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it is easy to lose sight of the wood for the trees in a like kashmir's, and the state police appear to have done just that over the funeral of commander abu on thursday. he was killed earlier that day in an operation led by the rifles.
senior police officers said this one killing had broken the back of militancy but seemed oblivious to how vividly the funeral demonstrated mass alienation. those who attended the funeral or were in the vicinity spoke of their shock at the level of mass hatred against india which they witnessed.
some estimates put the number of mourners at. many young people drove from and districts to the funeral site in district. observers noted an almost murderous zest in their emotions. militants joined the boisterous crowd and fired volleys as a salute when was buried. funeral prayers were read twice at different locations and people from the three districts argued over where the body would be buried.
after the funeral, the handling of the highly strung public smacked of a counterproductive ego battle. they damaged a large number of returning cars and locked up scores of boisterous young men. this sort of repressive response tends to turn a battle victory between militants and counterinsurgency forces into a mass uprising that could change the contours of the war to the forces’ disadvantage.
a senior police officer was quoted as saying that, after had killed `super-cop’ mohammed dar earlier this month, it had become not just a professional duty but a personal one to kill. taking umbrage at this remark, hilal, an angry resident of, asked why it had not been the duty to kill as long as his targets were army or soldiers. he added bitterly that the police force was so incensed over’s killing because his successes used to bring them large amounts in reward.
such support for a slain militant has been uncommon since about 1991, particularly for a pakistani. until relatively recently, people by and large did not quite identify with ‘guest militants’, and were wary of zeal. about a decade ago, people generally avoided sheltering or aiding them.
several factors have come together to change things so much. they need to be taken seriously, for this is a dangerous trend.
one, assumed a heroic image after he ambushed and killed. senior police officers’ projection of that killing was directly responsible. instead of quietly looking after the interests of his family, they made public the achievements of the slain covert operative, whose skill at applying dealt severe blows to militancy. that publicity not only put his family in way, it caused a lot of young people to take posthumous sides as if and had been gladiators at a roman spectacle.
two factors that have been strongly at play in recent weeks helped to push public empathy towards a show of almost hysterical support for. one, have been appalled at the targeting of muslims, and other minorities across various parts of india. those trends have roused fears about association with india.
two, disappointment with the coalition government has risen to dangerous levels. people initially focused on the lack of flood relief and other ‘packages’, which the had cited as their reason for allying with the party in power at the centre. but, in light of trends across the country, people now bitterly accuse the of betraying an essentially mandate. subliminally, the post-mortem of and the implied acceptance of ideology reflects resentment against hindutva.
such is the mood in kashmir today that the prime monetary ‘package’ for the state, which is being touted again, would most likely be received with contempt even if it does materialise. as a measure to win hearts and minds, it is not only too late, it will not even begin to heal the damage that the violence, including the lynching and the burning to death of a kashmiri truck cleaner at udhampur, have done.
in combination, the two factors have the idea in kashmir that mohammed ali was right to have posited the theory and to have warned muslims before the partition about the dangers of accepting composite nationhood in a india.
(david devadas, an expert on political and international affairs, is the author of in search of a future: the story of kashmir)
firstpost is now on. for the latest analysis, commentary and news updates, sign up for our services. just go to.com/whatsapp and hit the subscribe button. | ɪt ɪz ˈizi tɪ luz saɪt əv ðə wʊd fər ðə triz ɪn ə laɪk kashmir's*, ənd ðə steɪt pəˈlis əˈpɪr tɪ hæv dən ʤɪst ðət ˈoʊvər ðə fˈjunərəl əv kəˈmændər ˈæbu ɔn ˈθərzˌdeɪ. hi wɑz kɪld ˈərliər ðət deɪ ɪn ən ˌɑpərˈeɪʃən lɛd baɪ ðə ˈraɪfəlz. ˈsinjər pəˈlis ˈɔfɪsərz sɛd ðɪs wən ˈkɪlɪŋ hæd ˈbroʊkən ðə bæk əv ˈmɪlətənsi bət simd əˈblɪviəs tɪ haʊ ˈvɪvədli ðə fˈjunərəl ˈdɛmənˌstreɪtɪd mæs ˌeɪliəˈneɪʃən. ðoʊz hu əˈtɛndəd ðə fˈjunərəl ər wər ɪn ðə vɪˈsɪnɪti spoʊk əv ðɛr ʃɑk æt ðə ˈlɛvəl əv mæs ˈheɪtrəd əˈgɛnst ˈɪndiə wɪʧ ðeɪ ˈwɪtnəst. səm ˈɛstəˌmeɪts pʊt ðə ˈnəmbər əv ˈmɔrnərz æt ˈmɛni jəŋ ˈpipəl droʊv frəm ənd ˈdɪstrɪkts tɪ ðə fˈjunərəl saɪt ɪn ˈdɪstrɪkt. əbˈzərvərz ˈnoʊtɪd ən ˈɔlˌmoʊst ˈmərdərəs zɛst ɪn ðɛr ˈɪˌmoʊʃənz. ˈmɪlətənts ʤɔɪnd ðə ˈbɔɪstərəs kraʊd ənd faɪərd ˈvɑliz ɛz ə səˈlut wɪn wɑz ˈbɛrid. fˈjunərəl prɛrz wər rɛd twaɪs æt ˈdɪfərənt loʊˈkeɪʃənz ənd ˈpipəl frəm ðə θri ˈdɪstrɪkts ˈɑrgjud ˈoʊvər wɛr ðə ˈbɑdi wʊd bi ˈbɛrid. ˈæftər ðə fˈjunərəl, ðə ˈhændəlɪŋ əv ðə ˈhaɪli strəŋ ˈpəblɪk smækt əv ə ˈkaʊnərprəˌdəktɪv ˈigoʊ ˈbætəl. ðeɪ ˈdæmɪʤd ə lɑrʤ ˈnəmbər əv rɪˈtərnɪŋ kɑz ənd lɑkt əp skɔrz əv ˈbɔɪstərəs jəŋ mɛn. ðɪs sɔrt əv riˈprɛsɪv rɪˈspɑns tɛndz tɪ tərn ə ˈbætəl ˈvɪktəri bɪtˈwin ˈmɪlətənts ənd ˌkaʊnərɪnˈsərʤənsi ˈfɔrsɪz ˈɪntu ə mæs ˈəˌpraɪzɪŋ ðət kʊd ʧeɪnʤ ðə ˈkɑnˌtʊrz əv ðə wɔr tɪ ðə forces’*’ ˌdɪsədˈvænɪʤ. ə ˈsinjər pəˈlis ˈɔfɪsər wɑz kˈwoʊtɪd ɛz seɪɪŋ ðət, ˈæftər hæd kɪld `super-cop’*’ moʊˈhæmɪd dɑr ˈərliər ðɪs mənθ, ɪt hæd bɪˈkəm nɑt ʤɪst ə prəˈfɛʃənəl ˈduti bət ə ˈpərsɪnəl wən tɪ kɪl. ˈteɪkɪŋ ˈəmbrɪʤ æt ðɪs rɪˈmɑrk, hilal*, ən ˈæŋgri ˈrɛzɪdənt əv, æst waɪ ɪt hæd nɑt bɪn ðə ˈduti tɪ kɪl ɛz lɔŋ ɛz hɪz ˈtɑrgəts wər ˈɑrmi ər ˈsoʊlʤərz. hi ˈædɪd ˈbɪtərli ðət ðə pəˈlis fɔrs wɑz soʊ ˈɪnˌsɛnst ˈoʊvər ˈkɪlɪŋ bɪˈkəz hɪz səkˈsɛsɪz juzd tɪ brɪŋ ðɛm lɑrʤ əˈmaʊnts ɪn rɪˈwɔrd. səʧ səˈpɔrt fər ə sleɪn ˈmɪlətənt həz bɪn ənˈkɑmən sɪns əˈbaʊt 1991 ˌpɑrˈtɪkjələrli fər ə ˌpækɪˈstæni. ənˈtɪl ˈrɛlətɪvli ˈrisəntli, ˈpipəl baɪ ənd lɑrʤ dɪd nɑt kwaɪt aɪˈdɛntəˌfaɪ wɪθ militants’*’, ənd wər ˈwɛri əv zil. əˈbaʊt ə ˈdɛkeɪd əˈgoʊ, ˈpipəl ˈʤɛnərəli əˈvɔɪdɪd ˈʃɛltərɪŋ ər ˈeɪdɪŋ ðɛm. ˈsɛvərəl ˈfæktərz hæv kəm təˈgɛðər tɪ ʧeɪnʤ θɪŋz soʊ məʧ. ðeɪ nid tɪ bi ˈteɪkən ˈsɪriəsli, fər ðɪs ɪz ə ˈdeɪnʤərəs trɛnd. wən, əˈsumd ə hɪˈroʊɪk ˈɪmɪʤ ˈæftər hi ˈæmˌbʊʃt ənd kɪld. ˈsinjər pəˈlis officers’*’ prɑˈʤɛkʃən əv ðət ˈkɪlɪŋ wɑz dɪˈrɛkli riˈspɑnsəbəl. ˌɪnˈstɛd əv kˈwaɪətli ˈlʊkɪŋ ˈæftər ðə ˈɪntərɪsts əv hɪz ˈfæməli, ðeɪ meɪd ˈpəblɪk ðə əˈʧivmənts əv ðə sleɪn ˈkoʊvərt ˈɑpərətɪv, huz skɪl æt əˈplaɪɪŋ dɛlt səˈvɪr bloʊz tɪ ˈmɪlətənsi. ðət pəˈblɪsɪti nɑt ˈoʊnli pʊt hɪz ˈfæməli ɪn weɪ, ɪt kɔzd ə lɔt əv jəŋ ˈpipəl tɪ teɪk ˈpɑsʧʊməs saɪdz ɛz ɪf ənd hæd bɪn ˈglædiˌeɪtərz æt ə ˈroʊmən ˈspɛktəkəl. tu ˈfæktərz ðət hæv bɪn ˈstrɔŋli æt pleɪ ɪn ˈrisənt wiks hɛlpt tɪ pʊʃ ˈpəblɪk ˈɛmpəθi təˈwɔrdz ə ʃoʊ əv ˈɔlˌmoʊst hɪˈstɛrɪkəl səˈpɔrt fər. wən, hæv bɪn əˈpɔld æt ðə ˈtɑrgətɪŋ əv ˈməzlɪmz, ənd ˈəðər məˈnɔrətiz əˈkrɔs ˈvɛriəs pɑrts əv ˈɪndiə. ðoʊz trɛnz hæv raʊzd fɪrz əˈbaʊt əˌsoʊʃiˈeɪʃən wɪθ ˈɪndiə. tu, ˌdɪsəˈpɔɪntmənt wɪθ ðə ˌkoʊəˈlɪʃən ˈgəvərnmənt həz ˈrɪzən tɪ ˈdeɪnʤərəs ˈlɛvəlz. ˈpipəl ˌɪˈnɪʃəli ˈfoʊkɪst ɔn ðə læk əv fləd rɪˈlif ənd ˈəðər ‘‘packages’*’, wɪʧ ðə hæd ˈsaɪtɪd ɛz ðɛr ˈrizən fər ˈælaɪɪŋ wɪθ ðə ˈpɑrti ɪn paʊər æt ðə ˈsɛntər. bət, ɪn laɪt əv trɛnz əˈkrɔs ðə ˈkəntri, ˈpipəl naʊ ˈbɪtərli əˈkjuz ðə əv bɪˈtreɪɪŋ ən ɛˈsɛnʃəli ˈmænˌdeɪt. səˈblɪmɪnəli, ðə poʊstˈmɔrtɛm əv ənd ðə ˌɪmˈplaɪd əkˈsɛptəns əv ˌaɪdiˈɑləʤi rɪˈflɛkts rɪˈzɛntmənt əˈgɛnst hindutva*. səʧ ɪz ðə mud ɪn ˈkæʃmɪr təˈdeɪ ðət ðə praɪm ˈmɑnəˌtɛri ‘‘package’*’ fər ðə steɪt, wɪʧ ɪz biɪŋ ˈtaʊtɪd əˈgɛn, wʊd moʊst ˈlaɪkli bi rɪˈsivd wɪθ kənˈtɛmpt ˈivɪn ɪf ɪt dɪz materialise*. ɛz ə ˈmɛʒər tɪ wɪn hɑrts ənd maɪndz, ɪt ɪz nɑt ˈoʊnli tu leɪt, ɪt wɪl nɑt ˈivɪn bɪˈgɪn tɪ hil ðə ˈdæmɪʤ ðət ðə ˈvaɪələns, ˌɪnˈkludɪŋ ðə ˈlɪnʧɪŋ ənd ðə ˈbərnɪŋ tɪ dɛθ əv ə kæʃˈmiri trək ˈklinər æt udhampur*, hæv dən. ɪn ˌkɑmbəˈneɪʃən, ðə tu ˈfæktərz hæv ðə aɪˈdiə ɪn ˈkæʃmɪr ðət moʊˈhæmɪd ˈɑli wɑz raɪt tɪ hæv ˈpɑzətəd ðə ˈθɪri ənd tɪ hæv wɔrnd ˈməzlɪmz ˌbiˈfɔr ðə pɑrˈtɪʃən əˈbaʊt ðə ˈdeɪnʤərz əv əkˈsɛptɪŋ kəmˈpɑzət ˈneɪʃənˌhʊd ɪn ə ˈɪndiə. (ˈdeɪvɪd devadas*, ən ˈɛkspərt ɔn pəˈlɪtɪkəl ənd ˌɪnərˈnæʃənɑl əˈfɛrz, ɪz ðə ˈɔθər əv ɪn sərʧ əv ə fˈjuʧər: ðə ˈstɔri əv ˈkæʃmɪr) ɪz naʊ ɔn. fər ðə ˈleɪtəst æˈnælɪsɪs, ˈkɑmənˌtɛri ənd nuz ˈəpˌdeɪts, saɪn əp fər ɑr ˈsərvɪsɪz. ʤɪst goʊ tɪ ənd hɪt ðə səbˈskraɪb ˈbətən. |
that’s a massive amount of money and speaks to both the complexity of the u.s. corporate tax code and the extreme lengths companies will go to lower their tax bill. apple, for instance, uses a subsidiary known as apple operations international (aoi) to hold most of its offshore profits, as a report from the senate permanent subcommittee on investigations explained last year. aoi is incorporated in ireland, where the corporate tax rate is just 2 percent. because of that, aoi avoids paying the u.s. corporate tax rate of 35 percent. but the irish corporate tax code only applies to companies whose management and control reside in ireland. it has nothing to do with where the entity is incorporated. therefore, management and control is not located in ireland, so it avoids the irish corporate tax as well.
the citizens for tax justice report shows that ireland is the seventh most popular tax haven for fortune 500 companies. see some other familiar names on the list: the netherlands, the cayman islands, bermuda and switzerland.
the 362 companies have nearly $2 trillion combined sitting overseas. including fortune 500 firms without subsidiaries in tax haven jurisdictions and 500 companies brings that to over $2 trillion. that money cannot be used to pay wages or invest in the united states. companies cannot buy back shares or issue dividends with it. apple even issued $17 billion in debt last year for dividend and buyback programs to avoid repatriating their overseas profits and paying the 35 percent corporate rate. this money could have provided a huge boost to the u.s. economy if companies had returned it to the united states. instead, it sits overseas, collecting dust.
while easy to denigrate the multinational firms for keeping the profits abroad, the corporate tax code also deserves blame. democrats and republicans both agree it needs to be reformed. the 35 percent rate is the highest in the developed world. the corporate tax code contains so many tax breaks that no rational company pays that rate. instead, they hire teams of lawyers and use complicated tax strategies to lower their tax bill in any way they can. this complex system inherently favors those with the resources to hire teams of lawyers: big, rich companies. new, small firms are at a significant disadvantage.
the corporate tax code even doing a good job collecting revenue for the federal government. corporate tax revenue as a percent of fell from a peak of more than 6 percent after world war to approximately 2 percent over the past three decades: | that’s* ə ˈmæsɪv əˈmaʊnt əv ˈməni ənd spiks tɪ boʊθ ðə kəmˈplɛksɪti əv ðə juz. ˈkɔrpərət tæks koʊd ənd ðə ɪkˈstrim lɛŋθs ˈkəmpəˌniz wɪl goʊ tɪ loʊər ðɛr tæks bɪl. ˈæpəl, fər ˈɪnstəns, ˈjuzɪz ə səbˈsɪdiˌɛri noʊn ɛz ˈæpəl ˌɑpərˈeɪʃənz ˌɪnərˈnæʃənɑl (aʊi) tɪ hoʊld moʊst əv ɪts ˈɔfˈʃɔr ˈprɑfɪts, ɛz ə rɪˈpɔrt frəm ðə ˈsɛnɪt ˈpərmɑˌnɛnt ˈsəbkəˈmɪti ɔn ˌɪnˌvɛstəˈgeɪʃənz ɪkˈspleɪnd læst jɪr. aʊi ɪz ˌɪnˈkɔrpərˌeɪtɪd ɪn ˈaɪərlənd, wɛr ðə ˈkɔrpərət tæks reɪt ɪz ʤɪst 2 pərˈsɛnt. bɪˈkəz əv ðət, aʊi əˈvɔɪdz peɪɪŋ ðə juz. ˈkɔrpərət tæks reɪt əv 35 pərˈsɛnt. bət ðə ˈaɪrɪʃ ˈkɔrpərət tæks koʊd ˈoʊnli əˈplaɪz tɪ ˈkəmpəˌniz huz ˈmænɪʤmənt ənd kənˈtroʊl rɪˈzaɪd ɪn ˈaɪərlənd. ɪt həz ˈnəθɪŋ tɪ du wɪθ wɛr ðə ˈɛntɪti ɪz ˌɪnˈkɔrpərˌeɪtɪd. ˈðɛrˌfɔr, ˈmænɪʤmənt ənd kənˈtroʊl ɪz nɑt ˈloʊˌkeɪtəd ɪn ˈaɪərlənd, soʊ ɪt əˈvɔɪdz ðə ˈaɪrɪʃ ˈkɔrpərət tæks ɛz wɛl. ðə ˈsɪtɪzənz fər tæks ˈʤəstɪs rɪˈpɔrt ʃoʊz ðət ˈaɪərlənd ɪz ðə ˈsɛvənθ moʊst ˈpɑpjələr tæks ˈheɪvən fər ˈfɔrʧən 500 ˈkəmpəˌniz. si səm ˈəðər fəˈmɪljər neɪmz ɔn ðə lɪst: ðə ˈnɛðərləndz, ðə ˈkeɪmən ˈaɪləndz, bərmˈjudə ənd sˈwɪtsərlənd. ðə 362 ˈkəmpəˌniz hæv ˈnɪrli 2 ˈtrɪljən kəmˈbaɪnd ˈsɪtɪŋ ˈoʊvərˈsiz. ˌɪnˈkludɪŋ ˈfɔrʧən 500 fərmz wɪˈθaʊt səbˈsɪdiˌɛriz ɪn tæks ˈheɪvən ˌʤʊrɪsˈdɪkʃənz ənd 500 ˈkəmpəˌniz brɪŋz ðət tɪ ˈoʊvər 2 ˈtrɪljən. ðət ˈməni ˈkænɑt bi juzd tɪ peɪ ˈweɪʤɪz ər ˌɪnˈvɛst ɪn ðə juˈnaɪtɪd steɪts. ˈkəmpəˌniz ˈkænɑt baɪ bæk ʃɛrz ər ˈɪʃu ˈdɪvɪˌdɛndz wɪθ ɪt. ˈæpəl ˈivɪn ˈɪʃud 17 ˈbɪljən ɪn dɛt læst jɪr fər ˈdɪvɪˌdɛnd ənd ˈbaɪˌbæk ˈproʊˌgræmz tɪ əˈvɔɪd riˈpeɪtriˌeɪtɪŋ ðɛr ˈoʊvərˈsiz ˈprɑfɪts ənd peɪɪŋ ðə 35 pərˈsɛnt ˈkɔrpərət reɪt. ðɪs ˈməni kʊd hæv prəˈvaɪdɪd ə juʤ bust tɪ ðə juz. ɪˈkɑnəmi ɪf ˈkəmpəˌniz hæd rɪˈtərnd ɪt tɪ ðə juˈnaɪtɪd steɪts. ˌɪnˈstɛd, ɪt sɪts ˈoʊvərˈsiz, kəˈlɛktɪŋ dəst. waɪl ˈizi tɪ ˈdɛnəˌgreɪt ðə ˌməlˌtiˈnæʃənəl fərmz fər ˈkipɪŋ ðə ˈprɑfɪts əˈbrɔd, ðə ˈkɔrpərət tæks koʊd ˈɔlsoʊ dɪˈzərvz bleɪm. ˈdɛməˌkræts ənd rɪˈpəblɪkənz boʊθ əˈgri ɪt nidz tɪ bi rɪˈfɔrmd. ðə 35 pərˈsɛnt reɪt ɪz ðə haɪəst ɪn ðə dɪˈvɛləpt wərld. ðə ˈkɔrpərət tæks koʊd kənˈteɪnz soʊ ˈmɛni tæks breɪks ðət noʊ ˈræʃənəl ˈkəmpəˌni peɪz ðət reɪt. ˌɪnˈstɛd, ðeɪ haɪər timz əv ˈlɔjərz ənd juz ˈkɑmpləˌkeɪtəd tæks ˈstrætəʤiz tɪ loʊər ðɛr tæks bɪl ɪn ˈɛni weɪ ðeɪ kən. ðɪs ˈkɑmplɛks ˈsɪstəm ˌɪnˈhɛrəntli ˈfeɪvərz ðoʊz wɪθ ðə ˈrisɔrsɪz tɪ haɪər timz əv ˈlɔjərz: bɪg, rɪʧ ˈkəmpəˌniz. nu, smɔl fərmz ər æt ə sɪgˈnɪfɪkənt ˌdɪsədˈvænɪʤ. ðə ˈkɔrpərət tæks koʊd ˈivɪn duɪŋ ə gʊd ʤɑb kəˈlɛktɪŋ ˈrɛvəˌnu fər ðə ˈfɛdərəl ˈgəvərnmənt. ˈkɔrpərət tæks ˈrɛvəˌnu ɛz ə pərˈsɛnt əv fɛl frəm ə pik əv mɔr ðən 6 pərˈsɛnt ˈæftər wərld wɔr tɪ əˈprɑksəmətli 2 pərˈsɛnt ˈoʊvər ðə pæst θri ˈdɛkeɪdz: |
in this special episode of the projection booth, john sayles talks about his new film go for sisters, lessons learned working for roger corman, and the state of independent go for sisters, bernice hamilton) and ross) grew up so close people said they could “go for sisters”, but time sent them down different paths. twenty years later, those paths cross: is a recovering addict fresh out of jail, and bernice is her new parole son rodney goes missing on the mexican border, his shady associates all in hiding or brutally murdered, bernice realizes she needs someone with the connections to navigate world without involving the police… and turns to her old friend. the pair enlist the services of disgraced detective freddy (edward james olmos) and plunge into the dim underbelly of tijuana, forced to unravel a complex web of human traffickers, smugglers, and corrupt cops before rodney meets the same fate as his much a story of relationships as a story of crime, go for sisters is a welcome return to the border for master filmmaker and academy award nominee john sayles (lone star, passion the official go for sisters the official john sayles university of michigan acquires archive of filmmaker john sayles"iconocuicati" - lila frontera" - songs are from the women of latin america by | ɪn ðɪs ˈspɛʃəl ˈɛpɪˌsoʊd əv ðə prɑˈʤɛkʃən buθ, ʤɑn seɪlz tɔks əˈbaʊt hɪz nu fɪlm goʊ fər ˈsɪstərz, ˈlɛsənz ˈlərnɪd ˈwərkɪŋ fər ˈrɑʤər ˈkɔrmən, ənd ðə steɪt əv ˌɪndɪˈpɛndənt goʊ fər ˈsɪstərz, bərˈnis ˈhæməltən) ənd rɔs) gru əp soʊ kloʊz ˈpipəl sɛd ðeɪ kʊd fər sisters”*”, bət taɪm sɛnt ðɛm daʊn ˈdɪfərənt pæθs. tˈwɛnti jɪrz ˈleɪtər, ðoʊz pæθs krɔs: ɪz ə rɪˈkəvərɪŋ ˈæˌdɪkt frɛʃ aʊt əv ʤeɪl, ənd bərˈnis ɪz hər nu pəroʊl sən ˈrɑdni goʊz ˈmɪsɪŋ ɔn ðə ˈmɛksəkən ˈbɔrdər, hɪz ˈʃeɪdi əˈsoʊʃiˌeɪts ɔl ɪn ˈhaɪdɪŋ ər ˈbrutəli ˈmərdərd, bərˈnis ˈriəˌlaɪzɪz ʃi nidz ˈsəmˌwən wɪθ ðə kəˈnɛkʃənz tɪ ˈnævəˌgeɪt wərld wɪˈθaʊt ˌɪnˈvɑlvɪŋ ðə police…*… ənd tərnz tɪ hər oʊld frɛnd. ðə pɛr ˌɛnˈlɪst ðə ˈsərvɪsɪz əv dɪsˈgreɪst dɪˈtɛktɪv ˈfrɛdi (ˈɛdwərd ʤeɪmz ˈoʊlmoʊz) ənd plənʤ ˈɪntu ðə dɪm ˈəndərˌbɛli əv tɪˈwɑnə, fɔrst tɪ ənˈrævəl ə ˈkɑmplɛks wɛb əv ˈjumən ˈtræfɪkərz, sˈməgələrz, ənd kərəpt kɑps ˌbiˈfɔr ˈrɑdni mits ðə seɪm feɪt ɛz hɪz məʧ ə ˈstɔri əv riˈleɪʃənˌʃɪps ɛz ə ˈstɔri əv kraɪm, goʊ fər ˈsɪstərz ɪz ə ˈwɛlkəm rɪˈtərn tɪ ðə ˈbɔrdər fər ˈmæstər ˈfɪlˌmeɪkər ənd əˈkædəmi əˈwɔrd ˌnɑməˈni ʤɑn seɪlz (loʊn stɑr, ˈpæʃən ðə əˈfɪʃəl goʊ fər ˈsɪstərz ðə əˈfɪʃəl ʤɑn seɪlz ˌjunəˈvərsəti əv ˈmɪʃɪgən əkˈwaɪərz ˈɑrˌkaɪv əv ˈfɪlˌmeɪkər ʤɑn sayles"iconocuicati*" ˈlilə froʊnˈtɛrə" sɔŋz ər frəm ðə ˈwɪmən əv ˈlætən əˈmɛrɪkə baɪ |
sunrise, fla. by splitting the first two games against the florida panthers, the devils gained the home ice advantage.
at least the way they chose to view their wasted opportunity to take control of the conference series.
“i think we taken a split coming down here,” coach pete deboer said. “there are no easy matchups in the playoffs. i think anyone expected anyone going to beat anybody in four. now that we got a split we have to take care of business at home.”
david clarkson said he expects the devils to bounce back in game 3 tomorrow night at the prudential center.
“our fans have been unbelievable all season,” he said. “they’ve supported us through everything. that place is going to be rocking and going to have to come out right away and play the way we finished (game
* * *
deboer started the third period sunday night with rookie adam henrique back between zach parise and ilya kovalchuk. travis zajac was moved to the third line with alexei and clarkson.
the moves produced two quick goals that got the devils back in the game, but deboer switched back before the game was over.
“we mixed things up and got a boost,” deboer explained. “i have an answer why we went back.”
* * *
stephen weiss scored first two goals, both on power plays.
“he’s a little bit of the identity of our team, a guy that has been here the longest and a little bit of the face of the franchise from a perspective,” coach kevin dineen said of weiss. “i think he happy with game 1 with the way it went for him and instead of chirping about it he went out and did something about it.”
weiss said: “that’s huge, especially after losing the first game. there was a lot of pressure on us to make sure we got that win and we were able to that and huge going into their building.” | ˈsənˌraɪz, fla*. baɪ ˈsplɪtɪŋ ðə fərst tu geɪmz əˈgɛnst ðə ˈflɔrɪdə ˈpænθərz, ðə ˈdɛvəlz geɪnd ðə hoʊm aɪs ædˈvæntɪʤ. æt list ðə weɪ ðeɪ ʧoʊz tɪ vju ðɛr ˈweɪstɪd ˌɑpərˈtunəti tɪ teɪk kənˈtroʊl əv ðə ˈkɑnfərəns ˈsɪriz. θɪŋk wi ˈteɪkən ə splɪt ˈkəmɪŋ daʊn here,”*,” koʊʧ pit ˈdiboʊər sɛd. ər noʊ ˈizi ˈmæʧəps ɪn ðə pleɪɔfs. aɪ θɪŋk ˈɛniˌwən ɪkˈspɛktɪd ˈɛniˌwən goʊɪŋ tɪ bit ˈɛnibədi ɪn fɔr. naʊ ðət wi gɑt ə splɪt wi hæv tɪ teɪk kɛr əv ˈbɪznɪs æt home.”*.” ˈdeɪvɪd ˈklɑrksən sɛd hi ɪkˈspɛkts ðə ˈdɛvəlz tɪ baʊns bæk ɪn geɪm 3 təˈmɑˌroʊ naɪt æt ðə pruˈdɛnʃəl ˈsɛnər. fænz hæv bɪn ˌənbəˈlivəbəl ɔl season,”*,” hi sɛd. səˈpɔrtɪd ˈjuˈɛs θru ˈɛvriˌθɪŋ. ðət pleɪs ɪz goʊɪŋ tɪ bi ˈrɑkɪŋ ənd goʊɪŋ tɪ hæv tɪ kəm aʊt raɪt əˈweɪ ənd pleɪ ðə weɪ wi ˈfɪnɪʃt (geɪm ˈdiboʊər ˈstɑrtɪd ðə θərd ˈpɪriəd ˈsənˌdi naɪt wɪθ ˈrʊki ˈædəm ɑnˈrik bæk bɪtˈwin zæk ˈpɑraɪz ənd ˈɪljə kovalchuk*. ˈtrævɪs zaɪək wɑz muvd tɪ ðə θərd laɪn wɪθ əˈlɛkˌseɪ ənd ˈklɑrksən. ðə muvz prəˈdust tu kwɪk goʊlz ðət gɑt ðə ˈdɛvəlz bæk ɪn ðə geɪm, bət ˈdiboʊər swɪʧt bæk ˌbiˈfɔr ðə geɪm wɑz ˈoʊvər. mɪkst θɪŋz əp ənd gɑt ə boost,”*,” ˈdiboʊər ɪkˈspleɪnd. hæv ən ˈænsər waɪ wi wɛnt back.”*.” ˈstivən waɪs skɔrd fərst tu goʊlz, boʊθ ɔn paʊər pleɪz. ə ˈlɪtəl bɪt əv ðə aɪˈdɛntəˌti əv ɑr tim, ə gaɪ ðət həz bɪn hir ðə ˈlɔŋgɪst ənd ə ˈlɪtəl bɪt əv ðə feɪs əv ðə ˈfrænˌʧaɪz frəm ə perspective,”*,” koʊʧ ˈkɛvɪn dɪˈnin sɛd əv waɪs. θɪŋk hi ˈhæpi wɪθ geɪm 1 wɪθ ðə weɪ ɪt wɛnt fər ɪm ənd ˌɪnˈstɛd əv ˈʧərpɪŋ əˈbaʊt ɪt hi wɛnt aʊt ənd dɪd ˈsəmθɪŋ əˈbaʊt it.”*.” waɪs sɛd: juʤ, əˈspɛʃəli ˈæftər ˈluzɪŋ ðə fərst geɪm. ðɛr wɑz ə lɔt əv ˈprɛʃər ɔn ˈjuˈɛs tɪ meɪk ʃʊr wi gɑt ðət wɪn ənd wi wər ˈeɪbəl tɪ ðət ənd juʤ goʊɪŋ ˈɪntu ðɛr building.”*.” |
in the late century, the father of teenage leonardo fibonacci takes him off the north african streets and sets him at the feet of gruff arab tutors. they help it they like the kid, who they can tell is going to be a nightmare until they agree to teach him the art of nine symbols. back in pisa, fibonacci discovers an axiomatic sequence in which each number is the sum of the two preceding numbers (1, 1, 2, 3, 5, 8, 13, 21). the corresponding ratio describes the pleasing spiral been staring at all day it just looks right. eight hundred years later, a student drafting a story is told it might help to draw its plot. and there it is. (see figure a.)
structure
here come the metaphors. john mcphee compares writing a story to prepping a meal, and to the gathering crystallizing of salt underground. his essay, “structure,” traces the continental divide, pulls on “chronological drawstrings,” and knits the presumed narrative scarf from the “threads” everyone keeps talking about. mcphee encourages students to diagram a story as “a horizontal line with loops above and below it to represent the tangents along the storyline, a circle with lines shooting out of it that denote narrative pathways…” (see figure b.) the rhetorical free-for-all disguises the wide influence of the gist the anatomy of storytelling. speaking of stories, “the shape of the curve is what matters,” says kurt vonnegut. whereas gustav muse was, sadly, a triangle, the sign and symbol of is more like a map. but manifestations of the same idea: of stories seeking, building, bending like a river, or anyways conceived of less as an appeal to a reader than as fieldwork. this definition of structure indeed any definition of it begs the question: what if structure is not that geometric or quite so cosmic or even, according to an au courant diagnosis, “televisual?” what if structure consists of questions themselves and not strictly the objects of those questions with which plotting is synonymous: a dead body. an excess of suitors. “a fully armed and operational battle station.”
stories posit a teller in the service of the told, who are now able to, if they must, rate that service with a fractional number of stars. but the novel especially is a kind of hopeless democracy of two. an author and a reader staring at the same machine the same story not sure if and when it worked. two privileged children serialized tv and narrative nonfiction have done so well for themselves that they should have laid the framework bare. but an erudite incoherence about structure is the rule. one thing for sure is that an anxiety, about a better way to tell a story, and surer proof of our discernment that we get it. and so the idea of order in nature settles the nerves. the golden spiral is in the leaves, in shells in stories?
the sequence
early on in garth risk city on fire a transition in point of view, from william scion, dilettante, and in a punk band to a teen, charlie, as he removes from its sleeve “the first ex post facto lp from this raised my hackles though perhaps i should admit to having the hackles of someone with too many bookmarks in too many novels, not to mention paused places in the middle of episode three of season two, etc. along with the ambitious size of the book, the coincidences of city on fire have been well scrutinized: “…overstuffed with characters, and the lines of action uniting them fray to the point of breaking;” “overuse of chance discoveries of buried evidence.” a wariness about what exactly the up to, despite the fact that just a little later it more or less tells you. in what is either a cool nod to, or a hearty embrace of, genre convention, crush, samantha cicciaro, is mysteriously shot. but thereafter the book occupies itself less with whodunit than with the shots’ sound waves ringing out into the night, washing over 10 other characters and, in a whisper, telling them that no one is alone.
city on fire is a needle threaded between conventional plotting and ambitious “structure.” it finds itself among contemporary novels exhibiting an inflated sense of connection storytelling in a kind of style. always been an odd thing to chalk up to a matter of belief: that one definition of a story is to another not a story at all. in a twist you would have never seen coming, “narrative architecture” becomes our term for not necessarily there.
in time, those unconscionable maps no longer satisfied, and the guilds struck a map of the empire whose size was that of the empire, and which coincided point for point with it.
— jorge luis borges, “on exactitude in science”
we have no idea what talking about when we talk about structure. the following terms were used to describe the structure of narratives bearing the mark of style (david cloud atlas, jennifer a visit from the goon squad, city on fire, and david and d.b. tv adaptation game of): “stereoscopic,” “televisual,” “kaleidoscopic,” “unfilmable” at least before the film. these structures were “non-linear,” “multi-head,” “multi-thread,” “rhizomatic,” “fragmented” this last appearing so often that i had to wonder just what constitutes whole, homogeneous storytelling. what was it about these structures that was so “innovative” and “experimental?” or, for that matter, “soap operatic” and “ruthless?”
to wit, cloud atlas is defined by “mapping” and “maplessness.” its structure is “cool.” what happens: the five story lines culminate in one central section before the stories pick up in reverse order in the second half of the book (a, b, c, d, e, f, e, d, c, b, a). but not happening. circumstantially, the story lines are connected by a birthmark, and, thematically, by music. the five narratives are also connected by the fact that mitchell wrote them impeccably and, in accordance with genre, faithfully. it is said that the author pulled it off by “immersing himself in the different narratives one at a time, even keeping them in different ‘folders.’” here is structure with something more like process the knot tying oneself to a chair. the story is a function of the method of organizing for himself. mcphee describes his own use of note cards: “then i move the cards around to see where going to find a good structure, a legitimate structure.” it seems fair to ask: whom here? shall we perhaps hold each part of the story and think about whether or not it brings us joy?
these are the perils of “world-building.” a game of episode marks time by cutting to each of its story lines, from to meereen, betraying a particular imperative to move the story in any direction but between. a similar structure to a visit from the goon squad (the aforementioned rhizome); in her review, sarah churchwell sums up style quite nicely:
egan’s vision of history and time is also decidedly, and perhaps reassuringly, cyclical: the impacts these characters have upon each other are engineered not by coincidence but by itself, as the people we bump against and bang into become the story of our lives.
not coincidentally, here is how hallberg describes his intrepid journalist character: “a receiver. a connector. a machine made exactly for this.” let us remember our borges: that absolutely accurate “map of the empire” is torn to faded shreds, except, perhaps, where it showed us those places put down our novels. granted, these books are in almost every way excellent; egan, mitchell, and hallberg are genius naturalists. capable of invoking anything any clipper ship or anxiety or rhododendron. but that kind of genius can be difficult to distinguish from a painterly need to get into the corners of the frame. structure should be instrumental to a use; a handle for the talent. and yet the imperial exactitude somehow became a suitable answer for how to keep a reader in thrall. these novels have been praised for, among other things, ambition, inventiveness, and that they are, but what connects them more than anything else is that romantic about structure.
the least we could do is to stop insisting that all referring to the same thing. which is, generally, convention. structure is nearly synonymous with aiming for the cheap seats of genre, where the detective and the wizard and the submissive sit together and watch the game. come to regard suspense as a market force an outline in chalk with which to take ingenious exception. and so flush with cool hybrids. macarthur fellows take on zombies; ursula k. le guin kazuo ishiguro; a market for in full bloom. but whenever much attention is paid to exceptions to the rule, one can only assume the rules are very clear. speaking of genre, but also rent. writing to market or furiously a social media platform are seen as considerations on the level of food on the table. a cottage industry in writing has met popular and extremely earnest demand. in this sense, style is both product and allergy to the “tools” of the craft industry; links to a “weak verb converter;” intensive seminars for the low, low price of $995 for tuition and final draft software.
if our entertainments were piles of san rubble, we know? perhaps, but structure has a way of passing itself off as an answer to the very question it presents what works. “you can build a structure in such a way that it causes people to want to keep turning pages,” mcphee writes. and the other way?
“listeners, we are currently fielding numerous reports that books have stopped working.”
— welcome to night vale, “station management”
“fiction is the posing of narrative questions,” is actually something the writer david lipsky has said aloud on multiple occasions. lipsky teaches a class of singular usefulness, from which i basically repeat back lessons in a dazed monotone. men call him lipsky, and women call him david. we were of one mind to get a good seat, and another to duck and scribble. in class, lipsky calls on people, a barbaric practice literally frowned upon by most of us, and more, there was a preponderance of correct answers never a drawing. the idea was that story or, synonymously structure, is no more and no less than to ask the reader leading questions in the hopes of interesting them. of a given character will she or she be fired, loved, caught, absolved? in the end, the class was approximately half immunes, with the other half wearing white sporting one of terms of art printed in bold: withheld data.
no one likes to be asked what the about. but lipsky was never referring to the about of the abstract painting or the period of the historical novel. nothing was an allegory of america. he meant: a girl is trying to fit in at a private school. or: those letters were forged. and once the little knife is stowed, and a quorum had nodded or or furrowed, he would say ask us to make an annotation in the margin: if a particular story, once begun, should find itself resolved, another story has to take the baton.
now and then read a novel by a writer who seems to have bought in. lauren fates and is a novel in two the technical term here would be “parts.” groff sets up the reader for any number of things withholding approval; a million-dollar bet on the marriage of an implausibly successful playwright to an “ice queen from nowhere.” readers will note the use of brackets. royalty mathilde is “pretending to be faithful. [perhaps not].” groff has referred to these asides as a “greek chorus,” but what they are really is an efficient method of opening up gaps questions. “she know, he thought. [she did!]”
ironically the alternatives to “narrative architecture” that can seem a little bloodless and technical. structure, to george saunders, consists of “tools with which to make your audience feel more deeply.” these being tools at disposal, no matter how literary. after all, there are high stakes in life as it is ordinarily lived, which is to say, pitched anxiously between desire and embarrassment. a story that works makes room for the possibility that it. “it have to be good,” says the imperious, older sister in rebecca “the toast.” it just “needs to be appropriate.” and yet there are some of us who be caught dead using a “tool.” we might keep it in the drawer by the bed, but what writer told to tell their story, find their own voice “in order to live” would want to feed it through “clunky machinery.”
who cares? case studies
about star wars: the force awakens, critics had 8, 10, 11, 18, 32, 43, and 77 “questions,” 6 of which were of the “big” variety, 11 of which were size “huge.” and 7, 15, 17, and 25 questions had gone “unanswered.” question in this context means “plot hole,” of which 5, 9, 40 (and more” on top of that) were “unforgivable.” admittedly, some of the enumerated are more like inconsistencies does one need a map to reach coordinates in space? but many of these questions are entirely intentional plot devices. where is luke skywalker? gets you the movie. parentage gets you all three. to be clear, the notable equivalence here is between functional storytelling and the galling lack thereof. hard to say just how this happens, but there might be a clue on the white smock, a variation on the quarrel: the difference between not telling and a lie?
one more case study from the relevant world: serial. when it became clear that a radio documentary had become a blockbuster, that people loved this murder, sarah koenig, it seems, felt herself painted into an ethical corner. here she is, bristling at the notion of enacting “suspense,” with the question in bold:
but the podcast is a hybrid of journalism and entertainment. you have a lot of information, and it seems structured it for maximum suspense. i think us, it feel that different from a really long magazine story or you know, any story that you would take care in structuring.
in the very first episode, koenig describes adnan syed ’s mild manner he seem like a vicious psychopath. “i know, an idiot,” says koenig, her tone pitched to effective self-deprecation. koenig knows that 12 podcast episodes decide whether in fact evil is human or inhuman. (not even janet malcolm knows: “the concept of the psychopath is, in fact, an admission of failure to solve the mystery of evil it is merely a restatement of the mystery.”)
if not “suspense,” koenig admits to “structuring.” but this distinction hold up to scrutiny not that i question whatsoever integrity. actually, serial is too good, and too intelligently structured for her to have a leg to stand on. “i’m an idiot” is a play for identification. (“silly me.” season two.) this line about looking into big brown eyes is right there in the script where, perhaps, there could have been a breakdown of tower data (and after a useful delay of an episode or two, a questioning of its accuracy). i have little doubt about which was the better choice. when david remnick asks koenig about her method, she says, “i think trying to convey that you can trust me because done my homework.” and in this sentiment, she sounds a lot like david lipsky (“bond with your reader. tell them honest things.”). this trust is also a kind of structuring i know, an idiot. but there are a lot of stories out there, and we tend to pick the one that looks us in the eye and asks, maybe a little preposterously, can i tell you a secret?
koenig is then asked about decisions she made with decidedly voice. julie snyder levels with her after an unsatisfying cut:
edit after edit after not not good. i need to know what you sarah koenig make of all this. otherwise i care. i know why telling me all need to make me care.” i was quite uncomfortable with that initially, but then i the thing going to make you listen to the stuff i think is important.
if that sounds a lot like “keep your eye on the ball,” not wrong. but rest assured that our class even thought of the ball much less kept an eye on it. (see: testaments to their confidence approximately everywhere you look.) by the idea that making someone else care is indistinguishable from selling it to them. to name just a few of the principled stands against caring what anyone else thinks: morning pages and the discipline; the way simply not being able to stop; “dance like watching,” or art as vocation (“i have gained a space of my own, a space that is free, where i feel active and present.” elena ferrante, not on twitter). this has to do with basic orientation as an author: is art a means to cultivate or to reach? and if you must insist on writing, i have to ask just how acutely do you feel the need to be borne witness to? because a singular question harries stories at every turn, echoing the words at the serial editing bay: what is any of this for? inevitably, the answer occurs somewhat too late: making someone else care is the highest commandment of structure.
which is why, after the remedial instruction, almost all of what david lipsky does is prose tips. the theory being that thinking in terms of setting things up and paying them off frees the writer to devote themselves otherwise to sentence-making. the syllabus, with few exceptions, is composed of those writers who can really launch ships prose-wise: david foster wallace, lorrie moore, vladimir nabokov, smith. in fact, the “system” would that it were my own batch of kinda dead-ends at talent.
but generally speaking that talent is not responsible for mysteries on short flights; or that which manages to hit her dull and chipped funny bone; or sate her great appetite for vanilla and truer detectives. a working fallacy results. tent poles such as game of, the marvel universe they have a kind of ideological monopoly on what happens next? but the more we accept the premise that what succeeds in the market works, the easier it is to convince ourselves that the market itself strives to give us the culture we need. [it.] the challenge for lit is the same for our culture at large from here on: distinguishing the products from actual voices.
“implausibility is part of the design.”
— louis menand, “the time of broken windows”
it’s not that hallberg commits the ordinary fictional sin of a false meaning on his novel, which is ultimately just as believable as a line drawn to connect any one thing to another. city on fire may be elaborately plotted, and a story richly told, but it is not given, not structured for us. though, we can easily exaggerate the sacrifice. not quite walking in front of a tank; maybe more like picking up a shift. a sense of the uncanny, of a kind of genius at work, is as essential an aspect of reading as structure, but most readers, i think, experience design as unforeseen plausibility.
some things do work every time. for example, i go to the physical bookstore and get the “ambitious” book over and over, like charlie brown when lucy promises to hold the football but instead of a football that thing when the times runs a review by in the daily and then another on sunday. tour de force in hand, i go home and read the first chapter with a sheepish sense of my own demography. along those lines, i can imagine how refining the concept of narrative structure must seem a split-hair, just another small difference. dirty tomatoes and organic stories at $26/lb not those stories wrapped in pink blood on a bed of styrofoam. but in the of authenticity are plenty of real distinctions looking at you, texas barbecue, starting a band, and the notion of a high literature that tells “honest things.” whenever i hear that lines grayed, blurred away! i find myself fondly missing the clarity of differences.
if you divide ten thousand by forty-one, you get two hundred and forty-three, which is recurrence is dangerous both because it is too long long enough for us to unwittingly build an entire civilization on top of our worst fault line and because it is not long enough.
— kathryn schulz, “the really big one”
this is where it seems as if i should offer some kind of agnostic politesse. endorse a of storytelling all structures are “legitimate.” any structure that makes you happy. “you choose it so much as it chooses you,” says carmine cicciaro, father. always tempting to side with anti-dogmatism. but i do that. because, what if there is a moral to this story?
structure abides. ex key cards and power-outs; unreliable narrators of sex after marriage. an novelist sees a picture of britney spears exiting a restaurant holding a pack of cigarettes, her phone, “and then got my second book.” (“case #2: britney”– mystery show.)
but it is literary reporting that has pretty much become standard bearer. in rachel “where is your mother?”, a healthy child cries in an empty apartment, and dust plumes off the bed. “i was born overseas,” the mother says, and nothing else. in “the strange case of anna stubblefield,” daniel asks “what if d.j. had a private chamber in his head, a place where grown-up thoughts were trapped behind his palsy?” story writes itself, as they say. [nope.] then again, a sound almost like clockwork accompanies kathryn schulz writing of tsunamis, barking dogs ahead of the wave, and a number: 243. in the first few paragraphs of these stories, it feels as if inspiration taken from looping squiggles was only ever as important as his assurance that the storytelling principle is ethically ok in “narrative nonfiction” or journalism.
i’m not so worried about some moralizing theory of declining attentions spans our “distraction.” in fact, nothing could distract me from another form of anxiety: i desperately want to pay relentless attention to only the few, things. structure, truly evident, directs that attention. if stories are a means to tell us what you “think is important,” then by all means.
the policy of bracing honesty has these lesser known clauses: that you have to figure out what most needs to be said, and why anyone should want to hear you say it. if you happen to read pop physics, called the “observer effect.” any observation affects the experiment (the “collapse of the wave function” what happens emerges from a prior limbo of possibilities). the observer effect also applies to the question of structure and the black box of process: none of it works, because it cannot be shown to have done what it intended to do. writing is nothing until the precise moment the reader a meaning. i want to tell you something. i can draw the map. only you can tell me if it goes anywhere. say the word. | ɪn ðə leɪt ˈsɛnʧəri, ðə ˈfɑðər əv ˈtiˌneɪʤ ˌliəˈnɑrdoʊ ˌfɪbəˈnɑʧi teɪks ɪm ɔf ðə nɔrθ ˈæfrɪkɑn strits ənd sɛts ɪm æt ðə fit əv grəf ˈærəb ˈtutərz. ðeɪ hɛlp ɪt ðeɪ laɪk ðə kɪd, hu ðeɪ kən tɛl ɪz goʊɪŋ tɪ bi ə ˈnaɪtˌmɛr ənˈtɪl ðeɪ əˈgri tɪ tiʧ ɪm ðə ɑrt əv naɪn ˈsɪmbəlz. bæk ɪn ˈpisə, ˌfɪbəˈnɑʧi dɪˈskəvərz ən ˌæksiəˈmætɪk ˈsikwəns ɪn wɪʧ iʧ ˈnəmbər ɪz ðə səm əv ðə tu priˈsidɪŋ ˈnəmbərz 1 1 2 3 5 8 13 21 ðə ˌkɔrəˈspɑndɪŋ ˈreɪʃiˌoʊ dɪˈskraɪbz ðə ˈplizɪŋ ˈspaɪrəl bɪn ˈstɛrɪŋ æt ɔl deɪ ɪt ʤɪst lʊks raɪt. eɪt ˈhənərd jɪrz ˈleɪtər, ə ˈstudənt ˈdræftɪŋ ə ˈstɔri ɪz toʊld ɪt maɪt hɛlp tɪ drɔ ɪts plɑt. ənd ðɛr ɪt ɪz. (si ˈfɪgjər ə.) ˈstrəkʧər hir kəm ðə ˈmɛtəfɔrz. ʤɑn məkˈfi kəmˈpɛrz ˈraɪtɪŋ ə ˈstɔri tɪ ˈprɛpɪŋ ə mil, ənd tɪ ðə ˈgæðərɪŋ ˈkrɪstəˌlaɪzɪŋ əv sɔlt ˈəndərˌgraʊnd. hɪz ˈɛˌseɪ, ““structure,”*,” ˈtreɪsɪz ðə ˌkɑntəˈnɛnəl dɪˈvaɪd, pʊlz ɔn drawstrings,”*,” ənd nɪts ðə prɪˈzumd ˈnɛrətɪv skɑrf frəm ðə ““threads”*” ˈɛvriˌwən kips ˈtɔkɪŋ əˈbaʊt. məkˈfi ɪnˈkərəʤəz ˈstudənts tɪ ˈdaɪəˌgræm ə ˈstɔri ɛz ˌhɔrəˈzɑntəl laɪn wɪθ lups əˈbəv ənd bɪˈloʊ ɪt tɪ ˌrɛprɪˈzɛnt ðə ˈtænʤənts əˈlɔŋ ðə ˈstɔriˌlaɪn, ə ˈsərkəl wɪθ laɪnz ˈʃutɪŋ aʊt əv ɪt ðət dɪˈnoʊt ˈnɛrətɪv pathways…”*…” (si ˈfɪgjər bi.) ðə rɪˈtɔrɪkəl ˈfrifɔˌrɔl dɪsˈgaɪzɪz ðə waɪd ˈɪnfluəns əv ðə ʤɪst ðə əˈnætəmi əv ˈstɔriˌtɛlɪŋ. ˈspikɪŋ əv ˈstɔriz, ʃeɪp əv ðə kərv ɪz wət matters,”*,” sɪz kərt ˈvɑnəgət. wɛˈræz ˈgʊstɑf mjuz wɑz, ˈsædli, ə ˈtraɪˌæŋgəl, ðə saɪn ənd ˈsɪmbəl əv ɪz mɔr laɪk ə mæp. bət ˌmænəfɛˈsteɪʃənz əv ðə seɪm aɪˈdiə: əv ˈstɔriz ˈsikɪŋ, ˈbɪldɪŋ, ˈbɛndɪŋ laɪk ə ˈrɪvər, ər ˈɛniˌweɪz kənˈsivd əv lɛs ɛz ən əˈpil tɪ ə ˈridər ðən ɛz ˈfildˌwərk. ðɪs ˌdɛfəˈnɪʃən əv ˈstrəkʧər ˌɪnˈdid ˈɛni ˌdɛfəˈnɪʃən əv ɪt bɛgz ðə kˈwɛʃən: wət ɪf ˈstrəkʧər ɪz nɑt ðət ˌʤiəˈmɛtrɪk ər kwaɪt soʊ ˈkɑzmɪk ər ˈivɪn, əˈkɔrdɪŋ tɪ ən oʊ ˈkʊrənt ˌdaɪəgˈnoʊsəs, ““televisual?”*?” wət ɪf ˈstrəkʧər kənˈsɪsts əv kˈwɛsʧənz ðɛmˈsɛlvz ənd nɑt ˈstrɪktli ðə ˈɑbʤɛkts əv ðoʊz kˈwɛsʧənz wɪθ wɪʧ ˈplɑtɪŋ ɪz səˈnɑnəməs: ə dɛd ˈbɑdi. ən ˈɛkˌsɛs əv ˈsutərz. ˈfʊli ɑrmd ənd ˌɑpərˈeɪʃənəl ˈbætəl station.”*.” ˈstɔriz ˈpɑzət ə ˈtɛlər ɪn ðə ˈsərvɪs əv ðə toʊld, hu ər naʊ ˈeɪbəl tɪ, ɪf ðeɪ məst, reɪt ðət ˈsərvɪs wɪθ ə ˈfrækʃənəl ˈnəmbər əv stɑrz. bət ðə ˈnɑvəl əˈspɛʃəli ɪz ə kaɪnd əv ˈhoʊpləs dɪˈmɑkrəsi əv tu. ən ˈɔθər ənd ə ˈridər ˈstɛrɪŋ æt ðə seɪm məˈʃin ðə seɪm ˈstɔri nɑt ʃʊr ɪf ənd wɪn ɪt wərkt. tu ˈprɪvɪlɪʤd ˈʧɪldrən ˈsɪˌriəˌlaɪzd ˌtɛləˈvɪʒən ənd ˈnɛrətɪv nɑnˈfɪkʃən hæv dən soʊ wɛl fər ðɛmˈsɛlvz ðət ðeɪ ʃʊd hæv leɪd ðə ˈfreɪmˌwərk bɛr. bət ən ˈɛrəˌdaɪt ˌɪnkoʊˈhɪrəns əˈbaʊt ˈstrəkʧər ɪz ðə rul. wən θɪŋ fər ʃʊr ɪz ðət ən æŋˈzaɪəti, əˈbaʊt ə ˈbɛtər weɪ tɪ tɛl ə ˈstɔri, ənd ˈʃʊrər pruf əv ɑr dɪˈsərnmənt ðət wi gɪt ɪt. ənd soʊ ðə aɪˈdiə əv ˈɔrdər ɪn ˈneɪʧər ˈsɛtəlz ðə nərvz. ðə ˈgoʊldən ˈspaɪrəl ɪz ɪn ðə livz, ɪn ʃɛlz ɪn ˈstɔriz? ðə ˈsikwəns ˈərli ɔn ɪn gɑrθ rɪsk ˈsɪti ɔn faɪər ə trænˈzɪʃən ɪn pɔɪnt əv vju, frəm ˈwɪljəm saɪən, dilettante*, ənd ɪn ə pəŋk bænd tɪ ə tin, ˈʧɑrli, ɛz hi riˈmuvz frəm ɪts sliv fərst ɛks poʊst ˈfæktoʊ ˈɛlˈpi frəm ðɪs reɪzd maɪ ˈhækəlz ðoʊ pərˈhæps aɪ ʃʊd ədˈmɪt tɪ ˈhævɪŋ ðə ˈhækəlz əv ˈsəmˌwən wɪθ tu ˈmɛni ˈbʊkmɑrks ɪn tu ˈmɛni ˈnɑvəlz, nɑt tɪ ˈmɛnʃən pɔzd ˈpleɪsɪz ɪn ðə ˈmɪdəl əv ˈɛpɪˌsoʊd θri əv ˈsizən tu, ˌɛtˈsɛtərə. əˈlɔŋ wɪθ ðə æmˈbɪʃəs saɪz əv ðə bʊk, ðə koʊˈɪnsədənsɪz əv ˈsɪti ɔn faɪər hæv bɪn wɛl ˈskrutəˌnaɪzd: wɪθ ˈkɛrɪktərz, ənd ðə laɪnz əv ˈækʃən juˈnaɪtɪŋ ðɛm freɪ tɪ ðə pɔɪnt əv breaking;”*;” əv ʧæns dɪˈskəvəriz əv ˈbɛrid evidence.”*.” ə ˈwɛrinɪs əˈbaʊt wət ɪgˈzæktli ðə əp tɪ, dɪˈspaɪt ðə fækt ðət ʤɪst ə ˈlɪtəl ˈleɪtər ɪt mɔr ər lɛs tɛlz ju. ɪn wət ɪz ˈiðər ə kul nɑd tɪ, ər ə ˈhɑrti ɪmˈbreɪs əv, ˈʒɑnrə kənˈvɛnʃən, krəʃ, səˈmænθə cicciaro*, ɪz ˌmɪˈstɪrjəsli ʃɑt. bət ðɛˈræftər ðə bʊk ˈɑkjəˌpaɪz ˌɪtˈsɛlf lɛs wɪθ huˈdənɪt ðən wɪθ ðə shots’*’ saʊnd weɪvz ˈrɪŋɪŋ aʊt ˈɪntu ðə naɪt, ˈwɑʃɪŋ ˈoʊvər 10 ˈəðər ˈkɛrɪktərz ənd, ɪn ə ˈwɪspər, ˈtɛlɪŋ ðɛm ðət noʊ wən ɪz əˈloʊn. ˈsɪti ɔn faɪər ɪz ə ˈnidəl θˈrɛdɪd bɪtˈwin kənˈvɛnʃənəl ˈplɑtɪŋ ənd æmˈbɪʃəs ““structure.”*.” ɪt faɪndz ˌɪtˈsɛlf əˈməŋ kənˈtɛmpərˌɛri ˈnɑvəlz ɪgˈzɪbɪtɪŋ ən ˌɪnˈfleɪtɪd sɛns əv kəˈnɛkʃən ˈstɔriˌtɛlɪŋ ɪn ə kaɪnd əv staɪl. ˈɔlˌweɪz bɪn ən ɑd θɪŋ tɪ ʧɔk əp tɪ ə ˈmætər əv bɪˈlif: ðət wən ˌdɛfəˈnɪʃən əv ə ˈstɔri ɪz tɪ əˈnəðər nɑt ə ˈstɔri æt ɔl. ɪn ə twɪst ju wʊd hæv ˈnɛvər sin ˈkəmɪŋ, architecture”*” bɪˈkəmz ɑr tərm fər nɑt ˌnɛsəˈsɛrəli ðɛr. ɪn taɪm, ðoʊz ənˈkɑnʃənəbəl mæps noʊ ˈlɔŋgər ˈsætɪsˌfaɪd, ənd ðə gɪldz strək ə mæp əv ðə ˈɛmpaɪər huz saɪz wɑz ðət əv ðə ˈɛmpaɪər, ənd wɪʧ ˌkoʊənˈsaɪdəd pɔɪnt fər pɔɪnt wɪθ ɪt. ˈhɔrheɪ luis ˈbɔrgeɪs, ɪgˈzæktəˌtud ɪn science”*” wi hæv noʊ aɪˈdiə wət ˈtɔkɪŋ əˈbaʊt wɪn wi tɔk əˈbaʊt ˈstrəkʧər. ðə ˈfɑloʊɪŋ tərmz wər juzd tɪ dɪˈskraɪb ðə ˈstrəkʧər əv ˈnɛrətɪvz ˈbɛrɪŋ ðə mɑrk əv staɪl (ˈdeɪvɪd klaʊd ˈætləs, ˈʤɛnəfər ə ˈvɪzɪt frəm ðə gun skwɑd, ˈsɪti ɔn faɪər, ənd ˈdeɪvɪd ənd d.b*. ˌtɛləˈvɪʒən ˌædəpˈteɪʃən geɪm əv): ““stereoscopic,”*,” ““televisual,”*,” ““kaleidoscopic,”*,” ““unfilmable”*” æt list ˌbiˈfɔr ðə fɪlm. ðiz ˈstrəkʧərz wər ““non-linear,”*,” ““multi-head,”*,” ““multi-thread,”*,” ““rhizomatic,”*,” ““fragmented”*” ðɪs læst əˈpɪrɪŋ soʊ ˈɔfən ðət aɪ hæd tɪ ˈwəndər ʤɪst wət ˈkɑnstəˌtuts hoʊl, ˌhoʊməˈʤiniəs ˈstɔriˌtɛlɪŋ. wət wɑz ɪt əˈbaʊt ðiz ˈstrəkʧərz ðət wɑz soʊ ““innovative”*” ənd ““experimental?”*?” ər, fər ðət ˈmætər, operatic”*” ənd ““ruthless?”*?” tɪ wɪt, klaʊd ˈætləs ɪz dɪˈfaɪnd baɪ ““mapping”*” ənd ““maplessness.”*.” ɪts ˈstrəkʧər ɪz ““cool.”*.” wət ˈhæpənz: ðə faɪv ˈstɔri laɪnz ˈkəlmɪˌneɪt ɪn wən ˈsɛntrəl ˈsɛkʃən ˌbiˈfɔr ðə ˈstɔriz pɪk əp ɪn rɪˈvərs ˈɔrdər ɪn ðə ˈsɛkənd hæf əv ðə bʊk (ə, bi, si, di, i, ɛf, i, di, si, bi, ə). bət nɑt ˈhæpənɪŋ. ˌsərkəmˈstænʃəˌli, ðə ˈstɔri laɪnz ər kəˈnɛktɪd baɪ ə ˈbərθˌmɑrk, ənd, θəˈmætɪkli, baɪ mˈjuzɪk. ðə faɪv ˈnɛrətɪvz ər ˈɔlsoʊ kəˈnɛktɪd baɪ ðə fækt ðət ˈmɪʧəl roʊt ðɛm ˌɪmˈpɛkəbli ənd, ɪn əˈkɔrdəns wɪθ ˈʒɑnrə, ˈfeɪθfəli. ɪt ɪz sɛd ðət ðə ˈɔθər pʊld ɪt ɔf baɪ hɪmˈsɛlf ɪn ðə ˈdɪfərənt ˈnɛrətɪvz wən æt ə taɪm, ˈivɪn ˈkipɪŋ ðɛm ɪn ˈdɪfərənt ‘‘folders.’”*.’” hir ɪz ˈstrəkʧər wɪθ ˈsəmθɪŋ mɔr laɪk ˈprɔˌsɛs ðə nɑt taɪɪŋ ˌwənˈsɛlf tɪ ə ʧɛr. ðə ˈstɔri ɪz ə ˈfəŋkʃən əv ðə ˈmɛθəd əv ˈɔrgəˌnaɪzɪŋ fər hɪmˈsɛlf. məkˈfi dɪˈskraɪbz hɪz oʊn juz əv noʊt kɑrdz: aɪ muv ðə kɑrdz əraʊnd tɪ si wɛr goʊɪŋ tɪ faɪnd ə gʊd ˈstrəkʧər, ə ləˈʤɪtəmət structure.”*.” ɪt simz fɛr tɪ æsk: hum hir? ʃæl wi pərˈhæps hoʊld iʧ pɑrt əv ðə ˈstɔri ənd θɪŋk əˈbaʊt ˈwɛðər ər nɑt ɪt brɪŋz ˈjuˈɛs ʤɔɪ? ðiz ər ðə ˈpɛrəlz əv ““world-building.”*.” ə geɪm əv ˈɛpɪˌsoʊd mɑrks taɪm baɪ ˈkətɪŋ tɪ iʧ əv ɪts ˈstɔri laɪnz, frəm tɪ meereen*, bɪˈtreɪɪŋ ə ˌpɑˈtɪkjələr ˌɪmˈpɛrətɪv tɪ muv ðə ˈstɔri ɪn ˈɛni dɪˈrɛkʃɪn bət bɪtˈwin. ə ˈsɪmələr ˈstrəkʧər tɪ ə ˈvɪzɪt frəm ðə gun skwɑd (ðə əˈfɔrˌmɛnʃənd ˈraɪˌzoʊm); ɪn hər ˌrivˈju, ˈsɛrə ˈʧərʧˌwɛl səmz əp staɪl kwaɪt ˈnaɪsli: ˈvɪʒən əv ˈhɪstəri ənd taɪm ɪz ˈɔlsoʊ ˌdɪˈsaɪdədli, ənd pərˈhæps riəˈʃʊrɪŋli, ˈsɪklɪkəl: ðə ˌɪmˈpækts ðiz ˈkɛrɪktərz hæv əˈpɑn iʧ ˈəðər ər ˌɛnʤəˈnird nɑt baɪ koʊˈɪnsɪdəns bət baɪ ˌɪtˈsɛlf, ɛz ðə ˈpipəl wi bəmp əˈgɛnst ənd bæŋ ˈɪntu bɪˈkəm ðə ˈstɔri əv ɑr lɪvz. nɑt koʊˌɪnsɪˈdɛntəli, hir ɪz haʊ ˈhɔlbərg dɪˈskraɪbz hɪz ˌɪnˈtrɛpəd ˈʤərnəlɪst ˈkɛrɪktər: rɪˈsivər. ə kəˈnɛktər. ə məˈʃin meɪd ɪgˈzæktli fər this.”*.” lɛt ˈjuˈɛs rɪˈmɛmbər ɑr ˈbɔrgeɪs: ðət ˌæbsəˈlutli ˈækjərət əv ðə empire”*” ɪz tɔrn tɪ ˈfeɪdɪd ʃrɛdz, ɪkˈsɛpt, pərˈhæps, wɛr ɪt ʃoʊd ˈjuˈɛs ðoʊz ˈpleɪsɪz pʊt daʊn ɑr ˈnɑvəlz. ˈgrænɪd, ðiz bʊks ər ɪn ˈɔlˌmoʊst ˈɛvəri weɪ ˈɛksələnt; ˈigən, ˈmɪʧəl, ənd ˈhɔlbərg ər ˈʤinjəs ˈnæʧərəlɪsts. ˈkeɪpəbəl əv ˌɪnˈvoʊkɪŋ ˈɛniˌθɪŋ ˈɛni ˈklɪpər ʃɪp ər æŋˈzaɪəti ər ˌroʊdəˈdɛndrən. bət ðət kaɪnd əv ˈʤinjəs kən bi ˈdɪfəkəlt tɪ dɪˈstɪŋgwɪʃ frəm ə ˈpeɪnərli nid tɪ gɪt ˈɪntu ðə ˈkɔrnərz əv ðə freɪm. ˈstrəkʧər ʃʊd bi ˌɪnstrəˈmɛnəl tɪ ə juz; ə ˈhændəl fər ðə ˈtælənt. ənd jɛt ðə ˌɪmˈpɪriəl ɪgˈzæktəˌtud ˈsəmˌhaʊ bɪˈkeɪm ə ˈsutəbəl ˈænsər fər haʊ tɪ kip ə ˈridər ɪn θrɔl. ðiz ˈnɑvəlz hæv bɪn preɪzd fər, əˈməŋ ˈəðər θɪŋz, æmˈbɪʃən, ˌɪnˈvɛntɪvnəs, ənd ðət ðeɪ ər, bət wət kəˈnɛkts ðɛm mɔr ðən ˈɛniˌθɪŋ ɛls ɪz ðət roʊˈmæntɪk əˈbaʊt ˈstrəkʧər. ðə list wi kʊd du ɪz tɪ stɑp ˌɪnˈsɪstɪŋ ðət ɔl rɪˈfərɪŋ tɪ ðə seɪm θɪŋ. wɪʧ ɪz, ˈʤɛnərəli, kənˈvɛnʃən. ˈstrəkʧər ɪz ˈnɪrli səˈnɑnəməs wɪθ ˈeɪmɪŋ fər ðə ʧip sits əv ˈʒɑnrə, wɛr ðə dɪˈtɛktɪv ənd ðə ˈwɪzərd ənd ðə səbˈmɪsɪv sɪt təˈgɛðər ənd wɔʧ ðə geɪm. kəm tɪ rɪˈgɑrd səˈspɛns ɛz ə ˈmɑrkɪt fɔrs ən ˈaʊˌtlaɪn ɪn ʧɔk wɪθ wɪʧ tɪ teɪk ˌɪnˈʤinjəs ɪkˈsɛpʃən. ənd soʊ fləʃ wɪθ kul ˈhaɪbrədz. məˈkɑrθər ˈfɛloʊz teɪk ɔn ˈzɑmbiz; ˈərsələ keɪ. lə gɪn ˌkɑˈzuoʊ ishiguro*; ə ˈmɑrkɪt fər ɪn fʊl blum. bət wɛˈnɛvər məʧ əˈtɛnʃən ɪz peɪd tɪ ɪkˈsɛpʃənz tɪ ðə rul, wən kən ˈoʊnli əˈsum ðə rulz ər ˈvɛri klɪr. ˈspikɪŋ əv ˈʒɑnrə, bət ˈɔlsoʊ rɛnt. ˈraɪtɪŋ tɪ ˈmɑrkɪt ər fˈjʊriəsli ə ˈsoʊʃəl ˈmidiə ˈplætˌfɔrm ər sin ɛz kənˌsɪdərˈeɪʃənz ɔn ðə ˈlɛvəl əv fud ɔn ðə ˈteɪbəl. ə ˈkɑtɪʤ ˈɪndəstri ɪn ˈraɪtɪŋ həz mɛt ˈpɑpjələr ənd ɪkˈstrimli ˈərnɪst dɪˈmænd. ɪn ðɪs sɛns, staɪl ɪz boʊθ ˈprɑdəkt ənd ˈælərʤi tɪ ðə ““tools”*” əv ðə kræft ˈɪndəstri; lɪŋks tɪ ə vərb converter;”*;” ˌɪnˈtɛnsɪv ˈsɛməˌnɑrz fər ðə loʊ, loʊ praɪs əv 995 fər tjuˈɪʃən ənd ˈfaɪnəl dræft ˈsɔfˌwɛr. ɪf ɑr ˌɛnərˈteɪnmənts wər paɪlz əv sæn ˈrəbəl, wi noʊ? pərˈhæps, bət ˈstrəkʧər həz ə weɪ əv ˈpæsɪŋ ˌɪtˈsɛlf ɔf ɛz ən ˈænsər tɪ ðə ˈvɛri kˈwɛʃən ɪt ˈprɛzənts wət wərks. kən bɪld ə ˈstrəkʧər ɪn səʧ ə weɪ ðət ɪt ˈkɔzɪz ˈpipəl tɪ wɔnt tɪ kip ˈtərnɪŋ pages,”*,” məkˈfi raɪts. ənd ðə ˈəðər weɪ? ““listeners*, wi ər ˈkərəntli ˈfildɪŋ ˈnumərəs rɪˈpɔrts ðət bʊks hæv stɑpt working.”*.” ˈwɛlkəm tɪ naɪt veɪl, management”*” ɪz ðə ˈpoʊzɪŋ əv ˈnɛrətɪv questions,”*,” ɪz ˈæˌkʧuəli ˈsəmθɪŋ ðə ˈraɪtər ˈdeɪvɪd ˈlɪpˌskaɪ həz sɛd əˈlaʊd ɔn ˈməltəpəl ɔˈkeɪʒənz. ˈlɪpˌskaɪ ˈtiʧɪz ə klæs əv ˈsɪŋgjələr ˈjusfəlnəs, frəm wɪʧ aɪ ˈbeɪsɪkli rɪˈpit bæk ˈlɛsənz ɪn ə deɪzd ˈmɑnəˌtoʊn. mɛn kɔl ɪm ˈlɪpˌskaɪ, ənd ˈwɪmən kɔl ɪm ˈdeɪvɪd. wi wər əv wən maɪnd tɪ gɪt ə gʊd sit, ənd əˈnəðər tɪ dək ənd ˈskrɪbəl. ɪn klæs, ˈlɪpˌskaɪ kɔlz ɔn ˈpipəl, ə bɑrˈbɛrɪk ˈpræktɪs ˈlɪtərəli fraʊnd əˈpɑn baɪ moʊst əv ˈjuˈɛs, ənd mɔr, ðɛr wɑz ə priˈpɑndrəns əv kərˈɛkt ˈænsərz ˈnɛvər ə drɔɪŋ. ðə aɪˈdiə wɑz ðət ˈstɔri ər, səˈnɑnəməsli ˈstrəkʧər, ɪz noʊ mɔr ənd noʊ lɛs ðən tɪ æsk ðə ˈridər ˈlidɪŋ kˈwɛsʧənz ɪn ðə hoʊps əv ˈɪntəˌrɛstɪŋ ðɛm. əv ə ˈgɪvɪn ˈkɛrɪktər wɪl ʃi ər ʃi bi faɪərd, ləvd, kɔt, əbˈzɑlvd? ɪn ðə ɛnd, ðə klæs wɑz əˈprɑksəmətli hæf immunes*, wɪθ ðə ˈəðər hæf ˈwɛrɪŋ waɪt ˈspɔrtɪŋ wən əv tərmz əv ɑrt ˈprɪnɪd ɪn boʊld: wɪθˈhɛld ˈdætə. noʊ wən laɪks tɪ bi æst wət ðə əˈbaʊt. bət ˈlɪpˌskaɪ wɑz ˈnɛvər rɪˈfərɪŋ tɪ ðə əˈbaʊt əv ðə ˈæbˌstrækt ˈpeɪnɪŋ ər ðə ˈpɪriəd əv ðə hɪˈstɔrɪkəl ˈnɑvəl. ˈnəθɪŋ wɑz ən ˈæləˌgɔri əv əˈmɛrɪkə. hi mɛnt: ə gərl ɪz traɪɪŋ tɪ fɪt ɪn æt ə ˈpraɪvət skul. ər: ðoʊz ˈlɛtərz wər fɔrʤd. ənd wəns ðə ˈlɪtəl naɪf ɪz stoʊd, ənd ə kˈwɔrəm hæd ˈnɑdɪd ər ər fəroʊd, hi wʊd seɪ æsk ˈjuˈɛs tɪ meɪk ən ˌænəˈteɪʃən ɪn ðə ˈmɑrʤən: ɪf ə ˌpɑˈtɪkjələr ˈstɔri, wəns ˈbeɪgən, ʃʊd faɪnd ˌɪtˈsɛlf riˈzɑlvd, əˈnəðər ˈstɔri həz tɪ teɪk ðə ˈbæˌtɑn. naʊ ənd ðɛn rɛd ə ˈnɑvəl baɪ ə ˈraɪtər hu simz tɪ hæv bɔt ɪn. ˈlɔrən feɪts ənd ɪz ə ˈnɑvəl ɪn tu ðə ˈtɛknɪkəl tərm hir wʊd bi ““parts.”*.” grɔf sɛts əp ðə ˈridər fər ˈɛni ˈnəmbər əv θɪŋz wɪθˈhoʊldɪŋ əˈpruvəl; ə ˈmɪljənˌdɔlər bɛt ɔn ðə ˈmɛrɪʤ əv ən ˌɪmˈplɔzəbli səkˈsɛsfəl ˈpleɪˌraɪt tɪ ən kwin frəm nowhere.”*.” ˈridərz wɪl noʊt ðə juz əv ˈbrækɪts. ˈrɔɪəlti ˈmæθɪld ɪz tɪ bi ˈfeɪθfəl. [pərˈhæps not].”*].” grɔf həz rɪˈfərd tɪ ðiz əˈsaɪdz ɛz ə chorus,”*,” bət wət ðeɪ ər ˈrɪli ɪz ən ɪˈfɪʃənt ˈmɛθəd əv ˈoʊpənɪŋ əp gæps kˈwɛsʧənz. noʊ, hi θɔt. [ʃi did!]”*!]” aɪˈrɑnɪkli ðə ɔlˈtərnətɪvz tɪ architecture”*” ðət kən sim ə ˈlɪtəl ˈblədləs ənd ˈtɛknɪkəl. ˈstrəkʧər, tɪ ʤɔrʤ ˈsɔndərz, kənˈsɪsts əv wɪθ wɪʧ tɪ meɪk jʊr ˈɔdiəns fil mɔr deeply.”*.” ðiz biɪŋ tulz æt dɪˈspoʊzəl, noʊ ˈmætər haʊ ˈlɪtərˌɛri. ˈæftər ɔl, ðɛr ər haɪ steɪks ɪn laɪf ɛz ɪt ɪz ˌɔrdəˈnɛrəli lɪvd, wɪʧ ɪz tɪ seɪ, pɪʧt ˈæŋkʃəsli bɪtˈwin dɪˈzaɪər ənd ɪmˈbɛrəsmənt. ə ˈstɔri ðət wərks meɪks rum fər ðə ˌpɑsəˈbɪləˌti ðət ɪt. hæv tɪ bi good,”*,” sɪz ðə ˌɪmˈpɪriəs, ˈoʊldər ˈsɪstər ɪn rəˈbɛkə toast.”*.” ɪt ʤɪst tɪ bi appropriate.”*.” ənd jɛt ðɛr ər səm əv ˈjuˈɛs hu bi kɔt dɛd ˈjuzɪŋ ə ““tool.”*.” wi maɪt kip ɪt ɪn ðə drɔr baɪ ðə bɛd, bət wət ˈraɪtər toʊld tɪ tɛl ðɛr ˈstɔri, faɪnd ðɛr oʊn vɔɪs ˈɔrdər tɪ live”*” wʊd wɔnt tɪ fid ɪt θru machinery.”*.” hu kɛrz? keɪs ˈstədiz əˈbaʊt stɑr wɔrz: ðə fɔrs əˈweɪkənz, ˈkrɪtɪks hæd 8 10 11 18 32 43 ənd 77 ““questions,”*,” 6 əv wɪʧ wər əv ðə ““big”*” vərˈaɪəti, 11 əv wɪʧ wər saɪz ““huge.”*.” ənd 7 15 17 ənd 25 kˈwɛsʧənz hæd gɔn ““unanswered.”*.” kˈwɛʃən ɪn ðɪs ˈkɑntɛkst minz hole,”*,” əv wɪʧ 5 9 40 (ənd more”*” ɔn tɔp əv ðət) wər ““unforgivable.”*.” ædˈmɪtɪdli, səm əv ðə ɪˈnumərˌeɪtɪd ər mɔr laɪk ˌɪŋˈkɑnsɪˌstɛnsiz dɪz wən nid ə mæp tɪ riʧ koʊˈɔrdəˌneɪts ɪn speɪs? bət ˈmɛni əv ðiz kˈwɛsʧənz ər ɪnˈtaɪərli ˌɪnˈtɛnʃənəl plɑt dɪˈvaɪsɪz. wɛr ɪz luk ˈskaɪˌwɔkər? gɪts ju ðə ˈmuvi. ˈpɛrəntəʤ gɪts ju ɔl θri. tɪ bi klɪr, ðə ˈnoʊtəbəl ɪkˈwɪvələns hir ɪz bɪtˈwin ˈfəŋkʃənəl ˈstɔriˌtɛlɪŋ ənd ðə ˈgɔlɪŋ læk ˌðɛˈrəv. hɑrd tɪ seɪ ʤɪst haʊ ðɪs ˈhæpənz, bət ðɛr maɪt bi ə klu ɔn ðə waɪt smɑk, ə ˌvɛriˈeɪʃən ɔn ðə kˈwɔrəl: ðə ˈdɪfərəns bɪtˈwin nɑt ˈtɛlɪŋ ənd ə laɪ? wən mɔr keɪs ˈstədi frəm ðə ˈrɛləvənt wərld: ˈsɪˌriəl. wɪn ɪt bɪˈkeɪm klɪr ðət ə ˈreɪdiˌoʊ ˌdɑkjəˈmɛnəri hæd bɪˈkəm ə ˈblɑkˌbəstər, ðət ˈpipəl ləvd ðɪs ˈmərdər, ˈsɛrə ˈkərnɪg, ɪt simz, fɛlt hərˈsɛlf ˈpeɪnɪd ˈɪntu ən ˈɛθɪkəl ˈkɔrnər. hir ʃi ɪz, ˈbrɪsəlɪŋ æt ðə ˈnoʊʃən əv ɛˈnæktɪŋ ““suspense,”*,” wɪθ ðə kˈwɛʃən ɪn boʊld: bət ðə ˈpɔdˌkæst ɪz ə ˈhaɪbrɪd əv ˈʤərnəˌlɪzəm ənd ˌɛnərˈteɪnmənt. ju hæv ə lɔt əv ˌɪnˌfɔrˈmeɪʃən, ənd ɪt simz ˈstrəkʧərd ɪt fər ˈmæksəməm səˈspɛns. aɪ θɪŋk ˈjuˈɛs, ɪt fil ðət ˈdɪfərənt frəm ə ˈrɪli lɔŋ ˈmægəˌzin ˈstɔri ər ju noʊ, ˈɛni ˈstɔri ðət ju wʊd teɪk kɛr ɪn ˈstrəkʧərɪŋ. ɪn ðə ˈvɛri fərst ˈɛpɪˌsoʊd, ˈkərnɪg dɪˈskraɪbz ˈædnən saɪd maɪld ˈmænər hi sim laɪk ə ˈvɪʃəs ˈsaɪkoʊˌpæθ. noʊ, ən idiot,”*,” sɪz ˈkərnɪg, hər toʊn pɪʧt tɪ ˈifɛktɪv self-deprecation*. ˈkərnɪg noʊz ðət 12 ˈpɔdˌkæst ˈɛpɪˌsoʊdz ˌdɪˈsaɪd ˈwɛðər ɪn fækt ˈivəl ɪz ˈjumən ər ˌɪnˈhjumən. (nɑt ˈivɪn ˈʤænɪt ˈmælkəm noʊz: ˈkɑnsɛpt əv ðə ˈsaɪkoʊˌpæθ ɪz, ɪn fækt, ən ədˈmɪʃən əv ˈfeɪljər tɪ sɑlv ðə ˈmɪstəri əv ˈivəl ɪt ɪz ˈmɪrli ə riˈsteɪtmənt əv ðə mystery.”*.”) ɪf nɑt ““suspense,”*,” ˈkərnɪg ədˈmɪts tɪ ““structuring.”*.” bət ðɪs dɪˈstɪŋkʃən hoʊld əp tɪ ˈskrutəni nɑt ðət aɪ kˈwɛʃən ˌwətsoʊˈɛvər ˌɪnˈtɛgrəti. ˈæˌkʧuəli, ˈsɪˌriəl ɪz tu gʊd, ənd tu ˌɪnˈtɛlɪʤəntli ˈstrəkʧərd fər hər tɪ hæv ə lɛg tɪ stænd ɔn. ən idiot”*” ɪz ə pleɪ fər aɪˌdɛntəfəˈkeɪʃən. me.”*.” ˈsizən tu.) ðɪs laɪn əˈbaʊt ˈlʊkɪŋ ˈɪntu bɪg braʊn aɪz ɪz raɪt ðɛr ɪn ðə skrɪpt wɛr, pərˈhæps, ðɛr kʊd hæv bɪn ə ˈbreɪkˌdaʊn əv taʊər ˈdætə (ənd ˈæftər ə ˈjusfəl dɪˈleɪ əv ən ˈɛpɪˌsoʊd ər tu, ə kˈwɛsʧənɪŋ əv ɪts ˈækjərəsi). aɪ hæv ˈlɪtəl daʊt əˈbaʊt wɪʧ wɑz ðə ˈbɛtər ʧɔɪs. wɪn ˈdeɪvɪd ˈrɛmnɪk æsks ˈkərnɪg əˈbaʊt hər ˈmɛθəd, ʃi sɪz, θɪŋk traɪɪŋ tɪ kənˈveɪ ðət ju kən trəst mi bɪˈkəz dən maɪ homework.”*.” ənd ɪn ðɪs ˈsɛnəmənt, ʃi saʊnz ə lɔt laɪk ˈdeɪvɪd ˈlɪpˌskaɪ wɪθ jʊr ˈridər. tɛl ðɛm ˈɑnəst things.”*.”). ðɪs trəst ɪz ˈɔlsoʊ ə kaɪnd əv ˈstrəkʧərɪŋ aɪ noʊ, ən ˈɪˌdiət. bət ðɛr ər ə lɔt əv ˈstɔriz aʊt ðɛr, ənd wi tɛnd tɪ pɪk ðə wən ðət lʊks ˈjuˈɛs ɪn ðə aɪ ənd æsks, ˈmeɪbi ə ˈlɪtəl preposterously*, kən aɪ tɛl ju ə ˈsikrɪt? ˈkərnɪg ɪz ðɛn æst əˈbaʊt dɪˈsɪʒənz ʃi meɪd wɪθ ˌdɪˈsaɪdədli vɔɪs. ˈʤuli sˈnaɪdər ˈlɛvəlz wɪθ hər ˈæftər ən ənˈsætɪsˌfaɪɪŋ kət: ˈɛdət ˈæftər ˈɛdət ˈæftər nɑt nɑt gʊd. aɪ nid tɪ noʊ wət ju ˈsɛrə ˈkərnɪg meɪk əv ɔl ðɪs. ˈəðərˌwaɪz aɪ kɛr. aɪ noʊ waɪ ˈtɛlɪŋ mi ɔl nid tɪ meɪk mi care.”*.” aɪ wɑz kwaɪt ənˈkəmfərtəbəl wɪθ ðət ˌɪˈnɪʃəli, bət ðɛn aɪ ðə θɪŋ goʊɪŋ tɪ meɪk ju ˈlɪsən tɪ ðə stəf aɪ θɪŋk ɪz ˌɪmˈpɔrtənt. ɪf ðət saʊnz ə lɔt laɪk jʊr aɪ ɔn ðə ball,”*,” nɑt rɔŋ. bət rɛst əˈʃʊrd ðət ɑr klæs ˈivɪn θɔt əv ðə bɔl məʧ lɛs kɛpt ən aɪ ɔn ɪt. (si: ˈtɛstəmənts tɪ ðɛr ˈkɑnfədɛns əˈprɑksəmətli ˈɛvriˌwɛr ju lʊk.) baɪ ðə aɪˈdiə ðət ˈmeɪkɪŋ ˈsəmˌwən ɛls kɛr ɪz ˌɪndɪˈstɪŋgwɪʃəbəl frəm ˈsɛlɪŋ ɪt tɪ ðɛm. tɪ neɪm ʤɪst ə fju əv ðə ˈprɪnsəpəld stændz əˈgɛnst ˈkɛrɪŋ wət ˈɛniˌwən ɛls θɪŋks: ˈmɔrnɪŋ ˈpeɪʤɪz ənd ðə ˈdɪsəplən; ðə weɪ ˈsɪmpli nɑt biɪŋ ˈeɪbəl tɪ stɑp; laɪk watching,”*,” ər ɑrt ɛz voʊˈkeɪʃən hæv geɪnd ə speɪs əv maɪ oʊn, ə speɪs ðət ɪz fri, wɛr aɪ fil ˈæktɪv ənd present.”*.” ˌɛˈleɪnɑ fərˈɑnti, nɑt ɔn tˈwɪtər). ðɪs həz tɪ du wɪθ ˈbeɪsɪk ˌɔriɛnˈteɪʃən ɛz ən ˈɔθər: ɪz ɑrt ə minz tɪ ˈkəltəˌveɪt ər tɪ riʧ? ənd ɪf ju məst ˌɪnˈsɪst ɔn ˈraɪtɪŋ, aɪ hæv tɪ æsk ʤɪst haʊ əˈkjutli du ju fil ðə nid tɪ bi bɔrn ˈwɪtnəs tɪ? bɪˈkəz ə ˈsɪŋgjələr kˈwɛʃən ˈhɛriz ˈstɔriz æt ˈɛvəri tərn, ˈɛkoʊɪŋ ðə wərdz æt ðə ˈsɪˌriəl ˈɛdɪtɪŋ beɪ: wət ɪz ˈɛni əv ðɪs fər? ˌɪˈnɛvətəbli, ðə ˈænsər əˈkərz ˈsəmˈwət tu leɪt: ˈmeɪkɪŋ ˈsəmˌwən ɛls kɛr ɪz ðə haɪəst kəˈmændmənt əv ˈstrəkʧər. wɪʧ ɪz waɪ, ˈæftər ðə rɪˈmidiəl ˌɪnˈstrəkʃən, ˈɔlˌmoʊst ɔl əv wət ˈdeɪvɪd ˈlɪpˌskaɪ dɪz ɪz proʊz tɪps. ðə ˈθɪri biɪŋ ðət ˈθɪŋkɪŋ ɪn tərmz əv ˈsɛtɪŋ θɪŋz əp ənd peɪɪŋ ðɛm ɔf friz ðə ˈraɪtər tɪ dɪˈvoʊt ðɛmˈsɛlvz ˈəðərˌwaɪz tɪ sentence-making*. ðə ˈsɪləbəs, wɪθ fju ɪkˈsɛpʃənz, ɪz kəmˈpoʊzd əv ðoʊz ˈraɪtərz hu kən ˈrɪli lɔnʧ ʃɪps prose-wise*: ˈdeɪvɪd ˈfɑstər ˈwɔlɪs, ˈlɔri mʊr, vˈlædəmɪr ˈnæbəˌkɑv, smɪθ. ɪn fækt, ðə ““system”*” wʊd ðət ɪt wər maɪ oʊn bæʧ əv ˈkɪndə ˌdɛˈdɛndz æt ˈtælənt. bət ˈʤɛnərəli ˈspikɪŋ ðət ˈtælənt ɪz nɑt riˈspɑnsəbəl fər ˈmɪstəriz ɔn ʃɔrt flaɪts; ər ðət wɪʧ ˈmænɪʤɪz tɪ hɪt hər dəl ənd ʧɪpt ˈfəni boʊn; ər seɪt hər greɪt ˈæpəˌtaɪt fər vəˈnɪlə ənd truər dɪˈtɛktɪvz. ə ˈwərkɪŋ ˈfæləsi rɪˈzəlts. tɛnt poʊlz səʧ ɛz geɪm əv, ðə ˈmɑrvəl ˈjunəˌvərs ðeɪ hæv ə kaɪnd əv ˌaɪdiəˈlɑʤɪkəl məˈnɑpəli ɔn wət ˈhæpənz nɛkst? bət ðə mɔr wi əkˈsɛpt ðə ˈprɛmɪs ðət wət səkˈsidz ɪn ðə ˈmɑrkɪt wərks, ðə ˈiziər ɪt ɪz tɪ kənˈvɪns ɑrˈsɛlvz ðət ðə ˈmɑrkɪt ˌɪtˈsɛlf straɪvz tɪ gɪv ˈjuˈɛs ðə ˈkəlʧər wi nid. [ɪt.] ðə ˈʧælənʤ fər lɪt ɪz ðə seɪm fər ɑr ˈkəlʧər æt lɑrʤ frəm hir ɔn: dɪˈstɪŋgwɪʃɪŋ ðə ˈprɑdəkts frəm ˈækʧəwəl ˈvɔɪsɪz. ɪz pɑrt əv ðə design.”*.” luɪs menand*, taɪm əv ˈbroʊkən windows”*” nɑt ðət ˈhɔlbərg kəˈmɪts ðə ˈɔrdəˌnɛri ˈfɪkʃənəl sɪn əv ə fɔls ˈminɪŋ ɔn hɪz ˈnɑvəl, wɪʧ ɪz ˈəltəmətli ʤɪst ɛz bəˈlivəbəl ɛz ə laɪn drɔn tɪ kəˈnɛkt ˈɛni wən θɪŋ tɪ əˈnəðər. ˈsɪti ɔn faɪər meɪ bi ɪˈlæbrətli ˈplɑtɪd, ənd ə ˈstɔri ˈrɪʧli toʊld, bət ɪt ɪz nɑt ˈgɪvɪn, nɑt ˈstrəkʧərd fər ˈjuˈɛs. ðoʊ, wi kən ˈizəli ɪgˈzæʤərˌeɪt ðə ˈsækrəˌfaɪs. nɑt kwaɪt ˈwɔkɪŋ ɪn frənt əv ə tæŋk; ˈmeɪbi mɔr laɪk ˈpɪkɪŋ əp ə ʃɪft. ə sɛns əv ðə ənˈkæni, əv ə kaɪnd əv ˈʤinjəs æt wərk, ɪz ɛz ɛˈsɛnʃəl ən ˈæˌspɛkt əv ˈrɛdɪŋ ɛz ˈstrəkʧər, bət moʊst ˈridərz, aɪ θɪŋk, ɪkˈspɪriəns dɪˈzaɪn ɛz ˌənfɔrˈsin ˌplɔzɪˈbɪlɪti. səm θɪŋz du wərk ˈɛvəri taɪm. fər ɪgˈzæmpəl, aɪ goʊ tɪ ðə ˈfɪzɪkəl ˈbʊkˌstɔr ənd gɪt ðə ““ambitious”*” bʊk ˈoʊvər ənd ˈoʊvər, laɪk ˈʧɑrli braʊn wɪn ˈlusi ˈprɑməsəz tɪ hoʊld ðə ˈfʊtˌbɔl bət ˌɪnˈstɛd əv ə ˈfʊtˌbɔl ðət θɪŋ wɪn ðə taɪmz rənz ə ˌrivˈju baɪ ɪn ðə ˈdeɪli ənd ðɛn əˈnəðər ɔn ˈsənˌdi. tʊr də fɔrs ɪn hænd, aɪ goʊ hoʊm ənd rɛd ðə fərst ˈʧæptər wɪθ ə ˈʃipɪʃ sɛns əv maɪ oʊn dɪˈmɑgrəfi. əˈlɔŋ ðoʊz laɪnz, aɪ kən ˌɪˈmæʤən haʊ rɪˈfaɪnɪŋ ðə ˈkɑnsɛpt əv ˈnɛrətɪv ˈstrəkʧər məst sim ə split-hair*, ʤɪst əˈnəðər smɔl ˈdɪfərəns. ˈdərti təˈmɑtoʊz ənd ɔrˈgænɪk ˈstɔriz æt nɑt ðoʊz ˈstɔriz ræpt ɪn pɪŋk bləd ɔn ə bɛd əv ˈstaɪrəˌfoʊm. bət ɪn ðə əv ˌɔθənˈtɪsɪti ər ˈplɛnti əv ril dɪˈstɪŋkʃənz ˈlʊkɪŋ æt ju, ˈtɛksəs ˈbɑrbɪˌkju, ˈstɑrtɪŋ ə bænd, ənd ðə ˈnoʊʃən əv ə haɪ ˈlɪtərəʧər ðət tɛlz things.”*.” wɛˈnɛvər aɪ hir ðət laɪnz grayed*, blərd əˈweɪ! aɪ faɪnd ˌmaɪˈsɛlf ˈfɑndli ˈmɪsɪŋ ðə ˈklɛrɪti əv ˈdɪfərənsɪz. ɪf ju dɪˈvaɪd tɛn ˈθaʊzənd baɪ forty-one*, ju gɪt tu ˈhənərd ənd forty-three*, wɪʧ ɪz rɪˈkərəns ɪz ˈdeɪnʤərəs boʊθ bɪˈkəz ɪt ɪz tu lɔŋ lɔŋ ɪˈnəf fər ˈjuˈɛs tɪ ənˈwɪtɪŋli bɪld ən ɪnˈtaɪər ˌsɪvəlɪˈzeɪʃən ɔn tɔp əv ɑr wərst fɔlt laɪn ənd bɪˈkəz ɪt ɪz nɑt lɔŋ ɪˈnəf. ˈkæθrɪn ʃʊlts, ˈrɪli bɪg one”*” ðɪs ɪz wɛr ɪt simz ɛz ɪf aɪ ʃʊd ˈɔfər səm kaɪnd əv ægˈnɑstɪk politesse*. ɛnˈdɔrs ə əv ˈstɔriˌtɛlɪŋ ɔl ˈstrəkʧərz ər ““legitimate.”*.” ˈɛni ˈstrəkʧər ðət meɪks ju ˈhæpi. ʧuz ɪt soʊ məʧ ɛz ɪt ˈʧuzɪz you,”*,” sɪz ˈkɑrˌmaɪn cicciaro*, ˈfɑðər. ˈɔlˌweɪz ˈtɛmptɪŋ tɪ saɪd wɪθ anti-dogmatism*. bət aɪ du ðət. bɪˈkəz, wət ɪf ðɛr ɪz ə ˈmɔrəl tɪ ðɪs ˈstɔri? ˈstrəkʧər əˈbaɪdz. ɛks ki kɑrdz ənd power-outs*; ˌənrɪˈlaɪəbəl ˈnɛˌreɪtərz əv sɛks ˈæftər ˈmɛrɪʤ. ən ˈnɑvələst siz ə ˈpɪkʧər əv ˈbrɪtˌni spɪrz ˈɛgzɪtɪŋ ə ˈrɛˌstrɑnt ˈhoʊldɪŋ ə pæk əv ˌsɪgəˈrɛts, hər foʊn, ðɛn gɑt maɪ ˈsɛkənd book.”*.” 2 britney”–*”– ˈmɪstəri ʃoʊ.) bət ɪt ɪz ˈlɪtərˌɛri rɪˈpɔrtɪŋ ðət həz ˈprɪti məʧ bɪˈkəm ˈstændərd ˈbɛrər. ɪn ˈreɪʧəl ɪz jʊr mother?”*?”, ə ˈhɛlθi ʧaɪld kraɪz ɪn ən ˈɛmti əˈpɑrtmənt, ənd dəst plumz ɔf ðə bɛd. wɑz bɔrn overseas,”*,” ðə ˈməðər sɪz, ənd ˈnəθɪŋ ɛls. ɪn streɪnʤ keɪs əv ˈænə stubblefield,”*,” ˈdænjəl æsks ɪf d.j*. hæd ə ˈpraɪvət ˈʧeɪmbər ɪn hɪz hɛd, ə pleɪs wɛr ˈgroʊˌnəp θɔts wər træpt bɪˈhaɪnd hɪz palsy?”*?” ˈstɔri raɪts ˌɪtˈsɛlf, ɛz ðeɪ seɪ. [noʊp.] ðɛn əˈgɛn, ə saʊnd ˈɔlˌmoʊst laɪk ˈklɑkˌwərk əˈkəmpəniz ˈkæθrɪn ʃʊlts ˈraɪtɪŋ əv tsunamis*, ˈbɑrkɪŋ dɔgz əˈhɛd əv ðə weɪv, ənd ə ˈnəmbər: 243 ɪn ðə fərst fju ˈpɛrəˌgræfs əv ðiz ˈstɔriz, ɪt filz ɛz ɪf ˌɪnspərˈeɪʃən ˈteɪkən frəm ˈlupɪŋ skˈwɪgəlz wɑz ˈoʊnli ˈɛvər ɛz ˌɪmˈpɔrtənt ɛz hɪz əˈʃʊrəns ðət ðə ˈstɔriˌtɛlɪŋ ˈprɪnsəpəl ɪz ˈɛθɪkəli ˈoʊˈkeɪ ɪn nonfiction”*” ər ˈʤərnəˌlɪzəm. nɑt soʊ ˈwərid əˈbaʊt səm ˈmɔrəˌlaɪzɪŋ ˈθɪri əv dɪˈklaɪnɪŋ əˈtɛnʃənz spænz ɑr ““distraction.”*.” ɪn fækt, ˈnəθɪŋ kʊd dɪˈstrækt mi frəm əˈnəðər fɔrm əv æŋˈzaɪəti: aɪ ˈdɛspərətli wɔnt tɪ peɪ rɪˈlɛntlɪs əˈtɛnʃən tɪ ˈoʊnli ðə fju, θɪŋz. ˈstrəkʧər, ˈtruli ˈɛvədənt, dɪˈrɛkts ðət əˈtɛnʃən. ɪf ˈstɔriz ər ə minz tɪ tɛl ˈjuˈɛs wət ju ɪz important,”*,” ðɛn baɪ ɔl minz. ðə ˈpɑləsi əv ˈbreɪsɪŋ ˈɑnəsti həz ðiz ˈlɛsər noʊn ˈklɔzɪz: ðət ju hæv tɪ ˈfɪgjər aʊt wət moʊst nidz tɪ bi sɛd, ənd waɪ ˈɛniˌwən ʃʊd wɔnt tɪ hir ju seɪ ɪt. ɪf ju ˈhæpən tɪ rɛd pɑp ˈfɪzɪks, kɔld ðə effect.”*.” ˈɛni ˌɑbzərˈveɪʃən əˈfɛkts ðə ɪkˈspɛrəmənt (ðə əv ðə weɪv function”*” wət ˈhæpənz ˈimərʤɪz frəm ə praɪər ˈlɪmboʊ əv ˌpɑsəˈbɪlətiz). ðə əbˈzərvər ˈifɛkt ˈɔlsoʊ əˈplaɪz tɪ ðə kˈwɛʃən əv ˈstrəkʧər ənd ðə blæk bɑks əv ˈprɔˌsɛs: nən əv ɪt wərks, bɪˈkəz ɪt ˈkænɑt bi ʃoʊn tɪ hæv dən wət ɪt ˌɪnˈtɛndɪd tɪ du. ˈraɪtɪŋ ɪz ˈnəθɪŋ ənˈtɪl ðə prɪˈsaɪs ˈmoʊmənt ðə ˈridər ə ˈminɪŋ. aɪ wɔnt tɪ tɛl ju ˈsəmθɪŋ. aɪ kən drɔ ðə mæp. ˈoʊnli ju kən tɛl mi ɪf ɪt goʊz ˈɛniˌwɛr. seɪ ðə wərd. |
akmal, brother of kamran, was reportedly seen at a dance party in hyderabad. ary correspondent reported that was suspected to have misbehaved with some women during a dance party.
on the other hand, some media reports suggest that the was found at an ‘objectionable place’ instead of the dance bar. the board, however, did not specify the details.
the said the act of had brought disrepute to the country and the board.
the latest violation of’s code of conduct has cost his place in the squad for england series in dubai.
the has sought reply from the player within two weeks.
umar had also previously been found violating the code.
the was embroiled in a controversy when he was apprehended on february 1, 2014 after police charged him for violating a traffic signal in market area and later with a traffic warden.
akmal was detained the same day and released a day later on a bail order issued by a local court against a surety bond of. however, he denied the charges, claiming he had been assaulted by the traffic warden first.
following is the squad announced by the for england series.
shahid afridi (c), ahmed, ahmed shehzad, riaz, malik, mehmand, wasim, yamin, khan jr., tanvir, mohammad rizwan, mohammad irfan, anwar ali, mohammad hafeez, ahmed.
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comments | akmal*, ˈbrəðər əv ˈkæmrən, wɑz rɪˈpɔrtədli sin æt ə dæns ˈpɑrti ɪn ˈhaɪdərəˌbæd. ˈɛri ˌkɔrəˈspɑndənt ˌriˈpɔrtəd ðət wɑz səˈspɛktɪd tɪ hæv ˌmɪsbəˈheɪvd wɪθ səm ˈwɪmən ˈdʊrɪŋ ə dæns ˈpɑrti. ɔn ðə ˈəðər hænd, səm ˈmidiə rɪˈpɔrts səˈʤɛst ðət ðə wɑz faʊnd æt ən place’*’ ˌɪnˈstɛd əv ðə dæns bɑr. ðə bɔrd, ˌhaʊˈɛvər, dɪd nɑt ˈspɛsəˌfaɪ ðə ˈditeɪlz. ðə sɛd ðə ækt əv hæd brɔt ˌdɪsrɪˈpjut tɪ ðə ˈkəntri ənd ðə bɔrd. ðə ˈleɪtəst vaɪəˈleɪʃən əv koʊd əv ˈkɑndəkt həz kɔst hɪz pleɪs ɪn ðə skwɑd fər ˈɪŋglənd ˈsɪriz ɪn duˈbaɪ. ðə həz sɔt rɪˈplaɪ frəm ðə pleɪər wɪˈθɪn tu wiks. hæd ˈɔlsoʊ ˈpriviəsli bɪn faʊnd ˈvaɪəleɪtɪŋ ðə koʊd. ðə wɑz ɛmˈbrɔɪld ɪn ə ˈkɑntrəˌvərsi wɪn hi wɑz ˌæprɪˈhɛndəd ɔn ˈfɛbruˌɛri 1 2014 ˈæftər pəˈlis ʧɑrʤd ɪm fər ˈvaɪəleɪtɪŋ ə ˈtræfɪk ˈsɪgnəl ɪn ˈmɑrkɪt ˈɛriə ənd ˈleɪtər wɪθ ə ˈtræfɪk ˈwɔrdən. wɑz dɪˈteɪnd ðə seɪm deɪ ənd riˈlist ə deɪ ˈleɪtər ɔn ə beɪl ˈɔrdər ˈɪʃud baɪ ə ˈloʊkəl kɔrt əˈgɛnst ə ˈʃʊrəti bɑnd əv ˌhaʊˈɛvər, hi dɪˈnaɪd ðə ˈʧɑrʤɪz, ˈkleɪmɪŋ hi hæd bɪn əˈsɔltɪd baɪ ðə ˈtræfɪk ˈwɔrdən fərst. ˈfɑloʊɪŋ ɪz ðə skwɑd əˈnaʊnst baɪ ðə fər ˈɪŋglənd ˈsɪriz. əˈfridi (si), ˈɑmɛd, ˈɑmɛd shehzad*, riaz*, ˈmælɪk, mehmand*, wasim*, ˈjæmɪn, kɑn jr*., tanvir*, moʊˈhɑmɛd rizwan*, moʊˈhɑmɛd irfan*, ˈɑnwɑr ˈɑli, moʊˈhɑmɛd hafeez*, ˈɑmɛd. ˈkɑmɛnts ˈkɑmɛnts |
washington (reuters) - ten months after the botched rollout of, federal health insurance exchange is still dogged by cost overruns and technology delays that could hamper enrollment when it resumes in november, a u.s. watchdog said.
the total cost of and its supporting systems hit $840 million in march, according to a forthcoming report by the nonpartisan government accountability office (gao). excerpts of the report were released on wednesday by a u.s. house of representatives oversight committee.
part of the cost stems from the federal work with plc, the lead contractor for the website. the value of that contract soared more than 92 percent in less than six months, from $91 million in january to more than $175 million by early june, a investigation found.
the report blamed cost increases on lax oversight, the complexity of the system and the need to rework technology. multiple failures caused to crash during its oct. 1 debut, hampering early enrollment for benefits under president barack healthcare law and prompting a congressional investigation.
the administration spent weeks repairing the site, helping more than 5 million people use it to sign up for coverage in 2014. it has since changed many of the contractors that worked on the initial website.
the overall cost of developing the federal marketplace, which helps consumers in 36 states sign up for subsidized private health insurance, nearly quadrupled to $209 million by last february from $56 million in september 2011, said. the cost of developing a related federal data hub jumped from $30 million to $85 million.
meanwhile, large segments of the marketplace system still remain unbuilt, including a financial management system to automate payments of federal subsidies to health insurers that is due to be completed in december.
a senior official with the centers for medicare and medicaid services, part of the department of health and human services and the lead agency on implementation, said it has taken steps to tighten contractor oversight. but the said inconsistent oversight had led officials to inappropriately authorize more than $30 million in contractor spending.
the report is not due to be released until early thursday, ahead of a house energy and commerce subcommittee hearing on implementation of affordable care act. acquisition and sourcing management director william woods is scheduled to testify.
enrollment for 2015 health coverage is scheduled to open on nov. 15.
“unless improves contract management and adheres to a structured governance process, significant risks remain that upcoming open enrollment periods could encounter challenges,” woods said in written testimony.
despite concerns about the performance of’s former lead contractor, federal, was able to withhold only about 2 percent of the fees paid. that was partly because contract allowed for payment even when work was not completed. | ˈwɔʃɪŋtən (ˈrɔɪtərz) tɛn mənθs ˈæftər ðə bɑʧt ˈroʊˌlaʊt əv, ˈfɛdərəl hɛlθ ˌɪnˈʃʊrəns ɪksˈʧeɪnʤ ɪz stɪl dɔgd baɪ kɔst ˈoʊvərˌrənz ənd tɛkˈnɑləʤi dɪˈleɪz ðət kʊd ˈhæmpər ɛnˈroʊlmənt wɪn ɪt ˈrɛzəˌmeɪz ɪn noʊˈvɛmbər, ə juz. ˈwɑʧˌdɔg sɛd. ðə ˈtoʊtəl kɔst əv ənd ɪts səˈpɔrtɪŋ ˈsɪstəmz hɪt 840 ˈmɪljən ɪn mɑrʧ, əˈkɔrdɪŋ tɪ ə ˈfɔrθˈkəmɪŋ rɪˈpɔrt baɪ ðə nɑnˈpɑrtəzən ˈgəvərnmənt əˈkaʊntəˌbɪlɪti ˈɔfəs (gao*). ˈɛksərpts əv ðə rɪˈpɔrt wər riˈlist ɔn ˈwɛnzˌdeɪ baɪ ə juz. haʊs əv ˌrɛprɪˈzɛnətɪvz ˈoʊvərˌsaɪt kəˈmɪti. pɑrt əv ðə kɔst stɛmz frəm ðə ˈfɛdərəl wərk wɪθ plc*, ðə lɛd ˈkɑnˌtræktər fər ðə ˈwɛbˌsaɪt. ðə ˈvælju əv ðət ˈkɑnˌtrækt sɔrd mɔr ðən 92 pərˈsɛnt ɪn lɛs ðən sɪks mənθs, frəm 91 ˈmɪljən ɪn ˈʤænjuˌɛri tɪ mɔr ðən 175 ˈmɪljən baɪ ˈərli ʤun, ə ˌɪnˌvɛstəˈgeɪʃən faʊnd. ðə rɪˈpɔrt bleɪmd kɔst ˌɪnˈkrisɪz ɔn læks ˈoʊvərˌsaɪt, ðə kəmˈplɛksɪti əv ðə ˈsɪstəm ənd ðə nid tɪ riˈwərk tɛkˈnɑləʤi. ˈməltəpəl ˈfeɪljərz kɔzd tɪ kræʃ ˈdʊrɪŋ ɪts ɔkt. 1 ˈdeɪbju, ˈhæmpərɪŋ ˈərli ɛnˈroʊlmənt fər ˈbɛnəfɪts ˈəndər ˈprɛzɪdənt ˈbɑrək ˈhɛlθˌkɛr lɔ ənd ˈprɑmptɪŋ ə kənˈgrɛʃənəl ˌɪnˌvɛstəˈgeɪʃən. ðə ædˌmɪnɪˈstreɪʃən spɛnt wiks rɪˈpɛrɪŋ ðə saɪt, ˈhɛlpɪŋ mɔr ðən 5 ˈmɪljən ˈpipəl juz ɪt tɪ saɪn əp fər ˈkəvərɪʤ ɪn 2014 ɪt həz sɪns ʧeɪnʤd ˈmɛni əv ðə ˈkɑnˌtræktərz ðət wərkt ɔn ðə ˌɪˈnɪʃəl ˈwɛbˌsaɪt. ðə ˈoʊvərˌɔl kɔst əv dɪˈvɛləpɪŋ ðə ˈfɛdərəl ˈmɑrkɪtˌpleɪs, wɪʧ hɛlps kənˈsumərz ɪn 36 steɪts saɪn əp fər ˈsəbsɪˌdaɪzd ˈpraɪvət hɛlθ ˌɪnˈʃʊrəns, ˈnɪrli kwɑˈdrupəld tɪ 209 ˈmɪljən baɪ læst ˈfɛbruˌɛri frəm 56 ˈmɪljən ɪn sɛpˈtɛmbər 2011 sɛd. ðə kɔst əv dɪˈvɛləpɪŋ ə rɪˈleɪtɪd ˈfɛdərəl ˈdætə həb ʤəmpt frəm 30 ˈmɪljən tɪ 85 ˈmɪljən. ˈminˌwaɪl, lɑrʤ ˌsɛgˈmɛnts əv ðə ˈmɑrkɪtˌpleɪs ˈsɪstəm stɪl rɪˈmeɪn ˌənˈbɪlt, ˌɪnˈkludɪŋ ə ˌfaɪˈnænʃəl ˈmænɪʤmənt ˈsɪstəm tɪ ˈɔtəˌmeɪt ˈpeɪmənts əv ˈfɛdərəl ˈsəbsɪdiz tɪ hɛlθ ˌɪnˈʃʊrərz ðət ɪz du tɪ bi kəmˈplitɪd ɪn dɪˈsɛmbər. ə ˈsinjər əˈfɪʃəl wɪθ ðə ˈsɛnərz fər ˈmɛdəˌkɛr ənd ˈmɛdəˌkeɪd ˈsərvɪsɪz, pɑrt əv ðə dɪˈpɑrtmənt əv hɛlθ ənd ˈjumən ˈsərvɪsɪz ənd ðə lɛd ˈeɪʤənsi ɔn ˌɪmpləmɛnˈteɪʃən, sɛd ɪt həz ˈteɪkən stɛps tɪ ˈtaɪtən ˈkɑnˌtræktər ˈoʊvərˌsaɪt. bət ðə sɛd ˌɪnkənˈsɪstənt ˈoʊvərˌsaɪt hæd lɛd əˈfɪʃəlz tɪ ˌɪnəˈprɑpriətli ˈɔθərˌaɪz mɔr ðən 30 ˈmɪljən ɪn ˈkɑnˌtræktər ˈspɛndɪŋ. ðə rɪˈpɔrt ɪz nɑt du tɪ bi riˈlist ənˈtɪl ˈərli ˈθərzˌdeɪ, əˈhɛd əv ə haʊs ˈɛnərʤi ənd ˈkɑmərs ˈsəbkəˈmɪti ˈhirɪŋ ɔn ˌɪmpləmɛnˈteɪʃən əv əˈfɔrdəbəl kɛr ækt. ˌækwəˈzɪʃən ənd ˈsɔrsɪŋ ˈmænɪʤmənt dɪˈrɛktər ˈwɪljəm wʊdz ɪz ˈskɛʤʊld tɪ ˈtɛstɪˌfaɪ. ɛnˈroʊlmənt fər 2015 hɛlθ ˈkəvərɪʤ ɪz ˈskɛʤʊld tɪ ˈoʊpən ɔn noʊv. 15 ˌɪmˈpruvz ˈkɑnˌtrækt ˈmænɪʤmənt ənd əˈdhɪrz tɪ ə ˈstrəkʧərd ˈgəvərnəns ˈprɔˌsɛs, sɪgˈnɪfɪkənt rɪsks rɪˈmeɪn ðət ˈəpˌkəmɪŋ ˈoʊpən ɛnˈroʊlmənt ˈpɪriədz kʊd ɪnˈkaʊnər challenges,”*,” wʊdz sɛd ɪn ˈrɪtən ˈtɛstɪˌmoʊni. dɪˈspaɪt kənˈsərnz əˈbaʊt ðə pərˈfɔrməns əv ˈfɔrmər lɛd ˈkɑnˌtræktər, ˈfɛdərəl, wɑz ˈeɪbəl tɪ wɪθˈhoʊld ˈoʊnli əˈbaʊt 2 pərˈsɛnt əv ðə fiz peɪd. ðət wɑz ˈpɑrtli bɪˈkəz ˈkɑnˌtrækt əˈlaʊd fər ˈpeɪmənt ˈivɪn wɪn wərk wɑz nɑt kəmˈplitɪd. |
jump aboard a swift and trusty steed from final fantasy for an unforgettable free ride around downtown seattle!
to celebrate the upcoming release on november 29, teamed up with square enix to offer free rides around downtown seattle from friday, september 2 to sunday, september 4 from 6pm.
get ready to enter the world of ultimate fantasy adventure and experience the emerald city like you never have before.
how to request
open the uber app in downtown seattle and request the option.
if available, a may appear to whisk you away. traveling with comrades? these birds can accommodate up to 3 people.
trips must begin and end in downtown seattle. theses love the city and promised them the opportunity to explore downtown.
fresh out of gil? no worries, these birds only require your smiles for payment.
these birds camera shy, so make sure to snap your photos and tag + to show off your ride. | ʤəmp əˈbɔrd ə swɪft ənd ˈtrəsti stid frəm ˈfaɪnəl ˈfænəsi fər ən ˌənfərˈgɛtəbəl fri raɪd əraʊnd ˈdaʊnˈtaʊn siˈætəl! tɪ ˈsɛləˌbreɪt ðə ˈəpˌkəmɪŋ riˈlis ɔn noʊˈvɛmbər 29 timd əp wɪθ skwɛr ˈɛnɪks tɪ ˈɔfər fri raɪdz əraʊnd ˈdaʊnˈtaʊn siˈætəl frəm ˈfraɪˌdeɪ, sɛpˈtɛmbər 2 tɪ ˈsənˌdi, sɛpˈtɛmbər 4 frəm 6pm*. gɪt ˈrɛdi tɪ ˈɛnər ðə wərld əv ˈəltəmət ˈfænəsi ədˈvɛnʧər ənd ɪkˈspɪriəns ðə ˈɛmərrəld ˈsɪti laɪk ju ˈnɛvər hæv ˌbiˈfɔr. haʊ tɪ rɪkˈwɛst ˈoʊpən ðə ˈubər æp ɪn ˈdaʊnˈtaʊn siˈætəl ənd rɪkˈwɛst ðə ˈɔpʃən. ɪf əˈveɪləbəl, ə meɪ əˈpɪr tɪ wɪsk ju əˈweɪ. ˈtrævəlɪŋ wɪθ ˈkɑmˌrædz? ðiz bərdz kən əˈkɑməˌdeɪt əp tɪ 3 ˈpipəl. trɪps məst bɪˈgɪn ənd ɛnd ɪn ˈdaʊnˈtaʊn siˈætəl. ðiz ləv ðə ˈsɪti ənd ˈprɑməst ðɛm ðə ˌɑpərˈtunəti tɪ ɪkˈsplɔr ˈdaʊnˈtaʊn. frɛʃ aʊt əv gɪl? noʊ ˈwəriz, ðiz bərdz ˈoʊnli ˌrikˈwaɪər jʊr smaɪlz fər ˈpeɪmənt. ðiz bərdz ˈkæmərə ʃaɪ, soʊ meɪk ʃʊr tɪ snæp jʊr ˈfoʊˌtoʊz ənd tæg tɪ ʃoʊ ɔf jʊr raɪd. |
mr. friedman and ms. epstein have been civilly divorced since april and share custody of their daughter, but they are still married according to jewish law. and without a get neither he nor ms. epstein can remarry within the faith. she is considered an agunah, or chained woman.
although the majority of men in jewish divorces grant their wives a get with little fuss, the husbands who refuse it is estimated there are several hundred in the united states today can provoke a clash between religious folkways and secular divorce law.
usually these conflicts are resolved quietly, within the religious community. but ms. frustrated supporters took to the streets.
like most marriages that end badly, this one began hopefully. on april 23, 2006, aharon friedman of brooklyn married epstein, seven years his junior, of suburban philadelphia . the next year, they had a daughter.
according to court records and interviews with ms. epstein, her lawyer and mr. friedman, who refused to be quoted publicly, ms. epstein said in march 2008 that she wanted a divorce. her husband said he hoped to reconcile but the next month, she moved with their daughter to her parents’ home in suburban philadelphia.
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both parties wanted their divorce resolved by a beit din, a jewish court. but both also availed themselves of civil court: mr. friedman to get an emergency order to have his daughter returned to maryland (it was denied), and ms. epstein, thereafter, in a countersuit for divorce. both have since filed numerous other civil motions in a messy case.
an orthodox court in baltimore still had not ruled when a maryland civil court heard the case, in june 2009. it issued its custody order two months later, and in april 2010, the divorce became final.
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all parties have said that mr. friedman is angry about the custody order, which grants him three weekends a month with his daughter, two of them in philadelphia, beginning at 6 p.m. on fridays. as a religious jew, mr. friedman will not drive from sundown friday to sundown saturday so he cannot see his daughter until sunday.
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the custody order is “a joke,” said belsky, a prominent brooklyn rabbi. “the court decided in a way not to respect the shabbos,” or sabbath, he said in a interview.
and theal council of greater washington issued a statement saying that the parties had not yet exhausted theal courts, suggesting it was premature to blame mr. friedman for withholding the get.
but other rabbis have argued that it is jewish custom to give a get once divorce terms have been settled, and with no possibility of reconciliation.
“even if one party acts wrongly to the other, it is never correct either for the husband to withhold a get or for the wife to refuse a get when a marriage is clearly over,” writes rabbi jonathan reiss, who is not involved in this dispute.
ms. epstein eventually sought help from the organization for the resolution of, or ora, an orthodox group in new york. the group organized the dec. 19 rally outside mr. apartment. after videos were posted on the internet, washington jewish week ran an editorial with the headline “unchain this woman.”
ms. epstein, still living with her parents and working as a nurse, said: “it’s been over two and a half years since we separated, all i want is to be able to move on and rebuild my life for my sake and my sake. and been held hostage.”
on dec. 20, rabbi herzfeld of washington, who supports ms. epstein, wrote to jon traub, the republican staff director of the ways and means committee, accusing mr. friedman of “psychological terrorism.” rabbi herzfeld urged mr. traub to “tell aharon to give the get immediately,” and warned that “it is appropriate to also rally in the vicinity of work place.”
rabbi herzfeld said mr. traub told him, in a phone call, that this was not a matter for the ways and means committee.
but for ms. supporters, this is a matter for everyone. | ˈmɪstər. ˈfridmən ənd mɪz. ˈɛpˌstin hæv bɪn ˈsɪvɪli dɪˈvɔrst sɪns ˈeɪprəl ənd ʃɛr ˈkəstədi əv ðɛr ˈdɔtər, bət ðeɪ ər stɪl ˈmɛrid əˈkɔrdɪŋ tɪ ʤuɪʃ lɔ. ənd wɪˈθaʊt ə gɪt ˈniðər hi nɔr mɪz. ˈɛpˌstin kən riˈmɛri wɪˈθɪn ðə feɪθ. ʃi ɪz kənˈsɪdərd ən agunah*, ər ʧeɪnd ˈwʊmən. ˌɔlˈðoʊ ðə məˈʤɔrəti əv mɛn ɪn ʤuɪʃ dɪˈvɔrsɪz grænt ðɛr waɪvz ə gɪt wɪθ ˈlɪtəl fəs, ðə ˈhəzbəndz hu ˈrɛfˌjuz ɪt ɪz ˈɛstəˌmeɪtɪd ðɛr ər ˈsɛvərəl ˈhənərd ɪn ðə juˈnaɪtɪd steɪts təˈdeɪ kən prəˈvoʊk ə klæʃ bɪtˈwin rɪˈlɪʤəs ˈfoʊkˌweɪz ənd ˈsɛkjələr dɪˈvɔrs lɔ. ˈjuʒəwəli ðiz ˈkɑnflɪkts ər riˈzɑlvd kˈwaɪətli, wɪˈθɪn ðə rɪˈlɪʤəs kəmˈjunɪti. bət mɪz. ˈfrəˌstreɪtəd səˈpɔrtərz tʊk tɪ ðə strits. laɪk moʊst ˈmɛrɪʤɪz ðət ɛnd ˈbædli, ðɪs wən bɪˈgæn ˈhoʊpfəli. ɔn ˈeɪprəl 23 2006 ˈæhərɑn ˈfridmən əv ˈbrʊklɪn ˈmɛrid ˈɛpˌstin, ˈsɛvən jɪrz hɪz ˈʤunjər, əv səˈbərbən ˌfɪləˈdɛlfiə ðə nɛkst jɪr, ðeɪ hæd ə ˈdɔtər. əˈkɔrdɪŋ tɪ kɔrt ˈrɛkərdz ənd ˈɪntərvˌjuz wɪθ mɪz. ˈɛpˌstin, hər ˈlɔjər ənd ˈmɪstər. ˈfridmən, hu rɪfˈjuzd tɪ bi kˈwoʊtɪd ˈpəblɪkli, mɪz. ˈɛpˌstin sɛd ɪn mɑrʧ 2008 ðət ʃi ˈwɔntɪd ə dɪˈvɔrs. hər ˈhəzbənd sɛd hi hoʊpt tɪ ˈrɛkənˌsaɪl bət ðə nɛkst mənθ, ʃi muvd wɪθ ðɛr ˈdɔtər tɪ hər parents’*’ hoʊm ɪn səˈbərbən ˌfɪləˈdɛlfiə. ˈfoʊˌtoʊ boʊθ ˈpɑrtiz ˈwɔntɪd ðɛr dɪˈvɔrs riˈzɑlvd baɪ ə beɪt dɪn, ə ʤuɪʃ kɔrt. bət boʊθ ˈɔlsoʊ əˈveɪld ðɛmˈsɛlvz əv ˈsɪvəl kɔrt: ˈmɪstər. ˈfridmən tɪ gɪt ən ˈimərʤənsi ˈɔrdər tɪ hæv hɪz ˈdɔtər rɪˈtərnd tɪ ˈmɛrələnd (ɪt wɑz dɪˈnaɪd), ənd mɪz. ˈɛpˌstin, ðɛˈræftər, ɪn ə ˈkaʊntərˌsut fər dɪˈvɔrs. boʊθ hæv sɪns faɪld ˈnumərəs ˈəðər ˈsɪvəl ˈmoʊʃənz ɪn ə ˈmɛsi keɪs. ən ˈɔrθəˌdɑks kɔrt ɪn ˈbɔltəˌmɔr stɪl hæd nɑt ruld wɪn ə ˈmɛrələnd ˈsɪvəl kɔrt hərd ðə keɪs, ɪn ʤun 2009 ɪt ˈɪʃud ɪts ˈkəstədi ˈɔrdər tu mənθs ˈleɪtər, ənd ɪn ˈeɪprəl 2010 ðə dɪˈvɔrs bɪˈkeɪm ˈfaɪnəl. ˌædvərˈtaɪzmənt kənˈtɪnju ˈrɛdɪŋ ðə meɪn ˈstɔri ɔl ˈpɑrtiz hæv sɛd ðət ˈmɪstər. ˈfridmən ɪz ˈæŋgri əˈbaʊt ðə ˈkəstədi ˈɔrdər, wɪʧ grænts ɪm θri ˈwiˌkɛndz ə mənθ wɪθ hɪz ˈdɔtər, tu əv ðɛm ɪn ˌfɪləˈdɛlfiə, bɪˈgɪnɪŋ æt 6 p.m*. ɔn ˈfraɪˌdeɪz. ɛz ə rɪˈlɪʤəs ʤu, ˈmɪstər. ˈfridmən wɪl nɑt draɪv frəm ˈsənˌdaʊn ˈfraɪˌdeɪ tɪ ˈsənˌdaʊn ˈsæˌtɪˌdeɪ soʊ hi ˈkænɑt si hɪz ˈdɔtər ənˈtɪl ˈsənˌdi. 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 ˈkəstədi ˈɔrdər ɪz joke,”*,” sɛd ˈbɛlski, ə ˈprɑmənənt ˈbrʊklɪn ˈræˌbaɪ. kɔrt ˌdɪˈsaɪdɪd ɪn ə weɪ nɑt tɪ rɪˈspɛkt ðə shabbos,”*,” ər ˈsæbəθ, hi sɛd ɪn ə ˈɪntərvˌju. ənd ðə rəˈbɪnɪkəl ˈkaʊnsəl əv ˈgreɪtər ˈwɔʃɪŋtən ˈɪʃud ə ˈsteɪtmənt seɪɪŋ ðət ðə ˈpɑrtiz hæd nɑt jɛt ɪgˈzɔstɪd ðə rəˈbɪnɪkəl kɔrts, səˈʤɛstɪŋ ɪt wɑz ˌpriməˈʧʊr tɪ bleɪm ˈmɪstər. ˈfridmən fər wɪθˈhoʊldɪŋ ðə gɪt. bət ˈəðər ˈræˌbaɪz hæv ˈɑrgjud ðət ɪt ɪz ʤuɪʃ ˈkəstəm tɪ gɪv ə gɪt wəns dɪˈvɔrs tərmz hæv bɪn ˈsɛtəld, ənd wɪθ noʊ ˌpɑsəˈbɪləˌti əv ˌrɛkənˌsɪliˈeɪʃən. ɪf wən ˈpɑrti ækts ˈrɔŋli tɪ ðə ˈəðər, ɪt ɪz ˈnɛvər kərˈɛkt ˈiðər fər ðə ˈhəzbənd tɪ wɪθˈhoʊld ə gɪt ər fər ðə waɪf tɪ ˈrɛfˌjuz ə gɪt wɪn ə ˈmɛrɪʤ ɪz ˈklɪrli over,”*,” raɪts ˈræˌbaɪ ˈʤɑnəθən raɪs, hu ɪz nɑt ˌɪnˈvɑlvd ɪn ðɪs dɪˈspjut. mɪz. ˈɛpˌstin ɪˈvɛnʧəwəli sɔt hɛlp frəm ðə ˌɔrgənəˈzeɪʃən fər ðə ˌrɛzəˈluʃən əv, ər ˈɔrə, ən ˈɔrθəˌdɑks grup ɪn nu jɔrk. ðə grup ˈɔrgəˌnaɪzd ðə dɛk. 19 ˈræli ˈaʊtˈsaɪd ˈmɪstər. əˈpɑrtmənt. ˈæftər ˈvɪdioʊz wər ˈpoʊstɪd ɔn ðə ˈɪntərˌnɛt, ˈwɔʃɪŋtən ʤuɪʃ wik ræn ən ˌɛdəˈtɔriəl wɪθ ðə ˈhɛˌdlaɪn ðɪs woman.”*.” mɪz. ˈɛpˌstin, stɪl ˈlɪvɪŋ wɪθ hər ˈpɛrənts ənd ˈwərkɪŋ ɛz ə nərs, sɛd: bɪn ˈoʊvər tu ənd ə hæf jɪrz sɪns wi ˈsɛpərˌeɪtɪd, ɔl aɪ wɔnt ɪz tɪ bi ˈeɪbəl tɪ muv ɔn ənd riˈbɪld maɪ laɪf fər maɪ seɪk ənd maɪ seɪk. ənd bɪn hɛld hostage.”*.” ɔn dɛk. 20 ˈræˌbaɪ ˈhərzfɛld əv ˈwɔʃɪŋtən, hu səˈpɔrts mɪz. ˈɛpˌstin, roʊt tɪ ʤɑn trɔb, ðə rɪˈpəblɪkən stæf dɪˈrɛktər əv ðə weɪz ənd minz kəˈmɪti, əˈkjuzɪŋ ˈmɪstər. ˈfridmən əv terrorism.”*.” ˈræˌbaɪ ˈhərzfɛld ərʤd ˈmɪstər. trɔb tɪ ˈæhərɑn tɪ gɪv ðə gɪt immediately,”*,” ənd wɔrnd ðət ɪz əˈproʊpriˌeɪt tɪ ˈɔlsoʊ ˈræli ɪn ðə vɪˈsɪnɪti əv wərk place.”*.” ˈræˌbaɪ ˈhərzfɛld sɛd ˈmɪstər. trɔb toʊld ɪm, ɪn ə foʊn kɔl, ðət ðɪs wɑz nɑt ə ˈmætər fər ðə weɪz ənd minz kəˈmɪti. bət fər mɪz. səˈpɔrtərz, ðɪs ɪz ə ˈmætər fər ˈɛvriˌwən. |
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feb. 25, 2015, pm / updated feb. 25, 2015, pm
fountain hills, ariz. if words like ufo, extraterrestrial, crops circles and abductee have ever piqued your paranormal interest, do yourself a favor and head to the international ufo congress.
the annual holds the guinness record for being the largest convention dedicated to unidentified flying place in the picturesque desert town of fountain hills, and this year it ran from feb. 18 to 22. worth noting that arizona is known as a hotbed of activity when it comes to sightings. thousands flock to the annual event, which is produced by open minds, a paranormal research organization.
each attendee has his or her own reason for being there. my goal was to find out if modern science and technology have changed the game when it comes to ufo sightings and evidence gathering.
“a lot of people think, go to a ufo convention, going to be hats, but not what this is. we have nasa speak, scientists, military officials, the works. i mean, a lot of really credible people covering this subject,” said ufo congress and paranormal journalist maureen elsberry.
when attending a ufo conference, the best approach is to come in with an open mind, ask lots of questions and talk with people about why they are there. everyone has a story, from the speakers to the attendees, and even the vendors (some of whom double as).
the highlight of this year's conference was undeniably the speaker series, and it was standing room only to see one man, bob lazar. lazar first spoke out in 1989, claiming that worked as a government scientist at a secret mountainside facility south of area main site, where he saw remarkably advanced ufo technology. critics have sought to discredit lazar, questioning his employment record and educational credentials.
during the conference, george knapp, an investigative tv reporter in las vegas who broke the lazar story in '89, led an onstage session with lazar, who discussed the work he did at a place called. lazar spoke in detail about the alien ufo hangars and ufo propulsion systems he was allegedly asked to reverse engineer, and even loosely sketched them out for the audience.
“all the science fiction had become reality,” said lazar, who was noticeably uncomfortable and clearly surprised by the fact that, decades later, he remains such a draw.
you never know whom you'll bump into at the congress. in the vendor hall, i met sculptor alan groves, who traveled all the way from australia to peddle his “true to scale” alien figurines. i wondered if his side gig was lucrative, only to realize he was selling the figures like hotcakes. then we talked about his day job, and he told me worked on special and creature effects for films such as "star wars," "alien," "labyrinth" and "jurassic park."
many of the attendees told me that hard evidence is a requirement for and paranormal field experts. sims, also known as alien hunter, told me he spent two years in the cia, and also has served as a police officer and licensed private investigator. he said his first alien encounter happened at age 4, and others in his family have also seen aliens. in years of alien research, sims has learned this: “if you look, the evidence is there.” to date, he said, more than pieces of that evidence exist.
sims is adamant about only working with methods, using dna tests and collecting samples as well as relying on ultraviolet, infrared and x-ray tools in his research. he said that, in 1992, he discovered aliens leave their own kind of fluorescent fingerprint, and he continues to test for these clues. he added that if you have had an alien encounter, important to react quickly to gather evidence: “fluorescence” stays on the skin for only 24 hours. he said that other marks aliens leave include “scoop” marks, which are an identifying thread some abductees have in common.
another commonality discovered is heritage. he said that, in his research, he has found 45 percent of all abductions happen to native americans, irish and celtic people, and he said that women also have a higher chance of being abducted.
when it comes to filming phenomena, patty greer, who makes documentaries about crop circles, said that a.k.a. drones have added production value to her films. lynne kitei, who covered a mass ufo sighting in her book and in the documentary the phoenix lights, said that even low-tech tools, like the film she used, are still a reliable way to gather proof of inexplicable flying craft, especially because they offer something an iphone doesn't: negatives.
night vision also offers added opportunities for ufo researchers, according to ben hansen, who was the host and lead investigator of channel's "fact or faked: paranormal files." he's now the owner of night vision ops, an online store that sells technology. hansen said that the consumer accessibility of new technologies in thermal and light amplification scopes are upping the game for the everyday ufo enthusiast.
to close out an intense few days on site at the congress, team invited me to a night watch near superstition mountains. it was fascinating to see the latest optics add incredible clarity to the night sky, amplifying available light up to times beyond what the unaided eye can see. using the right technology, we were also able to see that a certain flying object, which made everyone nearby jump, a ufo after all. it was a bat.
i was surrounded by some serious tech all weekend, and it was to see the ways that ufo hunters are gathering scientific evidence to learn more about the paranormal world. but i have to say, the gadget that was the most useful to me at the conference was my iphone, which i used to download a free app for kids. for the few hours i managed to sleep, it was with the soothing illumination provided by “kiwi the green koala.” in short, i was officially freaked out.
you can follow tech contributor katie on twitter and facebook. | ˈbreɪkɪŋ nuz iˈmeɪlz gɪt ˈbreɪkɪŋ nuz əˈlərts ənd ˈspɛʃəl rɪˈpɔrts. ðə nuz ənd ˈstɔriz ðət ˈmætər, dɪˈlɪvərd ˈwikˌdeɪ ˈmɔrnɪŋz. ˈfɛbjəˌwɛri. 25 2015 piɛm ˈəpˌdeɪtɪd ˈfɛbjəˌwɛri. 25 2015 piɛm ˈfaʊntən hɪlz, ariz*. ɪf wərdz laɪk ˌjuˌɛˈfoʊ, ˌɛkstrətərˈɛstriəl, krɑps ˈsərkəlz ənd æbˌdəkˈti hæv ˈɛvər pikt jʊr pɛrəˈnɔrməl ˈɪntəˌrɛst, du ˈjɔrsɛlf ə ˈfeɪvər ənd hɛd tɪ ðə ˌɪnərˈnæʃənɑl ˌjuˌɛˈfoʊ ˈkɑŋgrəs. ðə ˈænjuəl hoʊldz ðə ˈgɪnəs ˈrɛkərd fər biɪŋ ðə ˈlɑrʤəst kənˈvɛnʃən ˈdɛdəkeɪtəd tɪ ˌənaɪˈdɛntəˌfaɪd flaɪɪŋ pleɪs ɪn ðə ˈpɪkʧərəsk ˈdɛzərt taʊn əv ˈfaʊntən hɪlz, ənd ðɪs jɪr ɪt ræn frəm ˈfɛbjəˌwɛri. 18 tɪ 22 wərθ ˈnoʊtɪŋ ðət ˌɛrɪˈzoʊnə ɪz noʊn ɛz ə ˈhɑtˌbɛd əv ækˈtɪvɪti wɪn ɪt kəmz tɪ ˈsaɪtɪŋz. ˈθaʊzənz flɑk tɪ ðə ˈænjuəl ɪˈvɛnt, wɪʧ ɪz prəˈdust baɪ ˈoʊpən maɪndz, ə pɛrəˈnɔrməl ˈrisərʧ ˌɔrgənəˈzeɪʃən. iʧ əˈtɛnˈdi həz hɪz ər hər oʊn ˈrizən fər biɪŋ ðɛr. maɪ goʊl wɑz tɪ faɪnd aʊt ɪf ˈmɑdərn saɪəns ənd tɛkˈnɑləʤi hæv ʧeɪnʤd ðə geɪm wɪn ɪt kəmz tɪ ˌjuˌɛˈfoʊ ˈsaɪtɪŋz ənd ˈɛvədəns ˈgæðərɪŋ. lɔt əv ˈpipəl θɪŋk, goʊ tɪ ə ˌjuˌɛˈfoʊ kənˈvɛnʃən, goʊɪŋ tɪ bi hæts, bət nɑt wət ðɪs ɪz. wi hæv ˈnæsə spik, ˈsaɪəntɪsts, ˈmɪlɪˌtɛri əˈfɪʃəlz, ðə wərks. aɪ min, ə lɔt əv ˈrɪli ˈkrɛdəbəl ˈpipəl ˈkəvərɪŋ ðɪs subject,”*,” sɛd ˌjuˌɛˈfoʊ ˈkɑŋgrəs ənd pɛrəˈnɔrməl ˈʤərnəlɪst mɔˈrin ˈɛlzˌbɛri. wɪn əˈtɛndɪŋ ə ˌjuˌɛˈfoʊ ˈkɑnfərəns, ðə bɛst əˈproʊʧ ɪz tɪ kəm ɪn wɪθ ən ˈoʊpən maɪnd, æsk lɑts əv kˈwɛsʧənz ənd tɔk wɪθ ˈpipəl əˈbaʊt waɪ ðeɪ ər ðɛr. ˈɛvriˌwən həz ə ˈstɔri, frəm ðə ˈspikərz tɪ ðə əˈtɛnˈdiz, ənd ˈivɪn ðə ˈvɛndərz (səm əv hum ˈdəbəl ɛz). ðə ˈhaɪˌlaɪt əv ðɪs jɪrz ˈkɑnfərəns wɑz ˌəndɪˈnaɪəbli ðə ˈspikər ˈsɪriz, ənd ɪt wɑz ˈstændɪŋ rum ˈoʊnli tɪ si wən mæn, bɑb ˈleɪzər. ˈleɪzər fərst spoʊk aʊt ɪn 1989 ˈkleɪmɪŋ ðət wərkt ɛz ə ˈgəvərnmənt ˈsaɪəntɪst æt ə ˈsikrɪt ˈmaʊntənˌsaɪd fəˈsɪlɪti saʊθ əv ˈɛriə meɪn saɪt, wɛr hi sɔ rɪˈmɑrkəbli ədˈvænst ˌjuˌɛˈfoʊ tɛkˈnɑləʤi. ˈkrɪtɪks hæv sɔt tɪ dɪˈskrɛdət ˈleɪzər, kˈwɛsʧənɪŋ hɪz ɪmˈplɔɪmənt ˈrɛkərd ənd ˌɛʤəˈkeɪʃənəl krəˈdɛnʃəlz. ˈdʊrɪŋ ðə ˈkɑnfərəns, ʤɔrʤ næp, ən ˌɪnˈvɛstəˌgeɪtɪv ˌtɛləˈvɪʒən rɪˈpɔrtər ɪn ˈɛˈleɪˈɛs ˈveɪgəs hu broʊk ðə ˈleɪzər ˈstɔri ɪn 89 lɛd ən ˌɑnˈsteɪʤ ˈsɛʃən wɪθ ˈleɪzər, hu dɪˈskəst ðə wərk hi dɪd æt ə pleɪs kɔld ˈleɪzər spoʊk ɪn ˈditeɪl əˈbaʊt ðə ˈeɪliən ˌjuˌɛˈfoʊ ˈhæŋərz ənd ˌjuˌɛˈfoʊ prəˈpəlʃən ˈsɪstəmz hi wɑz əˈlɛʤədli æst tɪ rɪˈvərs ˈɛnʤəˈnɪr, ənd ˈivɪn ˈlusli skɛʧt ðɛm aʊt fər ðə ˈɔdiəns. ðə saɪəns ˈfɪkʃən hæd bɪˈkəm reality,”*,” sɛd ˈleɪzər, hu wɑz ˈnoʊtɪsəbli ənˈkəmfərtəbəl ənd ˈklɪrli səˈpraɪzd baɪ ðə fækt ðət, ˈdɛkeɪdz ˈleɪtər, hi rɪˈmeɪnz səʧ ə drɔ. ju ˈnɛvər noʊ hum jul bəmp ˈɪntu æt ðə ˈkɑŋgrəs. ɪn ðə ˈvɛndər hɔl, aɪ mɛt ˈskəlptər ˈælən groʊvz, hu ˈtrævəld ɔl ðə weɪ frəm ɔˈstreɪljə tɪ ˈpɛdəl hɪz tɪ scale”*” ˈeɪliən ˌfɪgjərˈinz. aɪ ˈwəndərd ɪf hɪz saɪd gɪg wɑz ˈlukrətɪv, ˈoʊnli tɪ ˈriəˌlaɪz hi wɑz ˈsɛlɪŋ ðə ˈfɪgjərz laɪk ˈhɑtˌkeɪks. ðɛn wi tɔkt əˈbaʊt hɪz deɪ ʤɑb, ənd hi toʊld mi wərkt ɔn ˈspɛʃəl ənd ˈkriʧər ˈifɛkts fər fɪlmz səʧ ɛz "stɑr wɔrz," "ˈeɪliən," "ˈlæbərˌɪnθ" ənd "ʤʊˈræsɪk pɑrk." ˈmɛni əv ðə əˈtɛnˈdiz toʊld mi ðət hɑrd ˈɛvədəns ɪz ə rɪkˈwaɪrmənt fər ənd pɛrəˈnɔrməl fild ˈɛkspərts. sɪmz, ˈɔlsoʊ noʊn ɛz ˈeɪliən ˈhəntər, toʊld mi hi spɛnt tu jɪrz ɪn ðə siaɪeɪ, ənd ˈɔlsoʊ həz sərvd ɛz ə pəˈlis ˈɔfɪsər ənd ˈlaɪsənst ˈpraɪvət ˌɪnˈvɛstəˌgeɪtər. hi sɛd hɪz fərst ˈeɪliən ɪnˈkaʊnər ˈhæpənd æt eɪʤ 4 ənd ˈəðərz ɪn hɪz ˈfæməli hæv ˈɔlsoʊ sin ˈeɪliənz. ɪn jɪrz əv ˈeɪliən ˈrisərʧ, sɪmz həz ˈlərnɪd ðɪs: ju lʊk, ðə ˈɛvədəns ɪz there.”*.” tɪ deɪt, hi sɛd, mɔr ðən ˈpisɪz əv ðət ˈɛvədəns ɪgˈzɪst. sɪmz ɪz ˈædəmənt əˈbaʊt ˈoʊnli ˈwərkɪŋ wɪθ ˈmɛθədz, ˈjuzɪŋ ˈdiˌɛˈneɪ tɛsts ənd kəˈlɛktɪŋ ˈsæmpəlz ɛz wɛl ɛz riˈlaɪɪŋ ɔn ˌəltrəˈvaɪəlɪt, ˌɪnfrərˈɛd ənd ˈɛksˌreɪ tulz ɪn hɪz ˈrisərʧ. hi sɛd ðət, ɪn 1992 hi dɪˈskəvərd ˈeɪliənz liv ðɛr oʊn kaɪnd əv ˌflʊˈrɛsənt ˈfɪŋgərˌprɪnt, ənd hi kənˈtɪnjuz tɪ tɛst fər ðiz kluz. hi ˈædɪd ðət ɪf ju hæv hæd ən ˈeɪliən ɪnˈkaʊnər, ˌɪmˈpɔrtənt tɪ riækt kˈwɪkli tɪ ˈgæðər ˈɛvədəns: ““fluorescence”*” steɪz ɔn ðə skɪn fər ˈoʊnli 24 aʊərz. hi sɛd ðət ˈəðər mɑrks ˈeɪliənz liv ˌɪnˈklud ““scoop”*” mɑrks, wɪʧ ər ən aɪˈdɛntəˌfaɪɪŋ θrɛd səm æbˌdəkˈtiz hæv ɪn ˈkɑmən. əˈnəðər ˌkɑməˈnæləti dɪˈskəvərd ɪz ˈhɛrɪtɪʤ. hi sɛd ðət, ɪn hɪz ˈrisərʧ, hi həz faʊnd 45 pərˈsɛnt əv ɔl əbˈdəkʃənz ˈhæpən tɪ ˈneɪtɪv əˈmɛrɪkənz, ˈaɪrɪʃ ənd ˈsɛltɪk ˈpipəl, ənd hi sɛd ðət ˈwɪmən ˈɔlsoʊ hæv ə haɪər ʧæns əv biɪŋ əbˈdəktɪd. wɪn ɪt kəmz tɪ ˈfɪlmɪŋ fəˈnɑmənə, ˈpæti grɪr, hu meɪks ˌdɑkjəˈmɛnəriz əˈbaʊt krɑp ˈsərkəlz, sɛd ðət a.k.a*. droʊnz hæv ˈædɪd pərˈdəkʃən ˈvælju tɪ hər fɪlmz. lɪn kitei*, hu ˈkəvərd ə mæs ˌjuˌɛˈfoʊ ˈsaɪtɪŋ ɪn hər bʊk ənd ɪn ðə ˌdɑkjəˈmɛnəri ðə ˈfinɪks laɪts, sɛd ðət ˈivɪn ˌloʊˈtɛk tulz, laɪk ðə fɪlm ʃi juzd, ər stɪl ə rɪˈlaɪəbəl weɪ tɪ ˈgæðər pruf əv ˌɪnəkˈsplɪkəbəl flaɪɪŋ kræft, əˈspɛʃəli bɪˈkəz ðeɪ ˈɔfər ˈsəmθɪŋ ən ˈaɪˌfoʊn ˈdəzənt: ˈnɛgətɪvz. naɪt ˈvɪʒən ˈɔlsoʊ ˈɔfərz ˈædɪd ˌɑpərˈtunətiz fər ˌjuˌɛˈfoʊ ˈrisərʧərz, əˈkɔrdɪŋ tɪ bɛn ˈhænsən, hu wɑz ðə hoʊst ənd lɛd ˌɪnˈvɛstəˌgeɪtər əv ˈʧænəlz "fækt ər feɪkt: pɛrəˈnɔrməl faɪlz." hiz naʊ ðə ˈoʊnər əv naɪt ˈvɪʒən ɑps, ən ˈɔnˌlaɪn stɔr ðət sɛlz tɛkˈnɑləʤi. ˈhænsən sɛd ðət ðə kənˈsumər ˌæksɛsəˈbɪlɪti əv nu tɛkˈnɑləʤiz ɪn ˈθərməl ənd laɪt ˌæmpləfəˈkeɪʃən skoʊps ər ˈəpɪŋ ðə geɪm fər ðə ˈɛvriˈdeɪ ˌjuˌɛˈfoʊ ɛnˈθuziˌæst. tɪ kloʊz aʊt ən ˌɪnˈtɛns fju deɪz ɔn saɪt æt ðə ˈkɑŋgrəs, tim ˌɪnˈvaɪtɪd mi tɪ ə naɪt wɔʧ nɪr ˌsupərˈstɪʃən ˈmaʊntənz. ɪt wɑz ˈfæsəˌneɪtɪŋ tɪ si ðə ˈleɪtəst ˈɑptɪks æd ˌɪnˈkrɛdəbəl ˈklɛrɪti tɪ ðə naɪt skaɪ, ˈæmpləˌfaɪɪŋ əˈveɪləbəl laɪt əp tɪ taɪmz bɪɔnd wət ðə əˈneɪdɪd aɪ kən si. ˈjuzɪŋ ðə raɪt tɛkˈnɑləʤi, wi wər ˈɔlsoʊ ˈeɪbəl tɪ si ðət ə ˈsərtən flaɪɪŋ ˈɑbʤɛkt, wɪʧ meɪd ˈɛvriˌwən ˈnɪrˈbaɪ ʤəmp, ə ˌjuˌɛˈfoʊ ˈæftər ɔl. ɪt wɑz ə bæt. aɪ wɑz sərˈaʊndɪd baɪ səm ˈsɪriəs tɛk ɔl ˈwiˌkɪnd, ənd ɪt wɑz tɪ si ðə weɪz ðət ˌjuˌɛˈfoʊ ˈhəntərz ər ˈgæðərɪŋ ˌsaɪənˈtɪfɪk ˈɛvədəns tɪ lərn mɔr əˈbaʊt ðə pɛrəˈnɔrməl wərld. bət aɪ hæv tɪ seɪ, ðə ˈgæʤət ðət wɑz ðə moʊst ˈjusfəl tɪ mi æt ðə ˈkɑnfərəns wɑz maɪ ˈaɪˌfoʊn, wɪʧ aɪ juzd tɪ ˈdaʊnˌloʊd ə fri æp fər kɪdz. fər ðə fju aʊərz aɪ ˈmænɪʤd tɪ slip, ɪt wɑz wɪθ ðə ˈsuðɪŋ ˌɪˌluməˈneɪʃən prəˈvaɪdɪd baɪ ðə grin koala.”*.” ɪn ʃɔrt, aɪ wɑz əˈfɪʃəli frikt aʊt. ju kən ˈfɑloʊ tɛk kənˈtrɪbjətər ˈkeɪti ɔn tˈwɪtər ənd ˈfeɪsˌbʊk. |
it’s the app that launched a thousand jokes about breaking the first rule of fight club.
last friday, november 6, tech blog venture beat posted a story about a new app currently in development called. basically a service for assholes who are looking for street fighting partners, “rumblr is an app for recreational fighters to find, meet, and fight other brawl enthusiasts nearby,” according to their official site.
promising “casualty-free casual fighting for free” (which is their actual slogan, no matter how silly and impossible to guarantee that is), will allow anyone looking for a fight to match up with individuals “who want to throw down,” arrange and schedule fights (or “pussy out,”’s charming answer to swiping left), and even prepare for your opponents by checking out the detailed tale of the statistics in their profile. because god forbid you go into an unsanctioned public melee ill-prepared. fight options appear to be separated into three sections:,her, andgroup, for the amongst us.
if you just like to watch or you really, really miss the salad days of bum fighting or that time logan paid indigent people to fight on veronica mars, though, has you covered as well. “you need to fight to use. with explore, anyone can browse and attend fights close by that other users have arranged all for free!”
rumblings about quickly spread over the internet, attracting attention from outlets as as complex, dangerous minds, the bleacher report, the new york daily news, and the daily mail (which you could call the of newspapers in the sense that it is ill-conceived, unnecessarily antagonistic, lowest common-denominator-appealing, and of veracity).
the attention attracted a number of casual warrior hopefuls, who signed up for the chance to be given access to a beta version of the app on the site. “more than people have signed up for beta access, an email sent out to the lucky showed,” the new york daily news reported yesterday. “the email also claimed to be giving away ten pairs of golden brass knuckles to ten people who tweet about the app.”
the team behind also told the paper that they were working with the ios store “to hash out legal issues preventing’s approval.” they still plan to launch the beta today, november 9, at est, though.
whether this launch will actually be able to happen due to legal issues remains to be seen. whether or not this is real, a clusterfuck, or an flat out hoax also remains to be seen. business insider remains dubious in their coverage, pointing out the general absurdity of the idea, the potential legal ramifications, and some of the inconsistencies in what seen from the developers so far. for example, the official site features a number of (perversely amusing) photos that claim to be from their profile, but no actual account seems to exist. they did, however, manage to set up an official twitter account.
we’ll find out one way or another at est tonight. in the meantime, you can always hit up for some fascinating speculation on the subject as the world gets ready to (maybe).
[update: it was all just a hoax! read about what turned out to be a creative marketing gimmick here.]
check out these related stories:
jack slack: street fighting roos
someone built a computer made of punching bags
hbo patents technology to measure punching power and speed during fights | it’s* ðə æp ðət lɔnʧt ə ˈθaʊzənd ʤoʊks əˈbaʊt ˈbreɪkɪŋ ðə fərst rul əv faɪt kləb. læst ˈfraɪˌdeɪ, noʊˈvɛmbər 6 tɛk blɔg ˈvɛnʧər bit ˈpoʊstɪd ə ˈstɔri əˈbaʊt ə nu æp ˈkərəntli ɪn dɪˈvɛləpmənt kɔld. ˈbeɪsɪkli ə ˈsərvɪs fər ˈæshoʊlz hu ər ˈlʊkɪŋ fər strit ˈfaɪtɪŋ ˈpɑrtnərz, ɪz ən æp fər ˌrɛkriˈeɪʃənəl ˈfaɪtərz tɪ faɪnd, mit, ənd faɪt ˈəðər brɔl ɛnˈθuziˌæsts nearby,”*,” əˈkɔrdɪŋ tɪ ðɛr əˈfɪʃəl saɪt. ˈprɑməsɪŋ ˈkæʒəwəl ˈfaɪtɪŋ fər free”*” (wɪʧ ɪz ðɛr ˈækʧəwəl sˈloʊgən, noʊ ˈmætər haʊ ˈsɪli ənd ˌɪmˈpɑsəbəl tɪ ˌgɛrənˈti ðət ɪz), wɪl əˈlaʊ ˈɛniˌwən ˈlʊkɪŋ fər ə faɪt tɪ mæʧ əp wɪθ ˌɪndəˈvɪʤəwəlz wɔnt tɪ θroʊ down,”*,” əreɪnʤ ənd ˈskɛʤʊl faɪts (ər out,”*,” ˈʧɑrmɪŋ ˈænsər tɪ sˈwaɪpɪŋ lɛft), ənd ˈivɪn priˈpɛr fər jʊr əˈpoʊnənts baɪ ˈʧɛkɪŋ aʊt ðə dɪˈteɪld teɪl əv ðə stəˈtɪstɪks ɪn ðɛr ˈproʊˌfaɪl. bɪˈkəz gɑd fərˈbɪd ju goʊ ˈɪntu ən ənˈsæŋkʃənd ˈpəblɪk ˈmeɪˌleɪ ill-prepared*. faɪt ˈɔpʃənz əˈpɪr tɪ bi ˈsɛpərˌeɪtɪd ˈɪntu θri ˈsɛkʃənz:, rumblrher*, ənd rumblrgroup*, fər ðə əˈməŋst ˈjuˈɛs. ɪf ju ʤɪst laɪk tɪ wɔʧ ər ju ˈrɪli, ˈrɪli mɪs ðə ˈsæləd deɪz əv bəm ˈfaɪtɪŋ ər ðət taɪm ˈloʊgən peɪd ˈɪndɪʤənt ˈpipəl tɪ faɪt ɔn vərˈɑnɪkə mɑrz, ðoʊ, həz ju ˈkəvərd ɛz wɛl. nid tɪ faɪt tɪ juz. wɪθ ɪkˈsplɔr, ˈɛniˌwən kən braʊz ənd əˈtɛnd faɪts kloʊz baɪ ðət ˈəðər ˈjuzərz hæv əreɪnʤd ɔl fər free!”*!” ˈrəmbəlɪŋz əˈbaʊt kˈwɪkli sprɛd ˈoʊvər ðə ˈɪntərˌnɛt, əˈtræktɪŋ əˈtɛnʃən frəm ˈaʊˌtlɛts ɛz ɛz ˈkɑmplɛks, ˈdeɪnʤərəs maɪndz, ðə ˈbliʧər rɪˈpɔrt, ðə nu jɔrk ˈdeɪli nuz, ənd ðə ˈdeɪli meɪl (wɪʧ ju kʊd kɔl ðə əv ˈnuzˌpeɪpərz ɪn ðə sɛns ðət ɪt ɪz ill-conceived*, ənˈnɛsəˌsɛrəli ænˌtægəˈnɪstɪk, loʊəst common-denominator-appealing*, ənd əv vərˈæsɪti). ðə əˈtɛnʃən əˈtræktəd ə ˈnəmbər əv ˈkæʒəwəl ˈwɔrjər ˈhoʊpfəlz, hu saɪnd əp fər ðə ʧæns tɪ bi ˈgɪvɪn ˈækˌsɛs tɪ ə ˈbeɪtə ˈvərʒən əv ðə æp ɔn ðə saɪt. ðən ˈpipəl hæv saɪnd əp fər ˈbeɪtə ˈækˌsɛs, ən iˈmeɪl sɛnt aʊt tɪ ðə ˈləki showed,”*,” ðə nu jɔrk ˈdeɪli nuz ˌriˈpɔrtəd ˈjɛstərˌdeɪ. iˈmeɪl ˈɔlsoʊ kleɪmd tɪ bi ˈgɪvɪŋ əˈweɪ tɛn pɛrz əv ˈgoʊldən bræs ˈnəkəlz tɪ tɛn ˈpipəl hu twit əˈbaʊt ðə app.”*.” ðə tim bɪˈhaɪnd ˈɔlsoʊ toʊld ðə ˈpeɪpər ðət ðeɪ wər ˈwərkɪŋ wɪθ ðə ˈioʊs stɔr hæʃ aʊt ˈligəl ˈɪʃuz prɪˈvɛnɪŋ approval.”*.” ðeɪ stɪl plæn tɪ lɔnʧ ðə ˈbeɪtə təˈdeɪ, noʊˈvɛmbər 9 æt ɛst, ðoʊ. ˈwɛðər ðɪs lɔnʧ wɪl ˈæˌkʧuəli bi ˈeɪbəl tɪ ˈhæpən du tɪ ˈligəl ˈɪʃuz rɪˈmeɪnz tɪ bi sin. ˈwɛðər ər nɑt ðɪs ɪz ril, ə clusterfuck*, ər ən flæt aʊt hoʊks ˈɔlsoʊ rɪˈmeɪnz tɪ bi sin. ˈbɪznɪs ˌɪnˈsaɪdər rɪˈmeɪnz ˈdubiəs ɪn ðɛr ˈkəvərɪʤ, ˈpɔɪntɪŋ aʊt ðə ˈʤɛnərəl əbˈsərdəti əv ðə aɪˈdiə, ðə pəˈtɛnʃəl ˈligəl ˌræməfəˈkeɪʃənz, ənd səm əv ðə ˌɪŋˈkɑnsɪˌstɛnsiz ɪn wət sin frəm ðə dɪˈvɛləpərz soʊ fɑr. fər ɪgˈzæmpəl, ðə əˈfɪʃəl saɪt ˈfiʧərz ə ˈnəmbər əv (pərˈvərsli əmˈjuzɪŋ) ˈfoʊˌtoʊz ðət kleɪm tɪ bi frəm ðɛr ˈproʊˌfaɪl, bət noʊ ˈækʧəwəl əˈkaʊnt simz tɪ ɪgˈzɪst. ðeɪ dɪd, ˌhaʊˈɛvər, ˈmænɪʤ tɪ sɛt əp ən əˈfɪʃəl tˈwɪtər əˈkaʊnt. faɪnd aʊt wən weɪ ər əˈnəðər æt ɛst təˈnaɪt. ɪn ðə ˈminˌtaɪm, ju kən ˈɔlˌweɪz hɪt əp fər səm ˈfæsəˌneɪtɪŋ ˌspɛkjəˈleɪʃən ɔn ðə ˈsəbʤɪkt ɛz ðə wərld gɪts ˈrɛdi tɪ (ˈmeɪbi). [ˈəpˌdeɪt: ɪt wɑz ɔl ʤɪst ə hoʊks! rɛd əˈbaʊt wət tərnd aʊt tɪ bi ə kriˈeɪtɪv ˈmɑrkətɪŋ ˈgɪmɪk hir.] ʧɛk aʊt ðiz rɪˈleɪtɪd ˈstɔriz: ʤæk slæk: strit ˈfaɪtɪŋ ruz ˈsəmˌwən bɪlt ə kəmˈpjutər meɪd əv ˈpənʧɪŋ bægz ˈeɪʧbiˈoʊ ˈpætənts tɛkˈnɑləʤi tɪ ˈmɛʒər ˈpənʧɪŋ paʊər ənd spid ˈdʊrɪŋ faɪts |
take-two ceo explains how disappointing games like and evolve represent quality
giuseppe november 17, 2016 pm est
like all publishers, games releases some great games, and some that as successful, like the recent and evolve. during the partners entertainment, leisure and internet conference, interactive software chief executive officer strauss zelnick explained how they representative of the overall quality of the label.
“listen, i think is doing great. i think when you put out a lot of titles, not everything is gonna work as well as one would like, and is an example of that.
evolve is a little bit different. tat was bought out of a bankrupcy, and it was developed by an external studio with oversight from, so a totally different situation. we knew it was a very unusual title, and it was a bet on an unusual title. it surprise us that consumers had mixed feelings about it. was a disappointment. said so publicly, but i think systemic, because is a company that brings you civilization, with incredibly high score in the nineties, the company that brings you basketball which scores in the nineties, 2 and the like where known for having very high scores.”
zelnick continued by mentioning that not every game is going to be perfect, and while the company has the brand and marketing power to still do well even if something goes wrong, the goal is always to drive quality:
“we’re an entertainment business, not everything is gonna go right all the time. we aspire to have the highest quality products, and we continue to push the envelope internally to do that, but we do not always get it right. luckily, we have a very powerful marketing system, so even if we get it perfectly right, we can market through that. luckily we have really powerful franchises, even if we get it right we can power thorough that. for instance we had one year when the scores were less than we wanted, and we still sold a lot of.” so, we are in a position where even if we get it exactly right, we can still do well, but make no mistake, our goal is to continue to get it right and to drive quality through the organization. some times we succeed as well as we would like.”
earlier during the conference, zelnick clarified his previous statement, in which he pointed at anomalies within the current reviews system, while mentioning that is less important than it used to it, but still very relevant. | take-two* ˈsiˌiˈoʊ ɪkˈspleɪnz haʊ ˌdɪsəˈpɔɪnɪŋ geɪmz laɪk ənd ɪˈvɑlv ˌrɛprɪˈzɛnt kˈwɑləti ʤɪˈsɛpi noʊˈvɛmbər 17 2016 piɛm ɛst laɪk ɔl ˈpəblɪʃərz, geɪmz rɪˈlisɪz səm greɪt geɪmz, ənd səm ðət ɛz səkˈsɛsfəl, laɪk ðə ˈrisənt ənd ɪˈvɑlv. ˈdʊrɪŋ ðə ˈpɑrtnərz ˌɛnərˈteɪnmənt, ˈlɛʒər ənd ˈɪntərˌnɛt ˈkɑnfərəns, ˌɪnərˈæktɪv ˈsɔfˌwɛr ʧif ɪgˈzɛkjətɪv ˈɔfɪsər straʊs ˈzɛlnɪk ɪkˈspleɪnd haʊ ðeɪ ˌrɛprɪˈzɛnətɪv əv ðə ˈoʊvərˌɔl kˈwɑləti əv ðə ˈleɪbəl. ““listen*, aɪ θɪŋk ɪz duɪŋ greɪt. aɪ θɪŋk wɪn ju pʊt aʊt ə lɔt əv ˈtaɪtəlz, nɑt ˈɛvriˌθɪŋ ɪz ˈgɑnə wərk ɛz wɛl ɛz wən wʊd laɪk, ənd ɪz ən ɪgˈzæmpəl əv ðət. ɪˈvɑlv ɪz ə ˈlɪtəl bɪt ˈdɪfərənt. tæt wɑz bɔt aʊt əv ə bankrupcy*, ənd ɪt wɑz dɪˈvɛləpt baɪ ən ɪkˈstərnəl ˈstudiˌoʊ wɪθ ˈoʊvərˌsaɪt frəm, soʊ ə ˈtoʊtəli ˈdɪfərənt ˌsɪʧuˈeɪʃən. wi nu ɪt wɑz ə ˈvɛri ənˈjuˌʒuəl ˈtaɪtəl, ənd ɪt wɑz ə bɛt ɔn ən ənˈjuˌʒuəl ˈtaɪtəl. ɪt səˈpraɪz ˈjuˈɛs ðət kənˈsumərz hæd mɪkst ˈfilɪŋz əˈbaʊt ɪt. wɑz ə ˌdɪsəˈpɔɪntmənt. sɛd soʊ ˈpəblɪkli, bət aɪ θɪŋk sɪˈstɛmɪk, bɪˈkəz ɪz ə ˈkəmpəˌni ðət brɪŋz ju ˌsɪvəlɪˈzeɪʃən, wɪθ ˌɪnˈkrɛdəbli haɪ skɔr ɪn ðə ˈnaɪntiz, ðə ˈkəmpəˌni ðət brɪŋz ju ˈbæskətˌbɔl wɪʧ skɔrz ɪn ðə ˈnaɪntiz, 2 ənd ðə laɪk wɛr noʊn fər ˈhævɪŋ ˈvɛri haɪ scores.”*.” ˈzɛlnɪk kənˈtɪnjud baɪ ˈmɛnʃənɪŋ ðət nɑt ˈɛvəri geɪm ɪz goʊɪŋ tɪ bi ˈpərˌfɪkt, ənd waɪl ðə ˈkəmpəˌni həz ðə brænd ənd ˈmɑrkətɪŋ paʊər tɪ stɪl du wɛl ˈivɪn ɪf ˈsəmθɪŋ goʊz rɔŋ, ðə goʊl ɪz ˈɔlˌweɪz tɪ draɪv kˈwɑləti: ən ˌɛnərˈteɪnmənt ˈbɪznɪs, nɑt ˈɛvriˌθɪŋ ɪz ˈgɑnə goʊ raɪt ɔl ðə taɪm. wi əˈspaɪr tɪ hæv ðə haɪəst kˈwɑləti ˈprɑdəkts, ənd wi kənˈtɪnju tɪ pʊʃ ðə ˈɛnvəˌloʊp ˌɪnˈtərnəli tɪ du ðət, bət wi du nɑt ˈɔlˌweɪz gɪt ɪt raɪt. ˈləkəli, wi hæv ə ˈvɛri ˈpaʊərfəl ˈmɑrkətɪŋ ˈsɪstəm, soʊ ˈivɪn ɪf wi gɪt ɪt ˈpərfəktli raɪt, wi kən ˈmɑrkɪt θru ðət. ˈləkəli wi hæv ˈrɪli ˈpaʊərfəl ˈfrænˌʧaɪzɪz, ˈivɪn ɪf wi gɪt ɪt raɪt wi kən paʊər θəroʊ ðət. fər ˈɪnstəns wi hæd wən jɪr wɪn ðə skɔrz wər lɛs ðən wi ˈwɔntɪd, ənd wi stɪl soʊld ə lɔt əv wwe.”*.” soʊ, wi ər ɪn ə pəˈzɪʃən wɛr ˈivɪn ɪf wi gɪt ɪt ɪgˈzæktli raɪt, wi kən stɪl du wɛl, bət meɪk noʊ mɪˈsteɪk, ɑr goʊl ɪz tɪ kənˈtɪnju tɪ gɪt ɪt raɪt ənd tɪ draɪv kˈwɑləti θru ðə ˌɔrgənəˈzeɪʃən. səm taɪmz wi səkˈsid ɛz wɛl ɛz wi wʊd like.”*.” ˈərliər ˈdʊrɪŋ ðə ˈkɑnfərəns, ˈzɛlnɪk ˈklɛrəˌfaɪd hɪz ˈpriviəs ˈsteɪtmənt, ɪn wɪʧ hi ˈpɔɪntɪd æt əˈnɑməliz wɪˈθɪn ðə ˈkɑrənt rəvˈjuz ˈsɪstəm, waɪl ˈmɛnʃənɪŋ ðət ɪz lɛs ˌɪmˈpɔrtənt ðən ɪt juzd tɪ ɪt, bət stɪl ˈvɛri ˈrɛləvənt. |
by cruz serrano
back when barry bonds’ hat size was still considered human, back when the only series was in october, way back before summer of love that saw sosa and mcgwire hammer their way past roger maris, the team of the was hunting for their second straight world series title. after winning it all in, the atlanta braves were out to build a dynasty rather than becoming more reminiscent of the buffalo bills, whose success paralleled that of the braves: close but no cigar. the braves, once again, found themselves as the best team in the national league and were prepared to take on the yankees, one year removed from the retirement of don mattingly. the braves came out firing, thanks in large part to the heroics of then jones. jones became the youngest player ever to hit a home run in the world series, and was also only the second player ever to hit a home run in his first two at bats in the fall classic. the braves offense along with their incredible starting pitching jumped to a quick two games to none lead in the series. however, the braves bullpen imploded, and the yankees would sweep games to put an end to the braves hopes of winning championships.
looking back at that series, hard not to see similarities between the series and the career of jones. much like the braves in the series, jones’ career started off fast, and he quickly became regarded as one of the best in baseball, if not the best. however,, like the braves in, eventually hit a proverbial wall that cut short what was sure to be a no doubt hall of fame career. even with the parallels, hard to say that came up short, mostly because of how great he was before his body and bat betrayed him. from a purely subjective standpoint, jones was the most exciting player to watch in his mid-twenties: the light tower power, along with his incredibleense and flair for making jaw dropping plays, made every game a must watch. also played the center field of any player that i can remember, and i hardly recall any balls landing in the grass over his head. however, in order to argue for his hall of fame candidacy, there needs to be an objective look that shows that was in fact one of the best handful of to ever play the game.
for me, the best place to start is taking a look at players in the hall of fame that played a majority of their career in center. there are currently 17 in the hall of fame, with the pinnacle of the position being willie mays. of the 17 in the hall, only 7 of the players were actually voted in by the, the rest of which were inducted via the veterans committee. the 7 players that were voted in by the were all, for the most part, offensively driven players. interestingly enough, of the 17 in the hall of fame, only 6 have a higher career war total than jones according to fan graphs, and there are a few that jones was significantly better than. there are actually 8 players listed as on fan graphs ahead of jones, however, two of them actually went in to the hall of fame at different outfield positions. safe to say that at least in terms of war, jones is worth a serious look for hall of fame induction.
as for a specific player to compare with, hall of famer andre dawson does the trick. dawson, otherwise known as “the hawk”, played a majority of his career games in and went into the hall as such. the biggest difference between dawson and jones is the value they provided on the field. dawson, like the rest of the center fielders voted in by the, was a much better offensive player, and was below averageensively over his career. dawson and jones offensive stats compare favorably, however, with each players listed here:
hr: dawson 438, jones 434.
slg%: dawson .482, jones .486
obp: dawson .323, jones .337
war: dawson, jones.
one important thing to remember here is that dawson played in an era where offense was less common. jones played in the middle of the “steroid era”, when the significance of a number like 400 home runs was greatly diminished. however, jones’ incredibleense makes up for that fact, and that is why, at least i assume why, jones has a higher career war despite playing in a friendly offensive environment. for further comparison between jones and dawson, both players profiles can be found by clicking their respective name.
although i pointed out that most of the elected by the were players, i think the best case to be made for jones comes from looking at his impeccableensive statistics. jones won 10 gold gloves in his career, but this isinitely not enough to say that he was greatensively. gold glove awards are all too often not given to the bestensive player, and for whatever reason, it seems that good offensive players end up with gold gloves. my favoriteensive statistic is, well, calledense, or for short. is a fan graphs statistic that aensive value using fielding runs and adjusts it for the position. for a deeper understanding of all that goes into, please check out the fan graphs stat glossary here. so now with the foundation of set, we can look into how it plays into this conversation. jones has the highest total for any center fielder on fan graphs. this may come with a grain of salt, however, because prior to 2003, there is not (ultimate zone rating) data available, and happens to be a statistic that is used in the formula for. for seasons prior to 2003, fan graphs instead uses (total zone) in the formula for. even with the difference in formula, noer even comes close to jones’ total of (willie mays is second with a total of). and going beyond just, jones ranks all time for total, regardless of position. and jones played at a position that is regarded as aense-first position, which is one of the reasons i find it so odd that most hall of fame were known more for their offense.
overall, i think jones has a pretty good case for being a hall of famer. hisense alone warrants his consideration, much like the wizard of oz ozzie smith. when adding in the fact that put up offensive stats that compare well with a hall of fame player at his position, i think he becomes a no doubter to be enshrined in cooperstown. aside from his contributions on the field, jones was also the first player to lead a wave of talent that has come over from curacao, as well as other players from the kingdom of the netherlands, such as simmons, who grew up in curacao idolizing jones and hoping to play in the just like him.
so when all said and done, was an above average offensiveer who revolutionized the positionensively. he can also be given a ton of credit for inspiring the current players from the kingdom of the netherlands to reach the major leagues today. however, whether he gets voted into cooperstown is a completely different conversation. sadly, the shadow of the “steroid era” looms over his career, even if it may be completely unwarranted. also, the hall of fame voters’ tendency to value offense overense when regarding hurts his cause as well. all i know is that he deserves to be enshrined in the hall of fame someday, and if it ever happens, i will be there in cooperstown to support one of the players that helped me fall in love with the game of baseball.
– cruz serrano,
advertisements | baɪ kruz sərˈɑnoʊ bæk wɪn ˈbɛri bonds’*’ hæt saɪz wɑz stɪl kənˈsɪdərd ˈjumən, bæk wɪn ðə ˈoʊnli ˈsɪriz wɑz ɪn ɑkˈtoʊbər, weɪ bæk ˌbiˈfɔr ˈsəmər əv ləv ðət sɔ ˈsoʊsə ənd məgˈwaɪər ˈhæmər ðɛr weɪ pæst ˈrɑʤər ˈmɑrɪs, ðə tim əv ðə wɑz ˈhəntɪŋ fər ðɛr ˈsɛkənd streɪt wərld ˈsɪriz ˈtaɪtəl. ˈæftər ˈwɪnɪŋ ɪt ɔl ɪn ðə æˈtlæntə breɪvz wər aʊt tɪ bɪld ə ˈdaɪnəsti ˈrəðər ðən bɪˈkəmɪŋ mɔr ˌrɛməˈnɪsənt əv ðə ˈbəfəˌloʊ bɪlz, huz səkˈsɛs ˈpɛrəˌlɛld ðət əv ðə breɪvz: kloʊz bət noʊ sɪˈgɑr. ðə breɪvz, wəns əˈgɛn, faʊnd ðɛmˈsɛlvz ɛz ðə bɛst tim ɪn ðə ˈnæʃənəl lig ənd wər priˈpɛrd tɪ teɪk ɔn ðə ˈjæŋkiz, wən jɪr riˈmuvd frəm ðə rɪˈtaɪərmənt əv dɑn ˈmætɪŋli. ðə breɪvz keɪm aʊt ˈfaɪərrɪŋ, θæŋks ɪn lɑrʤ pɑrt tɪ ðə hɪˈroʊɪks əv ðɛn ʤoʊnz. ʤoʊnz bɪˈkeɪm ðə ˈjəŋgəst pleɪər ˈɛvər tɪ hɪt ə hoʊm rən ɪn ðə wərld ˈsɪriz, ənd wɑz ˈɔlsoʊ ˈoʊnli ðə ˈsɛkənd pleɪər ˈɛvər tɪ hɪt ə hoʊm rən ɪn hɪz fərst tu æt bæts ɪn ðə fɔl ˈklæsɪk. ðə breɪvz əˈfɛns əˈlɔŋ wɪθ ðɛr ˌɪnˈkrɛdəbəl ˈstɑrtɪŋ ˈpɪʧɪŋ ʤəmpt tɪ ə kwɪk tu geɪmz tɪ nən lɛd ɪn ðə ˈsɪriz. ˌhaʊˈɛvər, ðə breɪvz ˈbʊlˌpɛn ˌɪmˈploʊdɪd, ənd ðə ˈjæŋkiz wʊd swip geɪmz tɪ pʊt ən ɛnd tɪ ðə breɪvz hoʊps əv ˈwɪnɪŋ ˈʧæmpiənˌʃɪps. ˈlʊkɪŋ bæk æt ðət ˈsɪriz, hɑrd nɑt tɪ si ˌsɪməˈlɛrətiz bɪtˈwin ðə ˈsɪriz ənd ðə kərɪr əv ʤoʊnz. məʧ laɪk ðə breɪvz ɪn ðə ˈsɪriz, jones’*’ kərɪr ˈstɑrtɪd ɔf fæst, ənd hi kˈwɪkli bɪˈkeɪm rɪˈgɑrdɪd ɛz wən əv ðə bɛst ɪn ˈbeɪsˈbɔl, ɪf nɑt ðə bɛst. ˌhaʊˈɛvər,, laɪk ðə breɪvz ɪn ɪˈvɛnʧəwəli hɪt ə prəˈvərbiəl wɔl ðət kət ʃɔrt wət wɑz ʃʊr tɪ bi ə noʊ daʊt hɔl əv feɪm kərɪr. ˈivɪn wɪθ ðə ˈpɛrəˌlɛlz, hɑrd tɪ seɪ ðət keɪm əp ʃɔrt, ˈmoʊstli bɪˈkəz əv haʊ greɪt hi wɑz ˌbiˈfɔr hɪz ˈbɑdi ənd bæt bɪˈtreɪd ɪm. frəm ə ˈpjʊrli səˈbʤɛktɪv ˈstændˌpɔɪnt, ʤoʊnz wɑz ðə moʊst ɪkˈsaɪtɪŋ pleɪər tɪ wɔʧ ɪn hɪz mid-twenties*: ðə laɪt taʊər paʊər, əˈlɔŋ wɪθ hɪz ˌɪnˈkrɛdəbəl dɪˈfɛns ənd flɛr fər ˈmeɪkɪŋ ʤɔ ˈdrɑpɪŋ pleɪz, meɪd ˈɛvəri geɪm ə məst wɔʧ. ˈɔlsoʊ pleɪd ðə ˈsɛnər fild əv ˈɛni pleɪər ðət aɪ kən rɪˈmɛmbər, ənd aɪ ˈhɑrdli ˈriˌkɔl ˈɛni bɔlz ˈlændɪŋ ɪn ðə græs ˈoʊvər hɪz hɛd. ˌhaʊˈɛvər, ɪn ˈɔrdər tɪ ˈɑrgju fər hɪz hɔl əv feɪm ˈkændɪdəsi, ðɛr nidz tɪ bi ən əˈbʤɛktɪv lʊk ðət ʃoʊz ðət wɑz ɪn fækt wən əv ðə bɛst ˈhændˌfʊl əv tɪ ˈɛvər pleɪ ðə geɪm. fər mi, ðə bɛst pleɪs tɪ stɑrt ɪz ˈteɪkɪŋ ə lʊk æt pleɪərz ɪn ðə hɔl əv feɪm ðət pleɪd ə məˈʤɔrəti əv ðɛr kərɪr ɪn ˈsɛnər. ðɛr ər ˈkərəntli 17 ɪn ðə hɔl əv feɪm, wɪθ ðə ˈpɪnəkəl əv ðə pəˈzɪʃən biɪŋ ˈwɪli meɪz. əv ðə 17 ɪn ðə hɔl, ˈoʊnli 7 əv ðə pleɪərz wər ˈæˌkʧuəli ˈvoʊtɪd ɪn baɪ ðə, ðə rɛst əv wɪʧ wər ˌɪnˈdəktɪd ˈviə ðə ˈvɛtərənz kəˈmɪti. ðə 7 pleɪərz ðət wər ˈvoʊtɪd ɪn baɪ ðə wər ɔl, fər ðə moʊst pɑrt, əˈfɛnsɪvli ˈdrɪvən pleɪərz. ˈɪntəˌrɛstɪŋli ɪˈnəf, əv ðə 17 ɪn ðə hɔl əv feɪm, ˈoʊnli 6 hæv ə haɪər kərɪr wɔr ˈtoʊtəl ðən ʤoʊnz əˈkɔrdɪŋ tɪ fæn græfs, ənd ðɛr ər ə fju ðət ʤoʊnz wɑz sɪgˈnɪfɪkəntli ˈbɛtər ðən. ðɛr ər ˈæˌkʧuəli 8 pleɪərz ˈlɪstɪd ɛz ɔn fæn græfs əˈhɛd əv ʤoʊnz, ˌhaʊˈɛvər, tu əv ðɛm ˈæˌkʧuəli wɛnt ɪn tɪ ðə hɔl əv feɪm æt ˈdɪfərənt ˈaʊtˌfild pəˈzɪʃənz. seɪf tɪ seɪ ðət æt list ɪn tərmz əv wɔr, ʤoʊnz ɪz wərθ ə ˈsɪriəs lʊk fər hɔl əv feɪm ˌɪnˈdəkʃən. ɛz fər ə spɪˈsɪfɪk pleɪər tɪ kəmˈpɛr wɪθ, hɔl əv ˈfeɪmər ˈɑnˌdreɪ ˈdɔsən dɪz ðə trɪk. ˈdɔsən, ˈəðərˌwaɪz noʊn ɛz hawk”*”, pleɪd ə məˈʤɔrəti əv hɪz kərɪr geɪmz ɪn ənd wɛnt ˈɪntu ðə hɔl ɛz səʧ. ðə ˈbɪgəst ˈdɪfərəns bɪtˈwin ˈdɔsən ənd ʤoʊnz ɪz ðə ˈvælju ðeɪ prəˈvaɪdɪd ɔn ðə fild. ˈdɔsən, laɪk ðə rɛst əv ðə ˈsɛnər ˈfildərz ˈvoʊtɪd ɪn baɪ ðə, wɑz ə məʧ ˈbɛtər əˈfɛnsɪv pleɪər, ənd wɑz bɪˈloʊ ˈævərɪʤ dɪˈfɛnsɪvli ˈoʊvər hɪz kərɪr. ˈdɔsən ənd ʤoʊnz əˈfɛnsɪv stæts kəmˈpɛr ˈfeɪvərəbli, ˌhaʊˈɛvər, wɪθ iʧ pleɪərz ˈlɪstɪd hir: hr*: ˈdɔsən 438 ʤoʊnz 434 slg*%: ˈdɔsən 482 ʤoʊnz 486 obp*: ˈdɔsən 323 ʤoʊnz 337 wɔr: ˈdɔsən ʤoʊnz wən ˌɪmˈpɔrtənt θɪŋ tɪ rɪˈmɛmbər hir ɪz ðət ˈdɔsən pleɪd ɪn ən ˈɪrə wɛr əˈfɛns wɑz lɛs ˈkɑmən. ʤoʊnz pleɪd ɪn ðə ˈmɪdəl əv ðə era”*”, wɪn ðə sɪgˈnɪfɪkəns əv ə ˈnəmbər laɪk 400 hoʊm rənz wɑz ˈgreɪtli dɪˈmɪnɪʃt. ˌhaʊˈɛvər, jones’*’ ˌɪnˈkrɛdəbəl dɪˈfɛns meɪks əp fər ðət fækt, ənd ðət ɪz waɪ, æt list aɪ əˈsum waɪ, ʤoʊnz həz ə haɪər kərɪr wɔr dɪˈspaɪt pleɪɪŋ ɪn ə ˈfrɛndli əˈfɛnsɪv ɪnˈvaɪrənmənt. fər ˈfərðər kəmˈpɛrəsən bɪtˈwin ʤoʊnz ənd ˈdɔsən, boʊθ pleɪərz ˈproʊˌfaɪlz kən bi faʊnd baɪ ˈklɪkɪŋ ðɛr rɪˈspɛktɪv neɪm. ˌɔlˈðoʊ aɪ ˈpɔɪntɪd aʊt ðət moʊst əv ðə ɪˈlɛktɪd baɪ ðə wər pleɪərz, aɪ θɪŋk ðə bɛst keɪs tɪ bi meɪd fər ʤoʊnz kəmz frəm ˈlʊkɪŋ æt hɪz ˌɪmˈpɛkəbəl dɪˈfɛnsɪv stəˈtɪstɪks. ʤoʊnz wən 10 goʊld gləvz ɪn hɪz kərɪr, bət ðɪs ɪz ˈdɛfənətli nɑt ɪˈnəf tɪ seɪ ðət hi wɑz greɪt dɪˈfɛnsɪvli. goʊld gləv əˈwɔrdz ər ɔl tu ˈɔfən nɑt ˈgɪvɪn tɪ ðə bɛst dɪˈfɛnsɪv pleɪər, ənd fər ˌwəˈtɛvər ˈrizən, ɪt simz ðət gʊd əˈfɛnsɪv pleɪərz ɛnd əp wɪθ goʊld gləvz. maɪ ˈfeɪvərɪt dɪˈfɛnsɪv stəˈtɪstɪk ɪz, wɛl, kɔld dɪˈfɛns, ər fər ʃɔrt. ɪz ə fæn græfs stəˈtɪstɪk ðət ə dɪˈfɛnsɪv ˈvælju ˈjuzɪŋ ˈfildɪŋ rənz ənd əˈʤəsts ɪt fər ðə pəˈzɪʃən. fər ə ˈdipər ˌəndərˈstændɪŋ əv ɔl ðət goʊz ˈɪntu, pliz ʧɛk aʊt ðə fæn græfs stæt ˈglɔsəri hir. soʊ naʊ wɪθ ðə faʊnˈdeɪʃən əv sɛt, wi kən lʊk ˈɪntu haʊ ɪt pleɪz ˈɪntu ðɪs ˌkɑnvərˈseɪʃən. ʤoʊnz həz ðə haɪəst ˈtoʊtəl fər ˈɛni ˈsɛnər ˈfildər ɔn fæn græfs. ðɪs meɪ kəm wɪθ ə greɪn əv sɔlt, ˌhaʊˈɛvər, bɪˈkəz praɪər tɪ 2003 ðɛr ɪz nɑt (ˈəltəmət zoʊn ˈreɪtɪŋ) ˈdætə əˈveɪləbəl, ənd ˈhæpənz tɪ bi ə stəˈtɪstɪk ðət ɪz juzd ɪn ðə ˈfɔrmjələ fər. fər ˈsizənz praɪər tɪ 2003 fæn græfs ˌɪnˈstɛd ˈjuzɪz (ˈtoʊtəl zoʊn) ɪn ðə ˈfɔrmjələ fər. ˈivɪn wɪθ ðə ˈdɪfərəns ɪn ˈfɔrmjələ, noʊ ˈsɛntərˌfildər ˈivɪn kəmz kloʊz tɪ jones’*’ ˈtoʊtəl əv (ˈwɪli meɪz ɪz ˈsɛkənd wɪθ ə ˈtoʊtəl əv ənd goʊɪŋ bɪɔnd ʤɪst, ʤoʊnz ræŋks ɔl taɪm fər ˈtoʊtəl, rəˈgɑrdləs əv pəˈzɪʃən. ənd ʤoʊnz pleɪd æt ə pəˈzɪʃən ðət ɪz rɪˈgɑrdɪd ɛz ə pəˈzɪʃən, wɪʧ ɪz wən əv ðə ˈrizənz aɪ faɪnd ɪt soʊ ɑd ðət moʊst hɔl əv feɪm wər noʊn mɔr fər ðɛr əˈfɛns. ˈoʊvərˌɔl, aɪ θɪŋk ʤoʊnz həz ə ˈprɪti gʊd keɪs fər biɪŋ ə hɔl əv ˈfeɪmər. hɪz dɪˈfɛns əˈloʊn ˈwɔrənts hɪz kənˌsɪdərˈeɪʃən, məʧ laɪk ðə ˈwɪzərd əv ɑz ˈɑˌzi smɪθ. wɪn ˈædɪŋ ɪn ðə fækt ðət pʊt əp əˈfɛnsɪv stæts ðət kəmˈpɛr wɛl wɪθ ə hɔl əv feɪm pleɪər æt hɪz pəˈzɪʃən, aɪ θɪŋk hi bɪˈkəmz ə noʊ ˈdaʊtər tɪ bi ɛnʃˈraɪnd ɪn ˈkupərzˌtaʊn. əˈsaɪd frəm hɪz ˌkɑntrəˈbjuʃənz ɔn ðə fild, ʤoʊnz wɑz ˈɔlsoʊ ðə fərst pleɪər tɪ lɛd ə weɪv əv ˈtælənt ðət həz kəm ˈoʊvər frəm ˈkjʊrəˌsaʊ, ɛz wɛl ɛz ˈəðər pleɪərz frəm ðə ˈkɪŋdəm əv ðə ˈnɛðərləndz, səʧ ɛz ˈsɪmənz, hu gru əp ɪn ˈkjʊrəˌsaʊ ˈaɪdəˌlaɪzɪŋ ʤoʊnz ənd ˈhoʊpɪŋ tɪ pleɪ ɪn ðə ʤɪst laɪk ɪm. soʊ wɪn ɔl sɛd ənd dən, wɑz ən əˈbəv ˈævərɪʤ əˈfɛnsɪv ˈsɛntərˌfildər hu ˌrɛvəˈluʃəˌnaɪzd ðə pəˈzɪʃən dɪˈfɛnsɪvli. hi kən ˈɔlsoʊ bi ˈgɪvɪn ə tən əv ˈkrɛdɪt fər ˌɪnˈspaɪərɪŋ ðə ˈkɑrənt pleɪərz frəm ðə ˈkɪŋdəm əv ðə ˈnɛðərləndz tɪ riʧ ðə ˈmeɪʤər ligz təˈdeɪ. ˌhaʊˈɛvər, ˈwɛðər hi gɪts ˈvoʊtɪd ˈɪntu ˈkupərzˌtaʊn ɪz ə kəmˈplitli ˈdɪfərənt ˌkɑnvərˈseɪʃən. ˈsædli, ðə ˈʃæˌdoʊ əv ðə era”*” lumz ˈoʊvər hɪz kərɪr, ˈivɪn ɪf ɪt meɪ bi kəmˈplitli ənˈwɔrəntɪd. ˈɔlsoʊ, ðə hɔl əv feɪm voters’*’ ˈtɛndənsi tɪ ˈvælju əˈfɛns ˈoʊvər dɪˈfɛns wɪn rɪˈgɑrdɪŋ hərts hɪz kɔz ɛz wɛl. ɔl aɪ noʊ ɪz ðət hi dɪˈzərvz tɪ bi ɛnʃˈraɪnd ɪn ðə hɔl əv feɪm ˈsəmˌdeɪ, ənd ɪf ɪt ˈɛvər ˈhæpənz, aɪ wɪl bi ðɛr ɪn ˈkupərzˌtaʊn tɪ səˈpɔrt wən əv ðə pleɪərz ðət hɛlpt mi fɔl ɪn ləv wɪθ ðə geɪm əv ˈbeɪsˈbɔl. kruz sərˈɑnoʊ, ˈædvərˌtaɪzmənts |
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philly a 'sanctuary' again for undocumented immigrants, new mayor says
mayor jim kenney recently signed a law reverting philadelphia to a sanctuary city, which would benefit immigrants and refugees. (courtesy of rob shenk | creative commons)
on jan. 4th, mayor jim kenney signed a law that no longer allows philadelphia law enforcement and federal immigration and customs enforcement officials to cooperate, reverting philadelphia back to a “sanctuary city.”
before the executive order, ice could ask city police to hold onto undocumented immigrants who would have been released while awaiting trial. the undocumented immigrants would then be kept in police custody until ice picked them up and faced potential deportation. previous mayor, 1979 wharton graduate michael nutter, made philadelphia a sanctuary city before reversing his own decision in late 2015.
penn democrats communications director and college junior luke hoban supports mayor plan and believes that philadelphia needs to have some role in helping immigrants and refugees.
