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xherdan shaqiri: has attracted interest from anfield
xherdan shaqiri says liverpool saw an offer for his services knocked back by bayern munich prior to the world cup.
the switzerland international has long been linked with a move to anfield, with the reds said to have been keen before he left basel for the allianz arena in 2012.
shaqiri has been a regular part of a successful side at bayern in the last two years, but starts have been hard to come by at times.
liverpool made a bid for me before the world cup but bayern put their foot down and told me, ‘we’re not going to sell you’. xherdan shaqiiri
that has sparked regular rounds of speculation suggesting that he may be allowed to move on.
bayern, though, have resisted all approaches so far, with shaqiri now prepared to assess his options in the new year when another window of opportunity presents itself.
the 22-year-old playmaker said: “liverpool made a bid for me before the world cup but bayern put their foot down and told me, ‘we’re not going to sell you’.
“my contract runs until 2016 and i could possibly extend it.
“i will consider my decision during the winter break.”
for now, shaqiri’s focus is locked on a european qualifier with england, with roy hodgson set to bring a new-look side to the st jakob stadium on monday.
he added: “i expect england to come over with a lot of young players who aren’t yet so well known. they will want to repair the damage after not doing well at the world cup finals.
“they will come over to switzerland looking to win. but we will play our normal game – and we’ll be going for victory too.
“we are familiar with our formation as a team and we know what we have to do.
“the coach vladimir petkovic has told us he doesn’t need to make big changes for the england game.”
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deɪl grinz ˈfæməli θɔt ðə ˈmɪlɪˌtɛri hæd bɪn gʊd fər ɪm ənˈtɪl hi wɑz kənˈvɪktəd əv ˈreɪpɪŋ ə ˌɪˈræki gərl ənd ˈkɪlɪŋ hər ənd hər ˈfæməli. hɪz ˈfæməli ˈdəzənt ˌəndərˈstænd, bət saɪəns ˈblɔgər grɛg ˈleɪdən həz ə haɪˈpɑθəsəs. grinz ɔnt toʊld ðə kɔrt æt hɪz ˈsɛntənsɪŋ ˈhirɪŋ: "aɪ doʊnt noʊ. wi dɪd nɑt sɛnd ə ˈreɪpɪst ənd ˈmərdərər tɪ ˌɪˈrɑk," ruθ sɛd. "aɪ doʊnt noʊ haʊ hi gɑt ðɛr, bət ðæts nɑt wət wi sɛnt." ˈleɪdən səˈʤɛsts ðət, ɪn səm weɪ, grinz ɔnt maɪt bi raɪt. mɛn, baɪ ənd lɑrʤ, hæv ə reɪp swɪʧ. ɔl mɛn ər ˈkeɪpəbəl əv reɪp. moʊst mɛn ər ɪn ə weɪ ðət rɪˈdusɪz reɪp, ənd ɪn səm səˈsaɪɪtiz ɪt ɪz ˈprɑbəˌbli tru ðət moʊst ˈvaɪələnt reɪp ɪz ˈkɛrid aʊt baɪ ˌɪndəˈvɪʤəwəlz hu ər ˈrizənəbli ˈleɪbəld ɛz ˌpæθəˈlɑʤɪkəl. ɪn ˈəðər səˈsaɪɪtiz, ðɪs ɪz nɑt soʊ tru. ɪn poʊst wɔr səˈsaɪɪtiz səʧ ɛz ðoʊz dɪˈskraɪbd ɪn səm əv ðiz lɪŋks, ər ˈɛni soʊˈsaɪɪti ɪn ə steɪt əv wɔr, reɪp bɪˈkəmz ruˈtin. ðə reɪp swɪʧ ɪz flɪpt tɪ ðə ɔn pəˈzɪʃən ɛz ə ˈmætər əv kɔrs. moʊst mɛn hu wər ɪn ˈkɑmbæt ɪn viɛt næm reɪpt. ˈsɪmələr ˈsərkəmˌstænsɪz hæv bɪn ˈdɑkjəˌmɛnəd fər ˈəðər wɔrz. ˈleɪdən ˈɑrgjuz nɑt ˌnɛsəˈsɛrəli ðət soʊˈsaɪɪti meɪks mɛn ˈreɪpɪsts, bət ðət ɪt kips moʊst mɛn frəm ˈreɪpɪŋ ˈəndər moʊst ˈsərkəmˌstænsɪz. wɪn ˈteɪkən ˈaʊtˈsaɪd əv ðə bɑndz əv ˈnɔrməl soʊˈsaɪɪti, mɛn bɪˈkəm ˌɪnˈkrisɪŋgli mɔr ˈlaɪkli tɪ reɪp. ˌædvərˈtaɪzmənt ˈleɪdən ædz: "ðə swɪʧ" ɪz ə tərm aɪ fərst hərd frəm vɪkˈtɔriə ˈbrændən, hu roʊt ə tərm ˈpeɪpər fər mi ɔn ðɪs ɪn 1993 ðə ˈbeɪsɪk aɪˈdiə əv ə swɪʧ wʊd bi səˈpɔrtɪd ɪf mɔr ər lɛs ˈrændəmli (ðoʊ eɪʤ baɪəst, ˈlaɪkli) səˈlɛktɪd mɛn, pʊt ˈɪntu ə ˈsərtən ˌsɪʧuˈeɪʃən, ˈtɛndɪd tɪ kəˈmɪt reɪp ɔn ə məʧ ˈlɑrʤər skeɪl ər mɔr ɪgˈzæktli, ə məʧ ˈlɑrʤər pərˈsɛnɪʤ əv ðə mɛn reɪp ˈəndər ðoʊz ˈsərkəmˌstænsɪz ðən wʊd ˈɛvər bi prɪˈdɪktɪd beɪst ɔn ˈɛniˌθɪŋ ˈɛniˌwən noʊz əˈbaʊt ðiz mɛn ˌbiˈfɔr ər ˈæftər ðə ˈsərkəmˌstænsɪz prɪˈveɪl. ɪn ˈəðər wərdz, wɪn ɔl ðə jəŋ mɛn steɪ hoʊm, ðeɪ ər ˈmoʊstli nɑt goʊɪŋ tɪ reɪp ˈɛniˌwən. ɪn ˈkɑntræst, wɪn ðə seɪm ɪgˈzækt mɛn goʊ ɔf tɪ wɔr, ən əˈlɑrmɪŋ pərˈsɛnɪʤ əv ðɛm reɪp. swɪʧ ɔf, swɪʧ ɔn. ˌædvərˈtaɪzmənt aɪ kən si pɔɪnt, ðoʊ aɪ θɪŋk hi gɪts ə ˈlɪtəl lɔst. ˈleɪdən ɪz səˈʤɛstɪŋ ðət ðə ˈjumən əˈvərʒən tɪ ˈvaɪələns əˈgɛnst ˈjumənz ɪz ˈsəmθɪŋ ˈɪŋkəlˌkeɪtəd ɪn ˈjuˈɛs, ˈrəðər ðən ˈsəmθɪŋ ˌɪˈneɪt, ənd ɪz taɪd ˈɪntu ˈnɔrməl ˈsoʊʃəl ˈbaʊndəriz. wɪn, ɪn ə taɪm əv wɔr, ðoʊz ˈbaʊndəriz ər ɪˈroʊdɪd ənd, ɪn ˌpɑˈtɪkjələr, wɪn treɪnd tɪ ˌɪgˈnɔr ðɛm ɪn ˈɔrdər tɪ mɔr ˈifɛktɪvli kɪl ˈəðər ˈjumənz, ɔl ðə ˈvɛriəs əˈvərʒənz tɪ ˈvaɪələns ər ɪˈroʊdɪd, ˈmeɪkɪŋ mɛn mɔr ˈlaɪkli tɪ ˌɪgˈnɔr ðə ˈsoʊʃəl ˈstrɪkʧərz əˈgɛnst reɪp. maɪ ˈprɑbləm wɪθ ðə ˈɑrgjəmənt ɪz mɔr ˈlaɪkli ɪts ˈkɔrəˌlɛri: ɪf ðɛr ɪz noʊ ˌɪˈneɪt əˈvərʒən baɪ mɛn tɪ ˈvaɪələnt, sɛks, ðɛn ðə ˈplɛʒər dəraɪvd frəm ər ərʤ tɪ ɪnˈgeɪʤ ɪn mˈjuʧuəli ˈplɛʒərəbəl, kənˈsɛnʃuəl sɛks ɪz pəˈtɛnʃəli nɑt ˌɪˈneɪt ənd ɪz ˈrəðər ə ˈlərnɪd goʊl. ˈgɪvɪn ðət ðɛr ɪz ən ˌɪnˈkrisɪŋ əˈmaʊnt əv ˈdætə ðət ʃoʊz ðət ˈfiˌmeɪl ˈɔrgæzəm meɪ wɛl pleɪ ə roʊl ɪn kənˈsɛpʃən, aɪ ˈwəndər əˈbaʊt ðɪs ˈθɪri. maɪ ˈəðər kənˈsərn ɪz ðət ɪt ˌɪgˈnɔrz, tɪ ə dɪˈgri, ðə roʊl soʊˈsaɪɪti pleɪz ɪn ənd ˌriɪnˈfɔrsɪŋ reɪp ˈkəlʧər. ˈleɪdən ˈjuzɪz ðɪs kwoʊt frəm ˈʃɛrən ˈtɪfəniz ənd kæθˈlin ˈædəmz' ˈɑrtɪkəl "fɪrs" ˌjɑnoʊˈmɑmi: ˈnɛrətɪvz əv ˈsɛkʃuəl ˈpɑləˌtɪks ɪn ðə ˈæməˌzɑn: ˌɪˈmæʤən ə soʊˈsaɪɪti ɪn wɪʧ wən ˈwʊmən ɪn ˈɛvəri θri ɪz reɪpt, ˈjuʒəwəli baɪ ə mæn ʃi noʊz, kənˈsɪdər ðə ˈkɑnsəkˌwɛnsəz əv ˈlɪvɪŋ ɪn ə soʊˈsaɪɪti wɛr wən θərd əv ɔl ˈwɪmən ər ˈbitən ˈdʊrɪŋ ˈprɛgnənsi ənd 35 pərˈsɛnt əv ˈwɪmən ˈjuzɪŋ ˈimərʤənsi ˈmɛdɪkəl fəˈsɪlɪtiz ər ˈbætərd sɪns wi ər ˌænθrəˈpɑləʤɪsts, ˈridərz meɪ mɪˈsteɪkənli θɪŋk ðət ðiz əˈpɔlɪŋ ˈdætə wər kəˈlɛktəd ɪn ən ɪgˈzɑtɪk soʊˈsaɪɪti, ən ˈdɪstənt wərld wɛr ɪt ɪz prɪˈzumd ðət ˌənprɪˈdɪktəbəl ənd θˈrɛtənɪŋ bɪˈheɪvjər ɪz commonplaces*. ˌɪnˈdid, ɑr frɛndz ənd ˈkɑligz ˌɪˈnɛvətəbli æsk ɪf ɪt ɪz seɪf fər ˈjuˈɛs tɪ ˈtrævəl əˈloʊn tɪ rɪˈmoʊt ənd ˌprɑbləˈmætɪk ˈpleɪsɪz wɪʧ prɪˈzuməbli du nɑt ˌɛnˈʤɔɪ ðə lɔ ənd ˈɔrdər əv ˌsɪvəlɪˈzeɪʃən. ˌædvərˈtaɪzmənt ðeɪ ər, əv kɔrs, ˈtɔkɪŋ əˈbaʊt ðə juˈnaɪtɪd steɪts. ɪts təf tɪ seɪ ðət mɛn hæv ə reɪp swɪʧ (ər ə ˈvaɪələns swɪʧ) ðət ɪz ɔf wɪn wi lɪv ɪn ən ˌɪnˈkrɛdəbli ˈvaɪələnt soʊˈsaɪɪti ðət, æt ə ˈmɪnəməm, ˈtɔlərˌeɪts hɔˈrɪfɪk ˈlɛvəlz əv ˈvaɪələns əˈgɛnst ˈwɪmən. haɪˈpɑθəsəs rɛsts ɔn wən ˈbeɪsɪk əˈsəmpʃən əˈbaʊt ðə ˌdɛfəˈnɪʃənz əv "reɪp" ənd "sɛks." aɪ ˈrɪli du nɑt θɪŋk ˈhɑməˌsaɪd ənd reɪp ər ˈivɪn riˈmoʊtli ðə seɪm θɪŋ. aɪ du nɑt bɪˈliv ðət reɪp ɪz ˈsɪmpli ən ɪkˈstɛnʃən əv ˈvaɪələns. jɛs, ɪt ɪz ˈvaɪələnt, ənd jɛs, ˌəndərˈstændɪŋ ˈiðər ɪn ðə ˈkɑntɛkst əv ðə ˈəðər ɪz ˈjusfəl, ənd jɛs, ðeɪ kən hæv ˈsɪmələr ˈsoʊʃəl ˈminɪŋz (bət ˈɔfən ðeɪ du nɑt). bət reɪp ɛz ə fɔrm əv ˈvaɪələns ðət ʤɪst ˈhæpənz tɪ ˌɪnˈvɑlv ðə ˈsɛkʃuəl ækt ɪz ə ˈvɛri ˈvɛri bɪg mɪˈsteɪk. ˈhævɪŋ sɛd ðət boʊθ ər bɪˈheɪvjərz ðət aɪ əˈsum ər ˈsoʊʃəli kənˈtroʊld ənd ˌsaɪkəˈlɑʤɪkli potentiated*. boʊθ ər bɪˈheɪvjərz ðət ər ˈlaɪəbəl tɪ bɪˈheɪvjər. ˌædvərˈtaɪzmənt ɪn ˌdɛfəˈnɪʃən, reɪp ɪz ˌfəndəˈmɛnəli əˈbaʊt ðə əˈʧivmənt əv ˈsɛkʃuəl ˌgrætəfəˈkeɪʃən θru ˈsɛkʃuəl bɪˈheɪvjər, ˈmoʊstli heteronormative*. ðət ɪz, ˈsərtənli, wən weɪ tɪ θɪŋk əˈbaʊt ɪt bət ɪt ˈdəzənt ɪkˈspleɪn meɪl ˈreɪpɪsts ðət reɪp mɛn; ɪt ˈdəzənt ɪkˈspleɪn ðə juz əv ˈɑbʤɛkts ɪn reɪp; ɪt ˈdəzənt ɪkˈspleɪn ˈreɪpɪsts ðət feɪl tɪ əˈʧiv ˈsɛkʃuəl ˌgrætəfəˈkeɪʃən θru reɪp (ˈiðər θru ˈɑbʤɛkt ˈjusɪʤ ər bɪˈkəz əv ˌkæˈstreɪʃən); ɪt ˈdəzənt ɪkˈspleɪn ˈmɛni vərˈaɪətiz əv reɪp ðət fɔl ˈaʊtˈsaɪd ðə ˈstændərd aɪˈdiəz əv ˈstreɪnʤər- ənd acquaintance-rape*. ˌɛkspləˈneɪʃən fər ə laɪz ɪn ðə aɪˈdiə ðət reɪp ɪz fərst ənd ˈfɔrˌmoʊst əˈbaʊt ˈsɛkʃuəl ˌgrætəfəˈkeɪʃən wɪn, fər ɪˈnəf ˈreɪpɪsts, ðɛr ˈɪzənt ˈɛni ˈɔrgæzəm ˌɪnˈvɑlvd. ðɪs ɪz waɪ ˈəðər θiərɪsts dɪˈfaɪn reɪp ɛz ˈsɛpərˌeɪt frəm sɛks ənd dɪˈfaɪn ðə sɛks ækt ɛz ə minz tɪ ə ˈdɪfərənt ɛnd, ˈrəðər ðən ðə ɛnd ˌɪtˈsɛlf. ðət maɪt bi ə ˈjusfəl ˌdɛfəˈnɪʃən fər ˈmɛni ˈrizənz, ˌɪnˈkludɪŋ ˌəndərˈstændɪŋ waɪ ə gaɪ laɪk grin, ˈgɪvɪn ə trɪˈmɛndəs əˈmaʊnt əv paʊər ənd ˈlɪtələr ˈoʊvərˌsaɪt, ʧoʊz tɪ ˈɛksərˌsaɪz ɪt ɪn ðə moʊst ˈbrutəl ənd dɪˈstrəktɪv weɪ ðət ˈlaɪkli ˈdɪdənt prəˈvaɪd ɪm wɪθ ˈsɪmpli ˈsɛkʃuəl ˌgrætəfəˈkeɪʃən. ɔnt sɪz ˌɪˈrɑk tʊr ʧeɪnʤd [ˈlɛksɪŋtən herald-leader*] ə reɪp ɪn ˈprɑˌgrɛs [grɛg ˈleɪdən] ə reɪp ɪn ˈprɑˌgrɛs, pɑrt [grɛg ˈleɪdən] ɪz ðɛr ə reɪp swɪʧ? [grɛg ˈleɪdən] "reɪp swɪʧ haɪˈpɑθəsəs" stɪl goʊɪŋ strɔŋ: ˈjuˈɛs reɪp stæts ɪˈvæljuˌeɪtəd. [grɛg ˈleɪdən]
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dale green's family thought the military had been good for him until he was convicted of raping a 14-year-old iraqi girl and killing her and her family. his family doesn't understand, but science blogger greg laden has a hypothesis.
green's aunt told the court at his sentencing hearing:
"i don't know. we did not send a rapist and murderer to iraq," ruth said. "i don't know how he got there, but that's not what we sent."
laden suggests that, in some way, green's aunt might be right.
men, by and large, have a rape switch. all men are capable of rape. most men are enculturated in a way that reduces rape, and in some societies it is probably true that most violent rape is carried out by individuals who are reasonably labeled as pathological. in other societies, this is not so true. in post war societies such as those described in some of these links, or any society in a state of war, rape becomes routine. the rape switch is flipped to the on position as a matter of course. most men who were in combat in viet nam raped. similar circumstances have been documented for other wars.
laden argues not necessarily that society makes men rapists, but that it keeps most men from raping under most circumstances. when taken outside of the bonds of normal society, men become increasingly more likely to rape.
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laden adds:
"the switch" is a term i first heard from victoria brandon, who wrote a term paper for me on this in 1993. the basic idea of a switch would be supported if more or less randomly (though age biased, likely) selected men, put into a certain situation, tended to commit rape on a much larger scale ... or more exactly, a much larger percentage of the men rape under those circumstances ... than would ever be predicted based on anything anyone knows about these men before or after the circumstances prevail. in other words, when all the young men stay home, they are mostly not going to rape anyone. in contrast, when the same exact men go off to war, an alarming percentage of them rape. switch off, switch on.
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i can see laden's point, though i think he gets a little lost. laden is suggesting that the human aversion to violence against humans is something inculcated in us, rather than something innate, and is tied into normal social boundaries. when, in a time of war, those boundaries are eroded and, in particular, when trained to ignore them in order to more effectively kill other humans, all the various aversions to violence are eroded, making men more likely to ignore the social strictures against rape.
my problem with the argument is more likely its corollary: if there is no innate aversion by men to violent, non-consensual sex, then the pleasure derived from or urge to engage in mutually pleasurable, consensual sex is potentially not innate and is rather a learned goal. given that there is an increasing amount of data that shows that female orgasm may well play a role in conception, i wonder about this theory.
my other concern is that it ignores, to a degree, the role society plays in inculcating and reinforcing rape culture. laden uses this quote from sharon tiffany's and kathleen adams' article anthropology's "fierce" yanomami: narratives of sexual politics in the amazon:
imagine a society in which one woman in every three is raped, usually by a man she knows, consider the consequences of living in a society where one third of all women are beaten during pregnancy and 35 percent of women using emergency medical facilities are battered . since we are anthropologists, readers may mistakenly think that these appalling data were collected in an exotic society, an distant world where it is presumed that unpredictable and threatening behavior is commonplaces. indeed, our friends and colleagues inevitably ask if it is safe for us to travel alone to remote and problematic places which presumably do not enjoy the law and order of civilization.
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they are, of course, talking about the united states. it's tough to say that men have a rape switch (or a violence switch) that is off when we live in an incredibly violent society that, at a minimum, tolerates horrific levels of violence against women.
laden's hypothesis rests on one basic assumption about the definitions of "rape" and "sex."
i really do not think homicide and rape are even remotely the same thing. i do not believe that rape is simply an extension of violence. yes, it is violent, and yes, understanding either in the context of the other is useful, and yes, they can have similar social meanings (but often they do not). but conflating rape as a form of violence that just happens to involve the sexual act is a very very big mistake. having said that both are behaviors that i assume are socially controlled and psychologically potentiated. both are behaviors that are liable to switch-like behavior.
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in laden's definition, rape is fundamentally about the achievement of sexual gratification through non-consensual sexual behavior, mostly heteronormative. that is, certainly, one way to think about it but it doesn't explain male rapists that rape men; it doesn't explain the use of objects in rape; it doesn't explain rapists that fail to achieve sexual gratification through rape (either through object usage or because of castration); it doesn't explain many varieties of rape that fall outside the standard ideas of stranger- and acquaintance-rape. laden's explanation for a rape-switch lies in the idea that rape is first and foremost about sexual gratification when, for enough rapists, there isn't any orgasm involved. this is why other theorists define rape as separate from sex and define the sex act as a means to a different end, rather than the end itself. that might be a useful definition for many reasons, including understanding why a guy like green, given a tremendous amount of power and littler oversight, chose to exercise it in the most brutal and destructive way that likely didn't provide him with simply sexual gratification.
aunt says iraq tour changed ex-soldier [lexington herald-leader]
a rape in progress [greg laden]
a rape in progress, part ii [greg laden]
is there a rape switch? [greg laden]
"rape switch hypothesis" still going strong: us rape stats evaluated. [greg laden]
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venezuela’s* ˈprɛzɪdənt ˈnɪkɔləs grits səˈpɔrtərz ˈdʊrɪŋ ðə lɔnʧ ˈsɛrəˌmoʊni əv ə nu bəs rut ɪn maracaibo*, ɪn ðə steɪt əv zulia*. (ˈrɔɪtərz) ˌvɛnɪzˈweɪlə əˈproʊʧɪz ɪˈlɛkʃənz fər ɪts ˈnæʃənəl əˈsɛmbli ɔn dɪˈsɛmbər 6 ɪn ə steɪt əv pəˈlɪtɪkəl ənˈsərtənti. wɪθ ɔɪl ˈpraɪsɪz cratering*, ðə ˈkəntri ɪz ɪn ən ˌɛkəˈnɑmɪk ðət kəmˈbaɪnz ˌɛkəˈnɑmɪk kənˈtrækʃən, ˌɪnˈfleɪʃən əˈproʊʧɪŋ 200 pərˈsɛnt, ənd ðə tɔp ˈræŋkɪŋ ɔn ðə ˈmɪzəri ˈɪndɛks. ɔl ðɪs pɔɪnts tɪ sɪgˈnɪfɪkənt ˈlɔsɪz fər ðə ˌɪnˈkəmbənt pɑrˈtidoʊ ˌjunəˈvərsəl də ˌvɛnɪzˈweɪlə (psuv*). ɪn ən ˈɛfərt tɪ stɛm ðə taɪd, ðə ˈlidər, ˈprɛzɪdənt ˈnɪkɔləs, ənd hɪz ˈpɑrti hæv bɪn ˈɛmfəˌsaɪzɪŋ kənˈspɪrəsi ˈθɪriz ɪn ðɛr kæmˈpeɪn ˈrɛtərɪk. ˌvɛnɪzˈweɪlənz ər ˈoʊpən tɪ kənˈspɪrəsiz, bət nu ˈrisərʧ səˈʤɛsts ðeɪ ər nɑt baɪɪŋ ðə wənz ðə ˈgəvərnmənt ɪz ˈsɛlɪŋ. kənˈspɪrəsi ˈθɪriz hæv bɪn æt ðə ˈsɛnər əv ˌvɛnɪzˈweɪlən pəˈlɪtɪkəl ˈdɪskɔrs sɪns ðə lɔŋ ˈprɛzɪdənsi əv ˈprɛdəˌsɛsər, ˈjugoʊ ˈʧæˌvɛz, frəm boʊθ ˈprɛzɪˌdɛnts prəˈmoʊtəd ɪˈlæbərˌeɪt ˈnɛrətɪvz əˈbaʊt nəˈfɛriəs ˈfɔrsɪz əˈpoʊzd tɪ ðɛr ˌrɛvəˈluʃən. ðə juˈnaɪtɪd steɪts empire,”*,” ɪn ˈpɑrləns) ənd kəˈləmbiə ər ˈfeɪvərɪt ɪkˈstərnəl foʊz, sɛt ɔn ˈbrɪŋɪŋ daʊn ðə ˈgəvərnmənt ər ˈivɪn ˈkɑrvɪŋ əp ˌvɛnɪzˈweɪlə tɪ ˌɛkˈsplɔɪt ɪts ˈrɪʧɪz. ˈpraɪvət ˈbɪznɪsɪz ənd ˌpɛrəˈmɪləˌtɛri grups (ˈsəmˌtaɪmz ˈfəndɪd baɪ ˈfɔrmər kəˈləmbiən ˈprɛzɪdənt əlˈvɑroʊ jərˈibi) ər ˈloʊkəl ˈvɪlənz bɛnt ɔn ˌɛkəˈnɑmɪk ənd pəˈlɪtɪkəl keɪɑs. ˌvɛnɪzˈweɪlən əˈpoʊnənts əv ˈʧæˌvɛz ənd hɪz ˈlɛgəsi ər nɑt əˈvərs tɪ kənˈspɪrəsi, bət ðə ˈθɪriz ˈfiʧər mɔr ˈprɑmənəntli ɪn ðən ˌɑpəˈzɪʃən ˈdɪskɔrs, ənd ər ˈɔfən rɪˈpitɪd ɔn ˈmidiə. tɪ ˌəndərˈstænd haʊ məʧ ˌvɛnɪzˈweɪlənz ˈæˌkʧuəli bɪˈliv ðiz ˈnɛrətɪvz, maɪ ˈbrɛndən ˈnaɪhæn, ˈtɑməs ənd aɪ kənˈdəktəd ə ˈneɪʃənˈwaɪd ˈsərˌveɪ ðət ˌɪnˈkludɪd kˈwɛsʧənz əˈbaʊt kənˈspɪrəsi ˈθɪri bɪˈlifs əˈlɔŋ wɪθ mɔr kənˈvɛnʃənəl kˈwɛsʧənz əˈbaʊt pəˈlɪtɪkəl ˈætəˌtudz. wi faʊnd ðət bɪˈlif ɪn kənˈspɪrəsi ˈθɪriz ɪn ˌvɛnɪzˈweɪlə ɪz ˈwaɪdˈsprɛd. moʊst ˈnoʊtəbli, waɪl ki ˌdɛməˈgræfɪk ˌkɛrɪktərˈɪstɪks træk ˈoʊnli ˈlusli wɪθ ˈpɑləˌtɪks, kənˈspɪrəsi ˈθɪri bɪˈlifs ər ˈtaɪtli baʊnd əp wɪθ venezuelans’*’ ˈprɛfərənsɪz bɪtˈwin ðə ˈgəvərnɪŋ ənd ðə ˌɑpəˈzɪʃən. mɔˈroʊvər, ðə kənˈspɪrəsi bɪˈlifs ðə ˈgəvərnmənt həz prəˈmoʊtəd ər fɑr lɛs ˈfrikwɛntli ɛnˈdɔrst ðən wən prəˈmoʊtəd baɪ ðə ˌɑpəˈzɪʃən ən ˈɪndəˌkeɪtər ðət ðə əˈtɛmpts tɪ əˈvərt ɪˈlɛktərəl dɪˈzæstər ər ˈfeɪlɪŋ. wi kəˈmɪʃənd ə ˈsərˌveɪ wɪθ ðə ˌvɛnɪzˈweɪlən ˈpəblɪk əˈpɪnjən ˈrisərʧ fərm, wɪʧ ræn frəm ɑkˈtoʊbər ɔn ə ˈnæʃənəli ˌrɛprɪˈzɛnətɪv ˈsæmpəlz əv rɪˈspɑndənts ðə ˈsərˌveɪ ˌɪnˈkludɪd ˈstændərd ˌdɛməˈgræfɪk kˈwɛsʧənz ɛz wɛl ɛz kˈwɛsʧənz əˈbaʊt haʊ rɪˈspɑndənts ɪˈvæljuˌeɪt ˈprɛzɪdənt pərˈfɔrməns ənd ˈwɛðər ðə rɪˈspɑndənt aɪˈdɛntəˌfaɪz ɛz ə, ən ˌɑpəˈzɪʃən ˈlɔɪəlɪst, ər ˈniðər (““ni-nis,”*,” fər neither/nor*). ðə kˈwɛsʧənz ɔn pərˈfɔrməns ənd ɔn pəˈlɪtɪkəl ˈlɔɪəltiz boʊd ɪl fər ðə ˈgəvərnmənt ənd ɪts ˈælaɪz. ˈoʊnli 19 əv rɪˈspɑndənts aɪˈdɛntəˌfaɪ ɛz, wɛˈræz 46 pərˈsɛnt aɪˈdɛntəˌfaɪ wɪθ ðə ˌɑpəˈzɪʃən, ənd 31. wərs stɪl, 77 rɪˈspɑndənts rɪˈgɑrd ˈprɛzɪdənt ʤɑb pərˈfɔrməns ɛz bad,”*,” ““bad,”*,” ər bad”*” (wɪθ 42 ɪn ðə loʊəst ˈkætəˌgɔri). nɑt səˈpraɪzɪŋli, pərˈfɔrmz wərst əˈməŋ ðoʊz ˈmɛmbərz hu aɪˈdɛntəˌfaɪ ɛz ər wɪθ ðə ˌɑpəˈzɪʃən. wi ˈɔlsoʊ æst əˈbaʊt ˈlɛvəl əv əˈgrimənt wɪθ fɔr kənˈspɪrəsi ˈθɪriz ðət hæv bɪn pərˈsɪstənt ɪn ˌvɛnɪzˈweɪlən ˈdɪskɔrs ˈdʊrɪŋ ðə læst jɪr: əv ˈbeɪsɪk gʊdz ər kɔzd ˌɪnˈtɛnʃənəli baɪ ˌvɛnɪzˈweɪlən ˈbɪznɪsɪz ənd ˈmərʧənts ɪn ˈɔrdər tɪ kriˈeɪt ˌɛkəˈnɑmɪk chaos.”*.” juˈnaɪtɪd steɪts pleɪd ən ˈæktɪv roʊl ɪn ðə dɛθ əv ˈprɛzɪdənt ˈjugoʊ ˈʧæˌvɛz ənd həz wɛl dɪˈvɛləpt plænz fər ðə əˌsæsəˈneɪʃən əv ˈprɛzɪdənt maduro.”*.” ˈgəvərnmənts əv ðə juˈnaɪtɪd steɪts ənd kəˈləmbiə hæv plænz ɪn pleɪs tɪ ˌɪnˈveɪd ˌvɛnɪzˈweɪlə ənd dɪˈvaɪd əp ɪts ˈnæʧərəl resources.”*.” ˌvɛnɪzˈweɪlən ˈgəvərnmənt ɪz, ˈəltəmətli, ən ɑrm əv ðə rəˈʒim əv fɪˈdɛl ənd rɔl ˈkæstroʊ ɪn ˈkjubə. ˈprɛzɪdənt dɪz nɑt meɪk ə ˈmeɪʤər dɪˈsɪʒən wɪˈθaʊt fərst kənˈsəltɪŋ wɪθ havana.”*.” ðə fərst θri ˈsteɪtmənts, wɪʧ sik tɪ dɪˈskrɛdət dəˈmɛstɪk ənd ˌɪnərˈnæʃənɑl ˈædvərˌsɛriz, ər əˈsoʊʃiˌeɪtəd wɪθ ə ˈnɛrətɪv. ðə læst rənz ɪn ðə ˈɑpəzɪt dɪˈrɛkʃɪn ənd ɪz kənˈsɪstənt wɪθ ˌɑpəˈzɪʃən ˈkrɪtɪˌsɪzəmz əv. ɔl fɔr kənˈspɪrəsi ˈθɪriz kəˈmænd səbˈstænʃəl səˈpɔrt, bət ðə ˈstɔri ɪz moʊst ˈfrikwɛntli ɛnˈdɔrst, ɛz ðə græf bɪˈloʊ ˈɪləˌstreɪts. səˈpɔrt fər kənˈspɪrəsi ˈθɪriz ɪn ˌvɛnɪzˈweɪlə (ˈdætə: ˈsərˌveɪ ɑkˈtoʊbər 2015 ˈfɪgjər: ʤɑn ɛm. ˈkɛri) pərˈsɛnt əv rɪˈspɑndənts əˈgri wɪθ ðə ˈsteɪtmənts twaɪs ɛz ˈmɛni ɛz ðə kənˈspɪrəsi ˈθɪri ˈsteɪtɪŋ ðət ˈmərʧənts ˌɪnˈtɛnʃənəli ˈʤɛnərˌeɪt ˈʃɔrtɪʤɪz əv ˈbeɪsɪk gʊdz tɪ ˈsæbəˌtɑʒ ðə ˈgəvərnmənt. ðə əˌsæsəˈneɪʃənz ənd ˌɪnˈveɪʒən ˈθɪriz ər boʊθ ɛnˈdɔrst baɪ fjuər ðən 20 pərˈsɛnt əv ˌvɛnɪzˈweɪlənz. ðiz rɪˈzəlts səˈʤɛst ðət ðə ˌvɛnɪzˈweɪlən ˈpəblɪk vjuz ðə ˈgəvərnmənt ˈnɛgətɪvli ənd ðət ˈrɛlətɪvli fju ˈpipəl ɛnˈdɔrs ðə kənˈspɪrəsi ˈθɪriz ðət ənd hɪz ˈælaɪz hæv juzd tɪ traɪ ənd dɪˈflɛkt bleɪm respondents’*’ vjuz əv spɪˈsɪfɪk kənˈspɪrəsi ˈθɪriz ər ˈhaɪli ˈkɔrəˌleɪtəd wɪθ iʧ ˈəðər. ðɛr ər ˈpipəl 18 pərˈsɛnt əv ðə ˈsæmpəl hu ˈriʤɛkt (ˈiðər dɪsəˈgri ər ˈstrɔŋli dɪsəˈgri wɪθ) ɔl fɔr ˈsteɪtmənts, bət ðə moʊst ˈprɑmənənt ˈpætərn ɪz ðət ˌvɛnɪzˈweɪlənz hu əˈgri wɪθ ðə ˈnɛrətɪvz ˈstɔriz tɛnd tɪ dɪsəˈgri wɪθ ðə ˈnɛrətɪv, ənd vice-versa*. mɔr, kənˈspɪrəsi bɪˈlifs ənd pəˈlɪtɪkəl ˈlɔɪəltiz ər ˈtaɪtli kəˈnɛktɪd. wi prəˈdust ə ˈsɪŋgəl kənˈspɪrəsi bɪˈlifs ˈɪndɛks ˈrənɪŋ frəm fʊl ækˈsɛptənsɪz əv ɔl ˈnɛrətɪvz ənd rɪˈʤɛkʃən əv ðə ˈsteɪtmənt, tɪ fʊl əkˈsɛptəns əv ðə ˈsteɪtmənt ənd ˈriʤɛkts ɔl ˈnɛrətɪvz. ˈoʊnli ˈlɔɪəlɪsts lin təˈwɔrd ðə kənˈspɪrəsiz. pərˈhæps mɔr ˌɪmˈpɔrtəntli, ðə ˌdɪstrəˈbjuʃən əv kənˈspɪrəsi bɪˈlifs əˈməŋ ðə lʊks ə lɔt mɔr laɪk ðət əv ˌɑpəˈzɪʃən ˈlɔɪəlɪsts ðən ðət əv., ɛz ə grup, tɪlt əˈweɪ frəm ðə kənˈspɪrəsiz ənd 52 pərˈsɛnt ɛnˈdɔrs ðə ˈsteɪtmənt. ðə læst ki pɔɪnt frəm ɑr ˈsərˌveɪz ɪz ðət ðə ˈstrɔŋgəst kənˈvɛnʃənəl ˈmɑrkərz əv soʊˌsiˌoʊˌɛkəˈnɑmɪk ˈstætəs ˈɪnˌkəm ənd ˌɛʤəˈkeɪʃən ər ˈoʊnli ˈwikli rɪˈleɪtɪd tɪ ˌvɛnɪzˈweɪlən pəˈlɪtɪkəl ˈlɔɪəltiz ənd ˈætəˌtudz. ˈɪnˌkəm, baɪ ˌɪtˈsɛlf, tɛlz ˈjuˈɛs ˈlɪtəl ər ˈnəθɪŋ əˈbaʊt ðiz ˈlɔɪəltiz ər bɪˈlifs, ənd ˌɛʤəˈkeɪʃən ɪz ˈoʊnli ˈwikli kəˈnɛktɪd. ɪn fækt, kənˈtroʊlɪŋ fər ˌɛʤəˈkeɪʃən, ðoʊz wɪθ haɪər ˈɪnˌkəmz ər ˈæˌkʧuəli mɔr ɪn ðɛr kənˈspɪrəsi bɪˈlifs. dɪˈspaɪt ˈwaɪdˈsprɛd bɪˈlif ɪn kənˈspɪrəsiz ɪn ˌvɛnɪzˈweɪlə, ðə ˈɛfərts tɪ prəˈmoʊt kənˈspɪrəsi ˈθɪriz dɪˈspɛrɪʤɪŋ ɪts ˈædvərˌsɛriz simz tɪ hæv feɪld. æt ðɪs pɔɪnt, ðə ˈnɛrətɪvz hoʊld fɑr lɛs ˈkridəns ðən ðə ˈnɛrətɪv. ˈlʊkɪŋ əˈhɛd tɪ ˈsənˌdi, ðiz ˈsərˌveɪ rɪˈzəlts səˈʤɛst ðət ə klin ɪˈlɛkʃən (ɪf ðə ˈgəvərnmənt əˈlaʊz ɪt) ʃʊd dɪˈlɪvər ə ˈmæsɪv ˈsɛtˌbæk tɪ ðə. ðə ˈnəmbərz lʊk bæd fər ɪn tərmz əv ˈaʊˈtraɪt ˈlɔɪəlɪsts, ənd ðə əˈpɪnjənz ðət ˌəndərˈlaɪ pəˈlɪtɪkəl aɪˈdɛntəˌti səˈʤɛst ðət fɑr mɔr ʃʊd breɪk təˈwɔrd ðə ˌɑpəˈzɪʃən ðən ðə. bɪɔnd ˈsənˌdi, ðə ˈkəntri wɪl rɪˈmeɪn dɪˈvaɪdɪd bɪtˈwin ənd anti-chavistas*, bət ðət ˈskɪzəm ɪz nɑt wɛl dɪˈfaɪnd baɪ kənˈvɛnʃənəl ˈmɑrkərz əv soʊˌsiˌoʊˌɛkəˈnɑmɪk klæs. ɪf ju wɔnt tɪ noʊ ə ˈpɑləˌtɪks, ju meɪ wɔnt tɪ noʊ wət kənˈspɪrəsiz ʃi səbˈskraɪbz tɪ ˈrəðər ðən haʊ məʧ ˈməni ʃi meɪks ər ˈwɛðər ʃi wɛnt tɪ ˌjunəˈvərsəti. ʤɑn ˈkɛri ɪz ˈwɛntˈwərθ prəˈfɛsər ɪn ðə ˈsoʊʃəl ˈsaɪənsɪz æt ˈdɑrtməθ ˈkɑlɪʤ, wɛr hi ˈtiʧɪz ɪn ðə ˈgəvərnmənt dɪˈpɑrtmənt. mɔr əˈbaʊt hɪz ˈrisərʧ ɪz hir.
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venezuela’s president nicolas maduro greets supporters during the launch ceremony of a new bus route in maracaibo, in the state of zulia. (reuters)
venezuela approaches elections for its national assembly on december 6 in a state of political uncertainty. with oil prices cratering, the country is in an economic free-fall that combines economic contraction, inflation approaching 200 percent, and the world’s top ranking on the misery index. all this points to significant losses for the incumbent partido socialista universal de venezuela (psuv). in an effort to stem the tide, the psuv’s leader, president nicolas maduro, and his party have been emphasizing conspiracy theories in their campaign rhetoric. venezuelans are open to conspiracies, but new research suggests they are not buying the ones the government is selling.
conspiracy theories have been at the center of venezuelan political discourse since the long presidency of maduro’s predecessor, hugo chavez, from 1998-2013. both presidents promoted elaborate narratives about nefarious forces opposed to their bolivarian revolution. the united states (“the empire,” in chavez’s parlance) and colombia are favorite external foes, set on bringing down the psuv government or even carving up venezuela to exploit its riches. private businesses and paramilitary groups (sometimes funded by former colombian president alvaro uribe) are local villains bent on economic and political chaos. venezuelan opponents of chavez and his legacy are not averse to conspiracy, but the theories feature more prominently in chavista than opposition discourse, and are often repeated on state-sponsored media.
to understand how much venezuelans actually believe these narratives, my co-authors brendan nyhan, thomas zeitzoff and i conducted a nationwide survey that included questions about conspiracy theory beliefs along with more conventional questions about political attitudes. we found that belief in conspiracy theories in venezuela is widespread. most notably, while key demographic characteristics track only loosely with politics, conspiracy theory beliefs are tightly bound up with venezuelans’ preferences between the governing chavistas and the opposition. moreover, the conspiracy beliefs the government has promoted are far less frequently endorsed than one promoted by the opposition an indicator that the psuv’s attempts to avert electoral disaster are failing.
we commissioned a survey with the venezuelan public opinion research firm datanalisis, which ran from october 13-23, on a nationally representative samples of 1,000 respondents the survey included standard demographic questions as well as questions about how respondents evaluate president maduro’s performance and whether the respondent identifies as a chavista, an opposition loyalist, or neither (“ni-nis,” for neither/nor).
the questions on maduro’s performance and on political loyalties bode ill for the government and its allies. only 19% of respondents identify as chavista, whereas 46 percent identify with the anti-chavista opposition, and 31 percentas ni-nis. worse still, 77 percentof respondents regard president maduro’s job performance as “pretty bad,” “bad,” or “very bad” (with 42% in the lowest category). not surprisingly, maduro performs worst among those members who identify as ni–nis or with the opposition.
we also asked about level of agreement with four conspiracy theories that have been persistent in venezuelan discourse during the last year:
“shortages of basic goods are caused intentionally by venezuelan businesses and merchants in order to create economic chaos.”
“the united states played an active role in the death of president hugo chavez and has well developed plans for the assassination of president maduro.”
“the governments of the united states and colombia have plans in place to invade venezuela and divide up its natural resources.”
“the venezuelan government is, ultimately, an arm of the regime of fidel and raul castro in cuba. president maduro does not make a major decision without first consulting with havana.”
the first three statements, which seek to discredit chavismo‘s domestic and international adversaries, are associated with a pro-government narrative. the last runs in the opposite direction and is consistent with opposition criticisms of chavismo. all four conspiracy theories command substantial support, but the cuba-calls-the-shots story is most frequently endorsed, as the graph below illustrates.
support for conspiracy theories in venezuela (data: datanalisis survey – october 2015; figure: john m. carey)
fifty-four percent of respondents agree with the cuba-calls-the-shots statements twice as many as the conspiracy theory stating that merchants intentionally generate shortages of basic goods to sabotage the government. the assassinations and invasion theories are both endorsed by fewer than 20 percent of venezuelans. these results suggest that the venezuelan public views the government negatively and that relatively few people endorse the conspiracy theories that maduro and his allies have used to try and deflect blame
respondents’ views of specific conspiracy theories are highly correlated with each other. there are people 18 percent of the sample who reject (either disagree or strongly disagree with) all four statements, but the most prominent pattern is that venezuelans who agree with the pro-government narratives stories tend to disagree with the pro-opposition narrative, and vice-versa.
what’s more, conspiracy beliefs and political loyalties are tightly connected. we produced a single conspiracy beliefs index running from full acceptances of all government-endorsed narratives and rejection of the opposition-endorsed statement, to full acceptance of the opposition-endorsed statement and rejects all government-endorsed narratives. only chavista loyalists lean toward the government-endorsed conspiracies. perhaps more importantly, the distribution of conspiracy beliefs among the ni-nis looks a lot more like that of opposition loyalists than that of chavistas. ni-nis, as a group, tilt away from the government-endorsed conspiracies and 52 percent endorse the cuba-calls-the-shots statement.
the last key point from our surveys is that the strongest conventional markers of socioeconomic status income and education are only weakly related to venezuelan political loyalties and attitudes. income, by itself, tells us little or nothing about these loyalties or beliefs, and education is only weakly connected. in fact, controlling for education, those with higher incomes are actually more pro-government in their conspiracy beliefs.
despite widespread belief in conspiracies in venezuela, the government’s efforts to promote conspiracy theories disparaging its adversaries seems to have failed. at this point, the government-endorsed narratives hold far less credence than the cuba-calls-the-shots narrative.
looking ahead to sunday, these survey results suggest that a clean election (if the government allows it) should deliver a massive setback to the psuv. the numbers look bad for chavismo in terms of outright loyalists, and the opinions that underlie political identity suggest that far more ni-nis should break toward the opposition than the psuv.
beyond sunday, the country will remain divided between chavistas and anti-chavistas, but that schism is not well defined by conventional markers of socioeconomic class. if you want to know a venezuelan’s politics, you may want to know what conspiracies she subscribes to rather than how much money she makes or whether she went to university.
john carey is wentworth professor in the social sciences at dartmouth college, where he teaches in the government department. more about his research is here.
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baɪ ˈkɑlɪn ˈbɪŋkli ˈwɛlzli, mæs. ənˈtɪl læst jɪr, ləv wʊd hæv bɪn bɑrd frəm əˈtɛndɪŋ ˈwɛlzli ˈkɑlɪʤ. ən əˈkɑmplɪʃt ˈstudənt hu həz ˌpərsəˈvɪrd θru ˈhɑrdʃɪp, bət ˈəndər ˈlɔŋˌstændɪŋ rulz, ðə ˈkɑlɪʤ wʊd hæv rɪˈʤɛktɪd hər bɪˈkəz ʃi wɑz əˈsaɪnd æt bərθ ɛz ə bɔɪ. naʊ ðə rulz hæv ʧeɪnʤd. ðɪs wik, ləv wɪl bɪˈkəm wən əv ðə fərst ˈtrænzˈʤɛndər ˈwɪmən tɪ əˈtɛnd ˈwɛlzli ɪn ðə ˈhɪstəri. mi tɪ bi ækˈsɛptɪd tɪ wən əv ðə bɛst ˈkɑlɪʤɪz fər ˈwɪmən ɪn ðə ˈneɪʃən, ɪt ɪz ə bɪg ˌvæləˈdeɪʃən əv ðə ˈpərsən ðət aɪ hæv bɪˈkəm. æt fərst aɪ bɪˈliv it,”*,” sɛd ləv, 28 hu wɑz bɔrn ɪn ˈɛkwəˌdɔr bət flɛd tɪ ðə juz. ɪn 2009 ˈæftər biɪŋ ˈkɪdˌnæpt ənd θˈrɛtənd bɪˈkəz əv hər ˈʤɛndər aɪˈdɛntəˌti. soʊ ˈθæŋkfəl tɪ bi here.”*.” hər ərˈaɪvəl ɔn ˈkæmpəs rɪˈflɛkts ə kwaɪət bət moʊˈmɛntəs ʃɪft ˈteɪkɪŋ pleɪs æt ə weɪv əv ˈkɑlɪʤɪz ðət hæv ˈbeɪgən əˈlaʊɪŋ trænz ˈwɪmən. bət ˈivɪn ɛz ˈmɛni skulz ɪmˈbreɪs ˈʃɪftɪŋ vjuz ɔn ˈʤɛndər, səm hæv bɪn rɪˈləktənt tɪ ʧeɪnʤ əˈmɪd ˈlɪŋgərɪŋ ˈdɪfərənsɪz ˈoʊvər ðə roʊl əv ˈkɑlɪʤɪz. sɪns 2014 æt list eɪt ˈkɑlɪʤɪz hæv muvd tɪ əˈlaʊ trænz ˈwɪmən, ˈstɑrtɪŋ wɪθ mɪlz ˈkɑlɪʤ ɪn ˈoʊklənd, ˌkæləˈfɔrnjə. ˈʤɔɪnɪŋ ˈwɛlzli ɪn 2015 wər smɪθ, brɪn mɔər ənd ˈbɑrnɑrd ˈkɑlɪʤɪz, ðə læst əv ðə ˈsoʊˈkɔld ˈsɛvən ˈsɪstərz ˈkɑlɪʤɪz tɪ meɪk ðə ʧeɪnʤ. ˈædvəˌkeɪts seɪ ˈəðərz hæv ˈlaɪkli dən soʊ wɪˈθaʊt ˈædvərˌtaɪzɪŋ ɪt. θɪŋk ə stɛp ˈfɔrwərd, wən lɔŋ overdue,”*,” sɛd beemyn*, dɪˈrɛktər əv ðə ˈstoʊnˌwɔl ˈsɛnər æt ðə ˌjunəˈvərsəti əv ˌmæsəˈʧusəts æt ˈæmərst, ə ˈrisɔrs grup fər ˈlɛzbiən, geɪ, ˌbaɪˈsɛkʃuəl ənd ˈtrænzˈʤɛndər ˈpipəl. ðeɪ seɪ ˈwɪmən, ðɛn seɪɪŋ ðət ðeɪ əˈtɛnd ɪz dɪˈnaɪɪŋ ðɛr aɪˈdɛntɪˌtiz ənd ˈmɑrʤənəˌlaɪzɪŋ them.”*.” ˈrɛdɪŋ ðɪs ɔn jʊr foʊn? steɪ əp tɪ deɪt wɪθ ɑr fri ˈmoʊbəl æp. gɪt ɪt frəm ðə ˈæpəl æp stɔr ər ðə ˈgugəl pleɪ stɔr. ʤɪst haʊ ˈmɛni trænz ˈwɪmən ər əˈtɛndɪŋ ˈkɑlɪʤɪz rɪˈmeɪnz ənˈnoʊn. ˈmɛni skulz ðət naʊ əkˈsɛpt ðɛm seɪ haʊ ˈmɛni ðeɪ ɪnˈroʊl, ɪf ˈɛni, ˈsaɪtɪŋ ˈpraɪvəsi kənˈsərnz. skulz ˌɪnˈkludɪŋ smɪθ ənd maʊnt ˈhoʊliˌoʊk ˈkɑlɪʤɪz seɪ ðeɪ træk ðə ˈʤɛndər aɪˈdɛntɪˌtiz əv ðɛr ˈstudənts. ˈmɑrtɪn, vaɪs ˈprɛzɪdənt əv ˈstudənt laɪf ənd din əv ˈstudənts æt mɪlz ˈkɑlɪʤ, sɛd səm fɪr ˈbæˌklæʃ frəm əˈləmˌnaɪ ər ˈdoʊnərz hu səˈpɔrt ðə ʧeɪnʤ, ənd ðeɪ wɔnt tɪ prəˈtɛkt ˈstudənts frəm ˈaʊtˈsaɪd ˈskrutəni. æt mɪlz, 8 pərˈsɛnt əv mɔr ðən 700 ˌəndərˈgræʤəwəts aɪˈdɛntəˌfaɪ ɛz trænz ˈwɪmən. θɪŋk ˈsəmθɪŋ ðeɪ wɔnt tɪ drɔ tɪ ðɛr students,”*,” ˈmɑrtɪn sɛd. ðə əˈtɛnʃən ɪz drɔn tɪ ðɛm, ənd ðət kən bi ˈnɛgətɪv attention.”*.” ˈkɑlɪʤɪz əv ɔl taɪps hæv feɪst ˌɪnˈkrisɪŋ ˈprɛʃər tɪ mit ðə nidz əv trænz mɛn ənd ˈwɪmən, hu meɪk əp ən ˈɛstəˌmeɪtɪd pərˈsɛnt əv ðə juθs. səm skulz hæv rɪˈspɑndɪd baɪ ˈɔfərɪŋ ˈbɑθˌrumz ənd ˈmɛdɪkəl ˌɪnˈʃʊrəns ðət ˈkəvərz ˈhɔrˌmoʊn ˈtritmənts, ər baɪ ˈlɛtɪŋ ˈstudənts pɪk ðɛr ˈʤɛndər ˈproʊnaʊnz stɪl, əˈləmˌneɪ əv səm ˈkɑlɪʤɪz hæv əˈpoʊzd ðə ədˈmɪʃənz ʧeɪnʤ, seɪɪŋ ɪt ˌəndərˈmaɪnz ðə ˌɪnstɪˈtuʃənəl ˈmɪʃən tɪ ɪmˈpaʊər ˈwɪmən. ˈlidərz æt səm skulz ˈkaʊntər ðət ˈkɑlɪʤɪz wər ˈfaʊndɪd tɪ ˈɛʤəˌkeɪt ðoʊz hu hæv bɪn ˈmɑrʤənəˌlaɪzd bɪˈkəz əv ðɛr ˈʤɛndər. ˈɔlˌweɪz bɪn ðə hɪˈstɔrɪk roʊl əv colleges,”*,” ˈmɑrtɪn sɛd. ˌdɛfəˈnɪʃən əv ˈʤɛndər ənd ˈʤɛndər aɪˈdɛntəˌti həz ˈbrɔdənd, ənd jɛt stɪl ˈvɛri məʧ ðət mission.”*.” səm skulz hæv rɪˈzɪstɪd ˈwaɪdənɪŋ ðɛr ˈʤɛndər ˈpɑləsiz. æt ˈhɑlɪnz ˌjunəˈvərsəti, ə ˈpraɪvət skul əv əˈbaʊt 800 ɪn vərˈʤɪnjə, trænz ˈwɪmən kən bi ækˈsɛptɪd ˈoʊnli ɪf ðeɪ hæv kəmˈplitɪd ə ˈligəl ənd ˈsərʤɪkəl trænˈzɪʃən frəm meɪl tɪ ˈfiˌmeɪl, wɪʧ ˈligəli ɛnˈtaɪtəlz ðɛm tɪ kənˌsɪdərˈeɪʃən ˈɛniˌweɪ. ˈhɑlɪnz ˈspoʊksmən ʤɛf ˈhɑʤɪz sɛd ðə ˈpɑləsi haʊ ðə ˌjunəˈvərsəti dɪˈfaɪnz ɪts ˈmɪʃən ɛz ən ˌəndərˈgræʤəwət ˌɪnstɪˈtuʃən əv haɪər ˈlərnɪŋ fər women.”*.” æt ˈwɛlzli, ləv sɛd ʃi noʊz əv æt list wən ˈəðər trænz ˈwʊmən ˈstɑrtɪŋ ðɪs wik. ˈwɛlzli ˈlidərz sɛd ðət ðeɪ ˈkɑmɛnt ɔn ðə ˈʤɛndər aɪˈdɛntɪˌtiz əv spɪˈsɪfɪk ˈstudənts bət ðət ðeɪ ˈwɛlkəm ləv tɪ ðə əv ˌaʊtˈstændɪŋ women.”*.” ðə ˈlidɪŋ ˈlɪˌbərəl ɑrts ˈkɑlɪʤ fər ˈwɪmən, ˈmɪʃən ɪz tɪ ˈɛʤəˌkeɪt ˈwɪmən hu wɪl meɪk ə ˈdɪfərəns ɪn ðə wərld ənd ðoʊz ˈwɪmən ˌrɛprɪˈzɛnt dɪˈvərsɪti ɪn ˈɛvəri dimension,”*,” cabalquinto*, ə ˈkɑlɪʤ ˈspoʊksˌwʊmən, sɛd ɪn ə ˈsteɪtmənt. ˈrɛdɪŋ ðɪs ɔn jʊr ˈaɪˌfoʊn ər ˈaɪˌpæd? ʧɛk aʊt ɑr nu ˈæpəl nuz æp ˈʧænəl hir ənd klɪk ðə æt ðə tɔp əv ðə peɪʤ tɪ seɪv tɪ jʊr ˈæpəl nuz ˈfeɪvərɪts. ləv ɪz kənˈsɪdərɪŋ ə ˈmeɪʤər ɪn ənd ˈʤɛndər ˈstədiz ənd ˈleɪtər hoʊps tɪ bɪˈkəm ə ˈsɪvəl raɪts ˈlɔjər fər ˈstudənts ənd ˈɪməgrənts. ə goʊl ʃeɪpt baɪ hər oʊn pæst; ləv sɪz ʃi ˌɪˈligəli ˈɛnərd ˈtɛksəs frəm ˈmɛksəˌkoʊ ˌbiˈfɔr biɪŋ ˈgrænɪd əˈsaɪləm bɪˈkəz əv hər ˌpərsəˈkjuʃən ɪn ˈɛkwəˌdɔr. hər fərst ʤɑb ɪn ðə juz. wɑz ˈklinɪŋ dɔrmz æt ə ˈkɑlɪʤ ɪn nɔrθ ˌkɛrəˈlaɪnə. ʃi ˈleɪtər muvd tɪ nu jɔrk ˈsɪti ənd ˈstɑrtɪd ˈklæsɪz æt ləgˈwɑrdiə kəmˈjunɪti ˈkɑlɪʤ, wɛr ʃi ərnd ˌækəˈdɛmɪk ˈɑnərz ənd geɪnd səˈpɔrt frəm ðə ˈkæplən ˌɛʤəˈkeɪʃənəl faʊnˈdeɪʃən, wɪʧ hɛlps ˌloʊˈɪnkəm ənd məˈnɔrəti ˈstudənts ˈtrænsfər tɪ ˌfɔˈrjɪr ˌjunəˈvərsətiz. ləv wɑz ækˈsɛptɪd tɪ ə ˈdəzən ˈkɑlɪʤɪz bət sɪz ˈwɛlzli wɑz ˈɔlˌweɪz hər tɔp ʧɔɪs. nu ðət ɪt wʊd bi ə ˈʧælənʤ; aɪ nu ðət ɪt wʊd bi difficult,”*,” ʃi sɛd, æt ðə seɪm taɪm aɪ nu ðət aɪ kən meɪk ə ˈdɪfərəns ənd aɪ nu ðət aɪ kən ʃoʊ tɪ ˈəðər ˈpipəl ðət wi ˈtrænzˈʤɛndər ˈwɪmən ər ˈjumənz, too.”*.” ˈfɑloʊ ˈkɑlɪn ˈbɪŋkli ɔn tˈwɪtər æt laɪk ɑr ˈfeɪsˌbʊk peɪʤ fər mɔr ˌkɑnvərˈseɪʃən ənd nuz ˈkəvərɪʤ frəm ðə beɪ ˈɛriə ənd bɪɔnd.
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by collin binkley
wellesley, mass. until last year, ninotska love would have been barred from attending wellesley college. she’s an accomplished student who has persevered through hardship, but under longstanding rules, the college would have rejected her because she was assigned at birth as a boy.
now the rules have changed. this week, love will become one of the first transgender women to attend wellesley in the school’s 147-year history.
“for me to be accepted to one of the best colleges for women in the nation, it is a big validation of the person that i have become. at first i couldn’t believe it,” said love, 28, who was born in ecuador but fled to the u.s. in 2009 after being kidnapped and threatened because of her gender identity. “i’m so thankful to be here.”
her arrival on campus reflects a quiet but momentous shift that’s taking place at a wave of women’s colleges that have begun allowing trans women. but even as many schools embrace shifting views on gender, some have been reluctant to change amid lingering differences over the role of women’s colleges.
since 2014, at least eight women’s colleges have moved to allow trans women, starting with mills college in oakland, california. joining wellesley in 2015 were smith, bryn mawr and barnard colleges, the last of the so-called seven sisters women’s colleges to make the change. advocates say others have likely done so without advertising it.
“i think it’s a step forward, one that’s long overdue,” said genny beemyn, director of the stonewall center at the university of massachusetts at amherst, a resource group for lesbian, gay, bisexual and transgender people. “if they say they’re women, then saying that they can’t attend is denying their identities and marginalizing them.”
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just how many trans women are attending women’s colleges remains unknown. many schools that now accept them won’t say how many they enroll, if any, citing privacy concerns. schools including smith and mount holyoke colleges say they don’t track the gender identities of their students.
chicora martin, vice president of student life and dean of students at mills college, said some fear backlash from alumni or donors who don’t support the change, and they want to protect students from outside scrutiny. at mills, 8 percent of more than 700 undergraduates identify as trans women.
“i think that’s something they don’t want to draw to their students,” martin said. “ultimately the attention is drawn to them, and that can be negative attention.”
colleges of all types have faced increasing pressure to meet the needs of trans men and women, who make up an estimated 0.7 percent of the nation’s youths. some schools have responded by offering gender-neutral bathrooms and medical insurance that covers hormone treatments, or by letting students pick their gender pronouns .
still, alumnae of some women’s colleges have opposed the admissions change, saying it undermines the institutional mission to empower women. leaders at some schools counter that women’s colleges were founded to educate those who have been marginalized because of their gender.
“that’s always been the historic role of women’s colleges,” martin said. “the definition of gender and gender identity has broadened, and yet it’s still very much that mission.”
some schools have resisted widening their gender policies. at hollins university, a private school of about 800 in virginia, trans women can be accepted only if they have completed a legal and surgical transition from male to female, which legally entitles them to consideration anyway.
hollins spokesman jeff hodges said the policy “supports how the university defines its mission as an undergraduate institution of higher learning for women.”
at wellesley, love said she knows of at least one other trans woman starting this week. wellesley leaders said that they don’t comment on the gender identities of specific students but that they welcome love to the school’s “community of outstanding women.”
“as the leading liberal arts college for women, wellesley’s mission is to educate women who will make a difference in the world and those women represent diversity in every dimension,” sofiya cabalquinto, a college spokeswoman, said in a statement.
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love is considering a major in women’s and gender studies and later hopes to become a civil rights lawyer for lgbt students and immigrants. it’s a goal shaped by her own past; love says she illegally entered texas from mexico before being granted asylum because of her persecution in ecuador.
her first job in the u.s. was cleaning dorms at a college in north carolina. she later moved to new york city and started classes at laguardia community college, where she earned academic honors and gained support from the kaplan educational foundation, which helps low-income and minority students transfer to four-year universities.
love was accepted to a dozen colleges but says wellesley was always her top choice.
“i knew that it would be a challenge; i knew that it would be difficult,” she said, “but at the same time i knew that i can make a difference and i knew that i can show to other people that we transgender women are humans, too.”
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ˈhoʊltən, meɪn ə ˈhoʊltən ˈneɪtɪv, ˈbɪznɪsˌmæn ənd ˈraɪtər wɪl bi ˈkəmɪŋ bæk frəm nu ˈʤərzi tɪ bi ðə nu ˈoʊnər əv ðə ˈtɛmpəl ˈθiətər. ˈʧɑrəlz ““charlie”*” ˈfɔrtjər, 55 ə ˈhoʊltən haɪ skul ənd ˌjunəˈvərsəti əv meɪn æt ˈgræʤəˌweɪt, wɑz əˈnaʊnst ɛz ðə baɪər ɔn mɑrʧ 16 ɪn ə poʊst ɔn ðə ˈfeɪsˌbʊk peɪʤ baɪ ˈmaɪkəl ˈhərli əv ˈbɛlˌfæst, hu həz oʊnd ðə ˈbɪznɪs wɪθ ˈθɛris sɪns 2002 ˈfɔrtjər, hu həz ˈrɪtən sɪks bʊks ˈəndər ðə pɛn neɪm rælf ˈælbərt ˈgɛsnər, lɪvz ɪn ˈkɑrlˌstæt, nu ˈʤərzi, ənd sɛd ðət hi ɪz ˈəndər ˈkɑnˌtrækt tɪ ˈpərʧəs ðə ˈθieɪtər ənd ɪkˈspɛkts tɪ kloʊz ðə dil ˈeɪprəl 7 ər 8 wɑz ˈlʊkɪŋ fər ə ˈbɪznɪs opportunity,”*,” hi sɛd ˈθərzˌdeɪ. ləv ˈmuviz ənd hæv sin ˈoʊvər əv ðɛm, ənd ˈdoʊˌneɪtɪd mɔr ðən teɪps tɪ ˈʧɛrɪti. aɪ oʊn mɔr ðən ˌdiˌviˈdiz. aɪ ˈɔlsoʊ wɑz ə fər ðə ˌjunəˈvərsəti əv meɪn æt waɪl aɪ wɑz ɪn ˈkɑlɪʤ, soʊ aɪ hæv ɪkˈspɪriəns ɪn ðə ˈmuvi ˈbɪznɪs. naʊ, ˈrənɪŋ ðə ˈsɪnəmə ɪz ɔl ˈdɪʤɪtəl. ɪt ɪz ɔl æt ðə pʊʃ əv ə button.”*.” ɪn ɑkˈtoʊbər 2015 ˈhərli, hu lɪvz ɪn ˈbɛlˌfæst ənd həz hæd ðə ˈsɪnəmə əp fər seɪl fər 10 jɪrz, əˈnaʊnst ðət hi wɑz goʊɪŋ tɪ ““give”*” ðə ˈθieɪtər əˈweɪ ɛz pɑrt əv ən ˈɛˌseɪ ˈkɑntɛst. kənˈtɛstənts wər rikˈwaɪərd tɪ səbˈmɪt 100 wɪθ ə ˈɛˌseɪ əˈbaʊt waɪ ðeɪ ʃʊd bi ðə nɛkst ˈoʊnər. ˈhərli sɛd hi ˈnidɪd ə ˈmɪnəməm əv ˈɛntriz ˌbiˈfɔr ə ˈwɪnər kʊd bi səˈlɛktɪd frəm ðə ˈɛntriz. dɪˈspaɪt biɪŋ ˌriˈpɔrtəd ɔn baɪ ˈnæʃənəl ˈmidiə ˈaʊˌtlɛts, səʧ ɛz ðə nu jɔrk taɪmz, ˈsiˈɛˈnɛn ənd ðə ˈhɑliˌwʊd rɪˈpɔrtər, ðə ˈkɑntɛst ˈəltəmətli feɪld du tɪ læk əv ˈɛntriz. soʊ ˈhərli rɪˈtərnd ðə ˈɛntri fiz hi hæd rɪˈsivd əˈlɔŋ wɪθ ə noʊt ˈæskɪŋ ɪf ˈɛniˌwən wɑz ˈɪntəˌrɛstɪd ɪn baɪɪŋ ðə ˈθieɪtər. ˈfɔrtjər wɑz. ɪn hɪz ˈɛˌseɪ, bi ˈpərˌfɪkt tɪ rən ðə ˈtɛmpəl theatre,”*,” ˈfɔrtjər spoʊk əv hɪz ləv əv ˈmuviz, hɪz ˈbɪznɪs ɪkˈspɪriəns, ˌɪnˈkludɪŋ faɪv jɪrz ˈwərkɪŋ ɛz ˈmænɪʤər əv ˈpərʧəsɪŋ ˈprɑdəkts æt ˈsaɪmən ənd ˈʃustər ənd 15 jɪrz ɛz dɪˈrɛktər əv proʊˈkjʊrmənt ˈstrætəʤi ənd æˈnælɪˌsiz æt ˈpɪrsən plc*, ə ˌɛʤəˈkeɪʃən ˈpəblɪʃɪŋ ənd əˈsɛsmənt ˈsərvɪs, ɪn nu ˈʤərzi. hi ˈnoʊtɪd ðət hi sɔ ðə fərst stɑr wɔrz ˈmuvi ðə naɪt ɪt opened”*” æt ðə ˈtɛmpəl ˈθiətər, ənd died”*” ðɛr waɪl ˈitɪŋ ðə sɪns dɪskənˈtɪnjud ˈkændi pɔm ənd ˈnɪrli ˈʧoʊkɪŋ ɔn ðɛm ˈdʊrɪŋ ðə ˈkæmpˌfaɪər sin ɪn ˈbleɪzɪŋ saddles.”*.” hi ˈɔlsoʊ ˈnoʊtɪd wət ðə ˈmuvi haʊs minz tɪ ðə taʊn ɛz ə hoʊl. noʊ haʊ ˌɪmˈpɔrtənt ðə ˈtɛmpəl ɪz tɪ ðə kəmˈjunɪti ˈivɪn wɪθ ðə ˌproʊlɪfərˈeɪʃən əv ənd ənd wɔnt tɪ ˈdɛdəˌkeɪt maɪ ˈsənˌsɛt jɪrz tɪ ˈkipɪŋ ɪt goʊɪŋ soʊ ɪt kən ˌɪnˈstɪl ðə seɪm ˈwəndər ɪn ˈəðərz ðət aɪ fɛlt wɪn aɪ wɑz kid,”*,” ˈfɔrtjər roʊt. ðə ˈpərʧəs praɪs wɑz nɑt dɪˈvəlʤd, bət ðə ˈbɪldɪŋ ɪz əˈsɛst æt əˈkɔrdɪŋ tɪ ˈhoʊltən tæks ˈdɑkjəmənts, waɪl ðə əˈʤeɪsənt ˈpɑrkɪŋ lɔt ɪz ˈvæljud æt wəns ðə ˈpərʧəs goʊz θru, ˈfɔrtjər ɪkˈspɛkts tɪ muv ˈɪntu ən əˈpɑrtmənt ɔn ðə ˈsɛkənd flɔr ˈoʊvər ðə ˈθieɪtər ənd tɪ ˌəndərˈgoʊ səm ˈtreɪnɪŋ wɪθ ˈhərli. hæv ˌɛnˈʤɔɪd ˈwərkɪŋ wɪθ maɪk hurley,”*,” hi sɛd ˈθərzˌdeɪ. θɪŋk hi ɪz ə ˈrɪli greɪt guy.”*.” ˈhərli dɪˈklaɪnd tɪ ˈkɑmɛnt əˈbaʊt ðə seɪl tɪ ðə ˈbæŋˌgɔr ˈdeɪli nuz. ˈfɔrtjər sɛd ðət hi dɪz nɑt ɪkˈspɛkt ˈɛni læg ɪn ˈmuviz biɪŋ ʃoʊn ˈdʊrɪŋ ðə trænˈzɪʃən ər tɪ meɪk ˈɛni ˈʧeɪnʤɪz tɪ ðə fəˈsɪlɪti æt ðɪs pɔɪnt. bət hi dɪz hæv səm aɪˈdiəz ɪn stɔr fər ðə fˈjuʧər əv ðə ˈsɪnəmə. æm goʊɪŋ tɪ ɪkˈsplɔr ˈstrimɪŋ, ɪf ðɛr ɪz ən ˈɪntəˌrɛst ɪn vjuɪŋ lɪv ˈθieɪtər ɪn town,”*,” hi sɛd. ˈɔlsoʊ meɪ æd ə θərd skrin fər rɪˈvaɪvəl fɪlmz ˈæftər aɪ gɪt maɪ ˈbɛrɪŋz, ɪf ðɛr ɪz ˈɪntəˌrɛst. əˈgɛn ðə ˈfoʊkɪs ɪz tɪ bi ən ˌɛnərˈteɪnmənt ˈvɛnju ðət dɪˈlɪvərz ril ˈvælju tɪ attendees.”*.”
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houlton, maine — a houlton native, businessman and writer will be coming back from new jersey to be the new owner of the temple theatre.
charles “charlie” fortier, 55, a houlton high school and university of maine at machias graduate, was announced as the buyer on march 16 in a post on the cinema’s facebook page by michael hurley of belfast, who has owned the business with therese bagnardi since 2002.
fortier, who has written six books under the pen name ralph albert gessner, lives in carlstadt, new jersey, and said that he is under contract to purchase the theater and expects to close the deal april 7 or 8.
“i was looking for a business opportunity,” he said thursday. “i love movies and have seen over 10,000 of them, and donated more than 5,000 vhs tapes to charity. i own more than 5,000 dvds. i also was a projectionist for the university of maine at machias while i was in college, so i have experience in the movie business. now, running the cinema is all digital. it is all at the push of a button.”
in october 2015, hurley, who lives in belfast and has had the cinema up for sale for 10 years, announced that he was going to “give” the twin-screen theater away as part of an essay contest. contestants were required to submit $100 with a 250-words-or-less essay about why they should be the next owner. hurley said he needed a minimum of 3,500 entries before a winner could be selected from the entries.
despite being reported on by national media outlets, such as the new york times, cnn and the hollywood reporter, the contest ultimately failed due to lack of entries. so hurley returned the entry fees he had received along with a note asking if anyone was interested in buying the theater.
fortier was.
in his essay, “why i’d be perfect to run the temple theatre,” fortier spoke of his love of movies, his business experience, including five years working as manager of purchasing products at simon and schuster and 15 years as director of procurement strategy and analyses at pearson plc, a british-owned education publishing and assessment service, in new jersey.
he noted that he saw the first star wars movie “twice — the night it opened” at the temple theatre, and “almost died” there while eating the since discontinued candy pom poms and nearly choking on them “laughing during the campfire scene in blazing saddles.”
he also noted what the movie house means to the town as a whole.
“i know how important the temple is to the community even with the proliferation of netflix and redbox and want to dedicate my sunset years to keeping it going so it can instill the same wonder in others that i felt when i was kid,” fortier wrote.
the purchase price was not divulged, but the building is assessed at $203,000, according to houlton tax documents, while the adjacent parking lot is valued at $32,700.
once the purchase goes through, fortier expects to move into an apartment on the second floor over the 95-year-old theater and to undergo some training with hurley.
“i have enjoyed working with mike hurley,” he said thursday. “i think he is a really great guy.”
hurley declined to comment about the sale to the bangor daily news. fortier said that he does not expect any lag in movies being shown during the transition or to make any changes to the facility at this point.
but he does have some ideas in store for the future of the cinema.
“i am going to explore streaming, if there is an interest in viewing live theater in town,” he said. “i also may add a third screen for revival films after i get my bearings, if there is interest. again the focus is to be an entertainment venue that delivers real value to attendees.”
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wɪˈθɪn ðə læst fju jɪrz, ðə ˈæfrɪkɑn əˈmɛrɪkən kəmˈjunɪti həz ˈwɪtnəst ˈkaʊntləs ˈmərdərz əv blæk mɛn ənd ˈwɪmən æt ðə hænz əv ðə pəˈlis. ɪn rɪˈspɑns, ðə kæmˈpeɪn wɑz kriˈeɪtɪd tɪ ˈpisfəli ˈproʊˌtɛst pəˈlis bruˈtælɪti ɪn ðə juˈnaɪtɪd steɪts. ðɪs mənθ, ˈθaʊzənz əv ˈæfrɪkɑn əˈmɛrɪkənz ʤɔɪnd ðə ˈmuvmənt baɪ ˈmuvɪŋ ðɛr ˈməni ˈɪntu bæŋks. ðə goʊl əv ðə ˈmuvmənt ɪz tɪ gɪt ðə əˈtɛnʃən əv ˈlɔˌmeɪkərz baɪ ʃoʊɪŋ ʤɪst haʊ ˌɪnfluˈɛnʃəl ðə blæk ˈdɔlər ˈtruli ɪz. ˈfaʊndɪd ɪn 1970 fərst ˌɪndɪˈpɛndəns bæŋk, ə bæŋk, ɪz wən əv 28 bæŋks ɪn ðə juˈnaɪtɪd steɪts, əˈkɔrdɪŋ tɪ ðə ˈnæʃənəl ˈbæŋkɪŋ əˌsoʊʃiˈeɪʃən. ðə ˈmɪʃən, ðə bæŋk sɛd, ɪˈstæblɪʃt tɪ sərv ðə ˌfaɪˈnænʃəl nidz əv ɑr kəmˈjunɪti, ɪts ˈbɪznɪsɪz, ənd ɪts ˈsɪtɪzənz; noʊ laɪn əv ˌfaɪˈnænʃəl ˈsərvɪsɪz ɪz bɪɔnd ɑr ˈʧɑrtər ɛz lɔŋ ɛz wi ər ˈsərvɪŋ ðə ˌfaɪˈnænʃəl nidz əv ˈbɪznɪsɪz ənd ˈfæməliz ɪn ɑr kəmˈjunɪti wi wɪl nɑt meɪk ˈprɑfɪts æt ðə ɪkˈspɛns əv ɑr ˈsɪtɪzənˌʃɪp responsibilities.”*.” ðə ɪˈvɛnts ðət ˌɪnˈspaɪərd ðə mɑntˈgəmri bəs ˈbɔɪˌkɑt ər ˈstreɪnʤli ˈsɪmələr tɪ ðə ˈreɪʃəl ˈklaɪmɪt ðət ɪgˈzɪsts ɪn ðə juˈnaɪtɪd steɪts təˈdeɪ. ðə ˈbɔɪˌkɑt ɪz ə ˈglɛrɪŋ ɪgˈzæmpəl əv ðə ˈlɛgəsi əv ˈpisfəl ˈproʊˌtɛst ənd kəmˈjunɪti ˈɔrgəˌnaɪzɪŋ ɪn ðə ˈæfrɪkɑn əˈmɛrɪkən kəmˈjunɪti ənd ˈdɛmənˌstreɪts ðə ˌɪmˈpækt əv ðə blæk ˈdɔlər. ə 2015 ˈnilsən rɪˈpɔrt rɪˈvild haʊ ˌɪnfluˈɛnʃəl blæk baɪɪŋ paʊər ɪz wɪˈθɪn ðə ˈgloʊbəl ɪˈkɑnəmi. blæk baɪɪŋ paʊər, ˈnilsən sɛd, ɪz prɑˈʤɛktəd tɪ riʧ ˈtrɪljən baɪ 2020 ˈʃɛrəl pearson-mcneil*, ˈsinjər vaɪs ˈprɛzɪdənt fər strəˈtiʤɪk kəmˈjunɪti əˈlaɪənsɪz ənd kənˈsumər ɛnˈgeɪʤmənt ənd ðə rɪˈpɔrts co-author*, sɛd ɪt ɪz ˌɪmˈpɔrtənt fər ˈædvərˌtaɪzərz ənd ˌkɔrpərˈeɪʃənz tɪ ækˈnɑlɪʤ ðə ˈæfrɪkɑn əˈmɛrɪkən ˌkɑntrəˈbjuʃən tɪ ðə ɪˈkɑnəmi. goʊɪŋ tɪ si ə ʧeɪnʤ ɪn ðə feɪs əv əˈmɛrɪkə, ɛz ˌməltiˈkəlʧərəl kəmˈjunɪtiz ənd ˌpɑpjəˈleɪʃənz groʊ mɔr. ˈkəmpəˌniz hu æˈdrɛsɪŋ ðət ˈɪʃu naʊ ər goʊɪŋ tɪ faɪnd ðɛmˈsɛlvz ə bɪt aʊt əv sɔrts wɪn ðə məˈnɔrəti bɪˈkəmz ðə majority,”*,” sɛd pearson-mcneil*. blæk ˌɛnərˈteɪnərz laɪk noʊlz ənd ˈəʃər hæv ˈpəblɪkli ʤɔɪnd ðə ˈmuvmənt baɪ ˈteɪkɪŋ ðɛr ˈməni aʊt əv trəˈdɪʃənəl bæŋks ənd dəˈpɑzɪtɪŋ ɪt ɪn blæk bæŋks. aɪ ˈriəˌlaɪz ðɪs ɪz ə ˈvɛri ˈpərsɪnəl dɪˈsɪʒən ənd θɪŋ tɪ ʃɛr, praʊd tɪ seɪ aɪ meɪd ðət stɛp təˈdeɪ. taɪm tɪ ˈlɪtərəli pʊt maɪ ˈməni wɛr maɪ maʊθ is,”*,” noʊlz sɛd. ðɪs mənθ, fərst ˌɪndɪˈpɛndəns həz ˈwɪtnəst ən ˌɪnˈkris ɪn nu əˈkaʊnts ɛz ə rɪˈzəlt əv ðə kæmˈpeɪn. ðə ˈævərɪʤ fər ðə bæŋk ɪz nu dɪˈpɑzəts iʧ mənθ. ˈrɪʧərd, ˈprɛzɪdənt ənd ʧif ˈɔpərˌeɪtɪŋ ˈɔfɪsər əv fərst ˌɪndɪˈpɛndəns bæŋk, sɛd ðə bæŋk həz rɪˈsivd ˈoʊvər 200 nu dɪˈpɑzəts ðɪs mənθ ðət ˈikwəl əˈbaʊt həz bɪn ə bɪg sərʤ. ənd ˈhæpənd æt ɔl əv ɑr θri ˈbrænʧɪz. ˈhæpənd hir (ˈdaʊnˈtaʊn) ənd ˈhæpənd æt ɑr ˈsɛvən maɪl brænʧ ɛz wɛl ɛz ðə brænʧ wi hæv ɪn ˈklɪntən township,”*,” sɛd. ˈbæŋkɪŋ, sɛd ɪz ɛˈsɛnʃəl tɪ ðə groʊθ əv ˈɛni kəmˈjunɪti ənd fərst ˌɪndɪˈpɛndəns meɪks ɪt ə pɔɪnt tɪ ˌɪnˈvɛst ɪn ðə ˈsɪti əv ˈdiˌtrɔɪt. wi kəˈlɛkt dɪˈpɑzəts ənd ɛz wi reɪz dɪˈpɑzəts wɪθ ɑr ˈkəstəmərz, wi hæv traɪd tɪ ˌriɪnˈvɛst ðoʊz dɪˈpɑzəts wɪθ loʊnz wɪθ ˈiðər ˈrɛzɪdənts əv ðə ˈsɪti əv ˈdiˌtrɔɪt wɪθ ˈmɔrgɪʤɪz ər duɪŋ kəˈmərʃəl loʊnz wɪθ smɔl ər ˈmidiəm saɪzd businesses,”*,” sɛd. ɪn 2015 sɛd bæŋks ˈmɔrgɪʤd ˈoʊnli 400 hoʊmz ɪn ðə ˈsɪti əv ˈdiˌtrɔɪt ˈmeɪkɪŋ ɪt ˈdɪfəkəlt fər moʊst ˈdiˌtrɔɪtərz tɪ bɪˈkəm ˈhoʊˌmoʊnərz. fərst ˌɪndɪˈpɛndəns bæŋk ˈmɔrgɪʤd 50 əv ðoʊz hoʊmz. lɔt əv ɑr ˈkəstəmərz ər ˈsɪtɪzənz əv ˈdiˌtrɔɪt ənd wi hæv traɪd tɪ, bɪˈkəz wi ər ə kəmˈjunɪti dɪˈvɛləpmənt ˌfaɪˈnænʃəl ˌɪnstɪˈtuʃən, ˈɛmfəˌsaɪz ˌriɪnˈvɛstɪŋ ɪn ðə ˈsɪti ənd ɪn ðə ˈneɪbərˌhʊdz wɛr ɑr ˈbrænʧɪz ər wɪθ ðə ˈkəstəmər beɪs wi have,”*,” sɛd. fərst ˌɪndɪˈpɛndəns wɪl muv ɪts ˈhɛdˌkɔrtərz frəm ɪts ˈkɑrənt loʊˈkeɪʃən æt 44 ˈmɪʃɪgən ˈɑˌveɪ. tɪ 7310 ˈwʊdˌwɔrd ˈɑˌveɪ. ðɪs ˈɔgəst. fər mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt fərst ˌɪndɪˈpɛndəns bæŋk, ˈvɪzɪt firstindependence.com*. ˈɔlsoʊ ɔn ðə ˈmɪʃɪgən ˈkrɑnɪkəl:
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within the last few years, the african american community has witnessed countless murders of black men and women at the hands of the police. in response, the #moveyourmoney campaign was created to peacefully protest police brutality in the united states. this month, thousands of african americans joined the movement by moving their money into black-owned banks. the goal of the movement is to get the attention of lawmakers by showing just how influential the black dollar truly is.
founded in 1970, first independence bank, a detroit-based black-owned bank, is one of 28 black-owned banks in the united states, according to the national banking association. the mission, the bank said, “was established to serve the financial needs of our community, its businesses, and its citizens; no line of financial services is beyond our charter as long as we are serving the financial needs of businesses and families in our community … we will not make profits at the expense of our citizenship responsibilities.”
the events that inspired the montgomery bus boycott are strangely similar to the racial climate that exists in the united states today. the boycott is a glaring example of the legacy of peaceful protest and community organizing in the african american community and demonstrates the impact of the black dollar. a 2015 nielsen report revealed how influential black buying power is within the global economy. black buying power, nielsen said, is projected to reach $1.4 trillion by 2020.
cheryl pearson-mcneil, nielsen’s senior vice president for strategic community alliances and consumer engagement and the reports co-author, said it is important for advertisers and corporations to acknowledge the african american community’s contribution to the economy. “we’re going to see a change in the face of america, as multicultural communities and populations grow more. companies who aren’t addressing that issue now are going to find themselves a bit out of sorts when the minority becomes the majority,” said pearson-mcneil.
black entertainers like solange knowles and usher have publicly joined the movement by taking their money out of traditional banks and depositing it in black banks. “while i realize this is a very personal decision and thing to share, i’m proud to say i made that step today. time to literally put my money where my mouth is,” knowles said.
this month, first independence has witnessed an increase in new accounts as a result of the #moveyourmoney campaign. the average for the bank is 30-35 new deposits each month. richard zamojski, president and chief operating officer of first independence bank, said the bank has received over 200 new deposits this month that
equal about $200,000.
“this has been a big surge. and it’s happened at all of our three branches. it’s happened here (downtown) and it’s happened at our seven mile branch as well as the branch we have in clinton township,” zamojski said. community-focused banking, zamojski said is essential to the growth of any community and first independence makes it a point to invest in the city of detroit.
“as we collect deposits and as we raise deposits with our customers, we have tried to reinvest those deposits with loans with either residents of the city of detroit with single-family mortgages or we’re doing commercial loans with small or medium sized businesses,” zamojski said. in 2015, zamojski said banks mortgaged only 400 single-family homes in the city of detroit making it difficult for most detroiters to become homeowners. first independence bank mortgaged 50 of those homes.
“a lot of our customers are citizens of detroit and we have tried to, because we are a community development financial institution, emphasize reinvesting in the city and in the neighborhoods where our branches are with the customer base we have,” zamojski said.
first independence will move its headquarters from its current location at 44 michigan ave. to 7310 woodward ave. this august. for more information about first independence bank, visit firstindependence.com.
also on the michigan chronicle:
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l’aquila*, ˈɪtəli (ˈrɔɪtərz) ðə əˈgrid ɔn ˈwɛnzˌdeɪ tɪ traɪ tɪ ˈlɪmət ˈgloʊbəl ˈwɔrmɪŋ tɪ 2 dɪˈgriz ˈsɛlsiəs ənd kət ɪts ˈgrinˌhaʊs gæs ɪˈmɪʃənz baɪ 80 pərˈsɛnt, bət ɪt feɪld tɪ pərsˈweɪd ˈʧaɪnə ənd ˈɪndiə tɪ ʤɔɪn ə bɪd tɪ hæv wərld ɪˈmɪʃənz. ˈlidərz stænd fər ə ˈfæməli ˈfoʊˌtoʊ (l-r*) ʤəˈpænz praɪm ˈmɪnɪstər ˈtɛroʊ ˈkænədəz praɪm ˈmɪnɪstər ˈstivən ˈhɑrpər, juz. ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə, ˈfrænsɪz ˈprɛzɪdənt ˈnɪkɔləs sarkozy*, ˈɪtəliz praɪm ˈmɪnɪstər ˈsɪlvioʊ ˌbərləˈskoʊni, ˈrəʃəz ˈprɛzɪdənt ˈmɛdvəˌdɛv, ˈʤərməniz ˈʧænsələr ˈænʤələ ˈmərkəl, ˈbrɪtɪʃ praɪm ˈmɪnɪstər ˈgɔrdən braʊn ənd sˈwidənz praɪm ˈmɪnɪstər ˈdʊrɪŋ ðə ˈsəmɪt ɪn l'aquila*, ˈɪtəli ˌʤuˈlaɪ 8 2009 (ˈɪtəli wɪθ ˈoʊnli faɪv mənθs ənˈtɪl ə nu u.n*. ˈklaɪmɪt pækt ɪz du tɪ bi əˈgrid ɪn ˈkoʊpənˌhɑgən, ˈklaɪmɪt ʧeɪnʤ ˌɔrgənəˈzeɪʃənz sɛd ðə hæd lɛft məʧ wərk tɪ bi dən ənd dəkt ki ˈɪʃuz. ˈʧaɪnə ənd ˈɪndiə rɪˈzɪstɪd ˈsaɪnɪŋ əp fər ə ˈgloʊbəl goʊl əv ˈhævɪŋ ˈgrinˌhaʊs gæs ɪˈmɪʃənz baɪ 2050 dɪˈvɛləpɪŋ ɪˈkɑnəmiz dɪˈmændɪd rɪʧ ˈneɪʃənz kəˈmɪt tɪ ˈstipər ʃɔrt tərm rɪˈdəkʃənz. ənd waɪl ðə 2 ˈsɛlsiəs goʊl wɑz əˈdɑptəd fər ðə fərst taɪm baɪ ðə juˈnaɪtɪd steɪts, ˈrəʃə, ʤəˈpæn ənd ˈkænədə, ɪt hæd ɔˈrɛdi bɪn əˈgrid ɪn 1996 baɪ ðə ˌjʊrəˈpiən ˈjunjən ənd ɪts ˈmɛmbərz ˈʤərməni, ˈbrɪtən, fræns ənd ˈɪtəli. ðə ˈsteɪtmənt ˈɔlsoʊ feɪld tɪ ˈpɪnˌpɔɪnt ə beɪs jɪr fər ðə 80 pərˈsɛnt rɪˈdəkʃən seɪɪŋ ɪt ʃʊd bi tɪ 1990 ər mɔr ˈrisənt years”*” ˈminɪŋ ðə ˈtərgət wɑz ˈoʊpən tɪ ˌɪnˌtərprɪˈteɪʃən. wərld wɪl ˈrɛkəgˌnaɪz ðət təˈdeɪ ɪn ˈɪtəli hæv leɪd ðə faʊnˈdeɪʃənz fər ə ˈkoʊpənˌhɑgən dil ðət ɪz æmˈbɪʃəs, fɛr ənd effective,”*,” sɛd ˈbrɪtɪʃ praɪm ˈmɪnɪstər ˈgɔrdən braʊn. ˈʤərmən ˈʧænsələr ˈænʤələ ˈmərkəl sɛd ðə 2 ˈsɛlsiəs ˈfɛrənˌhaɪt) ˈtərgət, sɪns taɪmz, wɑz progress”*” fər ðə ðə bækt ðə kriˈeɪʃən əv ə ˈgloʊbəl ˈkɑrbən ˈtreɪdɪŋ ˈmɑrkɪt ənd ə fənd ˈfaɪˌnænst baɪ rɪʧ ˈneɪʃənz tɪ peɪ fər ˌtɛknəˈlɑʤɪkəl ʧeɪnʤ, bət ɪt fɛl ʃɔrt əv ðə 100 ˈbɪljən ə jɪr ˈædvəˌkeɪtɪd baɪ braʊn ənd nɑnˌgəvərnˈmɛntəl grups. əˈgriɪŋ tɪ kip ˈtɛmpərəʧər raɪz tɪ bɪˈloʊ 2 dɪˈgriz raɪz ˈsɛlsiəs, wɪˈθaʊt ə klɪr plæn, ˈməni ənd ˈtɑrgəts ɔn haʊ tɪ du ðɪs ðə ˈlidərz wɪl nɑt hæv hɛlpt tɪ breɪk ðə ˈdɛˌdlɑk ɪn ðə ˈjuˈɛn ˈklaɪmɪt negotiations,”*,” sɛd təˈbaɪəs muenchmeyer*, ˈgrinˌpis ˌɪnərˈnæʃənɑl pəˈlɪtɪkəl ædˈvaɪzər. ˈæbsəns ki ˈtɛmpərəʧərz hæv ɔˈrɛdi ˈrɪzən baɪ əˈbaʊt ˈsɛlsiəs sɪns ðə stɑrt əv ðə ˌɪnˈdəstriəl ˌrɛvəˈluʃən ˈəʃərd ɪn ˈwaɪdˈsprɛd ˈbərnɪŋ əv ˈfɑsəl fjuəlz, ðə meɪn kɔz əv ˈwɔrmɪŋ əˈkɔrdɪŋ tɪ ðə u.n*. ˈklaɪmɪt ˈpænəl. ˈmɛni dɪˈvɛləpɪŋ ˈneɪʃənz ˈɔlsoʊ vju tu dɪˈgriz ɛz ðə θˈrɛˌʃoʊld bɪɔnd wɪʧ ˈklaɪmɪt ʧeɪnʤ wɪl riʧ ˈdeɪnʤər ˈlɛvəlz, wɪθ ˈraɪzɪŋ siz ənd mɔr heatwaves*, flədz ənd draʊts. ðə ˈtɛmpərəʧər ˈtərgət wɑz du tɪ bi ˌɪnˈkludɪd ɪn ə ˈsteɪtmənt frəm ðə ˈmeɪʤər ɪˈkɑnəmiz ˈfɔrəm (mef*), wɪʧ grups ðə pləs ˈmeɪʤər dɪˈvɛləpɪŋ ɪˈkɑnəmiz, wɪʧ wɪl mit ɔn ˈθərzˌdeɪ. læst ˈmɪnət tɔks tɪ kənˈvɪns ˈmɛmbərz tɪ saɪn əp tɪ ðə goʊl əv ˈkətɪŋ wərld ˈgrinˌhaʊs ˈgæsɪz baɪ æt list 50 pərˈsɛnt baɪ 2050 əˈdɑptəd baɪ ðə læst jɪr ənˈrævəld ɔn ˈtuzˌdeɪ. ˈdɛləˌgeɪts sɛd ðə ˈæbsəns əv ʧaɪˈniz ˈlidər hu jintao*, hu flu hoʊm tɪ dil wɪθ ən ˈaʊtˌbreɪk əv ˈɛθnɪk ˈvaɪələns ɪn ˈwɛstərn ˈʧaɪnə, dæʃt hoʊps əv ən ˈilɛvənθ aʊər ˈbreɪkθˌru. nɑt hir soʊ ðeɪ ˈkænɑt muv ˈɛniˌwɛr: ðɛr wɪl bi noʊ əˈgrimənt təˈmɑˌroʊ ɪn ðə tɛkst ɔn 50 pərˈsɛnt. wi wɪl teɪk ðɪs əp əˈgɛn æt ðə wɪn ˈʧaɪnə ɪz present,”*,” sɛd ə ˈsinjər ˌjʊrəˈpiən sɔrs ˌɪnˈvɑlvd ɪn ðə tɔks. ˈʤərmən ˈʧænsələr ˈænʤələ ˈmərkəl sɛd ˈimərʤɪŋ ˈkəntriz əˈpɪrd ˈwɪlɪŋ tɪ saɪn əp tɪ ˈlɔŋˈtərm ɪˈmɪʃənz goʊlz ɪf rɪʧ ˈneɪʃənz wʊd əˈgri tɪ təf ˈtɑrgəts baɪ 2020 ðə ˈsteɪtmənt kɔld fər ““robust”*” ˈkətˌbæks, bət geɪv noʊ ˈditeɪlz.
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l’aquila, italy (reuters) - the g8 agreed on wednesday to try to limit global warming to 2 degrees celsius and cut its greenhouse gas emissions by 80 percent, but it failed to persuade china and india to join a bid to halve world emissions.
g8 leaders stand for a family photo (l-r) japan's prime minister taro aso , canada's prime minister stephen harper, u.s. president barack obama, france's president nicolas sarkozy, italy's prime minister silvio berlusconi, russia's president dmitry medvedev, germany's chancellor angela merkel, british prime minister gordon brown and sweden's prime minister fredrik reinfeldt during the g8 summit in l'aquila, italy july 8, 2009. reuters/stefano rellandini (italy
with only five months until a new u.n. climate pact is due to be agreed in copenhagen, climate change organizations said the g8 had left much work to be done and ducked key issues.
china and india resisted signing up for a global goal of halving greenhouse gas emissions by 2050. developing economies demanded rich nations commit to steeper short term reductions.
and while the 2 celsius goal was adopted for the first time by the united states, russia, japan and canada, it had already been agreed in 1996 by the european union and its g8 members germany, britain, france and italy.
the g8 statement also failed to pinpoint a base year for the 80 percent reduction — saying it should be “compared to 1990 or more recent years” — meaning the target was open to interpretation. “the world will recognize that today in italy werecognize have laid the foundations for a copenhagen deal that is ambitious, fair and effective,” said british prime minister gordon brown.
german chancellor angela merkel said the 2 celsius (3.6 fahrenheit) target, since pre-industrial times, was “clear progress” for the g8.
the g8 backed the creation of a global carbon trading market and a fund financed by rich nations to pay for technological change, but it fell short of the $100 billion a year advocated by britain’s brown and non-governmental groups.
“while agreeing to keep temperature rise to below 2 degrees rise celsius, without a clear plan, money and targets on how to do this the g8 leaders will not have helped to break the deadlock in the un climate negotiations,” said tobias muenchmeyer, greenpeace international political adviser.
china’s absence key
temperatures have already risen by about 0.7 celsius since the start of the industrial revolution ushered in widespread burning of fossil fuels, the main cause of warming according to the u.n. climate panel.
many developing nations also view two degrees as the threshold beyond which climate change will reach danger levels, with rising seas and more heatwaves, floods and droughts.
the temperature target was due to be included in a statement from the 17-member major economies forum (mef), which groups the g8 plus major developing economies, which will meet on thursday.
last minute talks to convince mef members to sign up to the goal of cutting world greenhouse gases by at least 50 percent by 2050 — adopted by the g8 last year — unraveled on tuesday.
delegates said the absence of chinese leader hu jintao, who flew home to deal with an outbreak of ethnic violence in western china, dashed hopes of an eleventh hour breakthrough.
“china’s not here so they cannot move anywhere: there will be no agreement tomorrow in the mef text on 50 percent. we will take this up again at the g20 when china is present,” said a senior european g8 source involved in the talks.
german chancellor angela merkel said emerging countries appeared willing to sign up to long-term emissions goals if rich nations would agree to tough targets by 2020. the g8 statement called for “robust” medium-target cutbacks, but gave no details.
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reɪd: pəˈlis sərʧ ə ˈprɑpərti ɪn roʊd ɪn ɔn ˈθərzˌdeɪ ˈæftər rɪˈpɔrts əv stɑk θɛft. ðeɪ riˈmuvd 15 ˈkætəl frəm ðə fɑrm. ˈpɪkʧər: mɑrk ˈʤɛsər θivz ər riˈmuvɪŋ tægz ənd ˈmɑrkɪŋz ənd ˈsɛlɪŋ ðə ˈkætəl ˈɔnˌlaɪn ɛz haɪ ˈpraɪsɪz meɪk ðə kraɪm mɔr ˈlukrətɪv. ˈsinjər ˈkɑnstəbəl ˈtrævɪs ˈkɛrəl sɛd ðə ˈpræktɪs wɑz ɔn ðə increase”*”. ˈɔfɪsərz ˈreɪdɪd ə fɑrm ɔn ˈθərzˌdeɪ ənd sizd ˈkætəl əˈlɛʤədli ˈteɪkən frəm ə ˈneɪbərɪŋ ˈprɑpərti. ə mæn wɪl bi ʧɑrʤd ɔn ˈsəmənz. ˈfɛrli ˈlukrətɪv fər ðoʊz hu wɔnt tɪ du ðə rɔŋ thing,”*,” ˈsinjər ˈkɑnstəbəl ˈkɛrəl sɛd. mɔr ðən ˈædəkwɪtli ɪkˈwɪpt wɪθ ðə tɛkˈnɑləʤi ənd ˈrisɔrsɪz tɪ ˌɪnˈvɛstəˌgeɪt ðiz ˈmætərz. wi wɪl ˈprɔˌsɛs ˈpipəl ɪf faʊnd əˈfɛndɪŋ ənd ˈstilɪŋ ˈlaɪvˌstɑk. ðɛr ər spɪˈsɪfɪk ɪn riˈleɪʃən tɪ ðə ˌɔltərˈeɪʃən əv ˈkætəl brændz ənd ðə rɪˈmuvəl əv tags.”*.” ˈdiˌɛˈneɪ ˈtɛstɪŋ kən bi juzd tɪ aɪˈdɛntəˌfaɪ ˈstoʊlən ˈlaɪvˌstɑk. ˈsinjər ˈkɑnstəbəl ˈkɛrəl sɛd ˈfɑrmərz wər ˈɔfən rɪˈləktənt tɪ rɪˈpɔrt səʧ θɛfts, bət sɛd ðeɪ kʊd bi əˈʃʊrd pəˈlis wʊd ˌɪnˈvɛstəˌgeɪt. hi ərʤd ˈfɑrmərz tɪ bi ˈvɪʤələnt ənd rɪˈpɔrt ˈɛni θɛfts. vɪkˈtɔriən ˈfɑrmərz ˌfɛdərˈeɪʃən brænʧ ˈprɛzɪdənt grɛg mɪrɑˈbɛlə sɛd θivz ˈɔfən ˈtɑrgətɪd ðɛr ˈneɪbərz. ə ˈvɛri ənˈfɔrʧənət θɪŋ ɪn ə kəmˈjunɪti wɪn ˈfɑrmərz ər duɪŋ ɪt təf already,”*,” hi sɛd. həz ə juʤ ˌɪmˈpækt. wɪθ ˈpipəl peɪɪŋ əˈbaʊt 1000 fər kævz, ə bɪg investment.”*.” ðə ˈstɔri stɑk θɛft spaɪk ɛz ˈpraɪsɪz bum fərst əˈpɪrd ɔn stɑk lænd.
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raid: police search a property in tooles road in wodonga on thursday after reports of stock theft. they removed 15 cattle from the farm. picture: mark jesser
thieves are removing tags and markings and selling the cattle online as high prices make the crime more lucrative. senior constable travis carroll said the practice was “definitely on the increase”.
officers raided a wodonga farm on thursday and seized cattle allegedly taken from a neighbouring property.
a 75-year-old wodonga man will be charged on summons. “it’s fairly lucrative for those who want to do the wrong thing,” senior constable carroll said.
“but we’re more than adequately equipped with the technology and resources to investigate these matters. we will process people if they’re found offending and stealing livestock. there are specific offences in relation to the alteration of cattle brands and the removal of tags.”
dna testing can be used to identify stolen livestock.
senior constable carroll said farmers were often reluctant to report such thefts, but said they could be assured police would investigate. he urged farmers to be vigilant and report any thefts.
victorian farmers federation wangaratta branch president greg mirabella said thieves often targeted their neighbours.
“it’s a very unfortunate thing in a community when farmers are doing it tough already,” he said.
“it has a huge impact. with people paying about $1000 for calves, that’s a big investment.”
the story stock theft spike as prices boom first appeared on stock & land.
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cryptocurrency* ˈpeɪmənt prəˈvaɪdər həz əˈnaʊnst nu ˌvɛrəfəˈkeɪʃən rulz sɛt tɪ goʊ ˈɪntu ˈifɛkt fər ˈjuzərz ɪn fræns. ɪn ˈrisənt mənθs, ðə frɛnʧ ˈgəvərnmənt həz ˈɪmpləˌmɛnəd tu dɪˈkriz wɪʧ wɪl hæv ən ˌɪmˈpækt ɔn ðə priˈpeɪd ˈdɛbɪt kɑrdz ˈɪʃud tɪ ˌɪndəˈvɪʤəwəlz wɪθ ˈrɛʤɪstərd ˈæˈdrɛsɪz ɪn fræns. ɪn ˈsəməri, ðiz dɪˈkriz əˈplaɪ tɪ ɔl priˈpeɪd kɑrdz ˈɪʃud tɪ ˌɪndəˈvɪʤəwəlz wɪθ ˈrɛʤɪstərd ˈæˈdrɛsɪz ɪn fræns wɪʧ: (ə) ər ˌriˈloʊdəbəl, (bi) əˈlaʊ fər ˈɔnˌlaɪn spɛnd, ər (si) əˈlaʊ fər kæʃ ˈækˌsɛs məst bi ˈrɛʤɪstərd tɪ ə ˈvɛrəˌfaɪd ˌɪndəˈvɪʤəwəl ənd ˈkænɑt hæv ə ˈbæləns ðət ɪkˈsidz æt ˈɛni taɪm. du tɪ ðə ˌkɛrɪktərˈɪstɪks əv ðə kɑrd, ðiz rulz wɪl əˈplaɪ tɪ kɑrdz wɪθ ˈrɛʤɪstərd ˈæˈdrɛsɪz ɪn fræns. ˈðɛrˌfɔr, ˈifɛktɪv meɪ 2017 ɪf aɪˌdɛntəfəˈkeɪʃən ˈdɑkjəmənts hæv nɑt bɪn ˈvɛrəˌfaɪd ər jʊr kɑrd ˈbæləns ɪkˈsidz ˈjuzərz kɑrdz wɪl bi muvd ˈɪntu səˈspɛndɪd ˈstætəs baɪ kɑrd ˈvɛndər. ɪf ə kɑrd ɪz muvd ˈɪntu səˈspɛndɪd ˈstætəs, ˈjuzərz wɪl nɑt bi ˈeɪbəl tɪ æd, spɛnd ər wɪθˈdrɔ fəndz ənˈtɪl ðə kɑrd həz bɪn ˈvɛrəˌfaɪd. ˌrɛkəˈmɛndz ðət ˈæktɪv ˈkɑrˌdhoʊldərz ɪnˈʃʊr ðət ðeɪ ər kəmˈplaɪənt wɪθ ðə nu rulz tɪ əˈvɔɪd ˈɛni dɪsˈrəpʃən tɪ ðɛr kɑrd ˌfəŋkʃəˈnælɪti ˈkɑrˌdhoʊldərz rɪˈzaɪdɪŋ ɪn fræns: ɪf ə ˈjuzər ɪz ə ˈkɑrˌdhoʊldər rɪˈzaɪdɪŋ ɪn fræns, ðeɪ stɪl məst səbˈmɪt aɪˈdɛntəˌti ˈdɑkjəmənts tɪ meɪnˈteɪn ˈækˌsɛs tɪ jʊr fəndz. ˌvɛrəfəˈkeɪʃən əv ˈdɑkjəmənts kən teɪk ˈbɪznɪs deɪz. ˈvɛrəˌfaɪd ˈkɑrˌdhoʊldərz rɪˈzaɪdɪŋ ɪn fræns: ɪf ɔˈrɛdi ˈvɛrəˌfaɪd, ˈnəθɪŋ nidz tɪ bi dən. ˌhaʊˈɛvər, ˈsteɪtɪd tɪ bi əˈwɛr ðət ˈbælənsɪz mɔr ðən ər nɑt əˈlaʊd.
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cryptocurrency payment provider uquid has announced new verification rules set to go into effect for users in france. in recent months, the french government has implemented two decrees which will have an impact on the prepaid debit cards issued to individuals with registered addresses in france.
in summary, these decrees apply to all prepaid cards issued to individuals with registered addresses in france which:
(a) are reloadable,
(b) allow for online spend, or
(c) allow for cash access must be registered to a verified individual and cannot have a balance that exceeds eur 10,000 at any time.
due to the characteristics of the uquid card, these rules will apply to cards with registered addresses in france.
therefore, effective 1st may 2017, if identification documents have not been verified or your card balance exceeds eur 10,000, users cards will be moved into suspended status by card vendor.
if a card is moved into suspended status, users will not be able to add, spend or withdraw funds until the card has been verified. uquid recommends that active cardholders ensure that they are compliant with the new rules to avoid any disruption to their card functionality
non-verified cardholders residing in france:
if a user is a non-verified cardholder residing in france, they still must submit identity documents to maintain access to your funds. verification of documents can take 5-10 business days.
verified cardholders residing in france:
if already verified, nothing needs to be done. however, uquid stated to be aware that balances more than eur 10,000 are not allowed.
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plæn tɪ rɪˈdus ʧaɪld woʊnt hɔlt ˈtɛksəs bɪl ˈlɛʤəsˌleɪʧər "ðæts ə stɛp ɪn ðə raɪt dɪˈrɛkʃɪn," sɛd rɛpriˈzɛtətɪv. ˈdeɪvɪd ˈsɪmpsən, r-longview*, bət hi sɛd hi plænz tɪ goʊ ˈfɔrwərd wɪθ hɪz bɪl, wɪʧ ɪz ˈskɛʤʊld tɪ bi kənˈsɪdərd baɪ ðə haʊs ɔn ˈfraɪˌdeɪ. "ðɪs ˌlɛʤəsˈleɪʃən ɪz goʊɪŋ tɪ prəˈtɛkt ˈpipəlz ˈdɪgnəti, ənd ɪts ən ˈɛfərt tɪ prəˈtɛkt ðɛr ˈfridəm tɪ ˈtrævəl." sɛn. dæn ˈpætrɪk, ðə ˈhjustən rɪˈpəblɪkən ˈkɛriɪŋ ðə ˈmɛʒər ɪn ðə ˈsɛnɪt, sɛd ˈbækərz' goʊl həz bɪn fər ðə "tɪ ˈlɪsən tɪ ðə ˈpipəl ənd ˈæˌdrɛs ðɪs ˈpɑləsi." "ɪf ˈfaɪtɪŋ ðə ˈfɛdərəl ˈgəvərnmənt wɪθ ɑr ˌlɛʤəsˈleɪʃən rɪˈzəltɪd ɪn ðɪs ʧeɪnʤ, ðɛn ðət ɪz ɑr fərst ˈvɪktəri," ˈpætrɪk sɛd baɪ iˈmeɪl. "ðeɪ naʊ nid tɪ ɛnd ðɪs prəˈsiʤər fər ðə rɪˈmeɪnɪŋ 2 pərˈsɛnt əv ðə flaɪɪŋ ˈpəblɪk hu kʊd stɪl bi səˈbʤɛktɪd tɪ ɪt." sɛd ɪn ə ˈsteɪtmənt ðət plænd ˈʧeɪnʤɪz rɪˈgɑrdɪŋ wʊd "gɪv sɪˈkjʊrəti ˈɔfɪsərz mɔr ˈɔpʃənz fər riˈzɑlvɪŋ ˈskrinɪŋ əˈnɑməliz wɪθ jəŋ ˈʧɪldrən" ənd ðət ɪt ɪz ˈwərkɪŋ tɪ ˈɪmpləmənt ðə dɪˈsɪʒən ɪn ˈɛrˌpɔrts. ˈspoʊksmən luis sɛd həz hæd ə "ˈmɑdəˌfaɪd pat-down*" fər ˈʧɪldrən ˈəndər 12 ənd ðət ədˈmɪnɪˌstreɪtər ʤɑn pɪˈstoʊleɪ ɪz ˈtɔkɪŋ əˈbaʊt ˈfərðər ˈʧeɪnʤɪz. ˌkæsəˈnoʊvɑ sɛd ðə ˈprɔˌsɛs ɪz biɪŋ dɪˈzaɪnd ənd wʊd bi ˈɪmpləˌmɛnəd "ɪn ðə ˈvɛri nɪr fˈjuʧər" bət kʊd gɪv noʊ mɔr ˈditeɪlz. "ðɪs dɪˈsɪʒən wɪl ˈəltəmətli rɪˈdus ðoʊ nɑt ɪˈlɪməˌneɪt əv ˈʧɪldrən," ðə ˈsteɪtmənt sɛd. ˈwərdɪŋ ɪz ˈkrɪtɪkəl ðə ˈtɛksəs ˌlɛʤəsˈleɪʃən, ɛz ˈdræftɪd, wʊd meɪk ɪt ə kraɪm əv əˈfɪʃəl əˈprɛʃən ɪf ˈfɛdərəl ɪmˈplɔɪiz pərˈfɔrm ə sərʧ ðət ˌɪnˈvɑlvz ˈtəʧɪŋ ə ˈpərsənz ˈpraɪvət pɑrts wɪˈθaʊt ˈprɑbəbəl kɔz tɪ bɪˈliv ðə ˈpərsən həz kəˈmɪtɪd ən əˈfɛns. ðə bɪl daɪd ɪn ðə ˈrɛgjələr ˈlɛʤəsˌleɪtɪv ˈsɛʃən ɪn ðə weɪk əv ˈwɔrnɪŋz frəm ˈfɛdərəl əˈfɪʃəlz ðət ɪt wʊd ˈkɑnflɪkt wɪθ ˈfɛdərəl lɔ ənd kʊd fɔrs flaɪt ˌkænsəˈleɪʃənz ɪf ðə ˈseɪfti əv ˈpæsənʤərz ənd kru kʊd nɑt bi əˈʃʊrd. gəv. rɪk ˈpɛri ˈædɪd ðə ˈmɛʒər, wɪʧ həz strɔŋ ˈbækɪŋ frəm ti ˈpɑrti ˈæktɪvɪsts, tɪ ðə ˈlɛʤəsˌleɪʧərz ˈspɛʃəl ˈsɛʃən əˈʤɛndə. lt*. gəv. ˈdeɪvɪd ˈdɛwərst æst ðə steɪt əˈtərni ˈʤɛnərəlz ˈɔfəs fər ˈgaɪdəns tɪ ɪnˈʃʊr ðə ˈmɛʒər ɪz ɪn laɪn wɪθ ðə juz. ˌkɑnstəˈtuʃən ənd ˈfɛdərəl lɔ. ðə əˈtərni ˈʤɛnərəlz ˈɔfəs səˈʤɛstɪd ˈwərdɪŋ tɪ meɪk klɪr ðət ˈoʊnli ˈfɛdərəl ˈeɪʤənts kʊd bi ˈsəbʤɪkt tɪ ˌprɑsəˈkjuʃən ɪf ðeɪ ˈvaɪəleɪt ˈtrævələrz' ˌkɑnstəˈtuʃənəl raɪts. ˈsɪmpsən sɛd hi plænd tɪ ˌɪnˈkɔrpərˌeɪt ðət ʧeɪnʤ ənd tɪ riˈwərd ðə ˈstændərd frəm "ˈprɑbəbəl kɔz" tɪ "ˈrizənəbəl səˈspɪʃən" ðət ˈsəmˌwən həz kəˈmɪtɪd ən əˈfɛns. dæn rɑˈdrigɛz, ə prəˈfɛsər hu ˈspɛʃəˌlaɪzɪz ɪn steɪt ənd ˈfɛdərəl ˌkɑnstəˈtuʃənəl lɔ æt ðə ˌjunəˈvərsəti əv ˈtɛksəs æt ˈɔstən, sɛd ðə bɪl ɛz ərˈɪʤənəli ˈdræftɪd wʊd ˈvaɪəleɪt ðə ˌkɑnstəˈtuʃən bɪˈkəz ðə ˈfɛdərəl ˈgəvərnmənt həz klɪr əˈθɔrəti ˈoʊvər ˌɪntərˈsteɪt ˌtrænspərˈteɪʃən. ˈʧeɪnʤɪŋ ðə bɪl ɛz ədˈvaɪzd baɪ ðə əˈtərni ˈʤɛnərəl tɪ ˈæˌdrɛs ˌkɑnstəˈtuʃənəl kˈwɛsʧənz wʊd meɪk ðə ˌlɛʤəsˈleɪʃən "ˈhoʊli ˌɪˈrɛləvənt" ɪkˈsɛpt ɛz ə sɪmˈbɑlɪk ˈsteɪtmənt, sɪns ˈsəmˌwən huz ˌkɑnstəˈtuʃənəl raɪts ər ˈvaɪəleɪtɪd ɔˈrɛdi wʊd hæv ə kɔz əv ˈækʃən əˈgɛnst ðə ˈgəvərnmənt, rɑˈdrigɛz sɛd. wɪθ ðoʊz ˈʧeɪnʤɪz, hi sɛd, "ɪts noʊ ˈlɔŋgər ən ˌənˌkɑnstəˈtuʃənəl ˈstæʧut. ɪts ʤɪst ə ˈstæʧut ðət ˈrɪli həz noʊ ˌɪmˈpɔrtənt, ˈpræktɪkəl ˈpərpəs." ˈsɪmpsən dɪsəˈgrid, ˈsaɪtɪŋ hɪz ˈoʊvərˌɔl vju əv ðə: "wi doʊnt bɪˈliv ðət ˈtəʧɪŋ ˈpraɪvət pɑrts wɪˈθaʊt ˈrizənəbəl səˈspɪʃən ər ˈprɑbəbəl kɔz ɪz ˌkɑnstəˈtuʃənəl." rɪˈspɑns əˈfɪʃəlz, ɪn ə ˈsteɪtmənt ˈərliər ðɪs wik, sɛd ðə ˈeɪʤənsi ɪz ˈmɑnətərɪŋ ðə ˈtɛksəs ˌlɛʤəsˈleɪʃən. "əˈmɛrɪkənz ɪkˈspɛkt ðə ˈfɛdərəl ˈgəvərnmənt tɪ juz ˈifɛktɪv ˈmɛθədz tɪ kip ðə ˈtrævəlɪŋ ˈpəblɪk seɪf frəm ɪˈvɑlvɪŋ θrɛts noʊ ˈmætər wət steɪt ðeɪ ˈhæpən tɪ ˈtrævəl ɪn," ðə əˈfɪʃəlz sɛd. "wi wɪl ˈkɛrfəli ˌrivˈju ðə bɪl ðət ðə ˈlɛʤəsˌleɪʧər brɪŋz ˈfɔrwərd," ðə ˈsteɪtmənt kənˈtɪnjud. "ʃʊd ə bɪl pæs ðət ˈlɪmɪts ðə əˈbɪləˌti əv ənd ɪts ɪmˈplɔɪiz tɪ pərˈfɔrm ɪts riˌspɑnsəˈbɪlətiz ənd ˈʤɛpərˌdaɪzɪz ðə ˈseɪfti əv ðə ˈpəblɪk, wi wɪl teɪk ˌwəˈtɛvər ˈligəl ˈækʃən ɪz əˈproʊpriˌeɪt tɪ ɪnˈʃʊr ˈtrævələrz ər seɪf wɪn ðeɪ flaɪ frəm ˈtɛksəs ər ˈɛni ˈəðər steɪt."
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plan to reduce child pat-downs won't halt texas tsa bill 82nd legislature
"that's a step in the right direction," said rep. david simpson, r-longview, but he said he plans to go forward with his bill, which is scheduled to be considered by the house on friday. "this legislation is going to protect people's dignity, and it's an effort to protect their freedom to travel."
sen. dan patrick, the houston republican carrying the measure in the senate, said backers' goal has been for the tsa "to listen to the people and address this policy."
"if fighting the federal government with our legislation resulted in this change, then that is our first victory," patrick said by email. "they now need to end this procedure for the remaining 2 percent of the flying public who could still be subjected to it."
tsa said in a statement that planned changes regarding pat-downs would "give security officers more options for resolving screening anomalies with young children" and that it is working to implement the decision in airports.
spokesman luis casanova said tsa has had a "modified pat-down" for children under 12 and that administrator john pistole is talking about further changes. casanova said the process is being designed and would be implemented "in the very near future" but could give no more details.
"this decision will ultimately reduce - though not eliminate - pat-downs of children," the tsa statement said.
wording is critical
the texas legislation, as drafted, would make it a crime of official oppression if federal employees perform a search that involves touching a person's private parts without probable cause to believe the person has committed an offense.
the bill died in the regular legislative session in the wake of warnings from federal officials that it would conflict with federal law and could force flight cancellations if the safety of passengers and crew could not be assured.
gov. rick perry added the measure, which has strong backing from tea party activists, to the legislature's special session agenda. lt. gov. david dewhurst asked the state attorney general's office for guidance to ensure the measure is in line with the u.s. constitution and federal law.
the attorney general's office suggested wording to make clear that only federal agents could be subject to prosecution if they violate travelers' constitutional rights.
simpson said he planned to incorporate that change and to reword the standard from "probable cause" to "reasonable suspicion" that someone has committed an offense.
dan rodriguez, a professor who specializes in state and federal constitutional law at the university of texas at austin, said the bill as originally drafted would violate the constitution because the federal government has clear authority over interstate transportation.
changing the bill as advised by the attorney general to address constitutional questions would make the legislation "wholly irrelevant" except as a symbolic statement, since someone whose constitutional rights are violated already would have a cause of action against the government, rodriguez said.
with those changes, he said, "it's no longer an unconstitutional statute. it's just a statute that really has no important, practical purpose."
simpson disagreed, citing his overall view of the pat-downs: "we don't believe that touching private parts without reasonable suspicion or probable cause is constitutional."
tsa response
tsa officials, in a statement earlier this week, said the agency is monitoring the texas legislation. "americans expect the federal government to use effective methods to keep the traveling public safe from evolving threats - no matter what state they happen to travel in," the officials said.
"we will carefully review the bill that the legislature brings forward," the statement continued. "should a bill pass that limits the ability of tsa and its employees to perform its responsibilities and jeopardizes the safety of the public, we will take whatever legal action is appropriate to ensure travelers are safe when they fly from texas or any other state."
pfikac@express-news.net
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**ˈəpˌdeɪt**: ˈoʊvər ðə ˈwiˌkɪnd ðɪs ˈsɪriz əv wɛnt ˈɪntu sˈlaɪtli mɔr ˈditeɪl əˈbaʊt ðɪs (ənd pəˈtɛnʃəli θɪŋz tɪ kəm) æt kɔr tim ˈmɛmbərz ˈgɑdfri ʧæn ənd jəˈhudə kæts ənˈveɪld səm ˈæˌspɛkts əv ðə nu ˈɪnʤən ðət wɪl paʊər ˈɛmbər ˈtɛmplət ˈrɛndərɪŋ: ðə tɔk ˌɪtˈsɛlf kənˈteɪnd səm əˈmaʊnt əv ˈmæʤɪkəl hænd ˈweɪvɪŋ (ər wət wi ˈtɛknɪkəli rɪˈfər tɪ ɪn ðə ˈɪndəstri ɛz "æbˈstrækʃənz"), bət ɪt ˌfəndəˈmɛnəli ˌɪntrəˈdust tɪ ˈjuˈɛs ðə dɪˈzaɪn dɪˈsɪʒənz ðət wʊd əˈlaʊ ˈglɪmər tɪ (əˈlɛʤədli) əˈʧiv ˈrɛndərɪŋ. ˈtɛmplət pɑrt əv ðə ˈmæʤɪk laɪz ɪn ðə ˈsɛkənd hæf əv ðə ˈspikər dɛk, wɪʧ dɪˈskraɪbz haʊ: ər æt tɪ ə məʧ ˈlinər waɪər ˈfɔrˌmæt fər sˈmɔlər ˈæˌsɛt ˈbəndəlz. ðə waɪər ˈfɔrˌmæt ɪz ðɛn ˈlæzəli pɑrst ənd ɪˈvæljuˌeɪtəd ˈdʊrɪŋ (jit-compiled*) ˈɪntu ə ˈhaɪli. ðə ɪz ðɛn ˈrɛndərd ɪn ə ˈkəstəm ˈɪntu ˌɑpərˈeɪʃənz ðət ˈaʊtˌpʊt ˈrɛgjələr dɑm noʊdz. ɛˈsɛnʃəli, ˈgɑdfri ənd jəˈhudə hæv ˈhaɪli ˈɛvəri ˈsɪŋgəl stɛp ɪn ðə kənˈvərʒən əv səm {{ˈməˌstæʃ}} ˈɪntu ðɛr ˌkɔrəˈspɑndɪŋ dɑm noʊdz. ðɪs ɪz ɔl ˈvɛri kul sɪns ðɛrz ˈnəθɪŋ ðət æp dɪˈvɛləpərz nid tɪ ˈæˌkʧuəli du tɪ geɪn ðə ˈbɛnəfɪts frəm ɔl əv ðiz. ɪt ʃʊd, əˈkɔrdɪŋ tɪ ðɛm, ʤɪst wərk (tm*). ðə ˈprɑbləm ðeɪ ðəs sɛt aʊt tɪ sɑlv ɪz tɪ brɪʤ ðə gæp bɪtˈwin ðə ˈtɛmplət ˈkɑnsɛpt, ənd ðə ˈfəŋkʃənəl bət ˈʤɑvəˌskrɪpt ˈdætə ˈikoʊˌsɪstəm. ˈdætə daʊn? mɔr ˈɪntəˌrɛstɪŋli, ðeɪ ˈstɑrtɪd baɪ kənfˈjuzɪŋ ˈjuˈɛs leɪɪŋ aʊt ðə kənˈsɛpʧuəl ˈfreɪmˌwərk ðət ər ɛˈsɛnʃəli pjʊr ˈfəŋkʃənz fər trænsˈfɔrmɪŋ səm ˈɪnˌpʊt ˈdætə ˈɪntu səm ˈaʊtˌpʊt. ðə ˈprɑbləm, ˌhaʊˈɛvər, ɪz ðət ˈʤɑvəˌskrɪpt həz ˈnɛvər bɪn ˈtruli ˈfəŋkʃənəl ðə weɪ ðət ðə lɪsp ˈlæŋgwɪʤɪz hæv bɪn. biɪŋ ˈeɪbəl tɪ kriˈeɪt vɑrz ɪn ˈɔrdər tɪ stɔr ˌɪnərˈmidiɪt ˈaʊtˌpʊts əv ə ˈfəŋkʃən əˈlaʊz ˈjuˈɛs tɪ prəˈsiʤərəli ˌdɪˈsaɪd haʊ tɪ ʧeɪn strim ˈfəŋkʃənz təˈgɛðər, wɪn tɪ pɔz ðiz strimz (baɪ ˈstɔrɪŋ ðə ˌɪnərˈmidiɪt ˈaʊtˌpʊts ˈɪntu ˈvɛriəbəlz) ənd ðɛn, æt səm pɔɪnt ɪn ðə fˈjuʧər, ˈrɛzəˌmeɪ sɛd strimz. ðiz ˌɪnərˈmidiɪt steɪts, ˌhaʊˈɛvər, kən ˈminˌwaɪl bi ˈmɑdəˌfaɪd baɪ ˈəðər (ɔˈkeɪʒənəˌli ɪkˈstərnəl) ˈfəŋkʃənz ðət ˈɔfən rɪˈzəlt ɪn ðə ˈspuki ˈækʃən æt ə ˈdɪstəns klæs əv bəgz. ˈɛvəri taɪm ju ˈmɑdəˌfaɪ ˈdætə ˈjuzɪŋ ðə ðɪs ˈpɔɪntər, jʊr ˈlivɪŋ ðə rɛlm əv ðə ˈpjʊrli ˈfəŋkʃənəl. ðə ˈprɑbləm ðeɪ ðəs sɛt aʊt tɪ sɑlv ɪz tɪ brɪʤ ðə gæp bɪtˈwin ðə ˈtɛmplət ˈkɑnsɛpt, ənd ðə ˈfəŋkʃənəl bət ˈʤɑvəˌskrɪpt ˈdætə ˈikoʊˌsɪstəm. ˈæbˌstrækt ˈrɛfərənsɪz tɪ du ðɪs, ðeɪ ˌɪntrəˈdus ðə ˈkɑnsɛpt əv ðə ˈrɛfərəns, wɪʧ ɪz ɛˈsɛnʃəli ən ˈɑbʤɛkt ðət ræps ə ˈprɪmɪtɪv ˈvælju wɪθ ə ˈgɛtər; ˌɪnˈstɛd əv ˈækˌsɛsɪŋ ə pis əv ˈdætə dɪˈrɛkli, ˈrɛfərənsɪz tɪ səʧ ˈdætə. ðɪs saʊnz mɔr ˈkɑmpləˌkeɪtəd ðən ɪt ˈrɪli ɪz; ɪn fækt, ɪf jʊr ə ˈʤɑvəˌskrɪpt dɪˈvɛləpər, ju ɔˈrɛdi noʊ haʊ wət ˈrɛfərənsɪz ər: wi ʤɪst kɔl ðɛm "ˈvɛriəbəlz". wɪn ju raɪt fu bɑr bæt, jʊr kriˈeɪtɪŋ ən ɪkˈsprɛʃən ðət səmz ðə ˈvæljuz əv ðə ˈrɛfərənsɪz (ˈvɛriəbəlz) "bɑr" ənd "bæt" ɪn ˈɔrdər tɪ noʊ wət tɪ stɔr ˈɪntu fu, wi hæv tɪ noʊ ðə ˈvæljuz əv bɑr ənd bæt æt ðə taɪm ðɪs ɪkˈsprɛʃən ɪz ɪˈvæljuˌeɪtəd. wət dɪz ɪz teɪk ðɪs æbˈstrækʃən wən ˈlɛvəl haɪər: ˌɪnˈstɛd əv kənˈsumɪŋ ˈʤɑvəˌskrɪpt ɛz ˈdætə, ðə ˈtɛmplət ˌɑpərˈeɪʃənz ˈoʊnli dil wɪθ ˈrɛfərənsɪz, dɪˈfərɪŋ ðə ɪˌvæljuˈeɪʃən əv ðɛr ˈvæljuz tɪl ˈleɪtər: . ɪf jʊr ə ˈʤɑvəˌskrɪpt dɪˈvɛləpər, ju ɔˈrɛdi noʊ haʊ wət ˈrɛfərənsɪz ər: wi ʤɪst kɔl ðɛm "ˈvɛriəbəlz" ˈleɪzi ɪˌvæljuˈeɪʃən bɪˈkəz wɪr ʤɪst ˈpæsɪŋ əraʊnd ðiz ˈrɛfərənsɪz, wi doʊnt ˈæˌkʧuəli nid tɪ ˈkælkjəˌleɪt ðɛr ˈvæljuz ənˈtɪl ˌæbsəˈlutli ˈnɛsəˌsɛri. ɪf ðiz ˌkælkjəˈleɪʃənz ər ˈvɛri ˌkɑmpjəˈteɪʃən ˈhɛvi, ðɛn wɪr dɪˈleɪɪŋ ðoʊz ˌkɑmpjuˈteɪʃənz ənˈtɪl ðə pɔɪnt raɪt ˌbiˈfɔr ðət ˈpɔrʃən əv ðə ˈtɛmplət wɪl bi ˈrɛndərd: ənd ˈoʊnli nid tɪ bi ɪˈvæljuˌeɪtəd ɪf ɪz ɪˈvæljuˌeɪtəd. ɪf ðə ˈtɛmplət ˈiðər ər ɪn ə kənˈdɪʃənəl, ðɛn ˈoʊnli wən əv ðoʊz tu ˈrɛfərənsɪz wɪl ˈæˌkʧuəli bi ɪˈvæljuˌeɪtəd. ˈpʊlɪŋ ˈvæljuz ˌɪnˈstɛd əv ˈpʊʃɪŋ ðɛm ə ki ˈfæktər ɪn ðɪs dɪˈzaɪn, ɪz ðət ɪt əˈlaʊz ˈjuˈɛs tɪ ˈkɑnvərt ðə ɪnˈtaɪər pɑrt əv tɪ juz ə pʊl ˈsɪstəm ˈrəðər ðən ə pʊʃ wən. jʊr ɔˈrɛdi fəˈmɪljər wɪθ ðə pʊʃ ˈmɑdəl bɪˈkəz ðæts haʊ ðə dɑm ɪˈvɛnt ˈmɑdəl wərks: wɪn ju wɔnt tɪ ˈhændəl ə klɪk ɪˈvɛnt, ju səbˈskraɪb tɪ ɪt ˈjuzɪŋ soʊ ðət wɪn ə ˈjuzər klɪks jʊr ˈbətən, ðə ɪˈvɛnt ˈɑbʤɛkt gɪts pʊʃt ˈɪntu jʊr ˈhændələr, ənd ðɛn pʊʃt əp ðə dɑm tri (ˈprɑpəˌgeɪtɪd) ənˈtɪl ðə rut ˈɛləmənt. jʊr ˈɔlsoʊ fəˈmɪljər wɪθ ðɪs bɪˈkəz ðæts haʊ kəmˈpjutɪd ˈprɑpərtiz wərk təˈdeɪ: wɪn ju dɪˈfaɪnd fu tɪ bi ə kəmˈpjutɪd ˈprɑpərti əv bɑr ənd bæt, jʊr ɛˈsɛnʃəli seɪɪŋ "ɔn bɑr ʧeɪnʤ, ˈɔlsoʊ ʧeɪnʤ fu" ənd "ɔn bæt ʧeɪnʤ, ˈɔlsoʊ ʧeɪnʤ fu". wɪθ ˈrɛfərəns ˌkɑmpəˈzɪʃənz, ˈæˌkʧuəli ðɪs ˈlɑʤɪk: "ɔn gɪt fu, ˈɔlsoʊ gɪt ðə ðə ˈvæljuz əv bɑr ənd bæt (bət ˈoʊnli ɪf ˈnɛsəˌsɛri)". ənd ˈdərti ˈʧɛkɪŋ naʊ, ju meɪ bi ˈθɪŋkɪŋ: weɪt, wət ɪf ˈoʊnli bɑr ˈʧeɪnʤɪz bət nɑt bæt? ðæts wɛr ðə ˈbrɪljəns əv kəmz ɪn. ɛˈsɛnʃəli, ɔgˈmɛnt ˈrɛfərənsɪz wɪθ ə ˌvæləˈdeɪʃən ˈmɛθəd ðət əˈlaʊz ðə ˈɪnʤən tɪ ˈiðər rɪˈtərn ə ˈpriviəsli ˈkælkjəˌleɪtɪd ˈvælju ɪf ɪt ɪz nɑt ˈdərti, ər riˈdu ðə ˌkælkjəˈleɪʃən əˈgɛn. ənd ˈriˌkɔl, ɔl əv ðɪs ɪz mut ɪf noʊ ˈlɔŋgər nidz tɪ bi kəmˈpjutɪd. haʊ ðeɪ du ðɪs ɪz ˈbeɪsɪkli baɪ meɪnˈteɪnɪŋ ə ˈloʊkəl ənd ˈgloʊbəl stæmp, ənd kəmˈpɛrɪŋ ðə stæmps ˈdʊrɪŋ ˌvæləˈdeɪʃən tɪ dɪˈtərmən ɪf ðeɪ ər ðə seɪm. ɪf ðeɪ ər, ðə ˈvælju əbˈteɪnd ɪz nɑt ˈdərti ənd wi kən ðə ˌkælkjəˈleɪʃən. ðɛrz ə ˈlɪtəl bɪt əv ˈmæʤɪkəl goʊɪŋ ɔn hir tu, bət ɪts nɑt ðət ˌɪmˈpɔrtənt ðət wi noʊ ðə əv haʊ ˌvæləˈdeɪʃən ɪz dən. wət ɪz ˌɪmˈpɔrtənt, ˌhaʊˈɛvər, ɪz ðət bɪˈkəz dɪˈfaɪnz səʧ ə ˌvæləˈdeɪʃən ˈɪnərˌfeɪs ənd kənˈsɪstəntli əˈplaɪz ɪt əˈkrɔs ɔl ˈrɛfərənsɪz, ðə ˈbɛnəfɪt əv nɑt ˈnidɪŋ tɪ ɪˈvæljuˌeɪt mɔr ˈkɑmplɛks ˈrɛfərənsɪz kˈwɪkli ˈaʊtˌweɪz ðə pərˈfɔrməns ˈoʊvərˈhɛd əv duɪŋ ðə ˌvæləˈdeɪʃən. wɪθ ˈrɛfərəns ˌkɑmpəˈzɪʃənz, ˈæˌkʧuəli ðɪs ˈlɑʤɪk: "ɔn gɪt fu, ˈɔlsoʊ gɪt ðə ðə ˈvæljuz əv bɑr ənd bæt (bət ˈoʊnli ɪf ˈnɛsəˌsɛri)" soʊ wət? ðə ˈikoʊˌsɪstəm əv ˈʤɑvəˌskrɪpt təˈdeɪ ɪz fɪld wɪθ ˈmɑdəlz. aɪv ˈɔlˌweɪz faʊnd ðɪs tɪ bi ˈmæsɪvli ˌdɪskənˈsərtɪŋ bɪˈkəz wɪn ˈɛni səbˈskraɪbər kən səbˈskraɪb tɪ ˈɛni ˈpəblɪʃər, ðə steɪt əv ðə wərld ɪz ˈhaɪli dɪˈpɛndənt ɔn wət ˈpəblɪʃərz du. jɛt aɪˈrɑnɪkli, ˈpəblɪʃərz hæv noʊ aɪˈdiə wət ˈhæpənz tɪ ðə rɛst əv ðə ˈsɪstəm wɪn ðeɪ du ˈpəblɪʃ ən ɪˈvɛnt. səˈpɔrtərz əv ˈsɪstəmz ˈhaɪˌlaɪt ðə diˈkəplɪŋ əv səbˈskraɪbərz ənd ˈpəblɪʃərz ɛz ə ki ˈbɛnəfɪt; bət aɪ ˈɑrgju ðət ðiz ˈsɪstəmz ər nɑt riˈmuvɪŋ ðə kənˈsərnz əv dɪˈpɛndənsi, ðɛr ʤɪst ˈmuvɪŋ ɪt ˈɪntu ðə ənˈtreɪsəbəl, ɪˈθɪriəl speɪs əv ðə ˈʧænəl. ənd wɪn səbˈskraɪbərz ˈɔlsoʊ bɪˈkəm ˈpəblɪʃərz, wi kˈwɪkli dɪˈvɑlv ˈɪntu ðə ˈsərkjələr hɛl wi noʊ təˈdeɪ ɛz ˈtuˌweɪ ˈdætə ˈbaɪndɪŋ. ðɪs pʊl beɪst ˈsɪstəm ðət ˈgɑdfri ənd jəˈhudə ər ˈbɪldɪŋ meɪks ə lɔt mɔr sɛns sɪns ðɛrz ˈɔlˌweɪz ə klɪr ˈdætə floʊ ðət stɛmz nɑt frəm ðə ˈɔrəʤən əv ə pʊʃ rɪkˈwɛst (wɪʧ kən kəm frəm ˈɛniˌwɛr), bət frəm ðə ˈaʊtˌkəm əv ə pʊl rɪkˈwɛst (wɪʧ ɪz ˈɔlˌweɪz noʊn sɪns ðə θɪŋ ˈmeɪkɪŋ ðə rɪkˈwɛst ɪz ðə ˈaʊtˌkəm). ɪf ju wərk wɪθ ˈbrɑkəli, ðæts ɛˈsɛnʃəli haʊ ˈbrɑkəli wɔks θru jʊr triz: ɪt stɑrts æt ðə ɛnd ənd wɔks ˈbækwərdz soʊ ɪt noʊ wɛr tɪ stɑp wɪn dɪˈpɛndənt ˈvæljuz ˈhævənt ʧeɪnʤd. ɪz ɪkˈsaɪtɪŋ nɑt bɪˈkəz ɪt meɪks ɑr vju leɪər ˈfæstər. ɪts ɪkˈsaɪtɪŋ bɪˈkəz ɪt ˌfəndəˈmɛnəli ˈʧeɪnʤɪz ðə weɪ wi θɪŋk əˈbaʊt haʊ ˈdætə floʊz θru ɑr, ənd dɪz soʊ ˈjuzɪŋ ðə dɪˈsɛptɪvli ˈsɪmpəl ˈkɑnsɛpt əv ðə ˈvælədeɪtəd ˈrɛfərəns. ˈɛndləs ˌpɑsəˈbɪlətiz æt ðə stɑrt əv ðɪs ˈɑrtɪkəl, aɪ ˈhaɪˌlaɪtɪd ðə ˈsɛkənd hæf əv ðɛr ˌprɛzənˈteɪʃən fərst, ɪn pɑrt bɪˈkəz ɪt simd ˈiziər tɪ ˌəndərˈstænd, əˈspɛʃəli wɪn soʊld ɛz ʤɪst ə bənʧ əv. ɪts noʊ mɪˈsteɪk, ˌhaʊˈɛvər, ðə ˈɔrdər ɪn wɪʧ ˈgɑdfri ənd jəˈhudə leɪd aʊt ðɛr ˌprɛzənˈteɪʃən. ˈteɪkɪŋ boʊθ hævz ɪn ˈkɑnsərt, wi kən stɑrt tɪ ˌəndərˈstænd haʊ ðɪs dɪˈsɛptɪvli ˈsɪmpəl ˈsɪstəm ɪz ˌɪˈmɛnsli ˈpaʊərfəl. baɪ kənˈvərtɪŋ ˈhændəlˌbɑrz ˈɪntu ˈmɪnətli ɪˈfɪʃənt ənd ˈɔrdərd ˌɑpərˈeɪʃənz fər dɑm kriˈeɪʃən ðət dɪˈpɛnd ɔn ən ˈdætə floʊ, ɪz ˈeɪbəl tɪ dɪˈtərmən wɪʧ pɑrt əv ðə ˈrɛndərd mæps tɪ wɪʧ ənd ˈðəsli wɪʧ (pɑrt əv wɪʧ) ˈtɛmplət. wət ðeɪv ɛˈsɛnʃəli dən, ðɛn, ɪz tɪ kriˈeɪt ə daɪˈnæmɪk ˈsɪstəm fər rɪˈvərs ˈɛnʤəˈnɪrɪŋ: ˈgɪvɪn ə ˌpɑˈtɪkjələr dɑm ˈstrəkʧər (ˈaʊtˌpʊt), ənd ə ˈɪnˌpʊt ˈdeɪtəˌsɛt, ðə ˈɪnʤən kən ˈrɛkriˌeɪt ðə steɪt əv iʧ kəmˈpoʊnənt ənd ˈtɛmplət ɪn jʊr æp. ənd ðɛn wərk ɪn ˈkɑnsərt tɪ ˈrɛndər ɑr æp ˈsərvər saɪd, trænzˈmɪt ɪt ˈoʊvər ðə waɪər, ənd ˈrɛkriˌeɪt ðə æp steɪt frəm ðə ˈrɛndərd, ˈpeɪvɪŋ ðə weɪ fər ˈjuˈɛs tɪ əˈʧiv tru ˌjunəvərˈsæləti ɪn ɑr ˈʤɑvəˌskrɪpt ˌæpləˈkeɪʃənz.
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**update**: over the weekend this series of tweets went into slightly more detail about this (and potentially things to come)
at emberconf2016, ember.js core team members godfrey chan and yehuda katz unveiled some aspects of the new glimmer2 engine that will power ember template rendering:
the talk itself contained some amount of magical hand waving (or what we technically refer to in the industry as "abstractions"), but it fundamentally introduced to us the design decisions that would allow glimmer to (allegedly) achieve 60fps rendering.
template optimisations
part of the magic lies in the second half of the speaker deck, which describes how:
templates are pre-compiled at build-time to a much leaner wire format for smaller asset bundles. the wire format is then lazily parsed and evaluated during run-time (jit-compiled) into a highly optimised opcode. the opcode is then rendered in a custom vm into memoized operations that output regular dom nodes.
essentially, godfrey and yehuda have highly optimised every single step in the conversion of some {{mustache}} into their corresponding dom nodes. this is all very cool since there's nothing that app developers need to actually do to gain the benefits from all of these optimisations. it should, according to them, just work (tm).
the problem they thus set out to solve is to bridge the gap between the functionally-reactive template concept, and the functional but non-reactive javascript data ecosystem.
data down?
more interestingly, they started by confusing us laying out the conceptual framework that templates are essentially pure functions for transforming some input data into some output html. the problem, however, is that javascript has never been truly functional the way that the lisp languages have been.
being able to create vars in order to store intermediate outputs of a function allows us to procedurally decide how to chain / stream functions together, when to pause these streams (by storing the intermediate outputs into variables) and then, at some point in the future, resume said streams. these intermediate states, however, can meanwhile be modified by other (occasionally external) functions that often result in the spooky action at a distance class of bugs. every time you modify data using the this pointer, you're leaving the realm of the purely functional.
the problem they thus set out to solve is to bridge the gap between the functionally-reactive template concept, and the functional but non-reactive javascript data ecosystem.
abstract references
to do this, they introduce the concept of the reference, which is essentially an object that wraps a primitive value with a getter; instead of accessing a piece of data directly, glimmer2 accesses references to such data. this sounds more complicated than it really is; in fact, if you're a javascript developer, you already know how what references are: we just call them "variables".
when you write var foo = bar + bat, you're creating an expression that sums the values of the references (variables) "bar" and "bat" in order to know what to store into foo, we have to know the values of bar and bat at the time this expression is evaluated.
what glimmer2 does is take this abstraction one level higher: instead of consuming javascript primitives as data, the template operations only deal with references, deferring the evaluation of their values till later: fooreference = barreference + batreference.
... if you're a javascript developer, you already know how what references are: we just call them "variables"
lazy evaluation
because we're just passing around these references, we don't actually need to calculate their values until absolutely necessary. if these calculations are very computation heavy, then we're delaying those computations until the point right before that portion of the template will be rendered: barreference and batreference only need to be evaluated if fooreference is evaluated. if the template accesses either barreference or batreference in a conditional, then only one of those two references will actually be evaluated.
pulling values instead of pushing them
a key factor in this design, is that it allows us to convert the entire data-down part of ddau to use a pull system rather than a push one.
you're already familiar with the push model because that's how the dom event model works: when you want to handle a click event, you subscribe to it using addeventlistener so that when a user clicks your button, the event object gets pushed into your handler, and then pushed up the dom tree (propagated) until the root element.
you're also familiar with this because that's how computed properties work today: when you defined foo to be a computed property of bar and bat, you're essentially saying "on bar change, also change foo" and "on bat change, also change foo".
with reference compositions, glimmer2 actually inverts this logic: "on get foo, also get the the values of bar and bat (but only if necessary)".
validations and dirty checking
now, you may be thinking: wait, what if only bar changes but not bat? that's where the brilliance of validators comes in. essentially, validators augment references with a validation method that allows the engine to either return a previously calculated value if it is not dirty, or redo the calculation again. and recall, all of this is moot if fooreference no longer needs to be computed.
how they do this is basically by maintaining a local and global lastmodified stamp, and comparing the stamps during validation to determine if they are the same. if they are, the value obtained is not dirty and we can short-circuit the calculation. there's a little bit of magical hand-waving going on here too, but it's not that important that we know the internals of how validation is done.
what is important, however, is that because glimmer2 defines such a validation interface and consistently applies it across all references, the benefit of not needing to evaluate more computationally complex references quickly outweighs the performance overhead of doing the validation.
with reference compositions, glimmer2 actually inverts this logic: "on get foo, also get the the values of bar and bat (but only if necessary)"
so what?
the ecosystem of javascript today is filled with push-based event-driven models. i've always found this to be massively disconcerting because when any subscriber can subscribe to any publisher, the state of the world is highly dependent on what publishers do. yet ironically, publishers have no idea what happens to the rest of the system when they do publish an event.
supporters of pub/sub systems highlight the decoupling of subscribers and publishers as a key benefit; but i argue that these systems are not removing the concerns of dependency, they're just moving it into the untraceable, ethereal space of the pub/sub channel. and when subscribers also become publishers, we quickly devolve into the circular hell we know today as two-way data binding.
this pull based system that godfrey and yehuda are building makes a lot more sense since there's always a clear unidirectional data flow that stems not from the origin of a push request (which can come from anywhere), but from the outcome of a pull request (which is always known since the thing making the request is the outcome). if you work with broccoli, that's essentially how broccoli walks through your trees: it starts at the end and walks backwards so it know where to stop when dependent values haven't changed.
glimmer2 is exciting not because it makes our view layer insanely faster. it's exciting because it fundamentally changes the way we think about how data flows through our templates, and does so using the deceptively simple concept of the validated reference.
endless possibilities
at the start of this article, i highlighted the second half of their presentation first, in part because it seemed easier to understand, especially when sold as just a bunch of optimisations. it's no mistake, however, the order in which godfrey and yehuda laid out their presentation.
taking both halves in concert, we can start to understand how this deceptively simple system is immensely powerful. by converting handlebars templates into minutely efficient and ordered operations for dom creation that depend on an output-driven pull-based data flow, glimmer2 is able to determine which part of the rendered html maps to which opcode and thusly which (part of which) template.
what they've essentially done, then, is to create a dynamic system for reverse engineering: given a particular dom structure (output), and a input dataset, the engine can recreate the state of each component and template in your app. fastboot and glimmer2 then work in concert to render our app server side, transmit it over the wire, and recreate the app state from the rendered html, paving the way for us to achieve true universality in our javascript applications.
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hi ˈprɑbəˌbli ˈwʊdənt hæv tɪ mit ˈməldər ɪn ˈpərsən, bət ˈɛvriˌθɪŋ ɛls wʊd hæv bɪn ðə seɪm. hi wʊd hæv ˈstoʊlən ɪt ɔn ə θəm draɪv, pləgd ɪn ˈɪntu ə ˈlæpˌtɑp ɪn ə ˈpəblɪk ˈwiˌfi, ənd juzd ən əˈnɑnəməs iˈmeɪl ˈsərvɪs ˈviə tɔr tɪ sɛnd ɪt. ˈɪntərˌnɛt spidz ər ˈfæstər, soʊ ənˈlɛs hiz ˈsɛndɪŋ ə ˈmæsɪv kæˈʃeɪ, hi kʊd hæv iˈmeɪld ɪt təˈdeɪ. ðɛn hi wʊd hæv waɪpt ðə ˈlæpˌtɑp, ˌriɪnˈstɑld ɪt wɪθ ˈsəmθɪŋ ɛls, θroʊn aʊt ðə θəm draɪv, ənd ˈnɛvər təʧt ˈɛni əv ðət ʃɪt əˈgɛn. hid hæv wɔrn ə ˈbeɪsˈbɔl kæp ənd ʤəˈnɛrɪk ˈkloʊðɪŋ, ɛz nɑt tɪ bi wɛl ˈvɪzəbəl ɔn ˈkæmərəz, ˈʧæntɪd ˈkloʊðɪŋ ɪn ə ˈbæθˌrum wɪθ ˈhɛvi ˈtræfɪk ənd ˌdɪsəˈpɪrd ˈɪntu ə kraʊd əv ˈɛgzɪtɪŋ ə ˈkɔfi ʃɑp ər ˈlivɪŋ braɪənt pɑrk. ɪf ju lʊk æt ðə sɪlk roʊd traɪəl, ər ˈɛni ˈəðər bəst, ðə ˌɪnˌfɔrˈmeɪʃən sɪˈkjʊrəti ˈmɛθədz, ɛnˈkrɪpʃən, tɔr, wər ˈsɑləd. ɪt wɑz ˈəltəmətli ðə ˈpərsən ˈmeɪkɪŋ ən ˌɑpərˈeɪʃənəl ˈfeɪljər ðət əˈlaʊd lɔ ɛnˈfɔrsmənt tɪ muv ɪn. rɔs ˈəlbrɪkt ˈlɪtərəli kɛpt ə kraɪm ˈdaɪəri, ɛnˈkrɪpʃən kiz ɔn hɪz ˈlæpˌtɑp, ənd wərkt ɪn ˈpəblɪk soʊ ðə fɛdz kʊd græb hɪz ˈlæpˌtɑp ənd ðɛn ˈɛvriˌθɪŋ. tɔr, ˈmɑdərn ɛnˈkrɪpʃən, ðeɪ wər ɔl ˈsɑləd. ɛz fɑr ɛz ðə ˈgəvərnmənt ˈhækɪŋ ju, ðeɪ wər duɪŋ ɪt bæk ðɛn tu. dɪ (ˈdætə ɛnˈkrɪpʃən ˈstændərd) wɑz dɪˈvɛləpt ɪn ðə ˈərli baɪ wɪθ ðə "hɛlp" əv ðə ənd wɑz ˈkrɪtəˌsaɪzd æt ðə taɪm fər biɪŋ ˈwikənd baɪ ðə. kənˈtroʊlz ɔn ɪkˈspɔrtɪŋ əˈpɪrd æt ðə stɑrt əv ðə koʊld wɔr. ɪt wɑz dən wɪθ ðə səˈpɔrt əv ˈjuˈɛs ˈælaɪz əˈgɛnst ðə ˈistərn blɑk. ju stɪl nid tɪ gɪt əˈpruvəl frəm ðə ˈjuˈɛs əv ˈkɑmərs tɪ ˈɛkspɔrt tɛkˈnɑləʤiz, ðoʊ ðeɪ ˈlusənd riˈstrɪkʃənz ɪn ðə 90s*. ðə ˈsaɪəntɪsts ɪn ðə wər raɪt; ðə ˌɪnˈtɛnʃənəli ˈwikənd dɪ əˈgɛnst brut fɔrs əˈtæks, sɪns ðeɪ kʊd əˈfɔrd ðə ˈmæsɪv kəmˈpjutərz ðət wər ðɛn ˈnɛsəˌsɛri tɪ breɪk ðɛm. ənd ðə dɪˈvaɪsɪz əraʊnd ɪt kaʊnt ɛz mjuˈnɪʃənz ər gʊdz. ðə wən θɪŋ ðət ˈɪrɪˌteɪts mi əˈbaʊt ðə ˈkəvərɪʤ ɪz ˈɛvriˌwənz səˈpraɪz, ɛz ɪf ðeɪ wərənt duɪŋ ðət. wi wər səˈspɪʃəs əv ɪt fər jɪrz ənd naʊ sˈnoʊdən ʤɪst wɛnt ənd pruvd ɪt.
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he probably wouldn't have to meet mulder in person, but everything else would have been the same. he would have probbaly stolen it on a thumb drive, plugged in into a laptop in a public wifi, and used an anonymous email service via tor to send it.
internet speeds are faster, so unless he's sending a massive cache, he probbaly could have emailed it today.
then he would have wiped the laptop, reinstalled it with something else, thrown out the thumb drive, and never touched any of that shit again. he'd have worn a baseball cap and generic clothing, as not to be well visible on cameras, chanted clothing in a bathroom with heavy traffic and disappeared into a crowd of normals exiting a coffee shop or leaving bryant park.
if you look at the silk road trial, or any other bust, the information security methods, encryption, tor, were solid. it was ultimately the person making an operational failure that allowed law enforcement to move in. ross ulbricht literally kept a crime diary, encryption keys on his laptop, and worked in public so the feds could grab his laptop and then decrypt everything. tor, modern encryption, they were all solid.
as far as the government hacking you, they were doing it back then too. des (data encryption standard) was developed in the early '70s by ibm with the "help" of the nsa and was criticized at the time for being weakened by the nsa. controls on exporting cryptography appeared at the start of the cold war. it was done with the support of us allies against the eastern bloc. you still need to get approval from the us deptartment of commerce to export cryptographic technologies, though they loosened restrictions in the '90s. the ibm scientists in the '70s were right; the nsa intentionally weakened des against brute force attacks, since they could afford the massive computers that were then necessary to break them. cryptography and the devices around it count as munitions or dual-use goods. the one thing that irritates me about the infosec coverage is everyone's surprise, as if they weren't doing that. we were suspicious of it for years and now snowden just went and proved it.
