, hu ˈgræʤəˌweɪtɪd wɪθ ə ˈdɑktərəl dɪˈgri læst spərɪŋ, ɪz ðə lɛd ˈɔθər əv ə ˈrisənt ˈpeɪpər ɪn ðə ˈʤərnəl dɪˈskraɪbɪŋ ðə ˌdɪˈskəvri. ˈæftər ðə fərst ˈspɛsəmən ˌdɪsəˈpɪrd ɪn ðə 1980s*, ˈdaɪvərz əˈgɛn sɔ ðə fɪʃ ɪn 2005 ənd ðə ˈsaɪəntɪsts wərkt wɪθ ən ɔˈstreɪljən mˈjuziəm tɪ kəˈlɛkt θri ˈspɛsəmənz. ðə fɪʃ hæd tu ˈdɪfərənt ˈkələr ˈpætərnz, ˈlidɪŋ ˈsaɪəntɪsts tɪ bɪˈliv ðɛr wər tu ˈdɪfərənt ˈspiʃiz ˈəndər ðə nu ˈʤinəs. bət ˈæftər ˈɑrnəld ˈdiˌɛˈneɪ frəm iʧ, ʃi ˈriəˌlaɪzd ðeɪ wər ðə seɪm ˈspiʃiz ðət hæv ðə ˌkeɪpəˈbɪləti tɪ ʧeɪnʤ frəm ə greɪɪʃ ˈkələr tɪ wən ðət ˈvɛriz frəm tɪ ˈɔrɪnʤ fər ˈkæməˌflɑʒ. hæv ə gʊd aɪˈdiə əv haʊ ˈmɛni ðɛr ər, bət ðɛr ˌpɑpjəˈleɪʃən ɪz ˈvɛri small,”*,” ʃi sɛd. du noʊ ðeɪ hæv ə ˈvɛri ˈlɪmɪtɪd ˌʤiəˈgræfɪk reɪnʤ ənd ər ˈsɛnsɪtɪv tɪ ˈhæbəˌtæt loss.”*.” ðə nu ˈspiʃiz həz ə dɪˈstɪŋkt rɛd ˌkələrˈeɪʃən ɔn ðə tɪps əv ɪts ˈpɛktərəl fɪnz. ɪts ˈdɔrsəl fɪnz hæv ə juˈnik ʃeɪp, əˈlaʊɪŋ ðə fɪʃ tɪ dɑrt kˈwɪkli ˈoʊvər rɑks. ˈəðər ˌɪnˈstɛd ˈæmbəl ər ““walk”*” əˈkrɔs ðə seafloor*. səm ˈdaɪvərz hæv əbˈzərvd ðə fɪʃ ˈmuvɪŋ ɪts fɪnz, ˈɔlˌmoʊst laɪk ˈweɪvɪŋ ɪts ˈbraɪtli ˈkələrd ˈfɪŋgərz tɪ kæʧ ðə əˈtɛnʃən ənd ˌkjʊriˈɑsəti əv pəˈtɛnʃəl preɪ, piʧ sɛd, ðoʊ ðət kəˈnɛkʃən ɪz ˈmɪrli ˌænɪkˈdoʊtəl. waɪl ðɪs ˌpɑˈtɪkjələr fɪʃ həz ˈoʊnli bɪn sin ɔf ðə koʊst əv ˈsɪdni, ər faʊnd ˈwərldˈwaɪd, ˌɪnˈkludɪŋ juz. ʃɔrz əˈlɔŋ ðə əˈtlæntɪk koʊst, həˈwaɪˌi ənd ɛz fɑr nɔrθ ɛz lɔs ˈænʤəlɪs. moʊst ˈspiʃiz ər θˈraɪvɪŋ, ənd ðɛr ˈstrætəʤi ɪz tɪ blɛnd ˈɪntu rifs ənd ˈbɑtəm rɑks ˈjuzɪŋ ðɛr ˈspaɪni, ˈtɛksʧərd ˈaʊtər skɪn fər ˈkæməˌflɑʒ. ðeɪ ˈhɑrdli muv ənd ˈrɛrli swɪm bət wɪn ðeɪ du, ðeɪ ˈklæmbər əˈkrɔs ðə si ˈbɑtəm ˈjuzɪŋ ðɛr fɪnz ɛz ““feet.”*.” ðeɪ weɪt fər krəˈsteɪʃənz ənd ˈəðər fɪʃ, ˈivɪn, tɪ əˈproʊʧ. ðɛn ɪn ə splɪt ˈsɛkənd, ðeɪ ˈoʊpən ənd ˌɛnˈlɑrʤ ðɛr maʊðz əp tɪ 12 taɪmz ðə ərˈɪʤənəl saɪz, ˈsəkɪŋ ɪn ðə preɪ hoʊl. ðɪs kən ɔl ˈhæpən ɪn ɛz ˈlɪtəl ɛz 6 ˈmɪlɪˌsɛkəndz. ə ˈspɛʃəl ˈməsəl ɪn ðə ɪˈsɑfəgəs kips ðə sˈwɑloʊd preɪ frəm ɪˈskeɪpɪŋ, ənd ðə kən ˈɔlsoʊ ɪkˈspænd ɪts ˈstəmək tɪ ˈdaɪʤɛst ɪts ˈhɑrti mil. ər soʊ ənd jɛt soʊ photogenic,”*,” ˈɑrnəld sɛd wɪθ ə læf. soʊ fɑr ˈnəθɪŋ ɪz plænd fər ðə ɪn tərmz əv ˌpɑpjəˈleɪʃən kaʊnts ər ˌkɑnsərˈveɪʃən ækˈtɪvɪtiz, ˈɑrnəld sɛd, ðoʊ ɪts hoʊm ɪn ˈbɑtəni beɪ ɪz fʊl əv ˈɪndəstri ənd həz ˈwɔtər kˈwɑləti ˈɪʃuz. ʃi hoʊps ðɪs ˈspiʃiz ɪz ˌɪnˈkludɪd ɪn ˈɛni fˈjuʧər ˈstədiz bɪˈkəz ə ˈneɪtɪv fɪʃ nɑt faʊnd ˈɛlsˌwɛr. ðə ˈəðər ɪz rɑb ˈhɑrˌkɔrt əv ˌjunəˈvərsəti ɪn ˈsɪdni. ðə wərk wɑz ˈfəndɪd baɪ ðə ˈdɔrθi ti. ˈgɪlbərt ˈrisərʧ fənd θru ðə skul əv əkˈwɑtɪk ənd ˈfɪʃəri ˈsaɪənsɪz. fər mɔr ˌɪnˌfɔrˈmeɪʃən, ˈkɑnˌtækt ˈɑrnəld æt ər ənd piʧ æt ər
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this article is over 2 years old
environmentalist was killed near his house just days after colleague berta was fatally shot but critics are accusing government of a cover-up
honduras has arrested a suspect in the murder of an environmental rights activist who was colleagues with a recently slain indigenous leader, officials said on sunday.
didier enrique “electric” ramirez was apprehended for his alleged role in the killing of nelson, 39, who was shot dead earlier this month by at least two assailants following a dispute with local landowners, authorities said in a statement.
nephew of murdered honduran activist: 'the atmosphere is terrifying' read more
garcía was killed near his house in the san francisco de region, 75 miles north of the capital tegucigalpa.
he was colleagues with the environmental activist berta, a teacher who was shot and killed earlier this month by two men at her home in la esperanza, honduras.
garcía was a member of the council of indigenous peoples of honduras (copinh), the same organization that led until her death.
cáceres, who had received death threats for her work, won the goldman environmental prize in 2015 for her efforts to prevent the construction of a $50m dam that threatened to displace hundreds of indigenous people. her murder sparked violent clashes between students and riot police, who fired into the crowds at the university of honduras.
honduran police reportedly apprehended a suspect in the murder, but’ supporters have accused the government of helping cover-up an assassination, and have suggested the people behind the dam project arranged the killing.
the impoverished central american nation has one of the highest murder rates. environmental activists are more likely to be killed in honduras than anywhere else in the world, according to a study by global witness, a nongovernmental organization.
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ðɪs ˈɑrtɪkəl ɪz ˈoʊvər 2 jɪrz oʊld ɪnˌvaɪrənˈmɛnəlɪst wɑz kɪld nɪr hɪz haʊs ʤɪst deɪz ˈæftər ˈkɑlig ˈbərtə wɑz ˈfeɪtəli ʃɑt bət ˈkrɪtɪks ər əˈkjuzɪŋ ˈgəvərnmənt əv ə ˈkəvərˌəp hɑnˈdʊrəs həz ərˈɛstɪd ə ˈsəˌspɛkt ɪn ðə ˈmərdər əv ən ɪnˌvaɪrənˈmɛnəl raɪts ˈæktɪvɪst hu wɑz ˈkɑligz wɪθ ə ˈrisəntli sleɪn ˌɪnˈdɪʤənəs ˈlidər, əˈfɪʃəlz sɛd ɔn ˈsənˌdi. ˈdɪdiər ɛnˈrikeɪ ““electric”*” rəˈmɪrɛz wɑz ˌæprɪˈhɛndəd fər hɪz əˈlɛʤd roʊl ɪn ðə ˈkɪlɪŋ əv ˈnɛlsən, 39 hu wɑz ʃɑt dɛd ˈərliər ðɪs mənθ baɪ æt list tu əˈseɪlənts ˈfɑloʊɪŋ ə dɪˈspjut wɪθ ˈloʊkəl ˈlænˌdoʊnərz, əˈθɔrətiz sɛd ɪn ə ˈsteɪtmənt. ˈnɛfju əv ˈmərdərd hɑnˈdʊrən ˈæktɪvɪst: 'ðə ˈætməsˌfɪr ɪz ˈtɛrəˌfaɪɪŋ' rɛd mɔr wɑz kɪld nɪr hɪz haʊs ɪn ðə sæn frænˈsɪskoʊ də ˈriʤən, 75 maɪəlz nɔrθ əv ðə ˈkæpɪtəl tɛguʧiˈgɑlpə. hi wɑz ˈkɑligz wɪθ ðə ɪnˌvaɪrənˈmɛnəl ˈæktɪvɪst ˈbərtə, ə ˈtiʧər hu wɑz ʃɑt ənd kɪld ˈərliər ðɪs mənθ baɪ tu mɛn æt hər hoʊm ɪn lɑ esperanza*, hɑnˈdʊrəs. wɑz ə ˈmɛmbər əv ðə ˈkaʊnsəl əv ˌɪnˈdɪʤənəs ˈpipəlz əv hɑnˈdʊrəs (copinh*), ðə seɪm ˌɔrgənəˈzeɪʃən ðət lɛd ənˈtɪl hər dɛθ., hu hæd rɪˈsivd dɛθ θrɛts fər hər wərk, wən ðə ˈgoʊldmən ɪnˌvaɪrənˈmɛnəl praɪz ɪn 2015 fər hər ˈɛfərts tɪ prɪˈvɛnt ðə kənˈstrəkʃən əv ə dæm ðət θˈrɛtənd tɪ dɪˈspleɪs ˈhənərdz əv ˌɪnˈdɪʤənəs ˈpipəl. hər ˈmərdər spɑrkt ˈvaɪələnt ˈklæʃɪz bɪtˈwin ˈstudənts ənd raɪət pəˈlis, hu faɪərd ˈɪntu ðə kraʊdz æt ðə ˌjunəˈvərsəti əv hɑnˈdʊrəs. hɑnˈdʊrən pəˈlis rɪˈpɔrtədli ˌæprɪˈhɛndəd ə ˈsəˌspɛkt ɪn ðə ˈmərdər, bət cáceres’*’ səˈpɔrtərz hæv əˈkjuzd ðə ˈgəvərnmənt əv ˈhɛlpɪŋ ˈkəvərˌəp ən əˌsæsəˈneɪʃən, ənd hæv səˈʤɛstɪd ðə ˈpipəl bɪˈhaɪnd ðə dæm ˈprɑʤɛkt əreɪnʤd ðə ˈkɪlɪŋ. ðə ˌɪmˈpɑvrɪʃt ˈsɛntrəl əˈmɛrɪkən ˈneɪʃən həz wən əv ðə haɪəst ˈmərdər reɪts. ɪnˌvaɪrənˈmɛnəl ˈæktɪvɪsts ər mɔr ˈlaɪkli tɪ bi kɪld ɪn hɑnˈdʊrəs ðən ˈɛniˌwɛr ɛls ɪn ðə wərld, əˈkɔrdɪŋ tɪ ə ˈstədi baɪ ˈgloʊbəl ˈwɪtnəs, ə nɑnˌgəvərnˈmɛntəl ˌɔrgənəˈzeɪʃən.
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guerrilla games has taken to twitter to proudly announce that horizon: zero dawn, the action game with robot dinosaurs, has officially gone gold.
in the wee hours of the morning, at least stateside, guerrilla games announced via twitter that horizon: zero dawn has gone gold. this means initial development has wrapped and the game should be ready to ship next month as expected.
the posted was accompanied by a group photo of the development team holding champagne glasses and offering a virtual toast to the internet to celebrate their hard work. the managing director posted the photo with a short message:
#horizonzerodawn has gone gold! i'm so proud of team @guerrilla for embracing this bold new adventure with so much courage and resilience. (@hermenhulst) january 31, 2017
horizon: zero dawn is a curious new ip that seemingly came from nowhere, with only some leaked concept art and a few registered domain names suggesting its existence. publisher sony was able to keep the game under the hat long enough for its debut at 2015 with a captivating trailer that promised to take players to a world never seen before.
developed by the same people behind the series, this new title goes in a completely different direction. horizon zero dawn is a far cry from the gritty military shooter, with a colorful, open world, perspective and many elements.
initially, sony was concerned with having a female lead, until research showed that gamers were more than willing to accept a female in a lead role in fact, they were excited for it. the protagonist, aloy, is inspired by classic tough gals like ripley and sarah connor, according to the director.
as the game approaches its release date next month, more details have emerged. something that will come as a surprise, but also a delight, to many gamers is the announcement that horizon: zero dawn will not have microtransactions. no pay to win advantages with this one. additionally, there will also be a photo mode included in the title, which will allow players to take some lovely stills of the picturesque landscapes and fascinating creatures. perhaps the developers were inspired by final fantasy prompto.
horizon: zero dawn is shaping up to be a memorable new ip with fresh ideas, which is a welcomed sight amongst a sea of sequels. now that the game has gone gold, those enamored by what seen so far need only wait another month until horizon: zero dawn can be put through its paces.
horizon: zero dawn is set to release on february 28, 2017 in north america, and on march 1, 2017 in the united kingdom, but will be exclusive to playstation 4.
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gərˈɪlə geɪmz həz ˈteɪkən tɪ tˈwɪtər tɪ ˈpraʊdli əˈnaʊns ðət hərˈaɪzən: ˈziroʊ dɔn, ðə ˈækʃən geɪm wɪθ ˈroʊˌbət ˈdaɪnəˌsɔrz, həz əˈfɪʃəli gɔn goʊld. ɪn ðə wi aʊərz əv ðə ˈmɔrnɪŋ, æt list ˈsteɪtˈsaɪd, gərˈɪlə geɪmz əˈnaʊnst ˈviə tˈwɪtər ðət hərˈaɪzən: ˈziroʊ dɔn həz gɔn goʊld. ðɪs minz ˌɪˈnɪʃəl dɪˈvɛləpmənt həz ræpt ənd ðə geɪm ʃʊd bi ˈrɛdi tɪ ʃɪp nɛkst mənθ ɛz ɪkˈspɛktɪd. ðə ˈpoʊstɪd wɑz əˈkəmpənid baɪ ə grup ˈfoʊˌtoʊ əv ðə dɪˈvɛləpmənt tim ˈhoʊldɪŋ ʃæmˈpeɪn ˈglæsɪz ənd ˈɔfərɪŋ ə ˈvərʧuəl toʊst tɪ ðə ˈɪntərˌnɛt tɪ ˈsɛləˌbreɪt ðɛr hɑrd wərk. ðə ˈmænəʤɪŋ dɪˈrɛktər ˈpoʊstɪd ðə ˈfoʊˌtoʊ wɪθ ə ʃɔrt ˈmɛsɪʤ: həz gɔn goʊld! əm soʊ praʊd əv tim @gərˈɪlə fər ɛmˈbreɪsɪŋ ðɪs boʊld nu ədˈvɛnʧər wɪθ soʊ məʧ kərɪʤ ənd rɪˈzɪljəns. (@hermenhulst*) ˈʤænjuˌɛri 31 2017 hərˈaɪzən: ˈziroʊ dɔn ɪz ə ˈkjʊriəs nu ˌaɪˌpi ðət ˈsimɪŋli keɪm frəm ˈnoʊˌwɛr, wɪθ ˈoʊnli səm likt ˈkɑnsɛpt ɑrt ənd ə fju ˈrɛʤɪstərd doʊˈmeɪn neɪmz səˈʤɛstɪŋ ɪts ɪgˈzɪstəns. ˈpəblɪʃər ˈsoʊni wɑz ˈeɪbəl tɪ kip ðə geɪm ˈəndər ðə hæt lɔŋ ɪˈnəf fər ɪts ˈdeɪbju æt 2015 wɪθ ə ˈkæptɪˌveɪtɪŋ ˈtreɪlər ðət ˈprɑməst tɪ teɪk pleɪərz tɪ ə wərld ˈnɛvər sin ˌbiˈfɔr. dɪˈvɛləpt baɪ ðə seɪm ˈpipəl bɪˈhaɪnd ðə ˈsɪriz, ðɪs nu ˈtaɪtəl goʊz ɪn ə kəmˈplitli ˈdɪfərənt dɪˈrɛkʃɪn. hərˈaɪzən ˈziroʊ dɔn ɪz ə fɑr kraɪ frəm ðə ˈgrɪti ˈmɪlɪˌtɛri ˈʃutər, wɪθ ə ˈkələrfəl, ˈoʊpən wərld, pərˈspɛktɪv ənd ˈmɛni ˈɛləmənts. ˌɪˈnɪʃəli, ˈsoʊni wɑz kənˈsərnd wɪθ ˈhævɪŋ ə ˈfiˌmeɪl lɛd, ənˈtɪl ˈrisərʧ ʃoʊd ðət ˈgeɪmərz wər mɔr ðən ˈwɪlɪŋ tɪ əkˈsɛpt ə ˈfiˌmeɪl ɪn ə lɛd roʊl ɪn fækt, ðeɪ wər ɪkˈsaɪtɪd fər ɪt. ðə proʊˈtægənəst, aloy*, ɪz ˌɪnˈspaɪərd baɪ ˈklæsɪk təf gælz laɪk ˈrɪpli ənd ˈsɛrə ˈkɑnər, əˈkɔrdɪŋ tɪ ðə dɪˈrɛktər. ɛz ðə geɪm əˈproʊʧɪz ɪts riˈlis deɪt nɛkst mənθ, mɔr ˈditeɪlz hæv ˈimərʤd. ˈsəmθɪŋ ðət wɪl kəm ɛz ə səˈpraɪz, bət ˈɔlsoʊ ə dɪˈlaɪt, tɪ ˈmɛni ˈgeɪmərz ɪz ðə əˈnaʊnsmɛnt ðət hərˈaɪzən: ˈziroʊ dɔn wɪl nɑt hæv microtransactions*. noʊ peɪ tɪ wɪn ædˈvæntɪʤɪz wɪθ ðɪs wən. əˈdɪʃəˌnəli, ðɛr wɪl ˈɔlsoʊ bi ə ˈfoʊˌtoʊ moʊd ˌɪnˈkludɪd ɪn ðə ˈtaɪtəl, wɪʧ wɪl əˈlaʊ pleɪərz tɪ teɪk səm ˈləvli stɪlz əv ðə ˈpɪkʧərəsk ˈlænˌskeɪps ənd ˈfæsəˌneɪtɪŋ ˈkriʧərz. pərˈhæps ðə dɪˈvɛləpərz wər ˌɪnˈspaɪərd baɪ ˈfaɪnəl ˈfænəsi prompto*. hərˈaɪzən: ˈziroʊ dɔn ɪz ˈʃeɪpɪŋ əp tɪ bi ə ˈmɛmərəbəl nu ˌaɪˌpi wɪθ frɛʃ aɪˈdiəz, wɪʧ ɪz ə ˈwɛlkəmd saɪt əˈməŋst ə si əv ˈsikwəlz. naʊ ðət ðə geɪm həz gɔn goʊld, ðoʊz ɛˈnæmərd baɪ wət sin soʊ fɑr nid ˈoʊnli weɪt əˈnəðər mənθ ənˈtɪl hərˈaɪzən: ˈziroʊ dɔn kən bi pʊt θru ɪts ˈpeɪsɪz. hərˈaɪzən: ˈziroʊ dɔn ɪz sɛt tɪ riˈlis ɔn ˈfɛbruˌɛri 28 2017 ɪn nɔrθ əˈmɛrɪkə, ənd ɔn mɑrʧ 1 2017 ɪn ðə juˈnaɪtɪd ˈkɪŋdəm, bət wɪl bi ɪkˈsklusɪv tɪ ˈpleɪˌsteɪʃən 4
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bizarre things happen to the approach when applied to entities with properties. usually, this shows that the traditional conception of physics, which expresses everything in terms of initial conditions and laws of motion, is inadequate to handle them. therefore either they are not fundamental at all; or the traditional conception is not it must be only regarded as an approximation. however, there are also cases where the traditional conception is merely misleading and sometimes leads to paradoxical ways of reasoning about things.
a case in point is the well known paradox which consider in a slightly revisited manner. suppose a game is set up as follows. at time t 0 , a predictor p prepares a large box with the following content: two smaller, opaque, soundproof, boxes, labeled a and b, each containing one or more puppies (to be specified below); an automaton t that is programmed to open one or both boxes at a later time t 1 , in such a way as to obtain the maximum number of puppies.
at time t 0 the small boxes and the automaton are sealed in the large box, the automaton begins to ponder its choice. just to be clear: we yet fully specified how the boxes were filled, but no matter how the boxes were filled, given that there is at least one puppy in each, there must be more puppies in both boxes combined than in box a alone. at time t 1 the automaton t must choose to open either box a or both boxes.
the boxes are filled by the predictor p as follows:
if t is predicted to choose to open both boxes, one puppy is placed in box a and one in box b before the larger box is sealed.
if t is predicted to choose, at time t 1 , to open only box a, 3 puppies are placed in box a and again only one in box b before the larger box is sealed.
the predictor has perfect knowledge about the initial conditions of the automaton t and about the laws of everything in the box which for the sake of argument are supposed to be deterministic.
therefore, the rules of the game allow only two possible scenarios at time t 1 :
p predicted that t will open both boxes; box a contains one puppy, box b contains one; t opens both boxes and gets two puppies in total.
p predicted that t will open one box; box a contains 3 puppies, box b contains 1; t opens only box a and gets 3 puppies.
the paradox arises from the fact that the automaton can provide an output based on two different algorithms, derived from two different arguments, which apparently must be equivalent under the traditional conception of physics i.e., they must lead the automaton to the same conclusion; but they seem not to.
the first algorithm leads the automaton to open only box a so that he gets 3 puppies. this is derived from the rules of the game: if t were to open both boxes, t will only get 2 puppies.
the other algorithm instead is based on the reasoning that there are only two possible initial conditions for the boxes a and b, immediately after time t 0 (just after the preparation, when the larger box outside is sealed). one, where each box contains 1 puppy; two, where a contains 3 puppies and b contains 1. for both initial conditions, a larger number of puppies is obtained by opening both boxes, because the sum of the content of both is always larger than the content of either. therefore, the automaton should conclude to open both boxes irrespective of everything else.
the reason why the two algorithms should be equivalent is that the rules of the preparation seem irrelevant for the decision of the automaton, in that the content of the boxes once the larger box outside is sealed is fixed and cannot be retroactively affected by choices; therefore, the boxes’ initial condition is all that matters for the number of puppies that the automaton can get.
resolution.
the reason why the paradox arises is that the account given above is incomplete. there is a crucial additional thing to be stressed about the preparation. what has determined the content of the boxes is the simulation of t that p ran in advance, before time t 0 . let us call that simulated version of the automaton t′. it is the simulated choice that sets the content of the boxes. and so the correct way of reasoning for the automaton, and for its simulation, must take this fact into account.
if there can exist a perfect simulation t′ of t, then they must both reason and they must have been given the same algorithm to make their decision; and the same inputs. also, they both know about the existence of the simulation, and about how it is used to prepare the boxes, but each of them cannot know whether it is the simulation or the actual automaton.
now under these circumstances the only algorithm that is possible is one that can be executed by both t′ and t. the crucial point is that at time t 0 , when the simulation takes place, the boxes are not yet filled with anything; and that neither the simulation nor the actual automaton know which one they are otherwise the two automata would know different things, contrary to the assumption of the perfect simulator.
hence the simulator t′ in particular must assume that the boxes could still be empty, to be filled according to its own choice. t′ therefore chooses to open only one box to maximize the amount of puppies t gets, thus determining the content of the boxes. consistently with the assumption of perfect simulation, t will reason as above, and reach the same conclusion as t′ open one box. so, there is no paradox after all.
there are two interesting about this way of looking at the apparent paradox.
first, suppose that instead of an automaton, t is a person with ‘free will’ which we take to be the capacity to create knowledge to make a choice about the boxes. its behaviour must be unpredictable, which seems in contradiction with the statement that a perfect predictor exists. well, this is not the case. what one means by saying that the creation of knowledge is unpredictable is that it cannot be known before it is created. creating the relevant knowledge can be done only by running a simulation of the person in question. that simulation, in turn, will by definition be creative, and unpredictable, in the same sense: the prediction of its choice cannot be made in advance of the creation of the relevant knowledge.
in this particular case, the content of the boxes is not set by what choice t will make (as is misleadingly assumed in statements of the ‘paradox’) but by the choice that the simulation t′ made before t 0 ; this choice unpredictable, in the sense that the only way to predict it is to bring about a simulation of t′; and so on. until t′ has made its choice, the content is not set; once it has made it, the choices of t are set, on the ground of the knowledge that was created in t′. what matters is precisely the fact that the requisite knowledge about what to do with the boxes, whatever that is, could not be predicted before an instance of the person t was brought about, via t′.
the second point is that this setting lends itself to explaining why the unpredictability of the creation of knowledge is fundamentally different from the unpredictability of measurement in quantum theory.
consider a slightly altered version of the game, where the automaton t is supposed to make a choice based on the output of a measurement of the of the spin on a of two of that observable. then, there cannot be any perfect predictor for what choice t will make. this is because, if there were one, the laws of quantum mechanics would be violated. however, this has nothing to do with the unpredictability of knowledge we mentioned above. the knowledge created by t′ to make its choice is represented by a sharp information attribute of the variable ‘which box to open’; in the case of the quantum version, instead, the variable ‘which box to open’ is not sharp.
see for scott related take on this.