“whatever measures that need to be taken should be implemented to make sure immigrants are not forced back to regions of the world that they are fleeing and giving up their lives in many cases, in hope of here to provide a better life for themselves and their children," hoban said.
united states department of homeland security secretary johnson, who promotes a program called "priority enforcement” that has been decried by immigrant advocacy groups as overly aggressive, has worked with kenney to switch programs. until these discussions take place, kenney told the philadelphia inquirer that philadelphia will not force cops to cooperate with the ice.
other sanctuary cities in the united states include new york city, baltimore and washington d.c.. however, the brookings institution found in 2014 that philadelphia is one of the gateways" in america due to a resurgence in the amount of immigrants entering the city each year.
proponents of philadelphia as a sanctuary city say that it improves relations between the community and the police. for example if an undocumented immigrant is a witness of crime, they will be able to report the crime without fear of deportation. proponents also reason that being a sanctuary city encourages immigration to cities, which can benefit the city's economy.
a 2012 study by the partnership for a new american economy found that immigrants start 28 percent of small businesses even though they make up only percent of the united states population.
opponents of sanctuary cities noted the fact that there have been instances in which undocumented immigrants have committed serious crimes. for example, many republican presidential candidates, such as 1968 wharton graduate donald trump, called to crack down on sanctuary cities after the death in july of kathryn steinle, a woman in san francisco who was shot by an undocumented immigrant who had been released from jail.
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for other opponents, their criticism of sanctuary cities stems from the problem it poses for law enforcement and public policy officials.
“sanctuary cities reduce federal immigration law to optional pieces of policy and impede the prospects of more meaningful and effective reforms that our country desperately needs," college republicans president and wharton and college junior jennifer said.
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please note all comments are eligible for publication in the daily pennsylvanian. | pliz səˈpɔrt ˈjuˈɛs baɪ ˌdɪˈseɪblɪŋ jʊr æd ˈblɑkər ɔn ɑr saɪt. ˈfɪli ə 'ˈsæŋkʧuˌɛri' əˈgɛn fər ənˈdɑkjəmɛnɪd ˈɪməgrənts, nu meɪər sɪz meɪər ʤɪm ˈkɛni ˈrisəntli saɪnd ə lɔ rɪˈvərtɪŋ ˌfɪləˈdɛlfiə tɪ ə ˈsæŋkʧuˌɛri ˈsɪti, wɪʧ wʊd ˈbɛnəfɪt ˈɪməgrənts ənd ˈrɛfˌjuʤiz. (ˈkərtəsi əv rɑb ʃɛŋk kriˈeɪtɪv ˈkɑmənz) ɔn ʤæn. 4th*, meɪər ʤɪm ˈkɛni saɪnd ə lɔ ðət noʊ ˈlɔŋgər əˈlaʊz ˌfɪləˈdɛlfiə lɔ ɛnˈfɔrsmənt ənd ˈfɛdərəl ˌɪməˈgreɪʃən ənd ˈkəstəmz ɛnˈfɔrsmənt əˈfɪʃəlz tɪ kˈwɑpərˌeɪt, rɪˈvərtɪŋ ˌfɪləˈdɛlfiə bæk tɪ ə city.”*.” ˌbiˈfɔr ðə ɪgˈzɛkjətɪv ˈɔrdər, aɪs kʊd æsk ˈsɪti pəˈlis tɪ hoʊld ˈɔntu ənˈdɑkjəmɛnɪd ˈɪməgrənts hu wʊd hæv bɪn riˈlist waɪl əˈweɪtɪŋ traɪəl. ðə ənˈdɑkjəmɛnɪd ˈɪməgrənts wʊd ðɛn bi kɛpt ɪn pəˈlis ˈkəstədi ənˈtɪl aɪs pɪkt ðɛm əp ənd feɪst pəˈtɛnʃəl ˌdipɔrˈteɪʃən. ˈpriviəs meɪər, 1979 ˈwɔrtən ˈgræʤəˌweɪt ˈmaɪkəl ˈnətər, meɪd ˌfɪləˈdɛlfiə ə ˈsæŋkʧuˌɛri ˈsɪti ˌbiˈfɔr rɪˈvərsɪŋ hɪz oʊn dɪˈsɪʒən ɪn leɪt 2015 pɛn ˈdɛməˌkræts kəmˌjunəˈkeɪʃənz dɪˈrɛktər ənd ˈkɑlɪʤ ˈʤunjər luk ˈhoʊbən səˈpɔrts meɪər plæn ənd bɪˈlivz ðət ˌfɪləˈdɛlfiə nidz tɪ hæv səm roʊl ɪn ˈhɛlpɪŋ ˈɪməgrənts ənd ˈrɛfˌjuʤiz. ˈmɛʒərz ðət nid tɪ bi ˈteɪkən ʃʊd bi ˈɪmpləˌmɛnəd tɪ meɪk ʃʊr ˈɪməgrənts ər nɑt fɔrst bæk tɪ ˈriʤənz əv ðə wərld ðət ðeɪ ər fliɪŋ ənd ˈgɪvɪŋ əp ðɛr lɪvz ɪn ˈmɛni ˈkeɪsɪz, ɪn hoʊp əv hir tɪ prəˈvaɪd ə ˈbɛtər laɪf fər ðɛmˈsɛlvz ənd ðɛr ˈʧɪldrən," ˈhoʊbən sɛd. juˈnaɪtɪd steɪts dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti ˈsɛkrəˌtɛri ˈʤɑnsən, hu prəˈmoʊts ə ˈproʊˌgræm kɔld "praɪˈɔrəti enforcement”*” ðət həz bɪn dɪˈkraɪd baɪ ˈɪməgrənt ˈædvəkəsi grups ɛz ˈoʊvərli əˈgrɛsɪv, həz wərkt wɪθ ˈkɛni tɪ swɪʧ ˈproʊˌgræmz. ənˈtɪl ðiz dɪˈskəʃənz teɪk pleɪs, ˈkɛni toʊld ðə ˌfɪləˈdɛlfiə ˌɪnkˈwaɪrər ðət ˌfɪləˈdɛlfiə wɪl nɑt fɔrs kɑps tɪ kˈwɑpərˌeɪt wɪθ ðə aɪs. ˈəðər ˈsæŋkʧuˌɛri ˈsɪtiz ɪn ðə juˈnaɪtɪd steɪts ˌɪnˈklud nu jɔrk ˈsɪti, ˈbɔltəˌmɔr ənd ˈwɔʃɪŋtən d.c*.. ˌhaʊˈɛvər, ðə ˈbrʊkɪŋz ˌɪnstɪˈtuʃən faʊnd ɪn 2014 ðət ˌfɪləˈdɛlfiə ɪz wən əv ðə ˈgeɪtˌweɪz" ɪn əˈmɛrɪkə du tɪ ə riˈsərʤəns ɪn ðə əˈmaʊnt əv ˈɪməgrənts ˈɛnərɪŋ ðə ˈsɪti iʧ jɪr. prəˈpoʊnənts əv ˌfɪləˈdɛlfiə ɛz ə ˈsæŋkʧuˌɛri ˈsɪti seɪ ðət ɪt ˌɪmˈpruvz riˈleɪʃənz bɪtˈwin ðə kəmˈjunɪti ənd ðə pəˈlis. fər ɪgˈzæmpəl ɪf ən ənˈdɑkjəmɛnɪd ˈɪməgrənt ɪz ə ˈwɪtnəs əv kraɪm, ðeɪ wɪl bi ˈeɪbəl tɪ rɪˈpɔrt ðə kraɪm wɪˈθaʊt fɪr əv ˌdipɔrˈteɪʃən. prəˈpoʊnənts ˈɔlsoʊ ˈrizən ðət biɪŋ ə ˈsæŋkʧuˌɛri ˈsɪti ɪnˈkərəʤəz ˌɪməˈgreɪʃən tɪ ˈsɪtiz, wɪʧ kən ˈbɛnəfɪt ðə ˈsɪtiz ɪˈkɑnəmi. ə 2012 ˈstədi baɪ ðə ˈpɑrtnərˌʃɪp fər ə nu əˈmɛrɪkən ɪˈkɑnəmi faʊnd ðət ˈɪməgrənts stɑrt 28 pərˈsɛnt əv smɔl ˈbɪznɪsɪz ˈivɪn ðoʊ ðeɪ meɪk əp ˈoʊnli pərˈsɛnt əv ðə juˈnaɪtɪd steɪts ˌpɑpjəˈleɪʃən. əˈpoʊnənts əv ˈsæŋkʧuˌɛri ˈsɪtiz ˈnoʊtɪd ðə fækt ðət ðɛr hæv bɪn ˈɪnstənsɪz ɪn wɪʧ ənˈdɑkjəmɛnɪd ˈɪməgrənts hæv kəˈmɪtɪd ˈsɪriəs kraɪmz. fər ɪgˈzæmpəl, ˈmɛni rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪts, səʧ ɛz 1968 ˈwɔrtən ˈgræʤəˌweɪt ˈdɑnəld trəmp, kɔld tɪ kræk daʊn ɔn ˈsæŋkʧuˌɛri ˈsɪtiz ˈæftər ðə dɛθ ɪn ˌʤuˈlaɪ əv ˈkæθrɪn ˈstaɪnəl, ə ˈwʊmən ɪn sæn frænˈsɪskoʊ hu wɑz ʃɑt baɪ ən ənˈdɑkjəmɛnɪd ˈɪməgrənt hu hæd bɪn riˈlist frəm ʤeɪl. saɪn əp fər ɑr ˈnuzˌlɛtər gɪt ɑr ˈnuzˌlɛtər, dɪr pɛn, dɪˈlɪvərd tɪ jʊr ˈɛvəri ˈwikˌdeɪ ˈmɔrnɪŋ. saɪn əp fər ˈəðər əˈpoʊnənts, ðɛr ˈkrɪtɪˌsɪzəm əv ˈsæŋkʧuˌɛri ˈsɪtiz stɛmz frəm ðə ˈprɑbləm ɪt ˈpoʊzɪz fər lɔ ɛnˈfɔrsmənt ənd ˈpəblɪk ˈpɑləsi əˈfɪʃəlz. ˈsɪtiz rɪˈdus ˈfɛdərəl ˌɪməˈgreɪʃən lɔ tɪ ˈɔpʃənəl ˈpisɪz əv ˈpɑləsi ənd ˌɪmˈpid ðə ˈprɑspɛkts əv mɔr ˈminɪŋfəl ənd ˈifɛktɪv rɪˈfɔrmz ðət ɑr ˈkəntri ˈdɛspərətli nidz," ˈkɑlɪʤ rɪˈpəblɪkənz ˈprɛzɪdənt ənd ˈwɔrtən ənd ˈkɑlɪʤ ˈʤunjər ˈʤɛnəfər sɛd. pliz ɪˈneɪbəl ˈʤɑvəˌskrɪpt tɪ vju ðə ˈkɑmɛnts paʊərd baɪ. pliz noʊt ɔl ˈkɑmɛnts ər ˈɛlɪʤəbəl fər ˌpəblɪˈkeɪʃən ɪn ðə ˈdeɪli ˌpɛnsɪlˈveɪniən. |
school district official charged with torching truck on san antonio highway resigns
emilio flores, 22, faces a charge of arson, according to an arrest warrant affidavit. emilio flores, 22, faces a charge of arson, according to an arrest warrant affidavit. photo: county sheriff's office photo: county sheriff's office image 1 of / 39 caption close school district official charged with torching truck on san antonio highway resigns 1 / 39 back to gallery
san antonio a member of the natalia independent school board of trustees resigned thursday following an arrest for allegedly torching his truck because payments were too high, according to an arrest warrant affidavit.
emilio flores, 22, was arrested wednesday and charged with arson.
according to the affidavit, the burnt remains of flores’ 2014 chevrolet silverado was found in a flaming heap in the 600 block on highway 90 on june 28.
in the past, flores had complained about the price of his payments and joked that he was going to burn the vehicle, the report said.
police were able to track flores down to a red roof inn at w.w. white road and interstate 10 after the incident, where he said he had left the truck at a bar from which he was picked up after drinking with a friend.
“he stated he left the bar at approximately a.m.,” the affidavit said. “he stated he was not able to drive home because he was drunk and that a friend drove him to the red roof inn.”
a couple of weeks later, flores went to the san antonio police downtown headquarters to give a statement on the incident, the document said.
the statement he gave at the second interview conflicted with what he said the night of the fire.
“the defendant changed his original statement that he was picked up at 1 a.m. and said that he was picked up around midnight,” the affidavit said, adding he attributed the disagreement to his being drunk.
other witnesses came forward with differing accounts of the story in the following days, saying flores was not picked up from a bar, but instead from the nelson w. wolff municipal stadium parking lot, across the street from where his burning truck was found.
about a month after the fire, a man identified in the document as mark came forward to tell police that flores had enlisted his help in torching the truck.
the affidavit said that after a day of drinking at tavern, and flores drove to highway 90.
flores handed a container of gasoline, which he poured inside and outside of the truck.
othon then used a lighter to ignite the gas, the document said.
the pair then walked off to wolff stadium where they were picked up by a friend.
flores was released from the county jail on wednesday around 7 p.m. according to county records.
eric smith, school board president, said flores handed in a letter of resignation around 10 a.m. thursday.
according to the website, the district, located in medina county, is composed of four campuses that serve about students.
mdwilson@express-news.net
twitter: | skul ˈdɪstrɪkt əˈfɪʃəl ʧɑrʤd wɪθ ˈtɔrʧɪŋ trək ɔn sæn ænˈtoʊnioʊ ˈhaɪˌweɪ rɪˈzaɪnz əˈmilioʊ ˈflɔˌrɛz, 22 ˈfeɪsɪz ə ʧɑrʤ əv ˈɑrsən, əˈkɔrdɪŋ tɪ ən ərˈɛst ˈwɔrənt ˌæfəˈdeɪvət. əˈmilioʊ ˈflɔˌrɛz, 22 ˈfeɪsɪz ə ʧɑrʤ əv ˈɑrsən, əˈkɔrdɪŋ tɪ ən ərˈɛst ˈwɔrənt ˌæfəˈdeɪvət. ˈfoʊˌtoʊ: ˈkaʊnti ˈʃɛrɪfs ˈɔfəs ˈfoʊˌtoʊ: ˈkaʊnti ˈʃɛrɪfs ˈɔfəs ˈɪmɪʤ 1 əv 39 ˈkæpʃən kloʊz skul ˈdɪstrɪkt əˈfɪʃəl ʧɑrʤd wɪθ ˈtɔrʧɪŋ trək ɔn sæn ænˈtoʊnioʊ ˈhaɪˌweɪ rɪˈzaɪnz 1 39 bæk tɪ ˈgæləri sæn ænˈtoʊnioʊ ə ˈmɛmbər əv ðə nəˈtɑljə ˌɪndɪˈpɛndənt skul bɔrd əv ˌtrəˈstiz rɪˈzaɪnd ˈθərzˌdeɪ ˈfɑloʊɪŋ ən ərˈɛst fər əˈlɛʤədli ˈtɔrʧɪŋ hɪz trək bɪˈkəz ˈpeɪmənts wər tu haɪ, əˈkɔrdɪŋ tɪ ən ərˈɛst ˈwɔrənt ˌæfəˈdeɪvət. əˈmilioʊ ˈflɔˌrɛz, 22 wɑz ərˈɛstɪd ˈwɛnzˌdeɪ ənd ʧɑrʤd wɪθ ˈɑrsən. əˈkɔrdɪŋ tɪ ðə ˌæfəˈdeɪvət, ðə bərnt rɪˈmeɪnz əv flores’*’ 2014 ˌʃɛvroʊˈleɪ ˌsɪlvərˈɑdoʊ wɑz faʊnd ɪn ə ˈfleɪmɪŋ hip ɪn ðə 600 blɑk ɔn ˈhaɪˌweɪ 90 ɔn ʤun 28 ɪn ðə pæst, ˈflɔˌrɛz hæd kəmˈpleɪnd əˈbaʊt ðə praɪs əv hɪz ˈpeɪmənts ənd ʤoʊkt ðət hi wɑz goʊɪŋ tɪ bərn ðə ˈviɪkəl, ðə rɪˈpɔrt sɛd. pəˈlis wər ˈeɪbəl tɪ træk ˈflɔˌrɛz daʊn tɪ ə rɛd rʊf ɪn æt w.w*. waɪt roʊd ənd ˌɪntərˈsteɪt 10 ˈæftər ðə ˈɪnsədənt, wɛr hi sɛd hi hæd lɛft ðə trək æt ə bɑr frəm wɪʧ hi wɑz pɪkt əp ˈæftər ˈdrɪŋkɪŋ wɪθ ə frɛnd. ˈsteɪtɪd hi lɛft ðə bɑr æt əˈprɑksəmətli a.m.,”*.,” ðə ˌæfəˈdeɪvət sɛd. ˈsteɪtɪd hi wɑz nɑt ˈeɪbəl tɪ draɪv hoʊm bɪˈkəz hi wɑz drəŋk ənd ðət ə frɛnd droʊv ɪm tɪ ðə rɛd rʊf inn.”*.” ə ˈkəpəl əv wiks ˈleɪtər, ˈflɔˌrɛz wɛnt tɪ ðə sæn ænˈtoʊnioʊ pəˈlis ˈdaʊnˈtaʊn ˈhɛdˌkɔrtərz tɪ gɪv ə ˈsteɪtmənt ɔn ðə ˈɪnsədənt, ðə ˈdɑkjəmɛnt sɛd. ðə ˈsteɪtmənt hi geɪv æt ðə ˈsɛkənd ˈɪntərvˌju kənˈflɪktɪd wɪθ wət hi sɛd ðə naɪt əv ðə faɪər. dɪˈfɛndənt ʧeɪnʤd hɪz ərˈɪʤənəl ˈsteɪtmənt ðət hi wɑz pɪkt əp æt 1 a.m*. ənd sɛd ðət hi wɑz pɪkt əp əraʊnd midnight,”*,” ðə ˌæfəˈdeɪvət sɛd, ˈædɪŋ hi əˈtrɪbjətəd ðə dɪsəˈgrimənt tɪ hɪz biɪŋ drəŋk. ˈəðər ˈwɪtnəsɪz keɪm ˈfɔrwərd wɪθ ˈdɪfərɪŋ əˈkaʊnts əv ðə ˈstɔri ɪn ðə ˈfɑloʊɪŋ deɪz, seɪɪŋ ˈflɔˌrɛz wɑz nɑt pɪkt əp frəm ə bɑr, bət ˌɪnˈstɛd frəm ðə ˈnɛlsən ˈdəbəlju. wʊlf mjuˈnɪsəpəl ˈsteɪdiəm ˈpɑrkɪŋ lɔt, əˈkrɔs ðə strit frəm wɛr hɪz ˈbərnɪŋ trək wɑz faʊnd. əˈbaʊt ə mənθ ˈæftər ðə faɪər, ə mæn aɪˈdɛntəˌfaɪd ɪn ðə ˈdɑkjəmɛnt ɛz mɑrk keɪm ˈfɔrwərd tɪ tɛl pəˈlis ðət ˈflɔˌrɛz hæd ˌɛnˈlɪstɪd hɪz hɛlp ɪn ˈtɔrʧɪŋ ðə trək. ðə ˌæfəˈdeɪvət sɛd ðət ˈæftər ə deɪ əv ˈdrɪŋkɪŋ æt ˈtævərn, ənd ˈflɔˌrɛz droʊv tɪ ˈhaɪˌweɪ 90 ˈflɔˌrɛz ˈhændɪd ə kənˈteɪnər əv ˈgæsəˌlin, wɪʧ hi pɔrd ˌɪnˈsaɪd ənd ˈaʊtˈsaɪd əv ðə trək. ðɛn juzd ə ˈlaɪtər tɪ ˌɪgˈnaɪt ðə gæs, ðə ˈdɑkjəmɛnt sɛd. ðə pɛr ðɛn wɔkt ɔf tɪ wʊlf ˈsteɪdiəm wɛr ðeɪ wər pɪkt əp baɪ ə frɛnd. ˈflɔˌrɛz wɑz riˈlist frəm ðə ˈkaʊnti ʤeɪl ɔn ˈwɛnzˌdeɪ əraʊnd 7 p.m*. əˈkɔrdɪŋ tɪ ˈkaʊnti ˈrɛkərdz. ˈɛrɪk smɪθ, skul bɔrd ˈprɛzɪdənt, sɛd ˈflɔˌrɛz ˈhændɪd ɪn ə ˈlɛtər əv ˌrɛzɪgˈneɪʃən əraʊnd 10 a.m*. ˈθərzˌdeɪ. əˈkɔrdɪŋ tɪ ðə ˈwɛbˌsaɪt, ðə ˈdɪstrɪkt, ˈloʊˌkeɪtəd ɪn məˈdinə ˈkaʊnti, ɪz kəmˈpoʊzd əv fɔr ˈkæmpəsɪz ðət sərv əˈbaʊt ˈstudənts. tˈwɪtər: |
headline:
"one child is holding something
that's been banned in america
to protect them.
guess which one."
the ad is by a group called moms demand action for gun sense in america.
the explanation, via babble:
"the charles perrault version of little red riding hood, the one that was banned by two california school districts, was controversial not because both the grandma and the little girl are eaten by the wolf by the end of the story, but because as the christian science monitor notes, "one of the refreshments for her grandmother that little red riding hood carried in her basket was wine."
second amendment defenders will cry foul over the the image of a grade girl holding what appears to be a, the same weapon used by adam lanza to shoot and kill 26 connecticut school children.
what do you think?
ad agency: grey, canada.
related: here's the accompanying tv spot which also dramatically features an rifle.
correction: lanza killed 20 children and six adults, including his mother, with a. | ˈhɛˌdlaɪn: "wən ʧaɪld ɪz ˈhoʊldɪŋ ˈsəmθɪŋ ðæts bɪn bænd ɪn əˈmɛrɪkə tɪ prəˈtɛkt ðɛm. gɛs wɪʧ wən." ðə æd ɪz baɪ ə grup kɔld mɑmz dɪˈmænd ˈækʃən fər gən sɛns ɪn əˈmɛrɪkə. ðə ˌɛkspləˈneɪʃən, ˈviə ˈbæbəl: "ðə ˈʧɑrəlz ˈpɛrɔlt ˈvərʒən əv ˈlɪtəl rɛd ˈraɪdɪŋ hʊd, ðə wən ðət wɑz bænd baɪ tu ˌkæləˈfɔrnjə skul ˈdɪstrɪkts, wɑz ˌkɑntrəˈvərʃəl nɑt bɪˈkəz boʊθ ðə ˈgrændmɑ ənd ðə ˈlɪtəl gərl ər ˈitən baɪ ðə wʊlf baɪ ðə ɛnd əv ðə ˈstɔri, bət bɪˈkəz ɛz ðə ˈkrɪsʧɪn saɪəns ˈmɑnətər noʊts, "wən əv ðə rəˈfrɛʃmənts fər hər ˈgrændˌməðər ðət ˈlɪtəl rɛd ˈraɪdɪŋ hʊd ˈkɛrid ɪn hər ˈbæskət wɑz waɪn." ˈsɛkənd əˈmɛndmənt dɪˈfɛndərz wɪl kraɪ faʊl ˈoʊvər ðə ðə ˈɪmɪʤ əv ə greɪd gərl ˈhoʊldɪŋ wət əˈpɪrz tɪ bi ə ðə seɪm ˈwɛpən juzd baɪ ˈædəm ˈlænzə tɪ ʃut ənd kɪl 26 kəˈnɛtəkət skul ˈʧɪldrən. wət du ju θɪŋk? æd ˈeɪʤənsi: greɪ, ˈkænədə. rɪˈleɪtɪd: hɪrz ðə əˈkəmpəniɪŋ ˌtɛləˈvɪʒən spɑt wɪʧ ˈɔlsoʊ drəˈmætɪkəli ˈfiʧərz ən ˈraɪfəl. kərˈɛkʃən: ˈlænzə kɪld 20 ˈʧɪldrən ənd sɪks ˈædəlts, ˌɪnˈkludɪŋ hɪz ˈməðər, wɪθ ə |
michelle enjoys her first.
if there is one thing that new zealand does right (other than lord of the rings and flight of the conchords) it's hilarious and gory horror flicks. follows in the footsteps of such films as dead and black sheep as it continues the tradition of up yet funny as hell splatterfests. jason lei howden makes his directorial debut with and it was an audience favorite at austin's south by southwest film festival.
"sweet force lightning, bro."
the film follows the adventures of a couple of high school metal heads who are trying to start a death metal band. they inadvertently summon demons (pretty damn brutal, i would say) and have to figure out a way to stop the monsters before they destroy the small town they reside in. truth be told, the storyline isn't that complex or subtle though it moves briskly. the writing is with lots of black humor thrown around in between (and sometimes during) the horror scenes. overall, i would say the story is above average compared to the majority of horror films and for the most part it's entertaining.
what sets this film apart from other indie horror movies is the heavy metal music motif. both of the main characters brodie (milo cawthorn) and (james blake) embody all of the common metal clichés: long hair, studded leather jackets, combat boots, denim vests with patches on works. luckily, it doesn't come off as contrived though a couple of the references fall flat. the music is spot on with lots of bands contributing songs to the soundtrack. if you are a fan of heavy metal you will definitely enjoy the in this film.
"this ice cream tastes like death."
now here comes the best part of: lots and lots of blood and guts! once the demons are unleashed, all hell breaks loose...literally! demons vomit blood all over their victims, gouge out eyeballs, tear out intestines and all sorts of other ghastly things. it's awesome! almost all of it is done with practical effects and props is seriously some outstanding work in this movie. the term "splatstick" has been coined to describe the type of disturbing and funny mayhem that new zealand horror films are famous for. will be incredibly pleased with the gore in this movie.
what stands out the most to me about this film is the obvious love that went into making it. the director has stated that he was an outcast metal head growing up, so that experience influenced the direction he took
. it harkens back to '80s horror films that didn't take themselves so seriously and weren't afraid to throw in a joke every once in awhile. i predict that this film will become a cult classic in a decade or so.
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-michelle kisner
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deathgasm | mɪˈʃɛl ˌɛnˈʤɔɪz hər fərst. ɪf ðɛr ɪz wən θɪŋ ðət nu ˈzilənd dɪz raɪt (ˈəðər ðən lɔrd əv ðə rɪŋz ənd flaɪt əv ðə conchords*) ɪts hɪˈlɛriəs ənd ˈgɔri ˈhɔrər flɪks. ˈfɑloʊz ɪn ðə ˈfʊtˌstɛps əv səʧ fɪlmz ɛz dɛd ənd blæk ʃip ɛz ɪt kənˈtɪnjuz ðə trəˈdɪʃən əv əp jɛt ˈfəni ɛz hɛl splatterfests*. ˈʤeɪsən leɪ ˈhaʊdən meɪks hɪz dɪrɛkˈtɔriəl ˈdeɪbju wɪθ ənd ɪt wɑz ən ˈɔdiəns ˈfeɪvərɪt æt ˈɔstənz saʊθ baɪ ˌsaʊθˈwɛst fɪlm ˈfɛstɪvəl. "swit fɔrs ˈlaɪtnɪŋ, broʊ." ðə fɪlm ˈfɑloʊz ðə ædˈvɛnʧərz əv ə ˈkəpəl əv haɪ skul ˈmɛtəl hɛdz hu ər traɪɪŋ tɪ stɑrt ə dɛθ ˈmɛtəl bænd. ðeɪ ˌɪnədˈvərtəntli ˈsəmən ˈdimənz (ˈprɪti dæm ˈbrutəl, aɪ wʊd seɪ) ənd hæv tɪ ˈfɪgjər aʊt ə weɪ tɪ stɑp ðə ˈmɑnstərz ˌbiˈfɔr ðeɪ dɪˈstrɔɪ ðə smɔl taʊn ðeɪ rɪˈzaɪd ɪn. truθ bi toʊld, ðə ˈstɔriˌlaɪn ˈɪzənt ðət ˈkɑmplɛks ər ˈsətəl ðoʊ ɪt muvz ˈbrɪskli. ðə ˈraɪtɪŋ ɪz wɪθ lɑts əv blæk ˈhjumər θroʊn əraʊnd ɪn bɪtˈwin (ənd ˈsəmˌtaɪmz ˈdʊrɪŋ) ðə ˈhɔrər sinz. ˈoʊvərˌɔl, aɪ wʊd seɪ ðə ˈstɔri ɪz əˈbəv ˈævərɪʤ kəmˈpɛrd tɪ ðə məˈʤɔrəti əv ˈhɔrər fɪlmz ənd fər ðə moʊst pɑrt ɪts ˌɛnərˈteɪnɪŋ. wət sɛts ðɪs fɪlm əˈpɑrt frəm ˈəðər ˈɪndi ˈhɔrər ˈmuviz ɪz ðə ˈhɛvi ˈmɛtəl mˈjuzɪk moʊˈtif. boʊθ əv ðə meɪn ˈkɛrɪktərz ˈbroʊti (ˈmaɪloʊ ˈkɔθərn) ənd (ʤeɪmz bleɪk) ɪmˈbɑdi ɔl əv ðə ˈkɑmən ˈmɛtəl clichés*: lɔŋ hɛr, ˈstədɪd ˈlɛðər ˈʤækɪts, ˈkɑmbæt buts, ˈdɛnəm vɛsts wɪθ ˈpæʧɪz ɔn wərks. ˈləkəli, ɪt ˈdəzənt kəm ɔf ɛz kənˈtraɪvd ðoʊ ə ˈkəpəl əv ðə ˈrɛfərənsɪz fɔl flæt. ðə mˈjuzɪk ɪz spɑt ɔn wɪθ lɑts əv bændz kənˈtrɪbjutɪŋ sɔŋz tɪ ðə ˈsaʊnˌtræk. ɪf ju ər ə fæn əv ˈhɛvi ˈmɛtəl ju wɪl ˈdɛfənətli ˌɛnˈʤɔɪ ðə ɪn ðɪs fɪlm. "ðɪs aɪs krim teɪsts laɪk dɛθ." naʊ hir kəmz ðə bɛst pɑrt əv: lɑts ənd lɑts əv bləd ənd gəts! wəns ðə ˈdimənz ər ənˈliʃt, ɔl hɛl breɪks loose...literally*! ˈdimənz ˈvɑmət bləd ɔl ˈoʊvər ðɛr ˈvɪktɪmz, gaʊʤ aʊt ˈaɪˌbɔlz, tɪr aʊt ˌɪnˈtɛstənz ənd ɔl sɔrts əv ˈəðər ˈgæstli θɪŋz. ɪts ˈɔsəm! ˈɔlˌmoʊst ɔl əv ɪt ɪz dən wɪθ ˈpræktɪkəl ˈifɛkts ənd prɑps ɪz ˈsɪriəsli səm ˌaʊtˈstændɪŋ wərk ɪn ðɪs ˈmuvi. ðə tərm "splatstick*" həz bɪn kɔɪnd tɪ dɪˈskraɪb ðə taɪp əv dɪˈstərbɪŋ ənd ˈfəni ˈmeɪˌhɛm ðət nu ˈzilənd ˈhɔrər fɪlmz ər ˈfeɪməs fər. wɪl bi ˌɪnˈkrɛdəbli plizd wɪθ ðə gɔr ɪn ðɪs ˈmuvi. wət stændz aʊt ðə moʊst tɪ mi əˈbaʊt ðɪs fɪlm ɪz ðə ˈɑbviəs ləv ðət wɛnt ˈɪntu ˈmeɪkɪŋ ɪt. ðə dɪˈrɛktər həz ˈsteɪtɪd ðət hi wɑz ən ˈaʊtˌkæst ˈmɛtəl hɛd groʊɪŋ əp, soʊ ðət ɪkˈspɪriəns ˈɪnfluənst ðə dɪˈrɛkʃɪn hi tʊk ɪt ˈhɑrkənz bæk tɪ ˈhɔrər fɪlmz ðət ˈdɪdənt teɪk ðɛmˈsɛlvz soʊ ˈsɪriəsli ənd wərənt əˈfreɪd tɪ θroʊ ɪn ə ʤoʊk ˈɛvəri wəns ɪn əˈwaɪl. aɪ prɪˈdɪkt ðət ðɪs fɪlm wɪl bɪˈkəm ə kəlt ˈklæsɪk ɪn ə ˈdɛkeɪd ər soʊ. skɔr -mɪˈʃɛl ˈkɪsnər laɪk ˈhɔrər? ʃɛr ðɪs ˌrivˈju. |
in college football, more than probably any other sport, a coaching legacy never goes away. even if that legend has been gone for a generation or two, a current coach will still live in that shadow.
darrell royal is the dominant figure in texas football, and may always be. mack brown didn't just accept that fact when he became the longhorns' coach, he embraced it. in fact, "embracing" might be understating brown's affection for royal.
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when royal passed away, brown released a statement saying royal and royal's wife edith were among the best friends of he and his wife. he said royal filled a void in his life after his father died. he called royal his hero.
brown announced on twitter that texas will wear a "dkr" helmet decal, and the longhorns will line up on their first play saturday in the wishbone formation to honor royal, who is credited with bringing the wishbone to college football in 1968. it's a perfect and touching tribute from brown to his late mentor.
that will be a wonderful moment at the start of saturday's game.
it's a to when the redskins lined up with 10 men on the field for their first play against buffalo to honor safety sean taylor, who was killed a few days before the game. whether texas scores a touchdown on that first play or loses yards, it won't matter. it will be a great moment. credit brown for realizing that.
[related: mack brown says the 'horns down' gesture is disrespectful]
the tribute saturday will also be a beautiful way to connect texas' past and its present, something that brown obviously values. here is brown's full statement about royal's passing, which is a window into the relationship between the two texas coaches:
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"today is a very sad day. i lost a wonderful friend, a mentor, a confidant and my hero. college football lost maybe its best ever and the world lost a great man. i can hardly put in words how much coach royal means to me and all that he has done for me and my family. i wouldn't even be at texas without coach. his counsel and friendship meant a lot to me before i came to texas, but it's been my guiding light for my 15 years here. "coach gave so much more to the state of texas and college football than he took away. he forgot more football than most of us will ever know, including me. his impact on the game, the coaches and players, the community and the millions of lives he touched, is insurmountable. he will be missed in so many ways. "i lost my dad when i was 54, and coach filled a real void in my life and treated me like family. sally and i gained a lot coming to texas and being a part of this tremendous program but no more than our relationship with coach and edith. they were our closest of friends. our heart pours out to edith and the family and our thoughts and prayers are with her and the family. we will always be there to lend any and all support that we can as she and coach always did for us."
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• y! news: obama clinches second term in tense night | ɪn ˈkɑlɪʤ ˈfʊtˌbɔl, mɔr ðən ˈprɑbəˌbli ˈɛni ˈəðər spɔrt, ə ˈkoʊʧɪŋ ˈlɛgəsi ˈnɛvər goʊz əˈweɪ. ˈivɪn ɪf ðət ˈlɛʤənd həz bɪn gɔn fər ə ˌʤɛnərˈeɪʃən ər tu, ə ˈkɑrənt koʊʧ wɪl stɪl lɪv ɪn ðət ˈʃæˌdoʊ. ˈdɛrəl rɔɪəl ɪz ðə ˈdɑmənənt ˈfɪgjər ɪn ˈtɛksəs ˈfʊtˌbɔl, ənd meɪ ˈɔlˌweɪz bi. mæk braʊn ˈdɪdənt ʤɪst əkˈsɛpt ðət fækt wɪn hi bɪˈkeɪm ðə ˈlɔŋˌhɔrnz' koʊʧ, hi ɛmˈbreɪst ɪt. ɪn fækt, "ɛmˈbreɪsɪŋ" maɪt bi ˈəndərˌsteɪtɪŋ braʊnz əˈfɛkʃən fər rɔɪəl. skroʊl tɪ kənˈtɪnju wɪθ ˈkɑntɛnt æd wɪn rɔɪəl pæst əˈweɪ, braʊn riˈlist ə ˈsteɪtmənt seɪɪŋ rɔɪəl ənd rɔɪəlz waɪf ˈidɪθ wər əˈməŋ ðə bɛst frɛndz əv hi ənd hɪz waɪf. hi sɛd rɔɪəl fɪld ə vɔɪd ɪn hɪz laɪf ˈæftər hɪz ˈfɑðər daɪd. hi kɔld rɔɪəl hɪz ˈhɪroʊ. braʊn əˈnaʊnst ɔn tˈwɪtər ðət ˈtɛksəs wɪl wɛr ə "dkr*" ˈhɛlmət decal*, ənd ðə ˈlɔŋˌhɔrnz wɪl laɪn əp ɔn ðɛr fərst pleɪ ˈsæˌtɪˌdeɪ ɪn ðə ˈwɪʃˌboʊn fɔrˈmeɪʃən tɪ ˈɑnər rɔɪəl, hu ɪz ˈkrɛdɪtɪd wɪθ ˈbrɪŋɪŋ ðə ˈwɪʃˌboʊn tɪ ˈkɑlɪʤ ˈfʊtˌbɔl ɪn 1968 ɪts ə ˈpərˌfɪkt ənd ˈtəʧɪŋ ˈtrɪbjut frəm braʊn tɪ hɪz leɪt ˈmɛnˌtɔr. ðət wɪl bi ə ˈwəndərfəl ˈmoʊmənt æt ðə stɑrt əv ˈsætərdiz geɪm. ɪts ə tɪ wɪn ðə ˈrɛdˌskɪnz laɪnd əp wɪθ 10 mɛn ɔn ðə fild fər ðɛr fərst pleɪ əˈgɛnst ˈbəfəˌloʊ tɪ ˈɑnər ˈseɪfti ʃɔn ˈteɪlər, hu wɑz kɪld ə fju deɪz ˌbiˈfɔr ðə geɪm. ˈwɛðər ˈtɛksəs skɔrz ə ˈtəʧˌdaʊn ɔn ðət fərst pleɪ ər ˈluzɪz jɑrdz, ɪt woʊnt ˈmætər. ɪt wɪl bi ə greɪt ˈmoʊmənt. ˈkrɛdɪt braʊn fər ˈriəˌlaɪzɪŋ ðət. [rɪˈleɪtɪd: mæk braʊn sɪz ðə 'hɔrnz daʊn' ˈʤɛsʧər ɪz ˌdɪsrɪˈspɛktfəl] ðə ˈtrɪbjut ˈsæˌtɪˌdeɪ wɪl ˈɔlsoʊ bi ə ˈbjutəfəl weɪ tɪ kəˈnɛkt ˈtɛksəs' pæst ənd ɪts ˈprɛzənt, ˈsəmθɪŋ ðət braʊn ˈɑbviəsli ˈvæljuz. hir ɪz braʊnz fʊl ˈsteɪtmənt əˈbaʊt rɔɪəlz ˈpæsɪŋ, wɪʧ ɪz ə ˈwɪndoʊ ˈɪntu ðə riˈleɪʃənˌʃɪp bɪtˈwin ðə tu ˈtɛksəs ˈkoʊʧɪz: ˈstɔri kənˈtɪnjuz "təˈdeɪ ɪz ə ˈvɛri sæd deɪ. aɪ lɔst ə ˈwəndərfəl frɛnd, ə ˈmɛnˌtɔr, ə ˈkɑnfəˌdɑnt ənd maɪ ˈhɪroʊ. ˈkɑlɪʤ ˈfʊtˌbɔl lɔst ˈmeɪbi ɪts bɛst ˈɛvər ənd ðə wərld lɔst ə greɪt mæn. aɪ kən ˈhɑrdli pʊt ɪn wərdz haʊ məʧ koʊʧ rɔɪəl minz tɪ mi ənd ɔl ðət hi həz dən fər mi ənd maɪ ˈfæməli. aɪ ˈwʊdənt ˈivɪn bi æt ˈtɛksəs wɪˈθaʊt koʊʧ. hɪz ˈkaʊnsəl ənd ˈfrɛndʃɪp mɛnt ə lɔt tɪ mi ˌbiˈfɔr aɪ keɪm tɪ ˈtɛksəs, bət ɪts bɪn maɪ ˈgaɪdɪŋ laɪt fər maɪ 15 jɪrz hir. "koʊʧ geɪv soʊ məʧ mɔr tɪ ðə steɪt əv ˈtɛksəs ənd ˈkɑlɪʤ ˈfʊtˌbɔl ðən hi tʊk əˈweɪ. hi fərˈgɑt mɔr ˈfʊtˌbɔl ðən moʊst əv ˈjuˈɛs wɪl ˈɛvər noʊ, ˌɪnˈkludɪŋ mi. hɪz ˌɪmˈpækt ɔn ðə geɪm, ðə ˈkoʊʧɪz ənd pleɪərz, ðə kəmˈjunɪti ənd ðə ˈmɪljənz əv lɪvz hi təʧt, ɪz ˌɪnsərˈmaʊntəbəl. hi wɪl bi mɪst ɪn soʊ ˈmɛni weɪz. "aɪ lɔst maɪ dæd wɪn aɪ wɑz 54 ənd koʊʧ fɪld ə ril vɔɪd ɪn maɪ laɪf ənd ˈtritɪd mi laɪk ˈfæməli. ˈsæli ənd aɪ geɪnd ə lɔt ˈkəmɪŋ tɪ ˈtɛksəs ənd biɪŋ ə pɑrt əv ðɪs trɪˈmɛndəs ˈproʊˌgræm bət noʊ mɔr ðən ɑr riˈleɪʃənˌʃɪp wɪθ koʊʧ ənd ˈidɪθ. ðeɪ wər ɑr ˈkloʊsəst əv frɛndz. ɑr hɑrt pɔrz aʊt tɪ ˈidɪθ ənd ðə ˈfæməli ənd ɑr θɔts ənd prɛrz ər wɪθ hər ənd ðə ˈfæməli. wi wɪl ˈɔlˌweɪz bi ðɛr tɪ lɛnd ˈɛni ənd ɔl səˈpɔrt ðət wi kən ɛz ʃi ənd koʊʧ ˈɔlˌweɪz dɪd fər ˈjuˈɛs." gɑt ə tɪp fər ˈdɑktər. ˈsæˌtɪˌdeɪ? iˈmeɪl ˈjuˈɛs æt ju kən ˈɔlsoʊ kəˈnɛkt wɪθ ˈjuˈɛs ˈviə tˈwɪtər ənd bi ʃʊr tɪ "laɪk" ˈdɑktər. ˈsæˌtɪˌdeɪ ɔn ˈfeɪsˌbʊk fər ˈfʊtˌbɔl ˌkɑnvərˈseɪʃənz ənd stəf ju woʊnt si ɔn ðə blɔg. ˈəðər ˈpɑpjələr ˈkɑntɛnt ɔn ðə ˈjɑˌhu! ˈnɛtˌwərk: ˈʤɔrʤə ˈfʊtˌbɔl koʊʧ mɑrk pʊts feɪθ əˈhɛd əv ˈvɪktəriz nɛkst kərɪr muv fər ˈændərsən ˈsɪlvə wɔʧ: ɪz ðə ʧeɪs ˈoʊvər? waɪ! nuz: ˌoʊˈbɑmə ˈklɪnʧɪz ˈsɛkənd tərm ɪn tɛns naɪt |
6 reasons there's no such thing as compassionate conservatism paul ryan is the latest republican to feign concern for the less fortunate. here's why it's always a sham
the word is out that republicans are attempting to themselves as compassionate conservatives (again). “compassionate conservatism” is a term that typically comes up after republicans have taken things to such an extreme that the country is revolted and tries to push them and their nasty ideology of greed and hate aside. george w. bush famously resorted to using this term to campaign for president after republicans disgraced themselves with conspiracy theories, witch hunts and the unpopular impeachment. of course, bush is best known for iraq and katrina. and now we have a budget “deal,” courtesy of paul ryan, that drops unemployment benefits for million long-term unemployed. earlier in the week, senator rand paul said helping the unemployed does them a “disservice” because it keeps them from getting jobs.
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yet paul ryan still had the gall to claim the mantle of "compassionate conservatism." paul ryan? that paul ryan? compassionate?
last month, a washington post fluff piece titled, “paul ryan, budget architect, sets his sights on fighting poverty and winning minds,” portrays ryan as trying to steer republicans away from the angry tea party and toward a “more inclusive vision.” yes, the paul ryan of the infamous "ryan budget," also called the "path to prosperity" and passed by house republicans, that medicare, repeals wall street regulation, wipes out student loans, repeals, guts social security and dramatically reduces taxes for the wealthy and corporations. that paul ryan.
ryan "has been quietly visiting neighborhoods to talk to and recovering addicts about the means of their salvation.” but ryan and republicans need some salvation of their own. just one look at their ideology will tell you why. ryan has said, “[t]he reason i got involved in public service, by and large, if i had to credit one thinker, one person, it would be ayn rand.”
who is ayn rand, and what is the philosophy of this person ryan calls a “thinker? ayn philosophy actually says it is not only bad for society, but morally wrong to help other people because it makes them “dependent.” philosophy says that altruism is evil, and that democracy (which they call “collectivism”) is the ultimate expression of this evil because it brings about a society in which government works to make lives better., and current republican philosophy says that “individualism” looking out for oneself the moral principle that should rule society, not democracy. envision a "utopia of greed.” (i suppose they can claim compassionate greed.)
another part of philosophy is that that there are a few “producers” or “makers,” and the rest of us are “parasites” or “takers” who live off of the producers. collectivism, or democracy, is bad because the many takers can vote to do things like make the producers pay taxes so regular people can live better. so see if we can find a few ways paul ryan and the republicans can form a philosophy of “compassionate conservatism” out of their core belief that altruism and democracy are not just wrong for people and society, but are actually evil.
the post says the new “compassionate conservative” ryan will “advance” an “agenda that combines an overhaul of the tax code and federal health and retirement programs with kinder, gentler policies to encourage work and upward mobility.”
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but here is what compassionate conservatives like ryan mean when they say they want to “overhaul the tax code”— cut taxes for the really rich and their corporations, and increase taxes for the rest of us to make up the lost revenue. conservative ideology (compassionate or not) says that giving the wealthy ever more money causes that money to overflow and then “trickle down” to the rest of us. they say that giving the big corporations more tax breaks, subsidies, contracts, etc. will load them up with so much money that they will just have to use some of it to hire people eventually.
when they say they want to overhaul federal health and retirement programs they mean cut medicare (healthcare for the elderly), medicaid (healthcare for the poor), (healthcare for the rest of us) and social security (retirement).
another thing republicans say is that government is too big, so it must be cut. what they mean by this is not cutting the huge, bloated, astronomical, military budget (we spend more on this than all other countries combined). they mean they want to cut out the things government does to make our lives better, like assistance for the needy, sick, disabled, elderly and unemployed. and get rid of the minimum wage, child labor laws, equal pay for women, workplace safety rules, etc.
here are six examples that show how the new compassionate conservatism campaign is really nothing more than freshly applied, bullpucky.
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1. food stamps
conservatives are especially “compassionate” when it comes to helping the poor. since many of them hold the moral belief that helping people makes them, as paul ryan said, “dependent” and “complacent,” the way these conservatives apply their compassion is to work to cut the poor, hungry, elderly, disabled, ill and others off from any means of assistance.
a month ago on november 1 a temporary “stimulus” boost to food stamps (real name: supplemental nutrition assistance program, or snap) ran out and the amount desperate people receive was cut back from meager to minuscule. as a result local food banks that try to help the poor are swamped and overwhelmed.
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even as this tragedy unfolds republicans are demanding to cut the program by another $39 billion, (and increasing subsidies to giant agricultural corporations) and are backing their effort with claims that people receiving food stamps are lazy, work, are “dependent” on the program, etc. along with these cuts, republicans are demanding things like drug tests (implying people are on food stamps because they take drugs), increasing “work requirements’ (implying recipients are lazy), and and claiming people use food to buy junk food, soda, liquor and cigarettes.
the washington post on ryan contains this amazing quote: “paul wants people to dream again." since 76% of snap households include a child, an elderly person, or a disabled person, and these households receive 83% of all snap benefits, food stamp recipients probably dream of getting enough food to eat.
2. minimum wage
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compassionate conservatives are fighting tooth and nail to stop efforts to bring the minimum wage up. in fact, many of them believe there be a minimum wage at all.
here is the conservative heritage foundation last april:
“the typical employee is a high school or college student with a part-time job, a major reason so many have not completed—college.
the primary value of these jobs is not the low wages they pay today. it is the training they provide. jobs teach inexperienced workers basic skills such as taking directions from a boss and working with co-workers.
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… upon first thought, raising the minimum wage sounds compassionate. thinking a second time shows that it would hurt the very workers its supporters want to help.”
according to the economic policy institute (epi) “only 11 percent of those who would see a raise are younger than age 20, and only 14 percent work less than 20 hours per week. many are parents; if the minimum wage were increased to $10.10 by 2015, nearly a quarter (23.3 percent) of all kids in this country would see at least one parent get a raise.” in fact, raising the minimum wage helps the economy and helps create jobs. people at the bottom of the income ladder spend their money immediately. this means local businesses need to hire because of increased demand. their suppliers need to hire as well. a higher minimum wage also reduces the need for and spending on assistance programs like food stamps.
many compassionate conservatives not only oppose paying a decent wage for work, they want the minimum wage repealed. on a website called fee, from the foundation for economic education, you find the typical conservative argument for getting rid of the minimum wage (with a dose of included for good measure): "ballot box charity: the minimum wage is hurting poor people and minorities one ballot initiative at a with the (typical) false premise that raising the minimum wage costs jobs (where and when the minimum wage has been raised, jobs have increased, not decreased), the piece continues,
“these are the people who are deciding the minimum wage that workers must be paid. the vast majority run a business or made a payroll. they have no desire to grapple with, or experience in grappling with, abstract ideas such as the effect of government force in the labor market. people are when not their work or business future on the line. their hearts believe in giving everyone a raise: the people will spend more and everyone will benefit.”
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now your conservative compassion for ya!
3. unemployment benefits
kentucky senator rand paul said recently that extending unemployment benefits for the long term unemployed would be a “disservice” because, he says, unemployment benefits cause unemployment. "when you allow people to be on unemployment insurance for 99 weeks, you're causing them to become part of this perpetual unemployed group in our economy. and it really - while it seems good, it actually does a disservice to the people you're trying to help."
this is the old “dependency” argument again. supposedly getting a small check keeps people from looking for work. this is in stark contrast to banker bonuses, of course. banker bonuses are good for the country, especially if they are given with money from the government for bailing out banks.
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reality: long-term unemployment benefits run out at the end of december for million people who have been unemployed longer and 6 months. unemployment benefits increase employment because they enable people to continue to eat and stuff which means they shop at local stores, which increases the need for those stores to hire. the congressional budget office estimates that cutting long-term unemployment benefits will cause a drop of .2% in next year.
the new “murray-ryan budget agreement” negotiated between paul ryan and senator patty murray (d-wa) lets long-term unemployment benefits expire at the end of december. this means that million people who have been out of work longer than 26 weeks will just go away in about 3 weeks. (there are far more than million people who have been out of work longer than 26 weeks but many of these are either not eligible for unemployment benefits or have been out of work longer than the current limit.)
apparently “compassion” means to conservatives that the country should make people so poor and desperate they have to take any nasty-ass, low-paying, humiliating and even dangerous job that comes along at any pay rate.
4. healthcare
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paul ryan has called our government programs “a hammock that lulls able-bodied people to lives of dependency and complacency, that drains them of their will.” it is pretty clear at this point what the rest of the republicans think of the idea of helping the poor and uninsured get healthcare. they are trying to nullify the existing law (passed by congress, signed by the president, ruled legal by the courts and confirmed in the 2012 election) and republican states are practically seceding from the united states to avoid expanding medicaid to cover more people, even though the federal government is picking up the entire tab.
here is the heritage foundation again:
“we were told that was supposed to be compassionate toward the needy in america. it includes disincentives for individuals to marry and for americans of low and modest incomes to work.”
5. immigrants
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as with healthcare, it is pretty clear where republicans stand on the idea of (non-european, white) people to the united states. they want them out. in fact, it is pretty clear where they stand on the idea of allowing people to stay even if they were brought to the country as children: they want them out, too.
republican leaders are blocking the new comprehensive immigration reform bill from even coming to a vote in the house will pass. they understand that this will enrage the republican base and cause many incumbents to face primaries. displays of compassion are not welcome in the republican tea party base.
in an attempt to provide cover for republicans in blocking the bill, the heritage foundation issued a "study" claiming the bill would cost taxpayers $6.3 trillion because it would cause new spending on social programs. it turned out that the study was by someone who had previously explained that there is a racial hierarchy of intelligence: “decades of testing has indicated that at least in america, you have jews with the highest average iq, usually followed by east asians, then you have whites, hispanics, and then blacks.” this sounds slightly more racist than compassionate, no?
6. corporate taxes
to be fair, there is one group conservatives can be very, very compassionate toward: the wealthy and their corporations. while demanding cuts in food stamps, healthcare, unemployment benefits, etc., they are always, always insistent on cutting taxes for the fortunate few.
so keep your eye out for people claiming to be “compassionate conservatives.” it is an oxymoron, which means it sucks the oxygen out of the meaning of the words and is to boot. in other words, just the same old bullpucky. | 6 ˈrizənz ðɛrz noʊ səʧ θɪŋ ɛz kəmˈpæʃənət kənˈsərvəˌtɪzəm pɔl raɪən ɪz ðə ˈleɪtəst rɪˈpəblɪkən tɪ feɪn kənˈsərn fər ðə lɛs ˈfɔrʧənət. hɪrz waɪ ɪts ˈɔlˌweɪz ə ʃæm ðə wərd ɪz aʊt ðət rɪˈpəblɪkənz ər əˈtɛmptɪŋ tɪ ðɛmˈsɛlvz ɛz kəmˈpæʃənət kənˈsərvətɪvz (əˈgɛn). conservatism”*” ɪz ə tərm ðət ˈtɪpɪkəli kəmz əp ˈæftər rɪˈpəblɪkənz hæv ˈteɪkən θɪŋz tɪ səʧ ən ɪkˈstrim ðət ðə ˈkəntri ɪz rɪˈvoʊltɪd ənd traɪz tɪ pʊʃ ðɛm ənd ðɛr ˈnæsti ˌaɪdiˈɑləʤi əv grid ənd heɪt əˈsaɪd. ʤɔrʤ ˈdəbəlju. bʊʃ ˈfeɪməsli rɪˈzɔrtɪd tɪ ˈjuzɪŋ ðɪs tərm tɪ kæmˈpeɪn fər ˈprɛzɪdənt ˈæftər rɪˈpəblɪkənz dɪsˈgreɪst ðɛmˈsɛlvz wɪθ kənˈspɪrəsi ˈθɪriz, wɪʧ hənts ənd ðə ˌənˈpɑpjələr ˌɪmˈpiʧmənt. əv kɔrs, bʊʃ ɪz bɛst noʊn fər ˌɪˈrɑk ənd kəˈtrinə. ənd naʊ wi hæv ə ˈbəʤɪt ““deal,”*,” ˈkərtəsi əv pɔl raɪən, ðət drɑps ˌənɪmˈplɔɪmənt ˈbɛnəfɪts fər ˈmɪljən ˈlɔŋˈtərm ˌənɛmˈplɔɪd. ˈərliər ɪn ðə wik, ˈsɛnətər rænd pɔl sɛd ˈhɛlpɪŋ ðə ˌənɛmˈplɔɪd dɪz ðɛm ə ““disservice”*” bɪˈkəz ɪt kips ðɛm frəm ˈgɪtɪŋ ʤɑbz. ˌædvərˈtaɪzmənt: jɛt pɔl raɪən stɪl hæd ðə gɔl tɪ kleɪm ðə ˈmæntəl əv "kəmˈpæʃənət kənˈsərvəˌtɪzəm." pɔl raɪən? ðət pɔl raɪən? kəmˈpæʃənət? læst mənθ, ə ˈwɔʃɪŋtən poʊst fləf pis ˈtaɪtəld, raɪən, ˈbəʤɪt ˈɑrkəˌtɛkt, sɛts hɪz saɪts ɔn ˈfaɪtɪŋ ˈpɑvərti ənd ˈwɪnɪŋ minds,”*,” pɔrˈtreɪz raɪən ɛz traɪɪŋ tɪ stɪr rɪˈpəblɪkənz əˈweɪ frəm ðə ˈæŋgri ti ˈpɑrti ənd təˈwɔrd ə ˌɪnˈklusɪv vision.”*.” jɛs, ðə pɔl raɪən əv ðə ˈɪnfəməs "raɪən ˈbəʤɪt," ˈɔlsoʊ kɔld ðə "pæθ tɪ prɑˈspɛrəti" ənd pæst baɪ haʊs rɪˈpəblɪkənz, ðət ˈmɛdəˌkɛr, riˈpilz wɔl strit ˌrɛgjəˈleɪʃən, waɪps aʊt ˈstudənt loʊnz, riˈpilz, gəts ˈsoʊʃəl sɪˈkjʊrəti ənd drəˈmætɪkəli rɪˈdusɪz ˈtæksɪz fər ðə ˈwɛlθi ənd ˌkɔrpərˈeɪʃənz. ðət pɔl raɪən. raɪən "həz bɪn kˈwaɪətli ˈvɪzɪtɪŋ ˈneɪbərˌhʊdz tɪ tɔk tɪ ənd rɪˈkəvərɪŋ ˈæˌdɪkts əˈbaʊt ðə minz əv ðɛr salvation.”*.” bət raɪən ənd rɪˈpəblɪkənz nid səm sælˈveɪʃən əv ðɛr oʊn. ʤɪst wən lʊk æt ðɛr ˌaɪdiˈɑləʤi wɪl tɛl ju waɪ. raɪən həz sɛd, ˈrizən aɪ gɑt ˌɪnˈvɑlvd ɪn ˈpəblɪk ˈsərvɪs, baɪ ənd lɑrʤ, ɪf aɪ hæd tɪ ˈkrɛdɪt wən ˈθɪŋkər, wən ˈpərsən, ɪt wʊd bi eɪn rand.”*.” hu ɪz eɪn rænd, ənd wət ɪz ðə fəˈlɑsəfi əv ðɪs ˈpərsən raɪən kɔlz ə ““thinker*? eɪn fəˈlɑsəfi ˈæˌkʧuəli sɪz ɪt ɪz nɑt ˈoʊnli bæd fər soʊˈsaɪɪti, bət ˈmɔrəli rɔŋ tɪ hɛlp ˈəðər ˈpipəl bɪˈkəz ɪt meɪks ðɛm ““dependent.”*.” fəˈlɑsəfi sɪz ðət ˈæltruˌɪzəm ɪz ˈivəl, ənd ðət dɪˈmɑkrəsi (wɪʧ ðeɪ kɔl ““collectivism”*”) ɪz ðə ˈəltəmət ɪkˈsprɛʃən əv ðɪs ˈivəl bɪˈkəz ɪt brɪŋz əˈbaʊt ə soʊˈsaɪɪti ɪn wɪʧ ˈgəvərnmənt wərks tɪ meɪk lɪvz ˈbɛtər., ənd ˈkɑrənt rɪˈpəblɪkən fəˈlɑsəfi sɪz ðət ““individualism”*” ˈlʊkɪŋ aʊt fər ˌwənˈsɛlf ðə ˈmɔrəl ˈprɪnsəpəl ðət ʃʊd rul soʊˈsaɪɪti, nɑt dɪˈmɑkrəsi. ɛnˈvɪʒən ə "juˈtoʊpiə əv greed.”*.” (aɪ səˈpoʊz ðeɪ kən kleɪm kəmˈpæʃənət grid.) əˈnəðər pɑrt əv fəˈlɑsəfi ɪz ðət ðət ðɛr ər ə fju ““producers”*” ər ““makers,”*,” ənd ðə rɛst əv ˈjuˈɛs ər ““parasites”*” ər ““takers”*” hu lɪv ɔf əv ðə prəˈdusərz. kəˈlɛktɪˌvɪzəm, ər dɪˈmɑkrəsi, ɪz bæd bɪˈkəz ðə ˈmɛni ˈteɪkərz kən voʊt tɪ du θɪŋz laɪk meɪk ðə prəˈdusərz peɪ ˈtæksɪz soʊ ˈrɛgjələr ˈpipəl kən lɪv ˈbɛtər. soʊ si ɪf wi kən faɪnd ə fju weɪz pɔl raɪən ənd ðə rɪˈpəblɪkənz kən fɔrm ə fəˈlɑsəfi əv conservatism”*” aʊt əv ðɛr kɔr bɪˈlif ðət ˈæltruˌɪzəm ənd dɪˈmɑkrəsi ər nɑt ʤɪst rɔŋ fər ˈpipəl ənd soʊˈsaɪɪti, bət ər ˈæˌkʧuəli ˈivəl. ðə poʊst sɪz ðə nu conservative”*” raɪən wɪl ““advance”*” ən ðət kəmˈbaɪnz ən ˈoʊvərˌhɔl əv ðə tæks koʊd ənd ˈfɛdərəl hɛlθ ənd rɪˈtaɪərmənt ˈproʊˌgræmz wɪθ ˈkaɪndər, ˈʤɛntlər ˈpɑləsiz tɪ ɪnˈkərəʤ wərk ənd ˈəpwərd mobility.”*.” ˌædvərˈtaɪzmənt: bət hir ɪz wət kəmˈpæʃənət kənˈsərvətɪvz laɪk raɪən min wɪn ðeɪ seɪ ðeɪ wɔnt tɪ ðə tæks code”—*”— kət ˈtæksɪz fər ðə ˈrɪli rɪʧ ənd ðɛr ˌkɔrpərˈeɪʃənz, ənd ˌɪnˈkris ˈtæksɪz fər ðə rɛst əv ˈjuˈɛs tɪ meɪk əp ðə lɔst ˈrɛvəˌnu. kənˈsərvətɪv ˌaɪdiˈɑləʤi (kəmˈpæʃənət ər nɑt) sɪz ðət ˈgɪvɪŋ ðə ˈwɛlθi ˈɛvər mɔr ˈməni ˈkɔzɪz ðət ˈməni tɪ ˌoʊvərˈfloʊ ənd ðɛn down”*” tɪ ðə rɛst əv ˈjuˈɛs. ðeɪ seɪ ðət ˈgɪvɪŋ ðə bɪg ˌkɔrpərˈeɪʃənz mɔr tæks breɪks, ˈsəbsɪdiz, ˈkɑnˌtrækts, ˌɛtˈsɛtərə. wɪl loʊd ðɛm əp wɪθ soʊ məʧ ˈməni ðət ðeɪ wɪl ʤɪst hæv tɪ juz səm əv ɪt tɪ haɪər ˈpipəl ɪˈvɛnʧəwəli. wɪn ðeɪ seɪ ðeɪ wɔnt tɪ ˈoʊvərˌhɔl ˈfɛdərəl hɛlθ ənd rɪˈtaɪərmənt ˈproʊˌgræmz ðeɪ min kət ˈmɛdəˌkɛr (ˈhɛlθˌkɛr fər ðə ˈɛldərli), ˈmɛdəˌkeɪd (ˈhɛlθˌkɛr fər ðə pur), (ˈhɛlθˌkɛr fər ðə rɛst əv ˈjuˈɛs) ənd ˈsoʊʃəl sɪˈkjʊrəti (rɪˈtaɪərmənt). əˈnəðər θɪŋ rɪˈpəblɪkənz seɪ ɪz ðət ˈgəvərnmənt ɪz tu bɪg, soʊ ɪt məst bi kət. wət ðeɪ min baɪ ðɪs ɪz nɑt ˈkətɪŋ ðə juʤ, ˈbloʊtɪd, ˌæstrəˈnɑmɪkəl, ˈmɪlɪˌtɛri ˈbəʤɪt (wi spɛnd mɔr ɔn ðɪs ðən ɔl ˈəðər ˈkəntriz kəmˈbaɪnd). ðeɪ min ðeɪ wɔnt tɪ kət aʊt ðə θɪŋz ˈgəvərnmənt dɪz tɪ meɪk ɑr lɪvz ˈbɛtər, laɪk əˈsɪstəns fər ðə ˈnidi, sɪk, dɪˈseɪbəld, ˈɛldərli ənd ˌənɛmˈplɔɪd. ənd gɪt rɪd əv ðə ˈmɪnəməm weɪʤ, ʧaɪld ˈleɪbər lɔz, ˈikwəl peɪ fər ˈwɪmən, ˈwərkˌpleɪs ˈseɪfti rulz, ˌɛtˈsɛtərə. hir ər sɪks ɪgˈzæmpəlz ðət ʃoʊ haʊ ðə nu kəmˈpæʃənət kənˈsərvəˌtɪzəm kæmˈpeɪn ɪz ˈrɪli ˈnəθɪŋ mɔr ðən ˈfrɛʃli əˈplaɪd, bullpucky*. ˌædvərˈtaɪzmənt: 1 fud stæmps kənˈsərvətɪvz ər əˈspɛʃəli ““compassionate”*” wɪn ɪt kəmz tɪ ˈhɛlpɪŋ ðə pur. sɪns ˈmɛni əv ðɛm hoʊld ðə ˈmɔrəl bɪˈlif ðət ˈhɛlpɪŋ ˈpipəl meɪks ðɛm, ɛz pɔl raɪən sɛd, ““dependent”*” ənd ““complacent,”*,” ðə weɪ ðiz kənˈsərvətɪvz əˈplaɪ ðɛr kəmˈpæʃən ɪz tɪ wərk tɪ kət ðə pur, ˈhəŋgri, ˈɛldərli, dɪˈseɪbəld, ɪl ənd ˈəðərz ɔf frəm ˈɛni minz əv əˈsɪstəns. ə mənθ əˈgoʊ ɔn noʊˈvɛmbər 1 ə ˈtɛmpərˌɛri ““stimulus”*” bust tɪ fud stæmps (ril neɪm: ˌsəpləˈmɛntəl nuˈtrɪʃən əˈsɪstəns ˈproʊˌgræm, ər snæp) ræn aʊt ənd ðə əˈmaʊnt ˈdɛspərɪt ˈpipəl rɪˈsiv wɑz kət bæk frəm ˈmigər tɪ ˈmɪnəˌskjul. ɛz ə rɪˈzəlt ˈloʊkəl fud bæŋks ðət traɪ tɪ hɛlp ðə pur ər swɔmpt ənd ˌoʊvərˈwɛlmd. ˌædvərˈtaɪzmənt: ˈivɪn ɛz ðɪs ˈtræʤədi ənˈfoʊldz rɪˈpəblɪkənz ər dɪˈmændɪŋ tɪ kət ðə ˈproʊˌgræm baɪ əˈnəðər 39 ˈbɪljən, (ənd ˌɪnˈkrisɪŋ ˈsəbsɪdiz tɪ ʤaɪənt ˌægrɪˈkəlʧərəl ˌkɔrpərˈeɪʃənz) ənd ər ˈbækɪŋ ðɛr ˈɛfərt wɪθ kleɪmz ðət ˈpipəl rɪˈsivɪŋ fud stæmps ər ˈleɪzi, wərk, ər ““dependent”*” ɔn ðə ˈproʊˌgræm, ˌɛtˈsɛtərə. əˈlɔŋ wɪθ ðiz kəts, rɪˈpəblɪkənz ər dɪˈmændɪŋ θɪŋz laɪk drəg tɛsts (ˌɪmˈplaɪɪŋ ˈpipəl ər ɔn fud stæmps bɪˈkəz ðeɪ teɪk drəgz), ˌɪnˈkrisɪŋ requirements’*’ (ˌɪmˈplaɪɪŋ rɪˈsɪpiənts ər ˈleɪzi), ənd ənd ˈkleɪmɪŋ ˈpipəl juz fud tɪ baɪ ʤəŋk fud, ˈsoʊdə, ˈlɪkər ənd ˌsɪgəˈrɛts. ðə ˈwɔʃɪŋtən poʊst ɔn raɪən kənˈteɪnz ðɪs əˈmeɪzɪŋ kwoʊt: wɔnts ˈpipəl tɪ drim əˈgɛn." sɪns 76 əv snæp ˈhaʊsˌhoʊldz ˌɪnˈklud ə ʧaɪld, ən ˈɛldərli ˈpərsən, ər ə dɪˈseɪbəld ˈpərsən, ənd ðiz ˈhaʊsˌhoʊldz rɪˈsiv 83 əv ɔl snæp ˈbɛnəfɪts, fud stæmp rɪˈsɪpiənts ˈprɑbəˌbli drim əv ˈgɪtɪŋ ɪˈnəf fud tɪ it. 2 ˈmɪnəməm weɪʤ ˌædvərˈtaɪzmənt: kəmˈpæʃənət kənˈsərvətɪvz ər ˈfaɪtɪŋ tuθ ənd neɪl tɪ stɑp ˈɛfərts tɪ brɪŋ ðə ˈmɪnəməm weɪʤ əp. ɪn fækt, ˈmɛni əv ðɛm bɪˈliv ðɛr bi ə ˈmɪnəməm weɪʤ æt ɔl. hir ɪz ðə kənˈsərvətɪv ˈhɛrɪtɪʤ faʊnˈdeɪʃən læst ˈeɪprəl: ˈtɪpɪkəl ɪmˈplɔɪi ɪz ə haɪ skul ər ˈkɑlɪʤ ˈstudənt wɪθ ə ˈpɑrtˈtaɪm ʤɑb, ə ˈmeɪʤər ˈrizən soʊ ˈmɛni hæv nɑt completed—college*. ðə ˈpraɪˌmɛri ˈvælju əv ðiz ʤɑbz ɪz nɑt ðə loʊ ˈweɪʤɪz ðeɪ peɪ təˈdeɪ. ɪt ɪz ðə ˈtreɪnɪŋ ðeɪ prəˈvaɪd. ʤɑbz tiʧ ˌɪnɛkˈspɪriənst ˈwərkərz ˈbeɪsɪk skɪlz səʧ ɛz ˈteɪkɪŋ dɪˈrɛkʃɪnz frəm ə bɔs ənd ˈwərkɪŋ wɪθ ˈkoʊˈwərkərz. ˌædvərˈtaɪzmənt: əˈpɑn fərst θɔt, ˈreɪzɪŋ ðə ˈmɪnəməm weɪʤ saʊnz kəmˈpæʃənət. ˈθɪŋkɪŋ ə ˈsɛkənd taɪm ʃoʊz ðət ɪt wʊd hərt ðə ˈvɛri ˈwərkərz ɪts səˈpɔrtərz wɔnt tɪ help.”*.” əˈkɔrdɪŋ tɪ ðə ˌɛkəˈnɑmɪk ˈpɑləsi ˈɪnstɪˌtut (epi*) 11 pərˈsɛnt əv ðoʊz hu wʊd si ə reɪz ər ˈjəŋgər ðən eɪʤ 20 ənd ˈoʊnli 14 pərˈsɛnt wərk lɛs ðən 20 aʊərz pər wik. ˈmɛni ər ˈpɛrənts; ɪf ðə ˈmɪnəməm weɪʤ wər ˌɪnˈkrist tɪ baɪ 2015 ˈnɪrli ə kˈwɔrtər pərˈsɛnt) əv ɔl kɪdz ɪn ðɪs ˈkəntri wʊd si æt list wən ˈpɛrənt gɪt ə raise.”*.” ɪn fækt, ˈreɪzɪŋ ðə ˈmɪnəməm weɪʤ hɛlps ðə ɪˈkɑnəmi ənd hɛlps kriˈeɪt ʤɑbz. ˈpipəl æt ðə ˈbɑtəm əv ðə ˈɪnˌkəm ˈlædər spɛnd ðɛr ˈməni ˌɪˈmiˌdiətli. ðɪs minz ˈloʊkəl ˈbɪznɪsɪz nid tɪ haɪər bɪˈkəz əv ˌɪnˈkrist dɪˈmænd. ðɛr səˈplaɪərz nid tɪ haɪər ɛz wɛl. ə haɪər ˈmɪnəməm weɪʤ ˈɔlsoʊ rɪˈdusɪz ðə nid fər ənd ˈspɛndɪŋ ɔn əˈsɪstəns ˈproʊˌgræmz laɪk fud stæmps. ˈmɛni kəmˈpæʃənət kənˈsərvətɪvz nɑt ˈoʊnli əˈpoʊz peɪɪŋ ə ˈdisənt weɪʤ fər wərk, ðeɪ wɔnt ðə ˈmɪnəməm weɪʤ rɪˈpild. ɔn ə ˈwɛbˌsaɪt kɔld fi, frəm ðə faʊnˈdeɪʃən fər ˌɛkəˈnɑmɪk ˌɛʤəˈkeɪʃən, ju faɪnd ðə ˈtɪpɪkəl kənˈsərvətɪv ˈɑrgjəmənt fər ˈgɪtɪŋ rɪd əv ðə ˈmɪnəməm weɪʤ (wɪθ ə doʊs əv ˌɪnˈkludɪd fər gʊd ˈmɛʒər): "ˈbælət bɑks ˈʧɛrɪti: ðə ˈmɪnəməm weɪʤ ɪz ˈhərtɪŋ pur ˈpipəl ənd məˈnɔrətiz wən ˈbælət ˌɪˈnɪʃətɪv æt ə wɪθ ðə (ˈtɪpɪkəl) fɔls ˈprɛmɪs ðət ˈreɪzɪŋ ðə ˈmɪnəməm weɪʤ kɔsts ʤɑbz (wɛr ənd wɪn ðə ˈmɪnəməm weɪʤ həz bɪn reɪzd, ʤɑbz hæv ˌɪnˈkrist, nɑt ˈdiˌkrist), ðə pis kənˈtɪnjuz, ər ðə ˈpipəl hu ər ˌdɪˈsaɪdɪŋ ðə ˈmɪnəməm weɪʤ ðət ˈwərkərz məst bi peɪd. ðə væst məˈʤɔrəti rən ə ˈbɪznɪs ər meɪd ə ˈpeɪˌroʊl. ðeɪ hæv noʊ dɪˈzaɪər tɪ ˈgræpəl wɪθ, ər ɪkˈspɪriəns ɪn ˈgræpəlɪŋ wɪθ, ˈæbˌstrækt aɪˈdiəz səʧ ɛz ðə ˈifɛkt əv ˈgəvərnmənt fɔrs ɪn ðə ˈleɪbər ˈmɑrkɪt. ˈpipəl ər wɪn nɑt ðɛr wərk ər ˈbɪznɪs fˈjuʧər ɔn ðə laɪn. ðɛr hɑrts bɪˈliv ɪn ˈgɪvɪŋ ˈɛvriˌwən ə reɪz: ðə ˈpipəl wɪl spɛnd mɔr ənd ˈɛvriˌwən wɪl benefit.”*.” ˌædvərˈtaɪzmənt: naʊ jʊr kənˈsərvətɪv kəmˈpæʃən fər jɑ! 3 ˌənɪmˈplɔɪmənt ˈbɛnəfɪts kənˈtəki ˈsɛnətər rænd pɔl sɛd ˈrisəntli ðət ɪkˈstɛndɪŋ ˌənɪmˈplɔɪmənt ˈbɛnəfɪts fər ðə lɔŋ tərm ˌənɛmˈplɔɪd wʊd bi ə ““disservice”*” bɪˈkəz, hi sɪz, ˌənɪmˈplɔɪmənt ˈbɛnəfɪts kɔz ˌənɪmˈplɔɪmənt. "wɪn ju əˈlaʊ ˈpipəl tɪ bi ɔn ˌənɪmˈplɔɪmənt ˌɪnˈʃʊrəns fər 99 wiks, jʊr ˈkɔzɪŋ ðɛm tɪ bɪˈkəm pɑrt əv ðɪs pərˈpɛʧuəl ˌənɛmˈplɔɪd grup ɪn ɑr ɪˈkɑnəmi. ənd ɪt ˈrɪli waɪl ɪt simz gʊd, ɪt ˈæˌkʧuəli dɪz ə dɪˈsərvəs tɪ ðə ˈpipəl jʊr traɪɪŋ tɪ hɛlp." ðɪs ɪz ðə oʊld ““dependency”*” ˈɑrgjəmənt əˈgɛn. səˈpoʊzədli ˈgɪtɪŋ ə smɔl ʧɛk kips ˈpipəl frəm ˈlʊkɪŋ fər wərk. ðɪs ɪz ɪn stɑrk ˈkɑntræst tɪ ˈbæŋkər ˈboʊnəsɪz, əv kɔrs. ˈbæŋkər ˈboʊnəsɪz ər gʊd fər ðə ˈkəntri, əˈspɛʃəli ɪf ðeɪ ər ˈgɪvɪn wɪθ ˈməni frəm ðə ˈgəvərnmənt fər ˈbeɪlɪŋ aʊt bæŋks. ˌædvərˈtaɪzmənt: ˌriˈæləˌti: ˈlɔŋˈtərm ˌənɪmˈplɔɪmənt ˈbɛnəfɪts rən aʊt æt ðə ɛnd əv dɪˈsɛmbər fər ˈmɪljən ˈpipəl hu hæv bɪn ˌənɛmˈplɔɪd ˈlɔŋgər ənd 6 mənθs. ˌənɪmˈplɔɪmənt ˈbɛnəfɪts ˌɪnˈkris ɪmˈplɔɪmənt bɪˈkəz ðeɪ ɪˈneɪbəl ˈpipəl tɪ kənˈtɪnju tɪ it ənd stəf wɪʧ minz ðeɪ ʃɑp æt ˈloʊkəl stɔrz, wɪʧ ˌɪnˈkrisɪz ðə nid fər ðoʊz stɔrz tɪ haɪər. ðə kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs ˈɛstəˌmeɪts ðət ˈkətɪŋ ˈlɔŋˈtərm ˌənɪmˈplɔɪmənt ˈbɛnəfɪts wɪl kɔz ə drɔp əv 2 ɪn nɛkst jɪr. ðə nu ˈbəʤɪt agreement”*” nɪˈgoʊʃiˌeɪtɪd bɪtˈwin pɔl raɪən ənd ˈsɛnətər ˈpæti ˈməri (d-wa*) lɛts ˈlɔŋˈtərm ˌənɪmˈplɔɪmənt ˈbɛnəfɪts ɪkˈspaɪr æt ðə ɛnd əv dɪˈsɛmbər. ðɪs minz ðət ˈmɪljən ˈpipəl hu hæv bɪn aʊt əv wərk ˈlɔŋgər ðən 26 wiks wɪl ʤɪst goʊ əˈweɪ ɪn əˈbaʊt 3 wiks. (ðɛr ər fɑr mɔr ðən ˈmɪljən ˈpipəl hu hæv bɪn aʊt əv wərk ˈlɔŋgər ðən 26 wiks bət ˈmɛni əv ðiz ər ˈiðər nɑt ˈɛlɪʤəbəl fər ˌənɪmˈplɔɪmənt ˈbɛnəfɪts ər hæv bɪn aʊt əv wərk ˈlɔŋgər ðən ðə ˈkɑrənt ˈlɪmət.) əˈpɛrəntli ““compassion”*” minz tɪ kənˈsərvətɪvz ðət ðə ˈkəntri ʃʊd meɪk ˈpipəl soʊ pur ənd ˈdɛspərɪt ðeɪ hæv tɪ teɪk ˈɛni nasty-ass*, low-paying*, hjuˈmɪliˌeɪtɪŋ ənd ˈivɪn ˈdeɪnʤərəs ʤɑb ðət kəmz əˈlɔŋ æt ˈɛni peɪ reɪt. 4 ˈhɛlθˌkɛr ˌædvərˈtaɪzmənt: pɔl raɪən həz kɔld ɑr ˈgəvərnmənt ˈproʊˌgræmz ˈhæmək ðət ləlz ˈeɪbəlˈbɑdid ˈpipəl tɪ lɪvz əv dɪˈpɛndənsi ənd kəmˈpleɪsənsi, ðət dreɪnz ðɛm əv ðɛr will.”*.” ɪt ɪz ˈprɪti klɪr æt ðɪs pɔɪnt wət ðə rɛst əv ðə rɪˈpəblɪkənz θɪŋk əv ðə aɪˈdiə əv ˈhɛlpɪŋ ðə pur ənd ˌənɪnˈʃʊrd gɪt ˈhɛlθˌkɛr. ðeɪ ər traɪɪŋ tɪ ˈnələˌfaɪ ðə ɪgˈzɪstɪŋ lɔ (pæst baɪ ˈkɑŋgrəs, saɪnd baɪ ðə ˈprɛzɪdənt, ruld ˈligəl baɪ ðə kɔrts ənd kənˈfərmd ɪn ðə 2012 ɪˈlɛkʃən) ənd rɪˈpəblɪkən steɪts ər ˈpræktɪkəli sɪˈsidɪŋ frəm ðə juˈnaɪtɪd steɪts tɪ əˈvɔɪd ɪkˈspændɪŋ ˈmɛdəˌkeɪd tɪ ˈkəvər mɔr ˈpipəl, ˈivɪn ðoʊ ðə ˈfɛdərəl ˈgəvərnmənt ɪz ˈpɪkɪŋ əp ðə ɪnˈtaɪər tæb. hir ɪz ðə ˈhɛrɪtɪʤ faʊnˈdeɪʃən əˈgɛn: wər toʊld ðət wɑz səˈpoʊzd tɪ bi kəmˈpæʃənət təˈwɔrd ðə ˈnidi ɪn əˈmɛrɪkə. ɪt ˌɪnˈkludz ˌdɪsɪnˈsɛntɪvz fər ˌɪndəˈvɪʤəwəlz tɪ ˈmɛri ənd fər əˈmɛrɪkənz əv loʊ ənd ˈmɑdəst ˈɪnˌkəmz tɪ work.”*.” 5 ˈɪməgrənts ˌædvərˈtaɪzmənt: ɛz wɪθ ˈhɛlθˌkɛr, ɪt ɪz ˈprɪti klɪr wɛr rɪˈpəblɪkənz stænd ɔn ðə aɪˈdiə əv (non-european*, waɪt) ˈpipəl tɪ ðə juˈnaɪtɪd steɪts. ðeɪ wɔnt ðɛm aʊt. ɪn fækt, ɪt ɪz ˈprɪti klɪr wɛr ðeɪ stænd ɔn ðə aɪˈdiə əv əˈlaʊɪŋ ˈpipəl tɪ steɪ ˈivɪn ɪf ðeɪ wər brɔt tɪ ðə ˈkəntri ɛz ˈʧɪldrən: ðeɪ wɔnt ðɛm aʊt, tu. rɪˈpəblɪkən ˈlidərz ər ˈblɑkɪŋ ðə nu ˌkɑmpriˈhɛnsɪv ˌɪməˈgreɪʃən rɪˈfɔrm bɪl frəm ˈivɪn ˈkəmɪŋ tɪ ə voʊt ɪn ðə haʊs wɪl pæs. ðeɪ ˌəndərˈstænd ðət ðɪs wɪl ɛnˈreɪʤ ðə rɪˈpəblɪkən beɪs ənd kɔz ˈmɛni ˌɪnˈkəmbənts tɪ feɪs ˈpraɪˌmɛriz. dɪˈspleɪz əv kəmˈpæʃən ər nɑt ˈwɛlkəm ɪn ðə rɪˈpəblɪkən ti ˈpɑrti beɪs. ɪn ən əˈtɛmpt tɪ prəˈvaɪd ˈkəvər fər rɪˈpəblɪkənz ɪn ˈblɑkɪŋ ðə bɪl, ðə ˈhɛrɪtɪʤ faʊnˈdeɪʃən ˈɪʃud ə "ˈstədi" ˈkleɪmɪŋ ðə bɪl wʊd kɔst ˈtækˌspeɪərz ˈtrɪljən bɪˈkəz ɪt wʊd kɔz nu ˈspɛndɪŋ ɔn ˈsoʊʃəl ˈproʊˌgræmz. ɪt tərnd aʊt ðət ðə ˈstədi wɑz baɪ ˈsəmˌwən hu hæd ˈpriviəsli ɪkˈspleɪnd ðət ðɛr ɪz ə ˈreɪʃəl ˈhaɪˌrɑrki əv ˌɪnˈtɛləʤəns: əv ˈtɛstɪŋ həz ˈɪndəˌkeɪtɪd ðət æt list ɪn əˈmɛrɪkə, ju hæv ʤuz wɪθ ðə haɪəst ˈævərɪʤ ˈaɪˈkju, ˈjuʒəwəli ˈfɑloʊd baɪ ist ˈeɪʒənz, ðɛn ju hæv waɪts, hɪˈspænɪks, ənd ðɛn blacks.”*.” ðɪs saʊnz sˈlaɪtli mɔr ˈreɪsɪst ðən kəmˈpæʃənət, noʊ? 6 ˈkɔrpərət ˈtæksɪz tɪ bi fɛr, ðɛr ɪz wən grup kənˈsərvətɪvz kən bi ˈvɛri, ˈvɛri kəmˈpæʃənət təˈwɔrd: ðə ˈwɛlθi ənd ðɛr ˌkɔrpərˈeɪʃənz. waɪl dɪˈmændɪŋ kəts ɪn fud stæmps, ˈhɛlθˌkɛr, ˌənɪmˈplɔɪmənt ˈbɛnəfɪts, ˌɛtˈsɛtərə., ðeɪ ər ˈɔlˌweɪz, ˈɔlˌweɪz ˌɪnˈsɪstənt ɔn ˈkətɪŋ ˈtæksɪz fər ðə ˈfɔrʧənət fju. soʊ kip jʊr aɪ aʊt fər ˈpipəl ˈkleɪmɪŋ tɪ bi conservatives.”*.” ɪt ɪz ən ˌɑkˈsiˈmɔrɑn, wɪʧ minz ɪt səks ðə ˈɑksɪʤən aʊt əv ðə ˈminɪŋ əv ðə wərdz ənd ɪz tɪ but. ɪn ˈəðər wərdz, ʤɪst ðə seɪm oʊld bullpucky*. |
singapore - love cheats on the internet fooled their victims into parting with $24 million last year, although the overall crime rate went down by per cent.
in 2016, crimes in seven categories, such as violent or serious property crimes, and related crimes, and theft and related crimes, registered a low, said the police at an annual crime briefing on friday (feb 10) morning.
the number of violent or serious property crimes fell from 299 in 2015 to 248 in 2016, a decrease of per cent, while and related crimes saw 285 cases, a per cent decrease from 340 in 2015.
there was a per cent fall in theft and related crimes, to in 2016 compared to the previous year.
overall crime in 2016 decreased by%; lowest crime rate in singapore in the last three years. (@singaporepolice) february 10, 2017
while commercial crimes decreased by per cent thanks to efforts, public education, as well as international cooperation with foreign law enforcement agencies, police said there are still three areas of concern - cheating, internet love scams and china officials impersonation scams.
there were 636 internet love scams cases last year, up from 385 in 2015. the total amount cheated in 2016 stood at $24 million.
commercial crime rates fall but online cheating is still a concern. the public is advised to be vigilant and avoid falling victims to scams. (@singaporepolice) february 10, 2017
in most cases, offenders befriended victims on social media or online chat apps and charmed their way into their lives, then cheat them of their money.
cheating involving saw a drop of 134 cases with cases last year where victims lost $1.5 million. there were such cases in 2015.
the china officials impersonation scams, where victims were duped into money by offenders who claimed to be chinese authorities, were first uncovered in april last year. in eight months, there were 487 such cases that saw victims hand over $23 million.
credit-for-sex scams, which were among the crimes that caused a spike in crime figures, also fell per cent last year.
police added that 2016 saw 135 days free from crimes such as snatch theft, and robbery. this is 31 days more than the previous year's figure. | ˈsɪŋəˌpɔr ləv ʧits ɔn ðə ˈɪntərˌnɛt fuld ðɛr ˈvɪktɪmz ˈɪntu ˈpɑrtɪŋ wɪθ 24 ˈmɪljən læst jɪr, ˌɔlˈðoʊ ðə ˈoʊvərˌɔl kraɪm reɪt wɛnt daʊn baɪ pər sɛnt. ɪn 2016 kraɪmz ɪn ˈsɛvən ˈkætəˌgɔriz, səʧ ɛz ˈvaɪələnt ər ˈsɪriəs ˈprɑpərti kraɪmz, ənd rɪˈleɪtɪd kraɪmz, ənd θɛft ənd rɪˈleɪtɪd kraɪmz, ˈrɛʤɪstərd ə loʊ, sɛd ðə pəˈlis æt ən ˈænjuəl kraɪm ˈbrifɪŋ ɔn ˈfraɪˌdeɪ (ˈfɛbjəˌwɛri 10 ˈmɔrnɪŋ. ðə ˈnəmbər əv ˈvaɪələnt ər ˈsɪriəs ˈprɑpərti kraɪmz fɛl frəm 299 ɪn 2015 tɪ 248 ɪn 2016 ə ˈdiˌkris əv pər sɛnt, waɪl ənd rɪˈleɪtɪd kraɪmz sɔ 285 ˈkeɪsɪz, ə pər sɛnt ˈdiˌkris frəm 340 ɪn 2015 ðɛr wɑz ə pər sɛnt fɔl ɪn θɛft ənd rɪˈleɪtɪd kraɪmz, tɪ ɪn 2016 kəmˈpɛrd tɪ ðə ˈpriviəs jɪr. ˈoʊvərˌɔl kraɪm ɪn 2016 ˈdiˌkrist baɪ loʊəst kraɪm reɪt ɪn ˈsɪŋəˌpɔr ɪn ðə læst θri jɪrz. (@singaporepolice*) ˈfɛbruˌɛri 10 2017 waɪl kəˈmərʃəl kraɪmz ˈdiˌkrist baɪ pər sɛnt θæŋks tɪ ˈɛfərts, ˈpəblɪk ˌɛʤəˈkeɪʃən, ɛz wɛl ɛz ˌɪnərˈnæʃənɑl kˌwɔpərˈeɪʃən wɪθ ˈfɔrən lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz, pəˈlis sɛd ðɛr ər stɪl θri ˈɛriəz əv kənˈsərn ˈʧitɪŋ, ˈɪntərˌnɛt ləv skæmz ənd ˈʧaɪnə əˈfɪʃəlz ˌɪmpərsəˈneɪʃən skæmz. ðɛr wər 636 ˈɪntərˌnɛt ləv skæmz ˈkeɪsɪz læst jɪr, əp frəm 385 ɪn 2015 ðə ˈtoʊtəl əˈmaʊnt ˈʧitɪd ɪn 2016 stʊd æt 24 ˈmɪljən. kəˈmərʃəl kraɪm reɪts fɔl bət ˈɔnˌlaɪn ˈʧitɪŋ ɪz stɪl ə kənˈsərn. ðə ˈpəblɪk ɪz ədˈvaɪzd tɪ bi ˈvɪʤələnt ənd əˈvɔɪd ˈfɑlɪŋ ˈvɪktɪmz tɪ skæmz. (@singaporepolice*) ˈfɛbruˌɛri 10 2017 ɪn moʊst ˈkeɪsɪz, əˈfɛndərz bɪˈfrɛndɪd ˈvɪktɪmz ɔn ˈsoʊʃəl ˈmidiə ər ˈɔnˌlaɪn ʧæt æps ənd ʧɑrmd ðɛr weɪ ˈɪntu ðɛr lɪvz, ðɛn ʧit ðɛm əv ðɛr ˈməni. ˈʧitɪŋ ˌɪnˈvɑlvɪŋ sɔ ə drɔp əv 134 ˈkeɪsɪz wɪθ ˈkeɪsɪz læst jɪr wɛr ˈvɪktɪmz lɔst ˈmɪljən. ðɛr wər səʧ ˈkeɪsɪz ɪn 2015 ðə ˈʧaɪnə əˈfɪʃəlz ˌɪmpərsəˈneɪʃən skæmz, wɛr ˈvɪktɪmz wər dupt ˈɪntu ˈməni baɪ əˈfɛndərz hu kleɪmd tɪ bi ʧaɪˈniz əˈθɔrətiz, wər fərst ənˈkəvərd ɪn ˈeɪprəl læst jɪr. ɪn eɪt mənθs, ðɛr wər 487 səʧ ˈkeɪsɪz ðət sɔ ˈvɪktɪmz hænd ˈoʊvər 23 ˈmɪljən. skæmz, wɪʧ wər əˈməŋ ðə kraɪmz ðət kɔzd ə spaɪk ɪn kraɪm ˈfɪgjərz, ˈɔlsoʊ fɛl pər sɛnt læst jɪr. pəˈlis ˈædɪd ðət 2016 sɔ 135 deɪz fri frəm kraɪmz səʧ ɛz snæʧ θɛft, ənd ˈrɑbəri. ðɪs ɪz 31 deɪz mɔr ðən ðə ˈpriviəs jɪrz ˈfɪgjər. |
one of the most iconic symbols of american freedom and independence is the liberty bell. located in philadelphia, pennsylvania, the bell is currently housed in the liberty bell center in independence national historical park and remains a symbol of the nation in the modern era. today, the 1 oz liberty bell silver round is available to purchase from bullion.
coin highlights:
ships to you in an individual plastic flip, mint tube of 20, or box of 500 rounds.
honors the liberty bell!
contains 1 troy oz of .999 pure silver.
stackable design!
liberty bell image on the obverse.
privately minted in the united states.
the liberty bell, a symbol of america, was actually commissioned by the british in 1752. in a biblical references to the book of leviticus, the bell was commissioned to feature lettering that read proclaim liberty throughout all the land unto all the inhabitants thereof. when the bell first arrived in philadelphia and was run for the very first time, it suffered a crack.
twice, the liberty bell was recast in philadelphia by local workmen john pass and john stow, whose last names still appear on the bell today. the liberty bell was originally used to summon lawmakers to legislative sessions in the city and alert citizens to meetings and proclamations.
each 1 oz liberty bell silver round available here today is a product from silvertowne. the rounds have alternating raised and lowered ridges along the outer rim which makes it possible to stack your liberty bell silver rounds with ease, ensuring a safe and secure stack.
on the obverse of the 1 oz liberty bell silver round is the image of the liberty bell itself, which is rumored to have been rung when the second continental congress announced a vote for american independence on july 4, 1776. in reality, the bell was likely rung to celebrate the call for independence on july 8, 1776 along with many other bells throughout the colonies to announce the american movement for independence.
all 1 oz liberty bell silver rounds are a product of silvertowne. a private minting facility located in indiana, it is one of the largest and most well respected private facilities in the united states. the mint originally started business in 1949 as a coin dealer with a small location.
please hesitate to reach out to bullion if you have any questions. you can contact our customer service team on the phone at, connect with us online through our live web chat, or send us an email with your inquiries. | wən əv ðə moʊst ˌaɪˈkɑnɪk ˈsɪmbəlz əv əˈmɛrɪkən ˈfridəm ənd ˌɪndɪˈpɛndəns ɪz ðə ˈlɪbərˌti bɛl. ˈloʊˌkeɪtəd ɪn ˌfɪləˈdɛlfiə, ˌpɛnsəlˈveɪnjə, ðə bɛl ɪz ˈkərəntli haʊzd ɪn ðə ˈlɪbərˌti bɛl ˈsɛnər ɪn ˌɪndɪˈpɛndəns ˈnæʃənəl hɪˈstɔrɪkəl pɑrk ənd rɪˈmeɪnz ə ˈsɪmbəl əv ðə ˈneɪʃən ɪn ðə ˈmɑdərn ˈɪrə. təˈdeɪ, ðə 1 ɑz ˈlɪbərˌti bɛl ˈsɪlvər raʊnd ɪz əˈveɪləbəl tɪ ˈpərʧəs frəm ˈbʊljən. kɔɪn ˈhaɪˌlaɪts: ʃɪps tɪ ju ɪn ən ˌɪndəˈvɪʤəwəl ˈplæstɪk flɪp, mɪnt tub əv 20 ər bɑks əv 500 raʊnz. ˈɑnərz ðə ˈlɪbərˌti bɛl! kənˈteɪnz 1 trɔɪ ɑz əv 999 pjʊr ˈsɪlvər. dɪˈzaɪn! ˈlɪbərˌti bɛl ˈɪmɪʤ ɔn ðə əbˈvərs. ˈpraɪvətli ˈmɪntɪd ɪn ðə juˈnaɪtɪd steɪts. ðə ˈlɪbərˌti bɛl, ə ˈsɪmbəl əv əˈmɛrɪkə, wɑz ˈæˌkʧuəli kəˈmɪʃənd baɪ ðə ˈbrɪtɪʃ ɪn 1752 ɪn ə ˈbɪblɪkəl ˈrɛfərənsɪz tɪ ðə bʊk əv ləˈvɪtəkəs, ðə bɛl wɑz kəˈmɪʃənd tɪ ˈfiʧər ˈlɛtərɪŋ ðət rɛd proʊˈkleɪm ˈlɪbərˌti θruaʊt ɔl ðə lænd ˈəntu ɔl ðə ˌɪnˈhæbɪtənts ˌðɛˈrəv. wɪn ðə bɛl fərst əraɪvd ɪn ˌfɪləˈdɛlfiə ənd wɑz rən fər ðə ˈvɛri fərst taɪm, ɪt ˈsəfərd ə kræk. twaɪs, ðə ˈlɪbərˌti bɛl wɑz riˈkæst ɪn ˌfɪləˈdɛlfiə baɪ ˈloʊkəl ˈwərkmɪn ʤɑn pæs ənd ʤɑn stoʊ, huz læst neɪmz stɪl əˈpɪr ɔn ðə bɛl təˈdeɪ. ðə ˈlɪbərˌti bɛl wɑz ərˈɪʤənəli juzd tɪ ˈsəmən ˈlɔˌmeɪkərz tɪ ˈlɛʤəsˌleɪtɪv ˈsɛʃənz ɪn ðə ˈsɪti ənd əˈlərt ˈsɪtɪzənz tɪ ˈmitɪŋz ənd ˌprɑkləˈmeɪʃənz. iʧ 1 ɑz ˈlɪbərˌti bɛl ˈsɪlvər raʊnd əˈveɪləbəl hir təˈdeɪ ɪz ə ˈprɑdəkt frəm silvertowne*. ðə raʊnz hæv ˈɔltərˌneɪtɪŋ reɪzd ənd loʊərd ˈrɪʤɪz əˈlɔŋ ðə ˈaʊtər rɪm wɪʧ meɪks ɪt ˈpɑsəbəl tɪ stæk jʊr ˈlɪbərˌti bɛl ˈsɪlvər raʊnz wɪθ iz, ɪnˈʃʊrɪŋ ə seɪf ənd sɪˈkjʊr stæk. ɔn ðə əbˈvərs əv ðə 1 ɑz ˈlɪbərˌti bɛl ˈsɪlvər raʊnd ɪz ðə ˈɪmɪʤ əv ðə ˈlɪbərˌti bɛl ˌɪtˈsɛlf, wɪʧ ɪz ˈrumərd tɪ hæv bɪn rəŋ wɪn ðə ˈsɛkənd ˌkɑntəˈnɛnəl ˈkɑŋgrəs əˈnaʊnst ə voʊt fər əˈmɛrɪkən ˌɪndɪˈpɛndəns ɔn ˌʤuˈlaɪ 4 1776 ɪn ˌriˈæləˌti, ðə bɛl wɑz ˈlaɪkli rəŋ tɪ ˈsɛləˌbreɪt ðə kɔl fər ˌɪndɪˈpɛndəns ɔn ˌʤuˈlaɪ 8 1776 əˈlɔŋ wɪθ ˈmɛni ˈəðər bɛlz θruaʊt ðə ˈkɑləniz tɪ əˈnaʊns ðə əˈmɛrɪkən ˈmuvmənt fər ˌɪndɪˈpɛndəns. ɔl 1 ɑz ˈlɪbərˌti bɛl ˈsɪlvər raʊnz ər ə ˈprɑdəkt əv silvertowne*. ə ˈpraɪvət ˈmɪntɪŋ fəˈsɪlɪti ˈloʊˌkeɪtəd ɪn ˌɪndiˈænə, ɪt ɪz wən əv ðə ˈlɑrʤəst ənd moʊst wɛl rɪˈspɛktɪd ˈpraɪvət fəˈsɪlɪtiz ɪn ðə juˈnaɪtɪd steɪts. ðə mɪnt ərˈɪʤənəli ˈstɑrtɪd ˈbɪznɪs ɪn 1949 ɛz ə kɔɪn ˈdilər wɪθ ə smɔl loʊˈkeɪʃən. pliz ˈhɛzəˌteɪt tɪ riʧ aʊt tɪ ˈbʊljən ɪf ju hæv ˈɛni kˈwɛsʧənz. ju kən ˈkɑnˌtækt ɑr ˈkəstəmər ˈsərvɪs tim ɔn ðə foʊn æt kəˈnɛkt wɪθ ˈjuˈɛs ˈɔnˌlaɪn θru ɑr lɪv wɛb ʧæt, ər sɛnd ˈjuˈɛs ən iˈmeɪl wɪθ jʊr ˌɪnkˈwaɪəriz. |
manuel pellegrini signed a one-year contract extension with manchester city on friday and insisted if the club wanted pep guardiola they would have told him.
pellegrini’s new deal ties him to the club until 2017, with his previous contract having been due to expire at the end of this season. city are long-term admirers of guardiola, the munich coach. their sporting director, begiristain, and chief executive, ferran soriano, worked with him at barcelona.
although pellegrini admitted guardiola would be by any club, he is confident of his own position. “[i’m] not talking about pep guardiola, he is a manager that every team will want to manage because he is a great manager,” he said.
“maybe he is more linked with this team because of the relationship with and ferran and i trust in them and i am sure if they want to bring in him, they will tell me. i have no problem with my relations inside the club. i know exactly how the owners think.” of his fresh terms pellegrini said: “what it means for me it is very important for the club to trust in our work. i am very happy here also at manchester city so if both parties are happy to continue [then good].”
pellegrini admitted there is a possibility he could still be sacked as results are still vital to any job prospects. “i was used last season to the speculation. [carlo] had a contract signed [with real madrid] and klopp had also a contract [at dortmund],” he said. “you know in this profession you need the results so it is very important for me to have a good season and good results. in football you never know how long are the contracts.”
facebook twitter manuel pellegrini backs raheem sterling ahead of premier league start. link to video.
pellegrini would be open to staying at city beyond 2017. “you can sign for 10 years and four months after you are sacked but i think that when the two parties are happy with how you are working, of course you can extend your contract, not just for one year or two years. for me, the owners are happy with the way i am working. me, i am also happy at this club. it is impossible to know about the future.”
david silva, sergio and samir have each recovered from stomach bugs that troubled them in the week so should be available for monday trip to west bromwich albion.
“the only player that will not be fit for monday is [gaël] clichy,” said pellegrini. “he has a problem in his ankle in the last week and i think he will be 100% fit to be in the squad list. fabian delph also is not ready. he has his hamstring injury in the pre-season. all the other players i think will be fit., silva, they are working hard. is 100%, silva also. is returning from his fitness.”
last season city let in 38 goals, the most by any of the top four clubs. vincent kompany, the captain, had an uneven campaign. but pellegrini has no concerns over the ability going into the new season. “i trust a lot in vincent,” he said. “it is always important to why we concede 38 goals. more than 35% were from set pieces. it is important to concentrate on the second balls and not to concede so many or corners.
i think defending comes from just one player. it comes from the team. last season was also a good experience for vincent and i am sure we will see the player we saw playing so well two years ago.”
pellegrini stated that if city do not claim a trophy, the season will be seen as a failure. “for me a good season with a big team is that you must win a title,” he said.
“you cannot say it is a very good season if you win nothing. after that also it is very important in the way you win a title.
“maybe you can win a title and i am not happy the way we play for me it is not a good season. for me both things: first of all win because you must win titles and second play the way i think we must injury, pellegrini said: “i think he needs 15 days more. that will be a month from the injury he got in pre-season. he played just 17 minutes but you saw in those 17 minutes that he will be an important player for this club.”
the manager is also hopeful that this season some of the young prospects can of the important things that happened in pre season was to see three or four young players, the way they play. talking about [iheanacho], manu garcía, roberts, important players who will do well in our squad,” he said. | mɑnˈwɛl ˌpɛlɛˈgrini saɪnd ə ˈwənˌjɪr ˈkɑnˌtrækt ɪkˈstɛnʃən wɪθ ˈmænˌʧɛstər ˈsɪti ɔn ˈfraɪˌdeɪ ənd ˌɪnˈsɪstɪd ɪf ðə kləb ˈwɔntɪd pɛp gɑrdiˈoʊlə ðeɪ wʊd hæv toʊld ɪm. nu dil taɪz ɪm tɪ ðə kləb ənˈtɪl 2017 wɪθ hɪz ˈpriviəs ˈkɑnˌtrækt ˈhævɪŋ bɪn du tɪ ɪkˈspaɪr æt ðə ɛnd əv ðɪs ˈsizən. ˈsɪti ər ˈlɔŋˈtərm ədˈmaɪrərz əv gɑrdiˈoʊlə, ðə mˈjunɪk koʊʧ. ðɛr ˈspɔrtɪŋ dɪˈrɛktər, begiristain*, ənd ʧif ɪgˈzɛkjətɪv, ˈfɛrən sɔriˈɑnoʊ, wərkt wɪθ ɪm æt ˌbɑrsɪˈloʊnə. ˌɔlˈðoʊ ˌpɛlɛˈgrini ədˈmɪtəd gɑrdiˈoʊlə wʊd bi baɪ ˈɛni kləb, hi ɪz ˈkɑnfədənt əv hɪz oʊn pəˈzɪʃən. “[“[i’m*] nɑt ˈtɔkɪŋ əˈbaʊt pɛp gɑrdiˈoʊlə, hi ɪz ə ˈmænɪʤər ðət ˈɛvəri tim wɪl wɔnt tɪ ˈmænɪʤ bɪˈkəz hi ɪz ə greɪt manager,”*,” hi sɛd. hi ɪz mɔr lɪŋkt wɪθ ðɪs tim bɪˈkəz əv ðə riˈleɪʃənˌʃɪp wɪθ ənd ˈfɛrən ənd aɪ trəst ɪn ðɛm ənd aɪ æm ʃʊr ɪf ðeɪ wɔnt tɪ brɪŋ ɪn ɪm, ðeɪ wɪl tɛl mi. aɪ hæv noʊ ˈprɑbləm wɪθ maɪ riˈleɪʃənz ˌɪnˈsaɪd ðə kləb. aɪ noʊ ɪgˈzæktli haʊ ðə ˈoʊnərz think.”*.” əv hɪz frɛʃ tərmz ˌpɛlɛˈgrini sɛd: ɪt minz fər mi ɪt ɪz ˈvɛri ˌɪmˈpɔrtənt fər ðə kləb tɪ trəst ɪn ɑr wərk. aɪ æm ˈvɛri ˈhæpi hir ˈɔlsoʊ æt ˈmænˌʧɛstər ˈsɪti soʊ ɪf boʊθ ˈpɑrtiz ər ˈhæpi tɪ kənˈtɪnju [ðɛn good].”*].” ˌpɛlɛˈgrini ədˈmɪtəd ðɛr ɪz ə ˌpɑsəˈbɪləˌti hi kʊd stɪl bi sækt ɛz rɪˈzəlts ər stɪl ˈvaɪtəl tɪ ˈɛni ʤɑb ˈprɑspɛkts. wɑz juzd læst ˈsizən tɪ ðə ˌspɛkjəˈleɪʃən. [ˈkɑrloʊ] hæd ə ˈkɑnˌtrækt saɪnd [wɪθ ril məˈdrɪd] ənd klɑp hæd ˈɔlsoʊ ə ˈkɑnˌtrækt [æt dortmund],”*],” hi sɛd. noʊ ɪn ðɪs prəˈfɛʃən ju nid ðə rɪˈzəlts soʊ ɪt ɪz ˈvɛri ˌɪmˈpɔrtənt fər mi tɪ hæv ə gʊd ˈsizən ənd gʊd rɪˈzəlts. ɪn ˈfʊtˌbɔl ju ˈnɛvər noʊ haʊ lɔŋ ər ðə contracts.”*.” ˈfeɪsˌbʊk tˈwɪtər mɑnˈwɛl ˌpɛlɛˈgrini bæks rəˈhim ˈstərlɪŋ əˈhɛd əv prɛˈmɪr lig stɑrt. lɪŋk tɪ ˈvɪdioʊ. ˌpɛlɛˈgrini wʊd bi ˈoʊpən tɪ steɪɪŋ æt ˈsɪti bɪɔnd 2017 kən saɪn fər 10 jɪrz ənd fɔr mənθs ˈæftər ju ər sækt bət aɪ θɪŋk ðət wɪn ðə tu ˈpɑrtiz ər ˈhæpi wɪθ haʊ ju ər ˈwərkɪŋ, əv kɔrs ju kən ɪkˈstɛnd jʊr ˈkɑnˌtrækt, nɑt ʤɪst fər wən jɪr ər tu jɪrz. fər mi, ðə ˈoʊnərz ər ˈhæpi wɪθ ðə weɪ aɪ æm ˈwərkɪŋ. mi, aɪ æm ˈɔlsoʊ ˈhæpi æt ðɪs kləb. ɪt ɪz ˌɪmˈpɑsəbəl tɪ noʊ əˈbaʊt ðə future.”*.” ˈdeɪvɪd ˈsɪlvə, ˈsərˌʤjoʊ ənd səˈmɪr hæv iʧ rɪˈkəvərd frəm ˈstəmək bəgz ðət ˈtrəbəld ðɛm ɪn ðə wik soʊ ʃʊd bi əˈveɪləbəl fər ˈmənˌdeɪ trɪp tɪ wɛst ˈbrɑmwɪʧ ˈælbiən. ˈoʊnli pleɪər ðət wɪl nɑt bi fɪt fər ˈmənˌdeɪ ɪz [gaël*] clichy,”*,” sɛd ˌpɛlɛˈgrini. həz ə ˈprɑbləm ɪn hɪz ˈæŋkəl ɪn ðə læst wik ənd aɪ θɪŋk hi wɪl bi 100 fɪt tɪ bi ɪn ðə skwɑd lɪst. ˈfeɪbiən dɛlf ˈɔlsoʊ ɪz nɑt ˈrɛdi. hi həz hɪz ˈhæmˌstrɪŋ ˈɪnʤəri ɪn ðə ˌpriˈsizən. ɔl ðə ˈəðər pleɪərz aɪ θɪŋk wɪl bi fɪt., ˈsɪlvə, ðeɪ ər ˈwərkɪŋ hɑrd. ɪz 100 ˈsɪlvə ˈɔlsoʊ. ɪz rɪˈtərnɪŋ frəm hɪz fitness.”*.” læst ˈsizən ˈsɪti lɛt ɪn 38 goʊlz, ðə moʊst baɪ ˈɛni əv ðə tɔp fɔr kləbz. ˈvɪnsɪnt kompany*, ðə ˈkæptən, hæd ən əˈnivən kæmˈpeɪn. bət ˌpɛlɛˈgrini həz noʊ kənˈsərnz ˈoʊvər ðə əˈbɪləˌti goʊɪŋ ˈɪntu ðə nu ˈsizən. trəst ə lɔt ɪn vincent,”*,” hi sɛd. ɪz ˈɔlˌweɪz ˌɪmˈpɔrtənt tɪ waɪ wi kənˈsid 38 goʊlz. mɔr ðən 35 wər frəm sɛt ˈpisɪz. ɪt ɪz ˌɪmˈpɔrtənt tɪ ˈkɑnsənˌtreɪt ɔn ðə ˈsɛkənd bɔlz ənd nɑt tɪ kənˈsid soʊ ˈmɛni ər ˈkɔrnərz. aɪ θɪŋk dɪˈfɛndɪŋ kəmz frəm ʤɪst wən pleɪər. ɪt kəmz frəm ðə tim. læst ˈsizən wɑz ˈɔlsoʊ ə gʊd ɪkˈspɪriəns fər ˈvɪnsɪnt ənd aɪ æm ʃʊr wi wɪl si ðə pleɪər wi sɔ pleɪɪŋ soʊ wɛl tu jɪrz ago.”*.” ˌpɛlɛˈgrini ˈsteɪtɪd ðət ɪf ˈsɪti du nɑt kleɪm ə ˈtroʊfi, ðə ˈsizən wɪl bi sin ɛz ə ˈfeɪljər. mi ə gʊd ˈsizən wɪθ ə bɪg tim ɪz ðət ju məst wɪn ə title,”*,” hi sɛd. ˈkænɑt seɪ ɪt ɪz ə ˈvɛri gʊd ˈsizən ɪf ju wɪn ˈnəθɪŋ. ˈæftər ðət ˈɔlsoʊ ɪt ɪz ˈvɛri ˌɪmˈpɔrtənt ɪn ðə weɪ ju wɪn ə ˈtaɪtəl. ju kən wɪn ə ˈtaɪtəl ənd aɪ æm nɑt ˈhæpi ðə weɪ wi pleɪ fər mi ɪt ɪz nɑt ə gʊd ˈsizən. fər mi boʊθ θɪŋz: fərst əv ɔl wɪn bɪˈkəz ju məst wɪn ˈtaɪtəlz ənd ˈsɛkənd pleɪ ðə weɪ aɪ θɪŋk wi məst ˈɪnʤəri, ˌpɛlɛˈgrini sɛd: θɪŋk hi nidz 15 deɪz mɔr. ðət wɪl bi ə mənθ frəm ðə ˈɪnʤəri hi gɑt ɪn ˌpriˈsizən. hi pleɪd ʤɪst 17 ˈmɪnəts bət ju sɔ ɪn ðoʊz 17 ˈmɪnəts ðət hi wɪl bi ən ˌɪmˈpɔrtənt pleɪər fər ðɪs club.”*.” ðə ˈmænɪʤər ɪz ˈɔlsoʊ ˈhoʊpfəl ðət ðɪs ˈsizən səm əv ðə jəŋ ˈprɑspɛkts kən əv ðə ˌɪmˈpɔrtənt θɪŋz ðət ˈhæpənd ɪn pri ˈsizən wɑz tɪ si θri ər fɔr jəŋ pleɪərz, ðə weɪ ðeɪ pleɪ. ˈtɔkɪŋ əˈbaʊt [iheanacho*], ˈmɑˌnu garcía*, ˈrɑbərts, ˌɪmˈpɔrtənt pleɪərz hu wɪl du wɛl ɪn ɑr squad,”*,” hi sɛd. |
on nov. 6, 1968, the black student union and a coalition of student groups at san francisco state university known as the third world liberation front began what would become the longest student strike in u.s. history. they wanted the university to institute an ethnic studies program.
beyond simply teaching students names like frederick douglass and sacajawea, the program they envisioned would explore race and ethnicity across all disciplines in order to address issues of eurocentrism, oppression and identity.
such a field had been proposed since the late century by thinkers like w.e.b. du bois and josé martí, but obstinate elites had never formalized it in mainstream academia. at one rally, san francisco state president s.i. silenced student activists by yanking the wires out of the loudspeakers. but afterrly five months, he capitulated, instituting the first college of ethnic studies in the nation.
the movement that started at san francisco state spread across the state and country. today, some form of ethnic studies is taught at most american universities. nine of the 10 university of california campuses san francisco, the health science campus, is the exception) have various ethnic studies departments and programs, offering courses on native american literature san diego), “gandhi and the civil rights movement in america” berkeley) and farmworker historyla). {snip}
but ethnic studies remains virtually absent in public education nationally, and it is rare even in california, where about three-quarters of students are nonwhite.
that could change with assemblyman luis (d-watsonville) recent introduction of ab 1750, a bill requiring california to form a task force that would study how to best implement a standardized ethnic studies program for high school students throughout the state. such a program would shore up important gaps in students’ knowledge and, coming from one of the most diverse states in the nation, serve as a powerful model for the rest of the country.
{snip}
a report this year by the southern poverty law center revealed a disturbing abundance of states offering little or no study of the civil rights movement. in a comprehensive analysis of state standards and instructional resources, the center handed out torly half of the country based on what teachers were expected to teach about civil rights history. {snip}
{snip}
in 2011, the national education assn. published a review of research on ethnic studies that summarized textbooks this way: “whites continue to receive the most attention and appear in the widest variety of roles, dominating story lines and lists of accomplishments. african americans, the next most represented racial group, appear in a more limited range of roles and usually receive only a sketchy account historically, being featured mainly in relationship to slavery. asian americans and latinos appear mainly as figures on the landscape with virtually no history or contemporary ethnic experience. native americans appear mainly in the past.”
the problem be solved by lightly ethnic diversity into the existing goes only so far. this is about offering students an education that is not just enriching but empowering.
indeed, there is a strong body of social science evidence showing that a serious ethnic studies program can pay off in improved student achievement and higher graduation rates.
for example, the review of research cites multiple university studies showing that, for students of color, the more they know about race, racism and cultural identity, the higher their grades and graduation rates, and the more likely they are to go on to college.
interestingly, the positive impact of such studies is even higher on white students, who gain a much more sophisticated ethnic consciousness as they confront issues of race already familiar to minority students.
{snip}
in a state where minorities are the majority, a dynamic understanding of ethnicity a luxury or a diversion but a necessity. such courses would help high school students to grapple with the complex history of oppression and achievement in a even liberating–fashion.
original article
share this | ɔn noʊv. 6 1968 ðə blæk ˈstudənt ˈjunjən ənd ə ˌkoʊəˈlɪʃən əv ˈstudənt grups æt sæn frænˈsɪskoʊ steɪt ˌjunəˈvərsəti noʊn ɛz ðə θərd wərld ˌlɪˌbərˈeɪʃən frənt bɪˈgæn wət wʊd bɪˈkəm ðə ˈlɔŋgɪst ˈstudənt straɪk ɪn juz. ˈhɪstəri. ðeɪ ˈwɔntɪd ðə ˌjunəˈvərsəti tɪ ˈɪnstɪˌtut ən ˈɛθnɪk ˈstədiz ˈproʊˌgræm. bɪɔnd ˈsɪmpli ˈtiʧɪŋ ˈstudənts neɪmz laɪk ˈfrɛdərɪk ˈdəgləs ənd sacajawea*, ðə ˈproʊˌgræm ðeɪ ɛnˈvɪʒənd wʊd ɪkˈsplɔr reɪs ənd ɛθˈnɪsɪti əˈkrɔs ɔl ˈdɪsəplənz ɪn ˈɔrdər tɪ ˈæˌdrɛs ˈɪʃuz əv eurocentrism*, əˈprɛʃən ənd aɪˈdɛntəˌti. səʧ ə fild hæd bɪn prəˈpoʊzd sɪns ðə leɪt ˈsɛnʧəri baɪ ˈθɪŋkərz laɪk w.e.b*. də bwɑ ənd josé*é martí*í, bət ˈɑbstənət ɪˈlits hæd ˈnɛvər ˈfɔrməˌlaɪzd ɪt ɪn ˈmeɪnˌstrim ˌækəˈdimiə. æt wən ˈræli, sæn frænˈsɪskoʊ steɪt ˈprɛzɪdənt s.i*. ˈsaɪlənst ˈstudənt ˈæktɪvɪsts baɪ ˈjæŋkɪŋ ðə waɪərz aʊt əv ðə ˈlaʊdˌspikərz. bət ˈæftər ˈnɪrli faɪv mənθs, hi kəˈpɪʧəˌleɪtɪd, ˈɪnstɪˌtutɪŋ ðə fərst ˈkɑlɪʤ əv ˈɛθnɪk ˈstədiz ɪn ðə ˈneɪʃən. ðə ˈmuvmənt ðət ˈstɑrtɪd æt sæn frænˈsɪskoʊ steɪt sprɛd əˈkrɔs ðə steɪt ənd ˈkəntri. təˈdeɪ, səm fɔrm əv ˈɛθnɪk ˈstədiz ɪz tɔt æt moʊst əˈmɛrɪkən ˌjunəˈvərsətiz. naɪn əv ðə 10 ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə ˈkæmpəsɪz sæn frænˈsɪskoʊ, ðə hɛlθ saɪəns ˈkæmpəs, ɪz ðə ɪkˈsɛpʃən) hæv ˈvɛriəs ˈɛθnɪk ˈstədiz dɪˈpɑrtmənts ənd ˈproʊˌgræmz, ˈɔfərɪŋ ˈkɔrsɪz ɔn ˈneɪtɪv əˈmɛrɪkən ˈlɪtərəʧər sæn diˈeɪgoʊ), ənd ðə ˈsɪvəl raɪts ˈmuvmənt ɪn america”*” ˈbərkli) ənd ˈfɑrmˌwərkər ˈhɪstəri (ucla*). {snɪp} bət ˈɛθnɪk ˈstədiz rɪˈmeɪnz ˈvərʧuəli ˈæbsənt ɪn ˈpəblɪk ˌɛʤəˈkeɪʃən ˈnæʃənəli, ənd ɪt ɪz rɛr ˈivɪn ɪn ˌkæləˈfɔrnjə, wɛr əˈbaʊt θˌrikˈwɔrtərz əv ˈstudənts ər ˈnɑnˈwaɪt. ðət kʊd ʧeɪnʤ wɪθ əˈsɛmbliˌmæn luis (d-watsonville*) ˈrisənt ˌɪntrəˈdəkʃən əv æb 1750 ə bɪl rikˈwaɪərɪŋ ˌkæləˈfɔrnjə tɪ fɔrm ə tæsk fɔrs ðət wʊd ˈstədi haʊ tɪ bɛst ˈɪmpləmənt ə ˈstændərˌdaɪzd ˈɛθnɪk ˈstədiz ˈproʊˌgræm fər haɪ skul ˈstudənts θruaʊt ðə steɪt. səʧ ə ˈproʊˌgræm wʊd ʃɔr əp ˌɪmˈpɔrtənt gæps ɪn students’*’ ˈnɑlɪʤ ənd, ˈkəmɪŋ frəm wən əv ðə moʊst dɪˈvərs steɪts ɪn ðə ˈneɪʃən, sərv ɛz ə ˈpaʊərfəl ˈmɑdəl fər ðə rɛst əv ðə ˈkəntri. {snɪp} ə rɪˈpɔrt ðɪs jɪr baɪ ðə ˈsəðərn ˈpɑvərti lɔ ˈsɛnər rɪˈvild ə dɪˈstərbɪŋ əˈbəndəns əv steɪts ˈɔfərɪŋ ˈlɪtəl ər noʊ ˈstədi əv ðə ˈsɪvəl raɪts ˈmuvmənt. ɪn ə ˌkɑmpriˈhɛnsɪv æˈnælɪsɪs əv steɪt ˈstændərdz ənd ˌɪnˈstrəkʃənəl ˈrisɔrsɪz, ðə ˈsɛnər ˈhændɪd aʊt tɪ ˈnɪrli hæf əv ðə ˈkəntri beɪst ɔn wət ˈtiʧərz wər ɪkˈspɛktɪd tɪ tiʧ əˈbaʊt ˈsɪvəl raɪts ˈhɪstəri. {snɪp} {snɪp} ɪn 2011 ðə ˈnæʃənəl ˌɛʤəˈkeɪʃən assn*. ˈpəblɪʃt ə ˌrivˈju əv ˈrisərʧ ɔn ˈɛθnɪk ˈstədiz ðət ˈsəmərˌaɪzd ˈtɛkstˌbʊks ðɪs weɪ: kənˈtɪnju tɪ rɪˈsiv ðə moʊst əˈtɛnʃən ənd əˈpɪr ɪn ðə ˈwaɪdəst vərˈaɪəti əv roʊlz, ˈdɑməˌneɪtɪŋ ˈstɔri laɪnz ənd lɪsts əv əˈkɑmplɪʃmənts. ˈæfrɪkɑn əˈmɛrɪkənz, ðə nɛkst moʊst ˌrɛprɪˈzɛnɪd ˈreɪʃəl grup, əˈpɪr ɪn ə mɔr ˈlɪmɪtɪd reɪnʤ əv roʊlz ənd ˈjuʒəwəli rɪˈsiv ˈoʊnli ə ˈskɛʧi əˈkaʊnt hɪˈstɔrɪkəli, biɪŋ ˈfiʧərd ˈmeɪnli ɪn riˈleɪʃənˌʃɪp tɪ sˈleɪvəri. ˈeɪʒən əˈmɛrɪkənz ənd lɑˈtinoʊs əˈpɪr ˈmeɪnli ɛz ˈfɪgjərz ɔn ðə ˈlænˌskeɪp wɪθ ˈvərʧuəli noʊ ˈhɪstəri ər kənˈtɛmpərˌɛri ˈɛθnɪk ɪkˈspɪriəns. ˈneɪtɪv əˈmɛrɪkənz əˈpɪr ˈmeɪnli ɪn ðə past.”*.” ðə ˈprɑbləm bi sɑlvd baɪ ˈlaɪtli ˈɛθnɪk dɪˈvərsɪti ˈɪntu ðə ɪgˈzɪstɪŋ goʊz ˈoʊnli soʊ fɑr. ðɪs ɪz əˈbaʊt ˈɔfərɪŋ ˈstudənts ən ˌɛʤəˈkeɪʃən ðət ɪz nɑt ʤɪst ɪnˈrɪʧɪŋ bət ɪmˈpaʊərɪŋ. ˌɪnˈdid, ðɛr ɪz ə strɔŋ ˈbɑdi əv ˈsoʊʃəl saɪəns ˈɛvədəns ʃoʊɪŋ ðət ə ˈsɪriəs ˈɛθnɪk ˈstədiz ˈproʊˌgræm kən peɪ ɔf ɪn ˌɪmˈpruvd ˈstudənt əˈʧivmənt ənd haɪər ˌgræʤəˈweɪʃən reɪts. fər ɪgˈzæmpəl, ðə ˌrivˈju əv ˈrisərʧ saɪts ˈməltəpəl ˌjunəˈvərsəti ˈstədiz ʃoʊɪŋ ðət, fər ˈstudənts əv ˈkələr, ðə mɔr ðeɪ noʊ əˈbaʊt reɪs, ˈreɪˌsɪzəm ənd ˈkəlʧərəl aɪˈdɛntəˌti, ðə haɪər ðɛr greɪdz ənd ˌgræʤəˈweɪʃən reɪts, ənd ðə mɔr ˈlaɪkli ðeɪ ər tɪ goʊ ɔn tɪ ˈkɑlɪʤ. ˈɪntəˌrɛstɪŋli, ðə ˈpɑzətɪv ˌɪmˈpækt əv səʧ ˈstədiz ɪz ˈivɪn haɪər ɔn waɪt ˈstudənts, hu geɪn ə məʧ mɔr səˈfɪstɪˌkeɪtəd ˈɛθnɪk ˈkɑnʃəsnəs ɛz ðeɪ kənˈfrənt ˈɪʃuz əv reɪs ɔˈrɛdi fəˈmɪljər tɪ məˈnɔrəti ˈstudənts. {snɪp} ɪn ə steɪt wɛr məˈnɔrətiz ər ðə məˈʤɔrəti, ə daɪˈnæmɪk ˌəndərˈstændɪŋ əv ɛθˈnɪsɪti ə ˈləgʒəri ər ə dɪˈvərʒən bət ə nəˈsɛsɪti. səʧ ˈkɔrsɪz wʊd hɛlp haɪ skul ˈstudənts tɪ ˈgræpəl wɪθ ðə ˈkɑmplɛks ˈhɪstəri əv əˈprɛʃən ənd əˈʧivmənt ɪn ə ˈivɪn liberating–fashion*. ərˈɪʤənəl ˈɑrtɪkəl ʃɛr ðɪs |
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five men arrested in north queensland with a after travelling from melbourne in an alleged bid to engage join radical fighters in syria
five australian men who police say attempted to take a, or small dinghy, to indonesia in an alleged bid to engage in foreign incursions in syria have been arrested in north queensland.
rapid radicalisation: the case of haider shocks family and experts alike read more
the australian federal police arrested and detained the five men in a car north of cairns on tuesday. they had travelled from melbourne to queensland by car, towing a long vessel with them which they intended to sail overseas from “the top of australia”, police said.
the men, aged between 21 and 33, have not been charged.
deputy commissioner of victoria police, shane patton, told a media conference in melbourne that all of the men were from the city. he also said the seriousness of the case should not be downplayed.
“i want to be perfectly clear,” he said. “this is a serious attempt by five men who are of security interest to us, who have had their passports cancelled, attempting to exit australia so that they can make their way by boat.
“ultimately investigating the intention to possibly end up in syria to fight.”
he said australia had a responsibility to stop the men.
“i’m sure be people sitting at home saying ‘why you simply just let them go and take their chance in the waves and syria? we do that. we let australians leave australia and support terrorism anywhere.
“if they had made it to syria and managed to return to australia, they could have come back with increased knowledge of explosives and weaponry, and may have become more radicalised,” he said.
the men were “very committed” to getting to syria, he added.
“they’ve gone all the way from melbourne, all the way to far north queensland, these people were absolutely committed in their attempt to leave the country.”
australian federal police assistant commissioner neil gaughan said the men had been under investigation for “a number of weeks”.
“they were in a boat that was seven metres long. they were committed, obviously very committed,” gaughan said in melbourne.
the men remained in custody in queensland and would be interviewed on wednesday.
alex jones, a solicitor acting for one of the men, said on wednesday afternoon that he was not aware of any charges laid against his client. investigators had applied for an extension on wednesday morning to detain the men further without charge while investigating possible foreign incursions offences. it was understood police were applying for a further extension.
eight search warrants had also been executed since the arrests, gaughan said. | ðɪs ˈɑrtɪkəl ɪz ˈoʊvər 2 jɪrz oʊld faɪv mɛn ərˈɛstɪd ɪn nɔrθ kˈwinzˌlænd wɪθ ə ˈæftər ˈtrævəlɪŋ frəm ˈmɛlbərn ɪn ən əˈlɛʤd bɪd tɪ ɪnˈgeɪʤ ʤɔɪn ˈrædɪkəl ˈfaɪtərz ɪn ˈsɪriə faɪv ɔˈstreɪljən mɛn hu pəˈlis seɪ əˈtɛmptəd tɪ teɪk ə, ər smɔl ˈdɪŋi, tɪ ˌɪndoʊˈniʒə ɪn ən əˈlɛʤd bɪd tɪ ɪnˈgeɪʤ ɪn ˈfɔrən ˌɪnˈkərʒənz ɪn ˈsɪriə hæv bɪn ərˈɛstɪd ɪn nɔrθ kˈwinzˌlænd. ˈræpɪd radicalisation*: ðə keɪs əv ˈheɪdər ʃɑks ˈfæməli ənd ˈɛkspərts əˈlaɪk rɛd mɔr ðə ɔˈstreɪljən ˈfɛdərəl pəˈlis ərˈɛstɪd ənd dɪˈteɪnd ðə faɪv mɛn ɪn ə kɑr nɔrθ əv kɛrnz ɔn ˈtuzˌdeɪ. ðeɪ hæd ˈtrævəld frəm ˈmɛlbərn tɪ kˈwinzˌlænd baɪ kɑr, toʊɪŋ ə lɔŋ ˈvɛsəl wɪθ ðɛm wɪʧ ðeɪ ˌɪnˈtɛndɪd tɪ seɪl ˈoʊvərˈsiz frəm tɔp əv australia”*”, pəˈlis sɛd. ðə mɛn, ˈeɪʤɪd bɪtˈwin 21 ənd 33 hæv nɑt bɪn ʧɑrʤd. ˈdɛpjəti kəˈmɪʃənər əv vɪkˈtɔriə pəˈlis, ʃeɪn ˈpætən, toʊld ə ˈmidiə ˈkɑnfərəns ɪn ˈmɛlbərn ðət ɔl əv ðə mɛn wər frəm ðə ˈsɪti. hi ˈɔlsoʊ sɛd ðə ˈsɪriəsnəs əv ðə keɪs ʃʊd nɑt bi ˈdaʊnˌpleɪd. wɔnt tɪ bi ˈpərfəktli clear,”*,” hi sɛd. ɪz ə ˈsɪriəs əˈtɛmpt baɪ faɪv mɛn hu ər əv sɪˈkjʊrəti ˈɪntəˌrɛst tɪ ˈjuˈɛs, hu hæv hæd ðɛr ˈpæˌspɔrts ˈkænsəld, əˈtɛmptɪŋ tɪ ˈɛksət ɔˈstreɪljə soʊ ðət ðeɪ kən meɪk ðɛr weɪ baɪ boʊt. ˌɪnˈvɛstəˌgeɪtɪŋ ðə ˌɪnˈtɛnʧən tɪ ˈpɑsəbli ɛnd əp ɪn ˈsɪriə tɪ fight.”*.” hi sɛd ɔˈstreɪljə hæd ə riˌspɑnsəˈbɪləti tɪ stɑp ðə mɛn. ʃʊr bi ˈpipəl ˈsɪtɪŋ æt hoʊm seɪɪŋ ju ˈsɪmpli ʤɪst lɛt ðɛm goʊ ənd teɪk ðɛr ʧæns ɪn ðə weɪvz ənd ˈsɪriə? wi du ðət. wi lɛt ɔˈstreɪljənz liv ɔˈstreɪljə ənd səˈpɔrt ˈtɛrəˌrɪzəm ˈɛniˌwɛr. ðeɪ hæd meɪd ɪt tɪ ˈsɪriə ənd ˈmænɪʤd tɪ rɪˈtərn tɪ ɔˈstreɪljə, ðeɪ kʊd hæv kəm bæk wɪθ ˌɪnˈkrist ˈnɑlɪʤ əv ɪkˈsploʊsɪvz ənd ˈwɛpənri, ənd meɪ hæv bɪˈkəm mɔr radicalised,”*,” hi sɛd. ðə mɛn wər committed”*” tɪ ˈgɪtɪŋ tɪ ˈsɪriə, hi ˈædɪd. gɔn ɔl ðə weɪ frəm ˈmɛlbərn, ɔl ðə weɪ tɪ fɑr nɔrθ kˈwinzˌlænd, ðiz ˈpipəl wər ˌæbsəˈlutli kəˈmɪtɪd ɪn ðɛr əˈtɛmpt tɪ liv ðə country.”*.” ɔˈstreɪljən ˈfɛdərəl pəˈlis əˈsɪstənt kəˈmɪʃənər nil gɔən sɛd ðə mɛn hæd bɪn ˈəndər ˌɪnˌvɛstəˈgeɪʃən fər ˈnəmbər əv weeks”*”. wər ɪn ə boʊt ðət wɑz ˈsɛvən ˈmitərz lɔŋ. ðeɪ wər kəˈmɪtɪd, ˈɑbviəsli ˈvɛri committed,”*,” gɔən sɛd ɪn ˈmɛlbərn. ðə mɛn rɪˈmeɪnd ɪn ˈkəstədi ɪn kˈwinzˌlænd ənd wʊd bi ˈɪntərvˌjud ɔn ˈwɛnzˌdeɪ. ˈæləks ʤoʊnz, ə səˈlɪsətər ˈæktɪŋ fər wən əv ðə mɛn, sɛd ɔn ˈwɛnzˌdeɪ ˌæftərˈnun ðət hi wɑz nɑt əˈwɛr əv ˈɛni ˈʧɑrʤɪz leɪd əˈgɛnst hɪz klaɪənt. ˌɪnˈvɛstəˌgeɪtərz hæd əˈplaɪd fər ən ɪkˈstɛnʃən ɔn ˈwɛnzˌdeɪ ˈmɔrnɪŋ tɪ dɪˈteɪn ðə mɛn ˈfərðər wɪˈθaʊt ʧɑrʤ waɪl ˌɪnˈvɛstəˌgeɪtɪŋ ˈpɑsəbəl ˈfɔrən ˌɪnˈkərʒənz offences*. ɪt wɑz ˌəndərˈstʊd pəˈlis wər əˈplaɪɪŋ fər ə ˈfərðər ɪkˈstɛnʃən. eɪt sərʧ ˈwɔrənts hæd ˈɔlsoʊ bɪn ˈɛksəˌkjutɪd sɪns ðə ərˈɛsts, gɔən sɛd. |
throughout 2012, the caucus will occasionally pose five questions to individuals from across the political spectrum who have special insight into government, policy making and political combat. if there is someone you think should be interviewed, let us know in the comment section below, or send me an e-mail at michael.shear@nytimes.com.
this subject is jill stein, a candidate for the green presidential nomination. ms. stein, a former physician and teacher of internal medicine, writes and speaks about the connections between the environment and health. she ran for governor of massachusetts in 2002 against mitt romney.
q. why are you running for president?
michael press
a. we are in crisis and people are losing their jobs and their homes and their health care and affordable higher education and civil liberties. you name it, they are losing it. we have got a 1 percent rolling in dough as much as ever and the political establishment is not fixing it. the establishment got us into this mess, in both parties. and clear as day. over 10 years, i have been a recalcitrant political challenger, a recurrent alternative that would not go away.
q. is your campaign trying to tap into the occupy movement?
a. occupy is very much a part of a broader move for democracy and economic and social justice. that is alive and well around the world. just look at what is going on in wisconsin which is directly linked to occupy. it have the name of occupy, but they slept for three weeks in the statehouse. if not occupy, what is? the occupy movement, beneath the surface, represents a political coming of age of a younger generation who have been on the receiving end of a generally exploitative economy. one of those groups to exploit has been young people. they have been exploited in education. the unemployment crisis hits them the hardest. they are bearing the burden for the climate disruptions that are coming down the pike.
q. does president obama deserve credit for health care and other accomplishments?
a. small time, sure. there are minor improvements. but on the other hand, he took off the table. he absolutely took a public option off the table. as we found on issue after issue the war, george secretary of defense, sticking to george timeline on iraq, expanding the war, expanding the drone wars all over the place. and how about bringing wall street in, the guys who created the problem, among his first appointments. it was pretty clear right then that this was going to be business as usual on steroids. certainly not more secure, more equitable, more healthy or safer internationally, with what obama has brought.
q. what do you think of mitt romney?
a. he responds to his electorate. when running in salt lake, anti-abortion. when running in massachusetts, pro-abortion. he responds to his electorate, broadly, except that he remains basically in a very narrow sense of the word that is a big, corporate multinational business. you know what, not so different from the way larry summers and tim are running the country under barack obama. when our governorship changed from mitt romney and it went directly to deval patrick, who is another poster child for progressive democrats, no difference. nothing detectable. nothing changed in massachusetts whatsoever.
q. is there a difference between the democratic and republican parties?
a. you might look at one party as a rapidly sinking ship and say going to vote for the other guy because the not going down so fast. we like him but not sinking the ship so fast. but the real question is, if both of those ships are heading for the bottom of the ocean, do you want to be on either of them? no. no question about where those ships are heading if you are looking at the economy.
this interview has been edited and condensed. | θruaʊt 2012 ðə ˈkɔkəs wɪl ɔˈkeɪʒənəˌli poʊz faɪv kˈwɛsʧənz tɪ ˌɪndəˈvɪʤəwəlz frəm əˈkrɔs ðə pəˈlɪtɪkəl ˈspɛktrəm hu hæv ˈspɛʃəl ˈɪnˌsaɪt ˈɪntu ˈgəvərnmənt, ˈpɑləsi ˈmeɪkɪŋ ənd pəˈlɪtɪkəl ˈkɑmbæt. ɪf ðɛr ɪz ˈsəmˌwən ju θɪŋk ʃʊd bi ˈɪntərvˌjud, lɛt ˈjuˈɛs noʊ ɪn ðə ˈkɑmɛnt ˈsɛkʃən bɪˈloʊ, ər sɛnd mi ən ˈiˌmeɪl æt michael.shear@nytimes.com*. ðɪs ˈsəbʤɪkt ɪz ʤɪl staɪn, ə ˈkænədɪt fər ðə grin ˌprɛzɪˈdɛnʃəl ˌnɑməˈneɪʃən. mɪz. staɪn, ə ˈfɔrmər fəˈzɪʃən ənd ˈtiʧər əv ˌɪnˈtərnəl ˈmɛdəsən, raɪts ənd spiks əˈbaʊt ðə kəˈnɛkʃənz bɪtˈwin ðə ɪnˈvaɪrənmənt ənd hɛlθ. ʃi ræn fər ˈgəvərnər əv ˌmæsəˈʧusəts ɪn 2002 əˈgɛnst mɪt ˈrɑmni. kju. waɪ ər ju ˈrənɪŋ fər ˈprɛzɪdənt? ˈmaɪkəl prɛs ə. wi ər ɪn ˈkraɪsəs ənd ˈpipəl ər ˈluzɪŋ ðɛr ʤɑbz ənd ðɛr hoʊmz ənd ðɛr hɛlθ kɛr ənd əˈfɔrdəbəl haɪər ˌɛʤəˈkeɪʃən ənd ˈsɪvəl ˈlɪbərˌtiz. ju neɪm ɪt, ðeɪ ər ˈluzɪŋ ɪt. wi hæv gɑt ə 1 pərˈsɛnt ˈroʊlɪŋ ɪn doʊ ɛz məʧ ɛz ˈɛvər ənd ðə pəˈlɪtɪkəl ɪˈstæblɪʃmənt ɪz nɑt ˈfɪksɪŋ ɪt. ðə ɪˈstæblɪʃmənt gɑt ˈjuˈɛs ˈɪntu ðɪs mɛs, ɪn boʊθ ˈpɑrtiz. ənd klɪr ɛz deɪ. ˈoʊvər 10 jɪrz, aɪ hæv bɪn ə rɪˈkælsɪtrənt pəˈlɪtɪkəl ˈʧælɪnʤər, ə rɪˈkərənt ɔlˈtərnətɪv ðət wʊd nɑt goʊ əˈweɪ. kju. ɪz jʊr kæmˈpeɪn traɪɪŋ tɪ tæp ˈɪntu ðə ˈɑkjəˌpaɪ ˈmuvmənt? ə. ˈɑkjəˌpaɪ ɪz ˈvɛri məʧ ə pɑrt əv ə ˈbrɔdər muv fər dɪˈmɑkrəsi ənd ˌɛkəˈnɑmɪk ənd ˈsoʊʃəl ˈʤəstɪs. ðət ɪz əˈlaɪv ənd wɛl əraʊnd ðə wərld. ʤɪst lʊk æt wət ɪz goʊɪŋ ɔn ɪn wɪˈskɑnsən wɪʧ ɪz dɪˈrɛkli lɪŋkt tɪ ˈɑkjəˌpaɪ. ɪt hæv ðə neɪm əv ˈɑkjəˌpaɪ, bət ðeɪ slɛpt fər θri wiks ɪn ðə ˈsteɪˌthaʊs. ɪf nɑt ˈɑkjəˌpaɪ, wət ɪz? ðə ˈɑkjəˌpaɪ ˈmuvmənt, bɪˈniθ ðə ˈsərfəs, ˌrɛprɪˈzɛnts ə pəˈlɪtɪkəl ˈkəmɪŋ əv eɪʤ əv ə ˈjəŋgər ˌʤɛnərˈeɪʃən hu hæv bɪn ɔn ðə rɪˈsivɪŋ ɛnd əv ə ˈʤɛnərəli ˌɛkˈsplɔɪtətɪv ɪˈkɑnəmi. wən əv ðoʊz grups tɪ ˌɛkˈsplɔɪt həz bɪn jəŋ ˈpipəl. ðeɪ hæv bɪn ˈɛkˌsplɔɪtəd ɪn ˌɛʤəˈkeɪʃən. ðə ˌənɪmˈplɔɪmənt ˈkraɪsəs hɪts ðɛm ðə ˈhɑrdəst. ðeɪ ər ˈbɛrɪŋ ðə ˈbərdən fər ðə ˈklaɪmɪt dɪsˈrəpʃənz ðət ər ˈkəmɪŋ daʊn ðə paɪk. kju. dɪz ˈprɛzɪdənt ˌoʊˈbɑmə dɪˈzərv ˈkrɛdɪt fər hɛlθ kɛr ənd ˈəðər əˈkɑmplɪʃmənts? ə. smɔl taɪm, ʃʊr. ðɛr ər ˈmaɪnər ˌɪmˈpruvmənts. bət ɔn ðə ˈəðər hænd, hi tʊk ɔf ðə ˈteɪbəl. hi ˌæbsəˈlutli tʊk ə ˈpəblɪk ˈɔpʃən ɔf ðə ˈteɪbəl. ɛz wi faʊnd ɔn ˈɪʃu ˈæftər ˈɪʃu ðə wɔr, ʤɔrʤ ˈsɛkrəˌtɛri əv dɪˈfɛns, ˈstɪkɪŋ tɪ ʤɔrʤ ˈtaɪmlaɪn ɔn ˌɪˈrɑk, ɪkˈspændɪŋ ðə wɔr, ɪkˈspændɪŋ ðə droʊn wɔrz ɔl ˈoʊvər ðə pleɪs. ənd haʊ əˈbaʊt ˈbrɪŋɪŋ wɔl strit ɪn, ðə gaɪz hu kriˈeɪtɪd ðə ˈprɑbləm, əˈməŋ hɪz fərst əˈpɔɪntmənts. ɪt wɑz ˈprɪti klɪr raɪt ðɛn ðət ðɪs wɑz goʊɪŋ tɪ bi ˈbɪznɪs ɛz ˈjuʒəwəl ɔn ˈstɛrɔɪdz. ˈsərtənli nɑt mɔr sɪˈkjʊr, mɔr ˈɛkwɪtəbəl, mɔr ˈhɛlθi ər ˈseɪfər ˌɪnərˈnæʃənɑli, wɪθ wət ˌoʊˈbɑmə həz brɔt. kju. wət du ju θɪŋk əv mɪt ˈrɑmni? ə. hi rɪˈspɑndz tɪ hɪz ɪˈlɛktərət. wɪn ˈrənɪŋ ɪn sɔlt leɪk, anti-abortion*. wɪn ˈrənɪŋ ɪn ˌmæsəˈʧusəts, pro-abortion*. hi rɪˈspɑndz tɪ hɪz ɪˈlɛktərət, ˈbrɔdli, ɪkˈsɛpt ðət hi rɪˈmeɪnz ˈbeɪsɪkli ɪn ə ˈvɛri ˈnɛroʊ sɛns əv ðə wərd ðət ɪz ə bɪg, ˈkɔrpərət ˌməlˌtiˈnæʃənəl ˈbɪznɪs. ju noʊ wət, nɑt soʊ ˈdɪfərənt frəm ðə weɪ ˈlɛri ˈsəmərz ənd tɪm ər ˈrənɪŋ ðə ˈkəntri ˈəndər ˈbɑrək ˌoʊˈbɑmə. wɪn ɑr ˈgəvərnərˌʃɪp ʧeɪnʤd frəm mɪt ˈrɑmni ənd ɪt wɛnt dɪˈrɛkli tɪ dɪˈvɑl ˈpætrɪk, hu ɪz əˈnəðər ˈpoʊstər ʧaɪld fər prəˈgrɛsɪv ˈdɛməˌkræts, noʊ ˈdɪfərəns. ˈnəθɪŋ dɪˈtɛktəbəl. ˈnəθɪŋ ʧeɪnʤd ɪn ˌmæsəˈʧusəts ˌwətsoʊˈɛvər. kju. ɪz ðɛr ə ˈdɪfərəns bɪtˈwin ðə ˌdɛməˈkrætɪk ənd rɪˈpəblɪkən ˈpɑrtiz? ə. ju maɪt lʊk æt wən ˈpɑrti ɛz ə ˈræpədli ˈsɪŋkɪŋ ʃɪp ənd seɪ goʊɪŋ tɪ voʊt fər ðə ˈəðər gaɪ bɪˈkəz ðə nɑt goʊɪŋ daʊn soʊ fæst. wi laɪk ɪm bət nɑt ˈsɪŋkɪŋ ðə ʃɪp soʊ fæst. bət ðə ril kˈwɛʃən ɪz, ɪf boʊθ əv ðoʊz ʃɪps ər ˈhɛdɪŋ fər ðə ˈbɑtəm əv ðə ˈoʊʃən, du ju wɔnt tɪ bi ɔn ˈiðər əv ðɛm? noʊ. noʊ kˈwɛʃən əˈbaʊt wɛr ðoʊz ʃɪps ər ˈhɛdɪŋ ɪf ju ər ˈlʊkɪŋ æt ðə ɪˈkɑnəmi. ðɪs ˈɪntərvˌju həz bɪn ˈɛdɪtɪd ənd kənˈdɛnst. |
the role of ice under bush and obama over the years, immigration and customs enforcement (ice), often called "immigration holds," were thought to be a primary tool that ice needed to apprehend the suspects it was seeking to deport. however, as data has emerged tracing actual use of , whether they ever played such a necessary or primary role has been called into question. this report extends the body of evidence now available and documents how surprisingly low the number of individuals deported as a result of the use of actually appears to have been. large-scale use of ice is a relatively recent phenomenon. were infrequently used during the first five and half years of former president george w. bush's administration. however, during the last two years under bush, usage increased rapidly and continued to grow when president barack obama assumed office. examining what actually achieved and did not achieve during the obama and bush years is important because under the trump administration's recent flurry of immigration executive orders it appears that the use of is likely to surge . it also should be observed that very recent changes in the agency's freedom of information act (foia) policies indicate that transparency about this and other ice activities has been sharply reduced. the data indicate that the growth in the use of under bush and obama was surprisingly short lived. the preparation of ice peaked in august 2011 when were recorded. and the number of these that were followed by ice taking the individual into custody peaked even earlier, during march 2010. in that month of the, according to ice records, were followed by the individual being taken into custody. this peak in march of 2010 was barely a year after president obama assumed office. usage fell off after this. just because a person was taken into ice custody also didn't automatically mean the individual was ordered deported and removed from the country. newly available government records suggest that a surprisingly small proportion of those taken into custody ultimately were deported. figure 1 compares-connected removals to the volume of issued. note that actual removals are relatively few as compared with the number of ice.
figure 1. comparing ice to-connected removals figure 1. comparing ice to-connected removals these new findings are based on a detailed analysis by the access records clearinghouse (trac) at syracuse university of recently released ice records on removals following the issuance of a. these data were obtained as a result of freedom of information act (foia) campaign that included hundreds of foia requests, appeals, and a successful lawsuit. another way to examine the evidence is to assess just what proportion of removals were of individuals who were previously targeted with a. ice removal records show that during the first three months of 2016, only 5 percent of ice removals from the interior of the u.s. (1,100 cases) were associated with a previously issued. on an annual basis, this means the- connected removals were recently running only a year . here, both ice, as well as notices, are included in these counts. when compared against the total of interior and border ice removals,-connected removals represented only percent. and if deportations by customs and border protection (cbp) are added to ice removals, the percentage is even smaller. it is true that these numbers are down sharply from the connected removals during the first three months of 2013 2012). but even this higher number is surprisingly modest. even back then, this represented only around a quarter (28%) of ice removals from the interior, and less than 12 percent of all ice removals. see figures 2 and 3. figure 2 plots the proportion of ice removals from the interior of the united states that followed the issuance of a, while figure 3 shows these same numbers as a percentage of total ice removals including those from both the border and the interior.
figure 2. ice deportations from interior and usage figure 2. ice deportations from interior and usage a free user query tool accompanying this report allows the public access to underlying data behind these trac findings, along with additional useful information on ice removals over an even longer period of time.
figure 3. all ice deportations and usage figure 3. all ice deportations and usage-connected removals: from through pep usage not only peaked early in the obama years, but also was highest when only a relatively small proportion of jurisdictions were covered by secure communities (scomm). it was only later that most local and state law enforcement agencies had fingerprint records they submitted to the fbi automatically shared with ice through the program. see trac april 2014 report. even though usage peaked early during the obama years, removals resulting from would not necessarily see a parallel decline. this is true for several reasons. for some individuals subject to a, it could take many months or even the immigration court's work their way through civil proceedings and actually be ordered deported. for others, deportation might be delayed until individuals finished serving their prison sentence if they were convicted of committing a serious crime. further, the expanded coverage of gave ice a greatly increased volume of fingerprint records to review, allowing it to refine and perhaps better target how and when were used. this might lead to a higher proportion that resulted in an actual deportation. a more detailed comparison - october 2012 through december the role of starting when became fully functional in nearly all communities, and ending thirteen months after the announcement that the program was being replaced by homeland security's priority enforcement program (pep) . see figures 4 and 5. figure 4 plots the actual number of removals, while figure 5 shows these trends as a proportion of ice removals from the interior of the country. as before, both and notices are included in these plots.
figure 4. ice deportations with prior by month figure 4. ice deportations with prior by month both graphs show a similar pattern of decline, with a modest temporary upsurge starting the month before the official announcement of's replacement by pep. after this upsurge, however, the plots show that once the new priorities pep ushered in became fully operational, these declines resumed again.
figure 5. percent of ice interior deportations with prior by month figure 5. percent of ice interior deportations with prior by month improvements in ice transparency needed despite new findings, additional unanswered questions remain. first, these findings focus on trends at the national level. there is no geographic breakdown because ice did not release the needed geographic data. further, with president trump's new executive orders, an even wider range of information is now needed to monitor how these policies will be implemented. however, the outlook for public access to the information required to monitor the program is not promising. a recent and dramatic change in ice foia policies occurred in the waning months of the obama administration. these changes in foia policies appear to be designed to drastically restrict the already limited flow of data the agency releases to the public. fields of information that ice had routinely provided to trac in response to its regular monthly foia requests recently started getting left off the files trac received without explanation. more and more fields disappeared as new ice responses arrived. for example, trac received 15 separate shipments from ice one week in january and each of these shipments in response to individual foia requests were largely unusable because ice had stopped providing so many key fields of information. omitted, for example, from the files were the year of birth of individuals, details on criminal convictions, whether the agency actually took custody of individuals it had asked state and local law enforcement officials to detain, or what actions ice took to deport individuals once they were in ice custody, along with many other data fields. all of this information the agency had previously been releasing to trac in response to its monthly foia requests, and are essential to the public's understanding of what the agency is actually doing to enforce immigration laws. thus far, administrative appeals within the agency have been unavailing. in response to one of appeals, the ice appellate office notified us that many fields the agency previously provided would no longer be provided. ice claimed that these past releases were discretionary. however, the agency does not claim that this information is any way exempt from disclosure, only that it requires them to carry out "analyses" they are not required to undertake. trac, however, does not ask the agency to compile any statistics, it only requests the release of actual copies of their records that obviously do exist and contain the information we are seeking. this is a very troubling development. litigation appears to be needed to challenge these new unlawful practices. the inherent challenge of connecting ice with actual removals there is a further problem which casts doubt on how effective a greatly expanded use of will actually be, under the announced reinstatement of secure communities by the trump administration. even these reported figures on-related removals implicitly assume that ice actually has a reliable system for tracking what happens to cases after a is prepared. without reliable data, agency managers are without the information they need to effectively administer any program. by a reliable system, trac means one that both records subsequent events that occur after the is prepared, and then allows these events to be linked so that the number of individuals ultimately deported as a result of the use of ice can be accurately monitored. however, these assumed linkages are particularly problematic. for example, ice contends that it only knows when a is prepared and does not track whether it was actually issued. further, when ice later assumes custody of an individual we only know that custody occurs after the was prepared. ice contends it does not track whether ice assumed custody from the law enforcement agency that issued the. it could have arisen from entirely separate ice initiatives. likewise, we do not know that the use of the actually led to the removal, or whether the removal was the result of other unconnected enforcement efforts. again ice contends its data systems do not allow it to track this. thus, these limitations in the available data may actually the actual impact of on removals since enforcement initiatives wholly apart from the preparation of a could have been what led to some of these deportations. on the other hand, to the extent there are other types of data quality problems, these could interfere with ability to connect the issuance of a to the later deportation even where the was a key factor in securing the individual's removal. this would lead to under counting removals resulting from. either way, if ice contentions on the limitations of its data systems are correct, ice managers currently lack the information they need to effectively administer this program. neither the department of homeland security nor immigration and customs enforcement under presidents bush or obama published annual statistics on its program. while the department used to publish monthly statistics under its secure communities program, these statistics did not contain any information on the agency's actual use of as part of. nor to our knowledge has the agency released any systematic studies of the reliability of the agency's records that are used by managers to monitor usage and to track cases so that they can determine the effectiveness of its use of in meeting the agency's goals. such studies are critically needed. footnotes see side bar for links to earlier reports trac has issued tracking usage. see, for example, executive order 13768 of january 25, 2017 on "enhancing public safety in the interior of the united states." this executive order the secure communities program, and seeks to withdraw federal funds from so-called sanctuary jurisdictions. it also terminates obama's priority enforcement program (pep) that placed a number of restrictions on the use of ice, and sets a target, subject to the availability of appropriations, of hiring additional ice officers. figures on and those on which ice assumes custody are based upon the month the was prepared, while figures on-connected removals are based upon the month the removal occurred. note that it is important to distinguish between-connected removals shown here, and removals connected to automatic fingerprint matching. many removals credited to the secure communities program did not involve the use of, and usage was never restricted to secure communities. a forthcoming trac report will examine the use of within the secure communities program. as discussed later in this report, ice has recently started withholding the data that would allow extending these results to the rest of 2016 and the beginning of 2017. see department of homeland security's secretary johnson's november 20, 2014 directive on "secure communities." in replacing with pep, the justifications included citations to a long series of court decisions finding ice did not comply with probable cause requirements, placing state and local law enforcement agencies in violation of the fourth amendment to the u.s. constitution. the undermining of community trust in local law enforcement as a result of the close cooperation called for in was also cited. as the memorandum explained, these twin concerns had led to growing resistance to honoring ice by governors, mayors, and state and local law enforcement officials from around the country, as well as to the passage of more and more legislation restricting such cooperation. | ðə roʊl əv aɪs ˈəndər bʊʃ ənd ˌoʊˈbɑmə ˈoʊvər ðə jɪrz, ˌɪməˈgreɪʃən ənd ˈkəstəmz ɛnˈfɔrsmənt (aɪs), ˈɔfən kɔld "ˌɪməˈgreɪʃən hoʊldz," wər θɔt tɪ bi ə ˈpraɪˌmɛri tul ðət aɪs ˈnidɪd tɪ ˌæprɪˈhɛnd ðə ˈsəˌspɛkts ɪt wɑz ˈsikɪŋ tɪ dɪˈpɔrt. ˌhaʊˈɛvər, ɛz ˈdætə həz ˈimərʤd ˈtreɪsɪŋ ˈækʧəwəl juz əv ˈwɛðər ðeɪ ˈɛvər pleɪd səʧ ə ˈnɛsəˌsɛri ər ˈpraɪˌmɛri roʊl həz bɪn kɔld ˈɪntu kˈwɛʃən. ðɪs rɪˈpɔrt ɪkˈstɛndz ðə ˈbɑdi əv ˈɛvədəns naʊ əˈveɪləbəl ənd ˈdɑkjəmənts haʊ səˈpraɪzɪŋli loʊ ðə ˈnəmbər əv ˌɪndəˈvɪʤəwəlz dɪˈpɔrtəd ɛz ə rɪˈzəlt əv ðə juz əv ˈæˌkʧuəli əˈpɪrz tɪ hæv bɪn. ˈlɑrʤˌskeɪl juz əv aɪs ɪz ə ˈrɛlətɪvli ˈrisənt fəˈnɑməˌnɑn. wər ˌɪnˈfrikwəntli juzd ˈdʊrɪŋ ðə fərst faɪv ənd hæf jɪrz əv ˈfɔrmər ˈprɛzɪdənt ʤɔrʤ ˈdəbəlju. ˈbʊʃɪz ædˌmɪnɪˈstreɪʃən. ˌhaʊˈɛvər, ˈdʊrɪŋ ðə læst tu jɪrz ˈəndər bʊʃ, ˈjusɪʤ ˌɪnˈkrist ˈræpədli ənd kənˈtɪnjud tɪ groʊ wɪn ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə əˈsumd ˈɔfəs. ɪgˈzæmɪnɪŋ wət ˈæˌkʧuəli əˈʧivd ənd dɪd nɑt əˈʧiv ˈdʊrɪŋ ðə ˌoʊˈbɑmə ənd bʊʃ jɪrz ɪz ˌɪmˈpɔrtənt bɪˈkəz ˈəndər ðə trəmp ædˌmɪnɪˈstreɪʃənz ˈrisənt ˈfləri əv ˌɪməˈgreɪʃən ɪgˈzɛkjətɪv ˈɔrdərz ɪt əˈpɪrz ðət ðə juz əv ɪz ˈlaɪkli tɪ sərʤ ɪt ˈɔlsoʊ ʃʊd bi əbˈzərvd ðət ˈvɛri ˈrisənt ˈʧeɪnʤɪz ɪn ðə ˈeɪʤənsiz ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən ækt (ˈɛˈfoʊˈaɪˈeɪ) ˈpɑləsiz ˈɪndəˌkeɪt ðət trænˈspɛrənsi əˈbaʊt ðɪs ənd ˈəðər aɪs ækˈtɪvɪtiz həz bɪn ˈʃɑrpli rɪˈdust. ðə ˈdætə ˈɪndəˌkeɪt ðət ðə groʊθ ɪn ðə juz əv ˈəndər bʊʃ ənd ˌoʊˈbɑmə wɑz səˈpraɪzɪŋli ʃɔrt lɪvd. ðə ˌprɛpərˈeɪʃən əv aɪs pikt ɪn ˈɔgəst 2011 wɪn wər rɪˈkɔrdɪd. ənd ðə ˈnəmbər əv ðiz ðət wər ˈfɑloʊd baɪ aɪs ˈteɪkɪŋ ðə ˌɪndəˈvɪʤəwəl ˈɪntu ˈkəstədi pikt ˈivɪn ˈərliər, ˈdʊrɪŋ mɑrʧ 2010 ɪn ðət mənθ əv ðə, əˈkɔrdɪŋ tɪ aɪs ˈrɛkərdz, wər ˈfɑloʊd baɪ ðə ˌɪndəˈvɪʤəwəl biɪŋ ˈteɪkən ˈɪntu ˈkəstədi. ðɪs pik ɪn mɑrʧ əv 2010 wɑz ˈbɛrli ə jɪr ˈæftər ˈprɛzɪdənt ˌoʊˈbɑmə əˈsumd ˈɔfəs. ˈjusɪʤ fɛl ɔf ˈæftər ðɪs. ʤɪst bɪˈkəz ə ˈpərsən wɑz ˈteɪkən ˈɪntu aɪs ˈkəstədi ˈɔlsoʊ ˈdɪdənt ˌɔtəˈmætɪkli min ðə ˌɪndəˈvɪʤəwəl wɑz ˈɔrdərd dɪˈpɔrtəd ənd riˈmuvd frəm ðə ˈkəntri. ˈnuli əˈveɪləbəl ˈgəvərnmənt ˈrɛkərdz səˈʤɛst ðət ə səˈpraɪzɪŋli smɔl prəˈpɔrʃən əv ðoʊz ˈteɪkən ˈɪntu ˈkəstədi ˈəltəmətli wər dɪˈpɔrtəd. ˈfɪgjər 1 kəmˈpɛrz rɪˈmuvəlz tɪ ðə ˈvɑljum əv ˈɪʃud. noʊt ðət ˈækʧəwəl rɪˈmuvəlz ər ˈrɛlətɪvli fju ɛz kəmˈpɛrd wɪθ ðə ˈnəmbər əv aɪs. ˈfɪgjər 1 kəmˈpɛrɪŋ aɪs tɪ rɪˈmuvəlz ˈfɪgjər 1 kəmˈpɛrɪŋ aɪs tɪ rɪˈmuvəlz ðiz nu ˈfaɪndɪŋz ər beɪst ɔn ə dɪˈteɪld æˈnælɪsɪs baɪ ðə ˈækˌsɛs ˈrɛkərdz ˈklɪrɪŋˌhaʊs (træk) æt ˈsɪrəˌkjuz ˌjunəˈvərsəti əv ˈrisəntli riˈlist aɪs ˈrɛkərdz ɔn rɪˈmuvəlz ˈfɑloʊɪŋ ðə ˈɪʃuəns əv ə. ðiz ˈdætə wər əbˈteɪnd ɛz ə rɪˈzəlt əv ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən ækt (ˈɛˈfoʊˈaɪˈeɪ) kæmˈpeɪn ðət ˌɪnˈkludɪd ˈhənərdz əv ˈɛˈfoʊˈaɪˈeɪ rɪkˈwɛsts, əˈpilz, ənd ə səkˈsɛsfəl ˈlɔˌsut. əˈnəðər weɪ tɪ ɪgˈzæmɪn ðə ˈɛvədəns ɪz tɪ əˈsɛs ʤɪst wət prəˈpɔrʃən əv rɪˈmuvəlz wər əv ˌɪndəˈvɪʤəwəlz hu wər ˈpriviəsli ˈtɑrgətɪd wɪθ ə. aɪs rɪˈmuvəl ˈrɛkərdz ʃoʊ ðət ˈdʊrɪŋ ðə fərst θri mənθs əv 2016 ˈoʊnli 5 pərˈsɛnt əv aɪs rɪˈmuvəlz frəm ðə ˌɪnˈtɪriər əv ðə juz. ˈkeɪsɪz) wər əˈsoʊʃiˌeɪtəd wɪθ ə ˈpriviəsli ˈɪʃud. ɔn ən ˈænjuəl ˈbeɪsɪs, ðɪs minz ðə- kəˈnɛktɪd rɪˈmuvəlz wər ˈrisəntli ˈrənɪŋ ˈoʊnli ə jɪr hir, boʊθ aɪs, ɛz wɛl ɛz ˈnoʊtɪsɪz, ər ˌɪnˈkludɪd ɪn ðiz kaʊnts. wɪn kəmˈpɛrd əˈgɛnst ðə ˈtoʊtəl əv ˌɪnˈtɪriər ənd ˈbɔrdər aɪs rɪˈmuvəlz, rɪˈmuvəlz ˌrɛprɪˈzɛnɪd ˈoʊnli pərˈsɛnt. ənd ɪf ˌdipɔrˈteɪʃənz baɪ ˈkəstəmz ənd ˈbɔrdər prəˈtɛkʃən (cbp*) ər ˈædɪd tɪ aɪs rɪˈmuvəlz, ðə pərˈsɛnɪʤ ɪz ˈivɪn sˈmɔlər. ɪt ɪz tru ðət ðiz ˈnəmbərz ər daʊn ˈʃɑrpli frəm ðə kəˈnɛktɪd rɪˈmuvəlz ˈdʊrɪŋ ðə fərst θri mənθs əv 2013 2012 bət ˈivɪn ðɪs haɪər ˈnəmbər ɪz səˈpraɪzɪŋli ˈmɑdəst. ˈivɪn bæk ðɛn, ðɪs ˌrɛprɪˈzɛnɪd ˈoʊnli əraʊnd ə kˈwɔrtər 28 əv aɪs rɪˈmuvəlz frəm ðə ˌɪnˈtɪriər, ənd lɛs ðən 12 pərˈsɛnt əv ɔl aɪs rɪˈmuvəlz. si ˈfɪgjərz 2 ənd 3 ˈfɪgjər 2 plɑts ðə prəˈpɔrʃən əv aɪs rɪˈmuvəlz frəm ðə ˌɪnˈtɪriər əv ðə juˈnaɪtɪd steɪts ðət ˈfɑloʊd ðə ˈɪʃuəns əv ə, waɪl ˈfɪgjər 3 ʃoʊz ðiz seɪm ˈnəmbərz ɛz ə pərˈsɛnɪʤ əv ˈtoʊtəl aɪs rɪˈmuvəlz ˌɪnˈkludɪŋ ðoʊz frəm boʊθ ðə ˈbɔrdər ənd ðə ˌɪnˈtɪriər. ˈfɪgjər 2 aɪs ˌdipɔrˈteɪʃənz frəm ˌɪnˈtɪriər ənd ˈjusɪʤ ˈfɪgjər 2 aɪs ˌdipɔrˈteɪʃənz frəm ˌɪnˈtɪriər ənd ˈjusɪʤ ə fri ˈjuzər kˈwiri tul əˈkəmpəniɪŋ ðɪs rɪˈpɔrt əˈlaʊz ðə ˈpəblɪk ˈækˌsɛs tɪ ˌəndərˈlaɪɪŋ ˈdætə bɪˈhaɪnd ðiz træk ˈfaɪndɪŋz, əˈlɔŋ wɪθ əˈdɪʃənəl ˈjusfəl ˌɪnˌfɔrˈmeɪʃən ɔn aɪs rɪˈmuvəlz ˈoʊvər ən ˈivɪn ˈlɔŋgər ˈpɪriəd əv taɪm. ˈfɪgjər 3 ɔl aɪs ˌdipɔrˈteɪʃənz ənd ˈjusɪʤ ˈfɪgjər 3 ɔl aɪs ˌdipɔrˈteɪʃənz ənd ˈjusɪʤ rɪˈmuvəlz: frəm θru pɛp ˈjusɪʤ nɑt ˈoʊnli pikt ˈərli ɪn ðə ˌoʊˈbɑmə jɪrz, bət ˈɔlsoʊ wɑz haɪəst wɪn ˈoʊnli ə ˈrɛlətɪvli smɔl prəˈpɔrʃən əv ˌʤʊrɪsˈdɪkʃənz wər ˈkəvərd baɪ sɪˈkjʊr kəmˈjunɪtiz (scomm*). ɪt wɑz ˈoʊnli ˈleɪtər ðət moʊst ˈloʊkəl ənd steɪt lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz hæd ˈfɪŋgərˌprɪnt ˈrɛkərdz ðeɪ səbˈmɪtəd tɪ ðə ˈɛfˈbiˈaɪ ˌɔtəˈmætɪkli ʃɛrd wɪθ aɪs θru ðə ˈproʊˌgræm. si træk ˈeɪprəl 2014 rɪˈpɔrt. ˈivɪn ðoʊ ˈjusɪʤ pikt ˈərli ˈdʊrɪŋ ðə ˌoʊˈbɑmə jɪrz, rɪˈmuvəlz rɪˈzəltɪŋ frəm wʊd nɑt ˌnɛsəˈsɛrəli si ə ˈpɛrəˌlɛl dɪˈklaɪn. ðɪs ɪz tru fər ˈsɛvərəl ˈrizənz. fər səm ˌɪndəˈvɪʤəwəlz ˈsəbʤɪkt tɪ ə, ɪt kʊd teɪk ˈmɛni mənθs ər ˈivɪn ðə ˌɪməˈgreɪʃən kɔrts wərk ðɛr weɪ θru ˈsɪvəl prəˈsidɪŋz ənd ˈæˌkʧuəli bi ˈɔrdərd dɪˈpɔrtəd. fər ˈəðərz, ˌdipɔrˈteɪʃən maɪt bi dɪˈleɪd ənˈtɪl ˌɪndəˈvɪʤəwəlz ˈfɪnɪʃt ˈsərvɪŋ ðɛr ˈprɪzən ˈsɛntəns ɪf ðeɪ wər kənˈvɪktəd əv kəˈmɪtɪŋ ə ˈsɪriəs kraɪm. ˈfərðər, ðə ɪkˈspændɪd ˈkəvərɪʤ əv geɪv aɪs ə ˈgreɪtli ˌɪnˈkrist ˈvɑljum əv ˈfɪŋgərˌprɪnt ˈrɛkərdz tɪ ˌrivˈju, əˈlaʊɪŋ ɪt tɪ rɪˈfaɪn ənd pərˈhæps ˈbɛtər ˈtərgət haʊ ənd wɪn wər juzd. ðɪs maɪt lɛd tɪ ə haɪər prəˈpɔrʃən ðət rɪˈzəltɪd ɪn ən ˈækʧəwəl ˌdipɔrˈteɪʃən. ə mɔr dɪˈteɪld kəmˈpɛrəsən ɑkˈtoʊbər 2012 θru dɪˈsɛmbər ðə roʊl əv ˈstɑrtɪŋ wɪn bɪˈkeɪm ˈfʊli ˈfəŋkʃənəl ɪn ˈnɪrli ɔl kəmˈjunɪtiz, ənd ˈɛndɪŋ ˈθərˈtin mənθs ˈæftər ðə əˈnaʊnsmɛnt ðət ðə ˈproʊˌgræm wɑz biɪŋ ˌriˈpleɪst baɪ ˈhoʊmˌlænd sɪˈkjʊrətiz praɪˈɔrəti ɛnˈfɔrsmənt ˈproʊˌgræm (pɛp) si ˈfɪgjərz 4 ənd 5 ˈfɪgjər 4 plɑts ðə ˈækʧəwəl ˈnəmbər əv rɪˈmuvəlz, waɪl ˈfɪgjər 5 ʃoʊz ðiz trɛnz ɛz ə prəˈpɔrʃən əv aɪs rɪˈmuvəlz frəm ðə ˌɪnˈtɪriər əv ðə ˈkəntri. ɛz ˌbiˈfɔr, boʊθ ənd ˈnoʊtɪsɪz ər ˌɪnˈkludɪd ɪn ðiz plɑts. ˈfɪgjər 4 aɪs ˌdipɔrˈteɪʃənz wɪθ praɪər baɪ mənθ ˈfɪgjər 4 aɪs ˌdipɔrˈteɪʃənz wɪθ praɪər baɪ mənθ boʊθ græfs ʃoʊ ə ˈsɪmələr ˈpætərn əv dɪˈklaɪn, wɪθ ə ˈmɑdəst ˈtɛmpərˌɛri ˈəpˌsərʤ ˈstɑrtɪŋ ðə mənθ ˌbiˈfɔr ðə əˈfɪʃəl əˈnaʊnsmɛnt əv rɪˈpleɪsmənt baɪ pɛp. ˈæftər ðɪs ˈəpˌsərʤ, ˌhaʊˈɛvər, ðə plɑts ʃoʊ ðət wəns ðə nu praɪˈɔrətiz pɛp ˈəʃərd ɪn bɪˈkeɪm ˈfʊli ˌɑpərˈeɪʃənəl, ðiz dɪˈklaɪnz rɪˈzumd əˈgɛn. ˈfɪgjər 5 pərˈsɛnt əv aɪs ˌɪnˈtɪriər ˌdipɔrˈteɪʃənz wɪθ praɪər baɪ mənθ ˈfɪgjər 5 pərˈsɛnt əv aɪs ˌɪnˈtɪriər ˌdipɔrˈteɪʃənz wɪθ praɪər baɪ mənθ ˌɪmˈpruvmənts ɪn aɪs trænˈspɛrənsi ˈnidɪd dɪˈspaɪt nu ˈfaɪndɪŋz, əˈdɪʃənəl ˌəˈnænsərd kˈwɛsʧənz rɪˈmeɪn. fərst, ðiz ˈfaɪndɪŋz ˈfoʊkɪs ɔn trɛnz æt ðə ˈnæʃənəl ˈlɛvəl. ðɛr ɪz noʊ ˌʤiəˈgræfɪk ˈbreɪkˌdaʊn bɪˈkəz aɪs dɪd nɑt riˈlis ðə ˈnidɪd ˌʤiəˈgræfɪk ˈdætə. ˈfərðər, wɪθ ˈprɛzɪdənt trəmps nu ɪgˈzɛkjətɪv ˈɔrdərz, ən ˈivɪn ˈwaɪdər reɪnʤ əv ˌɪnˌfɔrˈmeɪʃən ɪz naʊ ˈnidɪd tɪ ˈmɑnətər haʊ ðiz ˈpɑləsiz wɪl bi ˈɪmpləˌmɛnəd. ˌhaʊˈɛvər, ðə ˈaʊˌtlʊk fər ˈpəblɪk ˈækˌsɛs tɪ ðə ˌɪnˌfɔrˈmeɪʃən rikˈwaɪərd tɪ ˈmɑnətər ðə ˈproʊˌgræm ɪz nɑt ˈprɑməsɪŋ. ə ˈrisənt ənd drəˈmætɪk ʧeɪnʤ ɪn aɪs ˈɛˈfoʊˈaɪˈeɪ ˈpɑləsiz əˈkərd ɪn ðə ˈweɪnɪŋ mənθs əv ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən. ðiz ˈʧeɪnʤɪz ɪn ˈɛˈfoʊˈaɪˈeɪ ˈpɑləsiz əˈpɪr tɪ bi dɪˈzaɪnd tɪ ˈdræstɪkli riˈstrɪkt ðə ɔˈrɛdi ˈlɪmɪtɪd floʊ əv ˈdætə ðə ˈeɪʤənsi rɪˈlisɪz tɪ ðə ˈpəblɪk. fildz əv ˌɪnˌfɔrˈmeɪʃən ðət aɪs hæd ruˈtinli prəˈvaɪdɪd tɪ træk ɪn rɪˈspɑns tɪ ɪts ˈrɛgjələr ˈmənθli ˈɛˈfoʊˈaɪˈeɪ rɪkˈwɛsts ˈrisəntli ˈstɑrtɪd ˈgɪtɪŋ lɛft ɔf ðə faɪlz træk rɪˈsivd wɪˈθaʊt ˌɛkspləˈneɪʃən. mɔr ənd mɔr fildz ˌdɪsəˈpɪrd ɛz nu aɪs rɪˈspɑnsɪz əraɪvd. fər ɪgˈzæmpəl, træk rɪˈsivd 15 ˈsɛpərˌeɪt ˈʃɪpmənts frəm aɪs wən wik ɪn ˈʤænjuˌɛri ənd iʧ əv ðiz ˈʃɪpmənts ɪn rɪˈspɑns tɪ ˌɪndəˈvɪʤəwəl ˈɛˈfoʊˈaɪˈeɪ rɪkˈwɛsts wər ˈlɑrʤli ənˈjuzəbəl bɪˈkəz aɪs hæd stɑpt prəˈvaɪdɪŋ soʊ ˈmɛni ki fildz əv ˌɪnˌfɔrˈmeɪʃən. oʊˈmɪtɪd, fər ɪgˈzæmpəl, frəm ðə faɪlz wər ðə jɪr əv bərθ əv ˌɪndəˈvɪʤəwəlz, ˈditeɪlz ɔn ˈkrɪmənəl kənˈvɪkʃənz, ˈwɛðər ðə ˈeɪʤənsi ˈæˌkʧuəli tʊk ˈkəstədi əv ˌɪndəˈvɪʤəwəlz ɪt hæd æst steɪt ənd ˈloʊkəl lɔ ɛnˈfɔrsmənt əˈfɪʃəlz tɪ dɪˈteɪn, ər wət ˈækʃənz aɪs tʊk tɪ dɪˈpɔrt ˌɪndəˈvɪʤəwəlz wəns ðeɪ wər ɪn aɪs ˈkəstədi, əˈlɔŋ wɪθ ˈmɛni ˈəðər ˈdætə fildz. ɔl əv ðɪs ˌɪnˌfɔrˈmeɪʃən ðə ˈeɪʤənsi hæd ˈpriviəsli bɪn riˈlisɪŋ tɪ træk ɪn rɪˈspɑns tɪ ɪts ˈmənθli ˈɛˈfoʊˈaɪˈeɪ rɪkˈwɛsts, ənd ər ɛˈsɛnʃəl tɪ ðə ˈpəblɪks ˌəndərˈstændɪŋ əv wət ðə ˈeɪʤənsi ɪz ˈæˌkʧuəli duɪŋ tɪ ɛnˈfɔrs ˌɪməˈgreɪʃən lɔz. ðəs fɑr, ədˈmɪnɪˌstreɪtɪv əˈpilz wɪˈθɪn ðə ˈeɪʤənsi hæv bɪn ˌənəˈveɪlɪŋ. ɪn rɪˈspɑns tɪ wən əv əˈpilz, ðə aɪs əˈpɛˌleɪt ˈɔfəs ˈnoʊtəˌfaɪd ˈjuˈɛs ðət ˈmɛni fildz ðə ˈeɪʤənsi ˈpriviəsli prəˈvaɪdɪd wʊd noʊ ˈlɔŋgər bi prəˈvaɪdɪd. aɪs kleɪmd ðət ðiz pæst rɪˈlisɪz wər dɪˈskrɛʃəˌnɛri. ˌhaʊˈɛvər, ðə ˈeɪʤənsi dɪz nɑt kleɪm ðət ðɪs ˌɪnˌfɔrˈmeɪʃən ɪz ˈɛni weɪ ɪgˈzɛmpt frəm dɪˈskloʊʒər, ˈoʊnli ðət ɪt rikˈwaɪərz ðɛm tɪ ˈkɛri aʊt "æˈnælɪˌsiz" ðeɪ ər nɑt rikˈwaɪərd tɪ ˈəndərˌteɪk. træk, ˌhaʊˈɛvər, dɪz nɑt æsk ðə ˈeɪʤənsi tɪ kəmˈpaɪl ˈɛni stəˈtɪstɪks, ɪt ˈoʊnli rɪkˈwɛsts ðə riˈlis əv ˈækʧəwəl ˈkɑpiz əv ðɛr ˈrɛkərdz ðət ˈɑbviəsli du ɪgˈzɪst ənd kənˈteɪn ðə ˌɪnˌfɔrˈmeɪʃən wi ər ˈsikɪŋ. ðɪs ɪz ə ˈvɛri ˈtrəbəlɪŋ dɪˈvɛləpmənt. ˌlɪtəˈgeɪʃən əˈpɪrz tɪ bi ˈnidɪd tɪ ˈʧælənʤ ðiz nu ənˈlɔfəl ˈpræktɪsɪz. ðə ˌɪnˈhɛrənt ˈʧælənʤ əv kəˈnɛktɪŋ aɪs wɪθ ˈækʧəwəl rɪˈmuvəlz ðɛr ɪz ə ˈfərðər ˈprɑbləm wɪʧ kæsts daʊt ɔn haʊ ˈifɛktɪv ə ˈgreɪtli ɪkˈspændɪd juz əv wɪl ˈæˌkʧuəli bi, ˈəndər ðə əˈnaʊnst ˌriɪnˈsteɪtmənt əv sɪˈkjʊr kəmˈjunɪtiz baɪ ðə trəmp ædˌmɪnɪˈstreɪʃən. ˈivɪn ðiz ˌriˈpɔrtəd ˈfɪgjərz ɔn rɪˈmuvəlz ˌɪmˈplɪsətli əˈsum ðət aɪs ˈæˌkʧuəli həz ə rɪˈlaɪəbəl ˈsɪstəm fər ˈtrækɪŋ wət ˈhæpənz tɪ ˈkeɪsɪz ˈæftər ə ɪz priˈpɛrd. wɪˈθaʊt rɪˈlaɪəbəl ˈdætə, ˈeɪʤənsi ˈmænɪʤərz ər wɪˈθaʊt ðə ˌɪnˌfɔrˈmeɪʃən ðeɪ nid tɪ ˈifɛktɪvli ədˈmɪnɪstər ˈɛni ˈproʊˌgræm. baɪ ə rɪˈlaɪəbəl ˈsɪstəm, træk minz wən ðət boʊθ ˈrɛkərdz ˈsəbsəkwənt ɪˈvɛnts ðət əˈkər ˈæftər ðə ɪz priˈpɛrd, ənd ðɛn əˈlaʊz ðiz ɪˈvɛnts tɪ bi lɪŋkt soʊ ðət ðə ˈnəmbər əv ˌɪndəˈvɪʤəwəlz ˈəltəmətli dɪˈpɔrtəd ɛz ə rɪˈzəlt əv ðə juz əv aɪs kən bi ˈækjərətli ˈmɑnətərd. ˌhaʊˈɛvər, ðiz əˈsumd ˈlɪŋkɪʤɪz ər ˌpɑrˈtɪkjələrli ˌprɑbləˈmætɪk. fər ɪgˈzæmpəl, aɪs kənˈtɛndz ðət ɪt ˈoʊnli noʊz wɪn ə ɪz priˈpɛrd ənd dɪz nɑt træk ˈwɛðər ɪt wɑz ˈæˌkʧuəli ˈɪʃud. ˈfərðər, wɪn aɪs ˈleɪtər əˈsumz ˈkəstədi əv ən ˌɪndəˈvɪʤəwəl wi ˈoʊnli noʊ ðət ˈkəstədi əˈkərz ˈæftər ðə wɑz priˈpɛrd. aɪs kənˈtɛndz ɪt dɪz nɑt træk ˈwɛðər aɪs əˈsumd ˈkəstədi frəm ðə lɔ ɛnˈfɔrsmənt ˈeɪʤənsi ðət ˈɪʃud ðə. ɪt kʊd hæv ərˈɪzən frəm ɪnˈtaɪərli ˈsɛpərˌeɪt aɪs ˌɪˈnɪʃətɪvz. ˈlaɪkˌwaɪz, wi du nɑt noʊ ðət ðə juz əv ðə ˈæˌkʧuəli lɛd tɪ ðə rɪˈmuvəl, ər ˈwɛðər ðə rɪˈmuvəl wɑz ðə rɪˈzəlt əv ˈəðər ˌənkəˈnɛktɪd ɛnˈfɔrsmənt ˈɛfərts. əˈgɛn aɪs kənˈtɛndz ɪts ˈdætə ˈsɪstəmz du nɑt əˈlaʊ ɪt tɪ træk ðɪs. ðəs, ðiz ˌlɪmɪˈteɪʃənz ɪn ðə əˈveɪləbəl ˈdætə meɪ ˈæˌkʧuəli ðə ˈækʧəwəl ˌɪmˈpækt əv ɔn rɪˈmuvəlz sɪns ɛnˈfɔrsmənt ˌɪˈnɪʃətɪvz ˈhoʊli əˈpɑrt frəm ðə ˌprɛpərˈeɪʃən əv ə kʊd hæv bɪn wət lɛd tɪ səm əv ðiz ˌdipɔrˈteɪʃənz. ɔn ðə ˈəðər hænd, tɪ ðə ɪkˈstɛnt ðɛr ər ˈəðər taɪps əv ˈdætə kˈwɑləti ˈprɑbləmz, ðiz kʊd ˌɪnərˈfɪr wɪθ əˈbɪləˌti tɪ kəˈnɛkt ðə ˈɪʃuəns əv ə tɪ ðə ˈleɪtər ˌdipɔrˈteɪʃən ˈivɪn wɛr ðə wɑz ə ki ˈfæktər ɪn sɪˈkjʊrɪŋ ðə ˌɪndəˈvɪʤəwəlz rɪˈmuvəl. ðɪs wʊd lɛd tɪ ˈəndər ˈkaʊntɪŋ rɪˈmuvəlz rɪˈzəltɪŋ frəm. ˈiðər weɪ, ɪf aɪs kənˈtɛnʃənz ɔn ðə ˌlɪmɪˈteɪʃənz əv ɪts ˈdætə ˈsɪstəmz ər kərˈɛkt, aɪs ˈmænɪʤərz ˈkərəntli læk ðə ˌɪnˌfɔrˈmeɪʃən ðeɪ nid tɪ ˈifɛktɪvli ədˈmɪnɪstər ðɪs ˈproʊˌgræm. ˈniðər ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti nɔr ˌɪməˈgreɪʃən ənd ˈkəstəmz ɛnˈfɔrsmənt ˈəndər ˈprɛzɪˌdɛnts bʊʃ ər ˌoʊˈbɑmə ˈpəblɪʃt ˈænjuəl stəˈtɪstɪks ɔn ɪts ˈproʊˌgræm. waɪl ðə dɪˈpɑrtmənt juzd tɪ ˈpəblɪʃ ˈmənθli stəˈtɪstɪks ˈəndər ɪts sɪˈkjʊr kəmˈjunɪtiz ˈproʊˌgræm, ðiz stəˈtɪstɪks dɪd nɑt kənˈteɪn ˈɛni ˌɪnˌfɔrˈmeɪʃən ɔn ðə ˈeɪʤənsiz ˈækʧəwəl juz əv ɛz pɑrt əv. nɔr tɪ ɑr ˈnɑlɪʤ həz ðə ˈeɪʤənsi riˈlist ˈɛni ˌsɪstəˈmætɪk ˈstədiz əv ðə riˌlaɪəˈbɪləti əv ðə ˈeɪʤənsiz ˈrɛkərdz ðət ər juzd baɪ ˈmænɪʤərz tɪ ˈmɑnətər ˈjusɪʤ ənd tɪ træk ˈkeɪsɪz soʊ ðət ðeɪ kən dɪˈtərmən ðə ˈifɛktɪvnəs əv ɪts juz əv ɪn ˈmitɪŋ ðə ˈeɪʤənsiz goʊlz. səʧ ˈstədiz ər ˈkrɪtɪkəli ˈnidɪd. ˈfʊtˌnoʊts si saɪd bɑr fər lɪŋks tɪ ˈərliər rɪˈpɔrts træk həz ˈɪʃud ˈtrækɪŋ ˈjusɪʤ. si, fər ɪgˈzæmpəl, ɪgˈzɛkjətɪv ˈɔrdər 13768 əv ˈʤænjuˌɛri 25 2017 ɔn "ɛnˈhænsɪŋ ˈpəblɪk ˈseɪfti ɪn ðə ˌɪnˈtɪriər əv ðə juˈnaɪtɪd steɪts." ðɪs ɪgˈzɛkjətɪv ˈɔrdər ðə sɪˈkjʊr kəmˈjunɪtiz ˈproʊˌgræm, ənd siks tɪ wɪθˈdrɔ ˈfɛdərəl fəndz frəm ˈsoʊˈkɔld ˈsæŋkʧuˌɛri ˌʤʊrɪsˈdɪkʃənz. ɪt ˈɔlsoʊ ˈtərmɪˌneɪts ˌoʊˈbɑməz praɪˈɔrəti ɛnˈfɔrsmənt ˈproʊˌgræm (pɛp) ðət pleɪst ə ˈnəmbər əv riˈstrɪkʃənz ɔn ðə juz əv aɪs, ənd sɛts ə ˈtərgət, ˈsəbʤɪkt tɪ ðə əˌveɪləˈbɪlɪti əv əˌproʊpriˈeɪʃənz, əv ˈhaɪrɪŋ əˈdɪʃənəl aɪs ˈɔfɪsərz. ˈfɪgjərz ɔn ənd ðoʊz ɔn wɪʧ aɪs əˈsumz ˈkəstədi ər beɪst əˈpɑn ðə mənθ ðə wɑz priˈpɛrd, waɪl ˈfɪgjərz ɔn rɪˈmuvəlz ər beɪst əˈpɑn ðə mənθ ðə rɪˈmuvəl əˈkərd. noʊt ðət ɪt ɪz ˌɪmˈpɔrtənt tɪ dɪˈstɪŋgwɪʃ bɪtˈwin rɪˈmuvəlz ʃoʊn hir, ənd rɪˈmuvəlz kəˈnɛktɪd tɪ ˌɔtəˈmætɪk ˈfɪŋgərˌprɪnt ˈmæʧɪŋ. ˈmɛni rɪˈmuvəlz ˈkrɛdɪtɪd tɪ ðə sɪˈkjʊr kəmˈjunɪtiz ˈproʊˌgræm dɪd nɑt ˌɪnˈvɑlv ðə juz əv, ənd ˈjusɪʤ wɑz ˈnɛvər riˈstrɪktɪd tɪ sɪˈkjʊr kəmˈjunɪtiz. ə ˈfɔrθˈkəmɪŋ træk rɪˈpɔrt wɪl ɪgˈzæmɪn ðə juz əv wɪˈθɪn ðə sɪˈkjʊr kəmˈjunɪtiz ˈproʊˌgræm. ɛz dɪˈskəst ˈleɪtər ɪn ðɪs rɪˈpɔrt, aɪs həz ˈrisəntli ˈstɑrtɪd wɪθˈhoʊldɪŋ ðə ˈdætə ðət wʊd əˈlaʊ ɪkˈstɛndɪŋ ðiz rɪˈzəlts tɪ ðə rɛst əv 2016 ənd ðə bɪˈgɪnɪŋ əv 2017 si dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrətiz ˈsɛkrəˌtɛri ˈʤɑnsənz noʊˈvɛmbər 20 2014 dɪˈrɛktɪv ɔn "sɪˈkjʊr kəmˈjunɪtiz." ɪn rɪˈpleɪsɪŋ wɪθ pɛp, ðə ˌʤəstɪfɪˈkeɪʃənz ˌɪnˈkludɪd saɪˈteɪʃənz tɪ ə lɔŋ ˈsɪriz əv kɔrt dɪˈsɪʒənz ˈfaɪndɪŋ aɪs dɪd nɑt kəmˈplaɪ wɪθ ˈprɑbəbəl kɔz rɪkˈwaɪrmənts, ˈpleɪsɪŋ steɪt ənd ˈloʊkəl lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz ɪn vaɪəˈleɪʃən əv ðə fɔrθ əˈmɛndmənt tɪ ðə juz. ˌkɑnstəˈtuʃən. ðə ˈəndərˌmaɪnɪŋ əv kəmˈjunɪti trəst ɪn ˈloʊkəl lɔ ɛnˈfɔrsmənt ɛz ə rɪˈzəlt əv ðə kloʊz kˌwɔpərˈeɪʃən kɔld fər ɪn wɑz ˈɔlsoʊ ˈsaɪtɪd. ɛz ðə ˌmɛmərˈændəm ɪkˈspleɪnd, ðiz twɪn kənˈsərnz hæd lɛd tɪ groʊɪŋ rɪˈzɪstəns tɪ ˈɑnərɪŋ aɪs baɪ ˈgəvərnərz, meɪərz, ənd steɪt ənd ˈloʊkəl lɔ ɛnˈfɔrsmənt əˈfɪʃəlz frəm əraʊnd ðə ˈkəntri, ɛz wɛl ɛz tɪ ðə ˈpæsɪʤ əv mɔr ənd mɔr ˌlɛʤəsˈleɪʃən riˈstrɪktɪŋ səʧ kˌwɔpərˈeɪʃən. |
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we live in strange orwellian, islamophobic, and times. a comrade from the great burning northwest tells me the following story:
“i had a sunday dinner a few weeks ago at the house of my and neighbors. the man and woman of the house are in their and both proud liberals. the man said he was a ‘berkley liberal.’ he supports hillary, she supports bernie sanders. towards the end of the dinner he expressed the opinion that a few nuke bombs on some of the major cities in iraq would be a good idea. previous to that, he defended the dropping of nuke bombs on japan. the wife, the bernie supporter, added something about the barbarous tribal nature of iraqi society. she quoted deepak chopra on the [evil] nature of mohamed. their son is a fighter pilot who is thinking about joining the top gun program. he is gay but is too scared to come out to his work colleagues.”