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ˌɪntrəˈdəkʃən: ˈdɛrɪk fərst əˈpɪrd ɛz ə ˈfriˌwɛr geɪm ɪn 2008 ənd ɪt sun bɪˈkeɪm ə bɪˈləvəd pis əv ˈsɔfˌwɛr fər ˈmɛni ˈgeɪmərz ɪn ðə noʊ (ˌɪnˈkludɪŋ ˈæktɪŋ ɛz wən əv ðə tu ˈbɪgəst ˈɪnˌfluənsɪz ɔn ˈɛdmənd dɪˈzaɪn fər ðə ˈbaɪndɪŋ əv ˈaɪzɪk). ju ðɛn tərnd hɪz əˈtɛnʃən (ɛnˈlɪstɪŋ ðə hɛlp əv ˈændi həl ˈəndər ðə ˈhɛdɪŋ) tɪ ə ˈriˈmeɪk əv, ənd ɪts riˈlis ˈgɑrnərd ə ˈvɪktəri ɪn ðə dɪˈzaɪn ˈkætəˌgɔri əv igf*, ˈfɑloʊd baɪ ˈpiˈsi ˈgeɪmər ˈneɪmɪŋ stim riˈlis ðɛr geɪm əv ðə jɪr fər 2013 ðət ˈsɛkənd ˈækəˌleɪd rɪˈzəltɪd ɪn ə lɔt əv ˈkɑntrəˌvərsi, wɪθ ˈgeɪmərz ɔl ˈoʊvər ðə ˈɪntərˌnɛt ˈkɑmɛntɪŋ kənˈsərnz əˈbaʊt haʊ ə ˈsɪmpəl ˈɪndi geɪm kʊd ˈpɑsəbli bit ɔl əv ˈmæsɪv ˈstudiˌoʊ rɪˈlisɪz, wɪθ iʧ fænz ˈɑrgjuɪŋ ðɛr keɪs. ɪf ju noʊ mi wɛl, ɔˈrɛdi gɑt ə ˈprɪti gʊd aɪˈdiə əv wət sɔrt əv rɪˈmɑrks aɪ meɪd təˈwɔrd ðoʊz ˈnɛgətɪv riˈækʃənz. ˈmoʊstli, aɪ ˈwəndərd ˈwɛðər moʊst əv ðoʊz ˈkɑmɛntərz wər ˈmɪrli ˈʤəʤɪŋ ðə geɪm baɪ ɪts ˈkəvər ɑrt, ɛz ɪt wər, ənd hæd nɑt ˈæˌkʧuəli pleɪd ðə geɪm. ɛz ɪt stændz, aɪ wʊd nɑt ˈoʊnli kənˈkər ðət wɑz ðə bɛst geɪm riˈlist ɪn 2013 bət aɪ wʊd goʊ jɛt ˈfərðər ənd seɪ ðət ɪz wən əv ðə bɛst geɪmz aɪ hæv ˈɛvər pleɪd. tɪ ɪkˈspleɪn waɪ, aɪ wɪl naʊ kəmˈpɛr tɪ ðə ərˈɪʤənəl ˈsupər ˈmɑrioʊ bros*. geɪmz. ðə dɪˈzaɪn, kənˈtroʊlz, ənd toʊn əv: ɪt ɪz noʊ səˈpraɪz tɪ mi ðət ju saɪts ðə ˈsupər ˈmɑrioʊ bros*. ˈsɪriz ɛz wən əv ˈbɪgəst ““feel”*” ˈɪnˌfluənsɪz, ɛz ðə kɛr ðət wɛnt ˈɪntu ðə ˈfɪzɪks ənd kənˈtroʊlz əv ər ˌrɛməˈnɪsənt əv wərk æt ɪts ˈvɛri bɛst. ɪn ðət ˈpiˈsi ˈgeɪmər ˈɑrtɪkəl ˈlɪstɪd əˈbəv, ˈɛvən ˈlɑti hæd ðɪs tɪ seɪ: ɪz ɑr ˈmɑrioʊ. ɪt hæd ðə seɪm ˌɪmˈpækt (ˌɔlˈðoʊ fən tɪ ˌɪˈmæʤən wət ˈgeɪmɪŋ wʊd bi laɪk ɪf hæd bɪn riˈlist ɪn bət fɑr ənd əˈweɪ ðə moʊst ˌɪmˈpɔrtənt tɪ ˈɛvər greɪs ðə ˈpiˈsi. ɛz ən pleɪər, wət aɪ əˈpriʃiˌeɪt moʊst ɪz haʊ wɛl tund ðə ˈsətəltiz əv ˈmuvmənt, ˈdɪstəns ənd ˈdeɪnʤər ər ɪn naʊ, aɪ wʊd nɑt ˌnɛsəˈsɛrəli əˈgri wɪθ ðə freɪz ənd away”*” ðɛr, ɛz aɪ kənˈsɪdər ˈtɑmi ˈrɛfɪˌnɛs ənd ˈɛdmənd ˈsupər mit bɔɪ ə ˈsɛkənd (ənd ən ɪkˈstɛnsɪv lɪst əv ˈəðər greɪt ˈɪndi nɑt tu fɑr ˈfərðər), bət ˈəðərˌwaɪz hɪz kəmˈpɛrəsən ɪz ˈtoʊtəli æpt; wət ðə ərˈɪʤənəl ˈsupər ˈmɑrioʊ bros*. prəˈvaɪdɪd ɪn tərmz əv ˈʧælənʤ, ˈlɛvəl dɪˈzaɪn, ənd ˈsikrɪts, dɪˈlɪvərz. aɪ meɪ hæv kənfˈjuzd səm ˈridərz ʤɪst naʊ baɪ sˈwɪʧɪŋ frəm ˈkɑmpləˌmɛntɪŋ design’*’ tɪ ˈkɑmpləˌmɛntɪŋ design,’*,’ meɪ bi ɪz ə ənd ɪts ˌɪndəˈvɪʤəwəl ˈlɛvəl leɪaʊts ər ˈrændəˌmaɪzd. ɪn wət sɛns, ðɛn, ɪz ðə ˈlɛvəl dɪˈzaɪn strɔŋ? wɛl, tɪ ˈsɪmpli ˈleɪbəl ɪt ˈrændəm ɪz tɪ bi ə bɪt mɪsˈlidɪŋ. ðɛr ər ə juʤ ˈnəmbər əv ˌɪndɪˈvɪʤəli dɪˈzaɪnd ˈlɛvəl ˈpisɪz wɪʧ ər ˈʃəfəld ənd sˈlɑtɪd təˈgɛðər tɪ meɪk iʧ ˈlɛvəlz. ðiz ˈlɛvəl ʧəŋks hæd tɪ bi dɪˈzaɪnd ɪn səʧ ə weɪ ðət ðeɪ wʊd fɪt təˈgɛðər ɪn ˈɔlˌmoʊst ˈɛni ˌɔriɛnˈteɪʃən ənd rɪˈmeɪn boʊθ ˈnævəgəbəl ənd ˈɪntəˌrɛstɪŋ. mɔˈroʊvər, iʧ əv ðə faɪv ˈprɪnsəpəl ˈsɛkʃənz hæv ðɛr oʊn dɪˈzaɪn staɪlz (nɑt ʤɪst ɛsˈθɛtɪks), soʊ ðət ˈmeɪkɪŋ jʊr weɪ θru ðə ˈdɛnsli kənˈstrəktɪd ənd θˈrɛtənɪŋ ˈʤəŋgəl, fər ˈɪnstəns, filz ˈtoʊtəli ˈdɪfərənt frəm ˈlipɪŋ θru ðə ɪkˈspænsɪv ənd ˈlusər aɪs keɪvz. fər ɔl əv ɪts randomization*, rɪˈmeɪnz ə geɪm wɪθ ə ˈkɛrfəli ɪˈstæblɪʃt ˈgeɪmˌpleɪ ˈrɪðəm. ðə ˈaɪtəmz, ˈsikrɪts, ənd ˈskɔrɪŋ əv: ðə ki ˈdɪfərəns bɪtˈwin ənd ðə ˈmɑrioʊ ˈsɪriz, ðɛn, ɪz nɑt ɪn ðə ˈɛləmənts (ðə lɪvz ɪn ˈsupər ˈmɑrioʊ ər ɛz skɛrs ɛz hɛlθ ɪn). ˈɪnsəfɑr ɛz ðɛr ɪz ˈɛni bɪg ˈdɪfərəns bɪtˈwin ðə tu, ɪt rɪˈzaɪdz ɪn streɪɪŋ frəm ˈmɑrioʊ ˈpjʊrɪti, wɛr ˈoʊnli mɪˈkænɪk, ɪkˈsɛpt fər hɪz ɔˈkeɪʒənəl ər sˈwɪmɪŋ ˌsɛgˈmɛnt, ɪz hɪz platforming*. wət gɪvz əp ɪn tərmz əv ˌfaɪˈdɛləti tɪ platforming*, ˌhaʊˈɛvər, ɪz mɔr ðən meɪd əp wɪθ ðə kˈwɑləti əv ðə θri ˈpraɪˌmɛri əˈdɪʃənz ðət ər meɪd. fərst, ðɛr ɪz ðə ˈaɪtəm ˈsɪstəm, wɪʧ groʊz ɔrˈgænɪkli frəm ˈhaɪli ˌɪnərˈæktɪv ɪnˈvaɪrənmənts; ðə roʊp ənd bɔm ˈrisɔrsɪz ənd ðə ˈɑrsənəl əv ˈəpˌgreɪdz ənd ˈæktɪv ˈaɪtəmz æd əˈdɪʃənəl ˈtɛksʧər tɪ ˈdɪfərənt rənz waɪl ˈoʊpənɪŋ əp ðə ˈgeɪmˌpleɪ ˈɪntu ˈsəmθɪŋ ˈkɑnstəntli ˈmæliəbəl. ˈfərðərˌmɔr, ðə ˈaɪtəmz ðɛmˈsɛlvz ər ˈɔfən ˈbælənst ɪn səm ˈfæʃən (laɪk ðə ˈlaɪtnɪŋ fæst, bət ˈdeɪnʤərəsli ənˈwildi teleporter*), ənd meɪ hæv ˈhɪdən ˈbɛnəfɪts (laɪk ðə əv ðə prɑˈʤɛktəl ˈwɛpənz əˈlaʊɪŋ fər ə prɪˈsaɪs high-jump*). ˈsɛkənd, ðɛr ɪz ɪkˈstɛnsɪv ˈnɛtˌwərk əv ˈsikrɪts. ˈɛvriˌθɪŋ frəm ə ˈhɔntɪd ˈkæsəl tɪ ə ˈsækrəˌfaɪs mɪˈkænɪk tɪ ðə tru ˈfaɪnəl bɔs (tɪ ˈsɛvərəl mɔr bɪˈzɑr ˈriʤənz ənd ˈɛləmənts) ər ˌɪntərˈspərst ˈɪntu ðə ˈlɛvəlz wɪθ ˈvɛriɪŋ dɪˈgriz əv hiddenness*. ðiz ˈsikrɪts ər ɛnˈmɛʃt ˈɪntu ðə geɪm ɪn səʧ weɪz ðət ðeɪ ɪkˈspænd ðə lɔnˈʤɛvəti əv ðə ˌɪnˈtrig wɪˈθaʊt ˈhɑrmɪŋ ðə ˌɪmˈpɛkəbəl koʊˈhiʒən əv ðə beɪs geɪm. θərd, wən ˈɛriə wɛr meɪ ˈivɪn bi sɛd tɪ sərˈpæs ˈsupər ˈmɑrioʊ (ɪf ju wɪl fərˈgɪv səʧ ˈblæsfəmi) ɪz ɪn ɪts ˈskɔrɪŋ mɪˈkænɪk, wɪʧ filz məʧ mɔr flɛʃt aʊt ənd ˈɪnəˌgreɪtɪd ˈɪntu ˈgeɪmˌpleɪ ðən skɔr ˈkaʊntər ˈɛvər dɪd. ɪn əˈdɪʃən tɪ ˈfilɪŋ ˈpərfəktli mæʧt tɪ ðə ˈʧoʊzən ɛsˈθɛtɪk, ðə ˈtrɛʒər ˈdəbəlɪŋ ɛz ðə skɔr ðə pleɪər tɪ teɪk ɔn ðə kənˈsɪdərəbəl ˈɛkstrə rɪsk əv ˈrɑbɪŋ ðə ˈzɛləs, ˈvaɪələnt ˈʃɑpˌkipərz. ˈfərðər, ðə ˈpræktɪs əv gems’*’ (ˈjuzɪŋ ðə goʊst ˈɛnəmi tɪ tərn ʤɛmz ˈɪntu ˈvæljəbəl ˈdaɪməndz) ˈoʊpənz ðə dɔr fər ˈdɛdəkeɪtəd pleɪərz tɪ ˈɑptɪˌmaɪz ðɛr rənz bɪɔnd ɔl ˈrizən. kənˈkluʒən: ˈɔlsoʊ boʊsts ˈsɛvərəl ˌnɑnɪˈsɛnʃəl bət əˈmeɪzɪŋ ˈfiʧərz, ˌɪnˈkludɪŋ ˈfrəˌstreɪtɪŋli ˈwəndərfəl ˈloʊkəl koʊɑp, ˌɪnˈtɪmɪˌdeɪtɪŋ ˈdeɪli rən leaderboards*, ənd ə frəˈnɛtɪk ˈloʊkəl moʊd. ɛz ən əˈsaɪd, ˈɔlsoʊ ˌoʊvərˈʤɔɪd tɪ noʊ ðət wɪl bi wən əv ðə geɪmz ˈfiʧərd ɪn ðə ˈəpˌkəmɪŋ ˈɔsəm geɪmz dən kwɪk (ə ˈʧɛrɪti ˈstrimɪŋ ˈmɛrəˌθɑn əv ˈvɪdioʊ geɪm speedruns*) æt ðə bɪˈgɪnɪŋ əv 2016 ɛz mɪks əv kənˈtroʊlz ənd ˈrændəm ˈlɛvəlz ɪnˈʃʊrz ðət ɪts ˌhaɪˈlɛvəl rənz ər ˈɔlˌweɪz ɪkˈsaɪtɪŋ tɪ wɔʧ. ɪn ˈkloʊzɪŋ, ɪt ɪz ə ˈtɛstəmənt tɪ ðə ˈɛksələns əv ðɪs dɪˈzaɪn ðət aɪ kʊd spɛnd ðɪs ɪnˈtaɪər ˈɑrtɪkəl wɪθ ˈbɛrli mɔr ðən ə nɑd təˈwɔrd ðə ˈvɪʒwəlz ənd saʊnz, wɪʧ ər ˈθəroʊli ˈʧɑrmɪŋ ənd wɪʧ kəmˈplit ðə krɪsp ˌɛksəˈkjuʃən əv ðɪs ˈflɔləs ˈtaɪtəl. ðət ə geɪm wɪθ ðɪs ˈkæləbər əv ˈgeɪmˌpleɪ ənd ðɪs ˈlɛvəl əv koʊˈhisɪv ˌɛksəˈkjuʃən kʊd bi ðə wərk əv wən ər tu ˈjumən biɪŋz meɪks ɪt ɔl ðə mɔr ɪmˈbɛrəsɪŋ ðət ɪnˈtaɪər timz əv ˈpipəl ˈɔfən ˈproʊdus sɪgˈnɪfɪkəntli wərs geɪmz. ɪn əˈdɪʃən tɪ ɪts ˈmæstəri əv ðə ˈmɑrioʊ ˈfɔrmjələ, drɔz ɔn strɛŋθs frəm greɪts laɪk ənd castlevania*, wɪθ ə ˈhipɪŋ ˈhɛlpɪŋ əv ɪts oʊn ərˈɪʤənəl staɪl ənd ˈsəbstəns. ɪt ɪz ə geɪm wɛr ə wɪn ɪz ˈtruli ərnd, ənd ɪt ɪz ə geɪm wɪʧ aɪ æm ˈɔlˌweɪz praʊd tɪ bit. ɪt ɪz ə geɪm ðət ɪz ˈdɪfərənt ˈɛvəri taɪm, bət ɪn wɪʧ noʊ ˈɛləmənt ˈɛvər simz out-of-place*. ɪz ə klin ˌɛksəˈkjuʃən əv ə dɪˈzaɪn, ənd ˈɛniˌwən hu həz ˈɛvər ˌɛnˈʤɔɪd ə geɪm wʊd bi duɪŋ ðɛmˈsɛlvz ə trɪˈmɛndəs dɪˈsərvəs ɪf ðeɪ ˈnɛvər pleɪ ɪt. seɪv
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introduction:
derek yu’s spelunky first appeared as a freeware game in 2008, and it soon became a beloved piece of software for many gamers in the know (including acting as one of the two biggest influences on edmund mcmillen’s design for the binding of isaac). yu then turned his attention (enlisting the help of andy hull under the mossmouth heading) to a ground-up hd remake of spelunky, and its release garnered a victory in the design category of 2012’s igf, followed by pc gamer naming spelunky‘s steam release their game of the year for 2013. that second accolade resulted in a lot of controversy, with gamers all over the internet commenting concerns about how a simple 2-d indie game could possibly beat all of 2013’s massive studio releases, with each franchise’s fans arguing their case.
if you know me well, you’ve already got a pretty good idea of what sort of remarks i made toward those negative reactions. mostly, i wondered whether most of those commenters were merely judging the game by its cover art, as it were, and had not actually played the game. as it stands, i would not only concur that spelunky was the best game released in 2013, but i would go yet further and say that spelunky is one of the best games i have ever played. to explain why, i will now compare spelunky to the original super mario bros. games.
the design, controls, and tone of spelunky:
it is no surprise to me that yu cites the super mario bros. series as one of spelunky‘s biggest “feel” influences, as the care that went into the physics and controls of spelunky are reminiscent of nintendo’s work at its very best. in that pc gamer article listed above, editor-in-chief evan lahti had this to say:
spelunky is our mario. it hasn’t had the same impact (although it’s fun to imagine what gaming would be like if spelunky had been released in ’85), but it’s far and away the most important platformer to ever grace the pc. as an fps player, what i appreciate most is how well tuned the subtleties of movement, distance and danger are in spelunky [. . .]
now, i would not necessarily agree with the phrase “far and away” there, as i consider tommy refenes and edmund mcmillen’s super meat boy a not-too-distant second (and an extensive list of other great indie platformers not too far further), but otherwise his comparison is totally apt; what the original super mario bros. provided in terms of challenge, level design, and secrets, spelunky satisfyingly delivers.
i may have confused some readers just now by switching from complimenting spelunky‘s ‘game design’ to complimenting spelunky‘s ‘level design,’ as—you may be aware—spelunky is a roguelike and its individual level layouts are randomized. in what sense, then, is the level design strong?
well, to simply label it random is to be a bit misleading. there are a huge number of individually designed level pieces which are shuffled and slotted together to make each run’s levels. these level chunks had to be designed in such a way that they would fit together in almost any orientation and remain both navigable and interesting. moreover, each of the game’s five principal sections have their own design styles (not just aesthetics), so that making your way through the densely constructed and threatening jungle, for instance, feels totally different from leaping through the expansive and looser ice caves. for all of its randomization, spelunky remains a game with a carefully established gameplay rhythm.
the items, secrets, and scoring of spelunky:
the key difference between spelunky and the mario series, then, is not in the game’s roguelike elements (the lives in super mario are as scarce as health in spelunky). insofar as there is any big difference between the two, it resides in spelunky‘s straying from mario bros.‘s purity, where mario’s only mechanic, except for his occasional powerup or swimming segment, is his platforming. what spelunky gives up in terms of fidelity to platforming, however, is more than made up with the quality of the three primary additions that are made.
first, there is the item system, which grows organically from spelunky‘s highly interactive environments; the rope and bomb resources and the arsenal of upgrades and active items add additional texture to different runs while opening up the gameplay into something constantly malleable. furthermore, the items themselves are often balanced in some fashion (like the lightning fast, but dangerously unwieldy teleporter), and may have hidden benefits (like the kick-back of the projectile weapons allowing for a precise high-jump).
second, there is spelunky‘s extensive network of secrets. everything from a haunted castle to a sacrifice mechanic to the game’s true final boss (to several more bizarre regions and elements) are interspersed into the levels with varying degrees of hiddenness. these secrets are enmeshed into the game in such subtle-yet-discernible ways that they expand the longevity of the game’s intrigue without harming the impeccable cohesion of the base game.
third, one area where spelunky may even be said to surpass super mario (if you will forgive such blasphemy) is in its scoring mechanic, which feels much more fleshed out and integrated into gameplay than mario’s score counter ever did. in addition to feeling perfectly matched to the game’s chosen aesthetic, the treasure doubling as the score incentivizes the player to take on the considerable extra risk of robbing the game’s zealous, violent shopkeepers. further, the high-risk-high-reward practice of ‘ghosting gems’ (using the one-hit-ko ghost enemy to turn gems into valuable diamonds) opens the door for dedicated players to optimize their runs beyond all reason.
conclusion:
spelunky also boasts several non-essential but amazing features, including frustratingly wonderful local co-op, intimidating daily run leaderboards, and a frenetic local deathmatch mode. as an aside, i’m also overjoyed to know that spelunky will be one of the games featured in the upcoming awesome games done quick (a charity streaming marathon of video game speedruns) at the beginning of 2016, as spelunky‘s mix of super-tight controls and random levels ensures that its high-level runs are always exciting to watch. in closing, it is a testament to the excellence of this game’s design that i could spend this entire article with barely more than a nod toward the game’s visuals and sounds, which are thoroughly charming and which complete the crisp execution of this flawless title.
that a game with this caliber of gameplay and this level of cohesive execution could be the work of one or two human beings makes it all the more embarrassing that entire teams of people often produce significantly worse games. in addition to its mastery of the mario formula, spelunky draws on strengths from greats like la-mulana and castlevania, with a heaping helping of its own original style and substance. it is a game where a win is truly earned, and it is a game which i am always proud to beat. it is a game that is different every time, but in which no element ever seems out-of-place. spelunky is a clean execution of a top-notch design, and anyone who has ever enjoyed a platformer game would be doing themselves a tremendous disservice if they never play it.
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ju noʊ hɪt ə nərv wɪn ðoʊz əˈtɛndɪŋ taʊn hɔlz stɑrt ˈkɛriɪŋ saɪnz ˈrɛdɪŋ, protester,”*,” ənd ˈlɪstɪŋ ðɛr zɪp koʊdz tɪ pruv ðeɪ ər, ˌɪnˈdid, kənˈstɪʧuənts. waɪ du ðət, ənˈlɛs əv kɔrs ðɛr wər ˈmaʊntɪŋ səˈspɪʃən ðət ðə ˌoʊvərˈfloʊ kraʊdz æt ˈnɪrli ˈɛvəri rɪˈpəblɪkən taʊn hɔl wər ˈɔrgəˌnaɪzd ənd bəst ɪn. nɑt ðət ˌnɛsəˈsɛrəli laɪɪŋ; ɛz sɛd ˌbiˈfɔr, biɪŋ pɑrt əv ən ˈɔrgəˌnaɪzd ˈproʊˌtɛst ˈɔlˌweɪz ɛnˈteɪl ˈgɪtɪŋ peɪd ɪf ðə ˈpəblɪk ɪz ˈwɪlɪŋ tɪ ˈɔrgəˌnaɪz ˈəndər ənd əˈbaɪd baɪ ðə ˌɪnˈstrəkʃənz ɪn ðə ˌɪndɪˈvɪsɪbəl taʊn hɔl ˈrɛfərəns gaɪd fər fri, ɔl ðə ˈbɛtər. likt ˈɑdiˌoʊ rɪˈvilz ˈfɔrsɪz ˌmænjəˈfækʧərɪŋ ˈhɑstəl taʊn hɔl ðə ˈdeɪli ˈkɔlər (@dailycaller*) ˈfɛbruˌɛri 27 2017 ðə ˈdeɪli ˈkɔlər ɔn ˈmənˌdeɪ ˌriˈpɔrtəd ɔn likt ˈɑdiˌoʊ rɪˈvilɪŋ ˈæktɪvɪsts wɪθ grup ˌɪndɪˈvɪsɪbəl ˈhɛlpɪŋ koʊˈɔrdəˌneɪt ən ˈɛfərt tɪ ˌmænjəˈfækʧər ə ˈhɑstəl ɪnˈvaɪrənmənt æt sɛn. bɪl taʊn hɔl ɪn luˌiziˈænə ˈfraɪˌdeɪ: ðə ˈɑdiˌoʊ, əbˈteɪnd baɪ ˈloʊkəl ˈreɪdiˌoʊ ˈsteɪʃən, rɪˈvilz ə koʊˈɔrdəneɪtɪd ˈɛfərt tɪ kriˈeɪt ðə ˈpəblɪk ˌɪmˈprɛʃən ðət səˈpɔrt fər trəmp ɪz ˌənˈpɑpjələr wɪθ hɪz kənˈstɪʧuənts. ðə ˈæktɪvɪsts splɪt əp ˈɪntu ən team”*” tæskt wɪθ ˈɑkjəˌpaɪɪŋ ˈmɛni sits ɛz wi can”*” ənd ən team,”*,” huz ʤɑb wɑz tɪ [ðə ˈmidiə] ðə ˈkəvərɪʤ ðeɪ want”*” ˌbiˈfɔr ˈʤɔɪnɪŋ ðə ˈəðərz ˌɪnˈsaɪd. ˈæktɪvɪsts wər ˌɪnˈstrəktɪd tɪ drɛs laɪk kənˈsərvətɪvz ənd liv æt hoʊm ðət ə liberal”*” ɪn ˈɔrdər tɪ blɛnd ɪn wɪθ kənˈstɪʧuənts. aɪˈdɛntəˌfaɪd ʤeɪmz ˈprɑktər, wən vɔɪs hərd ɔn ðə rɪˈkɔrdɪŋ, ɛz ðə ˈlidər əv ˌɪndɪˈvɪsɪbəl acadiana*, ˈloʊkəl brænʧ əv ðə ˈnæʃənəl ˌɪndɪˈvɪsɪbəl ˌɔrgənəˈzeɪʃən, wɪʧ həz ˈɔrgəˌnaɪzd ˈhɑstəl rɪˈpəblɪkən taʊn hɔlz ɔl əraʊnd ðə country.”*.” ˌɪndɪˈvɪsɪbəl dɪˈskraɪbz ˌɪtˈsɛlf ɛz ə grup əv ˈfɔrmər kənˈgrɛʃənəl ˈstæfərz, ənd timd əp wɪθ ˈəðər ˌɪnˈsaɪdərz laɪk ˈrɑbərt raɪk ənd hɪz ˌɪnɪkˈwɑləti ˈmidiə. icymi*: θæŋks tɪ ju wi hæv mɔr ðən 5300 æt list tu ɪn ˈɛvəri ˈdɪstrɪkt. faɪnd jʊr tim təˈdeɪ! ˌɪndɪˈvɪsɪbəl gaɪd (@indivisibleteam*) ˈfɛbruˌɛri 24 2017 ˈlɪsən tɪ ˈɔrgəˌnaɪzd 2 goʊ ɪn ˈmitɪŋz dɪsˈrəpt pʊʃ ˈlɪˌbərəl əˈʤɛndə ˈdɪstrɪkts ðeɪ doʊnt lɪv ɪn! kənˈsərvətɪv ˈtɛksən (@conservatex*) ˈfɛbruˌɛri 28 2017 waɪ ˈɪzənt ðɪs ɔn ðə nuz? ɪts ˈklɪrli ə teɪp əv ˈplɑtɪŋ tɪ dɪˈstrɔɪ taʊn hɔl ˈmitɪŋ. (@linneytoo*) ˈfɛbruˌɛri 28 2017 ðə lɛft həz ə ˈprɑbləm wɪθ ðə truθ biɪŋ əˈθɛnɪk. ðiz ˈlɛftɪsts ər ˈjuzɪŋ ˈtæktɪks ðeɪ ˈɑrənt ˈwərkɪŋ viv lɛs ˈfɛbruˌɛri 27 2017 lʊks ˈprɪti ˈɔrgəˌnaɪzd tɪ mi! meɪk ʃʊr ˈoʊnli ˈrɛzɪdənts əv taʊn əˈtɛnd əˈmɛrɪkə 4 əˈmɛrɪkənz (@soldbygail*) ˈfɛbruˌɛri 27 2017 du ðə ˈæktɪvɪsts ˈriəˌlaɪz jɛt ðət əˈmɛrɪkənz noʊ wət ðeɪv bɪn duɪŋ fər ə ˈvɛri lɔŋ taɪm? mərˈi (@marieleff*) ˈfɛbruˌɛri 28 2017 ril ˈpipəl ˈdəbəlju/ ˈivɪn hæf ə breɪn hæv noʊn ɔl əˈlɔŋ. ʤɪst ðə ˈmidiə ˈplɪtɪkli kərˈɛkt ɪˈstæblɪʃmənt ˈpəndɪts dɪsəˈgri. aɪ toʊld ju soʊ (@get2thegulch*) ˈfɛbruˌɛri 27 2017 simz ðɛr soʊl goʊl ɪz tɪ dɪsˈrəpt taʊn hɔlz ənd ʃaʊt daʊn ðoʊz ʤɪst traɪɪŋ tɪ hæv ðɛr vɔɪs hərd ɪn ə ˈsɪvəl ˈfɔrəm ˈpæmələ (@pamelasedmak*) ˈfɛbruˌɛri 27 2017 ɪts ɔl tu ˈɑbviəs tɪ ˈʤɛnərəl waɪ ɪt məst bi" ɪn wən ɪr, aʊt ðə ˈəðər". nɑt ˈspikɪŋ fər ˈjuˈɛs. ˈkɛrəl (@carolcatx*) ˈfɛbruˌɛri 28 2017 ˈʃaʊtɪŋ ˈoʊvər ju, ˈmeɪbi, bət nɑt ˈspikɪŋ fər ju.
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you know someone’s hit a nerve when those attending gop town halls start carrying signs reading, “unpaid protester,” and listing their zip codes to prove they are, indeed, constituents. why do that, unless of course there were mounting suspicion that the overflow crowds at nearly every republican town hall were organized and bussed in.
not that they’re necessarily lying; as we’ve said before, being part of an organized protest doesn’t always entail getting paid if the public is willing to organize under and abide by the instructions in the indivisible town hall reference guide for free, all the better.
leaked audio reveals anti-trump forces manufacturing hostile town hall https://t.co/hhalc4qwsu pic.twitter.com/morhb4o2vo the daily caller (@dailycaller) february 27, 2017
the daily caller on monday reported on leaked audio revealing activists with anti-trump group indivisible helping coordinate an effort to manufacture a hostile environment at sen. bill cassidy’s town hall in louisiana friday:
the audio, obtained by local radio station kpel, reveals a coordinated effort to create the public impression that cassidy’s support for trump is unpopular with his constituents. … the activists split up into an “inside team” tasked with occupying “as many seats as we can” and an “outside team,” whose job was to “give [the media] the coverage they want” before joining the others inside. activists were instructed to dress like conservatives and leave at home “any signifier that you’re a liberal” in order to blend in with constituents.
kpel identified james proctor, one voice heard on the recording, as the leader of indivisible acadiana, “a local branch of the national indivisible organization, which has organized hostile republican town halls all around the country.”
indivisible describes itself as a group of former congressional staffers, and they’ve teamed up with other insiders like robert reich and his inequality media.
icymi: thanks to you we have more than 5300 groups–with at least two in every district. find your team today! https://t.co/y5zssxktsj pic.twitter.com/cw8vcpmhts indivisible guide (@indivisibleteam) february 24, 2017
@peterjhasson @dailycaller listen to audio..agitators organized 2 go in meetings disrupt & push liberal agenda districts they don't live in! conservative texan (@conservatex) february 28, 2017
@peterjhasson @donaldjtrumpjr @foxnews why isn't this on the news? it's clearly a tape of libs plotting to destroy town hall meeting. linneytoo (@linneytoo) february 28, 2017
@dailycaller
the left has a problem with the truth & being authentic. these leftists are using #fakenews alinsky tactics
they aren't working vive les deplorables (@iamdeeza2) february 27, 2017
@dailycaller looks pretty organized to me! make sure only residents of town attend #shadowgovernment america 4 americans (@soldbygail) february 27, 2017
@peterjhasson @donaldjtrumpjr @dailycaller
do the activists realize yet that americans know what they've been doing for a very long time? marie (@marieleff) february 28, 2017
@dailycaller real people w/ even half a brain have known all along. just the media & politically correct establishment pundits disagree. i told you so (@get2thegulch) february 27, 2017
@dailycaller seems their sole goal is to disrupt town halls and shout down those just trying to have their voice heard in a civil forum pamela sedmak (@pamelasedmak) february 27, 2017
@peterjhasson @donaldjtrumpjr it's all too obvious to general public.that's why it must be" in one ear, out the other". not speaking for us. carol (@carolcatx) february 28, 2017
shouting over you, maybe, but not speaking for you.
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wɪn sæt daʊn tɪ gɪt hər ˈmeɪˌkəp dən, ʃi wɑz ˈkləʧɪŋ ə tub əv waɪt ˈmɪlki ˈkrɪstəl bɑm krim, wɪʧ ʃi əˈplaɪd ɛz ə ˈpraɪmər ˌbiˈfɔr ðə ˈmeɪˌkəp ˈɑrtɪst wɛnt tɪ wərk. ˈkjʊriəs ɛz tɪ wət kʊd bi ˌɪnˈsaɪd ðə wərst ˈpækɪʤɪŋ ˈɛvər sin, aɪ æst wət ðɪs ““r’shyt”*” ɪz ɔl əˈbaʊt. bɔt ɪt ˈɔnˌlaɪn, ənd aɪ noʊ. ɪt ʤɪst meɪks maɪ skɪn lʊk better,”*,” ˈdipər, aɪ faʊnd ðət ɪz ə smɔl kɑzˈmɛtɪks brænd ˈhɛdˌkɔrtərd nɔrθ əv soʊl, kaɪnd əv kloʊz tɪ ðə nɔrθ ˌkɔˈriən ˈbɔrdər. waɪl moʊst brændz hæv ˈɔfəsɪz ɪn ðə sˈwɑŋki ˈɛriə əv soʊl, ɪz ˈloʊˌkeɪtəd ɪn ə loʊˈkeɪʃən kɔld goyang*. ɪz ɪts fərˈmɛntəd ˈleɪbəl, ənd ðə waɪt ˈmɪlki krim ˈprɑməsəz tɪ ˌɪmˈpruv taɪərd ˈdɑrkən skɪn tɪ ə braɪt ənd ˈreɪˌdiənt ðə brænd læks ɪn ˈɪŋlɪʃ skɪlz, ɪt meɪks əp fər ɪn saɪəns. ðə laɪn ˈsɛnərz əraʊnd rf2sx*, ən ˈərbəl ˈkɑmpaʊnd prəˈdust frəm ðə ˌfərmənˈteɪʃən əv ˌkɔˈriən ənd ðə ˌlæktoʊbəˈsɪləs plantarum*. ɪt kənˈteɪnz ˈʤɪnˌsɛŋ, bæmˈbu ʃut, spənʤ gɔrd, ˈlɪkərɪʃ, dɪr ˈæntlər (jaɪks), ˈɛroʊˌrut, binz, ˈməlˌbɛri rut, ənd ðə lɪst goʊz ɔn. ðɪs krim, wɪʧ kənˈteɪnz ðɪs fərˈmɛntəd ˈkɑmpaʊnd, ˈprɑməsəz tɪ nərɪʃ skɪn, ˌɪmˈpruv ɪts rɪˈzɪljəns, rɪˈliv ˈrɛdnəs, ˈbraɪtən, moisturize*, ənd dɪˈmɪnɪʃ ðə fərst taɪm aɪ juzd ðɪs krim, aɪ hæd tɪ əˈgri wɪθ. maɪ skɪn ʤɪst lʊkt ˈbɛtər. ɪn ˈfəŋkʃən, ðɪs ˈmɪlki krim wərks laɪk ə ˈpraɪmər, ənd wɪn ɪt kəmz tɪ ˈpraɪmərz, lɛs ɪz ˈrɪli mɔr. ðə ˈtɛksʧər ɪz ˈprɪti ˈsɪmələr tɪ ˈsənskrin, bət ˈoʊdərləs. bɪˈkəz aɪ ˈoʊnli əˈplaɪ ə laɪt leɪər, aɪ faɪnd ɪt ər ˈnərɪʃɪŋ. wət ɪt dɪd du ɪz ˈkəvər maɪ feɪs ɪn ən ˌɪnɪkˈsplɪkəbli ˈflætərɪŋ veɪl, soʊ maɪ skɪn lʊkt laɪk maɪ skɪn ˈoʊnli ˈmɛni sˈmɔlər kɑzˈmɛtɪks ˈkəmpəˌniz æt ðə loʊər rəŋz əv ðə ˌkɔˈriən ˈbjuti ˈʤəŋgəl, meɪd ə neɪm fər ˌɪtˈsɛlf ɪn ðə ərˈinə əv ðə ˈnɛtˌwərk. ɪn 2013 ɪt soʊld waɪt ˈmɪlki krimz ʤɪst θru ˈɪntərˌnɛt seɪlz. ənd, ɪn 2015 juzd waɪt ˈmɪlki ˈkrɪstəl bɑm krim, əˈveɪləbəl ɔn
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when seulgi sat down to get her makeup done, she was clutching a tube of r’shyt ferfree white milky crystal balm cream, which she applied as a primer before the makeup artist went to work. curious as to what could be inside the worst english-language packaging i’ve ever seen, i asked what this “r’shyt” is all about. “i bought it online, and i don’t know. it just makes my skin look better,” seulgi replied.digging deeper, i found that r’shyt is a small cosmetics brand headquartered north of seoul, kind of close to the north korean border. while most brands have offices in the swanky gangnam area of seoul, r’shyt is located in a country-mouse location called goyang. ferfree is its fermented skin-care label, and the white milky cream promises to improve “the tired darken skin to a bright and radiant one.”what the brand lacks in english skills, it makes up for in science. the ferfree line centers around rf2sx, an herbal compound produced from the fermentation of korean botanicals and the super-probiotic lactobacillus plantarum. it contains ginseng, bamboo shoot, sponge gourd, licorice, deer antler (yikes), arrowroot, beans, mulberry root, and the list goes on. this cream, which contains this fermented compound, promises to nourish skin, improve its resilience, relieve redness, brighten, moisturize, and diminish wrinkles.from the first time i used this cream, i had to agree with seulgi. my skin just looked better. in function, this milky cream works like a primer, and when it comes to primers, less is really more. the texture is pretty similar to sunscreen, but odorless. because i only apply a light layer, i didn’t find it super-moisturizing or ground-breakingly nourishing. what it did do is cover my face in an inexplicably flattering veil, so my skin looked like my skin — only better.like many smaller cosmetics companies at the lower rungs of the korean beauty jungle, r’shyt made a name for itself in the highly-competitive arena of the country’s home-shopping network. in 2013, it sold 200,000 ferfree white milky creams just through internet sales. and, in 2015, seulgi used it.ferfree white milky crystal balm cream, $21.25, available on
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1 ˈoʊpən stɑrt klɪk ðə ˈwɪndoʊz ˈloʊgoʊ ɪn ðə ˈkɔrnər əv ðə skrin. klɪk ðə ˈwɪndoʊz ˈloʊgoʊ ɪn ðə ˈkɔrnər əv ðə skrin. 2 taɪp ɪn ðɪs wɪl sərʧ jʊr kəmˈpjutər fər ðə ˈproʊˌgræm, wɪʧ ɪz wət jul juz tɪ prɪˈvɛnt kæps lɑk frəm ˈwərkɪŋ ɔn ðɪs kəmˈpjutər. 3 klɪk ɪts ə blu, ˈaɪkɑn æt ðə tɔp əv ðə stɑrt ˈwɪndoʊ. ə ˈwɪndoʊ wɪl ˈoʊpən. 4 ˈɛnər ðə kæps lɑk tərməˈneɪʃən koʊd. ðə ˈdɑkjəmɛnt ðət jul kriˈeɪt kənˈsɪsts əv ə ˈhɛdɪŋ, ən ˈɛmti laɪn, ə laɪn ˈɪndəˌkeɪtɪŋ ə ˌdɛstɪˈneɪʃən, ənd ðə koʊd taɪp ɪn ˈwɪndoʊz ˈrɛʤɪstri ˈɛdɪtər ˈvərʒən ənd ðɛn prɛs ˈɛnər twaɪs. ənd ðɛn prɛs twaɪs. taɪp ɪn leɪaʊt] ənd prɛs ˈɛnər ənd prɛs taɪp ˈɪntu ðə ˈfaɪnəl laɪn əv. ðə ˈdɑkjəmɛnt ðət jul kriˈeɪt kənˈsɪsts əv ə ˈhɛdɪŋ, ən ˈɛmti laɪn, ə laɪn ˈɪndəˌkeɪtɪŋ ə ˌdɛstɪˈneɪʃən, ənd ðə koʊd ˌɪtˈsɛlf: 5 klɪk faɪl ɪts ɪn ðə ˈkɔrnər əv ðə ˈwɪndoʊ. ˈklɪkɪŋ ɪt prɑmpts ə ˈmɛnju. 6 klɪk seɪv as…*… ðɪs ˈɔpʃən ɪz nɪr ðə ˈbɑtəm əv ðə ˈmɛnju. ə "seɪv ɛz" ˈwɪndoʊ wɪl ˈoʊpən. 7 ˈɛnər ðə faɪl neɪm. taɪp ˈɪntu ðə "faɪl neɪm" tɛkst bɑks ðæts nɪr ðə ˈbɑtəm əv ðə ˈwɪndoʊ. 8 klɪk ðə "seɪv ɛz taɪp" bɑks. ɪts bɪˈloʊ ðə "faɪl neɪm" tɛkst bɑks. ˈklɪkɪŋ ɪt ˈkɔzɪz ə ˈmɛnju tɪ əˈpɪr. 9 klɪk ɔl faɪlz ðɪs ˈɔpʃən ɪz ɪn ðə ˈmɛnju. 10 səˈlɛkt ə seɪv loʊˈkeɪʃən. klɪk ən ˈfoʊldər (e.g*., ˈdɛskˌtɑp) ɔn ðə lɛft saɪd əv ðə ˈwɪndoʊ. rɪˈmɛmbər ðə ˈfoʊldər ðət ju bi ˈoʊpənɪŋ ɪt ɪn ʤɪst ə ˈmɪnət. 11 klɪk seɪv ɪts ɪn ðə ˈkɔrnər əv ðə ˈwɪndoʊ. ðɪs wɪl seɪv jʊr faɪl ɪn jʊr səˈlɛktɪd ˈfoʊldər. 12 ˌɪnˈstɔl ðə faɪl. goʊ tɪ ðə ˈfoʊldər ɪn wɪʧ ju seɪvd ðə faɪl (ɪf ju səˈlɛktɪd ðə ˈdɛskˌtɑp ˈfoʊldər, ʤɪst ˈmɪnəˌmaɪz ˈɛni ˈoʊpən ˈwɪndoʊz), ðɛn ɪt tɪ ˈoʊpən ɪt ənd klɪk jɛs ənˈtɪl ju rɪˈsiv ə ˌnoʊtəfəˈkeɪʃən ðət ðə ˈrɛʤɪstri faɪl wɑz səkˈsɛsfəli mərʤd. 13 klɪk ˈoʊˈkeɪ wɪn ˈprɑmptɪd. ðɪs wɪl əˈpɪr ɔn ə prɑmpt ˈnoʊtəˌfaɪɪŋ ju ðət jʊr ˈʧeɪnʤɪz tɪ ðə ˈrɛʤɪstri wər səkˈsɛsfəl.
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1 open start click the windows logo in the bottom-left corner of the screen. click the windows logo in the bottom-left corner of the screen.
2 type in notepad . this will search your computer for the notepad program, which is what you'll use to prevent caps lock from working on this computer.
3 click notepad . it's a blue, notepad-shaped icon at the top of the start window. a notepad window will open.
4 enter the caps lock termination code. the notepad document that you'll create consists of a heading, an empty line, a line indicating a destination, and the code itself:[1] type in windows registry editor version 5.00 and then press ↵ enter twice.
and then press twice. type in [hkey_local_machine\system\currentcontrolset\control\keyboard layout] and press ↵ enter .
and press . type "scancode map"=hex:00,00,00,00,00,00,00,00,02,00,00,00,00,00,3a,00,00,00,00,00 into the final line of notepad. the notepad document that you'll create consists of a heading, an empty line, a line indicating a destination, and the code itself:
5 click file . it's in the top-left corner of the notepad window. clicking it prompts a drop-down menu.
6 click save as… . this option is near the bottom of the drop-down menu. a "save as" window will open.
7 enter the file name. type disable_caps_lock.reg into the "file name" text box that's near the bottom of the window.
8 click the "save as type" drop-down box. it's below the "file name" text box. clicking it causes a drop-down menu to appear.
9 click all files . this option is in the drop-down menu.
10 select a save location. click an easy-to-get-to folder (e.g., desktop) on the left side of the window. remember the folder that you choose—you'll be opening it in just a minute.
11 click save . it's in the bottom-right corner of the window. this will save your file in your selected folder.
12 install the file. go to the folder in which you saved the file (if you selected the desktop folder, just minimize any open windows), then double-click it to open it and click yes until you receive a notification that the registry file was successfully merged.
13 click ok when prompted. this will appear on a prompt notifying you that your changes to the registry were successful.
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wi wɔnt ɑr ˈstɔriz tɪ goʊ fɑr ənd waɪd; tɪ bi sin bi ɛz ˈmɛni ˈpipəl ɛz ˈpɑsəbəl, ɪn ɛz ˈmɛni ˈaʊˌtlɛts ɛz ˈpɑsəbəl. ˈðɛrˌfɔr, ənˈlɛs ɪt sɪz ˈəðərˌwaɪz, ˈkɑpiˌraɪt ɪn ðə ˈstɔriz ɔn ðə lɔŋ ʃɔrt bɪˈlɔŋz tɪ ˈnɛstə ənd ðeɪ ər ˈpəblɪʃt ˈəndər ə kriˈeɪtɪv ˈkɑmənz ˌætrɪˈbjuʃən ˌɪnərˈnæʃənɑl ˈlaɪsəns (ˈsiˈsi baɪ ðɪs əˈlaʊz ju tɪ ˈkɑpi ənd ˌridɪˈstrɪbjut ðə məˈtɪriəl ɪn ˈɛni ˈmidiəm ər ˈfɔrˌmæt. ðɪs kən bi dən fər ˈɛni ˈpərpəs, ˌɪnˈkludɪŋ kəˈmərʃəl juz. ju məst, ˌhaʊˈɛvər, əˈtrɪˌbjut ðə wərk tɪ ðə ərˈɪʤənəl ˈɔθər ənd tɪ ðə lɔŋ ʃɔrt, ənd ˌɪnˈklud ə lɪŋk. ju kən ˈɔlsoʊ remix*, ˈtrænsfɔrm ənd bɪld əˈpɑn ðə məˈtɪriəl ɛz lɔŋ ɛz ju ˈɪndəˌkeɪt wɛr ˈʧeɪnʤɪz hæv bɪn meɪd. si mɔr əˈbaʊt ðə kriˈeɪtɪv ˈkɑmənz ˈlaɪsəns. moʊst əv ðə ˈɪmɪʤɪz juzd ɔn ðə lɔŋ ʃɔrt ər ˈkɑpiˌraɪt əv ðə fəˈtɑgrəfər ər ˈɪləˌstreɪtər hu meɪd ðɛm soʊ ðeɪ ər nɑt əˈveɪləbəl ˈəndər kriˈeɪtɪv ˈkɑmənz, ənˈlɛs ɪt sɪz ˈəðərˌwaɪz. ju ˈkænɑt juz ðiz ˈɪmɪʤɪz wɪˈθaʊt ðə pərˈmɪʃən əv ðə kriˈeɪtər. fər mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˈjuzɪŋ ɑr ˈkɑntɛnt, iˈmeɪl ˈjuˈɛs: [iˈmeɪl prəˈtɛktɪd] fər ðə fʊl ˈɑrtɪkəl ɪz bɪˈloʊ. ɛz ju flaɪ frəm ðə ˈkəntri naʊ noʊn ɛz ˈʤərməni tɪ ˈbrɪtən, ðə ˈkoʊstəl ʤiˈɑgrəfi əv ˈnɔrðərn ˌjʊrəˈpiən ˈsɪtiz ˈʤɛntli unfurls*. ju kən si wɛr ðə si smæks ˈɪntu ðɛm, ər wɛr ˈjɔnɪŋ ˈɛsʧuˌɛriz ənˈfoʊld laɪk ˈfənəlz bɪtˈwin grin ənd braʊn ˈsɪti ənd ˈʧɑpi blu ˈwɔtər. ju kən træk ðə sˈneɪkɪŋ ˈrɪvərz ənd kəˈnælz ðət fɔrm ˌənrɪˈpɛntənt əmˈbɪlɪkəl kəˈnɛkʃənz tɪ ðə ˈsɛtəlmənts sɛt ə ˈlɪtəl ˈfərðər ˈɪnˌlænd. baɪ ðɛr ˈneɪʧər ˈsɪtiz əˈlɔŋ koʊsts ənd ˈrɪvərz dɪˈvɛləpt soʊ ðeɪ kʊd bi ˈoʊpən tɪ treɪd wɪθ iʧ ˈəðər. frəm ðə ˈmɪdəl əv ðə ˈsɛnʧəri, ənd fər səm 300 jɪrz ˈæftər, ˈmɛni ˈsɛtəlmənts ˈdɑtɪd əˈlɔŋ ðɪs rut fɔrmd ðə ˈprɑspərəs ˌhænsiˈætɪk lig, ə ˌjʊrəˈpiən ˈtreɪdɪŋ kənˌfɛdərˈeɪʃən əv ˈmɑrkɪt taʊnz, ˌbiˈfɔr ðə raɪz əv ðə ˈneɪʃən steɪt lɛd tɪ ɪts ˌdɪsəˈluʃən. ðə ˌhænsiˈætɪk lig ɪz nɑt wɛl noʊn, ənd təˈdeɪ ɪt lɪvz ɔn moʊst ˈprɑmənəntli ɪn ðə neɪm əv ðə ˈʤərmən ˈnæʃənəl ˈɛˌrlaɪn ləfˈtænzə, ˈlɪtərəli ðə 'ˈhænsə əv ðə skaɪz', huz pleɪnz ju kən lʊk aʊt əv ənd daʊn təˈwɔrdz ðə ˌhænsiˈætɪk ˈsɪtiz ɔn ðə ʃɔrt ˈʤərniz bɪtˈwin ˈmeɪnˌlænd ˈjʊrəp ənd ˈbrɪtən. ðə ˈlɛtərz ɔn ðə ˈnəmbər pleɪts əv kɑz ɪn ˈhæmbərg stænd fər ˈhæmbərg: əˈnəðər praʊd ˈlɪtəl ˈmɛməri əv ðɪs ˈhɪdən ˈhɪstəri. ɪn ðə ˈætməsˌfɪr əv ˈbrɪtən, ɪt ɪz wərθ rɪˈmɛmbərɪŋ ðə ˌhænsiˈætɪk lig. ɪt kʊd pɔɪnt ˈjuˈɛs təˈwɔrdz nu riˈleɪʃənˌʃɪps bɪtˈwin prəˈgrɛsɪv ˈsɪti dˈwɛlərz ɪn ə wərld ðət ˈəðərˌwaɪz simz tɪ bi ˈpʊtɪŋ ðə breɪks ɔn mɑˈdərnəti. dɪˈspaɪt səm əv ˈbrɪtənz liv ˈvoʊtərz ˈlɔŋɪŋ tɪ ˌɪnˈhæbət ə rɛlm ˌɪmˈjun tɪ ˈfɔrən ˈɪnfluəns, ðə ˌriˈæləˌti ɪz ˈpætəntli ˈvɛri ˈdɪfərənt tɪ ðət. ɪn ðə leɪt 1300s*, ˈʧɔsər roʊt əˈbaʊt ˈkɛrɪktərz ˈtrævəlɪŋ tɪ ʤərˈusələm, ənd ˈəðərz hu keɪm frəm ˈjʊrəp; ənd ɪt wɑz æt ɪgˈzæktli ðɪs pɔɪnt ðət ðə ˌhænsiˈætɪk lig sˈloʊli ˈstɑrtɪd tɪ ˌkoʊəˈlɛs, ɪˈvɛnʧəwəli ˈɪnˌfluənsɪŋ ɑr aɪlz. ðə lig ɪz moʊst ˈizəli ˌəndərˈstʊd ɛz ə lus ˌfɛdərˈeɪʃən əv ˈsɪtiz ðət ˈæktɪd təˈgɛðər ɪn ˌsɛlˈfɪntəˌrɛst tɪ prəˈmoʊt treɪd. ðə ˌhænsiˈætɪk ˈsɪtiz dɪˈvɛləpt ðɛr oʊn ˈligəl ˈsɪstəm, ənd ðɛr ˈɑrmiz keɪm tɪ wən əˈnəðərz eɪd. ˈmərʧənts hu ˈwɔntɪd tɪ baɪ ənd sɛl ənd ˈtrævəl wər ˈteɪkɪŋ ðə lɛd æt ə taɪm wɪn ˈneɪʃən steɪts wər nɑt fɪt fər ˈpərpəs: ɪn ðə keɪs əv ˈɪŋglənd ər ˈdɛnˌmɑrk, ˈlidərˌʃɪp wɑz tu ənd əˌθɔrəˈtɛriən, waɪl ɪn lændz ə ˈneɪʃən hæd jɛt tɪ bi fɔrmd. wi θɪŋk əv ˈneɪʃənz təˈdeɪ ɛz ˌɛləˈmɛnəl ˈɔlˌmoʊst, ˌɪˈmuvəbəl. jɛt lʊk æt ˈɛni ˈsɪti əv ˌmɪˌtɛˌluˈroʊpə ənd jul si ðə ˈmɛni ˈdɪfərənt neɪmz ɪt həz hæd ɛz ˈbɔrdərz ənd rəˈʒimz hæv ˈʃɪftɪd wɪθ ðə sændz əv taɪm. ˈneɪʃənz kəm ənd goʊ. ˈsɪtiz ɪnˈdʊr. "ɪt ɪz ˈɔfən sɛd ðət greɪt ˈsɪtiz sərˈvaɪvd greɪt ˈɛmpaɪərz," sɪz krɪˈstinə ampatzidou*, əv ðə ˈɔnˌlaɪn ˈpəblɪʃɪŋ ˈplætˌfɔrm ˈæməˌʧər ˈsɪtiz. "soʊ ɪt ɪz nɑt ənˌriˈlɪstɪk tɪ θɪŋk əv ˈsɪtiz ɛz dɪˈskrit ˈɛntɪtiz ðət kəmˈpit ənd kəˈlæbərˌeɪt wɪθ iʧ ˈəðər, ˌɪndɪˈpɛndəntli frəm ðə steɪts tɪ wɪʧ ðeɪ bɪˈlɔŋ." ðə ˈsɪtiz ˌɪnˈvɑlvd ɪn ðə ˌhænsiˈætɪk lig ər faʊnd əˈlɔŋ ðə ˈbɔltɪk ənd nɔrθ si koʊsts, ənd sˈlaɪtli ˈɪnˌlænd tu. ðə lig strɛʧt frəm ˈnɑvgərˌɑd ɪn ðə ist ɪn wət ɪz naʊ ˈrəʃə tɪ ˈləndən ɪn ðə wɛst. tallinn*, ˈrigə, gdańsk*, visby*, bərˈlɪn, kəˈloʊn, ˈæntwərp, ˈstɑˌkhoʊlm, ˈbərgən, kil, rostock*, dinant*, ˈbruʤɪz, turku*, groningen*, ˈhænoʊvər, ˈrɑˌklɔ, kəˈlɪnɪŋˌgræd: ɔl wər ˌɪnˈvɑlvd æt ˈdɪfərənt ˈsteɪʤɪz ɪn ðə ˈhɪstəri, wɪʧ ræn ɔn ˈɪntu ðə 1500s*. ðə lig ˈkəvərd lændz ðət təˈdeɪ faɪnd ðɛmˈsɛlvz ə pɑrt əv ðə ˈmɑdərn ˈneɪʃənz əv ˈfɪnˌlænd, sˈwidən, ˈpoʊlənd, ðə ˈnɛðərləndz, ˈbɛlʤəm, fræns, ˈnɔrˌweɪ, ˌlɪθəˈweɪniə, ɛˈstoʊniə ənd ˈlætviə. ɪt wɑz ə juʤ ənd ˈhjuʤli æmˈbɪʃəs ˈəndərˌteɪkɪŋ ɪn ðə deɪz wɪn kəmˌjunəˈkeɪʃənz kənˈsɪstɪd əv ɪŋk ənd ˈpeɪpər ənd ðə ˈoʊnli ˈvaɪəbəl ˈmɛθəd əv ˈtrævəl wɑz baɪ ʃɪp. wʊd, fər, wʊl, ˈsɪlvər, ˈhɛrɪŋ, ˈsiˈoʊˈdi ənd sɔlt wər ðə meɪn ˈaɪtəmz ˈtreɪdɪd. bət wət wɑz ˈɔlsoʊ ɪksˈʧeɪnʤd wɑz ˈnɑlɪʤ. ɪn səm weɪz ɪt wɑz ən ˈɛksərˌsaɪz ɪn wət wi təˈdeɪ kɔl 'sɔft dɪˈploʊməsi'. ðɛr wɑz noʊ məˈnaɪəkəl ˈrulər ˈoʊvərˌsiɪŋ θɪŋz ˈmərʧənts mɛt ənd tɔkt. ðeɪ reɪzd ˈɑrmiz ənd weɪʤd wɔr əˈgɛnst kɪŋz hu θˈrɛtənd ðɛr ˈbɪznɪsɪz ənd ðɛr ˈfridəmz ənd ðɛr pis. ðɛr wɑz ə kaɪnd əv æt wərk. prəˈfɛsər ˈreɪnər ˈpɑstəl, əv ðə ˈbəndəsˌwɛr (ˈʤərməniz ɪkˈwɪvələnt əv ˈmɪlɪˌtɛri əˈkædəmi), həz dɪˈskraɪbd ðə ɛz "ə kəmˈjunɪti əv ˈɪntərɪsts wɪˈθaʊt paʊər ˈpɑləˌtɪks". ɛz ˈdeɪvɪd abulafia*, prəˈfɛsər əv ˌmɛdətərˈeɪniən ˈhɪstəri æt ˈkeɪmbrɪʤ pɔɪnts aʊt, "ðə læk əv ən ɪˈlæbərˌeɪt ˈsupərˌstrəkʧər wɑz wən əv ðə θɪŋz ðət meɪd ðə wərk. ˈhævɪŋ sɛd ðət, wən ʃʊd ˈrɛkəgˌnaɪz ðət ɪn ˌpɑˈtɪkjələr ˈdɑməˌneɪtəd ðə lig fər lɔŋ ˈpɪriədz." wɑz wɛr ðə ˈmərʧənts moʊst ˈɔfən mɛt; ənd wɛr rɪˈnud ˈrisənt ˈɪntəˌrɛst ɪn ðə ɪˈvɛnʧəwəli lɛd tɪ ˈænʤələ ˈmərkəl ˈkətɪŋ ðə ˈrɪbən æt ðə brænd nu ˌjʊrəˈpiən ɪn ðə ˈsɪti læst jɪr. ˈʤərməni təˈdeɪ ˌməltiˈkəlʧərəl, ˌɛkəˈnɑmɪkli ənd ˈkəlʧərəˌli ˈmoʊtərɪŋ, fri ənd fɛr simz laɪk ðə aɪˈdil ˈmɑdəl fər ə ˈmɑdərn ˌjʊrəˈpiən ˈneɪʃən steɪt. ənd pɑrt əv ðət səkˈsɛs laɪz ɪn ðə ˈgrævətəs ðə ˈkəntri həz ˈgɪvɪn tɪ ɪts ˌhænsiˈætɪk ˈhɪstəri. fər ˈʤərməni ɪz nɑt ə ˈtɔpˌdaʊn ˈkəntri wɪθ wən ˈsɪti ˈdɑməˌneɪtɪŋ ɛz wɪθ fræns ənd ˈbrɪtən (ˈriʤənəl ˌɛkəˈnɑmɪk ˌɪnɪkˈwɑlɪtiz hæv pleɪgd ˈbrɪtən sɪns ðə ˈpeɪnfəl əv ðə 1980s*, əˈspɛʃəli ɪn ðə nɔrθ). ˈʤərməni rɪˈspɛkts ˈfɛdərəˌlɪzəm ənd ɪts ˈsɪtiz ɪgˈzɪst ɔn ə məʧ mɔr ˈivɪn kil. ðə weɪ ðət kəˈloʊn, mˈjunɪk, ˈfræŋkfərt, ˈdusəlˌdɔrf ənd ˈstətgərt ɔl brɪŋ ˈvɛrid ˌɛkəˈnɑmɪk ənd ˈkəlʧərəl ˈkɛrɪktər tɪ ðə ˈpɑrti ɪz pjʊr. ðə ˈfɔrmər ˌhænsiˈætɪk ˈsɪtiz əv ˈhæmbərg, bərˈlɪn ənd ˈbrɛmən hæv ˈsɪti steɪt ˈstætəs wɪˈθɪn ˈʤərməni, ˈpʊtɪŋ ðɛm ɔn ðə seɪm ˈlɛvəl ɛz ə hoʊl ˈriʤən ər 'lænd' laɪk bəˈvɛriə ər ˈbrændənbərg. soʊ haʊ əˈbaʊt ə nu ˌhænsiˈætɪk lig? aɪ æsk ˈbɛnʤəmən ˈbɑrbər, ˈsinjər ˈfɛloʊ æt nu jɔrks ˈfɔrdəm ˌjunəˈvərsəti. "aɪ bɪˈliv ju wɪl faɪnd ðɛr ɪz ə nu," hi sɪz, "ðət ˈkɑnstəˌtutəd ˌɪtˈsɛlf əˈbaʊt 10 ər 11 jɪrz əˈgoʊ ˌɪnˈkludɪŋ ˈmɛni əv ðə ərˈɪʤənəl ˌhænsiˈætɪk lig ˈsɪtiz." ˈbɑrbər ɪz ˈfaʊndər əv ðə ˈgloʊbəl ˈpɑrləmɛnt əv meɪərz, wɪʧ hi dɪˈskraɪbz ɛz ə kaɪnd əv əv ɔl ˈsɪtiz, nɑt ʤɪst ˌjʊrəˈpiən pɔrts, wɪʧ wɪl gɪv ˈsɪtiz ə ˈgloʊbəl ˈərbən vɔɪs ənd ə ˈkɑmən ˈplætˌfɔrm fər ˈækʃən. ðə ˈpɑrləmɛnt kənˈvinz fər ɪts ˌɪˈnɔgərəl ˈsɛʃən ɪn ðə heɪg ɪn sɛpˈtɛmbər. "ˈsɪtiz boʊθ ɪgˈzɪst wɪˈθɪn ˈneɪʃənz ənd trænˈsɛnd ˈneɪʃənz. ðɛr paʊər laɪz nɑt ʤɪst ɪn ðə ɪkˈstɛnt əv də ʤʊr əˈtɑnəmi ˈsidɪd ər ˈgrænɪd baɪ 'haɪər' ˈlɛvəlz əv ˈgəvərnmənt," sɪz brus kæts, sɛnˈtɛniəl ˈskɑlər æt ðə ˈwɔʃɪŋtən ˌdiˈsi ðə ˈbrʊkɪŋz ˌɪnstɪˈtuʃən. "ˈrəðər, ˈsɪtiz hæv də ˈfæktoʊ paʊər, ðə rɪˈzəlt əv ˈlɑrʤər ˈmɑrkɪt ənd ˌdɛməˈgræfɪk ˈfɔrsɪz ənd ɪnˌvaɪrənˈmɛnəl ˌɪmˈpɛrətɪvz ðət ˈvælju prɑkˈsɪməti, ˈdɛnsɪti, kənɛkˈtɪvɪti ənd kˈwɑləti. smɑrt ˈneɪʃənz wɪl si ðɛmˈsɛlvz ɛz ˈpɑrtnərz tɪ ðɛr ˈsɪtiz, ˈsɛtɪŋ strɔŋ ˈplætˌfɔrmz fər ˈərbən prɑˈspɛrəti ənd paʊərz, wɛr əˈproʊpriˌeɪt, tɪ gɪv ˈsɪtiz ðə ˌflɛksəˈbɪləti tɪ perform…*… dəm ˈneɪʃənz wɪl kənˈtɪnju tɪ ˈdɪkˌteɪt frəm əˈbəv, ˈstaɪfəlɪŋ ˈmɑrkɪt ækˈtɪvɪti ənd ˈərbən pəˈtɛnʃəl." bət kʊd wi goʊ ˈfərðər? kʊd ˈsɪtiz laɪk ˈləndən dɪˈklɛr ˌɪndɪˈpɛndəns frəm ðə? ˈləndənz ɪˈkɑnəmi ɪz ˈlɑrʤər ðən ðət əv ˈskɑtlənd ənd weɪlz kəmˈbaɪnd. "steɪts wɪl nɑt ˈvænɪʃ ər sərˈɛndər ðɛr ˈweɪnɪŋ ˈsɑvrənti," sɪz ˈbɛnʤəmən ˈbɑrbər. "bət ˈsɪtiz wɪl mit əˈkrɔs frənˈtɪrz ənd wərk təˈgɛðər tɪ sɑlv ˈprɑbləmz. ðə əˈbʤɛktɪv ɪz nɑt ən ˌɪndɪˈpɛndənt ˈləndən ər nu jɔrk, bət ˌɪntərdɪˈpɛndənt ˈsɪtiz kəˈlæbərˌeɪtɪŋ ˈgloʊbəli. ənd ðət ɪz ˈhæpənɪŋ." ˈləndənz ˈvoʊtərz ˈlɑrʤli ˈwɔntɪd tɪ rɪˈmeɪn ə pɑrt əv ðə ənd tɪ meɪnˈteɪn ðə ˈsɪtiz ˈstætəs ɛz ən entrepôt*. ðɛr ɪz ˈklɪrli ə ˈwaɪdənɪŋ ˈkæzəm bɪtˈwin ˈərbən ənd ˈrʊrəl laɪf æt ðə hɑrt əv ˈmɛni ˈneɪʃənz. əv ˈɔstriəz ˈrisənt ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən ʃoʊd ðə ˈɪʃu ˈklɪrli: ðə ˈkəntriz ˈsɪtiz ˈvoʊtɪd fər ðə grin ˈkænədɪt ˌælɪgˈzændər væn dər bellen*, waɪl ðə ðə ˈrʊrəl ˈdɪstrɪkts wɛnt fər ˈnæʃənəlɪst ˈnɔrbərt ˈhoʊfər (huz ˈligəl ˈʧælənʤ tɪ ðə kloʊz rɪˈzəlt həz rɪˈzəltɪd ɪn ə ˈriˈrən biɪŋ əˈnaʊnst fər ɑkˈtoʊbər). ənd ɪn ðə ˈjuˈɛˈseɪ ɪn noʊˈvɛmbər, ɪts ˈlaɪkli ðət trəmp ˈvoʊtərz wɪl ˈɔlsoʊ kəm frəm ˈrʊrəl ˈɛriəz ənd ˈklɪntən ˈvoʊtərz frəm ðə ˈsɪtiz. ˈsɪti dˈwɛlərz ər ˈfaɪndɪŋ ˈɛvər mɔr ɪn ˈkɑmən wɪθ ðə wərldz ˈəðər ˈsɪti dˈwɛlərz ðən wɪθ ðɛr ˈkəntrimɪn 50 maɪəlz daʊn ðə roʊd. bæk ɪn ˈbrɪtən, wən əv ˈhɪstəriz ˈlɪtəl ˈɑdətiz pɑps əp ɔn ðə ist koʊst. ˈbɔstən ɪn ˈlɪŋkənˌʃɪr ənd kɪŋz lɪn ɪn ˈnɔrfək wər boʊθ ˌhænsiˈætɪk lig taʊnz ðət ˈtreɪdɪd wɪθ pɔrts ənd ˈhoʊstɪd ˈfɔrən ˈmərʧənts. kɪŋz lɪn kənˈteɪnz ðə ˈoʊnli ˈɛkstənt haʊs lɛft ɪn ˈbrɪtən (ˈləndənz wɑz nɑkt daʊn tɪ bɪld ˈkænən strit ˈsteɪʃən ɪn ðə 1800s*). jɛt ɪn ðə ˌrɛfərˈɛndəm ðiz tu ˈɛriəz poʊld əˈməŋ ðə haɪəst liv voʊts əv ˈɛniˌwɛr ɪn ðə ˈkəntri. "θɪŋz ʧeɪnʤ," sɪz prəˈfɛsər ˈtoʊni ˈtrævərz. "[kɪŋz lɪn] juzd tɪ bi ˈvɛri ˈhaɪli kəˈnɛktɪd, bət ðə ɪˈkɑnəmi muvd ɔn ənd lɛft ðoʊz ˈtreɪdɪŋ pɔrts laɪk ɪt ɪn ə ˈdɪfərənt ˌsɪʧuˈeɪʃən." teɪk, fər ɪgˈzæmpəl, ðə ˈpɪvət təˈwɔrdz ðə nu wərld, wɪθ wɪʧ treɪd meɪd mɔr sɛns frəm ðə pɔrts laɪk ˈbrɪstəl ənd ˈlɪvərˌpul. waɪl ðiz bumd bɪtˈwin ðə ənd 1800s*, ðə ˌhænsiˈætɪk pɔrts dɪˈklaɪnd ənd ðɛn daɪd aʊt. "wən əv ðə θɪŋz ðæts ˈɪntəˌrɛstɪŋ əˈbaʊt ðə [ˌrɛfərˈɛndəm] dɪˈsɪʒən ɪz ðət ɪt bɛgz ɔl sɔrts əv kˈwɛsʧənz əˈbaʊt ðə fˈjuʧər əv ðə ənd ɪts riˈleɪʃənˌʃɪp wɪθ ˈjʊrəp; ənd əv ˈləndən ənd ˈskɑtlənd ənd ðɛr riˈleɪʃənˌʃɪp wɪθ ðə rɛst əv ˈjʊrəp. wɪn ðə bɪˈgæn ɛz ðə ɪn ðə ˈsɛnʧəri səm sɔ ɪt ɛz ə ˈmɑdərn deɪ. naʊ ðə simz tɪ bi ˈweɪnɪŋ, pərˈhæps ɪts səkˈsɛsər wɪl hæv tɪ eɪp ðə ˈivɪn mɔr." fər ɔl ɪts ˈkɑmplɛks ˈbjuti, laɪf kən ˈəltəmətli bi rɪˈdust tɪ ə ˈsɪriz əv ˈbaɪnəˌri ˈɔpʃənz: jɛs ər noʊ, stɪk ər twɪst, ɪn ər aʊt, ˌɪnəˈveɪʃən ər stægˈneɪʃən, mɑˈdərnəti ər məˈθɑləˌʤi. ðə ˌrɛfərˈɛndəm rɪˈzəlt wɑz ˌdɪsəˈpɔɪnɪŋ fər ˈmɛni prəˈgrɛsɪv əbˈzərvərz bɪˈkəz ɪt fɛlt laɪk ə stɛp ˈbækwərdz. dɪˈspaɪt biɪŋ praɪˈmɛrəli əˈbaʊt treɪd məˈnɑpəliz ənd ˈməni ˈmeɪkɪŋ, ðə wɑz, ɪn ɪts weɪ, ən ˈərli stæb æt ˈstɛpɪŋ ˈfɔrwərdz: ɪt ɛnˈkəmpəst ˌɪnərˈnæʃənɑˌlɪzəm, ˈræʃənəl θɔt, fri treɪd, lus ˌdɛməˈkrætɪk ˌɪnstɪˈtuʃənz ənd, moʊst ˈkruʃəli əv ɔl, ˈmuvmənt. ðə fˈjuʧər, fər ˈmɛni əbˈzərvərz, kən ˈoʊnli bi ˌəndərˈstʊd ɪn tərmz əv ðə fri ˈmuvmənt əv ˈpipəl, ˈkæpɪtəl, gʊdz ənd aɪˈdiəz. ɪt ɪz ðɪs ˈnɛsəˌsɛri ˈmuvmənt, ənd ɪts ˈpɑsəbəl kərˈteɪlmənt, ðət kʊd bi ðə spɑrk ðət lidz tɪ ˈsɪtiz laɪk ˈləndən tɪ sik ˌɪndɪˈpɛndəns ənd ˈpɛrəti wɪθ ˈəðər wərld ˈsɪtiz ˈrəðər ðən wɪθ ðə ˈrʊrəl ˈhɪntərˌlændz əv ˈbrɪtən. əv kɔrs, ˈsɪtiz sɪˈsidɪŋ frəm ðɛr ˈneɪʃən steɪts wʊd prəˈvaɪd juʤ ˈhɛˌdeɪks fər ˈkəntriz huz ˈbɪgəst ˌɛkəˈnɑmɪk ˈdraɪvər hæd bɪn riˈmuvd ɛz wɛl ɛz ˈlaɪkli ˈdipənɪŋ ˌaɪdiəˈlɑʤɪkəl ˈdɪfərənsɪz bɪtˈwin ˈsɪti ənd ˈrʊrəl dˈwɛlərz. mɔˈroʊvər, ˈsɪtiz nid ðə fud ðə ˈkəntriˌsaɪd prəˈvaɪdz. jɛt fər ɔl ðə pəˈtɛnʃəl ˈpɪtˌfɔlz, ˈsɪti steɪts kən θraɪv. lʊk æt ˈsɪŋəˌpɔr, hɔŋ kɔŋg, ər də ˈfæktoʊ ˈsɪti steɪts laɪk duˈbaɪ ənd ˈæbu ˈdɑbi. wən əv ðə moʊst ˈtɛlɪŋ ˌkɛrɪktərˈɪstɪks əˈbaʊt ðiz fɔr ɔl əv kɔrs ˈfɔrmər ˈbrɪtɪʃ ˌɪmˈpɪriəl ˈɛnˌkleɪvz ɪz ðət ðeɪ ər ˈətərli ˈaʊtwərd ˈlʊkɪŋ. tɪ rɪˈtərn tɪ ðə skaɪ əˈnæləʤi, ɪts ðə ˈɛˌrlaɪnz əv iʧ əv ðiz (ˈsɪŋəˌpɔr ˈɛˌrlaɪnz, kæˈθeɪ pəˈsɪfɪk, ˈɛmərˌeɪts ənd etihad*) ðət ˈoʊpən əp iʧ rɪˈspɛktɪv ˈsɪti tɪ ðə wərld ɪn ðə weɪ ðət ðə məˈʃinəri əv ðə dɪd ɔn ðə ˈbɔltɪk si 600 jɪrz əˈgoʊ. ənd ɪts ðə ˈjunjənz iʧ ˈsɪti meɪks wɪθ ˈəðər ˈpleɪsɪz ðət ˈɔlsoʊ lʊk ˈθəroʊli ˌhænsiˈætɪk ɪn ˈkɛrɪktər. ə ˈmɑdəl fər ˈmɑdərn ˈsɪti steɪts, ðɛn. bət ɪz ɪt wən ðət wi wɔnt? "ðə ˌhænsiˈætɪk lig wɑz nɑt ˈɔlˌweɪz ækˈsɛptɪd baɪ ˈloʊkəl ˈsɪtɪzənz," sɪz krɪˈstinə ampatzidou*, "bɪˈkəz ðə ˈprɪvɪˌlɪʤɪz ˈgrænɪd tɪ ðə ˈmərʧənts wər ˈfɔrsɪŋ ˈloʊkəl ˈtreɪdərz aʊt əv ˌkɑmpəˈtɪʃən ənd ˈmɛni ˈsɪtiz tʊk stɛps tɪ ɪˈlɪməˌneɪt ðɛm. ðə ˈrizənz ðə ˈkəntriˌsaɪd ɪz ˈtərnɪŋ tɪ ðə raɪt [ˈgloʊbəli] ər nɑt ˌɪndɪˈpɛndənt frəm ˈsɪtiz ˈtərnɪŋ ˌɪnˈkrisɪŋgli ˈɪntu ˌspɛkjəˈleɪʃən məˈʃinz fər ðə ˈprɑfɪt əv ə ˈhæpi fju. ɪt ɪz ˈbeɪsɪkli ðiz sɪˈstɛmɪk ˌkɑntrəˈdɪkʃənz ðət məst bi əˈdrɛst ˌbiˈfɔr wi rɪˈzɔrt tɪ mɔr ˌaɪsəˈleɪʃənəst aɪˈdiəz ðət wʊd ˌɪnˈtɛnsɪˌfaɪ ðə pəˈlɪtɪkəl dɪˈvaɪd. ðə ˈbɑtəm laɪn ɪz nɑt ˈwɛðər ə kənˈtɛmpərˌɛri ˌfɛdərˈeɪʃən ɪz ˈpɑsəbəl, ɪt ˈprɑbəˌbli ɪz; bət ˈwɛðər ɪt ɪz ˈæˌkʧuəli dɪˈzaɪərəbəl." ðɪs ˈɑrtɪkəl wɑz ərˈɪʤənəli ˈpəblɪʃt ɔn thelong+short*. rɛd ðə ərˈɪʤənəl ˈɑrtɪkəl.
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as you fly from the country now known as germany to britain, the coastal geography of northern european cities gently unfurls. you can see where the sea smacks into them, or where yawning estuaries unfold like funnels between green and brown city and choppy blue water. you can track the snaking rivers and canals that form unrepentant umbilical connections to the settlements set a little further inland.
by their nature cities along coasts and rivers developed so they could be open to trade with each other. from the middle of the 13th century, and for some 300 years after, many settlements dotted along this route formed the prosperous hanseatic league, a european trading confederation of market towns, before the rise of the nation state led to its dissolution.
the hanseatic league is not well known, and today it lives on most prominently in the name of the german national airline lufthansa, literally the 'hansa of the skies', whose planes you can look out of – and down towards the hanseatic cities – on the short journeys between mainland europe and britain. the letters hh on the number plates of cars in hamburg stand for hansestadt hamburg: another proud little memory of this hidden history.
in the traumatised atmosphere of post-brexit britain, it is worth remembering the hanseatic league. it could point us towards new relationships between progressive city dwellers in a world that otherwise seems to be putting the brakes on modernity.
despite some of britain's leave voters longing to inhabit a fantastical realm immune to foreign influence, the reality is patently very different to that. in the late 1300s, chaucer wrote about characters travelling to jerusalem, and others who came from europe; and it was at exactly this point that the hanseatic league slowly started to coalesce, eventually influencing our isles.
the league is most easily understood as a loose federation of cities that acted together in self-interest to promote trade. the hanseatic cities developed their own legal system, and their armies came to one another's aid. merchants who wanted to buy and sell and travel were taking the lead at a time when nation states were not fit for purpose: in the case of england or denmark, leadership was too centralised and authoritarian, while in german-speaking lands a nation had yet to be formed.
we think of nations today as elemental almost, immovable. yet look at any city of mitteleuropa and you'll see the many different names it has had as borders and regimes have shifted with the sands of time. nations come and go. cities endure.
"it is often said that great cities survived great empires," says cristina ampatzidou, editor-in-chief of the rotterdam-based online publishing platform amateur cities. "so it is not unrealistic to think of cities as discrete entities that compete and collaborate with each other, independently from the states to which they belong."
the cities involved in the hanseatic league are found along the baltic and north sea coasts, and slightly inland too. the league stretched from novgorod in the east – in what is now russia – to london in the west. tallinn, riga, gdańsk, visby, berlin, cologne, antwerp, stockholm, bergen, kiel, rostock, dinant, bruges, turku, groningen, hanover, wroclaw, kaliningrad: all were involved at different stages in the hanse's history, which ran on into the 1500s.
the league covered lands that today find themselves a part of the modern nations of finland, sweden, poland, the netherlands, belgium, france, norway, lithuania, estonia and latvia. it was a huge – and hugely ambitious – undertaking in the days when communications consisted of ink and paper and the only viable method of travel was by ship. wood, fur, wool, silver, herring, cod and salt were the main items traded. but what was also exchanged was knowledge. in some ways it was an exercise in what we today call 'soft diplomacy'. there was no maniacal ruler overseeing things – merchants met and talked. they raised armies and waged war against kings who threatened their businesses and their freedoms and their peace.
there was a kind of proto-democracy at work. professor rainer postel, of the bundeswehr universität (germany's equivalent of sandhurst military academy), has described the hanse as "a community of interests without power politics". as david abulafia, professor of mediterranean history at cambridge points out, "the lack of an elaborate superstructure was one of the things that made the hanse work. having said that, one should recognise that lübeck in particular dominated the league for long periods."
lübeck was where the merchants most often met; and where renewed recent interest in the hanse eventually led to angela merkel cutting the ribbon at the brand new european hansemuseum in the city last year.
germany today – multicultural, economically and culturally motoring, free and fair – seems like the ideal model for a modern european nation state. and part of that success lies in the gravitas the country has given to its hanseatic history. for germany is not a top-down country with one city unhealthily dominating as with france and britain (regional economic inequalities have plagued britain since the painful de-industrialisation of the 1980s, especially in the north). germany respects federalism and its cities exist on a much more even keel. the way that cologne, munich, frankfurt, dusseldorf and stuttgart all bring varied economic and cultural character to the party is pure hanse. the former hanseatic cities of hamburg, berlin and bremen have city state status within germany, putting them on the same level as a whole region or 'land' like bavaria or brandenburg.
so how about a new hanseatic league? i ask benjamin barber, senior fellow at new york's fordham university. "i believe you will find there is a new hanse," he says, "that constituted itself about 10 or 11 years ago – including many of the original hanseatic league cities." barber is founder of the global parliament of mayors, which he describes as a kind of hanse of all cities, not just european ports, which will give cities a global urban voice and a common platform for action. the parliament convenes for its inaugural session in the hague in september.
"cities both exist within nations and transcend nations. their power lies not just in the extent of de jure autonomy ceded or granted by 'higher' levels of government," says bruce katz, centennial scholar at the washington dc thinktank the brookings institution. "rather, cities have de facto power, the result of larger market and demographic forces and environmental imperatives that value proximity, density, connectivity and quality. smart nations will see themselves as partners to their cities, setting strong platforms for urban prosperity and devolving powers, where appropriate, to give cities the flexibility to perform… dumb nations will continue to dictate from above, stifling market activity and urban potential."
but could we go further? could cities like london declare independence from the uk? london's economy is larger than that of scotland and wales combined. "states will not vanish or surrender their waning sovereignty," says benjamin barber. "but cities will meet across frontiers and work together to solve problems. the objective is not an independent london or new york, but interdependent cities collaborating globally. and that is happening."
london's voters largely wanted to remain a part of the eu and to maintain the city's status as an entrepôt. there is clearly a widening chasm between urban and rural life at the heart of many nations. visualisations of austria's recent presidential election showed the issue clearly: the country's cities voted for the green candidate alexander van der bellen, while the the rural districts went for right-wing nationalist norbert hofer (whose legal challenge to the close result has resulted in a rerun being announced for october). and in the usa in november, it's likely that trump voters will also come from rural areas and clinton voters from the cities. city dwellers are finding ever more in common with the world's other city dwellers than with their countrymen 50 miles down the road.
back in britain, one of history's little oddities pops up on the east coast. boston in lincolnshire and king's lynn in norfolk were both forward-looking hanseatic league towns that traded with far-flung ports and hosted foreign merchants. king's lynn contains the only extant hanse house left in britain (london's was knocked down to build cannon street station in the 1800s). yet in the eu referendum these two areas polled among the highest leave votes of anywhere in the country.
"things change," says lse's professor tony travers. "[king's lynn] used to be very highly connected, but the economy moved on and left those trading ports like it in a different situation." take, for example, the pivot towards the new world, with which trade made more sense from the west-coast ports like bristol and liverpool. while these boomed between the 1600s and 1800s, the hanseatic ports declined and then died out. "one of the things that's interesting about the [referendum] decision is that it begs all sorts of questions about the future of the uk and its relationship with europe; and of london and scotland and their relationship with the rest of europe. when the eu began as the eec in the mid-20th century some saw it as a modern day hanse. now the eu seems to be waning, perhaps its successor will have to ape the hanse even more."
for all its complex beauty, life can ultimately be reduced to a series of binary options: yes or no, stick or twist, in or out, innovation or stagnation, modernity or mythology. the referendum result was disappointing for many progressive observers because it felt like a step backwards. despite being primarily about trade monopolies and money making, the hanse was, in its way, an early stab at stepping forwards: it encompassed internationalism, rational thought, free trade, loose democratic institutions and, most crucially of all, movement.
the future, for many observers, can only be understood in terms of the free movement of people, capital, goods and ideas. it is this necessary movement, and its possible curtailment, that could be the spark that leads to cities like london to seek independence and parity with other world cities – rather than with the rural hinterlands of britain.
of course, cities seceding from their nation states would provide huge headaches for countries whose biggest economic driver had been removed – as well as likely deepening ideological differences between city and rural dwellers. moreover, cities need the food the countryside provides.
yet for all the potential pitfalls, city states can thrive. look at singapore, hong kong, or de facto city states like dubai and abu dhabi. one of the most telling characteristics about these four – all of course former british imperial enclaves – is that they are utterly outward looking. to return to the sky analogy, it's the airlines of each of these (singapore airlines, cathay pacific, emirates and etihad) that open up each respective city to the world in the way that the machinery of the hanse did on the baltic sea 600 years ago. and it's the unions each city makes with other places that also look thoroughly hanseatic in character. a model for modern city states, then. but is it one that we want?
"the hanseatic league was not always accepted by local citizens," says cristina ampatzidou, "because the privileges granted to the hanse merchants were forcing local traders out of competition and many cities took steps to eliminate them. the reasons the countryside is turning to the right [globally] are not independent from cities turning increasingly into speculation machines for the profit of a happy few. it is basically these systemic contradictions that must be addressed before we resort to more isolationist ideas that would intensify the urban-rural political divide. the bottom line is not whether a contemporary hanse-esque federation is possible, it probably is; but whether it is actually desirable."
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ˈʤɛrɪd hɛs wɪl dɪˈrɛkt ðə ˈmuvi, wɪʧ eɪmz tɪ ˈkrɔˌsoʊvər dəg, rugrats*, rɛn ˈstɪmpi ənd ahhh*! ril ˈmɑnstərz! gɪt ˈrɛdi fər ə kɑrˈtun ˈkrɔˌsoʊvər əv ˈmæsɪv prəˈpɔrʃənz! ˈdɛˌdlaɪn ɪz təˈdeɪ rɪˈpɔrtɪŋ ðət ˈpɛrəˌmaʊnt ˈpɪkʧərz həz haɪərd nəˈpoʊljən ˈʤɛrɪd hɛs tɪ raɪt ənd dɪˈrɛkt ə ˈmuvi ðət wɪl ˈkɑmbaɪn ðə wərldz əv ˈklæsɪk ˌnɪkɪˈloʊdiən kɑrˈtun ərˈɪʤənəlz laɪk ““doug,”*,” stimpy,”*,” ““rugrats”*” ənd ““ahh*! ril monsters!”*!” noʊ spɪˈsɪfɪks ər ˈmɛnʃənd ɛz tɪ haʊ, ɪgˈzæktli, ðə ˈmuvi wɪl blɛnd ðə shows’*’ ˈvɛriəs wərldz, bət plænz fər ðə ˈfiʧər ər ˈlaɪkənd tɪ ˈrɑbərt zemeckis’*’ 1988 ˈklæsɪk hu freɪmd ˈrɑʤər ˈræbɪt. ˌɔlˈðoʊ ˈoʊnli ““doug,”*,” stimpy,”*,” ““rugrats,”*,” ““ahh*! ril monsters!”*!” ənd ˈæŋgri beavers”*” ər spəˈsɪfɪkli ˈmɛnʃənd ɪn ðə ˌɪˈnɪʃəl rɪˈpɔrt, ðɛr ər kwaɪt ə fju ˈəðər ðət kʊd ˈɔlsoʊ əˈpɪr, səʧ ɛz ˈmɑdərn life”*” ənd arnold!”*!” ɪf gɑt ˈɛni ˈfeɪvərɪt ðət laɪk tɪ si ɔn ðə bɪg skrin ɪn ðə ˈmuvi, lɛt ˈjuˈɛs noʊ ɪn ðə ˈkɑmɛnts bɪˈloʊ! ˈʤɛrɪd hɛs, hu ˈɔlsoʊ roʊt ənd dɪˈrɛktɪd ˈnɑˌʧoʊ libre*, ˈʤɛnəlmɪn ˈbrɑŋkoʊz ənd, moʊst ˈrisəntli, dɑn verdean*, wɪl ðə ˈmuvi wɪθ hɪz waɪf, hɛs. ðə ˈmuvi wɪl bi prəˈdust baɪ ˈmɛri ˈpɛrənt ənd keɪl ˈbɔɪtər θru ðɛr dɪsˈrəpʃən ˌɛnərˈteɪnmənt. ˈpɛrəˌmaʊnt ˈpɪkʧərz həz wərkt wɪθ ˌnɪkɪˈloʊdiən ɔn ˈfiʧər fɪlmz ˈsɛvərəl taɪmz ˈoʊvər ðə pæst fju jɪrz ɔn ˈprɑʤɛkts laɪk ˈtiˌneɪʤ mˈjutənt ˈnɪnʤə ˈtərtəlz, ðə ædˈvɛnʧərz əv ˈtɪnˌtɪn, ənd læst ðə ˈmuvi: spənʤ aʊt əv ˈwɔtər. haʊ wʊd ju laɪk tɪ si ə ˈmuvi ˈkrɔˌsoʊvər pleɪ aʊt? wʊd ju ˈrəðər ðə ˈstɔriˌlaɪn meɪnˈteɪn səm kaɪnd əv ˌkɑntəˈnuəti wɪθ ðə ʃoʊz ðɛmˈsɛlvz, ər wʊd ju laɪk tɪ si ðə kɑrˈtun ˈkɛrɪktərz ɛz ““actors”*” ə lɑ hu freɪmd ˈrɑʤər ˈræbɪt. ʃɛr jʊr θɔts bɪˈloʊ!
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jared hess will direct the nicktoons movie, which aims to crossover doug, rugrats, ren & stimpy and ahhh! real monsters!
get ready for a cartoon crossover of massive proportions! deadline is today reporting that paramount pictures has hired napoleon dynamite‘s jared hess to write and direct a nicktoons movie that will combine the worlds of classic nickelodeon cartoon originals like “doug,” “ren & stimpy,” “rugrats” and “ahh! real monsters!” no specifics are mentioned as to how, exactly, the nicktoons movie will blend the shows’ various worlds, but plans for the feature are likened to robert zemeckis’ 1988 classic who framed roger rabbit.
although only “doug,” “ren & stimpy,” “rugrats,” “ahh! real monsters!” and “the angry beavers” are specifically mentioned in the initial report, there are quite a few other 1990s nicktoons that could also appear, such as “rocko’s modern life” and “hey arnold!” if you’ve got any favorite that you’d like to see on the big screen in the nicktoons movie, let us know in the comments below!
jared hess, who also wrote and directed nacho libre, gentlemen broncos and, most recently, don verdean, will co-write the nicktoons movie with his wife, jarusha hess.
the nicktoons movie will be produced by mary parent and cale boyter through their disruption entertainment.
paramount pictures has worked with nickelodeon on feature films several times over the past few years on projects like teenage mutant ninja turtles, the adventures of tintin, rango and last year’s the spongebob movie: sponge out of water.
how would you like to see a nicktoons movie crossover play out? would you rather the storyline maintain some kind of continuity with the shows themselves, or would you like to see the cartoon characters as “actors” a la who framed roger rabbit. share your thoughts below!
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rustfest* ˈriˌkæp ˈkɔlɪŋ ðɪs ˈfraɪˌdeɪ ˈɪmɪʤ ˈkərtəsi əv haɪ! aɪ ʤɪst rɪˈtərnd frəm maɪ ˈwiˌkɪnd æt (ðə ˌjʊrəˈpiən rəst ˈkɑnfərəns) ɪn ˈzʊrɪk. ɛz aɪ ˈmɛnʃənd ɪn maɪ læst blɔg poʊst, aɪ keɪm ðɛr ɛz ə ˈspikər tɪ ˈprɛzənt ənd səm əv ðə ˈgʊdiz əv ðə ˈɪnʤən tɪ ə ˈlɛkʧər hɔl fʊl əv ˈfɛloʊ rəst dɪˈvɛləpərz. aɪ fɛlt laɪk maɪ ˌprɛzənˈteɪʃən wɛnt ˈrɪli wɛl, ˌɪnˈkludɪŋ ˈspɔnɪŋ kɑz ənd ðə ˈvɛri ˈrɪski ˈdɛmoʊ aɪ ˈivɪn ˈmænɪʤd tɪ æd ˈsɪmpəl ˈbɪldɪŋz əˈgɛn ˈʃɔrtli ˌbiˈfɔr, ʤɪst tɪ meɪk ˈɛvriˌθɪŋ ə ˈlɪtəl ˈprɪtiər. ðə kraʊd simd ˈprɪti ˌɪmˈprɛst, ənd aɪ kænt weɪt tɪ ʃoʊ ðə ˈdɛmoʊ tɪ ju ɛz wɛl aɪ ɔˈrɛdi æst ðə, ðeɪ sɛd ðət ðə rɪˈkɔrdɪd tɔk wʊd bi ˈpəblɪʃt "soonish*". aɪ ˈɔlsoʊ gɑt tɪ noʊ səm "rəst səˈlɛbrɪtiz" ənd ə tən əv ˈɪntəˌrɛstɪd, ˈfrɛndli ˈpipəl. ɪf jʊr wən əv maɪ nu ˈfɑloʊərz, ɪt wɑz ə ˈplɛʒər ˈtɔkɪŋ tɪ ju, pliz mit maɪ kəmˈjunɪti! aɪ wɪl ˈprɑbəˌbli du əˈnəðər mɔr dɪˈteɪld poʊst əˈbaʊt maɪ ɪkˈspɪriəns ðɛr wəns ðə ˌprɛzənˈteɪʃən ˈvɪdioʊ ɪz əˈveɪləbəl. ðɪs ˈɔlsoʊ kənˈkludz (fər naʊ) maɪ sprɪnt ɔn ðə ˈnɛtˌwərkɪŋ ˈproʊtoʊˌtaɪp. ɔn ðə treɪn raɪd bæk, aɪ wɑz ɔˈrɛdi ˈwərkɪŋ ɔn ðə ɪˈkɑnəmi əˈgɛn! ˈfaɪnəli, lɛts tərn tɪ ˈsəmθɪŋ organisational*: ðə ˈpeɪtrənz ˈkɔlɪŋ wɪl bi ðɪs ˈfraɪˌdeɪ, ɛz ˈɔlˌweɪz, aɪ wɪl poʊst ðə lɪŋk tɪ ɔl ˈpeɪtrənz ɔn ˈpeɪtrən ˌbiˈfɔr ɪt stɑrts. si ju ðɛr!
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rustfest recap & patron's calling this friday
image courtesy of rustfest organisers
hi! i just returned from my weekend at rustfest (the european rust conference) in zurich. as i mentioned in my last blog post, i came there as a speaker to present citybound and some of the under-the-hood goodies of the engine to a lecture hall full of fellow rust developers.
i felt like my presentation went really well, including spawning 100,000 cars and the very risky first-time realtime-multiplayer-over-wifi demo - i even managed to add simple buildings again shortly before, just to make everything a little prettier. the crowd seemed pretty impressed, and i can't wait to show the demo to you as well - i already asked the organisers, they said that the recorded talk would be published "soonish".
i also got to know some "rust celebrities" and a ton of interested, friendly people. if you're one of my new followers, it was a pleasure talking to you, please meet my community!
i will probably do another more detailed post about my experience there once the presentation video is available.
this also concludes (for now) my sprint on the networking prototype. on the train ride back, i was already working on the economy again!
finally, let's turn to something organisational:
the 5th patrons calling will be this friday, 7pm cest
as always, i will post the join-as-caller link to all patrons on patron ~10min before it starts.
see you there!
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ˈnɪrli ə wik ˈæftər ən ˌənaɪˈdɛntəˌfaɪd ˈɑbʤɛkt kɔzd ən ɪkˈsploʊʒən æt ə ˈkɑlɪʤ ɪn ˈtæmɪl nadu*, ˈlidɪŋ tɪ rɪˈpɔrts əv speɪs dəˈbri æt ðə saɪt, ə læb ɪn həz kənˈkludɪd ðət ˈsæmpəlz rɪˈkəvərd frəm ðə saɪt ər ˈmitiɔˌraɪt ˈfrægmənts. ˈædvərˌtaɪzɪŋ əˈkɔrdɪŋ tɪ ə prɪˈlɪməˌnɛri rɪˈpɔrt baɪ ˈnæʃənəl ˈkɑlɪʤ ˌɪnstrəˌmɛnˈteɪʃən fəˈsɪlɪti (ncif*) ɪn, ə ˈskænɪŋ ˌɪˈlɛktrɑn ˈmaɪkrəˌskoʊp (sem*) ˈstədi ɔn ˈsæmpəlz riˈtrivd frəm ðə ˈkæmpəs ɪn wɛr ðə blæst əˈkərd ʃoʊz ðə əv chondrites”*”. dɪˈnoʊts ˈɑbʤɛkts kənˈteɪnɪŋ ˈkɑrbən ər ɪts ˈkɑmpaʊndz ənd rɪˈfər tɪ ˈmitiɔˌraɪt pɑrts kənˈteɪnɪŋ ˈmɪnərəl granules,”*,” keɪ, ə ʤiˈɑləʤəst hu ɪz ˈɔlsoʊ ˈprɪnsəpəl əv ðə ˈnæʃənəl ˈkɑlɪʤ, toʊld ðə ˈɪndiən ɪkˈsprɛs. [related-post*] ðə ɪz ən ədˈvænst ˈlæbrəˌtɔri sɛt əp baɪ ðə dɪˈpɑrtmənt əv saɪəns ənd tɛkˈnɑləʤi ˈəndər ðə ˈsɛntrəl ˈgəvərnmənt ənd əˈtæʧt tɪ ˈnæʃənəl ˈkɑlɪʤ, ən ɔˈtɑnəməs ˌɪnstɪˈtuʃən əˈkrɛdɪtɪd baɪ ðə ˈnæʃənəl əˈsɛsmənt ənd əˌkrɛdəˈteɪʃən ˈkaʊnsəl (naac*). ˈædvərˌtaɪzɪŋ ɔn ˈwɛnzˌdeɪ, ˈsaɪəntɪsts frəm ˈnæsə sɛd ðət ˈfoʊtəˌgræfs əv ðə saɪt wər mɔr kənˈsɪstənt wɪθ lænd beɪst explosion”*” ənd nɑt ðət əv ə ˈmitiɔˌraɪt straɪk. ˌhaʊˈɛvər, vi adimurthy*, ə ˈsinjər speɪs ˈsaɪəntɪst æt ənd ə ˈʧɛrmən əv ðə speɪs dəˈbri koʊˌɔrdəˈneɪʃən kəˈmɪti (iadc*), dɪˈskraɪbd ðə ˈfaɪndɪŋz əv ðə læb ɛz significant”*”. rɛd ˈmitiɔˌraɪt dɪd ɪt: ɔn dɛθ rɪˈpɔrt meɪ bi ˈklɪnʧɪŋ ˈɛvədəns. ðiz ˈfaɪndɪŋz ʃʊd bi ʃɛrd wɪθ ˈəðər məˈtɪriəl saɪəns experts,”*,” hi sɛd. sɛd ðə prɪˈlɪməˌnɛri ˈstədi wɑz kənˈdəktəd ɔn ˈpisɪz əv blæk material”*” faʊnd nɪr ðə blæst saɪt. ˈkreɪtər fɔrmd æt ðə spɑt hæd bɪn ɔˈrɛdi dɪˈstərbd baɪ ˈəðər ˌɪnˈvɛstəˌgeɪtərz. soʊ wi ˌɪnˈspɛktɪd ðə ɪnˈtaɪər ˈkæmpəs ɛz ˈɛni ˈmitiər ˈɪnsədənt wʊd ˈskætər ˈsɛvərəl ˈɑbʤɛkts əˈkrɔs ðə ˈɛriə ˌbiˈfɔr ˈlændɪŋ. ˈfaɪnəli, wi ˈspɑtɪd ˈsɛvərəl smɔl ˈpisɪz əv ðɪs blæk məˈtɪriəl, wən ðə saɪz əv ə ˈpeɪpərˌweɪt, ɔn ðə ˈtɛrəs əv ə ˈbɪldɪŋ nearby,”*,” sɛd. rɛd blæst: ˈmitiɔˌraɪt kleɪm ˈleɪtər, ðeɪ sərʧ fər ə ˈʃutɪŋ stɑr wɑz nɑt ə ˈkɑmən taɪp əv ˈmitiɔˌraɪt laɪk ən aɪərn ˈmitiɔˌraɪt ər ˈstoʊni ˈmitiɔˌraɪt. ˈoʊnli ˈfərðər tɛsts wɪl gɪv ˈjuˈɛs ə dɪˈteɪld answer,”*,” hi sɛd. sɛd hi ˈvɪzɪtɪd ðə spɑt ɔn ˈtuzˌdeɪ tɪ kəˈlɛkt ˈsæmpəlz əˈlɔŋ wɪθ ə ˈkɛmɪst, ə ənd ə rɪˈtaɪrd əˈfɪʃəl frəm ðə ˌʤiəˈlɑʤɪkəl ˈsərˌveɪ əv ˈɪndiə. ðə prɪˈlɪməˌnɛri rɪˈpɔrt, ɪgˈzæmənd baɪ ðə ˈɪndiən ɪkˈsprɛs, steɪts: kloʊz æˈnælɪsɪs əv ˈɪmɪʤɪz ʃoʊz ðə məˈtɪriəl həz ðə əv ˌɪˈnumərəbəl ˈreɪnʤɪŋ ɪn saɪz frəm əˈbaʊt 10 tɪ 50 micrometer.”*.” ðə rɪˈpɔrt həz neɪmd ðə ˈmitiɔˌraɪt, ɛz pər ˌɪnərˈnæʃənɑl nɔrmz, ɛz rɪˈfərɪŋ tɪ ðə ˈsæmpəl ˈnəmbər ənd ðə saɪt wɛr ɪt wɑz rɪˈkəvərd, ˈɛnʤəˈnɪrɪŋ ˈkɑlɪʤ. blæst kɪld ðə ˈdraɪvər əv ə ˈkɑlɪʤ bəs ənd ˈɪnʤərd tu ˈgɑrdənərz. ɪt ˈprɑmptɪd ʧif ˈmɪnɪstər ʤeɪ tɪ ˈɪʃu ə ˈhərid ˈsteɪtmənt ˈkleɪmɪŋ, wɪˈθaʊt prəˈvaɪdɪŋ ˈɛni ˌsaɪənˈtɪfɪk ˈɛvədəns, ðət ðə ˈɪnsədənt wɑz kɔzd baɪ ə ˈmitiɔˌraɪt straɪk. ˈsaɪəntɪsts frəm ðə ˈɪndiən ˈɪnstɪˌtut əv ˌæstroʊˈfɪzɪks (iia*) ɪn ˈleɪtər ˈɪndəˌkeɪtɪd ðət ə bluɪʃ dɑrk stoʊn rɪˈkəvərd frəm ðə saɪt səˈʤɛstɪd ðə ˈprɛzəns əv ə ˈmitiɔˌraɪt. bət ˈplænəˌtɛri dɪˈfɛns ˈɔfɪsər, ˈʤɑnsən, sɛd ɔn ˈwɛnzˌdeɪ ðət ðə ˈɑbʤɛkt rɪˈkəvərd frəm ðə saɪt əˈpɪrd tɪ bi ðə ˈfrægmənt əv ə ˈkɑmən ərθ rɑk. sɛd, smɔl ˈpisɪz əv blæk məˈtɪriəl wi kəˈlɛktəd frəm ðə ˈtɛrəs hæd flaɪt ˈmɑrkɪŋ koʊdz ər ðə kaɪnd əv ˈmɑrkɪŋz ðət əˈkər wɪn ðə ˈɑbʤɛkt ðə wɪnd. wən ˈsæmpəl hæd ˈvɪzəbəl mɑrks ɔn ðə surface.”*.” kuˈmɑr, wən əv ðə tu ˈgɑrdənərz ˈɪnʤərd ɪn ðə ˈɪnsədənt, toʊld ðə ˈɪndiən ɪkˈsprɛs ðət hi si ˈɛni ““flash”*” ðət ˈmoʊmənt bət hərd ən ɪkˈsploʊʒən ənd fɛlt ə wave”*”. ˈædvərˌtaɪzɪŋ hæd ˈmæksəməm ˈɪnʤəriz ɔn maɪ feɪs, aɪz ənd ˈstəmək. aɪ fɛl ˌənˈkɑnʃəs ənd wɪn aɪ ˈoʊpənd ðə aɪz, aɪ faʊnd ðət maɪ pænts ənd ʃərt hæd bɪn tɔrn ɔf. aɪ stɪl hir ˈprɑpərli. ðɛr ər ˈpisɪz əv rɑk ənd sænd stɪl stək ɪn maɪ wounds,”*,” hi sɛd.
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nearly a week after an unidentified object caused an explosion at a college in tamil nadu, leading to reports of space debris at the site, a lab in trichy has concluded that samples recovered from the site are meteorite fragments.
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according to a preliminary report by national college instrumentation facility (ncif) in trichy, a scanning electron microscope (sem) study on samples retrieved from the campus in vellore where the blast occurred shows the “presence of carbonaceous chondrites”.
“carbonaceous denotes objects containing carbon or its compounds and chondrites refer to non-metallic meteorite parts containing mineral granules,” k anbarasu, a geologist who is also principal of the trichy-based national college, told the indian express.
[related-post]
the ncif is an advanced laboratory set up by the department of science and technology under the central government and attached to national college, an autonomous institution accredited by the national assessment and accreditation council (naac).
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on wednesday, scientists from nasa said that photographs of the site were more consistent with “a land based explosion” and not that of a meteorite strike.
however, v adimurthy, a senior space scientist at isro and a two-time chairman of the inter-agency space debris coordination committee (iadc), described the findings of the ncif lab as “very significant”.
read | meteorite did it: cm jayalalithaa on vellore death
“the report may be clinching evidence. these findings should be shared with other material science experts,” he said.
anbarasu said the preliminary sem study was conducted on “small pieces of black material” found near the blast site.
“the crater formed at the spot had been already disturbed by other investigators. so we inspected the entire campus as any meteor incident would scatter several objects across the area before landing. finally, we spotted several small pieces of this black material, one the size of a paperweight, on the terrace of a building nearby,” anbarasu said.
read | vellore blast: meteorite claim later, they search for a shooting star
“it was not a common type of meteorite like an iron meteorite or stony meteorite. only further tests will give us a detailed answer,” he said. anbarasu said he visited the spot on tuesday to collect samples along with a chemist, a biotechnologist and a retired official from the geological survey of india.
the ncif’s preliminary report, examined by the indian express, states: “the close analysis of sem images shows the material has the assemblages of innumerable carbonaceous chondrites ranging in size from about 10 to 50 micrometer.”
the report has named the meteorite, as per international norms, as “bec 1”, referring to the sample number and the site where it was recovered, bharathidasan engineering college.
saturday’s blast killed the driver of a college bus and injured two gardeners. it prompted chief minister j jayalalithaa to issue a hurried statement claiming, without providing any scientific evidence, that the incident was caused by a meteorite strike.
scientists from the indian institute of astrophysics (iia) in bengaluru later indicated that a 10-gm bluish dark stone recovered from the site suggested the presence of a meteorite. but nasa’s planetary defence officer, lyndley johnson, said on wednesday that the object recovered from the site appeared to be the fragment of a common earth rock.
anbarasu said, “the small pieces of black material we collected from the terrace had flight marking codes or the kind of markings that occur when the object pierces the wind. one sample had visible needle-like marks on the surface.”
sasi kumar, one of the two gardeners injured in the incident, told the indian express that he didn’t see any “flash” that moment but heard an explosion and felt a “pressure wave”.
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“i had maximum injuries on my face, eyes and stomach. i fell unconscious and when i opened the eyes, i found that my pants and shirt had been torn off. i still couldn’t hear properly. there are pieces of rock and sand still stuck in my wounds,” he said.
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ʤɑn ˈkɛrəl ˌjunəˈvərsəti ɪz ræŋkt 7 ˈoʊvərˌɔl ɪn ðə ˌmɪdˈwɛst ɪn juz. nuz wərld 2015 ɪˈdɪʃən əv bɛst ˈkɑlɪʤɪz. ðɪs mɑrks ðə kənˈsɛkjətɪv jɪr ðət ðə ˌpəblɪˈkeɪʃən həz neɪmd ʤɑn ˈkɛrəl ə tɔp 10 ˈriʤənəl ˌjunəˈvərsəti ˈɔfərɪŋ ˈproʊˌgræmz. ðə ˌjunəˈvərsəti ˈɔlsoʊ ərnd ðə 6 ˈræŋkɪŋ ɪn ðə skulz æt greɪt prices”*” ˈkætəˌgɔri. ɪz greɪt nuz fər ðə ʤɑn ˈkɛrəl kəmˈjunɪti ɛz ɑr ˈfækəlti kənˈtɪnjuz tɪ dɪˈvɛləp ə mɔr ˈlərnɪŋ ɪkˈspɪriəns ɪn ˌækəˈdɛmɪk ˈproʊˌgræmz ðət ər ˈrɛləvənt tɪ ðə ˈsɛnʧəri, səʧ ɛz ˈhɛlθˌkɛr ˌɪnˌfɔrˈmeɪʃən tɛkˈnɑləʤi, ˌɑntrəprəˈnərʃɪp, ənd ˌbaɪoʊˈkɛmɪˌstri, sɪz ʤɑn ˈkɛrəl ˌjunəˈvərsəti ˈprɛzɪdənt rɛv. ˈrɑbərt ɛl. ˈnihɔf, s.j*. hi ˈɛmfəˌsaɪzd, ər prəˈvaɪdɪŋ ə well-rounded*, kˈwɑləti ˌɛʤəˈkeɪʃən ðət ˌɪnˈspaɪrz ˈstudənts tɪ ˌɪmˈpruv ðə wərld əraʊnd them.”*.” ðə ˌjunəˈvərsəti ɪz ˈɔlsoʊ ræŋkt əˈməŋ ðə tɔp faɪv ˈgrænɪŋ ˈkɑlɪʤɪz ənd ˌjunəˈvərsətiz ɪn ðə ˌmɪdˈwɛst ˈhaɪˌlaɪtɪd fər ə kəˈmɪtmənt tɪ ˌəndərˈgræʤəwət teaching.”*.” əˈdɪʃəˌnəli, ʤɑn ˈkɛrəl ɪz wən əv 18 skulz ˈfiʧərd fər ˌɪmˈprɛsɪv learning”*” pɑrˌtɪsəˈpeɪʃən. ˈnɪrli ˈstudənts pərˈfɔrm mɔr ðən aʊərz əv kəmˈjunɪti ˈsərvɪs ˈænjuəli fər ˈloʊkəl, ˈnæʃənəl, ənd ˈgloʊbəl ˌɔrgənəˈzeɪʃənz. ðə ɪkˈsklusɪv ˈræŋkɪŋz ər əˈveɪləbəl təˈdeɪ æt www.usnews.com/colleges*. ðə 2015 ɪˈdɪʃən əv ðə bɛst ˈkɑlɪʤɪz ˈgaɪdˌbʊk ɪz əˈveɪləbəl æt ənd wɪl bi ɔn ˈnuzˌstændz sɛpˈtɛmbər 23
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john carroll university is ranked #7 overall in the midwest in u.s. news & world report’s 2015 edition of best colleges. this marks the 26th consecutive year that the publication has named john carroll a top 10 regional university offering master’s programs. the university also earned the #6 ranking in the “great schools at great prices” category.
“this is great news for the john carroll community as our faculty continues to develop a more integrative learning experience in academic programs that are relevant to the 21st century, such as healthcare information technology, entrepreneurship, and biochemistry, ” says john carroll university president rev. robert l. niehoff, s.j. he emphasized, “we are providing a well-rounded, quality education that inspires students to improve the world around them.”
the university is also ranked among the top five master’s granting colleges and universities in the midwest highlighted for a “strong commitment to undergraduate teaching.” additionally, john carroll is one of 18 schools featured for impressive “service learning” participation. nearly 2,000 jcu students perform more than 100,000 hours of community service annually for local, national, and global organizations.
the exclusive rankings are available today at www.usnews.com/colleges. the 2015 edition of the best colleges guidebook is available at usnews.com and will be on newsstands september 23.
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ðə frɛnʧ ˈkɑnˌtrækt æt ˈkreɪvən ˈkɑtɪʤ həz ɪkˈspaɪrd. ˈmaʊsə ˈsɛləˌbreɪts ˈskɔrɪŋ ðə ˈsɛkənd goʊl fər rɪˈpɔrts ˈərliər ðɪs wik ɪn ˈtərki səˈʤɛstɪd ðət ˈstraɪkər ˈmaʊsə wɑz dip ɪn tɔks wɪθ ˈoʊvər ə muv tɪ ðə kləb ðɪs ˈsəmər. ɪz ʤɪst wən əv ˈmɛni ˈsɔrsəz ɪn ˈtərki ðət ˌriˈpɔrtəd ðə nuz ðət ˈgælə hæd mɛt wɪθ ðə cottagers’*’ pleɪər ənd kəm tɪ ən əˈgrimənt. ðə frɛnʧ ˈstraɪkər ɪz aʊt əv ˈkɑnˌtrækt æt ðə ɛnd əv ðə mənθ ənd həz bɪn lɪŋkt wɪθ ˈplɛnti əv timz, bət ɪt simd ˈgælə hæd bɪˈkəm ðə fər hɪz ˈsɪgnəʧər. ˈmaʊsə lʊks dɪˈʤɛktɪd naʊ rɪˈpɔrts ər səˈʤɛstɪŋ ən əˈnaʊnsmɛnt ɪz du ðɪs wik, ɛz əˈgrid ə ˈsæləri əv ˈmɪljən ə jɪr tɪ ʤɔɪn ðə kləb ɪkˈweɪtɪŋ tɪ əraʊnd £27k-a-week*. ðə rɪˈpɔrt frəm səˈʤɛsts ðət wər nɑt ərˈɪʤənəli ˈwɪlɪŋ tɪ spɛnd səʧ ə fi ɔn ðə pleɪər bət ˌdɪˈsaɪdɪd tɪ splæʃ aʊt tɪ bit ˈɪŋlɪʃ kləbz tɪ hɪz ˈsɪgnəʧər. ðɪs wɪl əv kɔrs kəm ɛz bæd nuz tɪ hu wɪl nɑt rɪˈsiv ˈɛni ˌkɑmpənˈseɪʃən fər ðə pleɪər ɛz hi ɪz ˈhɛdɪŋ tɪ ə ˈfɔrən kləb. ðə ˈtæləntɪd frɛnʧ ˈstraɪkər pleɪd 46 taɪmz fər ɪn ˈskɔrɪŋ 17 goʊlz.
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the french talent's contract at craven cottage has expired.
moussa dembele celebrates scoring the second goal for fulham
reports earlier this week in turkey suggested that fulham striker moussa dembele was deep in talks with galatasaray over a move to the club this summer.
fotospor is just one of many sources in turkey that reported the news that gala had met with the cottagers’ player and come to an agreement.
the french striker is out of contract at the end of the month and has been linked with plenty of teams, but it seemed gala had become the front-runners for his signature.
fulham's moussa dembele looks dejected
now reports are suggesting an announcement is due this week, as dembele agreed a salary of €1.75 (£1.4) million a year to join the club – equating to around £27k-a-week.
the report from haberler suggests that fulham were not originally willing to spend such a fee on the player but decided to splash out to beat english clubs to his signature.
this will of course come as bad news to fulham – who will not receive any compensation for the player as he is heading to a foreign club.
the talented french striker played 46 times for fulham in 2015-16, scoring 17 goals.
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ʤɛn fildz ʤɛn fildz mɔr tɪ lərn mɔr əˈbaʊt ðə frənt ˈreɪnʤər ˈbɛrˌfʊt ˈhaɪkɪŋ grup ənd gɪt ˈditeɪlz ɔn ðɛr nɛkst haɪk ɔn ˈʤænjuˌɛri 21 goʊ tɪ meetup.com/front-range-barefoot-hiking*/ wɪn ˈsɑnɪt ˈbeɪkər ʃoʊd əp æt ðə ˈbɑtəm əv maʊnt ˌkɪləmənˈʤɑroʊ ˈrɛdi tɪ haɪk əp ðə ˈmaʊntən ˈbɛrˌfʊt, hər gaɪdz hæd daʊts. "ðeɪ ˈdɪdənt θɪŋk aɪ wɑz goʊɪŋ tɪ bi ˈeɪbəl tɪ du ɪt, ənd ðeɪ wər nɑt ˈrɪli ˈwɛlkəmɪŋ ɪt," sɛd ˈbeɪkər, əv ˈboʊldər. wɪn ʃi bʊkt ðə trɪp tɪ ðə ˈmaʊntən ˈæfrɪkɑz haɪəst pik læst jɪr, ʃi ʧɛkt wɪθ hər ˈtrævəl ˈeɪʤənt, ˈrɑbɪn ˈpæʃəl, ˈoʊnər əv ædˈvɛnʧərz wɪˈθɪn riʧ, tɪ meɪk ʃʊr ʃid bi ˈeɪbəl tɪ əˈtɛmpt ðə ˈmaʊntən ˈbɛrˌfʊt. ˈpæʃəl sɛd ʃʊr, ˈivɪn ðoʊ noʊ wən hæd ˈɛvər meɪd ə rɪkˈwɛst laɪk ðət ˌbiˈfɔr. wɪn æst ˈwɛðər ðə gaɪdz ˈwʊdəv θɔt ɪt ˈkreɪzi tɪ traɪ tɪ klaɪm ˈbɛrˌfʊt, ˈpæʃəl sɛd, "aɪ θɪŋk ðeɪ θɪŋk ʤɪst əˈbaʊt ˈɛvriˌwən ˈklaɪmɪŋ ðə ˈmaʊntən ɪz kwaɪt ˈkreɪzi." bət ˈbeɪkər ˈdɪdənt θɪŋk ɪt wɑz ˈkreɪzi. "lɔŋz pik ɪz ə hɛl əv ə lɔt ˈhɑrdər ðən ˌkɪləmənˈʤɑroʊ, soʊ aɪ nu aɪ kʊd du ɪt," ʃi sɛd. ˈbeɪkərz ˈbɛrˌfʊt əˈsɛnt wɑz ə bɪt ˈlɔftiər ðən moʊst, bət ˈloʊkəl seɪ ðət ˈhaɪkɪŋ wɪˈθaʊt ʃuz ɪz groʊɪŋ ɪn ˌpɑpjəˈlɛrəti ɔn ðə hilz əv ðə ˈbɛrˌfʊt ˈrənɪŋ bum. ˈbɛrˌfʊt ənd ˈmɪnəməlɪst ˈhaɪkɪŋ ɪz bɪˈkəmɪŋ ə bɪg dil, sɪz ˈstivən, ˈfaʊndər əv ˌɪnˈvɪzəbəl ʃuz, wɪʧ meɪks laɪt ˈsændəlz ˈmɪnəməlɪst ˈfʊtˌwɛr fər ˈrənɪŋ ənd ˈwɔkɪŋ. ˌædvərˈtaɪzmənt "aɪ gɪt ˌtɛstɪˈmoʊniəlz ənd ˈpɪkʧərz frəm ˈpipəl ʃoʊɪŋ mi ˈpɪkʧərz əv ðɛm ɔn tɔp əv səm ˈmaʊntən ˈsəmˌwɛr," sɛd. "wi hæd səm gaɪz du ðə ˌæpəˈlæʧən treɪl ɪn ɑr (ʃuz)," hi sɛd. "ˈpipəl ər ˈrɪli ˈgɪtɪŋ ˈɪntu ðɪs ˈbɛrˌfʊt, ˈnæʧərəl, ˈmɪnəməlɪst θɪŋ." ˈmɛri ˈhɑrtmən, ðə ˈfaʊndər əv ðə frənt reɪnʤ ˈbɛrˌfʊt ˈhaɪkɪŋ grup sɛd ʃi ˈstɑrtɪd ˈbɛrˌfʊt ˈhaɪkɪŋ ˈæftər traɪɪŋ ɪt fər ˈrənɪŋ. "aɪ ˈstɑrtɪd ˈbɛrˌfʊt ˈrənɪŋ ə waɪl əˈgoʊ," ˈhɑrtmən sɛd. "aɪ hæd ʃɪn splɪnts ənd ə fju ˈəðər ˈprɑbləmz. aɪ wɑz ˈtreɪnɪŋ fər ə ˈmɛrəˌθɑn æt ðə taɪm, ənd aɪ hæd səm bæk peɪn. aɪ θɔt ˈbɛrˌfʊt ˈrənɪŋ wʊd bi ə ʧeɪnʤ." ɪt wɑz ə ʧeɪnʤ. ðoʊ ʃi ˈdɪdənt rən ðə ˈmɛrəˌθɑn, ʃi kɛpt goʊɪŋ ˈbɛrˌfʊt waɪl ˈwɔkɪŋ ənd ɪˈvɛnʧəwəli, ˈhaɪkɪŋ. ˈpɑrtnər ɪn ˈɔrgəˌnaɪzɪŋ ðə ˈbɛrˌfʊt ˈhaɪkɪŋ grup ɪz ˈbrəʃəbər, ə ˈmuvmənt prækˈtɪʃənər hu wɑz wən əv ðə fərst ˈpipəl tɪ ʤɔɪn ðə grup. ˈbrəʃəbər wɑz ɔˈrɛdi ˈspɛndɪŋ ə lɔt əv hər deɪ ˈbɛrˌfʊt ʃiz ˈbɛrˌfʊt wɪn ʃi wərks wɪθ klaɪənts ənd æt hoʊm, ənd sɪns ʃi ˌɛnˈʤɔɪd ˈhaɪkɪŋ, ʃi θɔt, waɪ nɑt traɪ ɪt? ˈbrəʃəbər sɛd ðɛr grup həz groʊn ðeɪ ˈrisəntli sərˈpæst 100 ˈmɛmbərz, ʃi sɛd. "aɪ θɪŋk wəts ˈgræbɪŋ ˈpipəlz əˈtɛnʃən naʊ ɪz ðə ˈrənɪŋ θɪŋ, bɪˈkəz ˈrənɪŋ ɪz soʊ proʊˈlɪfɪk ɪn ɑr soʊˈsaɪɪti," ʃi sɛd. "bət wɪn ˈpipəl stɑrt tɪ ɪkˈsplɔr ðət, ju hæv tɪ lʊk æt, wɛl, wət əˈbaʊt ðə rɛst əv maɪ deɪ?" ðə grup haɪks ənd həz ˈmɛmbərz frəm ərˈɔrə tɪ ˈboʊldər bət ðə grups ˈfeɪvərɪt ˈtreɪˌlhɛd ɪz ʃəˈtɔkwə, ˈbrəʃəbər sɛd. "ʃəˈtɔkwə ɪz ðə ˈgreɪtəst," ˈhɑrtmən sɛd. "ðɛrz soʊ ˈmɛni ˈtɛksʧərz tɪ ɪkˈspɪriəns." ˈhɑrtmən ɪkˈspleɪnd ðət wən əv ðə θɪŋz ʃi ˌɛnˈʤɔɪz əˈbaʊt biɪŋ ˈbɛrˌfʊt ənd wət ʃi kɔlz ðə "ˈbɛrˌfʊt ˈlaɪfˌstaɪl" ɪz ðət ju gɪt tɪ fil wɪθ jʊr fit. "ɪts mɔr ʤɪst ˈʧuzɪŋ nɑt tɪ wɛr ʃuz bɪˈkəz jʊr mɔr ˈkəmfərtəbəl wɪˈθaʊt ðɛm," ˈhɑrtmən sɛd. "ju gɪt juzd tɪ ˈfilɪŋ ðə wərld əraʊnd ju, ənd ɪts ˈɔlˌmoʊst ən əˈdɪktɪŋ ˈfilɪŋ." ˈhɑrtmən ˈlaɪkənz ˈwɛrɪŋ ʃuz tɪ ˈwɛrɪŋ gləvz ɔl ðə taɪm. wɪθ ʃuz, ʃi sɛd, "ju gɪt ˌdɪskəˈnɛktɪd. ɪts ˈkloʊzɪŋ ɔf wən əv ðə ˈsɛnsɪz tɪ ðə wərld." "wɪn ju kən fil ðə graʊnd, ɪts ə hoʊl ˈdɪfərənt θɪŋ," sɛd, əv ˌɪnˈvɪzəbəl ʃuz. aɪv ˈgɔtən tɪ ðə pɔɪnt wɛr ˈwɛrɪŋ ˈækʧəwəl ʃuz filz, aɪ ʤɪst fil laɪk əm ɔf ˈbæləns." "aɪv ˈoʊnli wɔrn ril ʃuz ɪn ðə læst tu jɪrz fɔr taɪmz, ənd tu əv ðoʊz wər fər ˈʃəvlɪŋ snoʊ," hi ˈædɪd. koʊld fit ɔn ˌkɪləmənˈʤɑroʊ, ˈbeɪkər ɪnˈkaʊnərd koʊld tɛmps ənd graʊnd ˌəndərˈfʊt. "frəm beɪs kæmp frəm ðə tɔp wɑz ɔl aɪs," ʃi sɛd. "ɪt wɑz hɑrd, ɪt wɑz ˈvɛri ˈʧælənʤɪŋ ˈmɛnəli tɪ teɪk ðə stɛps, ˈwəri əˈbaʊt maɪ fit," ʃi sɛd. wɪn ɪt reɪnd ˈoʊvərˈnaɪt ənd ʃi əˈwoʊk tɪ aɪs ðə nɛkst ˈmɔrnɪŋ, ˈbeɪkər wɑz ˈwərid ðət ʃid meɪd ɪt ðət fɑr ˈbɛrˌfʊt bət wʊd hæv tɪ wɛr ʃuz ðə rɛst əv ðə weɪ. ʃi dɑnd buts ɛz ʃi wɔkt aʊt əv kæmp bət ðɛn θɔt ˈbɛtər əv ɪt. "wi wər wɪˈθɪn tu ˈmɪnəts əv ðə ˈreɪnʤər ˈsteɪʃən, ənd aɪ sɛd, aɪ ʤɪst kænt du ðɪs wɪθ maɪ buts ɔn, aɪ noʊ aɪ kən du ɪt wɪˈθaʊt," ʃi sɛd. ʃi dæʃt bæk tɪ swɑp hər buts fər ˈsaɪkəlɪŋ ˈbutiz, wɪʧ ˈoʊnli ˈkəvərd ðə tɑps əv hər fit. "ɪt wɑz soʊ əˈmeɪzɪŋ, ðə hoʊl weɪ əp, maɪ hɑrt wɑz ʤɪst ˈʃutɪŋ faɪər θru tɪ maɪ fit," ʃi sɛd. "ɪt wɑz ˈwɔrmɪŋ maɪ fit, bɪˈkəz maɪ ˈspɪrɪts wər haɪ, aɪ wɑz soʊ ɪkˈsaɪtɪd." ɔn ðə aɪs, ʃid stɑp ˈɛvəri 10 ˈmɪnəts ər soʊ tɪ wɔrm hər fit, ðɛn kənˈtɪnju. ʃi θɪŋks ɪt wɑz əˈbaʊt ˈziroʊ dɪˈgriz aʊt ðɛr ɔn ˈsəmɪt deɪ. "wi ɔl ˈstɑrtɪd aʊt ɪn ˈʤækɪts ənd ənd ɔl ðət stəf," ˈbeɪkər sɛd. "ɪt wɑz ˈreɪni, ˈmɪsti, ðə hoʊl weɪ əp, ənd ˈfɑgi ðə hoʊl weɪ." ˈbrəʃəbər sɛd ðət hir ɪn ˌkɑlərˈɑdoʊ, ʃi həz dən səm ˈhaɪkɪŋ ɪn snoʊ, bət ʃi ˈkɔʃənd ðət ɪts nɑt fər ˈɛvriˌwən, ənd ðət ɪts nɑt ə gʊd aɪˈdiə tɪ stɑrt ɔf wɪθ ðət ɪf ju ˈhævənt dən ˈɛni ˈbɛrˌfʊt ˈhaɪkɪŋ, ˈrənɪŋ ər ˈwɔkɪŋ. "wi brɪŋ ʃuz wɪθ ˈjuˈɛs ɪn keɪs wi fil θɪŋz ər tu ˈʧælənʤɪŋ ər tu ˈaɪsi," ʃi sɛd əv ðə grups ˈwɪntər haɪks. "ju hæv tɪ lɛt jʊr ˈbɑdi əˈdæpt, ʤɪst laɪk ˈɛniˌθɪŋ ɛls." "əm kaɪnd əv ə koʊld wɪmp, tu, soʊ aɪ hæd tɪ wərk ɔn ɪt," ʃi sɛd wɪθ ə læf. "bət ˈæftər aɪ gɑt juzd tɪ biɪŋ aʊt ɪn koʊld tɛmps wɪθ maɪ fit, ɪts nɑt ðət bɪg əv ə dil ˈɛni mɔr." ðɛr ər ˈplɛnti əv ˈəðər kənˈdɪʃənz ˈbɛrˌfʊt ˈhaɪkərz ɪnˈkaʊnər bɪɔnd koʊld. ˈhɑrtmən kənˈfɛst ə ləv fər ˈhaɪkɪŋ ɪn məd. ənd boʊθ ˈwɪmən sɛd ðeɪ gɑt ə lɔt əv ʤɔɪ aʊt əv ˈskræmbəlɪŋ ˈbɛrˌfʊt. "ˈskræmbəlɪŋ ɪz ˈrɪli fən, bɪˈkəz jʊr fit ʤɪst tərn ˈɪntu ˈgɛkoʊ fit," ˈbrəʃəbər sɛd. "ɪts ə ˈvɛri daʊn tɪ ərθ, ˈnæʧərəl weɪ əv ˈskræmbəlɪŋ," ˈhɑrtmən sɛd. bɛr ˈsəmɪt ɔn ðə ˈsəmɪt əv ˌkɪləmənˈʤɑroʊ, səm əv ðə gaɪdz toʊld ˈbeɪkər ðeɪd sin ən ˌɪˈtæljən mæn haɪk ɪt ˈbɛrˌfʊt, bət ðeɪ θɔt ʃi wɑz ðə fərst ˈwʊmən tɪ du ɪt. fər ˈbeɪkər, ɪt wɑz ə lɔŋ weɪ tɪ kəm frəm ðə ˈrənɪŋ ˈɪnʤəri jɪrz əˈgoʊ ðət lɛft hər ˈwɛrɪŋ ˈnəθɪŋ bət flip-flops*, ðɛn nɑt ˈivɪn ðoʊz. ɛz tɪ wət hər nɛkst ədˈvɛnʧər wɪl bi, ʃiz ɔˈrɛdi θɔt əˈbaʊt ɪt. "əm goʊɪŋ tɪ raɪd maɪ baɪk tɪ saʊθ əˈmɛrɪkə," ʃi sɛd. ʃiz nɑt ʃʊr ˈwɛðər ʃil wɛr ʃuz fər ðət ˈʤərni. bət ʃiz kənˈsɪdərɪŋ ɪt. "aɪ rɛd əˈbaʊt ðiz θri gaɪz hu roʊd frəm ˈkænədə tɪ ðə ˈændiz," ʃi sɛd. "ðeɪ wər ˈraɪdɪŋ ɔn ˈlɪtəl pæθs θru ðə ˈmaʊntən tɑps, ənd wən əv ðɛm wɛnt ˈbɛrˌfʊt ðə hoʊl weɪ."
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jenn fields
jenn fields
more to learn more about the front ranger barefoot hiking group and get details on their next hike on january 21, go to meetup.com/front-range-barefoot-hiking/ .
when sonnet baker showed up at the bottom of mount kilimanjaro ready to hike up the mountain barefoot, her guides had doubts.
"they didn't think i was going to be able to do it, and they were not really welcoming it," said baker, of boulder.
when she booked the trip to the 19,336-foot mountain -- africa's highest peak -- last year, she checked with her travel agent, robin paschall, owner of boulder's adventures within reach, to make sure she'd be able to attempt the mountain barefoot.
paschall said sure, even though no one had ever made a request like that before. when asked whether the guides would've thought it crazy to try to climb kili barefoot, paschall said, "i think they think just about everyone climbing the mountain is quite crazy."
but baker didn't think it was crazy.
"longs peak is a hell of a lot harder than kilimanjaro, so i knew i could do it," she said.
baker's barefoot ascent was a bit loftier than most, but local barefooters say that hiking without shoes is growing in popularity on the heels of the barefoot running boom.
barefoot and minimalist hiking is becoming a big deal, says steven sashen, founder of invisible shoes, which makes light vibram-soled sandals -- minimalist footwear -- for nearly-barefoot running and walking.
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"i get testimonials and pictures from people showing me pictures of them on top of some mountain somewhere," sashen said.
"we had some guys do the appalachian trail in our (shoes)," he said. "people are really getting into this barefoot, natural, minimalist thing."
mary hartman, the founder of the front range barefoot hiking meetup group said she started barefoot hiking after trying it for running.
"i started barefoot running a while ago," hartman said. "i had shin splints and a few other problems. i was training for a marathon at the time, and i had some back pain. i thought barefoot running would be a change."
it was a change. though she didn't run the marathon, she kept going barefoot -- while walking and eventually, hiking.
hartman's partner in organizing the barefoot hiking group is kriste brushaber, a movement practitioner who was one of the first people to join the group.
brushaber was already spending a lot of her day barefoot -- she's barefoot when she works with clients and at home, and since she enjoyed hiking, she thought, why not try it?
brushaber said their group has grown -- they recently surpassed 100 members, she said.
"i think what's grabbing people's attention now is the running thing, because running is so prolific in our society," she said. "but when people start to explore that, you have to look at, well, what about the rest of my day?"
the group hikes year-round and has members from aurora to boulder -- but the group's favorite trailhead is chautauqua, brushaber said.
"chautauqua is the greatest," hartman said. "there's so many textures to experience."
hartman explained that one of the things she enjoys about being barefoot -- and what she calls the "barefoot lifestyle" -- is that you get to feel with your feet.
"it's more just choosing not to wear shoes because you're more comfortable without them," hartman said. "you get used to feeling the world around you, and it's almost an addicting feeling."
hartman likens wearing shoes to wearing gloves all the time. with shoes, she said, "you get disconnected. it's closing off one of the senses to the world."
"when you can feel the ground, it's a whole different thing," said sashen, of invisible shoes. i've gotten to the point where wearing actual shoes feels, i just feel like i'm off balance."
"i've only worn real shoes in the last two years four times, and two of those were for shoveling snow," he added.
cold feet
on kilimanjaro, baker encountered cold temps and ground underfoot.
"from base camp from the top was all ice," she said.
"it was hard, it was very challenging mentally to take the steps, worry about my feet," she said.
when it rained overnight and she awoke to ice the next morning, baker was worried that she'd made it that far barefoot but would have to wear shoes the rest of the way. she donned boots as she walked out of camp but then thought better of it.
"we were within two minutes of the ranger station, and i said, i just can't do this with my boots on, i know i can do it without," she said.
she dashed back to swap her boots for cycling booties, which only covered the tops of her feet.
"it was so amazing, the whole way up, my heart was just shooting fire through to my feet," she said. "it was warming my feet, because my spirits were high, i was so excited."
on the ice, she'd stop every 10 minutes or so to warm her feet, then continue. she thinks it was about zero degrees out there on summit day.
"we all started out in jackets and snowpants and all that stuff," baker said. "it was rainy, misty, the whole way up, and foggy the whole way."
brushaber said that here in colorado, she has done some hiking in snow, but she cautioned that it's not for everyone, and that it's not a good idea to start off with that if you haven't done any barefoot hiking, running or walking.
"we bring shoes with us in case we feel things are too challenging or too icy," she said of the group's winter hikes. "you have to let your body adapt, just like anything else."
"i'm kind of a cold wimp, too, so i had to work on it," she said with a laugh. "but after i got used to being out in cold temps with my feet, it's not that big of a deal any more."
there are plenty of other conditions barefoot hikers encounter beyond cold. hartman confessed a love for hiking in mud. and both women said they got a lot of joy out of scrambling barefoot.
"scrambling is really fun, because your feet just turn into gecko feet," brushaber said.
"it's a very down to earth, natural way of scrambling," hartman said.
bare summit
on the summit of kilimanjaro, some of the guides told baker they'd seen an italian man hike it barefoot, but they thought she was the first woman to do it.
for baker, it was a long way to come from the running injury years ago that left her wearing nothing but flip-flops, then not even those. as to what her next adventure will be, she's already thought about it.
"i'm going to ride my bike to south america," she said.
she's not sure whether she'll wear shoes for that journey. but she's considering it.
"i read about these three guys who rode from canada to the andes," she said. "they were riding on little paths through the mountain tops, and one of them went barefoot the whole way."
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2017-08-03* ˈmɑrkɪt ˈoʊvərvˌju: ˈsərvɪsɪz wi ɪˈvænʤəˌlaɪz ðə aɪˈdiə əv ˈhoʊstɪŋ. ðɪs poʊst gɪvz ju ən ˈoʊvərvˌju əˈbaʊt kul ˈkɑntɛnt dɪˈlɪvəri ˈsərvɪsɪz. ə ˌʤɛnərˈeɪʃən əv fər dɪˈvɛləpərz nɑt soʊ lɔŋ əˈgoʊ, ˈkɑntɛnt dɪˈlɪvəri ˈnɛtˌwərks wɑz ˈoʊnli fər ðə ˈɛnərˌpraɪz ˈoʊnli. naʊ, ðɛr ər mɔr ˈɔfərz fər dɪˈvɛləpərz ənd ˈmidiəm ˈprɑʤɛkts wɪθ ˈpraɪsɪŋ ənd əˈdɪʃənəl ˈfiʧərz. ɛz ə wɛb dɪˈvɛləpər ju hæv ən ˌoʊvərˈwɛlmɪŋ ʧɔɪs əv ˈsərvɪsɪz. ðɪs poʊst hɛlps ju θru ðə ˈʤəŋgəl tɪ faɪnd ðə bɛst pərˈfɔrməns ənd sɪˈkjʊrəti ɑptɪmɪˈzeɪʃən tul fər jʊr nidz. wɪn tɪ juz ə ɪz kul tɛk tɪ pleɪ wɪθ. bət maɪnd ðət fər ˈmɛni ˈwɛbˌsaɪts ənd ˌæpləˈkeɪʃənz ɪt maɪt bi ˈoʊvərˌkɪl. kip jʊr tɛk stæk ˈsɪmpəl. əˈdɪʃənəl ˈfiʧərz kəm æt ðə kɔst əv əˈdɪʃənəl kəmˈplɛksɪti (laɪk kæˈʃeɪ ˌɪnˌvæləˈdeɪʃən) ənd əˈdɪʃənəl pɔɪnts əv ˈfeɪljər. ˈbɛnəfɪts ər: ˌɪnˈkrist spid: əˈspɛʃəli fər ˈdɪstənt ˈvɪzɪtərz ɑptɪmɪˈzeɪʃən: baɪ (lɛs, ˈtræfɪk ˈstɔrɪʤ) ənd ˈbɛtər dɪˈlɪvəri rul əv θəm: kənˈsɪdər ə wɪn ju hæv ə fju ˈθaʊzənd rɪkˈwɛsts pər aʊər ənd ju ər ˈsərvɪŋ ə lɔt əv ˈstætɪk ˈæˌsɛts. ðə moʊst ˈkɑmən juz keɪs ɪz tɪ sərv ˈɪmɪʤɪz. haʊ ə wərks ðə ˈbeɪsɪk aɪˈdiə ɪz ðɪs: ˈwɛbˌsaɪts ər ˈgloʊbəl, ˈvɪzɪtərz ər ˈloʊkəl. ˈkɑntɛnt ɪz dɪˈlɪvərd ˈfæstər, wɪn sərvd frəm ə ˈsərvər ˈkloʊzər tɪ ðə ˈvɪzɪtər. ðə mɔr pɔɪnts əv ˈprɛzəns, ðə ˈkloʊzər, ðə ˈbɛtər. soʊ ðə ˈvɪzɪtər ʃʊd gɪt ðə ˈhɛvi (ˈstætɪk) ˈæˌsɛts ˈmoʊstli ˈɪmɪʤɪz, bət ˈɔlsoʊ,, fɑnts ənd ˈmeɪbi ˈivɪn kæʃt ˈvərʒənz əv fʊl ˈpeɪʤɪz frəm ə ˈnɪrˈbaɪ ˈsərvər. ðət rɪˈdusɪz ˈleɪtənsi ənd (rtt*). ənd ðət ˈɔlsoʊ hɛlps wɪθ pərˈfɔrməns ɛz ɪt rɪkˈwɛsts frəm ðə ˌæpləˈkeɪʃən wɛb ˈsərvər. haʊ ˈɪmpləmənt ɪt soʊ ju du ˈsəmθɪŋ laɪk ðɪs noʊ: ˈɪmɪʤ ˈloʊdɪd frəm ə ˈrɛlətɪv pæθ frəm ðə ˈsərvər src="/img/cheshire-cat.jpg*"> wɪθ: ˈɪmɪʤ src="//myaccount.mycdn.com/img/cheshire-cat.jpg*"> ənd ðə wɪl dɪˈstrɪbjut ðə ˈʧɛʃər kæt tɪ ˈməltəpəl loʊˈkeɪʃənz əraʊnd ðə wərld. pʊʃ pʊl ju maɪt æsk ˈjɔrsɛlf, wɪn ənd haʊ ər ðiz ˈɪmɪʤɪz ˈəˌploʊdɪd tɪ ðə? ˈklæsɪkəl ər ˈwərkɪŋ ɛz pʊʃ, soʊ ɪts ˈæˌkʧuəli jʊr riˌspɑnsəˈbɪləti tɪ ˈəˌploʊd ðə ˈæˌsɛts tɪ ðə. ðə ˈbɛnəfɪt ɪz ðət ju hæv ə gʊd kənˈtroʊl əˈbaʊt jʊr ˈmidiə. ɔl ðə kul kɪdz ər ˈjuzɪŋ pʊl (rɪˈvərs proxying*). waɪ? bɪˈkəz ɪt ædz ɔn tɔp: ðə ˈɪmɪʤɪz ər ˈəˌploʊdɪd ˈloʊkəli ənd ðɛn pʊld tɪ ðə "automagically*". pliz si ɑr ɪkˈstɛndɪd poʊst əˈbaʊt ˈkæʃɪŋ haʊ tɪ ˈɪmpləmənt ə pʊl. tldr*: jul ˈizəli faɪnd fər jʊr ənd ɪgˈzæmpəl fər jʊr ˈfreɪmˌwərk. əˈdɪʃənəl ˈsərvɪsɪz ˌfəŋkʃəˈnælɪti ɪz ˈoʊnli wən pɑrt əv pərˈfɔrməns ənd sɪˈkjʊrəti. ˈɔfən ˈɔlsoʊ ˌɪnˈkludɪd wɪθ ə ˈhoʊstɪd ˈsərvɪs: ˈɪmɪʤ ɑptɪmɪˈzeɪʃən ˈɪmɪʤ kənˈvərʒən tɪ kæˈʃeɪ ˈhɛdər ɑptɪmɪˈzeɪʃən kæˈʃeɪ ˈpərʤɪŋ (wɪn ju hæv ʧeɪnʤd ə faɪl) prəˈtɛkʃən wɛb ˌæpləˈkeɪʃən ˈfaɪrwɑl brotli*) kəmˈprɛʃən faɪl ˈbəndəlɪŋ dɪˈlɪvəri (ssl*,) stəˈtɪstɪks ˈvɪdioʊ ˈstrimɪŋ (ˈstætɪk ˈhoʊstɪŋ) ɔl ðɪs kərˈɛktli kəmˈbaɪnd kən ˈrɪli hɛlp tɪ ˈfæsən əp θɪŋz. bət doʊnt fərˈgɛt: klin koʊd ɪz ðə bɛst beɪs fər ə fæst ˈwɛbˌsaɪt. kip jʊr stəf slɪm (ˈɔlsoʊ si ɑr ˌæpləˈkeɪʃən dɪˈzaɪn gaɪd) ənd əˈvɔɪd ðə ˈwɛbˌsaɪt əˈbisəti. ənd əv kɔrs ju noʊ: ˈdiˌkrisɪŋ peɪʤ loʊd taɪm kən ˌɪnˈkris kənˈvərʒənz, seɪlz ənd ˈivɪn ˈsioʊ. prəˈvaɪdərz wi ər ˈjuzɪŋ frəm sˈwɪtsərlənd, wɪʧ ɪz ˈpɑpjələr əˈməŋ devs*. ˈəðər prəˈvaɪdərz ər ənd ənd ˈrisəntli ʤɔɪnd stackpath*. ˈjuzərz maɪt hæv ə lʊk æt (aws*), ˈæʒər ər ˈivɪn ˈgugəl klaʊd. ˈɛnərˌpraɪz klaɪənts maɪt hæv lʊk æt akamai*, ðə ˈɛnərˌpraɪz baɪ ər globaldots*. baɪ ɪz ən ˈɔlˌmoʊst ˈteɪbəl əv prəˈvaɪdərz wɪθ ɔl ˈfiʧərz. ˈspɛʃəl ˈmɛnʃən ɪz ðə ˈpɑpjələr ʧɔɪs. ɪt ɪz ə swit əv ˈsərvɪsɪz wɪθ ə lɔt əv "ˈmæʤɪk". ɪts pləg ənd pleɪ: ju pɔɪnt (dns*) jʊr doʊˈmeɪn tɪ ənd ðæts ɪt. gɑt ə bɪt əv bæd rɛpriˈzɛtətɪv wɪn səm ˈpeɪʤɪz wɛr faʊnd ɪn ðə ˈgugəl kæˈʃeɪ. ɪt həz ə fri plæn fər ˈpərsɪnəl juz ənd əv kɔrs ə plugin*. aɪ ˈpərsənəli laɪk tɪ hæv səm mɔr kənˈtroʊl əˈbaʊt ˈsərtən ˈæˌspɛkts, soʊ aɪ ˈhævənt juzd ɪt jɛt. ɪz ə (nu) ˈstɑrˌtəp ˈeɪmɪŋ tɪ "ˌrɛvəˈluʃəˌnaɪz" ˈdætə ˌdɪstrəˈbjuʃən ˈivɪn wɪθ ðeɪ hæv ə "ˈhɛdləs" ˈsɛˌtəp tɪ ˈɪnəˌgreɪt ðə ˈsərvɪs wɪθ ʤɪst ə ˈlɪtəl ˈʤɑvəˌskrɪpt ˈtoʊtəli fri ənd wɪˈθaʊt ðə nid əv ən əˈkaʊnt. ə juˈnik ˈfiʧər ɪz ðət ˈɪmɪʤɪz ər "ˈleɪzi ˈloʊdɪd". aɪ hæv ˈɪnəˌgreɪtɪd ðə ˈsərvɪs hir ɔn ɑr blɔg. ʧɛk aʊt ðə poʊst lɪst peɪʤ ɪt wɪl loʊd ðə ˈɪmɪʤɪz wɪn ju skroʊl daʊn. ˌɪnˈspɛkt ɪt ɪn jʊr ˈbraʊzər dɛv tulz tɪ si wəts goʊɪŋ ɔn. əˈbəv: ˈgritə ˈleɪzi ˈloʊdɪŋ ɪn ˈækʃən. ˈɪmɪʤ ˈprɑsɛsɪŋ ənd ˈsərvɪsɪz ɛz ˈmɛnʃənd: ɪn moʊst ˈkeɪsɪz, ðoʊz ˈɪmɪʤɪz (əv kæts) ər ˈmeɪkɪŋ jʊr ˈwɛbˌsaɪt ˈhɛvi. soʊ aɪ laɪk tɪ ˌɪnˈklud ˈɪmɪʤ dɪˈlɪvəri ˈsərvɪsɪz ˈəndər ðɪs ˈtɑpɪk ɛz wɛl. ɪn fækt, ðeɪ ˈjuʒəwəli kəm wɪθ ən ˈɪnəˌgreɪtɪd ɔl ðə ˈmæʤɪk ju wɔnt fər jʊr ˈɪmɪʤɪz. ˈɪmɪʤ ˌtrænsfərˈmeɪʃən (ˈkrənʧɪŋ ˈɪmɪʤ fər wɛb dɪˈlɪvəri) kən bi ˌaʊtˈsɔrst tɪ fri əp paʊər. fər ˈɪnstəns kən bi ənd ɪt ˈjuʒəwəli rənz ɔn ðə wɛb ˈfeɪsɪŋ ˈsərvər, soʊ jʊr ˈvɪzɪtərz maɪt hæv tɪ weɪt ə ˈlɪtəl ˈlɔŋgər waɪl ˈkrənʧɪŋ ɪz ɪn ˈprɑˌgrɛs. ˌɪˈmæʤən ən fər ˈɪmɪʤ ˈsaɪzɪz laɪk soʊ ðɛr ɪz noʊ nid tɪ dɪˈfaɪn ˈθəmˌneɪl ənd ˈprivˌju ˈsaɪzɪz ˈəpˌfrənt. ju kən ʧeɪnʤ ðət wɪθ ðə dɪˈzaɪn. rɪˈspɑnsɪv ˈɪmɪʤɪz ər ˈiziər tɪ ˈsɛˌtəp ɛz wɛl. lɛs wərk fər jʊr ˈfreɪmˌwərk ər, mɔr ˈmæʤɪk ɪn ðə ˈbækˌgraʊnd. ənd ər ðə ˈbɪgəst prəˈvaɪdərz ɪn ðɪs speɪs, ˈfɑloʊd baɪ: transloadit*, libpixel*, filestack*, blitline*. nu ˈsərvɪsɪz: baɪ liip*(!?) frəm sˈwɪtsərlənd ənd sirv*. ˈfaɪnəl wərdz kəˈmərʃəl ˈsərvɪsɪz ər duɪŋ ə ˈjusfəl ʤɑb. ju ðə səˈfɪstɪˌkeɪtəd wɛb dɪˈvɛləpər ʃʊd bi əˈwɛr əv ðɪs. dɪˈskloʊʒər wi hæv noʊ ˈbɪznɪs riˈleɪʃən wɪθ ˈɛni əv ðə əˈbəv ˈmɛnʃənd prəˈvaɪdərz. ðiz ər nɑt əˈfɪliˌeɪt lɪŋks. ˈɛvriˌθɪŋ hir ɪz 100 əˈpɪnjəˌneɪtɪd ənd ˈsəbʤɪkt tɪ ˈʧeɪnʤɪz ənd ˈɛrərz.
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2017-08-03 market overview: cdn services we evangelize the idea of decoupled hosting. this post gives you an overview about cool content delivery services.
a generation of cdns for developers
not so long ago, content delivery networks was only for the enterprise only. now, there are more offers for developers and medium projects — with pay-as-you-go pricing and additional features. as a web developer you have an overwhelming choice of services. this post helps you through the jungle to find the best performance and security optimization tool for your needs.
when to use a cdn
cdn is cool tech to play with. but mind that for many websites and applications it might be overkill. keep your tech stack simple. additional features come at the cost of additional complexity (like cache invalidation) and additional points of failure. cdn benefits are:
increased speed: especially for distant visitors
optimization: by offloading (less cpu, traffic & storage) and better delivery
rule of thumb: consider a cdn when you have a few thousand requests per hour and you are serving a lot of static assets. the most common use case is to serve images.
how a cdn works
the basic idea is this: websites are global, visitors are local. content is delivered faster, when served from a server closer to the visitor. the more points of presence, the closer, the better. so the visitor should get the heavy (static) assets — mostly images, but also js, css, fonts and maybe even cached versions of full pages — from a nearby server. that reduces latency and round-trips (rtt). and that also helps with performance as it offloads requests from the application web server.
how implement it
so you do something like this …
<!-- no cdn: image loaded from a relative path from the server --> <img src="/img/cheshire-cat.jpg"> <!-- with cdn: image hotlinked --> <img src="//myaccount.mycdn.com/img/cheshire-cat.jpg">
… and the cdn will distribute the cheshire cat to multiple locations around the world.
push & pull
you might ask yourself, when and how are these images uploaded to the cdn?
classical cdn are working as push cdns, so it's actually your responsibility to upload the assets to the cdn. the benefit is that you have a good control about your media.
all the cool kids are using pull cdns (reverse proxying). why? because it adds on top: the images are uploaded locally and then pulled to the cdn "automagically". please see our extended post about http caching & how to implement a pull cdn. tldr: you'll easily find plug-ins for your cms and example configs for your framework.
additional services
cdn functionality is only one part of performance and security. often also included with a hosted service:
image optimization
image conversion to webp
cache header optimization
cache purging (when you have changed a file)
ddos protection
web application firewall
gzip (& brotli) compression
js & css file bundling
css & js minifying & concating
http/2 delivery
tls (ssl, https)
statistics
video streaming
(static hosting)
api
…
all this correctly combined can really help to fasten up things. but don't forget: clean code is the best base for a fast website. keep your stuff slim (also see our application design guide) and avoid the website obesity. and of course you know: decreasing page load time can increase conversions, sales and even seo.
cdn providers
we are using keycdn from switzerland, which is popular among devs. other developer-friendly cdn providers are fastly and cdn77. maxcdn and highwinds recently joined stackpath. iaas users might have a look at cloudfront (aws), azure cdn or even google cloud cdn. enterprise clients might have look at akamai, the enterprise cdn by ibm or globaldots.
cdncomparison.com by betahex is an almost up-to-date table of cdn providers with all features.
special mention
cloudflare
cloudflare is the popular choice. it is a suite of services with a lot of "magic". it's plug and play: you point (dns) your domain to cloudflare and that's it. clouflare got a bit of bad rep when some https pages where found in the google cache. it has a free plan for personal use and of course a wordpress plugin. i personally like to have some more control about certain aspects, so i haven't used it yet.
greta.io
greta.io is a (new) startup aiming to "revolutionize" data distribution — even with p2p (?!). they have a "headless" setup to integrate the service with just a little javascript — totally free and without the need of an account. a unique feature is that images are "lazy loaded". i have integrated the service here on our blog. check out the post list page - it will load the images when you scroll down. inspect it in your browser dev tools to see what's going on.
above: greta lazy loading in action.
image processing and cdn services
as mentioned: in most cases, those images (of cats) are making your website heavy. so i like to include image delivery services under this topic as well. in fact, they usually come with an integrated cdn + all the magic you want for your images.
image transformation (crunching image uploads for web delivery) can be outsourced to free up cpu power. imagemagick — for instance — can be resource-hungry and it usually runs on the web facing server, so your visitors might have to wait a little longer while crunching is in progress.
imagine an url-api for image sizes like /img/w_400,h_400/cat.jpg , so there is no need to define thumbnail and preview sizes upfront. you can change that with the design. responsive images are easier to setup as well. less work for your framework or cms, more magic in the background.
cloudinary and imgix are the biggest providers in this space, followed by: transloadit, libpixel, filestack, blitline. new services: rokka by liip(!?) from switzerland and sirv.
final words
commercial cdn services are doing a useful job. you the sophisticated web developer should be aware of this.
disclosure
we have no business relation with any of the above mentioned providers. these are not affiliate links. everything here is 100% opinionated and subject to changes and errors.
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ˈprɛzɪdənt ˈdɑnəld trəmp spɛnt məʧ əv hɪz ˈfinɪks ˈræli əˈtækɪŋ ˈsiˈɛˈnɛn ˈtuzˌdeɪ naɪt. wɪn hi wɑz dən, ɪt wɑz lɛft tɪ dɑn ˈlɛmən tɪ rɪˈspɑnd. ˈlɛmən dɪd nɑt ˌdɪsəˈpɔɪnt. ““well*, wət du ju seɪ tɪ that?”*?” ðə ˈsiˈɛˈnɛn hoʊst æst ɪn ˌdɪsbɪˈlif ɛz ðə ˈroʊlɪŋ stones’*’ ˈɔlˌweɪz gɪt wət ju want”*” pleɪd frəm ðə ˈræli ˈspikərz. ʤɪst goʊɪŋ tɪ spik frəm ðə hɑrt here.”*.” wən wik ˈæftər ˈlɛmən dɪˈnaʊnst sides”*” prɛs ˈkɑnfərəns ɪn ðə tərmz, hi wɛnt ˈivɪn ˈfərðər ˈtuzˌdeɪ naɪt. wi hæv ˈwɪtnəst wɑz ə ˈtoʊtəl ɪˈklɪps əv ðə facts,”*,” ˈlɛmən sɛd. hu keɪm aʊt ɔn steɪʤ ənd laɪd dɪˈrɛkli tɪ ðə əˈmɛrɪkən ˈpipəl. ənd lɛft θɪŋz aʊt ðət hi sɛd ɪn ən əˈtɛmpt tɪ ˈriˌraɪt ˈhɪstəri, əˈspɛʃəli wɪn ɪt kəmz tɪ charlottesville.”*.” ˈdʊrɪŋ hɪz spiʧ, trəmp bleɪmd ðə ˈmidiə fər mɪskˈwoʊtɪŋ ɪm ɪn ðə ˈæftərˌmæθ əv ˈʃɑrlətsˌvɪl, waɪl mɪskˈwoʊtɪŋ hɪmˈsɛlf ɪn ðə ˈprɔˌsɛs. ənˈhɪnʤd, aɪ min fər ˈjuˈɛs, ðə ˈmidiə bɪˈkəz hi wɛnt ˈæftər fər ðə country,”*,” ˈlɛmən ˈædɪd. ɪz hu wi ɪˈlɛktɪd ˈprɛzɪdənt əv ðə juˈnaɪtɪd states.”*.” hi dɪˈskraɪbd ðə spiʧ ɛz biɪŋ thought,”*,” reason,”*,” əv facts,”*,” ənd əv wisdom.”*.” wɑz noʊ ˈgrævətəs. ðɛr wɑz noʊ ˈsænəti there,”*,” ˈlɛmən sɛd, kəmˈpɛrɪŋ ðə ˈprɛzɪdənt tɪ ə ˈbleɪmɪŋ ə sibling”*” fər ˈsəmθɪŋ hi dɪd. ˈsərtənli ˈoʊpənd əp ðə reɪs wund frəm charlottesville,”*,” ˈlɛmən ˈædɪd, ˈkɔlɪŋ trəmp mæn ˈklɪrli ˈwundɪd baɪ ˈræʃənəl ˈpipəl əˈbændənɪŋ ɪm ɪn droʊvz, ˈminɪŋ ðə ˈbɪznəˈspipəl ənd ðə ˈpipəl ɪn ˈwɔʃɪŋtən naʊ kˈwɛsʧənɪŋ hɪz ˈfɪtnəs fər ˈɔfəs ənd ˈwɛðər hi ɪz ˈsteɪbəl. ˈlɛmən kɔld trəmp mæn bækt ˈɪntu ə ˈkɔrnər, ɪt simz, baɪ ˈsərkəmˌstænsɪz bɪɔnd hɪz kənˈtroʊl ənd hɪz understanding.”*.” ðə truth,”*,” ˈlɛmən sɛd. ju wɔʧ ðət spiʧ ɛz ən əˈmɛrɪkən, ju hæd tɪ bi ˈθɪŋkɪŋ wət ɪn ðə wərld ɪz goʊɪŋ ɔn? ðɪs ɪz ðə ˈpərsən wi ɪˈlɛktɪd ɛz ˈprɛzɪdənt əv ðə juˈnaɪtɪd steɪts? ðɪs ˈpɛˌti? ðɪs smɔl? ə ˈpərsən səˈpoʊzd tɪ pʊl ðə ˈkəntri təˈgɛðər? ɪt ˈsərtənli ˈhæpən there.”*.”
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president donald trump spent much of his phoenix rally attacking cnn tuesday night. when he was done, it was left to don lemon to respond. lemon did not disappoint.
“well, what do you say to that?” the cnn host asked in disbelief as the rollingones’ “you can’t always get what you want” played from the rally speakers. “i’m just going to speak from the heart here.”
one week after lemon denounced trump’s “both sides” press conference in thearkest terms, he went even further tuesday night. “what we have witnessed was a total eclipse of the facts,” lemon said. “someone who came out onage and lied directly to the american people. and left things out that he said in an attempt to rewrite history, especially when it comes to charlottesville.”
during his speech, trump blamed the media for misquoting him in the aftermath of charlottesville, while misquoting himself in the process.
“he’s unhinged, it’s embarrassing—and i don’t mean for us, the media because he went after us—but for the country,” lemon added. “this is who we elected president of the unitedates.” he described the speech as being “without thought,” “without reason,” “devoid of facts,” and “devoid of wisdom.”
“there was no gravitas. there was no sanity there,” lemon said, comparing the president to a “child blaming a sibling” for something he did.
“he certainly opened up the race wound from charlottesville,” lemon added, calling trump “a man clearly wounded by rational people abandoning him in droves, meaning the businesspeople and the people in washington now questioning his fitness for office and whether he isable. lemon called trump “a man backed into a corner, it seems, by circumstances beyond his control and his understanding.”
“that’s the truth,” lemon said. “if you watch that speech as an american, you had to be thinking what in the world is going on? this is the person we elected as president of the unitedates? this petty? this small? a person who’s supposed to pull the country together? it certainly didn’t happen there.”