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bɪˈzɑr θɪŋz ˈhæpən tɪ ðə əˈproʊʧ wɪn əˈplaɪd tɪ ˈɛntɪtiz wɪθ ˈprɑpərtiz. ˈjuʒəwəli, ðɪs ʃoʊz ðət ðə trəˈdɪʃənəl kənˈsɛpʃən əv ˈfɪzɪks, wɪʧ ɪkˈsprɛsɪz ˈɛvriˌθɪŋ ɪn tərmz əv ˌɪˈnɪʃəl kənˈdɪʃənz ənd lɔz əv ˈmoʊʃən, ɪz ˌɪˈnædəkˌweɪt tɪ ˈhændəl ðɛm. ˈðɛrˌfɔr ˈiðər ðeɪ ər nɑt ˌfəndəˈmɛnəl æt ɔl; ər ðə trəˈdɪʃənəl kənˈsɛpʃən ɪz nɑt ɪt məst bi ˈoʊnli rɪˈgɑrdɪd ɛz ən əˌprɑksəˈmeɪʃən. ˌhaʊˈɛvər, ðɛr ər ˈɔlsoʊ ˈkeɪsɪz wɛr ðə trəˈdɪʃənəl kənˈsɛpʃən ɪz ˈmɪrli mɪsˈlidɪŋ ənd ˈsəmˌtaɪmz lidz tɪ ˌpɛrəˈdɑksɪkəl weɪz əv ˈrizənɪŋ əˈbaʊt θɪŋz. ə keɪs ɪn pɔɪnt ɪz ðə wɛl noʊn ˈpɛrəˌdɑks wɪʧ kənˈsɪdər ɪn ə sˈlaɪtli riˈvɪzətɪd ˈmænər. səˈpoʊz ə geɪm ɪz sɛt əp ɛz ˈfɑloʊz. æt taɪm ti 0 ə prɪˈdɪktər pi pərˈpɛrz ə lɑrʤ bɑks wɪθ ðə ˈfɑloʊɪŋ ˈkɑntɛnt: tu sˈmɔlər, oʊˈpeɪk, soundproof*, ˈbɑksɪz, ˈleɪbəld ə ənd bi, iʧ kənˈteɪnɪŋ wən ər mɔr ˈpəpiz (tɪ bi ˈspɛsəˌfaɪd bɪˈloʊ); ən ɔˈtɑməˌtɑn ti ðət ɪz ˈproʊˌgræmd tɪ ˈoʊpən wən ər boʊθ ˈbɑksɪz æt ə ˈleɪtər taɪm ti 1 ɪn səʧ ə weɪ ɛz tɪ əbˈteɪn ðə ˈmæksəməm ˈnəmbər əv ˈpəpiz. æt taɪm ti 0 ðə smɔl ˈbɑksɪz ənd ðə ɔˈtɑməˌtɑn ər sild ɪn ðə lɑrʤ bɑks, ðə ɔˈtɑməˌtɑn bɪˈgɪnz tɪ ˈpɑndər ɪts ʧɔɪs. ʤɪst tɪ bi klɪr: wi jɛt ˈfʊli ˈspɛsəˌfaɪd haʊ ðə ˈbɑksɪz wər fɪld, bət noʊ ˈmætər haʊ ðə ˈbɑksɪz wər fɪld, ˈgɪvɪn ðət ðɛr ɪz æt list wən ˈpəpi ɪn iʧ, ðɛr məst bi mɔr ˈpəpiz ɪn boʊθ ˈbɑksɪz kəmˈbaɪnd ðən ɪn bɑks ə əˈloʊn. æt taɪm ti 1 ðə ɔˈtɑməˌtɑn ti məst ʧuz tɪ ˈoʊpən ˈiðər bɑks ə ər boʊθ ˈbɑksɪz. ðə ˈbɑksɪz ər fɪld baɪ ðə prɪˈdɪktər pi ɛz ˈfɑloʊz: ɪf ti ɪz prɪˈdɪktɪd tɪ ʧuz tɪ ˈoʊpən boʊθ ˈbɑksɪz, wən ˈpəpi ɪz pleɪst ɪn bɑks ə ənd wən ɪn bɑks bi ˌbiˈfɔr ðə ˈlɑrʤər bɑks ɪz sild. ɪf ti ɪz prɪˈdɪktɪd tɪ ʧuz, æt taɪm ti 1 tɪ ˈoʊpən ˈoʊnli bɑks ə, 3 ˈpəpiz ər pleɪst ɪn bɑks ə ənd əˈgɛn ˈoʊnli wən ɪn bɑks bi ˌbiˈfɔr ðə ˈlɑrʤər bɑks ɪz sild. ðə prɪˈdɪktər həz ˈpərˌfɪkt ˈnɑlɪʤ əˈbaʊt ðə ˌɪˈnɪʃəl kənˈdɪʃənz əv ðə ɔˈtɑməˌtɑn ti ənd əˈbaʊt ðə lɔz əv ˈɛvriˌθɪŋ ɪn ðə bɑks wɪʧ fər ðə seɪk əv ˈɑrgjəmənt ər səˈpoʊzd tɪ bi dɪˌtərməˈnɪstɪk. ˈðɛrˌfɔr, ðə rulz əv ðə geɪm əˈlaʊ ˈoʊnli tu ˈpɑsəbəl sɪˈnɛrioʊz æt taɪm ti 1 pi prɪˈdɪktɪd ðət ti wɪl ˈoʊpən boʊθ ˈbɑksɪz; bɑks ə kənˈteɪnz wən ˈpəpi, bɑks bi kənˈteɪnz wən; ti ˈoʊpənz boʊθ ˈbɑksɪz ənd gɪts tu ˈpəpiz ɪn ˈtoʊtəl. pi prɪˈdɪktɪd ðət ti wɪl ˈoʊpən wən bɑks; bɑks ə kənˈteɪnz 3 ˈpəpiz, bɑks bi kənˈteɪnz 1 ti ˈoʊpənz ˈoʊnli bɑks ə ənd gɪts 3 ˈpəpiz. ðə ˈpɛrəˌdɑks ərˈaɪzɪz frəm ðə fækt ðət ðə ɔˈtɑməˌtɑn kən prəˈvaɪd ən ˈaʊtˌpʊt beɪst ɔn tu ˈdɪfərənt ˈælgərˌɪðəmz, dəraɪvd frəm tu ˈdɪfərənt ˈɑrgjəmənts, wɪʧ əˈpɛrəntli məst bi ɪkˈwɪvələnt ˈəndər ðə trəˈdɪʃənəl kənˈsɛpʃən əv ˈfɪzɪks i.e*., ðeɪ məst lɛd ðə ɔˈtɑməˌtɑn tɪ ðə seɪm kənˈkluʒən; bət ðeɪ sim nɑt tɪ. ðə fərst ˈælgərˌɪðəm lidz ðə ɔˈtɑməˌtɑn tɪ ˈoʊpən ˈoʊnli bɑks ə soʊ ðət hi gɪts 3 ˈpəpiz. ðɪs ɪz dəraɪvd frəm ðə rulz əv ðə geɪm: ɪf ti wər tɪ ˈoʊpən boʊθ ˈbɑksɪz, ti wɪl ˈoʊnli gɪt 2 ˈpəpiz. ðə ˈəðər ˈælgərˌɪðəm ˌɪnˈstɛd ɪz beɪst ɔn ðə ˈrizənɪŋ ðət ðɛr ər ˈoʊnli tu ˈpɑsəbəl ˌɪˈnɪʃəl kənˈdɪʃənz fər ðə ˈbɑksɪz ə ənd bi, ˌɪˈmiˌdiətli ˈæftər taɪm ti 0 (ʤɪst ˈæftər ðə ˌprɛpərˈeɪʃən, wɪn ðə ˈlɑrʤər bɑks ˈaʊtˈsaɪd ɪz sild). wən, wɛr iʧ bɑks kənˈteɪnz 1 ˈpəpi; tu, wɛr ə kənˈteɪnz 3 ˈpəpiz ənd bi kənˈteɪnz 1 fər boʊθ ˌɪˈnɪʃəl kənˈdɪʃənz, ə ˈlɑrʤər ˈnəmbər əv ˈpəpiz ɪz əbˈteɪnd baɪ ˈoʊpənɪŋ boʊθ ˈbɑksɪz, bɪˈkəz ðə səm əv ðə ˈkɑntɛnt əv boʊθ ɪz ˈɔlˌweɪz ˈlɑrʤər ðən ðə ˈkɑntɛnt əv ˈiðər. ˈðɛrˌfɔr, ðə ɔˈtɑməˌtɑn ʃʊd kənˈklud tɪ ˈoʊpən boʊθ ˈbɑksɪz ˌɪrəˈspɛktɪv əv ˈɛvriˌθɪŋ ɛls. ðə ˈrizən waɪ ðə tu ˈælgərˌɪðəmz ʃʊd bi ɪkˈwɪvələnt ɪz ðət ðə rulz əv ðə ˌprɛpərˈeɪʃən sim ˌɪˈrɛləvənt fər ðə dɪˈsɪʒən əv ðə ɔˈtɑməˌtɑn, ɪn ðət ðə ˈkɑntɛnt əv ðə ˈbɑksɪz wəns ðə ˈlɑrʤər bɑks ˈaʊtˈsaɪd ɪz sild ɪz fɪkst ənd ˈkænɑt bi ˌrɛtroʊˈæktɪvli əˈfɛktɪd baɪ ˈʧɔɪsɪz; ˈðɛrˌfɔr, ðə boxes’*’ ˌɪˈnɪʃəl kənˈdɪʃən ɪz ɔl ðət ˈmætərz fər ðə ˈnəmbər əv ˈpəpiz ðət ðə ɔˈtɑməˌtɑn kən gɪt. ˌrɛzəˈluʃən. ðə ˈrizən waɪ ðə ˈpɛrəˌdɑks ərˈaɪzɪz ɪz ðət ðə əˈkaʊnt ˈgɪvɪn əˈbəv ɪz ˌɪnkəmˈplit. ðɛr ɪz ə ˈkruʃəl əˈdɪʃənəl θɪŋ tɪ bi strɛst əˈbaʊt ðə ˌprɛpərˈeɪʃən. wət həz dɪˈtərmənd ðə ˈkɑntɛnt əv ðə ˈbɑksɪz ɪz ðə ˌsɪmjəˈleɪʃən əv ti ðət pi ræn ɪn ədˈvæns, ˌbiˈfɔr taɪm ti 0 lɛt ˈjuˈɛs kɔl ðət ˈsɪmjəˌleɪtɪd ˈvərʒən əv ðə ɔˈtɑməˌtɑn t′*′. ɪt ɪz ðə ˈsɪmjəˌleɪtɪd ʧɔɪs ðət sɛts ðə ˈkɑntɛnt əv ðə ˈbɑksɪz. ənd soʊ ðə kərˈɛkt weɪ əv ˈrizənɪŋ fər ðə ɔˈtɑməˌtɑn, ənd fər ɪts ˌsɪmjəˈleɪʃən, məst teɪk ðɪs fækt ˈɪntu əˈkaʊnt. ɪf ðɛr kən ɪgˈzɪst ə ˈpərˌfɪkt ˌsɪmjəˈleɪʃən t′*′ əv ti, ðɛn ðeɪ məst boʊθ ˈrizən ənd ðeɪ məst hæv bɪn ˈgɪvɪn ðə seɪm ˈælgərˌɪðəm tɪ meɪk ðɛr dɪˈsɪʒən; ənd ðə seɪm ˈɪnˌpʊts. ˈɔlsoʊ, ðeɪ boʊθ noʊ əˈbaʊt ðə ɪgˈzɪstəns əv ðə ˌsɪmjəˈleɪʃən, ənd əˈbaʊt haʊ ɪt ɪz juzd tɪ priˈpɛr ðə ˈbɑksɪz, bət iʧ əv ðɛm ˈkænɑt noʊ ˈwɛðər ɪt ɪz ðə ˌsɪmjəˈleɪʃən ər ðə ˈækʧəwəl ɔˈtɑməˌtɑn. naʊ ˈəndər ðiz ˈsərkəmˌstænsɪz ðə ˈoʊnli ˈælgərˌɪðəm ðət ɪz ˈpɑsəbəl ɪz wən ðət kən bi ˈɛksəˌkjutɪd baɪ boʊθ t′*′ ənd ti. ðə ˈkruʃəl pɔɪnt ɪz ðət æt taɪm ti 0 wɪn ðə ˌsɪmjəˈleɪʃən teɪks pleɪs, ðə ˈbɑksɪz ər nɑt jɛt fɪld wɪθ ˈɛniˌθɪŋ; ənd ðət ˈniðər ðə ˌsɪmjəˈleɪʃən nɔr ðə ˈækʧəwəl ɔˈtɑməˌtɑn noʊ wɪʧ wən ðeɪ ər ˈəðərˌwaɪz ðə tu ɔˈtɑmətə wʊd noʊ ˈdɪfərənt θɪŋz, ˈkɑntrɛri tɪ ðə əˈsəmpʃən əv ðə ˈpərˌfɪkt ˈsɪmjəˌleɪtər. hɛns ðə ˈsɪmjəˌleɪtər t′*′ ɪn ˌpɑˈtɪkjələr məst əˈsum ðət ðə ˈbɑksɪz kʊd stɪl bi ˈɛmti, tɪ bi fɪld əˈkɔrdɪŋ tɪ ɪts oʊn ʧɔɪs. t′*′ ˈðɛrˌfɔr ˈʧuzɪz tɪ ˈoʊpən ˈoʊnli wən bɑks tɪ ˈmæksəˌmaɪz ðə əˈmaʊnt əv ˈpəpiz ti gɪts, ðəs dɪˈtərmənɪŋ ðə ˈkɑntɛnt əv ðə ˈbɑksɪz. kənˈsɪstəntli wɪθ ðə əˈsəmpʃən əv ˈpərˌfɪkt ˌsɪmjəˈleɪʃən, ti wɪl ˈrizən ɛz əˈbəv, ənd riʧ ðə seɪm kənˈkluʒən ɛz t′*′ ˈoʊpən wən bɑks. soʊ, ðɛr ɪz noʊ ˈpɛrəˌdɑks ˈæftər ɔl. ðɛr ər tu ˈɪntəˌrɛstɪŋ əˈbaʊt ðɪs weɪ əv ˈlʊkɪŋ æt ðə əˈpɛrənt ˈpɛrəˌdɑks. fərst, səˈpoʊz ðət ˌɪnˈstɛd əv ən ɔˈtɑməˌtɑn, ti ɪz ə ˈpərsən wɪθ will’*’ wɪʧ wi teɪk tɪ bi ðə kəˈpæsɪti tɪ kriˈeɪt ˈnɑlɪʤ tɪ meɪk ə ʧɔɪs əˈbaʊt ðə ˈbɑksɪz. ɪts bɪˈheɪvjər məst bi ˌənprɪˈdɪktəbəl, wɪʧ simz ɪn ˌkɑntrəˈdɪkʃən wɪθ ðə ˈsteɪtmənt ðət ə ˈpərˌfɪkt prɪˈdɪktər ɪgˈzɪsts. wɛl, ðɪs ɪz nɑt ðə keɪs. wət wən minz baɪ seɪɪŋ ðət ðə kriˈeɪʃən əv ˈnɑlɪʤ ɪz ˌənprɪˈdɪktəbəl ɪz ðət ɪt ˈkænɑt bi noʊn ˌbiˈfɔr ɪt ɪz kriˈeɪtɪd. kriˈeɪtɪŋ ðə ˈrɛləvənt ˈnɑlɪʤ kən bi dən ˈoʊnli baɪ ˈrənɪŋ ə ˌsɪmjəˈleɪʃən əv ðə ˈpərsən ɪn kˈwɛʃən. ðət ˌsɪmjəˈleɪʃən, ɪn tərn, wɪl baɪ ˌdɛfəˈnɪʃən bi kriˈeɪtɪv, ənd ˌənprɪˈdɪktəbəl, ɪn ðə seɪm sɛns: ðə priˈdɪkʃən əv ɪts ʧɔɪs ˈkænɑt bi meɪd ɪn ədˈvæns əv ðə kriˈeɪʃən əv ðə ˈrɛləvənt ˈnɑlɪʤ. ɪn ðɪs ˌpɑˈtɪkjələr keɪs, ðə ˈkɑntɛnt əv ðə ˈbɑksɪz ɪz nɑt sɛt baɪ wət ʧɔɪs ti wɪl meɪk (ɛz ɪz mɪsˈlidɪŋli əˈsumd ɪn ˈsteɪtmənts əv ðə ‘‘paradox’*’) bət baɪ ðə ʧɔɪs ðət ðə ˌsɪmjəˈleɪʃən t′*′ meɪd ˌbiˈfɔr ti 0 ðɪs ʧɔɪs ˌənprɪˈdɪktəbəl, ɪn ðə sɛns ðət ðə ˈoʊnli weɪ tɪ prɪˈdɪkt ɪt ɪz tɪ brɪŋ əˈbaʊt ə ˌsɪmjəˈleɪʃən əv t′*′; ənd soʊ ɔn. ənˈtɪl t′*′ həz meɪd ɪts ʧɔɪs, ðə ˈkɑntɛnt ɪz nɑt sɛt; wəns ɪt həz meɪd ɪt, ðə ˈʧɔɪsɪz əv ti ər sɛt, ɔn ðə graʊnd əv ðə ˈnɑlɪʤ ðət wɑz kriˈeɪtɪd ɪn t′*′. wət ˈmætərz ɪz prɪˈsaɪsli ðə fækt ðət ðə ˈrɛkwəzət ˈnɑlɪʤ əˈbaʊt wət tɪ du wɪθ ðə ˈbɑksɪz, ˌwəˈtɛvər ðət ɪz, kʊd nɑt bi prɪˈdɪktɪd ˌbiˈfɔr ən ˈɪnstəns əv ðə ˈpərsən ti wɑz brɔt əˈbaʊt, ˈviə t′*′. ðə ˈsɛkənd pɔɪnt ɪz ðət ðɪs ˈsɛtɪŋ lɛndz ˌɪtˈsɛlf tɪ ɪkˈspleɪnɪŋ waɪ ðə ˌənprəˌdɪktəˈbɪlɪti əv ðə kriˈeɪʃən əv ˈnɑlɪʤ ɪz ˌfəndəˈmɛnəli ˈdɪfərənt frəm ðə ˌənprəˌdɪktəˈbɪlɪti əv ˈmɛʒərmənt ɪn kˈwɑntəm ˈθɪri. kənˈsɪdər ə sˈlaɪtli ˈɔltərd ˈvərʒən əv ðə geɪm, wɛr ðə ɔˈtɑməˌtɑn ti ɪz səˈpoʊzd tɪ meɪk ə ʧɔɪs beɪst ɔn ðə ˈaʊtˌpʊt əv ə ˈmɛʒərmənt əv ðə əv ðə spɪn ɔn ə əv tu əv ðət əbˈzərvəbəl. ðɛn, ðɛr ˈkænɑt bi ˈɛni ˈpərˌfɪkt prɪˈdɪktər fər wət ʧɔɪs ti wɪl meɪk. ðɪs ɪz bɪˈkəz, ɪf ðɛr wər wən, ðə lɔz əv kˈwɑntəm məˈkænɪks wʊd bi ˈvaɪəleɪtɪd. ˌhaʊˈɛvər, ðɪs həz ˈnəθɪŋ tɪ du wɪθ ðə ˌənprəˌdɪktəˈbɪlɪti əv ˈnɑlɪʤ wi ˈmɛnʃənd əˈbəv. ðə ˈnɑlɪʤ kriˈeɪtɪd baɪ t′*′ tɪ meɪk ɪts ʧɔɪs ɪz ˌrɛprɪˈzɛnɪd baɪ ə ʃɑrp ˌɪnˌfɔrˈmeɪʃən əˈtrɪˌbjut əv ðə ˈvɛriəbəl bɑks tɪ open’*’; ɪn ðə keɪs əv ðə kˈwɑntəm ˈvərʒən, ˌɪnˈstɛd, ðə ˈvɛriəbəl bɑks tɪ open’*’ ɪz nɑt ʃɑrp. si fər skɑt rɪˈleɪtɪd teɪk ɔn ðɪs.
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how your surgeon treats your tear will depend on the type of tear you have, its size, and location.
the outside one-third of the has a rich blood supply. a tear in this "red" zone may heal on its own, or can often be repaired with surgery. a longitudinal tear is an example of this kind of tear.
in contrast, the inner two-thirds of the lacks a blood supply. without nutrients from blood, tears in this "white" zone cannot heal. these complex tears are often in thin, worn cartilage. because the pieces cannot grow back together, tears in this zone are usually surgically trimmed away.
along with the type of tear you have, your age, activity level, and any related injuries will factor into your treatment plan.
nonsurgical treatment if your tear is small and on the outer edge of the, it may not require surgical repair. as long as your symptoms do not persist and your knee is stable, nonsurgical treatment may be all you need. rice. the rice protocol is effective for most injuries. rice stands for rest, ice, compression, and elevation. rest. take a break from the activity that caused the injury. your doctor may recommend that you use crutches to avoid putting weight on your leg.
take a break from the activity that caused the injury. your doctor may recommend that you use crutches to avoid putting weight on your leg. ice. use cold packs for 20 minutes at a time, several times a day. do not apply ice directly to the skin.
use cold packs for 20 minutes at a time, several times a day. do not apply ice directly to the skin. compression. to prevent additional swelling and blood loss, wear an elastic compression bandage.
to prevent additional swelling and blood loss, wear an elastic compression bandage. elevation. to reduce swelling, recline when you rest, and put your leg up higher than your heart. medicines. drugs like aspirin and ibuprofen reduce pain and swelling.
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haʊ jʊr ˈsərʤɪn trits jʊr tɪr wɪl dɪˈpɛnd ɔn ðə taɪp əv tɪr ju hæv, ɪts saɪz, ənd loʊˈkeɪʃən. ðə ˈaʊtˈsaɪd ˌwənˈθərd əv ðə həz ə rɪʧ bləd səˈplaɪ. ə tɪr ɪn ðɪs "rɛd" zoʊn meɪ hil ɔn ɪts oʊn, ər kən ˈɔfən bi rɪˈpɛrd wɪθ ˈsərʤəri. ə ˌlɑnʤəˈtudənəl tɪr ɪz ən ɪgˈzæmpəl əv ðɪs kaɪnd əv tɪr. ɪn ˈkɑntræst, ðə ˈɪnər ˌtuˈθərdz əv ðə læks ə bləd səˈplaɪ. wɪˈθaʊt ˈnutriənts frəm bləd, tɪrz ɪn ðɪs "waɪt" zoʊn ˈkænɑt hil. ðiz ˈkɑmplɛks tɪrz ər ˈɔfən ɪn θɪn, wɔrn ˈkɑrtəlɪʤ. bɪˈkəz ðə ˈpisɪz ˈkænɑt groʊ bæk təˈgɛðər, tɪrz ɪn ðɪs zoʊn ər ˈjuʒəwəli ˈsərʤɪkəli trɪmd əˈweɪ. əˈlɔŋ wɪθ ðə taɪp əv tɪr ju hæv, jʊr eɪʤ, ækˈtɪvɪti ˈlɛvəl, ənd ˈɛni rɪˈleɪtɪd ˈɪnʤəriz wɪl ˈfæktər ˈɪntu jʊr ˈtritmənt plæn. nɑnˈsərʤɪkəl ˈtritmənt ɪf jʊr tɪr ɪz smɔl ənd ɔn ðə ˈaʊtər ɛʤ əv ðə, ɪt meɪ nɑt ˌrikˈwaɪər ˈsərʤɪkəl rɪˈpɛr. ɛz lɔŋ ɛz jʊr ˈsɪmptəmz du nɑt pərˈsɪst ənd jʊr ni ɪz ˈsteɪbəl, nɑnˈsərʤɪkəl ˈtritmənt meɪ bi ɔl ju nid. raɪs. ðə raɪs ˈproʊtəˌkɔl ɪz ˈifɛktɪv fər moʊst ˈɪnʤəriz. raɪs stændz fər rɛst, aɪs, kəmˈprɛʃən, ənd ˌɛləˈveɪʃən. rɛst. teɪk ə breɪk frəm ðə ækˈtɪvɪti ðət kɔzd ðə ˈɪnʤəri. jʊr ˈdɔktər meɪ ˌrɛkəˈmɛnd ðət ju juz ˈkrəʧɪz tɪ əˈvɔɪd ˈpʊtɪŋ weɪt ɔn jʊr lɛg. teɪk ə breɪk frəm ðə ækˈtɪvɪti ðət kɔzd ðə ˈɪnʤəri. jʊr ˈdɔktər meɪ ˌrɛkəˈmɛnd ðət ju juz ˈkrəʧɪz tɪ əˈvɔɪd ˈpʊtɪŋ weɪt ɔn jʊr lɛg. aɪs. juz koʊld pæks fər 20 ˈmɪnəts æt ə taɪm, ˈsɛvərəl taɪmz ə deɪ. du nɑt əˈplaɪ aɪs dɪˈrɛkli tɪ ðə skɪn. juz koʊld pæks fər 20 ˈmɪnəts æt ə taɪm, ˈsɛvərəl taɪmz ə deɪ. du nɑt əˈplaɪ aɪs dɪˈrɛkli tɪ ðə skɪn. kəmˈprɛʃən. tɪ prɪˈvɛnt əˈdɪʃənəl sˈwɛlɪŋ ənd bləd lɔs, wɛr ən ɪˈlæstɪk kəmˈprɛʃən ˈbændɪʤ. tɪ prɪˈvɛnt əˈdɪʃənəl sˈwɛlɪŋ ənd bləd lɔs, wɛr ən ɪˈlæstɪk kəmˈprɛʃən ˈbændɪʤ. ˌɛləˈveɪʃən. tɪ rɪˈdus sˈwɛlɪŋ, rɪˈklaɪn wɪn ju rɛst, ənd pʊt jʊr lɛg əp haɪər ðən jʊr hɑrt. ˈmɛdəsənz. drəgz laɪk ˈæsprɪn ənd ˌaɪbjuˈproʊfən rɪˈdus peɪn ənd sˈwɛlɪŋ.
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mr. manafort went to work for mr. and his party of regions in the mid-2000s, and during that time also entered into business deals with two oligarchs, oleg of russia and of ukraine. both deals, which were ultimately unsuccessful, involved the use of murky offshore companies and were tainted by allegations that cronies of mr.’s schemed to funnel assets out of ukraine.
the transaction with mr., a billionaire industrialist close to president vladimir v. putin of russia, involved the attempted purchase of a ukrainian cable telecommunications business using $18.9 million that mr. invested in a cayman islands partnership managed by mr. manafort. the cable business was controlled by offshore shell companies that ukrainian investigators said were used by mr.’s inner circle to loot public assets.
and last summer, the ukrainian investigators announced the discovery of the handwritten ledger, said to have been kept in the offices of mr.’s political party before he was ousted in 2014, which showed the $12.7 million in payments designated for mr. manafort.
the nature of mr. work in ukraine appeared to concern his family, according to text messages belonging to one of his adult daughters, andrea, which were hacked last year and posted on a website used by ukrainian hackers. the thousands of messages span from 2012 to 2016 and include references to millions of dollars mr. manafort apparently transferred to his two daughters.
in one text written in 2015, ms. manafort, a lawyer, called her activities in ukraine “legally questionable,” and in a separate exchange with her sister, jessica, she worried that cash he gave them was tainted by the violent response to the uprising that ultimately led to the downfall of mr. client, mr..
“don’t fool yourself,” ms. manafort wrote. “that money we have is blood money.”
in addition to the money he gave his daughters, mr. manafort also began acquiring a number of real estate assets during the years he worked in ukraine, several of them costing millions of dollars and bought with cash. among them is an apartment in trump tower in manhattan, bought in 2006 for $3.7 million, and a brooklyn brownstone bought in 2012 for $3 million.
being able to cite his trump tower address came in handy when he pitched his services to mr. campaign early in 2016. by then, mr. manafort had been out of american politics for many years, but he expressed a desire to get back in the game and offered to work free, suggesting that he did not need the money.