“sometimes,” my correspondent writes, “it’s easy to feel like winston smith in this world.” indeed.
the climate fires of washington continued their ravages not so far from the dinner party while the sixties age “berkeley liberal” host called for the nuclear incineration of baghdad and and his spouse explained that dire straits reflect its primitive and savage nature not the criminal racist and destruction of that nation by the america empire over more than three decades. the destruction has always been driven by longstanding compulsion to secure and sustain global dominance by controlling the supply of global oil the very substance whose and burning has most particularly driven the world to the edge of full environmental catastrophe.
no doubt the liberal and progressive couple is more than okay with sanders’ recent announcement on abc news last sunday that if elected president he will not discontinue barack controversial and drone program in the middle east. since obama took office in january of 2009, the bureau of investigative journalism reports, at least people and 314 innocent civilians have been killed in drone strikes in pakistan, yemen, afghanistan and somalia. nine times more strikes have occurred under obama than under george w. bush. strikes have killed nearly six times more people and twice as many civilians as bush’s. at least seven american citizens have been killed by drones, including one 16-year-old. obama directly ordered many if not most of the strikes. a study by the human rights group reprieve found that as of nov. 24, 2014, us attempts to liquidate 41 alleged terrorists with drones killed civilians, including more than 200 children. the u.s. under obama has carried out drone attacks on weddings (“for better or worse”) and funerals, along with “double-tap” strikes on rescue workers. a proud record under the winner of the 2009 nobel peace prize! if anything, the nice liberal couple (the husband, quite explicitly) mentioned above would like to see a much higher civilian muslim body count.
but forget about bernie, hillary, and their “liberal” (“berkeley” and otherwise) supporters for now and keep the focus on the actually big right now. i am referring, of course, to barack obama, kill list seems to include planet earth well, livable ecology beneath recent demonstrations of love for our shared mother. if my left politics and world view were combined with evangelical christianity of the sin and damnation sort (i remain, alas, a quiet atheist), i would predict that barack obama will have a very long life since it would take engineers many decades to construct a dungeon in hell hot enough for the current u.s. president. among the many things that stations obama beneath the lowest snails on earth is his special, penchant for pretending to be something he isn’t: a progressive. he is the ultimate an unmatched epitome of the nauseating triumph of symbol over substance and of words over deeds.
take his great show of concern last summer for the appalling national crime and embarrassment that is the united states’ shockingly high rate of racially disparate mass imprisonment and criminal branding (“the new jim crow”). two years and seven months into his second presidential term, obama walked with great fanfare into a federal and stood in mock horror before one of its grim solitary confinement cells. he went to the national association for the advancement of colored people (the naacp) to proclaim his purported recent discovery that “mass incarceration makes our country worse and [that] we need to do something about it.” beneath the praise and fanfare his performance evoked, what has the president actually done for the vast army of black prisoners and felons? nothing, or next to it. the sudden “desire to look the great emancipator” (margaret kimberly) was unaccompanied (as i showed in a recent counterpunch essay) by any serious policy intervention to reverse the great, globally unmatched and racist lockdown.
on this issue as on so many others, the president is “a master of appearing to do what he do” (kimberly). (beneath symbolism setting foot in a prison, applauding the of the confederate flag, public anger at the police treatment of the bourgeois professor henry louis gates, a claim to look like martin no seriously or social justice substance in presidency.) :although obama is [now] the first serving president to actually set foot in a prison,” glen ford notes, there is no reason to “expect anything other than cynical theatricality and from this president. when it comes to the criminal justice system, obama is a consummate trickster.”
the same can be said for obama on many other issues that rightly concern progressives including global warming, the biggest issue of our or any time. just as obama is not above standing in front of a prison cell to “burnish his legacy” (the new york times) near the end of his (thankfully) last term, he is ready to plant himself between photographers and a melting glacier to do the same on the epic problem of climate change. stop for a moment to recognize the stunning duplicity of the recent trip to alaska, replete with heartfelt hiking trips to see firsthand the terrible toll that is taking on arctic frost. junket north included a speech on climate change that “bordered on the apocalyptic” (new york times) and argued with seeming passion that “we’re not acting fast enough” to heal the earth. obama appeared to be gravely concerned about global warming. but so what? as eric holthaus noted three days ago in a slate essay titled “beneath his climate change promises, obama is basically running a petrostate”:
“but his powerful and compelling as they flat, given his record of expanding domestic production of fossil fuels. lost in the debate over arctic drilling is the fact that the administration has quietly set in motion a vast expansion of coal mining in wyoming that could erase the cumulative impact of all his [better] climate times united states, now planet second biggest producer of fossil fuels behind only china, increasingly functions as a petrostate. some have argued that this is a good to bring all that coal, oil, and gas out of the ground in a democracy that can apply environmental oversight. but it sends dangerous mixed messages to other countries that are considering whether to increase the ambition of their own climate the u.s. has long held a ban on oil exports, the crude we used to buy on the global market is now up for sale elsewhere, and prices have plummeted in strengthening the american oil industry. lawmakers in alaska, which derives about three-quarters of its tax revenue from oil and gas, are practically begging obama to keep the tap mentioned none of this in his speech on monday. climate obama is perfectly happy making grand speeches while oil baron obama gleefully counts the money flowing in from industry. behind the scenes, senior administration officials have acknowledged that they are trying to have it both ways” (emphasis added).
it’s that old, nasty distinction between words and deeds again.
speaking of words, holthaus could have said more. a big missing part of his indictment of “oil baron obama” is the telling fact that last may the obama administration cleared the way for the giant multinational oil corporation royal dutch shell to begin drilling for fossil fuels in the arctic ocean this summer. shell got approval to drill in the u.s. portion of the chukchi sea off the coast of alaska. leases are 70 miles out, in a remote, untouched, and pristine area that provides critical habitats for several rare species and large marine mammals. a treacherous area characterized by extreme storms, likely to cause massive oil spills. environmental groups had long warned against the madness of drilling in the area, which holds 22 billion barrels of oil and 93 trillion cubic feet of natural gas
the new york times described decision as “a devastating blow to environmentalists.” it might have added “and to prospects for a decent future.” according to times environmental reporter coral davenport, speaking on the “p”bs newshour last may, the chukchi sea announcement was “still a very striking piece of this environmental legacy,” one that has “environmental groups…surprised.” but there was no reason for surprise. the decision came just four months after obama opened up a large portion of the southern u.s. atlantic coast to new offshore drilling, the times notes. the national newspaper of record might have added that it came five and a half years after obama, elected on a promise (among other things) to reduce climate change, almost singlehandedly undermined desperate international efforts to set binding limits on global carbon emissions in copenhagen. his environmental record ever since has been calamitous, greasing the skids for the united states’ largely emergence as the leading oil and gas producer in the name of an “all-of-the-above” (nuclear included) energy policy and so-called national energy independence.
and the “first green president” is not done contributing to anthropogenic global warming. obama has been steadily and pushing the trans pacific partnership (tpp) through congress over and against the understandable suspicion of such “free trade” (investor rights) agreements. as friends of the earth reminded us last spring, the is “a platform for economic integration and government deregulation for nations surrounding the is a potential danger to the planet, subverting environmental priorities, such as climate change measures and regulation of mining, land use, and bio-technology.”
there are a number of understandable and respectable responses (horror and disgust come to mind) to arctic ocean moves, but surprise is not one of them. next time you see a liberal democrat u.s. environmentalist, ask him (to amend the equally orwellian alaskan sarah palin): “so that thing working out for ya?”
in the meantime almost hard not to admire the sheer chutzpah of alaska trip. i am sure that the great british author who invented the phrase “doublespeak” would be more than a little impressed. | baɪ wi lɪv ɪn streɪnʤ ˌɔrˈwɛliən, islamophobic*, ənd taɪmz. ə ˈkɑmˌræd frəm ðə greɪt ˈbərnɪŋ ˌnɔrθˈwɛst tɛlz mi ðə ˈfɑloʊɪŋ ˈstɔri: hæd ə ˈsənˌdi ˈdɪnər ə fju wiks əˈgoʊ æt ðə haʊs əv maɪ ənd ˈneɪbərz. ðə mæn ənd ˈwʊmən əv ðə haʊs ər ɪn ðɛr ənd boʊθ praʊd ˈlɪˌbərəlz. ðə mæn sɛd hi wɑz ə liberal.’*.’ hi səˈpɔrts ˈhɪləri, ʃi səˈpɔrts ˈbərni ˈsændərz. təˈwɔrdz ðə ɛnd əv ðə ˈdɪnər hi ɪkˈsprɛst ðə əˈpɪnjən ðət ə fju nuk bɑmz ɔn səm əv ðə ˈmeɪʤər ˈsɪtiz ɪn ˌɪˈrɑk wʊd bi ə gʊd aɪˈdiə. ˈpriviəs tɪ ðət, hi dɪˈfɛndɪd ðə ˈdrɑpɪŋ əv nuk bɑmz ɔn ʤəˈpæn. ðə waɪf, ðə ˈbərni səˈpɔrtər, ˈædɪd ˈsəmθɪŋ əˈbaʊt ðə ˈbɑrbərəs ˈtraɪbəl ˈneɪʧər əv ˌɪˈræki soʊˈsaɪɪti. ʃi kˈwoʊtɪd ˈdiˌpæk ˈʧɑprə ɔn ðə [ˈivəl] ˈneɪʧər əv moʊˈhɑmɛd. ðɛr sən ɪz ə ˈfaɪtər ˈpaɪlət hu ɪz ˈθɪŋkɪŋ əˈbaʊt ˈʤɔɪnɪŋ ðə tɔp gən ˈproʊˌgræm. hi ɪz geɪ bət ɪz tu skɛrd tɪ kəm aʊt tɪ hɪz wərk colleagues.”*.” ““sometimes,”*,” maɪ ˌkɔrəˈspɑndənt raɪts, ˈizi tɪ fil laɪk ˈwɪnstən smɪθ ɪn ðɪs world.”*.” ˌɪnˈdid. ðə ˈklaɪmɪt faɪərz əv ˈwɔʃɪŋtən kənˈtɪnjud ðɛr ˈrævɪʤɪz nɑt soʊ fɑr frəm ðə ˈdɪnər ˈpɑrti waɪl ðə ˈsɪkstiz eɪʤ liberal”*” hoʊst kɔld fər ðə ˈnukliər ˌɪnˈsɪnərˌeɪʃən əv ˈbægdæd ənd ənd hɪz spaʊs ɪkˈspleɪnd ðət daɪər streɪts rɪˈflɛkt ɪts ˈprɪmɪtɪv ənd ˈsævɪʤ ˈneɪʧər nɑt ðə ˈkrɪmənəl ˈreɪsɪst ənd dɪˈstrəkʃən əv ðət ˈneɪʃən baɪ ðə əˈmɛrɪkə ˈɛmpaɪər ˈoʊvər mɔr ðən θri ˈdɛkeɪdz. ðə dɪˈstrəkʃən həz ˈɔlˌweɪz bɪn ˈdrɪvən baɪ ˈlɔŋˌstændɪŋ kəmˈpəlʃən tɪ sɪˈkjʊr ənd səˈsteɪn ˈgloʊbəl ˈdɑmənəns baɪ kənˈtroʊlɪŋ ðə səˈplaɪ əv ˈgloʊbəl ɔɪl ðə ˈvɛri ˈsəbstəns huz ənd ˈbərnɪŋ həz moʊst ˌpɑrˈtɪkjələrli ˈdrɪvən ðə wərld tɪ ðə ɛʤ əv fʊl ɪnˌvaɪrənˈmɛnəl kəˈtæstrəfi. noʊ daʊt ðə ˈlɪˌbərəl ənd prəˈgrɛsɪv ˈkəpəl ɪz mɔr ðən ˌoʊˈkeɪ wɪθ sanders’*’ ˈrisənt əˈnaʊnsmɛnt ɔn ˈeɪˌbiˌsi nuz læst ˈsənˌdi ðət ɪf ɪˈlɛktɪd ˈprɛzɪdənt hi wɪl nɑt dɪskənˈtɪnju ˈbɑrək ˌkɑntrəˈvərʃəl ənd droʊn ˈproʊˌgræm ɪn ðə ˈmɪdəl ist. sɪns ˌoʊˈbɑmə tʊk ˈɔfəs ɪn ˈʤænjuˌɛri əv 2009 ðə ˈbjʊroʊ əv ˌɪnˈvɛstəˌgeɪtɪv ˈʤərnəˌlɪzəm rɪˈpɔrts, æt list ˈpipəl ənd 314 ˈɪnəsənt səˈvɪljənz hæv bɪn kɪld ɪn droʊn straɪks ɪn ˈpækɪˌstæn, ˈjɛmən, æfˈgænəˌstæn ənd səˈmɑljə. naɪn taɪmz mɔr straɪks hæv əˈkərd ˈəndər ˌoʊˈbɑmə ðən ˈəndər ʤɔrʤ ˈdəbəlju. bʊʃ. straɪks hæv kɪld ˈnɪrli sɪks taɪmz mɔr ˈpipəl ənd twaɪs ɛz ˈmɛni səˈvɪljənz ɛz bush’s*. æt list ˈsɛvən əˈmɛrɪkən ˈsɪtɪzənz hæv bɪn kɪld baɪ droʊnz, ˌɪnˈkludɪŋ wən 16-year-old*. ˌoʊˈbɑmə dɪˈrɛkli ˈɔrdərd ˈmɛni ɪf nɑt moʊst əv ðə straɪks. ə ˈstədi baɪ ðə ˈjumən raɪts grup riˈpriv faʊnd ðət ɛz əv noʊv. 24 2014 ˈjuˈɛs əˈtɛmpts tɪ ˈlɪkwɪˌdeɪt 41 əˈlɛʤd ˈtɛrəˌrɪsts wɪθ droʊnz kɪld səˈvɪljənz, ˌɪnˈkludɪŋ mɔr ðən 200 ˈʧɪldrən. ðə juz. ˈəndər ˌoʊˈbɑmə həz ˈkɛrid aʊt droʊn əˈtæks ɔn ˈwɛdɪŋz ˈbɛtər ər worse”*”) ənd fˈjunərəlz, əˈlɔŋ wɪθ ““double-tap”*” straɪks ɔn ˈrɛskju ˈwərkərz. ə praʊd ˈrɛkərd ˈəndər ðə ˈwɪnər əv ðə 2009 noʊˈbɛl pis praɪz! ɪf ˈɛniˌθɪŋ, ðə nis ˈlɪˌbərəl ˈkəpəl (ðə ˈhəzbənd, kwaɪt ɪkˈsplɪsətli) ˈmɛnʃənd əˈbəv wʊd laɪk tɪ si ə məʧ haɪər səˈvɪljən ˈməzlɪm ˈbɑdi kaʊnt. bət fərˈgɛt əˈbaʊt ˈbərni, ˈhɪləri, ənd ðɛr ““liberal”*” (““berkeley”*” ənd ˈəðərˌwaɪz) səˈpɔrtərz fər naʊ ənd kip ðə ˈfoʊkɪs ɔn ðə ˈæˌkʧuəli bɪg raɪt naʊ. aɪ æm rɪˈfərɪŋ, əv kɔrs, tɪ ˈbɑrək ˌoʊˈbɑmə, kɪl lɪst simz tɪ ˌɪnˈklud ˈplænət ərθ wɛl, ˈlɪvəbəl ɪˈkɑləʤi bɪˈniθ ˈrisənt ˌdɛmənˈstreɪʃənz əv ləv fər ɑr ʃɛrd ˈməðər. ɪf maɪ lɛft ˈpɑləˌtɪks ənd wərld vju wər kəmˈbaɪnd wɪθ ˌivænˈʤɛlɪkəl ˌkrɪsʧiˈænɪti əv ðə sɪn ənd dæmˈneɪʃən sɔrt (aɪ rɪˈmeɪn, əˈlæs, ə kwaɪət ˈeɪθiəst), aɪ wʊd prɪˈdɪkt ðət ˈbɑrək ˌoʊˈbɑmə wɪl hæv ə ˈvɛri lɔŋ laɪf sɪns ɪt wʊd teɪk ˈɛnʤəˈnɪrz ˈmɛni ˈdɛkeɪdz tɪ ˈkɑnstrəkt ə ˈdənʤən ɪn hɛl hɑt ɪˈnəf fər ðə ˈkɑrənt juz. ˈprɛzɪdənt. əˈməŋ ðə ˈmɛni θɪŋz ðət ˈsteɪʃənz ˌoʊˈbɑmə bɪˈniθ ðə loʊəst sneɪlz ɔn ərθ ɪz hɪz ˈspɛʃəl, ˈpɛnʧənt fər priˈtɛndɪŋ tɪ bi ˈsəmθɪŋ hi isn’t*: ə prəˈgrɛsɪv. hi ɪz ðə ˈəltəmət ən ənˈmæʧt ɪˈpɪtəmi əv ðə ˈnɔʒiˌeɪtɪŋ traɪəmf əv ˈsɪmbəl ˈoʊvər ˈsəbstəns ənd əv wərdz ˈoʊvər didz. teɪk hɪz greɪt ʃoʊ əv kənˈsərn læst ˈsəmər fər ðə əˈpɔlɪŋ ˈnæʃənəl kraɪm ənd ɪmˈbɛrəsmənt ðət ɪz ðə juˈnaɪtɪd states’*’ ˈʃɑkɪŋli haɪ reɪt əv ˈreɪʃəli ˈdɪspərɪt mæs ˌɪmˈprɪzənmənt ənd ˈkrɪmənəl ˈbrændɪŋ nu ʤɪm crow”*”). tu jɪrz ənd ˈsɛvən mənθs ˈɪntu hɪz ˈsɛkənd ˌprɛzɪˈdɛnʃəl tərm, ˌoʊˈbɑmə wɔkt wɪθ greɪt ˈfænˌfɛr ˈɪntu ə ˈfɛdərəl ənd stʊd ɪn mɑk ˈhɔrər ˌbiˈfɔr wən əv ɪts grɪm ˈsɑləˌtɛri kənˈfaɪnmənt sɛlz. hi wɛnt tɪ ðə ˈnæʃənəl əˌsoʊʃiˈeɪʃən fər ðə ədˈvænsmənt əv ˈkələrd ˈpipəl (ðə naacp*) tɪ proʊˈkleɪm hɪz pərˈpɔrtɪd ˈrisənt ˌdɪˈskəvri ðət ˌɪnˌkɑrsərˈeɪʃən meɪks ɑr ˈkəntri wərs ənd [ðət] wi nid tɪ du ˈsəmθɪŋ əˈbaʊt it.”*.” bɪˈniθ ðə preɪz ənd ˈfænˌfɛr hɪz pərˈfɔrməns ɪˈvoʊkt, wət həz ðə ˈprɛzɪdənt ˈæˌkʧuəli dən fər ðə væst ˈɑrmi əv blæk ˈprɪzənərz ənd ˈfɛlənz? ˈnəθɪŋ, ər nɛkst tɪ ɪt. ðə ˈsədən tɪ lʊk ðə greɪt emancipator”*” (ˈmɑrgərɪt ˈkɪmbərli) wɑz ˌənəˈkəmpənid (ɛz aɪ ʃoʊd ɪn ə ˈrisənt ˈkaʊntərˌpənʧ ˈɛˌseɪ) baɪ ˈɛni ˈsɪriəs ˈpɑləsi ˌɪntərˈvɛnʃən tɪ rɪˈvərs ðə greɪt, ˈgloʊbəli ənˈmæʧt ənd ˈreɪsɪst ˈlɑkˌdaʊn. ɔn ðɪs ˈɪʃu ɛz ɔn soʊ ˈmɛni ˈəðərz, ðə ˈprɛzɪdənt ɪz ˈmæstər əv əˈpɪrɪŋ tɪ du wət hi do”*” (ˈkɪmbərli). (bɪˈniθ ˈsɪmbəˌlɪzəm ˈsɛtɪŋ fʊt ɪn ə ˈprɪzən, əˈplɔdɪŋ ðə əv ðə kənˈfɛdərˌeɪt flæg, ˈpəblɪk ˈæŋgər æt ðə pəˈlis ˈtritmənt əv ðə ˈbʊrʒwɑ prəˈfɛsər ˈhɛnri luɪs geɪts, ə kleɪm tɪ lʊk laɪk ˈmɑrtɪn noʊ ˈsɪriəsli ər ˈsoʊʃəl ˈʤəstɪs ˈsəbstəns ɪn ˈprɛzɪdənsi.) :ˌɔlˈðoʊ ˌoʊˈbɑmə ɪz [naʊ] ðə fərst ˈsərvɪŋ ˈprɛzɪdənt tɪ ˈæˌkʧuəli sɛt fʊt ɪn ə prison,”*,” glɛn fɔrd noʊts, ðɛr ɪz noʊ ˈrizən tɪ ˈɛniˌθɪŋ ˈəðər ðən ˈsɪnɪkəl θiˌætrəˈkæləˌti ənd frəm ðɪs ˈprɛzɪdənt. wɪn ɪt kəmz tɪ ðə ˈkrɪmənəl ˈʤəstɪs ˈsɪstəm, ˌoʊˈbɑmə ɪz ə ˈkɑnsəˌmeɪt trickster.”*.” ðə seɪm kən bi sɛd fər ˌoʊˈbɑmə ɔn ˈmɛni ˈəðər ˈɪʃuz ðət ˈraɪtli kənˈsərn prɑˈgrɛsɪvz ˌɪnˈkludɪŋ ˈgloʊbəl ˈwɔrmɪŋ, ðə ˈbɪgəst ˈɪʃu əv ɑr ər ˈɛni taɪm. ʤɪst ɛz ˌoʊˈbɑmə ɪz nɑt əˈbəv ˈstændɪŋ ɪn frənt əv ə ˈprɪzən sɛl tɪ hɪz legacy”*” (ðə nu jɔrk taɪmz) nɪr ðə ɛnd əv hɪz (ˈθæŋkfəli) læst tərm, hi ɪz ˈrɛdi tɪ plænt hɪmˈsɛlf bɪtˈwin fəˈtɑgrəfərz ənd ə ˈmɛltɪŋ ˈgleɪʃər tɪ du ðə seɪm ɔn ðə ˈɛpɪk ˈprɑbləm əv ˈklaɪmɪt ʧeɪnʤ. stɑp fər ə ˈmoʊmənt tɪ ˈrɛkəgˌnaɪz ðə ˈstənɪŋ duˈplɪsɪti əv ðə ˈrisənt trɪp tɪ əˈlæskə, riˈplit wɪθ ˈhɑrtˌfɛlt ˈhaɪkɪŋ trɪps tɪ si ˈfərsthænd ðə ˈtɛrəbəl toʊl ðət ɪz ˈteɪkɪŋ ɔn ˈɑrtɪk frɔst. ˈʤəŋkɪt nɔrθ ˌɪnˈkludɪd ə spiʧ ɔn ˈklaɪmɪt ʧeɪnʤ ðət ɔn ðə apocalyptic”*” (nu jɔrk taɪmz) ənd ˈɑrgjud wɪθ ˈsimɪŋ ˈpæʃən ðət nɑt ˈæktɪŋ fæst enough”*” tɪ hil ðə ərθ. ˌoʊˈbɑmə əˈpɪrd tɪ bi ˈgreɪvli kənˈsərnd əˈbaʊt ˈgloʊbəl ˈwɔrmɪŋ. bət soʊ wət? ɛz ˈɛrɪk ˈhoʊlˌthaʊs ˈnoʊtɪd θri deɪz əˈgoʊ ɪn ə sleɪt ˈɛˌseɪ ˈtaɪtəld hɪz ˈklaɪmɪt ʧeɪnʤ ˈprɑməsəz, ˌoʊˈbɑmə ɪz ˈbeɪsɪkli ˈrənɪŋ ə petrostate”*”: hɪz ˈpaʊərfəl ənd kəmˈpɛlɪŋ ɛz ðeɪ flæt, ˈgɪvɪn hɪz ˈrɛkərd əv ɪkˈspændɪŋ dəˈmɛstɪk pərˈdəkʃən əv ˈfɑsəl fjuəlz. lɔst ɪn ðə dəˈbeɪt ˈoʊvər ˈɑrtɪk ˈdrɪlɪŋ ɪz ðə fækt ðət ðə ædˌmɪnɪˈstreɪʃən həz kˈwaɪətli sɛt ɪn ˈmoʊʃən ə væst ɪkˈspænʧən əv koʊl ˈmaɪnɪŋ ɪn ˌwaɪˈoʊmɪŋ ðət kʊd ɪˈreɪs ðə ˈkjumjələtɪv ˌɪmˈpækt əv ɔl hɪz [ˈbɛtər] ˈklaɪmɪt taɪmz juˈnaɪtɪd steɪts, naʊ ˈplænət ˈsɛkənd ˈbɪgəst prəˈdusər əv ˈfɑsəl fjuəlz bɪˈhaɪnd ˈoʊnli ˈʧaɪnə, ˌɪnˈkrisɪŋgli ˈfəŋkʃənz ɛz ə petrostate*. səm hæv ˈɑrgjud ðət ðɪs ɪz ə gʊd tɪ brɪŋ ɔl ðət koʊl, ɔɪl, ənd gæs aʊt əv ðə graʊnd ɪn ə dɪˈmɑkrəsi ðət kən əˈplaɪ ɪnˌvaɪrənˈmɛnəl ˈoʊvərˌsaɪt. bət ɪt sɛndz ˈdeɪnʤərəs mɪkst ˈmɛsɪʤɪz tɪ ˈəðər ˈkəntriz ðət ər kənˈsɪdərɪŋ ˈwɛðər tɪ ˌɪnˈkris ðə æmˈbɪʃən əv ðɛr oʊn ˈklaɪmɪt ðə juz. həz lɔŋ hɛld ə bæn ɔn ɔɪl ˈɛkspɔrts, ðə krud wi juzd tɪ baɪ ɔn ðə ˈgloʊbəl ˈmɑrkɪt ɪz naʊ əp fər seɪl ˈɛlsˌwɛr, ənd ˈpraɪsɪz hæv ˈpləmətɪd ɪn ˈstrɛŋθənɪŋ ðə əˈmɛrɪkən ɔɪl ˈɪndəstri. ˈlɔˌmeɪkərz ɪn əˈlæskə, wɪʧ dɪˈraɪvz əˈbaʊt θˌrikˈwɔrtərz əv ɪts tæks ˈrɛvəˌnu frəm ɔɪl ənd gæs, ər ˈpræktɪkəli ˈbɛgɪŋ ˌoʊˈbɑmə tɪ kip ðə tæp ˈmɛnʃənd nən əv ðɪs ɪn hɪz spiʧ ɔn ˈmənˌdeɪ. ˈklaɪmɪt ˌoʊˈbɑmə ɪz ˈpərfəktli ˈhæpi ˈmeɪkɪŋ grænd ˈspiʧɪz waɪl ɔɪl ˈbɛrən ˌoʊˈbɑmə ˈglifəli kaʊnts ðə ˈməni floʊɪŋ ɪn frəm ˈɪndəstri. bɪˈhaɪnd ðə sinz, ˈsinjər ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz hæv ækˈnɑlɪʤd ðət ðeɪ ər traɪɪŋ tɪ hæv ɪt boʊθ ways”*” (ˈɛmfəsɪs ˈædɪd). ðət oʊld, ˈnæsti dɪˈstɪŋkʃən bɪtˈwin wərdz ənd didz əˈgɛn. ˈspikɪŋ əv wərdz, ˈhoʊlˌthaʊs kʊd hæv sɛd mɔr. ə bɪg ˈmɪsɪŋ pɑrt əv hɪz ˌɪnˈdaɪtmənt əv ˈbɛrən obama”*” ɪz ðə ˈtɛlɪŋ fækt ðət læst meɪ ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən klɪrd ðə weɪ fər ðə ʤaɪənt ˌməlˌtiˈnæʃənəl ɔɪl ˌkɔrpərˈeɪʃən rɔɪəl dəʧ ʃɛl tɪ bɪˈgɪn ˈdrɪlɪŋ fər ˈfɑsəl fjuəlz ɪn ðə ˈɑrtɪk ˈoʊʃən ðɪs ˈsəmər. ʃɛl gɑt əˈpruvəl tɪ drɪl ɪn ðə juz. ˈpɔrʃən əv ðə ˈʧukʧi si ɔf ðə koʊst əv əˈlæskə. ˈlisɪz ər 70 maɪəlz aʊt, ɪn ə rɪˈmoʊt, ənˈtəʧt, ənd ˈprɪstin ˈɛriə ðət prəˈvaɪdz ˈkrɪtɪkəl ˈhæbəˌtæts fər ˈsɛvərəl rɛr ˈspiʃiz ənd lɑrʤ mərˈin ˈmæməlz. ə ˈtrɛʧərəs ˈɛriə ˈkɛrɪktərˌaɪzd baɪ ɪkˈstrim stɔrmz, ˈlaɪkli tɪ kɔz ˈmæsɪv ɔɪl spɪlz. ɪnˌvaɪrənˈmɛnəl grups hæd lɔŋ wɔrnd əˈgɛnst ðə ˈmædnəs əv ˈdrɪlɪŋ ɪn ðə ˈɛriə, wɪʧ hoʊldz 22 ˈbɪljən ˈbɛrəlz əv ɔɪl ənd 93 ˈtrɪljən ˈkjubɪk fit əv ˈnæʧərəl gæs ðə nu jɔrk taɪmz dɪˈskraɪbd dɪˈsɪʒən ɛz ˈdɛvəˌsteɪtɪŋ bloʊ tɪ environmentalists.”*.” ɪt maɪt hæv ˈædɪd tɪ ˈprɑspɛkts fər ə ˈdisənt future.”*.” əˈkɔrdɪŋ tɪ taɪmz ɪnˌvaɪrənˈmɛnəl rɪˈpɔrtər ˈkɔrəl ˈdævənˌpɔrt, ˈspikɪŋ ɔn ðə ˈnuˌzaʊr læst meɪ, ðə ˈʧukʧi si əˈnaʊnsmɛnt wɑz ə ˈvɛri ˈstraɪkɪŋ pis əv ðɪs ɪnˌvaɪrənˈmɛnəl legacy,”*,” wən ðət həz groups…surprised.”*.” bət ðɛr wɑz noʊ ˈrizən fər səˈpraɪz. ðə dɪˈsɪʒən keɪm ʤɪst fɔr mənθs ˈæftər ˌoʊˈbɑmə ˈoʊpənd əp ə lɑrʤ ˈpɔrʃən əv ðə ˈsəðərn juz. əˈtlæntɪk koʊst tɪ nu ˈɔfˈʃɔr ˈdrɪlɪŋ, ðə taɪmz noʊts. ðə ˈnæʃənəl ˈnuzˌpeɪpər əv ˈrɛkərd maɪt hæv ˈædɪd ðət ɪt keɪm faɪv ənd ə hæf jɪrz ˈæftər ˌoʊˈbɑmə, ɪˈlɛktɪd ɔn ə ˈprɑməs (əˈməŋ ˈəðər θɪŋz) tɪ rɪˈdus ˈklaɪmɪt ʧeɪnʤ, ˈɔlˌmoʊst ˌsɪŋgəˈlhændɪdli ˌəndərˈmaɪnd ˈdɛspərɪt ˌɪnərˈnæʃənɑl ˈɛfərts tɪ sɛt ˈbaɪndɪŋ ˈlɪmɪts ɔn ˈgloʊbəl ˈkɑrbən ɪˈmɪʃənz ɪn ˈkoʊpənˌhɑgən. hɪz ɪnˌvaɪrənˈmɛnəl ˈrɛkərd ˈɛvər sɪns həz bɪn kəˈlæmətəs, ˈgrisɪŋ ðə skɪdz fər ðə juˈnaɪtɪd states’*’ ˈlɑrʤli ˈimərʤəns ɛz ðə ˈlidɪŋ ɔɪl ənd gæs prəˈdusər ɪn ðə neɪm əv ən ““all-of-the-above”*” (ˈnukliər ˌɪnˈkludɪd) ˈɛnərʤi ˈpɑləsi ənd ˈsoʊˈkɔld ˈnæʃənəl ˈɛnərʤi ˌɪndɪˈpɛndəns. ənd ðə grin president”*” ɪz nɑt dən kənˈtrɪbjutɪŋ tɪ ˌænθrəpəˈʤɛnɪk ˈgloʊbəl ˈwɔrmɪŋ. ˌoʊˈbɑmə həz bɪn ˈstɛdəli ənd ˈpʊʃɪŋ ðə trænz pəˈsɪfɪk ˈpɑrtnərˌʃɪp (tpp*) θru ˈkɑŋgrəs ˈoʊvər ənd əˈgɛnst ðə ˌəndərˈstændəbəl səˈspɪʃən əv səʧ trade”*” (ˌɪnˈvɛstər raɪts) əˈgrimənts. ɛz frɛndz əv ðə ərθ riˈmaɪndɪd ˈjuˈɛs læst spərɪŋ, ðə ɪz ˈplætˌfɔrm fər ˌɛkəˈnɑmɪk ˌɪnəˈgreɪʃən ənd ˈgəvərnmənt diˌrɛgjəˈleɪʃən fər ˈneɪʃənz sərˈaʊndɪŋ ðə ɪz ə pəˈtɛnʃəl ˈdeɪnʤər tɪ ðə ˈplænət, səbˈvərtɪŋ ɪnˌvaɪrənˈmɛnəl praɪˈɔrətiz, səʧ ɛz ˈklaɪmɪt ʧeɪnʤ ˈmɛʒərz ənd ˌrɛgjəˈleɪʃən əv ˈmaɪnɪŋ, lænd juz, ənd bio-technology.”*.” ðɛr ər ə ˈnəmbər əv ˌəndərˈstændəbəl ənd rɪˈspɛktəbəl rɪˈspɑnsɪz (ˈhɔrər ənd dɪsˈgəst kəm tɪ maɪnd) tɪ ˈɑrtɪk ˈoʊʃən muvz, bət səˈpraɪz ɪz nɑt wən əv ðɛm. nɛkst taɪm ju si ə ˈlɪˌbərəl ˈdɛməˌkræt juz. ɪnˌvaɪrənˈmɛnəlɪst, æsk ɪm (tɪ əˈmɛnd ðə ˈikwəli ˌɔrˈwɛliən əˈlæskən ˈsɛrə ˈpælɪn): ðət θɪŋ ˈwərkɪŋ aʊt fər ya?”*?” ɪn ðə ˈminˌtaɪm ˈɔlˌmoʊst hɑrd nɑt tɪ ædˈmaɪr ðə ʃɪr ˈʧətˌspɑ əv əˈlæskə trɪp. aɪ æm ʃʊr ðət ðə greɪt ˈbrɪtɪʃ ˈɔθər hu ˌɪnˈvɛntɪd ðə freɪz ““doublespeak”*” wʊd bi mɔr ðən ə ˈlɪtəl ˌɪmˈprɛst. |
if you're anything like me, when you were a kid, you had trouble getting to sleep without first hearing at least a couple of stories of life, love and learning as told by a former nba defensive player of the year. in my case, that meant an awful lot of long-distance calls to very understanding utah jazz center mark eaton. luckily, today's youth now has a much more and handy option bedtime stories," the newly released debut children's book from los angeles lakers forward world peace.
the book, which retails for $12.95, is a short collection of stories aimed at children between the ages of 4 and 10, with titles like "mud in my bed" and "i'm afraid of the dark." and while the idea of one of the foremost oddballs and picking up the pen to reach out to young people is admittedly a bit surprising, it seems like's heart is in the right place:
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metta's bedtime stories was written to help children think about daily events in a positive light. these stories will show everyone that you can always have a better day tomorrow, if you have a hopeful heart and keep positive thoughts.
that's a neat message, and very much of a piece with the bent of a lot of his mental health awareness work, from off his championship ring to raise money for more mental health professionals in schools and producing a cartoon public service announcement that was apparently intended to promote mental health awareness by showing the former ron as a skateboarding super hero named man. (it wouldn't be if it wasn't at least a little bit weird.)
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and if we can read anything into a title like "mud in my bed," it's probably also at least a little bit goofy, like world visit to "yo!" or his "sesame sartorial choices when holding court with the lapd. that's ok, though. a little bit of whimsy can help make big ideas easier for kids to swallow and maybe even sell a few more copies of the book, which would offer a nice boost to a pair of world charitable efforts university and the foundation that will each receive a portion of the proceeds from the book's sales.
world peace joins the ranks of nba players past and present who've penned books for kids, a list of notables that includes chris paul, kareem abdul-jabbar, stoudemire, foyle and dennis rodman. if you'll excuse me, i'll be over here daydreaming about what a writer's retreat with those six aimed at collaborative creation would be like, and what kind of book would result. it'd probably put matt christopher's entire oeuvre to shame. | ɪf jʊr ˈɛniˌθɪŋ laɪk mi, wɪn ju wər ə kɪd, ju hæd ˈtrəbəl ˈgɪtɪŋ tɪ slip wɪˈθaʊt fərst ˈhirɪŋ æt list ə ˈkəpəl əv ˈstɔriz əv laɪf, ləv ənd ˈlərnɪŋ ɛz toʊld baɪ ə ˈfɔrmər ˈɛnˌbiˈeɪ dɪˈfɛnsɪv pleɪər əv ðə jɪr. ɪn maɪ keɪs, ðət mɛnt ən ˈɔfəl lɔt əv ˌlɔŋˈdistəns kɔlz tɪ ˈvɛri ˌəndərˈstændɪŋ ˈjuˌtɔ ʤæz ˈsɛnər mɑrk ˈitən. ˈləkəli, ˈtudeɪz juθ naʊ həz ə məʧ mɔr ənd ˈhændi ˈɔpʃən ˈbɛdˌtaɪm ˈstɔriz," ðə ˈnuli riˈlist ˈdeɪbju ˈʧɪldrənz bʊk frəm lɔs ˈænʤəlɪs ˈleɪkərz ˈfɔrwərd wərld pis. ðə bʊk, wɪʧ ˈriˌteɪlz fər ɪz ə ʃɔrt kəˈlɛkʃən əv ˈstɔriz eɪmd æt ˈʧɪldrən bɪtˈwin ðə ˈeɪʤɪz əv 4 ənd 10 wɪθ ˈtaɪtəlz laɪk "məd ɪn maɪ bɛd" ənd "əm əˈfreɪd əv ðə dɑrk." ənd waɪl ðə aɪˈdiə əv wən əv ðə ˈfɔrˌmoʊst ˈɑdˌbɔlz ənd ˈpɪkɪŋ əp ðə pɛn tɪ riʧ aʊt tɪ jəŋ ˈpipəl ɪz ædˈmɪtɪdli ə bɪt səˈpraɪzɪŋ, ɪt simz laɪk hɑrt ɪz ɪn ðə raɪt pleɪs: skroʊl tɪ kənˈtɪnju wɪθ ˈkɑntɛnt æd ˈbɛdˌtaɪm ˈstɔriz wɑz ˈrɪtən tɪ hɛlp ˈʧɪldrən θɪŋk əˈbaʊt ˈdeɪli ɪˈvɛnts ɪn ə ˈpɑzətɪv laɪt. ðiz ˈstɔriz wɪl ʃoʊ ˈɛvriˌwən ðət ju kən ˈɔlˌweɪz hæv ə ˈbɛtər deɪ təˈmɑˌroʊ, ɪf ju hæv ə ˈhoʊpfəl hɑrt ənd kip ˈpɑzətɪv θɔts. ðæts ə nit ˈmɛsɪʤ, ənd ˈvɛri məʧ əv ə pis wɪθ ðə bɛnt əv ə lɔt əv hɪz ˈmɛntəl hɛlθ əˈwɛrnəs wərk, frəm ɔf hɪz ˈʧæmpiənˌʃɪp rɪŋ tɪ reɪz ˈməni fər mɔr ˈmɛntəl hɛlθ prəˈfɛʃənəlz ɪn skulz ənd prəˈdusɪŋ ə kɑrˈtun ˈpəblɪk ˈsərvɪs əˈnaʊnsmɛnt ðət wɑz əˈpɛrəntli ˌɪnˈtɛndɪd tɪ prəˈmoʊt ˈmɛntəl hɛlθ əˈwɛrnəs baɪ ʃoʊɪŋ ðə ˈfɔrmər rɑn ɛz ə ˈskeɪtˌbɔrdɪŋ ˈsupər ˈhɪroʊ neɪmd mæn. (ɪt ˈwʊdənt bi ɪf ɪt ˈwəzənt æt list ə ˈlɪtəl bɪt wɪrd.) ˈstɔri kənˈtɪnjuz ənd ɪf wi kən rɛd ˈɛniˌθɪŋ ˈɪntu ə ˈtaɪtəl laɪk "məd ɪn maɪ bɛd," ɪts ˈprɑbəˌbli ˈɔlsoʊ æt list ə ˈlɪtəl bɪt ˈgufi, laɪk wərld ˈvɪzɪt tɪ "joʊ!" ər hɪz "ˈsɛsəmi sɑrˈtɔriəl ˈʧɔɪsɪz wɪn ˈhoʊldɪŋ kɔrt wɪθ ðə ˈɛˈleɪˈpiˈdi. ðæts ˈoʊˈkeɪ, ðoʊ. ə ˈlɪtəl bɪt əv ˈwɪmsi kən hɛlp meɪk bɪg aɪˈdiəz ˈiziər fər kɪdz tɪ sˈwɔloʊ ənd ˈmeɪbi ˈivɪn sɛl ə fju mɔr ˈkɑpiz əv ðə bʊk, wɪʧ wʊd ˈɔfər ə nis bust tɪ ə pɛr əv wərld ˈʧɛrətəbəl ˈɛfərts ˌjunəˈvərsəti ənd ðə faʊnˈdeɪʃən ðət wɪl iʧ rɪˈsiv ə ˈpɔrʃən əv ðə prəˈsidz frəm ðə bʊks seɪlz. wərld pis ʤɔɪnz ðə ræŋks əv ˈɛnˌbiˈeɪ pleɪərz pæst ənd ˈprɛzənt huv pɛnd bʊks fər kɪdz, ə lɪst əv ˈnoʊtəbəlz ðət ˌɪnˈkludz krɪs pɔl, kərˈim abdul-jabbar*, ˈstudəˌmaɪr, fɔɪl ənd ˈdɛnɪs ˈrɑdmən. ɪf jul ɪkˈskjuz mi, aɪl bi ˈoʊvər hir ˈdeɪˌdrimɪŋ əˈbaʊt wət ə ˈraɪtərz riˈtrit wɪθ ðoʊz sɪks eɪmd æt kəˈlæbərˌeɪtɪv kriˈeɪʃən wʊd bi laɪk, ənd wət kaɪnd əv bʊk wʊd rɪˈzəlt. ˈɪtəd ˈprɑbəˌbli pʊt mæt ˈkrɪstəfərz ɪnˈtaɪər ˈuvrə tɪ ʃeɪm. |
there will be no new investigation or prosecution in the explosion of a hand grenade in a dutch army vehicle in afghanistan in 2010, the public prosecutor announced. an analysis by the koninklijke - a policing force that works as part of the dutch military - did not reveal any new facts, the reports.
the case involves a hand grenade exploding in a vehicle at camp coyote in uruzgan. at the time two dutch soldiers were suspected of setting of the grenade. one of them was r., who was sentenced to 30 years in prison and institutionalized psychiatric care in november 2015 for three in drenthe. the appeal on this case is currently ongoing. the other was a soldier who narrowly survived the explosion.
the the case at the request of the public prosecutor after the second soldier, who narrowly survived the blast, pressed charges against r. according to the second soldier, r. was the one who set off the grenade in the vehicle. the investigation showed that one of the two soldiers must have caused the explosion, but as there was no one else there and both deny doing so, it is impossible to say who was responsible. it is clear that r. verbally warned his colleague shortly before the explosion.
the veteran's lawyer, diekstra, called the decision not to launch a new criminal investigation disappointing, but added that he is satisfied with the "thoroughly done investigation" by the. | ðɛr wɪl bi noʊ nu ˌɪnˌvɛstəˈgeɪʃən ər ˌprɑsəˈkjuʃən ɪn ðə ɪkˈsploʊʒən əv ə hænd grəˈneɪd ɪn ə dəʧ ˈɑrmi ˈviɪkəl ɪn æfˈgænəˌstæn ɪn 2010 ðə ˈpəblɪk ˈprɑsɪˌkjutər əˈnaʊnst. ən æˈnælɪsɪs baɪ ðə ˌkɑnɪŋˈkliki ə pəˈlisɪŋ fɔrs ðət wərks ɛz pɑrt əv ðə dəʧ ˈmɪlɪˌtɛri dɪd nɑt rɪˈvil ˈɛni nu fækts, ðə rɪˈpɔrts. ðə keɪs ˌɪnˈvɑlvz ə hænd grəˈneɪd ɪkˈsploʊdɪŋ ɪn ə ˈviɪkəl æt kæmp kaɪˈoʊti ɪn uruzgan*. æt ðə taɪm tu dəʧ ˈsoʊlʤərz wər səˈspɛktɪd əv ˈsɛtɪŋ əv ðə grəˈneɪd. wən əv ðɛm wɑz ɑr., hu wɑz ˈsɛntənst tɪ 30 jɪrz ɪn ˈprɪzən ənd ˌɪnstɪˈtuʃənəˌlaɪzd ˌsaɪkiˈætrɪk kɛr ɪn noʊˈvɛmbər 2015 fər θri ɪn drenthe*. ðə əˈpil ɔn ðɪs keɪs ɪz ˈkərəntli ˈɔnˌgoʊɪŋ. ðə ˈəðər wɑz ə ˈsoʊlʤər hu ˈnɛroʊli sərˈvaɪvd ðə ɪkˈsploʊʒən. ðə ðə keɪs æt ðə rɪkˈwɛst əv ðə ˈpəblɪk ˈprɑsɪˌkjutər ˈæftər ðə ˈsɛkənd ˈsoʊlʤər, hu ˈnɛroʊli sərˈvaɪvd ðə blæst, prɛst ˈʧɑrʤɪz əˈgɛnst ɑr. əˈkɔrdɪŋ tɪ ðə ˈsɛkənd ˈsoʊlʤər, ɑr. wɑz ðə wən hu sɛt ɔf ðə grəˈneɪd ɪn ðə ˈviɪkəl. ðə ˌɪnˌvɛstəˈgeɪʃən ʃoʊd ðət wən əv ðə tu ˈsoʊlʤərz məst hæv kɔzd ðə ɪkˈsploʊʒən, bət ɛz ðɛr wɑz noʊ wən ɛls ðɛr ənd boʊθ dɪˈnaɪ duɪŋ soʊ, ɪt ɪz ˌɪmˈpɑsəbəl tɪ seɪ hu wɑz riˈspɑnsəbəl. ɪt ɪz klɪr ðət ɑr. vərˈbæli wɔrnd hɪz ˈkɑlig ˈʃɔrtli ˌbiˈfɔr ðə ɪkˈsploʊʒən. ðə ˈvɛtərənz ˈlɔjər, diekstra*, kɔld ðə dɪˈsɪʒən nɑt tɪ lɔnʧ ə nu ˈkrɪmənəl ˌɪnˌvɛstəˈgeɪʃən ˌdɪsəˈpɔɪnɪŋ, bət ˈædɪd ðət hi ɪz ˈsætɪsˌfaɪd wɪθ ðə "ˈθəroʊli dən ˌɪnˌvɛstəˈgeɪʃən" baɪ ðə. |
from republican presidential candidates to supporters , used to hearing extreme views from all over the political spectrum and beyond. why?
as a british person with liberal leanings, the ongoing coverage of the us republican race to select a presidential candidate is often baffling. much of this is due to donald trump, of course. donald trump, the ungodly offspring of a retired golfer and a beligerent tangerine. donald trump, a man who once heard the word “unspeakable” and thought “challenge accepted!” just when you think he possibly be more openly offensive towards large groups of people, he reliably proves you wrong a few days later.
despite this, it seems a large number of people still think the best person to be president, where he can bring about nuclear armageddon by openly mocking vladimir height at some international summit.
or is it because of these deeply controversial statements that trump is doing so well? hardly alone in adopting extreme and controversial positions in an effort to secure the presidential candidate nomination.
this to suggest we in the are above such behaviour. far from it. while the mainstream media is constantly (and tediously) focusing on the divisions in the labour party, you miss constant complaints about “corbynites”, supposedly dedicated followers of jeremy who aggressively defend him and tell you to join the bloody conservatives if you express any views that are less left wing than those of lenin himself.
it’s not just politics either; from lefties to libertarians, gamers to gay rights activism, feminism to fandom, if you publicly share an opinion on an issue that many people care about enough to form groups around, bound to get flak from the more “extreme” elements of said groups.
why, though? why do groups of otherwise normal people regularly end up producing an enraged fringe element with a hair trigger? if you have a group of friends who like to together and it transpires that one member of the group has a habit of screaming abuse at strangers and picking fights on everyone behalf, said person be invited to the pub as much from then on.
but surprisingly, this often happen with large, groups. evidence suggests they tend to make people more extreme than if those people were left to think issues through themselves. this phenomenon is known as group, where rather than conforming to the “average” view of the disparate opinions held by group members, putting them all together in one place pushes views towards the extremes.
there are numerous psychological processes believed to be at work here, and they mostly boil down to the unavoidable fact that other people have big influence over what we think and do, and a growing body of evidence that suggests the brain processes perception of self and membership of groups in very similar ways, meaning the groups we identify with are a big part of our identity.
one consequence of this is explained by the social comparison theory. this is where we judge our own worth by comparison to those we identify with. on top of this, informational influence. the people we engage and interact with, those whose opinions and judgement we value, they are a powerful source of information. their views, opinions, prejudices, they all impact on our own knowledge and beliefs. so for example, if you really like star wars so surround yourself and have discussions with people who also like star wars, going to end up liking star wars even more, both to make your new community like you and because heard all their different reasons for why star wars is great.
being accepted by a specific group is fine, but we want to be liked by this group. social rejection is a genuine fear for us humans, so we instinctively want to make the people we like like us in turn. we also judge our own status and by how we compare to them. as a result, if one thing everyone in your group agrees on, you tend to agree with it “more”. so if in the “i like star wars” community, you obtain approval and improve your status by demonstrating you like star wars the most. you learn the most obscure trivia, argue its merits more passionately than others. and so, your original views of “i quite like star wars” gradually become more extreme, by dint of being part of a group.
unfortunately, one consequence of being a group having such influence over our identities is that any threat to the group is often perceived as a threat to ourselves. people regularly group harmony above anything else. as such, anything that threatens the group harmony or consensus is viewed extremely negatively. and what threatens your group more than a different group that agree with your group consensus, or actually disputes it?
if an enthusiastic member of the star community, then someone wanders in and says “actually, star trek is much better”, this person will not get an easy time of it from you. challenging the whole reason for the existence, and the group must be defended, so attacking this challenging view is now a major priority. as well as this, there is now an ideal opportunity to impress other group members and improve your standing, by being the most intense and aggressive with your attacking of this insolent intruder. calm and reasoned debate get much of a look in.
if ever been part of a discussion that quickly descended into a vicious exchange of abuse then probably experienced this phenomenon.
so our brains mean we have several factors, namely identifying with a group, wanting to be part of the group, to be liked by the group, to impress the group and to defend the group. all of these combine to make people more extreme in their views when part of a group, not less.
studies have shown this can happen readily on the internet (particularly twitter) , hence a lot of online discourse can quickly descend into raw hostility.
and sadly, whereas hope calm heads and objective opinion would bed for things that truly matter, group has been shown to be no less a problem for really important things, like politics. even more potent if anything, as not a trivial matter anymore, ergo the beliefs of you and your group must be defended even more vigorously.
add to this the way that psychological mechanisms mean that in politics spin and personality regularly trump (pun intended) logic and reason. as a result the most confident outspoken candidate is seen as better than the calm rational ones, and thus we get candidates who confidently express the most extreme opinions about other groups of people, and those who relate to them support them, rather than disown them.
there’s obviously more to it than this, with countless influences and variables determining views and beliefs regarding others. however, difficult to deny that, thanks to the workings of the brain, identifying as part of a cohesive group can make you more extreme.
best to play it safe and have no friends or social circles to speak of, like i do. that is definitely a conscious choice on my part.
shut up, it is!
dean burnett is on twitter but tries to avoid talking to anyone on there, just to be safe. | frəm rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪts tɪ səˈpɔrtərz juzd tɪ ˈhirɪŋ ɪkˈstrim vjuz frəm ɔl ˈoʊvər ðə pəˈlɪtɪkəl ˈspɛktrəm ənd bɪɔnd. waɪ? ɛz ə ˈbrɪtɪʃ ˈpərsən wɪθ ˈlɪˌbərəl ˈlinɪŋz, ðə ˈɔnˌgoʊɪŋ ˈkəvərɪʤ əv ðə ˈjuˈɛs rɪˈpəblɪkən reɪs tɪ səˈlɛkt ə ˌprɛzɪˈdɛnʃəl ˈkænədɪt ɪz ˈɔfən ˈbæfəlɪŋ. məʧ əv ðɪs ɪz du tɪ ˈdɑnəld trəmp, əv kɔrs. ˈdɑnəld trəmp, ðə ənˈgɔdli ˈɔfˌsprɪŋ əv ə rɪˈtaɪrd ˈgɑlfər ənd ə bəˈlɪʤərənt ˌtænʤərˈin. ˈdɑnəld trəmp, ə mæn hu wəns hərd ðə wərd ““unspeakable”*” ənd θɔt accepted!”*!” ʤɪst wɪn ju θɪŋk hi ˈpɑsəbli bi mɔr ˈoʊpənli əˈfɛnsɪv təˈwɔrdz lɑrʤ grups əv ˈpipəl, hi rɪˈlaɪəbli pruvz ju rɔŋ ə fju deɪz ˈleɪtər. dɪˈspaɪt ðɪs, ɪt simz ə lɑrʤ ˈnəmbər əv ˈpipəl stɪl θɪŋk ðə bɛst ˈpərsən tɪ bi ˈprɛzɪdənt, wɛr hi kən brɪŋ əˈbaʊt ˈnukliər ˌɑrməˈgɛdən baɪ ˈoʊpənli ˈmɑkɪŋ vˈlædəmɪr haɪt æt səm ˌɪnərˈnæʃənɑl ˈsəmɪt. ər ɪz ɪt bɪˈkəz əv ðiz ˈdipli ˌkɑntrəˈvərʃəl ˈsteɪtmənts ðət trəmp ɪz duɪŋ soʊ wɛl? ˈhɑrdli əˈloʊn ɪn əˈdɑptɪŋ ɪkˈstrim ənd ˌkɑntrəˈvərʃəl pəˈzɪʃənz ɪn ən ˈɛfərt tɪ sɪˈkjʊr ðə ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˌnɑməˈneɪʃən. ðɪs tɪ səˈʤɛst wi ɪn ðə ər əˈbəv səʧ bɪˈheɪvjər. fɑr frəm ɪt. waɪl ðə ˈmeɪnˌstrim ˈmidiə ɪz ˈkɑnstəntli (ənd ˈtidiəsli) ˈfoʊkɪsɪŋ ɔn ðə dɪˈvɪʒənz ɪn ðə ˈleɪbər ˈpɑrti, ju mɪs ˈkɑnstənt kəmˈpleɪnts əˈbaʊt ““corbynites”*”, səˈpoʊzədli ˈdɛdəkeɪtəd ˈfɑloʊərz əv ˈʤɛrəˌmi hu əˈgrɛsɪvli dɪˈfɛnd ɪm ənd tɛl ju tɪ ʤɔɪn ðə ˈblədi kənˈsərvətɪvz ɪf ju ɪkˈsprɛs ˈɛni vjuz ðət ər lɛs lɛft wɪŋ ðən ðoʊz əv ˈlɛnɪn hɪmˈsɛlf. nɑt ʤɪst ˈpɑləˌtɪks ˈiðər; frəm ˈlɛftiz tɪ ˌlɪbərˈtɛˌriənz, ˈgeɪmərz tɪ geɪ raɪts ˈæktɪˌvɪzəm, ˈfɛmɪˌnɪzəm tɪ fandom*, ɪf ju ˈpəblɪkli ʃɛr ən əˈpɪnjən ɔn ən ˈɪʃu ðət ˈmɛni ˈpipəl kɛr əˈbaʊt ɪˈnəf tɪ fɔrm grups əraʊnd, baʊnd tɪ gɪt flæk frəm ðə mɔr ““extreme”*” ˈɛləmənts əv sɛd grups. waɪ, ðoʊ? waɪ du grups əv ˈəðərˌwaɪz ˈnɔrməl ˈpipəl ˈrɛgjələrli ɛnd əp prəˈdusɪŋ ən ɪnˈreɪʤd frɪnʤ ˈɛləmənt wɪθ ə hɛr ˈtrɪgər? ɪf ju hæv ə grup əv frɛndz hu laɪk tɪ təˈgɛðər ənd ɪt trænˈspaɪərz ðət wən ˈmɛmbər əv ðə grup həz ə ˈhæbət əv ˈskrimɪŋ əˈbjuz æt ˈstreɪnʤərz ənd ˈpɪkɪŋ faɪts ɔn ˈɛvriˌwən bɪˈhæf, sɛd ˈpərsən bi ˌɪnˈvaɪtɪd tɪ ðə pəb ɛz məʧ frəm ðɛn ɔn. bət səˈpraɪzɪŋli, ðɪs ˈɔfən ˈhæpən wɪθ lɑrʤ, grups. ˈɛvədəns səˈʤɛsts ðeɪ tɛnd tɪ meɪk ˈpipəl mɔr ɪkˈstrim ðən ɪf ðoʊz ˈpipəl wər lɛft tɪ θɪŋk ˈɪʃuz θru ðɛmˈsɛlvz. ðɪs fəˈnɑməˌnɑn ɪz noʊn ɛz grup, wɛr ˈrəðər ðən kənˈfɔrmɪŋ tɪ ðə ““average”*” vju əv ðə ˈdɪspərɪt əˈpɪnjənz hɛld baɪ grup ˈmɛmbərz, ˈpʊtɪŋ ðɛm ɔl təˈgɛðər ɪn wən pleɪs ˈpʊʃɪz vjuz təˈwɔrdz ðə ɪkˈstrimz. ðɛr ər ˈnumərəs ˌsaɪkəˈlɑʤɪkəl ˈprɑsɛsəz bɪˈlivd tɪ bi æt wərk hir, ənd ðeɪ ˈmoʊstli bɔɪl daʊn tɪ ðə ˌənəˈvɔɪdəbəl fækt ðət ˈəðər ˈpipəl hæv bɪg ˈɪnfluəns ˈoʊvər wət wi θɪŋk ənd du, ənd ə groʊɪŋ ˈbɑdi əv ˈɛvədəns ðət səˈʤɛsts ðə breɪn ˈprɑsɛsəz pərˈsɛpʃən əv sɛlf ənd ˈmɛmbərˌʃɪp əv grups ɪn ˈvɛri ˈsɪmələr weɪz, ˈminɪŋ ðə grups wi aɪˈdɛntəˌfaɪ wɪθ ər ə bɪg pɑrt əv ɑr aɪˈdɛntəˌti. wən ˈkɑnsəkwəns əv ðɪs ɪz ɪkˈspleɪnd baɪ ðə ˈsoʊʃəl kəmˈpɛrəsən ˈθɪri. ðɪs ɪz wɛr wi ʤəʤ ɑr oʊn wərθ baɪ kəmˈpɛrəsən tɪ ðoʊz wi aɪˈdɛntəˌfaɪ wɪθ. ɔn tɔp əv ðɪs, ˌɪnˈfɔrˌmeɪʃənəl ˈɪnfluəns. ðə ˈpipəl wi ɪnˈgeɪʤ ənd ˌɪnərˈækt wɪθ, ðoʊz huz əˈpɪnjənz ənd ˈʤəʤmənt wi ˈvælju, ðeɪ ər ə ˈpaʊərfəl sɔrs əv ˌɪnˌfɔrˈmeɪʃən. ðɛr vjuz, əˈpɪnjənz, ˈprɛʤədɪsɪz, ðeɪ ɔl ˌɪmˈpækt ɔn ɑr oʊn ˈnɑlɪʤ ənd bɪˈlifs. soʊ fər ɪgˈzæmpəl, ɪf ju ˈrɪli laɪk stɑr wɔrz soʊ səraʊnd ˈjɔrsɛlf ənd hæv dɪˈskəʃənz wɪθ ˈpipəl hu ˈɔlsoʊ laɪk stɑr wɔrz, goʊɪŋ tɪ ɛnd əp ˈlaɪkɪŋ stɑr wɔrz ˈivɪn mɔr, boʊθ tɪ meɪk jʊr nu kəmˈjunɪti laɪk ju ənd bɪˈkəz hərd ɔl ðɛr ˈdɪfərənt ˈrizənz fər waɪ stɑr wɔrz ɪz greɪt. biɪŋ ækˈsɛptɪd baɪ ə spɪˈsɪfɪk grup ɪz faɪn, bət wi wɔnt tɪ bi laɪkt baɪ ðɪs grup. ˈsoʊʃəl rɪˈʤɛkʃən ɪz ə ˈʤɛnjuˌaɪn fɪr fər ˈjuˈɛs ˈjumənz, soʊ wi ˌɪnˈstɪŋktɪvˌli wɔnt tɪ meɪk ðə ˈpipəl wi laɪk laɪk ˈjuˈɛs ɪn tərn. wi ˈɔlsoʊ ʤəʤ ɑr oʊn ˈstætəs ənd baɪ haʊ wi kəmˈpɛr tɪ ðɛm. ɛz ə rɪˈzəlt, ɪf wən θɪŋ ˈɛvriˌwən ɪn jʊr grup əˈgriz ɔn, ju tɛnd tɪ əˈgri wɪθ ɪt ““more”*”. soʊ ɪf ɪn ðə laɪk stɑr wars”*” kəmˈjunɪti, ju əbˈteɪn əˈpruvəl ənd ˌɪmˈpruv jʊr ˈstætəs baɪ ˈdɛmənˌstreɪtɪŋ ju laɪk stɑr wɔrz ðə moʊst. ju lərn ðə moʊst əbˈskjʊr ˈtrɪviə, ˈɑrgju ɪts ˈmɛrɪts mɔr ˈpæʃənətli ðən ˈəðərz. ənd soʊ, jʊr ərˈɪʤənəl vjuz əv kwaɪt laɪk stɑr wars”*” ˈgræʤuəli bɪˈkəm mɔr ɪkˈstrim, baɪ dɪnt əv biɪŋ pɑrt əv ə grup. ənˈfɔrʧənətli, wən ˈkɑnsəkwəns əv biɪŋ ə grup ˈhævɪŋ səʧ ˈɪnfluəns ˈoʊvər ɑr aɪˈdɛntɪˌtiz ɪz ðət ˈɛni θrɛt tɪ ðə grup ɪz ˈɔfən pərˈsivd ɛz ə θrɛt tɪ ɑrˈsɛlvz. ˈpipəl ˈrɛgjələrli grup ˈhɑrməni əˈbəv ˈɛniˌθɪŋ ɛls. ɛz səʧ, ˈɛniˌθɪŋ ðət θˈrɛtənz ðə grup ˈhɑrməni ər kənˈsɛnsəs ɪz vjud ɪkˈstrimli ˈnɛgətɪvli. ənd wət θˈrɛtənz jʊr grup mɔr ðən ə ˈdɪfərənt grup ðət əˈgri wɪθ jʊr grup kənˈsɛnsəs, ər ˈæˌkʧuəli dɪˈspjuts ɪt? ɪf ən ɪnˌθuziˈæstɪk ˈmɛmbər əv ðə stɑr kəmˈjunɪti, ðɛn ˈsəmˌwən ˈwɑndərz ɪn ənd sɪz ““actually*, stɑr trɛk ɪz məʧ better”*”, ðɪs ˈpərsən wɪl nɑt gɪt ən ˈizi taɪm əv ɪt frəm ju. ˈʧælənʤɪŋ ðə hoʊl ˈrizən fər ðə ɪgˈzɪstəns, ənd ðə grup məst bi dɪˈfɛndɪd, soʊ əˈtækɪŋ ðɪs ˈʧælənʤɪŋ vju ɪz naʊ ə ˈmeɪʤər praɪˈɔrəti. ɛz wɛl ɛz ðɪs, ðɛr ɪz naʊ ən aɪˈdil ˌɑpərˈtunəti tɪ ˌɪmˈprɛs ˈəðər grup ˈmɛmbərz ənd ˌɪmˈpruv jʊr ˈstændɪŋ, baɪ biɪŋ ðə moʊst ˌɪnˈtɛns ənd əˈgrɛsɪv wɪθ jʊr əˈtækɪŋ əv ðɪs ˈɪnsələnt ˌɪnˈtrudər. kɑm ənd ˈrizənd dəˈbeɪt gɪt məʧ əv ə lʊk ɪn. ɪf ˈɛvər bɪn pɑrt əv ə dɪˈskəʃən ðət kˈwɪkli dɪˈsɛndɪd ˈɪntu ə ˈvɪʃəs ɪksˈʧeɪnʤ əv əˈbjuz ðɛn ˈprɑbəˌbli ɪkˈspɪriənst ðɪs fəˈnɑməˌnɑn. soʊ ɑr breɪnz min wi hæv ˈsɛvərəl ˈfæktərz, ˈneɪmli aɪˈdɛntəˌfaɪɪŋ wɪθ ə grup, ˈwɑnɪŋ tɪ bi pɑrt əv ðə grup, tɪ bi laɪkt baɪ ðə grup, tɪ ˌɪmˈprɛs ðə grup ənd tɪ dɪˈfɛnd ðə grup. ɔl əv ðiz ˈkɑmbaɪn tɪ meɪk ˈpipəl mɔr ɪkˈstrim ɪn ðɛr vjuz wɪn pɑrt əv ə grup, nɑt lɛs. ˈstədiz hæv ʃoʊn ðɪs kən ˈhæpən ˈrɛdəli ɔn ðə ˈɪntərˌnɛt (ˌpɑrˈtɪkjələrli tˈwɪtər) hɛns ə lɔt əv ˈɔnˌlaɪn ˈdɪskɔrs kən kˈwɪkli dɪˈsɛnd ˈɪntu rɑ hɑˈstɪləti. ənd ˈsædli, wɛˈræz hoʊp kɑm hɛdz ənd əˈbʤɛktɪv əˈpɪnjən wʊd bi fər θɪŋz ðət ˈtruli ˈmætər, grup həz bɪn ʃoʊn tɪ bi noʊ lɛs ə ˈprɑbləm fər ˈrɪli ˌɪmˈpɔrtənt θɪŋz, laɪk ˈpɑləˌtɪks. ˈivɪn mɔr ˈpoʊtənt ɪf ˈɛniˌθɪŋ, ɛz nɑt ə ˈtrɪviəl ˈmætər ˌɛniˈmɔr, ˈərgoʊ ðə bɪˈlifs əv ju ənd jʊr grup məst bi dɪˈfɛndɪd ˈivɪn mɔr ˈvɪgərəsli. æd tɪ ðɪs ðə weɪ ðət ˌsaɪkəˈlɑʤɪkəl ˈmɛkəˌnɪzəmz min ðət ɪn ˈpɑləˌtɪks spɪn ənd ˌpərsəˈnælɪti ˈrɛgjələrli trəmp (pən ˌɪnˈtɛndɪd) ˈlɑʤɪk ənd ˈrizən. ɛz ə rɪˈzəlt ðə moʊst ˈkɑnfədənt ˈaʊtˈspoʊkən ˈkænədɪt ɪz sin ɛz ˈbɛtər ðən ðə kɑm ˈræʃənəl wənz, ənd ðəs wi gɪt ˈkænədɪts hu ˈkɑnfədəntli ɪkˈsprɛs ðə moʊst ɪkˈstrim əˈpɪnjənz əˈbaʊt ˈəðər grups əv ˈpipəl, ənd ðoʊz hu rɪˈleɪt tɪ ðɛm səˈpɔrt ðɛm, ˈrəðər ðən dɪˈsoʊn ðɛm. ˈɑbviəsli mɔr tɪ ɪt ðən ðɪs, wɪθ ˈkaʊntləs ˈɪnˌfluənsɪz ənd ˈvɛriəbəlz dɪˈtərmənɪŋ vjuz ənd bɪˈlifs rɪˈgɑrdɪŋ ˈəðərz. ˌhaʊˈɛvər, ˈdɪfəkəlt tɪ dɪˈnaɪ ðət, θæŋks tɪ ðə ˈwərkɪŋz əv ðə breɪn, aɪˈdɛntəˌfaɪɪŋ ɛz pɑrt əv ə koʊˈhisɪv grup kən meɪk ju mɔr ɪkˈstrim. bɛst tɪ pleɪ ɪt seɪf ənd hæv noʊ frɛndz ər ˈsoʊʃəl ˈsərkəlz tɪ spik əv, laɪk aɪ du. ðət ɪz ˈdɛfənətli ə ˈkɑnʃəs ʧɔɪs ɔn maɪ pɑrt. ʃət əp, ɪt ɪz! din bərˈnɛt ɪz ɔn tˈwɪtər bət traɪz tɪ əˈvɔɪd ˈtɔkɪŋ tɪ ˈɛniˌwən ɔn ðɛr, ʤɪst tɪ bi seɪf. |
the police may use deadly force to shoot and kill a motorist who leads them on a reckless, high-speed chase, even if the suspect's car is temporarily cornered, the supreme court ruled tuesday.
in a unanimous decision, the justices threw out an "excessive force" claim brought against arkansas police officers who chased a speeding car across the bridge into memphis and shot the driver when he refused to give up.
in the past, the court had said police may use force to stop a fleeing motorist because he represents a danger to the public. but the law has been unclear on whether "deadly force" can be used against the occupants of a stopped car.
in the case decided tuesday, justice samuel a. alito jr. said the officers were justified in shooting the motorist because he continued to maneuver his car after he had been temporarily stopped by a squad car. as the motorist, donald rickard, tried to drive away, police fired 15 shots in all, killing him and a passenger.
alito also said officers deserve the benefit of the doubt when they are engaged in a high-speed pursuit. "we analyze this question from the perspective of a reasonable officer on the scene, rather than with the vision of hindsight," he wrote in v. rickard.
the case began on a summer night in 2004 when officers in west memphis, ark., pulled over a white honda because the car had only one headlight. when an officer sought to question the driver, he sped away.
the chase reached 100 miles per hour when rickard crossed the bridge into memphis. sgt. vance led the pursuit and collided with the fleeing vehicle, sending it spinning into a parking lot.
though car was cornered, he put it into reverse and spun the wheels. when rickard refused to surrender, fired three shots into the vehicle. the car then spun away, and officers fired more shots, killing the driver and his passenger.
rickard's daughter sued, alleging the officers violated the amendment by using "excessive force" to make an arrest. a federal judge and the circuit court of appeals allowed the suit to proceed on the theory that a jury should decide whether the shooting was excessive.
but the supreme court decided there was no constitutional violation. "it is beyond serious dispute that flight posed a grave public safety risk, and here the police acted reasonably in using deadly force to end that risk," alito wrote. it would be "a different case," he added, if the initial shots "had clearly incapacitated rickard" or "if rickard had clearly given himself up."
"but that is not what happened," he concluded. | ðə pəˈlis meɪ juz ˈdɛdli fɔrs tɪ ʃut ənd kɪl ə ˈmoʊtərɪst hu lidz ðɛm ɔn ə ˈrɛkləs, ˈhaɪˌspid ʧeɪs, ˈivɪn ɪf ðə səˈspɛkts kɑr ɪz ˌtɛmpərˈɛrəli ˈkɔrnərd, ðə səˈprim kɔrt ruld ˈtuzˌdeɪ. ɪn ə juˈnænəməs dɪˈsɪʒən, ðə ˈʤəstɪsɪz θru aʊt ən "ɪkˈsɛsɪv fɔrs" kleɪm brɔt əˈgɛnst ˈɑrkənˌsɑ pəˈlis ˈɔfɪsərz hu ʧeɪst ə ˈspidɪŋ kɑr əˈkrɔs ðə brɪʤ ˈɪntu ˈmɛmpfɪs ənd ʃɑt ðə ˈdraɪvər wɪn hi rɪfˈjuzd tɪ gɪv əp. ɪn ðə pæst, ðə kɔrt hæd sɛd pəˈlis meɪ juz fɔrs tɪ stɑp ə fliɪŋ ˈmoʊtərɪst bɪˈkəz hi ˌrɛprɪˈzɛnts ə ˈdeɪnʤər tɪ ðə ˈpəblɪk. bət ðə lɔ həz bɪn ənˈklɪr ɔn ˈwɛðər "ˈdɛdli fɔrs" kən bi juzd əˈgɛnst ðə ˈɑkjəpənts əv ə stɑpt kɑr. ɪn ðə keɪs ˌdɪˈsaɪdɪd ˈtuzˌdeɪ, ˈʤəstɪs ˈsæmjul ə. əˈlitoʊ jr*. sɛd ðə ˈɔfɪsərz wər ˈʤəstəˌfaɪd ɪn ˈʃutɪŋ ðə ˈmoʊtərɪst bɪˈkəz hi kənˈtɪnjud tɪ məˈnuvər hɪz kɑr ˈæftər hi hæd bɪn ˌtɛmpərˈɛrəli stɑpt baɪ ə skwɑd kɑr. ɛz ðə ˈmoʊtərɪst, ˈdɑnəld ˈrɪkərd, traɪd tɪ draɪv əˈweɪ, pəˈlis faɪərd 15 ʃɑts ɪn ɔl, ˈkɪlɪŋ ɪm ənd ə ˈpæsənʤər. əˈlitoʊ ˈɔlsoʊ sɛd ˈɔfɪsərz dɪˈzərv ðə ˈbɛnəfɪt əv ðə daʊt wɪn ðeɪ ər ɪnˈgeɪʤd ɪn ə ˈhaɪˌspid pərˈsut. "wi ˈænəˌlaɪz ðɪs kˈwɛʃən frəm ðə pərˈspɛktɪv əv ə ˈrizənəbəl ˈɔfɪsər ɔn ðə sin, ˈrəðər ðən wɪθ ðə ˈvɪʒən əv ˈhaɪnˌsaɪt," hi roʊt ɪn vi. ˈrɪkərd. ðə keɪs bɪˈgæn ɔn ə ˈsəmər naɪt ɪn 2004 wɪn ˈɔfɪsərz ɪn wɛst ˈmɛmpfɪs, ɑrk., pʊld ˈoʊvər ə waɪt ˈhɔndə bɪˈkəz ðə kɑr hæd ˈoʊnli wən ˈhɛˌdlaɪt. wɪn ən ˈɔfɪsər sɔt tɪ kˈwɛʃən ðə ˈdraɪvər, hi spɛd əˈweɪ. ðə ʧeɪs riʧt 100 maɪəlz pər aʊər wɪn ˈrɪkərd krɔst ðə brɪʤ ˈɪntu ˈmɛmpfɪs. ˈsɑrʤənt. væns lɛd ðə pərˈsut ənd kəˈlaɪdɪd wɪθ ðə fliɪŋ ˈviɪkəl, ˈsɛndɪŋ ɪt ˈspɪnɪŋ ˈɪntu ə ˈpɑrkɪŋ lɔt. ðoʊ kɑr wɑz ˈkɔrnərd, hi pʊt ɪt ˈɪntu rɪˈvərs ənd spən ðə wilz. wɪn ˈrɪkərd rɪfˈjuzd tɪ sərˈɛndər, faɪərd θri ʃɑts ˈɪntu ðə ˈviɪkəl. ðə kɑr ðɛn spən əˈweɪ, ənd ˈɔfɪsərz faɪərd mɔr ʃɑts, ˈkɪlɪŋ ðə ˈdraɪvər ənd hɪz ˈpæsənʤər. ˈdɔtər sud, əˈlɛʤɪŋ ðə ˈɔfɪsərz ˈvaɪəleɪtɪd ðə əˈmɛndmənt baɪ ˈjuzɪŋ "ɪkˈsɛsɪv fɔrs" tɪ meɪk ən ərˈɛst. ə ˈfɛdərəl ʤəʤ ənd ðə ˈsərkət kɔrt əv əˈpilz əˈlaʊd ðə sut tɪ pərˈsid ɔn ðə ˈθɪri ðət ə ˈʤʊri ʃʊd ˌdɪˈsaɪd ˈwɛðər ðə ˈʃutɪŋ wɑz ɪkˈsɛsɪv. bət ðə səˈprim kɔrt ˌdɪˈsaɪdɪd ðɛr wɑz noʊ ˌkɑnstəˈtuʃənəl vaɪəˈleɪʃən. "ɪt ɪz bɪɔnd ˈsɪriəs dɪˈspjut ðət flaɪt poʊzd ə greɪv ˈpəblɪk ˈseɪfti rɪsk, ənd hir ðə pəˈlis ˈæktɪd ˈrizənəbli ɪn ˈjuzɪŋ ˈdɛdli fɔrs tɪ ɛnd ðət rɪsk," əˈlitoʊ roʊt. ɪt wʊd bi "ə ˈdɪfərənt keɪs," hi ˈædɪd, ɪf ðə ˌɪˈnɪʃəl ʃɑts "hæd ˈklɪrli ˌɪnkəˈpæsɪˌteɪtɪd ˈrɪkərd" ər "ɪf ˈrɪkərd hæd ˈklɪrli ˈgɪvɪn hɪmˈsɛlf əp." "bət ðət ɪz nɑt wət ˈhæpənd," hi kənˈkludɪd. |
here’s an offer for you: $38,004 per year, tax work at your local welfare office.
the federal government funds 126 separate programs targeted towards low-income people, 72 of which provide either cash or benefits to individuals. (the rest fund programs for low-income neighborhoods, with no direct benefits to individuals.) state and local governments operate more welfare course, no individual or family gets benefits from all 72 programs, but many do get aid from a number of them at any point in time.
today, the cato institute is releasing a new study looking at the value of welfare for a mother with two children. in the empire state, a family receiving temporary assistance for needy families, medicaid, food stamps, wic, public housing, utility assistance and free commodities (like milk and cheese) would have a package of benefits worth $38,004, the in the nation.
while that might not sound overly generous, remember that welfare benefits taxed, while wages are. so someone in new york would have to earn more than $21 per hour to be better off than they would be on more than the average statewide salary for a teacher.
plus, going to work means added costs such as paying for child care, transportation and to mention that, even if not a money-loser, a person moving from welfare to work will see some form of loss namely, less time for leisure as opposed to work.
is it any wonder, then, that, despite the work requirements included in the 1996 welfare reform, only percent of adult welfare recipients in new york are working in unsubsidized 13 percent are involved in the more broadly defined “work participation,” which includes job search, training and other things.)
welfare is slightly more generous in connecticut, where benefits are worth $38,761; a person leaving welfare for work would have to earn $21.33 per hour to be better in new jersey, a worker would have to make $20.89 to beat welfare.
nationwide, our study found that the value of benefits for a mother and two children ranged from a high of $60,590 in hawaii to a low of $11,150 in idaho. in 33 states and the district of columbia, welfare pays more than an $8-an-hour job. in 12 states and dc, the welfare package is more generous than a $15-an-hour job.
of course, not everyone on welfare gets all seven of the benefits in our study. but, for many recipients particularly the “long-term” dependents welfare clearly pays substantially more than an job.
to be clear: there is no evidence that people on welfare are lazy. indeed, surveys of them consistently show their desire for a job. but also not stupid. if you pay them more not to work than they can earn by working, many will choose not to work.
while this makes sense for them in the short term, it may actually hurt them over the long term. one of the most important steps toward avoiding or getting out of poverty is a percent of full-time workers are poor, vs. percent of adults who work. and, while many activists decry jobs, even starting at a job can be a springboard out of poverty.
thus, by providing such generous welfare payments, we may actually not be helping recipients.
there should be a preference for work over welfare. and while it would be nice to raise the wages of service workers, government has no ability to do so. (studies have shown that attempts to mandate wage increases, such as hikes, primarily result in higher unemployment for the workers.)
if congress and state legislatures are serious about reducing welfare dependence and rewarding work, they should consider strengthening work requirements in welfare programs, removing exemptions and narrowing the definition of work.
in new york, lawmakers should consider ways to shrink the gap between the value of welfare and work by reducing current benefit levels and tightening eligibility requirements.
michael tanner is a senior fellow at the cato institute and author of “leviathan on the right: how conservatism brought down the republican revolution.” | here’s* ən ˈɔfər fər ju: pər jɪr, tæks wərk æt jʊr ˈloʊkəl ˈwɛlˌfɛr ˈɔfəs. ðə ˈfɛdərəl ˈgəvərnmənt fəndz 126 ˈsɛpərˌeɪt ˈproʊˌgræmz ˈtɑrgətɪd təˈwɔrdz ˌloʊˈɪnkəm ˈpipəl, 72 əv wɪʧ prəˈvaɪd ˈiðər kæʃ ər ˈbɛnəfɪts tɪ ˌɪndəˈvɪʤəwəlz. (ðə rɛst fənd ˈproʊˌgræmz fər ˌloʊˈɪnkəm ˈneɪbərˌhʊdz, wɪθ noʊ dɪˈrɛkt ˈbɛnəfɪts tɪ ˌɪndəˈvɪʤəwəlz.) steɪt ənd ˈloʊkəl ˈgəvərnmənts ˈɔpərˌeɪt mɔr ˈwɛlˌfɛr kɔrs, noʊ ˌɪndəˈvɪʤəwəl ər ˈfæməli gɪts ˈbɛnəfɪts frəm ɔl 72 ˈproʊˌgræmz, bət ˈmɛni du gɪt eɪd frəm ə ˈnəmbər əv ðɛm æt ˈɛni pɔɪnt ɪn taɪm. təˈdeɪ, ðə ˈkeɪtoʊ ˈɪnstɪˌtut ɪz riˈlisɪŋ ə nu ˈstədi ˈlʊkɪŋ æt ðə ˈvælju əv ˈwɛlˌfɛr fər ə ˈməðər wɪθ tu ˈʧɪldrən. ɪn ðə ˈɛmpaɪər steɪt, ə ˈfæməli rɪˈsivɪŋ ˈtɛmpərˌɛri əˈsɪstəns fər ˈnidi ˈfæməliz, ˈmɛdəˌkeɪd, fud stæmps, wic*, ˈpəblɪk ˈhaʊzɪŋ, juˈtɪləti əˈsɪstəns ənd fri kəˈmɑdətiz (laɪk mɪlk ənd ʧiz) wʊd hæv ə ˈpækɪʤ əv ˈbɛnəfɪts wərθ ðə ɪn ðə ˈneɪʃən. waɪl ðət maɪt nɑt saʊnd ˈoʊvərli ˈʤɛnərəs, rɪˈmɛmbər ðət ˈwɛlˌfɛr ˈbɛnəfɪts tækst, waɪl ˈweɪʤɪz ər. soʊ ˈsəmˌwən ɪn nu jɔrk wʊd hæv tɪ ərn mɔr ðən 21 pər aʊər tɪ bi ˈbɛtər ɔf ðən ðeɪ wʊd bi ɔn mɔr ðən ðə ˈævərɪʤ ˈsteɪtˌwaɪd ˈsæləri fər ə ˈtiʧər. pləs, goʊɪŋ tɪ wərk minz ˈædɪd kɔsts səʧ ɛz peɪɪŋ fər ʧaɪld kɛr, ˌtrænspərˈteɪʃən ənd tɪ ˈmɛnʃən ðət, ˈivɪn ɪf nɑt ə money-loser*, ə ˈpərsən ˈmuvɪŋ frəm ˈwɛlˌfɛr tɪ wərk wɪl si səm fɔrm əv lɔs ˈneɪmli, lɛs taɪm fər ˈlɛʒər ɛz əˈpoʊzd tɪ wərk. ɪz ɪt ˈɛni ˈwəndər, ðɛn, ðət, dɪˈspaɪt ðə wərk rɪkˈwaɪrmənts ˌɪnˈkludɪd ɪn ðə 1996 ˈwɛlˌfɛr rɪˈfɔrm, ˈoʊnli pərˈsɛnt əv ˈædəlt ˈwɛlˌfɛr rɪˈsɪpiənts ɪn nu jɔrk ər ˈwərkɪŋ ɪn ənˈsəbsəˌdaɪzd 13 pərˈsɛnt ər ˌɪnˈvɑlvd ɪn ðə mɔr ˈbrɔdli dɪˈfaɪnd participation,”*,” wɪʧ ˌɪnˈkludz ʤɑb sərʧ, ˈtreɪnɪŋ ənd ˈəðər θɪŋz.) ˈwɛlˌfɛr ɪz sˈlaɪtli mɔr ˈʤɛnərəs ɪn kəˈnɛtəkət, wɛr ˈbɛnəfɪts ər wərθ ə ˈpərsən ˈlivɪŋ ˈwɛlˌfɛr fər wərk wʊd hæv tɪ ərn pər aʊər tɪ bi ˈbɛtər ɪn nu ˈʤərzi, ə ˈwərkər wʊd hæv tɪ meɪk tɪ bit ˈwɛlˌfɛr. ˈneɪʃənˈwaɪd, ɑr ˈstədi faʊnd ðət ðə ˈvælju əv ˈbɛnəfɪts fər ə ˈməðər ənd tu ˈʧɪldrən reɪnʤd frəm ə haɪ əv ɪn həˈwaɪˌi tɪ ə loʊ əv ɪn ˈaɪdəˌhoʊ. ɪn 33 steɪts ənd ðə ˈdɪstrɪkt əv kəˈləmbiə, ˈwɛlˌfɛr peɪz mɔr ðən ən ʤɑb. ɪn 12 steɪts ənd ˌdiˈsi, ðə ˈwɛlˌfɛr ˈpækɪʤ ɪz mɔr ˈʤɛnərəs ðən ə ʤɑb. əv kɔrs, nɑt ˈɛvriˌwən ɔn ˈwɛlˌfɛr gɪts ɔl ˈsɛvən əv ðə ˈbɛnəfɪts ɪn ɑr ˈstədi. bət, fər ˈmɛni rɪˈsɪpiənts ˌpɑrˈtɪkjələrli ðə ““long-term”*” dɪˈpɛndənts ˈwɛlˌfɛr ˈklɪrli peɪz səbˈstænʃəli mɔr ðən ən ʤɑb. tɪ bi klɪr: ðɛr ɪz noʊ ˈɛvədəns ðət ˈpipəl ɔn ˈwɛlˌfɛr ər ˈleɪzi. ˌɪnˈdid, ˈsərˌveɪz əv ðɛm kənˈsɪstəntli ʃoʊ ðɛr dɪˈzaɪər fər ə ʤɑb. bət ˈɔlsoʊ nɑt ˈstupɪd. ɪf ju peɪ ðɛm mɔr nɑt tɪ wərk ðən ðeɪ kən ərn baɪ ˈwərkɪŋ, ˈmɛni wɪl ʧuz nɑt tɪ wərk. waɪl ðɪs meɪks sɛns fər ðɛm ɪn ðə ʃɔrt tərm, ɪt meɪ ˈæˌkʧuəli hərt ðɛm ˈoʊvər ðə lɔŋ tərm. wən əv ðə moʊst ˌɪmˈpɔrtənt stɛps təˈwɔrd əˈvɔɪdɪŋ ər ˈgɪtɪŋ aʊt əv ˈpɑvərti ɪz ə pərˈsɛnt əv ˈfʊlˌtaɪm ˈwərkərz ər pur, ˈvərsəz. pərˈsɛnt əv ˈædəlts hu wərk. ənd, waɪl ˈmɛni ˈæktɪvɪsts dɪˈkraɪ ʤɑbz, ˈivɪn ˈstɑrtɪŋ æt ə ʤɑb kən bi ə ˈsprɪŋˌbɔrd aʊt əv ˈpɑvərti. ðəs, baɪ prəˈvaɪdɪŋ səʧ ˈʤɛnərəs ˈwɛlˌfɛr ˈpeɪmənts, wi meɪ ˈæˌkʧuəli nɑt bi ˈhɛlpɪŋ rɪˈsɪpiənts. ðɛr ʃʊd bi ə ˈprɛfərəns fər wərk ˈoʊvər ˈwɛlˌfɛr. ənd waɪl ɪt wʊd bi nis tɪ reɪz ðə ˈweɪʤɪz əv ˈsərvɪs ˈwərkərz, ˈgəvərnmənt həz noʊ əˈbɪləˌti tɪ du soʊ. (ˈstədiz hæv ʃoʊn ðət əˈtɛmpts tɪ ˈmænˌdeɪt weɪʤ ˌɪnˈkrisɪz, səʧ ɛz haɪks, praɪˈmɛrəli rɪˈzəlt ɪn haɪər ˌənɪmˈplɔɪmənt fər ðə ˈwərkərz.) ɪf ˈkɑŋgrəs ənd steɪt ˈlɛʤɪsˌleɪʧərz ər ˈsɪriəs əˈbaʊt rɪˈdusɪŋ ˈwɛlˌfɛr dɪˈpɛndəns ənd rɪˈwɔrdɪŋ wərk, ðeɪ ʃʊd kənˈsɪdər ˈstrɛŋθənɪŋ wərk rɪkˈwaɪrmənts ɪn ˈwɛlˌfɛr ˈproʊˌgræmz, riˈmuvɪŋ ɪgˈzɛmpʃənz ənd ˈnɛroʊɪŋ ðə ˌdɛfəˈnɪʃən əv wərk. ɪn nu jɔrk, ˈlɔˌmeɪkərz ʃʊd kənˈsɪdər weɪz tɪ ʃrɪŋk ðə gæp bɪtˈwin ðə ˈvælju əv ˈwɛlˌfɛr ənd wərk baɪ rɪˈdusɪŋ ˈkɑrənt ˈbɛnəfɪt ˈlɛvəlz ənd ˈtaɪtənɪŋ ˌɛlɪʤəˈbɪlɪti rɪkˈwaɪrmənts. ˈmaɪkəl ˈtænər ɪz ə ˈsinjər ˈfɛloʊ æt ðə ˈkeɪtoʊ ˈɪnstɪˌtut ənd ˈɔθər əv ɔn ðə raɪt: haʊ kənˈsərvəˌtɪzəm brɔt daʊn ðə rɪˈpəblɪkən revolution.”*.” |
image caption the body was found in a chimney at moody and woolley solicitors
a suspected burglar whose body was found in the chimney of a law firm has been named by police as kevin gough.
the is thought to have been in the chimney at moody and woolley solicitors, in derby, for several weeks.
his body was discovered at about noon on wednesday afteraff raised concerns about flies and a smell at the office in mary's gate.
an inquest is due to open at derby coroners court later.
'very sad'
martina longworth, a partner at the firm, said: "it must have been quite a terrible way to die for the poor man and it must be very distressing for his family.
"we would be most concerned for them. it's very sad."
damage to the building was first noticed six weeks ago when builders believed there had been an attempted break-in.
the builders called in by the firm found a hole in the roof.
staff claimed the buildings on thereet have been targeted by lead thieves in the past.
police said mr gough had no fixed address and they are not treating his death as suspicious. | ˈɪmɪʤ ˈkæpʃən ðə ˈbɑdi wɑz faʊnd ɪn ə ˈʧɪmni æt ˈmudi ənd ˈwʊli səˈlɪsətərz ə səˈspɛktɪd ˈbərglər huz ˈbɑdi wɑz faʊnd ɪn ðə ˈʧɪmni əv ə lɔ fərm həz bɪn neɪmd baɪ pəˈlis ɛz ˈkɛvɪn gɔf. ðə ɪz θɔt tɪ hæv bɪn ɪn ðə ˈʧɪmni æt ˈmudi ənd ˈwʊli səˈlɪsətərz, ɪn ˈdərbi, fər ˈsɛvərəl wiks. hɪz ˈbɑdi wɑz dɪˈskəvərd æt əˈbaʊt nun ɔn ˈwɛnzˌdeɪ ˈæftər stæf reɪzd kənˈsərnz əˈbaʊt flaɪz ənd ə smɛl æt ðə ˈɔfəs ɪn ˈmɛriz geɪt. ən ˈɪnkˌwɛst ɪz du tɪ ˈoʊpən æt ˈdərbi ˈkɔrənərz kɔrt ˈleɪtər. 'ˈvɛri sæd' mɑrˈtinə ˈlɔŋˌwərθ, ə ˈpɑrtnər æt ðə fərm, sɛd: "ɪt məst hæv bɪn kwaɪt ə ˈtɛrəbəl weɪ tɪ daɪ fər ðə pur mæn ənd ɪt məst bi ˈvɛri dɪˈstrɛsɪŋ fər hɪz ˈfæməli. "wi wʊd bi moʊst kənˈsərnd fər ðɛm. ɪts ˈvɛri sæd." ˈdæmɪʤ tɪ ðə ˈbɪldɪŋ wɑz fərst ˈnoʊtɪst sɪks wiks əˈgoʊ wɪn ˈbɪldərz bɪˈlivd ðɛr hæd bɪn ən əˈtɛmptəd ˈbreɪˌkɪn. ðə ˈbɪldərz kɔld ɪn baɪ ðə fərm faʊnd ə hoʊl ɪn ðə rʊf. stæf kleɪmd ðə ˈbɪldɪŋz ɔn ðə strit hæv bɪn ˈtɑrgətɪd baɪ lɛd θivz ɪn ðə pæst. pəˈlis sɛd ˈmɪstər gɔf hæd noʊ fɪkst ˈæˌdrɛs ənd ðeɪ ər nɑt ˈtritɪŋ hɪz dɛθ ɛz səˈspɪʃəs. |
one of the first homes to get the tesla is running. it's part of a partnership between green mountain power and tesla on an project. we first told you about it back in may.
here's a reminder of how the technology works. large tesla batteries are stationed outside and smaller ones are inside the homes of some vermonters. during peak times of the day, when lots of people are using electricity, power is pulled from the batteries and sent across the state.
gmp representatives say that means they won't need to turn on costly generators, which saves customers money. the battery inside someone's home also acts as an generator when the power goes out. it's already helped one vermonter keep the lights on as our alexandra montgomery found out.
"thes are over here," andy mcmahan said. "this is it right here. there's two of them here, there's the back one and the front one."
it's a modern piece of technology running inside a vermont log home.
mcmahan is one of 102 vermonters who have a tesla already up and running. i'm told others are on a waiting list.
"i feel like a guinea pig, to a little point," mcmahan said. "but someone's got to do it, right?"
mcmahan says just days after hers were installed, a wind storm knocked out power for thousands of vermonters, including her.
"this went on, went off, went on, went off and we're like, 'oh boy,'" she said.
mcmahan says after a call to customer service and a few flipped switches...
"boom! all the lights came on and we were golden after that," she said.
despite the hiccup the first time around, she says the next time she lost power, she didn't even know.
"the is just, you know, you don't have to go out and start a generator. it just-- it's quiet, doesn't use fuel, it's what it is-- it's powered by the sun," mcmahan said.
mcmahan has solar panels to recharge her after pulls power during peak times. but reps say she isn't left if a sunny day isn't in the forecast.
"we're always making sure we're always looking at things like the weather, make sure that in those cases we would be ensuring that the storage devices are fully charged and ready for the customer to use," ceo mary powell explained.
it's something powell says is common sense and will be even easier to accommodate once mores are installed. but the walls currently running are already making a difference.
"having those 100 signed up is like virtually disconnecting, like taking 500 homes completely off the grid. that's the equivalent," powell said. "so you can only imagine when we get up to and when we go further."
back in home, she signed up for twos and pays $15 a month for each through the program. normally, it costs $7,000 to $8,000 to order one from website.
"if these continue as good as they are, if there wasn't a lease agreement, i would buy one," mcmahan said. "i seriously would."
people who use thes have an app on their phone that shows them when their is being used and how charged it is. | wən əv ðə fərst hoʊmz tɪ gɪt ðə ˈtɛzlə ɪz ˈrənɪŋ. ɪts pɑrt əv ə ˈpɑrtnərˌʃɪp bɪtˈwin grin ˈmaʊntən paʊər ənd ˈtɛzlə ɔn ən ˈprɑʤɛkt. wi fərst toʊld ju əˈbaʊt ɪt bæk ɪn meɪ. hɪrz ə riˈmaɪndər əv haʊ ðə tɛkˈnɑləʤi wərks. lɑrʤ ˈtɛzlə ˈbætəriz ər ˈsteɪʃənd ˈaʊtˈsaɪd ənd sˈmɔlər wənz ər ˌɪnˈsaɪd ðə hoʊmz əv səm vərˈmɑntərz. ˈdʊrɪŋ pik taɪmz əv ðə deɪ, wɪn lɑts əv ˈpipəl ər ˈjuzɪŋ ɪˌlɛkˈtrɪsəti, paʊər ɪz pʊld frəm ðə ˈbætəriz ənd sɛnt əˈkrɔs ðə steɪt. ˌrɛprɪˈzɛnətɪvz seɪ ðət minz ðeɪ woʊnt nid tɪ tərn ɔn ˈkɔstli ˈʤɛnərˌeɪtərz, wɪʧ seɪvz ˈkəstəmərz ˈməni. ðə ˈbætəri ˌɪnˈsaɪd ˈsəmˌwənz hoʊm ˈɔlsoʊ ækts ɛz ən ˈʤɛnərˌeɪtər wɪn ðə paʊər goʊz aʊt. ɪts ɔˈrɛdi hɛlpt wən vərˈmɑntər kip ðə laɪts ɔn ɛz ɑr ˌælɪgˈzændrə mɑntˈgəmri faʊnd aʊt. "ðə ər ˈoʊvər hir," ˈændi məkˈmeɪhən sɛd. "ðɪs ɪz ɪt raɪt hir. ðɛrz tu əv ðɛm hir, ðɛrz ðə bæk wən ənd ðə frənt wən." ɪts ə ˈmɑdərn pis əv tɛkˈnɑləʤi ˈrənɪŋ ˌɪnˈsaɪd ə vərˈmɑnt lɔg hoʊm. məkˈmeɪhən ɪz wən əv 102 vərˈmɑntərz hu hæv ə ˈtɛzlə ɔˈrɛdi əp ənd ˈrənɪŋ. əm toʊld ˈəðərz ər ɔn ə ˈweɪtɪŋ lɪst. "aɪ fil laɪk ə ˈgɪni pɪg, tɪ ə ˈlɪtəl pɔɪnt," məkˈmeɪhən sɛd. "bət ˈsəmˌwənz gɑt tɪ du ɪt, raɪt?" məkˈmeɪhən sɪz ʤɪst deɪz ˈæftər hər wər ˌɪnˈstɔld, ə wɪnd stɔrm nɑkt aʊt paʊər fər ˈθaʊzənz əv vərˈmɑntərz, ˌɪnˈkludɪŋ hər. "ðɪs wɛnt ɔn, wɛnt ɔf, wɛnt ɔn, wɛnt ɔf ənd wɪr laɪk, 'oʊ bɔɪ,'" ʃi sɛd. məkˈmeɪhən sɪz ˈæftər ə kɔl tɪ ˈkəstəmər ˈsərvɪs ənd ə fju flɪpt sˈwɪʧɪz... "bum! ɔl ðə laɪts keɪm ɔn ənd wi wər ˈgoʊldən ˈæftər ðət," ʃi sɛd. dɪˈspaɪt ðə ˈhɪkəp ðə fərst taɪm əraʊnd, ʃi sɪz ðə nɛkst taɪm ʃi lɔst paʊər, ʃi ˈdɪdənt ˈivɪn noʊ. "ðə ɪz ʤɪst, ju noʊ, ju doʊnt hæv tɪ goʊ aʊt ənd stɑrt ə ˈʤɛnərˌeɪtər. ɪt ʤɪst-- ɪts kwaɪət, ˈdəzənt juz fjuəl, ɪts wət ɪt ɪz-- ɪts paʊərd baɪ ðə sən," məkˈmeɪhən sɛd. məkˈmeɪhən həz ˈsoʊlər ˈpænəlz tɪ riˈʧɑrʤ hər ˈæftər pʊlz paʊər ˈdʊrɪŋ pik taɪmz. bət rɛps seɪ ʃi ˈɪzənt lɛft ɪf ə ˈsəni deɪ ˈɪzənt ɪn ðə ˈfɔrˌkæst. "wɪr ˈɔlˌweɪz ˈmeɪkɪŋ ʃʊr wɪr ˈɔlˌweɪz ˈlʊkɪŋ æt θɪŋz laɪk ðə ˈwɛðər, meɪk ʃʊr ðət ɪn ðoʊz ˈkeɪsɪz wi wʊd bi ɪnˈʃʊrɪŋ ðət ðə ˈstɔrɪʤ dɪˈvaɪsɪz ər ˈfʊli ʧɑrʤd ənd ˈrɛdi fər ðə ˈkəstəmər tɪ juz," ˈsiˌiˈoʊ ˈmɛri ˈpɑwɛl ɪkˈspleɪnd. ɪts ˈsəmθɪŋ ˈpɑwɛl sɪz ɪz ˈkɑmən sɛns ənd wɪl bi ˈivɪn ˈiziər tɪ əˈkɑməˌdeɪt wəns mɔr ər ˌɪnˈstɔld. bət ðə wɔlz ˈkərəntli ˈrənɪŋ ər ɔˈrɛdi ˈmeɪkɪŋ ə ˈdɪfərəns. "ˈhævɪŋ ðoʊz 100 saɪnd əp ɪz laɪk ˈvərʧuəli ˌdɪskəˈnɛktɪŋ, laɪk ˈteɪkɪŋ 500 hoʊmz kəmˈplitli ɔf ðə grɪd. ðæts ðə ɪkˈwɪvələnt," ˈpɑwɛl sɛd. "soʊ ju kən ˈoʊnli ˌɪˈmæʤən wɪn wi gɪt əp tɪ ənd wɪn wi goʊ ˈfərðər." bæk ɪn hoʊm, ʃi saɪnd əp fər tu ənd peɪz 15 ə mənθ fər iʧ θru ðə ˈproʊˌgræm. ˈnɔrməli, ɪt kɔsts tɪ tɪ ˈɔrdər wən frəm ˈwɛbˌsaɪt. "ɪf ðiz kənˈtɪnju ɛz gʊd ɛz ðeɪ ər, ɪf ðɛr ˈwəzənt ə lis əˈgrimənt, aɪ wʊd baɪ wən," məkˈmeɪhən sɛd. "aɪ ˈsɪriəsli wʊd." ˈpipəl hu juz ðə hæv ən æp ɔn ðɛr foʊn ðət ʃoʊz ðɛm wɪn ðɛr ɪz biɪŋ juzd ənd haʊ ʧɑrʤd ɪt ɪz. |
dean & is a musical duo consisting of dean and phillips, both former members of luna. had formed luna in 1991 after leaving his first band, 500. phillips joined luna in 2000, replacing bassist justin harwood.
history [ edit ]
their first album started out as a solo project, but when he heard phillips' demos, he asked her to join him. "l'avventura" was produced by tony visconti and was released on records in 2003 under the name phillips & dean." after hearing the album, peter (a.k.a. sonic boom of 3, spectrum, & e.a.r.) fell in love with it and did a mini lp entitled "sonic souvenirs" (also on records).
after luna broke up in 2005, dean & spent the next year working on film scores (most notably noah movie, the squid and the whale), and promoting the documentary film of farewell tour tell me do you miss me. they were married during the recording of their album back numbers (also produced by tony visconti), and simplified their name to "dean &". back numbers was released on rounder records in february 2007 followed by a limited edition ep, "words you used to say". in 2006 dean and did a show video session shot by vincent]
in 2008, dean & covered the "friday i'm in love" for american laundromat records tribute compilation "just like heaven - a tribute to the cure".
discography [ edit ]
albums [ edit ]
eps [ edit ]
sonic souvenirs (2004)
(2004) words you used to say (2006)
(2006) variations (2008)
soundtracks [ edit ] | din ɪz ə mˈjuzɪkəl ˈduoʊ kənˈsɪstɪŋ əv din ənd ˈfɪlɪps, boʊθ ˈfɔrmər ˈmɛmbərz əv ˈlunə. hæd fɔrmd ˈlunə ɪn 1991 ˈæftər ˈlivɪŋ hɪz fərst bænd, 500 ˈfɪlɪps ʤɔɪnd ˈlunə ɪn 2000 rɪˈpleɪsɪŋ ˈbeɪsɪst ˈʤəstɪn ˈhɑrˌwʊd. ˈhɪstəri ˈɛdət ðɛr fərst ˈælbəm ˈstɑrtɪd aʊt ɛz ə ˈsoʊˌloʊ ˈprɑʤɛkt, bət wɪn hi hərd ˈfɪlɪps' ˈdɛˌmoʊz, hi æst hər tɪ ʤɔɪn ɪm. "l'avventura*" wɑz prəˈdust baɪ ˈtoʊni viˈskoʊnti ənd wɑz riˈlist ɔn ˈrɛkərdz ɪn 2003 ˈəndər ðə neɪm ˈfɪlɪps din." ˈæftər ˈhirɪŋ ðə ˈælbəm, ˈpitər (a.k.a*. ˈsɑnɪk bum əv 3 ˈspɛktrəm, e.a.r*.) fɛl ɪn ləv wɪθ ɪt ənd dɪd ə ˈmɪni ˈɛlˈpi ɛnˈtaɪtəld "ˈsɑnɪk ˌsuvəˈnɪrz" (ˈɔlsoʊ ɔn ˈrɛkərdz). ˈæftər ˈlunə broʊk əp ɪn 2005 din spɛnt ðə nɛkst jɪr ˈwərkɪŋ ɔn fɪlm skɔrz (moʊst ˈnoʊtəbli noʊə ˈmuvi, ðə skwɪd ənd ðə weɪl), ənd prəˈmoʊtɪŋ ðə ˌdɑkjəˈmɛnəri fɪlm əv ˌfɛrˈwɛl tʊr tɛl mi du ju mɪs mi. ðeɪ wər ˈmɛrid ˈdʊrɪŋ ðə rɪˈkɔrdɪŋ əv ðɛr ˈælbəm bæk ˈnəmbərz (ˈɔlsoʊ prəˈdust baɪ ˈtoʊni viˈskoʊnti), ənd ˈsɪmpləˌfaɪd ðɛr neɪm tɪ "din ". bæk ˈnəmbərz wɑz riˈlist ɔn ˈraʊndər ˈrɛkərdz ɪn ˈfɛbruˌɛri 2007 ˈfɑloʊd baɪ ə ˈlɪmɪtɪd ɪˈdɪʃən ep*, "wərdz ju juzd tɪ seɪ". ɪn 2006 din ənd dɪd ə ʃoʊ ˈvɪdioʊ ˈsɛʃən ʃɑt baɪ ˈvɪnsɪnt ɪn 2008 din ˈkəvərd ðə "ˈfraɪˌdeɪ əm ɪn ləv" fər əˈmɛrɪkən ˈlɔndrəˌmæt ˈrɛkərdz ˈtrɪbjut ˌkɑmpəˈleɪʃən "ʤɪst laɪk ˈhɛvən ə ˈtrɪbjut tɪ ðə kjʊr". dɪˈskɔgrəfi ˈɛdət ˈælbəmz ˈɛdət ˈɛdət ˈsɑnɪk ˌsuvəˈnɪrz 2004 2004 wərdz ju juzd tɪ seɪ 2006 2006 ˌvɛriˈeɪʃənz 2008 ˈsaʊnˌtræks ˈɛdət |
ted cruz does not like the iran deal.
that’s an understatement.
in front of a crowd of religious voters on friday morning, senator ted cruz had some pretty extreme things to say about the iran nuclear deal, namely, he threatened to kill leader if he give up plans for a nuclear program.
“if the ayatollah understand that, we may have to help introduce him to the 72 virgins,” cruz said at the annual values voters summit, adding that he would rip the iran nuclear deal “to shreds” on his first day in office.
the controversial pact reached in july was conceived by the united states, the united kingdom, france, china, russian and the european union to prevent iran from securing nuclear weapons while allowing the country to have an exclusively peaceful nuclear program going forward.
earlier in the speech, cruz referred to president obama as “the most powerful communist” and that he should be incarcerated. he also suggested the democratic debates be held at the leavenworth prison, which has recently been scouted as a potential transfer point for those detained at guantanamo.
“if they can project a rainbow on the white house, maybe they can put bars on the windows,” cruz said.
among other vows: rescinding whatever he considered to be illegal and unconstitutional executive actions, including a compete repeal of obamacare, demanding the department of justice investigate planned parenthood, and telling the department of education, which he says “should be abolished,” that common core, which details what students should know at the end of each grade, ends immediately.
the crowd cheered throughout. | tɛd kruz dɪz nɑt laɪk ðə ˌɪˈrɑn dil. ən ˈəndərˌsteɪtmənt. ɪn frənt əv ə kraʊd əv rɪˈlɪʤəs ˈvoʊtərz ɔn ˈfraɪˌdeɪ ˈmɔrnɪŋ, ˈsɛnətər tɛd kruz hæd səm ˈprɪti ɪkˈstrim θɪŋz tɪ seɪ əˈbaʊt ðə ˌɪˈrɑn ˈnukliər dil, ˈneɪmli, hi θˈrɛtənd tɪ kɪl ˈlidər ɪf hi gɪv əp plænz fər ə ˈnukliər ˈproʊˌgræm. ðə ˌaɪəˈtoʊlə ˌəndərˈstænd ðət, wi meɪ hæv tɪ hɛlp ˌɪntrəˈdus ɪm tɪ ðə 72 virgins,”*,” kruz sɛd æt ðə ˈænjuəl ˈvæljuz ˈvoʊtərz ˈsəmɪt, ˈædɪŋ ðət hi wʊd rɪp ðə ˌɪˈrɑn ˈnukliər dil shreds”*” ɔn hɪz fərst deɪ ɪn ˈɔfəs. ðə ˌkɑntrəˈvərʃəl pækt riʧt ɪn ˌʤuˈlaɪ wɑz kənˈsivd baɪ ðə juˈnaɪtɪd steɪts, ðə juˈnaɪtɪd ˈkɪŋdəm, fræns, ˈʧaɪnə, ˈrəʃən ənd ðə ˌjʊrəˈpiən ˈjunjən tɪ prɪˈvɛnt ˌɪˈrɑn frəm sɪˈkjʊrɪŋ ˈnukliər ˈwɛpənz waɪl əˈlaʊɪŋ ðə ˈkəntri tɪ hæv ən ɪkˈsklusɪvli ˈpisfəl ˈnukliər ˈproʊˌgræm goʊɪŋ ˈfɔrwərd. ˈərliər ɪn ðə spiʧ, kruz rɪˈfərd tɪ ˈprɛzɪdənt ˌoʊˈbɑmə ɛz moʊst ˈpaʊərfəl communist”*” ənd ðət hi ʃʊd bi ˌɪnˈkɑrsərˌeɪtɪd. hi ˈɔlsoʊ səˈʤɛstɪd ðə ˌdɛməˈkrætɪk dəˈbeɪts bi hɛld æt ðə ˈlɛvənˌwərθ ˈprɪzən, wɪʧ həz ˈrisəntli bɪn ˈskaʊtəd ɛz ə pəˈtɛnʃəl ˈtrænsfər pɔɪnt fər ðoʊz dɪˈteɪnd æt gˌwɑnˈtɑnəˌmoʊ. ðeɪ kən ˈprɑʤɛkt ə ˈreɪnˌboʊ ɔn ðə waɪt haʊs, ˈmeɪbi ðeɪ kən pʊt bɑrz ɔn ðə windows,”*,” kruz sɛd. əˈməŋ ˈəðər vaʊz: rɪˈsɪndɪŋ ˌwəˈtɛvər hi kənˈsɪdərd tɪ bi ˌɪˈligəl ənd ˌənˌkɑnstəˈtuʃənəl ɪgˈzɛkjətɪv ˈækʃənz, ˌɪnˈkludɪŋ ə kəmˈpit rɪˈpil əv obamacare*, dɪˈmændɪŋ ðə dɪˈpɑrtmənt əv ˈʤəstɪs ˌɪnˈvɛstəˌgeɪt plænd ˈpɛrənˌthʊd, ənd ˈtɛlɪŋ ðə dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən, wɪʧ hi sɪz bi abolished,”*,” ðət ˈkɑmən kɔr, wɪʧ ˈditeɪlz wət ˈstudənts ʃʊd noʊ æt ðə ɛnd əv iʧ greɪd, ɛndz ˌɪˈmiˌdiətli. ðə kraʊd ʧɪrd θruaʊt. |
amazon’s first attempt at its own mobile wallet application, designed for use at the point-of-sale, has made a quiet debut on the amazon and on google play. however, the current implementation of the new “amazon wallet” application is fairly it yet support mobile payments or the ability to store credit cards or debit cards. instead, the wallet only offers the ability to store and organize your gift cards and other store and loyalty cards.
according to the description, amazon wallet lets you either scan or type in your gift card, loyalty card and membership information to “reduce the clutter in your leather wallet or purse.” the cards are then available in a digital format as a barcode, code, text or image. for dozens of supported merchants, consumers are also able to check the balance of their stored gift cards.
in addition to the mobile application, amazon has also has a website for its amazon wallet service at where you can log in and then add other gift cards to your account to have them appear in the mobile app. here, you can manage your other payment methods including credit cards, debit cards, and checking accounts which can be used while shopping on amazon.com, though not at point-of-sale.
though these additional payment methods available in the current implementation of the amazon wallet application, the company is known to have broader ambitions aimed at establishing itself as a payments competitor to the likes of or google wallet especially in terms of peer-to-peer (person-to-person) payments, as well as an alternative to square and others, where the kindle tablet would serve as a point-of-sale.
amazon wallet, as a piece to this larger puzzle, is only in its early stages. it is a hint of to come, if not the finalized product.
the new amazon wallet app is currently listed as being in “beta,” and is also one of the apps that ships on new fire phone devices. the wallet actually appeared on both app stores on july 17th, but has only recently been spotted by a number of android fan blogs, including android police, android central, and talkandroid, to name a few.
those who have added commentary alongside the news of the existence say a pale competitor to the current wallet alternatives on the market. some also find it odd that amazon would be trying to move into the offline world when so much of their business is centered on the web.
but as noted above, payments plans have for a long time included targeting its merchant customer base, including when they engage in offline, local commerce. these plans stretch back several years, in fact, though we yet seen amazon take those final steps into the world of offline commerce. but with its new fire phone, which can scan and identify physical products and match them up with online inventory, the company is now taking steps to connect its and mobile services to the products and apparently, soon, the payments in the real world.
when asked for more information about wallet, amazon declined to share any further information about the product roadmap, saying “in addition to being on fire phone, we are offering a beta version of the amazon wallet app for android phones in the amazon and on google play. we look forward to getting customer feedback on the beta app.” | amazon’s* fərst əˈtɛmpt æt ɪts oʊn ˈmoʊbəl ˈwɔlət ˌæpləˈkeɪʃən, dɪˈzaɪnd fər juz æt ðə point-of-sale*, həz meɪd ə kwaɪət ˈdeɪbju ɔn ðə ˈæməˌzɑn ənd ɔn ˈgugəl pleɪ. ˌhaʊˈɛvər, ðə ˈkɑrənt ˌɪmpləmɛnˈteɪʃən əv ðə nu wallet”*” ˌæpləˈkeɪʃən ɪz ˈfɛrli ɪt jɛt səˈpɔrt ˈmoʊbəl ˈpeɪmənts ər ðə əˈbɪləˌti tɪ stɔr ˈkrɛdɪt kɑrdz ər ˈdɛbɪt kɑrdz. ˌɪnˈstɛd, ðə ˈwɔlət ˈoʊnli ˈɔfərz ðə əˈbɪləˌti tɪ stɔr ənd ˈɔrgəˌnaɪz jʊr gɪft kɑrdz ənd ˈəðər stɔr ənd ˈlɔɪəlti kɑrdz. əˈkɔrdɪŋ tɪ ðə dɪˈskrɪpʃən, ˈæməˌzɑn ˈwɔlət lɛts ju ˈiðər skæn ər taɪp ɪn jʊr gɪft kɑrd, ˈlɔɪəlti kɑrd ənd ˈmɛmbərˌʃɪp ˌɪnˌfɔrˈmeɪʃən tɪ ðə ˈklətər ɪn jʊr ˈlɛðər ˈwɔlət ər purse.”*.” ðə kɑrdz ər ðɛn əˈveɪləbəl ɪn ə ˈdɪʤɪtəl ˈfɔrˌmæt ɛz ə barcode*, koʊd, tɛkst ər ˈɪmɪʤ. fər ˈdəzənz əv səˈpɔrtɪd ˈmərʧənts, kənˈsumərz ər ˈɔlsoʊ ˈeɪbəl tɪ ʧɛk ðə ˈbæləns əv ðɛr stɔrd gɪft kɑrdz. ɪn əˈdɪʃən tɪ ðə ˈmoʊbəl ˌæpləˈkeɪʃən, ˈæməˌzɑn həz ˈɔlsoʊ həz ə ˈwɛbˌsaɪt fər ɪts ˈæməˌzɑn ˈwɔlət ˈsərvɪs æt wɛr ju kən lɔg ɪn ənd ðɛn æd ˈəðər gɪft kɑrdz tɪ jʊr əˈkaʊnt tɪ hæv ðɛm əˈpɪr ɪn ðə ˈmoʊbəl æp. hir, ju kən ˈmænɪʤ jʊr ˈəðər ˈpeɪmənt ˈmɛθədz ˌɪnˈkludɪŋ ˈkrɛdɪt kɑrdz, ˈdɛbɪt kɑrdz, ənd ˈʧɛkɪŋ əˈkaʊnts wɪʧ kən bi juzd waɪl ˈʃɑpɪŋ ɔn amazon.com*, ðoʊ nɑt æt point-of-sale*. ðoʊ ðiz əˈdɪʃənəl ˈpeɪmənt ˈmɛθədz əˈveɪləbəl ɪn ðə ˈkɑrənt ˌɪmpləmɛnˈteɪʃən əv ðə ˈæməˌzɑn ˈwɔlət ˌæpləˈkeɪʃən, ðə ˈkəmpəˌni ɪz noʊn tɪ hæv ˈbrɔdər æmˈbɪʃənz eɪmd æt ɪˈstæblɪʃɪŋ ˌɪtˈsɛlf ɛz ə ˈpeɪmənts kəmˈpɛtɪtər tɪ ðə laɪks əv ər ˈgugəl ˈwɔlət əˈspɛʃəli ɪn tərmz əv ˌpɪrtoʊˈpɪr (person-to-person*) ˈpeɪmənts, ɛz wɛl ɛz ən ɔlˈtərnətɪv tɪ skwɛr ənd ˈəðərz, wɛr ðə ˈkɪndəl ˈtæblət wʊd sərv ɛz ə point-of-sale*. ˈæməˌzɑn ˈwɔlət, ɛz ə pis tɪ ðɪs ˈlɑrʤər ˈpəzəl, ɪz ˈoʊnli ɪn ɪts ˈərli ˈsteɪʤɪz. ɪt ɪz ə hɪnt əv tɪ kəm, ɪf nɑt ðə ˈfaɪnəˌlaɪzd ˈprɑdəkt. ðə nu ˈæməˌzɑn ˈwɔlət æp ɪz ˈkərəntli ˈlɪstɪd ɛz biɪŋ ɪn ““beta,”*,” ənd ɪz ˈɔlsoʊ wən əv ðə æps ðət ʃɪps ɔn nu faɪər foʊn dɪˈvaɪsɪz. ðə ˈwɔlət ˈæˌkʧuəli əˈpɪrd ɔn boʊθ æp stɔrz ɔn ˌʤuˈlaɪ 17th*, bət həz ˈoʊnli ˈrisəntli bɪn ˈspɑtɪd baɪ ə ˈnəmbər əv ˈænˌdrɔɪd fæn blɔgz, ˌɪnˈkludɪŋ ˈænˌdrɔɪd pəˈlis, ˈænˌdrɔɪd ˈsɛntrəl, ənd talkandroid*, tɪ neɪm ə fju. ðoʊz hu hæv ˈædɪd ˈkɑmənˌtɛri əˈlɔŋˈsaɪd ðə nuz əv ðə ɪgˈzɪstəns seɪ ə peɪl kəmˈpɛtɪtər tɪ ðə ˈkɑrənt ˈwɔlət ɔlˈtərnətɪvz ɔn ðə ˈmɑrkɪt. səm ˈɔlsoʊ faɪnd ɪt ɑd ðət ˈæməˌzɑn wʊd bi traɪɪŋ tɪ muv ˈɪntu ðə ˈɔˌflaɪn wərld wɪn soʊ məʧ əv ðɛr ˈbɪznɪs ɪz ˈsɛntərd ɔn ðə wɛb. bət ɛz ˈnoʊtɪd əˈbəv, ˈpeɪmənts plænz hæv fər ə lɔŋ taɪm ˌɪnˈkludɪd ˈtɑrgətɪŋ ɪts ˈmərʧənt ˈkəstəmər beɪs, ˌɪnˈkludɪŋ wɪn ðeɪ ɪnˈgeɪʤ ɪn ˈɔˌflaɪn, ˈloʊkəl ˈkɑmərs. ðiz plænz strɛʧ bæk ˈsɛvərəl jɪrz, ɪn fækt, ðoʊ wi jɛt sin ˈæməˌzɑn teɪk ðoʊz ˈfaɪnəl stɛps ˈɪntu ðə wərld əv ˈɔˌflaɪn ˈkɑmərs. bət wɪθ ɪts nu faɪər foʊn, wɪʧ kən skæn ənd aɪˈdɛntəˌfaɪ ˈfɪzɪkəl ˈprɑdəkts ənd mæʧ ðɛm əp wɪθ ˈɔnˌlaɪn ˌɪnvənˈtɔri, ðə ˈkəmpəˌni ɪz naʊ ˈteɪkɪŋ stɛps tɪ kəˈnɛkt ɪts ənd ˈmoʊbəl ˈsərvɪsɪz tɪ ðə ˈprɑdəkts ənd əˈpɛrəntli, sun, ðə ˈpeɪmənts ɪn ðə ril wərld. wɪn æst fər mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈwɔlət, ˈæməˌzɑn dɪˈklaɪnd tɪ ʃɛr ˈɛni ˈfərðər ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈprɑdəkt roadmap*, seɪɪŋ əˈdɪʃən tɪ biɪŋ ɔn faɪər foʊn, wi ər ˈɔfərɪŋ ə ˈbeɪtə ˈvərʒən əv ðə ˈæməˌzɑn ˈwɔlət æp fər ˈænˌdrɔɪd foʊnz ɪn ðə ˈæməˌzɑn ənd ɔn ˈgugəl pleɪ. wi lʊk ˈfɔrwərd tɪ ˈgɪtɪŋ ˈkəstəmər ˈfidˌbæk ɔn ðə ˈbeɪtə app.”*.” |
pokémon go, nintendo's first title, is officially out worldwide, and that means thousands of budding trainers will be hitting the streets looking for wild.
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it also means thousands of people will be walking around cities and towns looking intently at their phones disregarding all manner of hazards in the quest to be the best like no one ever was. but how to play go safely is another post.
here's how to catch your first, then catch more rare and finally power them up so you can capture gyms for your team.
the most important thing you need to do is walk
" the point of go is to travel around, exploring different geographic areas to find appropriate. in a small town, expect to find a lot of normal- and grass-types. going near water will attract water. playing at night brings out more nocturnal creatures, like and gastly."
[polygon]
as we've explored new york city, we've found plenty of that you'd expect to live in urban areas like pidgeys, nidorans, meowths, and eevees. but to catch a wider variety of, you're going to have to travel.
if you look on your map in the game though, you'll also notice patches of rustling grass (similar to the original games). as you probably guessed, these patches contain wild, and walking towards them increase your chances of encountering them. we've noticed that these patches are more commonly found in parks and wooded areas, so if there are any of those near you, try heading there first. you can also try looking for near sources of water.
the intro recreated in v is both beautiful and horrible
no popping up? if you tap the lower right hand bar on the main screen (which usually has a out) you'll open a "nearby" menu that will show you which are in your area.
see the footprints beneath each? they indicate how close each is to you at your current location. the more footprints there are, the further away the. no footprints? it's right next to you! three footprints? you might have to walk around a bit (three footprints could mean a is as far as 150 meters away!). as you walk towards or away from on the map, the footprints will change to reflect your distance, so you'll know if you're walking in the right direction.
once you're within range of a wild, it should pop up on your map, and by simply tapping on it, you'll be able to enter a "battle" with it. (your phone should also vibrate or provide a notification sound when a is in range).
one problem, however, is that the game doesn't seem to be able to send you push notifications while the app is inactive, so you'll have to walk around with your phone out and be paying close attention should you want to play.
related: a genius built a working game boy advance that plays 'pokémon'
it's all about taps and timing
so you've finally entered a battle with a wild! dope, let's catch that little fucker so we can force it to fight for us.
the basic action necessary to capture the little guy (or gal) is to swipe up with your finger to "throw" the at it. it does require a bit of skill with like who flutter around and jump, so you'll want to aim carefully.
but before you start slingings out left and right, pay attention to the white ring around the. tap and hold on a and that ring will start to contract and turn green. waiting until that ring shrinks to its smallest size will maximize your chance of a successful catch.
here, explains in-depth:
if you want the highest chance of catching a, you need to wait until the ring inside the circle is at smallest. the advice straight from the developers. w hen you start seeing orange and red rings, maximize your chances of success as much as you can especially once you start trying to capture with great and master balls. once you get to a higher level you can also start to pick up berries at pokestops. berries can be fed to wild to increase your chances of capturing them.
[kotaku]
and there are more tips to be had too from idigitaltimes:
the’s level, the type of poké ball you used, your throwing technique, and other factors come into play when determining whether the can be successfully caught. other will simply run away so be sure to be quick. your throwing technique is probably the one thing want to master. your angle and force behind your throwing (which is a simple flick on the touchscreen) is a big factor. and, of course, want to hit the with the poke ball.
[idigitaltimes]
finally, someing through the go website reveals that if you "drag and rapidly spin the poké ball in a circular motion before you release it" you could receive a bonus." anecdotally, a successfully thrown seems to improve your chances of catching a wild, and it does grant a small bonus.
use your items my dude
as you travel around the game, you'll pick up lots of different items (usually from, which are tied to real life landmarks like statues, subway stations or public art installations). an important note about from recombu:
not all are created equal. whilst this an absolute guarantee, a rule of thumb is that the bigger and more well known the landmark is, the greater the loot receive when you visit it. most will dole out two or threes and, on occasion, the odd potion, but head to a more significant and likely land more than three items or at least more items in a single visit.
[recombu]
items from will help you attract and catch in a variety of ways. let's just list a few of them for sake.
incense: incense attracts wild to your location with its aromatic scent.
lure module: you can attract wild to a for a limited time with a lure module.
razz berry: during an encounter, you can feed this item to a wild to make it easier to catch.
lucky egg: these eggs don't hatch, but rather grant double when in effect. more means you'll level up more quickly, and be able to catch stronger.
having trouble placing a lure module? it's okay. it's a little confusing, and the game doesn't really offer any help to explain how. tap on a nearby and look for the little white cylinder about the spinning disc. tap there to bring up your lure modules, and then tap the module itself to insert it.
and remember, the coolest thing about lure modules is that other trainers can take advantage of them too! someone dropped a lure module near the office in chinatown, and as we headed towards it, we ran into about trainers in the area, all playing go (just look for people with their noses in their phones).
hatch, evolve and power up your pocket monsters
outside of catching them in the wild, another way to get new is by hatching eggs, which can be found at. place your eggs in an incubator, and then walk, walk, walk, walk. this function is tied to your pedometer, and when you hit a certain number of steps, your egg will hatch!
you start off with one incubator with infinite uses, but you can hatch more than one egg at one time by purchasing more. to place an egg in an incubator, tap the menu at the bottom of the screen, then select the "pokémon" menu (with the icon). from there, you'll have to select the "eggs" tab at the top of your screen, and select an egg and an incubator.
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once you've caught a bunch of, you're going to want to make them stronger. first, so you can battle them and knock the shit out of people who control gyms near yousecond, so you can eventually evolve your, thus filling out your, and eventually catching them all.
the main way you're going to power up your is through stardust and candy. stardust is acquired by catching, hatching eggs and earning the defender bonus (this relates your ability to defend gyms you hold from attacking) and is used for all.
candy are specific to or their evolution chains (this is important). for instance: you want to power up your? you're going to need candies. the way to get more candies is by catching mores, and transferring the extras you catch back to professor willow. you can hold on to more than one of the same, but just know that you're missing out on candies. but you can also power up your or using by candies. so make sure to plan how to use your candies carefully.
before transferring, check their moveset, weight, size and hp. these will differ from to so in some instances, you may want to hold onto a with lower and better moves, and slowly power it up instead of transferring it simply because it has lower. you can always increase with stardust and candy, but you can't change moves.
to transfer back to willow, select the menu from the bottom of the screen, then select the "pokémon" menu (with the icon). from there, pick the you want to transfer and scroll all the way to the bottom of its information card (past the map that denotes where you caught it). then hit transfer!
you'll need to spend candies and stardust together to power up your. by powering them up, you can increase your's "command points" (cp) which in turn increases their health and strength of their attacks.
similar to powering up, you can evolve them into their more powerful forms using candies. evolving is a way to get more powerful and more rare creatures for collecting and battling.
hopefully these tips will help you fill out your faster than your friends and get yourself a strong team to battle gyms with. has a good on how gym battles work, consult that for more information. good luck!
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the intro recreated in v is both beautiful and horrible
using your pets to recreate games is a bad idea
the evolution of games over the past 20 years | pokémon* goʊ, nɪnˈtɛndoʊz fərst ˈtaɪtəl, ɪz əˈfɪʃəli aʊt ˈwərldˈwaɪd, ənd ðət minz ˈθaʊzənz əv ˈbədɪŋ ˈtreɪnərz wɪl bi ˈhɪtɪŋ ðə strits ˈlʊkɪŋ fər waɪld. kæʧ mɔr rɛr ˈstɔriz laɪk ðɪs ɪn ˈfeɪsˌbʊk ˈmɛsɪnʤər ɪt ˈɔlsoʊ minz ˈθaʊzənz əv ˈpipəl wɪl bi ˈwɔkɪŋ əraʊnd ˈsɪtiz ənd taʊnz ˈlʊkɪŋ ˌɪnˈtɛntli æt ðɛr foʊnz ˌdɪsrɪˈgɑrdɪŋ ɔl ˈmænər əv ˈhæzərdz ɪn ðə kwɛst tɪ bi ðə bɛst laɪk noʊ wən ˈɛvər wɑz. bət haʊ tɪ pleɪ goʊ ˈseɪfli ɪz əˈnəðər poʊst. hɪrz haʊ tɪ kæʧ jʊr fərst, ðɛn kæʧ mɔr rɛr ənd ˈfaɪnəli paʊər ðɛm əp soʊ ju kən ˈkæpʧər ʤɪmz fər jʊr tim. ðə moʊst ˌɪmˈpɔrtənt θɪŋ ju nid tɪ du ɪz wɔk ðə pɔɪnt əv goʊ ɪz tɪ ˈtrævəl əraʊnd, ɪkˈsplɔrɪŋ ˈdɪfərənt ˌʤiəˈgræfɪk ˈɛriəz tɪ faɪnd əˈproʊpriˌeɪt. ɪn ə smɔl taʊn, ɪkˈspɛkt tɪ faɪnd ə lɔt əv ˈnɔrməl- ənd grass-types*. goʊɪŋ nɪr ˈwɔtər wɪl əˈtrækt ˈwɔtər. pleɪɪŋ æt naɪt brɪŋz aʊt mɔr nɑkˈtərnəl ˈkriʧərz, laɪk ənd gastly*." [ˈpɑlɪˌgɑn] ɛz wiv ɪkˈsplɔrd nu jɔrk ˈsɪti, wiv faʊnd ˈplɛnti əv ðət jʊd ɪkˈspɛkt tɪ lɪv ɪn ˈərbən ˈɛriəz laɪk pidgeys*, nidorans*, meowths*, ənd eevees*. bət tɪ kæʧ ə ˈwaɪdər vərˈaɪəti əv, jʊr goʊɪŋ tɪ hæv tɪ ˈtrævəl. ɪf ju lʊk ɔn jʊr mæp ɪn ðə geɪm ðoʊ, jul ˈɔlsoʊ ˈnoʊtɪs ˈpæʧɪz əv ˈrəslɪŋ græs (ˈsɪmələr tɪ ðə ərˈɪʤənəl geɪmz). ɛz ju ˈprɑbəˌbli gɛst, ðiz ˈpæʧɪz kənˈteɪn waɪld, ənd ˈwɔkɪŋ təˈwɔrdz ðɛm ˌɪnˈkris jʊr ˈʧænsɪz əv ɛnˈkaʊnərɪŋ ðɛm. wiv ˈnoʊtɪst ðət ðiz ˈpæʧɪz ər mɔr ˈkɑmənli faʊnd ɪn pɑrks ənd ˈwʊdɪd ˈɛriəz, soʊ ɪf ðɛr ər ˈɛni əv ðoʊz nɪr ju, traɪ ˈhɛdɪŋ ðɛr fərst. ju kən ˈɔlsoʊ traɪ ˈlʊkɪŋ fər nɪr ˈsɔrsəz əv ˈwɔtər. ðə ˈɪntroʊ ˈrɛkriˌeɪtɪd ɪn vi ɪz boʊθ ˈbjutəfəl ənd ˈhɔrəbəl noʊ ˈpɑpɪŋ əp? ɪf ju tæp ðə loʊər raɪt hænd bɑr ɔn ðə meɪn skrin (wɪʧ ˈjuʒəwəli həz ə aʊt) jul ˈoʊpən ə "ˈnɪrˈbaɪ" ˈmɛnju ðət wɪl ʃoʊ ju wɪʧ ər ɪn jʊr ˈɛriə. si ðə ˈfʊtˌprɪnts bɪˈniθ iʧ? ðeɪ ˈɪndəˌkeɪt haʊ kloʊz iʧ ɪz tɪ ju æt jʊr ˈkɑrənt loʊˈkeɪʃən. ðə mɔr ˈfʊtˌprɪnts ðɛr ər, ðə ˈfərðər əˈweɪ ðə. noʊ ˈfʊtˌprɪnts? ɪts raɪt nɛkst tɪ ju! θri ˈfʊtˌprɪnts? ju maɪt hæv tɪ wɔk əraʊnd ə bɪt (θri ˈfʊtˌprɪnts kʊd min ə ɪz ɛz fɑr ɛz 150 ˈmitərz əˈweɪ!). ɛz ju wɔk təˈwɔrdz ər əˈweɪ frəm ɔn ðə mæp, ðə ˈfʊtˌprɪnts wɪl ʧeɪnʤ tɪ rɪˈflɛkt jʊr ˈdɪstəns, soʊ jul noʊ ɪf jʊr ˈwɔkɪŋ ɪn ðə raɪt dɪˈrɛkʃɪn. wəns jʊr wɪˈθɪn reɪnʤ əv ə waɪld, ɪt ʃʊd pɑp əp ɔn jʊr mæp, ənd baɪ ˈsɪmpli ˈtæpɪŋ ɔn ɪt, jul bi ˈeɪbəl tɪ ˈɛnər ə "ˈbætəl" wɪθ ɪt. (jʊr foʊn ʃʊd ˈɔlsoʊ ˈvaɪbreɪt ər prəˈvaɪd ə ˌnoʊtəfəˈkeɪʃən saʊnd wɪn ə ɪz ɪn reɪnʤ). wən ˈprɑbləm, ˌhaʊˈɛvər, ɪz ðət ðə geɪm ˈdəzənt sim tɪ bi ˈeɪbəl tɪ sɛnd ju pʊʃ ˌnoʊtəfəˈkeɪʃənz waɪl ðə æp ɪz ˌɪˈnæktɪv, soʊ jul hæv tɪ wɔk əraʊnd wɪθ jʊr foʊn aʊt ənd bi peɪɪŋ kloʊz əˈtɛnʃən ʃʊd ju wɔnt tɪ pleɪ. rɪˈleɪtɪd: ə ˈʤinjəs bɪlt ə ˈwərkɪŋ geɪm bɔɪ ədˈvæns ðət pleɪz 'pokémon*' ɪts ɔl əˈbaʊt tæps ənd ˈtaɪmɪŋ soʊ juv ˈfaɪnəli ˈɛnərd ə ˈbætəl wɪθ ə waɪld! doʊp, lɛts kæʧ ðət ˈlɪtəl ˈfəkər soʊ wi kən fɔrs ɪt tɪ faɪt fər ˈjuˈɛs. ðə ˈbeɪsɪk ˈækʃən ˈnɛsəˌsɛri tɪ ˈkæpʧər ðə ˈlɪtəl gaɪ (ər gæl) ɪz tɪ swaɪp əp wɪθ jʊr ˈfɪŋgər tɪ "θroʊ" ðə æt ɪt. ɪt dɪz ˌrikˈwaɪər ə bɪt əv skɪl wɪθ laɪk hu ˈflətər əraʊnd ənd ʤəmp, soʊ jul wɔnt tɪ eɪm ˈkɛrfəli. bət ˌbiˈfɔr ju stɑrt sˈlɪŋɪŋ aʊt lɛft ənd raɪt, peɪ əˈtɛnʃən tɪ ðə waɪt rɪŋ əraʊnd ðə. tæp ənd hoʊld ɔn ə ənd ðət rɪŋ wɪl stɑrt tɪ ˈkɑnˌtrækt ənd tərn grin. ˈweɪtɪŋ ənˈtɪl ðət rɪŋ ʃrɪŋks tɪ ɪts sˈmɔləst saɪz wɪl ˈmæksəˌmaɪz jʊr ʧæns əv ə səkˈsɛsfəl kæʧ. hir, ɪkˈspleɪnz in-depth*: ɪf ju wɔnt ðə haɪəst ʧæns əv ˈkæʧɪŋ ə, ju nid tɪ weɪt ənˈtɪl ðə rɪŋ ˌɪnˈsaɪd ðə ˈsərkəl ɪz æt sˈmɔləst. ðə ədˈvaɪs streɪt frəm ðə dɪˈvɛləpərz. ˈdəbəlju hɛn ju stɑrt siɪŋ ˈɔrɪnʤ ənd rɛd rɪŋz, ˈmæksəˌmaɪz jʊr ˈʧænsɪz əv səkˈsɛs ɛz məʧ ɛz ju kən əˈspɛʃəli wəns ju stɑrt traɪɪŋ tɪ ˈkæpʧər wɪθ greɪt ənd ˈmæstər bɔlz. wəns ju gɪt tɪ ə haɪər ˈlɛvəl ju kən ˈɔlsoʊ stɑrt tɪ pɪk əp ˈbɛriz æt pokestops*. ˈbɛriz kən bi fɛd tɪ waɪld tɪ ˌɪnˈkris jʊr ˈʧænsɪz əv ˈkæpʧərɪŋ ðɛm. [kotaku*] ənd ðɛr ər mɔr tɪps tɪ bi hæd tu frəm idigitaltimes*: ðə ˈlɛvəl, ðə taɪp əv poké*é bɔl ju juzd, jʊr θroʊɪŋ tɛkˈnik, ənd ˈəðər ˈfæktərz kəm ˈɪntu pleɪ wɪn dɪˈtərmənɪŋ ˈwɛðər ðə kən bi səkˈsɛsfəli kɔt. ˈəðər wɪl ˈsɪmpli rən əˈweɪ soʊ bi ʃʊr tɪ bi kwɪk. jʊr θroʊɪŋ tɛkˈnik ɪz ˈprɑbəˌbli ðə wən θɪŋ wɔnt tɪ ˈmæstər. jʊr ˈæŋgəl ənd fɔrs bɪˈhaɪnd jʊr θroʊɪŋ (wɪʧ ɪz ə ˈsɪmpəl flɪk ɔn ðə touchscreen*) ɪz ə bɪg ˈfæktər. ənd, əv kɔrs, wɔnt tɪ hɪt ðə wɪθ ðə poʊk bɔl. [idigitaltimes*] ˈfaɪnəli, səm ˈdɪgɪŋ θru ðə goʊ ˈwɛbˌsaɪt rɪˈvilz ðət ɪf ju "dræg ənd ˈræpədli spɪn ðə poké*é bɔl ɪn ə ˈsərkjələr ˈmoʊʃən ˌbiˈfɔr ju riˈlis ɪt" ju kʊd rɪˈsiv ə ˈboʊnəs." ˌænɪkˈdoʊtəli, ə səkˈsɛsfəli θroʊn simz tɪ ˌɪmˈpruv jʊr ˈʧænsɪz əv ˈkæʧɪŋ ə waɪld, ənd ɪt dɪz grænt ə smɔl ˈboʊnəs. juz jʊr ˈaɪtəmz maɪ dud ɛz ju ˈtrævəl əraʊnd ðə geɪm, jul pɪk əp lɑts əv ˈdɪfərənt ˈaɪtəmz (ˈjuʒəwəli frəm, wɪʧ ər taɪd tɪ ril laɪf ˈlændˌmɑrks laɪk ˈstæˌʧuz, ˈsəbˌweɪ ˈsteɪʃənz ər ˈpəblɪk ɑrt ˌɪnstəˈleɪʃənz). ən ˌɪmˈpɔrtənt noʊt əˈbaʊt frəm recombu*: nɑt ɔl ər kriˈeɪtɪd ˈikwəl. waɪlst ðɪs ən ˈæbsəˌlut ˌgɛrənˈti, ə rul əv θəm ɪz ðət ðə ˈbɪgər ənd mɔr wɛl noʊn ðə ˈlændˌmɑrk ɪz, ðə ˈgreɪtər ðə lut rɪˈsiv wɪn ju ˈvɪzɪt ɪt. moʊst wɪl doʊl aʊt tu ər θri ənd, ɔn əˈkeɪʒən, ðə ɑd ˈpoʊʃən, bət hɛd tɪ ə mɔr sɪgˈnɪfɪkənt ənd ˈlaɪkli lænd mɔr ðən θri ˈaɪtəmz ər æt list mɔr ˈaɪtəmz ɪn ə ˈsɪŋgəl ˈvɪzɪt. [recombu*] ˈaɪtəmz frəm wɪl hɛlp ju əˈtrækt ənd kæʧ ɪn ə vərˈaɪəti əv weɪz. lɛts ʤɪst lɪst ə fju əv ðɛm fər seɪk. ˌɪnˈsɛns: ˌɪnˈsɛns əˈtrækts waɪld tɪ jʊr loʊˈkeɪʃən wɪθ ɪts ˌɛrəˈmætɪk sɛnt. lʊr ˈmɑʤul: ju kən əˈtrækt waɪld tɪ ə fər ə ˈlɪmɪtɪd taɪm wɪθ ə lʊr ˈmɑʤul. ˈbɛri: ˈdʊrɪŋ ən ɪnˈkaʊnər, ju kən fid ðɪs ˈaɪtəm tɪ ə waɪld tɪ meɪk ɪt ˈiziər tɪ kæʧ. ˈləki ɛg: ðiz ɛgz doʊnt hæʧ, bət ˈrəðər grænt ˈdəbəl wɪn ɪn ˈifɛkt. mɔr minz jul ˈlɛvəl əp mɔr kˈwɪkli, ənd bi ˈeɪbəl tɪ kæʧ ˈstrɔŋgər. ˈhævɪŋ ˈtrəbəl ˈpleɪsɪŋ ə lʊr ˈmɑʤul? ɪts ˌoʊˈkeɪ. ɪts ə ˈlɪtəl kənfˈjuzɪŋ, ənd ðə geɪm ˈdəzənt ˈrɪli ˈɔfər ˈɛni hɛlp tɪ ɪkˈspleɪn haʊ. tæp ɔn ə ˈnɪrˈbaɪ ənd lʊk fər ðə ˈlɪtəl waɪt ˈsɪlɪndər əˈbaʊt ðə ˈspɪnɪŋ dɪsk. tæp ðɛr tɪ brɪŋ əp jʊr lʊr ˈmɑʤulz, ənd ðɛn tæp ðə ˈmɑʤul ˌɪtˈsɛlf tɪ ˌɪnˈsərt ɪt. ənd rɪˈmɛmbər, ðə ˈkuləst θɪŋ əˈbaʊt lʊr ˈmɑʤulz ɪz ðət ˈəðər ˈtreɪnərz kən teɪk ædˈvæntɪʤ əv ðɛm tu! ˈsəmˌwən drɑpt ə lʊr ˈmɑʤul nɪr ðə ˈɔfəs ɪn ˈʧaɪnəˌtaʊn, ənd ɛz wi ˈhɛdɪd təˈwɔrdz ɪt, wi ræn ˈɪntu əˈbaʊt ˈtreɪnərz ɪn ðə ˈɛriə, ɔl pleɪɪŋ goʊ (ʤɪst lʊk fər ˈpipəl wɪθ ðɛr ˈnoʊzɪz ɪn ðɛr foʊnz). hæʧ, ɪˈvɑlv ənd paʊər əp jʊr ˈpɑkət ˈmɑnstərz ˈaʊtˈsaɪd əv ˈkæʧɪŋ ðɛm ɪn ðə waɪld, əˈnəðər weɪ tɪ gɪt nu ɪz baɪ ˈhæʧɪŋ ɛgz, wɪʧ kən bi faʊnd æt. pleɪs jʊr ɛgz ɪn ən ˈɪŋkjəˌbeɪtər, ənd ðɛn wɔk, wɔk, wɔk, wɔk. ðɪs ˈfəŋkʃən ɪz taɪd tɪ jʊr pedometer*, ənd wɪn ju hɪt ə ˈsərtən ˈnəmbər əv stɛps, jʊr ɛg wɪl hæʧ! ju stɑrt ɔf wɪθ wən ˈɪŋkjəˌbeɪtər wɪθ ˈɪnfənət ˈjuzɪz, bət ju kən hæʧ mɔr ðən wən ɛg æt wən taɪm baɪ ˈpərʧəsɪŋ mɔr. tɪ pleɪs ən ɛg ɪn ən ˈɪŋkjəˌbeɪtər, tæp ðə ˈmɛnju æt ðə ˈbɑtəm əv ðə skrin, ðɛn səˈlɛkt ðə "pokémon*" ˈmɛnju (wɪθ ðə ˈaɪkɑn). frəm ðɛr, jul hæv tɪ səˈlɛkt ðə "ɛgz" tæb æt ðə tɔp əv jʊr skrin, ənd səˈlɛkt ən ɛg ənd ən ˈɪŋkjəˌbeɪtər. klɪk hir fər mɔr ˈgeɪmɪŋ ˈstɔriz wəns juv kɔt ə bənʧ əv, jʊr goʊɪŋ tɪ wɔnt tɪ meɪk ðɛm ˈstrɔŋgər. fərst, soʊ ju kən ˈbætəl ðɛm ənd nɑk ðə ʃɪt aʊt əv ˈpipəl hu kənˈtroʊl ʤɪmz nɪr yousecond*, soʊ ju kən ɪˈvɛnʧəwəli ɪˈvɑlv jʊr, ðəs ˈfɪlɪŋ aʊt jʊr, ənd ɪˈvɛnʧəwəli ˈkæʧɪŋ ðɛm ɔl. ðə meɪn weɪ jʊr goʊɪŋ tɪ paʊər əp jʊr ɪz θru ˈstɑrˌdəst ənd ˈkændi. ˈstɑrˌdəst ɪz əkˈwaɪərd baɪ ˈkæʧɪŋ, ˈhæʧɪŋ ɛgz ənd ˈərnɪŋ ðə dɪˈfɛndər ˈboʊnəs (ðɪs rɪˈleɪts jʊr əˈbɪləˌti tɪ dɪˈfɛnd ʤɪmz ju hoʊld frəm əˈtækɪŋ) ənd ɪz juzd fər ɔl. ˈkændi ər spɪˈsɪfɪk tɪ ər ðɛr ˌɛvəˈluʃən ʧeɪnz (ðɪs ɪz ˌɪmˈpɔrtənt). fər ˈɪnstəns: ju wɔnt tɪ paʊər əp jʊr? jʊr goʊɪŋ tɪ nid ˈkændiz. ðə weɪ tɪ gɪt mɔr ˈkændiz ɪz baɪ ˈkæʧɪŋ mɔr, ənd trænsˈfərɪŋ ðə ˈɛkstrə ju kæʧ bæk tɪ prəˈfɛsər ˈwɪˌloʊ. ju kən hoʊld ɔn tɪ mɔr ðən wən əv ðə seɪm, bət ʤɪst noʊ ðət jʊr ˈmɪsɪŋ aʊt ɔn ˈkændiz. bət ju kən ˈɔlsoʊ paʊər əp jʊr ər ˈjuzɪŋ baɪ ˈkændiz. soʊ meɪk ʃʊr tɪ plæn haʊ tɪ juz jʊr ˈkændiz ˈkɛrfəli. ˌbiˈfɔr trænsˈfərɪŋ, ʧɛk ðɛr moveset*, weɪt, saɪz ənd hp*. ðiz wɪl ˈdɪfər frəm tɪ soʊ ɪn səm ˈɪnstənsɪz, ju meɪ wɔnt tɪ hoʊld ˈɔntu ə wɪθ loʊər ənd ˈbɛtər muvz, ənd sˈloʊli paʊər ɪt əp ˌɪnˈstɛd əv trænsˈfərɪŋ ɪt ˈsɪmpli bɪˈkəz ɪt həz loʊər. ju kən ˈɔlˌweɪz ˌɪnˈkris wɪθ ˈstɑrˌdəst ənd ˈkændi, bət ju kænt ʧeɪnʤ muvz. tɪ ˈtrænsfər bæk tɪ ˈwɪˌloʊ, səˈlɛkt ðə ˈmɛnju frəm ðə ˈbɑtəm əv ðə skrin, ðɛn səˈlɛkt ðə "pokémon*" ˈmɛnju (wɪθ ðə ˈaɪkɑn). frəm ðɛr, pɪk ðə ju wɔnt tɪ ˈtrænsfər ənd skroʊl ɔl ðə weɪ tɪ ðə ˈbɑtəm əv ɪts ˌɪnˌfɔrˈmeɪʃən kɑrd (pæst ðə mæp ðət dɪˈnoʊts wɛr ju kɔt ɪt). ðɛn hɪt ˈtrænsfər! jul nid tɪ spɛnd ˈkændiz ənd ˈstɑrˌdəst təˈgɛðər tɪ paʊər əp jʊr. baɪ paʊərɪŋ ðɛm əp, ju kən ˌɪnˈkris jʊr "kəˈmænd pɔɪnts" (cp*) wɪʧ ɪn tərn ˌɪnˈkrisɪz ðɛr hɛlθ ənd strɛŋθ əv ðɛr əˈtæks. ˈsɪmələr tɪ paʊərɪŋ əp, ju kən ɪˈvɑlv ðɛm ˈɪntu ðɛr mɔr ˈpaʊərfəl fɔrmz ˈjuzɪŋ ˈkændiz. ɪˈvɑlvɪŋ ɪz ə weɪ tɪ gɪt mɔr ˈpaʊərfəl ənd mɔr rɛr ˈkriʧərz fər kəˈlɛktɪŋ ənd ˈbætəlɪŋ. ˈhoʊpfəli ðiz tɪps wɪl hɛlp ju fɪl aʊt jʊr ˈfæstər ðən jʊr frɛndz ənd gɪt ˈjɔrsɛlf ə strɔŋ tim tɪ ˈbætəl ʤɪmz wɪθ. həz ə gʊd ɔn haʊ ʤɪm ˈbætəlz wərk, kənˈsəlt ðət fər mɔr ˌɪnˌfɔrˈmeɪʃən. gʊd lək! mɔr gʊd stəf: ðə ˈɪntroʊ ˈrɛkriˌeɪtɪd ɪn vi ɪz boʊθ ˈbjutəfəl ənd ˈhɔrəbəl ˈjuzɪŋ jʊr pɛts tɪ ˈrɛkriˌeɪt geɪmz ɪz ə bæd aɪˈdiə ðə ˌɛvəˈluʃən əv geɪmz ˈoʊvər ðə pæst 20 jɪrz |
bitcoin price soars to new record high at $1425
the price of is at record highs on may 1, reaching $1425 on the exchange, after breaking the previous all-time high at $1350. a move above the peak reached in the market mayhem accompanying the decision indicates that a long-term target for bulls has been validated at $1719.97.
the monthly timeframe is shown below, with candlestick displaying bullish dominance with a marubozu, suggesting that it may be an optimal time to enter into a long position on. after around $1163 in february and march, a clear break of the $1163.00 handle has been achieved in april, pointing to a move toward $1829.20 over the remainder of 2017.
also, notice that the cloud and line (blue) are moving higher as compared to the previous month, suggesting that the market will continue to trend higher for may.
week on week volume has been growing for the past 21 days, pointing to further gains ahead, as shown by the chart below. the next target for buyers will lie at the percent fibonacci extension level at $1719.97. also, notice that the awesome oscillator is following the price, establishing a breakout this week from the previous peak of the oscillator at during the week beginning march 13. this confirms the breakout will lead to further gains and gives a strong probability the market will reach $1719.97 over the long term.
the daily chart for is shown below. notice the sharp of the conversion line, which is almost vertical, suggesting strong bullish momentum. also, we see that the market facilitation index is green, suggesting that traders should follow the market momentum and try to buy in into the ongoing uptrend.
however, we may see some short-term correction. for example, the market has almost reached the fibonacci extension level at $1432.44 and may turn back down to support at $1321.12. however, a break above $1432.44 will open up resistance at $1543.76.
bitcoin has been rising recently as the sec announced it will reconsider the decision for the. bats exchange submitted an appeal on march 23, asking the regulator to revert its position. if the decision is reversed and a is given the go ahead, this would bring fresh capital into the and consequently push its value much higher, so the market may be pricing in a u-turn on the.
also, an stance toward the in japan has also favored bulls in the market, with given legal payment status on april 1. adoption has increased as a result, pushing demand higher and perhaps one major factor behind the recent price increase. also, as nikkei reported on may 1, ten major japanese companies are planning to launch exchanges for and other and the regulatory guidelines in place since april have contributed to an increase in confidence in the sector, where’s image was tarnished in the country as a result of the mt. scandal.
“we even have minimum guidelines” back in 2014, when the exchange mt. collapsed, “so users will now feel more secure,” an virtual currencies representative said. internet group plans to expand the breadth of on offer based on demand. the japan business association reckons that approximately 18 companies are in the process of planning to apply for a license. by july 2017, consumption tax will no longer apply to, which could boost adoption and trading volume in the country even further. | bitcoin* praɪs sɔrz tɪ nu ˈrɛkərd haɪ æt 1425 ðə praɪs əv ɪz æt ˈrɛkərd haɪz ɔn meɪ 1 ˈriʧɪŋ 1425 ɔn ðə ɪksˈʧeɪnʤ, ˈæftər ˈbreɪkɪŋ ðə ˈpriviəs ˌɔlˈtaɪm haɪ æt 1350 ə muv əˈbəv ðə pik riʧt ɪn ðə ˈmɑrkɪt ˈmeɪˌhɛm əˈkəmpəniɪŋ ðə dɪˈsɪʒən ˈɪndɪˌkeɪts ðət ə ˈlɔŋˈtərm ˈtərgət fər bʊlz həz bɪn ˈvælədeɪtəd æt ðə ˈmənθli ˈtaɪmˌfreɪm ɪz ʃoʊn bɪˈloʊ, wɪθ ˈkændəlˌstɪk dɪˈspleɪɪŋ ˈbʊlɪʃ ˈdɑmənəns wɪθ ə marubozu*, səˈʤɛstɪŋ ðət ɪt meɪ bi ən ˈɑptɪməl taɪm tɪ ˈɛnər ˈɪntu ə lɔŋ pəˈzɪʃən ɔn. ˈæftər əraʊnd 1163 ɪn ˈfɛbruˌɛri ənd mɑrʧ, ə klɪr breɪk əv ðə ˈhændəl həz bɪn əˈʧivd ɪn ˈeɪprəl, ˈpɔɪntɪŋ tɪ ə muv təˈwɔrd ˈoʊvər ðə rɪˈmeɪndər əv 2017 ˈɔlsoʊ, ˈnoʊtɪs ðət ðə klaʊd ənd laɪn (blu) ər ˈmuvɪŋ haɪər ɛz kəmˈpɛrd tɪ ðə ˈpriviəs mənθ, səˈʤɛstɪŋ ðət ðə ˈmɑrkɪt wɪl kənˈtɪnju tɪ trɛnd haɪər fər meɪ. wik ɔn wik ˈvɑljum həz bɪn groʊɪŋ fər ðə pæst 21 deɪz, ˈpɔɪntɪŋ tɪ ˈfərðər geɪnz əˈhɛd, ɛz ʃoʊn baɪ ðə ʧɑrt bɪˈloʊ. ðə nɛkst ˈtərgət fər baɪərz wɪl laɪ æt ðə pərˈsɛnt ˌfɪbəˈnɑʧi ɪkˈstɛnʃən ˈlɛvəl æt ˈɔlsoʊ, ˈnoʊtɪs ðət ðə ˈɔsəm ˈɑsəˌleɪtər ɪz ˈfɑloʊɪŋ ðə praɪs, ɪˈstæblɪʃɪŋ ə ˈbreɪˌkaʊt ðɪs wik frəm ðə ˈpriviəs pik əv ðə ˈɑsəˌleɪtər æt ˈdʊrɪŋ ðə wik bɪˈgɪnɪŋ mɑrʧ 13 ðɪs kənˈfərmz ðə ˈbreɪˌkaʊt wɪl lɛd tɪ ˈfərðər geɪnz ənd gɪvz ə strɔŋ ˌprɑbəˈbɪləˌti ðə ˈmɑrkɪt wɪl riʧ ˈoʊvər ðə lɔŋ tərm. ðə ˈdeɪli ʧɑrt fər ɪz ʃoʊn bɪˈloʊ. ˈnoʊtɪs ðə ʃɑrp əv ðə kənˈvərʒən laɪn, wɪʧ ɪz ˈɔlˌmoʊst ˈvərtɪkəl, səˈʤɛstɪŋ strɔŋ ˈbʊlɪʃ moʊˈmɛntəm. ˈɔlsoʊ, wi si ðət ðə ˈmɑrkɪt fəˌsɪləˈteɪʃən ˈɪndɛks ɪz grin, səˈʤɛstɪŋ ðət ˈtreɪdərz ʃʊd ˈfɑloʊ ðə ˈmɑrkɪt moʊˈmɛntəm ənd traɪ tɪ baɪ ɪn ˈɪntu ðə ˈɔnˌgoʊɪŋ ˈəpˌtrɛnd. ˌhaʊˈɛvər, wi meɪ si səm ˌʃɔrtˈtərm kərˈɛkʃən. fər ɪgˈzæmpəl, ðə ˈmɑrkɪt həz ˈɔlˌmoʊst riʧt ðə ˌfɪbəˈnɑʧi ɪkˈstɛnʃən ˈlɛvəl æt ənd meɪ tərn bæk daʊn tɪ səˈpɔrt æt ˌhaʊˈɛvər, ə breɪk əˈbəv wɪl ˈoʊpən əp rɪˈzɪstəns æt həz bɪn ˈraɪzɪŋ ˈrisəntli ɛz ðə sɛk əˈnaʊnst ɪt wɪl ˌrikənˈsɪdər ðə dɪˈsɪʒən fər ðə. bæts ɪksˈʧeɪnʤ səbˈmɪtəd ən əˈpil ɔn mɑrʧ 23 ˈæskɪŋ ðə ˈrɛgjəˌleɪtər tɪ rɪˈvərt ɪts pəˈzɪʃən. ɪf ðə dɪˈsɪʒən ɪz rɪˈvərst ənd ə ɪz ˈgɪvɪn ðə goʊ əˈhɛd, ðɪs wʊd brɪŋ frɛʃ ˈkæpɪtəl ˈɪntu ðə ənd ˈkɑnsəkˌwɛntli pʊʃ ɪts ˈvælju məʧ haɪər, soʊ ðə ˈmɑrkɪt meɪ bi ˈpraɪsɪŋ ɪn ə ˈjuˌtərn ɔn ðə. ˈɔlsoʊ, ən stæns təˈwɔrd ðə ɪn ʤəˈpæn həz ˈɔlsoʊ ˈfeɪvərd bʊlz ɪn ðə ˈmɑrkɪt, wɪθ ˈgɪvɪn ˈligəl ˈpeɪmənt ˈstætəs ɔn ˈeɪprəl 1 əˈdɑpʃən həz ˌɪnˈkrist ɛz ə rɪˈzəlt, ˈpʊʃɪŋ dɪˈmænd haɪər ənd pərˈhæps wən ˈmeɪʤər ˈfæktər bɪˈhaɪnd ðə ˈrisənt praɪs ˌɪnˈkris. ˈɔlsoʊ, ɛz ˈniˌkeɪ ˌriˈpɔrtəd ɔn meɪ 1 tɛn ˈmeɪʤər ˌʤæpəˈniz ˈkəmpəˌniz ər ˈplænɪŋ tɪ lɔnʧ ɪksˈʧeɪnʤɪz fər ənd ˈəðər ənd ðə ˈrɛgjələˌtɔri ˈgaɪˌdlaɪnz ɪn pleɪs sɪns ˈeɪprəl hæv kənˈtrɪbjutɪd tɪ ən ˌɪnˈkris ɪn ˈkɑnfədɛns ɪn ðə ˈsɛktər, wɛr ˈɪmɪʤ wɑz ˈtɑrnɪʃt ɪn ðə ˈkəntri ɛz ə rɪˈzəlt əv ðə ˈɛmˈti. ˈskændəl. ˈivɪn hæv ˈmɪnəməm guidelines”*” bæk ɪn 2014 wɪn ðə ɪksˈʧeɪnʤ ˈɛmˈti. kəˈlæpst, ˈjuzərz wɪl naʊ fil mɔr secure,”*,” ən ˈvərʧuəl ˈkərənsiz ˌrɛprɪˈzɛnətɪv sɛd. ˈɪntərˌnɛt grup plænz tɪ ɪkˈspænd ðə brɛdθ əv ɔn ˈɔfər beɪst ɔn dɪˈmænd. ðə ʤəˈpæn ˈbɪznɪs əˌsoʊʃiˈeɪʃən ˈrɛkənz ðət əˈprɑksəmətli 18 ˈkəmpəˌniz ər ɪn ðə ˈprɔˌsɛs əv ˈplænɪŋ tɪ əˈplaɪ fər ə ˈlaɪsəns. baɪ ˌʤuˈlaɪ 2017 kənˈsəmʃən tæks wɪl noʊ ˈlɔŋgər əˈplaɪ tɪ, wɪʧ kʊd bust əˈdɑpʃən ənd ˈtreɪdɪŋ ˈvɑljum ɪn ðə ˈkəntri ˈivɪn ˈfərðər. |
perhaps now we can finally relegate the hunting misleading documentary about the campus rape the ash heap of history.
the film failed to secure the “best original song” award at the 2016 oscars, the sole category in which it was nominated. the loss came moments after lady gage performed the it happens to featured survivors of sexual assault taking the stage.
lady gaga was introduced by none other than vice president joe biden, who stressed the need for bystanders to intervene in situations where it seems a sexual assault is about to occur: the message of the white “it’s on us” campaign.
there’s nothing wrong with educating young the importance of consent. also not wrong to ask people to intervene in dangerous situations.
but the hunting approach has been to scare people into believing that colleges are uniquely dangerous places for serial sexual predators are roaming campuses and attacking them. the scientific support for this notion has gradually collapsed, and the specific details of the cases the film highlights are now in serious dispute. but no development could persuade the activist producers that they had gotten the story very, very wrong. in fact, they have accused their critics of defending “white male power,” even though many of the students railroaded off campuses by these activists are black.
given such willful ignorance of the truth, perhaps simply time to start ignoring the hunting ground. the academy deserves credit for doing the same. | pərˈhæps naʊ wi kən ˈfaɪnəli ˈrɛləˌgeɪt ðə ˈhəntɪŋ mɪsˈlidɪŋ ˌdɑkjəˈmɛnəri əˈbaʊt ðə ˈkæmpəs reɪp ðə æʃ hip əv ˈhɪstəri. ðə fɪlm feɪld tɪ sɪˈkjʊr ðə ərˈɪʤənəl song”*” əˈwɔrd æt ðə 2016 ˈɔskərz, ðə soʊl ˈkætəˌgɔri ɪn wɪʧ ɪt wɑz ˈnɑməˌneɪtəd. ðə lɔs keɪm ˈmoʊmənts ˈæftər ˈleɪdi geɪʤ pərˈfɔrmd ðə ɪt ˈhæpənz tɪ ˈfiʧərd sərˈvaɪvərz əv ˈsɛkʃuəl əˈsɔlt ˈteɪkɪŋ ðə steɪʤ. ˈleɪdi ˈgɑˌgə wɑz ˌɪntrəˈdust baɪ nən ˈəðər ðən vaɪs ˈprɛzɪdənt ʤoʊ ˈbaɪdən, hu strɛst ðə nid fər ˈbaɪˌstændərz tɪ ˌɪntərˈvin ɪn ˌsɪʧuˈeɪʃənz wɛr ɪt simz ə ˈsɛkʃuəl əˈsɔlt ɪz əˈbaʊt tɪ əˈkər: ðə ˈmɛsɪʤ əv ðə waɪt ɔn us”*” kæmˈpeɪn. ˈnəθɪŋ rɔŋ wɪθ ˈɛʤəˌkeɪtɪŋ jəŋ ðə ˌɪmˈpɔrtəns əv kənˈsɛnt. ˈɔlsoʊ nɑt rɔŋ tɪ æsk ˈpipəl tɪ ˌɪntərˈvin ɪn ˈdeɪnʤərəs ˌsɪʧuˈeɪʃənz. bət ðə ˈhəntɪŋ əˈproʊʧ həz bɪn tɪ skɛr ˈpipəl ˈɪntu bɪˈlivɪŋ ðət ˈkɑlɪʤɪz ər juˈnikli ˈdeɪnʤərəs ˈpleɪsɪz fər ˈsɪˌriəl ˈsɛkʃuəl ˈprɛdətərz ər ˈroʊmɪŋ ˈkæmpəsɪz ənd əˈtækɪŋ ðɛm. ðə ˌsaɪənˈtɪfɪk səˈpɔrt fər ðɪs ˈnoʊʃən həz ˈgræʤuəli kəˈlæpst, ənd ðə spɪˈsɪfɪk ˈditeɪlz əv ðə ˈkeɪsɪz ðə fɪlm ˈhaɪˌlaɪts ər naʊ ɪn ˈsɪriəs dɪˈspjut. bət noʊ dɪˈvɛləpmənt kʊd pərsˈweɪd ðə ˈæktɪvɪst prəˈdusərz ðət ðeɪ hæd ˈgɔtən ðə ˈstɔri ˈvɛri, ˈvɛri rɔŋ. ɪn fækt, ðeɪ hæv əˈkjuzd ðɛr ˈkrɪtɪks əv dɪˈfɛndɪŋ meɪl power,”*,” ˈivɪn ðoʊ ˈmɛni əv ðə ˈstudənts ˈreɪˌlroʊdɪd ɔf ˈkæmpəsɪz baɪ ðiz ˈæktɪvɪsts ər blæk. ˈgɪvɪn səʧ ˈwɪlfəl ˈɪgnərəns əv ðə truθ, pərˈhæps ˈsɪmpli taɪm tɪ stɑrt ˌɪgˈnɔrɪŋ ðə ˈhəntɪŋ graʊnd. ðə əˈkædəmi dɪˈzərvz ˈkrɛdɪt fər duɪŋ ðə seɪm. |
after stinging criticism from media watchdogs, cable news network cnn says in the future it will mention the fact that one of its contributors, alex castellanos, works for a firm that buys ad time for, the organization currently running a massive ad campaign against health care reform.
but the network “did not explain why it had not done so in the past,” notes the new york times. the network had generally described castellanos as a republican strategist. ads are running on cnn.
the controversy erupted on wednesday when media watchdog reported it had obtained evidence that the company castellanos works for, national media, is the ad buyer for, short for health insurance plans, an umbrella group of insurers who are working to prevent health care reform from passing congress.
mediamatters wrote:
according to the detailed ad buy information obtained by media matters, castellanos is responsible for placing, beginning october 11, more than $1 million of advertising in five states. castellanos last appeared on cnn september 30; during a debate with rep. alan grayson (d-fl) on the situation room, castellanos defended republican health care proposals. if castellanos returns to airwaves to discuss health care, it be as a republican strategist and cnn contributor, but as what he is an industry spokesman.
on thursday, blogger greg sargent at the plum line pointed out that castellanos “is best known for producing the ‘hands’ ad” for the 1990 north carolina senate campaign, when incumbent jesse helms was trailing his democratic challenger.
the ad featured a pair of hands up a letter as the narrator stated, “you needed that job, but they had to give it to a minority.”
helms won the election, and some observers say the ad helped push helms over the top.
cnn is now defending itself against claims the network has blurred the line between news and advertising long considered a cardinal sin among journalists.
“alex castellanos has not been on cnn since began its recent advertising campaign, this week, which is when cnn learned of relationship with,” the times quoted cnn as stating. “when alex castellanos returns from his vacation and next appears on cnn, we will clearly disclose to our viewers relevant information including his relationship with.”
as cnn itself reported, the health care industry has spent $263 million this year on ad campaigns relating to health care reform. according to blogger jim calculations at firedoglake, that amount of money would be enough to purchase individual health care plans for uninsured individuals.
ahip was also the organization behind this health care study that asserted premiums would rise 40 percent over four years if the health care plan being debated in the senate were to pass. as a talking point against health care reform, that study is widely seen as having backfired. democrats on the hill say it only proves the need for a public health care option.
“it’s unclear how much dust this will kick up,” sargent wrote of the castellanos controversy thursday. “as black eyes go, nowhere near as bad as ‘study’ on the reform proposals but it does provide with a convenient attack line linking the industry and the republican party.” | ˈæftər ˈstɪŋɪŋ ˈkrɪtɪˌsɪzəm frəm ˈmidiə ˈwɑʧˌdɔgz, ˈkeɪbəl nuz ˈnɛtˌwərk ˈsiˈɛˈnɛn sɪz ɪn ðə fˈjuʧər ɪt wɪl ˈmɛnʃən ðə fækt ðət wən əv ɪts kənˈtrɪbjətərz, ˈæləks kɑsteɪˈlɑnoʊz, wərks fər ə fərm ðət baɪz æd taɪm fər, ðə ˌɔrgənəˈzeɪʃən ˈkərəntli ˈrənɪŋ ə ˈmæsɪv æd kæmˈpeɪn əˈgɛnst hɛlθ kɛr rɪˈfɔrm. bət ðə ˈnɛtˌwərk nɑt ɪkˈspleɪn waɪ ɪt hæd nɑt dən soʊ ɪn ðə past,”*,” noʊts ðə nu jɔrk taɪmz. ðə ˈnɛtˌwərk hæd ˈʤɛnərəli dɪˈskraɪbd kɑsteɪˈlɑnoʊz ɛz ə rɪˈpəblɪkən ˈstrætɪʤɪst. ædz ər ˈrənɪŋ ɔn ˈsiˈɛˈnɛn. ðə ˈkɑntrəˌvərsi ˌɪˈrəptɪd ɔn ˈwɛnzˌdeɪ wɪn ˈmidiə ˈwɑʧˌdɔg ˌriˈpɔrtəd ɪt hæd əbˈteɪnd ˈɛvədəns ðət ðə ˈkəmpəˌni kɑsteɪˈlɑnoʊz wərks fər, ˈnæʃənəl ˈmidiə, ɪz ðə æd baɪər fər, ʃɔrt fər hɛlθ ˌɪnˈʃʊrəns plænz, ən ˈəmˌbrɛlə grup əv ˌɪnˈʃʊrərz hu ər ˈwərkɪŋ tɪ prɪˈvɛnt hɛlθ kɛr rɪˈfɔrm frəm ˈpæsɪŋ ˈkɑŋgrəs. roʊt: əˈkɔrdɪŋ tɪ ðə dɪˈteɪld æd baɪ ˌɪnˌfɔrˈmeɪʃən əbˈteɪnd baɪ ˈmidiə ˈmætərz, kɑsteɪˈlɑnoʊz ɪz riˈspɑnsəbəl fər ˈpleɪsɪŋ, bɪˈgɪnɪŋ ɑkˈtoʊbər 11 mɔr ðən 1 ˈmɪljən əv ˈædvərˌtaɪzɪŋ ɪn faɪv steɪts. kɑsteɪˈlɑnoʊz læst əˈpɪrd ɔn ˈsiˈɛˈnɛn sɛpˈtɛmbər 30 ˈdʊrɪŋ ə dəˈbeɪt wɪθ rɛpriˈzɛtətɪv. ˈælən ˈgreɪsən (d-fl*) ɔn ðə ˌsɪʧuˈeɪʃən rum, kɑsteɪˈlɑnoʊz dɪˈfɛndɪd rɪˈpəblɪkən hɛlθ kɛr prəˈpoʊzəlz. ɪf kɑsteɪˈlɑnoʊz rɪˈtərnz tɪ ˈɛrˌweɪvz tɪ dɪˈskəs hɛlθ kɛr, ɪt bi ɛz ə rɪˈpəblɪkən ˈstrætɪʤɪst ənd ˈsiˈɛˈnɛn kənˈtrɪbjətər, bət ɛz wət hi ɪz ən ˈɪndəstri ˈspoʊksmən. ɔn ˈθərzˌdeɪ, ˈblɔgər grɛg ˈsɑrʤənt æt ðə pləm laɪn ˈpɔɪntɪd aʊt ðət kɑsteɪˈlɑnoʊz bɛst noʊn fər prəˈdusɪŋ ðə ‘‘hands’*’ ad”*” fər ðə 1990 nɔrθ ˌkɛrəˈlaɪnə ˈsɛnɪt kæmˈpeɪn, wɪn ˌɪnˈkəmbənt ˈʤɛsi hɛlmz wɑz ˈtreɪlɪŋ hɪz ˌdɛməˈkrætɪk ˈʧælɪnʤər. ðə æd ˈfiʧərd ə pɛr əv hænz əp ə ˈlɛtər ɛz ðə ˈnɛreɪtər ˈsteɪtɪd, ˈnidɪd ðət ʤɑb, bət ðeɪ hæd tɪ gɪv ɪt tɪ ə minority.”*.” hɛlmz wən ðə ɪˈlɛkʃən, ənd səm əbˈzərvərz seɪ ðə æd hɛlpt pʊʃ hɛlmz ˈoʊvər ðə tɔp. ˈsiˈɛˈnɛn ɪz naʊ dɪˈfɛndɪŋ ˌɪtˈsɛlf əˈgɛnst kleɪmz ðə ˈnɛtˌwərk həz blərd ðə laɪn bɪtˈwin nuz ənd ˈædvərˌtaɪzɪŋ lɔŋ kənˈsɪdərd ə ˈkɑrdɪnəl sɪn əˈməŋ ˈʤərnəlɪsts. kɑsteɪˈlɑnoʊz həz nɑt bɪn ɔn ˈsiˈɛˈnɛn sɪns bɪˈgæn ɪts ˈrisənt ˈædvərˌtaɪzɪŋ kæmˈpeɪn, ðɪs wik, wɪʧ ɪz wɪn ˈsiˈɛˈnɛn ˈlərnɪd əv riˈleɪʃənˌʃɪp wɪθ ahip,”*,” ðə taɪmz kˈwoʊtɪd ˈsiˈɛˈnɛn ɛz ˈsteɪtɪŋ. ˈæləks kɑsteɪˈlɑnoʊz rɪˈtərnz frəm hɪz veɪˈkeɪʃən ənd nɛkst əˈpɪrz ɔn ˈsiˈɛˈnɛn, wi wɪl ˈklɪrli dɪˈskloʊz tɪ ɑr vjuərz ˈrɛləvənt ˌɪnˌfɔrˈmeɪʃən ˌɪnˈkludɪŋ hɪz riˈleɪʃənˌʃɪp wɪθ ahip.”*.” ɛz ˈsiˈɛˈnɛn ˌɪtˈsɛlf ˌriˈpɔrtəd, ðə hɛlθ kɛr ˈɪndəstri həz spɛnt 263 ˈmɪljən ðɪs jɪr ɔn æd kæmˈpeɪnz rɪˈleɪtɪŋ tɪ hɛlθ kɛr rɪˈfɔrm. əˈkɔrdɪŋ tɪ ˈblɔgər ʤɪm ˌkælkjəˈleɪʃənz æt firedoglake*, ðət əˈmaʊnt əv ˈməni wʊd bi ɪˈnəf tɪ ˈpərʧəs ˌɪndəˈvɪʤəwəl hɛlθ kɛr plænz fər ˌənɪnˈʃʊrd ˌɪndəˈvɪʤəwəlz. wɑz ˈɔlsoʊ ðə ˌɔrgənəˈzeɪʃən bɪˈhaɪnd ðɪs hɛlθ kɛr ˈstədi ðət əˈsərtəd ˈprimiəmz wʊd raɪz 40 pərˈsɛnt ˈoʊvər fɔr jɪrz ɪf ðə hɛlθ kɛr plæn biɪŋ dəˈbeɪtɪd ɪn ðə ˈsɛnɪt wər tɪ pæs. ɛz ə ˈtɔkɪŋ pɔɪnt əˈgɛnst hɛlθ kɛr rɪˈfɔrm, ðət ˈstədi ɪz ˈwaɪdli sin ɛz ˈhævɪŋ ˈbækˌfaɪərd. ˈdɛməˌkræts ɔn ðə hɪl seɪ ɪt ˈoʊnli pruvz ðə nid fər ə ˈpəblɪk hɛlθ kɛr ˈɔpʃən. ənˈklɪr haʊ məʧ dəst ðɪs wɪl kɪk up,”*,” ˈsɑrʤənt roʊt əv ðə kɑsteɪˈlɑnoʊz ˈkɑntrəˌvərsi ˈθərzˌdeɪ. blæk aɪz goʊ, ˈnoʊˌwɛr nɪr ɛz bæd ɛz ‘‘study’*’ ɔn ðə rɪˈfɔrm prəˈpoʊzəlz bət ɪt dɪz prəˈvaɪd wɪθ ə kənˈvinjənt əˈtæk laɪn ˈlɪŋkɪŋ ðə ˈɪndəstri ənd ðə rɪˈpəblɪkən party.”*.” |
the jackson county office in florida has identified the 2 women shot and killed saturday night in a jackson county mobile home. investigators say mary reed and henderson were friends living together when they were fatally shot by
75-year-old william hawk.
hawk was shot by a deputy early sunday morning when the sheriff's office says he returned to the crime scene where he apparently killed the two women.
hawk of fountain, florida is charged with 2 counts of murder and aggravated assault on a law enforcement officer after deputies found reed and henderson dead in a home in the rocky creek community. he was shot by a deputy, taken to the hospital, and then booked into jail sunday morning.
the jackson county sheriff's office says about p.m. saturday night someone called from the home on crystal lane saying there was someone in the house with a gun. a deputy responded and found 2 women with fatal gunshot wounds.
a (be on the lookout) bulletin was sent out nationwide for hawk. contact was also made with the bay county sheriff's office since hawk lives in fountain.
the sheriff's office says about a.m. hawk pulled up to the crime scene in his truck, told deputies he was the man they were looking for, and admitted to the shooting. deputies say they asked hawk to show his hands, and he had a gun. the sheriff's office says hawk did not comply with orders to drop the gun, and he was shot by a deputy. hawk was wounded, treated at the hospital, and then released to the jackson county sheriff's office.
the deputy who shot hawk has been placed on administrative leave which is standard procedure.
a jackson county sheriff's office press release said sheriff louis roberts would like to thank all the florida law enforcement agencies involved as well as the houston county sheriff's office in alabama. | ðə ˈʤæksən ˈkaʊnti ˈɔfəs ɪn ˈflɔrɪdə həz aɪˈdɛntəˌfaɪd ðə 2 ˈwɪmən ʃɑt ənd kɪld ˈsæˌtɪˌdeɪ naɪt ɪn ə ˈʤæksən ˈkaʊnti ˈmoʊbəl hoʊm. ˌɪnˈvɛstəˌgeɪtərz seɪ ˈmɛri rid ənd ˈhɛndərsən wər frɛndz ˈlɪvɪŋ təˈgɛðər wɪn ðeɪ wər ˈfeɪtəli ʃɑt baɪ ˈwɪljəm hɔk. hɔk wɑz ʃɑt baɪ ə ˈdɛpjəti ˈərli ˈsənˌdi ˈmɔrnɪŋ wɪn ðə ˈʃɛrɪfs ˈɔfəs sɪz hi rɪˈtərnd tɪ ðə kraɪm sin wɛr hi əˈpɛrəntli kɪld ðə tu ˈwɪmən. hɔk əv ˈfaʊntən, ˈflɔrɪdə ɪz ʧɑrʤd wɪθ 2 kaʊnts əv ˈmərdər ənd ˈægrəˌveɪtɪd əˈsɔlt ɔn ə lɔ ɛnˈfɔrsmənt ˈɔfɪsər ˈæftər ˈdɛpjətiz faʊnd rid ənd ˈhɛndərsən dɛd ɪn ə hoʊm ɪn ðə ˈrɑki krik kəmˈjunɪti. hi wɑz ʃɑt baɪ ə ˈdɛpjəti, ˈteɪkən tɪ ðə ˈhɑˌspɪtəl, ənd ðɛn bʊkt ˈɪntu ʤeɪl ˈsənˌdi ˈmɔrnɪŋ. ðə ˈʤæksən ˈkaʊnti ˈʃɛrɪfs ˈɔfəs sɪz əˈbaʊt p.m*. ˈsæˌtɪˌdeɪ naɪt ˈsəmˌwən kɔld frəm ðə hoʊm ɔn ˈkrɪstəl leɪn seɪɪŋ ðɛr wɑz ˈsəmˌwən ɪn ðə haʊs wɪθ ə gən. ə ˈdɛpjəti rɪˈspɑndɪd ənd faʊnd 2 ˈwɪmən wɪθ ˈfeɪtəl ˈgənˌʃɑt wundz. ə (bi ɔn ðə ˈlʊˌkaʊt) ˈbʊlɪtən wɑz sɛnt aʊt ˈneɪʃənˈwaɪd fər hɔk. ˈkɑnˌtækt wɑz ˈɔlsoʊ meɪd wɪθ ðə beɪ ˈkaʊnti ˈʃɛrɪfs ˈɔfəs sɪns hɔk lɪvz ɪn ˈfaʊntən. ðə ˈʃɛrɪfs ˈɔfəs sɪz əˈbaʊt a.m*. hɔk pʊld əp tɪ ðə kraɪm sin ɪn hɪz trək, toʊld ˈdɛpjətiz hi wɑz ðə mæn ðeɪ wər ˈlʊkɪŋ fər, ənd ədˈmɪtəd tɪ ðə ˈʃutɪŋ. ˈdɛpjətiz seɪ ðeɪ æst hɔk tɪ ʃoʊ hɪz hænz, ənd hi hæd ə gən. ðə ˈʃɛrɪfs ˈɔfəs sɪz hɔk dɪd nɑt kəmˈplaɪ wɪθ ˈɔrdərz tɪ drɔp ðə gən, ənd hi wɑz ʃɑt baɪ ə ˈdɛpjəti. hɔk wɑz ˈwundɪd, ˈtritɪd æt ðə ˈhɑˌspɪtəl, ənd ðɛn riˈlist tɪ ðə ˈʤæksən ˈkaʊnti ˈʃɛrɪfs ˈɔfəs. ðə ˈdɛpjəti hu ʃɑt hɔk həz bɪn pleɪst ɔn ədˈmɪnɪˌstreɪtɪv liv wɪʧ ɪz ˈstændərd prəˈsiʤər. ə ˈʤæksən ˈkaʊnti ˈʃɛrɪfs ˈɔfəs prɛs riˈlis sɛd ˈʃɛrɪf luɪs ˈrɑbərts wʊd laɪk tɪ θæŋk ɔl ðə ˈflɔrɪdə lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz ˌɪnˈvɑlvd ɛz wɛl ɛz ðə ˈhjustən ˈkaʊnti ˈʃɛrɪfs ˈɔfəs ɪn ˌæləˈbæmə. |
austrian town: the name is thought to derive from a sixth century noble called lord
an austrian political party has defended a decision to promote a local beer called hell - named after a village in the country and the german word for 'lite'.
the extraordinary brand name was initially banned when the product was released in 2010 but the company took the fight all the way to the trademark authority who eventually overturned the decision.
and the beer was recently promoted on the website of the freedom party of austria, for the district of - which neighbours.
both districts are found in the northern austrian province of upper austria and the freedom party say the promotion was a way of showing solidarity with their neighbours.
the on the leads to a website where it is possible to buy the alcohol on order from the neighbouring village of'.
in 2010 the trade marks and designs registration office of the european union ruled that although it might be an obscene in the english language, in german it was simply the name of the village - and a light 'hell' type of beer.
they said in a statement that it had rejected a complaint that the trade mark hell' was upsetting, accusatory and derogatory.
they added: 'the word combination claimed contains no semantic indication that could refer to a certain person or group of persons.