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ən ɔˈstreɪljən ɪˈlɛktərəl kəˈmɪʃən əˈfɪʃəl ˌɪnˈsɪsts ðə ˈmidiə liv ðə ˈbrɪzˌbeɪn ˈpoʊlɪŋ buθ wɛr ðə praɪm ˈmɪnɪstər wɑz əˈbaʊt tɪ voʊt ðə ˈmidiə ɪz kɪkt aʊt əv ˈkɛvɪn ˈpoʊlɪŋ buθ lʊk, aɪ noʊ jʊr wɪθ ðə praɪm ˈmɪnɪstər bət jʊr goʊɪŋ tɪ hæv tɪ gɪt aʊt. ə ˈpaʊərfəl jəŋ ˈpoʊlɪŋ buθ ˈɔfɪsər frəm ðə ɔˈstreɪljən ɪˈlɛktərəl kəˈmɪʃən kɔzd ˈhævək ðɪs ˌæftərˈnun wɪn hi ˈɔrdərd ðə ˈmidiə tɪ gɪt aʊt əv ðə ˈpoʊlɪŋ buθ æt pɔlz ˈæŋglɪkən ʧərʧ ɪn ist, wɛr ˈkɛvɪn rəd wɑz tɪ kæst hɪz voʊt. "ju doʊnt hæv ðə ˈrɛləvənt pərˈmɪʃən," ðə ˈpoʊlɪŋ pleɪs liˈeɪˌzɑn ˈɔfɪsər sɛd, ˈblɑkɪŋ ðə ˈkæmərəz ənd ˈstændɪŋ ɪn frənt əv praɪm ˈmɪnɪstər ˈkɛvɪn rəd. hi wɑz pərˈhæps ˌənəˈwɛr hɪz dɪˈmændz wər biɪŋ tɪ ə ˈnæʃənəl ˈɔdiəns. ðə praɪm ˈmɪnɪstərz ˈɔfəs əˈpɪrd tɪ hæv nɑt pərˈmɪʃən fər ðə ˈnæʃənəl ˈmidiə ˈæftər ˈʧuzɪŋ ðə buθ. lɪv ˈroʊlɪŋ ˈkəvərɪʤ əv ðə ɪˈlɛkʃən ˈmɪstər rəd ðɛn səˈʤɛstɪd ðə ˈmidiə liv ðə hɔl ənˈtɪl ðə geɪv fər ðə ˈmidiə tɪ ˈɛnər. ðə ˈmidiə ˌriˈɛntərd ðə ʧərʧ tɛn ˈmɪnəts ˈleɪtər. ə ˈspoʊksˌwʊmən fər ðə ɔˈstreɪljən ɪˈlɛktərəl kəˈmɪʃən ɪn kˈwinzˌlænd sɛd ðeɪ hæd gɔn tɪ "ˈɛvəri lɛŋθ" tɪ faɪnd aʊt wɛr ˈmɪstər rəd wɑz ˈplænɪŋ tɪ voʊt wɪˈθaʊt səkˈsɛs. "wɪr ˈæˌkʧuəli dɪˈvərtɪŋ ˈɛni ˈmidiə rɪkˈwɛsts naʊ tɪ ðə ˈleɪbər ˈpɑrti." ˈmidiə hu fɪlm æt ˈpoʊlɪŋ ˈpleɪsɪz ər rikˈwaɪərd tɪ əbˈteɪn praɪər pərˈmɪʃən frəm ðə. ðɛr wər ˈvɛri fju səˈpɔrtərz æt ðə ˈpoʊlɪŋ buθ fər ˈmɪstər rəd bət ðə praɪm ˈmɪnɪstər stɑpt ənd spoʊk tɪ ðoʊz hu ˈwɔntɪd tɪ wɪʃ ɪm wɛl. "gʊd lək ˈkɛvɪn," wən ˈwʊmən sɛd. "ðə sˈmɑrtəst maɪnd ɪn ɔˈstreɪljə." ˌoʊvərˈwɛlmɪŋli, ˌhaʊˈɛvər ðə rɪˈsɛpʃən wɑz nɑt gʊd fər ðə praɪm ˈmɪnɪstər. ɪt tʊk ɪm ʤɪst ˈsɛvərəl ˈmɪnəts tɪ kæst hɪz voʊt. ˈmɪstər waɪf ˈθɛris geɪv ɪm ə həg ˈæftər hi drɑpt hɪz ˈbælət ˈpeɪpər ɔf. ˈmɪstər rəd əˈvɔɪdɪd ˈmidiə kˈwɛsʧənz boʊθ ɔn ðə weɪ ɪn ənd aʊt əv ˈkæstɪŋ hɪz voʊt. æst baɪ nuz ˈkɔrpərˈeɪʃən ɔˈstreɪljə haʊ hi fɛlt əˈbaʊt ðə nɛkst fju aʊərz pəˈtɛnʃəli biɪŋ hɪz læst ɛz praɪm ˈmɪnɪstər ˈmɪstər rəd wɑz ˈstoʊni feɪst. ˈmɪstər rəd stɑpt tɪ baɪ ə keɪk, deɪt loʊf ənd səm ʤæm æt ə ˈloʊkəl stɔr ˈæftər ˈvoʊtɪŋ.
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an australian electoral commission official insists the media leave the brisbane polling booth where the prime minister was about to vote
the media is kicked out of kevin rudd's polling booth 1:20
look, i know you're with the prime minister but ... you're going to have to get out.
a powerful young polling booth officer from the australian electoral commission caused havoc this afternoon when he ordered the media to get out of the polling booth at st paul's anglican church in brisbane's east, where kevin rudd was to cast his vote.
"you don't have the relevant permission," the polling place liaison officer said, blocking the cameras and standing in front of prime minister kevin rudd.
he was perhaps unaware his demands were being live-streamed to a national audience.
the prime minister's office appeared to have not organised permission for the national media after choosing the booth.
live rolling coverage of the election
mr rudd then suggested the media leave the hall until the aec gave authorisation for the media to enter.
the media re-entered the church ten minutes later.
a spokeswoman for the australian electoral commission in queensland said they had gone to "every length" to find out where mr rudd was planning to vote without success.
"we're actually diverting any media requests now to the labor party."
media who film at polling places are required to obtain prior permission from the aec.
there were very few supporters at the polling booth for mr rudd but the prime minister stopped and spoke to those who wanted to wish him well.
"good luck kevin," one woman said.
"the smartest mind in australia."
overwhelmingly, however the reception was not good for the prime minister.
it took him just several minutes to cast his vote.
mr rudd's wife therese gave him a hug after he dropped his ballot paper off.
mr rudd avoided media questions both on the way in and out of casting his vote.
asked by news corp australia how he felt about the next few hours potentially being his last as prime minister mr rudd was stoney faced.
mr rudd stopped to buy a sultana cake, date loaf and some jam at a local store after voting.
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ˌrivˈju: sleɪ bɛlz, 'ˈʤɛsɪkə ˈræbɪt' noʊt: ˈɛnˈpiˈɑrz fərst ˈlɪsən ˈɑdiˌoʊ kəmz daʊn ˈæftər ðə ˈælbəm ɪz riˈlist. ˌhaʊˈɛvər, ju kən stɪl ˈlɪsən wɪθ ðə æt ðə ˈbɑtəm əv ðə peɪʤ. ˈtɑgəl ˈkæpʃən ˈkərtəsi əv ðə ˈɑrtɪst ðɛrz ə pɔɪnt ɪn ˈɛvəri ˈpɑrti wɛr θɪŋz stɑrt tɪ kəm ənˈglud. ðə aʊər ɪz ɪn daʊt. ˈrɛvəlri dɪˈzɑlvz ˈɪntu ə dɪsˈʤɔɪntɪd blər. ˈɔltərd steɪts əv ˈkɑnʃəsnəs hæv ˈbeɪgən tɪ feɪd, bət ðə graʊnd ˈhæzənt jɛt rəʃt əp tɪ breɪk ðə fɔl. ˈʤɛsɪkə ˈræbɪt ɪz ðə saʊnd əv ðət ˈlɪmboʊ. ðə fɔrθ ˈælbəm baɪ ðə ˈduoʊ noʊn ɛz sleɪ bɛlz, ɪts ə ˈtɛstəmənt tɪ ðə paʊər əv ə ˌsɛləˈbreɪʃən gɔn wɪrd. wɛr ðə fərst θri ˈælbəmz ɪn juʤ bits, juʤ gɪˈtɑrz ənd juʤ hʊks, ðə nu ˈrɛkərd teɪks ðiz ˈɛləmənts ənd ʧɑps ðɛm əp. ðɛn ðɛm. ðɛn ˈjuzɪz ðət ɛz ðə rɑ məˈtɪriəl fər ə ˈskeɪðɪŋ, ˈfrægmənˌtɛri kaɪnd əv pɑp. ɔn "θroʊ mi daʊn ðə stɛrz," ˈsɪŋər əˈlɛksɪs kraʊs stɔks ðə pərˈɪmətər əv ðə sɔŋ wɪθ ə ˈsiðɪŋ ɛʤ tɪ hər vɔɪs: "əm ˈkɪkɪŋ dərt, ˈpʊlɪŋ daʊn triz wən baɪ wən," ʃi ɪkˈsploʊdz, ʤɪst ɛz ˈdɛrɪk ˈmɪlər sˈlaɪsɪz ənd rɪfs ənd ˈrɪðəmz ˈɪntu ə hæʃ əv ˈheɪˌwaɪr ˌɪˌlɛkˈtrɑnɪks. bət ɪt ˈɔlsoʊ dɪps əˈbrəptli ˈɪntu kwaɪət, məˈlɑdɪk ˈpæsɪʤɪz əv riˈpriv ə ˈfɔrmjələ juzd θruaʊt ðə ˈælbəm, moʊst ˈifɛktɪvli ɔn "rul ˈnəmbər wən," huz əˈbreɪsɪv, stɑmp gɪvz weɪ tɪ ə ˈænθəm əv ə ˈkoʊdə. ɔl ðoʊz ˈwɪˌplæʃ ˈʧeɪnʤɪz wɪˈθɪn iʧ sɔŋ teɪk ə waɪl tɪ gɪt juzd tɪ. bət wəns juv kɔt ɔn, ɪt meɪks fər ə dɪˈlɪriəs rəʃ. ˈʤɛsɪkə ˈræbɪt ɪz pækt wɪθ ˈʤɪtəri səˈpraɪzɪz, frəm ðə ˈtɛndər, ˈplidɪŋ "aɪ ˈwɑnə ˈlɪsən tɪ jʊr hɑrt" rɪˈfreɪn æt ðə stɑrt əv "ˈbæptɪzəm baɪ faɪər" tɪ ðə kæˈskeɪdɪŋ, ɪˈθɪriəl ˈmɪnəməˌlɪzəm əv "ˈhaɪpər dɑrk." ə ˈdɛləkət ˈtɪŋkəlɪŋ əv piˈænə, əˈlɔŋ wɪθ səm ˈʃɑrpli drɔn brɛθs, ˈoʊpənz "ˈlaɪtnɪŋ tərnz ˈsɔˌdəst goʊld." frəm ðɛr, ɪt mɔrfs ˈɪntu ə kləb træk ðət oʊz tɪ ðə ˈɪnfluəns əv maɪk ˌɛlɪˈzɑndoʊ, huz wərkt wɪθ ˈɛvriˌwən frəm ˈdɑktər. tɪ tɪ ʤeɪ zi, ənd hu ˈʤɛsɪkə ˈræbɪt træks səʧ ɛz "aɪ kænt stænd ju ˌɛniˈmɔr" ə sɔŋ ðət ˈdɛftli, dɪˈfaɪəntli ˈmɪksɪz skˈwilɪŋ ˈmɛtəl lɪks wɪθ ˈblɪsfəl, ˈdaʊnˌraɪt ˈbjutəfəl r&b*. ˈʤɛsɪkə ˈræbɪt meɪ rɪˈzɛmbəl ə ˈpɑrti ˈkəmɪŋ əˈpɑrt æt ðə simz, bət ɪts stɪl ə ˈpɑrti. "ˈkrusəbəl" ɪz pruf. əˈmɪd ˈmɪlərz ˈmæsɪv, ˈklæpɪŋ bits ənd stæbz əv ˈsɪnθɪˌsaɪzd ˌɔrkəˈstreɪʃən, kraʊs ʧænts ənd boʊsts, "aɪ kət maɪ hɛr wɪθ ə ˈpɑkət naɪf" wɪθ gli. ənd wɪθ "ənˈlɪmɪtɪd dɑrk pæθs," ˈʤɛsɪkə ˈræbɪt kræŋks əp ðə vəˈlɑsəti tɪ 11 ðɛn ðɛrz ðə ˌɪˈnɛvətəbəl ˈkəmˌdaʊn. "tɔrn klin" əˈpɪrz ˈərli ɔn ðə ˈælbəm, bət ɪts ə keɪs əv ɪn reɪz; ɪt ju daʊn ɔn ðə kaʊʧ ɪn ə rum ˈrikɪŋ əv ˈɛmtiz ənd ˌdɪsəˈpɔɪntmənt, ðət sin wɪθ ə həʃt, ˌætməsˈfɛrɪk pli fər riˈlis. ər æt list əˈnəðər ˈbæŋər tɪ pʊʃ ðə vaɪb bæk ˈɪntu ðə rɛd ˈsəmθɪŋ sleɪ bɛlz həz noʊ ˈprɑbləm prəˈvaɪdɪŋ. ðə ˈælbəm ɔn ˈaɪˌtunz ənd ˈæməˌzɑn.
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review: sleigh bells, 'jessica rabbit'
note: npr's first listen audio comes down after the album is released. however, you can still listen with the spotify playlist at the bottom of the page.
toggle caption courtesy of the artist
there's a point in every party where things start to come unglued. the hour is in doubt. revelry dissolves into a disjointed blur. altered states of consciousness have begun to fade, but the ground hasn't yet rushed up to break the fall. jessica rabbit is the sound of that limbo. the fourth album by the duo known as sleigh bells, it's a 14-song testament to the power of a celebration gone weird.
where the duo's first three albums trafficked in huge beats, huge guitars and huge hooks, the new record takes these elements and chops them up. then resequences them. then uses that as the raw material for a scathing, fragmentary kind of pop. on "throw me down the stairs," singer alexis krauss stalks the perimeter of the song with a seething edge to her voice: "i'm kicking dirt, pulling down trees / one by one," she explodes, just as multi-instrumentalist derek miller slices and dices riffs and rhythms into a hash of haywire electronics. but it also dips abruptly into quiet, melodic passages of reprieve — a formula used throughout the album, most effectively on "rule number one," whose abrasive, industrial-glam stomp gives way to a lighter-waving anthem of a coda.
all those whiplash changes within each song take a while to get used to. but once you've caught on, it makes for a delirious rush. jessica rabbit is packed with jittery surprises, from the tender, pleading "i wanna listen to your heart" refrain at the start of "baptism by fire" to the cascading, ethereal minimalism of "hyper dark." a delicate tinkling of piano, along with some sharply drawn breaths, opens "lightning turns sawdust gold." from there, it morphs into a slow-rolling club track that owes to the influence of mike elizondo, who's worked with everyone from dr. dre to eminem to jay z, and who co-wrote jessica rabbit tracks such as "i can't stand you anymore" — a song that deftly, defiantly mixes squealing metal licks with blissful, downright beautiful r&b.
jessica rabbit may resemble a party coming apart at the seams, but it's still a party. "crucible" is proof. amid miller's massive, clapping beats and stabs of synthesized orchestration, krauss chants and boasts, "i cut my hair with a pocket knife" with fist-pumping glee. and with "unlimited dark paths," jessica rabbit cranks up the scream-along velocity to 11. then there's the inevitable comedown. "torn clean" appears early on the album, but it's a case of in medias res; it plops you down on the couch in a room reeking of empties and disappointment, soundtracking that scene with a hushed, atmospheric plea for release. or at least another banger to push the vibe back into the red — something sleigh bells has no problem providing.
pre-order the album on itunes and amazon.
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əm traɪɪŋ tɪ ˈsɛˌtəp ˈgugəl wɪθ ənd æm ˈhævɪŋ səm ˈɪʃuz. aɪ hæv ˌɪnˈstɔld ɔn maɪ məˈʃin siˈɛrə) ənd hæv ˈgugəl klaʊd ˌɪnˈstɔld ˈviə kəmˈpoʊzər ɔn maɪ ˈprɑʤɛkt. ðə ˈfɑloʊɪŋ koʊd ɔn maɪ ˈprɑʤɛkt: ˌɪnˈkludz ðə fər ˈlaɪbrɛˌriz ˌɪnˈstɔld wɪθ kəmˈpoʊzər ˌrikˈwaɪər __dir*__ '/vendor/autoload.php*'; ˌɪmˈpɔrts ðə ˈgugəl klaʊd klaɪənt ˈlaɪbrɛˌri juz google\cloud\bigquery\bigqueryclient*; jʊr ˈgugəl klaʊd ˈplætˌfɔrm ˈprɑʤɛkt ˈaɪˈdi 'ˈhɪdən hir ˈoʊnli'; ˌɪnˈstænʃiˌeɪts ə klaɪənt nu bigqueryclient*([ 'projectid*' ðə neɪm fər ðə nu ˈdeɪtəˌsɛt 'test_dataset*'; kriˈeɪts ðə nu ˈdeɪtəˌsɛt $ˈdeɪtəˌsɛt $bigquery->createdataset($datasetname*); ˈɛkoʊ 'ˈdeɪtəˌsɛt $dataset->id*() kriˈeɪtɪd.'; ɔl əm traɪɪŋ tɪ du ɪz ʤɪst kriˈeɪt ə ˈdeɪtəˌsɛt wɪˈθɪn ˈviə ðə ˈlaɪbrɛˌri bət əm nɑt ˈeɪbəl tɪ du tɪ ðə ˈfɑloʊɪŋ ˈɛrər: ˈfeɪtəl ˈɛrər: google\cloud\exception\serviceexception*: kʊd nɑt loʊd ðə dɪˈfɔlt krəˈdɛnʃəlz. braʊz tɪ fər mɔr ˌɪnˌfɔrˈmeɪʃən ɪn ɔn laɪn 219
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i'm trying to setup google bigquery with firebase and am having some issues. i have gcloud installed on my machine (macos sierra) and have google cloud installed via composer on my project.
the following code on my project:
# includes the autoloader for libraries installed with composer require __dir__ . '/vendor/autoload.php'; # imports the google cloud client library use google\cloud\bigquery\bigqueryclient; # your google cloud platform project id $projectid = 'hidden here only'; # instantiates a client $bigquery = new bigqueryclient([ 'projectid' => $projectid ]); # the name for the new dataset $datasetname = 'test_dataset'; # creates the new dataset $dataset = $bigquery->createdataset($datasetname); echo 'dataset ' . $dataset->id() . ' created.';
all i'm trying to do is just create a dataset within bigquery via the library but i'm not able to due to the following error:
fatal error: uncaught google\cloud\exception\serviceexception: could not load the default credentials. browse to https://developers.google.com/accounts/docs/application-default-credentials for more information in /applications/mamp/htdocs/projects/work/bigquery-tests/vendor/google/cloud/src/requestwrapper.php on line 219
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ˈstɔri ˈhaɪˌlaɪts hwɑŋ daɪd ɪn saʊθ ˌkɔˈriə, wən əv ðə dˈwɪndəlɪŋ ˈnəmbər əv "ˈkəmfərt ˈwɪmən" ʤəˈpæn fɔrst ˈwɪmən ˈɪntu sɛks sˈleɪvəri tɪ ˈsərvɪs ˌʤæpəˈniz ˈsoʊlʤərz ʤəˈpæn həz ˈfɔrməli əˈpɑləˌʤaɪzd fər əˈtrɑsətiz əˈgɛnst "ˈkəmfərt ˈwɪmən" əˈnəðər vɔɪs ðət kʊd hæv toʊld əˈbaʊt ðə ˈhɔrərz əv biɪŋ ə "ˈkəmfərt ˈwʊmən" ə sɛks sleɪv juzd baɪ ˌʤæpəˈniz ˈsoʊlʤərz ˈdʊrɪŋ wərld wɔr həz ˈfɑlən ˈsaɪlənt, əˈkɔrdɪŋ tɪ saʊθ ˌkɔˈriən əˈθɔrətiz. hwɑŋ, 89 daɪd əv ləŋ ənd ˈrɛspərəˌtɔri dɪˈziz æt ə ˈhɑˌspɪtəl ɪn soʊl ˈsənˌdi. ʧoʊ yoon-sun*, saʊθ ˌkɔˈriəz ˈmɪnɪstər əv ˈʤɛndər ənd ɪkˈwɑləti ənd ˈfæməli, sɛd ʃi hæd bɪn əˈtɛmptɪŋ tɪ mit iʧ əv hər ˈkəntriz sərˈvaɪvɪŋ ˈkəmfərt ˈwɪmən ˌɪndɪˈvɪʤəli, bət hæd nɑt jɛt ˈvɪzɪtɪd hwɑŋ. "maɪ hɑrt ɪz ˈeɪkɪŋ ɛz ʃi daɪd ˌbiˈfɔr aɪ wɑz ˈeɪbəl tɪ mit hər," ʃi sɛd ɪn ə ˈsteɪtmənt, ˈpreɪzɪŋ hwɑŋ fər hər ˈɛfərts tɪ səˈpɔrt ˈəðərz dɪˈspaɪt ðə ˈhɑrdʃɪps ʃi feɪst, ənd vaʊɪŋ ðət hər ˈgəvərnmənt wʊd dɪˈlɪvər ˈgreɪtər səˈpɔrt tɪ ˈəðər ˈkəmfərt ˈwɪmən. ʤəˈpæn fɔrst əˈbaʊt ˈwɪmən ˈɪntu sɛks sˈleɪvəri, ˈlʊrɪŋ ðɛm tɪ "ˈkəmfərt ˈsteɪʃənz" sɛt əp θruaʊt ist ˈeɪʒə baɪ ðə ˌʤæpəˈniz ˈmɪlɪˌtɛri frəm 1932 ənˈtɪl ðə ɛnd əv ðə wɔr, əˈkɔrdɪŋ tɪ nɑnˈprɑfət ˈædvəkəsi grup ˈwɔʃɪŋtən ˌkoʊəˈlɪʃən fər ˈkəmfərt ˈwɪmən ˈɪʃuz ˈmoʊstli ˌkɔˈriən, ðə ˈwɪmən wər laɪd tɪ ənd toʊld ðeɪ wʊd gɪt ʤɑbz ɪf ðeɪ wɛnt tɪ ðə ˈbrɑθəlz, ðə ˈsɛnər sɪz. ˈsiˈɛˈnɛn həz ˈwaɪdli ˌriˈpɔrtəd ɔn ðə ˈstɔriz əv ðə ˈwɪmən. ˈmɛni hæv sɛd ðeɪ wər ˈkɪdˌnæpt. fər rɪˈzɪstɪŋ sɛks, səm seɪ, ðeɪ wər reɪpt ənd ˈbitən. hwɑŋ wɑz fɔrst tɪ wərk æt ə glæs ˈfæktəri æt 13 ənd ðɛn sɛnt tɪ ˈʧaɪnə tɪ wərk ɛz ə sɛks sleɪv æt 16 saʊθ ˌkɔˈriəz steɪt nuz ˈeɪʤənsi ˈjɑnˌhæp ˌriˈpɔrtəd. ˈæftər ˌkɔˈriə wɑz frid frəm ˌʤæpəˈniz ˌɑkjəˈpeɪʃən ɪn 1945 ʃi wɛnt hoʊm ənd lɪvd ðə rɛst əv hər laɪf əˈloʊn, ðə ˈeɪʤənsi sɛd. ʃi wərkt ɛz ə ˈgɑrbɪʤ kəˈlɛktər, bət ˈdɪdənt meɪk ɪˈnəf, soʊ ʃi hæd tɪ rɪˈlaɪ ɔn ˈgəvərnmənt ˈsəbsɪdiz. ʤɪst wɔʧt 'ˈkəmfərt ˈwɪmən' ˈkɑmɛnts kɔz ˈaʊˌtreɪʤ riˈpleɪ mɔr ˈvɪdioʊz məst wɔʧ 'ˈkəmfərt ˈwɪmən' ˈkɑmɛnts kɔz ˈaʊˌtreɪʤ ʤɪst wɔʧt 2012 ˌɪgˈnɔrɪŋ ʤəˈpænz ˈkəmfərt ˈwɪmən riˈpleɪ mɔr ˈvɪdioʊz məst wɔʧ 2012 ˌɪgˈnɔrɪŋ ʤəˈpænz ˈkəmfərt ˈwɪmən ɪts ənˈklɪr haʊ, bət ʃi wɑz ˈeɪbəl tɪ meɪk θri doʊˈneɪʃənz tɪ ə ˈskɑlərˌʃɪp fənd ˈtoʊtəlɪŋ mɔr ðən wɪʧ hɛlpt ərn hər ən əˈwɔrd fər hər ˌʤɛnərˈɑsəti ɪn 2011 ɪn ˌkɔˈriə, ˈjɑnˌhæp sɛd. daɪɪŋ wɪʃ wɑz ðət ɔl hər ˈæˌsɛts bi ˈdoʊˌneɪtɪd tɪ ˈʧɛrɪti. ʃi hæd wən əˈdɑptəd sən, əˈkɔrdɪŋ tɪ ðə ˈmɪnɪstri. ðə ˌʤæpəˈniz ˈmɪnɪstri əv ˈfɔrən əˈfɛrz steɪts: "ʤəˈpæn həz ɪkˈstɛndɪd ɪts sɪnˈsɪr əˈpɑləˌʤiz ənd rɪˈmɔrs tɪ ɔl ðoʊz ˈwɪmən ɔn ˈvɛriəs ɔˈkeɪʒənz səʧ ɛz ən əˈpɑləˌʤi ˈsteɪtmənt baɪ ðə ʧif ˈkæbənət ˈsɛkrəˌtɛri ˈjoʊˌheɪ ˈkoʊnoʊ ɪn 1993 ðə ˈkəntri həz hɛlpt ɪˈstæblɪʃ ðə ˈeɪʒən ˈwɪmənz fənd ɪn 1995 wɪʧ ɪz səˈpɔrtɪd baɪ ˈgəvərnmənt fəndz ənd prəˈvaɪdz əˈsɪstəns tɪ ˈfɔrmər ˈkəmfərt ˈwɪmən. ðə saʊθ ˌkɔˈriən ˈgəvərnmənt ˌhaʊˈɛvər dɪz nɑt bɪˈliv ðɪs ɪz ɪˈnəf. əˈlɔŋ wɪθ ðə sərˈvaɪvɪŋ ˈkəmfərt ˈwɪmən ɪt ɪz ˈkɔlɪŋ fər ən əˈfɪʃəl ˈgəvərnmənt əˈpɑləˌʤi, ækˈnɑlɪʤɪŋ ˈligəl riˌspɑnsəˈbɪləti fər ðə kraɪmz. soʊl wɔnts ˈtoʊkiˌoʊ tɪ prəˈvaɪd dɪˈrɛkt ˌkɑmpənˈseɪʃən tɪ ðə ˈvɪktɪmz. bət ʤəˈpæn həz rɪˈzɪstɪd dɪˈrɛkt ˈpeɪmənts tɪ ðə ˈvɪktɪmz, ˈprɑmptɪŋ ˈæktɪvɪsts ənd ˈfɔrmər ˈkəmfərt ˈwɪmən tɪ seɪ ˈlidərz ər əˈvɔɪdɪŋ əˈfɪʃəli ækˈnɑlɪʤɪŋ wət ˈhæpənd. ɪn 2013 ðə meɪər əv oʊˈsɑkə, ʤəˈpæn, stərd fɪrs ˈkɑntrəˌvərsi wɪn hi toʊld rɪˈpɔrtərz ðət "ˈɛniˌwən wʊd ˌəndərˈstænd" ðə roʊl əv "ˈkəmfərt ˈwɪmən" wɪn ˈsoʊlʤərz wər ˈrɪskɪŋ ðɛr lɪvz ənd dɪˈzərvd ə "rɛst." ˈtɔru hɑʃiˈmoʊtoʊ sɛd ðə juz əv ðə ˈwɪmən wɑz "ˈnɛsəˌsɛri." ðoʊ hi ækˈnɑlɪʤd ðə ˈɪʃu wɑz ə "ˈtræʤɪk rɪˈzəlt əv wɔr," hɑʃiˈmoʊtoʊ ˌɪnˈsɪstɪd ðət ˈsoʊlʤərz ˈjuzɪŋ ðə ˈwɪmən ˈwəzənt juˈnik tɪ ʤəˈpæn. hɑʃiˈmoʊtoʊ ˈɔlsoʊ rɪˈvild ðət hi toʊld ə juz. ˈmɪlɪˌtɛri kəˈmændər ˈdʊrɪŋ ə trɪp tɪ ə beɪs ɔn ðə ˈaɪlənd əv ˌoʊˌkɪˈnɑwə ðət juz. ˌpərsəˈnɛl ʃʊd "ˈjutəˌlaɪz mɔr" ðə ˈædəlt ˌɛnərˈteɪnmənt ˈbɪznɪs ɪn ʤəˈpæn. saʊθ ˌkɔˈriə həz ərʤd ʤəˈpæn tɪ riˈzɑlv ðə ˈɪʃu dɪˈrɛkli wɪθ ˈvɪktɪmz, ˈnoʊtɪŋ ðət taɪm ɪz ˈrənɪŋ aʊt bɪˈkəz moʊst əv ðɛm ər ˈɛldərli ənd daɪɪŋ. dɛθ brɪŋz ðə ˈtoʊtəl ˈnəmbər əv ˈlɪvɪŋ saʊθ ˌkɔˈriən ˈvɪktɪmz əv ðə ˈkəmfərt ˈwɪmən sɛks sˈleɪvəri ˈsərkət ɪn saʊθ ˌkɔˈriə daʊn tɪ 55 5 əv hum lɪv əˈbrɔd.
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story highlights hwang keum-ja died in south korea, one of the dwindling number of "comfort women"
japan forced 200,000 women into sex slavery to service wwii japanese soldiers
japan has formally apologized for atrocities against "comfort women"
another voice that could have told about the horrors of being a "comfort woman" -- a sex slave used by japanese soldiers during world war ii -- has fallen silent, according to south korean authorities.
hwang keum-ja, 89, died of lung and respiratory disease at a hospital in seoul sunday.
cho yoon-sun, south korea's minister of gender and equality and family, said she had been attempting to meet each of her country's surviving comfort women individually, but had not yet visited hwang.
"my heart is aching as she died before i was able to meet her," she said in a statement, praising hwang for her efforts to support others despite the hardships she faced, and vowing that her government would deliver greater support to other comfort women.
japan forced about 200,000 women into sex slavery, luring them to "comfort stations" set up throughout east asia by the japanese military from 1932 until the end of the war, according to nonprofit advocacy group washington coalition for comfort women issues . mostly korean, the women were lied to and told they would get jobs if they went to the brothels, the center says.
cnn has widely reported on the stories of the women. many have said they were kidnapped. for resisting sex, some say, they were raped and beaten.
hwang keum-ja was forced to work at a glass factory at 13 and then sent to china to work as a sex slave at 16, south korea's state news agency yonhap reported. after korea was freed from japanese occupation in 1945, she went home and lived the rest of her life alone, the agency said. she worked as a garbage collector, but didn't make enough, so she had to rely on government subsidies.
just watched 'comfort women' comments cause outrage replay more videos ... must watch 'comfort women' comments cause outrage 03:10
just watched 2012: ignoring japan's comfort women replay more videos ... must watch 2012: ignoring japan's comfort women 02:50
it's unclear how, but she was able to make three donations to a scholarship fund totaling more than $92,000, which helped earn her an award for her generosity in 2011 in korea, yonhap said. hwang's dying wish was that all her assets be donated to charity.
she had one adopted son, according to the ministry.
the japanese ministry of foreign affairs states: "japan has extended its sincere apologies and remorse to all those women on various occasions such as an apology statement by the chief cabinet secretary yohei kono in 1993." the country has helped establish the asian women's fund in 1995, which is supported by government funds and provides assistance to former comfort women.
the south korean government however does not believe this is enough. along with the surviving comfort women it is calling for an official government apology, acknowledging legal responsibility for the crimes. seoul wants tokyo to provide direct compensation to the victims.
but japan has resisted direct payments to the victims, prompting activists and former comfort women to say leaders are avoiding officially acknowledging what happened.
in 2013, the mayor of osaka, japan, stirred fierce controversy when he told reporters that "anyone would understand" the role of "comfort women" when soldiers were risking their lives and deserved a "rest." toru hashimoto said the use of the women was "necessary."
though he acknowledged the issue was a "tragic result of war," hashimoto insisted that soldiers using the women wasn't unique to japan.
hashimoto also revealed that he told a u.s. military commander during a trip to a base on the island of okinawa that u.s. personnel should "utilize more" the adult entertainment business in japan.
south korea has urged japan to resolve the issue directly with victims, noting that time is running out because most of them are elderly and dying.
hwang's death brings the total number of living south korean victims of the comfort women sex slavery circuit in south korea down to 55, 5 of whom live abroad.
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““how* wʊd ju fil əˈbaʊt ˈmeɪkɪŋ ə bootylicious*, rəˈdɪkjələsli ˈstupɪd, ənd fən ˈvɪdioʊ fər ə sɔŋ əˈbaʊt ˈpjubɪk hɛr freedom?”*?” wət əˈmændə ˈpɑmər, ˈsoʊˌloʊ ˈɑrtɪst, ˌɪndɪˈpɛndənt mˈjuzɪk ˈtreɪlˌbleɪzər, ənd hæf əv ðə ˈdrɛzdɪn dɑlz, faʊnd hərˈsɛlf ˈæskɪŋ hər frɛnd ənd mˈjuzɪk ˈvɪdioʊ dɪˈrɛktər ˈmaɪkəl poʊp ə ˈlɪtəl waɪl bæk. ˈivɪn fər ə ˈwʊmən noʊn fər ˈlɪvɪŋ ˈaʊtˈsaɪd ðə bɑks frəm hər ˌkɑntrəˈvərʃəl, saɪd ˈprɑʤɛkt tɪ hər ˌjukəˈleɪli ˈkəvər ˈælbəm əv sɔŋz tɪ hər ˈkɔfi ˈteɪbəl bʊk ðət ˈfiʧərd ˈfoʊˌtoʊz əv hərˈsɛlf ɪn ˈvɛriəs steɪts əv dɛθ ənd mˌjutəˈleɪʃən ðɪs ˈdɛfənətli simd laɪk ə waɪld aɪˈdiə. bət ðə rɪˈzəltɪŋ ˈɛfərt, əv tasmania,”*,” ɪz əˈməŋ moʊst ˌɛnərˈteɪnɪŋ ənd ˈklɛvər ˈprɑʤɛkts tɪ deɪt ənd ə ˈfɪtɪŋ riˈlis ɔn ðə iv əv hər tʊr əv ɔˈstreɪljə, nu ˈzilənd, ənd (ju gɛst ɪt) ˌtæzˈmeɪniə, wɪʧ kɪks ɔf ˈsæˌtɪˌdeɪ (ʤæn. 15 wɔʧ ɪt, ɪn ɔl ɪts ˈglɔri, hir (ənd skroʊl daʊn fər loʊdz əv ˈɪnfoʊ): wɔʧ: əˈmændə ˈpɑmər, əv tasmania”*” ðə sɔŋ bɪˈgæn ɛz ˈsəmˈwət əv ə ʤoʊk, ə tɔst ɔf ˈɛfərt ðət ˈpɑmər roʊt fər ə 2009 tʊr əv ˌtæzˈmeɪniə, ðə ˈaɪlənd ɔf ðə koʊst əv ɔˈstreɪljə, wɛr ðə freɪz əv tasmania”*” rɪˈfərz tɪ ə pæʧ əv ˈpjubɪk hɛr, wɪʧ ʃɛrz ðə traɪˈæŋgjələr ʃeɪp. θɔt ɪt wʊd bi ˈrɪli ˈfəni tɪ raɪt ə sɔŋ ðət aɪ wʊd ˈoʊnli pleɪ wəns fər ðə tasmanians*, bɪˈkəz ðeɪ wʊd bi ðə ˈoʊnli wənz ðət wʊd gɪt ðə joke,”*,” ˈpɑmər ɪkˈspleɪnz tɪ spɪn. aɪ ˈlɪtərəli roʊt ðɪs sɔŋ ɪn lɛs ðən hæf ən aʊər waɪl aɪ wɑz ˈbækˈsteɪʤ ˈgɪtɪŋ ˈrɛdi fər ðə ʃoʊ, ˈθɪŋkɪŋ, ɪz ˈsəmθɪŋ ˈrɪli ˈfəni ənd ˈrɪli ˈsɪli. meɪk ðɛm læf ənd ðɛn ˈnɛvər pleɪ ɪt again.'”*.'” bət, ɛz soʊ ˈhæpənz ðiz deɪz, ə fæn ˈkæpʧərd ˈfʊtɪʤ əv ðə pərˈfɔrməns ənd ˈpoʊstɪd ɪt ɔn ˈjuˌtub ənd wɪn ˈpɑmər rɪˈtərnd tɪ tʊr ɔˈstreɪljə, fænz wər rɪkˈwɛstɪŋ ɪt ənd ɪts ˈkɔrəs, wɛr ʃi tɔks əˈbaʊt ɔf maɪ mæp əv tasmania.”*.” ʃi əˈblaɪʤd, bət ˈivɪn æt ðət fərst pərˈfɔrməns əv ðə sɔŋ, ˈpɑmər ˈnoʊtɪd: maɪ ˈsikrɪt drim ðət m.i.a*. wɪl hir ðɪs sɔŋ ənd ɪt, ɪt nidz ə fæt beat.”*.” ˈɪntu ðə ˈpɪkʧər keɪm hæl ˈrɪtsən əv dæns ækt ðə jəŋ punx*, hu mɛt ˈpɑmər æt ə ˈkɑnfərəns ɪn fræns ənd ˈleɪtər ˈkræftɪd ðə ˈvərʒən juzd ɪn ðə ˈvɪdioʊ. ðoʊ ðə sɔŋ wɑz ˈrɪtən ɪn ʤɪst ə fju ˈmɪnəts, ˈpɑmər filz ɪt həz ə ˈdipər ˈminɪŋ jɛs, ˈtɔkɪŋ əˈbaʊt ˈpjubɪk hɛr ˈfridəm naʊ. bɪn ˈrɪli ʃɑkt ənd dɪˈstrɛst tɪ faɪnd aʊt ðət 8 ənd gərlz ər ˈgɪtɪŋ ɔl ðɛr ˈpjubɪk hɛrz wækst ɔf baɪ ðɛr mothers,”*,” ʃi sɪz. θɪŋk ɪf aɪ hæv ˈɛni ˈpərpəs æt ɔl, tɪ stænd əp ðɛr ənd seɪ, ‘‘oh*, noʊ, noʊ, noʊ, noʊ, gərlz. ju ˈtoʊtəli hæv ə ʧɔɪs. ju kən wæks ɪt, ju kən ʃeɪv ɪt, ju kən groʊ ɪt aʊt, ənd ðɪs ˈrɪli ɪz əp tɪ you.’*.’ ðə weɪ ðət aɪ fil əˈbaʊt ˈɛvriˌθɪŋ, ðət ju ʤɪst nid tɪ noʊ ə ʧɔɪs aʊt there.”*.” ædz poʊp, ðə dɪˈrɛktər: ðə ˈsərfəs, ə sɔŋ əˈbaʊt gərlz groʊɪŋ aʊt ðɛr pubes*. ˌəndərˈniθ ðət, ˌhaʊˈɛvər, ɪz ə kɔl tɪ ˈɛvriˌwən, ˈwʊmən ənd mæn əˈlaɪk, tɪ dɪˈskəvər ðə kərɪʤ tɪ bi ðɛmˈsɛlvz. huˈɛvər ðət meɪ be.”*.” ɪn ðə ˈvɪdioʊ, ˈvɛriəs steɪts əv ˈpjubɪk hɛr ˈmeɪntənəns ər ˈkɑmɪkəli kənˈveɪd ˈviə ə waɪd əˈsɔrtmənt əv (i.e*., ˈpjubɪk wɪgz, fər ðə ˌənɪˈnɪʃiˌeɪtɪd) dɪˈzaɪnd baɪ pæl kəˈsændrə lɔŋ ənd wɔrn baɪ ˈmɑdəlz ənd ˈdænsərz. ðeɪ reɪnʤ frəm ə ˈvərʒən əv ˌɪˈnɪʃəlz, tɪ wən ðət dɪˈpɪktɪŋ ðə ˈgæstli ˈɪmɪʤ frəm ˈfeɪməs ˈpeɪnɪŋ, scream”*” (ˈivɪn ˈfəniər wɪn ju si ɪt ɪn ˈækʃən), tɪ ə ʤaɪənt meɪn əv mɛs. wən wɪθ ðə pɪŋk ɪz ˈɔlsoʊ wən əv maɪ favorites,”*,” sɪz ˈpɑmər. əv ðə wənz ðət gɪt ˈɛni gʊd ˈɛrˌtaɪm ˈfiʧərd ə ˈgɑrdən ˈlænˌskeɪp meɪd əv mɔs. ɪt wɑz meɪd əv wən əv ðoʊz wwii*, ˈgɛtizbərg ˈbætəlˌfildz. ðət wən ˈɛndɪd əp biɪŋ wɔrn baɪ ðə ˈkɑstum dɪˈzaɪnər ɔl deɪ ənd ˈæˌkʧuəli meɪk ɪt ˈɪntu ðə video.”*.” ʧɛk aʊt mɔr ˈfoʊˌtoʊz (ˌɪnˈkludɪŋ loʊdz əv) frəm ðə ““tasmania”*” ʃut hir, ənd si hər fʊl ɔˈstreɪljə tʊr deɪts hir. mɔr əˈmændə ˈpɑmər ɔn spɪn: nil rəvˈjuz ðə ˈdrɛzdɪn dɑlz bɪˈhaɪnd ðə sinz əv ‘‘cabaret’*’ wɪθ əˈmændə ˈpɑmər ˈfeɪvərɪt əv 2010
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“how would you feel about making a bootylicious, ridiculously stupid, and fun video for a song about pubic hair freedom?”
that’s what amanda palmer, solo artist, independent music trailblazer, and half of the dresden dolls, found herself asking her friend and music video director michael pope a little while back. even for a woman who’s known for living outside the box from her controversial, pretend-conjoined-twins side project to her self-released ukulele cover album of radiohead songs to her coffee table book that featured photos of herself in various states of death and mutilation this definitely seemed like a wild idea.
but the resulting effort, “map of tasmania,” is among palmer’s most entertaining and clever projects to date and a fitting release on the eve of her tour of australia, new zealand, and (you guessed it) tasmania, which kicks off saturday (jan. 15). watch it, in all its crotch-gazing glory, here (and scroll down for loads of behind-the-scenes info):
watch: amanda palmer, “map of tasmania”
the song began as somewhat of a joke, a tossed off effort that palmer wrote for a 2009 tour of tasmania, the island off the coast of australia, where the phrase “map of tasmania” refers to a woman’s patch of pubic hair, which shares the island’s triangular shape.
“i thought it would be really funny to write a song that i would only play once for the tasmanians, because they would be the only ones that would get the joke,” palmer explains to spin. “so i literally wrote this song in less than half an hour while i was backstage getting ready for the show, thinking, ‘this is something really funny and really silly. it’ll make them laugh and then i’ll never play it again.'”
but, as so happens these days, a fan captured footage of the performance and posted it on youtube , and when palmer returned to tour australia, fans were requesting it and its chorus, where she talks about “showing off my map of tasmania.”
she obliged, but even at that first performance of the song, palmer noted: “it’s my secret dream that m.i.a. will hear this song and remix it, ’cause it needs a fat beat.” into the picture came hal ritson of dance act the young punx, who met palmer at a conference in france and later crafted the electro-tastic version that’s used in the video.
though the song was written in just a few minutes, palmer feels it has a deeper meaning yes, we’re talking about pubic hair freedom now. “i’ve been really shocked and distressed to find out that 8- and 9-year-old girls are getting all their pubic hairs waxed off by their mothers,” she says. “i think if i have any purpose at all, it’s to stand up there and say, ‘oh, no, no, no, no, girls. you totally have a choice. you can wax it, you can shave it, you can grow it out, and this really is up to you.’ that’s the way that i feel about everything, that you just need to know there’s a choice out there.”
adds pope, the director: “on the surface, it’s a song about girls growing out their pubes. underneath that, however, is a call to everyone, woman and man alike, to discover the courage to be themselves. whoever that may be.”
in the video, various states of pubic hair maintenance are comically conveyed via a wide assortment of merkins (i.e., pubic wigs, for the uninitiated) designed by palmer’s pal cassandra long and worn by models and dancers. they range from a blinged-out version of palmer’s initials, to one that depicting the ghastly image from munch’s famous painting, “the scream” (even funnier when you see it in action), to a giant mane of beard-like mess.
“the one with the pink hair-curlers is also one of my favorites,” says palmer. “one of the ones that didn’t get any good airtime featured a garden landscape made of moss. it was made of one of those wwii, paint-your-own gettysburg battlefields. that one ended up being worn by the costume designer all day and didn’t actually make it into the video.”
check out more behind-the-scenes photos (including loads of merkins) from the “tasmania” shoot here, and see her full australia tour dates here.
more amanda palmer on spin:
neil gaiman reviews the dresden dolls
behind the scenes of ‘cabaret’ with amanda palmer
spin’s favorite twitpics of 2010
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ɔn ˈθərzˌdeɪ, ˈdɑnəld trəmp səˈʤɛstɪd ðət əˈmɛrɪkə fɔrˈgoʊ ðɪs hoʊl election”*” fɔrˈmæləti ənd ʤɪst prəˈnaʊns ɪm ˈrulər ɔˈrɛdi. ʃʊd ʤɪst ˈkænsəl ðə ɪˈlɛkʃən ənd ʤɪst gɪv ɪt tɪ trəmp, right?”*?” ðə rɪˈpəblɪkən ˌnɑməˈni æst səˈpɔrtərz ɪn təˈlidoʊ, oʊˈhaɪoʊ. ər wi ˈivɪn ˈhævɪŋ ɪt fər? wət ər wi ˈhævɪŋ ɪt for?”*?” ðə prəˈpoʊzəl wɑz meɪd ɪn ʤɛst, bət hɪz dɪˈzaɪər tɪ əˈvɔɪd ðə voters’*’ ˌɪmˈpɛndɪŋ ˈvərdɪkt əˈpɪrz ˈvɛri ril ˌɪnˈdid. waɪl trəmp ˈtoʊtəl feɪθ ɪn hɪz ˌɪˈnɛvətəbəl ˈvɪktəri ˈoʊvər tˈwɪtər, hi dɪˈspleɪz ə mɑrkt ˈskɛptɪˌsɪzəm əˈbaʊt ðət ˈprɑspɛkt ɪn hɪz ˈleɪtəst ˌfaɪˈnænʃəl ˈsteɪtmənt. ˈæftər ˈspɛndɪŋ 2 ˈmɪljən ə mənθ ɔn hɪz oʊn kæmˈpeɪn θruaʊt ðə ˈsəmər ənd ˈərli fɔl, trəmp geɪv ɪt ə mɪr θru ðə fərst θri wiks əv ɑkˈtoʊbər ənd ɔl əv ðət wɑz ɪn ˌkɑmpləˈmɛntəri rɛnt ənd stæf ˈsæləriz. trəmp ðə ˈoʊnli ˈdoʊnər tɪ əˈbændən hɪz kæmˈpeɪn. ˈæftər ðə ˌnɑməˈni ənd ðə ʤɔɪnt ˈfənˌdreɪsɪŋ kəˈmɪtiz tʊk ɪn 100 ˈmɪljən ɪn sɛpˈtɛmbər, ðeɪ ˈkɑbəld təˈgɛðər ə mɪr 61 ˈmɪljən ɪn ɑkˈtoʊbər. ðət ˈdrɑˌpɔf ˌkoʊənˈsaɪdəd wɪθ ə fləd əv ˈməni tɪ kənˈsərvətɪv ˈaʊtˈsaɪd grups ˈfoʊkɪst ɔn ˈreɪsɪz. ɔn ˈθərzˌdeɪ naɪt, ðə ˈsɛnɪt ˈlidərˌʃɪp fənd, ə grup ˈwərkɪŋ tɪ rɪˈteɪn ðə məˈʤɔrəti ɪn ðə ˈəpər ˈʧeɪmbər, əˈnaʊnst ɪt hæd reɪzd 25 ˈmɪljən ðɪs pæst wik əˈloʊn. ˈminˌwaɪl, kæmˈpeɪn ənd əˈsoʊʃiˌeɪtəd ˈfənˌdreɪsɪŋ kəˈmɪtiz tʊk ɪn 101 ˈmɪljən sɪns ɑkˈtoʊbər 1 ðət hɔl həz lɛft 62 ˈmɪljən stækt əp ɪn kæmˈpeɪn ˈkɔfərz, waɪl boʊst ə mɪr 16 ˈmɪljən. ˈnoʊtəbli, moʊst ˌɪmˈpɔrtənt səˈpɔrtərz, hɪz ˈʧɪldrən, dɪd nɑt skeɪl bæk ðɛr ˌɪnˈvɛstmənt ɪn hɪz kæmˈpeɪn ðɪs mənθ bɪˈkəz ðeɪ hæv ˈnɛvər ˈdoʊˌneɪtɪd ˈməni tɪ ɪt æt ˈɛni pɔɪnt ðɪs kæmˈpeɪn ˈsaɪkəl. waɪl trəmp ˈdoʊˌneɪtɪd tɪ ˈhɪləri ˈklɪntən ɪn 2007 ənd ʤɑn məˈkeɪn ɪn 2008 ˈrɛkərdz səˈʤɛst ʃi həz ˈdoʊˌneɪtɪd ˈnəθɪŋ tɪ hər ˈfɑðər, ðə ˈdeɪli ˈgɪdiən ˈrɛznɪk rɪˈpɔrts. ənd ˈniðər həz ˈtɪfəni, ˈdɑnəld jr*., ər ˈɛrɪk ˌɔlˈðoʊ ðə ˈlætər dɪd spɑt ðə kæmˈpeɪn lənʧ ɪkˈspɛnsɪz æt wən pɔɪnt, hi wɑz ˈleɪtər rɪˈfəndɪd. (ˈʧɛlsi ˈklɪntən geɪv tɪ hər kæmˈpeɪn ɪn ˈʤænjuˌɛri). ðəs, tɪ ðɪs pɔɪnt, ˈɛrɪk ənd hæv ˈniðər ˈvoʊtɪd fər, nɔr ˈdoʊˌneɪtɪd tɪ, ðə trəmp 2016 kæmˈpeɪn. wɪʧ ɪz wən mɔr ˈrizən tɪ kˈwɛʃən ðɛr əˈbɪləˌti tɪ ˈmoʊbəˌlaɪz ˈmɪsɪŋ waɪt ˈvoʊtərz.
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on thursday, donald trump suggested that america forgo this whole “democratic election” formality and just pronounce him ruler already.
“we should just cancel the election and just give it to trump, right?” the republican nominee asked supporters in toledo, ohio. “what are we even having it for? what are we having it for?”
the mogul’s proposal was made in jest, but his desire to avoid the voters’ impending verdict appears very real indeed. while trump evinces total faith in his inevitable victory over twitter, he displays a marked skepticism about that prospect in his campaign’s latest financial statement.
after spending $2 million a month on his own campaign throughout the summer and early fall, trump gave it a mere $31,000 through the first three weeks of october — and all of that was in complimentary rent and staff salaries.
trump wasn’t the only big-dollar donor to abandon his campaign. after the nominee and the rnc’s joint fundraising committees took in $100 million in september, they cobbled together a mere $61 million in october. that drop-off coincided with a flood of money to conservative outside groups focused on down-ballot races. on thursday night, the senate leadership fund, a group working to retain the majority in the upper chamber, announced it had raised $25 million this past week alone.
meanwhile, clinton’s campaign and associated fundraising committees took in $101 million since october 1. that haul has left $62 million stacked up in clinton’s campaign coffers, while trump’s boast a mere $16 million.
notably, trump’s most important supporters, his children, did not scale back their investment in his campaign this month — because they have never donated money to it at any point this campaign cycle.
while ivanka trump donated to hillary clinton in 2007 and john mccain in 2008, fec records suggest she has donated nothing to her father, the daily beast’s gideon resnick reports. and neither has tiffany, donald jr., or eric — although the latter did spot the campaign lunch expenses at one point, he was later refunded. (chelsea clinton gave $2,700 to her mother’s campaign in january).
thus, to this point, eric and ivanka have neither voted for, nor donated to, the trump 2016 campaign.
which is one more reason to question their father’s ability to mobilize missing white voters.
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rɛpriˈzɛtətɪv. pɔl raɪən naʊ səˈpɔrts geɪ əˈdɑpʃən rɛpriˈzɛtətɪv. pɔl raɪən sɛd æt ə wɪˈskɑnsən taʊn hɔl ˈmitɪŋ ðət hi naʊ səˈpɔrts əˈdɑpʃən baɪ ˌseɪmˈsɛks ˈkəpəlz. ruˈʤɪroʊ, ˌeɪˈpi) rɛpriˈzɛtətɪv. pɔl raɪən rɪˈpɔrtədli həz ʧeɪnʤd hɪz vjuz ənd naʊ sɪz hi bɪˈlivz geɪ ˈkəpəlz ʃʊd bi ˈeɪbəl tɪ əˈdɑpt ˈʧɪldrən. æst æt ə ˈmitɪŋ ˈmənˌdeɪ ɪn wɪˈskɑnsən əˈbaʊt ðə ˈɪʃu, raɪən sɛd hi wʊd "voʊt ˈdɪfərˈɛntli ðiz deɪz" ənd stɪl əˈpoʊzɪz geɪ ˈmɛrɪʤ. ɪn 1999 ðə ˈkɑŋgrəsmən ˈvoʊtɪd ɪn ˈfeɪvər əv ˈbænɪŋ ˌseɪmˈsɛks ˈkəpəlz ɪn ðə ˈdɪstrɪkt əv kəˈləmbiə frəm əˈdɑptɪŋ. "aɪ du bɪˈliv ðət ɪf ðɛr ər ˈʧɪldrən hu ər ˈɔrfənz hu du nɑt hæv ə ˈləvɪŋ ˈpərsən ər ˈkəpəl aɪ θɪŋk ɪf ə ˈpərsən wɔnts tɪ ləv ənd reɪz ə ʧaɪld, ðeɪ ɔt tɪ bi ˈeɪbəl tɪ du ðət. ˈpɪriəd. aɪ wʊd voʊt ðət weɪ," raɪən sɪz, əˈkɔrdɪŋ tɪ ˈvɪdioʊ ˈpoʊstɪd ɔn ðə ˈlɪˌbərəl θɪŋk ˈprɑˌgrɛs ˈwɛbˌsaɪt. ɪn ðə 2012 ˌprɛzɪˈdɛnʃəl kæmˈpeɪn, ˌnɑməˈni mɪt ˈrɑmni sɛd hi səˈpɔrtɪd geɪ əˈdɑpʃən bət æt ðə taɪm ɪt wɑz nɑt noʊn wɛr raɪən, hɪz ˈrənɪŋ meɪt, stʊd ɔn ðə ˈɪʃu bɪɔnd hɪz 1999 voʊt. ɔn ðə ˈɪʃu əv geɪ ˈmɛrɪʤ, raɪən rɪˈpitɪd æt ðə ˈmitɪŋ ðət hi bɪˈlivz "ˈmɛrɪʤ ɪz bɪtˈwin ə mæn ənd ə ˈwʊmən. wi ʤɪst rɪˈspɛktfəli dɪsəˈgri ɔn ðə ˈɪʃu." ðɛr həz bɪn ˈhaɪtənd ˈɪntəˌrɛst ɪn geɪ ˈmɛrɪʤ sɪns ðə səˈprim kɔrt hərd ˈʧælənʤɪz ɔn tu rɪˈleɪtɪd ˈkeɪsɪz ɪn mɑrʧ. raɪən sɛd æt ðə ˈmitɪŋ ðət ɪf ðə ˈʤəstɪsɪz dɪˈtərmən ðət ðə ˈfɛdərəl dɪˈfɛns əv ˈmɛrɪʤ ækt ɪz ˌənˌkɑnstəˈtuʃənəl, ðɛn hi bɪˈlivz ɪt wɪl bɪˈkəm ə "ˈfɛdərəˌlɪzəm" ˈɪʃu fər steɪts tɪ ˌdɪˈsaɪd. wkow-tv*, ðə ˈeɪˌbiˌsi əˈfɪliˌeɪt ɪn ˈmædɪsən, wɪs., sɛd raɪənz ˈkɑmɛnt wɑz ðə "ˈbɪgəst səˈpraɪz əv ðə ˌæftərˈnun" bət ɪt dɪd nɑt poʊst teɪp əv hɪz ˈkɑmɛnts. raɪən əˈpɛrəntli ʧeɪnʤd hɪz maɪnd ɔn ðə ˈɪʃu jɪrz əˈgoʊ, bət ðə ˌtɛləˈvɪʒən ˈsteɪʃən sɛd ðɪs ɪz ðə fərst taɪm hi həz tɔkt əˈbaʊt ɪt ˈpəblɪkli. rɛd ər ʃɛr ðɪs ˈstɔri:
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rep. paul ryan now supports gay adoption
gop rep. paul ryan said at a wisconsin town hall meeting that he now supports adoption by same-sex couples. (photo11: madalyn ruggiero, ap)
gop rep. paul ryan reportedly has changed his views and now says he believes gay couples should be able to adopt children.
asked at a town-hall-style meeting monday in wisconsin about the issue, ryan said he would "vote differently these days" and still opposes gay marriage. in 1999, the congressman voted in favor of banning same-sex couples in the district of columbia from adopting.
"i do believe that if there are children who are orphans who do not have a loving person or couple ... i think if a person wants to love and raise a child, they ought to be able to do that. period. i would vote that way," ryan says, according to video posted on the liberal think progress website.
in the 2012 presidential campaign, gop nominee mitt romney said he supported gay adoption but at the time it was not known where ryan, his running mate, stood on the issue beyond his 1999 vote.
on the issue of gay marriage, ryan repeated at the meeting that he believes "marriage is between a man and a woman. we just respectfully disagree on the issue." there has been heightened interest in gay marriage since the supreme court heard challenges on two related cases in march. ryan said at the meeting that if the justices determine that the federal defense of marriage act is unconstitutional, then he believes it will become a "federalism" issue for states to decide.
wkow-tv, the abc affiliate in madison, wis., said ryan's gay-adoption comment was the "biggest surprise of the afternoon" but it did not post tape of his comments. ryan apparently changed his mind on the issue years ago, but the tv station said this is the first time he has talked about it publicly.
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glencore* feɪlz ɪn bɪd tɪ hæv ˈrɛgjəˌleɪt ˈpraɪsɪz æt pɔrt əv ˈnuˌkæsəl ˈəpˌdeɪtɪd ðə ˈfɛdərəl ˈgəvərnmənt həz nɑkt bæk ən ˌæpləˈkeɪʃən baɪ wən əv ðə wərldz ˈbɪgəst ˈmaɪnɪŋ ˈkəmpəˌniz tɪ hæv ðə pɔrt əv ˈnuˌkæsəl ˈrɛgjəˌleɪtɪd baɪ ðə ˈnæʃənəl ˌkɑmpəˈtɪʃən ˈwɑʧˌdɔg. ðə pɔrt wɑz ˈpərʧəst baɪ ə kənˈsɔrʃjəm fər ˈbɪljən ɪn meɪ 2014 sɛd ðə nu ˈɑpərˌeɪtər həz sɪns ˌɪnˈkrist ˈpraɪsɪz fər koʊl ʃɪps ˈjuzɪŋ ðə ˈʃɪpɪŋ ˈʧænəlz baɪ əraʊnd 60 pər sɛnt, ənd sɛd ɪt həz bɪn toʊld baɪ ðə nu saʊθ weɪlz ˈgəvərnmənt ðɛr ɪz noʊ fɔrm əv kənˈtroʊl ˈoʊvər səʧ ˌɪnˈkrisɪz. ðə ˈkəmpəˌni əˈplaɪd tɪ ðə ˈnæʃənəl ˌkɑmpəˈtɪʃən ˈkaʊnsəl (ncc*) tɪ gɪt ˈækˌsɛs tɪ ðə pɔrts ˈʃɪpɪŋ ˈʧænəlz fər æt list ðə nɛkst 15 jɪrz. ɪt wʊd min θərd ˈpɑrtiz kʊd juz ðə ˈnæʃənəli sɪgˈnɪfɪkənt fəˈsɪlɪtiz, ənd ðə ɔˈstreɪljən ˌkɑmpəˈtɪʃən ənd kənˈsumər kəˈmɪʃən kʊd ˌɪntərˈvin ɪn ˈpraɪsɪŋ dɪˈspjuts. ɪn ɪts ˌæpləˈkeɪʃən, sɛd "əˈpɑrt frəm ðə kɔst ˌɪnˈkrisɪz ðɛmˈsɛlvz, ðɪs prəˈvaɪdz noʊ ˈsərtənti ɪn riˈleɪʃən tɪ ðə skeɪl ər ˈneɪʧər əv fˈjuʧər kɔst ˌɪnˈkrisɪz". "ɪt ˈðɛrˌfɔr kriˈeɪts kəˈmərʃəl rɪsks fər ˈkɑrənt ənd fˈjuʧər koʊl ˈprɑʤɛkts ɪn ðə ˈhəntər ˈvæli, ənd dɪˈpɛndənt ˌɑpərˈeɪʃənz ɪn ˈrɛləvənt əˈsoʊʃiˌeɪtəd ˈəpˈstrim ənd ˈdaʊnˈstrim ˈɛkspɔrt ənd ˈmaɪnɪŋ ˈsərvɪsɪz. "ðə ənˈsərtənti əˈsoʊʃiˌeɪtəd wɪθ ðə læk əv ˈrɛgjələˌtɔri ˈoʊvərˌsaɪt ˈoʊvər fˈjuʧər pɔrt ˈpraɪsɪŋ æt ðə pɔrt əv ˈnuˌkæsəl ɪz ˈlaɪkli tɪ hæv ə ˌpɑrˈtɪkjələrli proʊˈfaʊnd ˌɪmˈpækt ɔn ˈmɑrʤənəl ˈmaɪnɪŋ ˌɑpərˈeɪʃənz, ˈgɪvɪn ðə ˈrisɔrsɪz ˈdaʊnˌtərn ənd ˌɪnˈkrist ənˈsərtənti sərˈaʊndɪŋ ðə ˈgloʊbəl praɪs əv koʊl". bət ðə ˈfaɪˌnæns ˈmɪnɪstər ənd ˈæktɪŋ ˈtrɛʒərər məˈθaɪəs həz dɪˈnaɪd ˌæpləˈkeɪʃən, ɪn əˈkɔrdəns wɪθ ðə ˌrɛkəmənˈdeɪʃən. hi sɛd hi ɪz "nɑt ˈsætɪsˌfaɪd ðət ˈækˌsɛs tɪ ðə ˈʃɪpɪŋ ˈʧænəlz wɪl prəˈmoʊt ə məˈtɪriəl ˌɪnˈkris ɪn ˌkɑmpəˈtɪʃən ɪn ˈɛni dɪˈpɛndənt ˈmɑrkɪts". ˈtɑpɪks: sea-transport*, koʊl, mining-industry*, fərst ˈpoʊstɪd
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glencore fails in bid to have accc regulate prices at port of newcastle
updated
the federal government has knocked back an application by one of the world's biggest mining companies to have the port of newcastle regulated by the national competition watchdog.
the port was purchased by a consortium for $1.75 billion in may 2014.
glencore said the new operator has since increased prices for coal ships using the shipping channels by around 60 per cent, and said it has been told by the new south wales government there is no form of control over such increases.
the company applied to the national competition council (ncc) to get access to the port's shipping channels for at least the next 15 years.
it would mean third parties could use the nationally significant facilities, and the australian competition and consumer commission could intervene in pricing disputes.
in its application, glencore said "apart from the cost increases themselves, this provides no certainty in relation to the scale or nature of future cost increases".
"it therefore creates commercial risks for current and future coal projects in the hunter valley, and dependent operations in relevant associated upstream and downstream export and mining services.
"the uncertainty associated with the lack of regulatory oversight over future port pricing at the port of newcastle is likely to have a particularly profound impact on marginal mining operations, given the resources downturn and increased uncertainty surrounding the global price of coal".
but the finance minister and acting treasurer mathias cormann has denied glencore's application, in accordance with the ncc's recommendation.
he said he is "not satisfied that access to the shipping channels will promote a material increase in competition in any dependent markets".
topics: sea-transport, coal, mining-industry, newcastle-2300, muswellbrook-2333
first posted
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ˈwaɪlˌdlaɪf ðɛr ər ˈænəməlz ðət hæv ˈnɛroʊli əˈvɔɪdɪd ɪkˈstɪŋʃən. ənd ðɛn ðə pər dɪr. fər səm ˈrizən, ðə pər dɪr ˈstɔri həz nɑt bɪn ˈwaɪdli toʊld ɪn ˌkɑnsərˈveɪʃən ˈsərkəlz. ðɪs ˈænəməl wəns roʊmd ˈmɑrʃɪz ənd pleɪnz əv ˈʧaɪnə, wɛr ðeɪ ˈɔfən ˈwɑloʊd ɪn ˈwɛˌtlændz. æt list wət baɪˈɑləʤɪsts bɪˈliv. ðə fækt ɪz, noʊ wən noʊz fər ʃʊr, bɪˈkəz ðɛr ər ˈoʊnli ˈvɛri skænt ˌɑbzərˈveɪʃənz əv ðɪs ˈænəməl ɪn ðə waɪld. baɪ ðə 1860’s*, ðə ɪt ɪz noʊn ɪn ɔˈrɛdi, tɪ pʊt ɪt ˈmaɪldli, kloʊz tɪ ɪkˈstɪŋʃən. ðə wən ˈsimɪŋli ˈvaɪəbəl ˌpɑpjəˈleɪʃən wɑz ɪn ðə ˈɛmpərər əv ˌɪmˈpɪriəl ˈhəntɪŋ pɑrk, ə lɑrʤ wɔld ənd ˈkɛrfəli ˈgɑrdɪd prɪˈzərv. ɪt simz ən ˈərli ˈvərʒən əv ðə conservation”*” ðət həz bɪˈkəm ðə nɔrm fər ˈmɛni ˈwaɪlˌdlaɪf rɪˈzərvz ənd ˈnæʃənəl pɑrks əraʊnd ðə wərld təˈdeɪ. fɛns ðə ˈænəməlz ɪn ənd kip ðə ˈpipəl aʊt. wɪn ˈænəməlz ər rɛr θɪŋk ˈtaɪgərz ər ˈraɪˌnoʊz ɪt ɪz ən əˈpilɪŋ ɪf ˈɔpʃən. bət ə bɪg ˈprɑbləm. ə smɔl, ˈaɪsəˌleɪtɪd rɪˈzərv ɪz ɛˈsɛnʃəli ən ˈaɪlənd. ənd ˈænəməlz ɔn ˈaɪləndz ˈfrikwɛntli smɔl, ˈaɪsəˌleɪtɪd ˌpɑpjəˈleɪʃən ɪz mɔr proʊn tɪ biɪŋ waɪpt aʊt baɪ ˈwɛðər, dɪˈziz, prəˈdeɪʃən ənd drəˈmætɪk ʧeɪnʤ. ˌkɑnsərˈveɪʃən baɪˈɑləʤɪsts noʊ ðɪs ɛz ˈaɪlənd biogeography*. ðə ˈaɪsəˌleɪtɪd pər dɪr ˌpɑpjəˈleɪʃən wɑz ˈsimɪŋli wɛl prəˈtɛktɪd baɪ ðə ˈfaɪnəst gɑrdz. bət ðə dɪr wɑz sun tɪ bɪˈkəm ə ˈpoʊstər ʧaɪld fər ðə hɑrʃ ˈlɛsənz əv ˈaɪlənd biogeography*. ɪt meɪ wɛl hæv ˌdɪsəˈpɪrd, dɪˈskraɪbd baɪ ðə brɛnt ˈhəfmən əv ˈəltəmət ənd baɪ ˈmæməlz əv ðə wərld lək ˌɪntərˈvind. ɪts ɪˈskeɪp frəm əˈblɪviən simz ɛz ˈlaɪkli ɛz ˈwɪnɪŋ ðə ˈlɑtəri wɪˈθaʊt baɪɪŋ ə ˈtɪkɪt. ðə ˈstɔri. ə frɛnʧ ˈmɪʃəˌnɛri, pər (ˈfɑðər ɪn frɛnʧ) ˌɑrˈmɑnd ˈdeɪvɪd hæd hərd əˈbaʊt ðɪs dɪr bɪˈhaɪnd ðə ˈgɑrdɪd wɔlz əv ðə ˌɪmˈpɪriəl ˈhəntɪŋ graʊnz. ə dɪˈvoʊtɪd ˈnæʧərələst, hi hæd tɪ si ðə dɪr. ʤɪst hæd tɪ. ɪf ˈrɛdɪŋ ðɪs, aɪ ˈsəˌspɛkt ju ˌəndərˈstænd ðə ərʤ. wən ˈɑbstəkəl: ðɪs rɪˈzərv wɑz soʊ ˈkɛrfəli prəˈtɛktɪd ðət noʊ wən wɑz ˈivɪn pərˈmɪtɪd tɪ lʊk ˈɪntu ɪt. bət ˈfɑðər ˈdeɪvɪd gɪv əp. hi æst ðə gɑrdz tɪ lɛt ɪm teɪk wən ˈlɪtəl pik. wət kʊd ðət ˈpɑsəbli hərt? ðeɪ əˈgrid, bət hi kʊd ˈoʊnli lʊk wəns. wən glæns, ənd hi wɑz dən. ðɪs meɪ bi ðə ˈoʊnli ˈɪnstəns ɪn ˈhɪstəri wɪn ˈbreɪkɪŋ ə ˈwaɪlˌdlaɪf lɔ seɪvd ə ˈspiʃiz. æt ðə ˈvɛri ˈmoʊmənt ˈfɑðər ˈdeɪvɪd glænst ˈɪntu ðə rɪˈzərv, ə hərd əv dɪr keɪm ˈstroʊlɪŋ pæst ɪm. ənd nɑt ʤɪst ˈɛni dɪr: ðɪs ˈspiʃiz hæd ə lɔŋ teɪl ənd ˈæntlərz ənˈlaɪk ˈɛni ˈəðər. ˈfɑðər ˈdeɪvɪd ˈrɛkəgˌnaɪzd wət wɑz ˈklɪrli ə ˈspiʃiz nu tɪ ˈwɛstərn saɪəns; hi ðɛn dɪˈvoʊtɪd hɪmˈsɛlf tɪ sɪˈkjʊrɪŋ ˈspɛsəmənz. hi ɪˈvɛnʧəwəli dɪd. ðɪs lɛd tɪ ə ˈmaɪnər kreɪz əˈməŋ ˌjʊrəˈpiən ˈkəntriz ˈsikɪŋ lɪv ˈænəməlz fər ðɛr zuz. ðeɪ gɑt səm dɪr ˈæftər ˈvɛriəs ˌdɪpləˈmætɪk ˈɛfərts. ɪn ðə ˈminˌtaɪm, ðə ˌɪmˈpɪriəl ˈhəntɪŋ graʊnz pruvd tɪ bi nɑt səʧ ə ˈfɔrtrəs əv ˌkɑnsərˈveɪʃən ˈæftər ɔl. fərst ə fləd keɪm θru, ˈdraʊnɪŋ səm dɪr ənd friɪŋ ˈəðərz ðət wər kˈwɪkli ˈitən baɪ ˈstɑrvɪŋ ˈpɛzənts. ðɛn keɪm ðə ˈbɑksər rɪˈbɛljən, wɪʧ rɪˈzəltɪd ɪn trups ˈstɔrmɪŋ ðə rɪˈzərv ənd ˈitɪŋ ˈɛvəri læst dɪr. ə fju ˈaɪsəˌleɪtɪd ˌɪndəˈvɪʤəwəlz meɪ hæv həŋ ɔn ˈaʊtˈsaɪd ðə rɪˈzərv, bət ɪt wɑz klɪr ðə dɪr wɑz ˈfɪnɪʃt ɪn ɪts ˈneɪtɪv lænd. bət ˈfɑðər ʧæns ɪnˈkaʊnər mɛnt ðɛr wər stɪl dɪr ɪn ˌjʊrəˈpiən zuz. ˈriəˌlaɪzɪŋ ðiz wər ðə læst əv ðə ˈspiʃiz, ðeɪ ˌriˈloʊkeɪtɪd ðə ɪnˈtaɪər hərd tɪ ðə duk əv ˈspeɪʃəs dɪr pɑrk æt ˈwubərn ˈæbi ɪn ˈɪŋglənd. ðɪs wɑz ən ˈaɪlənd, tu, bət ðə dɪr hæd ˈplɛnti əv rum tɪ roʊm ənd brid. wɪʧ ðeɪ dɪd. ðeɪ sərˈvaɪvd wərld wɔr aɪ, ðoʊ ˈbɛrli. wɪn wərld wɔr brɔt fud ˈʃɔrtɪʤɪz ənd bɑmz, ðə duk ˌdɪˈsaɪdɪd tɪ nɑt kip ɔl hɪz dɪr ɪn wən ˈbæskət, soʊ tɪ spik, ənd sɛnt ðɛm tɪ zuz ɪn ˈəðər loʊˈkeɪʃənz. təˈdeɪ, ðə pər dɪr ɪz faʊnd ˈwaɪdli ɪn dɪr pɑrks, ˈtɛksəs ˈhəntɪŋ ˈrænʧəz ənd zuz. ˈivɪn bɪn rɪˈtərnd tɪ smɔl rɪˈzərvz ɪn ɪts ˈneɪtɪv ˈʧaɪnə. bət ɪt roʊm ˈfrili ɪn ðə waɪld. ju maɪt seɪ ðət pər dɪr həz bɪˈkəm ˈsəmθɪŋ lɛs ðən ə pər dɪr. haʊ dɪd dɪr ʃeɪp ðə lænd ənd haʊ dɪd ðə lænd ʃeɪp ðə dɪr? ðət wi noʊ ˈlɔŋgər noʊ. ðə ˈkɑmplɛks ˈɪntərˌpleɪ wɪθ ˈneɪtɪv plænts, wɪθ ˈmɑrʃɪz, wɪθ ər lɔst tɪ taɪm. təˈdeɪ ɪt ɪz ə ˈkɛrfəli ˈtɛndɪd ˈkriʧər. ɪt noʊz ðə ˈgræsi lɔn əv ðə ˈbrɪtɪʃ ˈkəntriˌsaɪd. ɪt nɪˈgoʊʃiˌeɪts ðə kɔrn ˈfidərz əv ə ˈtɛksəs rænʧ. ɪt simz tɪ du wɛl ɪˈnəf. bət ɪt ɪz nɑt ðə ˈænəməl ɪt wəns wɑz. laɪk tɪ θɪŋk list wəns ɪn ə ə geɪm rænʧ ɪn ˈhɪli ˈtɛksəs, ə pər dɪr ˈkæʧɪz ðə wɪf əv ə ˈmaʊntən laɪən. ənd ˈsəmˌhaʊ, ðɪs ˈtrɪgərz ə riˈækʃən ˈsɪmələr tɪ wɪn ɪt wəns hæd tɪ fɪr ðə ˈtaɪgər. ɪf ˈoʊnli fər ə ˈsɛkənd, ɪt bɪˈkəmz preɪ əˈgɛn, ʃeɪpt nɑt baɪ ˈpipəl bət baɪ ɪts oʊn waɪld ˈneɪʧər. hu noʊz? ˈmeɪbi ðət ɛkəˈlɑʤɪkəl pæst həz ɔˈrɛdi ˈfeɪdɪd. ˈmeɪbi ɪt ɪz bɛst ˈsutɪd naʊ fər ðə laɪf əv ə ˈkriʧər. ə breɪv, nu dɪr fər ə breɪv, nu wərld. stɪl, wɪn aɪ sɔ ðɛm ɔn ðə graʊnz əv ˈwubərn ˈæbi, ðə pɑrk ðət seɪvd ðɛm, aɪ ˈmɑrvɛld æt ðɛr teɪlz ənd ˌɪmˈpɑsəbəl ˈæntlərz. aɪ fɛlt ˈhæpi ðeɪ wər stɪl ˈʃɛrɪŋ ðə ˈplænət wɪθ ˈjuˈɛs, ˈivɪn ɪf ɪn ə dɪˈmɪnɪʃt steɪt. aɪ noʊ ðət ɪn ðɪs ˈɪrə səm kɔl ðə ˈjumənz ʃeɪp ˈstɔriz wɪl ˈlaɪkli bɪˈkəm mɔr ˈkɑmən. lɑrʤ ˈwaɪlˌdlaɪf wɪl pərˈsɪst. bət wɪl ɪt bi ɛz fʊl ɛkəˈlɑʤɪkəl pleɪərz ɪn ðɛr ˈneɪtɪv ˈhæbəˌtæt, ər wɪl ðeɪ bɪˈkəm ˈʃæˌdoʊz əv ðɛr ˈfɔrmər sɛlvz? wi stɪl hæv taɪm tɪ ˌdɪˈsaɪd. teɪk ðə pər teɪl ɛz ə ˈkɔʃəˌnɛri teɪl. ˈgɑrdɪd rɪˈzərvz ər nɑt ɪˈnəf. ˈaɪləndz əv ˈhæbəˌtæt ər bæd fər lɑrʤ, waɪld bists. ˌkɑnsərˈveɪʃənɪsts gɪt ðɪs. ˈɛfərts laɪk ðə seɪʤ graʊs ˌɪˈnɪʃətɪv eɪm tɪ kip ˈspiʃiz ˌɪnˈkludɪŋ graʊs ənd mjul dɪr ɪn ˌɪnˈtækt ˈhæbəˌtæt, ðəs əˈvɔɪdɪŋ ““islands”*” kriˈeɪtɪd baɪ ˈɛnərʤi dɪˈvɛləpmənt ənd ˈhaʊsɪz ənd faɪərz ənd widz (rɛd mɔr ɔn ðɪs greɪt ˈprɑʤɛkt sun ɔn ðə blɔg). ðɛr ər ˈəðər ɪgˈzæmpəlz əraʊnd ðə wərld: ˈkipɪŋ lændz kəˈnɛktɪd soʊ ˈkrɪtərz hæv rum tɪ ˈmaɪˌgreɪt, rum tɪ roʊm, rum tɪ sərˈvaɪv. rum soʊ ðɛr sərˈvaɪvəl kəm daʊn tɪ ʧæns. rum soʊ ðeɪ bɪˈkəm pər dɪr, sɪˈkjʊr bət nɑt hoʊm, əˈlaɪv bət nɑt fri.
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wildlife
there are animals that have narrowly avoided extinction. and then there’s the pere david’s deer.
for some reason, the pere david’s deer story has not been widely told in conservation circles. this animal once roamed marshes and plains of china, where they often wallowed in wetlands. at least that’s what biologists believe. the fact is, no one knows for sure, because there are only very scant observations of this animal in the wild.
by the 1860’s, the milu—as it is known in china—was already, to put it mildly, close to extinction.
the one seemingly viable population was in the emperor of china’s imperial hunting park, a large walled and carefully guarded preserve.
it seems an early version of the “fortress conservation” that has become the norm for many wildlife reserves and national parks around the world today. fence the animals in and keep the people out. when animals are rare – think tigers or rhinos – it is an appealing if last-ditch option.
but there’s a big problem. a small, isolated reserve is essentially an island. and animals on islands frequently disappear—a small, isolated population is more prone to being wiped out by weather, disease, predation and dramatic change. conservation biologists know this as island biogeography.
the isolated pere david’s deer population was seemingly well protected by the emperor’s finest guards. but the deer was soon to become a poster child for the harsh lessons of island biogeography. it may well have disappeared, but–as described by the brent huffman of ultimate ungulates and by walker’s mammals of the world — luck intervened. its escape from oblivion seems as likely as winning the lottery without buying a ticket.
here’s the story. a french missionary, pere (father in french) armand david had heard about this deer behind the guarded walls of the imperial hunting grounds. a devoted naturalist, he had to see the deer. just had to. if you’re reading this, i suspect you understand the urge.
one obstacle: this reserve was so carefully protected that no one was even permitted to look into it. but father david wouldn’t give up. he asked the guards to let him take one little peek. what could that possibly hurt? they agreed, but he could only look once. one glance, and he was done.
this may be the only instance in history when breaking a wildlife law saved a species.
at the very moment father david glanced into the reserve, a herd of deer came strolling past him. and not just any deer: this species had a long tail and weird-branching antlers unlike any other. father david recognized what was clearly a species new to western science; he then devoted himself to securing specimens. he eventually did. this led to a minor craze among european countries seeking live animals for their zoos.
they got some deer after various diplomatic efforts. in the meantime, the imperial hunting grounds proved to be not such a fortress of conservation after all. first a flood came through, drowning some deer and freeing others that were quickly eaten by starving peasants. then came the boxer rebellion, which resulted in troops storming the reserve and eating every last deer. a few isolated individuals may have hung on outside the reserve, but it was clear the deer was finished in its native land.
but father david’s chance encounter meant there were still deer in european zoos. realizing these were the last of the species, they relocated the entire herd to the duke of bedford’s spacious deer park at woburn abbey in england.
this was an island, too, but the deer had plenty of room to roam and breed. which they did. they survived world war i, though barely. when world war ii brought food shortages and bombs, the duke decided to not keep all his deer in one basket, so to speak, and sent them to zoos in other locations.
today, the pere david’s deer is found widely in deer parks, texas hunting ranches and zoos. it’s even been returned to small reserves in its native china. but it doesn’t roam freely in the wild.
you might say that today’s pere david’s deer has become something less than a pere david’s deer. how did deer shape the land and how did the land shape the deer? that we no longer know. the deer’s complex interplay with native plants, with marshes, with predators—these are lost to time.
today it is a carefully tended creature. it knows the grassy lawn of the british countryside. it negotiates the corn feeders of a texas ranch. it seems to do well enough. but it is not the animal it once was.
i’d like to think that–at least once in a while–wandering a game ranch in hilly texas, a pere david’s deer catches the whiff of a mountain lion. and somehow, this triggers a reaction similar to when it once had to fear the tiger. if only for a second, it becomes prey again, shaped not by people but by its own wild nature.
who knows? maybe that ecological past has already faded. maybe it is best suited now for the life of a semi-domestic creature. a brave, new deer for a brave, new world.
still, when i saw them on the grounds of woburn abbey, the park that saved them, i marveled at their long-swaying tails and impossible antlers. i felt happy they were still sharing the planet with us, even if in a diminished state.
i know that in this era some call the anthropocene—where humans shape everything—these stories will likely become more common. large wildlife will persist. but will it be as full ecological players in their native habitat, or will they become shadows of their former selves? we still have time to decide.
let’s take the pere david’s tale as a cautionary tale. guarded reserves are not enough. islands of habitat are bad for large, wild beasts.
conservationists get this. efforts like the sage grouse initiative aim to keep wide-roaming species including grouse and mule deer in intact habitat, thus avoiding “islands” created by energy development and houses and fires and weeds (read more on this great project soon on the blog). there are other examples around the world: keeping lands connected so critters have room to migrate, room to roam, room to survive.
room so their survival doesn’t come down to chance. room so they don’t become pere david’s deer, secure but not home, alive but not free.
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ˈændi ˈməri, pleɪɪŋ hɪz fərst mæʧ sɪns ˈʃæŋˈhaɪ, lɔst wɪθ ˈkoʊlɪn ˈflɛmɪŋ əˈgɛnst ˌælɪgˈzændər ənd ˈbrunoʊ ˈsɔrɛs ɪn ðə ˈpɛrɪs ˈmæstərz ˈdəbəlz. ˈviə ˈgɛti ˈɪmɪʤɪz ˈændi ˈməri həz ɪkˈspɪriənst moʊst θɪŋz ɪn ˈtɛnɪs bət ðə wərld aɪz wər ˈoʊpənd tɪ ˈsəmθɪŋ nu ənd ʤɪst ə ˈlɪtəl ˈkreɪzi ðɪs wik ɛz hi ˈwɪtnəst ðə ˈwæki wərld əv ˈdəbəlz sign-in*. ðə grænd slæm ˈʧæmpiən ˌvɑlənˈtɪrd tɪ saɪn ɪn hɪmˈsɛlf ənd ˈfɛloʊ skɑt ˈkoʊlɪn ˈflɛmɪŋ fər ðə ˈpɛrɪs ˈmæstərz æt ənd ˈkʊdənt bɪˈliv wət hi sɔ. "ɪts ðə fərst taɪm aɪv ˈɛvər ˈæˌkʧuəli hæd tɪ du ɪt," ˈməri sɛd, ˈspikɪŋ ə ˈkəpəl əv deɪz ˌbiˈfɔr hi ənd ˈflɛmɪŋ lɔst ðɛr mæʧ əˈgɛnst ˌælɪgˈzændər ənd ˈbrunoʊ ˈsɔrɛs ɔn ˈtuzˌdeɪ. "ˈkoʊlɪn wɑz bæk hoʊm bɪˈkəz hi ˈdɪdənt wɔnt ˈɛniˌwən tɪ noʊ wi wər pleɪɪŋ soʊ aɪ ˈæˌkʧuəli wɛnt ɪn ənd dɪd ðə ˈdəbəlz sign-in*. ɪt wɑz ˈæbsəˌlut ˈmeɪˌhɛm. "ˈæˌkʧuəli biɪŋ ɪn ðə rum ju kænt bɪˈliv ɪt aɪv gɑt ə ˈpɪkʧər əv ɪt. [ðɛr ɪz] ə ˈlæpˌtɑp wɪθ ðə taɪm ənd ɪts ˈbeɪsɪkli laɪk ə ˈkaʊntˌdaʊn. juv gɑt laɪk sɪks pleɪərz ɪn ðɛr, ju hæv ðə tʊr ˈmænɪʤər ˈgɪtɪŋ tɛkst ˈmɛsɪʤɪz ənd iˈmeɪlz, ˈpipəl ˈgɪtɪŋ ɪm tɪ saɪn ɪn fər ðɛm, juv gɑt ˈəðər pleɪərz ˈsaɪnɪŋ ɪn nɑt fər ðɛmˈsɛlvz bət ɛz ə ˌrɛprɪˈzɛnətɪv əv əˈnəðər pleɪər. aɪv ˈnɛvər dən ɪt ˌbiˈfɔr, ɪts ˈprɪti ˈstrɛsfəl." ˈflɛmɪŋ ʤoʊkt ðət hi hæd bɪn kənˈsərnd ðət ˈməri maɪt faɪnd ɪt ɔl ə bɪt streɪnʤ, ənd hi wɑz raɪt, wɪθ ðə wərld ˈwərid ðət baɪ ˈsaɪnɪŋ ɪn wɪθ θri ˈmɪnəts rɪˈmeɪnɪŋ, hi hæd pleɪd hɪz hænd tu sun. ənd wɪn tu pleɪərz gɑt ə bɪt hɑt ˈəndər ðə ˈkɑlər ˈoʊvər ðə juz əv ə pɛn, ˈməri wɑz ə ˈlɪtəl stənd. "wən əv ðə pleɪərz æst ˈmɪroʊ [bratoev*, ðə ˈeɪˈtiˈpi tʊr ˈmænɪʤər], 'kən aɪ hæv ə pɛn?' ənd hi sɛd, 'jʊr nɑt əˈlaʊd tɪ juz maɪ pɛn, jʊr nɑt əˈlaʊd tɪ juz ðə tʊr ˈmænɪʤərz pɛn'," ˈməri ˈædɪd. "ðɛr wər tu timz əˈbaʊt tɪ saɪn ɪn, wən əv ðɛm hæd ðə ˈpɛnsəl ðət wɑz ðɛr ənd ðə ˈəðər ˈdɪdənt hæv ə pɛn soʊ wən əv ðə ˈəðər gaɪz ɪn ðə rum, wɪθ 30 ˈsɛkəndz tɪ goʊ, wɑz θroʊɪŋ ɪm ə pɛn. ðɛr məst bi ə ˈbɛtər weɪ əv duɪŋ ɪt. ɪt kænt bi ðə bɛst weɪ." waɪl ˈsɪŋgəlz pleɪərz ər ˌɔtəˈmætɪkli ˈɛnərd fər ðə ˈmændəˌtɔri ˈeɪˈtiˈpi ˈmæstərz 1000s*, səʧ ɛz ˈpɛrɪs, ðə ˈprɔˌsɛs ɪz ˈdɪfərənt fər ˈdəbəlz. ɪf ðeɪ doʊnt juz ðə ədˈvæns ˈɛntri ˈsɪstəm, tu wiks əˈhɛd əv taɪm, ðeɪ məst ˈɛnər baɪ ɔn ə ˈsæˌtɪˌdeɪ fər ˈtərnəmənts ðət bɪˈgɪn ɔn ðə ˈmənˌdeɪ. ɛz ə rul, wən əv ðə pleɪərz məst bi ˈprɛzənt bət ɪf ðæts nɑt ˈpɑsəbəl, ðeɪ kən ˈɔlsoʊ ˈkɑnˌtækt ðə ˈeɪˈtiˈpi ˈsupərˌvaɪzər baɪ iˈmeɪl, tɛkst, foʊn, fæks ər ˈɛni minz ˈpɑsəbəl ənd ðə ˈsupərˌvaɪzər kən saɪn ðɛm ɪn. ɪt ɪz ə ˈprɔˌsɛs ðət kən lɛd tɪ ðə kaɪnd əv sin ˈməri faʊnd æt, ˈfərðər ˈkɑmpləˌkeɪtəd baɪ ˈsɪŋgəlz pleɪərz ˈsaɪnɪŋ ɪn ɛz kloʊz tɪ ðə ˈdɛˌdlaɪn ɛz ˈpɑsəbəl, ˈɔfən æt ðə ɪkˈspɛns əv mɔr ˈrɛgjələr ˈdəbəlz pleɪərz. ˈməri sɔ ðə ˈfəni saɪd əv θɪŋz ənd ˈɛrɪk bjuˈtɔrək, ðə hɛd əv ðə ˈeɪˈtiˈpi pleɪər ˈkaʊnsəl, sɛd ðə rul wɑz ˈæˌkʧuəli ðɛr tɪ hɛlp ˈsɪŋgəlz pleɪərz. "ðə ˈrizən wi du ɪt ɪz fər gaɪz laɪk ɪm," hi toʊld. "ə lɔt əv ðə tɔp gaɪz doʊnt noʊ wɪn ðeɪ wɔnt tɪ pleɪ ˈændi ˈɑbviəsli ˈdɪdənt noʊ hi ˈwɔntɪd tɪ pleɪ tu wiks əˈgoʊ, hi nu naʊ, soʊ ðæts waɪ wi hæv ðə əˈbɪləˌti tɪ du ðət. "ˈsəmˌtaɪmz ɪt tərnz ˈɪntu ə kaɪnd əv keɪɑs ənd aɪ hərd ɪt wɑz. [bət] ɪf ðɛr ɪz ə ˈbɛtər weɪ, wi ˈhævənt faʊnd wən. fər gaɪz laɪk mi, wi wʊd ləv tɪ noʊ ɪn ədˈvæns wɛr wɪr goʊɪŋ tɪ goʊ, bət wi ˈɔlsoʊ ˌəndərˈstænd ðət ðə əˈbɪləˌti tɪ hæv gaɪz laɪk ˈændi pleɪ ˈdəbəlz ɪz soʊ gʊd fər ðə ˈtʊrnəmənt, fænz wɔnt tɪ si ɪt. "ɪf nɑt fər ðɪs ˈsɪstəm, wi ˈwʊdənt hæv hæd ʤɑn ˈɪsnər, wi ˈwʊdənt hæv hæd ˈændi, wi ˈwʊdənt hæv hæd səm ˈrɪli kul stɑrz [ˌɪnˈkludɪŋ ˌrɑfaɪˈɛl nɑˈdæl] pleɪɪŋ ˈdəbəlz. soʊ ðɛrz noʊ ˈrizən tɪ ʧeɪnʤ ɪt wɪn wɪr ˈgɪvɪŋ ðə fænz wət ðeɪ wɔnt. ɪt meɪks ɑr lɪvz ə ˈlɪtəl keɪˈɑtɪk bət ɪts ˈgɪtɪŋ ðə bɛst pleɪərz ɪn ðə wərld tɪ pleɪ ˈdəbəlz, wɪʧ ɪz gʊd." ðə ˈeɪˈtiˈpi toʊld ðət ɪt ɪz ˈhæpi wɪθ ðə ˈkɑrənt ˈfɔrˌmæt. "waɪl wi kənˈtɪnjuəli ˈlɪsən tɪ ðə ˈfidˌbæk əv ɑr pleɪər ənd ˈtʊrnəmənt ˈmɛmbərz, wi bɪˈliv ðə ˈkɑrənt ˈsɪstəm prəˈvaɪdz ə gʊd ˈbæləns bɪtˈwin ˈkeɪtərɪŋ tɪ ðə nidz əv ˈdəbəlz pleɪərz, waɪl æt ðə seɪm taɪm ɪˈneɪbəlɪŋ ðə pɑrˌtɪsəˈpeɪʃən əv ˈsɪŋgəlz pleɪərz ɪn ðə ˈdəbəlz drɔz," ɪt sɛd ɪn ən iˈmeɪld ˈsteɪtmənt.
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andy murray, playing his first match since shanghai, lost 6-2, 6-2 with colin fleming against alexander peya and bruno soares in the paris masters doubles. chinafotopress via getty images
andy murray has experienced most things in tennis but the world no.2's eyes were opened to something new and just a little crazy this week as he witnessed the wacky world of doubles sign-in.
the two-times grand slam champion volunteered to sign in himself and fellow scot colin fleming for the paris masters at bercy and couldn't believe what he saw.
"it's the first time i've ever actually had to do it," murray said, speaking a couple of days before he and fleming lost their first-round match 6-2, 6-2 against alexander peya and bruno soares on tuesday.
"colin was back home because he didn't want anyone to know we were playing so i actually went in and did the doubles sign-in. it was absolute mayhem.
"actually being in the room you can't believe it -- i've got a picture of it. [there is] a laptop with the time and it's basically like a countdown. you've got like six players in there, you have the tour manager getting text messages and emails, people getting him to sign in for them, you've got other players signing in not for themselves but as a representative of another player. i've never done it before, it's pretty stressful."
fleming joked that he had been concerned that murray might find it all a bit strange, and he was right, with the world no.2 worried that by signing in with three minutes remaining, he had played his hand too soon.
and when two players got a bit hot under the collar over the use of a pen, murray was a little stunned.
"one of the players asked miro [bratoev, the atp tour manager], 'can i have a pen?' and he said, 'you're not allowed to use my pen, you're not allowed to use the tour manager's pen'," murray added.
"there were two teams about to sign in, one of them had the pencil that was there and the other didn't have a pen so one of the other guys in the room, with 30 seconds to go, was throwing him a pen. there must be a better way of doing it. it can't be the best way."
while singles players are automatically entered for the mandatory atp masters 1000s, such as paris, the sign-up process is different for doubles. if they don't use the advance entry system, two weeks ahead of time, they must enter by 2pm on a saturday for tournaments that begin on the monday.
as a rule, one of the players must be present but if that's not possible, they can also contact the atp supervisor -- by email, text, phone, fax or any means possible -- and the supervisor can sign them in.
it is a process that can lead to the kind of scene murray found at bercy, further complicated by singles players signing in as close to the deadline as possible, often at the expense of more regular doubles players.
murray saw the funny side of things and eric butorac, the head of the atp player council, said the rule was actually there to help singles players.
"the reason we do it is for guys like him," he told espn. "a lot of the top guys don't know when they want to play ... andy obviously didn't know he wanted to play two weeks ago, he knew now, so that's why we have the ability to do that.
"sometimes it turns into a kind of chaos and i heard it was. [but] if there is a better way, we haven't found one. for guys like me, we would love to know in advance where we're going to go, but we also understand that the ability to have guys like andy play doubles is so good for the tournament, fans want to see it.
"if not for this system, we wouldn't have had john isner, we wouldn't have had andy, we wouldn't have had some really cool stars [including rafael nadal] playing doubles. so there's no reason to change it when we're giving the fans what they want. it makes our lives a little chaotic but it's getting the best players in the world to play doubles, which is good."
the atp told espn that it is happy with the current format.
"while we continually listen to the feedback of our player and tournament members, we believe the current system provides a good balance between catering to the needs of doubles players, while at the same time enabling the participation of singles players in the doubles draws," it said in an emailed statement.
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ðə ˈprɛzɪdənt əv ðə ˈfɪləˌpinz, rəˈdrigoʊ, həz nɑt ˈivɪn bɪn ɪn paʊər fər sɪks mənθs, bət ɪt ɔˈrɛdi simz laɪk fɑr tu lɔŋ. hɪz ˈkɑnstənt ˈæməˌʧər drəˈmætɪks ɔn ˌɪnərˈnæʃənɑl əˈfɛrz ˈʤɛnərˌeɪt ˈkæˌʧi ˈhɛˌdlaɪnz, ənd ə kəˈlæmətəs wɔr ɔn drəgz ðət həz kɔst mɔr ðən ˈpipəl ðɛr lɪvz drɔz əˈtɛnʃən, ɪf nɑt strɔŋ ɪˈnəf ˌkɑndəmˈneɪʃən. wɪθ ˈlɪtəl ɪkˈstərnəl ˈprɛʃər ˈkəmɪŋ ˈɛniˌtaɪm sun, ðə ˈstrɔŋˌmæn ˈoʊnli ˈfeɪsɪz ˌɪnˈtərnəl ˌɑpəˈzɪʃən frəm tu pəˈlɪtɪkəl ˈfɪgjərz boʊθ ər ˈwɪmən, ənd boʊθ ər wɛl pleɪst ənd wɛl ɪkˈwɪpt tɪ ˈkɑmbæt ðə ˈmɑʧoʊ ˈɔtəˌkræt. ˈprɛzɪdənt ˈpɑpjəˌlɪzəm ɪz ə ˈdeɪnʤərəsli ˌaɪsəˈleɪʃənəst pæθ tɑm smɪθ rɛd mɔr ðə ˈvaɪˈsprɛzədənt,, rɪˈzaɪnd frəm hər pəˈzɪʃən ɪn ðə ˈkæbənət ðɪs wik ənd naʊ ˈoʊpənli ˈprɛzənts hərˈsɛlf ɛz ə ˈdɛspərətli ˈnidɪd ˌɑpəˈzɪʃən fɔrs. həz ʤɔɪnd ðə gʊd faɪt, əˈlɔŋˈsaɪd ˈsɛnətər ˈlilə də ˈlimə, hu fər ðə pæst sɪks mənθs həz feɪst ə taɪˈreɪd əv ˈmɪzəʤɪnɪst əˈbjuz ənd ə smɪr kæmˈpeɪn ðət ɪz ˈoʊnli wərθ rɪˈpitɪŋ ɪn ˈɔrdər tɪ brɪŋ ʃeɪm ɔn ənd hɪz ˈækəˌlaɪts. waɪld ˌækjəˈzeɪʃənz ðət ʃi ɪz drəg lord”*” hu ˈɑpərˌeɪtəd θru ˈprɪzənz, ənd θrɛts tɪ ˈbrɔdˌkæst ə səˈpoʊzd sɛks teɪp əv hər ɪn ðə ˈsɛnɪt ər ʤɪst ðə tɪp əv ðə ˈaɪsbərg. bət, təˈgɛðər, ənd də ˈlimə ˌrɛprɪˈzɛnt ɔl ðət ɪz lɛft əv ˈlɪˌbərəl kərɪʤ ɪn ˌfɪləˈpinoʊ ˈpɑləˌtɪks. ə dɪˈvɛləpmənt ðət ˈriˌkɔlz ðə ˌɪdioʊˌsɪnˈkrætɪk riˈleɪʃənˌʃɪp wɪθ ˈwɪmən ɪn ˈpɑləˌtɪks. waɪl ənd də ˈlimə ər strɔŋ ˈkɛrɪktərz ðeɪ ˈɔlsoʊ hæv ˈplɛnti əv gʊd roʊl ˈmɑdəlz. ˈmɛni hæv ˈoʊnli ˈrisəntli peɪd əˈtɛnʃən tɪ ðə ˈkəntri bɪˈkəz əv ˌɪnˈsəlts ənd ðə bəˈnɑl kəmˈpɛrəsənz tɪ trump-popularism*, bət ɪt ɪz ˌɪmˈpɔrtənt tɪ ˈriˌkɔl ðə rɪʧ ˈhɪstəri əv ɪn ˈpɑləˌtɪks, nɑt list ɪn rɪˈpleɪsɪŋ ˈpriviəs ˈdɪkteɪtərz. wɪn ˈfərdɪˌnænd ˈmɑrkoʊs wɑz ˌoʊvərθˈroʊn ɪn ðə ˈpipəl paʊər ˌrɛvəˈluʃən ɪn 1986 ˈkɔˌri əˈkinoʊ bɪˈkeɪm wən əv ðə fərst ˈfiˌmeɪl hɛdz əv steɪt. ðə ənˈkæni ˈpɛrəˌlɛlz bɪtˈwin ðə tu ˈwɪdoʊz ənd əˈkinoʊ ər ˌɪmˈpɑsəbəl tɪ ˌɪgˈnɔr. ˈhəzbənd, ˌbɛˈninjoʊ əˈkinoʊ jr*, wɑz əˈsæsəˌneɪtəd ɔn ðə ˈtɑrˌmæk æt məˈnɪlə ˈɛrˌpɔrt (naʊ neɪmd ˈæftər ɪm) wɪn rɪˈtərnɪŋ frəm ˈɛkˌsaɪl ɪn 1983 lɔst hər ˈhəzbənd ˈʤɛsi, ðɛn ˌɪnˈtɪriər ˈsɛkrəˌtɛri, ɪn 2012 ɪn ə pleɪn kræʃ. dɪˈspaɪt ðə ˈfɪləˌpinz ˈhoʊldɪŋ ɔn tɪ ɑrˈkeɪɪk, ˈhɛvəli ˈpɑləsiz ɔn ˈfiˌmeɪl ˌriprəˈdəktɪv raɪts, ðə ˈkəntri həz hæd mɔr ˈfiˌmeɪl ˈlidərz ðən moʊst ˈneɪʃənz ənd ˈmɛni ˈprɑmənənt ˈwɪmən ɪn ˈpəblɪk laɪf. ɪn 2001 ˈglɔriə ərɔɪoʊ bɪˈkeɪm ðə ˈsɛkənd ˈfiˌmeɪl ˈprɛzɪdənt (ˈæftər ˈhævɪŋ sərvd ɛz ˈvaɪˈsprɛzədənt) ənd ɪn 2005 wɑz neɪmd baɪ fɔrbz ɛz ðə fɔrθ moʊst ˈpaʊərfəl ˈwʊmən ɪn ðə wərld. ðə ˈrisənt dɛθ əv ˈmɪriəm ˌsæntiˈɑgoʊ noʊn ɛz ðə aɪərn ˈleɪdi əv ˈeɪʒə, hu ˈivɪn ækˈnɑlɪʤd, dɛθ θrɛts fər breakfast”*”, wɑz ˈwaɪdli mɔrnd. ənd ˈivɪn ˌɪˈmɛldə ˈmɑrkoʊs həz tɪ bi ækˈnɑlɪʤd fər hər ˈɪnfluəns, ənd rɪˈmeɪnz ən ɪˈlɛktɪd ˈmɛmbər əv ˈkɑŋgrəs. jɛt dɪˈspaɪt səʧ ə ˈfɛmənɪst ˈpɛdəgri, ɪn 2013 ðə wərld ˌɛkəˈnɑmɪk ˈfɔrəm ræŋkt ðə ˈfɪləˌpinz fɪθ (aʊt əv 137 ɪn ɪts ˈʤɛndər gæp ˈɪndɛks, ənd ɪn ðə ˈkəntri həz ɪˈlɛktɪd ən ˈoʊpənli ˈʃoʊvənəst ˈkænədɪt hu həz ʤoʊkt əˈbaʊt reɪp. baɪ ˈfiˌmeɪl ˈʤərnəlɪsts ɪn ˈtɛləˌvaɪzd prɛs ˈkɑnfərənsəz, həz bɪn ˈwɪlɪŋ tɪ rɪsk kənˈsɪdərəbəl pəˈlɪtɪkəl ræθ frəm ˈwɪmən. ðə ˈmidiə ənd hɪz səˈpɔrtərz hæv ˈiðər læpt ɪt əp ər ˌɪgˈnɔrd ɪt, ðoʊ. bət wɪl æt list hæv tɪ rɪˈspɛkt də ˈlimə ənd ɪn ˈpraɪvət frəm naʊ ɔn, ɪf hi ɪz tɪ si ɔf ðə kənˈsɪdərəbəl ˈʧælənʤ ðeɪ ˌrɛprɪˈzɛnt. ˌpɛrəˈdɑksəkəli, də ˈlimə wɑz ðə wən ˈpərsən hu pərˈhæps kʊd hæv seɪvd frəm hɪmˈsɛlf ənd ðə ˈkəntri mɔr peɪn. hər əˈtɛmpt tɪ ˌɪnˈvɛstəˌgeɪt ðə drəg wɔr kʊd hæv lɛd tɪ rɪˈfɔrmz, ɪf nɑt steɪvd ɔf ðə groʊɪŋ ˈspɛktər əv ə ˈwɔrənt frəm ðə fər hɪz ərˈɛst. ˈæləks ˈwaɪtɪŋ, ə ˈhɑrvərd lɔ prəˈfɛsər ənd ˈfɔrmər ˌɪnˈvɛstəˌgeɪtər, həz ˈɑrgjud ðət ðə ʃʊd bɪˈgɪn ˈlʊkɪŋ æt ðə ˈkɪlɪŋz. ðə ˈprɑsɪˌkjutər kʊd wɛl bi ðə nɛkst ˈwʊmən həz tɪ teɪk ˈsɪriəsli ˈrəðər ðən ʤɪst θroʊ ˌɪnˈsəlts æt. fər naʊ ənd də ˈlimə kən lɛd ən ˌɑpəˈzɪʃən ɔn tu frənts. fərst tɪ ðə ˈmɪzəʤɪni ə baɪˈpɑrtɪzən ˈsoʊʃəl ˈmidiə kæmˈpeɪn həz ɔˈrɛdi ˈbeɪgən tɪ ˈkaʊntər ðə ˈɑrmi əv troʊlz ənd feɪk nuz ˈstɔriz brɛd baɪ səˈpɔrtərz. ˈsɛkənd, ɪn ðə səˈprim kɔrt, wɛr ðeɪ kən əˈpoʊz ðə dɪˈsɪʒən tɪ əˈlaʊ ə ˈbɛriəl fər ˈfərdɪˌnænd ˈmɑrkoʊs. həz ɔˈrɛdi ˈteɪkən tɪ ˈʃeɪmɪŋ ɪm ɔn ðɪs ˈɪʃu θru tˈwɪtər. ɪt kən noʊ ˈlɔŋgər bi əkˈsɛptəbəl tɪ seɪ, ““well*, hi wən baɪ ə landslide”*” ər ˈivɪn brɛθ əv frɛʃ air”*”. wət ɪf ðət air”*” tərnz aʊt tɪ bi ˈpɔɪzənəs? naʊ əˈpɑləʤɪsts, səˈpɔrtərz ənd ðə ˈsaɪlənt məˈʤɔrəti hæv ə ril ʧɔɪs fər ðə fˈjuʧər ɪn ðə ʃeɪp əv tu kərˈeɪʤəs ˈwɪmən hu ˈfɑloʊ ɪn ðə ˈfʊtˌstɛps əv ˈəðər kərˈeɪʤəs.
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the president of the philippines, rodrigo duterte, has not even been in power for six months, but it already seems like far too long. his constant amateur dramatics on international affairs generate catchy headlines, and a calamitous war on drugs that has cost more than 5,000 people their lives draws attention, if not strong enough condemnation. with little external pressure coming anytime soon, the strongman only faces internal opposition from two political figures – both are women, and both are well placed and well equipped to combat the macho autocrat.
president duterte’s anti-us populism is a dangerously isolationist path | tom smith read more
the vice-president, leni robredo, resigned from her position in the cabinet this week and now openly presents herself as a desperately needed opposition force. robredo has joined the good fight, alongside senator leila de lima, who for the past six months has faced a tirade of misogynist abuse and a smear campaign that is only worth repeating in order to bring shame on duterte and his acolytes.
wild accusations that she is “a drug lord” who operated through prisons, and threats to broadcast a supposed sex tape of her in the senate are just the tip of the iceberg. but, together, robredo and de lima represent all that is left of liberal courage in filipino politics.
it’s a development that recalls the country’s idiosyncratic relationship with women in politics. while robredo and de lima are strong characters they also have plenty of good role models. many have only recently paid attention to the country because of duterte’s insults and the banal comparisons to trump-popularism, but it is important to recall the rich history of filipinas in politics, not least in replacing previous dictators.
when ferdinand marcos was overthrown in the people power revolution in 1986, cory aquino became one of the world’s first female heads of state. the uncanny parallels between the two widows – robredo and aquino – are impossible to ignore. aquino’s husband, benigno aquino jr, was assassinated on the tarmac at manila airport (now named after him) when returning from exile in 1983. robredo lost her husband jesse, then interior secretary, in 2012 in a plane crash.
despite the philippines holding on to archaic, heavily catholic-influenced policies on female reproductive rights, the country has had more female leaders than most nations and many prominent women in public life. in 2001 gloria arroyo became the second female president (after having served as vice-president) and in 2005 was named by forbes as the fourth most powerful woman in the world. the recent death of miriam defensor santiago known as the iron lady of asia, who even duterte acknowledged, “ate death threats for breakfast”, was widely mourned. and even imelda marcos has to be acknowledged for her influence, and remains an elected member of congress.
yet despite such a feminist pedigree, in 2013 the world economic forum ranked the philippines fifth (out of 137) in its gender gap index, and in duterte the country has elected an openly chauvinist candidate who has joked about rape. by wolf-whistling female journalists in televised press conferences, duterte has been willing to risk considerable political wrath from women. the media and his supporters have either lapped it up or ignored it, though. but duterte will at least have to respect de lima and robredo in private from now on, if he is to see off the considerable challenge they represent.
paradoxically, de lima was the one person who perhaps could have saved duterte from himself and the country more pain. her attempt to investigate the drug war could have led to reforms, if not staved off the growing spectre of a warrant from the icc for his arrest. alex whiting, a harvard law professor and former icc investigator, has argued that the icc should begin looking at the killings. the icc prosecutor fatou bensouda could well be the next woman duterte has to take seriously rather than just throw insults at.
for now robredo and de lima can lead an opposition on two fronts. first to the misogyny – a bipartisan social media campaign has already begun to counter the army of duterte trolls and fake news stories bred by duterte supporters. second, in the supreme court, where they can oppose the decision to allow a hero’s burial for ferdinand marcos. robredo has already taken to passive-aggressively shaming him on this issue through twitter.
it can no longer be acceptable to say, “well, he won by a landslide” or even “a breath of fresh air”. what if that “fresh air” turns out to be poisonous? now duterte’s apologists, supporters and the silent majority have a real choice for the future in the shape of two courageous women who follow in the footsteps of other courageous filipinas.
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ər ju ˈkjʊriəs ɪn ril laɪf, tu? jɛs. əm ə gʊd "noticer*" əv bɪˈheɪvjər ɛz məʧ ɛz ðə kaɪnd əv ˈfərnɪʧər ˈpipəl hæv! ɪn ðə 1950s*, ju meɪd ə ˌrɛvəˈluʃəˌnɛri discovery* ðət ˈmɛməriz ər fɔrmd ɪn ə breɪn ˈɛriə kɔld ðə ˌhɪpoʊˈkæmpəs, wɪʧ ɪz naʊ ˈgɪtɪŋ lɑts əv əˈtɛnʃən fər ɪts roʊl ɪn ˈmɛməri lɔs ənd dɪˈmɛnʃiə. həz breɪn ˈrisərʧ ˈgɔtən ˈiziər? ˈnaʊəˌdeɪz, ˈɛvriˌwən həz ˈfəŋkʃənəl mægˈnɛtɪk ˈrɛzənəns ˈɪmɪʤɪŋ. ˈɛnibədi wɪθ ˈækˌsɛs tɪ ə ˈmɛdɪkəl skul kən gɪt ə gʊd lʊk æt ðə ˈpeɪʃənz' breɪn waɪl ðɛr əˈlaɪv ənd jəŋ, bət ɪt ˈwəzənt laɪk ðət [ðɛn]. saɪˈkɑləʤəsts wər ˈstədiɪŋ ˈpeɪʃənz hu wər məʧ ˈoʊldər ənd bɪˈgɪnɪŋ tɪ ʃoʊ ˈmɛməri ˌɪmˈpɛrmənt. ðɛn ðeɪ hæd tɪ weɪt fər ðɛr ˈpeɪʃənz tɪ daɪ. bət ju wər ˈdɪfərənt? aɪ wɑz ˈprɪvɪlɪʤd ɪn ˈhævɪŋ ˈækˌsɛs tɪ ðə kaɪnz əv ˈpeɪʃənz aɪ hæd. ðeɪ wər jəŋ ˈædəlts əv ˈnɔrməl ˌɪnˈtɛləʤəns, ɪn ðə praɪm əv ðɛr lɪvz. wi wər ˈeɪbəl tɪ tɛst ðɛm ˌbiˈfɔr ənd ˈæftər ˈsərʤəri fər ˈɛpɪˌlɛpsi. wɑz ɪt ˈfrəˌstreɪtɪŋ ˈweɪtɪŋ fər jʊr ˈkɑnsɛpt tɪ bi ækˈsɛptɪd? oʊ noʊ, noʊ. ɪt wɑz soʊ ɪkˈsaɪtɪŋ ˈwərkɪŋ wɪθ ðiz ˈpeɪʃənz ənd ˈsætɪsˌfaɪɪŋ wənz ˌkjʊriˈɑsəti. bət ɪt wɑz ə bɪt əˈnɔɪɪŋ ɔˈkeɪʒənəˌli. wət lɛd ə jəŋ ˈɪŋglɪʃˌwʊmən tɪ breɪn saɪəns ɪn ðə 1930s*? aɪ ˈstɑrtɪd æt ˈkeɪmbrɪʤ ˌjunəˈvərsəti ɪn ˌmæθəˈmætɪks ənd ˌdɪˈsaɪdɪd ðət aɪ ˈwəzənt goʊɪŋ tɪ bi ə greɪt ˌmæθəməˈtɪʃən bɪˈkəz aɪ doʊnt hæv ɪˈnəf ˈspeɪʃəl əˈbɪləˌti. aɪ swɪʧt tɪ ɪkˌspɛrɪˈmɛntəl saɪˈkɑləʤi, gɑt ˈmɛrid ənd keɪm tɪ ˈkænədə fər wən jɪr ənd əm stɪl hir. aɪ wɑz ˈvɛri ˈləki ɪn biɪŋ æt ðə ˌnʊrəˈlɑʤɪkəl ˈɪnstɪˌtut wɪn ðɪs wərk wɑz biɪŋ dən. ɪn wərld wɔr ju geɪv ˈæptəˌtud tɛsts tɪ ˈpaɪləts. du ju fil ju hɛlpt ðə wɔr ˈɛfərt? ɪt wɑz ˌdɪˈsaɪdɪŋ ˈwɛðər ðiz jəŋ rɪˈkruts ɪn ðə ɛr fɔrs ʃʊd bi ɪn ˈfaɪtər pleɪnz ər ˈbɑmər pleɪnz. ðə ˈbɑmər ˈpaɪləts hæd tɪ goʊ ˈvɛri ˈstɛdəli ˈoʊvər ˈʤərməni ənd drɔp bɑmz. ðə ˈfaɪtərz hæd tɪ goʊ əp ənd ˈtækəl ðə ˈbɑmərz ðət wər ˈkəmɪŋ təˈwɔrd ˈɪŋglənd. ðɛr ər ˈdɪfərənt kaɪnz əv ˌpərsəˈnælɪtiz, ˈdɪfərənt kaɪnz əv əˈbɪləˌtiz. əv kɔrs wi hɛlpt ðə wɔr ˈɛfərt! dɪd ju hɪt ˈroʊdˌblɑks ɛz ə ˈwʊmən? noʊ. ðə ˈroʊdˌblɑk wɑz ˈgɪtɪŋ ˈɪntu ˈkeɪmbrɪʤ. ɔl maɪ ˌkɑmpəˈtɪʃən wɑz ˈgɪtɪŋ ɪn ənd ˈgɪtɪŋ ɪˈnəf ˈməni. maɪ ˈməðər wɑz ə ˈwɪdoʊ ənd ʃi ˈdɪdənt hæv məʧ ˈməni. wət ɪkˈsaɪts ju naʊ? ɪz ɪt ðə breɪn ˌɪtˈsɛlf ər ˌəndərˈstændɪŋ bɪˈheɪvjər? ɪts ðə riˈleɪʃən bɪtˈwin ðə tu. wət du ju du ðiz deɪz tɪ kip jʊr oʊn breɪn ʃɑrp? aɪ doʊnt θɪŋk, oʊ ˈbrɛndə, gɑt tɪ ˈʃɑrpən jʊr breɪn təˈdeɪ. aɪ du ˈpəzəlz. aɪ ˈrɪli æm əˈdɪktɪd tɪ ˈrɛdɪŋ. aɪ rɛd huˈdənɪt ˈstɔriz. maɪ ˈfɑðər roʊt fər ðə ˈgɑrdiən ˈnuzˌpeɪpər, wɪʧ wɑz ðə ˈmænˌʧɛstər ˈgɑrdiən ðɛn. aɪ rɛd ðə ˈgɑrdiən ənd ðə nu ˈjɔrkər ˈvɛri ˈθəroʊli. aɪ gɪt maɪ ˈɛksərˌsaɪz ˈwɔkɪŋ tɪ wərk, ənd aɪ ləv fud. aɪ laɪk ʧiz ənd mit ənd fɪʃ ənd ˈvɛʤtəbəlz, frut ˈɛvriˌθɪŋ ɪkˈsɛpt swit θɪŋz. jʊr kəmˈjut ɪz ə 10-minute*, ˈəˈphɪl wɔk? jɛs, ənd ə ˈdaʊnˈhɪl wɔk hoʊm. wɪn ju gɪt ˈoʊldər, ju fil məʧ mɔr ˈɪnsəkjər ˈwɔkɪŋ ˈdaʊnˈhɪl. aɪ doʊnt juz ə keɪn. səm jɪrz əˈgoʊ, aɪ broʊk maɪ lɛg. aɪ doʊnt hæv gʊd ˈmoʊtər skɪlz, ənd aɪ faʊnd ðə keɪn gɑt tˈwɪstɪd əraʊnd maɪ lɛgz. aɪ fil mɔr sɪˈkjʊr wɪˈθaʊt ðə keɪn, bət naʊ aɪ æm ˈɛkstrə ˈkɛrfəl. du ju ˈɛvər θɪŋk əˈbaʊt rɪˈtaɪrɪŋ? noʊ. ˈvɛri ˈgreɪtfəl ðət aɪ doʊnt hæv tɪ. ðæts ˈwəndərfəl! jɪrz ənd jɪrz əˈgoʊ, ju hæd tɪ ˌriˈtaɪər æt 65 naʊ eɪʤ ɪz nɑt ə kraɪˈtɪriən. wət wʊd ju ˌrɛkəˈmɛnd tɪ kip breɪn ˈhɛlθi? faɪnd aʊt wət jʊr strɛŋθs ənd ˈwiknəsɪz ər, ənd pleɪ tɪ jʊr strɛŋθs ˈsəmθɪŋ ðət ˈʧælənʤɪz ju ə bɪt.
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are you curious in real life, too?
yes. i'm a good "noticer" of behavior as much as the kind of furniture people have!
in the 1950s, you made a revolutionary discovery that memories are formed in a brain area called the hippocampus, which is now getting lots of attention for its role in memory loss and dementia. has brain research gotten easier?
nowadays, everyone has functional magnetic resonance imaging. anybody with access to a medical school can get a good look at the patients' brain while they're alive and young, but it wasn't like that [then]. psychologists were studying patients who were much older and beginning to show memory impairment. then they had to wait for their patients to die.
but you were different?
i was privileged in having access to the kinds of patients i had. they were young adults of normal intelligence, in the prime of their lives. we were able to test them before and after surgery for epilepsy.
was it frustrating waiting for your concept to be accepted?
oh no, no. it was so exciting working with these patients and satisfying one's curiosity. but it was a bit annoying occasionally.
what led a young englishwoman to brain science in the 1930s?
i started at cambridge university in mathematics and decided that i wasn't going to be a great mathematician because i don't have enough spatial ability. i switched to experimental psychology, got married and came to canada for one year and i'm still here. i was very lucky in being at the neurological institute when this work was being done.
in world war ii you gave aptitude tests to pilots. do you feel you helped the war effort?
it was deciding whether these young recruits in the air force should be in fighter planes or bomber planes. the bomber pilots had to go very steadily over germany and drop bombs. the fighters had to go up and tackle the bombers that were coming toward england. there are different kinds of personalities, different kinds of abilities. of course we helped the war effort!
did you hit roadblocks as a woman?
no. the roadblock was getting into cambridge. all my competition was getting in and getting enough money. my mother was a widow and she didn't have much money.
what excites you now? is it the brain itself or understanding people's behavior?
it's the relation between the two.
what do you do these days to keep your own brain sharp?
i don't think, oh brenda, you’ve got to sharpen your brain today. i do puzzles. i really am addicted to reading. i read whodunit stories. my father wrote for the guardian newspaper, which was the manchester guardian then. i read the guardian and the new yorker very thoroughly. i get my exercise walking to work, and i love food. i like cheese and meat and fish and vegetables, fruit — everything except sweet things.
your commute is a 10-minute, uphill walk?
yes, and a downhill walk home. when you get older, you feel much more insecure walking downhill. i don't use a cane. some years ago, i broke my leg. i don't have good motor skills, and i found the cane got twisted around my legs. i feel more secure without the cane, but now i am extra careful.
do you ever think about retiring?
no. i'm very grateful that i don't have to. that's wonderful! years and years ago, you had to retire at 65. now age is not a criterion.
what would you recommend to keep one's brain healthy?
find out what your strengths and weaknesses are, and play to your strengths something that challenges you a bit.
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she’s* ə ˈsɪŋgəl, ˌənɛmˈplɔɪd ˈməðər wɪθ θri ˈʧɪldrən hu faɪndz aʊt ðət ˈæftər ðə ˈfɑðər həz bɪn sɛnt tɪ ˈprɪzən. ʃi sɪz ʃi ɪz dɪˈstrɔt æt ðə aɪˈdiə əv ˈhərtɪŋ hər kɪdz baɪ ˈædɪŋ əˈnəðər ʧaɪld tɪ ðə ˈfæməli, ˈgɪvɪŋ iʧ əv ðɛm lɛs ˈməni, taɪm, ənd əˈtɛnʃən, ˈdrægɪŋ ðɛm ˈfərðər ˈɪntu ˈpɑvərti. bət ʃi lɪvz ɪn ˈrʊrəl ˌsaʊˈθistərn ˈaɪdəˌhoʊ, ə draɪv frəm ðə ˈnɪrəst ˈklɪnɪk ɪn sɔlt leɪk ˈgɪtɪŋ ən əˈbɔrʃən wʊd ˌrikˈwaɪər tu raʊnd trɪps ðɛr, bɪˈkəz əv ðə ˈmændəˌtɔri ˈweɪtɪŋ ˈpɪriəd. soʊ ʃi teɪks ˈɔrdərd ˈɔnˌlaɪn, self-supervised*. ʃi friks aʊt æt ðə saɪz, ɪt ɔn hər bæk pɔrʧ, tɛlz ə frɛnd, ənd gɪts ˌriˈpɔrtəd tɪ ðə pəˈlis. ənd, ɪz ˈprɑmptli ərˈɛstɪd fər ˌɪnˈdusɪŋ hər oʊn əˈbɔrʃən. tɪ pʊt ɪt ˈmaɪldli, ˈʤɛni lɪn məˈkɔrmək saʊnd laɪk ðə moʊst riˈspɑnsəbəl ðət ʃi əˈpɛrəntli hæd ðə gʊd sɛns tɪ ˈriəˌlaɪz ʃi wɑz nɑt goʊɪŋ tɪ bi ə gʊd ˈpɛrənt tɪ əˈnəðər ʧaɪld. aɪ ˈɪntərvˌjud hər ˌmaɪˈsɛlf; ɔl aɪ noʊ əˈbaʊt hər kəmz frəm hər oʊn tɪ ˈəðər ˈʤərnəlɪsts, hir æt ˈɛnˈpiˈɑr ənd hir æt ðə ˈdeɪli bist. stɪl, ɪt teɪk məʧ ˈrɛdɪŋ bɪtˈwin ðə laɪnz tɪ gɛs ðət ʃi wʊd bi ðə ʧaɪld fər ˈɛni kɔz. bət ʃʊd ʃi goʊ tɪ ˈprɪzən fər ˈjuzɪŋ ən əˌbɔrtəˈfeɪʃənt ənd ðɛn biɪŋ tu aʊt tɪ dɪˈstrɔɪ ðə ˈfitəs? məˈkɔrmək wɑz, ɪn səm weɪz, ˈləki; ʃi əˈpɛrəntli ˈsəfərd noʊ ɪl ˈifɛkts frəm ˈjuzɪŋ ɔn hər oʊn, noʊ ˈblidɪŋ ər ˈəðər ˈtrɔmə. ənd ɔn ðə ˈspɛktrəm əv seɪf ənd ənˈseɪf, əv kɔrs, ɪz ˈbɛtər ðən koʊt ˈhæŋərz. stɪl, hər ˈəðər θri bi ˈseɪfər ɪf ʃi wɛnt tɪ ə ˈdɔktər. aɪ kɔld ðə ˈgətˌmɑkər ˈɪnstɪˌtut tɪ æsk ˈwɛðər ˈɔrdərɪŋ ˈɔnˌlaɪn wɑz ðə nu feɪs əv əˈbɔrʃən. ˈaʊtˈsaɪd ðə juˈnaɪtɪd steɪts, ðə ˈænsər ɪz, ɪn pɑrt, jɛs, əˈkɔrdɪŋ tɪ ðə nu wərld ˈstədi ˈgətˌmɑkər ˈrisəntli ˈpəblɪʃt ɪn ðə ˈlænsət. ɛz həz lɔŋ bɪn tru, wən ɪn faɪv ˈprɛgnənsiz ˈɛndɪd ɪn əˈbɔrʃən ɪn 2008 ðə əˈbɔrʃən reɪt ɪz loʊər ɪn wɛr mɔr ˈwɪmən lɪv ˈəndər ˈlɪˌbərəl əˈbɔrʃən lɔz ðə nu ˌɪnˌfɔrˈmeɪʃən əˈbaʊt, ə əˌbɔrtəˈfeɪʃənt ˈsəmˌtaɪmz juzd ɪn ˌkɑmbəˈneɪʃən wɪθ: ˈɛvədəns frəm ˈvɛriəs ˈkəntriz, ˌɪnˈkludɪŋ səm wɪθ ˈhaɪli riˈstrɪktɪv əˈbɔrʃən lɔz, səˈʤɛsts ðət ðə juz əv ɛz ən əˌbɔrtəˈfeɪʃənt həz bɪn ˈsprɛdɪŋ. ˌɔlˈðoʊ klænˈdɛstɪn ˈmɛdɪkəl əˈbɔrʃənz ər ˈlaɪkli tɪ bi əv loʊər rɪsk ðən ˈəðər klænˈdɛstɪn əˈbɔrʃənz, ðɛr ɪz səbˈstænʃəl ˌvɛriˈeɪʃən ɪn ˈmɛdɪkəl əˈbɔrʃən ˈrɛʤəmənz juzd ˌɪˈligəli, ənd ˌkɑmpləˈkeɪʃənz səʧ ɛz prəˈlɔŋd ənd ˈhɛvi ˈblidɪŋ ənd ˌɪnkəmˈplit əˈbɔrʃənz ər əˈsoʊʃiˌeɪtəd wɪθ juz əv ˌɪnkərˈɛkt ˈdoʊsɪʤɪz. ðəs, ðiz prəˈsiʤərz ər ɔn ðə hoʊl ˈklæsəˌfaɪd ɛz ənˈseɪf. ˈreɪʧəl ʤoʊnz, ə ˈsinjər ˈrisərʧ əˈsoʊʃiˌeɪt æt ˈgətˌmɑkər, toʊld mi ðeɪ hæv noʊ ˈɛvədəns ðət ˈmɛdɪkəl əˈbɔrʃən wɑz ˈtɪpɪkəl ɪn ðə juz., ˌhaʊˈɛvər. ʃi ɪkˈspleɪnd ðət ðə ˈlɪmɪtɪd ˈɛvədəns ʃi hæd ʃoʊd ðət ə ˈvɛri ˈlɪmɪtɪd ˈsəbˌsɛt əv ˈwɪmən hu du goʊ tɪ əˈbɔrʃən ˈklɪnɪks rɪˈpɔrt ðət ðeɪ ˈpriviəsli traɪd tɪ ˌɪnˈdus mɪˈskɛrɪʤɪz baɪ ˈjuzɪŋ ərbz, ˈvaɪtəmən si, ər ðə ˌnɑˌnælkəˈhɑlɪk drɪŋk ˈmɔltə, nən əv wɪʧ ər ˈifɛktɪv. ˈdɛspərɪt ˈwɪmən faɪnd ðɛmˈsɛlvz pregnant,”*,” ʤoʊnz toʊld mi, wɪl traɪ ˈɛniˌθɪŋ bɪn toʊld maɪt work.”*.” bət pərˈhæps ðə ˈwɪmən hu juz ɛnd əp goʊɪŋ tɪ əˈbɔrʃən ˈklɪnɪks ˈleɪtər, ənd soʊ ˈkəvərd baɪ ðɪs ˈstədi. ðə ˈrisərʧ jɛt bɪn dən. fər jɪrz, ˈfɛmənɪsts ənd əˈbɔrʃən ˈæktɪvɪsts hæv bɪn ˈwɔrnɪŋ ðət ðɛr ər tu kaɪnz əv əˈbɔrʃən: ˈligəl ənd ˌɪˈligəl, seɪf ənd ənˈseɪf. ðə ˈrizən ˈdɑktərz goʊ ˈɪntu ðə laɪn əv wərk: ðeɪ noʊ ðət ðeɪ ər ˈseɪvɪŋ lɪvz. (rɛd səm ˈmuvɪŋ ˌtɛstɪˈmoʊniəlz əˈlɔŋ ðoʊz laɪnz æt ðə ˈtəmblər aɪ æm ˈdɑktər. ˈtɪlər.) ɛz riˈstrɪkʃənz ɔn seɪf, ˈligəl əˈbɔrʃənz ˈməltəˌplaɪ, ˈmɪdəlˈklæs ˈwɪmən wɪl faɪnd weɪz tɪ hæv seɪf əˈbɔrʃənz, ənd pur ˈwɪmən wɪl ˌɪnˈkrisɪŋgli tərn tɪ ənd ˌɪˈlɪsət minz tɪ seɪv ðɛr lɪvz frəm ðə ˌɪnˈkrist keɪɑs, ˈpɑvərti, ənd ˈhɑrtˌbreɪk ðət əˈnəðər ʧaɪld wʊd brɪŋ ðɛm. ðə ʧɔɪs ɪn frənt əv ɑr soʊˈsaɪɪti bɪtˈwin əˈbɔrʃən ər əˈdɑpʃən; bɪtˈwin əˈbɔrʃənz wɪθ ˈmɛdɪkəl ˌsupərˈvɪʒən ənd ˈʤɛni lɪn məˈkɔrmək.
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she’s a single, unemployed mother with three children who finds out that she’s pregnant—just after the father has been sent to prison. she says she is distraught at the idea of hurting her kids by adding another child to the family, giving each of them less money, time, and attention, dragging them further into poverty. but she lives in rural southeastern idaho, a two-and-a-half-hour drive from the nearest clinic in salt lake city—and getting an abortion would require two round trips there, because of the mandatory waiting period.
so she takes ru-486, ordered online, self-supervised. she freaks out at the fetus’s size, stashes it on her back porch, tells a friend, and gets reported to the police.
and, is promptly arrested for inducing her own abortion.
to put it mildly, jennie linn mccormack doesn’t sound like the world’s most responsible person—except that she apparently had the good sense to realize she was not going to be a good parent to another child. i haven’t interviewed her myself; all i know about her comes from her own self-reports to other journalists, here at npr and here at the daily beast. still, it doesn’t take much reading between the lines to guess that she would be the anti-poster child for any cause.
but should she go to prison for using an abortifacient and then being too wigged out to destroy the fetus?
mccormack was, in some ways, lucky; she apparently suffered no ill effects from using misoprostol on her own, no bleeding or other trauma. and on the spectrum of safe and unsafe, of course, misoprostol is better than coat hangers. still, she—and her other three children—would be safer if she went to a doctor.
i called the guttmacher institute to ask whether ordering mifepristone online was the new face of abortion. outside the united states, the answer is, in part, yes, according to the new world study guttmacher recently published in the lancet. as has long been true, “about one in five pregnancies ended in abortion in 2008. the abortion rate is lower in subregions where more women live under liberal abortion laws (p<0.05).” here’s the new information about mifepristone, a abortifacient sometimes used in combination with misoprostol:
evidence from various countries, including some with highly restrictive abortion laws, suggests that the use of misoprostol as an abortifacient has been spreading. although clandestine medical abortions are likely to be of lower risk than other clandestine abortions, there is substantial variation in medical abortion regimens used illegally, and complications such as prolonged and heavy bleeding and incomplete abortions are associated with use of incorrect dosages. thus, these procedures are on the whole classified as unsafe.
rachel jones, a senior research associate at guttmacher, told me they have no evidence that mccormack’s self-induced medical abortion was typical in the u.s., however. she explained that the limited evidence she had showed that a very limited subset of women who do go to abortion clinics report that they previously tried to induce miscarriages by using herbs, vitamin c, or the non-alcoholic drink malta, none of which are effective. “when desperate women find themselves pregnant,” jones told me, “they will try anything they’ve been told might work.” but perhaps the women who use misoprostol don’t end up going to abortion clinics later, and so weren’t covered by this study. the research hasn’t yet been done.
for years, feminists and abortion activists have been warning that there are two kinds of abortion: legal and illegal, safe and unsafe. that’s the reason doctors go into the line of work: they know that they are saving lives. (read some moving testimonials along those lines at the tumblr i am dr. tiller.) as restrictions on safe, legal abortions multiply, middle-class women will find ways to have safe abortions, and poor women will increasingly turn to off-label and illicit means to save their lives from the increased chaos, poverty, and heartbreak that another child would bring them. the choice in front of our society isn’t between abortion or adoption; it’s between abortions with medical supervision and jennie linn mccormack.
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wɛst ˈlɪmərɪk ˈæŋglərz hæv əˈkjuzd ˈɪnˌlænd ˈfɪʃəriz ˈaɪərlənd (ifi*) əv mismanagement”*” əv ðə ˈrɪvər ˈæftər ɪt wɑz kənˈfərmd ðət ˈloʊkəl ˈsæmən stɑks hæv hɪt ə ˈrɛkərd loʊ. wɛst ˈlɪmərɪk ˈæŋglərz hæv əˈkjuzd ˈɪnˌlænd ˈfɪʃəriz ˈaɪərlənd (ifi*) əv mismanagement”*” əv ðə ˈrɪvər ˈæftər ɪt wɑz kənˈfərmd ðət ˈloʊkəl ˈsæmən stɑks hæv hɪt ə ˈrɛkərd loʊ. nu riˈstrɪkʃənz ər tɪ bi pʊt ɪn pleɪs ɔn ðə ˈrɪvər ɪn 2013 ˈæftər ˈsæmən ˈnəmbərz feɪld tɪ riʧ ə ˌkɑnsərˈveɪʃən kˈwoʊtə læst jɪr, ˈfɑloʊɪŋ ə ˈræpɪd dɪˈklaɪn ɪn fɪʃ laɪf ˈoʊvər ðə pæst sɪks jɪrz. ðə ɪgˈzækt kɔz fər ðə kəˈlæps ɪn ˈsæmən ˈnəmbərz ɔn ðə ɪz ənˈnoʊn, bət ˈloʊkəl ˈæŋglərz hæv ˈpɔɪntɪd ðə ˈfɪŋgər əv bleɪm æt ðə ənd kəˈmərʃəl nɛt ˈfɪʃərmɪn. ˈbrɛndən ˈdænəhər əv ðə ˈæŋglərz əˌsoʊʃiˈeɪʃən sɛd ðət ˈmɛʒərz riˈstrɪktɪŋ ˈfɪʃɪŋ ɔn ðə wɪl ənˈfɛrli ˌɪmˈpækt ˈæŋglərz, hu ər biɪŋ meɪd tɪ ˈsəfər fər ðə mismanagement”*” əv ðə baɪ. ˌhaʊˈɛvər, ən ˈspoʊkspərsən sɛd ðət dɪˈklaɪn ɪn ˈsæmən stɑks ɔn ðə ɪz pɑrt əv ə ˈbrɔdər ˈdiˌkris ɪn fɪʃ laɪf ɪn ˈaɪrɪʃ ˈrɪvərz, ənd ðət ðeɪ hæv ˈkɑnstəntli bɪn ˈwərkɪŋ tɪ əˈvərt ə kəˈlæps ɪn ˈloʊkəl fɪʃ stɑks. ˈfɪgjərz frəm əˈfɪʃəl ˈkaʊntɪŋ ɔn ðə ˈhaɪˌlaɪt ðə stɑrk drɔp ɪn ˈsæmən stɑks ˈoʊvər ðə pæst sɪks jɪrz. ə ˈtoʊtəl əv fɪʃ ˈɛnərd ðə ˈrɪvər ɪn 2007 kəmˈpɛrd tɪ ʤɪst ɪn 2012 læst ˈsæmən ˈtoʊtəl keɪm ˈəndər ə ˈdɛzɪgˌneɪtɪd ˌkɑnsərˈveɪʃən kˈwoʊtə əv wɪʧ minz ðət rɪˈdust kˈwoʊtəz ənd riˈstrɪkʃənz ər tɪ bi roʊld aʊt ɔn ðə ɪn 2013 həz ˈdɛzɪgˌneɪtɪd ðət ðə ˈtoʊtəl pərˈmɪtɪd kæʧ ɔn ðə ðɪs jɪr wɪl bi ˈsæmən, wɪʧ ɪz tɪ bi dɪˈvaɪdɪd bɪtˈwin ˈæŋglərz ənd nɛt ˈfɪʃərmɪn. ˌhaʊˈɛvər ðə ˈspoʊkspərsən sɛd ðət ə dɪˈsɪʒən ɔn haʊ ˈmɛni fɪʃ iʧ grup wɪl bi pərˈmɪtɪd ðə kæʧ wɪl nɑt bi ˌdɪˈsaɪdɪd ənˈtɪl ˈæftər ə ˈdɪstrɪkt kəˈmɪti ˈmitɪŋ teɪks pleɪs ˈloʊkəli, wɪʧ meɪ nɑt bi ənˈtɪl ˈeɪprəl. ˈmɪstər ˈdænəhər sɛd ˈæŋglərz ər kənˈsərnd ðət nɛt ˈfɪʃərmɪn hæv bɪn əˈlaʊd tɪ ˈoʊvər fɪʃ ɔn ðə ənd ˈkæʃən ˈrɪvərz ɪn ˈrisənt jɪrz. hi ˈsaɪtɪd ˈfɪgjərz prəˈvaɪdɪd baɪ ˈmɪnɪstər əv steɪt æt ðə dɪˈpɑrtmənt əv ˈægrɪˌkəlʧər, ˈfərgəs o’dowd*, ɪn noʊˈvɛmbər wɪʧ ʃoʊ ðət ðə tɔp eɪt nɛt ˈfɪʃɪŋ ˈlaɪsəns ˈhoʊldərz ɔn ðə ənd ˈkæʃən kɔt 787 ˈsæmən bɪtˈwin ðɛm ɪn 2012 mɔr ðən ɔl 600 ˈlaɪsənst ˈæŋglərz ɔn ðə seɪm ˈrɪvərz kəmˈbaɪnd. ˈmɪstər ˈdænəhər sɛd ðət ˈæŋglərz fɪr ðət ɪf nɛt ˈfɪʃɪŋ ɪz kənˈtɪnjud tɪ bi pərˈmɪtɪd ɔn ðə ənd ˈkæʃən ˈɪntu ˈɔgəst, wɪn ˈfərtəl ˈsæmən ər ˈmeɪkɪŋ ðɛr weɪ ˈɪntu ðə nɔrθ əˈtlæntɪk tɪ spɔn, wɪl ˈdɛsəˌmeɪt ˈfərðər ðə ˈsæmən stɑks ɔn ə wəns ˈfeɪməs fishery”*”.
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west limerick anglers have accused inland fisheries ireland (ifi) of “gross mismanagement” of the river feale after it was confirmed that local salmon stocks have hit a record low.
west limerick anglers have accused inland fisheries ireland (ifi) of “gross mismanagement” of the river feale after it was confirmed that local salmon stocks have hit a record low.
new restrictions are to be put in place on the river in 2013 after salmon numbers failed to reach a conservation quota last year, following a rapid decline in fish life over the past six years.
the exact cause for the collapse in salmon numbers on the feale is unknown, but local anglers have pointed the finger of blame at the ifi and commercial net fishermen.
brendan danaher of the mountcollins-brosna anglers association said that measures restricting fishing on the feale will unfairly impact anglers, who are being made to suffer for the “gross mismanagement” of the feale by ifi.
however, an ifi spokesperson said that decline in salmon stocks on the feale is part of a broader decrease in fish life in irish rivers, and that they have constantly been working to avert a collapse in local fish stocks.
figures from official counting weirs on the feale highlight the stark drop in salmon stocks over the past six years. a total of 14,301 fish entered the river in 2007, compared to just 3,788 in 2012.
last year’s salmon total came under a designated conservation quota of 4,323, which means that reduced quotas and restrictions are to be rolled out on the feale in 2013.
ifi has designated that the total permitted catch on the feale this year will be 1,992 salmon, which is to be divided between anglers and net fishermen.
however the spokesperson said that a decision on how many fish each group will be permitted the catch will not be decided until after a district committee meeting takes place locally, which may not be until april.
mr danaher said anglers are concerned that net fishermen have been allowed to over fish on the feale and cashen rivers in recent years.
he cited figures provided by minister of state at the department of agriculture, fergus o’dowd, in november which show that the top eight net fishing licence holders on the feale and cashen caught 787 salmon between them in 2012, more than all 600 licensed anglers on the same rivers combined.
mr danaher said that anglers fear that if net fishing is continued to be permitted on the feale and cashen into august, when fertile salmon are making their way into the north atlantic to spawn, “it will decimate further the salmon stocks on a once famous fishery”.
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ˈʧɪldrən hæv bɪn goʊɪŋ ˈmɪsɪŋ frəm steɪt kɛr ənd ˈɛndɪŋ əp ˈwərkɪŋ ɛz sɛks sleɪvz ɪn ˈbrɑθəlz fər æt list θri jɪrz, likt ˈjuˈɛs ˈɛmbəsi ˈkeɪbəlz rɪˈvil. ˈʧɪldrən hæv bɪn goʊɪŋ ˈmɪsɪŋ frəm steɪt kɛr ənd ˈɛndɪŋ əp ˈwərkɪŋ ɛz sɛks sleɪvz ɪn ˈbrɑθəlz fər æt list θri jɪrz, likt ˈjuˈɛs ˈɛmbəsi ˈkeɪbəlz rɪˈvil. hɛlθ ˈsərvɪs ɪgˈzɛkjətɪv (hse*) əˈfɪʃəlz meɪd ðə ˈʃɑkɪŋ ədˈmɪʃən ˈdʊrɪŋ ə ˈpraɪvət ˈbrifɪŋ əv ˈdɪpləˌmæts frəm ðə əˈmɛrɪkən ˈɛmbəsi ɪn ˈdəblɪn. ˈditeɪlz əv ðə dɪˈskloʊʒər wər kənˈteɪnd ɪn ˈkeɪbəlz əbˈteɪnd baɪ ðə ˈaɪrɪʃ ˌɪndɪˈpɛndənt θru ðə ˌɔrgənɪˈzeɪʃən. ˈkeɪbəlz rɪˈvil haʊ ˈʧɪldrən hu wɛnt ˈmɪsɪŋ frəm kɛr hæd bɪn ˈɛndɪŋ əp ɪn ðə sɛks treɪd ɛz fɑr bæk ɛz 2008 ðə dɪˈskloʊʒər wɑz meɪd tɪ ˈjuˈɛs ˈdɪpləˌmæts kənˈdəktɪŋ ˈrisərʧ fər ən ˈænjuəl rɪˈpɔrt ɔn ˈpipəl ˈtræfɪkɪŋ ɪn ˈaɪərlənd. əˈkɔrdɪŋ tɪ wən ˈkeɪbəl, ðə sɛd səm ˈfɔrən ˈʧɪldrən hu wɛnt ˈmɪsɪŋ frəm kɛr hæd bɪn riˈtreɪst tɪ ˈbrɑθəlz, ˈrɛˌstrɑnts ənd ˈpraɪvət ˈhaʊsˌhoʊldz wɛr ðeɪ meɪ hæv bɪn juzd ɛz dəˈmɛstɪk sleɪvz. ðə ˈmɪsɪŋ ˈmaɪnərz wər faʊnd ɪn ˈvɛriəs taʊnz θruaʊt ðə ˈkəntri. dɪˈstərbɪŋli, ðə ənˈneɪmd əˈfɪʃəlz ədˈmɪtəd stəˈtɪstɪks ɔn ðə ˈnəmbər əv ðiz ˈʧɪldrən wər nɑt biɪŋ meɪnˈteɪnd. ə ˈfɛbruˌɛri 2009 ˈkeɪbəl, dɪˈteɪlɪŋ ə ˈbrifɪŋ, sɛd hæd ˈloʊˌkeɪtəd tu ˈmaɪnərz boʊθ ˈmɪsɪŋ frəm kɛr ɪn ðə sɛks ˈɪndəstri ˈdʊrɪŋ ðə ˈpriviəs jɪr. ðə ˈkeɪbəl, wɪʧ geɪv ə dɪˈteɪld əˈsɛsmənt əv ˈaɪrɪʃ ˈɛfərts tɪ ˈkɑmbæt ˈpipəl ˈtræfɪkɪŋ, wɑz ˈfɔrwərdɪd tɪ ðə ˈɔfəs əv ˈjuˈɛs ˈsɛkrəˌtɛri əv steɪt ˈhɪləri ˈklɪntən. əˈkɔrdɪŋ tɪ ðə dɪˈspæʧ, əˈfɪʃəlz bɪˈlivd ʧaɪˈniz ˈʧɪldrən wər æt ˈgreɪtəst rɪsk əv biɪŋ. ðeɪ ˈɔlsoʊ kleɪmd ˈtræfɪkərz ˈbrɪŋɪŋ səʧ ˈʧɪldrən tɪ ˈaɪərlənd wər ˈlaɪkli tɪ bi hu preɪd ɔn ðɛr kəmˈpeɪtriəts. wɪn ə ʧaɪld ˈəndər ðə eɪʤ əv 17 əraɪvz ɪn ˈaɪərlənd wɪˈθaʊt ə ˈpɛrənt ər ˈgɑrdiən, ðeɪ ər ˌɔtəˈmætɪkli pleɪst ɪn ˈfɑstər kɛr ər ˈhɑstəl fəˈsɪlɪtiz ədˈmɪnɪstərd baɪ ðə. ˌhaʊˈɛvər, iʧ jɪr ˈdəzənz əv ˈʧɪldrən goʊ ˈmɪsɪŋ frəm kɛr. ɪt ɪz səˈspɛktɪd ˈmɛni ɛnd əp ɪn ðə hænz əv ðə ˈtræfɪkərz hu əreɪnʤd fər ðɛm tɪ kəm ˈɪntu ðə ˈkəntri ɪn ðə fərst pleɪs. əˈkɔrdɪŋ tɪ ðə ˈkeɪbəl, ˈɪndəˌkeɪtɪd ˈtræfɪkɪŋ gæŋz wər ˌɪnˈkrisɪŋgli ˈtɑrgətɪŋ ˈaɪərlənd du tɪ ðə iz wɪθ wɪʧ ˈʧɪldrən kʊd ɪˈskeɪp frəm fəˈsɪlɪtiz. ˈbrifɪŋz rɪˈsivd baɪ ðə ˈɛmbəsi bɪtˈwin 2006 ənd 2008 ˈɪndəˌkeɪtɪd ðɛr wɑz noʊ ˈɛvədəns æt ðə taɪm tɪ səbˈstænʧiˌeɪt səˈspɪʃənz ˈʧɪldrən wər biɪŋ ˈɪntu ðə sɛks treɪd ɪn ˈaɪərlənd. ˌhaʊˈɛvər, fər ðə pæst θri jɪrz ðə həz ækˈnɑlɪʤd ɪn ˈbrifɪŋz wɪθ əˈmɛrɪkən əˈfɪʃəlz ðət ˈtræfɪkɪŋ əv ˈmaɪnərz ˈɪntu ðə sɛks treɪd ɪz ˈhæpənɪŋ. rɛd fʊl ˈstɔri ənd æˈnælɪsɪs ɪn ˈaɪrɪʃ ˌɪndɪˈpɛndənt ˈɔlsoʊ rɛd mɔr ˌrɛvəˈleɪʃənz ɪn ˈprɪnɪd ˈaɪrɪʃ ˌɪndɪˈpɛndənt ˈnuzˌpeɪpər: haʊ ˈgəvərnmənt tərnd ə blaɪnd aɪ tɪ siaɪeɪ ˈtɛrər flaɪt kleɪmz; haʊ ˈgəvərnmənt nu ˌaɪˌɑˈreɪ wər bɪˈhaɪnd ˈnɔrðərn bæŋk haɪst; haʊ ˈkɪdˌnæp əv ˈaɪrɪʃ prist ˈɔlˌmoʊst philippines’*’ pis ˈprɔˌsɛs.
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children have been going missing from state care and ending up working as sex slaves in brothels for at least three years, leaked us embassy cables reveal.
children have been going missing from state care and ending up working as sex slaves in brothels for at least three years, leaked us embassy cables reveal.
health service executive (hse) officials made the shocking admission during a private briefing of diplomats from the american embassy in dublin.
details of the disclosure were contained in cables obtained by the irish independent through the whistle-blowing organisation wikileaks.
cables reveal how foreign-born children who went missing from hse care had been ending up in the sex trade as far back as 2008.
the disclosure was made to us diplomats conducting research for an annual report on people trafficking in ireland.
according to one cable, the hse said some foreign children who went missing from care had been retraced to brothels, restaurants and private households where they may have been used as domestic slaves.
the missing minors were found in various towns throughout the country.
disturbingly, the unnamed hse officials admitted statistics on the number of these children were not being maintained.
a february 2009 cable, detailing a hse briefing, said gardai had located two minors - both missing from hse care - in the sex industry during the previous year.
the cable, which gave a detailed assessment of irish efforts to combat people trafficking, was forwarded to the office of us secretary of state hillary clinton.
according to the dispatch, hse officials believed chinese children were at greatest risk of being trafficked.
they also claimed traffickers bringing such children to ireland were likely to be non-nationals who preyed on their compatriots.
when a child under the age of 17 arrives in ireland without a parent or guardian, they are automatically placed in foster care or hostel facilities administered by the hse.
however, each year dozens of children go missing from care. it is suspected many end up in the hands of the traffickers who arranged for them to come into the country in the first place.
according to the cable, gardai indicated trafficking gangs were increasingly targeting ireland due to the ease with which children could escape from hse facilities.
briefings received by the embassy between 2006 and 2008 indicated there was no evidence at the time to substantiate suspicions children were being trafficked into the sex trade in ireland.
however, for the past three years the hse has acknowledged in briefings with american officials that trafficking of minors into the sex trade is happening.
- read full story and analysis in today’s irish independent
also read more wikileaks revelations in today’s printed irish independent newspaper:
- how government turned a blind eye to cia terror flight claims;
- how government knew ira were behind northern bank heist;
- how kidnap of irish priest almost scuppered philippines’ peace process.