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ˈmɪstər. ˈmænəfɔrt wɛnt tɪ wərk fər ˈmɪstər. ənd hɪz ˈpɑrti əv ˈriʤənz ɪn ðə mid-2000s*, ənd ˈdʊrɪŋ ðət taɪm ˈɔlsoʊ ˈɛnərd ˈɪntu ˈbɪznɪs dilz wɪθ tu ˈoʊlɪˌgɑrks, ˈoʊləg əv ˈrəʃə ənd əv juˈkreɪn. boʊθ dilz, wɪʧ wər ˈəltəmətli ˌənsəkˈsɛsfəl, ˌɪnˈvɑlvd ðə juz əv ˈmərki ˈɔfˈʃɔr ˈkəmpəˌniz ənd wər ˈteɪntɪd baɪ ˌæləˈgeɪʃənz ðət ˈkroʊniz əv ˈmɪstər. skimd tɪ ˈfənəl ˈæˌsɛts aʊt əv juˈkreɪn. ðə trænˈzækʃən wɪθ ˈmɪstər., ə ˌbɪljəˈnɛr ˌɪnˈdəstriəlɪst kloʊz tɪ ˈprɛzɪdənt vˈlædəmɪr vi. ˈputɪn əv ˈrəʃə, ˌɪnˈvɑlvd ðə əˈtɛmptəd ˈpərʧəs əv ə juˈkreɪniən ˈkeɪbəl ˌtɛləkəmˌjunəˈkeɪʃənz ˈbɪznɪs ˈjuzɪŋ ˈmɪljən ðət ˈmɪstər. ˌɪnˈvɛstɪd ɪn ə ˈkeɪmən ˈaɪləndz ˈpɑrtnərˌʃɪp ˈmænɪʤd baɪ ˈmɪstər. ˈmænəfɔrt. ðə ˈkeɪbəl ˈbɪznɪs wɑz kənˈtroʊld baɪ ˈɔfˈʃɔr ʃɛl ˈkəmpəˌniz ðət juˈkreɪniən ˌɪnˈvɛstəˌgeɪtərz sɛd wər juzd baɪ ˈmɪstər. ˈɪnər ˈsərkəl tɪ lut ˈpəblɪk ˈæˌsɛts. ənd læst ˈsəmər, ðə juˈkreɪniən ˌɪnˈvɛstəˌgeɪtərz əˈnaʊnst ðə ˌdɪˈskəvri əv ðə ˈhænˌdrɪtən ˈlɛʤər, sɛd tɪ hæv bɪn kɛpt ɪn ðə ˈɔfəsɪz əv ˈmɪstər. pəˈlɪtɪkəl ˈpɑrti ˌbiˈfɔr hi wɑz ˈaʊstɪd ɪn 2014 wɪʧ ʃoʊd ðə ˈmɪljən ɪn ˈpeɪmənts ˈdɛzɪgˌneɪtɪd fər ˈmɪstər. ˈmænəfɔrt. ðə ˈneɪʧər əv ˈmɪstər. wərk ɪn juˈkreɪn əˈpɪrd tɪ kənˈsərn hɪz ˈfæməli, əˈkɔrdɪŋ tɪ tɛkst ˈmɛsɪʤɪz bɪˈlɔŋɪŋ tɪ wən əv hɪz ˈædəlt ˈdɔtərz, ˌɑnˈdreɪə, wɪʧ wər hækt læst jɪr ənd ˈpoʊstɪd ɔn ə ˈwɛbˌsaɪt juzd baɪ juˈkreɪniən ˈhækərz. ðə ˈθaʊzənz əv ˈmɛsɪʤɪz spæn frəm 2012 tɪ 2016 ənd ˌɪnˈklud ˈrɛfərənsɪz tɪ ˈmɪljənz əv ˈdɔlərz ˈmɪstər. ˈmænəfɔrt əˈpɛrəntli ˈtrænsfərd tɪ hɪz tu ˈdɔtərz. ɪn wən tɛkst ˈrɪtən ɪn 2015 mɪz. ˈmænəfɔrt, ə ˈlɔjər, kɔld hər ækˈtɪvɪtiz ɪn juˈkreɪn questionable,”*,” ənd ɪn ə ˈsɛpərˌeɪt ɪksˈʧeɪnʤ wɪθ hər ˈsɪstər, ˈʤɛsɪkə, ʃi ˈwərid ðət kæʃ hi geɪv ðɛm wɑz ˈteɪntɪd baɪ ðə ˈvaɪələnt rɪˈspɑns tɪ ðə ˈəˌpraɪzɪŋ ðət ˈəltəmətli lɛd tɪ ðə ˈdaʊnˌfɔl əv ˈmɪstər. klaɪənt, ˈmɪstər.. ful yourself,”*,” mɪz. ˈmænəfɔrt roʊt. ˈməni wi hæv ɪz bləd money.”*.” ɪn əˈdɪʃən tɪ ðə ˈməni hi geɪv hɪz ˈdɔtərz, ˈmɪstər. ˈmænəfɔrt ˈɔlsoʊ bɪˈgæn əkˈwaɪərɪŋ ə ˈnəmbər əv ril ɛˈsteɪt ˈæˌsɛts ˈdʊrɪŋ ðə jɪrz hi wərkt ɪn juˈkreɪn, ˈsɛvərəl əv ðɛm ˈkɔstɪŋ ˈmɪljənz əv ˈdɔlərz ənd bɔt wɪθ kæʃ. əˈməŋ ðɛm ɪz ən əˈpɑrtmənt ɪn trəmp taʊər ɪn mænˈhætən, bɔt ɪn 2006 fər ˈmɪljən, ənd ə ˈbrʊklɪn ˈbraʊnˌstoʊn bɔt ɪn 2012 fər 3 ˈmɪljən. biɪŋ ˈeɪbəl tɪ saɪt hɪz trəmp taʊər ˈæˌdrɛs keɪm ɪn ˈhændi wɪn hi pɪʧt hɪz ˈsərvɪsɪz tɪ ˈmɪstər. kæmˈpeɪn ˈərli ɪn 2016 baɪ ðɛn, ˈmɪstər. ˈmænəfɔrt hæd bɪn aʊt əv əˈmɛrɪkən ˈpɑləˌtɪks fər ˈmɛni jɪrz, bət hi ɪkˈsprɛst ə dɪˈzaɪər tɪ gɪt bæk ɪn ðə geɪm ənd ˈɔfərd tɪ wərk fri, səˈʤɛstɪŋ ðət hi dɪd nɑt nid ðə ˈməni.
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at about the time he hit free agency, the whispers started around the league that the atlanta falcons no longer thought curtis lofton could be an linebacker.
the word was that new defensive coordinator mike nolan think lofton had the quickness to be effective in pass coverage. true or not, lofton quickly signed to some massive contract. although the falcons had a standing offer for him to return, lofton took his time and eventually signed with the new orleans saints at a price that was similar to what atlanta had offered.
saints linebacker curtis lofton has quickly impressed his new coaches and teammates. derick e.
lofton is a guy with a lot of pride and i think he wanted to go somewhere where he could be an linebacker. i think the fact he went to main rival was a coincidence, either.
so far, it sounds as if the saints have plans to use lofton all the time. it also sounds like lofton has done some things to improve his speed.
“number one, lost some weight and body fat,’’ new orleans assistant head coach joe vitt said after workout. “his ability to change direction in space, his ability to drop his weight and burst on the ball, and then his angles to the ball and his closing speed have been shocking to me. been shocking to his teammates too. we know what got; got a thumper. got a guy who loves the contact, a downhill linebacker. to watch his athleticism in space, his ability to flip his hips and burst, has really been a nice addition.’’
hmm, the falcons raving about athleticism back in february and march. but the saints are doing that in may.
assuming jonathan suspension is upheld, lofton will be expected to work at middle linebacker and be in charge of the defense.
“in order to be a great and in order to be a great teammate, you have got to put the needs of your teammates above yourself,’’ vitt said. “and that is what jonathan did a great job of and what i see curtis doing now. he puts himself in the toughest positions to take the burden off his teammates and that earns the respect of his teammates. without me ever saying that, you watch him do that and it comes very naturally. i think where his leadership qualities come in and where his teammates being confident in him.”
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æt əˈbaʊt ðə taɪm hi hɪt fri ˈeɪʤənsi, ðə ˈwɪspərz ˈstɑrtɪd əraʊnd ðə lig ðət ðə æˈtlæntə ˈfælkənz noʊ ˈlɔŋgər θɔt ˈkərtɪs ˈlɑftən kʊd bi ən ˈlaɪnˌbækər. ðə wərd wɑz ðət nu dɪˈfɛnsɪv koʊˈɔrdəˌneɪtər maɪk ˈnoʊlən θɪŋk ˈlɑftən hæd ðə kˈwɪknəs tɪ bi ˈifɛktɪv ɪn pæs ˈkəvərɪʤ. tru ər nɑt, ˈlɑftən kˈwɪkli saɪnd tɪ səm ˈmæsɪv ˈkɑnˌtrækt. ˌɔlˈðoʊ ðə ˈfælkənz hæd ə ˈstændɪŋ ˈɔfər fər ɪm tɪ rɪˈtərn, ˈlɑftən tʊk hɪz taɪm ənd ɪˈvɛnʧəwəli saɪnd wɪθ ðə nu ˌɔˈrlinz seɪnts æt ə praɪs ðət wɑz ˈsɪmələr tɪ wət æˈtlæntə hæd ˈɔfərd. seɪnts ˈlaɪnˌbækər ˈkərtɪs ˈlɑftən həz kˈwɪkli ˌɪmˈprɛst hɪz nu ˈkoʊʧɪz ənd ˈtimˌmeɪts. ˈdɛrɪk i. ˈlɑftən ɪz ə gaɪ wɪθ ə lɔt əv praɪd ənd aɪ θɪŋk hi ˈwɔntɪd tɪ goʊ ˈsəmˌwɛr wɛr hi kʊd bi ən ˈlaɪnˌbækər. aɪ θɪŋk ðə fækt hi wɛnt tɪ meɪn ˈraɪvəl wɑz ə koʊˈɪnsɪdəns, ˈiðər. soʊ fɑr, ɪt saʊnz ɛz ɪf ðə seɪnts hæv plænz tɪ juz ˈlɑftən ɔl ðə taɪm. ɪt ˈɔlsoʊ saʊnz laɪk ˈlɑftən həz dən səm θɪŋz tɪ ˌɪmˈpruv hɪz spid. wən, lɔst səm weɪt ənd ˈbɑdi fat,’’*,’’ nu ˌɔˈrlinz əˈsɪstənt hɛd koʊʧ ʤoʊ vɪt sɛd ˈæftər ˈwərˌkaʊt. əˈbɪləˌti tɪ ʧeɪnʤ dɪˈrɛkʃɪn ɪn speɪs, hɪz əˈbɪləˌti tɪ drɔp hɪz weɪt ənd bərst ɔn ðə bɔl, ənd ðɛn hɪz ˈæŋgəlz tɪ ðə bɔl ənd hɪz ˈkloʊzɪŋ spid hæv bɪn ˈʃɑkɪŋ tɪ mi. bɪn ˈʃɑkɪŋ tɪ hɪz ˈtimˌmeɪts tu. wi noʊ wət gɑt; gɑt ə ˈθəmpər. gɑt ə gaɪ hu ləvz ðə ˈkɑnˌtækt, ə ˈdaʊnˈhɪl ˈlaɪnˌbækər. tɪ wɔʧ hɪz æθˈlɛtɪˌsɪzm ɪn speɪs, hɪz əˈbɪləˌti tɪ flɪp hɪz hɪps ənd bərst, həz ˈrɪli bɪn ə nis addition.’’*.’’ həm, ðə ˈfælkənz ˈreɪvɪŋ əˈbaʊt æθˈlɛtɪˌsɪzm bæk ɪn ˈfɛbruˌɛri ənd mɑrʧ. bət ðə seɪnts ər duɪŋ ðət ɪn meɪ. əˈsumɪŋ ˈʤɑnəθən səˈspɛnʃən ɪz əˈphɛld, ˈlɑftən wɪl bi ɪkˈspɛktɪd tɪ wərk æt ˈmɪdəl ˈlaɪnˌbækər ənd bi ɪn ʧɑrʤ əv ðə dɪˈfɛns. ˈɔrdər tɪ bi ə greɪt ənd ɪn ˈɔrdər tɪ bi ə greɪt ˈtiˌmeɪt, ju hæv gɑt tɪ pʊt ðə nidz əv jʊr ˈtimˌmeɪts əˈbəv yourself,’’*,’’ vɪt sɛd. ðət ɪz wət ˈʤɑnəθən dɪd ə greɪt ʤɑb əv ənd wət aɪ si ˈkərtɪs duɪŋ naʊ. hi pʊts hɪmˈsɛlf ɪn ðə ˈtəfəst pəˈzɪʃənz tɪ teɪk ðə ˈbərdən ɔf hɪz ˈtimˌmeɪts ənd ðət ərnz ðə rɪˈspɛkt əv hɪz ˈtimˌmeɪts. wɪˈθaʊt mi ˈɛvər seɪɪŋ ðət, ju wɔʧ ɪm du ðət ənd ɪt kəmz ˈvɛri ˈnæʧərəli. aɪ θɪŋk wɛr hɪz ˈlidərˌʃɪp kˈwɑlətiz kəm ɪn ənd wɛr hɪz ˈtimˌmeɪts biɪŋ ˈkɑnfədənt ɪn him.”*.”
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the power of game of‘ is impressing the entertainment industry yet again. sources say advance imax ticket sales have been strong for the premium theater highly unusual screening event showcasing two episodes along with the trailer for the upcoming fifth season.
though box office numbers are not yet available, told some of the 200 theaters that have booked have sold out screenings, particularly theaters in larger cities. after an initial burst of fan interest, imax insiders expected sales to “hit the wall” and decline—instead, interest has been accelerating. sources say an average weekend take for an imax theater is $4000-$5000 per screen, but is tracking like going to easily exceed is rather impressive for a screening essentially a tv repeats on super bowl weekend.
the numbers are nowhere near the enormous average of an blockbuster new release like interstellar, of course, but they eclipse the of nearly all of previous special event screenings.
imax entertainment ceo greg foster tells he booked—the first tv show to ever receive a showcase in the format to help fill a gap during what is traditionally a very slow time of year at the box office. foster said he had an instinct the acclaimed fantasy hit would perform well. “we announced this and our website crashed,” foster said. “as soon as that happened, my instinct matter; [the interest] became empirical. then a week later, we announced we were moving the date to accommodate more theaters, and the website crashed again—twice. so that was a pretty good indication.”
hbo programming president michael lombardo said he struck the deal to spur interest in the upcoming season (which debuts april 12), rather than to generate revenue per se. his expectations were likewise relatively modest, figuring that any fan dedicated enough to attend an imax screening would have already have watched the episodes when they aired last year.
“if we were premiering the first episode of the new season in imax, i have been surprised,” lombardo said. “but not what doing. very heartening and surprising that people are willing to pay money and drive somewhere to a show already seen and now want to see again on a big screen with friends and family.”
the screening includes last penultimate episode “the watchers on the wall” and the season finale “the children.” foster assures the lavishly produced series based on george r.r. bestselling novels looks excellent after being converted to the technically demanding screen format. “i know everybody calls a television show, but it looks like a movie,” foster said. “it’s unbelievably cinematic. it blew us away.”
thrones opens for a engagement on thursday night. tickets are available through is, assuming it crash again.
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ðə paʊər əv geɪm əv thrones‘*‘ ɪz ˌɪmˈprɛsɪŋ ðə ˌɛnərˈteɪnmənt ˈɪndəstri jɛt əˈgɛn. ˈsɔrsəz seɪ ədˈvæns ˈaɪˌmæks ˈtɪkɪt seɪlz hæv bɪn strɔŋ fər ðə ˈprimiəm ˈθieɪtər ˈhaɪli ənˈjuˌʒuəl ˈskrinɪŋ ɪˈvɛnt ˈʃoʊkeɪsɪŋ tu ˈɛpɪˌsoʊdz əˈlɔŋ wɪθ ðə ˈtreɪlər fər ðə ˈəpˌkəmɪŋ fɪθ ˈsizən. ðoʊ bɑks ˈɔfəs ˈnəmbərz ər nɑt jɛt əˈveɪləbəl, toʊld səm əv ðə 200 ˈθiətərz ðət hæv bʊkt hæv soʊld aʊt ˈskrinɪŋz, ˌpɑrˈtɪkjələrli ˈθiətərz ɪn ˈlɑrʤər ˈsɪtiz. ˈæftər ən ˌɪˈnɪʃəl bərst əv fæn ˈɪntəˌrɛst, ˈaɪˌmæks ˌɪnˈsaɪdərz ɪkˈspɛktɪd seɪlz tɪ ðə wall”*” ənd decline—instead*, ˈɪntəˌrɛst həz bɪn ækˈsɛlərˌeɪtɪŋ. ˈsɔrsəz seɪ ən ˈævərɪʤ ˈwiˌkɪnd teɪk fər ən ˈaɪˌmæks ˈθieɪtər ɪz pər skrin, bət ɪz ˈtrækɪŋ laɪk goʊɪŋ tɪ ˈizəli ɪkˈsid ɪz ˈrəðər ˌɪmˈprɛsɪv fər ə ˈskrinɪŋ ɛˈsɛnʃəli ə ˌtɛləˈvɪʒən rɪˈpits ɔn ˈsupər boʊl ˈwiˌkɪnd. ðə ˈnəmbərz ər ˈnoʊˌwɛr nɪr ðə ɪˈnɔrmɪs ˈævərɪʤ əv ən ˈblɑkˌbəstər nu riˈlis laɪk ˌɪntərˈstɛlər, əv kɔrs, bət ðeɪ ɪˈklɪps ðə əv ˈnɪrli ɔl əv ˈpriviəs ˈspɛʃəl ɪˈvɛnt ˈskrinɪŋz. ˈaɪˌmæks ˌɛnərˈteɪnmənt ˈsiˌiˈoʊ grɛg ˈfɑstər tɛlz hi bʊkt fərst ˌtɛləˈvɪʒən ʃoʊ tɪ ˈɛvər rɪˈsiv ə ˈʃoʊˌkeɪs ɪn ðə ˈfɔrˌmæt tɪ hɛlp fɪl ə gæp ˈdʊrɪŋ wət ɪz trəˈdɪʃənəli ə ˈvɛri sloʊ taɪm əv jɪr æt ðə bɑks ˈɔfəs. ˈfɑstər sɛd hi hæd ən ˈɪnstɪŋkt ðə əˈkleɪmd ˈfænəsi hɪt wʊd pərˈfɔrm wɛl. əˈnaʊnst ðɪs ənd ɑr ˈwɛbˌsaɪt crashed,”*,” ˈfɑstər sɛd. sun ɛz ðət ˈhæpənd, maɪ ˈɪnstɪŋkt ˈmætər; [ðə ˈɪntəˌrɛst] bɪˈkeɪm ˌɛmˈpɪrɪkəl. ðɛn ə wik ˈleɪtər, wi əˈnaʊnst wi wər ˈmuvɪŋ ðə deɪt tɪ əˈkɑməˌdeɪt mɔr ˈθiətərz, ənd ðə ˈwɛbˌsaɪt kræʃt again—twice*. soʊ ðət wɑz ə ˈprɪti gʊd indication.”*.” ˈeɪʧbiˈoʊ ˈproʊˌgræmɪŋ ˈprɛzɪdənt ˈmaɪkəl lɑmˈbɑrdoʊ sɛd hi strək ðə dil tɪ spər ˈɪntəˌrɛst ɪn ðə ˈəpˌkəmɪŋ ˈsizən (wɪʧ ˈdeɪbjuz ˈeɪprəl 12 ˈrəðər ðən tɪ ˈʤɛnərˌeɪt ˈrɛvəˌnu pər seɪ. hɪz ˌɛkspɛkˈteɪʃənz wər ˈlaɪkˌwaɪz ˈrɛlətɪvli ˈmɑdəst, ˈfɪgjərɪŋ ðət ˈɛni fæn ˈdɛdəkeɪtəd ɪˈnəf tɪ əˈtɛnd ən ˈaɪˌmæks ˈskrinɪŋ wʊd hæv ɔˈrɛdi hæv wɔʧt ðə ˈɛpɪˌsoʊdz wɪn ðeɪ ɛrd læst jɪr. wi wər prɛˈmɪrɪŋ ðə fərst ˈɛpɪˌsoʊd əv ðə nu ˈsizən ɪn ˈaɪˌmæks, aɪ hæv bɪn surprised,”*,” lɑmˈbɑrdoʊ sɛd. nɑt wət duɪŋ. ˈvɛri ˈhɑrtənɪŋ ənd səˈpraɪzɪŋ ðət ˈpipəl ər ˈwɪlɪŋ tɪ peɪ ˈməni ənd draɪv ˈsəmˌwɛr tɪ ə ʃoʊ ɔˈrɛdi sin ənd naʊ wɔnt tɪ si əˈgɛn ɔn ə bɪg skrin wɪθ frɛndz ənd family.”*.” ðə ˈskrinɪŋ ˌɪnˈkludz læst pɛˈnəltəmət ˈɛpɪˌsoʊd ˈwɑʧərz ɔn ðə wall”*” ənd ðə ˈsizən fəˈnæli children.”*.” ˈfɑstər əˈʃʊrz ðə ˈlævɪʃli prəˈdust ˈsɪriz beɪst ɔn ʤɔrʤ r.r*. ˈbɛˈsɛlɪŋ ˈnɑvəlz lʊks ˈɛksələnt ˈæftər biɪŋ kənˈvərtɪd tɪ ðə ˈtɛknɪkəli dɪˈmændɪŋ skrin ˈfɔrˌmæt. noʊ ˈɛvriˌbɑdi kɔlz ə ˈtɛləˌvɪʒən ʃoʊ, bət ɪt lʊks laɪk ə movie,”*,” ˈfɑstər sɛd. ˌənbəˈlivəbli ˌsɪnəˈmætɪk. ɪt blu ˈjuˈɛs away.”*.” ˈoʊpənz fər ə ɛnˈgeɪʤmənt ɔn ˈθərzˌdeɪ naɪt. ˈtɪkɪts ər əˈveɪləbəl θru ɪz, əˈsumɪŋ ɪt kræʃ əˈgɛn.
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yesterday, i joined one of our employees at federal district court as he was sentenced to 48 months in jail for crimes related to computer security.
before my employee john schiefer was sentenced, a violent career criminal was facing 60 months for beating up a prison guard. i could hear breathing deepening as the judge leg shaking more and more as the reality of situation set in. john wound up getting 48 months in prison, a number which could be reduced if he behaves himself. he goes to jail on june 1st, and maybe be out in two or three years.
we know john was convicted of infecting computers with when we hired him. we have a rigorous hiring process at, in which each candidate must go through an average of five to eight interviews, and in which at least three, but more typically five, references are checked. our cto, and one of my oldest friends, mark jeffrey, did all of this with john, and he passed with flying colors.
however, mark screwed up by not doing a simple google search on name. if mark had, he would have easily found out about these crimes, we would never have hired john, and i would not be writing this letter. why would we even take the risk of hiring a felon hacker? no one would, right?
months after hiring, our vp of operations found out about the crimes john had committed. we sat down with john and learned about what he did when he was younger, how he was abused as a child, his anger issues, and how he found some level of peace in being part of the team at.
now i was left with the decision to fire john on the spot and cut my losses and responsibility. this was the easy choice, obviously. if i really wanted to cover my butt, i could turn on one of my best friends, mark jeffrey, and fire him for making the only mistake ever made working for me. the other option was to keep john on and deal with the potential firestorm of criticism that now facing.
i chose to put my job and reputation on the line and keep john employed.
at this moment, honestly glad we know about what john did when we hired him and happy kept him on board. taught me a lot about society, computer crime and rehabilitation. in john, i see almost every computer programmer from my time “hacking” on as a kid, attending hacker conferences and hiring “white hat” hackers for a living.
almost all talented developers push the envelope when young. anyone in technology knows this dark, dirty little secret.
when i worked for sony, i watched folks in the it department read their bosses’ email. when i was in high school and college, i watched daily as folks explored the areas of the computer networks they were specifically told not to enter. in fact, i was fired from my first computer job for creating a partition on a hard drive in the computer lab where i stored my files.
when the web emerged, i watched as folks created honey pots to prove they could socially manipulate people into giving away private information.
many of these folks moved on to marketing firms which do essentially the same they play by the rules. at conferences, i see people pop out wifi and show me passwords of executives in the room. heard senior executives recount stories of putting keyboard monitor software on computers in their offices and recording all instant messaging traffic to find out what their employees are up to.
what is the difference between the hackers who put one foot over the line and the ones who race past it? being bored? a lack of guidance? low self-esteem? not a psychologist, so i tell you exactly.
however, i consider myself a fairly decent judge of character, and after spending months with john, convinced he was an angry stupid kid when he launched his attack (which did .000000001% of the damage it could have). now an adult who just wants to make a decent living, spend time with his significant other and breathe the clean air off the pacific ocean by our offices in santa monica.
john’s going to have to spend a couple of years in jail for what he did. certainly we have to punish those committed crimes. but watching this go down, i wish in my heart of hearts that judge had given john a sentence from home, where we could have supervised him.
i’m hoping that the time spent being a productive member of the team inspires him to keep his head down in jail. when he comes out, i hope to be able to offer him a job and that we can work together again. life is short, we all make mistakes and glad been given the opportunity to work with someone who needs the help and guidance.
note to users: work is well-supervised. follows strict security policies and we store any sensitive data anyway. (even if one of our employees did go off the deep end, the most they would have access to would be your questions and answers on much damage can be done there since all public anyway).
thank you for taking the time to hear me out.