'nor does it incite a particular act. it cannot even be understood as an instruction that the reader should go to hell.'
battle: the extraordinary brand name was initially banned when the product was released in 2010 but the company took the fight all the way to the trademark authority who eventually overturned the decision
endorsement: an for the beer appeared on the website of the freedom party of austria
german marketing executives stefan fellenberg, 38, and florian krause, 32, who own the rights to the brand name, said they had referred to the town of in their application to register it.
the village of location: upper austria population: 104 origin: founded in the century by nobleman called lord
the recent publicity earned by the freedom party is likely to boost the controversial beer brand's sales - bringing money to a town that often falls victim to trophy-hunters.
franz meindl, the village's mayor, said: 'twelve or thirteen town signs have been stolen. we've taken to fixing them with concrete, welding and rivets.'
the bavarian towns of kissing and petting have the same problem, as does the eastern german town of pissen. but so far, there are no plans to name a beer after them.
f***ing's unusual name is thought to derive from the sixth century noble called lord.
the first known use of the english verb in a vulgar context was in 1475.
the on the goes to a website where it is possible to buy the alcohol from the neighbouring village of'
franz meindl, the village's mayor, said: 'twelve or thirteen town signs have been stolen. we've taken to fixing them with concrete, welding and rivets'
the word has also been found in a dictionary dating back to 1598 - and even turns up in shakespeare's henry v.
in 2012 residents of attempted to change the name of the village to but their bid was rejected as the suggestion was already taken.
f***ing mayor franz meindl said that if it was not for their unfortunate name the village with just over 100 residents would be a rural paradise. | ˈɔstriən taʊn: ðə neɪm ɪz θɔt tɪ dəraɪv frəm ə sɪksθ ˈsɛnʧəri ˈnoʊbəl kɔld lɔrd ən ˈɔstriən pəˈlɪtɪkəl ˈpɑrti həz dɪˈfɛndɪd ə dɪˈsɪʒən tɪ prəˈmoʊt ə ˈloʊkəl bɪr kɔld hɛl neɪmd ˈæftər ə ˈvɪlɪʤ ɪn ðə ˈkəntri ənd ðə ˈʤərmən wərd fər 'laɪt'. ðə ˌɛkstrəˈɔrdəˌnɛri brænd neɪm wɑz ˌɪˈnɪʃəli bænd wɪn ðə ˈprɑdəkt wɑz riˈlist ɪn 2010 bət ðə ˈkəmpəˌni tʊk ðə faɪt ɔl ðə weɪ tɪ ðə ˈtreɪdˌmɑrk əˈθɔrəti hu ɪˈvɛnʧəwəli ˈoʊvərˌtərnd ðə dɪˈsɪʒən. ənd ðə bɪr wɑz ˈrisəntli prəˈmoʊtəd ɔn ðə ˈwɛbˌsaɪt əv ðə ˈfridəm ˈpɑrti əv ˈɔstriə, fər ðə ˈdɪstrɪkt əv wɪʧ ˈneɪbərz. boʊθ ˈdɪstrɪkts ər faʊnd ɪn ðə ˈnɔrðərn ˈɔstriən ˈprɑvɪns əv ˈəpər ˈɔstriə ənd ðə ˈfridəm ˈpɑrti seɪ ðə pərˈmoʊʃən wɑz ə weɪ əv ʃoʊɪŋ ˌsɑləˈdɛrəti wɪθ ðɛr ˈneɪbərz. ðə ɔn ðə lidz tɪ ə ˈwɛbˌsaɪt wɛr ɪt ɪz ˈpɑsəbəl tɪ baɪ ðə ˈælkəˌhɑl ɔn ˈɔrdər frəm ðə ˈneɪbərɪŋ ˈvɪlɪʤ əv'. ɪn 2010 ðə treɪd mɑrks ənd dɪˈzaɪnz ˌrɛʤɪˈstreɪʃən ˈɔfəs əv ðə ˌjʊrəˈpiən ˈjunjən ruld ðət ˌɔlˈðoʊ ɪt maɪt bi ən əbˈsin ɪn ðə ˈɪŋlɪʃ ˈlæŋgwɪʤ, ɪn ˈʤərmən ɪt wɑz ˈsɪmpli ðə neɪm əv ðə ˈvɪlɪʤ ənd ə laɪt 'hɛl' taɪp əv bɪr. ðeɪ sɛd ɪn ə ˈsteɪtmənt ðət ɪt hæd rɪˈʤɛktɪd ə kəmˈpleɪnt ðət ðə treɪd mɑrk hɛl' wɑz əpˈsɛtɪŋ, əˈkjuzəˌtɔri ənd dərˈɑgəˌtɔri. ðeɪ ˈædɪd: 'ðə wərd ˌkɑmbəˈneɪʃən kleɪmd kənˈteɪnz noʊ sɪˈmæntɪk ˌɪndəˈkeɪʃən ðət kʊd rɪˈfər tɪ ə ˈsərtən ˈpərsən ər grup əv ˈpərsənz. 'nɔr dɪz ɪt ˌɪnˈsaɪt ə ˌpɑˈtɪkjələr ækt. ɪt ˈkænɑt ˈivɪn bi ˌəndərˈstʊd ɛz ən ˌɪnˈstrəkʃən ðət ðə ˈridər ʃʊd goʊ tɪ hɛl.' ˈbætəl: ðə ˌɛkstrəˈɔrdəˌnɛri brænd neɪm wɑz ˌɪˈnɪʃəli bænd wɪn ðə ˈprɑdəkt wɑz riˈlist ɪn 2010 bət ðə ˈkəmpəˌni tʊk ðə faɪt ɔl ðə weɪ tɪ ðə ˈtreɪdˌmɑrk əˈθɔrəti hu ɪˈvɛnʧəwəli ˈoʊvərˌtərnd ðə dɪˈsɪʒən ɛnˈdɔrsmənt: ən fər ðə bɪr əˈpɪrd ɔn ðə ˈwɛbˌsaɪt əv ðə ˈfridəm ˈpɑrti əv ˈɔstriə ˈʤərmən ˈmɑrkətɪŋ ɪgˈzɛkjətɪvz ˈstɛfɑn fellenberg*, 38 ənd ˈflɔriən krɔs, 32 hu oʊn ðə raɪts tɪ ðə brænd neɪm, sɛd ðeɪ hæd rɪˈfərd tɪ ðə taʊn əv ɪn ðɛr ˌæpləˈkeɪʃən tɪ ˈrɛʤɪstər ɪt. ðə ˈvɪlɪʤ əv loʊˈkeɪʃən: ˈəpər ˈɔstriə ˌpɑpjəˈleɪʃən: 104 ˈɔrəʤən: ˈfaʊndɪd ɪn ðə ˈsɛnʧəri baɪ ˈnoʊbəlmən kɔld lɔrd ðə ˈrisənt pəˈblɪsɪti ərnd baɪ ðə ˈfridəm ˈpɑrti ɪz ˈlaɪkli tɪ bust ðə ˌkɑntrəˈvərʃəl bɪr brændz seɪlz ˈbrɪŋɪŋ ˈməni tɪ ə taʊn ðət ˈɔfən fɔlz ˈvɪktɪm tɪ trophy-hunters*. frænz ˈmaɪndəl, ðə ˈvɪlɪʤɪz meɪər, sɛd: 'twɛlv ər ˈθərˈtin taʊn saɪnz hæv bɪn ˈstoʊlən. wiv ˈteɪkən tɪ ˈfɪksɪŋ ðɛm wɪθ ˈkɑnkrit, ˈwɛldɪŋ ənd ˈrɪvəts.' ðə bəˈvɛriən taʊnz əv ˈkɪsɪŋ ənd ˈpɛtɪŋ hæv ðə seɪm ˈprɑbləm, ɛz dɪz ðə ˈistərn ˈʤərmən taʊn əv pissen*. bət soʊ fɑr, ðɛr ər noʊ plænz tɪ neɪm ə bɪr ˈæftər ðɛm. ənˈjuˌʒuəl neɪm ɪz θɔt tɪ dəraɪv frəm ðə sɪksθ ˈsɛnʧəri ˈnoʊbəl kɔld lɔrd. ðə fərst noʊn juz əv ðə ˈɪŋlɪʃ vərb ɪn ə ˈvəlgər ˈkɑntɛkst wɑz ɪn 1475 ðə ɔn ðə goʊz tɪ ə ˈwɛbˌsaɪt wɛr ɪt ɪz ˈpɑsəbəl tɪ baɪ ðə ˈælkəˌhɑl frəm ðə ˈneɪbərɪŋ ˈvɪlɪʤ əv' frænz ˈmaɪndəl, ðə ˈvɪlɪʤɪz meɪər, sɛd: 'twɛlv ər ˈθərˈtin taʊn saɪnz hæv bɪn ˈstoʊlən. wiv ˈteɪkən tɪ ˈfɪksɪŋ ðɛm wɪθ ˈkɑnkrit, ˈwɛldɪŋ ənd ˈrɪvəts' ðə wərd həz ˈɔlsoʊ bɪn faʊnd ɪn ə ˈdɪkʃəˌnɛri ˈdeɪtɪŋ bæk tɪ 1598 ənd ˈivɪn tərnz əp ɪn ˈʃeɪkˌspirz ˈhɛnri vi. ɪn 2012 ˈrɛzɪdənts əv əˈtɛmptəd tɪ ʧeɪnʤ ðə neɪm əv ðə ˈvɪlɪʤ tɪ bət ðɛr bɪd wɑz rɪˈʤɛktɪd ɛz ðə səˈʤɛsʧən wɑz ɔˈrɛdi ˈteɪkən. meɪər frænz ˈmaɪndəl sɛd ðət ɪf ɪt wɑz nɑt fər ðɛr ənˈfɔrʧənət neɪm ðə ˈvɪlɪʤ wɪθ ʤɪst ˈoʊvər 100 ˈrɛzɪdənts wʊd bi ə ˈrʊrəl ˈpɛrəˌdaɪs. |
trump calls out for trying to alter the perceptions of him:
watched saturday night live hit job on to retire the boring and show. alec baldwin portrayal stinks. media rigging election!
even vanity fair calls it what it is:
saturday night live caught a lot of flak last season for inviting nbc star and presidential hopeful donald trump to host an episode. but come a long way since last november and while nbc continues to get scrutiny for pandering to the former apprentice boss, s.n.l. itself has made a big effort this season to distance itself from cozying up to trump. and, three weeks into the season, trump has finally taken notice. processing his thoughts on twitter early sunday morning, trump formalized his disapproval of alec pouting impression… popular trump impression the only way the show is trying to put some distance between itself and trump.
in other words, this is free political advertising for hillary clinton and it should be illegal. i hope trump remembers when he takes office. there are all sorts of ways the governmental machinery can be used to exact punishments for citizens, without actually needing any official legal reason to do so. obama has made the new guidelines into “whatever you can get away with,” and i think we should go with those.
it is obvious that alec baldwin was substituted for darryl hammond for a reason.
when the cameras cut to trump and hillary in the first debate, before either said a word, trump made what i would call the trump-face. it is a eyes with lips, looking out of the corners of his eyes to the side. nicole wallace on nbc after the debate commented that none of people must have coached him to realize that he was being filmed even when he talking, because when the first shots of the candidates were put up, trump almost looked like, in her words, “a saturday night live skit.”
i think trump knew exactly what he was doing, and i think he was purposely impersonating darryl hammond doing an impersonation of donald trump. the instant i saw that expression on trump, almost like a reflex, i laughed, and entered a cognitive mode where i was prepared to be entertained. it was a positive, amused, ready to laugh state, all because i felt like i was watching daryl hammond about to pretend to be donald trump on jeopardy, and be funny as hell doing it. i think donald actually made people feel good about him, by evoking the neural pathways laid down by darryl hammond on saturday night live.
since that debate, hammond, who was genuinely hilarious with his ebullient, indefatigable, perpetually-upbeat-even-in-the-most-ridiculous-circumstances, version of trump was replaced with alec baldwin, whose trump is a sort of dark, ominous, ugly, version of the character.
that is not by accident, and i think it is a measure of how thoroughly the cognitive scientists behind the scenes have gotten a grip on the entirely of the media machinery, all to manipulate the perceptions which the populace holds of donald trump.
trump knows all of this, of course. i just hope when trump takes office, he holds a grudge, and try to be a magnanimous deal maker. these people are out to destroy him, and i hope he sees that he should not leave so much a the faintest trace of wreckage in his wake. from alec baldwin, to robert cialdini, obama changed the rules, and now we have the tools to go after them with the full force of the federal government and it is just how the business of the presidency is done now.
raze everything and destroy everyone who is in the way. it is the only way forward. | trəmp kɔlz aʊt fər traɪɪŋ tɪ ˈɔltər ðə pərˈsɛpʃənz əv ɪm: wɔʧt ˈsæˌtɪˌdeɪ naɪt lɪv hɪt ʤɑb ɔn tɪ ˌriˈtaɪər ðə ˈbɔrɪŋ ənd ʃoʊ. ˈælɪk ˈbɔldwən pɔrˈtreɪəl stɪŋks. ˈmidiə ˈrɪgɪŋ ɪˈlɛkʃən! ˈivɪn ˈvænɪti fɛr kɔlz ɪt wət ɪt ɪz: ˈsæˌtɪˌdeɪ naɪt lɪv kɔt ə lɔt əv flæk læst ˈsizən fər ˌɪnˈvaɪtɪŋ ˈɛnˌbiˈsi stɑr ənd ˌprɛzɪˈdɛnʃəl ˈhoʊpfəl ˈdɑnəld trəmp tɪ hoʊst ən ˈɛpɪˌsoʊd. bət kəm ə lɔŋ weɪ sɪns læst noʊˈvɛmbər ənd waɪl ˈɛnˌbiˈsi kənˈtɪnjuz tɪ gɪt ˈskrutəni fər ˈpændərɪŋ tɪ ðə ˈfɔrmər əˈprɛntɪs bɔs, s.n.l*. ˌɪtˈsɛlf həz meɪd ə bɪg ˈɛfərt ðɪs ˈsizən tɪ ˈdɪstəns ˌɪtˈsɛlf frəm ˈkoʊziɪŋ əp tɪ trəmp. ənd, θri wiks ˈɪntu ðə ˈsizən, trəmp həz ˈfaɪnəli ˈteɪkən ˈnoʊtɪs. ˈprɑsɛsɪŋ hɪz θɔts ɔn tˈwɪtər ˈərli ˈsənˌdi ˈmɔrnɪŋ, trəmp ˈfɔrməˌlaɪzd hɪz dɪsəˈpruvəl əv ˈælɪk ˈpaʊtɪŋ impression…*… ˈpɑpjələr trəmp ˌɪmˈprɛʃən ðə ˈoʊnli weɪ ðə ʃoʊ ɪz traɪɪŋ tɪ pʊt səm ˈdɪstəns bɪtˈwin ˌɪtˈsɛlf ənd trəmp. ɪn ˈəðər wərdz, ðɪs ɪz fri pəˈlɪtɪkəl ˈædvərˌtaɪzɪŋ fər ˈhɪləri ˈklɪntən ənd ɪt ʃʊd bi ˌɪˈligəl. aɪ hoʊp trəmp rɪˈmɛmbərz wɪn hi teɪks ˈɔfəs. ðɛr ər ɔl sɔrts əv weɪz ðə ˌgəvərnˈmɛntəl məˈʃinəri kən bi juzd tɪ ɪgˈzækt ˈpənɪʃmənts fər ˈsɪtɪzənz, wɪˈθaʊt ˈæˌkʧuəli ˈnidɪŋ ˈɛni əˈfɪʃəl ˈligəl ˈrizən tɪ du soʊ. ˌoʊˈbɑmə həz meɪd ðə nu ˈgaɪˌdlaɪnz ˈɪntu ju kən gɪt əˈweɪ with,”*,” ənd aɪ θɪŋk wi ʃʊd goʊ wɪθ ðoʊz. ɪt ɪz ˈɑbviəs ðət ˈælɪk ˈbɔldwən wɑz ˈsəbstəˌtutəd fər ˈdɛrəl ˈhæmənd fər ə ˈrizən. wɪn ðə ˈkæmərəz kət tɪ trəmp ənd ˈhɪləri ɪn ðə fərst dəˈbeɪt, ˌbiˈfɔr ˈiðər sɛd ə wərd, trəmp meɪd wət aɪ wʊd kɔl ðə trump-face*. ɪt ɪz ə aɪz wɪθ lɪps, ˈlʊkɪŋ aʊt əv ðə ˈkɔrnərz əv hɪz aɪz tɪ ðə saɪd. nɪˈkoʊl ˈwɔlɪs ɔn ˈɛnˌbiˈsi ˈæftər ðə dəˈbeɪt ˈkɑmɛntəd ðət nən əv ˈpipəl məst hæv koʊʧt ɪm tɪ ˈriəˌlaɪz ðət hi wɑz biɪŋ fɪlmd ˈivɪn wɪn hi ˈtɔkɪŋ, bɪˈkəz wɪn ðə fərst ʃɑts əv ðə ˈkænədɪts wər pʊt əp, trəmp ˈɔlˌmoʊst lʊkt laɪk, ɪn hər wərdz, ˈsæˌtɪˌdeɪ naɪt lɪv skit.”*.” aɪ θɪŋk trəmp nu ɪgˈzæktli wət hi wɑz duɪŋ, ənd aɪ θɪŋk hi wɑz ˈpərpəsli ˌɪmˈpərsəˌneɪtɪŋ ˈdɛrəl ˈhæmənd duɪŋ ən ˌɪmpərsəˈneɪʃən əv ˈdɑnəld trəmp. ðə ˈɪnstənt aɪ sɔ ðət ɪkˈsprɛʃən ɔn trəmp, ˈɔlˌmoʊst laɪk ə ˈriflɛks, aɪ læft, ənd ˈɛnərd ə ˈkɑgnɪtɪv moʊd wɛr aɪ wɑz priˈpɛrd tɪ bi ˌɛnərˈteɪnd. ɪt wɑz ə ˈpɑzətɪv, əmˈjuzd, ˈrɛdi tɪ læf steɪt, ɔl bɪˈkəz aɪ fɛlt laɪk aɪ wɑz ˈwɑʧɪŋ ˈdɛrəl ˈhæmənd əˈbaʊt tɪ priˈtɛnd tɪ bi ˈdɑnəld trəmp ɔn ˈʤɛpərdi, ənd bi ˈfəni ɛz hɛl duɪŋ ɪt. aɪ θɪŋk ˈdɑnəld ˈæˌkʧuəli meɪd ˈpipəl fil gʊd əˈbaʊt ɪm, baɪ ɪˈvoʊkɪŋ ðə ˈnʊrəl ˈpæθˌweɪz leɪd daʊn baɪ ˈdɛrəl ˈhæmənd ɔn ˈsæˌtɪˌdeɪ naɪt lɪv. sɪns ðət dəˈbeɪt, ˈhæmənd, hu wɑz ˈʤɛnjuˌaɪnli hɪˈlɛriəs wɪθ hɪz ˌɪˈbəljənt, ˌɪndɪˈfætɪgəbəl, perpetually-upbeat-even-in-the-most-ridiculous-circumstances*, ˈvərʒən əv trəmp wɑz ˌriˈpleɪst wɪθ ˈælɪk ˈbɔldwən, huz trəmp ɪz ə sɔrt əv dɑrk, ˈɑmənəs, ˈəgli, ˈvərʒən əv ðə ˈkɛrɪktər. ðət ɪz nɑt baɪ ˈæksədənt, ənd aɪ θɪŋk ɪt ɪz ə ˈmɛʒər əv haʊ ˈθəroʊli ðə ˈkɑgnɪtɪv ˈsaɪəntɪsts bɪˈhaɪnd ðə sinz hæv ˈgɔtən ə grɪp ɔn ðə ɪnˈtaɪərli əv ðə ˈmidiə məˈʃinəri, ɔl tɪ məˈnɪpjəˌleɪt ðə pərˈsɛpʃənz wɪʧ ðə ˈpɑpjələs hoʊldz əv ˈdɑnəld trəmp. trəmp noʊz ɔl əv ðɪs, əv kɔrs. aɪ ʤɪst hoʊp wɪn trəmp teɪks ˈɔfəs, hi hoʊldz ə grəʤ, ənd traɪ tɪ bi ə mægˈnænəməs dil ˈmeɪkər. ðiz ˈpipəl ər aʊt tɪ dɪˈstrɔɪ ɪm, ənd aɪ hoʊp hi siz ðət hi ʃʊd nɑt liv soʊ məʧ ə ðə ˈfeɪntəst treɪs əv ˈrɛkɪʤ ɪn hɪz weɪk. frəm ˈælɪk ˈbɔldwən, tɪ ˈrɑbərt cialdini*, ˌoʊˈbɑmə ʧeɪnʤd ðə rulz, ənd naʊ wi hæv ðə tulz tɪ goʊ ˈæftər ðɛm wɪθ ðə fʊl fɔrs əv ðə ˈfɛdərəl ˈgəvərnmənt ənd ɪt ɪz ʤɪst haʊ ðə ˈbɪznɪs əv ðə ˈprɛzɪdənsi ɪz dən naʊ. reɪz ˈɛvriˌθɪŋ ənd dɪˈstrɔɪ ˈɛvriˌwən hu ɪz ɪn ðə weɪ. ɪt ɪz ðə ˈoʊnli weɪ ˈfɔrwərd. |
somehow, however, this seems rather difficult for some people to understand. there are scores of commentators on the left who think that both candidates are the same, or at least equally bad, and at the end of day it matter who comes to power anyway. some even say that people should abstain from voting altogether in order to not take part in a fundamentally oppressive and rigged system.
not voting is not an option because trump must not win.
one star intellectual on the left, žižek, recently went so far as to say that it would be better to have trump in the white house because, as the dialectical process would seamlessly have it, a psychopath running the most powerful nation on earth will finally jolt people into action against the system.
this kind of puritanical approach is the preserve of those who are detached from reality and live lives ensconced in privilege those who think possible to be morally impeccable when it comes to making consequential, real life decisions. but real life decisions come with all sorts of contradictory pressures and demands and often for the better. voting for hillary clinton is the only right choice.
the green jill stein is not a viable option. if in a “safe state,” one that trump possibly win, then by all means vote for stein. but if in a swing state, vote hillary. not voting is not an option because trump must not win.
credit will go to those who come out and vote for hillary, realizing the need to do so given the danger that trump poses. those who think too pure to get involved in matters of society will have to answer for their inaction if trump wins.
refusing to vote is also an insult to those who fought and gave their lives to win the right to vote. the movement and the civil rights movement were epic battles that included demands for the franchise to be extended to the oppressed and marginalized. the has always been about voter suppression.
in trump, you have a candidate who has incited all kinds of hatred against the very people whose ancestors gave so much to be able to vote. “make america great again” is his unsubtle call to reverse historic gains, as legendary performer and activist harry belafonte noted in a recent new york times op-ed. but here we have some leftists, these so-called social justice activists, who think better not to cast a ballot.
such is something a capitalist or a libertarian could only envy. right wingers will be thrilled if some leftists pay no regard to the social struggle of the past that won many people the right to vote.
creating fantasy scenarios is the work of demagogues, and no one on the left seems to have lost hold of reality more than this particular slovenian intellectual with his “after trump, us” nonsense. his hallucination that trump coming to power would trigger an awakening against the system reminds me of another set of ideologues.
when the u.s. invaded iraq in 2003, some iranian clerics and leaders welcomed it since in some obscure shiite text written that when the army of the rum (romans or christians in arabic) enter iraq, the messiah will reappear to save the world. one would have to ignore the countless lives lost in the iraqi conflict to have cheered on the apparent fulfilling of this prophecy. one would also have to suspend reality and ignore all the dangers of trump to nod in agreement with the slovenian ideologue who thinks along the same lines.
there is an awakening against trump and the ones who are woke are those voting against him today, such as the latinos who are reportedly coming out in record numbers. they know at stake.
the push to make bernie sanders the democratic party's candidate was also a progressive push against the system, a hopeful sign that millions of young people in particular are waking up politically.
but while sanders campaigns tirelessly to defeat trump, others on the left remain asleep. hope take something less tragic than trump coming to power to wake them from their slumber. | ˈsəmˌhaʊ, ˌhaʊˈɛvər, ðɪs simz ˈrəðər ˈdɪfəkəlt fər səm ˈpipəl tɪ ˌəndərˈstænd. ðɛr ər skɔrz əv ˈkɑmənˌteɪtərz ɔn ðə lɛft hu θɪŋk ðət boʊθ ˈkænədɪts ər ðə seɪm, ər æt list ˈikwəli bæd, ənd æt ðə ɛnd əv deɪ ɪt ˈmætər hu kəmz tɪ paʊər ˈɛniˌweɪ. səm ˈivɪn seɪ ðət ˈpipəl ʃʊd əbˈsteɪn frəm ˈvoʊtɪŋ ˌɔltəˈgɛðər ɪn ˈɔrdər tɪ nɑt teɪk pɑrt ɪn ə ˌfəndəˈmɛnəli əˈprɛsɪv ənd rɪgd ˈsɪstəm. nɑt ˈvoʊtɪŋ ɪz nɑt ən ˈɔpʃən bɪˈkəz trəmp məst nɑt wɪn. wən stɑr ˌɪnəˈlɛkʧuəl ɔn ðə lɛft, žžižek*, ˈrisəntli wɛnt soʊ fɑr ɛz tɪ seɪ ðət ɪt wʊd bi ˈbɛtər tɪ hæv trəmp ɪn ðə waɪt haʊs bɪˈkəz, ɛz ðə ˌdaɪəˈlɛktɪkəl ˈprɔˌsɛs wʊd ˈsimləsli hæv ɪt, ə ˈsaɪkoʊˌpæθ ˈrənɪŋ ðə moʊst ˈpaʊərfəl ˈneɪʃən ɔn ərθ wɪl ˈfaɪnəli ʤoʊlt ˈpipəl ˈɪntu ˈækʃən əˈgɛnst ðə ˈsɪstəm. ðɪs kaɪnd əv ˌpjʊrəˈtænɪkəl əˈproʊʧ ɪz ðə prɪˈzərv əv ðoʊz hu ər dɪˈtæʧt frəm ˌriˈæləˌti ənd lɪv lɪvz ɪnˈskɑnst ɪn ˈprɪvɪlɪʤ ðoʊz hu θɪŋk ˈpɑsəbəl tɪ bi ˈmɔrəli ˌɪmˈpɛkəbəl wɪn ɪt kəmz tɪ ˈmeɪkɪŋ ˌkɑnsəkˈwɛnʃəl, ril laɪf dɪˈsɪʒənz. bət ril laɪf dɪˈsɪʒənz kəm wɪθ ɔl sɔrts əv ˌkɑntrəˈdɪktəri ˈprɛʃərz ənd dɪˈmændz ənd ˈɔfən fər ðə ˈbɛtər. ˈvoʊtɪŋ fər ˈhɪləri ˈklɪntən ɪz ðə ˈoʊnli raɪt ʧɔɪs. ðə grin ʤɪl staɪn ɪz nɑt ə ˈvaɪəbəl ˈɔpʃən. ɪf ɪn ə state,”*,” wən ðət trəmp ˈpɑsəbli wɪn, ðɛn baɪ ɔl minz voʊt fər staɪn. bət ɪf ɪn ə swɪŋ steɪt, voʊt ˈhɪləri. nɑt ˈvoʊtɪŋ ɪz nɑt ən ˈɔpʃən bɪˈkəz trəmp məst nɑt wɪn. ˈkrɛdɪt wɪl goʊ tɪ ðoʊz hu kəm aʊt ənd voʊt fər ˈhɪləri, ˈriəˌlaɪzɪŋ ðə nid tɪ du soʊ ˈgɪvɪn ðə ˈdeɪnʤər ðət trəmp ˈpoʊzɪz. ðoʊz hu θɪŋk tu pjʊr tɪ gɪt ˌɪnˈvɑlvd ɪn ˈmætərz əv soʊˈsaɪɪti wɪl hæv tɪ ˈænsər fər ðɛr ˌɪˈnækʃən ɪf trəmp wɪnz. rɪfˈjuzɪŋ tɪ voʊt ɪz ˈɔlsoʊ ən ˌɪnˈsəlt tɪ ðoʊz hu fɔt ənd geɪv ðɛr lɪvz tɪ wɪn ðə raɪt tɪ voʊt. ðə ˈmuvmənt ənd ðə ˈsɪvəl raɪts ˈmuvmənt wər ˈɛpɪk ˈbætəlz ðət ˌɪnˈkludɪd dɪˈmændz fər ðə ˈfrænˌʧaɪz tɪ bi ɪkˈstɛndɪd tɪ ðə əˈprɛst ənd ˈmɑrʤənəˌlaɪzd. ðə həz ˈɔlˌweɪz bɪn əˈbaʊt ˈvoʊtər səˈprɛʃən. ɪn trəmp, ju hæv ə ˈkænədɪt hu həz ˌɪnˈsaɪtɪd ɔl kaɪnz əv ˈheɪtrəd əˈgɛnst ðə ˈvɛri ˈpipəl huz ˈænˌsɛstərz geɪv soʊ məʧ tɪ bi ˈeɪbəl tɪ voʊt. əˈmɛrɪkə greɪt again”*” ɪz hɪz ənˈsətəl kɔl tɪ rɪˈvərs hɪˈstɔrɪk geɪnz, ɛz ˈlɛʤənˌdɛri pərˈfɔrmər ənd ˈæktɪvɪst ˈhɛri ˌbɛləˈfɑnti ˈnoʊtɪd ɪn ə ˈrisənt nu jɔrk taɪmz op-ed*. bət hir wi hæv səm ˈlɛftɪsts, ðiz ˈsoʊˈkɔld ˈsoʊʃəl ˈʤəstɪs ˈæktɪvɪsts, hu θɪŋk ˈbɛtər nɑt tɪ kæst ə ˈbælət. səʧ ɪz ˈsəmθɪŋ ə ˈkæpətəlɪst ər ə ˌlɪˌbərˈtɛˌriən kʊd ˈoʊnli ˈɛnvi. raɪt ˈwɪŋərz wɪl bi θrɪld ɪf səm ˈlɛftɪsts peɪ noʊ rɪˈgɑrd tɪ ðə ˈsoʊʃəl ˈstrəgəl əv ðə pæst ðət wən ˈmɛni ˈpipəl ðə raɪt tɪ voʊt. kriˈeɪtɪŋ ˈfænəsi sɪˈnɛrioʊz ɪz ðə wərk əv ˈdɛməˌgɑgz, ənd noʊ wən ɔn ðə lɛft simz tɪ hæv lɔst hoʊld əv ˌriˈæləˌti mɔr ðən ðɪs ˌpɑˈtɪkjələr sˌloʊˈviniən ˌɪnəˈlɛkʧuəl wɪθ hɪz trəmp, us”*” ˈnɑnsɛns. hɪz həˌlusəˈneɪʃən ðət trəmp ˈkəmɪŋ tɪ paʊər wʊd ˈtrɪgər ən əˈweɪkənɪŋ əˈgɛnst ðə ˈsɪstəm riˈmaɪndz mi əv əˈnəðər sɛt əv ˈaɪdiəlɔgz. wɪn ðə juz. ˌɪnˈveɪdɪd ˌɪˈrɑk ɪn 2003 səm ˌɪˈrɑniən ˈklɛrɪks ənd ˈlidərz ˈwɛlkəmd ɪt sɪns ɪn səm əbˈskjʊr ʃiaɪt tɛkst ˈrɪtən ðət wɪn ðə ˈɑrmi əv ðə rəm (ˈroʊmənz ər ˈkrɪsʧɪnz ɪn ˈɛrəbɪk) ˈɛnər ˌɪˈrɑk, ðə məˈsaɪə wɪl ˌriəˈpɪr tɪ seɪv ðə wərld. wən wʊd hæv tɪ ˌɪgˈnɔr ðə ˈkaʊntləs lɪvz lɔst ɪn ðə ˌɪˈræki ˈkɑnflɪkt tɪ hæv ʧɪrd ɔn ðə əˈpɛrənt fʊlˈfɪlɪŋ əv ðɪs ˈprɑfəsi. wən wʊd ˈɔlsoʊ hæv tɪ səˈspɛnd ˌriˈæləˌti ənd ˌɪgˈnɔr ɔl ðə ˈdeɪnʤərz əv trəmp tɪ nɑd ɪn əˈgrimənt wɪθ ðə sˌloʊˈviniən ˈaɪdiəloʊg hu θɪŋks əˈlɔŋ ðə seɪm laɪnz. ðɛr ɪz ən əˈweɪkənɪŋ əˈgɛnst trəmp ənd ðə wənz hu ər woʊk ər ðoʊz ˈvoʊtɪŋ əˈgɛnst ɪm təˈdeɪ, səʧ ɛz ðə lɑˈtinoʊs hu ər rɪˈpɔrtədli ˈkəmɪŋ aʊt ɪn ˈrɛkərd ˈnəmbərz. ðeɪ noʊ æt steɪk. ðə pʊʃ tɪ meɪk ˈbərni ˈsændərz ðə ˌdɛməˈkrætɪk ˈpɑrtiz ˈkænədɪt wɑz ˈɔlsoʊ ə prəˈgrɛsɪv pʊʃ əˈgɛnst ðə ˈsɪstəm, ə ˈhoʊpfəl saɪn ðət ˈmɪljənz əv jəŋ ˈpipəl ɪn ˌpɑˈtɪkjələr ər ˈweɪkɪŋ əp ˈplɪtɪkli. bət waɪl ˈsændərz kæmˈpeɪnz ˈtaɪrləsli tɪ dɪˈfit trəmp, ˈəðərz ɔn ðə lɛft rɪˈmeɪn əsˈlip. hoʊp teɪk ˈsəmθɪŋ lɛs ˈtræʤɪk ðən trəmp ˈkəmɪŋ tɪ paʊər tɪ weɪk ðɛm frəm ðɛr sˈləmbər. |
hundreds of students crowd sanders theatre for the first meeting of 50: “introduction to computer science i.”
updated: september 11, 2014, at p.m.
nearly 12 percent of harvard college is enrolled in a single course, according to data released by the faculty of arts and sciences office on wednesday.
the course, computer science 50: “introduction to computer science i,” attracted a 818 undergraduates this semester, marking the largest number in the history and the largest class offered at the college in the last five years, according to the website. including students, the enrollment number totals 875.
last fall, about 700 students enrolled in the course, placing it second only to economics: “principles of economics,” which drew 764 students. this fall, economics is the second largest course, enrolling 711 total students.
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cs50 instructor, david j. malan, and other computer science professors said that the boost in enrollment stems from increasing and interest in computer science.
“harvard students are smart people,” said harry r. lewis, former dean of the college and current director of undergraduate studies for computer science. “they have figured out that in pretty much every area of study, computational methods and computational thinking are going to be important to the future.”
lewis that his course this semester, computer science 121: “introduction to the theory of computation,” enrolled more students than it ever had before: 153. the number of computer science at the college has increased each year for the past five years, from 86 in 2008 to 153 in 2013.
malan also said that “it is possible” that the decision to exempt50 from the new restrictions on enrollment in courses occurring at the same time helped bolster its enrollment numbers. last month, dean of undergraduate education jay m. harris sent an email to course instructors notifying them of tighter controls on simultaneous enrollment for all courses except50.
malan said that simultaneous enrollment data will not be available until he surveys his students later this week, but that the course typically attracts around 100 students who enroll in another course that meets at an overlapping time.
computer science associate professor eddie kohler said50’s increasing popularity also speaks to the structure and accessibility of the course.
“it’s an experience, not even a course exactly,” kohler said. “that’s part of what [malan’s] goal was, to bring the content to as many people as possible.”
ninety-one students enrolled in50 this semester opted to take the course, similar to last fall. the option, an alternative to taking a course, allows students to earn either a grade of “satisfactory,” for letter grades from a to c-, or a grade of “unsatisfactory,” which is considered a failing grade.
while one less student than in 2013 opted to take50 by the time study cards were due on tuesday, malan said he would “be thrilled” if more students chose to take50.
“i think for as long as i can remember never really been a culture at harvard of taking courses and exploring unfamiliar fields,” malan said. “i think unfortunate.” | ˈhənərdz əv ˈstudənts kraʊd ˈsændərz ˈθiətər fər ðə fərst ˈmitɪŋ əv 50 tɪ kəmˈpjutər saɪəns i.”*.” ˈəpˌdeɪtɪd: sɛpˈtɛmbər 11 2014 æt p.m*. ˈnɪrli 12 pərˈsɛnt əv ˈhɑrvərd ˈkɑlɪʤ ɪz ɛnˈroʊld ɪn ə ˈsɪŋgəl kɔrs, əˈkɔrdɪŋ tɪ ˈdætə riˈlist baɪ ðə ˈfækəlti əv ɑrts ənd ˈsaɪənsɪz ˈɔfəs ɔn ˈwɛnzˌdeɪ. ðə kɔrs, kəmˈpjutər saɪəns 50 tɪ kəmˈpjutər saɪəns i,”*,” əˈtræktəd ə 818 ˌəndərˈgræʤəwəts ðɪs səˈmɛstər, ˈmɑrkɪŋ ðə ˈlɑrʤəst ˈnəmbər ɪn ðə ˈhɪstəri ənd ðə ˈlɑrʤəst klæs ˈɔfərd æt ðə ˈkɑlɪʤ ɪn ðə læst faɪv jɪrz, əˈkɔrdɪŋ tɪ ðə ˈwɛbˌsaɪt. ˌɪnˈkludɪŋ ˈstudənts, ðə ɛnˈroʊlmənt ˈnəmbər ˈtoʊtəlz 875 læst fɔl, əˈbaʊt 700 ˈstudənts ɛnˈroʊld ɪn ðə kɔrs, ˈpleɪsɪŋ ɪt ˈsɛkənd ˈoʊnli tɪ ˌɛkəˈnɑmɪks: əv economics,”*,” wɪʧ dru 764 ˈstudənts. ðɪs fɔl, ˌɛkəˈnɑmɪks ɪz ðə ˈsɛkənd ˈlɑrʤəst kɔrs, ɛnˈroʊlɪŋ 711 ˈtoʊtəl ˈstudənts. ˌædvərˈtaɪzmənt ˌɪnˈstrəktər, ˈdeɪvɪd ʤeɪ. ˈmeɪlən ənd ˈəðər kəmˈpjutər saɪəns prəˈfɛsərz sɛd ðət ðə bust ɪn ɛnˈroʊlmənt stɛmz frəm ˌɪnˈkrisɪŋ ənd ˈɪntəˌrɛst ɪn kəmˈpjutər saɪəns. ˈstudənts ər smɑrt people,”*,” sɛd ˈhɛri ɑr. luɪs ˈfɔrmər din əv ðə ˈkɑlɪʤ ənd ˈkɑrənt dɪˈrɛktər əv ˌəndərˈgræʤəwət ˈstədiz fər kəmˈpjutər saɪəns. hæv ˈfɪgjərd aʊt ðət ɪn ˈprɪti məʧ ˈɛvəri ˈɛriə əv ˈstədi, ˌkɑmpjuˈteɪʃənəl ˈmɛθədz ənd ˌkɑmpjuˈteɪʃənəl ˈθɪŋkɪŋ ər goʊɪŋ tɪ bi ˌɪmˈpɔrtənt tɪ ðə future.”*.” luɪs ðət hɪz kɔrs ðɪs səˈmɛstər, kəmˈpjutər saɪəns 121 tɪ ðə ˈθɪri əv computation,”*,” ɛnˈroʊld mɔr ˈstudənts ðən ɪt ˈɛvər hæd ˌbiˈfɔr: 153 ðə ˈnəmbər əv kəmˈpjutər saɪəns æt ðə ˈkɑlɪʤ həz ˌɪnˈkrist iʧ jɪr fər ðə pæst faɪv jɪrz, frəm 86 ɪn 2008 tɪ 153 ɪn 2013 ˈmeɪlən ˈɔlsoʊ sɛd ðət ɪz possible”*” ðət ðə dɪˈsɪʒən tɪ ɪgˈzɛmpt frəm ðə nu riˈstrɪkʃənz ɔn ɛnˈroʊlmənt ɪn ˈkɔrsɪz əˈkərɪŋ æt ðə seɪm taɪm hɛlpt ˈboʊlstər ɪts ɛnˈroʊlmənt ˈnəmbərz. læst mənθ, din əv ˌəndərˈgræʤəwət ˌɛʤəˈkeɪʃən ʤeɪ ɛm. ˈhɛrɪs sɛnt ən iˈmeɪl tɪ kɔrs ˌɪnˈstrəktərz ˈnoʊtəˌfaɪɪŋ ðɛm əv ˈtaɪtər kənˈtroʊlz ɔn ˌsaɪməlˈteɪniəs ɛnˈroʊlmənt fər ɔl ˈkɔrsɪz ɪkˈsɛpt ˈmeɪlən sɛd ðət ˌsaɪməlˈteɪniəs ɛnˈroʊlmənt ˈdætə wɪl nɑt bi əˈveɪləbəl ənˈtɪl hi ˈsərˌveɪz hɪz ˈstudənts ˈleɪtər ðɪs wik, bət ðət ðə kɔrs ˈtɪpɪkəli əˈtrækts əraʊnd 100 ˈstudənts hu ɪnˈroʊl ɪn əˈnəðər kɔrs ðət mits æt ən ˈoʊvərˌlæpɪŋ taɪm. kəmˈpjutər saɪəns əˈsoʊʃiˌeɪt prəˈfɛsər ˈɛdi ˈkoʊlər sɛd ˌɪnˈkrisɪŋ ˌpɑpjəˈlɛrəti ˈɔlsoʊ spiks tɪ ðə ˈstrəkʧər ənd ˌæksɛsəˈbɪlɪti əv ðə kɔrs. ən ɪkˈspɪriəns, nɑt ˈivɪn ə kɔrs exactly,”*,” ˈkoʊlər sɛd. pɑrt əv wət [malan’s*] goʊl wɑz, tɪ brɪŋ ðə ˈkɑntɛnt tɪ ɛz ˈmɛni ˈpipəl ɛz possible.”*.” ˈstudənts ɛnˈroʊld ɪn ðɪs səˈmɛstər ˈɑptɪd tɪ teɪk ðə kɔrs, ˈsɪmələr tɪ læst fɔl. ðə ˈɔpʃən, ən ɔlˈtərnətɪv tɪ ˈteɪkɪŋ ə kɔrs, əˈlaʊz ˈstudənts tɪ ərn ˈiðər ə greɪd əv ““satisfactory,”*,” fər ˈlɛtər greɪdz frəm ə tɪ si-, ər ə greɪd əv ““unsatisfactory,”*,” wɪʧ ɪz kənˈsɪdərd ə ˈfeɪlɪŋ greɪd. waɪl wən lɛs ˈstudənt ðən ɪn 2013 ˈɑptɪd tɪ teɪk baɪ ðə taɪm ˈstədi kɑrdz wər du ɔn ˈtuzˌdeɪ, ˈmeɪlən sɛd hi wʊd thrilled”*” ɪf mɔr ˈstudənts ʧoʊz tɪ teɪk. θɪŋk fər ɛz lɔŋ ɛz aɪ kən rɪˈmɛmbər ˈnɛvər ˈrɪli bɪn ə ˈkəlʧər æt ˈhɑrvərd əv ˈteɪkɪŋ ˈkɔrsɪz ənd ɪkˈsplɔrɪŋ ˌənfəˈmɪljər fields,”*,” ˈmeɪlən sɛd. θɪŋk unfortunate.”*.” |
loren schmidt managed to garner critical acclaim and recognition as a talented indie developer with his platformer, star guard. i found out just what makes loren tick.
age?
28
location?
oakland, california
development tool(s) of choice?
i’ve used, java, and processing, and currently limping along in c++.
for art and sound, i use used and sfxr. hoping to become increasingly familiar with making sound effects, because i know a lot about it and it seems like a lot of fun.
how did game development come into your life?
my parents were somewhat anti-media, and i have a lot of exposure to television or games at home. i was introduced to games through fleeting encounters with arcade machines and visits to friends’ houses.
while i would have loved learning to make games as a young child, we have a computer when i was young. i have an opportunity to start until much later in life. looking back, though, there were a lot of indications of where i was headed. i used to draw a lot. i made mazes with my friends, built castles out of blocks and spent countless hours building things with lego. i was fascinated with interactivity. i loved choose your own adventure books. i made up a lot of board games, many of which imitated video games in some way. i distinctly recall making up a broken turn based version of space invaders on a checkerboard. bad tuning!
what are your goals as an indie developer?
one of my favorite things is seeing a project where all the parts come together and fit perfectly. solo development is very appealing to me, because that happens so naturally. the same is true of making games with a small team.
like a lot of other people i know, in the past had trouble with taking on too many projects and not bringing any of them to fruition. right now one of my goals is to get better about finishing things.
do you have any plans to collaborate with any other developers at some point in the future? is there anyone in particular that you feel is on a similar wavelength to yourself?
i really enjoy collaborations. though none of them have been released, i have done a few projects with other developers. i made a little maze game with oryx earlier this year. called famaze. we really should finish that…
i think happiest when making things in close proximity to other people. i do solo projects a lot, though, so try to satisfy that need by actively staying in touch with a few friends who have similar interests. we regularly share our progress with each other and send builds and screen shots back and forth. i draw a lot of inspiration from that. there are a lot of people with whom love to collaborate, though i currently have any plans. for instance i really like anna stuff. love to do a little collaborative project with her at some point…
what were your primary influences in creating star guard?
the biggest influences were flywrench, first person shooters, and shmups. esthetically, drawn toward games which feature tiny living things moving around in a little world. something magical about that. a game like lode runner is a bit like a dollhouse or an ant farm. the pit (centuri, 1982) has a similar magical feel. not a good game, but it appeals to me strongly in that way and had a big effect on the feel of the game.
what did you learn about game development from the development and subsequent critical success of star guard?
initially, development went well. the game came together steadily, and i was excited about it and eager to see it completed. however, that phase last forever. star guard is one of many projects which was hurt by my lack of follow through. i never stopped liking the game or believing in it, but in the latter half of development my productivity plummeted. i got into the habit of getting very little done and i feel good about it. i had some trouble with depression during this period, and that affected things as well.
i’ve fallen in love with a lot of projects and then seen myself fail to complete them. that hurts a lot, so put a lot of effort into figuring out why that happened. still learning, but my current project is going a lot more smoothly. one thing changed is that structuring things a bit more. writing down short term goals for myself, and dividing each goal into bite sized pieces. that helps a lot. i think about it all at once, daunting! another thing trying to do is get enough sleep. on autopilot i have a tendency do wise things like stay up until 3 am playing doom. while i enjoy that, i find myself feeling a lot better and being more productive when i get up early after a good rest and start making things immediately.
one thing that went very well during the development of star guard is testing. a bunch of people kindly volunteered to help test. it was really time consuming, but i learned a lot. because i have the facilities to do proper testing, i asked people to record video of themselves playing. that turned out to be very helpful, particularly in improving the level design and the feel of the controls. very thankful to everyone who helped test the game at various stages, and i try to make it up to them by helping test other games whenever i can.
at what point did you switch to c++ and how did you find the learning curve?
i was initially a visual artist, but i wanted to be able to make games. with that intent, been learning to program over the past five years or so.
i’ve done a little bit of c++ stuff in the past, but i never really became familiar with it. i picked it back up recently because a good fit for my current project. over the last few months been creating memory leaks, getting confused by syntax and committing stylistic blasphemy. bit by bit getting a more comfortable with the language. all things considered, i think been treating me well.
how do you approach the planning of a game and the development process itself?
i usually begin with a fuzzy idea of what the game will feel like and a few core design ideas. at some point early in the project, i decide on what sorts of technology and which platform to use. sometimes that takes me a while to decide.
i’ve noticed that in the past had trouble with projects which require a large amount of setup. if i spend months and months making an engine and building an editor, it can feel like not getting anything done. learning that long preparation periods are dangerous. to offset that, ordering things a bit differently now. trying to prioritize in such a way that i have something as quickly as possible- if i have to postpone some editor and engine features, fine. i just need to be able to run around in the game world, to actually have something that feels like a game. also spicing up that initial setup period with fun things like drawing and writing bits of story, so not all code.
space ninja from really seems very similar to star guard in more ways then one. do you see a game such as this as a compliment or does it annoy you that someone styled their game so closely to star guard?
my reaction to the game was positive. it seemed like it had a decent amount of effort put into it. in general i really believe in ownership of ideas.
where do you draw the line between a loving homage and a rip-off?
well, where it really gets sticky is when two commercial products are stepping on each toes. then not just a matter of cave man politics. as an example, the iphone version of desktop dungeons was beaten to release by a game which borrowed from it rather heavily. fortunately the competitor was withdrawn from the app store, but it sounds as though it was a really ugly experience for the developers involved.
what motivates you to keep developing?
there are simply a lot of games that should exist and. while making a game, i have a picture in my head of how i imagine it to be. the urge to actually be able to play it is a huge motivator. i also get a lot of enjoyment from the process. so much fun seeing things come to life. i find that very satisfying.
what are your thoughts on the indie scene and what it has become over the last couple of years?
i’ve been too much of a hermit over the past few six months or so! the community is great. constantly amazed at how friendly and open people are. wonderful for current developers, and also important because it makes it easier for new developers to learn how to make games in the first place.
if you are trying to figure something out, sometimes people point you at google. search engines are a great resource, but i feel that needs to come with a qualifier. google is a terrible teacher. people, on the other hand, can understand what you know and know, and intuitively grasp what you need next in order to learn most effectively. increasingly of the opinion that the best way to pick up a new skill is from another person.
though easier than it ever has been to make games, the bar for entry is still too high. you need to be technically minded to make a game. today making a game is a bit like sitting down with a reel of paper and punching out music for a player piano. a meticulous, technical task. making games should be more like playing a piano.
how high do you set the bar for yourself? are you a perfectionist? does a game have to fit together perfectly before you release it?
i’m definitely a perfectionist, which is both a good thing and a bad thing. i enjoy doing detailing and polish, which is definitely a plus. but sometimes, by which i mean usually, i make things more complicated than they need to be by doing things the hard way. one way this affects my process is that i tend to a lot. for instance, when i was making star guard i spent a lot of time shuffling around the order of the rooms within the levels, playing with the pacing. never going to make anything perfect, but yes- my habits definitely affect my ability to complete a project and get it out the door. when i can see so many glaring flaws in something making, hard to do the sensible thing and just release it.
after release, do you enjoy playing your own games (or does the urge to play drop off)?
i do enjoy playing things once completed them. i went back and played through star guard earlier this month. it was fun, and also interesting- spent enough time away from it that it seemed almost like someone else had made it. it was a weird dual sensation.
you entered star guard into independent games festival (igf) in 2010, for which it was nominated as a finalist in the excellence in design category. what expectations did you have in entering it and would you have it be a finalist for any other category?
i think comparing games is a bit like comparing cats and cuttlefish. i mean, clearly both wonderful, and so different that it seems odd to pick a winner. due to the size of the event, i entered without high expectations. there are so many entrants every year! design seemed like the best fit, but i expecting anything.
did you receive any constructive feedback from the judges and do you think the process of judgement was fair?
in general i felt that the feedback i received was too brief and overly vague.
i was really happy with the other design finalists that year. i really like and monaco, and when it came down to it i have any preference about which got the award. i had mixed feelings about some of the other categories, though. it seemed like the judging process was a bit too random.
my main complaint was with the numerical rating system. that kind of approach biases results in favor of mass appeal and competency instead of focus and inspiration. actually very happy with the process they used this year. i was glad to see them shift to a fuzzier, approach with more emphasis on the final panel of judges.
what does mean to you and what would winning mean to you? | ˈlɔrən ʃmɪt ˈmænɪʤd tɪ ˈgɑrnər ˈkrɪtɪkəl əˈkleɪm ənd ˌrɛkɪgˈnɪʃən ɛz ə ˈtæləntɪd ˈɪndi dɪˈvɛləpər wɪθ hɪz platformer*, stɑr gɑrd. aɪ faʊnd aʊt ʤɪst wət meɪks ˈlɔrən tɪk. eɪʤ? 28 loʊˈkeɪʃən? ˈoʊklənd, ˌkæləˈfɔrnjə dɪˈvɛləpmənt tool(s*) əv ʧɔɪs? juzd ˈʤɑvə, ənd ˈprɑsɛsɪŋ, ənd ˈkərəntli ˈlɪmpɪŋ əˈlɔŋ ɪn si++. fər ɑrt ənd saʊnd, aɪ juz juzd ənd sfxr*. ˈhoʊpɪŋ tɪ bɪˈkəm ˌɪnˈkrisɪŋgli fəˈmɪljər wɪθ ˈmeɪkɪŋ saʊnd ˈifɛkts, bɪˈkəz aɪ noʊ ə lɔt əˈbaʊt ɪt ənd ɪt simz laɪk ə lɔt əv fən. haʊ dɪd geɪm dɪˈvɛləpmənt kəm ˈɪntu jʊr laɪf? maɪ ˈpɛrənts wər ˈsəmˈwət anti-media*, ənd aɪ hæv ə lɔt əv ɪkˈspoʊʒər tɪ ˈtɛləˌvɪʒən ər geɪmz æt hoʊm. aɪ wɑz ˌɪntrəˈdust tɪ geɪmz θru ˈflitɪŋ ɪnˈkaʊnərz wɪθ ɑrˈkeɪd məˈʃinz ənd ˈvɪzɪts tɪ friends’*’ ˈhaʊsɪz. waɪl aɪ wʊd hæv ləvd ˈlərnɪŋ tɪ meɪk geɪmz ɛz ə jəŋ ʧaɪld, wi hæv ə kəmˈpjutər wɪn aɪ wɑz jəŋ. aɪ hæv ən ˌɑpərˈtunəti tɪ stɑrt ənˈtɪl məʧ ˈleɪtər ɪn laɪf. ˈlʊkɪŋ bæk, ðoʊ, ðɛr wər ə lɔt əv ˌɪndəˈkeɪʃənz əv wɛr aɪ wɑz ˈhɛdɪd. aɪ juzd tɪ drɔ ə lɔt. aɪ meɪd ˈmeɪzɪz wɪθ maɪ frɛndz, bɪlt ˈkæsəlz aʊt əv blɑks ənd spɛnt ˈkaʊntləs aʊərz ˈbɪldɪŋ θɪŋz wɪθ ˈlɛgoʊ. aɪ wɑz ˈfæsəˌneɪtɪd wɪθ ˌɪnərˌækˈtɪvɪti. aɪ ləvd ʧuz jʊr oʊn ədˈvɛnʧər bʊks. aɪ meɪd əp ə lɔt əv bɔrd geɪmz, ˈmɛni əv wɪʧ ˈɪməˌteɪtɪd ˈvɪdioʊ geɪmz ɪn səm weɪ. aɪ dɪˈstɪŋktli ˈriˌkɔl ˈmeɪkɪŋ əp ə ˈbroʊkən tərn beɪst ˈvərʒən əv speɪs ˌɪnˈveɪdərz ɔn ə ˈʧɛkərˌbɔrd. bæd ˈtunɪŋ! wət ər jʊr goʊlz ɛz ən ˈɪndi dɪˈvɛləpər? wən əv maɪ ˈfeɪvərɪt θɪŋz ɪz siɪŋ ə ˈprɑʤɛkt wɛr ɔl ðə pɑrts kəm təˈgɛðər ənd fɪt ˈpərfəktli. ˈsoʊˌloʊ dɪˈvɛləpmənt ɪz ˈvɛri əˈpilɪŋ tɪ mi, bɪˈkəz ðət ˈhæpənz soʊ ˈnæʧərəli. ðə seɪm ɪz tru əv ˈmeɪkɪŋ geɪmz wɪθ ə smɔl tim. laɪk ə lɔt əv ˈəðər ˈpipəl aɪ noʊ, ɪn ðə pæst hæd ˈtrəbəl wɪθ ˈteɪkɪŋ ɔn tu ˈmɛni ˈprɑʤɛkts ənd nɑt ˈbrɪŋɪŋ ˈɛni əv ðɛm tɪ fruˈɪʃən. raɪt naʊ wən əv maɪ goʊlz ɪz tɪ gɪt ˈbɛtər əˈbaʊt ˈfɪnɪʃɪŋ θɪŋz. du ju hæv ˈɛni plænz tɪ kəˈlæbərˌeɪt wɪθ ˈɛni ˈəðər dɪˈvɛləpərz æt səm pɔɪnt ɪn ðə fˈjuʧər? ɪz ðɛr ˈɛniˌwən ɪn ˌpɑˈtɪkjələr ðət ju fil ɪz ɔn ə ˈsɪmələr ˈweɪvˌlɛŋθ tɪ ˈjɔrsɛlf? aɪ ˈrɪli ˌɛnˈʤɔɪ ˌkɑləbərˈeɪʃənz. ðoʊ nən əv ðɛm hæv bɪn riˈlist, aɪ hæv dən ə fju ˈprɑʤɛkts wɪθ ˈəðər dɪˈvɛləpərz. aɪ meɪd ə ˈlɪtəl meɪz geɪm wɪθ ˈɔrɪks ˈərliər ðɪs jɪr. kɔld famaze*. wi ˈrɪli ʃʊd ˈfɪnɪʃ that…*… aɪ θɪŋk ˈhæpiəst wɪn ˈmeɪkɪŋ θɪŋz ɪn kloʊz prɑkˈsɪməti tɪ ˈəðər ˈpipəl. aɪ du ˈsoʊˌloʊ ˈprɑʤɛkts ə lɔt, ðoʊ, soʊ traɪ tɪ ˈsætɪsˌfaɪ ðət nid baɪ ˈæktɪvli steɪɪŋ ɪn təʧ wɪθ ə fju frɛndz hu hæv ˈsɪmələr ˈɪntərɪsts. wi ˈrɛgjələrli ʃɛr ɑr ˈprɑˌgrɛs wɪθ iʧ ˈəðər ənd sɛnd bɪldz ənd skrin ʃɑts bæk ənd fɔrθ. aɪ drɔ ə lɔt əv ˌɪnspərˈeɪʃən frəm ðət. ðɛr ər ə lɔt əv ˈpipəl wɪθ hum ləv tɪ kəˈlæbərˌeɪt, ðoʊ aɪ ˈkərəntli hæv ˈɛni plænz. fər ˈɪnstəns aɪ ˈrɪli laɪk ˈænə stəf. ləv tɪ du ə ˈlɪtəl kəˈlæbərˌeɪtɪv ˈprɑʤɛkt wɪθ hər æt səm point…*… wət wər jʊr ˈpraɪˌmɛri ˈɪnˌfluənsɪz ɪn kriˈeɪtɪŋ stɑr gɑrd? ðə ˈbɪgəst ˈɪnˌfluənsɪz wər flywrench*, fərst ˈpərsən ˈʃutərz, ənd shmups*. ɛsˈθɛtɪkli, drɔn təˈwɔrd geɪmz wɪʧ ˈfiʧər ˈtaɪni ˈlɪvɪŋ θɪŋz ˈmuvɪŋ əraʊnd ɪn ə ˈlɪtəl wərld. ˈsəmθɪŋ ˈmæʤɪkəl əˈbaʊt ðət. ə geɪm laɪk loʊd ˈrənər ɪz ə bɪt laɪk ə ˈdɑˌlhaʊs ər ən ænt fɑrm. ðə pɪt (sɛnˈtʊri, 1982 həz ə ˈsɪmələr ˈmæʤɪkəl fil. nɑt ə gʊd geɪm, bət ɪt əˈpilz tɪ mi ˈstrɔŋli ɪn ðət weɪ ənd hæd ə bɪg ˈifɛkt ɔn ðə fil əv ðə geɪm. wət dɪd ju lərn əˈbaʊt geɪm dɪˈvɛləpmənt frəm ðə dɪˈvɛləpmənt ənd ˈsəbsəkwənt ˈkrɪtɪkəl səkˈsɛs əv stɑr gɑrd? ˌɪˈnɪʃəli, dɪˈvɛləpmənt wɛnt wɛl. ðə geɪm keɪm təˈgɛðər ˈstɛdəli, ənd aɪ wɑz ɪkˈsaɪtɪd əˈbaʊt ɪt ənd ˈigər tɪ si ɪt kəmˈplitɪd. ˌhaʊˈɛvər, ðət feɪz læst fərˈɛvər. stɑr gɑrd ɪz wən əv ˈmɛni ˈprɑʤɛkts wɪʧ wɑz hərt baɪ maɪ læk əv ˈfɑloʊ θru. aɪ ˈnɛvər stɑpt ˈlaɪkɪŋ ðə geɪm ər bɪˈlivɪŋ ɪn ɪt, bət ɪn ðə ˈlætər hæf əv dɪˈvɛləpmənt maɪ ˌproʊdəkˈtɪvɪti ˈpləmətɪd. aɪ gɑt ˈɪntu ðə ˈhæbət əv ˈgɪtɪŋ ˈvɛri ˈlɪtəl dən ənd aɪ fil gʊd əˈbaʊt ɪt. aɪ hæd səm ˈtrəbəl wɪθ dɪˈprɛʃən ˈdʊrɪŋ ðɪs ˈpɪriəd, ənd ðət əˈfɛktɪd θɪŋz ɛz wɛl. ˈfɑlən ɪn ləv wɪθ ə lɔt əv ˈprɑʤɛkts ənd ðɛn sin ˌmaɪˈsɛlf feɪl tɪ kəmˈplit ðɛm. ðət hərts ə lɔt, soʊ pʊt ə lɔt əv ˈɛfərt ˈɪntu ˈfɪgjərɪŋ aʊt waɪ ðət ˈhæpənd. stɪl ˈlərnɪŋ, bət maɪ ˈkɑrənt ˈprɑʤɛkt ɪz goʊɪŋ ə lɔt mɔr sˈmuðli. wən θɪŋ ʧeɪnʤd ɪz ðət ˈstrəkʧərɪŋ θɪŋz ə bɪt mɔr. ˈraɪtɪŋ daʊn ʃɔrt tərm goʊlz fər ˌmaɪˈsɛlf, ənd dɪˈvaɪdɪŋ iʧ goʊl ˈɪntu baɪt saɪzd ˈpisɪz. ðət hɛlps ə lɔt. aɪ θɪŋk əˈbaʊt ɪt ɔl æt wəns, ˈdɔntɪŋ! əˈnəðər θɪŋ traɪɪŋ tɪ du ɪz gɪt ɪˈnəf slip. ɔn ˈɔtoʊˌpaɪlət aɪ hæv ə ˈtɛndənsi du waɪz θɪŋz laɪk steɪ əp ənˈtɪl 3 æm pleɪɪŋ dum. waɪl aɪ ˌɛnˈʤɔɪ ðət, aɪ faɪnd ˌmaɪˈsɛlf ˈfilɪŋ ə lɔt ˈbɛtər ənd biɪŋ mɔr pərˈdəktɪv wɪn aɪ gɪt əp ˈərli ˈæftər ə gʊd rɛst ənd stɑrt ˈmeɪkɪŋ θɪŋz ˌɪˈmiˌdiətli. wən θɪŋ ðət wɛnt ˈvɛri wɛl ˈdʊrɪŋ ðə dɪˈvɛləpmənt əv stɑr gɑrd ɪz ˈtɛstɪŋ. ə bənʧ əv ˈpipəl ˈkaɪndli ˌvɑlənˈtɪrd tɪ hɛlp tɛst. ɪt wɑz ˈrɪli taɪm kənˈsumɪŋ, bət aɪ ˈlərnɪd ə lɔt. bɪˈkəz aɪ hæv ðə fəˈsɪlɪtiz tɪ du ˈprɑpər ˈtɛstɪŋ, aɪ æst ˈpipəl tɪ ˈrɛkərd ˈvɪdioʊ əv ðɛmˈsɛlvz pleɪɪŋ. ðət tərnd aʊt tɪ bi ˈvɛri ˈhɛlpfəl, ˌpɑrˈtɪkjələrli ɪn ˌɪmˈpruvɪŋ ðə ˈlɛvəl dɪˈzaɪn ənd ðə fil əv ðə kənˈtroʊlz. ˈvɛri ˈθæŋkfəl tɪ ˈɛvriˌwən hu hɛlpt tɛst ðə geɪm æt ˈvɛriəs ˈsteɪʤɪz, ənd aɪ traɪ tɪ meɪk ɪt əp tɪ ðɛm baɪ ˈhɛlpɪŋ tɛst ˈəðər geɪmz wɛˈnɛvər aɪ kən. æt wət pɔɪnt dɪd ju swɪʧ tɪ si++ ənd haʊ dɪd ju faɪnd ðə ˈlərnɪŋ kərv? aɪ wɑz ˌɪˈnɪʃəli ə ˈvɪʒəwəl ˈɑrtɪst, bət aɪ ˈwɔntɪd tɪ bi ˈeɪbəl tɪ meɪk geɪmz. wɪθ ðət ˌɪnˈtɛnt, bɪn ˈlərnɪŋ tɪ ˈproʊˌgræm ˈoʊvər ðə pæst faɪv jɪrz ər soʊ. dən ə ˈlɪtəl bɪt əv si++ stəf ɪn ðə pæst, bət aɪ ˈnɛvər ˈrɪli bɪˈkeɪm fəˈmɪljər wɪθ ɪt. aɪ pɪkt ɪt bæk əp ˈrisəntli bɪˈkəz ə gʊd fɪt fər maɪ ˈkɑrənt ˈprɑʤɛkt. ˈoʊvər ðə læst fju mənθs bɪn kriˈeɪtɪŋ ˈmɛməri liks, ˈgɪtɪŋ kənfˈjuzd baɪ ˈsɪnˌtæks ənd kəˈmɪtɪŋ staɪˈlɪstɪk ˈblæsfəmi. bɪt baɪ bɪt ˈgɪtɪŋ ə mɔr ˈkəmfərtəbəl wɪθ ðə ˈlæŋgwɪʤ. ɔl θɪŋz kənˈsɪdərd, aɪ θɪŋk bɪn ˈtritɪŋ mi wɛl. haʊ du ju əˈproʊʧ ðə ˈplænɪŋ əv ə geɪm ənd ðə dɪˈvɛləpmənt ˈprɔˌsɛs ˌɪtˈsɛlf? aɪ ˈjuʒəwəli bɪˈgɪn wɪθ ə ˈfəzi aɪˈdiə əv wət ðə geɪm wɪl fil laɪk ənd ə fju kɔr dɪˈzaɪn aɪˈdiəz. æt səm pɔɪnt ˈərli ɪn ðə ˈprɑʤɛkt, aɪ ˌdɪˈsaɪd ɔn wət sɔrts əv tɛkˈnɑləʤi ənd wɪʧ ˈplætˌfɔrm tɪ juz. ˈsəmˌtaɪmz ðət teɪks mi ə waɪl tɪ ˌdɪˈsaɪd. ˈnoʊtɪst ðət ɪn ðə pæst hæd ˈtrəbəl wɪθ ˈprɑʤɛkts wɪʧ ˌrikˈwaɪər ə lɑrʤ əˈmaʊnt əv ˈsɛˌtəp. ɪf aɪ spɛnd mənθs ənd mənθs ˈmeɪkɪŋ ən ˈɪnʤən ənd ˈbɪldɪŋ ən ˈɛdɪtər, ɪt kən fil laɪk nɑt ˈgɪtɪŋ ˈɛniˌθɪŋ dən. ˈlərnɪŋ ðət lɔŋ ˌprɛpərˈeɪʃən ˈpɪriədz ər ˈdeɪnʤərəs. tɪ ˈɔfˌsɛt ðət, ˈɔrdərɪŋ θɪŋz ə bɪt ˈdɪfərˈɛntli naʊ. traɪɪŋ tɪ praɪˈɔrəˌtaɪz ɪn səʧ ə weɪ ðət aɪ hæv ˈsəmθɪŋ ɛz kˈwɪkli ɛz ˈpɑsəbəl- ɪf aɪ hæv tɪ poʊstˈpoʊn səm ˈɛdɪtər ənd ˈɪnʤən ˈfiʧərz, faɪn. aɪ ʤɪst nid tɪ bi ˈeɪbəl tɪ rən əraʊnd ɪn ðə geɪm wərld, tɪ ˈæˌkʧuəli hæv ˈsəmθɪŋ ðət filz laɪk ə geɪm. ˈɔlsoʊ ˈspaɪsɪŋ əp ðət ˌɪˈnɪʃəl ˈsɛˌtəp ˈpɪriəd wɪθ fən θɪŋz laɪk drɔɪŋ ənd ˈraɪtɪŋ bɪts əv ˈstɔri, soʊ nɑt ɔl koʊd. speɪs ˈnɪnʤə frəm ˈrɪli simz ˈvɛri ˈsɪmələr tɪ stɑr gɑrd ɪn mɔr weɪz ðɛn wən. du ju si ə geɪm səʧ ɛz ðɪs ɛz ə ˈkɑmpləmɛnt ər dɪz ɪt əˈnɔɪ ju ðət ˈsəmˌwən staɪld ðɛr geɪm soʊ ˈkloʊsli tɪ stɑr gɑrd? maɪ riˈækʃən tɪ ðə geɪm wɑz ˈpɑzətɪv. ɪt simd laɪk ɪt hæd ə ˈdisənt əˈmaʊnt əv ˈɛfərt pʊt ˈɪntu ɪt. ɪn ˈʤɛnərəl aɪ ˈrɪli bɪˈliv ɪn ˈoʊnərˌʃɪp əv aɪˈdiəz. wɛr du ju drɔ ðə laɪn bɪtˈwin ə ˈləvɪŋ ˈɑməʤ ənd ə rip-off*? wɛl, wɛr ɪt ˈrɪli gɪts ˈstɪki ɪz wɪn tu kəˈmərʃəl ˈprɑdəkts ər ˈstɛpɪŋ ɔn iʧ toʊz. ðɛn nɑt ʤɪst ə ˈmætər əv keɪv mæn ˈpɑləˌtɪks. ɛz ən ɪgˈzæmpəl, ðə ˈaɪˌfoʊn ˈvərʒən əv ˈdɛskˌtɑp ˈdənʤənz wɑz ˈbitən tɪ riˈlis baɪ ə geɪm wɪʧ ˈbɑˌroʊd frəm ɪt ˈrəðər ˈhɛvəli. ˈfɔrʧənətli ðə kəmˈpɛtɪtər wɑz wɪθˈdrɔn frəm ðə æp stɔr, bət ɪt saʊnz ɛz ðoʊ ɪt wɑz ə ˈrɪli ˈəgli ɪkˈspɪriəns fər ðə dɪˈvɛləpərz ˌɪnˈvɑlvd. wət ˈmoʊtəˌveɪts ju tɪ kip dɪˈvɛləpɪŋ? ðɛr ər ˈsɪmpli ə lɔt əv geɪmz ðət ʃʊd ɪgˈzɪst ənd. waɪl ˈmeɪkɪŋ ə geɪm, aɪ hæv ə ˈpɪkʧər ɪn maɪ hɛd əv haʊ aɪ ˌɪˈmæʤən ɪt tɪ bi. ðə ərʤ tɪ ˈæˌkʧuəli bi ˈeɪbəl tɪ pleɪ ɪt ɪz ə juʤ ˈmoʊtəveɪtər. aɪ ˈɔlsoʊ gɪt ə lɔt əv ˌɛnˈʤɔɪmənt frəm ðə ˈprɔˌsɛs. soʊ məʧ fən siɪŋ θɪŋz kəm tɪ laɪf. aɪ faɪnd ðət ˈvɛri ˈsætɪsˌfaɪɪŋ. wət ər jʊr θɔts ɔn ðə ˈɪndi sin ənd wət ɪt həz bɪˈkəm ˈoʊvər ðə læst ˈkəpəl əv jɪrz? bɪn tu məʧ əv ə ˈhərmət ˈoʊvər ðə pæst fju sɪks mənθs ər soʊ! ðə kəmˈjunɪti ɪz greɪt. ˈkɑnstəntli əˈmeɪzd æt haʊ ˈfrɛndli ənd ˈoʊpən ˈpipəl ər. ˈwəndərfəl fər ˈkɑrənt dɪˈvɛləpərz, ənd ˈɔlsoʊ ˌɪmˈpɔrtənt bɪˈkəz ɪt meɪks ɪt ˈiziər fər nu dɪˈvɛləpərz tɪ lərn haʊ tɪ meɪk geɪmz ɪn ðə fərst pleɪs. ɪf ju ər traɪɪŋ tɪ ˈfɪgjər ˈsəmθɪŋ aʊt, ˈsəmˌtaɪmz ˈpipəl pɔɪnt ju æt ˈgugəl. sərʧ ˈɛnʤənz ər ə greɪt ˈrisɔrs, bət aɪ fil ðət nidz tɪ kəm wɪθ ə kˈwɑləˌfaɪər. ˈgugəl ɪz ə ˈtɛrəbəl ˈtiʧər. ˈpipəl, ɔn ðə ˈəðər hænd, kən ˌəndərˈstænd wət ju noʊ ənd noʊ, ənd ˌɪnˈtuɪtɪvli græsp wət ju nid nɛkst ɪn ˈɔrdər tɪ lərn moʊst ˈifɛktɪvli. ˌɪnˈkrisɪŋgli əv ðə əˈpɪnjən ðət ðə bɛst weɪ tɪ pɪk əp ə nu skɪl ɪz frəm əˈnəðər ˈpərsən. ðoʊ ˈiziər ðən ɪt ˈɛvər həz bɪn tɪ meɪk geɪmz, ðə bɑr fər ˈɛntri ɪz stɪl tu haɪ. ju nid tɪ bi ˈtɛknɪkəli ˈmaɪndɪd tɪ meɪk ə geɪm. təˈdeɪ ˈmeɪkɪŋ ə geɪm ɪz ə bɪt laɪk ˈsɪtɪŋ daʊn wɪθ ə ril əv ˈpeɪpər ənd ˈpənʧɪŋ aʊt mˈjuzɪk fər ə pleɪər piˈænə. ə məˈtɪkjələs, ˈtɛknɪkəl tæsk. ˈmeɪkɪŋ geɪmz ʃʊd bi mɔr laɪk pleɪɪŋ ə piˈænə. haʊ haɪ du ju sɛt ðə bɑr fər ˈjɔrsɛlf? ər ju ə pərˈfɛkʃənɪst? dɪz ə geɪm hæv tɪ fɪt təˈgɛðər ˈpərfəktli ˌbiˈfɔr ju riˈlis ɪt? ˈdɛfənətli ə pərˈfɛkʃənɪst, wɪʧ ɪz boʊθ ə gʊd θɪŋ ənd ə bæd θɪŋ. aɪ ˌɛnˈʤɔɪ duɪŋ dɪˈteɪlɪŋ ənd ˈpɑlɪʃ, wɪʧ ɪz ˈdɛfənətli ə pləs. bət ˈsəmˌtaɪmz, baɪ wɪʧ aɪ min ˈjuʒəwəli, aɪ meɪk θɪŋz mɔr ˈkɑmpləˌkeɪtəd ðən ðeɪ nid tɪ bi baɪ duɪŋ θɪŋz ðə hɑrd weɪ. wən weɪ ðɪs əˈfɛkts maɪ ˈprɔˌsɛs ɪz ðət aɪ tɛnd tɪ ə lɔt. fər ˈɪnstəns, wɪn aɪ wɑz ˈmeɪkɪŋ stɑr gɑrd aɪ spɛnt ə lɔt əv taɪm ˈʃəˈfʊlɪŋ əraʊnd ðə ˈɔrdər əv ðə rumz wɪˈθɪn ðə ˈlɛvəlz, pleɪɪŋ wɪθ ðə ˈpeɪsɪŋ. ˈnɛvər goʊɪŋ tɪ meɪk ˈɛniˌθɪŋ ˈpərˌfɪkt, bət jɛs- maɪ ˈhæbəts ˈdɛfənətli əˈfɛkt maɪ əˈbɪləˌti tɪ kəmˈplit ə ˈprɑʤɛkt ənd gɪt ɪt aʊt ðə dɔr. wɪn aɪ kən si soʊ ˈmɛni ˈglɛrɪŋ flɔz ɪn ˈsəmθɪŋ ˈmeɪkɪŋ, hɑrd tɪ du ðə ˈsɛnsəbəl θɪŋ ənd ʤɪst riˈlis ɪt. ˈæftər riˈlis, du ju ˌɛnˈʤɔɪ pleɪɪŋ jʊr oʊn geɪmz (ər dɪz ðə ərʤ tɪ pleɪ drɔp ɔf)? aɪ du ˌɛnˈʤɔɪ pleɪɪŋ θɪŋz wəns kəmˈplitɪd ðɛm. aɪ wɛnt bæk ənd pleɪd θru stɑr gɑrd ˈərliər ðɪs mənθ. ɪt wɑz fən, ənd ˈɔlsoʊ ˈɪntəˌrɛstɪŋ- spɛnt ɪˈnəf taɪm əˈweɪ frəm ɪt ðət ɪt simd ˈɔlˌmoʊst laɪk ˈsəmˌwən ɛls hæd meɪd ɪt. ɪt wɑz ə wɪrd duəl sɛnˈseɪʃən. ju ˈɛnərd stɑr gɑrd ˈɪntu ˌɪndɪˈpɛndənt geɪmz ˈfɛstɪvəl (igf*) ɪn 2010 fər wɪʧ ɪt wɑz ˈnɑməˌneɪtəd ɛz ə ˈfaɪnəlɪst ɪn ðə ˈɛksələns ɪn dɪˈzaɪn ˈkætəˌgɔri. wət ˌɛkspɛkˈteɪʃənz dɪd ju hæv ɪn ˈɛnərɪŋ ɪt ənd wʊd ju hæv ɪt bi ə ˈfaɪnəlɪst fər ˈɛni ˈəðər ˈkætəˌgɔri? aɪ θɪŋk kəmˈpɛrɪŋ geɪmz ɪz ə bɪt laɪk kəmˈpɛrɪŋ kæts ənd ˈkətəlˌfɪʃ. aɪ min, ˈklɪrli boʊθ ˈwəndərfəl, ənd soʊ ˈdɪfərənt ðət ɪt simz ɑd tɪ pɪk ə ˈwɪnər. du tɪ ðə saɪz əv ðə ɪˈvɛnt, aɪ ˈɛnərd wɪˈθaʊt haɪ ˌɛkspɛkˈteɪʃənz. ðɛr ər soʊ ˈmɛni ˈɛntrənts ˈɛvəri jɪr! dɪˈzaɪn simd laɪk ðə bɛst fɪt, bət aɪ ɪkˈspɛktɪŋ ˈɛniˌθɪŋ. dɪd ju rɪˈsiv ˈɛni kənˈstrəktɪv ˈfidˌbæk frəm ðə ˈʤəʤɪz ənd du ju θɪŋk ðə ˈprɔˌsɛs əv ˈʤəʤmənt wɑz fɛr? ɪn ˈʤɛnərəl aɪ fɛlt ðət ðə ˈfidˌbæk aɪ rɪˈsivd wɑz tu brif ənd ˈoʊvərli veɪg. aɪ wɑz ˈrɪli ˈhæpi wɪθ ðə ˈəðər dɪˈzaɪn ˈfaɪnəlɪsts ðət jɪr. aɪ ˈrɪli laɪk ənd ˈmɑnəˌkoʊ, ənd wɪn ɪt keɪm daʊn tɪ ɪt aɪ hæv ˈɛni ˈprɛfərəns əˈbaʊt wɪʧ gɑt ðə əˈwɔrd. aɪ hæd mɪkst ˈfilɪŋz əˈbaʊt səm əv ðə ˈəðər ˈkætəˌgɔriz, ðoʊ. ɪt simd laɪk ðə ˈʤəʤɪŋ ˈprɔˌsɛs wɑz ə bɪt tu ˈrændəm. maɪ meɪn kəmˈpleɪnt wɑz wɪθ ðə nuˈmɛrɪkəl ˈreɪtɪŋ ˈsɪstəm. ðət kaɪnd əv əˈproʊʧ ˈbaɪəsɪz rɪˈzəlts ɪn ˈfeɪvər əv mæs əˈpil ənd ˈkɑmpətɪnsi ˌɪnˈstɛd əv ˈfoʊkɪs ənd ˌɪnspərˈeɪʃən. ˈæˌkʧuəli ˈvɛri ˈhæpi wɪθ ðə ˈprɔˌsɛs ðeɪ juzd ðɪs jɪr. aɪ wɑz glæd tɪ si ðɛm ʃɪft tɪ ə ˈfəziər, əˈproʊʧ wɪθ mɔr ˈɛmfəsɪs ɔn ðə ˈfaɪnəl ˈpænəl əv ˈʤəʤɪz. wət dɪz min tɪ ju ənd wət wʊd ˈwɪnɪŋ min tɪ ju? |
“in the prudish and early aughts, including a scene of a man going down on a woman would earn you an ugly rating. now, thankfully, the has loosened up… a bit.
in the past, a scene like a woman well on her way to achieving have earned the film a big, ugly rating from the relentless at the motion picture association of america (mpaa), a shadowy trade organization long deemed any degree of corporal violence as far more acceptable than female sexual pleasure, and has done more to shame oral sex than michael douglas. but recently, the has loosened the stick in its collective ass and allowed women to go there whilst maintaining an r rating.”
read more from the daily beast here:
cenk (http://www.twitter.com/cenkuygur) and ana kasparian (http://www.twitter.com/anakasparian) of the young turks discuss. did you see ‘gone girl?’ tell us what you think in the comment section below. | ““in* ðə ˈprudɪʃ ənd ˈərli aughts*, ˌɪnˈkludɪŋ ə sin əv ə mæn goʊɪŋ daʊn ɔn ə ˈwʊmən wʊd ərn ju ən ˈəgli ˈreɪtɪŋ. naʊ, ˈθæŋkfəli, ðə həz ˈlusənd up…*… ə bɪt. ɪn ðə pæst, ə sin laɪk ə ˈwʊmən wɛl ɔn hər weɪ tɪ əˈʧivɪŋ hæv ərnd ðə fɪlm ə bɪg, ˈəgli ˈreɪtɪŋ frəm ðə rɪˈlɛntlɪs æt ðə ˈmoʊʃən ˈpɪkʧər əˌsoʊʃiˈeɪʃən əv əˈmɛrɪkə (mpaa*), ə ˈʃædoʊi treɪd ˌɔrgənəˈzeɪʃən lɔŋ dimd ˈɛni dɪˈgri əv ˈkɔrpərəl ˈvaɪələns ɛz fɑr mɔr əkˈsɛptəbəl ðən ˈfiˌmeɪl ˈsɛkʃuəl ˈplɛʒər, ənd həz dən mɔr tɪ ʃeɪm ˈɔrəl sɛks ðən ˈmaɪkəl ˈdəgləs. bət ˈrisəntli, ðə həz ˈlusənd ðə stɪk ɪn ɪts kəˈlɛktɪv æs ənd əˈlaʊd ˈwɪmən tɪ goʊ ðɛr waɪlst meɪnˈteɪnɪŋ ən ɑr rating.”*.” rɛd mɔr frəm ðə ˈdeɪli bist hir: (http://www.twitter.com/cenkuygur*) ənd ˈɑnə kəˈspɛriən (http://www.twitter.com/anakasparian*) əv ðə jəŋ tərks dɪˈskəs. dɪd ju si girl?’*?’ tɛl ˈjuˈɛs wət ju θɪŋk ɪn ðə ˈkɑmɛnt ˈsɛkʃən bɪˈloʊ. |
minnesota’s best hop bomb is hitting store shelves this week. the four packs are certainly not going to be cheap but todd the axe man will warrant its price with heavy doses of and mosaic hops.
this beer was originally brewed in collaboration with in denmark and was named by to honor the six string skills that surly brewer todd haug possesses. for those who know, haug is a cat loving metal guitarist most famous for his shredding ability with the band who have seen a great deal of success within the metal community since their humble beginnings in the mid 1980s.
join surly at tap tonight in minneapolis for the official release which will begin today at 3 p.m. the event features $7 surly cans plus brand-new axe man swag. the beer itself always be available so want to get your hands on some while you can.
cheers! | minnesota’s* bɛst hɑp bɔm ɪz ˈhɪtɪŋ stɔr ʃɛlvz ðɪs wik. ðə fɔr pæks ər ˈsərtənli nɑt goʊɪŋ tɪ bi ʧip bət tɑd ðə æks mæn wɪl ˈwɔrənt ɪts praɪs wɪθ ˈhɛvi ˈdoʊsɪz əv ənd moʊˈzeɪɪk hɑps. ðɪs bɪr wɑz ərˈɪʤənəli brud ɪn kəˌlæbərˈeɪʃən wɪθ ɪn ˈdɛnˌmɑrk ənd wɑz neɪmd baɪ tɪ ˈɑnər ðə sɪks strɪŋ skɪlz ðət ˈsərli bruər tɑd hɔg pəˈzɛsɪz. fər ðoʊz hu noʊ, hɔg ɪz ə kæt ˈləvɪŋ ˈmɛtəl ˌgɪˈtɑrɪst moʊst ˈfeɪməs fər hɪz ʃˈrɛdɪŋ əˈbɪləˌti wɪθ ðə bænd hu hæv sin ə greɪt dil əv səkˈsɛs wɪˈθɪn ðə ˈmɛtəl kəmˈjunɪti sɪns ðɛr ˈhəmbəl bɪˈgɪnɪŋz ɪn ðə mɪd 1980s*. ʤɔɪn ˈsərli æt tæp təˈnaɪt ɪn ˌmɪniˈæpəlɪs fər ðə əˈfɪʃəl riˈlis wɪʧ wɪl bɪˈgɪn təˈdeɪ æt 3 p.m*. ðə ɪˈvɛnt ˈfiʧərz 7 ˈsərli kænz pləs ˈbrændˌnu æks mæn swag*. ðə bɪr ˌɪtˈsɛlf ˈɔlˌweɪz bi əˈveɪləbəl soʊ wɔnt tɪ gɪt jʊr hænz ɔn səm waɪl ju kən. ʧɪrz! |
years from the next presidential election and more than 14 months removed from the 2018 midterms, liberals and leftists are locked in battle over which democratic their support.
everyone involved in this debate is opposed to donald trump and the republican party; everyone favors far more progressive policies than this administration's. one question is whether leftist critiques of black politicians like harris and cory booker are a cover for at least disregard for people of color.
that argument turned especially bitter last week, with major democratic figures accusing the left of singling out harris in particular because of her race and leftists arguing that their concerns were about policy. writ large, this can be seen as a struggle between the bernie sanders and hillary clinton wings of the democratic party: the former emphasizing economic redistribution, the latter speaking more specifically to injustices faced by black people, women, immigrants, and others marginalized under trump, without emphasizing the basic distribution of wealth.
the centrist critiques of the left as white- and stretch back years; today, leftist arguments against prominent democrats of color are often painted as thinly veiled bigotry. the central charge is that socialism reflects the of white men at the expense of women, people of color, immigrants, and queer communities: hence like "bernie bro" and "alt-left."
but the american left's organizing, scholarship, and activism on the ground has historically been led by women and people of color. for more than a century, the "radical left" banner has signified it's also meant radical women's movements, queer political action, and black liberation.
to explore the intersections of race, gender, and the left, i asked four leftists of color—organizers, activists, and elected their work and what it had taught them. here's what they told me:
mariame
mariame is a new york organizer and educator. her work focuses on ending violence, dismantling the prison industrial complex, transformative justice, and supporting youth leadership development.
this is a white supremacist, racist, patriarchal, country. in that context, everything that exists in the world is seen in its center as a white, male, cisgender, straight narrative. everything gets processed through that idea.
it's not surprising to me that when people talk about the left, they're talking about white men who are straight. and i don't see myself as someone who feels like they need to argue that in any sort of way. my energy is better spent doing organizing that i think matters.
but i think it matters that we are radically inclusive in how we think about the left in this country. we have to include race and gender and sexuality and class as markers that facilitate or impede your participation in anything. if you are a poor, black, a lesbian or trans mother, it would be very, very hard for you to spend a whole lot of your time doing organizing. and that is why a lot of people who can afford to spend a lot of their time organizing are people who have more advantages. that's a big thing that we have to get real about. and if we want people to organize and have the ability to organize, we have to shift a lot of things in order to be able to meet people's needs in a way that allows them to do so.
white folks have been organizing forever in this country. white men have been organizing. i don't see this as a new wave in the least. it may be something that some people are talking about in a different way, or more. it's going to take time to see how that plays out and whether there's anything to it. i'm not sure what i think about the way that that's folks who are very loud on social media, what are they organizing for?
brandy brooks
brandy h.m. brooks is a candidate for montgomery county council in the 2018 elections and the leadership development organizer for progressive maryland.
our whole society is still oriented toward being white, male-centric. in progressive circles, we have to make sure that we are acutely aware of that tendency of the society that we live in, and that we are constantly countering it.
i think the way we treat these things is that when a white man says them, they suddenly become important. all of a sudden, economic justice becomes a white, progressive narrative, as opposed to, "hey, we're finally catching on to something that's been going on for decades in these communities!"
in expanding who's talking about economic or environmental justice, one of the dangers is that we forget who's been talking about this. i remember going to an event and hearing someone say, "gosh, it was so surprising to hear communities of color are on the forefront of climate change work."
of course these communities are on the forefront of this! they are the most affected communities, having to fight back against this every day! this isn't some intellectual idea. this is about survival!
we operate out of this place where we assume it's a zero-sum if a policy helps, say, latina women, no one else is going to get anything out of that. that's part of the framework of capitalism. we end up fighting over table scraps as opposed to taking the meal.
i'll speak as an african american woman. the way that people assume my vote has incensed me for a long time. my entire voting life has been the lesser of two evils. that is not an ok argument for me because it's not getting things for our communities. african americans go out and vote in droves for democrats who incarcerate us. there has got to be something beyond that.
if we realized how much power we have, we would flip this table! the power that currently controls both parties is not going to turn over that power to progressives, it's not going to turn over that power to immigrants, it's not going to turn over that power to women of all colors and kinds, without a demand. it's not going to yield itself up without us organizing and requiring that it listens to us.
jovanka beckles
photo by fletcher oakes photography
jovanka beckles is vice mayor of richmond, california, and sits on the richmond city council.
we, now, can't afford to be moderate, i'm afraid. the opposite approach to the radical right has to be a radical left. we can't sit in the middle. the right is not sitting in the middle. we have to be further to the left than we are, because we have to create radical policies
we can no longer compromise on the ways that the criminal justice system unfairly targets people of color. we can no longer compromise around our healthcare. these are things that we have to take radical positions on if we're going to turn around our society around to make it more equitable.
we're not talking about things that are impossible to achieve. it's absolutely possible to achieve, through people power, for example, healthy, fully functioning, fully funded schools. if that's considered radical, then that's what that is.
when you think about economic and environmental justice, it isn't a white issue. look at richmond, where we have a big oil industry polluting our air, creating a high asthma rate. you don't see these industries established in affluent communities. they're established in communities of color.
so this is absolutely an issue that affects communities of color far more. when we are fighting for economic and environmental justice, we are fighting for people everywhere. when we pass rent control, that has everything to do with economic justice. by creating policies that level that playing field, we're beginning to see thriving, healthier communities.
we see that movement being led by women, and in particular women of color. look at the leadership of the black lives matter movement: women of color. look at the socialist movement: it's young people and people of color.
i'm a black woman, i'm latin american, i'm queer, i'm a mother and grandmother. i'm proud to be one of those women of color who is part of this movement for justice.
zenaida huerta
zenaida huerta, 19, is a healthcare activist, california democratic party delegate, and student at claremont mckenna college. she was one of the youngest democratic national convention delegates in the nation in 2016.
i came from an organizing family: my father was also a dnc delegate, and my grandfather organized for the united farm workers. people who are driving social movements are, historically, the radicals. you don't have anyone who says, "oh, i'm a radical centrist" striving for liberation. it's false to say everybody who supported bernie sanders is, say, an feminist, but people seem more willing to be educated on these issues of racism and sexism in the progressive wing of the movement than in the center.
the california democratic party is very polarized over the chair race between eric bauman and kimberly ellis, a black progressive woman. her campaign showed me a lot of the in the party: white women called her damaged who was trying to make money, an evil, divisive, and hateful person.
that revealed, for me, how leftist women of outrage is often by the establishment, and how outrage is often justified. i found that representative of the whole dynamic of the party. i've experienced that myself.
identity politics is important. it's important to get black and brown representation in the community. but they're that for political gain. when [the democratic party] appoints to parity committees, and to different leadership positions, they appoint who are often white members of the establishment, and who aren't going to challenge the status opposed to black and brown youth who are not complacent, and who are actively challenging the status quo. because someone who's actively challenging the status quo is going to be causing trouble for that establishment.
of people in the democratic establishment, i think harris has one of the least questionable records. but i think to say that questioning her stances on issues that actively perpetuated criminalization of black and brown say that's racist and sexist is doublespeak. we should question everyone. challenge bernie sanders's record. challenge every democrat's record. the democratic party's in internal battle right now, and they're doing anything they can to silence dissent.
these interviews have been edited for length and clarity. | jɪrz frəm ðə nɛkst ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən ənd mɔr ðən 14 mənθs riˈmuvd frəm ðə 2018 ˈmɪdˌtərmz, ˈlɪˌbərəlz ənd ˈlɛftɪsts ər lɑkt ɪn ˈbætəl ˈoʊvər wɪʧ ˌdɛməˈkrætɪk ðɛr səˈpɔrt. ˈɛvriˌwən ˌɪnˈvɑlvd ɪn ðɪs dəˈbeɪt ɪz əˈpoʊzd tɪ ˈdɑnəld trəmp ənd ðə rɪˈpəblɪkən ˈpɑrti; ˈɛvriˌwən ˈfeɪvərz fɑr mɔr prəˈgrɛsɪv ˈpɑləsiz ðən ðɪs ædˌmɪnɪˈstreɪʃənz. wən kˈwɛʃən ɪz ˈwɛðər ˈlɛftɪst krɪˈtiks əv blæk ˌpɑləˈtɪʃənz laɪk ˈhɛrɪs ənd ˈkɔˌri ˈbʊkər ər ə ˈkəvər fər æt list ˌdɪsrɪˈgɑrd fər ˈpipəl əv ˈkələr. ðət ˈɑrgjəmənt tərnd əˈspɛʃəli ˈbɪtər læst wik, wɪθ ˈmeɪʤər ˌdɛməˈkrætɪk ˈfɪgjərz əˈkjuzɪŋ ðə lɛft əv ˈsɪŋgəlɪŋ aʊt ˈhɛrɪs ɪn ˌpɑˈtɪkjələr bɪˈkəz əv hər reɪs ənd ˈlɛftɪsts ˈɑrgjuɪŋ ðət ðɛr kənˈsərnz wər əˈbaʊt ˈpɑləsi. rɪt lɑrʤ, ðɪs kən bi sin ɛz ə ˈstrəgəl bɪtˈwin ðə ˈbərni ˈsændərz ənd ˈhɪləri ˈklɪntən wɪŋz əv ðə ˌdɛməˈkrætɪk ˈpɑrti: ðə ˈfɔrmər ˈɛmfəˌsaɪzɪŋ ˌɛkəˈnɑmɪk ˌridɪstrəˈbjuʃən, ðə ˈlætər ˈspikɪŋ mɔr spəˈsɪfɪkli tɪ ˌɪnˈʤəstəsɪz feɪst baɪ blæk ˈpipəl, ˈwɪmən, ˈɪməgrənts, ənd ˈəðərz ˈmɑrʤənəˌlaɪzd ˈəndər trəmp, wɪˈθaʊt ˈɛmfəˌsaɪzɪŋ ðə ˈbeɪsɪk ˌdɪstrəˈbjuʃən əv wɛlθ. ðə ˈsɛntrɪst krɪˈtiks əv ðə lɛft ɛz waɪt- ənd strɛʧ bæk jɪrz; təˈdeɪ, ˈlɛftɪst ˈɑrgjəmənts əˈgɛnst ˈprɑmənənt ˈdɛməˌkræts əv ˈkələr ər ˈɔfən ˈpeɪnɪd ɛz ˈθɪnli veɪld ˈbɪgətri. ðə ˈsɛntrəl ʧɑrʤ ɪz ðət ˈsoʊʃəˌlɪzəm rɪˈflɛkts ðə əv waɪt mɛn æt ðə ɪkˈspɛns əv ˈwɪmən, ˈpipəl əv ˈkələr, ˈɪməgrənts, ənd kwɪr kəmˈjunɪtiz: hɛns laɪk "ˈbərni broʊ" ənd "alt-left*." bət ðə əˈmɛrɪkən lɛfts ˈɔrgəˌnaɪzɪŋ, ˈskɑlərˌʃɪp, ənd ˈæktɪˌvɪzəm ɔn ðə graʊnd həz hɪˈstɔrɪkəli bɪn lɛd baɪ ˈwɪmən ənd ˈpipəl əv ˈkələr. fər mɔr ðən ə ˈsɛnʧəri, ðə "ˈrædɪkəl lɛft" ˈbænər həz ˈsɪgnəˌfaɪd ɪts ˈɔlsoʊ mɛnt ˈrædɪkəl ˈwɪmənz ˈmuvmənts, kwɪr pəˈlɪtɪkəl ˈækʃən, ənd blæk ˌlɪˌbərˈeɪʃən. tɪ ɪkˈsplɔr ðə ˌɪntərˈsɛkʃənz əv reɪs, ˈʤɛndər, ənd ðə lɛft, aɪ æst fɔr ˈlɛftɪsts əv color—organizers*, ˈæktɪvɪsts, ənd ɪˈlɛktɪd ðɛr wərk ənd wət ɪt hæd tɔt ðɛm. hɪrz wət ðeɪ toʊld mi: ɪz ə nu jɔrk ˈɔrgəˌnaɪzər ənd ˈɛʤəˌkeɪtər. hər wərk ˈfoʊkɪsɪz ɔn ˈɛndɪŋ ˈvaɪələns, ˌdɪsˈmæntlɪŋ ðə ˈprɪzən ˌɪnˈdəstriəl ˈkɑmplɛks, ˌtrænsˈfɔrmɑˌtɪv ˈʤəstɪs, ənd səˈpɔrtɪŋ juθ ˈlidərˌʃɪp dɪˈvɛləpmənt. ðɪs ɪz ə waɪt suˈprɛməsɪst, ˈreɪsɪst, ˌpeɪtriˈɑrkəl, ˈkəntri. ɪn ðət ˈkɑntɛkst, ˈɛvriˌθɪŋ ðət ɪgˈzɪsts ɪn ðə wərld ɪz sin ɪn ɪts ˈsɛnər ɛz ə waɪt, meɪl, cisgender*, streɪt ˈnɛrətɪv. ˈɛvriˌθɪŋ gɪts ˈprɑsɛst θru ðət aɪˈdiə. ɪts nɑt səˈpraɪzɪŋ tɪ mi ðət wɪn ˈpipəl tɔk əˈbaʊt ðə lɛft, ðɛr ˈtɔkɪŋ əˈbaʊt waɪt mɛn hu ər streɪt. ənd aɪ doʊnt si ˌmaɪˈsɛlf ɛz ˈsəmˌwən hu filz laɪk ðeɪ nid tɪ ˈɑrgju ðət ɪn ˈɛni sɔrt əv weɪ. maɪ ˈɛnərʤi ɪz ˈbɛtər spɛnt duɪŋ ˈɔrgəˌnaɪzɪŋ ðət aɪ θɪŋk ˈmætərz. bət aɪ θɪŋk ɪt ˈmætərz ðət wi ər ˈrædɪkli ˌɪnˈklusɪv ɪn haʊ wi θɪŋk əˈbaʊt ðə lɛft ɪn ðɪs ˈkəntri. wi hæv tɪ ˌɪnˈklud reɪs ənd ˈʤɛndər ənd ˌsɛkʃuˈæləti ənd klæs ɛz ˈmɑrkərz ðət fəˈsɪləˌteɪt ər ˌɪmˈpid jʊr pɑrˌtɪsəˈpeɪʃən ɪn ˈɛniˌθɪŋ. ɪf ju ər ə pur, blæk, ə ˈlɛzbiən ər trænz ˈməðər, ɪt wʊd bi ˈvɛri, ˈvɛri hɑrd fər ju tɪ spɛnd ə hoʊl lɔt əv jʊr taɪm duɪŋ ˈɔrgəˌnaɪzɪŋ. ənd ðət ɪz waɪ ə lɔt əv ˈpipəl hu kən əˈfɔrd tɪ spɛnd ə lɔt əv ðɛr taɪm ˈɔrgəˌnaɪzɪŋ ər ˈpipəl hu hæv mɔr ædˈvæntɪʤɪz. ðæts ə bɪg θɪŋ ðət wi hæv tɪ gɪt ril əˈbaʊt. ənd ɪf wi wɔnt ˈpipəl tɪ ˈɔrgəˌnaɪz ənd hæv ðə əˈbɪləˌti tɪ ˈɔrgəˌnaɪz, wi hæv tɪ ʃɪft ə lɔt əv θɪŋz ɪn ˈɔrdər tɪ bi ˈeɪbəl tɪ mit ˈpipəlz nidz ɪn ə weɪ ðət əˈlaʊz ðɛm tɪ du soʊ. waɪt foʊks hæv bɪn ˈɔrgəˌnaɪzɪŋ fərˈɛvər ɪn ðɪs ˈkəntri. waɪt mɛn hæv bɪn ˈɔrgəˌnaɪzɪŋ. aɪ doʊnt si ðɪs ɛz ə nu weɪv ɪn ðə list. ɪt meɪ bi ˈsəmθɪŋ ðət səm ˈpipəl ər ˈtɔkɪŋ əˈbaʊt ɪn ə ˈdɪfərənt weɪ, ər mɔr. ɪts goʊɪŋ tɪ teɪk taɪm tɪ si haʊ ðət pleɪz aʊt ənd ˈwɛðər ðɛrz ˈɛniˌθɪŋ tɪ ɪt. əm nɑt ʃʊr wət aɪ θɪŋk əˈbaʊt ðə weɪ ðət ðæts foʊks hu ər ˈvɛri laʊd ɔn ˈsoʊʃəl ˈmidiə, wət ər ðeɪ ˈɔrgəˌnaɪzɪŋ fər? ˈbrændi brʊks ˈbrændi h.m*. brʊks ɪz ə ˈkænədɪt fər mɑntˈgəmri ˈkaʊnti ˈkaʊnsəl ɪn ðə 2018 ɪˈlɛkʃənz ənd ðə ˈlidərˌʃɪp dɪˈvɛləpmənt ˈɔrgəˌnaɪzər fər prəˈgrɛsɪv ˈmɛrələnd. ɑr hoʊl soʊˈsaɪɪti ɪz stɪl ˈɔriˌɛntɪd təˈwɔrd biɪŋ waɪt, male-centric*. ɪn prəˈgrɛsɪv ˈsərkəlz, wi hæv tɪ meɪk ʃʊr ðət wi ər əˈkjutli əˈwɛr əv ðət ˈtɛndənsi əv ðə soʊˈsaɪɪti ðət wi lɪv ɪn, ənd ðət wi ər ˈkɑnstəntli ˈkaʊnərɪŋ ɪt. aɪ θɪŋk ðə weɪ wi trit ðiz θɪŋz ɪz ðət wɪn ə waɪt mæn sɪz ðɛm, ðeɪ ˈsədənli bɪˈkəm ˌɪmˈpɔrtənt. ɔl əv ə ˈsədən, ˌɛkəˈnɑmɪk ˈʤəstɪs bɪˈkəmz ə waɪt, prəˈgrɛsɪv ˈnɛrətɪv, ɛz əˈpoʊzd tɪ, "heɪ, wɪr ˈfaɪnəli ˈkæʧɪŋ ɔn tɪ ˈsəmθɪŋ ðæts bɪn goʊɪŋ ɔn fər ˈdɛkeɪdz ɪn ðiz kəmˈjunɪtiz!" ɪn ɪkˈspændɪŋ huz ˈtɔkɪŋ əˈbaʊt ˌɛkəˈnɑmɪk ər ɪnˌvaɪrənˈmɛnəl ˈʤəstɪs, wən əv ðə ˈdeɪnʤərz ɪz ðət wi fərˈgɛt huz bɪn ˈtɔkɪŋ əˈbaʊt ðɪs. aɪ rɪˈmɛmbər goʊɪŋ tɪ ən ɪˈvɛnt ənd ˈhirɪŋ ˈsəmˌwən seɪ, "gɑʃ, ɪt wɑz soʊ səˈpraɪzɪŋ tɪ hir kəmˈjunɪtiz əv ˈkələr ər ɔn ðə ˈfɔrˌfrənt əv ˈklaɪmɪt ʧeɪnʤ wərk." əv kɔrs ðiz kəmˈjunɪtiz ər ɔn ðə ˈfɔrˌfrənt əv ðɪs! ðeɪ ər ðə moʊst əˈfɛktɪd kəmˈjunɪtiz, ˈhævɪŋ tɪ faɪt bæk əˈgɛnst ðɪs ˈɛvəri deɪ! ðɪs ˈɪzənt səm ˌɪnəˈlɛkʧuəl aɪˈdiə. ðɪs ɪz əˈbaʊt sərˈvaɪvəl! wi ˈɔpərˌeɪt aʊt əv ðɪs pleɪs wɛr wi əˈsum ɪts ə ˈziroʊˌsəm ɪf ə ˈpɑləsi hɛlps, seɪ, ləˈtinə ˈwɪmən, noʊ wən ɛls ɪz goʊɪŋ tɪ gɪt ˈɛniˌθɪŋ aʊt əv ðət. ðæts pɑrt əv ðə ˈfreɪmˌwərk əv ˈkæpɪtəˌlɪzəm. wi ɛnd əp ˈfaɪtɪŋ ˈoʊvər ˈteɪbəl skræps ɛz əˈpoʊzd tɪ ˈteɪkɪŋ ðə mil. aɪl spik ɛz ən ˈæfrɪkɑn əˈmɛrɪkən ˈwʊmən. ðə weɪ ðət ˈpipəl əˈsum maɪ voʊt həz ˈɪnˌsɛnst mi fər ə lɔŋ taɪm. maɪ ɪnˈtaɪər ˈvoʊtɪŋ laɪf həz bɪn ðə ˈlɛsər əv tu ˈivəlz. ðət ɪz nɑt ən ˈoʊˈkeɪ ˈɑrgjəmənt fər mi bɪˈkəz ɪts nɑt ˈgɪtɪŋ θɪŋz fər ɑr kəmˈjunɪtiz. ˈæfrɪkɑn əˈmɛrɪkənz goʊ aʊt ənd voʊt ɪn droʊvz fər ˈdɛməˌkræts hu ˌɪnˈkɑrsərˌeɪt ˈjuˈɛs. ðɛr həz gɑt tɪ bi ˈsəmθɪŋ bɪɔnd ðət. ɪf wi ˈriəˌlaɪzd haʊ məʧ paʊər wi hæv, wi wʊd flɪp ðɪs ˈteɪbəl! ðə paʊər ðət ˈkərəntli kənˈtroʊlz boʊθ ˈpɑrtiz ɪz nɑt goʊɪŋ tɪ tərn ˈoʊvər ðət paʊər tɪ prɑˈgrɛsɪvz, ɪts nɑt goʊɪŋ tɪ tərn ˈoʊvər ðət paʊər tɪ ˈɪməgrənts, ɪts nɑt goʊɪŋ tɪ tərn ˈoʊvər ðət paʊər tɪ ˈwɪmən əv ɔl ˈkələrz ənd kaɪnz, wɪˈθaʊt ə dɪˈmænd. ɪts nɑt goʊɪŋ tɪ jild ˌɪtˈsɛlf əp wɪˈθaʊt ˈjuˈɛs ˈɔrgəˌnaɪzɪŋ ənd rikˈwaɪərɪŋ ðət ɪt ˈlɪsənz tɪ ˈjuˈɛs. ˈbɛkəlz ˈfoʊˌtoʊ baɪ ˈflɛʧər oʊks fəˈtɑgrəfi ˈbɛkəlz ɪz vaɪs meɪər əv ˈrɪʧmənd, ˌkæləˈfɔrnjə, ənd sɪts ɔn ðə ˈrɪʧmənd ˈsɪti ˈkaʊnsəl. wi, naʊ, kænt əˈfɔrd tɪ bi ˈmɑdərˌeɪt, əm əˈfreɪd. ðə ˈɑpəzɪt əˈproʊʧ tɪ ðə ˈrædɪkəl raɪt həz tɪ bi ə ˈrædɪkəl lɛft. wi kænt sɪt ɪn ðə ˈmɪdəl. ðə raɪt ɪz nɑt ˈsɪtɪŋ ɪn ðə ˈmɪdəl. wi hæv tɪ bi ˈfərðər tɪ ðə lɛft ðən wi ər, bɪˈkəz wi hæv tɪ kriˈeɪt ˈrædɪkəl ˈpɑləsiz wi kən noʊ ˈlɔŋgər ˈkɑmprəˌmaɪz ɔn ðə weɪz ðət ðə ˈkrɪmənəl ˈʤəstɪs ˈsɪstəm ənˈfɛrli ˈtɑrgəts ˈpipəl əv ˈkələr. wi kən noʊ ˈlɔŋgər ˈkɑmprəˌmaɪz əraʊnd ɑr ˈhɛlθˌkɛr. ðiz ər θɪŋz ðət wi hæv tɪ teɪk ˈrædɪkəl pəˈzɪʃənz ɔn ɪf wɪr goʊɪŋ tɪ tərn əraʊnd ɑr soʊˈsaɪɪti əraʊnd tɪ meɪk ɪt mɔr ˈɛkwɪtəbəl. wɪr nɑt ˈtɔkɪŋ əˈbaʊt θɪŋz ðət ər ˌɪmˈpɑsəbəl tɪ əˈʧiv. ɪts ˌæbsəˈlutli ˈpɑsəbəl tɪ əˈʧiv, θru ˈpipəl paʊər, fər ɪgˈzæmpəl, ˈhɛlθi, ˈfʊli ˈfəŋkʃənɪŋ, ˈfʊli ˈfəndɪd skulz. ɪf ðæts kənˈsɪdərd ˈrædɪkəl, ðɛn ðæts wət ðət ɪz. wɪn ju θɪŋk əˈbaʊt ˌɛkəˈnɑmɪk ənd ɪnˌvaɪrənˈmɛnəl ˈʤəstɪs, ɪt ˈɪzənt ə waɪt ˈɪʃu. lʊk æt ˈrɪʧmənd, wɛr wi hæv ə bɪg ɔɪl ˈɪndəstri pəˈlutɪŋ ɑr ɛr, kriˈeɪtɪŋ ə haɪ ˈæzmə reɪt. ju doʊnt si ðiz ˈɪndəstriz ɪˈstæblɪʃt ɪn ˈæfluənt kəmˈjunɪtiz. ðɛr ɪˈstæblɪʃt ɪn kəmˈjunɪtiz əv ˈkələr. soʊ ðɪs ɪz ˌæbsəˈlutli ən ˈɪʃu ðət əˈfɛkts kəmˈjunɪtiz əv ˈkələr fɑr mɔr. wɪn wi ər ˈfaɪtɪŋ fər ˌɛkəˈnɑmɪk ənd ɪnˌvaɪrənˈmɛnəl ˈʤəstɪs, wi ər ˈfaɪtɪŋ fər ˈpipəl ˈɛvriˌwɛr. wɪn wi pæs rɛnt kənˈtroʊl, ðət həz ˈɛvriˌθɪŋ tɪ du wɪθ ˌɛkəˈnɑmɪk ˈʤəstɪs. baɪ kriˈeɪtɪŋ ˈpɑləsiz ðət ˈlɛvəl ðət pleɪɪŋ fild, wɪr bɪˈgɪnɪŋ tɪ si θˈraɪvɪŋ, ˈhɛlθiər kəmˈjunɪtiz. wi si ðət ˈmuvmənt biɪŋ lɛd baɪ ˈwɪmən, ənd ɪn ˌpɑˈtɪkjələr ˈwɪmən əv ˈkələr. lʊk æt ðə ˈlidərˌʃɪp əv ðə blæk lɪvz ˈmætər ˈmuvmənt: ˈwɪmən əv ˈkələr. lʊk æt ðə ˈsoʊʃəlɪst ˈmuvmənt: ɪts jəŋ ˈpipəl ənd ˈpipəl əv ˈkələr. əm ə blæk ˈwʊmən, əm ˈlætən əˈmɛrɪkən, əm kwɪr, əm ə ˈməðər ənd ˈgrændˌməðər. əm praʊd tɪ bi wən əv ðoʊz ˈwɪmən əv ˈkələr hu ɪz pɑrt əv ðɪs ˈmuvmənt fər ˈʤəstɪs. zɪˈneɪdə ˈwɛrˌtə zɪˈneɪdə ˈwɛrˌtə, 19 ɪz ə ˈhɛlθˌkɛr ˈæktɪvɪst, ˌkæləˈfɔrnjə ˌdɛməˈkrætɪk ˈpɑrti ˈdɛləˌgeɪt, ənd ˈstudənt æt ˈklɛrˌmɑnt məˈkɛnə ˈkɑlɪʤ. ʃi wɑz wən əv ðə ˈjəŋgəst ˌdɛməˈkrætɪk ˈnæʃənəl kənˈvɛnʃən ˈdɛləˌgeɪts ɪn ðə ˈneɪʃən ɪn 2016 aɪ keɪm frəm ən ˈɔrgəˌnaɪzɪŋ ˈfæməli: maɪ ˈfɑðər wɑz ˈɔlsoʊ ə ˈdiˌɛnˌsi ˈdɛləˌgeɪt, ənd maɪ ˈgrænˌfɑðər ˈɔrgəˌnaɪzd fər ðə juˈnaɪtɪd fɑrm ˈwərkərz. ˈpipəl hu ər ˈdraɪvɪŋ ˈsoʊʃəl ˈmuvmənts ər, hɪˈstɔrɪkəli, ðə ˈrædɪkəlz. ju doʊnt hæv ˈɛniˌwən hu sɪz, "oʊ, əm ə ˈrædɪkəl ˈsɛntrɪst" ˈstraɪvɪŋ fər ˌlɪˌbərˈeɪʃən. ɪts fɔls tɪ seɪ ˈɛvriˌbɑdi hu səˈpɔrtɪd ˈbərni ˈsændərz ɪz, seɪ, ən ˈfɛmənɪst, bət ˈpipəl sim mɔr ˈwɪlɪŋ tɪ bi ˈɛʤəˌkeɪtɪd ɔn ðiz ˈɪʃuz əv ˈreɪˌsɪzəm ənd ˈsɛksɪzəm ɪn ðə prəˈgrɛsɪv wɪŋ əv ðə ˈmuvmənt ðən ɪn ðə ˈsɛnər. ðə ˌkæləˈfɔrnjə ˌdɛməˈkrætɪk ˈpɑrti ɪz ˈvɛri ˈpoʊlərˌaɪzd ˈoʊvər ðə ʧɛr reɪs bɪtˈwin ˈɛrɪk ˈbaʊmən ənd ˈkɪmbərli ˈɛlɪs, ə blæk prəˈgrɛsɪv ˈwʊmən. hər kæmˈpeɪn ʃoʊd mi ə lɔt əv ðə ɪn ðə ˈpɑrti: waɪt ˈwɪmən kɔld hər ˈdæmɪʤd hu wɑz traɪɪŋ tɪ meɪk ˈməni, ən ˈivəl, dɪˈvaɪsɪv, ənd ˈheɪtfəl ˈpərsən. ðət rɪˈvild, fər mi, haʊ ˈlɛftɪst ˈwɪmən əv ˈaʊˌtreɪʤ ɪz ˈɔfən baɪ ðə ɪˈstæblɪʃmənt, ənd haʊ ˈaʊˌtreɪʤ ɪz ˈɔfən ˈʤəstəˌfaɪd. aɪ faʊnd ðət ˌrɛprɪˈzɛnətɪv əv ðə hoʊl daɪˈnæmɪk əv ðə ˈpɑrti. aɪv ɪkˈspɪriənst ðət ˌmaɪˈsɛlf. aɪˈdɛntəˌti ˈpɑləˌtɪks ɪz ˌɪmˈpɔrtənt. ɪts ˌɪmˈpɔrtənt tɪ gɪt blæk ənd braʊn ˌrɛprəzɛnˈteɪʃən ɪn ðə kəmˈjunɪti. bət ðɛr ðət fər pəˈlɪtɪkəl geɪn. wɪn [ðə ˌdɛməˈkrætɪk ˈpɑrti] əˈpɔɪnts tɪ ˈpɛrəti kəˈmɪtiz, ənd tɪ ˈdɪfərənt ˈlidərˌʃɪp pəˈzɪʃənz, ðeɪ əˈpɔɪnt hu ər ˈɔfən waɪt ˈmɛmbərz əv ðə ɪˈstæblɪʃmənt, ənd hu ˈɑrənt goʊɪŋ tɪ ˈʧælənʤ ðə ˈstætəs əˈpoʊzd tɪ blæk ənd braʊn juθ hu ər nɑt kəmˈpleɪsənt, ənd hu ər ˈæktɪvli ˈʧælənʤɪŋ ðə ˈstætəs kwoʊ. bɪˈkəz ˈsəmˌwən huz ˈæktɪvli ˈʧælənʤɪŋ ðə ˈstætəs kwoʊ ɪz goʊɪŋ tɪ bi ˈkɔzɪŋ ˈtrəbəl fər ðət ɪˈstæblɪʃmənt. əv ˈpipəl ɪn ðə ˌdɛməˈkrætɪk ɪˈstæblɪʃmənt, aɪ θɪŋk ˈhɛrɪs həz wən əv ðə list kˈwɛsʧənəbəl ˈrɛkərdz. bət aɪ θɪŋk tɪ seɪ ðət kˈwɛsʧənɪŋ hər ˈstænsɪz ɔn ˈɪʃuz ðət ˈæktɪvli pərˈpɛʧəˌweɪtɪd ˌkrɪmənələˈzeɪʃən əv blæk ənd braʊn seɪ ðæts ˈreɪsɪst ənd ˈsɛksɪst ɪz ˈdəbəlˌspik. wi ʃʊd kˈwɛʃən ˈɛvriˌwən. ˈʧælənʤ ˈbərni ˈsændərzɪz ˈrɛkərd. ˈʧælənʤ ˈɛvəri ˈdɛməˌkræts ˈrɛkərd. ðə ˌdɛməˈkrætɪk ˈpɑrtiz ɪn ˌɪnˈtərnəl ˈbætəl raɪt naʊ, ənd ðɛr duɪŋ ˈɛniˌθɪŋ ðeɪ kən tɪ ˈsaɪləns dɪˈsɛnt. ðiz ˈɪntərvˌjuz hæv bɪn ˈɛdɪtɪd fər lɛŋθ ənd ˈklɛrɪti. |
eschker the only person doing scholarly work on the ramifications of cannabis legalization. students and professors across the country are looking beyond the question of “should cannabis be legal?” toward the more complex economic, sociological, and legal questions raised by legalizing the drug. these classes have become a place for students to explore the uncertainties created by the unfolding cannabis story: for example, how to draft legislation for a legal industry, what can be learned from alcohol prohibition, and how affect communities.
finding answers to these questions is becoming increasingly urgent, as more states are lifting restrictions on cannabis use. residents in colorado and washington voted in favor of legalization in november 2012. on new day 2014, made their first purchases. in addition, 20 states and washington, d.c. have laws that permit cannabis for medical use.
before and after legalization attempt, medical cannabis shops popped up all over the state, particularly in los angeles. their rapid growth led to a citywide backlash to shut down some of the storefronts. in this debate, steve graves, a professor of geography at california state university, northridge, saw an opportunity.
“i recognized this was a really rich visual display created on the landscape. and i was worried that if they all disappeared and they all have to go out of business that there might not be a visual record of what they looked like,” said graves.
so graves came up with a creative way to get his students, who live all over the greater los angeles area, to help document the changing landscape: if they spotted a dispensary while driving or walking, they could snap a picture for a little extra credit.
he received a sizeable pile of images from his students and matched them with a dispensary database created by the los angeles times. graves eventually noticed patterns. for example,, like casinos and liquor stores, lined up along a border of a municipality where they were banned.
“[students] said, ‘oh my god i realize there were so many until i started actively looking for them,’” graves said. “students dig that. and then they say, ‘guess what else i noticed?’ which excites me as a teacher.”
many of the stayed open, leading to a debate about their effect on communities. bridget, an associate professor at luskin school of public affairs, had examined the effect of liquor stores on neighborhoods and thought a similar approach could be taken to. in late 2011, was approved by the national institute on drug abuse for five years’ worth of research into the impact of on their communities.
her students are visiting and conducting operational surveys, which ask about the condition of the dispensary, the patients that enter, and the types of products the stores sell. at the halfway point, about 10 students have worked with, and they have had different reactions to working on a still controversial subject. | eschker* ðə ˈoʊnli ˈpərsən duɪŋ ˈskɑlərli wərk ɔn ðə ˌræməfəˈkeɪʃənz əv ˈkænəbəs ˌligələˈzeɪʃən. ˈstudənts ənd prəˈfɛsərz əˈkrɔs ðə ˈkəntri ər ˈlʊkɪŋ bɪɔnd ðə kˈwɛʃən əv ˈkænəbəs bi legal?”*?” təˈwɔrd ðə mɔr ˈkɑmplɛks ˌɛkəˈnɑmɪk, ˌsoʊsiəˈlɑʤɪkəl, ənd ˈligəl kˈwɛsʧənz reɪzd baɪ ˈligəˌlaɪzɪŋ ðə drəg. ðiz ˈklæsɪz hæv bɪˈkəm ə pleɪs fər ˈstudənts tɪ ɪkˈsplɔr ðə ənˈsərtəntiz kriˈeɪtɪd baɪ ðə ənˈfoʊldɪŋ ˈkænəbəs ˈstɔri: fər ɪgˈzæmpəl, haʊ tɪ dræft ˌlɛʤəsˈleɪʃən fər ə ˈligəl ˈɪndəstri, wət kən bi ˈlərnɪd frəm ˈælkəˌhɑl ˌproʊəˈbɪʃən, ənd haʊ əˈfɛkt kəmˈjunɪtiz. ˈfaɪndɪŋ ˈænsərz tɪ ðiz kˈwɛsʧənz ɪz bɪˈkəmɪŋ ˌɪnˈkrisɪŋgli ˈərʤənt, ɛz mɔr steɪts ər ˈlɪftɪŋ riˈstrɪkʃənz ɔn ˈkænəbəs juz. ˈrɛzɪdənts ɪn ˌkɑlərˈɑdoʊ ənd ˈwɔʃɪŋtən ˈvoʊtɪd ɪn ˈfeɪvər əv ˌligələˈzeɪʃən ɪn noʊˈvɛmbər 2012 ɔn nu deɪ 2014 meɪd ðɛr fərst ˈpərʧəsɪz. ɪn əˈdɪʃən, 20 steɪts ənd ˈwɔʃɪŋtən, d.c*. hæv lɔz ðət ˈpərˌmɪt ˈkænəbəs fər ˈmɛdɪkəl juz. ˌbiˈfɔr ənd ˈæftər ˌligələˈzeɪʃən əˈtɛmpt, ˈmɛdɪkəl ˈkænəbəs ʃɑps pɑpt əp ɔl ˈoʊvər ðə steɪt, ˌpɑrˈtɪkjələrli ɪn lɔs ˈænʤəlɪs. ðɛr ˈræpɪd groʊθ lɛd tɪ ə ˈsɪtiˌwaɪd ˈbæˌklæʃ tɪ ʃət daʊn səm əv ðə ˈstɔrˌfrɑnts. ɪn ðɪs dəˈbeɪt, stiv greɪvz, ə prəˈfɛsər əv ʤiˈɑgrəfi æt ˌkæləˈfɔrnjə steɪt ˌjunəˈvərsəti, ˈnɔrθˌrɪʤ, sɔ ən ˌɑpərˈtunəti. ˈrɛkəgˌnaɪzd ðɪs wɑz ə ˈrɪli rɪʧ ˈvɪʒəwəl dɪˈspleɪ kriˈeɪtɪd ɔn ðə ˈlænˌskeɪp. ənd aɪ wɑz ˈwərid ðət ɪf ðeɪ ɔl ˌdɪsəˈpɪrd ənd ðeɪ ɔl hæv tɪ goʊ aʊt əv ˈbɪznɪs ðət ðɛr maɪt nɑt bi ə ˈvɪʒəwəl ˈrɛkərd əv wət ðeɪ lʊkt like,”*,” sɛd greɪvz. soʊ greɪvz keɪm əp wɪθ ə kriˈeɪtɪv weɪ tɪ gɪt hɪz ˈstudənts, hu lɪv ɔl ˈoʊvər ðə ˈgreɪtər lɔs ˈænʤəlɪs ˈɛriə, tɪ hɛlp ˈdɑkjəmɛnt ðə ˈʧeɪnʤɪŋ ˈlænˌskeɪp: ɪf ðeɪ ˈspɑtɪd ə ˈdɪspɛnˌsɛri waɪl ˈdraɪvɪŋ ər ˈwɔkɪŋ, ðeɪ kʊd snæp ə ˈpɪkʧər fər ə ˈlɪtəl ˈɛkstrə ˈkrɛdɪt. hi rɪˈsivd ə ˈsaɪzəbəl paɪl əv ˈɪmɪʤɪz frəm hɪz ˈstudənts ənd mæʧt ðɛm wɪθ ə ˈdɪspɛnˌsɛri ˈdætəˌbeɪs kriˈeɪtɪd baɪ ðə lɔs ˈænʤəlɪs taɪmz. greɪvz ɪˈvɛnʧəwəli ˈnoʊtɪst ˈpætərnz. fər ɪgˈzæmpəl,, laɪk kəˈsinoʊz ənd ˈlɪkər stɔrz, laɪnd əp əˈlɔŋ ə ˈbɔrdər əv ə mˌjunɪsəˈpæləti wɛr ðeɪ wər bænd. “[“[students*] sɛd, maɪ gɑd aɪ ˈriəˌlaɪz ðɛr wər soʊ ˈmɛni ənˈtɪl aɪ ˈstɑrtɪd ˈæktɪvli ˈlʊkɪŋ fər them,’”*,’” greɪvz sɛd. dɪg ðət. ənd ðɛn ðeɪ seɪ, wət ɛls aɪ noticed?’*?’ wɪʧ ɪkˈsaɪts mi ɛz ə teacher.”*.” ˈmɛni əv ðə steɪd ˈoʊpən, ˈlidɪŋ tɪ ə dəˈbeɪt əˈbaʊt ðɛr ˈifɛkt ɔn kəmˈjunɪtiz. ˈbrɪʤɪt, ən əˈsoʊʃiˌeɪt prəˈfɛsər æt ˈləskɪn skul əv ˈpəblɪk əˈfɛrz, hæd ɪgˈzæmənd ðə ˈifɛkt əv ˈlɪkər stɔrz ɔn ˈneɪbərˌhʊdz ənd θɔt ə ˈsɪmələr əˈproʊʧ kʊd bi ˈteɪkən tɪ. ɪn leɪt 2011 wɑz əˈpruvd baɪ ðə ˈnæʃənəl ˈɪnstɪˌtut ɔn drəg əˈbjuz fər faɪv years’*’ wərθ əv ˈrisərʧ ˈɪntu ðə ˌɪmˈpækt əv ɔn ðɛr kəmˈjunɪtiz. hər ˈstudənts ər ˈvɪzɪtɪŋ ənd kənˈdəktɪŋ ˌɑpərˈeɪʃənəl ˈsərˌveɪz, wɪʧ æsk əˈbaʊt ðə kənˈdɪʃən əv ðə ˈdɪspɛnˌsɛri, ðə ˈpeɪʃənz ðət ˈɛnər, ənd ðə taɪps əv ˈprɑdəkts ðə stɔrz sɛl. æt ðə ˈhæfˈweɪ pɔɪnt, əˈbaʊt 10 ˈstudənts hæv wərkt wɪθ, ənd ðeɪ hæv hæd ˈdɪfərənt riˈækʃənz tɪ ˈwərkɪŋ ɔn ə stɪl ˌkɑntrəˈvərʃəl ˈsəbʤɪkt. |
new delhi: despite voluntary organizations receiving over in foreign funds annually, only 2% of the 20 ngos operating in the country file annual returns with the government, raising eyebrows in the home ministry according to a home ministry report, although there is no centralized database on the number of ngos in the country and the quantum of finance involved in their operations, unofficial figures indicate that there are over 20 ngos registered under societies registration act, trusts act etc. however, the number of ngos registered under foreign contribution (regulation) act would be less than 2% of the total number of the number of associations reporting receipt and utilization of foreign contribution is increasing, it is a matter of concern that a large number of registered associations still do not submit their statutory annual returns mandated by the law,” the home ministry report on receipt and utilization of foreign contribution by voluntary associations total of ngos were registered under the foreign contribution (regulation) act up to march 31, 2012. during, ngos reported receipt of foreign contribution amounting to. in all, ngos have reported no receipt of foreign contribution while many have not filed returns. among all states and uts, ngos in delhi received highest amount of foreign contributions— in. | nu ˈdɛli: dɪˈspaɪt ˈvɑləntɛri ˌɔrgənəˈzeɪʃənz rɪˈsivɪŋ ˈoʊvər ɪn ˈfɔrən fəndz ˈænjuəli, ˈoʊnli 2 əv ðə 20 ɛŋˈgoʊz ˈɔpərˌeɪtɪŋ ɪn ðə ˈkəntri faɪl ˈænjuəl rɪˈtərnz wɪθ ðə ˈgəvərnmənt, ˈreɪzɪŋ ˈaɪˌbraʊz ɪn ðə hoʊm ˈmɪnɪstri əˈkɔrdɪŋ tɪ ə hoʊm ˈmɪnɪstri rɪˈpɔrt, ˌɔlˈðoʊ ðɛr ɪz noʊ ˈsɛntrəˌlaɪzd ˈdætəˌbeɪs ɔn ðə ˈnəmbər əv ɛŋˈgoʊz ɪn ðə ˈkəntri ənd ðə kˈwɑntəm əv ˈfaɪˌnæns ˌɪnˈvɑlvd ɪn ðɛr ˌɑpərˈeɪʃənz, ˌənəˈfɪʃəl ˈfɪgjərz ˈɪndəˌkeɪt ðət ðɛr ər ˈoʊvər 20 ɛŋˈgoʊz ˈrɛʤɪstərd ˈəndər səˈsaɪɪtiz ˌrɛʤɪˈstreɪʃən ækt, trəsts ækt ˌɛtˈsɛtərə. ˌhaʊˈɛvər, ðə ˈnəmbər əv ɛŋˈgoʊz ˈrɛʤɪstərd ˈəndər ˈfɔrən ˌkɑntrəˈbjuʃən (ˌrɛgjəˈleɪʃən) ækt wʊd bi lɛs ðən 2 əv ðə ˈtoʊtəl ˈnəmbər əv ðə ˈnəmbər əv əˌsoʊʃiˈeɪʃənz rɪˈpɔrtɪŋ rɪˈsit ənd ˌjutələˈzeɪʃən əv ˈfɔrən ˌkɑntrəˈbjuʃən ɪz ˌɪnˈkrisɪŋ, ɪt ɪz ə ˈmætər əv kənˈsərn ðət ə lɑrʤ ˈnəmbər əv ˈrɛʤɪstərd əˌsoʊʃiˈeɪʃənz stɪl du nɑt səbˈmɪt ðɛr ˈstæʧəˌtɔri ˈænjuəl rɪˈtərnz ˈmænˌdeɪtɪd baɪ ðə law,”*,” ðə hoʊm ˈmɪnɪstri rɪˈpɔrt ɔn rɪˈsit ənd ˌjutələˈzeɪʃən əv ˈfɔrən ˌkɑntrəˈbjuʃən baɪ ˈvɑləntɛri əˌsoʊʃiˈeɪʃənz ˈtoʊtəl əv ɛŋˈgoʊz wər ˈrɛʤɪstərd ˈəndər ðə ˈfɔrən ˌkɑntrəˈbjuʃən (ˌrɛgjəˈleɪʃən) ækt əp tɪ mɑrʧ 31 2012 ˈdʊrɪŋ ɛŋˈgoʊz ˌriˈpɔrtəd rɪˈsit əv ˈfɔrən ˌkɑntrəˈbjuʃən əˈmaʊnɪŋ tɪ. ɪn ɔl, ɛŋˈgoʊz hæv ˌriˈpɔrtəd noʊ rɪˈsit əv ˈfɔrən ˌkɑntrəˈbjuʃən waɪl ˈmɛni hæv nɑt faɪld rɪˈtərnz. əˈməŋ ɔl steɪts ənd uts*, ɛŋˈgoʊz ɪn ˈdɛli rɪˈsivd haɪəst əˈmaʊnt əv ˈfɔrən ˌkɑntrəˈbjuʃənz crore—*— ɪn |
searchers are scouring lemon creek area for a juneau woman missing since sunday afternoon.
kristina elizabeth young, 36, may have been wearing a green top when she disappeared. described as white, 5 feet 4 inches tall, 140 pounds, blond hair and blue eyes.
lt. dave campbell of the juneau police department said monday morning that at least 20 people are participating in the search.
“currently, we have seadogs, alaska state troopers, we notified the coast guard, we have some helicopter requests out there,” campbell said. “so, right now, we have an active search going on in the lemon creek area for kristina.”
campbell said also trying to get a jet boat on site.
young is the sister of george benjamin young, 40, whose body was discovered sunday afternoon. he was found near egan lemon creek bridge at the edge of the mendenhall wetlands state game refuge.
police said there were no obvious signs of foul play. his body has been sent to the medical office in anchorage for an autopsy.
campbell said they found personal items belonging to the siblings on the banks of lemon creek.
“the area where we found their personal effects just north of the lemon creek bridge on glacier highway is an area that is frequented by people that will go sit in the area, drink alcohol, and just kind of enjoy the creek,” campbell said. “we were told that by some residents that live in the area that it is a fairly common place to go.”
campbell said alcohol bottles were found in the area. campbell said kristina young was observed buying alcohol at a liquor store earlier in the afternoon before she disappeared. | ˈsərʧərz ər skaʊərɪŋ ˈlɛmən krik ˈɛriə fər ə ˈʤunoʊ ˈwʊmən ˈmɪsɪŋ sɪns ˈsənˌdi ˌæftərˈnun. krɪˈstinə ɪˈlɪzəbɪθ jəŋ, 36 meɪ hæv bɪn ˈwɛrɪŋ ə grin tɔp wɪn ʃi ˌdɪsəˈpɪrd. dɪˈskraɪbd ɛz waɪt, 5 fit 4 ˈɪnʧɪz tɔl, 140 paʊnz, blɑnd hɛr ənd blu aɪz. lt*. deɪv ˈkæmbəl əv ðə ˈʤunoʊ pəˈlis dɪˈpɑrtmənt sɛd ˈmənˌdeɪ ˈmɔrnɪŋ ðət æt list 20 ˈpipəl ər pɑrˈtɪsəˌpeɪtɪŋ ɪn ðə sərʧ. ““currently*, wi hæv seadogs*, əˈlæskə steɪt ˈtrupərz, wi ˈnoʊtəˌfaɪd ðə koʊst gɑrd, wi hæv səm ˈhɛlɪˌkɑptər rɪkˈwɛsts aʊt there,”*,” ˈkæmbəl sɛd. ““so*, raɪt naʊ, wi hæv ən ˈæktɪv sərʧ goʊɪŋ ɔn ɪn ðə ˈlɛmən krik ˈɛriə fər kristina.”*.” ˈkæmbəl sɛd ˈɔlsoʊ traɪɪŋ tɪ gɪt ə ʤɛt boʊt ɔn saɪt. jəŋ ɪz ðə ˈsɪstər əv ʤɔrʤ ˈbɛnʤəmən jəŋ, 40 huz ˈbɑdi wɑz dɪˈskəvərd ˈsənˌdi ˌæftərˈnun. hi wɑz faʊnd nɪr ˈigən ˈlɛmən krik brɪʤ æt ðə ɛʤ əv ðə ˈmɛndənˌhɔl ˈwɛˌtlændz steɪt geɪm ˈrɛfjuʤ. pəˈlis sɛd ðɛr wər noʊ ˈɑbviəs saɪnz əv faʊl pleɪ. hɪz ˈbɑdi həz bɪn sɛnt tɪ ðə ˈmɛdɪkəl ˈɔfəs ɪn ˈæŋkərɪʤ fər ən ˈɔˌtɑpsi. ˈkæmbəl sɛd ðeɪ faʊnd ˈpərsɪnəl ˈaɪtəmz bɪˈlɔŋɪŋ tɪ ðə ˈsɪblɪŋz ɔn ðə bæŋks əv ˈlɛmən krik. ˈɛriə wɛr wi faʊnd ðɛr ˈpərsɪnəl ˈifɛkts ʤɪst nɔrθ əv ðə ˈlɛmən krik brɪʤ ɔn ˈgleɪʃər ˈhaɪˌweɪ ɪz ən ˈɛriə ðət ɪz ˈfrikwəntɪd baɪ ˈpipəl ðət wɪl goʊ sɪt ɪn ðə ˈɛriə, drɪŋk ˈælkəˌhɑl, ənd ʤɪst kaɪnd əv ˌɛnˈʤɔɪ ðə creek,”*,” ˈkæmbəl sɛd. wər toʊld ðət baɪ səm ˈrɛzɪdənts ðət lɪv ɪn ðə ˈɛriə ðət ɪt ɪz ə ˈfɛrli ˈkɑmən pleɪs tɪ go.”*.” ˈkæmbəl sɛd ˈælkəˌhɑl ˈbɑtəlz wər faʊnd ɪn ðə ˈɛriə. ˈkæmbəl sɛd krɪˈstinə jəŋ wɑz əbˈzərvd baɪɪŋ ˈælkəˌhɑl æt ə ˈlɪkər stɔr ˈərliər ɪn ðə ˌæftərˈnun ˌbiˈfɔr ʃi ˌdɪsəˈpɪrd. |
steven mccloskey, of a new virtual reality startup, manipulates objects in an environment.
virtual reality) headsets such as the rift will line store shelves this holiday season, and san diego alumni startup, inc. plans to capitalize on that by creating apps for the consumer market, the classroom, and beyond.
nanome steven mccloskey was part of the first graduating class of at san diego when he received his degree in 2015. frustrated by the lack of tools available to for complex modeling and simulation at the, he set out to try and rectify the problem. he and colleagues built the first molecular visualization, modeling and simulation tool for platforms called. the application allows users to build molecules with carbon, oxygen, nitrogen and hydrogen atoms.
“our goal is to provide the tools necessary to help people build new proteins and molecules and eventually also simulate their interactions,” said mccloskey. “you can see how the world works at this fundamental level, and it.”
why? everything is made out of atoms—cosmetics, computer hardware, everything. take a chair, for example. a chair just look like a chair, it has to act like one. if going to be manipulating things in, you also need to be able to change the material properties of an object, which is dictated by structures at the level.
mccloskey said he believes virtual reality represents the future of engineering.
“uc san diego is where this has to have a department, experts, protein databank, interdisciplinary researchers, and located in biotech beach,” he said.
nano-one is now being tested in the san diego chemistry department and in the consumer market for workflow integration, modeling precision, and optimal and discovery.
as was being developed, mccloskey and his colleagues had an idea for another tool that would help engineers with math.
“when i was in vector calculus as a major, i wanted better graphics to go along with the instruction,” said mccloskey.
nanomes steven mccloskey and
the team piloted a-graphing calculator in over the summer. the calculator, called, features intuitive ways for students to learn the foundations of vector calculus.
“when you put on the headset, you can manipulate vectors with your hands, and explore vector addition and cross product,” said, who received a degree from san diego in management science in 2016. “you can see and feel a double integral of a sinusoidal graph in, a mobius strip and its normal, and spherical create your own function and vector field!”
if all of this sounds like another language to you, the calculator also features and sample problems, and allows users to take notes within the program.
nano-one and launched in the steam store equivalent of an app story) nov. 10, and are finalists for most innovative new product awards in december.
the making of a company
at first, mccloskey thought about creating a video game to help visualize their research, but then he came across the rift.
“a lightbulb went off in my head,” he said. “i knew that the environment creates was the future of.”
at the same time as mccloskey was toying around with the idea of as a tool for, was innovating in another field.
the company plans on staying device agnostic with software supporting the vive, touch, and mobile platforms.
“film is my passion,” said. “like steven, i knew that my work was limited by the tools that are available in my field.”
funakawa and mccloskey found this common ground in april of 2015 at a film festival put on by san artpower, where mccloskey was demonstrating an early stage prototype of a virtual lab that he built with a few of his classmates.
“once i saw demo, i was hooked,” said.
nanome incorporated in august of 2016 and has grown to a team of three developers and nine interns. the founding team consists of steven mccloskey,, leija and kai wang. now, they are looking to customize their tools for industry.
nanome’s use of san entrepreneurial ecosystem
nanomes and steven mccloskey would take advantage of many of the resources available to entrepreneurs at san diego, such as programs at the jacobs school of engineering von liebig center, which is now part of the institute for the global entrepreneur, and the basement. they also joined the innovation space and incubator, and won the entrepreneur challenge, as well as triton entrepreneur night earlier this year.
during this time, mccloskey was taking classes through san diego extension, where he met visual arts professor benjamin bratton. bratton was impressed with the project, and offered the team space in his design and geopolitics lab, where they continue to develop their products today. | ˈstivən məˈklɔski, əv ə nu ˈvərʧuəl ˌriˈæləˌti ˈstɑrˌtəp, məˈnɪpjəˌleɪts ˈɑbʤɛkts ɪn ən ɪnˈvaɪrənmənt. ˈvərʧuəl ˌriˈæləˌti) ˈhɛdˌsɛts səʧ ɛz ðə rɪft wɪl laɪn stɔr ʃɛlvz ðɪs ˈhɑlɪˌdeɪ ˈsizən, ənd sæn diˈeɪgoʊ əˈləmˌnaɪ ˈstɑrˌtəp, ɪŋk. plænz tɪ ˈkæpətəˌlaɪz ɔn ðət baɪ kriˈeɪtɪŋ æps fər ðə kənˈsumər ˈmɑrkɪt, ðə ˈklæsˌrum, ənd bɪɔnd. ˈstivən məˈklɔski wɑz pɑrt əv ðə fərst ˈgræʤəˌweɪtɪŋ klæs əv æt sæn diˈeɪgoʊ wɪn hi rɪˈsivd hɪz dɪˈgri ɪn 2015 ˈfrəˌstreɪtəd baɪ ðə læk əv tulz əˈveɪləbəl tɪ fər ˈkɑmplɛks ˈmɑdəlɪŋ ənd ˌsɪmjəˈleɪʃən æt ðə, hi sɛt aʊt tɪ traɪ ənd ˈrɛktəˌfaɪ ðə ˈprɑbləm. hi ənd ˈkɑligz bɪlt ðə fərst məˈlɛkjələr ˌvɪʒwələˈzeɪʃən, ˈmɑdəlɪŋ ənd ˌsɪmjəˈleɪʃən tul fər ˈplætˌfɔrmz kɔld. ðə ˌæpləˈkeɪʃən əˈlaʊz ˈjuzərz tɪ bɪld ˈmɑləˌkjulz wɪθ ˈkɑrbən, ˈɑksɪʤən, ˈnaɪtrəʤən ənd ˈhaɪdrəʤən ˈætəmz. goʊl ɪz tɪ prəˈvaɪd ðə tulz ˈnɛsəˌsɛri tɪ hɛlp ˈpipəl bɪld nu ˈproʊˌtinz ənd ˈmɑləˌkjulz ənd ɪˈvɛnʧəwəli ˈɔlsoʊ ˈsɪmjəˌleɪt ðɛr interactions,”*,” sɛd məˈklɔski. kən si haʊ ðə wərld wərks æt ðɪs ˌfəndəˈmɛnəl ˈlɛvəl, ənd it.”*.” waɪ? ˈɛvriˌθɪŋ ɪz meɪd aʊt əv atoms—cosmetics*, kəmˈpjutər ˈhɑrdˌwɛr, ˈɛvriˌθɪŋ. teɪk ə ʧɛr, fər ɪgˈzæmpəl. ə ʧɛr ʤɪst lʊk laɪk ə ʧɛr, ɪt həz tɪ ækt laɪk wən. ɪf goʊɪŋ tɪ bi məˈnɪpjəˌleɪtɪŋ θɪŋz ɪn, ju ˈɔlsoʊ nid tɪ bi ˈeɪbəl tɪ ʧeɪnʤ ðə məˈtɪriəl ˈprɑpərtiz əv ən ˈɑbʤɛkt, wɪʧ ɪz ˈdɪkˌteɪtɪd baɪ ˈstrəkʧərz æt ðə ˈlɛvəl. məˈklɔski sɛd hi bɪˈlivz ˈvərʧuəl ˌriˈæləˌti ˌrɛprɪˈzɛnts ðə fˈjuʧər əv ˈɛnʤəˈnɪrɪŋ. sæn diˈeɪgoʊ ɪz wɛr ðɪs həz tɪ hæv ə dɪˈpɑrtmənt, ˈɛkspərts, ˈproʊˌtin databank*, ˌɪntərˈdɪsəpləˌnɛri ˈrisərʧərz, ənd ˈloʊˌkeɪtəd ɪn ˈbaɪoʊˌtɛk beach,”*,” hi sɛd. ɪz naʊ biɪŋ ˈtɛstɪd ɪn ðə sæn diˈeɪgoʊ ˈkɛmɪstri dɪˈpɑrtmənt ənd ɪn ðə kənˈsumər ˈmɑrkɪt fər ˈwərkˌfloʊ ˌɪnəˈgreɪʃən, ˈmɑdəlɪŋ priˈsɪʒən, ənd ˈɑptɪməl ənd ˌdɪˈskəvri. ɛz wɑz biɪŋ dɪˈvɛləpt, məˈklɔski ənd hɪz ˈkɑligz hæd ən aɪˈdiə fər əˈnəðər tul ðət wʊd hɛlp ˈɛnʤəˈnɪrz wɪθ mæθ. aɪ wɑz ɪn ˈvɛktər ˈkælkjələs ɛz ə ˈmeɪʤər, aɪ ˈwɔntɪd ˈbɛtər ˈgræfɪks tɪ goʊ əˈlɔŋ wɪθ ðə instruction,”*,” sɛd məˈklɔski. ˈstivən məˈklɔski ənd ðə tim ˈpaɪlətɪd ə ˈkælkjəˌleɪtər ɪn ˈoʊvər ðə ˈsəmər. ðə ˈkælkjəˌleɪtər, kɔld, ˈfiʧərz ˌɪnˈtuətɪv weɪz fər ˈstudənts tɪ lərn ðə faʊnˈdeɪʃənz əv ˈvɛktər ˈkælkjələs. ju pʊt ɔn ðə ˈhɛdˌsɛt, ju kən məˈnɪpjəˌleɪt ˈvɛktərz wɪθ jʊr hænz, ənd ɪkˈsplɔr ˈvɛktər əˈdɪʃən ənd krɔs product,”*,” sɛd, hu rɪˈsivd ə dɪˈgri frəm sæn diˈeɪgoʊ ɪn ˈmænɪʤmənt saɪəns ɪn 2016 kən si ənd fil ə ˈdəbəl ˈɪnəgrəl əv ə ˈsaɪnəˌsɔɪdəl græf ɪn, ə ˈmoʊbiəs strɪp ənd ɪts ˈnɔrməl, ənd sˈfɛrɪkəl kriˈeɪt jʊr oʊn ˈfəŋkʃən ənd ˈvɛktər field!”*!” ɪf ɔl əv ðɪs saʊnz laɪk əˈnəðər ˈlæŋgwɪʤ tɪ ju, ðə ˈkælkjəˌleɪtər ˈɔlsoʊ ˈfiʧərz ənd ˈsæmpəl ˈprɑbləmz, ənd əˈlaʊz ˈjuzərz tɪ teɪk noʊts wɪˈθɪn ðə ˈproʊˌgræm. ənd lɔnʧt ɪn ðə stim stɔr ɪkˈwɪvələnt əv ən æp ˈstɔri) noʊv. 10 ənd ər ˈfaɪnəlɪsts fər moʊst ˈɪnəˌveɪtɪv nu ˈprɑdəkt əˈwɔrdz ɪn dɪˈsɛmbər. ðə ˈmeɪkɪŋ əv ə ˈkəmpəˌni æt fərst, məˈklɔski θɔt əˈbaʊt kriˈeɪtɪŋ ə ˈvɪdioʊ geɪm tɪ hɛlp ˈvɪʒwəˌlaɪz ðɛr ˈrisərʧ, bət ðɛn hi keɪm əˈkrɔs ðə rɪft. ˈlaɪtˌbəlb wɛnt ɔf ɪn maɪ head,”*,” hi sɛd. nu ðət ðə ɪnˈvaɪrənmənt kriˈeɪts wɑz ðə fˈjuʧər əv nanoengineering.”*.” æt ðə seɪm taɪm ɛz məˈklɔski wɑz tɔɪɪŋ əraʊnd wɪθ ðə aɪˈdiə əv ɛz ə tul fər, wɑz ˌɪnəˈveɪtɪŋ ɪn əˈnəðər fild. ðə ˈkəmpəˌni plænz ɔn steɪɪŋ dɪˈvaɪs ægˈnɑstɪk wɪθ ˈsɔfˌwɛr səˈpɔrtɪŋ ðə viv, təʧ, ənd ˈmoʊbəl ˈplætˌfɔrmz. ɪz maɪ passion,”*,” sɛd. ˈstivən, aɪ nu ðət maɪ wərk wɑz ˈlɪmɪtɪd baɪ ðə tulz ðət ər əˈveɪləbəl ɪn maɪ field.”*.” ənd məˈklɔski faʊnd ðɪs ˈkɑmən graʊnd ɪn ˈeɪprəl əv 2015 æt ə fɪlm ˈfɛstɪvəl pʊt ɔn baɪ sæn artpower*, wɛr məˈklɔski wɑz ˈdɛmənˌstreɪtɪŋ ən ˈərli steɪʤ ˈproʊtoʊˌtaɪp əv ə ˈvərʧuəl læb ðət hi bɪlt wɪθ ə fju əv hɪz ˈklæsˌmeɪts. aɪ sɔ ˈdɛmoʊ, aɪ wɑz hooked,”*,” sɛd. ˌɪnˈkɔrpərˌeɪtɪd ɪn ˈɔgəst əv 2016 ənd həz groʊn tɪ ə tim əv θri dɪˈvɛləpərz ənd naɪn ˈɪntərnz. ðə ˈfaʊndɪŋ tim kənˈsɪsts əv ˈstivən məˈklɔski,, ˈlijə ənd kaɪ wæŋ. naʊ, ðeɪ ər ˈlʊkɪŋ tɪ ˈkəstəˌmaɪz ðɛr tulz fər ˈɪndəstri. juz əv sæn ˌɑntrəprəˈnəriəl ˈikoʊˌsɪstəm ənd ˈstivən məˈklɔski wʊd teɪk ædˈvæntɪʤ əv ˈmɛni əv ðə ˈrisɔrsɪz əˈveɪləbəl tɪ ˌɑntrəprəˈnərz æt sæn diˈeɪgoʊ, səʧ ɛz ˈproʊˌgræmz æt ðə ˈʤeɪkəbz skul əv ˈɛnʤəˈnɪrɪŋ vɔn ˈlibɪg ˈsɛnər, wɪʧ ɪz naʊ pɑrt əv ðə ˈɪnstɪˌtut fər ðə ˈgloʊbəl ˌɑntrəprəˈnʊr, ənd ðə ˈbeɪsmənt. ðeɪ ˈɔlsoʊ ʤɔɪnd ðə ˌɪnəˈveɪʃən speɪs ənd ˈɪŋkjəˌbeɪtər, ənd wən ðə ˌɑntrəprəˈnʊr ˈʧælənʤ, ɛz wɛl ɛz ˈtraɪtən ˌɑntrəprəˈnʊr naɪt ˈərliər ðɪs jɪr. ˈdʊrɪŋ ðɪs taɪm, məˈklɔski wɑz ˈteɪkɪŋ ˈklæsɪz θru sæn diˈeɪgoʊ ɪkˈstɛnʃən, wɛr hi mɛt ˈvɪʒəwəl ɑrts prəˈfɛsər ˈbɛnʤəmən ˈbrætən. ˈbrætən wɑz ˌɪmˈprɛst wɪθ ðə ˈprɑʤɛkt, ənd ˈɔfərd ðə tim speɪs ɪn hɪz dɪˈzaɪn ənd ˌʤioʊˈpɑlətɪks læb, wɛr ðeɪ kənˈtɪnju tɪ dɪˈvɛləp ðɛr ˈprɑdəkts təˈdeɪ. |
jony iconic industrial the original to the iphone and redefined the look and feel of computing devices several times. that's all good.
but computers and phones aren't simply designer bling, but tools that users depend upon for important work. they need to work reliably, which means investing in their underlying technologies to handle changing needs.
in the last 10 years, disk capacities have grown and many users have tens of thousands of image, music, and video files. for example, mac os x is still relying on the file system technology of it planned to replace years ago.
many mac fans have discounted my concerns, but now lloyd chambers of diglloyd.com, a former software engineer and mac user and fan, has weighed in with a indictment of mac core rot.
what he documents are not theoretical problems, but problems he has personally experienced. not just with+, but with several other key mac software products.
the whole piece is worth a serious read, but several of his points stood out for me, and i quote his bullet points:
os x finder damages the system, can't copy files reliably, can't do useful things it ought to do at all, hides key files, rife with bugs
disk utility under some conditions, destroys arbitrary numbers of volumes, no real upgrade for years, took two minor releases to fix raid support
icloud a unreliable disaster
file system continued use of plus instead of robust.
chambers is an exceptional and demanding user. yet if pro users are seeing these problems today, we know that in less than five years many users will too.
the storage bits take
i used to hang with industrial designers, and i appreciate the creativity and deep knowledge of industrial technology that the best of them have. but they aren't software engineers.
apple has plenty of money and expertise to fix these problems, but it will take sustained effort and attention from top fix these problems on os x and ios. is particularly important because he's been given significant software responsibility by tim cook.
i include ios because in 10 years it too will be handling workloads greater than it does today. fix os x and then migrate that technology to ios as needed.
mac software engineering knew was a good thing seven years ago, but has since stuck with+. os x is overdue for a fundamental overhaul and a to excellence in software engineering.
let's hope it comes soon.
comments welcome, of course. industrial design trivia question: who was the first industrial designer in a major hollywood movie? eva marie saint's cool blonde in hitchcock's great north by northwest. | jony* ˌaɪˈkɑnɪk ˌɪnˈdəstriəl ðə ərˈɪʤənəl tɪ ðə ˈaɪˌfoʊn ənd ridɪˈfaɪnd ðə lʊk ənd fil əv kəmˈpjutɪŋ dɪˈvaɪsɪz ˈsɛvərəl taɪmz. ðæts ɔl gʊd. bət kəmˈpjutərz ənd foʊnz ˈɑrənt ˈsɪmpli dɪˈzaɪnər bling*, bət tulz ðət ˈjuzərz dɪˈpɛnd əˈpɑn fər ˌɪmˈpɔrtənt wərk. ðeɪ nid tɪ wərk rɪˈlaɪəbli, wɪʧ minz ˌɪnˈvɛstɪŋ ɪn ðɛr ˌəndərˈlaɪɪŋ tɛkˈnɑləʤiz tɪ ˈhændəl ˈʧeɪnʤɪŋ nidz. ɪn ðə læst 10 jɪrz, dɪsk kəˈpæsɪtiz hæv groʊn ənd ˈmɛni ˈjuzərz hæv tɛnz əv ˈθaʊzənz əv ˈɪmɪʤ, mˈjuzɪk, ənd ˈvɪdioʊ faɪlz. fər ɪgˈzæmpəl, mæk ɑs ɛks ɪz stɪl riˈlaɪɪŋ ɔn ðə faɪl ˈsɪstəm tɛkˈnɑləʤi əv ɪt plænd tɪ ˌriˈpleɪs jɪrz əˈgoʊ. ˈmɛni mæk fænz hæv ˈdɪˌskaʊnɪd maɪ kənˈsərnz, bət naʊ lɔɪd ˈʧeɪmbərz əv diglloyd.com*, ə ˈfɔrmər ˈsɔfˌwɛr ˈɛnʤəˈnɪr ənd mæk ˈjuzər ənd fæn, həz weɪd ɪn wɪθ ə ˌɪnˈdaɪtmənt əv mæk kɔr rɑt. wət hi ˈdɑkjəmənts ər nɑt ˌθiərˈɛtɪkəl ˈprɑbləmz, bət ˈprɑbləmz hi həz ˈpərsənəli ɪkˈspɪriənst. nɑt ʤɪst wɪθ+, bət wɪθ ˈsɛvərəl ˈəðər ki mæk ˈsɔfˌwɛr ˈprɑdəkts. ðə hoʊl pis ɪz wərθ ə ˈsɪriəs rɛd, bət ˈsɛvərəl əv hɪz pɔɪnts stʊd aʊt fər mi, ənd aɪ kwoʊt hɪz ˈbʊlət pɔɪnts: ɑs ɛks ˈfaɪndər ˈdæmɪʤɪz ðə ˈsɪstəm, kænt ˈkɑpi faɪlz rɪˈlaɪəbli, kænt du ˈjusfəl θɪŋz ɪt ɔt tɪ du æt ɔl, haɪdz ki faɪlz, raɪf wɪθ bəgz dɪsk juˈtɪləti ˈəndər səm kənˈdɪʃənz, dɪˈstrɔɪz ˈɑrbɪˌtrɛri ˈnəmbərz əv ˈvɑljumz, noʊ ril ˈəpˈgreɪd fər jɪrz, tʊk tu ˈmaɪnər rɪˈlisɪz tɪ fɪks reɪd səˈpɔrt ə ˌənrɪˈlaɪəbəl dɪˈzæstər faɪl ˈsɪstəm kənˈtɪnjud juz əv pləs ˌɪnˈstɛd əv roʊˈbəst. ˈʧeɪmbərz ɪz ən ɪkˈsɛpʃənəl ənd dɪˈmændɪŋ ˈjuzər. jɛt ɪf proʊ ˈjuzərz ər siɪŋ ðiz ˈprɑbləmz təˈdeɪ, wi noʊ ðət ɪn lɛs ðən faɪv jɪrz ˈmɛni ˈjuzərz wɪl tu. ðə ˈstɔrɪʤ bɪts teɪk aɪ juzd tɪ hæŋ wɪθ ˌɪnˈdəstriəl dɪˈzaɪnərz, ənd aɪ əˈpriʃiˌeɪt ðə ˌkrieɪˈtɪvəti ənd dip ˈnɑlɪʤ əv ˌɪnˈdəstriəl tɛkˈnɑləʤi ðət ðə bɛst əv ðɛm hæv. bət ðeɪ ˈɑrənt ˈsɔfˌwɛr ˈɛnʤəˈnɪrz. ˈæpəl həz ˈplɛnti əv ˈməni ənd ˌɛkspərˈtiz tɪ fɪks ðiz ˈprɑbləmz, bət ɪt wɪl teɪk səˈsteɪnd ˈɛfərt ənd əˈtɛnʃən frəm tɔp fɪks ðiz ˈprɑbləmz ɔn ɑs ɛks ənd ˈioʊs. ɪz ˌpɑrˈtɪkjələrli ˌɪmˈpɔrtənt bɪˈkəz hiz bɪn ˈgɪvɪn sɪgˈnɪfɪkənt ˈsɔfˌwɛr riˌspɑnsəˈbɪləti baɪ tɪm kʊk. aɪ ˌɪnˈklud ˈioʊs bɪˈkəz ɪn 10 jɪrz ɪt tu wɪl bi ˈhændəlɪŋ ˈwərˌkloʊdz ˈgreɪtər ðən ɪt dɪz təˈdeɪ. fɪks ɑs ɛks ənd ðɛn ˈmaɪˌgreɪt ðət tɛkˈnɑləʤi tɪ ˈioʊs ɛz ˈnidɪd. mæk ˈsɔfˌwɛr ˈɛnʤəˈnɪrɪŋ nu wɑz ə gʊd θɪŋ ˈsɛvən jɪrz əˈgoʊ, bət həz sɪns stək wɪθ+. ɑs ɛks ɪz ˈoʊvərˈdu fər ə ˌfəndəˈmɛnəl ˈoʊvərˌhɔl ənd ə tɪ ˈɛksələns ɪn ˈsɔfˌwɛr ˈɛnʤəˈnɪrɪŋ. lɛts hoʊp ɪt kəmz sun. ˈkɑmɛnts ˈwɛlkəm, əv kɔrs. ˌɪnˈdəstriəl dɪˈzaɪn ˈtrɪviə kˈwɛʃən: hu wɑz ðə fərst ˌɪnˈdəstriəl dɪˈzaɪnər ɪn ə ˈmeɪʤər ˈhɑliˌwʊd ˈmuvi? ˈivə mərˈi seɪnts kul blɑnd ɪn ˈhɪʧˌkɑks greɪt nɔrθ baɪ ˌnɔrθˈwɛst. |
voters cast their ballots at a polling station during general elections in on october 4, 2014 znotins)
riga) - latvia's ruling coalition led by prime minister scored a resounding majority in saturday elections overshadowed by alarm over a resurgent moscow and a party popular with the country's sizeable russian minority.
an exit poll by the agency gave three parties in her coalition 63 seats in the parliament, while their leftist rival took 23.
"this is a vote of confidence in (straujuma's) unity party and in the coalition... it means people want us to continue our work," parliamentary speaker and unity party chair told latvian public broadcaster.
unity scored 25 seats while its coalition partners national alliance and the greens and farmers scored 19 seats each respectively, according to.
nils, leader of the leftist opposition harmony party -- which exit polls showed came second with 23 seats -- called the result "positive" but told "we shouldn't rely on exit polls."
"this is more of the same coalition, but it's slightly changed in the balance of power and that makes unity more powerful," university of latvia professor told.
"the probability that we will see someone other than as prime minister is quite high," he added.
it was not immediately clear whether president berzins would ask the, a pragmatic technocrat, to form a fresh coalition government.
analysts in riga believe berzins could tap her unity party colleague, outgoing development commissioner piebalgs, for premier as latvia is poised to take over theropean union's rotating presidency in january.
- geopolitical jitters -
russia's annexation of crimea and meddling in eastern ukraine have sent shudders through this nato androzone member of two million people where many retain vivid memories of the soviet occupation that ended just a ago.
withrope now in its worst standoff with russia since the cold war, many latvians fear moscow could attempt to its baltic backyard.
straujuma has called for more nato troops and extra air patrols in the region and the alliance has responded with increased troop rotations and exercises.
casting her ballot near riga on saturday, she slammed who recently said that given the choice of russian politicians "the best thing possible right now is president vladimir putin".
"security is crucial... i can't support the view that putin is the best possible president for russia," said.
the harmony party is popular among ethnic russians -- who make up a quarter of latvia's population -- and actually topped the poll in 2011.
but it has always failed to find coalition partners among the ethnic latvian parties and been relegated to the opposition.
"if harmony ever got in, it would be a disaster for the country. they would sell it to russia," kalnins, a musician, told in the capital riga.
pensioner leonids, an ethnic russian who declined to give his last name, told at a riga polling station that harmony got his vote for their generous approach to social spending.
- sanctions woes -
concern is also running high over the impact that tit-for-tat sanctions between moscow and brussels over the ukraine crisis could have on this tiny baltic state, heavily reliant on trade with russia.
latvia made a spectacular recovery from the world's deepest recession in, when output shrank by nearly a quarter during the global financial crisis.
a painful austerity drive by a government then paved the way for entry into therozone in january.
the sacrifices paid off and growth in latvia topped the for a third consecutive year in 2013, with a percent expansion.
forecasts had pointed to nearly five percent growth this year, but the escalating sanctions war could hit baltic trade, transit and tourism.
"i voted for unity on the basis that they are the best among the bad options," maris skrastins, 25, told in riga. "i trust them with the economy more than the others."
turnout stood at 57 percent, according to the state elections commission. official results are expected sunday afternoon | ˈvoʊtərz kæst ðɛr ˈbæləts æt ə ˈpoʊlɪŋ ˈsteɪʃən ˈdʊrɪŋ ˈʤɛnərəl ɪˈlɛkʃənz ɪn ɔn ɑkˈtoʊbər 4 2014 znotins*) ˈrigə) ˈlætviəz ˈrulɪŋ ˌkoʊəˈlɪʃən lɛd baɪ praɪm ˈmɪnɪstər skɔrd ə riˈsaʊndɪŋ məˈʤɔrəti ɪn ˈsæˌtɪˌdeɪ ɪˈlɛkʃənz ˌoʊvərˈʃædoʊd baɪ əˈlɑrm ˈoʊvər ə rɪˈsərʤənt ˈmɔˌskaʊ ənd ə ˈpɑrti ˈpɑpjələr wɪθ ðə ˈkəntriz ˈsaɪzəbəl ˈrəʃən məˈnɔrəti. ən ˈɛksət poʊl baɪ ðə ˈeɪʤənsi geɪv θri ˈpɑrtiz ɪn hər ˌkoʊəˈlɪʃən 63 sits ɪn ðə ˈpɑrləmɛnt, waɪl ðɛr ˈlɛftɪst ˈraɪvəl tʊk 23 "ðɪs ɪz ə voʊt əv ˈkɑnfədɛns ɪn (straujuma's*) ˈjunɪti ˈpɑrti ənd ɪn ðə ˌkoʊəˈlɪʃən... ɪt minz ˈpipəl wɔnt ˈjuˈɛs tɪ kənˈtɪnju ɑr wərk," ˌpɑrləˈmɛntəri ˈspikər ənd ˈjunɪti ˈpɑrti ʧɛr toʊld ˈlætviən ˈpəblɪk ˈbrɔdˌkæstər. ˈjunɪti skɔrd 25 sits waɪl ɪts ˌkoʊəˈlɪʃən ˈpɑrtnərz ˈnæʃənəl əˈlaɪəns ənd ðə grinz ənd ˈfɑrmərz skɔrd 19 sits iʧ rɪˈspɛktɪvli, əˈkɔrdɪŋ tɪ. nɪlz, ˈlidər əv ðə ˈlɛftɪst ˌɑpəˈzɪʃən ˈhɑrməni ˈpɑrti wɪʧ ˈɛksət poʊlz ʃoʊd keɪm ˈsɛkənd wɪθ 23 sits kɔld ðə rɪˈzəlt "ˈpɑzətɪv" bət toʊld "wi ˈʃʊdənt rɪˈlaɪ ɔn ˈɛksət poʊlz." "ðɪs ɪz mɔr əv ðə seɪm ˌkoʊəˈlɪʃən, bət ɪts sˈlaɪtli ʧeɪnʤd ɪn ðə ˈbæləns əv paʊər ənd ðət meɪks ˈjunɪti mɔr ˈpaʊərfəl," ˌjunəˈvərsəti əv ˈlætviə prəˈfɛsər toʊld. "ðə ˌprɑbəˈbɪləˌti ðət wi wɪl si ˈsəmˌwən ˈəðər ðən ɛz praɪm ˈmɪnɪstər ɪz kwaɪt haɪ," hi ˈædɪd. ɪt wɑz nɑt ˌɪˈmiˌdiətli klɪr ˈwɛðər ˈprɛzɪdənt ˈbərzɪnz wʊd æsk ðə, ə prægˈmætɪk ˈtɛknəˌkræt, tɪ fɔrm ə frɛʃ ˌkoʊəˈlɪʃən ˈgəvərnmənt. ˈænəlɪsts ɪn ˈrigə bɪˈliv ˈbərzɪnz kʊd tæp hər ˈjunɪti ˈpɑrti ˈkɑlig, ˈaʊtˌgoʊɪŋ dɪˈvɛləpmənt kəˈmɪʃənər piebalgs*, fər prɛˈmɪr ɛz ˈlætviə ɪz pɔɪzd tɪ teɪk ˈoʊvər ðə ˌjʊrəˈpiən ˈjunjənz ˈroʊˌteɪtɪŋ ˈprɛzɪdənsi ɪn ˈʤænjuˌɛri. ˌʤioʊpəˈlɪtɪkəl ˈʤɪtərz ˈrəʃəz ˌænɛkˈseɪʃən əv kraɪˈmiə ənd ˈmɛdəlɪŋ ɪn ˈistərn juˈkreɪn hæv sɛnt ˈʃədərz θru ðɪs ˈneɪtoʊ ənd ˈmɛmbər əv tu ˈmɪljən ˈpipəl wɛr ˈmɛni rɪˈteɪn ˈvɪvɪd ˈmɛməriz əv ðə ˈsoʊviˌɛt ˌɑkjəˈpeɪʃən ðət ˈɛndɪd ʤɪst ə əˈgoʊ. wɪθ ˈjʊrəp naʊ ɪn ɪts wərst ˈstænˌdɔf wɪθ ˈrəʃə sɪns ðə koʊld wɔr, ˈmɛni ˈlætviənz fɪr ˈmɔˌskaʊ kʊd əˈtɛmpt tɪ ɪts ˈbɔltɪk ˈbæˌkjɑrd. həz kɔld fər mɔr ˈneɪtoʊ trups ənd ˈɛkstrə ɛr pəˈtroʊlz ɪn ðə ˈriʤən ənd ðə əˈlaɪəns həz rɪˈspɑndɪd wɪθ ˌɪnˈkrist trup roʊˈteɪʃənz ənd ˈɛksərˌsaɪzɪz. ˈkæstɪŋ hər ˈbælət nɪr ˈrigə ɔn ˈsæˌtɪˌdeɪ, ʃi slæmd hu ˈrisəntli sɛd ðət ˈgɪvɪn ðə ʧɔɪs əv ˈrəʃən ˌpɑləˈtɪʃənz "ðə bɛst θɪŋ ˈpɑsəbəl raɪt naʊ ɪz ˈprɛzɪdənt vˈlædəmɪr ˈputɪn". "sɪˈkjʊrəti ɪz ˈkruʃəl... aɪ kænt səˈpɔrt ðə vju ðət ˈputɪn ɪz ðə bɛst ˈpɑsəbəl ˈprɛzɪdənt fər ˈrəʃə," sɛd. ðə ˈhɑrməni ˈpɑrti ɪz ˈpɑpjələr əˈməŋ ˈɛθnɪk ˈrəʃənz hu meɪk əp ə kˈwɔrtər əv ˈlætviəz ˌpɑpjəˈleɪʃən ənd ˈæˌkʧuəli tɑpt ðə poʊl ɪn 2011 bət ɪt həz ˈɔlˌweɪz feɪld tɪ faɪnd ˌkoʊəˈlɪʃən ˈpɑrtnərz əˈməŋ ðə ˈɛθnɪk ˈlætviən ˈpɑrtiz ənd bɪn ˈrɛləˌgeɪtɪd tɪ ðə ˌɑpəˈzɪʃən. "ɪf ˈhɑrməni ˈɛvər gɑt ɪn, ɪt wʊd bi ə dɪˈzæstər fər ðə ˈkəntri. ðeɪ wʊd sɛl ɪt tɪ ˈrəʃə," ˈkælnɪnz, ə mjuˈzɪʃən, toʊld ɪn ðə ˈkæpɪtəl ˈrigə. ˈpɛnʃənər leonids*, ən ˈɛθnɪk ˈrəʃən hu dɪˈklaɪnd tɪ gɪv hɪz læst neɪm, toʊld æt ə ˈrigə ˈpoʊlɪŋ ˈsteɪʃən ðət ˈhɑrməni gɑt hɪz voʊt fər ðɛr ˈʤɛnərəs əˈproʊʧ tɪ ˈsoʊʃəl ˈspɛndɪŋ. ˈsæŋkʃənz woʊz kənˈsərn ɪz ˈɔlsoʊ ˈrənɪŋ haɪ ˈoʊvər ðə ˌɪmˈpækt ðət ˈtɪtˌfɔrˈtæt ˈsæŋkʃənz bɪtˈwin ˈmɔˌskaʊ ənd ˈbrəsəlz ˈoʊvər ðə juˈkreɪn ˈkraɪsəs kʊd hæv ɔn ðɪs ˈtaɪni ˈbɔltɪk steɪt, ˈhɛvəli rɪˈlaɪənt ɔn treɪd wɪθ ˈrəʃə. ˈlætviə meɪd ə spɛkˈtækjələr rɪˈkəvəri frəm ðə wərldz ˈdipəst ˌriˈsɛʃən ɪn wɪn ˈaʊtˌpʊt ʃræŋk baɪ ˈnɪrli ə kˈwɔrtər ˈdʊrɪŋ ðə ˈgloʊbəl ˌfaɪˈnænʃəl ˈkraɪsəs. ə ˈpeɪnfəl ˌɔˈstɛrɪti draɪv baɪ ə ˈgəvərnmənt ðɛn peɪvd ðə weɪ fər ˈɛntri ˈɪntu ðə ɪn ˈʤænjuˌɛri. ðə ˈsækrəˌfaɪsɪz peɪd ɔf ənd groʊθ ɪn ˈlætviə tɑpt ðə fər ə θərd kənˈsɛkjətɪv jɪr ɪn 2013 wɪθ ə pərˈsɛnt ɪkˈspænʧən. ˈfɔrˌkæsts hæd ˈpɔɪntɪd tɪ ˈnɪrli faɪv pərˈsɛnt groʊθ ðɪs jɪr, bət ðə ˈɛskəˌleɪtɪŋ ˈsæŋkʃənz wɔr kʊd hɪt ˈbɔltɪk treɪd, ˈtrænzɪt ənd ˈtʊˌrɪzəm. "aɪ ˈvoʊtɪd fər ˈjunɪti ɔn ðə ˈbeɪsɪs ðət ðeɪ ər ðə bɛst əˈməŋ ðə bæd ˈɔpʃənz," ˈmɑrɪs skrastins*, 25 toʊld ɪn ˈrigə. "aɪ trəst ðɛm wɪθ ðə ɪˈkɑnəmi mɔr ðən ðə ˈəðərz." ˈtərˌnaʊt stʊd æt 57 pərˈsɛnt, əˈkɔrdɪŋ tɪ ðə steɪt ɪˈlɛkʃənz kəˈmɪʃən. əˈfɪʃəl rɪˈzəlts ər ɪkˈspɛktɪd ˈsənˌdi ˌæftərˈnun |
fetch is the native ajax to replace.get()
as a term ajax has been around for over a decade now. while many still relate to it as rich and fluid interfaces, the real deal is the possibility of making asynchronous requests to the server from the browser.
as browsers evolved the used for ajax did not not evolve. this is why many developers still rely on including the whole library just to abstract asynchronous request. has a great and simple to use for many things, but including it just for ajax is overkill.
finally the web has a new native alternative available. this is known as the fetch and offers a very simple way of getting content from the server with javascript in the browser. the is a high level one that has a generic definition of request and response objects.
to anyone used to working with the, the concepts are immediately familiar:
globalfetch : contains the fetch() method used to fetch a resource.
: contains the fetch() method used to fetch a resource. headers : represents headers, allowing you to query them and take different actions depending on the results.
: represents headers, allowing you to query them and take different actions depending on the results. request : represents a resource request.