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wɪn laɪf ɔn ərθ bɪˈgæn ˈnɪrli 4 ˈbɪljən jɪrz əˈgoʊ, lɔŋ ˌbiˈfɔr ˈjumənz, ˈdaɪnəˌsɔrz ər ˈivɪn ðə ˈərliəst fɔrmz əv laɪf roʊmd, ɪt meɪ hæv ˈstɑrtɪd ɛz ə ˈhɪkəp ˈrəðər ðən ə rɔr: smɔl, ˈsɪmpəl məˈlɛkjələr ˈbɪldɪŋ blɑks noʊn ɛz "ˈmɑnəmərz" ˈkəmɪŋ təˈgɛðər ˈɪntu ˈlɔŋgər "ˈpɑləmər" ʧeɪnz ənd ˈfɑlɪŋ əˈpɑrt ɪn ðə wɔrm pulz əv prɪˈmɔrdiəl uz ˈoʊvər ənd ˈoʊvər əˈgɛn. ðɛn, ˈsəmˌwɛr əˈlɔŋ ðə laɪn, ðiz groʊɪŋ ˈpɑləmər ʧeɪnz dɪˈvɛləpt ðə əˈbɪləˌti tɪ meɪk ˈkɑpiz əv ðɛmˈsɛlvz. ˌkɑmpəˈtɪʃən bɪtˈwin ðiz ˈmɑləˌkjulz wʊd əˈlaʊ ðə wənz moʊst ɪˈfɪʃənt æt ˈmeɪkɪŋ ˈkɑpiz əv ðɛmˈsɛlvz tɪ du soʊ ˈfæstər ər wɪθ ˈgreɪtər əˈbəndəns, ə treɪt ðət wʊd bi ʃɛrd baɪ ðə ˈkɑpiz ðeɪ meɪd. ðiz ˈræpɪd ˈrɛplɪˌkeɪtərs wʊd fɪl ðə sup ˈfæstər ðən ðə ˈəðər ˈpɑlɪmərz, əˈlaʊɪŋ ðə ˌɪnˌfɔrˈmeɪʃən ðeɪ ɛnˈkoʊdɪd tɪ bi pæst ɔn frəm wən ˌʤɛnərˈeɪʃən tɪ əˈnəðər ənd, ɪˈvɛnʧəwəli, ˈgɪvɪŋ raɪz tɪ wət wi θɪŋk əv təˈdeɪ ɛz laɪf. ər soʊ ðə ˈstɔri goʊz. bət wɪθ noʊ ˈfɑsəl ˈrɛkərd tɪ ʧɛk frəm ðoʊz ˈərli deɪz, ɪts ə ˈnɛrətɪv ðət stɪl həz səm ˈʧæptərz ˈmɪsɪŋ. wən kˈwɛʃən ɪn ˌpɑˈtɪkjələr rɪˈmeɪnz ˌprɑbləˈmætɪk: wət ɪˈneɪbəld ðə lip frəm ə prɪˈmɔrdiəl sup əv ˌɪndəˈvɪʤəwəl ˈmɑnəmərz tɪ ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈpɑləmər ʧeɪnz? ə nu ˈmɑdəl ˈpəblɪʃt ðɪs wik ɪn ðə ˈʤərnəl əv ˈkɛmɪkəl ˈfɪzɪks, frəm ˈpəblɪʃɪŋ, prəˈpoʊzɪz ə pəˈtɛnʃəl ˈmɛkəˌnɪzəm baɪ wɪʧ ˌsɛlˌfrɛplɪˈkeɪʃən kʊd hæv ˈimərʤd. ɪt ˈpɑzəts ðət laɪˈgeɪʃən, ðə ˈʤɔɪnɪŋ əv tu ˈpɑlɪmərz baɪ ˈjuzɪŋ ə θərd, ˈlɔŋgər wən ɛz ə ˈtɛmplət, kʊd hæv ɪˈneɪbəld ˈpɑlɪmərz tɪ bɪˈkəm ˌsɛlˈfrɛplɪˌkeɪtɪŋ. "wi traɪd tɪ fɪl ðɪs gæp ɪn ˌəndərˈstændɪŋ bɪtˈwin ˈsɪmpəl ˈfɪzɪkəl ˈsɪstəmz tɪ ˈsəmθɪŋ ðət kən bɪˈheɪv ɪn ə ˈmænər ənd trænzˈmɪt ˌɪnˌfɔrˈmeɪʃən," sɛd əˈlɛkˌseɪ, ə ˈrisərʧər æt ˈbrʊˌkheɪvən ˈnæʃənəl ˈlæbrəˌtɔri. ˈkɛrid aʊt ðə ˈrisərʧ əˈlɔŋˈsaɪd ˈsɛrˌgeɪ, ə prəˈfɛsər æt ðə ˌjunəˈvərsəti əv ˌɪləˈnɔɪz æt wɪθ ʤɔɪnt əˈpɔɪntmənt æt ˈbrʊˌkheɪvən. ˈɔrəʤɪnz əv ˌsɛlˌfrɛplɪˈkeɪʃən ˌsɛlˌfrɛplɪˈkeɪʃən ɪz ə ˈkɑmpləˌkeɪtəd ˈprɔˌsɛs ˈdiˌɛˈneɪ, ðə ˈbeɪsɪs fər laɪf ɔn ərθ təˈdeɪ, rikˈwaɪərz ə koʊˈɔrdəneɪtɪd ˈkoʊhɔrt əv ˈɛnˌzaɪmz ənd ˈəðər ˈmɑləˌkjulz ɪn ˈɔrdər tɪ ˈdupləˌkeɪt ˌɪtˈsɛlf. ˈərli ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈsɪstəmz wər ˈʃʊrli mɔr ˌrudəˈmɛntəri, bət ðɛr ɪgˈzɪstəns ɪn ðə fərst pleɪs ɪz stɪl ˈsəmˈwət ˈbæfəlɪŋ. ənd hæv prəˈpoʊzd ə nu ˈmɑdəl ðət ʃoʊz haʊ ðə ˈərliəst ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈmɑləˌkjulz kʊd hæv wərkt. ðɛr ˈmɑdəl sˈwɪʧɪz bɪtˈwin "deɪ" ˈfeɪzɪz, wɛr ˌɪndəˈvɪʤəwəl ˈpɑlɪmərz floʊt ˈfrili, ənd "naɪt" ˈfeɪzɪz, wɛr ðeɪ ʤɔɪn təˈgɛðər tɪ fɔrm ˈlɔŋgər ʧeɪnz ˈviə laɪˈgeɪʃən. ðə ˈfeɪzɪz ər ˈdrɪvən baɪ ˈsaɪklɪk ˈʧeɪnʤɪz ɪn ɪnˌvaɪrənˈmɛnəl kənˈdɪʃənz, səʧ ɛz ˈtɛmpərəʧər, ˈpiˈeɪʧ, ər səˈlɪnəˌti, wɪʧ θroʊ ðə ˈsɪstəm aʊt əv ˌikwəˈlɪbriəm ənd ˌɪnˈdus ðə ˈpɑlɪmərz tɪ ˈiðər kəm təˈgɛðər ər drɪft əˈpɑrt. əˈkɔrdɪŋ tɪ ðɛr ˈmɑdəl, ˈdʊrɪŋ ðə naɪt ˈsaɪkəlz, ˈməltəpəl ʃɔrt ˈpɑlɪmərz bɑnd tɪ ˈlɔŋgər ˈpɑləmər strændz, wɪʧ ækt ɛz templates*. ðiz ˈlɔŋgər ˈtɛmplət strændz hoʊld ðə ˈʃɔrtər ˈpɑlɪmərz ɪn kloʊz ɪˈnəf prɑkˈsɪməti tɪ iʧ ˈəðər ðət ðeɪ kən tɪ fɔrm ə ˈlɔŋgər strænd ə ˌkɑmpləˈmɛnʧi ˈkɑpi əv æt list pɑrt əv ðə ˈtɛmplət. ˈoʊvər taɪm, ðə ˈnuli ˈsɪnθɪˌsaɪzd ˈpɑlɪmərz kəm tɪ ˈdɑməˌneɪt, ˈgɪvɪŋ raɪz tɪ ən ənd ˈsɪstəm əv ˈmɑləˌkjulz lɑrʤ ɪˈnəf tɪ pəˈtɛnʃəli ɛnˈkoʊd ˈbluˌprɪnts fər laɪf, ðə ˈmɑdəl prɪˈdɪkts ˈpɑlɪmərz kən ˈɔlsoʊ lɪŋk təˈgɛðər wɪˈθaʊt ðə eɪd əv ə ˈtɛmplət, bət ðə ˈprɔˌsɛs ɪz ˈsəmˈwət mɔr ˈrændəm ə ʧeɪn ðət fɔrmz ɪn wən ˌʤɛnərˈeɪʃən wɪl nɑt ˌnɛsəˈsɛrəli bi ˈkɛrid ˈoʊvər ˈɪntu ðə nɛkst. laɪˈgeɪʃən, ɔn ðə ˈəðər hænd, ɪz ə mɔr ˈfeɪθfəl minz əv prɪˈzərvɪŋ ˌɪnˌfɔrˈmeɪʃən, ɛz ðə ˈpɑləmər ʧeɪnz əv wən ˌʤɛnərˈeɪʃən ər juzd tɪ bɪld ðə nɛkst. ðəs, ə ˈmɑdəl beɪst ɔn laɪˈgeɪʃən kəmˈbaɪnz ðə ˈlɛŋθənɪŋ əv ˈpɑləmər ʧeɪnz wɪθ ðɛr ˌrɛplɪˈkeɪʃən, prəˈvaɪdɪŋ ə pəˈtɛnʃəl ˈmɛkəˌnɪzəm fər heritability*. waɪl səm ˈpriviəs ˈstədiz hæv ˈɑrgjud ðət ə mɪks əv ðə tu ɪz ˈnɛsəˌsɛri fər ˈmuvɪŋ ə ˈsɪstəm frəm ˈmɑnəmərz tɪ ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈpɑlɪmərz, ənd ˈmɑdəl ˈdɛmənˌstreɪts ðət ɪt ɪz ˈfɪzɪkəli ˈpɑsəbəl fər ˌsɛlˌfrɛplɪˈkeɪʃən tɪ ˈimərʤ wɪθ ˈoʊnli laɪˈgeɪʃən. "wət wi hæv ˈdɛmənˌstreɪtɪd fər ðə fərst taɪm ɪz ðət ˈivɪn ɪf ɔl ju hæv ɪz laɪˈgeɪʃən, ju kən stɪl ˈbutˌstræp ðə ˈsɪstəm aʊt əv prɪˈmɔrdiəl sup," sɛd. ðə aɪˈdiə əv laɪˈgeɪʃən ˈdraɪvɪŋ ˌsɛlˌfrɛplɪˈkeɪʃən wɑz ərˈɪʤənəli prəˈpoʊzd ɪn ðə 1980s*, bət ɪn ə kˈwɑləˌteɪtɪv ˈmænər. "naʊ ɪts ə ril ˈmɑdəl ðət ju kən rən θru ə kəmˈpjutər," sɛd. "ɪts ə ˈsɑləd pis əv saɪəns tɪ wɪʧ ju kən æd ˈəðər ˈfiʧərz ənd ˈstədi ˈmɛməri ˈifɛkts ənd ˌɪnˈhɛrətəns." ˈəndər ənd ˈmɑdəl, ðə muv frəm ˈmɑnəmərz tɪ ˈpɑlɪmərz ɪz ə ˈvɛri ˈsədən wən. ɪts ˈɔlsoʊ ðət ɪz, ɪt teɪks ə ˈvɛri ˈsərtən sɛt əv kənˈdɪʃənz tɪ meɪk ðə ˌɪˈnɪʃəl lip frəm ˈmɑnəmərz tɪ ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈpɑlɪmərz, bət ðoʊz ˈstrɪnʤənt rɪkˈwaɪrmənts ər nɑt ˈnɛsəˌsɛri tɪ meɪnˈteɪn ə ˈsɪstəm əv ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈpɑlɪmərz wəns wən həz lɛpt ˈoʊvər ðə fərst ˈhərdəl. wən ˌlɪmɪˈteɪʃən əv ðə ˈmɑdəl ðət ðə ˈrisərʧərz plæn tɪ ˈæˌdrɛs ɪn fˈjuʧər ˈstədiz ɪz ɪts əˈsəmpʃən ðət ɔl ˈpɑləmər ˈsikwənsɪz ər ˈikwəli ˈlaɪkli tɪ əˈkər. trænzˈmɪʃən əv ˌɪnˌfɔrˈmeɪʃən rikˈwaɪərz ˈhɛrətəbəl ˌvɛriˈeɪʃən ɪn ˈsikwəns ˈfrikwənsiz ˈsərtən ˌkɑmbəˈneɪʃənz əv ˈbeɪsɪz koʊd fər ˌpɑˈtɪkjələr ˈproʊˌtinz, wɪʧ hæv ˈdɪfərənt ˈfəŋkʃənz. ðə nɛkst stɛp, ðɛn, ɪz tɪ kənˈsɪdər ə sɪˈnɛrioʊ ɪn wɪʧ səm ˈsikwənsɪz bɪˈkəm mɔr ˈkɑmən ðən ˈəðərz, əˈlaʊɪŋ ðə ˈsɪstəm tɪ trænzˈmɪt ˈminɪŋfəl ˌɪnˌfɔrˈmeɪʃən. ənd ˈmɑdəl fɪts ˈɪntu ðə ˈkərəntli ˈfeɪvərd wərld haɪˈpɑθəsəs ðə bɪˈlif ðət laɪf ɔn ərθ ˈstɑrtɪd wɪθ ˈmɑləˌkjulz ðət ðɛn lɛd tɪ ðə mɔr ˈsteɪbəl bət mɔr ˈkɑmplɛks ˈdiˌɛˈneɪ ɛz ə moʊd əv ˌɪnˈhɛrətəns. bət bɪˈkəz ɪt ɪz soʊ ˈʤɛnərəl, ɪt kʊd bi juzd tɪ tɛst ˈɛni ˈɔrəʤɪnz əv laɪf haɪˈpɑθəsəs ðət rɪˈlaɪz ɔn ðə ˈimərʤəns əv ə ˈsɪmpəl ˈsɪstəm. "ðə ˈmɑdəl, baɪ dɪˈzaɪn, ɪz ˈvɛri ˈʤɛnərəl," sɛd. "wɪr nɑt traɪɪŋ tɪ ˈæˌdrɛs ðə kˈwɛʃən əv wət ðɪs prɪˈmɔrdiəl sup əv ˈmɑnəmərz ɪz ˈkəmɪŋ frəm" ər ðə spɪˈsɪfɪk ˈmɑləˌkjulz ˌɪnˈvɑlvd. ˈrəðər, ðɛr ˈmɑdəl ʃoʊz ə ˈfɪzɪkəli ˈplɔzəbəl pæθ frəm ˈmɑnəmər tɪ ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈpɑləmər, ˈɪnʧɪŋ ə stɛp ˈkloʊzər tɪ ˌəndərˈstændɪŋ ðə ˈɔrəʤɪnz əv laɪf. ˈbækˌgraʊnd: ˈweɪtər, ðɛrz ən ɪn maɪ prɪˈmɔrdiəl sup ˈtreɪsɪŋ ðə ˈɔrəʤɪnz əv laɪf, frəm ˈdɑrwɪn tɪ təˈdeɪ ˈnɪrli ˈɛvəri ˈkəlʧər ɔn ərθ həz ən ˈɔrəʤɪnz ˈstɔri, ə ˈlɛʤənd ɪkˈspleɪnɪŋ ɪts ɪgˈzɪstəns. wi ˈjumənz sim tɪ hæv ə dip nid fər ən ˌɛkspləˈneɪʃən əv haʊ wi ˈɛndɪd əp hir, ɔn ðɪs smɔl ˈplænət ˈspɪnɪŋ θru ə væst ˈjunəˌvərs. ˈsaɪəntɪsts, tu, hæv lɔŋ sərʧt fər ɑr ˈɔrəʤɪnz ˈstɔri, traɪɪŋ tɪ dɪˈsərn haʊ, ɔn ə məˈlɛkjələr skeɪl, ðə ərθ ˈʃɪftɪd frəm ə mɛs əv ˌɪnɔrˈgænɪk ˈmɑləˌkjulz tɪ ən ˈɔrdərd ˈsɪstəm əv laɪf. ðə kˈwɛʃən ɪz ˌɪmˈpɑsəbəl tɪ ˈænsər fər ˈsərtən ðɛrz noʊ ˈfɑsəl ˈrɛkərd, ənd noʊ ˈaɪˌwɪtnəsɪz. bət ðət ˈhæzənt stɑpt ˈsaɪəntɪsts frəm traɪɪŋ. ˈoʊvər ðə pæst 150 jɪrz, ɑr ˈʃɪftɪŋ ˌəndərˈstændɪŋ əv ðə ˈɔrəʤɪnz əv laɪf həz ˈmɪrərd ðə ˈimərʤəns ənd dɪˈvɛləpmənt əv ðə fildz əv ɔrˈgænɪk ˈkɛmɪstri ənd məˈlɛkjələr baɪˈɑləʤi. ðət ɪz, ˌɪnˈkrist ˌəndərˈstændɪŋ əv ðə roʊl ðət nucleotides*, ˈproʊˌtinz ənd ʤinz pleɪ ɪn ˈʃeɪpɪŋ ɑr ˈlɪvɪŋ wərld təˈdeɪ həz ˈɔlsoʊ ˈgræʤuəli ˌɪmˈpruvd ɑr əˈbɪləˌti tɪ pɪr ˈɪntu ðɛr mɪˈstɪriəs pæst. wɪn ˈʧɑrəlz ˈdɑrwɪn ˈpəblɪʃt hɪz ˈsɛmənəl ɔn ðə ˈɔrəʤən əv ðə ˈspiʃiz ɪn 1859 hi sɛd ˈlɪtəl əˈbaʊt ðə ˈimərʤəns əv laɪf ˌɪtˈsɛlf, ˈpɑsəbli bɪˈkəz, æt ðə taɪm, ðɛr wɑz noʊ weɪ tɪ tɛst səʧ aɪˈdiəz. hɪz ˈoʊnli ril rɪˈmɑrks ɔn ðə ˈsəbʤɪkt kəm frəm ə ˈleɪtər ˈlɛtər tɪ ə frɛnd, ɪn wɪʧ hi səˈʤɛstɪd ə ðət laɪf ˈimərʤd aʊt əv ə "wɔrm ˈlɪtəl pɑnd" wɪθ ə rɪʧ ˈkɛmɪkəl brɔθ əv aɪɑnz. ˌnɛvərðəˈlɛs, ˈdɑrwɪnz ˈɪnfluəns wɑz far-reaching*, ənd hɪz ˈɔfˈhænd rɪˈmɑrk fɔrmd ðə ˈbeɪsɪs əv ˈmɛni ˈɔrəʤɪnz əv laɪf sɪˈnɛrioʊz ɪn ðə ˈfɑloʊɪŋ jɪrz. ɪn ðə ˈərli ˈsɛnʧəri, ðə aɪˈdiə wɑz ˈpɑpjələrˌaɪzd ənd ɪkˈspændɪd əˈpɑn baɪ ə ˈrəʃən ˌbaɪoʊˈkɛmɪst neɪmd ˌælɪgˈzændər oparin*. hi prəˈpoʊzd ðət ðə ˈætməsˌfɪr ɔn ðə ˈərli ərθ wɑz rɪˈdusɪŋ, ˈminɪŋ ɪt hæd ən ˈɛkˌsɛs əv ˈnɛgətɪv ʧɑrʤ. ðɪs ʧɑrʤ ɪmˈbæləns kʊd ˈkætəˌlaɪz ɪgˈzɪstɪŋ ə ˌpriˌbaɪˈɔtɪk sup əv ɔrˈgænɪk ˈmɑləˌkjulz ˈɪntu ðə ˈərliəst fɔrmz əv laɪf. ˈraɪtɪŋ ɪˈvɛnʧəwəli ˌɪnˈspaɪərd ˈhɛrəld ˈjəri, hu bɪˈgæn tɪ ˈʧæmpiən prəˈpoʊzəl. ˈjəri ðɛn kɔt ðə əˈtɛnʃən əv ˈstænli ˈmɪlər, hu ˌdɪˈsaɪdɪd tɪ ˈfɔrməli tɛst ðə aɪˈdiə. ˈmɪlər tʊk ə ˈmɪksʧər əv wət hi bɪˈlivd ðə ˈərli ərθs ˈoʊʃənz meɪ hæv kənˈteɪnd ə rɪˈdusɪŋ ˈmɪksʧər əv ˈmɛˌθeɪn, əˈmoʊnjə, ˈhaɪdrəʤən, ənd ˈwɔtər ənd ˈæktɪˌveɪtɪd ɪt wɪθ ən ɪˈlɛktrɪk spɑrk. ðə ʤoʊlt əv ɪˌlɛkˈtrɪsəti, ˈæktɪŋ laɪk ə straɪk əv ˈlaɪtənɪŋ, trænsˈfɔrmd ˈnɪrli hæf əv ðə ˈkɑrbən ɪn ðə ˈmɛˌθeɪn ˈɪntu ɔrˈgænɪk ˈkɑmpaʊndz. wən əv ðə ˈkɑmpaʊndz hi prəˈdust wɑz ˈglaɪˌsin, ðə ˈsɪmpləst əˈminoʊ ˈæsəd. ðə ˈgraʊnˌbreɪkɪŋ ɪkˈspɛrəmənt ʃoʊd ðət ˌɪnɔrˈgænɪk ˈmætər kʊd gɪv raɪz tɪ ɔrˈgænɪk ˈstrəkʧərz. ənd waɪl ðə aɪˈdiə əv ə rɪˈdusɪŋ ˈætməsˌfɪr ˈgræʤuəli fɛl aʊt əv ˈfeɪvər, ˌriˈpleɪst baɪ ən ɪnˈvaɪrənmənt rɪʧ ɪn ˈkɑrbən daɪˈɑkˌsaɪd, ˈbeɪsɪk ˈfreɪmˌwərk əv ə prɪˈmɔrdiəl sup rɪʧ wɪθ ɔrˈgænɪk ˈmɑləˌkjulz stək əraʊnd. ðə aɪˌdɛntəfəˈkeɪʃən əv ˈdiˌɛˈneɪ ɛz ðə hərˈɛdəˌtɛri məˈtɪriəl ˈkɑmən tɪ ɔl laɪf, ənd ðə ˌdɪˈskəvri ðət ˈdiˌɛˈneɪ ˈkoʊdɪd fər, wɪʧ ˈkoʊdɪd fər ˈproʊˌtinz, prəˈvaɪdɪd frɛʃ ˈɪnˌsaɪt ˈɪntu ðə məˈlɛkjələr ˈbeɪsɪs fər laɪf. bət ɪt ˈɔlsoʊ fɔrst ˈɔrəʤɪnz əv laɪf ˈrisərʧərz tɪ ˈænsər ə ˈʧælənʤɪŋ kˈwɛʃən: haʊ kʊd ðɪs ˈkɑmpləˌkeɪtəd məˈlɛkjələr məˈʃinəri hæv ˈstɑrtɪd? ˈdiˌɛˈneɪ ɪz ə ˈkɑmplɛks ˈmɑləˌkjul, rikˈwaɪərɪŋ ə koʊˈɔrdəneɪtɪd tim əv ˈɛnˌzaɪmz ənd ˈproʊˌtinz tɪ ˈrɛplɪˌkeɪt ˌɪtˈsɛlf. ɪts spɑnˈteɪniəs ˈimərʤəns simd ˌɪmˈprɑbəbəl. ɪn ðə, θri ˈsaɪəntɪsts ˈlɛsli ˈɔrgəl, ˈfrænsɪs krɪk ənd kɑrl ˌɪndɪˈpɛndəntli səˈʤɛstɪd ðət maɪt bi ðə ˈmɪsɪŋ lɪŋk. bɪˈkəz kən ˌsɛlˈfrɛplɪˌkeɪt, ɪt kʊd hæv ˈæktɪd ɛz boʊθ ðə ʤəˈnɛtɪk məˈtɪriəl ənd ðə ˈkætəˌlɪst fər ˈərli laɪf ɔn ərθ. ˈdiˌɛˈneɪ, mɔr ˈsteɪbəl bət mɔr ˈkɑmplɛks, wʊd hæv ˈimərʤd ˈleɪtər. təˈdeɪ, ɪt ɪz ˈwaɪdli bɪˈlivd (ðoʊ baɪ noʊ minz ˌjunəˈvərsəli ækˈsɛptɪd) ðət æt səm pɔɪnt ɪn ˈhɪstəri, ən wərld ˈdɑməˌneɪtəd ðə ərθ. bət haʊ ɪt gɑt ðɛr ənd ˈwɛðər ðɛr wɑz ə ˈsɪmpələr ˈsɪstəm ˌbiˈfɔr ɪt ɪz stɪl əp fər dəˈbeɪt. ˈmɛni ˈɑrgju ðət ɪz tu ˈkɑmpləˌkeɪtəd tɪ hæv bɪn ðə fərst ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈsɪstəm ɔn ərθ, ənd ðət ˈsəmθɪŋ ˈsɪmpələr prɪˈsidɪd ɪt. græm cairns-smith*, fər ˈɪnstəns, həz ˈɑrgjud sɪns ðə ðət ðə ˈərliəst ˈstrəkʧərz wər nɑt beɪst ɔn nuˈkleɪɪk ˈæsədz, bət ɔn ˌɪmˈpərfɪkt ˈkrɪstəlz ðət ˈimərʤd frəm kleɪ. ðə ˈdifɛkts ɪn ðə ˈkrɪstəlz, hi bɪˈlivd, stɔrd ˌɪnˌfɔrˈmeɪʃən ðət kʊd bi ˈrɛplɪˌkeɪtɪd ənd pæst frəm wən ˈkrɪstəl tɪ əˈnəðər. hɪz aɪˈdiə, waɪl ˌɪnˈtrigɪŋ, ɪz nɑt ˈwaɪdli ækˈsɛptɪd təˈdeɪ. ˈəðərz, ˈteɪkən mɔr ˈsɪriəsli, ˈsəˌspɛkt ðət meɪ hæv ˈimərʤd ɪn ˈkɑnsərt wɪθ ˈpɛpˌtaɪdz ən wərld, ɪn wɪʧ ðə tu wərkt təˈgɛðər tɪ bɪld əp kəmˈplɛksɪti. ˌbaɪoʊˈkɛmɪkəl ˈstədiz ər ˈɔlsoʊ prəˈvaɪdɪŋ ˈɪnˌsaɪt ˈɪntu ˈsɪmpələr nuˈkleɪɪk ˈæsəd ðət kʊd hæv prɪˈsidɪd ðə fəˈmɪljər ˈbeɪsɪz ðət meɪk əp təˈdeɪ. ɪts ˈɔlsoʊ ˈpɑsəbəl ðət ðə ˈərliəst ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈsɪstəmz ɔn ərθ hæv lɛft noʊ treɪs əv ðɛmˈsɛlvz ɪn ɑr ˈkɑrənt ˌbaɪoʊˈkɛmɪkəl ˈsɪstəmz. wi meɪ ˈnɛvər noʊ, ənd jɛt, ðə ˈʧælənʤ əv ðə sərʧ simz tɪ bi pɑrt əv ɪts əˈpil. ˈrisənt ˈrisərʧ baɪ ənd, ˈpəblɪʃt ˌʤuˈlaɪ 28 2015 ɪn ðə ˈʤərnəl əv ˈkɛmɪkəl ˈfɪzɪks, səˈʤɛsts ðət ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈmɑləˌkjulz səʧ ɛz meɪ hæv ərˈɪzən θru ə ˈprɔˌsɛs kɔld laɪˈgeɪʃən. ðət ɪz, ˈəndər ˈsərtən ɪnˌvaɪrənˈmɛnəl kənˈdɪʃənz, smɔl ˈpɑlɪmərz kʊd bi ˈdrɪvən tɪ bɑnd tɪ ˈlɔŋgər ˌkɑmpləˈmɛnʧi ˈpɑləmər ˈtɛmplət strændz, ˈhoʊldɪŋ ðə ʃɔrt strændz ɪn kloʊz ɪˈnəf prɑkˈsɪməti tɪ iʧ ˈəðər ðət ðeɪ kʊd fjuz ˈɪntu ˈlɔŋgər strændz. θru ˈsaɪklɪk ˈʧeɪnʤɪz ɪn ɪnˌvaɪrənˈmɛnəl kənˈdɪʃənz ðət ˌɪnˈdus ˌkɑmpləˈmɛnʧi strændz tɪ kəm təˈgɛðər ənd ðɛn fɔl əˈpɑrt rɪˈpitɪdli, ə kəˈlɛkʃən əv hybridized*, ˌsɛlˈfrɛplɪˌkeɪtɪŋ ˈpɑlɪmərz ˈeɪbəl tɪ ɛnˈkoʊd ðə ˈbluˌprɪnts fər laɪf kʊd ˈimərʤ.
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when life on earth began nearly 4 billion years ago, long before humans, dinosaurs or even the earliest single-celled forms of life roamed, it may have started as a hiccup rather than a roar: small, simple molecular building blocks known as "monomers" coming together into longer "polymer" chains and falling apart in the warm pools of primordial ooze over and over again.
then, somewhere along the line, these growing polymer chains developed the ability to make copies of themselves. competition between these molecules would allow the ones most efficient at making copies of themselves to do so faster or with greater abundance, a trait that would be shared by the copies they made. these rapid replicators would fill the soup faster than the other polymers, allowing the information they encoded to be passed on from one generation to another and, eventually, giving rise to what we think of today as life.
or so the story goes. but with no fossil record to check from those early days, it's a narrative that still has some chapters missing. one question in particular remains problematic: what enabled the leap from a primordial soup of individual monomers to self-replicating polymer chains?
a new model published this week in the journal of chemical physics, from aip publishing, proposes a potential mechanism by which self-replication could have emerged. it posits that template-assisted ligation, the joining of two polymers by using a third, longer one as a template, could have enabled polymers to become self-replicating.
"we tried to fill this gap in understanding between simple physical systems to something that can behave in a life-like manner and transmit information," said alexei tkachenko, a researcher at brookhaven national laboratory. tkachenko carried out the research alongside sergei maslov, a professor at the university of illinois at urbana-champaign with joint appointment at brookhaven.
origins of self-replication
self-replication is a complicated process -- dna, the basis for life on earth today, requires a coordinated cohort of enzymes and other molecules in order to duplicate itself. early self-replicating systems were surely more rudimentary, but their existence in the first place is still somewhat baffling.
tkachenko and maslov have proposed a new model that shows how the earliest self-replicating molecules could have worked. their model switches between "day" phases, where individual polymers float freely, and "night" phases, where they join together to form longer chains via template-assisted ligation. the phases are driven by cyclic changes in environmental conditions, such as temperature, ph, or salinity, which throw the system out of equilibrium and induce the polymers to either come together or drift apart.
according to their model, during the night cycles, multiple short polymers bond to longer polymer strands, which act as templates. these longer template strands hold the shorter polymers in close enough proximity to each other that they can ligate to form a longer strand -- a complementary copy of at least part of the template. over time, the newly synthesized polymers come to dominate, giving rise to an autocatalytic and self-sustaining system of molecules large enough to potentially encode blueprints for life, the model predicts
polymers can also link together without the aid of a template, but the process is somewhat more random -- a chain that forms in one generation will not necessarily be carried over into the next. template-assisted ligation, on the other hand, is a more faithful means of preserving information, as the polymer chains of one generation are used to build the next. thus, a model based on template-assisted ligation combines the lengthening of polymer chains with their replication, providing a potential mechanism for heritability.
while some previous studies have argued that a mix of the two is necessary for moving a system from monomers to self-replicating polymers, maslov and tkachenko's model demonstrates that it is physically possible for self-replication to emerge with only template-assisted ligation.
"what we have demonstrated for the first time is that even if all you have is template-assisted ligation, you can still bootstrap the system out of primordial soup," said maslov.
the idea of template-assisted ligation driving self-replication was originally proposed in the 1980s, but in a qualitative manner. "now it's a real model that you can run through a computer," said tkachenko. "it's a solid piece of science to which you can add other features and study memory effects and inheritance."
under tkachenko and maslov's model, the move from monomers to polymers is a very sudden one. it's also hysteretic -- that is, it takes a very certain set of conditions to make the initial leap from monomers to self-replicating polymers, but those stringent requirements are not necessary to maintain a system of self-replicating polymers once one has leapt over the first hurdle.
one limitation of the model that the researchers plan to address in future studies is its assumption that all polymer sequences are equally likely to occur. transmission of information requires heritable variation in sequence frequencies -- certain combinations of bases code for particular proteins, which have different functions. the next step, then, is to consider a scenario in which some sequences become more common than others, allowing the system to transmit meaningful information.
maslov and tkachenko's model fits into the currently favored rna world hypothesis -- the belief that life on earth started with autocatalytic rna molecules that then lead to the more stable but more complex dna as a mode of inheritance. but because it is so general, it could be used to test any origins of life hypothesis that relies on the emergence of a simple autocatalytic system.
"the model, by design, is very general," said maslov. "we're not trying to address the question of what this primordial soup of monomers is coming from" or the specific molecules involved. rather, their model shows a physically plausible path from monomer to self-replicating polymer, inching a step closer to understanding the origins of life.
background: waiter, there's an rna in my primordial soup -- tracing the origins of life, from darwin to today
nearly every culture on earth has an origins story, a legend explaining its existence. we humans seem to have a deep need for an explanation of how we ended up here, on this small planet spinning through a vast universe. scientists, too, have long searched for our origins story, trying to discern how, on a molecular scale, the earth shifted from a mess of inorganic molecules to an ordered system of life. the question is impossible to answer for certain -- there's no fossil record, and no eyewitnesses. but that hasn't stopped scientists from trying.
over the past 150 years, our shifting understanding of the origins of life has mirrored the emergence and development of the fields of organic chemistry and molecular biology. that is, increased understanding of the role that nucleotides, proteins and genes play in shaping our living world today has also gradually improved our ability to peer into their mysterious past.
when charles darwin published his seminal on the origin of the species in 1859, he said little about the emergence of life itself, possibly because, at the time, there was no way to test such ideas. his only real remarks on the subject come from a later letter to a friend, in which he suggested a that life emerged out of a "warm little pond" with a rich chemical broth of ions. nevertheless, darwin's influence was far-reaching, and his offhand remark formed the basis of many origins of life scenarios in the following years.
in the early 20th century, the idea was popularized and expanded upon by a russian biochemist named alexander oparin. he proposed that the atmosphere on the early earth was reducing, meaning it had an excess of negative charge. this charge imbalance could catalyze existing a prebiotic soup of organic molecules into the earliest forms of life.
oparin's writing eventually inspired harold urey, who began to champion oparin's proposal. urey then caught the attention of stanley miller, who decided to formally test the idea. miller took a mixture of what he believed the early earth's oceans may have contained -- a reducing mixture of methane, ammonia, hydrogen, and water -- and activated it with an electric spark. the jolt of electricity, acting like a strike of lightening, transformed nearly half of the carbon in the methane into organic compounds. one of the compounds he produced was glycine, the simplest amino acid.
the groundbreaking miller-urey experiment showed that inorganic matter could give rise to organic structures. and while the idea of a reducing atmosphere gradually fell out of favor, replaced by an environment rich in carbon dioxide, oparin's basic framework of a primordial soup rich with organic molecules stuck around.
the identification of dna as the hereditary material common to all life, and the discovery that dna coded for rna, which coded for proteins, provided fresh insight into the molecular basis for life. but it also forced origins of life researchers to answer a challenging question: how could this complicated molecular machinery have started? dna is a complex molecule, requiring a coordinated team of enzymes and proteins to replicate itself. its spontaneous emergence seemed improbable.
in the 1960s, three scientists -- leslie orgel, francis crick and carl woese -- independently suggested that rna might be the missing link. because rna can self-replicate, it could have acted as both the genetic material and the catalyst for early life on earth. dna, more stable but more complex, would have emerged later.
today, it is widely believed (though by no means universally accepted) that at some point in history, an rna-based world dominated the earth. but how it got there -- and whether there was a simpler system before it -- is still up for debate. many argue that rna is too complicated to have been the first self-replicating system on earth, and that something simpler preceded it.
graham cairns-smith, for instance, has argued since the 1960s that the earliest gene-like structures were not based on nucleic acids, but on imperfect crystals that emerged from clay. the defects in the crystals, he believed, stored information that could be replicated and passed from one crystal to another. his idea, while intriguing, is not widely accepted today.
others, taken more seriously, suspect that rna may have emerged in concert with peptides -- an rna-peptide world, in which the two worked together to build up complexity. biochemical studies are also providing insight into simpler nucleic acid analogs that could have preceded the familiar bases that make up rna today. it's also possible that the earliest self-replicating systems on earth have left no trace of themselves in our current biochemical systems. we may never know, and yet, the challenge of the search seems to be part of its appeal.
recent research by tkachenko and maslov, published july 28, 2015 in the journal of chemical physics, suggests that self-replicating molecules such as rna may have arisen through a process called template-assisted ligation. that is, under certain environmental conditions, small polymers could be driven to bond to longer complementary polymer template strands, holding the short strands in close enough proximity to each other that they could fuse into longer strands. through cyclic changes in environmental conditions that induce complementary strands to come together and then fall apart repeatedly, a self-sustaining collection of hybridized, self-replicating polymers able to encode the blueprints for life could emerge.
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naʊ ðət wi ər əˈbaʊt ˈhæfˈweɪ θru ðə ˈrɛgjələr ˈsizən, ɪt ɪz taɪm tɪ stɑrt kənˈsɪdərɪŋ wɪʧ pleɪərz ər moʊst dɪˈzərvɪŋ əv ə proʊ boʊl səˈlɛkʃən. fər ðɪs ˈsɪriz, wi wɪl lʊk æt θri ˈkænədɪts fər iʧ tim. ˈɑbviəsli, səm timz wɪl hæv mɔr ər lɛs ðən θri pleɪərz səˈlɛktɪd tɪ ˌrɛprɪˈzɛnt ðɛr tim ɪn həˈwaɪˌi, bət fər sɪmˈplɪsɪti ˈpərpəsɪz, wi wɪl dɪˈskəs ðə tɔp θri ˈiðər weɪ. wi kənˈtɪnju ðɪs ˈsɪriz hir wɪθ ɑr ˈfoʊkɪs ɔn ðə maɪˈæmi ˈdɑlfənz tɔp ˈmɪdˈsizən maɪˈæmi ˈdɑlfənz proʊ boʊl ˈkænədɪts ˈʤɑrvɪs ˈlændri ˈwɛðər ər nɑt ˈlændri ˈəltəmətli ɛndz əp ˈgɪtɪŋ ə proʊ boʊl ˌɪnˈvaɪt rɪˈmeɪnz tɪ bi sin. wət ɪz ˈfɛrli ˈsərtən, ˌhaʊˈɛvər, ɪz ðət hi həz bɪn ðə ˈdɑlfənz gaɪ wɪn ɪt kəmz tɪ bɪg pleɪz ðɪs ˈsizən. pərˈhæps noʊ ˈbɪgər ɪgˈzæmpəl wɑz hɪz ˈtəʧˌdaʊn rɪˈsɛpʃən ɪn ðə fərst kˈwɔrtər əv ˈdɑməˌneɪtɪŋ wɪn ˈoʊvər ðə ˈhjustən ˈtɛksənz ɪn wik ˈsɛvən. ðə mæn aʊt əv ˈkərəntli həz ðə ˈreɪtɪŋ ɪn ðə lig əˈməŋ waɪd rɪˈsivərz əˈkɔrdɪŋ tɪ proʊ ˈfʊtˌbɔl ˈfoʊkɪs. hɪz 60 rɪˈsɛpʃənz ɪz eɪθ ɪn ðə ˈɛˌnɛˈfɛl ənd əˈkaʊnts fər pərˈsɛnt əv kˈwɔrtərˌbæk raɪən ˈtoʊtəl kəmˈplitɪd ˈpæsɪz. hi ˈɔlsoʊ ræŋks ɪn ðə tɔp tɛn ɪn kæʧ pərˈsɛnɪʤ ˈsɛvənθ), jɑrdz ˈæftər kæʧ 332 fɔrθ), ənd ˈtoʊtəl ˈnəmbər əv ˈbroʊkən ˈtækəlz 12 t-fourth*). waɪl ɪt ɪz tru ðət ˈfɛloʊ ˈdɑlfənz ˈmæθjuz həz mɔr rɪˈsivɪŋ jɑrdz ənd ˈtəʧˌdaʊnz ɔn ðə ˈsizən, ˈlændri brɪŋz ən ˈædɪd dɪˈmɛnʃən tɪ ðə ˈteɪbəl wɪθ hɪz shiftiness*, ˌækˌsɛlərˈeɪʃən, ɪˈlusɪvnəs ənd əˈbɪləˌti. ɛz səʧ, hi əˈpɪrz tɪ bi ə məʧ mɔr ˈlaɪkli proʊ boʊl ˈkænədɪt. sə məʧ wɑz ɪkˈspɛktɪd aʊt əv sə ɪn hɪz fərst jɪr wɪθ ðə ˈdɑlfənz ˈæftər ˈsaɪnɪŋ ə gɑrˈgænʧuən ˈkɑnˌtrækt wɪθ ðə tim ɪn ðə offseason*. əp tɪ ðɪs pɔɪnt ɪn 2015 ðoʊ, ənˈlaɪkli ðə bɛst pleɪər ɔn ðə frənt fɔr, ə dɪˈstɪŋkʃən ðət bɪˈlɔŋz tɪ dɪˈfɛnsɪv ɛnd ˈkæmərən weɪk. soʊ waɪ ɪz hi nɑt ɪn ðə ˈrənɪŋ fər proʊ boʊl kənˌsɪdərˈeɪʃən? ənˈfɔrʧənətli, weɪk ˈsəfərd ə tɔrn əˈkɪliz ɪn wik eɪt lɔs tɪ ðə nu ˈɪŋglənd ˈpeɪtriəts ənd ɪz dən fər ðə jɪr. ðət minz rɪˈpleɪsmənt ɪn ðə ˈstɑrtɪŋ ˈlaɪˌnəp, ˈdɛrɪk ˈʃɛlbi, ɛz wɛl ɛz sə hɪmˈsɛlf wɪl hæv tɪ stɛp əp. ɪf roʊd wɪn ˈoʊvər ðə ˌfɪləˈdɛlfiə ˈigəlz wɑz ˈɛni ˌɪndəˈkeɪʃən, ɪt əˈpɪrz ðət boʊθ ər ˌɪnˈdid kəˈmɪtɪd tɪ duɪŋ soʊ. boʊθ pɪkt əp ə sæk ɔn ðə deɪ ənd sə hæd ə ˈsizən haɪ ˈsɛvən ˈsoʊˌloʊ ˈtækəlz. sə həz ˈɔlˌweɪz bɪn noʊn ɛz wən əv ðə ˈbɛtər dɪˈfɛnsɪv ˈtækəlz ɪn ðə lig æt ˈgɪtɪŋ ˈprɛʃər ɔn ðə kˈwɔrtərˌbæk frəm ðə ˌɪnˈtɪriər ənd ðɪs ˈsizən ɪz noʊ ˈdɪfərənt. ðə proʊ ˈboʊlər gɪts ðə ˈsɛkənd bɛst pæs ˈrəʃɪŋ ˈreɪtɪŋ əˈməŋ pleɪərz æt hɪz pəˈzɪʃən baɪ pff*. hɪz 22 kˈwɔrtərˌbæk ˈhəriz ræŋks θərd əˈməŋ noʊz ˈtækəlz ənd hi ˈɔlsoʊ ɪz taɪd fər ðə lig lɛd ɪn ˈbætɪd ˈpæsɪz wɪθ fɔr. ʤoʊnz ɪt ʃʊd bi ˈfɛrli ˈɑbviəs ɪf ju lʊk æt ðə ˈnəmbərz ənd ˈɔlsoʊ wɔʧ ɪm muv əraʊnd ðə fild ðət ʤoʊnz ɪz ˈhævɪŋ ə kərɪr jɪr əp tɪ ðɪs pɔɪnt. ðə dɪˈfɛnsɪv bæk aʊt əv ˈʤɔrʤə ɔˈrɛdi həz 83 ˈtækəlz ɔn ðə ˈsizən wɪʧ lidz ɔl strɔŋ ˈseɪftiz ənd ɪz fɔrθ ˈoʊvərˌɔl ɪn ðə lig. ðət wʊd pʊt ɪm ɔn peɪs tɪ ˈfɪnɪʃ wɪθ 147 ˈʃætərɪŋ hɪz ˈpriviəs kərɪr bɛst əv 107 sɛt ɪn 2013 waɪl hɪz skaɪ haɪ wərk reɪt ɪz ˈklɪrli ɔn dɪˈspleɪ ɪn hɪz ˈtækəlɪŋ ˈnəmbərz, hi həz ˈɔlsoʊ ʃoʊn hɪz ɪkˈsɛpʃənəl əˈbɪləˌti tɪ rɛd ðə kˈwɔrtərˌbæk ənd nɑt ˈoʊnli fɔrs ˈtərˌnoʊvərz, bət ˈɔlsoʊ tərn ðoʊz ˈtərˌnoʊvərz ˈɪntu pɔɪnts. ʤoʊnz həz θri ˌɪnərˈsɛpʃənz ɔn ðə jɪr wɪʧ ɪz taɪd fər eɪθ ɪn ðə lig, bət wət ˈrɪli meɪks ðɛm stænd aʊt ɪz ðə fækt hi tʊk tu əv ðɛm ðə ˈəðər weɪ fər skɔrz. ðə fərst wən keɪm ɪn raʊt əv ˌtɛnəˈsi wɪʧ ˌɪnsɪˈdɛntəli wɑz ˈɪnərəm koʊʧ dæn fərst geɪm ɪn ʧɑrʤ ˈæftər ʤoʊ ˈfɪlbɪn wɑz faɪərd. wən wik ˈleɪtər əˈgɛnst ˈhjustən, ʤoʊnz wɑz æt ɪt əˈgɛn wɪθ ə ˈsɛkənd kˈwɔrtər pɪk sɪks ðət meɪd ðə skɔr ɪn ə geɪm wɛr ðə ˈdɑlfənz sɛt ə ˈfrænˌʧaɪz ˈrɛkərd fər moʊst pɔɪnts skɔrd ɪn ə hæf wɪθ 41 ˈoʊnli tu ˈəðər pleɪərz, ʤɑʃ ˈnɔrmən əv ˌkɛrəˈlaɪnə ənd əv ˈdɛnvər, hæv tu ˌɪnərˈsɛpʃən rɪˈtərnz fər ˈtəʧˌdaʊnz ðɪs ˈsizən. ɪf hi kən kənˈtɪnju ɔn səʧ ə ˈtɔrəd peɪs, hi meɪ jɛt ərn ðə fərst proʊ boʊl ˌɪnˈvaɪt əv hɪz kərɪr. meɪn ˈfoʊˌtoʊ:
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now that we are about halfway through the regular season, it is time to start considering which players are most deserving of a pro bowl selection. for this series, we will look at three candidates for each team. obviously, some teams will have more or less than three players selected to represent their team in hawaii, but for simplicity purposes, we will discuss the top three either way.
we continue this series here with our focus on the miami dolphins
top midseason miami dolphins pro bowl candidates
jarvis landry
whether or not landry ultimately ends up getting a pro bowl invite remains to be seen. what is fairly certain, however, is that he has been the dolphins go-to guy when it comes to big plays this season. perhaps no bigger example was his 50-yard touchdown reception in the first quarter of miami’s dominating 44-26 win over the houston texans in week seven.
the second-year man out of lsu currently has the fourth-highest rating in the league among wide receivers according to pro football focus. his 60 receptions is eighth in the nfl and accounts for 28.2 percent of quarterback ryan tannehill’s total completed passes. he also ranks in the top ten in catch percentage (73.2%, seventh), yards after catch (332, fourth), and total number of broken tackles (12, t-fourth).
while it is true that fellow dolphins wideout rishard matthews has more receiving yards and touchdowns on the season, landry brings an added dimension to the table with his shiftiness, acceleration, elusiveness and playmaking ability. as such, he appears to be a much more likely pro bowl candidate.
ndamukong suh
much was expected out of suh in his first year with the dolphins after signing a gargantuan contract with the team in the offseason. up to this point in 2015, though, he’s unlikely the best player on the team’s front four, a distinction that belongs to defensive end cameron wake. so why is he not in the running for pro bowl consideration? unfortunately, wake suffered a torn achilles in miami’s week eight loss to the new england patriots and is done for the year.
that means wake’s replacement in the starting lineup, derrick shelby, as well as suh himself will have to step up. if sunday’s 20-19 road win over the philadelphia eagles was any indication, it appears that both are indeed committed to doing so. both picked up a sack on the day and suh had a season high seven solo tackles.
suh has always been known as one of the better defensive tackles in the league at getting pressure on the quarterback from the interior and this season is no different. the four-time pro bowler gets the second best pass rushing rating among players at his position by pff. his 22 quarterback hurries ranks third among nose tackles and he also is tied for the league lead in batted passes with four.
reshad jones
it should be fairly obvious if you look at the numbers and also watch him move around the field that jones is having a career year up to this point. the sixth-year defensive back out of georgia already has 83 tackles on the season which leads all strong safeties and is fourth overall in the league. that would put him on pace to finish with 147, shattering his previous career best of 107 set in 2013.
while his sky high work rate is clearly on display in his tackling numbers, he has also shown his exceptional ability to read the quarterback and not only force turnovers, but also turn those turnovers into points. jones has three interceptions on the year which is tied for eighth in the league, but what really makes them stand out is the fact he took two of them the other way for scores.
the first one came in miami’s 38-10 rout of tennessee which incidentally was interim coach dan campbell’s first game in charge after joe philbin was fired. one week later against houston, jones was at it again with a second quarter pick six that made the score 35-0 in a game where the dolphins set a franchise record for most points scored in a half with 41. only two other players, josh norman of carolina and aqib talib of denver, have two interception returns for touchdowns this season.
if he can continue on such a torrid pace, he may yet earn the first pro bowl invite of his career.
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əˈkɔrdɪŋ tɪ ə nu ˈsərˌveɪ aʊt əv ˈstænfərd ˌjunəˈvərsəti, ə ˈkænəbəs ˈɛkˌstrækt meɪ bi ˈwaɪdli ˈifɛktɪv fər ˈʧɪldrən wɪθ ˈɛpɪˌlɛpsi. ðə ˈsərˌveɪ, ˈpəblɪʃt ɪn ðə dɪˈsɛmbər ˈɪʃu əv ˈɛpɪˌlɛpsi bɪˈheɪvjər, kəmˈpaɪld rɪˈspɑnsɪz frəm 18 ˈpɛrənts hu hæd tərnd tɪ ə ˈspɛʃəl fɔrm əv ˈkænəbəs tɪ trit ðɛr səˈvɪr ˈɛpɪˌlɛpsi. ðə wərk bɪˈgɪnz naʊ tɪ dɪˈtərmən wɪʧ taɪps əv ˈɛpɪˌlɛpsi ɪz goʊɪŋ tɪ hɛlp, ɪts saɪd ˈifɛkts, ənd haʊ ɪt ˌɪnərˈækts wɪθ ˈəðər drəgz. ɪn səm ˈkeɪsɪz, ˈpɛrənts ˌriˈpɔrtəd ə rɪˈdəkʃən ɪn ˈsiʒər ˈfrikwənsi əv əp tɪ 80 ənd 83 ˈɪndəˌkeɪtɪd ə rɪˈdəkʃən ɪn ðɛr ˈsiʒər ˈfrikwənsi, wɪθ ˈlɪtəl tɪ noʊ saɪd ˈifɛkts əv ˈkænəbəs ˈtritmənt. fɔr əv ðə ˈʧɪldrən ˈsəfərd frəm dus ˈsɪnˌdroʊm, wən hæd ˈsɪnˌdroʊm, wən hæd ˌɪdioʊˈpæθək ˈɛpɪˌlɛpsi, ənd ˈθərˈtin hæd ˈsɪnˌdroʊm. ˈkæθərɪn ˈʤeɪkəbsən, ˈpiˌeɪʧˈdi, ə ˌpoʊstˈdɑkˌtərəl ˈfɛloʊ hu lɛd ðə ˈstədi bɪˈlivz ðət ðə rɪˈzəlts stɪl səˈpɔrt ˈkænəbəs ɛz ən ˈifɛktɪv ˈɛpɪˌlɛpsi ˈmɛdəsən, ɪn spaɪt əv ðə bɪg ənd ˈɑbviəs ˈkeɪviˌæts ənd dɪˈspaɪt ðə traɪəlz əv əˈveɪləbəl drəgz. ˈdɑktər. ˈʤeɪkəbsən rivˈjud ðə ˈlɪtərəʧər ˈæftər ˈhirɪŋ ðət səm ˈpɛrənts wər ˈhævɪŋ səkˈsɛs ˈjuzɪŋ ˈkænəbəs ənd faʊnd ˈrisərʧ ˈdeɪtɪŋ bæk tɪ ðə ðət səˈpɔrtɪd ðə ˈænɪkˌdoʊts. ʃi wɑz ˌɪnˈspaɪərd tɪ ˈkɑndəkt ðə ˈstədi baɪ hər oʊn sərʧ fər ə ˈtritmənt ðət kʊd hɛlp hər ˌɛpɪˈlɛptɪk sən. naʊ pɑrt əv ə tim æt ˌjunəˈvərsəti əv ˌkæləˈfɔrnjə, sæn frænˈsɪskoʊ (ucsf*), ˈdɑktər. ˈʤeɪkəbsən ɪz ˈlidɪŋ ðə ˈklɪnɪkəl ˌɪnˌvɛstəˈgeɪʃənz ɔn ə ˈɛkˌstrækt dɪˈvɛləpt baɪ ˌfɑrməˈsutɪkəlz. ðə ˈkəmpəˌni əˈnaʊnst ðət ɪt hæd rɪˈsivd əˈpruvəl tɪ bɪˈgɪn ɪkˌspɛrɪˈmɛntəl ˈtritmənts wɪθ ɪn ˌɛpɪˈlɛptɪk ˈʧɪldrən, ʤɪst læst mənθ. ˈɔrɪn devinsky*, æt ðə skul əv ˈmɛdəsən, ənd rəˈbərtə cilio*,, ˈpiˌeɪʧˈdi æt ər ðə ˈlidɪŋ ˈrisərʧ. ˌɪˈnɪʃəl rɪˈzəlts ər ɪkˈspɛktɪd ˈərli nɛkst jɪr. (ˈviə stt.org*)
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according to a new survey out of stanford university, a cannabidiol-rich cannabis extract may be widely effective for children with epilepsy. the survey, published in the december issue of epilepsy & behavior, compiled responses from 18 parents who had turned to a special form of cannabis to treat their child’s severe epilepsy. the work begins now to determine which types of epilepsy cbd is going to help, its side effects, and how it interacts with other anti-seizure drugs.
in some cases, parents reported a reduction in seizure frequency of up to 80% and 83% indicated a reduction in their child’s seizure frequency, with little to no side effects of cannabis treatment. four of the children suffered from doose syndrome, one had lennox-gastaut syndrome, one had idiopathic epilepsy, and thirteen had dravet syndrome.
catherine jacobson, phd, a postdoctoral fellow who lead the study believes that the results still support cbd-rich cannabis as an effective epilepsy medicine, in spite of the study’s big and obvious caveats and despite the trials of available anti-seizure drugs. dr. jacobson reviewed the literature after hearing that some parents were having success using cbd-rich cannabis and found research dating back to the 1970s that supported the anecdotes. she was inspired to conduct the study by her own search for a treatment that could help her epileptic son.
now part of a team at university of california, san francisco (ucsf), dr. jacobson is leading the clinical investigations on a high-grade cbd extract developed by gw pharmaceuticals. the company announced that it had received fda approval to begin experimental treatments with epidiolex in epileptic children, just last month. orrin devinsky, md at the nyu school of medicine, and roberta cilio, md, phd at ucsf are the leading research. initial results are expected early next year. (via stt.org)
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ˈʤəstɪn truˈdoʊ ɪz əˈkjuzɪŋ ðə kənˈsərvətɪv ˈgəvərnmənt əv əˈdɑptɪŋ ˌɪməˈgreɪʃən ˈpɑləsiz təˈwɔrd ˈməzlɪmz ˈeɪkɪn tɪ ðə ˈsɛkənd wərld wɔr ˈpɑləsiz riˈstrɪktɪŋ ʤuz' ˈɛntri ˈɪntu ˈkænədə. hɪz hɑrʃ ˈkrɪtɪˌsɪzəm wɑz pɑrt əv hɪz spiʧ, "kəˈneɪdiən ˈlɪbərˌti ənd ðə ˈpɑləˌtɪks əv fɪr," wɪʧ hi dɪˈlɪvərd ˈmənˌdeɪ naɪt ɪn tərˈɑntoʊ tɪ əˈbaʊt 500 məˈgɪl ˌjunəˈvərsəti əˈləmˌnaɪ. "soʊ wi ʃʊd ɔl ˈʃədər tɪ hir ðə seɪm ˈrɛtərɪk ðət lɛd tɪ ə 'nən ɪz tu ˈmɛni' ˌɪməˈgreɪʃən ˈpɑləsi təˈwɔrd ʤuz ɪn ðə ənd biɪŋ juzd təˈdeɪ, tɪ reɪz fɪrz əˈgɛnst ˈməzlɪmz təˈdeɪ," hi sɛd. ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ðə "nən ɪz tu ˈmɛni" ˈrɛfərəns ɪz tɪ ðə ˈtaɪtəl əv ðə bʊk baɪ ˈərvɪŋ əˈbɛlə ənd ˈhɛrəld troper*. ɪt wɑz ˈrɪtən ˈsɛvərəl ˈdɛkeɪdz əˈgoʊ ənd ˈɑrgjuz ðət ˈkænədə wɑz wən əv ðə moʊst rɪˈzɪstənt ˈkəntriz ɪn ðə ˈwɛstərn wərld tɪ ˈseɪvɪŋ ʤuz frəm ˈjʊrəp. hɪz ˈlɪŋkɪŋ əv ðə plaɪt əv ʤuz ðɛn tɪ ˈməzlɪmz naʊ fɔrmz pɑrt əv hɪz əˈtæk ɔn ðə ˈfɛdərəl kənˈsərvətɪvz fər dɪˈstɔrtɪŋ ðə raɪts ənd ˈfridəmz əv kəˈneɪdiənz. ðə rɪˈmɑrks kəm ʤɪst ə mənθ ˈæftər hi əˈnaʊnst hɪz səˈpɔrt fər ðə moʊst sˈwipɪŋ ˈʧeɪnʤɪz tɪ sɪˈkjʊrəti ˌlɛʤəsˈleɪʃən sɪns ðə sɛpt. 11 2001 əˈtæks ənd ɛz priˈpɛr fər θri deɪz əv ˈhirɪŋz ðɪs wik ɔn ðə kənˈsərvətɪvz' nu ˌlɛʤəsˈleɪʃən bɪl ˈɔlsoʊ noʊn ɛz ðə ækt 2015 ˈkrɪtɪks hæv kənˈdɛmd ɪt fər riˈstrɪktɪŋ kəˈneɪdiənz' ˈfridəmz. ɪt wɪl ˈstrɛŋθən ðə paʊərz əv ðə ənd ðə kəˈneɪdiən sɪˈkjʊrəti ˌɪnˈtɛləʤəns ˈsərvɪs ənd ˈkrɪmənəˌlaɪz ðə pərˈmoʊʃən əv ˈtɛrəˌrɪzəm. "kənˈsərvətɪvz priˈtɛnd tɪ tɔk ə gʊd geɪm əˈbaʊt ˈfridəm, bət lʊk æt wət ðeɪ hæv dən wɪθ ɪt," ˈmɪstər. truˈdoʊ sɛd. "ðeɪ hæv ˈfɑlən ə lɔŋ weɪ frəm ðə ˈɪrə əv sər ʤɑn ə. məkˈdɑnəld tɪ ðə 'waɪ du ju heɪt ˈfridəm?' tɔnts əv ðə ˈrisəntli dɪˈpɑrtɪd sən nuz ˈnɛtˌwərk." ˈstivən lecce*, ˈspoʊksmən fər ðə praɪm ˈmɪnɪstərz ˈɔfəs, ˈɪʃud ə ˈsteɪtmənt ɪn rɪˈspɑns. "θru ðə ækt 2015 wi ər ˈteɪkɪŋ dɪˈsaɪsɪv ˈækʃən tɪ θwɔrt ˈɛfərts tɪ juz ˈkænədə ɛz ə rɪˈkrutɪŋ graʊnd, prɪˈvɛnt ˈtɛrəˌrɪzəm ˈtrævəl ənd əˈtæks ɔn ɑr sɔɪl," hi sɛd. ˈmɪstər. truˈdoʊ meɪd ˈoʊnli ə ˈflitɪŋ ˈrɛfərəns tɪ ðə nu bɪl, wɪʧ hi həz sɛd hɪz ˈpɑrti wɪl səˈpɔrt bət wɪl traɪ tɪ əˈmɛnd ɪf ɪt fɔrmz ə ˈgəvərnmənt. ðə əˈfɪʃəl ˌɑpəˈzɪʃən ɪz əˈpoʊzd tɪ ðə ˌlɛʤəsˈleɪʃən. ˈmɪstər. truˈdoʊ sɛd ɑr ˈsoʊʃəl ˈkɑnˌtrækt ˈsəmˌtaɪmz rikˈwaɪərz ˈjuˈɛs tɪ ˈmɑdərˌeɪt ɑr ˈfridəmz ɪn ˈɔrdər tɪ ɪnˈʃʊr wi meɪnˈteɪn ðɛm ɪn ðə lɔŋ rən." ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt "ðə ˈɔnˌgoʊɪŋ kˈwɛʃən fər dɪˈmɑkrəsiz ɪz haʊ wi straɪk ðə raɪt ˈbæləns." hi dɪd nɑt ˈɔfər ˈɛni spɪˈsɪfɪks əˈbaʊt haʊ hi wʊd əˈmɛnd ðə ˌlɛʤəsˈleɪʃən tɪ rɪˈflɛkt ðət ˈbæləns. ˈrəðər, hi sɛd ðiz kˈwɛsʧənz wɪl bi ˈænsərd ɪn hɪz ˈpɑrtiz ˈnæʃənəl sɪˈkjʊrəti ˈpɑləsi ɪn ɪts ɪˈlɛkʃən ˈplætˌfɔrm. ən ɪˈlɛkʃən ɪz ɪkˈspɛktɪd ɪn ðə fɔl. poʊlz ʃoʊ ðə bɪl ɪz ɪkˈstrimli ˈpɑpjələr əˈməŋ kəˈneɪdiənz, əˈspɛʃəli ɪn kwəˈbɛk. ðə ˈtɔˌriz ˌɪntrəˈdust ɪt ˈæftər ðə dɛθs əv ðə tu ˈsoʊlʤərz wən ɪn kwəˈbɛk ənd wən ɪn ˈɑtəˌwɑ læst ɑkˈtoʊbər, wɪʧ ðeɪ kˈwɪkli ˈleɪbəld ɛz ˈtɛrərɪst əˈtæks. ˈmɪstər. truˈdoʊ həz bɪn ˈkrɪtəˌsaɪzd baɪ kənˈsərvətɪvz ənd ˈfɛloʊ ˈlɪˌbərəlz əˈlaɪk fər biɪŋ wik ɔn ðə sɪˈkjʊrəti faɪl. hi ˈvoʊtɪd əˈgɛnst ˈsɛndɪŋ kəˈneɪdiən ˈfaɪtər ʤɛts tɪ ˌɪˈrɑk ənd meɪd ən rɪˈmɑrk əˈbaʊt prəˈvaɪdɪŋ ˌjuˌmænəˈtɛriən eɪd ˈrəðər ðən "wɪp aʊt ɑr ənd ʃoʊ ðɛm haʊ bɪg ðeɪ ər." ˈsinjər ˈlɪˌbərəlz ˈɑrgjud fər ə kəˈneɪdiən ˈkɑmbæt ˈmɪʃən tɪ faɪt ðə ˌɪzˈlɑmɪk steɪt. ˈminˌwaɪl, ɪn hɪz spiʧ, ˈmɪstər. truˈdoʊ ˈkɛrɪktərˌaɪzəz ðə kənˈsərvətɪvz' əˈproʊʧ tɪ ˈpɑləˌtɪks ɛz "kərˈoʊsɪv." "ɪt stoʊks æŋˈzaɪəti ənd fɪr," hi sɛd. "ˌɪnˈstɛd əv ɪnˈkərəʤɪŋ kəˈneɪdiənz tɪ faɪt fər wən əˈnəðərz ˈlɪbərˌti, ɪt tɛlz ˈjuˈɛs tɪ bi səˈspɪʃəs əv iʧ ˈəðərz ˈʧɔɪsɪz." ˈstɔri kənˈtɪnjuz bɪˈloʊ ˌædvərˈtaɪzmənt ənd hi wɔrnd əˈgɛnst blərɪŋ ðə laɪn "bɪtˈwin ə ril sɪˈkjʊrəti θrɛt ənd ˈsɪmpəl ˈprɛʤədɪs." "ɪn dɪˈfɛndɪŋ ˈkænədə, wi ˈkænɑt əˈlaʊ ɑrˈsɛlvz tɪ bɪˈkəm lɛs kəˈneɪdiən." ˈmɪstər. truˈdoʊ tɔkt ˈɔlsoʊ əˈbaʊt ðə ˈməzlɪm ˈwʊmən frəm kwəˈbɛk, ˈrɑniə el-alloul*, hu wɔr ə hɛd skɑrf tɪ kɔrt. ðə ʤəʤ rɪfˈjuzd tɪ hir hər keɪs ənˈlɛs ʃi riˈmuvd hər hijab*. ˈstɔri ɪz pɑrt əv ə ˈtrəbəlɪŋ trɛnd ðət ˈmɪstər. ˈhɑrpər simz kin tɪ ækˈsɛlərˌeɪt ənd ˌɛkˈsplɔɪt," sɛd ˈmɪstər. truˈdoʊ, ˈnoʊtɪŋ ðət ðə kənˈsərvətɪvz' ˈpɑləsi dɪˈklɛrɪŋ ðət ˈwɪmən ˈkænɑt wɛr ə ˈdʊrɪŋ ˈsɪtɪzənˌʃɪp ˈsɛrəˌmoʊniz wɑz ˈoʊvərˌtərnd baɪ ðə ˈfɛdərəl kɔrt əv əˈpil.
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justin trudeau is accusing the conservative government of adopting immigration policies toward muslims akin to the second world war policies restricting jews' entry into canada.
his harsh criticism was part of his speech, "canadian liberty and the politics of fear," which he delivered monday night in toronto to about 500 mcgill university alumni.
"so we should all shudder to hear the same rhetoric that led to a 'none is too many' immigration policy toward jews in the '30s and '40s being used today, to raise fears against muslims today," he said.
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the "none is too many" reference is to the title of the book by irving abella and harold troper. it was written several decades ago and argues that canada was one of the most resistant countries in the western world to saving jews from europe.
his linking of the plight of jews then to muslims now forms part of his attack on the federal conservatives for distorting the rights and freedoms of canadians.
the remarks come just a month after he announced his support for the most sweeping changes to security legislation since the sept. 11, 2001, attacks and as mps prepare for three days of hearings this week on the conservatives' new legislation – bill c-51, also known as the anti-terrorism act (2015). critics have condemned it for restricting canadians' freedoms. it will strengthen the powers of the rcmp and the canadian security intelligence service and criminalize the promotion of terrorism.
"conservatives pretend to talk a good game about freedom, but look at what they have done with it," mr. trudeau said. "they have fallen a long way from the era of sir john a. macdonald to the 'why do you hate freedom?' taunts of the recently departed sun news network."
stephen lecce, spokesman for the prime minister's office, issued a statement in response. "through the anti-terrorism act 2015, we are taking decisive action to thwart efforts to use canada as a recruiting ground, prevent terrorism travel and attacks on our soil," he said.
mr. trudeau made only a fleeting reference to the new bill, which he has said his party will support but will try to amend if it forms a government. the official opposition ndp is opposed to the legislation.
mr. trudeau said "… our social contract sometimes requires us to moderate our freedoms in order to ensure we maintain them in the long run."
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"the ongoing question for democracies is how we strike the right balance."
he did not offer any specifics about how he would amend the legislation to reflect that balance. rather, he said these questions will be answered in his party's national security policy in its election platform. an election is expected in the fall. polls show the bill is extremely popular among canadians, especially in quebec.
the tories introduced it after the deaths of the two soldiers – one in quebec and one in ottawa – last october, which they quickly labelled as terrorist attacks.
mr. trudeau has been criticized by conservatives and fellow liberals alike for being weak on the security file. he voted against sending canadian fighter jets to iraq and made an off-colour remark about providing humanitarian aid rather than "whip out our cf-18s and show them how big they are." senior liberals argued for a canadian combat mission to fight the islamic state.
meanwhile, in his speech, mr. trudeau characterizes the conservatives' approach to politics as "corrosive."
"it stokes anxiety and foments fear," he said. "instead of encouraging canadians to fight for one another's liberty, it tells us to be suspicious of each other's choices."
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and he warned against blurring the line "between a real security threat and simple prejudice."
"in defending canada, we cannot allow ourselves to become less canadian."
mr. trudeau talked also about the muslim woman from quebec, rania el-alloul, who wore a head scarf to court. the judge refused to hear her case unless she removed her hijab.
"rania's story is part of a troubling trend that mr. harper seems keen to accelerate and exploit," said mr. trudeau, noting that the conservatives' policy declaring that women cannot wear a niqab during citizenship ceremonies was overturned by the federal court of appeal.
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ðə ˈsɛnɪt ˌɪnˈtɛləʤəns səˈpinə əv ˈmaɪkəl ˈpraɪvət ˈdɑkjəmənts sɛts əp ə pəˈtɛnʃəl ˈbætəl bɪtˈwin ðə ˈlɛʤəsˌleɪtɪv ənd ɪgˈzɛkjətɪv ˈbrænʧɪz ˈoʊvər ˈwɛðər ðə ˈʤəstɪs dɪˈpɑrtmənt wɪl ɛnˈfɔrs wɪl. ðə ˈʤəstɪs dɪˈpɑrtmənt ɪz ʧɑrʤd wɪθ ɛnˈfɔrsɪŋ kənˈgrɛʃənəl səˈpinəz. bət ɪt ɪz lɛd baɪ əˈtərni ˈʤɛnərəl ʤɛf ˈsɛʃənz ˈʤɛfərsən (ʤɛf) ˈbɔrɪˌgɑrd trəmp ˈrɛfjuʤi dɪˈrɛktər dɪd nɑt ˈnoʊtəˌfaɪ suˈpɪriərz əˈbaʊt ˈfæməli ˌsɛpərˈeɪʃən ˈwɔrnɪŋz kɔrt ˈriʤɛkts ˈʧælənʤ tɪ əˈpɔɪntmənt trəmp sɪz hi ˈhæzənt ˈspoʊkən tɪ bɑr əˈbaʊt mˈjulər rɪˈpɔrt mɔr, ənd ðə flɪn səˈpinəz ər rɪˈleɪtɪd tɪ ˌɪnˌvɛstəˈgeɪʃənz əv ˈmɛdəlɪŋ ɪn læst ˌprɛzɪˈdɛnʃəl ɪˈlɛkʃən, ə sɔr spɑt fər ˈprɛzɪdənt trəmp. ˈdɛməˌkræts ər ɔˈrɛdi ˈmeɪkɪŋ ðɛr fɪrz noʊn. ˈwərid əˈbaʊt ðət frəm ðə stɑrt. ðə fækt ðət wi hæv kˌwɔpərˈeɪʃən bɪtˈwin ðə ɪgˈzɛkjətɪv brænʧ ənd ðə ˈlɛʤəsˌleɪtɪv brænʧ ˈreɪzɪz kˈwɛsʧənz əˈbaʊt haʊ fɑr wi kən go,”*,” sɛd ˈsɛnɪt ˌdɛməˈkrætɪk wɪp dɪk ˈdərbɪn ˈrɪʧərd (dɪk) ˈʤoʊzəf kənˈfrənt ˈfaɪnˌstin ˈoʊvər grin nu dil ˈsɛnɪt plɑts tɪ əˈvɔɪd fɔl ˈʃətˌdaʊn brɔl ˈoʊvərˈnaɪt ˈɛnərʤi: trəmp ɛndz tɔks wɪθ ˌkæləˈfɔrnjə ɔn kɑr ɪˈmɪʃənz feɪs təf voʊt ɔn grin nu dil ˈklaɪmɪt pæk ˈbækɪŋ ɪn ˈpɑsəbəl 2020 rən mɔr (ɪl.), ə ˈsinjər ˈmɛmbər əv ðə ʤuˈdɪʃiˌɛri kəˈmɪti, wɪʧ həz ˌʤʊrɪsˈdɪkʃən ˈoʊvər ðə ˈʤəstɪs dɪˈpɑrtmənt. ˌædvərˈtaɪzmənt ðə ˌɪnˈtɛləʤəns kəˈmɪti ðɪs wik səˈpinəd flɪn fər ˈdɑkjəmənts ˈrɛləvənt tɪ ɪts ˈrəʃə ˌɪnˌvɛstəˈgeɪʃən. ɪt ɪz ðə fərst taɪm ɪt həz ˈɪʃud ə səˈpinə sɪns ðə kənˈgrɛʃənəl ˌɪnkˈwaɪˌri ˈɪntu ðə ˈtɛrərɪst əˈtæks əv sɛpt. 11 2001 əˈkɔrdɪŋ tɪ ˈɛnˌbiˈsi nuz. ðə səˈpinə əv ˈdɑkjəmənts ɪz ˈoʊnli ðə stɑrt əv ðə ˈbætəl ˈoʊvər ˈsɛnsɪtɪv ˈdɑkjəmənts. ðə ˌɪnˈtɛləʤəns kəˈmɪti həz æst mɔr ðən ə ˈdəzən ˌɪndəˈvɪʤəwəlz, ˈeɪʤənsiz ənd ˌɔrgənəˈzeɪʃənz tɪ prɪˈzərv ˈrɛkərdz rɪˈleɪtɪd tɪ ɪts ˌɪnˌvɛstəˈgeɪʃən. əˈbaʊt ˈpɑsəbəl rɪˈkɔrdɪŋz əv ˌkɑnvərˈseɪʃənz wɪθ ˈfɔrmər ˈɛfˈbiˈaɪ dɪˈrɛktər ʤeɪmz, hum hi faɪərd ðɪs wik, ædz əˈnəðər leɪər. ɪf ðɛr ˈrɪli ər teɪps, ðeɪ kʊd bɪˈkəm ðə ˈsəbʤɪkt əv ə səˈpinə. rɛpriˈzɛtətɪv. ˈædəm ʃɪf ˈædəm ˈbɛnɪt ˈdɛməˌkræts faɪl ˌlɛʤəsˈleɪʃən tɪ ɪnˈʃʊr mˈjulər rɪˈpɔrt riˈlist ˈhænɪti ˈɛkoʊz bɪl mɑr, ˌɪnˈvaɪts ʃɪf tɪ əˈpɪr ɔn ʃoʊ ˈkərtən ˈraɪzɪz ɔn 3 deɪz əv koʊən ˈdrɑmə mɔr (ˈkælɪf.), ðə ˈsinjər ˈdɛməˌkræt ɔn ðə haʊs ˌɪnˈtɛləʤəns kəˈmɪti, ɔn ˈfraɪˌdeɪ dɪˈmændɪd ðət trəmp tərn ˈoʊvər tɪ ˈkɑŋgrəs ˈɛni teɪpt ˌkɑnvərˈseɪʃənz wɪθ ðət hi meɪ hæv. mɑrk, ə ˈfɔrmər ˌdɛməˈkrætɪk ʧif ˈkaʊnsəl tɪ ðə ˈsɛnɪt ʤuˈdɪʃiˌɛri kəˈmɪti ənd ˈfɔrmər ˈkaʊnsəl tɪ ðə ˈsɛnɪt ˌɪnˈtɛləʤəns kəˈmɪti, sɛd ðə ˈlumɪŋ faɪt riˈmaɪndz ɪm əv ðə ˈstænˌdɔf bɪtˈwin ˈprɛzɪdənt ˈrɪʧərd ˈnɪksən ənd ðə ˈsɛnɪt ˈwɔtərˌgeɪt kəˈmɪti ɪn ðə ˈərli 1970s*., hu wərkt fər ˈfɔrmər sɛn. sæm ˈərˌvɪn (d-n.c*.), hu ʧɛrd ðə ˈwɔtərˌgeɪt ˌɪnˌvɛstəˈgeɪʃən, rɪˈmɛmbərz ˈæskɪŋ hɪz bɔs ɪn ðə mɪst əv ðə ˌɪnkˈwaɪˌri, wɪl ˈhæpən ɪf ðə ˈʤəstɪs dɪˈpɑrtmənt ɛnˈfɔrs jʊr səˈpinə, jʊr ˈwɔtərˌgeɪt subpoenas?”*?” sɛd, ‘‘theoretically*, wi ɪn ˈkɑŋgrəs kən hoʊld ðɛm ɪn kənˈtɛmpt ənd ɛnˈfɔrs ðə kənˈtɛmpt ˈɔrdər ɑrˈsɛlvz. wi kən ərˈɛst ðə ˈpərsən ənd pʊt ðɛm ɪn ʤeɪl ɪn ðə ˈbeɪsmənt əv ðə ˈkæpɪtəl ɪf wi hæv to,”*,” rɪˈkɔld. bət waɪl sɛd səʧ ə sɪˈnɛrioʊ ɪz ˌθiərˈɛtɪkəli ˈpɑsəbəl, ɪt bɪn dən ɪn æt list 150 jɪrz. ðə ɪgˈzɛkjətɪv brænʧ rɪfˈjuzɪz tɪ ɛnˈfɔrs ðə ˈpɑləsi əv ðə ˈlɛʤəsˌleɪtɪv brænʧ, ə tru ˌkɑnstəˈtuʃənəl crisis,”*,” hi ˈædɪd. ˈsɛnɪt ˌdɛməˈkrætɪk eɪdz seɪ ðɪs ˌəndərˈskɔrz ðə nid fər ə ˈspɛʃəl ˈprɑsɪˌkjutər, wɪʧ sɛn. mɑrk ˈwɔrnər mɑrk ˈrɑbərt mæn ʧɑrʤd ˈæftər θˈrɛtənɪŋ sɛn. mɑrk ˈwɔrnər koʊən grɪld baɪ ˈsɛnɪt ˌɪnˈtɛləʤəns ˈpænəl ˈvæli: ˈsɛnətərz ərʤ trəmp tɪ bɑr ˈprɑdəkts frəm ɪˈlɛktrɪk grɪd əˈfɪʃəlz kənˈdɛm trəmp ˈimərʤənsi ˌdɛklərˈeɪʃən nu məˈlɪʃəs ˈsaɪbər tul faʊnd ˈfeɪsˌbʊk ˈfeɪsɪz kˈwɛsʧənz ɔn ˈtritmənt əv ˈmɑdərˌeɪtərz mɔr (va*.), ðə ˈsinjər ˈdɛməˌkræt ɔn ðə ˈsɛnɪt ˌɪnˈtɛləʤəns kəˈmɪti, kɔld fər ðɪs pæst wik. ˈsɛnətərz hæd əˈsumd ˌbiˈfɔr ðɪs wik ðət ðə ˈɛfˈbiˈaɪ wʊd bi duɪŋ moʊst əv ðə ˈhɛvi ˌɪnˈvɛstəˌgeɪtɪv ˈlɪftɪŋ ɪn ˈfaɪndɪŋ aʊt ˈwɛðər ˈmɛmbərz əv kæmˈpeɪn ər trænˈzɪʃən tim hæd ˈspɛʃəl ˈnɑlɪʤ əv ˈrəʃən ˈɛfərts tɪ ˈɪnfluəns ðə ɪˈlɛkʃən. bət ðə roʊl ɪz naʊ ɪn ˈlɪmboʊ ɪn ðə weɪk əv səˈpraɪz dɪˈsɪʒən tɪ faɪər. ɛz ˈkɑŋgrəs əˈweɪts ʧɔɪs fər ə rɪˈpleɪsmənt, ə ˈdɔnɪŋ ˈriləˈzeɪʃən ðət ðə ˈsɛnɪt ˌɪnˌvɛstəˈgeɪʃən meɪ hæv tɪ ˈʃoʊldər mɔr əv ðə ˈbərdən. ˈdɛməˌkræts teɪk fər ˈgrænɪd ðət ˈsɛʃənz wɪl hæv bæk, əˈspɛʃəli sɪns hi ˌrɛkəˈmɛndɪd dɪsˈmɪsəl. ðeɪ ˈɑrgju ðət ˈsɛʃənz ˈæktɪd ˌɪmˈprɑpərli bɪˈkəz hi kriˈeɪtɪd ðə əˈpɪrəns əv ˌɪnərˈfɪrɪŋ ɪn ən ˌɪnˌvɛstəˈgeɪʃən ˈæftər ˈərliər ðɪs jɪr ˈprɑməsɪŋ tɪ ˌrɪˈkjuz hɪmˈsɛlf frəm ˈoʊvərˌsaɪt əv ðə proʊb. ˈsɛʃənz rɪˈkjuzd hɪmˈsɛlf ˈæftər ɪt wɑz dɪˈskəvərd ðət, waɪl ˈæktɪŋ ɛz ə ˈsərəˌgeɪt fər trəmps kæmˈpeɪn, ðə ˈfɔrmər rɪˈpəblɪkən ˈsɛnətər frəm ˌæləˈbæmə hæd ˌkɑnvərˈseɪʃənz wɪθ ˈrəʃən æmˈbæsədər ˈsɛrʤi kislyak*, ə fækt ˈsɛʃənz dɪd nɑt dɪˈskloʊz ˈdʊrɪŋ hɪz ˌkɑnfərˈmeɪʃən ˈhirɪŋ. ɪf flɪn ər ˈəðər ˈfɔrmər trəmp ædˈvaɪzərz ˈrɛfˌjuz rɪkˈwɛsts fər ˌɪnˌfɔrˈmeɪʃən ər ˈtɛstɪˌmoʊni, ˈkɑŋgrəs kʊd dɪˈklɛr ðɛm ɪn kənˈtɛmpt. bət ɛnˈfɔrsɪŋ ðə kənˈtɛmpt ˈfaɪndɪŋ wʊd fɔl tɪ ðə ˈʤəstɪs dɪˈpɑrtmənt. ðə ˈəðər ˈɔpʃən ɪz fər ðə ˈsɛnɪt tɪ haɪər ɪts oʊn ˈlɔjərz ənd dɪˈrɛkli pəˈtɪʃən ðə juz. ˈdɪstrɪkt kɔrt fər ðə ˈdɪstrɪkt əv kəˈləmbiə tɪ ɛnˈfɔrs ə səˈpinə, əˈkɔrdɪŋ tɪ ən eɪd tɪ ə ˌdɛməˈkrætɪk ˈmɛmbər əv ðə ˈsɛnɪt ʤuˈdɪʃiˌɛri kəˈmɪti. bət ˈligəl ˈɛkspərts seɪ ðət rut kʊd teɪk mənθs, ɪf nɑt jɪrz, ənd noʊt ðə ɪgˈzɛkjətɪv brænʧ ɪz ˈəltəmətli ɪn ʧɑrʤ əv ɛnˈfɔrsɪŋ ðə ˈrulɪŋz əv ə ˈdɪstrɪkt ʤəʤ. əˈnəðər ˈmeɪʤər ˌlɪmɪˈteɪʃən ɪz ðə d.c*. ˈdɪstrɪkt kɔrt dɪz nɑt hæv ˌʤʊrɪsˈdɪkʃən tɪ ˌdɪˈsaɪd ˈsɪvəl ɛnˈfɔrsmənt əv ə ˈsɛnɪt səˈpinə ˈɪʃud tɪ ˈɔfɪsər ər ɪmˈplɔɪi əv ðə ˈfɛdərəl ˈgəvərnmənt ˈæktɪŋ ɪn ðɛr əˈfɪʃəl capacity,”*,” əˈkɔrdɪŋ tɪ ə kənˈgrɛʃənəl ˈrisərʧ ˈsərvɪs rɪˈpɔrt frəm ˈeɪprəl 10 2014 ˈʧɑrəlz frid, ə prəˈfɛsər æt ˈhɑrvərd lɔ skul ənd ə ˈfɔrmər səˈlɪsətər ˈʤɛnərəl əv ðə juˈnaɪtɪd steɪts, sɪz ðət ˈpræktɪkəli ˈspikɪŋ ˈkɑŋgrəs hæv məʧ ˈrikɔrs ɪf ðə ˈʤəstɪs dɪˈpɑrtmənt rɪfˈjuzɪz tɪ ɛnˈfɔrs ə kənˈtɛmpt saɪˈteɪʃən. kən dɪˈklɛr ˈvɛriəs əˈfɪʃəlz ɪn kənˈtɛmpt," frid ˈnoʊtɪd, bət ˈəltəmətli həz noʊ paʊər əv prosecution.”*.” noʊ ɪf ðeɪ hæv ə ʤeɪl. ðeɪ maɪt pʊt ˈsəmˌbɑdi ɪn ðə kənˈgrɛʃənəl ʤeɪl, wət [ðə ˈbrɪtɪʃ] ˈpɑrləmɛnt dɪz kən do,”*,” hi ˈædɪd. ˌprɑsəˈkjuʃən fər kraɪm həz tɪ bi ðə dɪˈpɑrtmənt əv justice.”*.”
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the senate intelligence committee’s subpoena of michael flynn’s private documents sets up a potential battle between the legislative and executive branches over whether the justice department will enforce congress’s will.
the justice department is charged with enforcing congressional subpoenas. but it is led by attorney general jeff sessions jefferson (jeff) beauregard sessionsformer trump refugee director did not notify superiors about family separation warnings court rejects challenge to mueller's appointment trump says he hasn't spoken to barr about mueller report more, and the flynn subpoenas are related to investigations of russia’s meddling in last year’s presidential election, a sore spot for president trump.
democrats are already making their fears known.
“i worried about that from the start. the fact that we don’t have cooperation between the executive branch and the legislative branch raises questions about how far we can go,” said senate democratic whip dick durbin richard (dick) joseph durbinkids confront feinstein over green new deal senate plots to avoid fall shutdown brawl overnight energy: trump ends talks with california on car emissions | dems face tough vote on green new deal | climate pac backing inslee in possible 2020 run more (ill.), a senior member of the judiciary committee, which has jurisdiction over the justice department.
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the intelligence committee this week subpoenaed flynn for documents relevant to its russia investigation. it is the first time it has issued a subpoena since the congressional inquiry into the terrorist attacks of sept. 11, 2001, according to nbc news.
the subpoena of flynn’s documents is only the start of the battle over sensitive documents.
the intelligence committee has asked more than a dozen individuals, agencies and organizations to preserve records related to its investigation.
trump’s tweets about possible recordings of conversations with former fbi director james comey, whom he fired this week, adds another layer.
if there really are tapes, they could become the subject of a subpoena.
rep. adam schiff adam bennett schiffhouse democrats file legislation to ensure mueller report released hannity echoes bill maher, invites schiff to appear on show curtain rises on 3 days of cohen drama more (calif.), the senior democrat on the house intelligence committee, on friday demanded that trump turn over to congress any taped conversations with comey that he may have.
mark gitenstein, a former democratic chief counsel to the senate judiciary committee and former counsel to the senate intelligence committee, said the looming fight reminds him of the standoff between president richard nixon and the senate watergate committee in the early 1970s.
gitenstein, who worked for former sen. sam ervin (d-n.c.), who chaired the senate’s watergate investigation, remembers asking his boss in the midst of the inquiry, “what will happen if the justice department doesn’t enforce your subpoena, your watergate subpoenas?”
“he said, ‘theoretically, we in congress can hold them in contempt and enforce the contempt order ourselves. we can arrest the person and put them in jail in the basement of the capitol if we have to,” gitenstein recalled.
but while gitenstein said such a scenario is theoretically possible, it hasn’t been done in at least 150 years.
“if the executive branch refuses to enforce the policy of the legislative branch, that’s a true constitutional crisis,” he added.
senate democratic aides say this underscores the need for a special prosecutor, which sen. mark warner mark robert warnervirginia man charged after threatening sen. mark warner cohen grilled by senate intelligence panel hillicon valley: senators urge trump to bar huawei products from electric grid | ex-security officials condemn trump emergency declaration | new malicious cyber tool found | facebook faces questions on treatment of moderators more (va.), the senior democrat on the senate intelligence committee, called for this past week.
senators had assumed before this week that the fbi would be doing most of the heavy investigative lifting in finding out whether members of trump’s campaign or transition team had special knowledge of russian efforts to influence the election.
but the fbi’s role is now in limbo in the wake of trump’s surprise decision to fire comey.
as congress awaits trump’s choice for a replacement, there’s a dawning realization that the senate investigation may have to shoulder more of the burden.
democrats don’t take for granted that sessions will have congress’s back, especially since he recommended comey’s dismissal. they argue that sessions acted improperly because he created the appearance of interfering in an investigation after earlier this year promising to recuse himself from oversight of the probe.
sessions recused himself after it was discovered that, while acting as a surrogate for trump's campaign, the former republican senator from alabama had conversations with russian ambassador sergey kislyak, a fact sessions did not disclose during his confirmation hearing.
if flynn or other former trump advisers refuse requests for information or testimony, congress could declare them in contempt. but enforcing the contempt finding would fall to the justice department.
the other option is for the senate to hire its own lawyers and directly petition the u.s. district court for the district of columbia to enforce a subpoena, according to an aide to a democratic member of the senate judiciary committee.
but legal experts say that route could take months, if not years, and note the executive branch is ultimately in charge of enforcing the rulings of a district judge.
another major limitation is the d.c. district court does not have jurisdiction to decide civil enforcement of a senate subpoena issued to “an officer or employee of the federal government acting in their official capacity,” according to a congressional research service report from april 10, 2014.
charles fried, a professor at harvard law school and a former solicitor general of the united states, says that practically speaking congress doesn’t have much recourse if the justice department refuses to enforce a contempt citation.
“they can declare various officials in contempt," fried noted, but ultimately “congress has no power of prosecution.”
“i don’t know if they have a jail. they might put somebody in the congressional jail, that’s what [the british] parliament does — can do,” he added. “but prosecution for crime has to be the department of justice.”
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ˈɛvəri deɪ fər mɔr ðən 40 jɪrz, ðə sˈlipɪŋ ˈprɑfət ˈɛdgər keɪs wʊd pʊt hɪmˈsɛlf ɪn ə træns. waɪl ɪn ðɪs træns, hi wʊd ðɛn ““predict”*” ðə fˈjuʧər frəm hɪz səbˈkɑnʃəs. hi dɪd nɑt ʤɪst prɪˈdɪkt ðə fˈjuʧər, bət ˈɛdgər ˈprɑfəsiz rɪˈvild ˌɪnˌfɔrˈmeɪʃən ɔn ə waɪd vərˈaɪəti əv ˈsəbʤɪkts. ðiz ˈsəbʤɪkts ˌɪnˈkludɪd ˈeɪnʧənt ˈhɪstəri, rɪˈlɪʤən, ənd ˈivɪn hɛlθ kɛr. ɪt ɪz ˈɛstəˌmeɪtɪd ðət ˈɛdgər keɪs meɪd ˈoʊvər priˈdɪkʃənz ɪn hɪz ˈlaɪfˌtaɪm. ˈivɪn təˈdeɪ, mɔr ðən 65 jɪrz ˈæftər dɛθ, hɪz bɪˈlivərz stɪl ɪgˈzɪst. ðɛr ər ˈɛdgər keɪs ˈsɛnərz ˈloʊˌkeɪtəd əraʊnd ðə wərld. ɪt ɪz æt wən əv ðiz ˈsɛnərz, ˈɛdgər əˌsoʊʃiˈeɪʃən fər ˈrisərʧ ənd ˌɛnˈlaɪtənmənt ɪn vərˈʤɪnjə biʧ, wɛr ˈɛniˌwən ˈɪntəˌrɛstɪd kən rɛd mɔr ðən əv hɪz ˈridɪŋz ðət wər prɪˈzərvd ˈdʊrɪŋ hɪz ˈlaɪfˌtaɪm. hi ɪz ˈɔfən proʊˈkleɪmd ɛz ə ˈmɪrəkəl ˈwərkər, ˈprɑfət, ənd ˈivɪn moʊst səkˈsɛsfəl klɛrˈvɔɪənt; ˌhaʊˈɛvər, ˈɛdgər priˈdɪkʃənz wər rɔŋ mɔr ˈɔfən ðən ðeɪ wər kərˈɛkt. bɪˈloʊ ər ʤɪst ə fju əv ðoʊz feɪld ˈɛdgər keɪs ˈprɑfəsiz. 1933 wɪl bi ə gʊd jɪr ɪn wən əv ˈərliər priˈdɪkʃənz, hi ˈsteɪtɪd ðət 1933 wʊd bi ə gʊd jɪr. ðɪs priˈdɪkʃən wɑz weɪ ɔf beɪs. ɪn 1933 ˈeɪdɑlf ˈhɪtlər wɑz əˈpɔɪntɪd ˈʧænsələr əv ˈʤərməni. ˈʃɔrtli ˈæftər ðɪs əˈpɔɪntmənt, hi dɪˈzɑlvd ðə ˈʤərmən ˈpɑrləmɛnt, wɪʧ mɑrkt ðə bɪˈgɪnɪŋ əv ðə ˈnɑtsi ˈræmˌpeɪʤ θruaʊt ˈʤərməni ənd əˈkrɔs ˈjʊrəp. ɪn ðə juz., ðə greɪt dɪˈprɛʃən wɑz ɪn fʊl swɪŋ wɪn ðə ˈgloʊbəl ɪˈkɑnəmi hɪt rɑk ˈbɑtəm ɪn 1933 ðə lɔst ˈsɪti əv æˈtlænɪs keɪs wɑz ˈæˌkʧuəli ˈvɛri fɑnd əv ðə ˈsəbʤɪkt əv æˈtlænɪs, ənd meɪd kwaɪt ə fju priˈdɪkʃənz əˈbaʊt ðə lɔst ˈsɪti. moʊst əv ðiz priˈdɪkʃənz wər weɪ ɔf beɪs. wən əv ðiz priˈdɪkʃənz ˈsteɪtɪd ðət ən dɛθ reɪ wʊd bi dɪˈskəvərd baɪ ðə juz. ɪn 1958 hi ˈɔlsoʊ prɪˈdɪktɪd ðət ðə lɔst ˈsɪti wʊd raɪz əˈgɛn ɪn 1968 ər 1969 ˈniðər wən əv ðiz priˈdɪkʃənz ˈɛvər keɪm tɪ fruˈɪʃən. ˈivɪn, ɪf ju teɪk ðə moʊst ˈrisənt kleɪm əv ðə ˌdɪˈskəvri əv æˈtlænɪs ˈɪntu kənˌsɪdərˈeɪʃən; keɪs wɑz stɪl 42 jɪrz ənd maɪəlz ɔf. ðə lɔst steɪt əv ˌkæləˈfɔrnjə ʤɪst ɛz æˈtlænɪs səˈpoʊzədli sæŋk ˈɪntu ðə ˈoʊʃən, soʊ wʊd ˌkæləˈfɔrnjə. əˈkɔrdɪŋ tɪ keɪs, ə lɑrʤ ˈərθkˌweɪk wʊd hɪt ðə seɪt əv ˌkæləˈfɔrnjə, ˈkɔzɪŋ ɪt ənd ðə ˈbɑˌhɑ pəˈnɪnsələ tɪ slaɪd ˈɪntu ðə pəˈsɪfɪk ˈsəmˌtaɪm ˈdʊrɪŋ ðə 1960s*. ˈivɪn ðoʊ ˌkæləˈfɔrnjə dɪz sɪt ɔn ə fɔlt laɪn ənd ɪz pleɪgd baɪ ˈnumərəs ˈərθkˌweɪks pər jɪr, ðə seɪt ənd ðə ˈbɑˌhɑ pəˈnɪnsələ ər boʊθ stɪl ˈfʊli ˌɪnˈtækt. ˌɑrməˈgɛdən ɪn 1999 waɪl ɪn hɪz tranced*, keɪs prɪˈdɪktɪd ðət ˌɑrməˈgɛdən wʊd kəm ɪn 1999 ˈɑbviəsli, ˌɑrməˈgɛdən ˈnɛvər keɪm. 1999 dɪd hæv ɪts ʃɛr əv dɪˈzæstərz, ˈnæʧərəl ənd pəˈlɪtɪkəl, bət ˈnəθɪŋ ɔn ðə skeɪl əv ˌɑrməˈgɛdən. ə nu ˈkrɪsʧɪn ˈʧaɪnə keɪs ˈɔlsoʊ prɪˈdɪktɪd ðət ˈʧaɪnə wʊd bɪˈkəm ðə nu əv christianity.”*.” hi wɛnt ɔn tɪ prɪˈdɪkt ðət ˈʧaɪnə wʊd bi kəmˈplitli kənˈvərtɪd tɪ ˌkrɪsʧiˈænɪti baɪ 1968 ʤɪst ɛz ɪn hɪz ˈəðər priˈdɪkʃənz, keɪs mɪst ðə mɑrk. ˈbudɪzəm rɪˈmeɪnz ðə moʊst ˈpɑpjələr ˈsɪŋgəl rɪˈlɪʤən ɪn ˈʧaɪnə sɪns ɪts ˌɪntrəˈdəkʃən ɪn ðə ˈsɛnʧəri. ˈnɪrli 30 əv ðə ˈkəntri ɪz ˈbudəst. ðə ˈnəmbər əv ˈkrɪsʧɪnz peɪl ɪn kəmˈpɛrəsən. ˈivɪn təˈdeɪ, ˈkrɪsʧɪnz ˈoʊnli meɪk əp 3 tɪ 4 əv ðə ʧaɪˈniz ˌpɑpjəˈleɪʃən. bɪˈlivərz hæv noʊ nid fər ˈɛvədəns aʊt əv ðə ˈθaʊzənz əˈpɑn ˈθaʊzənz ˈɛdgər ˈprɑfəsiz, ˈoʊnli 40 kən bi kənˈsɪdərd riˈmoʊtli kərˈɛkt, ənd ˈivɪn ðət pərˈsɛnɪʤ ɪz ˈoʊpən tɪ dəˈbeɪt. ðə ˈəðər 60 wər ˈiðər tu veɪg tɪ ˌɪnˈtərprət, multiple-intent*, ər ʤɪst pleɪn rɔŋ. ʤɪst ɛz keɪs wɑz nɑt kənˈsərnd wɪθ ˈkrɪtɪks ənd ˈskɛptɪks, ˈniðər ər hɪz ˈfɑloʊərz. wɪn kˈwɛsʧənd əˈbaʊt flɔd ər ˌɪnkərˈɛkt priˈdɪkʃənz, bɪˈlivərz ˈsɪmpli rɪˈplaɪ bæk wɪθ ə kwoʊt frəm keɪs hɪmˈsɛlf. ɪz ˈnɛvər ˈgɪvɪn fər ˈɛni ˈəðər ˈpərpəs ðən ɛz ə ˈwɔrnɪŋ. fər ðɪs ˈrizən, ə səkˈsɛsfəl ˈprɑfəsi ɪz wən ðət həz bɪn əˈvərtəd ənd ˈðɛrˌfɔr dɪz nɑt happen.”*.” ðɪs ˈɔlsoʊ minz ðət ə səkˈsɛsfəl ˈprɑfət ɪz wən ðət ju kən ˈnɛvər səkˈsɛsfəli pruv ɪz ə frɔd, noʊ ˈmætər haʊ ˈmɛni taɪmz ðeɪ gɪt ɪt rɔŋ. ərˈɪʤənəli ˈpəblɪʃt ɔn
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every day for more than 40 years, the sleeping prophet edgar cayce would put himself in a trance. while in this trance, he would then “predict” the future from his subconscious.
he did not just predict the future, but edgar cayce’s prophecies revealed information on a wide variety of subjects. these subjects included ancient history, religion, and even health care. it is estimated that edgar cayce made over 21,000 predictions in his lifetime.
even today, more than 65 years after cayce’s death, his believers still exist. there are edgar cayce centers located around the world.
it is at one of these centers, edgar cayce’s association for research and enlightenment in virginia beach, where anyone interested can read more than 14,000 of his readings that were preserved during his lifetime.
he is often proclaimed as a miracle worker, prophet, and even america’s most successful clairvoyant; however, edgar cayce’s predictions were wrong more often than they were correct. below are just a few of those failed edgar cayce prophecies.
1933 will be a good year
in one of cayce’s earlier predictions, he stated that 1933 would be a good year. this prediction was way off base.
in 1933, adolf hitler was appointed chancellor of germany. shortly after this appointment, he dissolved the german parliament, which marked the beginning of the nazi rampage throughout germany and across europe.
in the u.s., the great depression was in full swing when the global economy hit rock bottom in 1933.
the lost city of atlantis
cayce was actually very fond of the subject of atlantis, and made quite a few predictions about the lost city. most of these predictions were way off base.
one of these predictions stated that an atlantean death ray would be discovered by the u.s. in 1958. he also predicted that the lost city would rise again in 1968 or 1969. neither one of these predictions ever came to fruition.
even, if you take the most recent claim of the discovery of atlantis into consideration; cayce was still 42 years and 4,000 miles off.
the lost state of california
just as atlantis supposedly sank into the ocean, so would california.
according to cayce, a large earthquake would hit the sate of california, causing it and the baja peninsula to slide into the pacific sometime during the 1960s. even though california does sit on a fault line and is plagued by numerous earthquakes per year, the sate and the baja peninsula are both still fully intact.
armageddon in 1999
while in his self-induced tranced, cayce predicted that armageddon would come in 1999. obviously, armageddon never came. 1999 did have its share of disasters, natural and political, but nothing on the scale of armageddon.
a new christian china
cayce also predicted that china would become the new “cradle of christianity.” he went on to predict that china would be completely converted to christianity by 1968.
just as in his other predictions, cayce missed the mark. buddhism remains the most popular single religion in china since its introduction in the 1st century. nearly 30% of the country is buddhist. the number of christians pale in comparison. even today, christians only make up 3 to 4% of the chinese population.
believers have no need for evidence
out of the thousands upon thousands edgar cayce’s prophecies, only 40% can be considered remotely correct, and even that percentage is open to debate. the other 60% were either too vague to interpret, multiple-intent, or just plain wrong.
just as cayce was not concerned with critics and skeptics, neither are his modern-day followers. when questioned about flawed or incorrect predictions, modern-day believers simply reply back with a quote from cayce himself.
“prophecy is never given for any other purpose than as a warning. for this reason, a successful prophecy is one that has been averted and therefore does not happen.”
this also means that a successful prophet is one that you can never successfully prove is a fraud, no matter how many times they get it wrong.
originally published on topsecretwriters.com
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geɪmz ˈɑrənt ɑrˈtɪstɪk kriˈeɪʃənz, ðɛr kəˈmərʃəl ˈprɑdəkts. ɪts nɑt ə mˈjuziəm ˈpeɪnɪŋ, ɪts ən ˌaɪˈkiə ˈkænvəs. keɪs ɪn pɔɪnt: ən ˈɑrtɪst ˈwʊdənt gɪv ə ʃɪt əˈbaʊt hɪz ˈvɪʒən ˈkɔstɪŋ ɪm praɪm taɪm ˈædvərˌtaɪzɪŋ speɪs. ðə ˈmɑrkətɪŋ dɪˈpɑrtmənt fər ə ˈkəmpəˌni wʊd. ðɪs ˈɪzənt ˈsɛnsərˌʃɪp, ɪts ən ˌɪnˈsɛnɪv skim dɪˈzaɪnd tɪ pʊʃ ˈprɑfɪt ˈsikɪŋ ˌɛkəˈnɑmɪk ˈeɪʤənts ˈɪntu ˈjuzɪŋ ðɛr ˈprɑdəkts ɛz ə ˈviɪkəl fər ˈpɑzətɪv ˈvæljuz baɪ ˈmeɪkɪŋ ɪt ˌɛkəˈnɑmɪkəl tɪ du soʊ. "ˈprɪti pliz doʊnt bi ˈsɛksɪst" woʊnt kət ɪt bət fər ə ˈkəmpəˌni ðiz ər prɪˈsaɪsli ðə kaɪnz əv rulz wɪʧ ˈmætər. ɪf ju stɪl wɔnt tɪ meɪk ə geɪm wɛr ju seɪv ənd lolis*, fil fri ʤɪst wɪθ noʊ hɛlp frəm ˈgəvərnmənt ənd noʊ ʧæns əv ˈædvərˌtaɪzɪŋ ɪt wɪn kɪdz ər ˈwɑʧɪŋ. ðə foʊ ˈaʊˌtreɪʤ frəm ˈpipəl ˈstændɪŋ əp əˈgɛnst ðə ˈsɛnsərˌʃɪp əv ɑrt səˈpraɪz mi nɑt bɪˈkəz əv ðɛr ˌɪnˈtræktəbəl ˈprɪnsəpəlz bət bɪˈkəz ðeɪ ˈæˌkʧuəli bɪˈliv ðɛrz ə ˈsɛmbləns əv ɑrˈtɪstɪk ˌɪnˈtɛgrəti ɪn ðə pərˈdəkʃən əv bɪg ˈbəʤɪt ˈvɪdioʊ geɪmz.
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games aren't artistic creations, they're commercial products. it's not a museum painting, it's an ikea canvas.
case in point: an artist wouldn't give a shit about his vision costing him prime time advertising space. the marketing department for a company would.
this isn't censorship, it's an incentive scheme designed to push profit seeking economic agents into using their products as a vehicle for positive values - by making it economical to do so. "pretty please don't be sexist" won't cut it but for a company these are precisely the kinds of rules which matter.
if you still want to make a game where you save and enamour preteen-looking lolis, feel free - just with no help from government and no chance of advertising it when kids are watching.
the faux outrage from people standing up against the censorship of art surprise me not because of their intractable principles but because they actually believe there's a semblance of artistic integrity in the production of big budget video games.
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ɔn ˈbrɔdˌkæst əv ðə fɑks nuz ˈkɑrlsən tonight,”*,” ˈfɔrmər ˈdiˌɛnˌsi ʧɛr ˈdɑnə ˈbrɑzaɪl ˈkɑmɛntəd ɔn hər ˈlikɪŋ dəˈbeɪt kˈwɛsʧənz tɪ ðə ˈklɪntən kæmˈpeɪn wɪn ʃi wɑz æt ˈsiˈɛˈnɛn baɪ ˈsteɪtɪŋ ðət ˈsiˈɛˈnɛn ˈnɛvər geɪv hər ˈɛniˌθɪŋ ɪn ədˈvæns, ənd ˈpipəl ˈnɛvər gɑt tɪ si ɔl ðə θɪŋz ʃi geɪv tɪ ˌdɛməˈkrætɪk ˌprɛzɪˈdɛnʃəl ˈkænədɪts ˈsɛnətər ˈbərni ˈsændərz (i-vt*) ənd ˈfɔrmər ˈmɛrələnd ˈgəvərnər ˈmɑrtɪn o’malley*. ˈbrɑzaɪl sɛd, sɛd læst jɪr, ðət ˈsiˈɛˈnɛn ˈnɛvər prəˈvaɪdɪd ˈjuˈɛs wɪθ ˈɛni kˈwɛsʧənz. ˈsiˈɛˈnɛn ˈnɛvər geɪv ˈjuˈɛs ˈɛniˌθɪŋ ɪn ədˈvæns. wət aɪ dɪd seɪ, ənd wət sɛd ɪn ðə pæst, ənd wət aɪ seɪ ɪn ðɪs bʊk, ɪz ðət aɪ, ɛz ən ˈɔfɪsər əv ðə ˈdiˌɛnˌsi ənd aɪ noʊ geɪv ˈɛvriˌbɑdi ˈsərtən kˈwɛsʧənz ɪn ˈsərtən iˈmeɪlz. bət ɛz ən ˈɔfɪsər əv ðə ˈdiˌɛnˌsi, aɪ sɔt tɪ ɪkˈspænd ðə ˈnəmbər əv dəˈbeɪts, ənd aɪ ˈwɔntɪd tɪ meɪk ʃʊr ðət wi hæd dɪˈvərs ˈvɔɪsɪz, ənd wi ˈkəvərd ˈɪʃuz ðət hæd nɑt bɪn dɪˈskəst ɪn ˈpriviəs dəˈbeɪts. wət aɪ sɔt tɪ du, ˈtəkər, wɑz tɪ ɪnˈʃʊr ðət wi hæd ðiz ˈɪʃuz ɔn ðə ˈteɪbəl, ənd aɪ meɪd ʃʊr ðət ɑr ˈkænədɪts aɪ wɔnt ðɛm ˈblaɪndˌsaɪdɪd. wət aɪ ədˈmɪtəd to.”*.” ʃi ˈædɪd, sɔt tɪ dɪˈvaɪd ˈjuˈɛs. ðiz wər ˈæktɪv ˈmɛʒərz wɛr ju gɑt tɪ si ðə θɪŋz aɪ geɪv tɪ ˈhɪləri. ju ˈnɛvər gɑt ə ʧæns tɪ si ðə θɪŋz aɪ geɪv tɪ ˈbərni ər ˈmɑrtɪn o’malley.”*.” ˈfɑloʊ ˈiən ˈhænʧɪt ɔn tˈwɪtər
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on wednesday’s broadcast of the fox news channel’s “tucker carlson tonight,” former dnc chair donna brazile commented on her leaking debate questions to the clinton campaign when she was at cnn by stating that cnn never gave her anything in advance, and people never got to see all the things she gave to democratic presidential candidates senator bernie sanders (i-vt) and former maryland governor martin o’malley.
brazile said, “i said last year, that cnn never provided us with any questions. cnn never gave us anything in advance. what i did say, and what said in the past, and what i say in this book, is that i, as an officer of the dnc — and i know wikileaks gave everybody certain questions in certain emails. but as an officer of the dnc, i sought to expand the number of debates, and i wanted to make sure that we had diverse voices, and we covered issues that had not been discussed in previous debates. … what i sought to do, tucker, was to ensure that we had these issues on the table, and i made sure that our candidates — i want them blindsided. that’s what i admitted to.”
she added, “wikileaks sought to divide us. these were active measures where you got to see the things i gave to hillary. you never got a chance to see the things i gave to bernie or martin o’malley.”
follow ian hanchett on twitter @ianhanchett
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ˈɛdənbəroʊ ˈfɔrwərd ˈmɑˌnu ˌɪnˈsɪsts hi ɪz ˈkipɪŋ hɪz ˌɪnərˈnæʃənɑl ˈɔpʃənz ˈoʊpən wɪθ ə vju tɪ ˌrɛprɪˈzɛnɪŋ ˈskɑtlənd. ðə ˈnəmbər eɪt wɪl lɪŋk əp wɪθ hɪz nu ˈleɪtər ðɪs mənθ fər ðə stɑrt əv hɪz dil wɪθ ðə ˈgɪnəs kləb. aɪ spoʊk tɪ maɪ ˈeɪʤənt ənd, ɪn tərmz əv ˈskɑtlənd, aɪ θɪŋk ɪt wɑz pɑrt əv ðə plæn. goʊɪŋ tɪ kip ˌmaɪˈsɛlf ˈɛlɪʤəbəl fər ðə nɛkst θri jɪrz. ˈmɑˌnu ðə ˈhaɪˌlændərz, hu heɪlz frəm ðə ˈkæntərˌbɛri ˈriʤən əv nu saʊθ ˈaɪlənd, ɪz kənˈsɪdərd baɪ səm ˈpəndɪts ðɛr tɪ bi ðə ˈleɪtəst ɪn ə laɪn əv ˈtæləntɪd ˈkiwiz, ˌɪnˈkludɪŋ ˈfɔrmər ˈhaɪˌlændərz ənd ˈɛdənbəroʊ ˈbrɛndən ˈleɪni, hu kən kaʊnt ðɛmˈsɛlvz ənˈləki nɑt tɪ ərn ən ɔl blæks kɔl əp. ˈleɪni wɑz ˈpɛrəˌʃutɪd ˈɪntu ðə dɑrk bluz skwɑd baɪ ðɛn hɛd koʊʧ ˈiən ʤɪst deɪz ˈæftər ərˈaɪvɪŋ ɪn ˈɛdənbəroʊ ɪn noʊˈvɛmbər 2001 ənd wɛnt ɔn tɪ wɪn 20 kæps, bət ˈmɑˌnu wɪl hæv tɪ pʊt ɪn θri jɪrz əv ˈsərvɪs ˌbiˈfɔr hi həz ə ʧæns əv siɪŋ ˌɪnərˈnæʃənɑl ˈækʃən fər ðə fərst taɪm sɪns 2008 hi wɑz pɑrt əv ðə nu ˈzilənd skwɑd ðət dɪˈfitɪd ˈɪŋglənd tɪ wɪn ˈʤunjər wərld ˈʧæmpiənˌʃɪp ɪn weɪlz, wɪθ hɪz bæk ðɛn ˌɪnˈkludɪŋ ʃɔn ˈmeɪtlənd ənd ˈgreɪsən hɑrt, hu ər naʊ ˈskɑtlənd ˌɪntərˈnæʃənəlz. wɪθ noʊ kɔl frəm nu ˈzilənd hɛd koʊʧ stiv ˈhænsən ˈfɔrθˈkəmɪŋ ənd ˌɪnˈkəmbənt ˈnəmbər eɪt ˈkirən rɛd nɑt ˈgɪvɪŋ əp hɪz ˈʤərzi ˈɛni taɪm sun, ˈmɑˌnu həz soʊ fɑr dɪˈklaɪnd hɪz teɪk əp hɪz ˈɔpʃən tɪ pleɪ fər ˈtɑngə, bət ədˈmɪts hi wʊd kənˈsɪdər pleɪɪŋ fər ˈskɑtlənd. ˈrɪli θɔt əˈbaʊt ˈtɔkɪŋ tɪ [ðə ˈskɑtlənd ˈkoʊʧɪz] əˈbaʊt ðə ˌpɑsəˈbɪləˌti əv sˈwɪʧɪŋ allegiances,”*,” ˈmɑˌnu toʊld ðə spɔrt ˌrivˈju. wɑz ˈspikɪŋ tɪ ˈbrɛndən ˈleɪni ənd hi sɛd hi ˈrɪli ləvd ɪt ɪn ˈɛdənbəroʊ. ˈskɑtlənd, aɪ nɑt lɔst maɪ ˌɛlɪʤəˈbɪlɪti. ɪf ɔl ɪz goʊɪŋ gʊd ənd pleɪd ɪn ˈskɑtlənd fər ə fju jɪrz aɪ kʊd pəˈtɛnʃəli pleɪ fər ðɛm. spoʊk tɪ maɪ ˈeɪʤənt ənd, ɪn tərmz əv ˈskɑtlənd, aɪ θɪŋk ɪt wɑz pɑrt əv ðə plæn. goʊɪŋ tɪ kip ˌmaɪˈsɛlf ˈɛlɪʤəbəl fər ðə nɛkst θri jɪrz. ən ˈɛksələnt plæn fər mi fər tu jɪrz ðɛn ˈhoʊpfəli wən jɪr after.”*.” frəm ˈwɑʧɪŋ æt hoʊm, tɪ siɪŋ hɪz ˈəŋkəl ˌrɛprɪˈzɛnt ɔˈstreɪljə, ˈrəgbi həz ˈɔlˌweɪz bɪn ə juʤ pɑrt əv laɪf. ˈkraɪstʧərʧ boys’*’ haɪ skul həz prəˈdust ə ˈnəmbər əv ðə tɔp ˈspɔrtsmɪn. əˈməŋ ðə ˈfeɪməs əˈləmˌnaɪ ɪz ˈkrɪkɪt ˈlɛʤənd sər ˈrɪʧərd hadlee*, waɪl mɔr ˈrisəntli krɪs ˈmɑrtɪn, ˈkɔri ˈændərsən ənd tɪm ˈlæθəm hæv ˌrɛprɪˈzɛnɪd ðə blæk kæps. ˈprɪti ˈhæpi wɪθ maɪ əˈʧivmənts ənd duɪŋ wət aɪ ləv ɛz ə ʤɑb. wɛl, nɑt ˈrɪli ə ʤɑb aɪ ʤɪst gɪt peɪd. ˈmɑˌnu ɪn ˈrəgbi ˈjunjən, əˈləmˌnaɪ ɪz ˈivɪn mɔr ˌɪmˈprɛsɪv, goʊɪŋ bæk tɪ ðə stɑrt əv ðə ˈsɛnʧəri wɪθ ɔl blæks ˈsɛntər bɑb dinz. nu ˈkɑrənt koʊʧ stiv ˈhænsən ənd hɪz ˈmɛnˌtɔr sər græm ˈhɛnri boʊθ keɪm θru ðə skul, ɛz dɪd rɪˈnaʊnd prɑp ˈrɪʧərd loʊ, ə əv ɪn ðə fərst xv*. deɪv hjuɪt, ˈdɛrəl ˈgɪbsən, ˈɛrən ˈmɔgər ənd ˈændru ˈmɛrtənz, hu ˈɔlsoʊ faʊnd ðɛr weɪ tɪ ðə uk*, keɪm θru ðə seɪm ˈgraʊndɪŋ ˌbiˈfɔr ˈkɑrənt ɪˈstæblɪʃt ɔl blæks dæn ˈkɑrtər, bɛn ənd oʊən fræŋks, luk roʊˈmɑˌnoʊ, ˈkoʊlɪn sleɪd, ənd ˈbroʊti retallick*, ðə ˈkɑrənt wərld ˈrəgbi pleɪər əv ðə jɪr. ˈmɑˌnu kənˈsidz hi wɑz ˈləki tɪ hæv prəˈgrɛst θru wən əv nu pərˈstiʤəs ˈbridɪŋ graʊnz fər ˈspɔrtɪŋ ˈtælənt ðət ˈkætəˌpəltɪd ɪm ˈɪntu ən kərɪr ɪn ˈsupər ˈrəgbi. həz ˈɔlˌweɪz bɪn ə pɑrt əv maɪ family,”*,” hi sɛd. əp, maɪ ˈpɛrənts ˈjɛlɪŋ æt ðə ˌtɛləˈvɪʒən ənd ʤɪst ðɛr ləv əv ðə geɪm, ənd maɪ ˈəŋkəl ˈdænjəl ˈmɑˌnu pleɪɪŋ prəˈfɛʃənəl ˈrəgbi fər ðə ənd ˈwɑləbiz æt ðə taɪm, soʊ aɪ gɛs ɪt wɑz juʤ. ˈfɔrʧənət aɪ wɛnt tɪ ə gʊd haɪ skul ənd wi wər ˈprɪti səkˈsɛsfəl. wən jɪr, ˈnɪrli ˈɛvriˌwən ɔn ðə tim həz pleɪd prəˈvɪnʃəl ˈrəgbi ər prəˈfɛʃənəl ˈrəgbi ðə laɪks əv ˈkoʊlɪn sleɪd, tɪm ˈbeɪtmən, oʊən fræŋks ənd mæt tɑd. ˈrɪli noʊ aɪ kʊd bɪˈkəm ə prəˈfɛʃənəl ˈrəgbi pleɪər ənˈtɪl haɪ skul wɪn aɪ pleɪd fər nu ˈzilənd skulz wən jɪr ənd frəm ðɛr aɪ gɑt tɪ ðə əˈkædəmi, ðɛn ˈkæntərˌbɛri ənd kruˈseɪdərz ənd ɪˈvɛnʧəwəli ˈhɛdɪd daʊn tɪ ðə ˈhaɪˌlændərz. ˈprɪti ˈhæpi wɪθ maɪ əˈʧivmənts ənd duɪŋ wət aɪ ləv ɛz ə ʤɑb. wɛl, nɑt ˈrɪli ə ʤɑb aɪ ʤɪst gɪt paid.”*.” waɪl hi meɪ nɑt bi ə ˈhaʊsˌhoʊld neɪm ɪn ˈskɑtlənd, ərˈaɪvəl æt ˈbiˈti wɪl bi ə ˈwɛlkəm bust tɪ ˈɛdənbəroʊ hɛd koʊʧ ˈælən ənd hɪz dɪˈsɪʒən tɪ pleɪ ɪn ðə ˈsupər ˈrəgbi ˈfaɪnəl ɔn ˈsæˌtɪˌdeɪ ɪn wət ɪz hɪz ˈfaɪnəl geɪm fər ðə ˈhaɪˌlændərz dɪˈspaɪt ən aɪ ˈprɑbləm ɪz ˈtɛstəmənt tɪ hɪz ˈwɔrjər ˈspɪrɪt. ˈɔlˌweɪz bɪn ə drim əv maɪn tɪ bi ɪn ðə blæk ˈʤərzi, bət ˈnɛvər kwaɪt gɑt ʤɪst hæv tɪ muv ɔn. ˈmɑˌnu məʧ əv ðə gunners’*’ səkˈsɛs læst ˈsizən wɑz bɪlt ɔn ˈdɑmənənt pərˈfɔrmənsɪz baɪ ðɛr ˈfɔrwərdz, bət ðeɪ wɪl bɪˈgɪn ðə ˈsizən wɪθ ə dɪˈplitɪd pæk wɪθ ðə ˈoʊpənɪŋ wiks əv ðə ˈsizən ˌkoʊənˈsaɪdɪŋ wɪθ ðə stɑrt əv ðə ˈrəgbi wərld kəp. ˈhævɪŋ bɪn ˈhaɪˌlændərz ənd ˈkæntərˌbɛri ɪn ˈrisənt ˈsizənz, ˈmɑˌnu wɪl bi ə ˈwɛlkəm əˈdɪʃən tɪ ðə gunners’*’ ˈlidərˌʃɪp grup wəns hi tɪ hɪz nu hoʊm. dɪˈskraɪbɪŋ hɪmˈsɛlf ɛz ə ˈtɪpɪkəl ˈaɪləndər lus ˈfɔrwərd wɪθ ə ləv əv physicality*, haɪ wərk reɪt ənd bɪg bɔl ˈkɛriɪŋ, hi ʃʊd mɔr ðən fɪl ðə gæp kriˈeɪtɪd baɪ ðə lɔs əv ˈdeɪvɪd ˈdɛntən, hu ɪz ɪkˈspɛktɪd tɪ meɪk vərn skwɑd. waɪl ðə ɔl blæks drim həz ɪˈludɪd ɪm, ˈmɑˌnu ədˈmɪts ɪt minz ə lɔt tɪ bi ˈmɛnʃənd ɪn ðə seɪm brɛθ ɛz ðə laɪks əv ˈleɪni ənd ʤɑn ˈlɛsli, tu nu ˈfɔrmər ˈhaɪˌlændərz stɑrz hu muvd tɪ ðə ˈnɔrðərn ˈhɛmɪsˌfɪr ənd swɪʧt əˈliʤənsɪz tɪ pleɪ fər ðə dɑrk bluz, ənd hi ɪz ˈhæpi fər ðə nɛkst ˈʧæptər əv hɪz kərɪr tɪ bi ɪn ˈskɑtlənd. stoʊkt tɪ bi ˈmɛnʃənd əˈlɔŋˈsaɪd ðoʊz greɪt ˈrəgbi players,”*,” hi sɛd. ˈɔlˌweɪz bɪn ə drim əv maɪn tɪ bi ɪn ðə blæk ˈʤərzi, bət ˈnɛvər kwaɪt gɑt ðɛr. stɪl ˈprɪti ˈhæpi wɪθ maɪ əˈʧivmənts ənd aɪ ʤɪst hæv tɪ muv ɔn. stɪl ˈnərvəs əˈbaʊt goʊɪŋ ˈɪntu ðə ənˈnoʊn, əˈdæptɪŋ tɪ ə nu ɪnˈvaɪrənmənt ənd kriˈeɪtɪŋ nu ˈfrɛndʃɪps, bət ˈprɪti ɪkˈsaɪtɪd əˈbaʊt ðə ˈʧælənʤ æt edinburgh.”*.”
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edinburgh rugby-bound forward nasi manu insists he is keeping his international options open with a view to representing scotland.
the 26-year-old number eight will link up with his new team-mates later this month for the start of his two-year deal with the guinness pro12 club.
i spoke to my agent and, in terms of scotland, i think it was part of the plan. i’m going to keep myself eligible for the next three years. nasi manu
the all-action highlanders co-captain, who hails from the canterbury region of new zealand’s south island, is considered by some pundits there to be the latest in a line of talented kiwis, including former highlanders and edinburgh utility-back brendan laney, who can count themselves unlucky not to earn an all blacks call up.
scotland-qualified laney was parachuted into the dark blues squad by then head coach ian mcgeechan just days after arriving in edinburgh in november 2001 and went on to win 20 caps, but manu will have to put in three years of service before he has a chance of seeing international action for the first time since 2008.
he was part of the new zealand u20 squad that defeated england 38-3 to win irb junior world championship in wales, with his team-mates back then including sean maitland and grayson hart, who are now scotland internationals.
with no call from new zealand head coach steve hansen forthcoming and incumbent number eight kieran read not giving up his jersey any time soon, manu has so far declined his take up his option to play for tonga, but admits he would consider playing for scotland.
“i haven’t really thought about talking to [the scotland coaches] about the possibility of switching allegiances,” manu told the sport review.
“i was speaking to brendan laney and he said he really loved it in edinburgh.
“with scotland, i haven’t not lost my eligibility. if all is going good and i’ve played in scotland for a few years i could potentially play for them.
“i spoke to my agent and, in terms of scotland, i think it was part of the plan. i’m going to keep myself eligible for the next three years.
“it’s an excellent plan for me for two years then hopefully one year after.”
from watching at home, to seeing his uncle represent australia, rugby has always been a huge part of manu’s life.
christchurch boys’ high school has produced a number of the country’s top sportsmen. among the famous alumni is cricket legend sir richard hadlee, while more recently chris martin, corey anderson and tim latham have represented the black caps.
i’m pretty happy with my achievements and doing what i love as a job. well, it’s not really a job – i just get paid. nasi manu
in rugby union, christchurch’s alumni is even more impressive, going back to the start of the 20th century with all blacks centre bob deans.
new zealand’s current coach steve hansen and his mentor sir graham henry both came through the school, as did renowned prop richard loe, a team-mate of hansen’s in the first xv.
dave hewett, daryl gibson, aaron mauger and andrew mehrtens, who also found their way to the uk, came through the same grounding before current established all blacks dan carter, ben and owen franks, luke romano, colin slade, and brodie retallick, the current world rugby player of the year.
manu concedes he was lucky to have progressed through one of new zealand’s prestigious breeding grounds for sporting talent that catapulted him into an eight-year career in super rugby.
“rugby has always been a part of my family,” he said.
“growing up, my parents yelling at the tv and just their love of the game, and my uncle – daniel manu – playing professional rugby for the waratahs and wallabies at the time, so i guess it was huge.
“it’s fortunate i went to a good high school and we were pretty successful.
“in one year, nearly everyone on the team has played provincial rugby or professional rugby – the likes of colin slade, tim bateman, owen franks and matt todd.
“i didn’t really know i could become a professional rugby player until high school when i played for new zealand schools one year and from there i got to the academy, then canterbury and crusaders and eventually headed down to the highlanders.
“i’m pretty happy with my achievements and doing what i love as a job. well, it’s not really a job – i just get paid.”
while he may not be a household name in scotland, manu’s arrival at bt murrayfield will be a welcome boost to edinburgh head coach alan solomons and his decision to play in the super rugby final on saturday in what is his final game for the highlanders despite an eye problem is testament to his warrior spirit.
it’s always been a dream of mine to be in the black jersey, but i’ve never quite got there…i just have to move on. nasi manu
much of the gunners’ success last season was built on dominant performances by their forwards, but they will begin the 2015/16 season with a depleted pack with the opening weeks of the season coinciding with the start of the rugby world cup.
having been highlanders co-captain and canterbury vice-captain in recent seasons, manu will be a welcome addition to the gunners’ leadership group once he acclimatises to his new home.
describing himself as a typical islander loose forward with a love of physicality, high work rate and big ball carrying, he should more than fill the gap created by the loss of david denton, who is expected to make vern cotter’s 31-man squad.
while the all blacks dream has eluded him, manu admits it means a lot to be mentioned in the same breath as the likes of laney and john leslie, two new zealand-born former highlanders stars who moved to the northern hemisphere and switched allegiances to play for the dark blues, and he is happy for the next chapter of his career to be in scotland.
“i’m stoked to be mentioned alongside those great rugby players,” he said.
“it’s always been a dream of mine to be in the black jersey, but i’ve never quite got there.
“i’m still pretty happy with my achievements and i just have to move on.
“i’m still nervous about going into the unknown, adapting to a new environment and creating new friendships, but i’m pretty excited about the challenge at edinburgh.”
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ðə ˈjuˈɛs ɪˈlɛktərəl ˈprɔˌsɛs ˈhɑrdli mits standards,”*,” ə ˈʤərmən əbˈzərvər wɔrnz, ˈsaɪtɪŋ ˈʃɔrtˌkəmɪŋz ðət wʊd meɪk ɪt ˈiziər tɪ ˈɪnfluəns ˈvoʊtərz. ðə rɪˈmɑrk kəmz əˈmɪd ˌækjəˈzeɪʃənz frəm boʊθ ˌprɛzɪˈdɛnʃəl kæmˈpeɪnz əv ɪˈlɛkʃən ˌɪnərˈfɪrəns. ˈʤərgən klimke*, ə ˈʤərmən əbˈzərvər əv ðə ˌɔrgənəˈzeɪʃən fər sɪˈkjʊrəti ənd kˌwɔpərˈeɪʃən ɪn ˈjʊrəp (osce*), həz toʊld ðə bɪld ˈmægəˌzin ðət ˈjuˈɛs ɪˈlɛktərəl ˈprɔˌsɛs stɪl nidz tɪ kæʧ əp ənd əˈdæpt tɪ ˌɪnərˈnæʃənɑl standards.”*.” klimke*, hu ɪz ˈɔlsoʊ ə ˈfɔrən ˈpɑləsi ˈɛkspərt ɪn ˈʧænsələr ˈænʤələ ˈpɑrti, ˈsaɪtɪd ˈdɪfərəns ɪn taɪm zoʊnz ɛz ə ˈmeɪʤər flɔ. rɛd mɔr bɪˈkəz əv ðə taɪm ʃɪfts, fərst ɪˈlɛkʃən rɪˈzəlts wʊd ɔˈrɛdi bi əˈnaʊnst æt ðə taɪm wɪn ɪn ˈəðər steɪts ðə ˈpoʊlɪŋ ˈsteɪʃənz ər nɑt jɛt closed,”*,” hi sɛd, ˈædɪŋ ðət ɪt kʊd hæv ɪˈnɔrmɪs ˈɪnfluəns ɔn voters.”*.” hɪz rɪˈmɑrks wər ˈɛkoʊd baɪ ˈmaɪkəl geɪɔrg lɪŋk, hɛd əv ˈʤərmən əbˈzərvər grup, hu ˈɔlsoʊ vɔɪst hɪz kənˈsərnz ɪn ən ˈɪntərvˌju wɪθ ðə ˈfræŋkfərtər ˈɔlgəˌmaɪn ˈzaɪtəŋ. əp tɪ 6 ˈmɪljən əˈmɛrɪkənz ɪgˈzɛmpt frəm ðə vote,”*,” lɪŋk strɛst, ˈminɪŋ ən ˈɛstəˌmeɪtɪd ˈjuˈɛs ˈsɪtɪzənz ˈsərvɪŋ ˈprɪzən tərmz ər biɪŋ kənˈvɪktəd əv kraɪmz. ɪn əˈdɪʃən, səm ˈmɪljən ˈpipəl hæv ɔˈrɛdi sərvd ðɛr ˈsɛntənsɪz ənd ər stɪl nɑt əˈlaʊd tɪ voʊt. ɪn ən ənˈprɛsɪˌdɛntɪd muv, ðə həz ˌdɪˈsaɪdɪd tɪ dɪˈplɔɪ ˈdəzənz əv əbˈzərvərz tɪ ðə ˈjuˈɛs. əraʊnd 500 əv ðə ˈɔfɪsərz ər ɪkˈspɛktɪd tɪ əraɪv fər ðə ɪˈlɛkʃən deɪ, ˈmɑrkɪŋ ə ˈtɛnˌfoʊld ˌɪnˈkris frəm 2012 ɪˈlɛkʃən, wɪn ɪt hæd ʤɪst 44 əbˈzərvərz. rɛd mɔr læst ˈfraɪˌdeɪ, ˈtɑməs ˈraɪmər, ðə ˈspoʊkspərsən fər ˈɔfəs fər ˌdɛməˈkrætɪk ˌɪnstɪˈtuʃənz ənd ˈjumən raɪts, toʊld ˈspətnɪk ðət ˈilɛvən əbˈzərvərz ər ɔˈrɛdi ɔn ðə graʊnd ɪn ˈwɔʃɪŋtən, ˌdiˈsi, tɪ ɪgˈzæmɪn ˈfreɪmˌwərk, ˈkænədɪt ənd ˈvoʊtər ˌrɛʤɪˈstreɪʃən, ənd ˈmidiə ˈkəvərɪʤ, əˈməŋ others.”*.” ˈɔfɪsərz wɪl nɑt bi ˈeɪbəl tɪ ˈmɑnətər ˈvoʊtɪŋ ˈɛlsˌwɛr ɪn ðə ˈjuˈɛs ɛz 13 steɪts ɪkˈsplɪsətli proʊˈhɪbət ˌɪnərˈnæʃənɑl ɪˈlɛkʃən ˌɑbzərˈveɪʃən, ˌɪnˈkludɪŋ ˌæləˈbæmə, əˈlæskə, ˌɛrɪˈzoʊnə, kəˈnɛtəkət, həˈwaɪˌi, luˌiziˈænə, ˌmɪsɪˈsɪpi, nɔrθ ˌkɛrəˈlaɪnə, oʊˈhaɪoʊ, ˌoʊkləˈhoʊmə, ˌtɛnəˈsi, ˈtɛksəs ənd wɛst vərˈʤɪnjə. fər ðə moʊst pɑrt, ˌhaʊˈɛvər, steɪts du nɑt ˈrɛgjəˌleɪt ðə ˈɪʃu, ˈlivɪŋ ðə dɪˈsɪʒən ɔn ədˈmɪtɪŋ ər rɪˈʤɛktɪŋ boʊθ ˌɪnərˈnæʃənɑl ənd ˈjuˈɛs əbˈzərvərz tɪ steɪt ər ˈkaʊnti ɪˈlɛkʃən əˈθɔrətiz. wɪθ lɛs ðən tu wiks tɪ goʊ ənˈtɪl ðə 2016 ɪˈlɛkʃən deɪ, ðə moʊst ˌkɑntrəˈvərʃəl ənd ɪkˈspɛnsɪv ˌprɛzɪˈdɛnʃəl reɪs ðət wɪl ˈlaɪkli kæst ə ˈʃæˌdoʊ ˈoʊvər ˈjuˈɛs ˈpɑləˌtɪks fər jɪrz tɪ kəm ɪz ˈnɪrɪŋ ən ɛnd. boʊθ kæmps əˈkjuz iʧ ˈəðər əv ˈhævɪŋ ə kəˈpæsɪti tɪ məˈnɪpjəˌleɪt ˈvoʊtərz ənd ˈfɔlsəˌfaɪ ðə rɪˈzəlts. ˈdɑnəld trəmp, ðə rɪˈpəblɪkən ˌnɑməˈni, həz ˈrisəntli wɔrnd əv ə ““rigged”*” ɪˈlɛkʃən, ˈərʤɪŋ hɪz səˈpɔrtərz tɪ ækt ɛz observers”*” ɛz wɛl. ɪn tərn, ˈhɪləri stæf ənd ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən əˈfɪʃəlz spik əv əˈlɛʤd ˈrəʃən əˈtɛmpts tɪ ˈɪnfluəns ðə ˈjuˈɛs ɪˈlɛkʃən.
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the us electoral process hardly meets “international standards,” a german osce observer warns, citing shortcomings that would make it easier to influence voters. the remark comes amid accusations from both presidential campaigns of election interference.
juergen klimke, a german observer of the organization for security and cooperation in europe (osce), has told the bild magazine that “the us electoral process still needs to catch up and adapt to international standards.”
klimke, who is also a foreign policy expert in chancellor angela merkel’s cdu party, cited difference in time zones as a major flaw.
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because of the time shifts, “the first election results would already be announced at the time when in other states the polling stations are not yet closed,” he said, adding that it could have “an enormous influence on voters.”
his remarks were echoed by michael georg link, head of german osce observer group, who also voiced his concerns in an interview with the frankfurter allgemeine zeitung.
up to 6 million americans “are exempt from the vote,” link stressed, meaning an estimated 3.2 us citizens serving prison terms or being convicted of crimes. in addition, some 2.6 million people have already served their sentences and are still not allowed to vote.
in an unprecedented move, the osce has decided to deploy dozens of observers to the us. around 500 of the organization’s officers are expected to arrive for the election day, marking a tenfold increase from 2012 election, when it had just 44 observers.
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last friday, thomas rymer, the spokesperson for osce office for democratic institutions and human rights, told sputnik that eleven observers are already on the ground in washington, dc, to examine “legal framework, candidate and voter registration, and media coverage, among others.”
osce officers will not be able to monitor voting elsewhere in the us as 13 states explicitly prohibit international election observation, including alabama, alaska, arizona, connecticut, hawaii, louisiana, mississippi, north carolina, ohio, oklahoma, tennessee, texas and west virginia.
for the most part, however, states do not regulate the issue, leaving the decision on admitting or rejecting both international and us observers to state or county election authorities.
with less than two weeks to go until the 2016 election day, the most controversial and expensive presidential race that will likely cast a shadow over us politics for years to come is nearing an end.
both camps accuse each other of having a capacity to manipulate voters and falsify the results. donald trump, the republican nominee, has recently warned of a “rigged” election, urging his supporters to act as “citizen observers” as well. in turn, hillary clinton’s staff and obama administration officials speak of alleged russian attempts to influence the us election.
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təˈdeɪ, ˌjʊrəˈpiən ˈərli ˈoʊnərz wər ˈprɑmptɪd tɪ ˈdaʊnˌloʊd ə pæʧ tɪ ˈəpˈgreɪd ðɛr geɪmz tɪ ˈvərʒən səˈpraɪzɪŋli, ðə pæʧ ˈɛdət aʊt ðə ˈskændələs sɔŋ ðət wi hæv hərd soʊ məʧ əˈbaʊt ˈleɪtli. ˌɪnˈstɛd, ɪt fɪkst səm ˈɔnˌlaɪn ˈfəŋkʃənz ənd ˈædɪd ə fju mɔr ˈkɑstumz. nɑt tɪ sim ˌɪnˈsɛnsɪtɪv jɛt əˈgɛn, ˈmidiə ˈmɑləˌkjul ˈprɑmptli roʊld aʊt əˈnəðər pæʧ tɪ teɪk kɛr əv træk niang.”*.” ˌɪnˈstɛd əv kəmˈplitli ˈkɪlɪŋ ðə træk, ðə pæʧ riˈmuvd ðə ˈvoʊkəl træk frəm ðə sɔŋ. ðɛr həz jɛt tɪ bi ˈɛni ˌɪndəˈkeɪʃən frəm ˈmidiə ˈmɑləˌkjul əv ðə pæʧ duɪŋ ˈɛniˌθɪŋ ɛls tɪ ðə geɪm. aʊt əv ɔl ðə geɪmz ɔn ðə ˈpleɪˌsteɪʃən 3 riˈlis ˈkæləndər, hu wʊd hæv θɔt wʊd bi ðə wən tɪ kɔz ˈkɑntrəˌvərsi? ðə ˈsɛkənd pæʧ wɪl ˈoʊnli əˈfɛkt ðoʊz hu gɑt hoʊld əv ðə geɪm ˈərli. ɛz ə rɪˈzəlt əv ðə ˈriˌkɔl, ɔl nu ˈkɑpiz əv wɪl prɪˈzuməbli hæv ðɪs pæʧ ɔn ðə dɪsk. [ˈviə eurogamer*] ju ər lɔgd aʊt. saɪn əp
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today, european early littlebigplanet owners were prompted to download a patch to upgrade their games to version 1.01. surprisingly, the patch didn’t edit out the scandalous song that we have heard so much about lately. instead, it fixed some online functions and added a few more costumes.
not to seem insensitive yet again, media molecule promptly rolled out another patch to take care of tourmani diabate’s track “tapha niang.” instead of completely killing the track, the patch removed the vocal track from the song. there has yet to be any indication from media molecule of the patch doing anything else to the game.
out of all the games on the playstation 3 release calendar, who would have thought lbp would be the one to cause controversy? the second patch will only affect those who got hold of the game early. as a result of the recall, all new copies of lbp will presumably have this patch on the disc.
[via eurogamer]
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ˈhɛˌbrɔn (ma'an*) ˌɪzˈreɪli ˈfɔrsɪz ɔn ˈsæˌtɪˌdeɪ dɪˈteɪnd 12 ˌpælɪˈstɪniənz æt ən ˈræli ɪn beɪt nɪr ðə wɛst bæŋk ˈsɪti əv ˈhɛˌbrɔn. ˈloʊkəl ˈpɑpjələr kəˈmɪti ˈspoʊksmən moʊˈhɑmɛd əˈwɑd sɛd sɪks ˈdɛmənˌstreɪtərz wər ˈɪnʤərd wɪn ˌɪzˈreɪli ˈsoʊlʤərz ˈæmˌbʊʃt ðə ˈproʊˌtɛst. meɪər wɑz hɪt ɪn ðə fʊt wɪθ ə saʊnd grəˈneɪd ənd ˈɑmɑd ˈæbu ˈhæʃɪm wɑz ʃɑt ɪn ðə hænd ənd bæk wɪθ stil ˈbʊləts. ˈminˌwaɪl, əˈwɑd sɛd ˈsoʊlʤərz bit ˈæbu mərˈiə, 44 moʊˈhɑmɛd i'mar*, 65 ˈæbu ˈhæʃɪm, 42 ənd ˈpɑpjələr kəˈmɪti ˈsɛkrəˌtɛri ˈɑmɑd ˈhæʃɪm. ɔl səˈsteɪnd ˈbruzɪz, ðə ˈspoʊksmən sɛd. ˌɪnərˈnæʃənɑl ˈæktɪvɪsts ʤɔɪnd ˈloʊkəlz tɪ mɑrʧ frəm ðə taʊn təˈwɔrd ðə ˌɪˈligəl ˈsɛtəlmənt. ˈproʊˌtɛstərz ˈkɛrid ðə ˌpælɪˈstɪniən flæg ənd ˈʧæntɪd sˈloʊgənz dɪˈnaʊnsɪŋ ðə ˈjuˈɛs ˈviˌtoʊ ɔn ə ˈjuˈɛn ˌrɛzəˈluʃən. ˈrɛzɪdənts ənd ˈæktɪvɪsts ˈproʊˌtɛst ˈɛvəri ˈsæˌtɪˌdeɪ əˈgɛnst ðə ˌkɑnfəˈskeɪʃən əv ˈvɪlɪʤərz' lændz tɪ bɪld ˌɪˈligəl ˌɪzˈreɪli ˈsɛtəlmənts. əˈwɑd sɛd ðoʊz dɪˈteɪnd wər ɔl ˈloʊkəlz, ənd ˌɪnˈkludɪd ˈæbu ˈhæʃɪm, 22 hɪz ˈbrəðər tareq*, 18 mˈjusə as-sliebi*, 16 a’lqam*, 16 moʊˈhɑmɛd əˈwɑd, 16 ˈɑnwɑr əˈwɑd, 15 ikhleil*, 15 ənd ˈɑmɑd as-sliebi*, 15 ən ˌɪzˈreɪli ˈmɪlɪˌtɛri ˈspoʊksˌwʊmən sɛd 12 ˌpælɪˈstɪniənz wər dɪˈteɪnd fər θroʊɪŋ rɑks æt ˈsoʊlʤərz. ðeɪ wər ˈtrænsfərd tɪ ˌɪzˈreɪli pəˈlis ˈkəstədi, ʃi ˈædɪd.
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hebron (ma'an) -- israeli forces on saturday detained 12 palestinians at an anti-settlement rally in beit ummar near the west bank city of hebron.
local popular committee spokesman mohammad awad said six demonstrators were injured when israeli soldiers ambushed the protest.
mayor nasir sabarneh was hit in the foot with a sound grenade and 12-year-old ahmad abu hashem was shot in the hand and back with rubber-coated steel bullets.
meanwhile, awad said soldiers beat muna abu maria, 44, mohammad i'mar, 65, hesham abu hashem, 42, and popular committee secretary ahmad aby hashem. all sustained bruises, the spokesman said.
international activists joined locals to march from the town toward the illegal karmi tzur settlement. protesters carried the palestinian flag and chanted slogans denouncing the us veto on a un anti-settlement resolution.
residents and activists protest every saturday against the confiscation of villagers' lands to build illegal israeli settlements.
awad said those detained were all locals, and included isam abu hashem, 22, his brother tareq, 18, musa as-sliebi, 16, mu’ath a’lqam, 16, mohammad awad, 16, anwar awad, 15, a'yesh ikhleil, 15, and ahmad as-sliebi, 15.
an israeli military spokeswoman said 12 palestinians were detained for throwing rocks at soldiers. they were transferred to israeli police custody, she added.
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noʊt: ˈwərθˈwaɪl ʃɑt hir. ðɪs ɪz ðə ˈleɪtəst ˈrɛndərɪŋ əv wət ˈsaɪəntɪsts bɪˈliv ðə ˈæˌkʧuəli lʊkt laɪk. ɛz ju kən si (ənˈlɛs juv gɑt jʊr aɪz kloʊzd ənd ər ˈlɪsənɪŋ tɪ jʊr kəmˈpjutər rɛd ðɪs ɪn ə ˈroʊˌbət vɔɪs bɪˈkəz jʊr ˈleɪzi), ðə ˈsɛksi sən əv ə bɪʧ hæd ˈfɛðərz. ˈfɛðərz! noʊ ˈləvər əv maɪn hæd ˈfɛðərz! ˌoʊˈkeɪ, ðət wən ˈtərki, bət tɪ hɪz ˈkrɛdɪt hid ɔˈrɛdi pləkt moʊst əv ðɛm aʊt ɔn ə kɔrn bɪnʤ. ˈdɪdənt hi, oʊld məkˈdɑnəld? haha*, wət du ju min, "aɪ hɪt ðət"? ˈdæmɪt ˈdrəmstɪk, ju sɛd ju seɪvd ˈjɔrsɛlf fər ðə gw*! wət ˈrɪli lʊkt laɪk [buzzfeed*] θæŋks tɪ ˈhɛðər, hu noʊz ɪts wəts ɔn ðə ˌɪnˈsaɪd ðət kaʊnts. oʊ ˌwəˈtɛvər, ˈhɛðər, ðæts ˈbʊlˌʃɪt ənd ju ənd aɪ boʊθ noʊ ɪt.
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note: worthwhile full-body shot here.
this is the latest rendering of what scientists believe the t-rex actually looked like. as you can see (unless you've got your eyes closed and are listening to your computer read this in a robot voice because you're lazy), the sexy son of a bitch had feathers. feathers! no lover of mine had feathers! okay, that one crazy-ass turkey, but to his credit he'd already plucked most of them out on a corn binge. didn't he, old mcdonald? haha, what do you mean, "i hit that"? dammit drumstick, you said you saved yourself for the gw!
what t-rex really looked like [buzzfeed]
thanks to heather, who knows it's what's on the inside that counts. oh whatever, heather, that's bullshit and you and i both know it.
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ðə waɪt haʊs meɪ bi lɑkt əp du tɪ ðə sɪkˈwɛstər kəts bət ðət stɑp ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən frəm ˈspɛndɪŋ 350 ˈmɪljən ɔn ˈsɛkʃuəl ˌɪnˌdɑktrəˈneɪʃən əv ˈʧɪldrən. wən əv ðə ædz frəm ðə ˈfɛdərəli ˈfəndɪd ˈpərsɪnəl riˌspɑnsəˈbɪləti ˌɛʤəˈkeɪʃən ˈproʊˌgræm. laɪf nuz ˌriˈpɔrtəd, ˈviə fri riˈpəblɪk: waɪl ðə waɪt haʊs sɪz ˌsɛkwəˈstreɪʃən həz ɪˈlɪməˌneɪtɪd fəndz fər ˈʧɪldrən ˈtʊrɪŋ ðə waɪt haʊs, ˈprɛzɪdənt ˌoʊˈbɑmə həz noʊ ˈprɑbləm ˈspɛndɪŋ 350 ˈmɪljən ˈfɛdərəl tæks ˈdɔlərz fər ˈsɛkʃuəl ˌɪnˌdɑktrəˈneɪʃən ˈproʊˌgræmz ˈstɑrtɪŋ ɪn ˈkɪndərˌgɑrtən fər ðoʊz seɪm ˈʧɪldrən. ðɪs ɪz nɑt jʊr sɛks ˌɛʤəˈkeɪʃən əˈbaʊt haʊ θɪŋz wərk ənd wət kən goʊ ““wrong.”*.” ɪn fækt, ðə ɪgˈzækt ˈɑpəzɪt ɪz ðə ˈɛsəns əv ðə ˈpərsɪnəl riˌspɑnsəˈbɪləti ˌɛʤəˈkeɪʃən ˈproʊˌgræm (prɛp): ˈfənəlz 75 ˈmɪljən ˈænjuəli ˈɪntu prɛp, wɪʧ məst bi juzd ɪkˈsklusɪvli fər plænd ““comprehensive”*” sɛks ɛd ˈproʊˌgræmz wɛr noʊ taɪp əv sɛks ɪz rɔŋ ənd ðə ˈoʊnli ˈsɛkʃuəl bɪˈheɪvjər kənˈsɪdərz ““unsafe”*” ɪz bɪˈkəmɪŋ ˈprɛgnənt. mɔr ðən əv ðə fəndz 20 ˈmɪljən həz bɪn əˈwɔrdɪd tɪ ə ˌkoʊəˈlɪʃən əv sɪks plænd ˈpɛrənˌthʊd əˈfɪliˌeɪts, ˈɔpərˌeɪtɪŋ ˈəndər ðə neɪm ˌnɔrθˈwɛst ˌkoʊəˈlɪʃən fər ˌædəˈlɛsənt hɛlθ, tɪ ˈɪmpləmənt tɔp ˈproʊˌgræm əˈkrɔs mɑnˈtænə, ˈɔrəˌgɑn, ˈaɪdəˌhoʊ, ˈwɔʃɪŋtən, ənd əˈlæskə æt ˈoʊvər 50 saɪts. ɪn ˈɔrəˌgɑn skulz, plænd ˈpɛrənˌthʊd ɪz peɪɪŋ ˈʧɪldrən kæʃ ˌɪnˈsɪnɪvz tɪ pɑrˈtɪsəˌpeɪt. ɪz ˈfəndɪd wɪθ ɑr tæks ˈdɔlərz tɪ ˈmɑrkɪt sɛks tɪ ɑr ˈʧɪldrən ɪn ɑr skulz ˈəndər ðə gaɪz əv sɛks ˌɛʤəˈkeɪʃən, anti-bullying*, dɪˈvərsɪti, ənd ˈtɑlərəns. wəns sexualized*, ðoʊz ˈʧɪldrən ðɛn bɪˈkəm sɛks ˈkəstəmərz fər ˌkɑntrəˈsɛptɪvz, ˈtɛstɪŋ, ənd əˈbɔrʃən.
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the white house may be locked up due to the sequester cuts but that didn’t stop the obama administration from spending $350 million on sexual indoctrination of children.
here’s one of the ads from the federally funded personal responsibility education program.
life news reported, via free republic:
while the white house says sequestration has eliminated funds for children touring the white house, president obama has no problem spending $350 million federal tax dollars for sexual indoctrination programs starting in kindergarten for those same children.
this is not your grandmother’s sex education about how things work and what can go “wrong.” in fact, the exact opposite is the essence of the personal responsibility education program (prep): obamacare funnels $75 million annually into prep, which must be used exclusively for planned parenthood-style “comprehensive” sex ed programs where no type of sex is wrong and the only sexual behavior pp considers “unsafe” is becoming pregnant.
more than one-fourth of the funds ‒ $20 million ‒ has been awarded to a coalition of six planned parenthood affiliates, operating under the name northwest coalition for adolescent health, to implement hhs’s top program across montana, oregon, idaho, washington, and alaska at over 50 sites. in oregon schools, planned parenthood is paying children cash incentives to participate.
pp is funded with our tax dollars to market sex to our children in our schools under the guise of sex education, anti-bullying, diversity, and tolerance. once sexualized, those children then become pp sex customers for contraceptives, std testing, and abortion.
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ə ˈsteɪtˌwaɪd ˈɛfərt ɪz ˈteɪkɪŋ pleɪs tɪ faɪt fər jʊr ʧaɪldz raɪt tɪ pleɪ ðə ˌoʊldˈfæʃənd weɪ: aʊt ɪn ðə ˈoʊpən, wɪθ noʊ ˈstrəkʧər. ˌɛrɪˈzoʊnə ˈdɪstrɪkt 4 ˌrɛprɪˈzɛnətɪv ˈʤizəs rubɑlˈkɑvə həz ˌɪntrəˈdust 2082 ˈɔlsoʊ noʊn ɛz ðə "ˈrisɛs bɪl" ənd ɪt kɔlz fər ə ˈmændəˌtɔri ˈrisɛs æt ɔl skulz. rubɑlˈkɑvə, hu ɪz ˈɔlsoʊ ə ˈspɛʃəl ˌɛʤəˈkeɪʃən ˈtiʧər ənd sərvd ɛz ə skul bɔrd ˈmɛmbər fər ˈɔlˌmoʊst ə ˈdɛkeɪd, sɛd hi ˈriəˌlaɪzd haʊ ˌɪmˈpɔrtənt ðiz breɪks wər nɑt ʤɪst fər ˈʧɪldrən bət ˈɔlsoʊ fər ˈtiʧərz. hi wɑz ˌɪnˈspaɪərd tɪ ækt ˈæftər ˈhirɪŋ kənˈsərnz frəm ˈmɛni ˈpɛrənts hu ˈwərid əˈbaʊt ˈvɛri ʃɔrt ˈrisɛs taɪmz æt ðɛr kɪdz' skulz. "tˈwɛnti ˈmɪnəts ɪn ə deɪ ɪz ʤɪst ˈkreɪzi tɪ mi," sɛd ˈsændi oʊˈkɑnər, ə kənˈsərnd mɑm huz ˈʧɪldrən əˈtɛndəd ðə ˈmædɪsən ˌɛləˈmɛnʧri skul ˈdɪstrɪkt. ˌsupərɪnˈtɛndənt kwɪn ˈkɛlɪs sɛd ðə ˈdɪstrɪkt hæd ˈmænˌdeɪtɪd ə breɪk æt ɔl skulz, bət lɛft ɪt əp tɪ ˈtiʧərz tɪ ˈɔfər əˈnəðər ˈrisɛs ˈdʊrɪŋ ðə deɪ. ˈkɛlɪs sɛd hi wɑz əˈwɛr ˈmɛni ˈtiʧərz wər ˈhɛzɪtənt tɪ ˈɔfər mɔr breɪks tɪ ˈstudənts bɪˈkəz əv ðə ˈprɛʃərz ðeɪ wər ˈfeɪsɪŋ. "ˈsərtən ðə ˌɛrɪˈzoʊnə ˈmɛrət ər ðə steɪt tɛst, ðeɪ wɔnt ðɛr kɪdz tɪ pərˈfɔrm ðɛr bɛst ənd ðɛrz səm æŋˈzaɪəti əˈbaʊt ˈhævɪŋ ðə kɪdz ˈrɛdi," ˈkɛlɪs sɛd. oʊˈkɑnər ɪkˈspleɪnd ðət ðə ˈleɪtəst ˈrisərʧ ʃoʊd ə ˌkɔrəˈleɪʃən bɪtˈwin ˈmuvmənt, breɪn dɪˈvɛləpmənt, ənd tɛst skɔrz. ˈbælənst ˈstudənts hu gɑt breɪks ˈɔfən əbˈzɔrbd ˌɪnˌfɔrˈmeɪʃən ˈbɛtər. "aɪ doʊnt ˌəndərˈstænd ðə fɪrz, əˈspɛʃəli wɪθ ɔl ðə ˈrisərʧ ðət ʃoʊz ˈklæsˌrum bɪˈheɪvjər wɪl bi ˈbɛtər ənd fɑr ˌɪmˈpruvd ɪf wi lɛt ðɛm gɪt ðɛr aʊt ɛz ðeɪ seɪ," oʊˈkɑnər sɛd. ʃi sɛd hər ʧaɪld ˈɔfən mɪst lənʧ æt skul ʤɪst soʊ hi kʊd goʊ aʊt ənd pleɪ. rɛpriˈzɛtətɪv. rubɑlˈkɑvə sɛd ɛz ə ˈtiʧər, hi ˌəndərˈstændz ðə ˌɪmˈpɔrtəns əv ˈrisɛs. "ɑr kɪdz nid taɪm tɪ bi ˈeɪbəl tɪ riˈlis ˈɛnərʤi," rubɑlˈkɑvə sɛd. "ˈtiʧərz ˈɔlsoʊ nid taɪm tɪ hɪt ðə ˈrisɛs ˈbətən. ðə əˈtɛnʃən spæn əv ə kɪd kən ˈoʊnli hoʊld fər ə ˈsərtən taɪm. breɪks hɛlp kɪdz ənd ˈkɑnsənˌtreɪt ˈbɛtər." hi ˈɔlsoʊ ˈwərid əˈbaʊt ˈdɪstrɪkts ðət hæd noʊ ˈrisɛs æt ɔl. "ðɛr ər səm ˈdɪstrɪkts ðət hæv noʊ ˈrisɛs ənd səm ædˈmɪnɪˌstreɪtərz hu bɪˈliv ɪn ˈtiʧɪŋ frəm bɛl tɪ bɛl," hi sɛd. əˈnəðər ˈpɛrənt, ˈkɛrən ˈgrɛʃəm əˈgrid ðət ˈʧɪldrən ʃʊd gɪt ˌpɪriˈɑdɪk breɪks. "ɪts hɑrd fər kɪdz tɪ sɪt ɔl deɪ ənd peɪ əˈtɛnʃən. ˈivɪn ˈædəlts kænt du ðət," ˈgrɛʃəm sɛd. ˈmɛni skulz hæd ˌriˈpleɪst ˌoʊldˈfæʃənd wɪθ ˈklæsˌrum "breɪn breɪks" ər daʊn taɪm. ˈpɛrənts səˈpɔrtɪŋ ðə ˈrisɛs bɪl sɛd ˈlərnɪŋ dɪd nɑt ɛnd wɪn ˈʧɪldrən lɛft ðə ˈklæsˌrum, wət ðeɪ ˈlərnɪd ɔn ðə ˈpleɪˌgraʊnd wɑz ˈɔlsoʊ ˌɪmˈpɔrtənt tɪ ðɛr groʊθ ənd dɪˈvɛləpmənt. θɪŋz laɪk ˈsoʊʃəˌlaɪzɪŋ ənd ˈteɪkɪŋ tərnz wər ˈɔlsoʊ ˌɪmˈpɔrtənt ˈlɛsənz. əˈpoʊnənts ˈwərid ðət ˌɪnˈkludɪŋ mɔr breɪks wɑz ˈteɪkɪŋ əˈweɪ frəm ˌɪnˈstrəkʃən taɪm ənd ðeɪ wʊd hæv tɪ meɪk əp fər ɪt tɪ gɪt ðɛr ˈkɔrsɪz ɪn. ˈpɛrənts əˈpoʊzɪŋ ðə ˈrisɛs bɪl fɛlt ðeɪ wər ˈsɛndɪŋ ðɛr ˈʧɪldrən tɪ skul tɪ ˈstədi ənd ðət ðeɪ kʊd pleɪ æt hoʊm ˈleɪtər. ʃeɪp əˈmɛrɪkə, ə ˈnæʃənəl grup ðət ˌrɛprɪˈzɛnɪd hɛlθ ənd ˈfɪzɪkəl ˈɛʤəˌkeɪtərz, sɛnt ðɪs ˈsteɪtmənt ɪn rɪˈgɑrdz tɪ ðə ˈrisɛs bɪl: "ˈæktɪv' ˈrisɛs ʃʊd bi ə praɪˈɔrəti fər ɔl skulz ɪn ðə juz. ɛz ə weɪ tɪ bust ˌækəˈdɛmɪk pərˈfɔrməns, ˌɪmˈpruv bɪˈheɪvjər, ɛnˈhæns ˈiˌmoʊʃənəl ˌwɛlˈbiɪŋ, ənd kənˈtrɪbjut tɪ ˈfɪzɪkəl ˈlɪtərəsi əˈməŋ ˈstudənts. ə nu dɪˈvɛləpt baɪ ðə ˈsiˌdiˈsi ənd ʃeɪp əˈmɛrɪkə, ðə soʊˈsaɪɪti əv hɛlθ ənd ˈfɪzɪkəl ˈɛʤəˌkeɪtərz, gɪvz skulz ˈɛvriˌθɪŋ ðeɪ nid tɪ meɪk ˈæktɪv ˈrisɛs ə pɑrt əv ˈɛvəri skul day.”*.” ju kən gɪt mɔr ˌɪnˌfɔrˈmeɪʃən ɔn ðɛr ˈwɛbˌsaɪt. ðə ˈrisɛs bɪl wɪl bi hərd baɪ ðə steɪts ˌɛʤəˈkeɪʃən kəˈmɪti æt ðə steɪt ˈlɛʤəsˌleɪʧər ɔn ˈmənˌdeɪ æt 2 p.m*. ˈædvəˌkeɪts ˌɪnˈvaɪt ɔl ˈpɛrənts hu ər ˌɪnˈvɛstɪd ɪn ðɪs ˈɪʃu tɪ ʃoʊ əp ənd spik, ər ʤɪst bi ðɛr tɪ ˈɔfər ðɛr səˈpɔrt.
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a statewide effort is taking place to fight for your child's right to play the old-fashioned way: out in the open, with no structure.
arizona district 4 representative jesus rubalcava has introduced hb 2082, also known as the "recess bill" and it calls for a mandatory 50-minute recess at all schools.
rubalcava, who is also a special education teacher and served as a school board member for almost a decade, said he realized how important these breaks were not just for children — but also for teachers.
he was inspired to act after hearing concerns from many parents who worried about very short recess times at their kids' schools.
"twenty minutes in a 7-hour day is just crazy to me," said sandi o'connor, a concerned mom who's children attended the madison elementary school district.
superintendent quinn kellis said the district had mandated a 20-minute break at all schools, but left it up to teachers to offer another recess during the day.
kellis said he was aware many teachers were hesitant to offer more breaks to students because of the pressures they were facing.
"certain the arizona merit or the state test, they want their kids to perform their best and there's some anxiety about having the kids ready," kellis said.
o'connor explained that the latest research showed a correlation between movement, brain development, and test scores. balanced students who got breaks often absorbed information better.
"i don't understand the fears, especially with all the research that shows classroom behavior will be better and far improved if we let them get their wiggles out as they say," o'connor said.
she said her child often missed lunch at school just so he could go out and play.
rep. rubalcava said as a teacher, he understands the importance of recess.
"our kids need time to be able to release energy," rubalcava said. "teachers also need time to hit the recess button. the attention span of a kid can only hold for a certain time. breaks help kids re-focus and concentrate better."
he also worried about districts that had no recess at all.
"there are some districts that have no recess and some administrators who believe in teaching from bell to bell," he said.
another parent, karen gresham agreed that children should get periodic breaks.
"it's hard for kids to sit all day and pay attention. even adults can't do that," gresham said.
many schools had replaced old-fashioned playtime with classroom "brain breaks" or down time.
parents supporting the recess bill said learning did not end when children left the classroom, what they learned on the playground was also important to their growth and development. things like socializing and taking turns were also important lessons.
opponents worried that including more breaks was taking away from instruction time and they would have to make up for it to get their courses in.
parents opposing the recess bill felt they were sending their children to school to study and that they could play at home later.
shape america, a national group that represented health and physical educators, sent abc15 this statement in regards to the recess bill:
"active' recess should be a priority for all schools in the u.s. as a way to boost academic performance, improve behavior, enhance emotional well-being, and contribute to physical literacy among students. a new toolkit developed by the cdc and shape america, the society of health and physical educators, gives schools everything they need to make active recess a part of every school day.”
you can get more information on their website.
the recess bill will be heard by the state's education committee at the state legislature on monday at 2 p.m. advocates invite all parents who are invested in this issue to show up and speak, or just be there to offer their support.