all the best,
jason
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ˈjɛstərˌdeɪ, aɪ ʤɔɪnd wən əv ɑr ɪmˈplɔɪiz æt ˈfɛdərəl ˈdɪstrɪkt kɔrt ɛz hi wɑz ˈsɛntənst tɪ 48 mənθs ɪn ʤeɪl fər kraɪmz rɪˈleɪtɪd tɪ kəmˈpjutər sɪˈkjʊrəti. ˌbiˈfɔr maɪ ɪmˈplɔɪi ʤɑn ˈʃifər wɑz ˈsɛntənst, ə ˈvaɪələnt kərɪr ˈkrɪmənəl wɑz ˈfeɪsɪŋ 60 mənθs fər ˈbitɪŋ əp ə ˈprɪzən gɑrd. aɪ kʊd hir ˈbriðɪŋ ˈdipənɪŋ ɛz ðə ʤəʤ lɛg ˈʃeɪkɪŋ mɔr ənd mɔr ɛz ðə ˌriˈæləˌti əv ˌsɪʧuˈeɪʃən sɛt ɪn. ʤɑn wund əp ˈgɪtɪŋ 48 mənθs ɪn ˈprɪzən, ə ˈnəmbər wɪʧ kʊd bi rɪˈdust ɪf hi bɪˈheɪvz hɪmˈsɛlf. hi goʊz tɪ ʤeɪl ɔn ʤun 1st*, ənd ˈmeɪbi bi aʊt ɪn tu ər θri jɪrz. wi noʊ ʤɑn wɑz kənˈvɪktəd əv ˌɪnˈfɛktɪŋ kəmˈpjutərz wɪθ wɪn wi haɪərd ɪm. wi hæv ə ˈrɪgərəs ˈhaɪrɪŋ ˈprɔˌsɛs æt, ɪn wɪʧ iʧ ˈkænədɪt məst goʊ θru ən ˈævərɪʤ əv faɪv tɪ eɪt ˈɪntərvˌjuz, ənd ɪn wɪʧ æt list θri, bət mɔr ˈtɪpɪkəli faɪv, ˈrɛfərənsɪz ər ʧɛkt. ɑr cto*, ənd wən əv maɪ ˈoʊldəst frɛndz, mɑrk ˈʤɛfri, dɪd ɔl əv ðɪs wɪθ ʤɑn, ənd hi pæst wɪθ flaɪɪŋ ˈkələrz. ˌhaʊˈɛvər, mɑrk skrud əp baɪ nɑt duɪŋ ə ˈsɪmpəl ˈgugəl sərʧ ɔn neɪm. ɪf mɑrk hæd, hi wʊd hæv ˈizəli faʊnd aʊt əˈbaʊt ðiz kraɪmz, wi wʊd ˈnɛvər hæv haɪərd ʤɑn, ənd aɪ wʊd nɑt bi ˈraɪtɪŋ ðɪs ˈlɛtər. waɪ wʊd wi ˈivɪn teɪk ðə rɪsk əv ˈhaɪrɪŋ ə ˈfɛlən ˈhækər? noʊ wən wʊd, raɪt? mənθs ˈæftər ˈhaɪrɪŋ, ɑr ˌviˈpi əv ˌɑpərˈeɪʃənz faʊnd aʊt əˈbaʊt ðə kraɪmz ʤɑn hæd kəˈmɪtɪd. wi sæt daʊn wɪθ ʤɑn ənd ˈlərnɪd əˈbaʊt wət hi dɪd wɪn hi wɑz ˈjəŋgər, haʊ hi wɑz əˈbjuzd ɛz ə ʧaɪld, hɪz ˈæŋgər ˈɪʃuz, ənd haʊ hi faʊnd səm ˈlɛvəl əv pis ɪn biɪŋ pɑrt əv ðə tim æt. naʊ aɪ wɑz lɛft wɪθ ðə dɪˈsɪʒən tɪ faɪər ʤɑn ɔn ðə spɑt ənd kət maɪ ˈlɔsɪz ənd riˌspɑnsəˈbɪləti. ðɪs wɑz ðə ˈizi ʧɔɪs, ˈɑbviəsli. ɪf aɪ ˈrɪli ˈwɔntɪd tɪ ˈkəvər maɪ bət, aɪ kʊd tərn ɔn wən əv maɪ bɛst frɛndz, mɑrk ˈʤɛfri, ənd faɪər ɪm fər ˈmeɪkɪŋ ðə ˈoʊnli mɪˈsteɪk ˈɛvər meɪd ˈwərkɪŋ fər mi. ðə ˈəðər ˈɔpʃən wɑz tɪ kip ʤɑn ɔn ənd dil wɪθ ðə pəˈtɛnʃəl ˈfaɪrˌstɔrm əv ˈkrɪtɪˌsɪzəm ðət naʊ ˈfeɪsɪŋ. aɪ ʧoʊz tɪ pʊt maɪ ʤɑb ənd ˌrɛpjəˈteɪʃən ɔn ðə laɪn ənd kip ʤɑn ɪmˈplɔɪd. æt ðɪs ˈmoʊmənt, ˈɑnəstli glæd wi noʊ əˈbaʊt wət ʤɑn dɪd wɪn wi haɪərd ɪm ənd ˈhæpi kɛpt ɪm ɔn bɔrd. tɔt mi ə lɔt əˈbaʊt soʊˈsaɪɪti, kəmˈpjutər kraɪm ənd ˌriəˌbɪləˈteɪʃən. ɪn ʤɑn, aɪ si ˈɔlˌmoʊst ˈɛvəri kəmˈpjutər ˈproʊˌgræmər frəm maɪ taɪm ““hacking”*” ɔn ɛz ə kɪd, əˈtɛndɪŋ ˈhækər ˈkɑnfərənsəz ənd ˈhaɪrɪŋ hat”*” ˈhækərz fər ə ˈlɪvɪŋ. ˈɔlˌmoʊst ɔl ˈtæləntɪd dɪˈvɛləpərz pʊʃ ðə ˈɛnvəˌloʊp wɪn jəŋ. ˈɛniˌwən ɪn tɛkˈnɑləʤi noʊz ðɪs dɑrk, ˈdərti ˈlɪtəl ˈsikrɪt. wɪn aɪ wərkt fər ˈsoʊni, aɪ wɔʧt foʊks ɪn ðə ɪt dɪˈpɑrtmənt rɛd ðɛr bosses’*’ iˈmeɪl. wɪn aɪ wɑz ɪn haɪ skul ənd ˈkɑlɪʤ, aɪ wɔʧt ˈdeɪli ɛz foʊks ɪkˈsplɔrd ðə ˈɛriəz əv ðə kəmˈpjutər ˈnɛtˌwərks ðeɪ wər spəˈsɪfɪkli toʊld nɑt tɪ ˈɛnər. ɪn fækt, aɪ wɑz faɪərd frəm maɪ fərst kəmˈpjutər ʤɑb fər kriˈeɪtɪŋ ə pɑrˈtɪʃən ɔn ə hɑrd draɪv ɪn ðə kəmˈpjutər læb wɛr aɪ stɔrd maɪ faɪlz. wɪn ðə wɛb ˈimərʤd, aɪ wɔʧt ɛz foʊks kriˈeɪtɪd ˈhəni pɑts tɪ pruv ðeɪ kʊd ˈsoʊʃəli məˈnɪpjəˌleɪt ˈpipəl ˈɪntu ˈgɪvɪŋ əˈweɪ ˈpraɪvət ˌɪnˌfɔrˈmeɪʃən. ˈmɛni əv ðiz foʊks muvd ɔn tɪ ˈmɑrkətɪŋ fərmz wɪʧ du ɛˈsɛnʃəli ðə seɪm ðeɪ pleɪ baɪ ðə rulz. æt ˈkɑnfərənsəz, aɪ si ˈpipəl pɑp aʊt ˈwiˌfi ənd ʃoʊ mi ˈpæsˌwərdz əv ɪgˈzɛkjətɪvz ɪn ðə rum. hərd ˈsinjər ɪgˈzɛkjətɪvz ˌriˈkaʊnt ˈstɔriz əv ˈpʊtɪŋ ˈkiˌbɔrd ˈmɑnətər ˈsɔfˌwɛr ɔn kəmˈpjutərz ɪn ðɛr ˈɔfəsɪz ənd rɪˈkɔrdɪŋ ɔl ˈɪnstənt ˈmɛsɪʤɪŋ ˈtræfɪk tɪ faɪnd aʊt wət ðɛr ɪmˈplɔɪiz ər əp tɪ. wət ɪz ðə ˈdɪfərəns bɪtˈwin ðə ˈhækərz hu pʊt wən fʊt ˈoʊvər ðə laɪn ənd ðə wənz hu reɪs pæst ɪt? biɪŋ bɔrd? ə læk əv ˈgaɪdəns? loʊ self-esteem*? nɑt ə saɪˈkɑləʤəst, soʊ aɪ tɛl ju ɪgˈzæktli. ˌhaʊˈɛvər, aɪ kənˈsɪdər ˌmaɪˈsɛlf ə ˈfɛrli ˈdisənt ʤəʤ əv ˈkɛrɪktər, ənd ˈæftər ˈspɛndɪŋ mənθs wɪθ ʤɑn, kənˈvɪnst hi wɑz ən ˈæŋgri ˈstupɪd kɪd wɪn hi lɔnʧt hɪz əˈtæk (wɪʧ dɪd 000000001 əv ðə ˈdæmɪʤ ɪt kʊd hæv). naʊ ən ˈædəlt hu ʤɪst wɔnts tɪ meɪk ə ˈdisənt ˈlɪvɪŋ, spɛnd taɪm wɪθ hɪz sɪgˈnɪfɪkənt ˈəðər ənd brið ðə klin ɛr ɔf ðə pəˈsɪfɪk ˈoʊʃən baɪ ɑr ˈɔfəsɪz ɪn ˈsænə ˈmɑnɪkə. goʊɪŋ tɪ hæv tɪ spɛnd ə ˈkəpəl əv jɪrz ɪn ʤeɪl fər wət hi dɪd. ˈsərtənli wi hæv tɪ ˈpənɪʃ ðoʊz kəˈmɪtɪd kraɪmz. bət ˈwɑʧɪŋ ðɪs goʊ daʊn, aɪ wɪʃ ɪn maɪ hɑrt əv hɑrts ðət ʤəʤ hæd ˈgɪvɪn ʤɑn ə ˈsɛntəns frəm hoʊm, wɛr wi kʊd hæv ˈsupərˌvaɪzd ɪm. ˈhoʊpɪŋ ðət ðə taɪm spɛnt biɪŋ ə pərˈdəktɪv ˈmɛmbər əv ðə tim ˌɪnˈspaɪrz ɪm tɪ kip hɪz hɛd daʊn ɪn ʤeɪl. wɪn hi kəmz aʊt, aɪ hoʊp tɪ bi ˈeɪbəl tɪ ˈɔfər ɪm ə ʤɑb ənd ðət wi kən wərk təˈgɛðər əˈgɛn. laɪf ɪz ʃɔrt, wi ɔl meɪk mɪˈsteɪks ənd glæd bɪn ˈgɪvɪn ðə ˌɑpərˈtunəti tɪ wərk wɪθ ˈsəmˌwən hu nidz ðə hɛlp ənd ˈgaɪdəns. noʊt tɪ ˈjuzərz: wərk ɪz well-supervised*. ˈfɑloʊz strɪkt sɪˈkjʊrəti ˈpɑləsiz ənd wi stɔr ˈɛni ˈsɛnsɪtɪv ˈdætə ˈɛniˌweɪ. (ˈivɪn ɪf wən əv ɑr ɪmˈplɔɪiz dɪd goʊ ɔf ðə dip ɛnd, ðə moʊst ðeɪ wʊd hæv ˈækˌsɛs tɪ wʊd bi jʊr kˈwɛsʧənz ənd ˈænsərz ɔn məʧ ˈdæmɪʤ kən bi dən ðɛr sɪns ɔl ˈpəblɪk ˈɛniˌweɪ). θæŋk ju fər ˈteɪkɪŋ ðə taɪm tɪ hir mi aʊt. ɔl ðə bɛst, ˈʤeɪsən
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when auburn upset #1 alabama in the iron bowl on saturday day after #2 miami managed to lose by to #70 pittsburgh (5-7)—it seemed like chaos was once again reigning over college football. and in a sense, it was. yet, at the same time, loss actually helped shrink the number of teams in contention for the college football playoff field.
that’s because, prior to loss, there were a number of dame, penn state,, and hoped to find a backdoor into the field of four. but now the prospect of having a second team from the southeastern conference make the playoff has become very real, since that second team would be the crimson team that would almost surely beat out any team apart from auburn, or possibly ohio state.
so, while notre dame lost later in the evening to stanford, the all the other teams not vying for either the sec or big ten effectively eliminated by victory. might not have been entirely eliminated, but it seems the horned frogs’ only real chance at this point would be to blow out even that likely be enough.)
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with one week to go, there are eight teams realistically competing for a playoff spot, and another (#2 in the anderson & hester rankings )—that should be. the eight teams in contention are those playing in the championship games of the big ten (wisconsin and ohio state), sec (georgia and auburn), and (clemson and miami), plus oklahoma (playing in the bizarre “championship game” of the big 12) and alabama (which play again until the playoff field is announced).
the eight teams may be clear, but where they should be ranked is not. indeed, with the selection #1, #2, and #8 teams all having lost this past weekend, the question is where any of the contenders should be ranked.
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from 1998 to 2013 the bowl championship series determined which two teams would play in the national championship game. after the first six (somewhat controversial) years, the standings were streamlined after the 2003 season, giving two-thirds’ weight to the polls and one-third weight to the computer rankings. for the ten seasons that followed, the delivered the consensus national championship matchup every year, with essentially no controversy. in asking where teams should be ranked, therefore, a good starting point is to look at where teams would now be ranked by the.
approximating the standings requires using the coaches poll, the ap poll (the best for the harris poll, which was created by and for the, but which no longer exists), and four former computer rankings: anderson & hester (which i co-created), billingsley, colley, and wolfe. the two other computer rankings, and massey, no longer publish the version of their rankings that met the’s requirement that they not be based on margin of victory (a requirement instituted after the computers kept oregon out of the national championship game during the season).
the dropped the high and low computer rankings and averaged the four in the middle. because the highest and lowest of the four existing computer rankings might have been dropped, or might instead have been among the four that were averaged (with and massey being dropped), i tallied the four computer rankings each with the high and low rankings dropped, once without dropping any of the then averaged those two tallies. this seems the best approximation of what the computers would have yielded.
with all of that said, how the in the standings would have looked this week, with each listed (the playoff selection committee provide point values, so fans have a sense of the spacing between the teams):
approximate standings (out of):
(1) wisconsin (12-0): #3 in the polls (.915), #1 in the computers (.995), .942 total score
(2) clemson (11-1): #1 in the polls (.949), #2 in the computers (.915), .937
(3) oklahoma (11-1): #2 in the polls (.936), #6 in the computers (.745), .872
(4) auburn (10-2): #4 in the polls (.889), #8 in the computers (.740), .839
(5) georgia (11-1): #6 in the polls (.805), #4 in the computers (.890), .833
(6) alabama (11-1): #5 in the polls (.809), #5 in the computers (.845), .821
(7) miami (10-1): #7 in the polls (.718), #6 in the computers (.745), .727
(8) (11-0): #12 in the polls (.596), #3 in the computers (.910), .701
(9) ohio state (10-2): #8 in the polls (.716), #10 in the computers (.660), .697
(10) penn state (10-2): #9 in the polls (.618), #9 in the computers (.665), .634
the next six teams would have been #11 (.611), #12 (.540), #13 washington (.485), #14 notre dame (.447), #15 stanford (.431), and #16 memphis (.417), whose only loss is to undefeated (with a rematch scheduled for saturday).
clearly, if the four playoff slots were based on the standings, the winner of this coming game would be in. wisconsin, clemson, and oklahoma would also be in with if any of those three teams lost, alabama, miami (with a win over clemson), (with a second win over memphis), and ohio state (with a win over wisconsin) would be vying to take their place.
hopefully the committee can produce such a solid list, with such clear expectations of what each team needs to do this coming weekend.
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wɪn ˈɑbərn ˈəpˌsɛt 1 ˌæləˈbæmə ɪn ðə aɪərn boʊl ɔn ˈsæˌtɪˌdeɪ deɪ ˈæftər 2 maɪˈæmi ˈmænɪʤd tɪ luz baɪ tɪ 70 ˈpɪtsbərg simd laɪk keɪɑs wɑz wəns əˈgɛn ˈreɪnɪŋ ˈoʊvər ˈkɑlɪʤ ˈfʊtˌbɔl. ənd ɪn ə sɛns, ɪt wɑz. jɛt, æt ðə seɪm taɪm, lɔs ˈæˌkʧuəli hɛlpt ʃrɪŋk ðə ˈnəmbər əv timz ɪn kənˈtɛnʃən fər ðə ˈkɑlɪʤ ˈfʊtˌbɔl pleɪɔf fild. bɪˈkəz, praɪər tɪ lɔs, ðɛr wər ə ˈnəmbər əv deɪm, pɛn steɪt,, ənd hoʊpt tɪ faɪnd ə ˈbækˌdɔr ˈɪntu ðə fild əv fɔr. bət naʊ ðə ˈprɑspɛkt əv ˈhævɪŋ ə ˈsɛkənd tim frəm ðə ˌsaʊˈθistərn ˈkɑnfərəns meɪk ðə pleɪɔf həz bɪˈkəm ˈvɛri ril, sɪns ðət ˈsɛkənd tim wʊd bi ðə ˈkrɪmzən tim ðət wʊd ˈɔlˌmoʊst ˈʃʊrli bit aʊt ˈɛni tim əˈpɑrt frəm ˈɑbərn, ər ˈpɑsəbli oʊˈhaɪoʊ steɪt. soʊ, waɪl ˈnoʊtər deɪm lɔst ˈleɪtər ɪn ðə ˈivnɪŋ tɪ ˈstænfərd, ðə ɔl ðə ˈəðər timz nɑt vaɪɪŋ fər ˈiðər ðə sɛk ər bɪg tɛn ˈifɛktɪvli ɪˈlɪməˌneɪtɪd baɪ ˈvɪktəri. maɪt nɑt hæv bɪn ɪnˈtaɪərli ɪˈlɪməˌneɪtɪd, bət ɪt simz ðə hɔrnd frogs’*’ ˈoʊnli ril ʧæns æt ðɪs pɔɪnt wʊd bi tɪ bloʊ aʊt ˈivɪn ðət ˈlaɪkli bi ɪˈnəf.) wɪθ wən wik tɪ goʊ, ðɛr ər eɪt timz ˌriəˈlɪstɪkli kəmˈpitɪŋ fər ə pleɪɔf spɑt, ənd əˈnəðər 2 ɪn ðə ˈændərsən ˈhɛstər ˈræŋkɪŋz ʃʊd bi. ðə eɪt timz ɪn kənˈtɛnʃən ər ðoʊz pleɪɪŋ ɪn ðə ˈʧæmpiənˌʃɪp geɪmz əv ðə bɪg tɛn (wɪˈskɑnsən ənd oʊˈhaɪoʊ steɪt), sɛk (ˈʤɔrʤə ənd ˈɑbərn), ənd (ˈklɛmsən ənd maɪˈæmi), pləs ˌoʊkləˈhoʊmə (pleɪɪŋ ɪn ðə bɪˈzɑr game”*” əv ðə bɪg 12 ənd ˌæləˈbæmə (wɪʧ pleɪ əˈgɛn ənˈtɪl ðə pleɪɔf fild ɪz əˈnaʊnst). ðə eɪt timz meɪ bi klɪr, bət wɛr ðeɪ ʃʊd bi ræŋkt ɪz nɑt. ˌɪnˈdid, wɪθ ðə səˈlɛkʃən 1 2 ənd 8 timz ɔl ˈhævɪŋ lɔst ðɪs pæst ˈwiˌkɪnd, ðə kˈwɛʃən ɪz wɛr ˈɛni əv ðə kənˈtɛndərz ʃʊd bi ræŋkt. frəm 1998 tɪ 2013 ðə boʊl ˈʧæmpiənˌʃɪp ˈsɪriz dɪˈtərmənd wɪʧ tu timz wʊd pleɪ ɪn ðə ˈnæʃənəl ˈʧæmpiənˌʃɪp geɪm. ˈæftər ðə fərst sɪks (ˈsəmˈwət ˌkɑntrəˈvərʃəl) jɪrz, ðə ˈstændɪŋz wər ˈstrimˌlaɪnd ˈæftər ðə 2003 ˈsizən, ˈgɪvɪŋ two-thirds’*’ weɪt tɪ ðə poʊlz ənd ˌwənˈθərd weɪt tɪ ðə kəmˈpjutər ˈræŋkɪŋz. fər ðə tɛn ˈsizənz ðət ˈfɑloʊd, ðə dɪˈlɪvərd ðə kənˈsɛnsəs ˈnæʃənəl ˈʧæmpiənˌʃɪp ˈmæʧəp ˈɛvəri jɪr, wɪθ ɛˈsɛnʃəli noʊ ˈkɑntrəˌvərsi. ɪn ˈæskɪŋ wɛr timz ʃʊd bi ræŋkt, ˈðɛrˌfɔr, ə gʊd ˈstɑrtɪŋ pɔɪnt ɪz tɪ lʊk æt wɛr timz wʊd naʊ bi ræŋkt baɪ ðə. əˈprɑksɪˌmeɪtɪŋ ðə ˈstændɪŋz rikˈwaɪərz ˈjuzɪŋ ðə ˈkoʊʧɪz poʊl, ðə ˌeɪˈpi poʊl (ðə bɛst fər ðə ˈhɛrɪs poʊl, wɪʧ wɑz kriˈeɪtɪd baɪ ənd fər ðə, bət wɪʧ noʊ ˈlɔŋgər ɪgˈzɪsts), ənd fɔr ˈfɔrmər kəmˈpjutər ˈræŋkɪŋz: ˈændərsən ˈhɛstər (wɪʧ aɪ co-created*), ˈbɪlɪŋzli, ˈkɑli, ənd wʊlf. ðə tu ˈəðər kəmˈpjutər ˈræŋkɪŋz, ənd ˈmæsi, noʊ ˈlɔŋgər ˈpəblɪʃ ðə ˈvərʒən əv ðɛr ˈræŋkɪŋz ðət mɛt ðə rɪkˈwaɪrmənt ðət ðeɪ nɑt bi beɪst ɔn ˈmɑrʤən əv ˈvɪktəri (ə rɪkˈwaɪrmənt ˈɪnstɪˌtutɪd ˈæftər ðə kəmˈpjutərz kɛpt ˈɔrəˌgɑn aʊt əv ðə ˈnæʃənəl ˈʧæmpiənˌʃɪp geɪm ˈdʊrɪŋ ðə ˈsizən). ðə drɑpt ðə haɪ ənd loʊ kəmˈpjutər ˈræŋkɪŋz ənd ˈævrɪʤd ðə fɔr ɪn ðə ˈmɪdəl. bɪˈkəz ðə haɪəst ənd loʊəst əv ðə fɔr ɪgˈzɪstɪŋ kəmˈpjutər ˈræŋkɪŋz maɪt hæv bɪn drɑpt, ər maɪt ˌɪnˈstɛd hæv bɪn əˈməŋ ðə fɔr ðət wər ˈævrɪʤd (wɪθ ənd ˈmæsi biɪŋ drɑpt), aɪ ˈtælid ðə fɔr kəmˈpjutər ˈræŋkɪŋz iʧ wɪθ ðə haɪ ənd loʊ ˈræŋkɪŋz drɑpt, wəns wɪˈθaʊt ˈdrɑpɪŋ ˈɛni əv ðə ðɛn ˈævrɪʤd ðoʊz tu ˈtæliz. ðɪs simz ðə bɛst əˌprɑksəˈmeɪʃən əv wət ðə kəmˈpjutərz wʊd hæv ˈjildɪd. wɪθ ɔl əv ðət sɛd, haʊ ðə ɪn ðə ˈstændɪŋz wʊd hæv lʊkt ðɪs wik, wɪθ iʧ ˈlɪstɪd (ðə pleɪɔf səˈlɛkʃən kəˈmɪti prəˈvaɪd pɔɪnt ˈvæljuz, soʊ fænz hæv ə sɛns əv ðə ˈspeɪsɪŋ bɪtˈwin ðə timz): əˈprɑksəˌmeɪt ˈstændɪŋz (aʊt əv 1 wɪˈskɑnsən 3 ɪn ðə poʊlz 915 1 ɪn ðə kəmˈpjutərz 995 942 ˈtoʊtəl skɔr 2 ˈklɛmsən 1 ɪn ðə poʊlz 949 2 ɪn ðə kəmˈpjutərz 915 937 3 ˌoʊkləˈhoʊmə 2 ɪn ðə poʊlz 936 6 ɪn ðə kəmˈpjutərz 745 872 4 ˈɑbərn 4 ɪn ðə poʊlz 889 8 ɪn ðə kəmˈpjutərz 740 839 5 ˈʤɔrʤə 6 ɪn ðə poʊlz 805 4 ɪn ðə kəmˈpjutərz 890 833 6 ˌæləˈbæmə 5 ɪn ðə poʊlz 809 5 ɪn ðə kəmˈpjutərz 845 821 7 maɪˈæmi 7 ɪn ðə poʊlz 718 6 ɪn ðə kəmˈpjutərz 745 727 8 12 ɪn ðə poʊlz 596 3 ɪn ðə kəmˈpjutərz 910 701 9 oʊˈhaɪoʊ steɪt 8 ɪn ðə poʊlz 716 10 ɪn ðə kəmˈpjutərz 660 697 10 pɛn steɪt 9 ɪn ðə poʊlz 618 9 ɪn ðə kəmˈpjutərz 665 634 ðə nɛkst sɪks timz wʊd hæv bɪn 11 611 12 540 13 ˈwɔʃɪŋtən 485 14 ˈnoʊtər deɪm 447 15 ˈstænfərd 431 ənd 16 ˈmɛmpfɪs 417 huz ˈoʊnli lɔs ɪz tɪ ˌəndɪˈfitɪd (wɪθ ə ˈriˈmæʧ ˈskɛʤʊld fər ˈsæˌtɪˌdeɪ). ˈklɪrli, ɪf ðə fɔr pleɪɔf slɑts wər beɪst ɔn ðə ˈstændɪŋz, ðə ˈwɪnər əv ðɪs ˈkəmɪŋ geɪm wʊd bi ɪn. wɪˈskɑnsən, ˈklɛmsən, ənd ˌoʊkləˈhoʊmə wʊd ˈɔlsoʊ bi ɪn wɪθ ɪf ˈɛni əv ðoʊz θri timz lɔst, ˌæləˈbæmə, maɪˈæmi (wɪθ ə wɪn ˈoʊvər ˈklɛmsən), (wɪθ ə ˈsɛkənd wɪn ˈoʊvər ˈmɛmpfɪs), ənd oʊˈhaɪoʊ steɪt (wɪθ ə wɪn ˈoʊvər wɪˈskɑnsən) wʊd bi vaɪɪŋ tɪ teɪk ðɛr pleɪs. ˈhoʊpfəli ðə kəˈmɪti kən ˈproʊdus səʧ ə ˈsɑləd lɪst, wɪθ səʧ klɪr ˌɛkspɛkˈteɪʃənz əv wət iʧ tim nidz tɪ du ðɪs ˈkəmɪŋ ˈwiˌkɪnd.
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barbie breakout, a well-known german drag queen and dj, has had it with russia's propaganda law. in a video entitled "open your mouth," breakout stares into the camera for a moment and then begins to sew her mouth shut with a needle and cotton thread. it's painful to watch but, of course, that's the point.
"the pain i felt inside when i had to see in the media what is happening in russia was greater than the physical pain of the needle. my partner held the camera while i did it. but he couldn't look," breakout told die welt. "in my youth i had more holes in an ear than through my mouth in this performance. apart from a small bruise on my left upper lip, everything has healed up again. it was about symbolism, not about self-harm."
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ˈbɑrbi ˈbreɪˌkaʊt, ə ˈwɛlˈnoʊn ˈʤərmən dræg kwin ənd dj*, həz hæd ɪt wɪθ ˈrəʃəz ˌprɑpəˈgændə lɔ. ɪn ə ˈvɪdioʊ ɛnˈtaɪtəld "ˈoʊpən jʊr maʊθ," ˈbreɪˌkaʊt stɛrz ˈɪntu ðə ˈkæmərə fər ə ˈmoʊmənt ənd ðɛn bɪˈgɪnz tɪ soʊ hər maʊθ ʃət wɪθ ə ˈnidəl ənd ˈkɔtən θrɛd. ɪts ˈpeɪnfəl tɪ wɔʧ bət, əv kɔrs, ðæts ðə pɔɪnt. "ðə peɪn aɪ fɛlt ˌɪnˈsaɪd wɪn aɪ hæd tɪ si ɪn ðə ˈmidiə wət ɪz ˈhæpənɪŋ ɪn ˈrəʃə wɑz ˈgreɪtər ðən ðə ˈfɪzɪkəl peɪn əv ðə ˈnidəl. maɪ ˈpɑrtnər hɛld ðə ˈkæmərə waɪl aɪ dɪd ɪt. bət hi ˈkʊdənt lʊk," ˈbreɪˌkaʊt toʊld daɪ wɛlt. "ɪn maɪ juθ aɪ hæd mɔr hoʊlz ɪn ən ɪr ðən θru maɪ maʊθ ɪn ðɪs pərˈfɔrməns. əˈpɑrt frəm ə smɔl bruz ɔn maɪ lɛft ˈəpər lɪp, ˈɛvriˌθɪŋ həz hild əp əˈgɛn. ɪt wɑz əˈbaʊt ˈsɪmbəˌlɪzəm, nɑt əˈbaʊt self-harm*."
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citizens intelligence report by the american intelligence media
crime 1: her private email server hid unpublished state department contracts with facebook managed by shevelenko. crime 2: facebook “election winning template” clearly violates the hatch act. crime 3: contracts obstructed justice in leader v. facebook. crime 4: hillary colluded with facebook to set state department internet policy.
oct. 26, may 26, 2009, russian oligarch yuri milner invested $200 million in facebook private stock brokered by his russian partner goldman sachs. milner had worked for 2008 bailout director larry h. summers when he was chief economist for the world bank in the early as a researcher along with sheryl k. sandberg, who later became chief of staff at the u.s. treasury, then started and is now chief operating officer. while sandberg started for google, milner started mail.ru. the intent to takeover global communications is evident in hindsight.
on jun. 16, 2009, hillary clinton approved the vladimir to purchase 20% of uranium reserves through uranium one. the clinton foundation had already received more than $145 million in donations from uranium one beneficiaries.
hillary’s treason in her compromise of energy reserves using russian surrogates is evident. that treason is compounded by a simultaneous $1 billion financing by cisco, intel and google of vladimir moscow, russia technology center on jun. 27, 2010, just two days before hillary approved the uranium sale to. see also “cisco commits $1 billion for investment in.” thinkrussia. aug. 11, 2010.
on jun. 29, 2010, just two days after the $1 billion donation, renaissance capital paid bill clinton $500,000 for a speech even though renaissance was the lead analyst covering recommending a “buy” on uranium one. on mar. 30, 2011, russian oligarch yuri milner overpaid $100 million for a gaudy mansion in the center of silicon valley in an ostentatious display of a rogue arrogance, after his $200 million private facebook investment.
what is becoming equally evident is simultaneous compromise of elections, digital networks and court proceedings through secret “election winning template” contracts with facebook using russian surrogates.
on sep. 26, 2009, hillary clinton and the state department entered into a secret contract with facebook for $120,000) to build “a template for winning elections using advanced facebook marketing.” the next month, on oct. 16, 2009, hillary promoted facebook on a video presentation to a u.s. state alliance for youth movements summit in mexico city. this contract was not known because hillary had hidden it on her private email server in the basement of her house. it first came to light through the dogged work of judicial watch who obtained it in apr. 03, 2014.
see also timeline.
(note: the timeline takes a few minutes to download because of its file size. it may be too large to load on your phone or tablet so serious researchers should use a pc for download. worth the effort! you will know it is open when red bordered boxes appear on the screen.)
facebook contract with office of economic security information programs
between sep. 26, 2009 and sep. 30, 2010, hillary entered into three (3) contracts with facebook for $385,000.
this collusion with facebook was wantonly criminal on many levels.
columbus innovator leader technologies, inc. was suing facebook for patent infringement on nov. 19, 2008 in delaware federal district court. judge joseph j. farnan, jr. was assigned the case.
while the case was preparing for trial, and despite four motions to compel, mark zuckerberg stonewalled providing his harvard computer devices and emails for review in the case. we now know that his attorneys at gibson dunn had custody of 28 harvard computer hard drives and emails. after stonewalling for a year, they lied to the court and said they had lost the information.
we believe facebook and zuckerberg hid this information because it will prove that zuckerberg is a mere stooge of the rogue c.i.a. and was given the programming code from the eclipse foundation to start facebook. it will prove that was given the code from james p. chandler, who stole it from his legal client leader technologies, inc.
what leader had no way of knowing was that chandler was working intimately at the highest level with the secretary for the department of highlands forum to the internet. he held illegal private meetings with favored private companies to set policy on how the internet would be controlled and profited from by the complex.
this cabal of complex criminals have used invention for 17 years for free. shareholders across the country are starting to file miller act notice to demand that president donald trump pay them for using their property without compensation.
while zuckerberg was openly lying to the court, hillary clinton and the state department entered into secret contracts with facebook to build “a template for winning elections using advanced facebook marketing.” these contracts were managed by “dmitry shevelenko” whose russian background has been obscured by the shadow government.
obstruction of justice
in american courts, litigants have a solemn right to a fair trial. litigants have the right to assume that no government representative will use their position of public trust to interfere in the case in favor of either side. when a government representative interferes in a case, that crime is called “obstruction of justice” for obvious reasons. those interfering are attempting to influence the outcome of the case in favor of one of the parties.
election tampering
in american elections, citizens have a solemn right to a free and fair election. citizens have the right to assume that no government representative will use their position of public trust to interfere in an election in favor of either candidate. when a government representative interferes in an election, that crime is called “election tampering” and is a violation of the hatch act.
fraud & racketeering
in american public contracts, citizens have a solemn right to transparency regarding the spending of public funds. except in special circumstances, government representatives may not use their position of public trust to favor certain private parties in uncompetitive contracts. when a government representative enters into contracts and with the general service agency) to hide the existence of those contracts, that crime is called “fraud.” when such fraud involves parties across state lines, that crime is “racketeering.”
pay leader for 17 years of free use of their social networking invention; federal government can raise $200-500+ billion in surcharge revenues from social networking without raising taxes!
in conclusion, the crimes described above alone are enough by themselves to convict an average american of racketeering and treason. the evidence of these crimes come from hillary private email server.
the russian collusion nexus between uranium one and facebook election rigging is stunning.
readers are encouraged to get this article to your elected representatives.
ask them to: (1) pay leader technologies for the last 17 years of free use of their social networking invention that hillary obstructed, and (2) prosecute hillary and her racketeers for her uranium one and digital election rigging racketeering and treason.