: represents a resource request. response: represents the response to a request.
in addition to standard features developers would expect, the fetch definition handles closely related concepts such as resource sharing) and origin headers. the fetch is available in the standard window object and has only a single mandatory argument - the request url.
the fetch method returns a javascript promise that makes it convenient to work with the asynchronous nature of requests in the browser context. once the response is received, there are a number of methods available in the object.
browser support for the fetch is very good with evergreen browsers such as chrome, edge, and opera already supporting the feature. internet explorer does not support the, but there is a fetch that can be used for it. | fɛʧ ɪz ðə ˈneɪtɪv ˈeɪˌʤæks tɪ ˌriˈpleɪs jquery.get*() ɛz ə tərm ˈeɪˌʤæks həz bɪn əraʊnd fər ˈoʊvər ə ˈdɛkeɪd naʊ. waɪl ˈmɛni stɪl rɪˈleɪt tɪ ɪt ɛz rɪʧ ənd fluɪd ˈɪnərˌfeɪsɪz, ðə ril dil ɪz ðə ˌpɑsəˈbɪləˌti əv ˈmeɪkɪŋ ˈeɪˈsɪŋkrənəs rɪkˈwɛsts tɪ ðə ˈsərvər frəm ðə ˈbraʊzər. ɛz ˈbraʊzərz ɪˈvɑlvd ðə juzd fər ˈeɪˌʤæks dɪd nɑt nɑt ɪˈvɑlv. ðɪs ɪz waɪ ˈmɛni dɪˈvɛləpərz stɪl rɪˈlaɪ ɔn ˌɪnˈkludɪŋ ðə hoʊl ˈlaɪbrɛˌri ʤɪst tɪ ˈæbˌstrækt ˈeɪˈsɪŋkrənəs rɪkˈwɛst. həz ə greɪt ənd ˈsɪmpəl tɪ juz fər ˈmɛni θɪŋz, bət ˌɪnˈkludɪŋ ɪt ʤɪst fər ˈeɪˌʤæks ɪz ˈoʊvərˌkɪl. ˈfaɪnəli ðə wɛb həz ə nu ˈneɪtɪv ɔlˈtərnətɪv əˈveɪləbəl. ðɪs ɪz noʊn ɛz ðə fɛʧ ənd ˈɔfərz ə ˈvɛri ˈsɪmpəl weɪ əv ˈgɪtɪŋ ˈkɑntɛnt frəm ðə ˈsərvər wɪθ ˈʤɑvəˌskrɪpt ɪn ðə ˈbraʊzər. ðə ɪz ə haɪ ˈlɛvəl wən ðət həz ə ʤəˈnɛrɪk ˌdɛfəˈnɪʃən əv rɪkˈwɛst ənd rɪˈspɑns ˈɑbʤɛkts. tɪ ˈɛniˌwən juzd tɪ ˈwərkɪŋ wɪθ ðə, ðə ˈkɑnsɛpts ər ˌɪˈmiˌdiətli fəˈmɪljər: kənˈteɪnz ðə fɛʧ() ˈmɛθəd juzd tɪ fɛʧ ə ˈrisɔrs. kənˈteɪnz ðə fɛʧ() ˈmɛθəd juzd tɪ fɛʧ ə ˈrisɔrs. ˈhɛdərz ˌrɛprɪˈzɛnts ˈhɛdərz, əˈlaʊɪŋ ju tɪ kˈwiri ðɛm ənd teɪk ˈdɪfərənt ˈækʃənz dɪˈpɛndɪŋ ɔn ðə rɪˈzəlts. ˌrɛprɪˈzɛnts ˈhɛdərz, əˈlaʊɪŋ ju tɪ kˈwiri ðɛm ənd teɪk ˈdɪfərənt ˈækʃənz dɪˈpɛndɪŋ ɔn ðə rɪˈzəlts. rɪkˈwɛst ˌrɛprɪˈzɛnts ə ˈrisɔrs rɪkˈwɛst. ˌrɛprɪˈzɛnts ə ˈrisɔrs rɪkˈwɛst. rɪˈspɑns: ˌrɛprɪˈzɛnts ðə rɪˈspɑns tɪ ə rɪkˈwɛst. ɪn əˈdɪʃən tɪ ˈstændərd ˈfiʧərz dɪˈvɛləpərz wʊd ɪkˈspɛkt, ðə fɛʧ ˌdɛfəˈnɪʃən ˈhændəlz ˈkloʊsli rɪˈleɪtɪd ˈkɑnsɛpts səʧ ɛz ˈrisɔrs ˈʃɛrɪŋ) ənd ˈɔrəʤən ˈhɛdərz. ðə fɛʧ ɪz əˈveɪləbəl ɪn ðə ˈstændərd ˈwɪndoʊ ˈɑbʤɛkt ənd həz ˈoʊnli ə ˈsɪŋgəl ˈmændəˌtɔri ˈɑrgjəmənt ðə rɪkˈwɛst url*. ðə fɛʧ ˈmɛθəd rɪˈtərnz ə ˈʤɑvəˌskrɪpt ˈprɑməs ðət meɪks ɪt kənˈvinjənt tɪ wərk wɪθ ðə ˈeɪˈsɪŋkrənəs ˈneɪʧər əv rɪkˈwɛsts ɪn ðə ˈbraʊzər ˈkɑntɛkst. wəns ðə rɪˈspɑns ɪz rɪˈsivd, ðɛr ər ə ˈnəmbər əv ˈmɛθədz əˈveɪləbəl ɪn ðə ˈɑbʤɛkt. ˈbraʊzər səˈpɔrt fər ðə fɛʧ ɪz ˈvɛri gʊd wɪθ ˈɛvərˌgrin ˈbraʊzərz səʧ ɛz kroʊm, ɛʤ, ənd ˈɑprə ɔˈrɛdi səˈpɔrtɪŋ ðə ˈfiʧər. ˈɪntərˌnɛt ɪkˈsplɔrər dɪz nɑt səˈpɔrt ðə, bət ðɛr ɪz ə fɛʧ ðət kən bi juzd fər ɪt. |
quote of the day: “opposing the status quo generates a cloak of media invisibility regardless of party or ideology.” steve dasbach, co-founder,
lately, gotten a lot of messages accusing us of being republicans. let me be blunt in response . . .
we like political parties. we believe that partisanship…
and we believe our job is to afflict the comfortable leadership of both parties to speak truth to whichever power needs to hear it.
of course, those criticizing us might be suggesting we have some sympathies with the. well, i ask you…
what leading republicans do you know who would post all of the following new action items on their blog? frankly, the is part of the problem in every one of these instances…
1. now playing at security theater: the sting
did you know that most terrorist plots are concocted by the fbi? want to see the proof, and then do something about it?
retweet:
2. i rage against cuts that cut
the house and senate really “cut” anything. one party is lying about false accomplishments, while the other is hysterical about something that even exist. do you want real cuts?
retweet:
3. statism means always having to pay other bills
did the politicians steal $103 million from you so that other people could get broadband cable? tell them to stop robbing peter to pay paul, and robbing you to pay both of them!
retweet:
4. patriot act deployed against
even we know this is a heresy! you might disagree. the state hates those who expose wrongdoing, and seeks to silence, even punish them. but what republican leader would say this? heck, what democrat leader is defending the free press in this instance? we think the politicians need to hear from you about this. we hope you agree.
retweet:
and, to the people written us, or thought of writing us, saying in the koch pockets…
downsize dc has never solicited koch help
the brothers have never given downsize dc a dime
and, borrowing from the list above, suspended deep thought, lack imagination, and bear a closed mind
we’re doing what done from day one: turning to everyday people like you who will stand with us because speak the hard truth, even when inconvenient.
taking a stand for the right thing is not easy, and our ability to keep doing it requires your help. the truth is, the stands we take often cost us support. so please help us finish off this month with your financial endorsement.
oh, and if the koch brothers want to send us a check, gladly cash it and keep doing the work doing just more of it.
jim babka
president
downsizedc.org, inc.
comments | kwoʊt əv ðə deɪ: ðə ˈstætəs kwoʊ ˈʤɛnərˌeɪts ə kloʊk əv ˈmidiə ˌɪnˌvɪzəˈbɪləti rəˈgɑrdləs əv ˈpɑrti ər ideology.”*.” stiv dasbach*, co-founder*, ˈleɪtli, ˈgɔtən ə lɔt əv ˈmɛsɪʤɪz əˈkjuzɪŋ ˈjuˈɛs əv biɪŋ rɪˈpəblɪkənz. lɛt mi bi blənt ɪn rɪˈspɑns wi laɪk pəˈlɪtɪkəl ˈpɑrtiz. wi bɪˈliv ðət partisanship…*… ənd wi bɪˈliv ɑr ʤɑb ɪz tɪ əˈflɪkt ðə ˈkəmfərtəbəl ˈlidərˌʃɪp əv boʊθ ˈpɑrtiz tɪ spik truθ tɪ wɪˈʧɛvər paʊər nidz tɪ hir ɪt. əv kɔrs, ðoʊz ˈkrɪtɪˌsaɪzɪŋ ˈjuˈɛs maɪt bi səˈʤɛstɪŋ wi hæv səm ˈsɪmpəθiz wɪθ ðə. wɛl, aɪ æsk you…*… wət ˈlidɪŋ rɪˈpəblɪkənz du ju noʊ hu wʊd poʊst ɔl əv ðə ˈfɑloʊɪŋ nu ˈækʃən ˈaɪtəmz ɔn ðɛr blɔg? ˈfræŋkli, ðə ɪz pɑrt əv ðə ˈprɑbləm ɪn ˈɛvəri wən əv ðiz instances…*… 1 naʊ pleɪɪŋ æt sɪˈkjʊrəti ˈθieɪtər: ðə stɪŋ dɪd ju noʊ ðət moʊst ˈtɛrərɪst plɑts ər kənˈkɑktəd baɪ ðə ˈɛfˈbiˈaɪ? wɔnt tɪ si ðə pruf, ənd ðɛn du ˈsəmθɪŋ əˈbaʊt ɪt? retweet*: 2 aɪ reɪʤ əˈgɛnst kəts ðət kət ðə haʊs ənd ˈsɛnɪt ˈrɪli ““cut”*” ˈɛniˌθɪŋ. wən ˈpɑrti ɪz laɪɪŋ əˈbaʊt fɔls əˈkɑmplɪʃmənts, waɪl ðə ˈəðər ɪz hɪˈstɛrɪkəl əˈbaʊt ˈsəmθɪŋ ðət ˈivɪn ɪgˈzɪst. du ju wɔnt ril kəts? retweet*: 3 ˈsteɪˌtɪzəm minz ˈɔlˌweɪz ˈhævɪŋ tɪ peɪ ˈəðər bɪlz dɪd ðə ˌpɑləˈtɪʃənz stil 103 ˈmɪljən frəm ju soʊ ðət ˈəðər ˈpipəl kʊd gɪt ˈbrɔdˌbænd ˈkeɪbəl? tɛl ðɛm tɪ stɑp ˈrɑbɪŋ ˈpitər tɪ peɪ pɔl, ənd ˈrɑbɪŋ ju tɪ peɪ boʊθ əv ðɛm! retweet*: 4 ˈpeɪtriət ækt dɪˈplɔɪd əˈgɛnst ˈivɪn wi noʊ ðɪs ɪz ə ˈhɛrəsi! ju maɪt dɪsəˈgri. ðə steɪt heɪts ðoʊz hu ɪkˈspoʊz ˈrɔŋduɪŋ, ənd siks tɪ ˈsaɪləns, ˈivɪn ˈpənɪʃ ðɛm. bət wət rɪˈpəblɪkən ˈlidər wʊd seɪ ðɪs? hɛk, wət ˈdɛməˌkræt ˈlidər ɪz dɪˈfɛndɪŋ ðə fri prɛs ɪn ðɪs ˈɪnstəns? wi θɪŋk ðə ˌpɑləˈtɪʃənz nid tɪ hir frəm ju əˈbaʊt ðɪs. wi hoʊp ju əˈgri. retweet*: ənd, tɪ ðə ˈpipəl ˈrɪtən ˈjuˈɛs, ər θɔt əv ˈraɪtɪŋ ˈjuˈɛs, seɪɪŋ ɪn ðə kɔʧ pockets…*… ˈdaʊnˌsaɪz ˌdiˈsi həz ˈnɛvər səˈlɪsɪtɪd kɔʧ hɛlp ðə ˈbrəðərz hæv ˈnɛvər ˈgɪvɪn ˈdaʊnˌsaɪz ˌdiˈsi ə daɪm ənd, ˈbɑroʊɪŋ frəm ðə lɪst əˈbəv, səˈspɛndɪd dip θɔt, læk ˌɪˌmæʤəˈneɪʃən, ənd bɛr ə kloʊzd maɪnd duɪŋ wət dən frəm deɪ wən: ˈtərnɪŋ tɪ ˈɛvriˈdeɪ ˈpipəl laɪk ju hu wɪl stænd wɪθ ˈjuˈɛs bɪˈkəz spik ðə hɑrd truθ, ˈivɪn wɪn ˌɪnkənˈvinjənt. ˈteɪkɪŋ ə stænd fər ðə raɪt θɪŋ ɪz nɑt ˈizi, ənd ɑr əˈbɪləˌti tɪ kip duɪŋ ɪt rikˈwaɪərz jʊr hɛlp. ðə truθ ɪz, ðə stændz wi teɪk ˈɔfən kɔst ˈjuˈɛs səˈpɔrt. soʊ pliz hɛlp ˈjuˈɛs ˈfɪnɪʃ ɔf ðɪs mənθ wɪθ jʊr ˌfaɪˈnænʃəl ɛnˈdɔrsmənt. oʊ, ənd ɪf ðə kɔʧ ˈbrəðərz wɔnt tɪ sɛnd ˈjuˈɛs ə ʧɛk, ˈglædli kæʃ ɪt ənd kip duɪŋ ðə wərk duɪŋ ʤɪst mɔr əv ɪt. ʤɪm ˈbæbkə ˈprɛzɪdənt, ɪŋk. ˈkɑmɛnts |
metal or plastic? or lasers? or? it's time to choose between two of the hottest android phones out there this is one of the big questions we find ourselves being asked by buyers which is better, the or the one? both of these high-end android phones have captured the imagination of enthusiasts and technology fans since their announcement, and now both are widely available to buy in the u.s. so there's no avoiding the issue any longer the android central editors are going to have to choose between the and the. join us as we break things down and make our decisions ...
physical hardware and build quality q: both of these devices are physically remarkable. the's sheer size lets it pack a screen, but the one boasts the boasts a uniquely premium metal frame. superficially speaking, whose design do you prefer? alex dobie:'s done a fantastic job creating a phonet's just as and as its competitors. but it's really tough to beat the curved metal of the, tall and slippery though it may be. while's content imitating premium materials with its "metallic," rear, has the real deal, and the feels is unlike any other. there are disadvantages, of course. you're never going to get wireless charging in a phone, and's solid precludes any possibility of swapping your battery. but the's fantastic metal exterior moren makes up for this. this is almost like having to pick a favorite child. phil nickinson: this is almost like having to pick a favorite child. (and to sleep at night, i'd need to throw the moto x into the mix.) for a phone of its size, the wins out on feel. i've got small hands, so big phones have never really been my thing. but the difference between the and the is completely obvious. the simply is easier and more comfortable hold. the might look a little nicer and i'm not convinced most civilians would be able to tell the difference between the's aluminum and the's plastic metal at a glance but the simply is easier to hang onto, full stop. the buttons on the back are still (surprisingly) easy to use. (though was right to "borrow" the feature. the one looks fantastic when sitting on a table, but the rounded body presents issues. andrew martonik: while the one looks pretty okay, absolutely fantastic when it's sitting on a table, suffers somewhat with how smooth and rounded the entire body of the phone is. there's not a whole lot to grip onto, and when you add in the factt the is notably tallern the and the power button is still on the top, it's a recipe for unfortunate drops. has done it again with the when it comes to packing a gigantic screen into a phonet doesn't feelt big. make no mistake though, this is still a huge phone. the plastic treatment is in a different class compared to the glossy stuff covering the, which looks better and definitely helps you hold onto the thing. i still haven't gotten over the back buttons from a standpoint, but i think the has the advantage here in terms of user experience and looks. jerry hildenbrand: am i allowed to prefer the one? i am going to have to pick the here. both phones look very similar from the back, but once in your hand the just feels better. it's not the size, because both phones are a little "long-feeling" but it's the shape especially at the very edge of the phone. there seems to be more meat to grab onto there, and i don't get the feelingt i'm going to drop the like i have whenever i hold the. i don't think the has the "perfect" design. i would have preferred a good plastic over the faux metal thing has going on, and i wish the speaker placement was different, because the way i hold my phone covers the cutout on the back of the phone. but since i have to choose, i'll have to choose the in this one.
display and audio q: the is famed for being among the first "quad hd" handsets to hit the market, while the sticks to a display resolution. what are your thoughts on displays? is it worth it on the? or does's setup contribute to a more experience? the's display size, not it's resolution, is what makes it great. alex: i've said beforet the's display size, not it's resolution, is what makes it great in my opinion. though the panel is impressive, and in some instances you can tell the difference compared to, i can't help thinking the might've been a better phone overall with a screen. the occasional frame rate hiccups i'm seeing likely wouldn't affect a device, and battery life would surely be improved too. then there's the factt the's colors aren't quite as vibrant as many lcds, including the one. the's screen, on the other hand, seems less compromised. it's plenty big at 5 inches, it displays colorst are bright and vivid but not excessively over-saturated, and runs just fine on a snapdragon 801. i guess what' i'm really after is this kind of quality in somethingt's as easy to hold as the. phil: ask me whether i want more pixelsn my eye can actually discern, or whether i want sound to sound better, i'll give you the same answer every time. nothing beats. it changes the way you experience videos and games on a device. i'd gladly trade pixel density especially if the alternative means going back to a mere display ift made it possible to sneak in those excellent speakers. the trick would be in not increasing the overall footprint of the phone. but physical limitations are what they are, at least if you want the sound quality was seeking in this current iteration. andrew: the's screen looks great, but i never found the displays in other devices (including the) to be lacking in any way. i notice the occasional slowdown on the, and it has to be at least partially related to the immense number of pixels the is pushing around. i think could've stuck to and still offered a fantastic viewing experience, while at the same time keeping performance up. i think if the choice is between a display and high-end speakers, the speakers have to win out but then i would ask you whether or not taking up the real estate with those speakers is worth it, either. a display ates is amazing for reading. jerry: most of the time, i don't see a lot of difference between a good display and the display on the. of course, every eye is different but it's my opiniont displays aren't ready to be put out to pasture just yet. there is one area where i see a big and meaningful difference. a display ates is amazing for reading. i've not experienced any of the "sharpening" issues some complain about, and when i snuggle under the covers each night and crack open whichever i'm reading at the moment (i'm trying to get through wake again at the moment)t display just does it for me. a display is great for reading. the's display is downright incredible.
buttons ... q: the and have wildly different button layouts. do you like yours on the top and the side, or on the back? alex: when i first saw the's rear buttons, my initial reaction was to assume it was a gimmick, andt was being different for the sake of being different. i didn't spend much time with the, but within an hour of using its successor, the, something just clicked, and back buttons started making sense. they're easy to reach, located in a natural place for left and right-handed users, and they free up space on the sides of the device. it's one of those featurest sounds crazy until you try it. within an hour of using the, back buttons just made sense. i'm not opposed to more traditional button layouts, but the power button on the, situated way up on the top edge of the device, is one of the more difficult to reach. fortunately both the and the have ways of powering themselves on without the use of a power button. calls it motion launch; on the it's. phil: it's insane. it'll never work. buttons on the back of the phone? but you know what? it works. and it works very well. part oft is because of's knock on (and knock code), which means you don't have to use the power button nearly as often. and, in fact, tapping the display to wake it will spoil you for just about every other device afterward. moving the volume rocker back there along with it works fine, too. and it's important to remembert there's some added functionality they serve as shortcuts to q memo and the camera. is good, but it'll never work 100 percent of the time. andrew: i may be forever scarred from trying to use the verizon back buttons, but i still don't get the appeal here. sure, it lets make the on the justt much slimmer, but i still find it to be an unnecessary hinderance. put the power and volume buttons on the side, make the screen instead, and you'll never have a single hassle turning the phone on and off. is good, but it'll never work 100 percent of the time. knockoff is even more bothersome since you need a blank spot on your or to reach up to the status bar., please put the buttons back where they belong. (and get off my lawn while you're at it.) jerry: i said it with the, and the flex, and i'll say it again buttons on the back are bomb. they take a bit of getting used to, but once your brain and muscle memory is dialed in everything seems much more natural. my index finger feels at home perched on the buttons, which means adjusting the volume or using the quick shortcuts is easy for me. having saidt, when using a more traditional button placement scheme, i still prefer the power button up top. when i want to turn the screen on or off, i know where to do it from and being up there on the means i'm not always bumping it like i do when they are placed on the side.
cameras and image quality q: let's talk about lasers and. these are two handsets with very different approaches to photography. (and different gallery and sharing experiences backing them up.) which one have you preferred to use? the's camera isn't perfect, but in my view it's more balancedn the's. alex: the's camera excels at fast exposures, as well as and indoor photography. in daylight, however,t ceiling starts to become an issue, as does the's relatively narrow dynamic range, and its tendency to capture more visible noisen i'd like. the's camera isn't perfect, but in my view it is much more balanced. it's great in daylight, with an auto mode which engages in shots with very bright areas. and the and ois+ stabilization means it also delivers good-looking shots, and is quicker to focusn just about any phone camera i've used. has an excellent software suite backing up its cameras zoe and video highlights are polished and well-executed. but until the image quality improves, i'm inclined to leave the behind if i know i'm going to be taking photos. phil: i like to think i can get a decent shot out of most cameras. and i've mostly been happy with the result of the one, providedt i've taken the time (or had the time) to compose the shot. andt's not always possible. and i still love the idea of zoes, though managed to make a mess out of them in sense 6, first by sticking the zoe toggle an extra level down, and then by making them more confusing by making them even more like traditional video. (which they always were, but whatever.) and never managed to easily explain video highlights. (and where the hell is the zoe app?) i'm just more consistent with the camera. the app isn't the prettiest in the world, but it's plenty functional. (oddt photo spheres er, panorama disappeared, though.) and a higher resolution just gives optionst a image doesn't. andrew: the one has a great camera on its own, and most people who pick one up and snap a few will be happy.t is, until they try the and compare the photos. the has all the resolution you'll need, along with ois+ and laser. the one the crap out of pictures to make up for its lack of pixels and dynamic range, still has trouble managing exposure and really falls behind in daylight situations compared to its competitors. the has all the resolution you'll need, along with ois, and while the camera app takes a little getting used to it's perfectly functional. jerry: the has a better camera, both on paper and during real-world use. but it's not the better camera for me. the takes pictures faster, and the shots in dim light are better. they aren't perfect, but chances are you'll be able to whip out the and grab a "good enough" picture in a dark room. i spend most of my daylight hours inside working, and spend my in places like restaurants or bars or clubs where the light is low. the does a better job in these conditionsn most other phones, but it's not nearly as good at it as the is.
performance q: we're dealing with two of the fastest android phones out there right now, both running snapdragon 801 processors with plenty of ram. which have you found the fastest in day-to-day use? and perhaps more importantly, how have the and fared in terms of battery life? alex: the one is pretty much the quickest i've used to date. has done an amazing job not just smoothing out animations and screen transitions, but delivering touch responses a big part of what makes a phone feel fast. over on the, things aren't quite so buttery. though apps load quickly, and certain animations are as fast as on any android phone, there's a tendency to drop frames here and theret you just don't see on the.'s flagship isn't slow by any means, but it's clear the one is the speedier device. as far as battery life goes, i've gotten about the same from both phones around 16 hours of use, hopping between wifi and. the seems to give me a little more timen the though this is hard to judge as sense has no way to directly track this stuff. for me, though, convenience factors like the removable battery and wireless charging probably make the a winner on battery life, even though the performance isn't perfect all-round. the one is simply fastern the. period. phil: i don't care why. i don't care how. i don't care what is being used, or whether one's on a slightly different base version of androidn another. i don't caret one has nearly a full 3 gigabytes of ram. the one is simply fastern the. period. maybe it's because the is pushing fewer pixels. maybe the software is just better. all i know is it's faster. and at the end of the day,t's allt matters. andrew: when it comes to software and app performance on a daily basis, nothing can seem to top the one right now the thing just flies. whether you're jumping between a few recent apps, playing a game or just browsing the web, you're really hard pressed to find a slowdown on the. battery life seems strong and most importantly, consistent to get me an entire day's use without hitting the 15 percent mark when i go to bed. the is plenty smooth, but when you compare it to the you can see there's some catching up to do. the, on the other hand, tends to struggle more regularly. on my sprint i notice sluggishness particularly when closing and switching apps, as i assume the system and software just can't keep up with pushingt display. most of the experience is plenty smooth, and i think a lot of people will be happy with it, but when you compare it to the you can seet the has catching up to do. i also haven't had the greatest luck with battery life on the as it seems to be inconsistent from day-to-day, but i have a feeling using this sprint model and bumping between and so often isn't helping. jerry: the is faster. but then again, the is fastern most every other phone. as much as i dislike the design choices in the exterior of the, the software optimizationt was done just blows the rest away when it comes to raw speed while navigating through yours or opening applications. the isn't slow, but it has a stutter every now and then, and it clearly doesn't open applications as fast as the. i'm in the midst of my battery, but so far i have nothing to complain about. once i get past 12 hours on a charge, i know the battery life is good enough for me.
software experience q: sense 6 and the's couldn't be further apart in terms of visual style, and the two software suites offer a divergent array of features, too. who has done the best job when it comes to software? alex: has made huge advances since the, a device which shipped with a schizophrenic, multicolored lessn a year ago. on the the whole interface seems just a little better thought-out, with greater internal consistency and a less appearance.t said, there's still work to be done, and partst don't quite fit into the flattened, geometric whole. sense is clearly the product of a company with design in its dna. sense, on the other hand, is clearly the product of a company with design in its dna. not only is it fast, but all the individual limbs feel like they're part of a cohesive whole. whether it's the home screen reader, more basic applications like the and messages apps, or the gallery app, everything is consistently well-designed. and fort reason i'm giving this one to. phil:'s come a long way in the years i've been using its phones. but sense is still better.t said, i use a launcher on all my phones, sot's a wash. but sense has a more cohesive design. it feels more natural. and, yes, it's just faster to use. made a point of having a sleeker and more unified software experience on the, and the results definitely show. andrew: i think made a point to have a sleeker and more unified software experience on the, and the results definitely show. not only did it ditch the on-screen menu key and some of the crazy flashy animations, but it also gave everything a clean coat of paint. sadly there are still far too many useless features heret just keep popping up and getting in my way, and still needs to exercise some more restraint on its devices going forward. when it comes to devices, still takes the cake in terms of its software experience. not only is performance fantastic (as we talked about above), but everything looks consistent and acts just the way you expect it to. this feels like a real operating system, not just something tacked on top of aosp, and it just keeps getting better with each iteration. jerry: hey! you know how you pared things way back for this version of your os? keep doingt for the next one. i've been using phones since started selling android phones. their was the worst, and it's not just met thinks so. what they delivered on the is fine, and the consumer side of me thinks it's decent.t same consumer side of me thinkst sense 6 is better.
the bottom line q: here's the big question: if you could use only one of these phones for the next year, which would it be? and what's the deciding factor? alex: this is a really tough call, but i have to fall back on the device i think provides the most enjoyable experience out of the box, andt's the one. has the best software, the fastest performance, a screen and unmatched audio capabilities. is it a little slippery? sure, butt's something you adjust to with time, and silver and gold variants are a little less slickn the smoother grey. beyondt, the camera is this phone's only real area of weakness. it's probably the least impressive camera of the current crop of flagships, but the factt i'm willing to put up witht should underscore how awesome the rest of the experience is. in my view it's the better of the two despite its camera, not because of it. on the side of the fence, the occasional software stutters are the's main weakness one the manufacturer could have solved by using a standard panel, or waiting on the more powerful snapdragon 805 processor, which is better equipped to handle a display. (in fact, an is available in korea right now, but says it won't release this model internationally.) i'm a big fan of the, and i think it's very nearly the best android phone out there; for the moment, pips it to the post. both are really, really good phones, each with its particular flaws. but i have to pick one ... phil: andt's the question, isn't it? which phone. the, or the one? both are really, really good phones, each with its particular flaws. but i have to pick one. for me, i'd stick with the one. and a big reason fort is onet we haven't really mentioned here yet, in addition to the ones we did discuss. has come a long way in regards to software updates. we can argue all dayt full-blown system updates aren't as important as they once were (andt's true). but if we had to chose between a phonet has a relatively quick and also important, transparent update process and onet, well, doesn't,'s going to win every time. and so it wins for me here. i'd go with the. andrew: i think i have to go with the here. the's performance skips are annoying sometimes but can be overcome, and the display and camera are both top notch. the software improvements coming from the make this no issue at all to use on a daily basis, and its shape and materials make it easy to hold and use. as much as i love the look of the and its software, the shape and style of the phone just make it too difficult to hold onto and use every day. the camera also comes up short for me, which is really a disappointment for someone who takes as many pictures as i do. jerry: no question, the. i don't have to feel like i'm going to drop it every time i take it out of my pocket, which is important but not the deciding factor for me.t would be those. if i have to use a phone this big, i want as much of it to be screen as possible. what i want is a phone the size of the moto x, with a screen as good as the, and like the and. but i can settle for just the screen in the body. | ˈmɛtəl ər ˈplæstɪk? ər ˈleɪzərz? ər? ɪts taɪm tɪ ʧuz bɪtˈwin tu əv ðə ˈhɑtəst ˈænˌdrɔɪd foʊnz aʊt ðɛr ðɪs ɪz wən əv ðə bɪg kˈwɛsʧənz wi faɪnd ɑrˈsɛlvz biɪŋ æst baɪ baɪərz wɪʧ ɪz ˈbɛtər, ðə ər ðə wən boʊθ əv ðiz haɪɛnd ˈænˌdrɔɪd foʊnz hæv ˈkæpʧərd ðə ˌɪˌmæʤəˈneɪʃən əv ɛnˈθuziˌæsts ənd tɛkˈnɑləʤi fænz sɪns ðɛr əˈnaʊnsmɛnt, ənd naʊ boʊθ ər ˈwaɪdli əˈveɪləbəl tɪ baɪ ɪn ðə juz. soʊ ðɛrz noʊ əˈvɔɪdɪŋ ðə ˈɪʃu ˈɛni ˈlɔŋgər ðə ˈænˌdrɔɪd ˈsɛntrəl ˈɛdɪtərz ər goʊɪŋ tɪ hæv tɪ ʧuz bɪtˈwin ðə ənd ðə ʤɔɪn ˈjuˈɛs ɛz wi breɪk θɪŋz daʊn ənd meɪk ɑr dɪˈsɪʒənz ˈfɪzɪkəl ˈhɑrdˌwɛr ənd bɪld kˈwɑləti kju: boʊθ əv ðiz dɪˈvaɪsɪz ər ˈfɪzɪkəli rɪˈmɑrkəbəl. ðə ʃɪr saɪz lɛts ɪt pæk ə skrin, bət ðə wən boʊsts ðə boʊsts ə juˈnikli ˈprimiəm ˈmɛtəl freɪm. ˈsupərˌfɪʃəli ˈspikɪŋ, huz dɪˈzaɪn du ju prɪˈfər? ˈæləks ˈdɑbi: dən ə fænˈtæstɪk ʤɑb kriˈeɪtɪŋ ə foʊn ðæts ʤɪst ɛz ənd ɛz ɪts kəmˈpɛtɪtərz. bət ɪts ˈrɪli təf tɪ bit ðə kərvd ˈmɛtəl əv ðə tɔl ənd sˈlɪpəri ðoʊ ɪt meɪ bi. waɪl ˈkɑntɛnt ˈɪməˌteɪtɪŋ ˈprimiəm məˈtɪriəlz wɪθ ɪts "məˈtælɪk," rɪr, həz ðə ril dil, ənd ðə filz ɪz ənˈlaɪk ˈɛni ˈəðər. ðɛr ər ˌdɪsədˈvænɪʤz, əv kɔrs. jʊr ˈnɛvər goʊɪŋ tɪ gɪt ˈwaɪrlɪs ˈʧɑrʤɪŋ ɪn ə foʊn, ənd ˈsɑləd prɪˈkludz ˈɛni ˌpɑsəˈbɪləˌti əv sˈwɑpɪŋ jʊr ˈbætəri. bət ðə fænˈtæstɪk ˈmɛtəl ɪkˈstɪriər mɔr ðən meɪks əp fər ðɪs. ðɪs ɪz ˈɔlˌmoʊst laɪk ˈhævɪŋ tɪ pɪk ə ˈfeɪvərɪt ʧaɪld. fɪl nickinson*: ðɪs ɪz ˈɔlˌmoʊst laɪk ˈhævɪŋ tɪ pɪk ə ˈfeɪvərɪt ʧaɪld. (ənd tɪ slip æt naɪt, aɪd nid tɪ θroʊ ðə ˈmoʊtoʊ ɛks ˈɪntu ðə mɪks.) fər ə foʊn əv ɪts saɪz, ðə wɪnz aʊt ɔn fil. aɪv gɑt smɔl hænz, soʊ bɪg foʊnz hæv ˈnɛvər ˈrɪli bɪn maɪ θɪŋ. bət ðə ˈdɪfərəns bɪtˈwin ðə ənd ðə ɪz kəmˈplitli ˈɑbviəs. ðə ˈsɪmpli ɪz ˈiziər ənd mɔr ˈkəmfərtəbəl hoʊld. ðə maɪt lʊk ə ˈlɪtəl ˈnaɪsər ənd əm nɑt kənˈvɪnst moʊst səˈvɪljənz wʊd bi ˈeɪbəl tɪ tɛl ðə ˈdɪfərəns bɪtˈwin ðə əˈlumənəm ənd ðə ˈplæstɪk ˈmɛtəl æt ə glæns bət ðə ˈsɪmpli ɪz ˈiziər tɪ hæŋ ˈɔntu, fʊl stɑp. ðə ˈbətənz ɔn ðə bæk ər stɪl (səˈpraɪzɪŋli) ˈizi tɪ juz. (ðoʊ wɑz raɪt tɪ "ˈbɑˌroʊ" ðə ˈfiʧər. ðə wən lʊks fænˈtæstɪk wɪn ˈsɪtɪŋ ɔn ə ˈteɪbəl, bət ðə ˈraʊndɪd ˈbɑdi ˈprɛzənts ˈɪʃuz. ˈændru martonik*: waɪl ðə wən lʊks ˈprɪti ˌoʊˈkeɪ, ˌæbsəˈlutli fænˈtæstɪk wɪn ɪts ˈsɪtɪŋ ɔn ə ˈteɪbəl, ˈsəfərz ˈsəmˈwət wɪθ haʊ smuð ənd ˈraʊndɪd ðə ɪnˈtaɪər ˈbɑdi əv ðə foʊn ɪz. ðɛrz nɑt ə hoʊl lɔt tɪ grɪp ˈɔntu, ənd wɪn ju æd ɪn ðə fækt ðət ðə ɪz ˈnoʊtəbli ˈtɔlər ðən ðə ənd ðə paʊər ˈbətən ɪz stɪl ɔn ðə tɔp, ɪts ə ˈrɛsəpi fər ənˈfɔrʧənət drɑps. həz dən ɪt əˈgɛn wɪθ ðə wɪn ɪt kəmz tɪ ˈpækɪŋ ə ʤaɪˈgænɪk skrin ˈɪntu ə foʊn ðət ˈdəzənt fil ðət bɪg. meɪk noʊ mɪˈsteɪk ðoʊ, ðɪs ɪz stɪl ə juʤ foʊn. ðə ˈplæstɪk ˈtritmənt ɪz ɪn ə ˈdɪfərənt klæs kəmˈpɛrd tɪ ðə ˈglɔsi stəf ˈkəvərɪŋ ðə wɪʧ lʊks ˈbɛtər ənd ˈdɛfənətli hɛlps ju hoʊld ˈɔntu ðə θɪŋ. aɪ stɪl ˈhævənt ˈgɔtən ˈoʊvər ðə bæk ˈbətənz frəm ə ˈstændˌpɔɪnt, bət aɪ θɪŋk ðə həz ðə ædˈvæntɪʤ hir ɪn tərmz əv ˈjuzər ɪkˈspɪriəns ənd lʊks. ˈʤɛri ˈhɪldɪnbrənd: æm aɪ əˈlaʊd tɪ prɪˈfər ðə wən aɪ æm goʊɪŋ tɪ hæv tɪ pɪk ðə hir. boʊθ foʊnz lʊk ˈvɛri ˈsɪmələr frəm ðə bæk, bət wəns ɪn jʊr hænd ðə ʤɪst filz ˈbɛtər. ɪts nɑt ðə saɪz, bɪˈkəz boʊθ foʊnz ər ə ˈlɪtəl "long-feeling*" bət ɪts ðə ʃeɪp əˈspɛʃəli æt ðə ˈvɛri ɛʤ əv ðə foʊn. ðɛr simz tɪ bi mɔr mit tɪ græb ˈɔntu ðɛr, ənd aɪ doʊnt gɪt ðə ˈfilɪŋ ðət əm goʊɪŋ tɪ drɔp ðə laɪk aɪ hæv wɛˈnɛvər aɪ hoʊld ðə aɪ doʊnt θɪŋk ðə həz ðə "ˈpərˌfɪkt" dɪˈzaɪn. aɪ wʊd hæv prɪˈfərd ə gʊd ˈplæstɪk ˈoʊvər ðə foʊ ˈmɛtəl θɪŋ həz goʊɪŋ ɔn, ənd aɪ wɪʃ ðə ˈspikər ˈpleɪsmənt wɑz ˈdɪfərənt, bɪˈkəz ðə weɪ aɪ hoʊld maɪ foʊn ˈkəvərz ðə ˈkəˌtaʊt ɔn ðə bæk əv ðə foʊn. bət sɪns aɪ hæv tɪ ʧuz, aɪl hæv tɪ ʧuz ðə ɪn ðɪs wən. dɪˈspleɪ ənd ˈɑdiˌoʊ kju: ðə ɪz feɪmd fər biɪŋ əˈməŋ ðə fərst "kwɑd hd*" ˈhændˌsɛts tɪ hɪt ðə ˈmɑrkɪt, waɪl ðə stɪks tɪ ə dɪˈspleɪ ˌrɛzəˈluʃən. wət ər jʊr θɔts ɔn dɪˈspleɪz? ɪz ɪt wərθ ɪt ɔn ðə ər dɪz ˈsɛˌtəp kənˈtrɪbjut tɪ ə mɔr ɪkˈspɪriəns? ðə dɪˈspleɪ saɪz, nɑt ɪts ˌrɛzəˈluʃən, ɪz wət meɪks ɪt greɪt. ˈæləks: aɪv sɛd ˌbiˈfɔr ðət ðə dɪˈspleɪ saɪz, nɑt ɪts ˌrɛzəˈluʃən, ɪz wət meɪks ɪt greɪt ɪn maɪ əˈpɪnjən. ðoʊ ðə ˈpænəl ɪz ˌɪmˈprɛsɪv, ənd ɪn səm ˈɪnstənsɪz ju kən tɛl ðə ˈdɪfərəns kəmˈpɛrd tɪ, aɪ kænt hɛlp ˈθɪŋkɪŋ ðə ˈmaɪtəv bɪn ə ˈbɛtər foʊn ˈoʊvərˌɔl wɪθ ə skrin. ðə ɔˈkeɪʒənəl freɪm reɪt ˈhɪkəps əm siɪŋ ˈlaɪkli ˈwʊdənt əˈfɛkt ə dɪˈvaɪs, ənd ˈbætəri laɪf wʊd ˈʃʊrli bi ˌɪmˈpruvd tu. ðɛn ðɛrz ðə fækt ðət ðə ˈkələrz ˈɑrənt kwaɪt ɛz ˈvaɪbrənt ɛz ˈmɛni lcds*, ˌɪnˈkludɪŋ ðə wən ðə skrin, ɔn ðə ˈəðər hænd, simz lɛs ˈkɑmprəˌmaɪzd. ɪts ˈplɛnti bɪg æt 5 ˈɪnʧɪz, ɪt dɪˈspleɪz ˈkələrz ðət ər braɪt ənd ˈvɪvɪd bət nɑt ɪkˈsɛsɪvli over-saturated*, ənd rənz ʤɪst faɪn ɔn ə sˈnæpˌdrægən 801 aɪ gɛs wət' əm ˈrɪli ˈæftər ɪz ðɪs kaɪnd əv kˈwɑləti ɪn ˈsəmθɪŋ ðæts ɛz ˈizi tɪ hoʊld ɛz ðə fɪl: æsk mi ˈwɛðər aɪ wɔnt mɔr ˈpɪksəlz ðən maɪ aɪ kən ˈæˌkʧuəli dɪˈsərn, ər ˈwɛðər aɪ wɔnt saʊnd tɪ saʊnd ˈbɛtər, aɪl gɪv ju ðə seɪm ˈænsər ˈɛvəri taɪm. ˈnəθɪŋ bits. ɪt ˈʧeɪnʤɪz ðə weɪ ju ɪkˈspɪriəns ˈvɪdioʊz ənd geɪmz ɔn ə dɪˈvaɪs. aɪd ˈglædli treɪd ˈpɪksəl ˈdɛnsɪti əˈspɛʃəli ɪf ðə ɔlˈtərnətɪv minz goʊɪŋ bæk tɪ ə mɪr dɪˈspleɪ ɪf ðət meɪd ɪt ˈpɑsəbəl tɪ snik ɪn ðoʊz ˈɛksələnt ˈspikərz. ðə trɪk wʊd bi ɪn nɑt ˌɪnˈkrisɪŋ ðə ˈoʊvərˌɔl ˈfʊtˌprɪnt əv ðə foʊn. bət ˈfɪzɪkəl ˌlɪmɪˈteɪʃənz ər wət ðeɪ ər, æt list ɪf ju wɔnt ðə saʊnd kˈwɑləti wɑz ˈsikɪŋ ɪn ðɪs ˈkɑrənt ˌɪtəˈreɪʃən. ˈændru: ðə skrin lʊks greɪt, bət aɪ ˈnɛvər faʊnd ðə dɪˈspleɪz ɪn ˈəðər dɪˈvaɪsɪz (ˌɪnˈkludɪŋ ðə tɪ bi ˈlækɪŋ ɪn ˈɛni weɪ. aɪ ˈnoʊtɪs ðə ɔˈkeɪʒənəl sˈloʊˌdaʊn ɔn ðə ənd ɪt həz tɪ bi æt list ˈpɑrʃəli rɪˈleɪtɪd tɪ ðə ˌɪˈmɛns ˈnəmbər əv ˈpɪksəlz ðə ɪz ˈpʊʃɪŋ əraʊnd. aɪ θɪŋk ˈkʊdəv stək tɪ ənd stɪl ˈɔfərd ə fænˈtæstɪk vjuɪŋ ɪkˈspɪriəns, waɪl æt ðə seɪm taɪm ˈkipɪŋ pərˈfɔrməns əp. aɪ θɪŋk ɪf ðə ʧɔɪs ɪz bɪtˈwin ə dɪˈspleɪ ənd haɪɛnd ˈspikərz, ðə ˈspikərz hæv tɪ wɪn aʊt bət ðɛn aɪ wʊd æsk ju ˈwɛðər ər nɑt ˈteɪkɪŋ əp ðə ril ɛˈsteɪt wɪθ ðoʊz ˈspikərz ɪz wərθ ɪt, ˈiðər. ə dɪˈspleɪ æt ɪz əˈmeɪzɪŋ fər ˈrɛdɪŋ. ˈʤɛri: moʊst əv ðə taɪm, aɪ doʊnt si ə lɔt əv ˈdɪfərəns bɪtˈwin ə gʊd dɪˈspleɪ ənd ðə dɪˈspleɪ ɔn ðə əv kɔrs, ˈɛvəri aɪ ɪz ˈdɪfərənt bət ɪts maɪ əˈpɪnjən ðət dɪˈspleɪz ˈɑrənt ˈrɛdi tɪ bi pʊt aʊt tɪ ˈpæsʧər ʤɪst jɛt. ðɛr ɪz wən ˈɛriə wɛr aɪ si ə bɪg ənd ˈminɪŋfəl ˈdɪfərəns. ə dɪˈspleɪ æt ɪz əˈmeɪzɪŋ fər ˈrɛdɪŋ. aɪv nɑt ɪkˈspɪriənst ˈɛni əv ðə "ˈʃɑrpənɪŋ" ˈɪʃuz səm kəmˈpleɪn əˈbaʊt, ənd wɪn aɪ sˈnəgəl ˈəndər ðə ˈkəvərz iʧ naɪt ənd kræk ˈoʊpən wɪˈʧɛvər əm ˈrɛdɪŋ æt ðə ˈmoʊmənt (əm traɪɪŋ tɪ gɪt θru weɪk əˈgɛn æt ðə ˈmoʊmənt) ðət dɪˈspleɪ ʤɪst dɪz ɪt fər mi. ə dɪˈspleɪ ɪz greɪt fər ˈrɛdɪŋ. ðə dɪˈspleɪ ɪz ˈdaʊnˌraɪt ˌɪnˈkrɛdəbəl. ˈbətənz kju: ðə ənd hæv ˈwaɪldli ˈdɪfərənt ˈbətən leɪaʊts. du ju laɪk jʊrz ɔn ðə tɔp ənd ðə saɪd, ər ɔn ðə bæk? ˈæləks: wɪn aɪ fərst sɔ ðə rɪr ˈbətənz, maɪ ˌɪˈnɪʃəl riˈækʃən wɑz tɪ əˈsum ɪt wɑz ə ˈgɪmɪk, ənd ðət wɑz biɪŋ ˈdɪfərənt fər ðə seɪk əv biɪŋ ˈdɪfərənt. aɪ ˈdɪdənt spɛnd məʧ taɪm wɪθ ðə bət wɪˈθɪn ən aʊər əv ˈjuzɪŋ ɪts səkˈsɛsər, ðə ˈsəmθɪŋ ʤɪst klɪkt, ənd bæk ˈbətənz ˈstɑrtɪd ˈmeɪkɪŋ sɛns. ðɛr ˈizi tɪ riʧ, ˈloʊˌkeɪtəd ɪn ə ˈnæʧərəl pleɪs fər lɛft ənd raɪˈthændɪd ˈjuzərz, ənd ðeɪ fri əp speɪs ɔn ðə saɪdz əv ðə dɪˈvaɪs. ɪts wən əv ðoʊz ˈfiʧərz ðət saʊnz ˈkreɪzi ənˈtɪl ju traɪ ɪt. wɪˈθɪn ən aʊər əv ˈjuzɪŋ ðə bæk ˈbətənz ʤɪst meɪd sɛns. əm nɑt əˈpoʊzd tɪ mɔr trəˈdɪʃənəl ˈbətən leɪaʊts, bət ðə paʊər ˈbətən ɔn ðə ˈsɪʧuˌeɪtɪd weɪ əp ɔn ðə tɔp ɛʤ əv ðə dɪˈvaɪs, ɪz wən əv ðə mɔr ˈdɪfəkəlt tɪ riʧ. ˈfɔrʧənətli boʊθ ðə ənd ðə hæv weɪz əv paʊərɪŋ ðɛmˈsɛlvz ɔn wɪˈθaʊt ðə juz əv ə paʊər ˈbətən. kɔlz ɪt ˈmoʊʃən lɔnʧ; ɔn ðə ɪts. fɪl: ɪts ˌɪnˈseɪn. ˈɪtəl ˈnɛvər wərk. ˈbətənz ɔn ðə bæk əv ðə foʊn? bət ju noʊ wət? ɪt wərks. ənd ɪt wərks ˈvɛri wɛl. pɑrt əv ðət ɪz bɪˈkəz əv nɑk ɔn (ənd nɑk koʊd), wɪʧ minz ju doʊnt hæv tɪ juz ðə paʊər ˈbətən ˈnɪrli ɛz ˈɔfən. ənd, ɪn fækt, ˈtæpɪŋ ðə dɪˈspleɪ tɪ weɪk ɪt wɪl spɔɪl ju fər ʤɪst əˈbaʊt ˈɛvəri ˈəðər dɪˈvaɪs ˈæftərwərd. ˈmuvɪŋ ðə ˈvɑljum ˈrɑkər bæk ðɛr əˈlɔŋ wɪθ ɪt wərks faɪn, tu. ənd ɪts ˌɪmˈpɔrtənt tɪ rɪˈmɛmbər ðət ðɛrz səm ˈædɪd ˌfəŋkʃəˈnælɪti ðeɪ sərv ɛz ˈʃɔrtˌkəts tɪ kju ˈmɛˌmoʊ ənd ðə ˈkæmərə. ɪz gʊd, bət ˈɪtəl ˈnɛvər wərk 100 pərˈsɛnt əv ðə taɪm. ˈændru: aɪ meɪ bi fərˈɛvər skɑrd frəm traɪɪŋ tɪ juz ðə ˌvɛˈraɪzən bæk ˈbətənz, bət aɪ stɪl doʊnt gɪt ðə əˈpil hir. ʃʊr, ɪt lɛts meɪk ðə ɔn ðə ʤɪst ðət məʧ sˈlɪmər, bət aɪ stɪl faɪnd ɪt tɪ bi ən ənˈnɛsəˌsɛri hinderance*. pʊt ðə paʊər ənd ˈvɑljum ˈbətənz ɔn ðə saɪd, meɪk ðə skrin ˌɪnˈstɛd, ənd jul ˈnɛvər hæv ə ˈsɪŋgəl ˈhæsəl ˈtərnɪŋ ðə foʊn ɔn ənd ɔf. ɪz gʊd, bət ˈɪtəl ˈnɛvər wərk 100 pərˈsɛnt əv ðə taɪm. ˈnɑˌkɔf ɪz ˈivɪn mɔr ˈbɑðərsəm sɪns ju nid ə blæŋk spɑt ɔn jʊr ər tɪ riʧ əp tɪ ðə ˈstætəs bɑr., pliz pʊt ðə ˈbətənz bæk wɛr ðeɪ bɪˈlɔŋ. (ənd gɪt ɔf maɪ lɔn waɪl jʊr æt ɪt.) ˈʤɛri: aɪ sɛd ɪt wɪθ ðə ənd ðə flɛks, ənd aɪl seɪ ɪt əˈgɛn ˈbətənz ɔn ðə bæk ər bɔm. ðeɪ teɪk ə bɪt əv ˈgɪtɪŋ juzd tɪ, bət wəns jʊr breɪn ənd ˈməsəl ˈmɛməri ɪz daɪəld ɪn ˈɛvriˌθɪŋ simz məʧ mɔr ˈnæʧərəl. maɪ ˈɪndɛks ˈfɪŋgər filz æt hoʊm pərʧt ɔn ðə ˈbətənz, wɪʧ minz əˈʤəstɪŋ ðə ˈvɑljum ər ˈjuzɪŋ ðə kwɪk ˈʃɔrtˌkəts ɪz ˈizi fər mi. ˈhævɪŋ sɛd ðət, wɪn ˈjuzɪŋ ə mɔr trəˈdɪʃənəl ˈbətən ˈpleɪsmənt skim, aɪ stɪl prɪˈfər ðə paʊər ˈbətən əp tɔp. wɪn aɪ wɔnt tɪ tərn ðə skrin ɔn ər ɔf, aɪ noʊ wɛr tɪ du ɪt frəm ənd biɪŋ əp ðɛr ɔn ðə minz əm nɑt ˈɔlˌweɪz ˈbəmpɪŋ ɪt laɪk aɪ du wɪn ðeɪ ər pleɪst ɔn ðə saɪd. ˈkæmərəz ənd ˈɪmɪʤ kˈwɑləti kju: lɛts tɔk əˈbaʊt ˈleɪzərz ənd. ðiz ər tu ˈhændˌsɛts wɪθ ˈvɛri ˈdɪfərənt əˈproʊʧɪz tɪ fəˈtɑgrəfi. (ənd ˈdɪfərənt ˈgæləri ənd ˈʃɛrɪŋ ɪkˈspɪriənsɪz ˈbækɪŋ ðɛm əp.) wɪʧ wən hæv ju prɪˈfərd tɪ juz? ðə ˈkæmərə ˈɪzənt ˈpərˌfɪkt, bət ɪn maɪ vju ɪts mɔr ˈbælənst ðən ðə. ˈæləks: ðə ˈkæmərə ɪkˈsɛlz æt fæst ɪkˈspoʊʒərz, ɛz wɛl ɛz ənd ˈɪnˌdɔr fəˈtɑgrəfi. ɪn ˈdeɪˌlaɪt, ˌhaʊˈɛvər, ðət ˈsilɪŋ stɑrts tɪ bɪˈkəm ən ˈɪʃu, ɛz dɪz ðə ˈrɛlətɪvli ˈnɛroʊ daɪˈnæmɪk reɪnʤ, ənd ɪts ˈtɛndənsi tɪ ˈkæpʧər mɔr ˈvɪzəbəl nɔɪz ðən aɪd laɪk. ðə ˈkæmərə ˈɪzənt ˈpərˌfɪkt, bət ɪn maɪ vju ɪt ɪz məʧ mɔr ˈbælənst. ɪts greɪt ɪn ˈdeɪˌlaɪt, wɪθ ən ˈɔtoʊ moʊd wɪʧ ɪnˈgeɪʤɪz ɪn ʃɑts wɪθ ˈvɛri braɪt ˈɛriəz. ənd ðə ənd ois*+ ˌsteɪbələˈzeɪʃən minz ɪt ˈɔlsoʊ dɪˈlɪvərz ˈgʊˌdlʊkɪŋ ʃɑts, ənd ɪz kˈwɪkər tɪ ˈfoʊkɪs ðən ʤɪst əˈbaʊt ˈɛni foʊn ˈkæmərə aɪv juzd. həz ən ˈɛksələnt ˈsɔfˌwɛr swit ˈbækɪŋ əp ɪts ˈkæmərəz zoʊi ənd ˈvɪdioʊ ˈhaɪˌlaɪts ər ˈpɑlɪʃt ənd well-executed*. bət ənˈtɪl ðə ˈɪmɪʤ kˈwɑləti ˌɪmˈpruvz, əm ˌɪnˈklaɪnd tɪ liv ðə bɪˈhaɪnd ɪf aɪ noʊ əm goʊɪŋ tɪ bi ˈteɪkɪŋ ˈfoʊˌtoʊz. fɪl: aɪ laɪk tɪ θɪŋk aɪ kən gɪt ə ˈdisənt ʃɑt aʊt əv moʊst ˈkæmərəz. ənd aɪv ˈmoʊstli bɪn ˈhæpi wɪθ ðə rɪˈzəlt əv ðə wən prəˈvaɪdɪd ðət aɪv ˈteɪkən ðə taɪm (ər hæd ðə taɪm) tɪ kəmˈpoʊz ðə ʃɑt. ənd ðæts nɑt ˈɔlˌweɪz ˈpɑsəbəl. ənd aɪ stɪl ləv ðə aɪˈdiə əv zoes*, ðoʊ ˈmænɪʤd tɪ meɪk ə mɛs aʊt əv ðɛm ɪn sɛns 6 fərst baɪ ˈstɪkɪŋ ðə zoʊi ˈtɑgəl ən ˈɛkstrə ˈlɛvəl daʊn, ənd ðɛn baɪ ˈmeɪkɪŋ ðɛm mɔr kənfˈjuzɪŋ baɪ ˈmeɪkɪŋ ðɛm ˈivɪn mɔr laɪk trəˈdɪʃənəl ˈvɪdioʊ. (wɪʧ ðeɪ ˈɔlˌweɪz wər, bət ˌwəˈtɛvər.) ənd ˈnɛvər ˈmænɪʤd tɪ ˈizəli ɪkˈspleɪn ˈvɪdioʊ ˈhaɪˌlaɪts. (ənd wɛr ðə hɛl ɪz ðə zoʊi æp?) əm ʤɪst mɔr kənˈsɪstənt wɪθ ðə ˈkæmərə. ðə æp ˈɪzənt ðə ˈprɪtiəst ɪn ðə wərld, bət ɪts ˈplɛnti ˈfəŋkʃənəl. (ɑd ðət ˈfoʊˌtoʊ sfɪrz ər, ˌpænərˈæmə ˌdɪsəˈpɪrd, ðoʊ.) ənd ə haɪər ˌrɛzəˈluʃən ʤɪst gɪvz ˈɔpʃənz ðət ə ˈɪmɪʤ ˈdəzənt. ˈændru: ðə wən həz ə greɪt ˈkæmərə ɔn ɪts oʊn, ənd moʊst ˈpipəl hu pɪk wən əp ənd snæp ə fju wɪl bi ˈhæpi. ðət ɪz, ənˈtɪl ðeɪ traɪ ðə ənd kəmˈpɛr ðə ˈfoʊˌtoʊz. ðə həz ɔl ðə ˌrɛzəˈluʃən jul nid, əˈlɔŋ wɪθ ois*+ ənd ˈleɪzər. ðə wən ðə kræp aʊt əv ˈpɪkʧərz tɪ meɪk əp fər ɪts læk əv ˈpɪksəlz ənd daɪˈnæmɪk reɪnʤ, stɪl həz ˈtrəbəl ˈmænəʤɪŋ ɪkˈspoʊʒər ənd ˈrɪli fɔlz bɪˈhaɪnd ɪn ˈdeɪˌlaɪt ˌsɪʧuˈeɪʃənz kəmˈpɛrd tɪ ɪts kəmˈpɛtɪtərz. ðə həz ɔl ðə ˌrɛzəˈluʃən jul nid, əˈlɔŋ wɪθ ois*, ənd waɪl ðə ˈkæmərə æp teɪks ə ˈlɪtəl ˈgɪtɪŋ juzd tɪ ɪts ˈpərfəktli ˈfəŋkʃənəl. ˈʤɛri: ðə həz ə ˈbɛtər ˈkæmərə, boʊθ ɔn ˈpeɪpər ənd ˈdʊrɪŋ ˈrilˌwərld juz. bət ɪts nɑt ðə ˈbɛtər ˈkæmərə fər mi. ðə teɪks ˈpɪkʧərz ˈfæstər, ənd ðə ʃɑts ɪn dɪm laɪt ər ˈbɛtər. ðeɪ ˈɑrənt ˈpərˌfɪkt, bət ˈʧænsɪz ər jul bi ˈeɪbəl tɪ wɪp aʊt ðə ənd græb ə "gʊd ɪˈnəf" ˈpɪkʧər ɪn ə dɑrk rum. aɪ spɛnd moʊst əv maɪ ˈdeɪˌlaɪt aʊərz ˌɪnˈsaɪd ˈwərkɪŋ, ənd spɛnd maɪ ɪn ˈpleɪsɪz laɪk ˈrɛˌstrɑnts ər bɑrz ər kləbz wɛr ðə laɪt ɪz loʊ. ðə dɪz ə ˈbɛtər ʤɑb ɪn ðiz kənˈdɪʃənz ðən moʊst ˈəðər foʊnz, bət ɪts nɑt ˈnɪrli ɛz gʊd æt ɪt ɛz ðə ɪz. pərˈfɔrməns kju: wɪr ˈdilɪŋ wɪθ tu əv ðə ˈfæstəst ˈænˌdrɔɪd foʊnz aʊt ðɛr raɪt naʊ, boʊθ ˈrənɪŋ sˈnæpˌdrægən 801 ˈprɑˌsɛsərz wɪθ ˈplɛnti əv ræm. wɪʧ hæv ju faʊnd ðə ˈfæstəst ɪn ˈdeɪtuˌdeɪ juz? ənd pərˈhæps mɔr ˌɪmˈpɔrtəntli, haʊ hæv ðə ənd fɛrd ɪn tərmz əv ˈbætəri laɪf? ˈæləks: ðə wən ɪz ˈprɪti məʧ ðə kˈwɪkɪst aɪv juzd tɪ deɪt. həz dən ən əˈmeɪzɪŋ ʤɑb nɑt ʤɪst sˈmuðɪŋ aʊt ˌænəˈmeɪʃənz ənd skrin trænˈzɪʃənz, bət dɪˈlɪvərɪŋ təʧ rɪˈspɑnsɪz ə bɪg pɑrt əv wət meɪks ə foʊn fil fæst. ˈoʊvər ɔn ðə θɪŋz ˈɑrənt kwaɪt soʊ ˈbətəri. ðoʊ æps loʊd kˈwɪkli, ənd ˈsərtən ˌænəˈmeɪʃənz ər ɛz fæst ɛz ɔn ˈɛni ˈænˌdrɔɪd foʊn, ðɛrz ə ˈtɛndənsi tɪ drɔp freɪmz hir ənd ðɛr ðət ju ʤɪst doʊnt si ɔn ðə ˈflægˌʃɪp ˈɪzənt sloʊ baɪ ˈɛni minz, bət ɪts klɪr ðə wən ɪz ðə ˈspidiər dɪˈvaɪs. ɛz fɑr ɛz ˈbætəri laɪf goʊz, aɪv ˈgɔtən əˈbaʊt ðə seɪm frəm boʊθ foʊnz əraʊnd 16 aʊərz əv juz, ˈhɑpɪŋ bɪtˈwin ˈwiˌfi ənd. ðə simz tɪ gɪv mi ə ˈlɪtəl mɔr taɪm ðən ðə ðoʊ ðɪs ɪz hɑrd tɪ ʤəʤ ɛz sɛns həz noʊ weɪ tɪ dɪˈrɛkli træk ðɪs stəf. fər mi, ðoʊ, kənˈvinjəns ˈfæktərz laɪk ðə rɪˈmuvəbəl ˈbætəri ənd ˈwaɪrlɪs ˈʧɑrʤɪŋ ˈprɑbəˌbli meɪk ðə ə ˈwɪnər ɔn ˈbætəri laɪf, ˈivɪn ðoʊ ðə pərˈfɔrməns ˈɪzənt ˈpərˌfɪkt all-round*. ðə wən ɪz ˈsɪmpli ˈfæstər ðən ðə ˈpɪriəd. fɪl: aɪ doʊnt kɛr waɪ. aɪ doʊnt kɛr haʊ. aɪ doʊnt kɛr wət ɪz biɪŋ juzd, ər ˈwɛðər wənz ɔn ə sˈlaɪtli ˈdɪfərənt beɪs ˈvərʒən əv ˈænˌdrɔɪd ðən əˈnəðər. aɪ doʊnt kɛr ðət wən həz ˈnɪrli ə fʊl 3 ˈgɪgəˌbaɪts əv ræm. ðə wən ɪz ˈsɪmpli ˈfæstər ðən ðə ˈpɪriəd. ˈmeɪbi ɪts bɪˈkəz ðə ɪz ˈpʊʃɪŋ fjuər ˈpɪksəlz. ˈmeɪbi ðə ˈsɔfˌwɛr ɪz ʤɪst ˈbɛtər. ɔl aɪ noʊ ɪz ɪts ˈfæstər. ənd æt ðə ɛnd əv ðə deɪ, ðæts ɔl ðət ˈmætərz. ˈændru: wɪn ɪt kəmz tɪ ˈsɔfˌwɛr ənd æp pərˈfɔrməns ɔn ə ˈdeɪli ˈbeɪsɪs, ˈnəθɪŋ kən sim tɪ tɔp ðə wən raɪt naʊ ðə θɪŋ ʤɪst flaɪz. ˈwɛðər jʊr ˈʤəmpɪŋ bɪtˈwin ə fju ˈrisənt æps, pleɪɪŋ ə geɪm ər ʤɪst ˈbraʊzɪŋ ðə wɛb, jʊr ˈrɪli hɑrd prɛst tɪ faɪnd ə sˈloʊˌdaʊn ɔn ðə ˈbætəri laɪf simz strɔŋ ənd moʊst ˌɪmˈpɔrtəntli, kənˈsɪstənt tɪ gɪt mi ən ɪnˈtaɪər deɪz juz wɪˈθaʊt ˈhɪtɪŋ ðə 15 pərˈsɛnt mɑrk wɪn aɪ goʊ tɪ bɛd. ðə ɪz ˈplɛnti smuð, bət wɪn ju kəmˈpɛr ɪt tɪ ðə ju kən si ðɛrz səm ˈkæʧɪŋ əp tɪ du. ðə ɔn ðə ˈəðər hænd, tɛndz tɪ ˈstrəgəl mɔr ˈrɛgjələrli. ɔn maɪ sprɪnt aɪ ˈnoʊtɪs sˈləgɪʃnəs ˌpɑrˈtɪkjələrli wɪn ˈkloʊzɪŋ ənd sˈwɪʧɪŋ æps, ɛz aɪ əˈsum ðə ˈsɪstəm ənd ˈsɔfˌwɛr ʤɪst kænt kip əp wɪθ ˈpʊʃɪŋ ðət dɪˈspleɪ. moʊst əv ðə ɪkˈspɪriəns ɪz ˈplɛnti smuð, ənd aɪ θɪŋk ə lɔt əv ˈpipəl wɪl bi ˈhæpi wɪθ ɪt, bət wɪn ju kəmˈpɛr ɪt tɪ ðə ju kən si ðət ðə həz ˈkæʧɪŋ əp tɪ du. aɪ ˈɔlsoʊ ˈhævənt hæd ðə ˈgreɪtəst lək wɪθ ˈbætəri laɪf ɔn ðə ɛz ɪt simz tɪ bi ˌɪnkənˈsɪstənt frəm ˈdeɪtuˌdeɪ, bət aɪ hæv ə ˈfilɪŋ ˈjuzɪŋ ðɪs sprɪnt ˈmɑdəl ənd ˈbəmpɪŋ bɪtˈwin ənd soʊ ˈɔfən ˈɪzənt ˈhɛlpɪŋ. ˈʤɛri: ðə ɪz ˈfæstər. bət ðɛn əˈgɛn, ðə ɪz ˈfæstər ðən moʊst ˈɛvəri ˈəðər foʊn. ɛz məʧ ɛz aɪ dɪsˈlaɪk ðə dɪˈzaɪn ˈʧɔɪsɪz ɪn ðə ɪkˈstɪriər əv ðə ðə ˈsɔfˌwɛr ɑptɪmɪˈzeɪʃən ðət wɑz dən ʤɪst bloʊz ðə rɛst əˈweɪ wɪn ɪt kəmz tɪ rɑ spid waɪl ˈnævəˌgeɪtɪŋ θru jʊr ər ˈoʊpənɪŋ ˌæpləˈkeɪʃənz. ðə ˈɪzənt sloʊ, bət ɪt həz ə ˈstətər ˈɛvəri naʊ ənd ðɛn, ənd ɪt ˈklɪrli ˈdəzənt ˈoʊpən ˌæpləˈkeɪʃənz ɛz fæst ɛz ðə əm ɪn ðə mɪst əv maɪ ˈbætəri, bət soʊ fɑr aɪ hæv ˈnəθɪŋ tɪ kəmˈpleɪn əˈbaʊt. wəns aɪ gɪt pæst 12 aʊərz ɔn ə ʧɑrʤ, aɪ noʊ ðə ˈbætəri laɪf ɪz gʊd ɪˈnəf fər mi. ˈsɔfˌwɛr ɪkˈspɪriəns kju: sɛns 6 ənd ðə ˈkʊdənt bi ˈfərðər əˈpɑrt ɪn tərmz əv ˈvɪʒəwəl staɪl, ənd ðə tu ˈsɔfˌwɛr swits ˈɔfər ə dɪˈvərʤənt əreɪ əv ˈfiʧərz, tu. hu həz dən ðə bɛst ʤɑb wɪn ɪt kəmz tɪ ˈsɔfˌwɛr? ˈæləks: həz meɪd juʤ ədˈvænsɪz sɪns ðə ə dɪˈvaɪs wɪʧ ʃɪpt wɪθ ə ˌʃɪzəˈfrɛnɪk, ˌməltiˈkələrd lɛs ðən ə jɪr əˈgoʊ. ɔn ðə ðə hoʊl ˈɪnərˌfeɪs simz ʤɪst ə ˈlɪtəl ˈbɛtər thought-out*, wɪθ ˈgreɪtər ˌɪnˈtərnəl kənˈsɪstənsi ənd ə lɛs əˈpɪrəns. ðət sɛd, ðɛrz stɪl wərk tɪ bi dən, ənd pɑrts ðət doʊnt kwaɪt fɪt ˈɪntu ðə ˈflætənd, ˌʤiəˈmɛtrɪk hoʊl. sɛns ɪz ˈklɪrli ðə ˈprɑdəkt əv ə ˈkəmpəˌni wɪθ dɪˈzaɪn ɪn ɪts ˈdiˌɛˈneɪ. sɛns, ɔn ðə ˈəðər hænd, ɪz ˈklɪrli ðə ˈprɑdəkt əv ə ˈkəmpəˌni wɪθ dɪˈzaɪn ɪn ɪts ˈdiˌɛˈneɪ. nɑt ˈoʊnli ɪz ɪt fæst, bət ɔl ðə ˌɪndəˈvɪʤəwəl lɪmz fil laɪk ðɛr pɑrt əv ə koʊˈhisɪv hoʊl. ˈwɛðər ɪts ðə hoʊm skrin ˈridər, mɔr ˈbeɪsɪk ˌæpləˈkeɪʃənz laɪk ðə ənd ˈmɛsɪʤɪz æps, ər ðə ˈgæləri æp, ˈɛvriˌθɪŋ ɪz kənˈsɪstəntli well-designed*. ənd fər ðət ˈrizən əm ˈgɪvɪŋ ðɪs wən tɪ. fɪl: kəm ə lɔŋ weɪ ɪn ðə jɪrz aɪv bɪn ˈjuzɪŋ ɪts foʊnz. bət sɛns ɪz stɪl ˈbɛtər. ðət sɛd, aɪ juz ə ˈlɔnʧər ɔn ɔl maɪ foʊnz, soʊ ðæts ə wɑʃ. bət sɛns həz ə mɔr koʊˈhisɪv dɪˈzaɪn. ɪt filz mɔr ˈnæʧərəl. ənd, jɛs, ɪts ʤɪst ˈfæstər tɪ juz. meɪd ə pɔɪnt əv ˈhævɪŋ ə sˈlikər ənd mɔr ˈjunəˌfaɪd ˈsɔfˌwɛr ɪkˈspɪriəns ɔn ðə ənd ðə rɪˈzəlts ˈdɛfənətli ʃoʊ. ˈændru: aɪ θɪŋk meɪd ə pɔɪnt tɪ hæv ə sˈlikər ənd mɔr ˈjunəˌfaɪd ˈsɔfˌwɛr ɪkˈspɪriəns ɔn ðə ənd ðə rɪˈzəlts ˈdɛfənətli ʃoʊ. nɑt ˈoʊnli dɪd ɪt dɪʧ ðə ˈɑnˌskrin ˈmɛnju ki ənd səm əv ðə ˈkreɪzi ˈflæʃi ˌænəˈmeɪʃənz, bət ɪt ˈɔlsoʊ geɪv ˈɛvriˌθɪŋ ə klin koʊt əv peɪnt. ˈsædli ðɛr ər stɪl fɑr tu ˈmɛni ˈjusləs ˈfiʧərz hir ðət ʤɪst kip ˈpɑpɪŋ əp ənd ˈgɪtɪŋ ɪn maɪ weɪ, ənd stɪl nidz tɪ ˈɛksərˌsaɪz səm mɔr rɪˈstreɪnt ɔn ɪts dɪˈvaɪsɪz goʊɪŋ ˈfɔrwərd. wɪn ɪt kəmz tɪ dɪˈvaɪsɪz, stɪl teɪks ðə keɪk ɪn tərmz əv ɪts ˈsɔfˌwɛr ɪkˈspɪriəns. nɑt ˈoʊnli ɪz pərˈfɔrməns fænˈtæstɪk (ɛz wi tɔkt əˈbaʊt əˈbəv), bət ˈɛvriˌθɪŋ lʊks kənˈsɪstənt ənd ækts ʤɪst ðə weɪ ju ɪkˈspɛkt ɪt tɪ. ðɪs filz laɪk ə ril ˈɔpərˌeɪtɪŋ ˈsɪstəm, nɑt ʤɪst ˈsəmθɪŋ tækt ɔn tɔp əv aosp*, ənd ɪt ʤɪst kips ˈgɪtɪŋ ˈbɛtər wɪθ iʧ ˌɪtəˈreɪʃən. ˈʤɛri: heɪ! ju noʊ haʊ ju pɛrd θɪŋz weɪ bæk fər ðɪs ˈvərʒən əv jʊr ɑs? kip duɪŋ ðət fər ðə nɛkst wən. aɪv bɪn ˈjuzɪŋ foʊnz sɪns ˈstɑrtɪd ˈsɛlɪŋ ˈænˌdrɔɪd foʊnz. ðɛr wɑz ðə wərst, ənd ɪts nɑt ʤɪst mi ðət θɪŋks soʊ. wət ðeɪ dɪˈlɪvərd ɔn ðə ɪz faɪn, ənd ðə kənˈsumər saɪd əv mi θɪŋks ɪts ˈdisənt. ðət seɪm kənˈsumər saɪd əv mi θɪŋks ðət sɛns 6 ɪz ˈbɛtər. ðə ˈbɑtəm laɪn kju: hɪrz ðə bɪg kˈwɛʃən: ɪf ju kʊd juz ˈoʊnli wən əv ðiz foʊnz fər ðə nɛkst jɪr, wɪʧ wʊd ɪt bi? ənd wəts ðə ˌdɪˈsaɪdɪŋ ˈfæktər? ˈæləks: ðɪs ɪz ə ˈrɪli təf kɔl, bət aɪ hæv tɪ fɔl bæk ɔn ðə dɪˈvaɪs aɪ θɪŋk prəˈvaɪdz ðə moʊst ˌɛnˈʤɔɪəbəl ɪkˈspɪriəns aʊt əv ðə bɑks, ənd ðæts ðə wən həz ðə bɛst ˈsɔfˌwɛr, ðə ˈfæstəst pərˈfɔrməns, ə skrin ənd ənˈmæʧt ˈɑdiˌoʊ ˌkeɪpəˈbɪlətiz. ɪz ɪt ə ˈlɪtəl sˈlɪpəri? ʃʊr, bət ðæts ˈsəmθɪŋ ju əˈʤəst tɪ wɪθ taɪm, ənd ˈsɪlvər ənd goʊld ˈvɛriənts ər ə ˈlɪtəl lɛs slɪk ðən ðə sˈmuðər greɪ bɪɔnd ðət, ðə ˈkæmərə ɪz ðɪs foʊnz ˈoʊnli ril ˈɛriə əv ˈwiknəs. ɪts ˈprɑbəˌbli ðə list ˌɪmˈprɛsɪv ˈkæmərə əv ðə ˈkɑrənt krɑp əv ˈflægˌʃɪps, bət ðə fækt ðət əm ˈwɪlɪŋ tɪ pʊt əp wɪθ ðət ʃʊd ˌəndərˈskɔr haʊ ˈɔsəm ðə rɛst əv ðə ɪkˈspɪriəns ɪz. ɪn maɪ vju ɪts ðə ˈbɛtər əv ðə tu dɪˈspaɪt ɪts ˈkæmərə, nɑt bɪˈkəz əv ɪt. ɔn ðə saɪd əv ðə fɛns, ðə ɔˈkeɪʒənəl ˈsɔfˌwɛr ˈstətərz ər ðə meɪn ˈwiknəs wən ðə ˌmænjəˈfækʧərər kʊd hæv sɑlvd baɪ ˈjuzɪŋ ə ˈstændərd ˈpænəl, ər ˈweɪtɪŋ ɔn ðə mɔr ˈpaʊərfəl sˈnæpˌdrægən 805 ˈprɑˌsɛsər, wɪʧ ɪz ˈbɛtər ɪkˈwɪpt tɪ ˈhændəl ə dɪˈspleɪ. (ɪn fækt, ən ɪz əˈveɪləbəl ɪn ˌkɔˈriə raɪt naʊ, bət sɪz ɪt woʊnt riˈlis ðɪs ˈmɑdəl ˌɪnərˈnæʃənɑli.) əm ə bɪg fæn əv ðə ənd aɪ θɪŋk ɪts ˈvɛri ˈnɪrli ðə bɛst ˈænˌdrɔɪd foʊn aʊt ðɛr; fər ðə ˈmoʊmənt, pɪps ɪt tɪ ðə poʊst. boʊθ ər ˈrɪli, ˈrɪli gʊd foʊnz, iʧ wɪθ ɪts ˌpɑˈtɪkjələr flɔz. bət aɪ hæv tɪ pɪk wən fɪl: ənd ðæts ðə kˈwɛʃən, ˈɪzənt ɪt? wɪʧ foʊn. ðə ər ðə wən boʊθ ər ˈrɪli, ˈrɪli gʊd foʊnz, iʧ wɪθ ɪts ˌpɑˈtɪkjələr flɔz. bət aɪ hæv tɪ pɪk wən. fər mi, aɪd stɪk wɪθ ðə wən ənd ə bɪg ˈrizən fər ðət ɪz wən ðət wi ˈhævənt ˈrɪli ˈmɛnʃənd hir jɛt, ɪn əˈdɪʃən tɪ ðə wənz wi dɪd dɪˈskəs. həz kəm ə lɔŋ weɪ ɪn rɪˈgɑrdz tɪ ˈsɔfˌwɛr ˈəpˌdeɪts. wi kən ˈɑrgju ɔl deɪ ðət ˌfʊlˈbloʊn ˈsɪstəm ˈəpˌdeɪts ˈɑrənt ɛz ˌɪmˈpɔrtənt ɛz ðeɪ wəns wər (ənd ðæts tru). bət ɪf wi hæd tɪ ʧoʊz bɪtˈwin ə foʊn ðət həz ə ˈrɛlətɪvli kwɪk ənd ˈɔlsoʊ ˌɪmˈpɔrtənt, trænˈspɛrənt ˈəpˌdeɪt ˈprɔˌsɛs ənd wən ðət, wɛl, ˈdəzənt, goʊɪŋ tɪ wɪn ˈɛvəri taɪm. ənd soʊ ɪt wɪnz fər mi hir. aɪd goʊ wɪθ ðə ˈændru: aɪ θɪŋk aɪ hæv tɪ goʊ wɪθ ðə hir. ðə pərˈfɔrməns skɪps ər əˈnɔɪɪŋ ˈsəmˌtaɪmz bət kən bi ˈoʊvərˌkəm, ənd ðə dɪˈspleɪ ənd ˈkæmərə ər boʊθ tɔp nɑʧ. ðə ˈsɔfˌwɛr ˌɪmˈpruvmənts ˈkəmɪŋ frəm ðə meɪk ðɪs noʊ ˈɪʃu æt ɔl tɪ juz ɔn ə ˈdeɪli ˈbeɪsɪs, ənd ɪts ʃeɪp ənd məˈtɪriəlz meɪk ɪt ˈizi tɪ hoʊld ənd juz. ɛz məʧ ɛz aɪ ləv ðə lʊk əv ðə ənd ɪts ˈsɔfˌwɛr, ðə ʃeɪp ənd staɪl əv ðə foʊn ʤɪst meɪk ɪt tu ˈdɪfəkəlt tɪ hoʊld ˈɔntu ənd juz ˈɛvəri deɪ. ðə ˈkæmərə ˈɔlsoʊ kəmz əp ʃɔrt fər mi, wɪʧ ɪz ˈrɪli ə ˌdɪsəˈpɔɪntmənt fər ˈsəmˌwən hu teɪks ɛz ˈmɛni ˈpɪkʧərz ɛz aɪ du. ˈʤɛri: noʊ kˈwɛʃən, ðə aɪ doʊnt hæv tɪ fil laɪk əm goʊɪŋ tɪ drɔp ɪt ˈɛvəri taɪm aɪ teɪk ɪt aʊt əv maɪ ˈpɑkət, wɪʧ ɪz ˌɪmˈpɔrtənt bət nɑt ðə ˌdɪˈsaɪdɪŋ ˈfæktər fər mi. ðət wʊd bi ðoʊz. ɪf aɪ hæv tɪ juz ə foʊn ðɪs bɪg, aɪ wɔnt ɛz məʧ əv ɪt tɪ bi skrin ɛz ˈpɑsəbəl. wət aɪ wɔnt ɪz ə foʊn ðə saɪz əv ðə ˈmoʊtoʊ ɛks, wɪθ ə skrin ɛz gʊd ɛz ðə ənd laɪk ðə ənd bət aɪ kən ˈsɛtəl fər ʤɪst ðə skrin ɪn ðə ˈbɑdi. |
superior court: insurance company off the hook for 'ball tap' injury
the "ball tap" hearn delivered as his friend clayton russell played a video game in his basement rendered russell infertile, possibly for the rest of his life.
when brandon hearn sneaked up behind his teenage friend and delivered a playful tap to the testicles, he likely had no idea it would touch off an court fight.
but because forearm blow to russell's groin was intentional, parents' insurance company is off the hook for russell's injuries, a pennsylvania appeals court ruled this week.
the teens were playing "dance, dance revolution" in russell's parents' basement when hearn decided to give russell a physical rebuke for playing what he considered a "little kid's game," according to the superior court opinion.
"in our little group, if you were doing something, like, kind of stupid, that's what you you would get a ball tap," hearn testified.
according to hearn, then 18, he crept up behind russell and made a motion as if he was going to strike him in the testicles, but had second thoughts. a third friend, identified only as greg, egged him on, nodding yes. at that point hearn struck russell in the groin with his forearm, the opinion says.
clayton was immediately in pain, which intensified during the night. his mother took him to hospital the next day, where he was diagnosed with testicular torsion and underwent emergency surgery. tests revealed russell may be permanently infertile as a result of the injury, according to the opinion.
hearn visited russell in the hospital because he felt bad about the injury, he testified.
"i never meant to hurt him like that. i meant for him to be in pain for about five seconds," hearn said, according to the opinion.
russell's mother stacey marshall sued hearn in montgomery county court, and the american national property and casualty companies asked the court to rule that actions were not covered by the policy because it excluded coverage for injuries caused by intentional acts.
in a decision upholding a ruling in favor of the insurance company, the superior court found actions were clearly intentional.
and although hearn testified he intended only to cause momentary discomfort to russell, the policy excludes coverage for bodily injury caused by intentional acts, "even if the actual injury or damage is different than expected or intended."
peter.hall@mcall.com
610-820-6581 | suˈpɪriər kɔrt: ˌɪnˈʃʊrəns ˈkəmpəˌni ɔf ðə hʊk fər 'bɔl tæp' ˈɪnʤəri ðə "bɔl tæp" hərn dɪˈlɪvərd ɛz hɪz frɛnd ˈkleɪtən ˈrəsəl pleɪd ə ˈvɪdioʊ geɪm ɪn hɪz ˈbeɪsmənt ˈrɛndərd ˈrəsəl ˌɪnˈfərtəl, ˈpɑsəbli fər ðə rɛst əv hɪz laɪf. wɪn ˈbrændən hərn snikt əp bɪˈhaɪnd hɪz ˈtiˌneɪʤ frɛnd ənd dɪˈlɪvərd ə ˈpleɪfəl tæp tɪ ðə ˈtɛˌstɪkəlz, hi ˈlaɪkli hæd noʊ aɪˈdiə ɪt wʊd təʧ ɔf ən kɔrt faɪt. bət bɪˈkəz ˈfɔˌrɑrm bloʊ tɪ ˈrəsəlz grɔɪn wɑz ˌɪnˈtɛnʃənəl, ˈpɛrənts' ˌɪnˈʃʊrəns ˈkəmpəˌni ɪz ɔf ðə hʊk fər ˈrəsəlz ˈɪnʤəriz, ə ˌpɛnsəlˈveɪnjə əˈpilz kɔrt ruld ðɪs wik. ðə tinz wər pleɪɪŋ "dæns, dæns ˌrɛvəˈluʃən" ɪn ˈrəsəlz ˈpɛrənts' ˈbeɪsmənt wɪn hərn ˌdɪˈsaɪdɪd tɪ gɪv ˈrəsəl ə ˈfɪzɪkəl rɪˈbjuk fər pleɪɪŋ wət hi kənˈsɪdərd ə "ˈlɪtəl kɪdz geɪm," əˈkɔrdɪŋ tɪ ðə suˈpɪriər kɔrt əˈpɪnjən. "ɪn ɑr ˈlɪtəl grup, ɪf ju wər duɪŋ ˈsəmθɪŋ, laɪk, kaɪnd əv ˈstupɪd, ðæts wət ju ju wʊd gɪt ə bɔl tæp," hərn ˈtɛstɪˌfaɪd. əˈkɔrdɪŋ tɪ hərn, ðɛn 18 hi krɛpt əp bɪˈhaɪnd ˈrəsəl ənd meɪd ə ˈmoʊʃən ɛz ɪf hi wɑz goʊɪŋ tɪ straɪk ɪm ɪn ðə ˈtɛˌstɪkəlz, bət hæd ˈsɛkənd θɔts. ə θərd frɛnd, aɪˈdɛntəˌfaɪd ˈoʊnli ɛz grɛg, ɛgd ɪm ɔn, ˈnɑdɪŋ jɛs. æt ðət pɔɪnt hərn strək ˈrəsəl ɪn ðə grɔɪn wɪθ hɪz ˈfɔˌrɑrm, ðə əˈpɪnjən sɪz. ˈkleɪtən wɑz ˌɪˈmiˌdiətli ɪn peɪn, wɪʧ ˌɪnˈtɛnsɪˌfaɪd ˈdʊrɪŋ ðə naɪt. hɪz ˈməðər tʊk ɪm tɪ ˈhɑˌspɪtəl ðə nɛkst deɪ, wɛr hi wɑz ˌdaɪəgˈnoʊst wɪθ ˌtɛˈstɪkjələr ˈtɔrʃən ənd ˌəndərˈwɛnt ˈimərʤənsi ˈsərʤəri. tɛsts rɪˈvild ˈrəsəl meɪ bi ˈpərmɑˌnɛnˌtli ˌɪnˈfərtəl ɛz ə rɪˈzəlt əv ðə ˈɪnʤəri, əˈkɔrdɪŋ tɪ ðə əˈpɪnjən. hərn ˈvɪzɪtɪd ˈrəsəl ɪn ðə ˈhɑˌspɪtəl bɪˈkəz hi fɛlt bæd əˈbaʊt ðə ˈɪnʤəri, hi ˈtɛstɪˌfaɪd. "aɪ ˈnɛvər mɛnt tɪ hərt ɪm laɪk ðət. aɪ mɛnt fər ɪm tɪ bi ɪn peɪn fər əˈbaʊt faɪv ˈsɛkəndz," hərn sɛd, əˈkɔrdɪŋ tɪ ðə əˈpɪnjən. ˈrəsəlz ˈməðər ˈsteɪsi ˈmɑrʃəl sud hərn ɪn mɑntˈgəmri ˈkaʊnti kɔrt, ənd ðə əˈmɛrɪkən ˈnæʃənəl ˈprɑpərti ənd ˈkæʒəwəlti ˈkəmpəˌniz æst ðə kɔrt tɪ rul ðət ˈækʃənz wər nɑt ˈkəvərd baɪ ðə ˈpɑləsi bɪˈkəz ɪt ɪkˈskludɪd ˈkəvərɪʤ fər ˈɪnʤəriz kɔzd baɪ ˌɪnˈtɛnʃənəl ækts. ɪn ə dɪˈsɪʒən əˈphoʊldɪŋ ə ˈrulɪŋ ɪn ˈfeɪvər əv ðə ˌɪnˈʃʊrəns ˈkəmpəˌni, ðə suˈpɪriər kɔrt faʊnd ˈækʃənz wər ˈklɪrli ˌɪnˈtɛnʃənəl. ənd ˌɔlˈðoʊ hərn ˈtɛstɪˌfaɪd hi ˌɪnˈtɛndɪd ˈoʊnli tɪ kɔz ˈmoʊmənˌtɛri dɪˈskəmfərt tɪ ˈrəsəl, ðə ˈpɑləsi ɪkˈskludz ˈkəvərɪʤ fər ˈbɑdəli ˈɪnʤəri kɔzd baɪ ˌɪnˈtɛnʃənəl ækts, "ˈivɪn ɪf ðə ˈækʧəwəl ˈɪnʤəri ər ˈdæmɪʤ ɪz ˈdɪfərənt ðən ɪkˈspɛktɪd ər ˌɪnˈtɛndɪd." |
washington, d.c. republican presidential donald trump will ensure american veterans have convenient access to top quality health care services, indicated rep. ryan zinke (r-mt), a former commander at the fabled navy seal team six during an interview with news saturday host matt boyle on patriot radio channel 125.
medical centers operated by president barack department of veterans affairs (va) have come under fire in the last year for keeping long wait lists of veterans in need of essential care. some veterans died while waiting for care.
congress’s only navy seal veteran, who spent 23 years of his life defending the united states, recently came out in support of trump, the republican presumptive nominee.
“i strongly endorse donald trump because we need a president that will put our veterans in front of the line rather than watch them die while in line,” declared zinke on news saturday. “there’s a difference and the is broke.”
“we need a businessman [like trump] not going to accept business as usual in washington,” added the montana republican.
the problem with the veterans health administration hospitals is “layers of bureaucracy getting into a system” that treats veterans “as a number” rather than human beings, pointed out zinke, adding, “not every veteran clinic is bad.”
in october, trump unveiled a plan to reform the veterans health care system.
“we’re going to take care of those wounded warriors and going to take care of our vets better than anybody,” proclaimed the republican candidate when announcing his proposal in norfolk,, home to a sizable military population.
“the plan will ensure our veterans get the care they need, wherever and whenever they need it,” he added.
early this week, secretary robert mcdonald drew sharp rebukes from democrats and republicans alike for downplaying the fatal impact of the wait times at medical centers by comparing them to lines at disney theme parks.
trump condemned mcdonald for making those comments.
“i agree with 100 percent of what donald trump says, but i percent [that] we need to shake it up,” said rep. zinke, who served as deputy and acting commander of u.s. special forces in iraq. “the status quo is not working and i believe that donald trump is going to be a phenomenal president.”
republicans “had 17 candidates [at the beginning of the presidential election] and they were quality candidates,” the congressman added. “every one of those candidates was capable of assuming the responsibility of being the president and at the end of the day… the candidate who won is the candidate.”
individual freedoms and the u.s. constitution are in danger of being trampled, warned zinke.
“we could lose this country,” he told news saturday.
however, he added that trump can steer the country in the right direction, noting that the problems facing the u.s. are “fixable.”
“let me give you some good news, the next president is still going to inherit the strongest military ever assembled in the history of mankind,” zinke said.
“we’re battered. bruised. not where we should be, but still by far the strongest military. we have more natural resources coal, oil, wind across the board not only to be energy independent but to be a leading exporter,” he added. “if you get the government off our back, no economy in the world that can create more jobs in the long-term for everybody.”
the time has come to take back america, declared zinke.
breitbart news saturday airs weekly onxm patriot channel 125, from 10 a.m. to 1 p.m. eastern time. | ˈwɔʃɪŋtən, d.c*. rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈdɑnəld trəmp wɪl ɪnˈʃʊr əˈmɛrɪkən ˈvɛtərənz hæv kənˈvinjənt ˈækˌsɛs tɪ tɔp kˈwɑləti hɛlθ kɛr ˈsərvɪsɪz, ˈɪndəˌkeɪtɪd rɛpriˈzɛtətɪv. raɪən zɪŋk (r-mt*), ə ˈfɔrmər kəˈmændər æt ðə ˈfeɪbəld ˈneɪvi sil tim sɪks ˈdʊrɪŋ ən ˈɪntərvˌju wɪθ nuz ˈsæˌtɪˌdeɪ hoʊst mæt bɔɪl ɔn ˈpeɪtriət ˈreɪdiˌoʊ ˈʧænəl 125 ˈmɛdɪkəl ˈsɛnərz ˈɑpərˌeɪtəd baɪ ˈprɛzɪdənt ˈbɑrək dɪˈpɑrtmənt əv ˈvɛtərənz əˈfɛrz (va*) hæv kəm ˈəndər faɪər ɪn ðə læst jɪr fər ˈkipɪŋ lɔŋ weɪt lɪsts əv ˈvɛtərənz ɪn nid əv ɛˈsɛnʃəl kɛr. səm ˈvɛtərənz daɪd waɪl ˈweɪtɪŋ fər kɛr. ˈoʊnli ˈneɪvi sil ˈvɛtərən, hu spɛnt 23 jɪrz əv hɪz laɪf dɪˈfɛndɪŋ ðə juˈnaɪtɪd steɪts, ˈrisəntli keɪm aʊt ɪn səˈpɔrt əv trəmp, ðə rɪˈpəblɪkən priˈzəmptɪv ˌnɑməˈni. ˈstrɔŋli ɛnˈdɔrs ˈdɑnəld trəmp bɪˈkəz wi nid ə ˈprɛzɪdənt ðət wɪl pʊt ɑr ˈvɛtərənz ɪn frənt əv ðə laɪn ˈrəðər ðən wɔʧ ðɛm daɪ waɪl ɪn line,”*,” dɪˈklɛrd zɪŋk ɔn nuz ˈsæˌtɪˌdeɪ. ə ˈdɪfərəns ənd ðə ɪz broke.”*.” nid ə ˈbɪznɪsˌmæn [laɪk trəmp] nɑt goʊɪŋ tɪ əkˈsɛpt ˈbɪznɪs ɛz ˈjuʒəwəl ɪn washington,”*,” ˈædɪd ðə mɑnˈtænə rɪˈpəblɪkən. ðə ˈprɑbləm wɪθ ðə ˈvɛtərənz hɛlθ ædˌmɪnɪˈstreɪʃən ˈhɑˌspɪtəlz ɪz əv bjʊˈrɑkrəsi ˈgɪtɪŋ ˈɪntu ə system”*” ðət trits ˈvɛtərənz ə number”*” ˈrəðər ðən ˈjumən biɪŋz, ˈpɔɪntɪd aʊt zɪŋk, ˈædɪŋ, ˈɛvəri ˈvɛtərən ˈklɪnɪk ɪz bad.”*.” ɪn ɑkˈtoʊbər, trəmp ənˈveɪld ə plæn tɪ rɪˈfɔrm ðə ˈvɛtərənz hɛlθ kɛr ˈsɪstəm. goʊɪŋ tɪ teɪk kɛr əv ðoʊz ˈwundɪd ˈwɔrjərz ənd goʊɪŋ tɪ teɪk kɛr əv ɑr vɛts ˈbɛtər ðən anybody,”*,” proʊˈkleɪmd ðə rɪˈpəblɪkən ˈkænədɪt wɪn əˈnaʊnsɪŋ hɪz prəˈpoʊzəl ɪn ˈnɔrfək,, hoʊm tɪ ə ˈsaɪzəbəl ˈmɪlɪˌtɛri ˌpɑpjəˈleɪʃən. plæn wɪl ɪnˈʃʊr ɑr ˈvɛtərənz gɪt ðə kɛr ðeɪ nid, wɛˈrɛvər ənd wɛˈnɛvər ðeɪ nid it,”*,” hi ˈædɪd. ˈərli ðɪs wik, ˈsɛkrəˌtɛri ˈrɑbərt məkˈdɑnəld dru ʃɑrp riˈbjuks frəm ˈdɛməˌkræts ənd rɪˈpəblɪkənz əˈlaɪk fər ˈdaʊnˌpleɪɪŋ ðə ˈfeɪtəl ˌɪmˈpækt əv ðə weɪt taɪmz æt ˈmɛdɪkəl ˈsɛnərz baɪ kəmˈpɛrɪŋ ðɛm tɪ laɪnz æt ˈdɪzni θim pɑrks. trəmp kənˈdɛmd məkˈdɑnəld fər ˈmeɪkɪŋ ðoʊz ˈkɑmɛnts. əˈgri wɪθ 100 pərˈsɛnt əv wət ˈdɑnəld trəmp sɪz, bət aɪ pərˈsɛnt [ðət] wi nid tɪ ʃeɪk ɪt up,”*,” sɛd rɛpriˈzɛtətɪv. zɪŋk, hu sərvd ɛz ˈdɛpjəti ənd ˈæktɪŋ kəˈmændər əv juz. ˈspɛʃəl ˈfɔrsɪz ɪn ˌɪˈrɑk. ˈstætəs kwoʊ ɪz nɑt ˈwərkɪŋ ənd aɪ bɪˈliv ðət ˈdɑnəld trəmp ɪz goʊɪŋ tɪ bi ə fəˈnɑmənəl president.”*.” rɪˈpəblɪkənz 17 ˈkænədɪts [æt ðə bɪˈgɪnɪŋ əv ðə ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən] ənd ðeɪ wər kˈwɑləti candidates,”*,” ðə ˈkɑŋgrəsmən ˈædɪd. wən əv ðoʊz ˈkænədɪts wɑz ˈkeɪpəbəl əv əˈsumɪŋ ðə riˌspɑnsəˈbɪləti əv biɪŋ ðə ˈprɛzɪdənt ənd æt ðə ɛnd əv ðə day…*… ðə ˈkænədɪt hu wən ɪz ðə candidate.”*.” ˌɪndəˈvɪʤəwəl ˈfridəmz ənd ðə juz. ˌkɑnstəˈtuʃən ər ɪn ˈdeɪnʤər əv biɪŋ ˈtræmpəld, wɔrnd zɪŋk. kʊd luz ðɪs country,”*,” hi toʊld nuz ˈsæˌtɪˌdeɪ. ˌhaʊˈɛvər, hi ˈædɪd ðət trəmp kən stɪr ðə ˈkəntri ɪn ðə raɪt dɪˈrɛkʃɪn, ˈnoʊtɪŋ ðət ðə ˈprɑbləmz ˈfeɪsɪŋ ðə juz. ər ““fixable.”*.” mi gɪv ju səm gʊd nuz, ðə nɛkst ˈprɛzɪdənt ɪz stɪl goʊɪŋ tɪ ˌɪnˈhɛrət ðə ˈstrɔŋgəst ˈmɪlɪˌtɛri ˈɛvər əˈsɛmbəld ɪn ðə ˈhɪstəri əv mankind,”*,” zɪŋk sɛd. ˈbætərd. bruzd. nɑt wɛr wi ʃʊd bi, bət stɪl baɪ fɑr ðə ˈstrɔŋgəst ˈmɪlɪˌtɛri. wi hæv mɔr ˈnæʧərəl ˈrisɔrsɪz koʊl, ɔɪl, wɪnd əˈkrɔs ðə bɔrd nɑt ˈoʊnli tɪ bi ˈɛnərʤi ˌɪndɪˈpɛndənt bət tɪ bi ə ˈlidɪŋ exporter,”*,” hi ˈædɪd. ju gɪt ðə ˈgəvərnmənt ɔf ɑr bæk, noʊ ɪˈkɑnəmi ɪn ðə wərld ðət kən kriˈeɪt mɔr ʤɑbz ɪn ðə ˈlɔŋˈtərm fər everybody.”*.” ðə taɪm həz kəm tɪ teɪk bæk əˈmɛrɪkə, dɪˈklɛrd zɪŋk. nuz ˈsæˌtɪˌdeɪ ɛrz ˈwikli ɔn ˈpeɪtriət ˈʧænəl 125 frəm 10 a.m*. tɪ 1 p.m*. ˈistərn taɪm. |
president hassan said on monday iran's position in the middle east had never been stronger but that the regime was at risk unless infighting between political factions was curbed.
"the greatness of the nation of iran in the region is more than at any other time," said in a speech in tehran, carried by the state broadcaster.
"in iraq, syria, lebanon, northern africa, in the persian gulf region -- where can action be taken without iran?"
rouhani did not directly respond to comments on sunday by us secretary of state rex tillerson, who called on militias fighting jihadists in iraq to "go home".
tillerson's remarks were condemned by iraqi prime minister haider al-abadi, however, who accused the us diplomat of of internal affairs and said the fighters are iraqis.
iranian-backed hezbollahnts have been been fighting in syria alongside president bashar regime forces, with israel expressing concern that tehran is using the lebanese group's involvement in the war to stake out a permanentry presence in the region.
but despite its powerful position in the region, said iran's regime was under threat from fierce infighting between conservatives and moderates at home.
"we should not think that damaging one part of the system will strengthen the other part. no, the whole system will collapse," he said.
there has been renewed criticism from hardliners over the nuclear deal's administration signed with world powers.
on sunday, state television read out in its entirety a letter by supreme leader ayatollah ali khamenei from 2015 in which he warned against trusting the united states and other signatories to the deal.
although the accord was explicitly endorsed by the supreme leader, hardliners have consistently lambasted for going too far in his efforts to rebuild ties with the west.
those criticisms have become more pointed in recent days as us president donald trump has thrown the nuclear deal's future into doubt, calling for renewed sanctions to rein in iran's build-up of influence, particularly in iraq and syria.
but said his us counterpart was failing in his efforts to undermine the deal.
"every day (trump) says this agreement is the worst deal in history. as he put it, it is shameful for america. but still he hasn't been able to do anything with this agreement," said. | ˈprɛzɪdənt həˈsɑn sɛd ɔn ˈmənˌdeɪ ˌɪˈrænz pəˈzɪʃən ɪn ðə ˈmɪdəl ist hæd ˈnɛvər bɪn ˈstrɔŋgər bət ðət ðə rəˈʒim wɑz æt rɪsk ənˈlɛs ˈɪnˌfaɪtɪŋ bɪtˈwin pəˈlɪtɪkəl ˈfækʃənz wɑz kərbd. "ðə ˈgreɪtnəs əv ðə ˈneɪʃən əv ˌɪˈrɑn ɪn ðə ˈriʤən ɪz mɔr ðən æt ˈɛni ˈəðər taɪm," sɛd ɪn ə spiʧ ɪn ˌteɪˈrɑn, ˈkɛrid baɪ ðə steɪt ˈbrɔdˌkæstər. "ɪn ˌɪˈrɑk, ˈsɪriə, ˈlɛbənən, ˈnɔrðərn ˈæfrɪkɑ, ɪn ðə ˈpərʒən gəlf ˈriʤən wɛr kən ˈækʃən bi ˈteɪkən wɪˈθaʊt ˌɪˈrɑn?" dɪd nɑt dɪˈrɛkli rɪˈspɑnd tɪ ˈkɑmɛnts ɔn ˈsənˌdi baɪ ˈjuˈɛs ˈsɛkrəˌtɛri əv steɪt rɛks tillerson*, hu kɔld ɔn mɪˈlɪʃəz ˈfaɪtɪŋ ʤiˈhɑˌdɪsts ɪn ˌɪˈrɑk tɪ "goʊ hoʊm". rɪˈmɑrks wər kənˈdɛmd baɪ ˌɪˈræki praɪm ˈmɪnɪstər ˈheɪdər al-abadi*, ˌhaʊˈɛvər, hu əˈkjuzd ðə ˈjuˈɛs ˈdɪpləˌmæt əv əv ˌɪnˈtərnəl əˈfɛrz ənd sɛd ðə ˈfaɪtərz ər ˌɪˈrækiz. ˌhɛzbɑˈlə ˈmɪlətənts hæv bɪn bɪn ˈfaɪtɪŋ ɪn ˈsɪriə əˈlɔŋˈsaɪd ˈprɛzɪdənt bəˈʃɑr rəˈʒim ˈfɔrsɪz, wɪθ ˈɪzriəl ɪkˈsprɛsɪŋ kənˈsərn ðət ˌteɪˈrɑn ɪz ˈjuzɪŋ ðə ˈlɛbəˌniz grups ˌɪnˈvɑlvmənt ɪn ðə wɔr tɪ steɪk aʊt ə ˈpərmɑˌnɛnt ˈmɪlɪˌtɛri ˈprɛzəns ɪn ðə ˈriʤən. bət dɪˈspaɪt ɪts ˈpaʊərfəl pəˈzɪʃən ɪn ðə ˈriʤən, sɛd ˌɪˈrænz rəˈʒim wɑz ˈəndər θrɛt frəm fɪrs ˈɪnˌfaɪtɪŋ bɪtˈwin kənˈsərvətɪvz ənd ˈmɑdərˌeɪts æt hoʊm. "wi ʃʊd nɑt θɪŋk ðət ˈdæmɪʤɪŋ wən pɑrt əv ðə ˈsɪstəm wɪl ˈstrɛŋθən ðə ˈəðər pɑrt. noʊ, ðə hoʊl ˈsɪstəm wɪl kəˈlæps," hi sɛd. ðɛr həz bɪn rɪˈnud ˈkrɪtɪˌsɪzəm frəm ˈhɑrˌdlaɪnərz ˈoʊvər ðə ˈnukliər dil ædˌmɪnɪˈstreɪʃən saɪnd wɪθ wərld paʊərz. ɔn ˈsənˌdi, steɪt ˈtɛləˌvɪʒən rɛd aʊt ɪn ɪts ɪnˈtaɪərti ə ˈlɛtər baɪ səˈprim ˈlidər ˌaɪəˈtoʊlə ˈɑli kəˈmeɪˌni frəm 2015 ɪn wɪʧ hi wɔrnd əˈgɛnst ˈtrəstɪŋ ðə juˈnaɪtɪd steɪts ənd ˈəðər ˈsɪgnəˌtɔriz tɪ ðə dil. ˌɔlˈðoʊ ðə əˈkɔrd wɑz ɪkˈsplɪsətli ɛnˈdɔrst baɪ ðə səˈprim ˈlidər, ˈhɑrˌdlaɪnərz hæv kənˈsɪstəntli ˌlæmˈbæstɪd fər goʊɪŋ tu fɑr ɪn hɪz ˈɛfərts tɪ riˈbɪld taɪz wɪθ ðə wɛst. ðoʊz ˈkrɪtɪˌsɪzəmz hæv bɪˈkəm mɔr ˈpɔɪntɪd ɪn ˈrisənt deɪz ɛz ˈjuˈɛs ˈprɛzɪdənt ˈdɑnəld trəmp həz θroʊn ðə ˈnukliər dilz fˈjuʧər ˈɪntu daʊt, ˈkɔlɪŋ fər rɪˈnud ˈsæŋkʃənz tɪ reɪn ɪn ˌɪˈrænz ˈbɪlˌdəp əv ˈɪnfluəns, ˌpɑrˈtɪkjələrli ɪn ˌɪˈrɑk ənd ˈsɪriə. bət sɛd hɪz ˈjuˈɛs ˈkaʊntərˌpɑrt wɑz ˈfeɪlɪŋ ɪn hɪz ˈɛfərts tɪ ˈəndərˌmaɪn ðə dil. "ˈɛvəri deɪ (trəmp) sɪz ðɪs əˈgrimənt ɪz ðə wərst dil ɪn ˈhɪstəri. ɛz hi pʊt ɪt, ɪt ɪz ˈʃeɪmfəl fər əˈmɛrɪkə. bət stɪl hi ˈhæzənt bɪn ˈeɪbəl tɪ du ˈɛniˌθɪŋ wɪθ ðɪs əˈgrimənt," sɛd. |
the senate health care bill, being drafted by republicans behind closed doors, finally came to light.
the washington post got a draft of the legislation wednesday afternoon, which was being passed among lobbyists and aides.
the bill would repeal most of the taxes that pay for, roll back expanded medicaid coverage under the affordable care act, reshape its subsidies, give states wider latitude to opt out of its regulations and eliminate federal funding for planned parenthood.
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senate majority leader mitch mcconnell, r-ky., can only lose two members of his republican caucus, as no democrats are expected to vote in favor of the health care bill
president trump, in a meeting with tech titans, reportedly told them he wanted to see a senate health care bill with 'more heart'
the senate legislation would link federal insurance subsidies to income, a change from a bill that tied them to age, the post reported.
the senate bill also cuts off medicaid expansion more gradually than the house legislation, which passed on may 4.
it removes language restricting federally subsidized health plans from covering abortions.
before this draft came to light, president trump said in a private meeting with tech that he wanted to see a senate health care bill with with 'more heart,' according to cnbc, after complaining behind closed doors that the house repeal bill was 'mean.'
the discussion on capitol hill, however, was focused on meeting a fourth of july deadline.
'i expect to have a discussion draft on thursday,' senate majority leader mitch mcconnell, r-ky., confirmed tuesday afternoon, according to the washington examiner. 'and we'll go to the bill obviously once we get a score. likely next week.'
a draft is still expected thursday, with mcconnell presenting it to senators at a morning meeting, the post reported.
the bill has been crafted in private much to the chagrin of the democrats who have been complaining about it for weeks.
trump's comments suggest he'd like to see a more moderate bill coming out of the senate, as the congressional budget office forecasted that the american health care act would cause 23 million more americans to be uninsured than if the government stuck with.
press secretary sean spicer agreed that the president wanted a bill with 'more heart,' though wouldn't talk specifically about what president trump might dislike in terms of a bill
hard to get: the washington post suspects that it will be difficult to sell the bill to libertarian sen. rand paul (left), r-ky., and moderate sen. susan collins (right),
but sen. lisa murkowski,, (right) has also expressed hesitations, saying she wants the expansion of medicaid to continue and planned parenthood funding to go untouched
during monday's white house press briefing, press secretary sean spicer wouldn't confirm or deny trump had called the house iteration of health care reform 'mean.'
'i'm not going to comment on rumors that came out of a private meeting,' spicer told reporters.
but on tuesday, spicer said, 'the president clearly wants a bill that has heart,' confirming reporting.
'he believes that health care is something that is near and dear to so many families and individuals,' spicer said.
'he made it clear from the beginning that that was one of his priorities and as the senate works its way through this bill as the house did, any ideas are welcome to strengthen it, to make it more affordable, accessible and deliver the care that it needs, but this is an area that the president believes passionately about,' the press secretary continued.
'he cares. he understands the role that health care plays in their lives and their families' and he wants to make sure we do everything we can to provide the best option for them as continues to fail,' spicer added.
spicer then moved away from giving specifics, saying he wouldn't 'get into the private discussions that occurred.'
like house speaker paul ryan, majority leader mitch mcconnell, r-ky., has had to balance the interests of conservatives and moderates within his caucus.
democrats have not been privy to the health care negotiations and none are expected to support the health care bill, as republicans try to drown president obama's signature legislative accomplishment.
now they fear, as the new bill won't go through committee, that republicans will quickly pass it without time allotted for amendments and discussion.
'will we have time more than 10 hours, since this is a complicated bill to review the bill?' senate minority leader chuck schumer, d-n.y., asked mcconnell monday from the senate floor. 'will it be available to us and the public more than 10 hours before we have to go vote for it?'
'since our leader has said our republican leader that there will be plenty of time for a process where people can make amendments,' schumer continued. 'you need time to prepare those amendments.'
mcconnell didn't make any promises.
'i think have ample opportunity to read and amend the bill,' the senate majority leader said twice, the second time after schumer, again, asked about the 10 hours.
'i rest my case,' schumer replied.
at the white house, spicer dismissed democrats' complaints that they weren't included in writing the senate bill.
'they have chosen ... to not make themselves part of this process,' spicer said, pointing to comments made by schumer in which the minority leader said the democrats would never take part of dismantling.
spicer explained that it differed from similar complaints republicans made when was being authored because, 'i think we wanted to be part of the process back then,' the press secretary said.
because republicans are using a process called reconciliation, arguing the bill is budget-specific, only a simple majority is needed to get the legislation through the senate.
still, with the senate divided, mcconnell can only afford to lose two votes, with vice president mike pence coming in and placing a tie-breaker.
the washington post suspects that mcconnell will lose a republican on each end of the spectrum, pointing to sen. rand paul, r-ky., a libertarian who was the one 'no' vote on the budget resolution that initiated the whole process, along with sen. susan collins, r-maine, by far the most moderate senator in the caucus.
however, other republicans seem to be wavering too.
sen. lisa murkowski, r-ala., said she supported a number of components already found in, also known as the affordable care act, that the senate republican health care bill would likely strip away.
'i am committed to ensuring that important provisions of the aca, such as covering those with conditions, continued support for medicaid expansion, coverage for dependents and no lifetime limits, and funding for planned parenthood remain intact,' she said in a constituent letter, obtained by politico.
the republican study committee of house members sent a letter to mcconnell making their own demands, according to the washington examiner, which are practically opposite of everything murkowski called for.
the group, which was once chaired by pence, is worried that the senate bill will be too moderate for their tastes, as they support phasing out the medicaid expansion beginning in 2020, along with barring federal family planning funds from going to clinics that perform abortions, which would impact planned parenthood.
eventually the house bill, which passed in early may, and the senate version will have to be reconciled. | ðə ˈsɛnɪt hɛlθ kɛr bɪl, biɪŋ ˈdræftɪd baɪ rɪˈpəblɪkənz bɪˈhaɪnd kloʊzd dɔrz, ˈfaɪnəli keɪm tɪ laɪt. ðə ˈwɔʃɪŋtən poʊst gɑt ə dræft əv ðə ˌlɛʤəsˈleɪʃən ˈwɛnzˌdeɪ ˌæftərˈnun, wɪʧ wɑz biɪŋ pæst əˈməŋ ˈlɑbiɪsts ənd eɪdz. ðə bɪl wʊd rɪˈpil moʊst əv ðə ˈtæksɪz ðət peɪ fər, roʊl bæk ɪkˈspændɪd ˈmɛdəˌkeɪd ˈkəvərɪʤ ˈəndər ðə əˈfɔrdəbəl kɛr ækt, riˈʃeɪp ɪts ˈsəbsɪdiz, gɪv steɪts ˈwaɪdər ˈlætəˌtud tɪ ɑpt aʊt əv ɪts ˌrɛgjəˈleɪʃənz ənd ɪˈlɪməˌneɪt ˈfɛdərəl ˈfəndɪŋ fər plænd ˈpɛrənˌthʊd. skroʊl daʊn fər ˈvɪdioʊ ˈsɛnɪt məˈʤɔrəti ˈlidər mɪʧ məˈkɑnəl, r-ky*., kən ˈoʊnli luz tu ˈmɛmbərz əv hɪz rɪˈpəblɪkən ˈkɔkəs, ɛz noʊ ˈdɛməˌkræts ər ɪkˈspɛktɪd tɪ voʊt ɪn ˈfeɪvər əv ðə hɛlθ kɛr bɪl ˈprɛzɪdənt trəmp, ɪn ə ˈmitɪŋ wɪθ tɛk ˈtaɪtənz, rɪˈpɔrtədli toʊld ðɛm hi ˈwɔntɪd tɪ si ə ˈsɛnɪt hɛlθ kɛr bɪl wɪθ 'mɔr hɑrt' ðə ˈsɛnɪt ˌlɛʤəsˈleɪʃən wʊd lɪŋk ˈfɛdərəl ˌɪnˈʃʊrəns ˈsəbsɪdiz tɪ ˈɪnˌkəm, ə ʧeɪnʤ frəm ə bɪl ðət taɪd ðɛm tɪ eɪʤ, ðə poʊst ˌriˈpɔrtəd. ðə ˈsɛnɪt bɪl ˈɔlsoʊ kəts ɔf ˈmɛdəˌkeɪd ɪkˈspænʧən mɔr ˈgræʤuəli ðən ðə haʊs ˌlɛʤəsˈleɪʃən, wɪʧ pæst ɔn meɪ 4 ɪt riˈmuvz ˈlæŋgwɪʤ riˈstrɪktɪŋ ˈfɛdərəli ˈsəbsɪˌdaɪzd hɛlθ plænz frəm ˈkəvərɪŋ əˈbɔrʃənz. ˌbiˈfɔr ðɪs dræft keɪm tɪ laɪt, ˈprɛzɪdənt trəmp sɛd ɪn ə ˈpraɪvət ˈmitɪŋ wɪθ tɛk ðət hi ˈwɔntɪd tɪ si ə ˈsɛnɪt hɛlθ kɛr bɪl wɪθ wɪθ 'mɔr hɑrt,' əˈkɔrdɪŋ tɪ cnbc*, ˈæftər kəmˈpleɪnɪŋ bɪˈhaɪnd kloʊzd dɔrz ðət ðə haʊs rɪˈpil bɪl wɑz 'min.' ðə dɪˈskəʃən ɔn ˈkæpɪtəl hɪl, ˌhaʊˈɛvər, wɑz ˈfoʊkɪst ɔn ˈmitɪŋ ə fɔrθ əv ˌʤuˈlaɪ ˈdɛˌdlaɪn. 'aɪ ɪkˈspɛkt tɪ hæv ə dɪˈskəʃən dræft ɔn ˈθərzˌdeɪ,' ˈsɛnɪt məˈʤɔrəti ˈlidər mɪʧ məˈkɑnəl, r-ky*., kənˈfərmd ˈtuzˌdeɪ ˌæftərˈnun, əˈkɔrdɪŋ tɪ ðə ˈwɔʃɪŋtən ɪgˈzæmənər. 'ənd wɪl goʊ tɪ ðə bɪl ˈɑbviəsli wəns wi gɪt ə skɔr. ˈlaɪkli nɛkst wik.' ə dræft ɪz stɪl ɪkˈspɛktɪd ˈθərzˌdeɪ, wɪθ məˈkɑnəl prɪˈzɛntɪŋ ɪt tɪ ˈsɛnətərz æt ə ˈmɔrnɪŋ ˈmitɪŋ, ðə poʊst ˌriˈpɔrtəd. ðə bɪl həz bɪn ˈkræftɪd ɪn ˈpraɪvət məʧ tɪ ðə ʃəˈgrɪn əv ðə ˈdɛməˌkræts hu hæv bɪn kəmˈpleɪnɪŋ əˈbaʊt ɪt fər wiks. trəmps ˈkɑmɛnts səˈʤɛst hid laɪk tɪ si ə mɔr ˈmɑdərˌeɪt bɪl ˈkəmɪŋ aʊt əv ðə ˈsɛnɪt, ɛz ðə kənˈgrɛʃənəl ˈbəʤɪt ˈɔfəs ˈfɔrˌkæstɪd ðət ðə əˈmɛrɪkən hɛlθ kɛr ækt wʊd kɔz 23 ˈmɪljən mɔr əˈmɛrɪkənz tɪ bi ˌənɪnˈʃʊrd ðən ɪf ðə ˈgəvərnmənt stək wɪθ. prɛs ˈsɛkrəˌtɛri ʃɔn ˈspaɪsər əˈgrid ðət ðə ˈprɛzɪdənt ˈwɔntɪd ə bɪl wɪθ 'mɔr hɑrt,' ðoʊ ˈwʊdənt tɔk spəˈsɪfɪkli əˈbaʊt wət ˈprɛzɪdənt trəmp maɪt dɪsˈlaɪk ɪn tərmz əv ə bɪl hɑrd tɪ gɪt: ðə ˈwɔʃɪŋtən poʊst ˈsəˌspɛkts ðət ɪt wɪl bi ˈdɪfəkəlt tɪ sɛl ðə bɪl tɪ ˌlɪˌbərˈtɛˌriən sɛn. rænd pɔl (lɛft), r-ky*., ənd ˈmɑdərˌeɪt sɛn. ˈsuzən ˈkɑlɪnz (raɪt), bət sɛn. ˈlisə mərˈkaʊski,, (raɪt) həz ˈɔlsoʊ ɪkˈsprɛst ˌhɛzəˈteɪʃənz, seɪɪŋ ʃi wɔnts ðə ɪkˈspænʧən əv ˈmɛdəˌkeɪd tɪ kənˈtɪnju ənd plænd ˈpɛrənˌthʊd ˈfəndɪŋ tɪ goʊ ənˈtəʧt ˈdʊrɪŋ ˈmənˌdeɪz waɪt haʊs prɛs ˈbrifɪŋ, prɛs ˈsɛkrəˌtɛri ʃɔn ˈspaɪsər ˈwʊdənt kənˈfərm ər dɪˈnaɪ trəmp hæd kɔld ðə haʊs ˌɪtəˈreɪʃən əv hɛlθ kɛr rɪˈfɔrm 'min.' 'əm nɑt goʊɪŋ tɪ ˈkɑmɛnt ɔn ˈrumərz ðət keɪm aʊt əv ə ˈpraɪvət ˈmitɪŋ,' ˈspaɪsər toʊld rɪˈpɔrtərz. bət ɔn ˈtuzˌdeɪ, ˈspaɪsər sɛd, 'ðə ˈprɛzɪdənt ˈklɪrli wɔnts ə bɪl ðət həz hɑrt,' kənˈfərmɪŋ rɪˈpɔrtɪŋ. 'hi bɪˈlivz ðət hɛlθ kɛr ɪz ˈsəmθɪŋ ðət ɪz nɪr ənd dɪr tɪ soʊ ˈmɛni ˈfæməliz ənd ˌɪndəˈvɪʤəwəlz,' ˈspaɪsər sɛd. 'hi meɪd ɪt klɪr frəm ðə bɪˈgɪnɪŋ ðət ðət wɑz wən əv hɪz praɪˈɔrətiz ənd ɛz ðə ˈsɛnɪt wərks ɪts weɪ θru ðɪs bɪl ɛz ðə haʊs dɪd, ˈɛni aɪˈdiəz ər ˈwɛlkəm tɪ ˈstrɛŋθən ɪt, tɪ meɪk ɪt mɔr əˈfɔrdəbəl, ækˈsɛsəbəl ənd dɪˈlɪvər ðə kɛr ðət ɪt nidz, bət ðɪs ɪz ən ˈɛriə ðət ðə ˈprɛzɪdənt bɪˈlivz ˈpæʃənətli əˈbaʊt,' ðə prɛs ˈsɛkrəˌtɛri kənˈtɪnjud. 'hi kɛrz. hi ˌəndərˈstændz ðə roʊl ðət hɛlθ kɛr pleɪz ɪn ðɛr lɪvz ənd ðɛr ˈfæməliz' ənd hi wɔnts tɪ meɪk ʃʊr wi du ˈɛvriˌθɪŋ wi kən tɪ prəˈvaɪd ðə bɛst ˈɔpʃən fər ðɛm ɛz kənˈtɪnjuz tɪ feɪl,' ˈspaɪsər ˈædɪd. ˈspaɪsər ðɛn muvd əˈweɪ frəm ˈgɪvɪŋ spɪˈsɪfɪks, seɪɪŋ hi ˈwʊdənt 'gɪt ˈɪntu ðə ˈpraɪvət dɪˈskəʃənz ðət əˈkərd.' laɪk haʊs ˈspikər pɔl raɪən, məˈʤɔrəti ˈlidər mɪʧ məˈkɑnəl, r-ky*., həz hæd tɪ ˈbæləns ðə ˈɪntərɪsts əv kənˈsərvətɪvz ənd ˈmɑdərˌeɪts wɪˈθɪn hɪz ˈkɔkəs. ˈdɛməˌkræts hæv nɑt bɪn ˈprɪvi tɪ ðə hɛlθ kɛr nɪˌgoʊʃiˈeɪʃənz ənd nən ər ɪkˈspɛktɪd tɪ səˈpɔrt ðə hɛlθ kɛr bɪl, ɛz rɪˈpəblɪkənz traɪ tɪ draʊn ˈprɛzɪdənt ˌoʊˈbɑməz ˈsɪgnəʧər ˈlɛʤəsˌleɪtɪv əˈkɑmplɪʃmənt. naʊ ðeɪ fɪr, ɛz ðə nu bɪl woʊnt goʊ θru kəˈmɪti, ðət rɪˈpəblɪkənz wɪl kˈwɪkli pæs ɪt wɪˈθaʊt taɪm əˈlɑtɪd fər əˈmɛndmənts ənd dɪˈskəʃən. 'wɪl wi hæv taɪm mɔr ðən 10 aʊərz, sɪns ðɪs ɪz ə ˈkɑmpləˌkeɪtəd bɪl tɪ ˌrivˈju ðə bɪl?' ˈsɛnɪt məˈnɔrəti ˈlidər ʧək ˈʃumər, d-n.y*., æst məˈkɑnəl ˈmənˌdeɪ frəm ðə ˈsɛnɪt flɔr. 'wɪl ɪt bi əˈveɪləbəl tɪ ˈjuˈɛs ənd ðə ˈpəblɪk mɔr ðən 10 aʊərz ˌbiˈfɔr wi hæv tɪ goʊ voʊt fər ɪt?' 'sɪns ɑr ˈlidər həz sɛd ɑr rɪˈpəblɪkən ˈlidər ðət ðɛr wɪl bi ˈplɛnti əv taɪm fər ə ˈprɔˌsɛs wɛr ˈpipəl kən meɪk əˈmɛndmənts,' ˈʃumər kənˈtɪnjud. 'ju nid taɪm tɪ priˈpɛr ðoʊz əˈmɛndmənts.' məˈkɑnəl ˈdɪdənt meɪk ˈɛni ˈprɑməsəz. 'aɪ θɪŋk hæv ˈæmpəl ˌɑpərˈtunəti tɪ rɛd ənd əˈmɛnd ðə bɪl,' ðə ˈsɛnɪt məˈʤɔrəti ˈlidər sɛd twaɪs, ðə ˈsɛkənd taɪm ˈæftər ˈʃumər, əˈgɛn, æst əˈbaʊt ðə 10 aʊərz. 'aɪ rɛst maɪ keɪs,' ˈʃumər rɪˈplaɪd. æt ðə waɪt haʊs, ˈspaɪsər dɪsˈmɪst ˈdɛməˌkræts' kəmˈpleɪnts ðət ðeɪ wərənt ˌɪnˈkludɪd ɪn ˈraɪtɪŋ ðə ˈsɛnɪt bɪl. 'ðeɪ hæv ˈʧoʊzən tɪ nɑt meɪk ðɛmˈsɛlvz pɑrt əv ðɪs ˈprɔˌsɛs,' ˈspaɪsər sɛd, ˈpɔɪntɪŋ tɪ ˈkɑmɛnts meɪd baɪ ˈʃumər ɪn wɪʧ ðə məˈnɔrəti ˈlidər sɛd ðə ˈdɛməˌkræts wʊd ˈnɛvər teɪk pɑrt əv ˌdɪsˈmæntlɪŋ. ˈspaɪsər ɪkˈspleɪnd ðət ɪt ˈdɪfərd frəm ˈsɪmələr kəmˈpleɪnts rɪˈpəblɪkənz meɪd wɪn wɑz biɪŋ ˈɔθərd bɪˈkəz, 'aɪ θɪŋk wi ˈwɔntɪd tɪ bi pɑrt əv ðə ˈprɔˌsɛs bæk ðɛn,' ðə prɛs ˈsɛkrəˌtɛri sɛd. bɪˈkəz rɪˈpəblɪkənz ər ˈjuzɪŋ ə ˈprɔˌsɛs kɔld ˌrɛkənˌsɪliˈeɪʃən, ˈɑrgjuɪŋ ðə bɪl ɪz budget-specific*, ˈoʊnli ə ˈsɪmpəl məˈʤɔrəti ɪz ˈnidɪd tɪ gɪt ðə ˌlɛʤəsˈleɪʃən θru ðə ˈsɛnɪt. stɪl, wɪθ ðə ˈsɛnɪt dɪˈvaɪdɪd məˈkɑnəl kən ˈoʊnli əˈfɔrd tɪ luz tu voʊts, wɪθ vaɪs ˈprɛzɪdənt maɪk pɛns ˈkəmɪŋ ɪn ənd ˈpleɪsɪŋ ə tie-breaker*. ðə ˈwɔʃɪŋtən poʊst ˈsəˌspɛkts ðət məˈkɑnəl wɪl luz ə rɪˈpəblɪkən ɔn iʧ ɛnd əv ðə ˈspɛktrəm, ˈpɔɪntɪŋ tɪ sɛn. rænd pɔl, r-ky*., ə ˌlɪˌbərˈtɛˌriən hu wɑz ðə wən 'noʊ' voʊt ɔn ðə ˈbəʤɪt ˌrɛzəˈluʃən ðət ˌɪˈnɪʃiˌeɪtɪd ðə hoʊl ˈprɔˌsɛs, əˈlɔŋ wɪθ sɛn. ˈsuzən ˈkɑlɪnz, r-maine*, baɪ fɑr ðə moʊst ˈmɑdərˌeɪt ˈsɛnətər ɪn ðə ˈkɔkəs. ˌhaʊˈɛvər, ˈəðər rɪˈpəblɪkənz sim tɪ bi ˈweɪvərɪŋ tu. sɛn. ˈlisə mərˈkaʊski, r-ala*., sɛd ʃi səˈpɔrtɪd ə ˈnəmbər əv kəmˈpoʊnənts ɔˈrɛdi faʊnd ɪn, ˈɔlsoʊ noʊn ɛz ðə əˈfɔrdəbəl kɛr ækt, ðət ðə ˈsɛnɪt rɪˈpəblɪkən hɛlθ kɛr bɪl wʊd ˈlaɪkli strɪp əˈweɪ. 'aɪ æm kəˈmɪtɪd tɪ ɪnˈʃʊrɪŋ ðət ˌɪmˈpɔrtənt prəˈvɪʒənz əv ðə ˈækə, səʧ ɛz ˈkəvərɪŋ ðoʊz wɪθ kənˈdɪʃənz, kənˈtɪnjud səˈpɔrt fər ˈmɛdəˌkeɪd ɪkˈspænʧən, ˈkəvərɪʤ fər dɪˈpɛndənts ənd noʊ ˈlaɪfˌtaɪm ˈlɪmɪts, ənd ˈfəndɪŋ fər plænd ˈpɛrənˌthʊd rɪˈmeɪn ˌɪnˈtækt,' ʃi sɛd ɪn ə kənˈstɪʧuənt ˈlɛtər, əbˈteɪnd baɪ pəˈlɪtɪˌkoʊ. ðə rɪˈpəblɪkən ˈstədi kəˈmɪti əv haʊs ˈmɛmbərz sɛnt ə ˈlɛtər tɪ məˈkɑnəl ˈmeɪkɪŋ ðɛr oʊn dɪˈmændz, əˈkɔrdɪŋ tɪ ðə ˈwɔʃɪŋtən ɪgˈzæmənər, wɪʧ ər ˈpræktɪkəli ˈɑpəzɪt əv ˈɛvriˌθɪŋ mərˈkaʊski kɔld fər. ðə grup, wɪʧ wɑz wəns ʧɛrd baɪ pɛns, ɪz ˈwərid ðət ðə ˈsɛnɪt bɪl wɪl bi tu ˈmɑdərˌeɪt fər ðɛr teɪsts, ɛz ðeɪ səˈpɔrt ˈfeɪzɪŋ aʊt ðə ˈmɛdəˌkeɪd ɪkˈspænʧən bɪˈgɪnɪŋ ɪn 2020 əˈlɔŋ wɪθ ˈbɑrɪŋ ˈfɛdərəl ˈfæməli ˈplænɪŋ fəndz frəm goʊɪŋ tɪ ˈklɪnɪks ðət pərˈfɔrm əˈbɔrʃənz, wɪʧ wʊd ˌɪmˈpækt plænd ˈpɛrənˌthʊd. ɪˈvɛnʧəwəli ðə haʊs bɪl, wɪʧ pæst ɪn ˈərli meɪ, ənd ðə ˈsɛnɪt ˈvərʒən wɪl hæv tɪ bi ˈrɛkənˌsaɪld. |
sartaj aziz, the prime minister's adviser on foreign affairs and the government's de facto foreign minister, shared the state's charge sheet against indian spy and a timeline of his trial in a media briefing on friday.
at the occasion, aziz also asked why, who was handed the death sentence on monday by a field general court martial for his involvement in espionage and sabotage activities in the country, had been carrying official documents under an alias at the time of his arrest.
"i would like to ask india why he [yadhav] was using a fake identity and masquerading as a muslim," aziz asked.
"why would an innocent man possess two passports one with a hindu name, and one with a muslim name," he added.
"since india has no credible explanation about why their serving naval commander was in balochistan, it has unleashed a flimsy propaganda campaign," he said.
the adviser also condemned what he called india's "baseless allegations", adding that the country's lack of cooperation and refusal to provide pakistan legal assistance were the reasons had not been granted consular access.
"inflammatory statements and rhetoric about murder' and 'unrest in balochistan', will only result in escalation, serving no useful purpose," he added.
the charge sheet
aziz stated that had been held responsible for the following terrorist activities in pakistan:
sponsored and directed improvised explosive device and grenade attacks in and turbat.
directed attacks on a radar station and civilian boats in the sea opposite port.
funded subversive secessionist and terrorist elements through for subverting the pakistani youth against the country, especially in balochistan.
sponsored explosions of gas pipelines and electric pylons in and sui areas in balochistan.
sponsored explosions in in 2015, causing massive damage to life and property.
sponsored attack on in and shias en route to and back from iran.
abetted attacks through elements against law enforcement agencies, the frontier corps and frontier works organisation in areas of turbat, punjgur, gawadar, and during, killing and injuring many civilians and soldiers.
steps taken to ensure transparency
aziz reassured critics that steps had been taken to ensure transparency during the trial of the indian spy under pakistan's laws and the pakistan army act.
elaborating on these steps, the adviser said's confessional statement had been recorded before a magistrate under section 164 of the criminal procedure code, whereas the proceedings had been conducted under the law of evidence.
jadhav was also appointed "a qualified legal officer to defend him in court proceedings," aziz said.
witnesses recorded their statements under oath in front of the accused, who was allowed to question them, aziz added.
"it should be clear from these details that was tried under the law of the land in a fully transparent manner," aziz said.
"his sentence is based on credible, specific evidence proving his involvement in espionage and terrorist activities in pakistan."
"a letter of assistance requesting specific information and access to certain key witnesses was shared with the government of india on 23 january, 2017. there has been no response from the indian side so far," aziz revealed.
legal recourse
aziz clarified, however, that still has the right to appeal within 40 days to an appellate court.
he may also lodge a mercy petition to the army chief within 60 days of the decision by the appellate court and may file a mercy petition to the president of pakistan within 90 days after the decision of on the mercy petition.
timeline of the trial
aziz also provided a timeline of the trial and proceedings against:
confessional video statement of march 25, 2016
initial fir in department april 8, 2016
initial interrogation may 2, 2016
detailed interrogation may 22, 2016
joint investigation team constituted july 12, 2016
confessional statement under section 164 of the criminal procedure code july 22, 2016
recording of summary of evidence september 24, 2016
1st proceeding september 21, 2016
2nd proceeding october 19, 2016
3rd proceeding november 29, 2016
4th proceeding february 12, 2017
death sentence endorsed april 10, 2017
"in conclusion of this statement, let me two points," aziz said.
"first, all political parties are unanimous that the award of death penalty after due process and overwhelming evidence to a foreign spy, who was not only carrying out subversive activities in pakistan but actually promoting terrorism, is the correct decision.
"second, the whole nation is solidly united against any threat to security." | sartaj* əˈziz, ðə praɪm ˈmɪnɪstərz ædˈvaɪzər ɔn ˈfɔrən əˈfɛrz ənd ðə ˈgəvərnmənts də ˈfæktoʊ ˈfɔrən ˈmɪnɪstər, ʃɛrd ðə steɪts ʧɑrʤ ʃit əˈgɛnst ˈɪndiən spaɪ ənd ə ˈtaɪmlaɪn əv hɪz traɪəl ɪn ə ˈmidiə ˈbrifɪŋ ɔn ˈfraɪˌdeɪ. æt ðə əˈkeɪʒən, əˈziz ˈɔlsoʊ æst waɪ, hu wɑz ˈhændɪd ðə dɛθ ˈsɛntəns ɔn ˈmənˌdeɪ baɪ ə fild ˈʤɛnərəl kɔrt ˈmɑrʃəl fər hɪz ˌɪnˈvɑlvmənt ɪn ˈɛspiənɑʤ ənd ˈsæbəˌtɑʒ ækˈtɪvɪtiz ɪn ðə ˈkəntri, hæd bɪn ˈkɛriɪŋ əˈfɪʃəl ˈdɑkjəmənts ˈəndər ən ˈeɪliəs æt ðə taɪm əv hɪz ərˈɛst. "aɪ wʊd laɪk tɪ æsk ˈɪndiə waɪ hi [yadhav*] wɑz ˈjuzɪŋ ə feɪk aɪˈdɛntəˌti ənd ˌmæskərˈeɪdɪŋ ɛz ə ˈməzlɪm," əˈziz æst. "waɪ wʊd ən ˈɪnəsənt mæn pəˈzɛs tu ˈpæˌspɔrts wən wɪθ ə ˈhɪnˌdu neɪm, ənd wən wɪθ ə ˈməzlɪm neɪm," hi ˈædɪd. "sɪns ˈɪndiə həz noʊ ˈkrɛdəbəl ˌɛkspləˈneɪʃən əˈbaʊt waɪ ðɛr ˈsərvɪŋ ˈneɪvəl kəˈmændər wɑz ɪn balochistan*, ɪt həz ənˈliʃt ə ˈflɪmzi ˌprɑpəˈgændə kæmˈpeɪn," hi sɛd. ðə ædˈvaɪzər ˈɔlsoʊ kənˈdɛmd wət hi kɔld ˈɪndiəz "ˈbeɪsləs ˌæləˈgeɪʃənz", ˈædɪŋ ðət ðə ˈkəntriz læk əv kˌwɔpərˈeɪʃən ənd rɪfˈjuzəl tɪ prəˈvaɪd ˈpækɪˌstæn ˈligəl əˈsɪstəns wər ðə ˈrizənz hæd nɑt bɪn ˈgrænɪd ˈkɑnsələr ˈækˌsɛs. "ɪnˈflæməˌtɔri ˈsteɪtmənts ənd ˈrɛtərɪk əˈbaʊt ˈmərdər' ənd 'ənˈrɛst ɪn balochistan*', wɪl ˈoʊnli rɪˈzəlt ɪn ˌɛskəˈleɪʃən, ˈsərvɪŋ noʊ ˈjusfəl ˈpərpəs," hi ˈædɪd. ðə ʧɑrʤ ʃit əˈziz ˈsteɪtɪd ðət hæd bɪn hɛld riˈspɑnsəbəl fər ðə ˈfɑloʊɪŋ ˈtɛrərɪst ækˈtɪvɪtiz ɪn ˈpækɪˌstæn: ˈspɑnsərd ənd dɪˈrɛktɪd ˈɪmprəˌvaɪzd ɪkˈsploʊsɪv dɪˈvaɪs ənd grəˈneɪd əˈtæks ɪn ənd turbat*. dɪˈrɛktɪd əˈtæks ɔn ə ˈreɪˌdɑr ˈsteɪʃən ənd səˈvɪljən boʊts ɪn ðə si ˈɑpəzɪt pɔrt. ˈfəndɪd səbˈvərsɪv sɪˈsɛʃənɪst ənd ˈtɛrərɪst ˈɛləmənts θru fər səbˈvərtɪŋ ðə ˌpækɪˈstæni juθ əˈgɛnst ðə ˈkəntri, əˈspɛʃəli ɪn balochistan*. ˈspɑnsərd ɪkˈsploʊʒənz əv gæs ˈpaɪˌplaɪnz ənd ɪˈlɛktrɪk ˈpaɪˌlɑnz ɪn ənd swi ˈɛriəz ɪn balochistan*. ˈspɑnsərd ɪkˈsploʊʒənz ɪn ɪn 2015 ˈkɔzɪŋ ˈmæsɪv ˈdæmɪʤ tɪ laɪf ənd ˈprɑpərti. ˈspɑnsərd əˈtæk ɔn ɪn ənd ˈʃiəz ɛn rut tɪ ənd bæk frəm ˌɪˈrɑn. əˈbɛtɪd əˈtæks θru ˈɛləmənts əˈgɛnst lɔ ɛnˈfɔrsmənt ˈeɪʤənsiz, ðə frənˈtɪr kɔrz ənd frənˈtɪr wərks ˌɔrgənɪˈzeɪʃən ɪn ˈɛriəz əv turbat*, punjgur*, gawadar*, ənd ˈdʊrɪŋ ˈkɪlɪŋ ənd ˈɪnʤərɪŋ ˈmɛni səˈvɪljənz ənd ˈsoʊlʤərz. stɛps ˈteɪkən tɪ ɪnˈʃʊr trænˈspɛrənsi əˈziz ˌriəˈʃʊrd ˈkrɪtɪks ðət stɛps hæd bɪn ˈteɪkən tɪ ɪnˈʃʊr trænˈspɛrənsi ˈdʊrɪŋ ðə traɪəl əv ðə ˈɪndiən spaɪ ˈəndər ˈpækɪˌstænz lɔz ənd ðə ˈpækɪˌstæn ˈɑrmi ækt. ɪˈlæbərˌeɪtɪŋ ɔn ðiz stɛps, ðə ædˈvaɪzər sɛd kənˈfɛʃənəl ˈsteɪtmənt hæd bɪn rɪˈkɔrdɪd ˌbiˈfɔr ə ˈmæʤɪˌstreɪt ˈəndər ˈsɛkʃən 164 əv ðə ˈkrɪmənəl prəˈsiʤər koʊd, wɛˈræz ðə prəˈsidɪŋz hæd bɪn kənˈdəktəd ˈəndər ðə lɔ əv ˈɛvədəns. wɑz ˈɔlsoʊ əˈpɔɪntɪd "ə kˈwɑləˌfaɪd ˈligəl ˈɔfɪsər tɪ dɪˈfɛnd ɪm ɪn kɔrt prəˈsidɪŋz," əˈziz sɛd. ˈwɪtnəsɪz rɪˈkɔrdɪd ðɛr ˈsteɪtmənts ˈəndər oʊθ ɪn frənt əv ðə əˈkjuzd, hu wɑz əˈlaʊd tɪ kˈwɛʃən ðɛm, əˈziz ˈædɪd. "ɪt ʃʊd bi klɪr frəm ðiz ˈditeɪlz ðət wɑz traɪd ˈəndər ðə lɔ əv ðə lænd ɪn ə ˈfʊli trænˈspɛrənt ˈmænər," əˈziz sɛd. "hɪz ˈsɛntəns ɪz beɪst ɔn ˈkrɛdəbəl, spɪˈsɪfɪk ˈɛvədəns ˈpruvɪŋ hɪz ˌɪnˈvɑlvmənt ɪn ˈɛspiənɑʤ ənd ˈtɛrərɪst ækˈtɪvɪtiz ɪn ˈpækɪˌstæn." "ə ˈlɛtər əv əˈsɪstəns rɪkˈwɛstɪŋ spɪˈsɪfɪk ˌɪnˌfɔrˈmeɪʃən ənd ˈækˌsɛs tɪ ˈsərtən ki ˈwɪtnəsɪz wɑz ʃɛrd wɪθ ðə ˈgəvərnmənt əv ˈɪndiə ɔn 23 ˈʤænjuˌɛri, 2017 ðɛr həz bɪn noʊ rɪˈspɑns frəm ðə ˈɪndiən saɪd soʊ fɑr," əˈziz rɪˈvild. ˈligəl ˈrikɔrs əˈziz ˈklɛrəˌfaɪd, ˌhaʊˈɛvər, ðət stɪl həz ðə raɪt tɪ əˈpil wɪˈθɪn 40 deɪz tɪ ən əˈpɛˌleɪt kɔrt. hi meɪ ˈɔlsoʊ lɑʤ ə ˈmərsi pəˈtɪʃən tɪ ðə ˈɑrmi ʧif wɪˈθɪn 60 deɪz əv ðə dɪˈsɪʒən baɪ ðə əˈpɛˌleɪt kɔrt ənd meɪ faɪl ə ˈmərsi pəˈtɪʃən tɪ ðə ˈprɛzɪdənt əv ˈpækɪˌstæn wɪˈθɪn 90 deɪz ˈæftər ðə dɪˈsɪʒən əv ɔn ðə ˈmərsi pəˈtɪʃən. ˈtaɪmlaɪn əv ðə traɪəl əˈziz ˈɔlsoʊ prəˈvaɪdɪd ə ˈtaɪmlaɪn əv ðə traɪəl ənd prəˈsidɪŋz əˈgɛnst: kənˈfɛʃənəl ˈvɪdioʊ ˈsteɪtmənt əv mɑrʧ 25 2016 ˌɪˈnɪʃəl fər ɪn dɪˈpɑrtmənt ˈeɪprəl 8 2016 ˌɪˈnɪʃəl ˌɪnˌtɛrəˈgeɪʃən meɪ 2 2016 dɪˈteɪld ˌɪnˌtɛrəˈgeɪʃən meɪ 22 2016 ʤɔɪnt ˌɪnˌvɛstəˈgeɪʃən tim ˈkɑnstəˌtutəd ˌʤuˈlaɪ 12 2016 kənˈfɛʃənəl ˈsteɪtmənt ˈəndər ˈsɛkʃən 164 əv ðə ˈkrɪmənəl prəˈsiʤər koʊd ˌʤuˈlaɪ 22 2016 rɪˈkɔrdɪŋ əv ˈsəməri əv ˈɛvədəns sɛpˈtɛmbər 24 2016 prəˈsidɪŋ sɛpˈtɛmbər 21 2016 prəˈsidɪŋ ɑkˈtoʊbər 19 2016 prəˈsidɪŋ noʊˈvɛmbər 29 2016 prəˈsidɪŋ ˈfɛbruˌɛri 12 2017 dɛθ ˈsɛntəns ɛnˈdɔrst ˈeɪprəl 10 2017 "ɪn kənˈkluʒən əv ðɪs ˈsteɪtmənt, lɛt mi tu pɔɪnts," əˈziz sɛd. "fərst, ɔl pəˈlɪtɪkəl ˈpɑrtiz ər juˈnænəməs ðət ðə əˈwɔrd əv dɛθ ˈpɛnəlti ˈæftər du ˈprɔˌsɛs ənd ˌoʊvərˈwɛlmɪŋ ˈɛvədəns tɪ ə ˈfɔrən spaɪ, hu wɑz nɑt ˈoʊnli ˈkɛriɪŋ aʊt səbˈvərsɪv ækˈtɪvɪtiz ɪn ˈpækɪˌstæn bət ˈæˌkʧuəli prəˈmoʊtɪŋ ˈtɛrəˌrɪzəm, ɪz ðə kərˈɛkt dɪˈsɪʒən. "ˈsɛkənd, ðə hoʊl ˈneɪʃən ɪz ˈsɑlədli juˈnaɪtɪd əˈgɛnst ˈɛni θrɛt tɪ sɪˈkjʊrəti." |
they say 'new 'do, new you' and that certainly seems to be the case with taylor swift. the shake it off singer has been flashing a lot more flesh since chopping off her locks into a shaggy bob.
from the plunging alexandre gown she slipped into for the vanity fair oscar party to the top and matching mini skirt she sported out in la with boyfriend calvin harris, the songbird has been revealing a sexier side of herself from.
while the style icon always manages to wow us on the red carpet, shines a spotlight on her current smoldering ensembles (pictured right) as compared to her more modest pre haircut looks (pictured left). enjoy!
long black dress: then and now
in a long sleeve, black julien macdonald dress, (left) was covered from at the 2014 vanity fair oscar party. post haircut (right), she the red carpet in a alexandre gown and plunging
in a long sleeve, black julien macdonald dress, (above) was covered from at the 2014 vanity fair oscar party. without showing a hint of skin, the star still managed to sparkle.
after chopping her tresses, the blonde bombshell the red carpet at the same event in a alexandre gown and plunging neck, complete with giuseppe sandals.
at the giver premiere in 2014 (below) looked sugary sweet in a modest crimson and cream gown by monique and nude pumps.
she donned another ensemble this past february, but this time with her tummy and on display in versace. stuart weitzman stilettos finished her sexy crop top look.
color-blocking: then and now
at the giver premiere in 2014 (left) looked sugary sweet in a crimson and cream gown by monique and nude pumps. she donned another look this past february, but this time with her tummy and on display in versace. stuart weitzman stilettos finished her sexy ensemble
taylor (below) posed for photographers at macy's herald square in 2011 wearing a striped tracy reese frock. she completed her retro look with an and house of jewels.
with her shorter 'do she sizzled in stripes at hyde night club last month in a tube top and matching mini skirt, complete with a swipe of her signature red lip. muah!
the pop princess (below) couldn't look any cuter at the launch of her perfume in 2011 wearing a prim and proper metallic with a belt.
post haircut, the fresh faced beauty donned an aqua metallic spandex with cutouts while dining in beverly hills. she's short and sexy!
stripes: then and now
taylor (left) posed for photographers at macy's herald square in 2011 wearing a striped tracy reese frock. she completed her retro look with an and vintage house of jewels. with her shorter 'do (right) she sizzled at hyde night club in a tube top and matching mini skirt
metallic mini: then and now
the pop princess (left) couldn't look any cuter at the launch of her perfume in 2011 wearing a metallic with a belt. last week, the fresh faced beauty donned a metallic spandex mini by aqua while dining in beverly hills
her shoes are sexy, too! shop the stilettos she rocked recently on the red carpet. | ðeɪ seɪ 'nu 'du, nu ju' ənd ðət ˈsərtənli simz tɪ bi ðə keɪs wɪθ ˈteɪlər swɪft. ðə ʃeɪk ɪt ɔf ˈsɪŋər həz bɪn ˈflæʃɪŋ ə lɔt mɔr flɛʃ sɪns ˈʧɑpɪŋ ɔf hər lɑks ˈɪntu ə ˈʃægi bɑb. frəm ðə ˈplənʤɪŋ ælɪkˈsɑndər gaʊn ʃi slɪpt ˈɪntu fər ðə ˈvænɪti fɛr ˈɔskər ˈpɑrti tɪ ðə tɔp ənd ˈmæʧɪŋ ˈmɪni skərt ʃi ˈspɔrtɪd aʊt ɪn lɑ wɪθ ˈbɔɪˌfrɛnd ˈkælvɪn ˈhɛrɪs, ðə ˈsɔŋˌbərd həz bɪn rɪˈvilɪŋ ə ˈsɛksiər saɪd əv hərˈsɛlf frəm. waɪl ðə staɪl ˈaɪkɑn ˈɔlˌweɪz ˈmænɪʤɪz tɪ waʊ ˈjuˈɛs ɔn ðə rɛd ˈkɑrpət, ʃaɪnz ə ˈspɑˌtlaɪt ɔn hər ˈkɑrənt sˈmoʊldərɪŋ ɑnˈsɑmbəlz (ˈpɪkʧərd raɪt) ɛz kəmˈpɛrd tɪ hər mɔr ˈmɑdəst pri ˈhɛrˌkət lʊks (ˈpɪkʧərd lɛft). ˌɛnˈʤɔɪ! lɔŋ blæk drɛs: ðɛn ənd naʊ ɪn ə lɔŋ sliv, blæk ˈʤuliən məkˈdɑnəld drɛs, (lɛft) wɑz ˈkəvərd frəm æt ðə 2014 ˈvænɪti fɛr ˈɔskər ˈpɑrti. poʊst ˈhɛrˌkət (raɪt), ʃi ðə rɛd ˈkɑrpət ɪn ə ælɪkˈsɑndər gaʊn ənd ˈplənʤɪŋ ɪn ə lɔŋ sliv, blæk ˈʤuliən məkˈdɑnəld drɛs, (əˈbəv) wɑz ˈkəvərd frəm æt ðə 2014 ˈvænɪti fɛr ˈɔskər ˈpɑrti. wɪˈθaʊt ʃoʊɪŋ ə hɪnt əv skɪn, ðə stɑr stɪl ˈmænɪʤd tɪ ˈspɑrkəl. ˈæftər ˈʧɑpɪŋ hər ˈtrɛsɪz, ðə blɑnd ˈbɑmˌʃɛl ðə rɛd ˈkɑrpət æt ðə seɪm ɪˈvɛnt ɪn ə ælɪkˈsɑndər gaʊn ənd ˈplənʤɪŋ nɛk, kəmˈplit wɪθ ʤɪˈsɛpi ˈsændəlz. æt ðə ˈgɪvər prɛˈmɪr ɪn 2014 (bɪˈloʊ) lʊkt ˈʃʊgəri swit ɪn ə ˈmɑdəst ˈkrɪmzən ənd krim gaʊn baɪ ˌmoʊˈnik ənd nud pəmps. ʃi dɑnd əˈnəðər ɑnˈsɑmbəl ðɪs pæst ˈfɛbruˌɛri, bət ðɪs taɪm wɪθ hər ˈtəmi ənd ɔn dɪˈspleɪ ɪn vərˈsɑʧi. stɔrt ˈwaɪtsmən stəˈlɛtoʊz ˈfɪnɪʃt hər ˈsɛksi krɑp tɔp lʊk. color-blocking*: ðɛn ənd naʊ æt ðə ˈgɪvər prɛˈmɪr ɪn 2014 (lɛft) lʊkt ˈʃʊgəri swit ɪn ə ˈkrɪmzən ənd krim gaʊn baɪ ˌmoʊˈnik ənd nud pəmps. ʃi dɑnd əˈnəðər lʊk ðɪs pæst ˈfɛbruˌɛri, bət ðɪs taɪm wɪθ hər ˈtəmi ənd ɔn dɪˈspleɪ ɪn vərˈsɑʧi. stɔrt ˈwaɪtsmən stəˈlɛtoʊz ˈfɪnɪʃt hər ˈsɛksi ɑnˈsɑmbəl ˈteɪlər (bɪˈloʊ) poʊzd fər fəˈtɑgrəfərz æt ˈmeɪsiz ˈhɛrəld skwɛr ɪn 2011 ˈwɛrɪŋ ə straɪpt ˈtreɪsi ris frɑk. ʃi kəmˈplitɪd hər ˈrɛtroʊ lʊk wɪθ ən ənd haʊs əv ʤuəlz. wɪθ hər ˈʃɔrtər 'du ʃi ˈsɪzəld ɪn straɪps æt haɪd naɪt kləb læst mənθ ɪn ə tub tɔp ənd ˈmæʧɪŋ ˈmɪni skərt, kəmˈplit wɪθ ə swaɪp əv hər ˈsɪgnəʧər rɛd lɪp. muah*! ðə pɑp ˈprɪnsɛs (bɪˈloʊ) ˈkʊdənt lʊk ˈɛni ˈkjutər æt ðə lɔnʧ əv hər pərfˈjum ɪn 2011 ˈwɛrɪŋ ə prɪm ənd ˈprɑpər məˈtælɪk wɪθ ə bɛlt. poʊst ˈhɛrˌkət, ðə frɛʃ feɪst ˈbjuti dɑnd ən ˈɑkwə məˈtælɪk ˈspændəks wɪθ ˈkəˌtaʊts waɪl ˈdaɪnɪŋ ɪn ˈbɛvərli hɪlz. ʃiz ʃɔrt ənd ˈsɛksi! straɪps: ðɛn ənd naʊ ˈteɪlər (lɛft) poʊzd fər fəˈtɑgrəfərz æt ˈmeɪsiz ˈhɛrəld skwɛr ɪn 2011 ˈwɛrɪŋ ə straɪpt ˈtreɪsi ris frɑk. ʃi kəmˈplitɪd hər ˈrɛtroʊ lʊk wɪθ ən ənd ˈvɪntɪʤ haʊs əv ʤuəlz. wɪθ hər ˈʃɔrtər 'du (raɪt) ʃi ˈsɪzəld æt haɪd naɪt kləb ɪn ə tub tɔp ənd ˈmæʧɪŋ ˈmɪni skərt məˈtælɪk ˈmɪni: ðɛn ənd naʊ ðə pɑp ˈprɪnsɛs (lɛft) ˈkʊdənt lʊk ˈɛni ˈkjutər æt ðə lɔnʧ əv hər pərfˈjum ɪn 2011 ˈwɛrɪŋ ə məˈtælɪk wɪθ ə bɛlt. læst wik, ðə frɛʃ feɪst ˈbjuti dɑnd ə məˈtælɪk ˈspændəks ˈmɪni baɪ ˈɑkwə waɪl ˈdaɪnɪŋ ɪn ˈbɛvərli hɪlz hər ʃuz ər ˈsɛksi, tu! ʃɑp ðə stəˈlɛtoʊz ʃi rɑkt ˈrisəntli ɔn ðə rɛd ˈkɑrpət. |
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one day after president signed into law a bill making homosexuality punishable with life imprisonment, several countries have already said they will cut aid to the country.
president signed the draconian bill in front of politicians and reporters on monday at state house, his official residence in entebbe.
the law calls for repeat offenders to be sentenced to 14 years in prison and makes it a criminal not to report someone for being gay.
norway, denmark and the netherlands have become the first three countries to cut their aid to uganda following the decision to sign the bill by.
the netherlands has stopped around million in aid money which was intended for legal system, as the country did not want to contribute to the persecution of gay people.
norway and denmark have also said they will redirect aid directly to human rights groups, rather than the government.
this is the same policy which the british department for international development, which provides aid directly to organisations such as the un, world bank and amnesty international.
the us secretary of state john kerry today said his country is now reviewing its relations with uganda, following president’s decision to sign legislation.
sweden has also said it will review its aid spending.
members of theropean parliament (meps) have called for an end to a political agreement with uganda over the law.
eu foreign policy chief baroness ashton described the move as “draconian”.
britain’s deputy prime minister nick clegg said it was “an abhorrent backwards step for human rights”.
uk foreign secretary william hague said he was “deeply saddened and disappointed”.
a tabloid newspaper in uganda today published a list of the top” gay people. | signup* tɪ rɪˈsiv ə ˈdeɪli ˈraʊnˌdəp əv ðə tɔp lgbt*+ nuz ˈstɔriz frəm əraʊnd ðə wərld wən deɪ ˈæftər ˈprɛzɪdənt saɪnd ˈɪntu lɔ ə bɪl ˈmeɪkɪŋ ˌhoʊmoʊˌsɛkʃuˈæləˌti ˈpənɪʃəbəl wɪθ laɪf ˌɪmˈprɪzənmənt, ˈsɛvərəl ˈkəntriz hæv ɔˈrɛdi sɛd ðeɪ wɪl kət eɪd tɪ ðə ˈkəntri. ˈprɛzɪdənt saɪnd ðə drəˈkoʊniən bɪl ɪn frənt əv ˌpɑləˈtɪʃənz ənd rɪˈpɔrtərz ɔn ˈmənˌdeɪ æt steɪt haʊs, hɪz əˈfɪʃəl ˈrɛzɪdəns ɪn ˌɛnˈtɛbi. ðə lɔ kɔlz fər rɪˈpit əˈfɛndərz tɪ bi ˈsɛntənst tɪ 14 jɪrz ɪn ˈprɪzən ənd meɪks ɪt ə ˈkrɪmənəl nɑt tɪ rɪˈpɔrt ˈsəmˌwən fər biɪŋ geɪ. ˈnɔrˌweɪ, ˈdɛnˌmɑrk ənd ðə ˈnɛðərləndz hæv bɪˈkəm ðə fərst θri ˈkəntriz tɪ kət ðɛr eɪd tɪ ˌjuˈgɑndɑ ˈfɑloʊɪŋ ðə dɪˈsɪʒən tɪ saɪn ðə bɪl baɪ. ðə ˈnɛðərləndz həz stɑpt əraʊnd ˈmɪljən ɪn eɪd ˈməni wɪʧ wɑz ˌɪnˈtɛndɪd fər ˈligəl ˈsɪstəm, ɛz ðə ˈkəntri dɪd nɑt wɔnt tɪ kənˈtrɪbjut tɪ ðə ˌpərsəˈkjuʃən əv geɪ ˈpipəl. ˈnɔrˌweɪ ənd ˈdɛnˌmɑrk hæv ˈɔlsoʊ sɛd ðeɪ wɪl ˌridərˈɛkt eɪd dɪˈrɛkli tɪ ˈjumən raɪts grups, ˈrəðər ðən ðə ˈgəvərnmənt. ðɪs ɪz ðə seɪm ˈpɑləsi wɪʧ ðə ˈbrɪtɪʃ dɪˈpɑrtmənt fər ˌɪnərˈnæʃənɑl dɪˈvɛləpmənt, wɪʧ prəˈvaɪdz eɪd dɪˈrɛkli tɪ ˌɔrgənɪˈzeɪʃənz səʧ ɛz ðə ˈjuˈɛn, wərld bæŋk ənd ˈæmnəsti ˌɪnərˈnæʃənɑl. ðə ˈjuˈɛs ˈsɛkrəˌtɛri əv steɪt ʤɑn ˈkɛri təˈdeɪ sɛd hɪz ˈkəntri ɪz naʊ rivˈjuɪŋ ɪts riˈleɪʃənz wɪθ ˌjuˈgɑndɑ, ˈfɑloʊɪŋ ˈprɛzɪdənt dɪˈsɪʒən tɪ saɪn ˌlɛʤəsˈleɪʃən. sˈwidən həz ˈɔlsoʊ sɛd ɪt wɪl ˌrivˈju ɪts eɪd ˈspɛndɪŋ. ˈmɛmbərz əv ðə ˌjʊrəˈpiən ˈpɑrləmɛnt (meps*) hæv kɔld fər ən ɛnd tɪ ə pəˈlɪtɪkəl əˈgrimənt wɪθ ˌjuˈgɑndɑ ˈoʊvər ðə lɔ. ˈfɔrən ˈpɑləsi ʧif ˈbɛrənɪs ˈæʃtən dɪˈskraɪbd ðə muv ɛz ““draconian”*”. ˈdɛpjəti praɪm ˈmɪnɪstər nɪk klɛg sɛd ɪt wɑz æˈbhɔrənt ˈbækwərdz stɛp fər ˈjumən rights”*”. ˈfɔrən ˈsɛkrəˌtɛri ˈwɪljəm heɪg sɛd hi wɑz ˈsædənd ənd disappointed”*”. ə ˈtæblɔɪd ˈnuzˌpeɪpər ɪn ˌjuˈgɑndɑ təˈdeɪ ˈpəblɪʃt ə lɪst əv ðə top”*” geɪ ˈpipəl. |
over the past few days, i've been talking to multiple sources about star wars: first assault, the troubled multiplayer shooter that could be take on battlefield and call of duty.
today can reveal gameplay footage from the star wars shooter, which has not been announced and may never actually make it out of the studio, even though it's almost finished.
star wars: first assault was meant to be a "predecessor" to battlefront iii, we learned this week. planned to release it this spring as a game, but disney's acquisition of the company put all games on freeze as executives try to figure out what to do with the star wars property.
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we've got two clips of first assault, both cut from a trailer that was designed for internal use at back in october/november. this is footage from an older version of the game, and may not be a perfect reflection of what first assault looks like today, but given that won't talk about the game, this is all we've got.
"the trailer contains all footage, including known bugs and incomplete art," said a source. "in the time since it was made, many improvements have been made in performance, completeness, and quality."
the first clip is the intro to the trailer. it gives you a look through the eyes of a putting on his helmet:
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update: following a request sent from legal department to our parent company, gawker media, we have removed both videos. lucasfilm claims copyright on them and has also been pulling down versions of these clips that were ripped onto other sites on the internet. we can assume that the next time you'll see the you see it be when lucasfilm wants you to.
the second clip contains gameplay footage from star wars: first assault. in this clip, you can sees and rebels battling across various star wars locales, like the desert planet tatooine. it's very reminiscent of multiplayer mode in a shooter like call of duty or battlefield or lucas's own star wars: battlefront.
the video shows action in both first- and. we don't know if that's a mode or just clips from a replay (or footage designed specifically for this trailer). you can also see some of the game's guns, attacks, and special abilities:
it's still unclear exactly what will wind up happening with star wars: first assault in the coming weeks and months. we'll continue to dig around and update you as we hear more about the new star wars shooter and the troubled state of today. | ˈoʊvər ðə pæst fju deɪz, aɪv bɪn ˈtɔkɪŋ tɪ ˈməltəpəl ˈsɔrsəz əˈbaʊt stɑr wɔrz: fərst əˈsɔlt, ðə ˈtrəbəld ˈməltiˌpleɪər ˈʃutər ðət kʊd bi teɪk ɔn ˈbætəlˌfild ənd kɔl əv ˈduti. təˈdeɪ kən rɪˈvil ˈgeɪmˌpleɪ ˈfʊtɪʤ frəm ðə stɑr wɔrz ˈʃutər, wɪʧ həz nɑt bɪn əˈnaʊnst ənd meɪ ˈnɛvər ˈæˌkʧuəli meɪk ɪt aʊt əv ðə ˈstudiˌoʊ, ˈivɪn ðoʊ ɪts ˈɔlˌmoʊst ˈfɪnɪʃt. stɑr wɔrz: fərst əˈsɔlt wɑz mɛnt tɪ bi ə "ˈprɛdəˌsɛsər" tɪ ˈbætəlˌfrənt iii*, wi ˈlərnɪd ðɪs wik. plænd tɪ riˈlis ɪt ðɪs spərɪŋ ɛz ə geɪm, bət ˈdɪzniz ˌækwəˈzɪʃən əv ðə ˈkəmpəˌni pʊt ɔl geɪmz ɔn friz ɛz ɪgˈzɛkjətɪvz traɪ tɪ ˈfɪgjər aʊt wət tɪ du wɪθ ðə stɑr wɔrz ˈprɑpərti. ˌædvərˈtaɪzmənt wiv gɑt tu klɪps əv fərst əˈsɔlt, boʊθ kət frəm ə ˈtreɪlər ðət wɑz dɪˈzaɪnd fər ˌɪnˈtərnəl juz æt bæk ɪn october/november*. ðɪs ɪz ˈfʊtɪʤ frəm ən ˈoʊldər ˈvərʒən əv ðə geɪm, ənd meɪ nɑt bi ə ˈpərˌfɪkt rɪˈflɛkʃən əv wət fərst əˈsɔlt lʊks laɪk təˈdeɪ, bət ˈgɪvɪn ðət woʊnt tɔk əˈbaʊt ðə geɪm, ðɪs ɪz ɔl wiv gɑt. "ðə ˈtreɪlər kənˈteɪnz ɔl ˈfʊtɪʤ, ˌɪnˈkludɪŋ noʊn bəgz ənd ˌɪnkəmˈplit ɑrt," sɛd ə sɔrs. "ɪn ðə taɪm sɪns ɪt wɑz meɪd, ˈmɛni ˌɪmˈpruvmənts hæv bɪn meɪd ɪn pərˈfɔrməns, kəmˈplitnəs, ənd kˈwɑləti." ðə fərst klɪp ɪz ðə ˈɪntroʊ tɪ ðə ˈtreɪlər. ɪt gɪvz ju ə lʊk θru ðə aɪz əv ə ˈpʊtɪŋ ɔn hɪz ˈhɛlmət: ˌædvərˈtaɪzmənt ˈəpˌdeɪt: ˈfɑloʊɪŋ ə rɪkˈwɛst sɛnt frəm ˈligəl dɪˈpɑrtmənt tɪ ɑr ˈpɛrənt ˈkəmpəˌni, ˈgɑkər ˈmidiə, wi hæv riˈmuvd boʊθ ˈvɪdioʊz. ˈlukəsfɪlm kleɪmz ˈkɑpiˌraɪt ɔn ðɛm ənd həz ˈɔlsoʊ bɪn ˈpʊlɪŋ daʊn ˈvərʒənz əv ðiz klɪps ðət wər rɪpt ˈɔntu ˈəðər saɪts ɔn ðə ˈɪntərˌnɛt. wi kən əˈsum ðət ðə nɛkst taɪm jul si ðə ju si ɪt bi wɪn ˈlukəsfɪlm wɔnts ju tɪ. ðə ˈsɛkənd klɪp kənˈteɪnz ˈgeɪmˌpleɪ ˈfʊtɪʤ frəm stɑr wɔrz: fərst əˈsɔlt. ɪn ðɪs klɪp, ju kən si ənd ˈrɛbəlz ˈbætəlɪŋ əˈkrɔs ˈvɛriəs stɑr wɔrz loʊˈkælz, laɪk ðə ˈdɛzərt ˈplænət tatooine*. ɪts ˈvɛri ˌrɛməˈnɪsənt əv ˈməltiˌpleɪər moʊd ɪn ə ˈʃutər laɪk kɔl əv ˈduti ər ˈbætəlˌfild ər ˈlukəsɪz oʊn stɑr wɔrz: ˈbætəlˌfrənt. ðə ˈvɪdioʊ ʃoʊz ˈækʃən ɪn boʊθ fərst- ənd. wi doʊnt noʊ ɪf ðæts ə moʊd ər ʤɪst klɪps frəm ə riˈpleɪ (ər ˈfʊtɪʤ dɪˈzaɪnd spəˈsɪfɪkli fər ðɪs ˈtreɪlər). ju kən ˈɔlsoʊ si səm əv ðə geɪmz gənz, əˈtæks, ənd ˈspɛʃəl əˈbɪləˌtiz: ɪts stɪl ənˈklɪr ɪgˈzæktli wət wɪl wɪnd əp ˈhæpənɪŋ wɪθ stɑr wɔrz: fərst əˈsɔlt ɪn ðə ˈkəmɪŋ wiks ənd mənθs. wɪl kənˈtɪnju tɪ dɪg əraʊnd ənd ˈəpˌdeɪt ju ɛz wi hir mɔr əˈbaʊt ðə nu stɑr wɔrz ˈʃutər ənd ðə ˈtrəbəld steɪt əv təˈdeɪ. |
this is a little embarassing, but the story:
i was on my way out of town in search of adventure when a dragon roared above. i see him flying towards town so i head back. i make short work of it with some help of the guards and i take my leave. back on the road, just a short distance outside of town, i get ambushed by a bear. but this just any bear! this was bearacles, great king of the frozen north! after receiving a swift and merciless beating, i run back to town as fast as i can and the guards kill the bear for me.
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this entry was posted on wednesday, november 16th, 2011 at am and is filed under comics. you can follow any responses to this entry through the feed. both comments and pings are currently closed. | ðɪs ɪz ə ˈlɪtəl embarassing*, bət ðə ˈstɔri: aɪ wɑz ɔn maɪ weɪ aʊt əv taʊn ɪn sərʧ əv ədˈvɛnʧər wɪn ə ˈdrægən rɔrd əˈbəv. aɪ si ɪm flaɪɪŋ təˈwɔrdz taʊn soʊ aɪ hɛd bæk. aɪ meɪk ʃɔrt wərk əv ɪt wɪθ səm hɛlp əv ðə gɑrdz ənd aɪ teɪk maɪ liv. bæk ɔn ðə roʊd, ʤɪst ə ʃɔrt ˈdɪstəns ˈaʊtˈsaɪd əv taʊn, aɪ gɪt ˈæmˌbʊʃt baɪ ə bɛr. bət ðɪs ʤɪst ˈɛni bɛr! ðɪs wɑz bearacles*, greɪt kɪŋ əv ðə ˈfroʊzən nɔrθ! ˈæftər rɪˈsivɪŋ ə swɪft ənd ˈmərsələs ˈbitɪŋ, aɪ rən bæk tɪ taʊn ɛz fæst ɛz aɪ kən ənd ðə gɑrdz kɪl ðə bɛr fər mi. 95 621 0 ðɪs ˈɛntri wɑz ˈpoʊstɪd ɔn ˈwɛnzˌdeɪ, noʊˈvɛmbər 16th*, 2011 æt æm ənd ɪz faɪld ˈəndər ˈkɑmɪks. ju kən ˈfɑloʊ ˈɛni rɪˈspɑnsɪz tɪ ðɪs ˈɛntri θru ðə fid. boʊθ ˈkɑmɛnts ənd pɪŋz ər ˈkərəntli kloʊzd. |
there was dismay this week in the 8 out of 10 cats writing room. usually, when a bunch of tv writers express genuine, heartfelt horror it's because a runner has presented them with a plate of the wrong muffins. but this time it was about something serious, or almost as serious: the jailing of matthew woods. nineteen years old, and doing three months for making "grossly offensive" comments about an abducted child. on his own facebook page.
as you might imagine, seeing someone getting a custodial sentence for making jokes, however disgusting and unimaginative they are, didn't exactly play well among people whose job it is to make jokes. as my fellow writer on 10 o'clock live, alan connor, put it: "if we've really attempts to gross out your peers with horrible jokes, then every comedy writer in the is, for better or worse, going to be in prison before they take their second sip of coffee tomorrow morning."
everyone i spoke to about matthew woods and his beery late-night facebook posts asked versions of the same question: since when did making sick jokes become a crime? "it seems uncomfortably like an obscenity conviction," said the comic frankie boyle. "millions of horrendous things are said on twitter every day, how do you police it? perhaps a better idea would be to police things like direct threats of violence."
in this case, the only actual threats of violence were directed at woods. as charlie brooker said, "presumably matthew woods learned a powerful lesson about the potential consequences of tasteless humour when a mob turned up at his house and the police had to arrest him for his own safety. jailing him on top of that is insane. sick jokes can upset and offend. hurriedly formed vigilante mobs can kill. if the state earnestly believes that the former pose a greater threat to social order than the latter, the state is nuts."
the scariest thing about this nutty judgment is its mob logic. the court deemed jokes a crime under section 127 of the communications act 2003, which outlaws "grossly offensive" messages. the chairman of the bench at magistrates court, bill hudson, explained why this resulted in a custodial sentence: "the reason for the sentence is the seriousness of the, the public outrage that has been caused."
in other words, the "public outrage" is evidence of the gross (which constitutes the crime). the caused is proof of the. so in a weird way, the people who decide what's grossly offensive (and therefore criminal) are outraged folks such as journalists and the baying vigilante mob.
what's more, according to the communications act 2003, those who are grossly offended by the message "need not be the recipients". just so long as somebody gets to be outraged.
it's a rationale praised by comedy writers the dawson bros: "if a joke has offended even one solitary person," they say, "the perpetrator should be jailed without trial. a sketch about a dead parrot will not be funny to someone mourning the passing of a beloved bird. jail the monty python six. a skit about gardening implements will sicken anyone whose relative was impaled on a fork handle. jail corbett and send gravestone to landfill. and a man falling through an open bar hatch will deeply offend the countless people who've lost loved ones to lethal pub mishaps. jail david jason. and while you're there, lock up trigger as an accomplice."
personally, i find the public declarations of chairman hudson, which have been published online, to be "grossly offensive" does that mean i can press charges under section 127 of the communications act 2003? surely the problem here lies in this dragnet of a term, "grossly offensive".
this is the sort of dangerously vague legislation that the comedian liam describes as fascism", which, he says, is, "largely the legacy of blair's tenure. in a few short years our government doubled the statute books with a slew of ill thought-out, open-ended, laws which had relatively little to do with protecting the people and more to do with blair's penchant for social engineering. they seemed to disregard everything we've learned about the sanctity of individual liberty."
never mind liberty, where does it leave comedy? says: "it's going to be impossible to do or say anything remotely interesting in a climate where the mob mentality 'it upsets me so don't say it' is backed by policemen in the wings."
part of anyone's job who works in comedy is to scratch about on the fringes of bad taste. it's no wonder comedians are getting nervous.
no one i spoke to about matthew woods was in a mad rush to defend him as a person "he's obviously a massive prick" as one producer put it but everyone thought it bizarre that this massive prick was behind bars as a result of the things he wrote. things like: "who in their right mind would abduct a ginger kid?" and the frankly baffling: "could have just started the greatest facebook argument ever. april fools, who wants maddie?"
no one is defending him on the grounds that he's funny. he's not. but he deserves our support just as much as paul chambers, whose notorious quip was met with a great chorus of righteous from furious defenders of free speech. that chorus seems to have gone a bit quiet, now that it comes to rallying behind "comments of a sexually explicit nature" regarding a missing five-year-old.
the writer and broadcaster victoria coren warns: "it's easy for us peaceable western liberals to make a fuss when a likeable musician or poet is censored in a faraway country. but when it's a revolting moron being offensive in our own country, the point is still the same: you can't start sending people to prison for saying something you don't like."
turns out, in at least, you can. | ðɛr wɑz dɪsˈmeɪ ðɪs wik ɪn ðə 8 aʊt əv 10 kæts ˈraɪtɪŋ rum. ˈjuʒəwəli, wɪn ə bənʧ əv ˌtɛləˈvɪʒən ˈraɪtərz ɪkˈsprɛs ˈʤɛnjuˌaɪn, ˈhɑrtˌfɛlt ˈhɔrər ɪts bɪˈkəz ə ˈrənər həz pərˈzɛnəd ðɛm wɪθ ə pleɪt əv ðə rɔŋ ˈməfənz. bət ðɪs taɪm ɪt wɑz əˈbaʊt ˈsəmθɪŋ ˈsɪriəs, ər ˈɔlˌmoʊst ɛz ˈsɪriəs: ðə ˈʤeɪlɪŋ əv ˈmæθju wʊdz. ˈnaɪnˈtin jɪrz oʊld, ənd duɪŋ θri mənθs fər ˈmeɪkɪŋ "ˈgroʊsli əˈfɛnsɪv" ˈkɑmɛnts əˈbaʊt ən əbˈdəktɪd ʧaɪld. ɔn hɪz oʊn ˈfeɪsˌbʊk peɪʤ. ɛz ju maɪt ˌɪˈmæʤən, siɪŋ ˈsəmˌwən ˈgɪtɪŋ ə kəˈstoʊdiəl ˈsɛntəns fər ˈmeɪkɪŋ ʤoʊks, ˌhaʊˈɛvər dɪsˈgəstɪŋ ənd ənɪˈmæˌʤɪnətɪv ðeɪ ər, ˈdɪdənt ɪgˈzæktli pleɪ wɛl əˈməŋ ˈpipəl huz ʤɑb ɪt ɪz tɪ meɪk ʤoʊks. ɛz maɪ ˈfɛloʊ ˈraɪtər ɔn 10 əˈklɑk lɪv, ˈælən ˈkɑnər, pʊt ɪt: "ɪf wiv ˈrɪli əˈtɛmpts tɪ groʊs aʊt jʊr pɪrz wɪθ ˈhɔrəbəl ʤoʊks, ðɛn ˈɛvəri ˈkɑmədi ˈraɪtər ɪn ðə ɪz, fər ˈbɛtər ər wərs, goʊɪŋ tɪ bi ɪn ˈprɪzən ˌbiˈfɔr ðeɪ teɪk ðɛr ˈsɛkənd sɪp əv ˈkɔfi təˈmɑˌroʊ ˈmɔrnɪŋ." ˈɛvriˌwən aɪ spoʊk tɪ əˈbaʊt ˈmæθju wʊdz ənd hɪz ˈbɪri ˈleɪtˌnaɪt ˈfeɪsˌbʊk poʊsts æst ˈvərʒənz əv ðə seɪm kˈwɛʃən: sɪns wɪn dɪd ˈmeɪkɪŋ sɪk ʤoʊks bɪˈkəm ə kraɪm? "ɪt simz ənˈkəmftəbli laɪk ən əbˈsɛnɪti kənˈvɪkʃən," sɛd ðə ˈkɑmɪk ˈfræŋki bɔɪl. "ˈmɪljənz əv ˌhɔˈrɛndəs θɪŋz ər sɛd ɔn tˈwɪtər ˈɛvəri deɪ, haʊ du ju pəˈlis ɪt? pərˈhæps ə ˈbɛtər aɪˈdiə wʊd bi tɪ pəˈlis θɪŋz laɪk dɪˈrɛkt θrɛts əv ˈvaɪələns." ɪn ðɪs keɪs, ðə ˈoʊnli ˈækʧəwəl θrɛts əv ˈvaɪələns wər dɪˈrɛktɪd æt wʊdz. ɛz ˈʧɑrli ˈbrʊkər sɛd, "prɪˈzuməbli ˈmæθju wʊdz ˈlərnɪd ə ˈpaʊərfəl ˈlɛsən əˈbaʊt ðə pəˈtɛnʃəl ˈkɑnsəkˌwɛnsəz əv ˈteɪstləs ˈhjumər wɪn ə mɑb tərnd əp æt hɪz haʊs ənd ðə pəˈlis hæd tɪ ərˈɛst ɪm fər hɪz oʊn ˈseɪfti. ˈʤeɪlɪŋ ɪm ɔn tɔp əv ðət ɪz ˌɪnˈseɪn. sɪk ʤoʊks kən ˈəpˌsɛt ənd əˈfɛnd. ˈhəridli fɔrmd ˌvɪʤəˈlænti mɑbz kən kɪl. ɪf ðə steɪt ˈərnəstli bɪˈlivz ðət ðə ˈfɔrmər poʊz ə ˈgreɪtər θrɛt tɪ ˈsoʊʃəl ˈɔrdər ðən ðə ˈlætər, ðə steɪt ɪz nəts." ðə ˈskɛriəst θɪŋ əˈbaʊt ðɪs ˈnəti ˈʤəʤmənt ɪz ɪts mɑb ˈlɑʤɪk. ðə kɔrt dimd ʤoʊks ə kraɪm ˈəndər ˈsɛkʃən 127 əv ðə kəmˌjunəˈkeɪʃənz ækt 2003 wɪʧ ˈaʊˌtlɔz "ˈgroʊsli əˈfɛnsɪv" ˈmɛsɪʤɪz. ðə ˈʧɛrmən əv ðə bɛnʧ æt ˈmæʤɪˌstreɪts kɔrt, bɪl ˈhədsən, ɪkˈspleɪnd waɪ ðɪs rɪˈzəltɪd ɪn ə kəˈstoʊdiəl ˈsɛntəns: "ðə ˈrizən fər ðə ˈsɛntəns ɪz ðə ˈsɪriəsnəs əv ðə, ðə ˈpəblɪk ˈaʊˌtreɪʤ ðət həz bɪn kɔzd." ɪn ˈəðər wərdz, ðə "ˈpəblɪk ˈaʊˌtreɪʤ" ɪz ˈɛvədəns əv ðə groʊs (wɪʧ ˈkɑnstəˌtuts ðə kraɪm). ðə kɔzd ɪz pruf əv ðə. soʊ ɪn ə wɪrd weɪ, ðə ˈpipəl hu ˌdɪˈsaɪd wəts ˈgroʊsli əˈfɛnsɪv (ənd ˈðɛrˌfɔr ˈkrɪmənəl) ər ˈaʊˌtreɪʤd foʊks səʧ ɛz ˈʤərnəlɪsts ənd ðə beɪɪŋ ˌvɪʤəˈlænti mɑb. wəts mɔr, əˈkɔrdɪŋ tɪ ðə kəmˌjunəˈkeɪʃənz ækt 2003 ðoʊz hu ər ˈgroʊsli əˈfɛndɪd baɪ ðə ˈmɛsɪʤ "nid nɑt bi ðə rɪˈsɪpiənts". ʤɪst soʊ lɔŋ ɛz ˈsəmˌbɑdi gɪts tɪ bi ˈaʊˌtreɪʤd. ɪts ə ˌræʃəˈnæl preɪzd baɪ ˈkɑmədi ˈraɪtərz ðə ˈdɔsən bros*: "ɪf ə ʤoʊk həz əˈfɛndɪd ˈivɪn wən ˈsɑləˌtɛri ˈpərsən," ðeɪ seɪ, "ðə ˈpərpəˌtreɪtər ʃʊd bi ʤeɪld wɪˈθaʊt traɪəl. ə skɛʧ əˈbaʊt ə dɛd ˈpɛrət wɪl nɑt bi ˈfəni tɪ ˈsəmˌwən ˈmɔrnɪŋ ðə ˈpæsɪŋ əv ə bɪˈləvəd bərd. ʤeɪl ðə ˈmɔnti ˈpaɪθɑn sɪks. ə skɪt əˈbaʊt ˈgɑrdənɪŋ ˈɪmpləmənts wɪl ˈsɪkən ˈɛniˌwən huz ˈrɛlətɪv wɑz ˌɪmˈpeɪld ɔn ə fɔrk ˈhændəl. ʤeɪl ˈkɔrbɪt ənd sɛnd ˈgreɪvˌstoʊn tɪ ˈlændˌfɪl. ənd ə mæn ˈfɑlɪŋ θru ən ˈoʊpən bɑr hæʧ wɪl ˈdipli əˈfɛnd ðə ˈkaʊntləs ˈpipəl huv lɔst ləvd wənz tɪ ˈliθəl pəb ˈmɪsˌhæps. ʤeɪl ˈdeɪvɪd ˈʤeɪsən. ənd waɪl jʊr ðɛr, lɑk əp ˈtrɪgər ɛz ən əˈkɑmpləs." ˈpərsənəli, aɪ faɪnd ðə ˈpəblɪk ˌdɛklərˈeɪʃənz əv ˈʧɛrmən ˈhədsən, wɪʧ hæv bɪn ˈpəblɪʃt ˈɔnˌlaɪn, tɪ bi "ˈgroʊsli əˈfɛnsɪv" dɪz ðət min aɪ kən prɛs ˈʧɑrʤɪz ˈəndər ˈsɛkʃən 127 əv ðə kəmˌjunəˈkeɪʃənz ækt 2003 ˈʃʊrli ðə ˈprɑbləm hir laɪz ɪn ðɪs ˈdrægˌnɛt əv ə tərm, "ˈgroʊsli əˈfɛnsɪv". ðɪs ɪz ðə sɔrt əv ˈdeɪnʤərəsli veɪg ˌlɛʤəsˈleɪʃən ðət ðə kəˈmidiən ˈliəm dɪˈskraɪbz ɛz ˈfæˌʃɪzəm", wɪʧ, hi sɪz, ɪz, "ˈlɑrʤli ðə ˈlɛgəsi əv blɛrz ˈtɛnjər. ɪn ə fju ʃɔrt jɪrz ɑr ˈgəvərnmənt ˈdəbəld ðə ˈstæʧut bʊks wɪθ ə slu əv ɪl thought-out*, ˈoʊpəˌnɛndəd, lɔz wɪʧ hæd ˈrɛlətɪvli ˈlɪtəl tɪ du wɪθ prəˈtɛktɪŋ ðə ˈpipəl ənd mɔr tɪ du wɪθ blɛrz ˈpɛnʧənt fər ˈsoʊʃəl ˈɛnʤəˈnɪrɪŋ. ðeɪ simd tɪ ˌdɪsrɪˈgɑrd ˈɛvriˌθɪŋ wiv ˈlərnɪd əˈbaʊt ðə ˈsæŋktɪti əv ˌɪndəˈvɪʤəwəl ˈlɪbərˌti." ˈnɛvər maɪnd ˈlɪbərˌti, wɛr dɪz ɪt liv ˈkɑmədi? sɪz: "ɪts goʊɪŋ tɪ bi ˌɪmˈpɑsəbəl tɪ du ər seɪ ˈɛniˌθɪŋ riˈmoʊtli ˈɪntəˌrɛstɪŋ ɪn ə ˈklaɪmɪt wɛr ðə mɑb mɛnˈtælɪti 'ɪt ˈəpˌsɛts mi soʊ doʊnt seɪ ɪt' ɪz bækt baɪ pəˈlismɪn ɪn ðə wɪŋz." pɑrt əv ˈɛniˌwənz ʤɑb hu wərks ɪn ˈkɑmədi ɪz tɪ skræʧ əˈbaʊt ɔn ðə ˈfrɪnʤɪz əv bæd teɪst. ɪts noʊ ˈwəndər kəˈmidiənz ər ˈgɪtɪŋ ˈnərvəs. noʊ wən aɪ spoʊk tɪ əˈbaʊt ˈmæθju wʊdz wɑz ɪn ə mæd rəʃ tɪ dɪˈfɛnd ɪm ɛz ə ˈpərsən "hiz ˈɑbviəsli ə ˈmæsɪv prɪk" ɛz wən prəˈdusər pʊt ɪt bət ˈɛvriˌwən θɔt ɪt bɪˈzɑr ðət ðɪs ˈmæsɪv prɪk wɑz bɪˈhaɪnd bɑrz ɛz ə rɪˈzəlt əv ðə θɪŋz hi roʊt. θɪŋz laɪk: "hu ɪn ðɛr raɪt maɪnd wʊd æbˈdəkt ə ˈʤɪnʤər kɪd?" ənd ðə ˈfræŋkli ˈbæfəlɪŋ: "kʊd hæv ʤɪst ˈstɑrtɪd ðə ˈgreɪtəst ˈfeɪsˌbʊk ˈɑrgjəmənt ˈɛvər. ˈeɪprəl fulz, hu wɔnts ˈmædi?" noʊ wən ɪz dɪˈfɛndɪŋ ɪm ɔn ðə graʊnz ðət hiz ˈfəni. hiz nɑt. bət hi dɪˈzərvz ɑr səˈpɔrt ʤɪst ɛz məʧ ɛz pɔl ˈʧeɪmbərz, huz noʊˈtɔriəs kwɪp wɑz mɛt wɪθ ə greɪt ˈkɔrəs əv ˈraɪʧəs frəm fˈjʊriəs dɪˈfɛndərz əv fri spiʧ. ðət ˈkɔrəs simz tɪ hæv gɔn ə bɪt kwaɪət, naʊ ðət ɪt kəmz tɪ ˈræliɪŋ bɪˈhaɪnd "ˈkɑmɛnts əv ə ˈsɛkʃuəli ɪkˈsplɪsət ˈneɪʧər" rɪˈgɑrdɪŋ ə ˈmɪsɪŋ five-year-old*. ðə ˈraɪtər ənd ˈbrɔdˌkæstər vɪkˈtɔriə ˈkɔrən wɔrnz: "ɪts ˈizi fər ˈjuˈɛs ˈpisəbəl ˈwɛstərn ˈlɪˌbərəlz tɪ meɪk ə fəs wɪn ə ˈlaɪkəbəl mjuˈzɪʃən ər poʊət ɪz ˈsɛnsərd ɪn ə ˈfɑrəˈweɪ ˈkəntri. bət wɪn ɪts ə riˈvoʊltɪŋ ˈmɔˌrɑn biɪŋ əˈfɛnsɪv ɪn ɑr oʊn ˈkəntri, ðə pɔɪnt ɪz stɪl ðə seɪm: ju kænt stɑrt ˈsɛndɪŋ ˈpipəl tɪ ˈprɪzən fər seɪɪŋ ˈsəmθɪŋ ju doʊnt laɪk." tərnz aʊt, ɪn æt list, ju kən. |
denver broncos quarterback peyton manning talks with reporters during a news conference in jersey city, n.j. the seattle seahawks play the broncos in super bowl on sunday at metlife stadium in east rutherford, n.j.
jan. 30, 2014 denver broncos quarterback peyton manning talks with reporters during a news conference in jersey city, n.j. the seattle seahawks play the broncos in super bowl on sunday at metlife stadium in east rutherford, n.j. ap
new york and new jersey are gearing up for sunday, when the seattle seahawks will play the denver broncos in east rutherford, n.j.
new york and new jersey are gearing up for sunday, when the seattle seahawks will play the denver broncos in east rutherford, n.j.
new york and new jersey are gearing up for sunday, when the seattle seahawks will play the denver broncos in east rutherford, n.j.
the first time george toma did this job, some 47 years ago, he ran out of paint for the yard lines and had to borrow some from a nearby ice rink. then there was the time three years later when a flood turned the grass brown, so toma covered it in wood shavings and painted them green. a similar solution was necessary 15 years ago, when the band fire cannon burned a patch of the field during a halftime show rehearsal.
the super bowl will be played here sunday, birthday, and he has been the head groundskeeper for all of them. when game kicks off at p.m., toma and his crew must make sure each of metlife billion blades of synthetic grass form an appropriate canvas for the biggest sporting event.
“i’m just nobody,” he says. “but i appreciate a good field.”
that’s why he arranged for giant rental tents, each of them outfitted with heaters, to place over both end zones and at while painters worked to emblazon team and game logos. see, this is the first outdoor super bowl in a city, and if the field freezes, the paint hold.
“we do nothing about the weather,” he says now, learning long ago that how he and his crew react that makes the difference. “but we prepare for everything.”
that’s why toma has been here since jan. 13, trying to anticipate and avoid problems the way he has for this game since 1967. back then, he carted a equipment trunk onto the field and worked alone; now, the super crew is 32 strong and pulling expensive equipment from three tractor trailers
toma began working on playing fields as a teenager. when he was a senior in high school, he was named head groundskeeper for the cleveland indians’ class a affiliate in wilkes-barre, pa., and began experimenting with seeds and sod, sunlight and shadows, learning about the right amount of watering and when to get creative. eventually he became head groundskeeper of the kansas city athletics.
that’s where commissioner pete rozelle marveled over what he called the most beautiful field he had ever seen. rozelle concluded that a man who cared this much about grass and dirt was needed for another big nfl experiment: what would become known as the first super bowl.
so toma hauled his trunk to the los angeles memorial coliseum, where he overcame his paint shortage to produce a field that looked so good and played so well in the green bay packers’ victory over the kansas city chiefs, he got invited back.
as the game grew, toma added to his list of possible threats and challenges. he kept a blanket on the sideline in case he needed to chase down a streaker, and if the nfl or a television network thought the field look green enough, toma painted it to their satisfaction.
players and coaches came to know him; emmitt smith once asked for a chunk of turf after a super bowl, and warren sapp hugged him for such a nice playing surface. this week, new york giants coach tom coughlin invited toma into his office to reminisce.
“i just keep on going,” says toma, who has also worked two olympics and has overseen fields in america and abroad.
but last year in new orleans, something threatened streak. though he felt no discomfort, his right leg had swollen, and a doctor discovered a blood clot above his knee. blood gave him nosebleeds, and his nasal packing was removed four hours before the baltimore ravens and san francisco kicked off and more than 108 million viewers tuned in.
after he returned home to kansas city, where he retired as the royals’ head groundskeeper in 1999, toma had a bad aortic valve diagnosed, and last august he underwent surgery. complications followed, and so did seven weeks in the hospital, but when spring training began, there he was in fort myers, fla., working on the minnesota twins’ field as he had for years. he resumed his exercise regimen of walking, a and then one and then two, and before long he was pushing a lawn mower in the yards of a few elderly neighbors.
“my grass cutter,” he says, “is my walker.”
toma shakes his head at the idea of taking things slower after such an ordeal. even his son says be nervous if his father opted to sit out a super bowl.
“the second he stops,” said ryan toma, 30, “is the second i think problems start.”
so once again, he made the trip to make sure right for the final game of the nfl season. as he sat in a hotel lobby this week, strangers and admirers passed. some stopped. one asked for his autograph.
“you are an idol an icon,” a volunteer said.
an hour later, after posing for occasional pictures and telling his stories, it was time to return to the stadium across the street. while toma was away, a dress rehearsal was ongoing, with everything from the halftime show to the coin toss being practiced all of it on his manicured field. maybe need to brush the turf to make the blades look fresh, and if there was static electricity on the field, the crew had a machine ready that sprays downy fabric softener another trick he knows, just in case.
“sports has been good to me,” said toma, who plans on attending next super bowl, and as many after that as possible. “when the lord says it, it.” | ˈdɛnvər ˈbrɑŋkoʊz kˈwɔrtərˌbæk ˈpeɪtən ˈmænɪŋ tɔks wɪθ rɪˈpɔrtərz ˈdʊrɪŋ ə nuz ˈkɑnfərəns ɪn ˈʤərzi ˈsɪti, n.j*. ðə siˈætəl ˈsiˌhɔks pleɪ ðə ˈbrɑŋkoʊz ɪn ˈsupər boʊl ɔn ˈsənˌdi æt ˈmɛˌtlaɪf ˈsteɪdiəm ɪn ist ˈrəθərfərd, n.j*. ʤæn. 30 2014 ˈdɛnvər ˈbrɑŋkoʊz kˈwɔrtərˌbæk ˈpeɪtən ˈmænɪŋ tɔks wɪθ rɪˈpɔrtərz ˈdʊrɪŋ ə nuz ˈkɑnfərəns ɪn ˈʤərzi ˈsɪti, n.j*. ðə siˈætəl ˈsiˌhɔks pleɪ ðə ˈbrɑŋkoʊz ɪn ˈsupər boʊl ɔn ˈsənˌdi æt ˈmɛˌtlaɪf ˈsteɪdiəm ɪn ist ˈrəθərfərd, n.j*. ˌeɪˈpi nu jɔrk ənd nu ˈʤərzi ər ˈgɪrɪŋ əp fər ˈsənˌdi, wɪn ðə siˈætəl ˈsiˌhɔks wɪl pleɪ ðə ˈdɛnvər ˈbrɑŋkoʊz ɪn ist ˈrəθərfərd, n.j*. nu jɔrk ənd nu ˈʤərzi ər ˈgɪrɪŋ əp fər ˈsənˌdi, wɪn ðə siˈætəl ˈsiˌhɔks wɪl pleɪ ðə ˈdɛnvər ˈbrɑŋkoʊz ɪn ist ˈrəθərfərd, n.j*. nu jɔrk ənd nu ˈʤərzi ər ˈgɪrɪŋ əp fər ˈsənˌdi, wɪn ðə siˈætəl ˈsiˌhɔks wɪl pleɪ ðə ˈdɛnvər ˈbrɑŋkoʊz ɪn ist ˈrəθərfərd, n.j*. ðə fərst taɪm ʤɔrʤ ˈtoʊmə dɪd ðɪs ʤɑb, səm 47 jɪrz əˈgoʊ, hi ræn aʊt əv peɪnt fər ðə jɑrd laɪnz ənd hæd tɪ ˈbɑˌroʊ səm frəm ə ˈnɪrˈbaɪ aɪs rɪŋk. ðɛn ðɛr wɑz ðə taɪm θri jɪrz ˈleɪtər wɪn ə fləd tərnd ðə græs braʊn, soʊ ˈtoʊmə ˈkəvərd ɪt ɪn wʊd ˈʃeɪvɪŋz ənd ˈpeɪnɪd ðɛm grin. ə ˈsɪmələr səˈluʃən wɑz ˈnɛsəˌsɛri 15 jɪrz əˈgoʊ, wɪn ðə bænd faɪər ˈkænən bərnd ə pæʧ əv ðə fild ˈdʊrɪŋ ə ˈhæfˌtaɪm ʃoʊ rɪˈhərsəl. ðə ˈsupər boʊl wɪl bi pleɪd hir ˈsənˌdi, ˈbərθˌdeɪ, ənd hi həz bɪn ðə hɛd ˈgraʊndˌskipər fər ɔl əv ðɛm. wɪn geɪm kɪks ɔf æt p.m*., ˈtoʊmə ənd hɪz kru məst meɪk ʃʊr iʧ əv ˈmɛˌtlaɪf ˈbɪljən bleɪdz əv sɪnˈθɛtɪk græs fɔrm ən əˈproʊpriˌeɪt ˈkænvəs fər ðə ˈbɪgəst ˈspɔrtɪŋ ɪˈvɛnt. ʤɪst nobody,”*,” hi sɪz. aɪ əˈpriʃiˌeɪt ə gʊd field.”*.” waɪ hi əreɪnʤd fər ʤaɪənt ˈrɛntəl tɛnts, iʧ əv ðɛm ˈaʊtˌfɪtɪd wɪθ ˈhitərz, tɪ pleɪs ˈoʊvər boʊθ ɛnd zoʊnz ənd æt waɪl ˈpeɪnərz wərkt tɪ ɛmˈbleɪzən tim ənd geɪm ˈloʊˌgoʊz. si, ðɪs ɪz ðə fərst ˈaʊtˌdɔr ˈsupər boʊl ɪn ə ˈsɪti, ənd ɪf ðə fild ˈfrizɪz, ðə peɪnt hoʊld. du ˈnəθɪŋ əˈbaʊt ðə weather,”*,” hi sɪz naʊ, ˈlərnɪŋ lɔŋ əˈgoʊ ðət haʊ hi ənd hɪz kru riækt ðət meɪks ðə ˈdɪfərəns. wi priˈpɛr fər everything.”*.” waɪ ˈtoʊmə həz bɪn hir sɪns ʤæn. 13 traɪɪŋ tɪ ænˈtɪsəˌpeɪt ənd əˈvɔɪd ˈprɑbləmz ðə weɪ hi həz fər ðɪs geɪm sɪns 1967 bæk ðɛn, hi ˈkɑrtɪd ə ɪkˈwɪpmənt trəŋk ˈɔntu ðə fild ənd wərkt əˈloʊn; naʊ, ðə ˈsupər kru ɪz 32 strɔŋ ənd ˈpʊlɪŋ ɪkˈspɛnsɪv ɪkˈwɪpmənt frəm θri ˈtræktər ˈtreɪlərz ˈtoʊmə bɪˈgæn ˈwərkɪŋ ɔn pleɪɪŋ fildz ɛz ə ˈtiˌneɪʤər. wɪn hi wɑz ə ˈsinjər ɪn haɪ skul, hi wɑz neɪmd hɛd ˈgraʊndˌskipər fər ðə ˈklivlənd indians’*’ klæs ə əˈfɪliˌeɪt ɪn wilkes-barre*, pɑ., ənd bɪˈgæn ɛkˈspɛrəˌmɛntɪŋ wɪθ sidz ənd sɑd, ˈsənˌlaɪt ənd ˈʃæˌdoʊz, ˈlərnɪŋ əˈbaʊt ðə raɪt əˈmaʊnt əv ˈwɔtərɪŋ ənd wɪn tɪ gɪt kriˈeɪtɪv. ɪˈvɛnʧəwəli hi bɪˈkeɪm hɛd ˈgraʊndˌskipər əv ðə ˈkænzəs ˈsɪti æθˈlɛtɪks. wɛr kəˈmɪʃənər pit rəˈzɛl ˈmɑrvɛld ˈoʊvər wət hi kɔld ðə moʊst ˈbjutəfəl fild hi hæd ˈɛvər sin. rəˈzɛl kənˈkludɪd ðət ə mæn hu kɛrd ðɪs məʧ əˈbaʊt græs ənd dərt wɑz ˈnidɪd fər əˈnəðər bɪg ˈɛˌnɛˈfɛl ɪkˈspɛrəmənt: wət wʊd bɪˈkəm noʊn ɛz ðə fərst ˈsupər boʊl. soʊ ˈtoʊmə hɔld hɪz trəŋk tɪ ðə lɔs ˈænʤəlɪs məˈmɔriəl ˌkɑləˈsiəm, wɛr hi ˈoʊvərˈkeɪm hɪz peɪnt ˈʃɔrtɪʤ tɪ ˈproʊdus ə fild ðət lʊkt soʊ gʊd ənd pleɪd soʊ wɛl ɪn ðə grin beɪ packers’*’ ˈvɪktəri ˈoʊvər ðə ˈkænzəs ˈsɪti ʧifs, hi gɑt ˌɪnˈvaɪtɪd bæk. ɛz ðə geɪm gru, ˈtoʊmə ˈædɪd tɪ hɪz lɪst əv ˈpɑsəbəl θrɛts ənd ˈʧælənʤɪz. hi kɛpt ə ˈblæŋkɪt ɔn ðə ˈsaɪˌdlaɪn ɪn keɪs hi ˈnidɪd tɪ ʧeɪs daʊn ə ˈstrikər, ənd ɪf ðə ˈɛˌnɛˈfɛl ər ə ˈtɛləˌvɪʒən ˈnɛtˌwərk θɔt ðə fild lʊk grin ɪˈnəf, ˈtoʊmə ˈpeɪnɪd ɪt tɪ ðɛr ˌsætɪsˈfækʃən. pleɪərz ənd ˈkoʊʧɪz keɪm tɪ noʊ ɪm; ˈɛmɪt smɪθ wəns æst fər ə ʧəŋk əv tərf ˈæftər ə ˈsupər boʊl, ənd ˈwɔrən sæp həgd ɪm fər səʧ ə nis pleɪɪŋ ˈsərfəs. ðɪs wik, nu jɔrk ʤaɪənts koʊʧ tɑm ˈkɔglɪn ˌɪnˈvaɪtɪd ˈtoʊmə ˈɪntu hɪz ˈɔfəs tɪ ˌrɛməˈnɪs. ʤɪst kip ɔn going,”*,” sɪz ˈtoʊmə, hu həz ˈɔlsoʊ wərkt tu oʊˈlɪmpɪks ənd həz ˈoʊvərˌsin fildz ɪn əˈmɛrɪkə ənd əˈbrɔd. bət læst jɪr ɪn nu ˌɔˈrlinz, ˈsəmθɪŋ θˈrɛtənd strik. ðoʊ hi fɛlt noʊ dɪˈskəmfərt, hɪz raɪt lɛg hæd sˈwoʊlən, ənd ə ˈdɔktər dɪˈskəvərd ə bləd klɑt əˈbəv hɪz ni. bləd geɪv ɪm nosebleeds*, ənd hɪz ˈneɪzəl ˈpækɪŋ wɑz riˈmuvd fɔr aʊərz ˌbiˈfɔr ðə ˈbɔltəˌmɔr ˈreɪvənz ənd sæn frænˈsɪskoʊ kɪkt ɔf ənd mɔr ðən 108 ˈmɪljən vjuərz tund ɪn. ˈæftər hi rɪˈtərnd hoʊm tɪ ˈkænzəs ˈsɪti, wɛr hi rɪˈtaɪrd ɛz ðə royals’*’ hɛd ˈgraʊndˌskipər ɪn 1999 ˈtoʊmə hæd ə bæd eɪˈɔrtɪk vælv ˌdaɪəgˈnoʊst, ənd læst ˈɔgəst hi ˌəndərˈwɛnt ˈsərʤəri. ˌkɑmpləˈkeɪʃənz ˈfɑloʊd, ənd soʊ dɪd ˈsɛvən wiks ɪn ðə ˈhɑˌspɪtəl, bət wɪn spərɪŋ ˈtreɪnɪŋ bɪˈgæn, ðɛr hi wɑz ɪn fɔrt maɪərz, fla*., ˈwərkɪŋ ɔn ðə ˌmɪnɪˈsoʊtə twins’*’ fild ɛz hi hæd fər jɪrz. hi rɪˈzumd hɪz ˈɛksərˌsaɪz ˈrɛʤəmən əv ˈwɔkɪŋ, ə ənd ðɛn wən ənd ðɛn tu, ənd ˌbiˈfɔr lɔŋ hi wɑz ˈpʊʃɪŋ ə lɔn moʊər ɪn ðə jɑrdz əv ə fju ˈɛldərli ˈneɪbərz. græs cutter,”*,” hi sɪz, maɪ walker.”*.” ˈtoʊmə ʃeɪks hɪz hɛd æt ðə aɪˈdiə əv ˈteɪkɪŋ θɪŋz sloʊər ˈæftər səʧ ən ɔrˈdil. ˈivɪn hɪz sən sɪz bi ˈnərvəs ɪf hɪz ˈfɑðər ˈɑptɪd tɪ sɪt aʊt ə ˈsupər boʊl. ˈsɛkənd hi stops,”*,” sɛd raɪən ˈtoʊmə, 30 ðə ˈsɛkənd aɪ θɪŋk ˈprɑbləmz start.”*.” soʊ wəns əˈgɛn, hi meɪd ðə trɪp tɪ meɪk ʃʊr raɪt fər ðə ˈfaɪnəl geɪm əv ðə ˈɛˌnɛˈfɛl ˈsizən. ɛz hi sæt ɪn ə hoʊˈtɛl ˈlɑbi ðɪs wik, ˈstreɪnʤərz ənd ədˈmaɪrərz pæst. səm stɑpt. wən æst fər hɪz ˈɔtəˌgræf. ər ən ˈaɪdəl ən icon,”*,” ə ˌvɑlənˈtɪr sɛd. ən aʊər ˈleɪtər, ˈæftər ˈpoʊzɪŋ fər ɔˈkeɪʒənəl ˈpɪkʧərz ənd ˈtɛlɪŋ hɪz ˈstɔriz, ɪt wɑz taɪm tɪ rɪˈtərn tɪ ðə ˈsteɪdiəm əˈkrɔs ðə strit. waɪl ˈtoʊmə wɑz əˈweɪ, ə drɛs rɪˈhərsəl wɑz ˈɔnˌgoʊɪŋ, wɪθ ˈɛvriˌθɪŋ frəm ðə ˈhæfˌtaɪm ʃoʊ tɪ ðə kɔɪn tɔs biɪŋ ˈpræktɪst ɔl əv ɪt ɔn hɪz ˈmænɪkjərd fild. ˈmeɪbi nid tɪ brəʃ ðə tərf tɪ meɪk ðə bleɪdz lʊk frɛʃ, ənd ɪf ðɛr wɑz ˈstætɪk ɪˌlɛkˈtrɪsəti ɔn ðə fild, ðə kru hæd ə məˈʃin ˈrɛdi ðət spreɪz ˈdaʊni ˈfæbrɪk ˈsɔfənər əˈnəðər trɪk hi noʊz, ʤɪst ɪn keɪs. həz bɪn gʊd tɪ me,”*,” sɛd ˈtoʊmə, hu plænz ɔn əˈtɛndɪŋ nɛkst ˈsupər boʊl, ənd ɛz ˈmɛni ˈæftər ðət ɛz ˈpɑsəbəl. ðə lɔrd sɪz ɪt, it.”*.” |
update -- we are both humbled and excited to announce that we've made our goal! we are absolutely touched by the support we've received from everyone who encouraged this campaign to succeed. every single one of your contributions helped us surpass this milestone, and now we know with absolute certainty that "battle lizard" will very shortly see the light of day. a tremendous thank you from keegan, eric and the battle lizard team for generously giving us the resources we need to finish our film!
though we have succeeded in raising enough funds to complete the film itself, there are still many more aspects to the entire project that require even more funding out of pocket. as of today, we still have 5 days left. so, let's keep it going! that's 5 more days to raise funds to cover everything else, including our recent and final pickup day, the and amazon fees (10%), official website design, festival submission fees, dvd / printing, distribution, and costs to produce the video. that's close to $4,000 worth of additional expenses, on top of what we already raised to finish the film. we know it's a lot to strive for, but with the campaign still going strong, we really believe we can jump this final hurdle.
help us over the next 5 days spread the word, post the link to facebook, twitter, blogs and newsletters. this is our final attempt to reach for the stars, and we're going to get there!