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ɛz dəˈbeɪt ˈreɪʤɪz ɛz tɪ ðə fˈjuʧər əv ˈbʊlˌfaɪtɪŋ ɪn speɪn, ðə meɪər əv ɪts θərd ˈlɑrʤəst ˈsɪti prəˈpoʊzd duɪŋ əˈweɪ wɪθ ðə trəˈdɪʃən ɪn ˈfeɪvər əv "ˈbʊlˌfaɪtɪŋ laɪt". ʤoʊn ribó*ó, ðə meɪər frəm ðə bækt ˈriʤənəl ˈpɑrti, səˈʤɛstɪd ðət vəˈlɛnsiə kənˈsɪdər əˈdɑptɪŋ ðə ˈpɔrʧəˌgiz staɪl əv corrida*, wɪʧ ɛndz ðə ˌkɑnfrənˈteɪʃən bɪtˈwin mæn ənd bist ˌbiˈfɔr ðə ˌɪˈnɛvətəbəl sɔrd θru ðə hɑrt əv ðə bʊl. səʧ ə "ˈsɪnθəsəs" wʊd prɪˈzərv ðə ˈkəlʧərəl trəˈdɪʃənz əv ðə fiˈɛstə jɛt stɪl rɪˈspɛkt ðə ˈænəməlz laɪf, ðə meɪər sɛd æt ə ˈkɑnfərəns ɔn ˈmənˌdeɪ, ðə deɪ ˈæftər ˈθaʊzənz əv əˌfɪʃəˈnɑdoʊz tʊk tɪ ðə strits əv vəˈlɛnsiə tɪ ʃoʊ ðɛr səˈpɔrt fər speɪnz "ˈnæʃənəl fiˈɛstə". ˈθaʊzənz tərnd aʊt fər ðə ˈræli ɪn vəˈlɛnsiə. ˈfoʊˌtoʊ: ʤɔɪnd ðə ræŋks əv səm ˈbʊlˌfaɪtɪŋ səˈpɔrtərz ɔn ˈsənˌdi tɪ dɪˈmænd ðət ðɛr ˈpæʃən bi ˈgɪvɪn "ˈkəlʧərəl prəˈtɛkʃən". bət ðə meɪər əv vəˈlɛnsiə ˌɪnˈsɪstɪd ɪt wɑz taɪm speɪn ˌrikənˈsɪdərd ˈsteɪʤɪŋ ˈpəblɪk ˈfɛstɪvəlz ðət ˌɪnˈvɑlvd ˈkruəlti tɪ ˈænəməlz. "ðɛr ər mɔr ənd mɔr ˈpipəl ˌəndərˈstændɪŋ ðət mɪˈstritɪŋ ˈænəməlz ɪz ə ˈpræktɪs ðət məst bi ɪˈrædəˌkeɪtɪd frəm ɑr soʊˈsaɪɪti," ɪkˈspleɪnd ribó*ó ɪn ˈkɑmɛnts ˌriˈpɔrtəd ˈwaɪdli ɪn ðə ˈspænɪʃ prɛs. "aɪ θɪŋk ɪt kʊd bi ˈɪntəˌrɛstɪŋ ɪf wi ɪn speɪn kʊd faɪnd ə weɪ ɪn wɪʧ ðə bʊlz dɪd nɑt gɪt ðət ˈfaɪnəl ˈtritmənt (ɪn ðə rɪŋ)," hi sɛd. ˌhaʊˈɛvər, ˈænəməl raɪts ˈæktɪvɪsts ˌɪnˈsɪstɪd ðət ˈivɪn ðə ˈpɔrʧəˌgiz staɪl əv ˈbʊlˌfaɪtɪŋ wɑz kruəl ənd ʤɪst prəˈlɔŋd ðə "ˈægəni ənd ˈtɔrʧər" əv ðə bʊlz, wɪʧ ər ˈjuʒəwəli sˈlɔtərd baɪ ˈbʊʧərz ˈaʊtˈsaɪd ðə ˈæftər ðə faɪt., ə pəˈlɪtɪkəl ˈpɑrti kæmˈpeɪnɪŋ fər ˈænəməl raɪts ˈflætli rɪˈʤɛktɪd ðə səˈʤɛsʧən ðət "noʊ kɪl ˈbʊlˌfaɪtz" wɑz ə stɛp ˈfɔrwərd. "ðə meɪər feɪlz tɪ ˈrɛkəgˌnaɪz ðət ðə bʊlz ər stɪl stæbd wɪθ ðə bɑrbd dɑrts (banderillas*) ˌbiˈfɔr biɪŋ ɪˈvɛnʧəwəli kɪld aʊt ɪf saɪt əv ðə ˈpəblɪk, ðəs proʊˈlɔŋɪŋ ðɛr ˈægəni," sɛd ə ˈsteɪtmənt frəm tɪ ðə ˈloʊkəl. "ðə ˈoʊnli əkˈsɛptəbəl prəˈpoʊzəl ɪz tɪ bæn ɔl kaɪnz əv əˌnækrəˈnɪstɪk ˈspɛktəkəlz ðət prəˈvaɪdz ˌɛnərˈteɪnmənt beɪst ɔn ˈkruəlti tɪ ˈænəməlz." səˈpɔrt fər ˈbʊlˌfaɪtɪŋ həz bɪn ɔn ðə weɪn ɪn speɪn ɪn ˈrisənt jɪrz bət ˈθaʊzənz əv ˈloʊkəl ˈfɛstɪvəlz wɪʧ steɪʤ ækˈtɪvɪtiz stɪl teɪk pleɪs əˈkrɔs ðə ˈkəntri iʧ jɪr. əˈkɔrdɪŋ tɪ ə ˈrisənt ˈsərˌveɪ baɪ speɪnz ˈmɪnɪstri əv ˈkəlʧər, ʤɪst pərˈsɛnt əv ˈspænjərdz goʊ tɪ ə ˈbʊlˌfaɪt ˈænjuəli. sɪks jɪrz əˈgoʊ ðə ˈriʤənəl ˈkætɑˌlɑn ˈgəvərnmənt bænd 'corridas*' ər ˈbʊlˌfaɪtɪŋ ɪn ðə ˈriʤən. səm ˈsɪtiz ˈnuli rən baɪ ˈlɛftɪst ædˌmɪnɪˈstreɪʃənz, ˌɪnˈkludɪŋ məˈdrɪd ənd vəˈlɛnsiə, ˈɔlsoʊ ˈrisəntli kət ˈsəbsɪdiz fər ˈbʊlˌfaɪtɪŋ. ɪn ˈpɔrʧəgəl ˈkɪlɪŋ ə bʊl ɪn ðə rɪŋ wɑz ˈaʊˌtlɔd ɪn 1928 jɛt ˈbʊlˌfaɪtɪŋ stɪl rɪˈmeɪnz ˈpɑpjələr, ˌɔlˈðoʊ ðɛr kəmˈpleɪn əˈbaʊt biɪŋ dɪˈnaɪd ðə ˈfaɪnəl kɪl. "ˈbʊlˌfaɪtɪŋ ɪn ˈpɔrʧəgəl ɪz laɪk ə pleɪ wɪθ ðə ˈɛndɪŋ ˈmɪsɪŋ," ˈpɔrʧəgəlz moʊst ˈfeɪməs ˈbʊlˌfaɪtər də ˈpɔrʧəgəl toʊld ðə nu jɔrk taɪmz ˈæftər biɪŋ faɪnd fər ˈkɪlɪŋ ə bʊl ɪn ðə rɪŋ ɪn 2007 "ˈkɪlɪŋ ðə bʊl ɪz ən ɑrt, ənd ðə weɪ wi du ɪt ɪn ˈpɔrʧəgəl dɪˈpraɪvz ðə bʊl əv hɪz ˈdɪgnəti," hi sɛd.
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as debate rages as to the future of bullfighting in spain, the mayor of its third largest city proposed doing away with the tradition in favour of "bullfighting light".
joan ribó, the left-wing mayor from the podemos backed regional compromís party, suggested that valencia consider adopting the portuguese style of corrida, which ends the confrontation between man and beast before the inevitable sword through the heart of the bull.
such a "synthesis" would preserve the cultural traditions of the fiesta yet still respect the animal's life, the mayor said at a conference on monday, the day after thousands of aficionados took to the streets of valencia to show their support for spain's "national fiesta".
thousands turned out for the pro-bullfighting rally in valencia. photo: afp
bullfighters joined the ranks of some 10,000 bullfighting supporters on sunday to demand that their passion be given "cultural protection".
but the mayor of valencia insisted it was time spain reconsidered staging public festivals that involved cruelty to animals.
"there are more and more people understanding that mistreating animals is a practice that must be eradicated from our society," explained ribó in comments reported widely in the spanish press.
"i think it could be interesting if we in spain could find a way in which the bulls did not get that final treatment (in the ring)," he said.
however, animal rights activists insisted that even the portuguese style of bullfighting was cruel and just prolonged the "agony and torture" of the bulls, which are usually slaughtered by butchers outside the bullring after the fight.
pacma, a political party campaigning for animal rights flatly rejected the suggestion that "no kill bullfights" was a step forward.
"the mayor fails to recognise that the bulls are still stabbed with the barbed darts (banderillas) before being eventually killed out if sight of the public, thus prolonging their agony," said a statement from pacma to the local.
"the only acceptable proposal is to ban all kinds of anachronistic spectacles that provides entertainment based on cruelty to animals."
support for bullfighting has been on the wane in spain in recent years but thousands of local festivals which stage taurine activities still take place across the country each year.
according to a recent survey by spain's ministry of culture, just 8.5 percent of spaniards go to a bullfight annually.
six years ago the regional catalan government banned 'corridas' or bullfighting in the region.
some cities newly run by leftist administrations, including madrid and valencia, also recently cut subsidies for bullfighting.
in portugal killing a bull in the ring was outlawed in 1928 yet bullfighting still remains popular, although bullfighters there complain about being denied the final kill.
"bullfighting in portugal is like a play with the ending missing," portugal's most famous bullfighter pedrito de portugal told the new york times after being fined €100,000 for killing a bull in the ring in 2007.
"killing the bull is an art, and the way we do it in portugal deprives the bull of his dignity," he said.
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ungit*: ðə ˈiziəst weɪ tɪ juz aɪ ləv ənd θɪŋk wən əv ðə bɛst tulz ðət dɪˈvɛləpərz juz ɔn ən ˈɛvriˈdeɪ ˈbeɪsɪs. ɪz ə ˌfəndəˈmɛnəl dɪˈvɛləpmənt tul ðət paʊərz ˈmɛni ˈkəmpəˌniz, ˌɪnˈkludɪŋ ðə ˈkəmpəˌni aɪ wərk fər, goguardian*. ɪz ə ˈvərʒən kənˈtroʊl ˈsɪstəm ðət həz ˈpaʊərfəl ˈfiʧərz ənd ɪz ˈɛlɪgənˌtli dɪˈstrɪbjətəd, jɛt ˈbjutəfli fɔlt ˈtɑlərənt æt ðə seɪm taɪm. ˌhaʊˈɛvər, nɑt ˈpərˌfɪkt. fər ɪgˈzæmpəl, ɪz noʊˈtɔriəs fər ˈhævɪŋ ə ʃɑrp ˈlərnɪŋ kərv ənd ˈkɑmplɛks kəˈmændz. ˈivɪn həz ˈkɑmɛntəd ɔn haʊ ˈdɪfəkəlt (jɛt əˈmeɪzɪŋ) ðə ˈprɑdəkt ɪz. dɪˈvɛləpərz wər tu ˈfoʊkɪst ɔn dɪˈvɛləpɪŋ ˈbʊlətˌpruf ˈfiʧərz ðət ˈjuzər ˈfrɛndlinɪs wɑz ˈkɑmprəˌmaɪzd. ˈfræŋkli, moʊst ˈpaʊərfəl tulz ˈɔfən ˈstrəgəl wɪθ ðɪs. mit, ðə ˈænsər tɪ ˈfrɛndlinɪs ˈprɑbləmz. wət ɪz? ɪz ən ˈoʊpənˌsɔrs, node-based*, ˌɪnərˈæktɪv ˈɪnərˌfeɪs wɪθ rɪʧ ˌvɪʒwələˈzeɪʃən. dɪg ə ˈlɪtəl ˈdipər: wɪn ˈstɑrtɪŋ əp, spɔnz ə ˈloʊkəl ðət ˈlɪsənz tɪ ə spɪˈsɪfɪk pɔrt, wɪʧ sərvz tɪ dɪˈspleɪ ən ˌɪnərˈæktɪv fər ə riˈpɑzəˌtɔri. ɪz ægˈnɑstɪk əv ɑs, aɪd, ənd wɛb ˈbraʊzər; ˌɪnˈkrɛdəbli ˈflɛksəbəl. ɪf ju ər ˈjuzɪŋ, ju kən juz. ɛz ˈsɪmpəl ɛz ðət. ˈjuzɪŋ wɪθ fist jʊr aɪz. soʊ məˈʤɛstɪk. wət wi si ɪz ðə ˈkɑrənt ˌrɛprəzɛnˈteɪʃən əv riˈpɑzəˌtɔri, əˈkɔrdɪŋ tɪ (ˌɪnˈsərt ˈklɛvər ˌɪnˈsɛpʃən ʤoʊk hir). æt ðə tɔp, ðɛr ɪz ə dɪˈrɛktəri tɛkst bɑks wɪʧ ʃoʊz ðə pæθ əv ðə riˈpɑzəˌtɔri ˈkərəntli səˈlɛktɪd. ɪn ðə ˈmɪdəl, wi hæv noʊdz ˌrɛprɪˈzɛnɪŋ iʧ kəˈmɪt, əˈlɔŋ wɪθ laɪnz ˈɪndəˌkeɪtɪŋ iʧ ˈlɪniəʤ, ɛz wɛl ɛz brænʧ ˌɪnˌfɔrˈmeɪʃən, kəˈmɪt ˈmɛsɪʤ, ˌɛtˈsɛtərə. oʊ, ənd dɪd aɪ ˈmɛnʃən ðət ˌɪnərˈæktɪv? kəˈmɪt ðɛr ɪz ə lɔt ˈhæpənɪŋ wət wi si ər tu ˈmɑdəˌfaɪd faɪlz ðət ər ɪn. wi kən si boʊθ "testfile.txt*" ðət wɑz ˈɛdɪtɪd, ənd ðə ˈnuli kriˈeɪtɪd "do_not_commit_me*". wi kən ˌrivˈju baɪ ˈklɪkɪŋ ɔn ðə neɪmz tɪ si ˈiðər ðə dɪˈfɔlt ˈlɪniər vju ər ə ˈsaɪdbaɪˈsaɪd kəmˈpɛrəsən. ˈæftər rivˈjuɪŋ wət wɑz ʧeɪnʤd, wi kən ˈaɪtəmz ðət wi wɔnt tɪ bi kəˈmɪtɪd. ˈʧeɪnʤɪz ər ˈoʊnli kəˈmɪtɪd ˈæftər rɪkˈwɛstɪŋ soʊ, baɪ ˈprɛsɪŋ ðə ˌkɔrəˈspɑndɪŋ ˈbətən. ɛz ˈɔlˌweɪz, ðə noʊd riˈfrɛʃt ˌɪtˈsɛlf tɪ ˌrɛprɪˈzɛnt ən ˈækjərət steɪt əv ðə ˈkɑrənt riˈpɑzəˌtɔri, baɪ ˌɪnˈsərtɪŋ ðə nu noʊd æt ðə tɔp wɪʧ ˌrɛprɪˈzɛnts ɑr nuəst kəˈmɪt. (fər ðoʊz əv ˈjuˈɛs ðət ər ˈpɪki əˈbaʊt haʊ ˌsɪŋkrənəˈzeɪʃən wərks: rɪˈfrɛʃɪz ɔn ˌɪnækˈtɪvɪti tɪ beɪst ɔn ˈfoʊkɪs ənd maʊs ɪˈvɛnts wɪθ θˈrɑtəlɪŋ.) wi doʊnt hæv tɪ ˈkɑnstəntli ˈʤəgəl bɪtˈwin æd, kəˈmɪt, pʊʃ, ər ˈʧɛˌkaʊt. wi kən əˈsɛs ðə ɪnˈtaɪər riˈpɑzəˌtɔri steɪt ənd wɛr wi ər æt, ɪn wən ˈsɪmpəl vju, ɛz wɛl ɛz ˌɪnərˈækt wɪθ ɪt ril taɪm. bət, wət əˈbaʊt brænʧ ˌɑpərˈeɪʃənz? brænʧ ˈʧɛˌkaʊt meɪks brænʧ ˌɑpərˈeɪʃənz ˈiziər ðən ˈɛvər. əˈbəv, wi kən si ðə swɪʧ frəm "ˈeɪˌbiˌsi" brænʧ tɪ "ˈmæstər" tɪ "house_lion*" ənd bæk tɪ "ˈeɪˌbiˌsi" brænʧ ɪn ʤɪst ə fju klɪks. wəns iʧ ˈʧɛˌkaʊt ˌɑpərˈeɪʃən ɪz dən, kəˈmɪt noʊdz riəreɪnʤ ðɛmˈsɛlvz tɪ ˈhaɪˌlaɪt ðə ˈlɪniəʤ əv ðə ˈkərəntli ʧɛkt aʊt brænʧ (brænʧ tæg ɪz ˈhaɪˌlaɪtɪd tɪ ˈɪndəˌkeɪt wət ɪz ˈkərəntli ʧɛkt aʊt). nɑt ˈoʊnli kən wi ʧɛk aʊt ˈbrænʧɪz, bət wi kən pʊʃ tɪ rɪˈmoʊt, kriˈeɪt, dɪˈlit, ənd məʧ ɔl ˈɛvər drimd əv duɪŋ wɪθ ə ˈsɪmpəl klɪk. ðɪs ɪz greɪt ənd tulz ər kaɪnd əv ˈwərθləs wɪˈθaʊt mərʤ ˈkɑnflɪkt ˌrɛzəˈluʃən tulz, raɪt? wɪθ ˈkɑnflɪkts ˈmərʤɪz ənd ˈhæpən ˈɔfən ɪn ə ˈhɛlθi, kəˈlæbərˌeɪtɪv ˈripoʊ ənd, əv kɔrs, ˈkɑnflɪkt ɪz baʊnd tɪ ˈhæpən. əˈlaʊz ju tɪ si wət ju ər duɪŋ ənd riˈzɑlv ðiz ˈkɑnflɪkts ˈizəli. ˈsɪmpli mɑrk ə ˈkɑnflɪkt ɛz riˈzɑlvd wɪn ju ər dən ˈfɪksɪŋ ɪt. ənd mɔr... ðɛr ər ˈmɛni ˈəðər ˈfiʧərz ðət ər nɑt ʃoʊn hir: uncommit*, cherrypick*, rɪˈmoʊt riˈpɑzəˌtɔri ˈmænɪʤmənt, ˈmænɪʤmənt, kəˈmɪt æt laɪn ˈlɛvəl, ˌɛtˈsɛtərə. ˈivɪn wɪθ ɔl ðiz ˈfiʧərz, wi ər stɪl ˈædɪŋ mɔr! hæv aɪ ˈmɛnʃənd ðət səˈpɔrts ˈɪmɪʤ dɪf fər dɪˈzaɪnərz ənd frənt ɛnd ˈɛnʤəˈnɪrz? kənˈkluʒən ɪz nɑt ˈpərˌfɪkt, bət ɪt riˈmuvz ˈmɛni əv ðə ˈʧælənʤɪz əv ˈjuzɪŋ. ˈɑbviəsli, ɪt ˈkænɑt du ˈɛvriˌθɪŋ kən, bət aɪ bɪˈliv həz ˈsætɪsˌfaɪd ə lɑrʤ məˈʤɔrəti əv ˈkeɪsɪz. ðə ɪz nɑt jɛt aɪˈdil, ˌɪnˈkludɪŋ haʊ ɪt ˈpæʧɪz kəˈmɪts. wɪˈθaʊt ə daʊt, həz mɔr rum tɪ groʊ. bət ðɛr ɪz hoʊp. ɪz ə community-driven*, ˈoʊpənˌsɔrs ˈprɑʤɛkt wɪθ ən ˈɛˈmaɪˈti ˈlaɪsəns ðət ˈwɛlkəmz ˈɛni ənd ɔl ˌkɑntrəˈbjuʃənz. ðə bɛst pɑrt ɪz: ju doʊnt hæv tɪ bi ən ˈɛkspərt ɪn ˈʤɑvəˌskrɪpt ər tɪ stɑrt kənˈtrɪbjutɪŋ! ɪn fækt, wɪn aɪ ˈstɑrtɪd kənˈtrɪbjutɪŋ tɪ, aɪ ˈdɪdənt noʊ ˈɛniˌθɪŋ əˈbaʊt ər ˈʤɑvəˌskrɪpt. aɪ ʤɪst ˈwɔntɪd tɪ lərn boʊθ tɛkˈnɑləʤiz. ˈhoʊpfəli ju kən hɛlp ˈjuˈɛs "git*" tɪ ə ˈbɛtər wərld... :di ˈfɑloʊ ˈjuˈɛs ɔn tˈwɪtər: @ungitui*! piz. ˈspɛʃəl tɪ hu ˈstɑrtɪd ɔl ðɪs.
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ungit: the easiest way to use git
i love git and think it’s one of the best tools that developers use on an everyday basis. git is a fundamental development tool that powers many companies, including the company i work for, goguardian. git is a version control system that has powerful features and is elegantly distributed, yet beautifully fault tolerant at the same time. however, it’s not perfect.
for example, git is notorious for having a sharp learning curve and complex commands.
even xkcd has commented on how difficult (yet amazing) the product is.
git developers were too focused on developing bulletproof features that user friendliness was compromised. frankly, most powerful tools often struggle with this.
meet ungit, the answer to git's friendliness problems.
what is ungit?
ungit is an open-source, node-based, interactive git interface with rich visualization. let’s dig a little deeper: when starting up, ungit spawns a local web-server that listens to a specific port, which serves pageviews to display an interactive webpage for a git repository. ungit is agnostic of os, ide, and web browser; it’s incredibly flexible. if you are using git, you can use ungit.
it’s as simple as that.
using git with ungit
feast your eyes. so majestic.
what we see is the current representation of ungit's git repository, according to ungit (insert clever inception joke here).
at the top, there is a directory text box which shows the path of the git repository currently selected. in the middle, we have nodes representing each commit, along with lines indicating each commit's git lineage, as well as branch information, commit message, etc.
oh, and did i mention that it’s interactive?
commit
there is a lot happening here—but what we see are two modified files that are unstaged in git. we can see both "testfile.txt" that was edited, and the newly created "do_not_commit_me". we can review diffs by clicking on the names to see either the default linear view or a side-by-side comparison. after reviewing what was changed, we can unselect items that we don’t want to be committed. changes are only committed after requesting so, by pressing the corresponding button. as always, the git node refreshed itself to represent an accurate state of the current repository, by inserting the new node at the top which represents our newest commit. (for those of us that are picky about how synchronization works: ungit refreshes on inactivity to active-state-transition based on focus and mouse events with throttling.)
we don't have to constantly juggle between add, commit, push, or checkout. we can assess the entire repository state and where we are at, in one simple view, as well as interact with it real time.
but, what about branch operations?
branch checkout
ungit makes branch operations easier than ever. above, we can see the switch from "abc" branch to "master" to "house_lion" and back to "abc" branch in just a few clicks. once each checkout operation is done, commit nodes rearrange themselves to highlight the git lineage of the currently checked out branch (branch tag "es6" is highlighted to indicate what is currently checked out). not only can we check out branches, but we can push to remote, create, delete, and move—pretty much all we’ve ever dreamed of doing with a simple drag-and-drop and/or click.
this is great and all...but git tools are kind of worthless without merge conflict resolution tools, right?
merge/rebase with conflicts
merges and rebases happen often in a healthy, collaborative git repo and, of course, conflict is bound to happen. ungit allows you to see what you are doing and resolve these conflicts easily. simply mark a conflict as resolved when you are done fixing it.
and more...
there are many other features that are not shown here: uncommit, cherrypick, remote repository management, submodule management, commit at line level, etc. even with all these features, we are still adding more!
have i mentioned that ungit supports image diff for designers and front end engineers?
conclusion
ungit is not perfect, but it removes many of the challenges of using git. obviously, it cannot do everything git can, but i believe ungit has satisfied a large majority of common-use cases. the ui is not yet ideal, including how it patches line-by-line commits. without a doubt, ungit has more room to grow.
but there is hope.
ungit is a community-driven, open-source project with an mit license that welcomes any and all contributions. the best part is: you don't have to be an expert in javascript or git to start contributing! in fact, when i started contributing to ungit, i didn't know anything about git or javascript. i just wanted to learn both technologies.
hopefully you can help us "git" to a better world... :d
follow us on twitter: @ungitui!
p.s. special shoutouts to @fredriknoren who started all this.
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guildford* hoʊˈtɛl frəm ðə ˈæʃɪz eɪt jɪrz ˈæftər bleɪz ˈgətɪd ˌɪnˈtɪriər ˈpoʊstɪd ðə hoʊˈtɛl həz bɪn ə ˈpɑpjələr ˈloʊkəl ˈlændˌmɑrk ˈsɪtɪŋ ɪn ðə ˈsɛntər əv taʊn fər mɔr ðən 100 jɪrz. ɪt wɑz bɪlt ɪn 1886 wɪθ ɪts ˌɪmˈpoʊzɪŋ ˈklæsɪkəl fəˈsɑd ˈædɪd ɪn 1914 ɪn 1993 ðə hoʊˈtɛl wɑz ˈædɪd tɪ ðə steɪt ˈhɛrɪtɪʤ ˈrɛʤɪstər, bət ɪn 2008 ə səˈspɪʃəs faɪər dɪˈstrɔɪd ðə rʊf ənd ˈgətɪd ɪts ˌɪnˈtɪriər. fər jɪrz ɪt sæt ˈveɪkənt, sərˈaʊndɪd baɪ sɪˈkjʊrəti ˈfɛnsɪŋ. ðə ˈloʊkəl kəmˈjunɪti ræn ə fɪrs kæmˈpeɪn ˈərʤɪŋ ðə ˈoʊnərz tɪ seɪv ənd rɪˈstɔr ðə ˈbɪldɪŋ. ənd naʊ ðɛr jɪrz əv kæmˈpeɪnɪŋ həz peɪd ɔf, wɪθ ðə hoʊˈtɛl sɛt tɪ riˈoʊpən. ˈɑrkəˌtɛkt sɛd ðə ˌrɛstərˈeɪʃən eɪmd tɪ peɪ ˈtrɪbjut tɪ ðə ˈbɪldɪŋz ˈhɪstəri. "wi ˈrɪli ˈwɔntɪd tɪ tɛl ðə ˈstɔri əv ðə hoʊˈtɛl," mɪz toʊld ˈhɪləri smeɪl ɔn 720 ˈeɪˌbiˌsi pərθ. "wən əv ðə ki ˈɛləmənts ɪz ˈɑbviəsli ðə faɪər bət ɪt hæd soʊ məʧ mɔr ˈhɪstəri. "ðə weɪ ðət wi hæv dən ðət ɪz baɪ rɪˈteɪnɪŋ ɛz məʧ əv ðə ɪgˈzɪstɪŋ ˈfæbrɪk ɪn ðə ˈbɪldɪŋ ɛz wi ˈpɑsəbli kʊd." ˈɛvədəns əv faɪər rɪˈmeɪnz ɪn səm weɪz ðə faɪər ˈæˌkʧuəli ɑgˈmɛntəd ðə ˌrɛstərˈeɪʃən ˈprɔˌsɛs, mɪz ˈædɪd. "ðə ˈbɛnəfɪt əv ðə faɪər wɑz ðət ɪt ˈæˌkʧuəli pʊld bæk soʊ ˈmɛni əv ðoʊz leɪərz fər ˈjuˈɛs ðət wi ˈwʊdənt hæv ˈæˌkʧuəli bɪn ˈeɪbəl tɪ si ˈəðərˌwaɪz," ʃi sɛd. "wi wər ˈkɛrfəl tɪ kip ðoʊz ˈɛləmənts stɪl ɪkˈspoʊzd. "wɛr ðə faɪər keɪm θru ðə ˈəpər flɔrz, ðɛr wər ə ˈsɪriz əv ˈbɛˌdrumz. "ə lɔt əv ðə ˈtɪmbərz hæv gɔn bət ðɛr wər səm əˈmeɪzɪŋ ˈpisɪz ðət hæv bɪn lɛft. "ju kən si ənˈtəʧt ərˈɪʤənəl ˈtɪmbərz wɪθ ˈflɔrˌbɔrdz əˈkrɔs ðə tɔp ðət ər faɪər ˈdæmɪʤd." brɪks meɪd baɪ ˈkɑnvɪkts ˈɔlsoʊ rɪˈvild ˈəndər ðə oʊld ˈplæstərˌwərk wɑz ˈɛvədəns əv ə məʧ ˈərliər ˈhɪstəri. wɑz wən əv ðə fərst kəˈloʊniəl ˈsɛtəlmənts ɪn pərθ ənd ðə hoʊˈtɛl wɑz wən əv ðə ˈɛriəz ərˈɪʤənəl ˈwɔtərɪŋ hoʊlz. "wɪn wi wər ˈpʊlɪŋ bæk ðə ˈplæstərˌwərk wi faʊnd ərˈɪʤənəl ˈhænˈmeɪd brɪks ðət wər meɪd baɪ ˈkɑnvɪkts," mɪz sɛd. "ju kən si ə lɔt əv ðə tul mɑrks ɪn ðə brɪks ðɛmˈsɛlvz." dɪˈspaɪt ðə kəmˈplɛksɪti əv ðə ˌrɛstərˈeɪʃən ˈprɑʤɛkt, ɪt həz bɪn ə ˈleɪbər əv ləv fər ðə ˈɑrkəˌtɛkts ənd ˈbɪldɪŋ tim. "aɪ ləv oʊld ˈbɪldɪŋz ənd biɪŋ ˈeɪbəl tɪ brɪŋ ðɛr ˈstɔriz tɪ laɪf," mɪz sɛd. "wən əv ðə θɪŋz ðət həz meɪd ðə moʊst ˌɪmˈpækt ɔn mi ɪz ðə weɪ ðət ðə kəmˈjunɪti həz ˈrɪli ɛmˈbreɪst ðə ˈprɑʤɛkt ɛz wɛl. "wi hæv hæd soʊ ˈmɛni greɪt ˈkɑmɛnts ənd ˈpipəl seɪɪŋ haʊ məʧ ðeɪ ləv ðə ˈbɪldɪŋ. "ɪts bɪn ˈrɪli heart-warming*." ˈtɑpɪks: hɪˈstɔriənz, ˈhɪstəri, human-interest*,
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guildford hotel re-emerges from the ashes eight years after blaze gutted interior
posted
the guildford hotel has been a popular local landmark sitting smack-bang in the centre of town for more than 100 years.
it was built in 1886, with its imposing classical facade added in 1914.
in 1993 the hotel was added to the state heritage register, but in 2008 a suspicious fire destroyed the roof and gutted its interior.
for years it sat vacant, surrounded by security fencing.
the local community ran a fierce campaign urging the owners to save and restore the building.
and now their years of campaigning has paid off, with the hotel set to reopen.
architect kylee schoonens said the restoration aimed to pay tribute to the building's 130-year history.
"we really wanted to tell the story of the hotel," ms schoonens told hilary smale on 720 abc perth.
"one of the key elements is obviously the fire but it had so much more history.
"the way that we have done that is by retaining as much of the existing fabric in the building as we possibly could."
evidence of fire remains
in some ways the fire actually augmented the restoration process, ms schoonens added.
"the benefit of the fire was that it actually pulled back so many of those layers for us that we wouldn't have actually been able to see otherwise," she said.
"we were careful to keep those elements still exposed.
"where the fire came through the upper floors, there were a series of bedrooms.
"a lot of the timbers have gone but there were some amazing pieces that have been left.
"you can see untouched original timbers with floorboards across the top that are fire damaged."
bricks made by convicts
also revealed under the old plasterwork was evidence of a much earlier history.
guildford was one of the first colonial settlements in perth and the hotel was one of the area's original watering holes.
"when we were pulling back the plasterwork we found original handmade bricks that were made by convicts," ms schoonens said.
"you can see a lot of the tool marks in the bricks themselves."
despite the complexity of the restoration project, it has been a labour of love for the architects and building team.
"i love old buildings and being able to bring their stories to life," ms schoonens said.
"one of the things that has made the most impact on me is the way that the community has really embraced the project as well.
"we have had so many great comments and people saying how much they love the building.
"it's been really heart-warming."
topics: historians, history, human-interest, perth-6000
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ðə dɪˈvɛləpərz bɪˈhaɪnd ðə sʊˈpərb ˈdɑlfən fər ðə ənd wi poʊst ən ˈəpˌdeɪt ˈɛvəri mənθ ɔn ðə ˈstætəs əv ðɛr ˈprɑʤɛkt ɪz ˈkəmɪŋ əˈlɔŋ. ðɪs ˈmɔrnɪŋ, ðeɪ dɪd prɪˈsaɪsli ðət bət ðeɪ ˈpoʊstɪd ə ˈwɔrnɪŋ tu. ˈfoʊˌtoʊ: ɪf ju ˈhævənt hæd ə pleɪ əraʊnd wɪθ ˈdɑlfən, jʊr duɪŋ ˈjɔrsɛlf ə ˈmæsɪv dɪˈsərvəs. nɛkst tɪ ðə meɪm ˈprɑʤɛkt, ɪts pərˈhæps wən əv ðə moʊst sʊˈpərb fər ˈɛni ˈsɪstəm ˈɛvər prəˈdust. ɪts ə ˈwərldˌklæs ˈprɑʤɛkt, ˈrɪli. bət ˈdilɪŋ wɪθ ˈkɑpiˌraɪtɪd ˈsɔfˌwɛr, əv oʊld geɪmz ənd ˈsɔrtɪŋ aʊt ɔl ðə wɪrd ənd ˈwəndərfəl bəgz geɪmz hæv kən rɪˈzəlt ɪn səm ˌkɑmpləˈkeɪʃənz. fər ðə ˈdɑlfən tim, ðoʊz ˌkɑmpləˈkeɪʃənz keɪm ˈkərtəsi əv ˈkæpkəm, hu æt ðə stɑrt əv ˈeɪprəl sɛnt ə ˈləvli ˈɔtəˌmeɪtɪd ˈnoʊtɪs: heɪ @capcom_unity*, wi hæv wən wərd fər ju: "ˈæshoʊlz". goʊ fɪks jʊr ˈbroʊkən ˈdɑlfən (@dolphin_emu*) mɑrʧ 30 2016 ðə ðət ˈkæpkəm ˌriˈpɔrtəd ɛz ˈvaɪəleɪtɪŋ ðɛr ˈkɑpiˌraɪt: ðɛr ˈɪzənt ˈivɪn ə əv ðɛr geɪm ɔn ðɛr! ˈdɑlfən (@dolphin_emu*) mɑrʧ 30 2016 ðə flæg wɑz əˈgɛnst faɪlz rɪˈleɪtɪŋ tɪ ˈmɑnstər ˈhəntər traɪ. ðə θɔt ɪt maɪt hæv bɪn ðə geɪm ˌɪtˈsɛlf, bət əˈkɔrdɪŋ tɪ ðə ˈdɑlfən tim ðə faɪlz wər ˈoʊnli. "nən əv məˈtɪriəl wɑz ɪn ðə faɪlz ənd ðeɪ wər ˈoʊnli. ˈivɪn skrəbd ənd kəmˈprɛst, wi ˈhaɪli daʊt ðət ˈmɑnstər ˈhəntər traɪ wʊd fɪt ˈɪntu ə zɪp faɪl. bɪˈkəz əv ðɪs flæg, ˈgugəl ənˈlɪstɪd səm ˈpeɪʤɪz əv ɑr ˈfɔrəmz ðət lɪŋkt tɪ ðiz faɪlz, soʊ wi faɪld ə ˈkaʊntər ˈnoʊtɪs tɪ kərˈɛkt ðɪs ˈɑbviəs ˈɛrər. ənˈfɔrʧənətli, ɑr ˈkaʊntər ˈnoʊtɪs wɑz rɪfˈjuzd." naʊ ðiz sɔrts əv əˈnɔɪənsɪz krɑp əp ɔl ðə taɪm. ˈkɑntɛnt kriˈeɪtərz hæv ðɛr ˈvɪdioʊz ənd strimz flægd baɪ ˈɔtəˌmeɪtɪd skrɪpts ənd ðət doʊnt ˈivɪn hæv ˈɛni ˈækʧəwəl kleɪm ɔn ðə ˈvɪdioʊ, wɪʧ kən lɛd tɪ səm ˈprɪti ˈfəni workarounds*. bət ˈfəni ənd ˈfrəˌstreɪtɪŋ ðoʊ ɪt maɪt bi, həz səm ˈsɪriəs ˌɪmpləˈkeɪʃənz. "soʊ, ˈjuzərz ˈəˌploʊdɪŋ faɪlz tɪ faɪl hoʊsts, ˈivɪn screenshots*, ˈmɑdəˌfaɪd bɪldz, ˈtɛksʧər pæks, ər ˈɛniˌθɪŋ ɛls nid tɪ bi wɔrnd: ˈpʊtɪŋ ə geɪmz neɪm ɔn ˈɛni əv ðə faɪlz kʊd rɪˈzəlt ɪn jʊr faɪlz biɪŋ ˈteɪkən daʊn ər ˌdiˈlɪstɪd baɪ ə." ˈkæpkəm ˈɑrənt ˈlaɪkli tɪ ˈwəri əˈbaʊt ˈɛniˌθɪŋ ðæts ˈpoʊstɪd ɔn, seɪ, moddb*. bət wət ɪf əˈnəðər ˈkəmpəˌni ˌdɪˈsaɪdɪd tɪ gɪt ˈoʊvərli əˈgrɛsɪv wɪn ɪt kəmz tɪ ˈtækəlɪŋ ˈpaɪrətɪd ˈkɑntɛnt? ðə ˌsɪmjəˈleɪʃən ˈreɪsɪŋ kəmˈjunɪti həz ɔˈrɛdi hæd ˈprɑbləmz wɪθ ˈfɔrmjələ ˈtrɪgər ˈfɪŋgər. wət wʊd ˈhæpən tɪ, seɪ, ðə ˈjʊrə trək ˈsɪmjəˌleɪtər kəmˈjunɪti ɪf ˈsərtən ˈviɪkəl ˌmænjəˈfækʧərərz gɑt ɪkˈsɛsɪvli ˈlɪtɪʤəs? ɪts ə smɔl riˈmaɪndər əv haʊ ˈflɪmzi ðə raɪts əv kriˈeɪtərz ər prəˈvaɪdɪd ðoʊz kriˈeɪtərz doʊnt hæv ðə riʧ, ˈɪnfluəns ənd wɛlθ əv ˈmeɪʤər ˈpəblɪʃərz ənd ˌməlˌtiˈnæʃənəlz, əv kɔrs.
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the developers behind the superb dolphin emulator for the gamecube and wii post an update every month on the status of their project is coming along. this morning, they did precisely that — but they posted a warning too.
photo: dolphin-emu.org
if you haven't had a play around with dolphin, you're doing yourself a massive disservice. next to the mame project, it's perhaps one of the most superb emulators for any system ever produced. it's a world-class project, really.
but dealing with copyrighted software, isos of old games and sorting out all the weird and wonderful bugs games have can result in some complications. for the dolphin team, those complications came courtesy of capcom, who at the start of april sent a lovely automated notice:
hey @capcom_unity, we have one word for you: "assholes". go fix your broken dmca bots.https://t.co/j8brbnb1ay pic.twitter.com/y5rjboeyay — dolphin emulator (@dolphin_emu) march 30, 2016
the url that capcom reported as violating their copyright: https://t.co/pnrptfsvj3 there isn't even a screenshot of their game on there! — dolphin emulator (@dolphin_emu) march 30, 2016
the dmca flag was against files relating to monster hunter tri. the bot thought it might have been the game itself, but according to the dolphin team the files were only 12mb.
"none of capcom's copywritten material was in the files and they were only 12mb. even scrubbed and compressed, we highly doubt that monster hunter tri would fit into a 12mb zip file. because of this flag, google unlisted some pages of our forums that linked to these files, so we filed a counter notice to correct this obvious error. unfortunately, our counter notice was refused."
now these sorts of dmca annoyances crop up all the time. content creators have their videos and streams flagged by automated scripts and bots that don't even have any actual claim on the video, which can lead to some pretty funny workarounds.
but funny and frustrating though it might be, capcom's dickishness has some serious implications. "so, users uploading files to file hosts, even screenshots, modified builds, texture packs, or anything else need to be warned: putting a game's name on any of the files could result in your files being taken down or delisted by a bot."
capcom aren't likely to worry about anything that's posted on, say, moddb. but what if another company decided to get overly aggressive when it comes to tackling pirated content? the simulation racing community has already had problems with formula 1's over-aggressive trigger finger. what would happen to, say, the euro truck simulator community if certain vehicle manufacturers got excessively litigious?
it's a small reminder of how flimsy the rights of creators are — provided those creators don't have the reach, influence and wealth of major publishers and multinationals, of course.
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pɔl raɪts frəm luˌiziˈænə: aɪ ˈfaɪnəli wɔʧt ðə hɛlp ə fju wiks əˈgoʊ. ɪt ɪz ə 2011 ˈmuvi əˈbaʊt ðə səˈpoʊzd laɪf əv blæk meɪdz ɪn ˈʤæksən, ˌmɪsɪˈsɪpi ɪn ðə ˈərli 60s*. ɪt wɑz ˈwəndərfəli ˈæktɪd, kæst, ənd dɪˈrɛktɪd. bət wɑz ɪt ˈækjərət? ɪt wɑz ˈfɪkʃən. ðə ˈɔθər ɪz məʧ tu jəŋ tɪ hæv ˈwɪtnəst ðə ɪˈvɛnts. ˈmeɪbi ʃi ˈɪntərvˌjud səm meɪdz, ər ˈmeɪbi ʃi dɪd nɑt. ðə fækt ɪz ðət blæk meɪdz ruˈtinli stoʊl frəm ðɛr waɪt ɪmˈplɔɪərz ɪn maɪ ˈækʧəwəl ɪkˈspɪriəns ɪn luˌiziˈænə, nɛkst tɪ ˌmɪsɪˈsɪpi. ðeɪ wʊd tərn ˈsərli wɪˈθaʊt ˌprɑvəˈkeɪʃən. maɪ ˈməðər hæd tɪ faɪər ðɛm ɪn ðə ˈərli 60s*. wi kʊd nɑt əˈfɔrd ˈfʊlˌtaɪm meɪdz ɛz ðə ˈfɪkʃənəl rɪʧ ˈpipəl dɪd ɪn ðə ˈmuvi. wən deɪ ə wik, ɑr meɪdz dɪd səm ˈaɪərnɪŋ ənd səm ˈvækjumɪŋ, ˈhɛvi wərk fər ə ˈwərkɪŋ ˈməðər. ˈbæθˌrum ˈklinɪŋ? aɪ ˈriˌkɔl. ðeɪ ˈsərtənli kʊd juz ɑr ˈbɑθˌrumz ənˈlaɪk ðə ˈfɪkʃənəl wənz ɪn ðə ˈmuvi. ənd wi wʊd ɪmˈbreɪs ənd trit ðɛm wɪθ ðə ˈətˌmoʊst rɪˈspɛkt: ruth,”*,” ““yes*, ma’am,”*,” ˌɛtˈsɛtərə. ənd ɪt wɑz nɑt ʤɪst ˈjuˈɛs ˈʧɪldrən; maɪ ˈpɛrənts ˈnɛvər hæd ə krɔs wərd wɪθ ðɛm. maɪ ˈfɑðər (ə təf ˈkɑmbæt mərˈin) wɑz tu ʃaɪ tɪ dil wɪθ ðɛm. soʊ məʧ fər ə ˈhəzbənd kəˈmændɪŋ wən, mi ə sandwich”*” ɛz ɪn ðə ˈmuvi. maɪ ˈgrændˌməðər, wɪn ʃi wɑz ˈmɛrid tɪ maɪ rɪʧ ˈgrænˌfɑðər, juzd tɪ ɪmˈplɔɪ meɪdz. ʃi ˈweɪtɪd ɔn ðɛm ˈrəðər ðən hər ˈʧɪldrən. ðə blæk meɪdz seɪvd wən əv maɪ ɔnts baɪ ˈpleɪsɪŋ hər ɪn aɪs ˈwɔtər tɪ kul hər ˈtɛmpərəʧər waɪl ɔn ə ˈtərpənˌtaɪn ˌplænˈteɪʃən ɪn ““evil”*” ˌmɪsɪˈsɪpi. maɪ ɔnt ˈsəfərd səm breɪn ˈdæmɪʤ, bət ʃi ˈprɑspərd ɛz ə saleslady*. maɪ ˈgrændˌməðər wɑz ˈwərθləs ɛz ə ˈməðər bət ə swit, kaɪnd ˈgrændˌməðər. goʊ ˈfɪgjər. maɪ ˌgreɪtˈgrændˌfɑðər roʊd ə hɔrs əraʊnd ðə ˌplænˈteɪʃən wɪθ ə ˈpɪstəl ɪn ən ˈɛfərt tɪ kip ðə blæk ˈwərkərz ˈəndər kənˈtroʊl. ðeɪ wər min ɛz hɛl. ˈmɪstər. smɪθ wɑz ə waɪld, ˈprɑtəstənt ˈaɪrɪʃmən hu wəns ˈɛmtid ə dæns hɔl wɪn hi pʊld hɪz ˈpɪstəl ənd tɪ firing,”*,” ðə ˈvərʒən maɪ ˈməðər hərd. hi hæd tɪ əˈvɔɪd ðə taʊn bɪˈkəz ðə ˈʃɛrɪf wɑz aʊt tɪ gɪt ɪm. soʊ ðɛr wər ˈprɑbləmz bæk ðɛn, bət ðə ˈprɑbləmz wər nɑt kɔzd baɪ ɔn ðə pɑrt əv moʊst waɪts. maɪ ˈgrænˌfɑðər rɪfˈjuzd tɪ ʤɔɪn ðə klæn, ɛz dɪd ðə greɪt məˈʤɔrəti əv waɪts. ðə klæn wɑz ˈivəl ˈtruli. bət ðeɪ hæd ˌkɑnstəˈtuʃənəl raɪts, ənd ðə ˈgəvərnmənts kʊd nɑt stɑp ðɛm. wi ˈsəðərnərz ər ʤɪst laɪk ðə rɛst əv əˈmɛrɪkə; wi wɔnt tɪ hɑrm ˈɛniˌwən. wi ər ˈpeɪtriəts ənd rɪˈlɪʤəs. ɛz ə ˈmaɪnər ɪgˈzæmpəl, maɪ ˈbrəðər wɑz əˈbaʊt faɪv ər sɪks wɪn hi sɔ səm blæk ˈwɪmən ˈkəmɪŋ daʊn ðə strit. ɛz ən ˌɪˈneɪtli ˌɪnəˈproʊpriɪt ənd ənˈplɛzənt ˈpərsən, hi sɛd, ər niggers.”*.” maɪ ˈdædi wɑz ˈprɛzənt ənd tʊk ɪm əˈsaɪd. ˈdædi toʊld ɪm ˈnɛvər tɪ du ðət əˈgɛn ənd tɪ ˈæˌdrɛs blæk ˈpipəl rɪˈspɛktfəli. ənd ðə ˈmuvi feɪlz tɪ rɪˈleɪt haʊ, ˈæftər ðə ˈsɪvəl raɪts ækt əv 1964 blæks bɪˈkeɪm ˈivɪn ˈwaɪldər ənd ˈstɑrtɪd ˈvɪktəmaɪzɪŋ waɪts wɪθ reɪp, ˈmərdər, ˈbitɪŋz, ənd θɛft ɔn ə skeɪl ðət waɪts ˈnɛvər ˈvɪktəmaɪzd blæks ˈæftər ðə ˈsɪvəl wɔr (ənd ˌbiˈfɔr). ə kloʊz frɛnd lɪvz ɪn ˈʤæksən, ənd hi tɛlz əv ə blæk ˈreɪdiˌoʊ ˈbrɔdˌkæstər hu əˈnaʊnsɪz ɔn ˈfraɪˌdeɪ ˈivnɪŋz ðət ðə blæk ˈgənˌʃɑts wɪl sun bɪˈgɪn. ðə blæk ˈbrɔdˌkæstər ˈɑbviəsli həz ə ˈprɑbləm wɪθ blæk ˈkəlʧər. ɪt ɪz waɪ maɪ ˈfæməli lɪvz, ənd ˈmɛni blæks hæv muvd, ˈaʊtˈsaɪd əv ˈʤæksən. ˈʤæksən ɪz naʊ ə hellhole*. soʊ məʧ fər ðə mɪsˈlidɪŋ ðə hɛlp.
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paul writes from louisiana:
i finally watched the help a few weeks ago. it is a 2011 movie about the supposed life of black maids in jackson, mississippi in the early 60s. it was wonderfully acted, cast, and directed. but was it accurate? it was fiction. the author is much too young to have witnessed the events. maybe she interviewed some maids, or maybe she did not.
the fact is that black maids routinely stole from their white employers in my actual experience in louisiana, next to mississippi. they would turn surly without provocation. my mother had to fire them in the early 60s. we could not afford full-time maids as the fictional rich people did in the movie. one day a week, our maids did some ironing and some vacuuming, heavy work for a working mother. bathroom cleaning? i don’t recall. they certainly could use our bathrooms unlike the fictional ones in the movie. and we would embrace and treat them with the utmost respect: “miss ruth,” “yes, ma’am,” etc. and it was not just us children; my parents never had a cross word with them. my father (a tough combat marine) was too shy to deal with them. so much for a husband commanding one, “fix me a sandwich” as in the movie.
my grandmother, when she was married to my rich grandfather, used to employ maids. she waited on them rather than her children. the black maids saved one of my aunts by placing her in ice water to cool her temperature while on a turpentine plantation in “evil” mississippi. my aunt suffered some brain damage, but she prospered as a saleslady. my grandmother was worthless as a mother but a sweet, kind grandmother. go figure.
my great-grandfather rode a horse around the plantation with a pistol in an effort to keep the black workers under control. they were mean as hell. mr. smith was a wild, red-haired protestant irishman who once emptied a dance hall when he pulled his pistol and “commenced to firing,” the version my mother heard. he had to avoid the town because the sheriff was out to get him.
so there were problems back then, but the problems were not caused by evilness on the part of most whites. my grandfather refused to join the klan, as did the great majority of whites. the klan was evil truly. but they had constitutional rights, and the governments could not stop them. we southerners are just like the rest of america; we don’t want to harm anyone. we are patriots and religious. as a minor example, my brother was about five or six when he saw some black women coming down the street. as an innately inappropriate and unpleasant person, he said, “you are niggers.” my daddy was present and took him aside. daddy told him never to do that again and to address black people respectfully.
and the movie fails to relate how, after the civil rights act of 1964, blacks became even wilder and started victimizing whites with rape, murder, beatings, and theft on a scale that whites never victimized blacks after the civil war (and before). a close friend lives in jackson, and he tells of a black radio broadcaster who announces on friday evenings that the black gunshots will soon begin. the black broadcaster obviously has a problem with black culture. it is why my friend’s family lives, and many blacks have moved, outside of jackson. jackson is now a hellhole. so much for the misleading the help.
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ˈsæˌtɪˌdeɪ, dɛk 8th*, 2012 ðə fist əv ðə ˌɪˈmækjulɪt kənˈsɛpʃən (əv ɑr ˈleɪdi), ɪz ə ˈhoʊli deɪ əv ˌɑbləˈgeɪʃən 1983 1246 əbˈzərvd ɪn ðə juˈnaɪtɪd steɪts. naʊ, ˈɛvəri taɪm ən əbˈzərvd ˈhoʊli deɪ əv ˌɑbləˈgeɪʃən fɔlz ɔn ə ˈsæˌtɪˌdeɪ ər ə ˈmənˌdeɪ, səm ˈpipəl θɪŋk ˈfɪgjərd ə kul weɪ meɪk wən mæs kaʊnt fər tu ˌɑbləˈgeɪʃənz, ˈneɪmli, baɪ əˈtɛndɪŋ ən ˈivnɪŋ mæs ɔn ðə fərst əv ðə tu deɪz ənd ˈkaʊntɪŋ ɪt təˈwɔrd boʊθ noʊ, ɛz ɪf ˈivnɪŋ mæs wər səm sɔrt əv raɪt! ˈeɪbəl tɪ sleɪ tu ˌɑbləˈgeɪʃənz wɪθ ə ˈsɪŋgəl mass!”*!” nɑt. tu mæs ˌɑbləˈgeɪʃənz ˌrikˈwaɪər tu mæs ˌsætəsˈfækʃənz. ˈpɪriəd. ðət sɛd, ə fju foʊks hu kərˈɛktli riˈmaɪnd ˈəðərz ðət ðɛr ər tu əˈtɛndəns ˌɑbləˈgeɪʃənz ˈkəmɪŋ əp sim ˈɔlsoʊ tɪ əˈsərt ðət ðə taɪp əv mæs əˈtɛndəd dɪˈtərmənz wɪʧ əˈtɛndəns ˌɑbləˈgeɪʃən kən bi ˈsætɪsˌfaɪd thereat*, ɛz ɪn, fər ɪgˈzæmpəl, ə mæs əv ænˌtɪsəˈpeɪʃən fər ðə ˈsɛkənd əv ˈædˌvɛnt, ˈsɛləˌbreɪtɪd æt 5 piɛm nɛkst ˈsæˌtɪˌdeɪ, kən ˈoʊnli bi əˈplaɪd təˈwɔrd ˈsənˌdi ˌɑbləˈgeɪʃən, nɑt təˈwɔrd ˌɪˈmækjulɪt kənˈsɛpʃən. ən ˈɛrər ərˈaɪzɪŋ frəm kənfˈjuzɪŋ ðə kəˈnɑnəkəl ˌɑbləˈgeɪʃən ɔn ˈpipəl tɪ əˈtɛnd mæs wɪθ ðə ləˈtərʤɪkəl ˌɑbləˈgeɪʃən ɔn prists tɪ ˈsɛləˌbreɪt ðə mæs kɔld fər baɪ ðə rubrics*. ðə kəˈnɑnəkəl ˌɑbləˈgeɪʃən tɪ əˈtɛnd mæs ɪz ˈsætɪsˌfaɪd baɪ ðɛr æt ə mæs ˈsɛləˌbreɪtɪd ˈɛniˌwɛr ɪn ə ˈkæθlɪk raɪt ɔn ðə [deɪ rikˈwaɪərd] ər ɪn ðə ˈivnɪŋ əv ðə priˈsidɪŋ day…”*…” (si. 1248 2 ðə lɔ sɪz ˈnəθɪŋ əˈbaʊt wət taɪp əv mæs ɪz ˈsɛləˌbreɪtɪd, ˈoʊnli, ðət ɪt məst bi ə mæs ɪn ə ˈkæθlɪk raɪt. kənˈsɪdər ə wɪrd ˌhaɪpəˈθɛtɪkəl. wən kʊd əˈtɛnd ə fˈjunərəl mæs æt 5 piɛm nɛkst ˈsæˌtɪˌdeɪ ənd kaʊnt ɪt təˈwɔrd ˌɑbləˈgeɪʃən tɪ əˈtɛnd mæs fər ðə ˌɪˈmækjulɪt kənˈsɛpʃən, ənd ðɛn æt 7 piɛm əˈtɛnd ə ˈwɛdɪŋ mæs ənd kaʊnt ɪt təˈwɔrd ˈsənˌdi jɛs, ˈhoʊli kəmˈjunjən kʊd bi ˈteɪkən æt boʊθ ˈmæsɪz ɪn əˈkɔrd wɪθ si. 917 si nu kɑm. æt 1445 (fər ðə ˈprɪnsəpəl æt ˈɪʃu, nɑt fər maɪ wɪrd ɪgˈzæmpəl!) naʊ, nɑt ˌrɛkəˈmɛndɪŋ səʧ laɪk, əv kɔrs (ˌɪmˈpɔrtənt ləˈtərʤɪkəl ˈvæljuz ər ˈbɛtər sərvd baɪ ˈwərʃəˌpɪŋ ɪn əˈkɔrd wɪθ ðə ˈkæləndər) bət, fər kəˈnɑnəkəl tɪ sniz æt, aɪ nid ˈhɑrdli ˈmæsɪz ənkˈwɛsʧənəbli ˈsætɪsˌfaɪ ðə ˌɑbləˈgeɪʃənz tɪ əˈtɛnd. ɪn ʃɔrt, ˈɛniˌwən hu əˈtɛndz ən ˈivnɪŋ mæs nɛkst ˈsæˌtɪˌdeɪ, ˈkaʊntɪŋ ɪt təˈwɔrd ðə ˌɪˈmækjulɪt kənˈsɛpʃən ˌɑbləˈgeɪʃən, dɪz soʊ ɪn əˈkɔrd wɪθ lɔ ˈivɪn ɪf sɛd mæs ɪz ðət əv ðə ˈsɛkənd ˈsənˌdi əv ˈædˌvɛnt. seɪm deɪ ˈfɑloʊˌəp: ˌoʊˈkeɪ, ən ɪgˈzæmpəl əv haʊ kənfˈjuʒən ərˈaɪzɪz: ðə steɪts (æt pi. 28 ˌɑbləˈgeɪʃən [fər ˌɪˈmækjulɪt kənˈsɛpʃən] ɪz fʊlˈfɪld baɪ əˈtɛndɪŋ ə ˈvɪʤəl mæs ɔn ˈfraɪˌdeɪ ˈivnɪŋ, dɪˈsɛmbər 7 ər mæs ˈdʊrɪŋ ðə deɪ ɔn ˈsæˌtɪˌdeɪ morning.”*.” naʊ, ˈstrɪktli ˈspikɪŋ, raɪt, ðə ˌɪˈmækjulɪt kənˈsɛpʃən ˌɑbləˈgeɪʃən ɪz ˈsætɪsˌfaɪd baɪ əˈtɛndɪŋ mæs ɔn ˈfraɪˌdeɪ ˈivnɪŋ ər ˈsæˌtɪˌdeɪ ˈmɔrnɪŋ əv dɛk 8th*. bət ðə ˈprɑbləm: ðə ˌɑbləˈgeɪʃən tɪ əˈtɛnd mæs fər ðə ˌɪˈmækjulɪt kənˈsɛpʃən ɪz ˈɔlsoʊ ˈsætɪsˌfaɪd baɪ əˈtɛndəns æt ˈɛni mæs ɪn ə ˈkæθlɪk raɪt ɔn ðət ˈsæˌtɪˌdeɪ ˌæftərˈnun, ər ðət ˈivnɪŋ, ər ˈivɪn əp tɪ ˈmɪdˌnaɪt ɔn ðət ˈsæˌtɪˌdeɪ, rəˈgɑrdləs əv ðə ˌkɛrɪktərɪˈzeɪʃən əv ðə mæs ˈsɛləˌbreɪtɪd, ɪf ðət ɪz haʊ ə ˈmɛmbər əv ðə ˈfeɪθfəl ˈwɪʃɪz tɪ əˈplaɪ ɪt. ˈsætɪsˌfaɪɪŋ ðə tu mæs ˌɑbləˈgeɪʃənz fər ˌɪˈmækjulɪt kənˈsɛpʃən ənd fər ðə ˈsɛkənd ˈsənˌdi ɪn ˈædˌvɛnt ɪz ˈsɪmpli ə ˈmætər əv əˈtɛndɪŋ tu ˈmæsɪz wɪˈθɪn ðə əˈlɑtɪd taɪm ˈpɪriədz fər iʧ ˌɑbləˈgeɪʃən, rəˈgɑrdləs əv ðə ˌkɛrɪktərɪˈzeɪʃən əv ðə ˈmæsɪz wən əˈtɛndz. ˈəpˌdeɪt 4 dɛk 2012 wɔnt mɔr dɪˈskəʃən? klɪk hir. ˈəpˌdeɪt 6 dɛk 2012 θərd lʊk æt ˈɪʃu. ˈædvərˌtaɪzmənts
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saturday, dec 8th, 2012, the feast of the immaculate conception (of our lady), is a holy day of obligation (1983 cic 1246) observed in the united states. now, every time an observed holy day of obligation falls on a saturday or a monday, some people think they’ve figured a cool way make one mass count for two obligations, namely, by attending an evening mass on the first of the two days and counting it toward both days—you know, as if evening mass were some sort of “super rite! able to slay two obligations with a single mass!” not.
two mass obligations require two mass satisfactions. period.
that said, a few folks who correctly remind others that there are two attendance obligations coming up seem also to assert that the type of mass attended determines which attendance obligation can be satisfied thereat, as in, for example, a mass of anticipation for the second of advent, celebrated at 5 pm next saturday, can only be applied toward one’s sunday obligation, not toward immaculate conception. that’s an error arising from confusing the canonical obligation on people to attend mass with the liturgical obligation on priests to celebrate the mass called for by the rubrics.
the people’s canonical obligation to attend mass is satisfied by their “assisting at a mass celebrated anywhere in a catholic rite on the [day required] or in the evening of the preceding day…” (c. 1248 § 2). the law says nothing about what type of mass is celebrated, only, that it must be a mass in a catholic rite. let’s consider a weird hypothetical.
one could attend a funeral mass at 5 pm next saturday and count it toward one’s obligation to attend mass for the immaculate conception, and then at 7 pm attend a wedding mass and count it toward one’s sunday obligation—and yes, holy communion could be taken at both masses in accord with c. 917. see clsa new comm. at 1445 (for the principle at issue, not for my weird example!) now, i’m not recommending such like, of course (important liturgical values are better served by worshiping in accord with the calendar) but, for canonical purposes—nothing to sneeze at, i need hardly say—such masses unquestionably satisfy the obligations to attend.
in short, anyone who attends an evening mass next saturday, counting it toward the immaculate conception obligation, does so in accord with law even if said mass is that of the second sunday of advent.
same day follow-up:
okay, here’s an example of how confusion arises: the usccb states (at p. 28): “the obligation [for immaculate conception] is fulfilled by attending a vigil mass on friday evening, december 7, or mass during the day on saturday morning.”
now, strictly speaking, that’s right, the immaculate conception obligation is satisfied by attending mass on friday evening or saturday morning of dec 8th. but here’s the problem: the obligation to attend mass for the immaculate conception is also satisfied by attendance at any mass in a catholic rite on that saturday afternoon, or that evening, or even up to midnight on that saturday, regardless of the characterization of the mass celebrated, if that is how a member of the faithful wishes to apply it. satisfying the two mass obligations for immaculate conception and for the second sunday in advent is simply a matter of attending two masses within the allotted time periods for each obligation, regardless of the characterization of the masses one attends.
update 4 dec 2012: want more discussion? click here.
update 6 dec 2012: third look at issue.
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ˈwɔʃɪŋtən (ˈrɔɪtərz) θri juz. trups ənd ə ˈwərkɪŋ dɔg wər kɪld baɪ ə bɔm blæst ɔn ˈfraɪˌdeɪ ɪn ˈsəðərn æfˈgænəˌstæn, ə juz. əˈfɪʃəl sɛd, ˈspikɪŋ ɔn kənˈdɪʃən əv ˌænəˈnɪmɪti. noʊ ˌɪnˌfɔrˈmeɪʃən wɑz ˌɪˈmiˌdiətli əˈveɪləbəl əˈbaʊt ðə ˈɪnsədənt. ðə ˌɪnərˈnæʃənɑl sɪˈkjʊrəti əˈsɪstəns fɔrs, ər, ɪn æfˈgænəˌstæn sɛd ɪn ə ˈsteɪtmənt θri ˈsərvɪs ˈmɛmbərz daɪd ˈfɑloʊɪŋ ən ˈɪmprəˌvaɪzd ɪkˈsploʊsɪv dɪˈvaɪs əˈtæk. dɪd nɑt prəˈvaɪd ðə ˌnæʃəˈnælɪti əv ðə ˈvɪktɪmz. ðə ˈtælɪˌbæn, ˈaʊstɪd baɪ ˈfɔrsɪz ɪn ðə ˈæftərˌmæθ əv æl sɛpˈtɛmbər 11 2001 əˈtæks ɔn ðə juˈnaɪtɪd steɪts, ɪz ɪnˈgeɪʤd ɪn ə ˈsəmər əˈfɛnsɪv əˈhɛd əv ðə plænd wɪθˈdrɔəl əv moʊst ˈfɔrən trups baɪ ðə ɛnd əv ðɪs jɪr. ðə juˈnaɪtɪd steɪts plænz tɪ rɪˈdus ɪts fɔrs ɪn æfˈgænəˌstæn tɪ lɛs ðən ˈæftər 2014 ənd wɪθˈdrɔ ˈɔlˌmoʊst ɔl əv ðɛm baɪ ðə ɛnd əv 2016
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washington (reuters) - three u.s. troops and a working dog were killed by a bomb blast on friday in southern afghanistan, a u.s. official said, speaking on condition of anonymity.
no information was immediately available about the incident. the nato-led international security assistance force, or isaf, in afghanistan said in a statement three service members died following an improvised explosive device attack.
isaf did not provide the nationality of the victims.
the taliban, ousted by u.s.-backed forces in the aftermath of al qaeda’s september 11, 2001 attacks on the united states, is engaged in a summer offensive ahead of the planned withdrawal of most foreign troops by the end of this year.
the united states plans to reduce its force in afghanistan to less than 10,000 after 2014 and withdraw almost all of them by the end of 2016.
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ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ ɪz ə ˈmeɪʤər ˈfriˌweɪ ɪn ðə nu jɔrk ˈsɪti bəroʊ əv ðə brɑŋks, kənˈsivd baɪ ˈrɑbərt ˈmoʊzɪs ənd bɪlt bɪtˈwin 1948 ənd 1972 ɪt ˈkɛriz ˈtræfɪk ɔn ˌɪntərˈsteɪt 95 θru ðə ˈsɪti, ənd sərvz ɛz ə ˈpɔrʃən əv təˈwɔrd lɔŋ ˈaɪlənd; ə ˈpɔrʃən ɪz ˈɔlsoʊ ˈdɛzɪgˌneɪtɪd juz. rut 1 (ˈjuˈɛs 1 ðə krɔs brɑŋks bɪˈgɪnz æt ðə ˌælɪgˈzændər ˈhæməltən brɪʤ ˈoʊvər ðə ˈhɑrləm ˈrɪvər, wɛr ðə ɪkˈsprɛsˌweɪ kənˈtɪnjuz wɛst əˈkrɔs ˈəpər mænˈhætən tɪ ðə ʤɔrʤ ˈwɔʃɪŋtən brɪʤ. waɪl livz æt ðə ˈbrəknər ˌɪnərˈʧeɪnʤ ɪn nɛk, ˈfɑloʊɪŋ ðə ˈbrəknər ɪkˈsprɛsˌweɪ ənd nu ˈɪŋglənd θˈruˌweɪ tɪ kəˈnɛtəkət, ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ ɪkˈstɛnʃən kənˈtɪnjuz ist, ˈkɛriɪŋ tɪ ðə mərʤ wɪθ ðə nɛk ɪkˈsprɛsˌweɪ nɪr ðə nɛk brɪʤ. ðoʊ ðə roʊd goʊz praɪˈmɛrəli northwest-to-southeast*, ðə ˈnɑmənəl dɪˈrɛkʃɪnz əv ɔl rut ˈnəmbərz wɛst əv ðə ˈbrəknər ˌɪnərˈʧeɪnʤ ər əˈlaɪnd wɪθ ðə ˈnɔrθbaʊnd rut ˈnəmbər goʊɪŋ ˌsaʊˈθist, ənd ðə ˈsaʊθˌbaʊnd rut ˈnəmbər goʊɪŋ ˌnɔrθˈwɛst. ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ wɑz ðə fərst ˈhaɪˌweɪ bɪlt θru ə ˈkraʊdɪd ˈərbən ɪnˈvaɪrənmənt ɪn ðə juˈnaɪtɪd steɪts; ðə moʊst ɪkˈspɛnsɪv maɪl əv roʊd ˈɛvər bɪlt tɪ ðət pɔɪnt ɪz pɑrt əv ðə krɔs brɑŋks, ˈkɔstɪŋ 40 ˈmɪljən (ɪkˈwɪvələnt tɪ ɪn 2018 æt wən pɔɪnt ˈdʊrɪŋ kənˈstrəkʃən, ˈmoʊzɪs' kruz hæd tɪ səˈpɔrt ðə grænd ˈkɑnˌkɔrs (ə ˈmeɪʤər ˈsərfəs ˈθəroʊˌfɛr), ə ˈsəbˌweɪ line[a*] ənd ˈsɛvərəl ˈɛləˌveɪtɪd treɪn lines[b*] waɪl ðə ɪkˈsprɛsˌweɪ wɑz ləˈbɔriəsli pʊʃt θru. ðə ˈhaɪˌweɪ ɪkˈspɪriənsɪz səˈvɪr ˈtræfɪk ˈprɑbləmz, ənd ɪts kənˈstrəkʃən həz bɪn bleɪmd fər ˈnɛgətɪvli əˈfɛktɪŋ ə ˈnəmbər əv ˌloʊˈɪnkəm ˈneɪbərˌhʊdz ɪn ðə saʊθ rut dɪˈskrɪpʃən ˈɛdət ə ˈvɪdioʊ əv ə ˈwɛstˌbaʊnd trɪp ɔn ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ ənd əˈʤeɪsənt ˈhaɪˌweɪz ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ bɪˈgɪnz æt ðə ˈistərn ɛnd əv ðə ˌælɪgˈzændər ˈhæməltən brɪʤ ɛz ə kənˌtɪnjuˈeɪʃən əv ðə ɪkˈsprɛsˌweɪ ənd əˈfɪʃəli ˈdɛzɪgˌneɪtɪd ɛz boʊθ ənd ˈjuˈɛs 1 ˌɪˈmiˌdiətli ˈæftər ˈkəmɪŋ ɔf ðə brɪʤ, ðɛr ɪz ən ˌɪnərˈʧeɪnʤ wɪθ ðə ˈmeɪʤər ˈdigən ɪkˈsprɛsˌweɪ fər ˈjæŋki ˈsteɪdiəm ənd pɔɪnts ˈəpˈsteɪt. ðə ˈhaɪˌweɪ sun ˌɪntərˈsɛkts wɪθ ˈwɛbstər ˈævəˌnu æt ə ˈpɑrʃəl ˌɪnərˈʧeɪnʤ əˈlaʊɪŋ ˈistˌbaʊnd ˈviɪkəlz tɪ ˈɛksət ənd ˈwɛstˌbaʊnd wənz tɪ ˈɛnər. ˈnɔrθbaʊnd ˈjuˈɛs 1 livz ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ æt ðɪs ˈɛksət. əˈbaʊt wən ənd hæf maɪəlz ˈleɪtər kəmz ə pɛr əv ˈkloʊsli speɪst ˈɪnərˌʧeɪnʤɪz fər ðə ˈʃɛrɪdən ɪkˈsprɛsˌweɪ ənd ðə brɑŋks ˈrɪvər ˈpɑrkˌweɪ. ðə ˈɛksət fər ðə ˈʃɛrɪdən ɪkˈsprɛsˌweɪ ɪz ən ˌɪnkəmˈplit ˌɪnərˈʧeɪnʤ ənd əˈlaʊz ˈækˌsɛs frəm ˈnɔrθbaʊnd ənd tɪ ˈsaʊθˌbaʊnd ˈoʊnli. ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ ˈriʧɪz ðə ˈbrəknər ˌɪnərˈʧeɪnʤ tu maɪəlz 3 km*) ˈleɪtər. ðə ˈsərvɪs roʊd ɪz kɔld ist strit bɪtˈwin ðə brɑŋks ˈrɪvər ˈpɑrkˌweɪ ənd ðə ˈbrəknər goʊɪŋ ˈistˌbaʊnd ˈnɔrθbaʊnd), ðə ˌɪnərˈʧeɪnʤ əˈlaʊz ˈækˌsɛs tɪ ˈsaʊθˌbaʊnd ˈnɔrθbaʊnd (ˈbrəknər ɪkˈsprɛsˌweɪ) ənd ˈsaʊθˌbaʊnd livz ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ hir ənd kənˈtɪnjuz nɔrθ əˈlɔŋ ðə ˈbrəknər ɪkˈsprɛsˌweɪ. ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ kənˈtɪnjuz ist əv ðə ˌɪnərˈʧeɪnʤ ɛz wɪʧ bɪˈgɪnz hir. ðə krɔs brɑŋks ɛndz maɪəlz km*) ˈleɪtər æt ðə nɛk ɪkˈsprɛsˌweɪ, wɛr ˈtræfɪk frəm ˈmərʤɪz ɔn təˈwɔrdz ðə nɛk ˈhɪstəri ˈɛdət ˈistwərd frəm ˈwɛˌstʧɛstər ˈævəˌnu ðə 1929 rɪˈpɔrt ɔn ˈhaɪˌweɪ ˈtræfɪk kənˈdɪʃənz ənd prəˈpoʊzd ˈtræfɪk rɪˈlif ˈmɛʒərz fər ðə ˈsɪti əv nu jɔrk wɑz ðə fərst ˈsɪtiˌwaɪd ˈtræfɪk ˈstədi, ˈklæsəˌfaɪɪŋ ə ˈnəmbər əv ˈprɑʤɛkts ðət hæd bɪn prəˈpoʊzd baɪ ˈloʊkəl ˈɪntərɪsts. ə rut" əˈlɔŋ ənd strits wɑz wən əv tu prəˈpoʊzd fəˈsɪlɪtiz, əˈlɔŋ wɪθ ðə "ˈnæsɔ ˈbʊləˌvɑrd" (wɪʧ bɪˈkeɪm ðə lɔŋ ˈaɪlənd ɪkˈsprɛsˌweɪ), pɪkt baɪ bəroʊ ˈɛnʤəˈnɪrz ɛz ɪgˈzæmpəlz əv ˌɪmˈpɔrtənt ˌɔlˈðoʊ ðɪs ˈrutɪŋ wɑz saʊθ əv ðə ˈprɛzənt krɔs brɑŋks ɪkˈsprɛsˌweɪ, ðə rɪˈpɔrt dɪd səˈʤɛst ə "nu ˈɑrtəri" nɪr ðə ˈprɛzənt ɪkˈsprɛsˌweɪ ðət wʊd lɪŋk ðə ˈwɔʃɪŋtən brɪʤ wɪθ ðə ˈklæsən pɔɪnt ˈfɛri tɪ kwinz. ðoʊ ɪt wʊd nɑt bi bɪlt tɪ ˈfriˌweɪ ˈstændərdz, ɪt wʊd bi 60 fit 18 ɛm) waɪd wɪθ greɪd ˌsɛpərˈeɪʃənz "wɛr kənˈsɪdərd ˈnɛsəˌsɛri ənd dɪˈzaɪərəbəl." ðə ʤɔrʤ ˈwɔʃɪŋtən brɪʤ, ðɛn ˈəndər kənˈstrəkʃən, wɑz ˈsaɪtɪd əˈməŋ ˈrizənz tɪ bɪld ðə ˈhaɪˌweɪ wɪʧ wʊd hɛlp kəˈnɛkt nu ˈʤərzi tɪ lɔŋ ˈaɪlənd ˈviə ðə ˈbrɪʤɪz ənd ɪn 1936 ðə ˈriʤənəl plæn əˌsoʊʃiˈeɪʃən (rpa*) prəˈpoʊzd ə ˈhaɪˌweɪ wɪʧ wʊd kəˈnɛkt ðə ʤɔrʤ ˈwɔʃɪŋtən, ˈtraɪbəroʊ, ənd ˈbrɪʤɪz, ɛz wɛl ɛz ˈækˌsɛs tɪ pɔɪnts nɔrθ tɪ nu ˈnidɪd] ɪn leɪt 1940 ðə nu jɔrk ˈsɪti ˈplænɪŋ kəˈmɪʃən əˈdɑptəd ə plæn fər ə ˈnɛtˌwərk əv ˈhaɪˌweɪz. ɪkˈsɛpt fər ðə brɑŋks ənd ˈpɛləm ˈpɑrkˌweɪ, wɪʧ leɪ tɪ ðə nɔrθ, noʊ ˈhaɪˌweɪ hæd bɪn bɪlt əp tɪ ðɪs ðə rɪˈpɔrt ˈsteɪtɪd ðət ðə "brɑŋks ˈkrɔˌstaʊn ˈhaɪˌweɪ", wɪʧ wʊd naʊ kəˈnɛkt ɔn ðə ist ɛnd tɪ ðə brɪʤ (wɪʧ hæd ˌriˈpleɪst ðə ˈklæsən pɔɪnt ˈfɛri), wɑz "ən ɛˈsɛnʃəl pɑrt əv ə dɪˈzaɪərəbəl ˈhaɪˌweɪ ˈpætərn", ˈteɪkɪŋ ˈtræfɪk frəm ðə ʤɔrʤ ˈwɔʃɪŋtən brɪʤ tɪ lɔŋ ˈaɪlənd ənd nu ˈɪŋglənd. ðə kɔst wɑz ˈɛstəˌmeɪtɪd æt 17 ˈmɪljən, haɪər ðən moʊst ˌɪmˈpruvmənts bɪˈkəz əv ðə kənˈdɪʃənz, haɪ lænd ˈvæljuz, ənd ˈhɛvəli ðə ɪkˈsprɛsˌweɪ bɪˈniθ ˈwɔltən ˈævəˌnu ənd grænd ˈkɑnˌkɔrs. ˈrɑbərt ˈmoʊzɪs prəˈpoʊzd ə ɪkˈsprɛsˌweɪ tɪ rən θru ðə ˈmɪdəl əv ðə brɑŋks ɪn 1945 ðɪs ˈprɑʤɛkt pruvd tɪ bi wən əv ðə moʊst ˈdɪfəkəlt ɪkˈsprɛsˌweɪ ˈprɑʤɛkts æt ðə taɪm; kənˈstrəkʃən rikˈwaɪərd ˈblæstɪŋ θru ˈrɪʤɪz, ˈkrɔsɪŋ ˈvæliz ənd ˌridərˈɛktɪŋ smɔl ˈrɪvərz. ɪn duɪŋ soʊ, ˈmɪnəməl dɪsˈrəpʃən tɪ ðə əˈpɑrtmənt ˈbɪldɪŋz ðət tɑpt ðə ˈrɪʤɪz ɪn ðə ˈɛriə əv grænd ˈkɑnˌkɔrs wɑz ə praɪˈɔrəti. mɔˈroʊvər, ðə ɪkˈsprɛsˌweɪ hæd tɪ krɔs 113 strits, ˈsɛvən ənd (səm əv wɪʧ wər ˈəndər kənˈstrəkʃən), wən ˈsəbˌweɪ laɪn, faɪv ˈɛləˌveɪtɪd laɪnz, θri kəmˈjutər reɪl laɪnz, ənd ˈhənərdz əv juˈtɪləti, ˈwɔtər ənd suər laɪnz, nən əv wɪʧ kʊd bi ˈnidɪd] kənˈstrəkʃən əv ðə ɪkˈsprɛsˌweɪ bɪˈgæn ɪn ə ɛmˈbæŋkmənt wɑz ˈkɛrfəli dəg tɪ əˈkɑməˌdeɪt sɪks ɛm) ˈtræfɪk leɪnz ənd fɔr ɛm) ˈkɑbəlˌstoʊn ˈʃoʊldərz. ɪn 1963 ðə læst əv ðə θri ˈsɛkʃənz əv ˈroʊdˌweɪ bɪtˈwin ðə ˌælɪgˈzændər ˈhæməltən ənd nɛk ˈbrɪʤɪz wər ˈfɪnɪʃt, kəmˈplitɪŋ ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ. ˈdigən ˌɪnərˈʧeɪnʤ ðə fərst ˈpɔrʃən, frəm ðə brɑŋks ˈrɪvər ˈpɑrkˌweɪ ist tɪ ðə ˈbrəknər ˌɪnərˈʧeɪnʤ, ˈoʊpənd ɔn noʊˈvɛmbər 5 1955 æt ðə seɪm taɪm ɛz pɑrts əv ðə kwinz ˈmɪdˌtaʊn ənd ˈmeɪʤər ˈdigən wɪn ðə nɛk brɪʤ ˈoʊpənd ɔn ˈʤænjuˌɛri 11 1961 ðə krɔs brɑŋks wɑz ɪkˈstɛndɪd ist ɛz wən əv ɪts tu ˈnɔrðərn (ðə ɪkˈstɛnʃən wɑz pɑrt əv ənˈtɪl 1970 wɪn ɪt bɪˈkeɪm ɪts ˈkɑrənt ˌdɛzɪgˈneɪʃən.) ə km*) ˈwɛstərn ɪkˈstɛnʃən tɪ ə ˈtɛmpərˌɛri ˌɪnərˈʧeɪnʤ wɪθ ˈbɔstən roʊd ˈoʊpənd ɔn ˈeɪprəl 23 ənd ɔn ˈeɪprəl 27 1960 əˈnəðər 2 km*) pis ˈoʊpənd, ˈteɪkɪŋ ðə roʊd wɛst tɪ ˈwɛbstər ðə ʃɔrt 1 km*) pis frəm ˈwɛbstər ˈævəˌnu wɛst tɪ ʤəroʊm ˈævəˌnu ˈoʊpənd ɔn ˈfɛbruˌɛri 10 wɪθ ðə ˈoʊpənɪŋ əv ðə ˌælɪgˈzændər ˈhæməltən brɪʤ ɪn ˈeɪprəl 1963 ðə 128 ˈmɪljən krɔs brɑŋks wɑz ðɪs wɑz nɑt ðə ɛnd əv kənˈstrəkʃən; ðə ˈmɪljən ˌɪnərˈʧeɪnʤ wɪθ ðə ˈmeɪʤər ˈdigən ɪkˈsprɛsˌweɪ ˈoʊpənd ɪn noʊˈvɛmbər ənd ə 68 ˈmɪljən ˌrikənˈstrəkʃən əv ðə ˈbrəknər ˌɪnərˈʧeɪnʤ, əˈlaʊɪŋ ˈbrəknər ɪkˈsprɛsˌweɪ ˈtræfɪk tɪ ˈbaɪˌpæs ðə oʊld ˈtræfɪk ˈsərkəl, ˈoʊpənd ɔn ˈʤænjuˌɛri 2 (krɔs brɑŋks ˈtræfɪk ˈpæsɪŋ θru tɪ ðə nɛk brɪʤ hæd bɪn ˈeɪbəl tɪ əˈvɔɪd ðə ˈsərkəl, bət ˈdraɪvərz ˈteɪkɪŋ ðə ˈbrəknər ɪn ˈiðər dɪˈrɛkʃɪn, ˌɪnˈkludɪŋ ðoʊz baʊnd fər nu ˈɪŋglənd, hæd tɪ ˈɛksət ˈɔntu ðə ˈərbən dɪˈkeɪ ənd kənˈʤɛsʧən ˈɛdət kənˈʤɛsʧən ɪz ˈfrikˌwɛnt ɔn ðə ɪkˈsprɛsˌweɪ. many[who*?] hæv bleɪmd ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ fər ˈwərsənɪŋ ðə dɪˈkeɪ əv ˈneɪbərˌhʊdz ɪn ðə saʊθ brɑŋks, wɪθ ðə ˈprɑmənənt ɪgˈzæmpəl biɪŋ ðə ˈneɪbərˌhʊd əv ˈtrɛmənt. ɪn ˈrɑbərt ðə paʊər ˈbroʊkər, ðə ˈɔθər ˈɑrgjuz ðət ˈmoʊzɪs ˌɪnˈtɛnʃənəli dɪˈrɛktɪd ðə ɪkˈsprɛsˌweɪ θru ðɪs ˈneɪbərˌhʊd, ˈivɪn ðoʊ ðɛr wɑz ə mɔr ˈvaɪəbəl ˈɔpʃən ˈoʊnli wən blɑk ˈmɛni əv ðə ˈneɪbərˌhʊdz ɪt rənz θru hæv bɪn kənˈtɪnjuəli pur sɪns ˌbiˈfɔr ɪts kənˈstrəkʃən, ˈpɑrtli du tɪ ðə loʊərd ˈprɑpərti ˈvælju kɔzd baɪ ðə ɪkˈsprɛsˌweɪ. ðɪs ɪz ˈpɑrʃəli riˈspɑnsəbəl fər ðə ˈpəblɪk ˌɑpəˈzɪʃən tɪ ˈmɛni ˈəðər plænd ɪn nu jɔrk ˈsɪti ðət wər ˈleɪtər ˈkænsəld ɪn ˌpɑˈtɪkjələr, ðə loʊər mænˈhætən ənd meɪ hæv prəˈvaɪdɪd ˈɪmpətəs tɪ ɛkˈspeɪtriˌeɪt ʤeɪn ˈʤeɪkəbz ɪn hər ˌɑpəˈzɪʃən tɪ ðə ˈskɑrˌbəroʊ ɪkˈsprɛsˌweɪ ɪn tərˈɑntoʊ, ɑnˈtɛrioʊ, ˈkænədə. ˈɑrkəˌtɛkt ˈrɑnəld ˈʃɪfmən ˈɑrgjuz ðət ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ "rɪpt θru ðə hɑrt əv ðə brɑŋks, kriˈeɪtɪŋ wət wɑz ə wɔl bɪtˈwin wət ɪˈvɛnʧəwəli wɑz noʊn ɛz ðə ˈnɔrðərn ənd ˈsəðərn pɑrt əv ðə brɑŋks." 25 ðə ɪkˈsprɛsˌweɪ ɪz wən əv ðə meɪn rʊts fər ˈʃɪpɪŋ ənd ˌtrænspərˈteɪʃən θru nu jɔrk ˈsɪti du tɪ ɪts kəˈnɛkʃənz wɪθ nu ˈʤərzi ˈviə ðə ʤɔrʤ ˈwɔʃɪŋtən brɪʤ, lɔŋ ˈaɪlənd ˈviə ðə nɛk ənd ˈwaɪtˌstoʊn ˈbrɪʤɪz, ˈəpˈsteɪt nu jɔrk ˈviə ˈnɔrθbaʊnd ənd ðə brɑŋks ˈrɪvər ˈpɑrkˌweɪ, mænˈhætən ˈviə ˈsaʊθˌbaʊnd tɪ ðə ˈrɑbərt ɛf. ˈkɛnədi brɪʤ ər ðə ɪkˈsprɛsˌweɪ (ɪkˈstɛnʃən əv ðə krɔs brɑŋks ɪkˈsprɛsˌweɪ ˈwɛstwərd) ənd ðə ˈhɛnri ˈhədsən ˈpɑrkˌweɪ, ənd nu ˈɪŋglənd ˈviə ðə nu ˈɪŋglənd θˈruˌweɪ ənd ðə ˈhəʧɪnsən ˈrɪvər ˈpɑrkˌweɪ. ɛz səʧ, ðə ɪkˈsprɛsˌweɪ ɪz ˈɔlsoʊ noʊn fər ɪts ɪkˈstrim ˈtræfɪk ˈprɑbləmz; ɔn ə ˈtɪpɪkəl deɪ ˈviɪkəlz ˈtrævəl ɔn ðə sɪks leɪnz əv ˈhaɪˌweɪ ðə roʊd kənˈteɪnz, ənd ɪt ɪz nɑt ənˈkɑmən fər ˈtrəkərz tɪ juz ðə ɪkˈsprɛsˌweɪ tɪ ðə nu jɔrk steɪt θˈruˌweɪ ənd ðə ˈmeɪʤər ˈdigən ɪkˈsprɛsˌweɪ tɪ gɪt əraʊnd ðɪs strɛʧ əv prəˈpoʊzəlz hæv bɪn meɪd tɪ meɪk ˈdɛdəkeɪtəd trək leɪnz, æd ɪkˈsprɛs bəs ˈsərvɪs, ənd bɪld ˈdɛkɪŋ ɔn ðə ˈoʊpən ˈtrɛnʧɪz tɪ əˈlaʊ fər pɑrks, ˌɔlˈðoʊ tɪ noʊ ɪn boʊθ 2008 ənd 2007 ˈsaɪtɪd ðə krɔs brɑŋks ˈwɛstˌbaʊnd ˈɛksət (brɑŋks ˈrɪvər ˈpɑrkˌweɪ) ɛz biɪŋ ðə wərst ˌɪntərˈsɛkʃən ɪn ðə juˈnaɪtɪd steɪts. ɪn 2008 ðə ˈɛksəts ˌɪnˈkludɪd θri aʊt əv ðə tɔp fɔr ɔn ðə lɪst, ənd fɔr əv ðə tɔp faɪv ɪn ˈɛksət lɪst ˈɛdət ðə ɪnˈtaɪər rut ɪz ɪn ðə nu jɔrk ˈsɪti bəroʊ əv ðə brɑŋks. si ˈɔlsoʊ ˈɛdət noʊts ˈɛdət ˈrɛfərənsɪz ˈɛdət ɪz frəm
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the cross bronx expressway is a major freeway in the new york city borough of the bronx, conceived by robert moses and built between 1948 and 1972. it carries traffic on interstate 95 (i-95) through the city, and serves as a portion of i-295 toward long island; a portion is also designated u.s. route 1 (us 1). the cross bronx begins at the alexander hamilton bridge over the harlem river, where the trans-manhattan expressway continues west across upper manhattan to the george washington bridge. while i-95 leaves at the bruckner interchange in throgs neck, following the bruckner expressway and new england thruway to connecticut, the cross bronx expressway extension continues east, carrying i-295 to the merge with the throgs neck expressway near the throgs neck bridge. though the road goes primarily northwest-to-southeast, the nominal directions of all route numbers west of the bruckner interchange are aligned with the northbound route number going southeast, and the southbound route number going northwest.
the cross bronx expressway was the first highway built through a crowded urban environment in the united states; the most expensive mile of road ever built to that point is part of the cross bronx, costing $40 million (equivalent to $374,111,801 in 2018). at one point during construction, moses' crews had to support the grand concourse (a major surface thoroughfare), a subway line[a] and several elevated train lines[b] while the expressway was laboriously pushed through. the highway experiences severe traffic problems, and its construction has been blamed for negatively affecting a number of low-income neighborhoods in the south bronx.[4]
route description [ edit ]
a time-lapse video of a westbound trip on the cross bronx expressway and adjacent highways
the cross bronx expressway begins at the eastern end of the alexander hamilton bridge as a continuation of the trans-manhattan expressway and officially designated as both i-95 and us 1. immediately after coming off the bridge, there is an interchange with the major deegan expressway (i-87) for yankee stadium and points upstate. the highway soon intersects with webster avenue at a partial interchange allowing eastbound vehicles to exit and westbound ones to enter. northbound us 1 leaves the cross bronx expressway at this exit. about one and half miles later comes a pair of closely spaced interchanges for the sheridan expressway (i-895) and the bronx river parkway. the exit for the sheridan expressway is an incomplete interchange and allows access from northbound and to southbound i-95 only.
the cross bronx expressway reaches the bruckner interchange two miles (3 km) later. the service road is called east 177th street between the bronx river parkway and the bruckner interchange.[5]
going eastbound (i-95 northbound), the interchange allows access to southbound i-678, northbound i-95 (bruckner expressway) and southbound i-295. i-95 leaves the cross bronx expressway here and continues north along the bruckner expressway. the cross bronx expressway continues east of the interchange as i-295, which begins here. the cross bronx ends 1.5 miles (2.4 km) later at the throgs neck expressway, where traffic from i-695 merges on towards the throgs neck bridge.[6]
history [ edit ]
eastward from westchester avenue
the 1929 report on highway traffic conditions and proposed traffic relief measures for the city of new york was the first citywide traffic study, classifying a number of projects that had been proposed by local interests. a "cross-bronx route" along 161st and 163rd streets was one of two proposed facilities, along with the "nassau boulevard" (which became the long island expressway), picked by borough engineers as examples of important projects.[7] although this routing was south of the present cross bronx expressway, the report did suggest a "new cross-bronx artery" near the present expressway that would link the washington bridge with the clason point ferry to queens. though it would not be built to freeway standards, it would be 60 feet (18 m) wide with grade separations "where considered necessary and desirable." the george washington bridge, then under construction, was cited among reasons to build the highway which would help connect new jersey to long island via the bridges and ferry.[8]
in 1936, the regional plan association (rpa) proposed a cross-bronx highway which would connect the george washington, triborough, and bronx–whitestone bridges, as well as access to points north to new england.[citation needed] in late 1940, the new york city planning commission adopted a plan for a network of highways. except for the bronx and pelham parkway, which lay to the north, no cross-bronx highway had been built up to this point.[9] the report stated that the "bronx crosstown highway", which would now connect on the east end to the bronx–whitestone bridge (which had replaced the clason point ferry), was "an essential part of a desirable highway pattern", taking traffic from the george washington bridge to long island and new england. the cost was estimated at $17 million, higher than most improvements because of the "topographical conditions, high land values, and heavily built-up areas".[10]
the expressway traverses beneath walton avenue and grand concourse.
robert moses proposed a six-lane expressway to run through the middle of the bronx in 1945. this project proved to be one of the most difficult expressway projects at the time; construction required blasting through ridges, crossing valleys and redirecting small rivers. in doing so, minimal disruption to the apartment buildings that topped the ridges in the area of grand concourse was a priority. moreover, the expressway had to cross 113 streets, seven expressways and parkways (some of which were under construction), one subway line, five elevated lines, three commuter rail lines, and hundreds of utility, water and sewer lines, none of which could be interrupted.[citation needed]
construction of the expressway began in 1948.[11][12] a 112-foot embankment was carefully dug to accommodate six 12-foot-wide (3.7 m) traffic lanes and four 10-foot-wide (3.0 m) cobblestone shoulders. in 1963, the last of the three sections of roadway between the alexander hamilton and throgs neck bridges were finished, completing the cross bronx expressway.
deegan interchange
the first portion, from the bronx river parkway east to the bruckner interchange, opened on november 5, 1955, at the same time as parts of the queens midtown and major deegan expressways.[1] when the throgs neck bridge opened on january 11, 1961, the cross bronx was extended east as one of its two northern approaches.[13] (the extension was part of i-78 until 1970, when it became i-295, its current designation.) a one-mile (1.5 km) western extension to a temporary interchange with boston road opened on april 23, 1956,[14] and on april 27, 1960, another 1.2-mile (2 km) piece opened, taking the road west to webster avenue.[15] the short 0.6-mile (1 km) piece from webster avenue west to jerome avenue opened on february 10, 1961.[16] with the opening of the alexander hamilton bridge in april 1963, the $128 million cross bronx was completed.[17] this was not the end of construction; the $12.6 million highbridge interchange with the major deegan expressway (i-87) opened in november 1964,[18][19] and a $68 million reconstruction of the bruckner interchange, allowing bruckner expressway (i-95/i-278) traffic to bypass the old traffic circle, opened on january 2, 1972.[20][21] (cross bronx traffic passing through to the throgs neck bridge had been able to avoid the circle, but drivers taking the bruckner in either direction, including those bound for new england, had to exit onto the surface.)[22]
urban decay and congestion [ edit ]
congestion is frequent on the expressway.
many[who?] have blamed the cross bronx expressway for worsening the decay of neighborhoods in the south bronx, with the prominent example being the neighborhood of tremont. in robert caro's the power broker, the author argues that moses intentionally directed the expressway through this neighborhood, even though there was a more viable option only one block south.[23] many of the neighborhoods it runs through have been continually poor since before its construction, partly due to the lowered property value caused by the expressway. this is partially responsible for the public opposition to many other planned expressways in new york city that were later cancelled – in particular, the lower manhattan expressway,[24] and may have provided impetus to expatriate jane jacobs in her opposition to the scarborough expressway in toronto, ontario, canada. architect ronald shiffman argues that the cross bronx expressway "ripped through the heart of the bronx, creating what was a wall between what eventually was known as the northern and southern part of the bronx." [25]
the expressway is one of the main routes for shipping and transportation through new york city due to its connections with new jersey via the george washington bridge, long island via the throgs neck and whitestone bridges, upstate new york via i-87 northbound and the bronx river parkway, manhattan via i-87 southbound to the robert f. kennedy bridge or the trans-manhattan expressway (extension of the cross bronx expressway westward) and the henry hudson parkway, and new england via the new england thruway (i-95) and the hutchinson river parkway. as such, the expressway is also known for its extreme traffic problems; on a typical day 175,000 vehicles travel on the six lanes of highway the road contains, and it is not uncommon for truckers to use the cross-westchester expressway to the new york state thruway and the major deegan expressway to get around this stretch of i-95. proposals have been made to make dedicated truck lanes, add express bus service, and build decking on the open trenches to allow for parks, although to no avail.[26] in both 2008 and 2007, inrix cited the cross bronx expressway's westbound exit 4b (bronx river parkway) as being the worst intersection in the united states. in 2008, the expressway's exits included three out of the top four on the list, and four of the top five in 2007.[27]
exit list [ edit ]
the entire route is in the new york city borough of the bronx.
see also [ edit ]
notes [ edit ]
references [ edit ]
kml is from wikidata
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ˌɪsˈlæməbæd: ðə juˈnaɪtɪd steɪts həz rɪˈpɔrtədli ʃoʊn ðə koʊld ˈʃoʊldər əˈgɛn tɪ ˈpækɪˌstæn ˈæftər ɪt sɔt ɪts hɛlp tɪ kənˈvɪns ˈɪndiə tɪ rɪˈtərn tɪ tɔks, seɪɪŋ ðət ðə wərld daʊts jʊr credentials”*”. ˈɛmfəˌsaɪzɪŋ ˌɪsˈlæməbædz ˈwɪlɪŋnəs tɪ stɑrt ðə ˈdaɪəˌlɔg ˈprɔˌsɛs əˈgɛn, ən əˈfɪʃəl əv ˈpækɪˌstænz ˈfɔrən ˈmɪnɪstri rɪˈpɔrtədli toʊld ðə ˈneɪʃən, "ˈpækɪˌstæn dɪd nɑt wɔnt ðə ˈriʤən tɪ bi pʊʃt tɪ wɔr". "ˈwɔʃɪŋtən həz toʊld ˈjuˈɛs ðə hoʊl wɛst ənd ˈɪndiə daʊt ˈpækɪˌstænz krəˈdɛnʃəlz ɔn wɔr. ðeɪ ər kənˈvɪnst rɪˈgɑrdɪŋ ɑr ˈɛfərts fər tɔks bət bɪˈliv ˈɪndiə meɪ bi raɪt tɪ daʊt ˈjuˈɛs," ðə taɪmz əv ˈɪndiə kˈwoʊtɪd ən ənˈneɪmd əˈfɪʃəl ɛz seɪɪŋ. "ˈpækɪˌstæn hæd kəmˈpleɪnd tɪ ðə ˈjuˈɛs ðət ˈɪndiə wɑz əˈvɔɪdɪŋ tɔks dɪˈspaɪt ˈməltəpəl ˈɔfərz frəm ˈpækɪˌstæn", ðə əˈfɪʃəl ˈædɪd. ˈsaɪtɪŋ əˈnəðər əˈfɪʃəl, ˌriˈpɔrtəd ðət ˈwɔʃɪŋtən hæd æst ˈpækɪˌstæn tɪ ˌɪmˈpruv ɪts ˈɪmɪʤ" ɛz ɪt traɪz tɪ brɪŋ ˈɪndiə tɪ ðə ˈdaɪəˌlɔg ˈteɪbəl. "laɪk ˈjuˈɛs ðeɪ bɪˈliv tɔks ɪz ðə bɛst weɪ aʊt bət ðeɪ stɪl kip ɔn ˈæskɪŋ ˈjuˈɛs tɪ du mɔr. wi hæv bɪn ˈtɛlɪŋ ðɛm ɔl ðiz wiks ðət wi hæd ˈnəθɪŋ tɪ du wɪθ ˈjəri əˈtæk ər ˈɛni səʧ ˈɪnsədənt," ðə əˈfɪʃəl wɑz kˈwoʊtɪd ə seɪɪŋ.
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islamabad: the united states has reportedly shown the cold shoulder again to pakistan after it sought its help to convince india to return to talks, saying that the “entire world doubts your anti-terror credentials”.
emphasizing islamabad's willingness to start the dialogue process again, an official of pakistan's foreign ministry reportedly told the nation, "pakistan did not want the region to be pushed to war".
"washington has told us the whole west and india doubt pakistan's credentials on anti-terrorism war. they are convinced regarding our efforts for talks but believe india may be right to doubt us," the times of india quoted an unnamed official as saying.
"pakistan had complained to the us that india was avoiding talks despite multiple offers from pakistan", the official added.
citing another official, toi reported that washington had asked pakistan to improve its "anti-terror image" as it tries to bring india to the dialogue table.
"like us they believe talks is the best way out but they still keep on asking us to do more. we have been telling them all these weeks that we had nothing to do with uri attack or any such incident," the official was quoted a saying.
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hi gɑt hɪz fərst pɔɪnt wɪθ ən əˈsɪst ɔkt. 22 2011 əˈgɛnst ðə ˈɑtəˌwɑ ˈsɛnətərz ənd skɔrd hɪz fərst lig goʊl, ə game-winner*, ɔkt. 25 2011 əˈgɛnst taɪ ˈkɑŋklɪn əv ðə ˈdiˌtrɔɪt rɛd wɪŋz. ɪn ˌʤoʊˈhænsən lɛd ðə blu ˈʤækɪts ɪn wɪnz wɪθ 272 ənd skɔrd hɪz fərst kərɪr ˈʃutaʊt goʊl ɔn mɑrʧ 10 æt ˈdiˌtrɔɪt. ˌʤoʊˈhænsən ˈdeɪbjutɪd ɪn ðə wɪθ ðə kəˈləmbəs blu ˈʤækɪts ɔn ɔkt. 7 2011 əˈgɛnst ðə ˈnæʃvɪl ˈprɛdətərz, ənd wʊd meɪk ˈhɪstəri ðət ˈsizən: hi wɑz ðə fərst pleɪər ɪn ðə lig tɪ skɔr hɪz timz fərst θri goʊlz ɪn ə ˈsizən sɪns braɪən prɑp əv ðə ˌfɪləˈdɛlfiə flaɪərz ɪn ˌʤoʊˈhænsən ˈdeɪbjutɪd ɪn ðə wɪθ ðə kəˈləmbəs blu ˈʤækɪts ɔn ɔkt. 7 2011 əˈgɛnst ðə ˈnæʃvɪl ˈprɛdətərz, ənd wʊd meɪk ˈhɪstəri ðət ˈsizən: hi wɑz ðə fərst pleɪər ɪn ðə lig tɪ skɔr hɪz timz fərst θri goʊlz ɪn ə ˈsizən sɪns braɪən prɑp əv ðə ˌfɪləˈdɛlfiə flaɪərz ɪn hi gɑt hɪz fərst pɔɪnt wɪθ ən əˈsɪst ɔkt. 22 2011 əˈgɛnst ðə ˈɑtəˌwɑ ˈsɛnətərz ənd skɔrd hɪz fərst lig goʊl, ə game-winner*, ɔkt. 25 2011 əˈgɛnst taɪ ˈkɑŋklɪn əv ðə ˈdiˌtrɔɪt rɛd wɪŋz. ɪn ˌʤoʊˈhænsən lɛd ðə blu ˈʤækɪts ɪn wɪnz wɪθ 272 ənd skɔrd hɪz fərst kərɪr ˈʃutaʊt goʊl ɔn mɑrʧ 10 æt ˈdiˌtrɔɪt. ˌʤoʊˈhænsən wɑz ðə ˈjəŋgəst pleɪər tɪ skɔr 30 goʊlz ɪn ənd ʤɔɪnd rɪk næʃ ənd ʤɛf ˈsændərsən ɛz pleɪərz wɪθ ˈsizənz ɪn blu ˈʤækɪts ˈhɪstəri. ðə ˈsɛnər lɛd kəˈləmbəs ɪn goʊlz 33 pɔɪnts 63 geɪmz 16 ʃɑts ɔn goʊl 237 ənd wɪnz 692 ˌʤoʊˈhænsən meɪd hɪz ˈstænli kəp pleɪɔf ˈdeɪbju ˈeɪprəl 16 2012 ənd skɔrd hɪz fərst pleɪɔf goʊl θri deɪz ˈleɪtər; boʊθ keɪm əˈgɛnst ðə ˈpɪtsbərg ˈpɛŋgwənz ɪn ðə fərst raʊnd. ɪn ˌʤoʊˈhænsən bɪˈkeɪm ðə fɔrθ pleɪər ɪn blu ˈʤækɪts ˈhɪstəri tɪ hæv 70 pɔɪnts ɪn ə ˈsizən, ˈʤɔɪnɪŋ nɪk næʃ ənd reɪ ˈwɪtni hi hæd ən pɔɪnt strik frəm dɛk. 18 2014-jan*. 17 2015 ˌʤoʊˈhænsən wɑz neɪmd ˌɔlˈstɑr geɪm ˈæftər ˈgɪtɪŋ tu goʊlz ənd fɔr pɔɪnts ɔn ʤæn. 25 2015 æt ˈneɪʃənˈwaɪd ərˈinə ɪn kəˈləmbəs. ˈtreɪdɪd baɪ kəˈləmbəs tɪ ðə ˈnæʃvɪl ˈprɛdətərz ɔn ʤæn. 6 2016 fər sɛθ ʤoʊnz, ˌʤoʊˈhænsən hæd eɪt goʊlz ənd 34 pɔɪnts ɪn 42 geɪmz wɪθ ðə ˈprɛdətərz ɪn hi hæd ə goʊl ənd ən əˈsɪst ɪn hɪz ˈnæʃvɪl ˈdeɪbju ʤæn. 8 2016 əˈgɛnst ðə ˌkɑlərˈɑdoʊ ˈævəˌlænʧ. ˌʤoʊˈhænsən wɑz səˈlɛktɪd baɪ kəˈləmbəs wɪθ ðə noʊ. 4 pɪk ɪn ðə 2010 dræft ˈæftər ˈskɔrɪŋ 25 goʊlz ənd 69 pɔɪnts fər ˈpɔrtlənd əv ðə ˈwɛstərn ˈhɑki lig ɪn hi ræŋkt ˈsɛkənd əˈməŋ ˈrʊkiz ɪn əˈsɪsts 44 ənd pɔɪnts 69 ðət ˈsizən ənd lɛd ˈrʊkiz wɪθ 12 əˈsɪsts ənd 18 pɔɪnts ˈdʊrɪŋ ðə pleɪɔfs. hi lɛd ˈpɔrtlənd wɪθ 40 goʊlz ənd 92 pɔɪnts ɪn ənd wɑz ðə ligz tɔp pleɪɔf ˈskɔrər wɪθ 28 pɔɪnts 13 goʊlz), ˈhɛlpɪŋ hɪz tim riʧ ðə lig ˈfaɪnəl. ˌʤoʊˈhænsən wən ə ˈsɪlvər ˈmɛdəl wɪθ ˈkænədə æt ðə 2011 wərld ˈʤunjər ˈʧæmpiənˌʃɪp ənd wɑz neɪmd tɪ ðə ˈtʊrnəmənt ˌɔlˈstɑr tim ˈæftər ˈskɔrɪŋ θri goʊlz ənd naɪn pɔɪnts ɪn ˈsɛvən geɪmz. noʊts trænˈzækʃənz
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he got his first nhl point with an assist oct. 22, 2011, against the ottawa senators and scored his first league goal, a game-winner, oct. 25, 2011, against ty conklin of the detroit red wings. in 2012-13 johansen led the blue jackets in faceoff wins with 272 and scored his first career nhl shootout goal on march 10 at detroit.
johansen debuted in the nhl with the columbus blue jackets on oct. 7, 2011, against the nashville predators, and would make history that season: he was the first player in the league to score his team's first three game-winning goals in a season since brian propp of the philadelphia flyers in 1982-83.
johansen debuted in the nhl with the columbus blue jackets on oct. 7, 2011, against the nashville predators, and would make history that season: he was the first player in the league to score his team's first three game-winning goals in a season since brian propp of the philadelphia flyers in 1982-83.
he got his first nhl point with an assist oct. 22, 2011, against the ottawa senators and scored his first league goal, a game-winner, oct. 25, 2011, against ty conklin of the detroit red wings. in 2012-13 johansen led the blue jackets in faceoff wins with 272 and scored his first career nhl shootout goal on march 10 at detroit.
johansen was the youngest nhl player to score 30 goals in 2013-14 and joined rick nash and geoff sanderson as players with 30-goal seasons in blue jackets history. the center led columbus in goals (33), points (63), multipoint games (16), shots on goal (237) and faceoff wins (692). johansen made his stanley cup playoff debut april 16, 2012, and scored his first nhl playoff goal three days later; both came against the pittsburgh penguins in the first round.
in 2014-15, johansen became the fourth player in blue jackets history to have 70 points in a season, joining nick foligno (2014-15), nash (2008-09) and ray whitney (2002-03). he had an nhl season-best 13-game point streak from dec. 18, 2014-jan. 17, 2015. johansen was named nhl all-star game mvp after getting two goals and four points on jan. 25, 2015, at nationwide arena in columbus.
traded by columbus to the nashville predators on jan. 6, 2016, for seth jones, johansen had eight goals and 34 points in 42 games with the predators in 2015-16. he had a goal and an assist in his nashville debut jan. 8, 2016, against the colorado avalanche.
johansen was selected by columbus with the no. 4 pick in the 2010 nhl draft after scoring 25 goals and 69 points for portland of the western hockey league in 2009-10. he ranked second among whl rookies in assists (44) and points (69) that season and led rookies with 12 assists and 18 points during the 2009-10 playoffs.
he led portland with 40 goals and 92 points in 2010-11, and was the league's top playoff scorer with 28 points (13 goals), helping his team reach the league final. johansen won a silver medal with canada at the 2011 world junior championship and was named to the tournament all-star team after scoring three goals and nine points in seven games.
notes & transactions
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ðɪs wik ðɛr ɪz ə smɔl ˈkɑmɪk kənˈvɛnʃən ˈhæpənɪŋ ɔn ðə wɛst koʊst. ɪt goʊz baɪ ðə neɪm sæn diˈeɪgoʊ ˈkɑmɪk kɑn. maɪ ˈsɔrsəz tɛl mi ðət ɪt ɪz ən əp ənd ˈkəmɪŋ ʃoʊ ənd ə ˈpɑpjələr pleɪs tɪ bi fər ðoʊz ɪn ðə ˈkɑmɪk bʊk ˈɪndəstri. ðɛr ʃʊd bi lɑts əv əˈnaʊnsmɛnts ɛz ˈjuʒəwəl ˌɪnˈkludɪŋ wənz ðət wɪl teɪk pleɪs ˈloʊkəli hir ɪn ðə ˌnɔrˈθist ˈleɪtər ðɪs jɪr ənd nɛkst ˈsəmər. ðə əˈnaʊnsmɛnts aɪ faʊnd ðə moʊst ɪkˈsaɪtɪŋ ˌɪnˈvɑlv ðə ˈnɔrmən ˈrɑkˌwɛl mˈjuziəm: ðə ˈnɔrmən ˈrɑkˌwɛl mˈjuziəm wɪl bi əˈnaʊnsɪŋ tu ˈəpˌkəmɪŋ ɪgˈzɪbəts: ˌrɛprɪˈzɛnətɪvz frəm ˈnɔrmən ˈrɑkˌwɛl mˈjuziəm wɪl ˈæˌkʧuəli bi ɔn hænd æt ðɪs sæn diˈeɪgoʊ tɪ ˈɔfər ə ˈprivˌju əv ˌɛksəˈbɪʃənz ənd ˈdɪʤɪtəl interactives*. fræŋk ˈmɪlər ənd ˈfɛloʊ ˈɪləˌstreɪtər ˈtoʊni diterlizzi*, ðə ˈsəbʤɪkts əv tu ˈəpˌkəmɪŋ ˌɛksəˈbɪʃənz æt ɑr mˈjuziəm, wɪl bi ˈteɪkɪŋ pɑrt ɪn ə ˈspɛʃəl nɛkst ˈfraɪˌdeɪ, ˌʤuˈlaɪ 21 æt 10 a.m*. ðə tu ˈɑrtɪsts wɪl dɪˈskəs ðɛr ˈəpˌkəmɪŋ ˌɛksəˈbɪʃənz, ðɛr ɑrt, ˈɪnˌfluənsɪz, ənd preɪz əv ˈɑrtɪst ˈnɔrmən ˈrɑkˌwɛl ˈdʊrɪŋ ðə tɔk ˈwərʃɪp: keɪps, ˈkɑnflɪkts, ənd ðə kriˈeɪtɪv process.”*.” ənd weɪt tɪ si boʊθ əv ðiz ɪgˈzɪbəts ənd ˈhoʊpfəli ˈɪntərvˌju ðiz kriˈeɪtərz fər ə ˈfiʧər ɔn ðə blɔg. mɔr ˈditeɪlz ɔn boʊθ ðiz ɪgˈzɪbəts ɛz ɪt bɪˈkəmz əˈveɪləbəl ˈbætˌmæn ˈfæməli ˈtaɪtəlz ˈbætˌmæn 27 əv ʤoʊks riddles”*” pɑrt 3 25 ““blockbuster”*” 45 ˈmɛni ˈfeɪsɪz əv death”*” ˌɛpɪˈlɔg ˈsupərˌmæn ˈfæməli ˈtaɪtəlz ˈsupərˌmæn 27 trip”*” pɑrt 2 ˈʤəstɪs lig ˈfæməli ˈtaɪtəlz 26 ““underworld”*” pɑrt 2 grin ˈlæntərnz 27 əv time”*” pɑrt 2 ˌdiˈsi ˈjunəˌvərs ˈtaɪtəlz grin ˈɛroʊ 27 ˈtrævəlɪŋ hero”*” pɑrt 2 ˈhɑrli kwɪn 24 ðə ˈpɛrənt træp tim ˈtaɪtəlz ˈʤəstɪs lig 25 ““afterlives”*” pɑrt 4 ˈtrɪnɪti 11 space”*” pɑrt 3 ˈsupər sənz 6 ˈtaɪtənz tango”*” pɑrt 1 ˈlɪmɪtɪd ˈsɪriz ˌdiˈsi ˈbɑmˌʃɛlz 31 ˈbætˌmæn əv 1 ˈwəndər ˈwʊmən mits ˈwʊmən 6 ˈgræfɪk ˈnɑvəlz/ treɪdz ənd əˈpɑloʊ stiv ɔˈrlænˌdoʊ (midnighter*, supergirl*) kənˈtɪnjuz ðə ədˈvɛnʧər ənd brɪŋz ðə ˈfaɪtɪŋ ˈduoʊ ˈsɛnər steɪʤ! bət wɪn ðə ˈduoʊ ər tɔrn əˈpɑrt baɪ ə mɪˈstɪriəs ˈvɪlən hu sɛndz əˈpɑloʊ tɪ ðə ˈəndərˌwərld, ˈfeɪsɪz ðə geɪts əv hɛl fər hɪz ˈləvər. ənd əˈpɑloʊ ər bæk wɪθ ə ˈvɛnʤəns! frəm ðɛr deɪz ɛz ˈfaʊndɪŋ ˈmɛmbərz əv ðə əˈθɔrəti, ðə ˈhɪroʊz ənd əˈpɑloʊ hæv bɪn fərˈɛvər lɪŋkt, boʊθ prəˈfɛʃənəli ənd roʊˈmæntɪkəli. ˈwɛðər ˈpaɪrəts ɪn lɔs ˈænʤəlɪs ər ˈdimənz ɪn ˈoʊpəl ˈsɪti. keɪv ˈkɑrzən həz ə aɪ 10 ˈsikrɪt ˈɛmpaɪər ɪˈvɛnt ˈsikrɪt ˈɛmpaɪər ˈriʧɪz ðə ˈmɪdˌweɪ pɔɪnt. ˈsikrɪt ˈɛmpaɪər 6 ðə ənˈwərði, ðə untrusted*, ðə ənˈsteɪbəl ðɪs ɪz ðɛr deɪ! ˈsikrɪt ˈɛmpaɪər: breɪv nu wərld 4 bɪˈloʊ ðə ˈsərfəs, ðə faɪt fər æˈtlænɪs teɪks ə tərn fər ðə wərs. ˈmɪsti naɪt ˈəndərˌteɪks ˈkoʊvərt ˈmɪʃən tɪ prəˈtɛkt ðə əv ðoʊz ˈhaɪdrə wʊd si həz ʃi ˈteɪkən ɔn mɔr ðən ʃi kən ˈhændəl? teɪk ə lʊk æt laɪf ɪn ðə mˈjutənt ˈhoʊmˌlænd wɪθ ə ˈspɛʃəl tʊr frəm nu ɪˈlit. ˈsikrɪt wɔrz ˈdɔktər streɪnʤ 23 streɪnʤ, fɪsk ənd ˈkəmpəˌni teɪk ðə faɪt tɪ ðə ˈpərsən ˈrənɪŋ nu jɔrk: goʊld 8 ðə ˈzeɪvjər ˈɪnstɪˌtut ɪz ɔn ˈlɑkˌdaʊn. kən ðə stɑp ðə ˌbiˈfɔr hi kleɪmz ˈɛni mɔr əv ðɛr ˈnəmbər? 8 skwərəl gərl ənd ɪˈnɪgmə kənˈtɪnju ðə faɪt əˈgɛnst ˈfɔrsɪz ɪn ˈjʊrəp! ˈminˌwaɪl, ɪn ə dip, dɑrk sɛl, rəˈbɛrtoʊ ˈdiˈeɪ ˈkɔstɑ ɪz daɪɪŋ baɪ dɪˈgriz ɛz hɪz rənz aʊt əv kənˈtroʊl. kən ˈdɑktər. ˈtoʊni hoʊ seɪv ðɛm wɪl ʃi ˈfɑloʊ hər ˈlɛgəsi tɪ ðə ɛnd? ˈɔlsoʊ ˈʃɪpɪŋ: əˈstɑnɪʃɪŋ 1 luk keɪʤ 3 ˌɪnˈvɪnsəbəl aɪərn mæn 9 stɑr wɔrz ˈtaɪtəlz stɑr wɔrz: poʊ dɑmɛˈrɔn 17 stɑr wɔrz: dɑrθ mɔl 5 aɪ heɪt ˈfɛriˌlænd 14 labyrinth”*” gərt mits ə mɪˈstɪriəs (ˈɑkə ˈsupər ˈkripi) mæn hu ˈɔfərz hər ðə rɪˈdɛmʃən ˈlʊkɪŋ fər ɪf ʃi kən sɑlv hɪz ˈtrɛʧərəs meɪz. ju wɔnt tɪ noʊ wət wɪl ˈhæpən ɪf ʃi feɪlz! ðət. ju du wɔnt tɪ noʊ. baɪ ðə bʊk tɪ faɪnd aʊt. rɔɪəl ˈsɪti 5 ɛnd əv ˈstɔri ɑrk ðə fərst ˈstɔri ɑrk əv ʤɛf əˈkleɪmd nu ˈsɪriz kəmz tɪ ɪts ˈʃɑkɪŋ kənˈkluʒən ɛz ðə ˈsikrɪts əv ðə paɪk ˈfæməli ər ˈfaɪnəli ɪkˈspoʊzd, ənd ðɛr wɪl bi noʊ goʊɪŋ bæk. ˈminˌwaɪl, waɪl laɪɪŋ ɪn ə ˈkoʊmə, ˈpitər paɪk goʊz ɔn ə bɪˈzɑr ˈʤərni wɪθ hɪz laɪf ˈhæŋɪŋ ɪn ðə ˈbæləns. kərs wərdz 6 ““explosiontown”*” pɑrt wən. ðə ˈsɪriz ˈlɔnʧɪz ɪts ˈsɛkənd ɑrk. ðə fʊl ˈrɑstər əv ðə ˈdimən naɪn ˈivəl ˈwɪzərdz ɪz rɪˈvild! mit ðə carbuncle*, ˈsɪli bi, ənd ɔl ðə ɪn nu jɔrk ˈsɪti, ənd hɪz ˈnuli ɛks, ˈrubi stɪʧ, ɪmˈbɑrk əˈpɑn ə moʊst pɪˈkjuljər ˈbɪznɪs ˈvɛnʧər. klu 2 ˈæftər ˈməltəpəl ˈmərdərz rɑk ðə ˈmænʃən, ɑr ˈərnɪst ˌɪnˈvɛstəˌgeɪtərz dɪˈskəvər ə mɪˈstɪriəs rum ðət meɪ hoʊld ɔl ðə ˈænsərz. ˈminˌwaɪl, ˈəptən wərks tɪ meɪk ɔl ðə gɛsts ˈhæpi ənd kip ðɛm əˈlaɪv! 0 (woo-hoo*) rɪˈtərnz! ˈfiʧərɪŋ bɪˈləvəd ˈkɛrɪktərz laɪk ˈəŋkəl scroohge*, ˈdɑnəld dək, ənd hjui, dui, ənd lui, ðɪs nu 0 ˈɪʃu ɪz ðə ˈpərˌfɪkt pɔɪnt fər fænz oʊld ənd nu ɪn ænˌtɪsəˈpeɪʃən əv ðə ˈbrændˌnu ˈdɪzni ˌtɛləˈvɪʒən ˈsɪriz ˈkəmɪŋ ˈsəmər 2017 bæk wɪθ ˈprɑbəˌbli 2 mɔr poʊsts ˈleɪtər ðɪs wik
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this week there is a small comic convention happening on the west coast. it goes by the name san diego comic con. my sources tell me that it is an up and coming show and a popular place to be for those in the comic book industry.
there should be lots of announcements as usual including ones that will take place locally here in the northeast later this year and next summer.
the announcements i found the most exciting involve the norman rockwell museum:
the norman rockwell museum will be announcing two upcoming exhibits:
representatives from norman rockwell museum will actually be on hand at this year’s san diego comic-con to offer a preview of exhibitions and digital interactives.
frank miller and fellow illustrator tony diterlizzi, the subjects of two upcoming exhibitions at our museum, will be taking part in a special q&a next friday, july 21, at 10 a.m. the two artists will discuss their upcoming exhibitions, their art, influences, and praise of artist norman rockwell during the talk “hero worship: capes, conflicts, and the creative process.”
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can’t wait to see both of these exhibits and hopefully interview these creators for a feature on the blog.
more details on both these exhibits as it becomes available
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batman family titles
batman #27: “war of jokes & riddles” part 3
nightwing #25: “blockbuster”
batwoman #45: “the many faces of death” epilogue
superman family titles
superman #27: “road trip” part 2
justice league family titles
aquaman #26: “underworld” part 2
green lanterns #27: “out of time” part 2
dc universe titles
green arrow #27: “hard traveling hero” part 2
harley quinn #24: the parent trap
team up/team titles
justice league #25: “afterlives” part 4
trinity #11: “dead space” part 3
super sons #6: “teen titans tango” part 1
limited series / crossovers
dc bombshells #31
batman ’66/legion of super-heroes #1
wonder woman ’77 meets bionic woman ’77 #6
graphic novels/ trades
midnighter and apollo tp
steve orlando (midnighter, supergirl) continues the adventure and brings the fighting duo center stage! but when the duo are torn apart by a mysterious villain who sends apollo to the underworld, midnighter faces the gates of hell for his lover. midnighter and apollo are back with a vengeance! from their days as founding members of the authority, the heroes midnighter and apollo have been forever linked, both professionally and romantically. whether pirates in los angeles or demons in opal city.
cave carson has a cybernetic eye #10
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secret empire event
secret empire reaches the midway point.
secret empire #6
the unworthy, the untrusted, the unstable — this is their day!
secret empire: brave new world #4
below the surface, the fight for atlantis takes a turn for the worse.
misty knight undertakes covert mission to protect the liberty’s of those hydra would see oppressed.–but has she taken on more than she can handle?
take a behind-the-scenes look at life in the mutant homeland with a special tour from new tian’s elite.
secret wars tie-ins
doctor strange #23: strange, fisk and company take the fight to the person running new york city…baron mordo
x-men: gold #8: the xavier institute is on lockdown. can the x-men stop the all-new x-cutioner before he claims any more of their number?
u.s.avengers #8: squirrel girl and enigma continue the fight against hydra’s forces in europe! meanwhile, in a deep, dark cell, roberto da costa is dying by degrees as his m-pox runs out of control. can dr. toni ho save them both…or will she follow her father’s legacy to the end?
also shipping:
astonishing x-men #1
luke cage #3
invincible iron man #9
star wars titles
star wars: poe dameron #17
star wars: darth maul #5
i hate fairyland #14:
“love’s labyrinth” gert meets a mysterious (aka super creepy) man who offers her the redemption she’s looking for if she can solve his treacherous maze. you don’t want to know what will happen if she fails! wait…scratch that. you do want to know. buy the book to find out.
royal city #5
end of story arc – the first story arc of jeff lemire’s acclaimed new series comes to its shocking conclusion as the secrets of the pike family are finally exposed, and there will be no going back. meanwhile, while lying in a coma, peter pike goes on a bizarre journey with his life hanging in the balance.
curse words #6
“explosiontown” part one. the series launches its second arc. the full roster of the demon sizzajee’s nine evil wizards is revealed! meet the carbuncle, silly bee, and all the rest…while in new york city, wizord and his newly de-powered ex, ruby stitch, embark upon a most peculiar business venture.
clue #2
after multiple murders rock the mansion, our earnest investigators discover a mysterious room that may hold all the answers. meanwhile, upton works to make all the guests happy – and keep them alive!
ducktales #0
ducktales (woo-hoo) returns! featuring beloved characters like uncle scroohge, donald duck, and huey, dewey, and louie, this new #0 issue is the perfect jumping-on point for fans old and new in anticipation of the brand-new disney xd tv series coming summer 2017!
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back with probably 2 more posts later this week
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there’s* lɑts əv nuz aʊt təˈdeɪ səˈʤɛstɪŋ ðət ˈæntɪks ənd ˌhɪstriˈɑnɪks meɪ bi ˈʤɛpərˌdaɪzɪŋ wən əv ðə tɔp eɪmz: rɪˈpil əv. ðə rɪˈpəblɪkənz, hu ərˈɪʤənəli spoʊk əv rɪˈpil, ðɛn ˈʃɪftɪd tɪ rɪˈpil ənd ˌriˈpleɪs, ər naʊ ˈteɪkɪŋ əˈbaʊt ““repair.”*.” ənˈklɪr wət ðət wɪl min ɪn tərmz əv ˈkɑnkrit ˈpɑləsiz, bət ˈvɛri klɪr ðət ɪˈnəf əv ðə ˈlidərˌʃɪp bɪˈlivz ɪt ɪz ˈluzɪŋ ðə pəˈlɪtɪkəl ˈbætəl ˈoʊvər səʧ ðət ɪt naʊ həz tɪ dɪˈskraɪb wət ɪt ɪz duɪŋ ɪn ˈvæstli ˈdɪfərənt tərmz. tərmz nɑt ənˈlaɪk ðoʊz juzd baɪ ˈhɪləri ˈklɪntən ˈdʊrɪŋ ðə 2016 kæmˈpeɪn. ˈlɪsən tɪ pɔl raɪən ɛz hi twɪsts hɪmˈsɛlf ˈɪntu ə ˈprɛtzəl: wət kaɪnd əv gɑt goʊɪŋ ɔn hir ɪz, gɑt ə ˈkɑnfluəns əv words,”*,” raɪən sɛd ˈdʊrɪŋ ðə ˈtɛləˌvɪʒən ˈɪntərvˌju. rɪˈpɛr ðə əˈmɛrɪkən ˈsɪstəm, ju hæv tɪ rɪˈpil ənd ˌriˈpleɪs ðɪs lɔ, ənd wət doing.”*.” kaɪnd əv laɪk səˈlinə maɪər fərˈgɛtɪŋ wət θri r’s”*” wər ˈdʊrɪŋ ðət ˌprɛzɪˈdɛnʃəl dəˈbeɪt ɔn vip. pɑrt əv ðə ˈrizən ðə rɪˈpəblɪkənz hæv lɔst ðə skrɪpt ɔn həz tɪ du wɪθ ðə ˈproʊˌgræm ˌɪtˈsɛlf, ənd ðə ˈdɪfɪˌkəltiz ˈrənɪŋ ˈɪntu ɪn riˈpilɪŋ ɪt. bət pɑrt əv ɪt, ɛz ðə nu jɔrk taɪmz ɪz rɪˈpɔrtɪŋ təˈnaɪt, həz tɪ du wɪθ kəˈmoʊʃən trəmp həz kɔzd wɪθ hɪz ˈkæbənət əˈpɔɪntmənts ənd hɪz ɪgˈzɛkjətɪv ˈɔrdərz, ənd ðə ˈmæsɪv rɪˈzɪstəns boʊθ hæv prəˈvoʊkt. rəʃ tɪ dɪsˈmænəl ðə əˈfɔrdəbəl kɛr ækt, wəns ˈsimɪŋli ənˈstɑpəbəl, ɪz ˈflægɪŋ ˈbædli ɛz rɪˈpəblɪkənz ˈstrəgəl tɪ kəm əp wɪθ ə rɪˈpleɪsmənt ənd ə ki ˈsɛnətər həz dɪˈklɛrd ðət ðə ˈɛfərt ɪz mɔr ə rɪˈpɛr ʤɑb ðən ə ˌdɛməˈlɪʃən. ən ˈdɛˌdlaɪn əv ʤæn. 27 fər rɪˈpil ˌlɛʤəsˈleɪʃən həz kəm ənd gɔn. ðə ˈpaʊərfəl retirees’*’ ˈlɑbi ɪz ˈmoʊbəˌlaɪzɪŋ tɪ dɪˈfɛnd ki ˈɛləmənts əv ðə əˈfɔrdəbəl kɛr ækt. rɪˈpəblɪkən ˈlidərz hu wəns sɔ ə hɛlθ lɔ rɪˈpil ɛz ə kwɪk fərst straɪk ɪn ðə trəmp ˈɪrə naʊ məst æt list kənˈsɪdər ə wərst keɪs: əˈneɪbəl tɪ muv ˈfɔrwərd wɪθ ˌkɑmpriˈhɛnsɪv hɛlθ ˌlɛʤəsˈleɪʃən, ˈivɪn ɛz ðə ənˈsərtənti ðət ðeɪ hɛlpt ˈfɑstər ˈrætəlz kənˈsumərz ənd ˌɪnˈʃʊrərz. wɪn ˈkɑŋgrəs kənˈvind ðɪs jɪr, rɪˈpəblɪkənz ˌɪˈmiˌdiətli ˌɪntrəˈdust ə ˈbəʤɪt ˌrɛzəˈluʃən ˈklɪrɪŋ ðə weɪ fər ˌlɛʤəsˈleɪʃən tɪ gət ðə hɛlθ lɔ, wɪθ strɔŋ səˈpɔrt frəm ˈmɪstər. trəmp, hu tʊk ˈɔfəs 17 deɪz ˈleɪtər. bət ˈmɪstər. ˈrɑki stɑrt həz sloʊd ðə moʊˈmɛntəm, dɪˈplitɪŋ hɪz pəˈlɪtɪkəl ˈkæpɪtəl ənd ˈdɪmɪŋ ˈprɑspɛkts fər baɪˈpɑrtɪzən kˌwɔpərˈeɪʃən. ɪn əˈdɪʃən, ˈmɛni ˈsɛnətərz ər priˈɑkjəˌpaɪd wɪθ faɪts ˈoʊvər ðə ˌkɑnfərˈmeɪʃən əv ˈmɪstər. ˌnɑməˈniz tɪ ðə səˈprim kɔrt ənd tɔp ʤɑbz ɪn hɪz ædˌmɪnɪˈstreɪʃən. wət wɑz wəns kənˈsɪdərd ʤɑb noʊ. 1 ɪz biɪŋ ɪˈklɪpst fər səm ˈlɔˌmeɪkərz baɪ mɔr ˌɪˈmiˌdiət ˈmætərz. weɪ tu ˈərli tɪ tɛl wət wɪl ˈhæpən, bət æt ə ˈmɪnəməm, klɪr ðət weɪ əv duɪŋ ˈbɪznɪs ɪz ˈgɪtɪŋ ɪn ðə weɪ, æt list raɪt naʊ, əv ðə ˈbɪznɪs. ðə mɔr ðət ðə mɔr ðə ɪz fɔrst tɪ bit ə ˈfərðər riˈtrit ɔn (ənd pərˈhæps ˈəðər mɔr ɪnˈreɪʤd ðə beɪs wɪl gɪt. ˈiðər wɪθ trəmp ər wɪθ ðə. ˈiðər weɪ, θɪŋz kʊd gɪt ˈhɛri, ˌɪnˈtərnəli, fər ðə ˈpɑrti. bət aɪ wɔnt tɪ stɛp frəm ðɪs ˌɪˈmiˌdiət nuz tɪ reɪz ə ˈlɑrʤər ˈɪʃu. əˈsum, fər ðə seɪk əv ðə ˈɑrgjəmənt, ðət ðiz ˈtɛnʧənz ənd ˌɪnstəˈbɪlɪtiz ɪn ðə trəmp rəˈʒim ər ðɛr, ɪf nɑt groʊɪŋ. ðə ˈmɪlɪˌtɛri ɪz ɔˈrɛdi ˈbleɪmɪŋ trəmp fər ɪts ˈmɪsˌhæps ɪn ðə fild. ɔˈrɛdi 40 əv ðə ˈkəntri ər seɪɪŋ ðət laɪk tɪ si trəmp ˌɪmˈpiʧt. ənd stɪl lɛs ðən tu wiks ˈɪntu hɪz ˈprɛzɪdənsi. ɛz hɪˈstɔriən ˈkɛvɪn kruz ˈpɔɪntɪd aʊt ɔn tˈwɪtər təˈnaɪt, ɪt ənˈtɪl 16 mənθs ˈɪntu ðə ˈwɔtərˌgeɪt ˈskændəl ðət ju sɔ ˌɪmˈpiʧmənt ˈnəmbərz laɪk ðət ˈdʊrɪŋ ˈsɛkənd tərm. nɑt ə greɪt kəmˈpɛrəsən, ˈgɪvɪn ðə ˈlɛvəl əv ˌpoʊlərɪˈzeɪʃən ɪn ðə ˈkəntri təˈdeɪ ˈvərsəz ðɛn, bət wət ðoʊz ˈpoʊlɪŋ ˈnəmbərz (ənd hɪˈstɔrɪkəli loʊ, ˈdɪzməl əˈpruvəl ˈreɪtɪŋz) du tɛl ˈjuˈɛs ɪz ðət ˈrəðər ðən ɪkˈspænd hɪz ər ðə beɪs, trəmp həz ʃrəŋk ɪt. nɑt ˈsəmθɪŋ ˈprɛzɪˌdɛnts ɪn ðɛr ˈsɛkənd wik ɪn ˈɔfəs sik ər tɛnd tɪ du.
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there’s lots of news out today suggesting that trump’s antics and histrionics may be jeopardizing one of the gop’s top aims: repeal of obamacare. the republicans, who originally spoke of repeal, then shifted to repeal and replace, are now taking about “repair.” it’s unclear what that will mean in terms of concrete policies, but it’s very clear that enough of the leadership believes it is losing the political battle over obamacare such that it now has to describe what it is doing in vastly different terms. terms not unlike those used by hillary clinton during the 2016 campaign. listen to paul ryan as he twists himself into a pretzel: “so what kind of got going on here is, i’ve got a confluence of words,” ryan said during the television interview. “to repair the american health-care system, you have to repeal and replace this law, and that’s what we’re doing.”
kind of like selena meyer forgetting what “the three r’s” were during that presidential debate on veep.
part of the reason the republicans have lost the script on obamacare has to do with the program itself, and the difficulties they’re running into in repealing it. but part of it, as the new york times is reporting tonight, has to do with commotion trump has caused with his cabinet appointments and his executive orders, and the massive resistance both have provoked.
congress’s rush to dismantle the affordable care act, once seemingly unstoppable, is flagging badly as republicans struggle to come up with a replacement and a key senator has declared that the effort is more a repair job than a demolition. … an aspirational deadline of jan. 27 for repeal legislation has come and gone. the powerful retirees’ lobby aarp is mobilizing to defend key elements of the affordable care act. republican leaders who once saw a health law repeal as a quick first strike in the trump era now must at least consider a worst case: unable to move forward with comprehensive health legislation, even as the uncertainty that they helped foster rattles consumers and insurers. … when congress convened this year, republicans immediately introduced a budget resolution clearing the way for legislation to gut the health law, with strong support from mr. trump, who took office 17 days later. but mr. trump’s rocky start has slowed the momentum, depleting his political capital and dimming prospects for bipartisan cooperation. in addition, many senators are preoccupied with fights over the confirmation of mr. trump’s nominees to the supreme court and top jobs in his administration. what was once considered congress’s job no. 1 is being eclipsed for some lawmakers by more immediate matters.
it’s way too early to tell what will happen, but at a minimum, it’s clear that trump’s way of doing business is getting in the way, at least right now, of the gop’s business. the more that happens—and the more the gop is forced to beat a further retreat on obamacare (and perhaps other issues)—the more enraged the base will get. either with trump or with the gop. either way, things could get hairy, internally, for the party.
but i want to step from this immediate news to raise a larger issue.
let’s assume, for the sake of the argument, that these tensions and instabilities in the trump regime are there, if not growing. the military is already blaming trump for its mishaps in the field. already 40% of the country are saying that they’d like to see trump impeached. and we’re still less than two weeks into his presidency. as historian kevin kruse pointed out on twitter tonight, it wasn’t until 16 months into the watergate scandal that you saw impeachment numbers like that during nixon’s second term. it’s not a great comparison, given the level of polarization in the country today versus then, but what those polling numbers (and trump’s historically low, dismal approval ratings) do tell us is that rather than expand his or the party’s base, trump has shrunk it. not something presidents in their second week in office seek or tend to do.
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ə nu ˈpætənt ˈfaɪlɪŋ frəm boʊɪŋ səˈʤɛsts ðət ðə ˈɛrˌkræft ˌmænjəˈfækʧərɪŋ ʤaɪənt ɪz ˈlʊkɪŋ æt haʊ kən hɛlp prəˈtɛkt ˈgipiˈɛs rɪˈsivərz. ɪn ə ˈpætənt ˌæpləˈkeɪʃən riˈlist læst ˈθərzˌdeɪ baɪ ðə juz. ˈpætənt ənd ˈtreɪdˌmɑrk ˈɔfəs, ðə dɪˈvɛləpər əv ðə moʊst ˈpɑpjələr ˈɛˌrlaɪnər ˈditeɪlz ən ˈbæˌkəp ənd ˈgipiˈɛs system”*” ðət wʊd bi juzd ɪf ə ˈpraɪˌmɛri ˈsɪstəm bɪˈkəmz ˌənrɪˈlaɪəbəl ər nonfunctioning*. ˈgipiˈɛs ““spoofing”*” ɪz ə ˈpræktɪs baɪ wɪʧ ˈkaʊnərˌfɪt ˈsɪgnəlz ər juzd tɪ ˈifɛktɪvli trɪk ˈəðər rɪˈsivərz. səʧ əˈtæks kən bi juzd tɪ kənfˈjuz ə ˈgipiˈɛs rɪˈsivər əˈbaʊt ðə ˈækʧəwəl loʊˈkeɪʃən əv ˈəðər ˈɑbʤɛkts. əˈkɔrdɪŋ tɪ ðə ˌæpləˈkeɪʃən, ˈdætə wʊd bi juzd ɛz ə ˈbæˌkəp ˈrɛkərd əv ˌɪnˌfɔrˈmeɪʃən ɪn ðə ɪˈvɛnt ðət ðə ˈsɪstəm dɪˈtɛkts pəˈtɛnʃəl ˈtrəbəl. ðə ˈfaɪlɪŋ steɪts: ˈmɛθəd ˈfərðər dɪˈtərmənz ɪf ðə ˈgipiˈɛs ˈsɪgnəlz, rɪˈsivd baɪ ðə ˈgipiˈɛs rɪˈsivər, ər spuft ˈgipiˈɛs ˈsɪgnəlz ənd, ðɛn, rɪˈtrivz pəˈzɪʃən ˈdætə frəm ðə ˈstɔrɪʤ ˈmɑʤul ɪf ðə ˈgipiˈɛs rɪˈsivər ɪz nɑt rɪˈsivɪŋ ðə ˈgipiˈɛs ˈsɪgnəlz ər ɪz rɪˈsivɪŋ spuft ˈgipiˈɛs signals.”*.” ðə ˈbæˌkəp wʊd stɔr ɪnˌvaɪrənˈmɛnəl ˌɪnˌfɔrˈmeɪʃən rɪˈsivd frəm ðə ˈgipiˈɛs, əˈlaʊɪŋ ɪt tɪ ækt ɛz ə ˈfeɪlˌseɪf tɪ prɪˈvɛnt ˈpaɪləts frəm ˈgɪtɪŋ lɔst baɪ prəˈvaɪdɪŋ ɔl əv ðə ˌɪnˌfɔrˈmeɪʃən ə ˈgipiˈɛs ˈnɔrməli wʊd. ðə ˈsɪstəm kən bi əˈplaɪd tɪ ˈɛni taɪp əv ˈviɪkəl, boʊθ mænd ənd ənˈmænd, əˈkɔrdɪŋ tɪ ðə ˌæpləˈkeɪʃən. ˈfərðər, ðə dɪˈzaɪn ɪz pəˈzɪʃənd ɪn ðə ˈfaɪlɪŋ ɛz ə rɪˈspɑns tɪ ə læk əv tɛkˈnɑləʤiz ðət kən ˈvɛrəˌfaɪ ˈdætə əˈbaʊt ə loʊˈkeɪʃən. ɛz ə rɪˈzəlt, ɪf ə ˈgipiˈɛs ˈplætˌfɔrm dɪz ˈsəfər ən ˈaʊtɪʤ ər ˈspufɪŋ əˈtæk, ““navigators*, ɛr ˈtræfɪk kənˈtroʊlərz, ənd ˈmɪʃən ˈplænərz ər əˈneɪbəl tɪ əˈʤəst ənd rɪˈspɑnd wɪθ confidence.”*.” ˈɪmɪʤ ˈkrɛdɪt:
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a new patent filing from boeing suggests that the aircraft manufacturing giant is looking at how blockchain can help protect in-flight gps receivers.
in a patent application released last thursday by the u.s. patent and trademark office, the developer of the world’s most popular airliner details an “onboard backup and anti-spoofing gps system” that would be used if a plane’s primary system becomes unreliable or nonfunctioning.
gps “spoofing” is a practice by which counterfeit signals are used to effectively trick other receivers. such attacks can be used to confuse a gps receiver about the actual location of other objects.
according to the application, blockchain data would be used as a backup record of information in the event that the anti-spoofing system detects potential trouble.
the filing states:
“the method further determines if the gps signals, received by the gps receiver, are spoofed gps signals and, then, retrieves position data from the block-chain storage module if the gps receiver is not receiving the gps signals or is receiving spoofed gps signals.”
the backup would store environmental information received from the gps, allowing it to act as a failsafe to prevent pilots from getting lost by providing all of the information a gps normally would. the system can be applied to any type of vehicle, both manned and unmanned, according to the application.
further, the design is positioned in the filing as a response to a lack of fail-over technologies that can verify data about a vehicle’s location. as a result, if a gps platform does suffer an outage or spoofing attack, “navigators, air traffic controllers, and mission planners are unable to adjust and respond with confidence.”
image credit: maxene huiyu / shutterstock.com
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ˈpərpəs əv ðə ˈwɪˌki ˈprɑʤɛkt ðə ˈwɪˌki ˈpəblɪʃɪz ðə juʤ kəˈlɛkʃən əv ˌæstrəˈlɑʤɪkəl ˈdætə kəˈlɛktəd baɪ loʊəs ˈrɑdən ənd hər cooperators*, soʊ ðət ðiz ˈdætə kən bi juzd fər ˌæstrəˈlɑʤɪkəl ˈrisərʧ, fər ˌæstrəˈlɑʤɪkəl ˌpəblɪˈkeɪʃənz ənd fər ˈsɪriəs ˌæstrəˈlɑʤɪkəl dɪˈskəʃən. ðə ˈækˌsɛs tɪ ðə ˈdætə fər ðiz ˈpərpəsɪz ɪz fri əv ʧɑrʤ. ðə raɪt tɪ ˈkɑpi ənd bərθ ənd ɪˈvɛnt ˈdætə ˈrɛkərdz ɪz ˈgrænɪd tɪ ˈɛvriˌwən, si ˈkɑpiˌraɪt ˈnoʊtɪs. ɪz kəˈmɪtɪd tɪ prɪˈzərv ðə ˈspɪrɪt əv loʊəs ˈrɑdən ənd tɪ kənˈtɪnju hər wərk. ðə həz bɪn trænsˈfɔrmd ˈɪntu ən ˈoʊpən ˈwɪˌki ˈprɑʤɛkt ənd həz fɔrmd ə kəmˈjunɪti əv ˈdætə kəˈlɛktərz ənd maintainers*, hu ɪkˈspænd ənd meɪnˈteɪn ðɪs juˈnikli ˈvæljəbəl kəˈlɛkʃən əv ˌæstrəˈlɑʤɪkəl ˌɪnˌfɔrˈmeɪʃən. ðə ˈwɪˌki ɪz ə ˈwɪˌki. nu ˈjuzər əˈkaʊnts fər ðɪs ˈwɪˌki kən ˈoʊnli bi kriˈeɪtɪd baɪ ædˈmɪnɪˌstreɪtərz. ˈɛdɪtɪŋ raɪts ər rɪˈzərvd fər kˈwɑləˌfaɪd ˈɛdɪtərz. kwɪk ˈækˌsɛs ˈrisənt nu əˈdɪʃənz pliz klɪk ɔn ðə lɪŋk 'nu ˈpeɪʤɪz' ɪn ðə ˌnævəˈgeɪʃən bɑks ɔn ðə lɛft, ər lʊk ɪn ðə raɪt ˈkɑləm nɪr ðə ˈbɑtəm fər ðə lɪst 'nu ɪn astrodatabank*'. ˈəpˌdeɪts əˈpɪr regularily*, ˈnɪrli ˈɛvəri deɪ. səbˈmɪtɪŋ nu ˈdætə ər kərˈɛkʃənz fər səbˈmɪtɪŋ nu ˈdætə frəm kˈwɑləˌfaɪd ˈsɔrsəz, pliz sɛnd ˈiðər iˈmeɪl tɪ ər juz ðə ˈfɔrəm θrɛd nu ˈkænədɪts fər. fər səbˈmɪtɪŋ kərˈɛkʃənz tɪ ɪgˈzɪstɪŋ ˈɛntriz, pliz juz ðə seɪm iˈmeɪl ˈæˌdrɛs ər ðə ˈfɔrəm θrɛd kərˈɛkʃənz əv ɪgˈzɪstɪŋ ˈɛntriz. ˈəðər ˌɪnˌfɔrˈmeɪʃən
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purpose of the astro-databank wiki project
the astro-databank wiki publishes the huge collection of astrological data collected by lois rodden and her cooperators, so that these data can be used for astrological research, for astrological publications and for serious astrological discussion.
the access to the data for these purposes is free of charge. the right to copy and republish birth and event data records is granted to everyone, see copyright notice.
astrodienst is committed to preserve the spirit of lois rodden and to continue her work. the astro-databank has been transformed into an open wiki project and has formed a community of data collectors and maintainers, who expand and maintain this uniquely valuable collection of astrological information.
the astro-databank wiki is a read-only wiki. new user accounts for this wiki can only be created by administrators. editing rights are reserved for qualified editors.