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ˈsɪtɪzənz ˌɪnˈtɛləʤəns rɪˈpɔrt baɪ ðə əˈmɛrɪkən ˌɪnˈtɛləʤəns ˈmidiə kraɪm 1 hər ˈpraɪvət iˈmeɪl ˈsərvər hɪd ənˈpəblɪʃt steɪt dɪˈpɑrtmənt ˈkɑnˌtrækts wɪθ ˈfeɪsˌbʊk ˈmænɪʤd baɪ shevelenko*. kraɪm 2 ˈfeɪsˌbʊk ˈwɪnɪŋ template”*” ˈklɪrli ˈvaɪəleɪts ðə hæʧ ækt. kraɪm 3 ˈkɑnˌtrækts əbˈstrəktɪd ˈʤəstɪs ɪn ˈlidər vi. ˈfeɪsˌbʊk. kraɪm 4 ˈhɪləri kəˈludɪd wɪθ ˈfeɪsˌbʊk tɪ sɛt steɪt dɪˈpɑrtmənt ˈɪntərˌnɛt ˈpɑləsi. ɔkt. 26 meɪ 26 2009 ˈrəʃən ˈoʊlɪˌgɑrk ˈjʊri ˈmɪlnər ˌɪnˈvɛstɪd 200 ˈmɪljən ɪn ˈfeɪsˌbʊk ˈpraɪvət stɑk ˈbroʊkərd baɪ hɪz ˈrəʃən ˈpɑrtnər ˈgoʊldmən sɑks. ˈmɪlnər hæd wərkt fər 2008 ˈbeɪˌlaʊt dɪˈrɛktər ˈlɛri eɪʧ. ˈsəmərz wɪn hi wɑz ʧif ɪˈkɑnəmɪst fər ðə wərld bæŋk ɪn ðə ˈərli ɛz ə ˈrisərʧər əˈlɔŋ wɪθ ˈʃɛrəl keɪ. ˈsændbərg, hu ˈleɪtər bɪˈkeɪm ʧif əv stæf æt ðə juz. ˈtrɛʒəri, ðɛn ˈstɑrtɪd ənd ɪz naʊ ʧif ˈɔpərˌeɪtɪŋ ˈɔfɪsər. waɪl ˈsændbərg ˈstɑrtɪd fər ˈgugəl, ˈmɪlnər ˈstɑrtɪd mail.ru*. ðə ˌɪnˈtɛnt tɪ ˈteɪˌkoʊvər ˈgloʊbəl kəmˌjunəˈkeɪʃənz ɪz ˈɛvədənt ɪn ˈhaɪnˌsaɪt. ɔn ʤən. 16 2009 ˈhɪləri ˈklɪntən əˈpruvd ðə vˈlædəmɪr tɪ ˈpərʧəs 20 əv jərˈeɪniəm rɪˈzərvz θru jərˈeɪniəm wən. ðə ˈklɪntən faʊnˈdeɪʃən hæd ɔˈrɛdi rɪˈsivd mɔr ðən 145 ˈmɪljən ɪn doʊˈneɪʃənz frəm jərˈeɪniəm wən ˌbɛnəˈfɪʃiˌɛriz. ˈtrizən ɪn hər ˈkɑmprəˌmaɪz əv ˈɛnərʤi rɪˈzərvz ˈjuzɪŋ ˈrəʃən ˈsərəˌgeɪts ɪz ˈɛvədənt. ðət ˈtrizən ɪz kəmˈpaʊndɪd baɪ ə ˌsaɪməlˈteɪniəs 1 ˈbɪljən fɪˈnænsɪŋ baɪ ˈsɪˌskoʊ, ˌɪnˈtɛl ənd ˈgugəl əv vˈlædəmɪr ˈmɔˌskaʊ, ˈrəʃə tɛkˈnɑləʤi ˈsɛnər ɔn ʤən. 27 2010 ʤɪst tu deɪz ˌbiˈfɔr ˈhɪləri əˈpruvd ðə jərˈeɪniəm seɪl tɪ. si ˈɔlsoʊ kəˈmɪts 1 ˈbɪljən fər ˌɪnˈvɛstmənt ɪn skolkovo.”*.” thinkrussia*. ˈɔgəst. 11 2010 ɔn ʤən. 29 2010 ʤɪst tu deɪz ˈæftər ðə 1 ˈbɪljən doʊˈneɪʃən, ˌrɛnəˈsɑns ˈkæpɪtəl peɪd bɪl ˈklɪntən fər ə spiʧ ˈivɪn ðoʊ ˌrɛnəˈsɑns wɑz ðə lɛd ˈænəlɪst ˈkəvərɪŋ ˌrɛkəˈmɛndɪŋ ə ““buy”*” ɔn jərˈeɪniəm wən. ɔn mɑr. 30 2011 ˈrəʃən ˈoʊlɪˌgɑrk ˈjʊri ˈmɪlnər ˈoʊvərˈpeɪd 100 ˈmɪljən fər ə ˈgɔdi ˈmænʃən ɪn ðə ˈsɛnər əv ˈsɪləkən ˈvæli ɪn ən ˌɑstənˈteɪʃəs dɪˈspleɪ əv ə roʊg ˈɛrəgəns, ˈæftər hɪz 200 ˈmɪljən ˈpraɪvət ˈfeɪsˌbʊk ˌɪnˈvɛstmənt. wət ɪz bɪˈkəmɪŋ ˈikwəli ˈɛvədənt ɪz ˌsaɪməlˈteɪniəs ˈkɑmprəˌmaɪz əv ɪˈlɛkʃənz, ˈdɪʤɪtəl ˈnɛtˌwərks ənd kɔrt prəˈsidɪŋz θru ˈsikrɪt ˈwɪnɪŋ template”*” ˈkɑnˌtrækts wɪθ ˈfeɪsˌbʊk ˈjuzɪŋ ˈrəʃən ˈsərəˌgeɪts. ɔn ˈɛˈsiˈpi. 26 2009 ˈhɪləri ˈklɪntən ənd ðə steɪt dɪˈpɑrtmənt ˈɛnərd ˈɪntu ə ˈsikrɪt ˈkɑnˌtrækt wɪθ ˈfeɪsˌbʊk fər tɪ bɪld ˈtɛmplət fər ˈwɪnɪŋ ɪˈlɛkʃənz ˈjuzɪŋ ədˈvænst ˈfeɪsˌbʊk marketing.”*.” ðə nɛkst mənθ, ɔn ɔkt. 16 2009 ˈhɪləri prəˈmoʊtəd ˈfeɪsˌbʊk ɔn ə ˈvɪdioʊ ˌprɛzənˈteɪʃən tɪ ə juz. steɪt əˈlaɪəns fər juθ ˈmuvmənts ˈsəmɪt ɪn ˈmɛksəˌkoʊ ˈsɪti. ðɪs ˈkɑnˌtrækt wɑz nɑt noʊn bɪˈkəz ˈhɪləri hæd ˈhɪdən ɪt ɔn hər ˈpraɪvət iˈmeɪl ˈsərvər ɪn ðə ˈbeɪsmənt əv hər haʊs. ɪt fərst keɪm tɪ laɪt θru ðə dɔgd wərk əv ʤuˈdɪʃəl wɔʧ hu əbˈteɪnd ɪt ɪn apr*. 03 2014 si ˈɔlsoʊ ˈtaɪmlaɪn. (noʊt: ðə ˈtaɪmlaɪn teɪks ə fju ˈmɪnəts tɪ ˈdaʊnˌloʊd bɪˈkəz əv ɪts faɪl saɪz. ɪt meɪ bi tu lɑrʤ tɪ loʊd ɔn jʊr foʊn ər ˈtæblət soʊ ˈsɪriəs ˈrisərʧərz ʃʊd juz ə ˈpiˈsi fər ˈdaʊnˌloʊd. wərθ ðə ˈɛfərt! ju wɪl noʊ ɪt ɪz ˈoʊpən wɪn rɛd ˈbɔrdərd ˈbɑksɪz əˈpɪr ɔn ðə skrin.) ˈfeɪsˌbʊk ˈkɑnˌtrækt wɪθ ˈɔfəs əv ˌɛkəˈnɑmɪk sɪˈkjʊrəti ˌɪnˌfɔrˈmeɪʃən ˈproʊˌgræmz bɪtˈwin ˈɛˈsiˈpi. 26 2009 ənd ˈɛˈsiˈpi. 30 2010 ˈhɪləri ˈɛnərd ˈɪntu θri 3 ˈkɑnˌtrækts wɪθ ˈfeɪsˌbʊk fər ðɪs kəˈluʒən wɪθ ˈfeɪsˌbʊk wɑz ˈwɔntənli ˈkrɪmənəl ɔn ˈmɛni ˈlɛvəlz. kəˈləmbəs ˈɪnəˌveɪtər ˈlidər tɛkˈnɑləʤiz, ɪŋk. wɑz suɪŋ ˈfeɪsˌbʊk fər ˈpætənt ˌɪnˈfrɪnʤmənt ɔn noʊv. 19 2008 ɪn ˈdɛləˌwɛr ˈfɛdərəl ˈdɪstrɪkt kɔrt. ʤəʤ ˈʤoʊzəf ʤeɪ. ˈfɑrnən, jr*. wɑz əˈsaɪnd ðə keɪs. waɪl ðə keɪs wɑz pərˈpɛrɪŋ fər traɪəl, ənd dɪˈspaɪt fɔr ˈmoʊʃənz tɪ kəmˈpɛl, mɑrk ˈzəkərˌbərg ˈstoʊnˌwɔld prəˈvaɪdɪŋ hɪz ˈhɑrvərd kəmˈpjutər dɪˈvaɪsɪz ənd iˈmeɪlz fər ˌrivˈju ɪn ðə keɪs. wi naʊ noʊ ðət hɪz əˈtərniz æt ˈgɪbsən dən hæd ˈkəstədi əv 28 ˈhɑrvərd kəmˈpjutər hɑrd draɪvz ənd iˈmeɪlz. ˈæftər ˈstoʊnˌwɔlɪŋ fər ə jɪr, ðeɪ laɪd tɪ ðə kɔrt ənd sɛd ðeɪ hæd lɔst ðə ˌɪnˌfɔrˈmeɪʃən. wi bɪˈliv ˈfeɪsˌbʊk ənd ˈzəkərˌbərg hɪd ðɪs ˌɪnˌfɔrˈmeɪʃən bɪˈkəz ɪt wɪl pruv ðət ˈzəkərˌbərg ɪz ə mɪr stuʤ əv ðə roʊg c.i.a*. ənd wɑz ˈgɪvɪn ðə ˈproʊˌgræmɪŋ koʊd frəm ðə ɪˈklɪps faʊnˈdeɪʃən tɪ stɑrt ˈfeɪsˌbʊk. ɪt wɪl pruv ðət wɑz ˈgɪvɪn ðə koʊd frəm ʤeɪmz pi. ˈʧændlər, hu stoʊl ɪt frəm hɪz ˈligəl klaɪənt ˈlidər tɛkˈnɑləʤiz, ɪŋk. wət ˈlidər hæd noʊ weɪ əv noʊɪŋ wɑz ðət ˈʧændlər wɑz ˈwərkɪŋ ˈɪntɪmətli æt ðə haɪəst ˈlɛvəl wɪθ ðə ˈsɛkrəˌtɛri fər ðə dɪˈpɑrtmənt əv ˈhaɪləndz ˈfɔrəm tɪ ðə ˈɪntərˌnɛt. hi hɛld ˌɪˈligəl ˈpraɪvət ˈmitɪŋz wɪθ ˈfeɪvərd ˈpraɪvət ˈkəmpəˌniz tɪ sɛt ˈpɑləsi ɔn haʊ ðə ˈɪntərˌnɛt wʊd bi kənˈtroʊld ənd ˈprɑfətəd frəm baɪ ðə ˈkɑmplɛks. ðɪs kəˈbɑl əv ˈkɑmplɛks ˈkrɪmənəlz hæv juzd ˌɪnˈvɛnʃən fər 17 jɪrz fər fri. ˈʃɛˌrhoʊldərz əˈkrɔs ðə ˈkəntri ər ˈstɑrtɪŋ tɪ faɪl ˈmɪlər ækt ˈnoʊtɪs tɪ dɪˈmænd ðət ˈprɛzɪdənt ˈdɑnəld trəmp peɪ ðɛm fər ˈjuzɪŋ ðɛr ˈprɑpərti wɪˈθaʊt ˌkɑmpənˈseɪʃən. waɪl ˈzəkərˌbərg wɑz ˈoʊpənli laɪɪŋ tɪ ðə kɔrt, ˈhɪləri ˈklɪntən ənd ðə steɪt dɪˈpɑrtmənt ˈɛnərd ˈɪntu ˈsikrɪt ˈkɑnˌtrækts wɪθ ˈfeɪsˌbʊk tɪ bɪld ˈtɛmplət fər ˈwɪnɪŋ ɪˈlɛkʃənz ˈjuzɪŋ ədˈvænst ˈfeɪsˌbʊk marketing.”*.” ðiz ˈkɑnˌtrækts wər ˈmænɪʤd baɪ shevelenko”*” huz ˈrəʃən ˈbækˌgraʊnd həz bɪn əbˈskjʊrd baɪ ðə ˈʃæˌdoʊ ˈgəvərnmənt. əbˈstrəkʃən əv ˈʤəstɪs ɪn əˈmɛrɪkən kɔrts, ˈlɪtɪgənts hæv ə ˈsɑləm raɪt tɪ ə fɛr traɪəl. ˈlɪtɪgənts hæv ðə raɪt tɪ əˈsum ðət noʊ ˈgəvərnmənt ˌrɛprɪˈzɛnətɪv wɪl juz ðɛr pəˈzɪʃən əv ˈpəblɪk trəst tɪ ˌɪnərˈfɪr ɪn ðə keɪs ɪn ˈfeɪvər əv ˈiðər saɪd. wɪn ə ˈgəvərnmənt ˌrɛprɪˈzɛnətɪv ˌɪnərˈfɪrz ɪn ə keɪs, ðət kraɪm ɪz kɔld əv justice”*” fər ˈɑbviəs ˈrizənz. ðoʊz ˌɪnərˈfɪrɪŋ ər əˈtɛmptɪŋ tɪ ˈɪnfluəns ðə ˈaʊtˌkəm əv ðə keɪs ɪn ˈfeɪvər əv wən əv ðə ˈpɑrtiz. ɪˈlɛkʃən ˈtæmpərɪŋ ɪn əˈmɛrɪkən ɪˈlɛkʃənz, ˈsɪtɪzənz hæv ə ˈsɑləm raɪt tɪ ə fri ənd fɛr ɪˈlɛkʃən. ˈsɪtɪzənz hæv ðə raɪt tɪ əˈsum ðət noʊ ˈgəvərnmənt ˌrɛprɪˈzɛnətɪv wɪl juz ðɛr pəˈzɪʃən əv ˈpəblɪk trəst tɪ ˌɪnərˈfɪr ɪn ən ɪˈlɛkʃən ɪn ˈfeɪvər əv ˈiðər ˈkænədɪt. wɪn ə ˈgəvərnmənt ˌrɛprɪˈzɛnətɪv ˌɪnərˈfɪrz ɪn ən ɪˈlɛkʃən, ðət kraɪm ɪz kɔld tampering”*” ənd ɪz ə vaɪəˈleɪʃən əv ðə hæʧ ækt. frɔd ˌrækɪˈtɪrɪŋ ɪn əˈmɛrɪkən ˈpəblɪk ˈkɑnˌtrækts, ˈsɪtɪzənz hæv ə ˈsɑləm raɪt tɪ trænˈspɛrənsi rɪˈgɑrdɪŋ ðə ˈspɛndɪŋ əv ˈpəblɪk fəndz. ɪkˈsɛpt ɪn ˈspɛʃəl ˈsərkəmˌstænsɪz, ˈgəvərnmənt ˌrɛprɪˈzɛnətɪvz meɪ nɑt juz ðɛr pəˈzɪʃən əv ˈpəblɪk trəst tɪ ˈfeɪvər ˈsərtən ˈpraɪvət ˈpɑrtiz ɪn ənkəmˈpɛtətɪv ˈkɑnˌtrækts. wɪn ə ˈgəvərnmənt ˌrɛprɪˈzɛnətɪv ˈɛnərz ˈɪntu ˈkɑnˌtrækts ənd wɪθ ðə ˈʤɛnərəl ˈsərvɪs ˈeɪʤənsi) tɪ haɪd ðə ɪgˈzɪstəns əv ðoʊz ˈkɑnˌtrækts, ðət kraɪm ɪz kɔld ““fraud.”*.” wɪn səʧ frɔd ˌɪnˈvɑlvz ˈpɑrtiz əˈkrɔs steɪt laɪnz, ðət kraɪm ɪz ““racketeering.”*.” peɪ ˈlidər fər 17 jɪrz əv fri juz əv ðɛr ˈsoʊʃəl ˈnɛtˌwərkɪŋ ˌɪnˈvɛnʃən; ˈfɛdərəl ˈgəvərnmənt kən reɪz ˈbɪljən ɪn ˈsərˌʧɑrʤ ˈrɛvəˌnuz frəm ˈsoʊʃəl ˈnɛtˌwərkɪŋ wɪˈθaʊt ˈreɪzɪŋ ˈtæksɪz! ɪn kənˈkluʒən, ðə kraɪmz dɪˈskraɪbd əˈbəv əˈloʊn ər ɪˈnəf baɪ ðɛmˈsɛlvz tɪ ˈkɑnvɪkt ən ˈævərɪʤ əˈmɛrɪkən əv ˌrækɪˈtɪrɪŋ ənd ˈtrizən. ðə ˈɛvədəns əv ðiz kraɪmz kəm frəm ˈhɪləri ˈpraɪvət iˈmeɪl ˈsərvər. ðə ˈrəʃən kəˈluʒən ˈnɛksəs bɪtˈwin jərˈeɪniəm wən ənd ˈfeɪsˌbʊk ɪˈlɛkʃən ˈrɪgɪŋ ɪz ˈstənɪŋ. ˈridərz ər ɪnˈkərəʤd tɪ gɪt ðɪs ˈɑrtɪkəl tɪ jʊr ɪˈlɛktɪd ˌrɛprɪˈzɛnətɪvz. æsk ðɛm tɪ: 1 peɪ ˈlidər tɛkˈnɑləʤiz fər ðə læst 17 jɪrz əv fri juz əv ðɛr ˈsoʊʃəl ˈnɛtˌwərkɪŋ ˌɪnˈvɛnʃən ðət ˈhɪləri əbˈstrəktɪd, ənd 2 ˈprɑsəˌkjut ˈhɪləri ənd hər ˌrækəˈtɪrz fər hər jərˈeɪniəm wən ənd ˈdɪʤɪtəl ɪˈlɛkʃən ˈrɪgɪŋ ˌrækɪˈtɪrɪŋ ənd ˈtrizən.
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columnist mike smyth writes about the political fight in victoria to finally bring the uber service to b.c.
the b.c. liberals figured they had a bright, shiny, issue before the may election when they promised to bring the popular uber service to b.c. in time for christmas.
just think: no more worries about getting home from the office christmas party, when impossible to get a taxi. no more temptations to drive after a glass of eggnog, when a uber ride was just a tap away on your screen.
the liberals’ point man on their promise was cabinet minister peter fassbender, who represented in the b.c. legislature.
for some of the liberals’ opponents in the rival new democratic party, this was just perfect.
the new democrats knew the liberals’ uber plan was setting off alarm bells inside a taxi industry dominated by south asian cab drivers, many of whom had sunk their life savings into their taxi licences.
“i know a lot of families worried about losing their homes,” said harry bains, the for surrey-newton. “they are really scared.”
the liberals, of course, knew their uber plan would anger taxi drivers, especially amongs. but they calculated many more people wanted uber than opposed it, and the opinion polls appeared to back them up.
now, key liberals admit it was a mistake.
“a lot of young people love their technology and wanted uber,” former liberal cabinet minister bill bennett told me. “unfortunately, a lot of young people vote.”
for a politically sophisticated and engaged community, however, it was a different story.
“south asians dominate the taxi industry and the uber issue drove votes to the,” said singh, host at spice radio, an station.
“it just cab drivers who were worried. it was their wives and their kids and their grandparents and their extended families. a lot of votes.”
the new democrats, perhaps worried the uber issue still might work in the liberals’ favour, issued a vaguely worded campaign promise to “support the passing of new rules to introduce to b.c. in while creating “a truly fair approach” with taxi drivers.
the liberals, though, were clearly seen as the uber party. and the risk to the liberals in ridings with large south asian communities became clearer as the election neared.
at the height of the campaign, i was in a taxi cab jammed with reporters heading to an event. hitching a ride with us was stephen smart, the press secretary for christy clark, then the liberal leader and premier.
“oh, you guys are covering the election?” the cab driver chimed in. “the liberals are going to get slaughtered in surrey because of uber!”
smart, of course, told us the cab driver was wrong. but the cabbie was right.
of the eight metro vancouver ridings with the largest south asian populations, the ran the table. the liberals lost every one, including seat in surrey.
which brings us to the present day, and an minority government trying to figure out how to deal with this uber thing.
last week, transportation minister claire announced yet another review of the industry that be completed until 2018, with a policy decision not expected until well into the new year.
that campaign promise about “new rules” in 2017? tossed out the window.
the liberals spent the week hammering the for the flip-flop.
“this is a government of broken promises, delays, reviews and dragging their feet,” interim liberal leader rich coleman railed in the legislature.
but the fact is the liberals are just as worried as the about the tricky politics of uber after the issue backfired so badly on the during the election.
the only guy at the legislature with a clear and consistent position is green party leader andrew weaver, who introduced a private bill to allow uber, and other companies to start operating immediately.
“vancouver is the largest city in north america without,” weaver complained.
“let’s get going on this. i want to play politics with it. a whole generation of out there who taking taxis and who want access to this service.”
could weaver and the greens team up with the b.c. liberals to get uber into b.c.? after all, his bill is very similar to what the liberals promised during the election.
but now the liberals are being shy.
“the reality is is obviously controversial for people,” coleman told me. “there are thousands of people who make a living driving a cab and a number of them are friends of mine. i know their relatives, their cousins, their aunts, their uncles who also have concerns about it.
“it has always been our position that this has to be a level playing field. if you are going to allow into b.c., the first and foremost thing is: ‘how are you going to support the taxi industry?’”
translation: expect the liberals and greens to suddenly join forces to pass uber bill, even though they have enough combined votes in a minority parliament to get it done.
and the new democrats? they call the bill for debate anyway.
one of the rules of the legislature says only the governing party can call a bill for a vote. the simply, and bill will quietly die.
at least weaver can say he tried. as the winter rain and snow arrives, that will be cold comfort for frigid, wet travellers trying vainly to hail a cab on windswept vancouver streets.