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update -- a big shout out to edward fonseca for coming aboard as our first official associate producer / velociraptor! we're so amazed by all the contributions we've received so far from friends and supporters, we're confident that means things will start to pick up this week before the deadline. edward, thank you for your courageous pledge and we look forward to seeing you at the premiere!
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update -- sweet!+ likes on the battle lizard page! some amazing friends from around the world have bravely stepped forward and pledged to help us complete our film. we won't forget your generous offer. thank you.
there's still a ways to go - more than 80% within 17 days - but we know it's possible. if everyone else who liked our page pledges $10, we'd reach our goal instantly. it's that easy!
so in the meantime, we're working hard to press forward. we have a little pick-up shoot day scheduled for thursday - we'll make sure to take some pictures to share with you here and on facebook. we almost have old mr. battle lizard fully and painted, we just need your support to breathe some life into him and finish the story. so...
let's do this! 17 days left and counting.
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update -- shouting out a big thank you to our first backers. it's the confidence we've needed to continue painting our model of old 'mr. battle lizard'. we have a little over 10% of our $15,600 goal pledged, with only 27 days left to go, but we're putting 100% faith in our supporters. already with 900+ facebook likes, just think, if every one of those likes donated $15 right now, battle lizard would be a go! thank you for taking us these few important steps closer.
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thank you for taking the time to visit our page. we know there are a billion other interesting ways to spend your and we're glad you chose us to liven your day!
hopefully our video was fun to watch and communicated the heart of our message. we're not asking anyone to help fund a pipe dream or reach unrealistic goals. we're asking everyone, our fans and movie lovers alike, to help us complete a film that's already in the can.
when we started this project almost a year ago, we had just enough cash in our pockets to finish principal photography. we knew the remaining funds needed for might never come from our day jobs. so like any brave artist unwilling to compromise, we decided to take that leap of faith and go ahead and shoot. now beginning to understand what they mean by ‘risk equals reward’.
many of you have already sent us kind messages or posted compliments about our previous short, porcelain unicorn. so many in fact, it's taking a while to personally thank all of you. we hope the success of that film and its resonance with people around the world set a precedent for our future work. although our next project is quite different in subject matter and tone, we are equally as passionate about it, and we strive to have the same impact through a larger cinematic experience.
so what is 'battle lizard'?
well, that's the affectionate working title of our newest project. the segment of a grander story set during a post-apocalypse, where a calvary soldier (played by gil darnell) tries to lure his steed out of hiding so they can confront their fate together. and by ‘steed’, we mean dinosaur.
we definitely have more than one reason for making this film. for starters, we want to tell the kind of stories we love, and in the classic style we always loved watching them - no unnecessary sex or violence, no preachy themes, no ‘found footage’. just quality cinematic storytelling. more specifically, we want to create something that aspires to ‘big hollywood’ stature, and why: when the time comes to raise financing for feature films that are culturally significant or personal to us, like porcelain unicorn, we want investors or studios to feel secure taking that creative risk, having proof that we understand our audience.
so what exactly are you donating to? well, in a nutshell, our - the other half of our film. like the video explains, we have to complete visual effects, sound design, score, mixing, coloring and various publicity and marketing materials, without which a film never sees the light of day. the good news is been working at this filmmaking thing long enough to know realistically how to make the most of our talent and resources. we also know what it means to aim for the stars, and actually reach the stars. like creating an estimated dollar (market price) visual effect package for the cost of a new honda civic, with automatic windows. a killer deal made possible by the tireless dedication and ingenuity of our industry friends.
where’s the money going specifically? budgeted exactly what we need to finish ‘battle lizard’ down the dollar. below find a breakdown of how we plan to allocate your donations and tackle each element of at the highest quality possible (because we won't settle for anything less)...
post-production breakdown:
• visual effects: this makes up the vast majority of our budget, a whopping $8,500, and even not everything we need. but an advantage to living in los angeles, the entertainment capitol of the world, and that is our neighbors. we have an visual effects duo already working tirelessly to bring our ‘battle lizard’ to life. together set the bar high, planning to match the technical quality of jurassic park or peter king kong, as opposed to what you might find on your typical science channel. and so far what we've created is headed in that direction.
visual effects for any film is like an entirely separate and complex production in itself, made up of its own hierarchy of departments, only everything happens on the computer. aside from sculpting, rigging, animating, and lighting our dinosaur, we also have to work on...
• background mattes
• removal
• match moving
•
•
• particle simulations and elements
• rendering
in short, creating a dinosaur is no simple task. like giving birth to a living, breathing creature!
• original score: as former musicians, we truly believe 50% of any good movie is a great score. why dedicating $3,500 to record with a live orchestra in a reputable recording studio. no synthesized instruments allowed! our composer has already begun sharing some of his incredible ideas. and we tell you this, but probably going to get a few musicians to jam for a day, bringing unparalleled emotion to our story. we just need to throw them a bone as a token of our appreciation.
• sound editorial / mixing: often the unsung hero of hollywood, sound can make the movie, especially when more is left up to the imagination. our supervising sound editor and his team are ready to pull the trigger, currently discussing innovative ideas on how to design our unique vocals. absolutely no ‘stock’ sounds will be used in the making of this short; not how we roll.
the final mix is just as critical as the sound design itself. the quality control for all audio. these funds allow us to bring on a professional engineer to ensure that our film sounds nothing short of remarkable in both theaters and on television. also finish in both surround sound and stereo so you have the option of enjoy either one. all this for a modest $2,500.
• color grading: one of the final ingredients that gives big movies their polished touch. the distinct visual palette or ‘look’ of our film. strong, expressionistic tones create the overall feeling of being completely immersed in our world. $1100 flat. for as much time as we need to get it right at a professional coloring house. an amazing deal!
... and we still have to find money for festival submissions, website creation, dvd / printing, distribution, and online promotion. (even this video free.) oye! a lot left to do, but your support guarantees the most important part gets finished first: our film. and shrewdly applying every penny of your donations to, we'll be able to make this happen.
there are definitely some cool, fun, gifts to be had for supporting this project, including but not limited to original concept art, props used in the film, and your own personal short film produced by us. take a quick scroll through that column to the right. anyone who pledges $25 or more will get their name in the credits. not only in the film itself, but under on our page, our official website, and any other publicity materials displaying credits. we want to share with the world our generous fans and supporters who made this dream (/ nightmare) a reality.
we know the economy has seen better days, and filmmaking happens to be the most expensive art form. but movies are also one of those rare things that are depression-proof. take a moment to ask yourself what cinema means to you, how enjoyed it on those rainy days, when you needed an escape or longed to feel a connection. the spirit of what we do. we truly love making movies and always have. the real reward however comes from doing it for everyone.
if we manage to surpass our fundraising goal, be able to cover ancillary costs (described above), and if we even further exceed that number, anything extra will go directly to our next project. making movies is always, always the objective. so look at this as not only a one-time fundraiser for ‘battle lizard’, but a contribution to our future work. a good faith investment, if you will, in our promise to deliver quality, and meaningful content... with the occasional fun flick in between. in the end, with your support, be able to deliver better films to you, our audience, our muse.
thank you.
-keegan, eric, gil and team
ps. if we meet our fundraising goal, we can all expect a june 2012 release.
ppss. roger has something to say...
check us out on facebook to see how it's all coming together, new updates, videos and pictures. | ˈəpˌdeɪt wi ər boʊθ ˈhəmbəld ənd ɪkˈsaɪtɪd tɪ əˈnaʊns ðət wiv meɪd ɑr goʊl! wi ər ˌæbsəˈlutli təʧt baɪ ðə səˈpɔrt wiv rɪˈsivd frəm ˈɛvriˌwən hu ɪnˈkərəʤd ðɪs kæmˈpeɪn tɪ səkˈsid. ˈɛvəri ˈsɪŋgəl wən əv jʊr ˌkɑntrəˈbjuʃənz hɛlpt ˈjuˈɛs sərˈpæs ðɪs ˈmaɪlˌstoʊn, ənd naʊ wi noʊ wɪθ ˈæbsəˌlut ˈsərtənti ðət "ˈbætəl ˈlɪzərd" wɪl ˈvɛri ˈʃɔrtli si ðə laɪt əv deɪ. ə trɪˈmɛndəs θæŋk ju frəm ˈkigən, ˈɛrɪk ənd ðə ˈbætəl ˈlɪzərd tim fər ˈʤɛnərəsli ˈgɪvɪŋ ˈjuˈɛs ðə ˈrisɔrsɪz wi nid tɪ ˈfɪnɪʃ ɑr fɪlm! ðoʊ wi hæv səkˈsidɪd ɪn ˈreɪzɪŋ ɪˈnəf fəndz tɪ kəmˈplit ðə fɪlm ˌɪtˈsɛlf, ðɛr ər stɪl ˈmɛni mɔr ˈæˌspɛkts tɪ ðə ɪnˈtaɪər ˈprɑʤɛkt ðət ˌrikˈwaɪər ˈivɪn mɔr ˈfəndɪŋ aʊt əv ˈpɑkət. ɛz əv təˈdeɪ, wi stɪl hæv 5 deɪz lɛft. soʊ, lɛts kip ɪt goʊɪŋ! ðæts 5 mɔr deɪz tɪ reɪz fəndz tɪ ˈkəvər ˈɛvriˌθɪŋ ɛls, ˌɪnˈkludɪŋ ɑr ˈrisənt ənd ˈfaɪnəl ˈpɪˌkəp deɪ, ðə ənd ˈæməˌzɑn fiz 10 əˈfɪʃəl ˈwɛbˌsaɪt dɪˈzaɪn, ˈfɛstɪvəl səbˈmɪʃən fiz, ˌdiˌviˈdi ˈprɪnɪŋ, ˌdɪstrəˈbjuʃən, ənd kɔsts tɪ ˈproʊdus ðə ˈvɪdioʊ. ðæts kloʊz tɪ wərθ əv əˈdɪʃənəl ɪkˈspɛnsɪz, ɔn tɔp əv wət wi ɔˈrɛdi reɪzd tɪ ˈfɪnɪʃ ðə fɪlm. wi noʊ ɪts ə lɔt tɪ straɪv fər, bət wɪθ ðə kæmˈpeɪn stɪl goʊɪŋ strɔŋ, wi ˈrɪli bɪˈliv wi kən ʤəmp ðɪs ˈfaɪnəl ˈhərdəl. hɛlp ˈjuˈɛs ˈoʊvər ðə nɛkst 5 deɪz sprɛd ðə wərd, poʊst ðə lɪŋk tɪ ˈfeɪsˌbʊk, tˈwɪtər, blɔgz ənd ˈnuzˌlɛtərz. ðɪs ɪz ɑr ˈfaɪnəl əˈtɛmpt tɪ riʧ fər ðə stɑrz, ənd wɪr goʊɪŋ tɪ gɪt ðɛr! ˈəpˌdeɪt ə bɪg ʃaʊt aʊt tɪ ˈɛdwərd foʊnˈsɛkə fər ˈkəmɪŋ əˈbɔrd ɛz ɑr fərst əˈfɪʃəl əˈsoʊʃiˌeɪt prəˈdusər vəˈlɔsəˌræptər! wɪr soʊ əˈmeɪzd baɪ ɔl ðə ˌkɑntrəˈbjuʃənz wiv rɪˈsivd soʊ fɑr frəm frɛndz ənd səˈpɔrtərz, wɪr ˈkɑnfədənt ðət minz θɪŋz wɪl stɑrt tɪ pɪk əp ðɪs wik ˌbiˈfɔr ðə ˈdɛˌdlaɪn. ˈɛdwərd, θæŋk ju fər jʊr kərˈeɪʤəs plɛʤ ənd wi lʊk ˈfɔrwərd tɪ siɪŋ ju æt ðə prɛˈmɪr! ˈəpˌdeɪt swit! laɪks ɔn ðə ˈbætəl ˈlɪzərd peɪʤ! səm əˈmeɪzɪŋ frɛndz frəm əraʊnd ðə wərld hæv ˈbreɪvli stɛpt ˈfɔrwərd ənd plɛʤd tɪ hɛlp ˈjuˈɛs kəmˈplit ɑr fɪlm. wi woʊnt fərˈgɛt jʊr ˈʤɛnərəs ˈɔfər. θæŋk ju. ðɛrz stɪl ə weɪz tɪ goʊ mɔr ðən 80 wɪˈθɪn 17 deɪz bət wi noʊ ɪts ˈpɑsəbəl. ɪf ˈɛvriˌwən ɛls hu laɪkt ɑr peɪʤ ˈplɛʤɪz 10 wid riʧ ɑr goʊl ˈɪnstəntli. ɪts ðət ˈizi! soʊ ɪn ðə ˈminˌtaɪm, wɪr ˈwərkɪŋ hɑrd tɪ prɛs ˈfɔrwərd. wi hæv ə ˈlɪtəl ˈpɪˌkəp ʃut deɪ ˈskɛʤʊld fər ˈθərzˌdeɪ wɪl meɪk ʃʊr tɪ teɪk səm ˈpɪkʧərz tɪ ʃɛr wɪθ ju hir ənd ɔn ˈfeɪsˌbʊk. wi ˈɔlˌmoʊst hæv oʊld ˈmɪstər. ˈbætəl ˈlɪzərd ˈfʊli ənd ˈpeɪnɪd, wi ʤɪst nid jʊr səˈpɔrt tɪ brið səm laɪf ˈɪntu ɪm ənd ˈfɪnɪʃ ðə ˈstɔri. soʊ... lɛts du ðɪs! 17 deɪz lɛft ənd ˈkaʊntɪŋ. ˈəpˌdeɪt ˈʃaʊtɪŋ aʊt ə bɪg θæŋk ju tɪ ɑr fərst ˈbækərz. ɪts ðə ˈkɑnfədɛns wiv ˈnidɪd tɪ kənˈtɪnju ˈpeɪnɪŋ ɑr ˈmɑdəl əv oʊld 'ˈmɪstər. ˈbætəl ˈlɪzərd'. wi hæv ə ˈlɪtəl ˈoʊvər 10 əv ɑr goʊl plɛʤd, wɪθ ˈoʊnli 27 deɪz lɛft tɪ goʊ, bət wɪr ˈpʊtɪŋ 100 feɪθ ɪn ɑr səˈpɔrtərz. ɔˈrɛdi wɪθ 900 ˈfeɪsˌbʊk laɪks, ʤɪst θɪŋk, ɪf ˈɛvəri wən əv ðoʊz laɪks ˈdoʊˌneɪtɪd 15 raɪt naʊ, ˈbætəl ˈlɪzərd wʊd bi ə goʊ! θæŋk ju fər ˈteɪkɪŋ ˈjuˈɛs ðiz fju ˌɪmˈpɔrtənt stɛps ˈkloʊzər. θæŋk ju fər ˈteɪkɪŋ ðə taɪm tɪ ˈvɪzɪt ɑr peɪʤ. wi noʊ ðɛr ər ə ˈbɪljən ˈəðər ˈɪntəˌrɛstɪŋ weɪz tɪ spɛnd jʊr ənd wɪr glæd ju ʧoʊz ˈjuˈɛs tɪ ˈlaɪvən jʊr deɪ! ˈhoʊpfəli ɑr ˈvɪdioʊ wɑz fən tɪ wɔʧ ənd kəmˈjunəˌkeɪtɪd ðə hɑrt əv ɑr ˈmɛsɪʤ. wɪr nɑt ˈæskɪŋ ˈɛniˌwən tɪ hɛlp fənd ə paɪp drim ər riʧ ənˌriˈlɪstɪk goʊlz. wɪr ˈæskɪŋ ˈɛvriˌwən, ɑr fænz ənd ˈmuvi ˈləvərz əˈlaɪk, tɪ hɛlp ˈjuˈɛs kəmˈplit ə fɪlm ðæts ɔˈrɛdi ɪn ðə kən. wɪn wi ˈstɑrtɪd ðɪs ˈprɑʤɛkt ˈɔlˌmoʊst ə jɪr əˈgoʊ, wi hæd ʤɪst ɪˈnəf kæʃ ɪn ɑr ˈpɑkəts tɪ ˈfɪnɪʃ ˈprɪnsəpəl fəˈtɑgrəfi. wi nu ðə rɪˈmeɪnɪŋ fəndz ˈnidɪd fər maɪt ˈnɛvər kəm frəm ɑr deɪ ʤɑbz. soʊ laɪk ˈɛni breɪv ˈɑrtɪst ənˈwɪlɪŋ tɪ ˈkɑmprəˌmaɪz, wi ˌdɪˈsaɪdɪd tɪ teɪk ðət lip əv feɪθ ənd goʊ əˈhɛd ənd ʃut. naʊ bɪˈgɪnɪŋ tɪ ˌəndərˈstænd wət ðeɪ min baɪ ˈikwəlz reward’*’. ˈmɛni əv ju hæv ɔˈrɛdi sɛnt ˈjuˈɛs kaɪnd ˈmɛsɪʤɪz ər ˈpoʊstɪd ˈkɑmpləmɛnts əˈbaʊt ɑr ˈpriviəs ʃɔrt, ˈpɔrsələn ˈjunɪˌkɔrn. soʊ ˈmɛni ɪn fækt, ɪts ˈteɪkɪŋ ə waɪl tɪ ˈpərsənəli θæŋk ɔl əv ju. wi hoʊp ðə səkˈsɛs əv ðət fɪlm ənd ɪts ˈrɛzənəns wɪθ ˈpipəl əraʊnd ðə wərld sɛt ə ˈprɛsɪdənt fər ɑr fˈjuʧər wərk. ˌɔlˈðoʊ ɑr nɛkst ˈprɑʤɛkt ɪz kwaɪt ˈdɪfərənt ɪn ˈsəbʤɪkt ˈmætər ənd toʊn, wi ər ˈikwəli ɛz ˈpæʃənət əˈbaʊt ɪt, ənd wi straɪv tɪ hæv ðə seɪm ˌɪmˈpækt θru ə ˈlɑrʤər ˌsɪnəˈmætɪk ɪkˈspɪriəns. soʊ wət ɪz 'ˈbætəl ˈlɪzərd'? wɛl, ðæts ðə əˈfɛkʃənət ˈwərkɪŋ ˈtaɪtəl əv ɑr nuəst ˈprɑʤɛkt. ðə ˌsɛgˈmɛnt əv ə ˈgrændər ˈstɔri sɛt ˈdʊrɪŋ ə post-apocalypse*, wɛr ə ˈkælvəri ˈsoʊlʤər (pleɪd baɪ gɪl dɑrˈnɛl) traɪz tɪ lʊr hɪz stid aʊt əv ˈhaɪdɪŋ soʊ ðeɪ kən kənˈfrənt ðɛr feɪt təˈgɛðər. ənd baɪ ‘‘steed’*’, wi min ˈdaɪnəˌsɔr. wi ˈdɛfənətli hæv mɔr ðən wən ˈrizən fər ˈmeɪkɪŋ ðɪs fɪlm. fər ˈstɑrtərz, wi wɔnt tɪ tɛl ðə kaɪnd əv ˈstɔriz wi ləv, ənd ɪn ðə ˈklæsɪk staɪl wi ˈɔlˌweɪz ləvd ˈwɑʧɪŋ ðɛm noʊ ənˈnɛsəˌsɛri sɛks ər ˈvaɪələns, noʊ ˈpriʧi θimz, noʊ footage’*’. ʤɪst kˈwɑləti ˌsɪnəˈmætɪk ˈstɔriˌtɛlɪŋ. mɔr spəˈsɪfɪkli, wi wɔnt tɪ kriˈeɪt ˈsəmθɪŋ ðət əˈspaɪərz tɪ hollywood’*’ ˈstæʧər, ənd waɪ: wɪn ðə taɪm kəmz tɪ reɪz fɪˈnænsɪŋ fər ˈfiʧər fɪlmz ðət ər ˈkəlʧərəˌli sɪgˈnɪfɪkənt ər ˈpərsɪnəl tɪ ˈjuˈɛs, laɪk ˈpɔrsələn ˈjunɪˌkɔrn, wi wɔnt ˌɪnˈvɛstərz ər ˈstudiˌoʊz tɪ fil sɪˈkjʊr ˈteɪkɪŋ ðət kriˈeɪtɪv rɪsk, ˈhævɪŋ pruf ðət wi ˌəndərˈstænd ɑr ˈɔdiəns. soʊ wət ɪgˈzæktli ər ju ˈdoʊˌneɪtɪŋ tɪ? wɛl, ɪn ə ˈnətˌʃɛl, ɑr ðə ˈəðər hæf əv ɑr fɪlm. laɪk ðə ˈvɪdioʊ ɪkˈspleɪnz, wi hæv tɪ kəmˈplit ˈvɪʒəwəl ˈifɛkts, saʊnd dɪˈzaɪn, skɔr, ˈmɪksɪŋ, ˈkələrɪŋ ənd ˈvɛriəs pəˈblɪsɪti ənd ˈmɑrkətɪŋ məˈtɪriəlz, wɪˈθaʊt wɪʧ ə fɪlm ˈnɛvər siz ðə laɪt əv deɪ. ðə gʊd nuz ɪz bɪn ˈwərkɪŋ æt ðɪs ˈfɪlˌmeɪkɪŋ θɪŋ lɔŋ ɪˈnəf tɪ noʊ ˌriəˈlɪstɪkli haʊ tɪ meɪk ðə moʊst əv ɑr ˈtælənt ənd ˈrisɔrsɪz. wi ˈɔlsoʊ noʊ wət ɪt minz tɪ eɪm fər ðə stɑrz, ənd ˈæˌkʧuəli riʧ ðə stɑrz. laɪk kriˈeɪtɪŋ ən ˈɛstəˌmeɪtɪd ˈdɔlər (ˈmɑrkɪt praɪs) ˈvɪʒəwəl ˈifɛkt ˈpækɪʤ fər ðə kɔst əv ə nu ˈhɔndə ˈsɪvɪk, wɪθ ˌɔtəˈmætɪk ˈwɪndoʊz. ə ˈkɪlər dil meɪd ˈpɑsəbəl baɪ ðə ˈtaɪərləs ˌdɛdəˈkeɪʃən ənd ˌɪnʤəˈnuəˌti əv ɑr ˈɪndəstri frɛndz. ðə ˈməni goʊɪŋ spəˈsɪfɪkli? ˈbəʤɪtɪd ɪgˈzæktli wət wi nid tɪ ˈfɪnɪʃ lizard’*’ daʊn ðə ˈdɔlər. bɪˈloʊ faɪnd ə ˈbreɪkˌdaʊn əv haʊ wi plæn tɪ ˈæləˌkeɪt jʊr doʊˈneɪʃənz ənd ˈtækəl iʧ ˈɛləmənt əv æt ðə haɪəst kˈwɑləti ˈpɑsəbəl (bɪˈkəz wi woʊnt ˈsɛtəl fər ˈɛniˌθɪŋ lɛs)... ˈbreɪkˌdaʊn: ˈvɪʒəwəl ˈifɛkts: ðɪs meɪks əp ðə væst məˈʤɔrəti əv ɑr ˈbəʤɪt, ə ˈwɑpɪŋ ənd ˈivɪn nɑt ˈɛvriˌθɪŋ wi nid. bət ən ædˈvæntɪʤ tɪ ˈlɪvɪŋ ɪn lɔs ˈænʤəlɪs, ðə ˌɛnərˈteɪnmənt ˈkæpɪtəl əv ðə wərld, ənd ðət ɪz ɑr ˈneɪbərz. wi hæv ən ˈvɪʒəwəl ˈifɛkts ˈduoʊ ɔˈrɛdi ˈwərkɪŋ ˈtaɪrləsli tɪ brɪŋ ɑr lizard’*’ tɪ laɪf. təˈgɛðər sɛt ðə bɑr haɪ, ˈplænɪŋ tɪ mæʧ ðə ˈtɛknɪkəl kˈwɑləti əv ʤʊˈræsɪk pɑrk ər ˈpitər kɪŋ kɔŋg, ɛz əˈpoʊzd tɪ wət ju maɪt faɪnd ɔn jʊr ˈtɪpɪkəl saɪəns ˈʧænəl. ənd soʊ fɑr wət wiv kriˈeɪtɪd ɪz ˈhɛdɪd ɪn ðət dɪˈrɛkʃɪn. ˈvɪʒəwəl ˈifɛkts fər ˈɛni fɪlm ɪz laɪk ən ɪnˈtaɪərli ˈsɛpərˌeɪt ənd ˈkɑmplɛks pərˈdəkʃən ɪn ˌɪtˈsɛlf, meɪd əp əv ɪts oʊn ˈhaɪˌrɑrki əv dɪˈpɑrtmənts, ˈoʊnli ˈɛvriˌθɪŋ ˈhæpənz ɔn ðə kəmˈpjutər. əˈsaɪd frəm ˈskəlptɪŋ, ˈrɪgɪŋ, animating*, ənd ˈlaɪtɪŋ ɑr ˈdaɪnəˌsɔr, wi ˈɔlsoʊ hæv tɪ wərk ɔn... ˈbækˌgraʊnd mæts rɪˈmuvəl mæʧ ˈmuvɪŋ ˈpɑrtɪkəl ˌsɪmjəˈleɪʃənz ənd ˈɛləmənts ˈrɛndərɪŋ ɪn ʃɔrt, kriˈeɪtɪŋ ə ˈdaɪnəˌsɔr ɪz noʊ ˈsɪmpəl tæsk. laɪk ˈgɪvɪŋ bərθ tɪ ə ˈlɪvɪŋ, ˈbriðɪŋ ˈkriʧər! ərˈɪʤənəl skɔr: ɛz ˈfɔrmər mjuˈzɪʃənz, wi ˈtruli bɪˈliv 50 əv ˈɛni gʊd ˈmuvi ɪz ə greɪt skɔr. waɪ ˈdɛdɪˌkeɪtɪŋ tɪ ˈrɛkərd wɪθ ə lɪv ˈɔrkəstrə ɪn ə ˈrɛpjətəbəl rɪˈkɔrdɪŋ ˈstudiˌoʊ. noʊ ˈsɪnθɪˌsaɪzd ˈɪnstrəmənts əˈlaʊd! ɑr kəmˈpoʊzər həz ɔˈrɛdi ˈbeɪgən ˈʃɛrɪŋ səm əv hɪz ˌɪnˈkrɛdəbəl aɪˈdiəz. ənd wi tɛl ju ðɪs, bət ˈprɑbəˌbli goʊɪŋ tɪ gɪt ə fju mjuˈzɪʃənz tɪ ʤæm fər ə deɪ, ˈbrɪŋɪŋ ənˈpɛrəˌlɛld ˈiˌmoʊʃən tɪ ɑr ˈstɔri. wi ʤɪst nid tɪ θroʊ ðɛm ə boʊn ɛz ə ˈtoʊkən əv ɑr əˌpriʃiˈeɪʃən. saʊnd ˌɛdəˈtɔriəl ˈmɪksɪŋ: ˈɔfən ðə ənˈsəŋ ˈhɪroʊ əv ˈhɑliˌwʊd, saʊnd kən meɪk ðə ˈmuvi, əˈspɛʃəli wɪn mɔr ɪz lɛft əp tɪ ðə ˌɪˌmæʤəˈneɪʃən. ɑr ˈsupərˌvaɪzɪŋ saʊnd ˈɛdɪtər ənd hɪz tim ər ˈrɛdi tɪ pʊl ðə ˈtrɪgər, ˈkərəntli dɪˈskəsɪŋ ˈɪnəˌveɪtɪv aɪˈdiəz ɔn haʊ tɪ dɪˈzaɪn ɑr juˈnik ˈvoʊkəlz. ˌæbsəˈlutli noʊ ‘‘stock’*’ saʊnz wɪl bi juzd ɪn ðə ˈmeɪkɪŋ əv ðɪs ʃɔrt; nɑt haʊ wi roʊl. ðə ˈfaɪnəl mɪks ɪz ʤɪst ɛz ˈkrɪtɪkəl ɛz ðə saʊnd dɪˈzaɪn ˌɪtˈsɛlf. ðə kˈwɑləti kənˈtroʊl fər ɔl ˈɑdiˌoʊ. ðiz fəndz əˈlaʊ ˈjuˈɛs tɪ brɪŋ ɔn ə prəˈfɛʃənəl ˈɛnʤəˈnɪr tɪ ɪnˈʃʊr ðət ɑr fɪlm saʊnz ˈnəθɪŋ ʃɔrt əv rɪˈmɑrkəbəl ɪn boʊθ ˈθiətərz ənd ɔn ˈtɛləˌvɪʒən. ˈɔlsoʊ ˈfɪnɪʃ ɪn boʊθ səraʊnd saʊnd ənd ˈstɛriˌoʊ soʊ ju hæv ðə ˈɔpʃən əv ˌɛnˈʤɔɪ ˈiðər wən. ɔl ðɪs fər ə ˈmɑdəst ˈkələr ˈgreɪdɪŋ: wən əv ðə ˈfaɪnəl ˌɪnˈgridiənts ðət gɪvz bɪg ˈmuviz ðɛr ˈpɑlɪʃt təʧ. ðə dɪˈstɪŋkt ˈvɪʒəwəl ˈpælət ər ‘‘look’*’ əv ɑr fɪlm. strɔŋ, ɪkˌsprɛʃəˈnɪstɪk toʊnz kriˈeɪt ðə ˈoʊvərˌɔl ˈfilɪŋ əv biɪŋ kəmˈplitli ˌɪˈmərst ɪn ɑr wərld. 1100 flæt. fər ɛz məʧ taɪm ɛz wi nid tɪ gɪt ɪt raɪt æt ə prəˈfɛʃənəl ˈkələrɪŋ haʊs. ən əˈmeɪzɪŋ dil! ənd wi stɪl hæv tɪ faɪnd ˈməni fər ˈfɛstɪvəl səbˈmɪʃənz, ˈwɛbˌsaɪt kriˈeɪʃən, ˌdiˌviˈdi ˈprɪnɪŋ, ˌdɪstrəˈbjuʃən, ənd ˈɔnˌlaɪn pərˈmoʊʃən. (ˈivɪn ðɪs ˈvɪdioʊ fri.) ɔɪ! ə lɔt lɛft tɪ du, bət jʊr səˈpɔrt ˌgɛrənˈtiz ðə moʊst ˌɪmˈpɔrtənt pɑrt gɪts ˈfɪnɪʃt fərst: ɑr fɪlm. ənd ʃˈrudli əˈplaɪɪŋ ˈɛvəri ˈpɛni əv jʊr doʊˈneɪʃənz tɪ, wɪl bi ˈeɪbəl tɪ meɪk ðɪs ˈhæpən. ðɛr ər ˈdɛfənətli səm kul, fən, gɪfts tɪ bi hæd fər səˈpɔrtɪŋ ðɪs ˈprɑʤɛkt, ˌɪnˈkludɪŋ bət nɑt ˈlɪmɪtɪd tɪ ərˈɪʤənəl ˈkɑnsɛpt ɑrt, prɑps juzd ɪn ðə fɪlm, ənd jʊr oʊn ˈpərsɪnəl ʃɔrt fɪlm prəˈdust baɪ ˈjuˈɛs. teɪk ə kwɪk skroʊl θru ðət ˈkɑləm tɪ ðə raɪt. ˈɛniˌwən hu ˈplɛʤɪz 25 ər mɔr wɪl gɪt ðɛr neɪm ɪn ðə ˈkrɛdɪts. nɑt ˈoʊnli ɪn ðə fɪlm ˌɪtˈsɛlf, bət ˈəndər ɔn ɑr peɪʤ, ɑr əˈfɪʃəl ˈwɛbˌsaɪt, ənd ˈɛni ˈəðər pəˈblɪsɪti məˈtɪriəlz dɪˈspleɪɪŋ ˈkrɛdɪts. wi wɔnt tɪ ʃɛr wɪθ ðə wərld ɑr ˈʤɛnərəs fænz ənd səˈpɔrtərz hu meɪd ðɪs drim ˈnaɪtˌmɛr) ə ˌriˈæləˌti. wi noʊ ðə ɪˈkɑnəmi həz sin ˈbɛtər deɪz, ənd ˈfɪlˌmeɪkɪŋ ˈhæpənz tɪ bi ðə moʊst ɪkˈspɛnsɪv ɑrt fɔrm. bət ˈmuviz ər ˈɔlsoʊ wən əv ðoʊz rɛr θɪŋz ðət ər depression-proof*. teɪk ə ˈmoʊmənt tɪ æsk ˈjɔrsɛlf wət ˈsɪnəmə minz tɪ ju, haʊ ˌɛnˈʤɔɪd ɪt ɔn ðoʊz ˈreɪni deɪz, wɪn ju ˈnidɪd ən ɪˈskeɪp ər lɔŋd tɪ fil ə kəˈnɛkʃən. ðə ˈspɪrɪt əv wət wi du. wi ˈtruli ləv ˈmeɪkɪŋ ˈmuviz ənd ˈɔlˌweɪz hæv. ðə ril rɪˈwɔrd ˌhaʊˈɛvər kəmz frəm duɪŋ ɪt fər ˈɛvriˌwən. ɪf wi ˈmænɪʤ tɪ sərˈpæs ɑr ˈfənˌdreɪsɪŋ goʊl, bi ˈeɪbəl tɪ ˈkəvər ˈænsəˌlɛri kɔsts (dɪˈskraɪbd əˈbəv), ənd ɪf wi ˈivɪn ˈfərðər ɪkˈsid ðət ˈnəmbər, ˈɛniˌθɪŋ ˈɛkstrə wɪl goʊ dɪˈrɛkli tɪ ɑr nɛkst ˈprɑʤɛkt. ˈmeɪkɪŋ ˈmuviz ɪz ˈɔlˌweɪz, ˈɔlˌweɪz ðə əˈbʤɛktɪv. soʊ lʊk æt ðɪs ɛz nɑt ˈoʊnli ə ˈwəˌtaɪm ˈfənˌdreɪzər fər lizard’*’, bət ə ˌkɑntrəˈbjuʃən tɪ ɑr fˈjuʧər wərk. ə gʊd feɪθ ˌɪnˈvɛstmənt, ɪf ju wɪl, ɪn ɑr ˈprɑməs tɪ dɪˈlɪvər kˈwɑləti, ənd ˈminɪŋfəl ˈkɑntɛnt... wɪθ ðə ɔˈkeɪʒənəl fən flɪk ɪn bɪtˈwin. ɪn ðə ɛnd, wɪθ jʊr səˈpɔrt, bi ˈeɪbəl tɪ dɪˈlɪvər ˈbɛtər fɪlmz tɪ ju, ɑr ˈɔdiəns, ɑr mjuz. θæŋk ju. -ˈkigən, ˈɛrɪk, gɪl ənd tim ps*. ɪf wi mit ɑr ˈfənˌdreɪsɪŋ goʊl, wi kən ɔl ɪkˈspɛkt ə ʤun 2012 riˈlis. ppss*. ˈrɑʤər həz ˈsəmθɪŋ tɪ seɪ... ʧɛk ˈjuˈɛs aʊt ɔn ˈfeɪsˌbʊk tɪ si haʊ ɪts ɔl ˈkəmɪŋ təˈgɛðər, nu ˈəpˌdeɪts, ˈvɪdioʊz ənd ˈpɪkʧərz. |
the labrador retriever is officially britain's top dog while the chinese crested, various bulldogs and the poodle rank among the least loved
as many people own dogs as own cats in britain (25% each), but when you add in all the people without pets they're easily the most loved animal in the country. of the members that have contributed data on the 215 (and growing) animals in profiles, 16% have given a positive rating to dogs, ahead of tigers and elephants (tied at 13%) and dolphins and cats (tied at 12%).
not only do we collect data on animals, we go down to even finer detail, with data on 356 dog breeds and 64 cat breeds overall. a new profiles analysis of over members who've contributed data on dog breeds reveals the nation's most and least loved breeds.
the top dog is the labrador retriever, known for short as the labrador, or by colour as the black, yellow or chocolate lab. it's score (the strength of positive sentiment among those who have rated it) is two points higher than the classic british herding breed, the border collie, and the golden retriever, famed for its friendliness (both scoring 67).
the top ranking dogs are mainly working or herding dogs, often originating in britain. the alaskan husky is the only real exception, known for its efficiency as a sled dog in north america; the other being the golden retriever, a gun dog but still hailing from britain and europe.
the dogs with the least (in fact all ten at the very bottom of the 356 breeds are in negative territory) tend to be smaller dogs, either of the toy variety or notorious for their bad temper.
the least liked, by a long way, is the chinese crested, a breed that comes either hairless with a kind of mullet or in the "powder puff" (with fur) variety. it scores -30, well below the pit with -21.
along with the pit, the pit bull, miniature bull terrier and staff are all relatively disliked, perhaps due to negative press for causing injury.
in terms of actual ownership, profiles data shows the labrador as the most widely-owned, followed by the alsatian, border collie and jack russell terrier. | ðə ˈlæbrəˌdɔr riˈtrivər ɪz əˈfɪʃəli ˈbrɪtənz tɔp dɔg waɪl ðə ʧaɪˈniz ˈkrɛstɪd, ˈvɛriəs ˈbʊlˌdɔgz ənd ðə ˈpudəl ræŋk əˈməŋ ðə list ləvd ɛz ˈmɛni ˈpipəl oʊn dɔgz ɛz oʊn kæts ɪn ˈbrɪtən 25 iʧ), bət wɪn ju æd ɪn ɔl ðə ˈpipəl wɪˈθaʊt pɛts ðɛr ˈizəli ðə moʊst ləvd ˈænəməl ɪn ðə ˈkəntri. əv ðə ˈmɛmbərz ðət hæv kənˈtrɪbjutɪd ˈdætə ɔn ðə 215 (ənd groʊɪŋ) ˈænəməlz ɪn ˈproʊˌfaɪlz, 16 hæv ˈgɪvɪn ə ˈpɑzətɪv ˈreɪtɪŋ tɪ dɔgz, əˈhɛd əv ˈtaɪgərz ənd ˈɛləfənts (taɪd æt 13 ənd ˈdɑlfənz ənd kæts (taɪd æt 12 nɑt ˈoʊnli du wi kəˈlɛkt ˈdætə ɔn ˈænəməlz, wi goʊ daʊn tɪ ˈivɪn ˈfaɪnər ˈditeɪl, wɪθ ˈdætə ɔn 356 dɔg bridz ənd 64 kæt bridz ˈoʊvərˌɔl. ə nu ˈproʊˌfaɪlz æˈnælɪsɪs əv ˈoʊvər ˈmɛmbərz huv kənˈtrɪbjutɪd ˈdætə ɔn dɔg bridz rɪˈvilz ðə ˈneɪʃənz moʊst ənd list ləvd bridz. ðə tɔp dɔg ɪz ðə ˈlæbrəˌdɔr riˈtrivər, noʊn fər ʃɔrt ɛz ðə ˈlæbrəˌdɔr, ər baɪ ˈkələr ɛz ðə blæk, ˈjɛloʊ ər ˈʧɔklət læb. ɪts skɔr (ðə strɛŋθ əv ˈpɑzətɪv ˈsɛnəmənt əˈməŋ ðoʊz hu hæv ˈreɪtɪd ɪt) ɪz tu pɔɪnts haɪər ðən ðə ˈklæsɪk ˈbrɪtɪʃ ˈhərdɪŋ brid, ðə ˈbɔrdər ˈkɑli, ənd ðə ˈgoʊldən riˈtrivər, feɪmd fər ɪts ˈfrɛndlinɪs (boʊθ ˈskɔrɪŋ 67 ðə tɔp ˈræŋkɪŋ dɔgz ər ˈmeɪnli ˈwərkɪŋ ər ˈhərdɪŋ dɔgz, ˈɔfən ərˈɪʤəˌneɪtɪŋ ɪn ˈbrɪtən. ðə əˈlæskən ˈhəski ɪz ðə ˈoʊnli ril ɪkˈsɛpʃən, noʊn fər ɪts ɪˈfɪʃənsi ɛz ə slɛd dɔg ɪn nɔrθ əˈmɛrɪkə; ðə ˈəðər biɪŋ ðə ˈgoʊldən riˈtrivər, ə gən dɔg bət stɪl ˈheɪlɪŋ frəm ˈbrɪtən ənd ˈjʊrəp. ðə dɔgz wɪθ ðə list (ɪn fækt ɔl tɛn æt ðə ˈvɛri ˈbɑtəm əv ðə 356 bridz ər ɪn ˈnɛgətɪv ˈtɛrɪˌtɔri) tɛnd tɪ bi sˈmɔlər dɔgz, ˈiðər əv ðə tɔɪ vərˈaɪəti ər noʊˈtɔriəs fər ðɛr bæd ˈtɛmpər. ðə list laɪkt, baɪ ə lɔŋ weɪ, ɪz ðə ʧaɪˈniz ˈkrɛstɪd, ə brid ðət kəmz ˈiðər ˈhɛrləs wɪθ ə kaɪnd əv ˈmələt ər ɪn ðə "ˈpaʊdər pəf" (wɪθ fər) vərˈaɪəti. ɪt skɔrz 30 wɛl bɪˈloʊ ðə pɪt wɪθ 21. əˈlɔŋ wɪθ ðə pɪt, ðə pɪt bʊl, ˈmɪnɪˌʧʊr bʊl ˈtɛriər ənd stæf ər ɔl ˈrɛlətɪvli dɪsˈlaɪkt, pərˈhæps du tɪ ˈnɛgətɪv prɛs fər ˈkɔzɪŋ ˈɪnʤəri. ɪn tərmz əv ˈækʧəwəl ˈoʊnərˌʃɪp, ˈproʊˌfaɪlz ˈdætə ʃoʊz ðə ˈlæbrəˌdɔr ɛz ðə moʊst widely-owned*, ˈfɑloʊd baɪ ðə ælˈseɪʃən, ˈbɔrdər ˈkɑli ənd ʤæk ˈrəsəl ˈtɛriər. |
in a free market, consumer goods are remarkably heterogeneous. we just buy ketchup, we have to choose between regular, organic, reduced sugar, low sodium, and umpteen other variations. just as importantly, we have to choose between heinz, hunts, great value, and other brands. it was john henry heinz, in fact, who became the first person to associate his name with the unadulterated processed foods he produced, allowing his product to be distinguished from competitors.
by: chris calton
this article first appeared at
the economic function of branding
economically, though, name brands serve an important function. in basic economics, thomas sowell explains that brand names “are a way of economizing on scarce knowledge, and forcing producers to compete in quality as well as price.” there may be no physical difference between heinz and great value, and a consumer who believes this is the case will purchase the cheaper product. but if a consumer is not familiar with the latter brand, they have to weigh the cost benefit of a cheaper brand against the risk of getting an inferior product; with the brand name product, the quality is more certain.
this has important implications on the black market. in the soviet union, for example, brands were done away with to reduce the heterogeneity of products. soviet citizens circumvented this by learning to read to identify which products were produced in the superior factories.
branding has particularly important implications in the area of narcotics. when goods are made illegal, smugglers will continue to trade them, but the ability to establish brand consistency is suppressed. it would require a producer to survive the illicit trade long enough to establish this reputation, a means of conveying the information in the absence of open and legitimate advertisement, and some enforcement mechanism for distributors to prevent the alteration of the product.
attempts to economize on knowledge have been made in the black market, though. during the vietnam war, laotian general ran a successful international opium ring. he produced “no. 3 heroin,” which has three processing phases and normally has a purity of between percent. his heroin, though, was consistently near 50 percent pure. because this was a consistent, higher quality good, established the trademark for his heroin (taken from the gold standard). although his actual heroin was not percent pure, the brand name was still associated with a specific quality of heroin that buyers were able to trust.
source: us department of justice.
the competitive response to this was to start producing heroin. “no. 4 heroin” requires an additional processing phase that is dangerous and needs more skilled drug chemists to produce, but it yields heroin with purity levels of above 80 percent. as long as maintained his established business practice, his 999 brand would eventually be seen as the identifier of heroin in a market of the no. 4.
rattikone did adapt successfully, though. he established his own refineries for no. 4 heroin, and by the early 1970s, he owned the largest no. 4 refinery in. with this new product, he established the brand “double uoglobe” or, “double lion earth brand” for the chinese. under the brand labels were warnings for consumers to “beware of counterfeits” and advertising 100 percent purity.
at this point, critics of a free market may see this as an argument against the competition and branding of dangerous products. this would, however, be a hasty critique.
partially as a result of the vietnam war, heroin became a popular drug in the united states in the 1970s. smugglers began mass export of this heroin to the united states so that by the mid-1970s, the golden triangle of was responsible for 70 percent of the opium supply.
black-market drugs are more dangerous
in the economics of prohibition, mark thornton explains in detail why prohibited substances see higher degrees of potency than substances. according to what was later termed “the iron law of prohibition,” making an illegal will obviously not do away with the product, but it will the supply of only the most powerful forms of the substance. during alcohol prohibition, for example, strong liquors became relatively more common compared to beer, and the trend reversed after the repeal of the amendment.
two important reasons for this phenomenon is that the relative cost of the higher grade of a drug is lower when there is a uniform increase in cost applied to all grades. this may be something like an excise tax or transportation costs. as a result, consumers in this area will demand more of the item. second, when smuggling, anything with a higher ratio will be more profitable for smugglers, which clearly applies to drugs.
the real danger in this is that these phenomena apply to the transaction between the smuggler and the domestic distributor of the drugs, rather than the consumer. in a country in which heroin is illegal, such as the united states, the domestic distributor is the person who will purchase the drugs. before they sell them to consumers, though, they “cut” the drugs with other substances to dilute them and increase profit margins.
where prohibition enforcement is higher, it is increasingly difficult to establish brand consistency. this may happen in the case of a trusted dealer (think of the scene from pulp fiction in which john character is negotiating a heroin trade). but when a consumer has to obtain their product from a new dealer, the product knowledge from the first dealer is necessarily obsolete. this is something unseen when a consumer shifts from purchasing heinz ketchup at kroger to purchasing it at wal-mart, where brands can be established and maintained.
the logical result of this practice of distributors importing heroin and then diluting it before resale is that consumers have no way of knowing what consistency of heroin they are purchasing; they are unable to economize on brand knowledge. this has a significantly negative impact on the rate of overdose.
it is a common misconception that heroin addicts will inject higher and higher amounts of heroin, chasing their high, until they eventually overdose. the reality that has been observed since countries like portugal and switzerland have narcotics is that heroin addicts will increase consumption up to a certain point at which their usage stabilizes and then eventually they typically (contrary to popular perception) reduce their own consumption voluntarily.
the real cause of overdose is the fact that heroin addicts in an illegal market have to use guesswork regarding their dosage. when they purchase heroin with an unknown consistency, they occasionally come into possession of heroin than accustomed to. as a result, they inject more of the drug than they desire and unwittingly overdose. it is government suppression of the market for narcotics that so significantly increases the dangers of the very substances they claim to be keeping people safe from.
the iron law of prohibition illustrates why narcotics would likely decrease in potency following legalization. even assuming this were not the case, though, a legal environment would allow for the establishment of brand names with consistent qualities of the substance. while this would not eliminate the dangers of heroin use, it would serve to significantly reduce the possibility of overdose because users would have better knowledge of what they are injecting. even in the case of something as dangerous as drugs, a free market is the policy that will produce the most positive outcome.
chris calton is a mises university alumnus and an economic historian. see his youtube channel here.
this article first appeared at | ɪn ə fri ˈmɑrkɪt, kənˈsumər gʊdz ər rɪˈmɑrkəbli ˌhɛtərəˈʤinjəs. wi ʤɪst baɪ ˈkɛʧəp, wi hæv tɪ ʧuz bɪtˈwin ˈrɛgjələr, ɔrˈgænɪk, rɪˈdust ˈʃʊgər, loʊ ˈsoʊdiəm, ənd ˈəmpˈtin ˈəðər ˌvɛriˈeɪʃənz. ʤɪst ɛz ˌɪmˈpɔrtəntli, wi hæv tɪ ʧuz bɪtˈwin haɪnz, hənts, greɪt ˈvælju, ənd ˈəðər brændz. ɪt wɑz ʤɑn ˈhɛnri haɪnz, ɪn fækt, hu bɪˈkeɪm ðə fərst ˈpərsən tɪ əˈsoʊʃiˌeɪt hɪz neɪm wɪθ ðə ˌənəˈdəltərˌeɪtɪd ˈprɑsɛst fudz hi prəˈdust, əˈlaʊɪŋ hɪz ˈprɑdəkt tɪ bi dɪˈstɪŋgwɪʃt frəm kəmˈpɛtɪtərz. baɪ: krɪs ˈkæltən ðɪs ˈɑrtɪkəl fərst əˈpɪrd æt ðə ˌɛkəˈnɑmɪk ˈfəŋkʃən əv ˈbrændɪŋ ˌɛkəˈnɑmɪkli, ðoʊ, neɪm brændz sərv ən ˌɪmˈpɔrtənt ˈfəŋkʃən. ɪn ˈbeɪsɪk ˌɛkəˈnɑmɪks, ˈtɑməs ˈsɑwɛl ɪkˈspleɪnz ðət brænd neɪmz ə weɪ əv ɪˈkɑnəˌmaɪzɪŋ ɔn skɛrs ˈnɑlɪʤ, ənd ˈfɔrsɪŋ prəˈdusərz tɪ kəmˈpit ɪn kˈwɑləti ɛz wɛl ɛz price.”*.” ðɛr meɪ bi noʊ ˈfɪzɪkəl ˈdɪfərəns bɪtˈwin haɪnz ənd greɪt ˈvælju, ənd ə kənˈsumər hu bɪˈlivz ðɪs ɪz ðə keɪs wɪl ˈpərʧəs ðə ˈʧipər ˈprɑdəkt. bət ɪf ə kənˈsumər ɪz nɑt fəˈmɪljər wɪθ ðə ˈlætər brænd, ðeɪ hæv tɪ weɪ ðə kɔst ˈbɛnəfɪt əv ə ˈʧipər brænd əˈgɛnst ðə rɪsk əv ˈgɪtɪŋ ən ˌɪnˈfɪriər ˈprɑdəkt; wɪθ ðə brænd neɪm ˈprɑdəkt, ðə kˈwɑləti ɪz mɔr ˈsərtən. ðɪs həz ˌɪmˈpɔrtənt ˌɪmpləˈkeɪʃənz ɔn ðə blæk ˈmɑrkɪt. ɪn ðə ˈsoʊviˌɛt ˈjunjən, fər ɪgˈzæmpəl, brændz wər dən əˈweɪ wɪθ tɪ rɪˈdus ðə ˌhɛtərəʤɪˈniəti əv ˈprɑdəkts. ˈsoʊviˌɛt ˈsɪtɪzənz ˌsərkəmˈvɛntɪd ðɪs baɪ ˈlərnɪŋ tɪ rɛd tɪ aɪˈdɛntəˌfaɪ wɪʧ ˈprɑdəkts wər prəˈdust ɪn ðə suˈpɪriər ˈfæktəriz. ˈbrændɪŋ həz ˌpɑrˈtɪkjələrli ˌɪmˈpɔrtənt ˌɪmpləˈkeɪʃənz ɪn ðə ˈɛriə əv nɑrˈkɑtɪks. wɪn gʊdz ər meɪd ˌɪˈligəl, sˈməgələrz wɪl kənˈtɪnju tɪ treɪd ðɛm, bət ðə əˈbɪləˌti tɪ ɪˈstæblɪʃ brænd kənˈsɪstənsi ɪz səˈprɛst. ɪt wʊd ˌrikˈwaɪər ə prəˈdusər tɪ sərˈvaɪv ðə ˌɪˈlɪsət treɪd lɔŋ ɪˈnəf tɪ ɪˈstæblɪʃ ðɪs ˌrɛpjəˈteɪʃən, ə minz əv kənˈveɪɪŋ ðə ˌɪnˌfɔrˈmeɪʃən ɪn ðə ˈæbsəns əv ˈoʊpən ənd ləˈʤɪtəmət ˌædvərˈtaɪzmənt, ənd səm ɛnˈfɔrsmənt ˈmɛkəˌnɪzəm fər dɪˈstrɪbjətərz tɪ prɪˈvɛnt ðə ˌɔltərˈeɪʃən əv ðə ˈprɑdəkt. əˈtɛmpts tɪ ɪˈkɑnəˌmaɪz ɔn ˈnɑlɪʤ hæv bɪn meɪd ɪn ðə blæk ˈmɑrkɪt, ðoʊ. ˈdʊrɪŋ ðə viˌɛtˈnɑm wɔr, ˈlaʊʃən ˈʤɛnərəl ræn ə səkˈsɛsfəl ˌɪnərˈnæʃənɑl ˈoʊpiəm rɪŋ. hi prəˈdust ““no*. 3 heroin,”*,” wɪʧ həz θri ˈprɑsɛsɪŋ ˈfeɪzɪz ənd ˈnɔrməli həz ə ˈpjʊrɪti əv bɪtˈwin pərˈsɛnt. hɪz ˈhɛroʊən, ðoʊ, wɑz kənˈsɪstəntli nɪr 50 pərˈsɛnt pjʊr. bɪˈkəz ðɪs wɑz ə kənˈsɪstənt, haɪər kˈwɑləti gʊd, ɪˈstæblɪʃt ðə ˈtreɪdˌmɑrk fər hɪz ˈhɛroʊən (ˈteɪkən frəm ðə goʊld ˈstændərd). ˌɔlˈðoʊ hɪz ˈækʧəwəl ˈhɛroʊən wɑz nɑt pərˈsɛnt pjʊr, ðə brænd neɪm wɑz stɪl əˈsoʊʃiˌeɪtəd wɪθ ə spɪˈsɪfɪk kˈwɑləti əv ˈhɛroʊən ðət baɪərz wər ˈeɪbəl tɪ trəst. sɔrs: ˈjuˈɛs dɪˈpɑrtmənt əv ˈʤəstɪs. ðə kəmˈpɛtɪtɪv rɪˈspɑns tɪ ðɪs wɑz tɪ stɑrt prəˈdusɪŋ ˈhɛroʊən. ““no*. 4 heroin”*” rikˈwaɪərz ən əˈdɪʃənəl ˈprɑsɛsɪŋ feɪz ðət ɪz ˈdeɪnʤərəs ənd nidz mɔr skɪld drəg ˈkɛmɪsts tɪ ˈproʊdus, bət ɪt jildz ˈhɛroʊən wɪθ ˈpjʊrɪti ˈlɛvəlz əv əˈbəv 80 pərˈsɛnt. ɛz lɔŋ ɛz meɪnˈteɪnd hɪz ɪˈstæblɪʃt ˈbɪznɪs ˈpræktɪs, hɪz 999 brænd wʊd ɪˈvɛnʧəwəli bi sin ɛz ðə aɪˈdɛntəˌfaɪər əv ˈhɛroʊən ɪn ə ˈmɑrkɪt əv ðə noʊ. 4 dɪd əˈdæpt səkˈsɛsfəli, ðoʊ. hi ɪˈstæblɪʃt hɪz oʊn rɪˈfaɪnəriz fər noʊ. 4 ˈhɛroʊən, ənd baɪ ðə ˈərli 1970s*, hi oʊnd ðə ˈlɑrʤəst noʊ. 4 rɪˈfaɪnəri ɪn. wɪθ ðɪs nu ˈprɑdəkt, hi ɪˈstæblɪʃt ðə brænd uoglobe”*” ər, laɪən ərθ brand”*” fər ðə ʧaɪˈniz. ˈəndər ðə brænd ˈleɪbəlz wər ˈwɔrnɪŋz fər kənˈsumərz tɪ əv counterfeits”*” ənd ˈædvərˌtaɪzɪŋ 100 pərˈsɛnt ˈpjʊrɪti. æt ðɪs pɔɪnt, ˈkrɪtɪks əv ə fri ˈmɑrkɪt meɪ si ðɪs ɛz ən ˈɑrgjəmənt əˈgɛnst ðə ˌkɑmpəˈtɪʃən ənd ˈbrændɪŋ əv ˈdeɪnʤərəs ˈprɑdəkts. ðɪs wʊd, ˌhaʊˈɛvər, bi ə ˈheɪsti krɪˈtik. ˈpɑrʃəli ɛz ə rɪˈzəlt əv ðə viˌɛtˈnɑm wɔr, ˈhɛroʊən bɪˈkeɪm ə ˈpɑpjələr drəg ɪn ðə juˈnaɪtɪd steɪts ɪn ðə 1970s*. sˈməgələrz bɪˈgæn mæs ˈɛkspɔrt əv ðɪs ˈhɛroʊən tɪ ðə juˈnaɪtɪd steɪts soʊ ðət baɪ ðə mid-1970s*, ðə ˈgoʊldən ˈtraɪˌæŋgəl əv wɑz riˈspɑnsəbəl fər 70 pərˈsɛnt əv ðə ˈoʊpiəm səˈplaɪ. drəgz ər mɔr ˈdeɪnʤərəs ɪn ðə ˌɛkəˈnɑmɪks əv ˌproʊəˈbɪʃən, mɑrk ˈθɔrntən ɪkˈspleɪnz ɪn ˈditeɪl waɪ proʊˈhɪbətəd ˈsəbstənsɪz si haɪər dɪˈgriz əv ˈpoʊtənsi ðən ˈsəbstənsɪz. əˈkɔrdɪŋ tɪ wət wɑz ˈleɪtər tərmd aɪərn lɔ əv prohibition,”*,” ˈmeɪkɪŋ ən ˌɪˈligəl wɪl ˈɑbviəsli nɑt du əˈweɪ wɪθ ðə ˈprɑdəkt, bət ɪt wɪl ðə səˈplaɪ əv ˈoʊnli ðə moʊst ˈpaʊərfəl fɔrmz əv ðə ˈsəbstəns. ˈdʊrɪŋ ˈælkəˌhɑl ˌproʊəˈbɪʃən, fər ɪgˈzæmpəl, strɔŋ ˈlɪkərz bɪˈkeɪm ˈrɛlətɪvli mɔr ˈkɑmən kəmˈpɛrd tɪ bɪr, ənd ðə trɛnd rɪˈvərst ˈæftər ðə rɪˈpil əv ðə əˈmɛndmənt. tu ˌɪmˈpɔrtənt ˈrizənz fər ðɪs fəˈnɑməˌnɑn ɪz ðət ðə ˈrɛlətɪv kɔst əv ðə haɪər greɪd əv ə drəg ɪz loʊər wɪn ðɛr ɪz ə ˈjunəˌfɔrm ˌɪnˈkris ɪn kɔst əˈplaɪd tɪ ɔl greɪdz. ðɪs meɪ bi ˈsəmθɪŋ laɪk ən ˈɛksaɪz tæks ər ˌtrænspərˈteɪʃən kɔsts. ɛz ə rɪˈzəlt, kənˈsumərz ɪn ðɪs ˈɛriə wɪl dɪˈmænd mɔr əv ðə ˈaɪtəm. ˈsɛkənd, wɪn sˈməgəlɪŋ, ˈɛniˌθɪŋ wɪθ ə haɪər ˈreɪʃiˌoʊ wɪl bi mɔr ˈprɑfətəbəl fər sˈməgələrz, wɪʧ ˈklɪrli əˈplaɪz tɪ drəgz. ðə ril ˈdeɪnʤər ɪn ðɪs ɪz ðət ðiz fəˈnɑmənə əˈplaɪ tɪ ðə trænˈzækʃən bɪtˈwin ðə sˈməgələr ənd ðə dəˈmɛstɪk dɪˈstrɪbjətər əv ðə drəgz, ˈrəðər ðən ðə kənˈsumər. ɪn ə ˈkəntri ɪn wɪʧ ˈhɛroʊən ɪz ˌɪˈligəl, səʧ ɛz ðə juˈnaɪtɪd steɪts, ðə dəˈmɛstɪk dɪˈstrɪbjətər ɪz ðə ˈpərsən hu wɪl ˈpərʧəs ðə drəgz. ˌbiˈfɔr ðeɪ sɛl ðɛm tɪ kənˈsumərz, ðoʊ, ðeɪ ““cut”*” ðə drəgz wɪθ ˈəðər ˈsəbstənsɪz tɪ dɪˈlut ðɛm ənd ˌɪnˈkris ˈprɑfɪt ˈmɑrʤənz. wɛr ˌproʊəˈbɪʃən ɛnˈfɔrsmənt ɪz haɪər, ɪt ɪz ˌɪnˈkrisɪŋgli ˈdɪfəkəlt tɪ ɪˈstæblɪʃ brænd kənˈsɪstənsi. ðɪs meɪ ˈhæpən ɪn ðə keɪs əv ə ˈtrəstɪd ˈdilər (θɪŋk əv ðə sin frəm pəlp ˈfɪkʃən ɪn wɪʧ ʤɑn ˈkɛrɪktər ɪz nɪˈgoʊʃiˌeɪtɪŋ ə ˈhɛroʊən treɪd). bət wɪn ə kənˈsumər həz tɪ əbˈteɪn ðɛr ˈprɑdəkt frəm ə nu ˈdilər, ðə ˈprɑdəkt ˈnɑlɪʤ frəm ðə fərst ˈdilər ɪz ˌnɛsəˈsɛrəli ˌɑbsəˈlit. ðɪs ɪz ˈsəmθɪŋ ənˈsin wɪn ə kənˈsumər ʃɪfts frəm ˈpərʧəsɪŋ haɪnz ˈkɛʧəp æt ˈkroʊgər tɪ ˈpərʧəsɪŋ ɪt æt ˈwɔlˌmɑrt, wɛr brændz kən bi ɪˈstæblɪʃt ənd meɪnˈteɪnd. ðə ˈlɑʤɪkəl rɪˈzəlt əv ðɪs ˈpræktɪs əv dɪˈstrɪbjətərz ˌɪmˈpɔrtɪŋ ˈhɛroʊən ənd ðɛn dɪˈlutɪŋ ɪt ˌbiˈfɔr ˈriˌseɪl ɪz ðət kənˈsumərz hæv noʊ weɪ əv noʊɪŋ wət kənˈsɪstənsi əv ˈhɛroʊən ðeɪ ər ˈpərʧəsɪŋ; ðeɪ ər əˈneɪbəl tɪ ɪˈkɑnəˌmaɪz ɔn brænd ˈnɑlɪʤ. ðɪs həz ə sɪgˈnɪfɪkəntli ˈnɛgətɪv ˌɪmˈpækt ɔn ðə reɪt əv ˈoʊvərˌdoʊs. ɪt ɪz ə ˈkɑmən mɪskənˈsɛpʃən ðət ˈhɛroʊən ˈæˌdɪkts wɪl ˌɪnˈʤɛkt haɪər ənd haɪər əˈmaʊnts əv ˈhɛroʊən, ˈʧeɪsɪŋ ðɛr haɪ, ənˈtɪl ðeɪ ɪˈvɛnʧəwəli ˈoʊvərˌdoʊs. ðə ˌriˈæləˌti ðət həz bɪn əbˈzərvd sɪns ˈkəntriz laɪk ˈpɔrʧəgəl ənd sˈwɪtsərlənd hæv nɑrˈkɑtɪks ɪz ðət ˈhɛroʊən ˈæˌdɪkts wɪl ˌɪnˈkris kənˈsəmʃən əp tɪ ə ˈsərtən pɔɪnt æt wɪʧ ðɛr ˈjusɪʤ ˈsteɪbəˌlaɪzɪz ənd ðɛn ɪˈvɛnʧəwəli ðeɪ ˈtɪpɪkəli (ˈkɑntrɛri tɪ ˈpɑpjələr pərˈsɛpʃən) rɪˈdus ðɛr oʊn kənˈsəmʃən ˌvɑlənˈtɛrəli. ðə ril kɔz əv ˈoʊvərˌdoʊs ɪz ðə fækt ðət ˈhɛroʊən ˈæˌdɪkts ɪn ən ˌɪˈligəl ˈmɑrkɪt hæv tɪ juz ˈgɛsˌwərk rɪˈgɑrdɪŋ ðɛr ˈdoʊsɪʤ. wɪn ðeɪ ˈpərʧəs ˈhɛroʊən wɪθ ən ənˈnoʊn kənˈsɪstənsi, ðeɪ ɔˈkeɪʒənəˌli kəm ˈɪntu pəˈzɛʃən əv ˈhɛroʊən ðən əˈkəstəmd tɪ. ɛz ə rɪˈzəlt, ðeɪ ˌɪnˈʤɛkt mɔr əv ðə drəg ðən ðeɪ dɪˈzaɪər ənd ənˈwɪtɪŋli ˈoʊvərˌdoʊs. ɪt ɪz ˈgəvərnmənt səˈprɛʃən əv ðə ˈmɑrkɪt fər nɑrˈkɑtɪks ðət soʊ sɪgˈnɪfɪkəntli ˌɪnˈkrisɪz ðə ˈdeɪnʤərz əv ðə ˈvɛri ˈsəbstənsɪz ðeɪ kleɪm tɪ bi ˈkipɪŋ ˈpipəl seɪf frəm. ðə aɪərn lɔ əv ˌproʊəˈbɪʃən ˈɪləˌstreɪts waɪ nɑrˈkɑtɪks wʊd ˈlaɪkli ˈdiˌkris ɪn ˈpoʊtənsi ˈfɑloʊɪŋ ˌligələˈzeɪʃən. ˈivɪn əˈsumɪŋ ðɪs wər nɑt ðə keɪs, ðoʊ, ə ˈligəl ɪnˈvaɪrənmənt wʊd əˈlaʊ fər ðə ɪˈstæblɪʃmənt əv brænd neɪmz wɪθ kənˈsɪstənt kˈwɑlətiz əv ðə ˈsəbstəns. waɪl ðɪs wʊd nɑt ɪˈlɪməˌneɪt ðə ˈdeɪnʤərz əv ˈhɛroʊən juz, ɪt wʊd sərv tɪ sɪgˈnɪfɪkəntli rɪˈdus ðə ˌpɑsəˈbɪləˌti əv ˈoʊvərˌdoʊs bɪˈkəz ˈjuzərz wʊd hæv ˈbɛtər ˈnɑlɪʤ əv wət ðeɪ ər ˌɪnˈʤɛktɪŋ. ˈivɪn ɪn ðə keɪs əv ˈsəmθɪŋ ɛz ˈdeɪnʤərəs ɛz drəgz, ə fri ˈmɑrkɪt ɪz ðə ˈpɑləsi ðət wɪl ˈproʊdus ðə moʊst ˈpɑzətɪv ˈaʊtˌkəm. krɪs ˈkæltən ɪz ə ˈmaɪzɪz ˌjunəˈvərsəti əˈləmnəs ənd ən ˌɛkəˈnɑmɪk hɪˈstɔriən. si hɪz ˈjuˌtub ˈʧænəl hir. ðɪs ˈɑrtɪkəl fərst əˈpɪrd æt |
a year and a half ago, amazon opened up its alexa voice assistant to developers. with the alexa skills kit, alexa and its hardware echo, dot, tap, and now dozens more from third more than just speakers and digital weathermen. it became a platform, capable of supporting a full ecosystem of skills, which are essentially apps that you talk to instead of touch. today, there are skills available on alexa. an exponential increase since last summer, a rise that presents a host of new new challenges.
while may seem like an arbitrary milestone, an instructive one, especially when you consider how fast come. last june, a full year after the ask launched, amazon announced that alexa had reached skills. by september, that number had tripled. in january, skills catalog swelled to. it took just over a month to tack on another three thousand.
alexa still come anywhere close to rivaling its mobile counterparts; the app store and google play both count their offerings in the millions. but the skills mark represents a beachhead in the the brave new (and increasingly competitive) world of voice assistants. where it goes from here will help define the nextneration of user interfaces. as will, more importantly, how itts there.
skills set
while alexa became a playground in 2015, vision for a home-grown voice assistant started a full four years ago.
“we had this inspiration of the star trek computer,” says steve, who heads up alexa voice services and skills at amazon. “what would it be like if we could create a voice assistant out of the cloud that you could just talk to naturally, that could control things around you, that could do things for you, that couldt you information?”
amazon’s first key innovation voice itself, or even responsiveness; speech recognition has been around for decades, and apple introduced the conversational siri in 2011. accomplishment was freeing its voice assistant from the smartphone, nudging users closer to a truly ambient experience. the second breakthrough? giving those users things to do.
at the end of 2015, a few months after the ask availability, echo owners had 135 skills to choose from. today, find among their options a bevy of smart home controls, multiple car companies, starbucks, and not one but two national pizza chains. there are even a handful of games, like jeopardy, and the whimsical magic door.
in that time, too, also gotten easier to use those skills. while previously echo owners would have had to dig into a companion alexa app to enable, say, jeopardy, they can now do so with a simple voice command. similarly, the developers behind the skills have added features as they better understand the way their customers use them. appliances, for instance, noticed that customers frequently used alexa for oven operation (the company sells over 70 connected appliances in all; the future is full of odd wonders).
“we saw how popular those features were, so we started rolling in presets,” says’s bill gardner. now, customers can simply ask alexa to set the oven for chicken nuggets, or pizza, or cookies, or whatever else heating up that night. “we tried to make it one step quicker.”
so the number of skills has grown, as has the range of available features, as has the consumer embrace of the platform, which describes as “commensurate” with the hockey stick uptick in alexa abilities. so far, one of the great tech success stories of the last decade. now comes the hard part.
undiscovered countries
if the alexa skills origin story sounds familiar, because so far it maps pretty neatly with that of app store. a smaller scale, but the pacing is about right, as well as the types of developers that are signing on in the early days.
for amazon, encouraging. the app store is an indisputable success. but its growth without pains, some of which alexa may be feeling soon, if it already.
“we know what happened when apple opened up the app store and developers started pouring applications in there,” says forrester research analyst james mcquivey. “suddenly it became really, really hard for developers tot in front of their intended customers. there became this big problem of clutter.”
a problem that, notably, persists even today, nearly nine years later. and while amazon has fewer skills tot lost among, its paradigm makes searching through those skills much more difficult. that creates potential frustrations for customers and developers alike; the former know where to find skills they might enjoy, and the latter see a return on the invested time spent creating the skill in the first place.
not surprisingly, amazon has taken steps to mitigate the problem. it sends weekly emails to alexa users highlighting recently added skills. and after a year of the skills interface consisting of just a list within the alexa app, the company last summer launched a skills store online, complete with ratings and reviews. all of which helps, but still requires staring at a alexa was supposed to free you from in the first place.
“we’re working on ways with your voice to better navigate the skills that are there,” says. “you’re able to ask alexa what the top skills of the week are, what the new skills are, a whole bunch of categories just by voice.”
all of which brings clarity to the skills search. and at the rate things are going, amazon will find out soon enough if the same solutions for skills can scale up to and beyond.
expansion pack
today the skills alexa offers fall broadly into two categories. there are the hobbyists, who make skills for fun, and the corporations who wring a lot of marketing value out of being on the front lines of the voice revolution. what do they have in common? they overly concerned with turning skills into profit.
“[alexa]’s not going to make a real solid transition to professional development unless a way to make money,” says mcquivey. this is how the app store works as well; even though most apps cash cows, the chance that one might hit is motivation enough for high-level developers to put resources in.
that’s not to single amazon out. a common challenge across not just voice assistants but also and other platforms. these are early days.
“everybody’s learning how their business models are going to be set up on these platforms, and these ecosystems, where allowing companies to play and not play,” says dennis maloney, chief digital officer of, an early alexa enlistee whose program has put it at the forefront of multiple technologies. “it’s two steps forward, one step back as we continue to grow and learn in this space.”
amazon declined to comment specifically on plans, but a spokesman says the company is “listening closely to our developer community to identify new features and tools that will improve the ask experience.”
in many ways, as much an opportunity as it is a challenge. the first company to figure out how to both create and share the wealth will stake out a dominant position, an increasingly heated race as google home encroaches on echo's turf. and amazon may be better situated than anyone to do so. it has a history of app store experimentation, including amazon underground, which normally gives apps to customers for free, and pays developers based on usage time. there could also be more straightforward approaches, especially for retailers; maloney looks forward to the day that a customer can simply tell alexa what kind of pizza she wants to order from scratch, rather than requiring her to fill out a form on the internet first.
besides, whatever roadblocks like ahead clearly hindered growth so far. says amazon has thousands of people on the team, with tens of thousands of developers signed up for accounts. and while the first batch of skills have been mostly centered around the smart home, streaming music, or simple timers, or marketing tie-ins, there are signs that starting to broaden its horizons.
in fact,th skill, approved just last night, isn't any of those things. beat the intro, a “name that tune” game that already found success on the app store and google play. now, with a few tweaks, going to give alexa a try. | ə jɪr ənd ə hæf əˈgoʊ, ˈæməˌzɑn ˈoʊpənd əp ɪts əˈlɛksə vɔɪs əˈsɪstənt tɪ dɪˈvɛləpərz. wɪθ ðə əˈlɛksə skɪlz kɪt, əˈlɛksə ənd ɪts ˈhɑrdˌwɛr ˈɛkoʊ, dɑt, tæp, ənd naʊ ˈdəzənz mɔr frəm θərd mɔr ðən ʤɪst ˈspikərz ənd ˈdɪʤɪtəl ˈwɛðərˌmɛn. ɪt bɪˈkeɪm ə ˈplætˌfɔrm, ˈkeɪpəbəl əv səˈpɔrtɪŋ ə fʊl ˈikoʊˌsɪstəm əv skɪlz, wɪʧ ər ɛˈsɛnʃəli æps ðət ju tɔk tɪ ˌɪnˈstɛd əv təʧ. təˈdeɪ, ðɛr ər skɪlz əˈveɪləbəl ɔn əˈlɛksə. ən ˌɛkspoʊˈnɛnʃəl ˌɪnˈkris sɪns læst ˈsəmər, ə raɪz ðət ˈprɛzənts ə hoʊst əv nu nu ˈʧælənʤɪz. waɪl meɪ sim laɪk ən ˈɑrbɪˌtrɛri ˈmaɪlˌstoʊn, ən ˌɪnˈstrəktɪv wən, əˈspɛʃəli wɪn ju kənˈsɪdər haʊ fæst kəm. læst ʤun, ə fʊl jɪr ˈæftər ðə æsk lɔnʧt, ˈæməˌzɑn əˈnaʊnst ðət əˈlɛksə hæd riʧt skɪlz. baɪ sɛpˈtɛmbər, ðət ˈnəmbər hæd ˈtrɪpəld. ɪn ˈʤænjuˌɛri, skɪlz ˈkætəlɔg swɛld tɪ ɪt tʊk ʤɪst ˈoʊvər ə mənθ tɪ tæk ɔn əˈnəðər θri ˈθaʊzənd. əˈlɛksə stɪl kəm ˈɛniˌwɛr kloʊz tɪ ˈraɪvəlɪŋ ɪts ˈmoʊbəl ˈkaʊntərˌpɑrts; ðə æp stɔr ənd ˈgugəl pleɪ boʊθ kaʊnt ðɛr ˈɔfərɪŋz ɪn ðə ˈmɪljənz. bət ðə skɪlz mɑrk ˌrɛprɪˈzɛnts ə ˈbiˌʧhɛd ɪn ðə ðə breɪv nu (ənd ˌɪnˈkrisɪŋgli kəmˈpɛtɪtɪv) wərld əv vɔɪs əˈsɪstənts. wɛr ɪt goʊz frəm hir wɪl hɛlp dɪˈfaɪn ðə nɛkst ˌʤɛnərˈeɪʃən əv ˈjuzər ˈɪnərˌfeɪsɪz. ɛz wɪl, mɔr ˌɪmˈpɔrtəntli, haʊ ɪt gɪts ðɛr. skɪlz sɛt waɪl əˈlɛksə bɪˈkeɪm ə ˈpleɪˌgraʊnd ɪn 2015 ˈvɪʒən fər ə ˈhoʊmˌgroʊn vɔɪs əˈsɪstənt ˈstɑrtɪd ə fʊl fɔr jɪrz əˈgoʊ. hæd ðɪs ˌɪnspərˈeɪʃən əv ðə stɑr trɛk computer,”*,” sɪz stiv, hu hɛdz əp əˈlɛksə vɔɪs ˈsərvɪsɪz ənd skɪlz æt ˈæməˌzɑn. wʊd ɪt bi laɪk ɪf wi kʊd kriˈeɪt ə vɔɪs əˈsɪstənt aʊt əv ðə klaʊd ðət ju kʊd ʤɪst tɔk tɪ ˈnæʧərəli, ðət kʊd kənˈtroʊl θɪŋz əraʊnd ju, ðət kʊd du θɪŋz fər ju, ðət kʊd gɪt ju information?”*?” fərst ki ˌɪnəˈveɪʃən vɔɪs ˌɪtˈsɛlf, ər ˈivɪn rɪˈspɑnsɪvnəs; spiʧ ˌrɛkɪgˈnɪʃən həz bɪn əraʊnd fər ˈdɛkeɪdz, ənd ˈæpəl ˌɪntrəˈdust ðə ˌkɑnvərˈseɪʃənəl ˈsɪri ɪn 2011 əˈkɑmplɪʃmənt wɑz friɪŋ ɪts vɔɪs əˈsɪstənt frəm ðə smartphone*, ˈnəʤɪŋ ˈjuzərz ˈkloʊzər tɪ ə ˈtruli ˈæmbiənt ɪkˈspɪriəns. ðə ˈsɛkənd ˈbreɪkθˌru? ˈgɪvɪŋ ðoʊz ˈjuzərz θɪŋz tɪ du. æt ðə ɛnd əv 2015 ə fju mənθs ˈæftər ðə æsk əˌveɪləˈbɪlɪti, ˈɛkoʊ ˈoʊnərz hæd 135 skɪlz tɪ ʧuz frəm. təˈdeɪ, faɪnd əˈməŋ ðɛr ˈɔpʃənz ə ˈbɛvi əv smɑrt hoʊm kənˈtroʊlz, ˈməltəpəl kɑr ˈkəmpəˌniz, ˈstɑrˌbəks, ənd nɑt wən bət tu ˈnæʃənəl ˈpitsə ʧeɪnz. ðɛr ər ˈivɪn ə ˈhændˌfʊl əv geɪmz, laɪk ˈʤɛpərdi, ənd ðə ˈwɪmzɪkəl ˈmæʤɪk dɔr. ɪn ðət taɪm, tu, ˈɔlsoʊ ˈgɔtən ˈiziər tɪ juz ðoʊz skɪlz. waɪl ˈpriviəsli ˈɛkoʊ ˈoʊnərz wʊd hæv hæd tɪ dɪg ˈɪntu ə kəmˈpænjən əˈlɛksə æp tɪ ɪˈneɪbəl, seɪ, ˈʤɛpərdi, ðeɪ kən naʊ du soʊ wɪθ ə ˈsɪmpəl vɔɪs kəˈmænd. ˈsɪmələrli, ðə dɪˈvɛləpərz bɪˈhaɪnd ðə skɪlz hæv ˈædɪd ˈfiʧərz ɛz ðeɪ ˈbɛtər ˌəndərˈstænd ðə weɪ ðɛr ˈkəstəmərz juz ðɛm. əˈplaɪənsɪz, fər ˈɪnstəns, ˈnoʊtɪst ðət ˈkəstəmərz ˈfrikwɛntli juzd əˈlɛksə fər ˈəvən ˌɑpərˈeɪʃən (ðə ˈkəmpəˌni sɛlz ˈoʊvər 70 kəˈnɛktɪd əˈplaɪənsɪz ɪn ɔl; ðə fˈjuʧər ɪz fʊl əv ɑd ˈwəndərz). sɔ haʊ ˈpɑpjələr ðoʊz ˈfiʧərz wər, soʊ wi ˈstɑrtɪd ˈroʊlɪŋ ɪn presets,”*,” sɪz bɪl ˈgɑrdnər. naʊ, ˈkəstəmərz kən ˈsɪmpli æsk əˈlɛksə tɪ sɛt ðə ˈəvən fər ˈʧɪkən ˈnəgəts, ər ˈpitsə, ər ˈkʊkiz, ər ˌwəˈtɛvər ɛls ˈhitɪŋ əp ðət naɪt. traɪd tɪ meɪk ɪt wən stɛp quicker.”*.” soʊ ðə ˈnəmbər əv skɪlz həz groʊn, ɛz həz ðə reɪnʤ əv əˈveɪləbəl ˈfiʧərz, ɛz həz ðə kənˈsumər ɪmˈbreɪs əv ðə ˈplætˌfɔrm, wɪʧ dɪˈskraɪbz ɛz ““commensurate”*” wɪθ ðə ˈhɑki stɪk ˈəpˌtɪk ɪn əˈlɛksə əˈbɪləˌtiz. soʊ fɑr, wən əv ðə greɪt tɛk səkˈsɛs ˈstɔriz əv ðə læst ˈdɛkeɪd. naʊ kəmz ðə hɑrd pɑrt. ˌəndɪˈskəvərd ˈkəntriz ɪf ðə əˈlɛksə skɪlz ˈɔrəʤən ˈstɔri saʊnz fəˈmɪljər, bɪˈkəz soʊ fɑr ɪt mæps ˈprɪti ˈnitli wɪθ ðət əv æp stɔr. ə sˈmɔlər skeɪl, bət ðə ˈpeɪsɪŋ ɪz əˈbaʊt raɪt, ɛz wɛl ɛz ðə taɪps əv dɪˈvɛləpərz ðət ər ˈsaɪnɪŋ ɔn ɪn ðə ˈərli deɪz. fər ˈæməˌzɑn, ɪnˈkərəʤɪŋ. ðə æp stɔr ɪz ən ˌɪndɪˈspjutəbəl səkˈsɛs. bət ɪts groʊθ wɪˈθaʊt peɪnz, səm əv wɪʧ əˈlɛksə meɪ bi ˈfilɪŋ sun, ɪf ɪt ɔˈrɛdi. noʊ wət ˈhæpənd wɪn ˈæpəl ˈoʊpənd əp ðə æp stɔr ənd dɪˈvɛləpərz ˈstɑrtɪd ˈpɔrɪŋ ˌæpləˈkeɪʃənz ɪn there,”*,” sɪz ˈfɔrəstər ˈrisərʧ ˈænəlɪst ʤeɪmz mcquivey*. ɪt bɪˈkeɪm ˈrɪli, ˈrɪli hɑrd fər dɪˈvɛləpərz tɪ gɪt ɪn frənt əv ðɛr ˌɪnˈtɛndɪd ˈkəstəmərz. ðɛr bɪˈkeɪm ðɪs bɪg ˈprɑbləm əv clutter.”*.” ə ˈprɑbləm ðət, ˈnoʊtəbli, pərˈsɪsts ˈivɪn təˈdeɪ, ˈnɪrli naɪn jɪrz ˈleɪtər. ənd waɪl ˈæməˌzɑn həz fjuər skɪlz tɪ gɪt lɔst əˈməŋ, ɪts ˈpɛrəˌdaɪm meɪks ˈsərʧɪŋ θru ðoʊz skɪlz məʧ mɔr ˈdɪfəkəlt. ðət kriˈeɪts pəˈtɛnʃəl frəˈstreɪʃənz fər ˈkəstəmərz ənd dɪˈvɛləpərz əˈlaɪk; ðə ˈfɔrmər noʊ wɛr tɪ faɪnd skɪlz ðeɪ maɪt ˌɛnˈʤɔɪ, ənd ðə ˈlætər si ə rɪˈtərn ɔn ðə ˌɪnˈvɛstɪd taɪm spɛnt kriˈeɪtɪŋ ðə skɪl ɪn ðə fərst pleɪs. nɑt səˈpraɪzɪŋli, ˈæməˌzɑn həz ˈteɪkən stɛps tɪ ˈmɪtəˌgeɪt ðə ˈprɑbləm. ɪt sɛndz ˈwikli iˈmeɪlz tɪ əˈlɛksə ˈjuzərz ˈhaɪˌlaɪtɪŋ ˈrisəntli ˈædɪd skɪlz. ənd ˈæftər ə jɪr əv ðə skɪlz ˈɪnərˌfeɪs kənˈsɪstɪŋ əv ʤɪst ə lɪst wɪˈθɪn ðə əˈlɛksə æp, ðə ˈkəmpəˌni læst ˈsəmər lɔnʧt ə skɪlz stɔr ˈɔnˌlaɪn, kəmˈplit wɪθ ˈreɪtɪŋz ənd rəvˈjuz. ɔl əv wɪʧ hɛlps, bət stɪl rikˈwaɪərz ˈstɛrɪŋ æt ə əˈlɛksə wɑz səˈpoʊzd tɪ fri ju frəm ɪn ðə fərst pleɪs. ˈwərkɪŋ ɔn weɪz wɪθ jʊr vɔɪs tɪ ˈbɛtər ˈnævəˌgeɪt ðə skɪlz ðət ər there,”*,” sɪz. ˈeɪbəl tɪ æsk əˈlɛksə wət ðə tɔp skɪlz əv ðə wik ər, wət ðə nu skɪlz ər, ə hoʊl bənʧ əv ˈkætəˌgɔriz ʤɪst baɪ voice.”*.” ɔl əv wɪʧ brɪŋz ˈklɛrɪti tɪ ðə skɪlz sərʧ. ənd æt ðə reɪt θɪŋz ər goʊɪŋ, ˈæməˌzɑn wɪl faɪnd aʊt sun ɪˈnəf ɪf ðə seɪm səˈluʃənz fər skɪlz kən skeɪl əp tɪ ənd bɪɔnd. ɪkˈspænʧən pæk təˈdeɪ ðə skɪlz əˈlɛksə ˈɔfərz fɔl ˈbrɔdli ˈɪntu tu ˈkætəˌgɔriz. ðɛr ər ðə ˈhɑbiɪsts, hu meɪk skɪlz fər fən, ənd ðə ˌkɔrpərˈeɪʃənz hu rɪŋ ə lɔt əv ˈmɑrkətɪŋ ˈvælju aʊt əv biɪŋ ɔn ðə frənt laɪnz əv ðə vɔɪs ˌrɛvəˈluʃən. wət du ðeɪ hæv ɪn ˈkɑmən? ðeɪ ˈoʊvərli kənˈsərnd wɪθ ˈtərnɪŋ skɪlz ˈɪntu ˈprɑfɪt. nɑt goʊɪŋ tɪ meɪk ə ril ˈsɑləd trænˈzɪʃən tɪ prəˈfɛʃənəl dɪˈvɛləpmənt ənˈlɛs ə weɪ tɪ meɪk money,”*,” sɪz mcquivey*. ðɪs ɪz haʊ ðə æp stɔr wərks ɛz wɛl; ˈivɪn ðoʊ moʊst æps kæʃ kaʊz, ðə ʧæns ðət wən maɪt hɪt ɪz ˌmoʊtəˈveɪʃən ɪˈnəf fər ˌhaɪˈlɛvəl dɪˈvɛləpərz tɪ pʊt ˈrisɔrsɪz ɪn. nɑt tɪ ˈsɪŋgəl ˈæməˌzɑn aʊt. ə ˈkɑmən ˈʧælənʤ əˈkrɔs nɑt ʤɪst vɔɪs əˈsɪstənts bət ˈɔlsoʊ ənd ˈəðər ˈplætˌfɔrmz. ðiz ər ˈərli deɪz. ˈlərnɪŋ haʊ ðɛr ˈbɪznɪs ˈmɑdəlz ər goʊɪŋ tɪ bi sɛt əp ɔn ðiz ˈplætˌfɔrmz, ənd ðiz ˈikoʊˌsɪstəmz, wɛr əˈlaʊɪŋ ˈkəmpəˌniz tɪ pleɪ ənd nɑt play,”*,” sɪz ˈdɛnɪs məˈloʊni, ʧif ˈdɪʤɪtəl ˈɔfɪsər əv, ən ˈərli əˈlɛksə ɛnˌlɪˈsti huz ˈproʊˌgræm həz pʊt ɪt æt ðə ˈfɔrˌfrənt əv ˈməltəpəl tɛkˈnɑləʤiz. tu stɛps ˈfɔrwərd, wən stɛp bæk ɛz wi kənˈtɪnju tɪ groʊ ənd lərn ɪn ðɪs space.”*.” ˈæməˌzɑn dɪˈklaɪnd tɪ ˈkɑmɛnt spəˈsɪfɪkli ɔn plænz, bət ə ˈspoʊksmən sɪz ðə ˈkəmpəˌni ɪz ˈkloʊsli tɪ ɑr dɪˈvɛləpər kəmˈjunɪti tɪ aɪˈdɛntəˌfaɪ nu ˈfiʧərz ənd tulz ðət wɪl ˌɪmˈpruv ðə æsk experience.”*.” ɪn ˈmɛni weɪz, ɛz məʧ ən ˌɑpərˈtunəti ɛz ɪt ɪz ə ˈʧælənʤ. ðə fərst ˈkəmpəˌni tɪ ˈfɪgjər aʊt haʊ tɪ boʊθ kriˈeɪt ənd ʃɛr ðə wɛlθ wɪl steɪk aʊt ə ˈdɑmənənt pəˈzɪʃən, ən ˌɪnˈkrisɪŋgli ˈhitɪd reɪs ɛz ˈgugəl hoʊm ɪnˈkroʊʧɪz ɔn ˈɛkoʊz tərf. ənd ˈæməˌzɑn meɪ bi ˈbɛtər ˈsɪʧuˌeɪtɪd ðən ˈɛniˌwən tɪ du soʊ. ɪt həz ə ˈhɪstəri əv æp stɔr ɪkˌspɛrəmənˈteɪʃən, ˌɪnˈkludɪŋ ˈæməˌzɑn ˈəndərˌgraʊnd, wɪʧ ˈnɔrməli gɪvz æps tɪ ˈkəstəmərz fər fri, ənd peɪz dɪˈvɛləpərz beɪst ɔn ˈjusɪʤ taɪm. ðɛr kʊd ˈɔlsoʊ bi mɔr ˈstreɪtˈfɔrwərd əˈproʊʧɪz, əˈspɛʃəli fər ˈriˌteɪlərz; məˈloʊni lʊks ˈfɔrwərd tɪ ðə deɪ ðət ə ˈkəstəmər kən ˈsɪmpli tɛl əˈlɛksə wət kaɪnd əv ˈpitsə ʃi wɔnts tɪ ˈɔrdər frəm skræʧ, ˈrəðər ðən rikˈwaɪərɪŋ hər tɪ fɪl aʊt ə fɔrm ɔn ðə ˈɪntərˌnɛt fərst. ˌbiˈsaɪdz, ˌwəˈtɛvər ˈroʊdˌblɑks laɪk əˈhɛd ˈklɪrli ˈhɪndərd groʊθ soʊ fɑr. sɪz ˈæməˌzɑn həz ˈθaʊzənz əv ˈpipəl ɔn ðə tim, wɪθ tɛnz əv ˈθaʊzənz əv dɪˈvɛləpərz saɪnd əp fər əˈkaʊnts. ənd waɪl ðə fərst bæʧ əv skɪlz hæv bɪn ˈmoʊstli ˈsɛntərd əraʊnd ðə smɑrt hoʊm, ˈstrimɪŋ mˈjuzɪk, ər ˈsɪmpəl ˈtaɪmərz, ər ˈmɑrkətɪŋ tie-ins*, ðɛr ər saɪnz ðət ˈstɑrtɪŋ tɪ ˈbrɔdən ɪts hərˈaɪzənz. ɪn fækt, skɪl, əˈpruvd ʤɪst læst naɪt, ˈɪzənt ˈɛni əv ðoʊz θɪŋz. bit ðə ˈɪntroʊ, ə ðət tune”*” geɪm ðət ɔˈrɛdi faʊnd səkˈsɛs ɔn ðə æp stɔr ənd ˈgugəl pleɪ. naʊ, wɪθ ə fju twiks, goʊɪŋ tɪ gɪv əˈlɛksə ə traɪ. |
according to the director of medical ethics at new york university, donald trump is “dangerous”, “a race baiting, evil,”, and is “on the hitler flightpath.”
dr. arthur caplan, a bioethics professor and the director of medical ethics at new york university, coauthored an article for the poynter institute on monday in which he criticized the media for giving presidential candidate donald trump “permission to spew hate.”
"[t]hey fuel a race baiting, evil, by treating him as buffoon."
as caplan tells it: “[i]t seems unlikely [that trump can course that is what the media said about a of hate with an odd mustache who was dismissed as an awful public speaker and not a serious candidate in germany in the 1930s.”
according to caplan, donald recent comments about illegal immigrants, which caplan characterizes as “racist rhetoric,” “should be viewed in the repugnant tradition of hitler.”
caplan does not limit his criticism to trump. the sixteen republicans vying for the nomination, he says, are laying the groundwork for a trump victory much like the political parties in the 1932 elections enabled rise to power.
“in the elections of november 1932, held months before hitler became chancellor of germany, there were 37 different political parties competing in a melee that bears some resemblance to republican primary. given a long time to spread racist drivel to a public nervous about preserving their national identity from ‘non-germans,’ adolf hitler won,” caplan writes.
what’s more, dr. caplan—who, according to his faculty page, was named a 2001 usa today person of the his criticism on twitter after the article went up.
folks trump is rite on the hitler flightpath. blames minorities, racist, won't apologize, attracts disaffected, runs against establishment arthur caplan (@arthurcaplan) july 21, 2015 all trump is missing are brownshirts. he has all the rest. dismiss him as a buffoon or a joke at the nation's peril. arthur caplan (@arthurcaplan) july 21, 2015 media is via they fuel a race baiting, evil, by treating him as buffoon arthur caplan (@arthurcaplan) july 21, 2015
to stop the “dangerous” donald trump from becoming president, caplan says the media needs to begin taking mr. trump seriously and “hold him and the republican party accountable for the damage he does.”
in an email to campus reform, caplan explained his fear of what a trump presidency might look like.
“the greatest danger is that a man willing to use racism to gain political support gets elected and then shapes his policies on poverty, immigration, criminal justice and jobs on the basis of his blatantly and dangerous racist views,” caplan said.
dr. caplan the first college professor to liken a republican presidential candidate to adolf hitler. last week, university of professor sara made headlines over comments she made comparing wisconsin governor and presidential candidate scott walker (r) to the mustachioed dictator.
the trump campaign did not respond to campus request for comment.
follow the author of this article on twitter: | əˈkɔrdɪŋ tɪ ðə dɪˈrɛktər əv ˈmɛdɪkəl ˈɛθɪks æt nu jɔrk ˌjunəˈvərsəti, ˈdɑnəld trəmp ɪz ““dangerous”*”, reɪs ˈbeɪtɪŋ, ˈivəl, proto-hitlerite”*”, ənd ɪz ðə ˈhɪtlər flightpath.”*.” ˈdɑktər. ˈɑrθər ˈkæplən, ə ˌbaɪoʊˈɛθɪks prəˈfɛsər ənd ðə dɪˈrɛktər əv ˈmɛdɪkəl ˈɛθɪks æt nu jɔrk ˌjunəˈvərsəti, ˈkoʊˈɑθərd ən ˈɑrtɪkəl fər ðə ˈpɔɪntər ˈɪnstɪˌtut ɔn ˈmənˌdeɪ ɪn wɪʧ hi ˈkrɪtəˌsaɪzd ðə ˈmidiə fər ˈgɪvɪŋ ˌprɛzɪˈdɛnʃəl ˈkænədɪt ˈdɑnəld trəmp tɪ spju hate.”*.” fjuəl ə reɪs ˈbeɪtɪŋ, ˈivəl, baɪ ˈtritɪŋ ɪm ɛz bəˈfun." ɛz ˈkæplən tɛlz ɪt: simz ənˈlaɪkli [ðət trəmp kən kɔrs ðət ɪz wət ðə ˈmidiə sɛd əˈbaʊt ə əv heɪt wɪθ ən ɑd ˈməˌstæʃ hu wɑz dɪsˈmɪst ɛz ən ˈɔfəl ˈpəblɪk ˈspikər ənd nɑt ə ˈsɪriəs ˈkænədɪt ɪn ˈʤərməni ɪn ðə 1930s.”*.” əˈkɔrdɪŋ tɪ ˈkæplən, ˈdɑnəld ˈrisənt ˈkɑmɛnts əˈbaʊt ˌɪˈligəl ˈɪməgrənts, wɪʧ ˈkæplən ˈkɛrɪktərˌaɪzəz ɛz rhetoric,”*,” bi vjud ɪn ðə rɪˈpəgnənt trəˈdɪʃən əv hitler.”*.” ˈkæplən dɪz nɑt ˈlɪmət hɪz ˈkrɪtɪˌsɪzəm tɪ trəmp. ðə ˈsɪkˈstin rɪˈpəblɪkənz vaɪɪŋ fər ðə ˌnɑməˈneɪʃən, hi sɪz, ər leɪɪŋ ðə ˈgraʊndˌwərk fər ə trəmp ˈvɪktəri məʧ laɪk ðə pəˈlɪtɪkəl ˈpɑrtiz ɪn ðə 1932 ɪˈlɛkʃənz ɪˈneɪbəld raɪz tɪ paʊər. ðə ɪˈlɛkʃənz əv noʊˈvɛmbər 1932 hɛld mənθs ˌbiˈfɔr ˈhɪtlər bɪˈkeɪm ˈʧænsələr əv ˈʤərməni, ðɛr wər 37 ˈdɪfərənt pəˈlɪtɪkəl ˈpɑrtiz kəmˈpitɪŋ ɪn ə ˈmeɪˌleɪ ðət bɛrz səm rɪˈzɛmbləns tɪ rɪˈpəblɪkən ˈpraɪˌmɛri. ˈgɪvɪn ə lɔŋ taɪm tɪ sprɛd ˈreɪsɪst ˈdrɪvəl tɪ ə ˈpəblɪk ˈnərvəs əˈbaʊt prɪˈzərvɪŋ ðɛr ˈnæʃənəl aɪˈdɛntəˌti frəm ‘‘non-germans,’*,’ ˈeɪdɑlf ˈhɪtlər won,”*,” ˈkæplən raɪts. mɔr, ˈdɑktər. caplan—who*, əˈkɔrdɪŋ tɪ hɪz ˈfækəlti peɪʤ, wɑz neɪmd ə 2001 ˈjuˈɛˈseɪ təˈdeɪ ˈpərsən əv ðə hɪz ˈkrɪtɪˌsɪzəm ɔn tˈwɪtər ˈæftər ðə ˈɑrtɪkəl wɛnt əp. foʊks trəmp ɪz raɪt ɔn ðə ˈhɪtlər flightpath*. bleɪmz məˈnɔrətiz, ˈreɪsɪst, woʊnt əˈpɑləˌʤaɪz, əˈtrækts ˌdɪsəˈfɛktɪd, rənz əˈgɛnst ɪˈstæblɪʃmənt ˈɑrθər ˈkæplən (@arthurcaplan*) ˌʤuˈlaɪ 21 2015 ɔl trəmp ɪz ˈmɪsɪŋ ər brownshirts*. hi həz ɔl ðə rɛst. dɪsˈmɪs ɪm ɛz ə bəˈfun ər ə ʤoʊk æt ðə ˈneɪʃənz ˈpɛrəl. ˈɑrθər ˈkæplən (@arthurcaplan*) ˌʤuˈlaɪ 21 2015 ˈmidiə ɪz ˈviə ðeɪ fjuəl ə reɪs ˈbeɪtɪŋ, ˈivəl, baɪ ˈtritɪŋ ɪm ɛz bəˈfun ˈɑrθər ˈkæplən (@arthurcaplan*) ˌʤuˈlaɪ 21 2015 tɪ stɑp ðə ““dangerous”*” ˈdɑnəld trəmp frəm bɪˈkəmɪŋ ˈprɛzɪdənt, ˈkæplən sɪz ðə ˈmidiə nidz tɪ bɪˈgɪn ˈteɪkɪŋ ˈmɪstər. trəmp ˈsɪriəsli ənd ɪm ənd ðə rɪˈpəblɪkən ˈpɑrti əˈkaʊntəbəl fər ðə ˈdæmɪʤ hi does.”*.” ɪn ən iˈmeɪl tɪ ˈkæmpəs rɪˈfɔrm, ˈkæplən ɪkˈspleɪnd hɪz fɪr əv wət ə trəmp ˈprɛzɪdənsi maɪt lʊk laɪk. ˈgreɪtəst ˈdeɪnʤər ɪz ðət ə mæn ˈwɪlɪŋ tɪ juz ˈreɪˌsɪzəm tɪ geɪn pəˈlɪtɪkəl səˈpɔrt gɪts ɪˈlɛktɪd ənd ðɛn ʃeɪps hɪz ˈpɑləsiz ɔn ˈpɑvərti, ˌɪməˈgreɪʃən, ˈkrɪmənəl ˈʤəstɪs ənd ʤɑbz ɔn ðə ˈbeɪsɪs əv hɪz ˈbleɪtəntli ənd ˈdeɪnʤərəs ˈreɪsɪst views,”*,” ˈkæplən sɛd. ˈdɑktər. ˈkæplən ðə fərst ˈkɑlɪʤ prəˈfɛsər tɪ ˈlaɪkən ə rɪˈpəblɪkən ˌprɛzɪˈdɛnʃəl ˈkænədɪt tɪ ˈeɪdɑlf ˈhɪtlər. læst wik, ˌjunəˈvərsəti əv prəˈfɛsər ˈsɛrə meɪd ˈhɛˌdlaɪnz ˈoʊvər ˈkɑmɛnts ʃi meɪd kəmˈpɛrɪŋ wɪˈskɑnsən ˈgəvərnər ənd ˌprɛzɪˈdɛnʃəl ˈkænədɪt skɑt ˈwɔkər (ɑr) tɪ ðə məˈstæʃiˌoʊd ˈdɪkteɪtər. ðə trəmp kæmˈpeɪn dɪd nɑt rɪˈspɑnd tɪ ˈkæmpəs rɪkˈwɛst fər ˈkɑmɛnt. ˈfɑloʊ ðə ˈɔθər əv ðɪs ˈɑrtɪkəl ɔn tˈwɪtər: |
this is a rush transcript. copy may not be in its final form.
amy goodman: president bush has named solicitor general paul clement to serve as acting attorney general. meanwhile, there has been much speculation about who bush will nominate to replace gonzales. names mentioned in the press include homeland security secretary michael chertoff, former solicitor general theodore olsen, homeland security adviser frances townsend, and former deputy attorney general larry thompson.
jesselyn joins us now from washington, d.c. a former attorney in the ethics department of the justice department. she worked at the justice department after the september 11 attacks and dealt with the john walker lindh case. at the time, michael chertoff headed the criminal division of the justice department. two years ago, was a vocal critic of nomination as homeland security director.
jesselyn, take us through what happened with john walker lindh, right through michael involvement.
jesselyn: michael chertoff was involved from the get-go. i had been the ethics adviser at the justice department in the case of the so-called american taliban, john walker lindh. and i had basically advised not to interrogate him without counsel.
amy goodman: explain again who john walker lindh was.
jesselyn: john walker lindh was an american citizen who was caught fighting alongside the taliban, along with hamdi, another u.s. citizen, who was recently released to saudi arabia. and we prosecuted him. he was one of the first people tagged with the dubious “enemy combatant” label by the bush administration.
amy goodman: and so, tell us what happened, and your role, and then michael.
jesselyn: basically, the justice department disregarded the advice of the ethics unit not to interrogate him without a lawyer, went ahead, interrogated him and, by the pictures seen worldwide, tortured him, and then went ahead to prosecute him.
basically, judge ellis, who was overseeing the prosecution, ordered that all justice department correspondence related to the lindh interrogation be turned over to the court. that order was concealed from me. i found out about it inadvertently from the prosecutor. and when i went to comply with the order, my emails with the advice not to interrogate him without counsel and the fact that the fbi had committed an ethics violation in doing so were missing from the file. i resurrected those emails from my computer archives and tried to get them to the prosecutor, and when that failed, i turned them over to the media.
as punishment again, this was all under michael chertoff, who at that time was the assistant attorney general for the criminal division under chertoff, i was placed under criminal investigation. for what, i was never told. i was forced out of the justice department, fired from my next job at the behest, referred to the state bars in which licensed as an attorney, based on a secret report to which i did not have access, and put on the list. and all of that occurred on michael watch. so, to the extent that president bush seeks to rehabilitate the beleaguered justice department, i think chertoff is a very odd choice for that.
amy goodman: michael chertoff was asked about the john walker lindh case when he was being confirmed as secretary of homeland security, and you also testified against him. can you explain what happened there?
jesselyn: well, in his chertoff been a stumbling block to two of his promotions, because unfortunately that seems to be the bush credo, to mess up, cover up, lie and get promoted. but during those confirmation hearings, chertoff said unambiguously that the ethics unit had never given an opinion about the interrogation of john walker lindh. and that was contradicted by the public record, by both articles in newsweek and in the new yorker. yet chertoff kept repeating that assertion two or three times, including in written statements. that was during his confirmation to become a federal judge.
and he was eventually confirmed to be a federal judge, but again this issue of lying came up during his confirmation hearing to be director of the department of homeland security. and again, chertoff is just as much of a perjurer as alberto gonzales. i just think that his time at the justice department has been largely forgotten or overlooked, because been so eclipsed by his abysmal performance at the department of homeland security.
amy goodman: scott horton, looking at an email that involves michael chertoff. explain what this is, involving whether michael chertoff lied to congress about guantanamo.
scott horton: well, yet another incident, i think, along with’s, which to me is a very, very troubling one. he was asked about the development of torture policy and his role in it, whether he knew about abuses that had gone on at guantanamo that had been reported by fbi agents to his office. he testified that he knew nothing about this and that he had not been involved in the formulation of a torture policy, nor that he had given much advice. he acknowledged that he knew about the torture memorandum, by the way, the so-called bybee memorandum. but i think things
amy goodman: explain what it said.
scott horton: the bybee memorandum is the memorandum that was actually authored by john yoo that authorized torture, basically, saying that if the president authorized it, whatever he authorized was fine, and it would not be considered to be torture under american criminal law, as long as it had presidential authorization. so they included things like waterboarding.
well, after his testimony in fact, around the time of it, some of the documents came out, but subsequently much more information came out really calling into question the veracity of testimony here. and i think that email that holding up is one of the key documents. so that email reflects a number of fbi agents briefing chief of staff and his counsel about highly abusive conduct that was going on at guantanamo, recounting that they protested about it, they raised questions about it with major general miller and others, all to no avail. the department of defense continued with the use of these highly abusive techniques.
we know subsequently that the cia came to chertoff and to his deputy, alice fisher, who now heads the criminal division, trying to get clarification based on the torture memorandum. they wanted him to say, as the head of the criminal division, that as long as these techniques, these torture techniques, were used by cia agents, their contractors and their personnel were not going to face criminal prosecution. he has denied repeatedly that he gave any such assurances. being told that he did and that that was a major part of his consultation in connection with the torture memorandum.
amy goodman: scott horton, i also want to ask about paul clement, who president bush has tapped as acting attorney general. in 2004, he represented the bush administration before the supreme court in the case, donald rumsfeld v. jose padilla. in this exchange with justice ruth bader ginsburg, he insisted the u.s. does not torture.
justice ruth bader ginsburg: if the law is what the executive says it is, whatever is necessary and appropriate in the judgment the resolution you gave us that congress passed and it leaves it up to the executive, unchecked by the judiciary. so what is it that would be a check against torture?
paul clement: well, first of all, there are treaty obligations, but the primary check is that, just as in every other war, if a u.s. military person commits a war crime by creating some atrocity on a harmless, you know, detained enemy combatant or a prisoner of war, that violates our own conception of a war crime, and put that u.s. military officer on trial in a court-martial. so i think there are plenty of internal reasons
justice ruth bader ginsburg: suppose the executive says, “mild torture, we think, will help get this information.” not a soldier who does something against the code of military justice, but an executive command. some systems do that to get information.
paul clement: well, our executive doesn’t, and i think, i mean
justice ruth bader ginsburg: but constraining, and the point, is it just up to the goodwill of the executive? is there any judicial check?
paul clement: well, this is a situation where there is jurisdiction in the habeas courts. so, if necessary, they remain open, but i think very important. i mean, the court in v. watkins made clear that the fact that executive discretion in a war situation can be abused is not a good and sufficient reason for judicial micromanagement and overseeing of that authority. you have to recognize that in situations where there is a war where the government is on a war footing, that you have to trust the executive.
amy goodman: that was u.s. deputy solicitor general paul clement, now the acting attorney general once alberto gonzales leaves. scott horton, this argument making before the supreme court?
scott horton: well, i think first got to note that the fact that the president has to go down the line to the number four figure in the department of justice to find an acting attorney general shows the depth of the problem in that institution right now, its effective decapitation and loss of leadership.
that being said, i think paul clement is amongst the leading figures in the department of justice, the one the most highly respected, but i think this clip just played reflects some of the troubles that some people have with paul. you know, i think he is very ideologically oriented. he was a member of the federalist society. and i think he has gone out on a ledge to support the administration several times. i think the passage you just played two things i mean, denying that there were torture practices there. i think the facts really undercut what he said. and secondly, also saying, “don’t worry. habeas corpus will be available to provide review.” and, of course, it wasn’t. in fact, he worked very hard to avoid it.
amy goodman: by the way, the date of that was april 28, 2004, the argument before the supreme court where being questioned by ruth bader ginsburg. a few hours later, if that long, the abu photos were released.
scott horton: but certainly people in the administration knew about that several weeks beforehand. so, you know, he was closing his eyes if he know about it.
amy goodman:, as we wrap up with you, in one of your writings, now, as michael name comes up as the possible attorney general, you start off by saying, yes, there is the case that i can talk about my own case, john walker lindh but katrina be enough?
jesselyn: well, one would think that katrina would be enough, and his spectacular failure in heading the department of homeland security should be enough to caution against him serving as attorney general. but, again, i ask people to reflect back on the fact that michael chertoff had been at the justice department before in a leadership role shortly after. he had been the head of the criminal division, he had been at the justice department before. and on his watch, a lot of atrocious things occurred, including, as scott horton mentioned, torture.
and, again, while most people may not remember my case, written about it in my book, canary in the coalmine. out there. detailed perjury during his previous confirmation hearings to other positions of power. and while, yes, his performance at the department of homeland security should be enough to preclude any consideration of him for the top law enforcement position, i think one could also easily look to his record when he was, in fact, at the department of justice.
amy goodman:, i want to thank you for being with us.
jesselyn: thank you.
amy goodman: yes, former attorney in the ethics department at the justice department. her book, the canary in the coalmine: blowing the whistle in the case of “american taliban” john walker lindh.
scott horton, your final comment, as we look at alberto gonzales resigning, the possibility of michael chertoff replacing him, and paul clement as the acting attorney general right now.
scott horton: well, just follow up on the comment that was just made about tenure at the criminal division. i think right. if we look, he ran that division. he also appointed one of his closest protégés, noel hillman, as the head of the public integrity unit. so it is while he was running that division and his protégé was running public integrity that we had prosecutions at the ratio of of elected democrats against republicans, including the siegelman matter beginning. so this
amy goodman: siegelman, the alabama governor now in prison.
scott horton: precisely. and so, i think this entire process of politicization of the prosecutorial process is going on under michael watch. so if we want a new attorney general going to come in and straighten things out and restore the integrity and reputation of the department of justice, michael chertoff is an awfully odd choice for that.
amy goodman: well, michael chertoff has not been announced. if they were announcing him this week, it would be on the anniversary of hurricane katrina. do you think right now floating that name, as has been done before, to see what the response would be?
scott horton: precisely going on. i think clear that a list of a half-dozen names. the number one name on the list, because been reconfirmed three times for offices in the last five years. so i think people in the white house think he is confirmable. floated the name now to see what sort of problems going to face, and i think they may have underestimated the problems.
amy goodman: scott horton, thanks for joining us, columbia law professor, contributor to magazine, writes the blog, no comment.” | ðɪs ɪz ə rəʃ ˈtrænˌskrɪpt. ˈkɑpi meɪ nɑt bi ɪn ɪts ˈfaɪnəl fɔrm. ˈeɪmi ˈgʊdmən: ˈprɛzɪdənt bʊʃ həz neɪmd səˈlɪsətər ˈʤɛnərəl pɔl ˈklɛmənt tɪ sərv ɛz ˈæktɪŋ əˈtərni ˈʤɛnərəl. ˈminˌwaɪl, ðɛr həz bɪn məʧ ˌspɛkjəˈleɪʃən əˈbaʊt hu bʊʃ wɪl ˈnɑməˌneɪt tɪ ˌriˈpleɪs gɑnˈzɑləs. neɪmz ˈmɛnʃənd ɪn ðə prɛs ˌɪnˈklud ˈhoʊmˌlænd sɪˈkjʊrəti ˈsɛkrəˌtɛri ˈmaɪkəl ˈʧərtɑf, ˈfɔrmər səˈlɪsətər ˈʤɛnərəl ˈθiəˌdɔr ˈoʊlsən, ˈhoʊmˌlænd sɪˈkjʊrəti ædˈvaɪzər ˈfrænsɪs ˈtaʊnzənd, ənd ˈfɔrmər ˈdɛpjəti əˈtərni ˈʤɛnərəl ˈlɛri ˈtɑmsən. ʤɔɪnz ˈjuˈɛs naʊ frəm ˈwɔʃɪŋtən, d.c*. ə ˈfɔrmər əˈtərni ɪn ðə ˈɛθɪks dɪˈpɑrtmənt əv ðə ˈʤəstɪs dɪˈpɑrtmənt. ʃi wərkt æt ðə ˈʤəstɪs dɪˈpɑrtmənt ˈæftər ðə sɛpˈtɛmbər 11 əˈtæks ənd dɛlt wɪθ ðə ʤɑn ˈwɔkər lɪnd keɪs. æt ðə taɪm, ˈmaɪkəl ˈʧərtɑf ˈhɛdɪd ðə ˈkrɪmənəl dɪˈvɪʒən əv ðə ˈʤəstɪs dɪˈpɑrtmənt. tu jɪrz əˈgoʊ, wɑz ə ˈvoʊkəl ˈkrɪtɪk əv ˌnɑməˈneɪʃən ɛz ˈhoʊmˌlænd sɪˈkjʊrəti dɪˈrɛktər., teɪk ˈjuˈɛs θru wət ˈhæpənd wɪθ ʤɑn ˈwɔkər lɪnd, raɪt θru ˈmaɪkəl ˌɪnˈvɑlvmənt.: ˈmaɪkəl ˈʧərtɑf wɑz ˌɪnˈvɑlvd frəm ðə get-go*. aɪ hæd bɪn ðə ˈɛθɪks ædˈvaɪzər æt ðə ˈʤəstɪs dɪˈpɑrtmənt ɪn ðə keɪs əv ðə ˈsoʊˈkɔld əˈmɛrɪkən ˈtælɪˌbæn, ʤɑn ˈwɔkər lɪnd. ənd aɪ hæd ˈbeɪsɪkli ədˈvaɪzd nɑt tɪ ˌɪnˈtɛrəˌgeɪt ɪm wɪˈθaʊt ˈkaʊnsəl. ˈeɪmi ˈgʊdmən: ɪkˈspleɪn əˈgɛn hu ʤɑn ˈwɔkər lɪnd wɑz.: ʤɑn ˈwɔkər lɪnd wɑz ən əˈmɛrɪkən ˈsɪtɪzən hu wɑz kɔt ˈfaɪtɪŋ əˈlɔŋˈsaɪd ðə ˈtælɪˌbæn, əˈlɔŋ wɪθ hamdi*, əˈnəðər juz. ˈsɪtɪzən, hu wɑz ˈrisəntli riˈlist tɪ ˈsɔdi əˈreɪbiə. ənd wi ˈprɑsɪˌkjutɪd ɪm. hi wɑz wən əv ðə fərst ˈpipəl tægd wɪθ ðə ˈdubiəs combatant”*” ˈleɪbəl baɪ ðə bʊʃ ædˌmɪnɪˈstreɪʃən. ˈeɪmi ˈgʊdmən: ənd soʊ, tɛl ˈjuˈɛs wət ˈhæpənd, ənd jʊr roʊl, ənd ðɛn ˈmaɪkəl.: ˈbeɪsɪkli, ðə ˈʤəstɪs dɪˈpɑrtmənt ˌdɪsrɪˈgɑrdɪd ðə ədˈvaɪs əv ðə ˈɛθɪks ˈjunɪt nɑt tɪ ˌɪnˈtɛrəˌgeɪt ɪm wɪˈθaʊt ə ˈlɔjər, wɛnt əˈhɛd, ˌɪnˈtɛrəˌgeɪtɪd ɪm ənd, baɪ ðə ˈpɪkʧərz sin ˈwərldˈwaɪd, ˈtɔrʧərd ɪm, ənd ðɛn wɛnt əˈhɛd tɪ ˈprɑsəˌkjut ɪm. ˈbeɪsɪkli, ʤəʤ ˈɛlɪs, hu wɑz ˈoʊvərˌsiɪŋ ðə ˌprɑsəˈkjuʃən, ˈɔrdərd ðət ɔl ˈʤəstɪs dɪˈpɑrtmənt ˌkɔrəˈspɑndəns rɪˈleɪtɪd tɪ ðə lɪnd ˌɪnˌtɛrəˈgeɪʃən bi tərnd ˈoʊvər tɪ ðə kɔrt. ðət ˈɔrdər wɑz kənˈsild frəm mi. aɪ faʊnd aʊt əˈbaʊt ɪt ˌɪnədˈvərtəntli frəm ðə ˈprɑsɪˌkjutər. ənd wɪn aɪ wɛnt tɪ kəmˈplaɪ wɪθ ðə ˈɔrdər, maɪ iˈmeɪlz wɪθ ðə ədˈvaɪs nɑt tɪ ˌɪnˈtɛrəˌgeɪt ɪm wɪˈθaʊt ˈkaʊnsəl ənd ðə fækt ðət ðə ˈɛfˈbiˈaɪ hæd kəˈmɪtɪd ən ˈɛθɪks vaɪəˈleɪʃən ɪn duɪŋ soʊ wər ˈmɪsɪŋ frəm ðə faɪl. aɪ ˌrɛzərˈɛktɪd ðoʊz iˈmeɪlz frəm maɪ kəmˈpjutər ˈɑrˌkaɪvz ənd traɪd tɪ gɪt ðɛm tɪ ðə ˈprɑsɪˌkjutər, ənd wɪn ðət feɪld, aɪ tərnd ðɛm ˈoʊvər tɪ ðə ˈmidiə. ɛz ˈpənɪʃmənt əˈgɛn, ðɪs wɑz ɔl ˈəndər ˈmaɪkəl ˈʧərtɑf, hu æt ðət taɪm wɑz ðə əˈsɪstənt əˈtərni ˈʤɛnərəl fər ðə ˈkrɪmənəl dɪˈvɪʒən ˈəndər ˈʧərtɑf, aɪ wɑz pleɪst ˈəndər ˈkrɪmənəl ˌɪnˌvɛstəˈgeɪʃən. fər wət, aɪ wɑz ˈnɛvər toʊld. aɪ wɑz fɔrst aʊt əv ðə ˈʤəstɪs dɪˈpɑrtmənt, faɪərd frəm maɪ nɛkst ʤɑb æt ðə bɪˈhɛst, rɪˈfərd tɪ ðə steɪt bɑrz ɪn wɪʧ ˈlaɪsənst ɛz ən əˈtərni, beɪst ɔn ə ˈsikrɪt rɪˈpɔrt tɪ wɪʧ aɪ dɪd nɑt hæv ˈækˌsɛs, ənd pʊt ɔn ðə lɪst. ənd ɔl əv ðət əˈkərd ɔn ˈmaɪkəl wɔʧ. soʊ, tɪ ðə ɪkˈstɛnt ðət ˈprɛzɪdənt bʊʃ siks tɪ ˌriəˈbɪləˌteɪt ðə bɪˈligərd ˈʤəstɪs dɪˈpɑrtmənt, aɪ θɪŋk ˈʧərtɑf ɪz ə ˈvɛri ɑd ʧɔɪs fər ðət. ˈeɪmi ˈgʊdmən: ˈmaɪkəl ˈʧərtɑf wɑz æst əˈbaʊt ðə ʤɑn ˈwɔkər lɪnd keɪs wɪn hi wɑz biɪŋ kənˈfərmd ɛz ˈsɛkrəˌtɛri əv ˈhoʊmˌlænd sɪˈkjʊrəti, ənd ju ˈɔlsoʊ ˈtɛstɪˌfaɪd əˈgɛnst ɪm. kən ju ɪkˈspleɪn wət ˈhæpənd ðɛr?: wɛl, ɪn hɪz ˈʧərtɑf bɪn ə ˈstəmbəlɪŋ blɑk tɪ tu əv hɪz pərˈmoʊʃənz, bɪˈkəz ənˈfɔrʧənətli ðət simz tɪ bi ðə bʊʃ ˈkridoʊ, tɪ mɛs əp, ˈkəvər əp, laɪ ənd gɪt prəˈmoʊtəd. bət ˈdʊrɪŋ ðoʊz ˌkɑnfərˈmeɪʃən ˈhirɪŋz, ˈʧərtɑf sɛd ənæmˈbɪgjuəsli ðət ðə ˈɛθɪks ˈjunɪt hæd ˈnɛvər ˈgɪvɪn ən əˈpɪnjən əˈbaʊt ðə ˌɪnˌtɛrəˈgeɪʃən əv ʤɑn ˈwɔkər lɪnd. ənd ðət wɑz ˌkɑntrəˈdɪktəd baɪ ðə ˈpəblɪk ˈrɛkərd, baɪ boʊθ ˈɑrtɪkəlz ɪn ˈnuzˌwik ənd ɪn ðə nu ˈjɔrkər. jɛt ˈʧərtɑf kɛpt rɪˈpitɪŋ ðət əˈsərʃən tu ər θri taɪmz, ˌɪnˈkludɪŋ ɪn ˈrɪtən ˈsteɪtmənts. ðət wɑz ˈdʊrɪŋ hɪz ˌkɑnfərˈmeɪʃən tɪ bɪˈkəm ə ˈfɛdərəl ʤəʤ. ənd hi wɑz ɪˈvɛnʧəwəli kənˈfərmd tɪ bi ə ˈfɛdərəl ʤəʤ, bət əˈgɛn ðɪs ˈɪʃu əv laɪɪŋ keɪm əp ˈdʊrɪŋ hɪz ˌkɑnfərˈmeɪʃən ˈhirɪŋ tɪ bi dɪˈrɛktər əv ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti. ənd əˈgɛn, ˈʧərtɑf ɪz ʤɪst ɛz məʧ əv ə ˈpərʤərər ɛz ælˈbərtoʊ gɑnˈzɑləs. aɪ ʤɪst θɪŋk ðət hɪz taɪm æt ðə ˈʤəstɪs dɪˈpɑrtmənt həz bɪn ˈlɑrʤli fərˈgɑtən ər ˈoʊvərˌlʊkt, bɪˈkəz bɪn soʊ ɪˈklɪpst baɪ hɪz əˈbɪzməl pərˈfɔrməns æt ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti. ˈeɪmi ˈgʊdmən: skɑt ˈhɔrtən, ˈlʊkɪŋ æt ən iˈmeɪl ðət ˌɪnˈvɑlvz ˈmaɪkəl ˈʧərtɑf. ɪkˈspleɪn wət ðɪs ɪz, ˌɪnˈvɑlvɪŋ ˈwɛðər ˈmaɪkəl ˈʧərtɑf laɪd tɪ ˈkɑŋgrəs əˈbaʊt gˌwɑnˈtɑnəˌmoʊ. skɑt ˈhɔrtən: wɛl, jɛt əˈnəðər ˈɪnsədənt, aɪ θɪŋk, əˈlɔŋ wɪθ radack’s*, wɪʧ tɪ mi ɪz ə ˈvɛri, ˈvɛri ˈtrəbəlɪŋ wən. hi wɑz æst əˈbaʊt ðə dɪˈvɛləpmənt əv ˈtɔrʧər ˈpɑləsi ənd hɪz roʊl ɪn ɪt, ˈwɛðər hi nu əˈbaʊt əˈbjuzɪz ðət hæd gɔn ɔn æt gˌwɑnˈtɑnəˌmoʊ ðət hæd bɪn ˌriˈpɔrtəd baɪ ˈɛfˈbiˈaɪ ˈeɪʤənts tɪ hɪz ˈɔfəs. hi ˈtɛstɪˌfaɪd ðət hi nu ˈnəθɪŋ əˈbaʊt ðɪs ənd ðət hi hæd nɑt bɪn ˌɪnˈvɑlvd ɪn ðə ˌfɔrmjəˈleɪʃən əv ə ˈtɔrʧər ˈpɑləsi, nɔr ðət hi hæd ˈgɪvɪn məʧ ədˈvaɪs. hi ækˈnɑlɪʤd ðət hi nu əˈbaʊt ðə ˈtɔrʧər ˌmɛmərˈændəm, baɪ ðə weɪ, ðə ˈsoʊˈkɔld ˈbaɪˌbi ˌmɛmərˈændəm. bət aɪ θɪŋk θɪŋz ˈeɪmi ˈgʊdmən: ɪkˈspleɪn wət ɪt sɛd. skɑt ˈhɔrtən: ðə ˈbaɪˌbi ˌmɛmərˈændəm ɪz ðə ˌmɛmərˈændəm ðət wɑz ˈæˌkʧuəli ˈɔθərd baɪ ʤɑn ju ðət ˈɔθərˌaɪzd ˈtɔrʧər, ˈbeɪsɪkli, seɪɪŋ ðət ɪf ðə ˈprɛzɪdənt ˈɔθərˌaɪzd ɪt, ˌwəˈtɛvər hi ˈɔθərˌaɪzd wɑz faɪn, ənd ɪt wʊd nɑt bi kənˈsɪdərd tɪ bi ˈtɔrʧər ˈəndər əˈmɛrɪkən ˈkrɪmənəl lɔ, ɛz lɔŋ ɛz ɪt hæd ˌprɛzɪˈdɛnʃəl ˌɔθərəˈzeɪʃən. soʊ ðeɪ ˌɪnˈkludɪd θɪŋz laɪk waterboarding*. wɛl, ˈæftər hɪz ˈtɛstɪˌmoʊni ɪn fækt, əraʊnd ðə taɪm əv ɪt, səm əv ðə ˈdɑkjəmənts keɪm aʊt, bət ˈsəbsəkwəntli məʧ mɔr ˌɪnˌfɔrˈmeɪʃən keɪm aʊt ˈrɪli ˈkɔlɪŋ ˈɪntu kˈwɛʃən ðə vərˈæsɪti əv ˈtɛstɪˌmoʊni hir. ənd aɪ θɪŋk ðət iˈmeɪl ðət ˈhoʊldɪŋ əp ɪz wən əv ðə ki ˈdɑkjəmənts. soʊ ðət iˈmeɪl rɪˈflɛkts ə ˈnəmbər əv ˈɛfˈbiˈaɪ ˈeɪʤənts ˈbrifɪŋ ʧif əv stæf ənd hɪz ˈkaʊnsəl əˈbaʊt ˈhaɪli əˈbjusɪv ˈkɑndəkt ðət wɑz goʊɪŋ ɔn æt gˌwɑnˈtɑnəˌmoʊ, ˌriˈkaʊntɪŋ ðət ðeɪ ˈproʊˌtɛstəd əˈbaʊt ɪt, ðeɪ reɪzd kˈwɛsʧənz əˈbaʊt ɪt wɪθ ˈmeɪʤər ˈʤɛnərəl ˈmɪlər ənd ˈəðərz, ɔl tɪ noʊ əˈveɪl. ðə dɪˈpɑrtmənt əv dɪˈfɛns kənˈtɪnjud wɪθ ðə juz əv ðiz ˈhaɪli əˈbjusɪv tɛkˈniks. wi noʊ ˈsəbsəkwəntli ðət ðə siaɪeɪ keɪm tɪ ˈʧərtɑf ənd tɪ hɪz ˈdɛpjəti, ˈælɪs ˈfɪʃər, hu naʊ hɛdz ðə ˈkrɪmənəl dɪˈvɪʒən, traɪɪŋ tɪ gɪt ˌklɛrəfəˈkeɪʃən beɪst ɔn ðə ˈtɔrʧər ˌmɛmərˈændəm. ðeɪ ˈwɔntɪd ɪm tɪ seɪ, ɛz ðə hɛd əv ðə ˈkrɪmənəl dɪˈvɪʒən, ðət ɛz lɔŋ ɛz ðiz tɛkˈniks, ðiz ˈtɔrʧər tɛkˈniks, wər juzd baɪ siaɪeɪ ˈeɪʤənts, ðɛr ˈkɑnˌtræktərz ənd ðɛr ˌpərsəˈnɛl wər nɑt goʊɪŋ tɪ feɪs ˈkrɪmənəl ˌprɑsəˈkjuʃən. hi həz dɪˈnaɪd rɪˈpitɪdli ðət hi geɪv ˈɛni səʧ əˈʃʊrəntsɪz. biɪŋ toʊld ðət hi dɪd ənd ðət ðət wɑz ə ˈmeɪʤər pɑrt əv hɪz ˌkɑnsəlˈteɪʃən ɪn kəˈnɛkʃən wɪθ ðə ˈtɔrʧər ˌmɛmərˈændəm. ˈeɪmi ˈgʊdmən: skɑt ˈhɔrtən, aɪ ˈɔlsoʊ wɔnt tɪ æsk əˈbaʊt pɔl ˈklɛmənt, hu ˈprɛzɪdənt bʊʃ həz tæpt ɛz ˈæktɪŋ əˈtərni ˈʤɛnərəl. ɪn 2004 hi ˌrɛprɪˈzɛnɪd ðə bʊʃ ædˌmɪnɪˈstreɪʃən ˌbiˈfɔr ðə səˈprim kɔrt ɪn ðə keɪs, ˈdɑnəld ˈrəmzˌfɛld vi. ˌhoʊˈzeɪ pəˈdɪlə. ɪn ðɪs ɪksˈʧeɪnʤ wɪθ ˈʤəstɪs ruθ ˈbædər ˈgɪnzbərg, hi ˌɪnˈsɪstɪd ðə juz. dɪz nɑt ˈtɔrʧər. ˈʤəstɪs ruθ ˈbædər ˈgɪnzbərg: ɪf ðə lɔ ɪz wət ðə ɪgˈzɛkjətɪv sɪz ɪt ɪz, ˌwəˈtɛvər ɪz ˈnɛsəˌsɛri ənd əˈproʊpriˌeɪt ɪn ðə ˈʤəʤmənt ðə ˌrɛzəˈluʃən ju geɪv ˈjuˈɛs ðət ˈkɑŋgrəs pæst ənd ɪt livz ɪt əp tɪ ðə ɪgˈzɛkjətɪv, ənˈʧɛkt baɪ ðə ʤuˈdɪʃiˌɛri. soʊ wət ɪz ɪt ðət wʊd bi ə ʧɛk əˈgɛnst ˈtɔrʧər? pɔl ˈklɛmənt: wɛl, fərst əv ɔl, ðɛr ər ˈtriti ˌɑbləˈgeɪʃənz, bət ðə ˈpraɪˌmɛri ʧɛk ɪz ðət, ʤɪst ɛz ɪn ˈɛvəri ˈəðər wɔr, ɪf ə juz. ˈmɪlɪˌtɛri ˈpərsən kəˈmɪts ə wɔr kraɪm baɪ kriˈeɪtɪŋ səm əˈtrɑsəti ɔn ə ˈhɑrmləs, ju noʊ, dɪˈteɪnd ˈɛnəmi kəmˈbætənt ər ə ˈprɪzənər əv wɔr, ðət ˈvaɪəleɪts ɑr oʊn kənˈsɛpʃən əv ə wɔr kraɪm, ənd pʊt ðət juz. ˈmɪlɪˌtɛri ˈɔfɪsər ɔn traɪəl ɪn ə ˈkɔrtˌmɑrʃəl. soʊ aɪ θɪŋk ðɛr ər ˈplɛnti əv ˌɪnˈtərnəl ˈrizənz ˈʤəstɪs ruθ ˈbædər ˈgɪnzbərg: səˈpoʊz ðə ɪgˈzɛkjətɪv sɪz, ˈtɔrʧər, wi θɪŋk, wɪl hɛlp gɪt ðɪs information.”*.” nɑt ə ˈsoʊlʤər hu dɪz ˈsəmθɪŋ əˈgɛnst ðə koʊd əv ˈmɪlɪˌtɛri ˈʤəstɪs, bət ən ɪgˈzɛkjətɪv kəˈmænd. səm ˈsɪstəmz du ðət tɪ gɪt ˌɪnˌfɔrˈmeɪʃən. pɔl ˈklɛmənt: wɛl, ɑr ɪgˈzɛkjətɪv doesn’t*, ənd aɪ θɪŋk, aɪ min ˈʤəstɪs ruθ ˈbædər ˈgɪnzbərg: bət kənˈstreɪnɪŋ, ənd ðə pɔɪnt, ɪz ɪt ʤɪst əp tɪ ðə ˈgʊdˈwɪl əv ðə ɪgˈzɛkjətɪv? ɪz ðɛr ˈɛni ʤuˈdɪʃəl ʧɛk? pɔl ˈklɛmənt: wɛl, ðɪs ɪz ə ˌsɪʧuˈeɪʃən wɛr ðɛr ɪz ˌʤʊrɪsˈdɪkʃən ɪn ðə ˈhæbiəs kɔrts. soʊ, ɪf ˈnɛsəˌsɛri, ðeɪ rɪˈmeɪn ˈoʊpən, bət aɪ θɪŋk ˈvɛri ˌɪmˈpɔrtənt. aɪ min, ðə kɔrt ɪn vi. ˈwɑtkɪnz meɪd klɪr ðət ðə fækt ðət ɪgˈzɛkjətɪv dɪˈskrɛʃən ɪn ə wɔr ˌsɪʧuˈeɪʃən kən bi əˈbjuzd ɪz nɑt ə gʊd ənd səˈfɪʃənt ˈrizən fər ʤuˈdɪʃəl ˌmaɪkroʊˈmænɪʤmənt ənd ˈoʊvərˌsiɪŋ əv ðət əˈθɔrəti. ju hæv tɪ ˈrɛkəgˌnaɪz ðət ɪn ˌsɪʧuˈeɪʃənz wɛr ðɛr ɪz ə wɔr wɛr ðə ˈgəvərnmənt ɪz ɔn ə wɔr ˈfʊtɪŋ, ðət ju hæv tɪ trəst ðə ɪgˈzɛkjətɪv. ˈeɪmi ˈgʊdmən: ðət wɑz juz. ˈdɛpjəti səˈlɪsətər ˈʤɛnərəl pɔl ˈklɛmənt, naʊ ðə ˈæktɪŋ əˈtərni ˈʤɛnərəl wəns ælˈbərtoʊ gɑnˈzɑləs livz. skɑt ˈhɔrtən, ðɪs ˈɑrgjəmənt ˈmeɪkɪŋ ˌbiˈfɔr ðə səˈprim kɔrt? skɑt ˈhɔrtən: wɛl, aɪ θɪŋk fərst gɑt tɪ noʊt ðət ðə fækt ðət ðə ˈprɛzɪdənt həz tɪ goʊ daʊn ðə laɪn tɪ ðə ˈnəmbər fɔr ˈfɪgjər ɪn ðə dɪˈpɑrtmənt əv ˈʤəstɪs tɪ faɪnd ən ˈæktɪŋ əˈtərni ˈʤɛnərəl ʃoʊz ðə dɛpθ əv ðə ˈprɑbləm ɪn ðət ˌɪnstɪˈtuʃən raɪt naʊ, ɪts ˈifɛktɪv dɪˌkæpɪˈteɪʃən ənd lɔs əv ˈlidərˌʃɪp. ðət biɪŋ sɛd, aɪ θɪŋk pɔl ˈklɛmənt ɪz əˈməŋst ðə ˈlidɪŋ ˈfɪgjərz ɪn ðə dɪˈpɑrtmənt əv ˈʤəstɪs, ðə wən ðə moʊst ˈhaɪli rɪˈspɛktɪd, bət aɪ θɪŋk ðɪs klɪp ʤɪst pleɪd rɪˈflɛkts səm əv ðə ˈtrəbəlz ðət səm ˈpipəl hæv wɪθ pɔl. ju noʊ, aɪ θɪŋk hi ɪz ˈvɛri ˌaɪdiəˈlɑʤɪkli ˈɔriˌɛntɪd. hi wɑz ə ˈmɛmbər əv ðə ˈfɛdərəlɪst soʊˈsaɪɪti. ənd aɪ θɪŋk hi həz gɔn aʊt ɔn ə lɛʤ tɪ səˈpɔrt ðə ædˌmɪnɪˈstreɪʃən ˈsɛvərəl taɪmz. aɪ θɪŋk ðə ˈpæsɪʤ ju ʤɪst pleɪd tu θɪŋz aɪ min, dɪˈnaɪɪŋ ðət ðɛr wər ˈtɔrʧər ˈpræktɪsɪz ðɛr. aɪ θɪŋk ðə fækts ˈrɪli ˈəndərˌkət wət hi sɛd. ənd ˈsɛkəndli, ˈɔlsoʊ seɪɪŋ, ˈwəri. ˈhæbiəs ˈkɔrpəs wɪl bi əˈveɪləbəl tɪ prəˈvaɪd review.”*.” ənd, əv kɔrs, ɪt wasn’t*. ɪn fækt, hi wərkt ˈvɛri hɑrd tɪ əˈvɔɪd ɪt. ˈeɪmi ˈgʊdmən: baɪ ðə weɪ, ðə deɪt əv ðət wɑz ˈeɪprəl 28 2004 ðə ˈɑrgjəmənt ˌbiˈfɔr ðə səˈprim kɔrt wɛr biɪŋ kˈwɛsʧənd baɪ ruθ ˈbædər ˈgɪnzbərg. ə fju aʊərz ˈleɪtər, ɪf ðət lɔŋ, ðə ˈæbu ˈfoʊˌtoʊz wər riˈlist. skɑt ˈhɔrtən: bət ˈsərtənli ˈpipəl ɪn ðə ædˌmɪnɪˈstreɪʃən nu əˈbaʊt ðət ˈsɛvərəl wiks bɪˈfɔˌrhænd. soʊ, ju noʊ, hi wɑz ˈkloʊzɪŋ hɪz aɪz ɪf hi noʊ əˈbaʊt ɪt. ˈeɪmi ˈgʊdmən:, ɛz wi ræp əp wɪθ ju, ɪn wən əv jʊr ˈraɪtɪŋz, naʊ, ɛz ˈmaɪkəl neɪm kəmz əp ɛz ðə ˈpɑsəbəl əˈtərni ˈʤɛnərəl, ju stɑrt ɔf baɪ seɪɪŋ, jɛs, ðɛr ɪz ðə keɪs ðət aɪ kən tɔk əˈbaʊt maɪ oʊn keɪs, ʤɑn ˈwɔkər lɪnd bət kəˈtrinə bi ɪˈnəf?: wɛl, wən wʊd θɪŋk ðət kəˈtrinə wʊd bi ɪˈnəf, ənd hɪz spɛkˈtækjələr ˈfeɪljər ɪn ˈhɛdɪŋ ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti ʃʊd bi ɪˈnəf tɪ ˈkɔʃən əˈgɛnst ɪm ˈsərvɪŋ ɛz əˈtərni ˈʤɛnərəl. bət, əˈgɛn, aɪ æsk ˈpipəl tɪ rɪˈflɛkt bæk ɔn ðə fækt ðət ˈmaɪkəl ˈʧərtɑf hæd bɪn æt ðə ˈʤəstɪs dɪˈpɑrtmənt ˌbiˈfɔr ɪn ə ˈlidərˌʃɪp roʊl ˈʃɔrtli ˈæftər hi hæd bɪn ðə hɛd əv ðə ˈkrɪmənəl dɪˈvɪʒən, hi hæd bɪn æt ðə ˈʤəstɪs dɪˈpɑrtmənt ˌbiˈfɔr. ənd ɔn hɪz wɔʧ, ə lɔt əv əˈtroʊʃəs θɪŋz əˈkərd, ˌɪnˈkludɪŋ, ɛz skɑt ˈhɔrtən ˈmɛnʃənd, ˈtɔrʧər. ənd, əˈgɛn, waɪl moʊst ˈpipəl meɪ nɑt rɪˈmɛmbər maɪ keɪs, ˈrɪtən əˈbaʊt ɪt ɪn maɪ bʊk, kəˈnɛri ɪn ðə coalmine*. aʊt ðɛr. dɪˈteɪld ˈpərʤəri ˈdʊrɪŋ hɪz ˈpriviəs ˌkɑnfərˈmeɪʃən ˈhirɪŋz tɪ ˈəðər pəˈzɪʃənz əv paʊər. ənd waɪl, jɛs, hɪz pərˈfɔrməns æt ðə dɪˈpɑrtmənt əv ˈhoʊmˌlænd sɪˈkjʊrəti ʃʊd bi ɪˈnəf tɪ prɪˈklud ˈɛni kənˌsɪdərˈeɪʃən əv ɪm fər ðə tɔp lɔ ɛnˈfɔrsmənt pəˈzɪʃən, aɪ θɪŋk wən kʊd ˈɔlsoʊ ˈizəli lʊk tɪ hɪz ˈrɛkərd wɪn hi wɑz, ɪn fækt, æt ðə dɪˈpɑrtmənt əv ˈʤəstɪs. ˈeɪmi ˈgʊdmən:, aɪ wɔnt tɪ θæŋk ju fər biɪŋ wɪθ ˈjuˈɛs.: θæŋk ju. ˈeɪmi ˈgʊdmən: jɛs, ˈfɔrmər əˈtərni ɪn ðə ˈɛθɪks dɪˈpɑrtmənt æt ðə ˈʤəstɪs dɪˈpɑrtmənt. hər bʊk, ðə kəˈnɛri ɪn ðə coalmine*: bloʊɪŋ ðə ˈwɪsəl ɪn ðə keɪs əv taliban”*” ʤɑn ˈwɔkər lɪnd. skɑt ˈhɔrtən, jʊr ˈfaɪnəl ˈkɑmɛnt, ɛz wi lʊk æt ælˈbərtoʊ gɑnˈzɑləs rɪˈzaɪnɪŋ, ðə ˌpɑsəˈbɪləˌti əv ˈmaɪkəl ˈʧərtɑf rɪˈpleɪsɪŋ ɪm, ənd pɔl ˈklɛmənt ɛz ðə ˈæktɪŋ əˈtərni ˈʤɛnərəl raɪt naʊ. skɑt ˈhɔrtən: wɛl, ʤɪst ˈfɑloʊ əp ɔn ðə ˈkɑmɛnt ðət wɑz ʤɪst meɪd əˈbaʊt ˈtɛnjər æt ðə ˈkrɪmənəl dɪˈvɪʒən. aɪ θɪŋk raɪt. ɪf wi lʊk, hi ræn ðət dɪˈvɪʒən. hi ˈɔlsoʊ əˈpɔɪntɪd wən əv hɪz ˈkloʊsəst protégés*, noʊɛl ˈhɪlˌmæn, ɛz ðə hɛd əv ðə ˈpəblɪk ˌɪnˈtɛgrəti ˈjunɪt. soʊ ɪt ɪz waɪl hi wɑz ˈrənɪŋ ðət dɪˈvɪʒən ənd hɪz protégé*é wɑz ˈrənɪŋ ˈpəblɪk ˌɪnˈtɛgrəti ðət wi hæd ˌprɑsəˈkjuʃənz æt ðə ˈreɪʃiˌoʊ əv əv ɪˈlɛktɪd ˈdɛməˌkræts əˈgɛnst rɪˈpəblɪkənz, ˌɪnˈkludɪŋ ðə ˈsigəlmən ˈmætər bɪˈgɪnɪŋ. soʊ ðɪs ˈeɪmi ˈgʊdmən: ˈsigəlmən, ðə ˌæləˈbæmə ˈgəvərnər naʊ ɪn ˈprɪzən. skɑt ˈhɔrtən: prɪˈsaɪsli. ənd soʊ, aɪ θɪŋk ðɪs ɪnˈtaɪər ˈprɔˌsɛs əv pəˌlɪtəsəˈzeɪʃən əv ðə ˌprɑsɪkjuˈtɔriəl ˈprɔˌsɛs ɪz goʊɪŋ ɔn ˈəndər ˈmaɪkəl wɔʧ. soʊ ɪf wi wɔnt ə nu əˈtərni ˈʤɛnərəl goʊɪŋ tɪ kəm ɪn ənd ˈstreɪtən θɪŋz aʊt ənd rɪˈstɔr ðə ˌɪnˈtɛgrəti ənd ˌrɛpjəˈteɪʃən əv ðə dɪˈpɑrtmənt əv ˈʤəstɪs, ˈmaɪkəl ˈʧərtɑf ɪz ən ˈɔfəli ɑd ʧɔɪs fər ðət. ˈeɪmi ˈgʊdmən: wɛl, ˈmaɪkəl ˈʧərtɑf həz nɑt bɪn əˈnaʊnst. ɪf ðeɪ wər əˈnaʊnsɪŋ ɪm ðɪs wik, ɪt wʊd bi ɔn ðə ˌænəˈvərsəri əv ˈhərəˌkeɪnz kəˈtrinə. du ju θɪŋk raɪt naʊ ˈfloʊtɪŋ ðət neɪm, ɛz həz bɪn dən ˌbiˈfɔr, tɪ si wət ðə rɪˈspɑns wʊd bi? skɑt ˈhɔrtən: prɪˈsaɪsli goʊɪŋ ɔn. aɪ θɪŋk klɪr ðət ə lɪst əv ə ˈhæfˌdəzən neɪmz. ðə ˈnəmbər wən neɪm ɔn ðə lɪst, bɪˈkəz bɪn ˌrikənˈfərmd θri taɪmz fər ˈɔfəsɪz ɪn ðə læst faɪv jɪrz. soʊ aɪ θɪŋk ˈpipəl ɪn ðə waɪt haʊs θɪŋk hi ɪz kənˈfərməbəl. ˈfloʊtɪd ðə neɪm naʊ tɪ si wət sɔrt əv ˈprɑbləmz goʊɪŋ tɪ feɪs, ənd aɪ θɪŋk ðeɪ meɪ hæv ˈəndərˈɛstəˌmeɪtɪd ðə ˈprɑbləmz. ˈeɪmi ˈgʊdmən: skɑt ˈhɔrtən, θæŋks fər ˈʤɔɪnɪŋ ˈjuˈɛs, kəˈləmbiə lɔ prəˈfɛsər, kənˈtrɪbjətər tɪ ˈmægəˌzin, raɪts ðə blɔg, noʊ comment.”*.” |
fda approves deadly drug even after debating its ‘effectiveness’
it is often difficult to understand why government bureaucracies do some of the things they do, and obviously that includes the food and drug administration, the agency responsible for approving some of the most dangerous drugs ever marketed.
in fact, the agency may just have done so again.
as reported by medical website stat, the’s chief, dr. robert califf, wants a study about a duchenne muscular dystrophy drug called retracted because he believes it was misleading. the problem is, the drug has already been approved.
developed by therapeutics, the drug is the first to be approved for the rare genetic disease which leads to a steady erosion and wasting of muscles that eventually boys to wheelchairs and an early grave. stat reports that duchenne was approved in spite of often rancorous disagreement out of the limelight among top officials regarding the extent that the drug actually helps patients.
central to the infighting was a 2013 study into whether the drug was able to produce levels of a protein called dystrophin in sufficient amounts. without that protein, muscle fibers deteriorate and voluntary movement disappears.
the study, which of course was funded by the drug maker and by four of the employees, found that the medicine produced enough dystrophin and allowed affected boys some ability to walk.
but califf sided with a pair of officials who also believe that the study, which was published in the journal annals of neurology, should be pulled.
“the publication, now known to be misleading, should probably be retracted by its authors,” califf wrote in a memo, in which he touched on the internal dispute within his agency.
“in view of the scientific deficiencies identified in this analysis, i believe it would be appropriate to initiate a dialogue that would lead to a formal correction or retraction (as appropriate) of the published report,” the agency chief added in a footnote.
the disagreement was initiated in large part by various moves made by dr. janet woodcock, the controversial manager of the’s drug review division, who pushed hard for the approval of the drug.
though she reportedly had concerns about the study, she also argued with other agency officials who did not agree with her decision to approve the drug, as well the manner in which she advocated on behalf of the approval.
the trouble is, unclear where the situation goes from here. dr. clifford saper, editor of the annals of neurology, said that getting a paper retracted is no quick or easy thing.
“it takes more than a call by a politician for retraction of a paper. it takes actual evidence,” he told stat. he added that if califf has evidence that there are errors in the paper, he should produce it.
meanwhile, another drug that is likely ineffective and perhaps even expensive will be permitted to remain on the market and in use.
sources:
statnews.com
fda.gov [pdf] | fda* əˈpruvz ˈdɛdli drəg ˈivɪn ˈæftər dəˈbeɪtɪŋ ɪts ‘‘effectiveness’*’ ɪt ɪz ˈɔfən ˈdɪfəkəlt tɪ ˌəndərˈstænd waɪ ˈgəvərnmənt bjʊˈrɑkrəsiz du səm əv ðə θɪŋz ðeɪ du, ənd ˈɑbviəsli ðət ˌɪnˈkludz ðə fud ənd drəg ædˌmɪnɪˈstreɪʃən, ðə ˈeɪʤənsi riˈspɑnsəbəl fər əˈpruvɪŋ səm əv ðə moʊst ˈdeɪnʤərəs drəgz ˈɛvər ˈmɑrkətɪd. ɪn fækt, ðə ˈeɪʤənsi meɪ ʤɪst hæv dən soʊ əˈgɛn. ɛz ˌriˈpɔrtəd baɪ ˈmɛdɪkəl ˈwɛbˌsaɪt stæt, ðə ʧif, ˈdɑktər. ˈrɑbərt ˈkælɪf, wɔnts ə ˈstədi əˈbaʊt ə duˈʃɛn ˈməskjələr ˈdɪstrəfi drəg kɔld riˈtræktəd bɪˈkəz hi bɪˈlivz ɪt wɑz mɪsˈlidɪŋ. ðə ˈprɑbləm ɪz, ðə drəg həz ɔˈrɛdi bɪn əˈpruvd. dɪˈvɛləpt baɪ ˌθɛrəˈpjutɪks, ðə drəg ɪz ðə fərst tɪ bi əˈpruvd fər ðə rɛr ʤəˈnɛtɪk dɪˈziz wɪʧ lidz tɪ ə ˈstɛdi ɪˈroʊʒən ənd ˈweɪstɪŋ əv ˈməsəlz ðət ɪˈvɛnʧəwəli bɔɪz tɪ ˈwiˌlʧɛrz ənd ən ˈərli greɪv. stæt rɪˈpɔrts ðət duˈʃɛn wɑz əˈpruvd ɪn spaɪt əv ˈɔfən ˈræŋkərəs dɪsəˈgrimənt aʊt əv ðə ˈlaɪmˌlaɪt əˈməŋ tɔp əˈfɪʃəlz rɪˈgɑrdɪŋ ðə ɪkˈstɛnt ðət ðə drəg ˈæˌkʧuəli hɛlps ˈpeɪʃənz. ˈsɛntrəl tɪ ðə ˈɪnˌfaɪtɪŋ wɑz ə 2013 ˈstədi ˈɪntu ˈwɛðər ðə drəg wɑz ˈeɪbəl tɪ ˈproʊdus ˈlɛvəlz əv ə ˈproʊˌtin kɔld ˈdɪstrəfɪn ɪn səˈfɪʃənt əˈmaʊnts. wɪˈθaʊt ðət ˈproʊˌtin, ˈməsəl ˈfaɪbərz dɪˈtɪriərˌeɪt ənd ˈvɑləntɛri ˈmuvmənt ˌdɪsəˈpɪrz. ðə ˈstədi, wɪʧ əv kɔrs wɑz ˈfəndɪd baɪ ðə drəg ˈmeɪkər ənd baɪ fɔr əv ðə ɪmˈplɔɪiz, faʊnd ðət ðə ˈmɛdəsən prəˈdust ɪˈnəf ˈdɪstrəfɪn ənd əˈlaʊd əˈfɛktɪd bɔɪz səm əˈbɪləˌti tɪ wɔk. bət ˈkælɪf ˈsaɪdɪd wɪθ ə pɛr əv əˈfɪʃəlz hu ˈɔlsoʊ bɪˈliv ðət ðə ˈstədi, wɪʧ wɑz ˈpəblɪʃt ɪn ðə ˈʤərnəl ˈænəlz əv nʊˈrɑləʤi, ʃʊd bi pʊld. ˌpəblɪˈkeɪʃən, naʊ noʊn tɪ bi mɪsˈlidɪŋ, ʃʊd ˈprɑbəˌbli bi riˈtræktəd baɪ ɪts authors,”*,” ˈkælɪf roʊt ɪn ə ˈmɛˌmoʊ, ɪn wɪʧ hi təʧt ɔn ðə ˌɪnˈtərnəl dɪˈspjut wɪˈθɪn hɪz ˈeɪʤənsi. vju əv ðə ˌsaɪənˈtɪfɪk dɪˈfɪʃənsiz aɪˈdɛntəˌfaɪd ɪn ðɪs æˈnælɪsɪs, aɪ bɪˈliv ɪt wʊd bi əˈproʊpriˌeɪt tɪ ˌɪˈnɪʃiˌeɪt ə ˈdaɪəˌlɔg ðət wʊd lɛd tɪ ə ˈfɔrməl kərˈɛkʃən ər riˈtrækʃən (ɛz əˈproʊpriˌeɪt) əv ðə ˈpəblɪʃt report,”*,” ðə ˈeɪʤənsi ʧif ˈædɪd ɪn ə ˈfʊtˌnoʊt. ðə dɪsəˈgrimənt wɑz ˌɪˈnɪʃiˌeɪtɪd ɪn lɑrʤ pɑrt baɪ ˈvɛriəs muvz meɪd baɪ ˈdɑktər. ˈʤænɪt ˈwʊdˌkɑk, ðə ˌkɑntrəˈvərʃəl ˈmænɪʤər əv ðə drəg ˌrivˈju dɪˈvɪʒən, hu pʊʃt hɑrd fər ðə əˈpruvəl əv ðə drəg. ðoʊ ʃi rɪˈpɔrtədli hæd kənˈsərnz əˈbaʊt ðə ˈstədi, ʃi ˈɔlsoʊ ˈɑrgjud wɪθ ˈəðər ˈeɪʤənsi əˈfɪʃəlz hu dɪd nɑt əˈgri wɪθ hər dɪˈsɪʒən tɪ əˈpruv ðə drəg, ɛz wɛl ðə ˈmænər ɪn wɪʧ ʃi ˈædvəˌkeɪtɪd ɔn bɪˈhæf əv ðə əˈpruvəl. ðə ˈtrəbəl ɪz, ənˈklɪr wɛr ðə ˌsɪʧuˈeɪʃən goʊz frəm hir. ˈdɑktər. ˈklɪfərd saper*, ˈɛdɪtər əv ðə ˈænəlz əv nʊˈrɑləʤi, sɛd ðət ˈgɪtɪŋ ə ˈpeɪpər riˈtræktəd ɪz noʊ kwɪk ər ˈizi θɪŋ. teɪks mɔr ðən ə kɔl baɪ ə ˌpɑləˈtɪʃən fər riˈtrækʃən əv ə ˈpeɪpər. ɪt teɪks ˈækʧəwəl evidence,”*,” hi toʊld stæt. hi ˈædɪd ðət ɪf ˈkælɪf həz ˈɛvədəns ðət ðɛr ər ˈɛrərz ɪn ðə ˈpeɪpər, hi ʃʊd ˈproʊdus ɪt. ˈminˌwaɪl, əˈnəðər drəg ðət ɪz ˈlaɪkli ˌɪnɪˈfɛktɪv ənd pərˈhæps ˈivɪn ɪkˈspɛnsɪv wɪl bi pərˈmɪtɪd tɪ rɪˈmeɪn ɔn ðə ˈmɑrkɪt ənd ɪn juz. ˈsɔrsəz: [pdf*] |
gundam extreme vs force is getting by amazon reviews in japan
by sato . december 23, 2015 .
mobile suit: extreme vs force released today in japan, and japanese fans have been expressing their dissatisfaction with the game by amazon japan with exceptionally low review scores. [thanks, hachima.]
while japanese reviews on amazon are known for being a bit more harsh than their western counterparts, an average score of stars is still pretty low for any title, let alone a mobile suit game, which usually gets at least 3 or 4 stars on average.
the below is a few lines of criticism shared by users who purchased the game:
“it’s a different game that simply used the name of the “gundam vs” series. pretty much a game that let you “musou.” [basically saying that it plays like a game without its charm or hundreds of enemies to take on.]”
“no free battle or online versus, and a drastic reduction of the number of available, i get the point of this game.”
“the worst content of all games as of late.”
“while okay to release [a game] as a version with the premise of solo-play, the degree of completeness is way too low, even for a single player game.”
“the stress that comes from its bad camera angles is just horrible.”
“the retail version can be sold as a used game, but for those who purchased the download version, like they threw yen down the gutters.”
“if they put in a free battle mode, then i wish at least have an arcade mode.”
“gundam fans are being looked down upon by bandai namco, who probably think they can cut corners for a game and still have it sell.”
mobile suit: extreme vs force will release in the west in 2016 for playstation vita. | gundam* ɪkˈstrim ˈvərsəz fɔrs ɪz ˈgɪtɪŋ baɪ ˈæməˌzɑn rəvˈjuz ɪn ʤəˈpæn baɪ ˈsɑtoʊ dɪˈsɛmbər 23 2015 ˈmoʊbəl sut: ɪkˈstrim ˈvərsəz fɔrs riˈlist təˈdeɪ ɪn ʤəˈpæn, ənd ˌʤæpəˈniz fænz hæv bɪn ɪkˈsprɛsɪŋ ðɛr ˌdɪsætɪsˈfækʃən wɪθ ðə geɪm baɪ ˈæməˌzɑn ʤəˈpæn wɪθ ɪkˈsɛpʃənəli loʊ ˌrivˈju skɔrz. [θæŋks, hachima*.] waɪl ˌʤæpəˈniz rəvˈjuz ɔn ˈæməˌzɑn ər noʊn fər biɪŋ ə bɪt mɔr hɑrʃ ðən ðɛr ˈwɛstərn ˈkaʊntərˌpɑrts, ən ˈævərɪʤ skɔr əv stɑrz ɪz stɪl ˈprɪti loʊ fər ˈɛni ˈtaɪtəl, lɛt əˈloʊn ə ˈmoʊbəl sut geɪm, wɪʧ ˈjuʒəwəli gɪts æt list 3 ər 4 stɑrz ɔn ˈævərɪʤ. ðə bɪˈloʊ ɪz ə fju laɪnz əv ˈkrɪtɪˌsɪzəm ʃɛrd baɪ ˈjuzərz hu ˈpərʧəst ðə geɪm: ə ˈdɪfərənt geɪm ðət ˈsɪmpli juzd ðə neɪm əv ðə vs”*” ˈsɪriz. ˈprɪti məʧ ə geɪm ðət lɛt ju ““musou.”*.” [ˈbeɪsɪkli seɪɪŋ ðət ɪt pleɪz laɪk ə geɪm wɪˈθaʊt ɪts ʧɑrm ər ˈhənərdz əv ˈɛnəmiz tɪ teɪk on.]”*.]” fri ˈbætəl ər ˈɔnˌlaɪn ˈvərsəz, ənd ə ˈdræstɪk rɪˈdəkʃən əv ðə ˈnəmbər əv əˈveɪləbəl, aɪ gɪt ðə pɔɪnt əv ðɪs game.”*.” wərst ˈkɑntɛnt əv ɔl geɪmz ɛz əv late.”*.” ˌoʊˈkeɪ tɪ riˈlis [ə geɪm] ɛz ə ˈvərʒən wɪθ ðə ˈprɛmɪs əv solo-play*, ðə dɪˈgri əv kəmˈplitnəs ɪz weɪ tu loʊ, ˈivɪn fər ə ˈsɪŋgəl pleɪər game.”*.” strɛs ðət kəmz frəm ɪts bæd ˈkæmərə ˈæŋgəlz ɪz ʤɪst horrible.”*.” ˈriˌteɪl ˈvərʒən kən bi soʊld ɛz ə juzd geɪm, bət fər ðoʊz hu ˈpərʧəst ðə ˈdaʊnˌloʊd ˈvərʒən, laɪk ðeɪ θru jɛn daʊn ðə gutters.”*.” ðeɪ pʊt ɪn ə fri ˈbætəl moʊd, ðɛn aɪ wɪʃ æt list hæv ən ɑrˈkeɪd mode.”*.” fænz ər biɪŋ lʊkt daʊn əˈpɑn baɪ ˌbænˈdaɪ namco*, hu ˈprɑbəˌbli θɪŋk ðeɪ kən kət ˈkɔrnərz fər ə geɪm ənd stɪl hæv ɪt sell.”*.” ˈmoʊbəl sut: ɪkˈstrim ˈvərsəz fɔrs wɪl riˈlis ɪn ðə wɛst ɪn 2016 fər ˈpleɪˌsteɪʃən ˈvaɪtə. |
our society tends to think about business as the enemy of the environment and of trees. it's no wonder, given the things businesses have done. it's very easy to blame them for all the things wrong with the world. it happens because most of the time we use business to make as much money as we can, forgetting about the damages they do to the planet and to people. however, we should remember that businesses do what people make them do. if you want to solve people's problems, businesses can help you do that too.
ah, but the profit motive is the key to driving people towards that route, we hear you say. this is why we've created a new kind of business model called "social business." it is a kind of business that has taken out of the picture the motive of personal financial profit, because we think there are other incentives in life besides personal financial gain. so it is a business that does make a profit, but as profit that either goes to the investor to pay back only his investment money, or as profit that is recycled into expanding the business or into activities that benefit the local community and environment. when the entrepreneurs commit to this in the articles of association, they are making it clear that solving social problems is their primary objective.
over the years, we have created many social businesses in bangladesh and abroad. we have learned that social businesses can achieve a lot of things, including providing nutrition to children danone), providing access to solar energy shakti) and healthcare eye care hospitals).
today, we want to talk to you about a very special social business in haiti, essence. haiti is affected by the worst deforestation any country has experienced, which is currently at percent. as it is, people in haiti are affected by severe poverty, which forces them to cut down trees for fuel for cooking. over time, this deforestation leads to soil erosion and degrades agricultural lands. it becomes a vicious cycle.
kreyòl business model recognizes that people in haiti need jobs and stable income before they can worry about planting trees. haiti has over 40 percent unemployment and one of the lowest income levels in the western hemisphere.
the first tranche of our investment capital was raised on kiva.org, an innovative platform that allows anyone around the world lend to entrepreneurs from developing countries. loans can be as small as $25. we posted the loan around midnight on june 16, 2014. incredibly, in less than three days, we raised $100,000 from just under borrowers from around the world. it was the biggest loan ever to be raised on kiva, and in record time. we could not believe our eyes. it demonstrated that ordinary people were willing to put their money behind a great social business idea. businesses that solve social problems is not only a viable, but extremely popular investment proposition! | ɑr soʊˈsaɪɪti tɛndz tɪ θɪŋk əˈbaʊt ˈbɪznɪs ɛz ðə ˈɛnəmi əv ðə ɪnˈvaɪrənmənt ənd əv triz. ɪts noʊ ˈwəndər, ˈgɪvɪn ðə θɪŋz ˈbɪznɪsɪz hæv dən. ɪts ˈvɛri ˈizi tɪ bleɪm ðɛm fər ɔl ðə θɪŋz rɔŋ wɪθ ðə wərld. ɪt ˈhæpənz bɪˈkəz moʊst əv ðə taɪm wi juz ˈbɪznɪs tɪ meɪk ɛz məʧ ˈməni ɛz wi kən, fərˈgɛtɪŋ əˈbaʊt ðə ˈdæmɪʤɪz ðeɪ du tɪ ðə ˈplænət ənd tɪ ˈpipəl. ˌhaʊˈɛvər, wi ʃʊd rɪˈmɛmbər ðət ˈbɪznɪsɪz du wət ˈpipəl meɪk ðɛm du. ɪf ju wɔnt tɪ sɑlv ˈpipəlz ˈprɑbləmz, ˈbɪznɪsɪz kən hɛlp ju du ðət tu. ɑ, bət ðə ˈprɑfɪt ˈmoʊtɪv ɪz ðə ki tɪ ˈdraɪvɪŋ ˈpipəl təˈwɔrdz ðət rut, wi hir ju seɪ. ðɪs ɪz waɪ wiv kriˈeɪtɪd ə nu kaɪnd əv ˈbɪznɪs ˈmɑdəl kɔld "ˈsoʊʃəl ˈbɪznɪs." ɪt ɪz ə kaɪnd əv ˈbɪznɪs ðət həz ˈteɪkən aʊt əv ðə ˈpɪkʧər ðə ˈmoʊtɪv əv ˈpərsɪnəl ˌfaɪˈnænʃəl ˈprɑfɪt, bɪˈkəz wi θɪŋk ðɛr ər ˈəðər ˌɪnˈsɪnɪvz ɪn laɪf ˌbiˈsaɪdz ˈpərsɪnəl ˌfaɪˈnænʃəl geɪn. soʊ ɪt ɪz ə ˈbɪznɪs ðət dɪz meɪk ə ˈprɑfɪt, bət ɛz ˈprɑfɪt ðət ˈiðər goʊz tɪ ðə ˌɪnˈvɛstər tɪ peɪ bæk ˈoʊnli hɪz ˌɪnˈvɛstmənt ˈməni, ər ɛz ˈprɑfɪt ðət ɪz riˈsaɪkəld ˈɪntu ɪkˈspændɪŋ ðə ˈbɪznɪs ər ˈɪntu ækˈtɪvɪtiz ðət ˈbɛnəfɪt ðə ˈloʊkəl kəmˈjunɪti ənd ɪnˈvaɪrənmənt. wɪn ðə ˌɑntrəprəˈnərz kəˈmɪt tɪ ðɪs ɪn ðə ˈɑrtɪkəlz əv əˌsoʊʃiˈeɪʃən, ðeɪ ər ˈmeɪkɪŋ ɪt klɪr ðət ˈsɑlvɪŋ ˈsoʊʃəl ˈprɑbləmz ɪz ðɛr ˈpraɪˌmɛri əˈbʤɛktɪv. ˈoʊvər ðə jɪrz, wi hæv kriˈeɪtɪd ˈmɛni ˈsoʊʃəl ˈbɪznɪsɪz ɪn ˈbæŋləˌdɛʃ ənd əˈbrɔd. wi hæv ˈlərnɪd ðət ˈsoʊʃəl ˈbɪznɪsɪz kən əˈʧiv ə lɔt əv θɪŋz, ˌɪnˈkludɪŋ prəˈvaɪdɪŋ nuˈtrɪʃən tɪ ˈʧɪldrən danone*), prəˈvaɪdɪŋ ˈækˌsɛs tɪ ˈsoʊlər ˈɛnərʤi shakti*) ənd ˈhɛlθˌkɛr aɪ kɛr ˈhɑˌspɪtəlz). təˈdeɪ, wi wɔnt tɪ tɔk tɪ ju əˈbaʊt ə ˈvɛri ˈspɛʃəl ˈsoʊʃəl ˈbɪznɪs ɪn ˈheɪti, ˈɛsəns. ˈheɪti ɪz əˈfɛktɪd baɪ ðə wərst dɪˌfɔrɪˈsteɪʃən ˈɛni ˈkəntri həz ɪkˈspɪriənst, wɪʧ ɪz ˈkərəntli æt pərˈsɛnt. ɛz ɪt ɪz, ˈpipəl ɪn ˈheɪti ər əˈfɛktɪd baɪ səˈvɪr ˈpɑvərti, wɪʧ ˈfɔrsɪz ðɛm tɪ kət daʊn triz fər fjuəl fər ˈkʊkɪŋ. ˈoʊvər taɪm, ðɪs dɪˌfɔrɪˈsteɪʃən lidz tɪ sɔɪl ɪˈroʊʒən ənd dɪˈgreɪdz ˌægrɪˈkəlʧərəl lændz. ɪt bɪˈkəmz ə ˈvɪʃəs ˈsaɪkəl. ˈbɪznɪs ˈmɑdəl ˈrɛkəgˌnaɪzɪz ðət ˈpipəl ɪn ˈheɪti nid ʤɑbz ənd ˈsteɪbəl ˈɪnˌkəm ˌbiˈfɔr ðeɪ kən ˈwəri əˈbaʊt ˈplæntɪŋ triz. ˈheɪti həz ˈoʊvər 40 pərˈsɛnt ˌənɪmˈplɔɪmənt ənd wən əv ðə loʊəst ˈɪnˌkəm ˈlɛvəlz ɪn ðə ˈwɛstərn ˈhɛmɪsˌfɪr. ðə fərst trænʧ əv ɑr ˌɪnˈvɛstmənt ˈkæpɪtəl wɑz reɪzd ɔn kiva.org*, ən ˈɪnəˌveɪtɪv ˈplætˌfɔrm ðət əˈlaʊz ˈɛniˌwən əraʊnd ðə wərld lɛnd tɪ ˌɑntrəprəˈnərz frəm dɪˈvɛləpɪŋ ˈkəntriz. loʊnz kən bi ɛz smɔl ɛz 25 wi ˈpoʊstɪd ðə loʊn əraʊnd ˈmɪdˌnaɪt ɔn ʤun 16 2014 ˌɪnˈkrɛdəbli, ɪn lɛs ðən θri deɪz, wi reɪzd frəm ʤɪst ˈəndər ˈbɑroʊərz frəm əraʊnd ðə wərld. ɪt wɑz ðə ˈbɪgəst loʊn ˈɛvər tɪ bi reɪzd ɔn kiva*, ənd ɪn ˈrɛkərd taɪm. wi kʊd nɑt bɪˈliv ɑr aɪz. ɪt ˈdɛmənˌstreɪtɪd ðət ˈɔrdəˌnɛri ˈpipəl wər ˈwɪlɪŋ tɪ pʊt ðɛr ˈməni bɪˈhaɪnd ə greɪt ˈsoʊʃəl ˈbɪznɪs aɪˈdiə. ˈbɪznɪsɪz ðət sɑlv ˈsoʊʃəl ˈprɑbləmz ɪz nɑt ˈoʊnli ə ˈvaɪəbəl, bət ɪkˈstrimli ˈpɑpjələr ˌɪnˈvɛstmənt ˌprɑpəˈzɪʃən! |
why this matters in brief the pipe is a finalist in the 2016 land art generator initiative, a competition to combine clean energy production with public art.
is it public art, or is it a power station? this shimmering design for “the pipe”, a finalist in the 2016 land art generator initiative (lagi), is intended to blur the lines between the two. imagined here as a floating installation off the coast of santa monica, california, the pipe is an electromagnetic desalination device, powered by the sun. it also looks great on the horizon.
in that regard, it perfectly reflects the premise of the design competition, which this year invited participants to come up with aesthetically pleasing concepts for electricity and clean water generation that could potentially be placed in the waters near santa monica pier as examples that our increasing demands for power need not blight the landscape (or seascape).
as was first reported by inhabitat, the pipe was designed by the canadian engineering firm and associates, which in processing plants for the food, drink and packaging industries. the glittering silver tube could, the firm says, generate of electricity annually, powering an electromagnetic filtration system capable of pumping out billion gallons of clean drinking water for the city over the same period.
“what results are two products pure drinkable water that is directed into the primary water piping grid, and clear water with 12 per cent salinity,” the design brief explains.
“the drinking water is piped to shore, while the salt water is redirected back to the ocean through a smart release system, mitigating most of the usual problems associated with returning brine water to the sea.”
artist elizabeth and her architect husband rob ferry founded in 2008, to encourage the design of public art installations that also produce clean energy.
“now, more than ever, energy and water are intertwined. as california faces severe water shortages in the coming years, the amount of energy required for water production and transmission is sure to increase,” the couple write on the competition website.
“as the infrastructures that will cleanly power our future productivity become more prevalent in our commercial and residential centres, the issue of their aesthetic integration becomes more important,” the founders argue.
“power plants, once unseen and forgotten, will become an integral part of our daily lives.”
the other entries in this contest include a balloon sightseeing ride that generates solar power, a high orb that appears to float on the pacific, and giant swan sculptures that convert wave power into clean energy. the winner will be announced on 6 october. | waɪ ðɪs ˈmætərz ɪn brif ðə paɪp ɪz ə ˈfaɪnəlɪst ɪn ðə 2016 lænd ɑrt ˈʤɛnərˌeɪtər ˌɪˈnɪʃətɪv, ə ˌkɑmpəˈtɪʃən tɪ ˈkɑmbaɪn klin ˈɛnərʤi pərˈdəkʃən wɪθ ˈpəblɪk ɑrt. ɪz ɪt ˈpəblɪk ɑrt, ər ɪz ɪt ə paʊər ˈsteɪʃən? ðɪs ˈʃɪmərɪŋ dɪˈzaɪn fər pipe”*”, ə ˈfaɪnəlɪst ɪn ðə 2016 lænd ɑrt ˈʤɛnərˌeɪtər ˌɪˈnɪʃətɪv (lagi*), ɪz ˌɪnˈtɛndɪd tɪ blər ðə laɪnz bɪtˈwin ðə tu. ˌɪˈmæʤənd hir ɛz ə ˈfloʊtɪŋ ˌɪnstəˈleɪʃən ɔf ðə koʊst əv ˈsænə ˈmɑnɪkə, ˌkæləˈfɔrnjə, ðə paɪp ɪz ən ˌɪˌlɛktroʊmægˈnɛtɪk diˌseɪlɪˈneɪʃən dɪˈvaɪs, paʊərd baɪ ðə sən. ɪt ˈɔlsoʊ lʊks greɪt ɔn ðə hərˈaɪzən. ɪn ðət rɪˈgɑrd, ɪt ˈpərfəktli rɪˈflɛkts ðə ˈprɛmɪs əv ðə dɪˈzaɪn ˌkɑmpəˈtɪʃən, wɪʧ ðɪs jɪr ˌɪnˈvaɪtɪd pɑrˈtɪsəpənts tɪ kəm əp wɪθ ɛsˈθɛtɪkli ˈplizɪŋ ˈkɑnsɛpts fər ɪˌlɛkˈtrɪsəti ənd klin ˈwɔtər ˌʤɛnərˈeɪʃən ðət kʊd pəˈtɛnʃəli bi pleɪst ɪn ðə ˈwɔtərz nɪr ˈsænə ˈmɑnɪkə pɪr ɛz ɪgˈzæmpəlz ðət ɑr ˌɪnˈkrisɪŋ dɪˈmændz fər paʊər nid nɑt blaɪt ðə ˈlænˌskeɪp (ər seascape*). ɛz wɑz fərst ˌriˈpɔrtəd baɪ inhabitat*, ðə paɪp wɑz dɪˈzaɪnd baɪ ðə kəˈneɪdiən ˈɛnʤəˈnɪrɪŋ fərm ənd əˈsoʊʃiˌeɪts, wɪʧ ɪn ˈprɑsɛsɪŋ plænts fər ðə fud, drɪŋk ənd ˈpækɪʤɪŋ ˈɪndəstriz. ðə ˈglɪtərɪŋ ˈsɪlvər tub kʊd, ðə fərm sɪz, ˈʤɛnərˌeɪt əv ɪˌlɛkˈtrɪsəti ˈænjuəli, paʊərɪŋ ən ˌɪˌlɛktroʊmægˈnɛtɪk fɪlˈtreɪʃən ˈsɪstəm ˈkeɪpəbəl əv ˈpəmpɪŋ aʊt ˈbɪljən ˈgælənz əv klin ˈdrɪŋkɪŋ ˈwɔtər fər ðə ˈsɪti ˈoʊvər ðə seɪm ˈpɪriəd. rɪˈzəlts ər tu ˈprɑdəkts pjʊr ˈdrɪnkəbəl ˈwɔtər ðət ɪz dɪˈrɛktɪd ˈɪntu ðə ˈpraɪˌmɛri ˈwɔtər ˈpaɪpɪŋ grɪd, ənd klɪr ˈwɔtər wɪθ 12 pər sɛnt salinity,”*,” ðə dɪˈzaɪn brif ɪkˈspleɪnz. ˈdrɪŋkɪŋ ˈwɔtər ɪz paɪpt tɪ ʃɔr, waɪl ðə sɔlt ˈwɔtər ɪz ˌridərˈɛktɪd bæk tɪ ðə ˈoʊʃən θru ə smɑrt riˈlis ˈsɪstəm, ˈmɪtəˌgeɪtɪŋ moʊst əv ðə ˈjuʒəwəl ˈprɑbləmz əˈsoʊʃiˌeɪtəd wɪθ rɪˈtərnɪŋ braɪn ˈwɔtər tɪ ðə sea.”*.” ˈɑrtɪst ɪˈlɪzəbɪθ ənd hər ˈɑrkəˌtɛkt ˈhəzbənd rɑb ˈfɛri ˈfaʊndɪd ɪn 2008 tɪ ɪnˈkərəʤ ðə dɪˈzaɪn əv ˈpəblɪk ɑrt ˌɪnstəˈleɪʃənz ðət ˈɔlsoʊ ˈproʊdus klin ˈɛnərʤi. ““now*, mɔr ðən ˈɛvər, ˈɛnərʤi ənd ˈwɔtər ər ˌɪntərtˈwaɪnd. ɛz ˌkæləˈfɔrnjə ˈfeɪsɪz səˈvɪr ˈwɔtər ˈʃɔrtɪʤɪz ɪn ðə ˈkəmɪŋ jɪrz, ðə əˈmaʊnt əv ˈɛnərʤi rikˈwaɪərd fər ˈwɔtər pərˈdəkʃən ənd trænzˈmɪʃən ɪz ʃʊr tɪ increase,”*,” ðə ˈkəpəl raɪt ɔn ðə ˌkɑmpəˈtɪʃən ˈwɛbˌsaɪt. ðə ˌɪnfrəˈstrəkʧərz ðət wɪl ˈklinli paʊər ɑr fˈjuʧər ˌproʊdəkˈtɪvɪti bɪˈkəm mɔr ˈprɛvələnt ɪn ɑr kəˈmərʃəl ənd ˌrɛzɪˈdɛnʃəl ˈsɛntərz, ðə ˈɪʃu əv ðɛr ɛsˈθɛtɪk ˌɪnəˈgreɪʃən bɪˈkəmz mɔr important,”*,” ðə ˈfaʊndərz ˈɑrgju. plænts, wəns ənˈsin ənd fərˈgɑtən, wɪl bɪˈkəm ən ˈɪnəgrəl pɑrt əv ɑr ˈdeɪli lives.”*.” ðə ˈəðər ˈɛntriz ɪn ðɪs ˈkɑntɛst ˌɪnˈklud ə bəˈlun ˈsaɪtˈsiɪŋ raɪd ðət ˈʤɛnərˌeɪts ˈsoʊlər paʊər, ə haɪ ɔrb ðət əˈpɪrz tɪ floʊt ɔn ðə pəˈsɪfɪk, ənd ʤaɪənt swɔn ˈskəlpʧərz ðət ˈkɑnvərt weɪv paʊər ˈɪntu klin ˈɛnərʤi. ðə ˈwɪnər wɪl bi əˈnaʊnst ɔn 6 ɑkˈtoʊbər. |
if one consolation that almost over, that the best books of the year are on their way. take a look at this rich fall novels, stuffed with works from elena ferrante, jonathan franzen, margaret atwood, and john irving, to name just a few.
the story of the lost child, elena ferrante
ferrante’s final neapolitan novel follows lila and elena as they wrestle with their fraught, friendship. (sept. 1)
purity, jonathan franzen
in of a novel, a girl named purity embarks on a journey through south america to find herself. (sept. 1)
did you ever have a family, bill clegg
he may be better known as a literary agent and memoirist, but debut a woman named june who loses her entire family in one fell been for the man booker prize. (sept. 8)
fates and furies, lauren groff
in stunning novel, one seemingly perfect marriage (and its secrets) is shown from both sides over 24 years. (sept. 15)
the heart goes last, margaret atwood
atwood trains her eye on a married couple who stumble upon a town where residents can be comfortably a catch. (sept. 29)
gold fame citrus, claire watkins
as a drought cripples southern california, some people are sent to internment camps while others scavenge to survive. (sept. 29)
city on fire, garth risk hallberg
it’s hard to believe this layered, new york epic is a debut: the glitter and grime of the punk heyday are captured in gorgeous detail as multiple stories converge. (oct. 13)
welcome to night vale, joseph fink & jeffrey cranor
from the creators of the podcast comes this novel about a southwestern town full of ghosts, aliens, and shape-shifters. (oct. 20)
the mark and the void, paul murray
the financial crisis is drenched in humor in this tale about a banker whose life becomes more interesting when a downtrodden author starts it. (oct. 20)
the japanese lover, isabel allende
the global latest saga traces the love story between a japanese gardener and a polish refugee in world war san francisco. (nov. 3)
the mare, mary gaitskill
when a young girl from brooklyn stays with a wealthy upstate new york couple through the fresh air fund, she learns to ride horses, and a new world unfolds. (nov. 3)
twain & stanley enter paradise, oscar
this fictional account of the friendship between mark twain and explorer sir henry morton stanley is a brilliant posthumous capstone to the pulitzer prize legacy. (nov. 3)
avenue of mysteries, john irving
lupe, at 13, can read minds, though she sees the past more clearly than the future. years later, her brother reflects on their childhood in mexico and the memories that haunt him. (nov. 3)
for the rest of our fall books preview, pick up the issue of entertainment weekly, or subscribe online at ew.com/allaccess.
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• beach reads: 15 thrillers to dive into this summer | ɪf wən ˌkɑnsəˈleɪʃən ðət ˈɔlˌmoʊst ˈoʊvər, ðət ðə bɛst bʊks əv ðə jɪr ər ɔn ðɛr weɪ. teɪk ə lʊk æt ðɪs rɪʧ fɔl ˈnɑvəlz, stəft wɪθ wərks frəm ˌɛˈleɪnɑ fərˈɑnti, ˈʤɑnəθən ˈfrænzən, ˈmɑrgərɪt ˈætˌwʊd, ənd ʤɑn ˈərvɪŋ, tɪ neɪm ʤɪst ə fju. ðə ˈstɔri əv ðə lɔst ʧaɪld, ˌɛˈleɪnɑ fərˈɑnti ˈfaɪnəl ˌniəˈpɑlətən ˈnɑvəl ˈfɑloʊz ˈlilə ənd ˌɛˈleɪnɑ ɛz ðeɪ ˈrɛsəl wɪθ ðɛr frɔt, ˈfrɛndʃɪp. (sɛpt. 1 ˈpjʊrɪti, ˈʤɑnəθən ˈfrænzən ɪn əv ə ˈnɑvəl, ə gərl neɪmd ˈpjʊrɪti ɪmˈbɑrks ɔn ə ˈʤərni θru saʊθ əˈmɛrɪkə tɪ faɪnd hərˈsɛlf. (sɛpt. 1 dɪd ju ˈɛvər hæv ə ˈfæməli, bɪl klɛg hi meɪ bi ˈbɛtər noʊn ɛz ə ˈlɪtərˌɛri ˈeɪʤənt ənd memoirist*, bət ˈdeɪbju ə ˈwʊmən neɪmd ʤun hu ˈluzɪz hər ɪnˈtaɪər ˈfæməli ɪn wən fɛl bɪn fər ðə mæn ˈbʊkər praɪz. (sɛpt. 8 feɪts ənd furies*, ˈlɔrən grɔf ɪn ˈstənɪŋ ˈnɑvəl, wən ˈsimɪŋli ˈpərˌfɪkt ˈmɛrɪʤ (ənd ɪts ˈsikrɪts) ɪz ʃoʊn frəm boʊθ saɪdz ˈoʊvər 24 jɪrz. (sɛpt. 15 ðə hɑrt goʊz læst, ˈmɑrgərɪt ˈætˌwʊd ˈætˌwʊd treɪnz hər aɪ ɔn ə ˈmɛrid ˈkəpəl hu ˈstəmbəl əˈpɑn ə taʊn wɛr ˈrɛzɪdənts kən bi ˈkəmfərtəbli ə kæʧ. (sɛpt. 29 goʊld feɪm ˈsɪtrəs, klɛr ˈwɑtkɪnz ɛz ə draʊt ˈkrɪpəlz ˈsəðərn ˌkæləˈfɔrnjə, səm ˈpipəl ər sɛnt tɪ ˌɪnˈtərnmənt kæmps waɪl ˈəðərz ˈskævənʤ tɪ sərˈvaɪv. (sɛpt. 29 ˈsɪti ɔn faɪər, gɑrθ rɪsk ˈhɔlbərg hɑrd tɪ bɪˈliv ðɪs leɪərd, nu jɔrk ˈɛpɪk ɪz ə ˈdeɪbju: ðə ˈglɪtər ənd graɪm əv ðə pəŋk ˈheɪˌdeɪ ər ˈkæpʧərd ɪn ˈgɔrʤəs ˈditeɪl ɛz ˈməltəpəl ˈstɔriz kənˈvərʤ. (ɔkt. 13 ˈwɛlkəm tɪ naɪt veɪl, ˈʤoʊzəf fɪŋk ˈʤɛfri ˈkreɪnər frəm ðə kriˈeɪtərz əv ðə ˈpɔdˌkæst kəmz ðɪs ˈnɑvəl əˈbaʊt ə ˌsaʊθˈwɛstərn taʊn fʊl əv goʊsts, ˈeɪliənz, ənd shape-shifters*. (ɔkt. 20 ðə mɑrk ənd ðə vɔɪd, pɔl ˈməri ðə ˌfaɪˈnænʃəl ˈkraɪsəs ɪz drɛnʧt ɪn ˈhjumər ɪn ðɪs teɪl əˈbaʊt ə ˈbæŋkər huz laɪf bɪˈkəmz mɔr ˈɪntəˌrɛstɪŋ wɪn ə ˌdaʊnˈtrɑdən ˈɔθər stɑrts ɪt. (ɔkt. 20 ðə ˌʤæpəˈniz ˈləvər, ˈɪzəˌbɛl ˌɑˈjɛndeɪ ðə ˈgloʊbəl ˈleɪtəst ˈsɑgə ˈtreɪsɪz ðə ləv ˈstɔri bɪtˈwin ə ˌʤæpəˈniz ˈgɑrdənər ənd ə ˈpɑlɪʃ ˈrɛfjuʤi ɪn wərld wɔr sæn frænˈsɪskoʊ. (noʊv. 3 ðə mɛr, ˈmɛri ˈgeɪtˈskɪl wɪn ə jəŋ gərl frəm ˈbrʊklɪn steɪz wɪθ ə ˈwɛlθi ˈəpˈsteɪt nu jɔrk ˈkəpəl θru ðə frɛʃ ɛr fənd, ʃi lərnz tɪ raɪd ˈhɔrsɪz, ənd ə nu wərld ənˈfoʊldz. (noʊv. 3 tweɪn ˈstænli ˈɛnər ˈpɛrəˌdaɪs, ˈɔskər ðɪs ˈfɪkʃənəl əˈkaʊnt əv ðə ˈfrɛndʃɪp bɪtˈwin mɑrk tweɪn ənd ɪkˈsplɔrər sər ˈhɛnri ˈmɔrtən ˈstænli ɪz ə ˈbrɪljənt ˈpɑsʧʊməs ˈkæpˌstoʊn tɪ ðə ˈpʊlətsər praɪz ˈlɛgəsi. (noʊv. 3 ˈævəˌnu əv ˈmɪstəriz, ʤɑn ˈərvɪŋ lup, æt 13 kən rɛd maɪndz, ðoʊ ʃi siz ðə pæst mɔr ˈklɪrli ðən ðə fˈjuʧər. jɪrz ˈleɪtər, hər ˈbrəðər rɪˈflɛkts ɔn ðɛr ˈʧaɪlˌdhʊd ɪn ˈmɛksəˌkoʊ ənd ðə ˈmɛməriz ðət hɔnt ɪm. (noʊv. 3 fər ðə rɛst əv ɑr fɔl bʊks ˈprivˌju, pɪk əp ðə ˈɪʃu əv ˌɛnərˈteɪnmənt ˈwikli, ər səbˈskraɪb ˈɔnˌlaɪn æt ew.com/allaccess*. rɪˈleɪtɪd ˈstɔriz ˈpərˌfɪkt fər ˈsəmər ˈlɪsənɪŋ 9 bʊks fər ˈsəmər biʧ ˈrɛdɪŋ 10 səˈlɛbrɪti ˈmɛmˌwɑrz tɪ dɪˈvaʊər ðɪs ˈsəmər biʧ ridz: 15 θˈrɪlərz tɪ daɪv ˈɪntu ðɪs ˈsəmər |
naked snake
if there is one singular thing that has stood out to me in all the early trailers and details for metal gear solid v, it's that the game's protagonist, big boss, is much too clothed. it's hot in the desert, man! as all true fans of metal gear solid know, the only way to play metal gear solid 3: snake eater is with the naked snake camo.
but even that doesn't go far enough, only leaving big boss shirtless. i appreciate seeing the man's core -- these aren't showy, flashy here, no sir -- and sneaking tender nip glimpses through the strategically placed suspenders, but his is "naked snake," damn it. i'm a leg man. why can't i see his bare, sculpted, sinewy thighs inch him along the ground like the dirty little bottom feeder he is? heck, metal gear solid 4 gave me a more pert and salacious behind to look at with its snake, and he was fully clothed.
thankfully, user is providing where kojima has failed us, offering some fan art of what damn sure should be an alternative (or, really, the main) costume in metal gear solid v. the design is appropriately erotic; or, rather, sexy in its elegance. those ripped even go well with big boss's new code name, "punished snake." i bet he likes it.
my only is that i imagined his package -- snake's snake, if you will -- to be a bit larger. hopefully kojima addresses this when he wisely decides to add this costume into the game. i'd also like to know what gives the best view. i'm assuming prone, crawling backwards into the camera, but i'll await official confirmation.
metal gear solid v: big quiet boss [deviantart]
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click to open photo gallery: | ˈneɪkəd sneɪk ɪf ðɛr ɪz wən ˈsɪŋgjələr θɪŋ ðət həz stʊd aʊt tɪ mi ɪn ɔl ðə ˈərli ˈtreɪlərz ənd ˈditeɪlz fər ˈmɛtəl gɪr ˈsɑləd vi, ɪts ðət ðə geɪmz proʊˈtægənəst, bɪg bɔs, ɪz məʧ tu kloʊðd. ɪts hɑt ɪn ðə ˈdɛzərt, mæn! ɛz ɔl tru fænz əv ˈmɛtəl gɪr ˈsɑləd noʊ, ðə ˈoʊnli weɪ tɪ pleɪ ˈmɛtəl gɪr ˈsɑləd 3 sneɪk ˈitər ɪz wɪθ ðə ˈneɪkəd sneɪk camo*. bət ˈivɪn ðət ˈdəzənt goʊ fɑr ɪˈnəf, ˈoʊnli ˈlivɪŋ bɪg bɔs shirtless*. aɪ əˈpriʃiˌeɪt siɪŋ ðə mænz kɔr ðiz ˈɑrənt ʃoʊi, ˈflæʃi hir, noʊ sər ənd sˈnikɪŋ ˈtɛndər nɪp ˈglɪmpsɪz θru ðə strəˈtiʤɪkli pleɪst səˈspɛndərz, bət hɪz ɪz "ˈneɪkəd sneɪk," dæm ɪt. əm ə lɛg mæn. waɪ kænt aɪ si hɪz bɛr, ˈskəlptɪd, ˈsɪnjui θaɪz ɪnʧ ɪm əˈlɔŋ ðə graʊnd laɪk ðə ˈdərti ˈlɪtəl ˈbɑtəm ˈfidər hi ɪz? hɛk, ˈmɛtəl gɪr ˈsɑləd 4 geɪv mi ə mɔr pərt ənd səˈleɪʃəs bɪˈhaɪnd tɪ lʊk æt wɪθ ɪts sneɪk, ənd hi wɑz ˈfʊli kloʊðd. ˈθæŋkfəli, ˈjuzər ɪz prəˈvaɪdɪŋ wɛr kəˈjaɪmə həz feɪld ˈjuˈɛs, ˈɔfərɪŋ səm fæn ɑrt əv wət dæm ʃʊr ʃʊd bi ən ɔlˈtərnətɪv (ər, ˈrɪli, ðə meɪn) ˈkɑstum ɪn ˈmɛtəl gɪr ˈsɑləd vi. ðə dɪˈzaɪn ɪz əˈproʊpriɪtli ɪˈrɑtɪk; ər, ˈrəðər, ˈsɛksi ɪn ɪts ˈɛləgəns. ðoʊz rɪpt ˈivɪn goʊ wɛl wɪθ bɪg ˈbɔsɪz nu koʊd neɪm, "ˈpənɪʃt sneɪk." aɪ bɛt hi laɪks ɪt. maɪ ˈoʊnli ɪz ðət aɪ ˌɪˈmæʤənd hɪz ˈpækɪʤ sneɪks sneɪk, ɪf ju wɪl tɪ bi ə bɪt ˈlɑrʤər. ˈhoʊpfəli kəˈjaɪmə ˈæˈdrɛsɪz ðɪs wɪn hi ˈwaɪzli ˌdɪˈsaɪdz tɪ æd ðɪs ˈkɑstum ˈɪntu ðə geɪm. aɪd ˈɔlsoʊ laɪk tɪ noʊ wət gɪvz ðə bɛst vju. əm əˈsumɪŋ proʊn, ˈkrɔlɪŋ ˈbækwərdz ˈɪntu ðə ˈkæmərə, bət aɪl əˈweɪt əˈfɪʃəl ˌkɑnfərˈmeɪʃən. ˈmɛtəl gɪr ˈsɑləd vi: bɪg kwaɪət bɔs [deviantart*] ju ər lɔgd aʊt. saɪn əp klɪk tɪ ˈoʊpən ˈfoʊˌtoʊ ˈgæləri: |
?gobots are the rodney of toys: they get no respect… and completely dead and never coming back. never been able to escape the reputation of being transformers knockoffs, despite hitting u.s. toy shelves first and being a popular line that outlasted many other toylines.
nerdy historians have debated exactly why sucked for years. some think it was because the challenge of the cartoon was apparently written for particularly slow 4-year-olds. others think it was because the toys provided almost no information about the characters kids were buying, so kids never got as emotionally attached as they did to their optimus prime. it might even be that some were so simple that they transformed by just folding in half. but, whatever the exact reason was for their suckage, have a tenth of the nostalgic appeal of transformers and we certainly going to see them on the big screen peeing on john any time soon. but that mean they sometimes occasionally interesting. here are the eight instances of them being interesting we could find.