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recent new additions
please click on the link 'new pages' in the navigation box on the left, or look in the right column near the bottom for the list 'new in astrodatabank'.
updates appear regularily, nearly every day.
submitting new data or corrections
for submitting new data from qualified sources, please send either email to adbdata@astro.com or use the astrodienst forum thread new candidates for astro-databank.
for submitting corrections to existing entries, please use the same email address or the forum thread corrections of existing astro-databank entries.
other information
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sɪks tɔp ˈfɪlˌmeɪkərz ˈɔlsoʊ ˌɪnˈkludɪŋ ˈpæti ˈʤɛŋkɪnz, ˈdɛnɪs ˈvɪlɪnuv, ænʤɛˈlinə ˌʤoʊˈli ənd ʤoʊ raɪt ˈoʊpən əp əˈbaʊt ˈʧuzɪŋ ðə raɪt ˈprɑʤɛkts ("ju doʊnt wɔnt tɪ ɛnd əp ɪn ə bæd ˈmɛrɪʤ"), ˈfaɪərrɪŋ stæf ənd wət ɪt filz laɪk tɪ dɪˈrɛkt ə ˈmuvi ðət bɑmz: "ˈpipəl θɪŋk ju muv ɔn, bət ju doʊnt." wət ɪf ju kʊd pʊt ə ˈkæmərə ˈɛniˌwɛr, æt ˈɛni taɪm ɪn ˈhɪstəri? wət ɪf ðɛr wər noʊ ˈlɪmɪts tɪ wət ju kʊd dɪˈrɛkt? "ðət wʊd bi ˈsuɪˌsaɪd," sɪz gwɪˈljɛrmoʊ dɛl ˈtɔroʊ, 53 (ðə ʃeɪp əv ˈwɔtər), æt noʊv. 12 dɪˈrɛktər ˈraʊndˌteɪbəl. "ˈlɪmɪts ər wət gɪv ju ˈfridəm." stɪl, pʊʃt, hi ədˈmɪts hi wʊd ləv tɪ fɪlm hɪz ˈgrændˌməðər, wɪθ hum hi hæd ə ˈkɑmpləˌkeɪtəd riˈleɪʃənˌʃɪp, tɪ ʧɛk hɪz ˈmɛməri. dɪˈrɛktər ˈgritə ˈgərwɪg, 34 (ˈleɪdi bərd), wʊd ʃut ˈsɑkrəˌtiz. "hi hæd ðiz ˈdaɪəˌlɔgz wɪθ diotima*, ə ˈprɑstəˌtut ɪn ˈeɪnʧənt gris aɪ wʊd hæv ləvd tɪ hir wət ðoʊz ˈwɪmən hæd tɪ seɪ," ʃi ˈɔfərz. ˈdɛnɪs ˈvɪlɪnuv, 50 (bleɪd ˈrənər 2049 wʊd treɪn hɪz ˈkæmərə ɔn ˈʤizəs. ˈpæti ˈʤɛŋkɪnz, 46 (ˈwəndər ˈwʊmən), wʊd pʊt hərz ɪn ə ˈprɪzən. ənd ʤoʊ raɪt, 45 (ˈdɑrkəst aʊər), wʊd laɪk tɪ "si θɪŋz θru ðə aɪz əv ən ˈeɪnʤəl." bət ænʤɛˈlinə ˌʤoʊˈli, 42 (fərst ðeɪ kɪld maɪ ˈfɑðər), θɪŋks fɑr tu məʧ həz ɔˈrɛdi bɪn ˈkæpʧərd ɔn fɪlm "frəm ˈkɛmɪkəl əˈtæks ɪn ˈsɪriə tɪ ðə biɪŋ dɪˈspleɪst" wɪˈθaʊt ˈɛniˌθɪŋ biɪŋ dən əˈbaʊt ɪt. "aɪ si ˈvɛri ˈlɪtəl kɔl tɪ ˈækʃən," ʃi sɪz, wɪθ rɪˈgrɛt. əv kɔrs, iʧ əv ðiz dɪˈrɛktərz, ɪn hɪz ər hər oʊn weɪ, siz fɪlm ɛz ə kɔl tɪ ˈækʃən, ɛz ðeɪ meɪd ˌɪnˈtɛnsli klɪr ɪn ðɛr ˌkɑnvərˈseɪʃən wɪθ thr*. jʊr ɔn ə ˈlaɪfˌboʊt wɪθ ə pleɪər gwɪˈljɛrmoʊ dɛl ˈtɔroʊ wi ər goʊɪŋ tɪ du ðət? ðæts nɑt fɛr! wət ər ju goʊɪŋ tɪ teɪk wɪθ ju tɪ wɔʧ? lɛts stɑrt wɪθ ju, gwɪˈljɛrmoʊ. dɛl ˈtɔroʊ oʊ, waɪ? ˈdɛnɪs ˈvɪlɪnuv bɪˈkəz ju ər ðə əv ðə grup. ænʤɛˈlinə ˌʤoʊˈli ˈɔlˌweɪz, ˈɔlˌweɪz. dɛl ˈtɔroʊ ɪts soʊ ˈdɪfəkəlt fər mi tɪ ˈænsər, bɪˈkəz aɪ wɪl ˈænsər ˈsəmθɪŋ kəmˈplitli non-prestigious*. wɪn aɪ wɑz ə ˈtiˌneɪʤər, ðə roʊd ˈwɔrjər 1981 kəmˈplitli dɪˈstrɔɪd mi. ɪts ðə fərst taɪm aɪ ˈnoʊtɪst haʊ ðə ˈkæmərə wərkt ənd muvd, ənd ɪt wɑz ə bæˈleɪ, ənd aɪ hæv ˈnɛvər bɪn ðə seɪm. bət aɪ wʊd ˈprɑbəˌbli ʧeɪnʤ maɪ maɪnd ˈhæfˈweɪ θru ðə ˈlaɪfˌboʊt ˈʤərni, ənd aɪ wʊd goʊ, "wɛr ɪz ˈfræŋkənˌstin 1931 ˈpæti ˈʤɛŋkɪnz oʊ, maɪ gɑd! soʊ ˈmɛni ˈmuviz goʊ θru maɪ hɛd. dɛl ˈtɔroʊ kəm ɔn. aɪ dɪd ðə roʊd ˈwɔrjər. ˈʤɛŋkɪnz ðə ˈwɪrdəst wən kips ˈkəmɪŋ ˈɪntu maɪ maɪnd. aɪ noʊ wɛr əm goʊɪŋ, 1945 dɪˈrɛktɪd baɪ ˈmaɪkəl] ˈpɑwɛl ənd [emeric*] ˈprɛsbərgər. aɪ ləv ðət ˈmuvi. ðə dɪˈzaɪn əv ɪt ˈfæsəˌneɪts mi bɪˈkəz ɪts soʊ roʊˈmæntɪk, bət ju ˈnɛvər ˈnoʊtɪs ðət ɪts bɪˈkəmɪŋ ðət roʊˈmæntɪk. wət dɪd ɪt tiʧ ju? ˈʤɛŋkɪnz ðə ˈpɑkət əv ˈiˌmoʊʃən əv ˈroʊmæns ðə speɪs wɛr ju gɪt ɪt ənd ɪts sɪnˈsɪr ənd ɪts ril ənd ju ʤɪst kip ɪt frəm ˈhɪtɪŋ ðə graʊnd. jʊr raɪt ðɛr ɪn ɪt. "oʊ, maɪ gɑd, ɪts ˈhæpənɪŋ." ɪts wət ləv ɪz tɪ mi: ɪts wɪn fɪr ɪz mɪkst wɪθ dɪˈzaɪər. ðɛrz ˈsəmθɪŋ soʊ ˌɪnˈkrɛdəbəl əˈbaʊt ðət ˈmoʊmənt. ɪz ləv ɪn ril laɪf ˈɛvər wət ɪt ɪz ɔn fɪlm? ˈgritə ˈgərwɪg jɛs. ˈʤɛŋkɪnz aɪ hæv ˈθɪriz əˈbaʊt ləv. bət fɪr ənd dɪˈzaɪər biɪŋ ˈikwəl ɪz ðə θɪŋ. fɪlm əˈlaʊz ðət tɪ ˈhæpən, bət ðæts wət ɪt ɪz ɪn ril laɪf, tu, ˌɔlˈðoʊ wi ˈɔlˌweɪz wɔnt tɪ ʃət ɪt daʊn. jʊr dɪˈzaɪər ɪz ˈɔlˌweɪz tɪ gɪt ðə ˈəpər hænd ɔn [ðə fɪr], ənd ɛz sun ɛz ju du, ɪts nɑt soʊ məʧ ləv ˌɛniˈmɔr. fɪlm əˈlaʊz ˈpipəl tɪ fil ˈkəmfərtəbəl ɪkˈstɛndɪŋ ɪt ˈlɔŋgər. ˈgərwɪg aɪ æm nɑt ˈʧuzɪŋ ðɪs ɔn maɪ boʊt, bət brif ɪnˈkaʊnər 1945 ʃi lʊks æt ɪm ənd sɪz, "ju lʊkt laɪk ə ˈlɪtəl bɔɪ ʤɪst ðɛn," ənd hi lʊks æt hər ənd ɪts laɪk, tu leɪt, ðeɪ ər ɔˈrɛdi ɪn ləv. ˈɛniˌweɪ singin*' ɪn ðə reɪn 1952 aɪ min, ɪf ju ər ɔn ə boʊt. du ju traɪ tɪ ˈɪməˌteɪt ˈsəmˌwən ˈɛlsɪz bɛst fɪlm, ər riækt əˈgɛnst ɪt? dɛl ˈtɔroʊ əˈgɛnst. ˈʤɛŋkɪnz bət waɪ ʤɪst wən? ɪt wʊd bi hɑrd tɪ pɪk ʤɪst wən ðət ju ər riˈæktɪŋ əˈgɛnst. ju ər ˈɔlˌweɪz ˈstədiɪŋ ənd peɪɪŋ ˈɑməʤ tɪ ðə ˈpipəl ˌbiˈfɔr ju, ənd ðɛn ˈtərnɪŋ ɪt ʤɪst ə ˈlɪtəl bɪt ˈjɔrsɛlf. ðæts ðə hoʊl geɪm. ʤoʊ raɪt ˈpərsənəli, [maɪ wərk ɪz] ˈprɑbəˌbli ə riˈækʃən əˈgɛnst maɪ ˈfɑðər, ɛz wɛl ɛz hɪz wərk. hi wɑz ə pəpəˈtir. dɛl ˈtɔroʊ bɛt frɔɪd wʊd hæv ˈsəmθɪŋ tɪ seɪ əˈbaʊt ðət. raɪt ɪgˈzæktli. hi wɑz ə pəpəˈtir ənd meɪd ˈvɛri ˈbjutəfəl ʃoʊz. hi ˈfaʊndɪd ðə fərst ˈpəpɪt ˈθieɪtər ɪn ˈləndən ɪn 1961 ənd wən əv ðə ˈbərdənz əv hɪz kərɪr wɑz ðət ˈɛvriˌwən sɔ ˈpəpətri ɛz ˈʧɪldrənz ˌɛnərˈteɪnmənt, ənd hi kənˈsɪdərd ɪt ə faɪn ɑrt. soʊ ə lɔt əv [maɪ wərk] ɪz ə riˈækʃən əˈgɛnst hɪz pərˈsivd ˈfeɪljər. dɪˌtərməˈneɪʃən tɪ du ˈbɛtər, aɪ gɛs. ˈvɪlɪnuv aɪ θɪŋk aɪ æm riˈæktɪŋ tɪ wɪn aɪ wɑz ə ˈvɛri [jəŋ mæn]. raɪt aʊt əv fɪlm skul, aɪ meɪd ə ʃɔrt fɪlm. aɪ wɑz laɪkt baɪ ən ˈoʊldər ˈfɪlˌmeɪkər, piɛr ˈpɛrɔlt, hu wɑz ə ˈmæstər duɪŋ ˌdɑkjəˈmɛnəriz, ənd ɪn ðə hi wɑz pɑrt əv ə ˌriəˈlɪstɪk fɪlm ˈmuvmənt wɛr ðeɪ wər ðə fərst wənz tɪ teɪk ðə ˈkæmərə ɔf ðə ˈtraɪˌpɑd ənd goʊ wɪθ ril ˈpipəl. ðeɪ meɪd ə fænˈtæstɪk ˈmuvi kɔld pɔr lɑ swit də mɑnd [fər ðoʊz hu wɪl ˈfɑloʊ, 1963 ɔn ə smɔl ˈaɪlənd ɪn kwəˈbɛk, wɛr ðeɪ spɛnt θri jɪrz ˈʃutɪŋ ˈfɪʃərmɪn. fər səm ˈrizən hi laɪkt mi, ənd hi wɑz ˈvɛri sæd ðət aɪ wɑz goʊɪŋ tɪ du ˈfɪkʃən ˌɪnˈstɛd əv ˌdɑkjəˈmɛnəri, bɪˈkəz fər ɪm ˈfɪkʃən wɑz feɪk. ɔl maɪ laɪf, aɪ fɛlt aɪ oʊd ɪm ə lɔt, bət aɪ ˈɔlˌweɪz fɛlt aɪ wɑz ðə bæd sən hu wɛnt tɪ du ˈfɪkʃən. soʊ wʊd ju ʧuz hɪz fɪlm fər ðə ˈlaɪfˌboʊt ɛz ə kaɪnd əv ˈpɛnəns? ˈvɪlɪnuv aɪ maɪt. ər, tɪ priˈpɛr mi fər dɛθ, ɪt wʊd bi 1968's*] 2001 ə speɪs ˈɑdəsi. [ðɪs ɪz] maɪ ˈfeɪvərɪt fɪlm əv ɔl taɪm. ɪts ðə ˈkloʊsəst θɪŋ tɪ ə ˈvɛri ˌɛgˌzɪˈstɛnʃəl ˈʤərni. ɪt wʊd bi gʊd tɪ priˈpɛr mi fər ðə ˈpæsɪʤ ɪf ju ər ɔn ə ˈlaɪfˌboʊt wɪˈθaʊt hoʊp. ˌʤoʊˈli ɪts ə ˈrɪli ˈɪntəˌrɛstɪŋ kˈwɛʃən bɪˈkəz ɪts nɑt laɪk ə ˈfeɪvərɪt fɪlm, raɪt? ɪts mɔr ðə fɪlm ðət pərˈpɛrz ju fər dɛθ ər hɛlps ju θru ˈsɑləˌtud. aɪ doʊnt noʊ ɪf aɪ wʊd wɔnt tɪ bi ˈwɑʧɪŋ ˈmuviz. aɪ ləv [ˈsɪdni 1965 fɪlm] ðə hɪl, ənd ˈmeɪbi ɪt wʊd hɛlp ɔn ðə ˈlaɪfˌboʊt tɪ si haʊ ju ˈmænɪʤ sərˈvaɪvɪŋ əˈgɛnst ɔl ɑdz. bət maɪ ril ˈænsər ɪz: aɪ doʊnt noʊ. fɪlm dɪz teɪk ju aʊt əv ˈjɔrsɛlf, ənd aɪ æm ˈsəmˌbɑdi hu kænt ˈlɪsən tɪ mˈjuzɪk bɪˈkəz aɪ gɪt tu ˈɪnfluənst baɪ ɪt. ˈvɪlɪnuv aɪ æm ðə seɪm. ˌʤoʊˈli aɪ hir ˈsərtən mˈjuzɪk, aɪ wɪl gɪt dɑrk ər laɪt, ər aɪ wɪl stɑrt tɪ fil dɛl ˈtɔroʊ ju min ˈiˌmoʊʃnəli? ˌʤoʊˈli ˈiˌmoʊʃnəli. soʊ aɪ tɛnd tɪ nɑt ˈrɛgjələrli wɔʧ fɪlmz, bɪˈkəz aɪ gɪt ˈvɛri sweɪd baɪ θɪŋz. ɪt əˈfɛkts mi soʊ. dɪz dɪˈrɛktɪŋ ˈmuviz əˈfɛkt ju ɛz wɛl? ˌʤoʊˈli jɛs. ɪn ˌkæmˈboʊdiə, [ðə pɔl pɑt rəˈʒim] ɪz ˈsəbʤɪkt ˈmætər ðət həz bɪn dəˈbeɪtɪd. [bət] ðɪs ˈhɪstəri ɪz nɑt noʊn ˌɪnərˈnæʃənɑli ənd ɪt meɪd mi ˈəpˌsɛt wɪn aɪ wɑz ɪn ðət ˈkəntri. aɪ hæv sin haʊ ɪt əˈfɛkts ðə ˈpipəl, ənd aɪ hæv ə sən [ˈmædəks, bɔrn ɪn ˌkæmˈboʊdiə] hu dɪˈzərvz tɪ noʊ hɪz ˈhɪstəri, ənd aɪ wɔnt ɪm tɪ noʊ wət hɪz bərθ ˈpɛrənts wɛnt θru. bət dɪd aɪ fil aɪ hæd ðə raɪt tɪ bi ðə wən duɪŋ ðət? ɪt wɑz hɑrd ˈɛvəri deɪ tɪ noʊ ɪf aɪ wɑz gʊd ɪˈnəf ər ðə raɪt ˈpərsən tɪ du ɪt. ˈɛvəri deɪ aɪ woʊk əp ˈfilɪŋ, "æm aɪ gʊd ɪˈnəf?" ˈvɪlɪnuv aɪ hæd ə ˈsɪmələr ɪkˈspɪriəns bət ɔn ə sˈmɔlər skeɪl, wɪn aɪ dɪd ə ˈmuvi ɪn ðə ˈmɪdəl ist əˈbaʊt ðə ˈlɛbəˌniz ˈsɪvəl wɔr incendies*]. bət aɪ fɛlt ˈwɛlkəm, ˈtɔkɪŋ əˈbaʊt ðə ˈstɔri əv ˈəðər ˈpipəl, ˈivɪn ɪf aɪ wɑz ˈtɛknɪkəli ə ˈtʊrɪst. ˈpæti, wər ju ˈwɛlkəmd baɪ ˈwɔrnər bros*. wɪn ju meɪd ˈwəndər ˈwʊmən? ˈʤɛŋkɪnz aɪ wɑz. aɪ min, tɪ gɪt ɪn ðɛr wɑz ə lɔŋ ˈstɔri. aɪ hæd fərst tɔkt tɪ ðɛm əˈbaʊt ɪt ɪn 2005 ənd ðɛr wər soʊ ˈmɛni ˈdɪfərənt ˈʧæptərz wɪn ðeɪ wər ənd wərənt goʊɪŋ tɪ meɪk ɪt. ðiz ˈmuviz, aɪ fil ɪts mɔr laɪk ˈdeɪtɪŋ ðən ɪt ɪz [laɪk], "heɪ, ʤɪst baɪ maɪ pɪʧ." ɪts ə ˈsɪriəs kəˈmɪtmənt. aɪ hæd ˈɔlˌmoʊst dən ˈəðər bɪg ˈmuviz ənd hæd sin ˈvɛri ˈlɪtəl ˌdɪsəˈgrimənts [dɪˈreɪl ə ˈprɑʤɛkt]. soʊ aɪ wɑz ɪkˈstrimli ˈsərkəmˌspɛkt wɪn aɪ keɪm ɪn tɪ [tɔk əˈbaʊt] duɪŋ ˈwəndər ˈwʊmən. aɪ wɑz ˈrɪli ˈkɔʃəs. ənd wɪn aɪ fərst wɑz ˈmitɪŋ wɪθ ðɛm, ðeɪ ˈwɔntɪd tɪ du ˈsəmθɪŋ ˈdɪfərənt, ənd aɪ wɑz laɪk, "ɑ, ɪts ə ʃeɪm. aɪ doʊnt θɪŋk wi ər ðə raɪt mæʧ." baɪ ðə taɪm ðeɪ keɪm bæk ənd ˈriəˌlaɪzd ðeɪ ˈwɔntɪd tɪ du ˈsəmθɪŋ ˈvɛri ˈsɪmələr tɪ wət aɪ hæd bɪn seɪɪŋ, ɪt wɑz ə məʧ ˈdɪfərənt ˌkɑnvərˈseɪʃən. soʊ aɪ wɑz ɪkˈstrimli ˈwɛlkəmd. aɪ wɑz ˈvɛri səˈpɔrtɪd. ənd ɪts ðə ˈbɪgəst ədˈvaɪs aɪ ˈɛvər gɪv jəŋ ˈfɪlˌmeɪkərz: pɪk ðə raɪt ˈprɑʤɛkts, bɪˈkəz ju doʊnt wɔnt tɪ ɛnd əp ɪn ə bæd ˈmɛrɪʤ. dɛl ˈtɔroʊ ɪn 25 jɪrz, aɪ hæv hæd wən ˈsɪŋgəl bæd ɪkˈspɪriəns: [ˈmɪmɪk] ɪn 1997 æt miramax/dimension*. aɪ ˈlərnɪd ðət greɪt wərd, wɪʧ wɑz "noʊ," wɪʧ ɪz ðə seɪm ɪn ˈɛvəri ˈlæŋgwɪʤ, bət aɪ ˈlərnɪd ɪt. aɪ əˈgri kəmˈplitli wɪθ wət ju ər seɪɪŋ: ɪts laɪk əˈdɑptɪŋ ə ˈbeɪbi ˈtaɪgər. ə jɪr ˈleɪtər, ðət ˈbeɪbi ˈtaɪgər its jʊr feɪs. wət dɪd ju lərn frəm dɪˈrɛktɪŋ jʊr fərst fɪlm? ˈgərwɪg aɪ ˈlərnɪd ðət aɪ kʊd du ɪt. aɪ doʊnt θɪŋk ju kwaɪt noʊ ənˈtɪl ju ər ɔn ðə ˈəðər ɛnd əv ˈsəmθɪŋ laɪk ðət. ju teɪk ðə lip ənd hoʊp ðɛr ɪz ə ˈpɛrəˌʃut əˈtæʧt. bət pɑrt əv ˈlərnɪŋ haʊ tɪ dɪˈrɛkt wɑz biɪŋ ɔn fɪlm sɛts ɛz ən ˈæktər ənd, ɪn ˌpɑˈtɪkjələr, ˈərli fɪlmz aɪ meɪd. aɪ nu frəm ˈhævɪŋ bɪn ɔn ˈdɪfərənt fɪlmz ðət wɪn θɪŋz keɪm əp ðət wər ˈprɑbləmz ər ˈdɪfɪˌkəltiz ər ˈsəmθɪŋ wɛnt əraɪ, ðət wɑz nɑt ə ˌdiviˈeɪʃən frəm ðə pæθ; ðət wɑz ðə pæθ. dɛl ˈtɔroʊ ðɛrz ə ˈbudəst seɪɪŋ: ðə ˈɑbstəkəl ɪz ðə pæθ. raɪt ənd ˈɔlˌweɪz ðə ˈɑbstəkəl gɪvz ju səˈluʃənz ðət ju faɪnd ər fɑr mɔr ˈɪntəˌrɛstɪŋ ənd fɑr mɔr ˈkreɪzi. ðə ʃɑt ɪn 2007's*] əˈtoʊnmənt [ˈtrækɪŋ ðə ˈsoʊlʤərz æt ˈdənkərk ɪn ə ˈsɪŋgəl ʃɑt] wɑz ˈpjʊrli ə rɪˈzəlt əv ðə fækt ðət wi ˈoʊnli hæd wən deɪ tɪ ʃut ðət sin, ənd ðə taɪd wɑz goʊɪŋ tɪ kəm ɪn ənd goʊ aʊt, soʊ wi ˈrɪli ˈoʊnli hæd θri aʊərz əv klɪr sɛt. ənd ðɪs mɑnˈtɑʒ ˈsikwəns wɑz ˌɪmˈpɑsəbəl tɪ ʃut ɪn θri aʊərz, soʊ ðə səˈluʃən wɑz tɪ du ɪt ɛz ə ˈsɪŋgəl teɪk. wət wɑz ðə ˈbɪgəst ˈprɑbləm ju hæd tɪ sɑlv ɔn bleɪd ˈrənər 2049 ˈdɛnɪs? ˈvɪlɪnuv hmmm*. wət əm goʊɪŋ tɪ seɪ məst steɪ əraʊnd ðɪs ˈteɪbəl. doʊnt ˈwəri, noʊ wən ɪz ˈlɪsənɪŋ. ˈvɪlɪnuv haʊ kən aɪ seɪ ɪt? oʊ, bɔɪ. lɛts seɪ, duɪŋ ðɪs ˈmuvi, aɪ lɔst maɪ vərˈʤɪnɪti ɛz ə dɪˈrɛktər. aɪ θɔt ˌbiˈfɔr duɪŋ ðɪs ˈmuvi ðət aɪ ləv ˈwərkɪŋ wɪθ ˈəðər ˈpipəl ðə θɪŋ aɪ ləv əˈbaʊt ˈfɪlˌmeɪkɪŋ ɪz tɪ brɪŋ ˈɛvriˌbɑdi əraʊnd ən aɪˈdiə ənd ˈwərkɪŋ təˈgɛðər ənd aɪ θɔt, ˌbiˈfɔr, ðət aɪ wɑz ˈeɪbəl tɪ brɪŋ ˈɛvriˌbɑdi ɪn ðə seɪm dɪˈrɛkʃɪn. ənd aɪ ˈlərnɪd ɔn bleɪd ˈrənər waɪ ju hæv tɪ faɪər ˈsəmˌwən. ənd ðæts ə bɪg, bɪg θɪŋ. waɪ dɪd ju hæv tɪ faɪər ˈsəmˌwən? ˈvɪlɪnuv æt ðə ɛnd əv ðə deɪ, ɪts ə ˈmætər əv ˈigoʊz. ju fil ðɛr ɪz noʊ ˌrɛkənˌsɪliˈeɪʃən ˈpɑsəbəl. ənd ɔn ə ˈmuvi əv ə ˈdɪfərənt skeɪl, ju kən ˈkɑmpənˌseɪt. bət ɔn ə ˈmuvi laɪk bleɪd ˈrənər, wɛr ˈɑnəstli aɪ wɑz dɛd æt ðə ɛnd, [ðɛrz noʊ] ˈhævɪŋ tɪ ˈkɑmpənˌseɪt. ˈgərwɪg ˌbiˈfɔr aɪ dɪˈrɛktɪd, aɪ hæd ˌkɑnvərˈseɪʃənz wɪθ dɪˈrɛktərz. ˈsəmˌwən toʊld mi, "ɪf ju doʊnt laɪk ə ʃɑt, tərn ɔf ðə laɪts, bɪˈkəz ɪt gɪvz ju ə ˈsɛkənd tɪ ˈfɪgjər aʊt wət ju doʊnt laɪk." ənd ˈsəmˌbɑdi toʊld mi, "ˈɛniˌwən ɪz ˌriˈpleɪsəbəl ɪf ðɛr ˈhərtɪŋ ðə ˈmuvi." ˈʤɛŋkɪnz ə bɪg ˈmuvi ɪz ə ˈmæsɪv ˈɔrgəˌnɪzəm. ənd ju hæv tɪ bi ə ˈlidər, ju hæv tɪ bi ə ˈmænɪʤər ɔn ə hoʊl ˈəðər ˈlɛvəl. aɪ hæd ˈɪntəˌrɛstɪŋ daɪˈnæmɪks, wɛr aɪ wɑz laɪk, "ðɪs hoʊl grup əv ˈpipəl wərks təˈgɛðər greɪt. ənd naʊ, ɔl əv ə ˈsədən, ðeɪ ər ɔl kəmˈpleɪnɪŋ əˈbaʊt iʧ ˈəðər. wɛr ɪz ðə [ˈprɑbləm]? oʊ, ɪts ju." ənd aɪ hæd tɪ gɪt rɪd əv ðət ˈpərsən. ənd aɪ fil fər ju ənd ɔl əv ðət. bət ju ər ə dɪˈstrəktɪv ˌpərsəˈnælɪti ɪn ðə mɪst əv ˈhənərdz ənd ˈhənərdz əv ˈpipəl hu nid tɪ goʊ tɪ wərk ˈɛvəri deɪ. ˌʤoʊˈli wɪn aɪ ˈstɑrtɪd, aɪ ˈwɔntɪd ˈɛvriˌbɑdi tɪ fil ðɪs ɪz ðə ˈgreɪtəst ɪkˈspɪriəns. ənd ðɛn aɪ ˈriəˌlaɪzd, ðɛr kən bi deɪz ðeɪ doʊnt laɪk mi. aɪ wʊd ˈrəðər ðɛm nɑt laɪk mi ənd bi praʊd əv ðə ɛnd rɪˈzəlt. ˈvɪlɪnuv ju ər nɑt ðɛr tɪ meɪk frɛndz. dɛl ˈtɔroʊ ðə ˈəðər [θɪŋ] ɪz wɪn ˈmɛni əv ðə ˈmɛmbərz əv ðə kru bɪˈliv ju ər ˈmeɪkɪŋ ˈsəmθɪŋ kəmˈplitli dɪˈreɪnʤd. ðət ɪz wən θɪŋ ɛz dɪˈrɛktərz ðət wi doʊnt tɔk əˈbaʊt, ðət wi [məst] hæv ənˈweɪvərɪŋ feɪθ. wi meɪ hæv ˈmoʊmənts əv ˈdɑrknəs ɔn ðə sɛt, bət tɪ ðə kru, ju hæv ənˈweɪvərɪŋ feɪθ. wət wɑz jʊr wərst deɪ ɔn ʃeɪp əv ˈwɔtər? dɛl ˈtɔroʊ aɪ hæd ə fərst deɪ ðət aɪ ˈkænɑt θɪŋk əˈbaʊt. ðə ˈsɛkənd deɪ wɑz wərs. ɪn 65 deɪz [əv ˈʃutɪŋ], wi hæd 64 ˈrɪli ˈdɪfəkəlt deɪz. ðɛr wɑz ə ˈmoʊmənt wɪn ˈmaɪkəl ˈʃænən pɑrks, stɑps, rənz əp ðə stɛrz. soʊ ˈʃænən pɑrks ðə kɑr, gɪts aʊt ənd ðə kɑr steɪz ɔn draɪv. ɪts ən oʊld kɑr. ðə kɑr kənˈtɪnjuz goʊɪŋ. ˈmaɪkəl rənz tɪ traɪ tɪ stɑp ðə kɑr. ðə kɑr drægz ˈmaɪkəl ɪn ðə ˈmɪdəl əv ðə reɪn. ɪt hɪts ðə fərst poʊst. ʃaʊər əv spɑrks. goʊz fər ðə ˈsɛkənd poʊst ənd ɪts ˈkəmɪŋ streɪt fər ðə ˈvɪdioʊ ˈsɪstəm. ˈɛvriˌbɑdi sɪz, "rən!" naʊ, aɪ ˈnɛvər rən fər ˈɛniˌθɪŋ ɪn maɪ laɪf! (ˈlæftər.) ənd aɪ goʊ, "aɪ æm goʊɪŋ tɪ daɪ." ənd ðə kɑr stɑps æt ðə ˈsɛkənd ənd ˈfaɪnəl poʊst, wɪʧ ɪz ˈæŋkərd tɪ ðə graʊnd. ˈɛvriˌbɑdi wɑz ˈhɔrəˌfaɪd. ənd aɪ seɪ, "naʊ aɪ kən meɪk maɪ ʃɑt." ˌʤoʊˈli soʊ ɪz ðət ðə wən gʊd deɪ? (ˈlæftər.) əˈməŋ jʊr ˈhɪroʊz, hu wɑz ˈdɪfərənt ðən ju ɪkˈspɛktɪd? ˌʤoʊˈli bɪˈkəz aɪ gru əp ɪn ðɪs ˈbɪznɪs wɪθ maɪ ˈfɑðər, aɪ ˈərli ɔn ˈriəˌlaɪzd haʊ ˈævərɪʤ ˈɛvriˌbɑdi ɪz. aɪ gru əp ˈθɪŋkɪŋ ðɛr ɪz ˈnəθɪŋ ˌənbəˈlivəbli ˈspɛʃəl ər ˌənbəˈlivəbli ˈdɪfərənt əˈbaʊt ðiz ˈpipəl, ɪkˈsɛpt ˈsəmˌtaɪmz ðeɪ θɪŋk ðeɪ ər ˌənbəˈlivəbli ˈspɛʃəl. raɪt wən θɪŋ ðət səˈpraɪzɪz mi wɪn aɪ mit greɪt ˈæktərz ɪz ðət ðeɪ wɔnt dɪˈrɛkʃɪn. wət dɪˈrɛkʃɪn dɪd ju gɪv ˈgɛri ˈoʊldmən wɪn hi wɑz pleɪɪŋ ˈwɪnstən ˈʧərʧɪl? raɪt ðə ˈrɪðəm əv hɪz ˈkɛrɪktər. aɪ tɔk ə lɔt əˈbaʊt ˈrɪðəm wɪn aɪ æm dɪˈrɛktɪŋ. fɪlm ɪz mɔr ˈsɪmələr tɪ mˈjuzɪk ðən ˈɛni ˈəðər ɑrt fɔrm. aɪ æm ˈɔlˌweɪz ˈɔlˌmoʊst kənˈdəktɪŋ ə sin soʊ ðət ðeɪ noʊ wɛr ðə raɪz ɪz ənd wɛr ðə ˈfɔˌlɔf ɪz, ˈrəðər ðən ˈtɔkɪŋ əˈbaʊt ənd stəf laɪk ðət, wɪʧ aɪ θɪŋk ɪz ˈfɛrli ˈjusləs. ənd ˌɔlˈðoʊ aɪ æm nɑt kin ɔn ˈmɛθəd ˈæktərz, aɪ æm ə bɪt əv ə ˈmɛθəd dɪˈrɛktər ɪn ðə sɛns ðət aɪ hæv tɪ fil [ðə ˈkɛrɪktərz'] ˈɪˌmoʊʃənz ənd aɪ hæv tɪ aɪˈdɛntəˌfaɪ ˈkloʊsli wɪθ ðə ˈkɛrɪktər. ˈrɪli ðoʊz ˈkɛrɪktərz ər ˈɔlˌweɪz ən ɪkˈsprɛʃən əv ˌmaɪˈsɛlf. soʊ aɪ traɪd ˈlʊkɪŋ fər ðə ˌsɪməˈlɛrətiz. ˈfaɪndɪŋ aʊt haʊ ˈʧərʧɪl ənd aɪ ər ðə seɪm? rɪˈdɪkjələs! bət fər mi, ðə fɪlm ɪz əˈbaʊt. ənd aɪ ʤɪst hæd ən ɪkˈspɪriəns əv ɪkˈstrim ənd θɔt aɪ wɑz goʊɪŋ tɪ liv ðə ˈɪndəstri. aɪ meɪd ə fɪlm kɔld pæn 2015 ənd ɪt lɔst əˈbaʊt 100 ˈmɪljən, ənd ɪt wɑz ˌjunəˈvərsəli sˈlaɪtɪd baɪ ðə ˈkrɪtɪks, ənd aɪ θɔt, "aɪ doʊnt ˌəndərˈstænd ðɪs wərld ˌɛniˈmɔr. ənd aɪ doʊnt noʊ ɪf aɪ wɔnt tɪ bi ə pɑrt əv ɪt." dɛl ˈtɔroʊ ˈpipəl θɪŋk ðət ju muv ɔn, bət ɪf ju ər wərθ ˈɛniˌθɪŋ, ju doʊnt muv ɔn. ju goʊ ˈɪntu ə dip, dɑrk pleɪs. raɪt bɪˈkəz ɑr ˈfɪlˌmeɪkɪŋ ɪz ən ɪkˈsprɛʃən əv ɑr soʊl. ɪts ðə ˈkloʊsəst tɪ maɪ ˈɛsəns. ˌʤoʊˈli bət ɪt kən ˈɔlsoʊ meɪk ju fil ˈstrɔŋgər. ə fɪlm aɪ dɪd, baɪ ðə si 2015 ˈivɪn wɪn wi wər ˈmeɪkɪŋ ɪt, ˈpipəl wər seɪɪŋ, "wɛl, ðæts nɑt goʊɪŋ tɪ bi wət ˈpipəl wɔnt." aɪ [hərd ˈsəmθɪŋ ˈnɛgətɪv] ɔn ˈsiˈɛˈnɛn. aɪ wɑz laɪk, "oʊ ðɛn ðə jəŋ pəŋk ɪn mi hæd ðɪs wɪrd ˈmoʊmənt əv: "ˈoʊˈkeɪ. ju dɪd jʊr bɛst, ənd ju ˈlərnɪd ˈsəmθɪŋ, ənd ɪts nɑt fər ˈɛvriˌbɑdi." ɪt wɑz laɪk ə tɔk wɪθ ˌmaɪˈsɛlf: "doʊnt bɪˈkəm seɪf frəm ðɪs. ɪf ju bɪˈkəm seɪf, ju ər ˈnɛvər goʊɪŋ tɪ du ˈɛniˌθɪŋ wərθ ˈɛniˌθɪŋ." ˈpæti, hæv ju ˈɛvər lɔst jʊr riˈzɑlv? ˈʤɛŋkɪnz ɔl ðə taɪm. aɪ ˈnɛvər ˌdɪˈsaɪdɪd tɪ bi ə dɪˈrɛktər. aɪ wɑz æt ˈpeɪnɪŋ skul, ənd maɪ fərst ləv wɑz mˈjuzɪk, ənd ɪt ˈfaɪnəli keɪm təˈgɛðər wɪn aɪ tʊk ən ɪkˌspɛrɪˈmɛntəl fɪlm kɔrs ənd aɪ wɑz laɪk, "ðæts ɪt." bət aɪ ˈdɛfənətli hæd ˈmɛni ˈmoʊmənts wɛr aɪ wɑz laɪk, "əg, ju kʊd ʤɪst rɪˈstɔr ænˈtiks ər ˈsəmθɪŋ." ðɛr wɑz ə ˈpɪriəd əv taɪm, nɑt lɔŋ ˌbiˈfɔr aɪ meɪd ˈwəndər ˈwʊmən, wɪn ˈɛvriˌθɪŋ [ˈdɪdənt wərk]. aɪ hæd meɪd ˈmɑnstər 2003 ðɛn aɪ hæd ə ˈmuvi nɑt goʊ, ðɛn aɪ hæd maɪ sən soʊ aɪ ˈpərpəsfəli ʤɪst dɪd ˈpaɪləts fər ə waɪl. ənd wɪn aɪ keɪm bæk, ðə ˈbɑtəm hæd ˈfɑlən aʊt əv ðə ˈɪndi fɪlm ˈmɑrkɪt. ðə fɪlmz ðət aɪ hæd ˈrɛdi tɪ goʊ, ˈnoʊˌbɑˌdi ˈwɔntɪd tɪ meɪk. ðeɪ ˈdɪdənt ˈivɪn wɔnt tɪ rɛd ðɛm. aɪ wɑz laɪk, "aɪ ʤɪst wɔnt tɪ liv ˈhɑliˌwʊd." ɪts aɪˈrɑnɪk ðət aɪ tərnd əraʊnd ənd meɪd ˈwəndər ˈwʊmən. wəts ðə moʊst ˈkruʃəl kˈwɑləti ə dɪˈrɛktər nidz? raɪt ə dɪˈrɛktər həz tɪ θɪŋk ɪn fɪlm. ənd ðæts rɛr. ɪts nɑt əˈbaʊt ˈθɪŋkɪŋ ˈvɪʒwəli ər drəˈmætɪkəli; ɪts əˈbaʊt siɪŋ ðə wərld ɛz fɪlm, ɛz ən ˌɔdioʊˈvɪʒuəl, ɪkˈspɪriəns. ˈʤɛŋkɪnz ju ˈɔlsoʊ hæv tɪ hæv səm riˌspɑnsəˈbɪləti tɪ ðə ˌriˈæləˌtiz əv ˈfɪlˌmeɪkɪŋ. duɪŋ səʧ ə juʤ ˈmuvi, ðɛr ɪz ə juʤ ˌɪnˈʃʊrəns ˈpɑləsi ɔn ju. ju ˈkænɑt raɪd ə baɪk. aɪ hæd ə ˈkəpəl əv ˈmoʊmənts wɛr aɪ wɑz laɪk, "oʊ, maɪ gɑd, aɪ æm ðə ˈoʊnli ˈpərsən hu ˌəndərˈstændz haʊ ˈpisɪz ər goʊɪŋ tɪ fɪt təˈgɛðər." dɛl ˈtɔroʊ bət ˈɔlsoʊ biɪŋ ˈfɪrləs. bɪˈkəz ˈsəmˌtaɪmz ðə moʊst ˈbrɪljənt θɪŋz ər ðoʊz ðət ər ˈkloʊsəst tɪ biɪŋ rɪˈdɪkjələs. ðɪs ˈstɔri fərst əˈpɪrd ɪn ðə dɛk. 6 ˈɪʃu əv ðə ˈhɑliˌwʊd rɪˈpɔrtər ˈmægəˌzin. tɪ rɪˈsiv ðə ˈmægəˌzin, klɪk hir tɪ səbˈskraɪb.
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six top filmmakers — also including patty jenkins, denis villeneuve, angelina jolie and joe wright — open up about choosing the right projects ("you don't want to end up in a bad marriage"), firing staff and what it feels like to direct a movie that bombs: "people think you move on, but you don't."
what if you could put a camera anywhere, at any time in history? what if there were no limits to what you could direct? "that would be suicide," says guillermo del toro, 53 (the shape of water), at thr's nov. 12 director roundtable. "limits are what give you freedom." still, pushed, he admits he would love to film his grandmother, with whom he had a complicated relationship, to check his memory.
first-time director greta gerwig, 34 (lady bird), would shoot socrates. "he had these dialogues with diotima, a prostitute in ancient greece — i would have loved to hear what those women had to say," she offers. denis villeneuve, 50 (blade runner 2049), would train his camera on jesus. patty jenkins, 46 (wonder woman), would put hers in a high-security prison. and joe wright, 45 (darkest hour), would like to "see things through the eyes of an angel." but angelina jolie, 42 (first they killed my father), thinks far too much has already been captured on film — "from chemical attacks in syria to the rohingya being displaced" — without anything being done about it. "i see very little call to action," she says, with regret.
of course, each of these directors, in his or her own way, sees film as a call to action, as they made intensely clear in their conversation with thr.
you're on a lifeboat with a blu-ray player …
guillermo del toro we are going to do that? that's not fair!
what are you going to take with you to watch? let's start with you, guillermo.
del toro oh, why?
denis villeneuve because you are the cinephile of the group.
angelina jolie always, always.
del toro it's so difficult for me to answer, because i will answer something completely non-prestigious. when i was a teenager, the road warrior [1981] completely destroyed me. it's the first time i noticed how the camera worked and moved, and it was a ballet, and i have never been the same. but i would probably change my mind halfway through the lifeboat journey, and i would go, "where is frankenstein [1931]?"
patty jenkins oh, my god! so many movies go through my head.
del toro come on. i did the road warrior.
jenkins the weirdest one keeps coming into my mind. i know where i'm going, [1945, directed by michael] powell and [emeric] pressburger. i love that movie. the design of it fascinates me because it's so romantic, but you never notice that it's becoming that romantic.
what did it teach you?
jenkins the pocket of emotion of romance — the space where you get it and it's sincere and it's real and you just keep it from hitting the ground. you're right there in it. "oh, my god, it's happening." it's what love is to me: it's when fear is mixed with desire. there's something so incredible about that moment.
is love in real life ever what it is on film?
greta gerwig yes.
jenkins i have theories about love. but fear and desire being equal is the thing. film allows that to happen, but that's what it is in real life, too, although we always want to shut it down. your desire is always to get the upper hand on [the fear], and as soon as you do, it's not so much love anymore. film allows people to feel comfortable extending it longer.
gerwig i am not choosing this on my boat, but brief encounter [1945]: she looks at him and says, "you looked like a little boy just then," and he looks at her and it's like, too late, they are already in love. anyway — singin' in the rain [1952], i mean, if you are on a boat.
do you try to imitate someone else's best film, or react against it?
del toro against.
jenkins but why just one? it would be hard to pick just one that you are reacting against. you are always studying and paying homage to the people before you, and then turning it just a little bit yourself. that's the whole game.
joe wright personally, [my work is] probably a reaction against my father, as well as his work. he was a puppeteer.
del toro bet freud would have something to say about that.
wright exactly. he was a puppeteer and made very beautiful marionette shows. he founded the first purpose-built puppet theater in london in 1961, and one of the burdens of his career was that everyone saw puppetry as children's entertainment, and he considered it a fine art. so a lot of [my work] is a reaction against his perceived failure. determination to do better, i guess.
villeneuve i think i am reacting to when i was a very [young man]. right out of film school, i made a short film. i was liked by an older filmmaker, pierre perrault, who was a master doing documentaries, and in the '60s he was part of a realistic film movement where they were the first ones to take the camera off the tripod and go with real people. they made a fantastic movie called pour la suite du monde [for those who will follow, 1963] on a small island in quebec, where they spent three years shooting fishermen. for some reason he liked me, and he was very sad that i was going to do fiction instead of documentary, because for him fiction was fake. all my life, i felt i owed him a lot, but i always felt i was the bad son who went to do fiction.
so would you choose his film for the lifeboat as a kind of penance?
villeneuve i might. or, to prepare me for death, it would be [1968's] 2001: a space odyssey. [this is] my favorite film of all time. it's the closest thing to a very existential journey. it would be good to prepare me for the passage if you are on a lifeboat without hope.
jolie it's a really interesting question because it's not like a favorite film, right? it's more the film that prepares you for death or helps you through solitude. i don't know if i would want to be watching movies. i love [sidney lumet's 1965 film] the hill, and maybe it would help on the lifeboat to see how you manage surviving against all odds. but my real answer is: i don't know. film does take you out of yourself, and i am somebody who can't listen to music because i get too influenced by it.
villeneuve i am the same.
jolie i hear certain music, i will get dark or light, or i will start to feel …
del toro you mean emotionally?
jolie emotionally. so i tend to not regularly watch films, because i get very swayed by things. it affects me so.
does directing movies affect you as well?
jolie yes. in cambodia, [the pol pot regime] is subject matter that has been debated. [but] this history is not known internationally and it made me upset when i was in that country. i have seen how it affects the people, and i have a son [maddox, born in cambodia] who deserves to know his history, and i want him to know what his birth parents went through. but did i feel i had the right to be the one doing that? it was hard every day to know if i was good enough or the right person to do it. every day i woke up feeling, "am i good enough?"
villeneuve i had a similar experience but on a smaller scale, when i did a movie in the middle east about the lebanese civil war [2010's incendies]. but i felt welcome, talking about the story of other people, even if i was technically a tourist.
patty, were you welcomed by warner bros. when you made wonder woman?
jenkins i was. i mean, to get in there was a long story. i had first talked to them about it in 2005, and there were so many different chapters when they were and weren't going to make it. these tentpole movies, i feel it's more like dating than it is [like], "hey, just buy my pitch." it's a serious commitment. i had almost done other big movies and had seen very little disagreements [derail a project]. so i was extremely circumspect when i came in to [talk about] doing wonder woman. i was really cautious. and when i first was meeting with them, they wanted to do something different, and i was like, "ah, it's a shame. i don't think we are the right match." by the time they came back and realized they wanted to do something very similar to what i had been saying, it was a much different conversation. so i was extremely welcomed. i was very supported. and it's the biggest advice i ever give young filmmakers: pick the right projects, because you don't want to end up in a bad marriage.
del toro in 25 years, i have had one single bad experience: [mimic] in 1997 at miramax/dimension. i learned that great word, which was "no," which is the same in every language, but i learned it. i agree completely with what you are saying: it's like adopting a baby tiger. a year later, that baby tiger eats your face.
what did you learn from directing your first film?
gerwig i learned that i could do it. i don't think you quite know until you are on the other end of something like that. you take the leap and hope there is a parachute attached. but part of learning how to direct was being on film sets as an actor and, in particular, early films i made. i knew from having been on different films that when things came up that were problems or difficulties or something went awry, that was not a deviation from the path; that was the path.
del toro there's a buddhist saying: the obstacle is the path.
wright and always the obstacle gives you solutions that you find are far more interesting and far more crazy. the steadicam shot in [2007's] atonement [tracking the soldiers at dunkirk in a single shot] was purely a result of the fact that we only had one day to shoot that scene, and the tide was going to come in and go out, so we really only had three hours of clear set. and this montage sequence was impossible to shoot in three hours, so the solution was to do it as a single take.
what was the biggest problem you had to solve on blade runner 2049, denis?
villeneuve hmmm. what i'm going to say must stay around this table.
don't worry, no one is listening.
villeneuve how can i say it? oh, boy. let's say, doing this movie, i lost my virginity as a director. i thought before doing this movie that i love working with other people — the thing i love about filmmaking is to bring everybody around an idea and working together — and i thought, before, that i was able to bring everybody in the same direction. and i learned on blade runner why you have to fire someone. and that's a big, big thing.
why did you have to fire someone?
villeneuve at the end of the day, it's a matter of egos. you feel there is no reconciliation possible. and on a movie of a different scale, you can compensate. but on a movie like blade runner, where honestly i was dead at the end, [there's no] having to compensate.
gerwig before i directed, i had conversations with directors. someone told me, "if you don't like a shot, turn off the lights, because it gives you a second to figure out what you don't like." and somebody told me, "anyone is replaceable if they're hurting the movie."
jenkins a big movie is a massive organism. and you have to be a leader, you have to be a manager on a whole other level. i had interesting massive-group dynamics, where i was like, "this whole group of people works together great. and now, all of a sudden, they are all complaining about each other. where is the [problem]? oh, it's you." and i had to get rid of that person. and i feel for you and all of that. but you are a destructive personality in the midst of hundreds and hundreds of people who need to go to work every day.
jolie when i started, i wanted everybody to feel this is the greatest experience. and then i realized, there can be days they don't like me. i would rather them not like me and be proud of the end result.
villeneuve you are not there to make friends.
del toro the other [thing] is when many of the members of the crew believe you are making something completely deranged. that is one thing as directors that we don't talk about, that we [must] have unwavering faith. we may have moments of darkness on the set, but to the crew, you have unwavering faith.
what was your worst day on shape of water?
del toro i had a first day that i cannot think about. the second day was worse. in 65 days [of shooting], we had 64 really difficult days. there was a moment when michael shannon parks, stops, runs up the stairs. so shannon parks the car, gets out — and the car stays on drive. it's an old car. the car continues going. michael runs to try to stop the car. the car drags michael in the middle of the rain. it hits the first post. shower of sparks. goes for the second post and it's coming straight for the video system. everybody says, "run!" now, i never run for anything in my life! (laughter.) and i go, "i am going to die." and the car stops at the second and final post, which is anchored to the ground. everybody was horrified. and i say, "now i can make my shot."
jolie so is that the one good day? (laughter.)
among your filmic heroes, who was different than you expected?
jolie because i grew up in this business with my father, i early on realized how average everybody is. i grew up thinking there is nothing unbelievably special or unbelievably different about these people, except sometimes they think they are unbelievably special.
wright one thing that surprises me when i meet great actors is that they want direction.
what direction did you give gary oldman when he was playing winston churchill?
wright the rhythm of his character. i talk a lot about rhythm when i am directing. film is more similar to music than any other art form. i am always almost conducting a scene so that they know where the rise is and where the falloff is, rather than talking about backstory and stuff like that, which i think is fairly useless. and although i am not keen on method actors, i am a bit of a method director in the sense that i have to feel [the characters'] emotions and i have to identify closely with the character. really those characters are always an expression of myself. so i tried looking for the similarities. finding out how churchill and i are the same? ridiculous! but for me, the film is about self-doubt. and i just had an experience of extreme self-doubt and thought i was going to leave the industry. i made a film called pan [2015], and it lost about $100 million, and it was universally slighted by the critics, and i thought, "i don't understand this world anymore. and i don't know if i want to be a part of it."
del toro people think that you move on, but if you are worth anything, you don't move on. you go into a deep, dark place.
wright because our filmmaking is an expression of our soul. it's the closest to my essence.
jolie but it can also make you feel stronger. a film i did, by the sea [2015], even when we were making it, people were saying, "well, that's not going to be what people want." i [heard something negative] on cnn. i was like, "oh …" then the young punk in me had this weird moment of: "ok. you did your best, and you learned something, and it's not for everybody." it was like a talk with myself: "don't become safe from this. if you become safe, you are never going to do anything worth anything."
patty, have you ever lost your resolve?
jenkins all the time. i never decided to be a director. i was at painting school, and my first love was music, and it finally came together when i took an experimental film course and i was like, "that's it." but i definitely had many moments where i was like, "ugh, you could just restore antiques or something." there was a period of time, not long before i made wonder woman, when everything [didn't work]. i had made monster [2003], then i had a movie not go, then i had my son — so i purposefully just did pilots for a while. and when i came back, the bottom had fallen out of the indie film market. the films that i had ready to go, nobody wanted to make. they didn't even want to read them. i was like, "i just want to leave hollywood." it's ironic that i turned around and made wonder woman.
what's the most crucial quality a director needs?
wright a director has to think in film. and that's rare. it's not about thinking visually or dramatically; it's about seeing the world as film, as an audiovisual, time-based experience.
jenkins you also have to have some responsibility to the realities of filmmaking. doing such a huge movie, there is a huge insurance policy on you. you cannot ride a bike. i had a couple of moments where i was like, "oh, my god, i am the only person who understands how 17,000 pieces are going to fit together."
del toro but also being fearless. because sometimes the most brilliant things are those that are closest to being ridiculous.
this story first appeared in the dec. 6 issue of the hollywood reporter magazine. to receive the magazine, click here to subscribe.
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blæk ˈraɪfəl ˈkɔfi ˈkəmpəˌni, ˈfaʊndɪd baɪ ˈvɛtərən ˈɛvən ˈheɪfər, ɪz rɪˈspɑndɪŋ tɪ ˈstɑrˌbəks ˈsiˌiˈoʊ haʊərd ʃʊlts' plɛʤ tɪ haɪər ˈrɛfˌjuʤiz. ʃʊlts' əˈnaʊnsmɛnt keɪm læst ˈwiˌkɪnd ɪn rɪˈspɑns tɪ ˈprɛzɪdənt trəmps ˈrisənt ɪgˈzɛkjətɪv ˈɔrdər ˌtɛmpərˈɛrəli ˈbɑrɪŋ ˈrɛfˌjuʤiz ənd ˈvizə ˈhoʊldərz frəm ˈsɛvən ˈtɛrər ˈrɪdən ˈkəntriz. "wi wɔnt tɪ ʃɪft ðə ˌkɑnvərˈseɪʃən əˈweɪ frəm ˈfɔrən ˈpɑləsi tɪ dəˈmɛstɪk ˈɪʃuz ðət hɪt ˈkloʊzər tɪ hoʊm. wi nid tɪ kip ɪn maɪnd ðət ðə fɔr θɪŋz wi kɛr əˈbaʊt æt ər ˈfæməli, ˈbɪznɪs, ˈvɛtərənz ənd ˈkəntri," ðə ˈkəmpəˌni ˈpoʊstɪd ɔn ɪts peɪʤ. "ənd wɪn wi seɪ 'ˈkəntri', ðə ˈtækˌspeɪərz. ˈɛvriˌwən ɛls kən teɪk ə haɪk.." wi hæd tɪ ˈɛdət ðə ərˈɪʤənəl... wi wɔnt tɪ ʃɪft ðə ˌkɑnvərˈseɪʃən əˈweɪ frəm ˈfɔrən ˈpɑləsi tɪ dəˈmɛstɪk ˈɪʃuz ðət hɪt ˈkloʊzər tɪ hoʊm. wi nid tɪ kip ɪn maɪnd ðət ðə fɔr θɪŋz wi kɛr əˈbaʊt æt ər ˈfæməli, ˈbɪznɪs, ˈvɛtərənz ənd ˈkəntri. ənd wɪn wi seɪ "ˈkəntri", ðə ˈtækˌspeɪərz. ˈɛvriˌwən ɛls kən teɪk ə haɪk. ə ˈfoʊˌtoʊ ˈpoʊstɪd baɪ blæk ˈraɪfəl ˈkɔfi ˈkəmpəˌni (@blackriflecoffee*) ɔn ˈfɛbjəˌwɛri 1 2017 æt mɪk drɔp. "aɪ ˈstɑrtɪd blæk ˈraɪfəl ˈkɔfi ˈkəmpəˌni tɪ prəˈvaɪd ə ˌhaɪkˈwɑləti, roast-to-order*, ˈkɔfi tɪ ðə proʊ ənd ˈvɛtərən kəmˈjunɪtiz. bɪtˈwin dɪˈplɔɪmənts tɪ ˌɪˈrɑk ənd æfˈgænəˌstæn, aɪ wɑz ˈwərkɪŋ tɪ rɪˈfaɪn boʊθ maɪ ˈkɔfi ˈroʊstɪŋ skɪlz ənd maɪ ˈfaɪˌrɑrmz skɪlz," ˈheɪfər sɪz əˈbaʊt ðə ˈkəmpəˌni. "aɪ hæv spɛnt ˈoʊvər ə ˈdɛkeɪd riˈsərʧɪŋ ˈkɔfi, rɪˈfaɪnɪŋ maɪ roʊst ˈproʊˌfaɪlz ənd (əv kɔrs) ˈdrɪŋkɪŋ wət aɪ roʊst. blæk ˈraɪfəl ˈkɔfi ɪz kwaɪt ˈlɪtərəli ðə ˌkɑmbəˈneɪʃən əv maɪ tu ˈfeɪvərɪt ˈpæʃənz. aɪ teɪk praɪd ɪn ðə ˈkɔfi wi roʊst, ðə ˈvɛtərənz wi ɪmˈplɔɪ ənd ðə ˈkɔzɪz wi səˈpɔrt." əˈkɔrdɪŋ tɪ ðə dɪˈpɑrtmənt əv ˈleɪbər, ðə ˌənɪmˈplɔɪmənt reɪt fər ˈvɛtərənz ɪz pərˈsɛnt.
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black rifle coffee company, founded by veteran evan hafer, is responding to starbuck's ceo howard schultz' pledge to hire 10,000 refugees. schultz' announcement came last weekend in response to president trump's recent executive order temporarily barring refugees and visa holders from seven terror ridden countries.
"we want to shift the conversation away from foreign policy to domestic issues that hit closer to home. we need to keep in mind that the four things we care about at brcc are family, business, veterans and country," the company posted on its instagram page. "and when we say 'country', the taxpayers. everyone else can take a hike. careers@blackriflecoffee.com."
we had to edit the original... we want to shift the conversation away from foreign policy to domestic issues that hit closer to home. we need to keep in mind that the four things we care about at brcc are family, business, veterans and country. and when we say "country", the taxpayers. everyone else can take a hike. careers@blackriflecoffee.com a photo posted by black rifle coffee company (@blackriflecoffee) on feb 1, 2017 at 10:37am pst
mic drop.
"i started black rifle coffee company to provide a high-quality, roast-to-order, coffee to the pro 2a and veteran communities. between deployments to iraq and afghanistan, i was working to refine both my coffee roasting skills and my firearms skills," hafer says about the company. "i have spent over a decade researching coffee, refining my roast profiles and (of course) drinking what i roast. black rifle coffee is quite literally the combination of my two favorite passions. i take pride in the coffee we roast, the veterans we employ and the causes we support."
according to the department of labor, the unemployment rate for veterans is 4.6 percent.
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dɪˈskleɪmər: dɪˈpɛndɪŋ ɔn jʊr ˈɪntərˌnɛt spid ðə geɪm meɪ teɪk taɪm tɪ loʊd. ʤɪst gɪv ɪt ə ˈmɪnət ˌbiˈfɔr ju muv ɔn. dɪˈskrɪpʃən spɑnˈteɪniəs ˈækʃənz. fæst peɪst ˈθɪŋkɪŋ. kənˈtroʊlɪŋ. ðiz ər ˈoʊnli səm əv ðə θɪŋz ju wɪl ɪnˈkaʊnər wɪn pleɪɪŋ ˈlɛvəlz əv laɪf, ɪt ɪz ˈlaɪkli noʊ wən wɪl ˈɛvər gɪt tɪ ðə ɛnd tɪ faɪnd aʊt ðə ˈrizən ə koʊˈɑlə wɔnts ju tɪ kip pleɪɪŋ ə rɪˈpɛtɪtɪv geɪm. du ju θɪŋk ju kʊd? ˈlɛvəlz əv laɪf ɪz ə geɪm meɪd ðət wɑz ˌɪnˈspaɪərd baɪ 'əˈpɛrəntli ðɛrz ə ʧit koʊd tɪ ˈhæpinəs' baɪ ə ˈɑrtɪst ɛz ɪt simd ˈizi ɪˈnəf tɪ meɪk. aɪ ˈwɔntɪd tɪ meɪk ə geɪm bət ˈdɪdənt hæv ən aɪˈdiə əv haʊ tɪ goʊ əˈbaʊt ɪt soʊ ðə sɔŋ wɑz ˈrɪli ʤɪst ən ɪkˈskjuz tɪ meɪk wən. kənˈtroʊlz ər ɪkˈspleɪnd ɪn ðə geɪm. əˈpɑrt frəm ðə ˈkɑpiˌraɪt fri mˈjuzɪk ɔl ˈæˌsɛts ər sɛlf meɪd frəm skræʧ.
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disclaimer: depending on your internet speed the game may take time to load. just give it a minute before you move on.
description
spontaneous actions. fast paced thinking. controlling. these are only some of the things you will encounter when playing levels of life, it is likely no one will ever get to the end to find out the reason a koala wants you to keep playing a repetitive game. do you think you could?
levels of life is a game made that was inspired by 'apparently there's a cheat code to happiness' by a vocaloid artist as it seemed easy enough to make. i wanted to make a rhythm-like game but didn't have an idea of how to go about it so the song was really just an excuse to make one. controls are explained in the game.
apart from the copyright free music all assets are self made from scratch.
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daisuke* ðɛn wɛnt ɔn tɪ tɔk əˈbaʊt haʊ ðeɪ ˈstɑrtɪd aʊt ˈwərkɪŋ ɔn ˈfaɪtɪŋ geɪmz. tərmz əv ɑrk ˈsɪstəm wərks ˈmeɪkɪŋ ðiz ˌpɑˈtɪkjələr taɪps əv ˈfaɪtɪŋ geɪmz, wi ˈsərtənli du bət aɪ seɪ ɔl geɪmz wi riˈlis ər soʊ. ˌhaʊˈɛvər, ðət biɪŋ sɛd ɛz aɪ æm ðə ˈʤɛnərəl dɪˈrɛktər əv ˈgɪlti gɪr aɪ kən spik ɔn bɪˈhæf əv ðət ˈsɪriz ənd ɪts ˈvɛri taɪp staɪl. wɪn aɪ fərst keɪm əp wɪθ ˈgɪlti gɪr ðə ˈfaɪtɪŋ geɪmz ðət wər əˈveɪləbəl ɔn ðə ˈmɑrkɪt wər praɪˈmɛrəli strit ˈfaɪtər ənd garou*: mɑrk əv ðə wʊlvz. ðiz tu geɪmz wər ˈvɛri ˈfoʊkɪst ɔn ə mɔr ˌriəˈlɪstɪk wərld ˈsɛtɪŋ, ɪn wɪʧ ðə əˈbʤɛktɪv wɑz tɪ ˈgæðər strɔŋ ˈfaɪtərz frəm əraʊnd ðə wərld ənd pʊt ðɛm ɪn wən pleɪs tɪ teɪk pɑrt ɪn ən ɪˈvɛnt ər ˈtʊrnəmənt. ˈhævɪŋ sin ðət aɪ ˈrɪli ˈwɔntɪd tɪ goʊ ɪn ə kəmˈplitli ˈdɪfərənt dɪˈrɛkʃɪn ðət wɑz ˈɔlˌmoʊst laɪk ðə wərld ju wʊd faɪnd ˌɪnˈsaɪd əv ən. ðɪs biɪŋ ə ˈsɛtɪŋ ðət ɪz nɑt baʊnd baɪ ðə rulz əv ˈfaɪtərz ðət kʊd ˈpɑsəbli ɪgˈzɪst. aɪ ʤɪst ˈwɔntɪd tɪ du ˈsəmθɪŋ wɛr ðiz ˈfaɪtərz wər ˌsupərˈhjumən, wɪθ ˈkreɪzi stəf happening.”*.”
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daisuke then went on to talk about how they started out working on fighting games. “in terms of arc system works making these particular types of fighting games, we certainly do but i wouldn’t say all games we release are so. however, that being said as i am the general director of guilty gear i can speak on behalf of that series and its very anime type style. when i first came up with guilty gear the fighting games that were available on the market were primarily street fighter and garou: mark of the wolves. these two games were very focused on a more realistic world setting, in which the objective was to gather strong fighters from around the world and put them in one place to take part in an event or tournament. having seen that i really wanted to go in a completely different direction that was almost like the world you would find inside of an anime. this being a setting that is not bound by the rules of fighters that could possibly exist. i just wanted to do something where these fighters were superhuman, with crazy stuff happening.”
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ðə fˈjuʧər əv wəts ðə fˈjuʧər əv? ɪts. hə? soʊ wət əˈbaʊt əˈpæʧi? wɛl, ðæts ə greɪt ˈprɑʤɛkt. aɪ ˈfaʊndɪd ɪt, ˈkoʊdɪd ðə ˈərliəst ˈvərʒənz ˈɔlˌmoʊst kəmˈplitli ˌmaɪˈsɛlf, aɪv spɛnt ə juʤ əˈmaʊnt əv bləd, swɛt ənd tɪrz ɔn ɪt. əm ˈvɛri praʊd əv ɪt ənd ðə ˌɪmˈpækt ɪts hæd. ənd naʊ aɪ, ənd ðə tim, ər ˈmoʊstli ˈmuvɪŋ ɔn. ɪts nɑt ðət wi θɪŋk ˈɪzənt ˈɔsəm. ɪts ðət wi ər kriˈeɪtɪŋ ðə səkˈsɛsər tɪ ɪt: ˈsərvər. ə ˈprɑdəkt ənd ˈprɑʤɛkt wɪθ ˈsɪmələr ˌkeɪpəˈbɪlətiz ənd goʊlz, bət mɔr ˈfæstər, mɔr ˈskeɪləbəl, mɔr ˈkəstəmər ənd dɪˈvɛləpər ˈfoʊkɪst. ənd ˈdɛfənətli nɑt pɑrt əv əˈpæʧi. wɪθ əˈpæʧi, məʧ əv ðə ˈfoʊkɪs həz bɪn əraʊnd kriˈeɪtɪŋ ə kənˈsɛnsəs beɪst, dɪˈvɛləpər kəmˈjunɪti ðət hɛlps ˈgəvərn ənd muv ðə ˈprɑʤɛkt ˈfɔrwərd. əˈpæʧi həz dən, ənd ɪz duɪŋ ə gʊd ʤɑb əv ðət. bət fər ˈjuˈɛs, ɪts noʊ ˈlɔŋgər ɪˈnəf. wɑz ˈsəmθɪŋ aɪ kriˈeɪtɪd bɪˈkəz aɪ θɔt ən ˈizi tɪ juz, pɪr beɪst, ˈrɛplɪˌkeɪtɪŋ ˈdɑkjəmɛnt stɔr wɑz ˈsəmθɪŋ ðə wərld wʊd faɪnd ˈjusfəl. ənd ɪt pruvd ə lɔt əv ðə aɪˈdiəz wər ˈpɑsəbəl ənd ˈjusfəl ənd ɪts bɪn səkˈsɛsfəl bɪɔnd maɪ ˈwaɪldɪst æmˈbɪʃənz. bət ɪf aɪ hæd ɪt ɔl tɪ du əˈgɛn, aɪd du ˈmɛni θɪŋz ˈdɪfərənt. ɪf ɪt saʊnz laɪk əm seɪɪŋ əˈpæʧi wɑz ə mɪˈsteɪk, əm nɑt. əˈpæʧi wɑz ə bɪg pɑrt ɪn ðə səkˈsɛs əv, wɪˈθaʊt ɪt wʊd nɑt hæv ˌɛnˈʤɔɪd ðə ˈərli səkˈsɛs ɪt dɪd. bət ɪn maɪ əˈpɪnjən ɪts riʧt ə pɔɪnt wɛr ðə kənˈsɛnsəs beɪst əˈproʊʧ həz ˈlɪmɪtɪd ðə kəmˈpɛtɪtɪvnɪs əv ðə ˈprɑʤɛkt. ɪts nɑt ˈpərsɪnəl, ɪts ˈbɪznɪs. ənd naʊ, ɛz ɪt tərnz aʊt, aɪ hæv ə ʧæns tɪ du ɪt ɔl əˈgɛn, wɪˈθaʊt ðə peɪn əv ˈstɑrtɪŋ frəm skræʧ. ˈbɪldɪŋ ɔn ðə ˈpriviəs əˈpæʧi ənd ˈprɑʤɛkts, θroʊɪŋ aʊt wət ˈdɪdənt wərk, ənd ˈstrɛŋθənɪŋ wət dɪz, ənd ədˈvænsɪŋ greɪt tɛkˈnɑləʤiz tɪ meɪk ˈsəmθɪŋ ðət ɪz dɪˈvɛləpər ˈfrɛndli, haɪ pərˈfɔrməns, dɪˈzaɪnd fər ˈmɪʃən ˈkrɪtɪkəl dɪˈplɔɪmənt ənd ˈmoʊbəl ˌɪnəˈgreɪʃən, ənd kən muv ˈfæstər ənd mɔr tɪ ˈjuzərz ənd ˈkəstəmərz nidz ðən ə kəmˈjunɪti beɪst ˈprɑʤɛkt. əˈpæʧi, ɛz ˈprɑʤɛkt ənd kəmˈjunɪti, ɪz ɪn faɪn ʃeɪp. ənd ˈmɛni əv ˈjuˈɛs æt ər stɪl kənˈtrɪbjutɪŋ bæk tɪ ɪt. bət ðə fˈjuʧər, ðə wən əm ˈpʊʃɪŋ ˈfɔrwərd ɔn, ɪz ˈsərvər. ənd wət ɪz maɪ pɑrt ɪn ˈbɪldɪŋ? raɪt naʊ əm ˈfoʊkɪsɪŋ ɔn ˈgɪtɪŋ ˈrɛdi fər ˈsɪriəs pərˈdəkʃən juz. əm wəns əˈgɛn ən ˈɛnʤəˈnɪr ənd ˈkoʊdər, bæk ɪn ðə ˈtrɛnʧɪz, dɪˈzaɪnɪŋ ənd ˈraɪtɪŋ koʊd, rivˈjuɪŋ koʊd ənd dɪˈzaɪnz, ˈhɛlpɪŋ ˈəðər ˈɛnʤəˈnɪrz ənd ˈsɑlvɪŋ təf ˈprɑbləmz. ənd əm dɛd ˈsɪriəs əˈbaʊt ˈmeɪkɪŋ ɪt ðə ˈiziəst, ˈfæstəst ənd moʊst rɪˈlaɪəbəl ˈdætəˌbeɪs. ˈizi fər dɪˈvɛləpərz tɪ juz, ˈizi tɪ dɪˈplɔɪ, rɪˈlaɪəbəl ɔn ˈsɪŋgəl məˈʃinz ər lɑrʤ ˈkləstərz, ənd fæst ɛz hɛl. wi ər ˈbɪldɪŋ ˈsəmθɪŋ ju kən pʊt jʊr ˈmɪʃən ˈkrɪtɪkəl, ˈkəstəmər ˈfeɪsɪŋ ˈbɪznɪs ˈdætə ɔn, ənd nɑt fil laɪk jʊr ˈrənɪŋ ə ˈdərti hæk. sun, tɪ wərk mɔr ˈkloʊsli wɪθ ðə tim (ənd gɪt rɪd əv maɪ ˈnæsti ˈoʊklənd kəmˈjut), aɪl bi ˌriˈloʊkeɪtɪŋ maɪ ˈfæməli tɪ ðə ˈmaʊntən vju ˈɛriə. ʃɪt ʤɪst gɑt ril! ənd əm ˈrɪli ɪkˈsaɪtɪd əˈbaʊt ðə wərk wiv gɑt ɪn ðə ˈpaɪˌplaɪn. wi ər ˈmuvɪŋ mɔr ənd mɔr əv ðə kɔr ˈdætəˌbeɪs ɪn c/c*++, waɪl stɪl ˈjuzɪŋ ˈmɛni əv ðə ənd riˌlaɪəˈbɪləti dɪˈzaɪn ˈprɪnsəpəlz wiv ˈpruvən wɪθ ðə codebase*. ənd ɪz stɪl goʊɪŋ tɪ bi pɑrt əv ðə ˈprɑdəkt ɛz wɛl, ˌpɑrˈtɪkjələrli wɪθ ˈkləstər ˈmænɪʤmənt, bət moʊst əv ðə pərˈfɔrməns ˈsɛnsɪtɪv ˈpɔrʃənz wɪl bi ˈmuvɪŋ tɪ ˈoʊvər si koʊd. ɪz stɪl ə greɪt ˈlæŋgwɪʤ, bət wɪn ju nid tɔp pərˈfɔrməns ənd loʊ ˈlɛvəl kənˈtroʊl, si ɪz hɑrd tɪ bit. ˈɛniˌweɪ, ðɛr soʊ məʧ tɪ tɔk əˈbaʊt, tɪ məʧ fər wən blɔg poʊst. wən əv maɪ nu jɪrz ˌrɛzəˈluʃənz ɪz tɪ blɔg mɔr, ənd aɪv gɑt ə tən əv ˈɪntəˌrɛstɪŋ θɪŋz tɪ tɔk əˈbaʊt. ðə traɪəlz əv ˌtrɪbjəˈleɪʃənz əv ˈbɪldɪŋ ə ˈstɑrˌtəp ənd ən ˈɛnʤəˈnɪrɪŋ ˈkəlʧər. wəts rɔŋ (ənd raɪt) wɪθ. ˈbrɪŋɪŋ fɔrθ unql*. fər ˈmoʊbəl. ənd jɛs, wɪl stɪl ˌɪntərˈɔpərət wɪθ əˈpæʧi ənd memcached*. bət ðə fˈjuʧər ɪz. raɪd wɪθ mi. ˈɛdət ɛz ʤeɪ. krɪs ˈændərsən noʊts ɪn ðə ˈkɑmɛnts, ɪz kəmˈplitli ˈoʊpən sɔrs ənd əˈpæʧi ˈlaɪsənst: ˈɛvriˌθɪŋ dɪz ɪz ˈoʊpən sɔrs, wi hæv 2 ˈpeɪʤɪz ðət ər ˈvɛri ˈæktɪv: ˈɛvriˌθɪŋ dɪz ɪz ˈoʊpən sɔrs, wi hæv 2 ˈpeɪʤɪz ðət ər ˈvɛri ˈæktɪv: ˈprɑbəˌbli ðə moʊst fən pleɪs tɪ ʤəmp ˈɪntu dɪˈvɛləpmənt ɪz ðə koʊd ˌrivˈju: http://review.couchbase.org*/ lɛt mi ˈklɛrəˌfaɪ, ɪf ju laɪk əˈpæʧi, stɪk wɪθ ɪt. əm ˈwərkɪŋ ɔn ˈsəmθɪŋ aɪ θɪŋk jul laɪk ə lɔt ˈbɛtər. ɪf nɑt, wɛl, ðɛrz stɪl əˈpæʧi. ˈpoʊstɪd ˈʤænjuˌɛri 4 2012 piɛm
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the future of couchdb
what's the future of couchdb? it's couchbase.
huh? so what about apache couchdb? well, that's a great project. i founded it, coded the earliest versions almost completely myself, i've spent a huge amount of blood, sweat and tears on it. i'm very proud of it and the impact it's had. and now i, and the couchbase team, are mostly moving on. it's not that we think couchdb isn't awesome. it's that we are creating the successor to it: couchbase server. a product and project with similar capabilities and goals, but more faster, more scalable, more customer and developer focused. and definitely not part of apache.
with apache couchdb, much of the focus has been around creating a consensus based, developer community that helps govern and move the project forward. apache has done, and is doing a good job of that. but for us, it's no longer enough. couchdb was something i created because i thought an easy to use, peer based, replicating document store was something the world would find useful. and it proved a lot of the ideas were possible and useful and it's been successful beyond my wildest ambitions. but if i had it all to do again, i'd do many things different.
if it sounds like i'm saying apache was a mistake, i'm not. apache was a big part in the success of couchdb, without it couchdb would not have enjoyed the early success it did. but in my opinion it's reached a point where the consensus based approach has limited the competitiveness of the project. it's not personal, it's business.
and now, as it turns out, i have a chance to do it all again, without the pain of starting from scratch. building on the previous apache couchdb and membase projects, throwing out what didn't work, and strengthening what does, and advancing great technologies to make something that is developer friendly, high performance, designed for mission critical deployment and mobile integration, and can move faster and more responsively to users and customers needs than a community based project.
apache couchdb, as project and community, is in fine shape. and many of us at couchbase are still contributing back to it. but the future, the one i'm pushing forward on, is couchbase server.
and what is my part in building couchbase? right now i'm focusing on getting couchbase 2.0 ready for serious production use. i'm once again an engineer and coder, back in the trenches, designing and writing code, reviewing code and designs, helping other engineers and solving tough problems. and i'm dead serious about making it the easiest, fastest and most reliable nosql database. easy for developers to use, easy to deploy, reliable on single machines or large clusters, and fast as hell. we are building something you can put your mission critical, customer facing business data on, and not feel like you're running a dirty hack.
soon, to work more closely with the team (and get rid of my nasty oakland commute), i'll be relocating my family to the mountain view area. shit just got real!
and i'm really excited about the work we've got in the pipeline. we are moving more and more of the core database in c/c++, while still using many of the concurrency and reliability design principles we've proven with the erlang codebase. and erlang is still going to be part of the product as well, particularly with cluster management, but most of the performance sensitive portions will be moving to over c code. erlang is still a great language, but when you need top performance and low level control, c is hard to beat.
anyway, there so much to talk about, to much for one blog post. one of my new years resolutions is to blog more, and i've got a ton of interesting things to talk about. the trials of tribulations of building a startup and an engineering culture. what's wrong (and right) with erlang. bringing forth unql. touchdb for mobile. and yes, we'll still interoperate with apache couchdb and memcached. but the future is couchbase.
ride with me.
edit
as j. chris anderson notes in the comments, couchbase is completely open source and apache licensed:
everything couchbase does is open source, we have 2 github pages that are very active: everything couchbase does is open source, we have 2 github pages that are very active: https://github.com/couchbaselabs https://github.com/couchbase probably the most fun place to jump into development is the code review: http://review.couchbase.org/
let me clarify, if you like apache couchdb, stick with it. i'm working on something i think you'll like a lot better. if not, well, there's still apache couchdb.
posted january 4, 2012 11:14 pm
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waɪl səm fænz hæv faʊnd hɪz rɪˈpleɪsmənt ʤɪst tu stɛps əˈweɪ, ðə ˈkɑrənt ˈrɛgjələr meɪ nɑt bi ðə səm əv ðə ˌfɪləˈdɛlfiə ˈfɪliz ˈfeɪθfəl bɪˈliv hi ɪz. ˈsteɪkɪŋ hɪz kleɪm: ˌəndərˈɛstɪˌmeɪtɪŋ ˈsəmˌwən ɛls ɪz nɑt ən ənˈkɑmən əˈkərəns ənd goʊz hænd ɪn gləv wɪθ səˈpraɪz. ˈɛnərɪŋ ðə ˈrisənt ˈsɪriz wɪθ ðə ˈtɛksəs ˈreɪnʤərz, ðə phillies’*’ ˈaʊtˌkəmz ˈmɪrərd ðə 1950 frəm sɛpˈtɛmbər 1 θru ðə wərld ˈsɪriz. ənd ðə ˈrizən ɪz ðə ˈpɛnənt ˈwɪnər wɑz ˈmɪsɪŋ θri ˈstɑrtərz ənd feɪst ðə nu jɔrk ˈjæŋkiz ɪn ðə fɔl ˈklæsɪk. əv kɔrs, ðə ˈkɑrənt 25 hæv bɪn pleɪɪŋ ˈfrænˌʧaɪzɪz ənd ˌɔrgənəˈzeɪʃənz ɪn ðə ˈʤunjər ˈsərkət. naʊ, ˈiðər ðə ˈkɑntɛsts wɪθ ˈtɛksəs wər əˈgɛnst ə hɑt, ˈtæləntɪd tim; ər ðə ər ɪkˈspɪriənsɪŋ ə ˈbreɪkˌdaʊn laɪk læst ˈsɛkənd əv tu streɪt koʊld spɛlz. ɪz ˈluzɪŋ ˈteɪkɪŋ ə toʊl? ˌdɪfərˈɛnʃəl əv wən ər tu rənz θru meɪ 15 1950 9 wɪnz, 15 ˈlɔsɪz fər 24 əv 33 ˈtoʊtəl geɪmz. 2017 9 wɪnz, 16 ˈlɔsɪz fər 25 əv 35 ˈtoʊtəl geɪmz. ˌɔlˈðoʊ ˈmɛni pleɪərz hæd kərɪr jɪrz, ðə skwɑd hæd tɪ faɪt fər ˈɛvəri ˈvɪktəri ɪn ðə ˈfaɪnəl mənθ. ənd ðeɪ dɪd ˈɛvriˌθɪŋ ɪn ðɛr paʊər tɪ ˈoʊvərˌkəm ðɛr dɪˈfɪʃənsiz. ˈərgoʊ, ənd pleɪɪŋ ɛz wən ˈjunɪt wər ɛˈsɛnʃəl, ənd ðoʊz əˈtrɪˌbjuts hæv əˈpɪrd fər ˈlɛŋθi ˈstrɛʧɪz sɪns ˌʤuˈlaɪ 2015 fər ðiz rɛd ˈpɪnˌstraɪps. ˈsunər ər ˈleɪtər, ˈsəmˌbɑdi wɪl peɪ fər ðiz ˈmaʊntɪŋ dɪˈfits. ˈhirɪŋ əˈbaʊt ðə 1950 ˌfɪləˈdɛlfiə ˈfɪliz, ˈmɛni fænz təˈdeɪ lərn ə fækt ər tu əˈbaʊt geɪm 154 frəm ˈɑrtɪkəlz ər ˈoʊldər ˈrɛlətɪvz. bət ðə ˈaʊtˌkəm ɪn 10 ˈɪnɪŋz wɑz ˈkloʊzər ðən ðə ˈfaɪnəl skɔr ənd ɪz ˈsɪmələr tɪ səm ˈɛndɪŋz ɪn 2017 əˈkɔrdɪŋ tɪ ðə ˈprivˌju fər ðə wɪz kɪdz ənd ðə 1950 ˈpɛnənt baɪ ˈrɑbɪn ˈrɑbərts ənd si. pɔl ˈrɑʤərz, ˈmænɪʤər ˈɛdi ˈsɔjər ˈhændɪd ðə bɔl tɪ hɪz eɪs ˈrɑbɪn ˈrɑbərts wən aʊər ˌbiˈfɔr pɪʧ wən ˈvərsəz ðə dɪˈfɛndɪŋ ˈnæʃənəl lig ˈʧæmpiənz ɪn ˈbrʊklɪn (ə mɑrk fər 1949 ənd ɪt wərkt ənˈtɪl ˈnəmbər 36 ˈfɑltərd ɪn ðə ˈbɑtəm əv ðə naɪnθ wɪθ ðə skɔr taɪd æt wən: ˈrɑbərts hæd ˈoʊpənd ðə freɪm wɪθ ə fri pæs, ənd ə ˈsɪŋgəl hæd muvd ðə ˈrənər tɪ ˈsɛkənd, waɪl ˈmɛni ˈloʊkəlz ˈnərvəsli ˈlɪsənd ɔn ðɛr ˈreɪdiˌoʊz. əp nɛkst, duk sˈnaɪdər, ðə ˈhɪtər 321 31 hoʊm rənz ənd 107 smækt ə hɑrd ˈsɪŋgəl tɪ ˈsɛnər fild. ˈrɪʧi ˈæʃbərn gləvd ɪt ənd faɪərd ɪt tɪ ðə pleɪt. aʊt! ənd ˈivɪn ðoʊ ˈwaɪˌti kət daʊn ðə pəˈtɛnʃəl ˈwɪnɪŋ rən æt hoʊm, ˈrɑbərts hæd tu ɪn ˈskɔrɪŋ pəˈzɪʃən wɪθ wən aʊt ˈsɔjər wɛnt tɪ ðə maʊnd ənd ˈʤæki ˈrɑbənsən, ðə ˈkliˌnəp mæn 328 14 ˈhoʊmərz ənd 81) dru ən ˌɪnˈtɛnʃənəl wɔk. ðɛn, ˈrɑbərts ˌɪnˈdust ə faʊl tɪ fərst ˈbeɪsmən ˈɛdi ˈweɪtkəs fər ðə ˈkrɪtɪkəl fərst əv ðə nɛkst tu aʊts. ˌhaʊˈɛvər, ˌbiˈfɔr ˈrɑbərts rɪˈkɔrdɪd ðə ˈvɪktəri ɪn ðə ˈɪnɪŋ, hi ənd ˈweɪtkəs ˈsɪŋgəld ənd skɪld ˈæʃbərn ˈsækrəˌfaɪst ðɛm ˈɪntu ˈskɔrɪŋ pəˈzɪʃən. ðət sɛt ðə steɪʤ. dɪk ˈsɪsələr droʊv ə haɪ, ˈaʊtˈsaɪd ˈfæstˌbɔl ˈoʊvər ðə lɛft fild fɛns, ənd wət dɪd hi du ɔl ðə weɪ tɪ fərst beɪs? ə səˈlɛbrəˌtɔri dæns!
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while some fans have found his replacement just two steps away, the current regular may not be the placeholder some of the philadelphia phillies faithful believe he is.
staking his claim:
underestimating someone else is not an uncommon occurrence and goes hand in glove with surprise.
entering the recent series with the texas rangers, the phillies’ outcomes mirrored the 1950 squad’s from september 1 through the world series. and the reason is the pennant winner was missing three starters and faced the new york yankees in the fall classic. of course, the current 25 have been playing postseason-bound franchises and offensive-minded organizations in the junior circuit. now, either the contests with texas were against a hot, talented team; or the phils are experiencing a breakdown like last summer’s second of two straight cold spells. is losing taking a toll?
differential of one or two runs through may 15.
1950: 9 wins, 15 losses for 24 of 33 total games.
2017: 9 wins, 16 losses for 25 of 35 total games.
although many players had career years, the ’50 squad had to fight for every victory in the final month. and they did everything in their power to overcome their deficiencies. ergo, scrappiness and playing as one unit were essential, and those attributes have appeared for lengthy stretches since july 2015 for these red pinstripes. sooner or later, somebody will pay for these mounting defeats.
hearing about the 1950 philadelphia phillies, many fans today learn a fact or two about game 154 from articles or older relatives. but the 4-1 outcome in 10 innings was closer than the final score and is similar to some endings in 2017.
according to the preview for the whiz kids and the 1950 pennant by robin roberts and c. paul rogers, manager eddie sawyer handed the ball to his ace robin roberts one hour before pitch one versus the defending national league champions in brooklyn (a 97-57 mark for 1949). and it worked until number 36 faltered in the bottom of the ninth with the score tied at one: roberts had opened the frame with a free pass, and a single had moved the runner to second, while many locals nervously listened on their radios. up next, duke snider, the three-hole hitter – .321, 31 home runs and 107 rbis – smacked a hard single to center field. richie ashburn gloved it and fired it to the plate. out!
and even though whitey cut down the potential winning run at home, roberts had two in scoring position with one out – sawyer went to the mound – and jackie robinson, the cleanup man (.328, 14 homers and 81 rbis) drew an intentional walk. then, roberts induced a foul pop-up to first baseman eddie waitkus for the critical first of the next two outs.
however, before roberts recorded the complete-game victory in the 10th inning, he and waitkus singled and skilled bunter ashburn sacrificed them into scoring position. that set the stage. dick sisler drove a high, outside fastball over the left field fence, and what did he do all the way to first base? a celebratory dance!
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ən ˈɑrmi ˈvɛtərən hu sərvd ɪn ˌɪˈrɑk ənd ˈsəfərz frəm ˌpoʊstrɔˈmætɪk strɛs dɪˈsɔrdər wɑz tərnd əˈweɪ frəm ə ˈtɛksəs ˈrɛˌstrɑnt ðɪs wik ˈæftər ðə ˈoʊnər sɛd hi wɑz nɑt ˈwɛlkəm ˌɪnˈsaɪd wɪθ hɪz ˈsərvɪs dɔg. ʤɑn kwɪˈnoʊnz toʊld ˈʤækəlɪn ˌɔrˈtiz, ə rɪˈpɔrtər fər sæn ˈɛnˌbiˈsi əˈfɪliˌeɪt, ðət hi wɑz tərnd əˈweɪ dɪˈspaɪt ðə klɪr aɪˌdɛntəfəˈkeɪʃən ɛz ə ˈsərvɪs ˈænəməl, bət sɛd nɑt mæd. hi ʤɪst wɔnts ˈpipəl tɪ ˌəndərˈstænd ðət ˈsərvɪs ˈænəməlz ər əˈlaʊd ɪn ˈpleɪsɪz əv ˈbɪznɪs. kwɪˈnoʊnz brɔt hɪz dɔg ˈdivə tɪ ˈrɛˌstrɑnt ɪn fredricksberg*, ˈtɛksəs ˈoʊvər ðə ˈwiˌkɪnd, bət ˈæftər ˈteɪkɪŋ hɪz sit ə ˈmænɪʤər ˌɪntərˈəptɪd ənd toʊld ɪm tɪ liv. ɪn ə ˌsɛgˈmɛnt ɛrd baɪ ˈɛnˌbiˈsi nuz ɔn ˈtuzˌdeɪ, kwɪˈnoʊnz ɪkˈspleɪnd ðət ˈæftər ˈkəmɪŋ bæk frəm ðə wɔr zoʊn, hi hæd ən ˌɪnˈtɛns ˌsɛnsɪˈtɪvɪti tɪ braɪt laɪts ənd kraʊdz, ənd hɪz ˈsərvɪs dɔg hɛlps ɪm koʊp wɪθ ðət. ɪn ˈəðər wərdz, ðə ˈmænɪʤər wɑz ˈləki tɪ hæv kwɪˈnoʊnz ðɛr ɔn mɔr ˈlɛvəlz ðən hi kʊd hæv ˈriəˌlaɪzd, bət stɪl kɪkt ɪm aʊt ˈɛniˌweɪ. ðə pəˈlis stɑpt baɪ ˈleɪtər tɪ hɛlp ðə ˈmænɪʤər ˈbɛtər ˌəndərˈstænd wət ðə əˈmɛrɪkənz wɪθ dɪsəˈbɪlɪtiz ækt ˈrɪli minz. ðə ˈoʊnər ˈsəbsəkwəntli toʊld ðət ˈhæpi tɪ kəmˈplaɪ. ðɪs ˈvɪdioʊ ɪz frəm ˈɛnˌbiˈsi nuz, ɛrd ˈwɛnzˌdeɪ, meɪ 7 2013 ˈvɪzɪt fər ˈbreɪkɪŋ nuz, wərld nuz, ənd nuz əˈbaʊt ðə ɪˈkɑnəmi ˈfoʊˌtoʊ: ˈviə.
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an army veteran who served in iraq and suffers from post-traumatic stress disorder was turned away from a texas restaurant this week after the owner said he was not welcome inside with his service dog.
john quinones told jacqueline ortiz, a reporter for san antonio-based nbc affiliate woai-tv, that he was turned away despite the dog’s clear identification as a service animal, but said he’s not mad. he just wants people to understand that service animals are allowed in places of business.
quinones brought his dog diva to winslow’s restaurant in fredricksberg, texas over the weekend, but after taking his seat a manager interrupted and told him to leave.
in a segment aired by nbc news on tuesday, quinones explained that after coming back from the war zone, he had an intense sensitivity to bright lights and crowds, and his service dog helps him cope with that. in other words, the restaurant’s manager was lucky to have quinones there on more levels than he could have realized, but still kicked him out anyway.
the police stopped by later to help the manager better understand what the americans with disabilities act really means. the restaurant’s owner subsequently told woai-tv that he’s happy to comply.
this video is from nbc news, aired wednesday, may 7, 2013.
visit nbcnews.com for breaking news, world news, and news about the economy
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photo: screenshot via woai-tv.
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canonical's* ˈɛfərts ər goʊɪŋ ɪn ə ˈsɪŋgəl dɪˈrɛkʃɪn, ənd dɪˈvɛləpərz ər ˈfoʊkɪsɪŋ ɔn ən ˌɪmˈpɔrtənt tæsk: tɪ meɪk ə ˈsɪŋgəl ˈɔpərˌeɪtɪŋ ˈsɪstəm ðət kən rən ɔn ˈɛni ˈplætˌfɔrm. ɪt maɪt sim laɪk ən ˌɪmˈpɑsəbəl goʊl, bət ðə truθ ɪz ðət ðeɪ ər ˈgɪtɪŋ ˈkloʊzər wɪθ iʧ nu riˈlis. wət wɪθ ɔl əv ðɪs tɔk ɔn kənˈvərʤəns, ɪts hɑrd tɪ pʊt θɪŋz ˈɪntu pərˈspɛktɪv. ˈkəmpəˌniz laɪk kəˈnɑnəkəl doʊnt ˈrɪli meɪk plænz fər ðə ʃɔrt tərm. ðɛr plænz ər məʧ mɔr ədˈvænst ðən ˈpipəl ˌɪˈmæʤən, ənd ðət ˌɪnˈkludz ðə ˌuˈbuˌtu ˌdɪstrəˈbjuʃən ənd ɪts əˌveɪləˈbɪlɪti ɔn ˈmoʊbəl dɪˈvaɪsɪz laɪk foʊnz ənd ˈtæbləts. ðə gaɪz æt kəˈnɑnəkəl, ənd əˈspɛʃəli mɑrk ˈʃətəlˌwərθ, ˈdɪdənt ʤɪst meɪk səm plænz tɪ gɪt ˌuˈbuˌtu ɔn foʊnz, ˌɔlˈðoʊ ðæts wən əv ðɛr goʊlz. ðeɪ sɛd ðət ðeɪ ˈwɔntɪd tɪ si ˌuˈbuˌtu ɛz ə ˈmoʊbəl ˈɔpərˌeɪtɪŋ ˈsɪstəm mɔr ðən tu jɪrz əˈgoʊ, ənd naʊ ðeɪv meɪd ɪt ˈhæpən, bət ðɛr ˈfaɪnəl goʊl spænz ˈfərðər ðən ðɪs. ðə ˈkəmpəˌni wɔnts tɪ bɪld ə ˈsɪŋgəl ˈɔpərˌeɪtɪŋ ˈsɪstəm ðət kən bi ˌɪnˈstɔld ɔn ˈɛni ˈmidiəm, ɔlˈbiɪt ˈdɛskˌtɑp, ˈmoʊbəl, ˈtæblət, ər ˈɛniˌθɪŋ ɛls. kənˈvərʤəns ɪz nɑt əˈbaʊt ˈoʊnli ðə ˈɪnərˌfeɪs goʊl ɪz nɑt tɪ hæv ə ˈsɪmələr ɪkˈspɪriəns fər ˌuˈbuˌtu ˈmoʊbəl ənd ˈdɛskˌtɑp ˈjuzərz waɪl ðeɪ hæv tɪ meɪnˈteɪn tu ˈdɪfərənt ˈvərʒənz əv ðə seɪm distro*. ðeɪ wɔnt tɪ hæv ə ˈsɪŋgəl koʊd ðət bɪˈheɪvz ˈdɪfərˈɛntli wɪn ɪts ˈrənɪŋ ɔn ə ˈsərtən ˈplætˌfɔrm, bət ɪt həz ðə seɪm. wi hæv pərˈzɛnəd ˈmɛni ɪgˈzæmpəlz əv ðɪs ˌfəŋkʃəˈnælɪti ˈoʊvər taɪm. fər ˈɪnstəns, ðɛrz ðə mˈjuzɪk æp ˈrənɪŋ ɔn ɔl ˈplætˌfɔrmz wɪˈθaʊt ˈɛni ˈʧeɪnʤɪz tɪ ðə ˌəndərˈlaɪɪŋ koʊd. ɪts nɑt əˈbaʊt wən ʤaɪənt stɛp; ɪts əˈbaʊt ə ˈmɪljən smɔl wənz ɪn ðə seɪm dɪˈrɛkʃɪn. ðɪs ɪz waɪ dɪˈvɛləpərz ər ˈeɪmɪŋ æt ə ˈsɪŋgəl ˈjunɪti 8 ˈdɛskˌtɑp ɪnˈvaɪrənmənt, waɪ ðeɪ hæv ðɛr dɪˈspleɪ ˈsərvər, ənd waɪ ðeɪ ər ˈwərkɪŋ ɔn ðə klɪk ˈfɔrˌmæt fər ˈpækɪʤɪz. kəˈnɑnəkəl meɪd plænz fər ðə lɔŋ rən. ˈjunɪti 8 wɪl ˈprɑbəˌbli bɪˈkəm ðə dɪˈfɔlt ɪn 2016 wɪn ðə nɛkst ɪz riˈlist, ənd ðət ˈsɪŋgəl fər ˌuˈbuˌtu ɪz nɑt ɔl ðət fɑr əˈweɪ. ˈjuzərz ər ˈjuʒəwəli ˈɪntəˌrɛstɪd ɪn ðə nɛkst riˈlis, bət kəˈnɑnəkəl ɪz ˈθɪŋkɪŋ məʧ, məʧ ˈfərðər əˈhɛd, ənd ðət ɪz waɪ ðeɪ ər səkˈsɛsfəl ɪn moʊst əv ðɛr ɪnˈdɛvərz.
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canonical's efforts are going in a single direction, and developers are focusing on an important task: to make a single operating system that can run on any platform. it might seem like an impossible goal, but the truth is that they are getting closer with each new release.
what with all of this talk on convergence, it's hard to put things into perspective. companies like canonical don't really make plans for the short term. their plans are much more advanced than people imagine, and that includes the ubuntu distribution and its availability on mobile devices like phones and tablets.
the guys at canonical, and especially mark shuttleworth, didn't just make some plans to get ubuntu on phones, although that's one of their goals. they said that they wanted to see ubuntu as a mobile operating system more than two years ago, and now they've made it happen, but their final goal spans further than this. the company wants to build a single operating system that can be installed on any medium, albeit desktop, mobile, tablet, or anything else.
convergence is not about only the interface
canonical's goal is not to have a similar experience for ubuntu mobile and desktop users while they have to maintain two different versions of the same distro. they want to have a single code that behaves differently when it's running on a certain platform, but it has the same codebase.
we have presented many examples of this functionality over time. for instance, there's the music app running on all platforms without any changes to the underlying code. it's not about one giant step; it's about a million small ones in the same direction. this is why developers are aiming at a single unity 8 desktop environment, why they have their display server, and why they are working on the click format for packages.
canonical made plans for the long run. unity 8 will probably become the default in 2016, when the next lts is released, and that single codebase for ubuntu is not all that far away. users are usually interested in the next release, but canonical is thinking much, much further ahead, and that is why they are successful in most of their endeavors.
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““what* aɪ ˈrɪli rɪˈmɛmbər ɪz ə lɔt əv ˈskrimɪŋ kids,”*,” sɛd ˈlɔrə ˈhɛndrɪks, ə ˈlɔŋˌtaɪm fæn huz ˈfæməli həz əˈtɛndəd ðə geɪmz sɪns ðə fərst ˈsizən. wɑz noʊ ril ˌɪnˈvɛstmənt. ðeɪ wər ðɛr bɪˈkəz ɪt wɑz ˈsəmθɪŋ tɪ do.”*.” ˈɔfən, ðə pərˈfɔrməns ɔn ðə fild fɛlt ˈsɛkənˌdɛri. ɪn ðə ˈərli jɪrz, tim ɪgˈzɛkjətɪvz mɛt iʧ ˈθərzˌdeɪ ˌbiˈfɔr ə ˈsæˌtɪˌdeɪ geɪm tɪ dɪˈskəs ðət pərˈmoʊʃənəl ˈgɪmɪk. wən əˈfɪʃəl ˌriˈkaʊntɪd ə deɪ wɪn ˈhɛvi reɪn bɪˈgæn nɪr ðə ɛnd əv ðə fərst hæf, ˈprɑmptɪŋ əˈnəðər ˈæŋʃəs ɪgˈzɛkjətɪv tɪ skriʧ ˈoʊvər ðə ˌɪnˈhaʊs ˈsɪstəm ðət wi du, ˈkænsəl ðə mini-ponies!”*!” ðət hæd bɪn ˈrɛntɪd tɪ gɪv raɪdz tɪ fænz æt ˈhæfˌtaɪm. bi fɛr, ə lɔt əv ðət wɑz ˈhæpənɪŋ ɔl əˈkrɔs ðə lig ˈərli on,”*,” sɛd krɪs klaɪn, hu pleɪd fər ðə ˈwɪzərdz frəm 1998 tɪ 2005 ənd ɪz naʊ ðə ˈprɛzɪdənt əv ðə lɔs ˈænʤəlɪs ˈgæləksi. wɑz traɪɪŋ tɪ ˈfɪgjər aʊt wɛr m.l.s*. fɪt ˈɪntu ðə əˈmɛrɪkən ˈkəlʧər ənd haʊ tɪ meɪk ɪt work.”*.” ɪn ðə ˈstændɪŋz, ðə ˈwɪzərdz ˈæˌkʧuəli hæd ə ˈmɛʒər əv səkˈsɛs. ðeɪ ˈivɪn wən ðə m.l.s*. ˈʧæmpiənˌʃɪp ɪn 2000 bət ðə kləb stɪl ˈstrəgəld tɪ ɪmˈbɛd ˌɪtˈsɛlf ɪn ðə kəmˈjunɪti. rɑb ˈtɑmsən, ðə ɪgˈzɛkjətɪv vaɪs ˈprɛzɪdənt fər kəmˌjunəˈkeɪʃənz, rɪˈkɔld ˈdraɪvɪŋ hoʊm frəm wərk wəns ɪn ðə ˈərli ənd siɪŋ əˈnəðər kɑr wɪθ ə ˈwɪzərdz ˈbəmpər ˈstɪkər. ˈtɑmsən ɪkˈsaɪtədli spɛd əp tɪ traɪ ənd weɪv æt ðə ˈpərsən ɪn ðə ˈəðər kɑr. pʊld əp əˈlɔŋˈsaɪd ənd ɪt wɑz ˈsəmˌwən aɪ wərkt with,”*,” hi sɛd. baɪ 2004 wɪθ əˈtɛndəns ˈlæŋgwɪʃɪŋ dɪˈspaɪt gʊd rɪˈzəlts frəm ðə tim, ðə hənts hu ˈɔlsoʊ oʊnd m.l.s*. timz ɪn ˈdæləs ənd kəˈləmbəs, oʊˈhaɪoʊ bɪˈgæn ɪkˈsplɔrɪŋ ə ˈpɑsəbəl seɪl. ˈgɪvɪn ðə kəˈmərʃəl ˈstrəgəlz əv ðə kləb, ðɛr wɑz pərˈsɪstənt ˌspɛkjəˈleɪʃən ðət ðə tim maɪt bi muvd (ˌfɪləˈdɛlfiə wɑz ˈɔfən səˈʤɛstɪd), ənd ˈgɑrbər ækˈnɑlɪʤd ðət ˌriˈloʊˈkeɪʃən wɑz kənˈsɪdərd. ˈəltəmətli, ðə kləb steɪd pʊt ˈæftər ðə hənts faʊnd ˈɪntəˌrɛst frəm ə six-man*, ˈloʊkəli beɪst grup lɛd baɪ ðə əv ən ˌɪˌlɛkˈtrɑnɪk ˈmɛdɪkəl ˈsɪstəmz ˈkəmpəˌni. ðə seɪl əv ðə tim wɑz kəmˈplitɪd ɪn 2006 ənd ðə goʊl, ˈgɑrbər sɛd, ən ˌɪˈmiˌdiət si change”*” ɪn əˈproʊʧ. ðə nu grup sɛt aʊt tɪ rɪˈʤuvəˌneɪt ˌɑpərˈeɪʃənz, wɪθ ə ˈsteɪdiəm dɪˈzaɪnd fər ˈsɑkər æt ðə hɑrt əv ðə plæn. ə nu əˈproʊʧ baɪ ðə ˈsəmər əv 2010 rɑb ˈhaɪnmən, ðə ˈprɛzɪdənt ənd wən əv ðə sɪks nu ˈoʊnərz, nu ðə ˈkəmɪŋ sɪks mənθs wʊd bi ˈkruʃəl. ðə ˈwɪzərdz hæd spɛnt ðə ˈpriviəs fɔr jɪrz pleɪɪŋ ɪn ə ˈbeɪsˈbɔl ˈsteɪdiəm, ɛˈsɛnʃəli ˈtrɛdɪŋ ˈwɔtər waɪl ˈweɪtɪŋ fər ðɛr ˌtrænsfərˈmeɪʃən.
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“what i really remember is a lot of screaming kids,” said laura hendricks, a longtime fan whose family has attended the franchise’s games since the league’s first season. “there was no real investment. they were there because it was something to do.”
often, the team’s performance on the field felt secondary. in the early years, team executives met each thursday before a saturday game to discuss that weekend’s promotional gimmick. one official recounted a day when heavy rain began near the end of the first half, prompting another anxious executive to screech over the team’s in-house walkie-talkie system that “whatever we do, don’t cancel the mini-ponies!” that had been rented to give rides to fans at halftime.
“to be fair, a lot of that was happening all across the league early on,” said chris klein, who played for the wizards from 1998 to 2005 and is now the president of the los angeles galaxy. “everyone was trying to figure out where m.l.s. fit into the american culture and how to make it work.”
in the standings, the wizards actually had a measure of success. they even won the m.l.s. championship in 2000, but the club still struggled to embed itself in the community. rob thomson, the team’s executive vice president for communications, recalled driving home from work once in the early 2000s and seeing another car with a wizards bumper sticker. thomson excitedly sped up to try and wave at the person in the other car. “i pulled up alongside and it was someone i worked with,” he said.
by 2004, with attendance languishing despite good results from the team, the hunts — who also owned m.l.s. teams in dallas and columbus, ohio — began exploring a possible sale. given the commercial struggles of the club, there was persistent speculation that the team might be moved (philadelphia was often suggested), and garber acknowledged that relocation was considered.
ultimately, the club stayed put after the hunts found interest from a six-man, locally based group led by the co-owners of an electronic medical systems company. the sale of the team was completed in 2006 and the goal, garber said, “was an immediate sea change” in approach. the new group set out to rejuvenate operations, with a stadium designed for soccer at the heart of the plan.
a new approach
by the summer of 2010, robb heineman, the team’s president and one of the six new owners, knew the coming six months would be crucial. the wizards had spent the previous four years playing in a minor-league baseball stadium, essentially treading water while waiting for their transformation.
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"wət ɪz ˈænˌdrɔɪd wən," æsks ə stɔr ˈmænɪʤər æt androidland*, wən əv ðə ˈoʊnli fɔr ɪkˈsklusɪv stɔrz ɪn ðə wərld fər ɔl θɪŋz ˈænˌdrɔɪd. ˈlɪtəl dɪz hi noʊ ðət, ˈivɪn ɛz hi spiks, ɪŋk ɪz ˈgɪvɪŋ ˈfɪnɪʃɪŋ ˈtəʧɪz tɪ wən əv ɪts ˈbɪgəst ˈprɑʤɛkts əraʊnd ðə ˈmoʊbəl dɪˈvaɪs ˈænˌdrɔɪd wən. ənd, fər ðə fərst taɪm, ə ˈgloʊbəl lɔnʧ baɪ ðə ˈkəmpəˌni ɪz biɪŋ flægd frəm ˈɪndiə ˈænˌdrɔɪd ʧif wɪl ɔn ˈmənˌdeɪ ənˈveɪl ðiz ðə loʊ kɔst hæv bɪn praɪst æt əraʊnd 6399 ðiz dɪˈvaɪsɪz ər mɛnt tɪ gɪv ə ˈtaɪtər kənˈtroʊl ˈoʊvər ðə ˈsɪstəm, soʊ ðət ˈjuzərz gɪt ə ˈbɛtər ˈænˌdrɔɪd ɪkˈspɪriəns. gɪvz ɪts ˈmoʊbəl ˈɔpərˌeɪtɪŋ ˈsɪstəm, ˈænˌdrɔɪd, fər fri tɪ ˌmænjəˈfækʧərərz, wɪʧ kən ɪt fər ðə seɪk əv ˌdɪfərˌɛnʧiˈeɪʃən. bət, ðɪs həz meɪd ðə ˈænˌdrɔɪd ˈikoʊˌsɪstəm ˈhaɪli ˈfrægməntɪd. ˈæpəl ɪŋk ʧif ɪgˈzɛkjətɪv ˈrisəntli kɔld ɪt ə ˈtɑksɪk əv ˌvəlnərəˈbɪlɪtiz., ən ˈsinjər ˈvaɪˈsprɛzədənt əv ˈgugəl, fərst ənˈveɪld ˈænˌdrɔɪd wən ˈdʊrɪŋ hɪz ˈkiˌnoʊt ˈæˌdrɛs æt ˈænjuəl ɪˈvɛnt ɪn sæn frænˈsɪskoʊ ɪn ʤun. ðə ˈprɑʤɛkt, hi sɛd, wʊd sɪˈmɛnt pəˈzɪʃən ɪn ðə ˌloʊˈkɔst ˌsɛgˈmɛnt fər ðə "nɛkst ˈbɪljən" ˈjuzərz, əˈspɛʃəli ɪn dɪˈvɛləpɪŋ ˈkəntriz laɪk ˈɪndiə. hu ɪz? ðə oʊld ɪz ðə hɛd əv ˈænˌdrɔɪd, kroʊm ənd æps fər ˈgugəl ˈgloʊbəli tʊk ˈoʊvər ˈænˌdrɔɪd dɪˈvɪʒən læst jɪr, ɪz ˈkrɛdɪtɪd wɪθ ˈmeɪkɪŋ ɪt kəˈlæbərˌeɪtɪv wɪθ ˈəðər ˈbɪznɪsɪz ɪz sɛd tɪ hæv ˈbɛtərd taɪz wɪθ ki ˈpɑrtnərz laɪk ˈsæmˌsəŋ wɑz tɪ bi ə ˈkænədɪt fər ðə tɔp ʤɑb æt ˈmaɪˌkroʊˈsɔft, wɪʧ wɛnt tɪ ˈsɑtjə wɛnt tɪ ˌbiˈfɔr duɪŋ ən mɪz frəm ˈstænfərd ˌjunəˈvərsəti ənd ən ˈɛmˈbiˈeɪ frəm ðə ˈwɔrtən skul əv ðə ˌjunəˈvərsəti əv ˌpɛnsəlˈveɪnjə wərkt æt əˈplaɪd məˈtɪriəlz ənd məˈkɪnzi ˌbiˈfɔr ˈʤɔɪnɪŋ ˈgugəl ɪn 2004 ˌhaʊˈɛvər, əˈwɛrnəs æt ðə graʊnd ˈriˌteɪl ˈlɛvəl ˈkərəntli əˈpɪrz ˈziroʊ. ˈaʊˌtlɛts əv ˈmoʊbəl ˈmeɪkərz spaɪs, ənd ˈhɑrdˌwɛr ˈpɑrtnərz əv ˈgugəl fər ðɪs ˈvɛnʧər hæv ˈlɪtəl ˌɪnˌfɔrˈmeɪʃən. pərˈhæps tɪ stɑp pərˈsɪstənt kˈwɛsʧənz, ðə stɔr ˈmænɪʤər sɪz ðə dɪˈvaɪsɪz wɪθ ˈænˌdrɔɪd wən maɪt bi soʊld "ˈoʊnli θru ðə ˈɪntərˌnɛt". hi maɪt ˈoʊnli bi ˈgɛsɪŋ bət hi ɪz bang-on*. ˈgugəl ɪz ˈlaɪkli tɪ dɪʧ ðə trəˈdɪʃənəl ˈriˌteɪl ˈʧænəl, ɪn laɪn wɪθ ðə ˈleɪtəst trɛnd. ɪts ˈhɑrdˌwɛr ˈpɑrtnərz wɪl ˌɪˈnɪʃəli pʊʃ ðə ˈprɑdəkts θru ˈpɔrtəlz. spaɪs həz ɔˈrɛdi əˈnaʊnst ə ˈpɑrtnərˌʃɪp wɪθ læst wik. ənd ər ɪkˈspɛktɪd tɪ taɪ əp wɪθ ənd ˈæməˌzɑn. ðə dɪˈvaɪsɪz ər ˈlaɪkli tɪ bi dual-sim*, wɪθ skrinz ənd ˈɛˈfɛm ˈreɪdiˌoʊz, ənd wɪl rən ɔn ə ˈprɑˌsɛsər. ˌɪnvɪˈteɪʃənz fər ðə lɔnʧ hæv bɪn sɛnt nɑt ˈoʊnli tɪ ˈʤərnəlɪsts bət tɪ ˈəmpˈtin ˈpɑrtnərz, ˌɪnˈkludɪŋ ðə laɪks əv ˈhɪnduˌstæn ˌjunɪˈlivər, ˌbiˈsaɪdz ˈgəvərnmənt əˈfɪʃəlz, ɪgˈzɛkjətɪvz əv ˌɔrgənɪˈzeɪʃənz ənd ˈəðərz. ðiz ˌɪnvɪˈteɪʃənz fər ðə ɪˈvɛnt kənˈteɪn koʊdz, wɪʧ hæv tɪ bi mæʧt æt ðə taɪm əv ˌrɛʤɪˈstreɪʃən tɪ əˈtɛnd ðə lɔnʧ. wɪl bi əˈkəmpənid baɪ hɪz ˈsɛkənd ɪn kəˈmænd, ˈvaɪˈsprɛzədənt (ˈprɑdəkt ˈmænɪʤmənt) ˈsizər sɛn ˈgʊptə, hu ˈoʊvərˌsiz ˈprɑdəkt ˈstrætəʤi fər ˈænˌdrɔɪd wən ənd ˈgugəl chromebooks*. ðə ˈərliər ˈvərʒən əv ðə ˈstɔri ðət əˈpɪrd ɪn prɪnt hæd sɛd ðət ðə dɪˈvaɪs wɪl bi praɪst æt əraʊnd 5000 ðə əˈfɪʃəl praɪs əv ðə ˈænˌdrɔɪd wən həz bɪn əˈnaʊnst æt 6399 noʊt:
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"what is android one," asks a store manager at androidland, one of the only four exclusive stores in the world for all things android. little does he know that, even as he speaks, inc is giving finishing touches to one of its biggest projects around the mobile device - android one. and, for the first time, a global launch by the company is being flagged from india - android chief will on monday unveil these the low cost have been priced at around rs 6399.
these devices are meant to give a tighter control over the system, so that users get a better android experience. gives its mobile operating system, android, for free to manufacturers, which can customise it for the sake of differentiation. but, this has made the android ecosystem highly fragmented. apple inc chief executive recently called it a toxic hellstew of vulnerabilities.
pichai, an india-born senior vice-president of google, first unveiled android one during his keynote address at google's annual event in san francisco in june. the project, he said, would cement google's position in the low-cost smartphone segment for the "next billion" users, especially in developing countries like india.
who is pichai? the 42-year old india-born is the head of android, chrome and apps for google globally
took over android division last year, is credited with making it collaborative with google's other businesses
is said to have bettered google's ties with key partners like samsung
was rumoured to be a candidate for the top job at microsoft, which went to satya nadella
went to iit kharagpur before doing an ms from stanford university and an mba from the wharton school of the university of pennsylvania
worked at applied materials and mckinsey before joining google in 2004
however, awareness at the ground retail level currently appears zero. outlets of mobile makers spice, micromax and karbonn - hardware partners of google for this venture - have little information. perhaps to stop persistent questions, the store manager says the devices with android one might be sold "only through the internet". he might only be guessing but he is bang-on.
google is likely to ditch the traditional retail channel, in line with the latest trend. its hardware partners will initially push the products through e-commerce portals. spice has already announced a partnership with flipkart last week. micromax and karbonn are expected to tie up with snapdeal and amazon.
the devices are likely to be dual-sim, with 4.5-inch screens and fm radios, and will run on a mediatek processor.
invitations for the big-bang launch have been sent not only to journalists but to google's umpteen partners, including the likes of hindustan unilever, besides government officials, executives of not-for-profit organisations and others.
these invitations for the high-security event contain qr codes, which have to be matched at the time of registration to attend the launch.
pichai will be accompanied by his second in command, vice-president (product management) caesar sen gupta, who oversees product strategy for android one and google chromebooks.
the earlier version of the story that appeared in print had said that the device will be priced at around rs 5000. the official price of the android one has been announced at rs 6399
note:
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ðə θərd ˈpɑrti ˈkænədɪt ɪkˈsprɛst hər əˈlɑrm wɪθ ˈhɪləri vaʊ tɪ ˈɪmpləmənt ə ɪn ˈsɪriə wɪʧ ʃi bɪˈlivz wʊd brɪŋ ðə juˈnaɪtɪd steɪts ˈɪntu ə dɪˈrɛkt ɛr wɔr əˈgɛnst ˈnukliər ɑrmd ˈrəʃə. ɔn ˈfraɪˌdeɪ, grin ˈpɑrti ˌnɑməˈni ʤɪl staɪn ɪkˈsprɛst ˈhɔrər æt ˈhɪləri plænz tɪ ˈæˌdrɛs ðə groʊɪŋ ˈkraɪsəs ɪn ˈsɪriə baɪ ɪˈstæblɪʃɪŋ ə ˈɑrgjuɪŋ ðət səʧ ə ˈmɛʒər wʊd brɪŋ ðə juˈnaɪtɪd steɪts ˈɪntu dɪˈrɛkt ˌkɑnfrənˈteɪʃən əˈgɛnst ˈrəʃən ˈɛroʊˌspeɪs ˈfɔrsɪz ˈbækɪŋ ðə əˈsɑd rəˈʒim. ˈkərəntli, ðə ˈrəʃən ˈgəvərnmənt həz bækt ðə ˌkɑntrəˈvərʃəl ˈsɪriən ˈlidər wɪθ ə ˈfoʊkɪs ɔn ˈsteɪbəˌlaɪzɪŋ ðə dəˈmɛstɪk ˌsɪʧuˈeɪʃən ɪn ˈɔrdər tɪ prɪˈvɛnt ðə ˈkəntri frəm bɪˈkəmɪŋ ə feɪld ˈtɛrərɪst steɪt ˈoʊvərˌteɪkən baɪ ˈtɛrəˌrɪsts waɪl ðə juˈnaɪtɪd steɪts həz lɔŋ ˈteɪkən ðə pəˈzɪʃən ðət ðə faɪt əˈgɛnst kʊd bi hɛld kənˈkərəntli wɪθ ˈaʊstɪŋ ðə əˈsɑd ˈgəvərnmənt. ˈsəmˈwət nɑˈivli, ɪt əˈpɪrz ðət ðə juˈnaɪtɪd steɪts ˈgəvərnmənt bɪˈlivz ðət ðə trænˈzɪʃən əv əˈsɑd wʊd brɪŋ əˈbaʊt ə ˌdɛməˈkrætɪk ˈmuvmənt ɪn ˈsɪriə, bət ɪn ˈrisənt mənθs ðə pəˈzɪʃən əv ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən həz ʧeɪnʤd ˈdræstɪkli wɪθ ðə ˈsoʊˈkɔld ˈmɑdərˌeɪt ˈrɛbəlz naʊ noʊn tɪ bi ˌɪntərˈlɪŋkt wɪθ boʊθ ˌɑlˈkaɪdɑ ənd əˈfɪliˌeɪtɪd grups ˈbrɪŋɪŋ tɪ bɛr ðə ˌriˈæləˌti ɪn ðə ˈriʤən ðət ðə ʧɔɪs simz tɪ bi ˈiðər əˈsɑd ər ðə ʤiˈhɑˌdɪsts. 2018 ʤɔrʤ dəˈmæskəs əˈkjuzɪz ˌkoʊəˈlɪʃən əv ˈbɑmɪŋ ˈsɪriən ˈɑrmi ɪn ˌdɛməˈkrætɪk ˌnɑməˈni ˈhɪləri ˈklɪntən, ˌhaʊˈɛvər, noʊn fər hər ˈhɔkɪʃ vjuz ɔn ˈfɔrən ˈpɑləsi ənd ˌædˈvərs pəˈzɪʃən təˈwɔrdz ˈrəʃə wɪθ ˈrəʃən ˈprɛzɪdənt vˈlædəmɪr ˈputɪn əˈkjuzɪŋ ðə ˈkænədɪt əv ðə ˈrəʃən card”*” ɪn ən ˈɛfərt tɪ ˈrɛkriˌeɪt ðə ˈɪmɪʤri ðət ˈrəʃə ɪz ən empire”*” kənˈtɪnjuz tɪ kɔl fər ən əˈgrɛsɪv ˈpɑsʧər əv rəˈʒim ʧeɪnʤ ɪn ˈsɪriə ɛz ðə ki tɪ riˈzɑlvɪŋ ðə ˈkraɪsəs. "ˈhɪləri ˈklɪntən wɔnts tɪ stɑrt ən ɛr wɔr ˈoʊvər ˈsɪriə wɪθ ə paʊər [ˈrəʃə] wɪθ ˈnukliər ˈwɛpənz ɔn əˈlərt. ˈgɪvɪn ˈhɪləri ˈrɛkərd nɑt ˈoʊnli ɪn ˌɪˈrɑk, bət ɪn ˈlɪˌbiə, aɪ θɪŋk ɪt ɪz ɛz ˈdeɪnʤərəs ɛz ɪt gɪts," ɪkˈspleɪnd ʤɪl staɪn. ðə grin ˈpɑrti ˌnɑməˈni dɪd nɑt hæv ˈfɔnɪŋ wərdz tɪ seɪ əˈbaʊt ðə rɪˈpəblɪkən ˌnɑməˈni ˈiðər, bət simd tɪ rɪˈzərv hər ˈhɑrʃəst ˈkrɪtɪˌsɪzəm fər ðə ˈfɔrmər ˈsɛkrəˌtɛri əv steɪt. "ˈdɑnəld trəmp wɔnts tɪ bɑr ˈməzlɪmz frəm ˈɛnərɪŋ ðɪs ˈkəntri, bət ˈhɪləri ˈklɪntən həz bɪn ˈvɛri ˈbɪzi ˈbɑmɪŋ ˈməzlɪmz ɪn ˈəðər ˈkəntriz," sɛd staɪn.
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the third party candidate expressed her alarm with hillary clinton’s vow to implement a no-fly-zone in syria which she believes would bring the united states into a direct air war against nuclear armed russia.
on friday, green party nominee jill stein expressed horror at hillary clinton’s plans to address the growing crisis in syria by establishing a no-fly-zone arguing that such a measure would bring the united states into direct confrontation against russian aerospace forces backing the assad regime.
currently, the russian government has backed the controversial syrian leader with a focus on stabilizing the domestic situation in order to prevent the country from becoming a failed terrorist state overtaken by daesh terrorists while the united states has long taken the position that the fight against daesh could be held concurrently with ousting the assad government.
somewhat naively, it appears that the united states government believes that the transition of assad would bring about a democratic movement in syria, but in recent months the position of the obama administration has changed drastically with the so-called moderate rebels now known to be interlinked with both al-qaeda and daesh affiliated groups bringing to bear the reality in the region that the choice seems to be either assad or the jihadists.
© afp 2018 / george ourfalian damascus accuses us-led coalition of bombing syrian army in deir ez-zor
democratic nominee hillary clinton, however, known for her hawkish views on foreign policy and adverse position towards russia – with russian president vladimir putin accusing the candidate of “playing the russian card” in an effort to recreate the imagery that russia is an “evil empire” – continues to call for an aggressive posture of regime change in syria as the key to resolving the crisis.
"hillary clinton wants to start an air war over syria with a nuclear-armed power [russia] with 2,000 nuclear weapons on hair-trigger alert. given hillary clinton’s record not only in iraq, but in libya, i think it is as dangerous as it gets," explained jill stein.
the green party nominee did not have fawning words to say about the republican nominee either, but seemed to reserve her harshest criticism for the former secretary of state.
"donald trump wants to bar muslims from entering this country, but hillary clinton has been very busy bombing muslims in other countries," said stein.
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ˈwɛstərn ˈprɑvɪns ˈrəgbi (taɪ) ˈlɪmɪtɪdz ˌlɪkwɪˈdeɪʃən minz ðət boʊθ ðə ənd ər naʊ fər seɪl. ðət wɑz ðə wərd frəm krɪs væn, wən əv tu ˈlɪkwɪˌdeɪtərz hu wɑz əˈpɔɪntɪd baɪ ðə keɪp haɪ kɔrt tɪ sɛl ˈrəgbi. væn kənˈfərmd ɔn ˈwɛnzˌdeɪ ðət hæv ðə paʊər tɪ ˈbɑˌroʊ ˈməni ənd ər traɪɪŋ ðɛr bɛst tɪ kəˈlɛkt ˈməni tɪ peɪ ðɛr pleɪərz, ˈkoʊʧɪz ənd ɪmˈplɔɪiz' ˈsæləriz ˈdʊrɪŋ dɪˈsɛmbər. "ɪt wɪl ˈɔlsoʊ prəˈtɛkt ðɛr ˈkɑnˌtrækts," hi toʊld ðə kɔrt həz toʊld væn ənd hɪz ˈfɛloʊ ˈlɪkwɪˌdeɪtər, væn dər ˈmərwi, tɪ sɛl ənd nɑt tɪ goʊ əˈhɛd wɪθ ˈɛni nu ˈkɑnˌtrækts wɪʧ həz bɪn əˈpruvd baɪ ðə ˈmænɪʤmənt. ðə ˈwɛstərn ˈprɑvɪns ˈrəgbi ˈjunjən hæd ə 75 ˈɪntəˌrɛst ɪn ˈrəgbi, waɪl spɔrt ˌɪnˈvɛstmənts (rsi*) hæd ə 25%-interest*. væn ədˈmɪtəd ðət ðoʊz ʃɛrz ər wərθ ˈnəθɪŋ naʊ, ˌhaʊˈɛvər. væn kənˈfərmd ðət, ɪn fˈjuʧər, ðeɪ wɪl du ˈɛvriˌθɪŋ ɪn ðɛr paʊər tɪ prəˈtɛkt ˈspɑnsərz. ər ˈbɪzi ˈfaɪndɪŋ ə ˈsutəbəl baɪər tɪ prəˈtɛkt ˈbɪznɪs," hi ˈædɪd. "ˈoʊnli ðɛn wɪl ðə nu ˈoʊnərz bi ˈeɪbəl tɪ kəˈmɛns wɪθ nu ˈkɑnˌtrækts wɪθ ˈspɑnsərz ənd ˈʃɛˌrhoʊldərz." əˈkɔrdɪŋ tɪ væn, ɔl ˈkɑrənt ˈkɑnˌtrækts wɪl bi prəˈtɛktɪd ənd ə tim wɪl bi neɪmd ɔn kənˈdɪʃən ðət ə "ˈsutəbəl baɪər ɪz faʊnd". ɛz ɪz daɪ ɛz ti hanteer.”*.”
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western province rugby (pty) limited's liquidation means that both the stormers and wp are now for sale.
that was the word from chris van zyl, one of two liquidators who was appointed by the cape high court to sell wp rugby.
van zyl confirmed on wednesday that wp have the power to borrow money and are trying their best to collect money to pay their players, coaches and employees' salaries during december.
"it will also protect their contracts," he told netwerk24.
the court has told van zyl and his fellow liquidator, dallie van der merwe, to sell wp rugby's assetts and not to go ahead with any new contracts which has been approved by the management.
the western province rugby union had a 75% interest in wp rugby, while remgro sport investments (rsi) had a 25%-interest.
van zyl admitted that those shares are worth nothing now, however.
van zyl confirmed that, in future, they will do everything in their power to protect sponsors.
“we are busy finding a suitable buyer to protect wp rugby's business," he added.
"only then will the new owners be able to commence with new contracts with sponsors and shareholders."
according to van zyl, all current contracts will be protected and a stormers team will be named on condition that a "suitable buyer is found".
“ons onderneming as likwidateurs is om die besigheid as ’n lopende saak te hanteer.”
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ˈprɛzɪdənt ˈbɑrək ˌoʊˈbɑmə həz æst ˈkɑŋgrəs tɪ əˈpruv 205 ˈmɪljən ˈdɔlərz tɪ hɛlp ˈɪzriəl dɪˈplɔɪ ən dɪˈfɛns ˈsɪstəm, ðə waɪt haʊs sɛd ˈθərzˌdeɪ. ˈprɛzɪdənt ˈrɛkəgˌnaɪzɪz ðə θrɛt ˈmɪsəlz ənd ˈrɑkəts faɪərd baɪ ˌhɑˈmɑs ənd ˌhɛzbɑˈlə poʊz tɪ ˌɪzˈreɪliz, ənd həz ˈðɛrˌfɔr ˌdɪˈsaɪdɪd tɪ sik ˈfəndɪŋ frəm ˈkɑŋgrəs tɪ səˈpɔrt ðə pərˈdəkʃən əv ʃɔrt reɪnʤ ˈrɑkət dɪˈfɛns ˈsɪstəm kɔld aɪərn dome,”*,” waɪt haʊs ˈspoʊksmən ˈtɑmi ˈvitər sɛd. ˈɪzriəl kəmˈplitɪd tɛsts ɪn ˈʤænjuˌɛri ɔn ɪts aɪərn doʊm ˈsɪstəm, dɪˈzaɪnd tɪ ˌɪnərˈsɛpt ˈrɑkəts ənd ɑrˈtɪləri ʃɛlz faɪərd æt ˈɪzriəl baɪ ˌhɑˈmɑs ənd ˌhɛzbɑˈlə. ðə nɛkst feɪz ɪn ɪts dɪˈvɛləpmənt ɪz tɪ ˈɪnəˌgreɪt ɪt ˈɪntu ðə ˈɑrmi. ˈɪzriəl hoʊps ðə ˈsɪstəm wɪl prəˈvaɪd ɪt wɪθ ə minz tɪ dil wɪθ ˈrɑkət faɪər frəm ðə ˈgɑzə strɪp ənd frəm ˈlɛbənən. ˌpælɪˈstɪniən ˈmɪlətənts hæv faɪərd ˈθaʊzənz əv ˈhoʊmˈmeɪd ˈrɑkəts ˈɪntu ˈsəðərn ˈɪzriəl, ˈprɑmptɪŋ ˈdɛvəˌsteɪtɪŋ əˈsɔlt ɔn ðə ˈɪsləmɪst ˌhɑˈmɑs ɪn ˈgɑzə ɔn dɪˈsɛmbər 27 2008 ðə ˈlɛbəˌniz ˈmɪlətənt grup ˌhɛzbɑˈlə ˈɔlsoʊ faɪərd səm ˈrɑkəts ˈɪntu ˈnɔrðərn ˈɪzriəl ˈdʊrɪŋ ə 2006 wɔr wɪθ ˈɪzriəl, wɪʧ naʊ bɪˈlivz ˌhɛzbɑˈlə həz ən ˈɑrsənəl əv səm ˈrɑkəts. ðə ˈprɛzɪdənt həz rɪˈpitɪdli sɛd, ɑr kəˈmɪtmənt tɪ sɪˈkjʊrəti ɪz ənˈʃeɪkəbəl ənd ɑr dɪˈfɛns riˈleɪʃənˌʃɪp ɪz ˈstrɔŋgər ðən ever,”*,” sɛd ˈvitər. juˈnaɪtɪd steɪts ənd ɑr ˈælaɪ ˈɪzriəl ʃɛr ˈmɛni əv ðə seɪm sɪˈkjʊrəti ˈʧælənʤɪz, frəm kəmˈbætɪŋ ˈtɛrəˌrɪzəm tɪ kənˈfrəntɪŋ ðə θrɛt poʊzd baɪ program.”*.” ðə muv kəmz ˈæftər taɪz bɪtˈwin ˈɪzriəl ənd ɪts ki ˈælaɪ ðə ˈjuˈɛs wər streɪnd baɪ ən əˈnaʊnsmɛnt əv nu ˌɪzˈreɪli ˈsɛtələr hoʊmz ɪn ist ʤərˈusələm meɪd ˈdʊrɪŋ ə ˈvɪzɪt tɪ ðə ʤuɪʃ steɪt baɪ vaɪs ˈprɛzɪdənt ʤoʊ ˈbaɪdən. ˈprɛzɪdənt ˈʃimən ˈpɛrɛz ˈɔlsoʊ spɑrkt ˈkɑntrəˌvərsi ɪn ˈeɪprəl wɪn hi əˈkjuzd ˈsɪriə əv səˈplaɪɪŋ ðə ʃiaɪt ˌhɛzbɑˈlə ˈmuvmənt wɪθ ˈlɔŋˈreɪnʤ skəd ˈmɪsəlz, ə ʧɑrʤ dəˈmæskəs həz ˈstɔnʧli dɪˈnaɪd. ˈwɔʃɪŋtən, wɪʧ həz sɔt ˌræˌproʊʃˈmɑn wɪθ dəˈmæskəs, ˈfərðər fɛd ðə ˈkɑntrəˌvərsi wɪn dɪˈfɛns ˈsɛkrəˌtɛri ˈrɑbərt geɪts əˈkjuzd ˌɪˈrɑn ənd ˈsɪriə əv ˈɑrmɪŋ ˌhɛzbɑˈlə wɪθ səˈfɪstɪˌkeɪtəd ˈwɛpənri, wɪˈθaʊt ˈneɪmɪŋ skədz. ˈjuˈɛs ˈsɛkrəˌtɛri əv steɪt ˈhɪləri ˈklɪntən həz ˈɔlsoʊ wɔrnd ˈsɪriən ˈprɛzɪdənt bəˈʃɑr əˈbaʊt ðə rɪsks əv ˈtrɪgərɪŋ ə ˈriʤənəl wɔr ɪf hi səˈplaɪd ðə ʃiaɪt grup wɪθ ðə ˈmɪsəlz. ˈfræʤəl ˌɪndərˈɛkt tɔks bɪtˈwin ˈɪzriəl ənd ðə ˌpælɪˈstɪniən əˈθɔrəti əv ˈprɛzɪdənt ˈmæmud əˈbɑs ˈoʊpənd ˈsənˌdi wɪθ ˈjuˈɛs ˈɛnvɔɪ ʤɔrʤ ˈmɪʧəl ˈʃətəlɪŋ bɪtˈwin ðə tu saɪdz ɪn ʤərˈusələm ənd rəˈmɑlə.
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president barack obama has asked congress to approve 205 million dollars to help israel deploy an anti-missile defense system, the white house said thursday.
“the president recognizes the threat missiles and rockets fired by hamas and hezbollah pose to israelis, and has therefore decided to seek funding from congress to support the production of israel’s short range rocket defense system called iron dome,” white house spokesman tommy vietor said.
israel completed tests in january on its iron dome anti-missile system, designed to intercept short-range rockets and artillery shells fired at israel by hamas and hezbollah.
the next phase in its development is to integrate it into the army. israel hopes the system will provide it with a means to deal with rocket fire from the hamas-ruled gaza strip and from lebanon.
palestinian militants have fired thousands of home-made rockets into southern israel, prompting israel’s devastating assault on the islamist hamas in gaza on december 27, 2008.
the lebanese militant group hezbollah also fired some 4,000 rockets into northern israel during a 2006 war with israel, which now believes hezbollah has an arsenal of some 40,000 rockets.
“as the president has repeatedly said, our commitment to israel’s security is unshakable and our defense relationship is stronger than ever,” said vietor. “the united states and our ally israel share many of the same security challenges, from combating terrorism to confronting the threat posed by iran’s nuclear-weapons program.”
the move comes after ties between israel and its key ally the us were strained by an announcement of new israeli settler homes in east jerusalem made during a visit to the jewish state by vice president joe biden.
israel’s president shimon peres also sparked controversy in april when he accused syria of supplying the shiite hezbollah movement with long-range scud missiles, a charge damascus has staunchly denied.
washington, which has sought rapprochement with damascus, further fed the controversy when defense secretary robert gates accused iran and syria of arming hezbollah with sophisticated weaponry, without naming scuds.
us secretary of state hillary clinton has also warned syrian president bashar al-assad about the risks of triggering a regional war if he supplied the shiite group with the missiles.
fragile indirect talks between israel and the palestinian authority of president mahmud abbas opened sunday with us envoy george mitchell shuttling between the two sides in jerusalem and ramallah.
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ˈæpəl ˈaɪˌfoʊn ˈjuzərz wəns lʊkt daʊn ɔn ðə ˈɑrmi əv ˈænˌdrɔɪd foʊnz aʊt lɛts bi ˈɑnəst, ˈmɛni stɪl ðæts ə hɑrd stæns tɪ teɪk ðiz deɪz. ˈænˌdrɔɪd æps ər ˈflərɪʃɪŋ, ənd ðə ˈhændˌsɛt səˈlɛkʃən ɪz əˈmeɪzɪŋ, θæŋks tɪ ˌmænjəˈfækʧərərz laɪk ˈsæmˌsəŋ, zte*, huawei*, oneplus*, lg*, ənd htc*. ðɛr ər ˈænˌdrɔɪd aʊt ðɛr wɪθ ˈkæmərəz, skrinz, dɪˈspleɪz wɪθ ɛʤ səˈpɔrt, ˈsupər fæst ˈprɑˌsɛsərz, ənd aʊərz ənd aʊərz əv ˈbætəri laɪf ɔn ə ˈsɪŋgəl ʧɑrʤ. ɪf ɔl ðət həz ju ˈɪʧɪŋ tɪ meɪk ðə swɪʧ, ðæts ˌəndərˈstændəbəl. pərˈhæps ju faɪnd ˈæpəlz grɪp ɔn ðə ˈioʊs ˈikoʊˌsɪstəm əˈnɔɪɪŋ. ˈænˌdrɔɪd meɪ ˈsəfər frəm ɪkˈstɛnsɪv əv ˈvərʒənz əv ðə ɑs ˈrənɪŋ ɔn ˈhənərdz əv laɪk ˈwɪndoʊz ər ˈlɪnəks, ɪts mɔr ˈoʊpən fər ðət ˈvɛri ˈrizən. ənd jul gɪt jʊr update...eventually*. ðət ˈoʊpənəs ˈɪzənt ə ˌgɛrənˈti: jul hæv tɪ pɪk ə ˌmænjəˈfækʧərər fər ðə ˈænˌdrɔɪd dɪˈvaɪs ju wɔnt ənd iʧ həz ðɛr oʊn ˈɪʃuz. ˈmɛni ˈoʊvərˌleɪ ðɛr oʊn "skɪn" ɔn ðə ˈɔpərˌeɪtɪŋ ˈsɪstəm, fər ɪgˈzæmpəl, ər æd æps ju meɪ nɑt wɔnt. ðə ˈoʊnli weɪ tɪ gɪt ə pjʊr ˈgugəl ˈænˌdrɔɪd ɪkˈspɪriəns, wɪθ ɑs ˈəpˌdeɪts ðət kəm θru ɛz sun ɛz ˈgugəl rɪˈlisɪz ðɛm, ɪz tɪ gɪt ə ˈhændˌsɛt frəm ˈgugəl ˌɪtˈsɛlf. ˈθæŋkfəli, ðə ˈgugəl ˈpɪksəl ənd ˈgugəl ˈpɪksəl ər əˈməŋ ɑr ˈfeɪvərɪts, iʧ ˈərnɪŋ ən ˈɛdɪtərz' ʧɔɪs əˈwɔrd. ðə ˈpɪksəl 2 ənd 2 əraɪv sun, kəmˈplit wɪθ ˈɔrioʊ (ˈænˌdrɔɪd soʊ wəns juv gɑt ən ˈænˌdrɔɪd foʊn pɪkt aʊt, wət du ju du? juv ˌɪnˈvɛstɪd ɪn ðə ˈæpəl ˈaɪˌfoʊn ˈikoʊˌsɪstəm fər fər ˈoʊvər ə wət dɪz ɪt teɪk tɪ meɪk ðə swɪʧ frəm ˈaɪˌfoʊn tɪ ˈænˌdrɔɪd wɪˈθaʊt ˈɛni ˈdɪʤɪtəl tɪrz? hir ər ðə stɛps tɪ teɪk. prɛp jʊr ˈaɪˌfoʊn fər ˈtrænsfər ˈæpəl prəˈvaɪdz ən æp fər ðoʊz ˈlʊkɪŋ tɪ swɪʧ frəm ˈænˌdrɔɪd tɪ ˈaɪˌfoʊn, bət ˈgugəl ˈdəzənt hæv ə dɪˈrɛkt ɪkˈwɪvələnt fər ən swɪʧ. ˌɪnˈstɛd, jul hæv tɪ goʊ θru ə fju stɛps tɪ gɪt ˈɛvriˌθɪŋ ˌɪmˈpɔrtənt frəm wən ˈplætˌfɔrm tɪ ðə ˈəðər. (ənd jɛs, jul hæv tɪ ˌriɪnˈstɑl, pərˈhæps ˈivɪn re-purchase*, jʊr æps wɪn sˈwɪʧɪŋ tɪ ˈænˌdrɔɪd.) kɪl ðɛr ər ˈsɛvərəl prəˈpraɪəˌtɛri θɪŋz ˈæpəl ˈɔfərz ˈaɪˌfoʊn ˈjuzərz, laɪk, wɪʧ əˈlaʊz ˈjuzərz tɪ ˈmɛsɪʤ iʧ ˈəðər wɪˈθaʊt ˈitɪŋ ˈɪntu ˈmənθli ˌɛˌsɛˈmɛs tɛkst əˈlɑtmənts. ɔn ˈaɪˌfoʊn, əˈpɪr ɪn blu ənd ˌɛˌsɛˈmɛs tɛksts ər grin; ɪts ən ˈizi ˈmɛθəd əv siɪŋ ɪf jʊr ˈmɛsɪʤɪŋ ˈsəmˌwən ɛls wɪθ ən ˈaɪˌfoʊn ər nɑt. tərn ɔf ɔn ðə ˈaɪˌfoʊn baɪ goʊɪŋ tɪ ˈsɛtɪŋz ˈmɛsɪʤɪz ənd ðə swɪʧ nɛkst tɪ. (waɪl jʊr æt ɪt, goʊ ˈɪntu ˈsɛtɪŋz ənd tərn ðət ɔf ɛz wɛl.) ju kən ɪkˈspɛrəmənt baɪ ˈsɛndɪŋ ˈmɛsɪʤɪz tɪ ˈpipəl ju noʊ hæv ən ˈaɪˌfoʊn; ɪf ðə ˈmɛsɪʤɪz ər grin, ɪts ˈwərkɪŋ. ɪf ju dɪʧt jʊr ˈaɪˌfoʊn wɪˈθaʊt ˈteɪkɪŋ ðɪs stɛp, fɪr nɑt. ˈvɪzɪt ˈæpəlz peɪʤ ənd ˈɛnər jʊr foʊn ˈnəmbər ˈəndər "noʊ lɔŋ hæv jʊr ˈaɪˌfoʊn?" ə ˌkɑnfərˈmeɪʃən koʊd wɪl bi sɛnt tɪ jʊr nu foʊn ˈɪndəˌkeɪtɪŋ ðət ɪz ˌdiˈæktɪˌveɪtɪd. (ɪf ðət ˈdəzənt wərk, kɔl ənd æsk fər tɛk səˈpɔrt, wɪθ jʊr ˈæpəl ˈaɪˈdi ənd foʊn ˈnəmbər æt ðə ˈrɛdi; ðeɪ kən ˈmænjuəli jʊr ˈnəmbər ɔn ðɛr ˈsərvərz.) ɪf ju doʊnt teɪk ðiz stɛps, ju meɪ faɪnd ˈmɛsɪʤɪz sɛnt tɪ ju ər goʊɪŋ ˈɪntu ðə ˈiθər, ˈnɛvər tɪ bi sin. ˈkeɪbəl sɪŋk ɪf jʊr ˈmuvɪŋ tɪ ə ˈænˌdrɔɪd foʊn ɪn ðə ˈgæləksi ˈlaɪˌnəp, jʊr ɪn lək: ðɛr ɪz ə ˈdɛdəkeɪtəd sˈwɪʧɪŋ æp kɔld ˈsæmˌsəŋ smɑrt swɪʧ, wɪʧ muvz ˈkɑnˌtækts, ˈfoʊˌtoʊz, ˈmɛsɪʤɪz, ənd mˈjuzɪk tɪ jʊr nu dɪˈvaɪs. ɪts nɑt ʤɪst fər ˈioʊs; ɪt ˈɔlsoʊ wərks ɔn ˈblækˌbɛri, ˈwɪndoʊz ˈmoʊbəl, ər ˈivɪn ə ˈdɪfərənt ˌmænjəˈfækʧərərz ˈænˌdrɔɪd foʊn. ðə ˈsɔfˌwɛr wɪl faɪnd wəts trænsˈfərəbəl, ənd ju pɪk wət ju wɔnt tɪ muv tɪ ðə nu ˈænˌdrɔɪd. jul nid ə (otg*) ˈkeɪbəl tɪ meɪk ðə kəˈnɛkʃən. ðɛr ɪz noʊ ˈpiˈsi ˌɪnˈvɑlvd ər ˈivɪn klaʊd du ə dɪˈrɛkt ˈkeɪbəl ˈtrænsfər frəm ðə oʊld dɪˈvaɪs tɪ ðə nu (bət ju kən juz ə ˈwɪndoʊz ˈpiˈsi ər mæk ɪf ðə foʊn ɪz ˈoʊldər ðən ə ˈgæləksi ər noʊt 5 ðɛr ər ə ˈkəpəl əv ˈsɔfˌwɛr ˈprɑdəkts ðət du ˌɪnˈvɑlv ə ˈpiˈsi ɛz tɪ meɪk ðə ˈtrænsfər əv ˈioʊs tɪ ˈænˌdrɔɪd ˈiziər (pləs ðeɪ æd səm ˈmidiə ˈbæˌkəp tɪ jʊr ˈpiˈsi ɛz ə ˈboʊnəs). wən ɪz ˈdætə ˈtrænsfər tul, ðə ˈəðər ɪz foʊn ˈtrænsfər. boʊθ ər fri ənd hæv ˈvərʒənz fər ənd ˈwɪndoʊz. klaʊd sɪŋk waɪl ðɛr ɪz noʊ ˈdɛdəkeɪtəd sˈwɪʧɪŋ æp frəm ˈgugəl, ðə ˈænˌdrɔɪd tim ˌrɛkəˈmɛndz ˈjuzɪŋ ˈgugəl draɪv. ðə ˈioʊs æp ɪz ə fri ˈdaʊnˌloʊd, ənd ɪts ˈɔlsoʊ fri tɪ saɪn əp fər ə ˈgugəl əˈkaʊnt (ɪf ju doʊnt hæv wən ɔˈrɛdi). ðɛr ər mɔr ˈmænjuəl weɪz tɪ du ðə əˈbəv. fər ɪgˈzæmpəl, wɪθ ˈkɑnˌtækts, ju kən ˈɔlˌweɪz goʊ ɔn ə ˈdɛskˌtɑp wɛb ˈbraʊzər tɪ icloud.com*, lɔg ɪn wɪθ jʊr ˈæpəl ˈaɪˈdi, goʊ tɪ ˈkɑnˌtækts ɔl ˈkɑnˌtækts, səˈlɛkt ɔl, klɪk ðə ˈsɛtɪŋz ˈaɪkɑn (ðə gɪr), ənd ˈɛkspɔrt ɔl ˈkɑnˌtækts ɛz ɪn ə faɪl. ðɛn ju kən ˌɪmˈpɔrt ðət ˈɪntu jʊr ˈgugəl ˈkɑnˌtækts. iˈmeɪl ðə faɪl tɪ ˈjɔrsɛlf ɔn ɛz ə ˈbæˌkəp; dɪˈpɛndɪŋ ɔn ðə taɪp əv ˈænˌdrɔɪd dɪˈvaɪs ju hæv, ʤɪst ˈdaʊnˌloʊdɪŋ ðə faɪl ɔn ɪt kən ˈɔlsoʊ ˌɪmˈpɔrt ɪt tɪ ˈgugəl ˈkɑnˌtækts. bət ɪf ju ɔˈrɛdi hæv ˈgugəl æps ɔl ˈoʊvər jʊr ˈaɪˌfoʊn, ju meɪ nɑt ˈivɪn hæv tɪ ˈwəri əˈbaʊt məʧ əv ðɪs. ju ˈlaɪkli ɔˈrɛdi hæv ˈgugəl ˈkæləndər ənd ˈgugəl ˈfoʊˌtoʊz ɔˈrɛdi pərˈfɔrmɪŋ ˈbækˌgraʊnd əv jʊr ɪˈvɛnts ənd ˈfoʊˌtoʊz; nɑt tɪ ˈmɛnʃən ˈgugəl mæps,, ˈgugəl dɑks, ˈgugəl ʃits, kroʊm, ənd mɔr, wɪʧ ɔl wɪl wərk ɛz wɛl ɔn ˈiðər foʊn. fər ɪgˈzæmpəl, ɔn ˈioʊs, ju kən ʤɪst sɛt jʊr ˈkɑnˌtækts tɪ ˈɔlˌweɪz bi stɔrd ɪn. goʊ tɪ ˈsɛtɪŋz ˈkɑnˌtækts dɪˈfɔlt əˈkaʊnt. (ju nid tɪ ɔˈrɛdi hæv ðə əˈkaʊnt sɛt əp ˈəndər ˈsɛtɪŋz əˈkaʊnts ˈpæsˌwərdz, wɪθ ˈkɑnˌtækts tərnd ɔn fər ðə əˈkaʊnt.) ˈmænjuəl ˈbæˌkəp ɪf ju doʊnt trəst ðə klaʊd tɪ ˈhændəl ɔl ðə ˈbæˌkəp ənd ˈtrænsfər stəf, ju ʃʊd meɪk ʃʊr tɪ bæk əp jʊr ˈmidiə frəm jʊr ˈaɪˌfoʊn ˈviə ˈaɪˌtunz. ju noʊ ðə drɪl: lɔnʧ ðə ˈaɪˌtunz ˈsɔfˌwɛr ɔn ə mæk ər ˈwɪndoʊz ˈpiˈsi ənd pləg ɪn ðə foʊn ˈviə. wɪn ˈaɪˌtunz loʊdz, klɪk ðə ˈaɪˌfoʊn ˈaɪkɑn ɪn ðə ˈtulˌbɑr, ənd stɑrt ə fʊl ˈbæˌkəp (tɪ ðə ˈpiˈsi, nɑt tɪ icloud*). ðæts greɪt fər rɪˈstɔrɪŋ ən ˈaɪˌfoʊn ɪn ðə fˈjuʧər bət ˈdəzənt ˈrɪli hɛlp məʧ wɪθ ðə muv tɪ ˈænˌdrɔɪd, æt list nɑt dɪˈrɛkli. waɪl ðə ˈaɪˌfoʊn ɪz pləgd ɪn tɪ ðə ˈpiˈsi, goʊ ˈɪntu ðə ˈfaɪndər ɔn ər ˈwɪndoʊz ɪkˈsplɔrər ɔn ˈwɪndoʊz; lʊk fər ðə ˈaɪˌfoʊn ɛz ə ˈsɛpərˌeɪt dɪˈvaɪs. jul bi ˈeɪbəl tɪ ˈækˌsɛs ðə (ˈdɪʤɪtəl ˈkæmərə) ðɛm ɔl tɪ ðə hɑrd draɪv tɪ sɔrt ˈleɪtər. baɪ duɪŋ ðət, juv bækt əp ɔl ðə ˈfoʊˌtoʊz ənd ˈvɪdioʊ frəm ðə ˈaɪˌfoʊn ɪn ə fɔrm ju kən juz. ˈleɪtər, ðeɪ kən bi ˌɪndɪˈvɪʤəli tɪ jʊr nu ˈænˌdrɔɪd foʊn ɪf ər wɪn ˈnidɪd. swit, swit mˈjuzɪk mˈjuzɪk ɪz ə ˈdɪfərənt bist. ˈæpəl ˈaɪˌtunz ˈstɑrtɪd ɛz ə mˈjuzɪk stɔr ənd wɑz ɔl əˈbaʊt ˈmeɪkɪŋ ʃʊr ðə ˈdɪʤɪtəl raɪts ˈmænɪʤmənt (drm*) ɔn ðə sɔŋz prɪˈvɛnt ə tun frəm biɪŋ pleɪd wɛˈrɛvər ə ˈpərʧəsər meɪ wɔnt (i.e*., nɑt ɔn ˈæpəl dɪˈvaɪsɪz). ju hæv ðə ˈɔpʃən ɔn ə ˈpiˈsi tɪ ˈdaʊnˌloʊd ðə mˈjuzɪk ˈmænɪʤər frəm ˈgugəl pleɪ mˈjuzɪk; juz ɪt tɪ pɔɪnt tɪ ˈaɪˌtunz ɛz jʊr ˈpraɪˌmɛri mˈjuzɪk sɔrs. ɪt wɪl ˈrɛkriˌeɪt jʊr ˈaɪˌtunz ənd ˈəˌploʊd sɔŋz ðət doʊnt hæv (səʧ ðoʊz ju rɪpt frəm ˈsiˈdiz). ju kən stɔr sɔŋz ɪn ˈgugəl pleɪ fər fri. əv kɔrs ðiz deɪz, ju meɪ bi mɔr ˈlaɪkli tɪ ʤɪst səbˈskraɪb tɪ ər ˈæməˌzɑn mˈjuzɪk ənˈlɪmɪtɪd ər ˈivɪn ˈæpəl mˈjuzɪk (jɛs, ˈivɪn ɔn ˈænˌdrɔɪd) fər 10 pər mənθ tɪ gɪt ˈstrimɪŋ ˈækˌsɛs tɪ ʤɪst əˈbaʊt ˈɛvəri sɔŋ, ˈɛvər. fər mɔr, ʧɛk aʊt ɑr ˈrənˌdaʊn əv ðə bɛst ˈɔnˌlaɪn ˈsərvɪsɪz. ˈmuvɪŋ tɛksts ðɪs wən ɪz hɑrd, ɛz ɪts nɑt səˈpɔrtɪd baɪ ˈæpəl ər ˈgugəl ɪn ˈɛni ˈfæʃən, soʊ ju nid æps tɪ meɪk ɪt ˈhæpən. ðə fri kən du ɪt, baɪ sˈnupɪŋ əraʊnd ɪn jʊr læst ˈaɪˌtunz ˈbæˌkəp əv ðə ˈaɪˌfoʊn. ˈsæmˌsəŋ smɑrt swɪʧ wɪl ˈɔlsoʊ du ɪt, bət ˈoʊnli fər ˈænˌdrɔɪd foʊnz. ˈwɛlkəm tɪ ˈænˌdrɔɪd ˌoʊˈkeɪ, soʊ juv gɑt ðə nu ˈhændˌsɛt ənd muvd ɔl ðə ˈdætə ju kən tɪ ðə ˈænˌdrɔɪd ˈplætˌfɔrm. naʊ haʊ ðə hɛk tɪ ju lərn ðɪs nu ɑs? ˈɪnərˌfeɪs ˈdɪfərəns ðə hoʊm ˈbətən jʊr soʊ juzd tɪ ɔn ˈioʊs ɪz ˈprɑbəˌbli nɑt ðə ˈoʊnli ˈbətən ɔn jʊr nu ˈænˌdrɔɪd meɪ ˈɔlsoʊ hæv bæk ənd ˈməltiˌtæskɪŋ ˈbətənz ɔn ˈiðər saɪd. ər ɪt maɪt nɑt hæv ˈɛni ˈbətənz æt ɔl! ɪt dɪˈpɛndz ɔn ðə ˌmænjəˈfækʧərər. ˈgugəl ˈpɪksəl, fər ɪgˈzæmpəl, həz noʊ ˈfɪzɪkəl ˈbətən ɔn, ˈoʊnli ə hoʊm ˈbətən ɔn ðə ˈbɑtəm əv ðə skrin, ənd ə ˈfɪŋgərˌprɪnt ˈskænər ɔn ðə bæk. ənˈlaɪk ən ˈaɪˌfoʊn, wɪʧ həz wən hoʊm skrin (ðə fərst skrin əv ˈaɪˌkɑnz), ju kən hæv ˈməltəpəl səʧ skrinz ɔn ˈænˌdrɔɪd, ˈɔrgəˌnaɪzd ɪn ɔl sɔrts əv ˈfəŋki weɪz. ər juz ˈspɛʃəl ˈlɔnʧər æps tɪ fəŋk ɪt əp ˈivɪn mɔr. ˌnoʊtəfəˈkeɪʃənz wərk məʧ ðə seɪm ɛz ɔn daʊn frəm ðə tɔp tɪ gɪt ˈækˌsɛs, swaɪp ðɛm əˈweɪ ɪf ˌɪˈrɛləvənt, ər klɪk wən tɪ gɪt mɔr ˈɪnfoʊ. ˈwɪʤɪts ər ˈɔlsoʊ ə bɪg pɑrt əv ˈænˌdrɔɪd. ðeɪ kən kəm wɪθ ˈɔlˌmoʊst ˈɛni æp, əˈlaʊɪŋ ju ˈdɪfərənt kənˌfɪgjərˈeɪʃənz fər haʊ ən æp əˈpɪrz ɔn skrin, fər ɪgˈzæmpəl. æps gəˈlɔr ɪts ˈkəstəˌmɛri tɪ seɪ haʊ greɪt ðə ˈæpəl æp stɔr ɪz ənd haʊ ɪts gɑt ðə bɛst səˈlɛkʃən. bət ˈɔlˌmoʊst ˈɛni ˈwɛlˈnoʊn æp jʊd faɪnd ɔn ˈioʊs ɪz ˈɔlsoʊ ɔn ˈænˌdrɔɪd, ˈsəmˌtaɪmz wɪθ ə ˈlɪtəl mɔr paʊər kənˈsɪdərɪŋ ðə læk əv riˈstrɪkʃənz. wiv kəˈlɛktəd ðə 100 bɛst ˈænˌdrɔɪd æps (ənd kip ɪt ˈəpˌdeɪtɪd ɪt θruaʊt ðə jɪr). stɑrt ðɛr tɪ faɪnd ðə bɛst əv ðə bɛst; hɪt ðə ˈgugəl pleɪ stɔr æp ˈsɛkʃən tɪ sərʧ fər ˈɛni æp ər geɪm ju mɪs frəm jʊr ˈaɪˌfoʊn deɪz. ənˈlaɪk ɪz biɪŋ sud ɪn ə sut fər biɪŋ ə məˈnɑpəli wɪn ɪt kəmz tɪ kənˈtroʊlɪŋ æp æps kəm frəm ˈməltəpəl ˈsɔrsəz. waɪl ˈgugəl pleɪ ɪz ðə ˈpraɪˌmɛri, ɪts nɑt əˈloʊn. ˈæməˌzɑn ˈɔlsoʊ həz ən appstore*; ɪts mɛnt praɪˈmɛrəli fər ˈæməˌzɑnz oʊn dɪˈvaɪsɪz, bət ˈɛni ˈænˌdrɔɪd dɪˈvaɪs kən gɪt ˈækˌsɛs. tɪ meɪk ðət wərk, goʊ tɪ ˈsɛtɪŋz sɪˈkjʊrəti ənd skroʊl daʊn tɪ ənˈnoʊn ˈsɔrsəz ənd tərn ɪt ɔn. ˈəðər ˈgugəl pleɪ stɔr ɔlˈtərnətɪvz fər mɔr æps ˌɪnˈklud getjar*, f-droid*, ənd appslib*. ju meɪ nɑt faɪnd məʧ ðæts ˈdɪfərənt, bət ˈpraɪsɪŋ meɪ ˈvɛri ɪˈnəf tɪ gɪt ju səm dilz. wɪn jʊr ˈrɛdi tɪ dɪˈlit ən æp ɔn ən ˈænˌdrɔɪd foʊn, ju kən ˈʤɛnərəli hoʊld ə ˈfɪŋgər ɔn ɪt ənd swaɪp ɪt ðət ˈtɪpɪkəli ˈoʊnli dɪˈlits ðə ˈaɪkɑn ɔn ðə frənt peɪʤ. tɪ gɪt rɪd əv ðə ˈækʧəwəl æp, goʊ ˈɪntu ðə fʊl æps lɪst ənd du ðə ju swaɪp əp ɪt ʃʊd ʃoʊ ən "uninstall*" ˈɔpʃən. bi sɪˈkjʊr ənˈlaɪk ˈæpəlz ˈioʊs, wɪʧ rɪˈmeɪnz ˈrɛlətɪvli seɪf frəm ˈmælˌwɛr bɪˈkəz əv ˈæpəlz kənˈtroʊl, ˈoʊpənəs (ənd ˌpɑpjəˈlɛrəti əraʊnd ðə wərld) livz ɪt ˈoʊpən tɪ əˈtæk. bi smɑrt ənd seɪf, laɪk ju wʊd wɪθ jʊr ˈwɪndoʊz kəmˈpjutər: ˌɪnˈstɔl səm ˈænˌdrɔɪd anti-malware*. ðiz deɪz, ə səbˈskrɪpʃən tɪ ə bɪg neɪm laɪk ˈmækəˌfi pləs wɪl ˌɪnˈklud prəˈtɛkʃən fər jʊr ˈdɛskˌtɑp ənd ˈmoʊbəl dɪˈvaɪsɪz, ˌɪnˈkludɪŋ jʊr nu ˈænˌdrɔɪd. gɪt tɪ ðə rut ˈrutɪŋ ən ˈænˌdrɔɪd foʊn ɪz ðə ɪkˈwɪvələnt əv ən vɔɪdz ðə ˈwɔrənti tɪ gɪv ðə ˈjuzər məʧ mɔr kənˈtroʊl ənd ˈækˌsɛs tɪ ðə ˈhɑrdˌwɛr ənd ˈsɔfˌwɛr ɔn ðə dɪˈvaɪs. ðɪs ɪz haʊ ə wʊd goʊ ɪn ənd gɪt ɔl ðə pərˈfɔrməns ˈpɑsəbəl aʊt əv ən ˈænˌdrɔɪd foʊn, ɛz wɛl ɛz haʊ ju kən dɪˈlit æps ðət foʊn ˌmænjəˈfækʧərər meɪ hæv sɛt ɛz uninstallable*. ˈrutɪŋ ɪz ə ˈrisərʧ ˌɪnˈtɛnsɪv bɪˈkəz ɪt kən ˈdɪfər bɪtˈwin nɑt ˈoʊnli dɪˈvaɪsɪz bət ˈɔlsoʊ ˈdɪfərənt ˈvərʒənz əv ˈænˌdrɔɪd. ˈʤɛnərəli, ju kən faɪnd ə ˈjuˌtub ˈvɪdioʊ laɪk ðə wən əˈbəv ˈspɛlɪŋ ɪt aʊt fər moʊst ˈɛni brand/version*. wɔʧ ɪt ˈkɛrfəli ˌbiˈfɔr ju traɪ. ənd bæk əp ðə foʊn, fərst. ˈɔlsoʊ, wi ˌrɛkəˈmɛnd duɪŋ ɪt ˈoʊnli ɪf ɪz ən ˈɔpʃən. hir ər səm mɔr tɪps ɔn ˈrutɪŋ. ɪf jʊr ˈɪntəˌrɛstɪd ɪn goʊɪŋ ðə ˈəðər dɪˈrɛkʃɪn, rɛd haʊ tɪ swɪʧ frəm ən ˈænˌdrɔɪd foʊn tɪ ðə ˈaɪˌfoʊn.
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apple iphone users once looked down on the army of android phones out there—and let's be honest, many still do—but that's a hard stance to take these days. android apps are flourishing, and the handset selection is amazing, thanks to manufacturers like samsung, zte, huawei, oneplus, lg, and htc.
there are android phones/phablets out there with 21-megapixel cameras, 6-inch screens, oled displays with edge support, super fast processors, and hours and hours of battery life on a single charge.
if all that has you itching to make the switch, that's understandable. perhaps you find apple's grip on the ios ecosystem annoying. android may suffer from extensive fragmentation—thousands of versions of the os running on hundreds of devices—but like windows or linux, it's more open for that very reason. and you'll get your update...eventually.
that openness isn't a guarantee: you'll have to pick a manufacturer for the android device you want and each has their own issues. many overlay their own "skin" on the operating system, for example, or add bloatware apps you may not want. the only way to get a pure google android experience, with os updates that come through as soon as google releases them, is to get a handset from google itself. thankfully, the google pixel and google pixel xl are among our favorites, each earning an editors' choice award. the pixel 2 and 2 xl arrive soon, complete with oreo (android 8.1).
so once you've got an android phone picked out, what do you do? you've invested in the apple iphone ecosystem for years—maybe for over a decade—so what does it take to make the switch from iphone to android without any digital tears? here are the steps to take.
prep your iphone for transfer
apple provides an app for those looking to switch from android to iphone, but google doesn't have a direct equivalent for an iphone-to-android switch. instead, you'll have to go through a few steps to get everything important from one platform to the other. (and yes, you'll have to reinstall, perhaps even re-purchase, your apps when switching to android.)
kill imessage
there are several proprietary things apple offers iphone users, like imessage, which allows users to message each other without eating into monthly sms text allotments. on iphone, imessages appear in blue and sms texts are green; it's an easy method of seeing if you're messaging someone else with an iphone or not.
turn off imessage on the iphone by going to settings > messages and deactivating the switch next to imessage. (while you're at it, go into settings > facetime and turn that off as well.) you can experiment by sending messages to people you know have an iphone; if the messages are green, it's working.
if you ditched your iphone without taking this step, fear not. visit apple's deregister-imessage page and enter your phone number under "no long have your iphone?" a confirmation code will be sent to your new phone indicating that imessage is deactivated. (if that doesn't work, call 800-my-apple and ask for tech support, with your apple id and phone number at the ready; they can manually de-register your number on their servers.) if you don't take these steps, you may find messages sent to you are going into the ether, never to be seen.
cable sync
if you're moving to a samsung-made android phone in the galaxy lineup, you're in luck: there is a dedicated switching app called samsung smart switch, which moves contacts, photos, messages, and music to your new device. it's not just for ios; it also works on blackberry, windows mobile, or even a different manufacturer's android phone. the software will find what's transferable, and you pick what you want to move to the new android.
you'll need a usb on-the-go (otg) cable to make the connection. there is no pc involved or even cloud backup—you do a direct cable transfer from the old device to the new (but you can use a windows pc or mac if the phone is older than a galaxy s6 or note 5).
there are a couple of software products that do involve a pc as middle-man to make the transfer of ios to android easier (plus they add some media backup to your pc as a bonus). one is syncios data transfer tool, the other is phone transfer. both are free and have versions for macos and windows.
cloud sync
while there is no dedicated switching app from google, the android team recommends using google drive. the ios app is a free download, and it's also free to sign up for a google account (if you don't have one already).
there are more manual ways to do the above. for example, with contacts, you can always go on a desktop web browser to icloud.com, log in with your apple id, go to contacts > all contacts, select all, click the settings icon (the gear), and export all contacts as vcards in a vcf file. then you can import that into your google contacts. email the vcf file to yourself on gmail as a backup; depending on the type of android device you have, just downloading the vcf file on it can also import it to google contacts.
but if you already have google apps all over your iphone, you may not even have to worry about much of this. you likely already have google calendar and google photos already performing background backup/synchronization of your events and photos; not to mention google maps, gmail, google docs, google sheets, chrome, and more, which all will work as well on either phone.
for example, on ios, you can just set your contacts to always be stored in gmail. go to settings > contacts > default account. (you need to already have the account set up under settings > accounts & passwords, with contacts turned on for the account.)
manual backup
if you don't trust the cloud to handle all the backup and transfer stuff, you should make sure to back up your media from your iphone via itunes. you know the drill: launch the itunes software on a mac or windows pc and plug in the phone via usb. when itunes loads, click the iphone icon in the toolbar, and start a full backup (to the pc, not to icloud). that's great for restoring an iphone in the future but doesn't really help much with the move to android, at least not directly.
while the iphone is plugged in to the pc, go into the finder on macos or windows explorer on windows; look for the iphone as a separate device. you'll be able to access the dcim (digital camera) folders—copy them all to the hard drive to sort later. by doing that, you've backed up all the photos and video from the iphone in a form you can use. later, they can be individually re-uploaded to your new android phone if or when needed.
sweet, sweet music
music is a different beast. apple itunes started as a music store and was all about making sure the digital rights management (drm) on the songs prevent a tune from being played willy-nilly wherever a purchaser may want (i.e., not on apple devices).
you have the option on a pc to download the music manager from google play music; use it to point to itunes as your primary music source. it will recreate your itunes playlists and upload songs that don't have drm (such those you ripped from cds). you can store 100,000 songs in google play for free.
of course these days, you may be more likely to just subscribe to spotify or amazon music unlimited or even apple music (yes, even on android) for $10 per month to get streaming access to just about every song, ever. for more, check out our rundown of the best online music-streaming services.
moving texts
this one is hard, as it's not supported by apple or google in any fashion, so you need third-party apps to make it happen. the free isms2droid can do it, by snooping around in your last itunes backup of the iphone. samsung smart switch will also do it, but only for samsung-made android phones.
welcome to android
okay, so you've got the new handset and moved all the data you can to the android platform. now how the heck to you learn this new os?
interface difference
the home button you're so used to on ios is probably not the only button on your new android phone—it may also have back and multitasking buttons on either side. or it might not have those—or any buttons at all! it depends on the manufacturer. google pixel, for example, has no physical button on, only a home button on the bottom of the screen, and a fingerprint scanner on the back.
unlike an iphone, which has one home screen (the first screen of icons), you can have multiple such screens on android, organized in all sorts of funky ways. or use special launcher apps to funk it up even more. notifications work much the same as on ios—swipe down from the top to get access, swipe them away if irrelevant, or click one to get more info.
widgets are also a big part of android. they can come with almost any app, allowing you different configurations for how an app appears on screen, for example.
apps galore
it's customary to say how great the apple app store is and how it's got the best selection. but almost any well-known app you'd find on ios is also on android, sometimes with a little more power considering the lack of restrictions. we've collected the 100 best android apps (and keep it updated it throughout the year). start there to find the best of the best; hit the google play store app section to search for any app or game you miss from your iphone days.
unlike apple—which is being sued in a class-action suit for being a monopoly when it comes to controlling app sales—android apps come from multiple sources. while google play is the primary, it's not alone. amazon also has an appstore; it's meant primarily for amazon's own android-based devices, but any android device can get access. to make that work, go to settings > security and scroll down to unknown sources and turn it on.
other google play store alternatives for more apps include getjar, f-droid, and appslib. you may not find much that's different, but pricing may vary enough to get you some deals.
when you're ready to delete an app on an android phone, you can generally hold a finger on it and swipe it upward—but that typically only deletes the icon on the front page. to get rid of the actual app, go into the full apps list and do the same—when you swipe up it should show an "uninstall" option.
be secure
unlike apple's ios, which remains relatively safe from malware because of apple's tight-fisted control, android's openness (and popularity around the world) leaves it open to attack. be smart and safe, like you would with your windows computer: install some android anti-malware. these days, a subscription to a big name antivirus like mcafee plus will include protection for your desktop and mobile devices, including your new android.
get to the root
rooting an android phone is the equivalent of jailbreaking an iphone—it voids the warranty to give the user much more control and access to the hardware and software on the device. this is how a tweaker would go in and get all the performance possible out of an android phone, as well as how you can delete apps that phone manufacturer may have set as uninstallable.
rooting is a research intensive because it can differ between not only devices but also different versions of android. generally, you can find a youtube video like the one above spelling it out for most any brand/version. watch it carefully before you try. and back up the phone, first. also, we recommend doing it only if un-rooting is an option. here are some more tips on rooting.
if you're interested in going the other direction, read how to switch from an android phone to the iphone.