msmyth@postmedia.com
twitter.com/mikesmythnews
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ˈkɑləmnəst maɪk smɪθ raɪts əˈbaʊt ðə pəˈlɪtɪkəl faɪt ɪn vɪkˈtɔriə tɪ ˈfaɪnəli brɪŋ ðə ˈubər ˈsərvɪs tɪ b.c*. ðə b.c*. ˈlɪˌbərəlz ˈfɪgjərd ðeɪ hæd ə braɪt, ˈʃaɪni, ˈɪʃu ˌbiˈfɔr ðə meɪ ɪˈlɛkʃən wɪn ðeɪ ˈprɑməst tɪ brɪŋ ðə ˈpɑpjələr ˈubər ˈsərvɪs tɪ b.c*. ɪn taɪm fər ˈkrɪsməs. ʤɪst θɪŋk: noʊ mɔr ˈwəriz əˈbaʊt ˈgɪtɪŋ hoʊm frəm ðə ˈɔfəs ˈkrɪsməs ˈpɑrti, wɪn ˌɪmˈpɑsəbəl tɪ gɪt ə ˈtæksi. noʊ mɔr tɛmˈteɪʃənz tɪ draɪv ˈæftər ə glæs əv ˈɛgˌnɔg, wɪn ə ˈubər raɪd wɑz ʤɪst ə tæp əˈweɪ ɔn jʊr skrin. ðə liberals’*’ pɔɪnt mæn ɔn ðɛr ˈprɑməs wɑz ˈkæbənət ˈmɪnɪstər ˈpitər ˈfæsˌbɛndər, hu ˌrɛprɪˈzɛnɪd ɪn ðə b.c*. ˈlɛʤəsˌleɪʧər. fər səm əv ðə liberals’*’ əˈpoʊnənts ɪn ðə ˈraɪvəl nu ˌdɛməˈkrætɪk ˈpɑrti, ðɪs wɑz ʤɪst ˈpərˌfɪkt. ðə nu ˈdɛməˌkræts nu ðə liberals’*’ ˈubər plæn wɑz ˈsɛtɪŋ ɔf əˈlɑrm bɛlz ˌɪnˈsaɪd ə ˈtæksi ˈɪndəstri ˈdɑməˌneɪtəd baɪ saʊθ ˈeɪʒən kæb ˈdraɪvərz, ˈmɛni əv hum hæd səŋk ðɛr laɪf ˈseɪvɪŋz ˈɪntu ðɛr ˈtæksi ˈlaɪsənsɪz. noʊ ə lɔt əv ˈfæməliz ˈwərid əˈbaʊt ˈluzɪŋ ðɛr homes,”*,” sɛd ˈhɛri beɪnz, ðə fər surrey-newton*. ər ˈrɪli scared.”*.” ðə ˈlɪˌbərəlz, əv kɔrs, nu ðɛr ˈubər plæn wʊd ˈæŋgər ˈtæksi ˈdraɪvərz, əˈspɛʃəli əˈməŋ indo-canadians*. bət ðeɪ ˈkælkjəˌleɪtɪd ˈmɛni mɔr ˈpipəl ˈwɔntɪd ˈubər ðən əˈpoʊzd ɪt, ənd ðə əˈpɪnjən poʊlz əˈpɪrd tɪ bæk ðɛm əp. naʊ, ki ˈlɪˌbərəlz ədˈmɪt ɪt wɑz ə mɪˈsteɪk. lɔt əv jəŋ ˈpipəl ləv ðɛr tɛkˈnɑləʤi ənd ˈwɔntɪd uber,”*,” ˈfɔrmər ˈlɪˌbərəl ˈkæbənət ˈmɪnɪstər bɪl ˈbɛnɪt toʊld mi. ““unfortunately*, ə lɔt əv jəŋ ˈpipəl vote.”*.” fər ə ˈplɪtɪkli səˈfɪstɪˌkeɪtəd ənd ɪnˈgeɪʤd kəmˈjunɪti, ˌhaʊˈɛvər, ɪt wɑz ə ˈdɪfərənt ˈstɔri. ˈeɪʒənz ˈdɑməˌneɪt ðə ˈtæksi ˈɪndəstri ənd ðə ˈubər ˈɪʃu droʊv voʊts tɪ ðə ndp,”*,” sɛd sɪŋ, hoʊst æt spaɪs ˈreɪdiˌoʊ, ən ˈsteɪʃən. ʤɪst kæb ˈdraɪvərz hu wər ˈwərid. ɪt wɑz ðɛr waɪvz ənd ðɛr kɪdz ənd ðɛr ˈgrændˌpɛrənts ənd ðɛr ɪkˈstɛndɪd ˈfæməliz. ə lɔt əv votes.”*.” ðə nu ˈdɛməˌkræts, pərˈhæps ˈwərid ðə ˈubər ˈɪʃu stɪl maɪt wərk ɪn ðə liberals’*’ ˈfeɪvər, ˈɪʃud ə ˈveɪgli ˈwərdɪd kæmˈpeɪn ˈprɑməs tɪ ðə ˈpæsɪŋ əv nu rulz tɪ ˌɪntrəˈdus tɪ b.c*. ɪn waɪl kriˈeɪtɪŋ ˈtruli fɛr approach”*” wɪθ ˈtæksi ˈdraɪvərz. ðə ˈlɪˌbərəlz, ðoʊ, wər ˈklɪrli sin ɛz ðə ˈubər ˈpɑrti. ənd ðə rɪsk tɪ ðə ˈlɪˌbərəlz ɪn ˈraɪdɪŋz wɪθ lɑrʤ saʊθ ˈeɪʒən kəmˈjunɪtiz bɪˈkeɪm ˈklɪrər ɛz ðə ɪˈlɛkʃən nɪrd. æt ðə haɪt əv ðə kæmˈpeɪn, aɪ wɑz ɪn ə ˈtæksi kæb ʤæmd wɪθ rɪˈpɔrtərz ˈhɛdɪŋ tɪ ən ɪˈvɛnt. ˈhɪʧɪŋ ə raɪd wɪθ ˈjuˈɛs wɑz ˈstivən smɑrt, ðə prɛs ˈsɛkrəˌtɛri fər ˈkrɪsti klɑrk, ðɛn ðə ˈlɪˌbərəl ˈlidər ənd prɛˈmɪr. ““oh*, ju gaɪz ər ˈkəvərɪŋ ðə election?”*?” ðə kæb ˈdraɪvər ʧaɪmd ɪn. ˈlɪˌbərəlz ər goʊɪŋ tɪ gɪt sˈlɔtərd ɪn ˈsəri bɪˈkəz əv uber!”*!” smɑrt, əv kɔrs, toʊld ˈjuˈɛs ðə kæb ˈdraɪvər wɑz rɔŋ. bət ðə ˈkæbi wɑz raɪt. əv ðə eɪt ˈmɛˌtroʊ vænˈkuvər ˈraɪdɪŋz wɪθ ðə ˈlɑrʤəst saʊθ ˈeɪʒən ˌpɑpjəˈleɪʃənz, ðə ræn ðə ˈteɪbəl. ðə ˈlɪˌbərəlz lɔst ˈɛvəri wən, ˌɪnˈkludɪŋ sit ɪn ˈsəri. wɪʧ brɪŋz ˈjuˈɛs tɪ ðə ˈprɛzənt deɪ, ənd ən məˈnɔrəti ˈgəvərnmənt traɪɪŋ tɪ ˈfɪgjər aʊt haʊ tɪ dil wɪθ ðɪs ˈubər θɪŋ. læst wik, ˌtrænspərˈteɪʃən ˈmɪnɪstər klɛr əˈnaʊnst jɛt əˈnəðər ˌrivˈju əv ðə ˈɪndəstri ðət bi kəmˈplitɪd ənˈtɪl 2018 wɪθ ə ˈpɑləsi dɪˈsɪʒən nɑt ɪkˈspɛktɪd ənˈtɪl wɛl ˈɪntu ðə nu jɪr. ðət kæmˈpeɪn ˈprɑməs əˈbaʊt rules”*” ɪn 2017 tɔst aʊt ðə ˈwɪndoʊ. ðə ˈlɪˌbərəlz spɛnt ðə wik ˈhæmərɪŋ ðə fər ðə flip-flop*. ɪz ə ˈgəvərnmənt əv ˈbroʊkən ˈprɑməsəz, dɪˈleɪz, rəvˈjuz ənd ˈdrægɪŋ ðɛr feet,”*,” ˈɪnərəm ˈlɪˌbərəl ˈlidər rɪʧ ˈkoʊlmən reɪld ɪn ðə ˈlɛʤəsˌleɪʧər. bət ðə fækt ɪz ðə ˈlɪˌbərəlz ər ʤɪst ɛz ˈwərid ɛz ðə əˈbaʊt ðə ˈtrɪki ˈpɑləˌtɪks əv ˈubər ˈæftər ðə ˈɪʃu ˈbækˌfaɪərd soʊ ˈbædli ɔn ðə ˈdʊrɪŋ ðə ɪˈlɛkʃən. ðə ˈoʊnli gaɪ æt ðə ˈlɛʤəsˌleɪʧər wɪθ ə klɪr ənd kənˈsɪstənt pəˈzɪʃən ɪz grin ˈpɑrti ˈlidər ˈændru ˈwivər, hu ˌɪntrəˈdust ə ˈpraɪvət bɪl tɪ əˈlaʊ ˈubər, ənd ˈəðər ˈkəmpəˌniz tɪ stɑrt ˈɔpərˌeɪtɪŋ ˌɪˈmiˌdiətli. ɪz ðə ˈlɑrʤəst ˈsɪti ɪn nɔrθ əˈmɛrɪkə wɪˈθaʊt ride-sharing,”*,” ˈwivər kəmˈpleɪnd. gɪt goʊɪŋ ɔn ðɪs. aɪ wɔnt tɪ pleɪ ˈpɑləˌtɪks wɪθ ɪt. ə hoʊl ˌʤɛnərˈeɪʃən əv aʊt ðɛr hu ˈteɪkɪŋ ˈtæksiz ənd hu wɔnt ˈækˌsɛs tɪ ðɪs service.”*.” kʊd ˈwivər ənd ðə grinz tim əp wɪθ ðə b.c*. ˈlɪˌbərəlz tɪ gɪt ˈubər ˈɪntu b.c*.? ˈæftər ɔl, hɪz bɪl ɪz ˈvɛri ˈsɪmələr tɪ wət ðə ˈlɪˌbərəlz ˈprɑməst ˈdʊrɪŋ ðə ɪˈlɛkʃən. bət naʊ ðə ˈlɪˌbərəlz ər biɪŋ ʃaɪ. ˌriˈæləˌti ɪz ɪz ˈɑbviəsli ˌkɑntrəˈvərʃəl fər people,”*,” ˈkoʊlmən toʊld mi. ər ˈθaʊzənz əv ˈpipəl hu meɪk ə ˈlɪvɪŋ ˈdraɪvɪŋ ə kæb ənd ə ˈnəmbər əv ðɛm ər frɛndz əv maɪn. aɪ noʊ ðɛr ˈrɛlətɪvz, ðɛr ˈkəzənz, ðɛr ɔnts, ðɛr ˈəŋkəlz hu ˈɔlsoʊ hæv kənˈsərnz əˈbaʊt ɪt. həz ˈɔlˌweɪz bɪn ɑr pəˈzɪʃən ðət ðɪs həz tɪ bi ə ˈlɛvəl pleɪɪŋ fild. ɪf ju ər goʊɪŋ tɪ əˈlaʊ ˈɪntu b.c*., ðə fərst ənd ˈfɔrˌmoʊst θɪŋ ɪz: ər ju goʊɪŋ tɪ səˈpɔrt ðə ˈtæksi industry?’”*?’” trænzˈleɪʃən: ɪkˈspɛkt ðə ˈlɪˌbərəlz ənd grinz tɪ ˈsədənli ʤɔɪn ˈfɔrsɪz tɪ pæs ˈubər bɪl, ˈivɪn ðoʊ ðeɪ hæv ɪˈnəf kəmˈbaɪnd voʊts ɪn ə məˈnɔrəti ˈpɑrləmɛnt tɪ gɪt ɪt dən. ənd ðə nu ˈdɛməˌkræts? ðeɪ kɔl ðə bɪl fər dəˈbeɪt ˈɛniˌweɪ. wən əv ðə rulz əv ðə ˈlɛʤəsˌleɪʧər sɪz ˈoʊnli ðə ˈgəvərnɪŋ ˈpɑrti kən kɔl ə bɪl fər ə voʊt. ðə ˈsɪmpli, ənd bɪl wɪl kˈwaɪətli daɪ. æt list ˈwivər kən seɪ hi traɪd. ɛz ðə ˈwɪntər reɪn ənd snoʊ əraɪvz, ðət wɪl bi koʊld ˈkəmfərt fər ˈfrɪʤəd, wɛt ˈtrævələrz traɪɪŋ ˈveɪnli tɪ heɪl ə kæb ɔn ˈwɪnsˌwɛpt vænˈkuvər strits.
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(the courier-journal) -- a "mex-mex" restaurant that replaced in waterfront park has closed after less than a year in business.
on monday, jaimie of estes public relations confirmed that the falls city hospitality group has ceased operations for cantina, which specialized in traditional mexican fare.
"our goal is to always offer the best experience for our guests," the group's management said in an emailed statement. "we have not met our high standards in executing cantina. therefore, we have decided to close the restaurant, effective immediately."
the hospitality group, which also runs doc crow's southern and raw bar, announced plans for cantina in may 2015 and opened the restaurant in april this year.
since then, the business has served customers to mixed reviews, with former reviewer nancy miller giving the site a rating while yelp reviewers gave it an average two and a half.
representatives from the falls city group were not immediately available to comment on the closure, but the group's statement mentioned plans to reopen the space under a new concept.
"we are disappointed in our results, but excited about the opportunity," the statement said. "our other restaurants in louisville and nashville will continue their successful operations during this process. we look forward to serving you again soon."
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(ðə courier-journal*) ə "mex-mex*" ˈrɛˌstrɑnt ðət ˌriˈpleɪst ɪn ˈwɔtərˌfrənt pɑrk həz kloʊzd ˈæftər lɛs ðən ə jɪr ɪn ˈbɪznɪs. ɔn ˈmənˌdeɪ, ˈʤeɪmi əv ˈɛstiz ˈpəblɪk riˈleɪʃənz kənˈfərmd ðət ðə fɔlz ˈsɪti ˌhɑspəˈtæləti grup həz sist ˌɑpərˈeɪʃənz fər ˌkænˈtinə, wɪʧ ˈspɛʃəˌlaɪzd ɪn trəˈdɪʃənəl ˈmɛksəkən fɛr. "ɑr goʊl ɪz tɪ ˈɔlˌweɪz ˈɔfər ðə bɛst ɪkˈspɪriəns fər ɑr gɛsts," ðə grups ˈmænɪʤmənt sɛd ɪn ən iˈmeɪld ˈsteɪtmənt. "wi hæv nɑt mɛt ɑr haɪ ˈstændərdz ɪn ˈɛksəˌkjutɪŋ ˌkænˈtinə. ˈðɛrˌfɔr, wi hæv ˌdɪˈsaɪdɪd tɪ kloʊz ðə ˈrɛˌstrɑnt, ˈifɛktɪv ˌɪˈmiˌdiətli." ðə ˌhɑspəˈtæləti grup, wɪʧ ˈɔlsoʊ rənz dɑk kroʊz ˈsəðərn ənd rɑ bɑr, əˈnaʊnst plænz fər ˌkænˈtinə ɪn meɪ 2015 ənd ˈoʊpənd ðə ˈrɛˌstrɑnt ɪn ˈeɪprəl ðɪs jɪr. sɪns ðɛn, ðə ˈbɪznɪs həz sərvd ˈkəstəmərz tɪ mɪkst rəvˈjuz, wɪθ ˈfɔrmər rivˈjuər ˈnænsi ˈmɪlər ˈgɪvɪŋ ðə saɪt ə ˈreɪtɪŋ waɪl jɛlp rivˈjuərz geɪv ɪt ən ˈævərɪʤ tu ənd ə hæf. ˌrɛprɪˈzɛnətɪvz frəm ðə fɔlz ˈsɪti grup wər nɑt ˌɪˈmiˌdiətli əˈveɪləbəl tɪ ˈkɑmɛnt ɔn ðə ˈkloʊʒər, bət ðə grups ˈsteɪtmənt ˈmɛnʃənd plænz tɪ riˈoʊpən ðə speɪs ˈəndər ə nu ˈkɑnsɛpt. "wi ər ˌdɪsəˈpɔɪnɪd ɪn ɑr rɪˈzəlts, bət ɪkˈsaɪtɪd əˈbaʊt ðə ˌɑpərˈtunəti," ðə ˈsteɪtmənt sɛd. "ɑr ˈəðər ˈrɛˌstrɑnts ɪn ˈluiˌvɪl ənd ˈnæʃvɪl wɪl kənˈtɪnju ðɛr səkˈsɛsfəl ˌɑpərˈeɪʃənz ˈdʊrɪŋ ðɪs ˈprɔˌsɛs. wi lʊk ˈfɔrwərd tɪ ˈsərvɪŋ ju əˈgɛn sun."
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documentary description
vietnam: the ten thousand day war, a canadian television documentary on the vietnam war, was produced in 1980 by michael. the series aired in canada on cbc television, in the united states and in the united kingdom on channel 4.
maclear visited north vietnam during the production of the series and had access to film material there. he was the first western journalist allowed to visit that area since the war. the documentary series was consolidated into 13 episodes for american television] the series was released on videocassette format by embassy and won a national education association award for best world]
series writer peter arnett was an associated press reporter in vietnam from 1962 to 1975. cbc aired only 18 of the episodes during the season because the series production was incomplete. the remaining episodes were broadcast during season. british audiences saw the series during channel season.
the show currently airs in the united states on the network the history channel, under the history classics series at am et every saturday morning.
source: wikipedia
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ˌdɑkjəˈmɛnəri dɪˈskrɪpʃən viˌɛtˈnɑm: ðə tɛn ˈθaʊzənd deɪ wɔr, ə kəˈneɪdiən ˈtɛləˌvɪʒən ˌdɑkjəˈmɛnəri ɔn ðə viˌɛtˈnɑm wɔr, wɑz prəˈdust ɪn 1980 baɪ ˈmaɪkəl. ðə ˈsɪriz ɛrd ɪn ˈkænədə ɔn ˈsiˌbiˈsi ˈtɛləˌvɪʒən, ɪn ðə juˈnaɪtɪd steɪts ənd ɪn ðə juˈnaɪtɪd ˈkɪŋdəm ɔn ˈʧænəl 4 ˈvɪzɪtɪd nɔrθ viˌɛtˈnɑm ˈdʊrɪŋ ðə pərˈdəkʃən əv ðə ˈsɪriz ənd hæd ˈækˌsɛs tɪ fɪlm məˈtɪriəl ðɛr. hi wɑz ðə fərst ˈwɛstərn ˈʤərnəlɪst əˈlaʊd tɪ ˈvɪzɪt ðət ˈɛriə sɪns ðə wɔr. ðə ˌdɑkjəˈmɛnəri ˈsɪriz wɑz kənˈsɑləˌdeɪtəd ˈɪntu 13 ˈɛpɪˌsoʊdz fər əˈmɛrɪkən ˈtɛləˌvɪʒən ðə ˈsɪriz wɑz riˈlist ɔn ˈvɪdioʊkæˌsɛt ˈfɔrˌmæt baɪ ˈɛmbəsi ənd wən ə ˈnæʃənəl ˌɛʤəˈkeɪʃən əˌsoʊʃiˈeɪʃən əˈwɔrd fər bɛst wərld ˈsɪriz ˈraɪtər ˈpitər ɑrˈnɛt wɑz ən əˈsoʊʃiˌeɪtəd prɛs rɪˈpɔrtər ɪn viˌɛtˈnɑm frəm 1962 tɪ 1975 ˈsiˌbiˈsi ɛrd ˈoʊnli 18 əv ðə ˈɛpɪˌsoʊdz ˈdʊrɪŋ ðə ˈsizən bɪˈkəz ðə ˈsɪriz pərˈdəkʃən wɑz ˌɪnkəmˈplit. ðə rɪˈmeɪnɪŋ ˈɛpɪˌsoʊdz wər ˈbrɔdˌkæst ˈdʊrɪŋ ˈsizən. ˈbrɪtɪʃ ˈɔdiənsəz sɔ ðə ˈsɪriz ˈdʊrɪŋ ˈʧænəl ˈsizən. ðə ʃoʊ ˈkərəntli ɛrz ɪn ðə juˈnaɪtɪd steɪts ɔn ðə ˈnɛtˌwərk ðə ˈhɪstəri ˈʧænəl, ˈəndər ðə ˈhɪstəri ˈklæsɪks ˈsɪriz æt æm ɛt ˈɛvəri ˈsæˌtɪˌdeɪ ˈmɔrnɪŋ. sɔrs: ˈwɪkiˌpiˌdiə
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even republicans are rapidly bailing on a mccain resuscitation. a metaphor for the collapse that on the day of the final debate both nancy reagan and dick cheney checked into hospitals . conservatives have already moved past denial to anger on the scale of grief. they are not waiting for votes to be counted before carrying out their first round of stalinist purges. william f. buckley ’s son christopher was banished from national review for endorsing obama. next thing you know, there will be a fatwa on that lefty, george will.
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as the long night of the long knives begins, myths are already setting in among the storm troops and the alike as to what went wrong. and chief among them are the twin curses of bush and the “headwinds” of the economy. no republican can win if the incumbent president is less popular than dirt, we keep being told, or if a looming great depression 2 is issue no. 1.
this is an excuse, not an explanation. it absolves mccain of much of the blame and denies obama much of the credit for their campaigns. it arouses pity for mccain when he deserves none. it rewrites history.
bush’s impact on the next republican presidential candidate did not have to be so devastating. mccain, as he and his defenders keep protesting, a passive martyr to a catastrophic administration. he could have made separating himself from bush the brave, central and even conservative focus of his campaign. far from doing that, he embraced the bush ethos if not the incredible shrinking man himself more tightly than ever. the candidate who believes in “country first” decided to put himself first and sell out his principles. that ignoble decision is what accounts for both the mccain failures and its sleaze. a decision mccain made on his own and for which he has yet to assume responsibility.
though it seems a distant memory now, mccain was a maverick once. he did defy bush on serious matters including torture, climate change and the tax cuts that bankrupted a government at war and led to the largest income inequality in america since the 1930s. but it just his on some of these and other issues that turned him into a bush acolyte. the full measure of betrayal of his own integrity cannot even be found in that senate voting record 90 percent in lockstep with the president that obama keeps throwing in his face.
the ethos that mccain embraced, as codified by karl rove , is larger than any particular vote or policy. indeed, by definition that ethos is opposed to the entire idea of policy. the whole point of the way of doing business is that principles, coherent governance and even ideology must always be sacrificed for political expediency, no matter the cost to the public good.
like mccain now, bush campaigned in 2000 as a practical who could “work across the partisan divide,” as he put it in his first debate with al gore . he had no strong views on any domestic or foreign issue, except taxes and education. only after he entered the white house did we learn his sole passion: getting and keeping power. that imperative, not the country, would always come first.
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one journalist who detected this modus operandi early was ron suskind , who, writing for esquire in january 2003, induced john, the disillusioned chief of the white house office of and community initiatives, to tell all. “there is no precedent in any modern white house for what is going on in this one: a complete lack of a policy apparatus,” said. “what got is everything and i mean everything being run by the political arm. the reign of the mayberry machiavellis.”
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if politics everything, you end up with the rampant cronyism, nonexistent long-term planning and abrupt, partisan policy improvisations that fed the calamities of iraq , katrina and the economic meltdown. incredibly, mccain has endorsed the brand of governance in his own campaign by assembling his personal set of lobbyist cronies and rove operatives to run it. they have not only entangled him in a welter of conflicts of interest, but furthered cynical political stunts like the elevation of sarah palin . at least bush and rove try to put an unqualified hack like, say, alberto gonzales half a heartbeat away from the presidency.
as if the palin pick damning enough, mccain and his team responded to the financial panic by offering their own panicky simulation of the bush style of crisis management in real time. fire the s.e.c. chairman and replace him with andrew cuomo ! convene a commission to save wall street! bail out a.i.g.! do bail out a.i.g.! reacting to polls and the short-term dictates of news cycles, mccain offered as many reboots in a month as bush offered “plans for victory” during the first three years of the iraq war.
now mccain is trying to distract us from his humiliating managerial ineptitude by cranking up the politics of fear another trademark strategy. but the mccain quixotic effort to turn an “old terrorist” into a wedge issue as divisive as same-sex marriage is too little, too late and too at a time when americans are suffering too much to indulge in culture wars. voters want policies that might actually work rather than another pandering, cynical leader who operates mainly on the basis of his “gut” and political self-interest.
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the former bush speechwriter david frum has facetiously written that mccain could be rescued by “a rise in the dow and a 20 percent jump in home prices.” but the economy, stupid, be blamed for own failures, any more than bush can be. even before the housing bubble burst and wall street tumbled, voters could see that the seething, impulsive nominee temperamentally fit to be president.
that’s where the debates have come in. there may have been none of those knockout blows the press craves, but the effect has been to teach the public that mccain steady enough to run the country even if the economy were sound, and that obama just might be.
in debate no. 1, you could put the volume on mute and see what has proved to be the lasting impressions of both candidates start to firm up. in debate no. 2, mccain set the concrete: he the troubling psychological of his campaign “suspension” by wandering around the stage like a uncle vainly trying to flee his caregiver. after the sneering and of “best” debate on wednesday, poll found the obama swamping him on “likeability,” 70 to 22 percent.
at least mccain had half a point on wednesday night when he said, “i am not president bush.” what he has offered his country this year is an older, crankier, more unsteady version of bush. tragically, he can no sooner escape our despised president than he can escape himself.