8) not actually robots
?while assume that are actually robots by the fact that their slogan “mighty robots, mighty vehicles,” it turns out are actually part meatbag. yep, the challenge of the cartoon established that they were originally organic aliens identical to humans, but after an asteroid collided withron, they were forced to put their brains into robot bodies (why they put them in bodies that transformed into limousines and dune buggies is guess). the cartoon even introduced two who had been put into cryogenic suspension before falling prey to the disease who still had most of their fleshy bits. so, it should be “mighty cyborgs, mighty vehicles”… although the “mighty” part is up for debate.
7) the cartoon was written by from grease
?like all shows, there were a bunch of freelance writers that contributed to the simplistic mess that was challenge of the, but 22 episodes were written by kelly ward, who is best (or only) known for playing the blonde in the movie grease. ward was also associate story editor for the series, as well as the voice of (above). he stopped acting after the movie rock lords: war of the rock lords (can you ever top playing opposite margot kidder and telly savalas?) and ended up becoming a voice director on legion of superheroes and the watchmen motion comics. take that, travolta!
6) transformers now
?in 1991, hasbro bought up tonka, and the rights to the toyline. but before mind fills with dreams of reissues, they own the rights to the toys themselves, which had been licensed from bandai. but hasbro has used names on transformers, first with the 1993 “gobots” figure, then with a whole line of “gobots” in 1995. takara later made exclusive of in colors, although they dropped the specific names for fear of annoying bandai. since then, a bunch of-inspired transformers figures like, and cop-tur. in fact, the wal-mart exclusive figure fracture is clearly based on the and been called that, if they trademarked the name. if only they could have included put in that voice of hers, too!
5) in britain, they murdered an entire town
in the u.k., were released under the robo machines name and a robo machines comic strip ran in the comic magazine eagle that featured a story line that was more 2000 a.d. than. the strip starts on the planet robotron, where the humanoid scientist created two transforming robots, and tank, and used them to try to assassinate president. after he fails, he flees to earth and security leader follows him and creates modifies robots to fight him:, and dozer. so far, so good. but then sends his robots out to start murdering british civilians, destroying the village of cholkham. so if you ever thought it was a shame that never lived up to his name, see what you think of him setting someone on fire.
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4) you were buying some girl
?while the transformers only featured female transformers in one or two episodes of the series, came right out and had strong female from the start, most notably the renegade, although it should be noted that she spoke in a voice that made any hollywood & vine drag queen proud. now of course, you tell from the toys (although sparky always seemed looked a little femme to me), but you have to give them credit for actually making some female regular characters like small foot, pathfinder and snoop. and despite what thinking, pretty sure scooter was a boy… but we sure checking under his hood.
3) psycho is short for
the weirdest entry from the super line is easily the futuristic super car psycho, which puzzled kids back in the as to just what it was and also why it was called psycho. well it turns out psycho is based on the space car from the cobra: space adventure. interestingly, the original car transform, that was added by bandai when they added it to the machine robo line. looks like a car that just flies through space just sci-fi enough for bandai.
2) they were voiced by transformers
?to make a living as a voice actor in the you really had to by hustle, we mean you took any job you could. so, not surprising that there was some overlap between the transformers and series, although a little surprising who did it. peter cullen (optimus prime) and frank welker (megatron) were both regular voice actors on challenge of the, with cullen playing pincher, spoiler and tank and welker playing blaster, rest-q, and that annoying little bastard scooter. in the rock lords movie, they even had the two voice one rock lord, sticks and stones (above), with the two heads arguing constantly with each other. other were arthur burghardt (gobots: cop-tur, turbo; transformers: devastator), phillip l. clarke (gobots: dr. go, herr fiend, tork; transformers: dead end, tantrum), richard gautier (gobots: klaws; transformers: rod). now, of course gautier was the tv… do you think judd nelson would stoop to appear in a film? well, sure he would now, but we mean judd nelson.
1) the included vehicles and, teen?
?one of the licensees that jumped on the money train was monogram model kids, who put out a line of transforming model kits. yep, rather than just buying a regular and durable, you could build a same size fragile model kit and watch it be destroyed. what a bargain! but rather than sculpt and models, monogram just repainted some models from genesis climber (the invasion part of for you nerds) and slapped the character names on them. kind of works (in a super futuristic way), but hard to ignore the rider you need to build into the kit. the finished model ends up looking like someone who put together an unconvincing outfit (note: if you hate being laughed at, do not attempt to go to comic con in a outfit).
and perhaps the oddest moment of the history was when monogram took the mold of the “trans am” model kit, slapped a head on it and made a turbo teen model kit. which is the only turbo teen merchandise ever made… and i think okay with that. | ?gobots* ər ðə ˈrɑdni əv tɔɪz: ðeɪ gɪt noʊ respect…*… ənd kəmˈplitli dɛd ənd ˈnɛvər ˈkəmɪŋ bæk. ˈnɛvər bɪn ˈeɪbəl tɪ ɪˈskeɪp ðə ˌrɛpjəˈteɪʃən əv biɪŋ trænsˈfɔrmərz ˈnɑˌkɔfs, dɪˈspaɪt ˈhɪtɪŋ juz. tɔɪ ʃɛlvz fərst ənd biɪŋ ə ˈpɑpjələr laɪn ðət ˈaʊˌtlæstɪd ˈmɛni ˈəðər toylines*. ˈnərdi hɪˈstɔriənz hæv dəˈbeɪtɪd ɪgˈzæktli waɪ səkt fər jɪrz. səm θɪŋk ɪt wɑz bɪˈkəz ðə ˈʧælənʤ əv ðə kɑrˈtun wɑz əˈpɛrəntli ˈrɪtən fər ˌpɑrˈtɪkjələrli sloʊ 4-year-olds*. ˈəðərz θɪŋk ɪt wɑz bɪˈkəz ðə tɔɪz prəˈvaɪdɪd ˈɔlˌmoʊst noʊ ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ðə ˈkɛrɪktərz kɪdz wər baɪɪŋ, soʊ kɪdz ˈnɛvər gɑt ɛz ˈiˌmoʊʃnəli əˈtæʧt ɛz ðeɪ dɪd tɪ ðɛr ˈɑptɪməs praɪm. ɪt maɪt ˈivɪn bi ðət səm wər soʊ ˈsɪmpəl ðət ðeɪ trænsˈfɔrmd baɪ ʤɪst ˈfoʊldɪŋ ɪn hæf. bət, ˌwəˈtɛvər ðə ɪgˈzækt ˈrizən wɑz fər ðɛr suckage*, hæv ə tɛnθ əv ðə nɔˈstælʤɪk əˈpil əv trænsˈfɔrmərz ənd wi ˈsərtənli goʊɪŋ tɪ si ðɛm ɔn ðə bɪg skrin piɪŋ ɔn ʤɑn ˈɛni taɪm sun. bət ðət min ðeɪ ˈsəmˌtaɪmz ɔˈkeɪʒənəˌli ˈɪntəˌrɛstɪŋ. hir ər ðə eɪt ˈɪnstənsɪz əv ðɛm biɪŋ ˈɪntəˌrɛstɪŋ wi kʊd faɪnd. 8 nɑt ˈæˌkʧuəli ˈroʊˌbəts ?waɪl əˈsum ðət ər ˈæˌkʧuəli ˈroʊˌbəts baɪ ðə fækt ðət ðɛr sˈloʊgən ˈroʊˌbəts, ˈmaɪti vehicles,”*,” ɪt tərnz aʊt ər ˈæˌkʧuəli pɑrt meatbag*. jɛp, ðə ˈʧælənʤ əv ðə kɑrˈtun ɪˈstæblɪʃt ðət ðeɪ wər ərˈɪʤənəli ɔrˈgænɪk ˈeɪliənz aɪˈdɛntɪkəl tɪ ˈjumənz, bət ˈæftər ən ˈæstərˌɔɪd kəˈlaɪdɪd wɪθ gobotron*, ðeɪ wər fɔrst tɪ pʊt ðɛr breɪnz ˈɪntu ˈroʊˌbət ˈbɑdiz (waɪ ðeɪ pʊt ðɛm ɪn ˈbɑdiz ðət trænsˈfɔrmd ˈɪntu ˈlɪməˌzinz ənd dun ˈbəgiz ɪz gɛs). ðə kɑrˈtun ˈivɪn ˌɪntrəˈdust tu hu hæd bɪn pʊt ˈɪntu ˈkraɪəˌʤɛnɪk səˈspɛnʃən ˌbiˈfɔr ˈfɑlɪŋ preɪ tɪ ðə dɪˈziz hu stɪl hæd moʊst əv ðɛr ˈflɛʃi bɪts. soʊ, ɪt ʃʊd bi ˈsaɪbɔrgz, ˈmaɪti vehicles”…*”… ˌɔlˈðoʊ ðə ““mighty”*” pɑrt ɪz əp fər dəˈbeɪt. 7 ðə kɑrˈtun wɑz ˈrɪtən baɪ frəm gris ?laɪk ɔl ʃoʊz, ðɛr wər ə bənʧ əv ˈfriˌlæns ˈraɪtərz ðət kənˈtrɪbjutɪd tɪ ðə sɪmˈplɪstɪk mɛs ðət wɑz ˈʧælənʤ əv ðə, bət 22 ˈɛpɪˌsoʊdz wər ˈrɪtən baɪ ˈkɛli wɔrd, hu ɪz bɛst (ər ˈoʊnli) noʊn fər pleɪɪŋ ðə blɑnd ɪn ðə ˈmuvi gris. wɔrd wɑz ˈɔlsoʊ əˈsoʊʃiˌeɪt ˈstɔri ˈɛdɪtər fər ðə ˈsɪriz, ɛz wɛl ɛz ðə vɔɪs əv (əˈbəv). hi stɑpt ˈæktɪŋ ˈæftər ðə ˈmuvi rɑk lɔrdz: wɔr əv ðə rɑk lɔrdz (kən ju ˈɛvər tɔp pleɪɪŋ ˈɑpəzɪt ˈmɑrgoʊ ˈkɪdər ənd ˈtɛli səˈvɑləs?) ənd ˈɛndɪd əp bɪˈkəmɪŋ ə vɔɪs dɪˈrɛktər ɔn ˈliʤən əv ˌsupərˈhiroʊz ənd ðə ˈwɑʧmɛn ˈmoʊʃən ˈkɑmɪks. teɪk ðət, trəˈvoʊltə! 6 trænsˈfɔrmərz naʊ ?ɪn 1991 ˈhæzbroʊ bɔt əp ˈtɑŋkə, ənd ðə raɪts tɪ ðə toyline*. bət ˌbiˈfɔr maɪnd fɪlz wɪθ drimz əv reissues*, ðeɪ oʊn ðə raɪts tɪ ðə tɔɪz ðɛmˈsɛlvz, wɪʧ hæd bɪn ˈlaɪsənst frəm ˌbænˈdaɪ. bət ˈhæzbroʊ həz juzd neɪmz ɔn trænsˈfɔrmərz, fərst wɪθ ðə 1993 ““gobots”*” ˈfɪgjər, ðɛn wɪθ ə hoʊl laɪn əv ““gobots”*” ɪn 1995 tɑˈkɑrə ˈleɪtər meɪd ɪkˈsklusɪv əv ɪn ˈkələrz, ˌɔlˈðoʊ ðeɪ drɑpt ðə spɪˈsɪfɪk neɪmz fər fɪr əv əˈnɔɪɪŋ ˌbænˈdaɪ. sɪns ðɛn, ə bənʧ əv trænsˈfɔrmərz ˈfɪgjərz laɪk ənd cop-tur*. ɪn fækt, ðə ˈwɔlˌmɑrt ɪkˈsklusɪv ˈfɪgjər ˈfrækʧər ɪz ˈklɪrli beɪst ɔn ðə ənd bɪn kɔld ðət, ɪf ðeɪ ˈtreɪdˌmɑrkt ðə neɪm. ɪf ˈoʊnli ðeɪ kʊd hæv ˌɪnˈkludɪd pʊt ɪn ðət vɔɪs əv hərz, tu! 5 ɪn ˈbrɪtən, ðeɪ ˈmərdərd ən ɪnˈtaɪər taʊn ɪn ðə u.k*., wər riˈlist ˈəndər ðə ˈroʊboʊ məˈʃinz neɪm ənd ə ˈroʊboʊ məˈʃinz ˈkɑmɪk strɪp ræn ɪn ðə ˈkɑmɪk ˈmægəˌzin ˈigəl ðət ˈfiʧərd ə ˈstɔri laɪn ðət wɑz mɔr 2000 a.d*. ðən. ðə strɪp stɑrts ɔn ðə ˈplænət robotron*, wɛr ðə ˈhjuməˌnɔɪd ˈsaɪəntɪst kriˈeɪtɪd tu trænsˈfɔrmɪŋ ˈroʊˌbəts, ənd tæŋk, ənd juzd ðɛm tɪ traɪ tɪ əˈsæsəˌneɪt ˈprɛzɪdənt. ˈæftər hi feɪlz, hi fliz tɪ ərθ ənd sɪˈkjʊrəti ˈlidər ˈfɑloʊz ɪm ənd kriˈeɪts ˈmɑdəˌfaɪz ˈroʊˌbəts tɪ faɪt ɪm: ənd dozer*. soʊ fɑr, soʊ gʊd. bət ðɛn sɛndz hɪz ˈroʊˌbəts aʊt tɪ stɑrt ˈmərdərɪŋ ˈbrɪtɪʃ səˈvɪljənz, dɪˈstrɔɪɪŋ ðə ˈvɪlɪʤ əv cholkham*. soʊ ɪf ju ˈɛvər θɔt ɪt wɑz ə ʃeɪm ðət ˈnɛvər lɪvd əp tɪ hɪz neɪm, si wət ju θɪŋk əv ɪm ˈsɛtɪŋ ˈsəmˌwən ɔn faɪər. 4 ju wər baɪɪŋ səm gərl ?waɪl ðə trænsˈfɔrmərz ˈoʊnli ˈfiʧərd ˈfiˌmeɪl trænsˈfɔrmərz ɪn wən ər tu ˈɛpɪˌsoʊdz əv ðə ˈsɪriz, keɪm raɪt aʊt ənd hæd strɔŋ ˈfiˌmeɪl frəm ðə stɑrt, moʊst ˈnoʊtəbli ðə ˈrɛnəˌgeɪd, ˌɔlˈðoʊ ɪt ʃʊd bi ˈnoʊtɪd ðət ʃi spoʊk ɪn ə vɔɪs ðət meɪd ˈɛni ˈhɑliˌwʊd vaɪn dræg kwin praʊd. naʊ əv kɔrs, ju tɛl frəm ðə tɔɪz (ˌɔlˈðoʊ ˈspɑrki ˈɔlˌweɪz simd lʊkt ə ˈlɪtəl fɛm tɪ mi), bət ju hæv tɪ gɪv ðɛm ˈkrɛdɪt fər ˈæˌkʧuəli ˈmeɪkɪŋ səm ˈfiˌmeɪl ˈrɛgjələr ˈkɛrɪktərz laɪk smɔl fʊt, ˈpæθˌfaɪndər ənd snup. ənd dɪˈspaɪt wət ˈθɪŋkɪŋ, ˈprɪti ʃʊr ˈskutər wɑz ə boy…*… bət wi ʃʊr ˈʧɛkɪŋ ˈəndər hɪz hʊd. 3 ˈsaɪkoʊ ɪz ʃɔrt fər ðə ˈwɪrdəst ˈɛntri frəm ðə ˈsupər laɪn ɪz ˈizəli ðə fˌjuʧərˈɪstɪk ˈsupər kɑr ˈsaɪkoʊ, wɪʧ ˈpəzəld kɪdz bæk ɪn ðə ɛz tɪ ʤɪst wət ɪt wɑz ənd ˈɔlsoʊ waɪ ɪt wɑz kɔld ˈsaɪkoʊ. wɛl ɪt tərnz aʊt ˈsaɪkoʊ ɪz beɪst ɔn ðə speɪs kɑr frəm ðə ˈkoʊbrə: speɪs ədˈvɛnʧər. ˈɪntəˌrɛstɪŋli, ðə ərˈɪʤənəl kɑr ˈtrænsfɔrm, ðət wɑz ˈædɪd baɪ ˌbænˈdaɪ wɪn ðeɪ ˈædɪd ɪt tɪ ðə məˈʃin ˈroʊboʊ laɪn. lʊks laɪk ə kɑr ðət ʤɪst flaɪz θru speɪs ʤɪst ˌsaɪˈfaɪ ɪˈnəf fər ˌbænˈdaɪ. 2 ðeɪ wər vɔɪst baɪ trænsˈfɔrmərz ?tɪ meɪk ə ˈlɪvɪŋ ɛz ə vɔɪs ˈæktər ɪn ðə ju ˈrɪli hæd tɪ baɪ ˈhəsəl, wi min ju tʊk ˈɛni ʤɑb ju kʊd. soʊ, nɑt səˈpraɪzɪŋ ðət ðɛr wɑz səm ˈoʊvərˌlæp bɪtˈwin ðə trænsˈfɔrmərz ənd ˈsɪriz, ˌɔlˈðoʊ ə ˈlɪtəl səˈpraɪzɪŋ hu dɪd ɪt. ˈpitər ˈkələn (ˈɑptɪməs praɪm) ənd fræŋk ˈwɛlkər (ˈmɛgəˌtrɔn) wər boʊθ ˈrɛgjələr vɔɪs ˈæktərz ɔn ˈʧælənʤ əv ðə, wɪθ ˈkələn pleɪɪŋ ˈpɪnʧər, ˈspɔɪlər ənd tæŋk ənd ˈwɛlkər pleɪɪŋ ˈblæstər, rest-q*, ənd ðət əˈnɔɪɪŋ ˈlɪtəl ˈbæstərd ˈskutər. ɪn ðə rɑk lɔrdz ˈmuvi, ðeɪ ˈivɪn hæd ðə tu vɔɪs wən rɑk lɔrd, stɪks ənd stoʊnz (əˈbəv), wɪθ ðə tu hɛdz ˈɑrgjuɪŋ ˈkɑnstəntli wɪθ iʧ ˈəðər. ˈəðər wər ˈɑrθər ˈbərgɑrt (gobots*: cop-tur*, ˈtərboʊ; trænsˈfɔrmərz: devastator*), ˈfɪlɪp ɛl. klɑrk (gobots*: ˈdɑktər. goʊ, hɛr find, tork*; trænsˈfɔrmərz: dɛd ɛnd, ˈtæntrəm), ˈrɪʧərd ˈgaʊtiər (gobots*: klaws*; trænsˈfɔrmərz: rɑd). naʊ, əv kɔrs ˈgaʊtiər wɑz ðə ˌtɛləˈvɪʒən rodimus…*… du ju θɪŋk ʤəd ˈnɛlsən wʊd stup tɪ əˈpɪr ɪn ə fɪlm? wɛl, ʃʊr hi wʊd naʊ, bət wi min ʤəd ˈnɛlsən. 1 ðə ˌɪnˈkludɪd ˈviɪkəlz ənd, tin? ?wən əv ðə ˌlaɪsənˈsiz ðət ʤəmpt ɔn ðə ˈməni treɪn wɑz ˈmɑnəˌgræm ˈmɑdəl kɪdz, hu pʊt aʊt ə laɪn əv trænsˈfɔrmɪŋ ˈmɑdəl kɪts. jɛp, ˈrəðər ðən ʤɪst baɪɪŋ ə ˈrɛgjələr ənd ˈdʊrəbəl, ju kʊd bɪld ə seɪm saɪz ˈfræʤəl ˈmɑdəl kɪt ənd wɔʧ ɪt bi dɪˈstrɔɪd. wət ə ˈbɑrgɪn! bət ˈrəðər ðən skəlpt ənd ˈmɑdəlz, ˈmɑnəˌgræm ʤɪst riˈpeɪntəd səm ˈmɑdəlz frəm ˈʤɛnəsəs ˈklaɪmər (ðə ˌɪnˈveɪʒən pɑrt əv fər ju nərdz) ənd slæpt ðə ˈkɛrɪktər neɪmz ɔn ðɛm. kaɪnd əv wərks (ɪn ə ˈsupər fˌjuʧərˈɪstɪk weɪ), bət hɑrd tɪ ˌɪgˈnɔr ðə ˈraɪdər ju nid tɪ bɪld ˈɪntu ðə kɪt. ðə ˈfɪnɪʃt ˈmɑdəl ɛndz əp ˈlʊkɪŋ laɪk ˈsəmˌwən hu pʊt təˈgɛðər ən ˌənkənˈvɪnsɪŋ ˈaʊtˌfɪt (noʊt: ɪf ju heɪt biɪŋ læft æt, du nɑt əˈtɛmpt tɪ goʊ tɪ ˈkɑmɪk kɑn ɪn ə ˈaʊtˌfɪt). ənd pərˈhæps ðə ˈɑdəst ˈmoʊmənt əv ðə ˈhɪstəri wɑz wɪn ˈmɑnəˌgræm tʊk ðə moʊld əv ðə am”*” ˈmɑdəl kɪt, slæpt ə hɛd ɔn ɪt ənd meɪd ə ˈtərboʊ tin ˈmɑdəl kɪt. wɪʧ ɪz ðə ˈoʊnli ˈtərboʊ tin ˈmərʧənˌdaɪz ˈɛvər made…*… ənd aɪ θɪŋk ˌoʊˈkeɪ wɪθ ðət. |
in the aftermath of the second world war, with much of europe in ruins, millions of people displaced, the horrors of the holocaust a recent memory and an uneasy peace splintering the european continent, the north atlantic treaty organization was founded.
nato tied the security of european democracies to american military power in order to deter then soviet expansion and aggression. on may 6th, 1955 west germany joined nato and the soviet union retaliated with the warsaw pact coalition eight days later. for decades, europe was fractured by ideology, economic systems and outlook.
today, nato remains the most important alliance in the world. unlike other international bodies and forums, nato has proven its ability to influence global affairs by not only shaping military outcomes but also buttressing a stable world order by virtue of its very existence. while the european union looks increasingly shaky, and the prospect of a adding to the instability, nato is a rock upon which diplomacy and military planning remains constant.
predicated on consensus, nato, as a political forum and a military organization, engages its members with three pillars: collective defence, cooperative security and crisis management.
for canada, nato provides a forum to express position on the most important international security issues. be it afghanistan, iraq, europe, the seas surrounding the horn of africa or the ongoing war against extremists, nato coalitions enable canada to project canadian power and canadian values abroad.
canada’s position is in stark contrast to that of certain american politicians: we need more nato, not less of it. in a past life, i was a passionate advocate for nato expansion. i still am. the inclusion of georgia and macedonia into nato should occur in the near term and i look forward to one day welcoming those two nations sharing the protective umbrella of nato.
the exclusion of ukraine in the alliance was to our collective shame. with a concentrated push, path to membership would have united large of that nation and what most see as the illegal russian invasion of crimea would not have occurred.
as it is, prime minister has declared a new cold war against nato and russian rhetoric has once again to a tone of antagonism. nato, with combined and interdependent strength, has acted as an effective deterrent to many forms of invasion, aggression and violence and will continue to do so.
the present challenge is that all three of pillars are stressed. collective defence is being challenged by an uneven, unfair burden sharing where the united states pays over 70% of the costs and, worse still, only five member states are able to muster the minimal spending target for defence.
while contributing mightily in recent efforts such as afghanistan, canada has a tainted legacy of meeting that minimal standard of 2% of dedicated to national defence. cooperative security is being challenged by the incoherence of needs, perspectives and expectations.
it is easy for the alliance to trust in close partners like australia and a number of scandinavian partners. much harder is how to navigate relations with unpredictable rogue states and actors, enforcing non-proliferation of weaponry and cyber warfare tools and identifying enemy combatants in counter insurgency operations. crisis management abilities rest with the preparedness and readiness to act.
article 5 of founding charter reads, “an armed attack against one or more of them in europe or north america shall be considered an attack against them all.” canada has traditionally played a key role in alliance operations with military efforts in the former yugoslavia in the 1990s, in afghanistan for over a decade and now in iraq. canada has also provided leadership within the alliance in drafting a new strategic concept and preparing for disaster relief operations.
nato is having its next leaders summit in warsaw this july against the backdrop of an unpredictable and often surreal american presidential election. while some have questioned the future of nato, i believe canada and its closest allies need to prepare a concise narrative about the importance of the alliance to the area and our partners around the world.
that narrative needs to clearly state our commitment to the alliance and to working to deliver collective defence, cooperative security and crisis management. we need to back that commitment up with action and money. that means a commitment to funding our militaries with predictable and stable increases as agreed at the wales summit. canada can and should lead that effort. for if we were to lose nato, position as a trusted partner in international security and stability as well as our ability to affect positive change in the world would be adversely and irreversibly affected.
– peter mackay is a former attorney general and minister of justice, minister of national defence and minister of foreign affairs. this article reflects his personal views. | ɪn ðə ˈæftərˌmæθ əv ðə ˈsɛkənd wərld wɔr, wɪθ məʧ əv ˈjʊrəp ɪn ruɪnz, ˈmɪljənz əv ˈpipəl dɪˈspleɪst, ðə ˈhɔrərz əv ðə ˈhɔləˌkɔst ə ˈrisənt ˈmɛməri ənd ən əˈnizi pis ˈsplɪntərɪŋ ðə ˌjʊrəˈpiən ˈkɑntənənt, ðə nɔrθ əˈtlæntɪk ˈtriti ˌɔrgənəˈzeɪʃən wɑz ˈfaʊndɪd. ˈneɪtoʊ taɪd ðə sɪˈkjʊrəti əv ˌjʊrəˈpiən dɪˈmɑkrəsiz tɪ əˈmɛrɪkən ˈmɪlɪˌtɛri paʊər ɪn ˈɔrdər tɪ dɪˈtər ðɛn ˈsoʊviˌɛt ɪkˈspænʧən ənd əˈgrɛʃən. ɔn meɪ 6th*, 1955 wɛst ˈʤərməni ʤɔɪnd ˈneɪtoʊ ənd ðə ˈsoʊviˌɛt ˈjunjən rɪˈtæliˌeɪtɪd wɪθ ðə ˈwɔrˌsɔ pækt ˌkoʊəˈlɪʃən eɪt deɪz ˈleɪtər. fər ˈdɛkeɪdz, ˈjʊrəp wɑz ˈfrækʧərd baɪ ˌaɪdiˈɑləʤi, ˌɛkəˈnɑmɪk ˈsɪstəmz ənd ˈaʊˌtlʊk. təˈdeɪ, ˈneɪtoʊ rɪˈmeɪnz ðə moʊst ˌɪmˈpɔrtənt əˈlaɪəns ɪn ðə wərld. ənˈlaɪk ˈəðər ˌɪnərˈnæʃənɑl ˈbɑdiz ənd ˈfɔrəmz, ˈneɪtoʊ həz ˈpruvən ɪts əˈbɪləˌti tɪ ˈɪnfluəns ˈgloʊbəl əˈfɛrz baɪ nɑt ˈoʊnli ˈʃeɪpɪŋ ˈmɪlɪˌtɛri ˈaʊtˌkəmz bət ˈɔlsoʊ ˈbətrəsɪŋ ə ˈsteɪbəl wərld ˈɔrdər baɪ ˈvərʧu əv ɪts ˈvɛri ɪgˈzɪstəns. waɪl ðə ˌjʊrəˈpiən ˈjunjən lʊks ˌɪnˈkrisɪŋgli ˈʃeɪki, ənd ðə ˈprɑspɛkt əv ə ˈædɪŋ tɪ ðə ˌɪnstəˈbɪlɪti, ˈneɪtoʊ ɪz ə rɑk əˈpɑn wɪʧ dɪˈploʊməsi ənd ˈmɪlɪˌtɛri ˈplænɪŋ rɪˈmeɪnz ˈkɑnstənt. ˈprɛdəˌkeɪtɪd ɔn kənˈsɛnsəs, ˈneɪtoʊ, ɛz ə pəˈlɪtɪkəl ˈfɔrəm ənd ə ˈmɪlɪˌtɛri ˌɔrgənəˈzeɪʃən, ɪnˈgeɪʤɪz ɪts ˈmɛmbərz wɪθ θri ˈpɪlərz: kəˈlɛktɪv dɪˈfɛns, koʊˈɑpərˌeɪtɪv sɪˈkjʊrəti ənd ˈkraɪsəs ˈmænɪʤmənt. fər ˈkænədə, ˈneɪtoʊ prəˈvaɪdz ə ˈfɔrəm tɪ ɪkˈsprɛs pəˈzɪʃən ɔn ðə moʊst ˌɪmˈpɔrtənt ˌɪnərˈnæʃənɑl sɪˈkjʊrəti ˈɪʃuz. bi ɪt æfˈgænəˌstæn, ˌɪˈrɑk, ˈjʊrəp, ðə siz sərˈaʊndɪŋ ðə hɔrn əv ˈæfrɪkɑ ər ðə ˈɔnˌgoʊɪŋ wɔr əˈgɛnst ɪkˈstriməsts, ˈneɪtoʊ ˌkoʊəˈlɪʃənz ɪˈneɪbəl ˈkænədə tɪ ˈprɑʤɛkt kəˈneɪdiən paʊər ənd kəˈneɪdiən ˈvæljuz əˈbrɔd. pəˈzɪʃən ɪz ɪn stɑrk ˈkɑntræst tɪ ðət əv ˈsərtən əˈmɛrɪkən ˌpɑləˈtɪʃənz: wi nid mɔr ˈneɪtoʊ, nɑt lɛs əv ɪt. ɪn ə pæst laɪf, aɪ wɑz ə ˈpæʃənət ˈædvəˌkeɪt fər ˈneɪtoʊ ɪkˈspænʧən. aɪ stɪl æm. ðə ˌɪnˈkluʒən əv ˈʤɔrʤə ənd ˌmæsəˈdoʊniə ˈɪntu ˈneɪtoʊ ʃʊd əˈkər ɪn ðə nɪr tərm ənd aɪ lʊk ˈfɔrwərd tɪ wən deɪ ˈwɛlkəmɪŋ ðoʊz tu ˈneɪʃənz ˈʃɛrɪŋ ðə prəˈtɛktɪv ˈəmˌbrɛlə əv ˈneɪtoʊ. ðə ɪkˈskluʒən əv juˈkreɪn ɪn ðə əˈlaɪəns wɑz tɪ ɑr kəˈlɛktɪv ʃeɪm. wɪθ ə ˈkɔnsənˌtreɪtɪd pʊʃ, pæθ tɪ ˈmɛmbərˌʃɪp wʊd hæv juˈnaɪtɪd lɑrʤ əv ðət ˈneɪʃən ənd wət moʊst si ɛz ðə ˌɪˈligəl ˈrəʃən ˌɪnˈveɪʒən əv kraɪˈmiə wʊd nɑt hæv əˈkərd. ɛz ɪt ɪz, praɪm ˈmɪnɪstər həz dɪˈklɛrd ə nu koʊld wɔr əˈgɛnst ˈneɪtoʊ ənd ˈrəʃən ˈrɛtərɪk həz wəns əˈgɛn tɪ ə toʊn əv ænˈtægəˌnɪzəm. ˈneɪtoʊ, wɪθ kəmˈbaɪnd ənd ˌɪntərdɪˈpɛndənt strɛŋθ, həz ˈæktɪd ɛz ən ˈifɛktɪv dɪˈtərrənt tɪ ˈmɛni fɔrmz əv ˌɪnˈveɪʒən, əˈgrɛʃən ənd ˈvaɪələns ənd wɪl kənˈtɪnju tɪ du soʊ. ðə ˈprɛzənt ˈʧælənʤ ɪz ðət ɔl θri əv ˈpɪlərz ər strɛst. kəˈlɛktɪv dɪˈfɛns ɪz biɪŋ ˈʧælənʤd baɪ ən əˈnivən, ˌɔnˈfɛr ˈbərdən ˈʃɛrɪŋ wɛr ðə juˈnaɪtɪd steɪts peɪz ˈoʊvər 70 əv ðə kɔsts ənd, wərs stɪl, ˈoʊnli faɪv ˈmɛmbər steɪts ər ˈeɪbəl tɪ ˈməstər ðə ˈmɪnəməl ˈspɛndɪŋ ˈtərgət fər dɪˈfɛns. waɪl kənˈtrɪbjutɪŋ ˈmaɪtəli ɪn ˈrisənt ˈɛfərts səʧ ɛz æfˈgænəˌstæn, ˈkænədə həz ə ˈteɪntɪd ˈlɛgəsi əv ˈmitɪŋ ðət ˈmɪnəməl ˈstændərd əv 2 əv ˈdɛdəkeɪtəd tɪ ˈnæʃənəl dɪˈfɛns. koʊˈɑpərˌeɪtɪv sɪˈkjʊrəti ɪz biɪŋ ˈʧælənʤd baɪ ðə ˌɪnkoʊˈhɪrəns əv nidz, pərˈspɛktɪvz ənd ˌɛkspɛkˈteɪʃənz. ɪt ɪz ˈizi fər ðə əˈlaɪəns tɪ trəst ɪn kloʊz ˈpɑrtnərz laɪk ɔˈstreɪljə ənd ə ˈnəmbər əv ˌskændɪˈneɪviən ˈpɑrtnərz. məʧ ˈhɑrdər ɪz haʊ tɪ ˈnævəˌgeɪt riˈleɪʃənz wɪθ ˌənprɪˈdɪktəbəl roʊg steɪts ənd ˈæktərz, ɛnˈfɔrsɪŋ nɑnprɔˌlɪfərˈeɪʃən əv ˈwɛpənri ənd ˈsaɪbər ˈwɔrˌfɛr tulz ənd aɪˈdɛntəˌfaɪɪŋ ˈɛnəmi kəmˈbætənts ɪn ˈkaʊntər ˌɪnˈsərʤənsi ˌɑpərˈeɪʃənz. ˈkraɪsəs ˈmænɪʤmənt əˈbɪləˌtiz rɛst wɪθ ðə priˈpɛrədnəs ənd ˈrɛdinəs tɪ ækt. ˈɑrtɪkəl 5 əv ˈfaʊndɪŋ ˈʧɑrtər ridz, ɑrmd əˈtæk əˈgɛnst wən ər mɔr əv ðɛm ɪn ˈjʊrəp ər nɔrθ əˈmɛrɪkə ʃæl bi kənˈsɪdərd ən əˈtæk əˈgɛnst ðɛm all.”*.” ˈkænədə həz trəˈdɪʃənəli pleɪd ə ki roʊl ɪn əˈlaɪəns ˌɑpərˈeɪʃənz wɪθ ˈmɪlɪˌtɛri ˈɛfərts ɪn ðə ˈfɔrmər ˌjugoʊsˈlɑviə ɪn ðə 1990s*, ɪn æfˈgænəˌstæn fər ˈoʊvər ə ˈdɛkeɪd ənd naʊ ɪn ˌɪˈrɑk. ˈkænədə həz ˈɔlsoʊ prəˈvaɪdɪd ˈlidərˌʃɪp wɪˈθɪn ðə əˈlaɪəns ɪn ˈdræftɪŋ ə nu strəˈtiʤɪk ˈkɑnsɛpt ənd pərˈpɛrɪŋ fər dɪˈzæstər rɪˈlif ˌɑpərˈeɪʃənz. ˈneɪtoʊ ɪz ˈhævɪŋ ɪts nɛkst ˈlidərz ˈsəmɪt ɪn ˈwɔrˌsɔ ðɪs ˌʤuˈlaɪ əˈgɛnst ðə ˈbækˌdrɑp əv ən ˌənprɪˈdɪktəbəl ənd ˈɔfən sərˈil əˈmɛrɪkən ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən. waɪl səm hæv kˈwɛsʧənd ðə fˈjuʧər əv ˈneɪtoʊ, aɪ bɪˈliv ˈkænədə ənd ɪts ˈkloʊsəst ˈælaɪz nid tɪ priˈpɛr ə kənˈsaɪs ˈnɛrətɪv əˈbaʊt ðə ˌɪmˈpɔrtəns əv ðə əˈlaɪəns tɪ ðə ˈɛriə ənd ɑr ˈpɑrtnərz əraʊnd ðə wərld. ðət ˈnɛrətɪv nidz tɪ ˈklɪrli steɪt ɑr kəˈmɪtmənt tɪ ðə əˈlaɪəns ənd tɪ ˈwərkɪŋ tɪ dɪˈlɪvər kəˈlɛktɪv dɪˈfɛns, koʊˈɑpərˌeɪtɪv sɪˈkjʊrəti ənd ˈkraɪsəs ˈmænɪʤmənt. wi nid tɪ bæk ðət kəˈmɪtmənt əp wɪθ ˈækʃən ənd ˈməni. ðət minz ə kəˈmɪtmənt tɪ ˈfəndɪŋ ɑr ˈmɪləˌtɛriz wɪθ prɪˈdɪktəbəl ənd ˈsteɪbəl ˌɪnˈkrisɪz ɛz əˈgrid æt ðə weɪlz ˈsəmɪt. ˈkænədə kən ənd ʃʊd lɛd ðət ˈɛfərt. fər ɪf wi wər tɪ luz ˈneɪtoʊ, pəˈzɪʃən ɛz ə ˈtrəstɪd ˈpɑrtnər ɪn ˌɪnərˈnæʃənɑl sɪˈkjʊrəti ənd stəˈbɪlɪti ɛz wɛl ɛz ɑr əˈbɪləˌti tɪ əˈfɛkt ˈpɑzətɪv ʧeɪnʤ ɪn ðə wərld wʊd bi ædˈvərsli ənd ˌɪrɪˈvərsəbli əˈfɛktɪd. ˈpitər məˈkeɪ ɪz ə ˈfɔrmər əˈtərni ˈʤɛnərəl ənd ˈmɪnɪstər əv ˈʤəstɪs, ˈmɪnɪstər əv ˈnæʃənəl dɪˈfɛns ənd ˈmɪnɪstər əv ˈfɔrən əˈfɛrz. ðɪs ˈɑrtɪkəl rɪˈflɛkts hɪz ˈpərsɪnəl vjuz. |
after two decades of obscurity, all it took was a few choice roles to get nazi infiltrator here, an villain there, plus one unforgettable turn in shame that made him a phenomenon. his rapid rise continues this month with ridley scott's alien prequel, prometheus. but as chris heath discovers, michael fassbender is more than the sum of his parts
if going to take me home with him, michael fassbender first needs a moment alone. the one thing he asks. been walking and talking for a while in a local park, but he even mention that we were close by his apartment until the increasingly heavy rain triggered his sense of hospitality. "just give me two seconds to do a little bit of a sort of tidy-up," he requests. "my mother be happy."
i wait in the stairwell, glad just to be getting no wetter, until he swings open the door.
"okay!" he beams. "welcome to my flat!"
perhaps the hillside mansions, penthouse duples, lakeside haciendas, and beachfront will follow in the traditional way, but for now these three big one we are in, a small bedroom at the back with bedding on the verge of tumbling out the open door, and an unseen the only ones in the world michael fassbender can call his own. "for one person, perfect, really," he says. although some areas of east london have become in recent years, this is not one of them. he moved to this apartment in 2006, at the end of his twenties, when he was just one more actor getting enough work to live off but still wondering whether that chance would ever come to show the world what he could really do. since his recent breathless ascent, he has had neither the time nor the inclination to move. "i always liked the energy round here. traditionally more of a area. a bit of an edginess to it, as well. and the parks are everywhere here. i always just felt like this was the right spot for me."
fassbender directs me to a perch near a small raised little congregation offers me a choice of drinks: champagne, beer, tea. the early afternoon, and this is the first time met, so tea seems most prudent. he opens the fridge. "the milk is just on the edge," he announces, as though every kind of luck is with us.
he points out the stains and bubbling paint on the ceiling where had serious water leakage, only recently fid, and the similarly buckled floor below. soon have it all redecorated, move a wall at the same time. "as you can see," he says, "i need storage space."
i can see. large areas of the floor are covered: bos, suitcases, clothes, two guitars, one electric with its amplifier. suits lie and hang everywhere, evidence of an actor promoting three films simultaneously (shame, a dangerous method, and of a manic flurry of work which also included his role as in: first class, a remake of jane eyre, and the forthcoming ridley scott science fiction extravaganza, sometimes only home for a few hours before having to head out to the next premiere, film festival, or awards ceremony.
though perhaps it has always looked like this. fassbender mentions the time during the shame shoot when the director, steve mcqueen, visited his temporary new york home. incredible," he remembers mcqueen saying. exactly the same mess pattern." fassbender tells me that when he was young, and his parents were busy running a hotel, he was responsible for lots of the cleaning at home. that was how he got pocket money. "my mother was very particular about checking," he says, and running a finger across a surface to check for dust. "no shortcuts allowed." not sure whether telling me this to explain why things cleaner or why they messier.
in the middle of the room is a mini ping-pong table, borrowed from his british agent, who lives nearby. "now that here," says fassbender, not going. this table has been the best contribution for fun had in a long time. this table has seen some action..." he pauses, laughs. "that sounds wrong."
but has it? i say, gently pushing.
"just the paddles," he deflects, and of course he then realizes that this sounds wrong, too, in exactly the same way.
no matter. just an inconsequential bit of innuendo. except that right now, and ever since the release of shame, not sure that in the life of michael fassbender there is such a thing as an inconsequential bit of innuendo. for every person who actually saw the movie, and monumental, unflinching portrayal of a man lost in the abyss of his sexual appetite, there are dozens more who only know it as the movie in which he shows absolutely everything. and so, for the past few months fassbender has been cast adrift in a ocean of innuendo. it has been relentless. he has been required to smile through endless hilarious interviews. a representative example, from the british tv show top gear: "you had to do, be honest, a nude it hard?" next, the pithy follow-up remark: "i mean, this was an impressive sausage....") he has been required to grin appreciatively at playful public mockery from his peers. (most notably, george speech at this golden globes: "michael, honestly, you can play your hands behind your back.") and he has been really identify a series of screen shots of famous penises in the movies. (twice. both times on mtv. the second time while standing on an red carpet.)
all of this he has done with apparent good humor, at least if you try to read too much into his body language or the way his eyes shift or the flickering edges of his smile. next to all that, a gentle double entendre about sex on a very small ping-pong table? go with it.
"paddles," he repeats. "and balls."
and he grins, exactly as you would grin if you found this funny, though easy to understand why he also says, "so it starts."
in his what michael fassbender wanted most of all was to be a guitarist. with glee he talks about his youthful favorites: "orion," "beneath the remains," anything off reign in blood. he fetches his ipad and searches for his favorite slayer songs on youtube. when "seasons in the abyss" begins, he talks about how sensational the drummer bit here, i love this the kicks in and he begins to play frantic air guitar, grinning. he shows me his book of alice in chains sheet music and tells me how hard it was to learn "rust in peace." "dave mustaine, he seemed to really pick difficult timings. i think he sometimes made things a bit more complicated than they needed to be."
back then, fassbender looked the part. "i had long hair, down to here..." he says, holding his hand level with his chest, doc martens, and combat shorts cut at the knee." he and his friend mike had a band, but they could never find a drummer or a bass player, and their only concert, in a local pub at the middle of the day, was just the two of them. it a triumph. they kept being asked to turn down the volume, lower and lower. "nobody wants to hear metallica at lunchtime," he says.
it took him a while to realize that he would never be good enough. he needed a new plan. "as a teenager, searching for something that fits for you. i was pretty average at most things. i was just looking for something that i could relate to and perhaps excel in myself." that turned out to be acting.
fassbender’s first tv job was in a british comedy called hearts & played a boyfriend known as herman the german who liked to carry around a snorkel. (fassbender was born in germany and has a german father, though from the age of 2 he grew up in ireland, his homeland.) sometimes, when you see future movie stars in their first small roles, the glow of what they will become you. but this like that. the young michael fassbender seems significantly more inconsequential and less attractive than the famous one. totally plausible on-screen when he makes a case to a girl that they should be together because "neither of us are aggressively good-looking."
a year out of drama school, he got what seemed like his big break when he was cast in the hbo world war series band of brothers. he spent nine months only to discover the cruel difference between being day after day and being visible in the finished work. "blink," he says, "and miss me." several months in los angeles brought more rejection. "i blowing them away in the audition room, for sure," he says. "i just feel settled or comfortable or confident." he retreated to london and spent much of the next few years on british tv, and though the roles got bigger over time, and he always seemed to occupy them with élan, he still radiate anything remarkable.
but fassbender says that when 2007 arrived, he somehow knew. "there was something funny about that year," he says. "i realized that year somebody left the door open. kind of was born in 1977, it was 2007. i just felt something in my bones."
nonetheless, the opportunity of life nearly slipped him by. he was asked to meet with the english artist steve mcqueen, who was planning to make his first film, hunger, about the ira hunger striker bobby sands, who starved himself to death in 1981 as a protest against the british authorities. fassbender and mcqueen hit it off. fassbender was wary about how anyone would handle such an important and emotive episode in irish history. mcqueen simply like the man he met. he thought fassbender was cocky.
mcqueen’s casting director persuaded him to meet fassbender a second time, and they both saw what they had previously missed. "i was like, this guy is what been looking for for so long," says fassbender. looking for that guy or woman really going to elevate you and push you in the right ways and really get something out of you that you be able to achieve yourself."
there is a tendency, as with shame, to reduce what fassbender did in hunger to one specific physical feat, in this case starving himself so that he could act out the final scenes weighing only 128 pounds. dropping the weight required daunting commitment and self-control, and the result of these efforts is terrifying, bleak, and heartbreaking: a man forcing his own body to wither so far that soon there will no longer be room for a person inside it. but what fassbender does in hunger far transcends that. for the first time, he marshals the union of otherworldly intensity, naturalism, and serene command that he has brought to a wildly diverse range of roles since. at one point there is a single uninterrupted camera shot that lasts for over seventeen scene where he debates the path ahead with a skeptical priest, just two men if i read that it was a single shot, i think i would have noticed anything but what they said.*
whether it was more that hunger sparked something within fassbender, or whether it simply alerted the film world that here was an actor who could do so much more than had yet been asked of him, after that one role everything seemed different. he could be equally as a charmer in a british domestic drama (in the very fine fish tank) or as an iconic character in a blockbuster (in: first class, with his sinister of the young). perhaps best of all was his brief, majestic turn in tarantino’s_ basterds,_ where fassbender made it seem as though it had always been the case that he could drop into a movie for less than half an hour and deliver a performance of such precision and charisma that no one would forget it.
though it was and much discussed, shame was not a widely watched hit. and despite its raw subject matter, it is not in the least a titillating film. also, while fassbender is very visibly naked in the movie, he is, of course, far from the first male actor to appear this way. so why has his nudity inspired such attention, so much focus and giggly merriment?
i’d suggest that the main reason, if being honest, is a simple one, and relates to the surreal, feverish of penis size in our culture: people feel free to harp on about penis as though this is not insulting or inappropriate because, if that penis is sufficiently large,_ any_ reference to it is, by default, flattering. (were he possessed of "an unimpressive sausage," so to speak, far less would have been said.) this is why each time role in shame is reduced to a simple act of undressing, no one seems to worry that an insult to everything else he did in the movie: he has a big dick, so got nothing to be unhappy about and every reason to smile at anything we might say on the subject. i think it really may be that idiotic.
* _ incidentally, fassbender was just as naked in hunger as he would be in shame, if only fleetingly. no one ever seems to mention that. i suppose that when a prisoner in the last few months of his life is being forcibly stripped and hosed down, dick jokes seem quite so funny_
maybe also something in irish has reassured people that okay. one of the things i will find myself wondering as i spend time with fassbender is how true this is: whether his easygoing, chuckling demeanor at moments like this reflects a similar whether, buried deep behind those sparkly eyes, actually a whirlpool of fury and disdain and hurt at how it feels when you give your all for the type of performance that might define a career only to find it routinely reduced to a series of jokes about your genitalia, jokes that you are not only expected to tolerate but to laugh along with, and not only that but also to congratulate each new joker for his or her epic wit.
"it’s fun to a point," he says of these situations he has been facing, "and after a certain point you worry that it kind of detracts from the movie. but nothing i can do. i just have to laugh it off. i can. pretty much. because i take my work seriously but i take myself too seriously. in such a crazy privileged position—shit, this is the pinnacle of the dream when i was 17.... nobody wants to hear really how difficult it is."
let’s consider a remarkable interview with him in the sunday times, a british newspaper known for a reasonably high tone and sturdy standards. much of the article is about anatomy, sex life, and sexual history, and in the published version he is depicted as someone willingly engaged in the back-and-forth. at one point he is quoted as out, unexpectedly, "when in doubt, fuck." it also includes a statement near the end from the interviewer, camilla long, that i believe is without precedent even in the giddy history of the celebrity profile:
i...feel quite certain that he would willingly show me his penis, given slightly different circumstances and a bucket of champagne.
"wow," says fassbender when i recite this to him. "no, i read that one. just as well, really." but he does remember the interview. "the first thing she said to me was, ’so, what does it feel like to have a big cock?’ that was her opening question."
and as for her bold assertion about what he done?
"i think i would touch her with a barge pole."
a blunt answer. though, i wince to point out, one with its own phallic innuendo. the trouble. as schoolboys of a certain age know, once on your mind barely a sentence that can break free of it.
setting aside the totality of what fassbender does in shame, there is one moment where i thought: not sure ever sat in the cinema and watched someone do that." it is not where he is facing toward the camera, naked. it is when you see him actually piss.
"i know," he says. usually for movie pissing the liquid you see is actually coming from a hidden tube, but he was nude. for the first two takes, he able to do anything, but he announced before the third that it would happen, and it did. "actually pretty proud," he says. and then he laughs and blurts out, peeing cost me an oscar."
he is not entirely serious. nor will he endorse steve slightly broader stated view: "in america too scared of sex, why he nominated." "i think so," says fassbender. "steve is a passionate man. not much filtering with steve, and i love him for that." but starkly honest in acknowledging that there was a concerted campaign to get him promised me paradise!" he how his expectations were raised.
"at the beginning people [say], ’you’re going to be going to the oscars,’ and like, ’whatever, matter, think so.’ but after a while it does penetrate. after a while like, ’anyway, so going to the oscars...’ " he laughs. "and you start to believe it. and i did. i thought i was going. and then i found out i and i was upset. i was very upset by it. the first reaction was ’what the fuck...?’ " he sounds frustrated that he had let himself get sucked in. a vanity thing. it does become important to you. and it." on reflection, he decided that he had learned something about misplaced priorities. "a good little lesson."
ridley scott first noticed fassbender in hunger and fish tank. "probably one of the best three or four actors out there," says scott. "he holds the screen." fassbender plays an android in prometheus, and when the two met to discuss how he might approach the role, scott asked him to look at three movies. most superficially the man who fell to earth, in which david bowie plays an alien visitor whose lack of belonging eats away at him. more important were lawrence of arabia and the wonderful 1963 film the servant, in which dirk plays a to a rich, aimless englishman. scott says that fassbender phoned him shortly after watching the servant and said, "i get it, i get the butler." though i will see an impressive dozen or so minutes of prometheus, mostly taken from early on in the movie, details about the film are closely guarded; anyone prone to speculation, however, might find it significant that the servant is a masterful depiction of hiring someone to control the little details of your life only to discover one day that one of the things your employee is controlling is you.
peter depiction of lawrence of arabia is also a background influence on how the android david might behave. an outsider as well," says fassbender. "in the end, [lawrence is] neither british nor arab. something in that, i robot not being accepted by any of the humans." more unusually, the film of became an actual part of this new movie. scott and damon, the screenwriter (and previously one of the minds behind lost), had been discussing what an android might do in the empty years on a spaceship traveling huge distances while the human crew slept. teach himself every skill, no doubt. "i reckon he can probably speak sixteen violin...piano..." says scott. watch every movie, too.
but then it struck them that maybe he. maybe he would find one movie that he liked more than all the others, and fixate upon it. "we were talking about how young children, 4- or 5-year-olds, will watch the same movie over and over again," says. "and say to them, ’there are other movies...’ and they say, ’no, i want this one.’ " what if this android watched lawrence of arabia over and over? what if he even decided to style his appearance on? what if he even sometimes used borrowed dialogue? quickly spotted that a line of which closes the prometheus things have small from lawrence of arabia.)
fassbender embraced this fully. "i had lawrence of arabia on a loop in my room throughout filming," he says. "jesus, i watched it so many times." obsessive repetition is an integral part of his working method. when he is preparing for a movie, he will read the script over and over, day after day, until he has read it around three hundred times. this is often no more fun than it fucking boring!" he it helps him to the place where, ironically, once the camera is rolling, he feels liberated to go wherever his instinct takes him.
fassbender also dutifully adopted the peter hairstyle required, albeit with less enthusiasm. "perfect for the character," he notes, but as michael fassbender he hated it. "i think hair is a beneficial look for me," he says. "i just looked at myself and i was like, ’five-pound rent boy.’ " (or, translated into american: $8 male prostitute.)
lindelof says that once fassbender had been cast as david, the actually evolved with that in mind: an element of danger to him, and an element of secrecy. everything seen him do, no matter how loving and sweet and romantic he can be, there is just this compelling sense of: this guy has something to hide. fundamental empathy is the greatest tool, to make the person in the audience say, ’i am that person.’ michael fassbender does not always do that. he is okay with, and comfortable with, and confident with saying, ’i will not allow you to feel empathy with me. there is a part of me that i am going to keep to myself. and if you try to get close you will find my hand in your face.’ "
a few weeks after our london afternoon, we meet for lunch in new york. in the meantime, fassbender has appeared at a convention in anaheim, california, to promote prometheus, and met with the scriptwriter for the next movie in los angeles to discuss what is in store for, and he has flown up to sacramento, where his sister now lives, to surprise his parents. it was a joint early birthday party for his father and for thirty-fifth.
in new york, he orders a double espresso and puzzles over unfamiliar pastas on the menu. what he he most loves to eat after waking oysters. think of this not as the newly acquired tastes of the international film star, but as those of a boy with a chef father who grew up with access to private areas of a fine restaurant. oysters are not on the menu here but he is not deterred. "any good kitchen," he confidently announces, "should be stocked up in oysters, they?"
he asks the waitress whether they have any oysters. they do not.
he renews his study of the menu. he orders the sandwich and announces that we will share some pasta first. play mama," he says when it arrives, and divides it up. he mentions that he has recently started cooking again. "if friends around, cook. or if i have a girlfriend. but on my own i kind of fell out of the habit of it, and a shame really because i know good for me. something quite therapeutic."
during an earlier stop in new york, he was photographed walking the streets of soho hand in hand with his shame nicole. fassbender has tended to keep quiet about his romantic life, though not long ago he briefly reflected on the discovery that his new fame comes with "a buffet of choice." after the photos of and him appeared, the global gossip media anointed her as his girlfriend.
in this instance their assumptions are accurate. seeing nicole, trying to see each other as often as possible," he acknowledges. kind of difficult when she lives [in new york] and i live in england." he says they got together during the promotion. "nothing happened while we were filming. we started talking more on the promotion thing. so, yeah, it just sort of unfolded like that." presumably why now back in new york for a couple of days, though he say so.
what he does express is just how much, during our meal, he is increasingly frustrated by the of the waiters. repeatedly he has to explain that no, thank you, he would not like his plate taken yet. this seems to disturb them as much as their actions are disturbing him. going on, man?" he eventually exclaims to a man loitering anxiously a few feet away. "you make me nervous when you hover around like that." fassbender rails to me about this newly fashionable habit of taking away plates before everyone has finished. "one of my pet hates," he says. without reading too much into a moment or irritation, not even unjustified, it may be a pointer. fassbender presents himself as carefree and description to me of his demeanor while filming a dangerous method is as my sense is that there is also another fassbender, one much more tightly wound, whose frustrations and ambitions and insecurity bubble away in darkness, biding their time.
today, though, the charmer is mostly in command. funny talking about his successes, and funnier still talking about the moments that have not gone as planned. when he mentions centurion, a disastrous misfire, he mutters "that criterion classic." in this spirit, just before he leaves i ask him about a cameo that i read filmed in a woody allen movie, dream. as he describes the experience, he mentions never seen the movie. only then that i realize he know he was cut out of it, and that about to break the news. "oh shit," he says equitably. he tells an embarrassing story about how he wanted to say good-bye to allen at the end of his single shoot, and how he headed after the departing director calling out "woody! woody!" but allen disappeared without turning around, leaving fassbender with nothing to do but redirect to the craft table, pour a cup of coffee, and try to pretend what he had been planning to do all along. "a really sad moment," he says.
last summer, after prometheus wrapped, at the end of twelve months of filmmaking, fassbender took a motorcycle trip through europe: he and an old school friend on one bike, his father, josef, on another, a trip that had been talked about for over ten years. three bike bos from the trip remain stacked up in the living room of his london apartment. to fassbender the bos are not just a reminder of a happy time, they also represent a simpler way of being: "when i came back i was ’i need to live my life out of three bos. perfect. all i need.’ "
after they got home, mother, adele, called him. "what have you done to your father?" she asked. he was grumpy. not the same.
"i miss the road," his father told him. "i miss the action. cleaning out the gutters at the moment."
one of his replacement activities, so it seems, is to follow his mushrooming fame via google alert. that is how fassbender learns much of what is being said about him. a call will come in. sometimes there are important issues that need addressing. as fassbender tells me when we meet in new york, "my dad was like, this about some fan vomiting on your shoes?’ "
in a sane and stable world, this would be a hypothetical example but, surreally, it is not. since we first met in london, a story had appeared that a starstruck woman was so overcome by meeting fassbender in a pub near his home that she threw up all over his shoes. a "source" was quoted in one of the british tabloids saying, "he was a bit bemused by his latest encounter and brushed off the vomit and played it cool. he used to be a barman so no stranger to mopping up some sick." fassbender was particularly surprised by this story (when it was published, friends were sending him texts saying things like "vomit?") for a very specific reason. "i there for it," he says. "it just happen. what are you going to do?"
it was also reported that he got thrown out of his own party following the british premiere of a dangerous method. "another lie," he says. at least he really was there, but he insists that he left of his own accord at p.m. "i left early! i suppose ’michael fassbender leaves party early’ as good." in this instance, he seems to take the story as an insult to the times when he has actually succeeded in being ejected: "i have been thrown out of parties, and a different scene than what was photographed that night, i can tell you."
and then there was the biggest fassbender story of the past few weeks, the joke that never stops, coming round one more time. it was the evening after the convention in anaheim, and as usual, his father got in touch: "i see some stuff on the internet..."
on this occasion the instigator was his prometheus theron. that very afternoon she had spoken to me about him in terms loaded with respect: "the bottom line is, michael fassbender is probably the most talented actor that ever been around, and i think the most talented actor of this time right now.... i cannot talk about shame because i sound like a fucking freak, but a film that stayed with me for three weeks. his performance haunted me. i watched it twice, and when i look at the nuance, the delicacy, the tenderness, there was nothing about him. he knows what the balance is. he knows real life, he know pretend life.... the bottom line is that he should have an oscar on his mantel right now."
the same evening, fassbender introduced theron at a human rights campaign gala in downtown los angeles, where she was accepting an award for her humanitarian work. he kept it simple: after a quick apology for being (jeans, white shirt, leather jacket) and a "happy st. day, everybody!" (he came onstage with a tumbler of what appeared to be whiskey), he knelt on one knee to present her with her award. he then retreated to the back of the stage and she took the lectern.
faced with a restless crowd to entertain and the knowledge that an attractive movie actress talking the right kind of dirty rarely with the eternal modern alibi that it was all for a very good took the low road with impressive verve. some words of thanks to her presenter into an appreciation of shame. "as an actor," she started, "i have to say i was truly impressed that you chose to play it big. [laughter] i mean, most other actors would have gone small, trust me. [more laughter] no, i know, because worked with most of them... [more laughter] no, seriously_ [a nice fake so that the audience now expects sincere penis was a revelation. i am available to work with it anytime."
he tells me that from where he was standing he could hear the laughter but really hear the words. "i should have known, to be honest," he reflects. "you know, pretty mischievous, and got a pretty filthy mouth. yeah, i should have been prepared, really. i, stupidly enough."
afterward, theron said to him, "i hope you mind me making a joke about your penis."
fassbender told her it was fine. i have no doubt he sort of meant it. | ˈæftər tu ˈdɛkeɪdz əv əbˈskjʊrəti, ɔl ɪt tʊk wɑz ə fju ʧɔɪs roʊlz tɪ gɪt ˈnɑtsi ˈɪnfɪlˌtreɪtər hir, ən ˈvɪlən ðɛr, pləs wən ˌənfərˈgɛtəbəl tərn ɪn ʃeɪm ðət meɪd ɪm ə fəˈnɑməˌnɑn. hɪz ˈræpɪd raɪz kənˈtɪnjuz ðɪs mənθ wɪθ ˈrɪdli skɑts ˈeɪliən ˈprikwɛl, prəˈmiˌθiəs. bət ɛz krɪs hiθ dɪˈskəvərz, ˈmaɪkəl ˈfæsˌbɛndər ɪz mɔr ðən ðə səm əv hɪz pɑrts ɪf goʊɪŋ tɪ teɪk mi hoʊm wɪθ ɪm, ˈmaɪkəl ˈfæsˌbɛndər fərst nidz ə ˈmoʊmənt əˈloʊn. ðə wən θɪŋ hi æsks. bɪn ˈwɔkɪŋ ənd ˈtɔkɪŋ fər ə waɪl ɪn ə ˈloʊkəl pɑrk, bət hi ˈivɪn ˈmɛnʃən ðət wi wər kloʊz baɪ hɪz əˈpɑrtmənt ənˈtɪl ðə ˌɪnˈkrisɪŋgli ˈhɛvi reɪn ˈtrɪgərd hɪz sɛns əv ˌhɑspəˈtæləti. "ʤɪst gɪv mi tu ˈsɛkəndz tɪ du ə ˈlɪtəl bɪt əv ə sɔrt əv tidy-up*," hi rɪkˈwɛsts. "maɪ ˈməðər bi ˈhæpi." aɪ weɪt ɪn ðə ˈstɛrˌwɛl, glæd ʤɪst tɪ bi ˈgɪtɪŋ noʊ ˈwɛtər, ənˈtɪl hi swɪŋz ˈoʊpən ðə dɔr. "ˌoʊˈkeɪ!" hi bimz. "ˈwɛlkəm tɪ maɪ flæt!" pərˈhæps ðə ˈhɪlˌsaɪd ˈmænʧənz, ˈpɛnˌthaʊs duples*, ˈleɪkˌsaɪd haciendas*, ənd ˈbiʧfrɑnt wɪl ˈfɑloʊ ɪn ðə trəˈdɪʃənəl weɪ, bət fər naʊ ðiz θri bɪg wən wi ər ɪn, ə smɔl ˈbɛˌdrum æt ðə bæk wɪθ ˈbɛdɪŋ ɔn ðə vərʤ əv ˈtəmbəlɪŋ aʊt ðə ˈoʊpən dɔr, ənd ən ənˈsin ðə ˈoʊnli wənz ɪn ðə wərld ˈmaɪkəl ˈfæsˌbɛndər kən kɔl hɪz oʊn. "fər wən ˈpərsən, ˈpərˌfɪkt, ˈrɪli," hi sɪz. ˌɔlˈðoʊ səm ˈɛriəz əv ist ˈləndən hæv bɪˈkəm ɪn ˈrisənt jɪrz, ðɪs ɪz nɑt wən əv ðɛm. hi muvd tɪ ðɪs əˈpɑrtmənt ɪn 2006 æt ðə ɛnd əv hɪz tˈwɛntiz, wɪn hi wɑz ʤɪst wən mɔr ˈæktər ˈgɪtɪŋ ɪˈnəf wərk tɪ lɪv ɔf bət stɪl ˈwəndərɪŋ ˈwɛðər ðət ʧæns wʊd ˈɛvər kəm tɪ ʃoʊ ðə wərld wət hi kʊd ˈrɪli du. sɪns hɪz ˈrisənt ˈbrɛθləs əˈsɛnt, hi həz hæd ˈniðər ðə taɪm nɔr ðə ˌɪnkləˈneɪʃən tɪ muv. "aɪ ˈɔlˌweɪz laɪkt ðə ˈɛnərʤi raʊnd hir. trəˈdɪʃənəli mɔr əv ə ˈɛriə. ə bɪt əv ən ˈɛʤinəs tɪ ɪt, ɛz wɛl. ənd ðə pɑrks ər ˈɛvriˌwɛr hir. aɪ ˈɔlˌweɪz ʤɪst fɛlt laɪk ðɪs wɑz ðə raɪt spɑt fər mi." ˈfæsˌbɛndər dɪˈrɛkts mi tɪ ə pərʧ nɪr ə smɔl reɪzd ˈlɪtəl ˌkɑŋgrəˈgeɪʃən ˈɔfərz mi ə ʧɔɪs əv drɪŋks: ʃæmˈpeɪn, bɪr, ti. ðə ˈərli ˌæftərˈnun, ənd ðɪs ɪz ðə fərst taɪm mɛt, soʊ ti simz moʊst ˈprudənt. hi ˈoʊpənz ðə frɪʤ. "ðə mɪlk ɪz ʤɪst ɔn ðə ɛʤ," hi əˈnaʊnsɪz, ɛz ðoʊ ˈɛvəri kaɪnd əv lək ɪz wɪθ ˈjuˈɛs. hi pɔɪnts aʊt ðə steɪnz ənd ˈbəbəlɪŋ peɪnt ɔn ðə ˈsilɪŋ wɛr hæd ˈsɪriəs ˈwɔtər ˈlikɪʤ, ˈoʊnli ˈrisəntli fid*, ənd ðə ˈsɪmələrli ˈbəkəld flɔr bɪˈloʊ. sun hæv ɪt ɔl riˈdɛkərˌeɪtɪd, muv ə wɔl æt ðə seɪm taɪm. "ɛz ju kən si," hi sɪz, "aɪ nid ˈstɔrɪʤ speɪs." aɪ kən si. lɑrʤ ˈɛriəz əv ðə flɔr ər ˈkəvərd: bɑs, ˈsutˌkeɪsɪz, kloʊðz, tu gɪˈtɑrz, wən ɪˈlɛktrɪk wɪθ ɪts ˈæmpləˌfaɪər. suts laɪ ənd hæŋ ˈɛvriˌwɛr, ˈɛvədəns əv ən ˈæktər prəˈmoʊtɪŋ θri fɪlmz ˌsaɪməlˈteɪniəsli (ʃeɪm, ə ˈdeɪnʤərəs ˈmɛθəd, ənd əv ə ˈmænɪk ˈfləri əv wərk wɪʧ ˈɔlsoʊ ˌɪnˈkludɪd hɪz roʊl ɛz ɪn: fərst klæs, ə ˈriˈmeɪk əv ʤeɪn ɛr, ənd ðə ˈfɔrθˈkəmɪŋ ˈrɪdli skɑt saɪəns ˈfɪkʃən ɛkˌstrævəˈgænzə, ˈsəmˌtaɪmz ˈoʊnli hoʊm fər ə fju aʊərz ˌbiˈfɔr ˈhævɪŋ tɪ hɛd aʊt tɪ ðə nɛkst prɛˈmɪr, fɪlm ˈfɛstɪvəl, ər əˈwɔrdz ˈsɛrəˌmoʊni. ðoʊ pərˈhæps ɪt həz ˈɔlˌweɪz lʊkt laɪk ðɪs. ˈfæsˌbɛndər ˈmɛnʃənz ðə taɪm ˈdʊrɪŋ ðə ʃeɪm ʃut wɪn ðə dɪˈrɛktər, stiv məkˈwin, ˈvɪzɪtɪd hɪz ˈtɛmpərˌɛri nu jɔrk hoʊm. ˌɪnˈkrɛdəbəl," hi rɪˈmɛmbərz məkˈwin seɪɪŋ. ɪgˈzæktli ðə seɪm mɛs ˈpætərn." ˈfæsˌbɛndər tɛlz mi ðət wɪn hi wɑz jəŋ, ənd hɪz ˈpɛrənts wər ˈbɪzi ˈrənɪŋ ə hoʊˈtɛl, hi wɑz riˈspɑnsəbəl fər lɑts əv ðə ˈklinɪŋ æt hoʊm. ðət wɑz haʊ hi gɑt ˈpɑkət ˈməni. "maɪ ˈməðər wɑz ˈvɛri ˌpɑˈtɪkjələr əˈbaʊt ˈʧɛkɪŋ," hi sɪz, ənd ˈrənɪŋ ə ˈfɪŋgər əˈkrɔs ə ˈsərfəs tɪ ʧɛk fər dəst. "noʊ ˈʃɔrtˌkəts əˈlaʊd." nɑt ʃʊr ˈwɛðər ˈtɛlɪŋ mi ðɪs tɪ ɪkˈspleɪn waɪ θɪŋz ˈklinər ər waɪ ðeɪ ˈmɛsiər. ɪn ðə ˈmɪdəl əv ðə rum ɪz ə ˈmɪni ˈpɪŋˌpɔŋ ˈteɪbəl, ˈbɑˌroʊd frəm hɪz ˈbrɪtɪʃ ˈeɪʤənt, hu lɪvz ˈnɪrˈbaɪ. "naʊ ðət hir," sɪz ˈfæsˌbɛndər, nɑt goʊɪŋ. ðɪs ˈteɪbəl həz bɪn ðə bɛst ˌkɑntrəˈbjuʃən fər fən hæd ɪn ə lɔŋ taɪm. ðɪs ˈteɪbəl həz sin səm ˈækʃən..." hi ˈpɔzɪz, læfs. "ðət saʊnz rɔŋ." bət həz ɪt? aɪ seɪ, ˈʤɛntli ˈpʊʃɪŋ. "ʤɪst ðə ˈpædəlz," hi dɪˈflɛkts, ənd əv kɔrs hi ðɛn ˈriəˌlaɪzɪz ðət ðɪs saʊnz rɔŋ, tu, ɪn ɪgˈzæktli ðə seɪm weɪ. noʊ ˈmætər. ʤɪst ən ˌɪŋˌkɑnsəkˈwɛnʧəl bɪt əv ˌɪnjuˈɛndoʊ. ɪkˈsɛpt ðət raɪt naʊ, ənd ˈɛvər sɪns ðə riˈlis əv ʃeɪm, nɑt ʃʊr ðət ɪn ðə laɪf əv ˈmaɪkəl ˈfæsˌbɛndər ðɛr ɪz səʧ ə θɪŋ ɛz ən ˌɪŋˌkɑnsəkˈwɛnʧəl bɪt əv ˌɪnjuˈɛndoʊ. fər ˈɛvəri ˈpərsən hu ˈæˌkʧuəli sɔ ðə ˈmuvi, ənd ˌmɑnjəˈmɛnəl, ənˈflɪnʧɪŋ pɔrˈtreɪəl əv ə mæn lɔst ɪn ðə əˈbɪs əv hɪz ˈsɛkʃuəl ˈæpəˌtaɪt, ðɛr ər ˈdəzənz mɔr hu ˈoʊnli noʊ ɪt ɛz ðə ˈmuvi ɪn wɪʧ hi ʃoʊz ˌæbsəˈlutli ˈɛvriˌθɪŋ. ənd soʊ, fər ðə pæst fju mənθs ˈfæsˌbɛndər həz bɪn kæst əˈdrɪft ɪn ə ˈoʊʃən əv ˌɪnjuˈɛndoʊ. ɪt həz bɪn rɪˈlɛntlɪs. hi həz bɪn rikˈwaɪərd tɪ smaɪl θru ˈɛndləs hɪˈlɛriəs ˈɪntərvˌjuz. ə ˌrɛprɪˈzɛnətɪv ɪgˈzæmpəl, frəm ðə ˈbrɪtɪʃ ˌtɛləˈvɪʒən ʃoʊ tɔp gɪr: "ju hæd tɪ du, bi ˈɑnəst, ə nud ɪt hɑrd?" nɛkst, ðə ˈpɪθi ˈfɑloʊˌəp rɪˈmɑrk: "aɪ min, ðɪs wɑz ən ˌɪmˈprɛsɪv ˈsɔsɪʤ....") hi həz bɪn rikˈwaɪərd tɪ grɪn əˈpriʃjətɪvli æt ˈpleɪfəl ˈpəblɪk ˈmɑkəri frəm hɪz pɪrz. (moʊst ˈnoʊtəbli, ʤɔrʤ spiʧ æt ðɪs ˈgoʊldən gloʊbz: "ˈmaɪkəl, ˈɑnəstli, ju kən pleɪ jʊr hænz bɪˈhaɪnd jʊr bæk.") ənd hi həz bɪn ˈrɪli aɪˈdɛntəˌfaɪ ə ˈsɪriz əv skrin ʃɑts əv ˈfeɪməs ˈpinɪsɪz ɪn ðə ˈmuviz. (twaɪs. boʊθ taɪmz ɔn ˈɛmˈtiˈvi. ðə ˈsɛkənd taɪm waɪl ˈstændɪŋ ɔn ən rɛd ˈkɑrpət.) ɔl əv ðɪs hi həz dən wɪθ əˈpɛrənt gʊd ˈhjumər, æt list ɪf ju traɪ tɪ rɛd tu məʧ ˈɪntu hɪz ˈbɑdi ˈlæŋgwɪʤ ər ðə weɪ hɪz aɪz ʃɪft ər ðə ˈflɪkərɪŋ ˈɛʤɪz əv hɪz smaɪl. nɛkst tɪ ɔl ðət, ə ˈʤɛnəl ˈdəbəl ɑnˈtɑndrə əˈbaʊt sɛks ɔn ə ˈvɛri smɔl ˈpɪŋˌpɔŋ ˈteɪbəl? goʊ wɪθ ɪt. "ˈpædəlz," hi rɪˈpits. "ənd bɔlz." ənd hi grɪnz, ɪgˈzæktli ɛz ju wʊd grɪn ɪf ju faʊnd ðɪs ˈfəni, ðoʊ ˈizi tɪ ˌəndərˈstænd waɪ hi ˈɔlsoʊ sɪz, "soʊ ɪt stɑrts." ɪn hɪz wət ˈmaɪkəl ˈfæsˌbɛndər ˈwɔntɪd moʊst əv ɔl wɑz tɪ bi ə ˌgɪˈtɑrɪst. wɪθ gli hi tɔks əˈbaʊt hɪz ˈjuθfəl ˈfeɪvərɪts: "ɔˈraɪən," "bɪˈniθ ðə rɪˈmeɪnz," ˈɛniˌθɪŋ ɔf reɪn ɪn bləd. hi ˈfɛʧɪz hɪz ˈaɪˌpæd ənd ˈsərʧɪz fər hɪz ˈfeɪvərɪt sleɪər sɔŋz ɔn ˈjuˌtub. wɪn "ˈsizənz ɪn ðə əˈbɪs" bɪˈgɪnz, hi tɔks əˈbaʊt haʊ sɛnˈseɪʃənəl ðə ˈdrəmər bɪt hir, aɪ ləv ðɪs ðə kɪks ɪn ənd hi bɪˈgɪnz tɪ pleɪ ˈfræntɪk ɛr gɪˈtɑr, ˈgrɪnɪŋ. hi ʃoʊz mi hɪz bʊk əv ˈælɪs ɪn ʧeɪnz ʃit mˈjuzɪk ənd tɛlz mi haʊ hɑrd ɪt wɑz tɪ lərn "rəst ɪn pis." "deɪv mustaine*, hi simd tɪ ˈrɪli pɪk ˈdɪfəkəlt timings*. aɪ θɪŋk hi ˈsəmˌtaɪmz meɪd θɪŋz ə bɪt mɔr ˈkɑmpləˌkeɪtəd ðən ðeɪ ˈnidɪd tɪ bi." bæk ðɛn, ˈfæsˌbɛndər lʊkt ðə pɑrt. "aɪ hæd lɔŋ hɛr, daʊn tɪ hir..." hi sɪz, ˈhoʊldɪŋ hɪz hænd ˈlɛvəl wɪθ hɪz ʧɛst, dɑk ˈmɑrtənz, ənd ˈkɑmbæt ʃɔrts kət æt ðə ni." hi ənd hɪz frɛnd maɪk hæd ə bænd, bət ðeɪ kʊd ˈnɛvər faɪnd ə ˈdrəmər ər ə bæs pleɪər, ənd ðɛr ˈoʊnli ˈkɑnsərt, ɪn ə ˈloʊkəl pəb æt ðə ˈmɪdəl əv ðə deɪ, wɑz ʤɪst ðə tu əv ðɛm. ɪt ə traɪəmf. ðeɪ kɛpt biɪŋ æst tɪ tərn daʊn ðə ˈvɑljum, loʊər ənd loʊər. "ˈnoʊˌbɑˌdi wɔnts tɪ hir məˈtælɪkə æt ˈlənʧˌtaɪm," hi sɪz. ɪt tʊk ɪm ə waɪl tɪ ˈriəˌlaɪz ðət hi wʊd ˈnɛvər bi gʊd ɪˈnəf. hi ˈnidɪd ə nu plæn. "ɛz ə ˈtiˌneɪʤər, ˈsərʧɪŋ fər ˈsəmθɪŋ ðət fɪts fər ju. aɪ wɑz ˈprɪti ˈævərɪʤ æt moʊst θɪŋz. aɪ wɑz ʤɪst ˈlʊkɪŋ fər ˈsəmθɪŋ ðət aɪ kʊd rɪˈleɪt tɪ ənd pərˈhæps ɪkˈsɛl ɪn ˌmaɪˈsɛlf." ðət tərnd aʊt tɪ bi ˈæktɪŋ. fərst ˌtɛləˈvɪʒən ʤɑb wɑz ɪn ə ˈbrɪtɪʃ ˈkɑmədi kɔld hɑrts pleɪd ə ˈbɔɪˌfrɛnd noʊn ɛz ˈhərmən ðə ˈʤərmən hu laɪkt tɪ ˈkɛri əraʊnd ə sˈnɔrkəl. (ˈfæsˌbɛndər wɑz bɔrn ɪn ˈʤərməni ənd həz ə ˈʤərmən ˈfɑðər, ðoʊ frəm ðə eɪʤ əv 2 hi gru əp ɪn ˈaɪərlənd, hɪz ˈhoʊmˌlænd.) ˈsəmˌtaɪmz, wɪn ju si fˈjuʧər ˈmuvi stɑrz ɪn ðɛr fərst smɔl roʊlz, ðə gloʊ əv wət ðeɪ wɪl bɪˈkəm ju. bət ðɪs laɪk ðət. ðə jəŋ ˈmaɪkəl ˈfæsˌbɛndər simz sɪgˈnɪfɪkəntli mɔr ˌɪŋˌkɑnsəkˈwɛnʧəl ənd lɛs əˈtræktɪv ðən ðə ˈfeɪməs wən. ˈtoʊtəli ˈplɔzəbəl ˈɑnˌskrin wɪn hi meɪks ə keɪs tɪ ə gərl ðət ðeɪ ʃʊd bi təˈgɛðər bɪˈkəz "ˈniðər əv ˈjuˈɛs ər əˈgrɛsɪvli ˈgʊˌdlʊkɪŋ." ə jɪr aʊt əv ˈdrɑmə skul, hi gɑt wət simd laɪk hɪz bɪg breɪk wɪn hi wɑz kæst ɪn ðə ˈeɪʧbiˈoʊ wərld wɔr ˈsɪriz bænd əv ˈbrəðərz. hi spɛnt naɪn mənθs ˈoʊnli tɪ dɪˈskəvər ðə kruəl ˈdɪfərəns bɪtˈwin biɪŋ deɪ ˈæftər deɪ ənd biɪŋ ˈvɪzəbəl ɪn ðə ˈfɪnɪʃt wərk. "blɪŋk," hi sɪz, "ənd mɪs mi." ˈsɛvərəl mənθs ɪn lɔs ˈænʤəlɪs brɔt mɔr rɪˈʤɛkʃən. "aɪ bloʊɪŋ ðɛm əˈweɪ ɪn ðə ɑˈdɪʃən rum, fər ʃʊr," hi sɪz. "aɪ ʤɪst fil ˈsɛtəld ər ˈkəmfərtəbəl ər ˈkɑnfədənt." hi riˈtritɪd tɪ ˈləndən ənd spɛnt məʧ əv ðə nɛkst fju jɪrz ɔn ˈbrɪtɪʃ ˌtɛləˈvɪʒən, ənd ðoʊ ðə roʊlz gɑt ˈbɪgər ˈoʊvər taɪm, ənd hi ˈɔlˌweɪz simd tɪ ˈɑkjəˌpaɪ ðɛm wɪθ éélan*, hi stɪl ˈreɪdiˌeɪt ˈɛniˌθɪŋ rɪˈmɑrkəbəl. bət ˈfæsˌbɛndər sɪz ðət wɪn 2007 əraɪvd, hi ˈsəmˌhaʊ nu. "ðɛr wɑz ˈsəmθɪŋ ˈfəni əˈbaʊt ðət jɪr," hi sɪz. "aɪ ˈriəˌlaɪzd ðət jɪr ˈsəmˌbɑdi lɛft ðə dɔr ˈoʊpən. kaɪnd əv wɑz bɔrn ɪn 1977 ɪt wɑz 2007 aɪ ʤɪst fɛlt ˈsəmθɪŋ ɪn maɪ boʊnz." ˌnənðəˈlɛs, ðə ˌɑpərˈtunəti əv laɪf ˈnɪrli slɪpt ɪm baɪ. hi wɑz æst tɪ mit wɪθ ðə ˈɪŋlɪʃ ˈɑrtɪst stiv məkˈwin, hu wɑz ˈplænɪŋ tɪ meɪk hɪz fərst fɪlm, ˈhəŋgər, əˈbaʊt ðə ˌaɪˌɑˈreɪ ˈhəŋgər ˈstraɪkər ˈbɑbi sændz, hu stɑrvd hɪmˈsɛlf tɪ dɛθ ɪn 1981 ɛz ə ˈproʊˌtɛst əˈgɛnst ðə ˈbrɪtɪʃ əˈθɔrətiz. ˈfæsˌbɛndər ənd məkˈwin hɪt ɪt ɔf. ˈfæsˌbɛndər wɑz ˈwɛri əˈbaʊt haʊ ˈɛniˌwən wʊd ˈhændəl səʧ ən ˌɪmˈpɔrtənt ənd ˈiˌmoʊtɪv ˈɛpɪˌsoʊd ɪn ˈaɪrɪʃ ˈhɪstəri. məkˈwin ˈsɪmpli laɪk ðə mæn hi mɛt. hi θɔt ˈfæsˌbɛndər wɑz ˈkɑki. ˈkæstɪŋ dɪˈrɛktər pərsˈweɪdɪd ɪm tɪ mit ˈfæsˌbɛndər ə ˈsɛkənd taɪm, ənd ðeɪ boʊθ sɔ wət ðeɪ hæd ˈpriviəsli mɪst. "aɪ wɑz laɪk, ðɪs gaɪ ɪz wət bɪn ˈlʊkɪŋ fər fər soʊ lɔŋ," sɪz ˈfæsˌbɛndər. ˈlʊkɪŋ fər ðət gaɪ ər ˈwʊmən ˈrɪli goʊɪŋ tɪ ˈɛləˌveɪt ju ənd pʊʃ ju ɪn ðə raɪt weɪz ənd ˈrɪli gɪt ˈsəmθɪŋ aʊt əv ju ðət ju bi ˈeɪbəl tɪ əˈʧiv ˈjɔrsɛlf." ðɛr ɪz ə ˈtɛndənsi, ɛz wɪθ ʃeɪm, tɪ rɪˈdus wət ˈfæsˌbɛndər dɪd ɪn ˈhəŋgər tɪ wən spɪˈsɪfɪk ˈfɪzɪkəl fit, ɪn ðɪs keɪs ˈstɑrvɪŋ hɪmˈsɛlf soʊ ðət hi kʊd ækt aʊt ðə ˈfaɪnəl sinz weɪɪŋ ˈoʊnli 128 paʊnz. ˈdrɑpɪŋ ðə weɪt rikˈwaɪərd ˈdɔntɪŋ kəˈmɪtmənt ənd ˌsɛlfkənˈtroʊl, ənd ðə rɪˈzəlt əv ðiz ˈɛfərts ɪz ˈtɛrəˌfaɪɪŋ, blik, ənd ˈhɑrtˌbreɪkɪŋ: ə mæn ˈfɔrsɪŋ hɪz oʊn ˈbɑdi tɪ ˈwɪðər soʊ fɑr ðət sun ðɛr wɪl noʊ ˈlɔŋgər bi rum fər ə ˈpərsən ˌɪnˈsaɪd ɪt. bət wət ˈfæsˌbɛndər dɪz ɪn ˈhəŋgər fɑr trænˈsɛndz ðət. fər ðə fərst taɪm, hi ˈmɑrʃəlz ðə ˈjunjən əv ˈəðərˈwərldli ˌɪnˈtɛnsɪti, ˈnæʧərəˌlɪzəm, ənd sərˈin kəˈmænd ðət hi həz brɔt tɪ ə ˈwaɪldli dɪˈvərs reɪnʤ əv roʊlz sɪns. æt wən pɔɪnt ðɛr ɪz ə ˈsɪŋgəl ˌənɪnərˈəptɪd ˈkæmərə ʃɑt ðət læsts fər ˈoʊvər ˈsɛvənˈtin sin wɛr hi dəˈbeɪts ðə pæθ əˈhɛd wɪθ ə ˈskɛptɪkəl prist, ʤɪst tu mɛn ɪf aɪ rɛd ðət ɪt wɑz ə ˈsɪŋgəl ʃɑt, aɪ θɪŋk aɪ wʊd hæv ˈnoʊtɪst ˈɛniˌθɪŋ bət wət ðeɪ ˈwɛðər ɪt wɑz mɔr ðət ˈhəŋgər spɑrkt ˈsəmθɪŋ wɪˈθɪn ˈfæsˌbɛndər, ər ˈwɛðər ɪt ˈsɪmpli əˈlərtɪd ðə fɪlm wərld ðət hir wɑz ən ˈæktər hu kʊd du soʊ məʧ mɔr ðən hæd jɛt bɪn æst əv ɪm, ˈæftər ðət wən roʊl ˈɛvriˌθɪŋ simd ˈdɪfərənt. hi kʊd bi ˈikwəli ɛz ə ˈʧɑrmər ɪn ə ˈbrɪtɪʃ dəˈmɛstɪk ˈdrɑmə (ɪn ðə ˈvɛri faɪn fɪʃ tæŋk) ər ɛz ən ˌaɪˈkɑnɪk ˈkɛrɪktər ɪn ə ˈblɑkˌbəstər (ɪn: fərst klæs, wɪθ hɪz ˈsɪnɪstər əv ðə jəŋ). pərˈhæps bɛst əv ɔl wɑz hɪz brif, məˈʤɛstɪk tərn ɪn tarantino’s*_ basterds*,_ wɛr ˈfæsˌbɛndər meɪd ɪt sim ɛz ðoʊ ɪt hæd ˈɔlˌweɪz bɪn ðə keɪs ðət hi kʊd drɔp ˈɪntu ə ˈmuvi fər lɛs ðən hæf ən aʊər ənd dɪˈlɪvər ə pərˈfɔrməns əv səʧ priˈsɪʒən ənd kərˈɪzmə ðət noʊ wən wʊd fərˈgɛt ɪt. ðoʊ ɪt wɑz ənd məʧ dɪˈskəst, ʃeɪm wɑz nɑt ə ˈwaɪdli wɔʧt hɪt. ənd dɪˈspaɪt ɪts rɑ ˈsəbʤɪkt ˈmætər, ɪt ɪz nɑt ɪn ðə list ə ˈtɪtəˌleɪtɪŋ fɪlm. ˈɔlsoʊ, waɪl ˈfæsˌbɛndər ɪz ˈvɛri ˈvɪzəbli ˈneɪkəd ɪn ðə ˈmuvi, hi ɪz, əv kɔrs, fɑr frəm ðə fərst meɪl ˈæktər tɪ əˈpɪr ðɪs weɪ. soʊ waɪ həz hɪz ˈnudɪti ˌɪnˈspaɪərd səʧ əˈtɛnʃən, soʊ məʧ ˈfoʊkɪs ənd ˈgɪgəli merriment*? səˈʤɛst ðət ðə meɪn ˈrizən, ɪf biɪŋ ˈɑnəst, ɪz ə ˈsɪmpəl wən, ənd rɪˈleɪts tɪ ðə sərˈil, ˈfivərɪʃ əv ˈpinɪs saɪz ɪn ɑr ˈkəlʧər: ˈpipəl fil fri tɪ hɑrp ɔn əˈbaʊt ˈpinɪs ɛz ðoʊ ðɪs ɪz nɑt ˌɪnˈsəltɪŋ ər ˌɪnəˈproʊpriɪt bɪˈkəz, ɪf ðət ˈpinɪs ɪz səˈfɪʃəntli lɑrʤ,_ ˈɛni_ ˈrɛfərəns tɪ ɪt ɪz, baɪ dɪˈfɔlt, ˈflætərɪŋ. (wər hi pəˈzɛst əv "ən ˌənɪmˈprɛsɪv ˈsɔsɪʤ," soʊ tɪ spik, fɑr lɛs wʊd hæv bɪn sɛd.) ðɪs ɪz waɪ iʧ taɪm roʊl ɪn ʃeɪm ɪz rɪˈdust tɪ ə ˈsɪmpəl ækt əv undressing*, noʊ wən simz tɪ ˈwəri ðət ən ˌɪnˈsəlt tɪ ˈɛvriˌθɪŋ ɛls hi dɪd ɪn ðə ˈmuvi: hi həz ə bɪg dɪk, soʊ gɑt ˈnəθɪŋ tɪ bi ənˈhæpi əˈbaʊt ənd ˈɛvəri ˈrizən tɪ smaɪl æt ˈɛniˌθɪŋ wi maɪt seɪ ɔn ðə ˈsəbʤɪkt. aɪ θɪŋk ɪt ˈrɪli meɪ bi ðət ˌɪdiˈɑtɪk. ˌɪnsɪˈdɛntəli, ˈfæsˌbɛndər wɑz ʤɪst ɛz ˈneɪkəd ɪn ˈhəŋgər ɛz hi wʊd bi ɪn ʃeɪm, ɪf ˈoʊnli ˈflitɪŋli. noʊ wən ˈɛvər simz tɪ ˈmɛnʃən ðət. aɪ səˈpoʊz ðət wɪn ə ˈprɪzənər ɪn ðə læst fju mənθs əv hɪz laɪf ɪz biɪŋ ˈfɔrsəbli strɪpt ənd hoʊzd daʊn, dɪk ʤoʊks sim kwaɪt soʊ ˈfəni_ ˈmeɪbi ˈɔlsoʊ ˈsəmθɪŋ ɪn ˈaɪrɪʃ həz ˌriəˈʃʊrd ˈpipəl ðət ˌoʊˈkeɪ. wən əv ðə θɪŋz aɪ wɪl faɪnd ˌmaɪˈsɛlf ˈwəndərɪŋ ɛz aɪ spɛnd taɪm wɪθ ˈfæsˌbɛndər ɪz haʊ tru ðɪs ɪz: ˈwɛðər hɪz ˈiziˈgoʊɪŋ, ˈʧəklɪŋ dɪˈminər æt ˈmoʊmənts laɪk ðɪs rɪˈflɛkts ə ˈsɪmələr ˈwɛðər, ˈbɛrid dip bɪˈhaɪnd ðoʊz ˈspɑrkli aɪz, ˈæˌkʧuəli ə ˈwərlˌpul əv fˈjʊri ənd dɪsˈdeɪn ənd hərt æt haʊ ɪt filz wɪn ju gɪv jʊr ɔl fər ðə taɪp əv pərˈfɔrməns ðət maɪt dɪˈfaɪn ə kərɪr ˈoʊnli tɪ faɪnd ɪt ruˈtinli rɪˈdust tɪ ə ˈsɪriz əv ʤoʊks əˈbaʊt jʊr ʤɛnəˈtɑljə, ʤoʊks ðət ju ər nɑt ˈoʊnli ɪkˈspɛktɪd tɪ ˈtɑlərˌeɪt bət tɪ læf əˈlɔŋ wɪθ, ənd nɑt ˈoʊnli ðət bət ˈɔlsoʊ tɪ kənˈgræʧəˌleɪt iʧ nu ˈʤoʊkər fər hɪz ər hər ˈɛpɪk wɪt. fən tɪ ə pɔɪnt," hi sɪz əv ðiz ˌsɪʧuˈeɪʃənz hi həz bɪn ˈfeɪsɪŋ, "ənd ˈæftər ə ˈsərtən pɔɪnt ju ˈwəri ðət ɪt kaɪnd əv dɪˈtrækts frəm ðə ˈmuvi. bət ˈnəθɪŋ aɪ kən du. aɪ ʤɪst hæv tɪ læf ɪt ɔf. aɪ kən. ˈprɪti məʧ. bɪˈkəz aɪ teɪk maɪ wərk ˈsɪriəsli bət aɪ teɪk ˌmaɪˈsɛlf tu ˈsɪriəsli. ɪn səʧ ə ˈkreɪzi ˈprɪvɪlɪʤd position—shit*, ðɪs ɪz ðə ˈpɪnəkəl əv ðə drim wɪn aɪ wɑz 17 ˈnoʊˌbɑˌdi wɔnts tɪ hir ˈrɪli haʊ ˈdɪfəkəlt ɪt ɪz." kənˈsɪdər ə rɪˈmɑrkəbəl ˈɪntərvˌju wɪθ ɪm ɪn ðə ˈsənˌdi taɪmz, ə ˈbrɪtɪʃ ˈnuzˌpeɪpər noʊn fər ə ˈrizənəbli haɪ toʊn ənd ˈstərdi ˈstændərdz. məʧ əv ðə ˈɑrtɪkəl ɪz əˈbaʊt əˈnætəmi, sɛks laɪf, ənd ˈsɛkʃuəl ˈhɪstəri, ənd ɪn ðə ˈpəblɪʃt ˈvərʒən hi ɪz dɪˈpɪktɪd ɛz ˈsəmˌwən ˈwɪlɪŋli ɪnˈgeɪʤd ɪn ðə back-and-forth*. æt wən pɔɪnt hi ɪz kˈwoʊtɪd ɛz aʊt, ˌənɪkˈspɛktɪdli, "wɪn ɪn daʊt, fək." ɪt ˈɔlsoʊ ˌɪnˈkludz ə ˈsteɪtmənt nɪr ðə ɛnd frəm ðə ˈɪntərvˌjuər, kəˈmɪlə lɔŋ, ðət aɪ bɪˈliv ɪz wɪˈθaʊt ˈprɛsɪdənt ˈivɪn ɪn ðə ˈgɪdi ˈhɪstəri əv ðə səˈlɛbrɪti ˈproʊˌfaɪl: kwaɪt ˈsərtən ðət hi wʊd ˈwɪlɪŋli ʃoʊ mi hɪz ˈpinɪs, ˈgɪvɪn sˈlaɪtli ˈdɪfərənt ˈsərkəmˌstænsɪz ənd ə ˈbəkɪt əv ʃæmˈpeɪn. "waʊ," sɪz ˈfæsˌbɛndər wɪn aɪ rəˈsaɪt ðɪs tɪ ɪm. "noʊ, aɪ rɛd ðət wən. ʤɪst ɛz wɛl, ˈrɪli." bət hi dɪz rɪˈmɛmbər ðə ˈɪntərvˌju. "ðə fərst θɪŋ ʃi sɛd tɪ mi wɑz, ’’so*, wət dɪz ɪt fil laɪk tɪ hæv ə bɪg cock?’*?’ ðət wɑz hər ˈoʊpənɪŋ kˈwɛʃən." ənd ɛz fər hər boʊld əˈsərʃən əˈbaʊt wət hi dən? "aɪ θɪŋk aɪ wʊd təʧ hər wɪθ ə bɑrʤ poʊl." ə blənt ˈænsər. ðoʊ, aɪ wɪns tɪ pɔɪnt aʊt, wən wɪθ ɪts oʊn ˈfælɪk ˌɪnjuˈɛndoʊ. ðə ˈtrəbəl. ɛz ˈskulˌbɔɪz əv ə ˈsərtən eɪʤ noʊ, wəns ɔn jʊr maɪnd ˈbɛrli ə ˈsɛntəns ðət kən breɪk fri əv ɪt. ˈsɛtɪŋ əˈsaɪd ðə toʊˈtæləti əv wət ˈfæsˌbɛndər dɪz ɪn ʃeɪm, ðɛr ɪz wən ˈmoʊmənt wɛr aɪ θɔt: nɑt ʃʊr ˈɛvər sæt ɪn ðə ˈsɪnəmə ənd wɔʧt ˈsəmˌwən du ðət." ɪt ɪz nɑt wɛr hi ɪz ˈfeɪsɪŋ təˈwɔrd ðə ˈkæmərə, ˈneɪkəd. ɪt ɪz wɪn ju si ɪm ˈæˌkʧuəli pɪs. "aɪ noʊ," hi sɪz. ˈjuʒəwəli fər ˈmuvi ˈpɪˌsɪŋ ðə ˈlɪkwɪd ju si ɪz ˈæˌkʧuəli ˈkəmɪŋ frəm ə ˈhɪdən tub, bət hi wɑz nud. fər ðə fərst tu teɪks, hi ˈeɪbəl tɪ du ˈɛniˌθɪŋ, bət hi əˈnaʊnst ˌbiˈfɔr ðə θərd ðət ɪt wʊd ˈhæpən, ənd ɪt dɪd. "ˈæˌkʧuəli ˈprɪti praʊd," hi sɪz. ənd ðɛn hi læfs ənd blərts aʊt, piɪŋ kɔst mi ən ˈɔskər." hi ɪz nɑt ɪnˈtaɪərli ˈsɪriəs. nɔr wɪl hi ɛnˈdɔrs stiv sˈlaɪtli ˈbrɔdər ˈsteɪtɪd vju: "ɪn əˈmɛrɪkə tu skɛrd əv sɛks, waɪ hi ˈnɑməˌneɪtəd." "aɪ θɪŋk soʊ," sɪz ˈfæsˌbɛndər. "stiv ɪz ə ˈpæʃənət mæn. nɑt məʧ ˈfɪltərɪŋ wɪθ stiv, ənd aɪ ləv ɪm fər ðət." bət ˈstɑrkli ˈɑnəst ɪn ækˈnɑlɪʤɪŋ ðət ðɛr wɑz ə kənˈsərtɪd kæmˈpeɪn tɪ gɪt ɪm ˈprɑməst mi ˈpɛrəˌdaɪs!" hi haʊ hɪz ˌɛkspɛkˈteɪʃənz wər reɪzd. "æt ðə bɪˈgɪnɪŋ ˈpipəl [seɪ], goʊɪŋ tɪ bi goʊɪŋ tɪ ðə oscars,’*,’ ənd laɪk, ’’whatever*, ˈmætər, θɪŋk so.’*.’ bət ˈæftər ə waɪl ɪt dɪz ˈpɛnəˌtreɪt. ˈæftər ə waɪl laɪk, ’’anyway*, soʊ goʊɪŋ tɪ ðə oscars...’*...’ hi læfs. "ənd ju stɑrt tɪ bɪˈliv ɪt. ənd aɪ dɪd. aɪ θɔt aɪ wɑz goʊɪŋ. ənd ðɛn aɪ faʊnd aʊt aɪ ənd aɪ wɑz ˈəpˌsɛt. aɪ wɑz ˈvɛri ˈəpˌsɛt baɪ ɪt. ðə fərst riˈækʃən wɑz ðə fuck...?’*...?’ hi saʊnz ˈfrəˌstreɪtəd ðət hi hæd lɛt hɪmˈsɛlf gɪt səkt ɪn. ə ˈvænɪti θɪŋ. ɪt dɪz bɪˈkəm ˌɪmˈpɔrtənt tɪ ju. ənd ɪt." ɔn rɪˈflɛkʃən, hi ˌdɪˈsaɪdɪd ðət hi hæd ˈlərnɪd ˈsəmθɪŋ əˈbaʊt mɪˈspleɪst praɪˈɔrətiz. "ə gʊd ˈlɪtəl ˈlɛsən." ˈrɪdli skɑt fərst ˈnoʊtɪst ˈfæsˌbɛndər ɪn ˈhəŋgər ənd fɪʃ tæŋk. "ˈprɑbəˌbli wən əv ðə bɛst θri ər fɔr ˈæktərz aʊt ðɛr," sɪz skɑt. "hi hoʊldz ðə skrin." ˈfæsˌbɛndər pleɪz ən ˈænˌdrɔɪd ɪn prəˈmiˌθiəs, ənd wɪn ðə tu mɛt tɪ dɪˈskəs haʊ hi maɪt əˈproʊʧ ðə roʊl, skɑt æst ɪm tɪ lʊk æt θri ˈmuviz. moʊst ˈsupərˌfɪʃəli ðə mæn hu fɛl tɪ ərθ, ɪn wɪʧ ˈdeɪvɪd boʊi pleɪz ən ˈeɪliən ˈvɪzɪtər huz læk əv bɪˈlɔŋɪŋ its əˈweɪ æt ɪm. mɔr ˌɪmˈpɔrtənt wər ˈlɔrəns əv əˈreɪbiə ənd ðə ˈwəndərfəl 1963 fɪlm ðə ˈsərvənt, ɪn wɪʧ dərk pleɪz ə tɪ ə rɪʧ, ˈeɪmləs ˈɪŋglɪʃmən. skɑt sɪz ðət ˈfæsˌbɛndər foʊnd ɪm ˈʃɔrtli ˈæftər ˈwɑʧɪŋ ðə ˈsərvənt ənd sɛd, "aɪ gɪt ɪt, aɪ gɪt ðə ˈbətlər." ðoʊ aɪ wɪl si ən ˌɪmˈprɛsɪv ˈdəzən ər soʊ ˈmɪnəts əv prəˈmiˌθiəs, ˈmoʊstli ˈteɪkən frəm ˈərli ɔn ɪn ðə ˈmuvi, ˈditeɪlz əˈbaʊt ðə fɪlm ər ˈkloʊsli ˈgɑrdɪd; ˈɛniˌwən proʊn tɪ ˌspɛkjəˈleɪʃən, ˌhaʊˈɛvər, maɪt faɪnd ɪt sɪgˈnɪfɪkənt ðət ðə ˈsərvənt ɪz ə ˈmæstərfəl dɪˈpɪkʃən əv ˈhaɪrɪŋ ˈsəmˌwən tɪ kənˈtroʊl ðə ˈlɪtəl ˈditeɪlz əv jʊr laɪf ˈoʊnli tɪ dɪˈskəvər wən deɪ ðət wən əv ðə θɪŋz jʊr ɪmˈplɔɪi ɪz kənˈtroʊlɪŋ ɪz ju. ˈpitər dɪˈpɪkʃən əv ˈlɔrəns əv əˈreɪbiə ɪz ˈɔlsoʊ ə ˈbækˌgraʊnd ˈɪnfluəns ɔn haʊ ðə ˈænˌdrɔɪd ˈdeɪvɪd maɪt bɪˈheɪv. ən aʊtˈsaɪdər ɛz wɛl," sɪz ˈfæsˌbɛndər. "ɪn ðə ɛnd, [ˈlɔrəns ɪz] ˈniðər ˈbrɪtɪʃ nɔr ˈærəb. ˈsəmθɪŋ ɪn ðət, aɪ ˈroʊˌbət nɑt biɪŋ ækˈsɛptɪd baɪ ˈɛni əv ðə ˈjumənz." mɔr ənˈjuˌʒuəli, ðə fɪlm əv bɪˈkeɪm ən ˈækʧəwəl pɑrt əv ðɪs nu ˈmuvi. skɑt ənd ˈdeɪmən, ðə ˈskrinˌraɪtər (ənd ˈpriviəsli wən əv ðə maɪndz bɪˈhaɪnd lɔst), hæd bɪn dɪˈskəsɪŋ wət ən ˈænˌdrɔɪd maɪt du ɪn ðə ˈɛmti jɪrz ɔn ə ˈspeɪsˌʃɪp ˈtrævəlɪŋ juʤ ˈdɪstənsɪz waɪl ðə ˈjumən kru slɛpt. tiʧ hɪmˈsɛlf ˈɛvəri skɪl, noʊ daʊt. "aɪ ˈrɛkən hi kən ˈprɑbəˌbli spik ˈsɪkˈstin violin...piano*..." sɪz skɑt. wɔʧ ˈɛvəri ˈmuvi, tu. bət ðɛn ɪt strək ðɛm ðət ˈmeɪbi hi. ˈmeɪbi hi wʊd faɪnd wən ˈmuvi ðət hi laɪkt mɔr ðən ɔl ðə ˈəðərz, ənd ˈfɪkˌseɪt əˈpɑn ɪt. "wi wər ˈtɔkɪŋ əˈbaʊt haʊ jəŋ ˈʧɪldrən, 4 ər 5-year-olds*, wɪl wɔʧ ðə seɪm ˈmuvi ˈoʊvər ənd ˈoʊvər əˈgɛn," sɪz. "ənd seɪ tɪ ðɛm, ər ˈəðər movies...’*...’ ənd ðeɪ seɪ, ’’no*, aɪ wɔnt ðɪs one.’*.’ wət ɪf ðɪs ˈænˌdrɔɪd wɔʧt ˈlɔrəns əv əˈreɪbiə ˈoʊvər ənd ˈoʊvər? wət ɪf hi ˈivɪn ˌdɪˈsaɪdɪd tɪ staɪl hɪz əˈpɪrəns ɔn? wət ɪf hi ˈivɪn ˈsəmˌtaɪmz juzd ˈbɑˌroʊd ˈdaɪəˌlɔg? kˈwɪkli ˈspɑtɪd ðət ə laɪn əv wɪʧ ˈkloʊzɪz ðə prəˈmiˌθiəs θɪŋz hæv smɔl frəm ˈlɔrəns əv əˈreɪbiə.) ˈfæsˌbɛndər ɛmˈbreɪst ðɪs ˈfʊli. "aɪ hæd ˈlɔrəns əv əˈreɪbiə ɔn ə lup ɪn maɪ rum θruaʊt ˈfɪlmɪŋ," hi sɪz. "ˈʤizəs, aɪ wɔʧt ɪt soʊ ˈmɛni taɪmz." əbˈsɛsɪv ˌrɛpəˈtɪʃən ɪz ən ˈɪnəgrəl pɑrt əv hɪz ˈwərkɪŋ ˈmɛθəd. wɪn hi ɪz pərˈpɛrɪŋ fər ə ˈmuvi, hi wɪl rɛd ðə skrɪpt ˈoʊvər ənd ˈoʊvər, deɪ ˈæftər deɪ, ənˈtɪl hi həz rɛd ɪt əraʊnd θri ˈhənərd taɪmz. ðɪs ɪz ˈɔfən noʊ mɔr fən ðən ɪt ˈfəkɪŋ ˈbɔrɪŋ!" hi ɪt hɛlps ɪm tɪ ðə pleɪs wɛr, aɪˈrɑnɪkli, wəns ðə ˈkæmərə ɪz ˈroʊlɪŋ, hi filz ˈlɪˌbərˌeɪtɪd tɪ goʊ wɛˈrɛvər hɪz ˈɪnstɪŋkt teɪks ɪm. ˈfæsˌbɛndər ˈɔlsoʊ ˈdutifəli əˈdɑptəd ðə ˈpitər ˈhɛrˌstaɪl rikˈwaɪərd, ɔlˈbiɪt wɪθ lɛs ɪnˈθuziˌæzəm. "ˈpərˌfɪkt fər ðə ˈkɛrɪktər," hi noʊts, bət ɛz ˈmaɪkəl ˈfæsˌbɛndər hi ˈheɪtɪd ɪt. "aɪ θɪŋk hɛr ɪz ə ˌbɛnəˈfɪʃəl lʊk fər mi," hi sɪz. "aɪ ʤɪst lʊkt æt ˌmaɪˈsɛlf ənd aɪ wɑz laɪk, rɛnt boy.’*.’ (ər, trænzˈleɪtəd ˈɪntu əˈmɛrɪkən: 8 meɪl ˈprɑstəˌtut.) sɪz ðət wəns ˈfæsˌbɛndər hæd bɪn kæst ɛz ˈdeɪvɪd, ðə ˈæˌkʧuəli ɪˈvɑlvd wɪθ ðət ɪn maɪnd: ən ˈɛləmənt əv ˈdeɪnʤər tɪ ɪm, ənd ən ˈɛləmənt əv ˈsikrəsi. ˈɛvriˌθɪŋ sin ɪm du, noʊ ˈmætər haʊ ˈləvɪŋ ənd swit ənd roʊˈmæntɪk hi kən bi, ðɛr ɪz ʤɪst ðɪs kəmˈpɛlɪŋ sɛns əv: ðɪs gaɪ həz ˈsəmθɪŋ tɪ haɪd. ˌfəndəˈmɛnəl ˈɛmpəθi ɪz ðə ˈgreɪtəst tul, tɪ meɪk ðə ˈpərsən ɪn ðə ˈɔdiəns seɪ, æm ðət person.’*.’ ˈmaɪkəl ˈfæsˌbɛndər dɪz nɑt ˈɔlˌweɪz du ðət. hi ɪz ˌoʊˈkeɪ wɪθ, ənd ˈkəmfərtəbəl wɪθ, ənd ˈkɑnfədənt wɪθ seɪɪŋ, wɪl nɑt əˈlaʊ ju tɪ fil ˈɛmpəθi wɪθ mi. ðɛr ɪz ə pɑrt əv mi ðət aɪ æm goʊɪŋ tɪ kip tɪ ˌmaɪˈsɛlf. ənd ɪf ju traɪ tɪ gɪt kloʊz ju wɪl faɪnd maɪ hænd ɪn jʊr face.’*.’ ə fju wiks ˈæftər ɑr ˈləndən ˌæftərˈnun, wi mit fər lənʧ ɪn nu jɔrk. ɪn ðə ˈminˌtaɪm, ˈfæsˌbɛndər həz əˈpɪrd æt ə kənˈvɛnʃən ɪn ˈænəˌhaɪm, ˌkæləˈfɔrnjə, tɪ prəˈmoʊt prəˈmiˌθiəs, ənd mɛt wɪθ ðə ˈskrɪpˌtraɪtər fər ðə nɛkst ˈmuvi ɪn lɔs ˈænʤəlɪs tɪ dɪˈskəs wət ɪz ɪn stɔr fər, ənd hi həz floʊn əp tɪ ˌsækrəˈmɛntoʊ, wɛr hɪz ˈsɪstər naʊ lɪvz, tɪ səˈpraɪz hɪz ˈpɛrənts. ɪt wɑz ə ʤɔɪnt ˈərli ˈbərθˌdeɪ ˈpɑrti fər hɪz ˈfɑðər ənd fər thirty-fifth*. ɪn nu jɔrk, hi ˈɔrdərz ə ˈdəbəl ˌɛˈsprɛsoʊ ənd ˈpəzəlz ˈoʊvər ˌənfəˈmɪljər ˈpɑstəz ɔn ðə ˈmɛnju. wət hi hi moʊst ləvz tɪ it ˈæftər ˈweɪkɪŋ ˈɔɪstərz. θɪŋk əv ðɪs nɑt ɛz ðə ˈnuli əkˈwaɪərd teɪsts əv ðə ˌɪnərˈnæʃənɑl fɪlm stɑr, bət ɛz ðoʊz əv ə bɔɪ wɪθ ə ʃɛf ˈfɑðər hu gru əp wɪθ ˈækˌsɛs tɪ ˈpraɪvət ˈɛriəz əv ə faɪn ˈrɛˌstrɑnt. ˈɔɪstərz ər nɑt ɔn ðə ˈmɛnju hir bət hi ɪz nɑt dɪˈtərd. "ˈɛni gʊd ˈkɪʧən," hi ˈkɑnfədəntli əˈnaʊnsɪz, "ʃʊd bi stɑkt əp ɪn ˈɔɪstərz, ðeɪ?" hi æsks ðə ˈweɪtrəs ˈwɛðər ðeɪ hæv ˈɛni ˈɔɪstərz. ðeɪ du nɑt. hi rɪˈnuz hɪz ˈstədi əv ðə ˈmɛnju. hi ˈɔrdərz ðə ˈsænwɪʧ ənd əˈnaʊnsɪz ðət wi wɪl ʃɛr səm ˈpɑstə fərst. pleɪ ˈmɑmə," hi sɪz wɪn ɪt əraɪvz, ənd dɪˈvaɪdz ɪt əp. hi ˈmɛnʃənz ðət hi həz ˈrisəntli ˈstɑrtɪd ˈkʊkɪŋ əˈgɛn. "ɪf frɛndz əraʊnd, kʊk. ər ɪf aɪ hæv ə ˈgərlˌfrɛnd. bət ɔn maɪ oʊn aɪ kaɪnd əv fɛl aʊt əv ðə ˈhæbət əv ɪt, ənd ə ʃeɪm ˈrɪli bɪˈkəz aɪ noʊ gʊd fər mi. ˈsəmθɪŋ kwaɪt ˌθɛrəˈpjutɪk." ˈdʊrɪŋ ən ˈərliər stɑp ɪn nu jɔrk, hi wɑz ˈfoʊtəˌgræft ˈwɔkɪŋ ðə strits əv ˈsoʊhoʊ hænd ɪn hænd wɪθ hɪz ʃeɪm nɪˈkoʊl. ˈfæsˌbɛndər həz ˈtɛndɪd tɪ kip kwaɪət əˈbaʊt hɪz roʊˈmæntɪk laɪf, ðoʊ nɑt lɔŋ əˈgoʊ hi ˈbrifli rɪˈflɛktɪd ɔn ðə ˌdɪˈskəvri ðət hɪz nu feɪm kəmz wɪθ "ə ˈbəfət əv ʧɔɪs." ˈæftər ðə ˈfoʊˌtoʊz əv ənd ɪm əˈpɪrd, ðə ˈgloʊbəl ˈgɑsəp ˈmidiə əˈnɔɪntɪd hər ɛz hɪz ˈgərlˌfrɛnd. ɪn ðɪs ˈɪnstəns ðɛr əˈsəmpʃənz ər ˈækjərət. siɪŋ nɪˈkoʊl, traɪɪŋ tɪ si iʧ ˈəðər ɛz ˈɔfən ɛz ˈpɑsəbəl," hi ækˈnɑlɪʤɪz. kaɪnd əv ˈdɪfəkəlt wɪn ʃi lɪvz [ɪn nu jɔrk] ənd aɪ lɪv ɪn ˈɪŋglənd." hi sɪz ðeɪ gɑt təˈgɛðər ˈdʊrɪŋ ðə pərˈmoʊʃən. "ˈnəθɪŋ ˈhæpənd waɪl wi wər ˈfɪlmɪŋ. wi ˈstɑrtɪd ˈtɔkɪŋ mɔr ɔn ðə pərˈmoʊʃən θɪŋ. soʊ, jæ, ɪt ʤɪst sɔrt əv ənˈfoʊldəd laɪk ðət." prɪˈzuməbli waɪ naʊ bæk ɪn nu jɔrk fər ə ˈkəpəl əv deɪz, ðoʊ hi seɪ soʊ. wət hi dɪz ɪkˈsprɛs ɪz ʤɪst haʊ məʧ, ˈdʊrɪŋ ɑr mil, hi ɪz ˌɪnˈkrisɪŋgli ˈfrəˌstreɪtəd baɪ ðə əv ðə ˈweɪtərz. rɪˈpitɪdli hi həz tɪ ɪkˈspleɪn ðət noʊ, θæŋk ju, hi wʊd nɑt laɪk hɪz pleɪt ˈteɪkən jɛt. ðɪs simz tɪ dɪˈstərb ðɛm ɛz məʧ ɛz ðɛr ˈækʃənz ər dɪˈstərbɪŋ ɪm. goʊɪŋ ɔn, mæn?" hi ɪˈvɛnʧəwəli ɪkˈskleɪmz tɪ ə mæn ˈlɔɪtərɪŋ ˈæŋkʃəsli ə fju fit əˈweɪ. "ju meɪk mi ˈnərvəs wɪn ju ˈhəvər əraʊnd laɪk ðət." ˈfæsˌbɛndər reɪlz tɪ mi əˈbaʊt ðɪs ˈnuli ˈfæʃənəbəl ˈhæbət əv ˈteɪkɪŋ əˈweɪ pleɪts ˌbiˈfɔr ˈɛvriˌwən həz ˈfɪnɪʃt. "wən əv maɪ pɛt heɪts," hi sɪz. wɪˈθaʊt ˈrɛdɪŋ tu məʧ ˈɪntu ə ˈmoʊmənt ər ˌɪrɪˈteɪʃən, nɑt ˈivɪn ənˈʤəstəˌfaɪd, ɪt meɪ bi ə ˈpɔɪntər. ˈfæsˌbɛndər ˈprɛzənts hɪmˈsɛlf ɛz ˈkɛrˌfri ənd dɪˈskrɪpʃən tɪ mi əv hɪz dɪˈminər waɪl ˈfɪlmɪŋ ə ˈdeɪnʤərəs ˈmɛθəd ɪz ɛz maɪ sɛns ɪz ðət ðɛr ɪz ˈɔlsoʊ əˈnəðər ˈfæsˌbɛndər, wən məʧ mɔr ˈtaɪtli wund, huz frəˈstreɪʃənz ənd æmˈbɪʃənz ənd ˌɪnsɪˈkjʊrɪti ˈbəbəl əˈweɪ ɪn ˈdɑrknəs, ˈbaɪdɪŋ ðɛr taɪm. təˈdeɪ, ðoʊ, ðə ˈʧɑrmər ɪz ˈmoʊstli ɪn kəˈmænd. ˈfəni ˈtɔkɪŋ əˈbaʊt hɪz səkˈsɛsɪz, ənd ˈfəniər stɪl ˈtɔkɪŋ əˈbaʊt ðə ˈmoʊmənts ðət hæv nɑt gɔn ɛz plænd. wɪn hi ˈmɛnʃənz sɛnˈtʊriən, ə dɪˈzæstrəs mɪsˈfaɪər, hi ˈmətərz "ðət kraɪˈtɪriən ˈklæsɪk." ɪn ðɪs ˈspɪrɪt, ʤɪst ˌbiˈfɔr hi livz aɪ æsk ɪm əˈbaʊt ə ˈkæmiˌoʊ ðət aɪ rɛd fɪlmd ɪn ə ˈwʊdi ˈælən ˈmuvi, drim. ɛz hi dɪˈskraɪbz ðə ɪkˈspɪriəns, hi ˈmɛnʃənz ˈnɛvər sin ðə ˈmuvi. ˈoʊnli ðɛn ðət aɪ ˈriəˌlaɪz hi noʊ hi wɑz kət aʊt əv ɪt, ənd ðət əˈbaʊt tɪ breɪk ðə nuz. "oʊ ʃɪt," hi sɪz ˈɛkwɪtəbli. hi tɛlz ən ɪmˈbɛrəsɪŋ ˈstɔri əˈbaʊt haʊ hi ˈwɔntɪd tɪ seɪ ˈgʊdˌbaɪ tɪ ˈælən æt ðə ɛnd əv hɪz ˈsɪŋgəl ʃut, ənd haʊ hi ˈhɛdɪd ˈæftər ðə dɪˈpɑrtɪŋ dɪˈrɛktər ˈkɔlɪŋ aʊt "ˈwʊdi! ˈwʊdi!" bət ˈælən ˌdɪsəˈpɪrd wɪˈθaʊt ˈtərnɪŋ əraʊnd, ˈlivɪŋ ˈfæsˌbɛndər wɪθ ˈnəθɪŋ tɪ du bət ˌridərˈɛkt tɪ ðə kræft ˈteɪbəl, pɔr ə kəp əv ˈkɔfi, ənd traɪ tɪ priˈtɛnd wət hi hæd bɪn ˈplænɪŋ tɪ du ɔl əˈlɔŋ. "ə ˈrɪli sæd ˈmoʊmənt," hi sɪz. læst ˈsəmər, ˈæftər prəˈmiˌθiəs ræpt, æt ðə ɛnd əv twɛlv mənθs əv ˈfɪlˌmeɪkɪŋ, ˈfæsˌbɛndər tʊk ə ˈmoʊtərˌsaɪkəl trɪp θru ˈjʊrəp: hi ənd ən oʊld skul frɛnd ɔn wən baɪk, hɪz ˈfɑðər, ˈʤoʊsəf, ɔn əˈnəðər, ə trɪp ðət hæd bɪn tɔkt əˈbaʊt fər ˈoʊvər tɛn jɪrz. θri baɪk bɑs frəm ðə trɪp rɪˈmeɪn stækt əp ɪn ðə ˈlɪvɪŋ rum əv hɪz ˈləndən əˈpɑrtmənt. tɪ ˈfæsˌbɛndər ðə bɑs ər nɑt ʤɪst ə riˈmaɪndər əv ə ˈhæpi taɪm, ðeɪ ˈɔlsoʊ ˌrɛprɪˈzɛnt ə ˈsɪmpələr weɪ əv biɪŋ: "wɪn aɪ keɪm bæk aɪ wɑz nid tɪ lɪv maɪ laɪf aʊt əv θri bɑs. ˈpərˌfɪkt. ɔl aɪ need.’*.’ ˈæftər ðeɪ gɑt hoʊm, ˈməðər, əˈdɛl, kɔld ɪm. "wət hæv ju dən tɪ jʊr ˈfɑðər?" ʃi æst. hi wɑz ˈgrəmpi. nɑt ðə seɪm. "aɪ mɪs ðə roʊd," hɪz ˈfɑðər toʊld ɪm. "aɪ mɪs ðə ˈækʃən. ˈklinɪŋ aʊt ðə ˈgətərz æt ðə ˈmoʊmənt." wən əv hɪz rɪˈpleɪsmənt ækˈtɪvɪtiz, soʊ ɪt simz, ɪz tɪ ˈfɑloʊ hɪz ˈməʃˌrʊmɪŋ feɪm ˈviə ˈgugəl əˈlərt. ðət ɪz haʊ ˈfæsˌbɛndər lərnz məʧ əv wət ɪz biɪŋ sɛd əˈbaʊt ɪm. ə kɔl wɪl kəm ɪn. ˈsəmˌtaɪmz ðɛr ər ˌɪmˈpɔrtənt ˈɪʃuz ðət nid æˈdrɛsɪŋ. ɛz ˈfæsˌbɛndər tɛlz mi wɪn wi mit ɪn nu jɔrk, "maɪ dæd wɑz laɪk, ðɪs əˈbaʊt səm fæn ˈvɑmətɪŋ ɔn jʊr shoes?’*?’ ɪn ə seɪn ənd ˈsteɪbəl wərld, ðɪs wʊd bi ə ˌhaɪpəˈθɛtɪkəl ɪgˈzæmpəl bət, surreally*, ɪt ɪz nɑt. sɪns wi fərst mɛt ɪn ˈləndən, ə ˈstɔri hæd əˈpɪrd ðət ə ˈstɑrˌstrək ˈwʊmən wɑz soʊ ˈoʊvərˌkəm baɪ ˈmitɪŋ ˈfæsˌbɛndər ɪn ə pəb nɪr hɪz hoʊm ðət ʃi θru əp ɔl ˈoʊvər hɪz ʃuz. ə "sɔrs" wɑz kˈwoʊtɪd ɪn wən əv ðə ˈbrɪtɪʃ ˈtæblɔɪdz seɪɪŋ, "hi wɑz ə bɪt bɪmˈjuzd baɪ hɪz ˈleɪtəst ɪnˈkaʊnər ənd brəʃt ɔf ðə ˈvɑmət ənd pleɪd ɪt kul. hi juzd tɪ bi ə ˈbɑrmən soʊ noʊ ˈstreɪnʤər tɪ ˈmɑpɪŋ əp səm sɪk." ˈfæsˌbɛndər wɑz ˌpɑrˈtɪkjələrli səˈpraɪzd baɪ ðɪs ˈstɔri (wɪn ɪt wɑz ˈpəblɪʃt, frɛndz wər ˈsɛndɪŋ ɪm tɛksts seɪɪŋ θɪŋz laɪk "ˈvɑmət?") fər ə ˈvɛri spɪˈsɪfɪk ˈrizən. "aɪ ðɛr fər ɪt," hi sɪz. "ɪt ʤɪst ˈhæpən. wət ər ju goʊɪŋ tɪ du?" ɪt wɑz ˈɔlsoʊ ˌriˈpɔrtəd ðət hi gɑt θroʊn aʊt əv hɪz oʊn ˈpɑrti ˈfɑloʊɪŋ ðə ˈbrɪtɪʃ prɛˈmɪr əv ə ˈdeɪnʤərəs ˈmɛθəd. "əˈnəðər laɪ," hi sɪz. æt list hi ˈrɪli wɑz ðɛr, bət hi ˌɪnˈsɪsts ðət hi lɛft əv hɪz oʊn əˈkɔrd æt p.m*. "aɪ lɛft ˈərli! aɪ səˈpoʊz ˈfæsˌbɛndər livz ˈpɑrti early’*’ ɛz gʊd." ɪn ðɪs ˈɪnstəns, hi simz tɪ teɪk ðə ˈstɔri ɛz ən ˌɪnˈsəlt tɪ ðə taɪmz wɪn hi həz ˈæˌkʧuəli səkˈsidɪd ɪn biɪŋ ɪˈʤɛktɪd: "aɪ hæv bɪn θroʊn aʊt əv ˈpɑrtiz, ənd ə ˈdɪfərənt sin ðən wət wɑz ˈfoʊtəˌgræft ðət naɪt, aɪ kən tɛl ju." ənd ðɛn ðɛr wɑz ðə ˈbɪgəst ˈfæsˌbɛndər ˈstɔri əv ðə pæst fju wiks, ðə ʤoʊk ðət ˈnɛvər stɑps, ˈkəmɪŋ raʊnd wən mɔr taɪm. ɪt wɑz ðə ˈivnɪŋ ˈæftər ðə kənˈvɛnʃən ɪn ˈænəˌhaɪm, ənd ɛz ˈjuʒəwəl, hɪz ˈfɑðər gɑt ɪn təʧ: "aɪ si səm stəf ɔn ðə ˈɪntərˌnɛt..." ɔn ðɪs əˈkeɪʒən ðə ˈɪnstəˌgeɪtər wɑz hɪz prəˈmiˌθiəs ˈθɛrən. ðət ˈvɛri ˌæftərˈnun ʃi hæd ˈspoʊkən tɪ mi əˈbaʊt ɪm ɪn tərmz ˈloʊdɪd wɪθ rɪˈspɛkt: "ðə ˈbɑtəm laɪn ɪz, ˈmaɪkəl ˈfæsˌbɛndər ɪz ˈprɑbəˌbli ðə moʊst ˈtæləntɪd ˈæktər ðət ˈɛvər bɪn əraʊnd, ənd aɪ θɪŋk ðə moʊst ˈtæləntɪd ˈæktər əv ðɪs taɪm raɪt naʊ.... aɪ ˈkænɑt tɔk əˈbaʊt ʃeɪm bɪˈkəz aɪ saʊnd laɪk ə ˈfəkɪŋ frik, bət ə fɪlm ðət steɪd wɪθ mi fər θri wiks. hɪz pərˈfɔrməns ˈhɔntɪd mi. aɪ wɔʧt ɪt twaɪs, ənd wɪn aɪ lʊk æt ðə nuɑns, ðə ˈdɛlɪkəsi, ðə ˈtɛndərnəs, ðɛr wɑz ˈnəθɪŋ əˈbaʊt ɪm. hi noʊz wət ðə ˈbæləns ɪz. hi noʊz ril laɪf, hi noʊ priˈtɛnd laɪf.... ðə ˈbɑtəm laɪn ɪz ðət hi ʃʊd hæv ən ˈɔskər ɔn hɪz ˈmæntəl raɪt naʊ." ðə seɪm ˈivnɪŋ, ˈfæsˌbɛndər ˌɪntrəˈdust ˈθɛrən æt ə ˈjumən raɪts kæmˈpeɪn ˈgælə ɪn ˈdaʊnˈtaʊn lɔs ˈænʤəlɪs, wɛr ʃi wɑz əkˈsɛptɪŋ ən əˈwɔrd fər hər ˌjuˌmænəˈtɛriən wərk. hi kɛpt ɪt ˈsɪmpəl: ˈæftər ə kwɪk əˈpɑləˌʤi fər biɪŋ (ʤinz, waɪt ʃərt, ˈlɛðər ˈʤækɪt) ənd ə "ˈhæpi st*. deɪ, ˈɛvriˌbɑdi!" (hi keɪm ˌɑnˈsteɪʤ wɪθ ə ˈtəmblər əv wət əˈpɪrd tɪ bi ˈwɪski), hi nɛlt ɔn wən ni tɪ ˈprɛzənt hər wɪθ hər əˈwɔrd. hi ðɛn riˈtritɪd tɪ ðə bæk əv ðə steɪʤ ənd ʃi tʊk ðə ˈlɛktərn. feɪst wɪθ ə ˈrɛstləs kraʊd tɪ ˌɛnərˈteɪn ənd ðə ˈnɑlɪʤ ðət ən əˈtræktɪv ˈmuvi ˈæktrəs ˈtɔkɪŋ ðə raɪt kaɪnd əv ˈdərti ˈrɛrli wɪθ ðə ɪˈtərnəl ˈmɑdərn ˈæləˌbaɪ ðət ɪt wɑz ɔl fər ə ˈvɛri gʊd tʊk ðə loʊ roʊd wɪθ ˌɪmˈprɛsɪv vərv. səm wərdz əv θæŋks tɪ hər ˈprɛzəntər ˈɪntu ən əˌpriʃiˈeɪʃən əv ʃeɪm. "ɛz ən ˈæktər," ʃi ˈstɑrtɪd, "aɪ hæv tɪ seɪ aɪ wɑz ˈtruli ˌɪmˈprɛst ðət ju ʧoʊz tɪ pleɪ ɪt bɪg. [ˈlæftər] aɪ min, moʊst ˈəðər ˈæktərz wʊd hæv gɔn smɔl, trəst mi. [mɔr ˈlæftər] noʊ, aɪ noʊ, bɪˈkəz wərkt wɪθ moʊst əv ðɛm... [mɔr ˈlæftər] noʊ, ˈsɪriəsli_ [ə nis feɪk soʊ ðət ðə ˈɔdiəns naʊ ɪkˈspɛkts sɪnˈsɪr ˈpinɪs wɑz ə ˌrɛvəˈleɪʃən. aɪ æm əˈveɪləbəl tɪ wərk wɪθ ɪt ˈɛniˌtaɪm." hi tɛlz mi ðət frəm wɛr hi wɑz ˈstændɪŋ hi kʊd hir ðə ˈlæftər bət ˈrɪli hir ðə wərdz. "aɪ ʃʊd hæv noʊn, tɪ bi ˈɑnəst," hi rɪˈflɛkts. "ju noʊ, ˈprɪti ˈmɪsʧəvəs, ənd gɑt ə ˈprɪti ˈfɪlθi maʊθ. jæ, aɪ ʃʊd hæv bɪn priˈpɛrd, ˈrɪli. aɪ, ˈstupəˌdli ɪˈnəf." ˈæftərwərd, ˈθɛrən sɛd tɪ ɪm, "aɪ hoʊp ju maɪnd mi ˈmeɪkɪŋ ə ʤoʊk əˈbaʊt jʊr ˈpinɪs." ˈfæsˌbɛndər toʊld hər ɪt wɑz faɪn. aɪ hæv noʊ daʊt hi sɔrt əv mɛnt ɪt. |
every team needs a scapegoat, a hitter or struggling reliever. remember gregor blanco last year? sure you do. if you're in the mood for some yuks, scroll through the movement, being careful to weed out the ironic mentions. people were so very mad at blanco, mad enough to completely forget how valuable he was in the previous two seasons. it's like voltaire that one time: if the giants didn't have someone worthy of being scapegoated, it would be necessary to invent him.
this year's goat is. because, hoo, has he been bad. he has a .476 ops, which is just below chris heston and just above tim hudson. as such, he has become a cause among the grumbling set. what's he's doing out there? why is he still on the roster?
i hope to answer these questions with a little explainer. what in the world are the giants thinking by continuing to employ?
1. he's almost certainly not this bad
that isn't to say that he's very good, or that he's good at all. he's just not a .476 ops guy. he's not hal lanier with dropsy, even if he's looked like that at the plate. and this isn't to say that dreadful hitting hasn't messed the giants up, because it certainly has. with a merely bad offensive performance from their backup, the giants might have an extra win. that's important.
but while complaining what has done in the past is valid, most of the complaints have to do with him screwing up the team in the future. his true talent, though, isn't so low that the giants can immediately replace him with someone clearly better. career line in is .317/.400/.434. i'll eat a plate of cilantro if he ever tops a .400 in the majors in more than 200 at-bats, but at least it's evidence of some latent skills. it beats any evidence for the players brought up most often as replacements.
i'll agree that his bat looks awfully slow and he's often overmatched, but i'll stick by the evaluation that he's not a true .400 ops guy. he's probably closer to a true .600 ops guy, which isn't good at all, but nothing that's worse than what the giants could replace him with.
nick career ops in, by the way: .677. league adjusted, it isn't miles away from what has done, but if you think can't hit in the majors, boy, have we got the for you ...
2. he has at least one average skill
if were hitting a little more, you would notice his defense less. you're basically a gold glove voter, shame on you. but his defense is fine. you're used to brandon crawford, which skews your evaluation of his backup. that's understandable. but in the broader evaluation of major league, is probably average. maybe a tick below, but not by much. he has the range, instincts, and arm to be quite okay.
folks clamoring for joaquin arias are forgetting that he doesn't have an average skill. not a one. name a tool, and he's below average. he's quietly competent at short, and he doesn't make completely mistakes, but that's about the best thing you can say about him. arias doesn't field better than the average shortstop, he doesn't run better than the average position player, and he certainly doesn't throw or hit better than the average shortstop.
adrianza fields as well as the average shortstop, and he probably throws a touch better. as such, i'll take in a direct competition with arias (or noonan). when it comes to someone like a healthy brandon hicks, whose skill is raw power, i'm listening. but one skill is better than none, so long as it isn't dragged down by a hitter so lousy, he isn't even talented enough to chris heston. i don't think is that hitter, as explained above, but if you didn't buy that one, i guess you don't have to buy this section, either.
3. backup are almost always awful, which is why they're backups
do you know who would make a great backup shortstop for the 2015 giants? troy tulowitzki. he could fetch crawford some coffee between innings, and when a lineup opening or appearance came up, he could do his thing. that would be optimal.
if that's not possible, though, all of the best are spoken for. in the imaginary fantasy draft of, the ones who can hit and field are taken first. the ones who can hit and kinda field are taken next. that's followed by the ones who can field and kinda hit. the middle rounds are filled with who can kinda do one or the other. that's where the backups live.
the cardinals have pete kozma, who is possibly the world's best comp for, except he's never hit as well in the minors. the dodgers have kiké hernandez, but that's because the marlins are dingbats. the only outstanding backup are blocked prospects, usually. and if the giants released today, they would have a lousy backup shortstop, just like 25 other teams.
this isn't all to say that is invaluable, or that he should win the backup job next year, or that it's impossible for the giants to do better. none of that is true. he's a fringe player, and the giants should always look to upgrade from fringe players. but if you're pretty sure he's not the worst hitter in baseball history -- which is what he would be if he kept hitting like this -- then he's perfectly serviceable. the real scapegoat is brandon crawford's oblique and the jerk who threw a baseball at his calf. once that happened, the giants were hosed.
i mean, that bunt attempt on monday night was the worst thing i've ever seen, and after he popped it up, i threw my aquarium on the ground, rolling around in the water, shattered glass, and dying fish, screaming about being forgotten and alone and unloved, but we're talking the big picture here.
i enjoy a good scapegoat as much as the next fan. blaming someone specific makes every loss that much easier to understand. i'm not going to pretend that would make the giants immediately better, though. neither should you. | ˈɛvəri tim nidz ə ˈskeɪpˌgoʊt, ə ˈhɪtər ər ˈstrəgəlɪŋ riˈlivər. rɪˈmɛmbər ˈgrɛgər ˈblæŋkoʊ læst jɪr? ʃʊr ju du. ɪf jʊr ɪn ðə mud fər səm jəks, skroʊl θru ðə ˈmuvmənt, biɪŋ ˈkɛrfəl tɪ wid aʊt ðə aɪˈrɑnɪk ˈmɛnʃənz. ˈpipəl wər soʊ ˈvɛri mæd æt ˈblæŋkoʊ, mæd ɪˈnəf tɪ kəmˈplitli fərˈgɛt haʊ ˈvæljəbəl hi wɑz ɪn ðə ˈpriviəs tu ˈsizənz. ɪts laɪk voʊlˈtɛr ðət wən taɪm: ɪf ðə ʤaɪənts ˈdɪdənt hæv ˈsəmˌwən ˈwərði əv biɪŋ ˈskeɪpˌgoʊtɪd, ɪt wʊd bi ˈnɛsəˌsɛri tɪ ˌɪnˈvɛnt ɪm. ðɪs jɪrz goʊt ɪz. bɪˈkəz, hu, həz hi bɪn bæd. hi həz ə 476 ɑps, wɪʧ ɪz ʤɪst bɪˈloʊ krɪs ˈhɛstən ənd ʤɪst əˈbəv tɪm ˈhədsən. ɛz səʧ, hi həz bɪˈkəm ə kɔz əˈməŋ ðə ˈgrəmbəlɪŋ sɛt. wəts hiz duɪŋ aʊt ðɛr? waɪ ɪz hi stɪl ɔn ðə ˈrɑstər? aɪ hoʊp tɪ ˈænsər ðiz kˈwɛsʧənz wɪθ ə ˈlɪtəl explainer*. wət ɪn ðə wərld ər ðə ʤaɪənts ˈθɪŋkɪŋ baɪ kənˈtɪnjuɪŋ tɪ ɪmˈplɔɪ? 1 hiz ˈɔlˌmoʊst ˈsərtənli nɑt ðɪs bæd ðət ˈɪzənt tɪ seɪ ðət hiz ˈvɛri gʊd, ər ðət hiz gʊd æt ɔl. hiz ʤɪst nɑt ə 476 ɑps gaɪ. hiz nɑt hæl ləˈnɪr wɪθ ˈdrɑpsi, ˈivɪn ɪf hiz lʊkt laɪk ðət æt ðə pleɪt. ənd ðɪs ˈɪzənt tɪ seɪ ðət ˈdrɛdfəl ˈhɪtɪŋ ˈhæzənt mɛst ðə ʤaɪənts əp, bɪˈkəz ɪt ˈsərtənli həz. wɪθ ə ˈmɪrli bæd əˈfɛnsɪv pərˈfɔrməns frəm ðɛr ˈbæˌkəp, ðə ʤaɪənts maɪt hæv ən ˈɛkstrə wɪn. ðæts ˌɪmˈpɔrtənt. bət waɪl kəmˈpleɪnɪŋ wət həz dən ɪn ðə pæst ɪz ˈvælɪd, moʊst əv ðə kəmˈpleɪnts hæv tɪ du wɪθ ɪm skruɪŋ əp ðə tim ɪn ðə fˈjuʧər. hɪz tru ˈtælənt, ðoʊ, ˈɪzənt soʊ loʊ ðət ðə ʤaɪənts kən ˌɪˈmiˌdiətli ˌriˈpleɪs ɪm wɪθ ˈsəmˌwən ˈklɪrli ˈbɛtər. kərɪr laɪn ɪn ɪz aɪl it ə pleɪt əv sɪˈlænˌtroʊ ɪf hi ˈɛvər tɑps ə 400 ɪn ðə ˈmeɪʤərz ɪn mɔr ðən 200 ˈætˈbæts, bət æt list ɪts ˈɛvədəns əv səm ˈleɪtənt skɪlz. ɪt bits ˈɛni ˈɛvədəns fər ðə pleɪərz brɔt əp moʊst ˈɔfən ɛz riˈpleɪsmənts. aɪl əˈgri ðət hɪz bæt lʊks ˈɔfəli sloʊ ənd hiz ˈɔfən ˈoʊvərˈmæʧt, bət aɪl stɪk baɪ ðə ɪˌvæljuˈeɪʃən ðət hiz nɑt ə tru 400 ɑps gaɪ. hiz ˈprɑbəˌbli ˈkloʊzər tɪ ə tru 600 ɑps gaɪ, wɪʧ ˈɪzənt gʊd æt ɔl, bət ˈnəθɪŋ ðæts wərs ðən wət ðə ʤaɪənts kʊd ˌriˈpleɪs ɪm wɪθ. nɪk kərɪr ɑps ɪn, baɪ ðə weɪ: 677 lig əˈʤəstɪd, ɪt ˈɪzənt maɪəlz əˈweɪ frəm wət həz dən, bət ɪf ju θɪŋk kænt hɪt ɪn ðə ˈmeɪʤərz, bɔɪ, hæv wi gɑt ðə fər ju 2 hi həz æt list wən ˈævərɪʤ skɪl ɪf wər ˈhɪtɪŋ ə ˈlɪtəl mɔr, ju wʊd ˈnoʊtɪs hɪz dɪˈfɛns lɛs. jʊr ˈbeɪsɪkli ə goʊld gləv ˈvoʊtər, ʃeɪm ɔn ju. bət hɪz dɪˈfɛns ɪz faɪn. jʊr juzd tɪ ˈbrændən ˈkrɔfərd, wɪʧ skjuz jʊr ɪˌvæljuˈeɪʃən əv hɪz ˈbæˌkəp. ðæts ˌəndərˈstændəbəl. bət ɪn ðə ˈbrɔdər ɪˌvæljuˈeɪʃən əv ˈmeɪʤər lig, ɪz ˈprɑbəˌbli ˈævərɪʤ. ˈmeɪbi ə tɪk bɪˈloʊ, bət nɑt baɪ məʧ. hi həz ðə reɪnʤ, ˈɪnstɪŋkts, ənd ɑrm tɪ bi kwaɪt ˌoʊˈkeɪ. foʊks ˈklæmərɪŋ fər ˌwɑˈkin ˈɑriəz ər fərˈgɛtɪŋ ðət hi ˈdəzənt hæv ən ˈævərɪʤ skɪl. nɑt ə wən. neɪm ə tul, ənd hiz bɪˈloʊ ˈævərɪʤ. hiz kˈwaɪətli ˈkɑmpətɪnt æt ʃɔrt, ənd hi ˈdəzənt meɪk kəmˈplitli mɪˈsteɪks, bət ðæts əˈbaʊt ðə bɛst θɪŋ ju kən seɪ əˈbaʊt ɪm. ˈɑriəz ˈdəzənt fild ˈbɛtər ðən ðə ˈævərɪʤ ˈʃɔrtˌstɑp, hi ˈdəzənt rən ˈbɛtər ðən ðə ˈævərɪʤ pəˈzɪʃən pleɪər, ənd hi ˈsərtənli ˈdəzənt θroʊ ər hɪt ˈbɛtər ðən ðə ˈævərɪʤ ˈʃɔrtˌstɑp. fildz ɛz wɛl ɛz ðə ˈævərɪʤ ˈʃɔrtˌstɑp, ənd hi ˈprɑbəˌbli θroʊz ə təʧ ˈbɛtər. ɛz səʧ, aɪl teɪk ɪn ə dɪˈrɛkt ˌkɑmpəˈtɪʃən wɪθ ˈɑriəz (ər ˈnunən). wɪn ɪt kəmz tɪ ˈsəmˌwən laɪk ə ˈhɛlθi ˈbrændən hɪks, huz skɪl ɪz rɑ paʊər, əm ˈlɪsənɪŋ. bət wən skɪl ɪz ˈbɛtər ðən nən, soʊ lɔŋ ɛz ɪt ˈɪzənt drægd daʊn baɪ ə ˈhɪtər soʊ ˈlaʊzi, hi ˈɪzənt ˈivɪn ˈtæləntɪd ɪˈnəf tɪ krɪs ˈhɛstən. aɪ doʊnt θɪŋk ɪz ðət ˈhɪtər, ɛz ɪkˈspleɪnd əˈbəv, bət ɪf ju ˈdɪdənt baɪ ðət wən, aɪ gɛs ju doʊnt hæv tɪ baɪ ðɪs ˈsɛkʃən, ˈiðər. 3 ˈbæˌkəp ər ˈɔlˌmoʊst ˈɔlˌweɪz ˈɔfəl, wɪʧ ɪz waɪ ðɛr ˈbæˌkəps du ju noʊ hu wʊd meɪk ə greɪt ˈbæˌkəp ˈʃɔrtˌstɑp fər ðə 2015 ʤaɪənts? trɔɪ tulowitzki*. hi kʊd fɛʧ ˈkrɔfərd səm ˈkɔfi bɪtˈwin ˈɪnɪŋz, ənd wɪn ə ˈlaɪˌnəp ˈoʊpənɪŋ ər əˈpɪrəns keɪm əp, hi kʊd du hɪz θɪŋ. ðət wʊd bi ˈɑptɪməl. ɪf ðæts nɑt ˈpɑsəbəl, ðoʊ, ɔl əv ðə bɛst ər ˈspoʊkən fər. ɪn ðə ˌɪˈmæʤəˌnɛri ˈfænəsi dræft əv, ðə wənz hu kən hɪt ənd fild ər ˈteɪkən fərst. ðə wənz hu kən hɪt ənd ˈkɪndə fild ər ˈteɪkən nɛkst. ðæts ˈfɑloʊd baɪ ðə wənz hu kən fild ənd ˈkɪndə hɪt. ðə ˈmɪdəl raʊnz ər fɪld wɪθ hu kən ˈkɪndə du wən ər ðə ˈəðər. ðæts wɛr ðə ˈbæˌkəps lɪv. ðə ˈkɑrdɪnəlz hæv pit ˈkoʊzmə, hu ɪz ˈpɑsəbli ðə wərldz bɛst kɑmp fər, ɪkˈsɛpt hiz ˈnɛvər hɪt ɛz wɛl ɪn ðə ˈmaɪnərz. ðə ˈdɑʤərz hæv kiké*é hərˈnændɛz, bət ðæts bɪˈkəz ðə ˈmɑrlənz ər dingbats*. ðə ˈoʊnli ˌaʊtˈstændɪŋ ˈbæˌkəp ər blɑkt ˈprɑspɛkts, ˈjuʒəwəli. ənd ɪf ðə ʤaɪənts riˈlist təˈdeɪ, ðeɪ wʊd hæv ə ˈlaʊzi ˈbæˌkəp ˈʃɔrtˌstɑp, ʤɪst laɪk 25 ˈəðər timz. ðɪs ˈɪzənt ɔl tɪ seɪ ðət ɪz ˌɪnˈvæljəbəl, ər ðət hi ʃʊd wɪn ðə ˈbæˌkəp ʤɑb nɛkst jɪr, ər ðət ɪts ˌɪmˈpɑsəbəl fər ðə ʤaɪənts tɪ du ˈbɛtər. nən əv ðət ɪz tru. hiz ə frɪnʤ pleɪər, ənd ðə ʤaɪənts ʃʊd ˈɔlˌweɪz lʊk tɪ ˈəpˈgreɪd frəm frɪnʤ pleɪərz. bət ɪf jʊr ˈprɪti ʃʊr hiz nɑt ðə wərst ˈhɪtər ɪn ˈbeɪsˈbɔl ˈhɪstəri wɪʧ ɪz wət hi wʊd bi ɪf hi kɛpt ˈhɪtɪŋ laɪk ðɪs ðɛn hiz ˈpərfəktli ˈsərvəsəbəl. ðə ril ˈskeɪpˌgoʊt ɪz ˈbrændən ˈkrɔfərdz əˈblik ənd ðə ʤərk hu θru ə ˈbeɪsˈbɔl æt hɪz kæf. wəns ðət ˈhæpənd, ðə ʤaɪənts wər hoʊzd. aɪ min, ðət bənt əˈtɛmpt ɔn ˈmənˌdeɪ naɪt wɑz ðə wərst θɪŋ aɪv ˈɛvər sin, ənd ˈæftər hi pɑpt ɪt əp, aɪ θru maɪ əkˈwɛriəm ɔn ðə graʊnd, ˈroʊlɪŋ əraʊnd ɪn ðə ˈwɔtər, ˈʃætərd glæs, ənd daɪɪŋ fɪʃ, ˈskrimɪŋ əˈbaʊt biɪŋ fərˈgɑtən ənd əˈloʊn ənd ənˈləvd, bət wɪr ˈtɔkɪŋ ðə bɪg ˈpɪkʧər hir. aɪ ˌɛnˈʤɔɪ ə gʊd ˈskeɪpˌgoʊt ɛz məʧ ɛz ðə nɛkst fæn. ˈbleɪmɪŋ ˈsəmˌwən spɪˈsɪfɪk meɪks ˈɛvəri lɔs ðət məʧ ˈiziər tɪ ˌəndərˈstænd. əm nɑt goʊɪŋ tɪ priˈtɛnd ðət wʊd meɪk ðə ʤaɪənts ˌɪˈmiˌdiətli ˈbɛtər, ðoʊ. ˈniðər ʃʊd ju. |
due to a delay in the visa process, have had to cancel their previously announced north american tour with unearth, kataklysm, dark sermon and anciients. attempts to make new arrangements for this time frame were not fruitful and the camp has determined to reschedule the tour for may 2014. all tickets will be refunded.
sepultura's new album, "the mediator between head and hands must be the heart", was released on october 25 via nuclear blast records.
although it was inspired by fritz classic 1927 movie "metropolis", "the mediator between head and hands must be the heart" is not a concept album or a soundtrack like its "dante xxi" (based on "the divine comedy") and "a-lex" (based on "a clockwork orange").
"the mediator between the head and hands must be the heart" was tracked over a period at producer ross robinson's (korn, limp bizkit, slipknot) studio in venice, california and was mixed and mastered by steve evetts, who previously worked with on the "nation" (2001), "revolusongs" (2002) and "roorback" (2003) albums, in addition to having collaborated with ross on a number of other projects in the past. | du tɪ ə dɪˈleɪ ɪn ðə ˈvizə ˈprɔˌsɛs, hæv hæd tɪ ˈkænsəl ðɛr ˈpriviəsli əˈnaʊnst nɔrθ əˈmɛrɪkən tʊr wɪθ əˈnərθ, kataklysm*, dɑrk ˈsərmən ənd anciients*. əˈtɛmpts tɪ meɪk nu ərˈeɪnʤmənts fər ðɪs taɪm freɪm wər nɑt ˈfrutfəl ənd ðə kæmp həz dɪˈtərmənd tɪ riˈskɛʤul ðə tʊr fər meɪ 2014 ɔl ˈtɪkɪts wɪl bi rɪˈfəndɪd. nu ˈælbəm, "ðə ˈmidiˌeɪtər bɪtˈwin hɛd ənd hænz məst bi ðə hɑrt", wɑz riˈlist ɔn ɑkˈtoʊbər 25 ˈviə ˈnukliər blæst ˈrɛkərdz. ˌɔlˈðoʊ ɪt wɑz ˌɪnˈspaɪərd baɪ frɪts ˈklæsɪk 1927 ˈmuvi "məˈtrɑpələs", "ðə ˈmidiˌeɪtər bɪtˈwin hɛd ənd hænz məst bi ðə hɑrt" ɪz nɑt ə ˈkɑnsɛpt ˈælbəm ər ə ˈsaʊnˌtræk laɪk ɪts "ˈdɑnteɪ xxi*" (beɪst ɔn "ðə dɪˈvaɪn ˈkɑmədi") ənd "a-lex*" (beɪst ɔn "ə ˈklɑkˌwərk ˈɔrɪnʤ"). "ðə ˈmidiˌeɪtər bɪtˈwin ðə hɛd ənd hænz məst bi ðə hɑrt" wɑz trækt ˈoʊvər ə ˈpɪriəd æt prəˈdusər rɔs ˈrɑbənsənz (kɔrn, lɪmp bizkit*, slipknot*) ˈstudiˌoʊ ɪn ˈvɛnɪs, ˌkæləˈfɔrnjə ənd wɑz mɪkst ənd ˈmæstərd baɪ stiv ˈɛvɪts, hu ˈpriviəsli wərkt wɪθ ɔn ðə "ˈneɪʃən" 2001 "revolusongs*" 2002 ənd "roorback*" 2003 ˈælbəmz, ɪn əˈdɪʃən tɪ ˈhævɪŋ kəˈlæbərˌeɪtɪd wɪθ rɔs ɔn ə ˈnəmbər əv ˈəðər ˈprɑʤɛkts ɪn ðə pæst. |
we suggest that signal convergence between the sexes may reflect strong selective pressures on kin recognition, whereas signal convergence within the sexes may arise as its or function independently to prevent competition between unfamiliar relatives. the link between an individual's genome and its olfactory signals could be mediated by pathways producing polymorphic or by carrier proteins modifying the individual bouquet of olfactory cues. in conclusion, we unveil a possible olfactory mechanism of kin recognition that has specific relevance to understanding inbreeding avoidance and behavior observed in primates, and broader relevance to understanding the mechanisms of vertebrate olfactory communication.
despite derivation from different genital glands, and secretions shared about 170 of their respective 338 and 203. in addition, these encoded information about genetic within and between the sexes. although the sexes showed opposite seasonal patterns in signal complexity, the odor profiles of related individuals (whether same-sex or) converged most strongly in the competitive breeding season. thus, a strong, mutual olfactory signal of genetic appeared specifically when such information would be crucial for preventing inbreeding. that weaker signals of genetic might exist year round could provide a mechanism to explain nepotism between unfamiliar kin.
like other vertebrates, primates recognize their relatives, primarily to minimize inbreeding, but also to facilitate nepotism. although, social learning is typically credited for discrimination of familiar kin, discrimination of unfamiliar kin remains unexplained. as dispersal in species cannot consistently prevent encounters between unfamiliar kin, inbreeding remains a threat and mechanisms to avoid it beg explanation. using a molecular approach that combined analyses of biochemical and markers in 17 female and 19 male lemurs (lemur catta), we describe to establish the feasibility of kin recognition.
we sampled 17 sexually mature females year round, during the extended season and the relatively limited breeding season, following published protocols [ 35 ]. our comparable male data (on n = 19 adults) derived from a prior study [ 27 ]. we used a sequential approach to determine if genital secretions encode information about within and between the sexes. for the first analysis involving all (ff), we related differences in the secretions between of females to their genetic distance. this analysis is particularly relevant to examining olfactory mechanisms guiding or competitive behavior between members of the same sex. for the second analysis involving all (mf), we related differences between the secretions and distances in,, and using a subset of shared by the sexes. for the last analyses of, we focused exclusively on. these latter analyses are of primary relevance to examining olfactory mechanisms of inbreeding avoidance.
ring-tailed lemurs live in groups, characterized by a promiscuous breeding system, as well as by female and dispersal [ 28 , 29 ]. as a species that also experiences female eviction [ 30 ] and repeated male migration [ 29 ], they face the risk of mating with unfamiliar kin. when it occurs, inbreeding may have dire consequences, including depressed immune function and reduced life expectancy [ 31 ]. olfactory communication is critical to lemur social interaction, as evidenced by their unique set of specialized scent glands or glandular fields, their elaborate repertoire, and the intensity of response these scent signals elicit from [ 28 , 32 - 34 ]. here, we focus on the genital secretions derived from the glandular fields and the glands because, beyond encoding identity, these secretions are the most comparable between the sexes [ 34 , 35 ].
research on kin discrimination is typically focused on documenting its occurrence. for instance, under natural conditions, researchers have coupled field observations with genetic analyses to show spatial associations or preferential treatment between unfamiliar kin [ 7 , 14 , 15 ] and avoidance of unfamiliar relatives as mates [ 16 - 19 ]. in the laboratory, researchers have relied on behavioral or experiments to assess an individual's ability to differentiate unfamiliar kin from [ 3 ]. here, we focus instead on deciphering a putative olfactory mechanism of kin recognition by showing, which occurs when the similarity between the olfactory signals of two individuals reflects their genetic similarity at specific or multiple loci [ 20 ]. in inbred mouse lines, for example, at least two gene families (e.g., the major complex or and mouse urinary proteins or mups) influence the olfactory profiles of an individual's urine [ 21 - 23 ] and underlie recognition [ 24 ]. only a handful of studies have begun to examine if similar results might obtain in vertebrates that have different signaling systems or if additional genes may be involved in creating individual odor profiles. indeed, the secretions of bats relate to maternal lineages [ 25 ], the anal secretions of beavers encode pedigree relationships [ 26 ], and the secretions of male lemurs reflect individual genetic diversity (i.e., neutral, heterozygosity) and genetic among males [ 27 ]. the latter results have significant implications for female mate choice and competition, suggesting that in this species merits further investigation. here, we complement our prior findings by examining if the olfactory cues common to female and male genital secretions relate to within and, more importantly, between the sexes. if so, olfactory cues could provide a reliable mechanism of kin recognition to guide behavior and inbreeding avoidance.
most vertebrates recognize their close relatives (kin recognition), either to avoid mating with them or to identify the most appropriate recipients of behavior (kin discrimination) [ 1 - 3 ]. although the benefits of kin recognition may be clear, the mechanisms by which it operates are often less evident. in primates, for instance, researchers typically credit, social learning in the discrimination of familiar kin [ 2 , 4 ], but the discrimination of unfamiliar kin (e.g. [ 5 , 6 ]) defies explanation via learning [ 7 ]. as dispersal cannot consistently prevent kin encounters, particularly in species, inbreeding between unfamiliar kin remains a real threat and carries potentially disastrous fitness consequences [ 8 - 10 ]; consequently, mechanisms to avoid it beg explanation. indeed, a deeper understanding of signals demands integration of 'why' questions about ultimate function with 'how' questions about proximate mechanisms [ 11 ]. as kin discrimination is gaining appreciation in other groups [ 3 , 12 , 13 ], we propose that primates might also use odor cues to assess kinship or genetic, particularly to identify unfamiliar kin. as a first step to addressing this question, we merge biochemical and genetic analyses to test if olfactory signals offer a reliable means of kin recognition in a primate, the lemur (lemur catta).
next, we extracted from the 630 those pairs involving males and females only (n = 323, figure and ). as we could not use the mantel test for the alone (because the corresponding matrix would not have been square), we instead used a permutation test to compare the empirical correlation coefficient r) against a distribution of correlation coefficients generated by events [ 37 ]. with this analysis, we detected a significant pattern of odor during both the (r =, p =) and the breeding (r =, p =) seasons. according to these tests, the appeared to be expressed in pairs throughout the year, but was stronger during the breeding season. for a more conservative analysis, we categorized the 323 into five classes of genetic distances (figure and , as for in figure and and as for in [ 27 ]), which we compared using permutation tests based on class means [ 38 ]. during the season, the mean distance between members of did not vary across classes of genetic distance (all >); olfactory cues in the season did not reflect the genetic relationship between males and females (figure ). during the breeding season, however, the mean distances between members of were significantly differentiated across nearly all classes <, except for class vs. class, p =), increasing systematically with genetic distance (figure ). according to this analysis, and consistent with patterns (figure , [ 27 ]), the olfactory cues encoding between the sexes were evident only during the breeding season.
representative chromatograms of related and unrelated pairs during the breeding season illustrate the greater similarity between, for example, and pairs than between two unrelated individuals born to different colonies (figure ). to statistically examine the relationship between chemical and genetic distances between pairs, we first ran a partial mantel test, as above, but for all possible (n = 630 + +). overall, chemical and genetic distances did not correlate during the season (partial mantel test, r = 0. 01, p =), but did correlate during the breeding season (partial mantel test, r =, p =), consistent with the patterns found independently for same-sex analyses (males: [ 27 ]; females: figure ).
we found that, complementing the pattern in males [ 27 ], the olfactory cues present in female genital secretions encoded information about female in a seasonally dependent fashion. in particular, the chemical distance between members of showed no relationship to their genetic distance during the season (partial mantel test, r = -0.07, p =; figure and ), but correlated significantly with their genetic distance during the breeding season (partial mantel test, r =, p =; figure and ).
the sexes also differed in their seasonal patterns of diversity, as reflected by three indices, including richness (which refers to the number of observed) and the simpson and shannon indices (which both correct for abundance, see methods and [ 36 ]). in males, genital scent signals showed a consistent decline in diversity, across all indices, from the to the breeding season [ 27 ]. by contrast, the diversity of female scent secretions either increased during the breeding season (richness index, paired, t 16 =, p =) or remained stable across seasons (shannon index: t 16 =, p =; simpson index: t 16 =, p =), potentially because those compounds gained during the breeding season contributed only a small proportion (less than%) to the total chromatogram area. thus, during the breeding season, whereas signal complexity was compromised in most males, females maintained or enhanced their signal complexity.
females expressed a greater number of in their genital secretions than did males (total compounds overall: females = 338, males = 203; mean compounds in the breeding season: females =, males =;, t 34 =, p <; mean compounds in the season: females =, males =; for unequal variance, t 24 =, p <). this sex difference was typically accounted for by the presence in females of additional weight compounds, such as fatty acid. despite this sex difference in overall expression and despite their distinct anatomical derivation [ 34 ], and secretions shared a total of 170 compounds, defined as those compounds expressed in at least one female and one male (representing% and% of total female and male compounds, respectively; figure ). these shared compounds included fatty acid esters (49%), unknown hydrocarbons with identified molecular mass (25%), fatty acids (10%), compounds related to cholesterol (2%), (2%), (< 1%), (< 1%), and (< 1%).
discussion
by integrating genetics and biochemistry, we provide the first molecular evidence that the scent secretions expressed by the genital glands of male and female lemurs contain olfactory markers of genetic within and, more importantly, between the sexes. to date, convergence in olfactory profiles between relatives had been reported only for same-sex [26,27]. moreover, although common to both sexes have been identified in the secretions derived from the same gland in other species [12,13], we report on signal convergence in the secretions derived from comparable, but anatomically distinct glands or glandular fields [34,39]. lastly, although the sexes diverged seasonally with respect to their signal complexity, (and same-sex) convergence in the olfactory signals of related individuals appeared most strongly (or only) during the breeding season, suggesting that genital secretions are 'mutual signals' [40] that encode information primarily relevant to inbreeding avoidance, with potentially secondary or independent implications for facilitating nepotism year round. the convergence of olfactory signals within and between the sexes likely underlines strong selective pressures on kin recognition.
whereas for many females the benefit of inbreeding avoidance may be clear (e.g. to avoid the high energy investment of pregnancy and lactation if the offspring produced would be of low quality), the benefit to males may be less apparent, given their seemingly reduced investment in reproduction. what then might be the selection pressures operating on males to explain olfactory convergence between the sexes? in some species, the olfactory profiles of certain males converge on those of the females to dupe in sex communication [41-43]. such duplicity is unlikely, however, in members of individualized societies. moreover, it is not supported in lemurs by olfactory evidence, given that sex and individual identity are chemically encoded [35] and detected [33,34] in scent cues throughout the year. an alternate explanation may be found in a broader application of sexual selection theory. increasing evidence of competition and male mate choice suggests that various species may not conform to a pattern of 'expensive eggs' and 'cheap sperm' [44]. indeed, in socially complex species characterized by slow life histories, males may face significant reproductive costs that increase the benefits derived from being choosy. thus, female and male lemurs may share similar selection pressures to avoid inbreeding.
odor-gene also raises the possibility that odor cues could serve to prevent, again with similar benefits to both sexes. depression, although less well documented than inbreeding depression, can also produce negative consequences on fitness [45,46]. in only a few studies have researchers tested if offer reliable cues that could serve to identify an dissimilar mate and thereby help individuals avoid the fitness consequences of either inbreeding or. in humans, individuals tend to pair with mates that are not too dissimilar at functional loci [47], but the sensory mechanism that may drive the avoidance of dissimilar mates remains unclear. in more extreme cases, could facilitate species or recognition. in primates, for instance, the scent gland secretions from two and s. f. illigeri) contained distinctive chemical markers [48] and elicited discriminative responses by members of either [48,49]. thus, it may be possible that avoidance within and between species [20]. given that lemur nearest sister belongs to a different genus (hapalemur) [50], the threat of hybridization would seem less likely than the threat of inbreeding. future studies could address the issue of by comparing the scent gland of individuals derived from several populations or and measuring the behavioral responses the various mixtures of may elicit [20].
although fascinating, it is unclear why the signal of genetic appears to be largely seasonally dependent. consistent with the scent secretions of other mammals [51,52], including other primates [48,53,54], the and secretions of lemurs are extremely complex [35] and encode multiple messages [34]. our permutation analyses suggest that the message of genetic between males and females may exist during the season also, but as a weaker signal. perhaps, during the extended season, the message of genetic may become masked by the expression of compounds encoding other messages. nonetheless, it could facilitate nepotism year round: behavioral show that certain discriminatory responses of lemurs to the scent of are limited to the breeding season and may be related to the selection of an appropriate mate, whereas others occur year round and may be related to nepotism (charpentier mje, crawford jc, boulet m, cm: lemurs detect the genetic and quality of via olfactory cues, submitted). although we have not yet identified any specific responsible for broadcasting genetic, we have identified seasonal variation in expression [27].
also unclear is the manner by which olfactory signals come to represent an individual's genome. one possible mediating mechanism implicates genetic polymorphism in the enzymes involved in the of. for instance, diversity could result from the action of [55,56] or [57] that modify. while deciphering the pathways of insect pheromones [58], researchers have linked an individual's olfactory profile to the activation of various enzymes [56,58] and have shown that, such as hydrocarbons, play a role in kin recognition and inbreeding avoidance [57-60]. as most of the found in lemur genital secretions are not present in their monkey chow (sacha c, dubay g, boulet m, and cm; unpublished data), they appear to be produced and may be derived from common pathways (e.g., is a precursor of cholesterol). notably, the secretions of lemurs [35] share the diverse found in other mammals [52]. therefore, the enzymes involved in the synthesis of polymorphic could reflect variation and be involved in mammalian chemical communication of genetic.
alternatively, or in addition to pathways, an individual's profile could be linked to the availability of polymorphic binding proteins that modify the bouquet of emitted by scent glands [61]. represent a large class of proteins that have the property of binding diverse molecules, such as fatty acids and fatty [62]. the family includes mups, a group of binding proteins functioning as transporters [63] and notably linked to inbreeding avoidance in mice [23]. these binding properties render suitable candidate molecules for kin recognition. interestingly, two genes have been recently detected in the genome of the grey mouse lemur, [64].