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ɔn meɪ 17 1951 mɔr ðən wən ˈθaʊzənd pəˈlɪtɪkəl ˈprɪzənərz sɛt seɪl frəm ˈhɑrbər, ˈnɔrðərn ˈtaɪˈwɑn, ˌənəˈwɛr wɛr ðeɪ wər ˈhɛdɪŋ. ˈæftər tu deɪz æt si, ðeɪ əraɪvd æt ðə laɪf kərˈɛkʃən center”*” ɔn grin ˈaɪlənd, ɔf ðə ˈistərn koʊst əv ˈtaɪˈwɑn. ðɛr, ðə ˈprɪzənərz bɪˈgæn ðɛr lɔŋ transformation”*” ˈprɔˌsɛs. grin ˈaɪlənd, wəns noʊn ɛz ðə aɪl əv faɪər, ɪz ˈwɛlˈnoʊn təˈdeɪ fər water-sports*, ˈdaɪvɪŋ ənd sˈnɔrkəˌlɪŋ, ɛz wɛl ɛz ɪts dɪr ˌpɑpjəˈleɪʃən, ˌɪntrəˈdust tɪ ðə ˈaɪlənd ɪn ðə 1970s*. bət ðə ˈaɪlənd həz sərvd ɛz ðə loʊˈkeɪʃən fər ˈvɛriəs ˈprɪzənz θruaʊt ɪts ˈhɪstəri. fər 36 jɪrz, ðə ˈaɪlənd sərvd ɛz ə facility,”*,” ˈhaʊzɪŋ əp tɪ pəˈlɪtɪkəl ˈprɪzənərz, moʊst əv ðɛm ˌɪntəˈlɛkʧuəlz ənd ˈstudənts əˈkjuzd əv biɪŋ ˈkɑmjənəst spaɪz ər ˈkrɪtɪˌsaɪzɪŋ ðə kˈwoʊˌmɪnˈtæŋ (kmt*) ˈgəvərnmənt. ðə ˈprɪzənərz wər hɛld ˈəndər pur kənˈdɪʃənz ənd ruˈtinli ˈtɔrʧərd. ˈfoʊˌtoʊ credit：陳欽生提供*：陳欽生提供 ˈprɪzən ˈaɪlənd ðə ˌʤæpəˈniz bɪlt ðə fərst ˈprɪzən ɔn grin ˈaɪlənd wɪn ðeɪ ˈkɑləˌnaɪzd ˈtaɪˈwɑn, kɔld ðə aɪl əv faɪər ˈhoʊmləs ˈʃɛltər. ðə ““shelter,”*,” wɪʧ ˈɑpərˌeɪtəd frəm 1911 tɪ 1919 wɑz juzd tɪ dɪˈteɪn ˈhoʊmləs ˈpipəl ðət ðə ˌʤæpəˈniz əraʊnd ˈtaɪˈwɑn. wɪn ˈmɑrʃəl lɔ ˈɪrə ˈɔlsoʊ noʊn ɛz ðə waɪt ˈtɛrər bɪˈgæn, ˈfɑloʊɪŋ ðə 228 ˈmæsəkər ɔn ˈfɛbjəˌwɛri. 28 1947 grin ˈaɪlənd bɪˈkeɪm ðə loʊˈkeɪʃən fər ðə nu laɪf kərˈɛkʃən ˈsɛnər. ɪt wɑz ɪn ˌɑpərˈeɪʃən fər 15 jɪrz frəm 1951 tɪ 1965 æt ðə ˈsɛnər, ˈprɪzənərz wər splɪt ˈɪntu θri brɪˈgeɪdz, wɪʧ wər ðɛn dɪˈvaɪdɪd ˈɪntu fɔr skˈwɑdrənz, wɪθ 120 tɪ 160 ˈprɪzənərz tɪ ə skˈwɑdrən. ðə eɪθ skˈwɑdrən hɛld əp tɪ 100 ˈfiˌmeɪl ˈprɪzənərz frəm ðɛr wɑz ˈɔlsoʊ ə squadron”*”, rɪˈfərɪŋ tɪ ˈprɪzənərz hu daɪd ɔn ðə ˈaɪlənd ənd huz ˈbɑdiz wər ˈnɛvər kəˈlɛktəd baɪ ðɛr ˈfæməliz ˈmɛni ˈfæməli ˈmɛmbərz fɪrd ˌrɛtrəˈbjuʃən. ˈprɪzənərz wər ˌɪnˈstrəktɪd tɪ bɪld ðɛr oʊn ˈhaʊzɪŋ aʊt əv ˈkɔrəl ˈlaɪmˌstoʊn ənd ˈtɪmbər ðeɪ kət frəm ðə sərˈaʊndɪŋ ˈmaʊntənz. ðeɪ ˈɔlsoʊ bɪlt ðə wɔl ðət wʊd kip ðɛm ɪn ðə ˈprɪzən, ˈkɑmənli noʊn ɛz ðə wɔl əv grin island,”*,” ðə rɪˈmeɪnz əv wɪʧ kən stɪl bi sin təˈdeɪ. ðə fəˈsɪlɪti ˈɔlsoʊ hæd ə ˈmɛdɪkəl ˈsɛnər, wɛr ˈprɪzənərz wɪθ ˈmɛdɪkəl ˈtreɪnɪŋ kʊd trit ˈprɪzənərz ənd grin ˈwaɪdər ˌpɑpjəˈleɪʃən əˈlaɪk. ɪn ˌʤuˈlaɪ 1953 ˈsɛvərəl ˈprɪzənərz steɪʤd ə rɪˈbɛljən ɪn ðə nu laɪf kərˈɛkʃən ˈsɛnər. ˈfɑloʊɪŋ ðə ˈəˌpraɪzɪŋ, 14 ˈprɪzənərz wər ˈɛksəˌkjutɪd ənd ðə ˈmɪnɪstri əv ˈnæʃənəl dɪˈfɛns bɪˈgæn trænsˈfərɪŋ incorrect”*” ˈprɪzənərz hu feɪld ə tɛst æt ðə ɛnd əv ðɛr ˈsɛntənsɪz tɪ ˈaɪlənd, ɔf koʊst, fər ˈfərðər ˈpinəl ˈsərvəˌtud. æt ɪts pik, ðə fəˈsɪlɪti wəns hɛld əp tɪ pəˈlɪtɪkəl ˈprɪzənərz. kəmˈbaɪnd wɪθ ðə ˈmɪlɪˌtɛri ˈmænɪʤmənt ˌpərsəˈnɛl æt ðə fəˈsɪlɪti, ðə ˌpɑpjəˈleɪʃən əv ðə ˈprɪzən ˈnəmbərd ˈɔlˌmoʊst ˈikwəl tɪ ðə səˈvɪljən ˌpɑpjəˈleɪʃən əv grin ˈaɪlənd. wɪn ðə ˈprɪzən ɪn ˈkaʊnti wɑz kəmˈplitɪd ɪn 1965 ðə rɪˈmeɪnɪŋ pəˈlɪtɪkəl ˈprɪzənərz ɔn grin ˈaɪlənd wɪθ laɪf ˈsɛntənsɪz wər ˈtrænsfərd tɪ ðə nu fəˈsɪlɪti. ən əˈtɛmptəd ˈprɪzən rɪˈvoʊlt noʊn ɛz ðə ˈɪnsədənt baɪ ˈtaɪwɑˈniz ˌɪndɪˈpɛndəns ˈædvəˌkeɪts tʊk pleɪs ɪn ˈfɛbruˌɛri 1970 ɪt ˌɪnˈvɑlvd ˈprɪzən gɑrdz, ˈɪnˌmeɪts ənd səm jəŋ ˌɪnˈdɪʤənəs ˈpipəl hu traɪd tɪ teɪk ˈoʊvər ðə ˈprɪzən, ə ˈnɪrˈbaɪ ˈreɪdiˌoʊ ˈsteɪʃən ənd ˈneɪvi ʃɪps. ɪt ˈprɑmptɪd ðə ˈmɪnɪstri əv ˈnæʃənəl dɪˈfɛns tɪ bɪld ə nu ˈprɪzən nɛkst tɪ ðə nu laɪf kərˈɛkʃən ˈsɛnər. ˈfoʊˌtoʊ ˈkrɛdɪt: @ˈflɪkər ˈsiˈsi baɪ laɪf æt ðə oʊˈeɪsɪs ˈvɪlə ðə nu fəˈsɪlɪti, kɔld ðə proʊˈbeɪʃən ˈtreɪnɪŋ ˈprɪzən, wɑz kəmˈplitɪd ɪn 1972 ənd ɪˈvɛnʧəwəli keɪm tɪ bi noʊn baɪ ðə ˈmɑnɪkər ˈaɪlənd oʊˈeɪsɪs villa.”*.” ɪt wɑz ɪn ˌɑpərˈeɪʃən ənˈtɪl ðə ɛnd əv ðə waɪt ˈtɛrər ɪn 1987 ˈtaɪwɑˈniz ˈɔθər boʊ jæŋ hu roʊt ˈəgli chinaman,”*,” wɑz wən əv ðə ˈmɛni ˈnoʊtəbəl ˈfɪgjərz ˌɪmˈprɪzənd æt ðə oʊˈeɪsɪs ˈvɪlə. boʊθ ðə nu laɪf kərˈɛkʃən ˈsɛnər ənd ðə oʊˈeɪsɪs ˈvɪlə wər rən ɛz ˌkɑnsənˈtreɪʃən kæmps. ˈprɪzənərz wər fɔrst ˈɪntu ˈmænjuəl ˈleɪbər, ˈfɪʃɪŋ, ˈtɛndɪŋ tɪ krɑps ənd ˈlaɪvˌstɑk. ðə ˈɪnˌmeɪts hæd tɪ goʊ θru ˈdeɪli ˈlɛkʧərz ɔn sən θri ˈprɪnsəpəlz əv ðə ˈpipəl. ˈprɪzənərz wər ˈɔlsoʊ fɔrst tɪ ““voluntarily”*” ˌtæˈtu sˈloʊgənz ˈɔntu ðɛr ˈbɑdiz ˈæftər ðə ˌkɔˈriən wɔr ˈɛndɪd ɪn 1953 ˈfɔrmər ˈɪnˌmeɪts tɛl əv ˈtɔrʧər frəm ðɛr ˈprɪzən gɑrdz. ˈkuoʊ wɑz wən əv ðə ˈərliəst ˈpipəl tɪ ˈædvəˌkeɪt ˈtaɪwɑˈniz ˌɪndɪˈpɛndəns, ənd wɑz ˈsɛntənst tɪ ə ˈsɛntəns. ˈdʊrɪŋ kˈwɛsʧənɪŋ æt ðə ˈprɪzən, ˈkuoʊ wɑz æst baɪ ə gɑrd əˈbaʊt ə ˈfeɪməs dɪʃ kɔld ɔn ðə tri wɪn hi sɛd hi hæd ˈnɛvər hæd ðə dɪʃ, ðə gɑrd ˈɔrdərd ˈkuoʊ strɪpt, taɪd əp, ðɛn hæd ˈʃʊgər ˈwɔtər pɔrd ɔl ˈoʊvər ɪm ənd lɛft ɪm aʊt ɔn ðə ˈprɪzən ˈkɑmpaʊnd. ðə ænts keɪm, aɪ kʊd ˈoʊnli roʊl əraʊnd ər traɪ tɪ skwɑt, ɪt ɪz ˈrɪli hɑrd tɪ riˈmuv ænts wəns ðeɪ klaɪm ˈɔntu jʊr body,”*,” ˈkuoʊ ˈriˌkɔlz ɪn ən ˈɪntərvˌju fər ə bʊk. ˈkuoʊ wɑz fɔr wɪn hɪz ˈfɑðər wɑz ˌɪmˈprɪzənd. hi lɪvd wɪθ hɪz ˈpɛrənts æt ðə oʊˈeɪsɪs ˈvɪlə. wɪn hi wɑz riˈlist tɪ əˈtɛnd ˌɛləˈmɛnʧri skul hɪz ˈklæsˌmeɪts kɔld ɪm ˈkɑmjənəst spy”*” ənd bit ɪm əp, ˈkuoʊ rɪˈkɔld æt ə prɛs ˈkɑnfərəns fər ðə ˈoʊpənɪŋ əv ðə 2017 grin ˈaɪlənd ˈjumən raɪts ɑrts ˈfɛstɪvəl. ˈrɛlətɪvz əv ˈvɪktɪmz əv "waɪt ˈtɛrər" hoʊld ˈlɪliz ɛz ðeɪ wɔk pæst ə pɑnd fʊl əv ˈlɪliz ˈdʊrɪŋ ə məˈmɔriəl tɪ mɑrk ðə ˌænəˈvərsəri əv ðə ɛnd əv ˈmɑrʃəl lɔ, ɪn ˈtaɪˌpeɪ ˌʤuˈlaɪ 15 2009 ðə "waɪt ˈtɛrər" ˈpɪriəd bɪˈgæn sun ˈæftər ðə 228 ˈɪnsədənt ɪn 1947 ˈdʊrɪŋ wɪʧ ə ˈmɪlɪˌtɛri ˈkrækˌdaʊn tʊk pleɪs əˈgɛnst ˈdɪsədənts ˈproʊˌtɛstɪŋ əˈgɛnst ðə ædˌmɪnɪˈstreɪʃən əv ʧɛn ji, ə ˈgəvərnər əˈpɔɪntɪd baɪ tɪ hɛlp riˈbɪld ˈtaɪˈwɑn ˈæftər wərld wɔr ii*, əˈkɔrdɪŋ tɪ ˈloʊkəl ˈmidiə. ʧæŋ rɪˈmɛmbərɪŋ grin ˈaɪlənd ənd ðə waɪt ˈtɛrər təˈdeɪ, ðə oʊld ˈprɪzən ˈkɑmpaʊndz ɔn grin ˈaɪlənd hæv bɪn kənˈvərtɪd ˈɪntu ə ˈjumən raɪts pɑrk. ɪt ɪz ə ˈpɑpjələr əˈtrækʃən fər ˈmɛni əv grin ˈænjuəl ˈtʊrɪsts. ðə mˈjuziəm həz wæks ˈfɪgjərz əv ˈɪnˌmeɪts pərˈfɔrmɪŋ ðɛr ˈdeɪli tæsks ənd ˈlɪsənɪŋ tɪ ˈlɛkʧərz. ðə grin ˈaɪlənd ˈjumən raɪts ˈmɑnjəmənt wɑz kəmˈplitɪd ɔn dɛk. 10 1999 ənd ˈfɔrmər ˈprɛzɪdənt li əˈpɑləˌʤaɪzd tɪ ðə ˈvɪktɪmz əv ðə waɪt ˈtɛrər æt ðə ˌɪˈnɔgərəl ˈsɛrəˌmoʊni əv ðə ˈmɑnjəmənt. ðə sərˈvaɪvɪŋ ˈfɔrmər ˈɪnˌmeɪts hæv ˈteɪkən pɑrts ɪn ˈvɛriəs ˈɛfərts tɪ ˈdɑkjəmɛnt ðə əˈtrɑsətiz kəˈmɪtɪd ˈdʊrɪŋ ðɪs ˈpɪriəd, rɪˈkɔrdɪŋ ˈɔrəl ˈhɪstəriz ənd ˈteɪkɪŋ pɑrt ɪn ˌdɑkjəˈmɛnəri pərˈdəkʃənz. ðə ˈmɪnɪstri əv ˈnæʃənəl ˈjumən raɪts mˈjuziəm ˈprɛprəˌtɔri ˈɔfəs hoʊldz ən ɑrts ˈfɛstɪvəl ɔn meɪ 17 tɪ ˈɑnər ðə ˈvɪktɪmz əv ðə waɪt ˈtɛrər ənd ðoʊz hu wər ˌɪnˈkɑrsərˌeɪtɪd ɔn grin ˈaɪlənd. ðɪs jɪr, ðə ɑrts ˈfɛstɪvəl ˌɪnˈkludz ə pleɪ, wʊd ˈkɑrvɪŋz dɪˈpɪktɪŋ laɪf æt ðə ˈprɪzən kæmp meɪd baɪ ʧɛn əˈnəðər ˈfɔrmər ˈɪnˌmeɪt, ɛz wɛl ɛz ˈəðər hɪˈstɔrɪkəl ˈaɪtəmz frəm ðə oʊˈeɪsɪs ˈvɪlə. ðə ˈprɛprəˌtɔri ˈɔfəs həz ˈɔlsoʊ ˈɔrgəˌnaɪzd ən ɪgˈzɪbɪt əˈbaʊt grin ˈhɪstəri ɛz ə ˌkɑnsənˈtreɪʃən kæmp æt ˈtərmənəl 2 əv ðə ˌɪnərˈnæʃənɑl ˈɛrˌpɔrt. rɛd mɔr: bʊk ˌrivˈju: 'grin ˈaɪlənd,' baɪ ˈʃɔnə jæŋ raɪən ˈɛdɪtər: ˈɛdwərd waɪt
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on may 17, 1951, more than one thousand political prisoners set sail from keelung harbor, northern taiwan, unaware where they were heading. after two days at sea, they arrived at the “new life correction center” on green island, off the eastern coast of taiwan. there, the prisoners began their 15-year long “ideological transformation” process.
green island, once known as the isle of fire, is well-known today for water-sports, diving and snorkeling, as well as its sika deer population, introduced to the island in the 1970s.
but the island has served as the location for various prisons throughout its history. for 36 years, the island served as a “corrections facility,” housing up to 20,000 political prisoners, most of them intellectuals and students accused of being communist spies or criticizing the kuomintang (kmt) government.
the prisoners were held under poor conditions and routinely tortured.
photo credit：陳欽生提供
prison island
the japanese built the first prison on green island when they colonized taiwan, called the isle of fire homeless shelter. the “shelter,” which operated from 1911 to 1919, was used to detain homeless people that the japanese rounded-up around taiwan.
when taiwan’s martial law era — also known as the white terror — began, following the 228 massacre on feb. 28, 1947, green island became the location for the new life correction center. it was in operation for 15 years from 1951 to 1965.
at the center, prisoners were split into three brigades, which were then divided into four squadrons, with 120 to 160 prisoners to a squadron. the eighth squadron held up to 100 female prisoners from 1951-1954. there was also a “13th squadron”, referring to prisoners who died on the island and whose bodies were never collected by their families - many family members feared retribution.
prisoners were instructed to build their own housing out of coral limestone and timber they cut from the surrounding mountains. they also built the wall that would keep them in the prison, commonly known as the “great wall of green island,” the remains of which can still be seen today.
the facility also had a medical center, where prisoners with medical training could treat prisoners and green island’s wider population alike.
in july 1953, several prisoners staged a rebellion in the new life correction center. following the uprising, 14 prisoners were executed and the ministry of national defense began transferring “ideologically incorrect” prisoners who failed a test at the end of their sentences to liuqiu island, off taiwan’s south-west coast, for further penal servitude.
at its peak, the facility once held up to 2,000 political prisoners. combined with the military management personnel at the facility, the population of the prison numbered 3,000 — almost equal to the civilian population of green island.
when the taiyuan prison in taitung county was completed in 1965, the remaining political prisoners on green island with life sentences were transferred to the new facility.
an attempted prison revolt — known as the taiyuan incident — by taiwanese independence advocates took place in february 1970. it involved prison guards, inmates and some young indigenous people who tried to take over the taiyuan prison, a nearby radio station and navy ships. it prompted the ministry of national defense to build a new prison next to the new life correction center.
photo credit: anav rin @flickr cc by 2.0
life at the oasis villa
the new facility, called the probation training prison, was completed in 1972, and eventually came to be known by the moniker “green island oasis villa.” it was in operation until the end of the white terror in 1987. taiwanese author bo yang (柏楊), who wrote “the ugly chinaman,” was one of the many notable figures imprisoned at the oasis villa.
both the new life correction center and the oasis villa were run as concentration camps. prisoners were forced into manual labor, fishing, tending to crops and livestock. the inmates had to go through daily lectures on sun yat sen’s (孫中山) three principles of the people. prisoners were also forced to “voluntarily” tattoo anti-communist slogans onto their bodies after the korean war ended in 1953.
former inmates tell of torture from their prison guards. kuo chen-chun (郭振純) was one of the earliest people to advocate taiwanese independence, and was sentenced to a 22-year sentence.
during questioning at the prison, kuo was asked by a guard about a famous szechuan dish called “ants on the tree (螞蟻上樹).” when he said he had never had the dish, the guard ordered kuo stripped, tied up, then had sugar water poured all over him and left him out on the prison compound.
“when the ants came, i could only roll around or try to squat, it is really hard to remove ants once they climb onto your body,” kuo recalls in an interview for a book.
kuo chia-yu (郭家瑜) was four when his father was imprisoned. he lived with his parents at the oasis villa. when he was released to attend elementary school his classmates called him “little communist spy” and beat him up, kuo recalled at a press conference for the opening of the 2017 green island human rights arts festival.
relatives of victims of "white terror" hold lilies as they walk past a pond full of lilies during a memorial to mark the 22nd anniversary of the end of martial law, in taipei july 15, 2009. the "white terror" period began soon after the 228 incident in 1947, during which a military crackdown took place against dissidents protesting against the administration of chen yi, a governor appointed by chiang-kai-shek to help rebuild taiwan after world war ii, according to local media. reuters/pichi chuang
remembering green island and the white terror
today, the old prison compounds on green island have been converted into a human rights park. it is a popular attraction for many of green island’s 300,000 annual tourists. the museum has wax figures of inmates performing their daily tasks and listening to lectures.
the green island human rights monument was completed on dec. 10, 1999, and former president lee teng-hui (李登輝) apologized to the victims of the white terror at the inaugural ceremony of the monument.
the surviving former inmates have taken parts in various efforts to document the atrocities committed during this period, recording oral histories and taking part in documentary productions.
the ministry of culture’s national human rights museum preparatory office holds an arts festival on may 17 to honor the victims of the white terror and those who were incarcerated on green island.
this year, the arts festival includes a play, wood carvings depicting life at the prison camp made by chen wu-chen (陳武鎮), another former inmate, as well as other historical items from the oasis villa. the preparatory office has also organized an exhibit about green island’s history as a concentration camp at terminal 2 of the taoyuan international airport.
read more:
book review: 'green island,' by shawna yang ryan
editor: edward white
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ˈkrɑnɪk ˌhɛpəˈtaɪtəs si ˈvaɪrəs (hcv*) ˌɪnˈfɛkʃən ˌrɛprɪˈzɛnts ə ˈmeɪʤər hɛlθ θrɛt tɪ ðə ˈgloʊbəl ˌpɑpjəˈleɪʃən. ɪn ˈɪndiə, əˈprɑksəmətli 15 tɪ 20 pər sɛnt əv ˈkeɪsɪz əv ˈkrɑnɪk ˈlɪvər dɪˈzizɪz ər kɔzd baɪ ðə nu drəgz hoʊld greɪt ˈprɑməs fər ɪˌrædəˈkeɪʃən ɪn ˌɪnˈfɛktɪd ˌɪndəˈvɪʤəwəlz, ðə ˈtritmənt ɪz ˈhaɪli ɪkˈspɛnsɪv. ˈsaɪəntɪsts frəm ðə ˈɪndiən ˈɪnstɪˌtut əv saɪəns (iisc*), bengaluru*, hæv naʊ dɪˈvɛləpt ə ˌvækˈsin fər ðə ˈɪndiən ˌpɑpjəˈleɪʃən, wɪʧ həz ʃoʊn ˈprɑməsɪŋ rɪˈzəlts ɪn priˈklɪnɪkəl tɪ ˈɛstəˌmeɪts, həz ˌɪnˈfɛktɪd əˈprɑksəmətli 170 ˈmɪljən ˈpipəl ˈgloʊbəli ənd ðɛr ər əraʊnd 6 tɪ 12 ˈmɪljən əv ðɛm ɪn ˈɪndiə. əˈprɑksəmətli 20 pər sɛnt əv ˈpeɪʃənz wɪθ ən əˈkjut ˌɪnˈfɛkʃən kən klɪr ðə ˈvaɪrəs, wɪʧ dɪˈpɛndz ɔn ðə hoʊsts ˌɪmˈjun ˈvaɪrəs, wɪʧ sprɛdz baɪ dɪˈrɛkt ˈkɑnˌtækt wɪθ ðə bləd əv ən ˌɪnˈfɛktɪd ˈpərsən, kən kɔz səˈvɪr ˈlɪvər ˌkɑmpləˈkeɪʃənz, wɪʧ meɪ lɛd tɪ ˈkænsər. əˈməŋ ðə ˈmɛni streɪnz əv ðə ˈvaɪrəs, ˈʤɛnəˌtaɪp (gt3a*) ɪz ðə prɪˈdɑmənənt streɪn faʊnd ɪn ðə ˈɪndiən dɑs ənd hɪz tim frəm hæv dɪˈvɛləpt ə ˌvækˈsin fər ˈʤɛnəˌtaɪp. ðɪs wərk wɑz ˈfəndɪd baɪ ˈrisərʧ grænts frəm ðə ˌbaɪoʊˌtɛkˈnɑləʤi fənd (iabf*), dɪˈpɑrtmənt əv ˌbaɪoʊˌtɛkˈnɑləʤi, ˈgəvərnmənt əv ˈɪndiə. ðə ˈfaɪndɪŋz hæv bɪn ˈpəblɪʃt ˈrisəntli ɪn ðə ˈʤərnəl ˈvaɪrəs ɪz ðə sˈmɔləst ˈlɪvɪŋ ˈɔrgəˌnɪzəm, wɪθ ə ʤəˈnɛtɪk koʊd səʧ ɛz ˈdiˌɛˈneɪ ər ræpt wɪˈθɪn ə ˈproʊˌtin ʃɛl. ˈvaɪrəsɪz ˈkænɑt ˈfəŋkʃən ɔn ðɛr oʊn ənd nid tɪ faɪnd ə ˈsutəbəl hoʊst sɛl ɪn wɪʧ ðeɪ proʊˈlɪfərˌeɪt. ɪn keɪs əv, ðə ˈvaɪrəs faɪndz ɪts hoʊm ɪn ˈjumən ˈlɪvər sɛlz. ɪt ðɛn bɪˈgɪnz ˈjuzɪŋ ðə ˈlɪvər sɛl məˈʃinəri tɪ meɪk ˈkɑpiz əv ˌɪtˈsɛlf. wɪn ðə ˌɪmˈjun ˈsɪstəm ˈrɛkəgˌnaɪzɪz səʧ ən ˌɪnˈtruʒən, ɪt bɪˈgɪnz əˈtækɪŋ ðə ˌɪnˈfɛktɪd ˈlɪvər sɛlz ənd ɛz ə ˈkɑnsəkwəns, ðə ˌɪnˈfɛktɪd ˌɪndəˈvɪʤəwəl kən bi əˈflɪktɪd wɪθ maɪld tɪ səˈvɪr ˈlɪvər priˈklɪnɪkəl traɪəlz əv ˈpɑrtɪkəl ˌvækˈsin ˈstrætəʤiz ər ɪn ˈprɑˌgrɛs θruaʊt ðə wərld. ɪn ðə ˈprɛzənt ˈstədi, ðə ˈrisərʧərz hæv ˈʤɛnərˌeɪtɪd ˌhɛpəˈtaɪtəs si ˈpɑrtɪkəlz (hcv-lp*). əˈkɔrdɪŋ tɪ ðə ˈrisərʧərz, ðə ˌvækˈsin ɪn ðɪs keɪs ɪz ə "məˈlɛkjələr ˈkɑkˌteɪl əv ˈpɑrtɪkəlz ðət ˈmɪmɪks əˈlɔŋ wɪθ ə əˈdɛnəˌvaɪrəs ˈvɛktər (ˈvaɪrəl ˈvɛktərz ər tulz ˈkɑmənli juzd baɪ məˈlɛkjələr baɪˈɑləʤɪsts tɪ dɪˈlɪvər ʤəˈnɛtɪk məˈtɪriəl ˈɪntu sɛlz), ɛnˈkoʊdɪŋ ðə kɔr ənd ˈɛnvəˌloʊp ˈproʊˌtinz əv". ɪn ðɪs wərk, ðə ˈrisərʧərz ˌɪnˈsərtɪd ðoʊz ʤinz əv ˈɪntu ðə əˈdɛnəˌvaɪrəs ˈvɛktər soʊ ðət ɪt wʊd prəˈvoʊk ðə ˌɪmˈjun ˈsɪstəm tɪ ˈproʊdus ˈænɪˌbɑdiz əˈgɛnst ðə ˌhɛpəˈtaɪtəs si juz əv əˈlɔŋ wɪθ ˈproʊˌtin bust həz ʃoʊn ɪkˈsaɪtɪŋ rɪˈzəlts. nɑt ˈoʊnli wɑz ðə ˌvækˈsin ˈeɪbəl tɪ ˈproʊdus ˈænɪˌbɑdiz ðət ðə ˈvaɪrəs ɪn ðə ˈvæksəneɪtɪd hoʊst, bət ˈɔlsoʊ ˈʤɛnərˌeɪtɪd gʊd ˈsɛljələr ˌɪmˈjun rɪˈspɑnsɪz, wɪʧ meɪks ðɪs ən ˈɛksələnt ˌvækˈsin ˈkænədɪt. "ɑr rɪˈzəlts səˈʤɛst ðət ðə kəmˈbaɪnd ˈrɛʤəmən əv ˈfɑloʊd baɪ ðə kɔr ənd ˈɛnvəˌloʊp ˈproʊˌtin bust kʊd bi ə mɔr ˈifɛktɪv ˈstrætəʤi əv væksəˈneɪʃən," sɛd ˈdɑktər ðə ˌvækˈsin ˈʧælənʤ ˈmɑdəl ɪz nɑt əˈveɪləbəl tɪl deɪt, ðə nɛkst steɪʤ əv ðə ˈrisərʧ wərk ˌɪnˈvɑlvz ˈtɛstɪŋ ðə ˌvækˈsin ɪn haɪər ˈænəməlz (səʧ ɛz pɪg) ˌbiˈfɔr ɪt ˈriʧɪz ˈklɪnɪkəl ˌvækˈsin wɑz dɪˈvɛləpt ˈjuzɪŋ boʊθ ən ˈɪnˌsɛkt ɪkˈsprɛʃən ˈsɪstəm ənd ən ɪkˈsprɛʃən ˈsɪstəm. ˈæftər ˈʤɛnərˌeɪtɪŋ ˌvækˈsinz ˈjuzɪŋ boʊθ ˈsɪstəmz, ðə ˈrisərʧərz kənˈkludɪd ðət ðə ˌvækˈsin dɪˈvɛləpt ɪn ə məˈmeɪljən ˈsɪstəm ɪz ˈbɛtər ənd kən prəˈvaɪd mɔr prəˈtɛkʃən əˈgɛnst ˈrisərʧərz ər prəˈpoʊzɪŋ ə væksəˈneɪʃən əˈproʊʧ əˈgɛnst. ɪn ðə fərst ˈɪnstəns, ðə hoʊst ɪz praɪmd wɪθ ˈpɑrtɪkəlz (vlps*). ɪn ðɪs keɪs ər ˈproʊˌtin kəmˈpoʊnənts əv ðə ˈaʊtər ʃɛl əv ðə ˈvaɪrəs, wɪʧ ˌɪnˈklud ðə kɔr ənd ˈɛnvəˌloʊp ˈproʊˌtinz əˈsɛmbəld təˈgɛðər tɪ rɪˈzɛmbəl ðə ər ˈrɛkəgˌnaɪzd baɪ ðə hoʊst ɛz ˈfɔrən ˈeɪʤənts ənd ðə ˌɪmˈjun ˈsɪstəm prəˈdusɪz ˈænɪˌbɑdiz ər ˈænɪˌbɑdiz əˈgɛnst ɪt. səm əv ðə ˈæntɪˌbɑdi prəˈdusɪŋ sɛlz ər ðɛn stɔrd ɪn ðə ˈbɑdi ɛz ˈmɛməri sɛlz fər ə ˈspiˌdi dɪˈfɛns ɪn keɪs əv fˈjuʧər ə ˈkəpəl əv ˈdoʊsɪz əv, steɪʤ tu əv ðə ˌvækˈsin ɪz dɪˈlɪvərd, wɪʧ ɪz ðə baɪoʊ- ˌɛnʤəˈnird kɔr ənd ˈɛnvəˌloʊp ˈstrəkʧərəl ðɪs keɪs, ðə ˈrisərʧərz ˌɪnˈsərtɪd ðə ˈstrəkʧərəl ʤinz əv ˈɪntu ðə əˈdɛnəˌvaɪrəs ˈvɛktər. ðə ˈmɑdəˌfaɪd əˈdɛnəˌvaɪrəs ˈsərvɪŋ ɛz pɑrt tu əv ðə ˌvækˈsin ˈrɛʤəmən wʊd bɪˈgɪn pərˈdəkʃən əv ʃɛl ˈproʊˌtinz ˌɪnˈsaɪd ðə hoʊst. ðɪs ˈfərðər prəˈvoʊks ðə ˌɪmˈjun ˈsɪstəm tɪ ˈproʊdus ˈænɪˌbɑdiz əˈgɛnst ɪt. ðə ˈænɪˌbɑdiz əˈgɛnst ðə ʃɛl ˈproʊˌtinz ər stɔrd ɛz ˈmɛməri prəˈvaɪdɪŋ ðə ˌɪndəˈvɪʤəwəl wɪθ ðə ˈpərˌfɪkt dɪˈfɛns ɪn keɪs ˈɛnərz ðə ˈbɑdi ɪn ðə nɪr fˈjuʧər.
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chronic hepatitis c virus (hcv) infection represents a major health threat to the global population. in india, approximately 15 to 20 per cent of cases of chronic liver diseases are caused by the hcv infection.although new drugs hold great promise for hcv eradication in infected individuals, the treatment is highly expensive. scientists from the indian institute of science (iisc), bengaluru, have now developed a vaccine customised for the indian population, which has shown promising results in preclinical studies.according to estimates, hcv has infected approximately 170 million people globally and there are around 6 to 12 million of them in india. approximately 20 per cent of patients with an acute hcv infection can clear the virus, which majorly depends on the host's immune response.this virus, which spreads by direct contact with the blood of an infected person, can cause severe liver complications, which may lead to cancer. among the many strains of the virus, hcv genotype 3a (gt3a) is the predominant strain found in the indian sub-continent.professor saumitra das and his team from iisc have developed a vaccine for hcv genotype 3a. this work was funded by research grants from the indo-australian biotechnology fund (iabf), department of biotechnology, government of india. the findings have been published recently in the journal 'vaccine'.a virus is the smallest living organism, with a genetic code such as dna or rna wrapped within a protein shell. viruses cannot function on their own and need to find a suitable host cell in which they proliferate. in case of hcv, the virus finds its home in human liver cells. it then begins using the liver cell machinery to make copies of itself. when the immune system recognises such an intrusion, it begins attacking the infected liver cells and as a consequence, the infected individual can be afflicted with mild to severe liver disorders.several preclinical trials of virus-like particle (vlp)-based vaccine strategies are in progress throughout the world. in the present study, the researchers have generated gt3a hepatitis c virus-like particles (hcv-lp). according to the researchers, the vaccine in this case is a "molecular cocktail of virus-like particles that mimics hcv along with a bio-engineered adenovirus vector (viral vectors are tools commonly used by molecular biologists to deliver genetic material into cells), encoding the core and envelope proteins of hcv". in this work, the researchers inserted those genes of hcv into the adenovirus vector so that it would provoke the immune system to produce neutralising antibodies against the hepatitis c virus.the use of vlp along with hcv protein boost has shown exciting results. not only was the vaccine able to produce antibodies that neutralise the virus in the vaccinated host, but also generated good cellular immune responses, which makes this an excellent vaccine candidate. "our results suggest that the combined regimen of hcv-lp followed by the hcv core and envelope protein boost could be a more effective strategy of hcv vaccination," said dr das.since the hcv vaccine challenge model is not available till date, the next stage of the research work involves testing the vaccine immunogenicity in higher animals (such as pig) before it reaches clinical trials.the vlp-based vaccine was developed using both an insect expression system and an adenovirus-based expression system. after generating vaccines using both systems, the researchers concluded that the vlp vaccine developed in a mammalian system is better and can provide more protection against hcv.the researchers are proposing a two-step vaccination approach against hcv. in the first instance, the host is primed with virus-like particles (vlps). vlps in this case are protein components of the outer shell of the virus, which include the core and envelope proteins assembled together to resemble the virus.these vlps are recognised by the host as foreign agents and the immune system produces antibodies or neutralising antibodies against it. some of the antibody producing cells are then stored in the body as memory cells for a speedy defence in case of future attacks.after a couple of doses of vlps, stage two of the vaccine is delivered, which is the bio- engineered adenovirus-producing hcv core and envelope structural proteins.in this case, the researchers inserted the structural genes of hcv into the adenovirus vector. the modified adenovirus serving as part two of the vaccine regimen would begin production of hcv shell proteins inside the host. this further provokes the immune system to produce neutralising antibodies against it. the antibodies against the hcv shell proteins are stored as memory providing the individual with the perfect defence in case hcv enters the body in the near future.
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ˈfɔrmər ˈwɔtərˌgeɪt ˈprɑsɪˌkjutərz ʤɪl ənd nɪk ˈækərmən ʤɔɪnd hoʊst krɪs heɪz ɔn ˈfraɪˌdeɪ naɪt tɪ dɪˈskəs ðə ˈleɪtəst ˌrɛvəˈleɪʃənz əˈbaʊt ˈmaɪkəl flɪn pəˈtɛnʃəli ˈflɪpɪŋ ənd ˈtɛstɪˌfaɪɪŋ əˈgɛnst ˈprɛzɪdənt ˈdɑnəld trəmp. ækˈnɑlɪʤɪŋ hər ˈhɪstəri, heɪz æst ˈwɛðər ðɛr wɑz ɪˈnəf ˈɛvədəns fər ən əbˈstrəkʃən əv ˈʤəstɪs ʧɑrʤ əˈgɛnst ˈprɛzɪdənt trəmp. ɪz ˌæbsəˈlutli ɪˈnəf fər ən əbˈstrəkʃən keɪs, bi ˈhæpi tɪ ˈprɑsəˌkjut ðət one,”*,” kənˈkludɪd. θɪŋk wət ˈpipəl nid tɪ noʊ ɪz ðət ˈpʊtɪŋ ə keɪs təˈgɛðər ɪz laɪk ˈpʊtɪŋ ə ˈpəzəl təˈgɛðər ənd ju hæv ɔl əv ðə ˈpisɪz æt wəns. ju bɪld ðɛm wən æt ə taɪm ənd ˌsərkəmˈstænʃəl ˈɛvədəns ɪz ˈɔfən mɔr pərsˈweɪsɪv ðən dɪˈrɛkt ˈtɛstɪˌmoʊni ɪf aɪ si ˈsəmˌwən kəm ˈɪntu ðə rum ˈdrɪpɪŋ wɛt wɪθ ən ˈoʊpən wɛt ˈəmˌbrɛlə, aɪ kən ˌsərkəmˈstænʃəˌli kənˈklud ðət ɪt ɪz ˈreɪnɪŋ ˈaʊtˈsaɪd ənd aɪ wɪl bi kənˈvɪnst ðət raining.”*.” rɪˈtərnd ðə ˌɪnˈdaɪtmənts ðət lɛd tɪ ðə kənˈvɪkʃənz ˌbiˈfɔr wi hæd ðə sˈmoʊkɪŋ gən tape,”*,” riˈmaɪndɪd. wɑz ə ˈvɛri drəˈmætɪk pis əv ˈɛvədəns, bət nɑt necessary.”*.” əˈgri wɪθ ʤɪl ˈtoʊtəli. ðɛr ɪz ɪˈnəf ˈɛvədəns raɪt naʊ tɪ ˌɪnˈdaɪt ˈdɑnəld trump,”*,” ˈækərmən əˈgrid. wɔʧ:
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former watergate prosecutors jill wine-banks and nick akerman joined msnbc host chris hayes on friday night to discuss the latest revelations about michael flynn potentially flipping and testifying against president donald trump.
acknowledging her history, hayes asked wine-banks whether there was enough evidence for an obstruction of justice charge against president trump.
“there is absolutely enough for an obstruction case, i’d be happy to prosecute that one,” wine-banks concluded. “i think what people need to know is that putting a case together is like putting a puzzle together and you don’t have all of the pieces at once. you build them one at a time and circumstantial evidence is often more persuasive than direct testimony — if i see someone come into the room dripping wet with an open wet umbrella, i can circumstantially conclude that it is raining outside and i will be convinced that it’s raining.”
“we returned the indictments that led to the convictions before we had the smoking gun tape,” wine-banks reminded. “that was a very dramatic piece of evidence, but it’s not necessary.”
“i agree with jill totally. there is enough evidence right now to indict donald trump,” akerman agreed.
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vaɪs ˈprɛzɪdənt ʤoʊ ˈwərkɪŋ klæs ˈhɛrɪtɪʤ ˈɔlˌweɪz ə bɪg pɑrt əv hɪz pərˈsoʊnə wɑz ɔn fʊl dɪˈspleɪ ˈdʊrɪŋ hɪz ˈvɪzɪt tɪ ˈpɔrtlənd ˈwɛnzˌdeɪ tɪ kæmˈpeɪn fər ˌdɛməˈkrætɪk sɛn. ʤɛf ˈmərkli. æt ən ˌæftərˈnun ˈræli æt ðə ˈɔrəˌgɑn kənˈvɛnʃən ˈsɛnər, ˈbaɪdən pɔrˈtreɪd ˈmərkli ɛz ˈsəmˌwən laɪk hɪmˈsɛlf hu noʊz wət ɪt wɑz laɪk tɪ groʊ əp ɪn ə ˈfæməli əv ˈmɑdəst minz ənd ˈhæzənt fərˈgɑtən ðət əˈmɪd ðə əv ˈwɔʃɪŋtən, d.c*. "ðə θɪŋ aɪ laɪk əˈbaʊt jʊr gaɪ ɪz hi ɪz ə ril gaɪ," sɛd ˈbaɪdən, ˈpreɪzɪŋ ˈmərkli fər ˈlɪvɪŋ ɪn ðə seɪm ˈaʊtər ˌsaʊˈθist ˈpɔrtlənd ˈneɪbərˌhʊd ðə ˈsɛnətər gru əp ɪn ənd fər ˈsɛndɪŋ hɪz kɪdz tɪ ˈpəblɪk skul ðɛr. ɪn ðə ˈræli wɪʧ ˈfɑloʊd ə ˈfənˌdreɪzər boʊθ ˈmərkli ənd ˈbaɪdən ˈhæmərd rɪˈlɛntləsli ɔn ðə aɪˈdiə ðət ðeɪ wər ˈʧæmpiənz fər ðə ˈmɪdəl klæs waɪl rɪˈpəblɪkənz ˈfeɪvərd ðə ˈwɛlθi. ðə ˈræli, wɪʧ ðə ˈmərkli kæmˈpeɪn sɛd əˈtræktəd ˈnɪrli səˈpɔrtərz, wɑz eɪmd æt ɪnˈkərəʤɪŋ ˈgreɪtər ˌdɛməˈkrætɪk ˈtərˌnaʊt ɪn ðə ˈəpˌkəmɪŋ noʊv. 4 ɪˈlɛkʃən, wɛr ˈmərkli ˈfeɪsɪz ə ˈʧælənʤ frəm rɪˈpəblɪkən ˈmɑnɪkə. ˈbaɪdən skɪpt ˈoʊvər iˈboʊlə, wɔr ɪn ˌɪˈrɑk ənd ˈsɪriə, ənd ˈəðər ˈsəbʤɪkts ðət hæv pʊt ðə ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ɔn ðə dɪˈfɛnsɪv ɪn ˈrisənt wiks. ˌɪnˈstɛd, hɪz tɔk wɑz eɪmd ˈɔlˌmoʊst ɪkˈsklusɪvli æt ðə aɪˈdiə ðət ðə ɪˈkɑnəmi wɪʧ hi dɪˈskraɪbd ɛz "ˈbumɪŋ," æt list ɪn tərmz əv ʤɑb groʊθ ənd ðə stɑk ˈmɑrkɪt ɪz nɑt ˈwərkɪŋ ɛz ɪt ʃʊd fər ðə ˈmɪdəl klæs. "ðɛr juzd tɪ bi ə ˈbeɪsɪk ˈbɑrgɪn ɪn əˈmɛrɪkə" ðət moʊst ˈwərkərz ʃɛrd ɪn ðə ˈoʊvərˌɔl ˌɛkəˈnɑmɪk geɪnz, sɛd ˈbaɪdən. "ðæts haʊ ðə ˈmɪdəl klæs wɑz bɪlt. ðət juzd tɪ bi ðə ˈbɑrgɪn. ənd ðə ˈmɪdəl klæs wɑz wət səˈsteɪnd ðə ɪˈkɑnəmi əv ðɪs ˈkəntri ˈoʊvər ðə læst 100 jɪrz. bət ðət ˈbɑrgɪn həz bɪn ˈbroʊkən." həz ˈɑrgjud ðət ˌoʊˈbɑmə ædˌmɪnɪˈstreɪʃən ˈpɑləsiz hæv kɛpt ˈmɛni ˈpipəl frəm ˈgɪtɪŋ gʊd ʤɑbz. ˈkətɪŋ ˈtæksɪz əˈkrɔs ðə bɔrd ənd rɪˈdusɪŋ ˌrɛgjəˈleɪʃənz wʊd hɛlp pʊt mɔr ˈævərɪʤ ˈpipəl bæk tɪ wərk, ʃi həz sɛd. hər kæmˈpeɪn riˈlist ə ˈsteɪtmənt frəm ˈspoʊksmən din pɛˈtroʊni seɪɪŋ ðət ˈbaɪdən ənd ˈmərkli "ʃɛr ˈprɛzɪdənt ˌoʊˈbɑməz əˈʤɛndə ðət kənˈtɪnjuz ˈjuˈɛs daʊn ə pæθ əv fjuər ʤɑbz, haɪər kɔsts, ənd lɛs ˌɑpərˈtunəti. ʤɪst læst wik, ðə ˈprɛzɪdənt riˈmaɪndɪd ˈvoʊtərz ðət hɪz feɪld ˈpɑləsiz ər ɔn ðə ˈbælət ðɪs fɔl, soʊ ɪt ʃʊd kəm ɛz noʊ səˈpraɪz ˈsɛnətər ˈmərkli wʊd ˈdəbəl daʊn ɔn ðə ˈstætəs kwoʊ baɪ ˌɪnˈvaɪtɪŋ gæf proʊn ʤoʊ ˈbaɪdən tɪ dɪˈlɪvər ðət ˈmɛsɪʤ tɪ ˌɔrəˈgoʊniənz." ˈbaɪdən ʧɑrʤd ðət rɪˈpəblɪkənz hæv səˈpɔrtɪd ˈpɑləsiz ðət hæv hɛlpt ˈkɑnsənˌtreɪt tu ˈmɛni əv ðə ˌɛkəˈnɑmɪk geɪnz əˈməŋ ðə well-to-do*. hi ˈkrɪtəˌsaɪzd tæks reɪts ðət ər loʊər fər ˈmænɪʤərz ðən fər ˈwərkərz ənd wət hi sɛd wər ənˈnɛsəˌsɛri tæks breɪks fər ɔɪl ˈkəmpəˌniz. "soʊ foʊks, lʊk, wi hæv ə ˌfəndəˈmɛnəl dɪsəˈgrimənt wɪθ ðə rɪˈpəblɪkən ˈpɑrti," sɛd ˈbaɪdən, ˈædɪŋ ðət, "ðɪs ɪz nɑt jʊr ˈfɑðərz rɪˈpəblɪkən ˈpɑrti. aɪ wərkt wɪθ mɑrk ˈhætˌfild. ðɪs eɪnt mɑrk ˈhætˌfildz rɪˈpəblɪkən ˈpɑrti." ðət wɑz ə ˈrɛfərəns tɪ leɪt rɪˈpəblɪkən ˈsɛnətər hu ˈɔfən broʊk əˈkrɔs ˈpɑrti laɪnz tɪ voʊt wɪθ ˈdɛməˌkræts. ɛz ɪt ˈhæpənd, ˈbaɪdən hæd juzd ə ˈsɪmələr laɪn læst mənθ ɪn ə ˈwɔʃɪŋtən, d.c*., spiʧ ɪkˈsɛpt hi ˈfeɪvərəbli ˈmɛnʃənd sɛn. bɑb ˈpækˌwʊd, əˈnəðər ˈmɑdərˌeɪt ˈɔrəˌgɑn rɪˈpəblɪkən. ðət brɔt ə raʊnd əv ˈmidiə əˈkaʊnts seɪɪŋ ðət ðə ˈfeɪməsli ˈbaɪdən hæd strək əˈgɛn baɪ ˈpreɪzɪŋ ə ˈsɛnətər ˌbiˈfɔr ə ˈwɪmənz grup, noʊ lɛs hu hæd bɪn fɔrst tɪ rɪˈzaɪn bɪˈkəz əv ˈsɛkʃuəl mɪˈskɑndəkt. ɪn ˈpɔrtlənd, ˈbaɪdən əˈkjuzd əv ˈvoʊtɪŋ fər ðə rɪˈpəblɪkən ˈvərʒən əv ðə ˈbəʤɪt ɪn ˈkɑŋgrəs, ˌɔlˈðoʊ ʃi ˈhæzənt ˈæˌkʧuəli sərvd ðɛr. ʃi həz sɛd ðət ʃi wʊd hæv ˈvoʊtɪd əˈgɛnst ðə ˈbəʤɪt əˈpruvd baɪ ðə ˈsɛnɪt, ˈɑrgjuɪŋ ðət ɪt wʊd ˌɪnˈkris ðə ˈdɛfəsət ənd reɪz ˈtæksɪz. ˈmərkli, fər hɪz pɑrt, əˈkjuzd əv ˈkrɪbɪŋ hər prəˈpoʊzəlz frəm rɪˈpəblɪkən ˈstrætɪʤɪst kɑrl roʊv, ðə ˌbɪljəˈnɛr kɔʧ ˈbrəðərz ənd ðə rɪˈpəblɪkən ˈlidərˌʃɪp ɪn ðə ˈsɛnɪt. hi ˈɑrgjud ðət ðə ˈkəntri ʃʊd bi ˈmeɪkɪŋ məʧ ˈbɪgər ˌɪnˈvɛstmənts ɪn ˌɛʤəˈkeɪʃən ənd ˌɪnfrəˈstrəkʧər tɪ ˌɪmˈpruv ðə ɪˈkɑnəmi. ˌdɛməˈkrætɪk rɛps. ərl ənd suˈzæn ˈɔlsoʊ spoʊk tɪ ðə kraʊd ɛz dɪd ˈpɔrtlənd meɪər ˈʧɑrəlz heɪlz. gɑt wən əv ðə ˈbɪgəst ʧɪrz frəm ðə ˈpɑrtəzən kraʊd wɪn ʃi faʊnd ðɪs weɪ tɪ gɪt ɪn ə dɪg æt. "səm əv ju meɪ hæv ˈæˌkʧuəli hərd mi tɔk əˈbaʊt ðə nid fər mɔr ˈwɪmən ɪn ˈkɑŋgrəs," sɛd, "bət lɛt mi meɪk ˈsəmθɪŋ ˈpərfəktli klɪr: ɪt dɪˈpɛndz ɔn ðə ˈwʊmən." ˌbiˈfɔr ðə ˈræli, ˈbaɪdən əˈpɪrd æt ə ˈfənˌdreɪzər wɪθ ˈmərkli, bət ðə ˈsɛnətərz kæmˈpeɪn eɪdz dɪd nɑt prəˈvaɪd ˈɛni ˈditeɪlz əv ðə ɪˈvɛnt. ˈæftər ˈlivɪŋ ðə kənˈvɛnʃən ˈsɛnər, ˈbaɪdən ənd ˈmərkli lɛd ðɛr ˈmoʊtərˌkeɪd əp nɔrθ ˈwɪljəmz ˈævəˌnu ɛz ðə ˈivnɪŋ kəmˈjut wɑz ɪn fʊl swɪŋ. ˈbaɪˌstændərz ɪn wən əv ðə ˈsɪtiz ˈhɪpəst ˈneɪbərˌhʊdz stɛpt aʊt əv ˈtævərnz ənd ˈrɛˌstrɑnts, ˈmɛni wɪθ bɪrz ɪn hænd tɪ wɔʧ ðə prəˈsɛʃən. æt wən ˌɪntərˈsɛkʃən, ə hæf ˈdəzən ˈsaɪkəlɪsts, blɑkt frəm wən əv ðə ˈsɪtiz ˈbɪziəst bikeways*, snæpt ʃɑts ɔn ðɛr smartphones*. ðɛr ˌdɛstɪˈneɪʃən, ɔn ˌnɔrˈθist ælˈbərtə strit, wɑz sɔlt strɔ, ðə ˈnæʃənəli preɪzd pərˈveɪər əv ˈgʊrˌmeɪ aɪs krim. "ʤɛf həz bɪn ˈbrægɪŋ əˈbaʊt ðɪs pleɪs fər ðə læst 20 ˈmɪnəts," ˈbaɪdən sɛd, hɪz ˈeɪviˌeɪtər ˈsənˌglæsɪz ˈfərmli ɪn pleɪs, ɛz hi ˈɛnərd ðə ʃɑp wɪθ ˈmərkli. "wəts ðə ˈkloʊsəst ju hæv tɪ ˈʧɔklət?" ðə vaɪs ˈprɛzɪdənt æst. hi wund əp rɪˈsivɪŋ ə skup əv ˈʧɔklət ənd ə skup əv vəˈnɪlə. ˈmərkli æst fər bət wɑz toʊld ɪt wɑz aʊt əv ˈsizən. hi ˈɛndɪd əp wɪθ ə skup əv ðə seɪm ˈʧɔklət ənd ə skup əv ˈkɔfi ənd ˈbərbən. ˈbaɪdən peɪd fər ðə aɪs krim, ˈkɔlɪŋ hɪmˈsɛlf ðə "læst əv ðə ˈbɪgˌtaɪm ˈspɛndərz" ənd æst wɛr hi kʊd liv ə tɪp. "ju pʊt ɪt ɪn ðə ʤɑr," sɛd van-tull*, wən əv ðə ˈwərkərz. ˈbaɪdən ɪˈvɛnʧəwəli keɪm əraʊnd ðə ˈkaʊntər tɪ poʊz fər ˈfoʊˌtoʊz wɪθ ðə stæf ənd skupt hɪmˈsɛlf səm ˈəðər teɪsts. "hi simd kwaɪt æt hoʊm," ˈoʊnər kɪm ˈmɑlɛk sɛd ˈæftər ðə vaɪs ˈprɛzɪdənt lɛft. "aɪ doʊnt noʊ ɪf hiz dən ðɪs ˌbiˈfɔr."
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vice president joe biden's working class heritage -- always a big part of his persona was on full display during his visit to portland wednesday to campaign for democratic sen. jeff merkley.
at an afternoon rally at the oregon convention center, biden portrayed merkley as someone like himself who knows what it was like to grow up in a family of modest means and hasn't forgotten that amid the self-importance of washington, d.c.
"the thing i like about your guy is he is a real guy," said biden, praising merkley for living in the same outer southeast portland neighborhood the senator grew up in and for sending his kids to public school there.
in the rally -- which followed a closed-door fundraiser -- both merkley and biden hammered relentlessly on the idea that they were champions for the middle class while republicans favored the wealthy.
the rally, which the merkley campaign said attracted nearly 1,000 supporters, was aimed at encouraging greater democratic turnout in the upcoming nov. 4 election, where merkley faces a challenge from republican monica wehby.
biden skipped over ebola, war in iraq and syria, and other subjects that have put the obama administration on the defensive in recent weeks. instead, his 25-minute talk was aimed almost exclusively at the idea that the economy -- which he described as "booming," at least in terms of job growth and the stock market -- is not working as it should for the middle class.
"there used to be a basic bargain in america" that most workers shared in the overall economic gains, said biden. "that's how the middle class was built. that used to be the bargain. and the middle class was what sustained the economy of this country over the last 100 years. but that bargain has been broken."
wehby has argued that obama administration policies have kept many people from getting good jobs. cutting taxes across the board and reducing regulations would help put more average people back to work, she has said.
her campaign released a statement from spokesman dean petrone saying that biden and merkley "share president obama's agenda that continues us down a path of fewer jobs, higher costs, and less opportunity. just last week, the president reminded voters that his failed policies are on the ballot this fall, so it should come as no surprise senator merkley would double down on the status quo by inviting gaffe prone joe biden to deliver that message to oregonians."
biden charged that republicans have supported policies that have helped concentrate too many of the economic gains among the well-to-do. he criticized tax rates that are lower for hedge-fund managers than for assembly-line workers and what he said were unnecessary tax breaks for oil companies.
"so folks, look, we have a fundamental disagreement with the republican party," said biden, adding that, "this is not your father's republican party. i worked with mark hatfield. ... this ain't mark hatfield's republican party."
that was a reference to late republican senator who often broke across party lines to vote with democrats.
as it happened, biden had used a similar line last month in a washington, d.c., speech -- except he favorably mentioned sen. bob packwood, another moderate oregon republican. that brought a round of media accounts saying that the famously gaffe-prone biden had struck again by praising a senator -- before a women's group, no less -- who had been forced to resign because of sexual misconduct.
in portland, biden accused wehby of voting for the republican version of the budget in congress, although she hasn't actually served there. she has said that she would have voted against the budget approved by the democratic-led senate, arguing that it would increase the deficit and raise taxes.
merkley, for his part, accused wehby of cribbing her proposals from republican strategist karl rove, the billionaire koch brothers and the republican leadership in the senate. he argued that the country should be making much bigger investments in education and infrastructure to improve the economy.
democratic reps. earl blumenauer and suzanne bonamici also spoke to the crowd as did portland mayor charles hales. bonamici got one of the biggest cheers from the partisan crowd when she found this way to get in a dig at wehby.
"some of you may have actually heard me talk about the need for more women in congress," bonamici said, "but let me make something perfectly clear: it depends on the woman."
before the rally, biden appeared at a fundraiser with merkley, but the senator's campaign aides did not provide any details of the closed-door event.
after leaving the convention center, biden and merkley led their motorcade up north williams avenue as the evening commute was in full swing. bystanders in one of the city's hippest neighborhoods stepped out of taverns and restaurants, many with beers in hand to watch the procession. at one intersection, a half dozen cyclists, blocked from one of the city's busiest bikeways, snapped shots on their smartphones.
their destination, on northeast alberta street, was salt & straw, the nationally praised purveyor of gourmet ice cream.
"jeff has been bragging about this place for the last 20 minutes," biden said, his aviator sunglasses firmly in place, as he entered the shop with merkley.
"what's the closest you have to chocolate?" the vice president asked. he wound up receiving a scoop of chocolate woodblock and a scoop of double-fold vanilla.
merkley asked for marionberry but was told it was out of season. he ended up with a scoop of the same chocolate and a scoop of stumptown coffee and bourbon.
biden paid for the ice cream, calling himself the "last of the big-time spenders" and asked where he could leave a tip.
"you put it in the jar," said sahi van-tull, one of the workers. biden eventually came around the counter to pose for photos with the staff and scooped himself some other tastes.
"he seemed quite at home," owner kim malek said after the vice president left. "i don't know if he's done this before."
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biɪŋ pərˈdəktɪv ɪz ˈsəmθɪŋ wi ər pərˈsuɪŋ rɪˈlɛntləsli wɪˈθaʊt kˈwɛsʧənɪŋ ðə ˈaʊtər ˈlɪmɪts əv ɪt. ðɛr ɪz noʊ səʧ θɪŋ ɛz tu pərˈdəktɪv, wi θɪŋk, ənd ˈɔfən taɪmz wi ər əbˈsɛsɪŋ wɪθ ɪt ɪn ˈɛkˌsɛs. ɪf ju ər əˈdɪktɪd tɪ ˈsɛlfɪmˈpruvmənt, ənd ɪn ˈɛni weɪ bit jʊr hɛd ˈoʊvər biɪŋ mɔr pərˈdəktɪv ðə ˈlɑrʤər pɑrt əv ðə deɪ, ðɛn ju ˈprɑbəˌbli ˈnɛvər ˈivɪn keɪm tɪ ˈriəˌlaɪz ðət fəˈnætɪkəli traɪɪŋ tɪ ˌɪnˈkris ˌproʊdəkˈtɪvɪti, ju ər ˈoʊnli ˈlɪmətɪŋ ˈjɔrsɛlf ənd jʊr pəˈtɛnʃəl. hɛns, kən ðə ˈvɛri aɪˈdiə əv ˌɪnˈkrisɪŋ ˌproʊdəkˈtɪvɪti tərn ɛz ˈkaʊnərprəˌdəktɪv ɔn ðə lɔŋ rən? ər ðə mɔr ˌɪmˈpɔrtənt kˈwɛʃən: du ju fil ðət baɪ biɪŋ əbˈsɛst wɪθ ˌɪnˈkrisɪŋ ˌproʊdəkˈtɪvɪti ju ər nɑt ˈivɪn əˈwɛr əv ɪt? mɔr ɪz ˈbɛtər, ər soʊ wi θɪŋk ɪf θɪŋz ər gʊd fər ˈjuˈɛs, waɪ nɑt hæv səm əv ðɛm ɪn ˈplɛnti? ˈdəbəl tu, raɪt? ˈnɛvər ðə keɪs, ɔlˈbiɪt ɪt meɪ straɪk ˈjuˈɛs ɛz səʧ. ju si, biɪŋ tɔt ðət mɔr ɪz ˈbɛtər, wi ər ˈʤəmpɪŋ tɪ ɛˈroʊniəs kənˈkluʒənz weɪ tu ˈərli, ənd ɔl əv ðə ˈsədən biɪŋ mɔr pərˈdəktɪv həz noʊ ˈlɪmɪts ɪn tərmz əv ɪˈnəf. bət ˈoʊnli ˈstɛpɪŋ bæk ənd siɪŋ ðə hoʊl ˈpɪkʧər ˈrəðər ðən ʤɪst ə ˈfrægmənt, kən wi si ðət ɑr ˌproʊdəkˈtɪvɪti ɪz nɑt æt ɔl ˈkloʊsli lɪŋkt wɪθ ˈkɑnstənt əˈtɛmpts tɪ ˌɪnˈkris ɪt. mɔr əv ə draɪv wi hæv, wɪʧ ɪn ə weɪ ˈhɪndərz ˌproʊdəkˈtɪvɪti, traɪɪŋ tɪ bi mɔr pərˈdəktɪv ðət ɪz. ənd ˈlʊkɪŋ ɪn ðə bɪg ˈpɪkʧər wi kən ˈoʊnli si ɑrˈsɛlvz ˈstrɛsɪŋ tu məʧ ˈoʊvər ɪt, ənd prəˈkræstəˌneɪtɪŋ mɔr ðən duɪŋ ˈsəmθɪŋ ˈjusfəl ənd ˌproʊˈæktɪv. waɪ ər wi əbˈsɛst wɪθ biɪŋ pərˈdəktɪv? ju noʊ mi, aɪ ˈɔlˌweɪz bleɪm ðə soʊˈsaɪɪti. wɪθ ə ˈpɔɪnti stɪk, raɪt? bət naʊ ʤoʊks əˈsaɪd. ðɛr ɪz ˈsəmˌwən tɪ bleɪm, ənd sɪns wi ər nɑt bɔrn wɪθ ðə draɪv tɪ əbˈsɛs ˈoʊvər haʊ tɪ əˈʧiv mɔr, bət ˈrəðər əˈʧiv ɪt, wi kən seɪ ðət ˈivɪn ðoʊ wi ər ðə wənz əˈdɑptɪŋ ðɪs ˈmaɪndˌsɛt, ɪt wɑz fɔrst tɪ ˈjuˈɛs ɪn ə weɪ. ənd ɛz wɪθ ˈɛni ˈəðər ˈæˌspɛkt naʊ ˈpɑpjələr ɪn tərmz əv ˈpərsɪnəl groʊθ, hir θɪŋz ər ðə seɪm. ˈfɪtnəs, ˈhɛlθi ˈitɪŋ, ˌɔrgənəˈzeɪʃən, time-management*, self-analyzing…*… ju neɪm ɪt, wi ər ˈgɪtɪŋ ðə ˈfilɪŋ ðət ˈnəθɪŋ ɪz ɪˈnəf wɪn ˈpræktɪsɪŋ ðoʊz wɪθ ðə ˌɪnˈtɛnʧən əv ˈhævɪŋ ə ˈbɛtər laɪf. ɪn ðə seɪm ˈfæʃən, wi ər ˈɔlˌweɪz ˈæŋʃəs əˈbaʊt nɑt biɪŋ pərˈdəktɪv ɪˈnəf; ðət ðɛr ɪz mɔr tɪ bi dən ɪn ðə freɪm əv ˈoʊnli wən deɪ, ɪn ən aʊər, ˈivɪn. ənd ɪn ˈɔrdər fər θɪŋz tɪ gɪt wərs, ˈɛvriˌwən wɪθ ðə sˈlaɪtəst əv ˈɪntəˌrɛst ɪn ˌɪmˈpruvɪŋ ðɛmˈsɛlvz hæv əˈdɑptəd ðɪs ˈmaɪndˌsɛt əv ˈnɛvər biɪŋ ˈsætɪsˌfaɪd, soʊ wi ər nɑt ˈoʊnli ɪnˈkərəʤd tɪ strɛs mɔr ðən wi nid, bət ˈɔlsoʊ ˈkrɪtəˌsaɪzd ɪf ˈəðərˌwaɪz. biɪŋ tɔt frəm ˈəðərz ðət ʃɛr ðə seɪm vju ɔn ˈsɛlfɪmˈpruvmənt ənd biɪŋ mɔr pərˈdəktɪv ɛz ðə məˈʤɔrəti, wi ər ˈoʊnli ˈlɪmətɪŋ ɑrˈsɛlvz, ənd ɪf ju θɪŋk əˈbaʊt ɪt, ɪt kɪlz ɑr ˌproʊdəkˈtɪvɪti ɪn ðə fərst pleɪs. ˈpipəl hu ər əˈʧivɪŋ mɔr kən tiʧ ˈjuˈɛs əˈbaʊt biɪŋ mɔr pərˈdəktɪv teɪk ə lʊk ɔn ˈpipəl hu ər ɔˈrɛdi ɪf ju bɪˈliv mi. wət ju wɪl ˈnoʊtɪs ɪz ðə seɪm θɪŋ wi ər ˈtɔkɪŋ hir əˈbaʊt ðeɪ strɛs ənd əbˈsɛs əˈbaʊt biɪŋ mɔr pərˈdəktɪv æt ɔl. ðeɪ ʤɪst meɪk ˌproʊdəkˈtɪvɪti ə ˈhæbət, ənd liv ɪt ðɛr. ðeɪ rɛd ˈkɑnstəntli əˈbaʊt haʊ tɪ skwiz mɔr tæsks ɪn ə ˈsɪŋgəl deɪ. ðeɪ goʊ ˈsikɪŋ ˈguˌruz hu wɪl tɛl ðɛm haʊ tɪ əˈʧiv mɔr ðeɪ ʤɪst du ɪt. ðə θɪŋ ɪz, ðeɪ lərn əˈbaʊt ˌproʊdəkˈtɪvɪti waɪl ɔn ðə goʊ; frəm ˈpərsɪnəl ɪkˈspɪriəns, θru traɪəl ənd ˈɛrər. bɪˈkəz ˈəðərˌwaɪz ən ˈɛndləs ʧeɪs əraʊnd ðə maypole*, ɛz aɪ laɪk tɪ seɪ. biɪŋ mɔr pərˈdəktɪv baɪ nɑt ˈstrɛsɪŋ ˈoʊvər ɪt nɑt ə kraɪm æt ɔl, ˈwɑnɪŋ tɪ ˌɪmˈpruv ˈjɔrsɛlf mɔr. bət ðə ˈfæstər wi ˈriəˌlaɪz ðət ˈstrɛsɪŋ ˈoʊvər ɪt ˈoʊnli ˈhɪndərz ɑr ˌɪmˈpruvmənt, ðə ˈfæstər wi wɪl ˌɪmˈpruv. ʃʊr, ju kən lərn ˈmɛni tɛkˈniks əˈbaʊt biɪŋ pərˈdəktɪv, ənd ˈlɪsən tɪ wət ˈəðər ˈpipəl seɪ, bət ɪn ðə ɛnd ju məst ˈrɛkəgˌnaɪz wɪn ɪˈnəf ɪz ɪˈnəf. ənd ˈjuʒəwəli ɪˈnəf ɪz wɪn wi kən ɔˈrɛdi ˈbɛnəfɪt frəm ðə ˈnɑlɪʤ ˈgæðərd əˈbaʊt biɪŋ mɔr pərˈdəktɪv, bət stɑrt ˈlʊkɪŋ fər mɔr bɪˈkəz əv prəˌkræstəˈneɪʃən ˈstɑrtɪŋ tɪ kɪk ɪn. ɪn səʧ taɪmz hir ər səm ˈjusfəl θɪŋz ju kən traɪ: lərn ˈoʊnli wən tɛkˈnik əˈbaʊt ˌɪnˈkrisɪŋ ˌproʊdəkˈtɪvɪti ðət ˈrɛzəˌneɪts wɪθ ju, ənd stɪk ˈoʊnli tɪ ðət wən. lɛt ðət bi ə ˈsɪmpəl wən, wən ðət ju kən ˈizəli tərn ˈɪntu ˈhæbət, ənd wən ðət ˌrikˈwaɪər tu məʧ əˈdɪʃənəl ˈɛfərt. waɪl æt ɪt hir ɪz ˈsəmθɪŋ ðət ˈmæʧɪz ðət dɪˈskrɪpʃən: ˈsɪmpəl ˌproʊdəkˈtɪvɪti ˌɪmˈpruvmənt tɛkˈnik fərˈgɛt əˈbaʊt kəmˈjunɪtiz ˈkɑnstəntli ˈtɔkɪŋ əˈbaʊt biɪŋ mɔr pərˈdəktɪv. wəns ju noʊ haʊ, ðɛr ɪz noʊ nid tɪ tɔk əˈbaʊt ɪt ˌɛniˈmɔr ʤɪst stɑrt ˈɪmpləˌmɛnɪŋ. bit prəˌkræstəˈneɪʃən ənd ju wɪl bi mɔr pərˈdəktɪv ðə ʃɔrt ˈvərʒən. fərˈgɛt əˈbaʊt ˈdaɪˌʤɛstɪŋ mɔr ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ɪt, ənd əbˈsɛsɪŋ wɪθ ɪt. wəns ju lərn wət ju nid tɪ noʊ, ʤɪst muv ɔn tɪ ˈsəmθɪŋ ɛls tɪ ˌɪmˈpruv, ənd liv ðə ˌproʊdəkˈtɪvɪti ˈæˌspɛkt əv jʊr laɪf əˈloʊn. ɪf ju kən du ɪt, ðɛn du ɪt, ˈnɛvər weɪst ðə taɪm ˈθɪŋkɪŋ əˈbaʊt haʊ ju kʊd hæv dən ɪt ˈbɛtər, ˈθɪŋkɪŋ əˈbaʊt biɪŋ mɔr pərˈdəktɪv ðə nɛkst taɪm. traɪɪŋ tɪ bi mɔr pərˈdəktɪv dɪd, ənd stɪl teɪks ə juʤ taɪm aʊt əv maɪ ˈskɛʤʊl. ɛz ju si ɛz ˈgɪlti ɛz ðə nɛkst gaɪ. bət wət aɪ traɪ tɪ əˈʧiv ɪz tɪ kəmˈplitli stɑp ˈwəriɪŋ əˈbaʊt ɪt, baɪ ˈfɔrsɪŋ ˌmaɪˈsɛlf tɪ ˈlɪmət maɪ ˈɛfərts tɪ ðə ɪkˈstɛnt wɛr ˌproʊdəkˈtɪvɪti ɪz mɔr əv ə ˈhæbət, ðən ə treɪt ðət ɪz ˈəndər ˈkɑnstənt sərˈveɪləns. ju kən du ʤɪst ðə seɪm ənd bi ə lɔt mɔr pərˈdəktɪv waɪl prɪˈzərvɪŋ ˈsænəti ɛz wɛl. tɛl mi haʊ ˈɔfən ju əbˈsɛs əˈbaʊt biɪŋ pərˈdəktɪv ɪn ðə ˈkɑmɛnts bɪˈloʊ. ləv tɪ noʊ.
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being productive is something we are pursuing relentlessly without questioning the outer limits of it. there is no such thing as too productive, we think, and often times we are obsessing with it in excess.
if you are addicted to self-improvement, and in any way beat your head over being more productive the larger part of the day, then you probably never even came to realize that fanatically trying to increase productivity, you are only limiting yourself and your potential.
hence, can the very idea of increasing productivity turn as counterproductive on the long run?
or the more important question:
do you feel that by being obsessed with increasing productivity you are not even aware of it?
more is better, or so we think
if things are good for us, why not have some of them in plenty? double size’em too, right?
that’s never the case, albeit it may strike us as such.
you see, being taught that more is better, we are jumping to erroneous conclusions way too early, and all of the sudden being more productive has no limits in terms of enough.
but only stepping back and seeing the whole picture rather than just a fragment, can we see that our productivity is not at all closely linked with constant attempts to increase it.
it’s more of a drive we have, which in a way hinders productivity, trying to be more productive that is.
and looking in the big picture we can only see ourselves stressing too much over it, and procrastinating more than doing something useful and proactive.
why are we obsessed with being productive?
you know me, i always blame the society. stick’em with a pointy stick, right?
but now jokes aside. there is someone to blame, and since we are not born with the drive to obsess over how to achieve more, but rather achieve it, we can say that even though we are the ones adopting this mindset, it was forced to us in a way.
and as with any other aspect now popular in terms of personal growth, here things are the same. fitness, healthy eating, organization, time-management, self-analyzing… you name it, we are getting the feeling that nothing is enough when practicing those with the intention of having a better life.
in the same fashion, we are always anxious about not being productive enough; that there is more to be done in the frame of only one day, in an hour, even.
and in order for things to get worse, everyone with the slightest of interest in improving themselves have adopted this mindset of never being satisfied, so we are not only encouraged to stress more than we need, but also criticized if otherwise.
being taught from others that share the same view on self-improvement and being more productive as the majority, we are only limiting ourselves, and if you think about it, it kills our productivity in the first place.
people who are achieving more can teach us about being more productive
take a look on people who are already ultra-productive if you believe me. what you will notice is the same thing we are talking here about – they stress and obsess about being more productive at all. they just make productivity a habit, and leave it there.
they read constantly about how to squeeze more tasks in a single day. they go seeking gurus who will tell them how to achieve more – they just do it.
the thing is, they learn about productivity while on the go; from personal experience, through trial and error. because otherwise an endless chase around the maypole, as i like to say.
being more productive by not stressing over it
it’s not a crime at all, wanting to improve yourself more.
but the faster we realize that stressing over it only hinders our improvement, the faster we will improve.
sure, you can learn many techniques about being productive, and listen to what other people say, but in the end you must recognize when enough is enough.
and usually enough is when we can already benefit from the knowledge gathered about being more productive, but start looking for more because of procrastination starting to kick in.
in such times here are some useful things you can try:
learn only one technique about increasing productivity that resonates with you, and stick only to that one.
let that be a simple one, one that you can easily turn into habit, and one that doesn’t require too much additional effort. while at it here is something that matches that description:
simple productivity improvement technique forget about communities constantly talking about being more productive. once you know how, there is no need to talk about it anymore – just start implementing. beat procrastination and you will be more productive – the short version. forget about digesting more information about it, and obsessing with it. once you learn what you need to know, just move on to something else to improve, and leave the productivity aspect of your life alone.
if you can do it, then do it, never waste the time thinking about how you could have done it better, thinking about being more productive the next time.
trying to be more productive did, and still takes a huge time out of my schedule.
as you see i’m as guilty as the next guy. but what i try to achieve is to completely stop worrying about it, by forcing myself to limit my efforts to the extent where productivity is more of a habit, than a trait that is under constant surveillance.
you can do just the same and be a lot more productive while preserving sanity as well.
tell me how often you obsess about being productive in the comments below. i’ll love to know.
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ˈʃɔrtli ˈæftər ðə dodgers’*’ pəˈzɪʃən pleɪərz ˌriˈpɔrtəd tɪ spərɪŋ ˈtreɪnɪŋ, pug ʃɛrd hɪz goʊl fər ðə 2014 ˈsizən wɪθ ˈhɪtɪŋ koʊʧ mɑrk məgˈwaɪər. wɛr wʊd ðə mərˈkjʊriəl sɛt ðə bɑr ˈæftər ən ˈrʊki ˈsizən, ə ˌkɑntrəˈvərʃəl off-season*, ənd noʊ əˈpɛrənt ˌgɛrənˈti əv ˈstɛdi pleɪɪŋ taɪm ɪn ən ˈaʊtˌfild wɪθ ˈɑnˌdreɪ ˈɛθiər, mæt kɛmp ənd kɑrl ˈkrɔfərd? pug sɛd hi ˈwɔntɪd tɪ bi ðə ˈnæʃənəl moʊst ˈvæljəbəl pleɪər. nɑt səˈpraɪzd baɪ anything,”*,” məgˈwaɪər sɛd. haʊ gʊd hi is.”*.” tɪ riʧ hɪz goʊl, wən θɪŋ wɑz klɪr: pug kʊd nɑt bi ðə seɪm pleɪər hu ˈstrəgəld ˈmaɪtəli ɪn ðə ˈfaɪnəl wiks əv 2013 əˈpoʊzɪŋ ˈpɪʧərz hæd geɪnd ðə ˈəpər hænd ɪn ðə geɪm əv cat-and-mouse*. ðə lig hæd əˈʤəstɪd tɪ pug, ˈgɪtɪŋ ɪm tɪ ʧeɪs ˈpɪʧɪz aʊt əv ðə zoʊn, ənd pug rɪˈspɑndɪd jɛt. ˈəndər ðə ˈgaɪdəns əv məgˈwaɪər ənd hɪz ˈvɛtərən ˈtimˌmeɪts, pug həz rɪˈspɑndɪd wɪθ ə ˈdɪfərənt əˈproʊʧ ənd ˈwərkɪŋ. ˈbætɪŋ ˈævərɪʤ 324 pərˈsɛnɪʤ 416 ənd sˈləgɪŋ pərˈsɛnɪʤ 561 hæv ɔl ˌɪmˈpruvd ˈoʊvər hɪz ˈrʊki jɪr. goʊɪŋ ˈɪntu ðə dodgers’*’ geɪm təˈdeɪ əˈgɛnst ðə ˌɛrɪˈzoʊnə diamondbacks*, pug həz ə ˈhɪtɪŋ strik. sɪns ðə strik bɪˈgæn hi həz ə 411 ˈbætɪŋ ˈævərɪʤ ənd ə 507 pərˈsɛnɪʤ. pug həz ˈdrɪvən ɪn ˈɔlˌmoʊst twaɪs ɛz ˈmɛni rənz 17 ɛz skɔrd (naɪn), dɪˈspaɪt ˈbætɪŋ ˈsɛkənd ˈɛvəri deɪ. praɪər tɪ ðə strik, pug ˈnɛvər wɛnt mɔr ðən wən geɪm wɪˈθaʊt kəˈlɛktɪŋ ə hɪt. soʊ wət ɪz ðɪs nu əˈproʊʧ ɔl əˈbaʊt? hæv tɪ pɪk ə saɪd əv ðə plate,”*,” məgˈwaɪər sɛd. hɪt 17 ˈɪnʧɪz ˈɛvəri deɪ. wi tɔk əˈbaʊt ðə geɪm plæn praɪər tɪ ðə geɪm. goʊ ˈoʊvər ðət geɪm plæn ənd meɪk əˈʤəstmənts θruaʊt ðə geɪm. ˈprɑbəˌbli ðə moʊst ˌɪmˈpɔrtənt thing.”*.” ɛz ə ˈrʊki, swinging”*” wɑz ə gʊd weɪ tɪ dɪˈskraɪb əˈproʊʧ. əˈkɔrdɪŋ tɪ ðə ˈwɛbˌsaɪt fangraphs.com*, hi swəŋ æt 37 pərˈsɛnt əv ˈpɪʧɪz ˈaʊtˈsaɪd ðə straɪk zoʊn ɪn 2013 ðɪs jɪr, daʊn tɪ pərˈsɛnt. ˈpɑrtli ə ˈfəŋkʃən əv ðə əˈproʊʧ tɪ ðə straɪk zoʊn ənd ˈpɑrtli bɪˈkəz pug ɪz siɪŋ fjuər gʊd ˈpɪʧɪz tɪ hɪt. gɪv ˈeɪdriən gɑnˈzɑləz ˈpɑrʃəl ˈkrɛdɪt, tu. gɑnˈzɑləz ənd pug, huz ˈlɑkərz əˈʤɔɪn ɪn ðə ˈdɑʤərz ˈkləˌbhaʊs, hæv ə bɛt goʊɪŋ ˌbiˈfɔr iʧ ˈsɪriz tɪ si hu wɪl drɔ ðə moʊst wɔks. ɪn 36 geɪmz ðɪs ˈsizən, pug həz drɔn 19 wɔks. (gɑnˈzɑləz həz 17 pug drɔ hɪz wɔk ɛz ə ˈrʊki ənˈtɪl hɪz geɪm əv ðə ˈsizən. gɑnˈzɑləz dɪˈklaɪnd tɪ dɪˈskloʊz ðə steɪks əv ðə ˈweɪʤər. tɪ meɪk ɪm ˌɛnˈʤɔɪ ðə ˈplɛʒər əv ə walk,”*,” hi sɛd, sˈmaɪlɪŋ. mɔr tɪ ðə ɪkˈweɪʒən ðən dɪˈzaɪər tɪ drɔ ə wɔk, wɪn ə bɛt, ər ˈivɪn tɪ wɪn ðə əˈwɔrd. əˈbɪləˌti tɪ ˈstədi ən əˈpoʊzɪŋ ˈpɪʧər wɑz ˈbɛrli ˈtɛstɪd læst jɪr. bɪˈkəz ðɛr ˈrɪli ə bʊk ɔn pug wɪn hi ˈdeɪbjutɪd, ˈfaɪndɪŋ ðə hoʊlz ɪn hɪz əˈproʊʧ wɑz ə bɪt laɪk θroʊɪŋ dɑrts. ˈθərˌdi geɪmz ˈɪntu hɪz kərɪr, pug wɑz ˈbætɪŋ 420 naʊ, əˈpoʊzɪŋ ˈpɪʧərz hæv ˈplɛnti əv ˈdætə ɔn pug. ɪt ˈstɑrtɪd tɪ ʃoʊ ˈdʊrɪŋ hɪz sləmp læst sɛpˈtɛmbər. ˈæftər ˈstreɪnɪŋ hɪz raɪt ni ɪn ə geɪm ɪn ˈdɛnvər, pug ˈbætɪd 195 ˈoʊvər ðə ˈfaɪnəl 26 deɪz əv ðə ˈrɛgjələr ˈsizən. ðɪs jɪr, məgˈwaɪər həz bɪn ˌɪmˈprɛst wɪθ rɪˈspɑns. əbˈzɔrbɪŋ ˈdætə ɛz ˈsɛksi ɛz ˈmeɪkɪŋ ə ˈdaɪvɪŋ kæʧ, ˈhɪtɪŋ ə hoʊm rən, ər ˈflɪpɪŋ ə bæt, bət ʤɪst ɛz ˌɪmˈpɔrtənt tɪ ˈwɪnɪŋ ən əˈwɔrd. ˈmeɪbi mɔr. ənd (əˈsɪstənt ˈhɪtɪŋ koʊʧ) ʤɑn ˌvɑˈlɛnˌtin hæv ə ʧɑrt ənd θɪŋz ðət wi tɔk əˈbaʊt praɪər tɪ iʧ series,”*,” məgˈwaɪər sɛd. tɔk tɪ ðə ˈhɪtərz ɛz ðeɪ goʊ əp tɪ ðə pleɪt, wət tɪ ɪkˈspɛkt, ðɪs ɪz wət tɪ du, wɛr ðeɪ ˈjuʒəwəli lɪv. θɪŋk ˈpipəl gɪv (pug) ˈkrɛdɪt fər haʊ smɑrt hi ɪz. ðeɪ si səm əv ðə θɪŋz ðət hi dɪz, ənd ðeɪ əˈsum. bət hi ɪz wən smɑrt ˌɪndəˈvɪʤəwəl ənd aɪ θɪŋk ʤɪst siɪŋ ðə tɪp əv ðə ˈaɪsbərg raɪt now.”*.” ˈdɑʤərz ˈmænɪʤər dɑn ˈmætɪŋli həz sɛd rɪˈpitɪdli ðət fˈjuʧər ɪz ɪn ðə ˈmɪdəl əv ðə ˈbætɪŋ ˈɔrdər. soʊ fɑr, ˈmætɪŋli ɪz ˈkɑntɛnt tɪ kip pug ɪn ðə noʊ. 2 slɑt. ˈdrɑpɪŋ tɪ θərd ər fɔrθ ɪn ðə nɪr fˈjuʧər fər pug, θru noʊ fɔlt əv hɪz oʊn. ˌsɪʧuˈeɪʃən ɪz goʊɪŋ tɪ kip ˈtɛlɪŋ ˈjuˈɛs wət goʊɪŋ tɪ du wɪθ him,”*,” ˈmætɪŋli sɛd. naʊ, noʊ ˈrizən tɪ swɪʧ gaɪz around.”*.” ɪn mɑrʧ, pug ˌɪˈnɪʃiˌeɪtɪd ə ˈmitɪŋ ɪn wɪʧ hi æst fər kənˈstrəktɪv ˈkrɪtɪˌsɪzəm frəm hɪz ˈtimˌmeɪts. stɪl ˈlɪsənɪŋ. ənd ˈhænli (rəˈmɪrɛz) ənd (wɑn) jərˈibi, ðoʊz gaɪz hæv bɪn ˈrɪli ˌɪmˈpɔrtənt tɪ him,”*,” məgˈwaɪər sɛd. hɛlps ɪm aʊt, ˈtɔkɪŋ əˈbaʊt haʊ ðiz ˈpɪʧərz ər ˈpɪʧɪŋ tu. bɪn ə greɪt tim effort.”*.”
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shortly after the dodgers’ position players reported to spring training, yasiel puig shared his goal for the 2014 season with hitting coach mark mcgwire.
where would the mercurial 23-year-old set the bar after an up-and-down rookie season, a controversial off-season, and no apparent guarantee of steady playing time in an outfield with andre ethier, matt kemp and carl crawford?
puig said he wanted to be the national league’s most valuable player.
“i’m not surprised by anything,” mcgwire said. “that’s how good he is.”
to reach his goal, one thing was clear: puig could not be the same player who struggled mightily in the final weeks of 2013. opposing pitchers had gained the upper hand in the game of cat-and-mouse. the league had adjusted to puig, getting him to chase pitches out of the zone, and puig hadn’t responded yet.
under the guidance of mcgwire and his veteran teammates, puig has responded with a different approach — and it’s working. puig’s batting average (.324), on-base percentage (.416) and slugging percentage (.561) have all improved over his rookie year.
going into the dodgers’ game today against the arizona diamondbacks, puig has a 14-game hitting streak. since the streak began he has a .411 batting average and a .507 on-base percentage. puig has driven in almost twice as many runs (17) as he’s scored (nine), despite batting second every day.
prior to the streak, puig never went more than one game without collecting a hit. so what is this new approach all about?
“you have to pick a side of the plate,” mcgwire said. “you can’t hit 17 inches every day. we talk about the game plan prior to the game. he’ll go over that game plan and he’ll make adjustments throughout the game. that’s probably the most important thing.”
as a rookie, “free swinging” was a good way to describe puig’s approach. according to the website fangraphs.com, he swung at 37 percent of pitches outside the strike zone in 2013. this year, he’s down to 28.7 percent.
that’s partly a function of the divide-and-conquer approach to the strike zone and partly because puig is seeing fewer good pitches to hit. give adrian gonzalez partial credit, too.
gonzalez and puig, whose lockers adjoin in the dodgers clubhouse, have a bet going before each series to see who will draw the most walks. in 36 games this season, puig has drawn 19 walks. (gonzalez has 17.) puig didn’t draw his 19th walk as a rookie until his 56th game of the season.
gonzalez declined to disclose the stakes of the wager.
“anything to make him enjoy the pleasure of a walk,” he said, smiling.
there’s more to the equation than puig’s desire to draw a walk, win a bet, or even to win the mvp award.
puig’s ability to study an opposing pitcher was barely tested last year. because there really wasn’t a book on puig when he debuted, finding the holes in his approach was a bit like throwing darts. thirty games into his career, puig was batting .420.
now, opposing pitchers have plenty of data on puig. it started to show during his slump last september. after straining his right knee in a game in denver, puig batted .195 over the final 26 days of the regular season.
this year, mcgwire has been impressed with puig’s response. absorbing data isn’t as sexy as making a diving catch, hitting a home run, or flipping a bat, but it’s just as important to winning an mvp award. maybe more.
“me and (assistant hitting coach) john valentin have a chart and things that we talk about prior to each series,” mcgwire said. “we talk to the hitters as they go up to the plate, what to expect, this is what to do, where they usually live.
“i don’t think people give (puig) credit for how smart he is. they see some of the things that he does, and they assume. but he is one smart individual and i think you’re just seeing the tip of the iceberg right now.”
dodgers manager don mattingly has said repeatedly that puig’s future is in the middle of the batting order. so far, mattingly is content to keep puig in the no. 2 slot. dropping to third or fourth isn’t in the near future for puig, through no fault of his own.
“our situation is going to keep telling us what we’re going to do with him,” mattingly said. “right now, there’s no reason to switch guys around.”
in march, puig initiated a meeting in which he asked for constructive criticism from his teammates. he’s still listening.
“gonzo and hanley (ramirez) and (juan) uribe, those guys have been really important to him,” mcgwire said. “that helps him out, talking about how these pitchers are pitching too. it’s been a great team effort.”
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ˈhərmətəʤ, pɑ. (ˌeɪˈpi) pəˈlis hæv lɪŋkt ðə ˈlɑrʤˌskeɪl θɛft əv ˈdizəl fjuəl frəm ə ˈwɛstərn ˌpɛnsəlˈveɪnjə kənˈvinjəns stɔr tɪ ə ˈspɛʃəli ɪkˈwɪpt ˈpɪˌkəp ˈtreɪlər wɪθ ə træp dɔr ənd ə ˈvækjum hoʊz. noʊ wən həz bɪn ʧɑrʤd, bət ðə trək ənd ˈtreɪlər wər faʊnd ɔn ðə ˈprɑpərti əv ə mæn hu oʊnz ə smɔl ˈæsˌfɔlt ənd ˈtrəkɪŋ ˈkəmpəˌni ɪn oʊˈhaɪoʊ, pəˈlis sɛd. nu muv: θivz ˈdrɪlɪŋ ˈɪntu gæs tæŋks tɪ stil 'ˈlɪkwɪd goʊld' "ɪts ə ˈvɛri ˌɪnˈʤinjəs weɪ əv duɪŋ θɪŋz ənd aɪv ˈnɛvər sin ˈɛniˌθɪŋ laɪk ðɪs," sɛd ˈhərmətəʤ ˈdɛpjəti pəˈlis ʧif ˈɛdwərd. sɛd hɪz dɪˈpɑrtmənt ɪz ˌɪnˈvɛstəˌgeɪtɪŋ ˈwɛðər ðə trək ɪz lɪŋkt tɪ æt list θri θɛfts sɪns 2005 ɪn ðə ˈleɪtəst, əˈbaʊt wərθ əv ˈdizəl fjuəl wɑz ˌriˈpɔrtəd ˈstoʊlən ˈeɪprəl 28 frəm ðə ˈəndərˌgraʊnd tæŋks əv ðə tɪk fud mɑrt ɪn ˈhərmətəʤ. pəˈlis ˈɪʃud ə sərˈveɪləns ˈfoʊˌtoʊ əv ðə ˈpɪˌkəp ənd ˈtreɪlər bɪˈlivd tɪ bi ˌɪnˈvɑlvd ɪn ðə θɛfts ənd rɪˈsivd ə tɪp ðət lɛd ðɛm tɪ ə ˈprɑpərti ɪn nɔrθ ˈblumˌfild, oʊˈhaɪoʊ, əˈbaʊt 30 maɪəlz ˌnɔrθˈwɛst əv ˈhərmətəʤ. pəˈlis ˈspɑtɪd ðə trək ənd ˈtreɪlər ɔn ðə ˈprɑpərti ˈtuzˌdeɪ ənd əbˈteɪnd ə sərʧ ˈwɔrənt ðət wɑz ˈɛksəˌkjutɪd ˈwɛnzˌdeɪ. ðə ˈtreɪlər kənˈteɪnd ə strɔ wɔl ðət kənˈsild ə ˈwʊdən pɑrˈtɪʃən. ðə pɑrˈtɪʃən hɪd ə ˈsaɪfənɪŋ ˈmɛkəˌnɪzəm ənd ən ˈɛmti lɔŋ ˈproʊˌpeɪn tæŋk. pəˈlis bɪˈliv ˈsəmˌwən ˌɪnˈsaɪd ðə ˈtreɪlər wʊd ˈsaɪfən ˈdizəl fjuəl frəm ˈəndərˌgraʊnd tæŋks æt fjuəl ˈsteɪʃənz baɪ loʊərɪŋ ə hoʊz θru ðə træp dɔr ənd ˈjuzɪŋ ðə ˈɪnʤən tɪ paʊər ə ˈvækjum ðət dru ðə fjuəl ˈɪntu ðə tæŋk, sɛd. pəˈlis ˈɔlsoʊ faʊnd ˈsɛvərəl ˈstɔrɪʤ tæŋks ɔn ðə oʊˈhaɪoʊ ˈprɑpərti, ˌɪnˈkludɪŋ ə tæŋk kənˈteɪnɪŋ əˈbaʊt 500 ˈgælənz əv ˈdizəl fjuəl. sɛd pəˈlis ɪn oʊˈhaɪoʊ ər ˌɪnˈvɛstəˌgeɪtɪŋ æt list wən θɛft ðɛr, tu. bɪˈkəz pəˈlis ər kənˈtɪnjuɪŋ tɪ ˌɪnˈvɛstəˌgeɪt ðə θɛfts, sɛd hi ˈdəzənt ɪkˈspɛkt hɪz dɪˈtɛktɪvz tɪ faɪl ˈʧɑrʤɪz ənˈtɪl nɛkst wik. ˈkɑpiˌraɪt 2008 ðə əˈsoʊʃiˌeɪtəd prɛs. ɔl raɪts rɪˈzərvd. ðɪs məˈtɪriəl meɪ nɑt bi ˈpəblɪʃt, ˈbrɔdˌkæst, riˈrɪtən ər ˌridɪˈstrɪbjətɪd. ˈgaɪˌdlaɪnz: ju ʃɛr ɪn ðə ˈjuˈɛˈseɪ təˈdeɪ kəmˈjunɪti, soʊ pliz kip jʊr ˈkɑmɛnts smɑrt ənd ˈsɪvəl. doʊnt əˈtæk ˈəðər ˈridərz ˈpərsənəli, ənd kip jʊr ˈlæŋgwɪʤ ˈdisənt. juz ðə "rɪˈpɔrt əˈbjuz" ˈbətən tɪ meɪk ə ˈdɪfərəns. ju ʃɛr ɪn ðə ˈjuˈɛˈseɪ təˈdeɪ kəmˈjunɪti, soʊ pliz kip jʊr ˈkɑmɛnts smɑrt ənd ˈsɪvəl. doʊnt əˈtæk ˈəðər ˈridərz ˈpərsənəli, ənd kip jʊr ˈlæŋgwɪʤ ˈdisənt. juz ðə "rɪˈpɔrt əˈbjuz" ˈbətən tɪ meɪk ə ˈdɪfərəns. rɛd mɔr
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hermitage, pa. (ap) police have linked the large-scale theft of diesel fuel from a western pennsylvania convenience store to a specially equipped pickup trailer with a trap door and a vacuum hose. no one has been charged, but the truck and trailer were found on the property of a man who owns a small asphalt and trucking company in ohio, police said. new move: thieves drilling into gas tanks to steal 'liquid gold' "it's a very ingenious way of doing things and i've never seen anything like this," said hermitage deputy police chief edward holiga. holiga said his department is investigating whether the truck is linked to at least three thefts since 2005. in the latest, about $4,500 worth of diesel fuel was reported stolen april 28 from the underground tanks of the tic toc food mart in hermitage. police issued a surveillance photo of the pickup and trailer believed to be involved in the thefts and received a tip that led them to a property in north bloomfield, ohio, about 30 miles northwest of hermitage. police spotted the truck and trailer on the property tuesday and obtained a search warrant that was executed wednesday. the trailer contained a straw wall that concealed a wooden partition. the partition hid a siphoning mechanism and an empty 15-foot long propane tank. police believe someone inside the trailer would siphon diesel fuel from underground tanks at fuel stations by lowering a hose through the trap door and using the pickup's engine to power a vacuum that drew the fuel into the tank, holiga said. police also found several storage tanks on the ohio property, including a 5,000-gallon tank containing about 500 gallons of diesel fuel. holiga said police in ohio are investigating at least one theft there, too. because police are continuing to investigate the thefts, holiga said he doesn't expect his detectives to file charges until next week. copyright 2008 the associated press. all rights reserved. this material may not be published, broadcast, rewritten or redistributed. guidelines: you share in the usa today community, so please keep your comments smart and civil. don't attack other readers personally, and keep your language decent. use the "report abuse" button to make a difference. you share in the usa today community, so please keep your comments smart and civil. don't attack other readers personally, and keep your language decent. use the "report abuse" button to make a difference. read more
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haʊs ˈspikər ʤɑn ˈboʊnər (r-ohio*) dɪˈpɑrts ə nuz ˈkɑnfərəns ˈθərzˌdeɪ ɔn ˈkæpɪtəl hɪl. (ˈfoʊˌtoʊ: wɪn ˈɪmɪʤɪz) haʊs ˈspikər ʤɑn ə. ˈboʊnər (r-ohio*) ʃɑt daʊn rɪˈtaɪərmənt ˈrumərz ɪn ə brif ˈɪntərvˌju ˈwɛnzˌdeɪ wɪθ ðə ˈwɔʃɪŋtən poʊst. "ˌæbsəˈlutli nɑt tru," ˈboʊnər sɛd, wɪn æst ˈwɛðər hɪz ˈrisənt ˈkɑndoʊ ˈpərʧəs ɪn ˈflɔrɪdə ˈsɪgnəlz hɪz ˈlumɪŋ dɪˈpɑrʧər frəm ˈkɑŋgrəs. ˌbiˈfɔr ˈænsərɪŋ, ˈboʊnər, hu wɑz fərst ɪˈlɛktɪd ɪn 1990 ˈʧəkəld əˈbaʊt ðə rɪˈtaɪərmənt kˈwɛʃən, wɪʧ həz ˈbəzɪŋ əraʊnd ˈkæpɪtəl hɪl fər mənθs. "hɑ, hɑ, hɑ," hi sɛd, ɛz rɪˈpɔrtərz sərˈaʊndɪd ɪm ˈdʊrɪŋ ə rɛr əˈpɪrəns ɪn ðə ˈspikərz ˈlɑbi nɪr ðə haʊs flɔr. ˈərliər ðɪs mənθ, ˈboʊnər ˈpərʧəst ə ˈkɑndoʊ ɪn ˈmɑrkoʊ ˈaɪlənd, ə veɪˈkeɪʃən ənd rɪˈzɔrt kəmˈjunɪti ɔn ˈflɔrɪdəz gəlf koʊst, wɪʧ ɪz ˈdɑtɪd wɪθ ˈɛmərrəld grin gɔlf ˈkɔrsɪz ənd ˈbiʧɪz. ˈboʊnər, ən ˈævɪd ˈgɑlfər, ɪz sɛd tɪ ləv ðə ˈɛriə, ənd hɪz ˈfæməli həz meɪd ˈmɛni trɪps ðɛr ˈoʊvər ðə jɪrz. ðə ˈpərʧəs, ˌhaʊˈɛvər, sɛt ɔf ə ˈgɛsɪŋ geɪm ɪn ˈwɔʃɪŋtən əˈbaʊt ˈwɛðər ˈboʊnər, 64 ɪz sˈloʊli meɪk hɪz weɪ aʊt ðə dɔr. stæf dɪsˈmɪst ðə kˈwɛʃən sun ˈæftər nuz əv ðə ˈpərʧəs broʊk, ənd ˈboʊnər ɔn ˈwɛnzˌdeɪ meɪd ʃʊr tɪ skwɛlʧ ˈɛni ˈlɪŋgərɪŋ ˌspɛkjəˈleɪʃən. "ðɪs ˈɛriə əv ˈflɔrɪdə həz bɪn ðə boehners*' ˈfæməli veɪˈkeɪʃən spɑt fər ˈmɛni jɪrz, ənd ˈrəðər ðən kənˈtɪnju tɪ pʊt ˈməni ˈɪntu veɪˈkeɪʃən ˈrɛntəlz jɪr ˈæftər jɪr, ðeɪ ˌdɪˈsaɪdɪd tɪ baɪ ə ˈkɑndoʊ," sɛd ˈboʊnər ˈspoʊksmən ˈmaɪkəl stil. "ðɛr hoʊm ɪz ɪn wɛst ˈʧɛstər, oʊˈhaɪoʊ, ənd wɪl kənˈtɪnju tɪ bi."
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house speaker john boehner (r-ohio) departs a news conference thursday on capitol hill. (photo: win mcnamee/getty images)
house speaker john a. boehner (r-ohio) shot down retirement rumors in a brief interview wednesday with the washington post. "absolutely not true," boehner said, when asked whether his recent condo purchase in florida signals his looming departure from congress.
before answering, boehner, who was first elected in 1990, chuckled about the retirement question, which has buzzing around capitol hill for months. "ha, ha, ha," he said, as reporters surrounded him during a rare appearance in the speaker's lobby near the house floor.
earlier this month, boehner purchased a $835,000 condo in marco island, a vacation and resort community on florida's gulf coast, which is dotted with emerald green golf courses and white-sand beaches. boehner, an avid golfer, is said to love the area, and his family has made many trips there over the years.
the purchase, however, set off a guessing game in washington about whether boehner, 64, is slowly make his way out the door. boehner's staff dismissed the question soon after news of the purchase broke, and boehner on wednesday made sure to squelch any lingering speculation.
"this area of florida has been the boehners' family vacation spot for many years, and rather than continue to put money into vacation rentals year after year, they decided to buy a condo," said boehner spokesman michael steel. "their home is in west chester, ohio, and will continue to be."
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ˈɪmɪʤ ˈkæpʃən ðə ˈvælju əv ɑrt bɔr noʊ riˈleɪʃən tɪ ðə ˈiˌmoʊʃənəl rɪˈspɑns ɪt ɪˈlɪsɪtɪd mɑrk ˈɔrɪnʤ rɛd ˈjɛloʊ ˈrisəntli soʊld fər £55m*). bət ər ˈfeɪməs ˈpeɪnɪŋz soʊ ɪkˈspɛnsɪv bɪˈkəz ðeɪ muv ˈjuˈɛs mɔr ðən ˈəðər, ˈʧipər wərks əv ɑrt? ðɪs ɪz ðə kˈwɛʃən soʊ ju wɔnt tɪ bi ə ˈsaɪəntɪst? ˈfaɪnəlɪst ˈdærə sɛt aʊt tɪ ˈænsər; hi wɑz ə ˈrənərˌəp ɪn ˌbibiˈsi ˈreɪdiˌoʊ ˈæməˌʧər ˈsaɪəntɪst əv ðə jɪr əˈwɔrd. hi faʊnd ðət ˈpipəlz ˈiˌmoʊʃənəl rɪˈspɑns tɪ ən ˈɑrtˌwərk ˈdəzənt ˈkɔrəˌleɪt tɪ praɪs. ðə ˈstədi wɑz kənˈdəktəd æt ˈmɑdərn ɑrt ˈɑksfərd. ˈmɪstər, ə 24 jɪr oʊld məˈʧʊr ˈstudənt frəm sɛd: "wi ər toʊld baɪ ðə ɑrt wərld ðət ˈæbˌstrækt ˈɑrtˌwərks ɪˈvoʊk dip ənd ˈpaʊərfəl ˈɪˌmoʊʃənz ðət ˈmɛrət ðɛm ðɛr praɪs tægz. aɪ θɔt ˈsəmˌwən ʃʊd goʊ ənd tɛst ðət haɪˈpɑθəsəs." sɪns ˈʤænjuˌɛri, ˈmɪstər həz wərkt təˈgɛðər wɪθ ˌfɪziˈɑləʤɪst prəˈfɛsər ˈændru ˈpɑrkər ənd ɑrt hɪˈstɔriən prəˈfɛsər ˈmɑrtɪn kɛmp, boʊθ əv ˈɑksfərd ˌjunəˈvərsəti. prəˈfɛsər ˈpɑrkər hɛlpt tərn ðə aɪˈdiə ˈɪntu ə ɪkˈspɛrəmənt. "wɪn ˈdærə keɪm əˈlɔŋ wɪθ ðɪs kˈwɛʃən, ɪt ˌɪˈmiˌdiətli grɪpt mi ɛz biɪŋ ən ˈɪntəˌrɛstɪŋ kˈwɛʃən," sɛd ˈpɑrkər, "ənd ðət ɪz ðə ˈstɑrtɪŋ pɔɪnt əv ˈɛni ˈrɪli gʊd ˌsaɪənˈtɪfɪk ˌɪnˌvɛstəˈgeɪʃən." ˈɪmɪʤ ˈkæpʃən pɑrˈtɪsəpənts wər sɛnt tɪ vju ˈpeɪnɪŋz baɪ ðə ˈsɛnʧəri ˈɑrtɪst græm ˈsəðərlənd ɪn ðə ˈstədi, 12 pɑrˈtɪsəpənts wər aʊt wɪθ ə gælˈvænɪk skɪn rɪˈspɑns ˈmɑnətər. ˈlʊkɪŋ ə bɪt laɪk ə rɪst wɔʧ, ðə kɪt ˈrɛʤɪstərz ˈmaɪnər ˈʧeɪnʤɪz ɪn sˈwɛtɪŋ. wi swɛt ə smɔl əˈmaʊnt wɪn wi si ˈsəmθɪŋ ðət wi faɪnd ˈiˌmoʊʃnəli ərˈaʊzɪŋ. ˈæftər biɪŋ waɪərd əp, pɑrˈtɪsəpənts wər sɛnt ˈɪntu ðə ˈmɑdərn ɑrt ˈɑksfərd ˈgæləri tɪ lʊk æt ə səˈlɛkʃən əv wɔr ˈpeɪnɪŋz baɪ græm ˈsəðərlənd, ə ˈbrɪtɪʃ ˈɑrtɪst frəm ðə ˈsɛnʧəri. ðə ˈrisərʧərz ˈkɔrəˌleɪtəd ðə ˈiˌmoʊʃənəl rɪˈspɑnsɪz ðeɪ kəˈlɛktəd wɪθ ðə ˌɪnˈʃʊrəns ˈvæljuz əv ðə ˈpeɪnɪŋz. ˈmɪstər ɪkˈspleɪnd: "wət wi faʊnd ˈrɪli səˈpraɪzd ˈjuˈɛs. wi faʊnd ðət ˈiˌmoʊʃənəl ərˈaʊzəl həz noʊ ˌɪmˈpækt ɔn ðə ˈvælju əv ðə wərk əv ɑrt." ɑrt hɪˈstɔriən ənd kəˈlæbərˌeɪtər ɔn ðə ˈprɑʤɛkt, prəˈfɛsər ˈmɑrtɪn kɛmp, ˈædɪd: "ðə rɪˈzəlts səˈʤɛst ðət væljuˈeɪʃən ɪn ðə ɑrt wərld ɪz ˈrɪli ˈrəbɪʃ!" ˈmɪstər pərˈzɛnəd hɪz ˈfaɪndɪŋz æt ðə saɪəns ˈfɛstɪvəl ɔn ʤun 16 ɪn frənt əv ə ˈpænəl əv ˈʤəʤɪz. mɑrk ˈhɛndərsən, hɛd əv kəmˌjunəˈkeɪʃənz æt ðə ˈwɛlˌkəm trəst, sɛd əv ðə ˈstədi: "ðɪs wɑz tərˈɪfɪk stəf. aɪ ˈrɪli ləvd ðət ɪt keɪm əp wɪθ ə nəl rɪˈzəlt. "ðɛr ɪz ˈsəmθɪŋ tərˈɪfɪkli ˌɪmˈpɔrtənt əˈbaʊt ðət ɪn ən ˈɛksərˌsaɪz ðət ɪz mɛnt tɪ ˈdɛmənˌstreɪt saɪəns soʊ ˈɔfən ə nəl rɪˈzəlt kən bi mɔr ˈɪntəˌrɛstɪŋ ðən ˈfaɪndɪŋ wət ju ɪkˈspɛktɪd." ðə ˈəðər ˈrənərz əp wər ˈɪzi ənd ˈwɪljəm. mɪz ʃoʊd ðət ˈwɪmən ər mɔr əˈnɔɪd baɪ ˈhɔrəbəl ˈnɔɪzɪz ðən mɛn ər. ˈmɪstər ˌɪnˈvɛstəˌgeɪtɪd ˈwɛðər ˈpipəl wɪθ ˈsɪmələr ˈfeɪsɪz ˈɔlsoʊ hæv ˈsɪmələr ˈvɔɪsɪz ðə ˈfaɪnəlz tʊk pleɪs æt saɪəns ˈfɛstɪvəl ɔn ˈsæˌtɪˌdeɪ ʤun 16 ðə ɪˈvɛnt wɑz rɪˈkɔrdɪd fər məˈtɪriəl wərld ənd wɪl bi ˈbrɔdˌkæst ɔn ˈθərzˌdeɪ 21 ʤun æt ɔn ˈreɪdiˌoʊ 4
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image caption the value of art bore no relation to the emotional response it elicited
mark rothko's orange red yellow recently sold for $87m (£55m).
but are famous paintings so expensive because they move us more than other, cheaper works of art?
this is the question so you want to be a scientist? finalist dara djavan khoshdel set out to answer; he was a runner-up in bbc radio 4's amateur scientist of the year award.
he found that people's emotional response to an artwork doesn't correlate to price.
the study was conducted at modern art oxford.
mr djavan khoshdel, a 24 year old mature student from bournemouth said: "we are told by the art world that abstract artworks evoke deep and powerful emotions that merit them their price tags. i thought someone should go and test that hypothesis."
since january, mr djavan khoshdel has worked together with physiologist professor andrew parker and art historian professor martin kemp, both of oxford university.
professor parker helped turn the idea into a testable experiment.
"when dara came along with this question, it immediately gripped me as being an interesting question," said prof parker, "and that is the starting point of any really good scientific investigation."
image caption participants were sent to view paintings by the 20th century artist graham sutherland
in the study, 12 participants were kitted out with a galvanic skin response monitor. looking a bit like a wrist watch, the kit registers minor changes in sweating. we sweat a small amount when we see something that we find emotionally arousing.
after being wired up, participants were sent into the modern art oxford gallery to look at a selection of war paintings by graham sutherland, a british artist from the 20th century.
the researchers correlated the emotional responses they collected with the insurance values of the paintings.
mr djavan khoshdel explained: "what we found really surprised us. we found that emotional arousal has no impact on the value of the work of art."
art historian and collaborator on the project, professor martin kemp, added: "the results suggest that valuation in the art world is really rubbish!"
mr djavan khoshdel presented his findings at the cheltenham science festival on june 16 in front of a panel of judges.
mark henderson, head of communications at the wellcome trust, said of the study: "this was terrific stuff. i really loved that it came up with a null result.
"there is something terrifically important about that in an exercise that is meant to demonstrate science - so often a null result can be more interesting than finding what you expected."
the other runners up were izzy thomlinson and william rudling. ms thomlinson showed that women are more annoyed by horrible noises than men are. mr rudling investigated whether people with similar faces also have similar voices
the finals took place at cheltenham science festival on saturday june 16. the event was recorded for material world and will be broadcast on thursday 21 june at 16:30 bst on radio 4.
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ðə ˌʤuˈlaɪ 1 ˌənriˈstrɪktɪd fri ˈeɪʤənt pleɪər pul ðɪs jɪr livz ju kwaɪt koʊld, bət ˈləkəli ðɛr ʃʊd bi ˈækʃən bɪˈhaɪnd ðə bɛnʧ ðət əp ðə laɪk ˈrɛrli ˌbiˈfɔr. ðɪs həz ðə pəˈtɛnʃəl tɪ bi, kwaɪt ˈfræŋkli, wən əv ðə moʊst ˌɪnˈtrigɪŋ ənd drəˈmætɪk ɪn ðə ˈkoʊʧɪŋ wərld ɪn kwaɪt səm taɪm. teɪk ə tʊr, ʃæl wi? ðə sæn ˌhoʊˈzeɪ ʃɑrks wɪl ˈvɛri ˈlaɪkli mɪs ðə fər ðə fərst taɪm sɪns tɑd məˈklɛlən həz bɪn hɛd koʊʧ fər ˈsɛvən ˈsizənz ənd ðə kˈwɛʃən ɪz ˈwɛðər hi peɪz ðə praɪs fər ðə dɪˈklaɪn, ˈivɪn ðoʊ ðə kləb ɪz ˌəndərˈgoʊɪŋ ə ˈvɛri ˈpəblɪk, trænˈzɪʃən. gɑt wən mɔr ˈsizən lɛft ɔn hɪz dil. ɪf məˈklɛlən ɪz faɪərd, bi ə hɑt kəˈmɑdəti ɔn ðə ˈoʊpən ˈmɑrkɪt. maɪ sɛns ɪz ðə tərˈɑntoʊ ˈmeɪpəl lifs ər əˈməŋ ðə timz ðət laɪk ɪm ə lɔt. bət ðə lɪst wʊd nɑt bi ʃɔrt ɪn ðət rɪˈgɑrd. ðɪs gaɪ ɪz wən əv ðə ˈvɛri bɛst ˈkoʊʧɪz ɪn ðə lig. ə greɪt haɪər ɪf hi ˌɪnˈdid bɪˈkəmz fri. məˈklɛlən wɛnt tɪ sæn ˌhoʊˈzeɪ frəm ˈdiˌtrɔɪt ɪn ʤun 2008 ˈæftər ˈhɛlpɪŋ maɪk ˈbæbkɔk koʊʧ ðə rɛd wɪŋz tɪ ə ˈstænli kəp ðət spərɪŋ. fˈjuʧər, əv kɔrs, lumz lɑrʤ ˈoʊvər ðə ɪnˈtaɪər ˈkoʊʧɪŋ ˈkɛrəˌsɛl. ðə ˈbɪgəst ˈpɛndɪŋ koʊʧ plænz tɪ ˌdɪˈsaɪd ˈæftər ðə ˈsizən wət goʊɪŋ tɪ du wɪθ ðə ˈdiˌtrɔɪt rɛd wɪŋz ər hɪt ðə ˈmɑrkɪt fər ə ˈbɪgər ˈpeɪˌdeɪ. ðə kˈwɛʃən ɪz ˈwɛðər ˈbæbkɔk həz sin ɪˈnəf əv ðə ˌɪmˈprɛsɪv kɔr əv ðə rɛd wɪŋz ðɪs ˈsizən tɪ kənˈvɪns ɪm tɪ steɪ, ɔlˈbiɪt fər lɛs ˈməni ðən wət hi kʊd meɪk ɪn ə pleɪs laɪk tərˈɑntoʊ. ər ˌfɪləˈdɛlfiə? ər ˈbəfəˌloʊ? ər ˈɛlsˌwɛr? ðə wɪŋz wɪl meɪk ə ˈvɛri gʊd ˈɔfər. hɪz dɪˈsɪʒən, ˈiðər weɪ, wɪl hæv ə ˈdɑmɪˌnoʊ ˈifɛkt. ðə ˈbɔstən bruɪnz ər ˈsɪtɪŋ aʊt əv ə pleɪɔf spɑt ɛz aɪ raɪt ðɪs ənd ðət bi gʊd fər hɛd koʊʧ klɔd ˈʤuliən, æt list ɪf ju goʊ baɪ ðə veɪld hɪnts meɪd ðɪs ˈsizən baɪ ðə sən ˈʧɑrli ˈʤeɪkəbz ənd tim ˈprɛzɪdənt kæm ˈnili. ɪt simz ˈkreɪzi tɪ mi ðət ˈʤuliən, wən əv ðə moʊst rɪˈspɛktɪd ˈkoʊʧɪz ənd ðə gaɪ hu ˈgaɪdɪd ðə bruɪnz tɪ 2011 ˈglɔri, kʊd bi faɪərd. bət ðə ˈfilɪŋ ju gɪt frəm ðə vaɪbz ˈkəmɪŋ aʊt əv ˈbɔstən. ənd ɪf hi hɪts ðə ˈmɑrkɪt, ˈhoʊli ˈmoʊli, əˈnəðər juʤ fɪʃ. ˈmidiə ɪn ˌfɪləˈdɛlfiə ˈoʊvər ðə pæst fju deɪz hæv dɪˈlɪbərˌeɪtɪd ˈoʊvər kreɪg fˈjuʧər ɛz koʊʧ əv ðə ˌfɪləˈdɛlfiə flaɪərz ənd hæv ˈspɛkjəˌleɪtɪd ðət hi maɪt bi ɪn ˈdeɪnʤər əv biɪŋ faɪərd. ˈʤɛnərəl ˈmænɪʤər rɑn hextall*, ˈæftər ɔl, hæd ðə ʧæns tɪ haɪər hɪz oʊn koʊʧ jɛt. ðə flyers’*’ ʤɑb wʊd bi ə pləm ˈoʊpənɪŋ fər ʃʊr, ðə kaɪnd əv ʤɑb moʊst ˈkoʊʧɪz ˈsæləˌveɪt ˈoʊvər. wɪʧ brɪŋz ˈjuˈɛs tɪ tərˈɑntoʊ, əv kɔrs, wɛr ðə ˈmeɪpəl lifs wɪl nid ə nu hɛd koʊʧ. ˈwɛðər ˈbæbkɔk ər məˈklɛlən ər huˈmɛvər, ˈdaʊtfəl ɪt bi ə mɑrˈki neɪm. bət ðə nɛkst lifs koʊʧ ˈɔlsoʊ wɪl noʊ wɪn hi saɪnz ɔn ðə ˈdɑtɪd laɪn ðət ə ˈlɔŋˈtərm riˈbɪld ðət goʊɪŋ tɪ hæv tɪ ˈwɛðər. dɪz deɪv ˈtɪpɪt steɪ wɪθ ðə ˌɛrɪˈzoʊnə kaɪˈoʊtis? ˈəndər ˈkɑnˌtrækt fər θri mɔr ˈsizənz ənd ləvz ðə ˈfinɪks ˈɛriə wɛr bɪlt ə hoʊm, bət aɪ θɪŋk ˈɪntəˌrɛstɪd ɪn ə lɔŋ, lɔŋ riˈbɪld. hi nidz tɪ noʊ ðət ðə plæn ɪz tɪ wɪn ˈsunər ˈrəðər ðən ˈleɪtər. æt list maɪ sɛns. ɪf hi ˈsəmˌhaʊ bɪˈkeɪm fri, bi ɪn haɪ dɪˈmænd. bət pərˈhæps hi steɪz pʊt. lɔŋ bɪn ˈrumərd ðət tɛd ˈnoʊlən kʊd bi faɪərd æt ɛnd baɪ ðə riˈbɪldɪŋ ˈbəfəˌloʊ ˈseɪbərz ɛz tɪm ˈməri gɪts tɪ haɪər hɪz fərst koʊʧ. ðɛr hæv bɪn ˈrumərz əˈbaʊt ˈwɛðər ˈməri laɪks luk ˈrɪʧərdsən ɛz hɪz nɛkst gaɪ ˈgɪvɪn hɪz ˈfɔrmər taɪz tɪ ðə ˈɑtəˌwɑ ˈsɛnətərz ˌɔrgənəˈzeɪʃən. bət hu noʊz ɪf ˈrɪʧərdsən ˈivɪn wɔnts tɪ liv hɪz ɑl gɪg. hiz sɛd tɪ bi ˈvɛri ˈhæpi ðɛr. bət ju ˈɔlsoʊ hæv tɪ æsk ˈjɔrsɛlf ˈæftər siɪŋ ˈseɪbərz ˈoʊnər ˈtɛri ʃɛl aʊt bɪg bəks tɪ lʊr rɛks raɪən tɪ koʊʧ hɪz ˈfʊtˌbɔl tim ˈwɛðər ðə ˈseɪbərz wɔnt tɪ teɪk ə ˈsɪmələr əˈproʊʧ wɪθ ðə ˈhɑki ˈkoʊʧɪŋ pəˈzɪʃən ˈbæbkɔk, fər ɪgˈzæmpəl. kip ɪn maɪnd ðət ˈməri hæd ə hænd ɪn ˈgɪvɪŋ ˈbæbkɔk hɪz fərst ˈkoʊʧɪŋ ʤɑb ɪn ˈænəˌhaɪm weɪ bæk. wɪl ðə ˈɛdməntən ˈɔɪlərz kip ˈɪnərəm koʊʧ tɑd ˈnɛlsən ɔn bɔrd? ðə tim həz rɪˈspɑndɪd wɛl tɪ ɪm, ðə pleɪərz sim tɪ laɪk ɪm, ðə paʊər pleɪ ɪz ˈbɛtər ənd hɛk, neɪl ɪz ˈbɛtər ˈəndər ɪm. ˈraɪvəl skaʊts seɪ ðə ˈɔɪlərz hæv ˈbɛtər ˈstrəkʧər ˈəndər ˈnɛlsən. bət kən ðə ˈɔɪlərz ˈrɪli əˈfɔrd tɪ neɪm ə hɛd koʊʧ fər ðə θərd taɪm ɪn ə roʊ ˈæftər ˈdæləs ˈikɪnz ənd rælf ˈkrugər? maɪnd ju, ðeɪ ʃʊd hæv ˈnɛvər faɪərd ˈkrugər. ˈkrugər ɪz ə gʊd koʊʧ ənd hi wɑz ɔn tɪ ˈsəmθɪŋ wɪθ ðət jəŋ ˈɔɪlərz tim. ˈdɛvəlz lu həz tɪ ˈfɪgjər aʊt hɪz bɛnʧ, tu, ɛz ɪn nɑt ˈstændɪŋ bɪˈhaɪnd ɪt nɛkst ˈsizən ənd ˌdɪˈsaɪdɪŋ ˈiðər bɪtˈwin ˈædəm oʊts ənd skɑt ˈstivənz ər ˈlʊkɪŋ ˈɛlsˌwɛr. riʧt ˈwɛnzˌdeɪ, ˈsɪmpli toʊld hi wʊd meɪk ə ˈkoʊʧɪŋ dɪˈsɪʒən ˈæftər ðə ˈsizən. pleɪɔf ˈɛksəts kʊd ˈɔlsoʊ pruv ˈkɔstli, ɛz ðeɪ ˈɔfən du. aɪ ˌɪˈmæʤən brus ˌbuˈdroʊ kən əˈfɔrd tɪ luz ˈərli wɪθ ðə ˈænəˌhaɪm dəks ənd ðɛr ər səm hu ˈwəndər wət ˈhæpənz ɪf kɛn ˈhɪʧˌkɑk gɪt ðə st*. luɪs bluz aʊt əv ðə fərst raʊnd. (ɛz ən əˈsaɪd, haʊ gʊd ə fɪt wʊd ˈhɪʧˌkɑk bi ɪn hɪz ˈneɪtɪv ˈɛdməntən tɪ tiʧ ðə ˈɔɪlərz?) ˌbuˈdroʊ ənd ˈhɪʧˌkɑk wʊd pəˈtɛnʃəli bi tu ˈəðər bɪg neɪmz ɔn ðə ˈmɑrkɪt, ˌɔlˈðoʊ aɪ hoʊp ðeɪ hæv lɔŋ pleɪɔf rənz ənd ðeɪ steɪ ɪn pleɪs ˌɪnˈstɛd. nɑt fərˈgɛt ðət ðɛr ər fri ˈeɪʤənts ɔˈrɛdi aʊt ðɛr, ðə laɪks əv ˈpitər ˈdiboʊər, dæn ˈbɪlsmə, ˈrændi ˈkɑˌrlaɪl, pɔl məˈkleɪn, rɑn ˈwɪlsən, ʤɑn tɔrtɔˈrɛlə ɛt æl. ənd əˈnəðər tɪ ɔl ðɪs: hu gɪts ˈkɑnər məkˈdeɪvəd ər ʤæk ˈaɪkəl? ðə dræft ˈlɑtəri ɪn ˈeɪprəl kʊd hæv ə bɪg ˌɪmˈpækt ɔn haʊ ˈsərtən ˈkoʊʧɪŋ ʤɑbz lʊk tɪ ˈkænədɪts. soʊ ɪn ˈmɛni weɪz, pərˈhæps ðə dræft ˈlɑtəri ɪz ðə ˈbɪgəst ˈdɑmɪˌnoʊ ˈfæktər əv ɔl. ˈbəkəl əp, ðɪs ɪz ˈʃeɪpɪŋ əp tɪ bi ðə ˈsəmər əv ðə koʊʧ.
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the july 1 unrestricted free agent player pool this year leaves you quite cold, but luckily there should be action behind the bench that livens up the nhl offseason like rarely before.
this has the potential to be, quite frankly, one of the most intriguing and dramatic offseasons in the nhl coaching world in quite some time.
let’s take a tour, shall we?
the san jose sharks will very likely miss the postseason for the first time since 2002-03. todd mclellan has been head coach for seven seasons and the question is whether he pays the price for the team’s decline, even though the club is undergoing a very public, rebuild-on-the-fly transition. he’s got one more season left on his deal.
if mclellan is fired, he’d be a hot commodity on the open market. my sense is the toronto maple leafs are among the teams that like him a lot. but the list would not be short in that regard. this guy is one of the very best coaches in the league. he’s a great hire if he indeed becomes free.
mclellan went to san jose from detroit in june 2008 after helping mike babcock coach the red wings to a stanley cup that spring. babcock’s future, of course, looms large over the entire off-season coaching carousel. the game’s biggest pending ufa coach plans to decide after the season what he’s going to do -- re-sign with the detroit red wings or hit the market for a bigger payday.
the question is whether babcock has seen enough of the impressive next-generation core of the red wings this season to convince him to stay, albeit for less money than what he could make in a place like toronto. or philadelphia? or buffalo? or elsewhere?
the wings will make a very good offer. his decision, either way, will have a domino effect.
the boston bruins are sitting out of a playoff spot as i write this and that can’t be good for head coach claude julien, at least if you go by the veiled hints made this season by the owner’s son charlie jacobs and team president cam neely. it seems crazy to me that julien, one of the game’s most respected coaches and the guy who guided the bruins to 2011 glory, could be fired. but that’s the feeling you get from the vibes coming out of boston. and if he hits the market, holy moly, that’s another huge fish.
media in philadelphia over the past few days have deliberated over craig berube’s future as coach of the philadelphia flyers and have speculated that he might be in danger of being fired. general manager ron hextall, after all, hasn’t had the chance to hire his own coach yet. the flyers’ job would be a plum opening for sure, the kind of big-market job most coaches salivate over.
which brings us to toronto, of course, where the maple leafs will need a new head coach. whether it’s babcock or mclellan or whomever, it’s doubtful it won’t be a marquee name. but the next leafs coach also will know when he signs on the dotted line that there’s a long-term rebuild that he’s going to have to weather.
does dave tippett stay with the arizona coyotes? he’s under contract for three more seasons and loves the phoenix area where he’s built a home, but i don’t think he’s interested in a long, long rebuild. he needs to know that the plan is to win sooner rather than later. at least that’s my sense. if he somehow became free, he’d be in high demand. but perhaps he stays put.
it’s long been rumored that ted nolan could be fired at season’s end by the rebuilding buffalo sabres as gm tim murray gets to hire his first coach. there have been rumors about whether murray likes luke richardson as his next guy given his former ties to the ottawa senators organization. but who knows if richardson even wants to leave his ahl gig. he's said to be very happy there.
but you also have to ask yourself after seeing sabres owner terry pegula shell out big bucks to lure rex ryan to coach his football team whether the sabres wouldn’t want to take a similar approach with the hockey team’s coaching position -- babcock, for example. keep in mind that murray had a hand in giving babcock his first nhl coaching job in anaheim way back.
will the edmonton oilers keep interim coach todd nelson on board? the team has responded well to him, the players seem to like him, the power play is better and heck, nail yakupov is better under him. rival scouts say the oilers have better structure under nelson. but can the oilers really afford to name a first-time head coach for the third time in a row after dallas eakins and ralph krueger?
mind you, they should have never fired krueger. krueger is a good coach and he was on to something with that young oilers team.
devils gm lou lamoriello has to figure out his bench, too, as in not standing behind it next season and deciding either between co-coaches adam oates and scott stevens or looking elsewhere. reached wednesday, lamoriello simply told espn.com he would make a coaching decision after the season.
first-round playoff exits could also prove costly, as they often do. i can’t imagine bruce boudreau can afford to lose early with the anaheim ducks and there are some who wonder what happens if ken hitchcock doesn’t get the st. louis blues out of the first round. (as an aside, how good a fit would hitchcock be in his native edmonton to teach the oilers?)
boudreau and hitchcock would potentially be two other big names on the market, although i hope they have long playoff runs and they stay in place instead.
let’s not forget that there are free agents already out there, the likes of peter deboer, dan bylsma, randy carlyle, paul maclean, ron wilson, john tortorella et al.
and another wild-card to all this: who gets connor mcdavid or jack eichel? the draft lottery in april could have a big impact on how certain coaching jobs look to candidates. so in many ways, perhaps the draft lottery is the biggest domino factor of all.
buckle up, this is shaping up to be the summer of the coach.
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saskatchewan's* ˌɪnˌfɔrˈmeɪʃən ənd ˈpraɪvəsi kəˈmɪʃənər həz rɪˈbjukt ðə prəˈvɪnʃəl ˈgəvərnmənt fər dɪˈmændɪŋ fər ˈdɑkjəmənts əˈbaʊt ðə ˈgloʊbəl ˌtrænspərˈteɪʃən həb lænd dil. læst spərɪŋ, ðə prəˈvaɪdɪd ən ˈɛstəˌmeɪt əv waɪl ðə ˈmɪnɪstri əv ˈhaɪˌweɪz æst fər ɪn rɪˈspɑns tɪ ə ˈsɪriz əv ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən rɪkˈwɛsts baɪ iteam*. ɪn rɪˈpɔrts dɪˈrɛktɪd tɪ iʧ ˈeɪʤənsi, kəˈmɪʃənər rɑn kənˈkludɪd "ðɪs ɪkˈsɛsɪv fi wɑz ən ənˈriznəbəl ˈbɛriər tɪ ˈækˌsɛs." bæk ɪn noʊˈvɛmbər, ðə kəˈmɪʃənər ˈɪʃud əˈnəðər rɪˈpɔrt ʧæˈstaɪzɪŋ ðə ˈmɪnɪstri əv ˈhaɪˌweɪz fər ɪts "ɪkˈsɛsɪv dɪˈleɪz" ɪn rɪˈspɑndɪŋ tɪ ˈækˌsɛs rɪkˈwɛsts. ɪn mɑrʧ, ˈsiˌbiˈsi faɪld 13 rɪkˈwɛsts tɪ ðə ˈmɪnɪstri ənd 15 tɪ ðə rɪˈleɪtɪd tɪ ˈvɛriəs ˈæˌspɛkts əv ðə lænd dil. boʊθ ˈeɪʤənsiz rɪˈspɑndɪd baɪ ˈləmpɪŋ ɔl ðə rɪkˈwɛsts təˈgɛðər ənd əˈsɛsɪŋ ðə ˈmæsɪv fi. faʊnd ðeɪ hæd "ˌɪnəˈprɑpriətli ˈɪʃud wən ˈɛstəˌmeɪt əv kɔsts tɪ rɪˈspɑnd tɪ ðə ˈæplɪkənt [ˈsiˌbiˈsi]." hi sɛd ðɪs wɑz ənˈriznəbəl ˈgɪvɪn ðə dɪˈvərsɪti əv ðə rɪkˈwɛsts: səm wər fər ə ˈsɪŋgəl ˈdɑkjəmɛnt; ˈəðərz fər ə ˈsɪriz əv iˈmeɪlz ˈoʊvər ə ˈsɪŋgəl mənθ; waɪl ˈəðərz stɪl spænd jɪrz. ɪn hɪz rɪˈpɔrt ɔn ðə, kənˈkludɪd: "ðɛr ɪz wən ˌəndərˈlaɪɪŋ ˈɪʃu ðət lɛd tɪ ðə lɑrʤ ˈɛstəˌmeɪt əv kɔsts, biɪŋ ðə dɪd nɑt kəmˈjunəˌkeɪt wɪθ ðə ˈæplɪkənt." hi ˈædɪd: "ðɛr ɪz ˈnəθɪŋ ruˈtin wɪθ prəˈvaɪdɪŋ ə ˈɛstəˌmeɪt əv kɔsts wɪˈθaʊt fərst dɪˈskəsɪŋ ðə rɪkˈwɛsts wɪθ ðə ˈæplɪkənt." roʊt ˈvərʧuəli ðə aɪˈdɛntɪkəl krɪˈtik əv ðə ˈmɪnɪstri əv ˈhaɪˌweɪz. wɛr dɪd ˈhaɪˌweɪz' lɑrʤ fi kəm frəm? ðə væst məˈʤɔrəti əv ðə fi əˈsɛst baɪ ðə ˈmɪnɪstri əv ˈhaɪˌweɪz rɪˈzəltɪd frəm ə fi ɪt ˈkælkjəˌleɪtɪd fər riˈtrivɪŋ ənd ˈsərʧɪŋ ˌɪˌlɛkˈtrɑnɪk ˈrɛkərdz: ðət keɪm aʊt tɪ ˌɪnˌfɔrˈmeɪʃən ənd ˈpraɪvəsi kəˈmɪʃənər) wɪˈθaʊt kənˈsəltɪŋ ˈsiˌbiˈsi, ðə ˈmɪnɪstri kənˈkludɪd ðət ɪn ˈɔrdər tɪ rɪˈspɑnd tɪ fɔr əv ðə 13 rɪkˈwɛsts, ɪt ˈnidɪd tɪ sərʧ ɔl ˈmɪnɪstri iˈmeɪl əˈkaʊnts. rɪˈpɔrt breɪks daʊn haʊ əˈfɪʃəlz meɪd ðət ˌkælkjəˈleɪʃən. ðə kəˈmɪʃənər ˈnoʊtɪd ðət ðə fɔr rɪkˈwɛsts ˈʤɛnərˌeɪtɪŋ ðə juʤ fi wər ɔl fər ə ˈrisənt deɪt reɪnʤ: dɪˈsɛmbər 2015 tɪ mɑrʧ 2016 "ðeɪ əˈpɪr tɪ bi ˈrɛlətɪvli ˈizi tɪ rɪˈspɑnd tɪ ˈgɪvɪn ðə ˈrisənt taɪm freɪmz ðə ˈæplɪkənt ˈsteɪtɪd ɪn ðə rɪkˈwɛsts biɪŋ ə ˈlɪtəl mɔr ðən θri mənθs praɪər tɪ ðə ˈæplɪkənt ˈfaɪlɪŋ hɪz rɪkˈwɛsts." sɛd əˈfɪʃəlz hæd ən ˌɑbləˈgeɪʃən tɪ dɪˈskəs ðə rɪkˈwɛsts wɪθ ˈsiˌbiˈsi ənd wərk tɪ rɪˈdus fiz, bət ðeɪ feɪld tɪ du ðət. ðə ˈɔfərd ə ˈsɪmələr ˌʤəstəfəˈkeɪʃən fər ɪts lɑrʤ fi, wɪʧ ðə kəˈmɪʃənər ˈɔlsoʊ dɪsˈmɪst ɛz "ˌɪnəˈproʊpriɪt.", ˈmɪnɪstri dɪˈfɛnd lɑrʤ fiz ɛz 'ˈkɑmən sɛns əˈproʊʧ' boʊθ ˈeɪʤənsiz juzd ðə seɪm ˈɑrgjəmənts ənd ɪn səm ˈkeɪsɪz ðə ˈvɛri seɪm wərdz tɪ ɪkˈspleɪn waɪ ðeɪ ləmpt ðə rɪkˈwɛsts təˈgɛðər. ðeɪ ɪkˈspleɪnd tɪ ðə kəˈmɪʃənər ðət ðeɪ wər ˈjuzɪŋ ðə "ˈkɑmən sɛns əˈproʊʧ" ɪn rɪˈspɑndɪŋ tɪ rɪkˈwɛsts. ɪn ɪts ˈrɪtən səbˈmɪʃən, ðə ˈmɪnɪstri ɪkˈspleɪnd ðət rɪkˈwɛsts wər əˈbaʊt ə ˈkɑmən ˈsəbʤɪkt ˈmætər, soʊ əˈfɪʃəlz "lʊkt tɪ əˈplaɪ ə ˈkɑmən sɛns əˈproʊʧ tɪ bɛst sərv ðə ˈæplɪkənt ənd rɪˈdus dɪsˈrəpʃən wɪˈθɪn ðə ˈmɪnɪstri." ðə meɪd ə ˈvərʧuəli aɪˈdɛntɪkəl kleɪm. ˈgəvərnmənt dɪˈleɪd rɪˈspɑndɪŋ bɪˈkəz əv ɪˈlɛkʃən ðə ənd ðə ˈmɪnɪstri ˈɔlsoʊ ɪkˈspleɪnd ðət ðeɪ hæd tɪ dɪˈleɪ rɪˈspɑndɪŋ tɪ ˈsiˌbiˈsi bɪˈkəz əv ðə spərɪŋ ɪˈlɛkʃən, wɪʧ wɑz kɔld ɛz ðeɪ wər ˈænsərɪŋ ðə rɪkˈwɛsts. ˌɪnˌfɔrˈmeɪʃən ənd ˈpraɪvəsi kəˈmɪʃənər rɑn həz ˈɪʃud rɪˈpɔrts ɔn haʊ ðə ˈgloʊbəl ˌtrænspərˈteɪʃən həb ənd ˈmɪnɪstri əv ˈhaɪˌweɪz rɪkˈwɛstɪd tɛnz əv ˈθaʊzənz əv ˈdɔlərz frəm ˈsiˌbiˈsi fər ˈdɑkjəmənts. (ˈsiˌbiˈsi nuz) əˈkɔrdɪŋ tɪ ðə kəˈmɪʃənər, ðə ˈmɪnɪstri ˈɑrgjud ðət "ɛz wɪθ ˈɛni ˈʤɛnərəl ɪˈlɛkʃən, ðɛr ər riˈstrɪkʃənz pleɪst ɔn ˈgəvərnmənt əˈfɪʃəlz riˈspɛktɪŋ hu ðeɪ kən spik tɪ ənd wət ðeɪ kən spik əˈbaʊt." ðə meɪd ðə aɪˈdɛntɪkəl pɔɪnt ɪn aɪˈdɛntɪkəl wərdz. boʊθ ˈgəvərnmənt ˈeɪʤənsiz əˈpild tɪ ðə "ˈgaɪˌdlaɪnz fər ˈgəvərnmənt kəmˌjunəˈkeɪʃənz ækˈtɪvɪtiz ˈdʊrɪŋ ə ˈʤɛnərəl ɪˈlɛkʃən," wɪʧ steɪt "ˈdʊrɪŋ ə ˈʤɛnərəl ɪˈlɛkʃən, noʊ ˈgəvərnmənt ˈmɪnɪstri ʃæl ˈpəblɪʃ ɪn ˈɛni ˈmænər ˈɛni ˌɪnˌfɔrˈmeɪʃən wɪθ rɪˈspɛkt tɪ ðə ækˈtɪvɪtiz əv ðə ˈmɪnɪstri." ˌhaʊˈɛvər, dɪsˈmɪst ðɪs ˈɑrgjəmənt, ˈpɔɪntɪŋ aʊt ðət ɪn ðə ˈvɛri seɪm ˈdɑkjəmɛnt, ɪt sɪz "ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən rɪkˈwɛsts ər tɪ bi ˈhændəld ɪn ðə ruˈtin ˈmænər." ðə kəˈmɪʃənər ˈpɔɪntɪd aʊt ðət sɪns ˈsiˌbiˈsi faɪld ɪts kəmˈpleɪnts ənd hɪz ˈɔfəs gɑt ˌɪnˈvɑlvd, rɪkˈwɛsts hæv bɪn ˈnɛroʊd ənd ðə ənd ˈhaɪˌweɪz hæv prəˈvaɪdɪd ˈdɑkjəmənts. ɪn rɪˈspɑns tɪ ə rɪkˈwɛst fər ən ˈɪntərvˌju, ðə sɛnt ˈsiˌbiˈsi ən iˈmeɪl seɪɪŋ ɪt əˈpriʃiˌeɪtɪd ðə kəˈmɪʃənərz wərk ənd wɪl kəmˈplaɪ wɪθ hɪz ˌrɛkəmənˈdeɪʃənz. preɪzd ðə, ˈnoʊtɪŋ "aɪ hæv sin ə sɪgˈnɪfɪkənt ʧeɪnʤ kənˈsərnɪŋ ɪts ˌɑbləˈgeɪʃənz ˈəndər [ˈfridəm əv ˌɪnˌfɔrˈmeɪʃən ənd prəˈtɛkʃən əv ˈpraɪvəsi] sɪns rɪˈsivɪŋ ðiz rɪkˈwɛsts fər ˌrivˈju." hi ˈɔfərd noʊ səʧ ˌkɑmənˈdeɪʃən tɪ ˈhaɪˌweɪz. ɪt feɪld tɪ rɪˈspɑnd tɪ ˈɪntərvˌju rɪkˈwɛst.
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saskatchewan's information and privacy commissioner has rebuked the provincial government for demanding $180,000 for documents about the global transportation hub land deal.
last spring, the gth provided an estimate of $112,000, while the ministry of highways asked for $70,000 in response to a series of freedom of information requests by cbc's iteam.
in reports directed to each agency, commissioner ron kruzeniski concluded "this excessive fee was an unreasonable barrier to access."
back in november, the commissioner issued another report chastising the ministry of highways for its "excessive delays" in responding to gth-related access requests.
in march, cbc filed 13 requests to the ministry and 15 to the gth related to various aspects of the gth land deal.
both agencies responded by lumping all the requests together and assessing the massive fee.
kruzeniski found they had "inappropriately issued one estimate of costs to respond to the applicant [cbc]."
he said this was unreasonable given the diversity of the requests: some were for a single document; others for a series of emails over a single month; while others still spanned years.
in his report on the gth, kruzeniski concluded: "there is one underlying issue that led to the large estimate of costs, being the gth did not communicate with the applicant."
he added: "there is nothing routine with providing a $111,842.50 estimate of costs without first discussing the requests with the applicant."
kruzeniski wrote virtually the identical critique of the ministry of highways.
where did highways' large fee come from?
the vast majority of the fee assessed by the ministry of highways resulted from a fee it calculated for retrieving and searching electronic records: that came out to $66,000.
(saskatchewan's information and privacy commissioner) without consulting cbc, the ministry concluded that in order to respond to four of the 13 requests, it needed to search all 1,034 ministry email accounts. kruzeniski's report breaks down how officials made that calculation.
the commissioner noted that the four requests generating the huge fee were all for a recent date range: december 2015 to march 2016.
"they appear to be relatively easy to respond to given the recent time frames the applicant stated in the requests being a little more than three months prior to the applicant filing his requests."
kruzeniski said officials had an obligation to discuss the requests with cbc and work to reduce fees, but they failed to do that.
the gth offered a similar justification for its large fee, which the commissioner also dismissed as "inappropriate."
gth, ministry defend large fees as 'common sense approach'
both agencies used the same arguments and in some cases the very same words to explain why they lumped the requests together.
they explained to the commissioner that they were using the "common sense approach" in responding to cbc's requests.
in its written submission, the ministry explained that cbc's requests were about a common subject matter, so officials "looked to apply a common sense approach to best serve the applicant and reduce disruption within the ministry."
the gth made a virtually identical claim.
government delayed responding because of election
the gth and the ministry also explained that they had to delay responding to cbc because of the spring election, which was called as they were answering the requests.
saskatchewan's information and privacy commissioner ron kruzeniski has issued reports on how the global transportation hub and ministry of highways requested tens of thousands of dollars from cbc for documents. (cbc news) according to the commissioner, the ministry argued that "as with any general election, there are restrictions placed on government officials respecting who they can speak to and what they can speak about."
the gth made the identical point in identical words. both government agencies appealed to the "guidelines for government communications activities during a general election," which state "during a general election, no government ministry shall publish in any manner any information with respect to the activities of the ministry."
however, kruzeniski dismissed this argument, pointing out that in the very same document, it says "freedom of information requests are to be handled in the routine manner."
the commissioner pointed out that since cbc filed its complaints and his office got involved, cbc's requests have been narrowed and the gth and highways have provided documents.
in response to a request for an interview, the gth sent cbc an email saying it appreciated the commissioner's work and will comply with his recommendations.
kruzeniski praised the gth, noting "i have seen a significant change concerning its obligations under foip [freedom of information and protection of privacy] since receiving these requests for review."
he offered no such commendation to highways. it failed to respond to cbc's interview request.
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ə ˈsɛkənd "calexit*" ˌɪˈnɪʃətɪv ɪz ˈeɪmɪŋ fər ðə 2018 ˈbælət. ðə grup jɛs ˌkæləˈfɔrnjə həz riˈʧɑrʤd ɪts sɪˈsɛʃən ˈɛfərt ənd ɪz ˈplænɪŋ tɪ faɪl prəˈpoʊzd ˈsərkjəˌleɪʃən ˈlæŋgwɪʤ sun, ˌɔrgənəˈzeɪʃən ˈprɛzɪdənt ˈmɑrkəs ruiz ˈɛvənz sɪz. ðə prəˈpoʊzəl siks tɪ æsk ˈvoʊtərz ˈviə ðə noʊˈvɛmbər 2018 ˈbælət tɪ seɪ jɛs ər noʊ tɪ ə ˌrɛfərˈɛndəm ɪn 2019 ðət wʊd, ɪf əˈpruvd, ˈtrɪgər ˈlɛʤəsˌleɪtɪv ənd guˌbərnəˈtɔˌriəl stɛps təˈwɔrd ˌɪndɪˈpɛndəns frəm ðə juˈnaɪtɪd steɪts, əˈkɔrdɪŋ tɪ ðə pəˈlɪtɪkəl ˈækʃən kəˈmɪti. "ɑr ˌɪˈnɪʃətɪv sɪz ðət wɪr ˈhævɪŋ ə voʊt əp ənd daʊn ənd ɪf wi voʊt tɪ liv wɪr goʊɪŋ tɪ muv ˌɪˈmiˌdiətli tɪ ʧeɪnʤ θɪŋz," ˈɛvənz sɪz. kənˈtɪnju ˈrɛdɪŋ ɪf səkˈsɛsfəl, ðə ˌɪˈnɪʃətɪv wʊd ʃɛr ˈbælət speɪs wɪθ ə ˈsɪmələr ˈɛfərt baɪ ðə ˌkæləˈfɔrnjə ˈfridəm ˌkoʊəˈlɪʃən, wɪʧ æsks ˈvoʊtərz tɪ əˈpruv ə roʊd tɪ ˈgreɪtər əˈtɑnəmi frəm ðə juˈnaɪtɪd steɪts. ðə səˈʤɛstɪd ˈdɛˌdlaɪn tɪ faɪl "ˈsərkjəˌleɪʃən" ˈlæŋgwɪʤ tɪ ðə ˌkæləˈfɔrnjə əˈtərni ˈʤɛnərəl ɪz ˈɔgəst. 22 ðə jɛs ˌkæləˈfɔrnjə ˈfaɪlɪŋ siks əˈpruvəl əv ðə steɪts tɔp kɑp fər ə dɪˈskrɪpʃən əv ðə ˌɪˈnɪʃətɪv ðət wʊd bi pərˈzɛnəd tɪ ˈrɛʤɪstərd ˈvoʊtərz fər ðɛr ˈsɪgnəʧərz. ˈɔrgəˌnaɪzərz sɛd ɪn ə ˈsteɪtmənt ðət ðeɪ nid ˈvælɪd ˈvoʊtər ˈsɪgnəʧərz tɪ meɪk ðə ˈbælət. ðæts ən ˈəˈphɪl ˈbætəl fər ə pəˈlɪtɪkəl ˈækʃən kəˈmɪti ðæts ˈæskɪŋ səˈpɔrtərz tɪ hɛlp wɪθ ðə ˈfaɪlɪŋ fi. prəˈfɛʃənəl fərmz ˈjuʒəwəli ʧɑrʤ əˈbaʊt 2 ˈmɪljən tɪ 3 ˈmɪljən fər ə səkˈsɛsfəl ˈsteɪtˌwaɪd ˈɛfərt. ˈoʊnli wən ˈgræsˈruts ˌɪˈnɪʃətɪv həz meɪd ðə ˈsteɪtˌwaɪd ˈbælət, sænz prəˈfɛʃənəl hɛlp, sɪns 1988 jɛs ˌkæləˈfɔrnjə hæd ə rəf spərɪŋ ˈæftər ɪt wɑz rɪˈvild ðət luɪs mɑrɪˈnɛli wɑz ə ˈfrikˌwɛnt flaɪər tɪ ˈrəʃə. ðə ˈtrævəl wɑz ˈfəndɪd baɪ ə ˈnæʃənəlɪst grup. ðə grup ˈrɛntɪd ˈɔfəs speɪs noʊn ɛz ðə ˈɛmbəsi. ˈfɑloʊɪŋ ðoʊz ˌrɛvəˈleɪʃənz, ˈɛvənz ənd mɑrɪˈnɛli wɪθˈdru jɛs ˌkælɪˈfɔrnjəz læst ˌɪndɪˈpɛndəns prəˈpoʊzəl frəm kənˌsɪdərˈeɪʃən. mɑrɪˈnɛli sɛd hi hoʊpt tɪ lɪv ɪn ˈrəʃə ˈfʊlˌtaɪm. ˈɛvənz ʤəmpt ʃɪp tɪ ʤɔɪn ðə ˌkæləˈfɔrnjə ˈfridəm ˌkoʊəˈlɪʃən. ðət ˈdɪdənt læst, ˌhaʊˈɛvər, ənd ˈɛvənz rɪˈtərnd tɪ ðə hɛlm əv jɛs ˌkæləˈfɔrnjə. ðɪs wik ðə ˌɔrgənəˈzeɪʃən əˈnaʊnst ðət ðə ˈmɔˌskaʊ ˈɔfəs həz bɪn ˈʃətərd. "əˈməŋ ðə fərst ˈækʃənz ˈɛvənz tʊk ɪn hɪz nu roʊl wɑz tɪ kloʊz ðə dɔrz əv ðə ɛmˈbætəld ˌrɛprəzənˈteɪʃənəl ˈɛmbəsi ənd ˈkəlʧər ˈsɛnər ˈoʊpənd læst jɪr ɪn ˈmɔˌskaʊ, ˈrəʃə," əˈkɔrdɪŋ tɪ ə ˈsteɪtmənt. ˈɛvənz sɪz, "luɪs ɪz stɪl əraʊnd bət hi ɪz ə bɔrd ˈmɛmbər ənd ɪz nɑt əˈlaʊd tɪ bi ən ˈɔfɪsər ər kleɪm ðət hi ɪz ə ˈlidər əv jɛs ˌkæləˈfɔrnjə." ðə ˈtərˌmɔɪl wɑz kəmˈpaʊndɪd baɪ ə læk əv ˌfaɪˈnænʃəl səˈpɔrt. ˌɔlˈðoʊ ˈɛvənz sɪz jɛs ˌkæləˈfɔrnjə ɪz ˈwaɪldli ˈpɑpjələr ɔn ˈsoʊʃəl ˈmidiə, ðə nɑnˈprɑfət ɪz stɪl ˈweɪtɪŋ fər ən ˈeɪnʤəl ˈdoʊnər. "ˈɛvriˌwən θɪŋks ɪts ə ʤoʊk bɪˈkəz wi faɪld ənd pʊld ɪt," hi sɪz. "wɪr ʤɪst goʊɪŋ tɪ kip ˈfaɪlɪŋ. ˈsəmˌbɑdi wɪθ ˈməni ɪz goʊɪŋ tɪ seɪ, 'aɪd laɪk tɪ gɪt maɪ neɪm ɪn ðə ˈpeɪpər hɪrz 2 ˈmɪljən.' ðæts ðə ˈstrætəʤi ənd ɪts ə ˈwərkəbəl aɪˈdiə." ˈminˌwaɪl, ˌkæləˈfɔrnjə ˈfridəm ˌkoʊəˈlɪʃən bɔrd ˈmɛmbər stiv gɑnˈzɑləz sɪz ðə grup ɪz ˈgæðərɪŋ ˈsɪgnəʧərz ɪn ðə beɪ ˈɛriə. wi æst wət hi θɔt əˈbaʊt ə ˈpɑsəbli kəmˈpitɪŋ ˌɪˈnɪʃətɪv ɔn ðə noʊˈvɛmbər ˈbælət. "ðeɪ kip goʊɪŋ bæk ənd fɔrθ ɪn ə ˈvɛri ˌɪnkənˈsɪstənt ˈmænər," hi sɪz əv jɛs ˌkæləˈfɔrnjə. "əm nɑt ˈrɪli ʃʊr wət tɪ meɪk əv ɪt. aɪ θɪŋk ðət ðɛr ˈækʃənz ˈrɪli spik fər ðɛmˈsɛlvz."
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a second "calexit" initiative is aiming for the 2018 ballot.
the group yes california has recharged its secession effort and is planning to file proposed circulation language soon, organization president marcus ruiz evans says. the proposal seeks to ask voters via the november 2018 ballot to say yes or no to a referendum in 2019 that would, if approved, trigger legislative and gubernatorial steps toward independence from the united states, according to the political action committee.
"our initiative says that we're having a vote up and down and if we vote to leave we're going to move immediately to change things," evans says.
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if successful, the initiative would share ballot space with a similar effort by the california freedom coalition, which asks voters to approve a road to greater autonomy from the united states.
the suggested deadline to file "circulation" language to the california attorney general is aug. 22. the yes california filing seeks approval of the state's top cop for a description of the initiative that would be presented to registered voters for their signatures. organizers said in a statement that they need 365,880 valid voter signatures to make the ballot.
that's an uphill battle for a political action committee that's asking supporters to help with the $2,000 filing fee. professional signature-gathering firms usually charge about $2 million to $3 million for a successful statewide effort. only one grassroots initiative has made the statewide ballot, sans professional help, since 1988.
yes california had a rough spring after it was revealed that co-founder louis marinelli was a frequent flier to russia. the travel was funded by a kremlin-linked nationalist group. the group rented office space known as the calexit embassy. following those revelations, evans and marinelli withdrew yes california's last independence proposal from consideration. marinelli said he hoped to live in russia full-time. evans jumped ship to join the california freedom coalition. that didn't last, however, and evans returned to the helm of yes california.
this week the organization announced that the moscow office has been shuttered. "among the first actions evans took in his new role was to close the doors of the organization’s embattled representational embassy and culture center opened last year in moscow, russia," according to a statement.
evans says, "louis is still around but he is a board member and is not allowed to be an officer or claim that he is a leader of yes california."
the turmoil was compounded by a lack of financial support. although evans says yes california is wildly popular on social media, the nonprofit is still waiting for an angel donor.
"everyone thinks it's a joke because we filed and pulled it," he says. "we're just going to keep filing. somebody with money is going to say, 'i'd like to get my name in the paper — here's $2 million.' that's the strategy and it's a workable idea."
meanwhile, california freedom coalition board member steve gonzalez says the group is gathering signatures in the bay area. we asked what he thought about a possibly competing initiative on the november ballot.
"they keep going back and forth in a very inconsistent manner," he says of yes california. "i'm not really sure what to make of it. i think that their actions really speak for themselves."