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ˈivɪn rɪˈpəblɪkənz ər ˈræpədli ˈbeɪlɪŋ ɔn ə məˈkeɪn rɪˌsəsɪˈteɪʃən. ə ˈmɛtəfɔr fər ðə kəˈlæps ðət ɔn ðə deɪ əv ðə ˈfaɪnəl dəˈbeɪt boʊθ ˈnænsi ˈrigən ənd dɪk ˈʧeɪni ʧɛkt ˈɪntu ˈhɑˌspɪtəlz kənˈsərvətɪvz hæv ɔˈrɛdi muvd pæst dɪˈnaɪəl tɪ ˈæŋgər ɔn ðə skeɪl əv grif. ðeɪ ər nɑt ˈweɪtɪŋ fər voʊts tɪ bi ˈkaʊntɪd ˌbiˈfɔr ˈkɛriɪŋ aʊt ðɛr fərst raʊnd əv ˈstɑlɪnɪst ˈpərʤɪz. ˈwɪljəm ɛf. ˈbəkli sən ˈkrɪstəfər wɑz ˈbænɪʃt frəm ˈnæʃənəl ˌrivˈju fər ɛnˈdɔrsɪŋ ˌoʊˈbɑmə. nɛkst θɪŋ ju noʊ, ðɛr wɪl bi ə ˈfɑtwɑ ɔn ðət ˈlɛfti, ʤɔrʤ wɪl. ˈfoʊˌtoʊ ɛz ðə lɔŋ naɪt əv ðə lɔŋ naɪvz bɪˈgɪnz, mɪθs ər ɔˈrɛdi ˈsɛtɪŋ ɪn əˈməŋ ðə stɔrm trups ənd ðə əˈlaɪk ɛz tɪ wət wɛnt rɔŋ. ənd ʧif əˈməŋ ðɛm ər ðə twɪn ˈkərsɪz əv bʊʃ ənd ðə ““headwinds”*” əv ðə ɪˈkɑnəmi. noʊ rɪˈpəblɪkən kən wɪn ɪf ðə ˌɪnˈkəmbənt ˈprɛzɪdənt ɪz lɛs ˈpɑpjələr ðən dərt, wi kip biɪŋ toʊld, ər ɪf ə ˈlumɪŋ greɪt dɪˈprɛʃən 2 ɪz ˈɪʃu noʊ. 1 ðɪs ɪz ən ɪkˈskjuz, nɑt ən ˌɛkspləˈneɪʃən. ɪt əbˈzɑlvz məˈkeɪn əv məʧ əv ðə bleɪm ənd dɪˈnaɪz ˌoʊˈbɑmə məʧ əv ðə ˈkrɛdɪt fər ðɛr kæmˈpeɪnz. ɪt ərˈaʊzɪz ˈpɪti fər məˈkeɪn wɪn hi dɪˈzərvz nən. ɪt riˈraɪts ˈhɪstəri. ˌɪmˈpækt ɔn ðə nɛkst rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt dɪd nɑt hæv tɪ bi soʊ ˈdɛvəˌsteɪtɪŋ. məˈkeɪn, ɛz hi ənd hɪz dɪˈfɛndərz kip ˈproʊˌtɛstɪŋ, ə ˈpæsɪv ˈmɑrtər tɪ ə ˌkætəˈstrɑfɪk ædˌmɪnɪˈstreɪʃən. hi kʊd hæv meɪd ˈsɛpərˌeɪtɪŋ hɪmˈsɛlf frəm bʊʃ ðə breɪv, ˈsɛntrəl ənd ˈivɪn kənˈsərvətɪv ˈfoʊkɪs əv hɪz kæmˈpeɪn. fɑr frəm duɪŋ ðət, hi ɛmˈbreɪst ðə bʊʃ ˈiθɑs ɪf nɑt ðə ˌɪnˈkrɛdəbəl ʃˈrɪŋkɪŋ mæn hɪmˈsɛlf mɔr ˈtaɪtli ðən ˈɛvər. ðə ˈkænədɪt hu bɪˈlivz ɪn first”*” ˌdɪˈsaɪdɪd tɪ pʊt hɪmˈsɛlf fərst ənd sɛl aʊt hɪz ˈprɪnsəpəlz. ðət ˌɪgˈnoʊbəl dɪˈsɪʒən ɪz wət əˈkaʊnts fər boʊθ ðə məˈkeɪn ˈfeɪljərz ənd ɪts sliz. ə dɪˈsɪʒən məˈkeɪn meɪd ɔn hɪz oʊn ənd fər wɪʧ hi həz jɛt tɪ əˈsum riˌspɑnsəˈbɪləti. ðoʊ ɪt simz ə ˈdɪstənt ˈmɛməri naʊ, məˈkeɪn wɑz ə ˈmævərɪk wəns. hi dɪd dɪˈfaɪ bʊʃ ɔn ˈsɪriəs ˈmætərz ˌɪnˈkludɪŋ ˈtɔrʧər, ˈklaɪmɪt ʧeɪnʤ ənd ðə tæks kəts ðət ˈbæŋkrəptɪd ə ˈgəvərnmənt æt wɔr ənd lɛd tɪ ðə ˈlɑrʤəst ˈɪnˌkəm ˌɪnɪkˈwɑləti ɪn əˈmɛrɪkə sɪns ðə 1930s*. bət ɪt ʤɪst hɪz ɔn səm əv ðiz ənd ˈəðər ˈɪʃuz ðət tərnd ɪm ˈɪntu ə bʊʃ ˈækəˌlaɪt. ðə fʊl ˈmɛʒər əv bɪˈtreɪəl əv hɪz oʊn ˌɪnˈtɛgrəti ˈkænɑt ˈivɪn bi faʊnd ɪn ðət ˈsɛnɪt ˈvoʊtɪŋ ˈrɛkərd 90 pərˈsɛnt ɪn ˈlɑkˌstɛp wɪθ ðə ˈprɛzɪdənt ðət ˌoʊˈbɑmə kips θroʊɪŋ ɪn hɪz feɪs. ðə ˈiθɑs ðət məˈkeɪn ɛmˈbreɪst, ɛz ˈkɑdəˌfaɪd baɪ kɑrl roʊv ɪz ˈlɑrʤər ðən ˈɛni ˌpɑˈtɪkjələr voʊt ər ˈpɑləsi. ˌɪnˈdid, baɪ ˌdɛfəˈnɪʃən ðət ˈiθɑs ɪz əˈpoʊzd tɪ ðə ɪnˈtaɪər aɪˈdiə əv ˈpɑləsi. ðə hoʊl pɔɪnt əv ðə weɪ əv duɪŋ ˈbɪznɪs ɪz ðət ˈprɪnsəpəlz, koʊˈhɪrənt ˈgəvərnəns ənd ˈivɪn ˌaɪdiˈɑləʤi məst ˈɔlˌweɪz bi ˈsækrəˌfaɪst fər pəˈlɪtɪkəl ɪkˈspidiənsi, noʊ ˈmætər ðə kɔst tɪ ðə ˈpəblɪk gʊd. laɪk məˈkeɪn naʊ, bʊʃ kæmˈpeɪnd ɪn 2000 ɛz ə ˈpræktɪkəl hu kʊd əˈkrɔs ðə ˈpɑrtəzən divide,”*,” ɛz hi pʊt ɪt ɪn hɪz fərst dəˈbeɪt wɪθ æl gɔr hi hæd noʊ strɔŋ vjuz ɔn ˈɛni dəˈmɛstɪk ər ˈfɔrən ˈɪʃu, ɪkˈsɛpt ˈtæksɪz ənd ˌɛʤəˈkeɪʃən. ˈoʊnli ˈæftər hi ˈɛnərd ðə waɪt haʊs dɪd wi lərn hɪz soʊl ˈpæʃən: ˈgɪtɪŋ ənd ˈkipɪŋ paʊər. ðət ˌɪmˈpɛrətɪv, nɑt ðə ˈkəntri, wʊd ˈɔlˌweɪz kəm fərst. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri wən ˈʤərnəlɪst hu dɪˈtɛktɪd ðɪs ˈmoʊdəs ˌɑpərˈɛndaɪ ˈərli wɑz rɑn ˈsəskɪnd hu, ˈraɪtɪŋ fər ˈɛskˌwaɪr ɪn ˈʤænjuˌɛri 2003 ˌɪnˈdust ʤɑn, ðə ˌdɪsɪˈluʒənd ʧif əv ðə waɪt haʊs ˈɔfəs əv ənd kəmˈjunɪti ˌɪˈnɪʃətɪvz, tɪ tɛl ɔl. ɪz noʊ ˈprɛsɪdənt ɪn ˈɛni ˈmɑdərn waɪt haʊs fər wət ɪz goʊɪŋ ɔn ɪn ðɪs wən: ə kəmˈplit læk əv ə ˈpɑləsi apparatus,”*,” sɛd. gɑt ɪz ˈɛvriˌθɪŋ ənd aɪ min ˈɛvriˌθɪŋ biɪŋ rən baɪ ðə pəˈlɪtɪkəl ɑrm. ðə reɪn əv ðə ˈmeɪˌbɛri machiavellis.”*.” ˈfoʊˌtoʊ ɪf ˈpɑləˌtɪks ˈɛvriˌθɪŋ, ju ɛnd əp wɪθ ðə ˈræmpənt ˈkroʊniˌɪzəm, ˌnɑnəgˈzɪstənt ˈlɔŋˈtərm ˈplænɪŋ ənd əˈbrəpt, ˈpɑrtəzən ˈpɑləsi ˌɪmprɑvɪˈzeɪʃənz ðət fɛd ðə kəˈlæmətiz əv ˌɪˈrɑk kəˈtrinə ənd ðə ˌɛkəˈnɑmɪk ˈmɛltˌdaʊn. ˌɪnˈkrɛdəbli, məˈkeɪn həz ɛnˈdɔrst ðə brænd əv ˈgəvərnəns ɪn hɪz oʊn kæmˈpeɪn baɪ əˈsɛmbəlɪŋ hɪz ˈpərsɪnəl sɛt əv ˈlɑbiəst ˈkroʊniz ənd roʊv ˈɑpərətɪvz tɪ rən ɪt. ðeɪ hæv nɑt ˈoʊnli ɛnˈtæŋgəld ɪm ɪn ə ˈwɛltər əv ˈkɑnflɪkts əv ˈɪntəˌrɛst, bət ˈfərðərd ˈsɪnɪkəl pəˈlɪtɪkəl stənts laɪk ðə ˌɛləˈveɪʃən əv ˈsɛrə ˈpælɪn æt list bʊʃ ənd roʊv traɪ tɪ pʊt ən ənkˈwɑlɪˌfaɪd hæk laɪk, seɪ, ælˈbərtoʊ gɑnˈzɑləs hæf ə ˈhɑrtˌbit əˈweɪ frəm ðə ˈprɛzɪdənsi. ɛz ɪf ðə ˈpælɪn pɪk ˈdæmɪŋ ɪˈnəf, məˈkeɪn ənd hɪz tim rɪˈspɑndɪd tɪ ðə ˌfaɪˈnænʃəl ˈpænɪk baɪ ˈɔfərɪŋ ðɛr oʊn ˈpænɪki ˌsɪmjəˈleɪʃən əv ðə bʊʃ staɪl əv ˈkraɪsəs ˈmænɪʤmənt ɪn ril taɪm. faɪər ðə s.e.c*. ˈʧɛrmən ənd ˌriˈpleɪs ɪm wɪθ ˈændru kˈwoʊmoʊ kənˈvin ə kəˈmɪʃən tɪ seɪv wɔl strit! beɪl aʊt a.i.g*.! du beɪl aʊt a.i.g*.! riˈæktɪŋ tɪ poʊlz ənd ðə ˌʃɔrtˈtərm ˈdɪkˌteɪts əv nuz ˈsaɪkəlz, məˈkeɪn ˈɔfərd ɛz ˈmɛni riˈbuts ɪn ə mənθ ɛz bʊʃ ˈɔfərd fər victory”*” ˈdʊrɪŋ ðə fərst θri jɪrz əv ðə ˌɪˈrɑk wɔr. naʊ məˈkeɪn ɪz traɪɪŋ tɪ dɪˈstrækt ˈjuˈɛs frəm hɪz hjuˈmɪliˌeɪtɪŋ ˌmænɪˈʤɪriəl ˌɪˈnɛptɪˌtud baɪ ˈkræŋkɪŋ əp ðə ˈpɑləˌtɪks əv fɪr əˈnəðər ˈtreɪdˌmɑrk ˈstrætəʤi. bət ðə məˈkeɪn kwɪkˈsɑtɪk ˈɛfərt tɪ tərn ən terrorist”*” ˈɪntu ə wɛʤ ˈɪʃu ɛz dɪˈvaɪsɪv ɛz ˌseɪmˈsɛks ˈmɛrɪʤ ɪz tu ˈlɪtəl, tu leɪt ənd tu æt ə taɪm wɪn əˈmɛrɪkənz ər ˈsəfərɪŋ tu məʧ tɪ ˌɪnˈdəlʤ ɪn ˈkəlʧər wɔrz. ˈvoʊtərz wɔnt ˈpɑləsiz ðət maɪt ˈæˌkʧuəli wərk ˈrəðər ðən əˈnəðər ˈpændərɪŋ, ˈsɪnɪkəl ˈlidər hu ˈɑpərˌeɪts ˈmeɪnli ɔn ðə ˈbeɪsɪs əv hɪz ““gut”*” ənd pəˈlɪtɪkəl ˌsɛlˈfɪntəˌrɛst. ˈnuzˌlɛtər saɪn əp kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri pliz ˈvɛrəˌfaɪ jʊr nɑt ə ˈroʊˌbət baɪ ˈklɪkɪŋ ðə bɑks. ˌɪnˈvæləd iˈmeɪl ˈæˌdrɛs. pliz re-enter*. ju məst səˈlɛkt ə ˈnuzˌlɛtər tɪ səbˈskraɪb tɪ. saɪn əp ju wɪl rɪˈsiv iˈmeɪlz kənˈteɪnɪŋ nuz ˈkɑntɛnt ˈəpˌdeɪts ənd pərˈmoʊʃənz frəm ðə nu jɔrk taɪmz. ju meɪ æt ˈɛni taɪm. ju əˈgri tɪ rɪˈsiv ɔˈkeɪʒənəl ˈəpˌdeɪts ənd ˈspɛʃəl ˈɔfərz fər ðə nu jɔrk ˈtaɪmzɪz ˈprɑdəkts ənd ˈsərvɪsɪz. θæŋk ju fər səbˈskraɪbɪŋ. ən ˈɛrər həz əˈkərd. pliz traɪ əˈgɛn ˈleɪtər. vju ɔl nu jɔrk taɪmz ˈnuzˌlɛtərz. ðə ˈfɔrmər bʊʃ ˈspiˌʧraɪtər ˈdeɪvɪd frəm həz fəˈsiʃəsli ˈrɪtən ðət məˈkeɪn kʊd bi ˈrɛskjud baɪ raɪz ɪn ðə daʊ ənd ə 20 pərˈsɛnt ʤəmp ɪn hoʊm prices.”*.” bət ðə ɪˈkɑnəmi, ˈstupɪd, bi bleɪmd fər oʊn ˈfeɪljərz, ˈɛni mɔr ðən bʊʃ kən bi. ˈivɪn ˌbiˈfɔr ðə ˈhaʊzɪŋ ˈbəbəl bərst ənd wɔl strit ˈtəmbəld, ˈvoʊtərz kʊd si ðət ðə ˈsiðɪŋ, ˌɪmˈpəlsɪv ˌnɑməˈni ˌtɛmpərˈmɛnəli fɪt tɪ bi ˈprɛzɪdənt. wɛr ðə dəˈbeɪts hæv kəm ɪn. ðɛr meɪ hæv bɪn nən əv ðoʊz ˈnɑˌkaʊt bloʊz ðə prɛs kreɪvz, bət ðə ˈifɛkt həz bɪn tɪ tiʧ ðə ˈpəblɪk ðət məˈkeɪn ˈstɛdi ɪˈnəf tɪ rən ðə ˈkəntri ˈivɪn ɪf ðə ɪˈkɑnəmi wər saʊnd, ənd ðət ˌoʊˈbɑmə ʤɪst maɪt bi. ɪn dəˈbeɪt noʊ. 1 ju kʊd pʊt ðə ˈvɑljum ɔn mjut ənd si wət həz pruvd tɪ bi ðə ˈlæstɪŋ ˌɪmˈprɛʃənz əv boʊθ ˈkænədɪts stɑrt tɪ fərm əp. ɪn dəˈbeɪt noʊ. 2 məˈkeɪn sɛt ðə ˈkɑnkrit: hi ðə ˈtrəbəlɪŋ ˌsaɪkəˈlɑʤɪkəl əv hɪz kæmˈpeɪn ““suspension”*” baɪ ˈwɑndərɪŋ əraʊnd ðə steɪʤ laɪk ə ˈəŋkəl ˈveɪnli traɪɪŋ tɪ fli hɪz ˈkɛrˌgɪvər. ˈæftər ðə sˈnɪrɪŋ ənd əv ““best”*” dəˈbeɪt ɔn ˈwɛnzˌdeɪ, poʊl faʊnd ðə ˌoʊˈbɑmə sˈwɑmpɪŋ ɪm ɔn ““likeability,”*,” 70 tɪ 22 pərˈsɛnt. æt list məˈkeɪn hæd hæf ə pɔɪnt ɔn ˈwɛnzˌdeɪ naɪt wɪn hi sɛd, æm nɑt ˈprɛzɪdənt bush.”*.” wət hi həz ˈɔfərd hɪz ˈkəntri ðɪs jɪr ɪz ən ˈoʊldər, crankier*, mɔr ənˈstɛdi ˈvərʒən əv bʊʃ. ˈtræʤɪkli, hi kən noʊ ˈsunər ɪˈskeɪp ɑr dɪˈspaɪzd ˈprɛzɪdənt ðən hi kən ɪˈskeɪp hɪmˈsɛlf.
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isps reporting that web filters being activated by less than 10% of new customers
from the more-porn-for-the-rest-of-us!
to call the institution of web filters "stupid" isn't just being blithely dismissive. for one, they don't work. they block the wrong stuff. they let offensive stuff in. they're easily circumvented. they're advance scouts for government censorship. the only people who think web filtering is a good thing are those with the power to turn pet projects into national laws.
add one more to the list: they're hugely unpopular.
broadband customers are overwhelmingly choosing not to use systems foisted on by the government - with in the single digits for three of the four major broadband providers…
only 5% of new bt customers signed up, 8% opted in for sky and 4% for virgin media. rolled out a system two years before the government required it and has had much better of its offering, with 36% of customers signing up for it.
those pushing for filters would have you believe it's something the public has been clamoring for to help them protect their children from the many evils of the internet. in reality, hardly anyone appears to care all that deeply about hooking up to a more than simply unpopularity going on here. the numbers skew low for several reasons. at this point, the rollout isn't 100% complete and isn't being offered to every new customer (something that becomes a requirement in 2015). virgin media (somewhat ironically) has been hooking customers up with the internet. techs for that company have only been presenting the "unavoidable choice" to a little over a third of its new signups. other techs have been more thorough, presenting new customers with the option nearly every service providers say it's also possible the filtering has been activated report only tracks filtering enabled at the time of install) or that customers are already using all of these factors, i wouldn't expect adoption numbers to rise much. people generally don't like the government telling them what they can and can't access. illegal content is already blocked at level (as well as by several search engines ), so what's being added is nothing more than a governmental parent to watch over citizens' shoulders as they surf the web. those with children would probably prefer to run an open pipe and filter content at the device level. not everyone in a household needs to be treated like a child, which is exactly what these filters (and their proponents) that, activating a web filter goes against human nature, especially the exertion of free will and the general avoidance of embarrassment. most people view themselves as "good" and uninterested in the long list of internet vices (porn being the most popular). but even if they truly believe they'd never view this content, they'd rather have it arrive unfiltered than be forced to approach their weeks (or minutes…) later like a oliver twist and ask, "please, sir. may i have some porn?"
filed under: filters,, porn license,
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isps* rɪˈpɔrtɪŋ ðət wɛb ˈfɪltərz biɪŋ ˈæktɪˌveɪtɪd baɪ lɛs ðən 10 əv nu ˈkəstəmərz frəm ðə more-porn-for-the-rest-of-us*! tɪ kɔl ðə ˌɪnstɪˈtuʃən əv wɛb ˈfɪltərz "ˈstupɪd" ˈɪzənt ʤɪst biɪŋ ˈblaɪθli dɪsˈmɪsɪv. fər wən, ðeɪ doʊnt wərk. ðeɪ blɑk ðə rɔŋ stəf. ðeɪ lɛt əˈfɛnsɪv stəf ɪn. ðɛr ˈizəli ˌsərkəmˈvɛntɪd. ðɛr ədˈvæns skaʊts fər ˈgəvərnmənt ˈsɛnsərˌʃɪp. ðə ˈoʊnli ˈpipəl hu θɪŋk wɛb ˈfɪltərɪŋ ɪz ə gʊd θɪŋ ər ðoʊz wɪθ ðə paʊər tɪ tərn pɛt ˈprɑʤɛkts ˈɪntu ˈnæʃənəl lɔz. æd wən mɔr tɪ ðə lɪst: ðɛr ˈhjuʤli ˌənˈpɑpjələr. ˈbrɔdˌbænd ˈkəstəmərz ər ˌoʊvərˈwɛlmɪŋli ˈʧuzɪŋ nɑt tɪ juz ˈsɪstəmz ˈfɔɪstɪd ɔn baɪ ðə ˈgəvərnmənt wɪθ ɪn ðə ˈsɪŋgəl ˈdɪʤɪts fər θri əv ðə fɔr ˈmeɪʤər ˈbrɔdˌbænd providers…*… ˈoʊnli 5 əv nu ˈbiˈti ˈkəstəmərz saɪnd əp, 8 ˈɑptɪd ɪn fər skaɪ ənd 4 fər ˈvərʤɪn ˈmidiə. roʊld aʊt ə ˈsɪstəm tu jɪrz ˌbiˈfɔr ðə ˈgəvərnmənt rikˈwaɪərd ɪt ənd həz hæd məʧ ˈbɛtər əv ɪts ˈɔfərɪŋ, wɪθ 36 əv ˈkəstəmərz ˈsaɪnɪŋ əp fər ɪt. ðoʊz ˈpʊʃɪŋ fər ˈfɪltərz wʊd hæv ju bɪˈliv ɪts ˈsəmθɪŋ ðə ˈpəblɪk həz bɪn ˈklæmərɪŋ fər tɪ hɛlp ðɛm prəˈtɛkt ðɛr ˈʧɪldrən frəm ðə ˈmɛni ˈivəlz əv ðə ˈɪntərˌnɛt. ɪn ˌriˈæləˌti, ˈhɑrdli ˈɛniˌwən əˈpɪrz tɪ kɛr ɔl ðət ˈdipli əˈbaʊt ˈhʊkɪŋ əp tɪ ə mɔr ðən ˈsɪmpli ənˌpɑpjəˈlɛrɪti goʊɪŋ ɔn hir. ðə ˈnəmbərz skju loʊ fər ˈsɛvərəl ˈrizənz. æt ðɪs pɔɪnt, ðə ˈroʊˌlaʊt ˈɪzənt 100 kəmˈplit ənd ˈɪzənt biɪŋ ˈɔfərd tɪ ˈɛvəri nu ˈkəstəmər (ˈsəmθɪŋ ðət bɪˈkəmz ə rɪkˈwaɪrmənt ɪn 2015 ˈvərʤɪn ˈmidiə (ˈsəmˈwət aɪˈrɑnɪkli) həz bɪn ˈhʊkɪŋ ˈkəstəmərz əp wɪθ ðə ˈɪntərˌnɛt. tɛks fər ðət ˈkəmpəˌni hæv ˈoʊnli bɪn prɪˈzɛntɪŋ ðə "ˌənəˈvɔɪdəbəl ʧɔɪs" tɪ ə ˈlɪtəl ˈoʊvər ə θərd əv ɪts nu signups*. ˈəðər tɛks hæv bɪn mɔr θəroʊ, prɪˈzɛntɪŋ nu ˈkəstəmərz wɪθ ðə ˈɔpʃən ˈnɪrli ˈɛvəri ˈsərvɪs prəˈvaɪdərz seɪ ɪts ˈɔlsoʊ ˈpɑsəbəl ðə ˈfɪltərɪŋ həz bɪn ˈæktɪˌveɪtɪd rɪˈpɔrt ˈoʊnli træks ˈfɪltərɪŋ ɪˈneɪbəld æt ðə taɪm əv ˌɪnˈstɔl) ər ðət ˈkəstəmərz ər ɔˈrɛdi ˈjuzɪŋ ɔl əv ðiz ˈfæktərz, aɪ ˈwʊdənt ɪkˈspɛkt əˈdɑpʃən ˈnəmbərz tɪ raɪz məʧ. ˈpipəl ˈʤɛnərəli doʊnt laɪk ðə ˈgəvərnmənt ˈtɛlɪŋ ðɛm wət ðeɪ kən ənd kænt ˈækˌsɛs. ˌɪˈligəl ˈkɑntɛnt ɪz ɔˈrɛdi blɑkt æt ˈlɛvəl (ɛz wɛl ɛz baɪ ˈsɛvərəl sərʧ ˈɛnʤənz soʊ wəts biɪŋ ˈædɪd ɪz ˈnəθɪŋ mɔr ðən ə ˌgəvərnˈmɛntəl ˈpɛrənt tɪ wɔʧ ˈoʊvər ˈsɪtɪzənz' ˈʃoʊldərz ɛz ðeɪ sərf ðə wɛb. ðoʊz wɪθ ˈʧɪldrən wʊd ˈprɑbəˌbli prɪˈfər tɪ rən ən ˈoʊpən paɪp ənd ˈfɪltər ˈkɑntɛnt æt ðə dɪˈvaɪs ˈlɛvəl. nɑt ˈɛvriˌwən ɪn ə ˈhaʊsˌhoʊld nidz tɪ bi ˈtritɪd laɪk ə ʧaɪld, wɪʧ ɪz ɪgˈzæktli wət ðiz ˈfɪltərz (ənd ðɛr prəˈpoʊnənts) ðət, ˈæktəˌveɪtɪŋ ə wɛb ˈfɪltər goʊz əˈgɛnst ˈjumən ˈneɪʧər, əˈspɛʃəli ðə ɪgˈzərʃən əv fri wɪl ənd ðə ˈʤɛnərəl əˈvɔɪdəns əv ɪmˈbɛrəsmənt. moʊst ˈpipəl vju ðɛmˈsɛlvz ɛz "gʊd" ənd əˈnɪntrəstəd ɪn ðə lɔŋ lɪst əv ˈɪntərˌnɛt ˈvaɪsɪz (pɔrn biɪŋ ðə moʊst ˈpɑpjələr). bət ˈivɪn ɪf ðeɪ ˈtruli bɪˈliv ðeɪd ˈnɛvər vju ðɪs ˈkɑntɛnt, ðeɪd ˈrəðər hæv ɪt əraɪv ənˈfɪltərd ðən bi fɔrst tɪ əˈproʊʧ ðɛr wiks (ər minutes…*…) ˈleɪtər laɪk ə ˈɑlɪvər twɪst ənd æsk, "pliz, sər. meɪ aɪ hæv səm pɔrn?" faɪld ˈəndər: ˈfɪltərz,, pɔrn ˈlaɪsəns,
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on thursday afternoon, the green bay packers announced a few critical items regarding the spring and summer practice schedule.
first, and perhaps most importantly, the packers announced the dates for the start of training camp; camp will begin on wednesday, july 26th, with the first practice taking place the next day on july 27th. this comes two days after the packers’ shareholders meeting, which was announced last week and will be held on monday, july 24th.
the packers will kick off training camp a bit later this year than they did last year. however, the start of camp was accelerated due to the participation in the hall of fame game. (of course, the game was cancelled due to poor field conditions brought about by issues with the paint on the turf.)
the team also revealed the dates of which practices during the spring workouts will be open to the public. the full schedule for all practices can be found here, but the open practice dates are below:
otas: tuesday may 23, thursday june 1, tuesday june 6
minicamp: tuesday june 13, wednesday june 14, thursday june 15
according to the press release, all open practices are held at clarke hinkle field. the ota practices will be available for viewing from the fences on either side of the field, while fans can traditionally sit in the stands bordering the practice field for practices.
stay tuned in the coming weeks, as the packers typically announce the full practice schedule for training camp around the conclusion of.
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ɔn ˈθərzˌdeɪ ˌæftərˈnun, ðə grin beɪ ˈpækərz əˈnaʊnst ə fju ˈkrɪtɪkəl ˈaɪtəmz rɪˈgɑrdɪŋ ðə spərɪŋ ənd ˈsəmər ˈpræktɪs ˈskɛʤʊl. fərst, ənd pərˈhæps moʊst ˌɪmˈpɔrtəntli, ðə ˈpækərz əˈnaʊnst ðə deɪts fər ðə stɑrt əv ˈtreɪnɪŋ kæmp; kæmp wɪl bɪˈgɪn ɔn ˈwɛnzˌdeɪ, ˌʤuˈlaɪ 26th*, wɪθ ðə fərst ˈpræktɪs ˈteɪkɪŋ pleɪs ðə nɛkst deɪ ɔn ˌʤuˈlaɪ 27th*. ðɪs kəmz tu deɪz ˈæftər ðə packers’*’ ˈʃɛˌrhoʊldərz ˈmitɪŋ, wɪʧ wɑz əˈnaʊnst læst wik ənd wɪl bi hɛld ɔn ˈmənˌdeɪ, ˌʤuˈlaɪ 24th*. ðə ˈpækərz wɪl kɪk ɔf ˈtreɪnɪŋ kæmp ə bɪt ˈleɪtər ðɪs jɪr ðən ðeɪ dɪd læst jɪr. ˌhaʊˈɛvər, ðə stɑrt əv kæmp wɑz ækˈsɛlərˌeɪtɪd du tɪ ðə pɑrˌtɪsəˈpeɪʃən ɪn ðə hɔl əv feɪm geɪm. (əv kɔrs, ðə geɪm wɑz ˈkænsəld du tɪ pur fild kənˈdɪʃənz brɔt əˈbaʊt baɪ ˈɪʃuz wɪθ ðə peɪnt ɔn ðə tərf.) ðə tim ˈɔlsoʊ rɪˈvild ðə deɪts əv wɪʧ ˈpræktɪsɪz ˈdʊrɪŋ ðə spərɪŋ ˈwərˌkaʊts wɪl bi ˈoʊpən tɪ ðə ˈpəblɪk. ðə fʊl ˈskɛʤʊl fər ɔl ˈpræktɪsɪz kən bi faʊnd hir, bət ðə ˈoʊpən ˈpræktɪs deɪts ər bɪˈloʊ: otas*: ˈtuzˌdeɪ meɪ 23 ˈθərzˌdeɪ ʤun 1 ˈtuzˌdeɪ ʤun 6: ˈtuzˌdeɪ ʤun 13 ˈwɛnzˌdeɪ ʤun 14 ˈθərzˌdeɪ ʤun 15 əˈkɔrdɪŋ tɪ ðə prɛs riˈlis, ɔl ˈoʊpən ˈpræktɪsɪz ər hɛld æt klɑrk ˈhɪŋkəl fild. ðə ˈoʊtə ˈpræktɪsɪz wɪl bi əˈveɪləbəl fər vjuɪŋ frəm ðə ˈfɛnsɪz ɔn ˈiðər saɪd əv ðə fild, waɪl fænz kən trəˈdɪʃənəli sɪt ɪn ðə stændz ˈbɔrdərɪŋ ðə ˈpræktɪs fild fər ˈpræktɪsɪz. steɪ tund ɪn ðə ˈkəmɪŋ wiks, ɛz ðə ˈpækərz ˈtɪpɪkəli əˈnaʊns ðə fʊl ˈpræktɪs ˈskɛʤʊl fər ˈtreɪnɪŋ kæmp əraʊnd ðə kənˈkluʒən əv.
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bo horvat needs a contract.
the canucks’ leading scorer last season is a restricted free agent and is angling for a significant raise on his deal. horvat is coming off a season and is the presumed future captain of the franchise: just how much do you pay him and for how long?
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it’s a difficult question to answer. as much as he has been transitioning into a role as the centre, as much by necessity as it is merit. the are declining, no longer capable of carrying the team on their backs offensively. the only other option for a centre right now is horvat.
that’s not to say he been good. offensively, done everything the canucks could ask of him, finishing second on the team in points per hour behind sven baertschi, hitting that nice round number of 20 goals, and breaking the barrier before his birthday. he was ranked among forwards in points, which already makes him a forward.
that puts him in the company of an interesting group of young forwards who recently signed contracts. ben kuzma broke down some comparable players in a recent article.
there’s the jonathan drouin, who is coming off a season. he just signed a six year deal with an average annual value (aav) of $5.5 million. is horvat worth the same amount considering the same age and had similar points? is he worth more because he plays a more valuable position as a centre? less because drouin has a higher ceiling?
the canucks would probably prefer something similar to vincent new contract. coming off a season, he signed a deal with an of $4.75 million.
the most recent signing was tyler johnson. the with the tampa bay lightning for 7 years and an of $5 million. can horvat and his agent argue that he is more valuable than johnson, who has a season under his belt? arguably, yes, as johnson matched those numbers over the last couple of seasons.
what complicates matters for the canucks is that horvat been able to match his offensive production with his defensive game. coming out of junior, horvat was lauded for his two-way game, but struggled in the defensive zone in the.
it’s particularly noticeable shorthanded, where horvat is one of the worst penalty killers in the league. of forwards who played at least 100 minutes at, horvat has the highest rate of shot attempts against and only jamie benn allowed a higher rate of goals against.
horvat has struggled defensively at as well. using goals above replacement, horvat was ranked among the in defence at -2.9. that means he cost the team goals with his defence compared to a player. he made up for it with the best on the canucks, but it is troubling.
taking into account his defence, who does horvat really compare to? using sean gar visualization tool, we can find some players that are at or near defence and from last season.
there are some tremendously interesting names in there, with nathan mackinnon and sean monahan being the most intriguing. both are centres for their respective teams in the same age range as horvat, though both are more proven than horvat. monahan has a couple 60+ point seasons, while mackinnon put up 63 points in his rookie year.
and yet, both have some defensive issues that they make up for with their offense at and on the power play.
mackinnon is particularly notable: a pick with high expectations, but on a team put up just 53 points last season. a comparison you can draw to 52 points for the similarly terrible canucks.
horvat is unlikely to get near 7-year, $6.3 million contract mackinnon has the stronger track record and higher expectations but their seasons very far apart. likewise, 7-year, $6.375 million contract would be a hard ask for his agent.
but does horvat belong in the same conversation as those two centres? does he have the same potential to hit 60+ points and be a legitimate centre?
it’s certainly possible. horvat had 32 points at last season. the same number of points as mackinnon. monahan had 34 points at.
the most points mackinnon has produced is 40 in his rookie season, while monahan hit 37 in. not out of reach for horvat, particularly if he gets deployed more as a centre in this coming season with fewer defensive zone starts.
the big difference could come on the power play, where horvat has been on the second unit behind the. he had 10 power play points last season, but led the team in power play points per hour. an argument to be made that he should be getting the bulk of the power play ice time.
monahan, on the other hand, had 17 power play points last season and 20 the season before that. mackinnon had 17 power play points in his rookie season when he put up 63 points.
with some more offensive zone time at, a boost in power play ice time, and a nice break on the bench during the penalty kill, horvat could easily have a 60+ point season next year. at that point, having him locked up for another years at $5.5 million per season will seem like a steal.
on the other hand, what if he's more like one of the other comparable players on that chart: tyler? is a competent complementary player who put up 55 points last season playing behind the likes of auston matthews, william nylander, mitch marner, and kadri.
you can argue that is worth his 5-year, $4.2 million contract, but certainly isn't underpaid. if, like, horvat fits the mold better as a complementary second-line, or even third-line, centre on a good team, would the canucks be making a big mistake by paying him money on a long-term contract?