other candidates include the highly polymorphic genes that are known to affect vertebrate mate choice and kin recognition through their influence on individual odor [21,22,65-68], although the pathway from genes to individual odor profiles may not be completely resolved. in lemurs, specific alleles may correlate with the abundance of some fatty acids present in scent secretions [69]. data of this sort raise the possibility of an association between genes and the pathways producing [67,70]. the relevant signal of genetic constitution could derive from the profile alone or in conjunction with these various binding proteins, and could function in primates and other vertebrates to reveal genetic. the present findings have clear relevance to primates and other mammals with functional organs (vno), including (i.e., new world monkeys [71]). given the functional overlap between the and main olfactory [63,72], however, these findings are also likely to extend to (i.e., old world monkeys and apes, including humans) that arguably lack a functional [73,74]. primates produce a diversity of odorous substances (including secretions, urine, and sweat) [12,52,54], the functional significance of which remains obscure and underappreciated. nonetheless, human have been implicated in recognition [75], recognition of familiar kin or [76], and possibly mate choice [68,77,78]. we suggest that an olfactory mechanism could also function in various species to explain the scarcity of mating between unfamiliar kin (e.g. [18]), as well as paternal recognition and protection of offspring (e.g. [79-82]). | wi səˈʤɛst ðət ˈsɪgnəl kənˈvərʤəns bɪtˈwin ðə ˈsɛksɪz meɪ rɪˈflɛkt strɔŋ səˈlɛktɪv ˈprɛʃərz ɔn kɪn ˌrɛkɪgˈnɪʃən, wɛˈræz ˈsɪgnəl kənˈvərʤəns wɪˈθɪn ðə ˈsɛksɪz meɪ əraɪz ɛz ɪts ər ˈfəŋkʃən ˌɪndɪˈpɛndəntli tɪ prɪˈvɛnt ˌkɑmpəˈtɪʃən bɪtˈwin ˌənfəˈmɪljər ˈrɛlətɪvz. ðə lɪŋk bɪtˈwin ən ˌɪndəˈvɪʤəwəlz ˈʤiˌnoʊm ənd ɪts oʊlˈfæktəri ˈsɪgnəlz kʊd bi ˈmidiˌeɪtɪd baɪ ˈpæθˌweɪz prəˈdusɪŋ ˌpɑˌliˈmɔrfɪk ər baɪ ˈkɛriər ˈproʊˌtinz ˈmɑdəˌfaɪɪŋ ðə ˌɪndəˈvɪʤəwəl buˈkeɪ əv oʊlˈfæktəri kjuz. ɪn kənˈkluʒən, wi ənˈveɪl ə ˈpɑsəbəl oʊlˈfæktəri ˈmɛkəˌnɪzəm əv kɪn ˌrɛkɪgˈnɪʃən ðət həz spɪˈsɪfɪk ˈrɛləvəns tɪ ˌəndərˈstændɪŋ ˌɪnˈbridɪŋ əˈvɔɪdəns ənd bɪˈheɪvjər əbˈzərvd ɪn ˈpraɪˌmeɪts, ənd ˈbrɔdər ˈrɛləvəns tɪ ˌəndərˈstændɪŋ ðə ˈmɛkəˌnɪzəmz əv ˈvərtəˌbreɪt oʊlˈfæktəri kəmˌjunəˈkeɪʃən. dɪˈspaɪt ˌdɛrəˈveɪʃən frəm ˈdɪfərənt ˈʤɛnətəl glændz, ənd səˈkriʃənz ʃɛrd əˈbaʊt 170 əv ðɛr rɪˈspɛktɪv 338 ənd 203. ɪn əˈdɪʃən, ðiz ɛnˈkoʊdɪd ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ʤəˈnɛtɪk wɪˈθɪn ənd bɪtˈwin ðə ˈsɛksɪz. ˌɔlˈðoʊ ðə ˈsɛksɪz ʃoʊd ˈɑpəzɪt ˈsizənəl ˈpætərnz ɪn ˈsɪgnəl kəmˈplɛksɪti, ðə ˈoʊdər ˈproʊˌfaɪlz əv rɪˈleɪtɪd ˌɪndəˈvɪʤəwəlz (ˈwɛðər ˌseɪmˈsɛks ər) kənˈvərʤd moʊst ˈstrɔŋli ɪn ðə kəmˈpɛtɪtɪv ˈbridɪŋ ˈsizən. ðəs, ə strɔŋ, mˈjuʧuəl oʊlˈfæktəri ˈsɪgnəl əv ʤəˈnɛtɪk əˈpɪrd spəˈsɪfɪkli wɪn səʧ ˌɪnˌfɔrˈmeɪʃən wʊd bi ˈkruʃəl fər prɪˈvɛnɪŋ ˌɪnˈbridɪŋ. ðət ˈwikər ˈsɪgnəlz əv ʤəˈnɛtɪk maɪt ɪgˈzɪst jɪr raʊnd kʊd prəˈvaɪd ə ˈmɛkəˌnɪzəm tɪ ɪkˈspleɪn ˈnɛpəˌtɪzəm bɪtˈwin ˌənfəˈmɪljər kɪn. laɪk ˈəðər ˈvərtəˌbreɪts, ˈpraɪˌmeɪts ˈrɛkəgˌnaɪz ðɛr ˈrɛlətɪvz, praɪˈmɛrəli tɪ ˈmɪnəˌmaɪz ˌɪnˈbridɪŋ, bət ˈɔlsoʊ tɪ fəˈsɪləˌteɪt ˈnɛpəˌtɪzəm. ˌɔlˈðoʊ, ˈsoʊʃəl ˈlərnɪŋ ɪz ˈtɪpɪkəli ˈkrɛdɪtɪd fər dɪˌskrɪməˈneɪʃən əv fəˈmɪljər kɪn, dɪˌskrɪməˈneɪʃən əv ˌənfəˈmɪljər kɪn rɪˈmeɪnz ˌənɪkˈspleɪnd. ɛz dɪˈspərsəl ɪn ˈspiʃiz ˈkænɑt kənˈsɪstəntli prɪˈvɛnt ɪnˈkaʊnərz bɪtˈwin ˌənfəˈmɪljər kɪn, ˌɪnˈbridɪŋ rɪˈmeɪnz ə θrɛt ənd ˈmɛkəˌnɪzəmz tɪ əˈvɔɪd ɪt bɛg ˌɛkspləˈneɪʃən. ˈjuzɪŋ ə məˈlɛkjələr əˈproʊʧ ðət kəmˈbaɪnd æˈnælɪˌsiz əv ˌbaɪoʊˈkɛmɪkəl ənd ˈmɑrkərz ɪn 17 ˈfiˌmeɪl ənd 19 meɪl ˈlimərz (ˈlimər catta*), wi dɪˈskraɪb tɪ ɪˈstæblɪʃ ðə ˌfizəˈbɪləti əv kɪn ˌrɛkɪgˈnɪʃən. wi ˈsæmpəld 17 ˈsɛkʃuəli məˈʧʊr ˈfiˌmeɪlz jɪr raʊnd, ˈdʊrɪŋ ðə ɪkˈstɛndɪd ˈsizən ənd ðə ˈrɛlətɪvli ˈlɪmɪtɪd ˈbridɪŋ ˈsizən, ˈfɑloʊɪŋ ˈpəblɪʃt ˈproʊtəˌkɔlz 35 ɑr ˈkɑmprəbəl meɪl ˈdætə (ɔn ɛn 19 ˈædəlts) dəraɪvd frəm ə praɪər ˈstədi 27 wi juzd ə səkˈwɛnʃəl əˈproʊʧ tɪ dɪˈtərmən ɪf ˈʤɛnətəl səˈkriʃənz ɛnˈkoʊd ˌɪnˌfɔrˈmeɪʃən əˈbaʊt wɪˈθɪn ənd bɪtˈwin ðə ˈsɛksɪz. fər ðə fərst æˈnælɪsɪs ˌɪnˈvɑlvɪŋ ɔl (ff*), wi rɪˈleɪtɪd ˈdɪfərənsɪz ɪn ðə səˈkriʃənz bɪtˈwin əv ˈfiˌmeɪlz tɪ ðɛr ʤəˈnɛtɪk ˈdɪstəns. ðɪs æˈnælɪsɪs ɪz ˌpɑrˈtɪkjələrli ˈrɛləvənt tɪ ɪgˈzæmɪnɪŋ oʊlˈfæktəri ˈmɛkəˌnɪzəmz ˈgaɪdɪŋ ər kəmˈpɛtɪtɪv bɪˈheɪvjər bɪtˈwin ˈmɛmbərz əv ðə seɪm sɛks. fər ðə ˈsɛkənd æˈnælɪsɪs ˌɪnˈvɑlvɪŋ ɔl (mf*), wi rɪˈleɪtɪd ˈdɪfərənsɪz bɪtˈwin ðə səˈkriʃənz ənd ˈdɪstənsɪz ɪn,, ənd ˈjuzɪŋ ə ˈsəbˌsɛt əv ʃɛrd baɪ ðə ˈsɛksɪz. fər ðə læst æˈnælɪˌsiz əv, wi ˈfoʊkɪst ɪkˈsklusɪvli ɔn. ðiz ˈlætər æˈnælɪˌsiz ər əv ˈpraɪˌmɛri ˈrɛləvəns tɪ ɪgˈzæmɪnɪŋ oʊlˈfæktəri ˈmɛkəˌnɪzəmz əv ˌɪnˈbridɪŋ əˈvɔɪdəns. ˈlimərz lɪv ɪn grups, ˈkɛrɪktərˌaɪzd baɪ ə ˈproʊmɪskwəs ˈbridɪŋ ˈsɪstəm, ɛz wɛl ɛz baɪ ˈfiˌmeɪl ənd dɪˈspərsəl 28 29 ɛz ə ˈspiʃiz ðət ˈɔlsoʊ ɪkˈspɪriənsɪz ˈfiˌmeɪl ɪˈvɪkʃən 30 ənd rɪˈpitɪd meɪl maɪˈgreɪʃən 29 ðeɪ feɪs ðə rɪsk əv ˈmeɪtɪŋ wɪθ ˌənfəˈmɪljər kɪn. wɪn ɪt əˈkərz, ˌɪnˈbridɪŋ meɪ hæv daɪər ˈkɑnsəkˌwɛnsəz, ˌɪnˈkludɪŋ dɪˈprɛst ˌɪmˈjun ˈfəŋkʃən ənd rɪˈdust laɪf ɪkˈspɛktənsi 31 oʊlˈfæktəri kəmˌjunəˈkeɪʃən ɪz ˈkrɪtɪkəl tɪ ˈlimər ˈsoʊʃəl ˌɪnərˈækʃən, ɛz ˈɛvɪdənst baɪ ðɛr juˈnik sɛt əv ˈspɛʃəˌlaɪzd sɛnt glændz ər ˈglænʤələr fildz, ðɛr ɪˈlæbərˌeɪt ˈrɛpərtˌwɑr, ənd ðə ˌɪnˈtɛnsɪti əv rɪˈspɑns ðiz sɛnt ˈsɪgnəlz ɪˈlɪsɪt frəm 28 32 34 hir, wi ˈfoʊkɪs ɔn ðə ˈʤɛnətəl səˈkriʃənz dəraɪvd frəm ðə ˈglænʤələr fildz ənd ðə glændz bɪˈkəz, bɪɔnd ɛnˈkoʊdɪŋ aɪˈdɛntəˌti, ðiz səˈkriʃənz ər ðə moʊst ˈkɑmprəbəl bɪtˈwin ðə ˈsɛksɪz 34 35 ˈrisərʧ ɔn kɪn dɪˌskrɪməˈneɪʃən ɪz ˈtɪpɪkəli ˈfoʊkɪst ɔn ˈdɑkjəmənɪŋ ɪts əˈkərəns. fər ˈɪnstəns, ˈəndər ˈnæʧərəl kənˈdɪʃənz, ˈrisərʧərz hæv ˈkəpəld fild ˌɑbzərˈveɪʃənz wɪθ ʤəˈnɛtɪk æˈnælɪˌsiz tɪ ʃoʊ ˈspeɪʃəl əˌsoʊʃiˈeɪʃənz ər ˌprɛfərˈɛnʃəl ˈtritmənt bɪtˈwin ˌənfəˈmɪljər kɪn 7 14 15 ənd əˈvɔɪdəns əv ˌənfəˈmɪljər ˈrɛlətɪvz ɛz meɪts 16 19 ɪn ðə ˈlæbrəˌtɔri, ˈrisərʧərz hæv rɪˈlaɪd ɔn bɪˈheɪvjərəl ər ɪkˈspɛrəmənts tɪ əˈsɛs ən ˌɪndəˈvɪʤəwəlz əˈbɪləˌti tɪ ˌdɪfərˈɛnʧiˌeɪt ˌənfəˈmɪljər kɪn frəm 3 hir, wi ˈfoʊkɪs ˌɪnˈstɛd ɔn dəˈsaɪfərɪŋ ə ˈpjutətɪv oʊlˈfæktəri ˈmɛkəˌnɪzəm əv kɪn ˌrɛkɪgˈnɪʃən baɪ ʃoʊɪŋ, wɪʧ əˈkərz wɪn ðə ˌsɪməˈlɛrəti bɪtˈwin ðə oʊlˈfæktəri ˈsɪgnəlz əv tu ˌɪndəˈvɪʤəwəlz rɪˈflɛkts ðɛr ʤəˈnɛtɪk ˌsɪməˈlɛrəti æt spɪˈsɪfɪk ər ˈməltəpəl ˈloʊki 20 ɪn ˈɪnˌbrɛd maʊs laɪnz, fər ɪgˈzæmpəl, æt list tu ʤin ˈfæməliz (e.g*., ðə ˈmeɪʤər ˈkɑmplɛks ər ənd maʊs ˈjərəˌnɛri ˈproʊˌtinz ər mups*) ˈɪnfluəns ðə oʊlˈfæktəri ˈproʊˌfaɪlz əv ən ˌɪndəˈvɪʤəwəlz ˈjʊrən 21 23 ənd ˌəndərˈlaɪ ˌrɛkɪgˈnɪʃən 24 ˈoʊnli ə ˈhændˌfʊl əv ˈstədiz hæv ˈbeɪgən tɪ ɪgˈzæmɪn ɪf ˈsɪmələr rɪˈzəlts maɪt əbˈteɪn ɪn ˈvərtəˌbreɪts ðət hæv ˈdɪfərənt ˈsɪgnəlɪŋ ˈsɪstəmz ər ɪf əˈdɪʃənəl ʤinz meɪ bi ˌɪnˈvɑlvd ɪn kriˈeɪtɪŋ ˌɪndəˈvɪʤəwəl ˈoʊdər ˈproʊˌfaɪlz. ˌɪnˈdid, ðə səˈkriʃənz əv bæts rɪˈleɪt tɪ məˈtərnəl ˈlɪniɪʤɪz 25 ðə ˈeɪnəl səˈkriʃənz əv ˈbivərz ɛnˈkoʊd ˈpɛdəgri riˈleɪʃənˌʃɪps 26 ənd ðə səˈkriʃənz əv meɪl ˈlimərz rɪˈflɛkt ˌɪndəˈvɪʤəwəl ʤəˈnɛtɪk dɪˈvərsɪti (i.e*., ˈnutrəl, heterozygosity*) ənd ʤəˈnɛtɪk əˈməŋ meɪlz 27 ðə ˈlætər rɪˈzəlts hæv sɪgˈnɪfɪkənt ˌɪmpləˈkeɪʃənz fər ˈfiˌmeɪl meɪt ʧɔɪs ənd ˌkɑmpəˈtɪʃən, səˈʤɛstɪŋ ðət ɪn ðɪs ˈspiʃiz ˈmɛrɪts ˈfərðər ˌɪnˌvɛstəˈgeɪʃən. hir, wi ˈkɑmpləmənt ɑr praɪər ˈfaɪndɪŋz baɪ ɪgˈzæmɪnɪŋ ɪf ðə oʊlˈfæktəri kjuz ˈkɑmən tɪ ˈfiˌmeɪl ənd meɪl ˈʤɛnətəl səˈkriʃənz rɪˈleɪt tɪ wɪˈθɪn ənd, mɔr ˌɪmˈpɔrtəntli, bɪtˈwin ðə ˈsɛksɪz. ɪf soʊ, oʊlˈfæktəri kjuz kʊd prəˈvaɪd ə rɪˈlaɪəbəl ˈmɛkəˌnɪzəm əv kɪn ˌrɛkɪgˈnɪʃən tɪ gaɪd bɪˈheɪvjər ənd ˌɪnˈbridɪŋ əˈvɔɪdəns. moʊst ˈvərtəˌbreɪts ˈrɛkəgˌnaɪz ðɛr kloʊz ˈrɛlətɪvz (kɪn ˌrɛkɪgˈnɪʃən), ˈiðər tɪ əˈvɔɪd ˈmeɪtɪŋ wɪθ ðɛm ər tɪ aɪˈdɛntəˌfaɪ ðə moʊst əˈproʊpriˌeɪt rɪˈsɪpiənts əv bɪˈheɪvjər (kɪn dɪˌskrɪməˈneɪʃən) 1 3 ˌɔlˈðoʊ ðə ˈbɛnəfɪts əv kɪn ˌrɛkɪgˈnɪʃən meɪ bi klɪr, ðə ˈmɛkəˌnɪzəmz baɪ wɪʧ ɪt ˈɑpərˌeɪts ər ˈɔfən lɛs ˈɛvədənt. ɪn ˈpraɪˌmeɪts, fər ˈɪnstəns, ˈrisərʧərz ˈtɪpɪkəli ˈkrɛdɪt, ˈsoʊʃəl ˈlərnɪŋ ɪn ðə dɪˌskrɪməˈneɪʃən əv fəˈmɪljər kɪn 2 4 bət ðə dɪˌskrɪməˈneɪʃən əv ˌənfəˈmɪljər kɪn (e.g*. 5 6 dɪˈfaɪz ˌɛkspləˈneɪʃən ˈviə ˈlərnɪŋ 7 ɛz dɪˈspərsəl ˈkænɑt kənˈsɪstəntli prɪˈvɛnt kɪn ɪnˈkaʊnərz, ˌpɑrˈtɪkjələrli ɪn ˈspiʃiz, ˌɪnˈbridɪŋ bɪtˈwin ˌənfəˈmɪljər kɪn rɪˈmeɪnz ə ril θrɛt ənd ˈkɛriz pəˈtɛnʃəli dɪˈzæstrəs ˈfɪtnəs ˈkɑnsəkˌwɛnsəz 8 10 ˈkɑnsəkˌwɛntli, ˈmɛkəˌnɪzəmz tɪ əˈvɔɪd ɪt bɛg ˌɛkspləˈneɪʃən. ˌɪnˈdid, ə ˈdipər ˌəndərˈstændɪŋ əv ˈsɪgnəlz dɪˈmændz ˌɪnəˈgreɪʃən əv 'waɪ' kˈwɛsʧənz əˈbaʊt ˈəltəmət ˈfəŋkʃən wɪθ 'haʊ' kˈwɛsʧənz əˈbaʊt ˈprɑksəmət ˈmɛkəˌnɪzəmz 11 ɛz kɪn dɪˌskrɪməˈneɪʃən ɪz ˈgeɪnɪŋ əˌpriʃiˈeɪʃən ɪn ˈəðər grups 3 12 13 wi prəˈpoʊz ðət ˈpraɪˌmeɪts maɪt ˈɔlsoʊ juz ˈoʊdər kjuz tɪ əˈsɛs ˈkɪnˌʃɪp ər ʤəˈnɛtɪk, ˌpɑrˈtɪkjələrli tɪ aɪˈdɛntəˌfaɪ ˌənfəˈmɪljər kɪn. ɛz ə fərst stɛp tɪ æˈdrɛsɪŋ ðɪs kˈwɛʃən, wi mərʤ ˌbaɪoʊˈkɛmɪkəl ənd ʤəˈnɛtɪk æˈnælɪˌsiz tɪ tɛst ɪf oʊlˈfæktəri ˈsɪgnəlz ˈɔfər ə rɪˈlaɪəbəl minz əv kɪn ˌrɛkɪgˈnɪʃən ɪn ə ˈpraɪˌmeɪt, ðə ˈlimər (ˈlimər catta*). nɛkst, wi ɛkˈstræktɪd frəm ðə 630 ðoʊz pɛrz ˌɪnˈvɑlvɪŋ meɪlz ənd ˈfiˌmeɪlz ˈoʊnli (ɛn 323, ˈfɪgjər ənd ɛz wi kʊd nɑt juz ðə ˈmæntəl tɛst fər ðə əˈloʊn (bɪˈkəz ðə ˌkɔrəˈspɑndɪŋ ˈmeɪtrɪks wʊd nɑt hæv bɪn skwɛr), wi ˌɪnˈstɛd juzd ə ˌpərmjuˈteɪʃən tɛst tɪ kəmˈpɛr ðə ˌɛmˈpɪrɪkəl ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənt ɑr) əˈgɛnst ə ˌdɪstrəˈbjuʃən əv ˌkɔrəˈleɪʃən ˌkoʊəˈfɪʃənts ˈʤɛnərˌeɪtɪd baɪ ɪˈvɛnts 37 wɪθ ðɪs æˈnælɪsɪs, wi dɪˈtɛktɪd ə sɪgˈnɪfɪkənt ˈpætərn əv ˈoʊdər ˈdʊrɪŋ boʊθ ðə (ɑr pi ənd ðə ˈbridɪŋ (ɑr pi ˈsizənz. əˈkɔrdɪŋ tɪ ðiz tɛsts, ðə əˈpɪrd tɪ bi ɪkˈsprɛst ɪn pɛrz θruaʊt ðə jɪr, bət wɑz ˈstrɔŋgər ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən. fər ə mɔr kənˈsərvətɪv æˈnælɪsɪs, wi ˈkætəgərˌaɪzd ðə 323 ˈɪntu faɪv ˈklæsɪz əv ʤəˈnɛtɪk ˈdɪstənsɪz (ˈfɪgjər ənd ɛz fər ɪn ˈfɪgjər ənd ənd ɛz fər ɪn 27 wɪʧ wi kəmˈpɛrd ˈjuzɪŋ ˌpərmjuˈteɪʃən tɛsts beɪst ɔn klæs minz 38 ˈdʊrɪŋ ðə ˈsizən, ðə min ˈdɪstəns bɪtˈwin ˈmɛmbərz əv dɪd nɑt ˈvɛri əˈkrɔs ˈklæsɪz əv ʤəˈnɛtɪk ˈdɪstəns (ɔl oʊlˈfæktəri kjuz ɪn ðə ˈsizən dɪd nɑt rɪˈflɛkt ðə ʤəˈnɛtɪk riˈleɪʃənˌʃɪp bɪtˈwin meɪlz ənd ˈfiˌmeɪlz (ˈfɪgjər ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən, ˌhaʊˈɛvər, ðə min ˈdɪstənsɪz bɪtˈwin ˈmɛmbərz əv wər sɪgˈnɪfɪkəntli ˌdɪfərˈɛnʧiˌeɪtəd əˈkrɔs ˈnɪrli ɔl ˈklæsɪz ɪkˈsɛpt fər klæs ˈvərsəz. klæs pi ˌɪnˈkrisɪŋ ˌsɪstəˈmætɪkli wɪθ ʤəˈnɛtɪk ˈdɪstəns (ˈfɪgjər əˈkɔrdɪŋ tɪ ðɪs æˈnælɪsɪs, ənd kənˈsɪstənt wɪθ ˈpætərnz (ˈfɪgjər 27 ðə oʊlˈfæktəri kjuz ɛnˈkoʊdɪŋ bɪtˈwin ðə ˈsɛksɪz wər ˈɛvədənt ˈoʊnli ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən. ˌrɛprɪˈzɛnətɪv kroʊˈmætəgræmz əv rɪˈleɪtɪd ənd ˌənrɪˈleɪtɪd pɛrz ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən ˈɪləˌstreɪt ðə ˈgreɪtər ˌsɪməˈlɛrəti bɪtˈwin, fər ɪgˈzæmpəl, ənd pɛrz ðən bɪtˈwin tu ˌənrɪˈleɪtɪd ˌɪndəˈvɪʤəwəlz bɔrn tɪ ˈdɪfərənt ˈkɑləniz (ˈfɪgjər tɪ stəˈtɪstɪkəli ɪgˈzæmɪn ðə riˈleɪʃənˌʃɪp bɪtˈwin ˈkɛmɪkəl ənd ʤəˈnɛtɪk ˈdɪstənsɪz bɪtˈwin pɛrz, wi fərst ræn ə ˈpɑrʃəl ˈmæntəl tɛst, ɛz əˈbəv, bət fər ɔl ˈpɑsəbəl (ɛn 630 ). ˈoʊvərˌɔl, ˈkɛmɪkəl ənd ʤəˈnɛtɪk ˈdɪstənsɪz dɪd nɑt ˈkɔrəˌleɪt ˈdʊrɪŋ ðə ˈsizən (ˈpɑrʃəl ˈmæntəl tɛst, ɑr 0 01 pi bət dɪd ˈkɔrəˌleɪt ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən (ˈpɑrʃəl ˈmæntəl tɛst, ɑr pi kənˈsɪstənt wɪθ ðə ˈpætərnz faʊnd ˌɪndɪˈpɛndəntli fər ˌseɪmˈsɛks æˈnælɪˌsiz (meɪlz: 27 ˈfiˌmeɪlz: ˈfɪgjər wi faʊnd ðət, ˈkɑmpləˌmɛntɪŋ ðə ˈpætərn ɪn meɪlz 27 ðə oʊlˈfæktəri kjuz ˈprɛzənt ɪn ˈfiˌmeɪl ˈʤɛnətəl səˈkriʃənz ɛnˈkoʊdɪd ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈfiˌmeɪl ɪn ə ˈsizənəli dɪˈpɛndənt ˈfæʃən. ɪn ˌpɑˈtɪkjələr, ðə ˈkɛmɪkəl ˈdɪstəns bɪtˈwin ˈmɛmbərz əv ʃoʊd noʊ riˈleɪʃənˌʃɪp tɪ ðɛr ʤəˈnɛtɪk ˈdɪstəns ˈdʊrɪŋ ðə ˈsizən (ˈpɑrʃəl ˈmæntəl tɛst, ɑr pi ˈfɪgjər ənd bət ˈkɔrəˌleɪtəd sɪgˈnɪfɪkəntli wɪθ ðɛr ʤəˈnɛtɪk ˈdɪstəns ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən (ˈpɑrʃəl ˈmæntəl tɛst, ɑr pi ˈfɪgjər ənd ðə ˈsɛksɪz ˈɔlsoʊ ˈdɪfərd ɪn ðɛr ˈsizənəl ˈpætərnz əv dɪˈvərsɪti, ɛz rɪˈflɛktɪd baɪ θri ˈɪndɪˌsiz, ˌɪnˈkludɪŋ ˈrɪʧnəs (wɪʧ rɪˈfərz tɪ ðə ˈnəmbər əv əbˈzərvd) ənd ðə ˈsɪmpsən ənd ˈʃænən ˈɪndɪˌsiz (wɪʧ boʊθ kərˈɛkt fər əˈbəndəns, si ˈmɛθədz ənd 36 ɪn meɪlz, ˈʤɛnətəl sɛnt ˈsɪgnəlz ʃoʊd ə kənˈsɪstənt dɪˈklaɪn ɪn dɪˈvərsɪti, əˈkrɔs ɔl ˈɪndɪˌsiz, frəm ðə tɪ ðə ˈbridɪŋ ˈsizən 27 baɪ ˈkɑntræst, ðə dɪˈvərsɪti əv ˈfiˌmeɪl sɛnt səˈkriʃənz ˈiðər ˌɪnˈkrist ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən (ˈrɪʧnəs ˈɪndɛks, pɛrd, ti 16 pi ər rɪˈmeɪnd ˈsteɪbəl əˈkrɔs ˈsizənz (ˈʃænən ˈɪndɛks: ti 16 pi ˈsɪmpsən ˈɪndɛks: ti 16 pi pəˈtɛnʃəli bɪˈkəz ðoʊz ˈkɑmpaʊndz geɪnd ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən kənˈtrɪbjutɪd ˈoʊnli ə smɔl prəˈpɔrʃən (lɛs ðən tɪ ðə ˈtoʊtəl kroʊˈmætəgræm ˈɛriə. ðəs, ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən, wɛˈræz ˈsɪgnəl kəmˈplɛksɪti wɑz ˈkɑmprəˌmaɪzd ɪn moʊst meɪlz, ˈfiˌmeɪlz meɪnˈteɪnd ər ɛnˈhænst ðɛr ˈsɪgnəl kəmˈplɛksɪti. ˈfiˌmeɪlz ɪkˈsprɛst ə ˈgreɪtər ˈnəmbər əv ɪn ðɛr ˈʤɛnətəl səˈkriʃənz ðən dɪd meɪlz (ˈtoʊtəl ˈkɑmpaʊndz ˈoʊvərˌɔl: ˈfiˌmeɪlz 338 meɪlz 203 min ˈkɑmpaʊndz ɪn ðə ˈbridɪŋ ˈsizən: ˈfiˌmeɪlz meɪlz , ti 34 pi min ˈkɑmpaʊndz ɪn ðə ˈsizən: ˈfiˌmeɪlz meɪlz fər əˈnikwəl ˈvɛriəns, ti 24 pi ðɪs sɛks ˈdɪfərəns wɑz ˈtɪpɪkəli əˈkaʊntɪd fər baɪ ðə ˈprɛzəns ɪn ˈfiˌmeɪlz əv əˈdɪʃənəl weɪt ˈkɑmpaʊndz, səʧ ɛz ˈfæti ˈæsəd. dɪˈspaɪt ðɪs sɛks ˈdɪfərəns ɪn ˈoʊvərˌɔl ɪkˈsprɛʃən ənd dɪˈspaɪt ðɛr dɪˈstɪŋkt ˌænəˈtɑmɪkəl ˌdɛrəˈveɪʃən 34 ənd səˈkriʃənz ʃɛrd ə ˈtoʊtəl əv 170 ˈkɑmpaʊndz, dɪˈfaɪnd ɛz ðoʊz ˈkɑmpaʊndz ɪkˈsprɛst ɪn æt list wən ˈfiˌmeɪl ənd wən meɪl (ˌrɛprɪˈzɛnɪŋ ənd əv ˈtoʊtəl ˈfiˌmeɪl ənd meɪl ˈkɑmpaʊndz, rɪˈspɛktɪvli; ˈfɪgjər ðiz ʃɛrd ˈkɑmpaʊndz ˌɪnˈkludɪd ˈfæti ˈæsəd ˈɛstərz 49 ənˈnoʊn ˌhaɪdroʊˈkɑrbənz wɪθ aɪˈdɛntəˌfaɪd məˈlɛkjələr mæs 25 ˈfæti ˈæsədz 10 ˈkɑmpaʊndz rɪˈleɪtɪd tɪ kəˈlɛstərˌɔl 2 2 1 1 ənd 1 dɪˈskəʃən baɪ ˈɪnəˌgreɪtɪŋ ʤəˈnɛtɪks ənd ˌbaɪoʊˈkɛmɪˌstri, wi prəˈvaɪd ðə fərst məˈlɛkjələr ˈɛvədəns ðət ðə sɛnt səˈkriʃənz ɪkˈsprɛst baɪ ðə ˈʤɛnətəl glændz əv meɪl ənd ˈfiˌmeɪl ˈlimərz kənˈteɪn oʊlˈfæktəri ˈmɑrkərz əv ʤəˈnɛtɪk wɪˈθɪn ənd, mɔr ˌɪmˈpɔrtəntli, bɪtˈwin ðə ˈsɛksɪz. tɪ deɪt, kənˈvərʤəns ɪn oʊlˈfæktəri ˈproʊˌfaɪlz bɪtˈwin ˈrɛlətɪvz hæd bɪn ˌriˈpɔrtəd ˈoʊnli fər ˌseɪmˈsɛks mɔˈroʊvər, ˌɔlˈðoʊ ˈkɑmən tɪ boʊθ ˈsɛksɪz hæv bɪn aɪˈdɛntəˌfaɪd ɪn ðə səˈkriʃənz dəraɪvd frəm ðə seɪm glænd ɪn ˈəðər ˈspiʃiz wi rɪˈpɔrt ɔn ˈsɪgnəl kənˈvərʤəns ɪn ðə səˈkriʃənz dəraɪvd frəm ˈkɑmprəbəl, bət ˌænəˈtɑməkli dɪˈstɪŋkt glændz ər ˈglænʤələr fildz ˈlæstli, ˌɔlˈðoʊ ðə ˈsɛksɪz daɪˈvərʤd ˈsizənəli wɪθ rɪˈspɛkt tɪ ðɛr ˈsɪgnəl kəmˈplɛksɪti, (ənd ˌseɪmˈsɛks) kənˈvərʤəns ɪn ðə oʊlˈfæktəri ˈsɪgnəlz əv rɪˈleɪtɪd ˌɪndəˈvɪʤəwəlz əˈpɪrd moʊst ˈstrɔŋli (ər ˈoʊnli) ˈdʊrɪŋ ðə ˈbridɪŋ ˈsizən, səˈʤɛstɪŋ ðət ˈʤɛnətəl səˈkriʃənz ər 'mˈjuʧuəl ˈsɪgnəlz' 40 ðət ɛnˈkoʊd ˌɪnˌfɔrˈmeɪʃən praɪˈmɛrəli ˈrɛləvənt tɪ ˌɪnˈbridɪŋ əˈvɔɪdəns, wɪθ pəˈtɛnʃəli ˈsɛkənˌdɛri ər ˌɪndɪˈpɛndənt ˌɪmpləˈkeɪʃənz fər fəˈsɪləˌteɪtɪŋ ˈnɛpəˌtɪzəm jɪr raʊnd. ðə kənˈvərʤəns əv oʊlˈfæktəri ˈsɪgnəlz wɪˈθɪn ənd bɪtˈwin ðə ˈsɛksɪz ˈlaɪkli ˈəndərˌlaɪnz strɔŋ səˈlɛktɪv ˈprɛʃərz ɔn kɪn ˌrɛkɪgˈnɪʃən. wɛˈræz fər ˈmɛni ˈfiˌmeɪlz ðə ˈbɛnəfɪt əv ˌɪnˈbridɪŋ əˈvɔɪdəns meɪ bi klɪr (e.g*. tɪ əˈvɔɪd ðə haɪ ˈɛnərʤi ˌɪnˈvɛstmənt əv ˈprɛgnənsi ənd lækˈteɪʃən ɪf ðə ˈɔfˌsprɪŋ prəˈdust wʊd bi əv loʊ kˈwɑləti), ðə ˈbɛnəfɪt tɪ meɪlz meɪ bi lɛs əˈpɛrənt, ˈgɪvɪn ðɛr ˈsimɪŋli rɪˈdust ˌɪnˈvɛstmənt ɪn ˌriprəˈdəkʃən. wət ðɛn maɪt bi ðə səˈlɛkʃən ˈprɛʃərz ˈɔpərˌeɪtɪŋ ɔn meɪlz tɪ ɪkˈspleɪn oʊlˈfæktəri kənˈvərʤəns bɪtˈwin ðə ˈsɛksɪz? ɪn səm ˈspiʃiz, ðə oʊlˈfæktəri ˈproʊˌfaɪlz əv ˈsərtən meɪlz kənˈvərʤ ɔn ðoʊz əv ðə ˈfiˌmeɪlz tɪ dup ɪn sɛks kəmˌjunəˈkeɪʃən səʧ duˈplɪsɪti ɪz ənˈlaɪkli, ˌhaʊˈɛvər, ɪn ˈmɛmbərz əv ˌɪndɪˈvɪʤəlaɪzd səˈsaɪɪtiz. mɔˈroʊvər, ɪt ɪz nɑt səˈpɔrtɪd ɪn ˈlimərz baɪ oʊlˈfæktəri ˈɛvədəns, ˈgɪvɪn ðət sɛks ənd ˌɪndəˈvɪʤəwəl aɪˈdɛntəˌti ər ˈkɛmɪkli ɛnˈkoʊdɪd 35 ənd dɪˈtɛktɪd ɪn sɛnt kjuz θruaʊt ðə jɪr. ən ˈɔltərˌneɪt ˌɛkspləˈneɪʃən meɪ bi faʊnd ɪn ə ˈbrɔdər ˌæpləˈkeɪʃən əv ˈsɛkʃuəl səˈlɛkʃən ˈθɪri. ˌɪnˈkrisɪŋ ˈɛvədəns əv ˌkɑmpəˈtɪʃən ənd meɪl meɪt ʧɔɪs səˈʤɛsts ðət ˈvɛriəs ˈspiʃiz meɪ nɑt kənˈfɔrm tɪ ə ˈpætərn əv 'ɪkˈspɛnsɪv ɛgz' ənd 'ʧip spərm' 44 ˌɪnˈdid, ɪn ˈsoʊʃəli ˈkɑmplɛks ˈspiʃiz ˈkɛrɪktərˌaɪzd baɪ sloʊ laɪf ˈhɪstəriz, meɪlz meɪ feɪs sɪgˈnɪfɪkənt ˌriprəˈdəktɪv kɔsts ðət ˌɪnˈkris ðə ˈbɛnəfɪts dəraɪvd frəm biɪŋ ˈʧuzi. ðəs, ˈfiˌmeɪl ənd meɪl ˈlimərz meɪ ʃɛr ˈsɪmələr səˈlɛkʃən ˈprɛʃərz tɪ əˈvɔɪd ˌɪnˈbridɪŋ. ˈɔlsoʊ ˈreɪzɪz ðə ˌpɑsəˈbɪləˌti ðət ˈoʊdər kjuz kʊd sərv tɪ prɪˈvɛnt, əˈgɛn wɪθ ˈsɪmələr ˈbɛnəfɪts tɪ boʊθ ˈsɛksɪz. dɪˈprɛʃən, ˌɔlˈðoʊ lɛs wɛl ˈdɑkjəˌmɛnəd ðən ˌɪnˈbridɪŋ dɪˈprɛʃən, kən ˈɔlsoʊ ˈproʊdus ˈnɛgətɪv ˈkɑnsəkˌwɛnsəz ɔn ˈfɪtnəs ɪn ˈoʊnli ə fju ˈstədiz hæv ˈrisərʧərz ˈtɛstɪd ɪf ˈɔfər rɪˈlaɪəbəl kjuz ðət kʊd sərv tɪ aɪˈdɛntəˌfaɪ ən dɪˈsɪmələr meɪt ənd ˈðɛrˈbaɪ hɛlp ˌɪndəˈvɪʤəwəlz əˈvɔɪd ðə ˈfɪtnəs ˈkɑnsəkˌwɛnsəz əv ˈiðər ˌɪnˈbridɪŋ ər. ɪn ˈjumənz, ˌɪndəˈvɪʤəwəlz tɛnd tɪ pɛr wɪθ meɪts ðət ər nɑt tu dɪˈsɪmələr æt ˈfəŋkʃənəl ˈloʊki 47 bət ðə ˈsɛnsəri ˈmɛkəˌnɪzəm ðət meɪ draɪv ðə əˈvɔɪdəns əv dɪˈsɪmələr meɪts rɪˈmeɪnz ənˈklɪr. ɪn mɔr ɪkˈstrim ˈkeɪsɪz, kʊd fəˈsɪləˌteɪt ˈspiʃiz ər ˌrɛkɪgˈnɪʃən. ɪn ˈpraɪˌmeɪts, fər ˈɪnstəns, ðə sɛnt glænd səˈkriʃənz frəm tu ənd ɛs. ɛf. illigeri*) kənˈteɪnd dɪˈstɪŋktɪv ˈkɛmɪkəl ˈmɑrkərz 48 ənd ɪˈlɪsɪtɪd dɪˈskrɪmənətɪv rɪˈspɑnsɪz baɪ ˈmɛmbərz əv ˈiðər ðəs, ɪt meɪ bi ˈpɑsəbəl ðət əˈvɔɪdəns wɪˈθɪn ənd bɪtˈwin ˈspiʃiz 20 ˈgɪvɪn ðət ˈlimər ˈnɪrəst ˈsɪstər bɪˈlɔŋz tɪ ə ˈdɪfərənt ˈʤinəs (hapalemur*) 50 ðə θrɛt əv ˌhaɪbrədəˈzeɪʃən wʊd sim lɛs ˈlaɪkli ðən ðə θrɛt əv ˌɪnˈbridɪŋ. fˈjuʧər ˈstədiz kʊd ˈæˌdrɛs ðə ˈɪʃu əv baɪ kəmˈpɛrɪŋ ðə sɛnt glænd əv ˌɪndəˈvɪʤəwəlz dəraɪvd frəm ˈsɛvərəl ˌpɑpjəˈleɪʃənz ər ənd ˈmɛʒərɪŋ ðə bɪˈheɪvjərəl rɪˈspɑnsɪz ðə ˈvɛriəs ˈmɪksʧərz əv meɪ ɪˈlɪsɪt 20 ˌɔlˈðoʊ ˈfæsəˌneɪtɪŋ, ɪt ɪz ənˈklɪr waɪ ðə ˈsɪgnəl əv ʤəˈnɛtɪk əˈpɪrz tɪ bi ˈlɑrʤli ˈsizənəli dɪˈpɛndənt. kənˈsɪstənt wɪθ ðə sɛnt səˈkriʃənz əv ˈəðər ˈmæməlz ˌɪnˈkludɪŋ ˈəðər ˈpraɪˌmeɪts ðə ənd səˈkriʃənz əv ˈlimərz ər ɪkˈstrimli ˈkɑmplɛks 35 ənd ɛnˈkoʊd ˈməltəpəl ˈmɛsɪʤɪz 34 ɑr ˌpərmjuˈteɪʃən æˈnælɪˌsiz səˈʤɛst ðət ðə ˈmɛsɪʤ əv ʤəˈnɛtɪk bɪtˈwin meɪlz ənd ˈfiˌmeɪlz meɪ ɪgˈzɪst ˈdʊrɪŋ ðə ˈsizən ˈɔlsoʊ, bət ɛz ə ˈwikər ˈsɪgnəl. pərˈhæps, ˈdʊrɪŋ ðə ɪkˈstɛndɪd ˈsizən, ðə ˈmɛsɪʤ əv ʤəˈnɛtɪk meɪ bɪˈkəm mæskt baɪ ðə ɪkˈsprɛʃən əv ˈkɑmpaʊndz ɛnˈkoʊdɪŋ ˈəðər ˈmɛsɪʤɪz. ˌnənðəˈlɛs, ɪt kʊd fəˈsɪləˌteɪt ˈnɛpəˌtɪzəm jɪr raʊnd: bɪˈheɪvjərəl ʃoʊ ðət ˈsərtən dɪˈskrɪmənəˌtɔri rɪˈspɑnsɪz əv ˈlimərz tɪ ðə sɛnt əv ər ˈlɪmɪtɪd tɪ ðə ˈbridɪŋ ˈsizən ənd meɪ bi rɪˈleɪtɪd tɪ ðə səˈlɛkʃən əv ən əˈproʊpriˌeɪt meɪt, wɛˈræz ˈəðərz əˈkər jɪr raʊnd ənd meɪ bi rɪˈleɪtɪd tɪ ˈnɛpəˌtɪzəm (ˌʃɑrpənˈtɪr mje*, ˈkrɔfərd jc*, buˈlɛt ɛm, cm*: ˈlimərz dɪˈtɛkt ðə ʤəˈnɛtɪk ənd kˈwɑləti əv ˈviə oʊlˈfæktəri kjuz, səbˈmɪtəd). ˌɔlˈðoʊ wi hæv nɑt jɛt aɪˈdɛntəˌfaɪd ˈɛni spɪˈsɪfɪk riˈspɑnsəbəl fər ˈbrɔdˌkæstɪŋ ʤəˈnɛtɪk, wi hæv aɪˈdɛntəˌfaɪd ˈsizənəl ˌvɛriˈeɪʃən ɪn ɪkˈsprɛʃən 27 ˈɔlsoʊ ənˈklɪr ɪz ðə ˈmænər baɪ wɪʧ oʊlˈfæktəri ˈsɪgnəlz kəm tɪ ˌrɛprɪˈzɛnt ən ˌɪndəˈvɪʤəwəlz ˈʤiˌnoʊm. wən ˈpɑsəbəl ˈmidiˌeɪtɪŋ ˈmɛkəˌnɪzəm ˈɪmplɪˌkeɪts ʤəˈnɛtɪk ˌpɑˌliˈmɔrfɪzm ɪn ðə ˈɛnˌzaɪmz ˌɪnˈvɑlvd ɪn ðə əv. fər ˈɪnstəns, dɪˈvərsɪti kʊd rɪˈzəlt frəm ðə ˈækʃən əv ər 57 ðət ˈmɑdəˌfaɪ. waɪl dəˈsaɪfərɪŋ ðə ˈpæθˌweɪz əv ˈɪnˌsɛkt ˈfɛrəˌmoʊnz 58 ˈrisərʧərz hæv lɪŋkt ən ˌɪndəˈvɪʤəwəlz oʊlˈfæktəri ˈproʊˌfaɪl tɪ ðə ˌæktəˈveɪʃən əv ˈvɛriəs ˈɛnˌzaɪmz ənd hæv ʃoʊn ðət, səʧ ɛz ˌhaɪdroʊˈkɑrbənz, pleɪ ə roʊl ɪn kɪn ˌrɛkɪgˈnɪʃən ənd ˌɪnˈbridɪŋ əˈvɔɪdəns ɛz moʊst əv ðə faʊnd ɪn ˈlimər ˈʤɛnətəl səˈkriʃənz ər nɑt ˈprɛzənt ɪn ðɛr ˈməŋki ʧaʊ (ˈsæʧə si, ˈdəbeɪ ʤi, buˈlɛt ɛm, ənd cm*; ənˈpəblɪʃt ˈdætə), ðeɪ əˈpɪr tɪ bi prəˈdust ənd meɪ bi dəraɪvd frəm ˈkɑmən ˈpæθˌweɪz (e.g*., ɪz ə priˈkərsər əv kəˈlɛstərˌɔl). ˈnoʊtəbli, ðə səˈkriʃənz əv ˈlimərz 35 ʃɛr ðə dɪˈvərs faʊnd ɪn ˈəðər ˈmæməlz 52 ˈðɛrˌfɔr, ðə ˈɛnˌzaɪmz ˌɪnˈvɑlvd ɪn ðə ˈsɪnθəsəs əv ˌpɑˌliˈmɔrfɪk kʊd rɪˈflɛkt ˌvɛriˈeɪʃən ənd bi ˌɪnˈvɑlvd ɪn məˈmeɪljən ˈkɛmɪkəl kəmˌjunəˈkeɪʃən əv ʤəˈnɛtɪk. ɔlˈtərnətɪvli, ər ɪn əˈdɪʃən tɪ ˈpæθˌweɪz, ən ˌɪndəˈvɪʤəwəlz ˈproʊˌfaɪl kʊd bi lɪŋkt tɪ ðə əˌveɪləˈbɪlɪti əv ˌpɑˌliˈmɔrfɪk ˈbaɪndɪŋ ˈproʊˌtinz ðət ˈmɑdəˌfaɪ ðə buˈkeɪ əv ɪˈmɪtɪd baɪ sɛnt glændz 61 ˌrɛprɪˈzɛnt ə lɑrʤ klæs əv ˈproʊˌtinz ðət hæv ðə ˈprɑpərti əv ˈbaɪndɪŋ dɪˈvərs ˈmɑləˌkjulz, səʧ ɛz ˈfæti ˈæsədz ənd ˈfæti 62 ðə ˈfæməli ˌɪnˈkludz mups*, ə grup əv ˈbaɪndɪŋ ˈproʊˌtinz ˈfəŋkʃənɪŋ ɛz trænˈspɔrtərz 63 ənd ˈnoʊtəbli lɪŋkt tɪ ˌɪnˈbridɪŋ əˈvɔɪdəns ɪn maɪs 23 ðiz ˈbaɪndɪŋ ˈprɑpərtiz ˈrɛndər ˈsutəbəl ˈkænədɪt ˈmɑləˌkjulz fər kɪn ˌrɛkɪgˈnɪʃən. ˈɪntəˌrɛstɪŋli, tu ʤinz hæv bɪn ˈrisəntli dɪˈtɛktɪd ɪn ðə ˈʤiˌnoʊm əv ðə greɪ maʊs ˈlimər, 64 ˈəðər ˈkænədɪts ˌɪnˈklud ðə ˈhaɪli ˌpɑˌliˈmɔrfɪk ʤinz ðət ər noʊn tɪ əˈfɛkt ˈvərtəˌbreɪt meɪt ʧɔɪs ənd kɪn ˌrɛkɪgˈnɪʃən θru ðɛr ˈɪnfluəns ɔn ˌɪndəˈvɪʤəwəl ˈoʊdər ˌɔlˈðoʊ ðə ˈpæθˌweɪ frəm ʤinz tɪ ˌɪndəˈvɪʤəwəl ˈoʊdər ˈproʊˌfaɪlz meɪ nɑt bi kəmˈplitli riˈzɑlvd. ɪn ˈlimərz, spɪˈsɪfɪk əˈlɛliz meɪ ˈkɔrəˌleɪt wɪθ ðə əˈbəndəns əv səm ˈfæti ˈæsədz ˈprɛzənt ɪn sɛnt səˈkriʃənz 69 ˈdætə əv ðɪs sɔrt reɪz ðə ˌpɑsəˈbɪləˌti əv ən əˌsoʊʃiˈeɪʃən bɪtˈwin ʤinz ənd ðə ˈpæθˌweɪz prəˈdusɪŋ ðə ˈrɛləvənt ˈsɪgnəl əv ʤəˈnɛtɪk ˌkɑnstəˈtuʃən kʊd dəraɪv frəm ðə ˈproʊˌfaɪl əˈloʊn ər ɪn kənˈʤəŋkʃən wɪθ ðiz ˈvɛriəs ˈbaɪndɪŋ ˈproʊˌtinz, ənd kʊd ˈfəŋkʃən ɪn ˈpraɪˌmeɪts ənd ˈəðər ˈvərtəˌbreɪts tɪ rɪˈvil ʤəˈnɛtɪk. ðə ˈprɛzənt ˈfaɪndɪŋz hæv klɪr ˈrɛləvəns tɪ ˈpraɪˌmeɪts ənd ˈəðər ˈmæməlz wɪθ ˈfəŋkʃənəl ˈɔrgənz (vno*), ˌɪnˈkludɪŋ (i.e*., nu wərld ˈməŋkiz 71 ˈgɪvɪn ðə ˈfəŋkʃənəl ˈoʊvərˌlæp bɪtˈwin ðə ənd meɪn oʊlˈfæktəri ˌhaʊˈɛvər, ðiz ˈfaɪndɪŋz ər ˈɔlsoʊ ˈlaɪkli tɪ ɪkˈstɛnd tɪ (i.e*., oʊld wərld ˈməŋkiz ənd eɪps, ˌɪnˈkludɪŋ ˈjumənz) ðət ˈɑrgjuəbli læk ə ˈfəŋkʃənəl ˈpraɪˌmeɪts ˈproʊdus ə dɪˈvərsɪti əv ˈoʊdərəs ˈsəbstənsɪz (ˌɪnˈkludɪŋ səˈkriʃənz, ˈjʊrən, ənd swɛt) ðə ˈfəŋkʃənəl sɪgˈnɪfɪkəns əv wɪʧ rɪˈmeɪnz əbˈskjʊr ənd underappreciated*. ˌnənðəˈlɛs, ˈjumən hæv bɪn ˈɪmplɪˌkeɪtɪd ɪn ˌrɛkɪgˈnɪʃən 75 ˌrɛkɪgˈnɪʃən əv fəˈmɪljər kɪn ər 76 ənd ˈpɑsəbli meɪt ʧɔɪs wi səˈʤɛst ðət ən oʊlˈfæktəri ˈmɛkəˌnɪzəm kʊd ˈɔlsoʊ ˈfəŋkʃən ɪn ˈvɛriəs ˈspiʃiz tɪ ɪkˈspleɪn ðə ˈskɛrsɪti əv ˈmeɪtɪŋ bɪtˈwin ˌənfəˈmɪljər kɪn (e.g*. 18 ɛz wɛl ɛz pəˈtərnəl ˌrɛkɪgˈnɪʃən ənd prəˈtɛkʃən əv ˈɔfˌsprɪŋ (e.g*. |
https://iwandered.net/temples-of-mrauk-u-burma-myanmar/
the alarm rang. at in the morning, my mind was still in a murky haze having arrived in u just a few hours before. the entirety of the previous day was spent traveling by plane, boat and jeep and yet there i was, up and on the go once more.
in a dreamlike state…
burma’s state, where u is located, is closer to bangladesh than to. the roads here are so underdeveloped that an 80 road trip between two points in the state takes almost 5 hours. we decided to take a longer but less bumpy route, and went on a journey by boat after we arrived in, the administrative center of state.
sunrise
at in the morning, i found myself scaling some unknown peak in utter darkness, with the faint luminance of a flashlight guiding the way. a closer peek revealed a golden pagoda at the top the, from where the sunrise views of u are said to be legendary.
“this better be worth it,” i muttered to myself. the air was a lot colder than what i remembered from when i had arrived. surely, it what i expected for the tropics.
by the time we reached the top, the first sign of daybreak had arrived. i could make out a fog forming in the lower altitudes while the sky turned dark blue and later into purple. what happened a few minutes later was perhaps the most magnificent sunrise i have seen in my entire life. the landscape in u in restive state at dawn is a mishmash of cauliflower fields and village huts surrounded by the morning fog and punctuated by with several centuries old a dreamlike scene made even more apparent by the fact that i was still only on this hike. the sunrise view also served as my orientation to the scattered temples of u. there were about 700 in the horizon, and i would only be able to visit a handful.
how to go to u
one of the things that has deterred many travelers and kept u mainly despite its ability to give wat a run for its money is the long hours involved in getting there. you can basically look at a few ways of getting here, assuming you take a domestic flight with any of the more reliable airlines like air mandalay, airways or air from to, the capital of state (around an hour fifteen minutes flight).
by boat
by far, the most popular method of getting to u, it is also one of the longest. you can either take a public ferry which runs every day from (similar from the other direction in u) at in the morning. this takes about 6 hours. there is also a fast boat on some days, which takes only hours. alternatively, you can charter a private boat which can fit up to 4 or 5 people. the boat (including the crew) will basically wait for you for a few days while in u and will similarly take you back.
by car
despite popular notions on the contrary, it is possible to take a car from to u. but it is a very bumpy ride. according to the map, to u by road is a 145 kilometers in distance but the roads are in poor shape so expect the journey to take around 5 hours each way.
temples of u
later that morning, we started our exploration of the fascinating but little known temples of u. as we had only 2 full days to spend in the area, we decided to hire a jeep (a normal car able to withstand the poor state of the roads) for about $40 a day. our driver was an amiable chap who spoke decent english and tried his best to offer some stories to the temples we were visiting.
kothaung temple temple
we started our exploration at the temple of buddha images or otherwise known as temple. to have started here was pretty symbolic. if there was anything that drove me to pursue such a long trip to get to a remote place like u, it was the sight of this edifice.
from the outside, its large size and construction gave off a faint reminder of in central java. the exteriors are replete with hundreds if not thousands of small that give a bit of a pointy / thorny look. the inner chambers on the other hand reveal almost buddha statues on both sides of the wall. i reckoned the gray monotone construction and exotic looking statues would make the temple a if there is ever a need to scout filming locations for the next indiana jones movie. the place was just sublime. the exterior of temple notice the hundreds of
there are a few other interesting temples surrounding which is one of the farther sites in u. the for instance, offers a nice hilltop view of the pointy outer of while and served as nice excursions on the way back to town.
sakyamanaung pagoda & pagoda the relatively understated stupa
heading towards the direction of town, we passed by a couple of working temples. in particular seemed quite popular among locals. the temple itself consists of one large, pagoda. at the top, it is but as it extends downwards, it assumes an octagonal shape. it was the only temple in u where i saw guardians with sharp teeth by the entrance, similar to what i sometimes encounter in thailand., which is about half a mile away, had a similar design though it also had a more modern construction next to it with a large buddha statue and an unassuming souvenir shop. pagoda and pagoda 5 of the 24 small surrounding a large central one in pagoda
by now, we were well within the town center of u. there were a couple of notable temples here as well, perhaps the most visited among the archeological sites in the area. we stopped by the pagoda, one of the most photographed in u. the massive and bulky stupa is quite unlike others in the area, in the sense that it is ringed by 24 smaller. there is a hill next to the temple from where some people go for sunset / sunrise views. the structure seen today had been extensively reconstructed, no thanks to treasure hunters who looted the place many years back. is translated as “treasure,” and precious objects were said to originally lie in the central stupa.
a few feet away from pagoda is the pagoda. like, there are numerous surrounding a central one but the difference here is that all of them are roughly of the same size. there is also an interesting inner chamber at the main stupa with a handful buddha statues inside. however, it was pitch black when we entered and we see a thing.
shitte-thaung temple scenes inside the temple, the second photo has lots of depictions of life in medieval u
widely recognized as the “main temple” of u, the temple is where most visitors start in u. the $5 zone fee is collected here. when i stopped by the temple, i scanned the log book for the visitor profiles. not a single filipino it seemed, visited in the 2 or 3 months before i did. when i asked the guy at the registration, i was told that i was the first filipino tourist he had seen around u. the log book reveal many visitors from southeast asia either. around 1 or 2 other singaporeans, malaysians and indonesians; a couple of thais and that was about it for the past 2 or 3 months. i really sure how i was going to react to the assertion the brief thought that i may be the only filipino insane enough to come briefly popped up, but was quickly quelled by the fact that i was enjoying what i was seeing so far.
of the temples in the entire archeological site, probably ranks as my second favorite. the temple itself is divided between a newer and older part. the older part consists of the that run through the perimeter. within it, i saw more buddha statues in stone though these as exotic looking as the ones i saw in. but apart from that, there were fascinating carvings depicting daily life as well as royal life in the outer passageway. the sheer number of objects in the wall carving as well as the level of detail were very impressive and a walkway from which one can have a great view of a temple down the hill.
htukkanthein temple the bunker temple of
that temple that looked like a bunker was actually the temple. again, this is considered to be one of the main temples in u due to its sheer size. like the other temples, the inside is filled with buddha statues though the difference here is that the passageway coils its way for several times before leading to a large and more buddha statue at the very center. there was a great deal of speculation by the british as to why the temple look the way it does. there were some theories that claimed that the temple doubled as ater during times of war. or that the hard outerl helped to protect the structure against the fierce winds of arakan. but i guess never really know.
laymyatna pagoda natural light on the buddha
another temple lying immediately west of is or the temple. compared to the other temples, the restoration here extensive but that served to heighten the atmosphere of the place. the temple has windows that give light to the buddha statues within. a particularly small temple though at the time of my visit there were quite a few locals hanging around outside, using the tall facade as a shade.
other temples some of the other temples around u
the temples of u are spread across the four corners i only managed to visit the ones in the east, center, north, some southern ones but completely skipped the western ones. with an extra day, a substantial portion can be covered. but to avoid getting out, a one or two day trip around the temples should suffice.
sunrise & sunset views
the sunrise and sunset views around u alone are worth the long trip to get here. aside from the classic pagoda sunrise on my first day, i also ventured to a place called discovery view (fee of 500) just north of pagoda and the hilltop temples of and close to town. a peek of the views from up there:
morning mist it was a cool 13 celsius in the mornings but quickly rose to a sweltering 35 by noon
just gorgeous!
where i stayed
the $25 a night room at prince hotel
i stayed at a humble little place called prince hotel. rooms were about us$ 25 a night. the owners here are mighty proud to have built the very first hotel in u. very simple accommodation run by a family and the owners are quite knowledgeable regarding the area. service is excellent. i like how they would invite us to sit by the dining table every night to to help us sort out the following plans. they also arrange boat trips to remote chin villages for a decent price. you can also check and compare prices for hotels in u here.
tips for u
avoid coming during the rainy season from to september. in u. when it rains, it pours! the best time to visit u is from november to when cooler in the mornings and you get to see the morning mist put at least a 1 day allowance to your trip to cater for possible ferry or flight cancellations. pretty common over at these parts bring lots of insect repellent. be thankful you did. myanmar has one of the highest incidences of malaria in southeast asia and u is considered to be more frontier than bagan or lake. while it may still be okay to visit without having taken malaria pills, best to wear shirts and pants to decrease the chances of getting the disease. change your beforehand. avoid changing in u. the exchange rate here is very bad.
possible itinerary
day 1
sunrise:
east group (kothaung,, mong pagoda)
central (shitte-thaung,,, ratamanaung,)
north, laungbwanbyauk, httuparon)
sunset: discovery view
day 2
sunrise:
chin village excursion
-or-
excursion to and
bino let me know your thoughts by leaving a comment below. alternatively, you can also email me at (at) iwandered.net. you can follow i wander on facebook, twitter, or instagram. also, if you liked this article, please feel free to share or more posts - website follow me: | https://iwandered.net/temples-of-mrauk-u-burma-myanmar*/ ðə əˈlɑrm ræŋ. æt ɪn ðə ˈmɔrnɪŋ, maɪ maɪnd wɑz stɪl ɪn ə ˈmərki heɪz ˈhævɪŋ əraɪvd ɪn ju ʤɪst ə fju aʊərz ˌbiˈfɔr. ðə ɪnˈtaɪərti əv ðə ˈpriviəs deɪ wɑz spɛnt ˈtrævəlɪŋ baɪ pleɪn, boʊt ənd ʤip ənd jɛt ðɛr aɪ wɑz, əp ənd ɔn ðə goʊ wəns mɔr. ɪn ə ˈdrimˌlaɪk state…*… steɪt, wɛr ju ɪz ˈloʊˌkeɪtəd, ɪz ˈkloʊzər tɪ ˈbæŋləˌdɛʃ ðən tɪ. ðə roʊdz hir ər soʊ ˌəndərdɪˈvɛləpt ðət ən 80 roʊd trɪp bɪtˈwin tu pɔɪnts ɪn ðə steɪt teɪks ˈɔlˌmoʊst 5 aʊərz. wi ˌdɪˈsaɪdɪd tɪ teɪk ə ˈlɔŋgər bət lɛs ˈbəmpi rut, ənd wɛnt ɔn ə ˈʤərni baɪ boʊt ˈæftər wi əraɪvd ɪn, ðə ədˈmɪnɪˌstreɪtɪv ˈsɛnər əv steɪt. ˈsənˌraɪz æt ɪn ðə ˈmɔrnɪŋ, aɪ faʊnd ˌmaɪˈsɛlf ˈskeɪlɪŋ səm ənˈnoʊn pik ɪn ˈətər ˈdɑrknəs, wɪθ ðə feɪnt ˈlumənəns əv ə ˈflæʃˌlaɪt ˈgaɪdɪŋ ðə weɪ. ə ˈkloʊzər pik rɪˈvild ə ˈgoʊldən pəˈgoʊdə æt ðə tɔp ðə, frəm wɛr ðə ˈsənˌraɪz vjuz əv ju ər sɛd tɪ bi ˈlɛʤənˌdɛri. ˈbɛtər bi wərθ it,”*,” aɪ ˈmətərd tɪ ˌmaɪˈsɛlf. ðə ɛr wɑz ə lɔt ˈkoʊldər ðən wət aɪ rɪˈmɛmbərd frəm wɪn aɪ hæd əraɪvd. ˈʃʊrli, ɪt wət aɪ ɪkˈspɛktɪd fər ðə ˈtrɑpɪks. baɪ ðə taɪm wi riʧt ðə tɔp, ðə fərst saɪn əv ˈdeɪˌbreɪk hæd əraɪvd. aɪ kʊd meɪk aʊt ə fɔg ˈfɔrmɪŋ ɪn ðə loʊər ˈæltɪˌtudz waɪl ðə skaɪ tərnd dɑrk blu ənd ˈleɪtər ˈɪntu ˈpərpəl. wət ˈhæpənd ə fju ˈmɪnəts ˈleɪtər wɑz pərˈhæps ðə moʊst mægˈnɪfɪsənt ˈsənˌraɪz aɪ hæv sin ɪn maɪ ɪnˈtaɪər laɪf. ðə ˈlænˌskeɪp ɪn ju ɪn ˈrɛstɪv steɪt æt dɔn ɪz ə ˈmɪʃˌmæʃ əv ˈkɑləˌflaʊər fildz ənd ˈvɪlɪʤ həts sərˈaʊndɪd baɪ ðə ˈmɔrnɪŋ fɔg ənd ˈpəŋkʧuˌeɪtɪd baɪ wɪθ ˈsɛvərəl ˈsɛnʧəriz oʊld ə ˈdrimˌlaɪk sin meɪd ˈivɪn mɔr əˈpɛrənt baɪ ðə fækt ðət aɪ wɑz stɪl ˈoʊnli ɔn ðɪs haɪk. ðə ˈsənˌraɪz vju ˈɔlsoʊ sərvd ɛz maɪ ˌɔriɛnˈteɪʃən tɪ ðə ˈskætərd ˈtɛmpəlz əv ju. ðɛr wər əˈbaʊt 700 ɪn ðə hərˈaɪzən, ənd aɪ wʊd ˈoʊnli bi ˈeɪbəl tɪ ˈvɪzɪt ə ˈhændˌfʊl. haʊ tɪ goʊ tɪ ju wən əv ðə θɪŋz ðət həz dɪˈtərd ˈmɛni ˈtrævələrz ənd kɛpt ju ˈmeɪnli dɪˈspaɪt ɪts əˈbɪləˌti tɪ gɪv wɔt ə rən fər ɪts ˈməni ɪz ðə lɔŋ aʊərz ˌɪnˈvɑlvd ɪn ˈgɪtɪŋ ðɛr. ju kən ˈbeɪsɪkli lʊk æt ə fju weɪz əv ˈgɪtɪŋ hir, əˈsumɪŋ ju teɪk ə dəˈmɛstɪk flaɪt wɪθ ˈɛni əv ðə mɔr rɪˈlaɪəbəl ˈɛˌrlaɪnz laɪk ɛr ˈmændəˌleɪ, ˈɛrˌweɪz ər ɛr frəm tɪ, ðə ˈkæpɪtəl əv steɪt (əraʊnd ən aʊər ˈfɪfˈtin ˈmɪnəts flaɪt). baɪ boʊt baɪ fɑr, ðə moʊst ˈpɑpjələr ˈmɛθəd əv ˈgɪtɪŋ tɪ ju, ɪt ɪz ˈɔlsoʊ wən əv ðə ˈlɔŋgɪst. ju kən ˈiðər teɪk ə ˈpəblɪk ˈfɛri wɪʧ rənz ˈɛvəri deɪ frəm (ˈsɪmələr frəm ðə ˈəðər dɪˈrɛkʃɪn ɪn ju) æt ɪn ðə ˈmɔrnɪŋ. ðɪs teɪks əˈbaʊt 6 aʊərz. ðɛr ɪz ˈɔlsoʊ ə fæst boʊt ɔn səm deɪz, wɪʧ teɪks ˈoʊnli aʊərz. ɔlˈtərnətɪvli, ju kən ˈʧɑrtər ə ˈpraɪvət boʊt wɪʧ kən fɪt əp tɪ 4 ər 5 ˈpipəl. ðə boʊt (ˌɪnˈkludɪŋ ðə kru) wɪl ˈbeɪsɪkli weɪt fər ju fər ə fju deɪz waɪl ɪn ju ənd wɪl ˈsɪmələrli teɪk ju bæk. baɪ kɑr dɪˈspaɪt ˈpɑpjələr ˈnoʊʃənz ɔn ðə ˈkɑntrɛri, ɪt ɪz ˈpɑsəbəl tɪ teɪk ə kɑr frəm tɪ ju. bət ɪt ɪz ə ˈvɛri ˈbəmpi raɪd. əˈkɔrdɪŋ tɪ ðə mæp, tɪ ju baɪ roʊd ɪz ə 145 ˈkɪləˌmitərz ɪn ˈdɪstəns bət ðə roʊdz ər ɪn pur ʃeɪp soʊ ɪkˈspɛkt ðə ˈʤərni tɪ teɪk əraʊnd 5 aʊərz iʧ weɪ. ˈtɛmpəlz əv ju ˈleɪtər ðət ˈmɔrnɪŋ, wi ˈstɑrtɪd ɑr ˌɛksplərˈeɪʃən əv ðə ˈfæsəˌneɪtɪŋ bət ˈlɪtəl noʊn ˈtɛmpəlz əv ju. ɛz wi hæd ˈoʊnli 2 fʊl deɪz tɪ spɛnd ɪn ðə ˈɛriə, wi ˌdɪˈsaɪdɪd tɪ haɪər ə ʤip (ə ˈnɔrməl kɑr ˈeɪbəl tɪ wɪθˈstænd ðə pur steɪt əv ðə roʊdz) fər əˈbaʊt 40 ə deɪ. ɑr ˈdraɪvər wɑz ən ˈeɪmiəbəl ʧæp hu spoʊk ˈdisənt ˈɪŋlɪʃ ənd traɪd hɪz bɛst tɪ ˈɔfər səm ˈstɔriz tɪ ðə ˈtɛmpəlz wi wər ˈvɪzɪtɪŋ. ˈtɛmpəl ˈtɛmpəl wi ˈstɑrtɪd ɑr ˌɛksplərˈeɪʃən æt ðə ˈtɛmpəl əv ˈbudə ˈɪmɪʤɪz ər ˈəðərˌwaɪz noʊn ɛz ˈtɛmpəl. tɪ hæv ˈstɑrtɪd hir wɑz ˈprɪti sɪmˈbɑlɪk. ɪf ðɛr wɑz ˈɛniˌθɪŋ ðət droʊv mi tɪ pərˈsu səʧ ə lɔŋ trɪp tɪ gɪt tɪ ə rɪˈmoʊt pleɪs laɪk ju, ɪt wɑz ðə saɪt əv ðɪs ˈɛdəfəs. frəm ðə ˈaʊtˈsaɪd, ɪts lɑrʤ saɪz ənd kənˈstrəkʃən geɪv ɔf ə feɪnt riˈmaɪndər əv ɪn ˈsɛntrəl ˈʤɑvə. ðə ɛkˈstɪriərz ər riˈplit wɪθ ˈhənərdz ɪf nɑt ˈθaʊzənz əv smɔl ðət gɪv ə bɪt əv ə ˈpɔɪnti ˈθɔrni lʊk. ðə ˈɪnər ˈʧeɪmbərz ɔn ðə ˈəðər hænd rɪˈvil ˈɔlˌmoʊst ˈbudə ˈstæˌʧuz ɔn boʊθ saɪdz əv ðə wɔl. aɪ ˈrɛkənd ðə greɪ ˈmɑnəˌtoʊn kənˈstrəkʃən ənd ɪgˈzɑtɪk ˈlʊkɪŋ ˈstæˌʧuz wʊd meɪk ðə ˈtɛmpəl ə ɪf ðɛr ɪz ˈɛvər ə nid tɪ skaʊt ˈfɪlmɪŋ loʊˈkeɪʃənz fər ðə nɛkst ˌɪndiˈænə ʤoʊnz ˈmuvi. ðə pleɪs wɑz ʤɪst səˈblaɪm. ðə ɪkˈstɪriər əv ˈtɛmpəl ˈnoʊtɪs ðə ˈhənərdz əv ðɛr ər ə fju ˈəðər ˈɪntəˌrɛstɪŋ ˈtɛmpəlz sərˈaʊndɪŋ wɪʧ ɪz wən əv ðə ˈfɑrðər saɪts ɪn ju. ðə fər ˈɪnstəns, ˈɔfərz ə nis ˈhɪlˌtɑp vju əv ðə ˈpɔɪnti ˈaʊtər əv waɪl ənd sərvd ɛz nis ɪkˈskərʒənz ɔn ðə weɪ bæk tɪ taʊn. pəˈgoʊdə pəˈgoʊdə ðə ˈrɛlətɪvli ˈəndərˌsteɪtɪd ˈstuˌpɑ ˈhɛdɪŋ təˈwɔrdz ðə dɪˈrɛkʃɪn əv taʊn, wi pæst baɪ ə ˈkəpəl əv ˈwərkɪŋ ˈtɛmpəlz. ɪn ˌpɑˈtɪkjələr simd kwaɪt ˈpɑpjələr əˈməŋ ˈloʊkəlz. ðə ˈtɛmpəl ˌɪtˈsɛlf kənˈsɪsts əv wən lɑrʤ, pəˈgoʊdə. æt ðə tɔp, ɪt ɪz bət ɛz ɪt ɪkˈstɛndz ˈdaʊnwərdz, ɪt əˈsumz ən ɑkˈtægənəl ʃeɪp. ɪt wɑz ðə ˈoʊnli ˈtɛmpəl ɪn ju wɛr aɪ sɔ ˈgɑrdiənz wɪθ ʃɑrp tiθ baɪ ðə ˈɛntrəns, ˈsɪmələr tɪ wət aɪ ˈsəmˌtaɪmz ɪnˈkaʊnər ɪn ˈtaɪˌlænd., wɪʧ ɪz əˈbaʊt hæf ə maɪl əˈweɪ, hæd ə ˈsɪmələr dɪˈzaɪn ðoʊ ɪt ˈɔlsoʊ hæd ə mɔr ˈmɑdərn kənˈstrəkʃən nɛkst tɪ ɪt wɪθ ə lɑrʤ ˈbudə ˈstæˌʧu ənd ən ˌənəˈsumɪŋ ˌsuvəˈnɪr ʃɑp. pəˈgoʊdə ənd pəˈgoʊdə 5 əv ðə 24 smɔl sərˈaʊndɪŋ ə lɑrʤ ˈsɛntrəl wən ɪn pəˈgoʊdə baɪ naʊ, wi wər wɛl wɪˈθɪn ðə taʊn ˈsɛnər əv ju. ðɛr wər ə ˈkəpəl əv ˈnoʊtəbəl ˈtɛmpəlz hir ɛz wɛl, pərˈhæps ðə moʊst ˈvɪzɪtɪd əˈməŋ ðə ˌɑrkiəˈlɑʤɪkəl saɪts ɪn ðə ˈɛriə. wi stɑpt baɪ ðə pəˈgoʊdə, wən əv ðə moʊst ˈfoʊtəˌgræft ɪn ju. ðə ˈmæsɪv ənd ˈbəlki ˈstuˌpɑ ɪz kwaɪt ənˈlaɪk ˈəðərz ɪn ðə ˈɛriə, ɪn ðə sɛns ðət ɪt ɪz rɪŋd baɪ 24 sˈmɔlər. ðɛr ɪz ə hɪl nɛkst tɪ ðə ˈtɛmpəl frəm wɛr səm ˈpipəl goʊ fər ˈsənˌsɛt ˈsənˌraɪz vjuz. ðə ˈstrəkʧər sin təˈdeɪ hæd bɪn ɪkˈstɛnsɪvli ˌrikənˈstrəktɪd, noʊ θæŋks tɪ ˈtrɛʒər ˈhəntərz hu ˈlutɪd ðə pleɪs ˈmɛni jɪrz bæk. ɪz trænzˈleɪtəd ɛz ““treasure,”*,” ənd ˈprɛʃəs ˈɑbʤɛkts wər sɛd tɪ ərˈɪʤənəli laɪ ɪn ðə ˈsɛntrəl ˈstuˌpɑ. ə fju fit əˈweɪ frəm pəˈgoʊdə ɪz ðə pəˈgoʊdə. laɪk, ðɛr ər ˈnumərəs sərˈaʊndɪŋ ə ˈsɛntrəl wən bət ðə ˈdɪfərəns hir ɪz ðət ɔl əv ðɛm ər ˈrəfli əv ðə seɪm saɪz. ðɛr ɪz ˈɔlsoʊ ən ˈɪntəˌrɛstɪŋ ˈɪnər ˈʧeɪmbər æt ðə meɪn ˈstuˌpɑ wɪθ ə ˈhændˌfʊl ˈbudə ˈstæˌʧuz ˌɪnˈsaɪd. ˌhaʊˈɛvər, ɪt wɑz pɪʧ blæk wɪn wi ˈɛnərd ənd wi si ə θɪŋ. ˈtɛmpəl sinz ˌɪnˈsaɪd ðə ˈtɛmpəl, ðə ˈsɛkənd ˈfoʊˌtoʊ həz lɑts əv dɪˈpɪkʃənz əv laɪf ɪn mɪˈdjivəl ju ˈwaɪdli ˈrɛkəgˌnaɪzd ɛz ðə temple”*” əv ju, ðə ˈtɛmpəl ɪz wɛr moʊst ˈvɪzɪtərz stɑrt ɪn ju. ðə 5 zoʊn fi ɪz kəˈlɛktəd hir. wɪn aɪ stɑpt baɪ ðə ˈtɛmpəl, aɪ skænd ðə lɔg bʊk fər ðə ˈvɪzɪtər ˈproʊˌfaɪlz. nɑt ə ˈsɪŋgəl ˌfɪləˈpinoʊ ɪt simd, ˈvɪzɪtɪd ɪn ðə 2 ər 3 mənθs ˌbiˈfɔr aɪ dɪd. wɪn aɪ æst ðə gaɪ æt ðə ˌrɛʤɪˈstreɪʃən, aɪ wɑz toʊld ðət aɪ wɑz ðə fərst ˌfɪləˈpinoʊ ˈtʊrɪst hi hæd sin əraʊnd ju. ðə lɔg bʊk rɪˈvil ˈmɛni ˈvɪzɪtərz frəm ˌsaʊˈθist ˈeɪʒə ˈiðər. əraʊnd 1 ər 2 ˈəðər sɪŋgəˈpɔriənz, məˈleɪʒənz ənd ˌɪndoʊˈniʒənz; ə ˈkəpəl əv taɪz ənd ðət wɑz əˈbaʊt ɪt fər ðə pæst 2 ər 3 mənθs. aɪ ˈrɪli ʃʊr haʊ aɪ wɑz goʊɪŋ tɪ riækt tɪ ðə əˈsərʃən ðə brif θɔt ðət aɪ meɪ bi ðə ˈoʊnli ˌfɪləˈpinoʊ ˌɪnˈseɪn ɪˈnəf tɪ kəm ˈbrifli pɑpt əp, bət wɑz kˈwɪkli kwɛld baɪ ðə fækt ðət aɪ wɑz ˌɛnˈʤɔɪɪŋ wət aɪ wɑz siɪŋ soʊ fɑr. əv ðə ˈtɛmpəlz ɪn ðə ɪnˈtaɪər ˌɑrkiəˈlɑʤɪkəl saɪt, ˈprɑbəˌbli ræŋks ɛz maɪ ˈsɛkənd ˈfeɪvərɪt. ðə ˈtɛmpəl ˌɪtˈsɛlf ɪz dɪˈvaɪdɪd bɪtˈwin ə nuər ənd ˈoʊldər pɑrt. ðə ˈoʊldər pɑrt kənˈsɪsts əv ðə ðət rən θru ðə pərˈɪmətər. wɪˈθɪn ɪt, aɪ sɔ mɔr ˈbudə ˈstæˌʧuz ɪn stoʊn ðoʊ ðiz ɛz ɪgˈzɑtɪk ˈlʊkɪŋ ɛz ðə wənz aɪ sɔ ɪn. bət əˈpɑrt frəm ðət, ðɛr wər ˈfæsəˌneɪtɪŋ ˈkɑrvɪŋz dɪˈpɪktɪŋ ˈdeɪli laɪf ɛz wɛl ɛz rɔɪəl laɪf ɪn ðə ˈaʊtər ˈpæsɪʤˌweɪ. ðə ʃɪr ˈnəmbər əv ˈɑbʤɛkts ɪn ðə wɔl ˈkɑrvɪŋ ɛz wɛl ɛz ðə ˈlɛvəl əv ˈditeɪl wər ˈvɛri ˌɪmˈprɛsɪv ənd ə ˈwɔkˌweɪ frəm wɪʧ wən kən hæv ə greɪt vju əv ə ˈtɛmpəl daʊn ðə hɪl. ˈtɛmpəl ðə ˈbəŋkər ˈtɛmpəl əv ðət ˈtɛmpəl ðət lʊkt laɪk ə ˈbəŋkər wɑz ˈæˌkʧuəli ðə ˈtɛmpəl. əˈgɛn, ðɪs ɪz kənˈsɪdərd tɪ bi wən əv ðə meɪn ˈtɛmpəlz ɪn ju du tɪ ɪts ʃɪr saɪz. laɪk ðə ˈəðər ˈtɛmpəlz, ðə ˌɪnˈsaɪd ɪz fɪld wɪθ ˈbudə ˈstæˌʧuz ðoʊ ðə ˈdɪfərəns hir ɪz ðət ðə ˈpæsɪʤˌweɪ kɔɪlz ɪts weɪ fər ˈsɛvərəl taɪmz ˌbiˈfɔr ˈlidɪŋ tɪ ə lɑrʤ ənd mɔr ˈbudə ˈstæˌʧu æt ðə ˈvɛri ˈsɛnər. ðɛr wɑz ə greɪt dil əv ˌspɛkjəˈleɪʃən baɪ ðə ˈbrɪtɪʃ ɛz tɪ waɪ ðə ˈtɛmpəl lʊk ðə weɪ ɪt dɪz. ðɛr wər səm ˈθɪriz ðət kleɪmd ðət ðə ˈtɛmpəl ˈdəbəld ɛz ə ˈʃɛltər ˈdʊrɪŋ taɪmz əv wɔr. ər ðət ðə hɑrd ˈaʊtər ʃɛl hɛlpt tɪ prəˈtɛkt ðə ˈstrəkʧər əˈgɛnst ðə fɪrs wɪndz əv arakan*. bət aɪ gɛs ˈnɛvər ˈrɪli noʊ. pəˈgoʊdə ˈnæʧərəl laɪt ɔn ðə ˈbudə əˈnəðər ˈtɛmpəl laɪɪŋ ˌɪˈmiˌdiətli wɛst əv ɪz ər ðə ˈtɛmpəl. kəmˈpɛrd tɪ ðə ˈəðər ˈtɛmpəlz, ðə ˌrɛstərˈeɪʃən hir ɪkˈstɛnsɪv bət ðət sərvd tɪ ˈhaɪtən ðə ˈætməsˌfɪr əv ðə pleɪs. ðə ˈtɛmpəl həz ˈwɪndoʊz ðət gɪv laɪt tɪ ðə ˈbudə ˈstæˌʧuz wɪˈθɪn. ə ˌpɑrˈtɪkjələrli smɔl ˈtɛmpəl ðoʊ æt ðə taɪm əv maɪ ˈvɪzɪt ðɛr wər kwaɪt ə fju ˈloʊkəlz ˈhæŋɪŋ əraʊnd ˈaʊtˈsaɪd, ˈjuzɪŋ ðə tɔl fəˈsɑd ɛz ə ʃeɪd. ˈəðər ˈtɛmpəlz səm əv ðə ˈəðər ˈtɛmpəlz əraʊnd ju ðə ˈtɛmpəlz əv ju ər sprɛd əˈkrɔs ðə fɔr ˈkɔrnərz aɪ ˈoʊnli ˈmænɪʤd tɪ ˈvɪzɪt ðə wənz ɪn ðə ist, ˈsɛnər, nɔrθ, səm ˈsəðərn wənz bət kəmˈplitli skɪpt ðə ˈwɛstərn wənz. wɪθ ən ˈɛkstrə deɪ, ə səbˈstænʃəl ˈpɔrʃən kən bi ˈkəvərd. bət tɪ əˈvɔɪd ˈgɪtɪŋ aʊt, ə wən ər tu deɪ trɪp əraʊnd ðə ˈtɛmpəlz ʃʊd səˈfaɪs. ˈsənˌraɪz ˈsənˌsɛt vjuz ðə ˈsənˌraɪz ənd ˈsənˌsɛt vjuz əraʊnd ju əˈloʊn ər wərθ ðə lɔŋ trɪp tɪ gɪt hir. əˈsaɪd frəm ðə ˈklæsɪk pəˈgoʊdə ˈsənˌraɪz ɔn maɪ fərst deɪ, aɪ ˈɔlsoʊ ˈvɛnʧərd tɪ ə pleɪs kɔld ˌdɪˈskəvri vju (fi əv 500) ʤɪst nɔrθ əv pəˈgoʊdə ənd ðə ˈhɪlˌtɑp ˈtɛmpəlz əv ənd kloʊz tɪ taʊn. ə pik əv ðə vjuz frəm əp ðɛr: ˈmɔrnɪŋ mɪst ɪt wɑz ə kul 13 ˈsɛlsiəs ɪn ðə ˈmɔrnɪŋz bət kˈwɪkli roʊz tɪ ə sˈwɛltərɪŋ 35 baɪ nun ʤɪst ˈgɔrʤəs! wɛr aɪ steɪd ðə 25 ə naɪt rum æt prɪns hoʊˈtɛl aɪ steɪd æt ə ˈhəmbəl ˈlɪtəl pleɪs kɔld prɪns hoʊˈtɛl. rumz wər əˈbaʊt ˈjuˈɛs$ 25 ə naɪt. ðə ˈoʊnərz hir ər ˈmaɪti praʊd tɪ hæv bɪlt ðə ˈvɛri fərst hoʊˈtɛl ɪn ju. ˈvɛri ˈsɪmpəl əˌkɑməˈdeɪʃən rən baɪ ə ˈfæməli ənd ðə ˈoʊnərz ər kwaɪt ˈnɑləʤəbəl rɪˈgɑrdɪŋ ðə ˈɛriə. ˈsərvɪs ɪz ˈɛksələnt. aɪ laɪk haʊ ðeɪ wʊd ˌɪnˈvaɪt ˈjuˈɛs tɪ sɪt baɪ ðə ˈdaɪnɪŋ ˈteɪbəl ˈɛvəri naɪt tɪ tɪ hɛlp ˈjuˈɛs sɔrt aʊt ðə ˈfɑloʊɪŋ plænz. ðeɪ ˈɔlsoʊ əreɪnʤ boʊt trɪps tɪ rɪˈmoʊt ʧɪn ˈvɪlɪʤɪz fər ə ˈdisənt praɪs. ju kən ˈɔlsoʊ ʧɛk ənd kəmˈpɛr ˈpraɪsɪz fər hoʊˈtɛlz ɪn ju hir. tɪps fər ju əˈvɔɪd ˈkəmɪŋ ˈdʊrɪŋ ðə ˈreɪni ˈsizən frəm tɪ sɛpˈtɛmbər. ɪn ju. wɪn ɪt reɪnz, ɪt pɔrz! ðə bɛst taɪm tɪ ˈvɪzɪt ju ɪz frəm noʊˈvɛmbər tɪ wɪn ˈkulər ɪn ðə ˈmɔrnɪŋz ənd ju gɪt tɪ si ðə ˈmɔrnɪŋ mɪst pʊt æt list ə 1 deɪ əˈlaʊəns tɪ jʊr trɪp tɪ ˈkeɪtər fər ˈpɑsəbəl ˈfɛri ər flaɪt ˌkænsəˈleɪʃənz. ˈprɪti ˈkɑmən ˈoʊvər æt ðiz pɑrts brɪŋ lɑts əv ˈɪnˌsɛkt rɪˈpɛlənt. bi ˈθæŋkfəl ju dɪd. mˈjɑnˈmɑr həz wən əv ðə haɪəst ˈɪnsədənsɪz əv məˈlɛriə ɪn ˌsaʊˈθist ˈeɪʒə ənd ju ɪz kənˈsɪdərd tɪ bi mɔr frənˈtɪr ðən ˈbeɪgən ər leɪk. waɪl ɪt meɪ stɪl bi ˌoʊˈkeɪ tɪ ˈvɪzɪt wɪˈθaʊt ˈhævɪŋ ˈteɪkən məˈlɛriə pɪlz, bɛst tɪ wɛr ʃərts ənd pænts tɪ ˈdiˌkris ðə ˈʧænsɪz əv ˈgɪtɪŋ ðə dɪˈziz. ʧeɪnʤ jʊr bɪˈfɔˌrhænd. əˈvɔɪd ˈʧeɪnʤɪŋ ɪn ju. ðə ɪksˈʧeɪnʤ reɪt hir ɪz ˈvɛri bæd. ˈpɑsəbəl aɪˈtɪnərˌɛri deɪ 1 ˈsənˌraɪz: ist grup (kothaung*,, mɔŋ pəˈgoʊdə) ˈsɛntrəl (shitte-thaung*,,, ratamanaung*,) nɔrθ, laungbwanbyauk*, httuparon*) ˈsənˌsɛt: ˌdɪˈskəvri vju deɪ 2 ˈsənˌraɪz: ʧɪn ˈvɪlɪʤ ɪkˈskərʒən -ər- ɪkˈskərʒən tɪ ənd lɛt mi noʊ jʊr θɔts baɪ ˈlivɪŋ ə ˈkɑmɛnt bɪˈloʊ. ɔlˈtərnətɪvli, ju kən ˈɔlsoʊ iˈmeɪl mi æt (æt) iwandered.net*. ju kən ˈfɑloʊ aɪ ˈwɑndər ɔn ˈfeɪsˌbʊk, tˈwɪtər, ər instagram*. ˈɔlsoʊ, ɪf ju laɪkt ðɪs ˈɑrtɪkəl, pliz fil fri tɪ ʃɛr ər mɔr poʊsts ˈwɛbˌsaɪt ˈfɑloʊ mi: |
green river killer gary victims in photos
a decade after striking a plea deal in the green river killings, gary ridgway has been convicted in 49 slayings of women and girls who disappeared in the and 1990s. ridgway and investigators agree he has killed far more, though the truthfulness of his confessions -- offered to avoid execution -- remains suspect. ridgway has not been convicted or accused in any murders outside king county; authorities elsewhere could still seek a death sentence against the serial killer. less a decade after striking a plea deal in the green river killings, gary ridgway has been convicted in 49 slayings of women and girls who disappeared in the and 1990s. ridgway and investigators agree he has ... more photo: green river taskforce photos from seattle archives photo: green river taskforce photos from seattle archives image 1 of / 67 caption close green river killer gary victims in photos 1 / 67 back to gallery
no one knows how many girls and women gary ridgway killed.
captured nov. 30, 2001, ridgway better known as the green river killer cut a plea deal on nov. 5, 2003, meant to give some of his victims’ families solace.
while ridgway admitted to more than 70 killings in king county, it is suspected he killed women elsewhere. ridgway said killed too many women to recall each slaying.
only the king county killings were included in the 2003 plea agreement, which saw ridgway sentenced to life in prison without the possibility of parole. when the deal was struck, prosecutors believed they could prove ridgway had killed seven women, and that most of the other killings would go unsolved.
ridgway could still face a death sentence if he were to be convicted elsewhere or charged in king county killings to which he admitted. no other charges have been brought against him.
above is a with photos of each of the identified women ridgway has been convicted of killing. they range in age from 15 to 38 most of victims were teens and their deaths span at least 16 years. he was also convicted of killing three women whose remains have not been identified.
check the seattle 911 crime blog for more seattle crime news. visit home page for more seattle news.
seattlepi.com reporter levi can be reached at or levipulkkinen@seattlepi.com. follow levi on twitter at twitter.com/levipulk. | grin ˈrɪvər ˈkɪlər ˈgɛri ˈvɪktɪmz ɪn ˈfoʊˌtoʊz ə ˈdɛkeɪd ˈæftər ˈstraɪkɪŋ ə pli dil ɪn ðə grin ˈrɪvər ˈkɪlɪŋz, ˈgɛri ˈrɪʤˌweɪ həz bɪn kənˈvɪktəd ɪn 49 sleɪɪŋz əv ˈwɪmən ənd gərlz hu ˌdɪsəˈpɪrd ɪn ðə ənd 1990s*. ˈrɪʤˌweɪ ənd ˌɪnˈvɛstəˌgeɪtərz əˈgri hi həz kɪld fɑr mɔr, ðoʊ ðə ˈtruθfəlnəs əv hɪz kənˈfɛʃənz ˈɔfərd tɪ əˈvɔɪd ˌɛksəˈkjuʃən rɪˈmeɪnz ˈsəˌspɛkt. ˈrɪʤˌweɪ həz nɑt bɪn kənˈvɪktəd ər əˈkjuzd ɪn ˈɛni ˈmərdərz ˈaʊtˈsaɪd kɪŋ ˈkaʊnti; əˈθɔrətiz ˈɛlsˌwɛr kʊd stɪl sik ə dɛθ ˈsɛntəns əˈgɛnst ðə ˈsɪˌriəl ˈkɪlər. lɛs ə ˈdɛkeɪd ˈæftər ˈstraɪkɪŋ ə pli dil ɪn ðə grin ˈrɪvər ˈkɪlɪŋz, ˈgɛri ˈrɪʤˌweɪ həz bɪn kənˈvɪktəd ɪn 49 sleɪɪŋz əv ˈwɪmən ənd gərlz hu ˌdɪsəˈpɪrd ɪn ðə ənd 1990s*. ˈrɪʤˌweɪ ənd ˌɪnˈvɛstəˌgeɪtərz əˈgri hi həz mɔr ˈfoʊˌtoʊ: grin ˈrɪvər ˈtæskˌfɔrs ˈfoʊˌtoʊz frəm siˈætəl ˈɑrˌkaɪvz ˈfoʊˌtoʊ: grin ˈrɪvər ˈtæskˌfɔrs ˈfoʊˌtoʊz frəm siˈætəl ˈɑrˌkaɪvz ˈɪmɪʤ 1 əv 67 ˈkæpʃən kloʊz grin ˈrɪvər ˈkɪlər ˈgɛri ˈvɪktɪmz ɪn ˈfoʊˌtoʊz 1 67 bæk tɪ ˈgæləri noʊ wən noʊz haʊ ˈmɛni gərlz ənd ˈwɪmən ˈgɛri ˈrɪʤˌweɪ kɪld. ˈkæpʧərd noʊv. 30 2001 ˈrɪʤˌweɪ ˈbɛtər noʊn ɛz ðə grin ˈrɪvər ˈkɪlər kət ə pli dil ɔn noʊv. 5 2003 mɛnt tɪ gɪv səm əv hɪz victims’*’ ˈfæməliz ˈsɑləs. waɪl ˈrɪʤˌweɪ ədˈmɪtəd tɪ mɔr ðən 70 ˈkɪlɪŋz ɪn kɪŋ ˈkaʊnti, ɪt ɪz səˈspɛktɪd hi kɪld ˈwɪmən ˈɛlsˌwɛr. ˈrɪʤˌweɪ sɛd kɪld tu ˈmɛni ˈwɪmən tɪ ˈriˌkɔl iʧ sleɪɪŋ. ˈoʊnli ðə kɪŋ ˈkaʊnti ˈkɪlɪŋz wər ˌɪnˈkludɪd ɪn ðə 2003 pli əˈgrimənt, wɪʧ sɔ ˈrɪʤˌweɪ ˈsɛntənst tɪ laɪf ɪn ˈprɪzən wɪˈθaʊt ðə ˌpɑsəˈbɪləˌti əv pəroʊl. wɪn ðə dil wɑz strək, ˈprɑsɪˌkjutərz bɪˈlivd ðeɪ kʊd pruv ˈrɪʤˌweɪ hæd kɪld ˈsɛvən ˈwɪmən, ənd ðət moʊst əv ðə ˈəðər ˈkɪlɪŋz wʊd goʊ ənˈsɑlvd. ˈrɪʤˌweɪ kʊd stɪl feɪs ə dɛθ ˈsɛntəns ɪf hi wər tɪ bi kənˈvɪktəd ˈɛlsˌwɛr ər ʧɑrʤd ɪn kɪŋ ˈkaʊnti ˈkɪlɪŋz tɪ wɪʧ hi ədˈmɪtəd. noʊ ˈəðər ˈʧɑrʤɪz hæv bɪn brɔt əˈgɛnst ɪm. əˈbəv ɪz ə wɪθ ˈfoʊˌtoʊz əv iʧ əv ðə aɪˈdɛntəˌfaɪd ˈwɪmən ˈrɪʤˌweɪ həz bɪn kənˈvɪktəd əv ˈkɪlɪŋ. ðeɪ reɪnʤ ɪn eɪʤ frəm 15 tɪ 38 moʊst əv ˈvɪktɪmz wər tinz ənd ðɛr dɛθs spæn æt list 16 jɪrz. hi wɑz ˈɔlsoʊ kənˈvɪktəd əv ˈkɪlɪŋ θri ˈwɪmən huz rɪˈmeɪnz hæv nɑt bɪn aɪˈdɛntəˌfaɪd. ʧɛk ðə siˈætəl 911 kraɪm blɔg fər mɔr siˈætəl kraɪm nuz. ˈvɪzɪt hoʊm peɪʤ fər mɔr siˈætəl nuz. rɪˈpɔrtər ˈlivaɪ kən bi riʧt æt ər levipulkkinen@seattlepi.com*. ˈfɑloʊ ˈlivaɪ ɔn tˈwɪtər æt twitter.com/levipulk*. |
milwaukie, ore. two weeks ago, comstock was an ordinary girl living through an extraordinary ordeal. been battling leukemia since june, when a tumor was discovered in her chest.
now is in the middle of another in the national whether children should be able to use marijuana to mitigate the crippling effects of chemotherapy. a newly registered member of the medical marijuana program, she has consumed a daily gram of cannabis oil, encapsulated in a pill, since shortly after her diagnosis. the leukemia quickly went into remission, say’s unapologetic parents, and in the months that followed she has been able to cope with the debilitating symptoms associated with her traditional cancer treatments.
she also likes the way cannabis makes her laugh.
“it’s like funny to me,” she tells the daily beast.
mykayla’s controversial but perfectly legal cannabis use rose to national attention late last month when an oregonian reporter wrote a piece on her after discovering her facebook page. the story quickly went viral, and’s mother, erin purchase, says since fielded phone calls from producers from dr. phil and anderson cooper. local television reporters also bang incessantly on the door in gladstone, ore., she says.
purchase says she never sought or anticipated this kind of attention. she and her boyfriend, brandon, whom calls “daddy,” always knew they would obtain a medical marijuana card if their daughter needed one, she says. when oncologists diagnosed the with an aggressive form of cancer known as leukemia earlier this summer, purchase and drove to the hemp and cannabis foundation clinic in southeast portland and got her enrolled in the state program.
purchase and tell the daily beast they the least bit embarrassed or ashamed of their actions. convinced the cannabis oil their daughter now in two pills each day not only has mitigated the effects of her chemotherapy but also perhaps knocked her leukemia into remission. but they made sure those early visits to the clinic where gets her medicine were “discreet,” through a side entrance, they say. they did not tell the biological father, who they say has been out of touch for most of the life. they kept it quiet, to themselves.
now famous. and being attacked, they say, by people who understand the power of marijuana as medicine, who call them lousy parents, seized on the comment jesse comstock, the biological father, made in that first newspaper he visited in august and found his daughter “stoned out of her mind.”
comstock be reached for comment for this story, but not the only one nonplussed that each month little consumes the distilled equivalent of a pound of marijuana, which remains classified by the federal government as a schedule 1 narcotic, right up there with lsd and heroin. purchase and say the oncologist who was treating “blew up on us” when she found out about the cannabis use and that the relationship became so strained they asked for a new provider. (neither the new oncologist nor her previous doctor returned phone calls from the daily beast.) the a handyman in between “technical” jobs, she a hemp jewelry say received vile emails from people declaring them not just unfit parents but also deserving of jail time.
“i hope they never have to be who i am,” purchase says. “i hope they never have to feel what having to feel, what having to feel. not drugging my child. i use this for her medicine. amazing, and i think people should know that.”
but the two have discovered something else about being in the national spotlight: an overwhelming show of support, from all over the country. the number of “likes” on’s facebook page has tripled in the past few weeks, to. a call for donations to help the couple replace their car hit $2,000 last week, only a few days after the “fairy car rally” began.
one of’s roommates also gives her $1 every time she muscles down a shot of “cannabis juice,” a liquid derived from the plant that has no intoxicating it is unpalatable. says saving those dollars for a “build-a-bear” making for her sister, ryleigh.
those who support’s cannabis use do so either because long believed in the healing powers or because hip to mounting medical evidence that shows “cannabinoids” just help with generalized pain, nausea, and diminished appetite but have been shown to slow cancer growth, inhibiting the formation of new blood cells that feed tumors. some of purchase and’s critics are upset that they treat the girl exclusively with cannabis, he says, but the couple willing to go that far.
the trouble is, also research that shows marijuana use can have negative effects, especially among those who begin using the drug before they turn 18. “persistent cannabis use” among young people was associated with “neuropsychological decline,” a duke university survey of more than individuals at various ages found.
purchase and are unbowed, though. they say their daughter is not addicted to cannabis and that only use it as long necessary, as long as undergoing chemo treatment or suffers from some other qualifying medical condition. they never would have given her the drug in the first place, they say, were it not authorized by the state program, as that would be illegal and could threaten custody agreement. keith comstock called police and state social workers after his august visit, but because the girl was a patient, the agencies just conducted a welfare check.
mykayla’s parents tell their critics to consider the alternatives for pain management: highly addictive prescription drugs, including and hydrocodone. been offered both, they said, for symptoms as mild as a stomachache. thanks to her cannabis oil, can battle occasional nausea with little more than a ginger chew, purchase says.
“i think anything left to argue,” says. “cannabis helps cancer. even if it fight cancer, it fights the symptoms.”
these days, hardly remembers what it was like that first week of chemo blasts, other than the night sweats and being “really, really bored.” | milwaukie*, ɔr. tu wiks əˈgoʊ, ˈkɑmˌstɑk wɑz ən ˈɔrdəˌnɛri gərl ˈlɪvɪŋ θru ən ˌɛkstrəˈɔrdəˌnɛri ɔrˈdil. bɪn ˈbætəlɪŋ luˈkimiə sɪns ʤun, wɪn ə ˈtumər wɑz dɪˈskəvərd ɪn hər ʧɛst. naʊ ɪz ɪn ðə ˈmɪdəl əv əˈnəðər ɪn ðə ˈnæʃənəl ˈwɛðər ˈʧɪldrən ʃʊd bi ˈeɪbəl tɪ juz ˌmɛrəˈwɑnə tɪ ˈmɪtəˌgeɪt ðə ˈkrɪpəlɪŋ ˈifɛkts əv ˌkimoʊˈθɛrəpi. ə ˈnuli ˈrɛʤɪstərd ˈmɛmbər əv ðə ˈmɛdɪkəl ˌmɛrəˈwɑnə ˈproʊˌgræm, ʃi həz kənˈsumd ə ˈdeɪli græm əv ˈkænəbəs ɔɪl, ɛnˈkæpsəˌleɪtɪd ɪn ə pɪl, sɪns ˈʃɔrtli ˈæftər hər ˌdaɪəgˈnoʊsəs. ðə luˈkimiə kˈwɪkli wɛnt ˈɪntu riˈmɪʃən, seɪ ˌənəˌpɑləˈʤɛtɪk ˈpɛrənts, ənd ɪn ðə mənθs ðət ˈfɑloʊd ʃi həz bɪn ˈeɪbəl tɪ koʊp wɪθ ðə dəˈbɪləˌteɪtɪŋ ˈsɪmptəmz əˈsoʊʃiˌeɪtəd wɪθ hər trəˈdɪʃənəl ˈkænsər ˈtritmənts. ʃi ˈɔlsoʊ laɪks ðə weɪ ˈkænəbəs meɪks hər læf. laɪk ˈfəni tɪ me,”*,” ʃi tɛlz ðə ˈdeɪli bist. ˌkɑntrəˈvərʃəl bət ˈpərfəktli ˈligəl ˈkænəbəs juz roʊz tɪ ˈnæʃənəl əˈtɛnʃən leɪt læst mənθ wɪn ən ˌɔrəˈgoʊniən rɪˈpɔrtər roʊt ə pis ɔn hər ˈæftər dɪˈskəvərɪŋ hər ˈfeɪsˌbʊk peɪʤ. ðə ˈstɔri kˈwɪkli wɛnt ˈvaɪrəl, ənd ˈməðər, ˈɛrɪn ˈpərʧəs, sɪz sɪns ˈfildɪd foʊn kɔlz frəm prəˈdusərz frəm ˈdɑktər. fɪl ənd ˈændərsən ˈkupər. ˈloʊkəl ˈtɛləˌvɪʒən rɪˈpɔrtərz ˈɔlsoʊ bæŋ ˌɪnˈsɛsəntli ɔn ðə dɔr ɪn ˈglædˌstoʊn, ɔr., ʃi sɪz. ˈpərʧəs sɪz ʃi ˈnɛvər sɔt ər ænˈtɪsəˌpeɪtɪd ðɪs kaɪnd əv əˈtɛnʃən. ʃi ənd hər ˈbɔɪˌfrɛnd, ˈbrændən, hum kɔlz ““daddy,”*,” ˈɔlˌweɪz nu ðeɪ wʊd əbˈteɪn ə ˈmɛdɪkəl ˌmɛrəˈwɑnə kɑrd ɪf ðɛr ˈdɔtər ˈnidɪd wən, ʃi sɪz. wɪn ɑŋˈkɑləʤɪsts ˌdaɪəgˈnoʊst ðə wɪθ ən əˈgrɛsɪv fɔrm əv ˈkænsər noʊn ɛz luˈkimiə ˈərliər ðɪs ˈsəmər, ˈpərʧəs ənd droʊv tɪ ðə hɛmp ənd ˈkænəbəs faʊnˈdeɪʃən ˈklɪnɪk ɪn ˌsaʊˈθist ˈpɔrtlənd ənd gɑt hər ɛnˈroʊld ɪn ðə steɪt ˈproʊˌgræm. ˈpərʧəs ənd tɛl ðə ˈdeɪli bist ðeɪ ðə list bɪt ɪmˈbɛrəst ər əˈʃeɪmd əv ðɛr ˈækʃənz. kənˈvɪnst ðə ˈkænəbəs ɔɪl ðɛr ˈdɔtər naʊ ɪn tu pɪlz iʧ deɪ nɑt ˈoʊnli həz ˈmɪtəˌgeɪtɪd ðə ˈifɛkts əv hər ˌkimoʊˈθɛrəpi bət ˈɔlsoʊ pərˈhæps nɑkt hər luˈkimiə ˈɪntu riˈmɪʃən. bət ðeɪ meɪd ʃʊr ðoʊz ˈərli ˈvɪzɪts tɪ ðə ˈklɪnɪk wɛr gɪts hər ˈmɛdəsən wər ““discreet,”*,” θru ə saɪd ˈɛntrəns, ðeɪ seɪ. ðeɪ dɪd nɑt tɛl ðə ˌbaɪəˈlɑʤɪkəl ˈfɑðər, hu ðeɪ seɪ həz bɪn aʊt əv təʧ fər moʊst əv ðə laɪf. ðeɪ kɛpt ɪt kwaɪət, tɪ ðɛmˈsɛlvz. naʊ ˈfeɪməs. ənd biɪŋ əˈtækt, ðeɪ seɪ, baɪ ˈpipəl hu ˌəndərˈstænd ðə paʊər əv ˌmɛrəˈwɑnə ɛz ˈmɛdəsən, hu kɔl ðɛm ˈlaʊzi ˈpɛrənts, sizd ɔn ðə ˈkɑmɛnt ˈʤɛsi ˈkɑmˌstɑk, ðə ˌbaɪəˈlɑʤɪkəl ˈfɑðər, meɪd ɪn ðət fərst ˈnuzˌpeɪpər hi ˈvɪzɪtɪd ɪn ˈɔgəst ənd faʊnd hɪz ˈdɔtər aʊt əv hər mind.”*.” ˈkɑmˌstɑk bi riʧt fər ˈkɑmɛnt fər ðɪs ˈstɔri, bət nɑt ðə ˈoʊnli wən nɑnˈpləst ðət iʧ mənθ ˈlɪtəl kənˈsumz ðə dɪˈstɪld ɪkˈwɪvələnt əv ə paʊnd əv ˌmɛrəˈwɑnə, wɪʧ rɪˈmeɪnz ˈklæsəˌfaɪd baɪ ðə ˈfɛdərəl ˈgəvərnmənt ɛz ə ˈskɛʤʊl 1 nɑrˈkɑtɪk, raɪt əp ðɛr wɪθ ˌɛˌlɛsˈdi ənd ˈhɛroʊən. ˈpərʧəs ənd seɪ ðə ɑŋˈkɑləʤɪst hu wɑz ˈtritɪŋ əp ɔn us”*” wɪn ʃi faʊnd aʊt əˈbaʊt ðə ˈkænəbəs juz ənd ðət ðə riˈleɪʃənˌʃɪp bɪˈkeɪm soʊ streɪnd ðeɪ æst fər ə nu prəˈvaɪdər. (ˈniðər ðə nu ɑŋˈkɑləʤɪst nɔr hər ˈpriviəs ˈdɔktər rɪˈtərnd foʊn kɔlz frəm ðə ˈdeɪli bist.) ðə ə ˈhændiˌmæn ɪn bɪtˈwin ““technical”*” ʤɑbz, ʃi ə hɛmp ˈʤuəlri seɪ rɪˈsivd vaɪl iˈmeɪlz frəm ˈpipəl dɪˈklɛrɪŋ ðɛm nɑt ʤɪst ənˈfɪt ˈpɛrənts bət ˈɔlsoʊ dɪˈzərvɪŋ əv ʤeɪl taɪm. hoʊp ðeɪ ˈnɛvər hæv tɪ bi hu aɪ am,”*,” ˈpərʧəs sɪz. hoʊp ðeɪ ˈnɛvər hæv tɪ fil wət ˈhævɪŋ tɪ fil, wət ˈhævɪŋ tɪ fil. nɑt ˈdrəgɪŋ maɪ ʧaɪld. aɪ juz ðɪs fər hər ˈmɛdəsən. əˈmeɪzɪŋ, ənd aɪ θɪŋk ˈpipəl ʃʊd noʊ that.”*.” bət ðə tu hæv dɪˈskəvərd ˈsəmθɪŋ ɛls əˈbaʊt biɪŋ ɪn ðə ˈnæʃənəl ˈspɑˌtlaɪt: ən ˌoʊvərˈwɛlmɪŋ ʃoʊ əv səˈpɔrt, frəm ɔl ˈoʊvər ðə ˈkəntri. ðə ˈnəmbər əv ““likes”*” ɔn ˈfeɪsˌbʊk peɪʤ həz ˈtrɪpəld ɪn ðə pæst fju wiks, tɪ ə kɔl fər doʊˈneɪʃənz tɪ hɛlp ðə ˈkəpəl ˌriˈpleɪs ðɛr kɑr hɪt læst wik, ˈoʊnli ə fju deɪz ˈæftər ðə kɑr rally”*” bɪˈgæn. wən əv ˈruˌmeɪts ˈɔlsoʊ gɪvz hər 1 ˈɛvəri taɪm ʃi ˈməsəlz daʊn ə ʃɑt əv juice,”*,” ə ˈlɪkwɪd dəraɪvd frəm ðə plænt ðət həz noʊ ˌɪnˈtɑksɪˌkeɪtɪŋ ɪt ɪz ənˈpælətəbəl. sɪz ˈseɪvɪŋ ðoʊz ˈdɔlərz fər ə ““build-a-bear”*” ˈmeɪkɪŋ fər hər ˈsɪstər, ryleigh*. ðoʊz hu səˈpɔrt ˈkænəbəs juz du soʊ ˈiðər bɪˈkəz lɔŋ bɪˈlivd ɪn ðə ˈhilɪŋ paʊərz ər bɪˈkəz hɪp tɪ ˈmaʊntɪŋ ˈmɛdɪkəl ˈɛvədəns ðət ʃoʊz ““cannabinoids”*” ʤɪst hɛlp wɪθ ˈʤɛnərəˌlaɪzd peɪn, ˈnɔziə, ənd dɪˈmɪnɪʃt ˈæpəˌtaɪt bət hæv bɪn ʃoʊn tɪ sloʊ ˈkænsər groʊθ, ˌɪnˈhɪbətɪŋ ðə fɔrˈmeɪʃən əv nu bləd sɛlz ðət fid ˈtumərz. səm əv ˈpərʧəs ənd ˈkrɪtɪks ər ˈəpˌsɛt ðət ðeɪ trit ðə gərl ɪkˈsklusɪvli wɪθ ˈkænəbəs, hi sɪz, bət ðə ˈkəpəl ˈwɪlɪŋ tɪ goʊ ðət fɑr. ðə ˈtrəbəl ɪz, ˈɔlsoʊ ˈrisərʧ ðət ʃoʊz ˌmɛrəˈwɑnə juz kən hæv ˈnɛgətɪv ˈifɛkts, əˈspɛʃəli əˈməŋ ðoʊz hu bɪˈgɪn ˈjuzɪŋ ðə drəg ˌbiˈfɔr ðeɪ tərn 18 ˈkænəbəs use”*” əˈməŋ jəŋ ˈpipəl wɑz əˈsoʊʃiˌeɪtəd wɪθ decline,”*,” ə duk ˌjunəˈvərsəti ˈsərˌveɪ əv mɔr ðən ˌɪndəˈvɪʤəwəlz æt ˈvɛriəs ˈeɪʤɪz faʊnd. ˈpərʧəs ənd ər ənˈboʊd, ðoʊ. ðeɪ seɪ ðɛr ˈdɔtər ɪz nɑt əˈdɪktɪd tɪ ˈkænəbəs ənd ðət ˈoʊnli juz ɪt ɛz lɔŋ ˈnɛsəˌsɛri, ɛz lɔŋ ɛz ˌəndərˈgoʊɪŋ ˈkimoʊ ˈtritmənt ər ˈsəfərz frəm səm ˈəðər kˈwɑləˌfaɪɪŋ ˈmɛdɪkəl kənˈdɪʃən. ðeɪ ˈnɛvər wʊd hæv ˈgɪvɪn hər ðə drəg ɪn ðə fərst pleɪs, ðeɪ seɪ, wər ɪt nɑt ˈɔθərˌaɪzd baɪ ðə steɪt ˈproʊˌgræm, ɛz ðət wʊd bi ˌɪˈligəl ənd kʊd θˈrɛtən ˈkəstədi əˈgrimənt. kiθ ˈkɑmˌstɑk kɔld pəˈlis ənd steɪt ˈsoʊʃəl ˈwərkərz ˈæftər hɪz ˈɔgəst ˈvɪzɪt, bət bɪˈkəz ðə gərl wɑz ə ˈpeɪʃənt, ðə ˈeɪʤənsiz ʤɪst kənˈdəktəd ə ˈwɛlˌfɛr ʧɛk. ˈpɛrənts tɛl ðɛr ˈkrɪtɪks tɪ kənˈsɪdər ðə ɔlˈtərnətɪvz fər peɪn ˈmænɪʤmənt: ˈhaɪli əˈdɪktɪv prəˈskrɪpʃən drəgz, ˌɪnˈkludɪŋ ənd hydrocodone*. bɪn ˈɔfərd boʊθ, ðeɪ sɛd, fər ˈsɪmptəmz ɛz maɪld ɛz ə stomachache*. θæŋks tɪ hər ˈkænəbəs ɔɪl, kən ˈbætəl ɔˈkeɪʒənəl ˈnɔziə wɪθ ˈlɪtəl mɔr ðən ə ˈʤɪnʤər ʧu, ˈpərʧəs sɪz. θɪŋk ˈɛniˌθɪŋ lɛft tɪ argue,”*,” sɪz. hɛlps ˈkænsər. ˈivɪn ɪf ɪt faɪt ˈkænsər, ɪt faɪts ðə symptoms.”*.” ðiz deɪz, ˈhɑrdli rɪˈmɛmbərz wət ɪt wɑz laɪk ðət fərst wik əv ˈkimoʊ blæsts, ˈəðər ðən ðə naɪt swɛts ənd biɪŋ ““really*, ˈrɪli bored.”*.” |
(naturalnews) the veterans administration (va) is issuing a warning that the popular drug has been linked to an elevated risk of suicide. this warning comes months after the first expressed concerns over the psychiatric effects of the helps people quit smoking by simulating the effects of nicotine in the brain, while at the same time making real nicotine less effective. as early as november 2007, the warned that many people were experiencing changes in emotions and behavior, including depression and suicidal thoughts, within weeks or even days of starting the drug. by february, the agency had strengthened its message, saying, "it appears increasingly likely that there may be an association between and serious least 40 cases of suicide and another 400 attempted suicides have been reported among those taking. in february, the asked manufacturer pfizer to make warnings about suicidal and other psychiatric side effects more prominent on the drug's label. but consumer advocacy groups have insisted that this measure does not go far enough. public citizen wants the to put a stronger "black box" warning on the drug, while researchers from the institute for safe medication practices have expressed concern over side effects such as loss of consciousness and the issued its first warning in november, the had already begun a study into the behavioral effects of on hundreds of iraq war veterans suffering from post traumatic stress disorder. participants in this ongoing study are being paid $30 per did not pass the's first warning on to study participants. when it finally warned them about potential psychiatric side effects after the second announcement in february, the failed to mention the risk of agency says that it will now send warning letters to all 940 study participants, plus an additional veterans who have been prescribed the drug . the study will continue, but no new participants will be for this story include: | (naturalnews*) ðə ˈvɛtərənz ædˌmɪnɪˈstreɪʃən (va*) ɪz ˈɪʃuɪŋ ə ˈwɔrnɪŋ ðət ðə ˈpɑpjələr drəg həz bɪn lɪŋkt tɪ ən ˈɛləˌveɪtɪd rɪsk əv ˈsuɪˌsaɪd. ðɪs ˈwɔrnɪŋ kəmz mənθs ˈæftər ðə fərst ɪkˈsprɛst kənˈsərnz ˈoʊvər ðə ˌsaɪkiˈætrɪk ˈifɛkts əv ðə hɛlps ˈpipəl kwɪt sˈmoʊkɪŋ baɪ ˈsɪmjəˌleɪtɪŋ ðə ˈifɛkts əv ˈnɪkəˌtin ɪn ðə breɪn, waɪl æt ðə seɪm taɪm ˈmeɪkɪŋ ril ˈnɪkəˌtin lɛs ˈifɛktɪv. ɛz ˈərli ɛz noʊˈvɛmbər 2007 ðə wɔrnd ðət ˈmɛni ˈpipəl wər ɪkˈspɪriənsɪŋ ˈʧeɪnʤɪz ɪn ˈɪˌmoʊʃənz ənd bɪˈheɪvjər, ˌɪnˈkludɪŋ dɪˈprɛʃən ənd ˌsuəˈsaɪdəl θɔts, wɪˈθɪn wiks ər ˈivɪn deɪz əv ˈstɑrtɪŋ ðə drəg. baɪ ˈfɛbruˌɛri, ðə ˈeɪʤənsi hæd ˈstrɛŋθənd ɪts ˈmɛsɪʤ, seɪɪŋ, "ɪt əˈpɪrz ˌɪnˈkrisɪŋgli ˈlaɪkli ðət ðɛr meɪ bi ən əˌsoʊʃiˈeɪʃən bɪtˈwin ənd ˈsɪriəs list 40 ˈkeɪsɪz əv ˈsuɪˌsaɪd ənd əˈnəðər 400 əˈtɛmptəd ˈsuəˌsaɪdz hæv bɪn ˌriˈpɔrtəd əˈməŋ ðoʊz ˈteɪkɪŋ. ɪn ˈfɛbruˌɛri, ðə æst ˌmænjəˈfækʧərər ˈfaɪzər tɪ meɪk ˈwɔrnɪŋz əˈbaʊt ˌsuəˈsaɪdəl ənd ˈəðər ˌsaɪkiˈætrɪk saɪd ˈifɛkts mɔr ˈprɑmənənt ɔn ðə drəgz ˈleɪbəl. bət kənˈsumər ˈædvəkəsi grups hæv ˌɪnˈsɪstɪd ðət ðɪs ˈmɛʒər dɪz nɑt goʊ fɑr ɪˈnəf. ˈpəblɪk ˈsɪtɪzən wɔnts ðə tɪ pʊt ə ˈstrɔŋgər "blæk bɑks" ˈwɔrnɪŋ ɔn ðə drəg, waɪl ˈrisərʧərz frəm ðə ˈɪnstɪˌtut fər seɪf ˌmɛdəˈkeɪʃən ˈpræktɪsɪz hæv ɪkˈsprɛst kənˈsərn ˈoʊvər saɪd ˈifɛkts səʧ ɛz lɔs əv ˈkɑnʃəsnəs ənd ðə ˈɪʃud ɪts fərst ˈwɔrnɪŋ ɪn noʊˈvɛmbər, ðə hæd ɔˈrɛdi ˈbeɪgən ə ˈstədi ˈɪntu ðə bɪˈheɪvjərəl ˈifɛkts əv ɔn ˈhənərdz əv ˌɪˈrɑk wɔr ˈvɛtərənz ˈsəfərɪŋ frəm poʊst trɔˈmætɪk strɛs dɪˈsɔrdər. pɑrˈtɪsəpənts ɪn ðɪs ˈɔnˌgoʊɪŋ ˈstədi ər biɪŋ peɪd 30 pər dɪd nɑt pæs ðə fərst ˈwɔrnɪŋ ɔn tɪ ˈstədi pɑrˈtɪsəpənts. wɪn ɪt ˈfaɪnəli wɔrnd ðɛm əˈbaʊt pəˈtɛnʃəl ˌsaɪkiˈætrɪk saɪd ˈifɛkts ˈæftər ðə ˈsɛkənd əˈnaʊnsmɛnt ɪn ˈfɛbruˌɛri, ðə feɪld tɪ ˈmɛnʃən ðə rɪsk əv ˈeɪʤənsi sɪz ðət ɪt wɪl naʊ sɛnd ˈwɔrnɪŋ ˈlɛtərz tɪ ɔl 940 ˈstədi pɑrˈtɪsəpənts, pləs ən əˈdɪʃənəl ˈvɛtərənz hu hæv bɪn priˈskraɪbd ðə drəg ðə ˈstədi wɪl kənˈtɪnju, bət noʊ nu pɑrˈtɪsəpənts wɪl bi fər ðɪs ˈstɔri ˌɪnˈklud: |
arcade fire, rick ross, the black keys, fiona apple make oscars best original song
published dec 11, 2012
following those recent grammy nominations , we now have some more high-profile award givers rolling out a list of possible winners. the for best original song has been revealed for the 2013 academy awards, naming off 75 possible contenders for the all those songs in question, you'll find arcade fire's daughter" (), fiona apple's "dull tool" (), the black keys' man alive" (), karen o's "strange love" (), rick ross' "100 black coffins" (), mumford and sons' "learn me right" () and, yes, can see the full list of songs over here the official nominees will be revealed on january 10, and the annual academy awards will take place on february 24. | ɑrˈkeɪd faɪər, rɪk rɔs, ðə blæk kiz, fiˈoʊnə ˈæpəl meɪk ˈɔskərz bɛst ərˈɪʤənəl sɔŋ ˈpəblɪʃt dɛk 11 2012 ˈfɑloʊɪŋ ðoʊz ˈrisənt ˈgræmi ˌnɑməˈneɪʃənz wi naʊ hæv səm mɔr ˌhaɪˈproʊfaɪl əˈwɔrd ˈgɪvərz ˈroʊlɪŋ aʊt ə lɪst əv ˈpɑsəbəl ˈwɪnərz. ðə fər bɛst ərˈɪʤənəl sɔŋ həz bɪn rɪˈvild fər ðə 2013 əˈkædəmi əˈwɔrdz, ˈneɪmɪŋ ɔf 75 ˈpɑsəbəl kənˈtɛndərz fər ðə ɔl ðoʊz sɔŋz ɪn kˈwɛʃən, jul faɪnd ɑrˈkeɪd faɪərz ˈdɔtər" fiˈoʊnə ˈæpəlz "dəl tul" ðə blæk kiz' mæn əˈlaɪv" ˈkɛrən oʊz "streɪnʤ ləv" rɪk rɔs' 100 blæk ˈkɔfɪnz" ˈməmfərd ənd sənz' "lərn mi raɪt" ənd, jɛs, kən si ðə fʊl lɪst əv sɔŋz ˈoʊvər hir ðə əˈfɪʃəl ˌnɑməˈniz wɪl bi rɪˈvild ɔn ˈʤænjuˌɛri 10 ənd ðə ˈænjuəl əˈkædəmi əˈwɔrdz wɪl teɪk pleɪs ɔn ˈfɛbruˌɛri 24 |
the obama administration sent a clear message on friday: if anyone is to blame for the us economy slowdown, it is congress.
us economy's jobs slowdown raises doubts about interest rate rise read more
both barack obama and labor secretary tom perez pointed to congressional inaction on issues like the budget and transportation and infrastructure as reasons why the us economy was not growing at a faster pace.
their statements were part of a reaction to the jobs report released on friday morning. the report showed that the us economy added fewer jobs in september than expected, casting doubts over whether the federal reserve would raise interest rates before the end.
the us economy has seen straight months of job creation, million new jobs in all and an unemployment rate that has fallen from a high of 10% down to, obama said.
david simas) lost jobs in january of 2009. million lost in 2008. now, million jobs created over 67 straight months.
“these long-term trends are obviously good news particularly for every american waking up each morning and heading to a new job,” the president added. “but we would be doing even better if we have to keep on dealing with the unnecessary crises in congress every few months.
“this is especially important right now because although the american economy has been chugging along at a steady pace, much of the global economy has softened.”
obama said part of the reason the us job growth has slowed is because there is a global slowdown, which has affected us exports and made the us economy skittish. as such, the us does not need another manufactured crisis such as attempting to avoid a government shutdown in december.
“i will not sign another short-sighted spending bill like the one congress sent me this week. we purchased ourselves 10 additional weeks, we need to use them effectively,” obama said, referring to the short-term extension passed by congress.
“congress has to do its job. we flirt with another shutdown. it should pass a serious budget.”
john boehner, the outgoing speaker of the house, also believes the us economy can do better. however, he blamed the slowed economic growth on the white house.
“too many middle-class families are still struggling in this economy, and we can do a lot better,” boehner said. “there is no excuse for the president to continue pushing an agenda that will hurt hardworking families and stifle economic growth.”
perez admitted that job growth “didn’t meet our high expectations” and that the us could do better, but said it was up to congress to fix. the obama administration has a laundry list of ways that the congress can improve the us economic outlook, he said, including acting immediately to pass a transportation infrastructure bill and providing relief from “the sequestration straightjacket”.
“those are the things that create jobs. i am confident that there is bipartisan support, there is majority support in both houses of congress to do all of those things and they need to act immediately,” perez told the guardian.
“i am hopeful. speaker [john] boehner as he prepares to depart indicated that he wants to leave a clean barn for his successor and a clean barn would mean passing all these initiatives because how you create jobs.”
congress sidesteps government shutdown as boehner prepares for exit read more
perez also called on congress to raise the federal minimum wage to $12 by 2020 and to pass a national paid leave law, which he says would improve labor participation. in september, us labor participation dropped to% the lowest mark since october 1977.
despite its faults, the us economy “continues to be envy of the world,” perez said. when asked what makes us economy so appealing, perez said that in other countries people do not have money in their pockets to spend.
“we have the most productive workforce in the world,” he said. “we have a legal system that is fair and impartial. we have incredible advantages now in energy as we become closer and closer to energy independence. it is a lot cheaper to make things here.
“the gallon [of] gas is a boon for most consumers including myself. every time i go to a gas pump, i am pretty pumped up because so cheap. but because we are an oil and gas producer, we have seen a job loss of roughly in that sector.” | ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən sɛnt ə klɪr ˈmɛsɪʤ ɔn ˈfraɪˌdeɪ: ɪf ˈɛniˌwən ɪz tɪ bleɪm fər ðə ˈjuˈɛs ɪˈkɑnəmi sˈloʊˌdaʊn, ɪt ɪz ˈkɑŋgrəs. ˈjuˈɛs ɪˈkɑnəmiz ʤɑbz sˈloʊˌdaʊn ˈreɪzɪz daʊts əˈbaʊt ˈɪntəˌrɛst reɪt raɪz rɛd mɔr boʊθ ˈbɑrək ˌoʊˈbɑmə ənd ˈleɪbər ˈsɛkrəˌtɛri tɑm ˈpɛrɛz ˈpɔɪntɪd tɪ kənˈgrɛʃənəl ˌɪˈnækʃən ɔn ˈɪʃuz laɪk ðə ˈbəʤɪt ənd ˌtrænspərˈteɪʃən ənd ˌɪnfrəˈstrəkʧər ɛz ˈrizənz waɪ ðə ˈjuˈɛs ɪˈkɑnəmi wɑz nɑt groʊɪŋ æt ə ˈfæstər peɪs. ðɛr ˈsteɪtmənts wər pɑrt əv ə riˈækʃən tɪ ðə ʤɑbz rɪˈpɔrt riˈlist ɔn ˈfraɪˌdeɪ ˈmɔrnɪŋ. ðə rɪˈpɔrt ʃoʊd ðət ðə ˈjuˈɛs ɪˈkɑnəmi ˈædɪd fjuər ʤɑbz ɪn sɛpˈtɛmbər ðən ɪkˈspɛktɪd, ˈkæstɪŋ daʊts ˈoʊvər ˈwɛðər ðə ˈfɛdərəl rɪˈzərv wʊd reɪz ˈɪntəˌrɛst reɪts ˌbiˈfɔr ðə ɛnd. ðə ˈjuˈɛs ɪˈkɑnəmi həz sin streɪt mənθs əv ʤɑb kriˈeɪʃən, ˈmɪljən nu ʤɑbz ɪn ɔl ənd ən ˌənɪmˈplɔɪmənt reɪt ðət həz ˈfɑlən frəm ə haɪ əv 10 daʊn tɪ ˌoʊˈbɑmə sɛd. ˈdeɪvɪd ˈsaɪməz lɔst ʤɑbz ɪn ˈʤænjuˌɛri əv 2009 ˈmɪljən lɔst ɪn 2008 naʊ, ˈmɪljən ʤɑbz kriˈeɪtɪd ˈoʊvər 67 streɪt mənθs. ˈlɔŋˈtərm trɛnz ər ˈɑbviəsli gʊd nuz ˌpɑrˈtɪkjələrli fər ˈɛvəri əˈmɛrɪkən ˈweɪkɪŋ əp iʧ ˈmɔrnɪŋ ənd ˈhɛdɪŋ tɪ ə nu job,”*,” ðə ˈprɛzɪdənt ˈædɪd. wi wʊd bi duɪŋ ˈivɪn ˈbɛtər ɪf wi hæv tɪ kip ɔn ˈdilɪŋ wɪθ ðə ənˈnɛsəˌsɛri ˈkraɪsiz ɪn ˈkɑŋgrəs ˈɛvəri fju mənθs. ɪz əˈspɛʃəli ˌɪmˈpɔrtənt raɪt naʊ bɪˈkəz ˌɔlˈðoʊ ðə əˈmɛrɪkən ɪˈkɑnəmi həz bɪn ˈʧəgɪŋ əˈlɔŋ æt ə ˈstɛdi peɪs, məʧ əv ðə ˈgloʊbəl ɪˈkɑnəmi həz softened.”*.” ˌoʊˈbɑmə sɛd pɑrt əv ðə ˈrizən ðə ˈjuˈɛs ʤɑb groʊθ həz sloʊd ɪz bɪˈkəz ðɛr ɪz ə ˈgloʊbəl sˈloʊˌdaʊn, wɪʧ həz əˈfɛktɪd ˈjuˈɛs ˈɛkspɔrts ənd meɪd ðə ˈjuˈɛs ɪˈkɑnəmi ˈskɪtɪʃ. ɛz səʧ, ðə ˈjuˈɛs dɪz nɑt nid əˈnəðər ˌmænjəˈfækʧərd ˈkraɪsəs səʧ ɛz əˈtɛmptɪŋ tɪ əˈvɔɪd ə ˈgəvərnmənt ˈʃətˌdaʊn ɪn dɪˈsɛmbər. wɪl nɑt saɪn əˈnəðər ˌʃɔrtˈsaɪtəd ˈspɛndɪŋ bɪl laɪk ðə wən ˈkɑŋgrəs sɛnt mi ðɪs wik. wi ˈpərʧəst ɑrˈsɛlvz 10 əˈdɪʃənəl wiks, wi nid tɪ juz ðɛm effectively,”*,” ˌoʊˈbɑmə sɛd, rɪˈfərɪŋ tɪ ðə ˌʃɔrtˈtərm ɪkˈstɛnʃən pæst baɪ ˈkɑŋgrəs. həz tɪ du ɪts ʤɑb. wi flərt wɪθ əˈnəðər ˈʃətˌdaʊn. ɪt ʃʊd pæs ə ˈsɪriəs budget.”*.” ʤɑn ˈboʊnər, ðə ˈaʊtˌgoʊɪŋ ˈspikər əv ðə haʊs, ˈɔlsoʊ bɪˈlivz ðə ˈjuˈɛs ɪˈkɑnəmi kən du ˈbɛtər. ˌhaʊˈɛvər, hi bleɪmd ðə sloʊd ˌɛkəˈnɑmɪk groʊθ ɔn ðə waɪt haʊs. ˈmɛni ˈmɪdəlˈklæs ˈfæməliz ər stɪl ˈstrəgəlɪŋ ɪn ðɪs ɪˈkɑnəmi, ənd wi kən du ə lɔt better,”*,” ˈboʊnər sɛd. ɪz noʊ ɪkˈskjuz fər ðə ˈprɛzɪdənt tɪ kənˈtɪnju ˈpʊʃɪŋ ən əˈʤɛndə ðət wɪl hərt ˈhɑrdˌwərkɪŋ ˈfæməliz ənd ˈstaɪfəl ˌɛkəˈnɑmɪk growth.”*.” ˈpɛrɛz ədˈmɪtəd ðət ʤɑb groʊθ mit ɑr haɪ expectations”*” ənd ðət ðə ˈjuˈɛs kʊd du ˈbɛtər, bət sɛd ɪt wɑz əp tɪ ˈkɑŋgrəs tɪ fɪks. ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən həz ə ˈlɔndri lɪst əv weɪz ðət ðə ˈkɑŋgrəs kən ˌɪmˈpruv ðə ˈjuˈɛs ˌɛkəˈnɑmɪk ˈaʊˌtlʊk, hi sɛd, ˌɪnˈkludɪŋ ˈæktɪŋ ˌɪˈmiˌdiətli tɪ pæs ə ˌtrænspərˈteɪʃən ˌɪnfrəˈstrəkʧər bɪl ənd prəˈvaɪdɪŋ rɪˈlif frəm ˌsɛkwəˈstreɪʃən straightjacket”*”. ər ðə θɪŋz ðət kriˈeɪt ʤɑbz. aɪ æm ˈkɑnfədənt ðət ðɛr ɪz baɪˈpɑrtɪzən səˈpɔrt, ðɛr ɪz məˈʤɔrəti səˈpɔrt ɪn boʊθ ˈhaʊsɪz əv ˈkɑŋgrəs tɪ du ɔl əv ðoʊz θɪŋz ənd ðeɪ nid tɪ ækt immediately,”*,” ˈpɛrɛz toʊld ðə ˈgɑrdiən. æm ˈhoʊpfəl. ˈspikər [ʤɑn] ˈboʊnər ɛz hi pərˈpɛrz tɪ dɪˈpɑrt ˈɪndəˌkeɪtɪd ðət hi wɔnts tɪ liv ə klin bɑrn fər hɪz səkˈsɛsər ənd ə klin bɑrn wʊd min ˈpæsɪŋ ɔl ðiz ˌɪˈnɪʃətɪvz bɪˈkəz haʊ ju kriˈeɪt jobs.”*.” ˈkɑŋgrəs ˈsaɪdˌstɛps ˈgəvərnmənt ˈʃətˌdaʊn ɛz ˈboʊnər pərˈpɛrz fər ˈɛksət rɛd mɔr ˈpɛrɛz ˈɔlsoʊ kɔld ɔn ˈkɑŋgrəs tɪ reɪz ðə ˈfɛdərəl ˈmɪnəməm weɪʤ tɪ 12 baɪ 2020 ənd tɪ pæs ə ˈnæʃənəl peɪd liv lɔ, wɪʧ hi sɪz wʊd ˌɪmˈpruv ˈleɪbər pɑrˌtɪsəˈpeɪʃən. ɪn sɛpˈtɛmbər, ˈjuˈɛs ˈleɪbər pɑrˌtɪsəˈpeɪʃən drɑpt tɪ ðə loʊəst mɑrk sɪns ɑkˈtoʊbər 1977 dɪˈspaɪt ɪts fɔlts, ðə ˈjuˈɛs ɪˈkɑnəmi tɪ bi ˈɛnvi əv ðə world,”*,” ˈpɛrɛz sɛd. wɪn æst wət meɪks ˈjuˈɛs ɪˈkɑnəmi soʊ əˈpilɪŋ, ˈpɛrɛz sɛd ðət ɪn ˈəðər ˈkəntriz ˈpipəl du nɑt hæv ˈməni ɪn ðɛr ˈpɑkəts tɪ spɛnd. hæv ðə moʊst pərˈdəktɪv ˈwərkˌfɔrs ɪn ðə world,”*,” hi sɛd. hæv ə ˈligəl ˈsɪstəm ðət ɪz fɛr ənd ˌɪmˈpɑrʃəl. wi hæv ˌɪnˈkrɛdəbəl ædˈvæntɪʤɪz naʊ ɪn ˈɛnərʤi ɛz wi bɪˈkəm ˈkloʊzər ənd ˈkloʊzər tɪ ˈɛnərʤi ˌɪndɪˈpɛndəns. ɪt ɪz ə lɔt ˈʧipər tɪ meɪk θɪŋz hir. ˈgælən [əv] gæs ɪz ə bun fər moʊst kənˈsumərz ˌɪnˈkludɪŋ ˌmaɪˈsɛlf. ˈɛvəri taɪm aɪ goʊ tɪ ə gæs pəmp, aɪ æm ˈprɪti pəmpt əp bɪˈkəz soʊ ʧip. bət bɪˈkəz wi ər ən ɔɪl ənd gæs prəˈdusər, wi hæv sin ə ʤɑb lɔs əv ˈrəfli ɪn ðət sector.”*.” |
the office for civil rights lowered standards for convicting college students of sexual assault. we need to protect all students' rights.
education secretary betsy devos on july 13, 2017.: alex brandon, ap)
in a series of meetings this month, education secretary betsy devos signaled strong disagreement with the obama aggressive erosion of due process protections for college students accused of sexual assault. while deploring the horrors of the offense, devos added that “a system without due process protections serves no one.”
this was a welcome change from the decrees issued by the office for civil rights (ocr), which had told colleges to avoid any due process safeguards that would “restrict or unnecessarily delay the protections provided by title” to accusers.
surveying the damage to fundamental fairness from the policies, a recent study by professor john villasenor concluded that an innocent student has as much as a chance of being found guilty by campus sexual assault tribunals.
the obama policy proceeded from the claim that sex crimes which are no doubt a serious problem were sweeping through the campuses like an epidemic. (in fact the number declined dramatically between 1994 and 2010.) with vocal support from president obama and vice president biden, used this myth to reinterpret the title, the statute barring sex discrimination at schools that receive federal funds. the ordered universities to use the lowest possible standard of proof (preponderance of evidence, or%) and allow accusers to appeal findings. it also discouraged colleges from allowing of accusing students, and urged institutions to deny accused students any right to a hearing by giving all power to a single bureaucrat to act as investigator, prosecutor, judge and jury.
during devos’ meetings, the accusers’ rights organization know your organized a protest outside the department of education, demanding a blanket retention of policies. the group was joined by the leading congressional foe of campus due process, sen. kirsten, d-n.y. she maintained that “if secretary devos rolls back these protections” each of which had placed a thumb on the scale to increase, sometimes dramatically, the chance of a guilty finding “justice will not be possible.” this from a senator who had publicly described former columbia student paul nungesser as a “rapist” even after he was cleared by both the university and police.
ironically, as was protesting outside the education department, a new york appellate court upheld a lawsuit by an accused student against skidmore college, located in the upstate new york congressional district that the senator had once represented. in october 2015, the skidmore accuser told college officials (not the police) that a male student had forced her to perform oral sex 21 months previously. as at most colleges since implementation of the policies, adjudication process was geared toward a guilty finding. the accused student had no right to his accuser, and he wasn't told the specifics of the allegations against him. the new york appellate panel also faulted the college for giving weight to “little more than gossip” about the accused student. the judges ordered skidmore to him and expunge his disciplinary record.
skidmore was the college or university to find itself on the losing end of a court decision in a lawsuit filed by an accused student in the past four years. this remarkable body of law virtually ignored by the news media is especially striking given the traditional reluctance of courts to college disciplinary actions.
a system in which a wrongly accused best chance of vindication comes after his college improperly brands him a rapist, and only if he can afford an expensive and protracted lawsuit, is a travesty of justice. moreover, despite some suggestions by defenders of obama policies that colleges have responded to these court decisions by creating fairer procedures for accused students, the reverse has been far more typical. amidst legal challenges, schools, including brown and swarthmore, adjusted their policies to make it harder for innocent students to win vindication, by scaling back the rights promised to accused students.
reflecting this mindset, the national association of college and university attorneys published a may 2016 research note urging colleges and universities to “promptly destroy” documents such as “emails staff notes notes of hearing participants during a disciplinary hearing, drafts of hearing outcome reports, and other such working papers,” all of which “might actually prove very useful to a lawyer” in a subsequent lawsuit.
policing the usa: a look at race, justice, media
in a march 2016 ruling against brandeis university, u.s. district judge f. dennis saylor wrote, “if a college student is to be marked for life as a sexual predator, it is reasonable to require that he be provided a fair opportunity to defend himself and an impartial arbiter to make that decision. put simply, a fair determination of the facts requires a fair process, not tilted to favor a particular outcome, and a fair and neutral fact-finder, not predisposed to reach a particular conclusion.”
the past six years have shown that furious condemnations will greet any effort to establish a fairer campus system, one that will protect the rights of innocent accused students as well as of victims. but fairness is what we need. and while a shift in federal policy will not, alone, restore justice on campus, a necessary first step.
kc johnson, a professor of history at brooklyn college, and stuart taylor jr., a contributing editor at national journal, campus rape frenzy: the attack on due process at universities.
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read or share this story: | ðə ˈɔfəs fər ˈsɪvəl raɪts loʊərd ˈstændərdz fər kənˈvɪktɪŋ ˈkɑlɪʤ ˈstudənts əv ˈsɛkʃuəl əˈsɔlt. wi nid tɪ prəˈtɛkt ɔl ˈstudənts' raɪts. ˌɛʤəˈkeɪʃən ˈsɛkrəˌtɛri ˈbɛtsi ˈdivoʊz ɔn ˌʤuˈlaɪ 13 2017 ˈæləks ˈbrændən, ˌeɪˈpi) ɪn ə ˈsɪriz əv ˈmitɪŋz ðɪs mənθ, ˌɛʤəˈkeɪʃən ˈsɛkrəˌtɛri ˈbɛtsi ˈdivoʊz ˈsɪgnəld strɔŋ dɪsəˈgrimənt wɪθ ðə ˌoʊˈbɑmə əˈgrɛsɪv ɪˈroʊʒən əv du ˈprɔˌsɛs prəˈtɛkʃənz fər ˈkɑlɪʤ ˈstudənts əˈkjuzd əv ˈsɛkʃuəl əˈsɔlt. waɪl dɪˈplɔrɪŋ ðə ˈhɔrərz əv ðə əˈfɛns, ˈdivoʊz ˈædɪd ðət ˈsɪstəm wɪˈθaʊt du ˈprɔˌsɛs prəˈtɛkʃənz sərvz noʊ one.”*.” ðɪs wɑz ə ˈwɛlkəm ʧeɪnʤ frəm ðə dɪˈkriz ˈɪʃud baɪ ðə ˈɔfəs fər ˈsɪvəl raɪts (ocr*), wɪʧ hæd toʊld ˈkɑlɪʤɪz tɪ əˈvɔɪd ˈɛni du ˈprɔˌsɛs ˈseɪfˌgɑrdz ðət wʊd ər ənˈnɛsəˌsɛrəli dɪˈleɪ ðə prəˈtɛkʃənz prəˈvaɪdɪd baɪ ˈtaɪtəl ix”*” tɪ əˈkjuzərz. ˈsərˌveɪɪŋ ðə ˈdæmɪʤ tɪ ˌfəndəˈmɛnəl ˈfɛrnəs frəm ðə ˈpɑləsiz, ə ˈrisənt ˈstədi baɪ prəˈfɛsər ʤɑn ˌvilɑsɛˈnɔr kənˈkludɪd ðət ən ˈɪnəsənt ˈstudənt həz ɛz məʧ ɛz ə ʧæns əv biɪŋ faʊnd ˈgɪlti baɪ ˈkæmpəs ˈsɛkʃuəl əˈsɔlt ˌtraɪˈbjunəlz. ðə ˌoʊˈbɑmə ˈpɑləsi prəˈsidəd frəm ðə kleɪm ðət sɛks kraɪmz wɪʧ ər noʊ daʊt ə ˈsɪriəs ˈprɑbləm wər sˈwipɪŋ θru ðə ˈkæmpəsɪz laɪk ən ˌɛpɪˈdɛmɪk. (ɪn fækt ðə ˈnəmbər dɪˈklaɪnd drəˈmætɪkəli bɪtˈwin 1994 ənd 2010 wɪθ ˈvoʊkəl səˈpɔrt frəm ˈprɛzɪdənt ˌoʊˈbɑmə ənd vaɪs ˈprɛzɪdənt ˈbaɪdən, juzd ðɪs mɪθ tɪ ˌriɪnˈtərprət ðə ˈtaɪtəl, ðə ˈstæʧut ˈbɑrɪŋ sɛks dɪˌskrɪməˈneɪʃən æt skulz ðət rɪˈsiv ˈfɛdərəl fəndz. ðə ˈɔrdərd ˌjunəˈvərsətiz tɪ juz ðə loʊəst ˈpɑsəbəl ˈstændərd əv pruf (priˈpɑndrəns əv ˈɛvədəns, ər ənd əˈlaʊ əˈkjuzərz tɪ əˈpil ˈfaɪndɪŋz. ɪt ˈɔlsoʊ dɪˈskərɪʤd ˈkɑlɪʤɪz frəm əˈlaʊɪŋ əv əˈkjuzɪŋ ˈstudənts, ənd ərʤd ˌɪnstɪˈtuʃənz tɪ dɪˈnaɪ əˈkjuzd ˈstudənts ˈɛni raɪt tɪ ə ˈhirɪŋ baɪ ˈgɪvɪŋ ɔl paʊər tɪ ə ˈsɪŋgəl ˈbjʊrəˌkræt tɪ ækt ɛz ˌɪnˈvɛstəˌgeɪtər, ˈprɑsɪˌkjutər, ʤəʤ ənd ˈʤʊri. ˈdʊrɪŋ devos’*’ ˈmitɪŋz, ðə accusers’*’ raɪts ˌɔrgənəˈzeɪʃən noʊ jʊr ˈɔrgəˌnaɪzd ə ˈproʊˌtɛst ˈaʊtˈsaɪd ðə dɪˈpɑrtmənt əv ˌɛʤəˈkeɪʃən, dɪˈmændɪŋ ə ˈblæŋkɪt riˈtɛnʃən əv ˈpɑləsiz. ðə grup wɑz ʤɔɪnd baɪ ðə ˈlidɪŋ kənˈgrɛʃənəl foʊ əv ˈkæmpəs du ˈprɔˌsɛs, sɛn. ˈkərstən, d-n.y*. ʃi meɪnˈteɪnd ðət ˈsɛkrəˌtɛri ˈdivoʊz roʊlz bæk ðiz protections”*” iʧ əv wɪʧ hæd pleɪst ə θəm ɔn ðə skeɪl tɪ ˌɪnˈkris, ˈsəmˌtaɪmz drəˈmætɪkəli, ðə ʧæns əv ə ˈgɪlti ˈfaɪndɪŋ wɪl nɑt bi possible.”*.” ðɪs frəm ə ˈsɛnətər hu hæd ˈpəblɪkli dɪˈskraɪbd ˈfɔrmər kəˈləmbiə ˈstudənt pɔl ˈnəŋgɪsər ɛz ə ““rapist”*” ˈivɪn ˈæftər hi wɑz klɪrd baɪ boʊθ ðə ˌjunəˈvərsəti ənd pəˈlis. aɪˈrɑnɪkli, ɛz wɑz ˈproʊˌtɛstɪŋ ˈaʊtˈsaɪd ðə ˌɛʤəˈkeɪʃən dɪˈpɑrtmənt, ə nu jɔrk əˈpɛˌleɪt kɔrt əˈphɛld ə ˈlɔˌsut baɪ ən əˈkjuzd ˈstudənt əˈgɛnst ˈskɪdmɔr ˈkɑlɪʤ, ˈloʊˌkeɪtəd ɪn ðə ˈəpˈsteɪt nu jɔrk kənˈgrɛʃənəl ˈdɪstrɪkt ðət ðə ˈsɛnətər hæd wəns ˌrɛprɪˈzɛnɪd. ɪn ɑkˈtoʊbər 2015 ðə ˈskɪdmɔr əˈkjuzər toʊld ˈkɑlɪʤ əˈfɪʃəlz (nɑt ðə pəˈlis) ðət ə meɪl ˈstudənt hæd fɔrst hər tɪ pərˈfɔrm ˈɔrəl sɛks 21 mənθs ˈpriviəsli. ɛz æt moʊst ˈkɑlɪʤɪz sɪns ˌɪmpləmɛnˈteɪʃən əv ðə ˈpɑləsiz, əˌʤudəˈkeɪʃən ˈprɔˌsɛs wɑz gɪrd təˈwɔrd ə ˈgɪlti ˈfaɪndɪŋ. ðə əˈkjuzd ˈstudənt hæd noʊ raɪt tɪ hɪz əˈkjuzər, ənd hi ˈwəzənt toʊld ðə spɪˈsɪfɪks əv ðə ˌæləˈgeɪʃənz əˈgɛnst ɪm. ðə nu jɔrk əˈpɛˌleɪt ˈpænəl ˈɔlsoʊ ˈfɔltɪd ðə ˈkɑlɪʤ fər ˈgɪvɪŋ weɪt tɪ mɔr ðən gossip”*” əˈbaʊt ðə əˈkjuzd ˈstudənt. ðə ˈʤəʤɪz ˈɔrdərd ˈskɪdmɔr tɪ ɪm ənd ɪkˈspənʤ hɪz ˈdɪsəpləˌnɛri ˈrɛkərd. ˈskɪdmɔr wɑz ðə ˈkɑlɪʤ ər ˌjunəˈvərsəti tɪ faɪnd ˌɪtˈsɛlf ɔn ðə ˈluzɪŋ ɛnd əv ə kɔrt dɪˈsɪʒən ɪn ə ˈlɔˌsut faɪld baɪ ən əˈkjuzd ˈstudənt ɪn ðə pæst fɔr jɪrz. ðɪs rɪˈmɑrkəbəl ˈbɑdi əv lɔ ˈvərʧuəli ˌɪgˈnɔrd baɪ ðə nuz ˈmidiə ɪz əˈspɛʃəli ˈstraɪkɪŋ ˈgɪvɪn ðə trəˈdɪʃənəl rɪˈləktəns əv kɔrts tɪ ˈkɑlɪʤ ˈdɪsəpləˌnɛri ˈækʃənz. ə ˈsɪstəm ɪn wɪʧ ə ˈrɔŋli əˈkjuzd bɛst ʧæns əv vɪndəˈkeɪʃən kəmz ˈæftər hɪz ˈkɑlɪʤ ˌɪmˈprɑpərli brændz ɪm ə ˈreɪpɪst, ənd ˈoʊnli ɪf hi kən əˈfɔrd ən ɪkˈspɛnsɪv ənd proʊˈtræktɪd ˈlɔˌsut, ɪz ə ˈtrævəsti əv ˈʤəstɪs. mɔˈroʊvər, dɪˈspaɪt səm səˈʤɛsʧənz baɪ dɪˈfɛndərz əv ˌoʊˈbɑmə ˈpɑləsiz ðət ˈkɑlɪʤɪz hæv rɪˈspɑndɪd tɪ ðiz kɔrt dɪˈsɪʒənz baɪ kriˈeɪtɪŋ ˈfɛrər prəˈsiʤərz fər əˈkjuzd ˈstudənts, ðə rɪˈvərs həz bɪn fɑr mɔr ˈtɪpɪkəl. əˈmɪdst ˈligəl ˈʧælənʤɪz, skulz, ˌɪnˈkludɪŋ braʊn ənd sˈwɔrθˌmɔr, əˈʤəstɪd ðɛr ˈpɑləsiz tɪ meɪk ɪt ˈhɑrdər fər ˈɪnəsənt ˈstudənts tɪ wɪn vɪndəˈkeɪʃən, baɪ ˈskeɪlɪŋ bæk ðə raɪts ˈprɑməst tɪ əˈkjuzd ˈstudənts. rɪˈflɛktɪŋ ðɪs ˈmaɪndˌsɛt, ðə ˈnæʃənəl əˌsoʊʃiˈeɪʃən əv ˈkɑlɪʤ ənd ˌjunəˈvərsəti əˈtərniz ˈpəblɪʃt ə meɪ 2016 ˈrisərʧ noʊt ˈərʤɪŋ ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz tɪ destroy”*” ˈdɑkjəmənts səʧ ɛz stæf noʊts noʊts əv ˈhirɪŋ pɑrˈtɪsəpənts ˈdʊrɪŋ ə ˈdɪsəpləˌnɛri ˈhirɪŋ, dræfts əv ˈhirɪŋ ˈaʊtˌkəm rɪˈpɔrts, ənd ˈəðər səʧ ˈwərkɪŋ papers,”*,” ɔl əv wɪʧ ˈæˌkʧuəli pruv ˈvɛri ˈjusfəl tɪ ə lawyer”*” ɪn ə ˈsəbsəkwənt ˈlɔˌsut. pəˈlisɪŋ ðə ˈjuˈɛˈseɪ: ə lʊk æt reɪs, ˈʤəstɪs, ˈmidiə ɪn ə mɑrʧ 2016 ˈrulɪŋ əˈgɛnst ˈbrændaɪs ˌjunəˈvərsəti, juz. ˈdɪstrɪkt ʤəʤ ɛf. ˈdɛnɪs ˈseɪlər roʊt, ə ˈkɑlɪʤ ˈstudənt ɪz tɪ bi mɑrkt fər laɪf ɛz ə ˈsɛkʃuəl ˈprɛdətər, ɪt ɪz ˈrizənəbəl tɪ ˌrikˈwaɪər ðət hi bi prəˈvaɪdɪd ə fɛr ˌɑpərˈtunəti tɪ dɪˈfɛnd hɪmˈsɛlf ənd ən ˌɪmˈpɑrʃəl ˈɑrbɪtər tɪ meɪk ðət dɪˈsɪʒən. pʊt ˈsɪmpli, ə fɛr dɪˌtərməˈneɪʃən əv ðə fækts rikˈwaɪərz ə fɛr ˈprɔˌsɛs, nɑt ˈtɪltɪd tɪ ˈfeɪvər ə ˌpɑˈtɪkjələr ˈaʊtˌkəm, ənd ə fɛr ənd ˈnutrəl fact-finder*, nɑt ˌpridɪˈspoʊzd tɪ riʧ ə ˌpɑˈtɪkjələr conclusion.”*.” ðə pæst sɪks jɪrz hæv ʃoʊn ðət fˈjʊriəs ˌkɑndəmˈneɪʃənz wɪl grit ˈɛni ˈɛfərt tɪ ɪˈstæblɪʃ ə ˈfɛrər ˈkæmpəs ˈsɪstəm, wən ðət wɪl prəˈtɛkt ðə raɪts əv ˈɪnəsənt əˈkjuzd ˈstudənts ɛz wɛl ɛz əv ˈvɪktɪmz. bət ˈfɛrnəs ɪz wət wi nid. ənd waɪl ə ʃɪft ɪn ˈfɛdərəl ˈpɑləsi wɪl nɑt, əˈloʊn, rɪˈstɔr ˈʤəstɪs ɔn ˈkæmpəs, ə ˈnɛsəˌsɛri fərst stɛp. ˈʤɑnsən, ə prəˈfɛsər əv ˈhɪstəri æt ˈbrʊklɪn ˈkɑlɪʤ, ənd stɔrt ˈteɪlər jr*., ə kənˈtrɪbjutɪŋ ˈɛdɪtər æt ˈnæʃənəl ˈʤərnəl, ˈkæmpəs reɪp ˈfrɛnzi: ðə əˈtæk ɔn du ˈprɔˌsɛs æt ˌjunəˈvərsətiz. ju kən rɛd dɪˈvərs əˈpɪnjənz frəm ɑr bɔrd əv kənˈtrɪbjətərz ənd ˈəðər ˈraɪtərz ɔn ðə əˈpɪnjən frənt peɪʤ, ɔn tˈwɪtər ənd ɪn ɑr ˈdeɪli əˈpɪnjən ˈnuzˌlɛtər. tɪ rɪˈspɑnd tɪ ə ˈkɑləm, səbˈmɪt ə ˈkɑmɛnt tɪ letters@usatoday.com*. rɛd ər ʃɛr ðɪs ˈstɔri: |
novel batteries for storing solar and wind energy have gotten a lot of attention from researchers and investors, but they do their job without software that tells them when and how much energy to charge and discharge. a startup called growing energy labs inc. is developing an operating system that will give a battery system the brain to perform its tasks, and the company plans to launch a beta version of the software in a few weeks.
an operating system to manage batteries would work much like an operating system for your computer or cell phone: it coordinates the communications between the hardware and the apps to make sure the various programs, such as those for taking photos and browsing the internet in the case of cell phones, are running well and do not interfere with each other.
“it’s like a computer for energy or energy computer,” said ryan, founder and ceo of growing energy labs (which he also refers to as), about his technology.
wartena started in 2010 to tackle the emerging markets of storing renewable energy such as solar power and for managing electric car charging. the idea is to come up with ways to put networking and communication technologies, including the use of internet, into running a battery system. would make money from licensing the software.
over half of the states now require their utilities to buy an increasing amount of renewable energy, but wind and solar power plants in particular generate electricity steadily around the clock like coal or natural gas power plants can. as a result, utilities have to figure out how to balance the supply with the demand when the supply might fall short or exceed the need at any given time of the day.
using batteries to bank solar and wind energy and releasing it when there is demand for it seem to be a good answer. a good battery system needs an operating system to manage the communications between the battery and the and to respond to a command for when, how fast and how much to dispatch the energy stored in the battery. an converts the direct current from the battery into the alternating current for feeding the grid.
utilities alone in considering batteries for energy storage. consumers and businesses who have solar panels on their rooftops might want batteries to provide backup power or to sell excess electricity to utilities.
currently, a battery system typically includes the cells for storing energy, as well as the electronics and software for monitoring the cells’ temperature and performance to make sure they overheat or otherwise malfunction. another layer of software is needed to tell the battery what to do. because the use of batteries for renewable energy storage is relatively new, the software used to run them could find its source in software that was originally designed to run other types of industrial equipment, such as the computer system to run a power generation and distribution operations. the software also tends to limit the battery to perform one or only a few tasks, said.
geli, on the other hand, is building the operating software specifically for running energy storage equipment, and the operating system will enable batteries to perform many more tasks, said.
“the real insight that we are building an energy operating system around is that you want to use the batteries for multiple things,” he said.
in fact, a battery system can perform more than a dozen tasks, from sending short bursts of power to stabilize the electric grid to releasing a steady supply of electricity over a longer period of time when there is a lot of demand for power.
the company also plans to make the core language of its operating system available this summer to developers who can then use it to design new applications, much in the same way that companies like apple have cultivated a community of app developers around their gadgets. would oversee the project and pay developers whose applications could incorporate into its software.
wartena is looking to raise $750,000 to get the beta version of the operating system to battery makers who are willing to test it and see if they would incorporate into their products. he then wants to raise another $3 million in early 2013 to release an improved version of the operating system. the company is one of the five startups who recently graduated from an incubator program called. provided each startup $115,000 and coaching from silicon valley entrepreneurs and venture capitalists.
geli has lined up some battery makers, such as kokam, that are willing to test its operating system and see if the software is a good fit for their batteries. the beta version of its operating system will be used in several battery systems in korea, washington, d.c., and canada in the coming weeks for field testing. these battery systems are small and meant for storing renewable energy from equipment designed for homes and businesses.
the company is marketing its technology to battery makers who have been supplying their products largely for consumer electronics and have the expertise to design software to run their batteries as renewable energy storage systems.
some battery developers do design their own operating systems. power, for example, considers the software that controls its battery systems its core technology. has been building and running battery systems for solar and wind power projects in several states. greensmith, on the other hand, focuses on developing energy storage operating software.
virginia-based energy storage, which buys battery systems to build and operate energy storage projects, relies on its in-house software development team to create an operating system. there many choices on the market that are available for licensing or good enough to run the battery systems the way wants to in order to sell its services to power producers and utilities, said john, vice president of operations and deployment at energy storage. the company has completed projects that included a (8 megawatt-hour) battery system, located next to a wind farm in west virginia, that can deliver electricity in increments.
“we are in the market early, and we saw a need for that layer of of what the customers want,” said. “as the energy storage market grows, the need for software control will also grow.” | ˈnɑvəl ˈbætəriz fər ˈstɔrɪŋ ˈsoʊlər ənd wɪnd ˈɛnərʤi hæv ˈgɔtən ə lɔt əv əˈtɛnʃən frəm ˈrisərʧərz ənd ˌɪnˈvɛstərz, bət ðeɪ du ðɛr ʤɑb wɪˈθaʊt ˈsɔfˌwɛr ðət tɛlz ðɛm wɪn ənd haʊ məʧ ˈɛnərʤi tɪ ʧɑrʤ ənd ˈdɪsˌʧɑrʤ. ə ˈstɑrˌtəp kɔld groʊɪŋ ˈɛnərʤi læbz ɪŋk. ɪz dɪˈvɛləpɪŋ ən ˈɔpərˌeɪtɪŋ ˈsɪstəm ðət wɪl gɪv ə ˈbætəri ˈsɪstəm ðə breɪn tɪ pərˈfɔrm ɪts tæsks, ənd ðə ˈkəmpəˌni plænz tɪ lɔnʧ ə ˈbeɪtə ˈvərʒən əv ðə ˈsɔfˌwɛr ɪn ə fju wiks. ən ˈɔpərˌeɪtɪŋ ˈsɪstəm tɪ ˈmænɪʤ ˈbætəriz wʊd wərk məʧ laɪk ən ˈɔpərˌeɪtɪŋ ˈsɪstəm fər jʊr kəmˈpjutər ər sɛl foʊn: ɪt koʊˈɔrdəˌneɪts ðə kəmˌjunəˈkeɪʃənz bɪtˈwin ðə ˈhɑrdˌwɛr ənd ðə æps tɪ meɪk ʃʊr ðə ˈvɛriəs ˈproʊˌgræmz, səʧ ɛz ðoʊz fər ˈteɪkɪŋ ˈfoʊˌtoʊz ənd ˈbraʊzɪŋ ðə ˈɪntərˌnɛt ɪn ðə keɪs əv sɛl foʊnz, ər ˈrənɪŋ wɛl ənd du nɑt ˌɪnərˈfɪr wɪθ iʧ ˈəðər. laɪk ə kəmˈpjutər fər ˈɛnərʤi ər ˈɛnərʤi computer,”*,” sɛd raɪən, ˈfaʊndər ənd ˈsiˌiˈoʊ əv groʊɪŋ ˈɛnərʤi læbz (wɪʧ hi ˈɔlsoʊ rɪˈfərz tɪ ɛz), əˈbaʊt hɪz tɛkˈnɑləʤi. ˈstɑrtɪd ɪn 2010 tɪ ˈtækəl ðə ˈimərʤɪŋ ˈmɑrkɪts əv ˈstɔrɪŋ riˈnuəbəl ˈɛnərʤi səʧ ɛz ˈsoʊlər paʊər ənd fər ˈmænəʤɪŋ ɪˈlɛktrɪk kɑr ˈʧɑrʤɪŋ. ðə aɪˈdiə ɪz tɪ kəm əp wɪθ weɪz tɪ pʊt ˈnɛtˌwərkɪŋ ənd kəmˌjunəˈkeɪʃən tɛkˈnɑləʤiz, ˌɪnˈkludɪŋ ðə juz əv ˈɪntərˌnɛt, ˈɪntu ˈrənɪŋ ə ˈbætəri ˈsɪstəm. wʊd meɪk ˈməni frəm ˈlaɪsənsɪŋ ðə ˈsɔfˌwɛr. ˈoʊvər hæf əv ðə steɪts naʊ ˌrikˈwaɪər ðɛr juˈtɪlətiz tɪ baɪ ən ˌɪnˈkrisɪŋ əˈmaʊnt əv riˈnuəbəl ˈɛnərʤi, bət wɪnd ənd ˈsoʊlər paʊər plænts ɪn ˌpɑˈtɪkjələr ˈʤɛnərˌeɪt ɪˌlɛkˈtrɪsəti ˈstɛdəli əraʊnd ðə klɑk laɪk koʊl ər ˈnæʧərəl gæs paʊər plænts kən. ɛz ə rɪˈzəlt, juˈtɪlətiz hæv tɪ ˈfɪgjər aʊt haʊ tɪ ˈbæləns ðə səˈplaɪ wɪθ ðə dɪˈmænd wɪn ðə səˈplaɪ maɪt fɔl ʃɔrt ər ɪkˈsid ðə nid æt ˈɛni ˈgɪvɪn taɪm əv ðə deɪ. ˈjuzɪŋ ˈbætəriz tɪ bæŋk ˈsoʊlər ənd wɪnd ˈɛnərʤi ənd riˈlisɪŋ ɪt wɪn ðɛr ɪz dɪˈmænd fər ɪt sim tɪ bi ə gʊd ˈænsər. ə gʊd ˈbætəri ˈsɪstəm nidz ən ˈɔpərˌeɪtɪŋ ˈsɪstəm tɪ ˈmænɪʤ ðə kəmˌjunəˈkeɪʃənz bɪtˈwin ðə ˈbætəri ənd ðə ənd tɪ rɪˈspɑnd tɪ ə kəˈmænd fər wɪn, haʊ fæst ənd haʊ məʧ tɪ dɪˈspæʧ ðə ˈɛnərʤi stɔrd ɪn ðə ˈbætəri. ən ˈkɑnvərts ðə dɪˈrɛkt ˈkɑrənt frəm ðə ˈbætəri ˈɪntu ðə ˈɔltərˌneɪtɪŋ ˈkɑrənt fər ˈfidɪŋ ðə grɪd. juˈtɪlətiz əˈloʊn ɪn kənˈsɪdərɪŋ ˈbætəriz fər ˈɛnərʤi ˈstɔrɪʤ. kənˈsumərz ənd ˈbɪznɪsɪz hu hæv ˈsoʊlər ˈpænəlz ɔn ðɛr ˈrufˌtɑps maɪt wɔnt ˈbætəriz tɪ prəˈvaɪd ˈbæˌkəp paʊər ər tɪ sɛl ˈɛkˌsɛs ɪˌlɛkˈtrɪsəti tɪ juˈtɪlətiz. ˈkərəntli, ə ˈbætəri ˈsɪstəm ˈtɪpɪkəli ˌɪnˈkludz ðə sɛlz fər ˈstɔrɪŋ ˈɛnərʤi, ɛz wɛl ɛz ðə ˌɪˌlɛkˈtrɑnɪks ənd ˈsɔfˌwɛr fər ˈmɑnətərɪŋ ðə cells’*’ ˈtɛmpərəʧər ənd pərˈfɔrməns tɪ meɪk ʃʊr ðeɪ ˈoʊvərˌhit ər ˈəðərˌwaɪz mælˈfəŋkʃən. əˈnəðər leɪər əv ˈsɔfˌwɛr ɪz ˈnidɪd tɪ tɛl ðə ˈbætəri wət tɪ du. bɪˈkəz ðə juz əv ˈbætəriz fər riˈnuəbəl ˈɛnərʤi ˈstɔrɪʤ ɪz ˈrɛlətɪvli nu, ðə ˈsɔfˌwɛr juzd tɪ rən ðɛm kʊd faɪnd ɪts sɔrs ɪn ˈsɔfˌwɛr ðət wɑz ərˈɪʤənəli dɪˈzaɪnd tɪ rən ˈəðər taɪps əv ˌɪnˈdəstriəl ɪkˈwɪpmənt, səʧ ɛz ðə kəmˈpjutər ˈsɪstəm tɪ rən ə paʊər ˌʤɛnərˈeɪʃən ənd ˌdɪstrəˈbjuʃən ˌɑpərˈeɪʃənz. ðə ˈsɔfˌwɛr ˈɔlsoʊ tɛndz tɪ ˈlɪmət ðə ˈbætəri tɪ pərˈfɔrm wən ər ˈoʊnli ə fju tæsks, sɛd., ɔn ðə ˈəðər hænd, ɪz ˈbɪldɪŋ ðə ˈɔpərˌeɪtɪŋ ˈsɔfˌwɛr spəˈsɪfɪkli fər ˈrənɪŋ ˈɛnərʤi ˈstɔrɪʤ ɪkˈwɪpmənt, ənd ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm wɪl ɪˈneɪbəl ˈbætəriz tɪ pərˈfɔrm ˈmɛni mɔr tæsks, sɛd. ril ˈɪnˌsaɪt ðət wi ər ˈbɪldɪŋ ən ˈɛnərʤi ˈɔpərˌeɪtɪŋ ˈsɪstəm əraʊnd ɪz ðət ju wɔnt tɪ juz ðə ˈbætəriz fər ˈməltəpəl things,”*,” hi sɛd. ɪn fækt, ə ˈbætəri ˈsɪstəm kən pərˈfɔrm mɔr ðən ə ˈdəzən tæsks, frəm ˈsɛndɪŋ ʃɔrt bərsts əv paʊər tɪ ˈsteɪbəˌlaɪz ðə ɪˈlɛktrɪk grɪd tɪ riˈlisɪŋ ə ˈstɛdi səˈplaɪ əv ɪˌlɛkˈtrɪsəti ˈoʊvər ə ˈlɔŋgər ˈpɪriəd əv taɪm wɪn ðɛr ɪz ə lɔt əv dɪˈmænd fər paʊər. ðə ˈkəmpəˌni ˈɔlsoʊ plænz tɪ meɪk ðə kɔr ˈlæŋgwɪʤ əv ɪts ˈɔpərˌeɪtɪŋ ˈsɪstəm əˈveɪləbəl ðɪs ˈsəmər tɪ dɪˈvɛləpərz hu kən ðɛn juz ɪt tɪ dɪˈzaɪn nu ˌæpləˈkeɪʃənz, məʧ ɪn ðə seɪm weɪ ðət ˈkəmpəˌniz laɪk ˈæpəl hæv ˈkəltəˌveɪtɪd ə kəmˈjunɪti əv æp dɪˈvɛləpərz əraʊnd ðɛr ˈgæʤəts. wʊd ˈoʊvərˌsi ðə ˈprɑʤɛkt ənd peɪ dɪˈvɛləpərz huz ˌæpləˈkeɪʃənz kʊd ˌɪnˈkɔrpərˌeɪt ˈɪntu ɪts ˈsɔfˌwɛr. ɪz ˈlʊkɪŋ tɪ reɪz tɪ gɪt ðə ˈbeɪtə ˈvərʒən əv ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm tɪ ˈbætəri ˈmeɪkərz hu ər ˈwɪlɪŋ tɪ tɛst ɪt ənd si ɪf ðeɪ wʊd ˌɪnˈkɔrpərˌeɪt ˈɪntu ðɛr ˈprɑdəkts. hi ðɛn wɔnts tɪ reɪz əˈnəðər 3 ˈmɪljən ɪn ˈərli 2013 tɪ riˈlis ən ˌɪmˈpruvd ˈvərʒən əv ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm. ðə ˈkəmpəˌni ɪz wən əv ðə faɪv ˈstɑrˌtəps hu ˈrisəntli ˈgræʤəˌweɪtɪd frəm ən ˈɪŋkjəˌbeɪtər ˈproʊˌgræm kɔld. prəˈvaɪdɪd iʧ ˈstɑrˌtəp ənd ˈkoʊʧɪŋ frəm ˈsɪləkən ˈvæli ˌɑntrəprəˈnərz ənd ˈvɛnʧər ˈkæpətəlɪsts. həz laɪnd əp səm ˈbætəri ˈmeɪkərz, səʧ ɛz kokam*, ðət ər ˈwɪlɪŋ tɪ tɛst ɪts ˈɔpərˌeɪtɪŋ ˈsɪstəm ənd si ɪf ðə ˈsɔfˌwɛr ɪz ə gʊd fɪt fər ðɛr ˈbætəriz. ðə ˈbeɪtə ˈvərʒən əv ɪts ˈɔpərˌeɪtɪŋ ˈsɪstəm wɪl bi juzd ɪn ˈsɛvərəl ˈbætəri ˈsɪstəmz ɪn ˌkɔˈriə, ˈwɔʃɪŋtən, d.c*., ənd ˈkænədə ɪn ðə ˈkəmɪŋ wiks fər fild ˈtɛstɪŋ. ðiz ˈbætəri ˈsɪstəmz ər smɔl ənd mɛnt fər ˈstɔrɪŋ riˈnuəbəl ˈɛnərʤi frəm ɪkˈwɪpmənt dɪˈzaɪnd fər hoʊmz ənd ˈbɪznɪsɪz. ðə ˈkəmpəˌni ɪz ˈmɑrkətɪŋ ɪts tɛkˈnɑləʤi tɪ ˈbætəri ˈmeɪkərz hu hæv bɪn səˈplaɪɪŋ ðɛr ˈprɑdəkts ˈlɑrʤli fər kənˈsumər ˌɪˌlɛkˈtrɑnɪks ənd hæv ðə ˌɛkspərˈtiz tɪ dɪˈzaɪn ˈsɔfˌwɛr tɪ rən ðɛr ˈbætəriz ɛz riˈnuəbəl ˈɛnərʤi ˈstɔrɪʤ ˈsɪstəmz. səm ˈbætəri dɪˈvɛləpərz du dɪˈzaɪn ðɛr oʊn ˈɔpərˌeɪtɪŋ ˈsɪstəmz. paʊər, fər ɪgˈzæmpəl, kənˈsɪdərz ðə ˈsɔfˌwɛr ðət kənˈtroʊlz ɪts ˈbætəri ˈsɪstəmz ɪts kɔr tɛkˈnɑləʤi. həz bɪn ˈbɪldɪŋ ənd ˈrənɪŋ ˈbætəri ˈsɪstəmz fər ˈsoʊlər ənd wɪnd paʊər ˈprɑʤɛkts ɪn ˈsɛvərəl steɪts. greensmith*, ɔn ðə ˈəðər hænd, ˈfoʊkɪsɪz ɔn dɪˈvɛləpɪŋ ˈɛnərʤi ˈstɔrɪʤ ˈɔpərˌeɪtɪŋ ˈsɔfˌwɛr. ˈɛnərʤi ˈstɔrɪʤ, wɪʧ baɪz ˈbætəri ˈsɪstəmz tɪ bɪld ənd ˈɔpərˌeɪt ˈɛnərʤi ˈstɔrɪʤ ˈprɑʤɛkts, rɪˈlaɪz ɔn ɪts ˌɪnˈhaʊs ˈsɔfˌwɛr dɪˈvɛləpmənt tim tɪ kriˈeɪt ən ˈɔpərˌeɪtɪŋ ˈsɪstəm. ðɛr ˈmɛni ˈʧɔɪsɪz ɔn ðə ˈmɑrkɪt ðət ər əˈveɪləbəl fər ˈlaɪsənsɪŋ ər gʊd ɪˈnəf tɪ rən ðə ˈbætəri ˈsɪstəmz ðə weɪ wɔnts tɪ ɪn ˈɔrdər tɪ sɛl ɪts ˈsərvɪsɪz tɪ paʊər prəˈdusərz ənd juˈtɪlətiz, sɛd ʤɑn, vaɪs ˈprɛzɪdənt əv ˌɑpərˈeɪʃənz ənd dɪˈplɔɪmənt æt ˈɛnərʤi ˈstɔrɪʤ. ðə ˈkəmpəˌni həz kəmˈplitɪd ˈprɑʤɛkts ðət ˌɪnˈkludɪd ə 8 megawatt-hour*) ˈbætəri ˈsɪstəm, ˈloʊˌkeɪtəd nɛkst tɪ ə wɪnd fɑrm ɪn wɛst vərˈʤɪnjə, ðət kən dɪˈlɪvər ɪˌlɛkˈtrɪsəti ɪn ˈɪŋkrəˌmɛnts. ər ɪn ðə ˈmɑrkɪt ˈərli, ənd wi sɔ ə nid fər ðət leɪər əv əv wət ðə ˈkəstəmərz want,”*,” sɛd. ðə ˈɛnərʤi ˈstɔrɪʤ ˈmɑrkɪt groʊz, ðə nid fər ˈsɔfˌwɛr kənˈtroʊl wɪl ˈɔlsoʊ grow.”*.” |
ocean city, n.j., june 30 (upi) -- a new jersey woman who met actor bradley cooper while they were in a play together at villanova university has started living her life with a cardboard cutout of the popular hollywood star.
danielle davies launched a website called "my life with bradley cooper" and also has an accompanying account.
why?
"because, friends, this is america. so why not?" the wrote on her site. "the fact is, while most of us don't actually live our lives with movie stars, many of us wish we did. if i want a life with bradley cooper, well, just make one up."
davies is married to "possibly the most patient husband in the world" and also has a son and daughter.
she reflected about the different directions that her and cooper's lives have taken since college.
"since then, he's become startlingly famous and i ... not so much," davies told today. "(the pictures are) a way for me to poke fun at how i ended up, where i am and my one-time stage equal has gone on to become an academy award nominee."
davies plans to turn her project into a book.
"sometimes, people just stare and then totally avert their eyes," davies said. "that's definitely the weirdest ... maybe they don't get that it's a joke? i don't know, but they are clearly uncomfortable!" | ˈoʊʃən ˈsɪti, n.j*., ʤun 30 (upi*) ə nu ˈʤərzi ˈwʊmən hu mɛt ˈæktər ˈbrædli ˈkupər waɪl ðeɪ wər ɪn ə pleɪ təˈgɛðər æt ˌvɪləˈnoʊvə ˌjunəˈvərsəti həz ˈstɑrtɪd ˈlɪvɪŋ hər laɪf wɪθ ə ˈkɑrdˌbɔrd ˈkəˌtaʊt əv ðə ˈpɑpjələr ˈhɑliˌwʊd stɑr. ˌdænˈjɛl ˈdeɪviz lɔnʧt ə ˈwɛbˌsaɪt kɔld "maɪ laɪf wɪθ ˈbrædli ˈkupər" ənd ˈɔlsoʊ həz ən əˈkəmpəniɪŋ əˈkaʊnt. waɪ? "bɪˈkəz, frɛndz, ðɪs ɪz əˈmɛrɪkə. soʊ waɪ nɑt?" ðə roʊt ɔn hər saɪt. "ðə fækt ɪz, waɪl moʊst əv ˈjuˈɛs doʊnt ˈæˌkʧuəli lɪv ɑr lɪvz wɪθ ˈmuvi stɑrz, ˈmɛni əv ˈjuˈɛs wɪʃ wi dɪd. ɪf aɪ wɔnt ə laɪf wɪθ ˈbrædli ˈkupər, wɛl, ʤɪst meɪk wən əp." ˈdeɪviz ɪz ˈmɛrid tɪ "ˈpɑsəbli ðə moʊst ˈpeɪʃənt ˈhəzbənd ɪn ðə wərld" ənd ˈɔlsoʊ həz ə sən ənd ˈdɔtər. ʃi rɪˈflɛktɪd əˈbaʊt ðə ˈdɪfərənt dɪˈrɛkʃɪnz ðət hər ənd ˈkupərz lɪvz hæv ˈteɪkən sɪns ˈkɑlɪʤ. "sɪns ðɛn, hiz bɪˈkəm ˈstɑrtlɪŋˌli ˈfeɪməs ənd aɪ nɑt soʊ məʧ," ˈdeɪviz toʊld təˈdeɪ. "(ðə ˈpɪkʧərz ər) ə weɪ fər mi tɪ poʊk fən æt haʊ aɪ ˈɛndɪd əp, wɛr aɪ æm ənd maɪ ˈwəˌtaɪm steɪʤ ˈikwəl həz gɔn ɔn tɪ bɪˈkəm ən əˈkædəmi əˈwɔrd ˌnɑməˈni." ˈdeɪviz plænz tɪ tərn hər ˈprɑʤɛkt ˈɪntu ə bʊk. "ˈsəmˌtaɪmz, ˈpipəl ʤɪst stɛr ənd ðɛn ˈtoʊtəli əˈvərt ðɛr aɪz," ˈdeɪviz sɛd. "ðæts ˈdɛfənətli ðə ˈwɪrdəst ˈmeɪbi ðeɪ doʊnt gɪt ðət ɪts ə ʤoʊk? aɪ doʊnt noʊ, bət ðeɪ ər ˈklɪrli ənˈkəmfərtəbəl!" |
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with all of the windows 8, one, and microsoft news circling the internet lately, easy to forget that microsoft also has a dedicated research sector that is always dabbling in new and innovative technologies. today, via spectrum, getting a glimpse at one such microsoft research project a robotic, moving, interactive.
normally, these types of projects would contain intense development cycles and the introduction of new technologies. this is a rare case though, as microsoft research discovered it could create its desired effect by simply snapping a display onto a robotic arm (okay, so a little more technical than that).
the screen is able to sense the intensity of a touch and react accordingly. in the demonstration video, shown below, principal researcher of microsoft research, mike sinclair, showcases the ability to create “life like” tension by pushing on some virtual blocks. each block is made from a different substance, and they all vary in weight. pushing on the “metal block,” in this instance, provides much more tension than pushing on the “wooden block.” the screen moves back and forth accordingly, pushing back against finger in order to simulate return force. this makes for a much more interactive experience.
the screen is also capable of virtually mimicking the shape of an object. sinclair shows this by pushing on the rounded edges of a beach ball. each touch causes the screen to adjust itself forward or backward, and, according to sinclair, the effect causes the beach ball to retain a virtual surface where it actually feels as if the ball is round, even though you are aware that you are touching a plane that is completely flat.
microsoft has no immediate plans for the discovery, although the video does showcase how doctors could use this technology to better understand and scans. this could also prove to be a very unique tool for entertainment purposes. microsoft already has some creative features for its with kinect, so not entirely that the group could implement this into its gaming system somehow (although its probably unlikely see this anytime soon). | ʃɛr wɪθ ɔl əv ðə ˈwɪndoʊz 8 wən, ənd ˈmaɪˌkroʊˈsɔft nuz ˈsərkəlɪŋ ðə ˈɪntərˌnɛt ˈleɪtli, ˈizi tɪ fərˈgɛt ðət ˈmaɪˌkroʊˈsɔft ˈɔlsoʊ həz ə ˈdɛdəkeɪtəd ˈrisərʧ ˈsɛktər ðət ɪz ˈɔlˌweɪz ˈdæbəlɪŋ ɪn nu ənd ˈɪnəˌveɪtɪv tɛkˈnɑləʤiz. təˈdeɪ, ˈviə ˈspɛktrəm, ˈgɪtɪŋ ə glɪmps æt wən səʧ ˈmaɪˌkroʊˈsɔft ˈrisərʧ ˈprɑʤɛkt ə ˌroʊˈbɑtɪk, ˈmuvɪŋ, ˌɪnərˈæktɪv. ˈnɔrməli, ðiz taɪps əv ˈprɑʤɛkts wʊd kənˈteɪn ˌɪnˈtɛns dɪˈvɛləpmənt ˈsaɪkəlz ənd ðə ˌɪntrəˈdəkʃən əv nu tɛkˈnɑləʤiz. ðɪs ɪz ə rɛr keɪs ðoʊ, ɛz ˈmaɪˌkroʊˈsɔft ˈrisərʧ dɪˈskəvərd ɪt kʊd kriˈeɪt ɪts dɪˈzaɪərd ˈifɛkt baɪ ˈsɪmpli sˈnæpɪŋ ə dɪˈspleɪ ˈɔntu ə ˌroʊˈbɑtɪk ɑrm (ˌoʊˈkeɪ, soʊ ə ˈlɪtəl mɔr ˈtɛknɪkəl ðən ðət). ðə skrin ɪz ˈeɪbəl tɪ sɛns ðə ˌɪnˈtɛnsɪti əv ə təʧ ənd riækt əˈkɔrdɪŋli. ɪn ðə ˌdɛmənˈstreɪʃən ˈvɪdioʊ, ʃoʊn bɪˈloʊ, ˈprɪnsəpəl ˈrisərʧər əv ˈmaɪˌkroʊˈsɔft ˈrisərʧ, maɪk ˈsɪnklɛr, ˈʃoʊˌkeɪsɪz ðə əˈbɪləˌti tɪ kriˈeɪt like”*” ˈtɛnʃən baɪ ˈpʊʃɪŋ ɔn səm ˈvərʧuəl blɑks. iʧ blɑk ɪz meɪd frəm ə ˈdɪfərənt ˈsəbstəns, ənd ðeɪ ɔl ˈvɛri ɪn weɪt. ˈpʊʃɪŋ ɔn ðə block,”*,” ɪn ðɪs ˈɪnstəns, prəˈvaɪdz məʧ mɔr ˈtɛnʃən ðən ˈpʊʃɪŋ ɔn ðə block.”*.” ðə skrin muvz bæk ənd fɔrθ əˈkɔrdɪŋli, ˈpʊʃɪŋ bæk əˈgɛnst ˈfɪŋgər ɪn ˈɔrdər tɪ ˈsɪmjəˌleɪt rɪˈtərn fɔrs. ðɪs meɪks fər ə məʧ mɔr ˌɪnərˈæktɪv ɪkˈspɪriəns. ðə skrin ɪz ˈɔlsoʊ ˈkeɪpəbəl əv ˈvərʧuəli ˈmɪmɪkɪŋ ðə ʃeɪp əv ən ˈɑbʤɛkt. ˈsɪnklɛr ʃoʊz ðɪs baɪ ˈpʊʃɪŋ ɔn ðə ˈraʊndɪd ˈɛʤɪz əv ə biʧ bɔl. iʧ təʧ ˈkɔzɪz ðə skrin tɪ əˈʤəst ˌɪtˈsɛlf ˈfɔrwərd ər ˈbækwərd, ənd, əˈkɔrdɪŋ tɪ ˈsɪnklɛr, ðə ˈifɛkt ˈkɔzɪz ðə biʧ bɔl tɪ rɪˈteɪn ə ˈvərʧuəl ˈsərfəs wɛr ɪt ˈæˌkʧuəli filz ɛz ɪf ðə bɔl ɪz raʊnd, ˈivɪn ðoʊ ju ər əˈwɛr ðət ju ər ˈtəʧɪŋ ə pleɪn ðət ɪz kəmˈplitli flæt. ˈmaɪˌkroʊˈsɔft həz noʊ ˌɪˈmiˌdiət plænz fər ðə ˌdɪˈskəvri, ˌɔlˈðoʊ ðə ˈvɪdioʊ dɪz ˈʃoʊˌkeɪs haʊ ˈdɑktərz kʊd juz ðɪs tɛkˈnɑləʤi tɪ ˈbɛtər ˌəndərˈstænd ənd skænz. ðɪs kʊd ˈɔlsoʊ pruv tɪ bi ə ˈvɛri juˈnik tul fər ˌɛnərˈteɪnmənt ˈpərpəsɪz. ˈmaɪˌkroʊˈsɔft ɔˈrɛdi həz səm kriˈeɪtɪv ˈfiʧərz fər ɪts wɪθ kinect*, soʊ nɑt ɪnˈtaɪərli ðət ðə grup kʊd ˈɪmpləmənt ðɪs ˈɪntu ɪts ˈgeɪmɪŋ ˈsɪstəm ˈsəmˌhaʊ (ˌɔlˈðoʊ ɪts ˈprɑbəˌbli ənˈlaɪkli si ðɪs ˈɛniˌtaɪm sun). |
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re: nightly labor update
from:nbudzinski@hillaryclinton.com to: cc:arshall@hillaryclinton.com, john.podesta@gmail.com, ha16@hillaryclinton.com, arenteria@hillaryclinton.com, bcraig@hillaryclinton.com, date: subject: re: nightly labor update
i'll give you thoughts on that in tonight's report. i think diving into executive boards of unions needs to be done very strategically so we don't create more headache. i'll work on options for tonight. sent from my iphone on 21, 2015, at am, robby mook <re47@hillaryclinton.com> wrote: i agree we should push to keep those other unions neutral. any word on their boards and if we can lobby members individually to block a vote? on 20, 2015, at pm, marlon marshall <mmarshall@hillaryclinton.com> wrote: thanks nikki 1. flagging the stu comments for given that he just talked to 2. great letter from 3. awesome on bricklayers! 4. nice work with building trades looking forward to chatting with aft on 20, 2015, at pm, nikki budzinski <nbudzinski@hillaryclinton.com> wrote: good evening this afternoon the convened the political committee (usually chaired by president lee saunders but because of a health issue, trumka chaired). interesting intel from this meeting to pass along. *political committee discussion points today:* 1. stuart appelbaum pushedk on the aft at the meeting regarding their early endorsement process. he stated that he understood there to be a 60 day notification to affiliated unions by an endorsing union. trumka clarified that that was incorrect. he engaged in debate with randi executive assistant michelle ringuette about their process and trumka cut off debate. appelbaum also urged no early endorsement by the in the presidential primary. randi personally called today to mention this exchange with stuart along with the importance of prep for the executive council meeting and reconnecting on policy. she stated that she will be directly following up with appelbaum and was very shocked by his comments at the meeting. randi is in canada or would have been there in person. i am attaching a letter from lee saunders in the response to attacks randi has received over the past week, fyi. 2. the political committee decided that there would not be a president endorsement recommendation coming off of the executive committee meeting byy. this is not news for us but it was formally voted on. this still allows them to move in the future, internally i have heard a lot of talk that they know they need to endorse and would be looking to before february 2016 (how it looks today, we'll see). 3. the bricklayer unions spoke with president boland on and he also attended the reception) announced that they will be making a endorsement recommendation at their convention on. i will follow up with them tomorrow, but this is good news for us. was a 2007 endorsers. 4. write off and the flight attendants (affiliated with presidents publicly stated their support for sanders in the political committee meeting today. i think our work is to keep them neutral. *preparation for the executive council meeting:* randi mentioned today she very much wants to be on the offense going into they executive council meeting. she is going to be asking for a point of privilege at the meeting to emphasize the importance of her early endorsement. she has already lined support in the room among, trade unions and iam. she wants to go into the room on offense too. i flag this because i think it could be helpful to have a strategy session around they meeting for the secretary. randi also raised the cadillac tax issue with me today. randi is really an amazing champion. *other follow up items:* aft will be in the tomorrow in department meetings from 11-4pm. *flag for you, president mike mulgrew will be attending the policy meeting from 1-2pm. this was at the request of randi. we will be meeting in the nevada room if anyone would like to stop by. i am reviewing the research on and will circlek. i am setting up meetings with suzie ballentine this week and have a meeting with heather and erin next week. i'm going to only be asking suzie for her insights on the and atu, but not asking for assistance beyond her thoughts. fyi. thank you! september is locked in for the building trades council meeting. great news. -- nikki budzinski labor outreach director hillary for america (direct) letter.pdf> | ðɪs iˈmeɪl həz ˈɔlsoʊ bɪn ˈvɛrəˌfaɪd baɪ ˈgugəl ki ri: ˈnaɪtli ˈleɪbər ˈəpˌdeɪt tɪ: ˈsiˈsi: mmarshall@hillaryclinton.com*, john.podesta@gmail.com*, ha16@hillaryclinton.com*, arenteria@hillaryclinton.com*, bcraig@hillaryclinton.com*, deɪt: ˈsəbʤɪkt: ri: ˈnaɪtli ˈleɪbər ˈəpˌdeɪt aɪl gɪv ju θɔts ɔn ðət ɪn təˈnaɪts rɪˈpɔrt. aɪ θɪŋk ˈdaɪvɪŋ ˈɪntu ɪgˈzɛkjətɪv bɔrdz əv ˈjunjənz nidz tɪ bi dən ˈvɛri strəˈtiʤɪkli soʊ wi doʊnt kriˈeɪt mɔr ˈhɛˌdeɪk. aɪl wərk ɔn ˈɔpʃənz fər təˈnaɪt. sɛnt frəm maɪ ˈaɪˌfoʊn ɔn 21 2015 æt æm, ˈrɑbi mʊk <re47@hillaryclinton.com*> roʊt: aɪ əˈgri wi ʃʊd pʊʃ tɪ kip ðoʊz ˈəðər ˈjunjənz ˈnutrəl. ˈɛni wərd ɔn ðɛr bɔrdz ənd ɪf wi kən ˈlɑbi ˈmɛmbərz ˌɪndɪˈvɪʤəli tɪ blɑk ə voʊt? ɔn 20 2015 æt piɛm, ˈmɑrlən ˈmɑrʃəl <mmarshall@hillaryclinton.com*> roʊt: θæŋks ˈnɪki 1 ˈflægɪŋ ðə stu ˈkɑmɛnts fər ˈgɪvɪn ðət hi ʤɪst tɔkt tɪ 2 greɪt ˈlɛtər frəm 3 ˈɔsəm ɔn ˈbrɪˌkleɪərz! 4 nis wərk wɪθ ˈbɪldɪŋ treɪdz ˈlʊkɪŋ ˈfɔrwərd tɪ ˈʧætɪŋ wɪθ æft ɔn 20 2015 æt piɛm, ˈnɪki bəˈʤɪnski <nbudzinski@hillaryclinton.com*> roʊt: gʊd ˈivnɪŋ ðɪs ˌæftərˈnun ðə kənˈvind ðə pəˈlɪtɪkəl kəˈmɪti (ˈjuʒəwəli ʧɛrd baɪ ˈprɛzɪdənt li ˈsɔndərz bət bɪˈkəz əv ə hɛlθ ˈɪʃu, ˈtrəmkə ʧɛrd). ˈɪntəˌrɛstɪŋ ˌɪnˈtɛl frəm ðɪs ˈmitɪŋ tɪ pæs əˈlɔŋ. *pəˈlɪtɪkəl kəˈmɪti dɪˈskəʃən pɔɪnts 1 stɔrt ˈæpəlˌbaʊm pʊʃt bæk ɔn ðə æft æt ðə ˈmitɪŋ rɪˈgɑrdɪŋ ðɛr ˈərli ɛnˈdɔrsmənt ˈprɔˌsɛs. hi ˈsteɪtɪd ðət hi ˌəndərˈstʊd ðɛr tɪ bi ə 60 deɪ ˌnoʊtəfəˈkeɪʃən tɪ əˈfɪliˌeɪtɪd ˈjunjənz baɪ ən ɛnˈdɔrsɪŋ ˈjunjən. ˈtrəmkə ˈklɛrəˌfaɪd ðət ðət wɑz ˌɪnkərˈɛkt. hi ɪnˈgeɪʤd ɪn dəˈbeɪt wɪθ ˈrændi ɪgˈzɛkjətɪv əˈsɪstənt mɪˈʃɛl rɪˈŋɛt əˈbaʊt ðɛr ˈprɔˌsɛs ənd ˈtrəmkə kət ɔf dəˈbeɪt. ˈæpəlˌbaʊm ˈɔlsoʊ ərʤd noʊ ˈərli ɛnˈdɔrsmənt baɪ ðə ɪn ðə ˌprɛzɪˈdɛnʃəl ˈpraɪˌmɛri. ˈrændi ˈpərsənəli kɔld təˈdeɪ tɪ ˈmɛnʃən ðɪs ɪksˈʧeɪnʤ wɪθ stɔrt əˈlɔŋ wɪθ ðə ˌɪmˈpɔrtəns əv prɛp fər ðə ɪgˈzɛkjətɪv ˈkaʊnsəl ˈmitɪŋ ənd rikəˈnɛktɪŋ ɔn ˈpɑləsi. ʃi ˈsteɪtɪd ðət ʃi wɪl bi dɪˈrɛkli ˈfɑloʊɪŋ əp wɪθ ˈæpəlˌbaʊm ənd wɑz ˈvɛri ʃɑkt baɪ hɪz ˈkɑmɛnts æt ðə ˈmitɪŋ. ˈrændi ɪz ɪn ˈkænədə ər wʊd hæv bɪn ðɛr ɪn ˈpərsən. aɪ æm əˈtæʧɪŋ ə ˈlɛtər frəm li ˈsɔndərz ɪn ðə rɪˈspɑns tɪ əˈtæks ˈrændi həz rɪˈsivd ˈoʊvər ðə pæst wik, ˌɛfˈwaɪˌaɪ. 2 ðə pəˈlɪtɪkəl kəˈmɪti ˌdɪˈsaɪdɪd ðət ðɛr wʊd nɑt bi ə ˈprɛzɪdənt ɛnˈdɔrsmənt ˌrɛkəmənˈdeɪʃən ˈkəmɪŋ ɔf əv ðə ɪgˈzɛkjətɪv kəˈmɪti ˈmitɪŋ baɪ ˌʤuˈlaɪ. ðɪs ɪz nɑt nuz fər ˈjuˈɛs bət ɪt wɑz ˈfɔrməli ˈvoʊtɪd ɔn. ðɪs stɪl əˈlaʊz ðɛm tɪ muv ɪn ðə fˈjuʧər, ˌɪnˈtərnəli aɪ hæv hərd ə lɔt əv tɔk ðət ðeɪ noʊ ðeɪ nid tɪ ɛnˈdɔrs ənd wʊd bi ˈlʊkɪŋ tɪ ˌbiˈfɔr ˈfɛbruˌɛri 2016 (haʊ ɪt lʊks təˈdeɪ, wɪl si). 3 ðə ˈbrɪˌkleɪər ˈjunjənz spoʊk wɪθ ˈprɛzɪdənt ˈboʊlənd ɔn ənd hi ˈɔlsoʊ əˈtɛndəd ðə rɪˈsɛpʃən) əˈnaʊnst ðət ðeɪ wɪl bi ˈmeɪkɪŋ ə ɛnˈdɔrsmənt ˌrɛkəmənˈdeɪʃən æt ðɛr kənˈvɛnʃən ɔn aɪ wɪl ˈfɑloʊ əp wɪθ ðɛm təˈmɑˌroʊ, bət ðɪs ɪz gʊd nuz fər ˈjuˈɛs. wɑz ə 2007 ɪnˈdɔrsərz. 4 raɪt ɔf ənd ðə flaɪt əˈtɛndənts (əˈfɪliˌeɪtɪd wɪθ ˈprɛzɪˌdɛnts ˈpəblɪkli ˈsteɪtɪd ðɛr səˈpɔrt fər ˈsændərz ɪn ðə pəˈlɪtɪkəl kəˈmɪti ˈmitɪŋ təˈdeɪ. aɪ θɪŋk ɑr wərk ɪz tɪ kip ðɛm ˈnutrəl. *ˌprɛpərˈeɪʃən fər ðə ɪgˈzɛkjətɪv ˈkaʊnsəl ˈrændi ˈmɛnʃənd təˈdeɪ ʃi ˈvɛri məʧ wɔnts tɪ bi ɔn ðə əˈfɛns goʊɪŋ ˈɪntu ðə ˌʤuˈlaɪ ɪgˈzɛkjətɪv ˈkaʊnsəl ˈmitɪŋ. ʃi ɪz goʊɪŋ tɪ bi ˈæskɪŋ fər ə pɔɪnt əv ˈprɪvɪlɪʤ æt ðə ˈmitɪŋ tɪ ˈɛmfəˌsaɪz ðə ˌɪmˈpɔrtəns əv hər ˈərli ɛnˈdɔrsmənt. ʃi həz ɔˈrɛdi laɪnd səˈpɔrt ɪn ðə rum əˈməŋ, treɪd ˈjunjənz ənd iam*. ʃi wɔnts tɪ goʊ ˈɪntu ðə rum ɔn əˈfɛns tu. aɪ flæg ðɪs bɪˈkəz aɪ θɪŋk ɪt kʊd bi ˈhɛlpfəl tɪ hæv ə ˈstrætəʤi ˈsɛʃən əraʊnd ðə ˌʤuˈlaɪ ˈmitɪŋ fər ðə ˈsɛkrəˌtɛri. ˈrændi ˈɔlsoʊ reɪzd ðə ˈkædəˌlæk tæks ˈɪʃu wɪθ mi təˈdeɪ. ˈrændi ɪz ˈrɪli ən əˈmeɪzɪŋ ˈʧæmpiən. *ˈəðər ˈfɑloʊ əp æft wɪl bi ɪn ðə təˈmɑˌroʊ ɪn dɪˈpɑrtmənt ˈmitɪŋz frəm 11-4pm*. *flæg fər ju, ˈprɛzɪdənt maɪk ˈməlgru wɪl bi əˈtɛndɪŋ ðə ˈpɑləsi ˈmitɪŋ frəm 1-2pm*. ðɪs wɑz æt ðə rɪkˈwɛst əv ˈrændi. wi wɪl bi ˈmitɪŋ ɪn ðə nəˈvɑdə rum ɪf ˈɛniˌwən wʊd laɪk tɪ stɑp baɪ. aɪ æm rivˈjuɪŋ ðə ˈrisərʧ ɔn ənd wɪl ˈsərkəl bæk. aɪ æm ˈsɛtɪŋ əp ˈmitɪŋz wɪθ ˈsəzi bɑlɛnˈtini ðɪs wik ənd hæv ə ˈmitɪŋ wɪθ ˈhɛðər ənd ˈɛrɪn nɛkst wik. əm goʊɪŋ tɪ ˈoʊnli bi ˈæskɪŋ ˈsəzi fər hər ˈɪnˌsaɪts ɔn ðə ənd atu*, bət nɑt ˈæskɪŋ fər əˈsɪstəns bɪɔnd hər θɔts. ˌɛfˈwaɪˌaɪ. θæŋk ju! sɛpˈtɛmbər ɪz lɑkt ɪn fər ðə ˈbɪldɪŋ treɪdz ˈkaʊnsəl ˈmitɪŋ. greɪt nuz. ˈnɪki bəˈʤɪnski ˈleɪbər ˈaʊˌtriʧ dɪˈrɛktər ˈhɪləri fər əˈmɛrɪkə (dɪˈrɛkt) letter.pdf*> |
dear boards, my apologies if you already come across a similar post as this one yesterday. i just trashed some text and some video's into a post and assumed it would be as as the [first post](http://boards.euw.leagueoflegends.com/en/c/community-creations-en/gnxqkrab-league-of-legends-playing-cards-community-creation) on this playing card topic. i was wrong, and i hope you will forgive me for this somewhat re-post. but a lot of things i didn't cover actually took quite some work. first for the people that have more important stuff to do: >#**tldr**; two weeks ago, i showed a deck of playing cards i made using league splash arts. i got some useful feedback, and a lot of requests on where to buy the cards. with these two things i got to work. the result is a fairly new deck design and a complete website where you can find out more about the deck as well as a place to have them printed yourself. below i want to show you just that. *** #table of contends: 1. how is this possible? you are selling league contend, that's illegal! 2. the definitive design. 3. a complete website, all for you! *** #how's this possible? after i posted my first concept on the forums, and someone asked if i would be allowed to sell these cards an official (riotsargonas) responded: so yea, can't sell it. at first glance, that would make it impossible to get these cards out for the community. good thing i'm an ignorant little brat that doesn't give up that easily , i did the following: the company that prints these cards allows you to sell your design. the price of this design you can set to +10, +20, +30, +40 or +50 percent of the printing costs. since 0 wasn't an option, that wasn't an option neither. unlesss.... yea, you've guessed it, i contacted the company if they could pretty please enable the option to 'sell designs' with a 0 percent profit marge. surprisingly, they my wishes, making it possible for me to 'sell' my design for nothing. meaning that if you would order a deck of cards with my design on it, you would pay just as much as if you would have made and uploaded the design yourself! i'm basically giving out the design for free. which **is** allowed. *** #what's the design? last time i showed a few of the fronts, and the back design. i'll just do that again: spades: diamonds: clubs: hearths: i had to change a few things due to community input, thanks to your input, we now have: on the **ace** of spades on the **four** of spades vi on the **six** of hearths trundle on the **king of clubs** besides that, i removed urgot, how harsh it may sound, he's just too ugly :(. also i changed a lot of splash art's due to bad lighting. the champions however remain. there are now two versions: a blue back design and the original brown back design. i would love to show how the card handle but i'm not really good a that, this video is the best i could do... sorry :( *** #le website to make all this a little less complicated i set up a website with the very original and name [lolplayingcards.com](http://www.lolplayingcards.com/). here are some screenshots: front page with the story and stuffs: a page with all the decks that are printable atm. for now, that's just the original deck in blue or brown, but i'm hoping to be able to print specials like a one ;). a page that should help you through the printing process (although that is pretty simple) and a page that will give you the ability to contact me via mail at any time! i really hope people can have fun with my creation. all the nice comments on the previous post is what gave me the motivation to push through this initiative. thanks for reading! -willie
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save | dɪr bɔrdz, maɪ əˈpɑləˌʤiz ɪf ju ɔˈrɛdi kəm əˈkrɔs ə ˈsɪmələr poʊst ɛz ðɪs wən ˈjɛstərˌdeɪ. aɪ ʤɪst træʃt səm tɛkst ənd səm ˈvɪdioʊz ˈɪntu ə poʊst ənd əˈsumd ɪt wʊd bi ɛz ɛz ðə [fərst post](http://boards.euw.leagueoflegends.com/en/c/community-creations-en/gnxqkrab-league-of-legends-playing-cards-community-creation*) ɔn ðɪs pleɪɪŋ kɑrd ˈtɑpɪk. aɪ wɑz rɔŋ, ənd aɪ hoʊp ju wɪl fərˈgɪv mi fər ðɪs ˈsəmˈwət re-post*. bət ə lɔt əv θɪŋz aɪ ˈdɪdənt ˈkəvər ˈæˌkʧuəli tʊk kwaɪt səm wərk. fərst fər ðə ˈpipəl ðət hæv mɔr ˌɪmˈpɔrtənt stəf tɪ du: >#**tldr***; tu wiks əˈgoʊ, aɪ ʃoʊd ə dɛk əv pleɪɪŋ kɑrdz aɪ meɪd ˈjuzɪŋ lig splæʃ ɑrts. aɪ gɑt səm ˈjusfəl ˈfidˌbæk, ənd ə lɔt əv rɪkˈwɛsts ɔn wɛr tɪ baɪ ðə kɑrdz. wɪθ ðiz tu θɪŋz aɪ gɑt tɪ wərk. ðə rɪˈzəlt ɪz ə ˈfɛrli nu dɛk dɪˈzaɪn ənd ə kəmˈplit ˈwɛbˌsaɪt wɛr ju kən faɪnd aʊt mɔr əˈbaʊt ðə dɛk ɛz wɛl ɛz ə pleɪs tɪ hæv ðɛm ˈprɪnɪd ˈjɔrsɛlf. bɪˈloʊ aɪ wɔnt tɪ ʃoʊ ju ʤɪst ðət. #ˈteɪbəl əv kənˈtɛndz: 1 haʊ ɪz ðɪs ˈpɑsəbəl? ju ər ˈsɛlɪŋ lig kənˈtɛnd, ðæts ˌɪˈligəl! 2 ðə dɪˈfɪnɪtɪv dɪˈzaɪn. 3 ə kəmˈplit ˈwɛbˌsaɪt, ɔl fər ju! #haʊz ðɪs ˈpɑsəbəl? ˈæftər aɪ ˈpoʊstɪd maɪ fərst ˈkɑnsɛpt ɔn ðə ˈfɔrəmz, ənd ˈsəmˌwən æst ɪf aɪ wʊd bi əˈlaʊd tɪ sɛl ðiz kɑrdz ən əˈfɪʃəl (riotsargonas*) rɪˈspɑndɪd: soʊ jeɪ, kænt sɛl ɪt. æt fərst glæns, ðət wʊd meɪk ɪt ˌɪmˈpɑsəbəl tɪ gɪt ðiz kɑrdz aʊt fər ðə kəmˈjunɪti. gʊd θɪŋ əm ən ˈɪgnərənt ˈlɪtəl bræt ðət ˈdəzənt gɪv əp ðət ˈizəli aɪ dɪd ðə ˈfɑloʊɪŋ: ðə ˈkəmpəˌni ðət prɪnts ðiz kɑrdz əˈlaʊz ju tɪ sɛl jʊr dɪˈzaɪn. ðə praɪs əv ðɪs dɪˈzaɪn ju kən sɛt tɪ 10 20 30 40 ər 50 pərˈsɛnt əv ðə ˈprɪnɪŋ kɔsts. sɪns 0 ˈwəzənt ən ˈɔpʃən, ðət ˈwəzənt ən ˈɔpʃən ˈniðər. unlesss*.... jeɪ, juv gɛst ɪt, aɪ ˈkɑnˌtæktɪd ðə ˈkəmpəˌni ɪf ðeɪ kʊd ˈprɪti pliz ɪˈneɪbəl ðə ˈɔpʃən tɪ 'sɛl dɪˈzaɪnz' wɪθ ə 0 pərˈsɛnt ˈprɑfɪt mɑrʤ. səˈpraɪzɪŋli, ðeɪ maɪ ˈwɪʃɪz, ˈmeɪkɪŋ ɪt ˈpɑsəbəl fər mi tɪ 'sɛl' maɪ dɪˈzaɪn fər ˈnəθɪŋ. ˈminɪŋ ðət ɪf ju wʊd ˈɔrdər ə dɛk əv kɑrdz wɪθ maɪ dɪˈzaɪn ɔn ɪt, ju wʊd peɪ ʤɪst ɛz məʧ ɛz ɪf ju wʊd hæv meɪd ənd ˈəˌploʊdɪd ðə dɪˈzaɪn ˈjɔrsɛlf! əm ˈbeɪsɪkli ˈgɪvɪŋ aʊt ðə dɪˈzaɪn fər fri. wɪʧ əˈlaʊd. #wəts ðə dɪˈzaɪn? læst taɪm aɪ ʃoʊd ə fju əv ðə frənts, ənd ðə bæk dɪˈzaɪn. aɪl ʤɪst du ðət əˈgɛn: speɪdz: ˈdaɪməndz: kləbz: hɑrθs: aɪ hæd tɪ ʧeɪnʤ ə fju θɪŋz du tɪ kəmˈjunɪti ˈɪnˌpʊt, θæŋks tɪ jʊr ˈɪnˌpʊt, wi naʊ hæv: ɔn ðə əv speɪdz ɔn ðə əv speɪdz vi ɔn ðə əv hɑrθs ˈtrəndəl ɔn ðə **kɪŋ əv ˌbiˈsaɪdz ðət, aɪ riˈmuvd urgot*, haʊ hɑrʃ ɪt meɪ saʊnd, hiz ʤɪst tu ˈəgli ˈɔlsoʊ aɪ ʧeɪnʤd ə lɔt əv splæʃ ɑrts du tɪ bæd ˈlaɪtɪŋ. ðə ˈʧæmpiənz ˌhaʊˈɛvər rɪˈmeɪn. ðɛr ər naʊ tu ˈvərʒənz: ə blu bæk dɪˈzaɪn ənd ðə ərˈɪʤənəl braʊn bæk dɪˈzaɪn. aɪ wʊd ləv tɪ ʃoʊ haʊ ðə kɑrd ˈhændəl bət əm nɑt ˈrɪli gʊd ə ðət, ðɪs ˈvɪdioʊ ɪz ðə bɛst aɪ kʊd du... ˈsɑri #lə ˈwɛbˌsaɪt tɪ meɪk ɔl ðɪs ə ˈlɪtəl lɛs ˈkɑmpləˌkeɪtəd aɪ sɛt əp ə ˈwɛbˌsaɪt wɪθ ðə ˈvɛri ərˈɪʤənəl ənd neɪm [lolplayingcards.com](http://www.lolplayingcards.com*/). hir ər səm screenshots*: frənt peɪʤ wɪθ ðə ˈstɔri ənd stəfs: ə peɪʤ wɪθ ɔl ðə dɛks ðət ər ˈprɪntəbəl ˈeɪˌtiˈɛm. fər naʊ, ðæts ʤɪst ðə ərˈɪʤənəl dɛk ɪn blu ər braʊn, bət əm ˈhoʊpɪŋ tɪ bi ˈeɪbəl tɪ prɪnt ˈspɛʃəlz laɪk ə wən ə peɪʤ ðət ʃʊd hɛlp ju θru ðə ˈprɪnɪŋ ˈprɔˌsɛs (ˌɔlˈðoʊ ðət ɪz ˈprɪti ˈsɪmpəl) ənd ə peɪʤ ðət wɪl gɪv ju ðə əˈbɪləˌti tɪ ˈkɑnˌtækt mi ˈviə meɪl æt ˈɛni taɪm! aɪ ˈrɪli hoʊp ˈpipəl kən hæv fən wɪθ maɪ kriˈeɪʃən. ɔl ðə nis ˈkɑmɛnts ɔn ðə ˈpriviəs poʊst ɪz wət geɪv mi ðə ˌmoʊtəˈveɪʃən tɪ pʊʃ θru ðɪs ˌɪˈnɪʃətɪv. θæŋks fər ˈrɛdɪŋ! -ˈwɪli ˈtaɪtəl ˈbɑdi ˈkænsəl seɪv |
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