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wɪn ʃeɪ ˈfrɛdərɪk ˈstɑrtɪd haʊs ˈhəntɪŋ ɪn 2013 hi wɛnt ðə ˈtɪpɪkəl rut: ˈhɛdɪŋ ˈɔnˌlaɪn tɪ lʊk æt ˈdɪfərənt ˈprɑpərtiz. bət ˈfrɛdərɪk, ə kəmˈpjutər ˈproʊˌgræmər ənd ˈnoʊtɪd ˈɪntərˌnɛt əˈməŋ ˈsɪvɪk ˈhækɪŋ kəmˈjunɪti, ˈlʊkɪŋ fər brænd nu ˈhaʊsɪz. ˌɪnˈstɛd, hi wɑz ˈjuzɪŋ ən ˌɪnərˈæktɪv ˈɔnˌlaɪn mæp hi hæd bɪlt, tɪ lʊk fər ˈneɪbərˌhʊdz wɪθ ˈveɪkənt ˈhaʊsɪz əˈveɪləbəl tɪ rihæb. hi faʊnd ə ˈprɑspɛkt ɪn wən əv ˈneɪbərˌhʊdz. wɪn hi fərst krɔst ðə θˈrɛˌʃoʊld, hi sɔ sɔɪld ˈnidəlz ənd ˈθaʊzənz əv ˈɛmti vaɪəlz. "ɪt wɑz kwaɪt ðə saɪt, ənd smɛld ˈrɪli bæd," ˈfrɛdərɪk rɪˈmɛmbərz. "ˈpipəl hæd ʤɪst bɪn ˈgɪtɪŋ haɪ ənd ˈʃɪtɪŋ ɪn ðə ˈkɔrnər fər, laɪk, 15 jɪrz ɪn ðɪs pleɪs." noʊ ˈtərnɪŋ bæk, ˌhaʊˈɛvər. ɪt wɑz ˌʤuˈlaɪ 2013 ənd ˈfrɛdərɪk hæd ʤɪst spɛnt tɪ ˈpərʧəs hɪz fərst ˈveɪkənt haʊs frəm ðə ˈsɪti əv ˈbɔltəˌmɔr. ə ˈlɪtəl mɔr ðən wən jɪr ənd ˈleɪtər, ˈfrɛdərɪk wʊd muv ˈɪntu ðɪs ˈnuli haʊs ɪn wɛst, wən əv ˈsɛvərəl ˈbɔltəˌmɔr ˈneɪbərˌhʊdz ðət həz ˌəndərˈgɔn ə ˈnoʊtəsəbəl ˌtrænsfərˈmeɪʃən ˈoʊvər ðə læst θæŋks, ɪn pɑrt, tɪ ə ˈsɪti ˈproʊˌgræm kɔld tɪ ˈvælju. fər ˈdɛkeɪdz, ˈbɔltəˌmɔr həz bɪn pleɪgd baɪ ˈveɪkənt ˈprɑpərtiz. mɔr ðən əˈbaʊt ə kˈwɔrtər əv ðɛm, laɪn ɪts blɑks təˈdeɪ. nɑnˈrɛzədənts maɪt noʊ ðɛm bɛst θru ðə aɪz əv krɪs ˈpɑrˌtloʊ, ə ˈkɛrɪktər frəm ðə ˈeɪʧbiˈoʊ ˈsɪriz ðə waɪər hu dəmpt dɛd ˈbɑdiz ˈɪntu ˈveɪkənt ˈbɪldɪŋz ənd neɪld ðə ˈɛntrənsəz ʃət wɪθ ˈplaɪˌwʊd. bət ˈbɔltəˌmɔr ˈrɛzɪdənts si ðɛm ˈɛvəri deɪ, əˈspɛʃəli ɪn ˈsɛkʃənz əv ðə ˈsɪti wəns hoʊm tɪ ˈwərkɪŋ klæs ˈfæməliz ər ˈoʊvər ˈdɛkeɪdz əv ˌsɛgrəˈgeɪʃənɪst ˈsɪti ˈplænɪŋ. hɛd wɛst ər ist ɔn nɔrθ ˈævəˌnu, əˈweɪ frəm ðə ˈpɑpjələr ˈsteɪʃən nɔrθ ɑrts ənd ˌɛnərˈteɪnmənt ˈdɪstrɪkt, ənd si ˈstrɛʧɪz əv ˈveɪkənt. draɪv ˈɪntu, wɛr ˈfrɛdi greɪ wɑz dɪˈteɪnd baɪ ˈbɔltəˌmɔr pəˈlis ɪn ˈeɪprəl 2015 ˌbiˈfɔr daɪɪŋ ə wik ˈleɪtər ɪn ˈkəstədi, ənd faɪnd ˈhənərdz əv ðən 800 əˈkɔrdɪŋ tɪ əˈfɪʃəl ˈsɪti ˈnəmbərz. əˈgɛnst ðɪs ˈbækˌdrɑp ðət meɪər ˈstɛfəni ˌɪntrəˈdust tɪ ˈvælju ɪn noʊˈvɛmbər 2010 ən əˈtɛmpt tɪ gɪt ˈveɪkənt ˈbɪldɪŋz ənd ˈɑkjəˌpaɪd, tɪ ˈvælju ɪz ðə "moʊst æmˈbɪʃəs ˈɛfərt ɪn 40 jɪrz," əˈkɔrdɪŋ tɪ ðə ˈeɪbəl faʊnˈdeɪʃən, ə ˈprɑmənənt nɑnˈprɑfət. ə ˈsɪgnəʧər ˈpɑləsi pis fər, hu dɪˈklaɪnd tɪ ˈkɑmɛnt fər ðɪs ˈstɔri ənd hu livz ˈɔfəs dɪˈsɛmbər 6 ə ˈmɛsɪʤ əˈbaʊt fˈjuʧər, sɛnt tɪ ðə kæmˈpeɪn əv ˈkæθərɪn pju, ðə ˌdɛməˈkrætɪk steɪt ˈsɛnətər hu wɑz ˈvoʊtɪd ðə ˈfɪftiɪθ meɪər əv ˈbɔltəˌmɔr ɔn ɪˈlɛkʃən deɪ, wɛnt unreturned*. "ˈdʊrɪŋ ðə kæmˈpeɪn, sɛn. pju rɪˈpitɪdli kəˈmɛndɪd ðə ˈproʊˌgræm ənd həz sɛd ʃi wɔnts tɪ kənˈtɪnju ɪt," sɪz ˈʤuli deɪ, ˈdɛpjəti kəˈmɪʃənər fər ˈbɔltəˌmɔr ˈhaʊzɪŋ ənd pɑrt əv ðə ˈlidərˌʃɪp tim bɪˈhaɪnd tɪ ˈvælju. "naʊ, ˈəndər wət fɔrm ər ˈəndər wət neɪm aɪ noʊ. ˈdɛfənətli ˈkɪkɪŋ aɪˈdiəz əraʊnd." tɪ ˈvælju ɪz ə əˈtɛmpt tɪ faɪt blaɪt baɪ ˈstrimˌlaɪnɪŋ ðə seɪl əv ˈveɪkənt ˈprɑpərtiz tɪ baɪərz kəˈmɪtɪd tɪ ðɛm. ðə ˈproʊˌgræm faɪnz ˈoʊnərz hu teɪk kɛr əv ənˈlɪvəbəl ˈprɑpərtiz, prəˈmoʊtɪŋ strɪkt, swɪft koʊd ɛnˈfɔrsmənt. əˈlaʊz ˈdɪstrɪkt kɔrt ˈʤəʤɪz tɪ juz rɪˈsivərˌʃɪp tɪ teɪk ˌæbsənˈti owners’*’ ˈdɛrəˌlɪkt ˈprɑpərtiz frəm ðɛm tɪ bi ˈɔkʃənd ɔf fər ˌrɛnəˈveɪʃən, ənd ɪt ˈɔfərz ˌɪnˈsɪnɪvz tɪ ˌɪndəˈvɪʤəwəl ˈhoʊmˌbaɪərz ənd dɪˈvɛləpərz tɪ ˈpərʧəs ˈprɑpərtiz ənd spər ˈneɪbərˌhʊd ˈtərnərˌaʊndz. bət ðiz ˈɛfərts ər ˈiziər sɛd ðən dən. ˈsɪti ˈdætə pɛgz ðə ˈnəmbər əv æt ˈstrəkʧərz, wɪθ "ˈveɪkənt" dɪˈfaɪnd ɛz ˈɛni ˈbɪldɪŋ ˈlaɪkli tɪ ˈvaɪəleɪt ðə ˈbɪldɪŋ ənd faɪər wɪθ ˈbroʊkən ˈwɪndoʊz, noʊ rʊf, ər, ɪn ðə keɪs əv ˈveɪkənt, ˈwɪndoʊz ənd dɔrz ənd ˈɛmti ˈhɛroʊən vaɪəlz strun əˈbaʊt. pʊt ˈsɪmpli: ənˈseɪf ənd ənˈfɪt fər ˈjumən ˌhæbəˈteɪʃən. ˈəðər ˈtæliz pleɪs ðə ˈnəmbər məʧ haɪər. ðə ˌjunəˈvərsəti əv ˈʤeɪkəb fræns ˈɪnstɪˌtut ˈɛstəˌmeɪts æt list twaɪs ðət ˈmɛni ˈveɪkənt ˈprɑpərtiz. tɪ ˈvælju həz bɪn ə mɪkst bæg. ɔn wən hænd, həz əˈʧivd səm səkˈsɛsɪz ɪn ɪts sɪks jɪrz. mɔr ðən ˈveɪkənt ˈprɑpərtiz hæv bɪn ˌriəˈbɪləˌteɪtɪd, əˈkɔrdɪŋ tɪ ˈbɔltəˌmɔr ˈhaʊzɪŋ, ðə ˈəmˌbrɛlə grup ðət ˈoʊvərˌsiz, kəmˈpoʊzd əv ðə ˈfɛdərəli ˈfəndɪd ˈhaʊzɪŋ əˈθɔrəti əv ˈbɔltəˌmɔr ˈsɪti ənd ðə ˈloʊkəli ˈfəndɪd dɪˈpɑrtmənt əv ˈhaʊzɪŋ ənd kəmˈjunɪti dɪˈvɛləpmənt. ə ˈtoʊtəl əv ˈprɑpərtiz, wɪʧ ˌɪnˈkludz 938 ˈveɪkənt ˈbɪldɪŋz, hæv bɪn soʊld θru ðə ˈproʊˌgræm. ɔn ðə ˈəðər hænd, kˈwɛsʧənəbəl ʤɪst haʊ ˌbɛnəˈfɪʃəl ðə ˈproʊˌgræm həz bɪn. æt lɔnʧ, tɪ ˈvælju ˈprɑməst tɪ "prəˈmoʊt ˌriəˌbɪləˈteɪʃən əv mɔr ˈveɪkənt, ˈbɔrdɪd ˈbɪldɪŋz ðən ˈɛni ˈpriviəs blaɪt ɪˌlɪməˈneɪʃən ˈproʊˌgræm tɪ deɪt," ənd sɛd mɔr ðən ˈbɪldɪŋz wʊd bi ɪn ʤɪst ðə fərst jɪr. tu ənd ə hæf jɪrz ˈleɪtər, ˌhaʊˈɛvər, ðət ˈnəmbər stʊd æt 728 ənd ˈoʊvər ɪts fərst fɔr jɪrz, mɔr ðən 500 ˈbɪldɪŋz bɪˈkeɪm ˈnuli ˈveɪkənt, əˈkɔrdɪŋ tɪ ə rɪˈpɔrt ˈpəblɪʃt læst noʊˈvɛmbər baɪ ðə ˈeɪbəl faʊnˈdeɪʃən. "wɪn wi traɪ tɪ kəm əp wɪθ ə ˈsɪŋgəl ˈproʊˌgræm tɪ ɪˈlɪməˌneɪt ɔl ðət blaɪt, ˌɪmˈpɑsəbəl," deɪ toʊld mi ɪn 2014 wɪn aɪ fərst tɔkt tɪ hər əˈbaʊt ðə ˈproʊˌgræm. ˈɔlˌweɪz goʊɪŋ tɪ bi ə wərk ɪn ˈprɑˌgrɛs." ðət soʊ ˈmɛni ˈbɔltəˌmɔr hoʊmz stænd ˈɛmti ɪz ə rɪˈflɛkʃən əv haʊ ðə ɪˈkɑnəmi həz ʧeɪnʤd ˈoʊvər ðə ˈdɛkeɪdz. ɪn 1950 ðə ˈsɪti wɑz hoʊm tɪ ˈnɪrli ˈpipəl, ɛz wɛl ɛz tɪ plænts ˈɑpərˌeɪtəd baɪ ˈʤɛnərəl ˈmoʊtərz ənd ˈbɛθlɪˌhɛm stil. baɪ 1990 mɔr ðən ˈpipəl hæd lɛft ˈbɔltəˌmɔr du tɪ waɪt flaɪt ənd ə dˈwɪndəlɪŋ ˈnəmbər əv blu ˈkɑlər ʤɑbz. təˈdeɪ, əˈkɔrdɪŋ tɪ ðə ˈleɪtəst ˈsɛnsəs ˈɛstəˌmeɪts, ˈbɔltəˌmɔr ɪz hoʊm tɪ əˈbaʊt ˈrɛzɪdənts. tɪ ˈvælju ɪz nɑt ðə fərst əˈtɛmpt tɪ brɪŋ ˈveɪkənt hoʊmz bæk tɪ ðə ˈhaʊzɪŋ ˈmɑrkɪt. ðə ˈdɔlər haʊs ɪn 1973 wɪn ˈbɔltəˌmɔr hæd əˈbaʊt tɪ əˈtrækt ˈkɑnˌtræktərz ˈwɪlɪŋ tɪ fɪks əp ˈkrəmi, ˈprɑpərtiz, ənd juzd ə ˌkɑmbəˈneɪʃən əv ˈsɪti ənd ˈfɛdərəl ˈfəndɪŋ tɪ hɛlp ˈfaɪˌnæns loʊnz fər ˈrɛnəˌveɪʃənz. baɪ ðə 2000s*, ðə ˈnəmbər əv hæd ˈtrɪpəld, ənd ə nu ˈprɑʤɛkt keɪm ˈɪntu biɪŋ: skoʊp, ər ˈsɛlɪŋ ˈprɑpərti ɪˈfɪʃəntli. tɪ ˌɪˈmiˌdiət ˈprɛdəˌsɛsər, skoʊp wɑz ə flɑp: ɪn noʊˈvɛmbər 2010 ʤɪst ɛz wɑz əˈnaʊnst, ˈbɔltəˌmɔr ˈsɪti ˈpeɪpər ˌriˈpɔrtəd ðət skoʊp hæd fəˈsɪləˌteɪtɪd ʤɪst 130 kəmˈplit ˌriəˌbɪləˈteɪʃənz ɪn eɪt jɪrz. tɪ ˈvælju ˈjuzɪz ə ˈwaɪdər vərˈaɪəti əv ˈtæktɪks tɪ gɪt boʊθ ənd ˈpraɪvətli oʊnd. wət du ɪz fəˈsɪləˌteɪt ə rihæb əv ʤɪst wən ˈveɪkənt ɔn ə strit ɪf ðɛr ər faɪv ˈəðərz, ər spɛnd ˈrisɔrsɪz ɪn ˈneɪbərˌhʊdz wɪθ haɪ ˈveɪkənsi reɪts ənd slɪm ˈʧænsɪz əv əˈtræktɪŋ ˈhoʊmˌbaɪərz. ˌɪnˈstɛd, ɪt ˈtɑrgəts spɪˈsɪfɪk ˈneɪbərˌhʊdz ˈklæsəˌfaɪd ɛz "ˈmɪdəl ˈmɑrkɪts," wɪθ loʊər reɪts əv ˈveɪkənt ˈhaʊzɪŋ, ənd ˈjuzɪz ə "blɑk baɪ blɑk" əˈproʊʧ. ðə ˈsɪti wɪl si wət ˈprɑpərtiz ər, ɪf ˈɛni, ənd ðɛn goʊ ˈæftər ˈprɑpərtiz ðət ər ˈpraɪvətli hɛld., ənd aɪ min ðɪs ɛz ə ˈkrɪtɪˌsɪzəm, ɪz ə ˈʧɛri ˈpɪkər," sɪz bɪl ˈhɛnri, ˈsɪti ˈkaʊnsəlmən ənd ʧɛr əv ðə ˈhaʊzɪŋ ənd kəmˈjunɪti dɪˈvɛləpmənt kəˈmɪti. dɪˈlɪbərətli aɪˈdɛntəˌfaɪɪŋ ðoʊz ˈveɪkənt ˈhaʊsɪz əv ˈhævɪŋ ðə bɛst ʧæns əv ˈgɪtɪŋ bæk ˈɔntu ðə tæks roʊl." ɪt stɑrts baɪ ˈɪʃuɪŋ 900 faɪnz tɪ ˈpraɪvət ˈoʊnərz əv ɪn ðə hoʊps ɪt wɪl pʊʃ ðɛm tɪ meɪk ˈnɛsəˌsɛri rɪˈpɛrz ər sɛl ðə haʊs. ɪn ˈkeɪsɪz wɛr ðə ˈoʊnər bi faʊnd, ər rɪˈpitɪd faɪnz ənd ˈnoʊtɪsɪz goʊ ˌəˈnænsərd, tərnz tɪ rɪˈsivərˌʃɪp. ər ˈligəli kənˈsɪdərd ˈpəblɪk ˈnusənsɪz, wɪʧ minz ðə ˈsɪti kən pəˈtɪʃən ˈdɪstrɪkt kɔrt ˈʤəʤɪz tɪ siz ə ˈveɪkənt haʊs ənd hænd ɪt ˈoʊvər tɪ ə rɪˈsivər, wɪʧ ɪn tərn sɛlz ðə ˈprɑpərti. mɔr ˈɔfən ðən nɑt, ðə rɪˈsivər ɪz wən haʊs æt ə taɪm, ə nɑnˈprɑfət ˈɔkʃənd ɔf kloʊz tɪ ˈveɪkənt ˈprɑpərtiz sɪns 2006 ðə moʊst wən haʊs kən kip frəm iʧ seɪl ɪz bət ˈoʊnli ˈæftər ðə ˈlɔjərz ənd ðə ˌɑkʃəˈnɪr ər peɪd; ɔn ˈævərɪʤ, wən haʊs gɪts əraʊnd frəm ə seɪl. ɪgˈzɛkjətɪv dɪˈrɛktər ˈlisə ˈɛvənz sɪz ðə ˈnəmbər əv ˈhaʊsɪz ðə nɑnˈprɑfət ˈɔkʃənz iʧ jɪr həz ˌɪnˈkrist sɪns ˈstɑrtɪd. læst jɪr, 186 wər soʊld tɪ hu kən ʃoʊ ðeɪ hæv æt list ɪn kæʃ, ˈwɛðər ˈseɪvɪŋz ər rihæb. "wi ˌdɪfərˈɛnʧiˌeɪt ɔn ˈpipəl hu wɔnt tɪ sɛl ər rɛnt. wət wi kɛr əˈbaʊt ɪz ðeɪ hæv ə træk ˈrɛkərd əv baɪɪŋ, ˈfɪksɪŋ ðɛm, ənd ˈgɪtɪŋ ðɛm bæk ɔn ðə ˈmɑrkɪt ɪn ə ˈrizənəbəl əˈmaʊnt əv taɪm," ˈɛvənz sɪz. ɪn ˈəðər ˈkeɪsɪz, tɪ ˈvælju ˈfoʊkɪsɪz ˈrisɔrsɪz ɔn kəmˈjunɪti dɪˈvɛləpmənt ˈkləstərz, ˈtɪpɪkəli sˈmɔlər ˈɛriəz əv ˈveɪkənsi nɪr ˈmeɪʤər ˌridɪˈvɛləpmənt ˈɛriəz, laɪk ðə wən ˈoʊvərˌsin baɪ ðə (ˌkɑntrəˈvərʃəl) ist ˈbɔltəˌmɔr dɪˈvɛləpmənt ɪŋk. ɪn ðə ˈmɪdəl ist ˈneɪbərˌhʊd. həz juzd tɪ ˈpərʧəs ˈdəzənz əv ˈveɪkənt ˈbɪldɪŋz ənd lɑts ɪn ɪts kənˈtɪnjuɪŋ kwɛst tɪ ˈtrænsfɔrm 88 ˈeɪkərz əv lænd nɪr ðə ʤɑnz ˈhɑpkɪnz ˈhɑˌspɪtəl. tɪ ˈvælju wɑz ˈnɛvər mɛnt tɪ fɪks ˈɛvriˌθɪŋ. ˈɛvəri blɑk həz ɪts oʊn pəˈtɛnʃəl," deɪ sɪz. "ɪn cdcs*, brɔt daʊn ɪn ðoʊz ˈfʊtˌprɪnts baɪ əˈbaʊt 35 pərˈsɛnt, bət ðə ˈtoʊtəl ˈnəmbər əv θru ðə ˈsɪti həz gɔn əp baɪ 8 pərˈsɛnt." ə ˈrizən ðə ˈɑlɪvər ˈneɪbərˌhʊd ɔn ist saɪd ɪz kənˈtɪnjuəli ˈsaɪtɪd ɛz ə səkˈsɛs ˈstɔri. ðɛr, dɪˈvɛləpmənt ˈpɑrtnərz həz pɔrd ˈməni ˈɪntu əˈbaʊt 175 hoʊmz. sɛd tɪ dɪˈvɛləpərz, tɛl ˈjuˈɛs wɛr ju hæv ˈɪntəˌrɛst ɪn dɪˈvɛləpɪŋ, ənd ðɛn kənˈsɑlɪˌdeɪt ɪn ðət ˈɛriə, ənd juz ˈɔkʃənz ənd rɪˈsivərˌʃɪp tɪ ˈpækɪʤ grups əv ˈprɑpərtiz ənd gɪt ju tɪ ðə pɔɪnt wɛr ˈeɪbəl tɪ kəmˈplit ən ɪnˈtaɪər blɑk feɪs," sɪz ˈprɛzɪdənt ʃɔn closkey*. ˈpækɪʤɪŋ ˈprɑpərtiz ɪz wən əv strɛŋθs, sɪz lɑkoʊˈvɑrə, ə ril ɛˈsteɪt ˈeɪʤənt ənd ə fæn hu həz soʊld mɔr ðən 40 ˈprɑpərtiz baɪ dɪˈvɛləpərz θru ðə ˈproʊˌgræm. lɑkoʊˈvɑrə sɪz ðət ˈəndər skoʊp, ˈprɑpərtiz wər ˈpisˌmil: wən haʊs ɔn ə blɑk wʊd bi ˈrɛnəˌveɪtɪd, bət ðɛn θri ˈəðər ˈveɪkənt ˈbɪldɪŋz rɪˈmeɪnd. fər ə ˈriəltər, ɔˈrɛdi ə seɪlz ˈʧælənʤ. ˈkəpəld wɪθ ə daʊn ˈhaʊzɪŋ ˈmɑrkɪt ˈæftər ðə ˌriˈsɛʃən hɪt, ðə tæsk bɪˈkeɪm ˌɪmˈpɑsəbəl. naʊ, ʃi sɪz, ðə weɪ tɪ ˈvælju dilz wɪθ ˈveɪkənt ˈprɑpərtiz ənd ˈbəndəlz ðɛm təˈgɛðər fər dɪˈvɛləpərz tɪ baɪ ɪz "ə məʧ mɔr rɪˈlaɪəbəl ˈmɑrkɪt ˈɪnfluəns." "ɪt simz laɪk ə məʧ mɔr ˌsɪstəˈmætɪk weɪ əv ˈdilɪŋ wɪθ ˈprɑbləm ˈprɑpərtiz," sɪz lɑkoʊˈvɑrə. "ɪt əˈlaʊz ðə baɪər tɪ noʊ ðət nɑt ʤɪst ðɛr haʊs ɪz goʊɪŋ tɪ bi fɪkst əp, ənd ɪt gɪvz ðə ˈpipəl hu ər ˈlɪvɪŋ ðɛr ɔˈrɛdi səm ˈkəmfərt ðət ðeɪ kən stɑrt ˌɪnˈvɛstɪŋ ɪn ðɛr oʊn hoʊm." wɪn ʃeɪ ˈfrɛdərɪk wɛnt bæk ɪn ˈʤænjuˌɛri 2013 hi ˈstɑrtɪd ɪn wɛst ˈlɑrʤli bɪˈkəz əv wət wɑz ɔˈrɛdi ˈhæpənɪŋ ðɛr. ən ˈɛmti ˈfæktəri wɑz biɪŋ kənˈvərtɪd ˈɪntu ðə ˈbɔltəˌmɔr dɪˈzaɪn skul, wɪʧ ˈoʊpənd ɪn ˈɔgəst 2013 dɪˈvɛləpmənt ˈpɑrtnərz hæd 25 ˈveɪkənt, ənd ˈsɪti ɑrts, əˈnəðər ˈprɑʤɛkt hæd ə hænd ɪn, hæd ˈrisəntli kəm ˈɔnˌlaɪn: 69 əˈpɑrtmənts, ɔl ˈklæsəˌfaɪd ɛz əˈfɔrdəbəl ˈhaʊzɪŋ ənd list ɪkˈsklusɪvli tɪ ˈɑrtɪsts. wɛst ɪz pɑrt əv ˈsteɪʃən nɔrθ ɑrts ˈdɪstrɪkt.) ðɛr wər stɪl ˈəðər ɪn ðə ˈneɪbərˌhʊd, bət ɪt simd tɪ bi ɔn ðə kəsp əv ˌtrænsfərˈmeɪʃən ənd ˈstrædəld ðət əˈnizi laɪn bɪtˈwin ˌfʊlˈbloʊn ˌdɛrəˈlɪkʃən ənd ˌʤɛntrɪfɪˈkeɪʃən. "wɪn wi lɔnʧt [v2v*], ðɛr wər 179 ɪn wɛst. ðɛr ər fjuər ðən 60 raɪt naʊ ənd moʊst əv ðoʊz ər ˈəndər ˈkɑnˌtrækt ər ˈəndər kənˈstrəkʃən," sɪz deɪ. "wɪn wi traɪ tɪ kəm əp wɪθ ə ˈsɪŋgəl ˈproʊˌgræm tɪ ɪˈlɪməˌneɪt ɔl ðət blaɪt, ˌɪmˈpɑsəbəl. ˈɔlˌweɪz goʊɪŋ tɪ bi ə wərk ɪn deɪ, ˈdɛpjəti kəˈmɪʃənər fər ˈbɔltəˌmɔr ˈhaʊzɪŋ ˈfrɛdərɪk æt ðət taɪm wɑz stɪl ə ˈsinjər ˈproʊˌgræmər æt advertising.com*, ə səbˈsɪdiˌɛri əv əˈmərɪkəˈɑnˌlaɪn. hi gru əp ɪn ˌkæləˈfɔrnjə nɑt fɑr frəm ˈæpəl ə kɪd, teɪk hɪz ˈskeɪtˌbɔrd tɪ ðə tɔp əv ðə ˈpɑrkɪŋ gərɑʒ ənd reɪs ðə sɪˈkjʊrəti gɑrdz traɪɪŋ tɪ ʧeɪs ɪm kənˈstrəkʃən wɑz ɪn hɪz bləd. hɪz dæd gru əp ˈpaʊndɪŋ neɪlz wɪθ hɪz dæd, ˈgrænˌfɑðər, hu wɑz ˈbɪznɪs ˈmænɪʤər əv ðə ˈloʊkəl ˈkɑrpəntərz ˈjunjən ɪn ənd əraʊnd ˈoʊklənd. "dɪˈspaɪt ðə fækt ðət ə ˈproʊˌgræmər, aɪ ˈæˌkʧuəli laɪk ˈwərkɪŋ wɪθ maɪ hænz," sɪz ðə ˈfrɛdərɪk. ˈɛnərɪŋ ˈveɪkənt ˈhaʊsɪz ˈligəli rikˈwaɪərz ˈsaɪnɪŋ ə ˈweɪvər ənd peɪɪŋ ðə ˈsɪti 25 fər ðə ˈprɪvɪlɪʤ. ˈfrɛdərɪk wɛnt θru ðɪs ˈprɔˌsɛs tɪ ʧɛk aʊt ðə ˌɪnˈsaɪdz əv ə ˈhæfˌdəzən ɪn ðə ˈneɪbərˌhʊd. tɪ gɪt pæst ðɛr ˈɛntrənsəz, hi meɪd iʧ trɪp wɪθ ə ˈskruˌdraɪvər ənd ˈkroʊˌbɑr. hi ɪˈvɛnʧəwəli ˈsɛtəld ɔn ə ˈkɔrnər ɔn strit ðət wɑz ˈɔlsoʊ ˈhaɪdɪŋ ə ˈʃɑtˌgən, ɪn əˈdɪʃən tɪ ðə ˈjumən pup ənd ˈrɛmnənts əv ə ˈhɛroʊən ˈhæbət hi faʊnd. bət ɪt wɑz ə ʃɛl wɪθ gʊd boʊnz ənd moʊst əv ə rʊf. ˈpərʧəsɪŋ ðə haʊs θru wɑz ə ˈmætər əv ə ˈdɑkjəmɛnt ðət ˈaʊˌtlaɪnz ðə ˌɪnˈtɛndɪd juz əv ðə ˈprɑpərti ənd ˌɑrkəˈtɛkʧərəl plænz fər ðə ðə ˈpleɪsmənt əv ə bɪd. ˈfrɛdərɪk ˈɔfərd ðət praɪs, ˈkəpəld wɪθ wət ðə ˈsɪti toʊld ɪm wɑz ðə ˌæpləˈkeɪʃən, hɛlpt ɪm wɪn aʊt əˈgɛnst tu ˈəðər baɪərz. bət wət ðə ˈsɪti ˈrɪli wɔnts tɪ si, ɪn əˈdɪʃən tɪ ə dɪˈvɛləpmənt plæn ənd ðə ˈtoʊtəl kɔst əv ðə rihæb, ɪz pruf ðət ə baɪər həz ðə kæʃ ɔn hænd tɪ du ðə ˌrɛnəˈveɪʃən. "ju hæv tɪ pruv ðət ju hæv 100 pərˈsɛnt əv ðə fəndz ðə deɪ ju əˈplaɪ," sɪz ˈfrɛdərɪk, hu tʊk aʊt θri laɪnz əv ˈkrɛdɪt, ˈivɪn ðoʊ hi ˈɛndɪd əp ˈjuzɪŋ ˈoʊnli wən əv ðɛm. "aɪ ˈnidɪd tɪ ʃoʊ ðət aɪ hæd ðə ˌpɑsəˈbɪləˌti tɪ gɪt ɔl ðə ˈməni æt wəns tɪ du ðə haʊs, ənd wɛr nɑt ˌriəˈlɪstɪk fər moʊst ˈpipəl, aɪ θɪŋk." ˈivɪn fər ˈfrɛdərɪk, hu hæd noʊ dɛt ənd ə ˈkʊʃi ˈproʊˌgræmɪŋ ʤɑb, ˈpruvɪŋ tɪ ˈhaʊzɪŋ əˈfɪʃəlz ðət hi hæd nɑt ˈoʊnli ðə ˈməni fər ðə haʊs, bət ˈɔlsoʊ ðə ˈməni fər ðə rihæb wɑz ðə moʊst ˈdɪfəkəlt pɑrt. fər ˌɪndəˈvɪʤəwəl baɪərz ər sˈmɔlər dɪˈvɛləpərz, ðɪs ɪz wɛr səm əv ðə hoʊlz ɪn tɪ ˌmɛθəˈdɑləʤi bɪˈgɪn tɪ əˈpɪr. ə dɪˈvɛləpər həz tɪ bi ʃʊr ðeɪ kən sɛl ə ˈrɛnəˌveɪtɪd haʊs fər ə bɪt əv ˈprɑfɪt, ˈsəmθɪŋ ˈprɪti ˈɑbviəs ˈivɪn tɪ ˈpipəl hu wɔʧ ˈɛvəri ʃoʊ ɔn hgtv*. ɪn ˈbɔltəˌmɔr ˈneɪbərˌhʊdz wɛr meɪk əp tɪ əv ðə ˈhaʊzɪŋ stɑk, noʊ ˌgɛrənˈti əv ˈərnɪŋ ðət ˈməni bæk. "ðə ˈprɑbləm wɪθ moʊst ˈveɪkənt ˈhaʊsɪz ɪn ˈbɔltəˌmɔr, ˈivɪn ɪf ju peɪ ˈnəθɪŋ fər ðə haʊs ˌɪtˈsɛlf, ɪz ðət ðə kɔst əv ˈrɛnəˌveɪtɪŋ ðɛm ənd ˈbrɪŋɪŋ ðɛm bæk əp tɪ koʊd ɪkˈsidz ðɛr ˈvælju ɪn ðə pleɪs ðət ðeɪ ər," sɪz ˈhɛnri. ʧək ˈdeɪviz ənd hɪz ˈbɪznɪs ˈpɑrtnər hæv bɪn ˈrɛnəˌveɪtɪŋ ˈveɪkənt ˈhaʊsɪz ɪn ˈbɔltəˌmɔr fər sɪks jɪrz. ˈdeɪviz ˈjuʒəwəli ˈɛstəˌmeɪts æt list ɪn kənˈstrəkʃən kɔsts fər ə haʊs. ɪn ə ˈneɪbərˌhʊd laɪk wɛst, wɛr ˈpərʧəst 16 ˈveɪkənt əv ðɛm θru tɪ ˈeɪbəl tɪ meɪk bæk ðə ˈməni ənd tərn ə smɔl ˈprɑfɪt. bət ˈdeɪviz ɪz ˈfaɪndɪŋ ɪt mɔr ˈdɪfəkəlt tɪ sɛl ˈrɛnəˌveɪtɪd ˈhaʊsɪz ɪn ˈəðər ˈneɪbərˌhʊdz laɪk ˈbɑrˌkli ənd ˈʤɑnsən skwɛr, tu əv ˈtərgət ˈɛriəz. ə lɔt əv ˈpleɪsɪz wɛr ˈivɪn ðoʊ ðeɪ ər nis ˈneɪbərˌhʊdz, ˈhævɪŋ ə hɑrd taɪm ˈfaɪndɪŋ kˈwɑləˌfaɪd baɪərz," sɪz ˈdeɪviz, ə ˈfɔrmər nu ˈʤərzi ˈsɪti ˈplænər. "aɪ ʤɪst ˈkəvər maɪ kɔsts ɪn səm əv ðiz ˈwikər ˈmɑrkɪts." ɪn ɪts rɪˈpɔrt ˈpəblɪʃt ɪn noʊˈvɛmbər 2015 ðə ˈeɪbəl faʊnˈdeɪʃən sɛd ˈməni ˈtrəbəl, fər boʊθ ˈhoʊmˌbaɪərz ənd dɪˈvɛləpərz, wɑz wən ˈhæŋˌgəp əv ðə tɪ ˈvælju ˈproʊˌgræm. "ðɛr ər ˈprɑbləmz ðət nid tɪ bi fɪkst," ʤoʊn ˈʤeɪkəbsən, ðə ˈɔθər, toʊld ðə ˈbɔltəˌmɔr sən æt ðə taɪm. "ənd wən bɪg ˈprɑbləm ɪz ə læk əv fɪˈnænsɪŋ." ðɛr hæv bɪn səm əˈtɛmpts tɪ ˌsərkəmˈvɛnt ðə fɪˈnænsɪŋ ˈʧælənʤɪz. ə "ˈbustər" spəˈsɪfɪkli fər tɪ ˈvælju ˈhoʊmˌbaɪərz həz bɪn əraʊnd sɪns ðə ˈproʊˌgræm bɪˈgæn. ərˈɪʤənəli, ðiz grænts wər fər ənd ˈoʊnli əˈveɪləbəl tɪ səˈlɛkt grups əv baɪərz, laɪk ˈtiʧərz. ˈæftər səm riˈtulɪŋ, ðə grænts wər ɪkˈspændɪd tɪ ɔl ˈhoʊmˌbaɪərz, ənd ðə əˈmaʊnt pər grænt wɑz ˌɪnˈkrist. sɪns 2012 ðə ˈsɪti həz ˈgɪvɪn aʊt 518 grænts əv əˈpis. hɑrd tɪ ˈfʊli ˈrɛnəˌveɪt ə haʊs ɪn ˈbɔltəˌmɔr ˈsɪti ənd gɪt ə praɪs pɔɪnt ˈəndər sɪz lɑkoʊˈvɑrə. "tɪ bi ˈeɪbəl tɪ ɪnˈʃʊr ɪn ə 20 pərˈsɛnt daʊn ˌsɪʧuˈeɪʃən, [ðə grænt ɪz] kaɪnd əv ˈkrɪtɪkəl." ðə ˈbustər ˈproʊˌgræm ðɪs ˈsəmər wɪn ðə ˈæləˌkeɪtɪd fər grænts fər ðə ˈfɪskəl jɪr ˈspænɪŋ frəm ˌʤuˈlaɪ 2016 θru ʤun 2017 ræn aʊt ˈæftər tu mənθs. ɪn leɪt sɛpˈtɛmbər, ðə ˈsɪti ˈæləˌkeɪtɪd əˈnəðər fər ðə ˈbustər ˈproʊˌgræm, wɪʧ minz pəˈtɛnʃəli 70 mɔr baɪərz wɪl bi ˈeɪbəl tɪ ˈpərʧəs ˈpriviəsli ˈveɪkənt ˈhaʊsɪz ðɪs jɪr. deɪ sɪz ʃi wɑz nɑt pɑrt əv ðə dɪˈsɪʒənˌmeɪkɪŋ ðət rɪˈzəltɪd ɪn ðə grænt ˈməni biɪŋ ˌtɛmpərˈɛrəli kət. "wi wʊd ˈnɛvər æsk fər lɛs ˈməni ɪn ə ˈproʊˌgræm ðət wi bɪˈliv ɪz ˈkrɪtɪkəl," ʃi sɪz. "ɪn ðə lɔŋ rən, aɪ ˈæˌkʧuəli θɪŋk ɪt wɑz ə gʊd θɪŋ wi ræn aʊt əv ˈməni bɪˈkəz ðɛr wɑz səʧ ən ˈaʊtˌkraɪ [frəm baɪərz ənd dɪˈvɛləpərz]. goʊɪŋ tɪ bi ˈprɪti hɑrd tɪ kət goʊɪŋ ˈfɔrwərd." ˈəltəmətli, hɑrd tɪ dɪˈtərmən ðə ˈoʊvərˌɔl ˈifɛkt əv tɪ ˈvælju bɪˈkəz ˈbɔltəˌmɔr ˈhaʊzɪŋ ˈpəblɪʃ klɪr, ˈdætə, ˈminɪŋ ðə ˈsɪti tɛndz tɪ ˈoʊvərˌsɛl ðə ˌtrænsˈfɔrmɑˌtɪv ˌkeɪpəˈbɪlətiz. keɪs ɪn pɔɪnt: ə ˈdætəˌbeɪs əv ˈprɑpərtiz pərˈpɔrtɪˌdli ɪn ðə fərst fɔr jɪrz ənd ˈænəˌlaɪzd baɪ ðə ˈeɪbəl faʊnˈdeɪʃən ˌɪnˈkludɪd 416 ˈprɑpərtiz wɪθ ˈpərˌmɪts fər ˌrɛnəˈveɪʃən ðət ˈpriˈdeɪtɪd lɔnʧ. nɑt ʃʊr haʊ bɪg ə dɛnt ˈmeɪkɪŋ," ˈɛvənz sɪz. ˈsərtənli weɪ tu ˈmɛni ˈneɪbərˌhʊdz wɛr noʊ ril ɛˈsteɪt ˈmɑrkɪt." ˈleɪtli bɪn mɔr tɔk əˈbaʊt ˈwɛðər ˈbɔltəˌmɔr ʃʊd dɪˈmɑlɪʃ ˈveɪkənt ˈhaʊsɪz ˈrəðər ðən ridɪˈvɛləp ðɛm. ə ˈbɔltəˌmɔr ˈsɪti ˈpeɪpər ˈbəʤɪt ˌɪnˌvɛstəˈgeɪʃən ɪn sɛpˈtɛmbər səˈʤɛstɪd ðət ðə ˈsɪti simz tɪ bi ˈʃɪftɪŋ mɔr ˌfaɪˈnænʃəl ˈrisɔrsɪz təˈwɔrd ˌdɛməˈlɪʃən ənd əˈweɪ frəm ˈhoʊˌmoʊnər ˌɪnˈsɪnɪvz. ðə ˈɪnˌkəmɪŋ meɪər, ˈkæθərɪn pju, toʊld ðə sən ðət ʃi wʊd laɪk tɪ breɪk əp ˈbɔltəˌmɔr ˈhaʊzɪŋ ˈɪntu tu ˈsɛpərˌeɪt ˈeɪʤənsiz, wən əv wɪʧ wʊd bi ˈfoʊkɪst ɔn dɪˈmɑlɪʃɪŋ. "ˌdɛməˈlɪʃən həz ˈɔlˌweɪz bɪn ə kəmˈpoʊnənt tɪ. ðɛr ər ˈsərtən blɑks ðət ər soʊ dɪˈstrɛst ðət ðeɪ nid tɪ bi dɪˈmɑlɪʃt," sɪz deɪ. əˈkɔrdɪŋ tɪ hər, meɪər həz kwɑˈdrupəld ðə əˈmaʊnt əv ˈfəndɪŋ fər ˌdɛməˈlɪʃən frəm əˈbaʊt ˈmɪljən tɪ əˈbaʊt 10 ˈmɪljən ˈdʊrɪŋ hər ˈtɛnjər. ˈɔlsoʊ ə nu ˈmɛrələnd steɪt ˈproʊˌgræm spəˈsɪfɪkli fər ˌdɛməˈlɪʃən. əˈnaʊnst baɪ ˈgəvərnər ˈlɛri ˈhoʊˌgɑn ˈərliər ðɪs jɪr, səˈpoʊzd tɪ prəˈvaɪd 75 ˈmɪljən ˈoʊvər fɔr jɪrz tɪ tɪr daʊn ˈθaʊzənz əv ˈbɔltəˌmɔr. wət teɪks ðə pleɪs əv ðət ər tɔrn daʊn wɪl ˈvɛri. ðə steɪt ˈproʊˌgræm kɔlz fər grin ˈspeɪsɪz, laɪk ðə pɑrk ɪn ðə ˈgəvərnər ˈvɪzɪtɪd ɪn ʤun, ənd nu dɪˈvɛləpmənt. ɪn səm ˈkeɪsɪz, wɪl bi tɔrn daʊn tɪ meɪk ˈnɪrˈbaɪ ˈprɑpərtiz biɪŋ θru ə ˈbɛtər ˌprɑpəˈzɪʃən fər baɪərz (bɪˈkəz noʊ wən wɔnts tɪ si ə ˈveɪkənt haʊs ɪn ðə ˈæliˌweɪ bɪˈhaɪnd ðɛr ˈrɛnəˌveɪtɪd hoʊm). bət ðə ˌdɛməˈlɪʃən ˌɪˈnɪʃətɪv ɪz ɔˈrɛdi ˈfɑlɪŋ bɪˈhaɪnd ɔn ɪts goʊlz fər ðɪs jɪr. tɪ ˈvælju ɪz ʤɪst wən pis. aɪ θɪŋk ɪt wərks fər wət ɪt ɪz, bət aɪ wɪʃ ðɛr wɑz ə məʧ weɪ tɪ ˈæˌdrɛs ɔl ðɪs," sɪz ˈɛvənz. "aɪ si ðə ˈfəndɪŋ fər ðət, ər, æt ðɪs pɔɪnt, wi stɪl hæv ə ˌpɑpjəˈleɪʃən geɪm, soʊ ðə ˈpɪkʧər əv ðɪs ɪz məʧ ˈgreɪtər ðən ə ˈveɪkənt haʊs." fər ˈfrɛdərɪk, tɪ ˈvælju wərkt aʊt wɛl. ðə ˈveɪkənt ʃɛl hi ˈpərʧəst frəm ðə ˈsɪti ɪz naʊ ə three-bedroom*, hoʊm wɪθ ˈmɑdərn ˈfɪksʧərz ənd stɛps meɪd əv riˈkleɪmd wʊd. hi lɪvz ðɛr wɪθ ˈæli, hɪz dɔg, əˈkrɔs ðə strit frəm ə nu ˈpəblɪk pɑrk, wɛr ə hoʊldz bʊks fər ˈædəlts ənd ˈʧɪldrən tɪ teɪk. sɪns ˈpərʧəst əˈnəðər ˈveɪkənt ɪn wɛst, wɪʧ hi ˈrisəntli soʊld ˈæftər ˈrɛnəˌveɪʃənz. hi ˈɔlsoʊ həz ə dil wərkt aʊt wɪθ dɪˈvɛləpmənt ˈpɑrtnərz, əˈgrid tɪ fənd 85 pərˈsɛnt əv ðə kɔsts tɪ bɪld frəm ðə graʊnd əp ɔn fɔr ˈveɪkənt lɑts hi ʤɪst ˈpərʧəst. ˈæftər ə ˈsəmər əv ˈweɪtɪŋ, hi ˈfaɪnəli kloʊzd ɔn ə θərd ˈveɪkənt, bɔt æt ˈɔkʃən frəm wən haʊs æt ə taɪm. ənd ˈtreɪdɪd ɪn hɪz ˈkiˌbɔrd ənd ˈʤɑvəˌskrɪpt fər ə ˈhæmər ənd neɪlz: laɪk hɪz ˈgrænˌfɑðər, ˈfrɛdərɪk naʊ wərks ɪn ðə kənˈstrəkʃən ˈbɪznɪs ˈfʊlˌtaɪm; hi ˈrisəntli ˈstɑrtɪd əp hɪz oʊn ˈkɑntræktɪŋ ˈbɪznɪs. "aɪ ʤɪst fɛlt laɪk ɪt wɑz taɪm fər ə ʧeɪnʤ," hi sɪz. bɪn duɪŋ ˈproʊˌgræmɪŋ fər laɪk 15 jɪrz naʊ. ənd ɪn ˌriˈæləˌti ʧeɪnʤd ɪn ðə 15 ˈɔlˌweɪz ðə seɪm θɪŋ ʤɪst rɪˈpitɪd." ɪn leɪt sɛpˈtɛmbər, æt hɪz nuəst ˈveɪkənt, ˈfrɛdərɪk wɔks θru klaʊdz əv dəst ənd ˈoʊvər paɪlz əv ˈbroʊkən wʊd ˈwɛrɪŋ wərk buts, ə pɛr əv ˈkɑki pænts, ənd ə ˈtiˌsərt ðət ridz "aɪ si dɛd ˈpɪksəlz." hi ənd θri gaɪz hi haɪərd frəm ðə ˈneɪbərˌhʊd hæv ʤɪst ˈfɪnɪʃt ˈgətɪŋ ðə ˌɪnˈsaɪdz əv ðɪs nu ˈveɪkənt. ɪt nidz ə nu rʊf, ə ˈprɑʤɛkt ˈfrɛdərɪk hoʊps tɪ ˈtækəl ˌbiˈfɔr ðə ˈwɪntər. əpˈstɛrz ɪn ðə ˈbæθˌrum: ə təb fɪld wɪθ ˈɛmti ˈbɑtəlz əv bliʧ, wɪʧ ˈfrɛdərɪk pɔɪnts aʊt wɪθ ə læf. wɪn ɪt kəmz tɪ ˈrɛnəˌveɪtɪŋ, ˈsəmˌtaɪmz θɪŋz ʧeɪnʤ ˈiðər. ˈɛdɪtər: ˈsɛrə ˈpoʊlski
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when shea frederick started house hunting in 2013, he went the typical route: heading online to look at different properties. but frederick, a computer programmer and noted internet do-gooder among baltimore’s civic hacking community, wasn’t looking for brand new houses. instead, he was using an interactive online map he had built, baltimorevacants.org , to look for neighborhoods with vacant houses available to rehab. he found a prospect in one of baltimore’s eastside neighborhoods. when he first crossed the threshold, he saw soiled needles and thousands of empty vials.
"it was quite the sight, and smelled really bad," frederick remembers. "people had just been getting high and shitting in the corner for, like, 15 years in this place."
no turning back, however. it was july 2013, and frederick had just spent $9,000 to purchase his first vacant house from the city of baltimore. a little more than one year and $100,000 later, frederick would move into this newly rehabbed house in greenmount west, one of several baltimore neighborhoods that has undergone a noticeable transformation over the last half-decade thanks, in part, to a six-year-old city program called vacants to value.
for decades, baltimore has been plagued by vacant properties. more than 16,000, about a quarter of them city-owned, line its blocks today. nonresidents might know them best through the eyes of chris partlow, a character from the hbo series the wire who dumped dead bodies into vacant buildings and nailed the entrances shut with plywood. but baltimore residents see them every day, especially in sections of the city once home to working class families or redlined over decades of segregationist city planning. head west or east on north avenue, away from the popular station north arts and entertainment district, and you’ll see stretches of vacant rowhouses. drive into sandtown-winchester, where 25-year-old freddie gray was detained by baltimore police in april 2015 before dying a week later in custody, and you’ll find hundreds of them—more than 800, according to official city numbers.
it’s against this backdrop that mayor stephanie rawlings-blake introduced vacants to value in november 2010. an attempt to get vacant buildings rehabbed and occupied, vacants to value is the city’s "most ambitious blight-elimination effort in 40 years," according to the abell foundation, a prominent baltimore-based nonprofit. it’s a signature policy piece for rawlings-blake, who declined to comment for this story and who leaves office december 6. a message about v2v’s future, sent to the campaign of catherine pugh, the democratic state senator who was voted the fiftieth mayor of baltimore on election day, went unreturned.
"during the campaign, sen. pugh repeatedly commended the program and has said she wants to continue it," says julie day, deputy commissioner for baltimore housing and part of the leadership team behind vacants to value. "now, under what form or under what name … i don’t know. we’re definitely kicking ideas around."
vacants to value is a multi-pronged attempt to fight blight by streamlining the sale of city-owned vacant properties to buyers committed to rehabbing them. the program fines owners who don’t take care of unlivable properties, promoting strict, swift code enforcement. v2v allows district court judges to use receivership to take absentee owners’ derelict properties from them to be auctioned off for renovation, and it offers incentives to individual homebuyers and developers to purchase properties and spur neighborhood turnarounds.
but these efforts are easier said than done.
city data pegs the number of vacants at 16,730 structures, with "vacant" defined as any building likely to violate the city’s building and fire code—something with broken windows, no roof, or, in the case of frederick’s vacant, boarded-up windows and doors and empty heroin vials strewn about. put simply: they’re unsafe and unfit for human habitation. other tallies place the number much higher. the university of baltimore’s jacob france institute estimates there’s at least twice that many vacant properties.
vacants to value has been a mixed bag. on one hand, v2v has achieved some successes in its six years. more than 3,000 vacant properties have been rehabilitated, according to baltimore housing, the umbrella group that oversees v2v, composed of the federally funded housing authority of baltimore city and the locally funded department of housing and community development. a total of 1,467 city-owned properties, which includes 938 vacant buildings, have been sold through the program.
on the other hand, it’s questionable just how beneficial the program has been. at launch, vacants to value promised to "promote rehabilitation of more vacant, boarded buildings than any previous blight elimination program to date," and said more than 1,000 buildings would be rehabbed in just the first year. two and a half years later, however, that number stood at 728. and over its first four years, more than 500 buildings became newly vacant, according to a report published last november by the abell foundation.
"when we try to come up with a single program to eliminate all that blight, it’s impossible," day told me in 2014 when i first talked to her about the v2v program. "it’s always going to be a work in progress."
that so many baltimore homes stand empty is a reflection of how the city’s economy has changed over the decades. in 1950, the city was home to nearly 950,000 people, as well as to plants operated by general motors and bethlehem steel. by 1990, more than 200,000 people had left baltimore due to white flight and a dwindling number of blue collar jobs. today, according to the latest census estimates, baltimore is home to about 621,000 residents.
vacants to value is not the city’s first attempt to bring vacant homes back to the housing market. the dollar house program—enacted in 1973, when baltimore had about 5,500 vacants—tried to attract contractors willing to fix up crummy, city-owned properties, and used a combination of city and federal funding to help finance low-interest loans for renovations. by the 2000s, the number of vacants had tripled, and a new project came into being: scope, or selling city-owned property efficiently. vacants to value’s immediate predecessor, scope was a flop: in november 2010, just as v2v was announced, baltimore city paper reported that scope had facilitated just 130 complete rehabilitations in eight years.
vacants to value uses a wider variety of tactics to get both city-owned and privately owned vacants rehabbed. what v2v won’t do is facilitate a rehab of just one vacant on a street if there are five others, or spend resources in neighborhoods with high vacancy rates and slim chances of attracting homebuyers. instead, it targets specific neighborhoods classified as "middle markets," with lower rates of vacant housing, and uses a "block by block" approach. the city will see what properties are city-owned, if any, and then go after properties that are privately held.
"v2v, and i don’t mean this as a criticism, is a cherry picker," says bill henry, city councilman and chair of the council’s housing and community development committee. "it’s deliberately identifying those vacant houses of having the best chance of getting back onto the tax roll."
it starts by issuing $900 fines to private owners of vacants in the hopes it will push them to make necessary repairs or sell the house. in cases where the owner can’t be found, or repeated fines and notices go unanswered, v2v turns to receivership. vacants are legally considered public nuisances, which means the city can petition district court judges to seize a vacant house and hand it over to a receiver, which in turn sells the property. more often than not, the receiver is one house at a time, a two-person nonprofit that’s auctioned off close to 1,300 vacant properties since 2006. the most one house can keep from each sale is $5,000, but only after the lawyers and the auctioneer are paid; on average, one house gets around $3,200 from a sale. executive director lisa evans says the number of houses the nonprofit auctions each year has increased since v2v started. last year, 186 vacants were sold to prequalified buyers—ones who can show they have at least $90,000 in cash, whether savings or loans—to rehab.
"we don’t differentiate on people who want to sell or rent. what we care about is they have a track record of buying vacants, fixing them, and getting them back on the market in a reasonable amount of time," evans says.
in other cases, vacants to value focuses resources on community development clusters, typically smaller areas of vacancy near major redevelopment areas, like the one overseen by the (controversial) east baltimore development inc. in the city’s middle east neighborhood. ebdi has used v2v to purchase dozens of vacant buildings and lots in its continuing quest to transform 88 acres of land near the johns hopkins hospital.
"vacants to value was never meant to fix everything. … every block has its own potential," day says. "in cdcs, we’ve brought vacants down in those footprints by about 35 percent, but the total number of vacants through the city has gone up by 8 percent."
there’s a reason the oliver neighborhood on baltimore’s east side is continually cited as a success story. there, trf development partners has poured money into rehabbing about 175 single-family homes.
"v2v said to developers, tell us where you have interest in developing, and then we’ll consolidate vacants in that area, and use auctions and receivership to package groups of properties and get you to the point where you’re able to complete an entire block face," says trf president sean closkey.
packaging properties is one of v2v’s strengths, says avendui lacovara, a real estate agent and a v2v fan who has sold more than 40 properties rehabbed by developers through the program. lacovara says that under scope, properties were rehabbed piecemeal: one house on a block would be renovated, but then three other vacant buildings remained. for a realtor, that’s already a sales challenge. coupled with a down housing market after the recession hit, the task became impossible. now, she says, the way vacants to value deals with vacant properties and bundles them together for developers to buy is "a much more reliable market influence."
"it seems like there’s a much more systematic way of dealing with problem properties," says lacovara. "it allows the buyer to know that not just their house is going to be fixed up, and it gives the people who are living there already some comfort that they can start investing in their own home."
when shea frederick went vacant-hunting back in january 2013, he started in greenmount west largely because of what was already happening there. an empty factory was being converted into the baltimore design school, which opened in august 2013. trf development partners had rehabbed 25 vacant rowhouses, and city arts, another project trf had a hand in, had recently come online: 69 apartments, all classified as affordable housing and leased exclusively to artists. (greenmount west is part of baltimore’s station north arts district.) there were still other vacants in the neighborhood, but it seemed to be on the cusp of transformation and straddled that uneasy line between full-blown dereliction and bearded-hipster gentrification.
"when we launched [v2v], there were 179 vacants in greenmount west. there are fewer than 60 right now and most of those are under contract or under construction," says day.
"when we try to come up with a single program to eliminate all that blight, it’s impossible. it’s always going to be a work in progress."—julie day, deputy commissioner for baltimore housing
frederick at that time was still a senior programmer at advertising.com, a baltimore-based subsidiary of aol. he grew up in california not far from apple hq—as a kid, he’d take his skateboard to the top of the company’s parking garage and race the security guards trying to chase him down—but construction was in his blood. his dad grew up pounding nails with his dad, frederick’s grandfather, who was business manager of the local carpenters union in and around oakland.
"despite the fact that i’m a programmer, i actually like working with my hands," says the 39-year-old frederick.
entering vacant houses legally requires signing a waiver and paying the city $25 for the privilege. frederick went through this process to check out the insides of a half-dozen vacants in the neighborhood. to get past their plywood-covered entrances, he made each trip with a screwdriver and crowbar. he eventually settled on a corner rowhouse on lanvale street that was also hiding a sawed-off shotgun, in addition to the human poop and remnants of a heroin habit he found. but it was a shell with good bones and most of a roof.
purchasing the house through v2v was a matter of a 14-page application—a document that outlines the intended use of the property and architectural plans for the house—and the placement of a bid. frederick offered $9,000. that price, coupled with what the city told him was the best-looking application, helped him win out against two other buyers. but what the city really wants to see, in addition to a development plan and the total cost of the rehab, is proof that a buyer has the cash on hand to do the renovation.
"you have to prove that you have 100 percent of the funds the day you apply," says frederick, who took out three lines of credit, even though he ended up using only one of them. "i needed to show that i had the possibility to get all the money at once to do the house, and that’s where it’s not realistic for most people, i think."
even for frederick, who had no debt and a cushy programming job, proving to housing officials that he had not only the money for the house, but also the money for the rehab was the most difficult part.
for individual buyers or smaller developers, this is where some of the holes in vacants to value’s methodology begin to appear. a developer has to be sure they can sell a renovated house for a bit of profit, something that’s pretty obvious even to people who don’t watch every house-flipping show on hgtv. in baltimore neighborhoods where vacants make up one-quarter to one-half of the housing stock, there’s no guarantee of earning that money back.
"the problem with most vacant houses in baltimore, even if you pay nothing for the house itself, is that the cost of renovating them and bringing them back up to code exceeds their value in the place that they are," says henry.
chuck davies and his business partner have been renovating vacant houses in baltimore for six years. davies usually estimates at least $180,000 in construction costs for a 2,000-square-foot house. in a neighborhood like greenmount west, where they’ve purchased 16 vacant properties—half of them through vacants to value—they’re able to make back the money and turn a small profit. but davies is finding it more difficult to sell renovated houses in other neighborhoods like barclay and johnson square, two of v2v’s target areas.
"there’s a lot of places where even though they are nice neighborhoods, we’re having a hard time finding qualified buyers," says davies, a former new jersey city planner. "i just can’t cover my costs in some of these weaker markets."
in its report published in november 2015, the abell foundation said money trouble, for both homebuyers and developers, was one hangup of the vacants to value program. "there are problems that need to be fixed," joan jacobson, the report’s author, told the baltimore sun at the time. "and one big problem is a lack of financing."
there have been some attempts to circumvent the financing challenges. a city-sponsored "booster" specifically for vacants to value homebuyers has been around since the program began. originally, these grants were for $5,000 and only available to select groups of buyers, like teachers. after some retooling, the grants were expanded to all v2v homebuyers, and the amount per grant was increased. since 2012, the city has given out 518 grants of $10,000 apiece.
"it’s hard to fully renovate a house in baltimore city and get a price point under $175,000," says lacovara. "to be able to ensure you’re in a 20 percent down situation, [the grant is] kind of critical."
the booster program hiccupped this summer when the $300,000 allocated for grants for the fiscal year spanning from july 2016 through june 2017 ran out after two months. in late september, the city allocated another $700,000 for the booster program, which means potentially 70 more buyers will be able to purchase previously vacant houses this year. day says she was not part of the decision-making that resulted in the grant money being temporarily cut.
"we would never ask for less money in a program that we believe is critical," she says. "in the long run, i actually think it was a good thing we ran out of money because there was such an outcry [from buyers and developers]. it’s going to be pretty hard to cut going forward."
ultimately, it’s hard to determine the overall effect of vacants to value because baltimore housing doesn’t publish clear, easy-to-find data, meaning the city tends to oversell the program’s transformative capabilities. case in point: a database of 1,585 properties purportedly rehabbed in the program’s first four years and analyzed by the abell foundation included 416 properties with permits for renovation that predated v2v’s launch.
"i’m not sure how big a dent we’re making," evans says. "there’s certainly way too many neighborhoods where there’s no real estate market."
lately there’s been more talk about whether baltimore should demolish vacant houses rather than redevelop them. a baltimore city paper budget investigation in september suggested that the city seems to be shifting more financial resources toward demolition and away from homeowner incentives. the incoming mayor, catherine pugh, told the sun that she would like to break up baltimore housing into two separate agencies, one of which would be focused on demolishing vacants.
"demolition has always been a component to v2v. there are certain blocks that are so distressed that they need to be demolished," says day. according to her, mayor rawlings-blake has quadrupled the amount of funding for demolition from about $2.5 million to about $10 million during her tenure.
there’s also a new maryland state program specifically for demolition. announced by governor larry hogan earlier this year, it’s supposed to provide $75 million over four years to tear down thousands of baltimore vacants. what takes the place of vacants that are torn down will vary. the state program calls for green spaces, like the park in sandtown-winchester the governor visited in june, and new development. in some cases, vacants will be torn down to make nearby properties being rehabbed through v2v a better proposition for buyers (because no one wants to see a vacant house in the alleyway behind their renovated home). but the demolition initiative is already falling behind on its goals for this year.
"vacants to value is just one piece. i think it works for what it is, but i wish there was a much larger-scale way to address all this," says evans. "i don’t see the funding for that, or, at this point, we still don’t have a population game, so the picture of this is much greater than a vacant house."
for frederick, vacants to value worked out well. the vacant shell he purchased from the city is now a three-bedroom, two-bathroom home with modern fixtures and steps made of reclaimed wood. he lives there with allie, his dog, across the street from a new public park, where a cubby holds books for adults and children to take.
he’s since purchased another vacant in greenmount west, which he recently sold after renovations. he also has a deal worked out with trf development partners, who’ve agreed to fund 85 percent of the costs to build rowhouses from the ground up on four vacant lots he just purchased. after a summer of waiting, he finally closed on a third vacant rowhouse, bought at auction from one house at a time. and he’s traded in his keyboard and javascript for a hammer and nails: like his grandfather, frederick now works in the construction business full-time; he recently started up his own contracting business.
"i just felt like it was time for a change," he says. "i’ve been doing programming for like 15 years now. and in reality nothing’s changed in the 15 years—it’s always the same thing just repeated."
in late september, at his newest vacant rowhouse, frederick walks through clouds of dust and over piles of broken wood wearing work boots, a pair of carhartt khaki pants, and a t-shirt that reads "i see dead pixels." he and three guys he hired from the neighborhood have just finished gutting the insides of this new vacant. it needs a new roof, a project frederick hopes to tackle before the winter. upstairs in the bathroom: a tub filled with empty bottles of bleach, which frederick points out with a laugh. when it comes to renovating vacants, sometimes things don’t change either.
editor: sara polsky
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baɪ braɪən ə ˈroʊlər rɪŋk ənd ə geɪm ər səm əv ðə nu ækˈtɪvɪtiz plænd fər ðə ˈsɛvənθ ˈænjuəl sɪks ˈkɔrnərz ˈbɑrbɪˌkju fɛst ɔn ʤun ɔn mɪlˈwɔki ˈævəˌnu bɪtˈwin ˈərvɪŋ pɑrk roʊd ənd bɛl ˈævəˌnu. ˈbɑrbɪˌkju fɛst ɪz ˈjuʒəwəli hɛld ɔn deɪ ˈwiˌkɪnd, bət ðɪs ɪˈvɛnt ɪz biɪŋ hɛld ə wik ˈərliər. ðə rɪŋk wɪl bi ˈloʊˌkeɪtəd ɪn ðə ˈpɑrkɪŋ lɔt əv ə ˈfɔrmər ˈdɔlər stɔr æt mɪlˈwɔki ənd ˈkaɪlər ˈævəˌnuz, wɪθ fri skeɪt ˈrɛntəl. ɪn əˈdɪʃən, wɪn ɔl ðə ˈpisɪz ər stækt, ðə tɔp pis wɪl bi əˈbaʊt 4 fit frəm ðə graʊnd, əˈkɔrdɪŋ tɪ ˈfɛstɪvəl ˈmænɪʤər ˈæmi ˈzændər. ˈsɛvərəl ˈkɑrnəvəl ənd jɑrd geɪmz, ˌɪnˈkludɪŋ rɪŋ tɔs ənd bin bægz, ˈɔlsoʊ wɪl bi ˈɔfərd. ˈhɛˌdlaɪnɪŋ ðə mˈjuzɪkəl ˈlaɪˌnəp ɔn ˈsæˌtɪˌdeɪ naɪt wɪl bi ðə blaɪnd ˈstægərz, noʊn fər ɪts ““rockabilly”*” saʊnd, ˈzændər sɛd. ˈərliər bændz pərˈfɔrmɪŋ wɪl bi wæks wərks, maɪk ˈwilər ənd bɛl. ɔn ˈsənˌdi naɪt ðə meɪn steɪʤ wɪl ˈfiʧər pɑp ɔlˈtərnətɪv bænd ˈæntəni ənd ðə træmpz. ðə ˈəðər pərˈfɔrmərz wɪl bi ˈhænsəm deɪv ənd ðə ˈreɪvənz, ˈʤəŋˌkjɑrd gruv, sɪks strɪŋ ˈkrɔsɪŋ ənd ˈmæni ˈtɔˌrɛz. ðə fud ˈvɛndərz wɪl ˌɪnˈklud fud trək ənd café*é ənd ˈbeɪkəri. ðɛr ˈɔlsoʊ ər plænz fər ə dɪˈspleɪ əv ˈdɛkrətɪv ʧɛrz wɪʧ ˈloʊkəl ˈɑrtɪsts ər kriˈeɪtɪŋ ənd ˈhoʊpɪŋ tɪ hæv ˌɪnˈstɔld θruaʊt ðə ˈneɪbərˌhʊd. ðə ˈfɛstɪvəl wɪl rən frəm nun tɪ 10 p.m*. ɔn ˈsæˌtɪˌdeɪ ənd nun tɪ 9 p.m*. ɔn ˈsənˌdi. ə geɪt doʊˈneɪʃən əv 5 ˈbɛnəfɪts ðə əˌsoʊʃiˈeɪʃən, wɪʧ prəˈmoʊts ðə sɪks ˈkɔrnərz ˈbɪznɪs ˈdɪstrɪkt ənd ˈspɑnsərz kəmˈjunɪti ɪˈvɛnts. ðə əˌsoʊʃiˈeɪʃən ˈɔlsoʊ ɪz ˈplænɪŋ tɪ hoʊld ɪts fɛr chicago”*” ˈdʊrɪŋ ðə ˈwiˌkɪnd əv sɛpt. ðət sɛpˈtɛmbər ˈwiˌkɪnd wɪl bi ə ˈbɪzi taɪm fər ˌnɔrθˈwɛst saɪd fest-goers*, wɪθ ðə ˈglædˌstoʊn pɑrk ˈʧeɪmbər əv mˈjuzɪk festival”*” æt mɪlˈwɔki ənd ɪlˈstɑn ˈævəˌnuz ənd ðə frɪnʤ festival”*” æt ˈvɛriəs loʊˈkeɪʃənz ɪn ðə ˈʤɛfərsən pɑrk ˈbɪznɪs ˈdɪstrɪkt.
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by brian nadig
a roller rink and a giant-size jenga game are some of the new activities planned for the seventh annual six corners bbq fest on june 10-11 on milwaukee avenue between irving park road and belle plaine avenue.
bbq fest is usually held on father’s day weekend, but this year’s event is being held a week earlier.
the rink will be located in the parking lot of a former dollar store at milwaukee and cuyler avenues, with free skate rental. in addition, when all the pieces are stacked, the top jenga piece will be about 4 feet from the ground, according to festival manager amie zander.
several carnival and yard games, including ring toss and bean bags, also will be offered.
headlining the festival’s musical lineup on saturday night will be the blind staggers, known for its “rockabilly” sound, zander said. earlier bands performing will be wax works, mike wheeler and lurrie bell.
on sunday night the main stage will feature pop alternative band antony and the tramps. the other performers will be handsome dave and the ravens, junkyard groove, six string crossing and manny torres.
the festival’s food vendors will include harold’s food truck and fannie’s café and bakery. there also are plans for a display of decorative chairs which local artists are creating and hoping to have installed throughout the neighborhood.
the festival will run from noon to 10 p.m. on saturday and noon to 9 p.m. on sunday. a gate donation of $5 benefits the association, which promotes the six corners business district and sponsors community events.
the association also is planning to hold its first-ever “county fair chicago” during the weekend of sept. 9-10.
that september weekend will be a busy time for northwest side fest-goers, with the gladstone park chamber of commerce’s “throwback music festival” at milwaukee and elston avenues and the “chicago fringe festival” at various locations in the jefferson park business district.
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ˈmidiə ˈpleɪˌbæk ɪz ənsəˈpɔrtɪd ɔn jʊr dɪˈvaɪs ˈmidiə ˈkæpʃən ə klɪp frəm ðə ə saʊθ ˈæfrɪkɑn fæst fud ʧeɪn həz wɪθˈdrɔn ə ˌtɛləˈvɪʒən wɪʧ poʊks fən æt zɪmˈbɑbweɪz ˈprɛzɪdənt ˈrɑbərt muˈgɑbeɪ ɛz "ðə læst ˈdɪkteɪtər ˈstændɪŋ". saʊθ ˈæfrɪkɑ sɛd ɪt ˌdɪˈsaɪdɪd tɪ ækt ˈæftər rɪˈsivɪŋ θrɛts tɪ ɪts stæf ɪn zɪmˈbɑbweɪ frəm ə juθ grup lɔɪəl tɪ ˈmɪstər muˈgɑbeɪ. ðə ˈvɪdioʊ ʃoʊz ə sæd muˈgɑbeɪ ˈdaɪnɪŋ əˈloʊn æt ə ˈteɪbəl sɛt fər ˈlɪˌbiəz muˈæmər gaddafi*, juˈgændəz ɑˈmin ənd ˈəðər leɪt ˌɔtəˈkrætɪk ˈrulərz. ðə fərm ɪz noʊn fər ɪts ˈʧiki ædz. ˌkɛriˈoʊki wɪθ maʊ "wiv ˈnoʊtɪd wɪθ kənˈsərn ðə pəˈlɪtɪkəl riˈækʃən ˈɛməˌneɪtɪŋ aʊt əv zɪmˈbɑbweɪ, ˌɪnˈkludɪŋ pərˈsivd θrɛts əˈgɛnst zɪmˈbɑbweɪz ˈmænɪʤmənt, stæf ənd ˈkəstəmərz," saʊθ ˈæfrɪkɑ sɛd ɪn ə ˈsteɪtmənt. "wi fil ˈstrɔŋli ðət ðɪs ɪz ðə ˈprudənt stɛp tɪ teɪk ɪn ə ˈvɑlətəl ˈklaɪmɪt ənd bɪˈliv ðət noʊ ˌtɛləˈvɪʒən kəˈmərʃəl ɪz wərθ ˈrɪskɪŋ ðə ˈseɪfti əv stæf ənd ˈkəstəmərz." ðə ˈvɪdioʊ wɪʧ rɪˈpɔrtədli kɔst əp tɪ tɪ ˈproʊdus wɑz pɑrt əv ə ˈkrɪsməs ˈfɛstɪv ˈsizən kæmˈpeɪn ˈrənɪŋ ɔn saʊθ ˈæfrɪkɑn ˌtɛləˈvɪʒən. wɪr ˈrɛdi tɪ dɪˈfɛnd ðə hɛd əv ðə steɪt ənd ˈgəvərnmənt ɪn ˌwəˈtɛvər weɪ wi kən ˈʤɪmi, grup ˈlidər ɪt wɑz ˈɔlsoʊ ˈbrɔdˌkæst əˈkrɔs ðə ˈkɑntənənt ˌɪnˈkludɪŋ zɪmˈbɑbweɪ θru ˈsætəˌlaɪt ˈʧænəlz, ənd ˈrisəntli wɛnt ˈgloʊbəl, ˈskɔrɪŋ ˈhənərdz əv ˈθaʊzənz əv hɪts ɔn ˈjuˌtub. ɪn ðə kəˈmərʃəl, ən ˈæktər pleɪɪŋ ˈmɪstər muˈgɑbeɪ ˌrɛməˈnɪsɪz əˈbaʊt ˈhæpi taɪmz wɪθ ˈəðər ˌɔtəˈkrætɪk ˈrulərz tɪ ðə ˈsaʊnˌtræk əv ˈmɛri ˈhɑpkɪnz ðoʊz wər ðə deɪz. ˈmɪstər muˈgɑbeɪ ɪz ʃoʊn pleɪɪŋ ə faɪt wɪθ gaddafi*, ˈmeɪkɪŋ sænd ˈeɪnʤəlz wɪθ ˈsɑdəm huˈseɪn, ˈraɪdɪŋ ɔn ə tæŋk wɪθ ɑˈmin ɪn ə sin keɪt ˈwɪnslɪt ənd ˌliəˈnɑrdoʊ dɪˈkæpriˌoʊ frəm ðə taɪˈtænɪk fɪlm, ənd ˈɔlsoʊ ˈsɪŋɪŋ ˌkɛriˈoʊki wɪθ ˈʧaɪnəz maʊ tse-tung*. 'ˌɪnˈsɛnsɪtɪv' æd saʊθ ˈæfrɪkɑ ˌdɪˈsaɪdɪd tɪ æks ɪts kəˈmərʃəl ˈæftər muˈgɑbeɪ ˈlɔɪəlɪsts frəm ðə grup hæd kɔld fər ə ˈbɔɪˌkɑt ənd ˈəðər ənˈspɛsəˌfaɪd ˈpjunətɪv ˈækʃən əˈgɛnst ðə ˈkəmpəˌni. "wi kənˈdɛm səʧ bɪˈkəz ɪt rɪˈdusɪz ɑr ˈprɛzɪdənt tɪ bi ˈsəmˌwən wɪˈθaʊt ˈvæljuz," ˈlidər ˈʤɪmi toʊld ðə ˌbibiˈsis braɪən ˈərliər ðɪs wik. ˈmɪstər sɛd saʊθ ˈæfrɪkɑ ʃʊd "stɑp ðət ˈnɑnsɛns tɪ pleɪ wɪθ ðə hɛd əv ɑr steɪt ənd ˈgəvərnmənt". "wɪr ˈrɛdi tɪ dɪˈfɛnd ðə hɛd əv ðə steɪt ənd ˈgəvərnmənt ɪn ˌwəˈtɛvər weɪ wi kən," hi ˈædɪd, wɪˈθaʊt ɪˈlæbərˌeɪtɪŋ ˈfərðər. ˈminˌwaɪl, kumbula*, ˈkɔrpərət əˈfɛrz dɪˈrɛktər əv zɪmˈbɑbweɪ ˈfrænˌʧaɪz, toʊld ðə ˌbibiˈsi ðət ðə "həz ˈnəθɪŋ tɪ du wɪθ ˈjuˈɛs", dɪˈskraɪbɪŋ ðə kəˈmərʃəl ɛz "ˌɪnˈsɛnsɪtɪv ənd dɪˈsteɪstfəl". ˈəndər zɪmˈbɑbweɪz lɔ, ɪt ɪz ən tɪ ˌɪnˈsəlt ðə ˈprɛzɪdənt ər ˈəndərˌmaɪn ðə əˈθɔrəti əv ðə ˈɔfəs.
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media playback is unsupported on your device media caption a clip from the advert
a south african fast food chain has withdrawn a tv advert which pokes fun at zimbabwe's president robert mugabe as "the last dictator standing".
nando's south africa said it decided to act after receiving threats to its staff in zimbabwe from a youth group loyal to mr mugabe.
the video shows a sad mugabe look-a-like dining alone at a table set for libya's muammar gaddafi, uganda's idi amin and other late autocratic rulers.
the firm is known for its cheeky ads.
karaoke with mao
"we've noted with concern the political reaction emanating out of zimbabwe, including perceived threats against nando's zimbabwe's management, staff and customers," nando's south africa said in a statement.
"we feel strongly that this is the prudent step to take in a volatile climate and believe that no tv commercial is worth risking the safety of nando's staff and customers."
the video - which reportedly cost up to $370,000 (£236,000) to produce - was part of a christmas festive season campaign running on south african tv.
we're ready to defend the head of the state and government in whatever way we can jimmy kunaka, chipangano group leader
it was also broadcast across the continent - including zimbabwe - through satellite channels, and recently went global, scoring hundreds of thousands of hits on youtube.
in the commercial, an actor playing mr mugabe reminisces about happy times with other autocratic rulers to the soundtrack of mary hopkin's those were the days.
mr mugabe is shown playing a water-pistol fight with col gaddafi, making sand angels with saddam hussein, riding on a tank with idi amin in a scene parodying kate winslet and leonardo dicaprio from the titanic film, and also singing karaoke with china's mao tse-tung.
'insensitive' ad
nando's south africa decided to axe its commercial after mugabe loyalists from the chipangano group had called for a boycott and other unspecified punitive action against the company.
"we condemn such adverts because it reduces our president to be someone without values," chipangano leader jimmy kunaka told the bbc's brian hungwe earlier this week.
mr kunaka said nando's south africa should "stop that nonsense to play with the head of our state and government".
"we're ready to defend the head of the state and government in whatever way we can," he added, without elaborating further.
meanwhile, musekiwa kumbula, corporate affairs director of nando's zimbabwe franchise, told the bbc that the advert "has nothing to do with us", describing the commercial as "insensitive and distasteful".
under zimbabwe's law, it is an offence to insult the president or undermine the authority of the office.
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ˈɑtəˌwɑ kənˈtæmənənts frəm ðə ˈɪndəstri ər pəˈlutɪŋ ɛr ənd ˈwɔtər ɪn ðə ˈriʤən, bət ðə ˈkɑrənt ˈlɛvəlz ər ə kɔz fər concern,”*,” ðə ˈfɛdərəl ənd ælˈbərtə ˈgəvərnmənts sɛd ˈmənˌdeɪ ɛz ðeɪ lɔnʧt ə ˈwɛbˌsaɪt fər ə nu ˈmɑnətərɪŋ ˈproʊˌgræm. ðə ˈsteɪtmənt wɑz pɑrt əv ə ˈsəməri əv ðə ˈərli rɪˈzəlts əv ðə ʤɔɪnt ˈmɑnətərɪŋ plæn, wɪʧ wɑz ˌɪntrəˈdust ɪn rɪˈspɑns tɪ ˈkrɪtɪˌsɪzəm frəm ˈsaɪəntɪsts ðət ən ˈərliər, ˈmɑnətərɪŋ ˈproʊˌgræm wɑz ˌɪˈnædəkˌweɪt. ðə ˌɪmˈpruvd ˈmɑnətərɪŋ plæn ɪz naʊ ˈmænɪʤd baɪ ˈgəvərnmənt ˈsaɪəntɪsts, ˌɪnˈstɛd əv ˈɪndəstri, wɪθ ən ˌɪnˈkrist əˈmaʊnt əv saɪts juzd tɪ kəˈlɛkt ðə ˈdætə. ˈpriviəsli riˈlist ˌɪnˈtərnəl ɪnˈvaɪrənmənt ˈkænədə ˈrɛkərdz hæv ɪkˈsprɛst ˈnumərəs kənˈsərnz əˈbaʊt ˌɪmˈpækts, ˌpɑrˈtɪkjələrli rɪˈleɪtɪd tɪ ðə peɪs əv development.”*.” ðə nu ˈmɑnətərɪŋ plæn rɪˈzəlts ˈɪndəˌkeɪt ðət səm ˈwɔtər ˈlɛvəlz wər nɑt ˈmitɪŋ ˈseɪfti ˈstændərdz sɛt baɪ ðə kəˈneɪdiən ˈkaʊnsəl əv ɪnˈvaɪrənmənt ˈmɪnɪstərz, ənd ðət səm ɛr pəˈluʃən ˈlɛvəlz wər ˈkɑmprəbəl tɪ ə ˈmeɪʤər ˌmɛtrəˈpɑlətən ˈriʤən səʧ ɛz tərˈɑntoʊ. ə ˈsinjər ˈɪndəstri əˈfɪʃəl sɛd ˈkəmpəˌniz səˈpɔrtɪd trænˈspɛrənsi ənd ˈɔlsoʊ ˈwɔntɪd tɪ ɪnˈʃʊr ˈsaɪəntɪsts prəˈvaɪd ˈkɑntɛkst tɪ ɪkˈspleɪn haʊ tɪ ˌɪnˈtərprət ðə nu ˈdætə. ˈɛvriˌbɑdi wɪl ˌəndərˈstænd ðə ˈnəmbərz, soʊ ˈpipəl wɪl nid tɪ hir frəm ðə ˌsaɪənˈtɪfɪk kəmˈjunɪti ɛz tɪ wət ðoʊz ˈnəmbərz mean,”*,” sɛd ˈdeɪvɪd praɪs, ə ˈvaɪˈsprɛzədənt əv ˌɑpərˈeɪʃənz æt ðə kəˈneɪdiən əˌsoʊʃiˈeɪʃən əv pəˈtroʊliəm prəˈdusərz. ðə ˈgəvərnmənts ˈɔlsoʊ sɛd moʊst əv ðə pəˈlutənts wər bɪˈloʊ ɪnˌvaɪrənˈmɛnəl ˈgaɪˌdlaɪnz ənd ðət səm ˈnæʧərəl ˌkɛrɪktərˈɪstɪks əv ðə ˈrɪvər wər kənˈtrɪbjutɪŋ tɪ ðə kənˌtæməˈneɪʃən. ˈfɛdərəl ɪnˈvaɪrənmənt ˈmɪnɪstər ˈpitər kɛnt ənd ælˈbərtə ɪnˈvaɪrənmənt ˈmɪnɪstər daɪˈænə məkˈwin sɛd ðə nu ˈwɛbˌsaɪt wɑz ˈdɛmənˌstreɪtɪŋ ˈɛfərts baɪ boʊθ ˈgəvərnmənts æt biɪŋ ˈoʊpən ənd trænˈspɛrənt. ʃʊr ðɛr wɪl bi ˈɪnstənsɪz wɛr wi wɪl lərn ənd wi meɪ nid tɪ meɪk ˈrɛgjələˌtɔri changes,”*,” sɛd məkˈwin. ðə hoʊl pɔɪnt əˈbaʊt ə strɔŋ ɪˈkɑnəmi, bət ˈɔlsoʊ əˈbaʊt ɪnˌvaɪrənˈmɛnəl protection.”*.” boʊθ ˈgəvərnmənts ˈɔlsoʊ ədˈmɪtəd ðeɪ hæv klɪr ˈbeɪsˌlaɪn ˈdætə ʃoʊɪŋ ðə steɪt əv ðə ɛr, ˈwɔtər ənd ˈwaɪlˌdlaɪf, praɪər tɪ dɪˈvɛləpmənt, bət kɛnt sɛd ðə plæn wʊd kənˈtɪnju tɪ ˈmɑnətər dɪˈvɛləpmənt ənd ɪkˈspænʧən, wɪˈθaʊt ˈɛni nid fər ə ˌmɔrəˈtɔriəm ɔn nu ˈprɑʤɛkts. ælˈbərtə prɛˈmɪr ˈælɪsən ˈrɛdfərd sɛd ðə ˈdætə wʊd ˌɪmˈpruv ˈoʊvər taɪm. spiks tɪ ɪgˈzæktli wət wi θɪŋk ɪz ˌɪmˈpɔrtənt, wɪʧ ɪz tɪ meɪk ʃʊr ðət ˈhævɪŋ ˌɪnˈfɔrmd dəˈbeɪts wɪθ rɛd ˈdætə əˈbaʊt ðə ˌɪmˈpækt ðət wi meɪ si wɪθ rɪˈspɛkt tɪ dɪˈvɛləpmənt, ənd tɪ meɪk ʃʊr ðət wi ˈmænɪʤ ðət well,”*,” ʃi sɛd ˈæftər ən ˌənrɪˈleɪtɪd nuz ɪˈvɛnt ɪn ˈʃərˌwʊd pɑrk, ə ˈbɛˌdrum kəmˈjunɪti əv ˈɛdməntən. dɪˈpɑrtmənt həz ˈpriviəsli səˈʤɛstɪd ɪn ˌɪnˈtərnəl ˈbrifɪŋ noʊts ðət ɪt wɑz nɑt ˈoʊnli kənˈsərnd wɪθ ɪnˌvaɪrənˈmɛnəl ˌɪmˈpækts əv ˌɪndəˈvɪʤəwəl ˈprɑʤɛkts, bət wɪθ ðə ˈkjumjələtɪv ˈifɛkts əv ðə ˈɪndəstri, ˌɪnˈkludɪŋ təreɪn dɪˈstərbəns, dɪsˈrəpʃən əv ˈgraʊndˌwɔtər rəˈʒimz ənd kənˌtæməˈneɪʃən əv ˈsərfəs ˈwɔtər. ðə nu ˈwɛbˌsaɪt lɔnʧ, ɔn ərθ deɪ, ˈɔlsoʊ ˌkoʊənˈsaɪdəd wɪθ ə ˈstrɔŋli ˈwərdɪd ˈsteɪtmənt baɪ gəv. ʤɛn. ˈdeɪvɪd ˈʤɑnstən ðət kɔld ɔn kəˈneɪdiənz tɪ bi ˈrəðər ðən əv ðɪs earth.”*.” bət kɛnt sɛd hi həz əbˈzərvd ““spectacular”*” ˌɪmˈpruvmənts tɪ ðə ɪnˌvaɪrənˈmɛnəl prəˈtɛkʃən ˈɛfərts, sɪns hi fərst ˈvɪzɪtɪd ən ˈteɪlɪŋz pɑnd ə fju ˈdɛkeɪdz əˈgoʊ ɪn hɪz ˈfɔrmər kərɪr ɛz ə rɪˈpɔrtər. θɪŋk, ˈsərtənli ɪn ðə kɔrs əv maɪ ˈlaɪfˌtaɪm (ənd) maɪ ɪkˈspɪriəns ɪn ðə ˈɛriə, ðə ˌɪmˈpruvmənts əv tɛkˈnɑləʤiz ənd ˈpræktɪsɪz ɪts ˈkɔrpərət ˈsoʊʃəl riˌspɑnsəˈbɪləti æt ðə ˈɪndəstri ər ˈnəθɪŋ lɛs ðən spectacular,”*,” sɛd kɛnt, ɪkˈspleɪnɪŋ ðət juz. ˌpɑləˈtɪʃənz kʊd naʊ juz ðə nu ˈdætə tɪ ˈæˌdrɛs kənˈsərnz frəm kənˈstɪʧuənts əˈbaʊt ðə ˌɪmˈpækts əv ðə prəˈpoʊzd ˈkiˌstoʊn ˈpaɪˌplaɪn ðət kʊd hɛlp ðə ˈɪndəstri gɪt mɔr əv ɪts ˈhɛvi ɔɪl tɪ ˈmɑrkɪts. praɪs ˈɔlsoʊ sɛd ðət ˈkəmpəˌniz wər naʊ ˈgɪtɪŋ ˈɪnvɔɪsɪz frəm ðə ælˈbərtə ˈgəvərnmənt ənd ˈsɛndɪŋ ˈpeɪmənts fər ðə ˈɛstəˌmeɪtɪd 50 ˈmɪljən ɪn ˈænjuəl kɔsts əˈsoʊʃiˌeɪtəd wɪθ ðə nu ˈmɑnətərɪŋ ˈɛfərts. ˈfɛdərəl ˈgəvərnmənt əˈfɪʃəlz wər nɑt ˌɪˈmiˌdiətli ˈeɪbəl tɪ seɪ ˈwɛðər ðeɪ hæd rɪˈsivd ˈɛni ˈpeɪmənts. kɛnt sɛd ðə ˈgəvərnmənt wʊd kənˈtɪnju tɪ ˌɪnˈkris ðə ˈnəmbər əv ˈmɑnətərɪŋ saɪts ˈoʊvər ðə nɛkst fju jɪrz ənˈtɪl ðə ˈproʊˌgræm ɪz ˈfʊli əp ənd ˈrənɪŋ. ðə nu ˈwɛbˌsaɪt ˌɪnˈkludz ˌɪnˌfɔrˈmeɪʃən əˈbaʊt ˌɪmˈpækts ɔn ɛr, ˈwɔtər ənd ˈwaɪlˌdlaɪf, bət dɪz nɑt ˌɪnˈklud ˈdætə əˈbaʊt ˈgrinˌhaʊs gæs ɪˈmɪʃənz, wɪʧ ər kəˈlɛktəd ənd ˌriˈpɔrtəd ˈsɛpərətli baɪ ɪnˈvaɪrənmənt ˈkænədə. wɪθ faɪlz frəm ˈkɛrən klaɪs, ˈɛdməntən ˈʤərnəl
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ottawa — contaminants from the oilsands industry are polluting air and water in the region, but the current levels are “not a cause for concern,” the federal and alberta governments said monday as they launched a website for a new monitoring program.
the statement was part of a summary of the early results of the joint monitoring plan, which was introduced in response to criticism from scientists that an earlier, industry-led monitoring program was inadequate.
the improved monitoring plan is now managed by government scientists, instead of industry, with an increased amount of sites used to collect the data.
previously released internal environment canada records have expressed numerous concerns about oilsands impacts, particularly related to the “accelerated pace of development.”
the new monitoring plan results indicate that some water levels were not meeting safety standards set by the canadian council of environment ministers, and that some air pollution levels were comparable to a major metropolitan region such as toronto.
a senior industry official said companies supported transparency and also wanted to ensure scientists provide context to explain how to interpret the new data.
“not everybody will understand the numbers, so people will need to hear from the scientific community as to what those numbers mean,” said david pryce, a vice-president of operations at the canadian association of petroleum producers.
the governments also said most of the pollutants were below environmental guidelines and that some natural characteristics of the athabasca river were contributing to the contamination.
federal environment minister peter kent and alberta environment minister diana mcqueen said the new website was demonstrating efforts by both governments at being open and transparent.
“i’m sure there will be instances where we will learn and we may need to make regulatory changes,” said mcqueen. “that’s the whole point . . . it’s about a strong economy, but it’s also about environmental protection.”
both governments also admitted they didn’t have clear baseline data showing the state of the region’s air, water and wildlife, prior to development, but kent said the plan would continue to monitor development and expansion, without any need for a moratorium on new oilsands projects.
alberta premier alison redford said the data would improve over time.
“it speaks to exactly what we think is important, which is to make sure that we’re having informed debates with read data about the impact that we may see with respect to development, and to make sure that we manage that well,” she said after an unrelated news event in sherwood park, a bedroom community of edmonton.
kent’s department has previously suggested in internal briefing notes that it was not only concerned with environmental impacts of individual projects, but with the cumulative effects of the industry, including terrain disturbance, disruption of groundwater regimes and contamination of surface water.
the new website launch, on earth day, also coincided with a strongly worded statement by gov. gen. david johnston that called on canadians to be “curators rather than plunderers of this earth.”
but kent said he has observed “spectacular” improvements to the industry’s environmental protection efforts, since he first visited an oilsands tailings pond a few decades ago in his former career as a reporter.
“i think, certainly in the course of my lifetime (and) my experience in the oilsands area, the improvements of technologies and practices — its corporate social responsibility at the industry — are nothing less than spectacular,” said kent, explaining that u.s. politicians could now use the new data to address concerns from constituents about the impacts of the proposed keystone xl pipeline that could help the oilsands industry get more of its heavy oil to markets.
pryce also said that companies were now getting invoices from the alberta government and sending payments for the estimated $50 million in annual costs associated with the new monitoring efforts.
federal government officials were not immediately able to say whether they had received any payments.
kent said the government would continue to increase the number of monitoring sites over the next few years until the program is fully up and running.
the new website includes information about impacts on air, water and wildlife, but does not include data about greenhouse gas emissions, which are collected and reported separately by environment canada.
with files from karen kleiss, edmonton journal
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mərˈɛloʊ riˈwərk dɪˈskəʃən mərˈɛloʊ mərˈɛloʊ "aɪ θɪŋk ðɛrz vəˈlɪdɪti ɪn "haʊ dɪz wən juz ˈmɑnə?" ɛz ə ˌkɑnvərˈseɪʃən. ɪts tru nɑt ɪkˈsaɪtɪŋ bət ˈmɑnə ɪz ə gʊd ˈtreɪˌdɔf tɪ kənˈtroʊl leɪn ˈpeɪsɪŋ ər lɑrʤ faɪts; ənd gʊd dɪˈsɪʒənˌmeɪkɪŋ θru ˈtreɪˌdɔfs ɪz gʊd dɪˈzaɪn (ˈivɪn ɪf nɑt frəm ə dɪˈrɛkli "ɪkˈsaɪtɪŋ" sɔrs). fər ɪgˈzæmpəl, lɛts lʊk æt ˈæˌniz kju ənd ˈpæsɪv. wɪˈθaʊt ə ˈmɑnə geɪt, ˈæˌniz leɪn ɪz kəmˈplitli riˈmuvd (ənd ɪz ə ˈprɪti fən leɪn), ənd ɪz ˈlaɪkli tɪ spæm kju ɔn tɪ həræs ən ˈɛnəmi ˈʧæmpiən. ðə ˈmɑnə ˌlɪmɪˈteɪʃən kənˈtroʊlz ðɪs ˌɪnərˈækʃən frəm biɪŋ "ʤɪst goʊ swɑt ðət gaɪ" ˈɪntu ə ˈsɪmpəl bət ˌɪmˈpɔrtənt ɪn haʊ ju ˈmænɪʤ jʊr ˈmɑnə. həz ə greɪt juz əv ˈmɑnə ɛz ə geɪt ˈviə hər ɑr, ˈɔlsoʊ. wi hæv ˈmɑrʤənəˌlaɪzd ˈmɑnə ə lɔt aɪ tɛnd tɪ θɪŋk ðæts ə mɪˈsteɪk, ˈivɪn ɪf ɪt filz gʊd. ʧæmps doʊnt kɔz ˈprɑbləmz bɪˈkəz ˈwikər ðən ˈmɑnə ˈʧæmpiənz, ðeɪ kɔz ˈprɑbləmz bɪˈkəz ðɛrz noʊ ˈpeɪsɪŋ əˈsaɪd frəm reɪnʤ ənd tɪ ˈmænɪʤ ðɛr əˈbɪləˌti floʊ" mərˈɛloʊ "jɛs ðɪs ɪz ðə fərst taɪm wiv dən ðət. maɪ ˌɛkspɛkˈteɪʃən ɪz nɑt ðət ˈpipəl gɪt ˈsupər ɪkˈsaɪtɪd əˈbaʊt ðɪs, bət ˌɪnˈstɛd ɪt meɪks ɪt soʊ ʃi kən ˈfəŋkʃən ənd nɑt gɪt ɛz sun ɛz ʃiz gʊd. ðɪs dɪˈzaɪn tɛkˈnik ækts ɛz ə riˈlis vælv fər ˈbʊlˌʃɪt sɪˈnɛrioʊz wɪˈθaʊt rikˈwaɪərɪŋ ˈjuˈɛs tɪ ˈmərdər ðə kɔr ˈfəŋkʃənz ənd juˈnik əˈbɪləˌtiz əv ðə ˈkɛrɪktər. ə ˈkrɪtɪkəl ˈgaɪˌdlaɪn əv ɪz ðət ʃi məst bi ˈvəlnərəbəl tɪ biɪŋ kɪld waɪl ˈhilɪŋ tɪ əˈlaʊ hər tɪ bi ən ˌɪnˈseɪn health-refiller*. ðɪs minz wi hæv tɪ pʊt priˈvɛntətɪv ˈmɛʒərz ɪn ðɛr tɪ ɪnˈʃʊr ʃi steɪz wət weɪ əˈspɛʃəli ɛz ˈaɪtəmz wɪl bi lɔŋ ˈæftər aʊt. soʊ kænt gɪt. ðæts ðə hoʊl pɔɪnt." "ɪts ˈdɛfənətli ˈskɛri ɔn ðɪs wi əˈgri. aɪ θɪŋk ðɛrz θri ˌkɑnvərˈseɪʃən pɔɪnts: 1 aɪ ˌfəndəˈmɛnəli bɪˈliv ɪf ɪz əˈlaʊd tɪ gɪt, wɪl hæv tɪ gət hər. ðɪs riˈlis vælv ɪz ðɛr tɪ prɪˈvɛnt ðɪs ənd əˈlaʊ hər tɪ bi gʊd. 2 nu ɪz boʊθ mɔr ˈnɛroʊ ənd mɔr juˈnik. ˈpɪkɪŋ ɪz ˈvɛri ˈdɪfərənt ðən ˈpɪkɪŋ əˈnəðər səˈpɔrt. ɪf wi wɔnt ˈʧæmpiənz tɪ hæv ə juˈnik strəˈtiʤɪk aɪˈdɛntəˌti ənd hæv ə ˈrizən "tɪ bi pleɪd," ðɪs ɪz ˌɪmˈpɔrtənt. 3 ðə ˈkɑrənt ˈpæsɪv kən bi tund ˈɪntu əˌblɪtərˈeɪʃən ɪf ɪts ˈæˌkʧuəli ə ˈprɑbləm, bət wi nid ə riˈlis vælv. aɪ noʊ wɔnts ðæts waɪ wi hæv tɪ dɪˈskərɪʤ ɪt ər ɪt wɪl rən əˈfaʊl əv 1 ənd wɪl bi ˈgətɪd, ənd wi maɪt ɛz wɛl hæv nɑt dən ˈɛniˌθɪŋ ənd lɛft hər ɪn ðə ˈdəmpstər. ˈtreɪˌdɔfs ər ə juʤ kəmˈpoʊnənt əv gʊd dɪˈzaɪn, ənd səˈsteɪnəbəl ˈʧæmpiənz. wiv ˈʧoʊzən ðiz wənz bɪˈkəz wi bɪˈliv ɪt wɪl əˈlaʊ ˈjuˈɛs tɪ ˈæˌkʧuəli meɪk ə ril ˈhilər ˈkɛrɪktər." "ðæts ˈbeɪsɪkli haʊ ˌɪnˈseɪn hər ənd ˈseɪvɪŋ gɪts. ɪts ˈɛniˌθɪŋ wi hæv ɔn, haɪ ˌeɪˈpi ˈreɪʃiˌoʊ, ənd bɪg geɪnz. ju nid tɪ kɪl ər ə faɪt ɪz ənˈwɪnəbəl ɪn ðɪs ˈmɑdəl." mərˈɛloʊ "oʊ linna*, əm glæd tɪ si ðət səm θɪŋ ˈnɛvər ʧeɪnʤ. ɑr wɔr ʃæl ˈnɛvər riˈzɑlv! ɔn ə ˈsɪriəs noʊt, əm ɪkˈsaɪtɪd tɪ kræk ˈoʊpən haʊ tɪ meɪk ə ˈhilər wɪθ ˈgeɪmˌpleɪ ɪn ə geɪm. həz wərkt ˈvɛri hɑrd tɪ traɪ tɪ meɪk ðɪs ə ˌriˈæləˌti, ənd ðə wɪθ θɪŋz laɪk blu ˈhilərz ər ˈivɪn ˈəðər lɔl ˈʧæmpiənz doʊnt du wɛl wɪn ju gɪv ə ˈkɛrɪktər ˈbɑŋkərz tɪ frɛndz. aɪv bɪn əˈgɛnst ˈhilɪŋ ɛz ə roʊl ə lɔŋ taɪm aɪv ˈlərnɪd maɪ ˈprɑbləmz ər wɪθ ɪts ˌɛksəˈkjuʃən ənd læk əv dɪˈsɪʒənz (fər ðɛmˈsɛlvz ər ˈɛnəmiz) ðæts ˌprɑbləˈmætɪk. soʊ, wiv teɪk ə stæb æt ˈfɪksɪŋ ðət. ju ʃʊd bi skɛrd ɛz. jʊr traɪɪŋ tɪ hil ˈpipəl hu ʃʊd kɪl ˈpipəl ənd prəˈtɛkt ˈpipəl fər ju. ju kən stɪl baɪ ˈʤɔrʤə ənd hæv 80 əv ðə ˈvælju ɪn dɪˈfɛns. jʊr nɑt goʊɪŋ tɪ hæv 4000 ənd 200 ɔn. ɛz ə ˈhilər, biɪŋ wʊd bi ðə ˈnæʧərəl bɪld, soʊ wi hæv tɪ prɪˈvɛnt ðət keɪs. ðɪs kən lɛt ˈjuˈɛs meɪk ə ˈkɛrɪktər hu səˈpɔrts baɪ ˈhilɪŋ tɪ ən dɪˈgri ɪn lɔl. noʊ wən ɛls kən du ðɪs. ju wɔnt səˈpɔrt tɪ ʧeɪnʤ ə geɪm? ju wɔnt nu ˈrizənz tɪ pɪk ə ˈkɛrɪktər? aɪ hir ju ˈsupər ˈklɪrli. ɪts nɑt ɔl bəfs. ɪts hɑrd æs ˈʧɔɪsɪz." "əˈgrid ɔn boʊθ. ðɪs ɪz tɪ, fər læk əv ə ˈbɛtər freɪz, "stɑp ðə ˈsaɪkəl əv əˈbjuz" ɔn. wi wɔnt hər tɪ bi ə prɛˈmɪr, juˈnik ˈhilər. ðæts hɑrd!" əˈdɪʃənəl smɑrt pɪŋz dɪˈskəʃən raɪət "ˈdʊrɪŋ ðə dɪˈvɛləpmənt əv ðə ˈreɪdiəl ˈmɛnju, ɪt bɪˈkəm ˈprɪti klɪr ðət ˈmɛni ˈpipəl hæd ˈɪʃuz wɪθ ˈɛni mɔr ðən 4 ju ˈkʊdənt rɪˈlaɪəbli hɪt ðə ˈækʃən ju wɔnt ənd dɪˈskraɪbɪŋ ðə ˈmoʊʃən bɪˈkeɪm ˈdɪfəkəlt. aɪ ˈɔlsoʊ fɪr ðət ðɪs ɪz ˈteɪkɪŋ ædˈvæntɪʤ əv ðə ˈmɛnju ɪn weɪz ðət kʊd ˈbɛtər fɪt ɪn ə ˈdɪfərənt fɔrm. ðə pɪŋ wil ˈɔfərz kwɪk kəmˌjunəˈkeɪʃən ənd kəmˌjunəˈkeɪʃən. ɪts ˈɔlsoʊ ə ˈprɪti bɪg stɪk æt ðə ˈprɑbləm speɪs ɪts ˈsɑlvɪŋ. ə ˈdɪfərənt dɪˈrɛkʃɪn tɪ lʊk æt ðɪs ɪz: wət ɪf ðɛr wɑz ə ˈdɪfərənt weɪ əv ˈjuzɪŋ ʧæt tɪ kˈwɪkli kəmˈjunəˌkeɪt ðiz ˈəðər aɪˈdiəz? dɪz ˈpleɪsɪŋ ɪt ɔn ðə ˈreɪdiəl ˈmɛnju ˈɔfər ˈɛni ˈbɛnəfɪts ˈoʊvər ðət rut? wət ɪf ðɛr wɑz ʤɪst ə ˈbaɪndɪŋ ðət lɛt ju kəmˈjunəˌkeɪt səm əv ðiz aɪˈdiəz ɪn ə dɪˈrɛkʃɪnəl ˈmænər? wən nit aɪˈdiə ðət ˈəðər geɪmz hæv dən ɪz biɪŋ ˈeɪbəl tɪ klɪk ɔn ən əˈbɪləˌti tɪ poʊst ðə əv ɪt ˈɪntu ʧæt. fo*' ðoʊ: wiv poʊkt æt ˈdɪfərənt aɪˈdiəz ˌbiˈfɔr (ɪn ɪkˌspɛrəmənˈteɪʃən, nɑt ˈɛniˌθɪŋ ðət kən bi pleɪər dɪˈlɪvərd), ənd ðɛrz ˈdɛfənətli ə lɔt əv greɪt ˌɑpərˈtunətiz hir. aɪ doʊnt θɪŋk ˈɛniˌwən ɪz ˈlʊkɪŋ æt ðə ˈprɑbləm speɪs æt ðə ˈmoʊmənt ˌhaʊˈɛvər." "ups! moʊst əv maɪ poʊst wɑz ˈfoʊkɪst æt ðə əp ɪn..." (ˈmeɪnli). aɪ ˈæˌkʧuəli laɪk "ˈwɔrdɪd", ɪts ˈvɛri, ˈvɛri ˌɪnˈfɔrmətɪv, ənd ˈdɪfəkəlt tɪ dɪˈskraɪb ɪn ˈkɑrənt tulz. ɪts ɪgˈzæktli ðə taɪp əv ˈprɑbləm ðət ðə ˈreɪdiəl ˈmɛnju wʊd bi ˈpərˌfɪkt tɪ sɑlv. fər ðət aɪ θɪŋk ðə ˈɪʃu ðɛr ɪz mɔr "wɛr du wi pʊt ðɪs?". wɪʧ ɪz ˈsɑlvəbəl (əˈnəðər ˈreɪdiəl ˈmɛnju pərˈhæps?). ɪf ə tim lʊks æt ðə ɪn mɔr dɛpθ, aɪ θɪŋk ˈðætəl bi ðə ril ˈdɪfɪˌkəlti, ˈθɪŋkɪŋ aʊt ɪn ðə blu." "ðæts ə kənˌsɪdərˈeɪʃən ðæts bɪn pæst əraʊnd kwaɪt ə bɪt. maɪ ˈwəri ðɛr ɪz ðət əv fəˌmɪˈljɛrəti. ˌænɪkˈdoʊtəl keɪs: wɪn wi wər fərst dɪˈvɛləpɪŋ ðə ˈreɪdiəl ˈmɛnju, ðə lɛft ənd raɪt wər ˈæˌkʧuəli swɔpt. wi ˈæˌkʧuəli hæd ɪt ˌɪnˈtərnəli fər ˈnɪrli 9 mənθs ˌbiˈfɔr wi riˈlist ɪt (ðə tim praɪˈɔrəˌtaɪzd ðə ðɛn nu həd ənd ðə ˈaɪtəm ʃɑp əˈbəv ðə ˈreɪdiəl ˈmɛnju soʊ ɪt gɑt sɛt əˈsaɪd fər əˈwaɪl). ðæts ə lɔt əv taɪm tɪ gɪt fəˈmɪljər tɪ ˈsəmθɪŋ ɪn pleɪ bɪˈheɪvjər. ˈivɪn naʊ, ˈpərsənəli, aɪ wɪl ˌæksəˈdɛnəli pɪŋ ɛz ðoʊ ɪt wɑz wət ɪt juzd tɪ bi bɪˈkəz ðə ˈmɛnju əraʊnd ˈməsəl ˈmɛməri. wi flɪpt ɪt fər gʊd ˈrizənz, bət ɪts stɪl kwaɪt dɪsˈrəptɪv ɛz ən ˌɪndəˈvɪʤəwəl. ðæts ə taɪp əv dɪsˈrəpʃən aɪ wʊd ˈrəðər əˈvɔɪd ɪf ˈpɑsəbəl fər ˈəðər pleɪərz. əˈgɛn, ˈməsəl ˈmɛməri ɪz ˈsupər sɪgˈnɪfɪkənt hir. ðət sɛd, ə fju əv ˈjuˈɛs hæv pleɪd wɪθ ðə aɪˈdiə əv ˈəðər taɪps əv pɪŋ ɛz wɛl. ɪˈstæblɪʃɪŋ ə ˈdɪfərənt ˈɪnˌpʊt bɪˈheɪvjər ˈrəðər ðən rɪˈpleɪsɪŋ ən ɪgˈzɪstɪŋ wən kʊd ˈoʊpən ˈjuˈɛs əp tɪ du mɔr. (ənd ɪt minz wi doʊnt lɛt ju gaɪz sɪŋk ɪn tɪ ðə ˈməsəl ˈmɛməri keɪs ɪn ðə rɪˈpleɪsmənt ˈvərʒən)." ˈgeɪmˌpleɪ ˈəpˌdeɪt dɪˈskəʃən, mərˈɛloʊ stɑpt ɪn tɪ ˈkɑmɛnt ɔn waɪ ɪgˈzæktli ɪz biɪŋ ʧeɪnʤd: "kwoʊt: ɪz ə ˈwɛlˈnoʊn leɪn ˈbʊli wɪn ʃi wɑz kəmˈpɛtɪtɪvli ˈvaɪəbəl. ɪt meɪ bi ðət ɪn hər ˈkɑrənt steɪt, ɪf raɪət wər tɪ hæv hər tɪ vaɪəˈbɪləti, hər leɪn ˈbʊli meɪ hæv riˈsərfəst. ɪn fækt, ɪf aɪ æm nɑt mɪˈsteɪkən, ʃi wɑz ˈrisəntli ɔn bɪˈkəz əv hər paʊər! ðeɪ du tɪ pʊt ˈʧæmpiənz ɪn mɔr ˈtunəbəl pəˈzɪʃənz ɪgˈzæktli soʊ ðeɪ kən ɪkˈspænd ˈʧæmpiən ˌvərsəˈtɪləti. ɪn keɪs, ðeɪ ər əˈkɑmplɪʃɪŋ ðɪs baɪ ˈmeɪkɪŋ hər kɪt ˈivɪn mɔr θəˈmætɪkli kənˈsɪstənt ðən ʃi ˈpriviəsli wɑz, soʊ aɪ doʊnt gɪt ðɪs aʊˈtlændɪʃ kənˈspɪrəsi kleɪm ðət raɪət ɪz traɪɪŋ tɪ ɪˈlɪməˌneɪt ˈʧæmpiənz. səm mɔr ɪgˈzæmpəlz ðət raɪət səˈpɔrts: ˈvɛri tru wɪn ˈpaʊərfəl ɪz ə leɪn ˈbʊli ˈoʊnli. ðæts waɪ ju pɪk hər ənd wət ʃi dɪz. waɪl wi wər duɪŋ ə ˈlɪtəl ˈtɛksʧər ˈəpˌdeɪt, wi hæd ə ˈrɪli fæst, aɪˈdiə tɪ hɛlp fɪks hər əp ənd meɪk hər ˈɪntu ˈsəmθɪŋ ˈəðər ðən ə "riˈmuv əˈbɪləˌti tɪ leɪn ˈʧæmpiən" ənd ˈfoʊkɪs ɔn ðə ˈəðər aɪˈdɛntəˌti ʃi dɪz hæv; ˌeɪˈpi super-carry*. wi doʊnt ˈbæləns əraʊnd ˈɔltərˌneɪt mæps. ðæts waɪ aɪ doʊnt laɪk ðə aɪˈdiə əv mɔr mæps, bɪˈkəz ðeɪ ˈiroʊd ðə geɪm fər loʊ ˈbɛnəfɪt. aɪ du θɪŋk ðə ˈprɑpər weɪ tɪ faɪt stægˈneɪʃən ənd ɪz tɪ æd aɪˈdɛntɪˌtiz tɪ "waɪ du aɪ pɪk ðɪs ˈʧæmpiən ˌɪnˈstɛd əv ɛks?" ˈʧeɪnʤɪz ər ən əˈtɛmpt tɪ ˈæˌdrɛs ðət, ɛz əˈpoʊzd tɪ "aɪ teɪk hər tɪ bit ðə ʃɪt aʊt əv ˈpipəl wɪn ðeɪ kænt faɪt mi." əˈsɛnʃən ˈfidˌbæk əˈsɛnʃən ˈfiʧərd ˈgeɪmˌpleɪ moʊd tɪ dəˈmɪnjən ənd ˈɔfərɪŋ hɪz ˈfidˌbæk, ɔn ə fju əv ðə dɪˈsɪʒənz ðeɪ meɪd fər əˈsɛnʃən. dud. jʊr wɑz ril. gg*. θæŋks fər ðɪs wɛl ɑrˈtɪkjəˌleɪtəd poʊst, ənd ɪts ˈsupər kul tɪ si ju gaɪz ər ˈdɪgɪŋ səm əv ðə əˈsɛnʃən spɪˈsɪfɪk məˈkænɪks. soʊ əm nɑt ɪkˈwɪpt tɪ spik dɪˈrɛkli tɪ jʊr dəˈmɪnjən kˈwɪriz, bət aɪ kən ˈsərtənli æd ˈɛkstrə ˈkɑntɛkst tɪ jʊr əˈsɛnʃən wənz ənd gɪv ju ən aɪˈdiə əv wət wɪr ˈθɪŋkɪŋ. ˈɑnwərdz! kwoʊt: ˈlɛvəlz ənd goʊld: ðə ˈkɑrənt ˌɪtəˈreɪʃən həz weɪ tu məʧ ˈpæsɪv goʊld geɪn. ɪz ə ˈlɪtəl haɪ kənˈsɪdərɪŋ ɪn ə 20 ˈmɪnət geɪm ju wɪl bi ˈlɛvəl wɪθ 12k*. ðə goʊld ʤɛn nidz tɪ bi loʊərd ər tɪ ˈkɑmpənˌseɪt. ˈkərəntli ˈʧæmpiənz wɪθ goʊld wɪl skeɪl əˈlɑt ˈfæstər waɪl ˈʧæmpiənz hu skeɪl wɪθ ˈlɛvəlz wɪl bi ˈhərtɪŋ. ɪf ðɪs ɪz traɪ tɪ hɛlp ˈɛndgeɪm ʧæmps laɪk hu skeɪl wɪθ goʊld ɪt woʊnt, bɪˈkəz waɪl ðeɪ kən gɪt mɔr ˈaɪtəmz ˈʧæmpiənz laɪk ər ɔl ˈgɪtɪŋ mɔr goʊld ənd wɪl bi ˈbɛtər ɔf. wi fər ə lɔŋ taɪm ˈoʊvər ˈfaɪndɪŋ ðə raɪt ˈbæləns hir. ɛz ju ˈpɔɪntɪd aʊt, ˈdɪfərənt ˈʧæmpiənz spaɪk ɪn paʊər wɪθ goʊld æt ˈdɪfərənt taɪmz. ðɪs ɪz tru ˈivɪn ɔn ˈsɪstər (ˈɑrgjuəbli ðə mæp tɪ wɪʧ moʊst ˈbælənsɪŋ ɪz eɪmd æt). soʊ noʊ ˈmætər wət ˈnəmbərz wi ˈsɛtəld ɔn fər əˈsɛnʃən, ˌpɑˈtɪkjələr ˈʧæmpiənz wʊd bi ʤɪst ˈhɪtɪŋ ðɛr swit spɑts ɪn kəmˈpɛrəsən tɪ ˈəðərz. ðə ˈkɑrənt goʊld həz moʊst pleɪərz ˈfɪnɪʃɪŋ əraʊnd wɪθ 5 ˈaɪtəmz ənd ˈbɪldɪŋ ðɛr fər ən ˈævərɪʤ geɪm. ðɪs stɪl gɪvz pleɪərz rum fər kloʊz tɪ mæks ˈaɪtəm bɪldz ənd ˌgɛrənˈtiz ðə ˈəltəmət fər ˈɛvriˌwən. wiv faʊnd ðɪs lidz tɪ ˈmæksəməm ˈfaɪrˌwərks, wɪʧ ɪz wət wɪr ˈlʊkɪŋ ˈfɔrwərd tɪ ðə moʊst ɪn əˈsɛnʃən. kwoʊt: æd ðə "ˈrisɔrs ˈrɛgən ˈɔrə" ɪn: ˌeɪˈpi ˈʧæmpiənz ɔˈrɛdi ˈstrəgəl sˈlaɪtli ɔn dəˈmɪnjən ˈivɪn wɪθ ðə ˈmɑnə bəf (hɛns rəʃ). ˈʧæmpiənz laɪk wɪl ˈsəfər ˈivɪn mɔr. ɛz ə ˈnɔrməl dəˈmɪnjən pleɪər ɪt fɛlt ˈhɔrəbəl ˈsɪtɪŋ ənd ˈhævɪŋ tɪ beɪl frəm faɪts tɪ rən tɪ ˈrɛlɪks (ˈspikɪŋ əv, ˈbɑtəm raɪt ˈrɛlɪk ɪz mɪˈspleɪst ənd spɔn ɔn ðə ˈplætˌfɔrm). ɪn ə geɪm moʊd ˈfoʊkɪst ˈpjʊrli ɔn ˈhævɪŋ ðə ˈɛkstrə ˈrɛgən kænt hərt. əˈsɛnʃən ɪz nɑt dəˈmɪnjən, soʊ aɪ si ˈlɪtəl nid fər ˈpɛrəti bɪtˈwin ɪkˈspɪriənsɪz hir. wɪθ ðə ˈʃɔrtər laɪf ɪkˈspɛktənsi ənd biɪŋ əˈneɪbəl tɪ rɪˈtərn hoʊm tɪ ʃɑp, ðə "ˈrisɔrs ˈrɛgən ˈɔrə" wʊd ʤɪst ɪgˈzæsərˌbeɪt əˈbjuz ˈkeɪsɪz fər ʧæmps. ˈivɪn ɪf wi dɪd ˌɪnˈklud wən, ˈælə dəˈmɪnjən, jʊr əˈneɪbəl tɪ goʊ bæk ənd ʃɑp, ˈminɪŋ paʊər krip frəm ˈɛnəmiz wʊd ˈʃɔrtli paɪl əp ənd ɛnd jʊr rən ˈɛniˌweɪ. ˌænɪkˈdoʊtəl ˈdætə soʊ fɑr ˈɔlsoʊ səˈʤɛsts ðət ənd hæv bɪn duɪŋ ˈvɛri wɛl ɪn əˈsɛnʃən. ðoʊz bruisers*. ˈfiʧərd geɪm moʊdz ˈɔfən ˈproʊdus ˈsərtən 'grups' əv ˈʧæmpiənz ðət fil məʧ ˈstrɔŋgər ðən ˈəðərz. ˌeɪˈpi ˈmeɪʤɪz poʊk hæv hæd ðɛr taɪm ɪn ðə sən, ənd əm ɪkˈsaɪtɪd tɪ si əˈnəðər ˈʧæmpiən grup gɪt ðɛr ʧæns tɪ ʃaɪn. kwoʊt: ˈstɑrtɪŋ goʊld: wʊd ɪt hərt tɪ hæv ðə ˈbeɪsɪk dəˈmɪnjən ˈstɑrtɪŋ goʊld? ɪt wʊd ˈoʊpən əp mɔr ˈstɑrtɪŋ ˈɔpʃənz fər ˈaɪtəmz səʧ ɛz ˈoʊvər əˈsɛnʃən ˈstɑrtɪŋ goʊld wɑz sɛt tɪ 1300 ɛz wi riˈmuvd ˈpoʊʃənz ənd ˈwɔntɪd tɪ ˈflætən ðə ˈdɪfərəns. jʊr ˈstɑrtɪŋ ˈɔpʃənz ər stɪl ðə seɪm. ɪf ju ˈrɪli wɔnt ə, ju kən baɪ mɪd ˈtɛləˈpɔrt ənd stɪl meɪk ɪt ɪn taɪm. kwoʊt:: tənz əv ˈɛkstrə goʊld ɔn tɔp əv ðə ˈmæsɪv ˈɛkstrə stæts ju geɪn frəm ðiz? aɪ kʊd si ðɛm biɪŋ ɪn ɪf ðə əˈsɛnʃən bəf wɑz ə tæd bɪt ˈstrɔŋgər bət raɪt naʊ ju kʊd ˈizəli ˈoʊvərˌkɪl ɔn səm ˈʧæmpiənz wɪθ ðə paʊər ðoʊz gɪv. ˈɔlsoʊ du ðiz stæk wɪθ ðə əˈsɛnʃən bəf? ˈgrænɪd wɪθ ˈlɛvəlz biɪŋ loʊər ðən ðeɪ ʃʊd bi fər goʊld geɪn, ju woʊnt bi ˈgɪtɪŋ ə juʤ əˈmaʊnt frəm ɪt. əm jɛt tɪ si ðə ˈproʊdus ˈɛni ˈstənɪŋ əˈbjuz ˈkeɪsɪz, ˌɔlˈðoʊ ɪt meɪ bi ðət ðɛr ˈleɪtənt paʊər ɪz jɛt stɪl ənˈkəvərd. wɪl kip ən aɪ ɔn ðɛm. kwoʊt: ˈskɔrɪŋ ˈsɪstəm ər ˈpərsɪnəl skɔr: θæŋk ju. aɪ wɔnt ðɪs. wi ˈkərəntli hæv ðɪs ɪn əˈsɛnʃən naʊ. jʊr ˈpərsɪnəl skɔr ɪz ˈɔlˌweɪz ˈvɪzəbəl ɪn ðə tɔp raɪt ˈkɔrnər əv ðə həd, ər ɔn ðə fɑr raɪt wɪn ˈhɪtɪŋ tæb. ˈkərəntli jʊr ˈpərsɪnəl skɔr ɪz: əˈsɛnʃən ˈpərsɪnəl skɔr əˈbʤɛktɪv skɔr (ˈrɛlɪks) ˈkɑmbæt skɔr (kɪlz)" pæks praɪm 2014 lɔl ˈpænəlz ɛz ə ˈboʊnəs, hir ər rɪˈkɔrdɪŋ əv boʊθ əv ˈpænəlz frəm læst ˈwiˌkɛndz pæks praɪm! fərst əp ɪz "dip daɪv ˈɪntu dɪˈzaɪn dɛpθ ɪn lɔl", wɪʧ ˈfiʧərz raɪət ˈskrəfi raɪət ənd ˈteɪkɪŋ ə ˈdipər lʊk æt dɪˈzaɪn ˈʧɔɪsɪz ɪn lig əv ˈlɛʤəndz. nɛkst əp ɪz ðə kəmˈjunɪti ˈmænɪʤər: ə deɪ ɪn ðə laɪf əv kəmˈjunɪti tim" ˈpænəl, ɪn ə θrɛd dɪˈskəsɪŋ ðə ˈəpˌkəmɪŋ ˈgeɪmˌpleɪ ˈəpˌdeɪt ɪn tɪ ˈkɑmɛnt ɔn waɪ biɪŋ ə θrɛd wɛr ə wɑz kəmˈpɛrɪŋ ðə ˈgeɪmˌpleɪ moʊd tɪ dəˈmɪnjən ənd ˈɔfərɪŋ hɪz ˈfidˌbæk, pɑpt ɪn tɪ gɪv ˈkɑntɛkst ɔn ə fju əv ðə dɪˈsɪʒənz ðeɪ meɪd fər ə ˈboʊnəs, hir ər rɪˈkɔrdɪŋ əv boʊθ əv ˈpænəlz frəm læst ˈwiˌkɛndz pæks əp ɪz wɪʧ ˈfiʧərz, ə ˈdipər lʊk æt dɪˈzaɪn ˈʧɔɪsɪz ɪn lig əv əp ɪz ðə"" ˈpænəl, ˈfiʧərɪŋ rotelli*, kraɪst haɪnts, ˈʤɔrdən ʃmɪt, ʤeɪ ˈɛkərt, ənd ˈædəm ˈʃɛltər. ðɪs ˈmɔrnɪŋz rɛd poʊst kəˈlɛkʃən ˈkɑntɛkst ɔn səm əv ðə dɪˈzaɪn dɪˈsɪʒənz fər əˈsɛnʃən, ənd mɔr! ɛz ə ˈboʊnəs, aɪv ˈɔlsoʊ ˌɪnˈkludɪd rɪˈkɔrdɪŋ əv ðə tu lig əv ˈlɛʤəndz ˈpænəlz frəm pæks praɪm ənd ""!kənˈtɪnju ˈrɛdɪŋ fər mɔr stroʊld ɔn tɪ ðə ˈfɔrəmz ˈərliər təˈdeɪ tɪ ʧæt əˈbaʊt ðə ˈəpˌkəmɪŋ ˈgeɪmˌpleɪ ˈəpˌdeɪt wɪʧ hoʊps tɪ pʊʃ hər ˈɪntu ðə roʊl əv ligz ˈdɛdəkeɪtəd səˈpɔrt ˈhævɪŋ ə smɔl ˈmɑnə kɔst aɪ ɛn əˈdɪʃən tɪ əv hər ˈmæksəməm hɛlθ, ˈkɑmɛntəd ɔn ðə ˈkɑnsɛpt əv "ˈmɑnə ˈkɑmɛntəd ɔn ˈtɛntətɪv nu ˈpæsɪv wɪʧ rɪˈdusɪz hər ˈboʊnəs ˈɑrmər ˈmɪstər ənd gɪvz hər ˌeɪˈpi kənˈtɪnjud ˈhaɪˌlaɪtɪŋ ə fju pɔɪnts ɔn ðə ˈpæsɪv ənd haʊ ɪt ɪz juzd tɪ ɛz ə ˈdɛdəkeɪtəd ˈhilər ɪn kənˈtɪnjud ˈɔlsoʊ ˈkɑmɛntəd ɔn hɪz ˈʤɛnərəl θɔts əv haʊ tɪ meɪk ə ˈhilər wərk wɪˈθɪn ˈɔlsoʊ ˈnoʊtɪd ɪn ə θrɛd ˈæskɪŋ əˈbaʊt ðə ˌpɑsəˈbɪləˌti əv ˈædɪŋ mɔr smɑrt pɪŋz ɪn ðə fˈjuʧər səʧ ɛz əp ɪn", "ˈɛnəmi daʊn", ənd "ˈwɔrdɪd" ),wɪn səˈʤɛstɪd ðət əˈnəðər pɪŋ bi riˈmuvd ər ˈivɪn muvd əraʊnd tɪ meɪk rum fər ə nu wən,
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morello
l4t3ncy
soraka rework discussion
morello
morello
"i think there's validity in "how does one use mana?" as a conversation. it's true mana's not exciting - but mana is a good tradeoff to control lane pacing or large fights; and good decision-making through tradeoffs is good design (even if not from a directly "exciting" source).
for example, let's look at annie's q and passive. without a mana gate, midlane annie's lane minigame is completely removed (and is a pretty fun lane minigame), and is likely to spam q on cooldown to harass an enemy champion. the mana limitation controls this interaction from being "just go swat that guy" into a simple but important decision-tree in how you manage your mana.
anivia has a great use of mana as a gate via her r, also.
we have marginalized mana a lot - i tend to think that's a mistake, even if it feels good. resourcesless champs don't cause problems because thy're weaker than mana champions, they cause problems because there's no pacing aside from range and cooldown to manage their ability flow"
morello
"yes - this is the first time we've done that. my expectation is not that people get super excited about this, but instead it makes it so she can function and not get kneecapped as soon as she's good.
this design technique acts as a release valve for bullshit scenarios without requiring us to murder the core functions and unique abilities of the character. a critical guideline of soraka is that she must be vulnerable to being killed while healing to allow her to be an insane health-refiller. this means we have to put preventative measures in there to ensure she stays what way - especially as items will be buffed/nerfed/added/removed long after soraka's out.
so soraka can't get tanky. that's the whole point."
"it's definitely scary - on this we agree. i think there's three conversation points:
1) i fundamentally believe if soraka is allowed to get tanky, we'll have to gut her. this release valve is there to prevent this and allow her to be good.
2) new soraka is both more narrow and more unique. picking soraka is very different than picking another support. if we want champions to have a unique strategic identity and have a reason "to be played," this is important.
3) the current passive can be tuned into obliteration if it's actually a problem, but we need a release valve. i know soraka wants ar/mr/hp - that's why we have to discourage it or it will run afoul of 1), and soraka will be gutted, and we might as well have not done anything and left her in the dumpster.
tradeoffs are a huge component of good design, and sustainable champions. we've chosen these ones because we believe it will allow us to actually make a real healer character."
"that's basically how insane her hps and saving gets. it's unline anything we have on heals...2s cooldown, high ap ratio, and big gains. you need to kill soraka or a fight is unwinnable in this model."
morello
"oh linna, i'm glad to see that some thing never change. our war shall never resolve!
on a serious note, i'm excited to crack open how to make a healer with gameplay in a pvp game. vesh has worked very hard to try to make this a reality, and the previoust costs/downsides with things like blue healers or even other lol champions don't do well when you give a character bonkers haling to friends.
i've been against healing as a role a long time - i've learned my problems are with its execution and lack of decisions (for themselves or enemies) that's problematic. so, we've take a stab at fixing that.
you should be scared as soraka. you're trying to heal people who should kill people and protect people for you. you can still buy ga and have 80% of the value in defense. you're not going to have 4000 hp and 200 armor/100mr on soraka. as a healer, being tanky would be the natural build, so we have to prevent that case.
this can let us make a character who supports by healing to an unprecendented degree in lol. no one else can do this. you want support to change a game? you want new reasons to pick a character? i hear you - super clearly.
it's not all buffs. it's hard ass choices."
"agreed on both. this is to, for lack of a better phrase, "stop the cycle of abuse" on soraka. we want her to be a premier, unique healer. that's hard!"
additional smart pings discussion
riot reinboom
"during the development of the radial menu, it become pretty clear that many people had issues with any more than 4. you couldn't reliably hit the action you want and describing the motion became difficult.
i also fear that this is taking advantage of the menu in ways that could better fit in a different form.
the ping wheel offers quick communication and positional communication. it's also a pretty big stick at the problem space it's solving.
a different direction to look at this is:
what if there was a different way of using chat to quickly communicate these other ideas? does placing it on the radial menu offer any benefits over that route?
what if there was just a binding that let you communicate some of these ideas in a directional manner? one neat idea that other moba games have done is being able to modifier + click on an ability to post the cooldown of it into chat.
fo' reals though:
we've poked at different ideas before (in experimentation, not anything that can be player delivered), and there's definitely a lot of great opportunities here. i don't think anyone is looking at the problem space at the moment however."
reinboom
"oops! most of my post was focused at the "ult up in..." (mainly).
i actually like "warded", it's very positional, very informative, and difficult to describe in current tools. it's exactly the type of problem that the radial menu would be perfect to solve.
for that i think the issue there is more "where do we put this?". which is solvable (another radial menu perhaps?).
if a team looks at the problemspace in more depth, i think that'll be the real difficulty, thinking out in the blue."
reinboom
"that's a consideration that's been passed around quite a bit.
my worry there is that of familiarity.
anecdotal case: when we were first developing the radial menu, the left and right were actually swapped.
we actually had it internally for nearly 9 months before we released it iirc (the team prioritized the then new hud and the item shop above the radial menu so it got set aside for awhile). that's a lot of time to get familiar to something in play behavior.
even now, personally, i will accidentally ping as though it was what it used to be because the menu optimized around muscle memory. we flipped it for good reasons, but it's still quite disruptive as an individual.
that's a type of disruption i would rather avoid if possible for other players. again, muscle memory is super significant here.
that said, a few of us have played with the idea of other types of ping as well. establishing a different input behavior rather than replacing an existing one could open us up to do more. (and it means we don't let you guys sink in to the muscle memory case in the replacement version)."
cassiopeia gameplay update discussion cassiopeia, morello stopped in to comment on why exactly cassiopeia is being changed:
"quote: cassiopeia is a well-known lane bully when she was competitively viable. it may be that in her current state, if riot were to have buffed her to viability, her lane bully may have resurfaced. in fact, if i am not mistaken, she was recently nerfed on tt because of her power! they do reworks to put champions in more tunable positions exactly so they can expand champion versatility. in cassiopeia's case, they are accomplishing this by making her kit even more thematically consistent than she previously was, so i don't get this outlandish conspiracy claim that riot is trying to eliminate out-of-the-ordinary champions. some more examples that riot supports out-of-the-ordinary: very true - casseopia - when powerful - is a lane bully only. that's why you pick her and what she does. while we were doing a little texture update, we had a really fast, low-scope idea to help fix her up and make her into something other than a "remove ability to lane champion" and focus on the other identity she does have; ap super-carry. we don't balance around alternate maps. that's why i don't like the idea of more maps, because they erode the game for low benefit. i do think the proper way to fight stagnation and staleness is to add identities to "why do i pick this champion instead of x?" cass's low-scope changes are an attempt to address that, as opposed to "i take her to beat the shit out of people when they can't fight me."
ascension feedback ascension featured gameplay mode to dominion and offering his feedback, l4t3ncy on a few of the decisions they made for ascension.
"heya dude. ^_^/ your wukong was real. gg.
thanks for this well articulated post, and it's super cool to see you guys are digging some of the ascension specific mechanics. so i'm not equipped to speak directly to your dominion queries, but i can certainly add extra context to your ascension ones and give you an idea of what we're thinking. onwards!
quote:
levels and gold:
the current iteration has way too much passive gold gain. 5/s is a little high considering in a 20 minute game you will be level 15-16 with 12k. the gold gen needs to be lowered or xp buffed to compensate. currently champions with gold will scale alot faster while champions who scale with levels will be hurting. if this is try to help endgame champs like adc's who scale with gold it wont, because while they can get more items champions like talon/jayce/fizz/jarvan/yasuo/jax are all getting more gold and will be better off. we laboured for a long time over finding the right balance here. as you pointed out, different champions spike in power with gold and/or xp at different times. this is true even on sr (arguably the map to which most balancing is aimed at). so no matter what numbers we settled on for ascension, particular champions would be just hitting their sweet spots in comparison to others. the current gold / xp has most players finishing around lv17 with 5 items and building their 6th for an average 20min game. this still gives players room for close to max item builds and guarantees the lv3 ultimate for everyone. we've found this leads to maximum fireworks, which is what we're looking forward to the most in ascension.
quote:
add the "resource regen aura" in:
ap champions already struggle slightly on dominion even with the mana buff (hence athenes/morello rush). champions like shyvana/renekton/tryn will suffer even more. as a normal dominion player it felt horrible sitting oom and having to bail from fights to run to relics (speaking of, bottom right relic is misplaced and doesnt spawn on the platform). in a game mode focused purely on pvp having the extra regen cant hurt. ascension is not dominion, so i see little need for parity between experiences here. with the shorter life expectancy and being unable to return home to shop, the "resource regen aura" would just exacerbate abuse cases for sustain/poke champs. even if we did include one, ala dominion, you're unable to go back and shop, meaning power creep from itemised enemies would shortly pile up and end your run anyway. anecdotal data so far also suggests that shyvana and renekton have been doing very well in ascension. those bruisers. :)
featured game modes often produce certain 'groups' of champions that feel much stronger than others. ap mages & poke have had their time in the sun, and i'm excited to see another champion group get their chance to shine. ^.^
quote:
starting gold:
would it hurt to have the basic dominion starting gold? it would open up more starting options for items such as phage/brut over boots+problade ascension starting gold was set to 1300 as we removed potions and wanted to flatten the difference. your starting options are still the same. if you really want a phage/brut, you can buy mid teleport and still make it in time. :)
quote:
ichors:
tons of extra gold on top of the massive extra stats you gain from these? i could see them being in if the ascension buff was a tad bit stronger but right now you could easily overkill on some champions with the power those give. also do these stack with the ascension buff? granted with levels being lower than they should be for gold gain, you wont be getting a huge amount from it. i'm yet to see the ichors produce any stunning abuse cases, although it may be that their latent power is yet still uncovered. we'll keep an eye on them.
quote:
scoring system or personal score:
thank you. i want this. we currently have this in ascension now. your personal score is always visible in the top right corner of the hud, or on the far right when hitting tab. currently your personal score is:
ascension personal score = objective score (relics) + combat score (kills)"
pax prime 2014 lol panels as a bonus, here are recording of both of riot's panels from last weekend's pax prime!
first up is "deep dive into design depth in lol", which features ghostcrawler , riot scruffy , riot wrekz , feralpony , and jag taking a deeper look at design choices in league of legends.
next up is the"reimagining the community manager: a day in the life of riot's community team" panel,
in a thread discussing the upcoming gameplay update forstopped in to comment on why exactlyis being changed:in a thread where a summoner was comparing the upcomingfeatured gameplay mode to dominion and offering his feedback, popped in to give context on a few of the decisions they made for ascension.as a bonus, here are recording of both of riot's panels from last weekend's pax prime!first up is "", which features, andtaking a deeper look at design choices in league of legends.next up is the"" panel, featuring ilja rotelli, christ heintz, jordan schmidt, j eckert, and adam shelter.
this morning's red post collection featuresdiscussing theandgameplay reworks,offering context on some of the design decisions for ascension, and more! as a bonus, i've also included recording of the two league of legends panels from pax prime - "" and ""!continue reading for more information!also strolled on to the forums earlier today to chat about the upcoming soraka gameplay update , which hopes to push her into the role of league's dedicated support healer.as forw having a small mana cost i n addition to costinga % of her maximum health, commented on the concept of "mana gating":also commented on tentative new passive , which reduces her bonus armor / mr and gives her ap instead:he continued , highlighting a few points on the passive and how it is used to keeprole as a dedicated healer in check:he continued also commented on his general thoughts of how to make a healer work within lol:he also noted in a thread asking about the possibility of adding more smart pings in the future ( such as "ult up in", "enemy ult down", and "warded" ),when suggested that another ping be removed or even moved around to make room for a new one,
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ˈbəʤɪt kəˈmændər:, dɑrk ˈeɪnʤəl 38 ˈbəʤɪt kəˈmændər dɑrk ˈeɪnʤəl ˈkɑmˌboʊ sɛlf peɪn ˈwɛlkəm bæk tɪ ˈbəʤɪt kəˈmændər! wən əv maɪ ˈfeɪvərɪt dɛk ˈɑrkɪˌtaɪps tɪ pleɪ ɪn kəˈmændər ɪz ˈkɑmˌboʊ; ðə mɔr ðə, ðə ˈbɛtər! soʊ ɪts wɪθ məʧ ɪkˈsaɪtmənt ðət əm hir tɪ tɔk tɪ ju əˈbaʊt wən əv ðə ˈkɑmˌboʊ bruz aɪv ˈɛvər əˈsɛmbəld, lɛd baɪ, dɑrk ˈeɪnʤəl. ɪts ə dɛk ˈhɛvəli ˌɪnˈspaɪərd baɪ ə lɪst aɪ faʊnd frəm trashpile*, soʊ bɪg θæŋks tɪ ju! 100 ˈsərtəˌfaɪd ʤæŋk, dɑrk ˈeɪnʤəl ɪz ðə ˈpərˌfɪkt ɛmˈbɑdimənt əv wət ðɪs dɛk ɪz ɔl əˈbaʊt. ʃiz ən əbˈskjʊr ˈlɛʤənˌdɛri ˈkriʧər frəm ə taɪm wɪn ˈkriʧərz wər ˈoʊvərˌɔl ˈwikər ðən ðeɪ ˈkərəntli ər. bæk ðɛn, ˈdʊrɪŋ ðə dɑrk ənd mɪˈstɪriəs taɪmz wɛr ˈmæʤɪks rulz wər ə ˈlɪtəl ˈdɪfərənt ənd wi hæd θɪŋz laɪk ˈkɑmbæt ˈdæmɪʤ goʊɪŋ ɔn ðə stæk, meɪ hæv bɪn ə ˈprɪti gʊd ˈkriʧər. ˈnaʊəˌdeɪz, ˌhaʊˈɛvər, ʃiz ˈbeɪsɪkli ə wərs ˈsɛntri əv ðə ˈəndərˌwərld, ɪf jʊr ˈlʊkɪŋ æt wət ðə kɑrd ˌɪtˈsɛlf dɪz tɪ ˈbɛnəfɪt ju. waɪ du ju wɔnt ə wərs ˈsɛntri ɛz jʊr kəˈmændər? bɪˈkəz ðə bɛst θɪŋ əˈbaʊt ɪz ˈæˌkʧuəli hər əˈbɪləˌti tɪ luz laɪf! jɛs, hər ˈæktɪˌveɪtɪd əˈbɪləˌti tɪ baʊns hərˈsɛlf bæk tɪ jʊr hænd kɔsts 2 laɪf æt ˈɪnstənt spid ənd æt noʊ ˈmɑnə kɔst, ənd ju kən rɪˈspɑnd tɪ jʊr oʊn ˈæktɪˌveɪtɪd əˈbɪləˌti baɪ ɪt ɛz ˈmɛni taɪmz ɛz ju wɔnt. ju kən kˈwɪkli ənd ɪˈfɪʃəntli loʊər jʊr laɪf ˈtoʊtəl ɛz loʊ ɛz jʊd laɪk! ɪn moʊst ˈkeɪsɪz ðɪs wʊd bi ˈɔfəl ənd oʊ gɑd waɪ wʊd ju du ðɪs, bət ɪn ðɪs dɛk, ɪˈfɪʃənt ɪz əˈmeɪzɪŋ bɪˈkəz ɪt ɪˈneɪbəlz ɑr ˈɔfəl ʤæŋk wɪn kənˈdɪʃənz, ˌɪnˈkludɪŋ ðiz ˈbjutiz: ðɪs ɪz ðə dɛk ɪn ə ˈnətˌʃɛl. ɪts wɪθ ˈsɪli ʤæŋk wɪn kənˈdɪʃənz ðət rɪˈlaɪ ɔn ju loʊərɪŋ jʊr oʊn laɪf ˈtoʊtəl. ðə ˈkloʊzər ju ər tɪ ˈluzɪŋ, ðə ˈkloʊzər ju ər tɪ ˈwɪnɪŋ (ˈmeɪbi)! ðɪs ɪz baɪ noʊ minz ə kəmˈpɛtɪtɪv dɛk, bət aɪ faɪnd ɪt trɪˈmɛndəs fən fər ˈvɛriəs ˈrizənz, ənd ˈhoʊpfəli ju wɪl tu. aɪ fil ɪts ðə ˈpərˌfɪkt dɛk fər ˈsəmˌwən ˈlʊkɪŋ tɪ pleɪ ˈkɑmˌboʊ ɪn ə, wɛr ju wɔnt tɪ pʊl ɔf jʊr bət ˈɔlsoʊ gɪv jʊr əˈpoʊnənts ˈplɛnti əv ˈʧænsɪz tɪ stɑp ju. ju maɪt laɪk ðə dɛk ɪf ju ləv pleɪɪŋ wɪθ ə bənʧ əv əbˈskjʊr wɪn kənˈdɪʃənz ðət moʊst ˈpipəl ˈwʊdənt dɛr traɪ ju doʊnt kɛr əˈbaʊt ˈdilɪŋ ˈkɑmbæt ˈdæmɪʤ ənd wʊd ˈrəðər ju wɔnt tɪ pleɪ ən əˈnɔrθəˌdɑks dɛk ðət ˈɪzənt ˈfoʊkɪst ɔn laɪf geɪn bət ˈrəðər sɛlf hɑrm ju ʧɪr jʊr əˈpoʊnənts wɪn ðeɪ əˈtæk ju, bɪˈkəz ɪt ˈoʊnli hɛlps ˈprɑˌgrɛs jʊr goʊlz ju wɔnt tɪ pleɪ ə ˈkɑmˌboʊ dɛk ɪn ə ju maɪt nɑt laɪk ðə dɛk ɪf ju wɔnt tɪ pleɪ ən əˈgrɛsɪv dɛk ju prɪˈfər dɛks ju laɪk ˈkipɪŋ jʊr laɪf ˈtoʊtəl nis ənd haɪ ju wɔnt tɪ pleɪ ə kəmˈpɛtɪtɪv ˈkɑmˌboʊ dɛk ðə æt ɪts kɔr,, dɑrk ˈeɪnʤəl ɪz ə ˈkɑmˌboʊ dɛk. ðə ər ðə hɑrt əv ðə dɛk ənd ðə rɛst ər səˈpɔrt ənd ˈfɪlər kɑrdz. hir ər səm əv ðə aɪv kəm əˈkrɔs ðət fɪt wɛl ɪn ə dɛk. səm ər ˈiziər tɪ sɛt əp ər ˈhɑrdər tɪ dɪsˈrəpt ðən ˈəðərz, ənd ɪts ˈtoʊtəli əp tɪ ˈpərsɪnəl ˈprɛfərəns wɪʧ jʊd wɔnt tɪ ˌɪnˈklud ɪn jʊr oʊn dɛk: ˈkɑmˌboʊ 1 laɪf swɑp gɪt jʊr laɪf ˈtoʊtəl ˈvɛri loʊ ənd ðɛn swɑp ɪt fər jʊr əˈpoʊnənts laɪf ˈtoʊtəl, ˈpʊtɪŋ ðɛm ɪn ə pəˈzɪʃən wɛr ju kən ˈizəli ˈfɪnɪʃ ðɛm ɔf. ju hæv ˈnumərəs weɪz tɪ loʊər jʊr oʊn laɪf ˈtoʊtəl, moʊst ˈnoʊtəbli, dɑrk ˈeɪnʤəl. tɪ swɑp jʊr laɪf ˈtoʊtəl, ju hæv: ˈmeɪkɪŋ ðə laɪf swɑp ˈliθəl ɪz ˈprɪti ˈizi. wəns jʊr əˈpoʊnənts ər brɔt loʊ, ju kən ˈfɪnɪʃ ðɛm ɔf wɪθ ˈkɑmbæt ˈdæmɪʤ, ər ˈmeɪbi ən exsanguinate*. ɪf ju brɔt əˈpoʊnənts daʊn tɪ 1 laɪf, ju kən ˈfɪnɪʃ ðɛm wɪθ ən ɛkˈstɔrt ˈtrɪgər (krɪpt ghast*) ər maɪ ˈfeɪvərɪt ˈlɪtəl bɪt əv tɛk, swɔmp. ɔlˈtərnətɪvli, ju kən meɪk ðə laɪf swɑp ˌɪtˈsɛlf ˈliθəl: baɪ ˈrənɪŋ kɑrdz prɪˈvɛnt ju frəm ˈluzɪŋ fər ˈhævɪŋ lɛs ðən 1 laɪf, laɪk ər ˈplætənəm ˈeɪnʤəl, ju kən loʊər jʊr laɪf ˈtoʊtəl tɪ 0 ənd swɑp ˈtoʊtəlz wɪθ jʊr əˈpoʊnənts, ˌɪˈmiˌdiətli ˈkɪlɪŋ ðɛm! ˈkɑmˌboʊ 2 ju geɪn laɪf, ðeɪ luz laɪf geɪn ə bənʧ əv laɪf waɪl ˈsæŋgwɪn bɑnd, dɪˈfaɪənt, ər ɪz ɪn pleɪ, ˈmeɪkɪŋ jʊr əˈpoʊnənts luz laɪf ˈikwəl tɪ ðə laɪf ju geɪn. wən ˈʧiki weɪ əv duɪŋ ðɪs ɪz wɪθ ˈʧɪldrən əv ər ˈteɪntɪd sigil*. hɪrz wət ju du: əˈnəðər ˌsɪnərˈʤɪstɪk ˈɔpʃən ɪz ˈjuzɪŋ wən əv ðə laɪf swɑp ˈpisɪz frəm ˈkɑmˌboʊ 1 ɪf ju swɑp jʊr loʊ laɪf ˈtoʊtəl wɪθ ən əˈpoʊnənts haɪ laɪf ˈtoʊtəl ˈjuzɪŋ ˈsəmθɪŋ laɪk rɪˈvərs ðə sændz, ju geɪn laɪf ˈikwəl tɪ ðə ˈdɪfərəns. soʊ ɪf jʊr æt 5 laɪf ənd rɪˈvərs ðə sændz tɪ swɑp jʊr laɪf ˈtoʊtəl wɪθ ˈsəmˌwən hu wɑz æt 40 ju geɪn 35 laɪf ənd ˈsæŋgwɪn bɑnd ʃeɪvz ɔf 35 laɪf frəm iʧ əˈpoʊnənt, ˈprɑbəˌbli ˈkɪlɪŋ ðɛm. ˈbrutəl. ðɛrz ˈəðər weɪz tɪ geɪn laɪf, əv kɔrs, ˌɪnˈkludɪŋ ˈdəbəlɪŋ əp ɔn dɛt tɪ ðə ər ʤɪst goʊɪŋ ˈɪnfənət wɪθ ˈɛkskwəzət bləd ˈsæŋgwɪn bɑnd, ˈgeɪnɪŋ ˈɪnfənət laɪf waɪl jʊr əˈpoʊnənts luz ˈɪnfənət laɪf. ˈkɑmˌboʊ 3 bət weɪt, wi kən gɪt ˈivɪn jankier*! rɪˈmɛmbər, ðə kɑrd ˈpipəl ˈbrifli gɑt ɪkˈsaɪtɪd əˈbaʊt fər ˈstændərd ənˈtɪl ˈɛvriˌwən ˈriəˌlaɪzd haʊ ˈdɪfəkəlt ɪt ɪz tɪ pʊl ɔf? wɛl, ju kən traɪ ɪt aʊt hir tu, ənd ɪts ˈprɑbəˌbli ˈivɪn ˈhɑrdər tɪ pʊl ɔf ɪn kəˈmændər! ðə goʊl əv ɪz, əv kɔrs, ˈgɪtɪŋ jʊr əˈpoʊnənts tɪ ɪgˈzæktli 13 laɪf soʊ ðeɪ luz ɔn jʊr ˈəpˌkip. ɪts ˌɪnˈkrɛdəbli ˈdɪfəkəlt tɪ du ɪn kəˈmændər, bɪˈkəz nɑt ˈoʊnli du ju hæv tɪ gɪt jʊr əˈpoʊnənts ɪgˈzæktli tɪ 13 laɪf, bət ju nid tɪ ˈsəmˌhaʊ prɪˈvɛnt ðɛm frəm ˈʧeɪnʤɪŋ ðɛr laɪf ˈtoʊtəl ˌbiˈfɔr ðə ˈəpˌkip ˈtrɪgər riˈzɑlvz. ˈsəmθɪŋ ɛz ˈsɪmpəl ɛz ˈkrækɪŋ ə laɪk ˈɛrəd ˈmeɪsə ˈtoʊtəli ruɪnz jʊr ˈsɛˌtəp. wi du hæv æt list ə ˈkəpəl weɪz tɪ meɪk ðɪs ˌɪnˈseɪn tæsk ə ˈlɪtəl mɔr ˈplɔzəbəl: sɛt jʊr əˈpoʊnənts tɪ 13 laɪf. ju kən loʊər jʊr əˈpoʊnənts laɪf ˈtoʊtəlz ˈɛni ˈnəmbər əv weɪz səʧ ɛz ˈkɑmbæt ˈdæmɪʤ ɛkˈstɔrt (krɪpt ghast*) dreɪn (exsanguinate*) laɪf swɑp (rɪˈvərs ðə sændz), bət ðə moʊst ˈɑbviəs ˈlɪtəl ˈkɑmˌboʊ ɪz tri əv, wɪʧ pɛrz wɪθ triskadekaphobia*. doʊnt gɪv ðɛm ə tərn tɪ rɪˈspɑnd ˌbiˈfɔr ðə ˈəpˌkip ˈtrɪgər. ɪf ju pleɪ, sɛt jʊr əˈpoʊnənts laɪf tɪ 13 ənd pæs ðə tərn, jʊr ˈgɪvɪŋ ðɛm ə lɔt əv ˈʧænsɪz tɪ ˈiðər ʧeɪnʤ ðɛr laɪf ˈtoʊtəl ər gɪt rɪd əv ðə ɛnˈʧæntmənt. ju nid tɪ traɪ ənd kæʧ ðɛm baɪ səˈpraɪz ənd loʊər ðɛr ˌɑpərˈtunəti tɪ rɪˈspɑnd. flæʃ laɪk ˈɔrəri ər ˈwaɪndɪŋ ˈkænjənz ər jʊr bɛst frɛndz, ˈlɛtɪŋ ju drɔp jʊr əˈpoʊnənts tɪ 13 ər drɔp daʊn wɪn ðɛr æt 13 raɪt ˌbiˈfɔr jʊr ˈəpˌkip ˈtrɪgər. ðɛr ˈoʊnli aʊts məst bi æt ˈɪnstənt spid ər ðeɪ luz! seɪm goʊz fər ˈɛni ˈəðər ˈɪnstənt spid ˈmɛθəd əv loʊərɪŋ ðɛr laɪf ˈtoʊtəl tɪ 13 ər ˈteɪkɪŋ ən ˈɛkstrə tərn ɪf ˈpɑsəbəl (ˈtɛmpərəl ɛkˈstɔrʃən). ˈkɑmˌboʊ 4 ɪkˈspɪriəns hir wi kəm tɪ ðə əv ðə ʤæŋk: ɪkˈspɪriəns. ə kɑrd ðət ɪz mɔr ˈlaɪkli tɪ kɪl ju ðən wɪn ju ðə geɪm, ɪkˈspɪriəns wɔnts ju tɪ sɪt æt ɪgˈzæktli 1 laɪf ənd ðɛn sərˈvaɪv ənˈtɪl ɪts ˈtrɪgər wɪnz ju ðə geɪm. ɪts kwaɪt ðə ˈgæmbəl, bət ju rip ə paɪl əv staɪl pɔɪnts ɪf ju ˈmænɪʤ tɪ pʊl ɪt ɔf. ˈgɪtɪŋ tɪ 1 laɪf ɪz ˈizi:, dɑrk ˈeɪnʤəl kən ˈhændəl ðə tæsk əˈloʊn, ər ˈbæˌkəp kɑrdz laɪk wɔl əv bləd. ʤɪst pʊt daʊn ɪkˈspɪriəns, ðɛn weɪt ənˈtɪl jʊr nɛkst ˈəpˌkip wɪn ðə ˈtrɪgər ɪz əˈbaʊt tɪ riˈzɑlv ənd loʊər jʊr laɪf ˈtoʊtəl tɪ 1 ɪf noʊ wən həz ə rɪˈspɑns ðɛn bæm, ju wɪn! ðɛr ər ə fju weɪz tɪ meɪk ɪt mɔr ˈdɪfəkəlt fər jʊr əˈpoʊnənts tɪ stɑp ju, bət ðeɪ kɔst ə bɪt mɔr ðən ðə ˈjuʒəwəl ˈbəʤɪt ˈboʊnəs wɪn kɑn: feɪʤ! ɪf jʊr ˈbɪldɪŋ ə ʤæŋk dɛk, waɪ nɑt tɔs ɪn feɪʤ ðə ənˈtəʧəbəl fər funsies*? ʃi ˈdəzənt fɪt ɪn wɪθ ðə ˈəðər, bət ɪts ˈsərtənli staɪl pɔɪnts. gɪv hər heɪst (ˈlaɪtnɪŋ grivz) ər flæʃ hər ɪn ˈɔrəri) tɪ kæʧ ən ˈoʊpən əˈpoʊnənt baɪ səˈpraɪz. ˈɛvriˌθɪŋ ɛls wɪθ ðə ɔˈrɛdi ˈʧoʊzən ɛz ˈfɪnɪʃərz, ðə rɛst əv ðə dɛk ɪz fɪld wɪθ lændz ræmp rɪˈmuvəl kɑrd ædˈvæntɪʤ ˈtutərz recursion*. ðə ˈstɑrtɪŋ pɔɪnt əv ˈprɪti məʧ ˈɛvəri kəˈmændər dɛk aɪ bɪld ɪz ˈsɛtɪŋ əˈsaɪd slɑts fər 38 lændz, 10 ræmp, 6 spɑt rɪˈmuvəl, 3 bɔrd waɪps, 10 kɑrd ædˈvæntɪʤ (ˈmoʊstli kɑrd drɔ), 2 recursion*, 1 ˈgreɪvˌjɑrd rɪˈmuvəl, 2 ˈflɛksəbəl ˈtutərz. aɪ ðɛn twik ðə ˈnəmbərz beɪst ɔn ðə ˌɪndəˈvɪʤəwəl dɛk ənd wət ɪt wɔnts tɪ du. sɪns wi wɔnt tɪ loʊər ɑr laɪf ˈtoʊtəl, kɑrdz ðət loʊər laɪf ɛz ən ˌɪnˈtɛndɪd ˈdrɔˌbæk gɪt fɑr ˈbɛtər ɪn ðɪs dɛk. fər ɪgˈzæmpəl, aɪ ʤæm kɔst ɪn ɔl maɪ blæk dɛks, bət naʊ ˈluzɪŋ 3 laɪf ˈɪzənt ə ˈdrɔˌbæk æt ɔl. hɪrz ə lɪst əv kɑrdz ˈəndər 3 ju kən juz tɪ fɪl aʊt ðə rɛst əv ðə dɛk. ɪts fɑr frəm ən ɪgˈzɔstɪv lɪst bət ʃʊd bi ə gʊd ˈstɑrtɪŋ pɔɪnt: ˈbəʤɪt 38 pʊt ɔl ðə ˈɛləmənts təˈgɛðər ənd vˌwɑˈlɑ, ə nu ˈbəʤɪt bru. aɪ splərʤd fər səm kɑrdz laɪk tri əv bɪˈkəz ɪts ˈsupər kjut, bət wɪθ səm mɔr əˈgrɛsɪv kəts ju kən ˈizəli gɪt ðɪs daʊn tɪ 30 əˈsaɪd frəm ðə kɑrdz ðət ər pɑrt əv, ðə məˈʤɔrəti əv ðə dɛk ɪz ɪnˈtaɪərli ˈflɛksəbəl. ʤɪst meɪk ʃʊr ju hæv ɪˈnəf ræmp rɪˈmuvəl kɑrd ædˈvæntɪʤ ˌɛtˈsɛtərə. tɪ kip ˈʧəgɪŋ əˈlɔŋ æt ə smuð peɪs. ɪf jʊr ˈlʊkɪŋ tɪ ˈəpˈgreɪd ðə lɪst ˈfərðər, ju kən juz səm əv ðə mɔr ɪkˈspɛnsɪv kɑrd səˈʤɛsʧənz ðət aɪ ˈlɪstɪd əˈbəv ɪn ðə "ˈɛvriˌθɪŋ ɛls" ˈsɛkʃən ər ðə "ˈəpˌgreɪdz ənd bɪts" ˈsɛkʃən bɪˈloʊ. ən ˈizi rul əv θəm ɪz tɪ swɑp aʊt kɑrdz ðət pərˈfɔrm ðə seɪm ˈfəŋkʃən ɪn ðə dɛk. dɪˈfaɪənt kən bi ˈəpˌgreɪdɪd tɪ ˈsæŋgwɪn bɑnd, ˈvɪktɪm əv naɪt tɪ sɔrdz tɪ ˈplaʊˌʃeɪrz, tɪ rɪˈtərn tɪ dəst, ˈʧælɪs tɪ sɑl rɪŋ, ˌɪnˈkrisɪŋ æmˈbɪʃən tɪ dɪˈmɑnɪk ˈtutər, ənd soʊ ɔn. hɪrz ən ɪgˈzæmpəl əv ə mɔr ˈəpˌgreɪdɪd lɪst, ðɪs taɪm æt 61 ˈhoʊpfəli ɪt ˈɪləˌstreɪts haʊ aɪ goʊ əˈbaʊt ˈəpˌgreɪdɪŋ ˈpisɪz: ˈəpˌgreɪdz ənd bɪts ˈlʊkɪŋ tɪ ˈəpˈgreɪd ðə dɛk wɪθ mɔr ɪkˈspɛnsɪv kɑrdz? aɪv gɑt ju ˈkəvərd. hir ər ə bənʧ əv kɑrdz ðət ər ˈkərəntli ˈoʊvər 3 ðət kən meɪk ðə dɛk ˈivɪn ˈbɛtər (bət stɪl!): ˈfaɪnəli, hɪrz ə ˈsæmpəl lɪst əv ðə dɛk wɪθ noʊ ˈbəʤɪt, waɪl stɪl ˈstɪkɪŋ tru tɪ ðə ʤæŋk goʊlz: ðæts ɔl, foʊks! aɪ hoʊp ju gaɪz ˌɛnˈʤɔɪd maɪ teɪk ɔn, dɑrk ˈeɪnʤəl. aɪv gɑt wən mɔr ˈbəʤɪt kəˈmændər ɔˈrɛdi laɪnd əp: oʊˈlɪviə, ˈmoʊbəˌlaɪzd fər wɔr, ˈɑkə ˈtraɪbəl ˈvæmpaɪrz! ˈæftər ðət, aɪl bi goʊɪŋ bæk tɪ ˈrənɪŋ poʊlz soʊ ju kən ʧuz wɪʧ kəˈmændər ju wɔnt tɪ si nɛkst. ɛz ˈɔlˌweɪz, aɪ ləv tɪ hir frəm ju gaɪz! aɪ ɪnˈkərəʤ ju tɪ tɛl mi wət ju laɪk tɪ si ɪn ˈbəʤɪt kəˈmændər ənd wərk wɪθ mi tɪ meɪk ðə ˈsɪriz ˈbɛtər ðən ˈɛvər. ju kən riʧ mi ɪn ðə ˈkɑmɛnts ˈsɛkʃən bɪˈloʊ ər twit mi @budgetcommander*.
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