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boʊ ˈhɔrvət nidz ə ˈkɑnˌtrækt. ðə canucks’*’ ˈlidɪŋ ˈskɔrər læst ˈsizən ɪz ə riˈstrɪktɪd fri ˈeɪʤənt ənd ɪz ˈæŋglɪŋ fər ə sɪgˈnɪfɪkənt reɪz ɔn hɪz dil. ˈhɔrvət ɪz ˈkəmɪŋ ɔf ə ˈsizən ənd ɪz ðə prɪˈzumd fˈjuʧər ˈkæptən əv ðə ˈfrænˌʧaɪz: ʤɪst haʊ məʧ du ju peɪ ɪm ənd fər haʊ lɔŋ? ˈɑrtɪkəl kənˈtɪnjuz bɪˈloʊ ə ˈdɪfəkəlt kˈwɛʃən tɪ ˈænsər. ɛz məʧ ɛz hi həz bɪn trænˈzɪʃənɪŋ ˈɪntu ə roʊl ɛz ðə ˈsɛntər, ɛz məʧ baɪ nəˈsɛsɪti ɛz ɪt ɪz ˈmɛrət. ðə ər dɪˈklaɪnɪŋ, noʊ ˈlɔŋgər ˈkeɪpəbəl əv ˈkɛriɪŋ ðə tim ɔn ðɛr bæks əˈfɛnsɪvli. ðə ˈoʊnli ˈəðər ˈɔpʃən fər ə ˈsɛntər raɪt naʊ ɪz ˈhɔrvət. nɑt tɪ seɪ hi bɪn gʊd. əˈfɛnsɪvli, dən ˈɛvriˌθɪŋ ðə ˈkeɪnəks kʊd æsk əv ɪm, ˈfɪnɪʃɪŋ ˈsɛkənd ɔn ðə tim ɪn pɔɪnts pər aʊər bɪˈhaɪnd svɛn baertschi*, ˈhɪtɪŋ ðət nis raʊnd ˈnəmbər əv 20 goʊlz, ənd ˈbreɪkɪŋ ðə ˈbɛriər ˌbiˈfɔr hɪz ˈbərθˌdeɪ. hi wɑz ræŋkt əˈməŋ ˈfɔrwərdz ɪn pɔɪnts, wɪʧ ɔˈrɛdi meɪks ɪm ə ˈfɔrwərd. ðət pʊts ɪm ɪn ðə ˈkəmpəˌni əv ən ˈɪntəˌrɛstɪŋ grup əv jəŋ ˈfɔrwərdz hu ˈrisəntli saɪnd ˈkɑnˌtrækts. bɛn ˈkəzmə broʊk daʊn səm ˈkɑmprəbəl pleɪərz ɪn ə ˈrisənt ˈɑrtɪkəl. ðə ˈʤɑnəθən drwin, hu ɪz ˈkəmɪŋ ɔf ə ˈsizən. hi ʤɪst saɪnd ə sɪks jɪr dil wɪθ ən ˈævərɪʤ ˈænjuəl ˈvælju (aav*) əv ˈmɪljən. ɪz ˈhɔrvət wərθ ðə seɪm əˈmaʊnt kənˈsɪdərɪŋ ðə seɪm eɪʤ ənd hæd ˈsɪmələr pɔɪnts? ɪz hi wərθ mɔr bɪˈkəz hi pleɪz ə mɔr ˈvæljəbəl pəˈzɪʃən ɛz ə ˈsɛntər? lɛs bɪˈkəz drwin həz ə haɪər ˈsilɪŋ? ðə ˈkeɪnəks wʊd ˈprɑbəˌbli prɪˈfər ˈsəmθɪŋ ˈsɪmələr tɪ ˈvɪnsɪnt nu ˈkɑnˌtrækt. ˈkəmɪŋ ɔf ə ˈsizən, hi saɪnd ə dil wɪθ ən əv ˈmɪljən. ðə moʊst ˈrisənt ˈsaɪnɪŋ wɑz ˈtaɪlər ˈʤɑnsən. ðə wɪθ ðə ˈtæmpə beɪ ˈlaɪtnɪŋ fər 7 jɪrz ənd ən əv 5 ˈmɪljən. kən ˈhɔrvət ənd hɪz ˈeɪʤənt ˈɑrgju ðət hi ɪz mɔr ˈvæljəbəl ðən ˈʤɑnsən, hu həz ə ˈsizən ˈəndər hɪz bɛlt? ˈɑrgjuəbli, jɛs, ɛz ˈʤɑnsən mæʧt ðoʊz ˈnəmbərz ˈoʊvər ðə læst ˈkəpəl əv ˈsizənz. wət ˈkɑmplɪˌkeɪts ˈmætərz fər ðə ˈkeɪnəks ɪz ðət ˈhɔrvət bɪn ˈeɪbəl tɪ mæʧ hɪz əˈfɛnsɪv pərˈdəkʃən wɪθ hɪz dɪˈfɛnsɪv geɪm. ˈkəmɪŋ aʊt əv ˈʤunjər, ˈhɔrvət wɑz ˈlɔdɪd fər hɪz ˈtuˌweɪ geɪm, bət ˈstrəgəld ɪn ðə dɪˈfɛnsɪv zoʊn ɪn ðə. ˌpɑrˈtɪkjələrli ˈnoʊtəsəbəl shorthanded*, wɛr ˈhɔrvət ɪz wən əv ðə wərst ˈpɛnəlti ˈkɪlərz ɪn ðə lig. əv ˈfɔrwərdz hu pleɪd æt list 100 ˈmɪnəts æt ˈhɔrvət həz ðə haɪəst reɪt əv ʃɑt əˈtɛmpts əˈgɛnst ənd ˈoʊnli ˈʤeɪmi bɛn əˈlaʊd ə haɪər reɪt əv goʊlz əˈgɛnst. ˈhɔrvət həz ˈstrəgəld dɪˈfɛnsɪvli æt ɛz wɛl. ˈjuzɪŋ goʊlz əˈbəv rɪˈpleɪsmənt, ˈhɔrvət wɑz ræŋkt əˈməŋ ðə ɪn dɪˈfɛns æt ðət minz hi kɔst ðə tim goʊlz wɪθ hɪz dɪˈfɛns kəmˈpɛrd tɪ ə pleɪər. hi meɪd əp fər ɪt wɪθ ðə bɛst ɔn ðə ˈkeɪnəks, bət ɪt ɪz ˈtrəbəlɪŋ. ˈteɪkɪŋ ˈɪntu əˈkaʊnt hɪz dɪˈfɛns, hu dɪz ˈhɔrvət ˈrɪli kəmˈpɛr tɪ? ˈjuzɪŋ ʃɔn gɑr ˌvɪʒwələˈzeɪʃən tul, wi kən faɪnd səm pleɪərz ðət ər æt ər nɪr dɪˈfɛns ənd frəm læst ˈsizən. ðɛr ər səm trɪˈmɛndəsli ˈɪntəˌrɛstɪŋ neɪmz ɪn ðɛr, wɪθ ˈneɪθən məˈkɪnən ənd ʃɔn ˈmɑnəhæn biɪŋ ðə moʊst ˌɪnˈtrigɪŋ. boʊθ ər ˈsɛntərz fər ðɛr rɪˈspɛktɪv timz ɪn ðə seɪm eɪʤ reɪnʤ ɛz ˈhɔrvət, ðoʊ boʊθ ər mɔr ˈpruvən ðən ˈhɔrvət. ˈmɑnəhæn həz ə ˈkəpəl 60 pɔɪnt ˈsizənz, waɪl məˈkɪnən pʊt əp 63 pɔɪnts ɪn hɪz ˈrʊki jɪr. ənd jɛt, boʊθ hæv səm dɪˈfɛnsɪv ˈɪʃuz ðət ðeɪ meɪk əp fər wɪθ ðɛr əˈfɛns æt ənd ɔn ðə paʊər pleɪ. məˈkɪnən ɪz ˌpɑrˈtɪkjələrli ˈnoʊtəbəl: ə pɪk wɪθ haɪ ˌɛkspɛkˈteɪʃənz, bət ɔn ə tim pʊt əp ʤɪst 53 pɔɪnts læst ˈsizən. ə kəmˈpɛrəsən ju kən drɔ tɪ 52 pɔɪnts fər ðə ˈsɪmələrli ˈtɛrəbəl ˈkeɪnəks. ˈhɔrvət ɪz ənˈlaɪkli tɪ gɪt nɪr 7-year*, ˈmɪljən ˈkɑnˌtrækt məˈkɪnən həz ðə ˈstrɔŋgər træk ˈrɛkərd ənd haɪər ˌɛkspɛkˈteɪʃənz bət ðɛr ˈsizənz ˈvɛri fɑr əˈpɑrt. ˈlaɪkˌwaɪz, 7-year*, ˈmɪljən ˈkɑnˌtrækt wʊd bi ə hɑrd æsk fər hɪz ˈeɪʤənt. bət dɪz ˈhɔrvət bɪˈlɔŋ ɪn ðə seɪm ˌkɑnvərˈseɪʃən ɛz ðoʊz tu ˈsɛntərz? dɪz hi hæv ðə seɪm pəˈtɛnʃəl tɪ hɪt 60 pɔɪnts ənd bi ə ləˈʤɪtəmət ˈsɛntər? ˈsərtənli ˈpɑsəbəl. ˈhɔrvət hæd 32 pɔɪnts æt læst ˈsizən. ðə seɪm ˈnəmbər əv pɔɪnts ɛz məˈkɪnən. ˈmɑnəhæn hæd 34 pɔɪnts æt ðə moʊst pɔɪnts məˈkɪnən həz prəˈdust ɪz 40 ɪn hɪz ˈrʊki ˈsizən, waɪl ˈmɑnəhæn hɪt 37 ɪn nɑt aʊt əv riʧ fər ˈhɔrvət, ˌpɑrˈtɪkjələrli ɪf hi gɪts dɪˈplɔɪd mɔr ɛz ə ˈsɛntər ɪn ðɪs ˈkəmɪŋ ˈsizən wɪθ fjuər dɪˈfɛnsɪv zoʊn stɑrts. ðə bɪg ˈdɪfərəns kʊd kəm ɔn ðə paʊər pleɪ, wɛr ˈhɔrvət həz bɪn ɔn ðə ˈsɛkənd ˈjunɪt bɪˈhaɪnd ðə. hi hæd 10 paʊər pleɪ pɔɪnts læst ˈsizən, bət lɛd ðə tim ɪn paʊər pleɪ pɔɪnts pər aʊər. ən ˈɑrgjəmənt tɪ bi meɪd ðət hi ʃʊd bi ˈgɪtɪŋ ðə bəlk əv ðə paʊər pleɪ aɪs taɪm. ˈmɑnəhæn, ɔn ðə ˈəðər hænd, hæd 17 paʊər pleɪ pɔɪnts læst ˈsizən ənd 20 ðə ˈsizən ˌbiˈfɔr ðət. məˈkɪnən hæd 17 paʊər pleɪ pɔɪnts ɪn hɪz ˈrʊki ˈsizən wɪn hi pʊt əp 63 pɔɪnts. wɪθ səm mɔr əˈfɛnsɪv zoʊn taɪm æt ə bust ɪn paʊər pleɪ aɪs taɪm, ənd ə nis breɪk ɔn ðə bɛnʧ ˈdʊrɪŋ ðə ˈpɛnəlti kɪl, ˈhɔrvət kʊd ˈizəli hæv ə 60 pɔɪnt ˈsizən nɛkst jɪr. æt ðət pɔɪnt, ˈhævɪŋ ɪm lɑkt əp fər əˈnəðər jɪrz æt ˈmɪljən pər ˈsizən wɪl sim laɪk ə stil. ɔn ðə ˈəðər hænd, wət ɪf hiz mɔr laɪk wən əv ðə ˈəðər ˈkɑmprəbəl pleɪərz ɔn ðət ʧɑrt: ˈtaɪlər? ɪz ə ˈkɑmpətɪnt ˌkɑmpləˈmɛnʧi pleɪər hu pʊt əp 55 pɔɪnts læst ˈsizən pleɪɪŋ bɪˈhaɪnd ðə laɪks əv ˈɔstən ˈmæθjuz, ˈwɪljəm ˈnɪləndər, mɪʧ ˈmɑrnər, ənd kadri*. ju kən ˈɑrgju ðət ɪz wərθ hɪz 5-year*, ˈmɪljən ˈkɑnˌtrækt, bət ˈsərtənli ˈɪzənt ˈəndərˈpeɪd. ɪf, laɪk, ˈhɔrvət fɪts ðə moʊld ˈbɛtər ɛz ə ˌkɑmpləˈmɛnʧi second-line*, ər ˈivɪn third-line*, ˈsɛntər ɔn ə gʊd tim, wʊd ðə ˈkeɪnəks bi ˈmeɪkɪŋ ə bɪg mɪˈsteɪk baɪ peɪɪŋ ɪm ˈməni ɔn ə ˈlɔŋˈtərm ˈkɑnˌtrækt?
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dr. dog on world cafe
set list "how long must i wait"
"warrior man"
"that old black hole"
"lonesome"
enlarge this image toggle caption chris crisman chris crisman
the philadelphia band dr. dog has continued to get better since forming in the early 2000s. the group's seven albums of layered are deeply influenced by the best of '60s pop, adding up to a sound that's both timeless and classic.
dr. dog's new album, be the void, represents a return to rock 'n' roll roots for the quintet, and the result captures the urgency of its live shows. with its boisterous blues influences and psychedelic pop hooks, be the void showcases a band that continues to come into its own.
this segment originally aired on march 2, 2012.
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ˈdɑktər. dɔg ɔn wərld kəˈfeɪ sɛt lɪst "haʊ lɔŋ məst aɪ weɪt" "ˈwɔrjər mæn" "ðət oʊld blæk hoʊl" "ˈloʊnsəm" ˌɛnˈlɑrʤ ðɪs ˈɪmɪʤ ˈtɑgəl ˈkæpʃən krɪs ˈkrɪsmən krɪs ˈkrɪsmən ðə ˌfɪləˈdɛlfiə bænd ˈdɑktər. dɔg həz kənˈtɪnjud tɪ gɪt ˈbɛtər sɪns ˈfɔrmɪŋ ɪn ðə ˈərli 2000s*. ðə grups ˈsɛvən ˈælbəmz əv leɪərd ər ˈdipli ˈɪnfluənst baɪ ðə bɛst əv pɑp, ˈædɪŋ əp tɪ ə saʊnd ðæts boʊθ ˈtaɪmləs ənd ˈklæsɪk. ˈdɑktər. dɔgz nu ˈælbəm, bi ðə vɔɪd, ˌrɛprɪˈzɛnts ə rɪˈtərn tɪ rɑk 'ɛn' roʊl ruts fər ðə kwɪnˈtɛt, ənd ðə rɪˈzəlt ˈkæpʧərz ðə ˈərʤənsi əv ɪts lɪv ʃoʊz. wɪθ ɪts ˈbɔɪstərəs bluz ˈɪnˌfluənsɪz ənd ˌsaɪkəˈdɛlɪk pɑp hʊks, bi ðə vɔɪd ˈʃoʊˌkeɪsɪz ə bænd ðət kənˈtɪnjuz tɪ kəm ˈɪntu ɪts oʊn. ðɪs ˌsɛgˈmɛnt ərˈɪʤənəli ɛrd ɔn mɑrʧ 2 2012
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real-time with a color glove robert y. wang and jovan popović
we demonstrate real-time tracking of the pose and configuration of the hand for and desktop virtual reality. the only components of our system are a cloth glove and a webcam.
gestural user input
tracking the pose and configuration of the hand our system is low latency (~100 ms) and can track the relatively fast motion of this sequence. desktop virtual reality our system can be used as an input device for desktop virtual reality. rotation and scaling here we demonstrate rotation and scaling of the stanford bunny with both hands. manipulating a virtual yoke here we demonstrate controlling a (crude) flight simulator by manipulating a virtual yoke.
about the color glove the color glove is printed on a lycra fabric and does not contain any obstructive sensors. the pattern is designed to be distinctive and facilitate robust tracking.
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ˈrilˌtaɪm wɪθ ə ˈkələr gləv ˈrɑbərt waɪ. wæŋ ənd ˈʤoʊvən popović*ć wi ˈdɛmənˌstreɪt ˈrilˌtaɪm ˈtrækɪŋ əv ðə poʊz ənd kənˌfɪgjərˈeɪʃən əv ðə hænd fər ənd ˈdɛskˌtɑp ˈvərʧuəl ˌriˈæləˌti. ðə ˈoʊnli kəmˈpoʊnənts əv ɑr ˈsɪstəm ər ə klɔθ gləv ənd ə webcam*. ˈjuzər ˈɪnˌpʊt ˈtrækɪŋ ðə poʊz ənd kənˌfɪgjərˈeɪʃən əv ðə hænd ɑr ˈsɪstəm ɪz loʊ ˈleɪtənsi 100 mɪz) ənd kən træk ðə ˈrɛlətɪvli fæst ˈmoʊʃən əv ðɪs ˈsikwəns. ˈdɛskˌtɑp ˈvərʧuəl ˌriˈæləˌti ɑr ˈsɪstəm kən bi juzd ɛz ən ˈɪnˌpʊt dɪˈvaɪs fər ˈdɛskˌtɑp ˈvərʧuəl ˌriˈæləˌti. roʊˈteɪʃən ənd ˈskeɪlɪŋ hir wi ˈdɛmənˌstreɪt roʊˈteɪʃən ənd ˈskeɪlɪŋ əv ðə ˈstænfərd ˈbəni wɪθ boʊθ hænz. məˈnɪpjəˌleɪtɪŋ ə ˈvərʧuəl joʊk hir wi ˈdɛmənˌstreɪt kənˈtroʊlɪŋ ə (krud) flaɪt ˈsɪmjəˌleɪtər baɪ məˈnɪpjəˌleɪtɪŋ ə ˈvərʧuəl joʊk. əˈbaʊt ðə ˈkələr gləv ðə ˈkələr gləv ɪz ˈprɪnɪd ɔn ə ˈlaɪkrə ˈfæbrɪk ənd dɪz nɑt kənˈteɪn ˈɛni əbˈstrəktɪv ˈsɛnsərz. ðə ˈpætərn ɪz dɪˈzaɪnd tɪ bi dɪˈstɪŋktɪv ənd fəˈsɪləˌteɪt roʊˈbəst ˈtrækɪŋ.
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jersey city gov. chris christie came to bury the arc tunnel not to praise it, and now with caesar seemingly on another issue, the purveyors of hudson politics came to praise path and with that, presumably politically bury christie.
it’s that report prepared by a port authority of new york and new jersey panel, which suggests the privatization of path train service to and from the city that never sleeps.
apparently in the name of bipartisanship, christie and new york governor andrew cuomo championed the report while eschewing bipartisan legislative reforms.
tramping in from out of frigid weather beside the grove street path station, a military collection of democratic party politicians joined jersey city mayor steven fulop to denounce the proposed scheme.
the political undercurrent carried repeated of “north jersey” amid proud hurrahs.
fulop, of course, is a fledgling candidate for governor in 2017 and exercise looked like a rev up of those erector set pieces that he will need to craft a northern democratic primary fortress.
u.s. senator bob menendez (d-n.j.) led the way, heaping praise on fulop for organizing the show of force.
“i applaud the leadership to join together a coalition to speak out against a travesty,” said new senior senator, who slammed the port authority, traditionally a nest for political patronage, some of which got blasted and exposed during last crisis.
“i still think we need an independent audit,” menendez said to hand claps.
he suggested changing the existing compact between new york and new jersey to make the port more accountable, bottom line, to the people.
“they forgot their core mission,” said hudson county executive tom degise, amplifying what menendez identified early as public transportation.
in order to help get a bloated agency under control, a plan released over the christmas holiday weekend and championed by the governors would save $10 million by privatizing portions of path train service.
menendez argued that a lunatic way for an agency with a $2.9 billion operating budget to throw the burden of its so-called reform onto the shoulders of the citizens of hudson county.
the mayor estimated that would be unfairly impacted by the proposed loss of path service from 1 a.m. to 5 a.m. on weeknights.
“that’s despicable,” said state senator nick sacco). “they are out of control.”
“we want the governor and the chairman [of the port, john degnan] to say this is off the table,” said fulop, doubling down on a point made earlier in the program by hoboken mayor dawn zimmer.
“no one consulted us,” zimmer said, a loose elbow at the front office.
others in attendance included u.s. rep. sires), speaker vincent prieto), state senators sandy cunningham and ronald l. rice, assemblyman raj mukherji, newark mayor ras baraka, and numerous mayors and hudson county officials.
a reporter pointed out that degnan has argued for bus service to duplicate those path train lanes now serving residents.
“it’s safe to assume that chairman degnan has never been on the path late at night,” said fulop to claps.
the mayor said many of his constituents in jersey city moved here with the precise purpose of taking advantage of train service. a quality of life issue.
asked if degnan a former attorney general who replaced the-disgraced port authority chairman david samson could honestly live up to the title of robust face of change, fulop said, “the still out. he has a great opportunity to retract that statement [about path}.”
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ˈʤərzi ˈsɪti gəv. krɪs ˈkrɪsti keɪm tɪ ˈbɛri ðə ɑrk ˈtənəl nɑt tɪ preɪz ɪt, ənd naʊ wɪθ ˈsizər ˈsimɪŋli ɔn əˈnəðər ˈɪʃu, ðə pərˈveɪərz əv ˈhədsən ˈpɑləˌtɪks keɪm tɪ preɪz pæθ ənd wɪθ ðət, prɪˈzuməbli ˈplɪtɪkli ˈbɛri ˈkrɪsti. ðət rɪˈpɔrt priˈpɛrd baɪ ə pɔrt əˈθɔrəti əv nu jɔrk ənd nu ˈʤərzi ˈpænəl, wɪʧ səˈʤɛsts ðə ˈpraɪvətəˈzeɪʃən əv pæθ treɪn ˈsərvɪs tɪ ənd frəm ðə ˈsɪti ðət ˈnɛvər slips. əˈpɛrəntli ɪn ðə neɪm əv baɪˈpɑrtəzənˌʃɪp, ˈkrɪsti ənd nu jɔrk ˈgəvərnər ˈændru kˈwoʊmoʊ ˈʧæmpiənd ðə rɪˈpɔrt waɪl ˌɛˈʃuɪŋ baɪˈpɑrtɪzən ˈlɛʤəsˌleɪtɪv rɪˈfɔrmz. ˈtræmpɪŋ ɪn frəm aʊt əv ˈfrɪʤəd ˈwɛðər ˌbiˈsaɪd ðə groʊv strit pæθ ˈsteɪʃən, ə ˈmɪlɪˌtɛri kəˈlɛkʃən əv ˌdɛməˈkrætɪk ˈpɑrti ˌpɑləˈtɪʃənz ʤɔɪnd ˈʤərzi ˈsɪti meɪər ˈstivən ˈfuləp tɪ dɪˈnaʊns ðə prəˈpoʊzd skim. ðə pəˈlɪtɪkəl ˈəndərˌkərənt ˈkɛrid rɪˈpitɪd əv jersey”*” əˈmɪd praʊd hurrahs*. ˈfuləp, əv kɔrs, ɪz ə ˈflɛʤlɪŋ ˈkænədɪt fər ˈgəvərnər ɪn 2017 ənd ˈɛksərˌsaɪz lʊkt laɪk ə rɛv əp əv ðoʊz ɪˈrɛktər sɛt ˈpisɪz ðət hi wɪl nid tɪ kræft ə ˈnɔrðərn ˌdɛməˈkrætɪk ˈpraɪˌmɛri ˈfɔrtrəs. juz. ˈsɛnətər bɑb mɛˈnɛndɛz (d-n.j*.) lɛd ðə weɪ, ˈhipɪŋ preɪz ɔn ˈfuləp fər ˈɔrgəˌnaɪzɪŋ ðə ʃoʊ əv fɔrs. əˈplɔd ðə ˈlidərˌʃɪp tɪ ʤɔɪn təˈgɛðər ə ˌkoʊəˈlɪʃən tɪ spik aʊt əˈgɛnst ə travesty,”*,” sɛd nu ˈsinjər ˈsɛnətər, hu slæmd ðə pɔrt əˈθɔrəti, trəˈdɪʃənəli ə nɛst fər pəˈlɪtɪkəl ˈpætrənɪʤ, səm əv wɪʧ gɑt ˈblæstɪd ənd ɪkˈspoʊzd ˈdʊrɪŋ læst ˈkraɪsəs. stɪl θɪŋk wi nid ən ˌɪndɪˈpɛndənt audit,”*,” mɛˈnɛndɛz sɛd tɪ hænd klæps. hi səˈʤɛstɪd ˈʧeɪnʤɪŋ ðə ɪgˈzɪstɪŋ ˈkɑmpækt bɪtˈwin nu jɔrk ənd nu ˈʤərzi tɪ meɪk ðə pɔrt mɔr əˈkaʊntəbəl, ˈbɑtəm laɪn, tɪ ðə ˈpipəl. fərˈgɑt ðɛr kɔr mission,”*,” sɛd ˈhədsən ˈkaʊnti ɪgˈzɛkjətɪv tɑm degise*, ˈæmpləˌfaɪɪŋ wət mɛˈnɛndɛz aɪˈdɛntəˌfaɪd ˈərli ɛz ˈpəblɪk ˌtrænspərˈteɪʃən. ɪn ˈɔrdər tɪ hɛlp gɪt ə ˈbloʊtɪd ˈeɪʤənsi ˈəndər kənˈtroʊl, ə plæn riˈlist ˈoʊvər ðə ˈkrɪsməs ˈhɑlɪˌdeɪ ˈwiˌkɪnd ənd ˈʧæmpiənd baɪ ðə ˈgəvərnərz wʊd seɪv 10 ˈmɪljən baɪ ˈpraɪvəˌtaɪzɪŋ ˈpɔrʃənz əv pæθ treɪn ˈsərvɪs. mɛˈnɛndɛz ˈɑrgjud ðət ə ˈlunəˌtɪk weɪ fər ən ˈeɪʤənsi wɪθ ə ˈbɪljən ˈɔpərˌeɪtɪŋ ˈbəʤɪt tɪ θroʊ ðə ˈbərdən əv ɪts ˈsoʊˈkɔld rɪˈfɔrm ˈɔntu ðə ˈʃoʊldərz əv ðə ˈsɪtɪzənz əv ˈhədsən ˈkaʊnti. ðə meɪər ˈɛstəˌmeɪtɪd ðət wʊd bi ənˈfɛrli ˌɪmˈpæktɪd baɪ ðə prəˈpoʊzd lɔs əv pæθ ˈsərvɪs frəm 1 a.m*. tɪ 5 a.m*. ɔn weeknights*. despicable,”*,” sɛd steɪt ˈsɛnətər nɪk ˈsækoʊ ər aʊt əv control.”*.” wɔnt ðə ˈgəvərnər ənd ðə ˈʧɛrmən [əv ðə pɔrt, ʤɑn ˈdɛgnən] tɪ seɪ ðɪs ɪz ɔf ðə table,”*,” sɛd ˈfuləp, ˈdəbəlɪŋ daʊn ɔn ə pɔɪnt meɪd ˈərliər ɪn ðə ˈproʊˌgræm baɪ ˈhoʊboʊkən meɪər dɔn ˈzɪmər. wən kənˈsəltɪd us,”*,” ˈzɪmər sɛd, ə lus ˈɛlˌboʊ æt ðə frənt ˈɔfəs. ˈəðərz ɪn əˈtɛndəns ˌɪnˈkludɪd juz. rɛpriˈzɛtətɪv. saɪrz ˈspikər ˈvɪnsɪnt ˈpritoʊ steɪt ˈsɛnətərz ˈsændi ˈkənɪŋˌhæm ənd ˈrɑnəld ɛl. raɪs, əˈsɛmbliˌmæn rɑʤ mukherji*, nuərk meɪər ræs baraka*, ənd ˈnumərəs meɪərz ənd ˈhədsən ˈkaʊnti əˈfɪʃəlz. ə rɪˈpɔrtər ˈpɔɪntɪd aʊt ðət ˈdɛgnən həz ˈɑrgjud fər bəs ˈsərvɪs tɪ ˈdupləˌkeɪt ðoʊz pæθ treɪn leɪnz naʊ ˈsərvɪŋ ˈrɛzɪdənts. seɪf tɪ əˈsum ðət ˈʧɛrmən ˈdɛgnən həz ˈnɛvər bɪn ɔn ðə pæθ leɪt æt night,”*,” sɛd ˈfuləp tɪ klæps. ðə meɪər sɛd ˈmɛni əv hɪz kənˈstɪʧuənts ɪn ˈʤərzi ˈsɪti muvd hir wɪθ ðə prɪˈsaɪs ˈpərpəs əv ˈteɪkɪŋ ædˈvæntɪʤ əv treɪn ˈsərvɪs. ə kˈwɑləti əv laɪf ˈɪʃu. æst ɪf ˈdɛgnən ə ˈfɔrmər əˈtərni ˈʤɛnərəl hu ˌriˈpleɪst ðə pɔrt əˈθɔrəti ˈʧɛrmən ˈdeɪvɪd ˈsæmsən kʊd ˈɑnəstli lɪv əp tɪ ðə ˈtaɪtəl əv roʊˈbəst feɪs əv ʧeɪnʤ, ˈfuləp sɛd, stɪl aʊt. hi həz ə greɪt ˌɑpərˈtunəti tɪ riˈtrækt ðət ˈsteɪtmənt [əˈbaʊt path}.”*}.”
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